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Scan 129
Old Violins And Their Makers, 1883
8 lines. Read by computer on 3 September 2026. Printed page 115. See the scan on archive.org.
1who used amber varnish. The sides of the Klotz instruments are rather low, and made of plain maple, and the arching of the instruments is high. Fetis mentions having seen a violin, by George Klotz, of date 1754, but says no more, and another mentions a viole d'amour in the Paris Conservatoire, dated from Mittenwald, 1732. Egidius and his son Matthäus put their own names in their instruments, and the other makers of this name paid them a high compliment in largely using them also. I imagine there is not a violin dealer in the whole of Europe, and perhaps not a pawnbroker, who could not produce a Klotz of some kind if required. "Klotz" signifies a log or a stump, and, figuratively, a blockhead.
3An old author mentions a maker called Pichler, who, he says, was a clever workman, and assisted Egidius Klotz in Stainer's workshop when the master was ill. He is unknown to any other writer, but it is just possible that it is Tecchler who is meant.
5David Tecchler was at one time called a pupil of Stainer. He first worked on his own account at Salzburg, and went afterwards to Venice, where he had some quarrel with his confrères in that town, and, being threatened by them, removed to Rome, where he remained from 1695 to 1735. A ticket of his runs, "David Tecchler Liutaro Fecit Romae anno 1703." He is principally known for his basses, which were well made, but too large. The varnish is described as deep yellow. Very little is known about his violins, but he is reckoned a good maker of a second-rate order.
7There was a pupil of Stainer called John Gottfried Riechel, who, according to a ticket still preserved,
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