Among the Great Masters of Music | Page 9

all the works of Stradivarius. Charles Reade, the novelist, who was a lover of the violin and an expert in such matters, in 1872 had thought this instrument to be worth 600 pounds, so that its value had trebled in less than twenty years. The celebrated violinist, Ole Bull, owned a Stradivarius violin, dated 1687, and inlaid with ebony and ivory, which is said to have been made for a king of Spain. In the "Tales of a Wayside Inn" Longfellow speaks of it:
"The instrument on which he played Was in Cremona's workshop made, By a great master of the past Ere yet was lost the art divine;
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"Exquisite was it in design, Perfect in each minutest part, A marvel of the lutist's art; And in its hollow chamber, thus, The maker from whose hands it came Had written his unrivalled name,-- 'Antonius Stradivarius.'"
Haweis, in his admirable book on "Old Violins," reproduces for us "the atmosphere in which Antonio Stradivari worked for more than half a century.
"I stood in the open loft at the top of his house, where still in the old beams stuck the rusty old nails upon which he hung up his violins. And I saw out upon the north the wide blue sky, just mellowing to rich purple, and flecked here and there with orange streaks prophetic of sunset. Whenever Stradivarius looked up from his work, if he looked north, his eye fell on the old towers of S. Marcellino and S. Antonio; if he looked west, the Cathedral, with its tall campanile, rose dark against the sky, and what a sky! full of clear sun in the morning, full of pure heat all day, and bathed with ineffable tints in the cool of the evening, when the light lay low upon vinery and hanging garden, or spangled with ruddy gold the eaves, the roofs, and frescoed walls of the houses.
"Here, up in the high air, with the sun, his helper, the light, his minister, the blessed soft airs, his journeymen, what time the workaday noise of the city rose and the sound of matins and vespers was in his ears, through the long warm days worked Antonio Stradivari."
[Illustration: Stradivarius. From painting by E. J. C. Hamman.]
Edouard Jean Conrad Hamman, who painted the picture of Stradivarius--deep in thought amid his violins--which accompanies this, was a Belgian. Born at Ostend in 1819, and a pupil of De Keyser, he lived a long time in Paris, won many medals and other honours, and died in 1888, leaving behind him numerous pictures, several of which are reproduced in this book. His "Erasmus Reading to the Young Charles V." is in the Luxembourg, and the Brussels museum has his "Dante at Ravenna," and the "Entry of Albert and Isabella into Ostend." Besides these he produced "The Mass of Adrien Willaert," "The Childhood of Montaigne," "Shakespeare and his Family," "Vesalius," "Hamlet," and "Murillo in his Studio." One of his paintings, entitled "The Women of Siena, 1553," shows the women of that city working on the fortifications intended to resist the besieging army of Charles V., and another depicts Columbus first sighting land on October 12, 1492.

TARTINI.
A few years ago the Istrian town of Pirano unveiled a statue, not exactly to one of its illustrious sons, but to the only one of its children who ever became famous, so far as we know. The pedestal of the statue is inscribed.
Istria to Giuseppe Tartini, 1896.
The admirably conceived figure which surmounts the pedestal represents the master standing, violin and bow in hand, at the moment of his accidental discovery of the curious acoustic phenomenon known as the "third sound,"--i. e., the production of a third note in harmony when only two are struck with the bow. The statue was modelled by Dal Zotto, an able Italian sculptor, whose work found so much favour with those present at its inauguration that they enthusiastically carried him about the piazza on their shoulders,--a tribute we judge to have been well deserved.
The subject of Dal Zotto's statue was sent, while yet very young, from Pirano, (where he was born of a good family in 1692) to Capo d' Istria, to study at the college of the "Padri delle Scuole." It was here that he received his first instruction in violin playing, and in fencing,--two accomplishments that were to play an important part in his future life. In spite of the fact that Tartini's family had destined him to become a Franciscan, he had the strongest antipathy to an ecclesiastical career. His relatives fought in vain against his unbending resistance, and finally sent him to Pavia, to study law. Learning cost him little effort, and he still found plenty of spare time for fencing. Somewhat wild, and tired of serious study, he decided to take up his