the hand of genius!

While the melodious tones of Grisi and Mario have touched with sympathetic feelings the hearts and imaginations of spell bound listeners, how have the magic tones of Paganini and Ernst wrapped the souls of wondering thousands in an elysium of delight and admiration! What effect cannot be produced by the Violin, (except that of speech,) which the voice can accomplish?

The Violin in the hands of genius can draw tears or create laughter. Whoever has heard the great masters of this extraordinary instrument, has heard all the sweetness of tone, the intensity of feeling, the power of expression that the most gifted sons and daughters of song could possibly produce without the additional aid of speech. The Violin, in fact, in its power of expression far excels those singers, of whom there are too many, who while singing the notes, fail to make their hearers understand the sense of their songs. If a merry dance is produced by the agile bow, its sympathetic tones at once excite a corresponding feeling. If a plaintive air streams in delicious and heart-touching cadences from the strings, what soul is there so dead to feeling as not to respond?

The perfection of the Violin is that its master, if alive to the subtle and mysterious influences of the imagination, can elicit from it the most perfect and touching "songs without words."

It is besides the only instrument, except the voice, which is perfect. Every shade of expression, every nicety of tone can be produced on it. All other instruments sink into insignificance in comparison with the Violin, because they cannot do this. They are all more or less imperfect; and therefore fail in those subtleties of expression of which the Violin and the voice are such able exponents.

What gratitude do we owe therefore to those great masters of Cremona, more especially the Amati and Stradiuarius, who have succeeded in bringing the Violin to its present state of perfection.

Music has in all ages been a source of the purest delight. The greatest poet and dramatist the world ever knew says that whoever "has not music in his soul is fit for treasons, stratagems, and spoils." In the present age the cultivation of Music forms one of the most general and the most refined sources of amusement and pleasure. All ranks of people are now privileged to join in its delightful enjoyments.

Even the cottage of the artisan is now often elevated by the elegant practice of music, through the increased facilities for producing instruments at a cheap rate. The consequence is that in the present age there is a more general study and a finer perception of what is good and beautiful, and their elevating tendencies are doing much for the mental cultivation and refinement of all classes.

A very extraordinary feature of the musical world of the present day is the enormous orchestras which can be produced on special occasions. A chorus of several thousand voices supported by hundreds of instruments may now be heard, rendering the immortal compositions of the greatest masters of the divine Art, in the Peoples' Palace at Sydenham and elsewhere. These Orchestras are chiefly selected from the ranks of the people, of whom the artisan is the chief contributor.

The reduction of the cost of instruments and the adoption of what may be called the joint stock principle are tending still further to enlarge the boundaries of the practical musical world. At any time and for any special purpose it is now easy to secure a band and chorus sufficient in numbers and executive power to render in an efficient and powerful manner, the glorious productions of Beethoven, Mozart, Handel, and other great masters.

In all these transitions, the Violin bears a most important part. It is the leading instrument in these great performances, as it is also, after the voice, the most powerful medium of expression in solo. It is also the peoples' instrument.

The labours of many eminent violin makers who have followed in the steps of the great masters have of late so immensely improved the art, that a good instrument may now be possessed by any one. And it may safely be said that with its improvement, has arisen also the extension and wide spread practice of music generally. An ear accustomed to the fine tone of a good violin will not now tolerate a bad piano-forte.

The Piano-forte and the Violin are the most general instruments, and they have alike participated in the improvements effected, in becoming cheaper by the advance of science. Every description of machinery has within the last fifty years received the attention of able men, and the mechanical construction of the Piano-forte is one prominent proof of the advantages which can be conferred by science on even the luxuries of life.

The Violin, also, seemingly the most incapable of mechanical application to its manufacture, is said to be now made by a most persevering and enthusiastic lover and follower of the great makers, by mechanical means. Copies of these celebrated makers, are now said to be manufactured by him with an uniformity, a certainty, and a precision impossible except by the aid of scientific improvements. These instruments are therefore understood to require only the ameliorating influences of time and use to become fine in tone and satisfactory in every respect.

Every one interested in the progress of music, must rejoice at the rapid development of its resources and the general spread of its pleasures among the people. We are a profoundly commercial nation, and it is delightful to see that in our greater wealth and prosperity, rational amusements, and more especially music, go on increasing step by step with our more business-like occupations. This class of amusements must exercise a humanising and refining influence on the habits and manners of the people, and they should be, therefore, patronised and encouraged by all those whose means are large and their example powerful. There can be no doubt that their tendency is for good, and that those whose leisure hours are devoted to their practice and study, will be richly benefited by them in all those qualities which combine to make the good citizen and the estimable friend.

NOTE.

To prevent too much space being taken up in the alphabetical portion of this work, separate chapters are given on the four renowned Violin Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and dates of each of the members of these celebrated families are however given in their proper places, for prompt reference.

We have not in some cases been able to find any records beyond the names of certain makers. Wherever possible we have given dates, places, and style of work.

DICTIONARY

OF

VIOLIN MAKERS.

A.

ACEVO, —- Cremona, Pupil of Guiseppe Cappa. This artiste made very good violins in the style of the Amati.

ADDISON, WILLIAM, London, 1670.

AIRETON, EDMUND, London, 1730. A good and neat Maker.

ALDRED, —- London, Early English Lute Maker.

ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos.

ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. This artist was highly esteemed formerly, and Otto says that it is exceedingly difficult to give so exact a description of them as readily to distinguish them from those of Nicholas Amati, who was said to be his master. In the present day, opinions are very different. Nevertheless there are some fine instruments by this maker, of high model, with reddish brown varnish and bearing a great similarity to those of Steiner, of whom he was also said to be a pupil. The "Dictionary of Musicians" speaks highly of this maker. This was decidedly the best artiste of this name.

ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, about