Books › A treatise on the structure and preservation of the violin and all other bow-instruments; together with an account of the most celebrated makers, and of the genuine characteristics of their instruments;, 1860 › scan 49
Scan 49
A treatise on the structure and preservation of the violin and all other bow-instruments; together with an account of the most celebrated makers, and of the genuine characteristics of their instruments;, 1860
6 lines. Read by computer on 3 September 2026. Printed page 27. See the scan on archive.org.
1Statelmann of Vienna, and Withalm of Nuremberg, have made the greatest number of instruments after Steiner's model; both, however, under their own names. They have also used the same deep yellow-coloured amber varnish, which gives a still closer resemblance to the patterns they were imitating. Those made after the Cremonese form by Jauch, Hassert, Bachmann, Straube, Hunger, Eberle, and Helmer, are likewise covered with amber varnish, and hence they are more exact copies of the originals than are the Tyrolese; except those of Egitia Klotz, which, too, are distinguished as well by their amber varnish as in other respects.
3The foregoing characteristics of the Cremonese and Steiner violins are also applicable to tenors and violoncellos: but these instruments are much more scarce
5In Prague, where he studied, he employed himself with violin making by way of amusement, and, on coming to Gotha, reverted to this employment, after having neglected it for many years. Now, however, he pursued it with extreme ardour, even taking lessons in mathematics, in order that he might be wanting in no information which could contribute to the perfect construction of instruments. Nor were these efforts fruitless; for having, as a member of the Chapel, much time at his disposal, he had leisure enough to give all diligence to the pursuit; and whoever has become acquainted with his violins must certainly admit that they possess considerable merit. Even the Chapel-master, Herr Spohr, I have been assured, has performed a concerto on one of Ernst's violins. From him I received instruction in violin-playing, and soon took delight in the manufacture of the instrument. Hence, he was my teacher in a two-fold capacity. After I left Gotha for Weimar, he took an assistant, the joiner Artmann, of Wegmar, near Gotha, who afterwards manufactured violins very similar in form and model to those of Ernst, which are very flat. Subsequently, another joiner worked with him, of the name of Bindernagel, who has also made violins which, in their exterior, are similar to Ernst's. The instruments of both, however, clearly prove that they were deficient in the requisite knowledge."—Tr.
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