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Scan 141
Old Violins And Their Makers, 1883
3 lines. Read by computer on 30 September 2026, twice; the two readings disagreed in places. Printed page 127. See the scan on archive.org.
1of the great Cremonese school. There are, of course, traces of makers in Germany of different kinds of instruments of the violin type, who belong to a more remote period, and to whom I may now refer. In Vienna there is a musical society in possession of a specimen of the viola di bordone which dates as far back as 1556, and which is signed by Magnus Feldlen, and Dr. Schebek mentions a viola in the Modena Museum there, which was made by one Wendelin Tieffenbrucker, or Duiffo-prugcar, but gives no date. An early maker, Martin Kaiser, by whom there is an archilute in the Paris Conservatoire, is claimed by Germany, although he was established in Venice. The date on this instrument is 1609. Then, in 1656, a maker of Nürnberg, called Paul Hiltz, is cited. In the Nürnberg Museum there is a viola da gamba by him, having this date affixed. In Berlin, a Jacques Sainpra flourished somewhere in the seventeenth century. The South Kensington Museum contains a viola di bordone by this maker. The neck is of boxwood, carved and pierced, and terminates in a figure of Apollo playing on a lyre. The finger-board is engraved, and inlaid with ebony and tortoiseshell, having figures of Jupiter, Juno, &c. It is said to have belonged to Quanz, music-master of Frederick the Great. The same museum possesses a viola di bordone by Joachim Tielke, a Hamburg maker. The instrument bears the date 1686. Tielke made viols of all kinds of fanciful and finished workmanship, and he is reputed to have been one of the cleverest masters of his time. There was a Hanss Kolb in Ingoldstadt about 1666; and in Darmstadt one Kämbel, about 1635; John Roth about 1675, and a Nicolas Diehl, regarding whose instruments one of two readings
2of the great Cremonese school. There are, of course, traces of makers in Germany of different kinds of instruments of the violin type, who belong to a more remote period, and to whom I may now refer. In Vienna there is a musical society in possession of a specimen of the viola di bordone which dates as far back as 1556, and which is signed by Magnus Feldlen, and Dr. Schebek mentions a viola in the Modena Museum there, which was made by one Wendelin Tieffenbrucker, or Duiffopruycar, but gives no date. An early maker, Martin Kaiser, by whom there is an archilute in the Paris Conservatoire, is claimed by Germany, although he was established in Venice. The date on this instrument is 1609. Then, in 1656, a maker of Nürnberg, called Paul Hiltz, is cited. In the Nürnberg Museum there is a viola da gamba by him, having this date affixed. In Berlin, a Jacques Sainpra flourished somewhere in the seventeenth century. The South Kensington Museum contains a viola di bordone by this maker. The neck is of boxwood, carved and pierced, and terminates in a figure of Apollo playing on a lyre. The finger-board is engraved, and inlaid with ebony and tortoiseshell, having figures of Jupiter, Juno, &c. It is said to have belonged to Quanz, music-master of Frederick the Great. The same museum possesses a viola di bordone by Joachim Tielke, a Hamburg maker. The instrument bears the date 1686. Tielke made viols of all kinds of fanciful and finished workmanship, and he is reputed to have been one of the cleverest masters of his time. There was a Hanss Kolb in Ingoldstadt about 1666; and in Darmstadt one Kämbel, about 1635; John Roth about 1675, and a Nicolas Diehl, regarding whose instruments one of two readings
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