Scan 63
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 3 September 2026. Printed page 29. See the scan on archive.org.
1writer might be of handling such a subject. Such a capability the writer of these pages entirely disclaims; but it cannot be doubted that such an inquiry is rich in interest, and worthy of skilful treatment.
3To reflect for a moment upon the many famous men in Italy engaged in artistic vocations contemporaneously with the great Violin makers cannot fail to be interesting to the lovers of our instrument, for it has the effect of surrounding their favourite with an interest extending beyond its own path. Hence, a brief mention of a few luminaries in the art world of the periods named may not be unacceptable to the reader of these pages.
5If we turn to the days of Gaspard di Salo, Morelli, Magini, and the Amatis, we find that while they were sending forth their fiddles, Raphael, Léonardo da Vinci, Titian, and Tintoretto were busily painting their immortal works. Whilst the master-minds of Antonius Stradiuarius and Joseph Guarnerius were occupied with those instruments which have caused their names to be known throughout the civilized world (aye, and uncivilized too, for many thousands of Violins are yearly made into which their cherished names are thrust, after which they are despatched for the negro's use), Canaletto was painting his Venetian squares and canals, Georgio was superintending the manufacture of his inimitable majolica ware, Venetians whose names are unrecorded, blowing glass of wondrous form and beauty. At the same time, in the
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