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Scan 241
Old violins and violin lore, 1900
14 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1OLD VIOLINS
3PLATE III
5Her late Majesty's Amati tenor is in beautiful condition; it is elaborately ornamented, in lieu of the usual purfling. It was, doubtless, originally made to order for some great prelate; and it bears on its back a noble coat of arms hardly decipherable, and the image of John Baptist carrying a lamb ("Behold the Lamb of God!" John i. 36). The instrument was used in Her late Majesty's private band by Mr Hann (1898). Like many old viols it has been somewhat reduced in size. For the loan of this instrument I am indebted to the good offices of Sir Walter Parratt, director of the late Queen's private band.
7PLATE IV
9Paganini's Joseph Guarnerius. This is a fine and very characteristic specimen of the mighty Del Gesu. It is in his most powerful and massive style (the head almost brutal in its bull-dog strength), with full rich colour thickly laid on to match. Seldom, indeed, do we find so much varnish left on the back of so old a violin. The instrument has been very carefully dealt with. The story of how it passed into Paganini's hands is well known. An Italian amateur, who evidently knew its value, lent it to the great maestro, and, after hearing its marvellous qualities, as drawn forth by the Magician of the Violin, declared that no other hand should henceforth set its chords in vibration. Paganini left it to his native town of Genoa, and there it may still be seen in the Town Hall. It was his favourite instrument; and the giant Joseph Guarnerius was well matched with the giant Nicolo Paganini.
11PLATE V
13The Rode and Spanish violins and the Spanish tenor, it will be observed, are all inlaid. Strad was no bigot, and although we may confidently assert that he disapproved of all inlaying or decoration on the bellies or backs, and confined it to its narrowest limits when resorted to in lieu of the usual strip of purfling, he probably judged that if it did not encroach upon the vibratory surfaces much beyond a common purflle, it was comparatively harmless. It is likely that the Rode Strad, whose history I am unable to record, was made for Royalty or some great Prince Cardinal of the Church, the extra decoration being considered due to the high rank of the patron, or wrought in obedience to a special request. We have many evidences that Strad
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