Books › Fiddle frauds and how to detect them, 1894 › scan 11
Scan 11
Fiddle frauds and how to detect them, 1894
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1artists, being so impressed with the names of Straduarius, Guarnerius, Amati, and a few more, would only perform on their instruments, and none could be found to play upon and bring out any of the other makers'. These neglected makers, therefore, resorted to imitating the violins which were so much in demand, and, being really able and skilful men, they succeeded to such purpose that their imitations were scarcely inferior to the originals. Indeed, their construction and varnish were sometimes actually superior in quality. They may be said to compare very favourably indeed with those the great Straduarius himself produced between 1725 and 1730, which distinctly lack the careful workmanship so noticeable in his works of an earlier period. The later productions of Straduarius bear the impress of certain peculiarities of some of his pupils; and that Straduarius himself was aware of these defects appears from the fact of his having added—probably as an excuse—on the inside label the words: Sub disciplina Straduari.
3The most successful copyists of the Cremonese makers were Englishmen, and among them Norman is unquestionably regarded as being the most eminent. But to Benj. Banks (of Salisbury), Richard Duke and Will Forster (both of London), may be given the merit of being the best imitators of Nic. Amati's violins, Banks in particular very nearly approaching Amati in tone, workmanship, and varnish; and the fiddles of Will Forster—built in 1770, after models of Hieronymus, Antonius, and Nicolai Amati—are masterpieces in every respect.
5Distinguished among the English makers are also the names of Hart, Hill, and Fendt.
7J. Th. Hart, a pupil of Sam. Gilkes, the maker of excellent Amati copies, was justly considered the English Vuillaume. He had an experienced and
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