wers of Stainer have
been numerous, and are mentioned in the lists of German and English
makers. Probably no maker is more mistaken than Stainer: the array of
German instruments called by his name is at least ten times greater
than the number he actually made. Nearly every high-built tub of a
Violin sails under his colours. Instruments without any resemblance
whatever to those of Stainer are accepted by the multitude as original
Jacob Stainers. Much of this has arisen from the variety of style and
work said to have been shown in the instruments of this maker. That
this marked variety exists I do not believe. The pattern varies, but
the same hand is traceable throughout.

STAINER, Markus, Kufstein, Tyrol, about 1659, described as a brother
of Jacob. He styled himself on his label "Citizen and Violin-maker."
Citizenship carried with it special privileges, and this maker
apparently recognised the honour by having "Burger" after his name.

STAINER, Andreas, Absam, about 1660. Mention is made of a maker of
Baryton Viols of this name.

STAUGTINGER, Mathias W., Wurzburg, about 1671. Maker of Viols and
Lutes.

STEININGER, Jacob, Frankfort, about 1775. Son-in-law of the
Violin-maker Dopfer, and uncle of Nicolas Diehl, to whom he gave
instructions in Violin-making.

STEININGER, Franz, St. Petersburg, son of Jacob Steininger.

STOSS, ----. Makers of this name worked at Prague, Vienna, and Fussen,
about the end of the 18th century.

STOSS, Martin, Vienna, about 1824. Flat model, good workmanship.
Stradivari pattern, indifferent varnish.

STRAUBE, ----, Berlin, about 1775.

STRAUSS, Joseph, Neustadt, about 1750.

TIEFFENBRUCKER. There appear to have been several Lute-makers of this
name working in the 16th century in Germany and elsewhere. No genuine
Violins are known. _See_ DUIFFOPRUGCAR.

TIELKE, Joachim, Hamburg, about 1539-92. The name of Tielke is
associated with the most remarkable instruments of the Lute and Guitar
kind ever produced in relation to rich and chaste ornamentation. It is
said there are glowing accounts in old German books of the magnificent
instruments by Tielke, with elaborate designs in silver, gold, and
jewels.[4] The ornamentation and workmanship seen in the best
instruments of this maker bear the impress of Italian art of a high
order, and evidence the employment of Italian draughtsmen by the house
of Tielke. In the collection of instruments at Kensington is a
Chiterna (an instrument of the L