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Scan 219
Violin tone and violin makers, 1916
6 lines. Read by computer on 27 September 2026. Printed page 197. See the scan on archive.org.
1AND VIOLIN MAKERS
3KLEYMAN, CORNELIS (also spelt Kleynman).—Amsterdam; seventeenth century. A little known copyist of Amati.
5KLOZ.—Mittenwald; seventeenth to nineteenth centuries. A very numerous and important family of makers, and the real founders of the enormous business in violin making which has been carried on in and around Mittenwald since their time. About a score or more of makers of the name have been enumerated, and, as many of them bore the same Christian name, there has been much confusion as to their identity. About half a dozen of the number are tolerably well known and distinguished by judges in this country. For the rest, it is doubtful if even amongst their own countrymen any one is living who can claim any very exact knowledge of their individual work. The earlier workmen made more or less accurate copies of the instruments of Stainer, and in some cases there is little doubt that they labelled and sold their work as his, even during his lifetime. Some of the later Klozs altered the pattern of their violins and evidently based their designs upon Italian work, but none of them really succeeded in producing specimens possessing the true Italian style, although some of these have passed current as Cremonese amongst the unlearned in such matters. Most of them made their fiddles in two or more grades, the better of which, in certain cases, are well finished and possess a yellow or red-brown varnish of considerable brilliancy, and quality akin to that of Italy; but the bulk of the Kloz fiddles and basses are covered with the poor, meagre-looking stuff known as "glue varnish." In numbers of cases the varnish on their work has become almost black. Of the
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