In addition to archaic, autodidactic violin making, semi-professional and professional violin making also became established in the folk music scene. At the height of rural string music in the 19th century, the demand for violins could only be partially met by Swiss violin makers.
There is no record of a single violin maker in the canton of Appenzell in the 19th century. Around 1800, the relatively great demand for instruments for traditional Appenzell string bands was probably met by southern Germany.
In Central Switzerland, violin maker Aloys Suter (1809-1889) from Brunnen made a name for himself as a violin and zither maker.
With the advent of the Schwyzerörgeli button accordion and brass band music at the end of the 19th century, the violin lost its importance in folk music. This development cost some luthiers their livelihoods. Aloys Suter emigrated to Newark/USA at the height of the emigration wave around 1880, where he worked as a violin maker for a few more years.
⬈ Von Einwanderern, Auswanderern und Durchreisenden (Of immigrants, emigrants and transients)
At ‘Les Bayards’ in Jura, the brothers Alex and Werner Jacot produced violins as well as fiddle-like instruments, hurdy-gurdies and accessories for stringed instruments.