Scan 286
The violin: its famous makers and their imitators, 1909
4 lines. Read by computer on 27 September 2026. Printed page 228. See the scan on archive.org.
1it was imagined that the object in view would be reached without the aid of Dame Nature. Experience, however, has shown that Fiddles, like all things intended to pass into green old age, mature gradually, and are not to be benefited by any kind of forcing process. The earliest account I have met with of Fiddle-baking occurred in England about 150 years since. One Jeacocke, a baker by trade, and a lover of music by nature, used to bake his Fiddles in sawdust for a week whenever their tones showed symptoms of not being up to his standard of quality. In France the practice may be said to have been introduced about eighty years ago, with a view of facilitating the creation of such mysteries as Duiffoprugcar and Morella Violins, baked and browned until they had something of a fifteenth-century hue. The same means were adopted in the production of instruments intended as copies of the works of Stradivari and Guarneri. The brown hue of the originals, and the worn and broken condition of the varnish which comes of age alone, were imitated with more or less ingenuity. Happily the error is recognised, as far as the best workmanship is concerned, in France. The legitimate imitator's art no longer includes that of depicting wear and brownness, rendering abortive so much excellent work.
3It only remains now to mention Salle, Vuillaume, Chanot, Gand, Germain, Mennégand,
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