AMATI,Hieronymus II.—Since the notice of this maker was written (videpage 139) the writer has met with two violins labelled prior to the year 1700. One of these is dated 1689.
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FOOTNOTES:[A]Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end blocks or linings, inside the instrument, add any particular value to the violin if original. Most of these items are, in a well-fitted old violin,modern. The vital parts for curio valuation are the head, top, back, and ribs.[B]The violins produced in any part ofmodernItaly as a rule possess repute no higher than those made in other countries. So long ago as the latter years of the eighteenth century it became necessary for the Italian workmen to seek information in the art from Paris and other cities of France. As for Cremona of the present day, it may almost be said that, as a violin centre, it is not seriously considered at all. I believe some effort has recently been made to revive its ancient glories, but the success of the venture is still very much in doubt.[C]It has been variously estimated that Stradivari constructed during his lifetime between 1000 and 1500 instruments.[D]Antonio Stradivari is the best known of all violin makers of past times, and it is solely for this reason that we use his name so frequently when referring to the old makers, rather than that of another less familiar.[E]“We unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of Stradivari.... We may here add a word as to the delusion that material taken from buildings, such as for instance Swiss châlets—in some cases centuries old—is preferable to that cut and seasoned during a lesser, but still a sufficient, number of years. We have tried both kinds ... and we fail to find that the former has any real advantage over the latter; in fact, our opinion is rather in favour of the more youthful wood.”—Messrs. Hill, “Antonio Stradivari,” p. 173.[F]A potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon—and look upon themselves—as mere carvers of wood, and are judged almost entirely from that standpoint. Perfection of workmanship and such artistry as each maker may achieve, rather than the tone-merit his instruments may possess, seems the only existing method of indicating his status as a violin maker. Aside from other considerations, this renders his position difficult in the extreme, the violin offering little scope (as in the plastic and kindred arts) for originality; and any departure from convention is apt to be characterised as freakish, whilst all possible refinement of detail seems long since anticipated.[G]These principles, as we have endeavoured to explain, are as old as the violin itself.[H]It has long been considered by many who seek to duplicate the tone of the old master violins that the more perfectly size, outline, arching, thickness—or model—is copied, the more chance of securing the desired tone. Notwithstanding the lack of success attending such efforts, copying is still extensively practised andrelied uponfor tone production.[I]Many violins of little tonal worth, but by a more or less famous ancient maker, are advertised in a manner calculated to fire the imagination of the reader and effect a sale through an appeal to romantic sentiment. It is for this reason that so much is said about the maker, his times, master, family, etc., and so little about the tone of the particular instrument.[J]“The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the dicoloration of the wood cleverly managed, and the effect of wear counterfeited with greater skill than has ever been done before or since, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist.”—“The Violin,” G. Hart, page 297.[K]“Violin Making as it Was and Is,” Ed. Heron Allen, London, 1885.[L]A rather popular belief is that all old violins by a certain celebrated maker, or new ones by a modern maker, are alike in tonal worth. This is not the case, and the fact should be carefully remembered. The variation is not due so much to the vicissitudes of a long and strenuous existence on the part of the instrument as to those human limitations which render it impossible for a master in any art to copy himself with unfailing regularity and success.[M]This number may appear large, but we believe it is under, rather than over, the mark. Some of the makers of later times, now, however, ranking as “old,” turned out from their shops as many as 2,500 instruments. If the 900 makers produced an average of 100 violins each during their lifetime, the total would amount to 90,000.[N]While most of the great dealers throughout the world are either good judges of tone themselves, or employ those who are, they cannot, as vendors, be considered impartial. It is only fair to say they recognise this, and prefer that the prospective buyer form his own opinion.[O]In the Correspondence Department ofThe Stradfor May, 1916, we find the following: “I think his (Stradivari’s) varnish was purely and simply got by a visit to his fowl-shed, and the selection of half a dozen brown-shelled eggs therefrom, simply breaking in a dish, beating the contents well together, removing the froth, and applying the residuum at once to his finished violins.... I believe this is the long-sought solution of the means employed by Strad to finish off his violins.”
FOOTNOTES:
[A]Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end blocks or linings, inside the instrument, add any particular value to the violin if original. Most of these items are, in a well-fitted old violin,modern. The vital parts for curio valuation are the head, top, back, and ribs.
[A]Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end blocks or linings, inside the instrument, add any particular value to the violin if original. Most of these items are, in a well-fitted old violin,modern. The vital parts for curio valuation are the head, top, back, and ribs.
[B]The violins produced in any part ofmodernItaly as a rule possess repute no higher than those made in other countries. So long ago as the latter years of the eighteenth century it became necessary for the Italian workmen to seek information in the art from Paris and other cities of France. As for Cremona of the present day, it may almost be said that, as a violin centre, it is not seriously considered at all. I believe some effort has recently been made to revive its ancient glories, but the success of the venture is still very much in doubt.
[B]The violins produced in any part ofmodernItaly as a rule possess repute no higher than those made in other countries. So long ago as the latter years of the eighteenth century it became necessary for the Italian workmen to seek information in the art from Paris and other cities of France. As for Cremona of the present day, it may almost be said that, as a violin centre, it is not seriously considered at all. I believe some effort has recently been made to revive its ancient glories, but the success of the venture is still very much in doubt.
[C]It has been variously estimated that Stradivari constructed during his lifetime between 1000 and 1500 instruments.
[C]It has been variously estimated that Stradivari constructed during his lifetime between 1000 and 1500 instruments.
[D]Antonio Stradivari is the best known of all violin makers of past times, and it is solely for this reason that we use his name so frequently when referring to the old makers, rather than that of another less familiar.
[D]Antonio Stradivari is the best known of all violin makers of past times, and it is solely for this reason that we use his name so frequently when referring to the old makers, rather than that of another less familiar.
[E]“We unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of Stradivari.... We may here add a word as to the delusion that material taken from buildings, such as for instance Swiss châlets—in some cases centuries old—is preferable to that cut and seasoned during a lesser, but still a sufficient, number of years. We have tried both kinds ... and we fail to find that the former has any real advantage over the latter; in fact, our opinion is rather in favour of the more youthful wood.”—Messrs. Hill, “Antonio Stradivari,” p. 173.
[E]“We unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of Stradivari.... We may here add a word as to the delusion that material taken from buildings, such as for instance Swiss châlets—in some cases centuries old—is preferable to that cut and seasoned during a lesser, but still a sufficient, number of years. We have tried both kinds ... and we fail to find that the former has any real advantage over the latter; in fact, our opinion is rather in favour of the more youthful wood.”—Messrs. Hill, “Antonio Stradivari,” p. 173.
[F]A potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon—and look upon themselves—as mere carvers of wood, and are judged almost entirely from that standpoint. Perfection of workmanship and such artistry as each maker may achieve, rather than the tone-merit his instruments may possess, seems the only existing method of indicating his status as a violin maker. Aside from other considerations, this renders his position difficult in the extreme, the violin offering little scope (as in the plastic and kindred arts) for originality; and any departure from convention is apt to be characterised as freakish, whilst all possible refinement of detail seems long since anticipated.
[F]A potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon—and look upon themselves—as mere carvers of wood, and are judged almost entirely from that standpoint. Perfection of workmanship and such artistry as each maker may achieve, rather than the tone-merit his instruments may possess, seems the only existing method of indicating his status as a violin maker. Aside from other considerations, this renders his position difficult in the extreme, the violin offering little scope (as in the plastic and kindred arts) for originality; and any departure from convention is apt to be characterised as freakish, whilst all possible refinement of detail seems long since anticipated.
[G]These principles, as we have endeavoured to explain, are as old as the violin itself.
[G]These principles, as we have endeavoured to explain, are as old as the violin itself.
[H]It has long been considered by many who seek to duplicate the tone of the old master violins that the more perfectly size, outline, arching, thickness—or model—is copied, the more chance of securing the desired tone. Notwithstanding the lack of success attending such efforts, copying is still extensively practised andrelied uponfor tone production.
[H]It has long been considered by many who seek to duplicate the tone of the old master violins that the more perfectly size, outline, arching, thickness—or model—is copied, the more chance of securing the desired tone. Notwithstanding the lack of success attending such efforts, copying is still extensively practised andrelied uponfor tone production.
[I]Many violins of little tonal worth, but by a more or less famous ancient maker, are advertised in a manner calculated to fire the imagination of the reader and effect a sale through an appeal to romantic sentiment. It is for this reason that so much is said about the maker, his times, master, family, etc., and so little about the tone of the particular instrument.
[I]Many violins of little tonal worth, but by a more or less famous ancient maker, are advertised in a manner calculated to fire the imagination of the reader and effect a sale through an appeal to romantic sentiment. It is for this reason that so much is said about the maker, his times, master, family, etc., and so little about the tone of the particular instrument.
[J]“The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the dicoloration of the wood cleverly managed, and the effect of wear counterfeited with greater skill than has ever been done before or since, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist.”—“The Violin,” G. Hart, page 297.
[J]“The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the dicoloration of the wood cleverly managed, and the effect of wear counterfeited with greater skill than has ever been done before or since, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist.”—“The Violin,” G. Hart, page 297.
[K]“Violin Making as it Was and Is,” Ed. Heron Allen, London, 1885.
[K]“Violin Making as it Was and Is,” Ed. Heron Allen, London, 1885.
[L]A rather popular belief is that all old violins by a certain celebrated maker, or new ones by a modern maker, are alike in tonal worth. This is not the case, and the fact should be carefully remembered. The variation is not due so much to the vicissitudes of a long and strenuous existence on the part of the instrument as to those human limitations which render it impossible for a master in any art to copy himself with unfailing regularity and success.
[L]A rather popular belief is that all old violins by a certain celebrated maker, or new ones by a modern maker, are alike in tonal worth. This is not the case, and the fact should be carefully remembered. The variation is not due so much to the vicissitudes of a long and strenuous existence on the part of the instrument as to those human limitations which render it impossible for a master in any art to copy himself with unfailing regularity and success.
[M]This number may appear large, but we believe it is under, rather than over, the mark. Some of the makers of later times, now, however, ranking as “old,” turned out from their shops as many as 2,500 instruments. If the 900 makers produced an average of 100 violins each during their lifetime, the total would amount to 90,000.
[M]This number may appear large, but we believe it is under, rather than over, the mark. Some of the makers of later times, now, however, ranking as “old,” turned out from their shops as many as 2,500 instruments. If the 900 makers produced an average of 100 violins each during their lifetime, the total would amount to 90,000.
[N]While most of the great dealers throughout the world are either good judges of tone themselves, or employ those who are, they cannot, as vendors, be considered impartial. It is only fair to say they recognise this, and prefer that the prospective buyer form his own opinion.
[N]While most of the great dealers throughout the world are either good judges of tone themselves, or employ those who are, they cannot, as vendors, be considered impartial. It is only fair to say they recognise this, and prefer that the prospective buyer form his own opinion.
[O]In the Correspondence Department ofThe Stradfor May, 1916, we find the following: “I think his (Stradivari’s) varnish was purely and simply got by a visit to his fowl-shed, and the selection of half a dozen brown-shelled eggs therefrom, simply breaking in a dish, beating the contents well together, removing the froth, and applying the residuum at once to his finished violins.... I believe this is the long-sought solution of the means employed by Strad to finish off his violins.”
[O]In the Correspondence Department ofThe Stradfor May, 1916, we find the following: “I think his (Stradivari’s) varnish was purely and simply got by a visit to his fowl-shed, and the selection of half a dozen brown-shelled eggs therefrom, simply breaking in a dish, beating the contents well together, removing the froth, and applying the residuum at once to his finished violins.... I believe this is the long-sought solution of the means employed by Strad to finish off his violins.”
Typographical errors corrected by the etext transcriber:succed in tone=> succeed in tone {pg xv}approximateiy accurate=> approximately accurate {pg xvii}be more worthy the=> be more worthy of the {pg 50}ridiculous claims or=> ridiculous claims of {pg 107}GLASS.—Klingeuthal=> GLASS.—Klingenthal {pg 170}HAÜSSLER,Gustave=> HÄUSSLER,Gustave{pg 187}enumerated by von Lutgendörff=> enumerated by von Lütgendorff {pg 244}Egiduis,circa1700-30=>Egidius,circa1700-30 {pg 249}Moscrow, Prague=> Moscow, Prague {pg 249}
Typographical errors corrected by the etext transcriber:
succed in tone=> succeed in tone {pg xv}
approximateiy accurate=> approximately accurate {pg xvii}
be more worthy the=> be more worthy of the {pg 50}
ridiculous claims or=> ridiculous claims of {pg 107}
GLASS.—Klingeuthal=> GLASS.—Klingenthal {pg 170}
HAÜSSLER,Gustave=> HÄUSSLER,Gustave{pg 187}
enumerated by von Lutgendörff=> enumerated by von Lütgendorff {pg 244}
Egiduis,circa1700-30=>Egidius,circa1700-30 {pg 249}
Moscrow, Prague=> Moscow, Prague {pg 249}