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Scan 145
Old Violins And Their Makers, 1883
4 lines. Read by computer on 30 September 2026. Printed page 131. See the scan on archive.org.
1helped to swell the number of Cremonese fiddles, falsely so called, and regarding whom no more can as yet be said.
3Although Germany has, for a long period, been a prolific producer of trade violins, except in those cases already referred to, and some to be yet mentioned, she has not distinguished herself in the higher walks of this industry. She has not produced a Lupot or a Vuillaume, for Stainer was by training, though not by birth, wholly a Cremonese artist. But if she has not done this, she has steadily maintained a constant supply of good and intelligent makers, of whom, however, no details, such as are found regarding Italian and French makers, seem to be now recoverable. Her modern makers made a very fine show at the Munich Exhibition in 1854, and an account of their exhibits, drawn from Dr. Abele's work, may be here acceptable. A. Engleder, court instrument maker, in Munich, exhibited a quintet, in which some modifications of the usual form were introduced, and with the usual result, for, although the tone of the instruments was brilliant and resonant, the wood and workmanship unexceptionable, and a medal the reward of their maker, they do not appear to have made any subsequent progress in the esteem of the virtuosi. Engleder has been known in Europe for a long time as a painstaking and thoughtful student of his art. Ferdinand Hell, of Vienna, and Vauchel, of Damm—"powers eternal, such names mingled"—both exhibited specimens of their handicraft. The first, a trumpet fiddle, which was nothing new, being a reproduction of an already invented instrument. The second, another court maker, two violins, for which he received
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