Chapter XXVIII: Conclusion (5)

VUILLAUME.--Mirecourt, Paris, Brussels; eighteenth and nineteenth centuries. The name is probably known wherever the violin is in use owing to the wide celebrity attained by the principal maker of the family, which was of Mirecourt origin. About ten Vuillaumes have been engaged in fiddle making. Four named Claude or Claude Francis operated in Mirecourt from about 1625-1865. Claude Vuillaume II. died in Mirecourt in 1834. Instruments of his make are branded on the backs “Au roi David,” Paris. JEAN BAPTISTE VUILLAUME, who made the name famous, was born in Mirecourt in 1798, and was a son of Claude Vuillaume II. He died in Paris in 1875, and at the time of his death his workshops had turned out upwards of three thousand instruments. This fact speaks for itself, and though he was personally a workman of consummate skill and employed assistants of much ability, there can be no question that the world would have been richer in really first-class examples of the copyist’s art had he been content to limit his output to more modest dimensions. But Vuillaume was a keen business man, and knew well enough that extensive production was the one and only way to amass a fortune in the manufacture of new fiddles. The story of his life has been told time and again in books on the violin, and there is no need here to repeat it. He has left some of the finest copies of Stradivari that were ever made, and many that, from a tone point of view, are of little or no account. The instruments made from artificially matured wood, of which many exist, are disastrous failures, and it is fortunate that he desisted after some time from producing such things. His violoncellos are useful instruments, and generally possess a fine tone. He was a fine judge of old Italian work, and many notable violins and basses passed through his hands. NICOLAS VUILLAUME, his brother, worked in Mirecourt, and died there in 1871. His work is fair, but of the trade class. He was the maker of the so-called “Stentor” violins. NICOLAS FRANCIS VUILLAUME, another brother--born 1802, died 1876--worked for a time with J. B. Vuillaume, and afterwards went to Brussels, where he was for many years in business. He was maker to the Conservatoire there, and received medals. He was a very fair workman, but much inferior to his brother in ability. SEBASTIEN VUILLAUME, a nephew, died in 1876, and was not particularly distinguished. He also worked in Paris.

WAGNER.--Eighteenth and nineteenth centuries. Nine or more makers are mentioned bearing the name. They worked in different parts of Germany. Benedict Wagner, Elwangen, was at work in that place between about 1720 and 1790. Pattern varies, but they are usually high built. Yellow-brown varnish. He branded his name on the backs. Another Wagner, named Joseph, worked in Constance in the eighteenth century.

WAMSLEY, PETER.--London; first half of eighteenth century. He was the founder of a school of makers, and several workmen, such as Thomas Smith, Joseph Hill, and others, worked with, or imitated him. His instruments are of Stainer pattern, and he generally used prettily marked wood for his backs. Varnish varies in colour, but is chiefly dark red or red-brown. He made a number of violoncellos. Work often unpurfled.

WARNECKE, L. GEORGES.--Nancy; about 1820-30. He branded his violins with a curious monogram under the bridge.

WASSERMANN, JOSEPH.--Znaim; late eighteenth century. Examples scarce. Well-made instruments with orange-brown varnish.

WEBER, MICHAEL.--Prague. Died 1844.

WEICHOLD, RICHARD.--Dresden. A well-known manufacturer of stringed instruments and accessories. Many of the bows bearing his stamp are excellent. He died in 1902.

WELLER.--Markneukirchen; nineteenth century. Several makers of the name are mentioned, but amongst the various Christian names that of “Samuel” does not occur.

WENGER, GREGORI FERDINAND.--Augsburg; eighteenth century. Stainer character of work. Varnish red or dark brown.

WERNER.--Nineteenth century. A numerous family originating in Schönbach. A maker named FRANZ WERNER worked in Vienna until about 1825 and was a pupil of Geissenhof. Careful work. Stradivari pattern.

WETTENGEL.--Markneukirchen; nineteenth century. A family of instrument makers. One of them (Gustav Adolf) wrote a book on violin making.

WHITAKER.--London; about 1810-29. Button and Whitaker were instrument dealers. The name may be seen on violins and violoncellos of mediocre workmanship.

WIDHALM.--Nuremburg; eighteenth and nineteenth centuries. A fairly numerous family of makers, the chief of whom was LEOPOLD WIDHALM, who was born in 1722 and died in 1776. He was a prolific workman and a good many of his fiddles are in this country. He copied Stainer with much ability, but generally overdid the arching. His varnish is usually red, and of very good quality. There is a good deal of sameness about his work. He made some fine violas. His initials are generally seen stamped under the labels. Several sons were also makers. The second of them, GALLUS IGNATIUS, died in 1822.

WILFER.--Nineteenth century. There have been several German makers of this name.

WILLEMS.--Ghent; seventeenth and eighteenth centuries. Three makers of the name are known. Good work of the Amati school.

WILLER.--Prague; eighteenth and nineteenth centuries. Three makers known. Johann Michael Wilier died in 1826, and was a tolerably good workman.

WISE, CHRISTOPHER.--London; middle of seventeenth century. A violoncello attributed to this maker was seen by the writer in London recently, but was not a very interesting specimen. The violins are occasionally met with and have very good varnish. Size rather small.

WITHERS.--London; nineteenth century and contemporary. Well-known firms of London dealers and repairers. The founder of the business was EDWARD WITHERS, who died about 1870. He was a maker of decided ability and made some instruments of high-class finish and workmanship. He also employed some excellent workmen, amongst them Boullangier (_q.v._). A son of the same name was a pupil of Lott and carried on business in Wardour Street. He died in 1915, and the business is continued by his sons. GEORGE WITHERS, another son of the first Edward, established a successful business on his own account, and retired some years ago. The firm is now “George Withers and Sons,” the partners being two of his sons, GUARNERI and WALTER, both of whom underwent a course of training in Mirecourt.

WOLFF, BROTHERS.--Kreuznach; contemporary. Well-known manufacturers of instruments of the “factory” class.

WORLE AND WORNLE.--Makers bearing these names worked in various parts of Germany and in Vienna. Seventeenth and eighteenth centuries.

WUNDERLICH.--Markneukirchen; nineteenth century. Several of the name.

ZACH, THOMAS.--Budapest, Vienna. Born 1812; died 1892. He was a very fine workman. His copies of Stradivari and Guarneri are beautifully made and take high rank amongst modern productions. The varnish on many of them is of excellent quality. A son, CARL ZACH, invented a process for impregnating the wood of his instruments to improve the tone. Judging by examples seen by the writer it did not have the desired effect.

ZACHER, FRANZ.--Ingoldstadt; early eighteenth century. High built instruments. Careful work and handsome wood. Specimens scarce.

ZANETTO.--Brescia; late sixteenth and early seventeenth centuries. His name appears to have been Peregrino, or Pelegrino, Michelis di Zanetto, but he is usually referred to as “Zanetto.” He certainly made violas of the large, or “Tenore” class, but as to what other instruments of a type now in use he really made there seems to be some doubt. Messrs George Withers and Sons possess a viola of his make.

ZANFI, GIACOMO.--Modena. Born 1756; died about 1822. According to labels was a music teacher who made violins and larger instruments.

ZANOLI, GIO. BATTISTA.--Verona; 1730-57 Seemingly a mediocre maker.

ZANOLI, GIACOMO.--Venice, Padua, Verona; about 1740-60.

ZANOTTI, ANTONIO.--Mantua; eighteenth century.

ZANTI, ALESSANDRO.--Late eighteenth and early nineteenth centuries. Worked in Mantua. Work well finished. Chiefly Stradivari pattern.

ZWERGER.--Mittenwald; eighteenth and nineteenth centuries. A family of makers of Mittenwald origin. Several of them worked in Neuberg.

ADDENDUM

AMATI, HIERONYMUS II.--Since the notice of this maker was written (_vide_ page 139) the writer has met with two violins labelled prior to the year 1700. One of these is dated 1689.

PRINTED IN ENGLAND BY WILLIAM CLOWES AND SONS, LIMITED,
LONDON AND BECCLES.

FOOTNOTES:

[A] Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end blocks or linings, inside the instrument, add any particular value to the violin if original. Most of these items are, in a well-fitted old violin, _modern_. The vital parts for curio valuation are the head, top, back, and ribs.

[B] The violins produced in any part of _modern_ Italy as a rule possess repute no higher than those made in other countries. So long ago as the latter years of the eighteenth century it became necessary for the Italian workmen to seek information in the art from Paris and other cities of France. As for Cremona of the present day, it may almost be said that, as a violin centre, it is not seriously considered at all. I believe some effort has recently been made to revive its ancient glories, but the success of the venture is still very much in doubt.

[C] It has been variously estimated that Stradivari constructed during his lifetime between 1000 and 1500 instruments.

[D] Antonio Stradivari is the best known of all violin makers of past times, and it is solely for this reason that we use his name so frequently when referring to the old makers, rather than that of another less familiar.

[E] “We unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of Stradivari.... We may here add a word as to the delusion that material taken from buildings, such as for instance Swiss châlets--in some cases centuries old--is preferable to that cut and seasoned during a lesser, but still a sufficient, number of years. We have tried both kinds ... and we fail to find that the former has any real advantage over the latter; in fact, our opinion is rather in favour of the more youthful wood.”--Messrs. Hill, “Antonio Stradivari,” p. 173.

[F] A potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon--and look upon themselves--as mere carvers of wood, and are judged almost entirely from that standpoint. Perfection of workmanship and such artistry as each maker may achieve, rather than the tone-merit his instruments may possess, seems the only existing method of indicating his status as a violin maker. Aside from other considerations, this renders his position difficult in the extreme, the violin offering little scope (as in the plastic and kindred arts) for originality; and any departure from convention is apt to be characterised as freakish, whilst all possible refinement of detail seems long since anticipated.

[G] These principles, as we have endeavoured to explain, are as old as the violin itself.

[H] It has long been considered by many who seek to duplicate the tone of the old master violins that the more perfectly size, outline, arching, thickness--or model--is copied, the more chance of securing the desired tone. Notwithstanding the lack of success attending such efforts, copying is still extensively practised and _relied upon_ for tone production.

[I] Many violins of little tonal worth, but by a more or less famous ancient maker, are advertised in a manner calculated to fire the imagination of the reader and effect a sale through an appeal to romantic sentiment. It is for this reason that so much is said about the maker, his times, master, family, etc., and so little about the tone of the particular instrument.

[J] “The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the dicoloration of the wood cleverly managed, and the effect of wear counterfeited with greater skill than has ever been done before or since, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist.”--“The Violin,” G. Hart, page 297.

[K] “Violin Making as it Was and Is,” Ed. Heron Allen, London, 1885.

[L] A rather popular belief is that all old violins by a certain celebrated maker, or new ones by a modern maker, are alike in tonal worth. This is not the case, and the fact should be carefully remembered. The variation is not due so much to the vicissitudes of a long and strenuous existence on the part of the instrument as to those human limitations which render it impossible for a master in any art to copy himself with unfailing regularity and success.

[M] This number may appear large, but we believe it is under, rather than over, the mark. Some of the makers of later times, now, however, ranking as “old,” turned out from their shops as many as 2,500 instruments. If the 900 makers produced an average of 100 violins each during their lifetime, the total would amount to 90,000.

[N] While most of the great dealers throughout the world are either good judges of tone themselves, or employ those who are, they cannot, as vendors, be considered impartial. It is only fair to say they recognise this, and prefer that the prospective buyer form his own opinion.

[O] In the Correspondence Department of _The Strad_ for May, 1916, we find the following: “I think his (Stradivari’s) varnish was purely and simply got by a visit to his fowl-shed, and the selection of half a dozen brown-shelled eggs therefrom, simply breaking in a dish, beating the contents well together, removing the froth, and applying the residuum at once to his finished violins.... I believe this is the long-sought solution of the means employed by Strad to finish off his violins.”

Typographical errors corrected by the etext transcriber:

succed in tone=> succeed in tone {pg xv}

approximateiy accurate=> approximately accurate {pg xvii}

be more worthy the=> be more worthy of the {pg 50}

ridiculous claims or=> ridiculous claims of {pg 107}

GLASS.--Klingeuthal=> GLASS.--Klingenthal {pg 170}

HAÜSSLER, GUSTAVE=> HÄUSSLER, GUSTAVE {pg 187}

enumerated by von Lutgendörff=> enumerated by von Lütgendorff {pg 244}

EGIDUIS, _circa_ 1700-30=> EGIDIUS, _circa_ 1700-30 {pg 249}

Moscrow, Prague=> Moscow, Prague {pg 249}