The Indianapolis journal., 1899-02-26
MIDDLE-AGE WORKMANSHIP.
The Lament as to Its Lack Is Not Well
Founded.
New York Commercial Advertiser.

New York Commercial Advertiser.
George Gemunder, maker of violins
died at Astoria on Sunday last, and the
musical world would be glad to know
whether his three surviving sons have
Inherited the secret of rare workmanship
which made their father famous Gemunder
was the best violin maker who has ever
lived in this country, and one of the best
of those who have essayed perfection in con-
structlon since the days of Stradivarius.
ZeuXls painted grapes that the birds
pecked a. were not so great a triumph OF
skill as the violin sent by Gemunder to the
Vienna Exhibition in 1873 1t was intended
as copy of a Guarnerius, but its construc-
tion and tone were such that a committee
of experts declared 1t to be an original in
strument of the classic period. This man
was typical of a kind of workmanship
which has passed away and illustrates the
contrast between the medieval ideals of
artistic excellence and the modern demand
for the broadcast utility
In the workshops of Cremona the produe-
ton or perfect violins went on with a de-
votion similar to that which inspired Fra
Angelica or Canova Mechanical conStruc-
tion had not been moderniZed, but was har-
bored by the guild and profited by its jeal-
Gus reserve. There was a pride Of work.
manship that consecrated, rather than at
tracted, the training of apprentices for
genial tasks. No one asked how many vio
Inns could be made within a definite time in
that little Italian town, how much fine
work could be turned out by the goldsmith's
guild, but the product was judged by its
conformity to exacting standards. The
same spirit Informed all the mechanical arts
where beauty and grandeur as well as deli
cacy of construction were required. From
the illumination of missals to the building
of cathedrals, there was no sacrifice of an
ideal product to the gradations of public
taste, for these latter could hardly be said
~to exist. There was but one rule for all,
that of the elect of the artistic spirit. Those
who violated it were excluded from its
blessings. The people were not consulted by
the devotees of an ideal excellence.
1t is not permissible. however, blandly to
dismiss the claims of present-day, indus
trialiSm merely because we haven't more
violin makers like Gemunder, or gold work
erS like Benvenuto Cellini, or because the
only cathedrals worth looking at are those
whose building began from five to nine hum
dred years ago. Art in industry is not dis
placed but only preparing for a new en-
conditions And, after ALL it is right to in
sist upon the service of art to humanity
and to demand that, in conformity with
true democracy, 1T shall descend to all and
form a part of 10y in widest commonality
spread" The industrial development which
diverts for an age or two the striving work
ers into the production of better boots and
shoes, plows and reapers, clothing and
dwellings, so that the multitude may have
what only the few formerly possessed, will
level the people up to art, so that art may
fulfill her mission.
Health, comfortable living and more
leisure are the preludes of a social harmony
yet to emerge from the seeming conflict of
interests. Instead of contrasting what
many would call the rank industrialism of
the present with the product of a time in
which ideals were aristocratie. it should be
the aim 70 discern and accentuate the trend
of industrialism toward the realization of
Ideals for the people. The refinement Of
civilization largely rests upon an economic
basis, and the difficulties of the unequal ap-
portonment of wealth are being merged in
industrial reconstruction. We have no cause
to lament the loss of middle-age workman
ship, for the spirit which inspired il win re-
appear without middle-age restrictions.