Scan 285
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 1 October 2026. Printed page 17. See the scan on archive.org.
1though great, was comparatively insignificant, as far as the Italians themselves were concerned, when France and England came into competition with them for the possession of their Amatis, Stradiuarius, Guarnerius, and other gems, they at once yielded the contest.
3The introduction of Italian instruments into Great Britain was a matter of slow growth, and did not assume any proportions worthy of notice until the commencement of the present century, when London and Paris became the chief marts from whence the rare works of the old Italians were distributed over Europe. By this time the taste of the Fiddle world had undergone a considerable change. The instruments in use among the dilettanti in France and England, had hitherto been those built on the German model of the school of Jacobus Stainer. The great German maker was copied with but little intermission for upwards of a century dating from about 1700 to 1800, a period of such considerable extent as to evidence the popularity of the the model. Among the Germans who were following in the footsteps of Stainer were the family of Kloz, Withalm, Statelmann, and others of less repute. In England there was quite an army of Stainer worshippers. There was Peter Wamsley, Barrett, Benjamin Banks, the Forsters, Richard Duke, and a whole host of little men. Among the makers mentioned, there are three, viz., Banks, Forster and Richard Duke, who did not copy Stainer stedfastly.
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