Let us now direct our spirit of inquiry into Germany, that land of music and musicians. This country, notwithstanding its present musical position appears to have been somewhat behind the times in regard to the production of any early violin performers of note, and affords the names of fewer musicians than almost any other country during the sixteenth century, if we except Spain. An explanation of this seems to be afforded by the fact of the wars, which devastated Germany during the latter part of the sixteenth and beginning of the seventeenth centuries, and particularly the terrible Thirty Years’ war, during which five great armies overran that unhappy country, carrying desolation and havoc in every part of it. These wars destroyed the arts, which can only flourish in the bosom of peaceand happiness. It is certain that at this period the school of Germany was greatly inferior to that of Italy; it even appears that the French school began before the German to emerge from obscurity. Reason is wanting to account for the German lack of early performers, but we feel constrained to borrow the following words from Dubourg. He says: “We may observe, that, although derived originally, like all others, from that of Italy, and contracting no inconsiderable obligations to it in its progress, it has been, on the whole, much less indebted to the Italians for resources and support, than the school either of France or England.”
Although the early German performers were inferior as soloists to those of Italy or France, they were certainly able to hold their own as orchestral players. Be this as it may, they have certainly, in modern times, produced some of the finest violinists the world has seen; the music too, has long since supplanted that of Italy.
Thomas Baltzar, born at Lubec about 1630, was esteemed the finest violin performer of his time; buthe came to England as we have seen in 1658, and helped to rescue the violin from the low estimation in which it was then held, an honour, however, he only lived five years to enjoy.
It was not until the early part of the eighteenth century that any attempts were made to establish a German violin school. Amongst the first to diffuse any artistic influence may be mentioned Francis Benda, 1709-86, and John Stamitz, 1719-61, but the honour of founding a distinct school must be awarded to Leopold Mozart (father of the great W. A. Mozart) and after him came William Cramer, who ultimately came to England; these were followed by J. Salomon and Kiesewetter.
Louis Spohr, born 1784, may rightly be termed the founder of the modern German school, he was both a performer and composer of the highest order. The names of Guhr, Mayseder and Molique are also well known as performers of great merit.
* * * * * * * *
Violin making in Germany commenced with the name of Jacobus Stainer, born at Hall, near Absam, in the Tyrol, 1621, died 1683. It has been said,though without authority, that he was an apprentice of Nicholas Amati, a statement which would gain little credence on comparing the instruments of each of these makers.
The next makers in succession are the Klotz family (six in number), 1670-1741. Other makers will be found in the biographical section.
ALBANI, MATTHIAS, born at Botzen in the Tyrol, 1621, died there 1673. He adopted the Stainer model, and produced some very fine instruments.
Mattio Alban fecit Bolzan. 17
ALBANI, MATTHIAS, son and pupil of the foregoing. He afterwards went to Cremona to study the art in the Amati school, and afterwards adopted that model with great success.
Matthias Albanus mefecit, Bulfani in Tyroli. 1706
AMATI, ANDREAS, born about 1520, died about 1580. Founder of the Cremonese school. It is conjectured that he was a pupil of Gasparo da Salo. He adopted rather a small model, built rather high in the centre. Backs cut on the layers, deep golden varnish, and perfect finish, are the chief characteristics of this maker.
The tone is sweet and sympathetic, but lacks brilliancy; they are therefore valued more on account of their historical associations than as a musical medium.
AMATI, ANTONIUSandAMATI, HIERONYMUS, flourished 1570-1635. These two were sons of Andreas. They worked together it is presumed for some time, and produced many instruments of great beauty. The wood was well chosen and handsomely figured. The model selected was not quite so high as that adopted by the father. Thefholes are of beautiful shape, and the backs are cut variously in the whole or slab. The purfling, which is of exquisite quality, is inserted with the utmost skill. The tone of the instruments made by this ancient firm is sweet and pure, but is deficient in power.
Antonius, & Hieronym. Fr. Amati Cremonen. Andrex fil. F. 16 Antonius, & Hieronimus Fr. Amati Cremonen. Andrex F. 16
AMATI, NICOLAS, born 1596, died 1684. He was the son of Hieronymus, and the best artist of his family. His first efforts were simply copies of the firm last mentioned. His most celebrated fiddles are known as “Grand Amati’s.” He somewhat flattened the model of his father, and continued the arching nearer the sides, where it forms a sinking in round the edges. Thefholes are exquisitely cut, and the corners are long and strongly pronounced. The wood chosen for the bellies has a fine even grain, and the backs are beautifully marked. The varnish used by Nicolas was deeper and richer than that used by the other members of the family.
The following is a facsimile of an authentic ticket of this great maker.
Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos Fecit. 1677
BERGONZI, CARLO, Cremona, flourished 1718-47. This maker was the best pupil of Stradivarius. He at first copied his great master, but subsequently started a model of his own; rather broad and heavy, and flat arching. The scroll is strongly pronounced and finely cut. Thefholes, which are unusually long, are placed low in the body, and very near the purfling. The wood is carefully selected and the general workmanship is of superior finish; only equalled by Nicolas Amati or Stradivarius. The varnish used by Bergonzi was reddish brown, rather thickly applied.
Anno 1733 Carlo Bergonzi fece in Cremona Anno 17__ Reuifto e corretto da me Carlo Bergonzi in Cremona
BERGONZI, MICHAEL ANGELO, Cremona, 1720-60, son of Carlo, made good instruments, but they certainly suffer on comparison with those of his father. This maker had two sons called respectively Nicolaus, and Zosimo, who followed the same calling from 1739-65.
Nicolaus Bergonzi Cremonensis faciebat Anno 1760 Fatto da me Zosimo Bergonzi F anno 17__ Cremona
CAPPA, GIOFREDO, an early maker who worked in Cremona about 1590 to 1640. He was a pupil of Hieronymus and Antonius Amati, when those brothers were in partnership. In 1640 he proceeded to Piedmont and founded the school of Saluzzio, and formed there many good pupils. Cappa succeeded best in the manufacture of violoncellos.
IOFREDVS CAPPA FECIT SALVTVS ANNO 1630
GAGLIANO, ALLESSANDRO, born about 1640, died at Naples in 1725. He is said to have commenced operation in Cremona, working under Stradivarius. His instruments are flat in model, rather large, and generally of fairly good tone throughout. Varnish light yellow. The badly cut scrolls tend to mar the otherwise symmetrical proportions of this maker’s instruments. Label as follows:
Alessandri Gagliano Alumnus Stradivarius fecit Neapoli anno 1701
GAGLIANO, GENNARO, son of Allessandro, born about 1695, died 1750. He is considered the best maker of the family, and his instruments are, as a consequence, much sought after. He exercised great care in the selection of his wood, and used a much finer varnish than either his father or brother Nicolas. Whether or not he was a prolificmaker is uncertain, but instruments of his are rarely to be met with.
Januarius Gagliano, Filius Alexandri fecit Neap. 1732.
GAGLIANO, NICOLAS, another son of Allessandro, was born about 1665, died 1740. He was a finer workman than his father, paying more attention to the outward appearance of the instrument, the tone of which is pronounced very fine in his best examples. Besides violins he made a large number of violas and violoncellos. His tickets usually run: “Nicolaus Gagliano filius Alexandri fecit Neap.”
The remaining members of the family are: Ferdinando, born 1706, died 1781, eldest son of Nicolas; Guiseppe, died 1793; Giovanni, died 1806, also sons of Nicolas; Raffael and Antonio, sons of Giovanni. Antonio died in 1860. Label of Ferdinando:
Ferdinandus Gagliano Filius Nicolai fecit Neap. 17
GRANCINO, PAOLO, 1665-90, was instructed by and worked under Nicolas Amati. His instruments are of large model, light yellow varnish, large sound-holes, negligent purfling, and carelessly finished corners. The arching is flattish, and the scrolls coarse. The tone of his instruments, however, possess great power and is of good quality. Other members of the family worked in Milan.
GRANCINO, GIOVANNI BATTISTA, a good maker of the same school, probably a son of Paolo. Label as follows:
Gia. Bapt. Grancino in Contrada Largha di Milano anno 1695
GUADAGNINI, LORENZO, Placentia, 1695-1760. This maker worked for several years with Stradivarius, whose instruments he copied with more or less success. The wood chosen was generally of fine quality, and the workmanship is evidence that the maker fabricated his instruments with extreme care. The tone of a genuine Lorenzo is most brilliant in the upper register, but somewhat weak inthe lower. They are much sought after by performers where the possession of a Cremona of the first order is unattainable. The varnish used was a rich amber or yellowish red of fine quality. A ticket of this maker is as follows:
Lavrentius Guadagnini Pater, & alumnus Antonj Straduarj fecit Placentie Anno 1743
GUADAGNINI, GIOVANNI BATTISTA, was a brother of Lorenzo. He made some really good instruments, dividing his attention between the Stradivari and the Amati models. Giambattista was a son of Lorenzo, and reputed pupil of Stradivarius. He afterwards went to Piacenza and subsequently settled in Turin. His instruments are also much prized. Guiseppe, son of Giovanni, worked successively in Milan, Como and Parma. Other members of the same family also made violins, but little appears to be known of them or of their works.
Joannes Baptista Guadagnini Pla-|centinus fecit Mediolani 1703 {trademark: seal containing cross GBG P} Joannes Baptista Guadagnini {trademark: cross GBG (incomplete)} Crenionensis fecit Taurini. {missing}nnus Antoni Stradivari 17
GUARNERIUS, ANDREAS, born about 1626, died 1698.
The founder of this celebrated family of violin makers was a pupil of Nicolas Amati. His instruments are estimable for good workmanship somewhat in the style of the Amati, although marked by certain peculiar details, by which indeed they are recognised. His varnish is either golden yellow or brownish red. Andreas left two sons, Peter and Joseph.
Ticket as follows:
Andreas Guarnerius fecit Cremonæ sub titulo Sanctæ Teresiæ 16
GUARNERIUS, GIUSEPPE, usually called “Joseph,” son of Andreas, born 1666, died about 1739. Although he may have been a pupil of Andreas, he has not followed his model. Some say he followed Stradivarius, whose contemporary he was, and subsequently followed his cousin, also called Joseph, of whom we shall speak presently. He has consequently varied both in his patterns and in the details of manufacture; but his instruments are of good quality and much esteemed, and are more elegant in form than those of his father. The colour of his varnish is a brilliant red.
A ticket of his reads:
Ioseph Guarnerius filius Andreæ fecit Cremone sub titulo S. Teresie 1706
GUARNERIUS, JOSEPH ANTHONY, the most renowned of this family, was born in 1683 and died about 1745; his period of activity dating from 1725. According to M. Fétis, his father was John Baptist Guarnerius, who was a brother of Andreas.
He is usually known by the surname of “del Jesù,” because many of his labels bear this device.
{maltese cross} I.H.S.
Most authorities agree in dividing his working career into four periods. His first attempts were not marked by any characteristic sign of originality, except in the indifferent choice of material, form and in the varnish. In the second period, his instruments are found to be made with care; the wood used for the sides and back being of excellent quality, and cut on the quarter (sur maille); the deal of the belly has been well chosen; the varnish of fine complexion and elastic quality. The pattern is small, but of beautiful outline. The arching is slightly elevated and falls off towards the purfling in a graceful curve. M. Fétis in his criticism of these instruments, points out an obvious defect, namely, the too great thickness of the wood, especially in the backs, which tends to impede the freedom of vibration, and consequently the brilliance of sound. In the third or grand period of his career, Joseph Guarnerius, says the same authority, presents a still more surprisingvariety in the forms of his instruments. During this period he produced instruments of large pattern, made of excellent wood cut (sur maille); and conformably to the best conditions possible, in respect to arching and degrees of thickness. A beautiful varnish of a lovely orange shade, remarkable for its fineness and elasticity, protect these excellent instruments, which are considered equal to the most beautiful productions of Anthony Stradivarius. We now arrive at the fourth period, which, it is sad to observe, forms a striking contrast to the glorious third. Here we have evidence of a lamentable falling off. The master seems to have worked carelessly, the wood is poor, as is the varnish.
Reports have been handed down to account for this apparent degeneration of talent, but as it is impossible to verify the same, it can serve no good purpose to here relate them. It only remains to be said, concerning this great master, that he has built up a reputation that is not likely to suffer by mere rumour.
Paganini possessed one of the finest examples of a del Jesù, which was presented to him by a M. Livron,a French merchant of Leghorn. At his death, 27th May, 1840, Paganini bequeathed it to his native town, Genoa, where it is preserved in a glass case in the museum.
Joseph Guarnerius fecit {trademark: cross IHS} Cremonæ anno 17__
GUARNERIUS, PIETRO, Cremona, eldest son of Andreas, born 1655, and lived to an advanced age. His first productions, which are of flat model, are dated from Cremona, but later on he established himself at Mantua, where he manufactured a great quantity of instruments of undoubted merit, but have the fault of too high an arching, and some there are wanting in brilliancy of tone. His tickets usually run:
Petrus Guarnerius Cremonensis fecit Mantuæ sub. tit. Sanctæ Teresiæ 1693
This maker had a nephew also called Pietro, who worked at Mantua from about 1725 to 1740, andsubsequently in Venice till about 1755. He was a pupil of his uncle, but his work is less esteemed.
LANDOLPHUS, CARLO, Milan, 1750-1775, reputed pupil of Guarnerius. This maker was decidedly original in his pattern. Although his instruments are not characteristic of great beauty as regards outline, they possess a very pleasing tone. He is one of the last of the old Italian school, consequently his instruments are rapidly increasing in value. The most striking point observable in his work is the extremely weak and small scroll. He left a number of instruments unpurfled and otherwise in an unfinished state. Those with the light red varnish are considered the best. He also made some violoncellos of small size. Ticket:
Carolus Ferdinandus Landulphus Fecit Mediolani in Via St. Margaritae Anno 1755.
MAGGINI, GIOVANNI PAOLO, born 1580, died about 1640. This distinguished maker is the second representative of the Brescian school,and reputed pupil of Gasparo da Salo. According to recent researches, Maggini was born in Botticino Sera, a small village not far from Brescia.
Maggini’s instruments are in general of large pattern; their proportions are similar to those of Gasparo da Salo, and the style of workmanship almost identical. The swell or arching is decided, and reaches almost to the edges. The sides or ribs are narrow; the bellies very strong and of good quality, the backs generally thin, with the wood cut on the layers. The varnish, which is remarkable for its delicacy, is of a yellowish light brown colour; sometimes, however, he used a brownish red varnish. In either case it is of excellent quality. The extended dimensions, and the proportion of the arching relative to the various thicknesses of the wood, impart to most of these instruments a superb, grave and melancholy tone.
Another characteristic of this master’s productions is found in his ornamentation. He generally affected a double row of purfling and various other decorations, and although Maggini was not alone in this respect, he appears to be the last maker whorelinquished the practice of introducing any ornate addition, which, anterior to his period, was considered so essential to the finish of an instrument.
Maggini is credited with being the first maker who paid any real attention to the inside of the instrument, having, it is said, introduced the side linings and corner blocks, which have ever since been asine qua nonof construction.
De Beriot, the great violinist, was an admirer of Maggini’s violins.
Tickets of this celebrated maker are not dated. The following is a copy of one:
Paolo Maggini in Brescia
MONTAGNANA, DOMINIC, Cremona and Venice, 1700-1740. He was probably a pupil of Nicolas Amati, whose model he at first copied, but subsequently modified this for one of his own, of a somewhat large pattern. The scroll is larger and more powerful than that of his reputed master and in the sound holes he also differs. As regards the arching and outline, the Amati type is at onceapparent. The varnish is superb, and of golden brown transparency. The wood chosen is always the very finest, and the workmanship is all that can be desired. He also made some very fine violoncellos. His best instruments, which are of great rarity, are dated from Venice.
Dominicus Montagnana Sub Si-|gnum Cremonæ Venetiis 1729.
RUGERI, FRANCESCO(Ruger or Ruggeri), Cremona, 1670-1720. This excellent maker was a pupil and follower of Nicolas Amati (some writers say Hieronymus). His instruments are much sought after, and, as a consequence, are extensively copied and passed off as genuine. His varnish is generally dark golden brown.
Francesco Ruger detto il Per Cremona 1697
RUGERI, GIAM-BATTISTA, supposed to be a brother of the foregoing, pupil of Amati, born at Cremona, 1660. He subsequently went to Brescia,where he worked from about 1670 to the end of the century. Ticket:
Io. Bap. Rogerius Bon: Nicolai Amatide Cremo-|na alumnus Brixiæ fecit Anno Domini 1671
SALO, GASPARO DA(or Gasparo di Bertolotti), born 1542, died 1612. This is the earliest maker of whom any reliable record is extant. He is said to have been born at Salo in Lombardy, and afterwards to have settled in Brescia. Gasparo is generally credited with the honour of inventing or producing violins in their present shape. He seems to have devoted his early period to the manufacture of lutes and viols, and subsequently to have turned his attention to the violin, which he greatly improved, thereby founding the Brescian school of violin makers; the earliest known. The violins of Gasparo which have now become very scarce, do not, it is true, exhibit that indication of finish so observable in the instruments produced by his reputed pupil, Maggini, but his model is excellent and the tone good, being somewhat analogous to that of the tenor. The factthat Gasparo never dated his labels, makes it difficult to determine with certainty the exact period of his activity.
Facsimile label as follows:
Gasparo da Salo, In Brescia.
SERAPHIN, SANCTUS(Santo Seraphino), 1710-1748, worked in Venice, and is considered one of the most careful and painstaking makers of the Italian school. His wood is beautifully figured and well selected. His purfling is excellent, and he used a fine brilliant varnish. He usually branded his instruments near the button. Ticket as follows:
Sanctus Seraphin Utinensis Fecit Venetiis Ann. 17__ {surrounded by decorative scrollwork}
STORIONI, LORENZO, Cremona, 1780-1798. The last of the old Cremonese school. He sometimes copied Joseph “del Jesù,” at others, he followed his own originality. His instruments exhibit great variation; notably in the position of the sound holes, which he never placed twice alike. He used a poor varnish which clearly indicates the change of process which was then taking place. Although these instruments are far from being graceful in outline or beautiful in appearance, they are capable of producing a good tone; in fact, in Italy a good Storioni is highly spoken of. This maker does not appear to have made many violas or violoncellos. Ticket:
Laurentius Storioni fecit Cremonæ 1723.
STRADIVARIUS, ANTONIO, the king of fiddle makers, born at Cremona, 1644, died 1737. This great master was an apprentice in the workshop of Nicolas Amati. At the age of twenty-three years he produced some violins, the exact reproductions ofhis master, and into which it is said he placed the labels of Nicolas. In the year 1670 he signed his instruments with his own name. From that date, until about 1690, he produced but few instruments, and it is conjectured, that during this period of twenty years, his labours and researches were more in the nature of experiments than of commercial enterprise.
From the year 1690 the individuality of Stradivarius began to assert itself. It was then that he began to give greater amplitude to his model. He reduced the high arching hitherto prevailing, and determined with much nicety the various thicknesses of wood, but he still retained many of the chief characteristics of his master. The productions of this period are called “Long Strads.” From 1700 to 1725 Stradivarius was in the full lustre of his fame. During this period he made those masterpieces known as the “Grand Pattern.” “He no longer felt his way, but being certain of all that he did, he carried his manufacture, even to the minutest details, to the highest possible finish, especially withregard to the varnish, the quality of which is fine and extremely supple.”
“The workmanship of the interior of the instrument displays no less perfection; all is there finished with the greatest care. The degrees of thickness are adjusted in a rational manner, and are remarkable for a precision which could not have been attained except by long study and experiment. The back, the belly, and all the parts of which the instrument is composed, are in a perfectly harmonious relation. It was, doubtless, repeated trials and diligent observations, which also led Stradivarius, throughout this period of his productive career, to make the blocks and sides of his violins of willow, the specific lightness of which surpasses that of every other wood. In short, everything had been foreseen, calculated, and determined with certainty, in these admirable instruments. The bar alone is too weak, in consequence of the gradual rise in the pitch, from the beginning of the eighteenth century; the inevitable result of which has been a considerable increase of tension, and a much greater pressure exercised on the belly. Hence the necessity has arisen for re-barringall the old violins and violoncellos.” Such is Fétis’s description of this grand period.
From 1725 to 1730, Stradivarius produced fewer instruments than he had previously done in the same period of time. Although they are very good, the workmanship no longer displays the same perfection. The arching becomes more rounded, which tends to impair the clearness of the sound, and the varnish is brown.
After the year 1730, the master exhibits a decided falling off. Stradivarius, in his eighty-sixth year, still, however, continued at his bench, assisted by his two sons, Omobono and Francisco, and his pupil, Carlo Bergonzi, who partially, if not wholly, kept the business going. Stradivarius signed many of his instruments as having been made simply under his direction. After the death of this great maker, many instruments which remained unfinished in his workshop were completed by his sons. Most of these instruments bear the father’s name.
Stradivarius died at the great age of ninety-three years, and he was buried in the Cathedral of Cremona.
Facsimile of a written ticket:
{handwriting}
Facsimile of a printed ticket:
Antonius Stradiuarius Cremonensis Faciebat Anno 1719 {trademark cross above A S}
STRADIVARIUS, FRANCISCO, Cremona, born 1671, died 1743.STRADIVARIUS, OMOBONO, born 1679, died 1742. These two were sons and pupils of the great Stradivarius, and the only members who followed their father’s calling, with whom they worked until his death; the father during the latter period of his life, signing the instruments “sub disciplinâ Antonii Stradivarius.” After the death of their illustrious father, they each worked on their own account. Francisco is reputed to have manufactured some good violins from 1725 to 1740; his brother chiefly occupyinghimself in repairing. The productions, however, of these two brothers sink into insignificance when compared with those of their renowned father.
Franciscus Stradivarius Cremonensis Filius Antonii faciebat Anno 1742 Omobonus Stradiuarius figlij Antonij Cremone Fecit Anno 1740 {trademark a T s}
TECHLER, DAVID, Rome, 1680-1740. He is said by some to be a pupil of Stainer, from the fact that he produced instruments of that type. He first worked at Salzburg, then at Venice, and finally at Rome, where he gained much experience. Instruments of this latter city are of the Italian model. His work proves him to have been a careful and studious maker. The varnish is usually deep yellow. Label:
David Tecchler Liutaro Fecit Romæ Anno 1703.
TESTORE, CARLO GUISEPPE, Cremona. Flourished 1690-1720. He produced instruments of good quality both as regards finish and tone; his model being Guarnerius. His instruments are eagerly sought after by those who desire to become possessed of a good old Italian instrument, but are unwilling or unable to give a fancy price. These instruments are, however, gradually rising in value.
TESTORE, CARLO ANTONIO, Milan, 1730, andTESTORE, PAOLO ANTONIO, Milan, 1740, sons of Carlo Guiseppe. They made excellent instruments after the model of their father, and the tone is good. Paolo frequently left his instruments unpurfled.
Carlo Antonio Testore figlio maggiore del fu Carlo Giuseppe in Contrada lar-|ga al segno dell’ Aquila Milano 1741.
BACHMANN, CARL LUDWIG, of Berlin (1716-1800). This maker was one of the most celebrated of the German school. He made his instruments rather strong in the wood, but now that age has been at work on them, they possess the advantage of being formed into first-class instruments by skilful repairers.
BENTE, MATTEO.A maker of the Brescian school, flourished about 1580. He made some good violins, which are chiefly to be found in collections.
BUCHSTETTER, GABRIEL DAVID, a native of Ratisbon, flourished in the latter part of the eighteenth century. He copied the Cremonese makers and used a brown varnish. His wood is rather coarse-grained, consequently his instruments are not very highly esteemed.
BUCHSTETTER, JOSEPHUS, son of Gabriel David. Made some instruments of good quality and tone, and adopted a flat model.
EBERLE, ULRIC, of Prague, about 1750, an eminent German maker, whose instruments at one time were considered nearly equal to the best Italian makers.
HELMER, CHARLES(CAROLUS), of Prague, a pupil of Eberle. He made some very fine instruments. Otto says: “They have, however, the fault that the three upper strings improve greatly by being played on, but the G string, in most of them, remains so far inferior, that while the tone of the former is such as may be expected from a full sized violin, that of the latter only resembles a child’s toy-instrument. Yet an experienced maker would find no difficulty in correcting this fault.”
HOFFMANN, MARTIN, one of the earliest representatives of the German school, flourished in Leipzig in the latter part of the seventeenth century. He was better known as a lute-maker. He made violins possessing excellent tone, but they donot find much favour by reason of their ungainly appearance.
JAUCH(orJAUG), of Dresden, early part of eighteenth century. The best description of this maker’s instruments is that contained in Otto’s treatise. “Jauch,” he says, “has manufactured very good violins on the model of the Cremonese, and displayed, in his beautiful and excellent workmanship, a thorough knowledge of the wood, and of the due proportions of strength required in the respective parts of the instrument. But his violins produce a very weak squally tone, when they have been carelessly repaired; though even in this case they may be often restored and brought nearly to equal the Italian, by placing them in the hands of an experienced maker, possessing a knowledge of mathematics and acoustics, without which they will be completely spoiled.”
KLOTZ FAMILY.This group represent well-nigh a century of activity, i.e., from about 1670 to about 1760.
KLOTZ, EGIDIUS.Born in Mittenwald. When young he quitted his native village and placedhimself under Stainer at Absam. Having learnt the art under this celebrated maker, he returned to his native place and set up in business on his own account, and soon gained considerable renown as a maker of superior instruments, so much so that his productions for some time almost eclipsed those of his master. Even now a sound specimen—which is rarely seen, is not lightly passed over. His instruments possess a fine and powerful tone.
KLOTZ, MATHIAS, 1653-1745. Worked for about twenty years in Mittenwald, during which period he produced instruments of an unsatisfactory nature. He appears to have been aware of this, and with the object of increasing his knowledge, he undertook a journey to Florence and Cremona and other centres of violin industry. With his newly-acquired experience he returned to his native place and established himself in rather a large way.
KLOTZ, SEBASTIAN, son of Mathias (1700-1760). The instruments of this maker are a decided improvement, both as regards pattern and tone. He adopted a somewhat flat model and coated his instruments with a superior varnish tothat previously used by the family. His instruments are highly valued.
Sebastian Kloz, in Mittenwald.
With regard to the other members of the family, great confusion exists in the minds of writers as to how they stood in point of relationship one with the other. In name they are: George (1723-1797), Joseph (1730-1760), Joan Carol (about 1780), Michael (about the same period).
Spurious instruments bearing the name of Klotz or Clotz flood the market, and the uninitiated should regard them with grave suspicion, unless or until the advice of a competent expert has been obtained as to their genuineness or otherwise.
RAUCH, THOMAS, of Breslau. Made some very good violins in the early part of the eighteenth century. He worked on an original model, and made instruments noted for their powerful tone.
RUPPERT, of Erfurt, a maker who worked on an extremely original model. He made all his instrumentsvery flat in model, and dispensed with the side linings and corner blocks, and omitted the purfling. The front and back tables were, however, made with due regard to thicknesses, which redeemed them somewhat from the defects above mentioned. The instruments possess a good tone and fine examples are highly priced.
SCHEINLEIN, MATTHIAS FREDERICK, of Langenfeld (1730-1771). Made fine instruments which, in his time, were in great demand. He made them too weak, consequently many of them are now practically spoiled by subsequent repairing.
STAINER, JACOBUS, born at Hall, near Absam—a short distance from Innsbruck—July 14, 1621, died at Absam, 1683. This maker is the most renowned of the German school, concerning whose early career the following account has been handed down. A priest residing in the district of Absam took a fancy to young Jacob, and had him sent to Innsbruck to learn the art of organ building under one Daniel Herz. This calling not suiting the youth’s inclinations, his master advised him to learn the art of violin making. Stainer then went to Cremona, andplaced himself under Nicolas Amati, who soon recognised the talent of his young pupil, and took great pains in instructing him in the secrets of the art. He then quitted Cremona, and for a short time worked in Venice under Vermercati, who at that time was a maker of some merit. With an accumulation of experience gained in the best schools of the time, Stainer finally returned to Absam and settled there as a maker of violins on his own account. In the year 1645 he married a Margaretha Holzhammer, by whom he had several children. His renown as a violin maker rapidly increased, but for some reason or other he found it difficult to provide for the wants of himself and family, and he was compelled to travel about the country in order to dispose of his instruments. However, in 1658, he was appointed court violin maker to the Archduke Leopold, and in 1669 received the distinction of “Maker to the Emperor”; but all these advantages and honours contributed but little to raise him from his chronic state of poverty. He now began to experience some bitter reverses. A certain creditor of his, named Solomon Heubnar, with whom he at onetime lived (Stainer left him without paying for his board) lodged an information against him charging him with the crime of heresy. He was seized and thrown into prison, and remained there six months, at the expiration of which he found himself utterly ruined and poverty stared him in the face. He was then persecuted by Count Albert Fugger for certain dues which it was customary to levy on court tradesmen. Stainer petitioned the Emperor to waive this claim, but to no purpose, his supplication being ignored, it is thought, in consequence of his previous conviction for the alleged heresy. Stainer then fell into a state of abject misery, neglected his work, and finally died out of mind. It will therefore be seen that this renowned maker worked under most distressing conditions, and it is a marvel that he was able to produce anything worthy of subsequent copying. Stainer’s house is still pointed out, and, it is said, the bench to which he was bound when mad.
Another story which has gained currency in some quarters, but in others said to be mythical, recounts that at the latter period of his life he abandonedhis calling and became an inmate of a Benedictine monastery. Here, with the assistance of a brother monk, he contrived to get together sufficient materials for the manufacture of sixteen violins of great beauty. These apparently fabulous fiddles are known as the “Elector” Stainers from the circumstance that each Elector was supposed to be the recipient of one of these instruments, the remaining going to the Emperor of Germany. For information concerning the instruments made by this unfortunate fiddle maker, the best is that contained in the treatise of Jacob Augustus Otto, maker to the Court of the Archduke of Weimar, translated from the German by Thomas Fardely, of Leeds (1833), and since then by the late Mr. Bishop, of Cheltenham (William Reeves, London).
Otto says: “The instruments made by Jacob Stainer differ from the Cremonese both in outward shape and in tone. They are higher modelled, and their proportions of strength are calculated quite differently. The nearest comparison which can be drawn between a Cremonese and a Stainer is this: a Cremonese has a strong reedy, sonorous tonesomething similar to that of a clarionet, while a Stainer approaches to that of a flute. The belly is modelled higher than the back. The highest part of the model under the bridge extends exactly one half of the instrument towards the lower broad part and then diminishes towards the end edge. It decreases in a like manner at the upper broad part towards the neck. The breadth of this model is uniformly the same as that of the bridge, from which it diminishes towards the side edge. The edges are very strong and round. The purfling lies somewhat nearer to the edges than in the Cremonese, and is likewise narrower than in the latter (the Cremonese) in which it is very broad. Thefholes in Stainer instruments are very beautifully cut, and the upper and under turns are perfectly circular. In length they are somewhat shorter than the Cremonese. The neck is particularly handsome, and the scroll is as round and smooth as if it had been turned. Some few have lions’ heads, which are extremely well carved. The sides and the back are made of the finest figured maple and covered with a deep yellow amber varnish. In some the screw (peg) box isvarnished dark brown and the belly deep yellow. The above are the most accurate marks by which the genuine Stainer instruments may be distinguished. They are rarely to be found with any labels inside, but in the few which are to be met with of the genuine instruments bearing any inscription, they are simply written, not printed. In the Tyrolese imitations of Stainers they are all printed. In the genuine Cremonese instruments they are likewise invariably printed.”
Genuine Stainers with labels have this written inscription: “Jacobus Stainer in Absam prope Œnipontum h-fis 165-.” The following is a facsimile:
Jacobus Stainer in Absam prope Œnipontum h-fis ’65
BOQUAY, JACQUES.Paris, about 1700-1735. One of the earliest of the old French school. Under whom he learnt the art of violin making is not known, but his instruments, as also those of his contemporaries, clearly indicate that the Italian influence was suffusing itself in no uncertain manner. It appears that about the middle of the sixteenth century, one Nicolas Rénault, a French viol and lute maker, travelled into Italy and became associated with Andreas Amati, and even assisted that maker in the manufacture of certain instruments for the chapel of Charles IX, in 1566, and, after a somewhat lengthened stay in Italy, he returned to France the gainer of considerable experience. Here, perhaps, may be the explanation why Boquay and the rest of the early French school principally adheredto the Amati model. Later on Boquay sought to become original, notably with regard to the sound holes and the scroll. The tone is sweet, but lacks power.