Chapter 18

SACQUIN, ----, Paris, 1830-60, made several excellent instruments; oil varnish of good quality, neat work, "Strad" pattern, name branded on back, inside.

SALLE, ----, Paris, about 1825-50. Made several copies of Guarneri, many of which are excellent. He was also a clever restorer of old instruments, and had a critical eye for the works of the old Italian masters, in which he dealt to some extent.

SALOMON, Jean Baptiste Deshayes, Paris, about 1750.

SAUNIER, ----, about 1740-70.

SCHNOECK, Egidius, Brussels, 1700-30.

SILVESTRE, Pierre, Lyons. A maker of rare abilities. The finish of his instruments is of the highest order; indeed, it would be difficult to find any maker within the range of the modern French school who has surpassed him in delicate workmanship. It may be said of him, as of many others, that extreme fineness of work is obtained often at the expense of character; to develop both qualities needs the mind of a Stradivari. Silvestre was fortunate in procuring wood of beautiful quality; there is scarcely an instrument of his which is not handsome. He chiefly copied Stradivari. It is to be regretted that so few of his works are to be met with. Pierre Silvestre was born at Sommerwiller in 1801, and died at Lyons in 1859. In Paris he worked in the workshop of Lupot, and in that of his successor, Francois Gand.

SILVESTRE, Hippolyte, born 1808, brother of Pierre, with whom he worked in partnership at Lyons from 1831-48. Hippolyte worked in the shop of Vuillaume. He retired from business in 1865.

SILVESTRE, Hippolyte Chretien, Lyons, succeeded to the business of his uncles, Pierre and Hippolyte, which he transferred in 1884 to Paris.

SIMON, Claude, Paris, about 1788.

SIMONIN, Charles, Paris and Toulouse, pupil of J. B. Vuillaume.

SOCQUET, Louis, Paris, about 1760-1800.

THERESS, Charles, London.

THIBOUT, Jacques Pierre, Paris, born 1777, died 1856. A well-known dealer in rare Italian instruments. To him belongs the merit of having encouraged Luigi Tarisio to bring to Paris his Cremonese gems. When Tarisio paid his first visit to Paris, the reception that he met with was not of such a nature as to warrant his returning; but having ultimately decided upon once more visiting the French capital, he met with Thibout, who, by earnest solicitation, prevailed on him to remove his rich wares to Paris. Jacques Pierre Thibout was an excellent workman, and his instruments are highly esteemed.

THOMASSIN, ----, Paris, about 1845.

TYWERSUS, ----, Nancy, 16th century.

VAILLANT, Francois, Paris, about 1750.

VERON, Pierre Andre, 1720-50.

VIBRECHT, Gysbert, Amsterdam, about 1700.

VUILLAUME, Jean, Mirecourt, 1700-40.

VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this family; made commonplace instruments branded with his name.

VUILLAUME, J. B., Paris, born 1798, died in 1875. There are upwards of 2,500 Violins which bear his name. Many of these he made throughout. The early ones are much appreciated, and having been wisely varnished over at first, now begin to show the good results of such handling. The career of Vuillaume was singularly eventful. Commencing life from the first stage of the ladder, he gradually mounted to the highest, by the help of the usual nurses of fortune, skill and perseverance. He was a great lover of Cremonese instruments, and was intimately associated with Tarisio. At the death of the celebrated Italian connoisseur, he purchased the whole of his collection. He employed a number of skilful workmen, some of whom have achieved independent and individual reputations, and will be found noticed in their proper places in this work.

VUILLAUME, N. F., Brussels. Brother of the above. Was well known both as a maker and connoisseur. Born in 1802; died 1876.

VUILLAUME, Claude Francois, born 1807.

VUILLAUME, Sebastien, Paris, nephew of J. B. Vuillaume, made a few excellent instruments. He died in the same year, 1875.

SECTION IX The German School

There is no trace of any German Violins of the time of Gasparo da Salo, 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 Nuremberg, 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. Niccolo 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.

SECTION X German Makers

ALBANI, Mathias, Botzen. M. Fetis, 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.

Mathias Albani Fecit Bulsani Tyrol 1651.

Matthias Albanus Fecit Bulsani in Tyroli 1680.

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.[1] 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.

[Footnote 1: He appears to have worked for a time in Rome, from which city some instruments are dated.]

ALBANI, Paolo, Palermo, about 1633. Probably related to the Albanis of Botzen. _See_ Italian makers.

ALETZIE, Paolo, Munich. _See_ Italian makers.

Paulus Aletzee hof Lauten und Geigenmacher in Munchen 1710.

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.

BELA, 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.

Josephus Paulus Christa, Lauten und Geigenmacher in Munchen. 17--

DIEL, Martin (spelt Diehl by later members of the family), Mayence, worked with Nicolaus Dopfer, and later with Carl Helmer of Prague. He was a son-in-law of Dopfer.

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.

DOPFER, 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. Dopfer 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.

Joannes Udalricus Eberle, Lautenmacher in Prag, 1730.

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, Wurtzburg, 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 Durer. 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, ----, Konigsberg, Maker of Viols.

KAMBL, Johann A., Munich, 1640.

Johan Andreas Kambl Churfurstl. Hof Lauten und Geigenmacher in Munchen.

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.

Sebastian Kloz, in Mittenwald, An 17--

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, AEgidius, 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.

Mathias Joannes Koldjz, Lauten und Geigenmacher in Munchen 17--

KRAMER, H., 1717, Viol-maker.

KRINER, Joseph, Mittenwald, 1786.

LASKA, Joseph, Prague, born at Rumburg, 1738, died 1805. Worked with J. Kolditz.

LEMBOCK, 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.

Andreas Ferdinandus Mahr, Hof Laut und Geigenmacher in Salzburg. Anno 17--

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.

ROSCHER, 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.[2] 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.

[Footnote 2: The flute-playing of Johann Joachim Quantz in 1728 gave so much pleasure to the Crown Prince of Prussia, afterwards Frederick the Great, that he decided to take lessons from Quantz, who was then in the service of Augustus, Elector of Saxony and King of Poland. Quantz was stationed alternately in Dresden and Warsaw. He became a member of the orchestra of Augustus in 1718, when Jean Baptiste Volumier was its director, of whom mention has been made (page 208) relative to his having been sent to Cremona in 1715 to await the completion of twelve Violins ordered of Stradivari.]

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.

Jacobus Stainer in Absam prope Oenipontum. 16--