Bow & Bridge Violin and bow makers, as the old books printed them

Books › the history of the violin, 1864 › scan 238

Scan 238

the history of the violin, 1864

4 lines. Read by computer on 28 September 2026. Printed page 216. See the scan on archive.org.

1of this century, and the beginning of the next, and his instruments are still esteemed in Germany; he was the maker of the barytone of the date of 1687, exhibited to the Society of Antiquaries, as before mentioned, and as a viol d’amour at one of the Conversazioni of the Musical Society of London. Martin Hoffman was a good German maker about the same time, and his instruments are still in request; but from their size, the form of the sound holes, the sharp corners, and weak edges, have an ungraceful appearance. He died at Leipsic in 1725, leaving two sons, of whom the eldest, Jean Chretién, was more distinguished for his lutes, and the younger for his violins and bass viols. Other good German makers of this century were Hans Fichtold, about 1612, whose instruments are praised by Baron, in his “Treatise on the Lute.” Philip Mohr, at Hamburg, about 1650; Johan Schorn, at Inspruck, about 1688; Cornelis Weynman, Amsterdam, about 1682; Johan Andreas Kambl, about 1635; Christian Roth, Augsburg, 1675; Nicolaus Diehl, at Darmstadt; Wolfgang Vogel, at Nuremberg, and Martin Schott, at Prague, whose best instruments were his lutes and theorbas. Dr. Forster mentions a violin in his possession that came from Gotha, of which, in the present pogonoferous age, it might be useful to get the model; it had an appendage that could be attached to it for the purpose of receiving the beard of the performer.
3Antonio Maria Lausa was an imitator of the school of Brescia, in the latter part of the century; his instruments were not easily distinguished from the models he followed, but the tone was inferior. Other makers at Cremona were Paul Gerans, about 1614; Trunco, 1660; and Giuliani, 1660, a pupil of Nicolas Amati, and distinguished principally for his good copies. At Milan,

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