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Scan 266
the history of the violin, 1864
2 lines. Read by computer on 28 September 2026. Printed page 244. See the scan on archive.org.
1Gaspard Strnad, born in 1750, was settled at Prague from 1781 to 1793; he made some good violins and violoncellos, and his guitars were much esteemed. There appear to have been two Stadelmanns, or Stadlmanns, of Vienna, as we have a ticket of Daniel, 1744, and of Johann Joseph, 1764; these instruments successfully imitated those of Steiner, with deep yellow-coloured amber varnish. There was an Andreas Nicolas Parth of the same place; and about 1700, an Antoine Lidl, who made improvements in the barytone; Buchstadter, of Ratisbon, was another imitator of the Cremona model, though his make was rather flat, and he used inferior wood, with dark brown varnish; his instruments are rather harsh, and not much esteemed. Hassert, of Rudolstadt, made his instruments with much care, of high model, and the upper plate formed of excellent wood, but the tone rather harsh or hollow. His brother, of Eisenach, surpassed him, and carefully imitated the Italian models, with amber varnish, and used beautiful wood for the upper plate. Reiss, of Bamberg, also successfully imitated Steiner. Durfel, of Altenburg, particularly excelled in his double basses. Artmann and Binternagel, of Gotha, were imitators of the Cremona school. A. Grobtiz, established at Warsaw about 1750, made some good violins on the Steiner model. At Erfurth, Francis Ruppert adopted rather a flat pattern; his instruments had a powerful tone, and were well proportioned, but were slightly constructed, the sides not being lined, and the corner blocks omitted; they were not purfled, and had a dark brown amber varnish. Francis Schonger, of the same place, made some handsome looking instruments, but the tone dull, and they are considered inferior to those of Ruppert. His son, George, made some good instruments in the Italian style, and had
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