Books › British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904 › scan 128
Scan 128
British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904
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1always been disappointed with the tone. It is a large, round, and piercing tone, but it lacks unction. It is stronger than the tone of any of our classical makers, but will not for a moment bear comparison as regards mellowness and sweetness. Craske's instruments are splendidly adapted for orchestral purposes, but as solo instruments they are never likely to be in great demand. In some catalogues of old instruments issued recently I find that there are specimens of his work offered at £30. This sum is more than double the intrinsic value of anything I have seen by him. The workmanship, however, is honest and solid, and we must give Craske his due that he never attempted to sell his clever imitations as originals.
3Craske was a pupil of "old Forster," and he made many instruments for Clementi and for Dodd, the bow-maker. Besides copying Guarnerius, he made several copies of Amati and Stradivari, from templets and measurements taken from a Strad and an Amati in the possession of Sir Patrick Blake, of Langlam Hall, Suffolk. Whilst in Birmingham, he is reported to have been once engaged by Paganini to do some repairs to his violin, which had met with an accident.
5Craske lived in Salford, amongst other places, where he worked for about twenty years, leading the life of a recluse, allowing no one to enter his workshop except Mr. George Crompton, his friend and successor in business. He lived a retired life for some years before he died, at Bath, in affluent circumstances. He died in November 1889, at the advanced age of ninety-eight. He was a man of striking appearance and personality. "His head was exactly the same shape and measure as Shakespeare's, and his memory one of the most remarkable that ever was known"; such are the concluding words of Mr. Crompton's biographical sketch.
7CROSS, NATHANIEL, London: 1700-51. Some suppose that he was a pupil of Stainer, but this is a mere conjecture. His instruments, although made on the Stainer model, are a sufficient proof that he had never received a
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