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Scan 131
Old Violins And Their Makers, 1883
8 lines. Read by computer on 30 September 2026. Printed page 117. See the scan on archive.org.
1The coarse deal which he used for the belly is said to give his violins a harsh tone, but the instruments are otherwise carefully constructed; they are in some request in Germany for orchestral purposes in consequence of their power, and are said to be esteemed even for chamber music. They have, indeed, been considered by a later German maker (one Thumhardt, of Straubing) to be themselves worthy of imitation, he having made very clever copies of them. Buchstädter worked during some portion of last century, but I cannot give a more exact date. No one appears to know, or, knowing, to think it worth while to publish any particulars on this head.
3Ulric Eberle, of Prague, about 1750, was also a good maker—one of the cleverest of his time, in fact—and his work was often mistaken for Italian. The tone of his violins was, however, weaker and of sharper quality than that of his models. He also employed amber varnish, and signed his own name to his instruments. Of the same stamp was Christopher Frederick Hunger, born at Dresden in 1718, where he was a pupil of Jauch, of that town. He afterwards went to Leipzig, where he died in 1787. His work is classed among the best of German origin.
5Jauch, or Jaug, instructor of the last-mentioned maker, was in Dresden about 1774, and made violins of the same style and varnish, which are said to come near to the Italians in tone, although somewhat sharper in quality. They display generally very fine wood. He likewise signed his own instruments.
7Franz Schonger, at Erfurt, in the same century, made very good instruments after a much higher
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