SECTION IX
The German School
There is no trace of any German Violins of the time of Gasparo da Salò, or Maggini. This is certainly remarkable, and the more so when we consider how near were the German makers of Lutes, &c., to the old Italian town where Violins were being made. It is evident from this non-production of Violins that the Tyrolese were content with their Viols and Lutes, and did not recognise the wonderful effects of the little Violin until it had become pretty nearly perfected by the Italians. The manufacture of Lutes, Viols, and Guitars in Germany had in 1650, or a little later, reached its zenith, and the exquisite pieces of workmanship, in the shape of Lutes, Viols da Gamba, and Viols d'Amore, richly inlaid with mother-of-pearl, ivory, and tortoiseshell, made at this period, evidence the high state of the art.
To Jacob Stainer is due the credit, to a great extent, of changing the system of modelling so long in vogue in Germany. Although so great a 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 Fiddle-makers 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.
There 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 which they were entitled, and the popularity of Stainer's mode was then so great that the instruments made upon systems other than his found no favour in the Fatherland. The makers who were copyists of the Italian masters were Ruppert, Bachmann, Jauch, and Eberle of Prague.
When we consider the long list of makers forming the German School, we cannot fail to feel surprised that the number of really good artists was not much larger; and our surprise increases when the close proximity of the Tyrolese workers to the chief Italian centres of the manufacture of Violins is also considered. If the names of Jacob Stainer and Mathias Albani be excepted, the list is singularly destitute of makers famous for originality. The Germans were certainly great in the manufacture of the older stringed instruments, but seem to have made a poor beginning in the making of Violins. The form selected was bad, and they failed to improve upon it to any great extent. It would be quite impossible to furnish anything approaching a complete list of German makers, their number being so extended, and so many of their instruments being anonymous, and withal so weak in character that it is hard to discern them. Every care, however, has been taken to render the following list as complete as possible.