NOVELLO , EWER AND~CO .

’S

MUS IC PRIMERS AND EDUCAT I ONAL SERIES .

EDI TED BY S IR JOHN STA INER AND DR. C . HUBERT H. PARRY

A DICT IONARY

V I O L I N MAKERS

COMP ILED FROM THE BEST AUTHORIT IES

C . STA INER.

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PREFACE.

TH I S little ,b ook does not p re tend to any l ite rary inte re st , it is me re ly a

catalogue , p e rhaps far from e xhaustive , of violin -make rs past and pre sent ,

which has b e en care fully compiled from v arious authorit ie s .

Ancie nt make rs of lute s and viols of all kinds have also b e en in cluded , as

it was found imp ossib le to draw a definite line of division b e twe e n them and

make rs of th e typ e of in strume nt s now in gene ral use .

For purp o se s of re fe re nce by those who may b e inte re sted in the subje ct ,a comple te l ist of th e works which hav e b ee n con sulted is appe nde d .

Naturally they are not all of e qual value or e qually t rustworthy ; it is not

always safe to acce pt an asse rt ion as a fact , howe ve r confide ntly and nu

h'

e'

sitat ingly stated , if no e vidence i s brought forward in support of it . But

in th e works of Me s srs . Vidal , Piccole llis , Hart , &c . , varied and valuab le

informat ion may b e found ; while b ooks like those of Me ssrs . Coutagne ,

Bere n z i, Hil l , Ruf, and othe rs give th e re sult s of much pain staking re se arch

into th e history of individual violin make rs . Step by step th e story of th e

gre at founde rs of th e art is be ing traced out , ancient archive s are se arched ,

re gi ste rs e xamined , money and t ime fre e ly given by e nthusia st s wh o have

fe lt th e fascin at ion of this b ranch of study . I t was , of course , ne ce ssary that

this small work should la rge ly de pe nd on th e fruit s of othe r p e op le’s

l ab ours , a s pe rsonal re se arch was out of th e que st ion . I am de eply indeb ted

to Mr . Arthur Hil l for th e kindne ss with which h e answe red all e nquirie s

addre ssed to h im and th e re adine ss with which h e placed many v a luab le

books at my di sp osal . My thanks are a lso due to th e viol in make rs living

in France , Ge rmany , Be lgium, I taly , and in this count ry , wh o s o prompt ly

se nt me a ll th e informat ion I asked for , the re by e n suring accuracy and

rende ring it possib le to b ring th e b ook fairly up to date . I should l ike also

to add that I have had th e b enefit of constant he lp and supe rvi sion from my

fathe r , Sir J ohn Staine r .

C . S .

WORKS REFERRED TO“

OR QUOTED .

Ab e le , Hyacin th . Die Viol ine , ih re Gesch ich te und ihr Bau (Ne ub urga/D . ,

I S74) .

Beren z i, Prof. Ange l o . Gli artefici l iutai Bre scian i (Bre scia ,

Be re n z i, Sac . Ange l o . Di G iovanni Paol o Maggin i (Bre scia ,

Broadhouse, J oh n . Vio l in s , old and n ew (3rd Ed . , e nlarged , London ) .

Cat alogue of th e Sp e cia l Exhib it ion of An cie n t Mus ical I nst rume nts inSouth Ken s ingt on Museum , 1 872 .

Coutagn e , le Dr. Hen ry . Gaspard Duiffop roucart et le s luthie rs lyonnaisdu KVI e s1ecle (Paris ,

Dupuich , R. La cote du v io l on an cie n .

Enge l , Carl . Re se arche s into th e e arly history of th e viol in fami ly

(London ,

Enge l , Carl . Musical Myths and Fact s (London ,Enge l , Carl . A de script iv e Cat al ogue of th e Mus ica l I n st rumen t s in th e

South Ke n singt on Museum (London ,

Fét is , F . J . Biographie un ive rse l le des musicie n s (2nd Ed . , Paris , 1866)

Fétis , F . J . Bi ograp hical n ot ice of N ic o lo Pagan in i , pre cede d by a ske t chof th e h i st ory of th e Violin .

F leming, J ame s M . O ld Viol ins and the ir Make rs (London ,

Gallay, J . Le s luthie rs it alie ns aux XVI I e e t XVI I I e s iecle s (Paris ,

Grove , Sir Ge o rge . A Dict ion ary of Mus ic and Mus ician s .

Hajde cki , A . Die ital ie nische Lira da Braccio (Mostar ,

Hart , Ge orge . Th e Vi ol in : its famou s make rs and the ir imitators

(London ,

Hawkins , Sir J ohn . A ge n e ra l history of th e s cie nce and p ract ice ofmusic (London ,

He ron - Al le n , Ed . Vi o lin Making, as it was and is (London ,He ron -A l le n , Edward . De fidiculis b ib liograph ia (London , 1890

Hil l . Gio : Paolo Maggin i : h is l ife and work . Comp iled and edited from

mate rial colle cted and contributed by W . E . Hil l and h is sons , W i l l iam ,

Arthur and Alfred Hill, by Margare t L . Huggins (London ,

J acquot , Alb e rt . Le s Medard, luthie rs l o rrain s (Paris ,

Ma'

ce , Th o. Musick’s Monume n t (London ,

Miggé, O tto . Le se cre t de s cé leb re s luthie rs italie n s , découve rt e t

e xpl iqué par Otto Miggé.

N orth , Hon . Roge r . Memoirs of Musick , edited by Ed . F . Rimb ault

(London ,

Pe arce , J ose ph , jun . Viol ins and Vio l in Make rs (London ,

Piccole llis , Gi ovanni de . L iutai an tiche e mode rn i (Fire n ze ,Pie rre , Constan t . Le s facte urs d’in strumen ts de musique , le s luthie rs e t

l a facture in strume ntale (Paris ,

Ritte r , He rmann . Die Ge schichte de r -Vio la Alta (z ud Ed . , Le ip zig ,

Ruf, S . De r Ge igenmache r J akob Staine r (I nn sb ruck ,

Sandys and Forste r . Th e history of th e violin , byW il l iam Sandys andSimon And rew Forste r (London ,Snoeck , C . C . Catalogue de l a col le ct ion d

’instrumen ts de musique ,

ancie n s e t curie ux , formée par C . C . Snoe ck (Gand ,

Starcke , He rmann . Die Ge ige , und die M e i ste r de r Ge ige n und Laute n

b aukunst (Dre sde n ,

St rae te n and Snoe ck . Etude b iographique e t organograp h ique sur le s

W il lems , l uthie rs gautois du XVI I e siecle , par Edmond Vande r St rae te n e t

César Snoe ck (Gand ,

Tolb ecque , Auguste . Que lque s considerat ion s sur la luthe rie (Pari s ,

Vidal , Antoine . Le s inst rume nt s aarche t (Paris ,

Vidal , Antoine . La luthe rie e t le s luthie rs (Paris ,

W asie lewski , W ilhe lm Jos . v on . Die Viol ine und ihre Me i ste r (3rd Ed

Le ip zig ,

A DICTIONARY

VIOLIN

Aach n e r, Philipp . A make r in Mittenwald in 1772. His instruments havebrown varnish .

A bbat i , Giuseppe . Worked in Modena ,1775

-

93 . His double - basse s are we llknown in I taly.

A b sam , Thomas . Worked in W akefie ld , Yorkshire , 18 10-

49 . Made violinsfor a deale r called Pickard , in Leeds .Labe l : “ Made by Thomas Absam

,

Wakefie ld , Feb . 14 ,A cev o . A maker little known

,but

Fétis has stated that h e was bornabout 1630 , in Saluzzo , was a pupil ofCappa , and made good instruments ,principally bass - viols . Fétis had seena bass- viol dated 1693 , which be longedto Marin Marais , whose signature wason the back . There is no othe revidence in favour of the supposedexistence of Acevo.

A dam , Jean Dominique , b . Feb . 26 , 1823 ,

Mire court ; (1. Jan . 19 , 1869 . Wasth e son , pupil , and succe ssor of JeanAdam , a make r of bows . He mademany bows for th e trade , but markedwith his name those that h e sold himse l f. His work is much supe rior tothat of his father .

A dams , C . A make r at Garmouth ,

Scotland , in 1800 .

A dani , Panerazio . A maker of cithersin Modena . 1827.

A ddi s on , William . A maker of viols inLondon . Labe l : “W illiam Addison

,

in Long Alley , over against Moorfie lds ,Agl io

,Giuseppe dall’. Worked in

Mantua 1800-

40 . His instrumentsare siml lar to those of Camilli andare varnished a bright ye llow colour.

A ire ton (Airton) , Edmund , b . about1727; d . 1807. A maker in London.

I t is possible that a workman of th esame name , employed by P. Wamsley

MAKERS .

in 1735 , was his father . Followed th eAmati mode l ; his violins and violonce llos show finished workmanship ,

have a good tone , and are varnishedye llow. Some instruments , of infe riormake , follow th e S tradivari mode l .

A lbane s i , Sebastiano . Worked inCremona, 1720

-

44 . Pupil of CarloBergonzi . His instruments are notmuch arched and both in varnish andmake are similar to those made inMilan ; th e tone is powerful .

A lban i , Mathias , b . about 162 1 , Botzen

(Tyrol) ; d . there 1673 . His instruments are exce llent , very similar tothose made by Stainer , of whom he

was possibly a pupil . They are mucharched , with high side s , th e soundhole s too wide ly opened , with drybrittle varnish , a reddish -brown colour ,th e wood is carefully se lected . A violonce llo , of swee t but not powerful tone ,

had th e labe l in large characte rs .

Mathias Albano , fecit in Tiroli , 165 1A beautiful violin , with full , powe rfultone , had th e labe l in small characters :“ Mathias Albano , in Tiroli , Bulsan i,1643 . Two othe r labe ls are

Mathias Albani , fecit Bulsani . Tyrol ,165 1 , and Matthias Alb anus , fecitin Tyrol , Bulsani , 1654.

A lbani , Mathias , son and pupil ofMathias Albani ; b . 1650 , Botzen d .

about 1715 . Se ttled inRome , probablyremained in Cremona studying unde rth e Amatis for some time , on his waythere . His instruments follow th e

Amati patte rn , and show beautiful varnish and finished workmanship . Threeviolins known are dated re spective ly1702 , 1709 , 1712 . I n a poche tte wasth e labe l , “Mathias Alb anus ,In Rome the labe l used was MattiaAlbano , fece in Roma , 16

A lbani , Paolo . Worked in Palermo

2 A LBERT I — AMAT I .

about 1650-80 I s said to have be en apupil of N icola Amati at Cremona .

His instruments are made on a largepatte rn with good varnish . A violinknown is dated 1659 . A son of hiscontinued making violins till 1720 .

A lbe rt i , Fe rdinando , A make r in Milan ,1740

- 60 . His instruments are fairlywe ll made and varnished bright ye llow .

Labe l : Fe rdinando Albe rti,fece in

Milano , ne lla contrada de l pe sce al

segno de l la Corona , ne ll’anno 1743 .

A lbe rt o , Pie tro . A ce lebrated make r oflute s in Bologna , 1598 . Th e labe l ,Pe trus Albe rtus , facieb at B wasfound in a large mandora made ofmaple wood , beautifully grained ,

withfin e varnish , brown colour , th e ne ckinlaid with ivory .

A l dre d . A make r in London , whoseviols we re

,ce lebrated in th e

0

17thcentury . Spe aking of viols , in hisbook Musick’s Monument (publish ed Mace adds , “ Of suchthe re are no be t te r in th e world thanthose of Aldred , Jay , Smith , &0 .

A l dric . Worked in Paris , 1788- 1840 .

Was we l l known for . th e e xce llentinstruments h e made

,on th e Stradi

vari patte rn , of fin e tone , with rich red

varnish . He also constructed altosfrom old I talian viols with great eleve rne ss and care fully repaired oldinstruments . An early Violonce l lo ofhis is dated 1788 . In another violonce llo was th e labe l , Fait par Aldric

,

luthier , rue de s Arcis , 16 , Paris ,Late r h e moved to 71 , rue de Se ine ,

Saint -Germain , where , in 1 840 ,his

nephewAubry succeeded him . Labe l :Rue de Se ine , 71 , pres ce lle de Bussy ,

Aldric , luthie r aParis , an . 18

A l e s sandro , called “ I l Vene ziano , amake r in Venice about 1540 .

A le t z ie , Paul . A make r in Munich,

1710-

36 . I s be st known for his tenorsand violonce llos . His instrumentsshow care ful work , but th e soundhole s are too small , and th e brownvarnish is of poor quality . In abeautiful viola d’amore was th e labe lPaulus A le t z ie Hof Lauten undGe igenmache r in Miinch en , 1726 .

Two similar labe ls are dated 1710 and1720 .

A l l ard , Francois . A make r in Paris from1776 to 1783 , in th e place Maubert ,then (1788 - 89 ) at 9 , rue du Pe tit -Pont .Few of his instruments are known .

A lvani . A make r in Cremona in 1750 ,

who followed th e Guarneri pattern .

Amat i , Andrea , b . about 1525 , at Cremona ; d . soon afte r th e death of his

se cond wife , Angiola de Migli (d .

April Was de scended froman ancient and noble family of Cremona , dating back as far as 1097.

Was th e founde r of th e great Cremonaschool of violin making , which include ssuch name s as th e Guarne ri, Ruggeri ,Bergonzi , and Stradivari . At first madeth e olde r form of violin— th e viola dagamba— but gradually deve loped th e

modern violin pattern , aided , no doubt ,by see ing instruments made by th e

older school of B re scia . While in struments of Gasparo da Sale and Gio .

Paolo Maggini are stil l in good prese rvation , violins known to b e th e

genuine work of Andrea are greatlydamaged and badly re stored , whichmake s it difficult to form corre ctopinions about them . They diffe rgreatly from th e B re scia pattern inarching , form , colour and transparencyof varnish

,but re tain th e stiff upright

Bre scian sound-hole . Th e whole instrument became simplified in Andrea’shands , if, as is some time s supposed , h ewas a pupil of e itherGasparo da Salo orMaggini , or even worked as a pupil inB re scia , h e advanced far beyond them ,

and shows great originality in hiswork . Anothe r sugge sted “ maste r "

of Andre a is Giammaria de l Busse to ,who was probably trained in th e

Bre scian school , although h e constructed his instruments on differentprinciple s . Andrea’s violins are smal lor “ three - quarte r size , th e outlineextreme ly grace ful , th e be lly and backhigh , strongly arched towards th e

centre ; th e wood care fully se le cted ,e specially for th e be lly , was generallysycamore or pear- tree ; th e scrollbeautifully carved , purfiing very neat ,and corners care fully worked ; th e

sound -hole s re semble those of Magginiand are usually too broad th e

varnish of good quality , but a litt lethick , varie s from clear or ye llow- brownto a beautiful amber colour th e clearand silve ry tone , though very swee t ,lacks powe r , possibly because of th esmall size and high arching of th einstrument , th e fourth string be ing part icularly weak . But at that time th estrength of tone demanded at th e

pre sent day was ne ithe r expected norrequired . In 1 878 two violins weresold for 7520 and 25 re spective ly , butth e price now varie s from 50 to £150or more , according to condition andtone . His violonce llos , some of th eearlie st made in I taly , are very rare ;th e varnish is dark reddish- brown

AMAT I— AM'

A T I .

with a slight tinge of ye llow , a colourprobably copied from that of th e oldlute s which Mace

,in his “ Musick’s

Monument , says was of a darkblack—reddish colour th e be stauthors did use to lay on that colour .

”

He gradually improved it , giving itmore body , making it more transparent ,of a reddish- ye llow colour . A violonce llo of full , rich tone , was dated 1572 .

Tenors and basse s are rare , are on alarge pattern , with beautifully finishedwork , and of swee t tone . Th e earlie stdate , 1546 , was found in a violinbe lieved to b e by him , in th e collectionof Count Coz io de Salab ue . I t is saidthat it was originally a rebe c ” withonly three strings , but th e fathe r ofMan tegaz z a alte red it into an in strument of four strings , by changing th ene ck and scroll . A viola bastarda isdated 155 1 . There seems to b e noe vidence in support of th e traditionthat h e made twenty - four violins ,twe lve large and twe lve small pattern ,

six tenors and e ight basse s , e laborate lyde corated on th e back with th e royalarms , &c . , and th e motto Pie tate e t

Justitia , for Charle s IX . of France ,

or that h e went to Paris with themand finished working at some of themthe re . There is nothing on th e ins truments themse lve s to show that theywere his work . Andrea was twicemarried and had two sons by his firstwife , Antonio and Girolamo , bothviolin make rs .

Amati , Antonio , e lder son of AndreaAmati , b . Cremona about 1560 ; wasstill living in 1648 , according to a labe lfound in a violin . Was in partnership with his brother Girolamo . Hisinstruments date from 1589 , and are

generally small size ; seve ral violinsdated from 159 1 til l 16 19 were in acatalogue , published 179 1 , of th e ihstrumen ts of Albinoni of Milan . Th e

patte rn re semble s that of his fathe r ,but is not so arched , th e so nd -hole sre tain th e B re scian type , e workshows neat finish , th e tone is swee tbut not powe rful .

Amati , Girolamo , second son of AndreaAmati , b . about 1562 ; d . N ov . 2 , 1630 .

Worked with his brothe r Antonio till1628 . Th e earlie st re liable date inconnection with them is 1577. Theyproduced th e first form of th e

instrument known as Amat ise .

”

Th e patte rn first followed , similar tothat of Andrea , was more arched thanthat used later . The ir instrumentsare few in numbe r , but in good p re

se rvation , generally small size (th eback often in one pie ce ) , of accurateproportions , slightly arched towardsth e middle , with strongly markedgroove s at th e side s th e scrolls vary ,often richly worked ,

th e corners andth e purfiing are care fully done , th e

edge s just overlap th e side s ; th e woodgenerally maple or deal ; th e varnish ,

de eper l n colour on th e earlie r instruments (possibly owing to old age ) , ilate r of an orange colour , thinly laidon , and throws up th e grain of th ewood ve ry distinctly . Th e tone is farmore powe rful than in Andrea’s in struments . A violin signed by them anddated 159 5 , which be longed to HenriIV . of France , is of historical value .

I t is made on a large pattern , th e oilvarnish a brilliant amber colour , th epurfling of tortoise she ll , and on th e

back are pain ted th e royal arms ofFrance and N avarre , &c . Labe ls :Antonius e t Hie ronymus Fr . Amatus ,

Cremonen ,Andreae fil . F . a.

similar one in a viola dated 1620 :

“ Antonius e t Hieronymus Amatus ,Cremon en , Andreae fil . F . 1592 asimilar one dated 1624 . Afte r 1624 ,

Girolamo worked alone , making bothlarge and small violins ; th e formerwe re th e fine st instruments , mucharched , with broad purfiing, goodscroll , and varnish ye llow - browncolour ; beautiful tone , but th e fourthstring was not equal to th e others .

Girolamo married first Ippolita Zuchie lli (d . then Laura Lazzarini onMay 24 , 1584 ; sh e had nine children ,

th e fifth child be ing N icola , whobecame th e most ce lebrated make r inth e family .

Amati , Girolamo , third son and succe ssorof N icola Amati , b . Feb . 26 , 1649 ;

d . Feb . 2 1 ,1740 ; buried in San

Tommaso . His instruments are poorcompared to those made by N icola ;h e follows an infe rior pattern , th e

sound - hole s be ing straight and placedtoo close to each othe r . Th e in stru

ments made on a large flat pattern areth e be st , th e sound - hole s be ing wide rapart ; but th e varnish , though some

time s soft and transparent , is gene rallyof bad quality . Labe ls : “ Hie ronimusAmatus

,fecit Cremonae , Hie

ron imus Amatus Cremonensis , fecitanno salutis ,

1697" Hieronymus

Amatus , Cremonen , N icolai fil . , 17Hieronymus Amatus , Cremonensis ,an . Hieronymus Amati , figliodi N iccolo Amati , Cremona , 17Instruments with his labe l dated

4 AMAT I— AN TON IAZZ I .

1703- 23 , were supposed to have been

made e ither by Sne ider of Pavia orG .

‘

B . Rogeri of Bre scia seve ral instrumen ts dated 1729 are known . I n

an old Amati violin repaired by Bros .Man tegaz z a of Milan , in 1806 , wasfound written at th e base of th e ne ck ,Revisto e corre t to da me Girolamo ,

figlio di N iccolo Amati , Cremona ,1710 . Girolamo married AngiolaCare tton i , 1678 his son Giuseppe ,

born 1684 , did not be come a violinmake r .

Amati , Guiseppe . Said to have lived inBologna first part of 17th century ,h e used oil varnish for his violinsand basse s , th e tone was clear andswee t .

Amati , N icola , younge r brothe r ofAndrea Amati , is said to have workedwith him , 1568

- 80 , then by himse lf t ill1586 . His basse s are be st known ,

slightly arched back and front , withoil varnish , th e tone e xce llent , only th efourth string often weak owing to th einstrument be ing too narrow and shortin proportion to its thickne ss . Two

basse s are dated re spective ly 1568 and1586 .

Amat i , N icola , son of Girolamo Amati ,b . Dec . 3 , 1596 ; d . April 12 , 1684 , aged88 ,

according to th e registe rs ofCremona Cathedral . I s th e most ce leb rated make r of th e Amati family .

His instruments re semble those of hisfathe r till about 1645 , then steadilyimprove . Th e patte rn is grace ful ,th e thickne sse s and arching accurate lyde te rmined , th e varnish a deep , richcolour , th e tone clear , swe e t andpowerful . Th e GrandAmati violinsare scarce and are worth £300 to £400 ;they are made on a large patte rn , ofbeautiful wood , th e back of maple ,

and th e be lly gene rally of deal , ofwhich th e thickne ss diminishe s fromth e centre to th e side s (this , whenexagge rated , make s th e se cond stringnasal in tone ) th e arching drops somewhat suddenly from th e bridge to th eedge s , with a slight groove where th epurfiing come s , this is said to give th enote d swee tness of tone ; th e soundhole s are beautifully cut , th e varnishis of fine quality and varie s fromamber to red colour . An instrumentwith double purfling is a remarkablepie ce of work . He made numbe rs oftenors and violonce llos , seve ral threequarter ” violins , and perhaps threeor four double - basse s . Many of th e

small violins still exist , one dated 1668

shows some of his fine st work , and th e

tone is wonde rfully swee t and clear .Labe ls : N icolaus Amatus CremonaeHieronymus Fil ac Antonius neposfe cit , 1630

” N icolaus Amatus C remonensis facieb at , anno 1650

”(in a

large bass - Viol) ;“ N icolaus Amatus

Cremonas Hie ronymus e t Antoniusnepos , fecit anno Violins areknown dated 1647, 1655 , 166 1 , and1662 , and two violonce l los dated 1669and 1670 re spective ly . Among N icola’sce lebrated pupils we re th e Guarne ri ,th e Ruggeri of Cremona, Montagnana of Venice , th e Rogeri and Tonon iof Bologna , and , greate st of all , AntonioS tradivari . He married May 23 , 1645 ,

Lucre zia Pagliari (d . Nov . 25 ,

Andrea Guarne ri , his pupil , waspre sent at th e ceremony and signed th eregiste r . Of nine children , only one ,

Girolamo , became a violin make r .

Ambrogi , Pie tro . W orked first in Cremona , then in Rome . Labe l : “ Pe trusAmbrogi , Crem . fe cit Romae , an .

I 7Ambro s i , Pie tro . A maker in B re scia in

1712 . His instruments are infe rior ,and th e varnish is of poor quality .

Labe l Pe trus Ambrosi , fecit Brix iae ,1712 .

Ambro s io , Antonio d’. A make r in

N aple s about 1820 .

Am e l o t . A make r in Lorient (France )about 18 12 - 29 . His instruments arepoor , th e varnish is ye llow colour .

Labe l Ame lot . luthie r Lorient ,1829 .

A n ciaume .

“ Bernard Anciaume was

found branded on a violin .

A ndre as , Johanne s . A maker in Ve ronaabout 1500- 15 . In th e Museum Modenaof Vienna is a lira da braccio with th ewritten labe l Joanne s A ndreas ,Verone sis , adi 12 Auosto,

A nge l i s . S ee

A n s e lm o , Pie tro . W orked in Cremona

(about 1700) and Venice . His violinsare made on a small pattern , slightlyarched , with golden - coloured varnishof r ich quality . His violonce llos arealso we l l made .

A n t egn at i , Gian France sco . I s mentioned by Lanfranco in his work ,Scintille ossia regole di musica

ch e mostra-no a leggere il cantofermo (B re scia , Ludovicus Bri

tann icus , He is there spokenof as one of th e earlie st lutem akersin B re scia .

An ton iaz z i , Gregorio . A make r inColle (Be rgamo) in 1738 . Labe l :Gregorio An ton iaz z i, in Colle ,

I 738

A NTON I O— BAGATELLA .

A ntonio , Bononiensis (of Bologna) . Aviola da gamba , not dated , is in th eBologna Lyceo filarmon ico .

A n ton io , Ciciliano . S ee Siciliano.A n tonio , Cypriano . Th e labe l : “ Cypriano Antonio , a fe z em Lisboa

,ao

Largo da E speranca ,” was found in a

e ith er with twe lve strings in pairs,of

fine tone , probably made about 1725 .

A n tony , Girolamo . A maker in Cremona in 175 1 . He made on a goodpattern , rathe r arched , with neat purfiing, edge s rathe r thin , varnish ye llow ,

of fair quality . Labe l : Hyeron imusAn ton ij, Cremonae , anno

A rde n ois , Johanne s . A make r in Ghent ,173 1 .

A rtmann , b . at W e imar . Was workingabout 1760 . At first a j oiner by trade ,

then became a pup il of Ernst of Gotha .

His instruments are made on th e Amatipattern , rather arched , with ye llowvarnish .

A skey , Samue l , d . about 1840 . At firsta tinman , then a pupil of JohnMorrison . Worked for George Corsbyabout 1825 .

A s sal one , Gaspare . A make r in Rome ,

1740 . His instruments are made on

B aade r , J . A . , and Co . W e ll knownmanufacture rs of violins for th e lowe stpossible price s , e stablished in Mittenwald . They send instruments to allparts of th e world , America , Switzerland , Russia , England , &0 . Someviolins made after th e Stainer patternwe re exhibited in Munich , 1854 , th e

tone was full and beautiful .B ache l ie r , Jean Gaspard . A maker inParis , in th e rue de la Tissanderie ,

1777, and in th e place Baudoyer,1783

- 89 . His instruments show inferiorworkmanship .

B achmann , Carl Ludwig , b . 1716 atBerlin ; d . the re 1800 . Made exce llentviolins , altos , and violonce llos on th eStradivari pattern with ambe r varnish ;th e proportions were good , th e choiceof wood exce llent amateurs often mistook his instruments for genuineCremona work . He was a skilful violaplaye r . 1765 , was appointed Cour tinstrument maker and Chambermusician to th e King of Prussia . 1770 ,

founded th e Amateur Concerts inBerlin , in conjunction with Erne stBenda , which he continued till 1797.

th e Amati pattern , but are too mucharched ; th e varnish is ye l low ,

of poorquality .

A ube rt . A maker in Troye s (France ) ,1789 . Labe l found in a guitarAube rt aTroye s ,

A ubry , a make r in Paris , was a nephewof Aldric and succeeded to his busine ssin 1840 , but his instruments have notth e same high reputation .

Audin ot , N e stor Dominique , b . Dec . 12 ,

1842 , Mire court . Apprenticed to hisfathe r there . 1863

- 68 , worked underSéb ast ien Vuillaume in Paris , succeeded to his busine ss in 1875 at 17,

Boulevard Bonne -N ouve lle . He hasexperimented large ly in varnishe s .

Has made about 588 instrumentsduring thirty years ' work , all of whichreach a high standard of exce llence .

Labe ls : “ N . Audinot , luthier , élev ede Vuillaume , Paris 18 and “ N .

Audinot , 17, Boulevard Bonne -Nouve lle , année 18

A ugiere . Worked unde r Clément inParis . In 1830 h e started a busine sswith Calot . He made good violinswith varnish red or ye llow- browncolour .

About 1725 began to tune the long thickstrings of double -basse s by means ofscrewpegs , a me thod in use ever since .

B achmann , O . , of Halbe rstadt . Was anexce llent workman and particularlyclever at re storing old instruments .

He wrote a book on th e construction ofviolins , &c . , entitled Theore tischpraktische s Handbuch de s Ge igenbaue s , &c .

”

(Le ipzig : G . Basse ,

B agate l l a (Bagatte l la) , Antonio , b . about1750 , Padua . Was a ve ry good re store rofviolins . Worked formany Ge rmansPrince W alde ste in , Laib ek , Prince ofW it temb erg, Krauss of Prague— madefew n ew instruments , and they we re ofno great me rit some violins and violonce llos made on th e Cremona mode lwere good . Gained in 1782 a prizefrom th e Accademia for a work onth e construction of th e v iolin , whichth e Accademia published at its ownexpense in 1786 . I ts full tit le wasRegole p er la costruzione de

' violini ,viole ,

violonce l li e violoni . Memoriapre sentata all’Accademia di scienze ,

le ttere ed arti di Padova , al concorsode l premio de ll’arti de ll ’anno~1782 .

6 ' B AGAT E LLA - BA N K S .

Dal Signor Ant . Bagate lla , Padovano ,E coronato dall’ Accademia ste ssa .

Padova,

‘

This work touchedle ss on innovations than on practicalme thods of arriving at a perfe ct imitation of th e instruments of th e greatI talian make rs , Amati e spe cially ; itwas translated into Ge rman by Schaumunde r title of U ebe r den Bau der

Violinen , B ratschen , Violonce lls undViolons (Le ipzig , I t was fromBagatella

’s work that Mangin , in his

Manue l du Luthie r ,” took his me thod

of tracing a fin e mode l of a violin withonly a rule and compass

,which may

also b e se en somewhat shortened atth e end of B ishop’s translation of O t toon th e violin .

B agate l l a (Bagatte lla) , Pie tro . W orkedat Padua about 1760 - 66 .

B agnin i , O razio di Antonio . Make r ofcithers in Florence , 1667.

B ai l ly , Paul , of Mire court and Paris .

Rece ived a bronze medal in 1878 forwork which , though not showy , was ofgood quality . Was among th e E x hi b i

tors in th e Chicago (1893) E xhibition .

B ain e s . Worked in London about 1780 .

Pupil of Matthew Furbe r .

B airh of, Giorgio . N aple s , about 1760 .

Probably pupil of G . or N . Gagliano .

B ajon i , Luigi . Make r in Milan fromabout 1840 ; was living in 1876 .

B ake r, Francis . A magnificent bass - Violwith six strings , of beautiful tone , hadth e following labe l : Francis Bake r ,in Paul’s

_Church Yard , 1696 , London .

”

B ake r , John . A . make r in O xford about1688 to 1720 . His work was in everywaygood , e xce l lently finished , th e varnisha light ye llow colour , th e tone not largebut ve ry pure and clear in quality . In

Thomas B ritton’s col le ction of musicalinstruments was a fine viol byMr . Bake r of O xford .

” A four - stringedviola da gamba made by John Bake rin Oxford , anno 1688 , was e xhibitedin London , 1872 .

B al e s trie ri (Bale st ie ri) , Pie tro , brotherof Tommaso . His instruments are

infe rior . He worked at Cremonaabout 1725 .

B ale s trie ri (Bale stieri) , Tommaso ,brothe r ofPie tro . A maker in Cremonaabout 1720 -

57, then in Mantua till about1772 . Said to have be en a pupil ofStradivari ; there is a rough gene ralre semblance in his work to that doneby S tradivari in th e last years of his life( 1730 but no comparison in pointof me rit . He made some good violins ,a few Violas , and violonce llos of finetone

’

. Th e wood varie s , that used for

th e be l lie s was care fully se le cted ‘

th e

tone is powerful and become s richerwith age . He used two kinds of varnish ,

one resembling that of Guadagnini , th eother softe r and richer in colour .

Labe l Thomas Bale strieri Cre

monensis , fecit Mantuae , 1762 .

B al lan tine ,was working in Edinburgh

in 1850 and in Glasgow in 1856 .

B anks , B enj amin , son of George andBarbary B anks , b . July 1 4 , 1727d . Feb . 18 , 1795 . Was one of th e firstEnglish makers to follow th e Amatiinstead of th e Staine r pattern , copyingit very close ly . Pupil of Wamsleyin London

,then se t tled in Salisbury .

His instruments are exce llently made ,

th e scrolls perhaps somewhat clumsy ;th e tone is good , particularly that ofth e violonce llos . Th e varnish is transparent and rich ; brownish- ye llowcolour with a reddish tinge is used forhis be st instruments , deep red withblackish tinge for othe rs . He un

fortunate ly le t it clog th e fibre of th ebe llie s , which gave them a whiteappearance ,

or,technically , th e grain

was killed .

” His large violonce llosare be st , th e smalle r one s are equallywell made but have not th e sameamount of tone , th e style of finishingis very marked and decided , so thathis instruments are easily re cognised .

A Violonce llo made after th e Staine rmode l , with ye llow brown - red varnish ,

had a fine tone . Th e ave rage price ofth e be st violonce l los be tween 1790 and1794 was from ten to twe lve guineas ,but in this century they realised asmuch as £50 . I nferior instrument swere made by him (probably assistedby sons or othe r workmen) for Longman and Broderip , music publishers ,the patte rn long , more on th e Staine rmode l , with red varnish . Th e name sof Longman and Broderip are stampedon th e back under th e button , butthe re is no writing or labe l to showwho was th e make r . N o double - bassof his is known , and it is doubtful if h eor any membe r of his family eve rmade one . Labe ls : “ Made by Benjn .

Banks , Cathe rine Stre e t , Salisbury ,

B enj amin Banks , MusicalI nstrument Make r . In Cathe rineStree t , Salisbury , 1780 B enj aminBanks , fecit Salisbury . B . B .

”

Lwas stamped on th e béck or beneathth e button at th e end of th e neck , al soB . Banks , Sarum .

”

B anks , Benj amin , second son of Benjamin Banks ( 1727 b . Sept . 13 , 1754 ;(1. Jan . 22 , 1820 . W orked w ith h is

BAN KS— BATT I STA .

fathe r at Salisbury,probably 1770 - 80 ,

then moved to London , to 30 , She rrard Stre e t , Golden Square ; wentlate r to Hawk Stree t , Liverpool ,where h e died and was buried at St .Mary’s , Edgehill . Two violins are

known of his , one dated 1771 , th e

othe r 1775 , and an alto dated 1778 .

A violonce llo had th e labe l Made byBenjn . Banks , NO . 30 , Sherrard Stree t ,Golden Square , from Salisbury .

B anks , Jame s and Henry , fourth andsixth sons of B . Banks (1727 Bothborn in Salisbury , Jame s about 1756 ,

d . June 15 , 183 1 ; Henry about 1770 ,

d . O ct . 16 , 1830 . They we re in busine ss toge ther , Henry as a pianofortetune r and repaire r and Jame s as aviolin maker ; th e latte r was an e x

ce llen t workman , followed th e samemode ls as his fathe r , used similarvarnish , though occasionally th e red

colour varnish had more black in it .18 1 1 , they sold the ir busine ss inCatherine Stre e t , Salisbury , and wentto Live rpool

,to Church Stree t and

then to Bold Stre e t , where they diedthey were buried in St . Mary’s , Edgehill . A numbe r of unfinished instruments in th e white wood were foundin th e ce llar of the ir Live rpool house ,

and sold in that state . Labe lsJame s and Henry Banks Musical

I nstrument Make rs and Mu5 1c Se llers ,Salisbury , 1802 Jame s and HenryBanks , Salisbury , A violonce llo made by both of them in 1797was exhibited in th e South KensingtonMuseum , London , 1872 .

B apti s ta . S ee Battista .

B arb an t i . Silva France sco . A make rin Correggio , 1850 .

B arbe y ,Guillaume . Maker of a bass

viol with six strings at B russe ls .B arb ie ri , France sco . A maker inVerona , 1695 . His violins follow th e

pattern of Andre a Guarneri .B arn e s , Robert . Pupil ofThomas Smithat th e Harp and Hautboy in Piccadilly ; a fe l low- apprentice was JohnN orris ,with whom h e started a busine ssin 1765 . N o instruments of the irs isknown except a violonce llo , which wasprobably made by E . A ire ton , but isstamped with the ir name on th e back .

They first lived in Windmill Stree t ,then Coventry Stre e t . Labe l : Madeby N orris and Barne s , violin , violoncello,andbowmakers to the irMaj esties ,Coventry Stree t , London .

”

B arnia , Fede le , b . at Milan ; se t tled inVenice . Probably a pupil of Pie troGuarneri . A small violonce llo is

known , of accurate proportions , withye llow varnish somewhat transparent ,and good tone . Labe l : Fede leBarnia , Milane se , fece in Vene zia ,l’anno one dated 1715 was

found in a very b eautiful theorbo .

B arou x . Lived in Paris , 1830 , at 57,rue du Pe tit -Carreau . He was a veryable violin bow make r .

Barre t t , John . Worked about 1714-

30 atth e Harp and Crown in Piccadilly ,London . A contemporary of BarakN orman and N athanie l Cross . He

made some good instrumen ts on a.long and arched patte rn , but they allhave ink - line s instead of purfie , andth e flut ing where th e ink - line s are isve ry acute , forming almost th e inne rhalf of a circle ; th e tone of his viol insis swee t but not powe rful , th e woodwe ll - se le cted , th e varnish a ye llowcolour . 1802 , they we re valued at 6guineas , later at 8 or 10 . A violonce llois men tioned as of beautiful tone .

Labe ls : “ John Barre tt , at th e Harpand Crown in Pickadilly , 1722

Made by John Barre tt at ye Harpand Crown in Pickadilly , London ,

173 1 .

B arton,George . Worked at E lliot

Court, Old Bailey , London ; d . about

18 10.

Ba s i , Florianus . A cleve r maker ofmandoline s in Bologna , 1756 - 8 1 . Labe l :Florianus Basi , in v ia S . Mamoli

Bonone , fecitB as s iano . Lute make r in Rome , 1666 ;

a theorbo with this date is in th e

collection of th e Ge se llschaft der

Musikfreunde , Vienna .

Bas sot , Joseph . A maker in Parisabout 1780 to 1802 , at th e Quin zeVingt then rue Chabanais

He made beautiful v iolins ,with brown varnish , some time s tingedwith red . His earlier in struments ,with ye llow varnish , are not so we llmade . Labe l : “ Joseph Bassot , luth ier ,

Paris ,B as togi , Gae tano . Maker of cithersand lute s in Leghorn in th e 18 thcentury .

B at ti s ta of B re scia , about th e end ofth e 15 th century . There is a very oldpoche tte with th e stamp B a tista

B ressano,in th e museum 0 th e

Lyceo filarmon ico of Bologna .

B att i s ta , Giovann i . A make r of guitarsand mandoline s in N aple s , 170 1 , according to a labe l in a mandola of finetone . Labe l : " Gian Battista , Fabricatore Napoli , anno 17 in S . M . de ll’

ajuto .

8 BA UD— BERGON Z I .

B aud . A make r at Versaille s . A ' violinof h is , made without bars , which h ethought inte rfered with th e vibrations ,was not favourably reported on

B aume e s t er. S ee Boumeester.

B aus ch , Ludwig Christian August , bJan . 15 , 1805 , at N aumburg ; d .

May 26,1871 , at Le ipzig . Pupil of

B . Fritsche in Dre sden , then se t tledin Le ipzig as a violin bow make r .

O the r membe rs of th e firm wereLudwig Bausch and O tto Bausch (b .

B aus ch was a ce lebrated make r of violinbows in De ssau . I t is said that Spohrgave him advice as to th e constructionof th e b ow . 1840 , h e re ce ived a silve rmedal at th e Dre sden Exhibition .

B e ckmann (Bekman) , Sweno . A makerat Stockholm about 1700 - 6 . His ins trumen ts are roughly made .

B e dle r, N orbert . A make r in Wurzburg in 1723 . Was appointed make rto th e Bavarian Court . In a viola dibordone in th e Paris Conse rvatoireColle ction is th e labe l : “ N orbertBedler, luthie r de la Cour de BaviereaWurt z b ourg, 1723 .

B e l a , S z ep e ssy, b . N ov . 30 ,1856 ,

Budape st . Apprenticed to Samue lN emessany in Budape st , from August ,1868 , til l May 24 , 1874 . Then went toVienna and worked unde r Zach tillOct . 20 , 1 879 . Was then in Munich ,

but le ft , 188 1 , to se ttle in London ,

where h e has his own busine ss . He

has personally made and varnished upto th e pre sent time 104 violins , 4Violas , and 2 violonce llos . He generally follows th e Stradivari andGuarneri patte rns , but in a few case sthat of N icola Amati ; h e use s oilvarnish of soft quality , a ye l low - red

colour . His instruments are muchliked .

B e l l o ne , Pie tro‘

Antonio , known as11 Pe scorino . A make r in Milan in1694 . Labe l : “Pie tro Antonio Be l lone ,

de t to il Pescorino , fece in contradalarga di Milano , 1694 , al segno di S .

Antonio da Padova .

”

B e llos io , Anse lmo . A maker in Veniceabout 1720

- 80 . Pupil of Santo Se rafino . He made good violonce llos , butas a rule his instruments are not sowe ll made as those of his maste r .

M . A . Ce rin was a pupil of his . Labe l :” Anse lmij Bellosij, fecit Vene tiis ,I7_ .

l '

B e lv iglieri , Gregorio . A maker inBologna in 1742 . His violins are

fairly good .

B e ne dict , Jose . A maker at Cadiz in‘

1738 . Labe l : “ Compri esto en Cadixp . Jose Benedict , ano de l 1738 .

B en edict i , Donate de . In Cremona , 1674 .

B e n ti , Matteo , b . 1579 . A make r inB re scia was contemporary with G . P .

Maggini . His instruments are litt leknown , but are fairly we l l made onth e B re scia mode l a violin was dated1601 . In a Paris museum is a beautiful lute of his , r ichly inlaid , andsplendidly made .

Be re t ta , Fe lice . W orked at Como about1760

- 85 . W as a pupil of GiuseppeGuadagnini . His violins are inferior ,h e used bad wood and ye llow varnishof poor quality . A printed labe l foundin an alto of ordinary make was :Fe lice Bere tta , allievo di GuiseppeGuadagnino , fe ce in Como , l

’annoA similar labe l was dated 1782 .

B e rge. A make r at Toulouse in 1771 .

B e rgon z i , Benede t to , d . 1840 . A de s

cendan t of th e Bergonzi family , whoworked in th e same house in th e

Piazza San Domenico , Cremona . Wasa clever re store r of violins .

B e rgonz i , Carlo , of Cremona , th e firstof th e great Bergonzi family of make rs ,b . d . 1747. W orked about 1712 -

46 .

B egan to put his own name in ’

hisinstruments about 1716 . He was th emost ce lebrated pupil of AntonioStradivari , whose pattern h e copiedve ry close ly . Was also said to havebeen a pupil of N icola Amati . Afte rth e death of Omb ono Stradivari (d .

Carlo inhe rited all th e workingmate rials which had be longed to Antonio Stradivari , and in 1746 h e andhis son Miche l Ange lo (then aged 24)moved into Antonio Stradivari

’s olddwe lling , in th e Piazza San Domenico .

His violins , which are more scarcethan his violonce llos , are generallymade on a flat mode l , like

'

th e earlyinstruments of Stradivari ; h e enlargedth e pattern late r on . The sound -holes ,placed lowe r and neare r th e edge , are

longe r and more open than those ofS tradivari ; th e scrolls , flatter thanusual

, are boldly cut ; th e arching i sdecided th e wood is always ve ry fine ;th e varnish ,

a beautiful red - brown orrich ambe r colour , is rathe r heavy , asign of decadence , but give s th e instruments a peculiar type of the ir own .

Th e tone is sonorous and pene trating .

Th e work is always beau tifully finished .

His violonce llos and double - basse s aree specially good , the latte r be ing someof th e fine st known . Unluckily h e

made them on too large a pattern , andmany have been cut down to suit

BERGON Z I— BERT I .

mode rn requirements , so that in the iroriginal state they are rarely to b eme t with . Th e work is care ful , th ewood we ll chosen ; th e varnish , of ared -brown colour , much altered byage , is often rathe r thick . Th e violins ,al tos , and violonce llos (th e latte r be ingthought to equal th e work of hismaste r , Stradivari) are all characterisedby a peculiarly pene trating sonoroustone , and are much sought afte r ,some time s fe tching high price s , from£200 to £300 . A very fine violonce llowas dated 1746 . Labe l s : “Anno 1723 ,

Carlo Be rgonzi , fe ce in Cremonath e same in a violin dated 1733 , andanothe r dated 173 1 Carlo Bagan z i ,allieve di N icola Amati , fecit Cremonae ,

anno Anno 17 re v isto e

corre tto da me Carlo Bergonzi inCremona .

B e rgon z i , Carlo , third son of ,Miche lAnge lo . W orked in Cremona about1780 , and died there about 1820 . He

made a few violin s of little value,with

straight , ugly sound -hole s ; but principally guitars and mandoline s .

B e rgonz i (Bagan z i) , France sco . I s

named as early as 1687. May havebe en th e father of Carlo .

B e rgonz i , Miche l Ange lo , son of Carlo ,b . 1722 ; d . afte r 1765 . Worked inCremona about 1740- 65 . His work isheavy and altoge the r infe rior to thatof Carlo , h e flattened th e mode l andexaggerated th e curve s ; followed bothsmall and large patte rns ; th e varnishis hard and thick , th e tone is nasal .But his double - basse s show be tte rwork and have a powerful tone , se rvingwe l l in an orche stra . Labe l Miche lAnge lo Be rgonzi , figlio di Carlo , fecein Cremona , Anothe r is known ,

dated 1755 .

B e rgonzi , N icola , e lde st son of Miche lAnge lo . Worked in Cremona about1755

- 82 . His instruments show agreat falling off ; made on a similarmode l to that of his fathe r his workis often highly finished but 18 wantingin character ; th e scroll is cramped ,

th e wood often too close - grained ,th e varnish poor and thin . Labe l :“ N icolaus Bergonzi , Cremonensis ,

facieb at anno a tenor dated178 1 is known . He made a greatnumbe r of violins .

B e rgonz i ,Zosimo , brothe r ofN icola . He

worked about th e same time , perhapshad more ability ; some violonce llosand double - basse s of his are fairlywe l l made , but th e work , like that ofhis brothe r , is much inferior to Carlo

’s .

He used a labe l ornamented like thatof Carlo : Fatto da me Zosimo Bergonzi , l

’anno 1777, Cremonae .

”

B ern arde l , Auguste Sebastien Philippe ,

b . Jan . 12 , 1802 , at Mirecourt ; d .

August 6 , 1870 , at Bougival . One ofth e most distinguished F rench makers .He began as an apprentice in Mirecourt , went to Paris in 1820 ,

workedfirst unde r N icolas Lupot and thenunde r C . F . Gand , whom h e le ft in 1826in orde r to start a busine ss of his ownin th e rue Coquilliére . I n 1859 h e tookhis two sons into partne rship ,

andth e firm was called Bernardel e t filsh e re tired in 1866 so as to facilitate th eassociation of th e Gauds in hisbusine ss , which was then styled Gande t Bernarde l.

” He made a largenumbe r of e xce llent instruments , th eviolonce llos e specially having a remarkably fine tone . Labe l : “ B ernarde l ,luthie r , e x - ouvrier du Sr . Lupot , rue

Coquilliére , N o . 44 . aParis , l’anThis was in a violin made by him soonafter h e le ft Gand ; perhaps th e first tocontain his signature ; it is beautifullyfinished and has a fine tone . Printedlabe l : Médaille d’or e t d’argent auxexpositions de 1844 e t 1849 . B ernarde l ,luthie r , élev e de Lupot , rue Croix -de s

Pe tits - Champs , 2 1 , aParis , 18(Signed) Bernarde l .

” Honours : mention , 1827; bronze medals , Paris , 1834and 1 839 ; silve r medal , Paris , 1844 , foran alto placed in th e 1 st class ; goldmedal , Paris , 1849 ; a medal of th e2nd class , London , 185 1 and a medalof th e 1 st class , London , 1855 , for aviolin copied from Maggini , a bass ,and a double - bass .

B e rn arde l Frere s . Ernst Auguste andGustave Adolphe , sons of SebastienPhilippe ; th e forme r ‘b . April 2 , 1826 ,

re tired from th e busine ss in 1886 ; th e

latte r b . April 26 , 1832 . When the irfathe r re tired in 1866 , they continuedth e busine ss in partnership with EugeneGand

,as Gand e t Bernardel Frere s .

M . Gustave Bernarde l is now head ofth e firm.

B e rtas io ,Luigi . Worked in Piadena ,

17B ertas s i , Ambrogio . Working in Piadena about 1730 .

B e rt e t , Joseph R. A make r in Paris inth e 18th century . I n an alto of a largepatte rn , with thick ye llow varnish ,care fully made , was th e labe l : “ JosephR. Berte t au Roy David , rue N euveSt . Roch a Paris ,

B e rt i , Antonio . Cortona , 172 1 . Amaker ofdulcimers .

BERTO LOTT I— B OD I O .

B e rt ol ot t i,De . S ee Gasparo da Salo.

B e rtrand , N icolas. A make r in Parisabout 1686 to 1735 . He made someviolins of no great value , but is be t te rknown for various viols : a bass - violdated 1687; another with th e labe lN icolas Bertrand , Paris

,

we ll made , with a thick red varnish ; atreble - viol dated 170 1 in th e B russe lsMuseum ; a small fiv e - stringed viol

,

dated 1714 , in th e Paris Museum anda bass dated 1720 . His name is oftenb randed on his instruments .

B e s l e r, N orbert . See Bedler.

e t t s , John Edward , known as “ Old

Joh n Be tts ,” b . 1755 , at Stamford ,Lincolnshire ; d . March , 1 823 , wasburied at Cripplegate Church . Pupilof Richard Duke , senior , in London .

He made few in struments ; th e soundhole s are rathe r wide , th e purflingb road , and th e scrolls we ll cut ; buth e had great knowledge of I talianinstruments . Cleve r workmen , suchas th e Panormos , Be rnhard Fendt , hisnephew Edward , and John Carte rwe re employed by him , principally tocopy old English and I talian in struments . Labe l : “

Jo . Be tts , N o . 2 ,

near N orthgate , th e Royal E xchange ,

London , He adve rtised thath e “ make s in th e neate st manner ,violins th e patterns of Ant . Stradivarius , Hieronymus Amatus , JacobusStainer , and Tyrols . Equal for th efine , full , me l low tone to those madein Cremona .

”

B e t t s (N ed) , Edward , nephew of JohnBe tts , like him a pupil of RichardDuke . He died be fore his uncle ,

probably be twe en 1 8 15 and 1820 . He

was a good maker , his instrumentshad a powe rful tone , and all th e workmost care fully finished . He madevery good copie s of olde r makers ,more e spe cially of N . Amati . O the rmembers of this family we re not violinmakers themse lve s though they continned th e busine ss as dealers .

B ian chi , N icola , b . about 1 800 at Genoa ;worked til l about 1875 . Pupil ofCerut i at Cremona , Guadagn ini andPre ssenda at Turin . Clever repairerof old instruments . Lived about fiv eyears .at rue Croix - de s - Pe tits - Champsin Paris

,but having quarre lled with

th e viol in make rs the re , h e re turnedto Genoa , and finally se t tled in N ice ,

whe re h e died . His instruments showe xce llent work , and bear comparisonwith those of good modern make rs .

B in dern age l (B in ternage l) , of Gotha .

W as first a carpente r , then became an

apprentice to E rnst (1745 whenO tto le ft E rnst in orde r to se ttle atWe imar . He followed th e Stradivaripatte rn , but his instruments are notwe ll made . He also made harps andguitars .

B i t tn e r , David . A maker in Vienna ,d . 1880 . He did a large trade inAme rica . Exhibited a violin andviolonce llo in London , 1862 .

B la ir, John . Worked in Edinburgh in1820 with Matthew Hardie .

B la i s e . A make r in Mirecourt in 1820 .

Instruments not particularly we l lmade .

B lanchard , Paul Francois , grandsonof Francois B lanchard , a maker ofguitars ; b . Feb . 10 , 185 1 , Mirecourt(Vosge s) apprenticed the re ( 1865) toAuguste Darte (pupil of J . B .

Vuillaume and succe ssor to N icolasVuillaume ) . 1868 ,worked a fewmonthsat Marse ille s with Danie l , and inO ctobe r , 1869 , se t tled at Lyons , workingunde r Silve stre neveu , until h e startedhis own busine ss , 45 ,

rue Ferrandieri , in1876 , wh ich h e moved , 1890 , to 77, ruede la République . Two workmen areemployed , one for repairs , th e othe rfor new instruments . B lanchard himse lf repairs old instruments and make sall th e n ew violins , which hav e hislabe l : “ Fait par Paul B lanchard a

Lyon en 18 N o . priced at £ 12each . Up til l now h e has made 379instruments (all numbered) , h e make sfrom 25 to 30 a year ; about th e samenumbe r made by his workmen are soldat half th e price of his own and are

labe lled : Fait dans l’ate lie r de P .

B lanchard ,Lyon

,18 Instrument-s

made by his pupils are sold at £3 or

£4 each , and have a labe l repre sentingth e Lyons city arms inscribed , Lugdunum , anno 1 8 B lanchard gene rally follows th e Stradivari and G .

Guarne ri patte rns , but doe s notattempt to artificially age his violinsth e tone shows great equality on all th estrings

,is powe rful and clear , th e oil

varnish,ve ry transparent , is a golden

red colour for his own instruments , alighte r colour for those made in hissh0p . He first e xhibited at Paris , 1889 ,

and gained a silve r medal was awardedth e Grand Prix at th e LyonsExhibition in 1 894 ; was appointedLuthier du conse rvatoire national , de

l’orch estre e t des theatre s municipaux .

"

B ocquay . See “ Boquay.

B odio , Giambattista . A make r in Veniceabout 1792 to 1832 . Th e few in stru

ments known show nice ly finished

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m BOURDETA BRUGERE .

ourde t , Jacque s . A maker in Paris175 1

-

52 . His instruments are fairlywe ll made .

B ourde t (Bourdot ) , Jean Séb astien , b .

1530 , Mirecourt . W as se ttled in Parisin 1555 . Was one of th e first of th ece lebrated Lorraine school of make rs ,possibly a pupil of Tywersus .

B ourgard , J ean . Worked in N ancyabout 1780 - 87. In a violin , we ll made ,

with red varnish , was th e labe l : F‘

par moi , Bourgard , facteur d’instru

ments rue de la Posonnerie 51 N ancy ,1786 .

B ourl ie r, Laurent , b . 1737, Mirecourt ;d . 1780 . N othing known of this make r .

B ou s s u . Worked in E terb eck - le s

Bruxe lle s about 1750- 80 . Followed

th e Amati pattern , used ye l low varnishon th e whole , made good instruments .

B ragl ia , Antonio . In Modena in th e

18 th century .

B ran d iglion i . In Bre scia in th e 17thcentury . He copied th e Maggini mode l .

B randl , Karl . A make r in Budape st ,h e sent two good violins , made afte rthe mode ls of Stradivari and Guarneri ,to th e London Exhibition in 1862 .

B ran z o , Barbaro France sco . A makerin Padua ,

B rem e is t e r, Jan . In Amste rdam , 1707.

B ren s i , Girolamo . A maker of viols inBologna , probably at th e beginning ofth e 16th century . A viola da braccioin th e colle ction of th e Lyceo filar

monico at Bologna has fiv e stringsand is labe lled :

“ Hie ronymus B rensius Bonon .

B re sa , France sco . A make r of infe riorinstruments in Milan in th e 18 th

century . A labe l is known , but it hasth e name of the town partly effacedFrance sco Bre sa , fece alla scala inMil 1708 .

B re t on , J . F . Worked in Paris , 1740 - 80 .

His instruments are rathe r heavy incharacte r , but are fairly we ll made ,

varnish a dark brown colour , B re tona Paris " is_ branded on the ir backs .Labe l : “

J . F . (V . Bre ton , citharaefabricator

,facit , vendit e t reconcinat

instrumenta musica omne s gems .

Parisiis,anno Th e same labe l ,

dated 1780, was found in a violin .

B re t on , Le ,b . 1780 , at Mirecourt , whe re

h e worked from 18 12 to 1830 , th e yearof his death ; was the re a contemporaryof th e e lde st N icolas . His violins arecarefully made , of a good patte rn ,slightly arched , th e purfl ing neat , th evarnish ye llow , slightly tinged withred ,

his monogram branded on th e

neck . They are not rare , but though

oi no great value , are often imitated .

Labe l : Luthier de S . A R . Mme . laDuche sse d’Angouléme .

B rosch i , Carlo . Worked in Parma ,1730

-

44. Labe l : “ Carlo Brosch i inParma , fecit 1732 .

B row n , Anthony . I s said to have learnthis trade unde r Joseph Panormo , orunde r John Morrison . He becamece lebrated for his guitars . I n 1855 h e

was living in Rosamond Stre e t , Cle rke nwell , but afterwards went to th e

diggings . He was not re lated to th eother violin makers of th e same name .

B rown,Jame s , b . 1755 or 1759 ; d . Sept . ,

1830 or 1834 . W as a silk weaver inShoreditch ,

London ; but , 1804 , learntviolin making unde r Thomas Kennedy ,and e stablished himse lf in Whee le rStree t , Sp italfields , as repaire r andmake r of instruments .

B row n ,Jame s , j un . , son of

'

Jame sB rown ,

b . Nov . , 1786 ; d .,1 860 , at

White Lion Stre e t , N orton Folgate .

Apprenticed to his fathe r , but wasprincipally employed to make bows forth e various instruments . Afte r hisfathe r’s death , h e made violins , violonce llos , and double - basse s . Both fatherand son were good ave rage workmen .

B rown ,son and pupil of Jame s B rown ,

j un . W hen about twenty years oldceased to make instruments .

rowne ,John

,a maker at th e sign of

th e “ B lack Lion ,

” Cornhill , London ,in 1743 . Made good copie s of N icolaAmati

,cut his scrolls we ll , but his

varnish was hard .

rub ach ,Antoine , b . Jan . 22 , 1847, Mire

court . In 1884 appointed head of th e

busine ss that A . Kle in e t C ie .

” had

just started in Rouen . Has made anumber of violins , altos , and violonce llos care fully and we ll . Obtained , as“ collaborateur .

”th e silve r medal at

th e Rouen Exhibition , 1884 .

rugére ,Charle s George s , b . N ov . 10 ,

1865 ,at Mirecourt son of Charle s

Joseph B rugere , a make r of guitars .Apprenticed , 1878 , at Mire court , toE tienne Drouin . 1882 , went to Lyonsto work for two and a half years unde rPaulB lanchard then afte r nine monthswith Paul Bailly at Paris , entered th eworkshop of Gand Bernarde l , whe reh e remained from Dec . , 1885 , till 1892 .

He succe eded Eugene Henry , Sept . 22 ,

1892 ,at 15 1 , rue St . Martin , Paris .

As h e and three workmen are almoste xclusive ly employed in repairing old ins trumen ts , h e only make s about twe lven ew instruments a year ; the se , whe the rviolins

,violas

,or violonce llos , are con

BRU GERE — B U THOD .

secutiv e ly numbe red as made , and onlywhen his own personal work are

labe lled with his name . He followsth e S tradivari patte rn , and use s goodoil varnish , varying in colour fromye llow to golden -red . He exhibited atLyons , 1894 , a double quinte t of instruments ; th e violins and violonce lloswe re reported of powerful and swe e ttone , and th e double - bass as equallyexce llent on all four strings ; h e wasawarded th e first silver medal .

B rugere , Charle s Malakoff, b . 1856-

7;,d. 1894 , Mire court ; e lde st son of Francois Brugere . Worked a long timeunde r He l at Lille , then se ttled inMarse ille s , where h e made about ahundred good instruments .rugére , Francois , brothe r of Charle sJoseph Brugere , b . 1822 , Mirecourt ;d . there 1874 . Worked unde r Pie rreSilve stre at Lyons , and under Danie lat Marse ille s . Made a great manyviolins , violonce llos , and double - basse sfor J . Deraz ey at Mirecourt . Hadthree sons , all make rs .

B ru gere . Joseph N apoléon , second sonof Francois B rugere . I s se t t led atMirecourt , where h e make s a specialtyof double -basse s , and is we l l known asan exce llent workman .

B rugere , Miche l , third son of FrancoisBrugere . Since 1893 has been th e

chie f collaborateur of Charle s George sBrugere . Be side s making new instruments , h e exce ls in repairing old one s .

B ucch en b e rg .

’

S ee Bueckenb erg.

”

B uch s tad t er (Buch s te t ter) , Gabrie lDavid . A make r in Ratisbon in 1752 .

He followed th e Cremona patte rns ,but his instruments are not mucharched , th e varnish is dark ye llow orbrown colour , th e wood not alwayswe ll - se lected , which renders th e toneharsh ; all th e de tails are care fullyfinished . Owing to the ir powerfultone , his violins are much used fororche stra playing . One exhibited inParis , 1878 , with very dark ye llowvarnish , was dated 1752 . Labe l :“ Gabrie l David Buch ste t ter. Lautenund Ge igenmache r Pede ponti propeRatisb onam , 17

B ud ian i , France sco . A make r of lute s

and cithers at Bre scia about 1490

15 10 .

B udiau i , Giav e tta (more correctly ,

Giovita Rodian i) . A make r of lute sand viols in B re scia about 1 580 - 1620 .

His instruments are similar to those ofhis contemporary , G . P . Maggini , butdo not show th e same skilful work .

N o violins are known ; but somelarge bass - viols , one conve rted into adouble - bass with four strings , had apleasing tone .

B ue cken b e rg (Bucch enb e rg or Buee tenberg) , Matteo . German by birth , butlived in Rome about 1597- 1620 . Wasone of th e most ce lebrated I talian lutemakers . A ch itarone is dated Rome ,

16 14 ; in an arch - lute is th e labe l .

Matheus Bucch enb erg, Roma , 16 19 .

B uonfigliuoli , Pie r France sco . A make rin Florence in th e 17th century .

B urghard t is th e Swiss form of th e

name “ Bourgard , q .v .

B urgle , Johann . A maker in Grie z b ach ,

1828 . Labe l : “ Johan lion Burgle ,

ge igenmacher in Grie z b ach 1828 .

Rusa s , Domenico . A maker 1n Vicenza ,1740 .

B us se t o (Buse to) , Giammaria de l . Amake r of viols in Cremona , about1540

- 80 ,was said to have taught

Andrea Amati . His instruments are

on a long pattern , decidedly arched ,with large sound-hole s and brownvarnish ; one with deep ye l low varnishwas dated 1570 . Labe l : Gio . Mariade l Busse tto , fece in Cremona , 1545 .

B us s ole ro ,Luigi . A make r of cithe rs

and mandoline s in Rivanaz z aro in18 17.

B us so t . A maker in Paris , 1788 .

B u th od . A make r of cheap instrumentsin Mirecourt . Worked under Vuillaume for some time . I n 1839 wasawarded a bronze!medal . His violinsare strongly made and are muchused in orche stras and Conservatoire s .

About 800 violins , 40 altos , and 50

basse s we re turned out of his workshopeach year . Later , went into partne rship with Husson , and th e busine ssgradually deve loped in to a trade in

instruments of all kinds , becomingHusson , Buth od e t Thibouville .

14 CABRE SY— CARON .

Cab re sy . I s only known by a bass dated1725 .

Cab roli , Lorenzo . W orked in Milanabout 1716 . His violins are not verygood , h e used ye llow varnish .

Cab roly . W as working inToulouse about1740 -

47. His instruments are fairlygood

, h e used pale red varnish . Labe lFait par C ab roly aToulouse , 1747.

C ae s t e , Gae tano . A maker in Cremonain 1677.

C ae s t o (Caesta) , Pie tro Antonio de lla .

Worked in Treviso , 1660 - 80 , andcleverly imitated th e S tradivari mode l .

C ahu sac . W orked in association withth e sons of Banks in London about 1788 .

Calcan i (Calcagni) , Bernardo . A make rin—

. Genoa , 1710 -

50 . His instrumentsare care fully made , on th e mode l ofS tradivari , with beautiful golden ororange - red varnish , a few with ye llowvarnish , with small scroll and we l l outsound-hole s . Labe l B ernardius

Calcanius , fe citGenuae , 1710 anothe rsimilar labe l is dated 1750 .

Calon ardi , Marco . A maker in Cremonain th e 17th century .

Cal o t (Callot , b . 18 10 , Mirecourt . Firstworked un er Clément in Paris , but in1830 went into partne rship withAugiere . His instruments we re beautifully made and had a fine tone .

Calv arolla , Bartolommeo , of Torre Baldone (Bergamo) . W orked about 1753 - 67in both Bologna and B ergamo . Hisinstruments are fairly we l l made , withye llow varnish , somewhat like thoseof Ruggeri in form , but th e scroll isweak and badly proportioned . Labe l :“ Bartolommeo Calv arolla , fecit Bergame , 176

C al z av ara , Santo , of Padua , about 1764 .

Th e labe l : Santo Calzavara , fece inPadova , l

’anno was found in asmall mandoline .

C am il l i , Camillus (Camilus di Camila ) .W orked in Mantua about 1739 -

50 . He

followed th e Stradivari patte rn andused care fully se lectedwood his v1olinshave a beautiful tone , and are varnishedpale red , somewhat similar to Landolfi’sinstruments ; th e sound - hole s are wideand short . Labe l : Camillus Camilli ,feci t Mantua , 1739 a similar labe l i sdated 1750 .

Camillio , Dav ido . A maker in Cremonain 1755 .

C ampion . A guitar of his , made ofmahogany wood , with six strings , withebony and mother - of- pearl ornamentation , was exhibited in 1823 .

Camp loy , J . A maker in Ve rona .

E xhibited two violins at Munich in1854 , on which h e had used a varnishof his own inven tion .

Capo . I n Milan in 1717, according to alabe l .

Cappa , Giofredo (Goffredo ) . Probablyborn at Cremona . W as working thereunde r th e Amatis about 1 590 , and late r ,about 1640 , in Saluz z io (Piedmont ) .Made both large and small violins ,more valuable as specimens of oldI talian work than for the ir tone ; th elarge instruments are pre fe rable . Hisviolonce l los show some of his be st work ,

but are too much arched , and th e

sound -hole s are badly cut th e woodvarie s , that used in Cremona was offore ign growth , but in Piedmont h eused locally grown wood , of coarsefibre ; th e varnish is generally goldenor ye llow colour , but varie s a good dealth e purfiing is care le ssly a

done . Th e

patte rn was often too large and hadlate r to b e cut down . Labe ls : “

Jofredus Cappa in Saluz z io , fecit anno1 640 Joffridus Cappa , fe cit salutiis ,anno 16

C appa , Giach imo (Gioacchino) andGuiseppe . Possibly sons of G iofredo .

We re both makers,working in Saluz z io

and in Turin about 1661 - 1712 . Thereare instruments dated 1712 , but of noparticular merit .

C arcan ius . A ve ry old labe l printed onparchment is dated Cremona , 1 500 .

Carcas s i , Lorenzo France sco andTommaso . Worked in Florence about1735

-

58 . Though not in th e first rank ofmake rs , the ir workmanship was good ;they used ye l low- brown varnish .

Labe l : Lor! e Tomo Carcassi inFirenze , ne ll

’anno 1752 , all’ insegno

de l Giglio .

Carl o , Guiseppe . A make r in Milan in1769 .

Carlomord i , Carlo . A make r in Ve ronain 1654 .

Caron . W orked in Versaille s , 1775 - 85 .

Was maker to th e Queen . His in struments are not in any way remarkable ,

an alto , we ll made , with brown -blackvarnish , was labe lled : Caron , luthie r

CARRE— CER I N .

de la Re ine , rue Royale , aVersailles ,a similar labe l is dated 1775 . A

ten - stringed theorbo in th e Paris Conservatoire Collection is dated aVe rsaille s , rue Satory , 1785 .

C arré , Antoine . A cleve r make r in Arrasabout 1790 , but is be st known for hisb urdy -

gurdys .

Carte r , John . Worked in London about1780 -

90 for John B e tts , and made someexce llent instruments

,many of which

we re sold with th e labe l of Be tts .

His own labe l was : J . Carte r , Violin ,Tennor, and Bass Make r ,Wych Stree t ,Drury Lane , London ,

Cas in i (Cassini) , Antonio . A make r inModena about 1660 to 1700 . Hisviolonce l los we re made on a largepattern , th e varnish a clear che stnutor brown colour , th e workmanship fair .

Labe ls : “ Antonio Casini Modenae ,anno 1660 th e same in a violonce llodated 1665 ;

“ Antonio Casini,fecit

Mut tinae , anno 1683 (in a violonce llo) ;Antonius Cassinus , fecit Mutinae ,anno 17

Casp an , Giampie tro . Worked in Veniceabout 1650 . He followed th e Amatipatte rn . His violins are small , withye llow varnish .

Cas s an e lli , Giovanni . A maker in Cianoin 1777.

Cas s in e au . According to an old Frenchmusical j ournal of 1770 , Cassineau.

of Paris , rue des Prouvaires , nearSt . Eustache , make s , se lls , buys andhire s all sorts of instruments , violins ,bass viols , parde ssus , guitars , clavecins ,mandoline s , double - basse s , &c .

Cas t agn ery (Castagneri ) , Andrea . AnI talian who worked in Paris , 1732 -

57,

at th e Hote l de Soissons (which wasde stroyed 1748 He made good instrumen ts ; th e varnish varie s greatlyin colour , from ye llow - brown to a palered . A violin dated 1735 was not arched ,

but th e varnish is of good quality . An

alto dated 174 1 , with ye llow varnish ,

has a fine ton e . Labe ls : “ AndreasCas tagnery, Hote l Soisson , Paris ,1738 Andrea Castagne t i ne l

palazzo di Soessone , Parigi ,a similar labe l dated 1744

“Castagnery,

rue de s Prouvaire s , Parigi , 1747”(in

a badly re stored violin) . O the r date sare— in violins

, 1732 , 1735 , 1739 , 1757;in a bass

,175 1 .

Cas tagn ery (Cas tagneri) , Gian Paolo .

A make r from Cremona , who worked inParis about 1630 - 62 . He was one ofth e be st Parisian makers of his time ,

his violins had a swee t though not

powerful tone . Labe l : “ Castagneri

15

Gian Paolo , ne l palazzo di Soissons inParigi , ” Instruments dated 1639 and1662 are known .

Cas te l l an i , Luigi , son of Pie tro Caste llan i

,b . 1809 ; d . 1884 . W orked in

Florence in the Via Calimaruz z a . He

was a cleve r re store r of old violins , butdid not make new one s ; h e madeexce llent strings , howeve r , and guitarsof fin e tone . He studied music in hisyouth and became a good playe r onth e double - bass . Obtained a silvermedal of first class in 1877.

Ca s te l lani , Pie tro , b . Florence , secondhalf of th e 18 th century ; (I . 1820 . He

principally made guitars , which are

much liked ; but alsomade some violins .

Cas te l l o , Paolo . A make r in Genoaabout 1750

- 80 . His instruments arefairly we l l made , h e used ye l low varnish . A violin , which has since beencare fully enlarged , was on a smallmode l , ve ry much arched , and it waslabe lled : “ Paulus Caste l lo , Genuae .

anno 1774 . Small printed labe lPaulus Caste llo

,fecit Genuae , anno

17783’

Ca s tro . Worked in Venice , 1680 - 1720 .

His instruments are not liked ; thoughth e wood is care fully se lected , th e

pattern is bad , th e sound -hole s roughlyworked , and th e red varnish of poorquality .

Ca t e n ar (Catenari) , Enrico . Was working in Turin about 1670 . His ins truments , which are we l l made , ratherrecal l those of Cappa , of whom h e issaid to have been th e pupil . Printedlabe l : HenricusCatenar ,

fecitTaurini ,annoCat i

,Pier Antonio . A maker in Florence ,

174 1 . His “ kits or pocke t violinsare we l l made .

Cat t e n aro . A make r of viols and ofviolas da gamba in Pavia , 1639 .

Cav alorio . Was working in Geneva,

1 2

C e llirii , Giovanni , th e fathe r of Benvenuto Ce llini , b . in Florence ; (1. thereof th e pest , 1527 or 1528 . Was firstan architect but then became a luteand viol make r . His viols , madeabout 1 500-

5 ,had a great reputation .

C e lon ia t i (C e lionati) , Giam France sco .

Was working in Turin in 1732 . He

made good violin s on th e Amatimode l , with a beautiful ye llow varnish .

Labe l : “ Joanne s Franciscus Ce lon iatus ,

fecit Taurini , anno 1732 .

Ce rin , Marc Antonio . A make r inVenice , 1780

-

93 . Was a pupil ofAnse lmo Be llosio . Instruments are

fairly we l l made ; h e used pale ye l low

16 CERUT I— CHAN OT .

varnish . Labe l : Marcus AntoniusCerin ,

alumnus Anse lmii Belosii , fe citVene tiae , an .

C e ru t i , Enrico , son of Giuseppe Ceruti ,b . 1 808 ; d . Oct . 20 , 1883 . Worked inCremona at 14 , Via Borgo Spe ra .

Said to have made about 365 instrumen ts

,amongst othe rs seve ral violon

ce llos ; th e work is good , and I talianorche stral players e specially value hisinstruments highly . Was awardedsilve r medals at London , 185 1 and1870 ,

for his violin s,and a gold medal ,

1863 , at Cremona . Th e last violinsthat h e made we re exhibited in Milanin 188 1 .

C eru t i , Giovanni Battista , b . about 1755 ,

Cremona ; d . 18 17. Pupil of LorenzoStorioni , to whose busine ss in th e

Via de’Colte llai , near Piazza San

Domenico , h e succe eded in 1790 .

Following th e principle s of his maste rh e made ve ry good instruments ; altoge the r

,violins and violonce llos , they

number about 500 . He copied th e

mode l of N icola Amati , using ye llowvarnish

,some time s with a reddish

tinge ; his work was care fully finished .

Labe l : “

Jo . Battista C erut i , C re

monensis , fecit Cremonae , an . 18

C e ru t i , Giuseppe , son and succe ssor ofGiovanni Battista , b . about 1787; d .

1860 ,Mantua . He exhibited violins

of good quality at Paris and e lsewhe re ,

but h e has not th e same reputation ashis fathe r ; h e more e specially oconpied himse l f with repairing old violins .

Ch al lon e r, Thomas . Worked in Londonin th e 18 th century . His instrumentsare similar to those of W amsley .

Champion,Jean Baptiste . A make r in

Paris in 1783 .

Champion, René . A make r in Paris ,

in th e rue de s Bourdonnais , in 173 1 ;in th e rue de s Odrie t te s , in 1756 . Hisworkmanship was e xtreme ly pre tty ,and care fully finished ; h e used fairlygood ye llow varnish , similar to thatof Boquay,

of whom h e is said to havebe en a pupil . Labe ls : René Champion

, rue de s Bourdonnois a Paris ,1735 and René Champion de St .

Julien , rue de s Vie ille s -Odrie t te s au

coin de l’eche l le du temple a Paris ,

instrument make r in Mire court , b .

1787,Mirecourt ; d . 1828 , Roche fort .

Afte r be ing in th e Ecole polytechnique ,

h e ente red th e French navy as enginee rbe ing re tired on half- pay , owing tosome satirically -written political ve rse s ,he went back to Mirecourt , and in th e

workshops of his father came to th econclusion that violins might b e constructed on more scientific principle s .

He made one , only slightly arched ,

with th e sound - hole s nearly straight ,and th e side s le ss curved in , more liketh e side s of a guitar , th e idea be ing tokeep th e wood - fib re s as long as possible ,

as be ing be tte r for vibration . A violinof this patte rn was submitted to th eAcadémie de s Beaux -Arts and th e

Académie de s Science s in 18 17; afterthree trials it was favourably j udged ,th e tone be ing of superior quality . He

was awarded a silver medal in 18 19 .

Unfortunate ly , violins on this mode l arenow of poor quality th e tone , thoughexce llent when they are first made ,doe s not last . 1824 , h e was re called toactive se rvice and was shortly afte rwards promoted to th e highe r grade ofan enginee r of th e first class . Th e

le t te rs C . I .D . on his labe l are th e

initials of his title ,

“ Capitaine , In

gén ieur, Deux ieme classe .

” A violinwhich h e made in 18 18 for Viotti anda violonce llo are in th e Paris Conservatoire colle ction .

Chano t , George s , a brother of Francois ,b . March 26

,1801

,Mirecourt ; d .

Jan . 10 ,1883 ,

Cource lle s , near Gif

(Se ine e t O ise ) He first worked inMire court

,but in 18 19 went to Paris

and for a year constructed violins onhis brother’s new mode l ; then ( 1820)worked unde r Clément , and ( 182 1 ) wasemployed by Gand , whom h e le ft in1823 in order to start busine ss on hisown account , living first rue Oblinpres de la Halle au blé , then Place de sVictoire s (1825 Passage Choiseul( 1828 rue de Rivoli (18 37 andfinally quai Malaquais . He re tiredfrom busine ss to Cource lle s in 1872 .

He was twice married th e se condtime in 1859

: his first w1fe also madeviolins

,work1ng with great assiduity

and rende ring h er husband valuableaid . Chanot made a care ful study ofold I talian instruments , and was e x

ce llen t at repairing or modifying them .

His new instruments are beautifullymade and have a fine tone

,they are

chiefly copie s of Stradivari and Guarneri ; th e forme r are th e be st , th e woodbe ing exce llent . W as awarded : Mention honorable , 1827; silve r medal ,1839 , 1844 ,

1849 (of th e second class ) ,1 855 . Labe ls : “ Chanot j eune , rue

Passage Choiseul , N 0 . 15 , a Paris ,and “ George s Chanot a Paris ,

1 , Quai Malaquais , année 185Chano t

,George s , son of George s Chariot

CHAN OT— CH IOCCH I .

and his first wife . First worked withh is fathe r . 1851 , went .to London ,where h e worked unde r Maucote l (abrothe r of th e make r in Paris) , and ,

1858 , h e started his own busine ss ,making instruments of ve ry goodquality . He rece ived a “ mentionhonorable ” at th e Paris Exhibition ,

1878 .

Chanot , G . A . A maker of good violinsat Manchester .

Chanot , Madame . One of h er violinswas exhibited in Paris , 1827. See

George s Chanot , sen .

Ch ap p uy (Chapuy) , N icolas Augustin .

Worked in Paris about 1732 -

76 . Hisviolins are fairly good , generally on alarge pattern , th e work we ll finished ,th e varnish bad , generally ye llowcolour (h e used spirit varnish , likemost French make rs of that time ) ;nearly all are branded on th e buttonwith his name and th e initial N .

Some time s are labe lled “ Luthier deS .A .R . la Duche sse de Montpensie r .”

A violin , which was used for 37yearsby Fr . Hab eneck in his classe s , is in th eParis Conse rvatoire Collection . Labe lsChappuy aParis and Augustinus

Chappuy, fecit Parisiis , anno in

a violin ; another violin was dated1732 . A maker of th e same name ismentioned in 1794 .

Ch ardon , Marie Joseph , son - ih - law andpupil of George s Chanot , sen . , b .

May 22 , 1843 , Paris . He succeededhis father - in - law in 1872 . I n 1 878 h e

exhibited two quarte ts of instruments ,ve ry we ll made , th e wood chosen withgreat care . Was awarded a bronzemedal . He is very skilful in re storingold instruments , owing to his greate xperience and knowledge .

Chardon , Marie Joseph Antoine George s ,son of Marie Joseph Chardon , b . April22 , 1870 . Worked unde r th e directionof his fathe r .Charle . Maker in Paris in 1748 .

Charle s , Th ere ss . O riginally came fromMirecourt

,but se ttled in London , in

King Stree t , Soho , as a violin make r .On his card is printed “ fromMaucote l .

Ch aro t t e,b . in Mirecourt ; d . 1836 . He

se ttled in Rouen in 1830 and workedthe re till his death . His instrumentsare inferior .

Chas te la in , Martin , who lived in Warwick , Flande rs , about 1580 , was bornblind . He was a maker of, and aperforme r on viols , violins, spine ts , &c .

Cha te la in , Francois . A maker in Parisabout 1777-

9 1 , first at 9 , rue de Braque ,

then in th e rue de Berry . An instrument

17

of his is dated 1783 , with his nametwo valuable violins are also known

,

in an e xce llent state of preservation .

He some time s made instruments inassociation with S . Renault , labe lsdated 178 1 and 179 1 having the irname s , Renault e t Chate lain .

”

Cha te l in Adrien Benoist . Make r : inValenmennes , 1758 , according to alabe l found in a viol .

Che rbourg . A make r in Paris about1770 . He was th e inventor of an“ improved ” lyre , of which h e madeseve ral not without merit , althoughve ry or1ginal in de sign . Labe l : Cherbourg , dans le Temple 5. Paris ,env en teuv re (inventeur) de la p erfe x ionde ce t instrument tan s désiré .

”

Chéron , N icolas . A make r in Paris ,1658

-

9 1 , in th e rue Dauphine , and thenin th e rue de la Vie ille - Bouche rie .

Ch e rp it e l , N icolas Emile ,b . June 24 ,

184 1 ,Mirecourt ; d . Feb .

, 1893 . Workedfirst at Mirecourt , then underGrandjon ,

and , in 1859 , ente red th e workshop ofGand Frere s (Paris) , where h e remaine dtill 1870 . He then e stablished himse l fat 364 , rue Saint -Denis , but in 1884moved to 13 , rue du Faubourg Poissonn iére . At th e Paris E xhibition , 1878

h e rece ived a mention honorablefor his instruments which show cleve rwork . Labe l : N 1colas Emile Cherpite l a Paris , 13 , Faubourg Poissonniere .

Che vrie r, André Augustin , b . in Mirecourt . Worked first in Paris and thenin B russe ls . A we ll -made violin withred- orange varnish was labe lled :Chevrie r , luthier a Bruxe lle s , 1838 .

Chiare l l i , Andrea , b . 1675 , Me ssina ; d .

1699 . A make r of lute s and theorbos .

He was also a ce lebrated lute playe r ;went to Rome and Naple s for h ismusical education, then re turned toMe ssina and tried to improve th e

construction of his favourite instru

ment . He made several theorbos andarch - lute s ; one of th e latter is dated1698 .

Ch iav e llat i, Domenico . Worked in

Lonigo in 1796 .

Ch ib on,J ean Robe rt . A maker in Paris ,

in th e rue de la Comte sse d’Artois ,

1775-

79 ; and in rue de la GrandeTruande rie , 1783

- 85 . His instrumen ts ,

which are not valuable , are se ldomse en two altos and a bass are known ,

h e used brown varn ish .

Chiocchi (Chiocci) , Gae tano . Workedin Padua in th e 19th century . Wascleve r both at repairing instrumentsand making them.

18 CHRET I EN— COLLIN -MEZ IN .

Chré t ie n , Hippolyte , b . April'

1 , 1845 ,

Sommerviller . I n 1865 h e succeededto th e business of his uncle , HippolyteSilve stre ,

in Lyons ; 1884 , moved toParis . Under th e name of Silve streneveu h e has maintained th e e x

ce llen t reputation acquired by hisuncle . His n ew instruments have abeautiful tone , and are we ll made , th e

varnish is transparent ; h e is also e x

tremely skilful in repairing old instruments . Awards : silve r medal , Lyons1872 ; large medal of

“ progre ssVienna , 1873 ; silver medal , Fan s ,1878 ; gold medal , 1889 . Labe l :Hippolyte Chrétien , Silve stre neveu .

Chri s ta , Joseph Paul . Maker in Munichabout 1730 -

40 . Labe l : “ Joseph PaulusChrista , Lauten und Ge igenmacher inM i

’

mch en , 1740 .

Ch ris tofori . See Cristofori .Ch ris top h le , Jean . W orked at Avignon ,

1655 . An alto of that date , made on alarge pattern , is in th e P aris Conservatoire Colle ction .

C ic i l iano . S ee Siciliano .

C ircap a , Tommaso . A maker in Naple sabout 1730

-

35 . A mandoline . fairlywe ll made , is known .

C lark . A maker in London , living atTurnmill S tree t , Clerkenwe ll . W as

a pupil of Matthew Furbe r .

C laudo t , Augustin . Worked in Parisbeginning of 18 th century . His instruments are on a large pattern , withye llow varnish , th e wood of goodquality , and th e work care fully finished .

I nstead of using a labe l , h e generallybranded his instruments with his name ,

Augustin Claudot .

C laudot , Charle s . A maker in Pariswho probably came from Mirecourt .He made a number of instruments , ofwhich few remain . Th e work is inferior , th e varnish a ye llow- browncolour his name is to b e found stampedinside on th e back .

C l éme n t . A maker in Paris about18 15

-

40 ,in th e rue des Bonne s-Enfants .

His violins are now much valued byamateurs

,although it is said that h e

did little work himse lf , but employedclever workmen , such as George sChanot , Augiere , Calot , andThomassin .

His work is beautifully finished andartistic , h e used red - brown varnishwith good effect . He exhibited in1823 and 1827 and rece ived a bronzemedal .

C ocks (Cocko or Cocco ) , Christopher .

Was working in Venice in 1654 .

There is an arch- lute in"

th e ParisConse rvatoire Collection With the

labe l , Christopher C ocks , all’insegna

de ll’aquila d’oro , Vene tia ,C oe lho , Joze Te rre ira . W orked inLisbon ,

18th century . I n a guitar is th einscription Joze Terre ira Coe lho ,a fe z em Lisboa , as Poco los N egros ,a Cruz da E spe ranca .

Coffe - Gogue t t e . A make r in Mirecourt , who e xhibited in 1834 and 1839and was awarded a bronze medal .Guitars of his in th e Paris Conservatoire Collection are taste fullyornamented and have a beautiful tone .

Co in cu . See “ Commé.

”

Cole , Jame s . A maker in Manche ste r .

He learnt his trade there , first withTarr and then under George Crask .

Until 1858 h e used a labe l , but afte rthat stamped “

J . Cole ” inside hisinstruments .

Co le , Thomas . W orking in Londonabout 1672 -

90 . Labe ls : Thomas Cole ,

near Fe tte r Lane in Holborn ,and Made 1690 , by Thomas Cole ofLondon , on Holborn Hill , who se lle thall sorts of musical instruments” thislast was in a very large tenor , whichhad a fine deep tone .

ollich on , Miche l . Worked in Parisabout 1683 -

93 , the forme r date be ingon the labe l of a viol with six strings ,with transparent ye llow varnish , andth e latte r date in a bass - viol exhibitedin Paris , 1889 .

Col l ie r , Samue l . A musical instrumentmaker in London , at Corelli

’s Head ”

on London B ridge , about 1750ol l ie r , Thomas . W orked in London ,

1775C ol l in ,

Claude N icolas . A make r inMirecourt who died 1864 . He learnthis trade under N . F . Vuillaume ofB russe ls . Amongst his pupils washis son (see Collin -Méz in andC . A . Miremont .Coll in -M e

'

z in , Charle s Jean Baptiste , sonof C . N . Collin , b . Nov . 12 , 1841 , Mirecourt . First worked under his fathe rthere ,

but in 1868 se ttled in Paris , in th erue Faubourg

.

Poissonniere . Thougha ve ry cleve r re storer of old instrumentsh e devote s himse l f more to making newone s , taking those of S tradivari , Amati ,and Guarne ri as mode ls ; his wood isof exce llent quality and his work beautifully finished . Awards : gold and silve rmedals , Paris , 1878 (for th e beautifulvarnish and remarkable tone of hisviolins) ; gold medal , Paris , 1879 ; silvermedal , 1889 . N amed Officier de

l’Académie” in 1884 . Labe ls : from 1868

to 1876 Longueur : 9 cent . hauteur :2 cent . Ch . J . B . Collin -Méz in

'

fils ,

https://www.forgottenbooks.com/join

20 CROW THER— DA V I S .

with soft light ye llow varnish ; th e

tone is clear and pene trating . He

marked his instruments inside on th eback with his initials N . C . and aabove . Labe l : Barak N orman andN athanie l Cross , at th e Bass - viol in S t .

Paul’s church yard , London , fecit172

C row th e r, John . A maker in London

(Haughton Stree t , Clare Marke t) about1755

- 18 10 . He worked occasionallyfor John Kennedy . He died m 18 10 .

Cuch e t , Gaspard .

yW orked l n Grenoble ,

1729 . Labe l .

“ Fait par GaspardCuch e t aGren oble , mil sept cent 29 .

C unaul t , George s , b . 1856 , Paris ; wasapprenticed there , and worked withMiremont , 1874 obtaining , at th eParis Exhibition , 1878 , a “ mentionhonorable ” as collaborateur . 1882 ,

started his own workshop , first at53 , Faubourg Poissonniere , then at6 , rue Clauze l . He is a cleve r make r ,

Danie l . A maker in Antwerp about1636

-

56 . Two instruments of his areknown , a double - bass which h e madein 1636 to b e used in Antwerp Cathedral for th e Chape l of th e HolySacrament , and a little violin , fairlywe ll made , dated 1656 .

Dan ie l , Charle s . Founded a business inMarse ille s in 1762 , was succe eded byhis son Edmond , who was succeededby his pupil Guérin .

Darch e , C . F . Worked in Brusse ls .

W as a pupil of N . F . Vuillaume (abrother of th e Parisian maker , whohad se ttled l n B russe ls) . He exhibiteda very satisfactory quarte t of n ew in

strumen ts at Munich in 1854 , but wase specially succe ssful in a work of re storat ion that had taken him two yearsto accomplish . This was an Amativiolonce llo dated 1547, which hadbe longed to Charle s IX . of France , andwas handed over to Darch e literally infragments . In 1867 Darch e’s in stru

ments were j udged to b e satisfactory inpoint of workmanship , but deficient intone , and th e varnish of poor quality .

I n 1 854 h e constructed a violin whichwas curved on each side of th e buttonin such a way as to render it far lesslike ly to slip from under th e chin ofth e player .

Darch e , N icholas . A make r in Aix - laChape lle , who has -made a great many

and his instruments show experienceand care ful work .

C uny . A maker in Paris about 1740 .

A violin from which th e labe l had disappeared was branded ou th e backCuny a Paris , " it was of infe riorwork , with thick brown varnish .

Cupp in , Giovanni . A name found in aninstrument , which must have beenof an early period . I t was a barytonwith no edge s or purfling, th e soundhole s e legantly cut , th e back of poplarwood , th e varnish a ye llow colour .

Cu thbe rt . Maker of viols and violinsin London in th e 17th century . Someinstruments are we ll made , not mucharched , with dark varnish , th e wood ofgood quality .

Cuyp e rs , Johanne s . Worked at Th eHague about 1779 . U sed ye llowvarnish . Labe l : Johannes Cuypers ,fecit s’hagh e , 1779 .

Cyp rian io . See Antonio .

P instruments . P . J . He l was a pupil ofhis , 1864 - 65 .

Dard e lli , Pie tro I l padre Darde lliWas a monk in th e Franciscan monastery of Mantua , who lived towards th eend of th e 1sth century. He was oneof th e be st makers of his time ofrebecs , lute s , and viols of all kinds ,whi ch h e ornamented with e speciallybeautiful inlaid work . A very fine lute ,

made for th e Duche ss of Mantua, th e

ne ck admirably worked in ivory andebony , and painted with th e ducalcoat of arms , was dated Pie tro Darde lli ,Dav id . A contemporary of Pierray .

W as working in Paris about 1730 , andsupplied th e orche stra of Louis XVI .

with instruments ; his workmanship ,however , was poor .

David s on , Hay . A maker in Huntleyin 1870 .

Davi s , Richard . A maker in London .

B egan by working in th e emp l ofN orris and Barne s ; but when orrisdied in 18 18 , h e succeeded to th e busine ss . He knew little of violin making ,and always remained more of a deale rin than a maker of instruments . He

re tired , leaving th e busine ss to WilliamDavis , and died in Bussage , nearStroud , his native place in April ,1836 ,

and was buried in B lsley ParishChurch .

DAV I S— DE LA N Y .

Davi s , William . A maker in CoventryStree t , London . A cousin of RichardDavis , whose busine ss h e continuedtill Dec . , 1846 , when h e sold it toEdward Withe rs and re tired toBussage . He also was more of adeale r in and re storer of violins thana make r , and employed Charle sMaucote l (a make r who came fromParis) to work for him .

Day ,

dJoh n . An amateur maker in

Lon on , a re tired organist , and a goodviolin player . Devoted himse lf toreproducing th e pe rfect tone , as we llas form , of th e C remona violins , andis said to have succeeded ; a copy of aGuarne ri de l Je st: be ing e speciallymentioned as a magnificent violin .

Dearlov e , Mark . Worked in Leedsabout 18 12 - 20 .

De arlov e , Mark William , son of MarkDearlov e . At diffe rent time s h e employed Thomas Absam , John Gough ,

and Charle s Fryer to work for him .

Th e latter h e took into partnership .

Th e labe l they used was : Dearlov e

and Fryer , musical instrument manufacturers , Boar Lane , Le eds ,Dearlov e e xhibited two violins and aviola in London in 1862 .

De B losy , N icola . Working in N aple sat 13 , rua Catalana , in 1793 . In aguitar was th e labe l : “ N icolaus DeB losy, fecit N eapoli , in rua Catalana ,al No . 13 , A .D .

D e che rt , Johann N icolaus . A maker inGrob rutenb ack in th e 17th century .

Decomb e . A maker in Paris in th e

18th century (is not to b e confusedwith De Comb le ) . He also publishedmusic at his shop on th e quai del’Ecole , at th e sign of “ l

’Accord

parfait .De C omble , Ambroise , b . at Tournai ,Be lgium

,towards th e end of th e 17th

century . He worked till about 1760 .

Said to have been in his youth a pupilof Antonio Stradivari at Cremona .

His instruments are now scarce . Theyare extreme ly we ll made ,

of exce llen twood , and have a rich full tone ,

equallygood in all th e strings , but lacking inbrilliancy ; th e varnish , gene rally red ,

is a little dry ; th e purfling is alwaysin extreme ly narrow fine threads . Hisviolins and altos generally follow th e

Stradivari patte rn , we ll arched , edge sand corners rathe r thick , th e purflingvery narrow , and th e varnish , a beautiful red-brown colour , of good quality .

His violonce llos are e specially we llmade , generally on a small pattern ,

more arched than that of the violin ,

2 1

the sound - hole s and th e corners are

we ll cut , but th e plate s of wood usedare too thin . One violonce llo hasye llow varnish on th e front and red

varnish on th e back and side s ; it iswe ll made , although th e de tails are

somewhat negle cted ; it is labe lled“ Ambroise De Comble a Tournay,

h e also used th e MS . labe l :Fait a Tournay par Ambroise de

Comble , labe ls similar to th elatte r are dated 1753 and 176

D e con e t , Miche le . Worked in Veniceabout 1742 -

79 . Was a followe r of th eCremona school . Two violins and aviolonce llo that are known are we llmade , with ye llow varnish . Labe l :Miche le Decone t , fecitVene tiis , anno

1754 a similar labe l is dated 1771 .

De fre s n e , Pierre . A maker who se ttledin Rouen in 1730 and was still workingthere in 1737. Labe l : “ Fait par moi

,

Pierre Defresne , maistre luthie r deParis , demeurant rue N euve - Saint -LoaRouen ,

Deb ay e (De shayes) . Was nephew and

only pupil of Salomon . Lived about1775 to 1825 in Paris , first in th e rue

de s Saints -Pere s , then in th e rue de

Grene lle - Saint -Honoré . At th e sign ofth e Prélude e spagnol h e soldviolins

,violonce llos , basse s , treble

viols,bass - viols , violas d

’amore,

” &c . ,

from which it will b e seen that h e wasmore of a deale r than a make r .

Deh ommais . Was an amateur whoundertook experiments in varnishe s .

I n 1870 h e went into partnership withEmile Germain , which lasted until1882 during this time about a hundredinstrumen ts were made under th e nameof th e firm , Deh ommais e t Germain .

They were awarded a bronze medal ,Paris , 1878 .

De lab orn e . He e xhibited guitars inParis in 18 19 and again in 1823 .

De Lannoy , N . J . A maker in Lilleabout 1740 -75 . His instruments werewe ll made ,

with ye llowvarnish . Labe lN . J . De Lannoy sur la pe tite place ,

au - dessus des Halle s a Lille ,

later it was , “ De ssus les ponts deComine s

,1773 . Pre sumably h is

descendants continued th e trade , as anL . De lannoy in 1828 is men tioned asre storing a violin made in 1774 byFen t , of Paris .

D e lan oe ,Pierre J ean . A maker in Paris

in 1754 .

D e lan oix . A contemporary of Boussu .

Was working in Brusse ls about 1760 .

Was a good make r .

De lany (De laney) , John . A make r in

22 DELA U — D ICKEN SON .

Dublin in 1808 , is be st known by hislabe ls , th e one very small , th e othervery large . I . Made by John De

lany, No. 17, Britain Stre e t , Dublin ,

1808 . I I .

“ Made by John De lany ,in orde r to perpe tuate his memory infuture age s . Dublin , 1808 . Libe rtyto all th e world , black and white .

D e lau . Lucien . In 1836 (on th e deathof Charot te ) h e j oined Jeande l in violinmaking , and they continued th e busine ssat 36 ,

rue B eauvoisin e , Rouen , until1848 .

De laun ey (De launay) . A viol make r inParis in 1775 .

De lep lan qu e , Gérard J . A viol make rin Lille , 1760 He was at firste stablished at Marché aux poule ts ,

”

near th e Marché aux poissons , butabout 1766 transferred his busine ss toth e rue de la Grande - Chaussée . He

has le ft some e xce llent spe cimens ofhis work ; a fiv e - stringed viol , dated1766 ,

with ye llow varnish tinged withred ,

was exhibited in 1878 ; a ve rybeautiful guitar , dated 1768 , is in th eParis Conservatoire Colle ction ; alsoanother magnificent on e made oftortoise she ll , inlaid with mother ofpearl and ivory , dated 1775 . Two

othe r guitars are dated 1770 and 1777.

Th e labe l Gérard J . De lep lanque ,

luthier , rue de la Grande - Chausséecoin de ce lle de s Dominicains aLille ,

1788 , was found in a guitar ; th e

same , dated 1772 ,in a guitar of e leven

strings,which was pe culiar in having

th e back of th e lute or mandoline shape .

D e l l a C orna , Giovan Paolo (GianGiacomo) . One of th e earlie st violmakers , who lived in B re scia about1484 , and was mentioned by G . M .

Lanfranco (1533) as be ing one of th ebe st lute ,

lyre , and viol make rs of histime .

Demouch i , P . Was working in Lyonsin 16 18 , according to a labe l found in abass - Viol of seven strings , with brownblack varnish , and th e head carved :P . Demouch i 5. Lyon , 16 18 .

D e nni s , Jesse , b . 179 5 . A Londonmaker . Apprenticed to John Crowthe rabout 1805 , later was working unde rMatthew Furbe r . I n Feb , 1855 , wasliving in Eweh erst S tree t , WalworthCommon .

De P lanche , Pierre . A six - stringedviol of this French maker 1s known .

De raz ey , J . A make r in Mirecourt .On th e death of J . N icolas , j un . ,

1864 , h e succeeded to his busine ss ,with all th e materials , &c . ,

and so ithappens that new instruments , not

made by N icolas , but bearing hisstamp , are still to b e me t with . W ithout be ing of great commercial valuethey are we ll made and care fullyfinished ,

‘

but th e varnish is rathe rharsh . Awards : “ Mention ” in 1839and 1844 a medal of th e first class atth e Paris Exhibition , 1855 , and at th eLondon Exhibition , 1 862 , for th e

cheapne ss and good quality of hisinstruments ; in 1 844 h e was producing600 instruments a year , se lling themfrom 5 to 150 francs .

De rou x , Sebastien Auguste , b . June 29 ,

1848 , Mirecourt . Was pupil thereof his fathe r , also a maker . Workedat Lyons under Silve stre neveu fromApril , 1866 , to August , 1869 . Afte rse rving his four years of militaryse rvice , worked with Miremont atParis , from Nov . 20 , 1873 , till July 15 ,

1884 , obtaining a “mention honorableas collaborateur at th e Paris E x h ib i

tion , 1878 . Then started his ownworkshop at 16 , rue Geoffroy -Marie ,

Paris , where h e has remained eversince . He has gained a great reputation as one of th e be st re storers of oldinstruments in Paris . Up till now h ehas made 9 1 n ew instruments (violins ,altos , violonce llos) . He follows th e

Stradivari and Guarne ri patterns ,using rathe r dark red - brown varnish .

He only employs on e workman . Wasawarded a silve r medal at th e ParisE xhibition , 1889 . Labe l : S . A .

De roux , 16 , rue Geoffroy-Marie , Paris ,188 Above th e date , th e le t tersA . S . D .

D e s champ s , Claude . A maker in th e

rue de Se ine , Paris , 1783 - 85 .

D e shaye s Sal omon , Jean Baptiste .

See Salomon .

”

D e sj ardin s . A maker in Caen in 1763 ,

according to th e labe l found in one ofhis instruments : Fait par De sjardins ,marchand luthier , grande rue St .

- JeanaCaen , 1763 .

D e s p on s , Antoine . A make r in Parisabout 16 10 . He followed th e I talianpatte rns close ly , but failed to obtaina good tone . His in struments , nowvery rare ,

are much sought afte r ,although one that is known is safid tob e badly made and badly varnished .

De srous s e au . A maker in th e 18 thcentury at Verdun , at th e sign of th eLuth .

”

D e v e re ux , John . He worked withB . Simon Fendt in London , but afterwards went to Me lbourne .

ick e n son (Dickinson ) ,Edward .Workedat th e “ Harp and Crown , in th e

D ICKE SON — DODD.

Strand , London , about 1750 - 90 . Hisinstruments , made on th e Stainermode l , are very inferior . Labe lsknown are dated 1750 , 1754 , and 1790 .

D icke s on (Dickson) , John . Born inStirling , but worked both in Londonand Cambridge , about 1750

- 1780 .

There are instruments dating from bothplace s . He followed th e Amati patternand his work was e xce llent .

D ide lin ,Joseph . A maker in N ancy

about 1765 -75 ,at th e sign “ de la

Guitare des Dame s de France .

” Th e

few instruments known of his are

inferior . An alto is dated 1775 .

Didie r . S ee “ N icolas .”

Didion , Gabrie l . A maker at Mirecourt ; d . 188 1 .

Die ffop ruch ar (Tieffenb rucker) , Magno .

Worked in Venice about 1580- 162 1 .

One of th e last lute makers of th egreat family of which Gaspard Duiffoprugcar was th e head . Magno was ofBavarian de scent , and his Ge rmanname , T ieffenb riicker, be came italianised into Dieffopruchar or Dieffoprukhar . His lute s were always muchvalued , on e of th e earlie st , made about1580 in Venice , with a back beautifullyinlaid with ivory and various woods ,has a labe l , much de faced , but intere sting as still bearing his Germanname , Magnus Tieffenb ruker.

” Atheorbo was labe lled : Magno Tieffop ruch ar a Vene tia , 1610 . An arch - lutehas th e labe l “Magno Tieffoprucar aVene tia , and was found in CastleE isenberg , Bohemia , in th e collectionof Prince Lobkowitz . A guitar waslabe lled Magno D ie ffopruch ar Venetia , A beautiful arch - lute has alarge labe l : Magno Dieffopruchar aVene tia , Th e same date is ina lute in th e Bologna Colle ction . Asimilar labe l , dated 16 10 , with th e labe lof th e re storer , Jacob Rauch , be low ,

was found in an arch - lute . A similarlabe l , dated 16 12 , is in a lute in th eBologna Collection , and one dated1620 in a lute in th e B erlin Hochschulefiir Musik Collection ; in th e B erlinColle ction is also a mandoline signedMagnus Die tfenb ruger , Atheorbo in th e Museum Modena inVienna has th e undated labe l MagnoD ie ffopruch ar a Vene tia .

”

Diehl (or Die l as i t was originally spe l t) ,Friedrich , son of N icolaus Diehl ; b .

18 14 . Worked in Darmstadt . Wasawarded a bronze medal at th e ParisExhibition , 1867.

Diehl (Die l ) , He inrich , a son of JohannDiehl . Was also a make r .

23

Diehl (Die l) , Jacob , son of N icolausDiehl , d . 1873 . Established himse lfas a make r in B remen in 1834 , late rmoved to Hamburg .

D iehl (Die l) , Johann , a brothe r ofN icolaus Diehl . Was a maker inMayence .

D iehl (probably always spe l t Die l) ,Martin . A maker in Mayence in th e18th century . His father - in - law ,

N icolaus Dopfer, was his first master ;later h e worked with Carl He lmer ofPrague . His work was not good .

D iehl (Die l) , N icolaus , b . 1779 ; d . 185 1 .

Son of Martin Diehl , to whose busine ssh e succeeded . First worked with hisuncle , Jacob Ste ininge r , of Frankfort .Diehl (Die l) , N icolaus Louis , (1. 1876 .

Was a son of Jacob Diehl,and worked

in Hamburg . He published a work onI talian violin make rs , entitled : “ DieGe igenmacher der alten italienischenSchule (Hamburg ,

Dieu lafait . A viol make r , working inParis in 1720 , this date ,

with his name ,

be ing in a 17th century bass - Viol thath e had re stored . I t is now in th e

Paris Conservatoire Colle ction .

Dini , Giambattista . A make r in Lucignano in 1707.

Dit ton . A make r in London about 1700 .

In Thomas Britton’s Collection was agood violin by Ditton .

Dodd ,Edward , b . 1705 , Sheffie ld ; (1.

18 10 , London , at th e age of 105 . He

was th e first bow make r of this nameand did a great deal towards improvingth e English bow. He lived in Salisbury Court , Flee t Stree t , whe re h e

died , and was buried in St . Bride’sChurch .

Dodd , Jame s , second son of Edward .

Also made bows .Do dd , Jame s , son of Jame s Dodd , sen .

W as a good b ow maker .

Dodd , John , e ldest son of Edward Dodd ;b . 1752 , Stirling ; d . Oct . 4 , 1839 , inRichmond Workhouse ; was buriedat Kew . He was first a gun

- lockfitte r , then a money - scale make r , andfinally found his true vocation inmaking bows . They are made ofmagn ificen t wood and th e work is sobeautiful that h e is known as “ Th e

English Tourte ” ; the ir only de fect isthat they are some time s too short .He would neve r take pupils , pre fe rringto keep secre t his me thod of cuttingth e wood , and re fused to reveal it fora bribe of although h e wasoften in great poverty .

Dodd ,Thomas , third son oi Edward

Dodd . Was first a brewer , then a

24 DODD— DU I FFOPRUGCAR.

violin bow make r in th e B lue B e llAlley , Mint Stree t , Southwark ( 178689) and , about 1798 , be came a deale rin and make r of violins in N ew Stre e t ,Covent Garden , moving to St . Martin’5Lane , Charing Cross and finallybecame a harp and piano make r inB erne rs S tree t . Ve ry good violinswe re made in his workshop ; butalthough they were all labe lledT . Dodd , violin , violonce llo , and bowmaker, N ew Stre e t , Covent Garden ,”

they were almost without exception th ework of B ernhard Fendt and John Lott ,two e xtreme ly cleve r workmen , whowere for a long time in his employ .

Dodd himse l f had a thorough knowledge of I talian instruments , andshowed great skill in his varnish , th e

secre t of which h e always kept , for h ewould take th e unvarnished instruments in th e white ,

” to use th e

te chnical term — and varnish themhimse l f unaided . His labe l e speciallyallude s to this varnish Dodd ,

make r , 92 , St . Martin’s Lane . Perfect00pie s of Stradiuarius , Amati , Staine r ,&0 . N ote .

— Th e only posse ssor ofth e recipe for preparing th e originalCremona oil varnish . I nstrumentsimproved and repaired .

” His violonce l los are worth £ 40 to 50 .

Dodd , Edward and Thomas , sons ofThomas Dodd , sen . They both learntthe ir trade from B ernhard Fendt , andcarried on th e b usine ss at St. Martin

’sLane . Thomas showed ability , butdied early in th e 19 th century , andEdward devoted himse l f more tomaking harps and pianos ; h e wasaccidentally drowned , April 29 , 1843 .

Dom in ice l li (Domince lli) . A make r inFerrara about 1695

- 1715 , who firststudied in B re scia , possibly under GB . Rogeri . He copied th e Amatipatte rn with gre at ability , using varnishof a golden ye l low colour , which wasve ry effective .

Dom in ich in o ,Giuseppe . I n Ve rona ,

1700 . Followed th e Amati patte rn .

Donat o , Serafino . Working in Venice ,

14 10- 1 1 .

Doni, Rocco . A prie st in Florence , 1600

60 ,who made lute s and violins . I t

'

s probable that h e greatly assistedth e ce lebrated G . B . Doni (to whom h ewas re lated ) in working out his idea ofth e Lira Barbe rina ,” an instrumentcopied from th e ancient Greeks .

Dop fe r (Dopfer) , N icolaus . A make rin Mayence about 1768 . His ins truments are we ll made , slightlyarched , th e sound - hole s small but

we l l - cut , th e varnish is brown . A fewtenors of his are known .

Doran t , W il liam . W as working at 63 ,

Winfie ld S tre e t , B rick Lane , Spitalfie lds , in 18 14 .

Dorffe l (Dorffe l) , Johann Andreas . Aviolin and lute make r in Klingenthal ,Saxony , in 1743 . In a viola d’amore ,

with twe lve strings , ye l low varnish , isth e labe l : “ Johann Andreas Db rffe l ,Violin und Lautenmach er, in Klingenthal , 1743 .

Drinda , Giacomo . A make r in Pianzoin th e 18 th century .

Drogm eye r, Hermann August . A makerin Bremen . He published a bookcalled “ Die Ge ige , e in Be itrag zurAufklarung , 189 1 .

Droule au or Droulot . A make r inParis at 35 , rue du Temple , about1788 - 1800. His work was fair , h eused brown varnish .

Drouyn , Dimanche . A Parisian make r .A lit tle pocke t violin is known of his.

Duch éron , Mathurin . Was a contemporary of Boquay , and was working inParis in 1714 , according to th e followinglabe l : Mathurin Duchéron , aParis ,1714 .

Duiffop rugcar (Duiffoproucart) , Gaspard , b . about 15 14 in Fre ising ,

Bavaria ; (1. about 1570 , Lyons . Wasth e principal membe r of a large familyof Ge rmans , who we re working inN orth I taly— Padua ,Venice— till aboutth e middle of th e 17th century , andstill late r in South Germany . Thereis much varie ty in th e way in whichth e family name is spe l t , rangingfrom th e Ge rman form T iefien

b ri’

i cker,” to Dieffenb ruger , Duiffo

brocard,

” Duiffoprougar,” Duiffo

pruggar , Dub rocard ,

” Dufourb ourcar, Duyfautb rocard ,

” andDiffob ricard .

” Th e tradition thatGaspard was a viol make r in Bologna ,and that , at th e reque st of Francois I .

of France , h e accompanied him toParis

,seems to have no foundat ion .

He probably learnt his trade in S .

Ge rmany , and then went to Lyons , atthat t ime ce lebrated , owing to th e

large fairs he ld the re three time s aye ar . Th e first definite mention ofhim the re is a rece ipt for some winesigned by “ Gaspard Duiffob rocard

allemand on Nov . 23 , 1553 anotherrece ipt , Slgned Gaspard Duiffop rougar ” is dated N ov . 4 , 1555 . Le t tre s denaturalité were granted to GaspardDieffenb ruger by Henri I I . , fromParis

,in Jan . , 1558 . I t was at Lyons

that Pie rre W oe iriot engraved , in 1562 ,

DU IFFOPRUGCAR— DUME SN I L .

his ce lebrated portrait of him , in whichh e is repre sented at th e age of 48 years .

Gaspard’s instruments are rare ,and

are more valued for the ir inlaid workand ornamentation than for th e qualityof the ir tone . I nstruments known areth e famous bass - Viol with th e plan ofParis inlaid in different coloured woodson th e back , and th e neck ending in ahorse

’s head , now in th e B russe ls

Conservatoire Collection th e bass- violwith its back inlaid with th e picturekn own as th e Vie illard dans la chaised’enfant , th e ne ck also ending in ahorse’s head th e small bass- Violwith th e neck finished in exactlyth e same way

,and th e back beautifully

ornamented ; and inscribed with th e

Latin legend , Viva fui in sylvis , sumdura occisa securi ; dum v ix i taoui ,mortua dulce cano (I t is supposed tob e th e viol that speaks , I was livingin th e fore st , th e crue l ax e killed me .

Living , I was mute ; dead , I singand th e bass - Viol , with

Miche l Ange lo’s Mose s repre sentedon th e back. J . B . Vuillaume , of Paris ,caused much misapprehension on th e

subj ect of Gaspard’s instruments by ,

in 1827, producing violins beautifullyinlaid and carved in his style ,

whichwe re so succe ssful that orders for similarinstruments were at once rece ived hisexample was soon followed in Ge rmanyand Mire court , so that now violins andviolonce l los of this de scription are

numerous . Th e “v iolins known are :

one dated 15 10 , said to have be enmade for Francois I . (h e only ascendedthe throne in one dated 15 1 1 ,

with an oil painting said to b e byLeonardo da Vinci ; one dated 1 5 15 ;another dated e ither 15 15 or 1539 ;one dated 15 17, with a portrait ofGaspard copied from th e 1562

engraving one labe lled “ GaspardDuiffoprugcar Bononien sis a . 15 15 ,

th e neck ending in an old man’shead one dated 152 1 and one

with th e labe l Gaspard Duiffo

prugcar a la coste Saint - Sebastien a

Lyon . A lyra da braccio,

” probablymade at th e beginning of th e roth

century , is also labe lled : GaspardDuiflopruggarBonon ien sis ,anno 15 1 5 .

I t has only late ly be en known thatGaspard was not born be fore 15 14 .

He married Barbe Homeau ; h e wasin easy circumstance s , but unfor

tunate ly his house stood on someground required for th e enlargeme n tof a fortre ss (built in Lyons , h e

was turned out of his home in 1566 , and

25

it was pulled down ; h e could notobtain any indemnity and died shortlyafte rwards

,leaving a widow and four

children in debt and in great mise ry .

They were awarded a pension byCharle s IX . in 1571 . S ee “ Tieffen

b ri'

icker.

u ifl'

op rugcar (Duifloproucart) , Jehan ,

son of Gaspard Duiffoprugcar. Wasa maker of lute s about 1570 -

90 in Lyons .

Duiffop rugcar, Magno . S ee “ Dieffo

p ruch ar .

Du iffop rugcar, U lrich . Was workingin Bologna at th e beginning of th e 16thcentury .

Duke , Richard . A maker in Londonabout 1750 - 80 . He made e xce llen tcopie s of Stradivari and Amati instruments , and not quite such good one sof S taine r . Genuine instruments ofhis are very fine , but unfortunate lyhis name was often made use of ine xtreme ly poor specimens . His violinsand violonce l los were of rathe r a longpattern , ve ry arched , with ye llowvarnish

,the ir tone was ve ry good ;

some of his tenors are a little short inlength but ve ry broad , so as to obtaina large de ep tone ; th e re sult is good ,al though th e two lowe r strings mightb e more powerful . Labe ls : RichardDuke , Londin i , fe cit 1760 similarone s dated 1767 and 1769 ;

“ RichardDuke ,

make r , Holborn , London , annoanothe r dated 1777. The se two

labe ls we re generally written in ink .

He also used a printed labe l RichardDuke ,

make r , near opposite GreatTurn - Stile , Holb ourn , London .

Duke , Richard , son of Richard Duke ,

sen . ,with whom h e apparently learnt

his trade . He was not so succe ssful ,however . Both father and son generally branded the ir in struments on th eback

,ne ar th e button , with the ir

surname ,some time s adding London

be low .

Dulfen n ,Ale xander . Was working in

Leghorn in 1699 . Labe l : “Alexande rDulicun ,

fecit Livorno , 1699 .

Dumén il , N . A make r in Paris . Aviolin of his

,dated 1786 , is known .

Dum e sn il , Jacque s . A maker in Parisabout 1655 - 60 . A curious little violinis in th e Paris Conservatoire Collection ,

with a MS . labe l dated 1655 . Th e

back and side s are of maple wood , th e

front of cedar , th e purfling inlaid withsilver and whalebone ,

and th e head iscarved into a woman

’s face . Th e

varnish,a red -brown colour , is e x

ce llen t , and all th e de tails show aclever maker .

26 DUNCAN — E SLER .

Duncan . W orking in Aberdeen in 1762 .

Duncan , George . A make r in Glasgowin 1887.

Durfe l (Durfe ll) , J . G . A make r inAltenburg , 1778 . His double - basse sare e specially valued , and are considered to b e some of th e be st ever

E be rle , Johann U lrich . A make r inPrague about 1730 - 60 . He was a ve rycleve r imitator of Cremona violins , buthis instruments lacked th e full roundtone of th e I talian instruments ; theywere of e xce llent workmanship , withamber or some time s brown varnish .

Labe l : Joanne s U lricus Eberle , fe citPragm, 1759 . I n a viola d’amore thath e had re stored was th e labe l Joanne sU lricus Eberle , me reparav it Pragae ,

anno 1749 anothe r viola d’amore wasdated 1730 .

E b e rt i , Tommaso .

about 1730 -

50 .

Edlinge r,Joseph Joach im , son ofThomasEdlinger , d . May 30 , 1748 , at Prague .

He made exce llent lute s , and was a goodworkman ; for having first learnt histrade from his fathe r , h e lived for manyyears in I taly in order to perfe ct hisart , and visited Cremona , Rome ,

N aple s , Bologna , Fe rrara , and Venice .

His instruments are much valued .

E dlin ge r, Thomas , b . in Bohemia , andwas living in Prague , 1712

- 15 . Saidto b e a pupil of Stainer , made verygood instruments , using varnish re sembling slightly that of th e Bergon z is .

His lute s are fine ly made .

E e s b roe ck , Jan van . A lute maker inAntwerp , 1583

- 85 , son of Josse vanEe sb roeck . He also made clavecins ,

E gl in g ton . A maker in London in 1 802 ,

according to a labe l Eglington fe cit ,Drury Lane , London , which wasin a violin of very good tone ,

but poorworkmanship .

E lem e n t , Jean Laurent .Paris in 1783 .

E ls le r (Esle r) , Johann Joseph . A make rin Mayence about 1715 -

30 . One bassviol with seven strings

, th e head of awoman instead of scroll , and withvarnish of a ye llow- brown colour

,was

dated 1728 . Labe l : “ Joann JosephE sler , Lauten und Ge igenmache r ,Meyn t z ,

Emi l ian i , France sco de .

Rome about 1715 - 20 .

An I talian make r

W orking in

A maker inHe made some

made in Germany ; his violins , veryarched , with brown— almost blackvarnish , of bad quality , are said to

have an exce llent tone .

Du R ie z , N icolas . A French makerIn a bass - Viol was th e labe l ! N icolasDu Rie z aAbbeville , 1663 .

beautiful instruments , rather arched ,th e wood of exce llent quality , th e

varnish a golden -ye l low colour .

Labe l : Franciscus de Emilianis ,fe cit Roma , anno Dfii , 1729 .

E nglede r, Andreas . W as maker to th eCourt at Munich . In 1854 h e e x

h ib ited there a quinte t of instrumentsmade on a new pat te rn of his own ;they we re of beautiful workmanship ,and of ful l exce l lent tone ; h e wasawarded medals . He is we l l knownfor his great e xperience and goodwork.

E ngleder, Ludwig . A make r in Bamberg : Exhibited at Munich , 1854 , aviolonce llo with bow , and two violins ,we ll made , on th e German pattern ,of e xce llent tone .

E riks on , Knudt . A make r in N orway .

I nside a sort of viola d’amore of theHardange r peasants in N orway , wasth e labe l Fab rokert

' of Knudt

E rikson , He l land ,

E rn s t , Franz Anton ; b . Dec . 3 , 1745 . atGeorgenthal , in Bohemia ; d . Jan . 16 ,

1805 , Gotha . Was a ce lebratedviolinis t

,but also th e maker of some

very exce llent instruments . His firstwork was done in Prague , where h ewent for purpose s of study about 1763 ;but in 1778 be ing appointed soloviolinist to th e Court of Gotha , h ethere found le isure to devote himse l f .

to th e making of violins. He had atfirst working with him J . A . O t to , wholate r became one of th e be st Germanmakers . When - O tto started his ownbusine ss at W e imar , Artmann andBindernage l , both carpenters , le ftWe imar and be came apprenticed toE rnst . He followed th e S tradivarimode l , and th e tone of his instrument sis said almost to have equalled that ofth e Cremona instruments . In 1804h e published in th e A llgemeine Musik

alische Z eitung (Le ipzig) a veryintere sting article on th e constructionof violins.

E s le r . See E lsler.

https://www.forgottenbooks.com/join

28 FEN DT— FI CKER .

Fe ndt , Francis , fourth son of Be rnhardFendt . Pupil of his e lde st brothe r ,Bernhard Simon . Worked for sometime for th e firm of Purdy and Fendt .I n 1856 h e was re siding in Live rpool ,gaining a very precarious living .

F e ndt , Francois , be st known in Franceas Fent . A German make r who se t tledin Paris and was living there cul - desac , St .

- Pierre , rue Montmartre ,

about 1763-

9 1 . I n his time h e hadth e reputation of be ing one of th e

clevere st makers in Paris h e care fullystudied I talian in strumen ts

,particularlythose of Ant . Stradivari ; h e used abeautiful red- brown oil varnish which ,

with th e progre ss of time , has becomealmost black his instruments are alsomuch worm - eaten , but have a richtone . His labe l , Fait par Fent , mai treluthie r , rue Montmartre , cul - de - sacSaint - Pie rre a Paris ,

” was found in aviolin which might b e mistaken for amost beautiful I talian ins-trument ; th e

dimensions are e xactly th e same asthose of a violin of Ant . Stradivari ;th e work is care fully finished , th e woode xce llent , and th e tone very good , th e

original neck and scroll -'

are still inplace . An alto has also be en seen anda violin , dated 1774 , repaired by De

lannoy,of Lille , in 1828 .

F e ndt,Jacob , third son of Bernhard

Fendt ; b . about 18 15 , in London ; (1.

about Oct . , 1849 . in B lue AnchorCourt , W h itecross S tre e t , Finsbury .

Pupil of his e lde st brothe r , BernhardSimon . W as employed occasionally byW . Davis , of Coventry S tre e t , and alsoby Turner, a deale r in violins . He wasalmost th e be st make r among th e . son s

of Bernhard,his 00pie s of I talian ,

e specially of Stradivari instruments ,are very fine , th e work be ing beautifullyfinished ; un luckily h e conside red itnece ssary to give them th e appearanceof age and usage .

F e ndt , Martin , second son of B ernhardFendt ; b . July

,18 1 2 , in London ; d .

July , 1845 , in B e ll Alley, ColemanS tree t . Pup il of his fathe r ; h e hadtalent , and was on e of th e good workmen employed by Arthur Be tts , brothe rof John Be tts .

F e ndt , W illiam , second son of B ernhardS imon ; b . 1833 , in Finch Lane , London ; d . 1852 , at 7, Smith Stre e t ,B rompton , and was buried in BromptonCeme te ry . Pupil of his father ; h ebecame a very cleve r workman ,

makinge xce llent violas and double -basse s .

P erat i , Pie tro . Was working in Siennaabout 1754

- 64 . His instruments are

infe rior , and h e used brown varnish ofbad quality . I n a violin of ve ryordinary make , with broad purflingand thick brown varnish , was th e

labe l : Pie tro Pe rati , fecit Siena ,1764 .

Fére t . A pupil of Medard , who wasworking in Paris in 1708 , according toth e following labe l found in a violinwith brown varnish Fait par Fére t ,eleve de Medard , 1708 . His instruments , following th e Medard patterngenerally , show good work , and th e

brown varnish is fairly brilliant .F e rgu son , Donald . A maker in Huntley ,Aberdeenshire .

F e rgu son an d Son . Makers in Edinburgh at th e beginning of th e 19 th

century .

F e rrari , Agostino . A maker in Budrio

(I taly ) in th e 18 th century .

F e rrari , Alfonso . W orking in Carpi(Modena) in 1738 .

F e rrari , Carlo . W as working in Sienna f

in 1740 .

F e rrari , Gasparo . A make r in Rome in173 1 . In a mandoline was th e labe l :Gasparus Fe rrari , Romanus , fecitanno

F e ury or Fe rry ,Francois , son - in - law of

Leclerc th e violin maker . Wasworkingat rue de l

’Arb re - sec , Paris , about

1750- 60 . His violins are on a small

pattern , th e sound -holes are small andwe ll - cut , th e varnish is a thick red , th e

work is good for th e period . A guitarand a double - bass of his have beenseen , but h e devoted most of his timeto making wind instruments . Labe lsF . Feury , rue de l

’Arb re - sec , v is - a

vis Saint -Germain - l’Au x errois , Paris ,

1755 and F . Feury , rue de Fossés ,St -Germain - I

’Aux errois proche la rue

de l’Arb re - sec aParis , 17

F e v rot . W orked in'

Lyon s from 1780

to 18 13 . His work was poor . In anold I talian guitar was th e labe l :Raoomodépar F ev rot , aLyon , 1788 .

F eyz eau . A make r in Bordeaux in1760 . A lyre of his is we ll made , withvarnish of a pale ye llow colour . I n aquinton , or fiv e - stringed viol , alsowe ll -made , with a pale brown Varnish ,

was th e labe l : Feyz eau 51 Bordeaux ,1 60 .

F ic

'

li th old (Fich told) , Hans . A Germanmaker of fine lute s , who lived about16 12 .

F ich t l , Martin . A maker at Viennaabout 1750 -

7. His instruments are oflarge pattern , h e used wood of goodquality

,and exce llent varnish .

F icke r, Johann Christian . Am ake r in

F I CKER— FON CLA U SE .

“

Cremona about 1720 - 2 . Although hislabe ls are always dated from Cremona ,his work looks as if h e had learnt h istrade in Germany . He used brownvarnish .

Ficke r, Johann Gottlieb . A make r inCremona about 1788 -

9 .

Fiker, Johann Christian . Was workingin N eukirchen (Saxony) in th e firsthalf of th e 181h century . Labe l :Johann Christian P iker , Lauten undGe igenmache r in N eukirchen , b eyAdorf.Filano , Donato . A maker of mandoline sin N aple s , in th e rua di S . Chiara ,about 1782 . I n a mandoline of ve rypre tty workmanship , inlaid withmother- of- pearl on tortoiseshe ll , withpurfling of ivory , was th e MS . labe l :Donato Filano , fecit alla rua di S .

Chiara , AD . 1782 , N apoli .”

Findlay , J . A maker in Padanaram ,

Forfarsh ire .

Fiori l l o ,Giovanni . Working in Fe rrara

in 1780 . His instrumen ts are madeboth on Ge rman and I talian patte rns ,th e sound - hole s are like those of Stainer .

His violonce llos are among his be stin struments .

Fiorin i , Giuseppe , son of Raffae leFiorin i , b . 1867. He early showedsign s of having inherited his father’staste s , and when sixte en (afte r havingrece ived a good education) commencedmaking violins . He made rapid progre ss , and th e instruments which h ee xhibited at Milan and Turin showthat h e is one of th e be st I talian makersof th e pre sen t time .

Fiorin i , Raffae le , b . at Pianoro . Whenstill a child , h is parents moved toBazzano

,whe re they me t a certain

Tadolin i , of Modena , brothe r of th eviolin make r , who , remembering whath e could of his brothe r’s me thods , usedto make small violin s to amuse youngRaffae le ; th e latter soon becameintere sted and endeavoured to assist .Raffae le gradually gained knowledgeand experience , and in 1867 went toBologna to work seriously for severalyears , finally opening his own workshopin th e Palazzo Pepoli there .

Firth , G . Was working in Le eds in1 836 according to th e following labe l :G . Firth , No . 1 10 ,

Briggate , Leeds ,1836 . He was a pupil of WilliamBooth , sen .

Fis ce r Carlo and Giuseppe ; two brotherswork1ng in Milan toge ther about 176064 . The ir work re semble s more thatof Ge rman than I talian makers , butthe ir varnish is be tte r ; it is a ye llow

red colour and , for that date , ve rysatisfactory . I n a we ll made violin isth e labe l : “ Giuseppe Carlo frate lliFiscer , fabbricatori d

’in strumen t i in

Milano , vicino alla balla , 1764 .

Fi sche r , Anton , b . 1794 ; d . 1879 . Amake r in Vienna .

Fische r , Johann U lrich . Th e labe l , J .

Fische r , Landshut , 1722 , was in atromba-marina in th e Collection of th eGe se llschaft derMusikfreunde , Vienna .

A viola da gamba was dated 1720 .

Fi sche r , Zacharie , b . Nov . 5 , 1730 ,

W iirz b urg ; (1. there Nov . 27, 18 12 . He

announced , in 1786 , that in making hisinstruments h e employed a new me thodby means of which they equalled thoseof Stradivari and of Stainer . Thiswas th e me thod of drying th e wood inan oven , which has since often beentried but never found to answer , as itis impossible to make th e proce ssgradual enough , th e re sult be ing thatth e tone lose s all brilliancy . Hisin strumen ts are liked .

Flac , Philippe , b . about 1532 . A make rof lute s and guitars in Lyon s about1568

-

72 .

Fle t té or He t té, Benoist . Worked inParis about 1756

- 63 . Few of h isinstruments are known .

Fle uri (Fleury) , Jean Francois . W as

working in Paris, 1783

-

5 .

Fl e ury , B enoist . A maker in Paris inth e rue de s Boucherie s about 175 1 -

9 1 .

He made fairly good violins . An altodated 175 1 is known and a guitar . I n

th e Paris Con servatoire Collection is

a bass - Viol , we ll made , dated 1755 . I n

179 1 h e was still working , repairingviolins , double - basse s , and altos .

Labe l Benoist Fleury , rue de s

Boucherie s , Faubourg Sain t -Ge rmain ,

Paris , 1774 .

F lore n u s (Florinus) , Guidan tus orFlorentus . A make r in Bolognaabout 1700 - 60 . His in strume n ts showa distinct decadence ; th e workmanship is heavy , th e varn ish alon e is

satisfactory h e followed th e mode l ofN icola Amati . Labe l : Guidan tusF lorenus , Bonon iae , 170 a similarone dated 175 S ee Guidan tus .

Fon clau s e , Joseph (called“Le Mayeux

b . 1800 , a la Conté ; d . 1865 , Paris .

First worked with Pageot at Mirecourt ,then , about 1825 , wen t to Paris andentered th e employ of J . B . Vuillaume .

He became a ve ry cleve r make r ofviolin bows , and late r , when h e startedhis own busine ss , first in rue Page v in ,

then in th e rue Montmartre ,always

marked his bows with his name .

30 FON TA N E LL I— FORSTER .

Fon tan e l l i , Giovanni Giuseppe . Ace lebrated make r of mandoline s andlute s in Bologna about 1733 -

72 . I n amagnificent lute , purfled in ivory , th eneck inlaid in tortoise she ll , mother - ofpearl , and ivory , in every way asuperbly made instrument , was th e

labe l : “ Giov . Giuseppe Fontane llifece in Bologna , l

’anno 1733-

3 Xbre

Two mandoline s , dated 1771 and 1772 ,

are in th e Paris Conservatoire Collection . Another labe l i s : GiovanniGiuseppe Fontane lli , Bologne se , f. an .

17P orche vil l e , J . Baptiste . W as workingat St . Omer (France) m 1673 , accordingto th e following labe l found in apoche tte or little violin , made wi th apentagonal back : Fait a S t Ome r ,par ] . B t e Porcheville , 1673 .

Fors te r (Foster or Forre ster) , John , b .

about 1688 , at Kirkandrews , on th e

Esk ; d . Oct . , 178 1 , Brampton , Cumberland . He was th e first member ofth e ce lebrated family of Forsters tomake violins . He early se ttled inBrampton , and was a maker ofspinning - whee ls , also a,

gunmake r ;“ a very ingenious man , and ,

occasionally made fiddles . A violin , saidto b e his , is made on a ve ry highmode l , re sembling that of Staine r ,although th e outline was somewhat similar to th e pattern of anAmati , but th e work was rude andunfinished .

F ors t e r , Simon Andrew , son of WilliamForster (1764 b . May 13 , 1801 ,

London ; d . Feb . 2 ,1870 . He carried

on th e busine ss first at Frith Stree t ,then at Maccle sfield Stree t , Soho : He

learnt his trade unde r his father ,Samue l Gilke s (a workman in hisfather’s employ) , and his brotherW illiam . 1828 -

40 , h e made severalinstruments , ve ry much arched , of nogreat merit , using th e labe l : “ S . A .

Foster , violin , tenor , and violonce llomaker , N o . London He usedspirit varnish for his second- classinstruments , and only inscribed them“ Foster , No . at th e tailpin .

His name is we ll known as j oint - author ,withW illiam Sandys , of “ Th e Historyof th e Violin ,

published in London ,

1864 .

Fors te r , W illiam , son of John Forste r ,b . 1713

- 14 ; (1. March 4 ,1801 He was a

maker of spinning-whe e ls l n B rampton ,

Cumberland mere ly occupying hisspare time 1n making and repairinginstruments ; but his work shows aconside rable improvemen t on that of

H

his father . He used spirit varnish,

and did not purfle his instruments ;th e work altoge ther is not highlyfin ished , b ut th e tone is fairly good .

Fors te r , William (“ old son of

William Forster (1713 b . May ,

1739 , at Brampton , Cumbe rland ; d .

Dec . , 14 , 1808 . Having worked forsome time unde r his fathe r , h e went toLondon about 1759 . Was first a gunstock make r , only occasionally makingviolins and se lling them to th e deale rs .

About 1785 h e started his busine ss at348 , Strand . In 1762 h e was makingon th e Stainer patte rn , using brownvarnish . The se instruments are notequal to th e late r one s made on th e

Amati pattern . This h e followed from1772 till th e end of his life , copyingsome time s from Ant . and Gir . Amati ,some time s from N icola Amati . Hisviolins and“ altos , though of fair workmanship , have not such a fine tone ashis violonce llos . Th e latter weremuch liked in England , e specially th eamber- coloured one s (th e dark red

coloured one s were really equally good) .For a time they were neglected owingto th e large number of I talian violonce llos sent to England , but they stillse ll at high price s . He only madefour double - basse s , three of whichwe re for th e private band of GeorgeI I I . Labe ls : “W illiam Forster , violinmake r in S t . Martin’s Lane , London ,

1762 anothe r , W illiam Forster ,violin , violonce llo , tenor , and bowmake r . N B . Th e above instrumentsare made in th e be st manner andfinished with th e original varnish ; anda copy of every Capital instrument inEngland may b e had .

F ors te r , William (“ young Forster

son of W illiam Forste r (1739b . Jan . 7, 1764 , London ; (1. July 24 ,

1824 . His instruments are good butnot

.equal to those of his father ; th e

varnish is of good quality ; someinstruments have a fine tone ; th e

work is we ll and neatly finished . Afew double - basse s , made chiefly forle tting out on hire , we re th e sameshape as a violonce llo , and of inferiorworkmanship . Labe ls W illiamForster , j un . ,

violin , violonce llo , tenor ,and bow -make r , 18 10 ; also MusicSe lle r to the ir Royal Highne sse s th ePrince of Wale s and th e Duke ofCumbe rland ‘No . 43 and WilliamForster , v iol1n ,

violonce llo , tenor , andbow-maker to the ir Royal Highne sse sth e Prince of W ale s and Duke ofCumberland ,

Lond0n .

”To this latte r

FORSTER— GAFF I N O .

labe l were added in manuscript , th enumber of th e instrument , th e date ,

and th e ‘j un .

’He married 1786 , and

h ad two sons , both violin makers .

Fors t e r , William , e lde st son of WilliamForste r (1764 b . Dec . 14 , 1788 ,

London ; d . Oct . 8 , 1 824 , Che ltenham .

Pupil of both his father and grandfathe r ; h e also worked with ThomasKennedy . Probably only made twe lveor fifte en instruments : two or thre eviolins and on e violonce llo we re we llmade , th e work be ing beautifullyfinished ; th e others , made to supplywhole sale orders , are inferior .

Fouque t . See Lecomte .

Frais e r , Giorgio . Was working inCremona , 1666 ,

in th e workshop ofN icola Amati .Franck . Working in Ghent , 1800 -

30 .

Was a sculptor be fore h e became amaker ; h e was extreme ly cleve r atrepairing instruments , but made few

new one s .

Frankland . Was working in London in1785 , in Robin Hood Court , Shoe Lane ,

and was occasionally employed by th eWilliam Forste rs .

F re b run e t , Jean . A make r in Parisabout 1750 - 60 . His violins show carefully finished work , with a ye llowbrown oil varnish of good effect . I n aviolin was th e labe l : Joann e sFreb rune t , 1760 .

Fre eman . See Hare .

Frey , Hans , b . about 1440 , at Nurembe rg ;d . the re 1523 . A make r of lute s andviols , also a cleve r pe rforme r on them .

Th e lute s of th e old German makerswere ve ry ce lebrated and fe tched highprice s .

Frit sche (Frit z ch e ) , Samue l . A make r

Gabrie l l i , Antonio . Worked in Florenceabout 1760 . He made good violins ,with golden - coloured varnish . Labe l :Antonio Gabrie lli , fece in Firen z e ,

176o, f.

Gabrie l l i , Bartolommeo . A maker inFlorence about 1730 .

Gabrie l l i , Cristoforo . Worked inFlorence about 1730 .

Gabrie l l i , Giovanni Battista . A makerin Florence about 1740

-

70 . Manywe ll made instruments are known , ofgood tone ; h e used exce llent wood ,

and a transparent ye llow or pale red

varnish ; his violonce llos and altos areconside red his be st work ; they are

3 !

in Le ipzig about 1787. Was a pupilof C . H . Hunger . He made goodin struments , following th e Cremonamode ls , and using amber- colouredvarnish , h e was also very cleve r atrepairing instruments .

Fry e r , Charle s . Worked in L ondon andthen in Le eds , becoming a partne rwith M . W . Dearlov e the re . He died1840 .

Furb e r , David . Was th e first membe rof this family to make violins . Learnthis trade from John John son (1750a maker in London .

Furbe r , Henry John , son and pupil ofJohn Furbe r . He continued th e busine ss in Grafton S tree t , London , andhas made many good instruments .

Furbe r , Jame s , e lde st son of MatthewFurbe r , sen . I t is doubtful if h e madenew in struments .

Furbe r , John ,third son of Matthew

Furber , sen . Pupil of his fathe r , b ecame an exce llent workman and cleverrepaire r . Made numerous violins ,following th e Amati pattern . He alsoworked for J . E . Be tts at th e RoyalExchange . Labe l John Furbe r ,maker , 1 3 S t . John’s Row , top of BrickLane , O ld S t .

, Saint Luke , 1 8 13 . I n

1841 h e was living in Cow Cross ,

Smithfie ld .

Furb e r,Matthew , se n . , son of David

Furber . Pupil of his fathe r . He diedabout 1790 , and was buried at C lerkenwe ll Church .

Fu rbe r , Matthew , second son of MatthewFurber , sen . Pupil of his fathe r . He

died about 1830 - 1 , and was buried atClerkenwe ll Church .

Fu x ,Matthew . A make r of fine lute s to

th e Court ofVienna in th e 17th ce n tury .

often branded with his initials , G . B . G .

Labe ls “ Johanne s Baptista Gabrie lli ,Florentinus , fecit and “ Gio .

Battista Gabrie lli , fece in Firenze ,

1757 a similar one dated 1763 .

Gae tano , An ton iaz z i , b . Aug. 7,1825 ,

Cremona ; good maker , has gainedmedals of honour. His two sons ,Ricardo and Romeo , work with him .

Gaffin o ,Giuseppe . An I talian , a pupil

of Castagnery, who worked in Paris ,rue de s Prouvaire s , about 1745

- 83 ;

his widow was still living at th e sameaddress in 1789 . His violins are carefully made and h e used pale red orye llow varnish . An alto of large

32 GAGLIAN O— GAGL I ANO .

pattern , th e only one known , is datedrue des Prouv aire s ,

1748 . Labe l :Gaffino , camp agno di Castagneri

rue de s Prouv aire s , Parigi , anno 1755 .

Pe rhaps h e was more of a dealer thana make r , j udging by th e advertisementon anothe r labe l : At th e sign of th e‘Muse tte de Colin ,

’ Joseph Gaffino ,

maitre e t marchand luthie r a Paris ,rue de s Prouv aire s , fait , vend , achete ,

e t loue toute s sorte s d’in strumen ts

de musique , savoir : violons , basse sd’orch e stre , violonce llos , alto - Viola ,

viole s d’amour e t toute s sorte s de sa

facon , &c .

Gagl ian o (Galiano) , Ale ssandro , b .

about 1640 , at N aple s ; d . the re about1730 . At first studied music , in le isuremoments making a few mandoline sand lute s . Having killed his adve rsaryin a due l , h e was obliged to leaveN aple s , and went to Cremona , andthe re entered Ant . Stradivari’s workshop . He remained about thirty yearsand showed great ability . I t is possiblethat many of S tradivari’s instrumentswere prepared by him . He was able tore turn to N aple s in 1695 , and starteda busine ss the re ; h e soon becamewe ll known . He made a numbe r ofinstruments , gene rally on a largepattern , which , in th e arching, in th ethickne sse s , and in th e care fully finishedwork , recall his maste r . H e used agood strong varnish , greyish - ye llowcolour , and good wood , that of th ebe llie s be ing of wide and even grainand very re sonant th e scroll is rathe rroughly out , th e sound - hole s are wide rand more perpendicular than those ofS tradivari , th e tone is powe rful . He

made some remarkably beautiful violonce llos ; a violonce llo and a bass are

known which might almost b e mistakenfor th e work of S tradivari . Labe ls :Ale xandri Gagliano

,Alumnus Stradi

v arius , fecit N eapoli , anno 1725 , andAlexande r Gaglianus ,

fecit N eap . ,

17 He had two sons , bothmake rs— N icola and Gennaro .

Gagl iano , Antonio , third son of N icola ,grandson of Ale ssandro . See GiuseppeGagliano .

Gagl iano , Antonio , son of Giovanni ,grandson of N icola . S ee “ Raffae leGagliano .

Gagl ian o , Ferdinando ,e lde st son of

N icola , grandson of Ale ssandro , b .

1706 , in N aple s ; d . about 178 1 . Hiswork shows decadence ,

although it isan imitation of that of his fathe r ; it isnot so arched , th e thickne sse s are notaccurate , th e work is not so care fully

finished ; th e varnish is richer in colourthan that used by othe r members of th efamily . As h e also worked for th etrade at low price s , some of his in struments are not of much value . Violinsand basse s of his are known dated upto th e year of his death , and a verygood alto dated 1753 . Labe l : Fer

dinandus Gagliano filius N icolai , feci tN eap .

, 17 and “F e rdinandoGaglian i , me fecit N eapoli , anno 1730 .

agl ian o,Gennaro , second son of Ale s

sandro,brothe r of N icola , b . about 1680 ,

at N aple s ; (1. 1750 . He was th e be stmake r of this family . He made fewinstruments , but put exce llent workinto them th e patte rn is good , slightlyarched . He imitated his fathe r ingene ral outline and in thickne sse s wasthe re fore really following th e Stradl v aripattern , but th e sound - hole s are shorte rand wide r . Th e wood was care fullyse le cted ,

and th e ye llow varnish isbeautiful

, th e quality of tone ve ry finehis succe ssors neve r succe eded in producing varnish equally beautiful ,although a’re cipe in Gennaro

’s ownhandwriting remained in th e family ;h e e ithe r purpose ly kept secre t some

e ssential ingredient , or forgot to makei t known . A magnificent violonce llo ,

of perfect workmanship , dated AntonioStradivari , 1732 ,

is gene rally supposedto b e Gennaro’s work ; th e back andbe lly are more arched , th e side s lowe r ,th e warm red- brown varnish darke rand thicke r than in Stradivari

’s instruments . I t was bought from Gennarohimse l f, about 1740 ,

by an I talian , whosold it in 1765 to M . Champ sor , a we llknown violonce llist in Marse ille s onhis death ,

in 1 826 ,i t passed from an

amateur into th e keeping of M . B onne t ,so that its tradition remains un

broken . I i it could b e proved thatGennaro made it , it would place himat once in th e front rank of th e greatI talian make rs . H e se ldom used labe lsfor his i nstruments , and ve ry oftenomitted to date them ,

so that it is notknown e xactly how many years h eworked ; but in 1730 his work wasalready exce llent , and it steadily improved . Labe ls : Gennaro Gaglianofecit N eapoli , 17 , and

” JanuariusGagliano filius Ale xandri , fe cit N eap . ,

1732 another similar(

on e is dated1741 . He some time s pencilled hisname on th e inside of th e be lly .

Gag l ian o , Giovanni , fourth son of N icola

,nephew of th e great Gennaro ,

l ived .also in Naple s b . date not

known ; d . 1 806 . He did not make

GA GL I AN O— GAN D .

many instruments , and is said to havebeen superior . as a make r to h is thre ebrothers ; but some violins are ofpoor workmanship . Labe l : “ Joanne sGagliano nepos Januarii , fecit N eapoli ,18 He had two sons , Raffae leand Antonio .

Gagl iano , Giuseppe and Antonio , secondand third sons of N icola , lived atNaple s . Giuseppe , b . 1726 , N aple s ;(1. 1793 . Antonio’s date s are not known .

The ir work was ordinary , but they madesome good cithe rs and mandoline s ;also some violins , of which one datedN aple s , 1789 , was sold for £20 in 1852 .

Labe l : “ Joseph Antonius Gagliano ,fecit anno 1787, in platea dicta C erriglio .

Gagl ian o , N icola , e lde st son of Ale ssandro , b . about 1675 , at N aple s ; (1.there about 1745 . His instrumentsare smalle r and narrowe r and his workis superior to that of his father , for h ecopied th e patte rn of Stradivari verycleve rly , both in outline in thickne sse s , and in arching . HI S varnish isvery transparent and rathe r de ep incolour th e tone is very bril liant , th escroll l s generally we ll - cut round th epurfling is some time s an ornamentationof diamond and lozenge - shaped piece sof ebony ; h e also some time s copied th eMaggini de sign on th e centre of th eback of his violins . He made a greatmany violins , violas , and violonce llos ,th e latte r be ing e specially good , wi tha fine rich varnish , not often se en oninstruments of th e Gagliano family . Ace rtain number of his instrumentscontain spuri0us labe ls of Stradivari ,others have his own labe l : N icolausGagliano filius Alexandri , fecit N eap .

,

17 or “ N icolaii Gagliano , fecit inN apoli , He had four sons , allmakers — Fe rdinando , Giuseppe , An

tonio , and Giovanni .Gagl iano , Raffae le and Anton io , sonsof Giovanni , grandsons of N icola .

Th e date s of births are unknown ;Raffae le d . Dec . 9 , 1857, and Antonio

June 27, 1860 . They worked toge therin N aple s , but the ir instruments are

inferior . Afte r a few years they confined themse lve s to manufacturingstrings , the ir factory becoming on e ofth e be st in I taly .

Gagl iano , Vincenzo , son of Raffae le ,

d . about 1886 , was th e last of thisfamily , and n ever made instruments ,but continued th e manufacture ofstrings at N aple s .

Gail lard—Lajoue , J . B . A make r atMirecourt , d . about 1870 . First an

3 3

apprentice and then first workman inth e workshop of Gand . About 1852

h e started his own busine ss , and in1855 obtained a medal at th e ParisExhibition . He made a great manyviolins , of fairly good proportions ; th evarnish was rather harsh , but th e tonewas good .

Gairoud , Louis . A maker at N ante sabout 1740 .

Gal b an i , Piero . A maker in Florencein 1640 .

Galb ice llis , G . B . Working in Florence ,

1757~Gal b us era , Carlo Anton io . At first anofficer in th e I talian army , then se ttledin Milan , and began to constructinstruments on th e principle s ofFrancois Chanot . In 1832 h e wasawarded a silve r medal by th e MilanAcademy of Science s for a violin verysimilar to that of Chanot it was a sortof violin - guitar

,with th e stringing ,

sound - hole s , scroll , and borders of anordinary violin ; but recalled a guitarin having no corners and in th e

le ssened curve of its outline . Althoughcomple te ly ignored now , it was con

sidered such a great succe ss at th e timethat th e Le ipzig paper , th e A llgeme ineMusikalische Z eitung (Dec . 23 ,

concluded a laudatory article bysaying I t is inde ed surprising that itshould have taken centurie s to giveth e violin this more simple form .

Gale rz e n a . Was working in Piedmontin 1790 .

Gal land,J ean . A maker in Paris , rue

S t .

-Honoré , about 1744-

50 . He diedbe fore 176 1 . His widow continued th ebusine ss at th e same addre ss till about1

Gal7r219m ,J oachim J oseph . He was

working in Lisbon in 1769 . I n someviolins and altos , four in strumentsaltoge ther , of ve ry good workmanship ,

with ye llow varnish , which formedpart of th e private collection of KingLouis of Portugal , was found th e

following labe l : Joachim Jose f Galram

,fecit O le siponoe , 1769 .

Gal tan i , Rocco . Working in Flore ncein th e 17th cen tury .

Gand,Charle s Adolphe , e lde st son of

Charle s Francois Gand , b . Dec. 1 1 ,

18 12 ,Paris ; d . Jan . 24 , 1 866 . Pupil of

his father , succe eded him in 1845 .

He had great knowledge of old in strumen ts and cleverly repaired them ; h e

made few new instruments , but theyshow good and sound workmanship .

Was appointed Luthier de la musiquedu Roi e t du Conse rvatoire de

34 GAN D - GAN D .

Musique , and later , de la chape llede l

’Emp ereur.

”I n 1855 his brother ,

C . N . Eugene Gand , be came hispartne r , and at th e Paris Exhibitionthat year Gand frere s gained a

medal of th e rst class . He re ce ivedth e cross of Chevalier de la Légiond’honn eur, August Labe ls :(1 )

“ Gand , luthier de la musique du

Roi e t du Conservatoire de Musique ,

r ue Croix - de s - pe tits - Champs , Paris ,1 8 1845

- 1848 , A . G . (2)“ Gand ,

luthie r du Conse rvatoire de Musique ,

rue Croix - de s - pe tits - Champs , N O . 20 ,

Paris , 1854 . A . G .

“ Gand frére s ,

luthiers de la musique de l’Emp ereur‘

e t du Conservatoire Imp erial de

Musique , N o . Paris , 1855 aGand , Charle s Francois , e lde st son ofCharle s Miche l Gand , b . Aug . 5 , 1787,Ve rsaille s ; d . May 10 , 1845 , Paris .

First worked at Versaille s with hisfather ; in 1802 was apprenticed toN icolas Lupot , of Paris h e remainedfor four years , re turning to his fathe rJuly 17, 1806 . I n 18 10 h e again wentto Paris , and started his own busine ssat 5 , rue Croix - de s - pe tits - Champs ; in1 820 h e bought Koliker’s property atN o . 24 , in t h e same stre e t , whe re h eremained till his death . I n 1824 h e

sucée ededl

Lupot , whose daughte r h ehad married . He followed in Lupot

’s

footsteps , making his instruments withth e same care and ability , neve rle tting an instrument le ave his shopwhich was not entire ly made by hisown hands ; h e used brilliant red- brownvarnish , rathe r thick in quality .

Lupot le ft unfinished an orde r for th eRoyal O rche stra ; Gand comple ted it ,making 6 violins , 3 violas , 5 violonce llos ,and 4 double - basse s be twe en 1824 and1828 . The se beautiful specimens of hiswork we re unfortunate ly de stroyedwhen th e Tuilerie s was burnt down in1871 . He was e spe cially skilful inrepairing old instruments , owing to hisgreat knowledge of I talian work .

Appointed Luthie rdu Conse rvatoire ,

h e for some time made th e violins andviolonce llos given as prize s to th e

pupils . Labe ls : “ Gand che z Lup ot ,rue de Grammont , 1 805 ,

used whenin Lupot

’s workshop ; Ch . F . Gand

fils , luthie r Versaille s , 1807,used when

working with his fathe r ; “ Ch . F .

Gand , eleve de N . Lupot , luthier , rueCroix - des - pe tits - Champs , a Paris , an

Gand luthier eleve deLupot , rue Cro1x - de s - pe t1ts - Champs ,N o . 24 , Paris , 1820 a 1824 Gand

,

luthier de la musique du roi e t de

l’Ecole Royale de Musique , rue Croixdes - pe tits- Champs a Paris , 1825 a

1830 ;“ Gand , luthier du Conser

v atoire de Musique , rue Croix- des

pe tits - Champs , 1833 Gand ,

luthie r de la musique du roi e t du

Conservatoire de Musique , rue Croixdes - pe tits- Champs , Paris , 18 1833 a

1845 . He had two sons , both makers ,Charle s Adolphe and Charle s N icolasEugene .

Gand , Charle s Miche l , th e head of th eGand family , b . 1748 , at Mirecourt

! d .

1820 Ve rsaille s . He e stablished h 1mse lf 1n Ve rsaille s in 1780 , at 71 , rue

du Comme rce ; late r moved to 32 , rue

de la Paroisse , at th e sign of “ auxtendre s accords . He had two sons ,both make rs , Charle s Francois andGuillaume ,

th e latter succe eded him .

Gan d , Charle s N icolas Eugene , secondson of Charle s Francois Gand ,

- b .

June 5 , 1825 , Paris ; d . F eb . 5 ,

Boulogne - sur - Se ine . He studied music ,at th e same time learnt his trade underhis fathe r and brothe r . Ente red th eParis Conse rvatoire , N ov . 19 , 1834 ,

be ing admitted toBaillot’s special violinclass , N ov . 28 , 1840 , and not ' leav inguntil Baillot’s death , in 1842 . He

j oined his brothe r Charle s Adolphe aspartne r in 1 855 Adolphe dying in 1866 ,

th e two house s Gand and Bernarde l ,became on e . Gand e t B ernarde l

frere s we re first at 2 1 , rue Croix - de s

pe tits - Champs , then at 4 , passage Saulnie r in 1883 . Instruments were no

longe r care fully constructed by the

make r himse lf, workmen had to“ b eemployed to make th e quantitie s ofinstruments required for orche straplaying ; during th e Paris Exhibition ,

1878 , th e firm Gand supplied 52violins , 18 altos , 18 violonce llos , and1 8 double - basse s for th e big orche strasplaying there . The se instruments allhave Palais du Trocade ro , 1878 , onthe ir labe ls . Though clever workmenhad worked on them , all instrumentsthat bear his name rece ived th e

finishing touche s and were varnishedby Eugene himse lf . He also madeve ry good bows , th e violin bowse specially are noted for the ir lightne ss and pe rfect balance . Like hisfathe r h e was a great authority on oldinstruments . Be tween 1866 and th e

year of his death , violins , 460violonce llos , and 190 altos passedthrough his hands , th e last violin be ingfinished on August 14 , 189 1 . I n 1889h e and Gustave B ernarde l e xhibited adouble - bass

,n oticeable as be ing of th e

https://www.forgottenbooks.com/join

36 GATTAN A N I— GERLE .

said to have be en dated 16 13 ; it hadbeautiful varnish and very good tone ,

but had a n ew head and neck . Two

othe rs violins are said to b e dated 1566

and 1576 re spective ly . Gasparo’susual labe l was undated : Gasparo daSale in B re scia but his name hasbe en much used in mode rn altos andviolins made in imitation of th e earlyB re scian type ; many instruments withhis labe l were really made by G . P .

Maggini .Gat t an an i . A make r in Piedmont about

1785-

90 .

Gat t inari , Enrico . Was working inTurin about 1670 -

75 .

Gat t in ari , France sco , son of EnricoGat tinari . A clever make r in Turinabout 1700

-

5 . A violin of exce llenttone , rathe r arched , with e ffe ctive red

brown varnish , was of good workmanship , and was labe lled France scoGat tinari , fecit Taurini , anno Domini1704 . An alto with thick red varnishwas also we ll made .

Gau tro t . A make r in Mire court . Hisinstruments are strongly and we llmade h e started a factory for in struments of all kinds at Chateau -Thie rryin 1 855 .

Gav in iés (Gavaniés) , Francois , b . about1700 . Lived first at Bordeaux , butabout 1730 moved to Paris with hisson , and was living in rue St .

- Thomasdu - Louvre , 1734

- 63 . He made twovery diffe rent kinds of instruments ;th e on e inferior , th e othe r , for whichh e used varnish and wood of goodquality , was much liked . He generallybranded them with h is ‘

name . In stru

ments dated 1734 , 1735 ,and - 175 1 ; also

a six - stringed viol dated 1744 in th e

Paris Conse rv atoire Collection , are

known . Th e Conse rvatoire also has ,for th e use of its pupils

, on e of hisdouble - basse s with th e head sculpturedto repre sent King David ; i ts tone ise xce llent , it was made in 1757. Labe l :Gav in iés , rue S t

-Thomas - du - Louvre ,

aParis , 1734 . He had a son,Pierre ,

th e ce lebrated violinist .G e d l e r , Johann Anthony and JohannBenedict . Two brothers who workedtoge ther in Fussen , Bavaria , about1750 to 1796 . They made inferiorinstruments .

G e is e nh of (Ge iffenh of, Ge igenh of) ,Franz , b . 1754 ; d . 182 1 . A maker inVienna . He made fairly good in struments on th e Stradivari pattern .

Some time s branded them with hisinitials , F . G . J . B . Schwe izer was apupil of his .

G emun de r, August , b . 18 14 , W urtemberg ; d . Sept . , 1895 , N ew York . Pupilof his father , who was also a make r .

W ent to th e United State s , and se ttledin Massachuse tts in 1846 . He madee xce llent instruments , much used forsolo playing . He made such an exactcopy of th e Amati violin be longing toSefior Sarasate that it was pronouncedto b e equal to th e original .

Gemun de r, George , brothe r of AugustGemiinder, b . 18 16 , I nge lfingen , inW

’

urtemb erg. Pupil of Vuillaume inParis . Went to N ew York in 1849 .

He made exce llent copie s of manyce lebrated violins . I n 188 1 h e publish ed George Gemiinder’s Progre ssin Violin Making .

”

Ge nnaro . Worked in N aple s , 1785 - 1820 .

He made very beautiful guitars , inlaid with mothe r- oi - pearl , ivory , &c .

Labe ls : Gennaro fab ricatore , anno1802 , N apoli , Strada S . Giacomo , No .

26 , and Gennaro fab ricatore , anno\

1820 , N apoli , S trada S . Giacomo , No .

42 , found in a large guitar .

Ge ran s , Paolo . Working,in Cremona

about 16 14 .

G e rl e,Conrad . An e arly make r of lute s ,

b . at N urembe rg ; was living there in146 1 and died there 152 1 ; was buriedin th e Church of S t . Roch . He was

ce lebrated both as a lute playe r andlute make r , his lute s , called Lutzd’A lemaigne ,

we re we ll known in th ei 5 th century . Th e A llgemeine Musik

a lische Z eitung (Le ipzig) published th eold notice of his death : An St .

Barbara Abend starb der e rb ar ConradGerle , Lautenmach er . Dem Gott

gnaedig sey, Amen .

G e rl e Hans a son of Conrad ] Dateof b 1rth unknown ,

about 1500 d ; 1570 .

Lived inN uremberg . Was a lute playe r ,composer , and author , and as e arly as1523 was famed for th e lute s h e made .

I n 1532 his portrait was published withth e inscription ,

Hanns Ge rle , lutenist

(lute playe r) in N iirnb erg, anno 1532 .

He published a work on th e lute in1532 ,

entitled : MusicaTeusch auf dieI nstrument der grossen und kle inenGeygen ,

auch Laut ten , e tc . , durch HansGe rle lutin ist z u N urenberg ausz gac

n

gen , 1532 German music for in struments of large and little viols , also forlute s , edited by Hans Gerle , luteplaye r at N uremberg ,

1532) a secondedition appeared in 1546 , entitled :Musica undTab ulatur, ai

’

1ffdie I n stru

menten der kle inen und grossen Geygenauch Laut ten , e tc . Von newen corrigirt und durch aussgeb e ssert durch

GERMA IN— G IORGI .

Hansen Gerle , Lautenmach er z u N urnbe rg von 1546 j ar (

“ Music andTablature for instruments of little andlarge viols , also for lute s , &c . , revisedand corrected by Hans Ge rle , lutemake r at N uremberg , in 1546 . Bothth e 1 st and 2nd editions are in th e

Imperial Library at Berlin . The setwo inte resting editions are most rareand valuable .

G e rmain , Emile , son of Joseph LouisGermain , to whose b usme ss h e succe eded in 1870 ; b . July 24 , 1853 , Paris .

In 1865 h e was sent to Mirecourt tob e apprenticed to th e trade , re turnedto Paris in 1867, and , until his fathe r

’sdeath worked with him . We n tinto partnership with Dehommais ,living first at 1 2 , rue Croix - de s - pe titsChamps , and then at 5 , Faub ourgMontmartre . Dehommais re tired in1882 , and Emil continued th e busine ssalone ; in ten ye ars

’time h e made morethan 500 in struments , nearly all personalwork , showing talen t and care h e useda good varnish . W as ve ry e xpe rie ncedin repairing old I talian instrume n ts .Labe ls : “ Deh ommais e t Ge rmain a

Paris 1 2 rue Croix - de s - pe tits - Champs ,1878 , and Emil Germain , a Paris ,5 Faubourg Montmartre ,

1888 .

G e rm ain , Joseph Louis , b . July 23 , 1 822 ,

Mirecourt (1. the re , July 5 ,1870 .

Appre n ticed at Mire court , wen t toParis , 1840 , and worked unde r Charle sFrancois Gand , till th e death of th el atte r W as then employed by

J . B . Vuillaume , for whom h e madeseve ral e xce l len t in strumen ts , till 1850 ,

when h e be came firs t workman unde rGand Fils .

"

I n 1862 h e started h isown busine ss at 364 , rue Sain t -De n is .

He re tired to Mirecourt in 1870 , and

died th e same year . He was a maker

of gre at talent , and his instrumen tsshow supe rior workman ship . He was

e specially skilful in repairing old ihstrume n t s . Labe l : “ Joseph LouisGe rmain ; a Paris , année 1868 . Hisson Emile was also a violin make r .

G e ro n i , Domenico . A maker in O stia ,

I taly , about 1800 - 20 . Made in feriorinstruments .

Ghe rardi , Giacomo . Was working inBologna in 1677.

Gh id in i , Carlo . A make r in Parmaabout 1746 .

Gian ol i , Domenico . Worked at Milanin 173 1 .

G ibb s , Jame s . Worked in London about1800 -

45 ; probably died in 1845 . He

was employed by J . Morrison , GeorgeC orsb y,

and Samue l Gilke s .

37

G ib e rt in i , Anton io . A maker in Parma.1830

-

33 . Made a number of violins onth e Stradivari pattern , using rathe rdark red varnish ; his work was carefully finished . Paganini , th e greatviolinist , some time s employed him torepair his violins .

Gi gl i , Julio Ce sare . Worked in Romeabout 1730 - 62 . Labe l : “ Julius CaesarGigliRomanus fecitRomae , anno 176 1 .

G i lbe rt , N icolas Louis . A make r inMe tz about 1700 . I n th e Paris E x

h ib ition , 1878 , a ve ry pre tty fiv e

stringed Viol— dated Me tz , 1701of his was shown .

G i lbe rt , Simon , son of N icolas LouisGilbe rt . Worked at Me tz about 173765 . A fiv e - stringed viol , dated 1744 ;anothe r , dated 1749 ; and another , dated1765 , are known . Labe l : SimonGilbert , luthier , musicien de la Cathedrale aMe tz , 1737.

G i lke s , Samue l , b . 1787,Morton Pinkney ,N orthamptonshire ; d . N ov . , 1827,

London . Apprenticed to Charle sHarris , sen . , in London , afterwardsworked forWilliam Forster (1764I n 18 10 h e started his own busine ss ,labe lling his instruments with his ownname . He followed th e N icola Amatipattern ,

and was a cleve r make r ,although his style showed trace s of histraining unde r Charle s Harris . He

used varnish of rich quality , and hiswork was beautifully finished . He

made various classe s of instruments forcoun try deale rs . Labe l : Gilke s fromForster’s , violin and violonce llo maker ,34 ,Jame s Stree t , Buckingham Gate ,

We stminste r .

Gilke s , William ,son of Samue l Gilke s ,

b . about 18 1 1 , in Grey Coat Stree t ,Tothill Fie lds ,

We stminste r ; d . 1875 ,

London . Taught by his fathe r andsucce eded to his busine ss in Jame sStre e t , but afterwards moved to Dartmouth S tre e t . He made a grea t manyin struments , of various patte rns , principally double - basse s , but did not gainth e same reputation as h is father . He

ceased to make instruments for sometime be fore his death .

G ioffre da , B . A maker in Turin in 1860 .

Giordan o (Giordan e ) , Alberto . Amake r in Cremona about 1735 -

40 . Alittle pocke t violin with rose - colouredvarnish is beautifully made , with th e

labe l : Al to Giordano fecit Cremonae

(th e date illegible ) .Giorgi

, N icola . A maker in Turin in1745 ,

according to th e following labe lN icolaus Giorgi fecit Taurini , anno

17453:

38"

G IQUEL IER— GRAN C IN O .

q u e lie r, Cristoforo . I n th e ParisConse rvatoire Collection is a violabastarda with fiv e strings dated 1712 ,

made by him .

G iran iam . Working in Leghorn in1730 , according to a MS . labe l foundin a violin fairly we ll made , withye llow v armsh of good quality .

G irod , Claude . A French maker ofwhom little is known .

G iron . See “ Villaume .

G iu l ian i . A make r of viols in Cremonain 1660 . He was a pupil of N icolaAmati , and made some exce llent copie sof his instruments .

Gob e t t i , France sco . A make r at Veniceabout 1705 . Said to have b een a pupilof Antonio Stradivari h e used splendidwood , ve ry beautiful red varnish ,

rathe r transparent , and made on alarge flat p attern , with sound - hole ssimilar to those of Ruggeri ; th e

purfling is not very neat , and th e scrollis rather weak in character ; but th eworkmanship throughout is care fullyfinished and th e tone is of a rich fullquality . A ve ry beautiful violin wase xhibited in Paris , 1878 , with fine

‘

golden - red varnish , with labe lFranciscus Gob e t ti , fecit Vene tiis ,

A similar labe l has been se endated 1705 . His instruments are muchliked :

Goffrille r (Gofriler) , Antonio . Amember of th e family of this nameworking in Venice at th e beginning ofth e 18 th century .

Goffriller, France sco , brother of Matteo ;probably worked as his collaborator inVenice . He made few instruments ,and se ldom put his labe l into them ;

they we re of fairly good work,with

ugly ye llow- brown varnish .

Goffrille r, Matteo . A maker in Veniceabout 1690 to 1740 . He had greatability , and his work is peculiarlybeautiful and original ; h is _pat tern isslightly arched , th e sound - hole we ll out ,th e golden - ye llow varnish very transparent . I t is th e e xception to findviolins and violonce llos in which th e

wood was care fully chosen ; as a ruleh e was care le ss about his material ,several violonce llos have th e back madeof poplar tre e w ood ; but th e sameaccurate and skilful workmanship isalways shown th e tone was powerfuland even in quality . His whole work

,

in arching , proportions , and varnish ,

is so unlike that of Stradivari that it isabsurd to insert Stradivari labe ls intohis instruments . His violonce llos aree specially liked , two be ing known , most

beautifully made . Labe l : “ MattheusGoffriller facieb at Vene tiis , anno

'

l

17old t , Jacob He inrich . Amake r in Hamburg , 1700 - 15 . A lute i s known of his .

Gonn e t , Pie rre Jean . Was working inrue du Temple

,Paris , 1775 - 83 .

os s e lin . An amateur maker in Parisabout 18 14

-

30 , whose work is littleknown and little valued . He learnt agreat deal from Koliker . He madeviolins , altos , and violonce llos ofordinary workmanship and good tone ,

often using for th e back and side s aspeckled wood , which gave themrather a peculiar look . Labe l : Faitpar Gosse lin , amateur , Paris , année1 826 , in a violin of sonorous tone ;and Fait par Gosse lin , luthie r,Paris ,année 1 830 .

Go s s e t . A make r at Rhe ims , who , in1769 , proposed to alte r th e fre ts onth e various kinds of viols and guitarsin such a way as to produce , insteadof equal semitone s , th e major or m7 orsemitone which was required .

Gough , John . S ee “ Dearlov e , M. W .

Gough , Walter , (1. about 1830 . He wasnot a particularly goodworkman .

Gouv e rn ari,Antonio . A make r in

Cremona about 1600 10 .

Grabe n s e e , J . A . A maker in Dusse ldorfabout 1850 55 . Labe l : Reparir

/ t

(Repaired) v on J A . Grabensee inD iisse ldorf, 1 854 .

Gragn an i , Antonio . A make r in Leghornabout 1741

- 80 . His work i s a i little

rough h e used inferior wood and th e

varnish is poor,but th e tone is

sympathe tic , swee t and clear . He x

generally branded h 1s instruments withhis initials

,

“ A . G A fiv e - stringedviol exhibited at South KensingtonMuseum , London , in 1872 , had th e

labe l : Antonius Gragnani fecit anno1741 . In an inferior v iolln was th elabe l Antonius Gragnan i fecitLib urn i , *anno 1780 a similar one

was dated 1752 .

Gragn an i , Gennaro , pre sumably are lation of Antonio . Was working inLeghorn , 1730 .

Gragn an i , Onorato , son of AntonioGragnan i . His work was infe rior tothat of his fathe r .

Granadin o . See Contreras , Joseph .

Gran cin o,France sco and Giam Battista ,

sons of Giovanni and grandsons ofPaolo Grancino . Worked toge ther atMilan , 1710 They were th e be stmakers of this family and made a greatmany instruments , using generallyspiri t varnish

,ve ry clear , and an ugly

GRAN C IN O— GROU .

ye llowish colour , and wood of poorquality ; the ir work was rough , butth e tone of the ir violonce llos anddouble -basse s was fairly good . Aviolonce llo , of fine powerful tone , wasmade of plain wood , that of th e be llyonly be ing fine ; th e light ye llowvarnish had become darkened withage . The ir instruments generally we renot beautiful to look at , but had agood tone . Labe ls : Gio . e France scofrate lli de Grancin i in contrada largadi Milano , 17 and Giov . Battistae France sco fra . Grancino in contradalargo di Milano

, 17Gran cin o , Giovanni , son of PaoloGrancino . Worked in Milan about1690 to 1730 . Pupil of his father , anddid similar but be tte r work ; his instruments are not so arched , with ye llowvarnish , and th e wood was more : carefully chosen ; they have a powerfultone ; th e de tails are not very care fullyfinished . Many of his violins , violas ,and violonce llos are to b e me t with ,

usually made on a large flat patte rn .

Labe ls : “ Giov an Grancino in con

trada larga di Milano al segno de llaCorona

, 1692 , and Giovanni Grancino in Contrada Largha di Milano ,al segno de lla Corona

,172 1 . He had

two sons , France sco and Giam Battista ,both makers .

Gran cin o , Paolo . Worked at Milan ,

1665-

90 . Pupil of N icola Amati atCremona . He made a large numbe rof instruments ; th e altos and th e

violonce llos are gene rally liked . He

used poor material,often making th e

back and side s of poplar tree wood ;followed a large pattern , slightlyarched , with large sound - hole s wide lyopened , and a dry varnish of ane ffective golden - ye llow colour . Th e

scroll was often roughly cut , and th epurfling and corners care le ssly worked .

His work on th e whole was butmoderate ly good . His son Giovanniwas also amake r .

Grand - Gerard . A make r in th e Vosge sabout 1790

- 18 10 . Also worked inParis . Made a great many instru

ments ; th e work is inferior , th e varnisha dull brown colour . He

-branded hisin struments with his name . Labe l :Grand -Gerard aParis .

G randini , Geronimo , sen . O ne of th ewe ll known make rs at Mirecourtwhose instruments have merit .

Gran djon , sen . A maker at Mirecourt .Work only moderate ly good .

Gran djon , J ., son ofGrandjon , sen . also

a make r at Mirecourt . Was awarded

39

medal of th e I St class in 1855 (ParisExhibition ) , bronze medal in 1867,

and a mention honorable in 1878 .

G ray , J . A make r in Fochabe rs , Banffsh ire , Scotland , in 1870 .

G re fft s , Johann . Was working at Fussen ,

Bavaria , in 1622 .

Gre gori . Worked in Bologna about 1793 .

Gregorio , An toniaz z i . S ee An ton iaz z i .

"

G rie s s e r Matthias . A maker in Inn sb riick m 1727. A viola d’amore ,

withseven strings for bowing and twe lveharmonic strings , of which th e nine te enpegs are all in th e head , which is verylong , is in th e Collection of th e Lyceofilarmon ico at Bologna . Labe l :Matthias Grie sser , Lauten undGe igenmacher in I nn sb rugg,

anno17273

’

Grimm , Carl , b . about 1792 ; d . 1855 atBerlin . A musician who , showing greattalent in making violins , started a busine ss in Berlin , and was soon consideredone of th e be st German makers of histime . He made a great many e x p eriments , combined wi th a serious studyof th e work of th e old I talian makersand his instrumen ts are ce lebrated forthe ir powe rful tone and for th e beautifulquality of the ir varnish . Th e firmneve r made more than thirty in struments p er year , thus devoting muchtime to the ir construction and finish .

A quarte t of his in strumen ts was verygene rally praised at th e London E x

h ib ition in 1862 for the ir rich and fulltone .

G rimm , Ludwig , son of Carl Grimm .

In association with his brothe r- in - lawHe lmich , continued h is father

’s busine ss in Be rlin .

Gris e ri , Filippo . A maker in Florencein 1650 .

Grobitz , A . A German who was working in Warsaw in 1750 , and made goodviolins on th e Stainer pattern .

Groll,Matthew . A maker in Meran ,

Tyrol , in 1800 .

Gro s s e t , Paul Francois . A maker inParis , 1747

-

59 . Pupil of ClaudeP ierray. He made few instruments ;th e proportions were generally bad , toomuch arched h e used a good varnishof brilliant ye llow colour th e work wasfairly good . Two fiv e - stringed viols ofhis are known , one dated 1749 , th e

othe r 1752 . In a violonce llo was th elabe l : P . F . Grosset , Au dieuApollon , rue de la Verrerie , a Paris ,1 57.

Grgs s i , Giuseppe . Worked in Bolognain 1803 .

G rou . A make r about 1752 .

40 GRU LL I— GU ADAGN I N I .

Grul l i , Pie tro . Was working in Cremonain 1883 .

Guadagnin i , Antonio , son of Gae tano ,grandson of Carlo Guadagnini , b . 1 83 1

d . 1 88 1 at Turin . He made a greatmany instruments .

Guadagnin i , Carlo son of Gae tano ,grandson of Giambattista Guadagnini .A make r of guitars at Turin about1780 . He also repaired instruments .

His three sons , Gae tano , Giuseppe , andFe lice , were all makers , but chieflyworked at repairing old instruments .

Guadagnin i , Fe lice , son of CarloGuadagnini . A maker in Turin about1835 . His work was exce llent , h emade good use ful instruments , withwe ll - cut scroll , but th e varnish hardand cold .

Guadagn in i , France sco and Giuseppe ,

sons of Antonio Guadagnini . Makersat Turin .

Guadagn ini , Gae tano , son of Giambattista , grandson of Lorenzo . W orkedat Turin about 1750 . He made few

new instruments , but chiefly repairedold one s . His son , Carlo , was also amaker .

Guadagn in i , Gae tano . S ee CarloGuadagnini .

Guadagn in i , Giambattista , son ofLorenzo , b . 171 1 at Cremona ; d .

Sept 18 , 1786 ,at Turin . Possibly

worked unde r Antonio S tradivari inCremona be fore h e accompanied hisfather , about 1730 , to Milan . Late rh e wen t with him to Piacenza andworked the re many years , but le ftwhen his fathe r died , and went toParma , where h e was appointed instrument make r to th e Duke ; but when th epensions to th e artists of th e Duke’sCourt we re discontinued , in 1772 , h e

went to Turin and worked there till hisdeath , 1786 . A pupil of his fathe r , hisviolins and basse s show th e same form ,

th e same qualitie s , and th e samede fects . He followed th e Stradivaripattern , and his instruments standhigh in public e stimation . He oftensuffe rs in reputation from having th esame Christian name as his uncle ,

Giovanni Battista , Lorenzo’s brothe r ,

whose work was much inferior . He

used wood of th e fine st quality,and

th e varnish , which shows unmistakablesigns of infe riority to that of th e

great make rs , was that brilliant goldenred

"

colour which is often considereda characteristic of a Guadagnini ”

th e'

tone is‘

not large , th e work i swe ll and care fully done . Labe ls :“ Joanne s Bap tista Guadagnini Cre

monensis fecit Taurini , 1776 asimilar one dated 1775 ; and Joanne sBaptista Guadagnini . Cremonen sis

fecit Taurini . Alumnus Antoni Stradivari . G .E .G . 1780 . He had twosons , Gae tano and Giuseppe , , bothmake rs .

Guadagnin i , Giovanni Battista , brothe rof Lorenzo Guadagnini . Worked inMilan , Piacenza , and Turin about 1695to 1775 . He made a great numbe r ofinstruments , of ordinary workmanship ,

but some violins are we ll finished andth e tone is good ; they are made ona small pattern , slightly arched , th e

sound - hole s long and we ll out , th e

varnish a rich dark red colour , verydiffe rent to that used by his nephewGiambattista . Labe ls Joanne sGuadagnini fecit P lacen tiae , anno

and Joanne s Baptista Guadagnini Placen tinus fecit Mediolan i ,1775 another labe l in a violin is dated173 1 . q

Guadagn in i , Giuseppe , second son ofGiambattista , grandson of Lorenzo , b .

about 1736 d . about 1805 . Firs t apup ilof his fathe r in

,Turin (about

then worked at Milan , Como, andParma (about Had not somuch ability as other members of hisfamily ; h e made a quantity of violi

/ns

altos,and violonce llos on th e S tradivari

patte rn . His work was much infe riorto that of his fathe r , whose label h eoften used , and consequently have le ssmarke t value ; but his instrumentsgenerally have a good tone .

1

Guadagnin i , Giuseppe . S ee CarloGuadagnini .

G uadagn in i Guiseppe . S ee France scoGuadagnim .

Guadagn in i , Lorenzo , b . at Piacenzaabout 1665 ; worked till about 1740 . Awe ll - known pupil of Antonio Stradivariat Cremona , h e worked there for manyyears ; late r went to Milan (about 1730)and theri' to Piacenza . His instrumentsare much liked , e specially th e violins ;gene rally made on a small pattern ,

slightly arched , of good proportions ,th e wood of good quality , with ve rybeautiful golden - red varnish ; th e purfling and corne rs rathe r heavy , th e

scroll not so we ll out as that of S tradivari

, th e tone rich and powe rful . Hisinstruments , when in good condition ,

are of a high comme rcial value .

Labe ls : Laurentius Guadagnini Cremoum Alumnus Stradivari fecit , annoDomini 17 and Laurentius Guadagnini pate r , Alumnus Antoni Stradivarifecit Placen tiae ,

anno 1745 similar

GU A R IN l m GU A RN ER I .

labe ls are dated 1742 and 1743 .

His son , Giambattista , was also amaker .

G uarin i , Joseph , b . at Geneva . Amaker in Ge rmigny ,Vosge s , in partne rship with Jule s Martin . His violin sshow thoroughly good workmanship ,

they - have double purfling, are notmuch arched , and are made of care fullyse lected wood , with a full and powerfultone .

Guarn e ri , Andrea , b . about 1626 atCremona ; d . there Dec . 7, 1698 ; wasburied in th e Church of San Domenicoth e following day . He was de scendedfrom an ancient and noble Cremone sefamily

,and was th e head of th e ce le

b rated family of makers , known by th eLatin form of the ir name “Guarnerius .

Pupil of Antonio and Girolamo Amati ;later , about 1641 , of N icola Amati , afe llow student be ingAntonio Stradivari .He was one of th e witne sse s at N .

Amati’s marriage in 1645 , but was notwith him in 1646 , but was again therein 1653 . While influenced by Ant .and Gir . Amati h e made on a largepattern , but then for many yearsfollowed N icola’s pattern . About 1670th e character of his sound - hole schanged , his mode l became flatte r , andth e scroll showed much character thiswas probably when th e influence ofStradivari began to b e fe l t , one ofwhose earlie st followers h e became ;but throughout h e always re tained aquite original and distinctive style ofhis own . Some of his instruments arebeautifully made , e specially his violins ,which , in good condition , are very rareviolas , of which three are known ,

sugge st , both in size and in a gene ralway , Maggin i

'

s work ; a violonce llo isknown , very beautiful not only inwood and varnish , but also in tone .

As a rule h e used good wood ande xce llent varnish , which varied greatlyin colour from a golden ye llow toorange , or even darke r rose colour .

Th e sound - hole s also vary,but are

generally straight ; th e patte rn isslightly arched th e side s often low ;th e tone is brilliant , but doe s not carrywe ll ; th e work is neat , but not highlyfinished . Labe ls : Andreas Guarnerius fecit C remonen sub titulo SanctaeTere siae , 1650 (similar labe l s are

dated 1670 , 1675 , 1690 ,and

Andreas Guarnerius Cremona: subtitulo Sanctae Tere siae , 169 1 andSub disciplina , Andreae Guarnerii in

ejus ofi‘icina sub titulo S . Teresiae

Cremonas , He married , in th e

Church of San Clemente ,Dec . 3 1 , 1652 ,

Anna Maria O rce lli (d . Jan . 13 ,

He lived in Piazza San Domen ico , nowPiazza Roma . Two of his sons , Pie troGiovanni and Giuseppe Giovan

Battista , we re makers .

Guarne ri , Antonio . Two labe ls , ofdoubtful authenticity , are dated 1722 .

Guarn e ri , Cate rina daughter ofAndrea . I s said to have worked withh er father and brothers , and to havemade some violins in which we re MS .

labe ls .

Guarn e ri , Gian Battista , son ofBernardo , who was a younger brothe rof Andrea . He married Angiola MariaLocate lli , Aug . 3 , 1682 , and had sixchildren ; four were sons , th e e lde st ,Giuseppe Antonio , b . June 8 , 1683 d .

a few months after his birth ; th e

second , th e only violin maker of thisbranch of th e family , was Giuseppe

(de l Jesti ) , b . Oct . 16 , 1686 . Thisis mentioned because th e date of th ee lde st son

,Giuseppe An ton io , is ve ry

frequently quoted as be ing that ofGiuseppe ,

known as de l Je sh , th e greatmake r . Gian Battista himse lf wasnot a violin make r .

Guarn e ri , Giuseppe , known as “ de l

Je su ,because of th e mark of a cross

with th e le tters I .H .S . beneath onall his labe ls . Was th e second son ofGian Battista Guarneri , b . Oct . 17,

1686 , at Cremona ; d . there 1745 .

Th e date of his birth is entered in th eregiste rs of th e parish of San Donato ,at Cremona ; his name also appears inother archive s till th e end of th e year1702 ,

when all trace of him is lost ;but fecit Cremonae on all h is labe lsprove s that all his work was done atCremona . Was said to b e a pupil ofAntonio Stradivari , but th e characte rofhis work doe s not authorise such as tatement ; i t is impossible to sayfrom whom h e learnt , h e worked onsuch totally different principle s tothose of con temporary makers ; buthis work some time s re semble s that ofhis cousin Giuseppe

,son of Andrea .

There is a tradition that h e led an

irregular life , was finally imprisonedun til his death , and made violins inprison , with wood and varnish obtainedfirst from one make r and then fromanothe r by th e gaole r’s daughte r , whoafterwards hawked th e instrumentsround at miserable price s , to obtainmoney for him . This was probablyinvented to account for th e numbe r ofinferior violins which contain hislabe ls , probably all spurious , for even

42 GU ARN ER I — GU ARN ER I .

early imitation s , which are we ll made ,

are numerous . Giuseppe de l Je su wasth e greate st maker of this family , hisviolins are e specially ce lebrated forthe ir powe rful tone . Paganini playedon a particularly fine one , of grandtone , dated 1743 ; h e bequeathed it toth e City of Genoa , where i t i s nowkept in th e Palazzo Municipale .

other very fin e one , dated 1714 ,

be longed to Ole Bull , th e greatviolinist . Another magnificent one ,

dated 1734 , was nicknamed Le

violon du diable , because it was th einstrument played on in an opera ofthat name . A most beautiful on e ,

which be longed to th e violinist Alai d ,was labe lled Joseph Guarne rius fecit

Cremonae , anno 1742 , I .H S . Aviolin , dated 1741 , which formerlybe longed to Vieux temps , has not asingle crack ; th e wood I S very thick , iti s not arched , with high side s ; th evarnish , thickly put on , is a splendidbrownish- red tinged golden colour th e

work is care le ssly finished , but th etone is splendid . Th e King Josephviolin was on a large patte rn , made ofsplendid wood , not arched , withpeculiarly shaped sound - hole s , and richamber- coloured varnish ; it was sold for700 guineas . A violin , made with th eback 1n two parts , with brownish red

varnish , was dated 1723 . A b eautifullymade viola was labe lled : JosephGuarnerius C remon en sis facieb at ,1724 . His work is gene rally dividedinto three pe riods : th e first shows nooriginality , for

t

h e e ithe r imitatedN icola Amati or G . P . Maggini ,reviving th e pattern of th e latte r , whichis arched from th e purfling, with semicircular middle bouts , pointed soundhole s , and short corners ; th e tone isgood . In th e second pe riod , th e

pattern is small and slightly arched ina gradual rise from th e purfling, th e

thickne sse s vary , but e speciallyincrease at th e centre of th e back— a

de fect in so far as i t prevents freev ib rat lon ; th e proportions are accurate ,

th e sound - hole s we ll out (often sharplypointed top and bottom) , th e tone is fullof brilliancy , th e rich golden orbrownish - red varnish

'

is of fine e lasticquality , very transparent , and rivalsthat of Stradivari . Th e work is mostcare fully finished ; th e wood , gene rallysycamore , varie s both in quality andappearance it is thought that h e usedth e same large piece of pine for nearlyall th e be llie s—~a stain or sap mark runs

through it , which , though some time sfaint , can always b e se en . For thisreason three violins of Carlo B e rgonzi

“

,

with be llie s evidently cut from th e

same piece of pine , were for a long timethought to b e Giuseppe’s work .

“

I n

th e third pe riod , dating from’

ab out1735 , to which Paganini

’s and Alard’sviolins be long , th e instruments varygreatly in pattern and appearance , butshow his originality and ability ; theyare e ual to th e most beautiful work ofStra ivari . Made on a large pattern , ofexce llent wood , with accurate proportions and thickne sses, and beautifulvarnish , as remarkable for its fine ande lastic quality as for its colour , e itherrich amber or rose - red , slightly darkerand thicke r than that of Stradivari ;th e quaint head , very characte ristic , i sentire ly diffe rent to Stradivari

’s ; th epurfling is embedded , th e .

, sound-hole ,

losing its pointed form , is rather open ;th e edge s are heavy , th e tone i s powerful , me llow , and rich . I t was at thistime that th e so called prison ’’violins ,already mentioned , suddenly appearedAll his varie ty of work— th e diffe rentsized patte rns , some time s arched , sometime s flat ; th e sound hole s , long ,perpendicular , or short and slah t ingwas a continuous effort to increaseth e tone of his instruments , and h efinally succeeded in obtaining a notablypure and powerful volume of tone .

He made moreH

v iqlins than violas .

About x fifty genuine v iblins and ten

violas are known ; no violonce llo isknown . His instruments have steadilyincreased in price , no

‘

doubt owing toth e strong wood h e used ; it depreciate sth e tone at first , but with time vibrate smore fre e ly , th e quality of tone b ecoming stronge r and more refined . I n

1876 a violin was sold for 600 guineasin a sale room ; another was recentlysold for £500 .

uarn e ri , Giuseppe Giovan Battista ,sec’ond son of Andrea , b . Nov . 25 , 1666 ,

Cremona ; d . soon after 1738 Said tohave been a pupil of his fathe r , butshowed much originality ; some of hisinstruments are very similar to thoseof his cousin , Giuseppe de l Je su , butth e tone is not so powerful and round ;othe rs follow th e patte rn of Stradivari . His violins are nume rous andshow good work . They are generallymade on a small patte rn , th e w aist ofth e instrument narrow . and rapidlywidening from~th e centre . th e s oundhole s , placed lower than usual“ are

wide ly opened about th e middle

https://www.forgottenbooks.com/join

44 GU ERRERO— HARDANGER .

Gu erre ro , Juan . W orking in Malaga inth e 18th century . I n a guitar is th elabe l : “ Juan Guerre ro me fecit e n

Malaga en e l ano de 175Gu e rs an ,

Louis . A make r in Paris about1730

- 69 was living in rue de la ComédieFrancaise in 1760 , and in rue de s Fosse sS t .

- Ge rmain in 1769 . Was one of afamily

,whose members for more than

a century had be en Violin make rs ; h ehimse lf was one of th e be st Frenchmake rs of his period . Pupil and succe ssor of Claude P ierray . When h e le ftth e latter’s workshop h e made variouse xpe riments in altering th e arching , th ethickne sse s , &c . , using spirit varnishon his instruments th e re sult , howeve r ,was not good , th e tone produced be ingharsh and shrill . He was appointedmake r to th e Dauphin and to th e Operain th e a rchive s of th e latter is a quaintmemorandum of repairs done by himto th e double - bass of th e Opera ,which prove s that at this date (1749 )there was only one double - bass in th eorche stra . He made many in stru

ments , and they fe tch good price s .

Made on a small pattern , th e proportions , depth of th e side s and thickne sse svary continually , e specially in th e

violonce llos ; th e alcoholic varnish ishard and dry , e ithe r a pale ye llow orrose colour its great drawback is thati t drie s too quickly and paralyse s th evibrations , doing a great deal of harmto th e tone ; th e work is beautifullyfinished . A viola of middle size , withth e back in two parts and a brownishred varnish , is known . Several fiv estringed viols of h is are in th e Collectionof th e Paris Conservatoire ; two are

dated 1747, one 175 1 , and one 1755 .

Two six - stringed viols are dated 1755and 1763 . A treble - viol , in beautiful

Haen s e l , Johann Anton . W as make rand chamber musician to th e Duke ofSchonburg , at Rochsburg , about 180015 . In Jan . , 1 8 1 1 , h e published anarticle in th e A llgemein e Musikalisch e

Z ei tung (Le ipzig) , called U ebe r denBau derVioline , in which h e de scribeda n ew form for th e violin , which h esaid h e had invented as early as 1801 .

Th e invention did not live .

Haff. A make r in Augsburg in th e 18 thcentury .

Hambe rge r, Joseph . A ce lebratedmaker in Pre ssburg , Hungary ; h e

pre se rvation , with pale ye llow varnish ,

and of very care ful workmanship ,is

dated 1752 . A handsome violin isdated 1737, anothe r 1744 , and anothe r1766 . Two v iolonce llos were dated1740 . Labe ls : “ Louis Guersan presla Comédie - Francaise a Paris , 1730 ,

and Ludovicus Guersan ,prope

comoediam gallicam , Lu te tiae ,1766 .

Gugemmos (Gugemos) . A make r inFussen , Bavaria , in th e 18 th century.

His work was poor and h e usedvarnish of bad quality .

G u gl ie lm i ,vGiob at tista . A maker in

Cremona , 1747.

Gu idan tu s , Joanne s Florenus . A make rin Bologna about 1685 to 1728 . W as

possibly a pupil of N icola Amati . He

was an e xce llent workman , his instruments look we ll , are on a high mode l ,with long sound - hole s ; but th e purflingis care le ssly done and !th e tone israthe r poor . A viola d’amore , exhibitedat Milan in 188 1 , ornamented wi th ab eautiful . h ead , artistically carved , re

pre senting a blindfolded Cupid , waslabe l led : “ Joanne s Guidan tus fecitBorion iae ,

anno 19 15 . Anothe r labe lwas : “ Joanne s F lorenus Guidan tus

fecit Bonon iae , 1724. A viola da gambawas dated 1728 . S ee ‘i Florenus .

"

Gu idomin i , Lorenzo . I n Milan , 1740 .

Gu illam i . A Spanish family of violinmakers who worked about 1680 - 1780 .

Gu il laum e . A guitar of . his is dated1789 . A Francois Guillaume , a make rof harps in Paris, was working in rue

de l’Un iv ersité, 1783

- 86 ; and in th e

rue de B eaune , 1788- 89 .

Guit on , R . , of Cork ; cleve r maker .Gu s e t to , N icola . W orked in Florence ,

1 30 .

Guie rman n . A make r of good in s truments in Vienna in th e 19 th century .

died 1868 . His son also worked inPre ssburg ; h e died in 189 1 . Anothe rson is a make r in Vienna .

Hamm,Johann Gottfried . A Ge rman

who worked in Rome about 18 10 .

I nstruments are known , with ivoryedge s , in which his name i s branded .

Hamm ig ,W . H . A make r in Le ipzig ,

who turns out good instruments .

Harbour or H arb ur. A make r wholived in 1785 at Duke Stre e t , Lincoln

’s

Inn , London ; in 1786 at SouthamptonBuildings , Holborn .

Hardan ge r . For instruments made by

HARDIE— HEL.

th e Hardange r peasants in N orway,

see Eriksen and He ldal .Hardie , Jame s , Sons . Makers at1 17, N icolson S tre e t , Edinburgh .

Jame s Hardie , b . Aguh adley, E llon ,

about 1837; grandson and pupil ofPe ter Hardie . Started his own busine ss in Edinburgh , whe re h e is assistedby his four sons . They have madebe tween two and three thousandinstruments , on th e Maggini

, Stradivari , and Guarneri patte rns , using oilvarnish , reddish - ye llow colour

,of good

quality . Exhibited in Edinburgh,

1887and 1890 rece ived bronze medal ,1887, and gold medal , 1890 .

Hardie , Matthew , (1. about 1825 ,and

his son Thomas , b . 1804 ; d . Jan . 19 ,

1856 : They worked toge the r in Edinburgh and made good violins

,violas

,

and violonce llos on th e Amati patte rnhis instruments have a fin e tone

,and

th e work is neatly finished .

Hardie , Pe ter . A make r in Dunke ld ,

b . 1773 ; d . 1863 . He turned oute xce llent instruments , and his violonce llos have an e specially fine tone .

Hare , Joseph (or John) . A make r inLondon about 1700 -

30 . He made th einnovation of following th e patte rn ofStradivari , instead of that of Staine ras his contemporarie s did h e also useda rich red varnish , of very good quality ,more transparent than that gene rallyused by English makers . I s said tohave be en in partne rship with Fre eman .

Labe l : “ Joseph Hare at ye viol andflute near th e Royal Exchange inCornhill , London , 1726 .

Harham . Working in London , 1765 - 85 .

B armand . A maker in Mirecourt in1772 .

Harri s , Charle s . A make r in London ,

1780- 1800 ; lived in Cannon Stree tRoad , Ratcliffe Highway . He was aCustom House office r . He was one ofth e be st English makers of his time ,

and was noted for his violonce llos andth e exce llent varnish that h e used , of aparticular reddish tinge . He copied th eS tradivari and Amati patterns , butse ldom labe lled his instruments withhis name . Samue l Gilkes worked forhim for some time .

Harri s , Charle s , e lde st son of Charle sHarris . W as a fe llow apprentice ofSamue l Gilke s unde r his father , andalso worked for John Hart for a littletime . His work was we ll finished , h e

used ye llow varnish .

Hart , ohn Thomas , b . Dec . 17, 1805 ,

Lou on ; (1. Jan . 1,1874 . In May ,

1820 , h e became a pupil of Samue l

45

Gilke s . He made few new instruments ,but had a great reputation for hise xpe rience and skill in repairing oldI talian instruments . Labe l : “ JohnHart , maker , 14 , Prince ss S tre e t ,Le ice ste r Square ,

London , anno 18Hartun g , Michae l . A maker in Padua ,

1602 . A lute of his of that date is inth e Collection of th e Ge rmanic Socie ty ,N uremberg .

Has s e t t . A make r in E isenach in th e

18 th century . He made very goodinstruments , not much arched , usedbeautiful wood

,and an ambe r- coloured

varnish ; his imitations of I talianinstruments were exce llent .

Has s e rt . A brothe r of Hassert . ofE isenach . W orked about 1790 inRudolstadt . His instruments werenot so good as those of his brother ;they are much arched , of e xce llentwood , and finished with great care , butth e tone is rather harsh .

Haude k , Carl . See Lemb ock .

Hayn e s , Jacob . Was working in Londonin 1746 . He followed th e Stainerpattern .

H ebe rl e in , He inrich , j un . A very clevermaker in Markneukirchen , Saxony , atth e pre sent time .

H e e s om , Edward . Was working inLondon about 1748 -

50 . He followedth e Stainer patte rn . Labe l : EdwardHeesom , Londin i , fecit 1749 .

H e ide gge r . A maker in Passau .

H e in l e , J . A makerin Paris . Only oneviolin

,dated 176 1 , of his is known .

H e l , Pierre Joseph , b . Feb . 8 ,1842 , at

Mazirot,nearMirecourt (Vosge s) . Was

apprenticed for seven years in Mirecourt

,was then for two years with

Sebastien Vuillaume in Paris , and for ayear (1864 -

5 ) with N icolas Darch e atAix - la- Chape lle . In 1865 h e started hisown busine ss at 14 , rue N ationale ,

Lille . He is an exce llent workmanand make s all his instruments himse lf ;th e pattern is ve ry beautiful th e toneis good ; h e use s oil varnish ; all th ede tails are care fully finished . He alsoshows great skill in repairing oldI talian instruments . He has a specialme thod of seasoning th e wood h e use s ,removing ,

without th e use of fire oracids

, eve ry e lemen t that interfere swith th e tone . I n 1886 h e inventedan ingenious me thod of fixing th e

pegs , which enable s th e strings to b egradually tighte ned , and prevents the irsuddenly runn ing down ; th e shape ofth e head remains th e same . Wasawarded : Gold medal , Lille , 1882 ;

diploma of honour , St . Ome r , 1884 ;

46 HE LD— HE N RY .

gold medal , An twe rp ,1 885 ; gold

medal , Liverpool , 1886 ; gold medal ,Paris , 1889 ; a membe r of th e j ury atth e Munich E xhibition ,

1 893 , con se

quently unable to compe te ; th e sameat Chicago , 1 893 ; and at Bordeaux1895 . Made Officier de l

'

Académieand “ Luthie r to th e Lille Conservatoire . Labe l ' “ Joseph H e l , luthie raLille , 18

H e l d , J . J . , b . July 17, 1823 , Flame rshe im , Rhe inbach (Cologne ) . Whenonly 14 began to repair old in stru

ments , and a few years late r made new

one s . I n 1860 started his busine ss inEuskirchen ; moved to his pre sentabode at B eue l v is -a- vis Bonn (Rhine ) ,1871 . He make s from 12 to 16 violinsand violas a year , assisted by his sonand one workman , but always doe s th evarnishing himse l f ; copie s th e I talianpatte rns . Was awarded : Diploma ,Vienna , 1 873 ; medal , D iisse ldorf, 1880 ;diploma , De tmold , 188 1 silve r medalsat Krems and We ls , 1882 ; Milan , 1884 ;and medal , Gorlitz , 1889 .

H e lda l , A . , of Be rgen . I n 1862 h eexhibited in London a Hardangerviolin , more inte re sting for itsnationality than for its musical me rit

,

as it was one made by th e peasants inHardanger , N orway .

H e l l , Fe rdinand . A make r in Vienna .

I n 1854 h e exhibited in Munich adouble - bass of rathe r small patte rn ,

but of powerful tone . He i s also th einventor of th e trumpe t - violin

,an

instrument which can b e used as atrumpe t or as a violin equally we ll .

H e lme r (He llme r) ,‘

Carl , b . 1740 , Prague .

Son of a make r the re . He remainedthere working unde r U lrich Ebe rle forsome years , and made some very goodviolins , with red- brown varnish . Th ee arlie st date found in his instrumentsis said to b e 1773 . Labe l : CarolusHe llme r me fecit Pragas ,

17H e lm e r , Jehan . A make r of guitars inLyons about 1568 -

72 . Was of Ge rmannationality .

H e lm ich , son - in - law of Carl Grimm,

whose busine ss h e continued withLouis Grimm on th e death of CarlGrimm .

H e nde rs on,D . A maker in Aberdeen .

Hén oc (or Hénocq) , Francois . A make rin Paris , rue Jacob

, 1775-

77, and rue

de s Saints- Pere s , 1779 - 89 .

Hén oc (Hénocq) , Jean George sB ie naimé) . A make r in Paris from1768 to about 1790 . Lived in th e rue

Se ine - Saint - Ge rmain .

H e nry . A make r in Paris in rue Saint

André - de s -Arcs . A bass of his dated1737 is known , of good workmanship ,

and with red- brown varnish . I t is notknown if h e was re lated to th e pre sentH enry family in Paris .

H e nry , Charle s , called Carolus , secondson of Jean Baptiste Henry ; b . 1 803d . 1 859 . Pupil of his fathe r , to whosebusine ss in Paris h e succe eded in 183 1

h e made a large numbe r of violins ,altos , and violonce llos . Th e patternvaried , e specially in th e violins ; h eused ye llow- red varnish , and his workwas care fully finished . I n 1 847 h e

made an instrument called t h e“ baryton

,

” which , though played liketh e violin , sounded an octave b e low

'

t

Awards : bronze medal , Paris , 1849 ;

mention honorable and second - classmedal , 1855 . Labe l : “ Carolus Henry ,luthie r , rue Saint -Martin N o . 15 1 ,fecit Anno Domini (183 1 a Hisson , Eugene , was also a maker .

H e nry , Eugene , son of Charle s Henryb . 1843 ; He succeededhis fathe r , and was one of th e be stParisian make rs of his time ; Wase specially succe ssful in repairing oldinstruments . Many of th e new violins

‘ that bear his name were not entire lymade by him , although made inhis workshop . Awards : mentionhonorable ,

Paris , 1878 , and bronzemedal , 1889 . His busine ss“

,

was’

continued after his death by Charle sB rugere .

e n ry , Jean Baptiste , b . 1757at Mataincourt , near M irecouft (Vosge s) d .

183 1 ,Paris . He was th e head of th e

pre sent family of make rs . Was apprenticed in Mirecourt , then went to Paris ,and e stablished himse l f in connectionwith th e St . Martin Monastery , therebyobtaining exemption from certain fee sand penaltie s h e would otherwise havehad to pay . He worked there til l1788 ,

when th e ancient privilege s ofth e monasterie s were abolished . Thenmoved into N o . 175 ,

rue Saint -Martin ;th e number was afte rwards changed to15 1 , but his family always continuedworking in th e same house . A violinis dated 178 1 , but h e did not put labe l sin his instruments , and those that bearhis name were labe lled by his sons ,Jean Baptiste Félix and Charle s , whowe re both make rs .

en ry ,Jean Baptiste Félix , _

e ldest son ofJean Baptiste Henry ; b . 1793 , Paris ;d . the re , 1 858 . Pupil of his fathe r .

Worked first in 18 17at rue Montmartre ,

Paris in Bordeaux in 1822 , and inMarse l lles in 1825 . I n 1844 h e re turned

HEN RY— H ILL .

to Paris , living in th e rue F léch ier

till his death . He made a greatmany instruments , but neve r signedthem . His son , O ctave , was also amaker .

H e nry , Octave , son of Jean BaptisteFélix Henry ; b . 1826 . Worked firstwith his uncle Charle s and then withMaucote l at Paris . He se ttled in Grenoble in 1854 , and made a great manyviolins .

H e nry . A violin bow maker , b . 18 12 atMirecourt d . 1870 at Paris . He le ftMirecourt for Paris in 1837, and firstworked with Chanot , thenwith Peccate .

Was partner of Simon , 1 848-

5 1 , thenworked alone , first at 8 , rue de s VieuxAugustins , late r in th e rue Pagev in .

His bows are exce llent , h e markedthem “ Henry , Paris .

”He was no

re lation to th e Henrys of rue SaintMartin .

H e t e l , G . Make r of lute s and cithers inRome in 1763 . Labe l : G . He te l

fecit Romae ,anno 1763 .

H eub s ch h G . G . He published awork on t e making of musical instruments about 1764 .

H iebe n , Giovanni . A make r of lute s inVenice in 158 1 . In an arch - lute wasth e labe l Giovanni Hieben e Martine

,

facieb at in Vene zia , AO,158 1 .

H ie ronymus Ge raldi . A maker of lute sand cithe rs l n B re scia about 1574 . I n

a e ith er , remarkably we ll made , is stilllegible on imus Bre scien sis .

I n a e ith er in th e Hof. -Museum atVienna , beautifully worked and de

corated , is th e name Hie ronymusBrix ien sis and th e date 1574 .

Higgin s,P . H . A make r in Montreal ,

who exhibited some of his instrumentsin 185 1 .

Hilde brandt , Michae l Christophe r . Amake r in Hamburg about 1765

- 1800 .

Good violins , violas , violonce llos , anddouble - basse s of his are known ' h e

was also extreme ly skilful in repairingold instruments .

H il l,Henry Lockey , son of Lockey

Hill ; grandson of Joseph Hill ;1774 ; d . Aug , 183 5 . Worked for

some time with John Be t ts , wasprobably still with him when h e tookpatte rns (still pre se rved by th e firm) ofa Stradivari violonce llo , sent byFriedrich Wilhe lm I I I . of Prussia toJohn Be t ts in 18 10 , to b e sold inEngland . He was an exce llent workman ,

and some violins , violas , andviolonce llos of his are e xceptionallygood instruments Of his four sons ,Henry (d . 1856) was a fine vio la playe r

47

Joseph (d . 1837) andWilliam Eb sworthwere both make rs .

H il l , John . A maker who apparentlyworked in Red Lion Stree t , Holborn ,

was the re , at any rate ,in 1794 .

Hill , Joseph , b . 1715 ; d . 1784 . He wasa fe llow - apprentice of Banks , workingat “ Ye Harp and Hautboy , in Piccadilly , London , unde r Pe te r Wamsley ,about 1740 -

42 . The n worked in HighHolborn then at th e sign of“ Y e Violin , in Ange l Court , We stminste r and lastly at th e signof th e Harp and Flute in th e Haymarke t Later on , his sonsbecame partners in th e busine ss . Hisinstruments are of great merit ; hisviolonce llos and double - basse s are

e specially liked , some have a fine oilvarnish . Labe l : “ Joseph Hil l , make rat th e ‘Harp and Flute ’in th e Haymarke t , 17London , 69 similar labe lsare dated 1772 . His sons , William ,

Joseph , Lockey , and B enj amin , wereall makers .Hill , William , son of Joseph Hill .Worked in London about 1740 - 80 . He

made some good instruments , rathe rsimilar to those of Edmund A ire tonth e varnish was a beautiful ye llowcolour , rathe r transparent ; th e tonethough good was not powerful . Labe lWilliam Hill , make r in Poland Stree t ,

n ear Broad Stree t , and WilliamHill ,maker in Poland S tre e t , nearB roadStree t , Carnaby Marke t , 177Hill

,William Eb sworth , son of Henry

Lockey Hill ; b . Oct . 20 , 18 17; d .

April 2 , 1895 . A make r in London .

Learnt from his e lde r brothe r , Joseph .

Began bymaking violin - bridge s , alwaysbeautifully shaped and de signed quite200 are still pre served by th e firm .

He worked for a year with Charle sHarris

,at O xford , re turning to London ,

1838 . First worked in Southwark ,then in Wardour Stree t , and finallyremoved to 38 , N ew Bond Stree t .When h e began to repair and deal inold instruments h e did everything withhis own hands , and had no assistan t sun til his sons grew up . He e xhibitedsome ve ry beautiful violins of care fullyfinished work and an exce lle n t violaof large pattern , with full round tone ,

in London , in 1862 , obtaining specialcommendation and a prize medal .Probably few ,

if any , of W . E . Hill’scontemporarie s had such a wide andthorough knowledge of th e art andcraft of violin making as h e himse l f .Those who had th e pleasure of knowingh im personally found h is conversation

4s H ILT Z— HU ET .

full of th e most intere sting facts andremin iscence s , while at th e same timea kindly

,straightforward , and uh

assuming manne r , peculiarly his own ,

made him th e obj e ct of gene ral regardand re spect . His death removed on e

who was a prominent and characteris tic link be twe en modern time s anda bygone type of pe rsonality . Th e

pre sent membe rs of th e firm are hisfour e lde st sons : William Henry , b .

June 3 ,1 857,

followed th e musicalprofe ssion for some years , be forej oining his brothe rs in th e busine ss ;Arthur Frede rick

,b . Jan . 25 , 1 860 ;

Alfred Eb sworth ,b . F e b . 1862 , who

worked for some time at Mirecourt

(Vosge s) and was th e first Englishmanto go the re to study ; and Walte rEdgar , b . Nov . 4 , 1 871 , who alsoworked at Mirecourt . They employa large staff of assistants in the irworkshops at Hanwe ll .

H i l t z , Paul . A make r of viols inN uremberg , 1 656 . In th e collectionof musical instruments there i s a violada gamba dated 1656 .

H ircu t t . A maker working in Londonabout 1600 .

Hoch b rucke r. A maker in Donauworth ,

Bavaria , about 1699 . Late r h e workedat Augsburg . He made some fairlygood violins , but is chiefly known asth e inventor of pedals for th e harp ,

about 1720 .

H ohne . Worked both in Dre sden andWe imar .

Horle in , Carl Adam , b . 1829 at W inke lhof, near W iirz burg . Pupil of JosephVauche l ; late r h e worked for thre eyears in Vienna , chiefly under AntonHoffmann

,but also unde r Gabrie l

Lembock . I n 1853 h e se ttled inKitzingen ,

Bavaria ; but in 1866'

movedto W iirz burg, whe re h e remained .

Both as a make r of n ew instrumentsand as a repairer of old one s h e hasa great reputation . I n 1875 , unde rProfe ssor He rmann Ritte r’s direction ,

h e made a viola alta e xactly on th eprinciple s laid down in th e little bookcalled Die Ge schichte der ViolaAlta (Le ipzig , 1 877) i t had a full ,sonorous tone .

Hoffmann,Anton . Court maker in

Vienna about 1850.

Hoffmann ,Johann Christian , son of

Martin Hoffmann . A make r of lute sand viols in Le ipzig about 1720 . He

was an exce llent workman . Hisyounger brothe r , who also worked inLe ipzig about th e

,same time , made

good violins and bass - viols .

H offman n , Martin , d . in Le ipzig , 1725 .

A maker of good lute s and viols , whoworked in Le ipzig from about 1685 .

He also made violins and violonce llosof good tone , although th e ine legan t

,

patte rn (th e cut of th e sound - hole s , th esharp corn e rs and weak edge s) hascaused them to b e neglected . I n 1720h e began to make th e Viola pomposa ,

’

a small violonce llo with fiv e stringstuned C , G , D , A , E , th e inven tion ofwhich is ascribed to J . S . Bach . I t

was neve r much used and seems to havebe en mere ly th e reproduction of anobsole te form of violonce llo Aspecimen was e xhibited in Raris , 1878 ;it was on a good mode l , ve ry mucharched , th e head ending in a scroll ,and th e sound hole s we ll out .

H o fm an s,Matthias . A maker in

Antwe rp about 1700 50 . He madebeautiful instruments on th e pattern ofAmati and Guarneri de l J e su, h e useda warm dark red varnish ,

similar tothat of I talian instrumen ts of th e samepe riod . I n a little >p ocke t violin wasth e labe l : Matthys Hofmans totAn twerp en , 174o .

Hol low ay , John . A make r in Londonat 3 1 , Ge rard Stree t , Soho , in 1794 .

Homolka , F . A make r in Kuttenbe rg ,

Bohemia , about 1850 . He e xhibitedtwo violin s in Munich , 1854 , of b eautiful workmanship th e wood was rathe rthick

,which perhaps rende red th e

tone a lit tléfi harsh, but otherwisee xce llent .Hopkin s . A make r in Worce ste r , whoe xhibited a double - bass in London in1862 .

Horil , Giacomo . A make r in Romeabout 1720 -

50 .

Horle in . See “ Horle in .

Horn s t e in e r. See N eune r .

Horn s t e in er (Hornstainer) , Joseph . Amake r in Mittenwald about 1730 . He

made some good double - basses .

Horn s t e in e r (Hornstain er) , Mathias Amake r in Mittenwald about 1770- 1800 .

His in struments we re be tter made thanthose of Joseph Hornste iner . Labe l :Mathias Horn ste in er der Ge igenmacher in Mittenwald ,

H o s b orn ,Thomas Alfred . A make r in

London in 1629 . A bass viol of thisdate was e xhibited in Paris , 1878 .

Hu e ] , d . in 1 845 . A maker in Renne s .

Pupil of Lacete . He made some fairlygood guitars .

Hu e t , Henri . A maker in Paris about1775 90 ; lived first at rue Saint Martin

then rue du Grand Hurleur m1783 . This latte r date was in an alto

HU L IN SK I — J ACQU OT . 49

of his , of good workmanship , withye llow- brown varnish . He made atth e sign of

“ Au Roi de s Instruments .

Hu lin ski . Worked in Prague in 1760his instruments were we ll made , withsmall sound- hole s and grace fully cutscroll , th e varnish red—brown colour .

Hul le r , August , A make r in Sh oeneckabout 1735 -

76 .

Hu lsk amp , G . H . , b . in We stphalia .

Se ttled in N ew York U S A . I n th e

1862 London E x h ib it1on h e e xhibitedviolins made on a n ew pattern . Insteadof th e ordinary sound - hole s , was on eround hole in th e middle of th e violin ,

j ust be low whe re th e bow se ts th e

strings in motion ; other innovation swe re also made , but th e re sult seemsto have been that th e tone suffered inquality .

Hum e (or Home ) , Richard . Born in

England,but se ttled in Edinburgh and

became th e great Viol and lute make rthe re , about 1530 -

35 . In th e ScottishTreasure r’s accoun ts in 1535 is I tem

I n de lami , Matteo . A name found in a

ve ry old mandora , with no mention oftown or date .

J acobi . A make r of lute s at Me issen ,

Saxony , in th e first part of th e 18 thcen tury . His instruments we re muchliked .

J acobs , Pe e ter . A maker in Amsterdamabout 1690

- 1740 . He made a greatnumbe r of good violins , altos , and

violonce llos h e copied th e large patternof N icola Amati so faithfully that h isviolins are often taken for genuineI talian instruments ; th e wood is carefully chosen th e red - brown varnish ofgood quality th e scroll and th e soundhole s are not very we ll cut ; th e purfiingis of whalebone ; th e tone swee t , butnot very powerful .

J acob s . Worked at Amsterdam rathe rlate r than P e e te r Jacobs ; was probablyhis son . He used dark red varn ish ofvery good quality ; his work was not

care fully finished .

J aco t , A . , e ldest son of Jean Charle sJacot . I s working in Paris .

Jaco t , Jean Charle s . A make r at Me tz ,

I v ron t ign i , \Vouge lli . A maker in

Turin .

b . 18 1 1 ; d . , about 1887,at Pon t -a

Mousson . Had two son s,th e e lder a

maker , th e second ,Lucien ,

a bassoonplayer .

J acqu o t (Jacquart) , Charles , b . 1804 at

Mirecourt ; d . March 29 ,1 880 ,

atS t . Maur - le s -Fossés near Paris .

Although h is fathe r was not a make r ,but an army tailor , h e was de scendedfrom a family of make rs , who datedback to one Charle s Jacquot

,who lived

in 1645 . In 18 19 h e was appren ticedto N icolas , se n . , late r to B re ton ,

both ofthem make rs in Mirecourt . He we n tto N ancy , 1823 , and worked the re till1827, when h e started h is own busin e ssthe re ; in 1854 h e tran sfe rred it to h isson Pie rre Charle s , and went to Paris .

There h e started anothe r workshop inrue de s Vieux -Augustin s , moving to 42 ,

rue de l’Ech iquier in 1857. His work

is very good ; th e violins that h e madein Paris are e specially e steemed forthe ir care ful finish and regularity of

to th e Kingis Grace to Richard Hume,

Inglismanne , quh ilk suld mak v iolis toth e Kingis Grace

,to by s tuffe for th e

samin xx lib .

”

Hum e l , Christian . A make r in Nuremberg in 1709 .

Hunge r , Christoph Friedrich , b . 1718 ,

Dre sden ; d . 1787, Le ipzig . Pupil ofJauch in Dre sden . H e made verygood violins , violas , and violonce lloson th e I talian patte rn ; th e wood wasof e xce llent quality , th e varn ish ambe rcoloured his instrumen ts are some ofth e be st of that time .

Hure l , Jean . A make r in Paris,living

in 1686 , rue de s Arcis , at th e sign of“ A l’image de St .

-Pie rre ”

; from 1689to 1717, rue St . Martin , n ear th e

Fon tain e Maub ué. He was make r of

in strumen ts pour la musique du Roy ,

and is said to have be e n a very cleverworkman . A Charle s Hure l is alsomen tion ed as be ing a make r of musicalinstrumen ts in Paris in 1636 .

Hus so n . See Buth od .

50 J ACQU OT — J EA N .

form h e was also learned on th e subj ectof old instruments . Labe l : “Médailled’or e t d’argent , Charle s Jacquot , 42 ,

rue de l’Ech iquieraParis .

” Awards atExhibitions : bronze medal , N ancy ,1 838 ; silve r medal , N ancy , 1843 ; I st

and z ud prize , Paris , 1 849 ; 2nd classmedal , London , 1 85 1 ; silver medal ,Paris , 1855 gold medal , Bayonne ,

1864bronze medal , Paris , 1867.

J acquo t , E tienne Charle s Albert , e lde stson of Pie rre Charle s Jacquot , b .

Sept . 18 ,1853 , N ancy . Learnt unde r

his fathe r , and was associated withhim in his work . He published twoimportant works : “ La Musique e n

Lorraine , in 188 2 , and Dictionnairede s instruments de musique ,

”&0 . He

i s O fficier de l’In struction publique

and membe r of th e Socie ty de s

B eaux-Arts de s départements .

J acquo t , Jule s Victor , second son ofPie rre Charle s Jacquot , b . Aug . 1 2 ,

1855 . Also learnt his trade with hisfathe r and continued to work in association with him .

J acquo t , Pierre Charle s , son of Charle sJacquot ; b . March 10 ,

1828 , N ancy .

Pupil of his father , to whose busine ssin N ancy h e succeeded in 1854 . He

was a cleve r make r and gained a greatreputation by th e instruments h e sentto various e xhibitions . Honours andawards : 1 st prize ,

Me tz , 1 861 prizemedal (for th e good quality andmode rate price of his instruments) ,London , 1 862 bronze medal , Paris ,1 867; great gold medal , Lyons , 1872 ;silve r medal

,Paris

,1878 ; diploma of

honour,Bar- le - Duc

,1880 , and at

Algie rs , 188 1 ; silve r medal (awardedto Jacquot and Sons for the ir ins truments , of a beautiful patte rn , varnishcopied from that on old instruments ,th e equal quality of th e tone be ing remarkable ) , Paris , 1889 ; h e rece ived th eCross of th e Legion of Honour , July14 , 1892 . Had two sons who workedwith him ; they e xhibited instrumentsat Moscow in 189 1 Vienna , 1892 andChicago , 1894 .

J ai s , Johann . A make r at B otzen about1775 . His instruments are varnishedbrown .

J’A n son , Edward Popplewe ll . W orkedin Manche ste r . Learnt from W illiamBooth , jun .

J asp ars , J ean , b . at Coesv e lt . A make rof lute s at Antwerp about 1568 .

J auch , Johann , b . Gratz , Styria , butwas working in Dre sden , 1765 -

74 . He

followed th e Cremona pattern , makingveryg ood violins ; h e used excellent

wood and ambe r - coloured varnish,

and showed great knowledge of th e 1

correct proportions and thickne sse sof wood required in various parts of th einstrument th e : tone is occasionallyweak and shrill . His instruments we resigned with his name . C . F . Hunge rwas a pupil of his .J ay , Henry . A make r of viols in Londonabout 16 15 - 67. A viol , that had be enconverted into a small violonce llo withfour strings , was exce llently made andof fin e tone ,

"

th e varnish of goodquality , th e head we l l out , th e purflingvery fine ; it was dated in Southwarke ,

1615 . A small bass - v fol dated 1624 isin th e Paris Conse rvatoire Collectiona tenor viol was exhibited at th e SouthKensington Museum , London , 1 872 ,

with th e labe l Henry Jay in Southwarke , I t has six strings , tunedone -fifth highe r than th e bass- Viol ,catgut fre ts , and a beautifully ca

'

rvedscroll . I t is probably this maker , alludedto in Thomas B rit ton’s Catalogue

~of

Musical Instbrumen ts : a viol said to b e

th e neate st and be st that Jay evermade .

This passage , from Thomas Mace’sMusick’s Monument (published

also probably applie s to him :

Your be st provision (and most compleat) will b e a good .ch e st of violsof such the re are no be t te r in th e

world than those of Aldred , Jaythe se were old ye t we chieflyvalue O ld Instruments be fore n ew ; forby experience they are found to b e farth e be st . ”

J ay ,Henry . Worked in London about

1746- 68 . He was be st known for th e

small violins or kits that h e made ,

which we re used by dancing-mastersth e varnish was a red—brown colour ,th e work was neatly finished , and h erece ived £5 for each one— a very largesum for those days . He also madesome violonce llos , often signed on th eback Longman and Broderip .

” Two

labe ls are known : Made by Henry

Jay in Long Acre , London , andMade by Henry Jay in Windmill

S tre e t , near,

Piccadilly , London , 1768 .

He is suppose d to have be en re lated toThomas Jay .

J ay , Thomas . Working in London fromabout 1690 . May have be en re lated toth e othe r Jays . He made some e xce llent violins . Was possibly in partnership with Edward Lewis , but there isno proof of it .

J e an . A make r in Paris , rue SaintMartin . A

'

guitar is known dated1667.

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52 K I A PO SSE— KLOTZ .

Kiap os s e , Sawe s . A maker in S t .

Pe te rsburg about 1748 -

50 .

K ie sgen ,Louis . A make r in Paris ,

first at 84 , boulevard Magenta , andthen at 134 , rue de Turenne . He hasnot made many instruments , but thoseknown are of beautiful workmanship ;h e followed th e patte rn of Gand andused red varnish .

Kirs ch s ch lag . Was working in th e

Tyrol in 1780 .

K le in , A . I n 1884 h e founded an important busine ss in Rouen , at 65 ,

rue

Gante rie , unde r th e title of A . Kle ine t Cie ,

” reviving th e trade in in s trument making that had entire ly droppedafte r Jeande l

’s death in 1 879 . He

placed Antoine B rubach at th e headof th e workshop , which has nowturn ed out about 200 violin s , and

numbers of altos and violonce llos th e

Work is care fully finished and th e

varnish good , of a brilliant red colour .

Labe l : “ A . Kle in , luthie r a Roue n ,

1 8 A . K . Awards from Exhibitions :silve r medal , Rouen ,

1 884 ; diploma ofhonour

,Evreux , 1886 ; silve r medal ,

“

Havre , 1887. I n 1887 h e was madeO ffice r of th e Academy .

Klo s s,E rnst . A make r in B re slau.

K lo tz (K loz ) , Egidius . Was probably apupil of S taine r in Absam , re turning toMittenwald , his native place , to work .

He was th e first membe r of this familyto make violins . He followed th e

S taine r pattern ,using good wood and

ambe r- coloured varnish ; his in strumen ts have a fine full tone , are we llfinished , and are signed with his name .

K l o t z,George ,

son of Mathias andgrandson of Egidius Klotz . Worked inMittenwald about 1750

-

70 . He alsofollowed th e S taine r patte rn . Hisinstruments we re we ll made , but th espirit varnish , some time s ye llow , sometime s red , is of bad quality ; it is thinand brittle and laid on a coat of sizewhich prevents its pene trating th e

wood , making it opaque and pe rishableth e wood is often worm - e aten . I n aviolin of beautifully finished work withred varnish was th e labe l : GeorgeKlotz propria meamanu fe ci in Mitt enwald , 1753 another labe l was GeorgeKlotz in de r Mittenwald an de r I se r ,176 1 .

K l o t z,Johann Carl . Worked in Mitten

wald about 1740-

55 . He died young ;his instruments are rare and but lit tleknown , but are said to b e amongth e be st of those made by th e Klotzfamily . In a very we ll made violinwith dark varnish , almost black in

colour , is th e labe l J oan Carol Klotzin Mittenwald , an . 1750

” a similar.labe l was dated 1753 .

Klo tz , Joseph , brothe r of George Klotz .

Was still working in Mittenwald in1774 . Also followed th e S tain e rpatte rn . He was care ful in his se lectionof wood and his instruments have ave ry good tone , but h e used varnish of

poor quality . Labe l : “ Joseph Klotzin Mittenwald an de r I ser , an . 1774 .

Klo tz , Mathias , son and pupil of Egidius ;b . about 1650 . Worked in Mittenwald till about 1735 . He is also said tohave been a pupil of Staine r , andce rtainly followed his patte rn . He

trave lled l n I taly , visi ting Florence andCremona , be fore h e finally started ,

about 1683 , his great work in Mittenwald . Th e small town was then in astate of great pove rty , but Mathias ,taking advantage of th e famed pin ewoods around , in which h e found j ustth e material h e required , employednumbe rs of workmen to make cheapviolins , which we re afterwards hawkedround from house to house and sold at

S e xtraordinarily low price s . As a ruleeach workman made one and only one

of th e required parts of th e instrument ,othe r workmen we re employed inputting th e parts toge the r into on e

whole . Mittenwald soon rivalledMarkneukirchen in Saxony and Mirecourt in th e Vosge s in this industry

,

and th e fortune of th e town was made .

“Th e tone of th e instruments is notbad , but th e ye llow brown varnish isof poor quality and th e sound - hole srathe r small . In a Viol

,of which th e

neck and head had be en changed so asto turn it in to a viola , was th e labe l :Mathias Klotz Lautenmach er inMittenwald anno 17 I n th e ParisConserv at01re Collection is a violad’amore with seven strings and fifteensympathe tic strings , dated Mittenwald ,

1732 . His thre e sons , George , Sebastian ,

and Joseph , we re all make rs .

Klo tz , Michae l and Carl , two brothe rs ,working in Mittenwald about 1770 .

A great many of th e violins withStaine r labe ls are made bymembe rs of th e Klotz family and the irimitators , th e “ Klotz labe ls havingbe en de stroyed by th e deale rs andspurious S taine r on e s substituted .

Probably , also , when the se make rs hadturned out a specially good instrumentthey used a S taine r labe l instead ofthe ir own . Auth en tic instruments ofth e Klotz family are consequently notcommon .

KLOTZ— LAFLEUR .

X Kl o tz , Sebastian , a brother of Josephand George Klotz . Worked in Mittenwald about 1700-

40 . He seems toi have been th e be st make r in th e

lfamily . His violins are of a largepatte rn , not much arched ; as a ruleth e varnish is exce llent , th e tone isclear and full , and th e work is care fullyfinished . Labe l : Sebastian Klotz inMittenwald , an . 1700 . A similarlabe l in a violin , wi th ye llow- brownvarnish , was dated 1740 .

K luh e r. A maker in Markneukirchen ,

Saxony .

Knitt ing , Philipp . Was working inMittenwald in 1760 .

Kni t tle (Knitl) , Joseph . A make r inMittenwald in 1790 .

K noop,Wilhe lm . Amaker in Me iningen .

Exhibited in Munich ,1854 his instru

ments are made on th e Staine r pattern ;th e tone is good and full .

Koeup p ers ,Jean . A make r at Th e

Hague , 1755- 80 . Many of his ins tru

ments are to b e had ; they are e x

ce llen tly made , but th e ye llow varnishh e used is

‘

ugly and of thick quality .

Kohl , Johann . A make r in Munichabout 1570

- 1600 . He was appointedmaker to th e Court of Bavaria in 1599 .

Ko lb , Hans . Was working in Ingolstadt ,Bavaria , in 1666 .

Koldit z , Johann . A maker in Rumburg ,Bohemia . He died there 1796 . He

made e xce llent violins and violas .

Koldit z , Mathias Johann . A make rin Munich about 1720

-

55 . Labe l :Mathias Joanne s Koldit z Lauten undGe igenmacher in M

'

unchen , 17Kolike r, Jean Gabrie l . Worked in Paris ,1783

-

99 , in rue de s Fossés - Saint - Germain - de s -Prés in 1800 h e movedto 24 , rue Croix -des - pe tits - Champs .

Ch . F . Gand bought his busine ss in1820 . I t is doubtful if h e made any

Lacas so . See “ Lav az z a .

Lac6te . A maker of guitars in Parisfrom about 1820 . His work is ve rygood , but it varie s , and it is possiblethat his labe ls are to b e found in in struments h e had not made . I n th e ParisConservatoire Collection are twoguitars , one made with six strings , dated1852 ; th e othe r “ a heptachord , th e

seventh string be ing placed like th e

lower string of th e theorbo th e labe l isdated 182 He patented a guitarwith ten strings , a “ decachord ,

” in

53

new instruments , but h e was anextreme ly clever repaire r of old one s .

Kram , Andreas Ernst . A maker ofcithers in N uremberg , about 1765

- 85 .

Labe l Andreas E rnst Kram , I nstru

ment Macher in N iirnb erg,an . 1767

a similar on e is dated 178 1 .

Kram e r , H . A maker in Vienna in 1717.

I n th e Collection of th e Ge se llschaftder Musikfreunde the re is a viola dibordone dated Wien , 1717.

Kre b ar, Giovanni . A make r in Paduain 1629 .

Kre n , Franz . A maker of cithers inMunich , 1833 .

K rigge , He inrich . A make r in Danzig ,1756

-

58 . His instruments sugge st th eMaggini patte rn , in th e gene ral mode l ,large size , neat edge s and work and

double purfling in ink . Thre e v1olinsand a tenor of his are known , th e latte rwith a fine ton e .

Krin e r , Joseph . A maker in Mittenwald about 1785 -

95 .

Krupp , Pie rre . Worked in Paris , rue

St .

-Honoré , 1777-

9 1 ; h e also madeharps .

K iih lew e in und T e t z n e r. Mak e rs inMarkneukirchen . Exhibited in Munich ,

1854 . A violonce llo of the irs , e x

ce llen tly made on th e Stradivaripatte rn , not much arched , had a fairlygood tone .

K iin t z e l . A make r in Be rlin . He

exhibited a quinte t of instruments inLondon , 1862 ; th e tone was e xce llent .

Kun t z e l , Laurent , b . 1790 , at HofBavaria . Worked till about 1855 .

About 18 15 , afte r rathe r a chequeredcare er , se ttled in Bre slau , and workedfor some years unde r F ich te l , an in strument make r the re ; h e then devotedhimse lf entire ly to violin making ,

making e xce llent imitations of I talianviolins and violonce llos .

1826 , and e xhibited it in 1827. E x

h ib ited a guitar of seven strings , beautifully made and of very fin e tone , in1839 , was awarded a bronze medal .I n 1844 his in struments we re alsoplaced in th e firs t class , and a bronzemedal was awarded him . He brandedhis guitars with Lacote aParis .

Lacro ix , Salomon . A French make r ofth e 19 th century .

L afieur. A make r in London , brothe rof th e Parisian make r .

Lafleur, Jacque s . A bow maker in Paris ;

54 LAFLE U R— LAN ZA .

b . 1760 ,at N an cy ; d . 1832 , at Paris . In

1783 h e had be en se ttled for seve ralyears in rue de la Coute lle rie h e hadmoved to rue de la Ve rre rie b y_

1785 ,

and to 30 , rue de la Juiverie by 1788 ,

the re h e probably remained till hisdeath . He close ly copied th e bows ofFrancois Tourte , and his work has awe ll -merited reputation . I n th e ParisConse rvatoire Colle ction is a bow ofhis . His son , Joseph René , was alsoa bow make r .

Lafl eur, Joseph René , son of Jacque sb . July 8 ,

18 1 2 , Paris ; d . F eb . 19 ,1 874 ,

Maisons Lafi tte . W as living in th e

rue de la Cité in 1 835 , probably movedthe re from rue de la Juive rie afte r hisfathe r’s death . Pupil of his fathe r ,and a ve ry cleve r workman , producingbows which rival those of FrancoisTourte ; a ve ry beautiful one is in th eParis Conse rvatoire Collection . Sinceabout 1 840 th e Lafleur firm has beene stablished in th e boulevard BonneN ouve lle pres de la porte

'

Saint - Denis ,and has added a music - publishingbusine ss to that of instrument making ?

L afran ch in i , Jacobo de . Was appren

ticed to Gasparo da Sale at th e sametime as Maggini , and afte rwards (16 15)was living with Maggini as workmanand assistant .Lage t t o , Louis . An I talian make r whowas working in Paris , 1745 -

53 , at th esign of La ville de Cremone in th erue de s Saints - Pere s . He followedth e pattern of Andrea Amati , usingspirit varnish ; his instruments we remuch liked . Labe l : Louis Lage tto ,luthie r rue des Saints - Pere s faubourgSaint - Ge rmain a Paris , 1753 .

‘A laville de Cremone .

’(Sign ed) Lage tto .

L ajou e . S ee Gaillard—Lajoue .

”

La Loe . A make r in France in th e

18 th century . A six - stringed viol ofhis is known .

Lambe rt . A make r said to b e living inN ancy in 1750 ,

who was called th e

Carpente r , because of th e‘

extraordinary numbe r of violin s h e made ;they we re of no particular me rit .Saunie r is said to have be en a pupil ofhis .

Lamb e rt , Jean N icolas . A make r inParis . Was working in rue Miche l - leComte about 1743

- 85 . Th e date ofhis death is not known , but in 1788

th e busine ss was be ing carried on byhis widow . He was possibly a brothe rof th e make r in N ancy . Th e labe l :

J . N . Lambe rt , rue Miche l - le - Comte ,

Paris , 1750 , was in a violin of flat

patte rn , with badly cut sound - hole s ;

a similar labe l , dated 1759 ,is in a

violonce llo in th e Paris Conservatoire .

Collection anothe r violonce llo is dated1752 ; Lambert aParis

” was brandedon th e inside of th e back of an alto,

and “ Lambe rt a Paris , wasinscribed in a e ith er ; a guitar wasdated 1784 .

Lamb in . A ve ry cleve r repaire r of oldinstruments in Ghent , 1800 -

30 .

Lamy , N . Alfred Joseph . A bow maker ,8 , 1850 , at Mirecourt . I n 1 863,

apprenticed in Mirecourt ; 1866 -

77,

worked unde r th e Gautrots at ChateauThie rry ; then went to Paris to

“

workwith F . N . Voirin ; th e latte r dying in1 885 , Lamy started his own busine ss at34 , rue Poissonniere . He is a cleve rand conscientious workman , and hisbows are as care fully finished as thoseof his old maste r . He brands h isbows be low th e nut with A . Lamy , a.Paris . He was awarded a silve rmedal in 1889 .

Landi , Pie tro . Was working in SiennaAW

J

I 774L andolfi , Carlo Ferdlnando . A make r

3

in Milan about 1740 -

75 . He made alarge number of violins , which vary incharacte r some care fully finished withbrilliant red varnish , ve ry transparent ,are much liked othe rs have .a ye llowvarnish

,thin and hard andn ot of good

quality . He used fine wood , th e oute redge is gene rally grooved , th e soundhele s are badly cut ,

‘ and th e scroll isweak th e work is often unfinished ,

‘ only on e coat of varnish be ing usedand no purfling. He occasionallycopied Giuseppe Guarne ri ve ry close ly .

His violonce llos , gene rally of small size ,

are e xtreme ly good ,and rank highe r

than his violins ; they are rathe rsimilar to those of Pie tro Guarneri ,but not so arched th e proportionsare more accurate ; they are worthfrom £30 to £50 ; a remarkably fin eviolin was priced at £50 . Labe ls“ Revisto da me

" Carlo Fe rdinandoLandolfi ,

l’anno 1744 CarolusFerdinandus Landulfus fecitM ediolan i

in v ia S . . Margaritae ,anno

Carlo Ferdinando Landolfi ne llacon trada di San ta Marghe rita al segnode lla Sirena . Milano , 1758 ;

“ Revistoda Carlo Fe rdinando Landolfi , l

’anno1771 . Two violins we re dated 1752

and 1753 .

Lan t e z ,M . E .

,son - in - law of Grandjon ,

sen . Was a maker at Mirecourt .Lanza (Lansa or Lausa) , Antonio Maria .

A make r in Bre scia about 1675 . He

followed th e patte rns of. Gasparo d a,

LA PA IX— LECL'ERC ;

Sale and Maggini his instrumentswere we ll made , with red- brown varnish , and had a good tone .

Lap aix , J . A . A make r in Lille (N ord ,

France ) , who from 1840 to 1855 madevarious attempts to improve upon th e

usual violin pattern . Th e first in strument , dated 1840 , No . 1 , was of ave ry exagge rated characte r ; h e continn ed to make othe r instruments

,

which differed le ss from th e traditionalform , and tried th e e xpe riment ofcutting th e side s out of on e piece ofwood , hollowed out and carved in th e

usual shape , so that there we re onlysix piece s instead of th e usual twentyfour to j oin toge the r . In 1848 h e wasawarded a medal by th e Socie ty for th eEncouragement of N ational I ndustrie s ,

and in 1852 th e me ri t of his instrumentswas noticed by th e Impe rial Socie ty ofLille . He obtained a medal of th e

2md class at th e Paris Exhibition, 1855 .

Labe l : Fait par Lapaix luthie r aLille en 1843 , B reve té .

”

L ap rév o t t e , E tienne , b . Mirecourt ; d .

1856 , Paris . He worked first at Marse ille s and was still there in 182 1 ,

butfrom about 1823 was e stablished inParis . His violins were admired forth e beautifully finished work one is inth e Paris Conservatoire Collection ,

itsvarnish is a very good colour ; h erece ived a mention at th e 1823Exhibition , and a bronze medal in 1827.

Soon after h e began to make guitarsand gained a great reputation , h e andLacete be ing considered two of th ebe st French make rs of this instrument .Two fine guitars of his , with th e labe linside of Guitare Laprév ot te dédiéeaux dame s , are in th e Par1s Conservatoire Collection . He rece ived amention in 1 834 and a bronzemedal in 1844 for th e guitars h e

e xhibited .

Larche . A maker in B russe ls , 1 847. He

copied th e instruments of old make rs ,and endeavoured to gain the ir qualityof tone by th e use of acids , but unfortuh ate ly th e wood suffe red thereby .

Larche r, Pie rre . A make r in Tours ,1785 . He was a pupil of Guersan inParis , but his work is very dissimilar ;h e used a brown varnish of poorquality . Labe l Larche r , Pie rre ,

luthie r de Paris , eleve de Guersan,

Grande Rue au Grand Dauphin a

Tours ,Laska , Joseph , b . March 18 , 1738 , atRumburg ; d . N ov . 30 ,

1805 , at Prague .

Was a pupil of J . Koldit z late r h etrav e lled a good deal , work1ng unde r

55

some of th e best make rs in Dre sden ,

Berlin , Vienna , and B runn . I n 1764 h e

se ttled in Prague ,and proved an e xce l

lent workman , his instruments , violins ,altos , violonce llos , violas d

’amore , andmandoline s were e specially liked inBohemia , Saxony , and Poland .

Laure n t , Louis S igismond . A make r inParis about 1773

-

90 . He worked atth e sign Au Cytre Allemand .

”I n a

theorbo with ye llow varnish was th elabe l : Laurent luthie r passage de

Saumont , rue Mon tmarre pres l’égoutaParis , 1774 .

Laus a. See Lanza .

Lau t t e n , L . W . A make r in th e Tyrol .One “ fine andhandsome violin known .

Lav a z z a (or Lacasso) , Antonio Maria . Amaker in Milan about 1700 . Followedth e S tradivari pattern , used a goodvarnish , pale red colour . Labe l :An tonio Maria Lav az z a fece inMilano in contrada larga , 1708 .

Lav az z a , Santino . Was working inMilan at th e same time as AntonioMaria Lav az z a . Labe l : SantinoLav az z a fece in Milano in contradalarga , 1718 .

Lav in v ille . A make r in Paris in 1777,e specially known for his mandoline s .

L e b . Worked in Pre ssburg in th e 18 thcen tury ; was one of th e be st Germanmakers of his time .

L e B lanc . Was th e name of a familyof makers who through four generations worked in Paris . The re was aLe B lanc still living in 18 19 ,

whosework was fair , h e used brown varnishand branded his instruments Le

B lanc , Paris .

”

L e blanc , Claude . A make r in Mirecourt in th e 18 th century .

L e B l ond , G . A make r in Dunkirkabout 1775

-

90 . A fiv e - stringed violwith ye llow varnish is dated 1789 , anda cithe r , 1779 . Another e ith er wassigned Leblond , Dunkerque . Labe l :Fait par G . Le B lond a Dunke rque .

17L e Camu s , Pie rre . A make r of lute s inLyons . 1573 -

75L e cl e rc , J . N . Worked l n Paris , 1760

80 , in connection with th e “

QuinzeVingt

,thereby enjoying various

privilege s , such as not having to payce rtain taxe s , &0 . B eside s makingnew in strumen ts , h e was a cleverrepaire r of old . Labe ls : Racomodépar Leclerc au 15 vingt aParis , 1771 ,

and in a violin ,

“

J . N . Le clerc , luthie raux quin ze vingt aParis , 1770 . O the rlabe ls are known dated 176 1 , 1768 ,and 1777.

56 LECOMTE— LE P I LEUR .

Le com te (or Fouque t - Lecomte ) ,Antoine .

W as working in Paris rue des Fossés ,Saint -Germain -de s - Pre s , about 17751800 .

Le cuy e r, Pierre . A make r in Paris, rue

de s Fossés- Saint - Jacque s , 1775 - 83 .

L e duc , Pie rre . W as working in Paris inrue St .

-Honoré in 1647, is there fore oneof th e olde st make rs the re of whomanything definite is known . I n asmall violin or kit ,

” fairly we ll made ,

is th e labe l Pierre Leduc aParis rueSaint -Honoré au Duc doré ,Le ob , J . Carl , b . 1792 ; d . 18 19 . Was amaker in Vienna .

L e fe bvre (Le febre ) , J . B . Was a Frenchman who worked in Amsterdam about1735

-

70 . He followed th e Amatipattern , using good ye llow varnish ; i ti s supposed that h e gained e xperiencein I taly be fore going to Amsterdam , ashis work is superior in me rit to thatmade in France at that date . I n aviolonce llo of small size , with ye llowvarnish and ofcare fully finished work ,is th e labe l : J . B Le Feb v re fecit inAmsterdam , 1770 .

L e fevre (Le febvre ) , Toussaint N icolasGermain . A maker in Paris in rue duCime tiere Saint - Jean about 1783- 89 .

L egro s de la N euville , N icolas . A Frenchmake r who exhibited in 1 823 guitars ,violins , and violonce llos .

L e J e une . A family of makers who forseve ral gene rations worked in Paris .

About 18 19 there was Le Jeune (ainé)working at Cour du Commerce— lab

e

lin a guitar : Le Jeune , luthier , Courdu Comme rce No . 19 faub g S t .

Ge rmain , Paris” and Lej eune (fils)

working at Passage du Saumon ; andLejeune , rue du Marché - Palu therewas another membe r of th e familyl iving at 13 , rue Bouch erat , 1836

-

46

and finally one e stablished in 1862 atrue Claude au Marais , who died about1870 .

L e j e un e, B enoit . A make r of lute s ,

l iving in Lyons in 1557.

L e J e un e , Francois . W orked in Parisat th e sign a la Harpe royale fromabout 1745 h e was still living in 1785 .

His instruments are rare and of notparticularly good work , th e varnish isof poor quality . Two violins are

dated 1747 and 1754 , a fiv e - stringedv iol in th e Paris Conservatoire Collection is dated 1755 ,

another 1757, and analto also 1757. Labe l : “ Francois LeJeune rue de la Juiverie , aParis année176

L e J e un e ,Jean Baptiste . Was a maker

of harps as we ll as of violins in Paris ,

rue Montmartre “

au passage Charot ,from about 1775 ; h e , or a make r ofthis name , was still the re in 18 19 .

e J e un e , J ean Charle s . A maker ofviolins in Paris in 1776 at th e signAu Dieu de l’Harmon ie worked in

th e rue du Four Saint - Ge rmain till1783 , and was succeeded by his nephew ,

Guillaume Martin , in 1822 .

L e J e un e , Louis . A maker of violins inParis , rue de la Juiverie ,

1783- 89

L e Lie vre . A make r in Paris about1750

- 80 Labe l in a violin , fairly we llmade , with ye llow varnish : Le

Lievre rue de s Non iandiere s a Paris ,1754emb ock , Gabrie l , b . O ct . 16 , 18 14 ,

Budape st ; d . March 27, 1892 . Pupilof J . B . Schwe ize r in Budape st ,then worked with Fischer in Vienna .

I n 1840 h e started a busine ss there lnCanovastrasse . Was appointed I nstrument make r to th e Imperial Court .He was ce lebrated for his skill in re

pairing old instruments . He exhibited“

two violins , ve ry good copie s of Guarneri , at Mimich , 1854

.

. A quarte t ofinstruments , e x h 1b 1ted 1n London , 1862 ,

were also made after th e I talian pattern ,

and we re admired for th e beauty andfulne ss of the ir tone . Carl Haudek ,who had worked with Lemb ock , ,

un til

th e death of th e latte r , succeeded toth e busine ss .

L’Emp e re ur , Jean Baptiste . A make rin Paris in 1750 , who le ft few instruments .

L e nk , W . , b . 1840 , at Schonbach b e i

Ege r , Bohemia . W orked under K l'

uh er

in Markneukirchen ; then for fiv e yearsin Berlin ; also unde r E . Liebich inB re slau ; in Vienna , Budape st , andMunich . He finally se ttled at Frankforta/M . in th e Promenade Platz . W as

awarded a silver medal at Frankfort ,188 1 .

e n t z (Len z ) , Johann N icolaus . AGerman who came from th e Tyrol toLondon ; was a friend of B ernhardFendt , and thus probably gained someknowledge of violin making . He beganhis own busine ss in Che lsea about1800 ; h e was a good maker , gene rallyused a close - grained maple -wood , andvarnish similar to that used by DoddandJ

. F . Lott , se n . Labe l ; “ JohannN ico aus Lentz fecit near th e Church ,

Che lsea ,L e on i , Carlo . Amaker in Treviso in 1861 .

Le oni , Ferdinando . W as working inParma in 1816 .

L e P ile ur , Pie rre . A make r in Parisabout 1750 -

55 . He worked in connec

LE RicH'

E— L IPPOLD .

tion with th e Abbaye Saint -Germain ,

thus gaining certain privilege s , i t nolonger be ing nece ssary for him to gothrough th e expensive ceremony ofbe ing rece ived into th e Corporation ofInstrument make rs ; h e was also e xemptfrom taxe s . His in struments are notparticularly good , of rather a longpatte rn , and with ugly brown varnish .

Labe l : Pierre Le Pileur , privilégie zdu Roy dans l

'abbaye Saint -Germain aParis , 1754 a similar labe l i s dated1752 .

L e R i che , C . J . A maker of cithe rs inLille , rue de la Cle f, about 1765 - 85 . I n

a e ithe r with e leven strings , fourdouble and three single , was th e labe lC . J . Le Riche Me luthie r rue de

la Cle f 1768 in anothe r e ith er wasrue de la Cle f a

‘

. Lille , 178 1 .

Lété, S imon , b . aboi11 1768 . A makerat Mirecourt , who made instruments atvery cheap price s for th e trade ; in1823 h e was awarded a silve r medalfor a very satisfactory violin ,

whichwas priced 25 francs J . B .

Vuillaume entered his workshop in1821 , and 1825

- 28 was in partnershipwith him . He married th e daughterof Pique ,

th e violin make r ; his son ,

N icolas Antoine , b . March 29 , 1793 ,

Mirecourt , became an organ builde r .

L e v a lois . A make r of all kinds ofinstruments in Paris , rue de la Calandre ,

about 1760 .

Lew i s , Edward . A maker in Londonabout 1700 . His work was moste xce llent , showing great accuracy andfinish ; h e used good wood and veryfine varnish , generally a light ye llowcolour , but some time s red with goldenground . His violins are rare , but arevery beautiful . I n Thomas B ritton ' sCollection was an e xce llen t tenor byMr . Lewis ” and a rare good bassviolin .

Lie bich E rnst , b . O ct . 27, 1796 ,

Re ibm t z , near Hirschberg (Sile sia) d .

1876 , Bre slau . Pupil and succe ssor ofhis uncle , Johann Gottfried Liebich .

He followed th e Stradivari and Guarneri patte rns ; and also made harps andguitars . He was th e father ofLie bich ,

Ernst , b . 1 830 , Bre slau ; d .

1 884 , who succe eded to th e busine ss ,and continued to make in strumen ts onth e I talian patte rn . His son ,

Liebich , E rnst , b . May 25 , 1862 , B re slau ,

learnt from his father ; late r workedwith B ittne r in Vienna . I n 1884succe eded to th e busine ss at 2 , Cathe rinenstrasse , Breslau . He is e speciallyskilful in repairing old instruments ,

about 300 a year passing through hishands but also make s from six to tenn ew instruments p er year ; they have afin e full tone

,and are generally made on

th e S tradivari or Guarne ri patte rns ,with transparen t varnish , reddishye llow colour . He also copie s th e Amatiand Maggini patte rns h e employs fiv eworkmen in his sh0p , but varnishe sall instruments himse lf . Was awardedsilve r medal , B re slau , 188 1 , and a goldmedal , Posen , 1895 . Appointed instrument -make r to th e Duke of SaxeCoburg and Gotha .

Lie bich , Johann Gottfried , b . 1752 ; d .

18 13 . Son of a maker who le ftBohemia to se ttle in Sile sia . He

founded th e busine ss , 1790 , whi ch hasremained eve r since in th e family .

L ie dolf, Joseph Fe rdinand . A make r inVienna in th e 18 th century .

Lie s sem , Remerus . A maker in London ,

1756 . This name and date were foundin a e ithe r of old - fashioned shape .

Light . A beautiful arch - lute was foundto b e inscribed 479 Light , FoleyPlace , London .

L ign ol i , Andrea . A make r in Florencein th e 17th cen tury .

Lil ly , Jame s . An English make r , working in 182 1 .

Lin arolo (Linerolli) , Francesco . Th e

first maker in th e family . Worked inBe rgamo , late r in Ven ice . A tenorviol was labe lled Franciscus LinarolusBergomensis Vene tii facieb at . Wasprobably th e make r of an accordo ”

dated 15 14 , beautifully made , th e backin laid with tortoiseshe ll .

L in arolo ,Giovanni

,son of Ve n turo

Linarolo . Labe l : “ Giovann i D’Ventura Linarol in Vene tia ,

L in arolo (Line rolli , Line lli) , Venturo ,son of France sco Linarolo . A make rof lute s and viols in Ven ice , workedthere till 158 1 . Labe l : Ventura diFrance sco Linarolo in Vene tia , 158 1 .

W as then in Padua : labe l , Venturade Frane co Linarol in Padova , f .1585 but probably re turned to Veniceshortly afte r , for there is a labe l fecein Vene tia , a . Two tenor—violsexhibited in London in 1872 wereprobably made by him they bothhad a scroll with four pegs substitutedfor th e ancient head with six or sevenpegs ; th e great breadth le ft be twe enth e sound -hole s shows that th e instruments were originally made for six orseve n strings .

L ip p e ta , J . G . A maker in N eukirchen ,

Saxony , in 1771 .

Lippold , Johann Georg . Made fairly

58 LOL IO T— LU POT .

good instruments about 1780 ; usedye llow- brown varnish .

Lolio,Giambattista . Amaker in Bergamo

in th e 1 8 th century .

Loly ,Jacopo . Was working in N aple s

in 1627 followed th e patte rn ofGrancino ; used ye llow varnish ; hisin struments we re not arched , and th e

wood was of too hard a quality . He

made some large - sized tenors .

Longman an d B roderip we re not violinmake rs , but were instrument se lle rs inCheapside ,

London , about 1760 , andmany of th e instruments they sold ,marked with the ir name we re madefor th e firm by B enjamm Banks , oray .

Ldre n z in i , Gaspare . Amake r in Piacenzain th e 1 8 th century .

Lo tt,George Frede rick , e lde st son of

John Frede rick Lott , sen . ; b . 1 800 ,

London ; d . there ,1868 . He was an

e xce llent workman and was for a longtime employed by Davis , of CoventryStree t , London . He copied I talianinstruments with great cleve rne ss .Lot t

,John Frederick , sen . , b .

Germany ; (1. April 1 3 , 1853 , London,and was buried in th e Churchyard of S t .

Gile s - in - th e - Fie lds . While still youngcame to England and se t tled in London .

He was first a chair -make r ; but forminga friendship with Fendt , h e began towork at violin making under ThomasDodd , in Ma rch , 1798 . He showedgreat ability and made many e xce llentviolonce llos and basse s for ThomasDodd in which we re inse rted ; th e

lat te r 3 labe ls . He was e speciallyfamed for his double—basse s , whichrival I talian instruments ; th e work isbeautifully finished , both inside andout ; th e scrolls are we ll out , but th evarnish is not of good quality . Histwo sons , George Frederick and JohnFrederick , we re both make rs .

Lo tt , John Frede rick , second son ofJohn Frede rick Lott sen . ; d . 1871 .

He worked for Dav1s , of CoventryS tre e t London , and made skilfulimitat lons of I talian instruments .

Lo tz , Theodor . A make r of good violinsin Pre ssburg , 1730 -

40 .

Loui s . There was a make r of this namein Geneva .

Louve t , Jean , brothe r of Pie rre Louve t .He worked in Paris about 1730

- 60 .

His violins we re not we ll made ; theywe re varnished brown . He chieflymade h urdy

-

gurdys and harps , andwas one of th e first to make pedalharps . I n th e Paris Conse rvatoireCollection are two hurdy—gurdys , one

dated 1733 , made by Louve t , rue

Grenie r S t .

- Lazare ; th e othe r withth e labe l Fait par Jean Louve t ruede la Croix - de s - pe tits - Champs

,pres la

porte St .-Honore, Paris , I n an

alto was th e labe l : Louve t a la

Vie lle Royale rue Croix - de s - pe titsChamps a coté de la Porte SaintHonoré a. Paris

, 1755 a similar labe lin a hurdy- gurdy was dated 1757.

Louve t , Pie rre , brothe r of J ean Louve talso worked in Paris about 1740

- 85 .

He chiefly made harps,which h e

signed P . Louve t a Paris ” ; but afiv e - stringed viol is known , and twob urdy gurdys , on e , dated 1750 ,

ispre ttify ornamented , th e othe r is inth e Paris Conservatoire Collectionand has this labe l : Fait par P .

Louve t , rue Mon tmartre a Paris , 5. laVie lle Royale , j uin , He late rmoved to th e rue St .

-Denis , and wasstill the re in 1783 .

Ludici (Ludge ) , Ge ronimo Pie tro . Anamateur make r , working in Coneglianoin 1709 . Labe l : Hieronymus Petrusde Ludice anima causa facieb at Coneglian i , A .D . 1709 .

Luglon i , Giuseppe . A maker in Venicein 1777.

Lupo,Pie tro , of Antwerp . I n 1559 h e

i s said to have sold to a musician sentby th e town of U trecht fiv e violinsenclosed in the ir case , for th e sumof £72 . Th e se rvice s of a profe ssional playe r were called in , so thatth e quality of tone of th e instrumentsmight b e fairly j udged , be fore th e salewas concluded , and for this and for th ewine drunk on th e occasion £6 morewe re paid .

Lup o t , Francois , son of Laurent Lupot ;b . 1736 ,

Plombiere s ; d . 1804 , Paris.First worked with his father at Luneville (175 1 was appointed Cour tmake r by th e Duke of W iirtemb erg,

and for ten years (1758 - 68) lived andworked at S tuttgart . A document isstill e xtant , signed by Jomelli , Directorof Music to th e Duke , atte sting toFrancois having satisfactorily fulfilledhis dutie s for t en consecutive years upto th e date at which h e was leavingJune 16 ,

1768 . He then moved toO rlean s ,

rue Sainte -Cathe rine , probablyto j oin h is fathe r ; but in 1794 went toParis with his son N icolas and remainedthe re till his death . His work showsgreat ability and is superior to that ofLaurent and Jean Lupot ; h e wasce rtainly on e of th e be st French makersof his tim e ,

and is said to have be en apupil of Giuseppe Guarne ri . He made

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60 MA CGEORGE— MAGG IN I .

making th e violins and violonce llosgiven as prize s to th e Conse rvatoirepupils . I n 1820 h e unde rtook toentire ly replace th e instruments of th eroyal orche stra with n ew one s of hisown but his death cut short th e work ,which was comple ted by Ch . Fr . Gand .

Labe ls : “ N icolas Lup ot , filius fecit inAure lian en sis , anno “ N . Lapot

M acG e orge . A maker in Edinburghabout 1 800 - 20 .

M ac in to sh . A make r in Dublin about1 830

-

40 . Pupil of Thomas Perry .

M affe o t t o , Giuseppe . Was working inRome in th e 1 8 th century .

M aggin i (Magino or Maglino) , Gio :Paolo , son of Zovan or Giovanni Maggini and his wife Giulia ; grandson ofSer Bertolin o or Bartolommeo de

Maggini of Botticino , a little village onth e hills not far from Breéiz ia ; b .

d . be fore or in 1632 , as in a sch edu e

pre sented in that year by his son Carloh e use s th e words “ filius quondamJohannis Pauli . ” I t is possible thath e died of th e plague that in 1632 ragedin Bre scia . His parents le ft Botticinoa nd se ttled in B re scia . Gio : Paolowas apprenticed to Gasparo da Salo,

according to a legal document , dated1602 , signed by b oth

xGasparo and

Maggini , th e latte r calling himse lfgarzone . I n th e first period ofMaggin ifs work on e finds much that ischaracte ristic of th e work of Gasparothe re is th e same heavy mode l , shortblunted corners , and purfling care le sslyinlaid . Th e head , although showinga gre at deal of characte r , is alsocare le ssly worked , one side oftendiffe ring from th e other , and th e facevery de eply and unevenly out , whileth e fluting of th e back of th e head isalso irregular . Th e wood is gene rallymaple , and is frequently cut on th e

slab ; th e wood of th e be llie s be ingalso cut on th e slab forms an inte re stinglink be tween th e Viol and th e violin ;afterwards h e adopted th e me thod ofcutting th e wood with th e straightway of th e grain . I n th e sound- hole sh e undercut or beve lled the ir insideedge s like those of a viol ; occasionallyh e ornamented his violins similarly toviols , with inlaid purfling,

or th e

clover - leaf device at top and bottomof the back , or with an e laborate

Fils luthie r , rued’I lliers , aO rléans , l

’an“ N icolas Lupot luthier rue

de Grammont a Paris , an 1801

N icolas Lupot luthie r , rue Croix - de s

pe tits - Champ s a. Paris , l’an 18 1 2

N . Lup ot , luthie r de la musique duRoi e t de l’ecole royale de Musique ,

Paris , Many instruments we resign ed with his autograph .

de sign on th e centre of th e back ; th etwo latte r ornamentations are never tob e found on th e same instrument ,unle ss it is a forge ry . In th e secondperiod of his work th e influence ofGasparo is not so marked ; the re is agreat improvement in th e constructionand work of th e instrument :

th e

arching is slightly highe r than in hisearlier or late r work

,and is usually

associated with a pronounced raisedborder th e purfling is done with moreprecision th e sound - hole s , though stilloriginal in characte r , have more graceful curve s , and are be tte r out ; so isth e

,head , which is more symme trical .Th e wood , of ve ry fin e quality , isse ldom cut on th e slab ; and is neve rso cut for th e be llie s ; th e Dumas ”

viola and violins are very fine specimensof this period . Th e beautiful in struments turned out by Antonio andGirolamo Amati may possibly haveinfluenced th e third period

“

of his work ,which shows much greate r accuracyand a more beautiful form . Th e purfl

ing is distinct and fine ly done ; th esound - hole s are we ll out and care fullyfinished ; th e arching is not so great ,and th e edge s are lighte r , which give sth e instruments a more grace fulappearance . Th e curve s of th e scro llare quite symme trical , while th e flutingat th e back of th e head is not sohollowed and is beautifully done .

Stronge r corne r blocks and linings arealso used for th e inte rior , and th e

thickne sse s are more accurate ly calculated . Th e varnish is always ofremarkably fine quality , but varie s incolour ; h e usually used varnish of aclear brown colour , similar to that onGasparo’s work ; but 1by degree s itbecame more brilliant , of a transparent golden colour . N early all hisinstruments are double -

purfled , butthre e violins and one viola are knownwith only one line of purfling ; and

MAGGIN I — MAN TEGAZZA .

also a very fine violin , which thoughdouble -

purfled on th e be lly , has onlyimitated purfling on the back , th e

double line be ing drawn in with pencilor ink . Th e large size of his violinsmake s th e side s appear low , but at th eneck - end the ir he ight is almost identicalwith that of Amati violins and some ofStradivari , though at th e tail - pin e ndthey are about on e - sixteenth of an inchlowe r . Th e great length and breadthnece ssitated re lative ly low side s , andMaggini obtained exactly th e rightproportions for producing that greatvolume of tone , so full and me llow , forwhich his violins are famed the ir sizeprevented the ir gene ral use , but De

B eriot , th e great violinist , played constan tly on a magnificent specimen ,

which eventually was sold for £600 ,

and is now in th e Collection of Princede Caraman - Chimay , as we ll as a violaand a violonce llo made by Maggini .As a rule Maggini violins are worthabout £100 . His violas are of veryhigh mode l , th e arching rise s from th e

inne r line of purfling, for th e latte r is ,as usual

,double ; th e borde r is high ,

and th e side s are se t close to th e edge sof th e back and be lly , leaving but littlemargin ; th e corners are short th e soundhole s , placed higher than in th e violins ,are short , wide , ve ry upright , and undercut on th e inne r edge . Th e wood ismost e xce llent th e varnish of ve ry finequality and a rich golden - brown colour ;th e tone is very fine . His violonce llosare made on exactly th e same pattern ,

th e sound -hole s placed rathe r high , th e

side s made rathe r low . Stradivarilearnt much from him , both inth e making of violins and of violonce llos ; th e latte r have almost th e

same proportions . Giuseppi Guarneriwas anothe r maker on whom hiswork exercised a strong influence .

Th e amount of work done byMaggini was comparative ly small ,probably about fifty of his in stru

ments are now e xisting ; only sevenor e ight violas , two violonce llos ,and one double - bass are known ,

th e latter of very small size and ofpoor workmanship . He probablymade some viols as we ll . I n Englandonly twe lve violins , six or seven violas ,and one violonce llo are known . Th e

labe l used is : “ Gio : Paolo Maggini inBre scia . I t is never dated , a factwhich often he lps to expose a forgery .

Maggini married Maddalena AnnaFore sto ou

dlan . 20 , 16 15 , and lived in

th e Contra a de l Palazzo Vecchio de l

6 1

Pode sta; by 1626 h e had also a houseand shop in Contrada de lle Bomb asarie .

His only surviving son ,Carlo France sco ,

became a silk me rchant , and his son

Pie tro died in his infancy , so thatthere se ems to b e absolute ly no groundfor th e statement that his son Pie tro ,or Pie tro Santo , was also a violinmake r , e specially as no violin , viola ,or violonce llo is known made by anyother Maggini than th e great Gio :Paolo .

M a ire , N icolas . A violin bow make r inParis ; b . Dec . 28 , 1800 , in Mirecourt ;d . July 17, 1878 , Paris . Was apprenticedto Jacque s Lafleur in Paris , and continned to work the re in rue Montmartre . He made exce llent bows .

M aldon n e r. A maker in Fussen ,Bavaria , about 1760 .

M a l e r (Maller) , Laux . A maker oflute s in Bologna about 1415 , mentionedby Mace in “ Musick’s Monument(London , He says , The re are

diversitie s of Men’s N ame s in lute s ;but th e Chie f N ame we most e steemis Laux Maller, ever written withTe xt Le tters : Two of which Lute s Ihave seen (p ittifull Old , Bat ter

’d ,

Crack’d Things) valued at £ 100 a piece .

Mr Gootiere , th e famous Lutenist inHis T ime , shewed me One of Them ,

which th e King paid £100 for . AndMr . Edw . Jone s (one of Mr . Gootiere

’s

scholars) had th e other , which He sovalued ; and made a Bargain with aMe rchant , who de sired to have i t wi thhim in HisTrave ls , (for his Experience )And

,if h e lik

'

d I t when h e re turned ,was to give Mr . Jone s £ 100 for it ; butif h e Refus’d it at th e Price se t , h e

was to re turn th e Lute safe , and topay £ 20 for His Experience and U se

of I t , for that Journey . I have oftenseen Lute s of thre e or four pounds

,far

more I llustrious and Taking to acommon Eye observe th e

Colour ; which is th e Dark - blackreddish- colour ; though I be lieve itcontribute s nothing at all to th e sound ;only th e Be st Authors did use to layon That Colour, e specially LauxMalle r .

"

M al e r , Sigismond . A make r of lute s inVenice in 1526 .

M ann , Hans . A maker in N aple sabout 1720 -

50 . His instruments are

rare . He followed th e Stradivari andGuarne ri patte rns .

M an s ie dl . See Maussie ll .

M an t ega z z a (or Man tegatia) , Pie tro andGiovanni . Two brothers working inMilan about 1750 to 1800 . They

62 MA N TOVAN I— MA ST .

made many good altos ; th e varnish , offin e quality

,varie s in colour , some

time s is almost black , th e wood israthe r too hard . Labe ls : Pe trusJoes . Fratresq . Man tegatia Mediolan i inVia S . Margaritas , anno 1757 similarlabe ls are dated 1760 ,

1763 ,and 1780

Pietro , Gio . e frate lli Man tega z z a

ne lla contrada di Santa Margharita inMilano al segno de ll’Ange lo , 1756

” asimilar labe l is dated 1770 and Pe trusJoanne s Man tegatia fecit Mediolan i inVia S . Margarita , 1790 .

M ant ovan i . Was working in Parma inth e 1 8 th century .

M arat t i , Giambattista . A make r inVe rona about 1690 - 1700 . His violinsare of fair workmanship and have agood tone .

M arce l l i , Giovanni . A make r in Cremona in 1 696 . Labe l : Joanne sMarce lli fecit Cremonas , MDCXCVI .

M archal (Marechal) . A make r in Parisabout 1790 . A viola d’amore and alyre - guitar of his are known . I n atheorbo was found inscription :Marchal aParis .

” V

M arch e t t i , Enrico . A make r of goodinstruments in Turin in th e 19thcentury .

M archi , Giovanni Antonio . A make r inBologna about 1740

-

95 . His violonce llos and violin s are good instruments ;th e latter are of high mode l , with verybeautiful maple -wood used for th e

back and side s , and varnish of a goldenye llow colour . I zabe l s? Joanne sAntonius Marchi fecit ‘

Bonon im, anno1774 similar labe ls are dated 1760

and 1792 .

M arco , Antonio . A maker in Venice in1700 .

M arcon cin i Giuseppe ,son of Luigi

Marconcini . Was a pup il of Storionithen se ttled in Ferrara , where h e diedat a great age on Jan . 17, 1841 . Hisviolins varied in workmanship , someequalled those of his master ; theyare we ll made , slightly arched , withbrilliant red varnish .

M arcon cin i , Luigi . A pupil of OmobonoS tradivari , who worked both in Fe rraraand Bologna . His instruments are ofgood workmanship

,with pale red

varnish . Labe ls : Luigi Marconcin i

f. Bologna ,” and Luigi Marconcin i

in Ferrara , 1767.

M aria , Giuseppe de . A maker of mandoline s at N aple s , 1779 . Labe lJoseph di Maria di N apoli in S trada

S . Pie tro a Maje lla f. in N apoli , A .D .

I 779" ?Mariam ,

Antonio . A make r in Pe saro

about 1640 to 1700 . His instrumentsare not of much value ; th e worksugge sts Maggini

,but is ve ry rough ;

th e purfling is gene rally double .

Labe ls : Antonio Mariani Pe saro ,found in an alto

,and Antonio

Mariani fecit,anno

M arin o , B ernardino . A make r in Romewho worked up to 1 805 .

M arius . A small pocke t violin of ivoryand coloured woods was inscribedMarins ,

” and was probably madeabout 1610 .

M arqu i s d e Lair . A make r in Mirecourt about 1800 . He made violins

W and violonce llos , and followed th e

Stradivari patte rn ; but his work isve ry poor

,th e wood is not good ,

andth e varnish , an ugly ye llow—browncolour , lacks transparency ; th e tone isof bad quality . He branded his instrumen ts on th e back , Marquis deLair d’Oiseau .

M arshal l,John . A maker in London

about 1750- 60 . A mandoline of his

was dated 1758 . He followed th e

S taine r patt_

,e rn and his work wasgood . Labe ls : “ Johanne s MarshallLondin i , Fecit Johanne sMarshall (in vico novo juxta Cov en samhortum) Londin i , fecit andMarshall : London , 1759 .

M art in . A family of make rs in Paris ,who chiefly dealt in and repaired oldinstruments . Guillaume Martin succe eded to

,

th e busine ss of Lej eune in1822 , and was in his turn succe eded bya neph ew , Charle s Martin . AlexandreMartin , son of Charle s , took th e

busine ss in 1 890 .

M artin , Jule s . A make r in Ge rmigny ,Vosge s . S ee Guarini . ”

M art in . A make r in London in 1790-

95 ,

who lived at Hermitage B ridge,

Wapping .

M a s t , Jean Laurent . A make r in Parisabout 1750 . His instruments are ve ry

,

we ll made ,th e spirit varnish is thick ;

a dark brown colour , which has b ecome almost black . He branded hisviolins with J . L . Mast

,Paris , both

inside and outside .

M a s t , Josephus Laurent , son of Je anLaurent Mast . Was born at Mirecourt and was still there in 1 820 . He

was apprenticed to N icolas there atth e sign _of A la ville de Cremone ,

and then se ttled in Toulouse . Seve ralof his violins are known , and are saidto b e of be tte r workmanship thanthose of his fathe r . They are arched ,

th e sound - hole s are not we ll out , andh e

'

used two varnishe s , on e ye llow

MAUCOTEL— MELL IN G .

brown and th e other reddish colour .He branded his instruments withMast fils Toulouse , 1825 . The re isa violin in th e Paris Conse rvatoireCollection which has th e labe lJosephus Laurentius Mast fecit

Apollin i Deo Harmoniae 18 16 , réparéche z Schubert Epinal , 183 1 .

Maucot e l , Charle s , brother of Charle sAdolphe Maucote l ; b . N ov . 1 , 1807,Mirecourt . Was first apprenticed toB loise Mast ; in 1 834 went to Parisand worked unde r Gand ; in Dec . , 1844 ,

moved to London , where at first h ewas employed by W . Davis , of 34 ,

Coventry Stree t , but then started hisown busine ss in 8 , Rupert S tre e t ,Haymarke t 185 1 -

58 , George s Chanotworked with him . He re tired frombusine ss in Aug . , 1860 , and re turnedto France . He made some exce llentinstruments , th e work , varnish andtone we re all good . Labe l CarolusMaucote lus fecit Londini , 185C . M .

”

Maucot e l , Charle s Adolphe , brother ofCharle s ; b . 1820 at Mirecourt ; d . Feb .

6 , 1858 , at Paris . Apprenticed inMirecourt ; then went to ; Paris andworked for fiv e years (1839 -

44 ) unde rJ . B . Vuillaume . In 1844 h e startedhis busine ss in Galerie Vivienne ,

butlate rmoved first to rue Croix-des - pe titsChamps and then to rue Prince sse itwas there h e committed suicide in1858 , by cutting his throat during anattack of brain - fever . He made exce llent copie s of th e works of Stradivariand Giuseppe Guarneri , and hisnume rous violins , altos , and violonce llos show good work and have afine tone . In 1844 h e was awarded abronze medal for an alto placed in th ez ud class , and in 1855 a medal of th e2nd class .

Mau s s ie ll (or Mansiedl) , Leonhardt . Amake r in N uremberg , 1720

-

50 . He

00pied th e Staine r patte rn , and madegood instruments , care fully finished ,

with ye llow or brown varnish .

M ayr (Maier) , Andreas Fe rdinand . Amake r in Salzburg about 1740 - 80 . I s

said to have made the small violin onwhich Mozart learnt to play . I n alute was th e labe l Andreas FerdinandMayr Hof Lauten und Ge igenmache rin Salzburg , 174 1 a similar labe l ,printed in German characters , wasdated 1777.

M ay son , Walte r H . A make r in Manche ste r who began as an amateur , butsoon adopted violin making as a profe ssion . His instruments are exce llent ,

and th e workmanship beautifullyfinished .

M e are s Richard .

’

A make r of lute sand Vl olS in London in 1677. I n 1872

was exhibited in London a viola dagamba with th e labe l : RichardMeare s , without B ishopsgate , near toSir Paul Pinder

’s , London . Fecit1677. His son Richard also learntth e trade but soon abandoned it forothe r work .

M edard ,Antoine , b . 1621 (baptised

Oct . 28 , son of Henri Medardand his wife Anne . A make r at N ancy .

A little pocke t violin is known , ve rycare fully made , with th e carved headof a woman instead of a scroll , andred - brown varnish of fine quality .

Inside is th e labe l : “ Antoine Medard5.N ancy ,

Medard ,Francois , son of Claude

Medard . A make r in Paris about1690 to 1715 . I s said to have been apupil of Stradivari at Cremona . Hisinstruments are on rather a smallpattern , slightly arched , th e soundhole s are we ll cut , th e pre tty rosecoloured varnish is very transparent ,and th e work is care fully finished .

He was commanded to make th e instruments for th e orche stra of Louis XIV .

Labe l : Franciscus Médard fecitParisiis

,16 a similar labe l is

dated 1710 .

Medard , Henri , son of Claude Medard ,

also a maker . A maker at N ancy andParis about 1620-

30 ,there be ing a

record of his marriage to Anne Pie re sson , of Poiresson on Oct . 23 , 1620 .

Was generally considered to b e a pupilof N icola Amati . His work wasextreme ly good . In a violonce llo wasth e labe l : “ Henry Medart 5 N ancy ,1627.

M edard , Jean , son of Claude Medard .

Worked at N ancy .

Medard , N icolas , son of Claude Medard ;b . about 1598 ,

was living in N ancy in1658 . He followed th e Amati patte rn ,

his instruments are small , and th e

tone ,though soft and silve ry , lacks

powe r ; th e varnish is ve ry beautiful .Labe ls are known dated 16 15 and1660 .

Medard , Sebastien , b . about 1576 ; d .

1636 probably anothe r son of ClaudeMedard . A make r , first at N ancythen at Paris , about 1600-

36 .

M e ib e ri , France sco . A maker at Leghornabout 1745 -

50 .

M e l l in g . A maker in Paris , in th e rue

Fromon teau ,place du Louvre , in 1753

at th e sign of “ A la be lle Vielleuse

64 MELL IN I~M ICHELOT .

but in 1771 was in rue des O rtie s , auxgale rie s du Louvre .

M e llin i , Giovanni . -Was working inGuastalla , I taly , in 1768 .

M e l o n i , Antonio . A make r in Milanabout 1670 -

95 . Followed th e Amatipatte rn ; his instruments are small ,with we ll out sound hole s and ye llowvarnish ; they have a good tone . Labe l .

“ Antonius Me loni Mediolani fecitAD .

M en n égan d , Charle s , b . June 19 , 1822 ,

at N ancy ; d . Jan . 9 , 1885 , at Ville rsCotte re ts . W as apprenticed at Mirecourt ; in 1840 went to Paris andworked with Ramb aux for fiv e yearsand the re gained th e experience whichrendered him such a cleve r repairerof old instruments . 185 1

-

52 workedwith Maucote l , and in 1852 le ft Francefor Amsterdam . Re turned to Paris1857and se ttled at 26 , rue de Trév ise .

He made a large numbe r of goodviolins , altos , and violonce llos inAmsterdam ; but afte r his re turn toParis principally made violonce llos ,which rank among th e be st work of

th e time . He was awarded a medalo f

th e 2nd class , Paris , 1855 , and b ronzemedals in 1867 and 1878 . Labe ls :Mennégand , luthier , 26 rue de

Trevise , Paris , and “ C . M enné

gand , luthie r , 26 rue de TreviseParis , 1877. (Signed) C . M ennégand .

Some of his labe ls have “ eleve de

Ramb aux on themM e n n e s son , Emile!b . March 15 , 1842 ,

Rhe ims . Live s there at 10 , rue

Carnot . Worked with Mennégand

and Deroux . Had large workshopat Mirecourt , 1876 Has made

violins following the patternof Stradivari s Me ssiah violin ;varnish , first red , later ye llow - red withamber ground . Exhibited at Paris0875 -

78 Philade lphiaRhe ims (1876 - 89 RomeEpe rnay Charlevilleand was awarded gold and silvermedals and numerous diplome sd’honneur.

M e ri ghi , Pie tro . A maker of mandoline s in Parma in 1770 . Labe l :Pe trus Me righi fecit Parmae , anno

17703’

Mériot t e , Charle s . A maker at Lyonsabout 1730 - 60 . Seve ral of his violinsare known , made on th e Stradivaripattern , with ye llow- brown varnish ,

and of good workmanship . Labe l :Mériotte , luthie r , sur le pont , pre s lechange , a Lyon , 1755 . A later labe lwas printed in Latin .

M e rl in , Joseph . A maker in London ,

Prince s Stree t , Hanover Square , in1770

- 80 . His violins and h is mech an ical pegs for violins and violonce lloswere at one time very fashionable .

He followed th e high Stainer mode l ,his instruments we re we ll made , but th etone was not good . Labe l : “ JosephusMerlin Cremonae emulus . N o . 104 .

Londin i , 1779 . Improved . 66 , QueenAnn S tre e t East , Portland Chape l .

”

Me s s egu e r. A Spanish make r workingabout 1646 .

M e t tal . A maker in Fre iberg . In alyre - guitar of six strings was th e

labe l Me ttal , Instrumentenmache rin Freybe rg .

M e t te ,Francois . A make r in th e South

of France ,who sent instruments to th e

Paris Exhibition in 1855 .

M eus idle r (Meusiedler) , Johann . Amake r of viols of all sorts in N urembe rg about 1540 -

50 .

M e z adri (Me z z adie ) ,Ale ssandro . Amake rin Ferrara , 1690- 1720 . He followed th eprinciple s of th e Amati school , but th epattern of his instruments is notgrace ful , th e sound - hole s are placedtoo close ; and th e workmanship ispoor . Labe l : Ale ssandro Me z adri

fece in Fe rrara , anno 1713 .

M e z adri (Me z z adie ) , France sco . Amakerat Milan about 1700- 20 . In an alto ofsmall pattern , with pinkish - ye llowvarnish , very l ight and tran sparent ,th e back made of poplar -wood , is th elabe l : Franciscus Me z adri , Milano ,anno 1712 .

M ez in . See Collin -Mezin .

M ialfi ,Joanne s . A Spanish make r

about 1769 . His instruments are ofaverage me rit .

M i chaud . A maker in Paris about 1788 ,

rue Guérin B oisseau au coin de la rueSaint -Denis .

M ich e lis ,Pe legrino (or Pe regrino) di

Zane tto , son of Zane tto de Mich e lis ;b . 1520 . A maker of viols and lute sand other instruments in B re scia . Atenor of his was e xhibited in Londonin 1 885 ,

which is de scribed as e ssentially modern in mode l and de tail ,though with remaining touche s ofarchaism .

” A splendid six - stringedbass- Viol is in th e Paris ConservatoireCollection ,

dated Bre scia , 1547.

M ich e lis ,Zane tto de , b . 1495 . Probably

a native of Mon tech iaro ,

’

a village nearBre scia . Was a maker of cithe rs .

M iche l o t,Jacque s Pierre . A maker in

Paris about 1780-

95 , at th e sign ofA la Mélodie , 255 , rue St .

-Honoré .

In th e Paris Conservatoire Collection

M I ER~ MON TAGN AN A .

is a little guitar dated 178 1 . He alsomade fiv e - stringed viols , and violins .

Labe l “

IJ . P . Miche lot , rue St .

-Honoré ,‘a la Me odie ,

’1790 .

M ie r . A make r in London in 1786 .

M iggé, O tto , b . June 16 , 1857, Coblenz .Has made about 80 violins and 14violonce llos of good tone .

M ilan i , Fran ce sco . A maker in Milanabout 1740

- 60 . Said to have beena pupil of Lorenzo Guadagnini , h efollowed a similar pattern in his work .

M ilh e t . Was working in Bayonne about1820 . His instruments we re of ordinaryworkmanship . He used ye llow- brownvarnish .

M il le . A maker at Aix - la - Chape lle . Asmall pocke t violin is known that hadbeen repaired by Remy .

M il le r . A make r in London about 1750 .

He worked at th e sign of th e C itern ,

London Bridge .

M i l le r , A . A maker in St . Andrew’s ,Scotland .

M inozz i , Matteo . Was working inBologna in th e 18 th century .

M iraucourt , Ludovic (or Joseph) . Amake r of viols at Ve rdun about 174050 . A six - stringed viol is dated 1743 .

M iremont , Claude Augustin , son ofSebastien Miremont ; b . 1827, Mirecourt ; d . 1887, Pontorson (Manche ) .Was first a pupil of his father , then forthree years of Collin -Mezin . In 1844h e went to Paris , and worked first withLafleur, then with Bernarde l until1852 ,

when h e le ft France for America ,and se ttled in N ew York . In 186 1 h e

re turned to Paris and e stablishedhimse lf in rue Faub ourg- Poissonniere .

He re tired from busine ss on July 15 ,

1884 , and went to live first in B e lleville ,

then at Pontorson , where h e died .

He made a great many instruments ,chiefly violonce llos they were allmade with e xt reme accuracy by himse lf alone , no workman assisting ; theyshow good work and have exce l lentquality of tone . He made some exce llent copie s of Stradivari and Guarne ri ,and also sev eral ins trumen ts ofexce llenttone on th e Klotz patte rn . Awards atExhibitions : medal of first class , N ew

York , 1853 , and Paris , 1855 ; prize medal ,London , 1862 ; and silve r medal in1 867and 1878 . Labe ls : Expositionsuniverse l le s de 1853

-

55- 62 - 67, quatre

premiers prix . C . A . Miremont ,B reve té Paris , an 1875 .

(Signed) A . Miremont ,” and C . A .

Miremont fecit Parisus , anno Dni .

18823'

M iremon t , Sebastien . A maker at

Mire court , b . about 18 10 ; fathe r ofClaude Augustin Miremont .

M od e s s ie r. A maker in Paris in 18 10 .

His instruments we re made on a largepattern , th e wood was generallye xce llent .

M o e rs , Jean Henri . A maker in Parisabout 1771 .

M ohr, Philipp . Was working in Hamburg about 1650 .

Moin e l , Charle s , nephew of N . E .

Ch erp ite l . A make r in Paris . On th e

death of Ch erp ite l , in 1893 , h e assistedth e widow to continue th e busine ss .

Moit e s s ie r, Louis . A maker at Mirecourt about 1780 to 1825 . He made alarge number of instruments , mostlyviolins , of ordinary workmanship withbrown varnish . One violin , fairlywe ll made , was peculiar in having th ebe lly as we ll as th e back and side s ofmaple -wood th e tone was good . I n

it was th e labe l : “ Ludovicus Moite ssie r fecit , anno Domini 178 1 .

Ramb aux was a pupil of his for fouryears .

Moldon n er. Amaker in Fussen , Bavaria ,about 1756 -

98 .

M o linari , Antonio . A maker in Venice ,

1672- 1703 .

ol in ari , Jose fo . A make r of mandoline s and theorbos in Venice about1735

- 65 . In th e Paris ConservatoireCollection are two mandoline s dated1762 and 1763 re spective ly . Labe l :Joseph Molinari , Ve ne tus , anno 1737.

Mon ge n o t . Was working in Rouen in1763 ,

at th e sign of Sainte - Cecile .

M on tade (Montani or Mon taldi) , Gre

gorio . A make r in Cremona about 16901735 . Was e ithe r a pupil or me re ly animitator of Omobono S tradivari . Hiswork is fairly good .

M ontagnana . Domenico . A ce lebratedmake r in Venice about 1720 -

50 . One

of th e most able pupils of AntonioStradivari at Cremona ; it is said thath e worked with him for twenty years ,then went to Venice and se ttled the re ,

at th e sign of Cremona . Labe lsdated Venice , 1725 , are known . Hiswork is admirable ,

and shows greatknowledge of th e qualitie s of wood andof th e nece ssary thickne sse s to b eobtained ; h e made on a large patte rn ,

rathe r arched , with th e corners prominent , th e sound - hole s grace fully cut ,rathe r like those of Guarneri ; th e scrollshowing a great deal of character , andboth purfling and corners care fullyfinished ; h e used most care fully chosenwood , beautifully figured , and ve rytran sparent varnish of a rich golden - red

66 MO N TE CH I AR I — N EU N ER .

colour , which recalls that of Carlo B e r

gonzi ; th e tone is admirable . Althoughth e influence of S tradivari is noticeablein every de tail , Mon tagnana

’s strong

individuality also asserts itse lf,and his

work rivals that of Guarneri or Bergonzi . His violonce llos are e speciallyliked , they are most e xce llent for soloplaying ; they are nearly all to b e foundin England or Ge rmany , only thre e orfour are in France . He made few

instruments ; about twe lve violins andfiv e or six violas are known— th e latte rare mentioned as having a peculiarlysolemn and pene trating tone . I n 1 875a double - bass of his was sold for £82 .

I t is said that spurious labe ls of Gnaf

n erius filius Andreae and of CarloBe rgonzi are often placed in hisinstruments . His labe ls are : “ Dominicus Montagnana sub signum Cremonae

Vene t i i s , a similar one dated1747, and Domen icus Montagnanasub signo in ab prope ( E nipon tum fecit ,anno 9

M on t e ch iari , Giovanni . A make r ofviols and lute s in Bre scia b e fore 1533

Mon t egat ia . See Man tegaz z a .

”

M on tron . A maker in Paris , rue do

Grand Hurleur , about 1780 -

90 .

M ore l l a , Morglato . A make r of lute s,

rebecs , and viols about 15 10-

50 , whoworked first in Mantua , then in Venice .

Ve ry few of his,instruments remain

intact , as his viols we re often utilisedfor making up altos or violonce llos ofsmall size . Labe ls : “ MorglatoMore llaMantuas ,

15 15 and MorglatoMore llafece in Vene z ia , 1550 .

M orona , Antonio . A maker in I stria

N adot t i , Giuseppe . A make r in Piacenza about 1760 -

70 . A violin of his ,e xhibited in Milan , was dated 1767.

N amy , Jean Theodore . Worked in Parisabout 1755

- 1 807. Was e spe ciallyknown for th e cleve r way in which h ere stored old in struments , showing rareskill even in th e smalle st de tails .

First worked in th e busine ss carriedon by th e widow of Salomon , for inon e of his Violins is th e labe l : Faitpar N amy , luthier che z MadameSalomon a Paris , 1772 . He lived inth e place du Louvre ,

1783- 89 .

N ay l or, I saac . A pupil of RichardDuke . He worked at Headingly, nearLe eds , about 1778 -

92 .

N e l l a . See Raffae le .

(I strien) in 173 1 . Labe l in beautiful

_handwriting : Pre sbyte r AntoniusMorona In sulanus e x I stria fecit , 173 1

M orri s on , John , b . about 1760 ; d . b e

tween 1820 and 1830 . A make r inLondon , first lived in Prince s Stree t ,Soho , then , in 18 19 , in Shadwe ll , andfinally at Little Turnstile , Holborn ,whe re h e died . Most of his instrumentswere made for th e dealers and were ofpoor workmanship .

M ot t en h av e r, Edward . A make r inN ew York , U S A , who has taken outa great many patents for inventions .

M ouge n ot , George s , b . June 23 , 1843 ,

Mirecourt (Vosge s) . Was apprenticedthere to De roux (pe re ) then workedunde r N . Darch e at Aix- la Chape lle ;was his head workman , 1864

- 67. He

e stablished himse lf in Liege , in th e ruePont d’I le ; but 1875 succeeded to th ebusine ss of N . F . Vuillaume , for whomh e had long been working , in Brusse ls ,at 23 , rue Montagne de la Cour . Heemploys two workmen to make new

violins and violonce llos , h e himse l falways finishing them , de termining th ethickne sse s , doing th e varnishing , &c .

He follows th e Stradivari and Guarneri patte rns , using brown - red varnishfor th e forme r and golden - red for th elatte r ; th e tone is good . Was awardedsilver medal , Paris , 1878 ; gold medal ,Amste rdam , 1883 ; gold medal , Antwerp , 1885 diploma of honour ,Antwerp , 1894 .

Mougn e t . A make r in Lyons , who l nvented a lyre —guitar in 18 1 1 .

Mue le v oe t s , Jan . A make r of cithe rsin Antwerp , 1584 .

N erm e l , J . M . A maker in Paris , hu ngin rue St .

- Germain - 1’Aux errois in 1777,rue du Pot de Fer in 1783 , and rue duVieux Colombie r , 1788 - 89 .

N e un e r , Ludwig , b . Aug . 2 1 , 1840 ,

Mittenwald (Bavaria) . Grandson ofMathias N eun er ,

also a cleve r make rof violins

,who worked for some time

in London . First learnt in his fathe r’sworkshop at Mittenwald , afte rwardswith Andre as Engleder in Munichand Gabrie l Lemb ock in Viennathen worked for fiv e ye ars unde r

J . B . Vuillaume in Paris . Le ft Parisfor B erlin ,

1867, and there e stablisheda busine ss at 6 , Kurstrasse , workingthere assisted by two workmen till1883 . I n February that year , through

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68 OBBO— OTT O

th e latter ; but late r h e copied G . P .

Maggini to some e xtent , using doublepurfling and ornamental de vice s , suchas th e clove r - leaf de sign on hisviolonce llos . He is supposed to havebeen th e first English make r of violonce llos . They are of large size

,th e

wood be ing of good quality , th e

thickne sse s corre ctly proportioned andth e work care fully done ; th e varnishis dark

,

th e tone is very good ; one

made in 1718 , was valued at 15 guineasin 1790 , but now th e price is highe r .

He also made beautiful tenors,probably

at an earlie r date than th e violonce llos ;they are of a diffe rent patte rn

,be ing

very much arched . They are generafiylarge size , with ve ry dark varnish andof fine tone . N o violins of his remain ,

but h e was we ll - known as a make r ofviols . He marked his instrumentswith his name enclosed in a de sign of

purfling or with th e monogram“ N . B .

in purfling, under th e wide part of th efinger

- board , or some time s in th e centreof th e back . He entered into partnership with N athanie l Cross about 1715 ;they worked at th e sign of th e BassViol . " In a viola . da gamba was

O b b o , Marco . W as working in N aple sin 1712 , according to a MS . labe l foundin a violin of»ordinary make :

“ MarcusO b bo, N apoli , 1712 .

O bici (Ohue ) , Bartolommeo . A make rin Ve rona in ' 1684 . Labe l : Bortolamio Obici in Ve rona , 1684 .

O dani , Giuseppe More llo . W as workingin N aple s in 1738 . I n a violin fairlywe ll made with ve ry dark varnish wasth e labe l : Giuseppe More llo Odaniin N apoli ,

O doard i , Giuseppe . W as working until1675 in Ascoli , I taly , according to on e

authority ; according to anothe r wasborn about 1740 . He was a peasant ,and , though without any teaching inth e art of violin making , showed gre atability in th e instruments h e made .

He died when 28 years old , but le ftabout 200 violins , which are muchsought afte r in I taly .

O h b e rg ,Johann . A make r in Stockholm

in 1773 . His instruments we re fairlygood ; h e gene rally used a ye llowvarnish .

O ne da , Gio . Battista , b . 1529 . A make rof cithers and violins in Bre scia about1562 .

found a labe l in th e handwriting ofCross , “ N athanie l Cross wrought myback and be lly ” th e side s and scrollwe re th e work of N orman . The irlabe l was : Barak N orman and N athan ie l Cross at th e Bass-Viol in SaintPaul 3 Church yard , London , fe cit172 Three bass - viols were e x

h ib ited at South Kensington Museumin 1872 ; in on e of them , which hadbeen conve rted into a violonce llo , wasth e labe l : Barak N orman , at th eBass -Viol in Saint Paul’s alley ,London , fecit 1690 .

N orri s , John , b . 1739 , London ; d .

March 10 , 18 18 . A maker in London .

Was a pupil of Thomas Smith , anddid ve ry similar work . W ent intopartne rship with Robert Barnes in1765 . S ee “ Barne s .

”

N ove l l o , Pie tro Valentino , brother ofMarco Antonio N ove llo . A make r inVenice in th e 18 th century .

N ov e l l o , Marco Antonio , a brother ofPie tro Valentino N ove llo , who workedin Venice at th e same time . The irinstruments show good work .

N ov e rs i , Cosimo . A maker in Florencein th e i7th century .

Ongaro , Ignazio . A maker in Venice in1783 .

Orlan de lli , Paolo . Was working inCodogno , I taly , in th e 18 th century .

O rte ga . About 1840 was a make r andrepairer of instruments in Madrid .

O s tl e r, Andreas . A maker in B re slauin 1730 . A viola d’amore of ordinaryworkmanship with ye llow varnish wasexhibited in Paris in 1878 .

O t t , Johann . One of th e earlie st make rsof lute s in N urembe rg ; h e was bornthere e arly in th e i 5th century , andwas still living there in 1463 .

O t t o , Carl August , fourth son of J . A .

O tto ; b . Sept . 26 ,1801 , Jena ; (1.

May 1 1 , 1883 , Ludwigslust . Se ttledin Ludwigslust (Mecklenb erg) in 1832 .

Was appointed make r to th e Mecklen

berg - Schwerin Court .O t t o , Carl Christian , second son of J . A .

O tto ; b . 1792 date of death‘

unknown .

E stablished himse lf at Halle , and gaveup his time to repairing old instruments .

O t t o , C . W . F . Louis , fi fth son of J . A .

O tto ; b . 1805 , Jena ; (1. Feb . 3 ,1884 ,

Stockholm : A make r in Stockholm .

O t t o , Georg August Gottfried , e lde stson of J . A . O tto ; b . 1789 , We imar ;

OTTO— PADEW ET .

d . July 2 , 1857, Jena . From 18 18

worked in Jena , succeeding to hisfathe r’s busine ss there . He madegood instruments .

O t to , He inrich Wilhe lm , third son of

J . A . O tto ; b . 1796 ; date of deathunknown . Worked first in Amste rdam and later in Berlin .

O t t o , Hermann , son of Ludwig O tto ;b . March 9 , 1859 , Cologne ; (1. Sept . 20 ,

1884 , St . Pe te rsburg . Worked withhis father in St . Pe te rsburg .

O t t o , Jacob August , b . 1764 , Gotha ; d .

1830 , Jena . Pupil of Franz Anton E rnstat Gotha , later se ttled in We imar ,and was appointed make r to th e

Court . Worked also in Halle , Le ipzig ,Magdeburg , B erlin , and finally in J ena .

Was e specially skilful in repairing oldinstruments , and made very goodviolins and violonce llos ; six violins ,one alto , and one violonce llo we remade by him for th e Royal O rche straof Copenhagen . He published twobooks on violin making : U eber denBau und die Erhaltung der Ge ige undalle r Bogeninstrumente (Halle , 18 17)and “ U ebe r den Bau der Bogeninstrumente und i

’

i b er die Arbe iten dervorz

'

uglich sten Instrumentenmacher(Jena, 1828 ) th e latte r was translatedinto English by John B ishop in1848 . His fiv e sons all became violinmake rs .

O t t o , Ludwig , son of Georg AugustGottfried O tto ; b . Sept . 16 , 182 1 , Jena ;d . Feb . 9 , 1887, St . Pe te rsburg . Firstworked in Cologne , but after 1871

se ttled in St . Pe tersburg . He e x

Pach ere le , Miche l . A maker in Parisin 1779 . He followed th e pattern ofGuersan . His instruments we re fairlywe ll made , slightly arched , with ye llowvarnish . His name is branded on th et0p of th e back , and h e used a MS .

labe l : Miche l Pach ere le luthier rued’Argen teuil aParis , 1779 .

Pach e re le , Pierre , b . 1803 , Mirecourt ;d . Dec . 3 1 , 1871 , N ice . Was a fe llowapprentice of J . B . Vuillaume at Mirecourt . Afte r 1830 h e moved about ,working first at N ice , then at Genoa ,

then at Turin with Pre sse nda th e

violin maker , finally re turning , in 1839 ,

to N ice . He made a great manyviolins , altos , and violonce llos , all ofgood workmanship , but th e varnishwas thick and heavy ; h e often took

h ib ited three violins , a viola , violonce llo , and double - bass in London ,1862 . They were all we ll made andwe re moderate ly priced .

O t t o , Louis , son of Carl August O tto ;b . July 15 , 1844 , Ludwigslust . Pupilof his fathe r in Ludwigslust , 1860 - 65worked with his cousin , Ludwig O tto ,in Cologne , 1865

- 66 ,then went to

Hanover , where h e worked with Aug .

Rieche rs till 1872 . I n th e same yearstarted his own busine ss in D i

'

i sse ldorf,at 16 , Sch ii t z en strasse , whe re h e stillworks , assisted by two workmen . He

is very skilful at repairs , and hasrepaired about 850 fine old instruments .

For his new instruments h e use sbeautiful wood , not le ss than twentyyears old , and follows th e S tradivarimode l , large pattern , using good oilvarnish , orange colour , of his owninvention ; th e tone i s of fin e , fullquality . He himse l f accurate ly de termine s th e thickne sses ofback and front ,cuts th e sound - hole s , place s th e soundposts , carve s th e scroll , and doe s th evarnishing . About 238 violins , 13violas , and 33 violonce llos have beenmade . He gained first prize s at th eExhibitions in D i

'

i sse ldorf, 1880 ; Me l

bourne , 1888 ; and Chicago , 1 893 . Hisson now works unde r him .

O uvrard , Jean . A make r in Paris about1725

-

46 . Pupil of Claude Pierray. Aviolonce llo is known , beautifully made ,

with very fine golden - coloured varnishalso a small six - stringed viol dated1726 , and a fiv e - stringed viol labe lledplace de l’Ecole , aParis ,

Stradivari for his mode l . He was alsoa cleve r repaire r of instruments .

Pacqu e t . A make r from Aix who wasworking in Marse ille s in 1785 , accordingto a labe l : “ Pacque t d’A ix ,

luthie r aMarse ille ,

1785 .

adew e t , Johann . A skilful maker ofviolins ; d . about 1874 . He started abusine ss in Basle , 1844 , but moved toCarlsruhe (Baden) in 1846 . Wasappointed Court instrument make r byth e Grand Duke of Baden . Awards :at Munich Exhibition , 1854 ; Paris ,1855 : Carlsruhe , 186 1 London , 1862 ;Paris , 1867; and Fre iburg , 1 871 .

Padew e t , Johann , son of JohannPadewe t ; b . Aug . 23 , 185 1 , Carlsruhe .

First a pupil of his father , then workedin Hanover and Berlin under Aug.

70 PAGA N I — PAN ORMO .

Rieche rs till 1 874 . Succe eded to hisfather’s busine ss , at 132 , Kaiserstrasse ,

Carlsruhe . Assisted by twoworkmen , h emake s forty to fi fty instruments (violins ,violas and violonce llos) a year , on th eStradivari patte rn , using oil varnish ,

of reddish- ye llow or golden - browncolour . He is e specially skilful inrepairing old instruments , of which agre at number are sent to him from allparts of th e world . Awards : goldmedal and diploma , Carlsruhe , 1877;silve r medal and diploma , Mannhe im ,

1880 gold medal and diploma ofhonour , Strassburg , 1895 .

P agani , Gian Battista . A make r inCremona in 1747. A violin is known,

we ll made .

P aganoni , Antonio . Was working inVenice in th e middle of th e i 8th

century .

Page o t (Pajeot ) , son of Louis S imonPage ot ; b . Jan . 25 , 179 1 , Mirecourt ; d .

there Aug . 24 , 1849 . A make r of bowsh e obtained a “

Jmen tion honorablein 1834 for th e finish of h is work . I n

his workshops about dozens ofbows we re turned out at price s varyingfrom 6d . to 14s .

P ala t e . A make r in Liege about 1 710 .

He followed th e I talian patte rn,and

le ft some e xce llent instruments .

Pa lma , Paolo . W orked in Lucca about1760 .

Pamp h ilon , Edward . A make r in

London , on -

gLondon Bridge , about1680 -

90 . His instruments we re ofsmall pattern , ve ry much arched , andgene rally of stiff, ine legant outline ;th e work care fully and de licate lyfinished ; th e sound - hole s small , sometime s finished with a drawn - out curllike th e volute of a scroll , th e bottomcurve running out almost at rightangle s to th e axis of th e violin ; th eheads too small , an ordinary failing ofth e e arly English makers , but artistically shaped and often de eply scoopedin th e volute . Th e purfling is oftendouble , and h e used a ve ry fine ye llowvarnish which looks e xtreme ly we ll ;th e tone is clear , pure , and pene trating .

He also made tenors of small patternbut of good tone ; no violonce llos of hisare known , for at that time th e bassviol with th e flat back was still in use .

His instruments are still much liked ;the ir similarity to those made in B re

scia led to labe ls of Gasparo da Salobe ing placed in them , a deception allth e more easily carried out as few Pamph ilon labe ls e xist . Labe l :

“ EdwardPamph ilon , April th e 3rd,

Pan dolfi ,Antonio . A make r in Venice

about 1700 - 20 . His work is good andh e used a ye llow- brown varnish ; aviolin dated 1719 was e xhibited atMilan in 188 1 .

P an ormo , Edward , e ithe r a son or agrandson of Vincenzo P anormo ; h e

worked both in London and in I re land .

P an ormo , George . A make r in London ,

probably a grandson of VincenzoPanormo .

P an ormo , George Lewis , second son ofVince n zo Panormo . He was a ce leb rated bow make r in London , andlived first in O xford Stre e t , then inHigh Stree t , Saint Gile s - in - th e - Fie lds .

He made ve ry fin e guitars (one wasdated 1833) and some good violins onth e Stradivari pattern .

P an ormo ,Joseph ,

e lde st son of Vincenzo P anormo . Was born in London ,lived first in N ew Compton Stree t andthen in King Stree t , Soho ; h e diedin great poverty . He was a. ve rygood workman

,and his violonce llos

e specially were e xce l lent .Pan ormo ,

Vincenzo (known as oldb . N ov . 30 , 1734 , Mon

reale , a village near Pale rmo , Sicily ;d . 1 8 13 ,

London . When only sixte enh e began , without aid , to make variouskinds of musical instruments . He

wen t sto Cremona for a short time andprobably worked there unde r B ergonzi .About 1753 went to Paris ; in 1772made a short visit to England ; 1783 - 89 ,

was again living at 70 , rue de Chartre s ,Paris , but soon after removed toLondon . He also worked in I re landfor a short time , and the re converted amaple -wood billiard table into somevery be autiful instruments . He was aremarkably good workman , e speciallyin his fin e 00pie s of th e Stradivaripatte rn ; his instruments we re rathe rsmall

, th e sound - hole s and scrolls we llout , th e varnish a clear ye llow colour ,some time s rose ; th e tone is very fine .

A few violonce llos made on th e S tradivari pattern are generally of handsomemaple - wood for th e back and ribs , andhave an e xtreme ly rich and powe rfultone . His violins , violonce llos , anddouble - basse s are all much liked forth e pure and good quality of the irtone ; his guitars have a high reputation . Some of his work is poor , buth e made a good many instruments

“forth e trade ,

using th e wood (often of badquality) supplied by his employe rs , andgenerally had to finish the se instruments within a given time . Labe ls :“Vincent Panormo , rue de l

’Arb re - see

BAN ZA N I— PECCAT E .

aParis , 1730 a similar labe l is dated1780 Vincenzo Triusano Panormofecit Parisiis , anno 17

“ VincenzoPanormo di Pale rmo fecit , anno 17Vincenzo Panormo , me fece Marsiglia

1760 , Sicily” “Vincenzo Panormo ,

London,179 1 .

P an z an i (Pan san i) , Antonio . A ce leb rated make r in Rome about 1735 - 85 .

P aquot t e Frere s . Henri Félix , b . March1 1 , 1857, and Placide , b . 1864 , sons ofJean Baptiste Paquot te , to whosebusine ss they succe eded in July , 1 888 ,

at 99 , faubourg Saint -Germain , Paris .

They were awarded a bronze medal atth e 1889 Exhibition for th e beautifultone of the ir violins , but they chieflyworked at repairing old instruments .

Henri was also a violin playe r , and

was in Sauz ay’s class at th e Paris

Conservatoire ,1873 -78 .

Paquot t e , Jean Baptiste . N ephew ofSebastien P aquotte ,

unde r whom h e

worked for e ight years ; h e then workedunder Lafleur for fourte en years . Byth e time h e succeeded to his uncle’sbusine ss h e had gained great e x

p eri ence in his trade , and may b e

ranked among th e best Parisian make rsof his time . I n 1877 h e se ttled at99 , faubourg Saint -Ge rmain , but re

tired from busine ss in 1 888 , and wassucceeded by his sons , Henri Félixand Placide .

P aquot t e , Sebastien , b . 1800 , Mirecourt ; d . 1863 , Paris . I n 1830 h e

founded th e busine ss in Paris , at 5 1 ,

rue de la Harpe , afte rwards _moving to20 ,

rue de l’Ecole de Medicine . His

son , Sebastien , b . Sept . 13 , 1843 , wasnot a violin make r , but studied violinplaying at th e Paris Conservatoire .

P araldic . Th e only instrument knownof his is a violonce llo made in 1722 .

P ardi . A make r in Paris in 1788 , at4 12 , rue St .

-Honoré .

Pardin i , Bastiano . Worked in Florenceabout 1700 . Labe l : “ Bastiano Pardiniin Firenze .

P ari s , Claude . A make r at Paris , in th erue du Roulle - St .

- Honoré , 1775-

9 1 .

I n 18 16 was j oined by his nephew . In

a violin , on which th e purfling was azig - zag pattern both back and front ,with spirit varnish , a red- ye llow colour ,was th e labe l : Claude Paris , luthier ,rue du Roulle aParis ,

P arke r , Danie l . A maker in Londonabout 1740 - 85 . He was a ve ry cleve rworkman

,possibly a pupil of U rquhart

or Pamph ilon , but made a step inadvance , improving th e

,

pattern of hisinstruments , making them more similar

7I

to those of Amati . He used red

varnish , a disagre eable colour , rathe rthickly laid on th e wood was e xce llent ,often handsome ly figured ; th e varnishrather transparent and soft ; th e toneclear and powerful . He made large lyfor th e trade , consequently his in struments are often sold unde r othe rname s ; no viola or violonce llo of hishas eve r been se en , only violins are

known . About 1793 they we re valuedat fiv e gu ineas each ; about 1 805 theyrealised as much as fi fte en guineas each .

Farth (or Pe rth) , Andreas N icolas . Amake r in Vienna about 1790 .

Pas e n ali , Giacomo . A make r of mandoline s in th e 18 th century .

Pa s ta , Domenico and Gae tano . Makersin B re scia about 1700

-

30 . They are

said to have followed th e Amati insteadof th e Maggini patte rn , tradi tional inB re scia . They were p rob ab ly p up ils

of G . B . Rogeri . The ir instrumentshave not a good tone , th e varnish isbrown colour .

Pa t z e l t , Johann Fe rdinand . A makerin Vienna .

Paul i,Antonius . Worked in Tachau in

1723 . A viola d’amore of large pattern ,

with flat back , twe lve strings , paleye llow varnish , and without any traceof repairs or alte rations , had th e labe lAn t . Pauli Musicus instrumentalis in

Tachau ,

Pa z z in i , Gian Gae tano . A maker inFlorence about 1630 -

70 . Little is knownabout him

,but according to his labe l

h e was a pupil of Maggini . His in strumen ts are ve ry rare . Labe ls : Giov an

Gae t tano Paz z in i , allievo de ll’Maggin i

di Brix iae . Fecit Firenze , anno 1640 ,

and “ Gian Gae tano Paz z in i allie vode ll’ Maggin i di Brix iae fecit , anno1660 .

Pe arce ,George , b . Nov . 16 , 1820 , War

minste r ; d . July 3 ,1856 , London .

His paren ts moved to London in 1824 ,and in July , 1834 , h e was placed in th eworkshop of S . A . Forste r as e rrandboy

,but showing talent was taught

violin making and became an exce llentworkman .

Pe arce ,Jame s and Thomas . Two

brothers working in London , in Pe te rStree t , Saffron Hill , about 1780 - 1800 .

The ir work was poor .

Pe arce ,William . A maker in London .

Pe ccat e ,Charle s . A make r of bows in

Paris . O btained a silver medal at th e1889 Exhibition .

P e ccate ,Dominique , b . July 15 , 18 10 ,

Mirecourt ; d . there , Jan . 13 , 1874 . I n

1826 was apprenticed to J . B . Vuillaume

72 PECCAT E— P IERRAY .

at Paris, and worked with him until

1837; then Francois Lupot died , andDominique succeeded to his busine ssat 18 , rue d

’Angiv illiers . He remained

the re till 1847, then re turned to Mirecourt , and continued working the re .

He ranks next to Francois Tourte as abow make r , even rivalling him in someof his bows , which we re finished withe special care . He some time s markedthem with his name they we re at firstsold for 16s , but now the ir price isalmost‘quadrupled .

P e ccate , j eune , A brother of Dominique ,

who also made bows , and was for sometime working in J . B . Vuillaume

’s

shop . His 'work is inferior to that ofhis brothe r . He died in Paris about1856 .

P e cce n in i . Ale ssandro di LeonardoMaria (known as

“ de l

make r of lute s and viols in Bologna in1595

P e draz z i , Fra Pie tro . A Dominicanfriar

,working in Bologna in 1784 .

P embe rton , Edward . A“

make r inLondon in 1660 . His instruments areugly , but th e tone is good and th e

’

varnish of fine quality . I t has beensugge sted that a Pemberton was th e

maker of th e instrument pre sented t oth e Earl of Le ice ster by Que en E lizabe th , which has J . P .

”engraved on

th e tail - pin— supposedto b e th e initialsof th e make r and th e date of th e year

( 1578 ) in wh ich \it was made— ii so , h ewas th e earlie st English make r tomake th e violin of four strings .

P e rau l t . A maker in Paris , 1775 -

77, inth e rue du Pe tit -Muse .

P e regrin o , Gianne t to . S ee “ M ich e lisPe legrino di Zane tto .

Péron (or Pe rou) , N icolas . A maker inParis , living in rue de l

’Arb re - sec ,

1775-

79 ; rue Maucon se il , 1783 ; placede la Comédie francaise , 1785 and rueRiche lieu pres la Comédie francaise ,

1787- 89 . He was appointed make r to

th e Duche ss of Orlean s . His in struments are fairly we ll made , with ye llowbrown varnish . In on e of his violinsmade on th e Gagliano patte rn , wasth e labe l : “ Péron , luthie r de S .A .R .

madame la Duche sse d’Orléan s rue

Riche lieu pres la Comédie francaise ,

1790 , Paris .

”He was also th e make r

of th e Spanish lyre invented by th eAbbé de Morlane .

P e rry , Thomas . A maker in Dublinabout 1767 to 1827. A large e ith er isknown , and a e ithe r - Viol labe lled :Made by Thomas Perry , Dublin ,

He was in partnership with

William W ilkinson , and they turnedout very we ll made violins of good tone .

The ir labe l was : Made by Thos . Pe rryand Wm W ilkinson , musical in strument makers N o . 4 , Angle sea Stree t ,Dublin , 182

P ers o it . A make r of bows in Paris ; avery cleve r workman . He made for

J . B . Vuillaume , 1823-

41 ; but thenstarted a busine ss of his own . He

marked his bows with th e le tte rsP . R . S .

P e te rs , Michae l . Was working inW eyberg in 180 1 , j udging from two labe lsin a bass - Viol of seven strings ; th e firstruns : die se s I nstrument ist gemacht

,

anno 1627, th e second is arransch irt

von Michae l Pe ters in W eyb erg, anno1801 .

P e t z . A make r in Fussen , Bavaria , in1770 .

P e z z ardi . A maker in Bre scia about1580 - 16 10 . His instruments are somewhat similar to those of Maggini , hiscontemporary ; there is th e samepatte rn , th e same double purfling, butth e varnish is cleare r and th e soundhole s are diffe rent . His instrumentsare often sold as be ing those ofMaggini .

P fab . A maker in Hamburg .

P fre t z s ch n er, Carl Friedrich , son ofJohann Gottlob Pfre t z sch ner. Was

pre sumably a German , but worked inCremona . His instruments are of nospecial merit .

Pfre t z s ch n er, Johann Gottlob . A make rin Cremona . A labe l in one of hisinstrumen ts is dated 1794 . His workis not good .

Pfre t z s ch n e r. A make r in N eukirchen .

P i chol . A make r in Paris .

F i c in o . A make r in Padua in 1712 ;his instruments are very arched andhave dark varnish .

P ict e , N oe l . S ee Pie te .

P ie rrard ,Louis . A maker of exce llent

violins,with red- b rown varnish , and of

good tone ,in B russe ls , at 23 , rue Le

beau . He was a pupil of Mougenot ,but

'

started his own busine ss in 1883 .

E xhibited instruments in B russe lsParis and Antwerp , and

was awarded bronze , silver , and goldmedals . He published “ Traité de

luthe rie (B russe ls ,Pie rray (or Pierre t) , Claude . A contemporary of Boquay,

h e worked inParis about 1700 -

30 . He made a greatmany violins and violonce llos , th e

former on a large pat te rn . He s ometime s copied th e work of GirolamoAmati rather close ly . He used good

P I ETE— PO L I S .

wood , though not very beautiful to lookat , and red varnish . Th e proportionsof his thickne sse s varied too much ; th etone is e xce llent but not powe rful th e

work is care fully finished . I n ThomasBritton’s Collection of instruments wasa violin by “ Claude P ieray, of Paris ,as good as a Cremona .

”Some of his

pupils became good makers,such as

Jean Ouvrard , Paul Grosse t , and LouisGuersan . Labe ls : Claude P ierray,

rue de s Fosses - Saint -Germain - de s -PrésaParis , 1710 a similar labe l , dated1714 , Claude P ieray a Paris , 1715Claude Pierray proche la Comédie aParis , The re is a bass - Viol ,dated 1712 , in th e Paris ConservatoireColle ction .

P ie te (Pie te ) , Noe l , b . about 1760 .

Worked in Paris till about 18 10 . Wasa pupil of Saunie r . Made violins andviolonce llos of beautifully finishedworkmanship .

P il e t . See “ P ite t .

P illemen t , F . A make r in Paris about1790

- 1820 . His instruments vary ve rymuch , as h e often changed his patte rn ;h e used dark varnish . He brandedhis violins inside with “ Pillemen t ,Paris .”

P ilos io France sco . Was working inGori21a in 1748 .

Piqu e , Francois Louis ; b . 1758 , atRore i , near Mirecourt ; d . 1822 , Charenton - St .

-Maurice . Was a pupil ofSaunie r . He went to Paris in 1777or1778 , living first in “

rue Coquilliere

au coin de la rue de Bouloy ,” according

to a labe l in a theorbo dated 1779 ;then , 1787

-

9 , in th e “rue Platriere

vis -a- vis de l'

Hote l de Bullion , ao

cording to a labe l in a sixteen - stringedmandore dated 1787; and finally at36 , rue de Grene lle - S t .

-Honoré , whereh e remained till h e re tired frombusine ss in 18 16 . He made somebeautiful copie s of S tradivari , th e

workmanship be ing of a very highorder ; th e scrolls and sound-hole s arewe ll out and th e wood is of exce llentquality . Some instruments have th ebacks out in one piece , and th e proportions of th e thickne sse s are sometime s exaggerated h e used a dark redoil varnish , rathe r opaque . In 1792

h e applied to N icolas Lupot , then stillat Mirecourt , for a certain numbe r ofunvarnished violins , which h e thenvarnished himse lf and sold with h islabe l . His instruments vary from amoderate price to as much as £50 .

His violins are mentioned by Spohr

(Méthode de Violon) as be ing some of

73

th e best of th e pe riod . Labe l : Pique ,

rue de Grene lle - St .-Honoré , au coin de

ce lle des deux Ecus , a Paris , 1790 asimilar labe l is dated 1809 .

P iro t , Claude . A make r in Paris about1800 - 20 . He made good violins on th eI talian pattern th e be llie s are slightlyarched , th e backs hardly at all ; th e

sound - hole s are we ll cut ; th e varnishis very thick , some time s red - brown

,

some time s pale ye llow colour . Labe lCde Pirot fecit Parisiis , anno

Similar labe ls have been found inviolins dated 1808 , 18 10 , 18 13 .

P i t e t (or Pile t) . A make r in Paris in th elatter part of th e i7th century . Hisinstruments are more curiositie s forcollectors than of any great value .

His name , encircled by a Latin motto ,is often found written on th e side s ofhis instruments , most frequently on th eviolonce llos .

P iz z urmus (Poz z urnus ) , David . Working in Genoa about 1760 .

P l ack (P lach ) , Francis . A make r inSchoenb ock , Bohemia , about 1740- 80 .

He is be st known for th e good violinsthat h e made .

Plan e , W . Working in Glasgow in1860 .

P lan i , Agostino de . A maker in Genoain 1778 , according to this labe l :“ Augustinus de P lan is fecit Genuae ,

His work was commonplace .

P latn e r, Miche le . Probably a Swiss .

Was working in Rome in 1747. Hisinstruments show very fair workmanship they are rathe r arched , th e scrollis we ll cut , th e varnish is a golden - red

colour . Labe l : “ Michae l Platnerfecit Romae , anno 1747.

Plume re l . Was working in Paris in1740 , for this date was found in aviolonce llo of rathe r poor work , withye llow varnish ; his name was brandedinside .

Plum ere l , Charle s . Was working inAnge rs , France , in 1822 .

P o iros , Louis . A violin of his is known,

h e was a French make r .

Poirson , E loph . Worked in Paris . Atfirst took up violin making as anamateur , but in 1878 ,

having rece iveda very flattering ve rdict from Marsick

on one of his violins , h e decided to givehis whole time to it . I n 1889 h e e x

h ib ited some of his instruments andwas awarded a bronze medal , a violinbe ing specially remarked as of ve rygood quality and of beautifully finishedworkmanship .

P oli s , Luca de . A maker in Cremonain 1751 .

74 POLLU SCA— QU I N OT .

Pollu s ca (Pollush a) , Antonio . Was one ofth e principal make rs in Rome in 175 1 .

P on s . A make r of guitars in Paris . Hisinstruments were rathe r shorte r thanth e ordinary patte rn , but of a large size .

H e branded them inside with Pons aParis .

P on s , César . A make r in Grenobleabout 1780 - 1820 . His violins we re oflarge size ,

ve ry arched , th e work notve ry good .

P orion ,Charle s . A French make r about

1707. A e ith er of his is known withe leven strings .

Polron , P e e ter . A double - bass used inth e Cathedral of Antwe rp is labe lled :P e e ter Porlon tot Antwe rpen f .

I t is said to b e still played the re . I n

1847,its 200th annive rsary was com

memorated by th e following inscriptionon its back : An twerp iae in SanctaeMariae Vergin is uno alteroque aev o

Jehovac Laude s Canui .

Ro s s e n , Laux min . A make r of‘

v iols andlute s in Sch oengau ,

Bavaria , about1550

-

70 . I n 1564 h e was appointedmake r and repaire r of th e instrumentsof th e Munich orche stra , with a salaryof 405 florin s

P os t acch in i , Andrea , b . in Firmo; andwas working the re in 1824 . He wase xce llent both as a maker and as arepaire r of instruments . LabelAndreas Postacch in i Amici filius fe citFirmi anno 1824 , 0pus 2 14 .

Po s t i gl ion e , Wncen z o ,b . July 14 , 1835 ,

at N aple s .

- I n 1847was apprenticedto Vincenzo Jorio for fiv e years . He

then devoted much time to studyingold instruments some important workin th e way of repairing and re storingsome instruments be longing to a ce rtainS ign or Fummo also added to his e x

p erie nce . He became a good make rand made a gre at many instruments ,which will gain e ve ry year in value .

P ow e l l , Royal and Thomas . Two

brothe rs who worked in London about1770

- 1800 . They were employed about1785

-

7by William Forste r (1739and his son

,William Forste r . The ir

work was always neat and good . I n .

1800 they were living in St . John’sSquare , St . Luke ’s . Labe l : “ Made

Quinc i , Jacque s . A make r in Parisabout 1660 - 80 ,

who was mentioned in1680 as be ing “

one of th e most -cleve rof th e honorable luthiers of Paris .

”

In a little pocke t violin , with carvedhead , inlaid purfling,

- andnish ; was

“

th e MS . labe l :

Quinot aParis , 1670 .

ye llow ' varJacque s

by Thomas Powe ll , 18 ,Clemens Lane ,

Clare Marke t ,P o z z urnu s . See Piz z urmus .

Pre s b le r, Giuseppe . Was working in

Milan at th e sign of th e Sun

1 80 1 . I n a mandoline was th e labe l :Giuseppe Pre sb ler in Milano ne llacontrada de lla dogana all’ insegno de lsole , 1801 .

P re s s en da , Giovanni France sco , b . 1777,

Turin ; (1. the re , 1 854 . Was th e son ofa strolling fiddle r , Raffae le Pre ssenda ,

who gene rally lived in Lequio- B e rria,

a village near Alba , Piedmont . Giovanni also learnt to play th e fiddle ,

butfinding his way to Cremona the restudied violin making unde r LorenzoStorioni , and probably learnt the re tomake th e varnish for which his violinswe re afte rwards noted . I n 18 14 h e wasworking in Alba , combining cabine tmaking with violin making ; then wentto Carmagnole for a short time , andfinally , in 1820 , se ttled in Turin ,

whe rehis ability was soon recognised . He

was e specially patronised by th e ce leb rated violinist , Polledro , who wasappointed Musical Director to th e

Royal O rche stra at Turin in 1 824 . Hisviolins are gene rally made on th e

S tradivari patte rn , not much arched ,th e sound - hole s we ll out

, th e proportions of th e thickne sse s correct , th ewood good , but th e scrolls ratherroughly finished ; th e red- brown varnish was of e xce llent quality . Labe lJ oanne s Franciscus Pre ssenda f.

Raphae l fecit Taurini,anno Domini

1826 3’

P re s t on . A make r in London about1724 . I n a guitar of small size was th elabe l Pre ston , make r , London .

”

P re s ton , John . A make r in York about1785

-

95 . Labe ls : “ Pre ston ,Pavement ,

York , and John Pre ston,York

,

179 1 , Fecit .P re v 6t (or Prevost) , P . Charle s . Amake r in Paris -working at 102 , rue de

la Ve rre rie , at th e sign of “ Au DieuApollon

,from 1775 to 1789 .

P rie ur , Claude Edme Jean . W as

working in Paris,in rue de la Pe lle te rie

,

1775-

77, and in rue de la Calandre ,

1779- 89

https://www.forgottenbooks.com/join

76 RAZEN ZO— REN I STO .

with small sound - hole s th e scroll alsosmall but we ll out ; th e varnish ve ryfine ; its colour a ye llow- brown tingedwith red ; th e tone , clear and penetrating. He also made some fin e

tenors , th e workmanship good , althoughth e purfling is some time s de fective :His instruments show ability andtalent , and are gre atly valued ; theyhave many of th e characte ristics ofGe rman work , and diffe r greatly fromth e work of th e old English viol makers .

I n Thomas B ritton’s collection ofinstruments was an e xtraordinaryRayman

‘

and also “ three othe rsditto .

” Labe ls : Jacob Raymandwe lling in Blackman Stree t , Long

“

Southwark , 164 1 , and “ Jacob Rayman , at ye B e ll Yard in Southwarke ,

London ,

Raz e n z o , Carole . A maker in Barce lonaabout 1690 .

R e alli , Cosmo Battista . A make r inP-

arma in 1667. I n a little pocke tvi’olin of ve ry narrow patte rn , withbrown varnish , was th e labe l CosmoBattista Realli i n Parma

,1667.

Re ch iard in i, Giovanni (called Zuano

Was working in Venice in th e i 8 thcentury .

Re gnan t (Renault) , Jacque s . A make rin Paris , 1665 - 85 . A l ittle pocke t violin ,

with silve r purfling, was dated 1682 ; inanother little pocke t violin was th e

labe l : Jacque sRegnaut aParis , 1666 .

He succeeded N icolas Renault asmake r to th e King .

Re iche l , Johann Conrad , brothe r ofJohann Gottfried . W as working inN eukirchen in 1779 .

Re i che l , Johann Gottfried , brothe r ofJohann Conrad . Was a make r inAbsam . He was a pupil of Staine rand copied his patte rn , but hiswork is rough , and h e used red- brownvarnish of poor quality . Labe l :Johann Gottfried Re iche l

arfunden v on Jacob S taine r inAp sam .

”

Remy . A French make r who le ft Paristo se ttle in London about 1840 . He

made on th e I talian pattern ; but hisviolins have not it is said , gained inquality of tone with age , possibly owingto his me thod of artificially maturinghis wood be fore using it .

Remy , Hippolyte , e lde st son of Je anMathurin Remy . Was working about1835

-

70 in Paris . He made someviolins of no gre at merit .

Remy , Jean Mathurin , son of MathurinFrancois Remy ; b . 1770 , Paris ; (1.

1854 . His work was of much th e

C

same merit and type as his fathe r’s .

He used oil varnish . He removedfrom rue Tique tonne to 30 , rue de

Grene lle Saint Honoré , about 18 17,

and remained the re for thirty - sevenyears . His two sons were both violinmakers .

emy , Jule s Hippolyte , second son ofJean Mathurin Remy ; b . 18 13 , Paris ;(1. 1876 . He carried on a busine ss at60 , faubourg St .

-Denis .

R emy , Mathurin Francois . A make r inParis , first in th e rue Sainte -Margue riteSaint - Antoine about 1760 ,

and then inrue Tique tonne , 1775

-

9 1 . He madeinstruments similar to those ofGuersan and Gav in i e s , with ye llowbrown varnish .

e n audin , Leopold , b . 1749 , at Mirecourt ; guillotined , May 7, 1795 . He

se ttled in Paris , living in th e rue St .

Honoré from 1776 till his death , at th esign of “ Aux amateurs .

”He made

fairly good instruments , but they are

too much arched , th e scroll is'

b adlycut , and th e varnish is ugly , almostblack in colour ; h e made e xce llentdouble - basse s , seve ral of _the se ,

howeve r , we re de stroyed by th e fire at th eOpera House in 1873 . A violonce llo isknown made from a bass - Viol . I n analto was th e labe l : Aux amateurs .

’

Renaudin , luthie r , fait toute s sorte sd’instrumen ts , rue Saint -Honoré pres

l’O péra , in anothe r alto wasth e labe l : “ Leopold Renaudin (th eaddre ss illegible ) , année

Re naul t , Jacque s . S ee Regnan t .R e naul t , N icolas . A French make rabout th e end of th e 16th century . I s

said to have been a pupil of Tywersus

(a maker in N ancy) , and afte rwards tohave worked in Paris .

R e naul t , Sebastien . A make r in Parisabout 1775 to 1805 , living in th e rue

de B raque . Cithe rs of his are knowndated 1779 , 1786 ,

and 1 804 ; a violinis de scribed as made on a good pattern ,with ye llow varnish of fair quality .

He was in partnership with F .

Chate lain for some time , h e then usedth e labe ls Renault e t Chate lain rue

de B raque au coin de la rue St -~AvoyeaParis , 1797, and “ A la renommée ,

rue de B raque , au marais , Renault e tChate lain , luthie rs , font e t vendentlouent , achéten t e t raccommodenttoute s sorte s d’instrumen ts de musique ,

e tc a Paris .

Ren is to . A make r in Cremona about1735

-

40 . Pupil of Carlo B ergonzi ,whose work h e copied rather close ly ;but h is instruments are more arched ,

RE SLE— ROGERI .

and th e de tails are not so carefully finished . Labe l : Ren is to.

Cremonae alumnus Carlo B e rgonzi ,fecit 17

Re sle , Andrea . Was working in Fie ssoin 1740 . In an exce llent violin , madeof beautiful wood , with dark varnish ,

was th e labe l : Andreas Re sle fe citFie ssae , 1740 .

Reynaud , André . A make r at Tarascon ,

1754- 66 . In a violonce llo , slightly

arched , of a ve ry grace ful pattern ,

with beautiful ye llow varnish , wasth e labe l : Andreas Reynaud olimcanonicus fe cit aTarascon

'

en Provence ,

1754 another labe l was AndreasReynaud , olim canon icus Tarascone ingallo provincia

, 1766 .

Richard s , Edwin . A make r in London .

Rich e lme , A . Marius . A make r in Marse ille s , who greatly modified th e curve sof th e upper and lowe r bouts of hisinstruments , almost re turning to th e

ancient Viol - shape . He published inMarse ille s , 1868 : E tude s e t observations sur la lutherie ancienne e t

moderne .

”

Ricolaz z i , Lodovico . A maker in Cremona in 1729 .

Rie ch e l . See “ Re iche lR i e che rs , August , b . March 8 , 1836 ,

Hanove r ; d . 1893 , Berlin . Was firsta pupil of L . Bausch at Le ipzig , thentrave lled from city to city gainingexpe rience , re turning to Hanover in1862 . He moved to Berlin in 1872 ,

at th e special reque st of th e greatviolinist , Joseph Joachim , who recogn ised his talent and ability . He

made exce llent instruments on th e

Stradivari and Guarne ri patternsand was e specially succe ssful in t e

pairing old instruments . Aboutviolins and ove r 200 violonce lloswe re made in his workshop . He

published a book on th e constructionof violin s .

R ie s s . A make r in Bamberg about1740

- 60 . He made fairly good instruments on th e Staine r patte rn ,

with anice quality of tone .

R imb ou t s . S ee Romb outs .

R inaldi , Benede tto G ioffredo . Was apupil and fe llow -worke r of Pre sse nda .

He was still working in Turin in 1886 ,

but died about fiv e years late r . He

published : Classica fabbricazione diviolini in Piemonte (Turin ,

which is practically a short biographyofPre sse nda .

R ivo l ta , Giacomo . A make r in Milanabout 1822 . His instruments showgood work .

77

Rocca , Giuseppe Antonio . A make r inTurin about 1835-

55 . Worked at onetime for Pre ssenda . His violins are

generally made on th e Stradivaripatte rn th e work is care fully finished ,

th e scroll we ll out , but th e varnish isof poor quality . Labe l : “ JosephAntonio Rocca fecit Taurini , annoDomini 184 1 . O the r violins are

known dated 1839 , 185 1 , and 1855 .

Rod ian i Giovita . See Budian i , Giave tta .

Ro s ch er, C . H . W . Was working inB remen about 1871 .

Ro ge r , G . Was working in Montpe llie rin 1820 .

Rogeri , Gian Battista , b . in Bolognaabout 1650 . He went to Cremona towork under N icola Amat S tradivariwas a fe llow pupil of h is . He thense ttled in B re scia and worked the reabout 1670 to 1725 . He made admirable instruments , gene rally followingth e Amati or th e Stradivari patte rn ;th e wood was chosen with th e greate stcare ; th e varnish is very be autiful , ofa golden - red colour ; th e sound - hole sre semble those of Amati th e purflingis accurate , th e corne rs e legant someof his violins are so exce llently madeand have such a fin e tone , they havebe en sold as th e work of Stradivari .E specially pene trating and robust isth e tone of his violonce llos ; h e sometime s used poplar -wood for th e backsperhaps it was then thought that thisrende red th e instrument more sonorousor possibly b e rece ived but lowprice s forhis work , and was obliged to use th e lessexpensive wood— but wh e the r of poplaror maple th e violonce llos are alwaysbeautifully made and are now muchvalued . Labe l : Jo . Bap . RogeriusBon . N icolai Amati de Cremona alumnus Brix iae fecit , anno Domini

(Th e word Bon . simply mean s Bononiensis , of or from Bologna . ) He alwaysused th e same labe l , i t is some time s inred , some time s in black le tte rs ; othe rlabe ls se en were dated 1705 and 1725 .

Roge ri , Pie tro Giacomo , son of GianBattista Rogeri ; b . about «1675 inBre scia worked till about 1735 . He

made on a similar pattern to his fathe r ,but not quite so broad , and used finevarnish . His violins are no t equal tothose of his fathe r , but his violonce llosare splendid in strumen ts a magnificentone was in th e Collection of CountCoz io di Salab ue . He also made manyfine violas and double - basse s . Labe lPe trus Jacobus Roge ri fecit Brix im,

17143’

78 RO I SMAN N — RU GGE‘

R I .

oisman n , Johann . Was working inB re slau in 1680 . A violin of his is inth e Paris Conservatoire Collection .

Rol . A make r in Paris in 1753 . In alarge pocke t violin in th e ParisConservatoire Collection is’ th e labe l :1753 , Cour Saint -Denis de la Chartre .

Romano , Pie tro . W orked in Pavia in th e18 th century . Labe l : 17 Pie troRomano in B orgo di Pavia .

Romarin i , Antonio . Working in Cremona in th e 18th century . Labe l :“ Antonio Romarin i fe cit Cremonae ,

anno 17 Th e date is e ffaced , but isprobably 1705 .

Rom b ou t s , Pie te r . A make r in Amsterdam about 1705—35 . He made violins

“

,

violas , and violonce llos , much arched ,with a brilliant but rathe r thickvarnish . I n a six - stringed bass - Viol

,

of which th e work shows neat finish,

was th e labe l : Pie te r Romb outs ,Amste rdam , 1708 .

Ro ok , Joseph . A make r in Londonabout 1777 to 1830 . H is instrumen ts

show good work , and follow th e patternof Forster .

Rop ique t . An amateur maker in Parisabout 18 10 -

30 . He was an orche straplaye r by profe ssion , but made someviolins of no great value ; h e signedthem with his name .

Ros ie ro ,Rocco . Worked in Cremona

in th e early part of th e i 8 th century .

Ro s io , Paolo . A make r in Ve rolanuova ,who exhibited

“

an exce llent double - bassin B rescia in ,

1 857.

Ro s s (Rose ) , John . A maker of viols andlute s in London about 1560 to 1600 . I n

a collection of airs called Tripla Concordia ,

” published in London, 1667,

by John Carr , is th e following adv er

tisemen t : There is two che sts ofviols to b e sold , one made by Mr .

John Ross , who forme rly lived inBridewe ll , containing 2 treble s , 3 tenorsand one basse : Th e che st was madein th e ye ar 1598 . I n th e instrumentknown as Queen E lizabe th

’s lute ,in

reality a specie s of guitar known ascith er ,fw ith ten strings to b e tuned infiv e pairs ofunisons , is th e inscription :Johanne s Rosa , Londin i fecit

,in

B ridwe ll , th e 27th of July ,

Ro ta , Giovanni . A make r in Cremonaabout 1800 - 10 . His instruments showrathe r rough work , th e purfling is carele ss , th e wood not particularly handsome , th e varnish is a ye llow colour .

Labe l : “ Joanne s Rota fecit C remonae ,

anno 1808 .

Ro ta , Giuseppe Antonio . A make r inTurin about 1825 . His work is ve ry

similar to that of Pre ssenda , pe rhapsnot so care fully finished , th e varnishis red- brown in colour . Labe l :Joseph Antonio -Rota fecit Taurini ,anno Domini 18

Ro th , Johann and Christian . Are bothmentioned as working about 1675 , th e

forme r at Darmstadt and th e latte r atAugsburg .

Rot t en b rouck . A make r in B russe lsabout 1700 - 25 . He followed th e patternof Amati and used fine red- brown

“

varnish .

Rove t ta , Antonio . A make r in Bergamoabout - 184o

-

7o . He exhibited a goodviolin at Bre scia , 1864 .

Roz e . A maker at O rléans about1755 His instruments show fairlygood workmanship

, th e sound - hole swe ll - cut , wide in th e centre ,

th e scrollrathe r heavy , and th e varnish a ye llowcolour . Labe l Roze , rue SainteCatherine , a O rléans pres le Martroy,

1757Rudiman . W as working in Aberde enin 1769 . A e ith er, with inlaid woodornamentation , had th e inscription :Rudiman ,

A . B ; Dn, D . G .

”

Rugge ri (Rugie ri) , France sco . W as th e

first of a family of make rs in Cremona ,very often con fused with Rogeri ofBre scia . He worked in Cremona at 7,

Contrada Colte llai , from about 1645 to1700 . He was one of th e ce lebratedpupils of N icola Amati , Whose patte rnh e copied ,

slightly enlarging it , andarching it more . Th e outline is verygrace ful , th e sound - hole s beautifullyout , rathe r short and open ; th e purflingbroad th e varnish varie s from a de eporange to a brilliant ye llow- orangecolour

,it is very light and transparent

th e wood is gene rally maple , of fin equality

,often beautifully figured ; h e

some time s used poplar for th e backs ofhis violonce llos , but always obtained asonorous and pene trating tone . Th e

violonce llos are often made on toolarge

,

a patte rn ; h e made a com

p arati v e ly small numbe r of violins andviolas

,but some are e xceptionally

good, th e work beautifully finished , th e

wood and varnish leaving nothing tob e de sired ; they gre atly re semble th ework of Amati and are often sold assuch . His instruments de servedlyfe tch ve ry high price s . Labe ls : France sco Rugier (or Ruge r) de tto il For inCremona , 1686 similar one s are

dated 1645 , 1665 ,and 1697. Rugier or

Ruge r is th e Cremona patois rende ringofRugge ri th e word P er

” is similarlyth e equivalent of Pero . France sco

RUGGER I— SALOMON . 79

Rugge ri de tto il P er Cremona , 1671 .

Three violins are known dated 1684 .

Ruggeri (Rugie ri Giacinto GiovanniBattista , son 0 France sco Ruggeri ;b . in Cremona . His work is similar tothat of his father, but has not th e samevalue ; h e made several v iolonce llos oflarge patte rn , rather arched , generallyof plain wood and with dark brownvarnish of good quality both th e

sound - hole s and th e scroll were cutwide r than in Amati work . Labe l , “Giacinto filio di France sco Ruggeri de tto ilP er 1696 another was dated 1692 .

Rugge ri (Rugie ri) , Guido . Worked inCremona about 1720 .

Rugge ri (Rugieri) , Pie tro Giacomo andGiovanni Battista . Both working inB re scia about 1700 - 25 .

Rugge ri (Rugieri) , Vincenzo , son ofFrance sco Rugge ri . W as working inCremona about 1700-

50 , is also said to

Sacch in i , Sab attino . A make r in Pesaroin 1686 . Labe l : Sab at tino Sacch in i

da Pe saro , 1686 .

Sacquin . A make r in Paris about1830

- 60 . His instruments are we llmade , e specially th e double -basse s ; th eoil varnish is of good quality ; h e generally followed th e Stradivari pattern .

His name is branded on th e back inth e inte rior . Labe l : Sacquin , luth ier,rue Beauregard

,14 , aParis , 185

Sain p ra ,Jaque s . A make r in Berlin in

th e 17th century . A viola di bordone ,

or baryton,was e xhibited in th e South

Kensington Museum ,1872 .

Sain t - P aul , Antoine . A make r in Parisabout 1765 -

90 . He was son - in - law andsucce ssor of Louis Guersan , and workedat th e sign of Au luth royal in th erue de sFosses - Saint -Ge rmain - de s - Prés ,near th e Comédie Francaise , where , ashis adve rtisement says , il fait e t vendtoute s sorte s d’instrumen ts de musique ,

scav oir ; violons de Cremone violonsde sa facon e t de toute s sorte s d auteursalto - violas , basse s e t contrebasse s ,&c . I n a fiv e - stringed viol , with acarved neck and ye llow varnish , is th elabe l : Antonius Saint -Paul , propeComoediam Gallicam , Lute tiae , anno1772 .

Sain t - P aul , Pierre . A maker in Parisabout 1740 . A violin of that date isknown , also a six - stringed viol datedfrom th e rue St .

-André-des-Arts in 1742 .

In a violonce llo , with ye llow -greyishvarnish , and of rathe r poor workmanship , is th e labe l Pierre Saint - Paul ,rue de la Comédie francoise ,

Paris,

174 1 .

Saj o t . Was working in Paris, 1730 -

35 .

He made his instruments with flatbacks , using varnish of a ye llow- browncolour ; th e workmanship was poor .

Labe l : Sajot . aParis , 1734 .

Sal ino , J . B . A make r in Rome in 1760 .

His instruments were very arched , withvarnish of bad quality , brown shadinginto black in colour th e work not we llfinished . Labe l : “

J . B . Salino fecitRoma , anno 1760 .

Sal le , le Pere . A make r in Paris about1825

-

53 . He made a few violins , whichare very beautiful copie s of Guarne ribut h e was chiefly noted for his cleve rness in repairing old instruments , andhis e xtraordinary knowledge of th e

work of old I talian makers .

Salo. See Gasparo da Salo.

”

Sal omon , Jean Baptiste Deshaye s .

Worked in Rhe ims till about 1747, andthen in Paris at th e place de l’Ecole ;late r h e se ttled in th e rue de l’Arb re - sec

(about He died be fore 1772 , forin that year N amy is mentioned asworking for th e widowed MadameSalomon . He made few violins

,but

they show ‘ good work , and are on asimilar patte rn to those of LouisGuersan , his contemporary ; they have

have worked in Brescia . He mademany altos and violonce llos , th e workis somewhat rough and care le ss .

He was th e last membe r of thisfamily to make violins . He also used“ il Per

” on hi s labe ls , for th e

same reason probably— vi z , to distinguish his work from that of th e

Rogeri of Bre scia . Labe ls : “ Vincenzo Rugie r (or Ruger) de tto il Perin Cremona , 1714 a similar labe l isdated 1720 .

Rupp e rt , Johann He inrich . A make rin E rfurt about 1720. His violins ,altos , and violonce llos were of a ve ryflat mode l , without linings , corne rblocks , or purfling, had a powerfultone , and dark brown - ambe r varnish .

Labe l : “ Johann He inrich Ruppert ,anno 1719 in E rfurt

,

” in a viola dagamba , with neck ending in a beautifully carved female head .

80 SA LSEDO— SCARAMPELLA .

ye llow-brown varnish . A viola d’amoreof his is in th e Paris Conse rvatoireCollection ; h e also made good bassviols . A few of his violonce llos areof e xce llent wood and have a fine

tone , but in others th e varnish ishard and th e tone poor . Labe ls :Salomon , luthie r , a 8 t Cecile , place

de l’Ecole , aParis , 175 1 , and Parisiis

apud Salomonem ad insigne Sta Cmcilia Scolie Palatic , 1752 . He alsosome time s branded his instrumentswith “ Salomon a Paris . His widowcontinued th e busine ss for some timeafte r his death moving about 1788 toquai de la Megi sserie .

S al se do , Luigi . An I talian make r . Abeautiful mandoline of his was made ofrosewood , with fluted back , and inlaidwith mothe r- of- pearl .

Salz ard , F . A make r in Paris .

Sanou i , Giovanni Battista . A maker inVe rona about 174 0 . His instrumentsare much arched , with rose - colouredvarnish they are of good workmanship .

S an tagiulian a , Giacinto . A make r inVenice about 1830 , according to a labe lin a violin : Jacin tus San tagiulianafecit Vene tia , anno 1830 .

San t e . A make r in Pe saro about 1670 .

San te , Giuseppe . Was working in Romein 1778 .

San to , Giovanni . A make r in N aple s ,1700

-

30 . He generally copied Amatihis violins are ,of a small pattern , fairlywe ll made , with varnish of poor quality .

San to S e rafin o , b . at U dine . Workedin Venice about 1710

-

48 . Some ofhis instruments show Ge rman charact eristics , th e sound - hole s and scrollbe ing similar to those of S taine r; buth egenerally followed th e Amati patte rn .

His work shows great ability ; th e

mode l is much arched , th e wood veryhandsome , of small figure ; th e varnishbrilliant , of ve ry fin e quality , of

\

a richred colour , or ye llow tinged with brown ,

but dry and easily cracked ; th e scrollis we ll out , and th e workmanshipalmost as beautifully finished as thatof S tradivari ; th e tone is clear andstrong . A beautiful violonce llo wasexhibited in th e South KensingtonMuseum in 1872 , its tone was ve ryequal and sonorous ; but his doublebasse s are e specially exce llent in tone .

All his instruments are branded withhis name above th e tail - pin . Labe l :Sanctus Se raphin U tinensis fecit

Vene tiis , annoS an z o Sant ino (Santo Sentino) . Amake r in Milan in th e i 8 th century .

He made fairly good instruments his

work is rathe r similar to that ofGrancino .

Sarace ni , Domenico . A maker inFlorence in th e 17th century .

Saraillac ,Francois . A make r in Lyons

abou t 1678- 1712 . I n a six - stringed

bass - Viol , made on a narrow patte rn ,

with brown varnish, was th e labe l :Francois Saraillac aLion , 171 1

little pocke t violin was dated 1679 .

Sardi . A make r of viols in Venice in1649 .

Saun ie r , Edmond . Was a pupil ofLambert , of N ancy , th e Carpenterbut did superior work . Lived inBordeaux , 1754

- 64 ,according to his

violin labe ls , but by 1770 was in Paris ,living first in th e rue Tique tonne , andthen (1775 - 83) in th e rue de s Prouv aire s .

He is be st known for th e beautifulguitars h e made ,

but his violins are

also good . Pie te , th e make r , was apupil of his . In 1889 Was e xhibited inParis a mandoline - alto dated

'

1780

Labe l : Saunier aBordeaux , 1754 .

Sav an i , Giuseppe . Was working inCarpi in 1809 .

Saw it z ki (Sawicki) , N icolaus , b . 1792 ,

Poland ; (1. 1850 . He se ttled in Viennaand made some ve ry good violins .

S caramp e lla ,Ange lo , son of Paolo

Scaramp e lla ; b . June 2 , 1852 ,B re scia .

Was a carpente r by trade , but alsomade guitars of good tone .

Scaramp e lla ,Giuseppe ,

son of PaoloScaramp e lla ; b . Aug . 25 , 1838 , Bre scia .

Pupil of N icola B ianchi in Paris ; 1865 ,

re turned to B re scia . In 1866 went toFlorence to work with Luigi Caste llani ,who though t highly of his ability andgave him much important work to doin repairing old instruments . He re

stored th e viola and th e famousviolonce llo of Stradivari , kept in th e

I stituto Musicale of Florence , and in1884 succeeded Caste llani as Keeper ofth e collection of instruments the re .

He also make s n ew instruments , following th e Stradivari or Guarne ri de lGe su patte rns , which will increase invalue with time ; the ir tone is cle arand strong ; th e work is accurate lyand care fully done h e use s a reddishcoloured oil varnish . Labe l : Giuseppe Scaramp e lla fece in Firenzeanno 188

Scaramp e lla , Paolo , b . Sept 25 ,1803 ,

B re scia ; d . April 7, 1870 . A carpente rby trade , but made many violins ,violonce llos , guitars , and mandoline s .

Scaramp e lla , Ste fano , son of PaoloScarampella ; b . March 17, 1843 ,

Bre scia. Pupil ofhis brothe r Giuseppe .

SCHAEN DL— SCHW ARTZ .

Se ttled in Mantua , at 8 , v ia Ve scovado .

He has made many good violins .

Sch aendl , Anton . A maker in Mittenwald , 1753 . Labe l : Anton Schaendl ,Ge igenmache r in Mittenwald , an .

1753Sch e in le in , Johann Michae l , son andpupil ofMatthaus Friedrich Sch e in lein ;b . 175 1 , Langenfe ld . He followed th elarge Staine r pattern in his violins , butavoided th e exagge rated arching ; hisinstruments are neatly and care fullymade and had a good reputation forthe ir full and pleasant tone ; but theydo not last we ll , th e wood not be ingthick enough .

Sch e in le in ,Matthaus Friedrich , b . 1710 ,

Langenfe ld in Franken (Franconia) (1.

there ,He was a violinist , but

taking great intere st in violin making ,

began by repairing old instruments andfinished by making exce llent new one s .They are much arched , with darkbrown varnish , th e work care fullydone .

Sche l l , Sebastian . A maker of lute s inN uremberg in 1727. One with thatdate is in th e Paris ConservatoireCollection .

Sch e lmaye r, Christian . A maker inCologne . Th e labe l : “ Christian Sche lmayer Musik - I nstrumentenmache r inKoln . No . 602

" was found in alittle pocke t violin .

S chl ick . A make r in Le ipzig .

Schmid t . W as'

working in Casse l in18 17. His instruments are made onth e Stradivari pattern , but th e edge sare larger and th e purfling is notplaced so close to th e side s : h e usedspirit varnish and th e wood is of badquality .

Schmied . Was working in Vienna inth e i 8 th century .

Sch b n fe lde r, Johann Adam . Was working in N eukirchen in 1743 . Labe l :“ Johann Adam Sch bnfe lder Violinmache r in N eukirchen . A 11. 1743 .

Sch on ge r, Franz . A make r in E rfurtin th e i 8 th century . He made fairlygood instruments , of large patte rn ,

ve ry arched ; but th e wood is not thickenough and th e tone is poor .

Sch onge r, Georg , son of FranzSch onge r h e alsoworked atErfurt . He

was a be tte r maker,

than his fathe r ,and le ft some ve ry good violins , madeon th e I talian pattern ; h e was alsoconsidered a clever repairer of oldinstruments .

Schorn , Johann Paul . Worked first inInnsbruck about 1680 -

90 , then inSalzburg about 1696 to 1716 ,

according

8 1

to labe ls so dated found in his instruments . He made exce llent violins ,much arched

,and used a fairly good

varnish . In th e Collection of th e

Ge se llschaft der Musikfreunde inVienna are two instruments , a Polishe ith er dated Salzburg , 1696 , and aviola d’amore dated Salzburg , 1699 .

Labe l : “ Joann Paul Schorn ,H . F .

Musions , auch Lauten und Ge igenmache r in Salzburg . A . 1716 .

S cho t t , Martin . A make r of lute s atPrague in th e i7th century .

Sch i'

i n eman n , O tto . A German make r ,appointed Director of th e School ofViolin Making at Schwerin .

S chulz , Pe te r . A maker in Ratisbon .

In 1854 h e exhibited at Munich thre eexce llent violins , made more afte r aGerman than I talian pattern ; one wasof e specially beautiful workmanship ,

but its tone was not so clear andpure .

S chu s te r Geb ruder. The se brothe rsare th e make rs of e xtraordinarily cheapviolins in Markneukirchen , Saxony ;they are priced at 75s . each ; thoughnot beautiful to look at , they have afairly good tone . Some we re exhibitedin London in 1862 .

S chus te r , Michae l . He is also connectedwith th e business in Markneukirchen ,

Saxony .

Schw art z , Bernard . A French make rwho se ttled at Strasburg about 1795 :h e died in 1822 . His two sons we reboth makers .

S chwart z , George s Frederic , b . April 7,

1785 , Strasburg ; d . there , Dec . 29 ,

1849 ; and Theophile Guillaume , b .

Oct . 13 , 1787, Strasburg ; d . July 29 ,

186 1 , sons of Bernard Schwartz .

Pupils of the ir fathe r , and at h isdeath succe eded to his busine ss , whichbecame “ Frere s Schwartz . Theymade very good violins and violonce llos ; the ir first violin was dated1824 ; be twe en then and 1852 theyturned out about 80 violins and 30

violonce llos . Labe l : “ Frere s SchwartzaStrasbourg 1833 , N o . Theophilewas chiefly conce rned in th e instru

men t making , George s gave his time tomaking bows ; h e gained a we llme rited reputation . His bows are

gen erally marked n ear th e nut withSchwartz , Strasbourg .

S ch wart z Theophile Guillaume , son ofTheophile Guillaume Schwartz ; b .

Sept . 3 , 182 1 . I n 1852 h e succeededto th e busine ss in Strasburg at 2 , placeSaint -Thomas . He was chiefly occu

pied in Irepairing old instruments , but

82 SCHW E I ZER— S IMON I N .

also made new one s , using th e labe l :Schwartz aStrasbourg , 18

S chwe iz e r , Johann Baptist . A maker inBudape st ; b . 1798 ; d . 1 875 . He wasa pupil of Ge isenhof in Vienna . Hisviolins we re made without arching

,

th e workmanship was neatly finished ;h e also made some tenors .

S egh e r, Girolamo , b . 1646 . Was apupil of N icola Amati

,and was

working under him , 1680 - 82 .

S e l l a s , Matteo . Was working in Venice1630

-

40 at th e sign of“ Alla Corona .

I n th e PariS'

Conserv atoire Collectionare two of his arch - lute s and atBologna , in th e Liceo Comunale diMusica , is a large guitar with th e labe l :Matteo Se llas , alla corona in Vene tia ,

1639 . A theorbo was dated 1639 .

S e ni , France sco . A make r in Florencein 1634 .

S e n ta Fabrizio . A make r in Turin .

-An instrument of his is mentioned inth e catalogue made by B . Cristofori(Sept . 23 ,

1716) of th e instrumentsbe longing to th e Duke of Florence .

S eras at i , Domenico A make r in N aple sabout 1710 -

50 . His instruments had agood reputation at one time .

Shaw , John . A maker of viols inLondon

.

in 1656 . Labe l : John Shawatt th e

d

Goulden harp and Hob oy ne reth e maypole in th e S trand , 1656 .

S ian i , Valentino . Said to have lived inFlorence int he 17th century .

S i ci l ian o (Ciciliano) , Antonio . A make rin Venice about 1600 . A tenor and abass viola da gamba are in th e ModenaMuseum , Vienna .

S i c il iano , Gioacchino , son of AntonioSiciliano . W as working in Veniceabout 1680 .

S i lv a , Joan Vie ira da . W as working inLisbon about 1700 . A e ith er is knownof his , inlaid with tortoise she l l andivory , with six pairs of wire strings .

S ilve s tre , Hippolyte , b . Dec . 14 , \18o8 ,

Saint -N icolas - du - Port (Meurthe ) ; d .

Dec . 3 , 1879 , Somme rville r , nearN ancy .

Was first a pupil of B laise at Mirecourt , then ofJ . B . Vuillaume at Paris .

In 183 1 h e j oined his brothe r Pie rre atLyons , and worked with him till 1848 .

On th e death of Pie rre in 1859 h e

again took up th e busine ss , and continned in it t ill 1 865 , when h e transfe rred it to H . Chrétien , his siste r

’sson , and re tired to Somme rville r ,whe re h e died .

S i lv e s tre , Pie rre , brother of Hippolyte ;b . Aug . 9 , 1801 , at Sommerville r , nearN ancy ; d . 1859 , Lyons . W as also apupil of B laise at Mire court , then went

to Paris , first working under Lupotand then _unde r Gand . In 1829 h e

founded th e busine ss in Lyons. Hippolyte was in partnership with him ,

183 1-

48 ; h e afte rwards continued th ebusine ss alone until his death in 1859 .

He copied th e pattern of Stradivariwith gre at ability ; his instruments arealways handsome , owing to th e beautifulquality of th e wood used , and the ir toneis often remarkably good ; th e varnishis ve ry fine and th e work most care fullyfinished , consequently they are in

creasing in commercial value . I t issaid h e made about 350 instrumentsbearing his labe l : “ Pie rre Silve stre a

Lyon ,185 When working with

his brothe r , th e labe l used was :Pe trus e t Hippolytus Silv e stre

'

fratre s

fecerun t Lugdun 183 B ronzemedals we re obtained at th e ParisE xhibitions in 1844 and 1855 .

S il ve s tre neveu . See Chrétien .

S im on . A make r of viols in Lyons ,in rue de la Pomme -Rouge , 1568

-

73 .

Only his Christian name is known , asin all th e documents in which itappears , a blank space is le ft for th esurname ,

which has never been fi lled in .

S im on . Was working at Salzburg in1722 .

S im on ,Claude . A make r in Paris , rue

de Grene lle - Saint -Honoré , 1783 - 88 .

S im on ,P . ,

b . 1808 , at Mirecourt .Went to Paris in 1838 , whe re h e

worked for some months under D .

Peccate then went to th e workshop of

J . B . Vuillaume and remained the retill

,in 1845 , h e started his own busine ss .

On P eccate’s re tirement , in 1847, Simon

succe eded to his busine ss in th e rue

d’Angiv illiers . He was in partnershipwith Henry , 1848

-

5 1 , and afterwardscontinued his work alone , moving late rto rue Saint -Denis , passage Lemoine .

He made most exce llent bows andgene rally marked them with Simon ,

Paris near th e nut .S imon in ,

Charle s , b . at Mirecourt .Was apprenticed to J . B . Vuillaume atParis

,and became on e of his most able

workmen . He then married and re

turned for a short time to Mirecourt .I n 1841 h e se ttled in Geneva , remainingthe re for e ight ye ars ; h e le ft , Sept . ,1 849 ,

to e stablish himse l f in Toulouse .

He sent various instruments to th e

Paris E xhibition in 1855 , amongstothe rs a copy of Giusepp e Guarn eri

of remarkable tone : h e obtained a“ mention honorable . Since then h ehas obtained various awards at othe rexhibitions ,

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84 SOCQU ET~ STA I N ER .

inscription in a little pocke t violin inthe Paris Conservatoire Collection .

Socque t , Louis. A maker in Parisabout 1750 - 80 h e worked at th e signof “ Au Génie de l

’harmon ie . His

instruments are not we ll made . Aviolin and a fiv e - stringed viol dated1755 are known , and an alto of 1769 .

Two othe r labe ls are dated 1765 and1771 re spective ly . He was living inth e place du Louvre , 1775 79 .

S ohn , Walte r . Worked in Vienna . I n

a guitar is th e labe l Walte r“

Sohn inW ien .

”

S ol iani , Ange lo . A maker in Modena ,1752

- 18 10 .

Som e r , N icolas . A make r in Parisabout 1725 -

50 .

Spe ile r . A German make r in th e i 8 thcentury .

Sp ice r , John .

” I t has be en inferred thath e was a make r of lute s and viols inLondon , from a token which isinscribed Joh n Spice r . I n CrownCourt

,in Russe ll Stre e t , 1667

— HisHalf-Peny , with th e device of alute .

Sp ilman , Dorigo . There is a viol of hisin th e Modena Museum in Vienna ; itlooks like the work of a Vene tian ,

andprobably date s back to th e i 6 th century .

Th e so -und hole s are similar to thoseof V . Linarolo , th e scroll looks as if ithad been added at a later date .

Dorigo Spilman is written inside,but no date .

"

S ors an o . See Sursano .

Spre nge r , Anton , b . 1834 ,Mittenwald .

Was the re a pupil of Anton Hornste i

ner , late r worked unde r Tiefenb runnerof Munich , and Kindl and also Fische rin Vienna . He is now e stablished atStuttgart at 23 , Hosp italstrasse . He

make s violins and violonce llos on th eS tradivari and Guarneri patterns

,using

oil varnish of good quality .

S t ade lman n (State lmann ) , Dan1e l Achatius , b . 1680 ; d . Oct . 27, 1744 . Amake r in Vienna who showed greatability in imitating th e Staine r patte rn ;h e used thin varnish of a de ep ambe rcolour th e work is we ll finished .

S tade lman n (State lmann ) , Johann Joseph , son of Danie l A . Stade lmann .

He was a very cleve r make r , whocopied th e S taine r mode l to greatpe rfe ction ; h e worked till 1764 , possiblylate r .

S tadl , Michae l Ignatius . W as workingin Vienna in 1770 . He did fairly goodwork ; and used a ye llow- brown v ar

nish ; h e some time s substituted a lion’shead for the scroll ,

S tain e r , Andreas . Was working inAbsam about 1660 . He made few

violins , if any ; h e is supposed to havemade barytons .

t ain e r, Jacob , son of Martin Staine r andSabina Grafinger ; b . July 14 , 162 1 , atAbsam , near Hall , in th e Tyrol ; d .

the re , 1683 . Little is known of th e firstpart of his life , but there seems to b eabsolute ly no evidence in support ofth e statement that h e went to Cremonato become a pupil of N icola Amati ,married th e daughte r of th e latte r , andafte rwards passed some time in Venice .

A violin with th e inscription : JacobusStine r , cremon ia fecite 1642 ,

whichwas in th e Monaste ry of S tams , isgene rally thought not to b e genuineStaine r work . He would no doubthave studied th e I talian instrumentsused by th e I talian musicians , whoassembled at Innsbruck at th e Court ofth e Archduke Ferdinand Carl

,Count

of th e Tyrol , and this would accountfor his earlier work showing trace s ofI talian influence ; th e thickne sse s ofth e wood and th e disposition of th eblocks and linings be ing similar toCremone se work . Th e old Ge rmanViol -make rs , as is known ,

used nolinings at all , and did the ir dimensionsand thickne sse s by gue ss - work .

Stainer’s instruments soon showedthose distinctive characte ristics knownas Tyrole se h e was practically th efounde r of th e Tyrole se or Germanschool of violin making ; th e largenumber and great exce llence of hisinstruments , all made on th e samehigh mode l , and th e reputation h e

gained in his life time , causing hiswork to b e 00pied in Ge rmany ,

England , and even in I taly . And itwas a long time be fore make rs realisedthat this high mode l was in any wayde fe ctive . An old tradition says thatinstruments dated as early as 1639 are .

known ; if so , they are e xtreme ly rare .

I n 164 1 h e was already se lling hisviolins at th e large marke t - fairs ofHall . On N ov . 26 ,

1645 , h e marriedMargare the Holzhamme r (b . March 10 ,

1624 ; d . in Absam , th e witne sse sbe ing Michae l Pamp erger and HansGrafinge r , th e latte r a re lation of his .

He had nine children , e ight daughte rs ,and a son who died in infancy . In

1648 h e trave lled in' Austria , and

remained for some time workingin Kirchdorf, living in th e house ofSaloman H i

'

i bmer, a Jew . He unfor

tunate ly le ft in deb t'for a small amount

but though , in 1667, when called upon ,

STA I N ER— STA IN ER !

he paid part of it , th e debt seemed togrow rather than diminish , for in 1669it had reached th e sum of 24 gulden ,and in 1677h e made a vain appeal toth e Empe ror for its remittance . I n

spite of this h e had bought (N ov . 12 ,

1666) a house and garden from hisbrothe r- in - law , Paul Holzhamme r , soat that time his affairs were going onwe ll . Though late r the re is no doubtthat money worrie s he lped to throwhim into th e state of profound me lanch oly from which h e suffe red forfour years be fore his death , andwhich ended in his losing his reasonentire ly in 168 1 . Th e ArchdukeFe rdinand Carl had sent for him toInnsbruck

,and Oct . 29 , 1658 , ap

pointed him violin maker to th e Court .Jan . 9 ,

1669 , h e was appointed violinmake r to th e Emperor Leopold I . ;

th e same year h e was imprisoned onsuspicion of be ing implicated in th e

Luthe ran movement , but was re leasedin 1670 . He made an enormousnumbe r of

, stringed instruments of allsorts ; for his violins h e used a particular kind of wood from a tre e calledth e Haselfich te ,

” of which therewe re large quantitie s at Gle irsch ;h e used to wande r from tree totre e tapping with a hamme r untilh e found one which pleased him ,

and was suitable for hi s purpose .

His instruments are small ; th e be llyrise s abruptly from th e edge s toth e foot of th e bridge , and thenkeeps nearly flat ; th e b readth ofthis flattened part is about th e

same as that of th e bridge ; this higharching necessarily rende rs th e tonethin , in spite of th e fact that th e woodis le ft very thick . Th e sound- hole sare shorte r and narrowe r than in

I talian instruments , th e uppe r and

lower turns are comple te ly circular ;th e purfling is also narrowe r and

placed nearer th e edge ; th e scroll issmaller and is particularly round and

smooth , it is some time s replaced by alion’s head , beautifully carved ; th e

side s and back are made of very fine lyfigured maple th e ou tline is extreme lye legant , although th e body is rathe rshorte r and broade r than in I talianwork ; th e work is always beautifully finished ; th e varnish

, of richquality , varie s in colour from a red

mahogany , embrowned by time , to agolden red equal to that of Cremonawork ; th e tone is not powerful , buthas a swee t flute - like sound ; it is notgenerally considered suitable for a

concert - room , but a violin , playedby Sivori , is said to have had acharmingly sympathe tic and unusuallybrilliant tone . His violins were madein thre e different size s , large , medium ,

and small,and are his be st work ; hi s

tenors are not so good , al though one ismentioned as be ing perfection both inwork and in charm of tone . H-isdouble - basse s are of great rarity , onewas in th e Collection of Prin ce MorizLobkowitz at Castle E isenberg , Boh emia . A viola di bordone , dated1660 , is in th e Collection of th e

Ge se llschaft der Musikfreunde atVienna and in th e Paris ConservatoireCollection is a small pocke t violin ,

inlaid with silver , with a fine ly carvedhead of a faun . There is record of hishaving sold a viola bastarda , in 1643 ,

to th e Archbishop of Salzburg , and ofhis be ing again in Salzburg in 1670 ,

when h e sold some violin s the re . Aviola da gamba was dated 1667. I n

1677h e made two splendid violins forth e St . Georgenberg Monastery , butthey were un luckily de stroyed whenth e Monastery was burnt down onJune 2 1 ,

1868 . Th e tradition of hishaving re tired to finish his day s in aBenedictine Monastery afte r his wife ’3death , and having made there sixte ene xquisite violins , ofWhi ch h e pre sentedtwe lve to th e twe lve E lectors and fourto th e Emperor , is quite un true . In

th e Hall Cathedral a violin is p rese rved with th e labe l : “ Jacobus Staine roen ipon tum fecit in Absam ,

which was made for th e Damenstiftin Hall , which was suppre ssed in 1783 .

A violin that be longed to Mozart wasdated 1656 . Staine r had many pupilsand imitators , among them MathiasAlban i of Botzen , Egidius and MathiasKlotz ; the se makers , if they had turnedout a be tter violin than usual , woulduse a Staine r labe l for i t . Th e date ofStainer’s death not be ing gene rallyknown , imitation s are often post - dated .

O ne is known dated 1684 and on e 1729 .

Though at first Stain er’s written labe lswe re care fully imitated , late r on printedlabe ls we re used with th e date 16

or 166 so that figure s could b e addedin writing . The se prin ted labe ls mayalways b e taken as a sure sign of copie sor imitations ; labe ls are rare ly foundin genuine Staine r instruments , butwhen there , they are always writ ten , notprinted : “ Jacobus Stainer in Ab somprope ( En ipon tum , fecit 1647. Reallygenuine instruments , whe ther violins orviolas , though at one time much

86 ST A IN ER— STRAD IVARI .

depreciated , are now steadily increasing in value , a fin e viola havingrealised ove r 100 . His brothe r Paulwas not a violin make r .

S t ain e r , Marcus , brother and pupil ofJacob Staine r ; h e worked in Laufen ,

Austria . He was a maker of moderateability , who , afte r his brother

’s death ,

made poor imitations of his work,with

labe ls care fully copied from those ofJacob , thus giving rise to th e impre ssionthat Jacob was some time s very care le ssin his work . Th e famous Florentineviolin playe r , Veracini , had two violinsthat h e much valued , they werechristened “St . Pe te r ” and St . Paul ”

unluckily Veracin i was shipwreckedsailing from London to Leghorn in1746 , and both th e violins were lost .His instruments are rare ly me t with ;they are made of fin e wood , th e

pattern of large size , with dark varnish ,

th e tone swee t but not powerful ; aviolin is f known dated 1683 , and aviola , which is said to have a beautifultone , has th e written labe l : MarcusStaine r , Burger und Ge igenmacher inK iifste in , anno 1659 .

S tainmis t , Jacob . A make r in Mayencein In a viola d’amore , withfourteen strings , was th e labe lJacobus Stainmist Ch i

’

i rfi'

i rstl . Maynt z l Hof Lauten und Ge igenmache r ,

No . 5 .

”

S tan z a , Giuseppe , b . 1663 in Venice .

I n 168 1 was a pupil of N icola Amatiat Cremona .

S tat e lman n . See Stadelmann .

S tat le e , Anderl . W as working in Genoaabout 1714 . W as a pup il of Girolamo ,son of N icola Amati .

S t aube . See Straube .

S tauffe r , J ohann Anton . A make r inVienna in th e 18 th century . In aguitar was th e labe l : Joh . AntonS tauffer , W ien .

”

S tau t inger, Matthaus W ince slaus . Amaker of viols and lute s i n W i

'

i rz burgin 16 17. I n a lute was th e labe l :Matthaus W ince slaus Stautinger mefecit W irceb erg,

S teffan i , Carlo . A make r of mandoline sin Mantua about 1712 . Labe l : CarloS teffani fece l’anno 1712 in Mantova .

”

S t egh er (Stregner) , Magno . A make r oflute s at Venice in th e 17th century .

In th e Liceo Comunale di Musica ,Bologna , was a lute with th e in scription : Magno Stegh er in Vene tia .

”

S te in inge r , Francois . A maker in Parisin 1827. He made exce llent in struments , th e work finished with care ,

the varnish offine quality . In 1887, at

a sale in Paris , two violonce l los of hissold for £ 16 and £26 re spe ctive ly .

Labe l : “ F . S te ininge r , Paris ,S te in in ge r, Jacob . A make r iii Frankfort about 1775 . N icholas Diehl wasa pupil of his . He married th e daughterof th e violin maker Dopfer .

S t irba t (Stirrat) , David . Was workingin Edinburgh about 18 10 - 15 . Hisinstruments we re con sidered good .

Labe l ! “ D . Stirbat fecit Edinburgh ,

18 12 .

S t orion i , Lorenzo , b . 175 1 , Cremona ;(1. there , 1799 . W orked at 3 , ContradaColtellai . He was on e of th e late st , ifnot th e last , of th e ce lebrated makersof Cremona , and his instruments ,though of great merit , show signs ofdecadence in th e art . They are oftentaken for th e work of Guarneri de lGe su, whose pattern h e imitated withgreat ability . His violins are handsome in appearance , slightly arched ,

th e wood of th e be lly ve ry fine , thatof th e back rather plain ; th e varnishis ve ry dry , of a deep ye llow colour ,with a reddish tinge ; th e tone is full ,rich , and silve ry ; th e sound - hole s arevery se ldom cut in two instrumentsalike ; th e work is not finished withmuch de licacy ; th e narrow purfling i sroughly done ,

and th e scroll has notmuch finish . His violins are highlythought of in I taly , and are rising invalue ; for many years Vieux temp splayed on a very beautiful one . He

did not begin to sign them till 1776 ,

and none are known after 1795 . N o

tenors are known , but hi s violonce llos ,which are rare , have a powe rful tone .

Labe ls : Laurentius Storioni fecitCremonae , 1789 , and LaurentiusStorioni re staurav it Cremona ,

S t o s s , B e rnard and Martin , b . in Fussen ,

Bavaria ; worked in Vienna about 1824 .

The ir instruments are not arched and

are we ll made , but have poor varnish ;S t o s s , Franz . A make r in Fussen ,

Ba

varia , about 1750 -

98 .

tradiv ari (Stradiuarius) , Antonio , sonof Ale ssandro S tradivari and AnnaMoroni . The re is no definite record ofhis birth , but in a violin with a genuinelabe l as follows : Antonius Stradiv arius Cremon ensis facieb at anno1732 , is clearly se en in Stradivari

’shandwriting be low , de anniMr . W . E . Hill had also se en otherdated violins , which led him to be lievethat Stradivari was born in 1649 or1650 . Fétis

’s statement that S tradivari

was born in 1644was based on th e reportof a violin said to b e dated 1736 , and

STRAD IVARI — STRAD IVAR I .

to b e inscribed anno aetatis 92 , but itseems to b e doubtful if h e or anyone e lsehad ever seen this violin . Stradivaridied Dec . , 1737, and was buried Dec . 19 ,

1737, in th e Cathedral of San Domenico ,Cremona , which has since been pulleddown . He was de scended from a veryancient Cremona family , whose name ,

atthat time spe l t S tradiv erdi ,

” appearsin records as far back as 12 13 . Whilestill very young h e became a pupil ofN icola Amati , and was probably withhim till 1667. When Amati died , allhis tools , patterns , and mode ls passedinto Stradivari’s posse ssion . His earlierinstruments bear labe ls ofN icola Amati ,and may b e recognised by th e beautifulscroll or by th e characteristic soundhole s . About 1666 h e used a labe lwith “ N icolai Amati alumnus on it .U p to 1690 th e violins signed with hisname are very similar in pattern toAmati s ordinary full - sized instruments ,and are of high mode l compared tothose h e made late r ; th e wood isgenerally plain , th e purfling verynarrow , th e oil varnish , a more or le sspronounced ye llow colour , but otherwise very similar to that used byAmati , . is of soft and pene tratingquality , and pe rmeate s th e wood tosome depth beneath th e surface theseinstrumentsare known as “ Stradivariusamatise .

” He steadily improved inhis work ; th e mode l become s flatte r ,th e sound -hole s more grace ful , th escroll more striking and original , th e

purfling slightly wider than be fore th e

varnish varie s in colour from richgolden , very soft and transparent , to alight red , equally fine . This thicke rand more lustrous red varnish was whath e subsequently used e xclusive ly . I n

1690 h e began tomake th e violins knownas “ long Strads they are quite unlikeN . Amati’s work ; measurements by e xpe rts have conclusive ly proved thatthe se instruments are quite a quarte rof an inch longe r than his usualpatte rn . The se long Strads wereinspired by Maggin i ; in length of bodyand length of stop they are practicallyth e same as Maggin i

’s violins in his

late st and fine st pe riod . Th e mode llingof th e back and be lly , th e shorte rcorners , th e bolde r and more opensound - hole s all recall Maggin i

’s work .

Th e tone— oi remarkable powe r— hasmuch of th e Maggini quality . Stradivari also made some narrow violins ,dated afte r 1690 , which , though not soin reality , also appear to b e of extralength , owing to the ir narrow patte rn ;

this narrowness is particularly noticeable in th e middle of the instrumentbe tween th e sound - hole s . Th e workis most care fully finished , eve rythingproportioned to th e modification ofform . Th e tone is brilliant andpowerful ; th e varn ish is some time s abeautiful ambe r colour , some time s atransparent pale red . The se instruments are not so uncommon as th e“ long Strads , which h e ceased makingin 1700 , probably because of the irlength causing them to b e difficult toplay . Th e pe riod of hi s fine st workbegan in 1700 , which culminated inwhat was practically pe rfection in 1714 ;th e thickne sse s of th e wood and th e line sof th e patte rn are all de termined withscientific accuracy ; th e varnish

,in

brilliancy of colouring and in de licacyand transparency of quality

,has neve r

since been equalled ; th e tone is splendid , invariably bright , swee t , full ,and equal . Th e wood is chosen withth e greate st care , and is sound andsonorous , th e pine be ing of th e be stquality from Switzerland and th eTrentino ; th e willow (of which th eblocks and linings are made ) takenfrom th e banks of th e Po

,near Cre

mona . Th e arching rise s in gentleand gradual curve s , th e purfling ise xecuted with wonde rful precision ;th e sound - hole s show a master’shand and remain a mode l for all ;th e scroll , of severe character , isexquisite ly carved ; th e whole of th ework (including that of th e in te rior)shows th e most beautiful finish in th esmalle st de tails . A splendid specimenof this pe riod of work is th e so- calledMe ssiah violin , dated 1716 ,

whichwas bought for by Alard

, th e

distinguished violinist , and on hisdeath (1888 ) was sold by Me ssrs . Hillon behalf of th e he irs for Th eworkmanship is perfection th e archingof th e back and be lly exquisite lyproportioned ; th e wood of th e backbeautifully and regularly figured ; th etone strong , me llow , and de licate ; th eglowing ruddy varnish wonde rfullybeautiful , both in colour and quality ;th e sound - hole s most perfectly cut ; th eneck is th e original one ,

but has be enlengthen ed by a piece added at itsj unction with th e upper block of th ebody ; th e scroll is ve ry grace ful ; th ecurve s and outline s extreme ly beautiful .Th e le tters “ P . S . are very distincton th e peg- box end of th e neck ; theyare some time s found on th e violinswhich still have th e original neck ; they

88 STRAD IVAR I— STRADIVAR I .

were th e initials of Paolo , his younge stson , a cloth merchant by trade . Thereis a violin , also made in

‘

1716 , in th eI stituto Musicale of Florence , withth e labe l Antonius StradivariusCremonensis facieb at , anno 1716 . Aviolin , dated 1714 , called th e Dolphin ,

” owing to th e extraordinaryrichne ss and varie ty of tints in th e

varnish , is made of splendid wood ,

and is of perfect workmanship . I t

formerly be longed to Alard , late rpassing into th e hands of Adams for£800 . Th e price s given for Stradivariviolins have risen in a most extraordinary way ; S tradivari himself soldthem for £4 ,

but by th e end ofs

th e

i 8 th century they we re se lling for £ 15or 16 ; a little be fore 1824 Lupot solda violin for 100 , which was conside reda large sum ; in 1875 a violin , dated1714 , sold for £300 , and , afte r 188 1 , fine

violins were sold for or more—4in one case for double that sum . Th e

violin , known because of its pe rfectstate of pre servation , as Th e Maiden

(La Puce lle ) , dated 1709 , fe tched

£885 at a sale in Paris , Feb . 14 , 1878

i t was of beautiful workmanship ,

th e sound -hole s e xquisite ly cut , andth e scroll strong

"

in characte r . Amost perfect specimen of th e earlie rwork of Stradivari was e xhibitedat South Kensington in 1885 it wasmade in 1679 and was bought bySir Samue l He llier , of W omb orne ,

S taffordsh ire , for 40 from th e make rhimse l f about 1734 ; it is of largesize and is on e of th e inlaidviolins

,of which there are only about

twe lve in e xistence . Anothe r inlaidviolin is dated 1687and was originallymade for th e King of Spain . Anothe rviolin dated 1690 , which was originallysold for £25 , next changed hands for

£240 ,then for Violins sold

at sale s do no t , as a rule , fe tch suchhigh price s one was sold at ,Christie’sfor £290 ; that was in 1 872 , and it isnow valued at Th e Ame s ”

S trad . ,a beautiful v iolin , in e xce llent

pre se rvation , was sold at Puttick andS impson’s in 1 893 for £860 ; but thiswas a record auction - room price .

Stradivari only made a few violas , theyare of a large pattern , and th e qualityof the ir tone is most rich , pene trating ,and sympathe tic . A very fin e violadated 1723 was in th e Janze Colle ctionone of th e most beautiful known —th e

Viola Medicea— dated 169 1 , is in theI stituto Musicale of Florence ; i t is oflarge size , and is intere sting as showing

that , at th e time h e made it , Stradivariwas not ye t experienced enough tomake th e thickne ss of th e upper platesufficient in proportion to th e size ofth e instrument . When th e viola wasrecently taken to piece s , i t was foundthat S tradivari himse lf had strengthened (doubled with n ew wood) th eparts originally too much thinned ;that only S tradivari himse lf hadtouched th e work was proved by hisinscribing it with th e words Corre ttoda me Antonio Stradivari .” One violais mentioned as having th e back madeof poplar ; it had a most beautiful toneand showed most de licate ly finishedwork . Few of his violonce llos are inexistence ; they we re made on twopatterns , one large , one small ; th elarge instruments are now as scarce asth e large violas ; they have an enormously powe rful tone , but it is perhapsmore difficult for performers to playon them owing to the ir size . One ofthe se large violonce llos was in th e

posse ssion of Profe ssor Servais , of th eB russe ls Conservatoire ; th e tone wasof silve ry swe e tne ss , combined withextraordinary power . A magnificentinstrument dated 1720 , which be longedto Signor Piatti , th e great violonce llist ,was known as th e red

” ’ce llo ,owing to th e very rich colour ofits varnish . Th e immense superiorityof S tradivari’s violonce llos to allothe rs , owing to th e e xce llent choiceof wood , th e corre ctne ss of th e thickne sse s , and th e accurate proportionsof th e whole instrument , which re sultsin a tone unequalled for fulne ss ,brilliancy , and powe r , cause s them tofe tch e xtraordinarily high price s , if, byany chance , one come s into th e

marke t . Th e smaller violonce l los aretoo narrow ; in proportion to th e

length ,violonce llos require a greater

he ight in th e side s than violins do ;Stradivari omitted to take this into

‘

account , and thus some time s madeinstruments which have a thin qualityof tone , which is only to b e improvedby increasing th e he ight of th e side s .

A ve ry beautiful specimen of thissmall patte rn forme rly be longed toDuport

,then to Franchomme , who

sold it for On e of th e fine stknown

,forme rly be longing to Alexandre

Batta , of Paris , who paid £440 for it ,was made in 1714 , and is in e x ceptionally good pre servation , without _

a

crack,and with no trace of any repairs ;

i t was bought by Me ssrs . Hill , in 1893 ,

for This same firm of violin

STRAD IVARI— STRAD IVAR I .

makers also had one dated 171 1 , whichthey priced at A violonce lloin most perfect pre se rvation , dated1689 , was bought by Profe ssor De lsart ,of th e Paris Conse rvatoire on Feb . 3 ,

1887, at a sale for £800 ; it is e speciallyremarkable for th e beauty of its wood ;its equal is perhaps only to b e foundin th e violonce llo , dated 169 1 , whichis in th e I stituto Musicale of Florence ;i t is of very large size ,

and th e workmanship is absolute ly perfe ct . A greatmany of th e violonce llos dated be twe en1698 and 1709 have th e backs made ofpoplar-wood . A very beautiful violonce llo which was ih Madrid , dated1725 , was more arched than that ofFranchomme ; th e wood was p ine ofe xce llent quality , th e side s of fine lyfigured wood th e brilliant red varnish ,

on an ambe r golden ground , was veryde licate and transparent ; th e wholeinstrument was in perfect pre se rvation .

Stradivari ' s double - basse s are rare ;Dragone tti had one ; Count LudovicoMe lzi had anothe r , a very fin e spe cimen ; it was on a broad patte rn , ve rymuch arched ; th e lowe r corners of th emiddle bouts are rounded off, apparentlyto avoid injury . Two things strike oneabout th e work of Stradivari— th e e xtraordinary numbe r ofinstruments that h emade and the ir great exce llence ; itis said that the re are no le ss than athousand of his violins

,violas , and

violonce llos ; h e lived to a great age ,

and worked ince ssantly all his life .

I n his time , viols were still be ing usedin orche stras : h e made many with sixstrings and with seven strings , alsofiv e - stringed viols with flat back , highside s , and arched be llie s . Viols , bassviols , violas da gamba are known withth e backs made of poplar-wood . Aviola d’amore , with th e usual six gutstrings and six wire strings , is dated1716 . A mandoline , dated 1700 ,

whichformerly be longed to J . B . Vuillaume ,

was remarkable for th e finish of th eworkmanship and th e beauty of th evarnish th e head was most de licate lycarved . A b arp is also known made byhim . A guitar in scribed on th e backof th e p eg

- box , “ Ants StradivariusC remonen s F . 1680 , was supposed tob e th e on ly one made by him but th eParis Conse rvatoire claims to haveanothe r in th e Collection the re . I n

th e same Collection is a beautifulfragmen t of th e head of a viola dagamba and also a kit of large size ,

dated 1717, signed by Stradivari , whichhas a grace ful scroll , th e sound -hole s

e xce llently cut , and varni sh of wonderfully de licate and brillian t quality . Aviola da gamba , “ alla gobbahunchbacked) , made in 1684 forCounte ss Cristina Visconti , had the

violonce llo scroll and sound -hole s ;double - basse s had long be en madewith violonce llo sound -hole s , butStradivari was probably th e first make rto effe ct this improvement in th e violada gamba . I t is inte re sting to n oticehow , even in his life time , Stradivari

' sinstruments trave lled all ove r th e

world , his reputation was so great .On Sep t . 8 , 1682 , Miche le Monzi , abanker in Ve n ice sent him an orde rfor a se t of Violins , tenors , andviolonce llos ; the se instrumen ts wereafte rwards sent as a pre sent toJame s I I . , of England . In 1687 h e

made a se t of in struments for th e

Spanish Court , inlaid with ivorypurfling, and with beautiful scroll -workrunning round th e side s and head .

Some of the se fine in struments , richlyornamented with small figure s , flowers ,fruit , arabe sque s , inlaid in ebony orivory , executed with th e greate st skill ,are still in e xistence , as we ll as th e

tools which h e used and th e originaltracings of his de signs . In 1690 h e

finished making a concerto — v iz . ,

two violin s , one small and one largetenor , and one violonce llo , for th e GrandDuke of Tuscany . One of th e tenorsis in Florence and is inscribed on th e

inte rior of th e upper plate ,

“ Prima20 ottobre 1690 p er S . A . da Fiorenza .

I n 1707h e made six v iolins , two tenors ,and one violonce llo for th e privateorche stra of Archduke Charle s ofAustria . In 1715 h e made twe lveviolins for th e private orche stra of th eKing of Poland (E le ctor of Saxony) .Th e in struments , re lative ly few in

numbe r , made by Stradivari be twe en1730

-

37vary a good deal in characte r ;some are ve ry fine and of beautifullyfinished work , but othe rs do not attainth e same pe rfe ction ; they are morearched , re sulting in a le ss brilliant tone ,

th e de licacy and fin ish of th e work haschanged , th e scroll is heavie r , th e

varnish is some time s a brown colour ,like that used by his sons for the irinstruments ; the re is no doubt that ,afte r his death , much of h is unfinishedwork was comple ted by his son s or byhis pupil , Carlo Be rgon zi , labe ls be ingused with S tradivari

’s name on them .

Instruments that were made simplyunde r his direction are inscribed subdisciplina S tradiuarii ,

” in very small

90 STRAD IVAR I— SURSAN O .

type . Many of his pupils became ce leb rated make rs , such as Carlo B ergonzi ,Ale ssandro Gagliano , Lorenzo andGiambattista Guadagnini , &c. Stradivari had married ,

July 4 , 1667,France sca Ferrab osch i (b . 1640 ,

th e

widow of Giovanni Giacomo Capra) ;sh e died May 25 , 1698 Sh e had sixchildren , of whom four we re sons :France sco , b . Feb . 6 ,

1670 , (1. sixdays later ; France sco , b . F eb . 1 , 1671 ,

h e worke d with his fathe r and d .

May 1 1 , 1743 ; Ale ssandro , b . May 25 ,

1677, h e became a prie st and d .

Jan . Omobono , b . N ov . 14 ,

1679 , h e worked with his father andd . July 8 , 1742 . On June 3 , 168 0 ,

S tradivari purchased from th e B rothersPicenardi , for about £280 , th e houseformerly known as 2 , piazza San

Domenico , now as 1, piazza Roma ; it

was there that all his famous work wasdone . He married his second wife onAugust 24 , 1699 , Antonia Zambe lliJune (1. March 3 ,

had fiv e children , of whom four weresons : Gio . Battista Giuseppe , b . N ov .

6 , 1701 , d . e ight months late r ; Gio .

Battista Martino , b . Nov . 1 1,1703 ,

d .

N ov . 1 , 1727; Giuseppe , b . Oct .

be came a prie st and d . N ov . 29 ,178 1 ;

Paolo , b Jan . 26 ,1708 , d . Oct . 19 ,

1776 . Stradivari is de scribed as a tal lthin man , ince ssantly working , in hiswhite leather apron and h is white caph e made a great deal of money , for inhis time ricco come S tradivari ” (richas Stradivari) was quite a prove rb inCremona .

S tradivari , France sco , son of AntonioS tradivari b . Feb . 1 , 1671 , Cremonad . May Was a pupil of hisfathe r and worked in his workshopuntil Antonio’s death ; h e then cont inued to work with his brothe rOmobono . He made seve ral violinsand violas , in which h e placed his ownlabe l , froni about 1725 to 1740 ; l nswork shows th e e xce llent school inwhich h e had been trained , and hasgenuine me rit , but is much infe rior tothat of his fathe r . Th e varnish isve ry beautiful , though quite diffe rentto that of An tonio , i t is of brownishhue ; th e scroll is heavy , th e worknot ve ry care fully finished

,but th e

tone rich and pene trating . Labe l :Franciscus Stradivarius Cremo

nen sis filius An ton ii facieb at , anno17423

S tradivari , Omobono , son of Antonio ;b . N ov . 14 , 1679 ; d . July 8 ,

1742 . He

worked with his brothe r France sco inhis fathe r’s workshop ; th e labe l the yused was inscribed sotto la discip lina d

’A . S tradivarius , Cremona.

But h e made few n ew instruments ,and chiefly occupied himse lf in re

pairing old one s . Labe l : Omob onus

S tradiuarius filius An tonu Cremonae

fecit , annoS traub . TWO labe ls are known , th eon e : S imon S traub von Friedenw e ille r, 1706 , in a viola bastarda oflight and de licate workmanship ; th eothe r : Mathias Straub z u Friden

wille r auf dem Schwart z wald , annoI 7

— "i

S traube (Staube ) . A make r in Berlinabout 1770

-

75 . His instruments are

se ldom se en , but they are of goodworkmanship , made on th e Cremonapatte rn , with ambe r - coloured varnish .

He was an e xce llent repairer of oldinstruments .

S trau s s , Joseph . A make r in N eustadtabout 1745 -

50 .

S trn ad , Caspar , b . in Bohemia about1750 . He se ttled in Prague andworked there , 178 1

—95 . His violins

and violonce l los show good work , th esound- hole s are generally small andwe ll - cut

, th e varnish a ye llow—che stnutcolour ; his guitars also we re muchliked . Labe l : “ Caspar Strnad fecitPragae , anno 1789 .

S trobl , Johann . A maker in Halle in inth e 18 th century .

S trong , John . A Viol of his , of peculiarshape , with double purfling, was e x

h ib ited in th e South KensingtonMuse um in 1872 . Th e old head andneck had be en replaced by th e workof one of th e Banks , of Salisbury .

Labe l John Strong , Somme rse t ,16

S t urge ,H . I t is doubtful if h e eve r

made new instruments , but h e ce r

fainly repaired old one s ; in 18 1 1 h e

was l iving in B ristol , but in 1853 wasse ttled in Hudde rsfie ld .

Sulo t , N icolas . A make r in D1jon ,1825

-

40 . I n 1839 h e took out a patentfor an echo ” violin

,made with three

plate s instead of two .

Sursan o (Sorsano) , Spiritus . A make rin Cuneo about 1714

-

35 ; th e little ofhis work that is known , is .v ery inferior.

Labe l Spiritus Sorsano fecit Cune i ,1734 .

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92“

TESTORE— TH I PHAN ON .

arched ; th e varnish is dry and of abrownish - ye llow colour ; th e tone isgood , some time s ve ry powerful andpene trating . For his violonce llos h egenerally used pear- tree wood for th ebacks and very fin e wood for th e

be llie s ; th e t one was very powe rful .When th e we ll - known Lindley Grancino violonce llo was repaired in 1884 ,

th e removal of th e Cremona labe lexposed th e original labe l in goodpre servation , as follows : CarloGiuseppe Te store allievo di Gio . Grancino in Contrada Larga di Milano ,

A double - bass of his wasplayed on by th e ce lebrated Botte sin iat concerts ; it had a splendid tone .

Labe l : Carlo Giuseppe Te store inContrada

.

larga di Milano al segnode ll’aquila , He had two sons ,Carlo Antonio and Paolo Antonio ,b oth

'

v iolin makers .T e s t ore , Giovanni , son of Carlo AntonioTe store , q .v .

T e s t ore , Paolo Antonio , second son ofCarlo Giuseppe Te store and th e lastmake r of this name . First workedwith his brother , Carlo Antonio , butseparated from h im about 1710 , andcontinued working alone till about1760 . He made a great many instruments , but did not do such good workas his father ; th e varnish is lighte r ,a ye llow colour and of inferior quality .

Few of his v iol1ns are known,they are

not much arghed , without purfling,

and follow th e Guarneri patte rn . He

made many good lute s and guitars , th elatter

,e specially , be ing some of th e

most beautiful known . Labe lsPaolo Antonio Te store

,Milan

, 17and Paolo Antonio Te store figlio diCarlo Giuseppe Te store in Contradalarga di Milano al segno de ll’aquila ,1759 .

T e t z n e r. S ee Kuh lewe in .

T h e re s s . S ee Charle s .

"

Th erio t, J . B . A make r in Paris in 1783 .

T h ib ou t , Aimé Justin , b . Feb . , 1808 .

He worked till 1862 at Caen .

T h ib ou t , Albert , son of Gabrie l AdolpheTh ib out ; b . April 27, 1839 ; d . Dec .

25 , 1865 . A maker in Paris,who

succeeded his uncle , Gabrie l Eugene ,

as “ luthie r de l’Opéra ,

” and wassucceeded in his turn by th e BrothersGand .

T h ib ou t , Gabrie l Adolphe ,son of Jacque s

Pie rre Th ib out ; b . 1804 , at Paris ; d .

the re , June 14 , 1858 . He assisted hisfathe r a long time and finally took th edirection of th e busine ss in 1838 . Hisi nstruments are good , though th e

(Dw.

work is not equal to his father’s ; th ebacks are generally of on e piece , th e

varnish a red- brown colour . His sonAlbert was also a maker .

T h ib ou t , Gabrie l Eugene , son ofJacque s Pie rre Th ib out b . June 1 1 ,

1825 , at Paris . Succeeded his brother ,Gabrie l Adolphe ,

as luthier de

l’Opéra in Paris . I n O ctobe r , 186 1 ,

le ft Paris and se ttled in Boulognesur-M er.

T h ib ou t , Jacque s Pierre , b . Sept . 16 ,

1777, at Caen ; d . Dec . 4 , 1856 , atSaint -Mandé , near Paris . First workedat Caen , then , in 1796 , unde r Koliker

at Paris ; was married in 1800 , and in1807 e stablished himse lf at 24 , rue

Montmartre ,after 18 10 moving to

8 , rue Rameau . He was a remarkablemaker and his in struments are muchliked his violins soon came into notice ,

for by a certain treatment of th e side sh e gained an improvement in th e

pattern which produced an exce llentquality of tone . Th e price variedfrom £10 to £14 , re lative ly high forthat period , but greatly be low the irpre sent value . Th e workmanship andvarnish we re so beautiful that hisinstruments will bear comparison withth e be st I talian work two magnificentviolins of his show peculiar richne ss ofcolouring in th e varnish— a red on anambe r ground . He was awarded asilve rmedal , 1827 a silve r medal , 1844and a first class medal at th e ParisExhibition in 1855 for an exce llentviolonce llo . Labe l : “ N ouveau procédéapprouvé par l

’Institut . Th ib out ,

luthier du roi , rue Rameau . no . 8 , a

Paris ,T hibouville—Lamy , Jerome . A littlebe fore 1867h e became sole proprie torof th e various factorie s at Mirecourth e gradually substituted mechanicalfor manual labour , and while increasingth e number of inst1umen ts made , atth e same time reduced the ir price , sothat at last h e was able to e xhibit atVienna , in 1873 ,

his famous violins at

4s . , 83 and 163 . each . By 1887,

instruments had ' been made by thisfirm . He was awarded a medal , Vienna ,1873 ; medal of honour , Santiago , 1875prize medal , Philade lphia , 1876 ; andgold medal , London ,

1885 . He wasmade Chevalier of th e Legion ofHonour , April 10 ,

1877, and Ofi‘icier,

Jan . 15 , 1892 .

T hin ,Mathias and Georg . Makers of

good instruments in Vienna in th e 18th

century .

Th iph anon . See Tiphanon .

TH IR— TOB IN

Thir , Johann Georg . Was working inVienna in 179 1 . A violonce llo of goodwork , made on a large pattern , haddark ye llow- brown varnish . Labe l :Johanne s Georgius Thir fecit Viennas ,anno

Thoma s s in . W orked under Clément atParis , rue de s Bons-Enfants , was aclever workman and made good violins .

He signed them with his name about1825

-

45 .

Thompson (Thomson) , Robert . A

make r in London , at th e sign of th e“ Bass -Vi olin ,

" in St . Paul’s Churchyard , about 1749 - 64 . His instrumentswe re made on th e Staine r pattern . He

was succeeded by his sons , Charle s andSamue l , who worked about 1775

- 85 .

Labe ls : “ Robert Thompson att th eBass -Violin in Paul’s ally , S t Paul

’sChurchyard , London , 1749 , andMade by Thompson and Son at th e

Bass-Violin , th e we st end of S t Paul’s

Churchyard , London , Th e

printed labe l (two we re dated 1775 and1785) is , Made and sold by Chas . andSaml . Thompson in S t Paul’s Churchyard . I n th e musical directory of 1794we re also mentioned Samue l and Pe terThompson , instrument makers in St .

Paul’s Churchyard .

T h orowgood , Henry . A maker inLondon in th e 18th century . Printed1ab e1! Made and sold by HenryThorowgood at th e Violin and Guitarunde r th e N orth Piazza of th e RoyalE xchange , 17 London .

”

T h umh ardt is mentioned as working inMunich and Straubing in th e 18 thcentury . His work was similar to thatof Buch stadter.

T ieffe n b rii cke r (Tiefemb rucker) , Leo

nardo . A maker of beautiful lutes .He was a member of th e family be tte rknown by the ir I talian name ofDuiffoprugcar, and worked in th e 16thcentury . He may possibly have beena son of Gaspard Duiffoprugcar.

T ieffe n b rii cke r, Magnus . See Dieffo

pruch ar.

”

T ie ffen b rficker (Tiefemb rucker) , Vende lino Venere . I s supposed to havebeen a son of Leonardo T ieffen b rucker,according to th e inscriptions found insome of his lute s . Worked from about1572 to 16 1 1 ; his lute s were ce lebrated .

An ivory lute was inscribed Vende lio

Vene re Padova , a lute in th e

Modena Museum , Vienna , was labe lled“ I n Padova Vv endelino Venere de

Leonardo Tiefemb rucker, 1582 anarch- lute in th e Collection of th e

Gese llschaft derMusikfreunde , Vienna,

93

similarly inscribed , was dated 1587it was repaired by Martin Stoss in 1832 .

A lute in th e Vienna Hof-Museum wasdated 1595 . One of th e finest lute sexisting is inscribed Vende lio Vene rein Padova , 1600 . Two instruments inth e Modena Museum , Vienna , are inscribed , th e one I n PaduaVende linusTieffenb riicker,

”th e othe r I n Padova

Vv ende lio Venere , A uniqueinstrument , a lyra da gambamounted with sixteen strings and fifteensympathe tic strings , is signed : In

Padua Vende linus T ieffenb ruker, andhas a labe l probably written by th e

maker himse lf : “ Vende linus T iefi'

en

b riiker f. in Fadoua .

”

T ie lke , Joachim . One of a family ofmakers who lived in Hamburg fromabout 1539 to 170 1 . He was ce lebratedfor th e lute s , theorbos , guitars , ande specially th e viols of all kinds whichh e made , of very fine tone , ornamentedwith th e riche st and most varied inlaidwork ; one violin of his is also men a

tioned .,Th e following instrumen ts ,

given in the ir chronological order , areknown : a lute in th e Paris Conservatoire Collection ; a lute known as ach iterna, with th e labe l . JoachimTie lke in Hamburg

, 1539 , in th e SouthKensington Museum , London whichis inlaid with de signs in torto1se sh e ll ,encircling mythological de itie s in ivory ,

richly ornamented with precious stone s .

A guitar dated 1592 , a marve l of richne ss of de sign and beautiful workmanship , is in wonderful pre servation ; abass - viol , dated 1669 , was e xhibited inParis in 1878 ; a violin , dated 1670 , mention ed by Fétis a guitar inscribed onth e back “ Joachim Tie lke , Hamburg ,

a very beautiful viola dibordone be longing to th e Ge se llschaftderMusikfreunde , Vienna , was labe lled ,

Joachim Tie lke in Hamburg fecit ,anno 1686 and a viola da gamba ,dated 1701 , entire ly inlaid with ivory ,with th e edge s , head , and pegs all inivory , th e tai l -piece also charminglyde signed in ivory .

T il ley , Thomas . A maker in Londonabout 1774 .

Tip h an on (Th iphanon ) , Jean FrancoisW orked in Paris , in rue St .

-Thomasdu-Louvre , from 1775 to 1800 .

Labe l : “ Tiph anon . rue St .-Thomas

du -Louvre , aParis , 1780 .

T irle r, Carlo . A maker in Bologna inth e 18 th century .

T obin , Richard . A maker in Londonfrom about 1790 to 1840 . Was a pupilof Perry of Dublin . He did a good

94 TODE SCO— TOURTE .

deal of work for John Be tts . He wasan e xce llent workman , and out mos tb eautiful heads or scrolls to his instrumen ts ; h e usually followed th e

S tradivari or Guarneri patte rns . Th etone of his instruments is good

,and

they are much liked in England . He

died in great pove rty in Shoreditch .

A son of his was also a make r .T ode sco . S ee “ Tedesco .

T odin i , Miche le , b . in Saluzzo about1625 . He lived in Rome , where , in 1676 ,

h e published his Dichiarazione de llagalle ria armonica e re tta in Roma .

”

He made a few violins , but is chieflyknown as th e make r of very ingeniousmechanical musical instrumen ts . He

has been also called th e inventor ofth e double - bass , but there is apparentlynothing to support this assertion .

T olb e cque , Auguste , son of AugusteJoseph Tolb ecque ; was born March 30 ,

1830 , Paris . He was a distinguished“

violonce llist , but also worked at violinmaking unde r Ramb aux , in Paris . He

made a small numbe r of new in stru

ments , and was e xtreme ly cleve r atre storing old one s ; h e collected somefine instruments , which h e sold to th eBrusse ls

,

Conservatoire in 1879 . I n

1858 h e se ttled in N iort , Deux - Sevre s .

Labe l : A te Tolb ecque fils fecit' Parigi ,

anno 18

T on on if'

Antonio . A member of th efamily of * makers in Bologna in th e

17th century.

Tonon i , Carlo,"

son of Fe lice . Firstworked in Bologna , then se ttled inVenice . His instruments vary a gooddeal ; they are generally of a largepattern , not so highly arched as thoseof his brothe r Giovanni , and showbeautiful workmanship ; his varnish ,

somewhat similar to that of SantoSerafino , is a ye llow- brown colour . A

pocke t violin , with beautiful inlaid work ,

was exhibited at Milan , 188 1 , its labe lwas : Carolo Tononus fecit Bononimin Platea Castae tion is , anno Domini

I n a violin in th e Collection ofth e Lyceo filarmonico, Bologna , is th elabe l Carolus Tomoni fecit Bonon iae ,anno Another labe l is : CarolusTononi Bonon . fecit Vene tiis sub tituloS . Ceciliae , anno He oftenbranded his monogram near th e b uttonof th e tailpiece .

T on on i , Fe lice . A make r in Bolognaabout 1670 -

90 . He worked in association with his son Giovanni the irviolonce llos have a great reputation inI taly , and are beautiful instruments , offine tone and carefully finished work

manship th e varnish is a ye llow- brown'

colour . Lab e ls : “ Tonomi di Bolognafecit , anno 1670 , and Tonon i diBologna fece , anno 168

Tonon i , Giovanni , son of Fe lice . W orkedin Bologna till about 1705 . Ve ry fewinstruments of his are to b e found ; h efollowed , and at th e same time enlargedth e patte rn of N icola Amati his workis superior to that of his fathe r . Hisviolins are slightly arched and havevarnish of a beautiful ye llow colour ;th e tone is ve ry fine . A violonce llohad th e following labe l : “ Joanne s deTonon is fe cit Bononiae in PlateaPav iglion is , anno 17 O ther labe lsare Joanne s Tononus fecit Borioniaein Platea Pav aglionis , anno Domini ,

and Joanne s de Tonon is fecitBononiae , anno 17

T op p an i , Ange lo de . A make r in Romeabout 1720 -

40 . His instruments , whichare rare ly se en , are similar to those ofTech ler, but are more arched ; th e

varnish is a golden - ye llow colour , andth e sound -hole s are cut large . Labe l :Ange lus

‘

de Toppanis fecit Romae ,

anno Dn i .T ore l l i . A make r in Ve rona about 1625 .

T oring (Torring) . W as a maker andrepairer of violins in London about1800 .

Tortob e llo ,France sco . A maker in

Rome in 1680 , who followed th e Maggini pattern .

Touly , Claude . In a fiv e - stringed Viol ,with th e uppe r and lowe r plate s botharched , and with ye llow varnish , wasth e printed labe l : Par Claude ToulyaLuneville , 1752 .

T ouly ,Jean . A maker in N ancy about

1730-

47. Labe l : Fait par moy JeanTouly , 5 N ancy ,

T ourte ,Francois le jeune b . 1747,

Paris ; d . the re , April , 1835 . Was ayounger brother of XaverTourte . Fore ight years worked as a watchmaker ,and thus gained surene ss and de licacyof touch ; h e was not educated , andneve r even learnt to read and to write .

He se ttled at 10 , Quai de l’Ecole , and

began to make bows ; for his firste xperiments h e used th e stave s of oldsugar hogsheads from Brazil , butafterwards always se lected fine Per

nambuco wood of perfectly straightgrain

,strong and e lastic , Without

exce ssive we ight . By subjecting thisin a state of fle x ion to a moderateamount of heat for some time , h e

ob tained a permanent and regularb end ' to do this without making th ee x ter1or brittle is always the great

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96 U GAR— VETTER .

U gar, Cre scenzio . A maker in Rome in1790 . His work is Ge rman in characte r ,h e used brown varnish .

U n garin i , Antonio . W as working inFabriano in 1762 .

U nve rdorbe n , Marx . A lute maker inVenice , probably about 1400

-

50 . A

lute of highly finished workmanship ,found in th e Colle ction of instrumentsat Castle E isenberg , Bohemia , wasinscribed Marx Unve rdorben aVene tia .

U rquhart , Thomas . A make r in Londonabout 1650

- 80 ; h e was prob ab lyp a

Va i l lan t (Vaillot , or Vaillaut) , Francois .

A make r in Paris , who , according to hislabe ls , was living in th e rue de laJuiverie , 1736

-

38 , and according to th eold almanacs in rue N .

-D .

- de - bonnenouve l le , 1775

- 83 . His instrumentsshow good workmanship , but th e varnish is : poor . Labe l : FrancoisVaillant , rue de la Juiverie a Paris ,17383

’

Va len t in e , W illiam . A maker inLondon , who died about 1877. He

made some good double - basse s .

V al le r . A make r in Marse ille s in 1683 .

V an de lli , Giovanni . Was working inModena , 1796

- 1839 . His violins arefairly we ll made .

Van derlis t . A maker in Paris , living inrue des Vieux - Augustins , 1788

- 89 . I s

said to have copied th e work of Guadagnini , both in patte rn and varnish ,

with great skill . He branded his nameon his instruments . Labe l : Luthie r ,rue des Vieux -Augustins , pres de l

’égout

de la rue Montmartre , Paris .

V an der S lagmeule n . S ee Slagh

meulen .

V arot t i , Giovanni . A maker in Bolognain 18 13 .

V arquain . A make r in Paris , rue deBussy , about 1742 .

V auche l , Joseph . A maker in Dammabout 1840 ; be fore that date h e wasappointed Court Make r to th e GrandDuke of Tuscany . He e xhibited twoviolins at Munich in 1854 , which hada fine tone , and was awarded th e medalof honour . Horle in was a pupil of his .

Scotchman . His work re semble s thatof Jacob Rayman , with whom h e mayhave worked , and shows great me ritfor th e pe riod at which h e lived . Hisviolins are of two size s , some on asmall , others on a large pattern , veryarched , th e corners not very prominent ,th e purfling narrow and placed close toth e edge ; th e oil varnish , of a ye llowishbrown or some time s red colour , is of e xce llen t quality , and is similar to I talianvarnish ; th e tone is clear and silvery .

His violins and violas are rare , and noviolonce llo of his has been seen .

V e ne re , Vende lino . See Tieffen

b riicker.

V e nz i , Andrea . A make r in Florence in1636 .

V erb rugge n , Theodor . I s known as oneof th e makers in Antwerp in 1641 , by adouble - bass which h e made for use inth e Cathedral .

V erin i , Andrea . Was working in1884 .

V e rle ,France sco . A“ make r in Padua

about 1590 . Labe l : In PadovaFrance sco Verle .

V e rm e s ch , le Pere . Worked at Beaumont - sur -O ise in 178 1 . A violin , veryarched , badly proportioned with paleye llow varnish ,

had th e wr1tten labe lFait par le Pere Vermesch , re l .

minime , aB eaumont - sur - O ise ,

Véron ,Antoine . A make r in Paris in

1740 ,in th e rue de la Juive rie , according

to th e labe l in a fiv e - stringed viol in th eParis Conservatoire C ollection .

Veron ,Pie rre André . A make r in Paris

about 1720 -

50 . His violins show goodwork ; h e followed th e patte rn of theI talian make rs .Ve trin i , Battista . W orked in B re sciaabout 1629 . His instruments are onrathe r a small patte rn , th e wood isexce llent , and th e ye llow varnish offin e quality .

V e t te r, Jean Christophe . Was workingin Strasburg in 1744 , according to th efollowing labe l , found in a double - basswhich was repaired by Marc Snoeck :“ Jean Christophe Ve tter , Strasbourg ,

17442'

V I D— VOGLER .

Viard , N icolas . Was working in Versaille s about 1790 . Labe l : Fait parN icolas Viard aVe rsaille s ,

V ibe rt , J . B . A make r in Paris , 177583 , in rue de Se ine .

V ib re ch t , Gysb ert . A maker in Amsterdam about 1700- 10 .

V illaume e t G iron . In a violin offairly good workmanship was th e

printed labe l : “ Villaume e t Giron ,Troye s , 170Vim e rcat i , Gaspare . A maker in Milanin th e 17th century . I n a mandolineof beautiful workmanship was th e

labe l : Gaspare Vimercati ne lla contrada de lla Dogana di Milano .

V im e rcat i , Pie tro . A maker in Bre sciain th e 17th

’

century . I s thought tohave been a pupil 0f Carlo Tomon i inVenice . His instruments are mucharched , h e followed th e Maggini pattern .

Vinaccia ,Antonio . Th e head of a

family of make rs . He worked inN aple s about 1766 -74 . He made a fewviolins , on th e pattern of Gaglian o ,but also made e xce llent mandoline s ;some of the se are in th e MuseoSpagnuolo (Palazzo degli Studi) ,N aple s , and have th e backs beautifullyinlaid with ivory , mother-o

’- pearl , and

tortoise she ll . Labe l : Antonius Vinaccia , N apoli in Via Con stan tin ii , a .

A similar labe l is dated 1774 .

His two sons , Gennaro and Gae tano ,were also makers .Vinaccia Domenico . A maker of mandoline s in N aple s in 1780 .

V inaccia ,Gae tano and Gennaro , sons of

Antonio . Makers of mandoline s andguitars in N aples about 1776 . I n amandoline ,

beautifully inlaid with tortoisesh e ll , mothe r- o

’- pearl , and ivory ,

was th e labe l : “ Januarius Vinacciofecit N eapoli in rua Catalana , a .

Domini 1776 .

Vinaccia , Giovanni and Vincenzo , sonsof Gennaro . Worked in N aple s about1765

- 85 , making exce llent mandoline sand guitars . Labe ls : “ Joanne s Vinaccio filius Januarii fecit N eapoli allastrada de lla rua Catalana , A .D . 1770 ,

and “ Vincentius Vinaccio filius Januarii fecit N eapoli alla rua Catalana ,A .D .

“ Vincentius Vinacciofecit , N eapoli , Sito ne lla Calata deSp italle tto , A .D .

Vinaccia , Pasquale , son of Gae tano ;b . July 20 , 1806 , N aples ; (1. 188 1 .

Was a maker of exce llent mandoline s ,and was appointed maker to th e Queenof I taly . Was th e inventor of ste e lwire strings instead of th e gut one sformerly used . Be lisario , th e ce le

97

b rated mandoline playe r of Naple s ,always used his instruments .

V in a t t e ,André . A make r of viols in

Lyons in 1568 . He was a Prote stant ,and was murdered in th e St . Bartholomew Massacre ofLyons in 1572 .

Vince nz i , Luigi. A maker in Carpiin 1775 .

V iorillo ,Giovanni A make r in Ferrara ,

1780 . Followed th e Stainer pattern .

Vir, Hieron imo di . A make r in Bre sa ,Sile sia . Labe l : Hieron imo di Virin B re sa .

V irch i , Benede tto , b . 1520 . A mak er ofviols in B re scia .

V irch i , Girolamo , b . 1523 . A make r oflute s and othe r 1nstrumen ts in Bre scia .

V i tor , de . A maker in B re scia in 1740 .

His instruments are similar in appearance to those of Maggini they are ona large pattern and of fine workmanship .

Vitu s de Ange l i s . A maker in Bolognain 1609 .

V iv oli , Giovanni . W as working inFlorence in 1642 .

Vob oam . A family of makers of guitarsand mandoline s in Paris about 1673 to1730 . I n 1770 an allusion is made toan exce llent guitar made in 1675 byth e “ ce lebrated ” Vob oam . A guitardated “ d

’A le x andre le j eune ,

was most probably made by a membe rof th e family . Anothe r guitar is dated1676 , and two beautiful guitars madeby Jean Vob oam. dated 1676 and 1687,be longed , it is said , to Mdlle . de

N ante s , daughter of Louis X IV . Amandoline dated 1682 is in th e MuséeCluny . A guitar inlaid with ivory isdated 1688 , another is dated 1699 . Aguitar , in th e shape of a tortoise ,

withth e body made of tortoise she ll andth e head , fee t , and tail of colouredename l , is in th e Paris ConservatoireCollection ; it is dated 1693 . A bassviol , incrib ed “ Vob oam , 1730 ,

is inth e Collection of th e Conse rvatoirede s Arts e t Métie rs .

Vo e l , E . A make r in Mayence about1840 . His instruments follow th e

S tradivari more than th e Germanpatte rn th e sound- hole s are large , th e

varnish a red- brown colour, th e head

is we l l cut , th e general workmanshipgood .

Voge l , Wolfgang , d . Feb . 17, 1650 ,at

N urembe rg , where h e made instru

ments which were much liked .

Vogl e r , Johann Georg . Was working inW iirz b urg in 1749 . Labe l : “ JohannGeorg Vogle r , Lauten und Ge igenmacher in W urzburg , 17 His son

98 VOGT -V U ILLA UME .

was th e ce lebrated Abbé Georg JosephVogler .

V ogt . A make r of good instruments inVienna , in th e Spiege l -Gasse .

V oi gt , Martin . Was working in Hamburg in 1726 . His work is similar tothat of Tie lke . A bass- Viol , th e backinlaid in ivory , having Apollo , Venus ,Me rcury , and Diana repre sented , wasdated Hamburg , 1726 , and was e x

h ib ited at th e South KensingtonMuseum , London , 1872 .

Voirin , Francois N icolas , b . Oct . 1 ,

1833 . at Mirecourt: d . June 4 , 1885 , at

Paris . Afte r working at Mirecourt , h ewent to Paris in 1855 , and for fifteenyears made bows for J . B . Vuillaume ;

h e obtained as collaborateur amention honorable at th e 1867Paris E xhibition . He separated fromVuillaume in 1870 and e stablishedhimse lf at 3 , rue du Bouloi , whe re h eworked till his death . He had greatability as a bow maker ; h e followed th eTourte patte rn , but made th e head ofhis bow le ss square ; his workmanshipshows wonde rful finish and e legance .

He was awarded a silve r medal at th eParis E xhibition in 1878 , th e onlyprize given to bow-making and someof his bows e xhibited after his death atth e Antwe rp Exhibition we re awardeda gold medal . He branded his bowswith F . N . Voirin , aParis to thiswas added , on those bows exhibited atParis

, 1878 ,

“ Exposition , 1878 . Bowssold by Madame Voirin since h er

husband’s de ath have also beenbranded in th e same way .

Vuillaum efC laude , b . 1772 , Mirecourt ;d . 1834. He is th e first membe r knownof this family of violin make rs , andmade cheap instruments , brandingthem with his name only . He marriedAnne Lecle rc (b . 1767) and had foursons

,all makers JeanBaptiste , N icolas ,

N icolas Francois , and Claude Francois .

They all learnt the ir trade unde r him ,

and th e instruments they made at thattime were branded “ Au roi David ,Paris .”

Vuillaume ,Claude Francois , fourth son

of Claude Vuillaume ; b . March , 1 807,Mirecourt . First worked at violinmaking unde r his father , but late rbecame an organ - builde r . His son ,Séb astien ,

was also a maker .

Vu illaum e ,Jean , b . 1700 ; d . 1740 . A

maker in Mirecourt . I s said to havebeen a pupil of Stradivari , but hiswork shows no sign of it . A violinknown is of very ordinary workmanship th e way in which it is arched is

similar to Maggini instruments ; th esound- hole s are badly cut , th e edge sare too thin , th e purfling painted , anda little de sign in black runs round th ebody ; th e scroll is carved , th e varnishis ye llow in colour ; inside is th e labe l :Fait par moy , Jean Vuillaume a

Mirecourt , 1738 . Although th e

Parisian family of make rs may havede scended from Jean , th e connectionhas not ye t been traced .

Vu illaume , Jean Baptiste , e lde st son ofClaude Vu1llaume , b . Oct . 7, 1798 , atMirecourt ; d . Feb . 19 , 1875 .

at Paris .

In 18 17was employed by Fr . Chanotto make violins on his newly - inventedpattern . Went to Paris , 18 18 ,

andwas a pupil of George s Chanot for twoyears . I n 1821 h e entered th e organfactory of Lete and soon became apartner ; Lete e t Vuillaume se ttledin rue Croix -des - pe tit - Champs in 182

They separated in 1828 , and Vuillaumestarted his busine ss at N o . 46 in th esame stree t , where h e remained fornearly thirty - fiv e years , moving to 3 ,

rue Demours , in 1860 . He tried atfirst to se ll his own new instruments ;but finding that th e demand was allfor Stradivari , Guarne ri , and Amatiinstruments , h e changed his me thods ,and one day produced a splendidStradivari violin , signed by th e greatmaste r and having a fine tone ,

for th esum of £12 O rde rs at once flowed inand Vuillaume

’s fortune was made .

His clever copie s of Stradivari violona

ce llos originally sold for £20 , but allhis fin e instruments have now increasedin value four- fold . I n 1828 ,

having seenand studied a bass- Viol ofDuiffoprugcar,h e began to make instruments in th esame style , with beautiful inlaid workand heads quaintly carved . Th e woodused was of th e fine st quality , obtainedfrom Switzerland and th e Tyrol , andth e varnish , e specially on th e instruments made afte r 1859 , was extreme lybeautiful , no doubt a re sult of th e careand time h e e xpended on th e studyof th e Stradivari varnish . He wasawarded : silver medals at ParisExhibitions , 1827 and 1834 goldmedals at Paris Exhibitions , 1839 and1844 th e only large Council medalat th e London Exhibition in 185 1 andth e only large medal of honour at th eParis E xhibition

, 1855 . Vuillaume wasalso decorated with th e Legion ofHonour . At th e very first e xhibitionof his instruments , in 1834 , th e jury

’sverdict on his copie s of S tradivari andAmati was that not only in external

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100 W EAV ER— W ILLEM S .

double - basse s th e latte r are rare andgene rally have red varnish . His workvarie s ; some instruments are badlyproportioned , with ugly straight soundhole s and brownish - ye llow varnish ;othe rs are we ll made , with thick andbrilliant red varnish but those with darkbrown varnish are to b e pre ferred ;they gene rally have ink - line s insteadof purfling. He also made viols . In

a violonce llo was th e labe l : Madeby Pe te r Wamsley at ye Golden Harpin Pickadilly , London , 1727 a similarlabe l was dated 1733 . O ther labe lsare : Made by Pe te r W amsley at th eHarp and Hautboy in Pickadilly ,1735 Made by Pe te r Wamsley atth e Harp and Hautboy in Pickadilly ,London , 1737 Pe ter Wamsley ,make r at th e Harp and Hautb oy ,

inP icaddilly ,

17London , 5 1 .

W e av e r , Samue l . Lived in London .

Known by his printed labe l , All sortsof musical instruments made and soldby Saml . Weave r on London B ridge .

W e ick e rt . A make r in Halle about1800 .

W e i ge rt , Johann B lasius . W as workingin Linz in 172 1 . A viola d’amo

’

re inth e Colle ction of th e Ge se llschaft derMusikfreunde at Vienna is labe lled :Joann B lasius We ige rt Lauten undGe igenmache r in Linz ,

W e i s z (We iss) , Jacob . A make r inSal zburg about 1733

- 6 1 . Labe l :Jacob W e isz Lauten und Ge igenmache r in Salzburg ,

W e is z , Johann Ambrosius . A maker oflute s in Basle in 1621 . Lab e l : “ JohannAmbrosius We isz in Base l ,

W e nge r , Gregor Fe rdinand . A make rin Salzburg about 1750

- 60 . Labe l :Gregorius Fe rdinand Wenge r Lautenund Ge igenmache r fecit Augusta ,

1750 .

W e nge r . A make r in Padua in 1622 .

W e t t e n enge l , Gustav Adolph . A make rinN eukirchen , Saxony , about 1828 .

He wrote an e xce llent practical treatiseon violin making , entitled : “Vollstandige s , theore tisch-

practisch es aufGrundséit z e der Akustik , Tonkunstund Mathematik und auf die Erfah

t ungen der ge schickte sten italienischenund deutschen Me iste r b egrunde tes

Lehrbuch der Anfe rtigung und Re

paratur aller noch je tzt geb rauch lich enGattungen von italienischen unddeutschen Ge igen (I lmenau ,

W eyman n , Corne lius . Was working inAmste rdam in 1682 .

W idh alm (W ithalm , Le opold . Amake rin Nuremberg a out 1750

- 80 . He

made very skilful imitations of th e

S tainer instruments , th e wood wascare fully chosen , though some time sworked too thin th e varnish ,

a transparent red colour , is of good quality .

Seve ral of his violins have doublepurfling and are branded with hisinitials inside th e work was care fullyfinished . He also made good harps .Labe l in a large alto

,beautifully

made : Leopold Widhalm , Lautenund Ge igenmache r in N iirnb erg,

fecit1777~

W i ghtman , George , on ly known by hislabe l : George Wightman , W oodStree t , London ,

W i lkin s on , of Dublin . See “ Perry .

W i l lem s , Hendrick . A maker in Ghent ,Be lgium , about 1650 - 1700 . An alto oflarge patte rn has remarkably fine

wood used for th e be lly ; th e cornersare prominent and squared at th e ends ;th e sound - hole s , rathe r straight andstiff, are similar to th e B re scian mode l ,or those in a S taine r instrument ; th eneck ends in a lion’s head th e outlineand th e beautiful fin ish could almostb e mistaken for I talian work , but th evarnish is too dry . I t is labe lled .

Hendrick Willems to t Gh endt , 165 1 .

For a bass- Viol made for use in SaintBavon’s Cathedral (Ghent) h e waspaid , on March 28 , 1670 , a sum of £5(Flande rs) . A small pocke t violin ,

with a pentagonal back , with th e neckending in a lion’s head , was signed :Hendrick Willems tot Gh endt ,

I n 1698 h e is mentioned as th e repaire rof th e bass used in th e rood- loft of St .

Bavon . N early all his instrumentshave beautiful wood for th e be lly , butwalnut , lime - tree , or plane - tree wood isfrequently used for th e back and th eside s , e specially in th e case of th e

basse s .W il lem s , Hendrick. A maker in Ghentsome time afte r th e Hendrick alreadymentioned . He made a violonce llo orbass with fiv e strings , labe lled : Heyndrick W illems tot Gh endt , Aviolin , dated 1743 , had th e be lly madeof care fully se lected pine , th e back ofwalnut , and th e side s (very e xceptional)of maple . Many instruments made bythis family have genuine value andshow work of great ability . Th e Amatipattern (e specially that of Antonio andGirolamo) was generally followed . butcharacte ristic touche s we re givenwhich rende r the ir work easily recogn isab le . Th e arching is alwayscorrectly calculated , and th e . woodused for th e be lly care fully se lected .

W I LLEM S— ZA N OL I .

W il lems , Jooris . A maker in Ghentabout 1630 - 65 . Th e first mention ofhim is in August

, 1634 , as player of th ecom e t in Saint Bavon’s Cathedral(Ghent) . His instruments are generallymade of fine ly figured maple -wood ; th ecorners short and thin ; th e sound - hole sare grace ful and more like th e I talianmode l . A tenor- Viol had th e backmade of lime - tree wood and waslabe lled : Jooris Willems tot Gh endt ,

In 1658 h e supplied two violsfor use in th e choir of Saint Bavon .

A violin of small patte rn , with ye llowvarnish , was labe lled : Jooris Willemstot Gh endt , Th e last mentionof this make r in th e Cathedral archive sis in 1662 . His son N icolas , was appointed viol player in th e Cathedral ,Aug . 5 , 1671 .

W il le r . A maker in Prague in th e 18 thcentury .

W i s e , Christophe r . A maker of violsand violins in London about 1656 .

Th e few instruments known are ofsmall patte rn , not much arched , withye llow _

v arn ish of good quality , andare care fully worked . Labe l : Christophe r Wise , in Half-Moon Alley , without B ishops -Gate , London ,

W i the rs , Edward . He succe eded toWilliam Davis’s busine ss at 3 1 ,Coventry Stree t , London , in Dec . , 1846 .

Both Charle sMaucote l and Boullangierworked unde r him at one time .

W i the rs , Edward , e lde st son of EdwardW ithers , b . Oct . 22 , 1844 . Pupil of

Youn g , John . Said to have been amaker of violins and othe r musicalinstruments . He and his son , Talbot ,lived in St . Paul’s Churchyard , at th esign of th e Dolphin and Crown . Th e

son was a violin playe r and assisted infounding th e Castle Concert in Pate rnoster Row in 1724 . Th e followingverse s we re se t to music by Purce ll ,published in th e " Pleasant MusicalCompanion ,

"1726

Zach . A maker in Vienna at 1 ,

Karnthnerstrasse , who make s goodinstruments .Zan e t to , Pe legrino . See Mich elis .

Zanfi , Giacomo .

about 1756- 1822 .

Zanol i , Giacomo .

1740 .

10 1

A maker in Modena

W orked in Padua,

his father and John Lott . Commenced busine ss at 3 1 , CoventryStre e t , London , in 1856 ; moved late rto 22 , Wardour Stree t . He employs noworkmen , and make s about twe lveinstruments p er year , on th e Stradivariand Guarne ri patte rns

,using good oil

varnish , an ambe r colour .W it th alm . See Widhalm .

W i t t ing , Johann Georg . A make r inMittenwald about 1775 . His instruments are fairly we ll made , with adark ye llow- brown varnish .

W ol te rs Jean Mathias . A make r inParis m 1749 . In 1759 the re was inth e Savoye Collection a small sixstringed viol , beautifully made , withdouble purfling and ye llow- colouredvarnish , th e head ornamented withcarving . I t was labe lled : “

J . M .

Wolters fecit Lute tiae Parisiorum, au

faubourg Saint -Antoine , Paris , 1749 .

W orn um ,Robe rt , b . 1742 ; d . 18 15 .

Was first a musicse ller in GlasshouseStree t , and then , from 1777, at 42 ,

Wigmore Stree t , London . He ismentioned in th e Musical Directory ”

for 1794 as a violin and violonce llomaker .

W orte ,Mathias . A make r in Augsburg,

1639 , according to th e labe l found in asmall pocke t violin Mathias Worte ,

Augspurg,

W right,Danie l . Lived in London about

1745 ; is only known by his labe l :Made by Danie l Wright in Holborn ,London .

You scrapers that wan t a good fiddle we l l strung,You must go to th e man that is old while he’sYoung,

But if this same fiddle you fain would p lay bold,You must go to h is son , who’ll b e Young whenhe’s old.

There’s old Young and young Young, both menofrenown ,

O ld se lls and young p lays th e b es t fiddle in town ,

Young and old liv e toge ther, and may they livelong,Young to p lay an old fiddle , old to sel l a new song.

102 ZA N OL I — ZW ERGER .

Zanol i,Giambattista . A make r in

Verona about 1730 ; his instrumentsare roughly finished , they are notarched , and sugge st Ge rman work .

Labe l : “ Joanne s Baptista Zanoli ,Ve rona , 17Zano t t i , Antonio . W orked both atLodi and Mantua . W as in th e latte rtown

'

in 1734 according to a labe l :“ Antonius Zanotus fecit Mantuas ,

anno 1734 .

Zan ot t i , Giuseppe . A make r in Piacenzain th e 18 th century .

Zant i , Ale ssandro . A make r in Mantuaabout 1770 . He followed th e Stradivari patte rn , but his varnish was ofpoor quality .

Zanure , Pie tro . A make r of viols inB re scia about 1509 . One of his instru

ments was e xhibited at th e SouthKensington Museum , 1872 it had oneround sound -hole , placed in th e centre ,with four strings , and was labe lled :Pie tro Zanure , B re scia , 1509 . Few

of his instruments are known ; labe lsare generally : Pe trus Zanure ,Brix iae .

"

Z en at t o , Pie tro . A maker in Trev isoabout 1634 , according to th e labe l :Pie tro Zenat to fece in Treviso , anno

16343’

Zimb e lman n , Filippo . A maker inFlorence in 166 1 .

Z iv erge r (Zwerger) , Anton . A make rat Mittenwald , 1750 . He chose goodwood , used dark ye llow - brown varnish ,and finished his work care fully .

Zw e rger. See Ziv erger .

”

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