Books › Old violins and violin lore, 1900 › scan 104
Scan 104
Old violins and violin lore, 1900
10 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLINS IN GERMANY
3—will fall off into the limbo of violin refuse and other things "made in Germany."
5The best pupils and followers of Stainer were Klotz and Albani; but as it became the fashion to dub every one who made respectable violins in Germany about that time, and showed traces of the Stainer model, "pupils" of the great man, modern writers have grown properly cautious about dogmatising.
7If all Stainer's reputed pupils had really worked with him, they ought certainly to have married his eight daughters and relieved him of some of his heavy family responsibilities.
9Sebastian Klotz or Kloz (1675) and his son Mathias (1696–1709) made excellent violins, and some prefer the son's to the father's. There were, besides, four other Klotz, relationship uncertain. Sebastian of Mittenwald visited Florence and Cremona; but although when he returned to his native town he announced his intention of making a second Cremona of Mittenwald, he and his family adhered mainly to the Stainer model, and reproduced very successfully the Stainer tone. Vidal says that his sons inundated Germany with false Stainers. Of the great violin manufactory which, on the suppression of the Mittenwald Fair in the seventeenth century, is said to have revived the commercial prosperity of the town, no trace now remains; but it is certain that, whilst the Klotz family lived and worked, a pretty steady stream of pseudo- (or scuola) Stainers poured forth from Mittenwald till about the year 1750.
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