having
seen it three times, and that he firmly believed a large part of the
violin produced before the magistrate _was_ the missing Bott--certainly
the back and scroll. Moreover, he was able to describe the markings of
the Bott violin even to the label inside it. It should be mentioned,
however, that in the magistrate's court he had been called only to
_describe_ the Bott violin and not to _identify_ the one produced as the
Bott itself. He further swore that the violin now offered by the defense
on the trial was _not_ the one in evidence before the magistrate, but
was one which he had sold some years before to one Charles Palm.

The defense, on the other hand, called among its witnesses John P.
Frederick, a violin maker, who testified that he was familiar with the
Bott Strad. and had seen it in 1873 at Bott's house, Grenecher Castle,
in Germany; that he had repaired it in this country in 1885; that the
instrument in court was not a Strad. nor even a good imitation of one,
and, of course, was not the "Duke of Cambridge," but that it _was_ the
identical instrument produced before the magistrate, and one which he
recognized as having been sent him for repair by Charles Palm in 1885.

Thus both sides agreed that the fiddle now offered in evidence was a
bogus Strad. once belonging to a man named Palm, the only element of
conflict being as to whether or not the violin which Flechter had
offered for sale was the Palm instrument, or, in fact, Bott's famous
"Duke of Cambridge."

All this technical testimony about violins and violin structure
naturally bored the jury almost to extinction, and even the bitter
personal encounters of counsel did not serve to relieve the dreariness
of the trial. One oasis of humor in this desert of dry evidence gave
them passing refreshment, when a picturesque witness for the defense, an
instrument maker named Franz Bruckner, from South Germany, having been
asked if the violin shown him was a Strad., replied, with a grunt of
disgust: "Ach Himmel, nein!" Being then invited to describe all the
characteristics of genuine Stradivarius workmanship, he tore his hair
and, with an expression of utter hopelessness upon his wrinkled face,
exclaimed despairingly to the interpreter:

"Doctor, if I gave you lessons in this every day for three weeks you
would know no more than you do now!"--an answer which was probably true,
and equally so of the jury who were shouldered with the almost
impossible task of dete