THEHISTORY OF MUSIC LIBRARY |
SECTION V The German School There is no trace
of any German Violins of the time of Gasparo da Sal�, or Maggini.
This is certainly remarkable, and the more so when we consider how
near were the German makers of Lutes, &c., to the old Italian
town where Violins were being made. It is evident from this non-production
of Violins that the Tyrolese were content with their Viols and Lutes,
and did not recognise the wonderful effects of the little Violin
until it had become pretty nearly perfected by the Italians. The
manufacture of Lutes, Viols, and Guitars in Germany had in 1650,
or a little later, reached its zenith, and the exquisite pieces
of workmanship, in the shape of Lutes, Viols da Gamba, and Viols
d'Amore, richly inlaid with mother-of-pearl, ivory, and tortoiseshell,
made at this period, evidence the high state of the art. To Jacob Stainer
is due the credit, to a great extent, of changing the system of
modelling so long in vogue in Germany. Although so great a maker,
he was seemingly unable to free himself entirely from the proclivities
common to his countrymen as Violin makers. There remained, after
all Stainer's changes, the German sound-hole and extra arching,
&c. Yet it must be readily admitted that the example which Stainer
put before his countrymen was of great value, and served to engender
an improved style throughout the Violin manufacture of Germany.
The exceptional merits of this famous German artist were soon recognised,
and his followers were legion. Among them were Sebastian Kloz, George
Kloz, Egidius Kloz, and other members of that, perhaps the largest,
family of Fiddle-makers the world has seen (had they been as good
as they were numerous, what stores of prized Violins would have
been bequeathed to us!); Reiss, of Bamberg; Rauch, of Breslau; and
Leopold Widhalm, of N�remberg, who was one of Stainer's best imitators;
and others less known. There were several
German makers—led, possibly, by the example of Stainer and
Albani the younger—who turned their attention to Italy, as
furnishing models superior to their own, and thus combined the styles
of both countries; while they endeavoured to copy closely the Italian
masters, without attempting to be original. Niccol� Amati was the
maker whom these men chiefly copied, and most successfully did they
perform their task. These copies, however, did not meet the success
to which they were entitled, and the popularity of Stainer's mode
was then so great that the instruments made upon systems other than
his found no favour in the Fatherland. The makers who were copyists
of the Italian masters were Ruppert, Bachmann, Jauch, and Eberle
of Prague. When we consider
the long list of makers forming the German School, we cannot fail
to feel surprised that the number of really good artists was not
much larger; and our surprise increases when the close proximity
of the Tyrolese workers to the chief Italian centres of the manufacture
of Violins is also considered. If the names of Jacob Stainer and
Mathias Albani be excepted, the list is singularly destitute of
makers famous for originality. The Germans were certainly great
in the manufacture of the older stringed instruments, but seem to
have made a poor beginning in the making of Violins. The form selected
was bad, and they failed to improve upon it to any great extent.
It would be quite impossible to furnish anything approaching a complete
list of German makers, their number being so extended, and so many
of their instruments being anonymous, and withal so weak in character
that it is hard to discern them. Every care, however, has been taken
to render the following list as complete as possible. German Makers ALBANI, Mathias,
Botzen. M. F�tis, quoting the Biographical Dictionary of Moritz
Berman, with regard to Albani, states that he was born in 1621,
and died in 1673. The form is somewhat like Stainer's, but higher
and heavier in construction. The varnish is very rich. Wood of good
quality. ALBANI, Mathias,
Botzen, about 1650-1712. Son of the above. This maker should, perhaps,
have been classed with those of Italy, his style being Italian;
but as he was the son of the well-known German maker, it was thought
best that his name should follow that of his father under the head
of German makers. The son has shown but faint marks of having been
tutored by his parent in the art of Violin-making. He is said to
have visited Cremona, in order to receive instruction there under
Amati, and this circumstance may have given to his work that Italian
air which is so pleasing to the connoisseur. This maker is often
credited with the work of the elder Albani, it having been supposed
that there was but one of that name. The model is good, and the
workmanship throughout demands high praise. Gerber states that the
famous Violinist, Tomaso Albinoni, possessed two Violins of this
maker, dated 1702 and 1709. ALBANI, Paolo, Palermo,
about 1633. Probably related to the Albanis of Botzen. See ARTMANN, ——,
Weimar, near Gotha, 18th century. Was originally a joiner. Copied
Amati very cleverly. The varnish is frequently of amber colour. BACHMANN, Carl Ludwig,
born at Berlin, 1716. Court musician and Violin-maker. The work
is clean, and not without style. Bachmann was a performer on the
Viol. In 1765 he was appointed instrument maker to the court of
Frederick the Great. Bachmann, in conjunction with Ernest Benda,
founded in 1770 the concerts for amateurs at Berlin. He died in
1800. BACHMANN, O., Halberstadt,
Violin-maker, and author of a handbook on the construction of bow
instruments, published in 1835 at Leipsic. BAUSCH, Ludwig C.
A., Leipsic, born at Nuremberg in 1815. Pupil of B. Fritsche in
Dresden. BAUSCH, Ludwig B.
Son of the above. BAUSCH, Otto B.,
Leipsic, born 1841, brother of the above. BECKMANN, Sweno,
Stockholm, about 1700. The work is rough. BEDLER, ——,
about 1750. B�LA, Szepessy, born
at Budapest in 1856. Now living in London. BINDERNAGEL, ——,
Gotha, 18th century. Copied Amati chiefly. There are a few of his
instruments which are on the model of Stradivari, and are highly
valued in Germany. BUCHSTADTER, Gabriel
David, Ratisbon, 18th century. His Violins are not equal in merit.
Some have excellent wood, others very indifferent. When one of his
best instruments can be procured, it is a good substitute for a
second-class Italian. CHRISTA, Joseph Paul,
Munich, 1730. DIEL, Martin (spelt
Diehl by later members of the family), Mayence, worked with Nicolaus
D�pfer, and later with Carl Helmer of Prague. He was a son-in-law
of D�pfer. DIEL, Nicolaus, born
1779, son of Martin, worked with his uncle Jacob Steininger of Frankfort.
He succeeded to the business of his father. Died 1851. DIEL, Johann, brother
of Nicolaus. DIEL, Jacob, son
of Nicolaus, settled in Bremen 1834, later in Hamburg. Died 1873. DIEHL, Nicolaus Louis,
Hamburg, son of Jacob Diehl, died 1876. DIEHL, Friedrich,
Darmstadt, born 1814, son of Nicolaus, received a bronze medal,
Paris Exhibition, 1867. DIEHL, Johann, Mayence. DIEHL, Heinrich, son
of Johann. D�PFER, Nicolaus,
1768. The instruments of this maker are well made; the model is
less raised than that of many German makers. He made a few large
Tenors. D�pfer was the master of Martin Diehl. DURFEL, J. G., Altenburg,
18th century. A well-known maker of Double-Basses. EBERLE, J. Ulric,
Prague, about 1730-50. Was a good copyist of the Italian masters.
Eberle also made Viols d'Amour. EDLINGER, T., Prague,
about 1712. EDLINGER, Joseph
Joachim, Prague. Son of the above. Worked for some time in Italy.
Died 1748. ELSLER, Johann Joseph,
Mayence, 1720-50. Made many good Viols da Gamba. ERNST, Franz Anton,
born in 1745 in Bohemia, died in 1805. He was an eminent Violinist,
and received lessons from Antonio Lolli. In 1778 he was engaged
as Court musician at Gotha. He took great interest in Violin-making,
and made several excellent instruments. FELDEN, M., Vienna,
about 1550. Maker of Viols. FICHTOLD, Hans, about
1612. Lute-maker. FICHTL, Martin, Vienna,
1757. Large pattern, good varnish, wood of excellent quality. FICKER, Johann Christian,
Cremona, 1720. Said to have lived in the midst of the greatest makers
the world has had; if so, he certainly did not make himself acquainted
with the art of Violin-making as understood in Cremona. His instruments
may have been made at Mittenwald, and dated from Cremona. FICKER, Johann Gotlieb,
Cremona, 1789. FISCHER, Zacharie, W�rtzburg,
1730. This maker adopted the practice of baking the wood for
the manufacture of Violins. FISCHER, Anton, Vienna,
died 1879. FREY, Hans, Nuremberg
and Bologna, born about 1440. A celebrated maker of Lutes. He was
the father-in-law of Albert D�rer. John Evelyn, in his Diary, 1645,
after speaking in praise of the cheese and sausages of Bologna,
refers to the great celebrity of the Lutes by the old makers of
that city, and mentions Hans Frey. He says they "were of extraordinary
price, and the workmen were chiefly Germans." FRITZCHE, ——,
Leipsic, about 1780-1810. GEDLER, Johann A.,
Fussen, about 1750. GEDLER, Johann B.,
Fussen, about 1780. GEISSENHOF, Franz,
Vienna, died 1821. The initials F. G. sometimes branded on the button.
Stradivari model. Good work. GERLE, Johann, Nuremberg,
1533 to about 1550. Maker of Lutes and Viols. He also published
a book on the Lute, 1533. GRIESSER, Matthias,
Innspruck, 1727. GRIMM, Carl, Berlin,
born about 1794. He died at Berlin, 1855, and was succeeded by a
son, Ludwig Grimm. GROBITZ, A., Warsaw,
about 1750. GUGEMMOS, Fussen,
Bavaria, 17—. Indifferent work. HAENSEL, Johann A.,
Berlin. Contributed an article to the "Leipsic Musical Gazette"
in 1811, entitled "Ueber den Bau der Violin." HAMBERGER, Joseph,
Presburg, 1845. HAMM, Johann Gottfried,
Rome, 18th century. Made instruments of a wide pattern, often with
ivory edges, and branded inside with his initials. HAMMIG, W. H., Leipsic.
Now living. HASSERT, ——,
Eisenach, 18th century. HASSERT, ——,
Rudolstadt, 18th century. HELMER, Carl, Prague,
born 1740. Pupil of Eberle of Prague. HILDEBRANDT, Michael
C., Hamburg, 1770. HILTZ, Paul, Nuremberg,
1656. Maker of Viols. HOFFMANN, Martin,
Leipsic, about 1680 to 1725. Maker of Lutes and Viols. HOFFMANN, Johann
Christian, Leipsic, about 1720. Son of Martin Hoffmann. Lute and
Viol maker. HORNSTAINER, Joseph,
Mittenwald, about 1730. Made a few Double-Basses of good quality. HORNSTAINER, Matthias,
Mittenwald, about 1800. HORIL, Jacob, Rome,
about 1742. HULLER, August, Shoeneck,
about 1775. HUMEL, Christian,
Nuremberg, about 1709. HUNGER, Christoph
Friedrich, Leipsic, born at Dresden, 1718, died 1787. One of the
best German makers. JAIS, Johann, Botzen,
about 1776. There were other makers of this name. JAUCH, Johann, Gratz,
Styria, Austria. Worked in Dresden about 1774. KARB, ——,
K�nigsberg, Maker of Viols. KAMBL, Johann A., Munich,
1640. KEMBTER, ——,
Dibingen, about 1730. Stainer model. Good wood, and work well purfled. KIAPOSSE, Sawes, St.
Petersburg, 1750. KIRCHSCHLAG, ——,
Tyrol, 1780. KLOZ, Matthias, Mittenwald,
1656-1743. Is reported to have been a pupil of Stainer. The work
is good and the varnish in some cases of a mellow quality, in others
somewhat thin. Some of the wood that he used was cut at the wrong
season, and is consequently worm-eaten. KLOZ, Sebastian,
Mittenwald, 1696-1750, son of Matthias Kloz. The instruments of
this maker are much esteemed. The model is flat as compared with
most Violins of the German school. The varnish varies. KLOZ, George, Tyrol,
1687-1737, brother of Sebastian Kloz. Instruments well made, chiefly
yellow in colour; wood often worm-eaten. KLOZ, Egidius, Mittenwald,
1675-1711. KLOZ, �gidius, Mittenwald,
1733-1805. Son of Sebastian. One of the best of this very large
family of makers. KLOZ, Joseph, Mittenwald,
son of Egidius. KLOZ, J. Karl, about
1741. Good work, dark varnish, ornamental border round label. KNITTLE, Joseph, Mittenwald. KNITTING, Philip, Mittenwald,
1760. KOHL, Johann, Munich,
1580. Lute-maker to the Bavarian Court. KOLDITZ, J., Rumburg, died 1796.
KOLDITZ, Mathias Johann, Munich, 1720. KRAMER, H., 1717, Viol-maker. KRINER, Joseph, Mittenwald,
1786. LASKA, Joseph, Prague,
born at Rumburg, 1738, died 1805. Worked with J. Kolditz. LEMB�CK, Gabriel,
Budapest, 19th century. Maker; also known as a repairer of old instruments. MANN, Hans, Naples. MAUSSIELL, Leonard,
Nuremberg, 1745. Stainer pattern, excellent workmanship. Thin yellow varnish,
raised edges. The style and work is not unlike that of Tecchler. MAHER (MAIER), Andreas
Ferdinand. Good varnish, sometimes with lion scrolls. MEUSIDLER, Johann,
Nuremberg, about 1550. Maker of Viols. MOHR, Philip, Hamburg,
17th century. Viol-maker. MOLDONNER, Fussen,
Bavaria, 18th century. NIGGEL, Simpertus,
Fussen, 17—. Flat model, good workmanship. Branded inside
with initials S. N. OHBERG, Johann, Stockholm,
1773. Workmanship of average merit. Varnish mostly of yellow colour. OTT, Johann, Nuremberg,
about 1463. Lute-maker. OTTO, Jacob August,
born at Gotha, 1762, died 1830. Violin-maker to the Court of Weimar.
Received instructions from Franz Anton Ernest. He published a work
in 1817 entitled, "Ueber den Bau und die Erhaltung der Geige
und aller Bogeninstrumente," and another work with more information
in 1828, the first English edition of which was published in 1848. OTTO, Georg August,
son of Jacob August, born 1807, died 1859. Succeeded to the business
of his father at Jena. OTTO, Christian,
Halle, second son of Jacob August. Born 1813, died 1876. OTTO, Heinrich, Berlin,
third son of Jacob August. Born 1815, died 1858. OTTO, Carl, Ludwigslust,
fourth son of Jacob August. Born 1825. Violin-maker to the Court
of Mecklenburg. Died in 1883. OTTO, C. U. F., Stockholm,
fifth son of Jacob August. Died 1884. OTTO, Ludwig, St.
Petersburg, son of Georg August. Born at Cologne; died 1887. OTTO, Louis, Dusseldorf,
son of Carl, now living. OTTO, Hermann, St.
Petersburg, son of Ludwig. Died 1884. PARTH, Andreas Nicholas,
Vienna, 18th century. PFRETZSCHNER, Johann
Gottlob, Cremona, 1750. Very commonplace. PFRETZSCHNER, Carl
Friedrich, Cremona, son of the preceding; no merit. PLACK, F., Schoenbock,
1730-45. POSSEN, L., Schoengau,
Bavaria, about 1553. Maker of Viols and Lutes. RAUCH, ——,
Wurtzburg. RAUCH, Jacob, Manheim,
1720-50. Brother of the above. Court Violin-maker. RAUCH, Sebastian,
Hamburg, 1725. High model, rough workmanship. A maker of this name
is said to have worked at Leitmeritz, Bohemia, about 1750. Possibly
the same. RAUCH, ——,
Breslau, about 1750. REICHEL, Johann Gottfried,
Absam, 18th century. REICHEL, Johann Conrad,
Neukirchen, 18th century. REICHERS, August,
Berlin, 19th century. Pupil of Bausch of Leipsic. RIESS, ——,
Bamberg, about 1750. R�SCHER, C. H. W.,
Bremen, about 1871. ROTH, Christian,
Augsburg, 17th century. RUPPERT, Franz, Erfurt,
18th century. RUPPERT, J. N., Erfurt,
1719-28. SAINPRAE, Jacques,
Berlin, 17th century. A Baryton Viol of this maker is among the
musical instruments at the Kensington Museum. It is said to have
belonged to Johann Quantz, the famous flute-player. The Baryton
was a favourite instrument with Haydn. He composed several pieces
for the instrument, and was fond of playing it. The Baryton, or
Viol di Bordone, is of the character of the Viole d'Amour, being
strung with sympathetic metal strings. It is, however, a large and
more complicated instrument. SAWICKI, C. N., Vienna,
1792-1850. SCHEINLEIN, Mathias
F., 1710-71. High built; dark varnish. SCHEINLEIN, Johann
Michael, Langenfeld, son of the above. Similar characteristics. SCHELL, Sebastian,
Nuremberg, 1727. Lute-maker. SCHLICK, ——,
Leipsic. SCHMIDT, ——,
Cassel, 1800-25. Copied Stradivari
indifferently; wood of an inferior kind. SCHONFELDER, Johann
A., Neukirchen, about 1743. SCHONGER, Franz,
Erfurt, 18th century. SCHONGER, Georg,
Erfurt, son of the above. SCHORN, Johann, Innspruck,
about 1680. An excellent maker; the varnish is similar to that of Albani; high modelled. He appears to have removed to Salzburg.
There are Viols of his make dated from there in 1696 and 1699. SCHORN, Johann Paul,
Salzburg, about 1700-16. Court instrument-maker. SCHOTT, Martin, Prague.
Chiefly known as a maker of Lutes. SCHWARTZ, Strasbourg,
about 1845. Several of this name worked in Strasbourg. SCHWEITZER, J. B., Budapest,
died 1875. Flat model, neat workmanship. Made a few Tenors. STADELMANN, Daniel,
Vienna, 1680-1744. Good work, model of Jacob Stainer. Thin varnish,
sometimes yellow colour. STADELMANN, Johann
Joseph, Vienna, 18th century. Copied Stainer; average merit. STAINER, Jacob, Absam,
born July 14, 1621, at Hall. The celebrity of this maker is second
only to that of the great Cremonese artists. His admirers in Germany
and England were, at one time, more numerous than those of the principal
Italian makers. In a manuscript note which Sir John Hawkins added
to his own copy of his History of Music (1776), he says, "The
Violins of Cremona are exceeded only by those of Stainer, a German,
whose instruments are remarkable for a full and piercing tone."
To the connoisseur of to-day such commendation may seem inexplicable,
and cause him to believe that Fiddle admirers of past times were
incapable of appreciating true beauty of form, and its bearing upon
sound, or else that fashion made its influence felt on the Fiddle
world as elsewhere. It would be absurd to deny that the greatest
German maker of Violins that ever lived was a man of rare abilities,
because it is indelibly written on his chief works that he was a
thorough artist. Therefore an expression of surprise that Jacob
Stainer has been estimated higher than even Stradivari by the Germans
and English, must not be understood as a reflection on his abilities,
since it refers to the form that he chose to give to his works.
To account for the apparent inconsistency in the works of Stainer,
and to strike the balance between his exceptional abilities on the
one side and his model on the other, is not easy. His form was not
a borrowed one; it is as original as that of Stradivari—a
fact which makes it more than ever unintelligible that he should
have been content with it. To arrive at anything approaching to
a satisfactory solution, we must endeavour to trace the history
of this model. Jacob Stainer was born in the Tyrol, and passed there
his early years, and probably received his first instructions from
one of the old Tyrolean Lute and Viol makers, at a period when they
raised their model, and introduced into the German School the scooping
round the sides of the backs and bellies, the inelegant sound-hole,
the harsh outline, and uncouth scroll. As experience ripened his
understanding, he may have felt that these characteristics of the
German School were not such as could be moulded with advantage by
an artist, whatever his talent might be, and resolved to do his
best to unlearn much that he had acquired. In order to do so with
any chance of success, but one course was open to him—that
of studying the works of the Italian masters. It has been stated
that he went to Italy when very young. With this view I do not concur.
In all cases where there is an absence of direct evidence, opinions
can only be formed from particular analogies bearing on the case
under consideration. Now in the case of Stainer we have nothing
to guide us but his variations of style, and dates of time and place.
What is the result of a careful investigation of every particle
of evidence that we can glean? The style is ever German, although
the great maker is head and shoulders above all his countrymen who
followed his art. I am thus forced to believe that had so excellent
an artist visited Italy in his youth, as reported, there would have
remained but the faintest trace of its origin. That men of less
ability should be unable to entirely sever themselves from their
national style of work, even under circumstances most favourable
for such a release, I can readily understand; it is an incapacity
which has been exemplified over and over again; but Jacob Stainer
was not one of these ordinary men; he had not his superior in the
school of Cremona as a finished workman, with the single exception
of Antonio Stradivari. I believe, therefore, that the German style
was deeply rooted within him when he ceased to be young, and that
if he went to Cremona or Venice, it was not until he recognised
the inferiority of the school in which he had been bred, as compared
with that of Cremona or Venice. That he did not go far enough in
his "second thought" is pretty well acknowledged on all
sides. His originality was conceived in the German School, amid
the worst examples, and it was too late to undo what had gone before.
Here, then, lies, I consider, the key to the seeming anomaly that
so great a maker as Stainer should have adopted and clung to so
clumsy a model. That he became acquainted with much of the best
work of the Italians is evidenced by his improved style. The varnish
he used furnishes even stronger evidence of his having possessed
a knowledge of the subject equal to that of the Cremonese makers.
Whether he acquired this knowledge in Cremona or Venice cannot be
stated with certainty, but I am inclined to believe that he gained
it in the first-named city. Who but an artist acquainted with the
best work of Italy in Violin-making could have made those exquisite
Violins known as "Elector Stainers"? The wood, selected
for its rare loveliness, the finished workmanship, and charming
rose-coloured varnish, render these works of art of which one glimpse
is a never-fading memory. These works show the diligent zeal with
which Stainer laboured in his studies of the Italian masters. He
contrived to give these instruments an air of grace quite foreign
to the best efforts of his brother German makers. In the sound-hole
and scroll is observable his seeming desire to leave behind the
German preferences; and although it must be admitted that he was
but partially successful in his endeavours to stamp out early tendencies,
the connoisseur cannot but be impressed with the results of the
artist's manipulations. Had such skill been exercised on a form
nearer akin to the Italian, the result would have been perfect. Prior to the publication
of the interesting facts obtained by Herr S. Ruf, relative to the
personal history of Jacob Stainer, we had no really reliable account
of this famous maker. The industry and research of Herr Ruf has
not only supplied all the ascertainable facts with regard to Stainer,
but also served to trace the history of Stainer fiction. The last-mentioned
portion of Herr Ruf's labours is singularly instructive as to the
manner in which romance is spliced on to what is intended to be
sober history, and which results oftentimes in the graft being rendered
invisible, or even unsuspected. He tells us that the first mention
of Jacob Stainer is that made by Johann Primisser, about a century
after the death of the Violin-maker, and that he merely states that
there lived in Absam in 1673 a celebrated maker named Stainer. Early in the present
century Counsellor Von Sardagna collected certain particulars concerning
Stainer, which were published in 1822. He states that Stainer lived
at Absam, that it is traditionally reported that he went to Venice
or Cremona, and died a madman. It appears that this slight material
was at once utilised for the manufacture of nearly all the romantic
accounts of Stainer with which we are familiar. Herr Ruf says that
in the year 1825 there appeared in a German literary publication
a poetical effusion entitled "Jacob Stainer," and that
in 1829 Dr. Johann Schuler published a novel of great merit on the
same subject. Herr Ruf states that
August Lewald in 1835 made the novel of Dr. Schuler the basis of
the romantic account of Stainer, published in his "Guide Book
to Tyrol," under the title of "An Evening in Absam,"
but without any acknowledgment whatever. Notwithstanding the growth
of Stainer literature down to 1835, not a single historical fact
concerning the maker had been brought to light. In the year 1839
Herr Ruf began his labours of research. He discovered at Hall a
register of the parish of Absam, wherein he found all the information
we possess as regards the birth and death of Stainer and his family.
About this period the poem of Dr. Johann Schuler, "Jacob Stainer,"
was dramatised by Theodore Rabenalt. Other poems based on the same
material appeared in 1843, but still the facts of Stainer's life
were all but unknown. At length Herr Ruf was prevailed upon by Dr.
Schafha�lt (an ardent admirer and collector of Stainer's Violins)
to prosecute his inquiries concerning the great maker. In the archives of
the town and salt mines at Hall, Herr Ruf found much information,
which he published in the local newspapers, the ephemeral nature
of which naturally placed his valuable contributions beyond the
reach of those likely to value them. In the meantime Nicolaus Diehl,
of Hamburg, published a little book on Violins, into which was imported
a portion of the romance traceable to the novels or poems on Stainer.
Herr Ruf, feeling disappointed that his labours in discovering the
facts relative to Stainer had failed to clear away the cloud of
Stainer fiction, published in 1872 his book, "Der Geigenmacher
Jacob Stainer von Absam in Tirol," which gives us a full account
of his researches, and should have secured to him the full credit
due to his industry. His facts, however, like the good fiction found
in Dr. Schuler's novel, "Jacob Stainer," have been used
by German writers on the subject of the Violin without any acknowledgment.
Herr Ruf died at Hall in the year 1877. It is said that Stainer
was apprenticed to an organ-builder at Innsbr�ck, but owing to his
weak constitution he was unable to continue in the business, and
chose instead the trade of Violin-making. Amongst the rumours concerning
this maker may be mentioned that of his having been a pupil of Niccol�
Amati. It is certain there is no direct evidence in support of it,
neither is it shown that his work is founded on that of Amati. I
am satisfied that Stainer was assisted neither by the Brothers Amati
nor Niccol� Amati, and I am strengthened in this opinion by the
steadfastly German character of a model which no pupil of Amati
could have persisted in using, even though based on his earliest
traditions. The marriage of Stainer
took place October 7, 1645. On the 9th of October, 1658, he was
appointed by the Archduke Leopold (of Austria, Governor of Tyrol)
one of the "archducal servants," and on the 9th of January,
1669, he obtained from the Emperor the title of "Violin-maker
to the Court." About this period he is said to have incurred
the displeasure of the Jesuits, which led to his being accused of
the crime of heresy. The accusation seems to have been based on
the fact of books of a controversial kind—chiefly Lutheran—having
been found in his possession. The penalty he suffered for daring
to indulge in polemical literature was six months' imprisonment,
and his future prospects were completely shattered. Prior to this
misfortune he appears to have been in pecuniary difficulties, and
frequently at law with one Salomon H�bmer, of Kirzchdorf, from whom
he had obtained money loans. In the year 1677 he petitioned the
Emperor Leopold—who was a great patron and lover of music—to
render him pecuniary assistance, but failed to procure it. Over-burdened
with troubles, he was bereft of his reason, and died insane and
insolvent in the year 1683.
His widow was left
with a family of eight daughters, she dying in poverty in 1689,
which chronological fact disposes of the fiction, so widely circulated,
that in consequence of the great grief he experienced upon the death
of his wife he withdrew from the world, and became an inmate of
a Benedictine monastery, and that he made within its walls the famous
instruments known as "Elector Stainers," which he presented
to the twelve Electors. Whether he made them to order, in the usual
manner, whether he presented them, or where he made them, matters
little; they are works of great merit, and need no mysterious surroundings
to call attention to them. The followers of Stainer have been numerous,
and are mentioned in the lists of German and English makers. Probably
no maker is more mistaken than Stainer: the array of German instruments
called by his name is at least ten times greater than the number
he actually made. Nearly every high-built tub of a Violin sails
under his colours. Instruments without any resemblance whatever
to those of Stainer are accepted by the multitude as original Jacob
Stainers. Much of this has arisen from the variety of style and
work said to have been shown in the instruments of this maker. That
this marked variety exists I do not believe. The pattern varies,
but the same hand is traceable throughout. STAINER, Markus,
Kufstein, Tyrol, about 1659, described as a brother of Jacob. He
styled himself on his label "Citizen and Violin-maker."
Citizenship carried with it special privileges, and this maker apparently
recognised the honour by having "Burger" after his name. STAINER, Andreas,
Absam, about 1660. Mention is made of a maker of Baryton Viols of
this name. STAUGTINGER, Mathias
W., W�rzburg, about 1671. Maker of Viols and Lutes. STEININGER, Jacob,
Frankfort, about 1775. Son-in-law of the Violin-maker D�pfer, and
uncle of Nicolas Diehl, to whom he gave instructions in Violin-making. STEININGER, Franz,
St. Petersburg, son of Jacob Steininger. STOSS, ——.
Makers of this name worked at Prague, Vienna, and Fussen, about
the end of the 18th century. STOSS, Martin, Vienna,
about 1824. Flat model, good workmanship. Stradivari pattern, indifferent
varnish. STRAUBE, ——,
Berlin, about 1775. STRAUSS, Joseph, Neustadt,
about 1750. TIEFFENBRUCKER. There appear to have been several
Lute-makers of this name working in the 16th century in Germany
and elsewhere. No genuine Violins are known. TIELKE, Joachim,
Hamburg, about 1539-92. The name of Tielke is associated with the
most remarkable instruments of the Lute and Guitar kind ever produced
in relation to rich and chaste ornamentation. It is said there are
glowing accounts in old German books of the magnificent instruments
by Tielke, with elaborate designs in silver, gold, and jewels. The
ornamentation and workmanship seen in the best instruments of this
maker bear the impress of Italian art of a high order, and evidence
the employment of Italian draughtsmen by the house of Tielke. In
the collection of instruments at Kensington is a Chiterna (an instrument
of the Lute kind) of this make. The body is ornamented with tortoiseshell,
with mythological figures in ivory and precious stones. It is signed,
and dated 1539. In the possession of Mr. George Donaldson is a Guitar
of this maker, signed, and dated 1592, which is considered to be
the most artistic and highly ornamented work known by Joachim Tielke.
It is wonderfully preserved, and admirably shows the style and character
of the art-work of the period. TIELKE, Joachim,
Hamburg, about 1660-86. Viol and Violin maker. The dates met with
on the instruments signed "Tielke" cover a period of upwards
of a century and a half, and thus evidence the existence of the
house, in connection with the manufacture of musical instruments,
through two or more generations. There is, of this maker, a Viola
di Bordone in the collection at Kensington, dated 1686. Mention
is made by F�tis of a Violin dated 1670, which was in the possession
of Andr� of Offenbach; and a Chiterna dated 1676, similar to that
in the Kensington collection, is owned by Mr. George Donaldson.
M. Chouquet, in his catalogue of the collection of instruments at
the Conservatoire, Paris, refers to a Lute (No. 136) by Tielke. VOEL, E., Mayence,
about 1840. Excellent workmanship, scroll well cut. Stradivari model.
The character of work is not unlike that of Bernard Fendt. VOGEL, Wolfgang, Nuremberg, 1650.
VOGLER, Johann Georg, W�rzburg, about 1750. VOIGT, Martin, Hamburg,
about 1726. WAGNER, Joseph, 1730,
Constance. WEICKERT, Halle, 1800. WEIGERT, ——,
Lintz, about 1721. Maker of Viols. WEISS, Jacob, Salzburg,
18th century. WENGER, G. F., Salzburg,
18th century. WIDHALM, Leopold,
Nuremburg, 18th century. One of the best imitators of Stainer. The
wood is frequently handsome, the work finished with care. Varnish,
although wanting the delicacy of that of Stainer, is generally of
good quality; its colour is mostly pale red. Nearly all his instruments
are branded with the initials inside. His name has frequently been
spelt Withalm. WITTING, J. G., Mittenwald,
about 1775. WYEMANN, Cornelius,
Amsterdam, 18th century. ZWERGER, Antoni,
Mittenwald, about 1750. Neat work, good wood, varnish of the character
of that seen on the instruments of Kloz.
CONTENTS
SECTION
IV.—THE FRENCH SCHOOL AND MAKERS. SECTION
V.—THE GERMAN SCHOOL AND MAKERS
SECTION
VI.—THE ENGLISH SCHOOL AND MAKERS
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