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•

F amous Viol inist s and
Fine Violins

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Famous Violinists and
Fine \Tiolins
H istorical Notes, Anecdotes, and
R eminiscences
Dr. T.
Forttic:rly Pre:sidc:nt and Violin Solo to the
Ilohc:mian Orcheslral Sdcicty
Authorof
., S«ncs f rom tbe Rcign of Louis X VI.," cte.
L ondon
Ch atto & W ind us, Piccadill y
Philadelphia : J. B. Lippincott Comp.1oy
1896

•
Prin tcd" ' llAt.t.ANTv~s, HA>l" 'ON & Co.

A I tlt1 .Bnll trAlp c Prru

li>el>fcation
TO
SIGNOR GUIDO PAPIN I
Ho11 . Prest"dt1zJ o/ lhe Colkge of (/'ioii11isls
The /1iglt rcjJulalion whic/1 yottr composilions /or lhe

violi11 have o/Jlai11cd i1t lhis counlry, 11nd, iTuleed, 111
every q1111rler o/ tite civilised world, induces me lo
dedica/e lo J'º" /he /ol/QWing pnges.
T!tat tite 1111111e oj so ale/Jrated a m11sicia1i s!tould
ador11 lhis 111odesl lit/le 11olu111e is per/111/JS 111orc !han
il dcscrves, sin(c you are thc direct des(clldn11t o/ //11:
i111111orlal Corclli, Tartiui, a11d Viotti, anti, liJ:e lhe111,
havc ca11sctl /he be11cjicent i11jlue11ce of //alían 11111sic
fo .rflreatl nro1111d t/1e globe for tlu: delight a11d 1uelj11rc
o/ 111r111/:i11tl. But I l11kc ad11a11/agc o/ ottr /1J11.t: a11d
ajfcctionalc fni:11dship lo inscribe herc a namc so 1t11i-
vcrs11/ly be/ovcd a11d ad111ired.
THE A UT/701?.

e

P RE F ACE
!Vfusrc began for 1ne in \vhat n1ay \Vell be tern1ed a

paradise on earth; and often have J thanked Provi-
dence that, by its 1neans, the joys of this \vorld
have ahnost equalled the sorro,vs \vhich, alas l are
inseparable from our existence. A lovely country
in \Var\vickshire, not far from the home of Shake-
speare, a splendid mansion, \Vith beautiful gardens
ancl meaclo,vs, stabling for six horses, ponds, ancl
"·oods of majcstic elms and beeches, made up an
abocle such as can only be founcl in l\!Ierry England.
Tt is naturnl enough that an intense love of melody
sho uld have enterecl 1ny chilclish heart \vit h the song
of the \vild birds and the perfu1nes of the flo,vers.
Therc \vas 1nusic constantly in our housc at Lady-
\vood, and ali aroun d us.
\Vhen 1ny father returned from the U niversily of
Jena, \vhere he had passed a good 1nany years, he
broughl back ,,·ith him, not only a fine collcction of
student songs, but a violín. He "·as taught the violín
during his rcsidence in Germany ; ancl though 1
never hcard him play more than a fe\v notes, 1 have
vil

Vlll PREFACE
ample proof that he '"ªs one of the bcst judges of
good playing that ever lived ; and he "'Otdd not
allo\v the slightest bacl taste or false note to be pro-
cluced in his prcsence \vithout corrccting it at once.
My first violin can1e to 1ne undcr rather peculiar
circumstanc es, \vhen J \vas not quite six years of age.
l had becn very ill with scarlet fever, but had re-
covered \VOnderfully since my 1uother had allo,ved
me to sponge my aching head over a bucket of cold
\vater. One morning my father cntered my bed-
room; he said he \vas going to riele in to Birrning-
ham, and asked 1ne \vhat he shoulcl bring back for
1ne to play \vith. Without a moment's hcsitation J
exclaimed, "A violín l"
\Vhy did 1 say that ? Why did J ask for an instru-
ment 'vhich "'ªS destined ever aftcr\\1ards to cling to
me through life, to soothe my sorro,vs, to become a
source of delight, ancl to leacl me through enclless
aclventures? I-Ieaven alone knO\VS ! 1 asked for a
viol ín, ancl my goocl father, to iny great joy, actually
brought one to rne. 1t \Vas cautiously \Vrapped, \vith
its bow, and a little box of rosin, in a bro\vn paper
p¡trcel, so that he could carry it attached to the
pommel of his saddle. To describe the feeling of
contentmen t and thc enthusiasm \vith \vhicb I
opened this prccious parce!, as 1 sat up in becl
exulting over my good fortune, \VOuld be quite
itnpossible. But, alas 1 \vhen it was o pened I could
do nothing but silently ad1nire the contents.

.lX
PREFACE
There \Vas, sure cnoug h, a mag11ifice11t violin, \vith
a brilliant golden varnish \vhich \VOuld have shatned
Joseph Guarn erius filittS A11dretE himself. The
string s were perfectly new ancl clean, ancl the bo,v,
of a lovcly crims on colour, 'vilh its whitc hair and
ivory nut, appearcd splendid. According to 111y
father's instru ctions , the bow "'ªS passed severa!
times over lhe rosin before bcing clra\vn across the
strings, and when al last this operat ion \vas per-
formed, there issucd from !he instru ment, \vhich
had been carefuJly luned , the most extrao rdinar y
sound ; it \Vas somet hing behveen that of an Eolian
harp and !he buzzin g of a bu1nblc-bee.
It pleased me exceedingly, and 1 \vas delighted at
lhe ease with \Vhich il \Vas produ ced ; but, at the
same time, a feeling of po\verlcssness can1e over n1e
as tbe sound s on the open string s \verc repeated
severa! times, and lhe \Vant of variety took posses-
sion of my mind. lt \vas likc the music of sorne
con1posers I coulcl na1ne -most ly jiftlzs, and de-
cicledly mono tonou s.
lli y excell ent father graspe d the situa.t ion at once,
and sho\ving me hO\V to hold the instru ment pro-
perly, he placed 111y fingers on the finger-board ,
pressing them do\vn and puJling them up alter-
nately, ,,·hilst 1 dre\v the bo\v across thc s!rings, and
caused it to scrape out a simple little mclocly.
1'bat \vas my first lesson on tl1e violin.
In a fe\v days, sitting up in bed, and graspi ng tl1e

X PREFACE
instrum ent firmly, 1 could play this little air with
tolerable satisfaction to myself, \vhatever it 1night
have been to others ; and \vhcn a fe\v 1nonths had
elapsed I had made \Vhat is general ly termed "con-
siderab le progress." But yet 1 had only this little
1nelody of e ight bars. It \vas pretty, it \vas casy,
and it \Vas so sin1plc that it really rcquirecl no acco1n-
pani1nent. At th is junctur e a friencl, \vho \Vas a
violinist, happen cd to caU at our house, and \vhilst
in the corrido r he heard the sound of my 1nusic up-
stairs. Turnin g to 1ny parents, he saicl, "If your
ch ilcl is going to learn 1nusic1 you should have
him taught the violín, for he has got so1neth ing1
naturally, which \ve violinists havc to \VOrk for, some-
ti1nes f or years."
I-l'O\vever, my mother had clecidecl upon hav ing
me taught the piano by a lady from the Royal
Acaclemy of i\f usic, whom she \vas befrien ding at
that time. The piano lessons \vent very \vcll so long
as the rigbt hand only was engagecl ; but when it
carne to studyin g the bass c lef, ancl using the left
hand at the same time as the right, it provcd too
much for my feelings ; ancl 1 hugged 111y violín with
more tcnclerness than ever. 1 did 111ore; 1 ran
o ut into the open country , far across the flo,very
meado,vs, \vhenevcr the hour of U1e piano lesson
approa ched, and stayed there lill it \vas too late and
the 1nusic mistress had gone 1 This convincecl my
dear parents thal tbe piano 'vas of no use ; so, vvhen

.
PREFACE XI
about six years of age, a violin master \vas engaged

forme.
In those days we lived in England under the
fascinating infiuence of the beautiful, 1nelodious
Italian Opera. My father was a friend of the cele-
brated ~falibran (after\vards the \Vife of De Bériot),
and many me111bers of my family, \vhen in London,
\vent night after night to hear her. l rc111en1ber1
also, bcing taken to hear .IVIada1nc Caslcllan, in
J\TorJJta and La Sonna111bula, a fe,v years la ter. My
1nusic 1naster \vas a 1ne1nber of the orcheslra of the
Italian Opera¡ but he had retired and opened a
music shop in Birmingha1n. H is nan1e \Vas Alhvood.
He 'vas also a good enough pianist to play accom-
paniments for his pupils, and undcr his clever
guidance 1 \Vas taught to sing on thc violin. After
the prcliminary clrudgcry, which he abriclged as
much as possible, he placed befare 111c lhc n1ost
luscious 111cloclies of the Italian masters, supporting
then1 ·wi( h his piano part, \vhich kcpt thc violin
pcrfectly in tune, \Vhilst the rising and . falling o f
the acco111panimcnt helped to induce the proper
exprcssion.
lt appears that the n1usic shop did not ans,ver.
Poor Alhvood had to return to the orchestra in
London, and l thus lost his valuablc instruction.
Therc passed through our part of thc country at
this time a fine Hungarian orchestra \vhich created
sorne scnsation. 'fhe leader \vas a brilliant violinist;

XII PJtEF ACE
111y father n1ade his acq uainta nce, ancl 1 hacl a fe\v
lesson s from him. Every time he carne he took a
sheet of paper and \vrote out the exerci se he desire d
me to play- he \vas very fond oí the key of A minor
-but he coulcl not spcak a wo rcl of Englis h, \vhich
n1ade it rather a\Vk'\vard, as I knC\v very fe\v \VOrds
oí Germ an then.
Soon, hO\vev er, I \vas dcstin ed to quit this beauti -
ful and b lissful abodc , and, like that Hung arian
violinist, go across the sea to foreign lands, laking
\vith me Spohr 's "Viol in Schoo l," and a fe\v little
Italian pieces \vhich 111y n1other acco1npanied beauti -
fully on the piano.
In Bruss els l had three lesson s a \\·eek, for five
years, from Hcnri Stand ish, thc ablc rlpétit eur of the
class of De Bério t at thc Conse rvatoi re de Musiq ue;
and 1 attend ed the ltalian and Frenc h operas very
freque ntly. 1n 1856 1 left for Paris, where 1 had
many musical friencls, and \vhcre I joined an
orche stra for a short tin1e. But scienc e ancl litera-
ture claim ed 1nost of 1ny time there. Durin g the
last thirty years or so that I have reside d almos t
consta ntly in my O\Vl1 count ry, 1ny violín has been
in very freq ucnt requisition . 1'Iy répertoire, \Vhich
has ser,·ed me in hundr eds of public concc rts and
soi1·ées 11111sicales, compr ises the compo sition s of De
Bério t, Pagan ini, Panof ka, I"'lausc r, Lafon t, Artot,
Dancla, Bazzini, Alard , E rnst, Papin i, and severa!
olher less kno,vn comp osers. For four years J

PREFACE XIII
acte d as lead er and violin solo to thc Boh em ian

Orchestral Socicty in Lonclon , \vbich gavc ma ny
brilliant con cer ts.
lt is not sur pris ing that, \Vit h so mu ch musical
\VOrk, and a natural fondness for history, 1 sho uld
havc bec om e 111ore ancl 1nore inte rest ed in every-
thin g con nec tcd \vith my instru1nent1 and with those
\vho111 it has bro ugh t into celcbrity. rvrost peo ple
\vill ad1nit tha t 1nusic is not onl y one of our gre ates t
enjoy1nents1 but tha t it is alLnost essential to the
\velfare of ma nki nd, ten din g, as it <loes, to enc our age
us in the pur suit of ali tha t is fine and beautiful. lt
\vas und er this impression tha t, 1nany years ago, l
\vrote my "Bi ogr aph ica l Sketches of Cel ebr ate d
Violinjsts," a \York tha t \vas very \vell received ;
ancl it is \vith the sain e feelings tha t l am 110\ V in-
duc ed to brin g out the pre sen t volu1ne, \vhich l
trus t will be fo und mo re useful, ancl, perhaps, not
less interesting.
CASA MIA , PU'l 'NEY ,

j1111e t 896.

1

CONTEN T S
cu;.r.
l . Tlll'. CRlt.AT VJOLINISTS OF THE l l'Al.l AN
SCHOOL 1
11. l"HJ' Lf,;ADER OF THE ROYAL V!OL!NS 32
111. CHERUBINI AS A VIOLINIST 38

IV. THE SECRET OF PACANINI 44
V. THE VIOl.IN DAYS OF BALFE 64

VI. CHARLES AUGUSTE ne llÉRlOT ( 1802-1870) 73
VII. A SOUVENlR OF SIVOR I 90
VIII. l"ICE TWO JOSEPHS OF CREMONA 97
IX. A VIOl, IN RECl'rAL IN MONGOLIA J 10
X. VIOT,tNS OF VALUE I 17
XI. THE STRADIUARIUS-A D I ALOCUI~ 124
XII. OLAUS DULL ANO NOR\VEG!AN POETRY 130
XIII. THE CHILD VIOLINIST 150
XIV. THE ORCHESTRA AND THE SINGER 170
XV. SECRETS o~· THE "CREMONA VIOLIN "

TRAD& . 175
XV

CONTENTS
CHAi' .
XVI. THE VIOLIN SCUOOL AT NEU ILLY
XVII . THE "SO UL" OF THE VIOL IN, OR THK
SECR ET Of' THE SOUND-POST 221
233
XVII I. THE DRID GE, l'HE STRI NGS , ANO THJ:: DOW
XIX. PERS ONA L RECO LLEC TION S OF HEN RI
VIEU XTE MPS .
INDEX . • 249

Fa mo us Vi oli nis ts
I
THE GREA T VIOL INIST S OF
THE ITAL IAN SC H OOL
ITALY is the classic soil of the violín.

'fo Italy \VC must look for the great est of violin-
players and for the finest rnakers of the instru1nent.
Indeed, \vhet hcr \Ve take into consicleration in-
stru1nental 1nusic, singing, painting, sculp turc, or
archi tectu re, \ve find in Italy a cons tant sourc e of
po\\·er ancl beau ty \vhich has in ages past sprca d its
bene licen t influe nce over thc \vhole of the civilised
\VOrld . 'fo no other coun try do \VC O\ve such an
cnorr nous debt of 1nelody and inspiratio11°.
As the Frcn ch \Vritcr Cho ron says, "the ltalians
have been thc instru ctors of a li Euro pe in instru -
1nental con1position," to \vhich \ve rnay safcly add,
"and in man y othcr thing s."
In violin rnusi c the co1npositio ns of the ltalia n
n1asters have been 1nade the mode ls frorn \vhich all
0U1er solo picccs have bccn const ructc d. l\Iode rn
J\

FAMOUS VIOLINISTS
Italian nlusic is no longe r quite thc saine thing . It
has devia ted consi derab ly from the fine old paths
so \vell trodd en by Tarti ni, Viotti, Camp agno li,
Rossini, and other celeb rated co1nposers. lt now
bears the impr ess of Fren ch and Germ an infiuence,
and has deter iorat ed accor dingl y. 'fhou gh it is still
reple te \vith good taste and delicacy, it has lost a
great amou nt of its fonn er dran1atic po,ver. Sorne
of the comp ositio ns of 'fosti and Papini, for in-
stance, are exquisitely bcautiful, but in many \ve
can trace the inAuence of Charles Goun od. In his
later produ ction s even tite veter an Verdi is s.-iid to
have given stron g evide nce of having felt the effects
of the n1usic of Richa rd vVagner. 1'his is excee d-
iogly curio us \Vhen we recol lect that the princ ipal
strain of the celeb rated "f\1a rch" in Ta1111/rauser is
almo st note for note thc fine air su ng by Manrico
in Verdi's Trova/ore, \vhich carne out a fe\v years
before the first-narned opera .
The very fust violinist of c1ninencc \vas an Italian,
a rnusician narne d Battista, or Giov anni Battisla, to
whom sorne old \vriters allud e abou t the year 1590
as being a very cleve r perfo nner. At the latter end
of the sixteenth centu ry, ho,vever, the violin \vas
yet little kno\vn and appre ciate d, thoug h both Jtal y
and Fran ce could boast of sorne charr ning players
upon the viola d'a1nore, a 1nuch larger instru tnent ,
'vhich may yet rnake its appe aranc e again in our
drawing-rooms.

THE ITALIAN SCHOOL 3
About the middle of the seventee nth century a

1nusical ecclesiastic, Padre Castrovillari, of Padua,
became eminen t both as a violinist ancl com poser.
He left a pupil, na1ned Bassani, \vho \vrote severa(
co1npositions for the church and the theatre, and
\vho became thc tcacher of the celebrate d Corelli.
In 1769 Bassani publishecl severa! sonatas, and
\vas \ve ll kno\vn as a clistinguished performe r on the
violin. f--Iis pupil Corclli, \vho had had son1e les-
sons previously fro1n l\Iatteo Sin1onelli in religious
1nusic, afterwar ds became fa1nous, and instructe d
(a1nong other men \vho ha,·e left na1nes in the musi-
cal \vorld) an eccentric \vriter for thc violin named
Locatclli, \Vhose stuclies are thought to have helped
Paganini in pcrfectin g his extraord inary talent.
1-le certainly appears to have discovcr ed sorne curi-
ous "harmon ic" and other effects, \Vhich are not
of very great importan ce, and of \vhich his sober
classical teacher had evidently no notion.
At the periocl cluring \vhich thc celebrate cl violin-
1nakers of the 1'yrol ancl Cremona \Vere supplyin g
violinists and bass-players \Vith instru1nents which
for combine d sweetnes s and po\ver are nO\v classed
among the,vond ers of the 'vorld, three eminent na1nes
to\vcr above the ho rizon of disting uishecl vii-tuosi
-Core lli, 1'artini, and Viotti-t o \vhose splendid
methods are due almost ali tbat is achieved at thc
present day in the art of violin-playing, and whose
united careers extencl overa space of about r 50 years.

4 FAMO US VIOLINIS1'S
nifi-
We mu st not, bo\vever, att ach too grc at a sig
an d
can cc to the tcr m "sc ho ol, " sin ce Pag ani ni
ke-
Ta rtin i \VCre ind epe nd ent of a11y, and, like Sha
demy.
spe are ancl l\l!olicre, bcl onged to no aca
bab ly
Nevertheless, Pag ani ni himself \vould pro
con -
never hav e pla yed the vio lin at ali, bu t hav e
the re
tentecl him self \Vith his fat her 's ma ndo lin e, had
to lay
bee n no suc h roen as Co relli ancl Ta rtin i
te.
dO'-''n the principies of bro ad style and goo d tas
t a
It \Va s in the mo nth of I"e bru ary 1653 tha
ry of
chile\ \vas bo rn at Fu sig nan o, in the ter rito
rt an
Bologna, \vhose car eer 'va s clestined to exe
l par -
immense influence in the musical 'vorlcl, anc
nam c
ticularly in the art of violin-playing. Th e
con1-
of thi s chilcl \vas Archange lo Co relli. Hi s
pur ity
posilions have com e do,vn to us as types of
at
and freshness, and his tom b in the Pa nth eon
crip-
Ro1ne, nea r to tha t of Raffaele, bea rs the ins
tio n : Cqrelli pri11ceps 111tesicaru111.
on c
Corelli's life, like tha t of n1ost musicians, \vas
heless
of nu me rou s aclventures ancl n1ishaps ; nevert
little
he has lcf t a gre at nan1e. 'fo sho 'v ho\v
1nusic
aflinily existed bet\veen 1talian ancl Ge rm an
cllent
even in those car ly days, it is rel ate d on exc
e of
autho rity tha t Corelli on ce hacl to lead on
linist
Ha ndc l's compositions, in \vhich tJ1c Italian vio
O\vn.
gave to the op eni ng 1nove1nent a style of his
ent,
Hanclel, \Vho hacl stuc\ied lhe violín to som e ext
so
lost his tem per , as usual on suc h occasions, and

THE ITA LIAN SCIIOOL 5
far forgot himse!f as to snatch the instru nient from

the hand of Corelli, to sho\v hi1n \vhere thc accen t
fell. The )alter replied, \vitli his accustonied mild-
ness, " 1\'fy clear Saxon, iliis 1nusic is in thc foreign
style, \vhich I do not under stand at ali." A 1nuch
n1ore serious tnishap occur red to Corelli at Naples,
\vhere he \vas astonishecl at the brilliant playing of
the orchcstra. Out of co1nplin1ent to bis great repu-
tation, he \vas appoi nted to lead a cou1position by
Scarla tti; and on arriving at an air in A uiinor, he
led off in C major. \Ve are told by riYal conte m-
poraries that it 'vas so1ne considerable tiinc bcfore
he coulcl discer n his 1nista ke; but that is palpab ly
absurd .
As the rcsult of assiduous labou r Corelli becam e
a great violi nist, his fa1ne spread ing far ancl \Vide,
and the nu1nber of his pupils increasing year by
ycar. He \vas appoi nted leadcr of the orche stra
at Rome about the year r&]o. As a solo playcr, \ve
are assured, his style \vas learnc d and e legant, his
tone fir1n and cven, and bis perfor mance occasion-
ally itnpressecl 'vith fecling. No doubt it \vas so1ne-
\vhat cold-t he usual rcsult of too 1nuch labou r-
ancl \vhen, severa! years later, he playecl bcfore the
J{ing of Naplcs, that 1nonarch \vas so \vearic d \vith
onc of Corelli's adagios that he got up and left
lhe room before the piece \vas finished. Again,
at Cardinal Ottob oni's in Ron1c 1 his patron and
protector, the playing of Corelli \vas not strikin g

6 FAi\íOUS VIOLINISTS
enough to cause the company to ceasc talking
during his perforn1ance. This circu1nstance so
annoyed the great virtuoso that he stopped play-
ing and stepped do,vn from thc platform, saying,
in his calm, good-natured 1nanner, that he '"as
afraid the "noise of his 1nusic 111ight interfere
\Vith thc conversation."
A 111an of a very clifferent stainp \vas Giuseppe
'fartin i, born in r692, a gentlen1an by birth ancl
cclucation, \vho at the early age of twenty-hvo,
\vhilst still prosecuting his studics at the Univer-
sity of Padua, composed his immortal Sonata del
Diavolo, 110\V usually called ll Tt·illo del Diavolo.
He \vas originally intended for thc la\\•, but cir-
cumstances led him to adopt music as a profession.
As a youth he \vas extre1nely fond of music and
fencing-fe\v could match him \vith the foils. He
began to stucly the violín seriously under Giulio
di Terni, a clever 1nusician, \Vho, in aftcr years,
ca1nc and took so1ne Jessons fro111 his celcbrated
p11pil. An early 1narriage, contractcd against the
consent of his parents, causcd lhc young u1a11 to
fly and seek a livelihood far froin the parental eyes.
A rclalive, \Vho \Yas an abbot at the 1nonastery of
Assisi, befriended him, and he laboured in that
secluded spot to perfect his violin-playing, taking
parl regularly in the religious music of the establish-
ment. After reconciliation \\•ith his fa111ily he \vent
to Venice, in order that he mig ht hear thc eccentric

THE ITALIAN SCHOOL
Veracini, the capo pa:;::o, or maclcap; a violinist
\Vhose perfonnances proclucecl so grcat an cffect
upon him that it \Vas this said Veracini \vho1n he
sa'v in his dream, or nightmare, on ª''"aking fro1n
which he co1nposed his clever Sonata del Diavolo,
a piece in 'vhich a series of double-shakes, and the
satanic laugh 'vith 'vhich it concludes, are so dear
to Jovers of dcscriptive 1nusic.
'fhis co1nposition1 strange to relate, actually
helped hitn to thc appoinhnent of director of the
orchestra in the Church of St. Anthony at Padua
in 1721 ; and by the year 1728 he had íounclcd
a great violín school in that celebratcd old city.
Another oí his compositions, Didonc IJ ba11do11ata
(Sonata X.), is quite as descriptive.
Before he died (February 1770) Tartini had per-
fected the art of bo\ving, had co1nposed eighteen
Concertos for five instrun1ents, as \Vell as severa!
Tríos and a nu111ber of Sonatas, and left a Tratto di
Jllfusica, or treatise on 111usic, in \Vhich he discusscs
the curious acoustic phenomenon kno,vn as "the
third sound," i.i:., thc production of a third note in
harmony 'vhen only l\vo notes are struck \vith the
bO\V.
Viotti co1nbined the talents of Corelli and 'fartini.
Like the latter, he \vas a man of poetic and philo-
sophic mine\. His birth occurred at the little village
of Fontaneto, in Pied1nont, in 1755. Ho'v he took
to violin-playing as a profession nobody seems to

8 l''A J\,fQUS VIOLTNTSTS
know. He \vas a pupil of the celebraled Pugnani,
of Turin, at the age of l\Yenty, a \vine 1nerchant
in London at forty-seven, Jeader of the Grand
Opera in Paris at sixty-six, and died in London
(o r Brigh ton ?) 24th Ivia rch 1824, at the age of
sixty-nine.
His zenith of fa1ne \vas just hefore the time of
Paganini and De Bériot, and no perfonner had ever
attained so hig h a clegree of perfcction, so fine a
tone, such sustainecl elegance, such cln1n1atic power,
ancl so varied a style. Beauty and grancleur \vere
the charactcristics of his playing.
Viotti shonc in socicty as \vell as in the conce rt
room. The latter he abandoned very carly in his
career, jealous o f lhe applausc bcsto\ved upon
others whom he knc\v to be inferior to himself.
He played \Vith great success in London in i790, at
\vhicb periocl his co11tpatriote, the celebrated pn1na
d<nl1za, Brigitta Banti, \vas still singing al lhe Opera
he re ; and he \Vas leader of thc orchestra at t he
l{ing's Theat rc about x794, but soon after\vards
retired to Holland - it is generally supposcd for
certain political reasons-wh erc, in perfect seclu-
sion, he \Vrote his \VCLl-kno,vn Si:t: .Duets for l\vo
violins, and other esteen1ed compositions. 1 bave
said else\vhere that in this justly cclebrated man '"e
find the link \vhich connects th e 1nodern school of
violin- playing \vith the schools of the past; and
though he had during tl1c \vhole of h is career only

'l'IiE I'l'ALIA:-1 SCIIOOL
se\'en or eight pupils, yct his inílucnce has extended
througho ut the \VOrld, and is felt by co1nposers o[
the present clay, cvcn after the \VOnclerful ílights r
of Paganini, De l3ériot, ancl Ernst.
Viotti \vas universally regarclecl as the greatest
violinist of his ti1ne 1 U1ough he must ha,·e been run
very closely by his conten1porary Ca1npagnoli, or
Dresden, ancl severa( others. I-Ie \vas one of those
rare phenome na in the \VOrlcl o f art in ' vhom talent
and inodesty \Verc ad1uirably con1bined1 and in
\vhoo1 the po,vers of the virt11oso \VCre cqualled by
those of U1c compose r.
Aíter being appointe d, at t\venty years of age,
first violin to th c Chapel Royal at 'furin, a position
\vhich he hcld for thrce years, he travelled for so1ne
ti1ne as a solo player. !Vleeting \vith a 1uost flatter-
ing receptio n at Berlin, he continuc d his course
to París, \Vhere he arrived ''"hen he ' >aS about
hventy-five years of age, and made his first appear-
ance at the Co11ce1·ts Spirituels, the chief place at
that tirne \vhcre artistes of en1inencc 've re intro-
duced to the Parisian public.
The Cuncerts Spirituels \vere established in i\Iarch
17251 as a kind of annex to the Opera, like llie Pro-
1nenade Concerts of our ti1ne in London . 1' hey
\vere given in one o f the roo1n s in the Palacc of
the 'fui leries, and \vere continued until the out-
break of the Revolution. Their na111c is due to !he
fact lliat they \Yerc deYoted chieíly to sacred music,

10 FAMOUS VIOLINISTS
or to inusic of a serious character, for some con-
siderable ti1ne after their foundation.
Viotti's débttt at these concerts 'vas extremely
successful ; no violinist had yet been heard there
who possessed so fine a tone ancl so large a style.
He perforn1ecl severa! of his O\Vn compositions,
Concertos, ·which \Vere clecicledly superior to the
\VOrks of the saine kind previously heard in París.
When \ve reflect on the considerable nu1nber
of en1inent violinists in that city at the period of
\vhich I a111 \Vriting, it is very evident that the
¡
young Giovanni Battista Viotti must have pos-
sessecl extraordinary talent to have eclipsed the1n
ali. Indeed, he had not been long in the French
capital, \Vhere he >vas clestined to reside for so
many years, before he attracted attention in the
highest q uarters; he soon received the co1nmand
of Queen Marie Antoinette to play at the Court
of Versailles.
It 'Nas on one of these occasions that a char-
acteristic scene occurred, ill ust rating the peculiarly
courageous nature of Viotti, which ·was to be found
not only in his playing and in his compositions,
but likevvise in his prívate life. 1'he concert had
been n1ost carefully arranged, and o ur virtuoso had
just co1n1nenced one of his charming Concertos
\vhen the arrogant Count cl'Artois, a most conceited
fop, entered the room, ancl made a great noise,
walking about and speaking in a lo ud voice to

'l'IIE I'l'ALIAN SCHOOL 11
1
scveral persons of his acquaintance a1nong the
nu1nerous and brilliant company assembled. Ali
this bustle interrupted the music, and the perfor- '
mance sufTered accordingly. At first Viotti con-
•
trolled his feelings, and gave \vay to the annoyance ¡
a little silence ensuing, he began his piece again.
But th e saine uproar reco1n1nencing soon af1:er-
\va rds, he \vas seen to thro\v a scornful glance at
the un111a11ncrly Count, and at once \Vithdre\v fro1n
the conccrt roo1n \Vithout fu rther ccre111011y.
This scene at Versailles see111s to havc had a
•
serious effect upon Viotti's ulti1natc carcer ¡ for
evcr after,vards he evinced the greatest dislike to
appear in public as a solo-player. Once only he
played for a charity, and once again in 1790, at a
singular concert given by a men1ber of the Revolu-
tionary Govern1nent1 \Vho \vas a friend of his, \vhen
the audicnce, ainong \vho111 \vere many 111cn1bers
of the unfortunate aristocracy, \vere co1npe lled to
n1ount t hree or four fligbts of stairs, ancl found
that the only decoration in the roon1 \vas a bust
of Jean Jacques Rousseau !
In prívate circles Viotti \vas often the chann of
the evening. 1-Ie played in s.everal dra\ving-rooms,
where his friend Garat, the favourite tenor singer,
\Vas often heard, and also the young Orfila, a
Portuguese medica! student, "·ho became later in
life distinguished as the author of an important
treatisc on the cletection of " Poisons," a noted

l~ F1\MOUS VIOLL"ISTS
chemist ancl toxicologist, b ut at that ti1ne frequently
enchantecl his hearers by bis exquisite voice.
When Viotti hacl abanclonccl the concert roo111,
one of bis grcatcst clelights \vas to Ílnprovise violin
parts to the p iano-playing of bis friencl, JY!ada1ne
lVIontegerault, at her house in the suburb of lVIont-
1norency. 1'his a1niable ancl talented lady \VOuld
seat h erseJ[ at the piano ancl play a brilliant im-
provisation in the Concerto style, ancl Viotti \vould
ta ke up his vio li n ancl join in the performance,
proclucing a series of exte1npore passages \vh ich
ad1n irably clisplaycd his \vonclerful po,vers ancl
de lighted a li p resent.
vVith a ll this, he clid not keep clenr of meclclling
in the disturbed politics of the periocl-or, perhaps,
they 1neddlecl \Vith hirn- and he \vas compellecl to
fly fron1 Paris, as clid his friencl Cherubini, \vho
had resiclecl \Vith h i1n for about three years, ancl
in 1792 he carne sucldenly to London ; Cherubini
111ean\vhile seeking refuge at a friencl's house near
Rouen. Both these e1ninent 1nusicians were at
that ti1ne engaged at the Théatre Feydeau, ancl ali
the artistes of that opera ho use fled like\vise to
escape the horrors of the Revolution.
In London Viotti appea red at the \vell-kno\vn
Salomon's Concerts. Every one was channecl \vith
his originality, his fine large bo\ving, bokl style,
and refinecl taste. But his dislike to perforn1ing
at concerts as a solo-player, and his speculat ive

THE ITALIA N SCI·IOOL 13
turn of mind, induced him to take a share in the
managem ent of the I{ing's Theatre about the years
1794--95, and he becan1e leacler of the orchcstra
there. \
1t 'vas during this period, \ve are assured, lhat
Viotti received "an order from the British Govern-
ment" to quit England at once ! Certainly that
sceins rather curious. 1'he authentic ity of that
orcler, or its reason, I have never been able to
cliscover. Sorne \vriters suppose it to have been
connecte d \vith political matters, but it seems very
much more reasonab le to suppose that the cele-
brated violinist found that the 1nanagem ent of th c
King's Theatre \Vas running him into debt, and that
he \vas really obliged to fly fro111 his creditors. In
fact, the "order fro 1n the British Governm ent" iuay
have been somethin g in the nature of a \\'rit !
Anyho\v, he \ven t over to a secluded spot in
Holland, to a place called Schonfclcl, \Vhere he
\Vrote severa! of his best con1posi tions; ancl in thc
cou rse of a fe\v years, \vhen his trou bles, \vbatever
they iuay ha,·e been, had subsidcd , he returned to
England.
This \Vas in 1801, and, ho,vevcr strange and in-
crcclible it may appear, he ca1nc to London this
time to establish hi111self as a 'vine 1nerchan t. \Ve
find hi111 nO\V at the head of a consider able
concern, surround cd by clerks and custo1ncrs,
attending punctual ly to business during thc day,

and char1ning his friend s \vith his violín 1n the
.
even1ng.
In this mann er Viott i's tastc for spccu lation
utterl y ruinc d him ; it \vas not vcry long befor e be
Iost C\·erything in this extra ordin ary unde rtaki ng by
'ivhich he bope cl, no doub t, to realis e a fortu ne much
111orc rap iclly than by his violin . It is gene rally
ad111ittecl that nlilit ary 1nen and iuusi cians often
make bad men of busin ess. 'fhc tenor Garat , \vho
can1e over to Lonc lon abou t this tin1e, has clescribecl
a dinne r-par ty given by \/iott i after the co1111nercial
labou rs of the day had tenni nated . In thc cveni ng
there \Vas musi c. A youn g lady sang son1c beaut i-
ful song s by Ci1narosa, and \/iott i playecl one of his
Conc ertos . "Nev er," says Garat , "\Vas bis bO\V
more gifted or n1ore s ublim e."
It is not my objec t to g ive a clry, critic a! analy sis
of the \Vritin gs of this great violin ist, but those of
my reade rs who 1nay happ en to be unac quain ted \Vith
his co1up ositio ns shou ld look at bis celeb rated Si'.t:
Duet s and at sorne of his Concertos. They \vill soon
1
perce ive that the influe nce of Corel li in these \VOrks

coine s out 1nore clear ly than that of Tarti ni; the
latter being , like Paga nini and De Bério t, to a great
extcn t an outsi cler- that is, an origi nal geniu s who
' creatcd bis O\vn style, and did not in1plicitly follo\v
the lines of any "scho ol." .
1 Ch. 03ncl:> editcd tweh-e of the finest (priute d by Chalot, P:uis),
\vitb tite fingcring n1ld nnnotntions.

THE ITALIAN SCHOOL 15
Viotti is a creative genius so far as he i1nproved
considerably in boldness on the style oí Corelli.
An excellent example of his \VOrk is the Rondo Appas-
sw11ata, 'vhich is to be found arranged as a duet for
t\vo violins, \Yith piano accompaniment by Papini, in
the clever "Album Chanot," or "Soirée Concertante
d'Amateurs Virtuoses," recently published in Lonclon
by F . vV. Chanot. On the cover of this intercsting
publication, \vhich conta ins a nu1nber of fine pieces,
is a picturc of hvo Jadies and a gentleman pcrforn1-
ing this elTective little piece of Viotti before a very
distinguished audience. Among tl1e Conccrtos, that
in D is extremely brilliant. The tl1e1ne is taken
from a trio in E fiat by his celebrated teacher,
Pugnani, of Turin.
\Vhilst Viotti held the post of director of the
music at the Grand Opera in París, he received a
letter from a man destined to take, in latcr ycars,
the very foremost rank as a composer. I alludc to
Rossini. This letter is dated 1oth Jul y 1821, at
\vhich period Viotti \vas a greater man than Rossini.
Here is 1ny translation of it :-
"l\fOST ESTEEMED SIR,-You \Vil! be surprised

at receiving a letter from an individual \\•ho has not
the honour of your personal acquaintance, but l
profit by ilie liberality of feeling existing behvcen
artistes to address these lines to you through our
friend Hérold, from \Vhom I havc learned with thc

16 FAMOUS VIOLINIST S
vhat
gre ate st satisfaction the hig h, ancl I fear so1ne\
tor io
uncleservecl, opi nio n yo u have of me. Th e ora
, ap-
of Moise, com pos ed by me three yea rs ago
matic
pea rs to ou r mutual friencl sus cep tib le of clra
e the
ada pta tio n to Fre nch \VOrds ; an d I \vho hav
his
gre ate st relian ce on Hé rol d's taste ancl on
n to
friendship for n1e, dcsire not hin g mo re tha
lc, by
ren der the ent ire \VOrk as per fect as possib
than
co1uposing nc\v air s in a 1no re religio us style
our -
tl1ose \vhich it at presen t contains, and end eav
result
ing to the full ext ent of 111y po,ver tha t lhe
parti-
shall nei the r disgrace the com po ser of the
no r
tio n, nor you, its pat ron ancl pro tec tor . Jf Sig
to be
Viotti, \vith bis gre al ability, ,,.¡11 con sen t
ured
the l\Iecrenas of my naine, he n1ay be ass
of the gra titu de of his de\"oted servan t.
(Signed) "GIO.\CCH INO ROSSINI.
you
"P.S.- ln a mo nth 's time I \\"ill for,vard to
r that
tl1e alte rations of ilie clran1a ,1/oise, in o rcle
ilic
you ma y jud ge if they are con fon uab lc to
u \vill
op cra tic style. Shon ld they not be so, yo
bct ter
have the kindn ess to suggest any oth ers
ada pte d to the purpose."
ice
He re \ve ha \c the gre al Rossini sce kin g adv
y to
and pat ron age fro111 Viotti, and fee ling bis \va
later,
thc Grand Op era of Pa ris, \vh erc, a fcw yea rs
nd en;
his immortal G11il/a11111c 1'c/L caused s uch !hu

'l'HE ITALI AN SCHOOI.
of appL:-iuse, and cnsure d for the compo ser a reputa-
17
•
tion \vhich has ncvcr becn eclipsed.
1'he greates t of ali Viotti's pupils \vas probably
Pierre Rode, \\•hose 'vell-kn o,vn Air Varié and
Scventlz Co11cerlo are familia r to most ,·iolinists "·ho
have had to go th rough thc regular routine .
Besides this c n1incnt 111an, th is e1nblcn1 of purity
and neatness of execution, Viotti instruc ted the
Bclgian artiste H.obbrechts, from \Vhon1 De Bériot
had lessons ; and a1nong his other pupils 111ay be
named Libon, Cartier, Labarr e, Alcloy, Pixis, Mo ri,
Vacher, Il1dlle. Gcrbini, and Il'Iada1ne Paravicini.
\Vhen De Bériot \vent to Paris and applied for
advice and instruc tion to Viotti, thc lattcr told hi1n
that he had already an origina l style \1•hich only
require d cultivating to leacl to success, ancl that
he could do nothing for hitn. 'fhe great Italian
violinist felt, no doubt, that Charle s De Bériot, one
of the most gifted con1po sers for his instrum ent
that ever livecl, hacl alreacly ach ievecl a step in
aclvance, ancl that to go back to the 1nore rigidly
classical forms could only be clone at !he expense
of the originality ancl po,ver "·hich ultimately
raisecl De Bériot to the very highest rank as a
soloist, a co1nposer1 ancl a teache r.
Among the pupils of Viotti, the celebratecl Rode
\vas not able to remain in Paris as he desired ; he
returne d to his native place, Bordea ux, \vhere he
diecl at the age of fifty-seven, after a life of 1nany
Il

18 F.Al\10US VI OL IN IST S
La ba rre is
griefs, cli sap po inh nen ts, ancl tro ub les.
esp ecially
saicl to havc be cn a splenclicl soloist,
Viotti his
in ada gio mo vem ent s, int o wh ich , like
an1ental
111aster, he ''"ª s accusto1necl to int rod uc e orn
\\'ith mu ch
ins pir atio ns. Lib on , \Ve are tolcl, playecl
rth str ing.
sw eet nes s, ancl \Vas fine up on the fou
\va nn th
Mdllc. Ge rbi ni ha d a fine ton e, bu t lackcd
tin gu ish ed
of exp res sio n ; an d Ca rti er '"ª s a dis
ll kno\vn
the ore tic ian an d tea ch er. l'vlori becan1e \Ve
d. It is
in Lo nd on as an exc cll ent a1iiste 1 bu t col
Bé rio t he
rel ate d of him tha t ,,·h en he tol d De
the lat te r
co uld do no thi ng \vith bis Ai rs T7ariés,
ye d \vith
sim ply rep liecl, "T he y req uir e to be pla
to offcrecl
exp res sio n." It \vas thi s sam e tviori \vi
cr hc aring
his violin ancl bO\V "fo r eigliteenpence" aft
Pa gan ini at his first co nc ert in Lonclon.
pu blic,
Re ga rdi ng his dislike to pla y solos in
1uecliocre
Viotti see ms to havc dis cov cre cl tha t
se as tha t
tal cnt oft en n1eets \vith as mu ch app lau
to sorne of
of the gre ate st art iste s. H e on ce sai d
spo il the
his pupils, "l\ 1y yo un g frie nd s, art ist es
pu bli c, an d the pu bli c spoils the1n."
d Viotti
It is \vc ll kn o,v n tha t Corelli, Ta rtin i, nn
or diffi-
ne ve r ma de a pu bli c display of exe cut ion
rca lisc d as
culties. Wh ils t Pa gan ini so111etin1 es
ni'ng, thc
n1 uch as f,6 00 (15,000 francs) in one eve
im1uortal Viotti ne ve r recei,·ed fro111 \\f.
Le Gr os,
fro111 1782
the o rganis er of the Co nc crt s in Pa ris
a 1v/1ole
to 17841 111ore tha n 1200 fra ncs (or ~48) for

11
TliE I1'ALIAN SCHOOL ]!)
season, or about [,4 or [,5 for each conccrt. The

violinist l\f estrino got about the same, and Gcr,,ais
about [,3.
After leaving his position at the Grand Opera,
Viotti rctired on a small pension and camc to
Englancl, \vh cre he diecl on thc 24th l\'larch i824.
Son1e ti1nc ago 1 received a lettcr fron1 thc \vell-
kno\vn violinist, Victor Buziau, inquiring \vh cthcr •
1 coukl infonn him \Yhere Viotti \vas intcrrccl.
N ot only \vas l unable to g ive hi1n thc clesired
infonnation, but since then it has becn i1npossible
to make any researches \Vith the vie\v of disco\'Cr-
'
ing his last resting-place. Alas! 1nany a man of
talent, like l\fozart himself, sleeps in an unknO\\'n
tomb !
Persons \vho kne,,· Viotti intimately ha\'C lcft
recorcls oí his hig hly poetical nature, and the value
he attachcd to thc simplest gifts of Proviclence.
A u1oclest violet cliscoverecl bielden an1ong the ••
leaves \VOtllcl transport hi1u \vith joy. "Ali naturc
spoke to his heart," says M. Eymar, "ancl he yielcled
at once to its e1notions."
As a man of business, \ve are tolcl, th e strictest
integrity and honour regulated his transactions,
and his feelings \verc kind and benevolcnt ; \\'hilst
as a musician, he is said never to have bcen sur-
passecl in any of the highest qualities of violin-
playing.
During a visit to S\vitzerlancl he heard for the

~o l:'Al\IJOUS VIOLINIS'l'S
first tim e the plainti\"e sou nd of a 1no unta in hor n,

brea thin g fort h the fe"' note s of a Ranz des Vac!tes.
Thi s so stru ck him that he note d it do\vn and sen t
it in a lette r to one of his friends. Wc fort una tely
pos sess that lett er; it run s as follo,vs : -
" Thc Ran:: des Vac!tes \Vhich 1 sen d you is ncit ber
that \vhich our frie nd Jean J acq ues [Ro usse au) has
pres ente d to us, nor that of \vhi ch l\I. de Ja Bor d
spe aks in his \VOrk on l\1usic. 1 can not say \vh ethe r
it is kno ,vn or not ; ali 1 kno w is that 1 hea rd it in
s,vi tzer land , nncl shnll nev er forg et it. To\varcls
the dec line of day 1 \vas sau nter ing alon g in one
of thos c sequ este rccl spo ts \vhc re flo,vers, verclure,
stre a1nlets, ali unit ed to form a pict urc of perf ect
harm ony . 'fhe re, \vit hou t bein g fatigued, 1 seat ed
1nyself on a frag men t of roc k ancl fell into a cleep
reverie. . . . Sou nds bro ke on n1y ear \\'hich \Vere
so1netin1es of a hur ried , so1ueti1ncs of a prolongecl
ancl sust aine d cha ract er. 1 fou nd that tbey pro -
eee ded from a 111ountain hor n, ancl thci r effect \vas
heig hten ed by U1e tone s of a plai nti,· e fem ale voic e.
I startecl fro1n 1ny clayclrean1s, listenecl \vith brea th-
less atte ntio n, and learnecl, or rath er engravecl upo n
1ny 1nernory the Ranc des Vac/1es \vhich 1 sencl you .
1n ord er to und erst and ali its bea utie s, you oug ht to
be tran spo rtcc l to the scc ne in \vhich 1 hea rd it,
ancl to feel ali the enth usia sm that suc h a mo1nent
inspirecl."
r can \VCll app reci ate Viotti's feelings 011 this

'.rIIE I'l'ALIAN SCI-IOOL 21
occasion, for during a fine sutn1ner aflcrnoon in

June I also had the good fortune to pass a 1no1nent
such as that so ,·ividJy describcd by the grcat
violinist. lt was among the German hills of \Val-
deck, \Vhilst resting on a sunny slopc, 1 hcard for
the first ti111e in 1ny life the tinkling oí thc distant
sheep-bclls con1ing from the sicle of a ncighbouring
hill, ancl gradually approaching thc spot at \Vhich 1
l sat Jistening to those fairy-like souncls. Nothing
I havc cver 1net \vith in nlusic can con1plctely
rea lisc the enchanting effect those soft, clelicious
sounds procluced upon me, not even those chann-
ing 111ountain strains in Rossini's G11iLln11111e Tell,
nor Alard's beautiful little \\·ork Stntve11i1·s des
Pyrl11ées, not to speak of severa) clevcr pastoral
piano solos, though there is something in ali these
that approachcs the 1nagical result to \vhich l allucle.
This effcct is, no doubt, heightened by the beauty
of thc surrounding scenery, the colours of the
flo\vcrs, the fragrance of the air, the \varn1 sun-
shine, ancl the thousand varied aspects of nature.
A very diITerent kincl of sound struck the cars
of the celebrated Viotti \vhen strolling one evcning
in Paris, on the Champs Elysées, \vith his friend
~farie Langlé (father of the musician Fcrdinancl
Langlé), by \vhom the circumstancc is related.
~farie Langlé \Vas an excellent professor of har-
mony, a composer of sorne operatic \vorks, and
onc of thc instructors of the young n1ilitary an1a-

FAi\ 10U S VIOLINIS1'S
teur, Lieu tcna nt Dala yrac , \vho aftcnvard~ bcca1nc
a \VCll-kno,vn com pose r and a grea t fa,·otiritc ,,·ith
thc Fren ch publ ic.
It \Vas a fine sum1 ncr evening, nigh t \vas appr oach -
ing grad ually , and thc hvo frien ds hacl seate d them -
selvcs on onc of th c benc hcs undc r the trces to
avoicl the dust of the thoro ughf are. Viotti, ahva ys
of a clreamy, U1oughtful clisposition, had yicld ed to
one of thos c reve rics \vhich isola tecl hi111 evcn in
the 1nidst of a 11u1nerous a11d brill iant society, \vhilst
Langté sat U1inking ovcr sotn c of the airs in his ne\v
oper a Corisrt11dre.
Sudd enly they \VCre both rous cd frotn their
1neditations by sorn e hars h, disco rdan t souncls, so
terri bly false that the hvo 111usicians, \vith asto11-
ishrn ent depi cted 011 their coun tena nces , turn ed
to,varcls each othe r an inqu iring glan ce, as 111uch
as to say, ti Wha t 011 earth is that ? "
Viotti '"ªs the first to spea k. t1 It can' t be a
violin 1" he exclai111ed ; "and yet th ere is son1e
resc1nblance."
"No r a clari onct ," sugg ested La11glé, "tho ugh
it is soin ethin g like one."
The easie st ina11ner of solvi ng thc prob lein '"as
to go and see. Thcy appr oach ed thc spot \vhe ncc
the cxtra ordi nary tone s issuccl, a11d sa'v a poor blind
man stan ding near a mise rable cand le, a11d play ing
upo11 a violi11 ; but the instr ume nt \vas maclc of tin-
plate , like a coffee-pot.

'l'I-IE ITAL!J.\..N SCIIOOL
"Fancy ! " said Viotti, /1 it is a \•iolin-b ut a lin
violin l Did you evcr drea1n oí such a curiosity ?"
And after listening for a fe,v 1ninutes he acklcd-
11 l\l!y dear Langlé, I 1nust possess that instru-
1nent; go and ask the old n1an \Vhat he \vill takc

for it."
His con1panion approach ed and asked thc qucs-
tion, but the o ld 1nan \vas clisinclinecl to part
\Vith j t,
11
\ Ve \vi ll give you enough to enable you to
purchase a better Yiolin," said Langlé ; /1 and, pray,
\vhy is your instru1nent not like olhers?"
Thc agecl musician explained that \vhen he got
olcl and fo uncl hiinself sti ll poor, not being able
to \vork, but yct able to scrape a fe\\• airs upon a
ficlcl le, he had endeavo ured to procure one, but in
va1n. At last his good, kind nephe\1-, Eustachc ,
\\'ho \Vas apprenticecl to a tinker, hacl 1nade one
for h im in tin-p latc.
"And a very goocl one, too I " said the old nian.
"l\IIy poor boy E ustache bri ngs me here in the
n1orning when he goes to \VOrk, ancl fetches 111c
a\\·ay in the evening as he returns."
"\Vell," said Violti, "1 \Vill gi,-e you h\•enty
francs for your instruine nt ; you can buy a 111uch
bctter one for that price. B ut \Vill you let n1e
try it a little?"
1'he curious violin \\-as placed in his hands. lts
singular tone amuscd him, and he produced sorne

FA1\fOUS VIOLINIS'l'S
extraordina ry cffccts upon it. \Vhilst he \Vas quite
absorbed in his playing, a small cro,vcl hacl gatherecl
rouncl, unperccivccl by hi1u, ancl eYery onc \Vas listcn-
ing \vith curiosity lo this eccentric performanc e.
Pcrhaps son1e of th c listcners n1ay havc rccognised
the features of the \Vell-kno\vn vz'rt11oso. Anyho,v,
Langlé seizctl upon lhe opportunily for passing
rouncl the oltl man's hat, antl collcclecl quite a
decent nu1ubcr of coins, which \\"ere handecl to
the astonishcd bcggar, \\·hilst Viotti got out his
purse to buy thc violín for hventy francs.
11
Stay a n1on1cnt," saicl the blincl 1nan, rccovcring
a little frorn his surprise. 11 Just no\v l saicl I \voulcl
sell the violín for t\venty francs, but I did not know
it \vas so goocl. 1 ought lo have at least lhc double
for it."
Viotti had ncvcr rccei,·ed a more genuine com-
pli1nent in his lifc, and he clid not hcsitate to give
the old 1nan hvo golcl pieces instcad of one. He
then \valked off \vit h thc tin-plate violin uncler his
arm.
1-1 e hacl scarccly gone fifly yards befo re he felt
sorne one pulling at his slee,·e. 1t \Vas a young
"·orkman, \\·ho, touching his hat respcctfully, said,
11
Sir, you have paicl too clear for that ,·iolin ; ancl
if you are an an1atcur, as it \Vas l \YhO 1nacle it, l
can supply you \v ith as 1nany as you like at six
francs each."
1'his \vas Eustache ; he hacl just co1ne in ti1ne

'l'IIE I1'ALlAN SCIIOOT,
to hear th c conclusion o í th c bargain, and little
dreaming that he \vas so clever a violin-1naker, no
doubt desired to push for,vard a business so \vell
begun.
But Viotti \vas quite satisfied ,~vith one sample of
this 1nerchandise. 'fhe illustrious \'iolinist never
pa1·ted \vith U1at instrument. H e had it \\'Íth him
,,·hen he ca1ne to reside in London. lt \vas sold at
London \viU1 the other effects of the great 1nusicia11
after his death, and realised a fe\v shillings only.
An amateur of curiosities offered a large price to
Ule purchaser if he, or any one else, could inform
him ho\v such a 1nysterious piece of \VOrk111anship
carne in to the possession of !he celebrated Viotti.
In n1y "Biographical Sketches of Celebrated
Violinists" l said it \vas not knO\vn ho\v Viotti carne
to be a violinist, and 1 coulcl only trace his n1usical
career fron1 the time ,,·hen, at the age of thirteen,
he \vas placed uncler the celebrated Pugnani at
T.urin. So1ne have asserted, ho,vcver, that he took
his first lesso ns on thc violín from h is father, \vho
\vas a blacks1nith- truly he 1nust have been th e
real "hannonious blacks111ilh "-ancl from a \van-
clering minstre l natned Giovanni, \vho happened to
"\Vend his \veary \vay 11 to the littlc Piedtnontese
village of Fontaneto.
'fhis \vould tend to shO\V that, like the father of
Kicolo Paganini, the parent of Viotti '''ªS a musi-
cian, and had perccived a laten! talen! in his child

FAl\lOUS VIOLINIS'l'S
that might lead to bctter things than are usually 111
store for a blacks1nith. But therc are blacksmiths
and blacks1niths, harmonious or otherwise, sorne
of \Vho1n havc lcft nan1es bchind thcm ; ancl it is
a calling by no 1neans to be desp isccl. P robably
this particular b l:tcksu1ith \vas hcld in esli1nat ion
by the aristocracy of bis neighbo11rhoocl, and no
cloubt he shod the horses of thc goocl Prince
Pozzo ; for it ,,·as this gentle111an \vho placed
the young Viotti uncler fue carc of the talented
Pugnani for instruction at Turin, \Vhere he re-
mainecl fo r 111any ycars.
Gaetano Pugnani ' vas one of th c 1nost brilliant
stars that arose fro1n the great Picchnontesc Violín
School founcled by Sotnis, a pupil oí Corelli, and
chapel-1nas ter to the King of Sardinia. He was
born at Turin in the year 17281 ancl uncler fue
excellent tuition of Son1is he becamc a \·ery acco1n-
plished violinist and composer, exerting no incon-
siderable influcnce on the art of 1nusic in Northern
ltaly by the grancleur of his slyle of playing, and
the ünprove1nents he introcluced into the form of
the Concerto.
He had already achie,·ed much succcss as a solo-
player at thc Court of Sarclinia, before he ,,·ent
forth on his travels. 'vVhen he arrivcd at París he
had to co1npctc \Vith so1ne of thc g realest violin-
ists of th e pcriod, among \vho1n \vas the Gennan
~1irtuoso J. Sta1niti 1 and the notccl Frcnch artistes

'l'IIE ITALIA."l SClIOOJ. 27
Pagin and Gavinics. l\ e,·erthclcss, Pugnani 1nct

\\'ith a very cordial reception at the Co11certs Spiri-
tucls, \vhere he :tppearecl sever:tl tin1es; ancl he
aftcr,vards visitcd 1nany Europca n citics, \vith si1ni-
l:tr successfu l rcsults. Ele staycd for a considerable
tiine in London, \vherc he co1nposed a good dcal
of ,·iolin tnusic. In 1770 he \vas in ltaly again,
\vh cn Dr. Burncy, the author of a "History oí
rvr usic," 1net hi1n at 'furin, and in that city he con-
tinucd the 1nanagc111ent of thc Violi11 Acaden1y
founded by So1nis.
Then it \vas thal the boy Viotti \vas placed undcr
his charge. A1nong his other pupils ,,.e should
1nention Bruni, Oliveri, Diana, Borra, l\folino,
'fraversa , Borghi, ancl so111e others ; ali distin-
guishecl men in their day, \vhose Jives, had they
been handed do\vn to us in detail, \vould be
founcl surrounclccl, in 1nost cases, by the halo of
romance \vhich is characte ristic of artistic life,
ancl \Vhich even the clirest n1isery is unable to
eclipse.
In his younger clays Pugnani, already an acco1n-
plishecl \•iolinist, experien ced a great desire to see
ancl hear Tartini, ancl he left Paris ancl procccclccl
to Paclua for that purpose.
'fartini receivecl hirn kindly, ancl evincecl no littlc
curiosity to hear hi111 play. Pugnani took up a
violin and co111n1enced a "\vell-kno,vn " solo, but
he had not played 1nany bars before Tartini sud-

F'.Al\IOUS VIOL INISl 'S
clcnly seizecl his arm, and said, "Too loud, 1ny
íriend , too loud ! "
The Pied1nontese youth began again, but at the
saine pa!IBagc Tartin i stopp ed hi111 again, exclai ming
this ti1ne, "·roo soft, 111y good friencl, too soít ! "
Pugna ni thcreu pon laicl do\vn th c instru1ncnt, and
begge d T artini to givc hi1n sorne lcssons. H e \Vas
at once receiv cd a111ong the pupils of the 111aestro
of Paclua, and, exccll ent artistc as he a lreacly
\vas, actuall y began his 1nusical educa tion over
again.
I have relate d this anccclote in 1ny volun1c above
111cntioned 1 and thoug h there can be little cloubt
of its absolu te correc tness, I canno t help regret ting
not having been able, \\·hen it appea red, to name
the partic ular "'vell -1010\vn" solo takcn up on this
occas ion. Jt may be assert ed, I think, most
positively, that it " ·as none other than the cele-
brated sonata , nO\V called Jt Trillo del Diavolo, of
Tartini hin1sclf1 \Vhich, as \Ve have alread y seen,
he had comp osed at the age of l\venty-two, after
suffer ing fro111 an attack of nightr nare, in \Vhich he
sa\V ancl hearcl the cccen tric pcrfor mer Veracini,
of Venic e, in the shape of Satan, \vith a violin in
his hancl, produ cing the 1nost extrao rdinar y music .
The cxpres sive modu lation s in that compo sition
are very variecl frorn the o utset, ancl requir c n1uch
care to bring out their full effect. At the ti1ne of
this 1nceting Pugna ni coulcl have been scarce ly

THE ITAL IAN SCfIOOL
1nore lhan hven ty-one, and Tarti ni abou t fifty-
seven years of age.
Anot her reaso n \vhy I am certa in that \\'as the
solo atten1pted on this occasion is that 'farti ni
'voul d neve r have taken the libert y to corre ct a
fello\v-artiste, ho,vever youn g, excep t in the per-
form ance of a piece of his O\vn con1position ; he
simply \VÍshe d to sho\v Pugn ani ho\v he, thc con1-
poser, inten ded the passa ge to be playe d. If I
n1ay be a llo\ved lo go a step further, J n1ay safely
affinu that it \vas at the bar nuu1b er six (the sixth
bar fro1u the co1n menc emen t) of thc sonata,
\Vhich rcquires to be rcnde red some,vhat softly
to prepa re the crcsc endo \vhich follo,vs, that the
youn g violinist \vas stopp ed by bis illustrious
conte inpor ary.
Many anecd otes have been foiste d upon Pugn ani,
sorne oí \vhich bear evidc nce of being the creation
•
of rivals, and are not \vorth repca ting. Others, on
the contr ary, tencl to enlig hten us upon the char-
•
acter oí the man. lt has been stated that, \vhen
playing, he '"ªs so comp letely absor bed in the
1nusic that he has been kno'''n at a publi c conc ert
to \valk abou t the platfo rm durin g the perfo nnan ce
of a favou rite caden za, as ií he had been at home
in his O\vn roon1.
His co1npositions are nume rous, and for the 111ost
part excelJent ; U1ough 110\V they are \'ery scarc e
and difficult to procu re. He \vrote no less than

30 FAi)llQUS VIOLINIS1'S
111ne violin conc ertos , trios , quar tets, quin tets, and
over tures. Bcsides ali U1is, he \\·as the com pose r
of seve ral ope ras \vhic h \11ere pcrfo nned \vith
succ ess in 1nany of the Italia n thea tres. As a
violinist, bis style is n1entionc d by cont emp orari es
as bcin g broacl and noble, cndo ,11ecl \vith a li the
high est qual itics.
It has also been rema rkcd that ali his pupi ls
provccl to be exce llen! leaders. 'fo leacl \\Tell \Vas quite
a gift \\·ith Pugn ani, and he possessed the art of lrans -
1nitt ing this i1npo rta11t acco mpli shn1 cnt to othe rs.
With a sing le slroke of his bo\11 he coul d corr cct an
erron eous intcr preta tion, or anin1ate the lcU1argic
pe1forn1 er. I-Ie even inclicatcd to thc sing crs on
lhe stage the true tone and expr essio n \vith \11hich
they ough t to cleliver their parts . As to his co111po-
sitio ns1 they are reple te \vith 111elo dy and brill iancy.
1'he Paris ians \Vere jealo us of Pugn ani, and
accused him of bein g a very conceitecl man , thou gh
the ancc dote of bis 111ee ting \Vith T artin i \VOulcl go
far to anni hilate such an opin ion. If he had been
a Fren ch1n an, he \\"Oulcl have been laucled to the
skies, or perh aps h e \VOulcl have had a monu111cnt
at thc Lou vrc- but an 1talian 1 \ Vell, they have
hono ured Napo leon Buo napa rte, ancl he \vas a
Cors ican- not to say an ltalia n.
The fact is that poor Pugn ani \\•as very n1uch
anno ycd duri ng bis stay in thc Fren ch capi tal. He
received certa in unpl easa nt and _ill-souncli ng; nick -

T'l·IE 11'..A.LIAJ.'l SCI·IOOL 31
names ; and a young painter, \vho livccl on the
sa1ue flat, ·went so far as to take advantage of the
so1ne\vhat large nose of the celebratecl Piecln1ontese
virtuoso, and representecl hin1. in a dra\ving, lead-
ing his orchestra, alJ the n1e1nbers of \vhich \Vere
groupecl uncler h is vast nasal organ, as under an
enonnous parasol. Of the private life of Pugnani
very little has come clo\vn to us ; bis name lives in
bis co1npositions and in the talents of the pupils
that he instructed. Viotti O\vecl almost everything
to hi1n 1 and Bruni has clistinguished hünself by his
original ancl brilliant trios.
He died in 'l'urin, the city of bis birth, but the
exact date is not very certain ; so111e say r 798 ancl
others r803. In e ither case he v.•o uld have been
just over seventy years of age, and up to that tinte
he \vas constantly engaged in co1nposition, con-
clucting, and teacbíng. Like rnany equally goocl
inen he "clied in harness," and has left a very
distinguished na1ne in the \vorld of ltalian n1usic.

11
THE LEADER OF 'fHE ROYAL VIOLINS
IN the summe r of 16~6, \\·hen the Duc de Guise \\·as

returni ng fro1n Floren ce to Paris, he brough t back
\Vith hitn an Italian boy, just thirteen ycars of age,
callecl Battista , but \vho in after life becan1c better
kno,vn as Giovan ni Battist a Lulli, the fricnd (for a
ti1ne) of l\Ioliere ancl Louis XIV., and the founcler of
Frcnch opera. 'fhe lad's n1erry dark cycs, long
flo\ving hair, and open counte nance, togcthe r \vith
his peculia r soft Italian accent, and, above ali, his
tastefu l playing upon the violin, e\·en at that carly
age, attracte cl thc attentio n of many person s. It is
said that he \vas cngage d as a page to tvfdlle. eje
l\.fonlpensier (niecc of Louis XIV.), but that lady
getting tired of hiin, he was gi,·en a subord inate
place in the kitchcn , \vherc he soon proved a \·ery
clever cook for ccrtain dishes then in voguc.
After so1ne hvo and ·a half years of druclge ry in
the royal kitchen s, enliven ed occasio nally by a little
music, by the perfon nance of so1ne spright ly ltalian
111elocly, or by son1e \vild pranks played upon the
po1npo us chef de cuisine, \V ho little dreame cl that
3'

LE.t\D ER OF 'l'IIE llOYA L \'IOLL-..: ' SS
one of his boys "'ªS clcstined to beco1ne a cclcbr ated
c/1ef d'orckcstre, it \vas cliscovcrcd that "Batt ista"
possessecl an extrao rdinar y talent for thc \'iolin.
'l'his first attrac ted the attent ion of seYeral of the
palace officia ls, the Co n1te de Nogcn t among oth ers;
and it lecl to Lulli being placed under prope r tuition,
and finally made a court music ian.
At the agc of ninete en he played for the first ti1ne
before thc I{ing, and so de lighte d hin1 that he \vas
soon engagccl to fonn a bancl of music ians, ,,·hich
\\·as called Les Petits Violons dn Roi (mostl y forme d
of young 111en), to clistin gu ish thc1n fro1u the l\vcnty-
four violin ists \vho for so1ne tiine previo usly had
•
fonne d th e band kno\vn as L es Viololls de fa Cknu1bre.
1'hc latter had attrac tcd thc notice of our king,
Charl es 1!., ancl he cleterminecl to establi sh at the
Englis h court a sin1ila r band of violini::.ts.
~ º'"• at this extrem ely intere sting and cxcitin g
pcriod o{ our histor y, there \Verc not many great
violinists in E nglancl. lt \voulcl have becn cxccecl-
ingly diffic ult, or quite impos sible, in thc days
of Charl es 1l., to ha\'e got togeth er in Londo n
anylh ing like the orche stra at Coven t Garde n
1'heatrc, for instan ce. N everthelcss, therc \vere
two Engli shinen , fathcr and son, na1nec1 Banni ster,
\vho had 1nade for thcn1seh·es in these early clays
consid erable reputa tions as violín player s.
John Banni ster, the father, \\'as an cxcellent
1nusic ian, ancl taugh t his son, John the young er,
e

34 F,\i\IOlTS \"IOI,I~IS'l'S
havi ng been taught hi1nself by !tis fathe r, who used

at Chri stma s time to play as one of the \Yaits in the
paris h of St. Giles - q11ite a rura l spot of Lond on at
that tiine . So, \Ve sec therc \vas 1nusic runn ing
in the family. \Vell, the 1ncrry King Char les Jl.
havi ng fo rmccl h is \' iolin orch estra so1ncho \v or
othe r, and got a Germ an nam ed Baltzar, fro111
Lube ck, to leacl it, carne to hcar of the talen t \\"hich
Jo hn Bann ister disp layed as a violin ist, an d had hitn
fortlnvith sent to Fran ce to imprO\'C his 1nusical
education . On h is rctur n to Eng land thc J{ing
appo inted hi111 lead er of thc J~oya l Violins.
In Grea t Britain, at the time \vhen J{ing Char les
cletc nn ined upon fo rn1ing a bancl of Yiolinists to
play to hiin after dinn er, as he had seen clone at
the cour t of Loui s XI\'. duri ng his ycar s of cxile in
F rance, thc !inest pcrfo nne r on thc violín \vas an
a1natcur na1necl Da,·id l\Iell, a clock-111aker. Per-
haps he \\·as a Yery good player, but lackccl that
tho roug h kno,vleclge of inusi c \vhich can only be
got by a long cour se of stud y, and perta ins in con-
sequ ence only to thos e \vho rnake 1nusic thcir sote
profcssion . Vve co uld certa inly quot c the narn es of
man y disti ngui shed mcn , such as 1'hal berg , Bataille,
H ans von Bulo\v, and others, \\"ho ha,·e drift ed from
the rank s of thc an1atc ur to thosc oí the prof es-
sion al ; but Da,·id lilell, fine as bis pcrf onna nce
111ay have been, \vas not oITered thc appo inlin ent,
and the Gen uan Balt zar \Vas sent for to lead

LEADER. OF 'l'IIF. 110YAIJ VIOIJINS 35
the first violín bancl cstablishcd by an English
sovereign.
An amusing old \vritcr tells us that "after Baltzar
carne to England ancl sho,vecl his \VOnderful parts
on that instru1nent1 llfell \vas not so much adu1ired;
yet he playecl S\veeter, \Vas a \vell-bred gentleman,
and not given to exccssi\'e clrinking as Baltzar 'vas."
Probably the I<ing looked O\'er the German 1nusi-
cian's shortco1nings in this respect; íor ,,·hen Baltzar
died, in 1663, he was buriecl in \Vestminster Abbey,
and john Bannister the eldcr succcedcd him as
leader oí th e Royal Viol ins.
It \vas a splenclid appoint1ncnt1 and Bannister
appears to have clone a111ple justice to it. His con-
tc1nporaries (though contc1nporaries are not ahYays
to be relied upon for truthíul history, as many of
our young literary 1ncn fine! o ut to their cost) pub-
lished the o pinion that this clcver English111an quite
equalled the best of Italian violi nists ; ancl one clay
Bannister hiinsclf actnally vcnturecl to tell King
Charles that the E uglislt viotr.'nists o/ /u's co111't we1'e
superior to tltose o/ the Fronclt cott1't, Cor \\'h ich bold
and truthful speech he lost bis appoinbncnt !
This unkind action oí thc sovereign \vas not a
bad thing for musicians: as soon as Bannister got
bis discharge he set about giving concerts, and he
was tite first who estaólished in Lo11®11 co1tccrts in
wlticlt tite audie11ce paid for their seats.
Of one of these entertainments, given in 1677, "·e

36 FAl\ifOUS VIO LIN IST S
hav e the ann oun cem ent in \vhich it is stat ed, in thc
lang uag e o f the per iod, that thc perf onn anc e \vi l!
"be gin ,,·ith a parl ey of inst ru1n cnts com pos cd by
lVI r. Ban nist cr, and pcrf onn ecl by en1incn t mas ters ."
Joh n Bao nist er the eldc r died in 1679, \Vhilst the
cou ntry \vas rcek ing \vith pop ish plot s, con spir a-
cies aga inst thc l{in g, ''iol ent poli tica l excite1nent,
and dist urb anc es. .1-le also \Vas inte rred in \Vest-
rnin ster Abb cy, 'vhe re ther e \vas p lent y of roo111 in
thos e day s. His son , Joh n the you nge r, had grO\Yn up
a clev cr violinist likc his father, and \vas ulti ina tely
app oint ed to the ban d of I<ing \Villia1n l II.; he \\·as
also first viol ín at D rury JJanc The atre for 1nany yea rs.
\\lit h the soli tary cxc epti on of Dav id :\Iell, befo re
1ne ntio ned, Joh n Ban nist er the elde r, lead er of the
Roy al Violins, \vas the first Eng lish inan \Vho eve r
distinguishecl hi1nself as a per form er on the ,·iolin.
He is also rem arked, hist orically, as hav ing bee n
the first mus icia n \\•ho attc mpt ed son 1cth ing Like
\vha t \ve no\v kno\v as a pub lic con cert . Thi s
atteo1pt \vas mad e in thc yea r 1672.
Rog cr N orth, \vho \vas Atto rney -Ge nera l und er
Jam es l I., left a ll1S. \YOrk enl.itled "l\I emo irs of
Musick," \vhich \vas pub lishccl afte r his cleath. In
this 'vor k \VC are told that "Jo hn Ban nist er had a
goo d thca tric al vein, ancl in co1nposition he hacl a
live ly styl e pec ulia r to hitnself. 1-Ie possessecl a
larg e roo m at \Vh yte Fria rs, nex t to 'fem ple Bar
Gate, and macle a larg e rais ed box for the 1nusicia ns,

LEADEll OF 'l'J.IE llOYAL VIOI.INS 37
\vhose 1nodesty rcquired curtains. This roo1n ,vas
roundecl \vith sinall tables-alchouse fashion. One
shilling \Vas thc price, and call for \vhat you pleased;
there \vas very good n1usic, for Bannister found
111eans to procure thc bcsl hands in to\vne, and
sorne voices to con1c and perfonn therc ; and there
\vanted no variety of hu1nour, for Bannister hi1nself
(inter alza) did \vonclers upon the flageolct to thoro'
bass,and the sevcral n1astcrs had their solos. This con-
tinuecl full one \vintcr, and more 1 rc1ne1nber not."
\ Ve knO\V1 ho,vcver, that these concerts continued
for many ycars. Thc first of ali, \Vhich took place
on the 3oth Scptcmber 1672, "'ªS announced as
follo,,·s :-" 'fhesc are to gi\'c notice that at i\f r.
John Bannister's housc (nO\V callee! the llfusic
Sc/100!) over against Tite Ccorge Tavern in \Vhyte
Friars, this prcscnt i\lfonclay \vill be performed
rnusick by exccllent 1naslcrs, beginning preciscly at
four o'clock in thc aftcrnoon, ancl evc ry afternoon
for the future preciscly at thc saine hour." 'fhat
announcc1nent appcarccl in the Loudon Gazctte,
3oth Septeinber 1672. A youngcr conten1porary of
Bannister, a 1nusician na1ncd Shuttlc\vorth, \vhose
father \vas a leachcr o í n1usic in Spitallields, after-
\Vards led si1nilar conccrts at Jite S111nn Tavern in
Cornhill, in 1735 ; ancl in proccss of time otl1ers
follo,ved, until conccrts bcca1ne general through-
out Great Britain, thanks to th c happy initiative
of John Bannister, thc lcadcr of the Royal Violins.

III
CHERU BINI AS A VIOLIN IST
J\iIANY of n1y reade rs \Vil! be surpri sed to find the

cclebr ated con1poser Luigi Chern bini menti oned as
a violinist. 1-lo,ve\•er, a man may be a tolcrably
good perfo nner on thc violín \vithout attain ing to
1
anything appro achin g celebr ity in that capac ity.
But the autho r of Lodoiska, Jlfedea, 1/ze Water
Carriers, Anacreon, and a host of other opera tic
ancl religious 'vorks, did really kno\v son1et hing of
the secrets of the violín, and, in fact, it 1nay be
safely assert ed that he O\ved his life to that very
circum stance .
An1ong other \vell-kno\vn co1nposers of opera, 1
1nay menti on that Balfe began his caree r as a
violinist, and so did Aubc r; and this may go far to
cxplai n the melod ious seores of the comp osers of
Tite Bol1e111ian Gz.r l and Fi·a Diavolo.
l\'laybe it \vas Cheru bini's lovc for th is \vOnderful
instru ment lhat helpc d to make him so intimate
\Vith the g reat virtuoso Viotti, with \Vhom he resicled
at París for three \vhole years -not, indeed, for the
sake of violín lessons. 1'his inli1nacy \vas chiefly
38

Cl·IERUDINI AS J\_ VIOLINIST' 39
clue to the fact that they \vere both Italians, living
in a foreign land, \vh ere they \vere cluly recognised
as hvo of th e finest 1nusicians of that clay.
At Florence, \Vhe re Cherubini \vas bo rn in i7601
ancl \vhere he receivecl his first lessons in solfeggio
ancl the harpsichord from bis \vOrthy father, Bar-
tolon1eo Cherubini, 11zaestro al clavice111bato at the
P ergola 1'heatre, the lra rd-\vorking parent of hvelve
children, of \vhon1 Luigi \vas the tenth, thc fa111i ly
resiclecl in a 1noclest cottage in thc Via Ficsolana.
\.V hcn about e ight o r nine ycars of agc, this tenth
chile! Luigi fo uncl in the housc \vhat onc of his
biographers tenns a "\Vretchecl " olcl violín, and
"an1used hi1nself by scraping o n it."
P lease, clear reacler, take note of the date-say
i768 or 1769 - ancl the country - Tuscany, not
very far fro1n the celebratecl violin-1naking city of
Cre1nona !
A 11 \vretched violin " ! Who can say, if the said
instnunent \vere 110\V in the hancls of a London
clealer, it \VOuld not be consiclerecl cheap at :[,500
or f,600?
In Northcrn l taly, at tbat ti1ne, it is cloubtful
\vhether such a thing as a "\vretchecl old violín"
coulcl have existecl.
Only just fancy the thousands of pouncls sterling
that have been spent in buy_ing up the Italian
violins of that pe riocl !
It \vas probably an A1nati 1 or a Stradivari, \vith a

FAl\10US VIOLINIS'l'S
pure, soft, yet brilliant tone ; and the boy's nat urally
musical ears \vere, doubtless, pleased by the sound,
even such as it \vas yieldecl by his O\vn rough and
inexperienced handling of the instrun1ent. I t is
certain that he rnust have perseverecl, though \vho
taught hirn \Ve knO\V not, unless it \Verc his clever
father.
But the fact is preserved that, although the violin
is justly consiclerecl to be a 1nost clifficult instrument
to learn, young Cherubini in less than hvo yea rs
\vas able, one cvening, \Vhen a violinist \Vas absent
fro1n the orchestra, to acco1npany his father to t he
theatre, ancl take the place of the inissing inan. It
is even recorded that he playecl his part throughout
so \1•ell that Nardini, the conductor, coulcl fincl no
fault save "a certain titnidity ancl hesitation," only
natural under the c irc umstances of a first appear-
ance in public.
vVe hear no 1nore of Chcrubini as a perfonner
on the violin until n1any years later, after he had
q uittecl his native Italy ancl paid one or hvo visits
to Lonclon as a cou1poser on the h iglnvay to fame,
ancl hacl finally fixed his residence at París. lt \vas
at the time of the great French Revolution ; and
the fact of his having learnt to play the violín
\vhen a chile! \vas t he 1neans of saving his life in
the hour of danger.
I-iis co111positions, tho ugh far too learned for the
light French taste, had by the year 17901 \vhen h e

CHEllUBINI 1\S A VIOLINI::i'l' 4·1
began to \Vrite an opera for Louis XVI., on thc
subject of llfarguerite d'A11/ou, firmly established
his reputation as one of the greatcst 1nusicians of
the periocl.
But \vhcn the Re\·olution brokc out, Chcrubini's
prospects becan1c abnost as c louclcd as thosc of
the rvfonarchy. f-Iis position clepcnclccl to a great
ex tcnt upon the aristocracy, \vho patroniscd hi111
as he clcscrvcd ; but nO\v these noble fri cncls \verc
flying fro111 France, or being 1nurclcrcd by the
111ob.
During thc Jirst fo ur years of anarchy he suJTcrcd
great distress. l<'orced to live in seclusion, his li\·eli-
hoocl becamc precarious, and his ti1ne \\•as passed
chieíly in the study of music ancl botany (a branch
of science of \\•hich he \\·as extrcn1ely fond) \\"ithout
rc111uneration, ancl anxiously a\vaiting the aclvcnt of
better days.
He \Vas co1upellecl to lilnit his acquaintance, in
those horrible tin1es, to a very fc\v trustworthy
fricncls, n1 usicians like h itnself, on \vho1n he could
thoroughly rely, and a1nong \vho1n there \vas not
one \vho, by denouncing hin1 as an aristocrat or
a royalist, \vould have causecl hi111, like so 1nany
equally good tncn, to be slaughtered on the scaffold
at a fe\\º hours' notice.
Evcn to stir out of doors \vas a risky thing to do,
for reck lcss mobs of half-drunken anarchists rollcd
along the strccts clay and night, seeking to satisfy

42 F.AlVIOUS VIOLii"IIS'f S
their rapacious longings for the blood of respected
citizens and for their goods.
Once, during an occasion of lUOre than ordinary
excite111ent, Cheru bini fell in to the ha neis of a bancl
of these raving robbcrs, \vho \vere secking for
111usicians to concluct the ir revo lutionary ho\vl-
ings. 1'o them it \vas a special satisfaction to
compel men of talen!, \vho had formerly clclighted
royalty and nobilily, to administer nO\V to their
O\vn gratification. On lhe great co1nposcr firmly
refusing lo leacl thc111, a 1nunnur ran lhrough the
cro\vd, ancl he \vas taunted by half a cloicn voices
as bcing a "royalisl." Such a taunt had only to
be taken up by thc rc1nainder1 lo signify speecly
death.
At this intcnscly critical mo1nent, onc of Cheru-
bini's friencls, a 1nusician \vho had already been
forcibly enrolled by the ruffians, ancl happened
to be standing near hi111, thrust a "'vretchcd violín"
into h is unwilling hands, and by 111ost carnest en-
treaties finally induced hi111 to lcacl thc anarchist
1nob.
The \vhole of the clay thesc hvo unfortunate
musicians \\'Crc compellecl to accompany the ho\\·l-
ing fanatics; ancl \Vhen at last a halt "'ªS 1nacle in
one of the squares, \vhere a "banquet" \vas given,
Cherubini ancl his friend \vere inade to stand on
hvo e1npty barreis ancl play a\vay till thc feast, o r
farce, \vas finishcd. 1t is impossiblc to realise

CI-IEllUDINI AS ,,\ VIOLL~IST .J.3
anything more horribly ludicrou s ! That ,,·as Cheru-
bini's last performa nce on the violin.
In 1792 the talented Viotti fled to England ;
ancl in r793, just over a hundrecl years ago, \vhen
the storm had burst in all its fury, and the unfortu-
nate, good-nat ured king, at the age of thirty-eight,
1nounted the scaffold, Cherubin i had taken refuge
at the country house of a friencl, an archi tect, near
Ro uen, \Vhere he lived in tranquill ity ancl safety, ancl
o nly returnecl to París th e follo\ving year.
In 1795 he \Vas 1nacle inspecto r of the ne,vly
formed Conserv atoire, a 1nusical school ,,·hich \vas
an offshoot of thc Revolutio n, ancl fro1n that ti1nc
for,vard his position \vas assurecl. 1-Iis great talcnt
ancl persever ancc unablecl hi1n to conquer ali
obstacles , even th c hatred and jealousy of the Pctit
Caporal himself.
\ Vhy N apoleon Buonapa rte shoulcl haYe detestecl
Cherubin i, ancl pcrsecut ed hi1n in the ,,·ay he clicl,
it is not easy to i111agine. But nothing less than
the g reatest talent coulcl have resisted such noxious
inAuence.
'fhose \vho wish to see ho\v the middle classes,
bankers, Ja,vyers, musician s, &c., farcd during thc
great French Rcvolution, I 111ay refcr to n1y "Scencs
fro1n the Reign of Lo uis XVI." (London : Bentlcy
& Son, 1878).

IV
Tll E SECR ET OF PAGA~l:\1
1'1·1AT Paga nini had a g rcate r shar c of succ ess than

any violinist \Vho · prec eded hi1n \Vill be rcad ily
adn1ittcd, just as \ve 111ay say that Shak cspe arc as a
\-v ri ter of plays stoo d íar abov c any of his pred cccs-
sors. Paga nini had a natu ral gift for 1nusic near ly
as grea t as that of our "i111111ortal \Vill " for blan k
verse. rle inhe rited it fron1 his fathe r, and, pro-
babl y, also fro1n his moth er, \vho \\·ere both knO\Vn
in Gen oa to be grca t vota rics of thc divin e art.
After this gift had bcen cluly culti\·atccl, it enablecl
him to aston ish his cont emp orari es by his perf onn-
ance s on the violin ancl on th e g uitar.
Whe n \\'e ren1ember that his fathe r \\'as a clcv er
play er on the 111ancloline, the !alte r accomplish111ent
is les~ surp risin g ; but the dctails of thc boyish life
of Nicolo Paga nini are little knO\Yn, cxce pt that he
appe ars to have been severcly enco urag ed in his
1nusi c by thc said fathcr, ancl kinclly trcat ed by his
1noth er. He \vas of a highly ncr\•ous and sensitive
natu re, and \Vas taug hl, \Vhile still very youn g, by
.
his stcrn pare nt, \vh o \vas but a poor clerk in a

TIIE SECRE'l' 01._, P1\..GANlNI 45
shipping oflicc, !hat it is ncccssary to perse\·ere and
to push oneself fonvard to secure success, or e\·en
a decent living. 1'hcre \vas a cer!ain a111ount of
cunning also in his character ; and that he took
ad\·antage of eyery opportunity that offered \\·as
1nanifest already in his youth, \vhen he \\·as easily
induced, not only to forsake the 1nodest paternal
roof, but to try his hand at the gaming-table as
\vel1 as in the concert roo111.
Add to these attributes of Paganini the fact that
he \Vas \\·ell instructcd "'hen quite a young boy in
the rudiments of 111usic, co1npellecl by his relentless
father to \VOrk hard nt his exercises-too hard, in-
deed, for it injured his health nnd 1noral character
- and, later, that he had son1e of thc bcst lessons in
harmony and coinposition lhnt ltaly could afford
in his day, and \Ve find 1nuch to account for his
\vonclerfully successful carecr ancl lhe ;f;8o,ooo that
he left to his on ly son.
But bcyond nll this, \VC have becn assured by
1nore than o ne \vritcr that Paganini carried with
hi1n to thc grave an i111porta11t sccret \vhich alone
\VOL1ld explain, if not lhc \vhole of his succcss, at
least nine-tenths of it.
1'he late Professor Fétis, o( lhe Brussels Conserva-
toire, \vho had so1ne kno\vledgc of the \·iolin, and
\Vas a inost ardent ad1nirer of Paganini, \vho1n he
did not quite understand, bclieved that no such f

secret could possibly exist. \Ve shall see ! He
•
46 F 1\1\íOUS \"IOLINI S'rS
asscrted, doubtlcss \vith 1nuch truth, that thcrc is no
royal road to brilliant cxccution, and that nothing
but do,vnright hard \VOrk, co1nbincd \Vith an extra-
o rdinary natural gift, co uld account for thc \vonder-
ful i1npression Paganini n1ade in th e \VOrlcl of ntusic,
ancl on violinists in particula r.
On the other hand, \VC are re1nindccl that the
\'ioloncellis t Ciandelli, \\'hO \vas very kincl to Paga-
nini cluring one of his attacks of illness at Naples,
and \vho \\•as kn0\\'11 to be a very indifferent soloist,
th ough a good n1usicinn and orchestral player, had
g iven to him by th c g reat Genoese artiste, in return
for this kinclness, sorne insight in to th e sccrct in
questi on, and \Vas thcrcby transfonned , in less than
a fortnight, fro1n a \'Cry mediocre pcrformer into a
virtuoso of the first rank.
Let us acld to this, that a1nong the \·cry ÍC\'" persons
to \Vh o1n Nicolo Paganini gave any instruction, the
young girl, Signora Calcagno, of Genoa, aslonished
thc 1uusical \VO rlcl in that part of Europc by the
bolclness ancl brill iancy o f her playing; and so1ne
time after\vards, th c late C:unillo Si\'Ori, one of the
fincst, if not the very finest violín playcr C\'Cr heard,
and of " ·hom 1 shall speak again in this volu1ne,
also made a great and lasting i1npression.
'fhat this secret existed 1nore in thc actual exe-
cu tion than in thc co1nposition of thc \VOrks
perfor1ned 1nay be takcn for granted¡ for, on scru-
tinising the co1npositions of Paganini, it is clear that

T I IE SECRE 'f OF P,\G,\, T:\I 4.7
he hacl not a grcat gift of mclocly, such as \Ve fincl

so conspic uo us in the popula r compo scrs oí Italy.
r.1ost of his the1nes are borro\vecl, and upon these
he scorecl \\'Onderfully cffecti\'C ''ariati ons-a stylc
110\v alrnost gonc out of fashion . \Vhcn he is en-
tire ly origina l in this rcspect , he is oftcn very
1ncdioc re ¡ b ut he is ahvays clrarnat ic.
1n orclcr to exhibit in as clear a light as possiblc
thc nature of this secret -for sccret lhere certain ly
\Vas, as ali 1ny rcaders \vill e\'entua lly clisco\·e r-it
is neccssa ry to look a little into the lifc and sur-
roundin gs oí thc great Gcnoes e vio li nist. It \vi ll
be founcl that thc laborio us and highly 111critorious
\VOrk of Guhr, of Frankf ort, \\'ho atte1nptecl to ex-
plain hi m, is to a grcat cxtent bcsicle thc 111ark ¡ and
that the absurcl scoring of the double har111onics by
thc editors of the chcap cdition s of Paganin i's
\\'Orks is 1ncrely theoret ical, quite in1possible in
practic e, ancl not at a li as Pagani ni playccl the1u.
1t has 1norc than once bcen assertccl that our
"\Vily Italian," as he \vas so111cti1nes callcd, took his
ne\v ideas fro111 thc \vriting s of a pupil of Corclli,
named Locatc lli, \Yho 1norc than any othcrs \\'ent
•
bcyoncl the teachin g of his 1naster. But lct any of
111y reaclers takc son1e of these con1positions ancl
co1npa rc then1 \vith those of Paganin i, ancl they \1·ill
soon perceiv e that, though !he latter 111ay possibly
ha\'e seen the1n, he has certain ly not i111itated the1n
at ali. In Paga nin i's 1nusic the phrasing is most

48 FAlVIOUS VIOLINISTS
natural, and eminently suited to the instrurnent,
\vhilst Locatelli see1ns to have labourecl to place
the fingers of the Jeft hand in the 111ost difficult
positions t hat bis lin1ited acquaintance with the
resources of the violí n could possibly conceive, ancl
to have cultivated as 1nuch as he co uld \vhat has
been hu111orously tenned "the art of playing out
of tune."
Fancy a cotnposer inserting at the head of a
piece of music the \vorcls, " Easy to read, difficult
to execute," as 've read on one of Locatelli's pieces !
What is the use of 111aking music unnecessarily
difficult ? The nightingale, the lark, and t he thrush
are conscious of no dif1iculty; nor \VÍll the virtuoso
\vho experiences clifficulty in his perfonnance ever
entrance his p ublic . W hat 1nost astonished the
audience of Paganini was the consumrnate ease
'vith which the 111ost c\ari ng passages 'vere
executed.
I t is custon1ary to look upon Paganini as the
creator of the modern school of violín playing.
This is not at ali a just notion. In tl1e first place,
\ve n1ust re111en1ber the distinguished 1nen \Vho i1n-
1nediately preceded hün, atnong 'vho111 the tTiore
conspicuous \vere Violti, I~ocle, Gior no,vick, IS::reut-
zer, &c. ; and especially 111ust \Ve note the con-
te1nporaries o f the Genoese artiste, 1nen \vho \vere,
like himself, ali co1npeting at the sanie ti111e on
the concert p latforn1 for public favour, and among

Tl-IE SECRET OF PAGANINI 49
\vhotn the greatest ' vere D e Bériot, Spohr, Lafont,
and Lipinski.
1f \ve glance at the careers of these men, ancl the
compositions \Vhich they have left us, it is very casy
to see that Paganini \vas not quite so 1nuch of a
pioneer as 1nany persons appear to bclicvc. That
he had ccrtain \vell-1narked characteristics, ancl that
bis perfon11ance \vas in the highest degrec dra1na-
tic, cannot be clen iecl; and \vhether \VC look at his
co1npositions, or consider the stylc in \vhich they
\Vere performecl, it is i1npossible not to a\vard him
the very first place among the violinists of his
period. Ali other performers, even the great Spohr
and the charming Lafont, \vere utterly tame in
comparison ,,·ith him.
Louis Spohr \vas born the same year as Paganini,
1784 ; but De Bériot \vas much younger, having
been born in 1802 ; and it \vas very fortunate for
the lalter that he n1ade his appearance in London a
.feiv ;1ears previous to tite a1'rivaL o.f Paga11ini.
'fhe three pieces of music \vh ich contain tl1c
wlto/e secret of Paganini's style and 1nanner of per-
for mance 1nay be brieliy enumerated as Le Strcggltc,
the Rondo de la Clocliette, and the Carnaval de Ve11ise.
T hey were evidently, for many years, his favourite
solos; and nearly ali his other \VOrks 1nay be lookcd
upon as 1nore or less inferior imitations, or repro-
d uctions of the1n . Al! that he kne\v of the violin,
everything that he did, is contained in these three
o

50 FfiIOU S VIOLir-.'ISTS
\VOrks, \vhich have, fort unately, come do\vn to us
con1pletely intact, just as he left the1n in MS. They
\verc sold to the \vell-knO\vn publishers, Schott
Brothe rs, by the son of Pagani ni, and have been
printed \vith extrem e care.
~·fany spurio us co1upo sitions1 includi ng the Mer-
veille de P aga11ini, \vhich appear ed in G uh r's book,
have been publish ed from ti1ne to tiLne; but Paganini
denied the authors hip of them in his lifeti1ne. \Ve
\VOnder what he \VOulcl have said hacl he been able
to sec the notation of the double -harmo nic passages
to the Non piu 111esta, or Le Stregglie ancl other
\VOrks, as givcn in sorne of the Germa n edition s of
his 1nusic ! They \VOuld ccrtain ly havc raisecl a
s1nile on his pale, 1nelancholy counte nance, 1nore
sarcast ical than any \vhich he usually bcsto\v ecl on
his audien ce.
Ali this nonsensical scoring is, of coursc, absent
from the real edition of Pagani ni's \vorks publishecl
by Schott Brothe rs.
'fhe mother of Nicolo Pagani ni once hacl a drea1n
\vhich she related to her young son in these tenns :
-" i\'Iy child, you \viU be a great musician. An
angel radiant \Vith beauty appear ed to me during
the night, and promis ed to accom plish any \vish
1 1night make. l requcsted tluzt you shottld be the
greatest of ali violinists, and the angel granted that
my desire should be fulfillcd ."
Wheth er th is little speech \vas imagin ed for the

1'1-IE SECRET OF PA.GANINI 51
sake of encouraging her son to \VOrk, and to enable
him to endure the harsh treatment of his father,
or whethcr it \Vas a real dream-\\•hich is more
probable- a sort of instincti,·e foreshado\\·ing in
the mother's mind of her child's future career,
ahvays present in he r thoughts, might prove a
subject of discussion ¡ but it is certain that the
angc l "racliant \Vith beauty" dicl keep thc pro1uise
in thc 1nost perfect 111anner 1 for Nico lo Paganini
\vas, \vithou t cloubt, the 111ost \vonclerful violinist of
the first half of this century.
Antonio Paganini, his father, "·as, as \ve inti111ated
above, a ship-broker's clerk, \vho \vas passionately
fond of music and played on the mandoline. \Ve
know littlc about him, except that he soon per-
ceived his chilcl's gift, and made thc naturally
clelicatc young creature study prematurely, and so
hard that he turnecl him out a very tolerable soloist
at six years of age !
The boy certainly gave evidence of very pre-
cocious skill, and \vas, even at this early pcriod of
his life, fond of striving after peculiar effects, calcu-
lated to astonish his hearers.
But his father's kno,vleclge of music \vas rather
limited, and he could do no more than inculcate
the rudest elements of the art. He therefore in-
ducecl the leader of the orchestra at the Genoa
theatre, a violinist named Cervetto, to give the child
sorne inst ru ction during his leisure mo1nents; and

52 F AMOUS VIOLINISTS
hvo years later, \vhen eight years of age, the young
Paganini was placed under Giacomo Costa, \vho
\Vas director of Church music at Genoa, ancl a very
able violinist. Costa gave him lessons for about six

1nonths, ancl 1nacle hitn play occasionally in the
orchestra cluring divine service. At the same tiine
the composer Gnecco befriended the poor !ad, and
gave him sorne hints on harmony.
It has been stated that the a111bitious young
Nicolo actually composed his first piece- a kind of
sonata, nO\V lost like many other of bis composi-
tions-\vhe n he \vas not quite ninc years of age.
And fro111 thc very first he began by playing bis
O\vn music, a habit that he adhercd to throughout
bis entire career.
Thus, in the first concert in \vhich he ever
appeared, \vhen about nine years old, he performed
sorne variations \vhich he himself had composed on
a French air of the period. 'fhis concert \vas given 1
1
in the theatre at Genoa by l\VO \vell-kno,vn singers,
\vho after\vards sang for bis bcnefit in a second
concert.
So we see that instinct Jed the Genoese artiste
from the very outset of his career to perform his
own music. lf he took up any other compositions,
as he once remarked in after-life, he had to arrange
them to suit his O\Vn style of perfonnanc e, a ncl this
\Vas quite as n1uch trouble to hin1 as \Vriting a ne\v
piece. Once, in order to picase the Parisians, he

'l'IiE SECRET OF PAGANL.'11 5$
atte1npted to play the Seventh Co11certo of Pierre
Rode, and, \VC are assured, the perfonnance \vas
beneath mediocrity !
Ali these little details n1ust be taken into account
to enable me to elucidate the object I have in vie\v,
namely, to exhibit the cause of Paganini's \vonder-
fully successful career; in oth er \vords, to make
known his secret.
Generally speaking, \\·ben a student of music pro-
ceeds from one professor to another, if the latter is
really the more eminent in his profcssion, all the
teaching of the foriner is laid aside or forgotten,
but not entirely lost. It \Yas no doubt the l\vang-
ing of his father's mandoline \vhich originated
Paganini's love of pizzicato passages, and led to his
proficiency as a guitar playcr, for \vhich instrument
he forsook thc violin for about three years.
When t\velve years of agc his father took hitn to
Alessandro Rolla, \vho was a \VCll-kno\vn professor
of the violin at Panna ; and although the latter
saicl that the boy already kne\v ali he coulcl teach
hi1n 1 it \vas agreed that he sho uld re1nain \Vith him
as a pupil for a hvelve1nonth 1 during \vhich titne
he studied the art of composition under Ghiretti
and his pupil Pacr (after\vards a celebrated co1n-
poser of operas), \vho \vas very kind to hi1n; and
in 17971 when thirteen years old, Nicolo Paganini
returned to Genoa.
There \Ve have ali that is kno\vn regarding the

54 FAMOUS VIOLINIS'l'S
teaching of the boy Paganini. Instruction ceased
\Vhen he \vas only thirteen ; ali the rest is due to
his O\vn initiali\·e, to his natural gift for music, and
his indomitable determination to shine as a brilliant
vi1·t1toso. Nevertheless, short as his career of in-
struction \vas, it laid do,vn a good, healthy founda-
tion ¡ \\IC can feel the influence of thcse invaluable
lesso ns o f Ghiretti and Paer on ahnost evcry page
of 111l1SiC that Pagani ni \Vrote.
'fhere have bee n so 1nany crrors, and clO\Vnright
false hoocls, published about Paganini, 1nany of
\vhich he quietly allo,vecl to circulatc without any
contradiction-b ecause tl1e "\vil y Italian" kne\v
perfectly \vell that they \\'Ould only serve to
advertise his name, and to dra\v crowds of people
to his concerts- that it is no easy task to get at
th e real 1nan as nature 1nadc hi1n and art perfected
hin1.
'fhe great difficulty of Paganini's 1n usic is gener-
all y uppermost in n1en's 1ninds \vhcn this genius
of the violín happens to co1ne fonva rd in conver-
sation ; but though it \vas, cloubUess, extremely
d ifficult, and quite inco1nprehensibl c for thc pcriod
in \vhich he lived, \vhen 1nost violinists, like the
immortal Corelli, rarely \"entured beyond the third
position, it loses much of this quality \vhen com-
pared \vith the music performed by many 1nodern
violinists. I could point to pieces by Prume,
Wienia\vski, and my old friend, the late Henri

'l'IIB SECltET OF PAGANINI 55
Vieuxtemps, among others, that are quite as

clifficult as anything that Paganini \vrote. Ali
th esc \vere men \vho clelighted n1orc to astonish
than to charm. 1ndeecl, there are iuany vi1·tuosi
\Vho find it difficult or impossible to charm, and
for the1n such 1nusic is most appropri atc.
As the art of violin playing, like ali other branches
of art, progress es year by year, so at the prcsent
clay \Ve fine! a notable 11u1nber of artistes that have
ventured to play the co1npositions of Paganini in
their concerts , \Vho, had they livcd fifty or sixly
years ago, could not ha,·e attemptecl such a thing.
This may be taken as a \Vord of compli1nent to our
n1odern professors, so1ne of \vho111 are really giants
in the land.
Nevertheless, l have kno,vn a si1nple but chann-
ing melody played by a pretty girl of eighteen
summers , \Vho really could make her violin ,·ibrate
in accordan ce \vith the poetry in her heart, bring
forth bursts of ap plause as loud an cl prolonge d as
\VCrc cver a\vardecl to the most in tricate composi-
tions of the greatest masters. l\f usic, as the \'Oicc
of !ove and nature, knO\VS no cliA1culties, as 1 have
bcfore hintecl ; but a little of thc demon in it, nO\\I
and then, does no hann.
No\v Paganini, from the very bcginning, \Vas ali
de1uon, not only in his dramatic playing, but in his
unusuall y weird appearan ce. If he ever failed, it
'''ªS precisely in those cantabile passages ,,·hich are

56 F A.tv10US VIOLI NISTS
necessary to connect together the outbursts of
rapid and passionate execution. 'fhus he some-
times displeased the ::-.1eapolitans and Venetians,
\vho from birth are inured to their lovely popular
melodies and the luscious songs of !he gondoliers.
'vVe have seen that by thirteen years of age all
tuit ion, as far as 1nasters are concernecl, hacl ceasecl
for hin1 ¡ and everything beyoncl this carl y instruc-
t ion is clue to his O\vn personal eJTorts.
It is a lesso n to those \vho imagine that a 1naste r
can do everything, ancl \Vho constantly fly from
one teacher to another in t he hope of being 1nacle
perfect by others insteacl of perfecting the1nseh•es.
Aide /()t~ et Dieu t'aidera, shoulcl be the 1notto of ali 1
young violinists. ~Iasters are indispensable, but
1nost depends upon the student's O\Vn efforts, and
ali does not consist in conquering mcchanical
d ifficu 1ti es.
Let us see \vhat Paganini did in thc \vay of i1n-
proving hi1nself behveen th e yea rs of thi rteen and
hventy-fo ur, \Vhe n he publishecl his curious Vt·utri
quattri Capríci (Twenty-four Caprices), \Vhich had
no 1norc success with the violinists of that clay than
the outrageous fantasías i1naginecl by Locatelli, of
\vhich mention has already been maclc.
\:Vhcn he returnecl to Genoa in 17971 he began
at this carly age to \vrite his first con1positions for
the violín, and to practise assiduously every day.
As ti1ne \vent on he wrote his music so clifficult that

57
..
TiiE SECRE1' OF PAGANINI
it rcquired ali his energy to master it, and he \vas
occasionall y seen or heard to try the same passage
in a hunclred different ways, until he had discovered
•
the best means of performing it; so that at the end
oí the day he used to fall in a state of co1npletc
exhaustion upon a couch, \vhere he \vould líe quite
motionless for a considerable ti1ne.
1-Iis ambitious father no\v determined upon taking
him on a professiona l tour through the principal
to\vns of Lombardy.
The science of the music agent was not so cle-
velopecl in those days as it is no,v, and a prívate
individual coulcl " go 011 to ur," on h is O\v11 account,
\vithout ali those risks and troubles that have
cropped up as competition and an ever-increa sing
nu1nber of "\\•anderin g 1ninstrels" ha,·e 1nacle their
appearance . A man of so1nc talent could make a
co1níortabl e income, if not a large fortunc, in the
principal to,vns of his O\Vn country. No\v the
grcatest of artistes must \Vancler over thc \vholc
\VOrid.
'fhough Paga11i11i \vas yet a child, this tour in
Lon1bardy ,~vas successful enough to irnpress hi1n
\vith the idea that he 1night just as \Yell n1akc such
a journey by himself alonc, and so shake off the
disagreeab le trammels of an exacti11g parent. 1-fe
had been flatterecl ancl pan1pered by ali \vho camc
in conlact \vith hi1n, and applauded to the skies;
so th e precocious lad, \vho \\·as not a bad-looking

58 FAl\IOUS VIOL:U'IISTS
youn g fello\v, took thc very first oppo rtuni ty of
freeing himself íro1n the restraint of a fathe r \vhon1
he drea ded rath er !han loved.
As a g reat deal of his mus ic has bccn lost, it is
impossible to say \vhat he playcd on these occasions.
\Ve are certa in of onc thing only, that it \vas his
O\vn com posi tion; and \Ve shall see ho\v rnuch this
enha nced his repu tatio n and fostcred success.
The re is no harn1, as man y peda nts have pre-
tended, in an artiste playing his 0\\'11 1nusic, pro-
vide d it is good, and givcs peop le satisfaction. The
illustriou s Rossini long ago said that he o nly recog-
nised r.vo kind s of nius ic-tb at which is good, and
that \vhich is bad. In Paga nini' s case it was bctter
than any violin 1nusic then gene rally hear d, and
gave n1ore than satisfacti on, for people \vent into
deliriu111 abou t it-o r abou t hin1.
He in grea t measu1·e crea ted the difficulties \vhich
he performed, and later in lile he rarely or ever
stud ied. Having done so 111uch >vhen yo ung, he
coul d then afford to repose. But ha,·ing once
accuston1ed hi1nself to the mos t brilliant and diffi-
c ult oí rnusic, it \vas to him, evcr after \vards, very
little more than child's play.
The most florid and effective passages in his
1nus ic are so natural, so perfcctly suite d to the
instrun1ent, that it is easy to in1agine litUe labo ur
\VOuld have been requ ired in arter-life to keep them
up. In this respect he differed from 1nos t violinists,

'l'I·IE SECRET OF P AGAL'IINI 59
ancient or modern. He was the first to deYelop
the full resources of the violín as a solo instrument,
and his successors have largely profitcd by his •
labours.
As a solo player Paganini was the grcatest violinist
the 'vorlcl has kno,vn, or probably ever \VÍll knO\V ;
because, jo ined to his \vonderful faci lity of execu-
tion and pcrfect kno,vledge of hannony, he pos-
sessccl a natural gift for 1nusic ancla peculiar nervous
organisation \vhich enabled hi1n to carry it out to
the fu llcst extent. Elis long fingers \vere aclvan-
tageous for extended passages, and enablecl hiln
to take tenths and other intervals \vith grcater ease
than violinists in general can co1nmand. They also
enabled him to rise \vith facility in his double-
stopping to the highest notes of the instrument.
His ear \vas most sensitive, and hence bis intona-
tion \vas marvellously just. Sometimes his ncrvous 1
frenzy got thc better of hitn, ancl his harn1onic
passages are said to have gratecl on the nerves of
the ladies a t the court of the Princcss Bacciochi,
at Lucca, \vhere he frequently played during his
appointn1ent there as organiser of concerts and
leader of the orchestra.
He \vrote all his pieces in the easiest keys of the
violín ; but as he often mounted his A by half a
tone, to make his violín more brilliant, tl1e accom-
panimcnt was, of course, in a different key.
1-Je used very thin strings, not only because he

60 FAr.1 ous VIOLINISTS
found they suited his Gua rnerius violin and gave
a finer tone, but also bccause they rende red the
pizzicato passagcs easier to perform.
He 'vas very clever and effective \vith his pizzi-
cato, and so1neti1nes perfo rmed it \vith both hands,
as in one of the variations of his Carnaval, \vhich is
entircly execu ted in this mann er. His doubl e har-
monics, \Vhich have intrigued ali mode rn violinists
\vitho ut exception, \Vere played on the bridge, sul
j1011ticello; he indicates thcm in the score by the
\vord "armo nioso ," and he has unintentionally !et
out lhe secret in his \vonde rful piece, Le Stregg!te
('fhe \Vitches), but nobod y see1ns hither to to have
discovered it. He had acqui red a \VOnderful dex-
terily in this respec t; and these harmo nic tones
can be played evcn a lillle distance from the bridge.
By long practice a stroke oj' tite bO'lv can be ac-
quired that \vill produ ce the harmo nics of the notes
stopp ed by the fingers. 1t is not, in this case, the
finger, but thc bo\v that rests lightly on the strings,
to produ ce this hanno nic effect. lt is often more
surpri sing than agreeable. In this '"ªY he played
the passages in doubl e hanno nics in ali his pieces
\vhere they are indica ted, and the curious ec/10
effects in the Rondo de ia Cloc!tette and the Carnaval
de Ve11ise. De Bério t imitated this peculiar effect
to a certain exten t in the secon d variation of his
beautiful Nintlt Air Varié, but he separa ted the
two notes instead of striking them bolh togeth er.

TI·IE SECRET OF P AGANI NI 61
Wl1en Paganini used staccato passages, \vhich \vas
not often, it \vas invariably \vith the jumping bo,v,
not tl1e stiff classic staccato \\•hich forms such a
beautiful ornament in modern violín playing. This,
as \vith so1ne other e1ninent violínists '"e could
mention, he had never acquired. In perfonning
a staccato scale \vith the ela::;tic or jumping bo,v, he
occasionally failed, according to the evide nce of his
conten1poraries, in 1naking the stroke of the bo' v
and fall of the fingers coincide exactly.
He had devoted much attention to the fourth
string-urged to do so in the first instance at the
court at Lucca-and played whole pieces on this
one string alone, making use of the natural and
artificial harmonics to Jengthen the scale. This
\vas an entire novelty. In this respect he has been
niuch imitated by 1nodern p layers. In De Bériol's
Second A ir Varié, one of the most beautiful and
effective that he ever \vrote, the the1nc and one
variation a re entirely \vritten fo r thc fourth string,
,~v hich is raised half a tone for thc occasion, just in
the style of Paganini.
The Genoese artiste's knowledge of thc violin \vas
not superior to fuat of his younger contemporary
just named. On the contrary, the double-stopping
in many of De Bériofs Concertos and his harmonic
effects are occasionally finer than anything that has
issued fro1n the pen of Paganini. l\1oreover, in the
E t"ghth Air, and his Seco11d Concerto, De Bériot 1nakes

62 FAl\IIOUS VIOLI~TJSTS
use of a style of artificia l harn1onic \vhich appear s

to have been q uite unkno\vn to Paganini ¡ at least,
\ve find it in none of his \vritings.
In chords and arpegg io passages, octaves and
tenths, there is nothing particu lar to be said as
regareis the great Italian violinist, except that he
was ahnost a pionee r in this kincl of execution, or,
at lcast, the first to make eficctive use of it in the
concer t room. The same remark 'vill hold good
for Paganini's music as co1npared \vith that of
Ernst. The Jatter is very elegant and extre1nely
brillian t; but in this respect he is but an i1nitator
of the ltalian. His Carnav al is very effecti,·e, more
beautiful, perhap s, than that of the latter, but
Paganini's affo rcls the broaclest tone ancl most
dra1nat ic sty le. That of Ernst is some,vhat thin
in compar ison. 'fhe same 111ay also be said of
Paganini's Su11atas1 especially No. XII. (of Alard's
collection). In lhis, as in ali his other music, a
fin e broad tone is bound to con1e out in thc hands
of an artiste. 'fhis is rather remarkablc, because
it has been said that Pagani ni's tone \\'aS delicate
rather than fine, and that in fulncss of tone he \Vas
surpass ed by BaiJlot, De Bériot, and, perhaps, by
Lafont.
Pagani ni playecl upon a Guarne ri violín, which
respon ded . brilliantly to ali the varied effects to
\Vhich l have alludecl, though, from \vhat \ve have
learned , it \vas not absolute ly clevoicl of a slight

THE SECRE'l' OF P AGAJ"IINI 69
nasal quality, \vhich displeased sorne of his hcarers
\Vhen, in one of his nervous frenzies, he glidcd
slo,vly from one note to another. It is saicl that
an uncouth hissing cffcct \Vas thus producccl that
\Vas anything but pleasant.
'fhe 1nain success of his brilliant perfonnanc e
\vas due to the fact of his \Vriting his solo 111usic in
the keys best suited to the violín, ancl so 1naking
thc chords and passages !he most natural and
cffective possible. Great as '''ªS his execution, he
coulcl only shine in playing his º'"º 111usic-this
in spite of sorne \VOnclcrful stories that have been
told as to his playing at sight, and the fact that for
sorne fe,v years he conductcd the court orchestra
at Lucca.
1 think 1 have no\v sho,vn in \vhat consisted !he
secret of Paganini, so far as actual music is con-
cerned. H is peculiar appearance and cunning
character had, of course, 1nuch to do with his
success. For a fuller account of his \VOnclerful
career 1 1nust refer to 1ny volu1ne1 "Biographical
Sketches of Celebratecl Violinists."

V
THE VJOLIN DAYS OF BALFE
"THE most popular of our English co1nposers is

an Irish1nan," said a gentleman, \vho 1nust have hacl
a little Irish blood in his veins also.
'vVith regard to popularity nothing could be more
true. The fiowing melodies of Balfe and his effective
operatic music "·ill live for many long years yet,
probably as long as those of l\Iozart or Rossini.
He got his inspiration from the melodious Italian
school. The young Bellini \Vas his contemporary
for a short tin1e, and his 1nodel for song. Hence
the ren1iniscences of L a So11na111b11!a \vhich occur
in the Maid of Artois and else,vhcrc. 1-Ie relied
for his orchestration upon a goocl knO\vledge of the
successful \vorks of his day, and a natural talent for
composition.
Balfe \vas a far more complete musician than
many of our contemporaries appear to believe.
He certainly had genius, and \vhat he may have
lacked in this respect he maclc up by persever-
ance and hard \vork, actuated no doubt by ardent
ambition.
6;

THE VIOLIN DAYS OF BALFE 65
His caree r is a very interesting one. vVc have
no violinist eithe r in Engl and or abroa d who has
ever prod uced so popu lar a \VOrk as the Bolm nian
Girl, '"ith the sole excep tion of Auber, the cele-
brate d comp oser of Fra Diavo lo and Jlfassa11iello,
\vho, like Balfe, also bega n life as a \'iolin playe r.
\ Ve O\ve the long list of opera s '"hich have issued
from Balfe's lyrica l pen to the circuinstance that
he \vas the son of a violinist, \vho soon recognised
a passionate !ove for 1nusic in h is child.
Born at Dubl in in 1808, ~Iichael \Villia1n Baile
\vas, at a very early age, put throu gh a cours e of
violin instruction by his father, \vho broug ht him
on as far as he \Vas able- and at a time \Vhen
his delicate healt h made the task of teaching ex-
tre1nely irkso1ne, but it \vas a labou r of love -and
then hanclcd the boy over to a band1naster na1ned
~leadO\VS. But a little later he \vas trans ferre d to
Rooke, the comp oser of a once \vell-kno\vn opera
called A?nelie, or the Love Test.
Like many emin ent violinists \vhom ,,.e coulcl
ment ion, Balfe 1nade his first publi c appe aranc e at
the age of eight, \vith a violin that appe ared nearly
as large as himself. It \vas in i\'Iay 1816 that Rooke
brou ght hiin out at a conc ert in Dublin, \Vhen the
lad perfo nned, \vith rema rkable succcss, a co111posi-
tion by !viayseder.
This appe aranc e had the effect oí attrac ting the
atten tion of certa ín fashionab le patro ns to the
E

66 FAl\tlOUS VIOLil'IISTS
you thfu l viol inis t; but muc h doe s not seem to have
co1ne oí it.
'fhe boy soon pass ed out of the hand s of Roo ke
to thos e of Jam es Bar ton, and the bett er kno\ vn
Alex ande r Lec, fro1u \vhon1 he obta ined a very fair
kno, vled ge of thor oug h-ba ss. At the sam e time his
curi osity attra cted him to seve ra! othe r orch estr al
instr urne nts, and to the pian o.
At nine year s of age Balf e com pose d a little song ,
whi ch \vas sung by the cele brat ed l'II ada111e Ves tris
in one of her succ essf ul char acte rs. Yea rs afte r-
\Vards, but \vhil st still qu ite you ng, h e used to cra\v l
into the gall ery of a Lon don thea trc to hcar his
O\vn song , and reve l in the appl ause 'vhi ch in-
vari ably follo,vcd it. lt 'vas published uncler the
title of The L over s Afistake, and \Ve beli eve that ali
Balf e got in the \vay of rem une ratio n \\·as a parc e!
of t\ve nty copi es, to give a\vay, or scll, as he 1night
thin k prop er. Ver y diffe rent wer e the circ um-
stan ces n1any year s afte r,va rds \vhe n he com pose d
that beau tiful song \Vith Fren ch \VOrds, Si' tu savais,
gen eral ly kno\vn as "Balfe's Air," and so pop ular
even on the Con tine nt, that one day the coin pos er
bein g intro duc ed to a Pari sian lady of fash ion \vho
spoke a li ttle Eng lish, she inqu ired, "Ar e yoie Mr.
Balfe oftl u Air ?"
For abou t six year s the lad cont inue d to stud y
\vith assiduity, occa sion ally acce ptin g an eng age-
men t to play at con cert s. At Dub lin he \\<IS alre ady

TI-IE VIOLIN DAYS OF DA LF E 67
loo ked up on by thc pub lic as a vio lin ist of
est ab-
lish ed rep ute , dis tin gui she d for the cor rec tne
ss and
intelli gen ce of his pla yin g, no lcss tha n
for the
gra ce and fee lin g he thr e\v int o the slíg hte
st pas -
sages, \vh cn h is exc cll ent fat her clicd. Th is
\Vas in
1823 ; Balfe \vas the n onl y fifteen yea rs of age
.
Ch arl es Ho rn (so n of the com pos er), a well-k
no\vn
singer , \vas in D ub lin at the titne, and he hac
l hea rd
you ng Ba lfe pla y a violín sol o. He wa s on
the eve
of his dep art ure for Lo ndo n, \vh en thc boy
pai d
him a visit, an d beg ged to be tak en the re \vit
h hi1n.
Ho rn pro pos ed tha t he sho uld be art icle d
to him
for sev en yea rs, and the pro pos itio n \vas acc
ept ed.
T he fut ure com po ser of the Rose ef CastiU.
e, the
Bo/ic11tian Girl, and the 1Waid o/ Art ois soo n
go t a
pos itio n in the orc hes tra of Dr ury La ne for
the so-
cal led Or ato rio Co nce rts \Vhich \ve re giv en
dur ing
Le nt. He ros e rap idl y to the ran k of first
violín in
tho se con cer ts, an d pla yed sol os on alt ern ate
nig hts
\Vith rvrori, alr ead y an e1nine nt per for me r.
Th ese
violín sol os \Vere the mo st attr act ive ite ms
in the
progran11ne.
Th is \Vas a ver y hig h positio n for so you
ng a
mu sic ian , and his am bit ion led him to \\·o
rk har d
in ord er to kee p it. Vvhen the Or ato rio Co
nce rts
cea sed , Ho rn pro cur ed for his you ng frie
nd an
eng age me nt in the Dr ury Lan e orc hes tra
dur ing
the the atr ica l sea son.
Th e \vi tty and jovial 1"om Co oke , qui te a cel
ebr ity

in his <lay, \Vas then conductor of the inusic at
Drury Lane, ancl he soon recognised the remark-
able capacity of the youthhil violinist. Many a
tilne, cluring Cooke's absence from inclisposition or
other causes, d icl young Balfe \Vie ld the bdton, ancl
it is said that he quite eclipsed his conductor on
these occasions.
Not long afler\vards Baile began to study under
C. F . Horn (the father of thc singer \Vho had
brought him from Dublin), organist of the Chapel
Royal at \.Vinclsor, and a clever composer. Under
his able tuition h e acquirecl in a vcry shor t ti1ne a
truly n1arvellous ta lent for co1npositio11, and could
con1plete a full and effective instru1nenta l score to
any melody \vith rc1narkable ease ancl rapidity. \Ve
kno,,· that lhe celebrated i\Iozart scored most of
the overture to the Flauto JJl!agzi:o \Vhilst playing a
game of skittles. Balfe appears to have possessed
a sin1ilar faci lity.
With ali this, his life in London \vas not precisely
a bed of roses. !l'Iore than once he \vas the dupe
of impostors, \vho macle use of his early talents as
a composer to serve their own ends, and he had a
fair share of hardships and privations.
The men1bers of the Drury Lane orchestra \vere
a lso engaged for a series of concerts at Vauxhall
Garclens, then a fashionable subui•b 'of London. 1t
was during these engagemen ts that Balfe so111eho\v
discovered that he possessed a tolerably good bari-

TIIB VIOLIN DAYS OF DALFE 69
tone voice. It \vas a voice of considerable compass,
but of only moderate power and quality. :-Je,·er-
theless he determined to cultivate it, and \vith this
object he \vent through a course of vocal studies.
The result of this 'vas, that in about a year he
clecicled upon trying his fortune as a singer and
actor. He made his first atte1npt in this direction
ata theatre in Nor,vich, as Caspar in Wcbcr's opera,
Dcr F1'cysch11tz. The attempt \vas a failurc- not
clue entirely, ho\vever, to his \vant of expcrience
and vocal po\ver, but partly to an a lann of lire
during the incantation scene.
So Balfe returned to the orchestra at Drury Lanc,
though he still rctained his idea of co1ning out as a
dra1natic singer. But the thought of 1naturing his
vocal and theatrical studies under thc genial Italian
sky entered his 1nind at this period, and he began
to stucly the French and Italian languages.
His n1ost ardent desires \Vere cvcntually rea lised
by a vcry ro111antic freak of fortune, cntirely clue to
his violin.
Being introduced at a Iittle musical party to a
\vcalthy I talian nobleman, Count llfazzara, this gen-
Ue1nan \Vas not only enchanted by Balfe's violin
playing, but found in the young Trishman such a
striking likencss to a dearly-loved son whom he had
recently lost, that he became a most kind friend
ancl patron, taking young Balfe to Italy \vith him,
introclucing him on the '"ªY to Chcrubini at Paris,

70 FAMOUS VIOL INIS1'S
and finally placing hin1 under tbe tuition of Fre-
derici at J\!I ilan.
Balfe \Vas tben on ly eigbteen years of age. 1t
\vas at J\!Iilan tbat he made his maiden attemp t at
d ramatic composition, and laid the founclation of
his subsequent successful career. His violín \vas
no\v laid aside for tbe pen.
But in spite of the satisfactory success of bis first
piece, a ballet, he founcl himself compelled to again
try bis fortune as a n operatic singer. To follo\v the
ulti1uate caree r of the celebrated composer \vo uld
occupy a large volu1ne if \Ve \\•ishecl to trace him,
step by step, through his friendship \vith Cherubini
and Rossini, his singing at the Italian Opera in
P aris, his interesting career in Italy, Gern1any, and
England. Balfe the violinist 110\V entirely 1u ade
'Nay for Balfe the singer.
We are inforn1ecl on very good authority that
Rossini ' vas so surprised at Balfe's singing of the
L argo al factott~1n1 in JI Barbiere, that he ind uced
Gallois, the r ich banker, to support him for one year
\vhilst he \Ven t through an a rtistic training under
the celebrated B ordogni (author of the beautiful
studies for Contralto, \vh ich \vere originally com-
posed for Balfe), and then got hi1n an engage1u ent
as bar itone for three years at the Italian Opera in
Par.is, at the rate of [,600 for the first year, f,800
for the second, and [,r ooo for the third. Balfe \vas
then little over t\ven ty years of age.

1'1-IE VIOLIN DA YS OF DALFE 71
Henceforth his carcer as an operatic singer ,vas
very successful ; but his ardent a111bition to succeed
as a composer \vas as strong as ever. Henrietta
Sontag and the channing and clever l\!adaLne
l\>falibran (soon to be the \vife of De Bériot) sang
often in the same operas \vith him. l\!alibran was
instrumental in helping hi1n to bring out an opera
in London, and his Siege of Roc/1clle (October z9th,
1835) \Vas a phenomenal success; it ran for se,·enty
nights. The Jf!Iaid of A rlois, in \Vhich l\Ialibran
sang with such 1narvellous effect, \Vas still more
successful, bringing into the treasury J;56<)0 in the
coursc of the first fortnight.
The violín \vas by this time enclosecl for e,·er in
its case, never again to serve its fonner 1naster,
\vho1n it hacl thus aidecl, like sorne enchanted talis-
man, up the laclcle r of farne. No, not 11ever ! One
of his last violín exploits occurrecl in llaly, at Pavia,
\vhere the \vell-knO\Vll baritone, Signor Balfe, \vas
engagccl to sing thc part of P haraoh in Rossini's
Mosé in Egitto; but another part \vas unexpecteclly
assignecl to hin1. 'fhc concluctor's health fai ling at
th e tin1c, Balfc \vas depu!ecl to produce the opera
in question. At rehearsal the violins hacl been up-
braided on account of their careless execution of
a certain passage, \vhen the leader exclairned, in-
dignantly, that it \vas "no violín passage at ali."
"Not a violín passage ! " retorted Baile. "Do
you i1nagine that Rossini did not kno\v \Vhat he
\vas about ? "

FAMOUS VIOLI NISTS
To \Vhich the leading violín i111pertinently replied,
11
You come here ancl p lay it, and I \vill go on and
sing for you."
Wh ereupon Balfe snatched up a violin, and
played the passage so skilfully that it e licited the
unani1nous applause of a li present.
The ro1nantic career of Balfe, and his \VOnclerfu I
success in Lonclon, París, Milan, Vienna, Berlin,
ancl St. Petersburg, fo rn1 a 111ost interesting study,
\Vhich \Ve recon1111end to ali young and aspiring
musicians. A tolerably goocl account of this, ancl
a list of his \vorks, \vill be founcl in Charles Lamb
l{enny's 11 Life of Balfe." In the early part of the
present century he \vas cloubtless t he n1ost brilliant
111usical star that hacl ever arisen in the finna1nent
of Great Britain, and his adtnirable character as
a son, a husband, and a father, quite as 1nuch as
his musical genius, \Vell cleserves the fine statue
\vhich has been placed in the entrance -ha ll of
Drury Lane 'fheatre.
Seores o f interesting anecdotes of Balfe are to
be found in the hvo líttle vo!t1111es of "~1 u si cal
Re1niniscences," publishecl n1any years ago by
H enry P hillips, the great English baritone, also
a friencl of the celebrated rvralibran i ancl in a
1nore recent \VOrk by W. Beale, a member of the
\Vell-1010\vn musical firn1, Cran1er, Beale & Co., of
Regent Street, London.

VI
CHARLES AUGUSTE DE BÉRIOT
(1802- 1870)
LONG bcfore the Revolutio n of r8301 Brussels \vas

the city of F landers \vhere the best n1usic \vas to be
heard, and no Continental to,vn has had a more suc-
cessf ul Conservatoire, more particularly as regards
the violin, the violoncello, and the piano. As a
school for singing it has been much less successful,
though it has gi,·en our opera houses llfadame
Lem111ens-Sherrington, lVIaden1oiselle Artot, llfade-
111oisclle Singelée, lVIadame Lauters, and a fe\v
othcrs \vcll \vorthy of note.
A ne\v school for the violin \vas fon necl there in
!he early part of the p resent century, under the
auspices of the celebrated De Bériot. It co1nes
do,vn to us of the present day in the fa1niliar
na1nes of Vieuxtemps, Léonard, Artot, llfonas-
tério, Ccenen, Vvéry, Standish, Beumer, Colyns,
Prume, Steveniers, the sisters i\filanollo, llfade-
1noiselle Fréry, and the sisters Ferni, ali distin-
guishcd violinists or able professors.
T he G uides, or H orse Guarcls of Belg ium, have
73

74 F.Al\:IOUS VIOLil\11STS
long been celebra ted for their fine 111ilitary 111usic;
and the orchcst ra of the Brussels Opera, long
under the direction of the clever violinist Singelée
(\vhose daught cr, after having appear ed \vith some
success as a violinist, after\vards sang in opera as
pri111a donna \vith the celcbrated ll1aden1oiselle
'fitiens and othcrs), \vas onc of the finest in Europe
about the middle of tbis centur y. lt \vas chiefly
composecl of young artistes from the Co11seroato1:re
de Eruxeltes.
It \vas the direclion of thc violi n school of that
in1portant instilulion that, in the ful! zcnilh of his
po,vers as a virtuoso ancl a co1nposer1 De Bériot
\Vas called upon to take. Ancl a goocl fortune it
has been for ali those who have left that cxcellent
school to gain their livelihood by 1nusical art, in
\vhatever forro .
De Bériot 'vas born at Louvain in 1802. He
carne of a good family, for his parents \vere of
noble extraction ; but he had lhe misfort une to be
left an orphan at the early age of nine years.
He appear s to ha,·e been left entirely \Vithout
fortune ; for at this tender agc he \vas very kindly
taken in hand by !VI. Tiby, a professor of 1n usic in
Louvain, \vho had observ ecl the child's precocious
love of the art, and \vho not only became a tutor,
but a second father to him. De Bériot' s First Air
Varié is dedicat ed to that excellent man.
Under !VI. 'l'iby's daily instruction he soon be-

CliA RLE S AUGUSTE DE BERIOT 75
ca111e tole rabl y skilful on the violín. \ Vhile still

very you ng he \vas able to play one of Viotti's Con-
cert os in a 1nan ner that elicited thc unan ilno us
appl ause of his hear ers.
You ng De Bériot was a lad of high 111oral char -
acte r and conte111plative 1nincl1 ancl his \vhole lifc
at this earl y peri od secm s to have been ben t upo n
in1proving his 1nusical educ atio n, and striving to
atta in beau ty ancl perf ectio n in art. Beyoncl his
\vor thy tuto r ancl friencl, he hacl no moclcl to i1nitate1
ancl he scar cely kne\v \vhe re to look for f urth er
instr ucti on.
At that ti1ne the Belg ian vio lín scho ol had turnecl
its atte ntio n to an exer cise -boo k calle d "Jac otot 's
lV!ethocl," as being an easy and rapicl syst em for
acqu iring proficiency in violin playing.
De Béri ot \vhc n a mer e you th purchasccl this
\vork, in orcler to see \vhat he coulcl do \vith it;
and afte r,va rds calle d upo n the auth or to solicit
furt her help .
Fro m the stucly of this "!vf etho d" and a conv er-
satio n he had \vith ~'!. Jaco tot himself, De Béri ot
lear nt little inor e than hvo things, na111ely 1 that
persevera11ce tri11111plzs over ali obstacles, and that, in
gene ral, ive are 11ot i11illi'11.g to do al! t/1at ~ve are able
to do.
The se hvo prec epts app ear to havc guid ed this
cele brat ed violinist thro ugh life. \Ve have a1nple
eviclence of it in his O\Vn excc llen t "Vio lin School,"

76 FAlVIOUS VIOLINIS1'S
his nu1nerous compositions, and his charming per-
fonnances.
In 1821, \vhen he had attained the age of nineteen
years, it \vas decided that he should qu it his native
to\vn, \vhere so fe\v facilities ' vere afforded hin1.
He 'vas then a handsome youth, with a strongly
built frame, slightly above the middle height, fine
dark eyes and hair, a rather floricl complexion, ancl
a very gentle1nanly appea rance.
After a short residence at Brussels he fonncl his
\Vay to Paris, \vith a letter of introcluction to the
ill ustrions Viotti, then director of 1nusic at the
Opera. De Bériot's greatest a1nbition at this tin1e
\vas to be heard by Viotti, ancl, after playing befare
hin1, the old master gave hi1n the follo,ving piece
of aclvice, 'vhich th e young Belgian artiste never
forgot : -
" You have a fine style," he said ; "give yourself
up to the business of perfecting it. Hear all 1nen of
talent, profit by everything, b ut in1itate nothing."
'fhere 'vas at this time in Brussels a violinist
na111ed Robbrechts, a fonner pupil of Viotti, and
one of the very last artistes \vho derived instruction
directly fro1n the celebratecl Italian.
Andreas Robb rechts \vas born at Brussels on
the r8th D ece1nber 1797, ancl 111acle rapid progress
under P lanken, a professor \vho, like the- late
\Vorthy i'if. Vvéry (\\rho succeedecl him), formed many
excellent pupils. H e then entered himself at the

CHA.RLES AUGUSTE DE BERIO'f 77
Conservatoire of Paris in 1814, \vh ere he also re-
ceived so1ne private Jessons from Baillot, \Vhilst that
institution '"as closed during the occupalion of the
capital by the allied armies, just after the battle of
\Vaterloo.
lt is on record that Viotti, hearing thc young
Robbrcchts play, \Vas so struck \vith his 1nag11ifice nt
tone and broad s tyle, that h e unclertook to give hi111
so1ne finishing lessons, \vith the approbation of
Baillot. 'fhis \vas soon arranged, and for severa\
years lhc hvo violinists were inseparable. Rob-
brechts even acco1npanied Viotti in bis journey to
London, \\'here they \\·ere heard more than once in
duets. The fact is, the illustrious Italian had recog-
nised in hi1n the pupil \vho most closely adhered to
his own style of playing, and one of the fe,v \vho
\vere likely to diffuse it in after years. This \vas
the 111an \vho '"ªs destined to take in hand the no
less celebrated De Bériot.
In 1820 Robbrechts returned to Brussels, \vhere
he \vas appointed first violin solo to J<ing Willia111 l.
lt \vas shortly after this appointment that De Bériot
took lessons fro1n him, and he it \vas \vho gave him
the letter of introduction to Viotti. The same
excellent professor also gave instruction to the
young Artot, \vho after,vards became a most dis-
tinguished artiste and a \vell-kno\vn composer of
violin music.
Robbrechts died in 1860, the last di1'ect repre-

78 FMI OUS VI OLTh'lSTS
senta tive of the great \ Tiotti schoo l, conti nued by
De Bério t and Artot .
It \vill ºº'" be seen \vhere Char les De Bério t
acqu ired the first princ ipies of that large , b old, and
exqu isitel y chan ning stylc that in after-life char-
acter ised both his perfo nnan ces ancl his nume rous
comp ositions, and \vhich, in spile of the mark ed
influe nce oí his conte mpor ary Paga nini, he re-
taine d to the last. l am stron gly of opini on, also,
that his musi c \vill last longe r than that of Paga nini,
and 1 have been conv inced that, in 111any respe cts,
it is supe rior to that of the great Italia n artiste.
Arriving at París, eager for progress, and pro-
bably think ing that the classical stylc of the n1aster
he had just left 'voul d not lead hi1n on quickly
enou gh or far enou gh, he soug ht Viotti himself,
\Vith the resul t \vhich \Ve n1en tionec1 above. He
then enter ed hims elf as a pupil at the Cons erva-
toire of Paris \Vith the view of takin g lessons from
Baillot.
I have often \VOndered \vhet her at this perio d of
his life, 1821 to 1824 or there abou ts, De Bério t ,,.as
in any '"ªY influe nced by the eno nnou s success of
Lafo nt and Paga nini as \vand ering artist es. It 111ay
perha ps be admi tted that such \vas the case ; for
the reput ation of the great Geno ese violinist had
then begu n to sprea d beyo nd the boun darie s of his
nativ e coun try, and as for Lafon t, his na1ne had
long been popu lar throu ghou t Euro pe.

CHARLES AUGUSTE DE BERIOT 79
Ho,,·ever that may be, the young Belgian arlisle
clid not remain more than a fe\v months at the
Paris Conservato ire, but applied hirnself, ali the
samc, most assiduously to thc stucly of his instru-
1ncnt, rcly ing entirely upon his own resources, and
seeking aicl from no one. Perhaps this \vas \vhat
Viotti 1neant \vhen he gave hiu1 those \Vell-re1ne1n-
bered \vords of advice.
At this time De Bériot possessed a very fine
old violin by Paolo Giovanni l\Iagini, a celebrated
1naker \vho \vorkecl at Brescia, in the Tyrol, \vhere
he '"ªs born in 1590, ancl died in 1640. He \vas a
\vork1nan and appre ntice of t he celebrated 1naker
Gasparo da Salo, so na1ned fro1n the li ttle to\\•n of
Salo, \Vhere be made his instruments. The violins
of Gasparo and those of l\Iagini are extre1nely rare
and valuable. They have been often i1nitated by
modern makers, and it is not al\\·ays easy to detect
a gcnuine instru1nent fro1n a fraudulent imitation,
though a goocl violinist can generally discover the
difference by playing upon the1n.
Ho'v De Bériot got this fine old violin it is i1n-
possible lo say, but that ils peculiar plaintive quality
and fine tone "·ell suited his playing "·e can easily
bclieve.
Very soon after this visit to Paris he appeared in
severa! concerts, ancl ahvays \Vith a brilliant success.
L ikc Paganin i, he appeared befare the public for
the first ti1ne in co111posit1ons of lus ow11, \vhich \Vere,

80 FAl\10US VIOLINIS'l'S
of course, entirely novel. 'fhese \vere sorne of his
first Airs Va1·ils1 consisting of a dramatic introduc-
tion, a simple 111elodious the1ne, follo\ved by three
or four variations, and a briUiant finale. They
\von hi1n universal applause by their freshness and
originality as 1nuch as by his finished execution and
large style of cantabile.
In 1826 he ,~vent direct to London from París,
preceding- Pagauini by so1uc years, and met \vith the
same success that had attended his efforts in France.
His style \vas ne,v, bis performance most exquisite,
ancl the cnthusiasm \Vith \vhich he \Vas e,·ery,vhere
greeted, both in London and the provinces, estab-
lished for hin1 a lasting reputation.
Thc circumstance of De Bériot having appeared
in England about live years before Paganini 1nust
be looked u pon as a picce of that good fortune
\vhich frequently attends thc efforts of earnest,
striving 1nen. I-Iacl he tarried in his studies and
arrivecl herc after the marvellous Italian virtuoso,
ho\v clifferent the result 1night have been !
I t is not that De Bériot had not \VOnderful quali-
ties of bis O\vn, \vhich \VOuld have enabled hin1 to
secure success in any country; but no one can
doubt that the Ílnpression he produced here in
London \VOuld have been much diminished. In
fact, so il happened in 1834, before the infiuence
of Paganini's concerts had calmed do,vn, \vhen a
Florentine violinist named ~Iasoni, \vhose po,vers

CI-IARLES AU GU ST E DE DERIOT 81
of execution \vere per hap s even gre ate r than
those
of De Bériot, app ear ed ; bu t he had bee n pre ced
ed
by the gre at Genoese, and, tho ugh un der
oth er
circumstances his playing "'o uld have bee n
con -
sid ere d the most \VOnderful eve r hea rd, he
was
obliged to leave for America, and thu s Eu rop
e lost
sight of him altogether.
i\1y father, \Vho \vas on e of thc bes t judges
of
violin pla yin g tha t eve r lived, oft en rem ark ed
to me
that the re \vas a sup erb tone an da peculiar cha
rro in
De Bériol's per fon nan ce tha t \Vere pro bab ly
never
possessed by any violinist of this cen tur y. Du
rin g
1ny long residence in Brussels I nev er hea rd
this
gre at artiste except in the cla sse s-h e had cea
sed
to app ear in pu b lic~so tha t I can no t j udge of
hi1n
upon the con cer t pla tfo nn; bu t it \vas univer
sally
adm ilte d that eve n early in his car eer his pla
yin g
\Vas cha rac ter ise d by 111ost refined tastc, a ric
h and
cha rm iog tone, an d \VOnderful execution .
Aftcr travelling íor severa) years, ancl 111eeti
ng
every,vhere \vith the most enthusiastic reception
, he
ret urn ed to Belgium, ancl hacl the ho no ur of
being
presented to J(ing \Vilhehn of lhe Ne the rla
nds.
Th is 111onarch, tho ugh exceedingly fond of pic
tures,
kne\v littlc or nothing of music; nevertheless
, he
'"a s a \varm pat ron of art in any forro, and
he
und ers too d tha t it \Vas necessary to ensurc
thc
ind epe nde nce of a you ng artisle \vho gave pro
mise
of becoming a gre at orn am ent to bis cou ntr y.
He
F

82 F.AMOUS VIOLINIS'fS
therefore besto\ved upon him a pension of hvo
thousancl florins (abo ut f,160) per annu1n, and the
tille of First Violin Solo to His i'IIajesty.
De Bériot had not long enjoyecl this most grati-
fying position \vhen the Revolution of 1830, \vhich
separated Belg iu1n fron1 Holland, broke out, ancl
cleprived hin1 of it. I t \vas at th is critica! period
that he forn1ed the acquaintance of the celebrated
singer, i\1ada1ne iVIalibran, \vho111 he after,vards
u1arried. Their friendship arose in Paris in 1830,
\Vhere she \vas singing in Italian opera.
The short though g lorious career of this giftecl
singer shines forth li ke a brilliant 1neteor in the
fin11an1ent of art, ancl her influence upon the great
violinist \vas most n1arkecl.
i'IIaria Felic ia Garcia, afterwards iVIadarne iVIali-
bran, belonged to a fa111ily of 1nost distinguished
mus1c1ans. She \vas educated by her father, the
teno r Garcia, a man of \VOrld-\vide reputation, ancl
her earliest youth gave eviclence of the 111ost sur-
prising talent. At the age of thirteen she \vas a
perfect 111usician, and at fifteen, \vhen she ca1ne
with her parents to Lonclon, she obtained a con1-
plete triump h by perfonning accidentally in Rossini's
ll Barbiere, to supply the place of the pri11za donna
of the evening, \vho \Vas unab le to appear.
vVe cannot tarry here to enter into the details of
her poetic existence. H er father having taken her
to the United States, \vhere she fulfilled a number

CliA RLES AUGUSTE DE BER IOT 83
of enga gem ents \Vith increasing success, she finally
espoused ther e a rich mer chan t nam ed lVIalibran, a
man of Fren ch extraction, much olde r than herself.
It \vas a mos t ill-advised rnarriage, and to make
1nattcrs \VOrse, the 1nerchant failed very soon after-
war ds. Sorne go so far as to say that he foresa\v
this bankruptcy before he con trac ted his 111arriage,
and hopecl to regain his fortune by the proc eeds
of the emi nen t singer's career. Ho,vever that
1nay be, a separation took place, ancl l'v!adame
i\(alibran retu rned to Pari s in 1827 . Her singing
in ltalian oper a \Vas every,vhere a source of the
1nost enthusiastic ovation, and as she rose like a
star of the first mag nitu de in the heaven of song, so
the you ng Charles De Bériot \Vas fast earning his
laurels as one of the grea tcst violinists of the day.
In 1830 an inclissoluble frien dshi p unit ed these
hvo kinclrecl spi1·its; and in 1832, De Bériot, Luigi
Lablache, the grea t basso, and i\Iadame i\Ialibran
set out for a tour in ltaly, \vhcre thc latte r had
oper atic engage1nents at i\Iilan, Rorne, and Naples,
and \Vhere ali thre e app eare d in concerts, \11ith the
most extr aord inar y success, as may \Vcll be ima-
gined. Al Bologna, in 1834, it is difficult to say
\Vhether the \VOnderful cantatrice, the char min g
violinist, or the supe rb basso prod uced the grea test
sensation; but Madame i\iJ:alibran's bust \Vas, ther e
and then, placed und er thc peristyle of the Ope ra
House.

84 FAlVIOUS VIOLINIS1'S
Hcncefor\vard De Bériot never quitted her, and
their affectíon seems to have increased as time
\VOre on. In the year follo\ving she appeared in
London, \Vhere she gaye forty representations at
Drury Lane, performíng ín La So1111a111úula of
Bellini, the A1aid of A rtois of Balfe, and 1nany
other pieces, for \vhich, in this one season, she
received the sun1 of f,3200. vVe i1nagine this is
111ore than De Bériot, \vith ali his talent, \VOu ld
ba\'C made in one season by his violin !
Another journey to I taly, 1nore operatic suc-
cesses, more concerts, a return to Paris, aod
finally, in 1836, a proper divorce from U1e French-
American merchant having been obtained, La
l\falibran and De Bériot \Vere married in due
fonn.
But alas 1 U1e joys of this union \Vere destined
to be of short duration. After an illness of nine
days, the celebrated singer died at l\1anchester that
sa111c year, \vhither she hacl gone \vith her husband
to fulfil an engagement.
During these nine fearful clays De Bériot only
once quitted his \vife's bedside, and it \vas at her
special request, to perform at a concert for \vhich
he \Vas engaged. v\Then the day arríved she mani-
fested, as she had ahvays done, the greatest an.xiety
for his success ; and when, in reply to her constant
ínquiries, her friends infor1ned her of the applause
that had greeted bis perfonnance, a soft a ngelic

CII ARLE S AUGU STE DE BERIO'l' 85
s1nile lit up her pale feah1res, \vhich ali her suffering
could not repres s.
T he girted Bellini died at lhe age of thirty-
four, on the 23rd Septe mber 1835. The beautiful
and exquisite singer Malibran follo\ved hi1n, at the
age of t\venty-eight, on the 23rd Septe mber 1836.
Her prema ture death is said to have been the
result of an accide nt \vhile riding on horseb ack in
Hyde Park, an exerc ise of \vhich she \vas passion-
ately fond, as she \vas also of danci ng ; and my
father, \Vho kne'v her for a short time, told me
she dance d very \vell, but that her clever conve rsa-
tion and consu mmat e \Vit \vere qu ite equal to ber
\vonderful singing and piano playing. Her sister,
?.Iada1ne Viardot-Garcia, who resem bled her in tbe
latter respccts, is still living in Paris at the time '"e
are writing (1895).
\Vhen ali ..,..as over, De Bériot, usually so calm
and conte1nplative, becan1e frantic . The adora ble
111other of his only child \vas thus .taken suddenly
a\vay -all his hopes \vere shatte red. In order to
secure the fortun e of this child -youn g Charl es
Vincent De Bériot, for so1ne years a sehoolfello\v
of n1ine, a nd after\vards a very clisting uished pianist
and comp oser- De Bério t had to fly to Paris before
his \\'ife's funeral took place. No one k11eu1 the
111otives of tliis suddcn disappearance, and in Engla nd
he \vas freely accusecl of villainy and cruelty. It
is scarcely necessary to add that this accus ation

86 FAMOUS VI OLINISTS
\vas most unjust. T/1e g'reat vío/ínist was t/1e slave
of circu11tsta11ces.
The fun eral service \vas performed at 11!anchester
on the i st October i836, and the re1nains of the
i1n 1nortal songslress \Vere interred at thc Collegiate
Church of that fO\vn. The follo\ving si1nple inscrip-
tion 1narked h er te1nporary resting-plac e : "11Iaria
Felicia De Bériot, dicd 23rd Sept. i836 1 at the age
of 28 years."
Sorne time after\vards De Bériot obtained permis-
sion to r e1novc thc 1nortal remains of his beloved
\vife to Laeken, near Brussels. Over her to1nb in
thc beautiful ch urchyard at Laeken stands the
magnificent statue by Geefs- th e greatest of Flemish
sculptors- a c/1ef-d'aJ1tvre of art, ancl a· fit memorial
to such talen! ancl such beauty.
r.-fore than a year clapsed before De Bériot could
at ali recover from !bis irreparable loss.
It \vas on the x5th December 1837 that 111ali-
bran's celebrated sister, Pauline Garcia (aftenvards
1\l!adame Viardot), 1nade her first public appcarance ,
in a concert at Brussels for the benefit of the
poor ; ancl on this occasion De Bériot 1nade his
first appearance after the death of his \vife. l{ing
Leopold !., the Queen, the Prince de Ligne, the
1nembers of the Corps Diplo111atique1 and many
persons of distinction \Vere present on this
.
occas1on . ··
After sorne othcr performanc es equally brilliaat,

CHARLES AUGUSTE DE BERIO'l' 87
Pauline Garcia quitted Belgium for Germany \vith
her mother and De Bériot.
In the sum mer of 1838 they returnecl to Brussels,
ancl then proceecled to París, \vhere on the 15th
Decemb er- the anniversary of the great Brussels
concert -this great singer and De Bériot appeared
at the Tlzédtre de la Re11aissa11ce to a crowclecl and
enthusiastic audience . Among other splenclid pieces
perfonne d o n this occasion \vas a grand duet for
voice and violín by Panseron, entitled L e Songc de
Tartini.
On the 18th April 1840, Pauline Garcia married
t<I. Viardot, the director of the Italian Opera at
París ; and in the following August, De Bériot
espoused Maden1oiselle Hu ber, daug hter of a
n1agistrate of Vienna. On his return to Brussels
he became director of the violin classes at the
Co11servatoire Royal de Musique, devoting his spare
time to composi, tion, and to the educatio n of his
son. 1' hough occasion ally hearcl in prívate, De
Bériot ceased giving public concerts after entering
on these duties. He made inany excellent pupíls-
Lauterba ch, Beumer, Standish, l\Ionastério, l\Iade-
moiselle Fréry, and severa! others. l\1any years
before, about 1829, he gave so111e gratuítous in-
struc!íon to the young rlenri Vieuxtem ps, \Vho
after\vards beca1ne a celebrated violinist.
By his nu1nerous and exceedingly fine composi-
tions De Bériot has made an imperishable name.

His "Violín School" (or Métlwde de Vio/011) 1 no\v
published in e,·ery language, has s1noothed the path
of the student \vho ai1ns at the higher branches of
the 1nusical profession. His numerous duets for
violín and piano, gradually increasing in difficulty,
and founded on the nlost beautiful operatic selec-
tions, are \vell calculated to anímate the bcginner,
and to cause him to persevere until he can perforrn
the later produclion s of this talented 1naster.
For artistes he has \vritten his .Eco/e Tra11sce11da11te,
his Caprices, his Études Caractéristiqucs, a great
nu1nber of A i1'S Variés, and ten Concertos, besides
a number of fantasías and concert p icces. His
music is replete 'vith good taste, it is full of ex-
pression and grandcur; and for originality no
composer for thc violín can be compared \vith
him.
During his life in Brussels, as \VCll as in his
numerous journeys, he cnjoyed the sociely of the
rnost distinguishe d 1nen of his day. 'l'o his friend
the Prince de Chimay, a great patron of arl, he
O\ved many opportuniti es of enchanting the most
select of audiences ; and one of his finest \vorks is
dedicated to the Princess. It is related that it was
at the residence of the Prince de Chi1uay at Ath,
in Belgium, lhat the beautiful i\Iadamc J\1alibran
first made kno\vn her feelings to\varcls the great
violinist (who at that ti1ne \vas 1nuch enatnoured
of Henrietta Sontag). lt \vas after a perfonnance

CHARLES AUGUSTE DE BERIO'l' 89
of his exquisite Andante et Ro11M Russe that, accord-
ing to Countess i\ferlan, the fair songstress seized his
hands, and plainly told him that she adored him.
I-Iis splenclicl First Co11certo is declicated to l{ing
Leopold I., and his Nzº11tlt Concerto to !he Russian
Princess Youssoupoff, \vhose husband \Vas De
Bériot's particular friend, and a distinguishe d
amateur violinist.
Late in life the eminent composer's eyesighl
began to fai l, and !he 1nalady increased so much
that sorne time before his cleath be beca111e totally
blind. It \vas during o ne of his visits to the
residen ce of bis friencl Prince Yousso u poff, at St.
Pctersburg, that his last illness overtook hi1n . He
clied April 13th, 18701 aged sixty-eigbt years.

VII
A SOUVEN IR OF SIVORI
TllE \Vell-kno,vn Camillo Sivori, who has rccentl y

departe d fro1n a111ong us, \vas anothe r Italian
violinist \vhose na1ne has becn popula r for many
ycars past in every civilisc d countr y. Severa!
notices upon him ha,·e appear ed in the pages of
the 1nusical journal s by persons \vho, pcrhaps,
kne\v him better than I did, but a fe\v 1nore Iines
on so e1ninent an artistc \v ill probab ly prove
accepta ble.
In my younge r days, at Brusse ls and Paris, \vhen
1ny ti111e \vas equally divided behvee n philosophical
and n1eclical studies and xny violin- bet\vecn the
ycars r850 and 1860-- there \vere hvo grcat n1odels
\vhich guided n1e as far as music \vas concer ned.
The one \Yas l\farietta Alboni, the finest singer I
ever heard, and the other \vas Camilla Sivori, the
finest violinist.
T he perfon nances of these hvo gifted artistes haYe
been ever sincc present in 1ny mind. They first
initiate d me to that purity and breadth of style
withou t \Vhich singing and violin playing rarely
90

A SOUVENIR OF SI VORI 91
reach above mediocrity ; and for the last thirty
years the spirit of their music has baunted me like
a charm \Vhenever 1 stcpped upon the concert
platforn1 to display n1y O\vn 1noclest efforts in the
same clirection. lt is, unclo ub teclly, an i1n1nense
advantage to a young n1an to have thus placed
before him in early life such admirable n1odels, for
nothing can aid hi1n 1nore in his arduous striving
after perfection.
The late i\1ada1ne Jullien told me that Sivori
made his first appearance in England as a solo
player in Jullien's popular concerts. 1t ' vas re-
portecl that he \Vas a pupil of Pagani ni, and one
of the very fe\v persons to \Vho1n the cclebrated
Genoese gave any lessons. She also told 1ne that
the violin upon \Vhich Sivori played \Vas a Vuil-
laume, a statement which 1 could scarcely credit,
for the finest Stradivari instrument \vould barely
account for his splenclicl tone. But l found out
aftenvards that she \vas pcrfcctly co rrect in he r
state1nent. l kne'v Vuillaun1c personally for a short
ti1ne in 18561 and 1 kne\v soroe of his violins.
Both the man and his ingenious \vork are deserving
of our highest respect, and no doubt the instrument
used by Sivori '''ªS one of the best ever 1nade in
France. When 1 carne to London, about 18611 the
violins of Vuillau1ne1 \vith box and bo\v included,
\vere being sold here for J;r4. i\1Iany of the1n 110\ V
fetch as much as J;40 or J;,501 and even more. 1t

92 FM1 0US VIOLINISTS
\Vas Sivori hin1self 'vho told Mada111e JuUien that
his violin was mad e by Vuillau1ne. lt no\v stand s
in the 111 useu1n at Geno a, alon gside of that used
by Paga nini (a Gua rner i that \Vas g iven to him
by a Fren cb ama teur violinist na1ned Livr on, a
111erchant resid ing at Legh orn) . 1t has a clark
yello,vish varnish, that of Paga nini bein g clark red.
l\Iany year s ago an artic le in the Quarterly Re-
view clid full justi ce to the influ ence exercisecl by
l\'l onsi eur J ullien u pon musi c in Engl and. To his
prais e\vo rthy efTorts the peop le of Grea t Brita in \vere
inclebtecl for 1uuch good mus ic at cheap prices,
and for the intro duct ion o( man y fine perf orme rs.
ll·Iadan1e Jullien hers elf was main ly instru111ental in
entic ing to Lonclon one of the grea test of 1nod ern
singe rs, l\Iademoiselle Titie ns; and her husb and
intro duce d to us one of the grea test violinists that
ever livcd, in the pers on of Ca1nillo Sivo ri.
The \VOnderful care cr of this celeb rated virtuoso
conveys inor e than one i1npo rtan t lesson. Like the
distinguished Non vegi an artistc, Ole Bull , he lost his
first \VÍn ning s-qu ite a com forta ble fortu ne- and
had to begi n his \VOrking life over again, having
fallen into sorne of thos e spec ulati ve traps that
ensn are so man y succ essful 1nusi cian s in A1nerica
and e lsewhere. Jt is well, incleed, \Vhen enou gh
stren gth and cour age rema in to enab le them to
begi n agai n.
In Englancl, Sivo ri play ed freq uent ly at the con-

A SOUVENIR OF SIVORI 93
certs of the ~rusical Union, directed by the late
Professor Ella- a name revered by many of our
older musicians-\vho also introduced Guido Papini
to the British public.1
At a musical party in London in \Vhich Sivori
had played and had produced a great sensation,
he 'vas addressed by a very indifferent musician,
a native of Carlsruhe, in some,vhat questionable
French, \vho said-
" Signor Sivori, you are said to be a pupil of
Paganini. So a1n 1 ! "
" Indeecl ! " exclai1ned the other, "this is some-
thing llC\V."
"J ust so ; I \vill explain. 1 \Vas \'ery young at
the time. It \vas at Carlsruhe. l\1y father, 'vho
played the alto in the orchestra there, said to me
one day, ' John, 1ny boy, the great Paganini gives
a concert here to-morrow, and 1 intend that you
shall hear hin1. 'fhe price of the places is so high
that 1 cannot get any free tickets, ancl therefore
you must come into the orchestra \vith 1ue; you
\Vill play the triangle, for 'vhich you \vill get your
hvo dollars, and have the ad\'antage of hearing the
great man at the same time.'
"Well, at rehearsal, shortly afterwards, I deter-
mined to show t11e celebrated ltalian that I \vas
as enthusiastic a musician as he 'vas ; so \vhen the
1Sce Phipson: "Guido Papini and the llalion School of Violinists."
London. 1886. F. vV. Chauot, Berners Strecl, \V.

94 FAMOUS VIOLil'>'IJS1'S
bel! comes in the Rondo de la Clocliette, my little
triangle 'vent ping, ping, ping, echoing again and
again through the empty concert roo1n. Paga-
nini's eyes turned in 1ny direction and flashed fire.
' T1'oppo /orte ! troppo /orte ! ' he exclai111ecl.
" We began again; but the second tin1e \vas no
better !han the first. 'fhe clear ping of the triangle
rang out so loud that the har111011ic notes of the
violin, which echoed it, or \vere supposed to echo
it, \Vere 110\Vhere !
"Then Pagani ni, muttering sotne fearfu l Italian
\VOrds, Jaid do\vn b is violin and sprang into the
orchestra. I thought he \vas going to strangle me ;
but he only seized my triangle, torc it fro1n my
hands, and, holding it in the air, gave it three
delicate little touches \Vhich I shall never forget,
making me understand distinctly tl1e exacl kind of
sound he \vished elicited from it. That \vas my
first aDd 011/y lesson frotn the great Paganini. .. ."
'fhe first t iine I heard S ivori 'vas at the St.
H uber t T heatre at Brussels. Ali the élite of the
capital \vere present, and the dress circle looked
particularly gay ancl aniinated, the military uni-
forms of the pupils of the École Alilitaire setting
off the elegant toileltcs of the Jadies, and the \vhite
and gold decoralions of the house appearing very
h andsotne. The stalls, parquet, and parterre \vere
closely packed. Aftc r the perfor111ance oí a s1nall
one-act opera, \vhich gave much pleasure, the cur-
•

A SOUVENIR OF SIVORI 95
tain rose upon a plain scene representing a roo1n
of moderate dimensions, \Vithout any furniture, and
in a fe\v moments Signor Sivori stepped from the
wings and placed himself in front of the orchestra,
near the footlights, and a little to the right of the
pro1upter's box.
He \vas very cordially received, and 111ade severa!
elegant bo,vs to the audience. Being a n1an of
sn1all stature, h is violín appearecl to be very mu ch
larger !han usual: for u pon the stage his cli1n inutive
height \vas not very apparent ; it \vas the violin that
appeared large, \Vhilst the man appeared of ordinary
.
s1ze.
He playecl the celebrated Rondo de la Clocliette of
Paganini, and the effect he produced \Vas magical.
Iiis tone \vas magnificent, and 1 ascribecl it at first,
erroneously, to the great size of the violín. The
beauty of his double notes \vas peculiar. l had
never bcforc hearcl anything equal to it. When he
ca1ne to thc pizzicato passages a peculiar s1nile lit
u p his palc countenance (for he ' vas at heart a
classic), \vh ich \Vas the more telling as he \vore no
1noustache. His 'vhiskers gave hi1n 1uorc the ap-
pearance of a respectable Englishman than of a
foreigner, and his demeanour \vas extremely 1nodest
and retiring. But there ,~vas a sly sparkle in his
eyes, \vhich gavc a somewhat humorous character
to his physiogno1uy. Nothing could be finer than
bis rich tone, and his complete mastery over the

most intricate passages. The \vhole perfor111ance
\vas easy, graceful,and energetic, \vithout the slightest
affectation. 1'he applause at the end of each part
\Vas rapturous in the extreme, and at the conclusion
he had to co1ne for,vard and bo\v severa! times
before the curtain fell.
U ntil that c\ay I kne\v nothing but hvo or three
Concertos by De Bériot anc\ hvo pieces by Artot.
The Rondo de la Cloc/1ette of Paganini, \Vhich I thus
heard for the first time, was a revelation to 111e : it
revealec\ at the same ti111e the great resources of
the violin as a solo instrument, and its prodigious
effect upon the public \vhen in the hands of such a
master as Camillo Sivori.

VI 11
THE T\VO JOSEPHS OF CREMONA
lN these days, \\·hen such enormous prices are paid

for old Cren1ona violins, the follo\\·ing considerations
may preve interesting, and perhaps useful, to that
large section of thc British public \Vhich devotes
most of its ti1uc to n1usic and 1nusical instruments.
Anything that can thrO\V light upen the history of
old Cremona instru111ents \vill probably preve the
more \velco1ne inas1nuch as the sources of infonna-
tion in this respect are bccon1ing daily more scanty
ancl more clislant.
Ahuost ali the g reat connoisseurs of olcl violins
have gone fro1n a111o ng us, \vitho ut leaving their
1nantle upon thc shoulclers of their successors.
The archives of the olcl cities of ltaly have been
ransacked, to a great cxtent in vain ; and hundreds
of fine olcl instru1nents, \vh ich might have served as
types or 1nodels, have been, and are being, 1uore or
less, destroyecl by thc ruthless hand of tüne.
The violin has bcen frequently called "the king
of instruments;" but it is often a king \vitbout any
\vell-marked line of descent, and one \vhose pedi-
97 G

98 F Alvl OUS VIOLIN1STS
gree, or genealo gy, can only be made out \vith the
greates t of difiic ulty and 111uch uncerta inty. lt is
true that the shephe rd can disting uish lhe various
sheep of bis flock one fro1n the other, as an expert
botanis t can disting uish mosses and grasses, though ,
to the uniniti ated, they are a li precisely alike. And
so, \vith regard to vio lins, there are yet a fe,v per-
sons in tbe \VOrld \Vhose eyes and ears are as keen
for those instrum ents as are lhe eyes of lhe shep-
herd for the \VOOlly-backed creatur es of his fold.
D uring t he last thirty years 1 have hacl frequen t
opport unities of sludyin g the instrum ents of the olcl
Cremo na makers , as well as olhers ; and being, not
a collect or of violins, but a violinist, I am not quite
so liable to be prejuclicecl by 1nere appear ance or
hearsay . This cannot be saicl of inany \vho have
been, or still are, afflicted \vith \vhat may be lenned
t/1e collcctors cra::e, "·hich can only be compa red to
b iblio111ania in literary men of 1uorbid tenden cies.
One of the greates t violinis ls that cver lived,
Nicolo Pagani ni, of Genoa, happen ed to play upon
a violín made by a \VOrk1nan of Cre1nona, named
Giusep pe Antoni o Guarne ri (or Guarne rius, for they
h ad the habit of Latinis ing na1nes of clisting uished
1uen in those days), \vhich he had given to hi111 uncler
peculia r circum stances 1 by a \VealU1y French dilet-
tante residin g in ltaly.
' Scc Phipson : '' Biographical Skclches and Anccdolcs of Celc-
br•tcd Violinists." London: R. Bentley & Son. 1877.

'l'IiE T' VO ,TOSEPHS OF CREMONA 99
Until that íact became kno\vn to the public, the
violins most in vogue for s\veetness and po..,.·er
were !hose of the celebrated Nicolo Amati, and the
no less celebrated Antonio Stradivari, bis \VOrk1nan.
In Great Britain, Richard Duke, of London, "'as at
that thne (latter end of eighteenth and beginning of
nineteenth centuries) considered the best 111aker;
and h e \vas quite fashionable a1nong the rich a1na-
teurs oí thc vVcst Encl. But even in those carly days
it had bee n long held, not only in England, but
throughout !he \vhole o f Europe, that the violins of
the Tyrol and of Cre1nona \Vere the fines! in the world.
The ínstruments made by members oí the Amati
fan1ily brought the largest prices in the 1narket ali
through the seventeenth and eighteenth centuries.
Then ca1ne Stradivari, in many respects a 1nost re-
markable 111an, \vho actually superseded his 1naster,
Nicolo A1nati, and was ranked during the eighteenth
century as 110\V1 the 1naker of the fincst violins and
violoncellos cvcr produced.
'fhe only 1nakers \vho ever qu ite eq uallecl Stracli-
,·ari \vere, in the fi rst instance, Lorenzo Guadagnini,
\vho \vas his \vork1nan for thirty-five ycars, ancl \vho
n1anuíactured violins, 011 his O\vn account, for about
fi,·e years after thc death of his celebrated master.
He used to label hís instruments thus : "Lore11::0
Guadag11i11i da Cre111011a, alu111ntts Stradiuarius." Ali
hís violins no,vadays, and for sorne ti1ne past, are,
and have been, sold as Stradivarius instruments,

100 FA.l\10US VIOLL"IISTS
from \vhich it is almost impossible to distingujsh
them, and the name "Strailivar ius" is a talisman in
the market.
Next can1c Giuseppe Antonio Guarneri, \vho
occasionally n1ade violins equal in S\veetness and
po,ver to thosc of Straclivari ; and the sarne n1ay
be saicl, \vi th the greatest probability, as regards thc
\VOrk of Cario Bergonzi (another work1nan in the
shop of Straclivari), Lupot (forn1erly of Stuttgard,
U1en of Lyons), l\Iéclarcl, ancl a fe\v olhers, such as
Sebastian Kloz, of i\Iittenwald in thc 'fyrol, one of
\vhose violins \vas solcl in Lonclon for ;{;300 about
forty years ago.
Strailivarius, as the English connoisseu rs gener-
ally call him, \VOrkecl till he was O\'Cr ninety years
of age, and turnecl out a very largc nu1uber of
violins ancl violonccllos. Probably at the lo"·est
esti1nate, sorne sevcn thousand instrumcnt s-violins,
tenors, and 'cellos-1ni1st have lcft the celebrated
Cremona \VOrkshop cluring the long life of that
extraordina ry 1nan. The latest cxa1nple of his
market value is evinced in the sale of the Stradi-
varius violin that used to belong to the late 1\I.
Alard (head of the French Conservato ire violin
classes, and son-in-la\v of Vuillaume tite violin-
tnaker). Jt \Vas bo ught for f,2000, a year or hvo
ago, by Mr. Cn\\vfurcl, a Yorkshire gentleman.
His usual price for a violin '"ªs about J;4 English
1noney, unless specially ornan1ented or made to

THE TWO JOS EPfl S OF CREi\10~A 101
orde r for so1ne nobl e1nan. An unin jured instr u-

men t of Stra di,·ar ius \Vill, at present, fetch in a
public auction room fro1n [;zoo to [,800, or even
[,roo o. This latte r sum \vas realised in 1888.
A fe\v violins made by Giuseppe Antonio Gua r-
neri, usually calle d "Jos eph Guarnerius," have
reali sed as n1uch as [,400 to [,700 in public auct ion.
Of course thcre is a good <leal of fancy, prejudice,
or "cra ze" in ali this ; for therc are thousancls of
people that freq uent the conc ert room \vho coul d
not clistinguish behveen the soun d of a violin that
cost f,500 or [,rooo ancl one that cost only f,25,
or even less, provided it \vas playcd by a genuine
artiste.
Duri ng the seventee nth ancl eigh teen th cent uries
there \vere a considerable nu1nber of clever makers
of violins in the ancient city of Cre1nona, \vhose
sons, nephe,vs, and \vork1nen spre ad to ?11ilan,
l\Iantua, Venice, Ro1ne, and Nap les. Sorne also
\Ven t to París, Stuttgart, Nan cy, and to the Tyro l,
\vhen ce the grea t Crem ona 111akers originally cam e;
so that the talent of violin construction spre ad far
and wide ovcr E urop c.
Nev erthe less, it is rathe r surp risin g ho\v seldo111
an instr ume nt made by any except those \vho have
been tenned the " grea t 1nast ers " ever g ives perfect
satisfaction eilhe r to the play er or to the audi ence.
The tone of a Stradivarius violin in good conclition
is roun d ancl full, delicious ly S\vee t, yet po\verful,

10~ FAlVIOlTS VIOLINISTS
quite clevoid of the nasal or hurcly-gurdy quality,
and possessing such equality that the four strings
are as one-that is, there is no perceptible difference
in quality \Vhen the bo\v of the player passes fro111
one string to the other.
v\Then it became \Videly kn0\\111 that the celebratecl
Paganini usually p layed upon a Guarnerius violin,
the instru1nents of that maker carne rapidly into
vogue. They \Vere not only very n1uch sought
after by a1nateurs, but have been extensively i1ni-
tated by 1nany modern 1nakers, especially since
1840 or thereabouts. lt would see111 that 1nany
performers fancied that everything depended on
the 11zake1' of the violin \vhether they coulcl hope
to play like Paganini or not ! This 1naker cliecl in
Cremona, in 1745, at the age of sixty-hvo. He
1nade 1nany violins of a s1nall pattern. T hose of
the larger pattern, \Vhich are the most estee111ecl,
are extremely rare; but they have been much itni-
tated by later makers. This \vas not a clifficult
thing to do, as the \vork111anship is rather rough
and careless, and the sound-holes of a peculiar,
ugly shape. Violinists, both a1nateur ancl profes-
sional, \vere ali anxious to possess a real "Joseph
Guarnerius," ancl the singular craze continues to
this clay.
B ut there \vas another Joseph Guarnerius at Cre-
1nona, a cousin or an uncle of the one first alluclecl
to, clating much further back. So1ne say he livecl

'l'I·I E TW O JOSEPHS OF CREl\'IONA lOS
from 1690 to 1730, and oth ers that bis spa n of life
'vas 1680 to 1710 ; so he mus t have died \vhen he
\vas thir ty or forty years of age. He also \vas a
goo d violín maker, but Yery little is kno\vn abo ut
him, thou gh he is sup pos cd to have taught his art
to the you nge r Jose ph.
'f he violins of this oth cr Josep h Gua rne rius
(usually den omi nate d as the "so n of Andreas
Gua rne rius ") no' v fetch in the 111arket as muc h as
f,150 or mor e, acc ord ing to thei r quality and stat e
of pres erva tion. But they are very seld om met
\vith, and not at ali known even by tnen \Vho have
the repu tati on of bein g exp erts . The y are muc h
mor e sca rce than the violins of Stra divarius and
Atnati; and these are quit e rare eno ugh ! But \vhen
the rage bro ke o ut aino ng artis tes and a1nate urs for
having a "Gu arn eriu s viol ín" like that of Pag anin i,
\Vhen ali the inst run1ents of Jose ph Gua rner ius the
you ngc r had bee n bou ght up long ago, sorne dea lers
in Par ís made a little play \vith the oth er Jose ph-
Giuseppe, figlio d'A ndr ea (Jos eph , son of Andreas),
as he \vas, ancl is still, cal led -an d a fc\v of these
violins fou nd thei r \Vay into the hancls of \vealthy
a1nateurs in this cou ntry abo ut 1840.
In the littlc \VOrkshop of Nicolo Atnati in Cre-
mo na- thc 1nost fan1ous violín 1naker of his day-
bes icles the \VOrk111an Antonio Straclivari, the bes t,
and afte r,va rds the 1nost cele brat ed violin 1naker
that evcr livc d (tho ugh !et us not hiele thc fact that

severa! others have been kno\vn to equal hi1n)-
there \vas another \Vorkn1an, called Andrea Guarneri,
'vhose na1ne 'vas also destined to beco111e popular,
thanks to the extraordinary artistic career of Paga-
nini, and the fact that he played on a Guarneri violín.
1'his 111an Andrea also set up for himself, at a shop
in Cre111ona dedicated to Santa Teresa, and made a
ntunber of instru1nents \vhich partake much of the
An1ati pattern and quality. But he had a peculiar
' vay of cutting the sound-holes, by \vhich his violins
can often be recogn ised at once: he 1nade the lo,ver
circle of the hole 111uch larger than it had ever been
made before. This feature has been i111itated by
later 111akers, but the ilnitators have neglected to
supply the other characteristics of the old sound-
hole of the original Brescian school.
This Anclrea Guarneri (or Andreas Guarnerius, as
he is called in England) purchased at the time he
set up his O\vn \VOrkshop a fine piece of pine \VOod,
noted for its sonorous qualities, frorn \vhich he ancl
his son 111ade the tables of ali their violins. Hence
the violins of these makers have a peculiarity due
to this c ircu111stance : they exhib it a clark stain,
111ore or less intense, ancl especially visible \Vhen
the violin is held ª'"ªY fro111 the light- for instance,
\vhen the observer stands \vith his back to the 'vin-
do,v, and holds the instru111ent horizontally before
him. This stain extencls on either side of the finger
board, along the whole length of the table, ancl is

TH E TvVO JOSEPHS OF CREl\IONA 105
rath er less tha n a qua rter of an inch in \Vidth, ofte n
very fain t except in the cen tral por tian . lt is
due to the \vood in these par ts bei ng rath er mo re
i1npr egn ate d \vith turpentine resin. Th is feal ure,
,~vhich can not be i1nitated 1 is fou nd in ali
the gen uin e
Gu arn eriu s vio lins, ancl \Vill aln1ost invariably help
us to distinguish a gen uin e Gu arn eriu s violin from
a spu rious i1nita tion . 'fhe violins of the eld er Joseph
hav e bee n hith erto little if at ali in1itated by oth er
111akers1 as they are so little kno ,vn, \vhilst i1nitatio ns
of the you nge r Jos eph have been ma de by thousands.
Cha rles Reacle, !he novelis t, \vas an ent husiastic
col lect or of and dea ler in violins, and he assure d
us tha t, 'vith very fe,v cxception s (no tab ly Geo rge
Cha not , \vho died the oth er day), ali the con noi s-
seu rs of old violins had die d out , and tha l to dis-
tinguish inst rum ent s oí different mak ers as the
she phe rd doe s the she ep of his fiock is no' v a lost
art. \Ve qui te agr ce \vith hirn . T he poo r Ñ!ilanese
bric-a-brac violin hun ter, Lui gi T arisio, to \vhom
1nodern roakers, such as the late !11. Vuillaume of
Par is, and others, O\ved so 111uch of the ir kno,vledge,
car ried U1e art 'vit h hi1n to the gra ve in 1853. A
violin by Jos cph Gua rne rius ,.fil. A11drce1 \Vhich \\"as
pur cha sed in Par is by Cha rles Rea de for abo ut ;{;241
\vas put into pub lic auc tion in Lonclon \Vithout a
na1ne1 and fetched ;{;1 20.
vVith resp<:ct to quality, an exp erie nce d pla yer
should be abl e to jud ge of tha t \vit hou t n1uch difli-

106 F Al\>IOUS VIOLINISTS
culty. \ Vith amateurs, in nine cases out of ten, it
is not so 1nuch clefects in an instrument as \vant of
practice in the player that causes fault to be founcl
\vith the quality of a violi n. No cloubt there do
exist inany \Vretched instnunents in the \VOrld-
trash that ought to be burned forth\vith, ancl not
used even in a large orchestra; but as regards solo
playing, it 1natters Jittle to an artiste, as far as the
public is concerned, \vhether he plays on a violin that
cost f40 or f400. It \vould require a very delicate
ear to cletect any clifference, un less the two instru-
ments were played irnrnediately one after the other.
Ali \Ve can say is that the player who possesses a
violin of the value of f400 \Vill generally please his
audience more in the cantabile passages than one
\vho plays upon an instrurnent \Vorth only one-tenth
of the 111oney. Moreover, a great deal depends
upon the execution; for a c lever violinist \vil! 1n ake
his effect \vith an instrun1ent \Vhich, in the hancls of
an indifferent player, \VOuld be quite clispleasing, or
disagreeable to listen to.
The fa1nily of the Guarneri, in Cremona, con-
sistecl of the father Anclrea, his brother Pietro, his
son Giuseppe- \vho had a son also called Pietro-
and his nephe\v Giuseppe .L\ntonio, son of a cloth
merchant, and often called "Giuseppe del Gesu."
In their days Italian trades1nen had the habit of
naming their shops after sorne patron saint. That
of the Guarneri fa1nily \vas Saint Theresa; hence

THE TV.' 0 JOSEPHS OF CREl\íO~ A 107
the na1ne Sa11ta Teresa is found on their labels.

They often belonged to religious sects, and Giuseppe
de! Gesu is so called nowadays in Italy because he
invariably placed after bis na1ue on the labe ls of
his violins the initials l. H .S., \vith a cross over or
thro ugh the H . This evid ently indicated that he
belo nged to a Socie!y of Jesuits. Ther e is a con-
sider able clifference behveen the violins of the hvo
] osep hs. 1'he instr ume nts of Giuseppe Antonio
are usua lly roug h in appe aran ce, having muc h less
careful finish than !hose of othe r Crem ona makers,
ancl acut e, ugly soun d-holes. It is only by playing
upon them, and thus appr eciat ing their splendidly
brilliant tone, that the mak er of these violins is at
once revealed. T hey are brilliant, round, and S\vee t
upon the three strings, but the G, or fourth string,
is of a dry quality, and Jess roun d in tone !han in
the Stra divari or An1ati violins. 'fhis char acte r is
notable in ali the violins of the Gua rneri fa1nily 1
and least so, as far as 1uy expe rienc e goes, in the
violins of the elde r jose ph. T he violins of the
latte r are less flat in model, \Vithout, ho\\·e,·er, being
so clevated as the A1nati or Stain er instruments,
and U1eir varnish, of a rich golden yello,v, is ex-
tremely fine . Charles Reacle called this Guarnerius
" the king of varnishcrs." 1t sets off the \VOod of
the back and sides to grea t advantage. In these
Gua rner i violins thc middlc bouts are narro,vecl
unde r the shou lders, but spre acl out rap idly to,vards

108 FA1\>10US VIOLli~IS'l'S
the lo,ver extremity, \Vhich gives the instrun1ent a

peculiarly elegant appearance . \Vhen the back is
of hvo pieces, the pattern or grain of the \vood is
turned up,vards, instead of do,vn,vards as \Vith most
other 1nakers. On the table, on each side of the
finger board, are invariably seen the hvo dark stains
to \Vhich 1 have already alluded. The lo,ver aper-
ture of the sound-hole s is 1nuch larger than usual,
and the peg-holes in the scroll are also much larger,
and take thicker pcgs than are required by violins
of any other makers.
Ali these details of form and structure, con1bined
\vith the fine tone of the instru1nent, \vil! enable
o ur readers to distinguish a genuine Guarneri violín
from any othcrs, for I have insisted here upon
the absolutely distincti,·e characters of these instru-
ments,sever al of \vhich are neglected by the cleverest
ituitators, or cannot be imitated. This kno,vledge,
\vh ich has accu1nulated, year by year, since [ was
a boy in Brusscls 1nore than for ty ycars ago,
has enabled n1e often to save tny friencls from im-
posture; for the rage to possess a "Guarneriu s
violin" is almost as great nO\v as it ever \Vas. But
to show ho'v little they are kno,vn to those \vho
profess to be experts, 1 \vill relate a littlc anecdote.
Sorne ten or hvelve years ago, \vhen real judges of
violins \vere beco1ning already very ra re, l took
a beautiful Guarnerius to three no ted dcalers in
London, one after thc other, on the sarnc day, and

THE TWO JOSE PHS OF CREi IONA 109
eaclt 011e gave a ditferent opinio11. Not one of t/1e11t
recogniscd it as a Guar11erúts, thoug h it can1e origin-
ally from the great Tarisi o for the su111 of [,roo,
aad at the presen t day is \VOrth five ti1nes that
:unou nt 1

IX
.\ VIOLIN RECITAL IN MONGOLIA
1 HA VE often been amused by hearing a fine violin

spoken of as a 11 fiddle," kno\ving hO\V very much
1nore ancient is !he latler instrument, and that the
for1ner is not evcn derived from it. In fact, there
is not the slightest connection behveen thc hvo. lt
is true that the tern1 11 fidd le" is often appliccl sarcas-
tically to denote a bad violi111 ancl it is co1nmonly
used by many \vho ought to be a\\1are of the clif-
ferent origins OÍ these t\VO instruments, but appear1
on the contra1·y, to be totally ignorant oí it. I do
not deny that they 1nay both have hacl a common
origin, in the sarne \vay that a li 111e11 are supposed
to have co1ne do,vn from Acla1n; so that thc fiddLe
used in the tenth century at the fairs and 111erry-
makings of the J\nglo-Saxons, an instrumcnt \vhich
is believed by sorne learned antiquarian s to have
originated in England, or \ Vales, and the Amati
violín of many hundred years later, 1nay probably
be looked upon as 1nodern represenlatives of so1ne
of those very ancient, queer-looking stringecl instru-
ments cut upon the stone of old Egyptian and
"º

A VIOLIN RECITA L L'I" l\10NGOLIA 111
Grecian monume nts, or of the "long pattern"
monocho rds \Vhich have existed in India from \Vhat
111ight right ly be termed pre-histo rie times, and
\Vere certainly caused to sound by 1neans of a bO\V.
The violin-violi110, or s1nall viola-,vas directly
derived fro1n the viola d'a11wre, in that essentially
musical district !he 'fyrol and Northern ltaly.
Thanks to the \vritings and performa nces of l\1r.
Henry Saint George, the viola d'a111ore may again
become the vogue in our 1nodern concerts and
dra\ving-roo1ns. Although this transform ation of
the viola d'a111ore (or viola da ¡¡a111ba) into !he
violino, or modern violín, took place more than
three hundred years ago, yet in the East people
still make musical instrume nts that recall the ancient
1ndian productions. 1 read son1e years ago, in a
book \vritten by Dr. Hogg, U1at !he admirers of
Paganini and perfonna nces on one string, \vould
perhaps be surprised to learn that a species o(
fiel die \vith a single string is not on ly \vell kno,vn in
Egypt, but is often played in the streets, and, says
this \vriter, "many listen \Vith delight to the n1elo-
dious sounds dra\\·n from this single string by sorne
\Vild, untutore d Arab." Certainly \ve \vere surprised
\vhen \Ve read this. A "solo on one string" is not
exactly \vhat \ve should expect to hear in the streels
of Cairo. But let us take a slight 1nusical excursion
inlo the deserts of l\Iongolia, if only to prove, once
more, that the !ove of harmony and the tendency

1 1~ FAl"\!OUS VIOLThTISTS
to unite the tones of stringed instrument s to the
human voice are innate in mankind throughout the
\VOrJd.
In a recent \VOrk entitled "Among the i\1Iongo ls,"
the Rev. Jan1cs Giln1o nr, M.A., a 1ne1nber of the
London Mission to Peking, has clescribed the in-
ciclents of his life in a portian of the globe rarely
visited by representat ives of \Vestern civilisation.
At the time of one of his visits to a i\Iongolian
"village "-a small agglornerat ion consisting of a fe\v
coarse tents, a nu1nber of savagc dogs, so1ne cattle
and beasts of burclen, ancl store-boxc s-there had
been a weclcling. Long after that i1nposing cere-
mony "'ªS over, visiting from tent to tcnt and feast-
ing were kept up among the i\fongolians .
One afternoon, after sorne conYcrsatio n ,,·ith these
people, i\fr. Gilmour espied a curious-loo king instru-
ment lying on the top of one of the store-boxes ,
ancl a la111a, or chief 1nan of the tribe, vo lunteered
to extract 1nusic fro1n it.
This instrurnent is clescribecl as a "horne-mad e
fiddle." The 1nain parts of it consistecl of a hollow
box about a foot square and two or thrce i11d1es deep,
covered wiU1 a sheep's skin; and a stick about three
feet long \vas thrust through the sicles of the box.
Here \Ve have the flat 111odel of Straclivarius, ' " ith
th e C1-e1nona van1is/1 replaced by a sheep's skin !
The instr ument hacl only two strings (here we
have the treb/e and the bass- \ve can have no more

A VIOLIN RECI TAL il'I 1\IIONGOLIA 113
in a full orche stra !), ancl these, \ve are tolcl, con-
sistecl of a fe\v hairs pulled from a horse' s tail, ancl
length ened at botl1 cnds by pieces of comm on
string (the foresh ado,vi ng of the cover ed 4th, as it
\vil! appea r so1ne day in Mong olia !).
The bO\v consis ted of a bent \\'h ittled branch of
sorne shrub , fitted \Vith a fe,v horse hairs tied on
quite loos~ly (a count erpart of the bow used by the
i1nmortal Corelli !). The necess ary tensio n of this
bo\v \Vas produ ced by the hand of the perfor mer as
he graspe d it to play.
The missio nary found it Ílnpos sible not lo laugh
at the sight of so uncou th an instru1 nent. In1polite
and disres pectfu l as this condu ct \vas, the worth y
lama to \vho1n the instru ment belon ged \Vas not
in the least discon cerlcd . Doubt less he \vas quite
usecl to it. \!Vitl1 a s1n ile on h is placid count cnanc e,
he took up the bo\v \Ve have descri bed, set the box
or body of the fiddle on his knee, and \Vent throu gh
the preli111inaries of tuning "\vith ali the g ravity of
an acco111plished music ian." He then produ ced
from bis pocke t a small paper of powd ered rosin,
applie d the 1ninu test quant ity of this to the hair of
the bo\v, a ncl " subsid ing in to a pe nnane nt altitud e,
proceecled to entert ain bis gucsts \vith the \vell-
known t.Iong olian air called Pi11gla11g Ya/1."
The strain s of the instru ment, says the rev. gentle -
1nan, "\Vere soft and lo,v, ancl pleasing in the ex-
treme ." Comp ared \vith the high screec hing tones
H

of man y Chin ese and lVfongol inst rum ents , the
sou nd of this one \Vas "mo re like that of a goo d
pian o touc hed by a skilful hand ."
The lama, it appe ars, \vas a clev er perf orn1 er; he
had mad e the instru1nent hin1self, ancl kne\v ho\v to
use it. He soon sho\ ved his liste ners that high ly
artistic effects coul d be prod uced fro111 this very
que er fiddle. Afte r he had play ed a fe\v vers es of
the song just nam ed, it beca me evid ent that "it was
tiine to stop hitn," says our auth or; b ut in \vha t
this evid ence cons isted , we are not info rme d.
The re was a you ng \V01nan in the tent, the
dau ghte r of the lam a ; she \vas "cia d only in hvo
garm ents of com mon roug h Chin ese cloth, but
grac eful and beau tiful in buil d ancl feat urc. She
\vas just reac hing \VOmanhood, and her mou th was
ado rned by a set of mi lk-\vhite and perf ect teeth .
Fro m the look s of the 1not her it \vas eviclcnt that
she wish ed her dau ghte r to be asked to sing." Afte r
a little pers uasion she cons entecl, \vhilst the lan1a
scra ped a\vay on his two strin gs (a deci ded adva ntag e
over Pag ani ni's one strin g), and "a very lively con-
cert \vas the resu lt."
The burd en of the song 'vas the prai se of a
maiden na111ecl Pz'ng Lan g, ancl the \Vorcls are sup-
pose d to proc eed fro1n the n1outh of a disa ppo intc d
sui tor, \Vho is stric ken \Vith grie f \Vhen the gi rl
finally 111ounts her hors e and ride s off in a proc es-
sion to beco me the 'vife of a mor e fort unat e rival.

A VIOLIN RECITAL IN MONGOLIA 115
1t '"ªs rather difficult, we are told, to slart the
singers, for the artistic lama joined in \vith his
voice ; but \vhen once they had begun, it \Vas
found to be far more difficult to stop them. \Ve
are not informed ho'v this \vas effected ; nor
\vh ether, had they not beeu stopped in sorne '"ªY
or oth er, they \vould have continued the song for
any givcn length of tilne. In London o r París,
\VC kno\V1 a violin recital may lasta couple of hours
at longest ; but in Iv!ongolia, \vhere time is less
valuable, thesc entertainments 1nay perhaps con-
tinue for the greater part of the day and night,
or until the performers drop down fro1n fatigue,
like the riders in a hventy-four hours' bicycle race.
At the conclusion, the mother appears to ha,·e
been highly delighted at the praise \vhich \vas be-
sto\ved upon her daughter; and it see1ns evident
that the good looks of the latter had as much to
do \vith this as the nature of the 1nusical co1n-
positio11. Altogether it appears to havc been a
111ost delightful and instructive violín recita l, \Vith
one vocalist (a second joining in), and \vou ld cer-
tainly have interested 111any of the fashionable dilet-
tanti \vho frequent our London concerts during the
season.
And then, \Ve must remember that l\1ongolia, \Vith
its hvo and a half millions of inhabitants, spread
over one and a half 1nillions of square miles, is
1nostly a desert, comprising part of the vast sandy
•
116 Filf OU S VIOI~lNISTS
plain of Gobi, interspersed by a fe,v ferti le tracts,

feeding large herd s of cattle belonging to \vander-
ing tribes, and having only thre e rnonths of su1nrner
and nine of \vinter, \vhich prej udic ed foreigners
assert is the case \vith us in England ; but l\ilongolia
is much cold er. Its vast solitudes are enlivened
soiu etimes by íairs and rnarriages, and on such
occasions \ve 1nay hea r the strains of a "ho me-
made fiddle," \vhilst Lon don ers are con tent ing
the1nselves \vith t hose of Joachin1 or Sarasate .
As the religion is Buddhist, ther e can be little
cloubt that the art of cons truc ting this strin ged
inst rum ent can1e do\vn to the mod ern Mongols
\vith thei r religion, fron1 the mos t rem ote peri ods
of lndi an history.

X
VIOLINS OF VALUE
lT is a channing thing, no doubt, to possess a

N icolo An1ati 1 a Stradivari, or a Guarneri violin in
good condition-that is, ,which has not been acci-
dcntally injured or purposely tampered \Vith. Il1any
old Cre1nona violins have been scraped or patched,
or have had certain interna! additions made to
them, \vith !he vie\v of making them, as it \Vas
i111aginecl1 1nore fitted to the strain of the modern
pitch. Such instruments are 1nore or less de-
stroyed, ancl are, of course, Jess valuable !han a
good violin by any maker of repute. 'fhose \vhich
have not been thus injured realise \vhat are justly
tenned "íancy prices," fetching anything bchveen
[,roo and f,10001 or even inore, according to their
quality and state of preservation. Some of the
Tyrolean violins, such as those of Sebastian Kloz,
are quite equal to any produced in Cremona, but
lhey are far more scarce than the latter.
These fine old violins are not only sought aiter
by virtuosi, but, unfortunately, by collectors of
bric-a-brac; men \Vho attribute the n1ost nlarve llous
"7

118 FAMO US VIOLIN ISTS
propert ies to varnish , and talk about the "old
Cremo na varnish " as a lost a1't, and that sort of
thing ; roen 'vho, like the late Joseph Gillott,
kno\v nothing of 1nusic. His collect ion of Cremo na
instrum ents, \vhen sold by auction in April 18721
realised ;t;4195. No doubt it cost the Birmin gham
pen-111aker 1nore than hvice as much. 11any of
the instrum ents \vere really fine, but more \vere
of small value, either on accoun t of having been
injurecl, or becaus e they were spuriou s, or doubt-
ful as to the maker. Of course the labels inside
were ali there, but many of the111 \Vere a very queer
mixtur e of bad Latín, Germa n, or Italian, and any-
thing but genuin e. Nowaclays no one looks at a
Jabel. The time has gone by \Vhen an uninitia ted
purcha ser could be impose d upon in this 1nanne r.
lt has becom e genera lly kno,vn that a label, looking
as if it \Vere hvo hundre d years old, can be 1nanu-
facturecl \vithou t much difficulty.
It is a pity for the 1nusical profession that brz:c-a-
brac hunters do not stop at crocke ry and dusty old
books. At thc presen t day there are lying hidden
a\vay in boxes seores of fine old violins that could
be put to goocl use in the concer t roo1n1 ancl delight
the cars of the most enlightenecl audien ces.
Nevertheless, our young artisles need not despair .
Althou gh nothing can equal the soft, lusciou s tone
of a \Vell-pr eserved Stradiv ari, a violín must be very
bacl that \vill not, in the hands of a good player,

VIOLil~S OF VALU E 119
make its due c!Tcct in a Jarge conc ert room , even
if not quite so pleas ant as a Crem ona in the dra\ving-
room ; and if an artist e can mana ge to go to abou t f.,40,
01· even less, he may get an instru ment \Vith \Vhich he
can do hi111seH ample justic e and make his living.
One day the \Vell-kno\vn Char les Danc la \Vas
offerecl the loan of a fine Strad ivari violin for one
of his conc erts; he tried it for ten clays, but pre-
ferre d to play upon his own instru ment , that \vas
not \VOrth one-t enth of the monc y \vhic h !he other
h ad cost.
Not long ago 1 'vas at F. W. Chan ofs, in Bern ers
Stree t, and sa\v there a magn ificen t violin 1nade by
l\!Iauc otel, of Lonclon, \Vho clied so1ne years ago.
Preju dice asidc, this instru ment \vould co1npare
'vell \vith !he fincst Cre1nona ever made , and yet
a very mode rate price \vas askecl for it. Luck y
indee d is the 1nan \vho purch ased it. lts tone \vas
super b, and its appe aranc e equa lly grand . ?l!au-
cotel and the late Geor ge Chan ot \VOrked toget her
in Lonclon, and have n1acle goocl 11a111cs in the
violin \vorld. 1 also re111ember a fine violin made
by \Vith ers, of Lond on, \vhich in a conc ert room
coulcl not have been distin guishccl fron1 the best
of Cre1nona instru ment s. This one \\•as sold to
an amat eur for f.,60, ancl \vas certa inly \vell \VOrth
the n1oney, \Vhen ' ve consi der \Vhat 1nen \vill g ive
for a Strad ivari or a Guar neri, a Guad agnin i or a
Berg onzi.

lQO FAMOUS VIOLINISTS
And this cunous affection for old Cremona
violins, tenors, and basses is by no 1neans a
1nodern fancy. The Stradivari violin \Vhich my
excellent father gave me \Vhen I was sixteen years
of age \vas priced one hundred guineas in 1824.
But to go still further back, \ve \vere to ld by the
English ne,vspapers that in Septe1nber r873 there
was sold by auction at Dresden the famous violín
of Count Trauhnansdorf, Grand Equerry to the
E111peror Charles VI., \vhich he had purchased
direct from the celebrated Tyrolean 1naker, Jacob
Stainer. " He paid hi1n do,vn in cash seventy
golden cro\vns, and undertook to provide the ven-
dor, as long as he lived, \vith a good dinner every
day, as \Vell as a hundrecl florins a month in cash,
ancl every year a ne\v coat, with golclen branden-
burghs, f\vo casks of beer, lighting and fue!, ancl,
in case he shoulcl inarry, as 1nany bares as he n1ight
require, \vith hvelve baskets of fruit annually for
himself, and as 1nany for his old nurse (house-
keeper ?)." As Stainer lived sixteen years after-
'varcls, this violín 1nust have cost the Count not
less than 201 000 fiorins. At the auction in ques-
tion it \vas knocked do,vn to a Russian gentle1nan
for 2500 thalers.
Little is kno\vn \Vith certainty regarding the life
of Jacob Stainer, except that he visited Cremona
ancl nearly married a daughter of Nicolo A1nati 1
returnecl to the 'fyrol, 'vhere he \VOrked \Vith

VIOLINS OF VALUE ] fll
l{loz and Albaní, experíenced great vicissiludes of

fortune, and finally, after the death of his German
\vife, retired to a tnonastery, 'vhere he made a fe,v
magnificent violins.1 So that the above story may
\vell be looked upon \vith a sceptical eye-as a
story concocted, perhaps, for the auction roo1n,
like those queer ru1nours that someti1nes float
about on the Stock Exchange.
1t is only cluring the last forty years or so that
Cre1nona violins have solcl freely at more than a
hunclred guineas, \vhich 'vas the price usually put
upon them about the middle of the present century.
Of late ycars one of the highest figures we meet
\vith was that realised by a Stradi,·ari violín that
belonged to the old 1naker, John Betts, of London.
It bears lhe date 170{, and '"as purchased by the
late George Hart, of Princes Street, Leicestcr
Square, for f,800, in 1878. Old John Betts bought
it for a sovereign over his shop counter (near the
Royal Exchange) so1ne seventy years prcvíously.
That saine year, 1878, in February, \VC read in
Galiguani' s }llfesscnger, an English ne\vspaper long
published in París, that a Stradivari violín, signed
and dated 1709, \Vas sold by auction at the Hótel
Druot. lt \Vas put up at 10,000 francs (f,400),
and finally bought for 22,100 francs (f,884).
During this sale, \vhen the bidding had gone up
' Thc bes! nccounl ofJncohus Staincr's lifc is to be found in Flcming's
"Old Violins nncl thcir ?-fokcrs," London 1S83.

FAMOUS VIOLL~STS
to 18,000 francs, there 'vas a great rush of the

curious to get a sight of it, and a small table, upon
\vhich three or four persons \Vere standing, \vas
upset, and they fell to the ground, creating some
stir among the cro,vd. "Do not be alarmed,
gentlemen ! " cxclai1ned the auctioneer ; "the violín
is quite safe."
Violins of value exist, which may not be so from
an artiste's point of vie,v. 1 have seen in the hands
of the late eccentric Dr. Forster, of Brussels, and
his no less ecccntric friend, the Prince ele Vismes
et ele Ponthieu, instruments that a virtuoso coulcl
scarcely play upon, and 'vhich 'vere valuecl at
severa! hundreds of pounds. l\1y \VOrthy master,
Henri Standish, took the first prizc at the Brussels
Conservatoire (and becatne aftenvards rlpltitcur to
De Bériot's class) \vith an Eggita-J(loz violín that
cost 300 francs (;/;12) in 1849. With this excellent
instrument he playecl in concerts, and 1nade a
111usical tour \vith De Bériot.
It sometimes happens that violins of great his-
torical value disappear, apparently for ever, as the
famous Elector-Sta iner instruments 1 have done.
\Vhat, for instance, has become of Toro Cooke's
violin-tha t \vhich, amid roars of laughter, he
handed up to the j udge in the cclebrated trial
concerning the copyright of a song called T/1e Old
1 Thosc mode by Stniner nfter he enterecl on n monnstic lifc, ancl
presented to e.'ch of thc Elcctors.

VIOLINS OF VALUE 1~8
Englislt Gentle11tan? When the \vitty lcadcr of the

Drury Lane orchestra \vas called as a \vitness, and
requested to sing the air, he said he could not sing
it, but that he could play it on his vio lín. 11 Let
the violín be brought in," said the judge; and
\vhen the airs of the hvo songs in dispute \Yere
played and found to be perfectly identical, the
learned judge, struck \Vith their similarity, and
turning to the counsel, cxclaimed, " Tliat is a very
si111pie 111atter," alluding, of course, to the legal
question. 11 lt is, my lord," put in Toro Cooke,
handing up the violín ; 11 wo11ld your lordship like to
try it?"
l t is a curious thing that the art of violin-making
should have so co1upletely disappeared from the
old city of Cremona; but as Signor Frederico
Sacchi, a Cremonesc gentle111an residing in London,
has re1narked, 11 it is 1nore than a century since the
death of Stradivari's best p up ils and i1nitators, and
even the fe,v n1ode rn rcpresentatives of the tradi-
tions of that school, the Cerutis, \vho ex hibited th eir
violins in the great Exhibition of 1851, have joined
the majority." But \Vhile violin-making has gradu-
ally become an art of the past, other industries
have arisen there, such as spinni ng and carding
silk, and the preparation of fruit preserves and
confectionery.

XI
THE STRADIUARJUS- A DIALOGUE
"Yo u knO\V 1ny fine violin, Bertha ? "

"Yes- you 1nean your Crernona, 1 suppose-well,
\vhat about it?"
"1 have 1nade such a discovery ! The other day
1 looked into the insicle to see \vhether I could still
1nake out the ingcription on the olcl label, Stradi-
uarius fecit Cre11tona1 &c., \vhich is ahnost obliterated
\vith dust ancl rosin, and, to 1ny utter surprise, I
found, high up above it, and very much to the left,
in fact nearly under the finger board (where it \vas
extre1nely clifficult to see it), son1e \Vriting in very
small but clistinct characters, though faint, ancl these
\Vere · evidently in German. 1t struck 111e at once
that the violin must have been opened for repairs,
ancl that something hacl been recorcled \vhich, from
1ny ignorance of the Gennan language, 1 \Vas not
able to make out."
" How very odd, George, for that violin has been
in our family for a very great number of years, and
1 never heard of it having been repaired."
"True, my sister, long befo re you and l \ver e
124

THE STRADIU.c\RIUS 125
born, \vhen our dear father \vas a mere boy, he
brought it back \Vith him to England \vhen he
returned after his foreign course o( study. So
you see \ve have had it since the beginning of the
century; it \Vas purchased for him in 18191 four
years after the battle of \:Vaterloo, by his 1nusic-
1uaster, \vho hacl served 'lvith the Prussians in that
ca1npaign. I have a memorandum to that cffect in
one of my father's diaries under the date Noven1ber
14th, 1819.''
"And \vhat a splendid instrument it is, Gcorge !
1 never hear anything like it; still l think a great
deal may be O\ving to your fine playing. Only last
\Veek, \Vhen ~fr. Oldtim carne to tune our piano, he
heard you, and said he thought it had an exqu1-
sitely S\veet and po,verful tone, and he is a good
judge, you knO\v- but \Vhat do you 1nean by
your discovcry?"
" Last ycar, you re1uember, 1 refusecl an offer of
[,500 for thís violín, because the tone, as you say, is
so fine, ancl the clouble notes are so beautíful, \vhílst
the harn1onics are so round and clear. Ancl I have
often thought that the possession of a fine Cremona
violín is the greatest luxury in the \VOrlcl to a
mus1c1an. Such violins are, of course, extremely
rare. Besides ali this, it is easy to play, the tone
is s1nooth and equal on ali the four strings; it is
like a splendid n1ezzo-soprano voice. Then \vhen
the old label, Stradiuarinsfecit Crc11io11a1 a11110 I7I7 1

happens to catch my eye, I cannot help thinking
\Vhat an admirable \VOrkman he must have been,
and \vhat a debt of gratitude ali violinists O\ve to
hitn, and his conscientio us fello,v-labourcrs, his
hvo sons, and Lorenzo Guadagnini, \11ho helpecl
him.
"You see there 'vere once at Cren1ona, in the
same \VOrkshop, near the old church of Santo
Domenico, three men named Nicolo Amati, Andrea
Guarneri, and Antonio Stradivari, \Vho have left
three of the greatest reputations in the \vorld of
musical instrun1ent 1nakers, men \vho have supplied
tnusicians 'vith so111e of the finest-toned violins ever
beard."
"Oh yes, George, I have often heard of them,
and of the enormous prices sorne rich enthusiasts
have given for their instruments. Yet you once
told me that Stradivari never got more than about
roo francs, or {,4, for any violín he made, unless it
\vas specially o rna111ented to suit the taste of the
purchaser."
"It is so, n1y dear sister. In the eighteenth
century there \vas but one price for a first-rate
violin ali over Europe; it was about fifty shillings
of our English money, and a violín of Cremona,
being rather more sought after, \Vent up to so1ne-
thing h igher, and in the case of Stradivarius to as
much as J;4. These violins now sell at f,2 00 to
{,2000, when in good condition and \vell preserved."

Tr IE STRADIUARIUS 127
" lt is tru ly wo nd erí ul ! "

be en
"Y es ; bu t wh at is mo re \vonderful still has
the old
reveal ed to n1e \vithin the last for tni gh t by
is \Vriting
\Vritin g I dis cov ere d inside my violin . 1'h
long, an d
has be en the re, He av en on ly kn ow s ho\v
in vain
is ve ry sn1all ancl faint. Arter cn de avo uri ng
s an d a
to 1nake it ou t, \vith the aid of spe cta cle
ins tru -
ma gn ify ing glass, I de ten nin ed to have the
r lines of
1nent op en ed, for I fou nd tha t the fou
ann er tha t
ins cri pti on ha d be en pla ced in suc h a 1n
ut taking
it \vas qu ite itnpossible to rea d then1 ·witho
the violin to pieces in this ma nn er."
"
"\V ou ld no t tha t be a gre at risk, Ge orge?
tai nly
"I knc\v it 'vas a risky thi ng to do ; it is cer
e, lest the
an op era tio n tha t req uir es the gre ate st car
as it is
tab le of the instrun1ent sho uld ge t cra ck ed
inj ure d.
be ing raisecl, ancl the violin irretrievably
no t resist
Bu t my cur ios ity \vas so gre at, I co uld
Wi llia m
the ten1ptation . So I took it do\vn to
a go od
Te ch ler , wh o is a car efu l wo rkm an an d
for ho urs
Ge rm an sch ola r. 1 \vaited \vith him
s entirely
\Vhilst he did it; ancl \vhen the tab le \va
translated
rem ov ed \Ve ma de ou t the \vriting, an d he
it for u1e. Oh, \Vhat a revelation it \vas 1"
" 1nd eed ! "
ha nd ,
"T he re \vere íou r lin es in a sm all, cle ar
se of a
lin es \vhich at first lookecl like !he ver
mi nu te
poe1n, \Vritten with ex tre me neatness, an d in
Ge rm an ch ara cte rs."

1 ~8 F AMOUS VIO LDH:STS
" And \Vhat \Vas the 1nean ing of it, my dear
brot her? "
"We ll, hcre is the trans latio n on this bit of
paper, as I \vrote it do,vn from 'fech ler's dictation :
'Thi s instr ume nt is mad e by G. R., violin-maker
at E rfurt, in the ycar 1786, strictly upen the model
of A. S., Crem ona.' "
"Oh , my dear Gcorge, hO\V very extra ordi nary."
" 'f echlc r tells 1ne that A. S. certa inly stand s for
A ntonw Stra diva ri, alrea dy at that date celeb rated
thro ugho ut Euro pe ; ancl one of his violins \vas, if
poss ible, a hvays proc ured, or bo1TO\vecl, by Gen nan
mak crs as a 1nodel to \VOrk upen ."
" Only just fancy l Ancl this is a violin cqua l to
any Straclivarius that \vas evcr maclc l"
"Yes , Bert ha; and I have no doub t that hun-
clred s of fine violi ns have been 1nade in Germ any
by excellent conscientious \vorkn1en, \vho spar ed
no pains to make lheir 'vork as perfe ct as possible,
tho ugh bare ly ablc to subsist by it. Ancl \vhat is
more , hund reds of these supe rior instr ume nts are
nO\V sold in Euro pe and America as 'Cre mon a
violins,' at enon nous p riccs. I te ll you the Cre-
mon a craz e is pure 1nadness. I \ven der \vhether
Wal ker will rene\v his offer of J;500 for it. Shall
I give him the oppo rtun ity ? "
"Oh , George, ho\v can you think of such a
thing l No, my clear brot hcr, neve r part \vith that
violi n; you could neve r repla ce it. vVhoever the

THE STRADIUA RIUS 129
maker may have bcen, the 1nagnificent tone is
there-\vha t more can you desire ? Do not be
carried a\vay by vulgar prejudice, and so bccome
thc victim of the monopoly of a na1ne ! A rose
by any other name-1 111ean, 111y dear b rother, a
violín \vithout any na1nc 111ay so und as S\veet, in
your hands."
Note.-The above little episode is slrictly true. On more

than one occasion this interesting instrument has becn in my
hands. lts tone is very fine, but not quite equal to that of a
wcll-preserved Stradivarius; it is, however, superior to that of
somc very goocl instrumcnts with which it was carefully com-
pared. Al tbe present day it is over a hunclred years old. T he
back and table are bollt of onc piccc ; the purRing is pcrfcct,
just like that of Stradivari ; thc model very llat, like that of
Sebastian Klot (which is Raucr than that of Stradivari) ; thc
varnish, amber yellow, oí mediocre quality ; the sides slightly
narrow, like those oí Nicolo Amati, but very handsome; thc
scroll very fine, and the finish throughout is tolerably pcrfoct.
The sound-hole is stiffer than that oí Stradivari, and the wood
is not cqual lo tbat oí the finer Cremona violins ; but time and
much use have mellowcd it. Thcrc is not a single imperfcct
note from one end to thc othcr of thc scale, in whatcver posi-
tion it may be stopped; and lhis violin yields the "third sound"
with case when double notes are played, giving to the1n a very
fine quality of tone. What more could be asked of Crcmona
itselí?

X II
POETRY
OLAUS BULL ANO NOR\VEGIAN
R\VA Y ha s su pp lie d us \v ith severa! gr ea t artistes,

NO
ud a, \Villy Bu rm es te r,
su ch as O le Bull, N or m an N er
ol in ist s, an d i\I ar cu s La rs en a1 nong pa in te rs.
am on g vi
ve in m y "C el eb ra te d Vi ol in ist s" th e follo\v-
1 ga
g qu ot at io n fro m 1'I r. Ra e's cl ev er volun1e, "T he
in
th e N or th V\ lin d." 'vV hilst sa ili ng al on g
La nd of
t of No n.v ay , he an ch or ed at Bo do . "A t
th e co as
," he sa ys , "t he re ca n1 e on bo ar d a m in str el -
Bo do
ie d to hi m , is 1nere
th ou gh th at \vOrd, ,,·hen ap pl
ss . l-J e ,,· as a co lle ct io n of 1n in st re ls -
foolishne
rw eg ia n 111 1u1 'cal festival. W ith hi s
a ba nd - a No
ou th h e pl ay ed th e Pa nd ea n pipes, attachecl rouncl
m
rig ht ha n el he tu rn cc l
hi s ne ck by a sc ar f; \vith hi s
l-o rg an ; 'vi th hi s lef t he pl ay ed a pa ir of
a ba rre
ne ts ; hi s lef t fo ot 1n ov cd a co rd \vhich ra n
ca sta
stick in m ot io n- on
un de r hi s ar m an d pu t a dru1n-
wa s sl un g a dr um ; \v ith bi s rig ht kn ee he
hi s ba ck
ce uv re d a pa ir of cy m ba ls ha ng ing fro1n th e
m an
ga n; to bi s ha t \V as at ta ch ed a ro d, \vhich st ru ck
or
bi s he ad ; an d so m e-
a trian gle \vh en he no dd ed
re ab ou t hi m \Va s a ta m bo ur in e. \V he n we sa w
\v he •)O

OLAUS BULL 131
him \Ve were struck \vith a grcat a\ve, and felt that
this 111an \vas no ordinary being. \Vas this lhe
fatniliar god Pan? \;r,Tas this the genius of ~Iusic
turned loose u pon the earth ? Was this Orphée
ait.t: Enftrs? \Ve lookecl at him, speaking in hushed
\Vhispers, and \vaiting for his first note. When he
began to play, ali doubt \vas laid aside: he "·as
Orphée, and \Ve \Vere a11z Enfe1·s ! "
Olaus Bull, or Ole Bull, as he \vas generally
called, \vas not pcrhaps quite equal to this; he '"ªs
not a complete "N'or\ve gian musical festival," but
he uscd to elicit so1nc astonish ment by performi ng
\vhat he called a q11a1·tett on one violi11.
'fhe life of this celebrate d violinist has been onc
of extraord inary adventure . l·l e \vas born, like th e
celcbrate d ~Io lberg of the seventce nth and eight-
eenth centuries , in !he old l0\\"11 of Bergen, on the
5th February 1810. His parents belonged to the
leading families of that northern rcsort of 1ner-
chants, skippers, ti tnber-dealers, ancl herring-fishers.
I-i is grancln1o th er on his father's siete \Vas sister to
the \vell-kno\vn poet Ed,vard Storrn, the author of
the "Sinclai r Lay," an epic poe1n on the Scottish
colonel, Sinclair, \vho, during the rivalry of Gustavus
Adolphu s and Christian IV., at the com1nence111ent
of the seventec nth century, made a descent on
Norway \vith a thousand voluntee rs, three hundrecl
of \Vhom were killed, together \Vilh his lovely and
courageo us \vife, by the ferocious Nonvegi an pea-

132 F.<\.J\:t:OUS VIOLINISTS
the pass
sants, \vho hu rle d rocks up on the m in
kno,~vn as the Gulds bra nd sda hl,
no t ve ry far from
lly ad-
Christiania, a va11ey sin ce beco1ne universa
S\vedish
mi red in the cel ebr ate d pic tur e by the
, Joh n
co urt painter, lVfarcus La rse n. Hi s fathcr
1
rnsdorff,
Sto rm BulJ, wa s a pu pil of Pro fes sor Tro
ha d four
the disting uis he d che1nist. Hi s mo the r
arrny,
bro the rs, l\vo of \Vhom \Verc cap tai ns in the
hant, \vho
on e a captain in thc navy, ancl on e a 111erc
spa per
afteP.vards beca1ne the ed ito r of the on ly new
pri nte d in Be rge n.
ingly
Ali the me 1nb ers of the family \Vere exceed
ed ha d
fond of 1nusic, an d the ed ito r jus t me nti on
1eli1nes
occasional qu art ett parties at his house, son
Ha yd n,
as oft en as hvice a \Veek, \vhen the \VOrks of
s, exe -
l\ifozart, an d Be eth o,· en ,,·ere, 1nore or les
eve nin gs
cuted. Ge ne ral ly spe aking, these mu sical
Ole Bull
coi nc ide d \Vith a din ne r party, an d yo un g
re tha n
\vould oft en cre ep in to listen, \Vith a mo
t ho ur
infantine curiosity, tho ug h he sho uld at tha
have be en fast asleep in bed.
, \vith
At tha t tim e he \vas accusto1ned to listen
gra nd -
intense interest, to the fairy-tales of his
ldr a, an d
mo the r-s tor ies ab ou t the mysterious Hu
d \Vhen
the Fo sse kal, or Spirit of the vVaterfall; an
imagine
he he ard the qu art ett s, the ch ild use d to
t forth ali
tha t it 'vas the ins tru me nts alo ne tha t sen
y oí my mother, and
•
1Tbi s m:igni6cc:nl piclure is now tbc propcrt
h•ngs in the hall oí her hou se at l'utncy.

OLAUS BULL lSS
those \vonderful sounds. H e could not conceive
that the music \vas anything else than the singing
of the violins themselves.
This \vas a queer notion. But Ole \vas a most
poetic chilcl, and a story is told of him, \vhcn he \vas
about six years old, standing in a fie ld before a
group of blue-bells, fancying he heard thein ring,
and pretending to acco1npany their music \vit h hvo
p ieccs of \voocl \vhich, in imitation of his uncle the
editor, he held as a violin and bo\v.
After a \vhile the \vorthy uncle gave little Ole a
real violin, u pon \vhich the lad \VOrked his \vay alone
so successfully that he was soon able to take part
in the quartett meetings alluded to above. H is
1nother soon perceh·ed this early !ove of 1nusic,
and detcrmined that it should be encouraged and
cultivatecl.
At this time there was only one professor of
1nusic in Bergen, ancl he happened to be a vio linist.
His na1ne 'vas Poulsen ; he had drig inally come to
the old to\vn, from Den mark, on business, but he
found so 111any jovial companions-for Bergen has
long had a reputation for conviviality - that the
Danish professor postponed his departure from
\veek to \veek, until he \Vas about sixty years of age.
Poulsen, \ve are assured, \vas a true artiste; he
'vas exquisitely sensitive to the beauties of art, hacl
a thorough kno,vledge of its rules, ancl "\VOuld
sho\v h is perseveran ce in playing as long as there

rem aine d a dro p of bra ndy in the bottle set before
him." Wh en his dres s \Vas thre adb are his friends
\Vould give him a new suit, and at intervals he
\vould give a con cert that \voukl yield hi1n a profit
of abo ut J;,10.
Suc h was the professor to \vho 1n, in his tender
years, little Ole Bull \vas sub mit ted for inst ruct ion.
Iie 111acle suc h rapicl pro grcs s that the olcl professor
\vas quit e una ble to do rnor e for him, a11d thinking,
perh aps, that his O\vn pros pec ts for the futu re \vere
no\v cert ainly cut off in Ber gen , he left the to\1111
for ever.
Afte r that the !ad took pro mis cuo us lessons fron1
Danish artistes, or othe rs, \vho visited Ber gen for a
sho rt time to give con cert s. l-Ie \Vas 110\V l\velve
yea rs old, ancl his fath er see1ns to have set his min d
upo n mak ing hi1n a clergy1nan . Wit h that vie\v he
eng age d a private tuto r, \vho soo n discovered \Vhere
Ole Bull's taste lay, and forbacle him to play upo n
his violín at ali.
Plac ed thu s und er resl rain t, lhe boy 's !ove of
1nusic bec ame a passion ; and having tnufflecl his
violin by n1eans of a sourdine, or 1nute, he prac tise d
:nvay at nigh t \Vhe n a ll \Vas still, ancl noth ing cou ld
be hearcl at Ber gen save the dashi11g of \vaves upo n
the rock y sho re ancl the \vild strai11s of the lad's
half-silenced violin.
So time \vore 011, Ole bei11g occupiecl by day
\Vith bis tuto r ancl the classical auth ors, a11d at nigh t

OLAUS BUL L 1S5
\Vith his dear est com pani on still, the little violin
that his uncl e had given him. H e appe ars to have
been toler ably quick in learning, ancl man agecl to
satisfy his father ancl his tuto r that he \vas 111aking
fair prog ress ; so that \vhen he hacl reac hed his
eighteen th year he \vas despatch ecl to Christiania
to pass an examination ancl ente r the University.
Ole Bull lovecl his father, ancl he endeavourecl to
follo'v his aclvi ce and aban don 111usi c altogethe r;
but circu msta nces \Vere too muc h for hün. H e
had scarc ely arr ived in Christiania befo re he met
so1ne com pani ons from Berge n, a lso stud ents at the
University, 'vho solicited his help at a conc ert for
the benefit of thc peor. He triecl to excuse him-
scl(, saying he \vas qu ite out of practice, ancl that
his father had strictly forbidden him to play at ali.
"Bu t it is an act of char ity ! " they exclai1ned .
"We ll, lhat altcr s the case a little," repli ed Ole.
" Perh aps my \VOrthy parc nt \VOuld not mind that."
So he play ed at the conc ert.
In a litlle time his cons cien ce \Vas eased enou gh
to join a quar tett part y; and \vhen he \Vent up, in
a fe,v days , for his exa1nination, he \vas rejec ted.
This was his first real grief. \ >'Vith ill-suppressed
tears, he foun d hi1ns elf befo re one of the youn g
professors at \vho se ho use he had played the nig ht
befo re thc examination.
"lt is !he best thing that coul d have happ enecl to •
you," said the latter, by '"ªY of consolation.

156 FAl\IIOUS VIOLL.,'1S'fS
"Ho\v so?" inquired Ole BulJ.
" l\I y dear fellow," rejoined the other, "do you
believe you are a lit 1nan for a curacy in Fin-
1narken or a mission a1nong the Laps? Nature
has 111ade you a 111usician. Stick to your violin,
ancl you \Vill never regret it."
"But my father ! " sobbed out the yo ung man.
"Your íather \Vill ne,·er regret it either," said the
professor.
F ortunately, his 1nusical friends did not forsake
him in these arduous circumstances. It happened
that the leacler of the P hilhannoni c Society in
Christiania \Vas very ill, ancl Ole Bull \vas appointecl
to fill bis place pro te11t. He managed to fulfil his
cluties in this capacity so \vell that \vhen, sorne
\veeks later, the leacler died, Bull hacl the position
offerecl to hitn, ancl he acceptecl it.
As this rendered hitn independen t of his father's
purse, the latter, so111ewhat reluctantly, pardoned
his failure to en ter the U niversity.
After having continued his duties as lcacler of
the Philharmon ic Society at Christiania for a \vhole
season, and put by a little money, Bull \vas enabled
during the vacation titne in the su1nmer of 1829,
\vhen he \vas not yet hventy years of age, to take a
trip into Gennany, \vhere he heard Spohr (\vho \vas
then director of the n1usic at the Opera of Cassel)
and severa! other distinguished violinists, an1ong
\vho111 \Vere l\llaurer ancl \;!Jiele. I-Ic \Vas very

OLAUS BULL 1S7
disappointed \Vith the great Spohr. He fancied
hitn a man \Yho, by his personal appearance,
by the poetic character of his performance, and
by his genius, would enchant and ovenvhehn his
hearers. lnstead of this he found a corrcct teacher
of exacting and cool precision in his playing, quite
unable to appreciate the \vild, strangc melodies
\vhich Bu 11 brought \vith him fron1 the rugged,
poeti cal lancl of the North. •
He clic! not 111ake a long stay in Gennany on th is
occasion ; ancl on his \vay home, Ole Bull fell in
'vith so111c stuclents ,,·ho \Vere going to a concert
at l\1inden, and \vas induced to accompany them.
It happened that the violinist of the evening \vas
indisposed, and could not appear ; it is said
he had got clrunk. 'fhe young Nor,vegian \vas
asked to supply his place, and <lid so. lie met
\vi th a very \Vann reception, and \Vas cnthusias-
tically applauclecl. Next day another \Varn1 re-
ception atiended hi111 1 on the part o f thc violinist
\vh o hacl takcn too n1uch beer on th e cvening
of the concert. His jealousy 'vas arousecl at the
success \Vhich Bull had achieved in hís place, and
he sent hím a challenge couched in highly offcnsive
terms.
The duel carne off immediately, and Ole Bull
slightly \vounded his antagonist, \vhose hand, pro-
bably, could not have been very steady. His ne\v
friends advised him to qu it the counlry as soon as

138 FAMOUS VIOLii~ISTS
possible, fearing this affair might lead to unplea-

sant consequences. So he \Vent straight back to
Christiania. 1'here he settled quietly to \VOrk for
the next year ·and a half ; after \Vhich that restless
spirit \vhich formed an inherent part of his char-
acter induced hitn again to leave Nor\vay ancl try
his fortune in the South.
In the year 1831, \vhen Ole Bull \vas scarcely
one-and-hven ty years of age, ancl \Vhilst the cholera
\vas raging in París, he found his \vay to that
city. The cliligence cleposited hin1 and his violin
in the yard of the hote l. He stood there, for the
first ti1ne of his life on French soil, friendless,
horneless, a nd \vith an exceedingly ligh t purse.
H is only reso urce \Vas his violín, and his ouly hope
that of an opportunity to make his n1usic heard.
Alas! it \vas a Yery clubious resource, and a very
forlorn hope.
Crov1cled audiences \Vere then attractecl by the
\VOnderful singing of the gifted l\l[aclatne Malibran,
and by the extraorclinary perfonnances of Paganini.
Ali Paris \Vas raving about these hvo great artistes ;
nothing else see1ned to occupy the thoughts of the
1nusical \VOrlcl. Ole Bull could not have hit upon
a 1nore inappropriate 1no1nent to pay his first visit
to the French metropolis.
Of course he \vent to hear the tlvo great musi-
c ians, and one night he returned very late to
his loclgings, after being channecl \vith Malibran's

OLAUS BULL 139
singing. He flung himself on to his bed to snatch
a fe\v hours ' repose, and \Vas soon plunged in a
deep sleep.
On a\vaking next 1norn ing, he discovcred, to his
utter dismay, that his landlord hacl absconded
durin g the night \Vith ali bis household furniture,
and taking with him the musician's clothes and
his violín, ali of \vhich 'vere containcd in one box
of very mode rate diinensions.
It is difficult to realise the dreadful situation to
which poor young Ole Bull \vas thus suddenly
recluc cd. He wancle red about París for thrcc
entire days, a prey to \vant and despair. Accord-
ing to one account, he then lhrew himself into
the river Seine, in lhe hope that death \vould re-
lieve him fro1n his intense anguish.
Another accou nt says, that after being robbed
of his clothes and his violin, he had still enough
1noney in his pockets to pay for one 'veek's
accornmodat ion in a 1niserable lodging-house ;
and it \Vas during the last dinne r for \Vhich he
\vas able to pay that he made the acquaintancc
there of a 'vell-kno,vn ancl very remarkable 1nan.
Ole Bull confided bis 1niseries to this stranger,
who appea red to be bighly interested in his sad
story. At the conclusion, arter a moment's silence,
the lattcr said abrup tly-
" V.Tell, I 'vill do so1nething for you, if you have
coura ge and five francs."

" 1 have both," said Bull.
"Then go to-night to Frascati's at ten o'clock,"
continued the stranger ; "pass through the first
roo1n, go into the sccond, \Vhere they play rouge
et noir, and \vhen a ne\v taiffe begins, put your five
francs on rouge, ancl leave them there."
The young 1nusician's !ove of adventure, and the
confidence inspired by the stranger's manner, deter-
mined him to do exactly \vhat this peculiar indi-
vidual told him. At ten o'clock precisely he stood
at the celebrated ga1nbling-house, before the table
\Vhere rouge et noi1· \vas being playecl. In the
co urse of a short tin1e the 1non1ent can1e for hi1n
to act as he had bcen instructed. He thre\v his
five-franc piece on red. The card \vas dra\vn :
"Red wins," said a voice ; the five francs \vere ten
francs. The ten francs \Vere left on red- in another
minute they had beco1ne hventy francs. Still the
young Nor\vegian left his money on the \vinning
colour; and in thc course of less than half an hour
a considerabl e pile of gold lay on the table bcfore
him, ancl belongecl to hin1. He hacl only to stretch
forth his hand and gathcr it up.
The only question \\"hich occupiecl his 1nind \vas,
\vhether he had left his 1noney long enough ? \Vas
1·ed going to pass any longer ? In relating this
adventure to a friencl, he saicl, "1 \Vas in a fever;
I acted ' as if posscssccl by a spirit not 1ny O\Vn.
No one can understancl 1ny feelings \vho has not

OLAUS BULL 141 1
gone through such trials-Jeft alone in U1e \VOrld,
as if on the extreme verge of existence, \vith the
abyss ya\vning beneath, and at the same time feeling
so1nething \vithin U1at should deserve a saving hand
at the last 1no1nent."
Whilst he hesitated to \vithdra\v bis 111oney, a
fair \vhite hand stretched fof\vard to,vards it, and
covered it. In a n101nent the iron grasp of the
violinist had seizecl it by the \vrist. 'fhe O\vner
utterecl a p iercing shriek, and críes of "1' urn her
out!" \vere raised.
But a clark, spare figure standing near, \vhom Ole
BuU at once recognised as bis mysterious friend
of a ÍC\V hours previously, said in a clear, cahn
voice, "l\Iada1ne, be good enough to \Vithdra\v
your hand from that gold;" and turning to Bull,
he added, "Sir, take your money, if you please."
Follo,ving this advice at once, the 1nusician took
upa su1n o( about four hundred francs; but he still
stood riveted lo the spot, ancl sa'v red co111e up to
the end of the taille; so that hacl he persevered
some\vhat longer, he \vould have been a compara-
tively \vealthy man that very evening.
He returned to his miserable lodging and counted
out his gains; he could scarcely believe it 'vas not
all a dream. 11 \Vhat a hideous joy 1 felt," he says
in a Jetter to one of his friends ; 11 \Vhat a horrible
pleasure it \vas to have saved one's O\vn soul by the
spoil of others ! "

14~ FAMOUS VIOLINISTS
The strange personage \vho had thus befriended
Ole Bull \vas the well-kno\vn detective, Vidocq,
already an European celebrity. He never met him
again.
1'he next thing to be done \vas, \vithout \Vaste
of time, to replace the Jost violín. With this object
in vie,v, he set out to purchase one ; ancl in cloing
so, acciclentally 111acle the acquaintance of an indi-
vidual nan1ecl Lahout, \vho in1aginecl he hacl dis-
coverecl a 1nethocl of i1nitating the old Cre1nona
varnish by 1neans of a co1npouncl of asafoetida
\vhich he s1ueared over inoclern-made instruments,
in th e hope of i1uproving their tone. 1'his eccen-
tric inventor thought Bull a likely person to bring
out the merits of his cliscovery, so he got hi1n
invited to play at a house \vhere the Duke ancl
Duchess de lVIontebello \vere present. I-Iis perfor-
1nance created a sensation, ancl the Duke took hi111
at once under his patronage.
The result of this \vas, that Ole Bull \vas soon
enabled to give a concert in Paris. It \Vas not
artistically so successful as it 1night have been ;
for \vho coulcl listen at that ti1ne to any violinist
after Paganini ? Ho\vever, through the kind pat-
ronage of the Duke, a large nu1nber of tickets \Vere
sold, and after paying ali expenses, the young
violinist found hi1uself in possession of about 1200
francs Cl48) by \Vay of profit.
Again at this period, June 1832, a curious acci-

OLAUS BULL 143
dent occurred to him. His landlord and landlady
both died of cholera, and he \Vas obliged to scek
for ne\v lodgings. One of his companions inti-
mated U1at a lady \vho resided near, the Countess
de Faye, had lately lost her only son, and \vould
be glad to !et his rooms for a ti111e. He applied
there, and \Vas sho\vn into a roo111 \vhere sat three
Jadies clressecl in deep 111ourning. 'fhe clder one,
on learning his errancl, briefly cleclincd to Jet hitn
have the rooms, \Vhen one of her claughters ex-
claimed, " Look at hi1111 mother ! "
The violinist coulcl not in1agine \vhat these \VOrds
signified. The old lady put on her spectacles, and
as she riveted her eyes upon him, her countenance
suddenly changed.
She had found in Ole Bull such a rese1nblancc
to the son she had lost, that she no longer reí used
to !et hin1 reside in her house. So1ne time after-
\Vards Ole Bull, indeed, became her son, h::tving
n1arried thc fascinating girl \vho had exclai111ed,
"Look at hhn, 1nolher ! "
\.Vith the littlc n1oney he had nO\V earnecl, he
determined upon going to Italy, and provicled him-
self \Vith sorne good letters of introduction for that
purpose.
H e gave his lirst ltalian concert at fl1ilan in i834.
Applause was not wanting ; but his performance
\vas rather severely criticised in the papers. T he
follo\ving paragraph, reproduced from an ltalian

144 F AMOUS VIOLINIST S
musical periodical, published shortly after this con-
cert, probably rcpresents very truly thc state of bis
talent at that period :-
" M. Ole Bull plays the music of Pugnani, Spohr,
Mayseder, ancl others, \vithou t kno,ving the true
character of thc 1nusic he plays, and partly spoils
it by adding a colour of his O\Vn. lt is manifest
that this colour of his O\Vn proceeds from an
original, poetical, and musical indivicluality; but
of this originality he is himself unconscious. He
has not yet fonnccl hi1nself ; in fact, he has no
style. vVhether he is a diamond or not is uncer-
tain, bu t certain it is that the dian1ond is not
polished."
Before very long Ole Bull discovered that it
"·as necessary to cultivate, more lhan he had
hitherto done, his cantabile. This \vas his \veakest
point, and a 1nost important one. In ltaly he
founcl persons \vho cnabled hi1n to clevelop this
greatest qua li ty oí the violín, ancl fron1 that 1noment
his career asan artiste \vas 1nore fully established.
The next concert of any consequenc e in \vhich
he appeared \vas at Bologna, and it \vas under
rather peculiar circumstances. In fact, his reputa-
tion as a great violinist appears to date from that
concert. De Bériot and fl!Ialibran \vere quite idol-
ised at Bologna, and just as Ole Bull arrived in
that ancient IO\vn, De Bériot \Vas about to fulfil
an engagemen t to play at a concert given by the

OLAUS BULL 145
celcbrated Philhannonic Society. The engagement
had been made by tbe l\Iarquis Zampicri, a noted
dilettantc, \Vho had managed to hurt the suscepti-
bilities of the great Belgian ,·iolinist; consequently,
\vhen the clay arrived, De Bériot liad a sore
jinger, ancl, to the disappoinhnent of ali, coulcl not
play.
Ole Bull hacl a s1nall lodging off onc of the
principal streets in Bologna, \Vhere he intenclecl
to \Vait unti l circuu1stances should enablc hitn to
fincl an audience. Meanwh ile he practised assidu-
ously at the pieces of his répertoire. H e \vas thus
playing in his roo1n upstairs, his \VÍnclo\v being
open, when the souncl of his violín caught the
ears of :tl'Iaclame Rossini, first \vife of lhe cele-
bratcd composer, and once knO\Yn as the charming
Isabella Colbrand, pri1na donna of thc San Cario
Theatre at Naples. If any one in thc \vorlcl coulcl
judge of thc tone of a violin, she coulcl.
Madan1c Rossini at once hastenccl to the dis-
appointccl Marquis, and informed hi1n that she hacl
discoYcred a violinist quite capable of perfonning
in the place of l\1. De Bériot.
"Who is it ? " inquired the l\Iarquis.
" 1 do not kno\v," said the celebrated songstress.
" You are joking, then ? "
" Not at all ; but 1 have assured myself that a
geni11s has arrived in this to,vn. He loclges close
herc," she added, pointing to Bull's apartment.
J{

146 FAM OUS VIOL!J.'\'IS'l'S
"Ta ke your net, and catc h your bird befo re he

has flown a\vay."
In th e co urse of a fe\v ho urs Bull \vas perfo r111-
ing befo re a disti ngui shed audi ence in the conc ert
room of the Phil hann onic Soci ety. He play ed two
piece s, onc of \vhic h \vas b is famo us Qu11rtctt .for
One Vio/in. His succ ess \vas cons idera ble. The
app lause was 1nost enth usias tic, and he \vas esco rted
ho1ne by a num ber of the 111eu1bers by torch light .
This "·as Ole Bull's first grea t succ ess. He had
alrea dy playecl in Ger1 nany 1 Swit zerla nd, and in
Milan, but had neve r crea ted so 1nuc h enthusias1n
befo re.
l\lfalibran \vas, of cour se, 1nuch anno yed. But so
far as jealo usy or anyt hing of the kind is conc erne d,
it neve r enter ecl her amia ble char acte r nor that of
De Béri ot; so th at shor tly after ,vard s, whe n Ole
Bull \Vas intro duce d to the1n, he 'vas rece ived \vith
grea t kind ness. At this conc ert he also 1nade the
acqu ainta nce of that distinguishecl 1nusician, thc
Prin ce Poni atowski, and the amia ble Prin cess , who
prom ised him good intro duct ions if he shou ld go
to Flor ence.
In 1835, in spite of the \von derfu l succ ess of
Paga nini, he play ed \vith simi lar satis facto ry resu lts
al Ro1ne and Naples, and afterwarcls at Par ís.
Duri ng the ensu ing year he gave conc erts in othe r
town s of Fran ce, and fr o1n the micldle of 1836 to
the first half of 1837 he play ed in Lond on and

Ol.AUS BULL 147
the English provincial to\~vns. In England Ole Bull

gave no less !han 280 concerts in sixteen n1onths.
I-le then n1aclc another tour, and visited almost
cvery to,vn of in1portance in Europe, and in 1843
set out for America. He returned again to Europe
in 18~6, continue d his roving artistic life in France,
Spain, Holland, &c., until 1851, !he year of our first
great Exhibition, whcn he returned to Nor\\ray, and
cndeavo ured to establish \vhat he tenned a National
NOr\vcgian Theatre. U p to that ti1ne the Danish
language only had been hearcl upon the Norse
stage. Ole Bull desired to hear !he Scandinavian
language substitutecl for the Danish.
lt \Vas at Bergcn, his native ta\vn, that he estab-
lishecl the first Nonvegian theatre, and a story is
told ho'v he got an old fiddler, na1ned 'fhorgeir
Anclunson, a player of dance 1n11sic, such as Neil
Go\v \vas in Scotland, to come ancl play sorne really
national Nor,vegian dances in thc orchestra , ancl
thus caused th c \Varthy old man to gain about
J;400 far his pains, \vhich, of course, set hin1 up
for t11e rest of his days.
In 1852 Ole Bull \vent again to America, \\·here
he purchase d sorne 125,000 acres of land on the
banks of the Susquehanna, \vith the object of
for111ing a Nor\vegian colony. He purchase d this
lancl from a company \Vho had no right to sell it,
as it <lid not belong to lliat co1npany. Hundred s
of Nonvegian e1nigrants flocked there; timber \vas

felled, ground cleared, cottages, churches, and
school-houses \ve re built, a ncl ali seemecl to be
progressing s1nootl1ly enough, •.vhen 011e 1nor11ing
the real O\Vner of the property, a \Vorthy Quaker,
nan1ecl George Ste,varclson, 111acle his appearance
on the scene. This gentlc1nan proved to be both
honest and forbearing in dealing \Vith Ole Bull's
trespass-for such it \vas-nevertheless, he \vould
not consent to give up his property. Bull brought
an action against the S\vindling co1npany, but it
nearly ruined hi1n. He \Vas obligecl to take up bis
violín again to enable hi1n to pay the lav.r costs, \vhilst
his opponents fought hi1n \Vith his own 111oney !
Full of trouble ancl anxiety, he travelled fron1
lO\Vl1 to to,vn, playing a lmost every night, until he
\Vas struck clo\vn by fever. Ho\vever, his excellent
co11stitution, \vhich he O\ved greatly to his very
temperate ancl frugal mocle of living, enablecl hi111
to get over this severe attack, and with indo111itable
energy he at last recoverecl enough money to fulfil
his responsibil ities and realise his scheme of colo-
nisation. He then returnecl to Europe, ancl for
1nany years \Vas accuston1ecl to spencl the su1n1ner
011 a s1nall estate he had purchased, beautifully
situated 011 one of the islands of the \vester 11 coast
of Nor\vay, travelli11g south in the \VÍnter, and de-
votin g himself to art till the very last. He clied at
abou t seve11ty years of age, not (as so1ne papers
announced) in 1875, but at the beginning of 1880.

OLAUS IlULL 149
vVhcn he last visited England, 111 18621 Ole
Bull 'vas a po,veríully built 1nan, 'vith a round
expressive North ern face, and thick short hair, as
'"bite as sno,v. l-Ie possessed a valuablc Guar-
nerius violin. Descriptive 111usic appea rs to bavc
been bis specialty. He used to say that \vhen he
played he \vished to 1·aíse a cttrlain for bis audien ce,
so tbat tbcy 1night sce 'vhat 'vas passing in bis O\vn
u1ind, i1nbue d \vith the legcnd s and fairy-tales oí
tbe North. These he endea voure d to reprod uce
by the 'vild strains of bis violín. Jt '"ªs a stream
of 1nelocly, 1nixed \vith the harsh, discor dant so uncls
of the surgin g ele1ncnts. Aítcr hav ing heard Paga-
nini he 'vas temptecl to practise the 1nore strange
and remot c difficultics of his instrumcnl, and we
have hcard it said that he playcd the \vho le of the
hventy-four Capricci of the latte r from 1nemory.
\ Ve kno'v litlle about his 1nusic. Besides what
'"e havc already mentionecl, he had a piece called
Et Gaetci-besbg, which ' vas inte nclecl to rcpres ent a
visit to a co,v-k eeper 's cottag e on the 1noun tain.
Anoth er "·as his Battle o/ Kringelen, a musical re-
production of the "Sinc lair Lay" by his great-unclc.
l\•faclan1e Isiclora l\l!artin ez, of the Italian Opera,
\vho sang in so1ne conce rts \vith him, tells me that
his arpeggios were very rich, and that he had a
rapicl ancl exact staccato ; also that he '"ªs perfectly
at hou1c in the conce rt room, and clever in ensuring
a popul ar success.

XIII
THE CH JLD VIOLINIST
IN the 1nicldle of the eighteenth century, Herr

Schmohling \vas a. poor 1nusician of Cassel, in Ger-
1nany1 \Vhere the great violinist and composer, Lo uis
Spohr, after,vards becatne so \vell kno,vn. The
little historical sketch \vhich I am abo ut to give
opens just at the periocl \Vhen, yet unkno\vn to
fame, Giuseppe Guarneri \vas rnak ing his excellent
"Del Gesu" violins, \Vhen those of Straclivari hacl
alreacly beco1ne fa1nous, ancl \vhen the \vorld \vas
hurrying on to that fatal period of revolution \vhich
has been clepictecl in my "Scenes fro1n t he Reign
of Louis XVI."
Let the reader fix in his rnind the year 1747,
\vhen there arose above the musical horizon a
tiny star that shone at first \\>ith a d ull, di1n light,
obscured by clouds of 111isery ancl 1nisforlune, but
\vhich, \vhen these 1nists \vere clispersecl by the
merciful hand of Providence, racliatecl glory arouncl,
illu1ninecl the Heaven of Song \vith a brilliancy that
\vas dazzling, and causecl beneficence t o besto\v its
smiles \Vhere tears of sorro\v \Vere \von t to fiow.
TSo

TH E CH ILD VIOLINIST 151
The poo r Ger ma n arti ste had ne\·er bee n fav-

our ed by fort une ; and his suf feri ng app ear s to have
rea che d its clím ax \vh en his you ng \Vife Anna, a
1nere girl, a cha rmi ngj11ngf1·a111 fresh ancl blo o1nin g
as the "'-ild flo,vers of her nat ive hills, die d of fev er
only a fe,v day s afte r the birt h of the ir first child,
the sub jec t of my nar rati ve.
Poo r bef ore , he \Vas no\v utte rly 1niserable. The
\VOrld had bec om c a bla nk for hin1, and he car ed
for not hin g. He beca111e qui te inc apa ble of thro ,v-
ing off bis des pon den cy and em erg ing fro m the
social obs cur ity \vith \vhi ch he \vas surr oun cled in
the dul l littl e to\\•n.
On e thin g alo ne see me d to rou se Sch mo hlin g's
bro ken spi rits ; it \vas \\•hen his eye s hap pen ed to
fall upo n his littl e chilcl, the offsprin g of the clearly
bel ove d Ann a, and the living ima ge of its mo the r, so
soo n rcn1oved for evc r fron1 this \vorld of anx iou s
car e and stri fe. The sigh t of her stin1ula ted him
to fres h exe rtio ns, tho ugh his life had lost ali its
cha rms , and mis ery of eve ry kin d \Veighed heavily
upo n him.
His mo dest and dio gy lod gin g was on the sec ond
floor of a little hou se nea r the cnt ran ce to the
to,v n; it \vas of the poo rest des crip tion ; and no\v
grie f and dist ress add ccl the ir mo urn ful tints to th~
pic ture .
\Vh ilst thc fath er, in pur suit of claily sus ten anc e,
\vas abs ent fro1n hom e-i f, indeecl, suc h a cieno-

152 X'MlOUS VIOLINIS'l'S
mination can be properly applied to so miserable
an abode - the poor little child was left entirely
alone, attached by coarse strings to an old ann-
chair. And as he \Vas obliged to go out nearly every
day to get his scnnty living by giving a fe,v lessons
in inusic, or by obtaining any other 1nusical \VOrk
that offered hi1n the chance of pocketing a fe\v
kreutzers, tl1e liltle girl \Vas left in this precarious
position for many hours at a tin1e. The effect was
that she became very delicate, and at three years of
age she coulcl not \Valk at ali. In the 1neanti1ne she
had been christenccl E lizabeth Gertrucle.
As the poor father was very glacl to procure any
kind of \VOrk that \Vould enable him to relieve his
dire distress, he someti1nes undertook to repair the
instruments of the first and second violins of the
Cassel orchcstra. He understoocl pretty ,,·ell the
mechanism and structure of the violin, a subject on
\vhich Gennan violinists have ahvays pricled them-
selves ; and histo ry reports that he \Vas not an un-
skil ful \vorku1an.
In those days there \vere not, as no,v, those
hundreds of pianos to be tuned ; nor \vas much to
be done by selling the copyright of a song, or sorne
small compositio n for stringed instrurnents . And
repairing a vio lin, \vhich in man y cases only re-
quired cleaning, ancl a ne\v bridge, a properly
adjusted so uncl-post, ancl perhaps a little 111ixture of
soap ancl chalk to 1nake the pegs \vork easily, \vas

TI-IE CI.J:ILD VIOLTNIS 'f 153
g for half a
no t to be despisecl as a 1neans fo r payin
ad.
pouncl of cheesc an d a loaf or hvo of bre
. No t a
Th en He rr Sc hm ohling \vas a violinist
e, \vith a
gre at onc, to be su re. l-Ie coulcl scrap
of his clay,
pupil, thr ou gh the cle me nta ry exercises
d, perhaps,
an d see tha t the lat ter played in tin1e an
little op era
in tun e. Bu t in the or ch est ra of the
co nc ert
house, or o n the trying platforin of the
ne d upon
room, \vith hu nd red s of ey cs an d ea rs tur
to listen to
hi1n by pcoplc \vh o ha d pa icl 1no ne y
nt fig ur e-
him, he \VOuld not have cu t a Yery brillia
th," as the
" it is no t given to ali 1nen to go to Corin
old Latin pro vc rb said.
od for-
Sometitncs, by a piece of unexpected go
\vould be
tune, 1nore tha n on e Yio lin at a time
airecl ; an d
bro ug ht to his inode st roon1 to be rep
ars of age,
one clay, his Jittle claughter, the n four ye
upon the
\vas found playing \vith a violin tha t lay
it up, and,
tab le near he r. After a \vhile she too k
bow across
in imitation of he r father, she drew !he
r Jeft hancl
the strings, pla cin g the tiny fi ngers of he
s '"ªY she
upon !he neck of the instrLnnent. In thi
two notes
produced, instinctively as it "·ere, on e or
\Vas utterly
so rou nd an d fine tha t Sc hn1 ohli11g
0 11 he r
be,vilclerecl, sto pp ed his 'vork, ancl gazcd
as na tur e
\Vi!h his little gre y eyes as 'vi de op en
'vould allo\v the1n to go.
little girl
I-Ie \vas lost in su rprise at hc aring his
tinctly, be-
play severa! no tes of the scale 1nost dis

154· F A1'10US VIOLINISTS
fore she had been taught ho\v to do it ; silnply by
in1itating \Vhat she had seen hi1n do. A flash of
light- cal! it in te llect, genius, instinct, or what you
\vill-see1ns to have shone through the poor 1nusi-
cian's brain at the 1no1nent. In the m inutest frac-
tion of a seconcl he en1bracecl every feature of the
circu111stance \vithout uttering a \vorcl, like a keen -
eared ba rrister \vho feels his case \VOn by a blunder
on the opposite sicle.
Fron1 that day for\vard he began syste111atically
to teach his child n1usic. I t \vas a labour of love,
pro1npted by misery and necessity, and the progress
achievecl under the assiduous care of a doting father
was truly \VOnderful. In the course of so111e twelve
1nonths or so she could alreacly play sorne little airs
upon the violín, ancl \Vith such a re1narkable degree
of skill t hat the precocio us little girl actually be-
ca111e th e ta lk of the d uU ole! place.
It \vas like the spark that falls upon a haystack.
Gossip spreacl fro1n street to street- nothing easier
to listen to in Germany than musical gossip-and
every one aclded a little to \vhat he or she had heard
o f this 1nusical p he110111e non of the o ld to,vn of
Cassel. It \Vould have got into the local ne\vspaper,
but in those days this tiny sheet limited itself almost
exclusively to the prices of ironstone, \vood, and
rye, the houses and fanns that \vanted tenants, a
fe,v other n1atters connected \vith the meetings of
the town council, ancl accidents that occurred in

'l'I·IB CI-IILD VI OLINIS'l' 155
ry clistan t
the str ee ts of Be rlín or so me oth cr vc
to \Vaken up
pla ce . P<1ganin i ha d no t ye t ap pe are d
violín; an d
journalists to belicve in the pO\\·ers of a
en t in the
no on e ha d ever ye t see n this instrun1
hancls of a girl on ly five years old.
it dre\v
Bu t this gossip ha d on e cu rio us ef fe ct-
nu 1nb er of
aro un d 1-Ierr Sch1n oh lin g a ce r tain
! of \vhom
speculators an cl curiosity-n1ongcrs, severa
the ob jec t
1nade hi1n seducti,·e pro po sit ion s \vith
lín, as they
of exhibiting his tiny chilcl ancl he r vio
l fat \VOtnen
\vere in thc ha bit of exhibiting giants anc
re rar e in
at thc fairs¡ for rnusical ph en om en a \Ve
r, in many
Cassel in those clays, an cl, for tha t 111attc
oth er places also.
firm to
Fo r son1e tim e the po or professor he ld
his \vo uld-
his O\vn op inions, an d refused to listen to
da ug hte r's
be friends, pre fer rin g to \Va it until his
. At last,
tal en t sh ou ld be mo re fully developed
exaspera ting
ho,vever, he gave \vay, thr ough fear of
\Yhose go od
ce rta in notabilities of the place, up on
de pe nd ed .
gra ce s his livelihood mo re or less entirely
Nove111ber
And so it ha pp en ed tha t, on the xóth of
casion, an d
1753, a Jarge roo 1n \vas hi recl for the oc
year, ma de
the little El iza be th, the n in he r sixth
111s alm os t
he r first ap pe ara nc e in pu blic. Jt sce
ord cd the
increclib le, bu t histor y ha s ca ref ull y rec
\Vhole cir cu ms tan ce s.
t. As the
Th e au die nc e ' vas nu1ucrous an d se lec .
still tn very
po or little child co uld no t \valk, being

156 F.A..tl10 US VIOLINISTS
del ica te hcalth, her fat her car rie d her in bis ann
s to
the con ccr t roo m. He placed he r on a cha ir
up on
the pla tfo nn, ancl pu t into her han ds bis bes t
violín.
At the first sou nd of the instru1ne nt a pro
fou nd
silence re ig ned thr oug hou t the roo1n bu t in a
1 sho rt
time it 'vas intcrr up ted by n1u nnu rs of ast
onish-
1uent and app rob ati on. At the con clusion of
her
first per fonn anc e the app lau sc \Vas like thu
nde r.
Th e pre tty little child, as shc \vas lifted fro
m the
chair, \va s en1 braced over and ove r again, and
large
tcars of joy rolled do\vn the 'vizenecl cheeks
of
He rr Sch1nohling as he car rie d his dar lin g int
o thc
artistes' roo1n and conficled he r to a cir cle of adm
i r-
ing frie nds . Fro m sim ple curiosity the sal
e of
tickets had been considerable, ancl for the firs
t ti1n c
for ma ny yea rs the po or n1usician felt tha t he
had
son1c money in his pockct.
\Vhat 1nusic \vas per fon ued at thi s first con
cer t
of the chi ld violinist it is qui te iinpossib le to
say;
bu t \Ve ma y be sur e tha t nevcr clicl Or ph eus
with
his lute, Sa pp ho \vith he r lyrc, no r Pa n \\'it
h his
1narvcllous pipes, eve r pro du ce a gre ate r eff
cct on
the ear s of mo rta l me n or im1nortal ny1nph s.
Th e
little c rip ple cl exe cut ant, sea ted on the platform
, \ve nt
actually bcy ond wh at Pag ani ni hi1nse lf ach
ievecl
1na ny yea rs after\vards. Sh e procluced an
effect
\Vhich he nev er die!, and never cou ld have pro
du cecl,
even had he lived ear ly eno ug h to hav e
hea rd
he r; for, \VC 1nust reme1nbcr, thi s first con
cer t

THE CHILD VIOLIN IST 157
\vas in Nove1nber r753, and Pagani ni \Yas born
in 1784.
She channe d, she astonis hed, and she induce d
pity. It \vas U1is last effect to \\•hich I allude more
particu larly. \ Vho could have been prcsen t at the
co ncert and not experie nce so1ne sentime nt of this
kind? \~Tho co uld have seen the poor father, \vith
privatio n and misery \Vritten upon his features,
carryin g his little child in his arn1s to the platfon n,
placing her upon a chair becaus e she \vas too deli-
cate to stand, and a\vaiting anxious ly thc result of
her first public perforr nance, \vithou t feeling so1ne-
thing more than mere curiosi ty? \l\Tho could have
noticed the faint, nervou s smile on the pretty
feature s of the little girl, as she raisecl an a\vk\varcl
Germa n i11stru1nent to he r chin and placed lhe
bo\v upon the strings, \vithou t a slight fiutter of
the heart, and a longing to lend a helping hand
to this suprem e effort, this stren uous struggl e
against poverty ancl obscur ity. 'fhe loucl rouncl
of applau se \vhich greeted tl1e first perform ance,
and brough t tears into the eyes of 1nany present ,
testified to ali these feclings. H earts ,,·ere meltecl,
and purse-s trings \vere loosene d, at least in one
instan ce.
It is casy to itnagin e that in the little to,vn of
Cassel, for the rest of that e\·ening, there 'vas only
one topic of conversation. But next day a most
extraorclinary event occurr ed. Herr Sch1no hling

158 l<'Ai\10US VIOLINISTS
received an anonymous letter containing money,
and couched in the fo llo\ving language :-
"CASSF.L, 17til N1111ember 1753.
"DEAR S1R,-l \vas one of those \vho experienced
yesterday the greatest satisfaction on perceiving the
precocious talent of your charn1ing little daughter.
It \vould be rnost regrettable that so brilliant an
organisation shoulcl not receive every clevelopn1ent
of \vhich it is susceptible. As a rich n1an, and a
friend of art, I a1n cleciclecl upon defray ing the
expenses of her eclucation. I beg to enclose a first
instahnent of 200 fiorins. You \vill proceecl to
Frankfort, \vhere she \Vill be recomrnended by me
to tbe best professors, ancl you \Vill receive every
rnonth a sirnilar sutn for the next ten years. In
that to,vn I have a friend, a physician of great
experience, \Vho \Vill attencl to your daughter's ail-
ments, ancl I have no doubt that in a very short
tin1e she \vill be ab le to \va lk as 'vell as you or l.
"I should be g lacl if you coulcl start to-mo1To\v.
Do not endeavour to fincl out rny name and acldress;
any attempt of that sort \vould be displeasing and
superfiuous."
The letter \Vas signed " An A1nateur."
T o this <lay I have never been able to find out
\Vho \vas the \vriter of that extraordinary letter ;
but, may be, it 'vas ulti1nately discovered by so1ne
of those searching Gern1an h istorians, who appear

THE CHIL D VIOL DIIS T 159
to kno\v every thing ; and one of these days it \vill,

perhaps, be n1et \vith in the collection of sorne
Princ e or Gran d Duke ,,·ho devotes tin1c to the
storin g up of such curiosities of ar tistic h istory. 1
got it froin a Frcn ch source, and hope it is not a
pure invention.
Ho,vever much , we are tole!, Herr Sch111ohlin g
•
\vould have liked to have \vrun g the hand of th is
magnani1nous benef actor , ali efforts to discover him
\Vere fruitless, and he could only abide by his in-
structions, \Vhich he carri cd out \Vitho ut delay .
He proce eded at once to Fran kfort on the l\Iain,
'>vhere the 1nedical skill allud ed to in the lettcr \vas
broug ht to bear \vith consi derable success upo n the
little Eliza beth' s affliction. The bacl rearin g of the
infant, and inclifferent nutrition, had ende d by pro-
ducin g a paralytic conclition of the lcgs ; proba bly
the child \vas rachitic. AnyhO\\', in the cours e of
a few mont hs of caref ul treatm cnt, the \Veakness
clisappeared to a great extent, ancl at nine years of
age Eliza beth Gcrtr ude Schm ohlin g \vas as pretty
a blond e Germ an Fraul ein as coulcl have been seen
any,vhere in the \vhole kingdo1n. Her talen t as a
violinist incre ased as rapidly as her other charrns ;
and \vherever she played, she \vas the objec t of
universal admi ration .
Fran kfort o n the Main \Vas a nice place in \vhich
to begin the caree r of an artist c. It \vas ahvays
gayer than Cassel, and thoug h the Jatter town

160 FA.l\IIOUS VIOLINIS'l'S
becatne, 111 a fter years, connectecl \Vith the na1ne
of the enlinent Louis Spohr, Frankfort \vas 1ío less
distinguishecl as the birthplace of the poet Goethe,
ancl, 111any years later, it possessed, in the person
of Guhr, a violinist of no 111ean orcler. In 1865,
\vhen the \vriter passecl so111e ti1ne there, he \Vas
delightecl \vith the n1usic of the Prussian and
Austrian bancls, \vhich played on alternate clays at
noon. Nothing ever surpassecl the clarionets of the
Austrian military band, and fro1n that clay to this
the performances at the Opera of F rankfor t have
ahvays been of the highest order.
l\!Iusic had nO\v becon1e a very serious study \Vith
the little Elizabeth, ancl her mysterious benefactor,
by the regularity of his remittances, enablecl her
father to dispense w ith anxiety as to t he future.
For five years she continuecl her studies and her
u1edical treatinent at Frankfort, after \Vhich it \Vas
decicled to proceed to Vienna, \Vith the vie\v of ob-
taining further instruction, ancl, if possible, of giving
so1ne concerts. She was little 1nore than twelve
years of age \vhen her father took her to Vienna,
ancl arrangen1ents \vere soon macle for a series of
concerts, in \Vhich Fraulein Schmohling performed
\vith great success. In a very short t ime she \vas
lookecl upon by all the dilettanti of th at gay c ity
as the greatest musical pheno1nenon they hacl ever
kno,vn. H er extre111e youth, childish beauty, and
elegant playing procluced universal enthusias1n.

'.rl-IE CHILD VIOLINIS'r 161
rt is a curious fact, which does so1nc honour to
Grcat Britain, that scarcely any 1nusical celebrity
appears on the Continent but \vhat thc inhabitants
of thesc island shores are called upon to enjoy it,
and to pay for it- often to the detriment of English
talent little, if at ali, inferior. Ancl yet there are (or
\Vere, not long ago) people \vho pretencl that the
English are not a niusical race !
No,v, it happenecl that a111o ng the n1ore ardent
adn1irers of thc little Gennan girl at Vienna \Vas
no less a personage than the English A1nbassador.
He actually prevailed upon her father to take her
to England, ancl gaye him se\·eral letters of in-
troduclion. The result was, that in 176o Herr
Sch1nohling ancl his claughter set out for Lonclon,
a long ancl tedious journey in those days. They
,,·ere sorne months on the roacl, and hacl to unclergo
all those hardships of travel characteristic of the
latter half of last cent ury, of ' vh ich '"e at the prescnt
day, \vith our raihvays, stea1nships, and telegrap hs,
can fonn no idea \Vhatever. T hey procecdccl froin
to,vn to to,vn till they reachecl Holland, \vhere
they gavc sorne concerts, and at last they arrived
in Lonclon, 'vhere, thanks to thc letlcrs they
had brought \Vith them, they \Vere 1nost kindly
receiYcd.
The child \\'as petted, as chilclren of that age
usually are, especially \vhen they are pretty and
sho\v sorne remarkable artistic talent ¡ ancl 1nany
L

16~ FAJ.'\10US VIOLINISTS
are thus quite spoilt early in life. Elizabeth
Sch1nohling was heard at court, and in a number
of concerts. E\·ery dra\ving-room of any import-
ance \vas graced by her presence. At the little
theatre in the H ayn1arkct she led a quartett \vith
excellent effect. \Vhat a contrast to the life at Cassel,
a few years previously ! Every fop in London •vas
raving about this \vonclerful Gennan gi rl \Vho played
upon the violín. 'fhe attention she received from
the nobility, and the universal ad1niration in \Vhich
she \vas held, both for her 1nusical talent and her
graceful manners, aroused a feeling akin to jealousy
in certain quarters, and it \Vas openly asserted in
many places that the violín \vas an i11tproper instru-
ment for a \Voman.
The exact signilicancc of this condemnation l
could never quite unclcrstand. Al! I knO\v is, that
fro1n that time, 1760, for more than a hundred
years, \V01nen \vho playecl thc violin have ahvays
been very rare, until thc appearance of my
" Biographical Sketches o f Celebrated Violinists"
in 1877, \Vhen tl1ree curious events occurred. The
book \vas brought out by the Publishers in Ordi-
nary to H er Majesty the Queen. Shortly after its
publication, Her :tliajesty sent to the l\Ianchester
Exhibition her picture "The Violín Player," and
graciously permitted her son, the Duke of Edin-
burgh, to appear in public concerts as a violinist.
Also, from the date of the publication of that book

THE CI-IILD VIOLL~IS1' 163
to the present ti1ne the number of lady violinists
has increased enonnously. The cause of this co-
incidence 1nust, perhaps, be sought for in the
sympathy of U1e author for performances by Iadies
upon an instrument \vhich requires so rnuch deli-
cacy ancl refincment of feeling; ancl no doubt this
sympathy has 1nore than once founcl its \vay into
his pages.
Fraulcin Sch1nohling \vas the precursor of
Theresa ancl l\faria Milanollo, Nonnan Neruda, 'fere-
sina Tua, Rose Lynton, and other e1ninent artistes
\vhosc nan1es no\vadays \vould fil! a \vhole page.
In 176o, nonsensical notions, pro1npted by envy
and fostered by bad taste, got abroad in London
to such an extent Uiat our little German Fraulein
found herself often received rather coldly, ancl soon
became plainly convinced that the clazr.ling star
of her fortune \vas not glittering so brightly as
beforc-if, inclced, a si1nple 111aiden of thirteen
coulcl pcrccive such a change.
At least her father clic! ; ancl it \Vas taken into
serious consideration \vhether it \VOuld not be
best for her to abandon the violín and cultivale
her voice, \Vhich \vas naturally po,verful, S\veet,
and Aexible. It \VOuld only require a little train-
ing to enable her to rival Uie greatest singers of
the day.
Curious to relate, this ,·oice is said to have ex-
tended from G to E, more th an hvo and a half

164 FAl\lOUS VIOLINI TS
octaves, the exact co111pass of thc víoli n as gene r-
ally used in those days.
In the last half of the eightecnth centu ry there
líved in Lond on an ltalia n na1nccl Paraclisi, \vho hacl
earne d a consi derab le reput ation as a proíe ssor of
singing, thoug h still quite a youn g man. Schm ohlin g
cleterminecl to place his daug hter unde r his tuition,
and Parad isi soon discovered that he had on his
hand s a pupil of no orclinary talent. N'ot only •;vas
her voice of great extcn t ancl extre1nc llcxibilíty,
but she possesscd exquisite feelin g and n1arvellous
dran1atic instinct. In a ,·ery short time her ad-
vancc mcnt in this nc\v capacity 'vas so notable,
that she actually appe ared at soine publi c con-
certs in Lond on, and obtai ned a very considerable
success.
Sou1e say that this success excitecl a great amou nt
of jealo usy; and other s, perha ps \vith great er truth ,
asser t that Paradisi propo sed to far11 1-as '"ell as
to fonn -the talen t of the yo ung songstress fo r
a certa in numb er of ycars, a propo sition to \vhich
Herr Schm ohlin g woulcl not agrce. Hcnc e there
arose a quar rel benvecn thcn1 ; and thc result ~vas
that no more enga ge1ne nts 'vere íorthcon1ing, but
only invidious comm ents and calum nies; so that
the poor fathe r and daug hter \vere soon recluc ed
to lhe great est straits.
Pove rty again stare d them in the face !
Having scrap ed toget her, by \vhatever meao s

'l'fIE CHILD VIOLINIST 165
they could, enough coin to enable thcm to reach
their native country, they set out for Cassel, \Vhere
it was hoped to obtain son1e kind of an engage-
1nent. But herc again the poor man \vas deceived.
There "'ªS no opening \Vhatever for his talented
daughter.
By this time, ho,vever, the girl had begun to
think for hersclf. H er ambition and her perse-
verance kne\v no bounds. She had heard of a
famous man na1ned Hiller. He had founded a
music school at Leipzig in 1766, and it had al-
ready gainecl so1ne notoriety. Elizabeth Gertrude
Schméihling studied therc until the year 177 r, \vhen
she \vas hventy-hvo years of age. Her voice \vas
at that period onc of thc linest ever heard, and,
\vith the solc cxception of I-Ienrietta Sontag, she
\Vas probably the grcatcst singer that Gennany has
ever producccl.
T o follo\v her carecr in thcsc pages as a pri1na
donua \VOulcl be out of place. After having L nade
her dlbttt at Dresden, and sung in vario us other
opera houscs, \vhcre she shone principally in the
1nusic of jo1nelli, Porpora, Sacchini, Hasse, Picini,
and G lück, s he cnded by cnchanting that e111inent
a111ateur flautist, Frederick the Great, at Berlín- a
man \Vho until then had never much believed in
Gern1an 111usic. She \vas appointed court musician
at a salary of 3000 florins, \vhich did no! 1nuch in-
terfere 'vith her theatrical career.

It \vas at Potsda1n, during these Berlin engage-
1nents, that the 'cello player, Giovanni lviara, 'vho
\vas in the Royal Orchestra, 1nade !ove to her and
1narried her ; and it is as l\1Iadan1e I\1ara that her
natne has co1ne do,vn to posterity as one of the
greatest singers of that or any other period.
The 1narriage \Vas not a happy one, and aclclecl
to t he 111any troubles ancl vicissitucles of the artiste's
life. 1'o relate these alone \voulcl occupy a \vhole
volu111e. After appearing \vith great success in
Vienna ancl Paris, I\1Iaclan1e Mara carne again to
Lonclon- no longer as a chilcl violinist, but as
the 111ost celebrated pri1na donna in the \Vhole of
Europe. H er style \vas serious, rather than of the
buffa character, ancl in London her singing at the
Handel Festivals \Vas the subject of conversation
for a lengthenecl period.
In Lonclon she appeared \vith the celebrated Mrs.
Billington (another lady of Gennan extraction) ancl
the great Italian cantatrice, Brigitta Banti. At her
fare,vell appearance in 1801, \vhen she \vas fifty-
five years of age, the receipts \vcre over a thousand
pou nds sterling- a very great sun1 in those clays.
Fron1 x8o6 to 1813 Macla111e lVIara resiclecl at
Mosco,v, ancl \Vhen that to,vn \vas burnt she lost
considerable property \vhich she had purchased
there. She then retired to Revel, \vhere she
supported herself by .giving lessons in 111usic, and
\vhere she diecl in January 1833. On the celebra-

'l'I-IE CHILD VIOLINIS'l' 167
tion of her eighty-third birthday, in 1831, the poet
Goethe addressed some verses to her.
To properly appreciate such a \voman as l\fara,
her life should be read in all its minutest details;
but these are only to be found scattered through
numerous publications, and no complete biography
of this 1nost \VOnderful singer exists. 1 have only
chvelt here on her career as a youthful violinist, and
her early struggles to rise from poverty and neglect
to the very highest position in the 1nusical \vorld.
It \vas her upright character and generosity, as
much as her extraordinary talent, that enabled
her to soar above the hypocrisies, jealousies, and
calumnies of that rakish age; and her career, like
that of Banti, Sontag, and so1ne other great singers
\vhom \ve could name, was one of a highly romantic
and clra1natic character.
\.Vhat becaine of her violin? Did she preserve
it, as Mada1ne Nilsson has preserved hers? Was it
burnt in the clreaclful tire at Mosco\v? What in-
terest that violín \VOulcl arouse if it \vere still to be
found, and could be duly authenticated !
Alas! it is rare indeed that any violin can be
auU1enticated¡ and no one \vho kno\vs anything of
the life of l\fadamc l\Iara, her \VOnderful career at
the Operas of Berlín, Vienna, Paris, Lonclon, and
the vicissitudes of such an acti\·e life, the energy
of \vhich \vas kept up to the very last, 'vould
be likely to credit any trumpecl-up pecligree of

168 FM!O US VIOLINISTS
an old instrum ent put for\var d for lucrative
purpos es.
lt is said that the ,·iolin oí Corelli is still to be
seen; a double -bass said to have belong cd to the
famous Dragon etti \Vas exhibit ed sorne fe\v years
ago in Londo n; and Pagani ni's violin- unless it
has been change d-still stands in the l\!Iuseut n at
Genoa, \vith that of Camill o Sivori, no\v by its side.
An EngHsh gentlem an, an amateu r violinist tra-
velling in Gennan y, \vhere he paid a visit to the
great poet Gocthe at the beginn ing of this century,
brough t back \vith hin1 from \Vein1ar a yellow
Germa n violín, said to be the instrum ent that had
origina lly belong ed to Fraulc in Sch1nohling, then
knO\Vll as the c1ninentpni11ui donna, l\1ada1n c l\Iara.
'fhis instru1n ent is no'v in the possession of a
membc r of that genUem an's fa1nily; it has a very
fine tone, and is prized as one of the greates t of
curiosi ties.
In recent years, Madan1e N ilsson, l\1Iaclan1e Sem-
brich, l\1ademoiselle Singeli (Singelée), ancl severa!
othen; \vhom I could namc, are exa111ples of e1ui-
nent singers \vho havc abando ned the violín for the
voice. The former has, ho\vcver, one great advan-
tage-i t lasts longer than the 111ost robust vocal
organs ; and \VC have in 'fartini , Nardin i, Sainton ,
and se,·eral others, instanc es of vioHnists ,~vho ha,·e
perform ed admira bly \Vhen over seventy years of
age. Maclatne Mara used to say that hacl she a

TI-IE CHILD VIOLINIST 169
daughter to 'vhom singi ng \vas to be taught, this

daug htcr shou ld first study the violin ; and she
attrib uted in great meas ure to her Yiolin traini ng
that \VOnderfu l facility in vocal cxccu tion \vhich
astonished and chan ned her audie nces in cvery
city of Euro pc.

XIV
THE ORCHESTRA AND THE SINGER
IN our days, 'vhen almost every orchestral player is

a thorough artiste, having been obliged to follo\v
out a long and arduous course of study, and has, in
too inany cases, to eke out bis n1oclerate incon1e by
giving inusic lessons, it 111ay be useful to say a fe,v
\VOrds about the re1uuneration \vhich these excel-
lent 1nusicians rece ive.
Sorne years ago, in 1ny "Biographical Sketches
of Celebrated Violinists," I asked the im portant
question : Why do \Ve make so great a clistinction
behveen the remuneration of singers and that of
instru1uentalists? Why do \ve pay a pri11ta do1111a
or a pri1no tenore- often of rather lin1itecl 1nusical
eclucation- by so111e hunclreds of guineas a night,
\Vhen the leacling violin-often a highly eclucatecl
111usician - is obligecl to content himself 'vith a
guinea, or uncler special circumstances, say, hvo
guineas? It seems perfectly 1nonstrous !
These questions apply, of course, to the orches-
tras of the opera ancl the concert room. When
any of the men1bers of such an orchestra happens
170

THE ORCHESTRA A..~D 'l'l{E Sl 1GER 171
to perfor m a solo, \Ve percei ve at once of \vhat
first-ra tc artiste s it is conJp osed ¡ but \VC can per-
ceive it still 1norc by listeni ng attentiYely to their
joint perfor mance.
The cnonn ous sun1s paicl to the leadin g singers,
togeth cr \vith the high rent of the buildi ng, fon11
the chicf causes of the compa rative ly lo\v salarie s
of instru mcnta lists, and of thc price of seats at
the opera being quite beyon d the reach of inany
thousa nds of the public. These persón s, in Eng-
land, are oblige d to be conte nt \vith the strain s and
antics of the music hall, thoug h they \VOulcl enjoy
the opera n1uch 1nore, and bcco1ne useful patron s
of music " 'ere they not thus cxclu ded.
lf things \vere oth en,·ise, instea d of having one
or perha ps hvo opera house s in the hancls of quasi
1nillionaires1 ·we shou lcl have, 111ay be, a dozen in th c
Londo n distric t alone, manag ed on a u1ore 1noderatc
scale and better princi pies. 1'his \vOuld also pro-
1note thc intere sts of co1nposers, of \vhon1 \VC
posscss not a fe\v of very consid erable abilities,
\vho havc no\v scarce ly a chanc e of being heard.
The time canno t be far distan t \vhen this rnost
unsati sfacto ry statc of things \vil! be rectificd.
As regard s violinists, it is true that, no\v and then,
a mode rn Pagan ini \vill arise and take a glorio us
reveng e ¡ but that is not exactly the point in ques-
tion. \N'ithout an orche stra there can be no opera ,
no orator io¡ and if \ve \vish to keep up our lyric

172 FA1'10US VIOLINISTS
stag e to a high pitc h of perfection, \Ve mus t give
our inusicians, especially the orch estr a and the
c hor us, pro per enc our age men t, and so1nething to
look for\vard to.
I rc1n cmb cr hea ring a certa in octe t in Rossini's
ope ra, Mat ilda di Sobran, whi ch is con side red
vcry fine ; but it struck 1ne at the ti1ue that it
\vould have bee n still finer \vith an orch estr al
acc omp ani111ent1 ho\vever slight, froin the pen of
the san1c grea t mas ter.
'fha t the actu al state of thin gs urg cntl y needs
rcfo rm is the n1ore evid ent \vhen \Ve con side r that
it is not eve ry violinist, or flautist, \vho can shine
fort h as a solo-player, and go on his travels rcjoic-
ing -tho ugh so1ne of my friends spe nd alm ost ali
the inon ey they earn on the con cert plat fon n in
Juxurious hote l expenses, &c., and it is cert ainl y a
sad thin g whc n a inan retu rns from tou r to his
har d-\vorking \Vife, \vho has bee n giving labo riou s
lessons ali the time, \vith noth ing but a ciga r in his
poc ket !
It is not cve ry orch eslr al 1nusician, ho\vever
clcver, that can derive grca t bcnefits by travellin g
as a solo-player. The edu cati on is diffcrent after a
ccrtain stage of per fcction has been altained ; and
the qualities ad1nired in the one are different from
those \ve app laucl in the oth er : the orch estr al
play er is trainecl to sacrificc himsclf for the ense1nble,
whilst the solo-playcr is eclucatecl to brin g forth ali

'l'fIE ORCfIESTR1\. AND THE SINGER 175
his i11divid11ality or originality. Hence hvo classcs
of musicians, \vho can rarely take each other's place.
When \ve co1npare the salaries of the singcrs
\vith those of our first-ratc orchestral artistes, it
becon1es evident that the latter are as 111uch uncler-
valuecl as the soprani, tcnori, and bassi are ovcr-
valued.
Ho\v is this state of things to be remedied ?
The problem is as si1nplc as the first proposition
o( Euclid ; alJ 've have to do is to reduce the ex-
orbitant salaries to a reasonable figure, ancl raise
thc others.
So1ne clever 1nen 1nay, perhaps, exclain1 that this
is 1nuch "easier said than clone." But that rcmark
applies to most things in life, and, as De Bériot
once said about violín playing, an artistc is nevcr
quite \villing to do ali he can do.
\ \lhat I contend for is reasonable salaries ali
round, cheaper places, and a greater nu111ber of
opera houses.
Is not a leading violín, 'cello, or flute on a par in
every respect 'vith a lcading singer? Is not his
cducation as good, or better, and his performanc e
as praise"·orth y and valuable? \\1hy, then, this
enormous gap behveen the salaries of the hvo ?
Of course, \Ve kno\v \vhy. It is- the encourage-
mcnt of \vhat is called lhe "star" systen1, and \Vhat
\ve 111ust endeavour to fin.d out is the 1nost effectual
1nanner of putting a stop to it.

174 FAJ.V.fOUS VIOLINIS'l'S
The above re1narks are n1ore especially appli-
cable to English players of stringed . instruments.
The grievance I co1nplain of affects then1 far 1nore
than their fello\v-1nusicians in Italy, Gennany, and
France. Ahnost ali our best violinists are men of
the orchestra. T\VO centuries ago John Bannister
told Charles II. t hat the English violinists \vere
superior to those of France-it is a pity he did not
co1npare the1n also to the foreign singers of his
day- but ho,vever that 111ay be, it is high ti1ne that
there should exist a 1nore equal distribution of
salary bef\veen the opera singer and the members
of the orchestra.

XV
SECRETS OF 'CHE "CRE~iONA VIOLIN" TRAOE
AN i1n111ense a1nount of 111oney, probably over a

1nillion stcrling, is annually circulated in buying
and selling "Cre1nona" violins. Dealcrs in \vhat
has been justly called the king of instru111ents are
dispersed ali O\'er the country, as \vell as in the
large to\vns. Their agents crop up \Vhen least
expected, even in s1nall, unheard-of villages.
Suppose a gentleman \vho is not a 1nusician
\vishes to dispose of a valuable old instru1nent that
has co1nc to h in1 as an heirloom or other,visc, and
that he inscrts an aclvertisement to that cffect in
sorne musical paper. In reply to this aclvertisen1cnt
he reccives a certain nu1nber of letters, ch iefly
frotn dcalers, or rather their agcnts, often fro1n
country agents oí London dealers. He is requested
to 11a11ie !tis price (or, perhaps, a very IO\v offer is
1nade}, and he is invited to íorward the instru1nent
for approval, by rail or carrier, duly i11sured against
loss or injury.
lf he is 'vise, he replies that he \vill do so on
receipt of a cheque for the value he puls on the
J7S

176 FA1'10US VIOL INIS'l'S
vio lin, \vhich 1noney \vill be rcf unclccl
if the ins tru -
me nt shoulcl no t be ap pro ve d of, an d
is ret urn ed
to him un inj ure d in the co urs e of a
n1onth. Th is
pro po sit ion , aidecl by go od rcf erc nc es,
is at on ce
ac ce pte d. Th e ch eq ue ha vin g be en du
ly h on ou red ,
the violin is fon va rde d as dir ec ted . In
the co urs e
of a \ve ek or so it is returnecl, \vith a
let tcr to the
eff ect tha t "S o- an d- so " of Lo nd on pro
no un ce s it
no t to be a ge nu ine Cr en 1o na ; the a1
nount of the
ch eq ue is req ue ste d to be refunclcd at
on ce , an d a
l<JW price is ojfered fo r tlze violín at tite
sa111e ti111e.
Th e instru me nt is ne ne the bc tte r for
its jou r-
ne y; pro ba bly thc bo x is sp lit or scr
atchecl, ancl
the violín itself sli gh tly inj ure d, bu
t no t seri-
ou sly en ou gh to en ab le the O\vner to
clai1n mu ch
da111ages.
On the oth cr ha nd , if the ad ve rti sem
en l is pe r-
ch an ce an s\v ere d by a prí va te ind ivi du
al, he ref use s
to bu y un less the instru111ent is gu ara nte
ed ge nu ine
by a reg ula r de ale r ; an d it is a \Ve ll-kno
\vn fact tha t
no de ale r \Vi ll gu ara nte e an y violin to
be ge nu ine
in \vhich he is no t pe rso na lly int ere ste
d.
Su ch be ing the case, the re is on ly on e
\vay to ge t
the tru e va lue of an old Cre111ona violín
, na me ly, to
pla ce it (\vith a res erv ed pri ce) in a pu
bli c au cti on .
Th at \vas thc pla n ad op ted by Ch arl es
Re ad e, the
\vriter, \vho ha d sor ne ex pe rie nc e in the
se ma tte rs,
an d oc cas ion all y de alt in val ua ble ins
tru me nts . lt
is the on ly me ao s, ex ce pt on rar e oc
cas ion s, by

THE "Cll EMO NA VIOLIN" TRA DE 177
\vhich a prívate person, ho\vever good a judg e of
violins he may happ en to be, will find himself a
match for the clealers in Cre111ona instru111ents.
.
Ther e has existed for the last fifty years or mor e
a craz e- I can call it by no othe r nam e-fo r old
"Cre mon a" violi ns. No,v, in the \vhole \VOrld
there are really (as Rossini said for music) only
two ki11ds o/ violz' ns-t hose \vhich are good , and
those \vh ich are bad. Almost cvery violí n of supe -
rior tone and of grea t age is dubb ed a "Cre mon a,"
and duly labellcd with an in1itation-olcl label. From
the bcgi nnin g of the sixteenth cent ury to thc cncl
of the cigh tecn th thcre have been 1nany othe r
111akers bcsiclcs those of Crem ona \vho have turn ed
out violins quite equa l to thc latte r, and even more
111odern mak ers have clo ne as muc h.
Among the fonn er f should men tion Sebastian
Kloz, of l\!fitten,vald, in thc 'fyro l ; Sche inlei n,
of Stut tgard (reco111111ended by the grea t Spohr) ;
Sitnon, of Salz burg (the b irth place of Mozart,
though his violín was by l\!laier, of thc same to\vn),
and severa! othe rs. So that it is really absu rd to
attach such exclusive itnpo rtanc e to the ole! city
of Cre111ona. lt is a craze, as 1 saicl before, \Vhich
is kept up as n1uch as possible for tradc purp oses.
As a proof of this, I n1yself have had in 111y hand s
violins by Seba stian Kloz, Hün ger, Simo n, Lupo t,
and othe rs, \Vhic h were qu ite equa l to, if not bctter
than, J.\1nati, Stradivari1 and Guar neri violins \vith
M

\Vh ich I have had the opportunity of co1nparing
the1n.
Only a short ti1ne ago 1 heard a violoncello, by
quite a modern maker, \Vhich gave a finer tone than
a similar instrument by Ruggeri, of Cre111ona, heard
at the saine time ; and I re1ne1nber reading of a
tria! of instru1nents before an Acaden1ical Com-
mission at Paris, the violins being played by the
then famous Boucher, ·when an instrument by
Chanot <;1ras unani1nously declared finer than one
by Stradivarius '.vith \vhich it \vas co1npared.
To the general public, violins ancl 'cellos of the
saine pattern ancl of a certain age, n1ade by different
makers ancl in cliíferent countries, are exceeclingly
difficult to distinguish one fro1n the other. There
is the flat 1nodel of Straclivarins, Sebastian l{loz,
Hünger, Lupot, &c., ancl the raisecl pattern of
A111ati, Ruggeri, Mathias l{loz, Stainer, Albani,
&c. English 1nakers, such as Barnes, Forster,
Duke, Perry, Fendt, ancl others, have follo\ved
both these models, and it is often quite impossible
to d istinguish their instruments from violins of
foreign orig in.
An i111mense an1ount of error has been cliffused
\vith regard to varnish. The "a1nber" colour of
inany Stradivarius violins has been translated into
amber (succin1un) usecl in the varnish ! Ancl the
tenn "grand" A111ati has been taken to mean vio-
lins of a g-rand quatz"ty, \vhereas it \vas only 1neant

TI-IE "CREMONA VIOLIN" 'l'RADE 179
to indicate si:::e, these instruments being a rather
larger 1nodel than the small-pattern violins that
were usually made by the Amatis and Guarneris,
Guadagninis, and others.
lt has been said, over and over again, that the
old Cremona varnish is a lost art. This is mere
nonsense. We have only to look into U1e tech-
nical \VOrks of the seventeenth and eighteenth
centuries to see ho\v U1e varnish \Vas made and
coloured. The old Cre1nona makers are supposed
to have used "oil-varnish," like our coachbuilders;
but the varnish on a Stradivarius is attacked and
dissolved by spirit, \vhich sho,vs it is not an oil-
varnish. When prejudice, fostered by trade in-
terests, is put aside, the Cre1nona craze \vill
disappear entirely. Dealers keep it up, of course,
and every superior violin, \vhoever nlay have tnade
it, is called a " Cre1nona1" and an i1nitation-old
Jabel stuck into it. With regard to labels, here is
an experin1ent \vhich is instructivc.
A good orchestral violín of 1nodcrn 1nake hacl
the !abe! of the n1aker in it \vhcn p urchascd. After
hventy-four years' constan! \VOrk in thc orchcstra
ancl out of it, th is labe l hacl bccoinc perfectly
invisible; it \vas covered \VÍth black dust and rosin,
and no amount of rubbing \vith grcase, spirit, soap
and \vatcr, &c., \VOuld restorc it. During this treat-
ment it \vas destroyed. 1f U1is be the elTect of only
hventy-four years' use, \vhat are \ve to say of those

180 FA1'10US VIOLINISTS
easily-re ad labels purp orti ng to have been over hvo
hundrecl year s in a violin ?
I t is kno\vn that severa] o ld mak ers like Stai ner,
for instance, did not use prin ted labels, but \\•ro te
them ; others, li ke Scb astia n E:toz, ilnp rcss ed the
initials of thei r nam es on sorn e spot in the insid e
or outsicle of the violin.
A curi ous thin g hap pen ed to a fri end of tnin e in
1893 and 1894. In the spri ng of the first-named
year , he took an o le! ltali an violin to a Wes t Ene!
deal er for disposal, ancl I \ven t \vith hitu . H e
cxpectccl tbe latte r to mak e hun an offcr for it,
but the deal er insisted on tite owner 11a111ing lti:S own
price. At last he did so, and aske d [,70 for an
instr u111e nt \vell \vorth mor e than dou ble that
amo unt. The deal er then said the instrun1ent \vas
not ·what it \Vas supp osed to be, and thou gh the
tone \vas very fine, he coufd 11ot possibly sel/ it witl•-
out a 11a111e. Nex t year the sam e gcntle1nan took
a noth er valuable violín to the sar11c clealcr, \vho
told hi1n this ti1ne that thc to ne was not so goo d
as it 1night be, and that thc 11a11ze of the 111akcr ~vas
of no account, tone alo11e being wha t was now req1.tired
in the violiu 1narket. Tha t \vas cert ainl y a mos t
sing ular chan ge of opin ion in the shor t peri od of
hvelve mon ths !
Age 1nello\vS a violin, especially if it has been con-
stan tly in use ; it rend ers the tone soft er and the
stro ke of the bO\\" s111oother, but it will 11cver alter

'l'l-JI~ "CRE~iONA VIOLIN" 'l'JtA DlO: 181
the q11ali1J1 o.f tlze tone, as this depends u pon lhefor11l
of the instrument, and its thick11ess in varions places.
So1ne old An1ati ancl Guarneri violins are certainly
rather nasal, a fault \Vhich can never be rcn1edied.
A nasal-toncd instrumcnt will ahvays re1nain nasal.
A harsh violín \vill become less harsh by long use ;
but \vhcn harsh, and nasal, and loud, nolhing \Vill
ever i1nprovc it.
It is not difficult to find loucl violins; thc diffi-
culty is to find !hose \vhich are sufficicntly po\verful,
but rich ancl sv1eet at the sau1e tiiuc. Violins of a
flat model are generally louder, ancl carry farther
than those of a raised 1nodel ; the latter are so111e-
ti111es S\veeter in tone, but often very nasal, re-
minding us of U1e sound of a hurdy-gurdy. An
instru1ncnt of this description is unpleasant even
to uneducated ears. V\Then the sound-posl is in
the proper place, 'vell cut, and perfectly perpen-
dicular, ancl the bridge exactly suits the instruinent
as regareis thickness, height, and quality of \vood,
the tone should be s1nooth and equal, S\veet, and
sufficiently po,verful, \vithout any nasal quality
\Vhatcver. No difference of tone should be per-
ceptible \vhen the bo\v passes from one string to
another (this is termed "equality "), and !he note
should be easily caused to swell under increased
pressure of the bo\v-this quality givcs "brilliancy."
~[odern players 'vho possess instrun1cnts of no
grcat na111c gcncrally dislike to have it th ought that

182 FAJ\!IOUS VIOLINISTS
they are playing on a "Cremona" of great value;
ancl if you happen to co1npliment the1n on their
fine tone, they at once take care to 1nake kno\vn
that their instru1nent is a veiy ordinaiy one, by no
great 11zaker.
I have before referrecl to the fact 111entionecl by
Dancla that he preferrecl his own violín, \vhich "vas
n1acle by Gancl of París, to a fine Straclivari instru-
111ent, the loan of "vhich \vas offerecl to him for one
of his concerts.
In spite of al! that has been saicl on this subject,
there is little cloubt possible that, in the course of
their \VOrk, the Cre1nona u1akers, espccially Nicolo
A1nati, Antonio Straclivari, Ruggeri, Giuseppe Guar-
neri, Lorenzo Guaclagnini, turnecl out sorne violins
ancl basses of the very finest clescription i1naginable.
And such an instru1nent to a player is simply in-
valuable. 1'he violins of these 1nakers1 like those of
Sebastian l{loz and Stainer1 are extre1nely rare, ancl
are becou1ing more so every day.1 Stradivari 1nade
the greatest nu1nber of any (but they 'vere not al!
1 ln his series oí arlicles on Crcmoot'l inslrun1er1ts, publisl1ed in 1872,
on thc occasion oí ll1c I...oan Exl1ibition in Lonclon, Ch:.trles Reade
spcak:s of a Stradivarius violín ,vJ1icl1 ])elong:cd to Vuillatlnle. lle
says, ce This Vui lla\lOlC•Stradivarius is \VOrth, as times go, f,600 at
lcast. '' 1'he insLru1nent in q1testion \vas reccntly bougl1t for ¡;2000
l>y ?\fr. Cra\vford, a Yor}~shire gentleman, íro111 thc executors oí Alard,
tite celebrated J>l'Ofessor of lhe violirl nt the r~ris Conservatoire, and
son·in·la\Y of \l11i)laumc. It is supposed to be j 11.sl as it 111as l11r1zed
0111 óy tht: crea! C1-c111Q11a 111a/,:¿r1 having been very litlle playcd on,
and never opencd. It has th11s 111ore titan trcblell i11 1>ricc in t\Yenty
years.

'l'H E "CRE'.\IONA VIOLL~" 'l.'ll.ADE 183
equally good), aud his violins have been 1uore copied

than any 0U1ers; so that bis cele brat ed na111e is
likely to be kept gree n for man y cent uries to co1ne,
thou gh severa! makers in the 1'yrol have 1nore than
once equalle\'.I, if not surp asse d him .

X\Tl
THE VIOLJN SCHOOL AT NEUILLY
COMING from the second fl.oor of a plain, solidly

built, con11nodious house at Neuilly, just outside
Paris, u1ight be heard, 1nany years ago, the S\veet
tones of a fine Amati violin \vhich, during the
su1nu1er 1nonths1 when the \vindo,vs \vere open,
\voulcl attract the attention of passers in the street
belo\v1 more than one of \Vho1n ta1Tied a \vhile to
listen to a delicious piece of 1nelody1 or a closing
cadenza of surprising elegance.
1'here lived in this house a celebrated violinist
-whon11 for 1notives of convenience, \ve sball
call Lanfredi - \vho, after having astonished and
char111ecl for 111ore than a quarter of a century thc
\vhole 1nusical \vorkl of Europe, had linally settlecl
do\vn as a teacher, bent upon clevoting the re-
1nainder of his life to initiating a fe\v chosen pupils
into the secrets of bis 1narvellous talent.
In orcler that h is na1ne and his 1uethod might
\vith 1nore certainty go clo\vn to posterity, he \vas
careful in the choice of his pupils. rcie on ly took
young inen \vho gave so111e cleciclecl proof of pos-
'ª'

'l'lIJo: VIOlJN SCI-IOOL A'f N:EUIIJLY 185
sessing a natural gift for music; youlhs \\•ho hacl
alrcacly gonc through the preliminary solícggio ancl
elcn1enlary sludics, ancl on \\·hotn his ti1nc ,,·oulcl
nol be expended in vain. He desired lo le:l\'C
behind hi111 a na1ne and a school, as 'l'arlini and
Violti had clone-singular craving, \Vhich is inherent
in ali huu1an naturc.
"What is ían1e!" scornfully exclai1ned the g iítcd
Lo rd Byron¡ yet no man ever strived harcler for
it than he clid. vVhat is it that ind uces n1e11 and
wo1ncn to 'vish to beco1ne famous, and to be talkcd
of hereaíter as honoured speci1nens of their racc?
As "·e cannot realise the ravings oí thc old a\che-
mists ancl beco1ne physically immortal, the next
thing is to strive for a moral im1nortality-but , is
it not a craze like the other? Anyho,v, it is an
essential part of hun1an nature, and should not be
dcspisecl¡ for it tends to the leading of exe1nplary
lives, ancl is so1neti1nes \vell re\\•arc\ed on this sidc
of the to1nb.
Lanf11edi had lcd an exe111plary life. :E-le was a
robust and an a1nbitious 1nan, sixty-hve ycars of
age, and a bachelor, a 1nan of simple tastcs and
gcnerous disposition. His violín playing had shed
a halo of glory around bis name, and nO\V that he
had retired \Vilh a moderate competency fron1 the
platíorm of the concert room, he ,,·as desirous of
prolonging his brilliant reputation.
Being so particular in the choice of his pupils, it

may be easily imagined tha t Lanfredi's n1u sic class
1nusterec11 at 1nost1 abo ut a doze n violinists, you ng
and ard ent musicians of con side rab le pro1nise.
A1nong the1n the re \Vere hvo you ths of abo ut th c
s.-imc age, but of ver y opp osi te cha rac tcrs and ap-
pea ran ce. Bot h \ver c clev cr instru1ncntalists, ·wh o
onl y requirecl a yea r or hvo of finishing lessons to
i1nprove the ir style, and to sec the m develop into
virtuosi of the very lirst ran k.
On e \vas a tall, faü, \vell-pr opo rtio ned youth, jus t
hvc nty yea rs of age, nam ed Gus tav e Laf ont ; and
the oth er, r.1au rice Ste in, an J.\lsatian, \vas rath cr
und er med ium heig ht, and of a dar k complexion.
In spite of thc ir clifferent disp osition s the y \verc
exce llent friends, bro the rs in art, ent hus iast ic in the
pron1otion of eac h oth er's \velfare - united, in fact,
by bon ds of the \Varmcst affection.
The y \Vere bot h handso1ne you ng 111en in thc ir
resp ccti\'e styles of bea uty. Gustavc \vas, per -
haps, the 1no st gift ed by nat ure in this rcspect,
hav ing a frank, ope n cou nte nan cc, large blu e eyes,
and a 1nodest, sensitive de1neanour, \vhich \vas
cer tain ly attractive. His frie nd r.Iaurice had a
son1e,vhat impetu ous disposition, his ten1per 'vas
easily ruffled, but he \Vas naturally gen ero us ancl
enl hus iaslic.
'fhe se \Verc the two favourite pupils of Lanfredi,
and he foresa\v for bot h of the m a brit lian t artistic
career. In mu sic thcy ran ked very mu ch on a par .

TI-IE VIOLIN SCHO OL A1' l\1EUILLY 187
Gustavc's playing \vas the more elegan t and expres-

sive, but that of l\lfaurice 'vas in the highcs t degre c
brilliant. 'fhe old profes sor often turned to these
young artistes, and pointe d them out to his friend s
as the co1uing stars of the violín finna1ncnt, \vhich
\vould shine \vith the bright est ligh t. He looked
upon the1n ahnos t as if they \vere his O\Vll childr en,
and there \Vas nothin g he \VOuld not do to contri -
bute to their welfare ancl to secure th e aclvance-
ment of their ambit ious desires. Already, incleecl,
had he done much in this respec t.
The hvo young violini sts \Vcre in rather clifferent
circu1nstanc es. Gustave Lafon t \vas a pennil ess
orpha n. His father, \vith severa) other French1uen,
\Vas killed in the street s durin g an insurr ection at
Valparaiso, and his 1nother clied shortl y aftcr arriv-
ing in Franc e, having Aed to her native count ry to
escape the horro rs of revolu tion in a s1nall South
American repub lic. She left but little 1noney, and
Gustave, \vho \vas then barely 11fteen ycars of age,
inherited a su1n \Vhich may be repres ented by about
f,300, as the total residu e oí his mothe r's estate.
La'v expen ses, travelling expenses, ancl the lo\v
price realisc d by her little prope rty solcl in Chili
accou nted for ali the rest.
Befor e the whole of this little su1u \Vas spent he
had becn placed in the Paris Conservatoire throug h
the interv ention of a kind lav1yer, one of the execu -
tors, on \vhom had devol ved the unrcn1unerative

188 l!'AMOUS VIOLINIS'l'S
task of \Vinding up the affairs; and he \Vas still
studying n1usic there \vheo accident thrust hin1 in
the \vay of the vete ran vio linist I~anfrecli . The
latter took kindly to the poor boy, assisted hin1
in 1nany \vays, ancl finally allo,vecl hi1n to live in
a little room at the top of bis O\vn house, and to
partake of bis meals at the professor's frugal board.
In return for this, Gustave helped Lanfrecli by
copying 1nusic, by repeating with sorne of the
younger pupils the claily scale exercises, and in
111aking himself generally useful to the old inusician.
He \vas more like a clevotecl son to hi1n tban any-
th ing else.
Such hacl been the state of things for n1ore than
a year \vhen Maurice Stein joinecl the violin c lass,
ancl as bis 1uusical talent \vas already very re-
n1arkable, the hvo youths soon became very great
friencls. It \vas an exceeclingly agreeable acqua int-
ance for Gustave, ancl a highly clistinguishecl pupil
for Lanfrecli.
Maurice Stein livecl in the neighbourhoocl \Vith
his mother, a \V ido\v \vhose late husband, a silk
1nercer, hacl left her a small fortune equivalent to
about f,120 a year English n1oney, and the son
possessecl (or \vou ld possess at the age of hventy-
five) fron1 his grandfather's \Vill about .[80 a year,
\vhich his 1nother also enjoyed, allowing him an1ply
sufficient to provicle for bis modest expenses at the
café o r t he billiarcl-roo1n. He woulcl not con1e of

THE VIOLIN SCHOOL AT l:\'EUILLY 189
age, accor ding to Fren ch la\v, till he \vas hvent y-

five, and as yet his years numb ered but one-a nd-
twen ty. He had loved his violín since he \vas a
mere child, ancl it hacl been clecided by ali thc
mem bers of his fa1nily that he shou ld adop t the
musi cal profe ssion , as he show ed exiraorclinary
capac ities in th is respe ct. His g randf ather, \vho
had been a distin guish cd perfo rmer on thc spinet,
had gi\'en him, \Vhen aJmo st a baby , a fine Gasp aro
da Salo violin possessing a po,verful and S\veet
tone, \Vhich thc !ad soon kne'v ho\v to produ ce to
the best advan tage.
The terro rist clays of the Frcn ch Rcvo lution
hacl passe d; Napo leon B uona partc had playecl his
\VOnclerful rdle in the histo ry of 1nodern Euro pe;
Cher ubini hacl lcft his posil ion as head of the París
Cons crvat oire for a bette r \vorld ; and the Fren ch
people, after havin g execu ted their good -natu red
king, Louis XV!., \vhen he was only thirty-eigh t
years of age, had seen his broth er, Louis XV III.,
reign over then1 for 1nany years, and had then
place d his othcr broth cr, Char les X., upon the
thron e, ª 'vaiti ng the 1no111ento us crisis of 18301
\vbich no one appe ars to have foreseen.
Paris had, in fact, settlc d do\\·n into a quiet, hum-
dr um life, exhau sted as it 'vas by the borro rs and
excite1nent of previ ous years . The u1usical \Var
of the Glückists and Picci nists had been fough t
out long ago, ancl had been succeedecl by that of

190 FAMOUS VIOLINIS1'S
the i\lfaratists and 'fodists, in \Vhich Madame iVIara,
the "child violinist," or rather her adherents, had
gained the day. In 1829 Rossini brought out bis
im1nortal Guillau111e Tell, \vhich h elped, no doubt,
l the revolution of the fo llo\ving year, \vhen Charles X.
fled to Scotland, and became accustorned to the
music of the bagpipes.
In 1831 Paganini paid bis first visit to París, and
astonished e,·ery one, exhibiting the utmost powers
of the violín, and producing the most extraordinary
effects at ali his concerts.
Lanfredi \vas an ad!nirer of the sub li111e Viotti,
ancl continuecl his excellent style and 111ethod in
spite of the starlling innovations of the great Genoese
violinist. 1n the ha neis of his pupil, Gustave Lafont,
the broad style of Violti breathed forth ane\\• in the
most superb melodies, \vhilst the i111petuous nature
of fl1aurice Stein tended more in the direction of the
brilliant school of Paganini, but, under the superior
instruction of his distinguishecl 1naster, he blended
the hvo together, after the 1nanner of De Bériot.
iVfauríce 'vas a spoilt child. His 1nother gave
\vay too readily to ali his \Vhims and caprices. He
\Vas passionately fond of 1nusic, and the forced
study to \vhich he subjected himself, in order to
satísfy his craving for celebrity, hacl actecl upon his
nerves, rendering hin1 irritable, 1norose, passionate,
and at ti1nes even violent. In this rcspect he
formed a markccl contrast to his friencl Gustave,

'l'Iffi VIOLIN SCHOOL A'l' NEUILLY 191
\vhose quiet, good-hu moured naturc, though ft11l
of animation, \Vas rarely much rufíled by untO\varcl
evcnts.
The respective characte rs of thcsc young violinists
develope d the1uselves not only in their music, but
in every little detail of their lives. Nothing akin to
jealousy was ever evoked behveen them. It \VOuld
have been perfectly absurd to say that either of
th e111 '"as superior to the oth cr. Both \VOtdd be
unanimously a\varcled the \vannest applause ; both
\VOuld be admittecl to have attained U1e highest
excellence. Not unfreque ntly, during their student
life, Gustave ancl Nfaurice \vould join in playing
sorne cluet \vhich had been co1nposed by th cir
talented 1naste r, \vhen each onc thre\v into it the
charn1 of his particula r style, to the great delight
of all those \vho \\!ere privileged to hear such a
fine performa nce.
r.1usical evenings, to \vhich a fe,v intimate friends
\vcre invited, occasionally enlivenc d the life of the
old professor and his pupils. On one of these
evenings Gustave and r.1aurice perfo1-1ued a duet
\vith piano acco1npaniment u pon a touching melody
from Rossini's Gasea Ladra. This created such an
i1npression upon the audience, mostly composecl of
good musicians, th at the violinists \vere obligecl to
repeat it. At the conclusio n of the piece tears of
joy could be seen strea1uing do,vn the cheeks of
thc \Vorthy old Lanfredi, \vhilst the h\'O young

19~ F AMOUS VIOLINISTS
artistes clasped themselves in each othe r's arms,
ami dst the enth usiastic appl ause of the guests.
Fro m that 111oment Gustave and lVIaurice vo,v ccl
a lifelong friendship.
Fou r years wer e thus pass ed-f our inost enjo y-
able years- by the end of \vhich time these pup ils
of Lan fred i hacl beco me hvo of thc finest ,·iolinists
in thc capita l. Dur ing the 'vho le of that tin1c
noth ing hacl ever occu rred to slackcn in any deg ree
the ties of aflection \vhich bouncl them toge ther .
Ho\vever, a periocl arriv ed \vhen a grcat chan ge
took place, und er circ ums tanc es ovcr \vhich the
you ng musicians had no cont rol \vbateve r, \Vhicb
not only brok e into tbei r deep feclings oí mut ual
írien dshi p ancl aclmiration, but inílu encecl the ulti-
1nate cour se oí thei r hith erto tran quil existence, and
tbat of Lanfrccli himself.
• •
Lanfrecli \vas a bacb elor , as \Ve ha\·c alreacly

intim atecl, but \ve do not believe in bach elors.
Dou btle ss mor e than one rom anti c epis ode coulcl
be put to bis acco unt, for he \vas a 1nan of a poctic
and sens itivc natu rc. Like 'fart ini of old, his
pare nts bad clestined him for the Chu rch or thc
Bar, but bis !ove of art took hirn ª'va y from thcsc
professions, and he driftcd in to that of music. Bor n
near Lec co, on a bran ch of the Lag o di Como, he
mad e his first public appe aran ce at Milan, \Vhere he
had been eclucated. H is success on thal occasion

'l'I-IE VIOLIN SCiiOOL AT 1EUILLY 193
\Vas so remarkable, that he had ever since led a
\vandering artistic life, full oí engagements, and
aftc r a long and successful carecr he had finally
sellled as a vio li n teacher at Neui ll y, as \Ve havc
scen. Being a 1nan of great and varied resources,
cqually fond of history, litcrature, and 1nusical
composition, he depende d liltle for an1usen1ent on
the outside \vorld. His position asan artiste, co1n-
bined \vith a good stock of general infonnat ion
and experiencc, fitted him for lhe best society in
the French capital. But his si1nple lastes and
n1oderate means kept him much at home. His
greatcst pleasurc \vas to listen to the conversation
of a fe\v intimatc friends, or to thc perfonna ncc of
son1c really excellen t n1usic at thosc little social
gathering s to \vhich \ve have all uded. 'v\/hy he did
not mix 111ore in the aristocra tic circles, to which he
rcceived frequcnt invitations, is not very diflicult to
undcrsta nd. lVIany grand personages asked him
chiefly \vith thc idea that he \VOu ld charn1 the
con1pany by his playing, and he \vas often bored
by allusions lo sports and entertain incnts, political
speculations, and commerc ial enterpris es, in \Vhich
neither his tastcs nor his modest fortune permittcd
hi111 to take thc slightest interest. A quiet cigar ancl
a little gossip over a cup of coffee in tbe co1npany of
one or hvo syn1pathetic friencls \vas far more accept-
able to him than the 1nost cro\vded room of the
most llite socicty that Paris could offer. Nevcr-
N

194 FAMOUS VIOLlNISTS
theless, \vhcn he did hap pen to app ear \vith his
violín, he hacl the \vho lc roo m al bis feet.
WiU1 ali this Lan fred i \vas a Jarge-hearted,
gen ero us man, ancl scarcely a day passecl that sorne
poo r person hacl not cau se to bless bis Jibe rality.
H is clo1ncstic affairs \vcr c man age d by an active
and inte llige nt houseke epe r nam ed Ninette, who
app earc d to be ahvays busy, and a stou t girl of
sixteen ,vho \vas not re1narkab le for aclivity.
For man y long years he had Ji,·ecl "·ith the sole
soc iety of his violin. 1-ie \Vas no'v contentecl 'vith
his pas t life and his pres enl position . If askecl
\vhy he never married, he 'vou ld reply facetiously
~iat he look ed upo n 1nan as a bein g inca
pab le of
serv ing hvo mistrcsses at the sarue time, and he
'vas 'veddecl to art.
An1ong the scv eres t tria ls of his 111iddle age had
bee n the suelden cleath oí a you nge r bro lhcr, \vho
left alon e in the \vorld a little girl barely hvelve
years of age . Thi s orp han chile! Lanfredi had
bro ugh t fro1n Jtaly and ado pted as h is O\vn
dau ghte r. She \vas p lace d at a larg e boarding-
sch ool in París, \vhere eve ry com fort and a goo d
cdu cati on \Vere pro vide d for her. But the tin1 e
had now arrived \vhen she \vas old cno ugh to be
reccived into her uncle's house, and to take the
1nanagement of it upo n hersclf. Abo ut this ti1ne,
also, an eng age men t in the orch estr a at the Ope ra
had been obta ined for G ustave.

THE VIOLIN SCI-IOOL AT NEUILL Y 195
Paulina Lanfredi \vas then eighteen years of age,
a beautiful and accon1plished brunette , one of the
n1ost chann ing young persons thal ever graced a
Parisian ho111e. Iicr dark expressive eyes, be-
\vitching smile, elcgant figure, and an1iable disposi-
tion \Vere sure to attract universal attention . Thc
olcl professor, \Vho \Vas quite proucl of her, could
not help fecling that the 111anagcm ent of his
houscho ld \vou lcl, probably , soon again clcvolve
upon his faithful old housekecper ¡ for Pauli na,
\vith ali her don1cstic tastes, her innocenc e of thc
\Vays of the \VOrlcl, and her lovc of music, \Vhich
\Vas only surpassc d by her dcvotion to her unclc,
\VOuld soon havc nun1erous acltnircrs, ancl it \vou ld
be i111possiblc to keep such a beautiful bird in his
lonely cage for any lcngth of ti111c.
'fhe return ho1ne of Paulina \vas the occasion of
grcat festivity at the violín school. Ali Lanfredi 's
best friends \VCrc invited to take part in it. A
d inncr party and concert \Vcrc to celebra te th is
auspiciou s event ¡ and covers \VCrC laid for hvcnty
guests. The day \Vas delicious- it \vas the 1oth of
June 1831-an d Lanfredi 's smiling features beamed
with delight and ani111ation.
Paulina had arrived early in the morning a fe\v
clays previously, and \Vas already installed in her
ne,vly preparecl apartme nts. She \vas no'v busy
\Vith Ninette preparin g for the evening's amuse-
1nent. The hvo violinists, Gustave and iliauricc,

196 F 1\.MOUS VIOLINIS1'S
\vere pres ent \vhen she arri, ·ed. 'f hey had both
seen her before, on !hos e rare occasions \Vhen,
cluring !he vacalions, she spen t a fe\v \veeks at her
uncle's house. But nO\V thcy \Vcre both very much
iinp res~ecl by her app ea ranc e. She \vas no long er
the
insignificant litl'le school-girl of a fe\v years ago, but
quit e a you ng lacl y-an cl a vcry hanclson1e you ng lady.
All lhc violin p upils had been invited to the
dinn er, and son1e of Lan fred i's olclest friends. The
co1nposer Rossini \vas to be anio ng !he audi ence
at the conc ert, and l\faclan1c Past a had promisecl
to sing. She \Vas then on her \vay to Lon don fro1n
l\lilan, \vhere she had just crea ted a grea t i1npres-
sion by her sing ing in the first perf orm ance of
Bellini's Son11n.1nb11/a1 ancl \Vas a grcat friencl o(
the Yeteran violinist. Lanfrecli's niece, \vho \vas
a lready a clever pianist, was to perf orm a solo,
and to accon1pany Gustave and Mau rice in their
violín pieces.
vVe shall not atte inpt to describe the dinn er. Ali
the gues ts arriv ed punctually, so1nc of the pup ils
brin ging thei r sisters, so that thcr e \Vere severa!
pret ty faces in the roo1n. Rossin i an d l\1acla1ne
Past a arriv ed afte r dinn er, and join ed the part y
in the li ttle garclen, \vhe re Ninette had prov ided
coffee, und er an awn ing that shel tcre d the gues ts
from the heat of the afte rnoo n sun. Eve ry one
seemecl delighted, and our t\vo viol inists even n1ore
so than any one else.

TIIE VIOLI SCl-IOOL A'l' 1EUIL LY 197
Neith er the curio us storie s of Lanfr edi's adven-

tures in Russia, nor the \vitty anecd otes told by
Rossini, \vhich kept the comp any in roars of
laughter, could preve nt Gustave and Maurice from
keeping their eyes fixed on Pauli na. They had
little oppo rtuni ty of speaking to her, and 'vhen such
an oppo rtuni ty clid occur, they both \vanted to speak
toget hcr. The dark eyes and brillia nt laughter of
Lanfredi's oiece had capth ·ated every one present,
but especially the nvo youn g violinists. For the first
time in his Jife Gustave seem ed rathe r vexed \vith
l'vfaurice- it was \Vhen he paid any liltle atten tion
to Pauli na; ancl, on his sicle, Maurice \vas clccicledly
rufflecl when he observed that Gustave sec1ned so
much pleas ed at addre ssing a fe\v "'orcls to her
alonc .
The sun had scarcely sunk belo\v the horizon
\vhen Lanfr edi summonecl his guests into thc music
room, and the conc ert bcgan. lt comm enccd by a
fantastic quart ctt, very \vell playecl by the yo unger
pupil s; and then Pauli na gave a piano solo by
Panse ron, \vhich \vas much applaudecl, and \vas the
occasion of endlc ss con1pliments1 in \vhich Gustave
and Maurice, of course, hacl their share. Macla1ne
Pasta then most good -natu redly sang a lovely aria
\vhich had jusi been \vrittcn for her by. thc young
co1nposer Bellini, after \Vhich Rossini seatccl hi1n-
self at the piano and sang his O\vn Largo al Faclolu11z1
\Vhich creat ed an i1nmensc impression. It \vas nO\V

198 F AJ\10US VIOLINIS1'S
the turn of l\faurice to play a violín solo, and
Paulina accompanie d him. It \vas a slrange, \veird
composition, \vhich he appearecl to have cbosen
especially for her. The execution \vas in the
highest degree ren1arkable, and the applause voci-
ferous, but the hcart of the young 111aiden evidently
remained un1noved.
Not so, hO\VC\"er, \Vhen after severa! more beauli-
ful pieces had becn heard, including the violín
duet on the lovely motive fro1n the Gazsa Ladra
-not so \Vhcn Gustave p layed, in his turn, a violin
solo to the accompani ment of Paulina. 'fhis time
the instru1n ent to lcl a tale of !ove ancl hope that
could not be 1nisunderstoocl. lt p leasecl the
audience cxceedingly, but it scc111ed to touch the
channing niece of Lanfredi still 1nore. l\Iaurice
perceived this at once. A feeling of savage rivalry
'vas ª'"akened in his breast. 'fhe picce had no
sooner conclucled than, taking up his violín case,
he left thc house \vitho ut a \VOrcl of ad ieu to any
one ; ancl Guslave, to his utter astonishme nt, found
that his friencl hacl gone \vithout that cordial sbake
of the hand to \vhich he had bcen so long accus-
tomed. He clid not realise !he 1notive of this
suelden deparlure, and fearecl that l\laurice \vas ill.
He was ill ; but it \vas a 01alady that affects many
young 1ncn, and \vith \vhich, accorcling to Shake-
speare, no n1cclical art can grapplc .
• • •

'l'tI E VIOLTN SCH OOI . AT NEUILLY 199
For a lon g tim e pas t Lanfredi had bee n acc us-
ton1ecl to stroll out afte r din ner , and to cnj oy his
cig ar at a café abo ut a mile from the hou se. But
since his niec e h ad retu rne d he hacl givcn up this
habit, and prc ferr ed to takc coffee \vith her. So1ne-
tim es on a Sunclay afte rno on, \vhe n they \VCnt o ut,
Gustave \VOuld acc om pan y th c1n in their \va lk; but
he othcr,v ise sa\v little of Pau lina, for by this time
he was regularly e1nployed at the Op era. Never-
theless, an affectionate fr ienclship had spr ung up
beh vec n them, ancl see med not likc ly to diminish
as time adv anc ed.
Oo e Sun day evenin g, ind ced, an opp ortu nity
occ urr ed which gave the you ng violinist a cha nce
of dec lari ng to Pau lina the adm irat ion \vhich he
fclt for her ancl coulcl no lon ger con cea l. I t \vas
rain ing ; they hacl not gone out \Vith the veteran
professor tha t afte rno on, ancl Lanfrecli, \Vho had
enj oyc d a goo d din ner , had jus t fall en asle ep in
his arm -ch air. 'fhe two you ng peo ple had car ried
on a con ver sati on in a lO\V ton e of voice, \Vhen sud-
den ly Paul ina exclaiined -
"O h, \vhal an avo,va l, l\!Io nsie ur Gustave ! "
"Y ou refuse rnc ?" asked Gustavc excitcclly.
"B ul \vho cou ld have dre a1nt of it ? " saicl Pau lina .
"Y ou rcally frighten me I" _
"You can nev er !ove a ma n \Vh o frig hte ns you,"
retu rne d the violinist ¡ "so I n1ust con clu cle, Pau lina ,
tha t you have 110 kincl OÍ affcction for n1C. 1 111ust

cease to see you ; I 111ust try if I can cease to care
for you."
"You mistake me, Gusta ve "
"Then \vhy did you say l frighten yo u ? "
"I \vas \Vrong, perhaps. I \vas thinking of my
uncle, ancl his wild ideas."
"What ideas ? "
"vVhy, his \Vish that I shoulcl 1narry a rich man."
"But I shall not be ahvays poor, Paulina ; promise
me you \vill v•ait a little time for me." He seized
her hand as he spoke.
"I think 1 may pro111ise that, Gustave, for you
1nay be sure 1 will never consent to n1arry against
111Y \Vil!."
"In three years," continued the young man, "iny
position will be assu recl, ancl \ve shall both be still
quite young ; that \vould be a goocl time to arrange
a marnage- - "
At this rooment Lanfrecli ª'voke ; the last \vorcls
seem to have fallen \vith sorne effect upon his ears.
"Who talks of roarriage ?" he asked, sitting bolt
upright in his arm-chair.
11
I do, iny dear inaster," saicl Gustave, taken by
surprise, but not Josing h is self-possession. "I ' vas
telling i\>Iademoiselle Paulina of some of my pro-
jects "
11
Ancl you 1nay keep the1n to yo urself," interrupted
his master. 11 Do not tell rne you think of inarrying.
It is absurd- pure folly l"

'l'IiE VIOLL"I SCI-IOOL .\'!' NEUI I .LY Q01
"1\1 y dear sir," said Gusta ve, " l ha ve ahvays be-

lieved that such a subjec t entere d the thoug hts of
every sensib le man."
"But are yon a sensible man ? You are an
artiste ! "
"Dea r 1naste r, do listen to a \VOrd "
"You are a violinist, l repeat, and the senses of
a violinist are not like those of other people. l\'Iar-
riage ! Good heave ns ! you do not kno\v what it
is ! Fancy bavin g a \VOman clangling on your arm
-and ali the conse quenc es : an establ ishme nt to
keep up, visits to make, fricnd s to entert ain, chil-
clren that run ali over the house, squalling, q uarrel-
ling, tearin g your music, break ing your instru ments
-ho\v could you ever compo se anyth ing in such a
ro\v ? lV!arriage for an artistc is life in the infernal
regions- it is itupos sible ! "
"l\1on sieur Lanfredi," said Gusta ve 1nildly1 "is it
possible to say such dreadf ul things of a state of life
you confe ss to have hacl no ex peri en ce of?"
"Experience ! No, thank I-Ieaven, 1 havc ncver
hacl such an experi ence ! A nd you may be sure that
if ever any other lovc than that of art hacl made me
fool enoug h to givc \vay to te111ptation 1 1 n1ight, that
same day, have tiecl a brick to 1uy violín and sunk
it in the river ! "
Paulin a thre\v a glance at Gust;l\·e, as much as to
say, "Tha t is enoug h ." The 1non1ent 'vas not pro-
pitious for furthe r conve rsatio n, and Gusla ve fclt

Flü\'l0US VIOLINIS'l'S
tbat Í\VO victories in one evening \vas rather more
than be had any right to expcct.
•
On leavíng Lanfrecli's house after the clinner party

and concert, Maurice Stein returnecl ho1ne \vith
feelings 'vhieh it \vould be dífficult to describe.
The cool air of the evening did not eahn do,vn his
exaspcration. He flung bimself on bis bed, but bis
highly feverish state allowecl of no repose. Project
after project re\·olvccl in bis mincl, ancl it \vas many
hours before sleep closed his \Veary eyelids. The
next morning he ª'voke rather late; his 1nind \Vas
1nore tranquil. I-ie began to reflect. At first he
\vas rather ashamccl of bis concluct at the little
concert. Was it not possible, he thought, that after
all he migbt be mistaken ? \Vas it not natural for
two young pcrsons to give evidence of sympathy
over a piecc of 1nusic, \Vithout leve being neces-
sarily mixecl up ín it?
I-ie \vent to the violin class ncxt clay 'vith a fin11
step, and a calm cxpression on his fcalurcs. On his
rcturn ín thc artcrnoon he 1net Gustave coming
from a rchearsal at the Opera, and about to take
his usual frugal repast at a restaurant. There \Vas a
ccrtain colclncss in this meeting. 'fhough l\1aurice
\vas the first to offer his hand, the grasp \vas not of
that \varm character \vhich for years past they had
been accustomed to.
This state of things prevailecl for abo ut hvo

TI-IE VIOLIN SCHOOL A'I' NE UIL L Y ~03
1nonths, \vhen l\lfaurice Ste in's health began to give
way . I-iis i1npetuous nat ure coulcl not bro ok the
isolation in \vhich he fou nd hi1uself. His sleepless
nig hts \\'ere passed in restlcss anxiety.
It hap pen ed one day tha t Gustave had gon e lo
superin ten d the repairing of an okl violín, and \vas
absent for ma ny hou rs. l\Iaurice me t Pau lina in
the mus ic roon1 1 and beggecl her to acc om pan y hi1n
in a ae\v solo he "'as anxious to try. Lanfredi also
urged his niec e to co1nply1 and left the you ng cou ple
for a ti1ne ent irel y to themselves. At the conclusion
of the piece Mauricc tha nked her mo st 'vannly, and
sai d-
" Ah ! l\lfacle1noiselle1 if l cou ld ahvays tincl suc h
a pianist as you, ho\v happy I sho uld be! "
"Bu t," said Pau lina, "th ere are man y, I am sure,
tha t would do far n1ore justice to you "
" It \VOuld make my fortune," interrupte<l i\Jiaurice,
with suc h a search ing gla nce of his ard ent dar k eycs
lha t Pau lina felt qui te aba she d as she closed the
n1usic and han ded it to him.
11
Can 1 not hop e,"
he con tinu ed, "th at sorne day you 'vill try to ha ve
a little estee1n for 1ne ? "
"M ons ieu r Stein," said Paulina, evidently troubled,
" 1 have tbe gre atcs t este em for you already . Are
you nol 1ny uncle's fines! pup il ? Are you not lhc
very bes t vio linist in Par is? "
"It is not tha t I n1ean," said l'daurice, \Vith a sigh .
"W ill you not believe me \vhen 1 say tha t l hop e to

1 !204 F Al\10US VIOLINISTS
gain your affection for myself alone? Do you think
you could ever !ove me, Paul ina ? "
"l\1onsieur Stein, you 1nust not talk to 1ne in that
1nanner," said the young girl, \vith visible emotion
on her lovely features, "and l 1nust not reply to
such questions."
So saying she fied to her uncle's room, leaving
l\lfaurice in a state of be,vi!clennent and despon-
clency. 1'he blo\v \Vas too 111uch for his excitable
nature. A sleepless night and violent headache
kept hün in bed next day ; and for a \vhole 111onth
1 he was unable to leave h is room.
W hen he returned to the violín class he looked
poorly, and he played baclly. H is alterecl appear-
ance attracted the attention of Lanfredi. As the
pupils \vere retiring he called Maurice back to hi1n.
"Come here, my boy," he saicl ; "l have son1ethin g
serious to con11nunicate to you."
l\1aurice approached him.
"JYiy good friend," continued Lanfredi, "I am
not blind, ancl I a111 not c\eaf. You look ill, ancl
you are falling off in your playing. I noticed that
the G sharp at the commence111ent of the Sixth Con-
certo was as fiat as flat coulcl be, ancl the passage
of clouble notes that follo\v \Vas thi n, poor, anc\ false,
as if a chile\ of ten had clra\vn the bO\v ! No,v, \vhat
is the 1natter ? "
" l declare to you, my dear 1naster--"
"No,v, what do you declare, sir ? " interrupted

TI-IE VIOLIN SCI-IOOL A'l' ;-,'EUILLY S!05
Lan fred i. "Lo ok al yourself in that n1ir ror- you

\
have a mos t \vretchecl appcarance. You are leacling

too fast a life, n1y you ng friencl. Out \vith it, sir,
tell 1ne -is it ga1nbling? is it late hou rs and bad
co1npanions? are you in clebt? l\llake a clean
breast of it, 1ny child, and if 1 cann ot do so111ethi ng
to put a stop to it, 1 shall be muc h astonished."
1'he you ng 1nan raisecl h i1nself to his full height.
"Yo u are quit e 1uistaken, my 1naster," he rcplied
caln1ly. "1 live a 1nost quie t Iife; I hate ga1nbling ;
I have no bacl co1n pani ons; and l have no deb ts."
"'vVhat can it be, then ? Is it possible, my poo r
chilcl, that unsatisfiecl a1nbition is \Vcaring a\vay
your substance. Ali grea t artisles have had thei r
hou rs of clisa ppoin!lnent. Do not 111in d it, my dear
young fello\\r "
"No , 111y n1aster, that is not it either."
"Oh ! \vell, then, I give it up. I never \vas goocl
at lind ing out an enig ma."
"Th e enig ma \VOuld not be difficult, perhaps, to
any one else ; but, l\IIon sieu r Lanfrecli, yo u have
often set you r min d against marriage, ancl may be
you have never kn O\Vn the po\\1er of !ove "
"Vl hat ! " ejaculated Lanfredi, "yo u are in love !
you you ng idio t ! " and he \vas, doubtless, abo ut
to deliver to hfaurice sorne such orat ion as that
besto\ved on Gustave. But afte r a 1non1ent's reffec-
tion he shoo k his head ancl said-
" 1 really believe that you are incurable, my poo r

young friend ; ancl if so, you are dead as far as
music is concerned. But th ough I may clespair of
seeing you a glorious artiste, I may yet save you as
a 1nan. 1'ell me everything ; tell ine \vhat l can do
to help you."
"You can do inuch," replied the you ng inan ;
" you can do everything."
"Ah, gracio us heavens ! can it be "
Beforc he co uld utter the name of Paulina, Maurice
had noclded assent to the unfinished question.
" Dear me ! dear 1ne ! " exclai1necl the old pro-
fesso r, passing h is hancl over his forehead, as if to
assure h in1self he \vas not drea111 ing1 "this is most
singular."
And thcn, after a fe\V 1noments of silence, he turned
abruptl y to the young violinist and said-
" vVithout speaking of your 1nother's fortune, you
have, I believe, so1ne private n1eans ? "
"About 2000 francs a year."
"Well, I could give Paulina 20,000 on her u1ar-
riage1 and that \VO uld yield you another 1 000 francs
ayear. You vvould not be rich, but it \vould enable
yo u to ~va it for better things."
Then another long silence ensuecl, after \vhich
Lanfrecli saicl-
" B ut l shoulcl nol like to part \vith iny niece ;
I have got accustomed to her society, ancl, I must
say, I should regret to see her run a\vay with "
"I would never run a\vay \vith her," it~terrupted

'!'H E VIOLIN SCHOOL AT NEU ILL Y 207
!V!aurice. "He ave n forbid that such an idea sho uld
evcr enter my min d ! "
"~That ! " saicl his 1nast er, "if you n1arried Pau lina
,
you \\•ould neve r lea,·e the violin scbo ol ? J shou ld
be allo·wed to live 'vith you both as long as 1 coul d
dra\V a brea th? Well, l shal l cert ainl y insist upo n
that bein g in thc cont ract ."
The you ng 111an tl1rcw himsclf into his old pro-
fessor's arm s, sobb ing alou d, and mut terin g the
\VOrcls, " Un ele ! father ! "
"An d 1 shou lcl ahvays be your 111astcr1 you you ng
jackanapcs. l \VOuld give you a mon th for you r
hon eym oon , ancl after that, 1nark 1nc1 you shou ld
agai n beco me a violinist ! "
After that intcrvie\V rvrau ri ce Stein \Vas frantic
\vith joy. 1-lis appe aran ce chan ged rapi d ly for !he
bctt er, ancl his cxcited 111anners asto nish cd so1ne of
th e otbe r pup ils. 1'he next ti1ne he happ ened to
see Gusta,·e, be ran to mee t hiin, claspcd hin1 in his
arn1s, sayi ng he fclt quite ashamecl of hi1n self.
"1 have been very unkincl to you, Gustavc, but
you \Yill forgi,·e me ; J feel sure you \vill."
"Al i is forgivcn, ali is forgotten," rcpliecl Gustave
Lafo nt.
"Ah ! if yon only knc\v \vha t ·l have sufferecl
these last fe\v mon ths," continuecl Maurice. "l\II y
1nind '\vas upset, l '\vas ali but lost. But, than k
I-leaven, no\v ali is \ve ll ; happ ines s has con1e to
me at Jast. \Vh at fate on ear!h coulcl any 1nai1

208 F AMOUS VIOLINJS'fS
clread \Vith such a friencl as you, and such a \vife
as Paulina ? "
"Paulina ! " exclairned the other, perfcctly stupe-
fied .
"My friend," continued fi'Iaurice, carri ed :l\vay by
h is enthusiasin , and not noticing the cxclatuation,
"congratula te 1nc. I have just obtained her uncle's
consent."
Gusta,·e fell back upon a chair and hid his face
in his hancls. "Oh 1 what misfortune has befallen
1ne ! " he cxclai111cd ; "\vhat have l done to deserve
th is ? "
1'hen at last lV!au r ice can1e to his scnscs. "What
could I have been thinking o f ?"he niulterecl, as he
\vent out. "l-IO\V clic! I cotne to tell this to Gustave?
He 1nust, of course, be my ri\·al ; \\'C can 11evcr be
friends ! "
Paulina \vas just the age at \Vhich the charms of

\Von1en are 1nost attractive. It \VOuld have been
in1possible to Jind a more exq uisite facc, a n1ore
elcgant figure, such speaking eyes, such an enchant-
ing smile. Her clark aubur n hair, \vhich fell in
luxuriant clusters O\'Cr her forehead and shoulders,
set off the rich sout11ern tint of her beautiful
fcatures, and her short-skirte d dress displayed the
prettiest feet and ankles itnaginable. Her disposi-
tion \vas gay and a1n iable ; her qu ick, elastic step
and every movcn1ent \vere characterist ic of the

'
Tl-IE VIOLIN SCiiOOL AT 1
EUILLY Q09
happiest time of yo uth. Nature had smilcd upon
her, and she returned that smile tenfold. Her
plighted troth to Gustave had opened up a ne\v vista
in Paulina's life, and had, if possible, increased her
happiness. Her thoughts \vere now equally divided
behveen his welfare and her uncle's co1nfort.
After his singular intervie\v \VÍth 1\1'.aurice, the
\vorthy professor \vent straight to his niece's roon1.
He entercd sn1iling, and \vith outspreacl anus.
" Paulina," he criecl, "come ancl e1nbrace n1e."
"With ali n1y heart, clearest uncle," said his
char1ning niece, rushing up to him and kissing him
on both cheeks.
"Ancl thank me," he added, "for bringing you a
piece of good ne\vs."
"Good ne,vs, uncle ! "
"Yes-the poor fello'v was in a state to make
one's heart break. . . . I am not a n1an of llint,
you kno,v, and fro 1n one question to another \ve
never know where it all leads to . . . . Well, at
any rate, I have given my consent."
"Conscnt to \vhat?" askecl Paulina, ·whilst an
exprcssion of vivid curiosity spreacl ovcr her lovely
features.
"No,v, nO\V ! Pretend to be ignorant of it ali, of
course, you sly little girl. As if you did not kno\v
as much as I do, and perhaps more 1 Ho,vever, 1
1uust \varn you that 1 have settled the conditions ;
there is to be no separation. This house is quite
o

large eno ugh for hvo establish111ents ; nothing \vill
be changed, except that instead of a pupil 1 shall
have a nephe\v, and instead of your being called
Il1ade1noiselle you \vill be called Il1ada1ne."
Paulina could scarcely contain herself for joy.
Two more ardent kisses \vere promptly impressed
upon her old uncle's cheeks.
11
My dearest un ele," she said, as she grasped
his d ry, sine\\'Y hands, 11 if you only kne\v ho\v
111uch I Jove you ! But still, I cannot realise it-
has he really had the courage to ask your consent
personally?"
"Thank you for the con1pli111ent, iny dear niece,"
said Lanfredi ; "do I look like a man that any of
n1y violin pupils could be afraid of ? "
"Only fancy ! " said Paulina, "after the sennon
about 1narriage that yo u gave hi1n that Sunday
evening-I shoulcl never have believed it pos-
sible l"
"What is ali this gibberish you are talking? Yo u
say I gave Maurice a sermon on 1narriage ? "
"No, dear uncle, not Il1onsieur Stein, but l\ilonsieur
Gustave."
"You 1nust be silly, my dear g irl-or perhaps 1
am. What has Gusta ve got to do 'vith this affair? "
Paulina fixed her Jarge, dark eyes upon his; the
flush of excite1nent left her cheeks, and her face took
a pale, anxio us expression, which quite astonishecl
Lanfredi,

THE VIOLIN SCI-IOOL A'f NEUILLY !?11
"Gracious Heaven, uncle ! " she exclaimed, "\vho
is it you want me to marry ?"
"\1Vhy, l\Iaurice, of course, to \Vhom 1 ha ve just
given 1ny consent."
" But th at is perfectly fr ightful ! " cried his niece.
"I clo not love l\IIonsieur Stein- I cannot be h is
\vifc- I am bctrothecl to another ! " and tears 110\V
rolled do\vn the pale cheeks of Paulina. They \Verc
U1e first tears Lanfredi had ever seen shed by her,
and his heart \Vas 1nelted in a mo111ent.
"And that other- is Gustavc, I suppose," he said,
after a pause.
" Dcarest uncle," saicl Paulina, placing her ann
coyly rouncl bis \vaist, " just consider ' vhat a serious
thing this is "
"lt is indeed," interruptecl her uncle ; "and pray
ho\v a1n 1 to get out of this difficulty-h o\v can 1
break 1ny \VOrd to l\1aurice ?"
"Oh, 1ny good little uncle, yo u \vill simply
tell hiin that I have givc n my \vord to Monsieur
Gustave."
"That is just \vhat l \Vill 11ot do," put in Lan-
fredi, "for Gustave cannot, and shall not, be your
husband." .
"vVhat obstacle n1ight there be, un ele?" inquired
Paulina cahnly.
"What obstacle ? Well, if you cou ld live on
love and cold \Vater, as yo u ng people of yo ur age
often think they can, it \VOuld be ali right ; but

212 FA MOU S VIOLINIST S
\vi th th e exp erie nce gai ned at 1ny age, 1 kno\v it
wou ld be ali \vro ng. 'f o spe ak plai nly, Paulina,
I can not give you very 1nuch, and Gus tav e has
n ot got a pen ny."
"But he h as talen!.- -"
11
Yes, dec ided ta lent, b ut the kee n blas ts of
rnis ery would soo n des troy it."
A gre at dea l 1nore \vas said 011 this occ asio n th an
we hav e spa ce to rep ort. Lan fred i loved his nie ce
too 'vell to penn it her to fall in to the mis fort une
of mar ryin g a ma n \vho cou ld not sup por t her .
11
The deu ce take you th and !ove ! " he exc laim ed,
as he r ushed from the roo m, test he sho uld again
see bis niec e burst in to tcars, \\•hi ch \vas mo re tha n
his sensitive ner ves cou ld bea r.
'fhe vct era n vio li nist \valked abo ut a goo d \vhi le
in the stre ets of Par is aftc r tha t tryi ng intervie,v,
endeavour ing to disc ove r, if pos sibl e, so111e solution
to the difficult pro ble m bef ore him . On his retu rn
h e sen t \vor d to ~1Iau rice to con1e ancl clin e at the
Violin Sch ool , at whi ch the you ng mu sici an was
extre1nely deli ght ed .
vVhen din ner ti1ne carne, it was fou nd tha t Pau lina
cou ld not be presen t. She con1pla inecl of hea dac he,
and des ired to pass the eve nin g alo ne in her 0\\'1 1
room. Ma uric e \vas mu ch disa ppo inted at this ;
but Gu stav e clic! not app ear dis pleased.
Du ring the rep ast the co nversatio n \vas slig ht
and o rdin ary ; but \vhe n th e cigars \vere ligh ted,

'fliE VIOLIN SCIIOOL A'I' 1 EUI LLY ~13
and dessert \vas on the tabl e, it took a 1nost inter -

estin g turn .
"l\!Iy dear i\IIau rice," said Lanfrecli, " l have been
rathe r too pro1upt in com ing to conc lusio ns rega rd-
ing Paul ina. You neecl not íro\v n ; 1 shall not
\Vithdra\v \vhat 1 have said to you ancl to her. But
1 have foun d that shc is attac hed to Gustavc, \vho
has as muc h afTection for her as you have, ancl 1 find
1uys elf in prese nce of hvo claii nants inste ad of one.
No,v, 1ny dear child ren, you kno\v 1 am cqua lly
foncl of you both , and 1 do not \vish to do any in-
j ustice to eithe r ; so 1 ha ve com e to the follo,ving
decis ion. In Paris to-da y 1 learn t that Seve rini,
\vho is getti ng olcl, is givin g up his post as leacli ng
violin at the Oper a. 1'he posi tion is to be o!Tered
for com petit ion. Go, both of you, and get your-
selvcs inscr ibed for this com petit ion, \vbich is to
beg in next \veek, and \vhichcver con1es out vic-
torio us shall have the hand of my niece . Tha t is
1ny ulti1nati1n1."
\Ve cann ot say precisely \vha t Paul ina \VOtt ld
have thou ght of her uncl e's cond uct on this occa -
sion. 1t made a very clifferent impressio n upon
each of the hvo violi nists : to Gust ave it appe ared
like a harb our of refug e ; but to ~faurice it scem ed
almo st equiv alen ! to ship ,vrec k in th c open ocea n.
He fell back in his chai r with out utter ing a \VOrd .
After a little \vhile, ho,ve ver, he reco vcred hi1nself,
and boU1 youn g 1nen cons ented to com pete.

~14 FAMOUS VIOLINISTS
The position \Vas \vell \VOrth trying for. Incle-
penclently of the prize that the \VOrthy old professor
attachecl to it, it representecl about 4000 francs a
year, an incon1e not to be despisecl in those days by
the very fore1nost of violín players ancl professors of
harmony.
Maurice Stein rushed hon1e, infonnecl his mother

of \vhat hacl occurrecl, seized his violín, \vhich for
the Jast few 1nonths he hacl very 1nuch neglectecl,
and worked ª'"ªY far into the night. The next
1norning he f!ecl to the office of the Opera I-Iouse
to inscribe his name a1nong the co1npetitors.
Gustave Lafont also inscribecl his na1ne the saine
111orning.
The competitors \vere rather nu1nerous, including
sorne of the best 1nusicians in Paris, and not a fe\v
from the provinces. lVIany of the nev1spapers hacl
macle kno,vn \Vhat \vas going to happen, ancl the
event \Vas talked about in the cafés ancl in musical
circles as likely to prove one of the most exciting
episocles of the season.
In a state of feverish frenzy, Maurice hacl no
sooner returnecl ho1ne than he again took up his
violin, and labourecl hard to 1nake up for lost titne.
But the 1nore he strove, the 1nore clissatislied he
beca1ne. Bodily fatigue ancl 1nental anguish con1-
bined to deter hün fro1n succeeding in his efforts.
So true is it that no 1nusical \vork is of any avail

TflE VIOLIN SCHOOL AT NEUILLY 215
\vhen done unde r the press ure of fatigue and
excitement.
In less than three days, \Vith ragc and disgust,
he flung do,vn his violin, in\varclly vo\ving that he
would relinquish the task. But, for all that, he
\vould not give up Paul ina.
After revolving severa! proje cts in his inincl, he
carne to the dete rmin ation of provoking his rival
to rnort al co1nbat. He never thou ght of his good,
kind rnot her; mad dene d by his ulterly selfish
desires, he deci ded to com pel Gustave to give up
ali clain1 t o lhe hancl of Lanfrecli's niece, to quar rel
\vith hi1n, insu lt him, strike hhn, ancl 1ncet him next
<lay on the cluelling grou nd. It never occu rred
to hi1n \Vhat Paulina \VOulcl think of the man \vh o
shou ld kili her frien d in a duel. He \vas sÍlnply
blincl \Vith rage, intox icate d \Vith jcalousy, insane
\vith selfishness and false pride .
Lanfredi, \vho in form er days had travelled over
the \vhole of Euro pe 'vith no olhe r com pani on
than his An1ati violi n, \vho had knO\Vll thc time
\\•hen his hotel-keeper had to give hirn a nigh t's
boar d ancl lodg ing in exch angc for a li ttle display
of his talent, \vho had passcd throu gh thc dis-
appointrnents ancl strug gles inhe rent to a \V<lnder-
ing arliste's life, ancl had co1ne out of ali this
unscalhed, unsullied, and cont ent \Vith his lot, \vas
not a man likely to fail in ensu ring the happiness oí
his 1n uch-love d niec e unde r these critic a! circu m-

~16 l<'AlV!OUS VIOLINISTS
stances. He doted upon her ; and he loved his
hvo favourite pupils also. It \Vas certainly a cliffi-
cult thing to satisfy them ali, and hi1uself at the
same tüne.
His little stratage1n regarc\ing the competition
had occurred to him as one 1neans of solving the
problem. He kne\v that Paulina had acceptecl
Gustave ; he kne\v the character of the latter, and
that of lVIaurice; anc\ it \vas a lmost certain that if
the appointment \vere \VOn by either of his pupils,
it \vould be the cool-heacled Gustave that wou ld
gain the óay, that the very impetuous nature of
:tl!laurice \VOuld carry hün too far.
But there \vas another alternative : it might
happen that neither of them \voukl be chosen for
the highly responsible and lucrative post. They
\vere both very young 1ne111 and tbat fact alone
·would prove a great obstacle in so important a
competítion. It was, indeed, a post \vhich required
a greater knowlec\ge of 1nusic than either Gustave or
lVIaurice possessec\. It \VOuld be given, of course,
to sorne man \Vho \vas intimately acquainted with
ali the \vorks of the modern composers as \vell as
those of bygone times.
Nevertheless there is a good old adage that says,
" Nothing venture, noth ing \vin," and Gustave
Lafont \VOrked c\iligently and carefully, buoyed up
by the thoughts of his dear Paulina, until the
critica! time fixed for t he great competition.

'frlE VIOLIN SCrIOOL A'l' NEUILLY ~17
l\l[ean\vh ile Maurice took steps to carry out his

diabolical plans.
• • •
It \Vas a dull morning early in Nove1nber \Vhen
Maurice Stein can1e do\vn to breakfast \vith his
mother.
"You look ill, my dear son," said l\iiacla1ne Stein ;
"have you not slept ·well ? "
"No, 1nother, 1 have not slept at all ; but I shall
soon be better-only 1ny head aches, an cl that,
perhaps, makes me look ill."
"No,v, Maurice," saicl his 1nother, "you must not
give \vay any longer to this folly. Paulina Lan-
fredi is not \vorth all these exertions and anxieties.
Think ho\v 1nany thousancls of young girls, quite as
beautiful ancl as talented, are to be founcl in the
\Vorld-in Paris alone.''
"No, 111other," interruptecl wiaurice, " there is
not one like her. You do not kno\v her. But
1 have given up all idea of con1peting for the
leadership at the Opera."
" You are right, 1ny boy; 1 an1 glad of it."
"Yes ; 1 shall co1npete \vith Gustave hi111self."
"\'Vhat do yon 111ean, wianrice ? "
"Why, 1nother, I shall do \vhat ali other gentle-
111en do in sitnilar circun1stances-I shall challenge
him, and fight him."
"Heaven forbid ! "exclaiined his mother. "Only
fancy, if this affair sho uld leacl you to a criminal

~18 FAMOUS VIOLINISTS
action, Maurice ! Do you think Paulina Lanfredi
\Vould not abhor any man \vho could act in such
a 1nanner ? Then, suppose he killed you," continued
Mada1ne Stein, as tears rose to her eyes, " you do
not think of ine- \vhat should I do ? "
" l\IIy dear 1nother," said Maurice, "there is a
kind Providence that protects those \vho are in the
right-that guides our \veapons in the duel "
"No, l\1aurice," said l\lfaclan1e Stein, interrupting
her son in a piece of bad philosophy,, "no, a
thousancl times no ! Even supposing you \Vere in
the right, the duel is the outco1ne of man's liberty.
•
We have po,ver over goocl and evil. Providence
has given us this liberty, and if \Ve abuse it, the sin
falls u pon our O\Vn heacls."
Then, after a fe\v 111oments of silence, the good
\VOman aclcled-
" Take 1ny advice, l\1aurice, \Vh ilst there is yet
ti1ne. Let us quit París, \vhere \Ve have fe\v friencls ;
Jet us travel together, and seek a ne\v life. You
are now an artiste, and there is nothing to prevent
your follo,ving in the footsteps of Lanfredi, and
becoming, perhaps, even 1nore successful."
Maurice placed his elbO\VS on the table, coverecl
his face \Vith his hands, and rernained for sorne time
in deep reflection. When the breakfast \vas ended,
he rose and \Var1nly e111braced his mother \Vithout
saying a \Vorcl. He then took up his instrument
and left the house.

'I'l-IE VIOI.IN SCHOOL A'l' NEUILLY 21!)
H e \vent straight to the Violin School, \Valking
briskly to arrive in good time. He opened the little '
garden gate, and stood for a moment in the hall.
He \vas still brooding over his determination to
bring an insult upon Gustave \vhen the luscious
tones of a fine violín caught h is ear. lt \Vas a slo,v,
exquisite 1nelody \Vhich caused his heart to throb.
For the second ti111e since the 1nen1orable evening
·when Gustave ancl he S\VOre a lifelong friendship,
he heard that lovely air of the Gazza Ladra.
Tears rose in his eyes, and he stoocl n1olionless1
scarcely claring to draw his breath, as the sublin1e
melody ílo\ved through the housc and rivetccl him
to the spot. At last it ceased.
"No ! " he muttered to himself, "1nother is right.
Adieu, Paulina! Adieu, Lanfredi ! Adieu, Gustave!"
and he rushed fro1n the hall into the dismal
Nove1nber atmosphere.
"'fherc is at least one \voman in th c \vorld ,.vho
cares íor 1ne1" he thought, "ancl 1 \Vill conficlc in
her."
~faurice \\'as never more seen in París. Gustave

carne out of the competition \vith tolerable creclit,
but he did not come out victorious. A gentleman
old enough to be his father, and \vhosc nan1e 'vas
quite celebrated in the musical \vorld, \vas chosen
on this occasion.
"\.Vell," saicl Lanfredi, "you have done your

FAMOUS VIOLINIS'l'S
best, 111y boy ; I could not expect more ; ancl yo u
had a very good display of points."
For so111e ti1ne Gustave Lafont continued his
engagement in the orchestra of the Opera, but after
having n1arried Paulina, at the little Church of St.
Brie, he gave it- up, and succeecled Lanfredi as the
director of the Violin School at N euilly, which
for a long ti1ne enjoyed considerable notoriety.
Severa] years after\vards the ne,vspapers spoke·
frequently of a 111ost distinguished violinist who
\vas creating quite a fi1 rore in Austria, Germany,
and Russia. His na111e \Vas l.VIaurice Stein, ancl
they spoke of hin1 as a Gennan artiste. B ut it \Vas
soon found out that he was a pupil of the great
Lanfredi.
Like his worthy 1naster he never 1narried, but he
left, in his turn, two very distinguishecl p upils in
th e persons of E rnst and Vieuxte111ps, \vho carne to
him for finishing lessons in Vienna.
If you \vish to kno\v, dear reader, ho'v 1\IIaurice
Stein played, look at Vieuxten1ps' Fantaisie Caprice,
\Vh ich that celebratecl violinist con1posed after those
lessons in 'Vienna.

•
XVI I
THE " SOUL " OF THE V I 0LIN1 OR THE SECRET

OF THE S0UND-POS1'
THERE is a little piece of \vood \vhich stands

uprigh t behveen the table ancl the back of the
violin, just behind the right foot of the bridge.
The E nglish call it the "sound- post," b ut the
French ha ve tenn ed it l'á11ie dn violan-" the soul of
the violin." And it \vell deserves the latter cleno1n i-
nation1 for everything seems to depend upon it.
Of the rnany separate pieces of \voocl of \Vhich
a violin is com posecl, this is certainly the 1nost
i1nportant. Indeed, vtithout it, t he finest instru-
ment is absolutely \vorthless.
It consists of a s1nal11 solid, cylindrical piece of
old, '\vell-seasoned, sound pine \voocl \veighing 8
to 10 grains, and it is placed in its position, after
the violin is 1nade1 by 1neans of a ·c1u-ved steel
instrument, called a " sound-post setter," which is
sold in the shops for a shilling or t\vo.
It is set whilst the violín is unstrung, or, at least,
..,
\vhen the strings are ali q uite slack, and the bridge

F AMOUS VIOLINISTS
do\vn. As soon as it is fixed in its proper position,
the strings are tightenecl a little, and the bridge
properly adjusted ; then, after a little ti1ne has
elapsed, the strings are gradually raised to concert
pitch.1
I have italicised the \VOrds "its proper position,"
for upon this depends to a very great extent the
quality of tone that the violin \vill produce.
The greatest violinists and the greatest instrument
1nakers have had their utmost ingenuity turned to
this tiny piece of wood, and 111any a violin is "n1ade
or marred" according to the attention \vh ich has
been besto,vecl upon it.
The violinist and co1uposer, Louis Spohr, in his
\vell-kno,vn "Violin School," devotesso1ne important
re1narks to the sound-post; and a lmost ali \vriters
who have treated of stringecl instrun1ents played
\vith a bow, have duly appreciatecl the im portance
of this Iittle bit of \vood. Still, fe\v persons appear
to be a\vare ho\v very n1uch depends upon it, and
the instructions that have been given hitherto re-
garcling it are not altogether satisfactory. 1 have
therefore thought it would prove interesting and
¡ profitable to give the results of iny O\Vn experience
1 on this subject, to which for 1nany years past I
have devoted a great <leal of attention.
If any one \vould like to prove ho\v much is d ue
to this little cylinder of solid \Vood, Jet him take it
i The pitch oí thc Royal Italian Opera, nol "Philharmonic pitch."
'
\

TfIE "SOUL" OF THE VIOLIN 223
out of the instrument, and then dra\v the bo\v over
the strings. He \vill find that he can no\v produce
only a very \veak sound, and a sound that, in most
cases, is of an atrocious quality. Hence lhe English
term "sound-post" is not so inappropriate ¡ for
\Vithout it therc is no sound \vorth speaking of, and
the qualily of sound a violin \vil! produce depcnds
almost cntirely on !he 1nanner in \vhich this said
souncl-post is placed in the instru111ent.
After telling the student \vhat kind of violin he
should seck to obtain for solo-playing, the great
Spohr goes on to say that he should ncxt devote
attention to thc position of the sound-post. He
tells us \vhat a difficult thing this is to carry out
properly, and hO\V mucb depends upon it. Still,
it is scarcely to be recommended to lhe young
1nusician \Vho may happen to posscss a really
valuable inslru1ncnt; indeed, it is not diflicult to
permanently injure a violín by moving the sound-
post about too often, and for this purpose it is best
to engage thc services of a co111petent violi n-1naker,
unless considerable experience has been acquired
by operating upon instruments of slight value.
What 1 may term the secret of t/1e so11nd-post
\vas discovered by a gentleman in London many
years ago, and "•ith considerable advantage to
himself. lt \vas at the time 1 had the honour of
acting for four years as president and violin solo
to the Bohemian Orchestral Society. When \ve gave

FAMOUS VIQJ,INISTS
concerts we occasionally had to engage the services
of a contra-bass ist and a leacler of the second
violins. 1' he !alter office \vas 1nore than once filled
by an ad1uirable musician, a l\1r. B ., a 111a11 of son1e
fi fty years of age, \vhose ti1ne \vas chiefly devoted
to orchestral 1nusic, and \vho 'vas one of the
steadiest leaders it \vas possible to 1neet \vith. Our
second violins \Vere really admirable under bis
careful guidance. But besides his great kno,vledge
of music and his po,vers as a player, l\Ir. B. \vas
\Veil acquaintecl \vith the constructio n of the violin ;
1 and one of bis hob bies 'vas to "pick up," in out-
of-the-way places, sorne cheap instru1ne11 t, and by
' assiduous care to convert it into a vcry valuable

violin.
~Iore than once he '"as offered large sums for
violins that only cost him a pound or hvo ; but he
\vas so proucl of them \vhen he hacl 1nacle them
perfect, th at it \vas only under the greatest pressure
that he coulcl be incluced to part \Vith thc1n.
He never Jet me know his secret, but 1 discovered
it sorne years after,vards ; and 1 no\v kno\v that it
consisted chieffy in paying great attention to the
fitting and positwn of the sound-pos t-the "soul of
the violin."
N º'v let us go a Jittle deeper in to this important
subject. I \vill suppose \Ve are dealing \vith a
violín that is tolerably \vell 1nade ; not one of those
\Vretched instru1nents that are sold for a fe\v shillings,

TI-IE "SOUL" OF Tl-IE VIOLú"I 225
but a violin \vhose outline and general appcarance
lead us to bclieve that it is made of good wood,
of the proper thicknesses; say, an instrun1ent of a
certain age, that \vould be sold for J;,5 or J;,10 by
a dealer. In many such cases, if proper altention
be given to the sound-post, it will be quite possible
to 1nake this instru111ent ahnost cqual to a fine
Tyrolean or Cre111ona violin worth, as times go,
hunclrecls of guineas, proviclecl that it has not a
strong nasal quali ty of tone. For the latter dcpcncls
upon faulty outline ancl fau lty thickncsscs, and is
probably quite incurable. But as U1is bad quality
can be dctccted the moment the bO\\" is passecl
OYer the strings, no violin possessing it \vould be
likely to repay our trouble. Nevertheless, even in
such a bad case as this, the sound-post 111ay be
made of such a quality, and placed in such a
position, as to give a greater roundness or fulness
to the tone. The first thing \ve have to consider
is the quality of the \vood ancl the thickncss of
the post. lt must be cut fro111 the best kind of
red pine-\vood, as old as possible, \vith straight
libres, \Vithout knots, ancl rnust be perfectly cylin-
drical and smooth.
lt has been found that pine-\vood \Vhich is old
and sound may yet have different acoustic pro-
perties, as the old makers of violins kne\v so \vell.
So much so, indeed, that ('vood of such good
sounding properties being difficult to obtain in
p

FAMOUS VIOLINISTS
the ir days) \\•hen a goo d piece of \vood \vas fou nd,
any little blemishe s it 111ight hav e \vere carefully
pat che d up. Thu s in old Crc mo na and Tyr ole an
instru111ents of sup erio r qua lity \ve son1etimes 111eet
\VÍth little squ are bits OÍ WOOd tha t hav e bee n Jet
into the table, whi ch the \vorkn1an has don e rath er
!ha n see k for ano the r piece mo re perfect in app ear-
anc e, but of less goocl aco usti c pro per ties.
This sou ndi ng qua lity is pul in evi den ce by sus-
pen din g the \voocl on a thin stri ng and strikin g it
\vith a stick ; or by letting picces of it, a fe,v inc hes
lon g ancl abo ut half an inc h bro ad, fall upo n a harcl
slab , and not icin g the qua lily of sou nd e1nitted.
I have in my possess ion eig ht pie ces oí co1nmon
dea l of this size (su ch as is use d for ligh ting fires),
\vhich hav e bee n cut of differcnt \vei ght s, and \vhen
dro ppe d, one afte r the oth er, on to a sto ne floor,
the y pro du ce a per fec t sca lc of one oct ave. In
mak ing this C.\:peri1nent it is easy to hea r lha t sorne
of the pie ces pro duc e 1nore 1nusical sou nds !ha n
the oth ers.
Wi th regare! to the exa ct thic kne ss of the sou nd-
pos t, it is not very 1naterial ; for, on acc oun t of
the lim ited wid th of the sou nd-holes of a violin,
it is impossible to pas s thro ugh the m a cyl ind er
of \voocl tha t is thic ker tha n the ir ope nin g at !he
\videst par t, i.e. 1 in the mid dle of the sou nd- hole.
An d this is alm ost exactly the thickness \Vhich is,
per haps, bes t suit ed to ali instrun1ents. But, for

TiiE "SOUL" OF THE VIOLIN 227
the last hventy years or so, sorne n1akers have
been in the habit of using very narrO\v cylinders
of \VOOd- very thin sound-posts, and the reason
of this is that they require less bevelling at the
extrc1nitics in order to make them fit perfectly
against the back and table of the violin. Others,
\vith probably 1nore reason, prefer a post as thick
as can be introduced easily through the centre of
the right sound-hole. A very thin post is apt to
\VOrk a hollo\v place in the table, and is to be
deprecated.
No\v con1es the most i1nportant consideration-
the exact position ,,·hich the sound-post should have
in the body oí the instru1nent.
Supposing the "·ood of which this little solid
cylinder is constructed to be perfectly good, old,
light, sonorous, free from blemish, and straight of
fibre, perfectly cylinclrical ancl smooth, \Vith its
upper ancl Jo,ver extre1nities slightly bevclled to
enable it to fit exactly th e slopes of thc back and
table, \vhere is it to be placed in ordcr to give
the violi n th e finest quality of sound that it is
capable of producing? That is the question 1 shall
no\v encleavour to ans\ver.
First 1 \vill quote a fe,v \vords fro111 a great
authority on this subject, who says :-" The sound-
post is made of choice fir with the fibres running
straight through it length,vise; the older it is the
better, provided it is sound, i·.e., not decayed, knotty,

F AMOUS VIOLI NISTS
or bletnished. lt should be set \vhen t he instru-
1nent is unstrung, and should then be sufficiently
tigh t to stand finu \vhen the violin is shaken. lt
should be set in a line \vith the right foot of the
bridge, and just so far behind as to Jeave about
three-eighths of an inch behveen the front of the
post and the back of the foot of the bridge. vVeak
violins, ho'i\•ever, require it nearer to the bridge.
lVfuch cliscri1uination is required in placing this
Jittle post, as on it the quantity and quality of tone
1nainly depend."
Of course a carelessly n1acle violin, \vhich has not
the proper degree of thickness leH in the \vood in
the central portion of the back ancl the table, or
\Vhich has a bad outline or 111oclel, can never have
a very fine tone; but should these require1nents
exist only to an imperfect extent, yet the proper
placing of the sound-post \vill rectify this i1nperfec-
tion as 111uch as possible.
It \Vill be remarked that in the quotation \ve have
just 1nade, the position of the post is set clown at
"three-eighths of an inch" behind the right foot of
tbe bridge. Spohr says "just behincl," and others
have said "a quarter of an inch."
An old and eininent Lonclon maker, \vho1n 1
kne\v inti1nately for 1nany years, assertecl, as the
result of h is long experience, that there \Vas only one
position for the sound-post, and if the violin did not
so und \vell \vith the post in that position, it \Vould

'TliE "SOUL" OF THE VIOLIN !'lQ9
never sound \vell \viU1 it in any other; and that is,
"just behind the right foot of the bridge." No\v,
although lliis applies to most violins, it 1nust be
regarded as an error ; and it is an error \\'hich
guides most of the makers ancl repairers of violins
of thc present day, both at home and abroad.
'vVith a fc\v noted exceptions, thcy ali act by
ro utine, having in 1nany cases no ear for 1nusic ;
and it is certainly 1nuch easier to do so than to
labour for clays, or even n1onths, to discovcr, for
any given inslru1nent, \Vhich is the bcst place for
the sound-post. It is, in fact, a mattcr oí experi-
ment, as \\'ill perhaps be gleanecl from \vhat has
alrcady bcen said. But there are ccrtain rules
\vhich may ser\·e to guide us in 1naking lhis
experiinent.
If the violín is very \veak, the post n1ay be placed
as near as possible to tlze /oot ef the bridge, \Vithout
being right uncler it ; and \vherever it is placed
it must be pc1j'11ctly perpendicular-that is a very
in1portant point. lf the violín is loucl ancl coarse,
the sound - post 111ust be placed /art/1cr bn:ck,
away /1·0111 the /oot ef the bridge, but still in a
straight Iine fro1n the right foot of lhe latter.
lf the higher strings, E ancl A, are too loud, it
may be shiftecl very slightly t<rcUariis the centre; if
the Jo,ver strings, D ancl G, are too Ioud, and the
treblc \Veak, it may be brought slightly ncarcr to thc
rig/1t sound-/10/c.

Loucl ancl coarse violins are perhaps co1un1oner
than \veak instrun1ents, and fortunately they are
easier to cleal \vith than the latter ; it is ahnost ahvays
possible, by taking the sound-post back, a\vay fro1n
the bridge, in a straight line from the n1iddle of th e
right foot, to cause the1n to give a fine, even, brilliant,
ancl soft tone, equally pO\verful on ali the strings,
allowing the note to co111e out clearly \vith the
most delicate touch of the bo"'' and enabling the
performer to S\vell each note \vith the greatest ease.
But to achieve this result perfectly \vould be to
111ake a very ordinary instru111ent altnost as good as
the finest Cre1uona or Tyrolean violin.
vVhen trying such experiments, so111e clays shoulcl
be allo,ved to elapse after se~ti ng the post in any
given position, and stringing up the instruinent to
concert pitch, in order that it may be firmly settled in
that position, and in order to repose the ear of the
perfonner. In some cases the post n1ust be placed
very nearly three-quarters of an inch behind the right
foot of the bridge, and in others it 1nay be \vithin
an eighth of an inch of the bridge. So that, in spite
of the fixed position given in instruction books such
as the" :tl!Ianuel du Luthier" ancl other \VOrks copied
fron1 this, t!te1'e is no absolutely fixed position; a very
little difference Jeads to very great results, and the
best results can only be got by the most careful and
persevering experi1nents. I \Vas severa! years over
a case of th is sort ; not that the post \vas changecl

THE " SOUL" OF 'l'I-IE VIOLIN ~l
every day or even every month, but perfect success

\vas finally achieved .
In his valuablc instructi ons to violinists, Spohr
devotes 1nuch space to the position of the sound-
post, as \ve havc alrcady remarked, but he 0111its
a very i1nportant fact, namely, the exact length of
this little, solid cylinder ; and ali the books which
have copied Spohr's "School " also omit to give
any informat ion on this subjcct. 1-lo\v are we to
ascertain the exact length that the post 1nust have?
For, of coursc, it varíes accordin g to the 1nodel,
raised or fiat, of the instrume nt.
Well, fuere is an ingeniou s method of ascertaining
this length, \vhich \vas discoverccl by sorne clcver
n1an \vhose namc has not come do,vn to us. Pro-
bably the Iittlc device dates back in history as far
as fue days of Gasparo da Salo, or Andrea A1nati,
in the sixteenth century. lt consists in passing a
knitting-pin, or a stiff piece of 'vire, through the top
round of the right so und-hole, until it touches the
back of t he violín, p inching thc \vire finn ly \vi!h
the thumb and finger exactly at the surface of the
table, and dra\ving it out ; it \vill then sho\\• the
cxact length \Vhich fue sound-po st must have.
This rneasurc 1nust be takcn \Vith the grcatcst
care, a nd th e Iiltle cylincler of \VOOcl cut exactly to
it; Cor an error of a hventy-fourth of an inch in
length \vill prove of consider able conseque nce. lf
too long, it cannot be fixed at ali (it cannot be madc

FAJ.\IIOUS VIOLINISTS
to stand upright) ; and if too short, it is quite
useless, and \vil! fall do\vn, or cannot be placed in
the proper position. So1ne slight allo\vance must
be 1nade for the bevelling at each extre1nity1 espe-
cially when the violín is one of a Jijgh 1nodel.
1'he fibres of the sound-post, \vhen :fixed, should
be across those of the table, at right angles \vith
them. This is realised by fixing the point of the
setter betwee1t the jibres in the proper place for this
purpose, \vhich is about a quar ter-inch fro1n the
top, and taking care that the hole left \vhen the
setter is withclra\vn faces the right-hand sound-hole.
It is, ho\vever, a 1natter of 1ninor i1nportance.

XVIII
THE BRIDGE, THE STRl~GS, ANO THE BO\V
HAVING no\v saicl ali that I can \vith rcgarcl to the

secret o/ tite sou11d-post, 1 \VÍll add a ÍC\V \\"Ords, by
\vay of supplement to this subject, to sho\v ho'v the
qualities given to a violín by a good sound-post,
properly fixed in the best possible position, may be
enhanced by three other things-na1nely1 an appro-
priate bridge, st.rings of a proper quality and thick-
ness, and a good bo\v.
Next to the so und-post, thc bridge cxerts the
greatest influencc upon th e qualily oí the to ne of
a violín, ancl we cannot be too carcful in our
choice of a bridge that is perfcctly appropriate to
th e instr un1ent. Bridgcs are of various \veights,
thickness, ancl quality of \VOOd. So111c are denser
than others, and \Veigh 1norc. Tf a violín is loud,
it \vill require a dense, heavy bridge ; if \Vcak, it
\vill require a bridge as light and !hin as possible.
The fitting of a suitable bridge can rarely be
properly achievcd by the amateur ; it is a malter
\\•hich requires great expcrience, and should be con-
fided to perfectly competent mcn, such as Chanot
•33

~34 FA1\10US VIOLINISTS
or Withers, \vho 1nake it a kind of specialty, and
receive instruments fro1n ali parts of the \vorld for
this purpose.
If a bridge is too dense, it rnay be rendered
thinner by 1ueans of sancl-paper ; but if made too
thin, it is apt to break suddenly when being placed,
or even (as once happenecl to 1nyself) by harcl
playing.
\Vith regarcl to strings, they are far n1ore perfect
at present than they used to be t\venty or thirty
yea rs ago. T here is nO\V great con1 petition an1011g
the vario us manufacturers in Italy, France, ancl
Germany. Generally speaking, thin strings yielcl
the finest quality of tone, ancl are easier to play
upon ; \vhilst thick strings enhance the brilliancy at
the e:-.-pense of the tone. Son1e instru1nents \vill be
\vell suitecl \Vith strings of 1uecliu1n thickness ; ancl
it is \vell, \vhen a player has once c\iscoverecl which
thickness of strings suits his instnnnent best, to
al\vays aclhere to it. On purchasing the strings, the
thickness is ascertainec\ by 1neans of a little brass
gauge sokl for the purpose; or the clealer \vill
gauge then1 for the purchaser.
The great English bo\v-n1aker Tubbs once tokl
me that "the bo\v is the lung of the violin," ancl he
\vas qu ite right : it is to the violin \vhat the lungs
are to the singer, and a rough, heavy bo'v \vil! often
spoil the notes of the finest instrun1ents.
Whilst the n1aking of violins is an art \vhich has

THE BRIDGE, STRINGS, A~D Bo,,r Q35
steadi ly deteri orated since the early part of the

eighte enth centur y, that of bo,v-m aking has, on thc
contra ry, impro ved; and thoug h fastidious people
even nO\v \vil! givc large sun1s of money for a bo'v by
'fourtc, Dodd , Tubbs , Vuilla ume, &c., that is rapidly
becon1ing a thing of the past. lt is true that I recenlly
saw J;,25 paid for a bow by the old Frenc h maker
Tourt c, \vho hi111self charg ed large prices, becausc
he had the habit of breaki ng over his knees any
bow he 1nade \Vhich did not satisfy his a1ubition,
and charg ed accord ingly for !hose he sold.
At the presen t time very excell ent bo,vs may be
had, varyin g in price fron1 half a guine a to three or
four guine as. 1t is a 1natter for experi1nent ; but,
gener ally speak ing, it \Vill be found that a light bO\\'
is best suited for solo-p laying .
It is no'v as easy a 111atter lo procu re a good bo'v
as a bad \•iolin ; there is, nevertheless, a vast differ-
ence in the quality, s1noothness, and po,ver of tone
as given by variou s bo,vs, especi ally in the case of a
fine, delica te instru1nent, and a solo-p layer canno t
be too partic ular in his choice in this respect.
The more a violín is played upon, the easier its
vibrat ions becon1e, and this has often been put
do\\rn as the cause of the superi ority of old over
new violin s. But that is not ali : I have met \\'ilh
old violin s in Gcrm any-u p,vard s of a hundrecl
years old-t hat 'vere atroci ous ; ancl 1 have seen
very mode rn violin s that \vere just the contra ry.

FAl\íOUS VIOLINISTS
Age and constant playing can nevcr give a fine
quality of tone to a badly-made instru1nent 'vhich
has not the proper 1nodel and proper thicknesses.
\Ve have met wilh severa! professors \\•ho \Vere
never content \Vith their violins, and \vere ahvays
ready to change then1, or purchase a superior in-
stru1nent if they s;\\v their '"ªY to do so. 1 n1ay
1nention in this respect my late íriencl Henri
Vieuxtemps, one of thc most accon1plished violin-
ists of modern times, ,,·ho changed his instrument
severa! ti111es as his position in the musical \Vorld
• i1nproved, playing latterly upon a very fine violín
by Storioni, ancl fina ll y u pon an cxpcnsive Joseph
Guarnerius.
Ole Bull also bcgan, as \Ve ha,·e scen, 'vith an old
violin of unknO\Vn origin, given to hi1n by his
uncle; but later in life he attempted to make a
violín for himself. Faili ng to get satisfaction in
this respect, he purchased a Joseph Guarnerius, and
finally a Nicolo Atnati, supposed to be the finest
A1nati violin in the \vorld. Others, ho,vever, like
the 'vell-kno,vn Charles Dancla, ,,·ho possesses a
French Yiolin, by Gand of Paris, of vcry good
quality, never change. This exccllent artiste and
composer has chcrished his instr1anent throughout
the \vhole of his long and honourable career. We
have already related in a fonner chaptcr of this
\VOrk ho\v he tricd a Stradivari violín that \vas lent
to hin1 for one of his concerts, a nd after playing

'l'IIE BRIDGE, STRINGS, AND 130Vlr 237
upon it for ten days, decided to play upon his O\vn
instru1nent as usual. Ali \vho are interested in
music should read Dancla's "Notes et Sou\·enirs,"
published at París in 1893. It is an excellent \vork
to place in the hands of young 1nusicians.1
Dancla \vas quite right; changi ng a violin is like
changing !he voice of a singer : you are no longer
the saine person \vith another violin. 2 Long years
have accuston1ecl you to all the peculiari ties of your
instrurnent; yo u can produce \Vith it the uttnost
exprcssion \vhich it is capable of yielding, and, for
hO\\"Cver fine an inslru111ent you 1nay exchange it, a
very long time must elapse to enable you to becon1e
as farniliar \Vith it as \vith the one you have had so
many years.
lf you have an inferior instrument upon \Vhich
you can never hope to realise great things, every
effort should be made to procure a better one as
soon as possible. This is a more difficult n1alter than
1nany n1ig ht suppose. Putting asicle expense, \vh ich
is often a scrious consideration, it is impossible
even for an acco1nplished violinist to judge correctly
of the real qualities of a violín until he has playecl
upon it for a fortnight or three \Vceks. Often have
1 nlyself been deceived in this respect. A violín
1
"Notes et Sou'"enirs, par Charles Dancla. Paris: Dclamoue. 1893.
Pricc 2. fr2ncs. ,,
' De Bériot, Pdganini, Sivori, and Joachim, as Í:\r a.s \\'C kno,v, ha"'C
inv:trio.bly pcrformcd upon the samc \ iolin \\'ith \Yhich they con1mcnced
1
thcir nrtistic cnrccr.

FAMOUS VIOLINISTS
\vhích on a fust ancl second tria! appeared a per-
fectly delicious ínstrument, t urned out to be \veak,
and to possess no" carrying pO\ver "- that is to say,
it \vas brilliant and luscious to the player, but not
very audible at a clistance. Another instrument
that clicl not appear at all loud to the player \vas
distinctly heard, in the softest passages, at the
extre1nity of a large and cro,vcled concert roo1n.
Another, again, 'vhich \vas loud and brilliant both
to the player and to the audience, \vas decidedly
unpleasant to 1nany of the latter, from its peculiar
quality of tone.
I could quote many such instances. If you are
fortunate enough to possess a violin that has been
proved to please the audience, tho ugh it 1nay not
give the player hi1nself co1nplete satisfaction, it
shoulcl be cherished, ancl the violinist should strive
to avoid playing on any other, ancl to beco1ne 1nore
and 1nore accusto1necl to it. I t is easy to play out
of tune on a strange instru111ent, and that is the
greatest of ali faults.
This leads me, in conclusion, to say a fe\v \VOrcls
upan the 1nusical education of children. No\v that
the violín has beco1ne the most fashionable instru-
ment, it 1nust not be forgotten that it is also the
most difficult to cultivate \vith success, and that
years of arduous study are req uired to bring it to
any degree of perfection.
Thousands of young girls have the violín thrust

TI-IE BRIDGE, STRINGS, J\ND BOW 239
upon the1n by ::unbitious parents, because for the
last hventy years it has beco1ne so 1nuch in vogue ;
and it is only in cases \vhere there exists decided
natural talen! that anything approaching to satis-
faction can possibly result. A correct ear is 1nore
essential in this case than in any other, and every
child should first be taught to sing the solfeggio
before he or she takes up the violín. lt \vill U1us
be ascertained whether the ear is corree! or not ;
and if not, the piano or the harmonium \vill pro,·e
inore satisfactory, and save much '-aluable ti1ne, as
,,·ell as disappointment.
We cannot too orten recall to mind the 'vords
•
that the e1ninent Dr. Spohr aclc\ressed to his young
students :-
" You havc chosen the most dif-ficult of ali instru-
ments, and one upon \vhich il is only possible to
make progress- or, incleed, to retain in after years
\Vhat you have alrcady acquired-by constan!, daily
practice. Your instru111cnt is, ho\vever, that \vhich
1nost an1ply repays lhe labours of study ; but not
until the player has attainecl the full co1n1nand
of it."

XIX
PERSONAL RECOLLECTIONS OF
HENRI V!EUXTEMPS.
HENRJ VIEUXTEMPS, the successor to the celebrated

De Bériot, fro1n \vhon1 he had lessons, \vas one
of the greatest perfonners 011 the violin that this
century has kno,vn. He eventually succeeded De
Bériot in the Conservatoire de l\1usique at Brussels;
but O\ving to failing health, and little fondness for
teaching, he soon gave up that honourable post,
\\•hich vvas after\vards filled by 'vVienia,vski, also one
of the greatest violinists of rnodern tünes.
It \vas in the sun1111er of 18521 at Ostend, that l
1nade the acquaintance of Henri Vieuxte1nps. His
father tuned our piano in Brussels, \vhere we then
resided ; a nice, quiet old gentle1nan \\•ith a very
acute ear, \vho, by his regular attendance, kept our
instrument in perfect tune, in spite of the hard
thtunping it often under\vent fro111 sorne of my
fello\v-students at the University.
As usual, \Ve \vere spending the sun1mer season
at Ostend, and rny chief objects of attention \vere
to avoid being asked to play the violí n at the
•••

HENRI VIEUX'l'BlVIPS
l(ursaal, and to keep out of the \vay, if possible, of
the amiable l\fadame Dreyfuss (sister of Sir Julius
Benedict), \\·ho \vould insist upon 1ny playing vio/i110
obbligato to her songs. l \Vas but ninetcen years
of age, and had no ambition to perfonn daily
before strangers; my desire, on the contrary, ,,·as
to roa1n far a\vay over the sand-hills, \vith my
excellcnt Belgian friend l\lfacleod, \vho \Vas a great
naturalist, in quest of rare plants ancl 1nollusca.
Nevcrt helcss, in those days, as ever s ince, art ancl
nature dividcd n1y ti111e a lmost equally.
1t \vas at !he Kursaal at Ostencl that l 111ade 1ny
first public appearance as a ''iolinist \vith Artot's
Rtnna11ce (sung in L11cretia Borgia), and the A11da11te
to De Bériot's Second Concerto. About the same
time l took, at very short notice, thc leacling violin
part in a granel cathedral ser,·ice at Ostend, at
\vhich the present IGng ancl Queen of the Belgians
(then Duc and Duchesse de Brabant) \vcre present.
1 frequcntly played violi110 obbli"gato to th e songs of
Mada1nc Dreyfuss and Madetnoisellc l"rank, both
exquisitc singers. The latter \vas 1nagnilicent in
contralto parts from Verdi's Nabuco and Donizetti's
L11cretia Borgia. 1'he for1ner had a very pleasing
mezzo-soprano ; her singing \Vas full of poetical
refinemcnt ancl expression ; she had 111any admirers,
none, perhaps, more ardent, nor 1nore capable of·
juclging, than Signor Riciardi, of thc ltalian Opera,
\Vho \vas an intimate friend of Henri Vieuxtemps.
Q

FA l\1 0US VIOLh~IS'.I'S
fro m the
'fh is \Vell-k no wn ten or ha d lalely retirecl
le ti111e at
op era tic sta ge, an d \\·as spencling a litt
ess a. l-Ie
Ostencl after a lon g eng age me nt at Od
sive ten or
hacl on e of the S\veetest an d mo st exp res
wo rk ha d
voices 1 eYer he ard ; bu t tim e an d ha rd
the Op era
t old up on it, an d he \vas ob lig ed to leave
to give a
ancl res ort to tea chi ng . He ,,·as ab ou t
him on e
co nc ert ,,·ith Vieuxtemps \\ he n 1 n1et
1
for a clip
mo r nin g on th e diguc, as I \vas go ing
in the bri ny \vaves .
fri end
"P hip so n," h e sai d, "l have asked my
y anx iou s
Vieux te1nps to he ar yo u pla y. I a1n ver
clUJse qu i
he sho uld he ar yo u- vo us avc:r qtuk¡ue
lui tnanquc."
mu st
" i\I y clear Sig no r Riciardi," I said, "y ou
nps."
be jok ing. 1 ciare no t pla y bef ore Vieuxtet
e is a
" Oh , yo u ne ed no t fear," he rejoin ecl ; "h
e yo u will
mo st kin d, go od -na tur ed 1nan. I a111 sur
\V speak-
like him -a nd it is ali settle d ; l \vas jus t 110
I am to
ing to yo ur par en ts at the l~ursaal, an d
1norrO\V
bri ng Vi eux tem ps to tea to yo ur roo ms to-
e\1cr1ing."
nct ual ly
Well, Vie ux tem ps ancl Riciardi ca1ne pu
ha d bee n
1 at tea-ti1ne, an d cluring tha t aft ern oo n it
f tha t \Ve
arrangecl behvee n 1ny 1nother an d 1nysel
Seconcl
shoulcl play the An da nte to De Bé rio t's
jus t \vh at
Co nc ert o. 1 fou nd lhe gre at violin ist
ge ntlema n
Riciarcli ha d told 1ne. H e \vas a perfect
rou gh ly
in ma nn ers , tho ug h a little stiff, ancl a tho

HENRI VIEUX.'l'E'.\Cl'S
kind-hea rted man. 1 playecl the piece just 1nen-
tioned1 not \1·ithout many "doubts and íears,"
before these emincnt critics. When it 1vas finished,
and the last har111onic had floatecl ;nvay throngh
the open 1vindo1vs1 Vieuxtem ps rose from his seat.
11
C'est bien! C' est bien ! " he e.xclaimed. 11 But
do you not find it 1·ery difficult to produce the full
tone on your violín?" he addecl, after a slight pause.
I repliecl that I clicl, anc\ that it son1etilnes causecl
pain in the 1nuscles of the neck.
"Ah! there is somethin g \vrong \vith the instru-
1nent," he saic\; "if you 1Yill bring it round to 1ny
loclgings in thc morning , 1 \vill try to fincl out 1vhat
is 1vanting."
1 thankecl bim 1vannly for his kinclness, and next
1norning took my violín to hin1. He kept it about
a fortnight , and 1vhen 1 got it again it 1vas certainly
very much improved . But 1Yhat it really \\·antecl was
a 11e1v bar. The old eighteen th-centur y bar 1vas too
1vcak, and it \Vas only 1vhen Boulang ier of London
(tben 1vorking for \'Vithers) put in a ne\v ene, 111any
years later, that the instru1nent beca1ne perfect.
Shortly after this Henri Vieuxtemps and Riciardi
gave their concert at the Hótel de Ville at Ostend.
The room 1vas 1vell fillecl, and, of co urse, I 1vas
there. The t1vo violi nists \'Vienh11vski ancl l{ontski
\vere present on this occasion a1nong the audience ,
and l{ontski after11'ard s gaye a concert in the same
room s.

F.t\.1\-!0US VIOLINIS'l 'S
i\[adame Vieuxte111ps, ''•ho \vas a splenclid pianist,
very often playecl her husband's acco1upaniments,
but on this occasion she '"as not able to be present,
and a gentleman, \vhose na1ne 1 forget, supplied her
place very crcclitably, ancl afterwards played a piano
solo. Vieuxtc111ps played IL T1-i/Lo deL Diavoto of
Tartini, ancl his O\Vn Fantaisie Capricc. ln the
second part he gaye a fantasia on Bellini's Nor111a,
'vith a clifficult variation on thc fourlh string. He
,,·as enthusiastic ally applaudccl. Riciarcli sang a
lovely ron1ance by i\Iassini, entitlecl Une jlettr pour
rlponse, ancl thc final tenor scene fro1n Donizetti's
Lucia di· La1n1ner111oor. 1'hat \Vas the \vhole of the
progra1u111e.
Vieuxten1ps' exccution was truly prodigious ; his
tone "·as very fine, ancl his intonation perfect. H e
had a splenclicl staccato. To me he appeared
sometimes to lack expression in the cantabile
passages ; ancl in his variation on thc fourth string
altnost every note rattled in a most clisagreeable
tnanner. I-J e was extremely energctic on the fourth
string. At thal litne he played on a fine violin by
Storioni of Cremona, \Vhich he had hi1nself arranged
and made as perfect as possible. Latcr in life he
parted 'vith it and procured a Guarneri us del Gesu.
When \Ve ali returned to Brussels, Vieuxtemps
ca1ne occasionally to tea, and to talk politics with
my father, to \Vhon1 he appeared much attached.
lt \VaS then he proposed that { ShOulcl trave( \VÍ(h

I-IENRI VIEUX1'E):lPS
hin1 as a pupil for five years, during ,,·hich ti1ue,
he declarecl, he could bring me out succcssfully as
a professional ,·iolinist; but 1 ,,·as making ,·ery
good progress in philosophy at the University, and
it ,,·as finally decided that 1 should remain there.
On onc of these occasions our old fricnd Baron
\Ton Roscnberg, of Dresden, an arclcnt arnateur of
music, \vho \vas then on a visit to Brussels, was
present, ancl had a fe\V \Van11 \VOrcls \Vith Vieux-
te1nps, 'vhoin he cleclared he had nevcr heard, ancl
urgently desirecl to hear. At the n101nent this
request \vas 1nade Vieuxtemps had n1y violin in his
hands, 1ny 1nother \vas seated at the piano, and,
\vith his usual good nature, he ,,·as about to
cornply ,,.¡tJ1 the old Baron's wishes, \vhen thc latter
happenecl to !et clrop ilie \\'Ord "Joachi1n." This
\vas too much for Vieuxtemps.
"No," he said ; "\Vhen 1 con1e out afler a hard
day's \VOrk for a little quiet chat \Vith 111y excellent
friencl :tvrr. Phipson (alluding to 1ny falher), 1 do
not expecl to be asked to play, ancl to be told that,
in spite of 1ny nu1nerous concerts in Dresclen and
Berlin, you have never heard n1e, bul thal you have
heard Hcrr Joachin1, with \vhom you \vould like
to co1npare 1ne, on a violin I ao1 not accusto1ned
to-non ! ¿ est un peu trop fart ! " and he quietly laid
do\vn thc ,·iolin and !et himself fall carclcssly into
an arm-chair.
The old Baron \vas very angry; but after a \vhile

246 F Al\lOUS \'10LTNISTS
my father succeeclecl in pacifyi ng then1 both, ancl
Vieuxte mps pron1ised that Von Rosenb erg sho uld
hear him on anothe r occasio n; so they afte1-..varcls
shook hands and parted pretty good friends .
1
Vieuxte mps' father was justly proud of his dis-
tinguis hed son. I-Ie one day 111ade a present to
rny 1nother of a colourec\ lithogr aphic portrai t of
the great artiste, at the age of eight, with his violin
in his hands, taken shortly after his first public
appear ance. She has it still. It is a threc-q uarter
picture , ancl the violín appear s alt11ost as big as the
child. The laHer has dark hair and cyes, and a
most expressive, intellig ent counte nance ; he is
clressed in a grey blouse and \vhite collar, \\·ith a
leather belt rouncl his \vaist.
When 1 first knew H cnri Vieuxte inps he had
alreacly travelle d in Europe, and had cstablishecl
his rcputat ion as one of the greates t of violinists.
ln Belgium , when De Bériot hacl retirccl, he \vas
consicle recl to be the greates t in the \vorlcl ; for
Sivori \vas then little kno,vn in that count.ry, ancl
Joachim alonc seemecl to vie \vith him.
1 heard Vieuxte1nps on several occasio ns besides
that above n1entionecl, ainong others at a concer t
at th e splendicl roo111 of th e Grande I-Ianno nie at
Brussel s, \vhere he ahvays had a very cnthusi astic
recepti on, ancl \vhere Teresa i\filanollo, \Vhose
acquain tance I also macle about this time, more
than once clelight ed her audicn ces.

IIE:--"RI V1EUXTEi \lPS 247
\;IJhen a con cert by Hen ri Vieuxte1nps \\'as abo ut

to take plac e, \ve usecl to sce in vari ous parts of
the city grea t pos ters on \Vh ich the \vor d
\TIEU XT El\1PS
\vas prin ted in eno nno us cha ractcrs, cach lette r

bein g mor e than a yard long . H e app ears to ha,·e
been th e first " star " viol inis t to ado pl lhat fash ion
of ann oun cing him self to the pub lic. Of late yea rs
it has bcen copiecl ad nnnsea1111 ancl quit e s1nall
artis tes ann oun ce thc1nselves in big cha ract ers in our
cou ntry tO\Yns. But from 1849 to 1859 this met hod
of adv ert isin g \vas very exc epti onal, ancl usu ally
producecl a cert ain effect, bec ause non e but the
grea test perf onu ers \Ver e so ann oun ced . Jf a co1u-
para tive ly unk no\v n violinist hacl ado pted suc h a
1neasurc , the resu lt \VOuld hav e bce n very cliffcrent ;
for it \VOuld hav e eng end crec l r idicule, and noth ing
kills lil'e ricliculc in Belgiun1 and Fra nce .
At his con cert s Vieuxte n1ps app eare d to reve l in
clifficulties, and his play ing '"as mor e or lcss of the
Pag anin i scho ol, bu t sob ered do,v n by the classical
infl uen ce of De Bér iot. As 1 ha\·e befo re said , he
had a ren1arkably fin e tone ¡ at th c slig htes t touc h
of his bo\v eve ry fibre of U1e \•iolin seem ed to
vibr ate, and to pro duc e the fulle st and rou ndc st
ton e of \Vhich the insb ·um ent \Vas capable. His
slac cato and arp eggi o \vere also the fines! that cou ld

~48 FA.l\10US VIOLINISTS
be 'heard. The only violinist I ever kne\V who per-
haps equallecl Vieuxte1nps in the crispness and
accuracy of his staccato \Vas my \VOrthy master
Henri Standish, \Vith \\·ho1u it was almost a natural
gift. I have heard it stated by the late lVIada1ue
Jullien that Ca1uillo Sivori h acl the finest staccato
kno\vn ; but as I never hearcl Sivori except in
Paganini's 1nusic, \Vhere the stiff staccato is harclly
ever usecl, 1 cannot judge of the value of this state-
ment. A1nong living violinists Emile Sauret is re-
111arkable in this respect. It is doubtless one of the
1nost effective ornaments of violin playing, ancl \vell
repays the clruclgery of practice necessary to acquire
it; but severa! distinguishecl violinists 1 coulcl na1ne
have never succeedecl in obtaining it to any extent.
Late in life Vieuxte111ps sufferecl from paralysis,
brought on, I believe, by overwork, as \vas the case
\vith another e1ninent violi nist \vhom I kne\V. He
\Vas on a visit to Algiers, a great invalid, ancl taking
an airing \vith a friencl in an open carriage, \Vhen
a vile, clrunken Arab thre'v a huge stone at him,
\vhich struck hitn on the back of his heacl ancl
hastenecl his death. He 'vas born in 1820 at
Verviers, in Belgiu1n, ancl cliecl in 188t, leaving 111any
fine co1npositions for the violín.

I
j
I NDE X
ACE, its influencc on lhc qunlily Bériot, Ch~rlcs de, S, 17 ; appcars

ora violin, 1So, 235 in London bcíorc Paganini, 49;
Airs l?a1·z"l1, .De Bériot's, 6o, 61 his career, 73 ¡ his l\\'O guiding
Alnrd, l1is ,,iolin, roo; his S11r1· principies, 75; inter,•ie\v \Vith
ve11-i1·s dts P)11·,11les, 21 Viotti, 76; chnrncter oí bis pcr-
Alb:ini, ' •iolin 1nnkcr, 121 forn1ance, 8 1 ; 1>upils of, 87;
Alboni, 1'f:>rie1ta, 90 con1positions oí, SS ; al Bo-
Album Chanol, the, 15 logn3, r 44 ; his ,~iolin, 237
Amateurs , distinguis hed, 34 ~riot, Ch. ':rinccnt, 85
J\11lati, Nico1o, his 'vorkshop1 103; Betts, J ohn, his Stradivari ,·iolin,
h is violins, 178, 182 121
Amber colour, 178 Dohe111ian Orchcstr:i. l Societ)r, thc,

Al1duosun, TJlorgcir, thcviolin ist, xiii, 223
147 Bordogni , his cclebrnted stud ies,
Aubcr, violinist nnd composer, 64, 70
65 llow, celebr.tted mokers or thc,
235
DAL1''E, as a violinist, 64; l1is Do\\', choice oí n, 234
songs, 66; his first d ra11l:ttic Bow uscd in Mongolin, 113
composition, ¡o; his ron1:t.ntic /Jrlt-ñ-órac huntcrs, J 18
career, 64- 72 Bridge, its ' '3rious qu:.lirics,
Dahzar, 34 233
Bannister , le.,dcr oí thc R oyal Bri1ni, 27, 3 I
violins, 33 Dull , O le, n11cl Nor\\'eginn poetry,
13nnli, Brigi¡illa, S, 166 130 ; his ín111ily, 131, 132; his
Dnss:ini, 3 romnntic cn.recr, 132-149; his
&ttista, Giov!'lnni 1 2 ,·iolins, 236
B<:llc, \V., his work, 72 Burmester, J 30
Bcllioi, bis opern la Stnz11a111/J-11la, Bumey, Dr., 27
196 13yron, Lord, 185

1
Q5 0
f
1 CALCAG"º• Signoro., pupil of Cremono, the two Joscphs of, 97;

P:iganini, 46 industries of, :it thc present d:l)'•
Campagnoli, 2, 9 123; vnrnish oí, 118, 142, 179
Car11a:1a/ tk V<11ist. P:tganini's, Cren1ona. violins, patched or
49 ; Ernst's, 62 scr.pcd, 117
Cassel, the to wn of, 150-159 Crenlonn violins1 tl1e cruzc for, 177
Costrovilb ri of rodun, 3 Cren,01la violins, present ¡>rices of,
1
' <.:erutis, the, oí Crc1nonn, 123 100, [ 21
Cervetto, first instructor of I>a.ga- Cremona violin trnde, tl1e, 175
nini, 51
Ch:tnot, F . ,V., t), 119, 233 DALAVRAC, the composer, 22
Cl1anot, George, 105, 119; violín Dancb, Ch., r19; his violín, 236;
by, 178 bis book, 237
Charles II., bis bond of violins, .Der Frt)'l(ÁtJIJ:, \Veber's opera.,
33 6g
Cher\1bini, Aight fron\ P:i.ris, 1 2; Dodd, 235
as n violinist, 38 ; 1>crsccution Doitl>IChnr1nonics or J>ng::t11ini, 47 ;
of, b¡• Napolcon, 43 ; his 1lfa,.- modc of exccutin¡:, 6o
g1~n'te tl'A1y'o11, 41 Dmgonetti, his doublc·bass, J6S
Child violinist, the, 150 Dre)•Íuss. l\f:idn1ne, 241
1 Child.re.n, n1us.ico.l cducalíon of, Duke, Rich:ird, violín mo.ker, 99
238
Chimar, Prince de, 88 ELe.cTOR·ST,\IS BR. violins, J2Z
Choren, quoration from, 1 English violín mokers, 178
Ci:rntlelli, pupil of Pagonini, 46 Emst, 9 ; his Carttcnk1l de Vt11.is~,
Cimarosa, 14 62
Colb rand, I sabelln, 145 Ex~rts, nn onecdote, 1oS
Collector's croze, thc, 98
Concerto, De Bériot's 2ncl, 6 1 FAYI!, Countcss de, and O le Bull,
I' Concerts, origin of, i11 Engl:ind, 143
F é tis, 45
35
6, 27
CtJ11terts Spir1'/ttfl1. '' Fiddlc, ''signifiC'.tion of tb.e word,
Consenfatoire de k\[miquc, off· 110
shoot of the Frcnch Rc\'olulion, Forstcr, Dr., 122
43 Fronkfort, m1Uic M, 159
Cooke, Tom, 67; anccdote of, F rasoti's, Ole Bull nt, 140
122 F rederick thc Crcot, 16 5
Corclli, 3, 4 ; extent of b is sc:>le,
54 ; his vioil11, 168 6 ,\RAT, tl1c te nor, 11, 14
Costa, Giacomo, givcs lcssons to Garci:t, !11nrin Fclicin (lvfalibran),
Paganini, 52 xiJ 82, 144

INDEX. 251
G.rc i•, P:iulinc (~fad•mc \"fordol), Ks:<:-:,·, Life of &lfe , 72

85 J'loz, Sebastian, vio1ins by, 117,
GnspMo d• Solo , 79 121, 129, 177, 180, 182

G:t\tinies, thc violioist, z¡ Kloz, ~lothios, 178
Georgc, Henry Saintt '11 Kont ski, 243
Gern1an violi11s soltl ns Cre111onas, Kreu tzer, 48
128
Ghir elti, leach er of Pognnini, 53 LABELS, spurious, 118 ; oblitera-
Gillott, his collection of violins, tion of, 1 79
L:iblache, Luigij 83
118
Gilmour, mu.sic in ~(ongoli:i, 112 Lo.dy d olinists, 162 l
Lnnglé, Mnrie and Ferd innnd , 21
'
Giornovicl-•, thc violinist, 48
Gnccco gives iostruction to P•l!"· Larsen, ~fnrcus, cclcb rated picturc
nini, 52 b)•, 132
Goethc, the poet, 159, 167, 168 ú Str(.tg1it, Pag:tnini's co1nposi-
Goun od, Ch., 2 tion of, 49, 50, 6o
Guocb,,"llini, Lore nzo, 99 Lipinski, Ch., thc \1iolinist, 49
Guarneri, lile violins of the, too, Locatelli, l•is ,·iolin music, 31 4¡
Lq11d o1i Ga;ctte, 1672 1 cxtmct
104
Gunm cri, Gius eppe , del Gesu, 101, from, 37
102, 107 London \1iolin dtalcrs, 17 5
Gunrneri, Gius cppc, figlio d'An · Lulli, GiO\lrt11ni B:\ttista, 32
drea, 103
Cunrneri, J\ndrea, 104 ~IAGl~t \'iolin , De Bériot's, ;9
Gtll1r, the violinist of Franl<ÍOrt, l\fnlibran, in Lon<lo11, 71; at
47, 16o l,aris, 138; i1\ llologna, 144;
her tomb in Brus sds, 86 (s«
J [A1'D EL, 3 Gord a)
Héro ld, 15 J\1ara, ~(:i.r1n111e, 166
Hillc r, oí Leipzig, 165 )fort inez, Isidoro, her account o(
Horn , Ch. •nd C. l'., 67, 68 Ole Bull, 149
~fnsoni, So
l:<STRU>IP.:<TS of old Oemon• 1'to.ucotcl, ''Íolin b)1, 119
mnkc rs, 98 (ue a/so Stmdivo.ri, i\[:iurer, 136
G11nrneri, A111nti, Scb:.tstian Mnyseder, 65
Kloz) Mnuo.rn,Count, befriends Bnlfc, 6g
ltnlio u criticism on Ole Bull, 144 Mcll, D:\vid, first Engl ish om.i eur
ltnlin n Scho ol, the, 1 violinisl oí 11ote, ~4
Merlon, Counless, 89
jACO TOT' S meth od, 75 )longoli:in fiddle, 11 z
Joachin1, 116, 23;, 245 )!on tebel lo, Duke of, 142
'

INDEX
l\'lonteg~l'attlt, ~(acln111e, and 62 ; anecclote oí, 93 ; al P:tris,
Viotli, 12 138
Mori, nnecdote oí, 1S, 67 Pagin, tl1e \1 iolinist, 27
l\fozart, his overtt1re to f/ J;'/a11ltJ Papini, Guido, 93; lhc composi-
tl/a,.rrico, 68 ; his violín, 1 t 7 tions of, z
Music oí Ole Bull, 149 P•radisi, 164
l\{usic o í Paganini. 54 Past:t, l\'[ada11le, t96
Philharmonic Socicly of Bologoa,
N,\l'O l.EON, persectttion of Cheru· 145
l)itli by, 43 Philharmonic Society oí Chris·
Nardi11i, 40, 168 tiania, r 36
National Nor'''egian theatre, 147 Phillips, Henry, his "l\í usicnl
Neil Go,,·, 147 l\eminisccoccs, 1 ' 72
Nilss.o11, l\íadan1e, l67, 268 J'o11lsen, tl'le Danish violinist, 133
l Nor1nan Nerttda, 1:;o l'n1n1e, his \•iolin con1posi1ions, 54
North, Roger, l1is '' l\Ie11loirs of Pugna1li, S, I 5, 26 ¡ })UJ>ils oí, 27
:\1usic, 11 36
Nor,vegi::t.n rl1usic:ll festival, 130 Q U,\l.l'l'V of a violin 1 105
Nonvegian colony in 1\n1eric:i.1 147
R1\Fl:1\1~1.lf. , 4
OPERA oí Oissel, lhc, 136 l<a Jt't 1/ts f/atltts, \l iotli's, 20
Opera oí Fl'nnkfort, 16o Reade, Ch., 105, 176
Oratorio co11cerls, 67 Rcvolution, n111sicians in tJ1c, 41
Orcllestra., the, an<l tite singcr, l\icia.rdi, the tenor, 241, 242
170 Robbrechts, the fost pupil ol
Orfiln, 11 Viotli, ¡6
Ostend, 111t1sic ::i.t. 24 r Rode, l>ierre, thc ce1ebrn.te<l vio·
Ollóboni, Cardinal, and Corclli, 5 linist, 1 7
Rolla, r\less.anclro, te:i.cber of
P,\g,R, tite co111¡)oser1 te:icl1er of P:i.ganini, 53
Paganini, 53 /?()11do de la Clochette, the, 49, 95
Paga11ini, 3, 4, S, 181 25; his secret, Rooke, the composcr, 65
44; carcful n1usic:il ecluc:i.tion, llossi1\i, :t le tte r of, 15 ; l1is 11/osé
45; double harmonics, 47 ; his i '1¡, Egitt", 16, 7r; his C1til-
thrcc characteristic picces, 49 ; /,,1t111e Tell, 16, 190; llis l'''º

spt1rious compositions attri· k inds oí music, 58; his largtJ
buted to hiin, 50; his 1notl1cr's at facfq/1111i1 70, 196, 19¡ ; his
dream, 50; his fnther, 51; 11is un:'lccompanied octcl in Jlfa·
first a1>1>earnnce, 52; his 1nusic, 111da di Sabra11, 172 ; his Ga:.za
54 ¡ tour in Looib:lrcl}', 57; as Ladra, 191
a solo pln.yer, 59 ; his sonatas, Rossini, !\f:t(ltl1ne, 145

l
INDE:S.
RO)':.tl \1iolins, lhc, 32 Stainer, Jacob, 120, 1¡8, 1So
J~uggeri, of Crcnlonn, I78 1 182 Stnn1itz 1 J., 26
Sta11clis11, llenri, xii, 122, 'l4S
SACC 11r, Frederico, 123 Slró'ldivari, his violins, 100, 121,
S:úntou, 168 182
$:\larieso fsingersa nd ployers, 170 Str.tdiuarius, thc, :i di:tlogue, 124
Snmsate, i 16 String.s, choice of, 23..¡.

Scl1c inle in, violin mtiker, 177
Schmohling, Iterr, 150 TARISIO, Luigi, 105
Schmohling, Eliinbe1h Gertrucle, ·rartini, 3, 4, 6, 271 16S
her first •ppe•rnnc e in 1753 ni Terni, Giulio <li, 6
the age of six years, 155 ; her Titiens, Mdlle., 74, 92
receplion at ''icnna, t6o {sL~ Tosti, eompositi ons oí, 2
'' Cl1ild ,,iolinisl '') Tourte, 235
Scholl brothcrs, lhcit· ncquisiiion Trinl of \ 1iolins, 237 1 238
of Paganini's MSS., 50 Tubbs on tho bow, 234
Scmbrich, ~fodame, 168
Shuulew onh, 37 VARN1si.1, the old Cren1ona1 r18,
Simon, violin m:\kcr, t 77 142, 179
Simonelli , ~la.tea, 3 Varnishers, the king of, 107
Sincl:úr Lay, lhc, 131 Vt11lr1i¡1111tt1·i' Cap1·icci, the, 56
Singcléc, 74 Vcracini, 71 28
Singclée, ~!dile., 168 \'crdi, his ó\Ír of ~fa11rico in / /
Si,•ori, Can1ilJo, 1>upil of P:\gnni11i, T1-watore, 2
46 ; a souvcnir of, <JO ; a.t the Vers:ail1es, scenc o.t, 10
St. Rnbert Thc.ire, Brussels, Viardol, ~!., 87
94; his violin, 9 1, 237, 248 Vidocq, onecdotc of the detective,
Solo playing and o rchestral play· 142
ing, 1 72 Vic\1xte1r1ps, his picccs, 55 ; pcr·
Solo on one string at Cairo, 111 sonal recollcctions of, 240; con·
So1nis, 26 certs of, 247 ; his violins, 236;
S<t11ata d~I Diatt(J/'11 thc, 6, 28 portrait oí, 246
Sontag, Henrielt:t, 165 Viola ~a111or1, 2, 11 r
Sound·po st, thc secreL of the, Violin, Paganini's, 62, 98; Sivori's,
221-232 91
Spohr, Louis, his birth, 49; and Violín doys of Bolfc, 64
Ole Bull, 1 36, 1 50, 16o; his Violi1\ playing, the nrt of, 55
rcmarks on tl\C sound-post, 222 ; Vio1in reci(al in ) ·f ongolia, J 10
bis address to young students, Violin school ot Neuilly, the, 184
239 Violin school of Brusscls, 73
Stnccoto bowing, 248 Violin, :1, of ti11¡>lnle, 23

254 INDEX
Violin, tny first, vi¡¡ Violons du Roi, 33
V iolins, dealing i1t, 175 Viotti, 3, 7 ; his d!bll-t, to; l1is
Violins, qualities of, t8 r '''ritings, 14; pltt'ils of, 17 ¡ n
Violins, l'rices of, in t11e time of letter of, 28; flight to London,
Slrnclivari, 126 43
Violins, acl,•ent11re \Yith a dealcr Visrr1cs, Prince dei 122
in, 18o
Violins by Seb•stion Kloz, ll7 \~11\(;.Nf.R, tlle IDUSÍC OÍ, 2
(see Kloz) \Veber, 69
Violins, olcl and ne'''' 235 \Viele, thc violinist, 136
' 'iolins of ''altte, 100, 117 \:Vieniawski, 54, 240, 243
Violins of tbe Tyrol ond Crcmon•, \Vitches, The (Le Strtgglu), 49,
99 6o
Violins, chnracters of tite Guar· \Vithers, 119, 234, 243
neri, 104
Violins inade by Vuilloume, 91 YoussouPOFF, l'rince, 89
Violinists, biogrnphies of cele-
l>rntecl, 162 Z.i\'.\(l1 IERI_, rvia.rquis, 145
THE END
Pr:1:ted úy BAL.LA~'fVNE, HANSON & Co.

Ediu611rcJ: a-11d Lo11don

•
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• (Marcl1, 1896.
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Arml ldale. . \\''!lit 1111U~tiont. l.ly C. f>\lflN b GI \V JLKIP. COL-L.ll(S.
The llloon a&.on e. \Yi~ 11'1nl t•ioasH. THOW:AS.
by G. DV Jof.AVl ttaa Uld F', A. h.AsP.a.
Man and Wtfe. Whl\ JDu!ítr&t5oi~1o by \ Vrt.t.I AW SUAl. t..
P<>Ot' 1'11111• F lno h. Ll1 u~r.tted by c. .Ou
fl'flso ('Ir Mrs. ? \Vlth IUui.tr11t lon~ bfiS. t ..~I!11L-Ol!
AUllJB R •nd l!D\VA MI) ll UGH8 5.
.S, l~. A •• art(l lll\Nlt Y \'IOOIJ5.
The New Ma.gd alen. J.lhatra ted
Th• Frou n l5o• P· l llt1$l tlll.-I by
G. OU ~IAUR l lik and C.$. t(P.l~HAJU>T, A.R..A .
Tho La.w a.nd tb• Lacl.Y . \\tdfi. IDaat a1'-'
Du ) I A.UltfP.lt, and J. MAHO:tKY.
Tho Haunt .e.d H o\.al. \~"i1 b JUl$r.t tiol'.s b)' A RTHU by s. L. FfU>e !,. R.A... l#ld SY'DHBY RAU. .
• HOPK l~S..
Tho Fn.11en La.a.v e a.
Jei.eb~l'I D&ug htor.
1 Ron.r t n.nd ScJon oe. 1 The Bvll r.e.olu 11.
' 1 S ay No.• Llttlu Nov" ls. 1-rl'lr.tl.s.
Tho Bla.Ok R oOo. A Rogu e'a Iolte.
Bllnd Lovo . \ V1th a Prdac e hf Str \\'ALTM.R BESAN T, Tho LelAO,)' º'
C1.ln.
11.Ad T!!u...i.t~IQNby A. VOIU. 5Tl&ll .
PoPUL .Att Eomo~s. M edlvm ho. 6tl. eaitb : doth. 11. u.di.
Tha wom an tn \_'{hfto. 1 r ho Moon 1tone .
The W oman fn w ·htt a • IM1 T he Moon atone In
Ot1.o Volun'le, medía m lf\'o;. cloth, st.
Colm an•s (Geo rgel lium orou s \Vor ks : • Bro• d Grins; •
eown and S!ipped.' 1..-c. \v,m U!• and FJ011tl!piccc. crowa In>. dotlt My Night.
uua. z1. U.
Colq uhou n (M. J.).- Eve ry l nclt a Sold ier. Post Svo,
boards, " ·
Colt •bre al<ing, Hin ts o n. By \V.M . H UT CIUS O?<. Cr. Svo,
cl., 31. 6d.
Conv3le sce n t Cooker~By CATH ERir<S R vAr<. Cr. 8vo, u.
; el. , ts. 6d.
CC/R\v:ty (Mo ncu1·e O.), \Vo rks by.
Domo nol o«Y and Oo vt.l- Lort. \ \'ith M lllm.tnitbt'I.. T wo Vote., •lMn7 g,..,. tlolla.
O eo.ree \Yash l n(\ on•a R u1•• _o t Clvlll ly. Fc.1p. to\.o, J;if!:\ftCl:'Lfflllia. ,,. ~. "8.t.
Coo k (Du tton l, Nove ls by.
P'1u.I ra11tt1l"'S .Ó•\l& htor. C-rnwn ti·o. c:l<ith e.xtr¡t, v. ~ti. ¡ po.st tvo. lllwlr<
tt•d bo.ltds. u~
Le,. Po"Hv~iUu1~u~·~··~d~'""""..
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---~
Coop er (Ed~rd H. ).- Geo trory li aml lton . Cr. 8.-o. eloth
. 31. 64.
c;O;n,v3l l=°P opu lar Rom ances of the Wes t ot Eng land
Oto-ll:s. Tr;\d ,lloll:i, l1nd Su~\Or'll-thlont or Old · or, The
two Stc:ctl l'L:ues by GROK Ck
Cornwa!L Colltic.tcd by _KOllaR 'r llUNT, P.n..s. \Vltb
Cote s cv: CCcll).-T-wo Gi•ls on a Üarge:--\Vith +4 l llustrations by
F. H . TOYo~'SS!.1).
Ck\JIK SllA:-iK,
t·bi"t i't-.:., cl4oth,, 1.1. 6.aº.

Crown 8Yo, cl1Jth, 11. 6".
00'
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eR. s. PIC CAO ILLY.
6 Ct1 ATT O & WIN OU S. PU BLI SH
(C. Eg ber t),

Cr!Hld ocl<pha1 Sto rie s by. Po&t Svo. Ulust rt.led bollrds. u .
0 of t.he O•·~at Sm oky Mou nt.n .lne.
'l'tte P:to
lils Y a.nli ahad Oc.a r. Vo_ .. "'°" dCKh nin . )1, 6'{,
Fcap. Svo,
s and Wh ite .
Cran1 (Ra lph Ad am s) .- Blac k Sp irit
tlolh u . 6tL
Crc ll in (H. N. ) Bo oks by. nllon1 b1 S. L. \Vooo. Crown 8'Yo. dotb . y, U.
.o• or the Old 6eJ"o.Qllo. \\llth 211th.1tt
Rorn ru1c
Ta.l es or t.he C•ll ph. CNw u "•l•. ,;.,111. "''·
Th• Ha: aarcn u1 ADr am.a . c;,.,...
~0.1.s.
(111 at t.). - Ad ven tur es of llF air Re be l. Crown Svo, clot6

Crl n1 Rf>, tt. 61.(, ¡ ~l S'vO, l.llui-11'1lcd bo11r
2,5,: ':./.
_!!L ra. w.·i.tl' a F~1>i«c by DAN . JlttA . By S. iR.
ett (S. R.) and oth ers . - Ta les of Ou r Co ast
, llA~Ur.I fKlilO PR.: C. ·o.; al'ld
Cro ck \V, CLA U Rvs s:au .. \\"irlr u
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CttO C>'.R n'. C1L nHR T PAll KBR Cu.M ii 8\'0, Ckl'!tl . !U· O.i.
Jllelstr:ttl~· by FRA NK UMA~IG\VVN.
111 .), No ve ls b~Crown Svo, cloth extra, 3s. 6d.
Cro ker (1'1 rs. B.
ra!od boar ds u . e:l(.h : ctotl\ lilt$ . "'·&
Nch : po,t ti~ lnust
Pro tty Mts s Nov il lo. j
l. ea.tia.
:Otu.nt\ llnrrl~g 1.on .
P.roJ)l'lr' Prll lo.
as. l
A Fl'm llr Llke.ne
•To Let.
A Blr d of Pua aie . .g1• Tra e• Ita.
YW&.1• Tal •• a.ad J1,1n 4-f. u.-eb.
Crow n s.O. <loth e;ii:t,., ...,.
1 ·.rt.;.J noa .I l.oa dy Blld a.
MI'. Jero vl•·
c:ro• n l>'vO. ' };· n"t:L
N arrtecl Ol' Stn g!e 1 Ti.re o VóilL.
c Alm ana ck. Com plete in Tw o St'1Btsi Ul!S: Th e
Cru i ksh an k's Co ml A C:i.tberinl( oí U1e llum our (1(
11'l : the SROQNO, frou1 1844 10 t8rt-
FIRS1'. frOld 1135 to , &c.. \Vh h
ROJ IKKT 8RO UGH
'. ALR R•T SMl11:1. A'UU CKE TT,
THA Ct:l! RAY , HOO D. ).IAV UX\\ \VOCM.kllts by GEORG.a Clt.UIKS.H..4.S.C. llrN. a. L\."l U&L LS, &c.
M:M ro-.s S«c: I E.nign.riDJrs :aad
Oru lk8h tLnk .
'l"ha t.lfa o r Oao rgo e.o. dotl t c:s:tra_ 61.
elKh .
1'wo Vols.. <rOW'I- 8vo. <10111. «ih, 7.1. &/,Uy BLANCU.Afl.0 JBRROLD. \Y hh ª' llhtitr.lll(IM ;a.ftd •
Blbbo«r.t.phz, C"° '"'
(C. F . Go~nrdo n) , \ Vo r kst'(Oby. Demy Svo, d . ex., Ss. 6d. ea.
Cu mm in2 brld o1. \\'hh Autotype Fron 1igpl and trJ IUus1r11tlons.
In lho J(ci JUustr.adoM.
on tho Jnd l•n Ph\l na-. \\"'ith .p
Jn tho Hl.m a.Ja. ya.s a:ndC..y lon. \Vuh -1 IDu\ lnlic eu.
'l'wo H app 7 "'(c.& rs tn l. 7.1. U.
to¡r;tv11fo f;r•nryte~ Dm lzbo , dod
Vla Cor nw a ll \CJ E S"YP'-• \Vlth a P1i.o truclions
E.) .- A Ha nd boo k of He raldr,Y; 1e.rl wit h Ins
Cussans (Jo hn ' and Oec.'is>Mrln;r A~ia1 lJSS ., &c. Fow ü J!WUO... sed. .ttlt d WOCICkvtt
f0t Tf;ld nf: Pecl i.r'""
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~11 ~~red Pl111es. Crown 8\-o, cl=º'"h , el., y . 6d.; pos t Svo, bds.. 2s.
Cy ple s (\V. ).- He art s ot Oo ld. Cr. Svo
e) .- /l'l err le En gln nd In the Old cn Ti me . \Vith
Da ni e l (Ge orgRRT CRUJJ.:SUASJ.:. Cro..... •~ eloth e.xtn
, y.& /.
IUtütrJt~ by Ron
Da ude t (Al pho6d.: nse ) .- Th e Evdang eli st; or, P ort Sa lva tlo n. Crown
8vo, clotb fllltr.11. 31, pott ª"'º· lllus trate boa«l<1, 2.r.
A.) .- Hin ts for Pa ren ts on the Ch oic e of
Dave na nt (Fr anc is,wl'teM. n BLU'Cinf la U!~. Crotra ho. u.: '''*b. u. ""'
a Jl~csslon íor lMlr Sons
Da vld son (Hu g.VLE h Co len 1an).- J\1r . Sa dlc r's Da ugh ter s. With a
Y \\'OO D. Ct'O 'f• bo. dotl l extr a.JI·
U.
FrOl lrisp ie<• by STA
rkC•) , \V orks by. Cr. Svo , u. ea.; e l., u, 6d. ea.
Da vlc s \Dr . N. E. Vo al Ma. •lm • a-nd Sur atlc al Jfln \s,
O no 'I'ho uaa .nd M odlc l!or' sCuk k i:n llC'~1h ~lld Di5e.a~
Nur&er y HJn i.11 A lfoch C-JM iko< y• .aftd A D6et.ary f« tuc w..
Poo ds rol" 'ho Pat : A Trt-~1iw ot1 _ _~---
' =d=º'"hl"'li""'""''-''"'"""'°'·;...__ _ _ _ _ _
~Long t.l lo. CMc.w"'n-'8"'°"''"'""'''-
2l d• cal Wo rks . Co ited,
llected and Ed
Da vle s' (Si r Joh n) Co mp let e Po eti Two Vob .. crow n !Yo. cklch . ....
A. B. GRQSART. D.D .
'ft-ith h1troduc~.!n'I Note •, by ReY.
B.) .-The Fo un tal n of Yo uth . Crown Svo,
Oa ws on (E ras n1us, /11. br llUM K N1sa UT:.1!:.~-: po!C tiro. ilki"-r-ale
d bolr ds. u.
~h~· •llh T~r.Ciou G. S. T•E BU TIE S.
Oe (j ue r í'ñ Tll'lu uriC e)7 íh e Jou rna l of. Editcd by lon by JU.SSlB 11. fROTH
W1c d ÍJOID tbo llOlb Frt:n cb l!dit
\\l)lh a M~'c;it ¡;, SAll '-"Tl t•UE üVS. TraM ,. -. --~~-~
ISGH AM. fU? - foro. blf:;<...
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'"T'nd="=,·'-'"''°i- Ro om . Traiislated
vie r\ .- A Jou rne y Ro un d my
De Ma jst re ( XaELL . Í>oSt.!,."o. clotl1 lltnp . u, 611.
Sir HnN ttY A TT\V
n"'S p"'
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tr-a-.w
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De rby (Th e) : T h e BI ue
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o( TH.S 0Al ia. By LOU lS Hl!.N'RV CUU O."t , Crow a ho.

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f":&"'=-~-C~H~A~'IT~ib.::....::&~W .~~i=c=cA~o~l=L~LY~~~"""'"'--t
•N~D=U=S~,~PU~B~L~IS~H~·M~~=s~
Derw ent (Leith), Novcl s by. Cr. s,·o, el., 31. 64. ea.; post Svo, u . ea.
1 Clrc••• Lovere .
our Lady ot Tea.rs.
Dewa r (T. R.).-A Rnmb lc ~ound the Qlobe . Witb 220 !Ilustra·
71, 6J..
dous:, Cfowt1$vo, dolh Ollra,
Dlcke ns (Charl es), Novel s by.u Hlok.leb Post 8vo, illustrated boards, 2S. each.
6k•tc.h •• b7 Dos.. 1 Htehol y. 1 Ollvel' Twtsi..
o c. A. V.L.'<Di.lt •
Aboat Entllan d ..-Jtb Dtclr:U •· By ALPIUU> R1xxa... W~nlhstnlloub)
J.IOOli'. ALPR..10 Rf)t.MSll., •l'ld ocbCr$. Sq\W'tl ""º· doch Utn. 71. &J.
Dlctio n arles. ll. C. Bllíl\\'UM,

A D JotlObft.t')' or Mlt'a.010 1 t lml.w!Yo,, Ro11.Ustk, ~d Dostina tJc. By thc J\oy,
LLD. Crown ª"º•
dotb e a tl"il, 7s. &l.
cea, PJote. and Storl•a . By ahe Re\',
!l'bo Read•r '• Handbo ok or AJltaslo ne. Bere~n '"·U.
E- C. Ball''18a , LLD. \Vitb aa Esc;.LIS H Dl8UOC.llUPHY, Cf'Ow111 .... docll UU&.
AaUloM I and tbeh" Workt wit.b the Da\•a. CIOWll two. doch ~·
Familia r 8hort SayiQC • oi 0.l'aat lll•n. 'Yid11 Hisl;oriQ I Uld fu: · '°'>'Note s br SA.WUltl.
A. Dan. A.:.t. C-rown tro, dolb e.ar.\, 11. fd.
The SJaniC Dlet:ion .al'y 1 Hl)'l'l~a!, lfi'1ork:a!, CurlouJ, and Anecdotal. C•own tto, cloth, 6.t. U.
Wol'ds, Jfaots, a.nd Phra1e a: A Olt11onar y or ()ulJ"t, aod Out.o("•lb4-'Vay )l~nel'1. Dy
ELllLZXlt. E.D\VAJlDS. Crow11 ª"º• dotb e a:tr•, 7.1. 6d.
Dlder ot.- The Parad ox of Actln g. Translated, with Notes, by

"'°"~-"· 6;1,
W.U.TER H IAJllU PoU.OCK . \\'U Pr-etac. br Sb' tlmY Jav1xc. Ct'O...
Dobso n IAusti n) , Work s bv.
Tbomn,a b:ewlck a.nd hl• Pupila. "\Yi1b" lllll\Ctado as. Squref'r O, cSoth, "·
Pour Prenoh women , \Vlt11 Four Portnútt . CrOWI) 8'f0, buckr#Jn, ll'ilt top, 6.1.6.t. . .ch.-A TH1ao
ram,
&t¡thteo nth CentUl'Y Vl¡¡tnet tea. TWO SUKJl!S Crow11 lvci,buck
SERIBS Is bl prepat-61.Joa.
Dobso n lW. T.l .- Poetlc al l ngenu lties and Eccen trlcltl es. Post
ho. doCh ~ " · iJ.
Don ovan (Olck) , Detec tive Storle s by.
PGst a.o, Uh11tr1ttcd boa.rds. 1:1, e:ich; cL<Mh lltnp, -.,, u. t-aeh.
Tha Man~Hunto... 1 W a.nt ed. A Datoe11vo•a Trlu_mp h1.
Co.u.Cht a.t L&st. 1ll tbe Ol'lp of th• Law.
'l'racke 4 a.nd 'ralte.n. FPom lnfol'ru atloa R•oot•e cJ.
Wbo PolM>n• d He-U.V DU.DCA.b 1' L1n.k by 1.lnk. 1 Dult &>~a.
Buptcl on A rou.aed. R!ddlo• Read..
U. ~
CtoWll ho. clotb e.xlni, y. &l. each: post I~ Ulustr.aced boMd"- v. uch; dodl,, u .
The Mnn fl'OtU ldnnche ater. \\'i:b 7J lllll •tr:itlon~.
Tracke d to Doom. 'Vilh $l1. ll.lll·P"'l.!C lllUt lfllllQI\§ 'by CQKOOl'f BRO\\.'Nll.
Tho My1ter y of Jamaic a Torraco . Crown 8YO\. clodi. V• Od.
Doyle (A. Conan).-Th e Firm of Girdlestone. Cr. Svo, el., 3s. 64.
8vo, el. ex., witb Portraits, 6s. per Vol.by
Oram atls ts, The Old. CrownCrltlal :i.nd Expl;ui.l,Ulry, aod a BioJrn.phkt.I. Memolt
8ott Jon•on •a V/ork•· \Vlth Kotet,.
\ VJLLl A,1 C 11t 1•0RO. lli1it01.1 by Coloot!l CtJNNJ:f CHA)J. ·r1u eo Vol$.
Cl10.Pm1Ln'• WOt'ka. Tbrce Vols. Vol. l. conualns~ 11\e Pl:.r•
co1n11ktc ; Vol. t r .. roetus :i.nd ?<illnur
b• lll.MS IUld Ody~y.
Tr:11U11ulon-. wilh a.c. ElAy by A. C. $\Yl?-.'llUll.N8 Vol. 11 .• •r,-,¡nslal lonsof L
M&rJow •'• Wot'k.. &dhOd, •ltb Notes. b)' Coaonc-1 CU NNINCH.A t.I. Onoo Vo1.
Vol
Ma.ulD Cel''a PIQs. Frcm GIFFOJU>'S Tut. Edlted by ColoMl CUN1'1L"lCJtA.W, Ooe
Dunc an (Snra J eannc tte: Mrs. EVl!RARO COTas), \Vork s by.
Crown ITo, cloch utta.. ¡1, 61, ac-b.
A 80<1.lal Dt\pArtu l'&. 'Vlth 111 l~trntion1 by F. 1-1. TO\\'S'Sl'!'fD.
NT>.
Jlln A mol"IOC"t 01.rl In London . \Vhh 8o lllu.strado nJ by F . .LI. 1'0\VNSR
by F. Ji. TOWNSBND,
'l'h• 81ms>l• ~d.ventU l'6S ot .. rtiomaa hlb. \\'lth 31 IU11J;tf¡ulon.s
Oown !To, clot11 ei1r~ y. f.J. uch.
A Dauttht M or 'ko·D..., .. l Vernon 'a Aunt.. \\'.U. 41 tllustndo ai: bz H.u. u uasr.
Oyer (f. F. 'fhise lton). - The Folk- Lore of Plants . Cr.8vo,cl.,6s.
Enrly E nl?llsb P oets. Edited, with Introductioos and A.nootatioos,
T, O.O. Crown tvo, e loth boards. 6#, por VolWl'.IO.
'by 'Kev, A.• H. (;ROSAR
Plet.cho r•1 (Olio.e) compl• lO Poe.ms, °"~Vol. Two Vdt.
oavtu• (Sl_r .John1 c omplot.e ; Poeuca. IedWol'k•. vo1._
fferrtck '• lftoberU Complo t• COIJect. Poomc. TILl't'e
SJda.e1 •• f8tr PbllJP! Compl• t• Poer.lca J Work:s. · n ... \'eh.
Edgcu mbe (Sir E. R.<11 Jllu, Pcarc e).- Zephy rus: A Holiday in Br:uil
and on tbe Rlvo.c Pbt•. \Vitb , tr.ttions, Ch>wn $YO. cloih 011;1, SI•
Edlso n, The Llfe and lnven tlons of Thom os A. By w. K. L. aod
llhuct~tiont by R. J:, OUTCAL T, & c. Deciiy 4to, <.loth t lll. a&
ANTOSl.A DICKSO.N. \\'IU1 wo

a wrNblJ!;, PU8ll$HSRS, l>ICCAUILLY.
CHATTO &
E dwardes (Mrs, Annlc), Novels by.
AHh1• LoYall.
'°'' IY00 llllu1:n&c:d boUd.J. U, eat:i..
1 A. Po.lnt of BoDC!!!.l'~·--------
Edwards (Ellezer).- \Vords, Facts, nnd Phr~es: A Dictionar)
o/~ gu¡.:., ud Out>Ot.it-.o-\~,. t.1.c1en.. ero. . ''°"~ 1. " " ·
Edwnrds (lit. Be tbam ·), Novels by.
Kltty. PO$t ~ bof.tdl. at:.)_ c\oll:a, u. &l. 1 ~-1141&. Pott 1,0, lllat.~_!4 boa:r4$.. ""·
Egerton (R.ev. J. C., 111.A.). -Sussex Folk and Sussex \Vays.
\Vld1 Jntl'OduciJonJ?y.Jl!!!, l>t, .!.!:J_V~Cn. ~ur llluurat~ Cru...o llvo. cloU1 ·~'ª• 51,
Eggleston (Edward) .- R.oxy: A Novel. Post Svo, illust. boards, 2s.
Engllshman 's House, Tite: A Practica] Guide Cor Solectiug or Build-
hig a HOU$C. By C.j. RICllAKOSON. CiOaolued Fr(ICl.ltseteco ud at llluau. C-r. ''°' dotb, 71. u.
Ewa ld IAlex. Charles, F.S.A.¡, Works by.
'l'b• t.fie and Time.a ot Prlnce Cha.r • • Sto.&r_t.t Cowi.t of Al'bu!J 1-rn:a YOIJMC PUTll.N-
DRkJ. \Vitb a. Portr~lt. Crown ff'o, doch utn.1-1. w.
8to•I•• ~m lhe StaWi Papan. \\'ldl A"1.Q?'P! FrM1ltptilc:e. C"wa ~ c:loth. 6#.
~es, Our: How to Preserve Tbem.. By jOHN BROWNtNG. Cr. Svo, u .
Familiar Short Sayings of Oreat l\len. By SA•1u11L A1tTB01t BBNT,
A.M.. F'.Ctb Edition., Rerised ud Eal!!led. Crowa. ho. doth utra,, 11. 6'.
Faraday (l\'llchael), W orks by. Post Svo, cloth extra, .µ. 6d. each.
Tho CfiemJc&l Blator-.v or a Ca.ndla; Lect11res delinred bcCore a Jvnl'ILl• Audldcci. Bdlted
b)' \YU.LIA1>1 CROOKBS, 1:,c,s. \Vhb numerO(d lDustratlo"s.
On the Yal'too• Forco• o r Na,turo, and \beU ReJa, Jon1 &o eaoh oth•I'• Edhed b:r
i:.c:s. \Vhh Jl11.1J1i:ulol'li,
\VJLLIAM. CROOKfL....
Farre r (J. Anson), \Vorks b)'·

Mllltary Mannara a.nd Cuato1na. <.:rowi1 8Yo, clolh extra. 6s,
Wa.r : 1'11reo 12:.ssayS. 1ep1iJ1ted f10111 ':011Utary fl.tan.ncrs ~ Cu.MQOU.' Ctowu lwo, ,,, : <.loth. 11. U .
Fcnn (O. Manville), Nove ls by.
Cro.n ho, dolb utn, 1'· fJ. e:adl; post ho. lllustnted boaldfi. u •• ~
Tb• New Jll.lst..re1t . 1 Wltnesa &.o lbe O eecl.
T be TICeP t.lly: A Tak olTwo ~
-°!!'-'_!lhtte Ytrpn. CNwa~ dot7-b~""~"-=>'~·"'-~--------------
Fl n • 8Cc.- Tbe Cupboard P apers : Observations OD tbe An or Living
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Fire\vorks, T he Complete Art of .Maklng ¡ or, The Pyrotechnist's
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Ron.1 0. Transl:ued by liRNKST A. YIZlll.TQLl..Y. (SA~rl.(1.
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•. • FOT /"1lt' cal410tt1l,1t, ste 4lflllabdieal ª"ª"''"''"' pp. l ""2:1S.
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o.tpe and. Qw.iddltlu. By\\'. 0. ADA..MS. Wlult. sion-. utn. LYN?f LINTON.
'file Aco•J' C!ollUIUl o! • 'l'be
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Cl1 ATTO & \ VINOUS, PUBL ISl11!RS, PJCCAOILLV.
BoOKS JH SERIBl-tOn/1't1attd.
11nndy Novel s. Pcap, S•·o, oloth boardo, u. 64. w:b.
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Taba from Ült ltul!l• 87 JI. :o\Ji\\'90L1".
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Mo.ot. Carlo ltor'Jt.t.. n, 'º""•u.un.
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J\\ y Library. Printed on laid paper. post S\'o, b.alf·Ror:barcbe. <U. u. acta.
Clt&Uoa&UED.91a&úea.Cl(W WW. lbbpea.n..
87 \Y. s. LA:iiooit..
1 Chrtrtte l....-w.a. BrCH.ULI"J Kp•,.-
Pcg Wo:ea.g:t.oa. BrCtc••LP ler.AOL
T!ui JMn.al ot lb&rko 4e Gu..rta. fte Or&mUc Z....:7161 Q&.rta ª='"=''---
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it.blllaoa en.o.. lllus.tríltcd by C. CttUJlCSHANK. G:ilUvcr'• ~••la. lle. r.1 O... !oW'rrT.
Whi111a a.ad Oddltlta. 0)" Ttltl'-1.AS 11000. Plaµ by RJCliAltD Bats~..y 5Ml"trt1A.'!IC.
Tbe krbtr'a Oh.alr. l)y OOUCLAS JalUlOt.O. An1cclotM of U.e Cl•r1y. 81 J4Cll11 ~
O.at.ronomy. Dr Uklt.LA'r..SAVAklr.". l'homat>n'I S.u:on1. fl>uunt-...
Th• Eplcu.tt&D. &>c. Ul_THO!llAS r..tOOllE. Aatocra&o! l.be BnakW\.TaWI Miii De~~
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T HE PI CCAOILLY NOVELS.
LtBRAft.Y F.otT10NS OP NovsLs,many lllustratcd, crown Svo, clotb ostra. )J. 6".f.~
lly f', M. ALLEN. By HALL CAINE.
Gree.l'.'l u Orll••· 'l'ht 8hadow ora O:rJmt., Tbt l>uJad,tt.
By ORANT ALLEN. A Son of Ha.car,
PbJHa1Ja, Tbe. Oroat. Taboo. By MACLARl!N COBBAN.
8'ra114e Btorlt-•. D'lltlla.re1q,'1 Dt:u¡ht.e.r. Tbt JUd 8u.l\.llD. 1 Th JSvda •f 1-kL
Ba.bJlOD. Dutb••• ~l PowyalAlld. Oy MORT- & FRANCES COLLINS.
For l&aliel•'I l•ke,
Jn .aU ShAde.1.
JJ1"4 nio7a.L
l vaa Gre.11'1 Mut~r- T.t&.UaúO't.ltOL
Bl&cb:nfUi 4 S<.bolu.
1,,... MM.""' L9 IOlo-
114';\..
Th• .8tckOll12'C ll&D4. J>ltoee. tbo Villa.e• Coai.oCJ. y.,. '1&7 ~ r-..:....
Th• D•T'll'• l»e.. ft• k&llTw"I·
fti1 uon.J Ooll. At Kan•t. Val11•. By \VILKll! COLLINS.
n. Te.ata or Ata. VD4t.r k&l41d. Or4•n. Al'111Mllle. 1 Atta'Da.ñ. Ti. n.t.a ~
No NA.l:H. noTwoDw
By MARY ANDERSON. Aiitolt.IA&. n• JA.w Ult U.. !.t7..
OUle.llo'S Ckc•p¡.tlca. :&MIL ne &aui.rl a.wi.
By EO\VIN L. ARNOLO. &41 a:a.4 l••L n.. raJI• ~
Pbra th• i'httak1_... 1COIUU.)il• o.f I'- lflcllola.a. ne Df:&d 8.u.t. .lnclrtJ • Duo:ltt.
Tt•m.d.&oie.
By ROBERT BARR.
ID a SW&mtr na.Ir. 1 Fto• WlloJt Bounl-.
c:punerBtu1.1.
Wy llolJ.tee!J&Atu.
'!he WOQan b W\!M.
g...,, Uid.
' l IA7 k
~
By FRANK BARRETT. Tb• Wooutoae. Utt.1-e N...,;._

'Ib.e Wo!DAD ot th• Jron Braceltl.t. Mu a.D4 w11.. n. t't'\I o.tu.
Poor Miu Fttlcb. 'ne LfOCY «ca.ta.
Vl'.•h't and X.Ut•r,
Oy ' OIJLLE.' ttblt or Mni. T
Tb.t ll•w M'.~4.al••·
AP.ori'•'•
B.llAcíLo•a.
U!L
By Sir \ V. l:ll!SANT n11d J. RICE!. lly OUTTON COOK.
J\•llcfy.Monty&tort.lboy, Hy C•llA'I Arboll.r. l'••l Folt1r·1 Daq'bur.
r.ty Llt.Ue Olrl. Oba,platu of t.be Ft•et.
Witb B..-p llnll CrOlll'ft, Th• 8ea.m11>149. By 1!, H. COOPER,
Thll 8Clb of VuJot.11. Tbt Cu• ot Mt. Lucnr~ Gitoaor7 namtlton.
'Tite Gol4cin But.\.OrflJ. In TrAJ'Alatar·s B11.y.
Tht !.font11 of TheltruA. Tbt 'hn Yt-Ara' Teiia.nJ.
By v. cec1L COTl!S.
Two Olrl• OD .. 8&tl•·
Oy Sir \VAl.TSR oeSANT. By C. l!OBBRT CRAOOOCK.
AL\ Sort.. anll CJond.l· To C..U Htir Mille. Bll Vaiúthed Stu.
t1on1 of M(ln. Th• n.u of 6t. P"ttl.'1.
By H. N. CRl!Ll.IN.
n eoapt.e.i11.1· Jtoora.
All la a OardtD FAlf.
Dorolll.y rorit.tr.
1'bt 1101r R ..~
A.nooNi ot Lyone"9.
&. XatJ1e.1lne'1 \IJ T+•u
B.'!ltD&DCt:I º'By MATT CRIM.
t.b• Old ••n.cllo..
Une.le Jac.k. V1rbtna C.AweW.. St.... Tb.• Ad••ntaret or a Ft.lr Jl.eMl.
Th• World Wt11t. V1r7 phl.DOÚL
Wtll 'nata. ftt l""Y Oat-. By S. R. CROCKllTT and otb•'I·
Chtldtto of OtboeoL The a.bel Q_G.t•O.. Tala. ef Ov CO&ll.
Hf'rr raw.lu. S.'lon4 UI• DrUAU or By B. M. CROKER.
r .... hlth a.e•l"hitdom. varl«. Dlu• IS&n'lq\GL
PTeper Prid..
•Te Lit.·
KT. IU'Tb..
By PAUL BOUROeT. VULap Talu • .l•c;:.
A. U1'1:a¡ Lle. A i"uail7 l.4ku....,
Frt!l\J Klm He't'llk. 'ln«C'Ck&.
By ROBl!RT BUCHANAN. a Binl ., Pa.ua¡e. ne au.1 LA47 tt.L4t..
1JaUow of lh4 lword. t'bt Kew Abt.l.ud.. By \VILLIAM CVPLES.
A Wl4 of !l&,llff. Mat\. 1 R&~tcl DQ.,
God ud t!ao Mu. Kuttr ot tll• Ml11e. B•a.111 oC Gold.
~o• of JrUdtllat TbO H•lt of LIDA•· By ALP110NSB DAUOET.
Lo•~M:• !OT
.Auir.n WAltr.
ª"''· Woma.a a.tid. tb• Mall.
Rodt.o4 Wbtt.e.Be&tb.tt .
'!'be En.ll(tl11\ : or. Pon ~l.,.Uon.
By n. COLEMAN OAVIOSON.
Foqtovo MQor. ?:i!r. &:ildler • Dav.abt.tn.
llOB. BUCH ANAN & HV. nlURRAY. By ERASMUS DAWSOl'I.
'Tt.e Cllul&t&D. !'be Foucw.ln of Yollth.
By J. MITCHELL CNAPPLE, By J AMES 01! MILLI!,
l b • ) flaor ci!oN.. A OMtlt in Spl\iD,

oS CttAITO & \VIN DUS, PUBLISH ERS. PICCAOIL LY.
By EOMOND LEPBl.LE TIER.
T a-e. P1cc•o1u..v Cl/6) NovELs-t O"'i"'""· U&damt a-...-Ckne.
By. J, LEITl1 DERWEN T. By HARRY LINOSAV .
OU' Ll.dJ' •f Tt&n. 1 Clrc.•"& Low.n.
&bod& nob•rtt.
By OICK OONOVAN. By e. LVNN LINTON.
Trackt4 to Doom.
Ma.o. f'Nlm ti1.aucht1t.tr.
l 'lh~~tr•..t'JofJa.m.a.le a
TtlTACtt. Pk\rlc:t .. Kcimbtill. 1ªº"''I)" t.h• Wlnd.
Uod1r whlch Lord 1 Tito Ai.onumeo.t. orJAam
By A. CONAN OOYLB. ' . , LOYtl' Dlllldu.
T bt rtrm or 01.rdJe.klae. 10110, 'rbe Worl4 W@.il .Lott..
By S. JEANNE ITB OUNCAN . Putoa Ce.r••· Th• 0..1 Too Jil&nJ.
A Daa..g'bw.r of t'oodaf. I V•rooa • Aaot. By 11ENRY W. LUCV.
By O. MANVIL LE F ENN. Oldtft 11t r::._
T!ilt !f. . Ml1U'Na. 1TM 'ftl:tr l.tlT. lly JUSTIN ~lcCARTHY.
Wi t.nt11 to 1.h• Detd. Tbt Wili. Vlt¡'IA.
l)y VERCY FITZOER ALD.
A. ralr 8u.oa.
IJ1tl•,l 1'l~fonl.
10.nna. Qul:.:oi.e..
)111.- Kl.no.Uttopt .
Riel 1)l,11,1nontt1.
Fal&l Ztro,
By R. B. FRANCIL.LON.
Dear Lt.4,1 Olida.In.
CAmlola.. ?if.Ald º'At.htDJ.
W11.tA1rd"lo ?felghbourt. Tbt Dlcit.Aklr.
01.\e by Ont. 1RopeaDoylt't
a t 8a.ud.
Dau¡btf"r. My r.11~11oy'• Daqbwr. 'tht (lomet. o r a. S~•c"'
A Dog and hla 8.bi.clow. Jack
A R aal Q1tt.._., lly JUSTIN ti. McCARTH Y.
Prcf•e<d by Sir BART L.B FRERB. A JAndoD Lt:tt.Dd.
Pedva.q HaiL
By OEOROE MACOONA LD.
B••tlliier ud bow. 1 Pti.ui.uu.
BY l!O\VARD OARRBI T. By L. T. MEAOE.
nt Captl Otrl.a.. A 8ol41er ot Fortii.nt. f l• • • ltoa GrlJ.
By PAUL OAULOT . lly BBRTRAM MI fl'ORO.
Tb• '&ed 8hfrta.
l)y CHARLE S OIBBOI(.
~h• Oun.Jlcnner . 1
Tbe KI•(• A1iege.t.
Fu:ialat••
Tho LuGk or Gf..rard Ren•bit.'IW
~bl.o Ora.y, 1Tho Ooldtn 6b.ti. 1Udg•loy. Qut1t..
Lowtng a Dr1..-. lly J. E. MUOl>OCK.
lly B. OL.ANVILLB. Mtld 14.Ui<lD a.ad llob.lD Hffd,
t'b• J..ot" Rt(re••· 1n t r oulel1.r, BM:Ut \ht Jett.er.
A F&U Co-ld.. ft• 0.1dta IM.L By O. CHRISTI B MURRAY .
By B. J. OOODMAN. A Lit... A\OGtlMDt. rtn\ Pu10D SinS"llU.
ftt rai. o< Uttkrt Wayat. Jo.Mp. .. Cht. c,..10 rort.a.a,.
By Rev. S. BARINO OOULD. COl\1a or F\.r1. Tta.. Wtt.y of lbt Wor14.
Red Rp1der. 1 Evt. Oht 11utr'• Iltro. lkl'Oa&Attln'• Uttlt Gin
V•I Ktran~·· 1 Hear\1. Thtl.t'• Jl.tTUleL
llv CECIL ORll'FIT H. A A.tol.lol Fa.t.h11r. A Wt.1ttd Crlme.
Corln'-bl• 6i.1.ruton. Dr 1110 OllC.• or tht a~"'· ln Olni11i. PerU.
A Dltor Uu11uu2 NILC.W't-. Mou.ut. Da1p.a.lr.
By SVDNBY ORUNOY .
ft• DI.JI Cll hlt VaJú\f, Uy MURRAY •nd HERMAN .
By THOMAS HAROY. Tb• Bl.lhoW Bib!e. 1P-a1&1 .Toe.tñ 4l1u.
t1n4u Ul;t Oh:t.awood Tre.t. Os• 'h'a••U&r 84-turna.
By BRET HARTE· By HUME NISBET.
A W &1f of tltt '"ft.in.&. Siuy. 'B&UVpl'
A W.ud or UL• Golde.a Sally Dow1. By \V. E. NORRIS.
Oatt. A PtoU.F.tt ot Jaet 8aJA\ A.AD... 1 DIU7 lltlltw,
A &.appbo or ON1tn. B.a.mll11 •· By O. 011Nll'I'.
Sprtng1, Be11.Rt11¡c.r of A.o¡~I'•· A Wolrd Oln.
Col. Bt&.rbot\.\e'• Cllent. Cl~rence. By OUIOA.
By J ULIAN HAWTH! lRNE. JJ111d to llo'lld.AI•· T..,., L1t.tl• Woo4•.•
Guth.
Dlic• OctenUe.
1Be~lrlJ: Kudolpb.
J)a.Yld POLDdtst.41"1 J)lJ.
6\raUl.awr..
Chu:.4oa.
HbOe•,
la a Wtai..rC1t7.
ge_buúu. 11.ffa.. appea.ti.&te . UadtT 'fn.,,.... Prie,a4Alp,
tnsi.. n. lpe.c\ct or ua Idalia.. MoCu.
ron~·· !'ooJ.. CI.••,._ C.Cll CMUaub•-.
ouo.
J.•Aoo.
,..,....no.
By Sir A. H ELPS. 'f'r!c-clna. A VIila¡• Commci:t.
r.a.n d• IJ.toa.. h ek. ! tm't.
By l. HF.NOER SON. Folle ftrla e. Wud•.
Age.\.h" ta111. A Do!J or Flaod.cn. frf'111ci••· 1 Ot.bm.ar.
PA~arc l. ln 'Ml\remmJL.
By O. A. 11EN'fY.
R.,IGb tht Ju¡.¡;ler. 11>orot.h1·1 Doa,,1.. tt''ª"'
PrlDf'H• l'f•J'ra.dn•.
Ryrh". 1 Ottlldoror.
fl1nu. 8•1'bl\rll..
By JOHN 111 LI,. A.rt•4•~· T•·o 01Jrcii•r1.
ti:.• Com.mo11. Aou1tor. ~ By MAROAR ET A. PAUL
Oe~tlt u• timplt.
~y Vemu•• FU¡bt. 1 FORP.
By '" "'· HUNOFRTt9- 'ftuls GI&.cU. By JA!\IES PAVl'I.
Tlla 1lld·HOllM llJ1~tl'" LOlt. ltr Lt~:nqWd.. Hfc?I sgt.'1u.
By Mrs. ALFREO HUNT. Le11 DI~ ~!l We'H Unlior ~ E.eo:.
tia.lntc4. Oto•.11..w ci t:a 'J'.t .,......
Tb.e LeA<ÍI~ Cut1~ 181lf·Cot1dt m"ed.
A Cool\diaDUal Agent.. Th• 'l'u.lt ot t.ho; To"', .•
l'bat. Othor Pt rton.. Mr1. JuJlo\i. A Or:t.l'lO from a Thorn. lfolld~yTu.Ju.
By C. J. CUTCLIF PF! HYNE. ta Porll aocl l"rlv•tioa. Por Oub 01.')y.
4 on.OW' of 111.itVI L Tb.• J.ly1\4ry er )(ir. Th• llarai. Millioll.
Br J'ros1. [brl4¡t. Tb• \Vor4 ud tht WlU.
By R· AS11B KINO. Th• Caao•'• Wu4. l•ADJ' Storlca.
1- n~a,.': Oaae. W•Jter • We«. A. Tr.rtv P•tl••~·
•'ft• \\' tui-.C o1 ~· Cl:-1 ....

Cl1ATTO l< \V INDUS, PUBLIS llERS, PICCAOll..LY. 29
~~~~~~- -~~
T ·11g PtCCADILLV C'/Ci) Nnvs1..:!l-tc>Hti11:1td. By T. W, Sl'CIOltT.
By h\rs. CA!\\Pl~l:.l.L PRAED. A S•cnt.ofllltSea. !TbtGr•1Mlu\k.
Ocllaw aD.d 1.&W1Ul.tr. 1Cbrl1tl11a Cb•nt. lJy A l.AN S'r. AUHYN.
By e. :;.~Mn.
PR.ICe. A Fellow ofTrl11l'J· 1111 Pac41 of Ut Wor'4.
Va.l•ad.aa.. L&.Dcut.1r"1 J.l•al. Th• .JIUlio.r U.o.a. OrcMrf ~tt-rel •
ne For•J_ptn. H&.ttfrofS~ Dta'41d'• · tt.T'rtialt\l.vu.:a.oocb
By R.1Ct1A D PRYCe. To l'dl OWb K.ut..r.
K luM.u:wtllsAtrsc:úou. Dorba.nd.1l_Y JOHN STAFFORO.
BJ' Cl1ARLl!S Rl!/.OE.
1\ t• lftTtr T• i.ai.e i. llqteMa.r1.u4DoUbl&o By R. A. STER.N'DA l.B.
ltt.-cL fa.e•, Tht Afo)i•D K.DU..
n• l>dl>lt 11.atn.1.,;., OoH lwrtu ot Mea By UER.THA Tll0,'\1AS.
Lo\"• M• U\.Ut, Le••u4 •Ui•r Ant.aa.ta. i"roltd. M.allSt. t ft• v"'ªª 11.&f""·
" ' ._,. DAnl ......_ By ANTHONY TROl.LOPE.
n~ Cliob.t4r udl Ut.1 Pts W69ntt.oa. Tbt Way W't U"• l\ow. 1 k"'"""\!' fa.1:."'n•.
Dun.b. C'laii•\t• Jo\uu:toa..
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J.n,-e. Fo•I Pia1. Bv PRANCES e. TROLLOPE.
l'b• Act<tblop11br or T1l• Wari4e.rtii¡ Re.lr.
e Tblel. A Woma:n·H&Uf'.
L!.t e lihlpa •.P•D ib•
Sea..
¡ AllD• tumtc•.
Kabt.1 • Pro¡r...._
Po.t Your••1C lD H.11 A a1111rl•to". By IVAN TunoeNIBPI=, 6<.c.
PI.ce, A Perilo11a Settet. "
A TelTlbl• 'teropLAt.IOD. lt•Mlh•llA, St.orie• h'om Forelp Hov1U1t.1.
TI>• Jllt.
By l\1r..,, J, 11, R IOOP.l.. L,
Well'd Ulorle•.
By MA RK T W AIN.
TheAmerte~n CIAlmant.. I
P1;&dd'11be11.d Wl1•oo
TbeJ:1.000.000U1u:1ll. not... Toa1 8a.,.er,Dt\tCJ,l•t
0
Uy A l\1131,.I B Q.I V[;S. Toco 811.wytr Abro~d.

Barbar• D1ring~ By C. C. PRASER-TYTL eR.
Uy p, \V, ROU INSON . W3trus Judttb.
ne Iluda or J111Uee. By SA~A H TYTLBR.
Oy OORA RUSSl!Lt- Ladr. . .u. ¡ne 8tukUllOlllMt1.
A Couiq S•·••'h•art. j Tb• Drlf~ ot Fale, Ba.r ed Dla.mond.1. Ttla Macdonald Lua.
By \V. CLARK RUSSEl.1... LL8N UPWARO
O<ean Tr-..41.
M,y Bhlpm~te l.o•I•• ·
lla Ke Ule uau 1
Tbt Gc.od ihlp • M~
Uy A •
The Q11eeD ar;alaat. O••a..
Aloa• on W'dt Wlcl• l•a boc.k.' 'l'ht Prtac. oc Wkll\aa..
ne Pti.a.at1J.a11 o..-.ik. Tht c.oa•te111'1p. B:r e. A. v1zeTeLLY.
Uy JOMN AUNOERS. ne&eor_ploa? AR...,'IC•olbop.h
oa7 Wa\.tTlll.U.
Bo-u4 t.o UJe WIM•I.
1
neTwo Or~am~n. Uy ATtlA \Vf.STOURV.
ne l.lo• •• th• hllL. ne: ai.ac1ow ol 811\.00 re.ra•r"'
By KATHl<RINE S/.UNOERS. Sy JOHN STRANOll \VINTER.
Ma..~taad l!IU:.abt\laJ lleart. lalT&J:•· A SclCllt.ñ ct&Jldrt11.
G~deo::aa B«L lk'buUü. By ~•AROAR.2T \Y''Nl\,AN.
ne 111,.b KUl•. M:r n1r:auou.
By f.Dl?LIN Sl!ROl!ANT. lly e. ZOLA.
Dr. EDdkot.t • &x~r111tt11L.
Uy tlA\VLEY Sl\1ART.
tt• 1>o11n1r~
TbtDrtal8.
1Tberat.1.11.ft.ll•'nlta..
Moftn. 1 t.o•Td u.
Wlt.bou\ t.ove ot Lle1nett. Dr. rucal. nomt.
CHEAP EDIT IONS OF POPULAR. NOYELS.

Poat Svo, llhi$tr&ted boatds, -i~. each.
lly A RTEM US \V A RO. EV FRANK Uf.RRETT.
fettored Coi• t.lte, A rro<llirl\11 ProP'u•.
Art.emu.a ward tom.platAI. Llttlo L1uly Llnton. Fou11d 011lltf',
By E DMONO AllOUT. B4tween Lito \t. DeAtb, A Rocotllna Vtnge.a"~·
'l'be Sin or 01¡~ ZíUIO'll• ror Love1ors4Koao11r
Tbt Fett.ab. Ucb. JOhl\ Ford; &nd lia•
By H /.~ULTON Ai'Dé. Folfy MOt'TlaoQ.
Lltu~ Barn•b••·
Hel'j)mAt•.
CuT ot C?.rrl7011. Tb• \VomA-ft or tlse Iron
1 CoaQdence1. Hon••t Davlt. lra.eetela.
By Mf.RY ALBERT. By Sir \Y. BESANT nnd J. RICE!.
JltOO'kt lincblt)"'t Oa.u¡bttr. !t~y-Hooey !itorUboy
K1 Lit.U• Oirl.
*
B.r ~UA Ar-bollf',
C."ñapl•in or ll'lt F1eet.
By Mrs. Al.IJXANDIJR. With Harp u• Crewn. Ttl• 8•-"*'' 1'14...
Ma!d, Wi!eorWtcowt 1 Valert•• raw. Tblt So:ia or V•Jcaa. 'rM ~ or Ur 1.41n:t..
Tbe Goldea B•tltf'ly, Jn Trar.Jur'1 BaJ
Dy OR/.NT Al.LEN. Ue .14'.cD.k.a .t Th-1••&. nt Tta Ytara Teaaa~
!'!dll.lti• Th• º''ª" Sy Sir \V/.1..TER Bl!SANT.
SU'U.Ct 6\0rtu.
bbYtOD- O.cbtD
Tl.bel).
J>•tu.t•tq a Da.1:1.~tc.
º'
Pn")"tla.::-4.
All l!orU e!l ~Ul· r or
ttc.1111 cf Mta.
'ª'"
ai=-4 rre-±~
T• C~t Htr- M=.~-
ror 'Kr.lllll .. • atta. Blo0o4 Ro1&l. l'b1! C&pu.IDI P.c.ce. ft• l•I! or lt f'.s'21 a.
la. all lh..C.tL IYS.21 ONe:t.'t Kutt.l'- All b a. Oard.ea F&ll. Tte Hot7 ROM.
'nte Bect.om• Ba.c.d. plece D,rcUl.y Fon'Ul'. Af'llflore oc LJ••·,,..,
Tb• De:vil.._ Dft. Tb• Sc:•llJ"l"&.!. 'Uncle Ju.k: l.Ka~orl••'t~,!'~t:.
ne TenW ot Slltm.. Thl• Korut Oo!l. The World Wec\. Vt.r7 Vtrbttt.a Qa.melll• Si.·
Well Tbe11. pbuol-tL
Sv e. LESTER f.RNOLO. Cb114rcn of OlbooD. 'l11e lvory O•t.t.
Phr• t.h• l'biio:alclao. Hur Pa.ulu. The lt•bel ()tt••o..
BY SllBLSL.EY BllAUCtl AMP. By A~lllROSI! Bl tlRCB.
9 raJ1.il•f Grt.to¡a. l e ;ha Wdit or Life.

\VIN!lUS . PUllLISH ERS. PICCADILLY.
CHATTO (<
JO
Two.SH ILt.IMO No~..gLS-<ont• ""'"'· By J. LEITH DERWEl'<'T.
OV UdJ' of Tears. 1 Clra'a J.onn.
By FREDERI CK BOYLe. By CHARLE S OICKENS .
C&atsi No[... J C!hro111tcl•• of No-mu'• 8ket.e.bt1 by Bo:.. 1 NJ.cbolaa Hh:k1tbf.
Bavagt 1Jt1. L&nd.
BY BRET HARTE. ouvor Twll\..
ca.Ufomlaa 8Wrlc•.
Gl\brlel Qonroy.
1l'llp. ¡ M•nlJ•.
A Pbylll• o th• 6te.rr&J.
By OICK OONOVAN.
Tht Mu-Hunt.er. ID Uto Orlp oc UUI Lfl.W,
a..
Tbe L'llclt oC n oa.riDJ: A W•If or t.b• PJ&l.as.. Tr~ked and. TUtn. rrom InformAUOl'I
Qt.mp. A WM'd ot \be Goldu cau.cb\ at. LU\ 1 ffl,.td..
Aa H•h-• or lled Do¡,. t o .."*- Wu'-41 'fr-atktd. t.o Doom.
By HAROLD llRYDOE S. WM Pollltleed Rotty Ll•l W Ltak
Ducan t l.,pkfou A.rouM.
U'ne.l• a... a\ Home.. M.n crom lil&Dche•1Ar. n.v. Deeda.
By ROBERT BUCHANAN. A Dt\t-e:U••.. Trhunplu Rt441tt lt.t Ml.
Bhad•• of \ht Sword. Tb• Mv\rrdoco or M.. By Mr5. ANNIE EO\VARD ES.
A Chlld or N~ture. deUne. A PolD' o r Ronov. 1 Arcbl• Lo•eU.
God and lho MM. Tbe Mt • Abtl•rd.
Lov• ,,,, ror Bvtr. ?ot•tt.. By M. BBTHAM ·t!DWAROS.
Fo:r¡JO\•O t.lanor. T !10 l l tlr o r l .lnrto. F•llola. 1 Kl\.~Y.·
Tht "M&-l4r oc t.ht M.lu.. WOmAO •ncl lb• Man. By eD\VARO !lOOLllST ON.
AllrLU Wat.tr. Roa.T.
By HALi. CAINll. Bv a. MANVILLB FENN.
fte auaow or aCdm9.
A Boa • t Bapt.
I n. DM. .k.r. ne Mew kktttu. ¡.ne 'ftp-r Ltly.
\Vita.u to the Dttd.
By Commond er CAMERON. By PERCY FITZOER ALO.
T.ht erala• or ua.e · B!ae'l Prlace.' .. n~ noua. l•co•d Hn. 'ftllotaoa.
By M•.•· LOVETT CAMERON. Nt•tr Fo~tt.A.
PollJ.
8••••'r . Ave Broolr;•
8t.rtet..
Deeetver1 1.•tr. 1 Jalltt.'11 Oa.1rdlM. F•t.&I Ztto. Tbt Lady of 'Brant.ome.
By tlAVDEN CARRUT H.
Tll.t Advtnturta of Jottf'I. By P. FITZOER ALD ond other"
By AUSTIN CLARE. 8trao11e Secre ta.
For tht Lovt or • Lt.u.. By ALBANY DB FONBLANQUB.
By Mu. ARCHER CLIVB. FtlUl.J L •tn..
Pa.a.l Ft.rrell. By R. E. FRANCILLQN.
\Vb7 r.•l r t:n'Ou J[llJed: ..._ w11.. Olppi&. 1 Kia.J or b.&Y• t
~cu or UM Lt.w.
By MACLAREN COOBAN . Oe• by Ou.
Tbt C'lln or 6o111a. 1 Tb.t at4 &111\&.D. A JlMl Qll"n..
Qia•••O.pbot-u..
Jt.op••ot s~cL
A Doc an4 h l.I. 8h.Mlow.
By C. ALLSTON COLLINS .
'l'b• ~r 81.nl•t•r. lly HAROLD FREOER IC.
By MOR'l\ & FRANCE S COLLINS. Bttb'• Brot.bor•a Wl ft. 1 Tb• l.&wt.on Olrl.
g.,.•••~ ANlt PAgt.
Truamlsrat. ton.
1Swt•t. l\nd Tw•nt.y.
The Villa.ge C10111e4y.
1>refnced by Sir BARTLB FRllRE.
You Pl&y r.n.o F&lae. Pa.nclttrang Ru1.
Fto~ 14ídni,g.b\ to Mfd·
iiJtht. Bt.cll111l1tb &Dd Scholar By HAIN PRIS\YE LL.
A P'í&h\ wiU. JJort.tine. l'rue ... 011t oc Tw'o.
Bf \VILKIE COLLINS. By EO\VARO OARRBT T.
A.ra&d.&lt. An.ttla.rt. KJ Mtac:tll.aal••· ftt et.pe] GW...
No N.,.t, n. womu ta Whlk .. By OILOBRT OAUL.
Antoatu . Th• Wooiutoae. A ltn.nft lhnOMripl ,
Bull. ldaa &a4 WUe.
IU4t &nd 8-ttL Poor Ml•• J'incb. By CHARLE S OIBBON.
The Dtld tl.cret. 'l'll• Fallen L•••e1. Roblo Or&J. In HODOU' &1tnd.
Qtteon ot lloM'l.I. J e1.ebel't Dugbur. 1"a ncy Free. Plowe.r oc libe ror• tt.
Mt.n or Jh1. t Tho lllMk Robe. ~·or LAck of Go14. Tb• Brae1 or Ya.rrow.
Tb• New MM4.ale-o. Hu.rt. ancl Scleaee. Wba.l wlU World Bt.7 1 Tht OoJdea Shalt..
Tb• FroU.D Ueep, "lS&ylfol' ID LoYt a.nd wu. Of Hl&la Degr-e•.
Tbt L aw &ad U.. Lady The E•U Of!Dt111., ror Ua• Jtla,:. B7 litad ud Si.re-a.a.
1D P.t.1-\&tM Ol'Ma. IAT'Ln: a l>Nam.
D• TtN De.ñ1a1ü.
T'bf! Baa.eu• Roldo
A Rbpt t LUt.
LltUo Ne.-.11.
X..w&eJ oc caJ.D.
BUe4 lAn .
O•M• º'
Uie u.u....
A 1tun·o J'1'0bla11.
A HUIS XOoL.
Hcu&.1 DeUghl.
Tbt Out Hµrt. lltod.Mon.t7.
lly M. J. COLQUll OUN. By WILLIAM OILllERT .
Ji.••r1 lt1cfi 111 Boldier. 1 Tht \\'WU'd ot \b•
By OUTTON COO K. nr. Au-\la' a Gueau.
L60 J PAUI Fo•l•t'• D•11,;;btor• JAl'llh Du•e. Mount.a.ln.
. By C. EOBl!RT CRAlJllOCK. lly ERNEST OLANVIL LE.
Tba J'roptlt \ of t.bo GtPt. Smo•r MoWli..U!a. Tl'lfl Lott. Hetren. 1 The POM:lcker ,
By 11\ATT CR M. A FAlr Color.W-t..
llv Rev. S. OARINO OOULD.
1"tit Ad• tatv.. ol • Fa.ir Jtebtl. Ad Sp)dt:t. I i;.,.._
By B. M. CROKER . By HENRY OREYILL E.
Prelty Mi&t lf•..W.. 1~r PrlC•. A troble Wocu. 1 Klbcl'r.
DI.u•~·
Villq•!l.Jnua.1~
A P&11l1 Llkt...e-..&.
•To IAL.' Oy CECIL ORIFFIT H.
A Bird ot PUUC•· ~!di.U, Corla\bb a~.
By W. CYPLES. By SYONBY ORUNOY.
H•t.ZU ot Oold.. 'fbt D&71 of b!S V~l'l.l~1 !
Oy ALPHON SB OAUDllT . By JOHN HABOBRTON.
'1'he J!,ya~Ol lat ; or, Port..Sal... ilon. Urutt.cn't Ba,y.)U. 1 Counlcy Lucir..
BY ER.ASMUS UAWSON. By ANDRE\Y HALLIOAY.
Tb• Pou\.aia 01 Yout.b. 1••,,.d.•J hl)e:-t.
By JAJ\\ES DE 11\ILLE. lly Ledy OUFFUS HAROY.
Bp.aia. fa_. Wf1?ten 6a.ezu.ct ,
J¡,, Ca.nlt ta

CHATTO 4 WINDUS, PUBLISHEltS, PICCAlllLLV.
'twó-SHlLLt?fo N ovat.t-t0riti1tued. By FLORBNCB MARRVAT.
By THOMAS HARDY. ~· 1601•• 1 1 A lla.rtt•' otWU.d es:..
V'Ddtt \lle OrH••ooci 'lh•• Fi;ptta¡ U;t: Ait'. 1WrittealA71N.
By J. BBRWICK HARWOOD. By J. ft!ASTERJ\\AN.
Tb.• Tt:Dtla B.a.rL Ra.U·a.d.o.ua D&q);t.tn.
By JULIAN HAWTHORNE. By BRANDER MATTHE\VS.
ca.n.aa. lt&trtx 'l..a.a461ph. 4 lkc:nt Of ~ lf:&.
EW~ QuaUa. Lo~ a Mame. By L. T. MBADB.
i''11rWA•'• Fool. D&Yl4 PoUaU~'&•r"a Dh- A &ol:4Ja of Por\ue.
Kla C&4opa.. •P~.,n.nce.
S•but1Ma ltto•• · n.: lpaotn or tb.• By LEONARD MERRICK.
Dui. Cua•:r._ !'be M&c wbo wa1 0Md,
By Sir ARTHUR ltELPS. By JEAN A\1001.BMASS.
l •U 4• Blron.. 'l'o•cb and Oo. 1Kt. nortlUn,
Oy O. A. 11BNTY. By Mu. MOLBS\VOR'rH.
lloJab \bt .J'ILUlt r. Hatbercoort R1c\.Ory,
By HENRY HBRMAN. By J. B. MUOOOCK.
A l.tad.1.A¡ t..4J,
dertu.I,
1
Btorlu\VeW a.ocl Won· Yro10 tl11 8o1om of lb•
Dttap.
By HBADON HILL. 'lb• Dead Jdu'• 8flC!r1t,
Za.=br&tb• Dt\41cú••·
By J011N HILL. By O. CllRIS'rll3 MURRAY.
A Model P•Lbtr. A Ltf•'• At.oDtl:ltllt.
Trtuon '''ºD.f·
By Mn. CAStl BL HOBY.
Jo1cph'1 Coet.
Coal1 of 7tre.
BJ' tl10 Or.\4 ot '"' 811..
A 81,ot llumu Na\11r1,
ne Lo••r'• Orted. Vat SLra111g1.
014 BJuer1 ª"'' Pltlt P1r&0n Slngolar.
llob Ma.t&iD"I Lllll1 01.tl
By Mr•. OEOROB HOOPBR. HM.rt1. Time'• Jt•••.a11a.
ft • Boue or A•bf. 'l"h• Way of Ul1 Werl4, A Wut.cl Criae.
By TIOHB HOPKINS. Oyule Fort1l111. la Dlr•tt P1t1L
hU:' Lo•• ud. J>at1. lly MURRAV and HERJ\IAN.
On• TTa.-1U1r R1tanu:, 1ft• 8lth6p1• Blbl..
By Mra. HUNOBRFORD. hal JGatt"I AJtu.
A K&ttta &JJ J'ort......1 • M.odua Cirff.
la Dvue. VUt.
Jh.tnJ.
A ll•DW ltn.ul..
n..-.......
Lt.4Y VtntT'• FllgbL
u. KJ'at41Y
By HENRY AIURRAY.
A Oaoe o< llld.
By 11UMB NISBBT.
1 A loq el 8lip1ace.
By Mr•. ALFltBD HUNT. • a.u O'pl . 1Dr......~lt.TIDC:Ul l.
Ttrtorak:rot\'t Mod.&. 1 1.U-Ooa.d.mntd.
fta.t o ...•:r ''"°'L ft• a..MeD Cut.•\.
By ALICB O' HAN LON.
ni. trDJ'oreut:a. 1Clu.acet or Fatet
By JBAN INOELO\V. By OBOROIJS OHNBT.
Fa~ tobt tHt.
By \VM. JAMESON. Di'. B.UllMV., 1A Wtlrd Oifi.
A Lut. Lo'f'•.
MJ Dt~ 8tlt. By Aira. OLIPllANT.
Dy HARRIBTT JAY. Wb.IWladJe1. 1Tll• Ort•t.e1t B11r•11 ID
t'bt Du-k Colltt:n. 1Quetn. or Oonria.11.ghl.. 'tbe Prtmrort Pat.b. Eoa'l•nd,
Dy MARK KBRSHA\V. l.ly "'"· RODBRT O'Rllll.LY.
Co!ou.lal Fact.a a.o4 "'rtct.1011.1. Pb.OllMt'• 1'ort.iw11.
Uy R. AS l1B KINO. By OUIOA.
A Drawn. O&mt. ~Mtlon•a BIA'ft, Reld lo Bo11cl'I•· TwoJ.t~W0<od1u
nt1011.
• Tbt Weari.ag ot t.11e• nen Barry. Stra&bmore. i.tothl,
Onta.' C11nd.01. Blmbl.
Dy JOH LBYS. l<ll'LUa. l'lpl1trello.
Th• Uad.aar•. U11d1r 1'wo Fl.a¡1, A VUla.¡t C\lmlll11a1,
By B. LVNN LINTON. Cec:U Cutlt111Aiia1'1Q... WaDdt..
Pal.ricia ~rnbaU. Tht Atontmt.nlotLe:un 'l'rleotrtn. OLhm•r.
Th• World WeU tort. Diandu, hc:L Fr11cota.
l1Dder whlch .LGr4 t WIU. • 15illtt4 Tb.rtr.d.. l'olle Patine. Jo Mar•cama.
Pa1ton Clu'ew. R•btl ot ttl• Pamlly, A Dog ot Plaatdar.. OWldt~f.
• MJ
to:a•.
IA••
I' lowt•s th• Wt•d.
ne On• Too Mur.
P&&ea.rel,
Slpa.
t11&1110.
arrua.
By HBNRV W. LUCY. Prtnce• Kapr~e. l&•i& BvMra.
lo a Wlate.t Cltf. TWo 01!t:ad.1ra,.
GlilffD PleJff. Arlada•• 0-'4• '• WUdo-. WIS.,
By JUSTIN McCARTHY. Frlcad.IJlfp. e.ad Patka.
Du.r Lt.Alf DU4.a.1L Camtol&.
WateJ"ll&I• N•l&ll'OoVL ~ Qalxow. By MAROARET AONllS PAUL
loly h••J"• n.q•ur. Na.W
A Yüt auoo.
º'
Atll•u.
ne OO.•t ot a. 8.-..on.
outJ• UMI. au.pt...
By C. L. PIRKIS.
Ual•r B.ütord. 1'1l• Dlct.&\OI'. l&dJ LoTtl&ee.
11.1- KitU\11..ro~. ll'Oll D&Amondr.. Uy EDOAR A. POB.
By 11UOH MACCOLL.
M.:t. lt.ru(tr'a lo&led P&cktli.
JlClif'"
ftt MJ'lt.lf'J' oc liarle
By Mr&. CAMP BLL PRABD
U,- Ol!OROB MACOONALD. Tbe Boma.oct or a lu.tloa,
B••Lb•r ••el
snow.
BY AONBS MACDONl?LL.
'l'b• Bolll of Oounttn Ad.r~•a..
Octlaw and La•ma\tr,
Qu•ker Cou1l111, Cbtbtlna Cba.r4
BY KATl1ARINB S. MACQUOID. By I!. C. l'RICB.
l'be ~v-ll ~J'•• 1Lo.at Ro1e.
Dy \V. H. MALLOCK.
Vatenttna..
Tbe roreiptl'I.
LM,.., 1Anc.&1t1r'1 Rl•a.J,
041rald,
& Xom!loCe or tbt NJ11 .. 1Tbt New ll1ipUbllo, IJy RICHA D Pl{VCf!.
\teDt.b 0eG\\U'1, Mil• WuweU' I U.oUQa.a.

CHA1'1'0 & WINOUS. l'UBl.ISHP.RS, PICCAOILLY.
By HA \VLBY SMART.
Wllbot.t LOT"• •r Lle-t au.
By T. W. SPEIOHT.
DJt •.
1
ft.•MJ'l'WriM •t ll•ro• Back u. IJJ•.t•ñ'h.;aiJ ,
fte Lo•dw-..
1'b• Ootd•a Boop, B•tI• • a~..
&M4W1D1Eff.. Q•lt.t&ae• ID h:U.
e, o ..-v10. . W• r • . AH!Ub1.D!ltto• c.D1i •a
By ALAN s ·r. AU BYN.
A Fe1Jo• OC Trlnlty,
Tb• J1111lor O.an.
1To HJA 0 .. &lutt r ,
'Q.
Ort-b.a.rll D• a:t•nl.
»at t..r~r 8t..D•n•dle\.' •
By ll. A. S1'BRNVAl.B.
Tht AfP.bl\n ICnlf•,
lly R. 1.0UIS STEVENSON.
lfaw Ar&blan Hl&btl. ! Princa Ol.-to.
By BBRTHA THOMAS.
Cr4Uida.. 1ne VioUD·Playar,
Pro•d M.aJlit .
By WALTBR THORNBURY.
T;aJ:u fO!t UID M&rtktt. 1 014 l\Ortu Bttcld..
By T. ADOLPllUS TROLLOPB •
. Dl&t!lond C. l Dta . . .._
By P. BLBANOR TROLLOPB
Ltkt Bhl.p.t opoa u... ¡All•• h:natu..
8ü. U.bel' • ~eu.
By ANTHONV TROLLOPE.
Fra12. Proh.mua. Tbt l.ADd·Ltqv.tra.
librion Pay. !'be Amertcao St.D&tor.
K.el)'t; l.n Uta DArl., " '" Bcit.rbo'tOugh't
JOhn OA!diga.t.t. P'AmJly.
Tb• W•y w. UYt How. Ooldt.nt.100.otGn.1:1,p trt
ex J. T. TROWBRIDOE .
Parnell'• roJlf,
By IVAN TUROBNIBFP, &c.
Storita Q'Om Fottlp NO•e.l.ll....
By MARK T\VAIN.
A Pltuu• 'l'rlp oa Uit Ufe o• Uae \O•a'••'ppt.,
Collt1MDL Tb• Priu. U d. t\t
ft•OIWNA... h•P'•·
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