are more easily
known apart. A similarly well-defined originality is found, in a more
or less degree, to pervade the entire series of Italian Violins, and
forms a feature of much interest to the connoisseur.

In closing my remarks upon the Italian School of Violin-making, I
cannot withhold from the reader the concluding sentences of the
Cremonese biographer, Vincenzo Lancetti, as contained in his
manuscript relative to the makers of Cremona. He says: "I cannot help
but deeply deplore the loss to my native city (where for two centuries
the manufacture of stringed instruments formed an active and
profitable trade) of the masterpieces of its renowned Violin-makers,
together with the drawings, moulds, and patterns, the value of which
would be inestimable to those practising the art. Is it not possible
to find a citizen to do honour to himself and his city by securing the
collection of instruments, models, and forms brought together by Count
Cozio di Salabue, before the treasure be lost to Italy? I have the
authority of Count Cozio to grant to such a patron every facility for
the purchase and transfer of the collection, conditionally that the
object be to resuscitate the art of Violin-making in Cremona, which
desire alone prompted the Count in forming the collection." These
interesting remarks were written in the year 1823, with a view to
their publication at the end of the account of Italian Violin-makers
which Lancetti purposed publishing. As the work did not see the light,
the appeal of the first writer on the subject of Italian Violins was
never heard. Had it been, in all probability Cremona would at this
moment have been in possession of the most remarkable collection of
instruments and models ever brought together, and be maintaining in at
least some measure the prestige belonging to its past in
Violin-making.

SECTION V
The Italian Varnish

A word or two must be said upon the famous varnish of the Italians,
which has hitherto baffled all attempts to solve the mystery of its
formation. Every instrument belonging to the school of Cremona has it,
more or less, in all its marvellous beauty, and to these instruments
the resolute investigator turns, promising himself the discovery of
its constituent parts. The more its lustre penetrates his soul, the
more determined become his efforts. As yet, however, all such
praiseworthy researches have been futile, and the composition of the
Cremonese varnish remains a sec