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Scan 229
Old Violins And Their Makers, 1883
2 lines. Read by computer on 1 October 2026. Printed page 215. See the scan on archive.org.
1the name. In 1781 he was in St. Martin's-lane, and in 1784-5, at No. 348, Strand. Royalty had patronised him, between these dates, in various ways, the Duke of Cumberland, brother of George III., having by accident dined off black pudding with him while in Duke's-court, probably to put "old" Forster at his ease on inadvertently discovering the quality of his fare. He was the first to introduce the works of Joseph Haydn to this country, having, through the instrumentality of General Jerningham, opened negotiations with Haydn for the publication of certain of the symphonies, sonatas, and other works of that distinguished composer. Interesting details of these transactions will be found in S. A. Forster's work. He adopted the Stainer pattern in 1762, and used it until about 1772, when he followed the Amati outline, with the model still high. He appears at this time to have been struggling with the modern violin makers' bane, as the wood of these instruments is stained, and then thinly varnished over, an old expedient which had been previously practised in France. It is dark brown in colour, and on the violoncellos a dark, blackish red, and of a thicker coat. In 1772 he changed his varnish with the assistance of a chemist who taught him how to solve amber, i.e., probably communicated to him the secret of the vernis Martin, M. Delaporte's discovery having been published, as the reader will find, in that same year. S. A. Forster says that his violins were not considered to be so good as his violas and violoncellos. Among his patrons were the celebrated Peter Pindar (Dr. Walcot) and Bartolozzi the engraver. This William made only four double basses, two of which were for
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