The violin & its story : or the history & construction of the violin

Everyone this source names

This document prints 12 names. A name found this way is the weakest thing this site records: the book names the person, and nothing more is said. It is not a line in a record — the lines that actually rest on this source are listed above, each with its own confidence. 5 of the names below reach a record on this site; lines from this source have been written for 0. The rest are names and nothing else — which is an honest description of the evidence, and an invitation: if you know one of these makers, we want to hear from you.

1. Brittany a scan page 51, line 1 mention only — no record here yet

   Brittany a maker of lutes named Kerlin, one of whose instruments, made in the year 1449, he had himself seen. In 1804, about twenty-five years after Laborde's work was published, this instrument was in the possession of Koliker, the violin maker, at Paris. It was more arched than the viols of a later date, the upper and lower bends were not rounded enough, and the corners of the middle bouts were blunt; instead of the usual tail-piece it had a strip of ivory, bored with four holes to hold the strings. The tone was soft, but dull. The label read—"Joan Kerlino, ann. 1449." Fétis thinks that the fact that in Brittany there were very many family names beginning with "Ker," led Laborde to believe that Kerlin worked in that province; whereas we are indebted to the labours of Vuillaume, the Parisian violin maker, for the knowledge that in 1450 there was in Brescia a lute maker named Johann Kerlino, and there is every reason for believing that this Kerlino was the founder of the school of Brescia, the oldest of all schools of violin making in Italy. The arbitrary conclusion of Laborde thus loses all weight, and the conjecture that Kerlin may have been of German origin must be left for some future writer to establish. — trade term as printed: "violin maker" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

2. Matth scan page 76, line 1 mention only — no record here yet

   Matthäus Klotz, of Mittenwald. This, however, is not correct, for the art of violin making was established in Mittenwald by Egidius Klotz, the father of Matthäus, who came from Mittenwald, his native place, to Jacob Stainer, to learn the business, and then went back there. He was a clever pupil of Stainer, and his violins stand as high in esteem as those of his master. Klotz taught his son Matthäus all parts of the violin maker's art, but that vivacious and pushing youth did not at first take kindly to it. After he had laboured for twenty years in Mittenwald as an instrument maker, a longing to become perfect took hold of him, and led him to leave his home. He accordingly started on his travels, meeting with numerous adventures both gay and grave, and visited the cities of upper Italy which were most famous in connection with his craft, Florence and Cremona among the rest, returning home full of practical experience, and with the fixed resolve that Mittenwald must be a second Cremona. Some time in 1683 he began to put this resolve into action. He took in hand the sons of numerous leading citizens, instructed them in all the branches of violin making, and founded by these means a big manufacturing centre which not only enriched the town in his own day, but which is even to this day in a flourishing condition. — trade term as printed: "violin maker's" — surname not established — the line carries a trade term but no surname resolves to it — from OCR (read_as: ocr)

3. Nicholas, Amati scan page 58, line 3 mention only — no record here yet

   Nicholas Amati left two sons, Hieronymus and John Baptist. The last named was born in 1657, became a priest, and died in 1706; the former was born on the 26th of February, 1649, and learnt his father's business. He adopted a larger form than the other Amati, but bestowed much less care on his workmanship, and stands in a lower rank than his father. He made but few violins, and one of his, bearing the date 1672, was his last work. Hieronymus the son of Nicholas was the last violin maker of his name. — trade term as printed: "violin maker" — from OCR (read_as: ocr)

4. Antonio, STRADIVARIO scan page 59, line 3 draft record
5. Jacob, Stainer's scan page 72, line 3 draft record
6. John, Baptist scan page 68, line 7 mention only — no record here yet

   John Baptist Guadagnini, 1755 to 1785, who in his early days worked at Cremona, was the pupil (and probably the son) of the above named Lorenzo Guadagnini: he occasionally worked here and there for the violin makers of Piacenza, and it is conjectured that in his later years he settled there. — trade term as printed: "violin makers" — from OCR (read_as: ocr)

7. Vuillaume scan page 80, line 7 draft record
8. Mr, William scan page 151, line 9 draft record
9. Franz, Lupot scan page 78, line 11 draft record
10. Spain, We scan page 80, line 11 mention only — no record here yet

    We only know of one violin maker in Spain, Carole- — trade term as printed: "violin maker" — surname inherited from the headword at line 9: "SPAIN." — from OCR (read_as: ocr)

11. Press, This scan page 142, line 17 mention only — no record here yet

    "This book of 280 pages is a most interesting and valuable addition to the violinist's library. It contains 89 biographical sketches of well-known artists, ancient and modern, of all nations. This is not intended to be a perfect dictionary of violinists; the aim of the Editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players, and we must concede that no name of the first importance has been omitted. Germany is represented by 21 names, Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known ladies, such as Teresina Tua, Thérèse and Marie Milanollo, Lady Hallé, Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most agreeable reading to the numerous army of violinists, both professionals and amateurs, and after careful examination we can find nothing but praise for this translation into English of a book well known on the Continent.—The Piano, Organ and Music Trades Journal. — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 13: "PRESS NOTICES." — from OCR (read_as: ocr)

12. London, I scan page 149, line 21 mention only — no record here yet

    I have read with interest your admirable book "Advice to Pupils and Teachers of the Violin." I have no hesitation in recommending it as an indispensable work to all aspiring violinists and teachers. Your remarks on the acquirement of the various bowings, with the many musical examples, are excellent. I know of no work on this important subject so explicit and exhaustive. Wishing your book the great success it deserves, — trade term as printed: "violinists" (near match, edit distance 3) — surname inherited from the headword at line 18: "London, Feb. 19th, 1903." — from OCR (read_as: ocr)