The Worcester spy., 1899-01-22
GOOD AS A STRAD
Death Of Americas Great
est Maker Of Niolins.

George Gemunder, a maker of vio-
Inns, 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 vio-
lin maker who has ever lived in this
country, and one of the best of those
who have essayed perfection in con-
struction since the davs of Stradivarus.
Zeuxis' painted grapes that the birds
pecked at were not sc great a triumph
of skill as the violin sent by Gemun-
der to the Vienna exhibition in 1873
1t was intended as d copy of a Guar
nerius, but its construction and tone
were such that a committee of experts
declared it to be an original instrument
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 broadest util-
ity.
In the workshops of Cremona the
production of perfect violins went on
with devotion similar to that which
inspired Fra Angelica or CanoVa. Me-
chanical construction had not been
modernized, but was harbored by the
guild and profted by its jealous re-
serve. There was a pride of workman
ship that consecratsd, rather than at
tracted, the training of apprentices for
congenial tasks. No one asked how
many violins could he made within
definite time in that little Italian town.
or 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 me-
chanical arts where beauty and gran
| deur as we'll as delicacy of construction
were required. From the illumination
of missals to the building of cathedrals
| there was no sacrifice of an ideal prod
! uct 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 We're ex-
cluded from it's blessings. The people
We're not consulted ny the devotees of
an ideal excellence.
1t is not permissible, however, bland
" TO dismiss the claims of present day
| lndustrialism merely because we
haven't more violin makers like Ge-
munder, or gold workers like Ben
Nenuto Cel!lnl. or because the only
| cathedrals worth looking at are those
whose building began from five to nine
hundred years ago. Art in industry is
not displaced, but only preparing for
new enthronement, pending the ad-
Justment of conditions. And, after all
it is right to insist upon the service of
art to humanity, and to demand that
| in conformity with true democracy, it
shall descend to all and form a part of
| joy in widest commonalty spread. .
The Industrial development which di-
verts for an age or two the striving
workers into the production of better
| boots and shoes, plows and reapers
clothing and dwellings so that the null
| titude may have what only the few
| formerly possessed will level the peo-
| pie up 10 art, so that art may fulfil her
! mission.
Health. comfortable living and more
| leisure are the Dreludes of a socia
| harmony yet to emerge from the seem
| ing conflict OF interests. Instead OF
| contrasting what many would call the
rank industrialism of the aresent Will
the product of a time in which ideal.
were aristocratic. it should be the ain
to discern and aecentuate the trend Of
indus.rialism toward the realization O.
IDEALS for the people. The refinemen
of civilization largely rests upon al