The Hall records are of great interest, and show that the town was a place of much importance in the fifteenth century, when a considerable part of the trade between Venice and Germany passed through it. In those days, too, the town was somewhat celebrated for its junketings, more especially the feasts which were held in connection with the opening of the sessions at the Courts of Justice.
The neighbourhood, on account of the good sport provided, was a favourite hunting-ground with the Emperor Maximilian, who on several occasions was entertained in the town.
Hall declined slowly in importance during the sixteenth and seventeenth centuries by reason of the change in the trade routes; but in quite modern times has regained some at least of its former prosperity by adopting up-to-date methods.
There are numerous excellent and interesting excursions to be made from Hall, but nearly every one pays a visit to the famous salt mines, which are to the north amid most romantic and beautiful scenery. Even by carriage the journey of about eight miles takes the greater part of two hours; on foot even good walkers can scarcely hope to do it in less than three. The scenery is in places very fine, and one enjoys most beautiful views, and nearer glimpses of the Bettelwulf, Speckkar and Nisslspitz Alps.
ABSAM AND JAKOB STAINER
On the way one passes the quaint village of Absam, at which Jakob Stainer, known as the "German father of the violin," was born in 1621. As a maker of these instruments he stands high, though it is unknown where or how he acquired his knowledge of the craft. It seems possible, however, as Absam is but a short distance from Innsbruck, where at the period at which Stainer lived musicians—Italians and others—were warmly welcomed to the Court of the Archduke Ferdinand Karl, he may have made the acquaintance of some of these, or even of a maker of distinction. Be it as it may, ere Stainer reached his majority he had embarked upon the trade of a violin maker, and was often to be seen in the streets of Hall and in the market-place selling his productions at a price which we are told did not often exceed six florins.
His original model was probably an Amati, but he departed considerably from it as he himself acquired skill and knowledge. Stories are still told of the great care he took in selecting the wood from which his instruments were to be fashioned, and how he would sometimes spend days wandering in the backwoods around Hall and Absam in search of a good tree, which he would tap with a hammer and note its "tone" ere felling. Unfortunately, as has been the case with many another genius, he seems to have died in poverty in or about 1683. At one time he was violin maker to the Imperial Court, but this appointment, which ultimately he lost through inability to pay his way, and owing to consequent financial embarrassment, was not sufficiently lucrative to ensure him comfort in his declining years, let alone prosperity.
His instruments, of which there are still a number in existence, are generally distinguished by having their tops more highly curved than those of the chief Italian makers, whilst they possess a more flute-like note, which is often more "singing" and sympathetic than that of the latter. But none of his make probably equalled, or at all events excelled, the works of the Italian masters for brilliance and sustained tone, although by some connoisseurs this opinion has been disputed. It is said that one of Mozart's favourite instruments was the work of Jakob Stainer.
At the present time the chief industry of the Mittenwald, which is just over the Bavarian border, is the production of violins and guitars, which are exported in considerable numbers to both England and the United States as well as to other European countries. This flourishing industry owes its origin to a pupil of Stainer's, named Klotz, who after his master's death enjoyed a considerable reputation as a maker of violins of good quality.
Many of the houses of Absam are gaily painted, and in the numerous niches, which are often vine-wreathed, one finds the images of saints, and on the bargeboards roughly carved dragons. The villagers tell a curious story to account for the presence of these dragons. It tells how centuries ago there was in the village a marvellous hen that never laid an egg until seven years old, and when this was hatched instead of the anticipated chicken there crawled out a dragon, which remarkable event the villagers have commemorated ever since by carving dragons on the eaves of their houses. But it has been pointed out by several writers upon legends and folk-lore that the dragon was an animal sacred to the god Wodin, representations of which were frequently placed on houses, over the town gates, and on belfries as a kind of talisman against evil influences and spirits; and similar statements are to be found in several well-known works dealing with mythology.