Scan 208
Voice and violin: sketches, anecdotes, and reminiscences by T.L. Phipson, 1898
8 lines. Read by computer on 3 September 2026. Printed page 190. See the scan on archive.org.
1Stainer. Its pattern was small, and its model much raised, more on the table than the back—another characteristic—and it was altogether a very charming instrument.
3Alas! in a moment of generosity I soon afterwards gave it, or lent it, to a friend who was sadly in want of a good violin; and the last I heard of this valuable instrument was that it had been swopped in Scotland for two bottles of whisky! Heaven alone knows where it now is.
5There is something extremely interesting in the life of Jacob Stainer as being connected, on the one hand, with Cremona, through Nicolo Amati—to whose daughter he made furious love and should have married—and the famous Tyrolean school, on the other, in which he was succeeded by one of the Kloz family and by Albani, his workmen for the time. He thus figures as a brilliant link connecting the Cremonese and Tyrolean schools of violin-making. Moreover, he appears to have been assisted to some extent by his brother, Marcus Stainer, a monk, who was also a very clever maker of violins, and perhaps the author of the so-called "Elector-Stainers," made, as it was asserted, "in a monastery," and about which such glowing accounts have been written.
7It has been gravely asserted that "after the death of his wife" (who outlived him) "he retired to a monastery, where he passed the remainder of his
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