Scan 424
The violin: its famous makers and their imitators, 1884
2 lines. Read by computer on 28 September 2026. Printed page 334. See the scan on archive.org.
1his capital wherewith to form the basis of future transactions among the peasantry and others. He visited the numerous monasteries throughout Italy that he might see the valuable specimens belonging to the chapel orchestras. He found them often in a condition ill becoming their value, and tendered his service to regulate and put them into decent order; services gladly accepted and faithfully performed by the ardent connoisseur. By the handling of these buried treasures, his knowledge and experience were greatly extended. Makers hitherto unknown to him became familiar. When he met with instruments apparently beyond the repairer's skill, he would make tempting offers of purchase, which were often accepted. Having accumulated many instruments of a high order during these journeys, he began to consider the best means of disposing of them. He decided upon visiting Paris. He took with him the Violins he valued least, resolving to make himself acquainted with the Parisian Fiddle market before bringing forth his treasures. It is said that he undertook this journey on foot, depriving himself often of the common necessaries of life, that he might have more money to buy up his country's Fiddles. His first visit to Paris was in 1827, an eventful year in the history of Italian Violins, as far as relates to Paris. Upon arriving in the French capital, he directed his steps to the nearest luthier, one Aldric, to whom he had been recommended as a purchaser of old instruments of high value. Upon arriving at
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