Scan 254
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
14 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1himself of their influence in order to preserve his individuality. The admirable violins which he made for the twelve electors have much resemblance to, and that indescribable something of refinement appertaining to the beautiful Amati, with which they may be compared. This is the reason why he is thought to have perfected himself with N. Amati. The workmanship, the general outline, even the varnish are as fine, but other details, the shape of the sound holes for instance, point to a German origin. If it is almost without doubt that Stainer followed the Cremonese, probably had lessons with them and adopted some of their methods, it is equally difficult to say who was his adviser. His production has been fairly large, his instruments are more scarce than those of Stradivarius and thousands of German violins bear his label. He has had some good copyists, among whom must be mentioned Leopold Widhalm. The orange-red varnish of Stainer is as beautiful as that of the Cremonese masters. The clear and refined quality of tone of his instruments is similar to that of the Italian School. Stainer had three models, small, medium and large. No 49.
3STAINER (Andrea) — Absam circa 1650. Probably a relative of Jacob Stainer. Little known.
5STAINER (Markus) — Rufstein, Absam and Laufen. This maker is supposed to have been a brother of Jacob Stainer. Excellent make, but not equal to that of his brother. Large model. Yellow-red or Brown-red varnish. Often added fancy carving to the scrolls of his instruments.
7STAUBE — Berlin 1770. Good work.
9STEINER (Joh.-Joseph) — Neukirchen circa 1790. No 56.
11STEININGER (Jacob) — Frankfurt circa 1790. Has worked at Passau and Mayence.
13STEININGER (Franz) — Darmstadt and Petrograd. Son and pupil of the one above. Worked in Paris towards 1828, following the French School.
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