Scan 86
The violin, its famous makers and their imitators, 1887
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1Benvenuto Cellini, the greatest goldsmith of his own or any age, was setting the jewels of Popes and Princes, and enamelling the bindings of their books. Whilst the masterminds of António Stradivari and Giuseppe Guarneri del Gesù were occupied with those instruments which have caused their names to be known throughout the civilized world (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, Venetians whose names are unrecorded were blowing glass of wondrous form and beauty. At the same time, in the musical world, Corelli was writing his jigs and sarabands, Geminiani penning one of the first instruction books for the Violin, and Tartini dreaming his "Sonata del Diavolo;" and while Guadagnini and the stars of lesser magnitude were exercising their calling, Viotti, the originator of a school of Violin-playing, was writing his concertos, and Boccherini laying the foundation of classical chamber-music of a light and pleasing character. It would be easy to continue this vein of thought, were it not likely to become irksome to the reader; enough has been said to refresh the memory as to the flourishing state of Italian art during these times. What a mine of wealth was then opened up for succeeding generations! and how curious is the fact that not only the Violin, but its music, has been the creature of the most luxurious age of art; for in that golden age musicians contemporary with the great Violin-makers were writing music destined to be better understood and appreciated when the Violins then made should have reached their maturity.
3That Italy's greatest Violin-makers lived in times favourable to the production of works possessing a high degree of
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