Son of Matthias (1). Born 1696. Died 1768. Worked at Mittenwald. The superiority of any particular member of this family has given rise to much fruitless and absurd discussion. Each is bound to have some degree of excellence assigned to him and supported by their advocates, but it seems to have been more stoutly maintained that Sebastian stands foremost. The intrinsic tonal beauty of his instruments has long been one of the dogmas of connoisseurs. This we think, has been completely contradicted by the present generation of solo violinists, and even amateurs, for they have practically ignored them. Although the model is beautifully large, less Stainerish, and only slightly arched in comparison to those of the other members of the family, we doubt their fitness for the modern player. There is not sufficient stability about the tone. Whilst admitting their simple grandeur, both without heaviness, recording in their artistic appearance all the eloquence of talent they have not that bright, free, full responsive and brilliant tone which a soloist must have. The feelings of persons in general, on playing a Klotz is delight in the possession but scarcely satisfying for all practical purposes. It has all the proportions we desire, yet a forcible player can never do himself justice with it. Still a lover of fiddles does like to own a Sebastian Klotz. We can admire the rather original outline, with slight corners and being very flat near the carefully rounded and raised edges. Workmanship practically flawless, and all inside work as well finished as outside. Length of body never less than 14 inches, and sometimes a trifle in excess of that. Generally fine grain material for top, acoustically good, and well marked wood for backs. Splendidly cut sound-holes which do not absolutely leave out Stainer. Clear cut scroll with its drooping appearance (an outstanding feature of the various violins bearing the name of Klotz). Varnish altogether of better and thicker texture than that his father used. Various colours but mostly red brown or dark brownish yellow, which looks lustrous, but being brittle is likely to come off in little bits. Sometimes somewhat similar to that on an Albani. We have read a lot of fictitious nonsense about the value of a Sebastian Klotz - £200 having been recorded; and we are aware that American dealers catalogued them at 500 dollars, but no professional violinist with his wits on the alert would be inclined to give more than £40, and then he ought to get a specimen free from the slightest damage.