James Gilchrist

History

James Gilchrist (1832-1894) was born in Rothesay, Scotland, in 1832 and passed away in Glasgow, Scotland, in 1894. He was initially trained as a scientific instrument maker and engineer, beginning his career as a metalworker and mechanic, crafting the finest scientific instruments. According to John Dilworth, he lived in Glasgow from 1850 and became active as an amateur maker of stringed instruments from around 1880. Willibald Leo Lütgendorff notes that Gilchrist turned to violin making relatively late, around 1880, but with such zeal and enthusiasm that his admirers soon dubbed him the 'Scottish Stradivarius'. Dilworth states that Gilchrist was professionally established at 109 Hope Street, later moving to 29 Stanley Street. William Meredith Morris describes him as an amateur maker who, by trade, was a philosophical instrument maker. Sources contain conflicting information regarding the total number of instruments produced; Morris and Lütgendorff state he made eighty-six stringed instruments of every description (Violinen, Violen, und Violoncelli), while Dilworth indicates no more than 100 instruments are known.

Craft

• Workmanship: William Meredith Morris observed that Gilchrist's workmanship was 'very fair' but that the work as a whole 'lacks individuality, and the tone is of a poor quality'. In contrast, Willibald Leo Lütgendorff highlights Gilchrist's profound knowledge and extraordinary manual dexterity. John Dilworth describes his instruments as 'finely made Stradivari-derived model with very flat arch'.
• Innovation: Lütgendorff notes that Gilchrist used excellent wood and calculated the thickness ratios of the top and back according to his own mathematical principles, establishing 50 measurements to achieve a correct and precise division of the top concerning the bass bar, soundpost, and bridge. He paid attention to every detail, even lining the peg holes of the scroll according to his own system. He also crafted his own tools, improving existing ones and inventing new ones.
• Design Characteristics: Dilworth points out 'several mannerisms and affectations in the detailing, some whimsical and inconsistent, some with certain practical advantages'.
• Varnish: Dilworth states that Gilchrist's varnish was 'variable; some thin textured, others with thicker oil covering'.

Influence

• Training: James Gilchrist was trained as a scientific instrument maker and engineer, a background that significantly informed his approach to violin making.
• Methodology: His work was characterized by a highly analytical and mathematical approach, applying principles derived from his engineering and scientific instrument-making expertise to the construction of musical instruments.

Legacy

• Reputation: Willibald Leo Lütgendorff reports that Gilchrist's violins were highly valued during his lifetime, and he received 3000 Marks for a quartet. He was known as the 'Scottish Stradivarius' by his admirers.
• Collectors: Professor J. Bell Pettigrew, for whom Gilchrist also constructed models for his studies on bird flight, possessed a collection of Gilchrist's violins.
• Labels: Examples of his labels include 'JAMES GILCHRIST, GLASGOW, 1892' as cited by William Meredith Morris, and 'James Gilchrist no.. / Glasgow 1886 [Rattray]' as noted by John Dilworth.
• Financial Standing: Despite his skill and reputation, Lütgendorff recounts that Gilchrist never accumulated wealth, with his wife reportedly saying, 'Machen kann er Alles — nur kein Geld' (He can make anything — except money).

Further Information

• Workshop Locations: John Dilworth notes that James Gilchrist was established professionally at 109 Hope Street in Glasgow, and later at 29 Stanley Street.
• Tool Making: Willibald Leo Lütgendorff highlights that Gilchrist crafted all his own tools, improving conventional ones and inventing new ones.

Summary

James Gilchrist (1832-1894) was a Scottish scientific instrument maker and engineer who became a notable amateur violin maker in Glasgow from around 1880. Known for his innovative and mathematically driven approach to instrument construction, he applied his engineering background to calculate precise measurements for his instruments, even crafting his own tools. While some sources, like William Meredith Morris, noted a lack of individuality and poor tone quality in his work, others, such as Willibald Leo Lütgendorff, praised his profound knowledge and dexterity, leading to him being called the 'Scottish Stradivarius'. John Dilworth describes his instruments as finely made, Stradivari-derived models with variable varnish and distinctive detailing. He produced between 86 and 100 stringed instruments, and his work, though not leading to financial wealth, was valued during his lifetime, with collections held by figures like Professor J. Bell Pettigrew.