Scan 141
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 3 September 2026. Printed page 91. See the scan on archive.org.
1The effect of this beautiful coruscation upon the backs of the Violins is obtained by cutting the wood upon the cross, or, as the French term it, sur maille. The Violin No. 2, Plate 12, has the charming appearance here described. It is also seen, though rarely, on backs divided, when the wood is particularly handsome in curl. The varnish on such instruments is of a rich golden hue, highly transparent; it is lightly laid on. The size of these works varies; they are sometimes a trifle smaller than the other specimens of Guarnerius. In the last epoch we find Violins of an altogether bolder conception, dating from about 1740 and a little later. They are massively constructed, and have in them material of the finest acoustic properties. The sound-hole loses the pointed form so much associated with Guarnerius; the purfling is embedded, the edges heavy, the corners somewhat grotesque; the scroll has a mixture of vigour, comicality, and majesty, which may force a smile and then a frown from the connoisseur. The comparison may seem a little forced, but the head of a thoroughbred English mastiff, if carved, might give some idea of the appearance sought to be described. Mr. Reade says of these instruments, with much truth, "Such is the force of genius, that I believe in our secret hearts we love these impudent fiddles best, they are so full of chic." Among the Violins of this period may be mentioned Paganini's, M. Alard's, and No. 1 Plate 10 in this work, all rare specimens.
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