BIOGRAPHICAL.
VIOLIN MAKERS OF THE OLD SCHOOLS.
I.—ITALIAN.
ALBANI, MATTHIAS, born at Botzen in the Tyrol, 1621, died there 1673. He
adopted the Stainer model, and produced some very fine instruments.
[Illustration: 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.
[Illustration: 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, ANTONIUS and AMATI, 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. The _f_ holes 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.
[Illustration: 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. The _f_ holes 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.
[Illustration: 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. The _f_
holes, 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.
[Illustration: 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.
[Illustration: Nicolaus Bergonzi Cremonensis faciebat Anno 17_60_
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.
[Illustration: 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:
[Illustration: 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 prolific maker is uncertain,
but instruments of his are rarely to be met with.
[Illustration: 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:
[Illustration: 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:
[Illustration: 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 in the 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:
[Illustration: 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.
[Illustration: Joannes Baptista Guadagnini Pla-|centinus fecit
Mediolani 17_03_ {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:
[Illustration: 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:
[Illustration: Ioseph Guarnerius filius Andreæ fecit Cremone sub titulo
S. Teresie 17_06_]
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.
[Illustration: {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 surprising variety 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.
[Illustration: 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:
[Illustration: 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, and subsequently 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:
[Illustration: 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 who relinquished 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 a _sine qua non_ of 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:
[Illustration: 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 once apparent. 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.
[Illustration: 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.
[Illustration: Francesco Ruger detto il Per Cremona 16_97_]
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:
[Illustration: Io. Bap. Rogerius Bon: Nicolai Amatide Cremo-|na alumnus
Brixiæ fecit Anno Domini 16_71_]
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 fact that Gasparo never dated his labels, makes it difficult
to determine with certainty the exact period of his activity.
Facsimile label as follows:
[Illustration: 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:
[Illustration: 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:
[Illustration: Laurentius Storioni fecit Cremonæ 17_23_.]
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 of his 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 with
regard 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-barring all 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:
[Illustration: {handwriting}]
Facsimile of a printed ticket:
[Illustration: 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
occupying himself in repairing. The productions, however, of these two
brothers sink into insignificance when compared with those of their
renowned father.
[Illustration: 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:
[Illustration: 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, and TESTORE, 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.
[Illustration: Carlo Antonio Testore figlio maggiore del fu Carlo
Giuseppe in Contrada lar-|ga al segno dell’ Aquila Milano 1741.]
II.—GERMAN AND TYROLESE.
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 do not find much favour by reason of their
ungainly appearance.
JAUCH (or JAUG), 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 placed himself 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 to that previously used by the family. His instruments are
highly valued.
[Illustration: 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 instruments very 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, and placed
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 one time 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
abandoned his 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 tone something 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. The _f_ holes 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 is varnished 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:
[Illustration: Jacobus Stainer in Absam prope Œnipontum h-fis ’65]
III.—FRENCH.
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 adhered to 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.
[Illustration: JACQUES BOQUAY RUE D ARGENTEUIL A PARIS, 17]
COMBLE, AMBROISE DE, Tourney, Belgium (1730-1760). The best maker of the
old French school, and reputed pupil of Stradivarius. Although the
instruments of de Comble cannot be said to be on the model adopted by
the great Cremonese maker during his best period, there is nevertheless
some indication to lead to the belief that he endeavoured to follow the
renowned artist in the matter of varnish. In this respect he was fairly
successful. His instruments are rather flat and of large pattern,
somewhat on the lines of Stradivarius’s later productions, and although
they are not characteristic of refined workmanship, the material chosen
was of the best quality. He made his instruments strong in the wood,
consequently they possess a very full and rich tone. De Comble also made
some excellent violoncellos.
LUPOT, NICOLAS, born at Stuttgart, 1758, died in Paris, 1824, founder of
the modern school of violin making. His father, also a maker of some
merit, removed to Orléans in the year 1770, and in this town instructed
his son in the art which was destined to make his name famous. During
his pupilage Nicolas set himself to study the instruments of the great
Italian makers, especially those of Stradivarius, and in the result he
elected to adopt the model of this master, from which he seldom, if
ever, departed. With such diligence and enthusiasm did he labour to
produce something akin to his ideal that he soon was able to turn out an
instrument that suffered but little on comparison with the Italians of
the first water. Thus a most beneficial influence in the art of violin
making became propagated. In 1798 Nicolas quitted Orléans for Paris and
established himself in business, and there for twenty-six years he
carried on a labour of love which, as well, produced considerable
pecuniary benefits. Lupot had not been long in Paris before his work
claimed the attention of the Conservatoire, then but recently formed,
and he was accordingly appointed violin maker to that excellent
institution: he was similarly appointed to the Chapel Royal. It is not
difficult to imagine that Lupot endeavoured to revive the lost art of
making the old Italian varnish, judging from the various qualities with
which he was wont to cover his instruments. In this respect, however, he
cannot be said to have been successful, but what he did use ranks high
as a modern varnish. The instruments of this maker are highly prized,
especially those made between 1805 and 1824. An impetus was probably
given to the value of Lupot’s violins from the circumstance that the
celebrated Spohr played for a long time on a Lupot, the tone of which he
declared was “full and powerful”; in fact, the great virtuoso only
parted with this instrument on becoming possessed of a Strad. Lupot
appears to have been almost as uncertain about his labels as he was
concerning his varnish. At Orléans he adopted a Latinised inscription,
and in Paris, three labels have been noticed variously worded. The
following are copies of some labels:
N. Lupot fils, Luthier, rue d’Illiers, à Orléans, l’an 17—.
Nicholas Lupot, Luthier, rue de Grammont, à Paris, l’an 17—.
Nicholas Lupot, rue Croix des petits champs, à Paris, l’an 1817.
Nicholas had a brother named François, who became celebrated as a maker
of bows.
VUILLAUME, JOHN BAPTISTE, born at Mirecourt, October 7, 1798, died
February 19, 1875; the greatest violin maker and copier of modern times.
It is not precisely known under whom he received his first instruction
in the art of violin making. Some say his father, one Claude Vuillaume,
born at Mirecourt in 1771, died 1834, whilst others maintain that the
father was not a fiddle maker, but a carrier between Mirecourt and
Nancy. At all events, at the age of nineteen, he was engaged by François
Chanot, a violin maker of repute, who had just about that period
established a workshop for the manufacture of a new-shaped violin, which
had been patented, so it is not unlikely that François Chanot was his
first real master. He next engaged himself with one Lété, an organ
builder, who dealt in violins, and ultimately became a partner in the
concern. In 1828 he parted from Lété and continued in business alone.
During this period he found great difficulty in disposing of his
instruments; the rage being for those of Italian manufacture. He
thereupon took to fabricating copies of the old masters, and his
operations in this line appear to have been attended with great success.
As a large number of old instruments, Italian and others, passed through
his hands for repair, Vuillaume had ample opportunity afforded him for
studying and ascertaining the inward and outward conditions necessary
for the production of good tone, and this advantage he was not slow to
avail himself of. Fortified with a vast amount of experience, combined
with much knowledge gained by experiment, Vuillaume was in course of
time enabled to produce an instrument in all but one point equal to the
greatest Italian masters, the condition wanting being that of age. In
some cases, possibly through stress of trade, Vuillaume endeavoured to
supply this deficiency by giving to his instruments an appearance of
wear and long usage. In his latter years, however, he relinquished this
pernicious practice. The climax of his skill as a copyist was reached on
the occasion when he reproduced a facsimile of Paganini’s famous
Guarnerius, entrusted for repair. This copy was so marvellous in its
similarity with the original, both as regards appearance and tone, that
the great virtuoso himself failed to recognise his own instrument, and
Vuillaume had to point it out to him. In addition to his high
capabilities as a violin maker, Vuillaume was renowned as a bow maker,
and effected some improvements in that important adjunct, and on the
whole proved himself a genius of uncommon order.
[Illustration: Jean Baptiste Vuillaume à Paris Rue Croix des Petite
Champs {trademark: double circle containing cross over BV}]
IV.—BRITISH.
WILLIAM ADDISON—THOMAS COLE—EDWARD PAMPHILON—PEMBERTON—THOMAS
URQUHART—CHRISTOPHER WISE.
This group represents the early English school and the principal makers
existing during the seventeenth century. It may reasonably be inferred
that they were more at home with the viol than with the violin as known
to-day. Little can be said concerning their early productions, as they
are now all but extinct; a great portion of them probably perished in
the great fire of London in 1666, in which city some of them were
supposed to have worked.
Christopher Wise is said to have made some fairly good instruments of a
highly decorative nature.
Jacob Rayman was the better artist, and some instruments attributed to
him reflect great credit on this early school.
Thomas Urquhart was a still further advance, his outline and varnish
places him in the front rank of the period.
Edward Pamphilon made instruments of a very tubby appearance, but they
are said to possess a clear and penetrating tone; age, too, has imparted
a very rich colouring to the varnish.
Several other names have been handed down, but as they are minus the
instruments, nothing of importance can be said on the subject.
Aldred and Bolles are mentioned in Mace’s “Musick’s Monument.”
ADDISON, WILLIAM, was a maker of viols and early violins in the middle
of the seventeenth century. He worked in Moorfields, London.
AIRETON, EDMUND. A London maker about the middle of the eighteenth
century. He copied successively the instruments of Stainer, Amati and
Stradivarius, but those on the Amati model are most admired.
BANKS FAMILY. They rank among the best makers of English violins, and
genuine specimens are eagerly sought after and realise good prices.
BANKS, BENJAMIN. Born July 14, 1727, died February 18, 1795. Accounts
differ as to the place of his birth, but as his parents were living in
Salisbury in the year 1725, it is generally supposed he was born in that
town.
Banks has been justly termed “the English Amati,” and this comparison is
well deserved. His fiddles are faithful copies of the great Italian,
both as to model and varnish. These instruments are, however, very rare,
and fiddles of this model offered as genuine Benjamins should only be
purchased with the advice of experts.
Benjamin also made instruments for the then well-known music-firm of
Longman and Broderip in London. These were made on a different model,
somewhat after the Stainer model, and they are greatly inferior to his
favourite Amati fiddles, the finish and varnish indicate hurry and
carelessness. These fiddles are labelled with the name of the firm for
whom he worked. I have seen many fiddles bearing the name of Longman and
Broderip and said to have been made by Benjamin Banks. The majority of
them are, however, spurious. It has been the custom of many dealers to
cut off the name of Longman and Broderip from the bottom of the
published music of that firm and insert these in fiddles, and as
Benjamin Banks was known to have worked for them, some show of
genuineness is thereby implied.
Banks made a number of violas and violoncellos. The latter instruments
stand pre-eminent for workmanship and tone and are particularly well
adapted for the performance of solo and chamber music. This maker
adopted a variety of methods for stamping and otherwise labelling his
instruments. Below the button was the favourite place.
The labels mostly seen are:
Made by Benjamin Banks, Catherine Street, Salisbury.
Benjamin Banks, fecit Salisbury.
Benjamin Banks, Musical Instrument Maker, In Catherine Street,
Salisbury.
B. Banks, Sarum. “B. B.” stamped under the button.
The varnish used by Banks varied from a deep red to a yellow brown.
One word of advice, beware of the unredeemed pledge.
BANKS, BENJAMIN. Son of the preceding; born at Salisbury, 1754, died in
Liverpool, 1820. He worked at first for his renowned father, afterwards
removing to London, where, possibly, he assisted in making the Longman
and Broderip instruments. He then went to Liverpool and worked there
until his death. Very little is known of him or his works, though it is
possible that many of his instruments have been passed off as the work
of his father.
BANKS, JAMES and HENRY, two other sons of the great Benjamin, and
successors to the business at Salisbury, where they were both born,
James about 1756, died 1831; Henry, 1770, died 1830.
James was the violin maker of the concern, while Henry devoted himself
to tuning pianofortes and repairing instruments. Sometimes, however,
they collaborated in the production of violins and violoncellos. They
also extended the sphere of their operations to music selling and dealt
in other musical instruments. The fame of the Banks family as violin
makers declined at this period.
BARRETT, JOHN. A London maker, who worked about 1725. He made some good
instruments which are dated from the Harp and Crown in Piccadilly. He
followed the Stainer model. His varnish is unsatisfactory.
BETTS, JOHN, London, born at Stamford in 1755, died 1823. This excellent
maker was a pupil of Duke, and adopted the Amati model. He was not
himself a prolific maker, his time being principally occupied in the
study of old Italian instruments, the result of which enabled him to
become a very successful dealer and connoisseur. Betts, or “old John,”
as he was most commonly called, carried on an extensive business in the
construction of violins, and employed in his workshop such men as John
Carter, Edward Betts, Panormo, Bernhard Fendt, all of whom subsequently
succeeded in making good instruments on their own account. Betts’s shop
was No. 2 near Northgate of the Royal Exchange, and after his death the
business was continued by his descendants till within a few years ago.
DUKE, RICHARD, London, about 1765-1791. Probably no violin of English
make has attained such popularity as have the instruments of this maker,
hence it is that he is so extensively imitated. Who instructed him in
the art of making violins, etc., is not positively known, but his
instruments are of the highest order in all respects but the varnish, in
which he was not always successful. Duke followed both the Stainer and
Amati models, the latter being his best. His violoncellos are rather
high in model, long in pattern, yellowish varnish and rich in tone. For
his violins he used a dull brown varnish, very elastic and transparent.
During a considerable period Duke worked in the vicinity of Holborn.
Many of his instruments are stamped near the button “Duke, London.”
Labels, mostly written in pen and ink, are as follows:
Richd. Duke, Londini, fecit 1767.
Richard Duke, Maker, Holborn, London, Anno 1777.
The following is a copy of a printed one:
“Richard Duke, Maker, near opposite Great Turn-Stile, Holbourn, London.”
FENDT, BERNHARD, born at Inspruck, in the Tyrol, in 1756, died in London
in 1832. He was at first instructed in the art of violin making by his
uncle in Paris, who spelt his name Fent, a maker there of some
reputation. Bernhard then came to London and entered the service of
Thomas Dodd, the bow maker, and remained with him several years, working
in conjunction with John Frederick Lott. They were never entrusted to
carry their work beyond the white, and the instruments turned out by
this pair were delivered to their master, who applied the varnish with
his own hand, the secret of which he kept carefully to himself.
FORSTER, WILLIAM, known as “Old” Forster, born at Brampton, Cumberland,
May, 1739, died in London, December 14, 1808. The name of Forster in
connection with violin making includes a family whose operation extended
over a very considerable period, but the artist under notice was _the_
fiddle maker of the group, and his instruments to-day reflect great
credit on the British school of a century ago; indeed his instruments,
whether they be violins, violas or violoncellos, are pre-eminent amongst
the productions of this country. His father pursued two occupations,
viz., that of spinning-wheel maker and violin maker and repairer;
instructions in which handicrafts were duly imparted to the son, who
also became tolerably proficient as a violinist. In consequence of some
family differences, the young man quitted his native village and
proceeded to London, arriving there in 1759. His first endeavours in the
metropolis were unsuccessful, and he was forced to accept some
employment offered him by a gun-stock maker. However, he did not forsake
the art he loved, and his spare time was occupied in making violins,
which he disposed of to the music shops. During this time he suffered
great hardship and privation, the effects of which were never afterwards
entirely eradicated. At length he obtained employment as a violin maker
at a music shop on Tower Hill kept by one Beck, and the violins he made
during his two years’ engagement there, gaining much recognition, he not
unnaturally demanded an advance in wages. This was refused, and Forster
consequently left him. In 1762 he commenced business on his own account
at a house in Duke’s Court, and there his artistic abilities procured
for him the attention and patronage of the musical dilettanti. He then
moved into St. Martin’s Lane, and added music publishing and selling to
his business, and at this period he was wont to cut his name from the
title-pages of his soiled or unsold music and use it as a ticket for his
instruments. In 1781 he entered into negotiations with Haydn for the
supply and publication of certain pieces of music for the string family,
which resulted, it would appear, in a great success all round. About
1784, Forster opened in the Strand—No. 348, and here the climax of his
success was attained, even to the extent of receiving Royal patronage.
From the year 1762 to 1770 he adopted the Stainer model, and applied to
his instruments some sort of dark stain, completing the operation with a
coat of varnish. From 1770 or thereabouts he affected the Amati pattern
with greater success, and this refers particularly to his violoncellos,
as they are really grand instruments, better varnish is used and greater
attention is paid to detail. Robert Lindley, the famous violoncellist,
used one of Forster’s instruments at the Italian Opera for nearly forty
years; he named it “The Eclipse.” Crossdill had a famous one, and
Cervette the younger had another. Only four double basses are known to
have been made by William Forster. His commoner instruments are devoid
of purfling. Ticket: “William Forster. Violin Maker in St. Martin’s
Lane, London.”
FORSTER, WILLIAM, son of “Old” Forster. Born 1764, died 1824. He was a
violin maker and repairer of some merit, but never attained the
reputation of his father. He left his instruments unpurfled.
KENNEDY, ALEXANDER, came from Scotland about 1700 and established
himself in London, He was a painstaking workman, and gained a good
reputation. He followed the Stainer model and used a light amber
varnish.
KENNEDY, JOHN, nephew and pupil of the foregoing, followed the same
model, and produced some good violins and tenors.
KENNEDY, THOMAS, the best known of the family. He made a large number of
violins and ’cellos.
NORMAN, BARAK (1688-1740). He was chiefly a maker of viols, but has made
violas and violoncellos, and a few violins on the Stainer model; his
best productions being copies of Maggini. He was probably a pupil of
Urquhart, if one may judge from their respective works. As a maker of
viols he was much esteemed in his day; all his instruments of this class
indicate careful workmanship. As no British violoncello has been
discovered anterior to those manufactured by Norman, it is thought that
he may have been the first maker of that instrument in this country.
They are splendid instruments and much valued. His violas also are fine
specimens, and consequently highly prized by performers on that
instrument. Between the years 1715 and 1720 Barak Norman entered into
partnership with one Nathaniel Cross, at the sign of the “Bass Viol,”
St. Paul’s Churchyard. Barak resorted to various methods in order to
distinguish his instruments, sometimes his monogram is purfled in the
centre of the back, and occasionally, in the case of violoncellos, on
the top table under the wide part of the finger-board. When he became
associated with Cross, the joint monogram was used. The following is a
copy of a printed label used by the firm:
“Barak Norman and Nathaniel Cross, at the Bass Viol in St. Paul’s
Churchyard, London, fecit 172—.”
WAMSLEY, PETER, London (1727-1760). He was at one time considered a
clever maker of violas and violoncellos, but having resorted to the
unfortunate practice of thinning the wood in his endeavour to secure a
freer tone, his instruments at the present day lack power and sonority.
They are, however, capable of great improvement in the hands of a
skilful repairer. He adopted the Stainer model, and at times proved
himself to be a first-class workman. Most of his instruments have only
ink lines instead of purfling. Wamsley made a few double basses, but
they are now very scarce. The best instruments of this maker are those
covered with a dark brown varnish. For a great number of years Wamsley
carried on business in Piccadilly, and used labels, copies of which are
as follows:
Made by Peter Wamsley at the Harp and Hautboy in Pickadilly, 1735.
Peter Wamsley Maker at the Harp and Hautboy in Piccadilly, 17 London 51.
[Illustration: _Made by_ Peter Wamsley _at ye_ GoldenHarp _in
Pickadilly London,_]