Books › Violin tone and violin makers, 1916 › scan 214
Scan 214
Violin tone and violin makers, 1916
15 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 192. See the scan on archive.org.
1VIOLIN TONE
3Used a ticket bearing a device similar to that of Hellmer.
5HULSKAMP.—A Westphalian who migrated to New York. He exhibited a "freak fiddle" with a round hole in the belly instead of the usual sound-holes in London in 1862.
7HUNGER, Christoph Friedrich.—Leipzig. Died 1787. A maker whose instruments are highly thought of in Germany. His father, who worked in Borstendorff, was also a violin maker. one of two readings
8"HUNGER, Christoph Friedrich.—Leipzig. Died 1787. A maker whose instruments are highly thought of in Germany. His father, who worked in Borstendorff, was also a violin maker. one of two readings
10HUREL, Jean.—Paris. Court maker about the end of the eighteenth century.
12HUSSON.—Nineteenth century. A Mirecourt family of makers, one of whom, Charles, worked with Gand and Bernardel and was noted for his bows, some of which are stamped with his name.
14JACOBS, Hendrik.—Amsterdam; late seventeenth century to about 1735. The most important maker of the Dutch school. Legend has been busy with his name, and according to the story, he worked with Niccolò Amati, and married his daughter. To make matters complete he should have succeeded to the business, but tradition stops short of this denouement. There seems to be nothing like direct evidence that he had any Italian training. He frequently imitated Amati with considerable exactness, and employed wood resembling that used by the Cremona maker; he also used a fine quality of varnish, usually red-brown in colour. His violins vary in size, but many of them are built more or less on the lines of the grand Amati. The scrolls are generally somewhat mean looking, and narrow, when viewed from
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