those people, the most of whom would persevere in their opinions.

The impracticability of the theory of using chemically prepared wood for violins is sufficiently understood at the present time to render it useless to pursue the discussion in these pages. Gemünder has informed himself as to the degree of success attained in the use of the different chemical preparations of wood, as well as those prepared with borax, by which, the inventor asserts, the wood becomes richer in tone and lasts longer than that which is left in its natural state. Yet, without opposing the inventor, Gemünder follows the principle of the old Italian violin makers, because their productions have been in use to this day; therefore the material left in its natural state has proved good and has satisfied the musical world for these three hundred years. He has indeed succeeded in constructing new violins of material in its natural state, which produce not only an extraordinary power of tone, but also a strikingly equal quality of tone, and the quality of easy speaking, and the outward appearance of the old violins has been so faithfully imitated that he who has not been told the fact, will take them for genuine instruments made by Stradivarius, Guarnerius, Maggini, Amati, and others.

It is therefore assuming not too much to say that George Gemünder has surpassed in this art all the violin makers of the present and past times; for where the Italian masters ended with their knowledge, George Gemünder commenced and improved, which fact can be proved to the satisfaction of every critic; for George Gemünder has not only gained the same results as those achieved by Stradivarius and others, but he has sketched a better acoustic principle for producing tone. It is for this reason that August Wilhelmj, the great violinist, calls George Gemünder the greatest violin maker of all times, for Wilhelmj had learned by ample trial of the instruments made by George Gemünder that they were incontestably all that the latter claimed for them. Wilhelmj admired Gemünder's "Kaiser" violin at the Vienna Exhibition, as it was the only violin of importance which attracted his attention, and this aroused within him the desire to become personally acquainted with its maker. By means of his renown as the great violin virtuoso, an engagement was offered him to go to America, which he accepted, and thus his wish was fulfilled. On the day after his arrival in New York, Wilhelmj went to see Gemünder at Astoria, and from that time has been Gemünder's friend and admirer.

Wilhelmj and other artists have expressed astonishment that a man of George Gemünder's capabilities in this art was to be found in America. Although he enjoys the highest renown in his art, yet he lives in a country in which the appreciation of that art is still in its development; for the number of amateurs such as are found in Europe, who spend enormous sums in instruments, is very small here. The fact is that George Gemünder lives here at too early a period, for his productions are a continuation of those which the great Italian masters brought forth. Taking into consideration all the foregoing circumstances it is fair to suppose that George Gemünder has had to contend with extraordinary difficulties during this long time. For ignorance and arrogance can do much damage, in this respect, not only to the artist, but also to the amateur, as these often times place their confidence in those musicians who have no knowledge of violins, and who can only mislead them.

APPENDIX.

GEORGE GEMUNDER'S OBSERVATIONS IN REGARD TO VIEWS WHICH THE MOST OF VIOLINISTS AND AMATEURS HAD OF THE TONE OF OLD AND NEW VIOLINS—HOW THEY IGNORED THE NEW INSTRUMENTS, AND HOW THEY WERE DECEIVED AND SURPRISED IN THEIR PREJUDICE CONCERNING THEM.

Gemünder had learned that the knowledge of arrogant violinists and amateurs in regard to tone did not rest on any correct basis, and that their prejudice rested on a tradition arising from the decline of the manufacture of violins since the death of the celebrated Italian makers. All attempts of late years to make good violins having failed, an aversion to new violins has been gradually spreading, so that the most of people at the present time do not believe it possible for violins to be both new and good. Firstly, because it has been found that new violins have not been constructed so as to possess the tone of old Italian instruments; and secondly, that those made of chemically prepared wood did not stand proof for a great length of time. Many musicians and amateurs have in consequence of this prevailing prejudice gone to an extreme and disregarded new violins, no matter what tone they might have. To this class of people belonged especially the violinist Wieniawski, who had an opportunity to play on one of the best violins made by Gemünder, which opportunity he ignored, because the violin looked new. Instruments imitated by Gemünder were placed before him as genuine violins, and he admired them. Ole Bull was equally surprised when an imitation according to Stradivarius was handed to him in Columbus, Ohio, and he declared it to be a genuine original.

When Vieuxtemps gave concerts in America for the first time, and went to see his friend Vieweg, Professor of music in Savannah, Ga., the Professor showed him his Stradivarius violin. Vieuxtemps, catching sight of it, said: "If he had not been quite sure that his violin was at home, he would think it was his own." But when his friend told him it was a Gemünder violin, he was astonished and observed: "The d***l knows how Gemünder can bring such a tone in new violins!"

At about the same time a violinist came from Germany and visited Gemünder to hear his violins, because Spohr had praised him so much; but at the same time he doubted that new violins could sound like those of the old Italian masters. Gemünder first showed him some having the appearance of being new; the violinist played upon them and then uttered: "They are as I thought; they have not that sweet, melting tone of the Italian instruments." Hereupon he asked Gemünder if he had no Italian violins, in order to show the difference. Gemünder then opened another box, and showed him an imitation of Amati for a genuine one. No sooner did the instrument strike his sight than his face brightened up and he said: "Everybody can see at once that there must be tone in this," and after playing upon it he was so pleased that he said to Gemünder: "Yes, there are none of the present violin makers who have brought it so far!" Hereupon Gemünder informed him that this was also a new violin of his making. Scarcely had the visitor heard this, when, ashamed of his prejudice, he took his hat and went away.

Similar incidents often occur. In 1859 Gemünder sent violins to the Exhibition of Baltimore, after which, on one occasion, he was invited to a soiree at which his violins were played. He also had a genuine Guarnerius among his own instruments. An amateur, Mr. Gibson, a very good player, was present and anxious to hear the Italian violin. During the performance of a quartet on the violins made by Gemünder, this amateur, who was possessed of the popular prejudice against new instruments, and who fancied he heard the Italian violin, was so exceedingly delighted with it that he observed, "To hear such violins is sufficient to keep any one from ever touching new ones." But when Gemünder told him they were new ones made by him, the amateur stared at him as much as to say, "Do you make fun of me? These violins do not look new at all!" Gemünder, however, convinced