Scan 315
The violin: its famous makers and their imitators, 1909
4 lines. Read by computer on 3 September 2026. Printed page 257. See the scan on archive.org.
1a maker, he was seemingly unable to free himself entirely from the proclivities common to his countrymen as Violin makers. There remained, after all Stainer's changes, the German sound-hole and extra arching, &c. Yet it must be readily admitted that the example which Stainer put before his countrymen was of great value, and served to engender an improved style throughout the Violin manufacture of Germany. The exceptional merits of this famous German artist were soon recognised, and his followers were legion. Among them were Sebastian Kloz, George Kloz, Egidius Kloz, and other members of that, perhaps the largest, family of Fiddlemakers the world has seen (had they been as good as they were numerous, what stores of prized Violins would have been bequeathed to us!); Reiss, of Bamberg; Rauch, of Breslau; and Leopold Widhalm, of Nüremberg, who was one of Stainer's best imitators; and others less known.
3There were several German makers—led, possibly, by the example of Stainer and Albani the younger—who turned their attention to Italy, as furnishing models superior to their own, and thus combined the styles of both countries; while they endeavoured to copy closely the Italian masters, without attempting to be original. Niccolò Amati was the maker whom these men chiefly copied, and most successfully did they perform their task. These copies, however, did not meet the success to
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