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Scan 19
Old Violins And Their Makers, 1883
4 lines. Read by computer on 3 September 2026. Printed page 5. See the scan on archive.org.
1de la civilisation Chrétienne avec les traditions du goût et du savoir antiques. L’Italie fut le confluent où les deux courants se joignirent."—Demogeot.)
3About this time the first name having any high claim to connection with the art of violin making comes within ken. Prior to this there is one other name mentioned by all biographers. It is, however, but a name. In 1799 a writer named Laborde saw a violin which, he stated, was made by Joan Kerlino in 1449. In 1804 this instrument re-appeared in the possession of a violin maker of Paris named Kolliker. It was seen by the late M. Fetis, Chapel-master to the King of the Belgians, and is described as being more arched than instruments of a later date, soft and husky in tone, bearing inside the inscription, "Joan Kerlino, ann. 1449," and, finally, as not being a violin at all, but a larger instrument made down, and fitted with a modern neck. A recent writer corroborates this opinion, adding that it was Kolliker himself who made it down. This Kolliker had the reputation of being a clever repairer and maker-up of old instruments. A curious discussion regarding Kerlino has recently been started by some German writers, following up a hint on the subject thrown out by M. Fetis. That distinguished musician said that the first syllable "Ker" of the name probably prompted Laborde to state that Kerlino hailed from Bretagne, there being a host of Breton names formed in the same way. Subsequent investigations—not detailed—are said to have proved that he was at Brescia, and the German doctors now claim him as of German origin, and the founder of the Brescian school. The reasons advanced for the first
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