Scan 195
The violin: its famous makers and their imitators, 1884
2 lines. Read by computer on 3 September 2026. Printed page 135. See the scan on archive.org.
1The subtle copyist takes advantage of the disturbed styles belonging to Guarneri, coupled with his misfortunes, manufactures and translates at will. He "spots" a back on an old fiddle, in which he sees Guarneri in embryo; he secures it. In his possession is a belly which, with a little skilful manoeuvring of sound-holes and corners, may be accommodated to the back. The sides need well matching in point of colour; workmanship is purely secondary. The scroll he sets himself to carve, giving it a hideous, burglar-like appearance. The inevitable label is inserted, and the Violin leaves the translator's hands a "Prison Joseph." Now comes the difficulty. How is this "Joseph," unaccustomed to elbow his legitimate namesakes in the world of fiddles, to maintain the character he has assumed? The subtle copyist puzzles his brain without arriving at anything very satisfactory. He resolves to slip it into a sale of household effects. It is described in the catalogue, in glowing terms, as having been in the possession of Geminiani (he not being alive to dispute the assertion). Previous to the sale the instrument is viewed. The knowing ones pass it by with contempt. The half-informed turn it over and over, puzzled, and replace it in its case, disconsolate. The thoroughly ignorant look inside; "Joseph Guarnerius Cremonensis faciebat 1724," in old type, stares him in the face; he puts the bow on the strings and demands the maker's name—his thoughts are echoed back in gentle sounds, "Joseph
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