We may also mention here that the late eminent violinist Ernst, played upon a very fine Stradiuarius Violin which was presented to him by A. Fountain, Esq., an ardent admirer of that famous player. Joachim also uses a Stradiuarius. Servais, the great French performer, uses a Stradiuarius Violoncello, which is said to be the handsomest known, and which cost him 500 guineas.
The value of the best productions of the genius of Stradiuarius is now very great. Mr. Betts, of London, had one for which he refused the enormous sum of £500, and Dragonetti also refused £800 for a double bass. The highest price, £600 however was given twice for the violin now belonging to Mr. Plowden. But even such prices have been exceeded by that of the celebrated King Joseph Guarnerius mentioned elsewhere, which realised £700. It must not be understood however that such prices are the rule, for it is only for extraordinary specimens that any such great sum can be obtained. Excellent instruments are frequently sold for much smaller amounts, and it must also be remembered that none but those made from about 1700 to 1725 realise such enormous sums. His earlier productions, which resemble those of his master, and which are known by the name of Stradiuarius Amatis, can be had occasionally for moderate prices. An undoubted violin of any period of this great master's make, is well worthy the attention of the virtuoso. They are all good, but the grand pattern of this wonderful genius, possessing equal sweetness with greatly increased power, are only now to be had by connoisseurs of unlimited means.
As an illustration of the more moderate prices which these fine productions command, we think it may interest our readers to give here the result of a public sale of Cremona instruments belonging to the Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his work states that the Count possessed "two quartetts of Stradiuarius, very remarkable instruments; another of Joseph Guarnerius; a fourth of Nicholas Amati, and lastly a quartett of Steiner," of which he specially particularises the Tenor as "being a model of perfection as to workmanship, and the tone of which is of extreme beauty." These instruments were sold by auction by Messrs. Puttick and Simpson, on the 26th June, 1862. We quote the report of the "Times," by which it will be seen that our English connoisseurs did not appreciate them so highly as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner at all, we presume because the prices were nothing remarkable.