Scan 81
Chats to violin students on how to study the violin, 1895
10 lines. Read by computer on 3 September 2026. Printed page 67. See the scan on archive.org.
1being Sebastian (from the Tyrol). His pattern and style is good, his model flat. His father, uncles and brothers all were makers of more or less excellence.
3The name of Martin Bauer, born in Stuttgart early this century, is less known than it should be as a maker. Molique had such a high opinion of his creations that he preferred playing on them to any other violins, and only purchased the Strad which he used the latter part of his career through the persuasion of his friend, Signor Piatti. When I was in Stuttgart in 1849, studying with Molique, Bauer made me a violin, the manufacture of which I watched with the greatest interest and attention, and on this instrument I played my solos throughout my early career. I still always use it as my orchestral violin.
5This closes the list of German and Tyrolean makers.
7Lastly, coming to the English makers—who have never taken the position they deserve, especially among foreign connoisseurs—I find from the names of the early makers (which seem to be so thoroughly English) that probably the art was not introduced by foreign settlers but by native talent, although the Brescian model was most closely followed.
9The name of Christopher Wise is about the first to mention; he flourished at the end of the seventeenth century and his model is quite Italian, the varnish being of very good quality. About the same period we can name Rayman and Urquhart (the latter probably a pupil of the former) whose work also is much after the Italian style; then follows Barak Norman, whose
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