Books › Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876 › scan 19
Scan 19
Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876
4 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1by the production of chefs-d'œuvre. Having obtained some wood of the first quality through the medium of his superior, he made sixteen Violins—models, combining every perfection; sent one to each of the twelve chiefs of electorates of the Empire, and presented the remaining four to the Emperor. Since then, these instruments are known under the name of Stainer-électeurs. Their tone is pure, metallic, and aerial, like the beautiful voice of a woman; they are graceful and elegant in form, exquisitely finished in all the details, and have a transparent varnish of a gold colour; such are the qualities which distinguish these productions of the third and last period of Stainer's talent. The labels are in the hand-writing of this celebrated maker. Three of these rare instruments only are now to be met with; the fate of the others remains unknown. The first was given by the Empress Maria Theresa to Kennis, a Belgian violinist from Liège, after whose death it was taken to England, and became the property of Sir Richard Betenson, Bart. Another Stainer-électeur was purchased in Germany in 1771 by the Duke of Orleans, grandfather of King Louis Philippe, for the sum of 3,500 florins. Afterwards, this prince, having discontinued playing the Violin, gave it to the younger Novoigille, in token of the pleasure he experienced in hearing him accompany Madame de Montesson. This precious Violin became the property of the violinist Cartier in 1817; it was in the hands of this artist when I heard and saw it. The third Violin Elector was in the possession of the King of Prussia, Frederick William II.
3After leaving Stainer, the Klotz family copied his models of the second period, and these instruments are not unfrequently mistaken for those of the master; they are, however, readily distinguished by the varnish; that of Klotz, instead of a deep red, has a black ground shaded with yellow; the tone of Mathias Klotz' instruments is silvery, but of little power. These artists produced many pupils in the Tyrol, who imitated the Cremona models; but these imitations are easily discoverable by the inferior quality of the wood, the varnish, which is very dark, and the tone, which is deficient in every quality.
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