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Scan 132
Old Violins And Their Makers, 1883
6 lines. Read by computer on 30 September 2026. Printed page 118. See the scan on archive.org.
1model, and his son, George Schonger, at the same place, somewhat surpassed his father, returning to the flatter Italian style.
3Daniel Statelmann, of Vienna, during the first half of the same century, was a maker who has been very highly praised, some of his violins coming remarkably near in quality to those of Jacob Stainer, of which they are also very accurate imitations. He is reputed to be the best imitator of Stainer in Germany. He made in his own name, and used deep yellow amber varnish. So did Leopold Withalm, of Nuremberg, from 1720 to about 1788, and instruments of this maker are reported to cause trouble to connoisseurs sometimes, in consequence of their extraordinary resemblance to those of Stainer. Withalm also made a number of capital imitations of Maggini, with the double purfling, &c.
5Riess, of Bamberg, from 1740 to about 1760, made good-toned violins, and Otto says that he imitated Stainer "beautifully." Charles Helmer, of Prague, was a pupil of Ulric Eberle, already mentioned, and was also a good maker. He followed the same principles, employed amber varnish, and sold under his own name. Some say his violins are unequal in tone. He worked towards the end of the eighteenth century. Hassert, of Rudolstadt, and his brother at Eisenach, did good work about the same time, using amber varnish, and not being ashamed to own their instruments. Violins by the Eisenach Hassert have sometimes been taken by good judges for examples of genuine Cremonese make. Those of the former are all of very high model, while these are much flatter and more akin to the later Italian style. Straube, in Berlin, about 1772, made
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