Books › Ayars, Contributions to the Art of Music in America by the Music Industries of Boston (1937) — the Squier, Farley, Rettberg, Rockwell and Elias Howe matter, 1937 › scan 225
Scan 225
Ayars, Contributions to the Art of Music in America by the Music Industries of Boston (1937) — the Squier, Farley, Rettberg, Rockwell and Elias Howe matter, 1937
10 lines. Read by computer on 19 September 2026. Printed page 199. See the scan on archive.org.
1ton, Maine, where he became interested in violins and thence to Boston, where he died in 1912.
3At first he made violins in his spare time only, reading all he could about the work of the old masters and studying their instruments to obtain his training in this art. At the urging of Signor Leandro Campagnari, first violinist of the Boston Symphony Orchestra, he devoted all his time to making violins. Also at Signor Campagnari's request he made his series of "Apostles violins," which included St. Paul instead of Judas. The "St. Paul" was the first of these instruments. It was made for Signor Campagnari, who played it first in 1884 in Music Hall, Boston, and then took up the "St. Peter" violin and played on it a flute solo producing all the harmonics of the violin. The wood from which the violins "St. Paul" and "St. Peter" were made was an antique English clock case of Italian wood, obtained from Hillsboro Bridge, New Hampshire. "St. Andrew" was the property of Mrs. Campagnari, earlier Miss Bell, also an artist on the violin. The American Art Journal, of New York, January 17, 1885 described the "St. Paul" violin thus—"Mr. Campagnari has a new violin, one of a set of twelve beauties made in Boston, and named after the Apostles. Campagnari chose to have the 'St. Paul,' meaning doubtless to make it the great Apostle to the musical gentiles 'born out of due time.' Paul had something to say of trumpets and pipes, though he did not mention the violin; but he would if he lived in our day, and Campagnari's will send forth 'no uncertain sound' when time and good playing shall have seasoned its varnish and joints."
5Mr. Squier made copies of the following old masters—Antonius Stradivarius, King Joseph Guarnerius, and Paganini patterns; Nicolas Amati, grand pattern; and Gio. Paolo Maggini. His prices ranged from $100 to $500 according to the selection of wood, workmanship and imitation of old appearance. He dealt in violin makers' supplies and made a specialty of his Cremona amber oil varnish which he had in four shades of coloring according to the Italian varnishes, viz: golden red, dark red, orange and golden brown.
7This maker "was one of the foremost American makers and repairers and his work was highly esteemed." [address hidden] the users who sent testimonials in appreciation of his work were Anton
925 The Violinist's Guide. American Violin Makers p. 39.
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