In these days of plentiful new [and expensive] publications on the violin, second editions are likely to elicit as many groans as they do cheers. Anything which makes the reader once again dig deep into his or her wallet must offer enough that is significantly new. Accordingly, my first reaction on hearing of a new edition of David Rattray’s 1991 publication on classic Italian violins from the collection of London’s Royal Academy of Music was ‘do I need this?’, but having read the book, it was quite apparent that the answer is ‘well, yes’.

Although the volumes have, at first glance, only subtle differences, a thorough reading reveals significant changes. These are clearly set forth in the foreword. Whereas the first volume contains photos of 26 instruments, the second provides views of 41, this time all in colour, and including enlarged views of the tops and backs. Most importantly, the well-written text is fuller, with a more detailed discussion of each instrument, those characteristics of workmanship that mark its maker and which make the particular instrument significant alongside a far more detailed set of measurements, taken with Vernier calipers rather than across the arch. Dendrochronological studies of most of them are undertaken by John Topham, who should beware lest popular demand compels him to set down his violin making tools in favour of his scientific instruments for good. Where offered, the historical accounts of the makers are, with a few exceptions, very good at placing the individual makers within the appropriate perspective for their times. Lastly, there is an expanded list of performers who have used and recorded with these instruments, presenting thus an informative guide to pairing their visual beauty with their compelling tonal qualities.

Volumes illustrating classic Cremonese instruments are not thin on the ground, so it is not easy to justify the appearance of yet another. In answer to this dilemma, it is worth considering that the ideal education in classic Italian violins is to see and handle every last one as frequently as possible and that, barring that possibility, good photos are a fair substitute. This book gives the reader unlimited access to a limited set of observations, but this is always better than having to go without.