Scan 408
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 27 September 2026. Printed page 336. See the scan on archive.org.
1The 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 Jacob 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 model. Among the Germans who were following in the footsteps of Stainer were the family of Kloz, Widhalm, Statelmann, and others of less repute. In England there was quite an army of Stainer-worshippers. There were 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 steadfastly. Their early instruments are of the German form, but later they made many copies of the Cremonese. To Benjamin Banks we are indebted for having led the English makers to adopt the pattern of Amati. He had long laboured to popularise the
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