STRADIUARIUS, ANTONIUS

A most interesting account of Antonius Stradiuarius, who is generally thought to be the greatest maker of the violin - has been published by M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In addition to records of his family, which was an ancient one in Cremona, obtained by M. Vuillaume in his persevering labours in search of information, and which he placed at the service of M. Fetis - the latter enters deeply into what we may call the science of violin making, and presents us with many interesting and valuable experiments which have been made on fragments of the great instruments, in order to ascertain the exact principles which enabled Stradiuarius to build with such undeviating and brilliant success. The book is well worthy the perusal of all amateurs of the violin.

ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in 1737, having lived in the peaceful exercise of his art to the great age of ninety-three. There is a violin still extant which bears his signature and proves this fact. In the early part of his life, he was a pupil of Nicholas Amati, and some of his early productions bear his master's name, as seems to have been the custom. These instruments have the Amati characteristics, and have some of the backs cut the contrary way of the grain, forming what are known by the name of "slab" backs. He afterwards enlarged his model and adopted a flatter pattern, and arrived at the greatest perfection about 1700. From that period to 1725, everything he made bore the impress of the great master. In shape, the cutting of the S holes, the varnish, and the accuracy with which all the parts were adjusted in harmonical relation, from that time he excelled all who had gone before him, or who have since attempted the difficult task of vying with him. All these instruments are of the flat pattern, which is now proved to be best adapted for the production of a rich, deep and powerful tone. It would appear that the more elevated model used before his time, although it allowed of very fine quality of tone, tended to prevent that strong vibration which is the cause of great tone.M. Fetis insists that the violins of Stradiuarius were as good and fine in quality of tone when made as they are now, contrary to the established opinion that time is necessary as well as use for refining and perfecting all violins. He gives an instance of a violin made by Stradiuarius, now in Paris, which he states has never been played upon - but we must beg to doubt this fact. Though we are ready to admit that the careful adjustment of the different parts and the selection of fine wood, would tend to perfect the tone of these instruments, much sooner than others less carefully fashioned, yet in the instance he brings forward in support of his theory, it does not appear quite so clear that the violin never had been played upon. On the contrary, there are many years unaccounted for, in his description of it, during which it might have undergone considerable use. It appears almost impossible that while in the hands of various possessors, so fine an instrument should have been suffered to lie idle in a cabinet, as though it were a picture to be looked at, but not touched. From its condition, however, it is clear that it had always been in hands that prized it, for he describes it as having quite the appearance of a new instrument. In this respect, therefore, we must still adopt the opinion of the most eminent judges, including that recorded by Spohr, that it requires both time and use to perfect all instruments of the violin class. It would appear moreover that this has always been a settled belief, for even Mace in his "Music's Monument," published in 1676, says "We chiefly value old instruments before new for by experience they are found to be far the best." As to the condition of this instrument which Fetis states to be quite unique for its perfection and apparent newness, our countryman, Mr. Gardiner, in his interesting work, "Music and Friends," says that Mr. Champion, an amateur had given 300 guineas for a Stradiuarius violin and tenor, of a beautiful yellow colour inclining to orange, and which appeared to have been untouched since the day they were made. Here then in this country is a double instance of the same fact as to condition, for which M. Fetis claims for the Paris instrument the title of unique. The fact is that these fine violins have for many years been so highly appreciated that their possessors have taken the most extraordinary care to prevent their being damaged or disfigured, and there are many instances of violins in equally perfect condition.

After 1725, at which date Stradiuarius was 80 years old, his work lost some of its characteristic excellence though still of great merit. His sons, Homobono and Francesco, now assisted him, but he appears still to have signed them, occasionally adding to their names however, the words _sub disciplina A. Stradiuarius_. He had many pupils, the chief and the best of whom was Carlo Bergonzi. There were also Gobetti of Venice, Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in the dictionary. Fine examples of the works of his pupils are now becoming very valuable, and are well worthy attention.

Stradiuarius made a few instruments inlaid with ebony and ivory round the edges. There is a quartett of them, all bearing the same date 1687. One is in the collection of Charles Plowden, Esq.; the other violin belongs to a gentleman in Staffordshire; the violoncello belongs to the Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. This is a very curious and remarkable set of instruments, very highly finished and in fine preservation. There is also another violin inlaid which belonged to the late Dr. Camidge of York, bearing date 1713. A. Fountain, Esq., has in his possession, the last violin which Stradiuarius made. This instrument is known as the Habenock Violin from the previous owner's name from whom Mr. Fountain had it. Charles Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, of which one violin is of the Grand Pattern, dated 1719; another dated 1711; which are perfect in model and preservation, and both first-class; the third is a remarkable violin, with rich golden varnish, dated 1709 - a perfect instrument, which has been twice sold for £600, was formerly the property of Emiliani and is still known by his name. The fourth violin is the inlaid instrument mentioned above. Besides these, Mr. Plowden possesses a magnificent violoncello by Stradiuarius - a remarkable specimen both for beauty and tone; and also, four violins by Joseph Guarnerius which will be mentioned under the head of that master.

There is in Derbyshire a very fine Stradiuarius which was purchased by Viotti for his friend Mr. Hankey, from whom this and the Amati mentioned elsewhere went to his brother, a distinguished amateur, who died some years ago. Wm. Howard, Esq., of Sheffield, has a fine Stradiuarius violin, of the most beautiful yellow varnish, splendid wood, fine tone, and perfect condition, which formerly belonged to Salomon.

We may also mention here that the late eminent violinist Ernst, played upon a very fine Stradiuarius Violin which was presented to him by A. Fountain, Esq., an ardent admirer of that famous player. Joachim also uses a Stradiuarius. Servais, the great French performer, uses a Stradiuarius Violoncello, which is said to be the handsomest known, and which cost him 500 guineas.

The value of the best productions of the genius of Stradiuarius is now very great. Mr. Betts, of London, had one for which he refused the enormous sum of £500, and Dragonetti also refused £800 for a double bass. The highest price, £600 however was given twice for the violin now belonging to Mr. Plowden. But even such prices have been exceeded by that of the celebrated King Joseph Guarnerius mentioned elsewhere, which realised £700. It must not be understood however that such prices are the rule, for it is only for extraordinary specimens that any such great sum can be obtained. Excellent instruments are frequently sold for much smaller amounts, and it must also be remembered that none but those made from about 1700 to 1725 realise such enormous sums. His earlier productions, which resemble those of his master, and which are known by the name of Stradiuarius Amatis, can be had occasionally for moderate prices. An undoubted violin of any period of this great master's make, is well worthy the attention of the virtuoso. They are all good, but the grand pattern of this wonderful genius, possessing equal sweetness with greatly increased power, are only now to be had by connoisseurs of unlimited means.

As an illustration of the more moderate prices which these fine productions command, we think it may interest our readers to give here the result of a public sale of Cremona instruments belonging to the Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his work states that the Count possessed "two quartetts of Stradiuarius, very remarkable instruments; another of Joseph Guarnerius; a fourth of Nicholas Amati, and lastly a quartett of Steiner," of which he specially particularises the Tenor as "being a model of perfection as to workmanship, and the tone of which is of extreme beauty." These instruments were sold by auction by Messrs. Puttick and Simpson, on the 26th June, 1862. We quote the report of the "Times," by which it will be seen that our English connoisseurs did not appreciate them so highly as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner at all, we presume because the prices were nothing remarkable.

LOT.

1 Violin by Stradiuarius, 1712 £ 70

2 Violin by Stradiuarius, 1699 £ 56

5 Tenor Violin by Stradiuarius, 1715 £100

6 Violin by Stradiuarius, 1701 £135

8 Violin by Stradiuarius, 1685 £135

9 Violin by Stradiuarius, 1713 £ 90

12 Violin by Nicholas Amati 39 gs.

13 Violin by Andrew Amati 36 gs.

26 Violoncello, Stradiuarius 1697 £210

28 Violoncello, Stradiuarius 1687 £115

30 Violoncello, Nicholas Amati 1687 £130

31 Original Letter by Stradiuarius £ 8

At the same sale a Grand Amati Violin, jewelled at the corners, £60; Violin by Guarnerius, 38 guineas.

In addition to the above we may mention that the Stradiuarius Violin, which once belonged to a member of the Medici Family, was sold by auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., about £230, an excellent price for a Parisian connoisseur. We have already mentioned many fine instruments by Stradiuarius which are in the hands of connoisseurs and performers. We will now mention a fact which in the estimation of all true lovers of these fine violins is to be greatly regretted. It is not the only instance, as probably our readers are aware that the celebrated Guarnerius Violin of Paganini, is now locked up in a museum at Genoa. There is at a museum in the city of Florence, a quartett of beautiful instruments by Stradiuarius, consisting of two violins, tenor, and violoncello, which were presented to the institution by an Italian Nobleman, whose ancestors purchased them from the master himself. These instruments are most beautiful and in the highest preservation. But of all other curiosities, Cremona Violins are the most unsuitable for a museum, because they lie there dead, and are no more than names. The soul of music which is embodied in them is imprisoned within wood and crystal, and is no more heard of men. Let no one leave his Cremona to a museum.

Before closing our account of this great master, it may not be uninteresting to state in his life time, he appears to have charged about £4 for a violin, and that he made so many during the course of his long and industrious career, that his fellow citizens spoke of him as rich. "As rich as Stradiuarius," was a common remark, as we see by M. Fetis' notice. Another anecdote is, that Cervetto, an Italian merchant in London, had a consignment of violins from the master himself, and as he could not get four pounds each for them he returned them. This appears strongly to disprove the assertion that his instruments were as good when made as they are now, especially when we find that in 1662, £40 was given for two Cremona violins for King Charles' band, no doubt the elder Amati's, which at that date would be getting mellowed by time. It is clear that King Charles, or the leader of his band, knew the value of Cremona instruments, for reckoning the difference in the value of money at the two periods, £20 then would purchase £120 worth of goods now. It is therefore extraordinary that if they were as good new as when they are old, the paltry sum of four pounds could not be got for them. The real truth no doubt is that whoever the maker, time must be the refiner, and even genius like that of Stradiuarius and Guarnerius could not impart that grand, rich, and mellow tone which distinguishes them without the aid of old Father Time.