Violin tone and violin makers

ABSAM, Thomas.—Wakefield; nineteenth century to about 1850; said to have been of Tyrolese birth. Worked for Pickard of Leeds, and on his own account.

ADAM.—Mirecourt. A family of bow-makers of whom the best was Jean Dominique, who worked to about 1860.

AIRETON, Edmund.—London. Died about 1807. A maker of the style and period of Peter Wamsley. Worked for the dealers, Norris and Barnes.

ALBANI.—Late seventeenth and first half of eighteenth centuries. A family of violin makers originating at Botzen in the Tyrol. The chief maker, and the founder of the family, was Matthias, who was born in 1621, and died at Botzen in February, 1712. Most authorities mention two different individuals named Matthias, but it seems to be established that there was but one. Matthias Albani’s work belongs chiefly to the school of Stainer, but the later and better examples show distinct traces of Italian influence, and are built upon lines more approximating to the Amati school. The arching is much less pronounced than that of older specimens, in which it is often extravagantly high; outline and sound-holes, though never losing entirely their German cut, are more Italian-looking, and the varnish, usually a brilliant red-brown, is either identical in composition with that used by Italian workmen of the period, or closely allied to it. The tone of his better instruments is excellent. The wood used is of good quality and frequently handsome. Examples with lion and other ornamental heads occur. He made violins, tenors, and basses, and the larger instruments are held in high esteem amongst players. Tradition has it that he worked for some time at Cremona or elsewhere in Italy, but anything like tangible evidence in support of this appears to be lacking. His name has been made free with by forgers and imitators, and may be seen in all sorts of worthless fiddles, ancient and modern. Spurious labels, dated in the year 1690, abound. His ordinary label reads, “Matthias Albanus fecit Bulsani in Tiroli,” with date. Other makers of the family were Michael, a son who worked chiefly in Gratz, where he died in 1730; Joseph, a younger son, who assisted him, and died at Botzen in 1722; and Joseph Anton, a nephew, who died at Botzen in 1771.

ALBANI.—Mention is made of makers of this name working in different parts of Italy in the seventeenth and eighteenth centuries. One, named Paolo, is said to have operated in Palermo, Rome, and Cremona.

ALDRIC.—Paris. Eighteenth and nineteenth centuries. Was living in 1843. One of the best of the French makers of the Lupot School. He was also well-known as a dealer. Excellent work and material. Stradivari model, and usually rather dark red varnish. Instruments frequently rather heavy looking in build. He used chiefly printed, but also written labels, and worked in Paris at various addresses. His violins and other instruments have sometimes been relabelled and sold as the work of Nicholas Lupot.

AMATI.—The family name of the founders of the celebrated school of Cremona. Their record as makers begins about the middle of the sixteenth century, or perhaps a little later, and ends in 1740. The pioneer of the family was Andrea, the date of whose birth is unknown, but there is evidence in the Archives of Cremona showing that he was alive in 1611, and buried his second wife in that year. The appearance and general character of his works point to Brescia as the school from which he derived his inspiration, but beyond tradition there is no evidence to prove that Bertolotti (known as Caspar da Salò) was his actual master. Very little of his authentic work is now in existence. A few violoncellos, and some bass and double bass viols survive, and a very few violins of small or three-quarter pattern. A wellknown example of these last was put up to auction in London recently. The arching of the instruments is high, the sound-holes, of Brescian type, are rather wide open, the wood and workmanship good, the backs of the violins generally in one piece cut slab wise. The labels seem to be dated in Roman numerals. It was this maker’s sons, Antonius and Hieronymus, more especially the latter, who produced the type of violin which will ever be associated with the name of Amati. They worked in partnership during their joint lives, but their individual workmanship is distinct; Antonius, the elder brother’s instruments retaining certain Brescian characteristics which were wisely discarded by Hieronymus, who produced examples of great elegance of form, and possessing a tone which for beautiful quality has never since been surpassed. The date of Antonius’s birth has not been discovered, nor that of his death, but it is generally believed that the latter occurred after the year 1640. Hieronymus’s birth-year is also undiscovered, but there is an entry in Cremonese registers, proving that he died of the plague in November, 1630. The violins bearing the label of the firm vary in size, and a considerable number still survive, the larger and rarer specimens, measuring about 14 inches in length of body, being of more value than the smaller patterns. The usual label of the firm is “Antonius & Hieronymus Fr. Amati Cremonen Andreae fil. F. 16....” The brothers are credited by Messrs. Hill, of Bond Street, with having been the earliest makers known to have produced violas of the smaller dimensions, measuring about 16¼ inches long, which is now accepted as the standard length for the viola. Their violoncellos were of large size—well over 30 inches long—but appear to have been all, or almost all, reduced, to fit them for modern playing. In the violins slab backs in one piece are frequently seen, but many of them, especially those of later date, have jointed backs, the wood of which is cut “on the quarter.” Numbers of labels exist or are cited in books, bearing dates long after the deaths of both brothers must have occurred. No very satisfactory explanation of this seems to be forthcoming unless we assume that Niccolò Amati, the son of Hieronymus, and the most celebrated maker, continued to use the style and tickets of the firm for a long period before finally adopting his own label. We may now turn to Niccolo Amati, who was born in Cremona on December 3, 1596, and died there on April 12, 1684. An earlier Niccolò is mentioned as having been a brother of Andrea, and the name has been copied time and again by successive compilers of lists of makers. Nothing whatever appears to be known of such a person, and there is no good reason for supposing that he ever existed. Niccolò, son of Hieronymus, closely followed his father’s pattern and teachings for a considerable time, and does not seem to have begun to use the ticket with his own name until about 1640, by which time he would be forty-four years of age. He made violins of varying sizes, the ordinary type being about 13⁷/₈ inches long. His sound-holes are generally similar in design to those of his father, but in later work the opening is frequently rather wider, and the angle at which it is set in the instrument a trifle more slanting. He also extended the arching in some of his work, carrying it nearer the sides, and somewhat diminishing the grooves running around these. The term “Grand Amati” which is associated with his name was at one time well understood to apply to a type of violin 14 inches long, with rather produced corners, and a somewhat sudden dip beginning not far from the centre of the back and belly, forming in fact a distinct ridge in the long axis of the instrument. But the term “grand” appears nowadays to be loosely applied to almost any Niccolò Amati violin of somewhat larger size than the ordinary pattern above mentioned. In addition to greater length measurement, the Grand Amati exhibits considerably greater width, which is especially noticeable in the upper portion of the body. On these large violins the enhanced fame of this great maker chiefly rests, and their money value is much greater than that of the smaller forms. They are very scarce, and there is strong reason to suppose that some of the few which exist were largely, if not altogether, the handiwork of pupils, amongst whom may be mentioned Andrea Guarneri, although that maker in his own signed work does not very often follow that pattern. It has been adopted with success by several other makers of high repute, e.g. Francesco Ruger, Sanctus Seraphin of Venice, Jacobs of Amsterdam, Banks of Salisbury, Vincenzo Panormo (rarely), and hosts of other copyists. Stradivari does not seem to have been attracted by it, and only in one or two minor features do any of his known works exhibit any resemblance to it. Niccolò Amati’s varnish is generally of the yellow type associated with the works of earlier members of his family, and the wood used for the backs and sides is of native growth and small, though often very handsome, figure. In some later work wood with a broader curl may be seen, but examples are rare. The violoncellos were originally of large size, but are seldom or never seen uncut. Niccolò Amati had numerous notable pupils and followers, the most important being, of course, Antonio Stradivari. Of these there is not space to append a list, but their names and work will be found noted in the following pages. There is good reason to believe that for at least ten years prior to his death he did not take much active part in the business of his workshop. Hieronymus Amati II., born 1649, died February 21, 1740, was the third son of Niccolò, and apparently the only one who was a violin-maker. It is now well recognised that he was a workman of much ability, and there is no room for doubt that numbers of the instruments made in the latter part of his father’s lifetime were either wholly or partially his handiwork. Many violins dating from about 1670, and bearing genuine Niccolò Amati labels exist, which exhibit a very high degree of finish, great neatness of workmanship, and other characteristics which do not appear in examples by other workmen employed by Niccolò, but which, when compared with instruments admittedly made by Hieronymus II. after his father’s death, are sufficient to proclaim their authorship. In these the cutting of the scrolls and sound-holes is clearly the work of a maker in the full maturity of his powers. The varnish on some, at least, is of a somewhat redder hue than the typical Amati yellow, and the rise of the arching more gradual. The instruments are not after the grand pattern in their design and proportions. Messrs. Hill suggest that Stradivari may have been concerned in the making of some of them, as probabilities point to that maker having continued to work for Niccolò (besides working on his own account) down to the time of his death. Hieronymus II. continued to produce and repair instruments after his father’s death, and his label, stating that he executed repairs, may still be seen in a few old instruments. The writer has seen more than one such. When he first began to insert his own labels in his work does not seem to be clear, but most of those cited in books, and all seen by the writer, have been dated after 1700. In most of his tickets he states that he was Niccolò’s son. For some reason—possibly because his father’s death left him in easy circumstances—specimens made by him after that event are by no means plentiful, and the information about them contained in most of the books on the violin is meagre, unreliable, and quite fails to do justice to his undoubted abilities. A fine violin of his make, dated 1710, is figured in the last edition of the work on “Violin Makers” by the German writer, von Lütgendorff.

AMATI, Nicolaus.—Bologna; about 1720 to 1740; commonly called “Dom Nicolaus Amati;” was a priest who made violins and other instruments of moderately good workmanship and fair tone. The writer has met with two or three violins and a viola of his make. It is not known if he was related to the Cremonese family.

AMBROSI, Petrus.—Rome and Brescia; first half of eighteenth century. According to labels the maker was a Cremonese, and in some the name is spelt “Ambrogi.” Moderate workmanship and varnish. Rough Stradivari pattern. The name may not unfrequently be seen in common fiddles, such as are sold in pawnshops.

ANDERSON.—At least three makers of the name worked in Scotland during the nineteenth century; one named John was a pupil of Matthew Hardie and a prolific workman. He lived chiefly in Aberdeen, and died there in 1883.

ANTONIAZZI.—The name of several makers in Italy in the last century. Gaetano (died 1897 in Milan) was a good workman, and obtained medals for his productions; another, Romeo, was working in Cremona recently, and makes instruments in various styles, but has a model of his own.

AUDINOT.—A Mirecourt family of the nineteenth century who have made many useful instruments. The best known is Nestor Dominique, born in 1842, who is in good repute both as a maker and repairer in Paris.

BAADER, J. A. AND Co.—Mittenwald; contemporary. A well-known firm who manufacture instruments of various classes on an extensive scale.

BACHMANN.—The name of several German makers; the two best known, Anton and Karl Ludwig, worked in Berlin in the eighteenth century.

BAGATELLA, Antonio.—Paduna. Died in 1829. Instruments scarce. Writer has seen one or two double-basses of some merit which were assigned to him. Best known as the writer of a pamphlet, published in 1782, on scientific violin making.

BAILLY, Paul.—A well-known modern French maker, who worked in Mirecourt, Paris, and London. He was a pupil of J. B. Vuillaume, and died recently.

BAIRHOFF, Giorgio.—Naples; latter half eighteenth century. Like several other makers working in Naples he was of German origin. Has produced useful instruments of the Gagliano type.

BALDANTONI, Joseph.—Ancona; 1784-1873. Was a clever mechanic and an inventor in a small way; he has left a number of well-made instruments of good form and tone.

BALESTRIERI, Tommasso.—Mantua; appears to have worked until after 1770. His instruments have long been appreciated amongst players on account of their tone, which is usually of a rich sonorous quality. He was an unequal workman, some of his violins and basses exhibiting a high amount of finish, whilst others leave a good deal to be desired in this respect. On some specimens the varnish is of excellent quality, but there are others in which it is much inferior both in appearance and texture. He seems to have used a variety of labels, from which it appears that he was a native of Cremona. Spurious tickets are fairly plentiful. The form of his violins bears a rough general resemblance to some of those of Stradivari, but he is no longer accounted a pupil of that maker, as was formerly the case. He is said to have worked in Cremona until 1757, when he removed to Mantua. The writer has seen a considerable number of his instruments, but does not recall meeting with specimens dating from Cremona. Messrs. Hill, in their monograph on Stradivari, state that he was a pupil of Peter Guarneri (“Peter of Mantua”). Some of his violoncellos are exceptionally good. Another Balestrieri, named Peter, worked in Cremona, and in his tickets calls himself a pupil of Stradivari.

BANKS.—The name of a Salisbury family of makers, of whom the best was Benjamin, born 1727, died February, 1795. His work belongs to the school of Wamsley. Copied Amati with uncommon skill, and instruments have sometimes been re-labelled, and passed as the work of Niccolò. He used on his best productions a very fine reddish-brown varnish, which resembles Italian. Violins and violoncellos are substantially built, and have stood wear well. The violoncellos are splendid instruments, and the larger ones fetch high prices; some of the violins are also excellent, and the resemblance to Amati work is close. In the sound-holes he did not always succeed in catching the true form of the originals he copied. They bear a resemblance to those of Stainer, and the scrolls in all his work are German in character and cut. He stamped the blocks and interiors of many of his productions with his initials, but some of his finest efforts are unstamped. He was assisted by various workmen, including three sons: Benjamin, who also worked in London, and Liverpool, where he died in 1820; Henry and James, both of whom died in Liverpool in 1830 and 1831, respectively. He made instruments of inferior quality for the trade, some of which bear the stamp of Longman and Broderip.

BARNES, Robert.—London. Died 1794. Principally known as a dealer, and member of the firm of Norris and Barnes.

BARRETT, John.—London; to about 1740. Long-bodied, high-built instruments, having ink lines in place of purfling. Tone small, but generally of good quality.

BARTL (or Partl).—Vienna. The name is usually spelt “Partl” in labels. Several makers of this name worked in Vienna in the eighteenth century. In some specimens the work is good.

BARZONI.—The trade name of a well-known class of modern cheap instruments made on the Continent. They are well made, and the tone is usually good.

BAUSCH.—Dresden and Leipzig; nineteenth century. A family chiefly noted as makers of bows, many of which are highly esteemed, but there are many spurious specimens about.

BEARE, John and Arthur.—London; contemporary. Well known dealers and repairers. Arthur Beare is an excellent repairer, and a sound judge of old instruments.

BELA, Szepessy.—Contemporary. Born in Buda Pesth, and well known amongst English amateurs.

BELLOSIO, Anselmo.—Venice; eighteenth century. Said to have worked with Serafino. Tone usually good, but instruments are of unequal merit and workmanship.

BERGONZI.—A celebrated Cremona family of makers, the last of whom, Benedetto, died in 1840, and seems to have been chiefly occupied as a repairer. Carlo, an artist of the first rank, was born in or about the year 1686, and is said to have died in 1747. The date of birth was discovered by the late Signor Sacchi, who ascertained from the Registers of the suppressed Church of San Matteo in Cremona, that Carlo Bergonzi was living in 1746 in the house formerly occupied by Stradivari, and his age was stated to be sixty years. Two of his sons, Michael Angelo and Zosimo, were then living with him. He worked with and for Stradivari, and in some of his instruments copied him with great exactness. In other examples he introduces modifications of the great master’s patterns; these are chiefly noticeable in the form of the sound-holes, which are of slightly pointed form, and the corners, in which a decided droop is observable. The boss of the scroll is frequently more prominent than in Stradivari violins. The arching varies, but the declivity is generally inclined to flatness. Wood usually very handsome, and varnish of different shades, from amber to deep red. It is of beautiful quality, and apparently similar in composition to that of Stradivari. The violins are from 13⁷/₈ to 14 inches long, and, so far as writer’s experience goes, he did not exceed the latter measurement. The tone of great beauty, but distinct from that of Stradivari. His fiddles have been repeatedly relabelled and sold as the work of Guarneri, del Gesù, and genuine labels are not very plentiful; even in his own work the dates and tickets cannot always be relied on, as they have in some instances been inserted to replace forged Stradivari and Guarneri labels, attached by unscrupulous dealers and others. Some of the better judges question the existence of either violas or violoncellos of his make, but very fine examples of both forms of instrument exist which have been assigned to him by connoisseurs of the first rank. The same remark applies to a few double-basses of great merit whatever their authorship. Strange as it may seem, none of his sons would appear to have used varnish of the true Cremonese type. Carlo’s name and label may be found in many instruments, both genuinely old, and of the “modern antique” class, with the making of which he had nothing to do. Nicolò, his eldest son, is supposed to have worked until about 1782. He was a good workman, and seems to have made many instruments, but they are very inferior in style to those of his father. Wood and varnish are of second-rate quality, the latter, judging by appearances, being of a hard alcoholic nature. Michael Angelo Bergonzi, the second son, was born, according to the registers quoted from by Sacchi, in 1722, and worked until about 1765-70. The finish is very passable, but pattern generally inelegant, the corners in some examples being elongated in unsightly fashion. The third son, Zosimo, born 1725, worked until about 1780, according to dates in instruments. It is said that his violoncellos are his best instruments. The writer has not met with any, but has seen a few violins of good tone, large pattern, somewhat high arching, and outline of Amati character. The varnish, a somewhat dull dark red, of soft quality. A second Carlo, who died about 1820, and was a son of Michael Angelo, seems to have been chiefly a guitar maker, and repairer of instruments.

BERNARDEL.—A well-known family of makers and dealers who carried on business in Paris in the nineteenth century, and were associated with the equally well-known Gand family under the style of Gand and Bernardel. The founder was Auguste Sebastien Philipp, born at Mirecourt in 1802, died 1870. Worked with Lupot, and later with the elder Gand. A clever maker whose instruments are in high esteem. Other members of the family were Ernest Auguste, died Paris, 1899; Gustave Adolphe, born 1832; and Leon, born in Paris, 1853. All these have continued to follow the style and traditions of Nicholas Lupot.

BERTOLOTTI.—Brescia; sixteenth and early seventeenth centuries. The chief member of this family was the celebrated Gaspar da Salò, born at Salò (province of Brescia) in or about 1542, died in City of Brescia, April, 1609. He certainly made violins, usually of rather small form, at least a dozen of which are recognised by the best authorities as authentic; but it is by no means clear that he was the first man to make a fiddle strung with four strings and generally of the form in which the instrument is now seen. The authorship of the true violin has been assigned to others: e.g. Duiffoprugcar, a viol maker, whose claims have long since been dismissed by competent judges as unsupported by evidence of any value. Gaspar’s violins, as might be expected, are of primitive appearance and character. One of them, belonging to the late Lord Amherst of Hackney, and of unquestioned authenticity, was seen many years ago by the writer, and is the only violin by da Salò of undisputed genuineness with which he has met during a long course of years. Several violas of large size (“tenores”) still exist, but the majority have been reduced, often very unskilfully, in size. Of those seen by the writer all have been remarkable for their fine tone. A number of large bass viols (violoni) still survive. They were built to carry a number of strings, but have mostly been converted by modern repairers into three or four string double basses. A very fine and perfect example of these is in the possession of the Reverend Leigh Blake. It is said that he made violoncellos, but this is probably incorrect. Instruments of various types formerly assigned to him are now recognised as the work of his pupil and follower, Gio. Paolo Maggini. Interesting information relating to him, including the date of his death, was discovered, and published in 1891, by Cavalier Livi, who also ascertained that his father was a viol maker, and that a son Francesco, who died in 1614, assisted him. Gasparo’s genuine labels are undated.

BERTRAND, Nicholas.—Paris; circa 1685-1730. Best known as a viol maker. Writer recently saw and repaired a violin by him with manuscript label, date 1710, of good workmanship and sweet tone; arching high. Some examples are branded.

BETTS.—London. A well-known family of makers and dealers in old instruments. The founder of the business was John Edward Betts, “Old John Betts,” born Stamford, 1755, died London, March, 1823. Worked with Richard Duke, and made some instruments, but employed in his own business the best workmen of the day: Bernhard Fendt, John Carter, Vincent Panormo and his sons, together with several others. The instruments made for him generally bear his stamp under the button, and this has been forged of recent years in the most wholesale manner; it may be seen, in pawnshops and elsewhere, on instruments of the commonest class and foreign make. Betts was a first rate judge of old Italian work and many fine examples passed through his hands. A nephew, Edward, was associated with him; he was a careful workman and made some good copies; he died about 1820. Other members of the family were at one time or other connected with the business, amongst whom may be mentioned two named Arthur Betts, the first a brother of John, and the second a nephew.

BIANCHI, Niccolò.—1796-1881. Born in Genoa, died Nice. A clever workman who was employed by several makers of repute, including Bagatella, G. B. Ceruti, and Pressenda. He was for some years in Paris; his own instruments are said to be very good, but he was much employed as a repairer.

BIMBI, Bartolommeo.—Siena and Florence; second half of eighteenth century. Violins usually of rather small pattern, high built, and with very pretty red-orange varnish.

BINDERNAGEL, Johann Wilhelm.—Gotha. Died 1845. Instruments highly valued in Germany. Copied Amati pattern chiefly, but also Stradivari. Was a pupil of Ernst.

BISIACH, Leandro.—Milan; contemporary. Is regarded as one of the cleverest workmen and imitators of old instruments now working in Italy. His best violins and other instruments display very fine workmanship, have generally an excellent tone, and are already in much request amongst players.

BITTNER, David.—Vienna; died 1887. A good copyist of Italian work.

BLAIR, John.—Edinburgh; to about 1820. Worked with M. Hardie. Instruments branded “J. B.”

BLAISE, Joseph.—Mirecourt and Geneva; died 1882. Little known, except as instructor of P. and N. Silvestre of Lyons.

BLANCHARD, Paul François.—Lyons. Born Mirecourt 1851. Worked formerly for Silvestre’s firm. Has made some excellent copies with good varnish.

BODIO, Gio. Battista.—Venice; to about 1830. Moderate work. Examples scarce. Writer has seen a violin with belly inlaid with ebony at edges of sound holes. Seems to have made instruments with ornamental heads.

BOIVIN, Claude.—Paris; about 1840. Chiefly guitars and similar instruments. Violins rare.

BOOTH, William.—Leeds. Died 1856. Little known. Said to have been a good workman.

BOQUAY, Jaques.—Paris. Worked until about 1735-40. One of the better makers of the older French school. Violins in two sizes, the pattern resembling Amati. Good wood, dark red-brown varnish. Back usually stamped with initials. Tone frequently very good. Very well cut scrolls, but original heads are often absent, having been transferred to old instruments by other makers.

BOULLANGIER, Charles.—London. Born Mirecourt, 1823; died London, 1888. A well-known and excellent maker. Worked in Paris with Vuillaume and Gand. In 1849 employed by Edward Withers, senior, with whom he remained until 1856. Copied both Stradivari and Guarneri with skill, and employed red varnish of different shades.

BOUMEESTER, Jan.—Amsterdam; seventeenth century. One of the best of the older Dutch makers, but his labels are not very often seen. It has been surmised that in many cases they have been removed and the tickets of Italian makers substituted.

BOURGEOIS, Séraphin.—Geneva; about 1830. A few years ago a large violin by a maker named Bourgeois was the subject of a law-suit, certain “experts” having declared it to be the work of Guarneri, del Gesù.

BOVIS, François.—Nice; contemporary. Maker to the orchestra at Monte Carlo.

BRAGLIA, Antonio.—Modena; about 1800. A good bow-maker.

BRANDILIONI, Filippo.—Brescia. Said to have worked there in latter half of eighteenth century. Work is described as resembling that of Mittenwald rather than Italy.

BRANDNER.—Name of numerous family working in Schönbach in the last century.

BRANDSTAETTER, Matthäus Ignaz.—Vienna; died 1851. Maker and excellent repairer.

BRAUN.—There were numerous German makers of this name in the last century.

BRETON, Le.—Mirecourt; died 1830. Good work, but rather commonplace in style. Instruments branded on back, and stamp may be seen on many spurious examples. An earlier Breton worked in Paris.

BROWN.—London; eighteenth and nineteenth centuries. Makers of the name worked principally for the dealers. The best known is James Brown, “Brown of Spitalfields,” a good workman, who died about 1830.

BRUGÈRE.—Nineteenth century. A well-known Mirecourt family who worked in Paris, Marseilles, and elsewhere. The best known is Charles, born in 1865. A careful workman; frequently uses a large ornamental ticket.

BRUNO, Carlo Colombo.—Turin; contemporary. Has obtained medals for instruments in Paris, Turin, and Marseilles.

BUCHSTETTER, Gabriel David.—Ratisbonn; second half of eighteenth century. Instruments not often seen in this country.

BUTHOD.—Mirecourt; nineteenth century. A maker of the name worked for J. B. Vuillaume. Labels may be seen in large numbers of cheap violins, etc., of the “factory class.”

CABROLY.—Toulouse; about 1740. Said to have come from Milan. Instruments seemingly scarce.

CAHUSAC.—London; eighteenth century. The label may be seen in many old fiddles which were obviously the work of different makers, but he seems to have made some himself. Writer has seen examples of Amati outline, and with very pretty varnish.

CALCAGNI (Calcanius), Bernardo.—Genoa; to about 1750. Medium size violins, slightly arched and with very pretty reddish-yellow varnish. General workmanship well finished.

CALVAROLA, Bartolommeo.—Bergamo; circa 1750-1770. Instruments scarce. Medium workmanship without much character. Yellow and yellow-red varnish. Pattern looks rather narrow. Scrolls small and of poor design.

CAMILLI, Camillo.—Mantua; to about 1760. A maker whose instruments have rapidly risen in value of late years. They are of unequal merit and workmanship. In good examples the wood and form are handsome. Sound-holes rather short and wide open. Varnish red, of varying shades and good texture. The tone usually excellent. The pattern usually seen bears some resemblance to violins of Stradivari. Labels both written and printed.

CAPPA, Goffredo.—Saluzzo; born 1647, died August, 1717. It is important to note the dates of birth and death, as in most books on the violin these appear as having occurred fully a century too early. Cappa’s name and work have been the subject of almost wholesale fraud, forgery, and misrepresentation. His own genuine labels are very rarely seen, and the frequent appearance of Amati tickets in his instruments gives some colour to the theory, propounded in Hill’s work on Stradivari, that he himself inserted them. Whatever may be the truth, the resemblance to Amati in his smaller pattern violins is very marked, both in form and choice of material. The varnish also is of similar quality and colour. The sound-holes, which are much more slanting than in Amati fiddles, at once betray the maker to the experienced eye; and the heads are quite unlike the type associated with the Amati name. The violins of larger build are rare, and those seen by the writer have differed so materially in form and build from those just described that they might easily be taken to be the work of another hand. Violoncellos of good form and style exist, and generally command high prices. Other makers of the name and of very doubtful existence are mentioned by different writers.

CARCASSI.—A Florentine family of makers of the eighteenth century, numbering about half a dozen members. Of these the principal workmen were Lorenzo and Tomaso, who worked both independently and in partnership from about 1740 onwards. The pattern belongs chiefly to the school of Amati, though no very close resemblance exists. Work in some cases well finished, arching fairly high, pretty wood, and varnish of good colour and texture. The name is one of those which have been freely used by forgers, and a number of spurious examples are to be met with.

CARTER, John.—London; about 1790. Worked on his own account in Wych Street, but was chiefly employed by Betts.

CASINI, Antonio.—Modena. Seventeenth century, to about 1690.

CASTAGNERI, Andrea.—Paris. Worked to about 1750. He was of Italian extraction, and his genuine violins are Italian in style. Flat arching. Outline of Stradivari type. Tone generally powerful. An earlier maker of the name is said to have been his father, and to have worked in Paris.

CASTELLO, Paolo.—Genoa; latter half of eighteenth century. Well built violins of good form and tone. Middle bouts sometimes appear rather narrow.

CAUSSIN, François.—Neufchâteau. Also spelt Coussin. Worked between about 1845-81. Was a very clever imitator of old Italian work and varnish, and his instruments have frequently been sold as originals. Pattern varies.

CELONIATI, Gian. Francesco.—Turin; circa 1730-50. The work somewhat resembles that of Cappa. Outline generally of Amati character. Varnish clear and of yellow or yellow-brown colour. Instruments generally well finished, and the tone of good quality.

CERIN, Marc Antonio.—Venice; about 1790.

CERUTI.—Cremona; eighteenth and nineteenth centuries. A family well known to modern players. Giovanni Battista, the earliest of the name, worked with Storioni, and succeeded to his business, dying somewhere between 1817 and 1820. Made a large number of instruments of varying patterns, in some of which the characteristics of more than one of the classic makers are combined. The wood of the backs and sides is often of native growth and small figure, and the varnish varies both in colour and quality. Tone frequently excellent. He used a label with an ornamental border, and containing a monogram within a circle. His son Joseph died in Mantua in 1860 and was a clever workman. He worked with his father, whose label has been found in his earlier productions. A younger son, Enrico, died in 1883. Instruments well made and of varying form. He obtained exhibition medals for some of his work.

CHANOT.—A name famous in the annals of fiddle-making. The first maker of the name was Joseph, a native of Mirecourt, who died about 1830. François, an engineer, was born at Mirecourt, 1788, died at Brest, 1823. He experimented much upon the form and construction of the violin, and made, amongst other things, guitar shaped fiddles. Georges Chanot I. born at Mirecourt, 1801, died Courcelles, 1883, was the most celebrated maker of the family, and worked in Paris. He was one of the best judges of old instruments of his time. His best violins and basses are beautifully made and chiefly of Stradivari and Guarneri pattern. They command at the present day good prices and are rising in value. A son, Georges II., worked for many years in London, and was also well known as a dealer and repairer. He died in 1893. His sons, George Adolphus, Frederick (died 1911), and Joseph Anthony, have all become known as makers. G. A. Chanot lives in Manchester, and Joseph Anthony is established in Wardour Street, London.

CHAPPUY, Nicholas Augustin.—Paris, Mirecourt; 1750-90. Instruments of unequal merit, some being of a very common class, inferior varnish and finish. Good examples have generally a tone of good quality and considerable power. What may be described as his own pattern is inelegant, flattish model, short corners, and broad in the waist; yellow and yellowish-brown varnish.

CHARDON.—Paris; contemporary. A well-known firm. Joseph Maria Chardon was a pupil of Georges Chanot, whose daughter he married.

CHARLES, J.—Marseilles; about 1780. Pretty work in style of Guersan. He was a nephew of that maker.

CHERPITEL, Nicholas Émile.—Paris; died 1893.

CHEVRIER.—Nineteenth century. A Mirecourt family who worked there and in Paris.

CHRÉTIEN, Hippolyte.—Lyons, Paris; contemporary. A good maker. Nephew of Silvestre, whose name he assumed. Firm Silvestre and Maucotel.

CLAUDOT.—Nineteenth century. Mirecourt family numbering several makers. Charles Claudot, 1794-1876, adopted the brand often seen on the backs of instruments, “Marquis de l’air l’oiseau.” Other members of the family branded their names on their work.

CLÉMENT, Jean Laurent.—Paris; about 1800-48. Substantially made instruments with good varnish, usually red-brown, and handsome wood. Large pattern violins.

COLLIN-MEZIN, Charles Jean Baptist.—Paris; contemporary. Born Mirecourt. Some of the instruments made about thirty years ago are esteemed and possess a good tone. Later specimens seem to be of the “factory class,” and are of little account.

CONTRERAS, José.—Madrid; eighteenth century. Little known in this country. Instruments frequently handsome, and work Italian in character. A good many seem to have been re-labelled with the tickets of better known Italian makers.

CORSBY, George.—London; nineteenth century. A well-known dealer in Prince’s Street, Leicester Square. Seems to have been himself a workman, but employed others to make instruments for him. Another Corsby of Northampton made some good double-basses.

COUTURIEUX, N.—Toulon; about 1840. Made useful instruments of flat pattern. Branded inside with initials “N. C.”

CRASKE, George.—Born 1795, died, Stockport, in 1888. Worked in Bath, Leeds, Sheffield, Birmingham, Manchester, and elsewhere. Made a huge number of instruments of varying patterns, but readily identifiable after seeing a few examples. Work sometimes good, but more frequently only passable or indifferent. Tone not usually of good quality.

CRISTOFORI, Bartolommeo.—Florence; seventeenth and eighteenth centuries. Pupil of Niccolò Amati. Instruments very scarce, but some fine violoncellos, and at least one double-bass, are known. Is with some probability identified with Cristorfori who is usually accounted the inventor of the pianoforte.

CROSS, Nathaniel.—London; to about 1745-50. Some well-made violins and basses exist, which exhibit a pattern and characteristics of German style. Yellow varnish. He was associated with Barak Norman (q.v.).

CUYPERS, Jan.—The Hague. Born 1723-24, died about 1810-12. In several violins of late date he states his age, which in 1806 was 82. Instruments have risen rapidly in value of late years. They are soundly made, of good wood, and with yellow varnish of good quality. Pattern, shape of sound holes, and outline vary considerably. Scrolls heavy and boldly cut, but not handsome. The name is met with in books on the violin with the spelling “Koeuppers,” presumably copied from labels. Writer has not seen such.

DALINGER, Sebastian.—Vienna; latter half of eighteenth century. Stainer pattern, dark varnish. Some examples have lion heads.

DALLA COSTA, Pietro Antonio.—Treviso; about 1740 and later. Prints his name as “a Costa” in some of his tickets. Genuine instruments not very often seen. Generally Amati outline, good red or red-brown varnish. Well-finished work.

DALL’ AGLIO, Joseph.—Mantua; nineteenth century to about 1830.

DARCHE.—Nineteenth century. A well-known Mirecourt family working in Brussels and Aix. Their instruments are of the style and character of Vuillaume.

DAVIS, William.—London; to 1846. Was a dealer and repairer in a large way in Coventry Street.

DEARLOVE, Mark William.—Leeds; nineteenth century. The violoncellos and double-basses show good work and are in favour amongst orchestral players. He was for some time in partnership with John Fryer.

DE COMBLE, Ambroise.—Tournay; about 1735 and later. Reputed to have worked with Antonio Stradivari, which is unlikely. Work not usually highly finished. Varnish red, of fine quality. Well-cut scrolls. Labels are written. There seem to be more violoncellos than violins of his make in this country.

DECONET, Michele.—Venice. Seems to have worked until after 1780. There are, or were not long ago, a certain number of spurious “Deconets” in this country; one individual, well known amongst London dealers, is said to have “specialised” in such things. Deconet used a variety of labels, written and printed, and his name is frequently spelt with a small “d.” His work is not unlike that of Montagnana, by whom he is said to have been employed. Good (sometimes excellent) varnish of the Venetian type, and red or red-brown colour. It is said that in later life he worked in Padua.

DEGANI, Eugenio.—Venice; contemporary. A good workman who has obtained several medals for his instruments. Frequently uses purfling made in five strips (three black and two white) and works on a model of his own design.

DERAZEY, Honoré.—Mirecourt, Paris; to about 1875. Some of his copies are good sound instruments; chiefly Stradivari pattern. His son, Justin Derazey, was a manufacturer on a large scale, and bought the business of “didier” Nicholas from the latter’s widow.

DEROUX.—Mirecourt, Paris; nineteenth century. There were two makers of the name. Georges, died 1889 (Reims). Worked for Derazey, and Mougenot of Brussels. Work branded, and name sometimes pencilled in instruments. His son, Auguste, born 1848, worked with Hippolyte Silvestre, and Miremont. Is a good repairer and a medallist.

DESPINE, Alexander.—Turin. Worked until about 1845. Was employed by Pressenda, and made some fine violins which bear that maker’s ticket. Occasionally copied Guarneri, del Gesù. Piatti at one time possessed a violoncello made by him.

DE VITOR, Pietro Paolo.—Venice, Brescia; about 1740. Made some large fiddles of Maggini pattern.

DIEHL.—A number of makers of the name worked in Germany in the eighteenth and nineteenth centuries.

DODD.—An English family, chiefly distinguished as bow-makers, in the late eighteenth and the nineteenth centuries. There were seven or eight workmen. John, born at Stirling, 1752, died in Richmond Workhouse, 1839, was the best-known bow-maker, and at least two Edwards, one of whom attained the age of 105 years, were also makers. Thomas Dodd, who died in about 1820, had a business as instrument dealer and maker in St. Martin’s Lane, London. He does not seem to have made instruments personally, but discovered a fine varnish which he put upon excellent instruments made for him by Bernhard Fendt, John Lott, and other workmen. These instruments, especially the violoncellos, are of great merit and handsome appearance, and realise good prices.

DÖRFFELL, also Dörffler.—The name of fully a score of German makers working in Klingenthal and Markneukirchen; eighteenth and nineteenth centuries.

DOLLENZ.—Trieste; nineteenth century; there were two of the name.

DUCHESNE, Nicholas.—Paris; about 1750. Branded instruments of no great merit.

DUKE, Richard.—London; circa 1750-85. A celebrated English maker. Chiefly copied Stainer, but also Amati, and more rarely Stradivari. Well-finished work. Usually red-brown varnish of rather dull hue, but lighter shades are seen. Instruments commonly stamped under the button. Spurious and counterfeit “Dukes,” many not in the least resembling the originals, abound. His son, Richard, attained no distinction.

DULFENN, Alexander.—Leghorn; about 1700 and later. Specimens seen by writer were of wretched material and poor workmanship.

DVORAK.—Prague. Died 1890. A good copyist, who has left some well-made fiddles and violoncellos.

DYKES, Harry, and Sons.—London; contemporary. Well-known dealers and repairers. The sons, George and Arthur D., are both skilful workmen.

EBERLE.—Various makers of the name worked in Prague and elsewhere during the eighteenth century. The chief Prague maker was Johannes Udalricus Eberle, 1699-1768, a skilful workman who has left a good many instruments, generally on the lines of Stainer, with handsome wood and well-cut scrolls. Varnish on many of them is excellent and of considerable brilliancy. Tomaso Eberle worked in Naples down to about 1790. It does not appear whether he was related to the Prague family. There is little or no trace of German teachings in his violins, which are of the Gagliano class, and often bear Gagliano tickets. He may have worked with Niccolò Gagliano or some other member of the family. The varnish is similar to that used by that family; the work usually neat and well finished. Wood well-chosen and sometimes handsome.

EMILIANI, Francesco de.—Rome; eighteenth century. Rather high built. Work of the Tecchler school. He possibly assisted that maker. Scrolls very neatly cut.

ERNST, Franz Anton.—Gotha. Died 1805. Work little known in this country. Said to be of Stradivari pattern. He was also a violinist and composer.

EURY.—Paris; early nineteenth century. An excellent bow-maker.

FABRIS, Luigi.—Venice; 1860. Obtained medal in 1872 at Treviso.

FAGNOLA, Annibale.—Turin; contemporary. A maker whose instruments have lately attracted attention. His imitations of Pressenda and Rocca’s instruments are clever and not unfrequently pass as originals. Some are not well finished. Writer has recently seen a very good example made in the style of J. B. Guadagnini.

FENDT.—London; late eighteenth and nineteenth centuries. A gifted family of makers. The first, Bernhard Fendt, was a native of Innsbruck, born circa 1775; died, London, 1832. An admirable workman who copied the best features of the great Italian makers. He worked much for Thomas Dodd (q.v.) and in association with John Lott. Later he worked for old John Betts, continuing to work for the house after the death of that maker. Work so made bears Betts’s stamp. Bernhard Simon Fendt, his eldest son, died in March, 1852. Worked for Betts and was for some time partner with one Purdy (“Purdy & Fendt”). He was a wonderfully clever copyist, and made, amongst other types, instruments of all sizes, from violins to double basses, in imitation of the Brescian style (Gaspar da Salò and Maggini). These instruments have been constantly mistaken for genuine Brescian examples—particularly the double-basses, of which a number are in existence. Jacob Fendt, third son of Bernhard I., died comparatively young in or about 1849. His abilities were also of a high order. He worked for Davis, of Coventry Street, and for Turner, the dealer, producing “modern antiques,” chiefly of Stradivari type, in which the appearance of wear and time are most skilfully imitated. The tone of his copies is usually of excellent quality. Other members of the family were Martin, William, and Francis; all good workmen.

FENT, François.—Paris; circa 1760-91. Related to above family, and stated to have been uncle and instructor of the first Bernhard Fendt. In his labels he omits the “d” from his name. Said to have come from Innsbruck. His best work has never been surpassed and seldom equalled by any maker working in France. The violins are of Stradivari form, and the style is Italian throughout. Wood of handsome figure, and the finish irreproachable. Varnish, a beautiful red brown. The tone of very fine quality even in inferior examples. His instruments, unfortunately, were obviously made in different grades; and the commoner types, which frequently bear his name stamped in various places, are of relatively little importance and money value. Some of his varnish is much oxydised (almost black), and the wood of both backs and bellies worm eaten. His finest fiddles have sometimes passed as genuine Strads, and occasionally Lupot’s labels have been inserted; but the work is less heavy and more graceful than that of Lupot. His ordinary label has an ornamental border, bears no date, and contains errors of spelling.

FICHTL.—A number of German and Austrian makers of this name are mentioned. Two named Martin Matthias worked in Vienna in the eighteenth century and followed the Stainer pattern.

FICKER.—The name of fully a score of Markneukirchen and other German makers. Johann Gottlob, who died in 1832, is amongst the best known. Used a brand with his initials. Other Fickers followed the same practice.

FIORINI.—Two makers of the name may be mentioned. Raffaele worked in Italy, chiefly in Bologna, and died there in 1898. He made some well-finished instruments, amongst them a number of violoncellos. Varnish varies in colour, but is often a rather dark red. He was also reputed a good judge of old Italian work. Giuseppe, his son, migrated to Munich, where he was at work recently.

FISCHER.—Upwards of thirty German and Austrian makers of the name are enumerated.

FLORENO.—Bologna; eighteenth century. There appear to have been at least two makers who adopted the common practice of placing the surname first in their tickets. The Christian name, Guidantus, has therefore appeared as the surname in various books. Writer has seen a few specimens bearing the label, with brilliant varnish. High built, and outline of Amati character.

FONCLAUZE.—Paris. Died 1864. A most skilful bow maker. He worked for several others, including Vuillaume.

FORSTER.—A well-known English family, who came from Brampton in Cumberland. Three were named William, the second of whom died in 1808, and is best known as “Old Forster.” Very good work of Stainer or Stainer-Amati pattern. Oil varnish of a durable but not very clear texture. His violoncellos are more valued than the violins, though the work in the latter is often excellent. He employed various assistants, was patronised by Royalty, and his instruments commanded good prices in his own day. His grandson, Simon Andrew Forster (died 1870), was joint author with Sandys of a well-known history of the violin. A very readable, but not conspicuously accurate compilation, which has been humorously dubbed “the history of the Forster family.” He was himself a maker, and some of his work is of considerable merit.

FOURRIER, François Nicolas (known as “Nicolas of Paris”).—Paris. Born in 1758; died 1816. He was a first-rate maker, but is little known amongst English dealers and players, who are apt to confound him with “didier Nicolas,” a Mirecourt workman, and latterly a manufacturer on a large scale. Fourrier’s work is handsome, well finished, and he was evidently well acquainted with the characteristics of the classic Italian makers. Writer has met with violins, pattern rather large; excellent varnish of red or red-brown colour on a fine yellow ground. Sides sometimes rather shallow. Boldly cut scrolls. He was “luthier to the chapel of the Emperor,” Napoleon I.

FURBER.—London; eighteenth and nineteenth centuries. A numerous family, most of whom worked chiefly for the trade. The best of them was John, who died somewhere about 1845. He worked largely for Betts, and was a good copyist of Amati.

GABRIELLI.—Florence; eighteenth century. There were several makers of the name. Giovanni Battista (about 1740 and later) is the best known. Handsome wood and good varnish of yellow or orange colour. There is a resemblance to German work (Stainer) in the form of some instruments. The finish is neat and careful, arching frequently high. He used both written and printed tickets, in some of which he calls himself “de Gabriellis.” He also branded some of his work with the initials G. B. G.

GAFFINO, Joseph.—Paris; circa 1740-60. Was of Italian origin. Worked with Castagnery, and afterwards on his own account.

GAGLIANO.—Naples; eighteenth and nineteenth centuries. A large and important family of makers, who have left a considerable number of valuable instruments. The founder was Alessandro, who died between 1720 and 1730, and is reputed, upon very doubtful evidence, to have worked with Stradivari. In this country his genuine instruments are scarce, though numbers of Neapolitan instruments of varying patterns have been assigned to him. Though nearly all the family appear to have worked on lines more or less akin to those of Stradivari the resemblance between Alessandro’s violins and those of that maker is by no means close. In a few seen by the writer the arching has been of the ridgy character associated with some Amati instruments, but he also made examples of flatter arching. Varnish varies. In some it is of fine quality and soft texture, and quite distinct from the ordinary Neapolitan type. The scrolls of this maker, and of others of the name, are usually of poor, cramped style and workmanship. He made some violoncellos of considerable beauty and very fine tone. He seems to have used a variety of labels, some in manuscript. Niccolò Gagliano I. was the eldest son of the foregoing, and judging by the number of works still extant, was probably the most prolific maker of the family. The dates assigned to him in most books are quite unreliable; he seems to have worked until late in the eighteenth century, and probably died about 1780. Though his productions are of unequal merit, he was undoubtedly a workman of much skill. Sometimes he employed a fine red varnish of much brilliance and soft quality; in many cases, however, he used the clear yellow preparation, characteristic of the Neapolitan school. Arching generally pretty full, and sometimes rather high. Wood frequently handsome, the backs of the instruments being generally divided. In the violins the scrolls are generally poor and of insignificant cut. In the violoncellos they are somewhat better. In the latter the back of the peg-box sometimes has an aperture cut in it, to facilitate stringing. Outline based on that of Stradivari; sound-holes very well cut, and frequently placed a shade high in instrument. They are generally set very upright in the bellies. He made a considerable number of examples inlaid with black ornamentation. Niccolò II. was a son of Giovanni Gagliano (Joannes), and was a maker of no particular account. He died about 1826. Gennaro (Jannarius), circa 1720-75, was the second son of Alessandro, and is now usually reckoned the best maker of the family. Instruments much rarer than those of Niccolò. In his best work the finish is excellent; and his varnish (orange-yellow or red) is almost uniformly of a superior kind. The pattern more or less after that of Stradivari. The scrolls well cut and of bolder character than those of the other Gagliani. Some of his fiddles and basses have contained Stradivari tickets and have passed as originals. The tone is round, equal, and free from the nasal character which is often observable in Neapolitan fiddles. Ferdinand, 1724-81. Was the eldest son of Niccolò I. A good workman. Pattern rather broad-looking. Arching moderate. Finish frequently somewhat careless. Joseph: worked until about 1795, and was the second son of Niccolò I. He was associated with a younger brother, Antonio, and the instruments of the firm bear their joint label. His instruments are somewhat similar in appearance to those of his father, but usually inferior in style and finish. Giovanni, died circa 1806; was a nephew of Gennaro, and worked with him. Some of his examples are of good pattern, and well made. He occasionally ornamented them after the manner of Niccolò. There were several other Gagliani: Gaetano, Raffaele, and Antonio, who worked together in the last century down to about 1857; and others.

GAILLARD, Charles.—Paris; 1850-81. An excellent workman of the Paris school, whose instruments are rising in value. He worked with Gand. Strad pattern; sound-holes very well cut; set rather upright, and look a little wide open.

GAILLARD-LAJOUE, J.—Mirecourt and Paris. Died about 1870. Brother of the above, and also a fine workman. Worked with Gand.

GALRAM, Joachim Joseph.—Lisbon; 1769 to 1825. Work little known in England.

GAND.—Paris, Versailles. A famous French family of makers and dealers originating in Mirecourt. Charles Michael, the founder, was born there in 1748, and died in Versailles 1820. Charles François (“Gand père”) was his eldest son. Worked with Lupot, whose daughter he married, from 1802. Was an excellent maker, and one of the most skilful repairers who ever lived. He died in 1845. Charles Nicholas Eugène, the second son of Charles François, died in 1892. Was senior partner in the firm of Gand and Bernardel, who made instruments on an extensive scale, and held important appointments. The work produced by this house is of the Lupot class and traditions, and is of a high order of merit. There were other members of the family engaged in the violin business.

GAVINIÉS, François.—Bordeaux, Paris; eighteenth century. Instruments branded. The better class examples well made.

GEISSENHOFF, Franz.—Vienna; 1754-1821. By far the best of the Viennese makers, and a close imitator of the Stradivari pattern. All the details of the work are well executed, including the scrolls. Varnish usually a dark red-brown. The tone is round and of very good quality. He usually branded his work with his initials, under the button. The violoncellos are rare. His work has risen rapidly in value and to-day commands good prices.

GEMÜNDER, August.—Born 1814, Würtemburg; died New York, 1895. Made numerous instruments which are in high esteem in America. His brother George, born 1816, died 1899, worked first with Vuillaume in Paris, but went to New York in 1849. Made good copies in the Vuillaume style.

GERMAIN, Joseph Louis.—Paris. Died 1870. Worked with Gand and later with J. B. Vuillaume; afterwards on his own account. He was a clever maker and one of the best of Vuillaume’s workmen. His son Emile, born 1853, is well known in Paris, and has made a large number of instruments.

GIBERTINI, Antonio.—Parma, Genoa; nineteenth century to about 1850. Medallist at Milan. A neat workman. A few violins seen by writer were of Stradivari pattern, good wood and handsome red varnish. His work does not seem to be plentiful.

GILKES, Samuel.—London. Died 1827. A maker of much ability. Worked for Forster before establishing himself on his own account. The finish of his instruments is remarkable. They are somewhat scarce, and generally of Amati character, but he also copied Stradivari. A son, William, was well known as a double-bass maker.

GISALBERTI, Andrea.—Parma; eighteenth century, circa 1720 and later. Said also to have worked in Bozzolo, Rimini, and elsewhere. His existence has been doubted in some quarters, but violins by him undoubtedly exist, a few of which seen by the writer were of good tone, and not without character, albeit somewhat indifferent workmanship. Horace Petherick some years since wrote a book in which he sought to prove that Gisalberti was the instructor of Guarneri, del Gesù.

GLÄZEL.—Markneukirchen. For over a century a large number of makers of this name have worked in Markneukirchen and elsewhere in Germany.

GLASS.—Klingenthal. Another German family of whom much the same may be said as of the Gläzels.

GLIER.—Markneukirchen. Another large family of makers. Eighteenth and nineteenth centuries.

GOBETTI, Francesco.—Venice; circa 1700-30. One of the finest makers of the Venetian school. There is nothing beyond tradition of a most unsatisfactory kind to prove that he was a pupil of Stradivari. His work in some cases suggests late Amati influence, both in form and style; it is frequently very beautiful in every respect, save the cutting of the scrolls. Handsome wood, beautiful red varnish, and tone of excellent quality. His genuine labels are by no means plentiful, the tickets of Francesco Ruger, Amati, and Stradivari, having been inserted in his instruments. The writer has met with two or three violins having a decidedly German outline which were assigned to this maker by judges of repute.

GOFRILLER.—Venice; to about 1740. A family, possibly of Tyrolese origin, whose work was until recent years little known in this country. The best maker was Matteo, much of whose work has been masquerading under the names of other makers, such as Joseph Guarneri, son of Andrea, Carlo Bergonzi, and Montagnana. The workmanship and style are good, wood sometimes, but not frequently, handsome, and the varnish, generally dark red, is of good quality. He seems to have made a good many violoncellos. The scrolls are well cut, but can hardly be described as of Italian type. Labels vary, and in some the name is spelt with a double “f.” Two other Gofrillers, Francesco and Antonio, are mentioned, but their work is almost unknown.

GOSSELIN, Jean.—Paris; circa 1820-30. An amateur. There are some fine violins of Stradivari pattern bearing his label. In some cases instruments made by another hand were varnished by him.

GOULDING.—London; about 1800. There are a good many violoncellos and violins bearing the stamp “Goulding,” some of English work, and others of obviously foreign make. Some of these are useful instruments, but there seems to be some doubt whether he was actually a maker.

GRAGNANI, Antonio.—Leghorn; circa 1740-1800. The best of the few makers dating from Leghorn. The violins bear some little likeness to the work of the Gagliano family, have a very good quality of tone, and the varnish is not unfrequently of good texture and appearance, though the colour is apt to fade. The scrolls are very poor. Instruments branded on the button, and sometimes in other places. Of late they have commanded some attention amongst players, and their value has increased considerably. There were two other makers of the name, but of no particular account.

GRANCINO.—Milan; late seventeenth and earlier eighteenth centuries. An important family of makers of whom there seem to have been upwards of half a dozen members. The earliest appears to have been Paolo, who was at work until near the end of the seventeenth century. The few of his instruments met with by the writer have been of Amati pattern, with yellow varnish, and wood exhibiting little or no figure. It is said that he was a pupil in Amati’s workshop. He certainly does not seem to have used varnish which can be compared with that of his master. His son Giovanni worked from about the end of the seventeenth century until 1730 or a little later, and has left a good many instruments of considerable value. The violoncellos perhaps take higher rank than the violins, but the finer specimens of the latter are not unfrequently handsome, both as to wood and varnish, and the tone is of full and telling quality. In some of his later work Giovanni discarded some of the Amati features seen in earlier examples. The arching is flatter, and the sound-hole assumes a somewhat pointed form, and is set more obliquely in the instrument. It has been said by writers that he imitated Guarneri del Gesù, a statement which is manifestly absurd having regard to dates. Instruments by him with the pointed sound-hole exist, which were made long before del Gesù’s admitted period of activity, i.e. 1725-45. Of the other makers of the name very little seems to be certainly known.

GRAND-GÉRARD.—Mirecourt; early nineteenth century. Branded instruments of rather large flat pattern and commonplace character. The tone is not unfrequently passable.

GRANDJON.—Mirecourt; nineteenth century. A family of makers. Instruments of moderate price and better class “factory” style of work.

GROBLICZ, Martin.—Warsaw; eighteenth century. The name is commonly printed “Grobitz” in books dealing with the violin. Examples scarce. Pretty work of Stainer pattern. Sometimes seen with lion-heads. The name is found in more modern instruments of a very common type, and with edges flush with the sides, instead of overlapping them.

GROSSMAN, Dr. Max.—Born Berlin. Contemporary. Is chiefly known as originator of a system of attuning the backs and bellies of instruments. This has been applied to modern examples made in Germany and sold under the name of the “New Cremona” violins, etc.

GUADAGNINI.—Piacenza, Turin, Milan, Parma; eighteenth and early nineteenth centuries. A very celebrated family originating at either Piacenza or Cremona. Lorenzo, the founder, claims in some of his tickets to have been a Cremonese. According to Hart and other writers, his dates run from about 1695 to 1740, or later. Much has been written about him, but in reality his genuine instruments are rarely seen in this country, and his work is imperfectly known, even amongst some of our better informed dealers. He also claims in some labels to have worked with Stradivari, but the veracity of the statement has been questioned time and again. The writer, during an experience of over thirty-five years, has seen very few authentic instruments by him. They are said to be of bolder design than those of his son Giovanni Battista, and the sound-holes are of varying form, sometimes resembling those of Guarneri del Gesù. All authorities are agreed as to the tone of his violins, which is described as large, and of excellent quality. He is supposed to have died at Milan. The most important maker of this family was Giovanni Battista Guadagnini, born apparently at Piacenza in 1711, died at Turin, September, 1786. He was Lorenzo’s son, and like him, states in some of the labels (those dating from Turin) that he was a Cremonese, and a pupil of Stradivari. Nearly all writers, British and continental, state that there were two G. B. Guadagninis, one of whom was Lorenzo’s brother, and of somewhat earlier date than the subject of this notice. The writer has seen a large number of instruments by G. B. Guadagnini of varying dates and places of origin, and is constrained to admit that violins dating from Milan and Parma present points of dissimilarity both in form, varnish, and the cutting of the scrolls, from those dating from Turin from about 1773 onwards. It is, however, the opinion of the best experts in this country, that there was but one G. B. Guadagnini, who changed his habitat several times. The facts of his life were collected by Count Cozio di Salabue, an Italian nobleman and collector, who died in 1824; he patronised Guadagnini and saved him in Turin from destitution. At the death of this distinguished amateur, something like fifty of Guadagnini’s instruments, with other valuable violins, were amongst his effects. Guadagnini seems to have worked first in Milan, then at Piacenza, later at Parma, where he was court maker to the duke, and lastly at Turin, to which city he migrated in 1772. There seems to be little doubt that he was acquainted with the composition of the celebrated Cremonese varnish, and used it, though comparatively infrequently, on some of his finest efforts. Some of his fiddles are models of good work, fine wood, and beautiful varnish, but his average instrument may fairly be described in less glowing terms. The varnish on most of those dating from Turin is a red, almost scarlet in some cases, of much brilliance, but less soft in texture than the true Cremonese. In earlier work the tints are less glaring, perhaps partly owing to the effect of time. The pattern resembles Stradivari’s. The sound-holes in many cases show rather a pronounced sweep in their upper turns. In a good many later examples, one is set a trifle higher than the other. The violins are generally rather under fourteen inches long, and the violoncellos almost always measure about twenty-eight inches or a trifle over. Very high prices have been paid in recent years for his best examples. The finest violin of his make ever seen by the writer, was sold by Mr. Hart about two years since for £800; and higher figures have been reached more recently still. Giuseppe Guadagnini (Joseph), circa 1736-1805. Was second son of the foregoing maker, and worked at Milan, Como, and Parma. Work heavier-looking than that of his father. The violins are apparently of somewhat larger pattern. The arching generally flat and the sound-holes broad in the stem. Seems to have made a good many instruments, including violas and violoncellos. The tone is frequently large and of good quality. It is said that he in many cases used the label of his father. Gaetano, another son of Giovanni Battista, worked at Turin to about 1831. He is said to have been chiefly a repairer. Writer has seen some violins (one or two of good workmanship and pattern, and prettily figured wood) bearing his label, but his work is very little known. Other members of the family, Francesco, Carlo, and Antonio, have been employed in the violin business. One Francesco was at work quite recently.

GUARINI.—Vide Mennesson.

GUARNERI.—Cremona, Mantua, Venice; seventeenth and eighteenth centuries. The founder of this celebrated family was Andrea, born 1626 in Cremona; died there in December, 1698. An undoubted pupil of Niccolò Amati, by whom he was employed as late as 1653; he was at first a close imitator of his master. Later he altered the style of his work somewhat. It is stated in many books that he was fellow-workman with Stradivari, by whose style he became influenced. Dates certainly do not tend to confirm the statement. Stradivari was not born until 1644, and even if he was employed by Amati while Andrea Guarneri was in that maker’s workshop, there are instruments by Andrea in existence which were made before Stradivari could possibly be of an age to exert any influence, and which exhibit modifications in the pattern, form of sound-holes, and arching, showing clearly enough that the maker had begun to work on lines of his own. Occasionally, Andrea adopted the “Grand pattern” of Amati, and it is probable he assisted in the making of some of the violins of that type. One very beautiful violin, bearing his own label, is known to the writer, which might well pass for a Grand Amati. The sides of Andrea’s heads are usually more deeply grooved than those of Amati. Very few violas or violoncellos seem to be known. Messrs. Hill state that they have met with one of the latter of smaller dimensions than the usual violoncello of the period, but that other examples had been cut down from their original size. Joseph Guarneri, son of Andrea, was born in November, 1666, and appears to have been alive in 1738, but the date of death has not been ascertained. He worked for some time with his father. The beauty of the varnish on many of his violins has not been surpassed by any other maker. Some of his backs show a broad curl, others have wood of smaller figure, but considerable beauty. The pattern of his violins varies considerably, as also the amount of arching in the plates, which is commonly flatter in late than early specimens. Some examples show a long and somewhat stiff curve in the waist, or middle bouts; in others the curve is more pronounced, and resembles that seen in the instruments of his celebrated relative, Del Gesù. In the heads also a resemblance may now and then be traced, and the peg-box is somewhat cut in at the throat. The fiddles are usually about 13⁷/₈ inches long. The sound-holes set a trifle lower and nearer the edge of the instrument than is usual, and in certain examples the form of the sound-holes is very slightly pointed at the ends. This form is not seen in earlier specimens. His violas and violoncellos are scarce. A few fine examples of the latter are recognised. Pietro Giovanni Guarneri (“Peter of Mantua”), the eldest son of Andrea, was born in Cremona in February, 1655. Date of death not ascertained. He also employed most beautiful varnish of a deep orange, or red orange tint, and has left some charming examples of his work. The general style of his instruments belongs to the Amati school. Arching usually somewhat full, very fine scrolls, and sound-holes which are set almost perpendicularly, and very decidedly arched at their upper and lower turns. The fiddles usually of medium size, but larger examples are occasionally met with. A very fine violin dated 1686, with ornamental purfling, is figured by von Lütgendorff. The date when he went to Mantua does not seem to be known, and the writer is unable to find any satisfactory proof that he worked also in Venice, as has been frequently stated. Pietro Guarneri II. (“Peter of Venice”) was a son of Joseph, son of Andrea. He was born in Cremona in April, 1695, and appears to have worked in Venice until after 1760. In his labels, which have an ornamental border, he calls himself son of Joseph. He is stated to have worked for some time with his uncle, Peter of Mantua, in that city. The writer is not well acquainted with his instruments. Giuseppe Guarneri (“Joseph, del Gesù”) was born at Cremona in October, 1687. Date and place of death are unknown. The latest date seen in a violin is 1745. The correct birth date was ascertained by an Italian writer (de Piccolellis), and first published in 1886, notwithstanding which several subsequent writers have persisted in stating that the event took place in 1683, the date formerly supposed to be correct (on the authority of J. B. Vuillaume). According to Hart, whose view is generally followed by the best modern authorities, del Gesù’s probable instructor was his relative, Joseph, son of Andrea, and there are features in some of his work which certainly support this theory. The earliest date found in his admittedly genuine violins is said to be 1723. In that year he would be at least thirty-six years old, and no very satisfactory explanation of the absence of authentic specimens of earlier date seems to be forthcoming, unless we suppose that he did not begin to follow the art in which he was so conspicuously successful until pretty mature manhood. Horace Petherick, in 1906, published a book (illustrated) in which he claimed to have discovered that del Gesù’s master was Andrea Gisalberti of Parma (q.v.), a little-known maker of no great account. However, neither Mr. Petherick’s arguments, nor the examples by which he strove to support them, were seriously accepted by most judges of the first rank, and the difficulty may be said to be still unsolved. Neither violas nor violoncellos which can unhesitatingly be accepted as the work of del Gesù have come to light. Instruments of both types have from time to time been put forward as authentic, but have been rejected as spurious by all the best-informed authorities.

Much misapprehension—some at least of which may be traced to general and loosely worded descriptions in books—has existed in regard to the size of del Gesù’s larger violins. His more massive looking instruments give the impression of being of greater size than is found on careful measurement to be really the case. The widths are full, but the bodies measure only 13⁷/₈ inches, or a minute fraction over, in length, and, so far as the writer is aware, no properly verified exception to this rule has as yet appeared. A number of his earlier works are only 13¾ inches long, but nevertheless possess a volume of tone which is astonishing, considering the relatively small size of the instrument. It has been customary to classify his works into distinct types, varying with the period of their production. Though in the main a convenient system, the dates found in his violins do not by any means always square with it. Two illustrations of this will suffice. The “Hart” Joseph, now owned by the great artist Kreisler, is of the bold massive build which he is supposed to have adopted not earlier than 1740; but it dates, according to the label, from the year 1737. Paganini’s famous instrument (now in the museum at Genoa) is dated 1743, and the splendid example known as the “Le Duc” was made in 1745. Neither of these instruments exhibits the exceptional finish and elegance of form which may be seen in a few examples made between about 1734-38, yet each is a remarkable work of art, though dating from a period when his handiwork has been said to betray a lamentable falling off in design, workmanship, and varnish. There is no doubt that del Gesù did occasionally produce instruments which in some features, such as the form of the sound-holes, are uncompromisingly ugly; but, in the writer’s view, there are not sufficient data to assign these specimens to any particular period of his working life. His handsomest and most exquisitely finished violins seem to have been made approximately between the dates above stated, 1734-38. Instruments of this class are rare, but will in every way bear comparison with those of Stradivari. Three notable fiddles of this type may be mentioned: the D’Egville, dated 1735; the “King” Joseph (now in America), and the “Gillott,” both dated 1737. These, with perhaps a dozen others, are reckoned amongst connoisseurs as the most finely formed and finished specimens of this great master’s work. In early examples a distinct resemblance to the works of his cousin, Joseph, son of Andrea, is traceable, and instruments now properly assigned to that maker have pretty frequently been labelled and passed as the work of Del Gesù. The sound-holes of his violins exhibit much diversity of treatment both in the form and the angle at which they are placed, and it is evident that in the cutting of them he rarely had recourse to patterns, or templates. It is generally supposed that he revived the “pointed” form associated with the school of Brescia. In many cases there is little or no suspicion of a “point” visible, and in no case known to the writer is the peculiarity accentuated to the absurd extent exhibited in swarms of copies which may be met with. His arching varies considerably, but the rise of the plates from the edges to the centre is usually gradual. In the outline of his more robust type of instrument there is a resemblance to the violins of Maggini, but that maker’s large dimensions—his ordinary fiddle is about 14¼ to 14½ inches long—are never approached by del Gesù. His varnish is almost always of fine quality and Cremonese type. There are probably more yellow specimens to be seen than those of deeper shade, but on the latter its colouring and texture are admirable. Swarms of makers of all nationalities have imitated, or attempted to imitate, him; but the truth, as shown by experience, is that del Gesù’s work is very difficult to imitate successfully; far more so than that of Stradivari and many other noted makers. His eccentricities have been travestied to an extent which betrays the hand of the forger to all but the most inexperienced. The cutting of the scroll is nearly always a stumbling block, and perhaps ninety-nine out of every hundred copies are too big. This latter observation will generally be found to apply to the wonderfully clever imitations made by John Frederick Lott in the last century, a goodly number of which are still accepted as authentic “Josephs” by the uninitiated. In recent years he has been imitated (so far at least as external appearances go) with remarkable exactness, by a maker named Voller, whose skilful “facsimiles” of various classic makers at first puzzled numbers of observers by no means ill-acquainted with the characteristics of genuine Italian work. Amongst French copyists, J. B. Vuillaume, Pierre Silvestre, Remy, and Georges Chanot I., may be mentioned; but their instruments, though reproducing with more or less fidelity the form and peculiarities of del Gesù, are in the great majority of cases of larger dimensions than the originals. Italy has produced a number of followers, but, until quite recently, none seem to have succeeded in producing violins which by any stretch of imagination could be described as exact copies. Storioni and Carlo Bergonzi, and occasionally Testore, made fiddles which for years were accepted by the multitude as genuine “Josephs,” but nowadays few if any of them would pass as such amongst judges of any experience. As may be supposed, the number of this celebrated maker’s authentic works is very much less than that of Stradivari, whose labels date from about 1665-6 to 1737, the year of his death. It is much to be deplored that the repeated attempts to obtain reliable details of del Gesù’s life story have produced such meagre and disappointing results, but the prospect of fresh information coming to light seems to be remote.

GUERSAN, Louis.—Paris; eighteenth century to about 1770. Worked first with Claude Pierray. There are some good violins and other instruments bearing his name. His personal work, though by no means scarce, is not so plentiful as is sometimes supposed. He came of a family of makers, and his pattern and style were followed by other makers. Red or yellow varnish, sometimes handsome and brilliant. Sound-holes not very wide open. Heads cleanly cut. The arching varies a good deal. Pattern looks rather narrow; probably more so than it actually is. He used a variety of labels, one having a shield bearing his name.

GÜTTER. A whole tribe of makers of this name worked in Markneukirchen and elsewhere in the eighteenth and nineteenth centuries. Upwards of a score of them are mentioned by the German writer, von Lütgendorff.

GUGGEMOS, Marcus.—Füssen; eighteenth century. High built fiddles with brown varnish, and ornamental labels. Füssen has produced makers whose style and varnish are not unlike Italian, but Guggemos can hardly be reckoned amongst them.

GUGLIELMI, Gio. Battista.—Cremona; eighteenth century. Little known.

GUIDANTUS. See Floreno.

GUSETTO, Niccolò.—Cremona; eighteenth century. A Florentine of no particular merit as a maker. Instruments usually high built and German in style.

GUTERMANN, Wilhelm Theodor.—Vienna. Died in 1900. A good workman. Made some curious shaped violins on a pattern designed by a Dr. Liharzik.

HAASE, Ferdinand.—Magdeburg, Dessau. Died 1892. Was a flute player who turned his attention to fiddle making, but apparently with indifferent success, his instruments being too thin in the plates.

HAENSEL, Johann Anton.—Rocksburg; about 1800.

HAFF, Joseph Anton.—Augsburg; nineteenth century. Died 1866. A son of the same name died in Stuttgart in 1902, and was a clever workman. He worked for some time in Munich and obtained medals.

HAKKERT, Jacob Wolfgang.—Rotterdam; contemporary. A workman of ability, who makes good copies of the Italian masters.

HAMBERGER.—Vienna, Presburg; nineteenth century. A family of makers who made some good violins, chiefly of Stradivari pattern.

HAMM.—Markneukirchen and Vilingenthal; eighteenth and nineteenth centuries. There were several workmen of this name, the best known of whom, Johann Gottfried, worked for some time in Rome. Instruments of Stainer pattern, but broader, and frequently with ivory edges. Initials branded inside. He died in 1817.

HAMMA & CO.—Stuttgart; contemporary. A well-known firm of dealers and repairers.

HAMMIG.—A family originating in Markneukirchen, and dating back to about the middle of the eighteenth century. There have been several of the name working and dealing in instruments in various parts of Germany besides Markneukirchen (Leipzig, Dresden, Berlin), and the Berlin house, still carried on, is well known on the Continent. HARBOUR, Jacob.—London; about 1760-90.

HARDIE.—Edinburgh; eighteenth and nineteenth centuries. Perhaps the best known family amongst the Scottish makers. The most celebrated member was Matthew, born Edinburgh in 1755, died 1826. His best work is very well finished. He copied the patterns of various Italian makers, but chiefly Stradivari and Amati. The tone of many of his violins is excellent. His varnish, according to examples seen by the writer, was not of the best. There were two James Hardies, of whom the second, born 1836, was the founder of the present Edinburgh firm of James Hardie and Son. He has produced an enormous number of instruments, many of which are somewhat on the lines of Maggini. Other makers of the name were Peter, who died at Dunkeld in 1863, and branded his work with his name; and Thomas, a son of Matthew, who could turn out good work when he chose; he died in 1856.

HARE, John.—London; eighteenth century, first half. Unquestionably one of the best of the old English makers. He shares with a contemporary (Daniel Parker) the merit of having been the earliest of the English school to turn serious attention to the pattern of Stradivari. His instruments are of large proportions, flat arching, and good finish, the heads being the weakest feature of the design. He used an excellent red varnish of considerable brilliance, and it is to be regretted that his work is so scarce. The tone also is exceptionally good and resonant in a well-preserved example. Opinions seem still to be divided as to whether Joseph Hare, mentioned in most books on the violin, was or was not identical with John. The latter was for some time associated in business with an individual named Freeman, of whom nothing else seems to be known. He worked near the Royal Exchange.

HARMAND, L.—Mirecourt; eighteenth century. Medium sized fiddles, with reddish varnish. Stamped “Au Roi David. L. Harmand.”

HARRIS, Charles.—Oxford, London. Worked until about 1800. His work is rarely labelled, and is little known, except to a few of the dealers. An excellent maker, whose fiddles and basses (particularly the latter) are deservedly in high repute. The pattern is generally that of Stradivari; Amati copies do not so frequently occur. Harris is noted amongst other things for his varnish of a warm red tint. A son of the same name worked in Oxford and London, and was for a time employed by John Hart.

HART.—A name familiar to violinists the world over. The firm of Hart and Son was established in Lower Wardour Street (formerly Princes Street, Leicester Square) by John Thomas Hart, who died in 1874. He was apprenticed to Samuel Gilkes, but made few instruments. John Hart and Georges Chanot I., of Paris, were in their day the most renowned judges of fiddles in Europe, and the former was instrumental in forming some of the most notable collections of violins that have ever been brought together. George Hart I., his son, who died in 1891, was also a judge of the highest eminence, but will always be remembered as the author of “The Violin, its Famous Makers and their Imitators,” which is recognised as the standard English work of reference. It passed through various editions in the author’s lifetime, and a further edition, with certain additions and emendations by his son and the present writer, was issued in 1909. George Hart II., son of the former, is the present head of the firm, and is a judge of wide experience of violins and violoncellos of the highest class.

HASSERT, Johannes George Christian.—Eisenach and Rudolstadt; eighteenth century. Instruments rarely seen in this country, but according to continental writers they are of good form, Italian style, and moderate arching. He worked until about 1775. A son, Johann Christian, worked at Rudolstadt, and died there in 1823.

HAUDEK, Carl.—Vienna; contemporary. Succeeded to business of Lemböck. He has obtained medals, but appears to have made few instruments; well known as a restorer.

HÄUSSLER, Gustave.—Cracow; contemporary. A maker who has obtained medals for his instruments in Cracow and Lemberg. Stradivari pattern.

HAVELKA, Johann Baptist.—Linz; eighteenth century.

HEBERLEIN.—A family of makers originating in Markneukirchen, and ranging in date from the early eighteenth century to the present time. Some fifteen or sixteen makers of the name are enumerated. The best known of these is Heinrich Theodore, who died in 1910, and was a first-class workman.

HEESOM, Edward.—London; eighteenth century. Work very scarce and little known. Stainer pattern.

HEINEL, Oskar Bernhard.—Markneukirchen; contemporary. A clever workman in various styles, including “modern antiques.”

HEL, Pierre Joseph.—Lille. Born 1842. Instruments of his workmanship are excellent in every detail. Form, material, and varnish are all most praiseworthy, and he occupies a prominent place amongst makers of modern times. He obtained several medals. Instruments of an inferior grade, but not of his own workmanship, are of the “trade class,” and of no particular account, although occasionally sold as genuine. They bear, or should bear, a distinctive label. The business is now carried on by a son (Pierre), who is well known as a dealer.

HELD, Johann Joseph.—Enskirchen, Beuel. Died 1904. A clever workman, who obtained several medals, and seems to have had some theories of his own, one of which was impregnating the wood of his instruments. He was patronised by Ole Bull.

HELLMER.—Several makers of the name worked in Prague in the seventeenth and eighteenth century. The family is supposed to have come from Füssen. In this country the best known is Karl Joseph, who died in 1811, and was a pupil of Eberle. There seem to be a good many spurious labels about containing the device used by him, a lion holding an instrument of the lute species. Red-brown varnish, careful finish, and medium arching. The general characteristics of his work belong to the German school. His father, Johann Georg, who died in Prague in 1770, made high-built fiddles of the Kloz type.

HENOCQ.—Paris; eighteenth century. Two makers of the name worked in Paris. HENRY.—Paris; nineteenth century. A family of makers of good repute. Amongst them may be mentioned Charles, who died in 1859, and was a prolific workman, who has left many useful instruments. He obtained medals. A son, Eugene, also a medallist, died in 1892.

HENRY, J.—Paris. Died 1870. An excellent bow-maker. Worked for some time with Dominique Peccatte.

HERZLIEB, Franz.—Gratz. Died 1861. A clever copyist. Handsome wood, yellow-brown varnish.

HILL.—A well-known family of fiddle-makers and dealers, whose connection with stringed instruments dates back to the seventeenth century. Some of the earlier members were makers of much ability. Amongst them may be mentioned Joseph Hill II., son of another maker of the same Christian name; this maker died in 1784, and first worked with Banks and Peter Wamsley. His copies of Amati violins, though not scrupulously exact, have frequently passed as originals, and some are thoroughly good instruments. His violoncellos are also in high esteem amongst players. Two other Josephs were also makers, and seem to have worked both on their own account, and for the trade. There were two Lockey Hills, the second of whom, named Henry Lockey, was employed by John Betts. The writer has met with some beautiful examples of his instruments, the style and finish of which were most praiseworthy, and the pattern that of Stradivari. The present widely known firm of W. E. Hill & Sons was established in Wardour Street by William Ebsworth Hill, and is now located in Bond Street, London. W. E. Hill died in 1895. Though a skilful workman he made few new instruments, and devoted his attention chiefly to repairing and dealing in old violins. The active members of the present firm are Arthur Frederick, born in 1860, and Alfred Ebsworth, born in 1862. As a judge of old fiddles and basses the latter holds a foremost place. The firm has published monographs on various notable instruments, and the work on Antonio Stradivari is the most exhaustive account of that maker and his work which has been published.

HJORTH.—Copenhagen. A family of makers established in Copenhagen since about the end of the eighteenth century. The founder was Andrea, who died there in 1834, and copied the pattern of Amati. His instruments are branded “A. H. H.” Emil Hjorth, born 1840, and his son Otto carry on the business, and have made good copies. The former at one time worked with Bernardel in Paris.

HÖRLEIN, Karl Adam.—Kitzingen, Würzburg. Died 1902. Pupil of Lemböck, in Vienna. In later years imported fiddles from Markneukirchen, which he varnished and finished personally.

HOFFMANN.—Numerous makers of the name worked in different parts of Germany. One of the best known is Martin Hoffmann, who worked in Leipzig until about 1725. A son, Johann Christian, was at work there until about 1750.

HOFMANN, Anton.—Vienna. Died 1871. Carried on a large business as a maker and repairer in Vienna, and dealt with Tarisio.

HOFMANS, Matthias.—Antwerp; 1700-50. Good work, and excellent varnish of Italian character and appearance. HOMOLKA.—There were nearly a dozen makers of the name in Prague and elsewhere (one in Vienna). The best known was Ferdinand August Vincenz, who died in 1890, and was a clever copyist of Italian masters, including Peter Guarneri of Mantua. Others of the family are: Emmanuel Adam, died 1849 in Prague; and Edward Emmanuel, born 1860. The latter is a good maker, and judge of old instruments.

HOPF.—A large number of makers of this name have operated in Klingenthal, Markneukirchen, and elsewhere in Germany for generations. Some were tolerable workmen; others most indifferent. Most of them used to brand their work, and the name Hopf may be seen branded on productions of the very commonest class, which are hardly fit to be described as violins.

HORNSTEINER.—The family name of a small army of Mittenwald fiddle-makers who have been at work for several generations. Several bore the same Christian name, and space prohibits any attempt to describe or discriminate between their works. Matthias II. and Joseph II., who worked down to about the first decade of the nineteenth century, are amongst the best of this numerous tribe.

HOYER.—A Klingenthal family of makers dating from the eighteenth century to very recent times. Von Lütgendörff enumerates nearly forty workmen of this name.

HUEL, Henri.—Paris; to about 1780. Little known; used a large label.

HULINZKY, Thomas Andreas.—Prague. Died 1788. A pupil of Eberle, and a careful workman. Used a ticket bearing a device similar to that of Hellmer.

HULSKAMP.—A Westphalian who migrated to New York. He exhibited a “freak fiddle” with a round hole in the belly instead of the usual sound-holes in London in 1862.

HUNGER, Christoph Friedrich.—Leipzig. Died 1787. A maker whose instruments are highly thought of in Germany. His father, who worked in Borstendorff, was also a violin maker.

HUREL, Jean.—Paris. Court maker about the end of the eighteenth century.

HUSSON.—Nineteenth century. A Mirecourt family of makers, one of whom, Charles, worked with Gand and Bernardel and was noted for his bows, some of which are stamped with his name.

JACOBS, Hendrik.—Amsterdam; late seventeenth century to about 1735. The most important maker of the Dutch school. Legend has been busy with his name, and according to the story, he worked with Niccolò Amati, and married his daughter. To make matters complete he should have succeeded to the business, but tradition stops short of this denouement. There seems to be nothing like direct evidence that he had any Italian training. He frequently imitated Amati with considerable exactness, and employed wood resembling that used by the Cremona maker; he also used a fine quality of varnish, usually red-brown in colour. His violins vary in size, but many of them are built more or less on the lines of the grand Amati. The scrolls are generally somewhat mean looking, and narrow, when viewed from the front; but the writer has seen exceptions where he was more successful with this feature. Sound-holes vary in form, some being of Amatese cut, and others hinting of the school of Stainer. His instruments are not so rare as is frequently supposed, the fact being that many of them still figure either as the work of Amati or of other Italian makers. One such, in the possession of a well-known French professor, recently came under the writer’s notice, and had been confidently declared to be an early example of Stradivari. Jacobs used whalebone purfling, which in some cases has been removed, and wooden purfling inserted by other hands. Whether he personally inserted Amati tickets into his instruments, as some Italians did, is not clear. The tone of a well-preserved example is usually excellent. The name seems to have been at first “Jacobsz,” the final “z” being dropped in the labels usually seen. The older books speak of a Peeter Jacobs, who, if he ever existed, apparently cannot now be traced. Vidal supposes that he was really identical with Pieter Rombouts, another Amsterdam maker contemporary with Jacobs, and supposed to have worked with him.

JACOT, Jean Charles.—Metz. Died 1887. Made some well-made instruments; a son was established in Paris.

JACQUOT.—Nineteenth century; Nancy, Paris. A well-known family of makers. The founder was Charles, born at Mirecourt 1804, died 1880, near Paris. Worked with “didier” Nicolas, and later with Breton. Was first established at Nancy, went to Paris in 1854 and there produced his best work. An excellent workman, and a good judge of old instruments. He received numerous medals. Pierre Charles, born 1828, was his son, and took over the business in Nancy. He died there in 1895, and also received medals. Well-finished work, usually of Stradivari pattern. Two of his sons, Etienne Charles Albert, born 1853, and Jules Victor, born 1855, have carried on the business.

JAEGER.—Markneukirchen. Makers of the name have been at work from early in the eighteenth century down to very recent times.

JAIS.—Mittenwald, Botzen; eighteenth century. There were several makers of the name. Some of their instruments have a fine red or yellow-brown varnish of Italian character, and the build and general style of the work is not unlike that of Albani. Joannes Jais seems to have worked in Botzen until after 1780. Good work, label with an ornamental border. Andreas Jais worked in Mittenwald and Tölz down to about 1750. Made a good many instruments of high build and frequently with well-carved lion-heads. A son named Johannes died in Tölz in 1762. Anton, apparently a grandson, was at work until after 1830. Pretty wood and good varnish.

JAUCH, Andreas.—Dresden; circa 1749-80. Work rarely seen in this country, but is said to be of Italian character. The family name seems to have been “Jauck” and to have originated in Gratz—other makers of the name worked there.

JAURA.—Vienna; nineteenth century. A family of makers. The present maker, Wilhelm Thomas, was born in 1863, and is known as a skilful copyist and repairer.

JAY, Henry.—London; latter half of eighteenth century. Worked for Longman and Broderip, for whom he made violoncellos. Was also a noted maker of kits. Thomas Jay, his father, worked in the earlier half of the century. Little known.

JEANDEL, Pierre Napoleon.—Rouen; 1812-79. Red fiddles of good pattern and workmanship. Obtained several medals.

JOHNSON, John.—London; circa 1750. Stainer pattern, mediocre workmanship. Examples scarce. He had a music shop in Cheapside.

JOMBAR, Paul.—Paris; contemporary. Well-made fiddles of the modern French type. He was apprenticed to Audinot.

JORIO, Vincenzo.—Naples; circa 1850. Ornamental label, printed on yellow paper. Rather large pattern. Work well finished but seemingly scarce.

KABINGEN, Jacob.—Budapest; circa 1855. Seems to have been a superior workman and to have migrated to Russia.

KÄMBL, Johann Andreas.—Munich. Died 1781. Apparently a maker of repute. Writer is unacquainted with his work.

KARNER, Bartholomäus.—Mittenwald; eighteenth century. Fairly well made instruments. Brown varnish. Label with ornamental border.

KARNER, Johann Georg.—Enns; about 1825. Instruments branded “I. K.” in addition to bordered label. Mediocre work; wood frequently worm-eaten.

KEFFER.—Eighteenth and nineteenth centuries. There appear to have been several German makers of the name, working chiefly in Goisern. Instruments labelled, also branded “J. K.”

KEMPTER, Andreas.—Dillingen. Died 1786. High built. Stainer pattern; sometimes with lion heads. He seems also to have made instruments of flatter arching.

KENNEDY.—London; eighteenth and nineteenth centuries. A well-known family of Scottish origin. Alexander, the founder, died in London in 1785. Neat work. Stainer pattern. A nephew, John, worked chiefly for the trade and died in 1816. The best known maker was Thomas, the son of John, born 1784, died 1870. He also worked for the trade, but made a very large number of instruments on his own account, including numerous violoncellos. His personal work, when he chose to do his best, was of good pattern, and very neatly finished, but he evidently made instruments of different classes, and the poorer examples are of little worth.

KESSLER.—Markneukirchen. A very numerous family of German makers dating from about 1700 to the present time. They came from Markneukirchen, but some have settled in different German towns. The more recent members have manufactured on a considerable scale.

KITTEL, Nicholas.—St. Petersburg; to about 1870. Work scarce. He is best known as a bow-maker, and has produced excellent bows, stamped with his name.

KLEMM.—Markneukirchen. There were several workmen of the name in the eighteenth century.

KLEYMAN, Cornelis (also spelt Kleynman).—Amsterdam; seventeenth century. A little known copyist of Amati.

KLOZ.—Mittenwald; seventeenth to nineteenth centuries. A very numerous and important family of makers, and the real founders of the enormous business in violin making which has been carried on in and around Mittenwald since their time. About a score or more of makers of the name have been enumerated, and, as many of them bore the same Christian name, there has been much confusion as to their identity. About half a dozen of the number are tolerably well known and distinguished by judges in this country. For the rest, it is doubtful if even amongst their own countrymen any one is living who can claim any very exact knowledge of their individual work. The earlier workmen made more or less accurate copies of the instruments of Stainer, and in some cases there is little doubt that they labelled and sold their work as his, even during his lifetime. Some of the later Klozs altered the pattern of their violins and evidently based their designs upon Italian work, but none of them really succeeded in producing specimens possessing the true Italian style, although some of these have passed current as Cremonese amongst the unlearned in such matters. Most of them made their fiddles in two or more grades, the better of which, in certain cases, are well finished and possess a yellow or red-brown varnish of considerable brilliancy, and quality akin to that of Italy; but the bulk of the Kloz fiddles and basses are covered with the poor, meagre-looking stuff known as “glue varnish.” In numbers of cases the varnish on their work has become almost black. Of the individual members of the family, Matthias I. (1656-1743) made fiddles of Stainer character and occasionally covered with varnish which gives some colour to the story that he travelled in Italy and acquired experience of Italian methods of varnishing. Egidius Kloz I. worked until 1711, and his instruments are good and fairly valuable. Egidius II. died in 1805, and was a neat workman, but rarely used decent varnish. His violins are fairly common in this country. Johann Carl was one of the best of the tribe; model fairly flat; good red-brown varnish, and some general resemblance to Italian style in the work. He died in 1790. There were two makers named George, the second of whom died in 1797, and produced some highly finished work with brilliant varnish, but of Stainer model. Of the three Josephs, the latest, who was alive in 1798, seems to have adopted a type of fiddle which has since been extensively imitated and has an outline of more Amati appearance than that of his predecessors. Sebastian I. was a son of the first Matthias, and is usually reckoned the best maker of the family; he worked until about 1750, and produced good-sized fiddles, the best of which have handsome wood and flatter arching than those of his father; but Stainer traditions were evidently deeply implanted in him, and he never entirely discarded them. Several of the family adopted lion-heads with more or less frequency. Those of the first George are very well carved. Kloz scrolls are not artistic, though they are distinctive enough. Genuine Kloz fiddles of one grade or another are plentiful enough, but the celebrity at one time attaching to the name has led to numberless forgeries, many of which figure in pawnshops, and bear little or no resemblance to the originals.

KNILLING.—Mittenwald; eighteenth and nineteenth centuries. There were well over a dozen makers of this name.

KNITL, Joseph.—Mittenwald; to about 1790. Stainer model. Another Knitl, named Franz, said to be a son, worked in Freising, dying there in 1791.

KNOPF.—Eighteenth and nineteenth centuries. A Markneukirchen family settled in various parts of Germany and elsewhere. One of them, Henry Richard, worked with Bausch in Dresden and was recently at work in New York.

KÖGL, Hanns.—Vienna; about 1670. Said to have been born in Füssen. Imitated Brescian work.

KOLDITZ.—There were two or three makers of the name, one of whom, Matthias Johann, worked in Munich until about 1760.

KOLIKER, Jean Gabriel.—Paris; to about 1810. Chiefly known as a repairer, but is reputed to have made certain modern antiques of nondescript appearance.

KRETZCHMANN.—Markneukirchen; eighteenth and nineteenth centuries. A very numerous family. In some of their instruments the maker’s initials are branded in the place usually occupied by the label.

KREUZINGER.—The name of a Schönbach family of makers in the nineteenth century. Anton, born 1873, is highly spoken of as a good copyist. Joseph, born 1871, is reckoned a good workman, but seems latterly to have manufactured on a large scale.

KRIGGE, Heinrich.—Danzig; circa 1750 Large fiddles, double purfled after the manner of Maggini.

KRINER.—Mittenwald; eighteenth and nineteenth centuries. A large family which includes one or two high-class workmen. Amongst them may be mentioned Simon Kriner, who died in 1821, and was a clever copyist of Italian work. He travelled with his productions and occasionally came to England.

KULIK, Johannes.—Prague. Died 1872. Neat work and well-cut heads. Used various tickets.

LAFLEUR, Jacques.—Paris. Died 1832. Excellent bow-maker. A son, Joseph René, was also a good workman. Died 1874.

LAGETTO, Louis.—Paris; eighteenth century. Was an Italian. Yellow-brown varnish. Mediocre style and appearance.

LAMBERT, Jean Nicolas.—Paris; eighteenth century. Used various labels, some with ornamental border; also sometimes branded his work.

LAMY, Alfred Joseph.—Paris; contemporary. Well-known bow-maker. Imitates style of Voiriu.

LANDOLFI, Carlo Ferdinando.—Milan; circa 1740-80. A maker of some importance. His work is fairly plentiful, and the best examples are well finished and exhibit much handsomer material than that employed by most of the Milanese makers. The varnish on such examples is strikingly beautiful. It is of different shades varying between yellowish-red and brown-red. Scrolls not handsome. He is sometimes cited as a follower of Guarneri del Gesù, but there is little or no resemblance to the work of that maker. Arching sometimes rather full. Sound-holes well cut, but rather weak looking. Work generally very characteristic, but examples are met with in which it is carelessly finished and the varnish inferior. He seems to have made his instruments in different grades. The violoncellos used to realise better prices than the violins. They are good instruments, but rather small in size. A son named Pietro Antonio worked with him and succeeded him. He seems to have lived until about the end of the century. A few examples of his work seen by the writer were of inferior style and finish. Yellowish-red varnish of not much brilliancy. Sound-holes slightly pointed.

LANTNER, Ferdinand Martin.—Prague. Died 1906. He made a number of instruments, but they seem to be scarce in this country.

LANZA, Antonio Maria.—Brescia; to about 1715. Genuine work scarce. Maggini style.

LAPAIX, J. A.—Lille; to about 1858. Was an inventor or innovator whose experiments did not lead to much, but made some useful fiddles of orthodox pattern.

LA PREVOTTE, Etienne.—Marseilles, Paris. Died 1856. Made some handsome violins, but was chiefly a guitar maker.

LARCHER, Pierre.—Paris, Tours; eighteenth century. Pupil of Guersan.

LASKE, Joseph Anton.—Prague. Died 1805. Said to have been a fine workman. Little known in this country. Some of the labels have an ornamental border.

LAVAZZA, Antonio Maria.—Milan; early eighteenth century. Scarce. A relative named Santino Lavazza worked about the same time.

LE BLANC.—Paris; about 1800. Brown instruments, branded with the name.

LE CLERC, J. N.—Paris; eighteenth century.

LEEB.—Pressburg, Vienna. A family of makers in the eighteenth and early nineteenth centuries. The best known is Andreas Carl, a good workman. Chiefly Stradivari pattern.

LEGNANI, Luigi.—Naples; circa 1760. Pupil of Zosimo Bergonzi.

LEIDOLFF.—Vienna; seventeenth and eighteenth centuries. There were several members of the family. Their work is of the Stainer school.

LEISSMÜLLER, Christopher and Martin.—Krünn, near Mittenwald; eighteenth century. Two makers who have made useful violins of good tone.

LE JEUNE.—Paris; eighteenth and nineteenth centuries. A numerous family of makers of no particular eminence.

LEMBÖCK, Gabriel.—Budapest. Died 1892. A good maker and excellent repairer.

LENOBLE, Auguste.—Paris. Died 1895. A fine bow-maker. Worked first with François Peccatte.

LENTZ, Johann Nicholaus.—London; early nineteenth century. A Tyrolese. Instruments date from Chelsea. The work is passable, but specimens are not often seen. He was first employed as a butler, and became friendly with J. F. Lott.

LE PILEUR, Pierre.—Paris; 1750.

LÉTÉ, Simon.—Paris; nineteenth century. Married the daughter of F. Pique. Was chiefly an organ builder, but made passable violins. J. B. Vuillaume was in partnership with him until 1828.

LEWIS, Edward.—London; seventeenth century. Carefully finished work with yellow or yellow-red varnish. Scarce.

LIEBICH.—Breslau; nineteenth century. Several of the name date from Breslau. Some of their copies are very well made.

LIPP.—A name frequently seen in eighteenth century fiddles, mostly dating from Mittenwald.

LIPPOLD.—Eighteenth and nineteenth centuries. A family of makers in Markneukirchen.

LONGMAN & BRODERIP.—London. Well-known dealers in the eighteenth century. Banks, Jay, and several other good workmen made instruments for the firm.

LORENZ.—Eighteenth century. There were two or three German makers of the name, chiefly in Markneukirchen. No particular merit. Name branded on backs.

LOTT.—London. A celebrated family of German origin, dating from late eighteenth century. The senior and perhaps most important member was John Frederick Lott, who died in London in 1853. He was first associated with Fendt in working for Thomas Dodd (q.v.), and his double basses will bear comparison for style and workmanship with anything of the kind made in this country or abroad. He also made fine violoncellos, and, more rarely, violins, but was a fine workman in all departments. His son George Frederick died in 1868, and worked chiefly for Davis, the well-known dealer in Coventry Street, for whom he made many clever copies of Italian instruments. He was also celebrated as a judge of old violins. John Frederick Lott II., who died in 1871, was the second son of J. F. Lott, senior, and is perhaps the best known of the family amongst violinists. His copies of del Gesù’s fiddles are frequently remarkably clever imitations, and are still frequently mistaken for originals, though they are usually a trifle larger than the latter. He was almost equally successful in imitating Carlo Bergonzi, but examples of that pattern are rather scarce. But it may be said that he could, when he chose, imitate any of the great Cremonese masters with extraordinary fidelity. He was occasionally employed by J. B. Vuillaume, to whom he is said to have imparted information (little needed, one would have supposed) on the methods employed in making facsimiles of old Italian work.

LOUIS, Jean.—Geneva, Basle; about 1800-20.

LOWENDALL, Louis.—Dresden, Berlin; nineteenth century. A well-known manufacturer of stringed instruments and accessories.

LUPOT.—Eighteenth and early nineteenth centuries. A celebrated French family of makers originating in Mirecourt. Jean, the founder, died there in 1749, and was in no way distinguished. His son Laurent worked in various places and died in Orleans between 1760-70. Francois Lupot I. was son of Laurent, and worked chiefly in Orleans, but went to Paris in 1794 and died there in 1804. He was a good workman, vastly superior to his predecessors. His name is usually stamped on the back of his instruments in addition to the label. Brown or yellow-brown varnish of moderate quality. Arching sometimes inclined to be full. Sound-holes rather upright and the opening not very wide. Scroll mediocre. He is said to have worked with Guarneri del Gesù, but his violins bear no likeness whatever to those of that master, and it is difficult to understand how such a story could have gained currency. His son Nicholas Lupot, born Stuttgart, 1758, died Paris, 1824, was a maker of the first rank, and is usually reckoned the most important of all the makers of the French school. He worked first with his father, and his earlier examples date from Orleans. In 1792 he made for Pique of Paris a number of fiddles in the white, which were varnished by that maker, and bore his label, but are easily distinguished from the works of the latter. The migration to Paris took place in 1794, and his finest efforts are dated from there, the best period beginning about 1800, or a year or two later. His copies of makers other than Stradivari are comparatively rare, but he was unquestionably one of the best imitators of the great Cremonese who ever lived. The work throughout is scrupulously well finished; outline exactly reproduced, and scrolls and sound-holes cut with much vigour and accuracy. Notwithstanding this, the general appearance of his instruments is a trifle massive and heavy, and there is no doubt that in this respect certain other copyists, such as François Fent and Vincent Panormo, have excelled him. His varnish is of good quality, but varies somewhat in appearance, texture, and colour. Dark red was the favourite shade, but lighter shades from yellow onwards are met with, and in some examples the reds are rather glaring. The tone of a fine example is excellent, but, like that of most French instruments, seldom or never possesses the true Italian quality. Some of the violoncellos are superb. He was the founder of the more modern and typical French school of makers and had several notable pupils. His younger brother, François Lupot II., died in Paris in 1837. Such violins as he made are quite indifferent, and his attention was almost entirely confined to bow-making. His best bows are excellent in every way, but he was an unequal workman, and a good many are a trifle short in the stick.

LUTZ.—Eighteenth and nineteenth century. A large family of makers in Schönbach. Some of them established themselves in other places (Vienna and Paris), and were at work quite recently.

MacGEORGE, George.—Edinburgh. Worked with Matthew Hardie, and later alone until about 1820.

MACINTOSH, John.—Dublin. Died about 1840. Born in Scotland. Succeeded to Perry and Wilkinson’s business. A tolerably good workman, but resorted to practices for artificially maturing the wood of his instruments.

MAGGINI, Giovanni Paolo.—Brescia. Born in Botticino Sera, near Brescia, in August, 1580. Died in or before 1632. It is supposed that he fell a victim to the plague in the latter year. Interesting and important information about him was discovered by Professor Berenzi, who lectured on the subject in Brescia in 1890 and also wrote a pamphlet. The facts thus disclosed were included in a monograph on Maggini compiled by Lady Huggins, and published in 1892, most of the material being derived from notes supplied by the brothers Hill. The maker was apprenticed to Gaspar da Salò, and his earlier work is primitive looking and somewhat rough. According to the Huggins monograph both backs and bellies were at first cut on the slab. The violins of Gaspar da Salò, or such of them as have survived, seem to be usually of small pattern; those of Maggini, on the other hand, are usually of large size and may measure from 14¼ to a fraction over 14½ inches in length of body; but according to observations made by the writer, there is reason to believe that he now and then made examples of somewhat reduced proportions. Be that as it may, the typical Maggini fiddle is considerably larger than an ordinary full-sized instrument. His practice was to double purfle his work, but several single purfled specimens are known. The sound-holes at his best period are finely cut and set somewhat slantingly in the belly, the edges being bevelled on the under side. The lower circles are somewhat smaller than the upper ones, but it is by no means certain that this feature was either originated by or entirely peculiar to Maggini, as has been asserted. The cutting of the scroll is peculiar, the turns being from a quarter to half a turn shorter than the ordinary number. In large numbers of continental and other forgeries, and in the common copies of Maggini violins, the process has been reversed and an extra turn added to the volute. The varnish is of fine quality, brown in early work, and golden with a tinge of red in the latest specimens. The outline of the body is bold, with short corners, and, in a typical example, the waist widens rapidly to the lower corner. The arching of the violins is very gradual, rising to about half an inch in the centre of the plates. There are, however, specimens, supposed to date from Maggini’s middle period, in which the build is somewhat higher, and there is a “pronounced raised border” running round the edges. The labels are undated, and placed near the centre of the instrument, instead of directly under the sound-hole. The tone of his best violins is superb, but a little deficient in brilliancy in the upper register. Genuine Maggini work is scarce, but imitations of it abound. One of the cleverest imitators was Bernhard Fendt, several of whose double-basses have passed as Magginis. Violas of unquestioned authenticity do not exceed about a dozen in number. They are more arched than the fiddles and the sound-holes set somewhat high. Nearly all the existing specimens have been reduced in size. Only two or three genuine violoncellos appear to be known. Of double-basses and instruments of the violone class it is difficult to speak with certainty. A small chamber bass, erroneously assigned to da Salò, was in the possession of Mr. T. W. Bourne a few years ago, and a fine example of large size is, or was recently, in Stockholm. Much of the work of this class formerly assigned in this country to Maggini is now recognised as English, Fendt and one or two others being the authors of it. Of Maggini’s two sons, one died in infancy, and the other, Pietro, was not a violin maker. The older books mention a Pietro Santo Maggini, but his existence as a maker is nowadays discredited.

MAIRE, Nicholas.—Paris. Died 1878. A good bow-maker.

MALDONER, Johann Stephan.—Füssen; eighteenth century. Mediocre work, often worm-eaten. Used a label with an ornamental border.

MALINE.—Paris; worked to about 1850 or later. A clever bow-maker. Worked at one time for Vuillaume. A violin-maker of the same name, who may have been his son, also worked in Paris.

MANDELLI, Camillo.—Late nineteenth century. Apparently dates from Cremona, with which city he was intimately acquainted. Work not known to writer.

MANN, John Alexander.—Glasgow. Died 1889. A good workman. Usually copied Stradivari. Dark yellow varnish. He was one of the best Scottish makers of the last century, and was intimate with J. B. Vuillaume. Some of his tickets are in French wording.

MANSUY, or Mansue.—Paris; circa 1840. Instruments seemingly scarce.

MANTEGAZZA—Milan; eighteenth and early nineteenth centuries. There were three or four members of the family. Pietro Giovanni seems to have worked in partnership with two brothers. They were well-known dealers and repairers. Good work, varnish often very dark in colour. Their violas are highly spoken of. The form of their instruments resembles that of Amati.

MARCHETTI, Enrico.—Turin; late nineteenth century. Obtained a medal for his work at Antwerp in 1885.

MARCHI, Gian Antonio.—Bologna; seventeenth and eighteenth centuries. Golden yellow or red-brown varnish of good quality. Wood handsome. Scrolls very well cut. Appears to have made some fine violoncellos.

MARCONCINI, Aloysius.—Bologna, Ferrara; circa 1760-90. Said to have been a pupil of Omobono Stradivari. A son named Giuseppe died in 1841. He worked in Cremona as a pupil of Storioni.

MARENGO-RINALDI, Romano.—Turin. Born 1866. Succeeded the well-known dealer, Gioffredo Rinaldi. Work is after the style of Pressenda, whose recipe for varnish he is said to possess. He has obtained medals at Turin and Paris.

MARIANI, Antonio.—Pesaro; circa 1635-95. This maker has shared the fate of Cappa, his working period having been antedated by about a century in the older books on the violin. He was at work until very near the end of the seventeenth century. All sorts of double purfled instruments, some of them in no way like his, have been attributed to him. He is said to have been a pupil of Maggini, which is certainly very doubtful. The resemblance to the work of that maker is very trifling. The fiddles are generally rather large, and in most cases double purfled; but in other respects they differ materially from those of Maggini. The pattern is primitive and inelegant; the corners long; the sound-holes usually set very upright; in some the wings are absent, and the sound-hole is of the type known as “Brescian.” The waist is long and stiff looking, and quite unlike that of Maggini. The scroll a rough piece of carving. Varnish of good quality, and usually brown or yellow-brown. Wood generally of very plain appearance. A fine violin with an excellent tone, having a single line of purfling, is in the possession of the well-known artist, Philip Cathie. Another Mariani, named Fabio, is said by Valdrighi to have worked in Pesaro in the latter part of the seventeenth century, and was probably a son.

MARINO, Bernardino.—Rome; eighteenth century and early nineteenth. Roughish work of Tecchler style. Varnish red-brown.

MARQUIS DE L’AIR. See Claudot.

MARSHALL, John.—London; eighteenth century. Wamsley school of work. Stainer pattern. Labels usually in Latin. In some of his tickets there is a mild attempt at humour, “Good beef a penny a pound, but trades all very bad.”

MARTIN.—Eighteenth and nineteenth centuries. A pretty numerous family working chiefly in Markneukirchen, several of whom bore the Christian names “John Adam.”

MARTIN.—Paris; nineteenth century. There were several of the name. They were principally dealers and repairers.

MAST.—Eighteenth and nineteenth centuries. A Mirecourt family. Jean Laurent worked in Paris in the latter part of the eighteenth century. Instruments branded. Joseph Laurent, a neat workman, settled in Toulouse. Rather high model. Pretty wood. Yellow or red varnish. He was a skilful repairer.

MAUCOTEL.—Mirecourt, Paris, London; nineteenth century. A well-known family of good workmen. Charles, born Mirecourt, 1807, worked in Paris under Gand. Came to London in 1844, and after working for Davis established himself in Rupert Street. Retired to France in 1860. Chiefly copied Stradivari. Red varnish. Charles Adolphe, his brother, worked in Paris for Vuillaume until 1844, and then set up for himself. Made a considerable number of copies of excellent workmanship and tone. Obtained various medals, and died in 1858. Ernst Maucotel, born in Mirecourt in 1867; assisted Hippolyte Chrétien-Silvestre, with whom he became partner in 1900.

MAURIZI, Francesco.—Appignano; eighteenth century. Used sometimes a large oval ticket with ornamental border. Varnish brown.

MAUSSIELL, Leonhard.—Nuremberg. Born 1685, died after 1760. A careful maker. Usually copied Stainer. Some of the fiddles have lion-heads. Varnish yellow, or yellow-brown.

MAYR.—Eighteenth and nineteenth centuries. Three or four of the name worked in different parts of Germany (Salzburg, Munich, Schönbach). The best known is Andreas Ferdinand, a careful workman, who copied Stainer, and worked in Salzburg until about 1750.

MAYSON, Walter H.—Manchester. Born 1835, died 19—. Has made a great number of violins and other instruments of excellent finish, some of which are elaborately carved. He wrote a book on violin making, which was published in the “Strad Library.”

MÉDARD.—A numerous family of makers established in Nancy and Paris in the seventeenth and early eighteenth centuries. There were upwards of a dozen of them. The best known is François, son of Claude Médard. Born at Nancy, he worked chiefly in Paris, where he flourished until about 1715, or later. The work is very pretty, and the wood frequently handsome. Light red varnish of very clear texture. Arching rather flat.

MEER, Karel van der.—Amsterdam; contemporary. A clever workman. Maker to the Conservatoire in Amsterdam.

MEIBERI, Francesco.—Leghorn; eighteenth century. One of the few makers dating from Leghorn. Work little known.

MEINEL.—Upwards of a score of makers of the name date from Klingenthal and Markneukirchen, in the eighteenth and nineteenth centuries. The work of some of them is very passable. Instruments frequently branded with maker’s initials.

MEISEL.—Another very large tribe of German makers, dating, chiefly from Klingenthal, down to very recent times.

MEISNER, Johann Friedrich.—Lübeck. Died 1770. A professional musician who made violins, specimens of which are occasionally seen in this country. Dark brown varnish.

MELEGARI, Enrico Clodovio.—Turin; nineteenth century.

MELONI, Antonio.—Milan; late seventeenth century. Pretty work. Yellow varnish.

MENNÉGAND, Charles.—Died 1885. Worked in various places, including Amsterdam, but chiefly in Paris. A very clever workman and repairer. Has left numerous instruments, a number of which are violoncellos. Usually worked on Stradivari lines.

MENNESON, Jean Emile (pseudonym “Guarini”).—Rheims. Born 1842. A clever workman, who has obtained several medals. Has produced a great number of instruments with the assistance of workmen, and had formerly a factory at Mirecourt. Many of his violins are copies of the “Messie” Stradivari. His sons succeeded to his business.

MERCIER, A.—Paris; nineteenth century. Mirecourt class of work. Name stamped inside instruments. Varnish yellowish red.

MÉRIOTTE, Charles.—Lyons; middle eighteenth century. Stradivari pattern.

MESSORI, Pietro.—Modena; contemporary. Manufactures various kinds of instruments, and has received several medals. Violins are said to be well made and amber varnish, but work is not known to the writer.

METHFESSEL, Gustav.—Berne. Born 1839. Worked first in Vienna.

MEYER, Magnus Andreas.—Hamburg; eighteenth century. Work said to resemble that of Tielke. Yellow varnish. Sometimes inlaid. Written labels.

MEZZADRI, Alessandro.—Ferrara; circa 1720 and later. Amati style. Fairly good work. Another Mezzadri named Francesco worked in Milan to about 1750. Writer has seen two or three violins of fairly neat workmanship and Amati outline. Reddish varnish.

MICHELIS.—See Zanetto.

MIGGE, Otto Koblenz.—London. Born 1857. Has written a book claiming to have discovered the secrets of the Italian masters. Violins by him seen by the writer certainly did not justify the claim.

MIREMONT, Claude Augustin.—New York, Paris. Born 1827, Mirecourt, died 1887. Has left many useful instruments, chiefly of Stradivari pattern, which are rising in value. Sides sometimes appear rather deep. He made some excellent violoncellos.

MÖCKEL.—Nineteenth century. A Berlin family established in Berlin, Dresden, and elsewhere. One of them, Otto, used a label with his portrait upon it.

MOINEL, Charles.—Paris. Born 1866. Succeeded Cherpitel.

MOITESSIER, Louis.—Mirecourt. Worked to about 1825 and made many instruments. Examples seen by writer were of mediocre workmanship.

MÖNNIG.—Markneukirchen. A family of nineteenth century makers. About half a dozen of them are mentioned.

MONTADE, Gregorio.—Cremona; to about 1730. The work is after the pattern of Stradivari, but is little known amongst connoisseurs.

MONTAGNANA, Domenico.—Venice; to about 1745 or later. A maker of very high rank, about whom very little is certainly known. He was probably born in Venice, and the stories that he worked under either Stradivari or Amati may be dismissed as being unsupported by any evidence worthy of the name. The earliest date seen by the writer in an authentic ticket is 1715, and appears in a fine violin of rather small size, photographs of which appeared in the Strad magazine in June, 1912. Whoever was his instructor, he seems to have asserted his individuality from the outset. In a few of the violins there is more than a suspicion of a leaning towards the German form of outline; and in the treatment of the sound-holes the same thing may be observed. This is not surprising when it is remembered that the majority of the old Venetian makers exhibit traces, more or less marked, of the influence of Stainer. In his finest examples no trace of anything of the kind is discernible. He was an admirable workman with great knowledge of wood, and a fine eye for form. Much of his material is very handsome, particularly in the violoncellos, in the making of which instruments he was second to no maker, except Stradivari. A few double-basses are known. Violas are very rarely seen, but the few recognised as genuine are admirable instruments and possess a very fine tone. His varnish has long excited the admiration of connoisseurs. It is very lustrous, and of varying shades of red, the texture being much clearer than that usually seen on work of the Venetian school. The violins are of two sizes, the larger and more valuable being a small fraction under 14 inches long, and the general dimensions corresponding pretty nearly with the larger examples of Guarneri del Gesù. In the finer examples the sound-holes are not unlike some of those of Carlo Bergonzi. The arching is of medium height as a rule, but now and then a little fuller. His fiddles are certainly very rare, but their number is not so phenomenally limited as has been asserted by some writers. Tricks have been freely played with his labels in the past. These in some examples date from the sign “Cremona”; but there are genuine tickets which contain no reference to it. The heads are always splendid pieces of carving and of bold contour. One of the handsomest of his violoncellos has long been in the possession of Mr. George Gudgeon. A woodcut of it appears in Hart’s book on the violin.

MORLET, Nicholas.—France, probably Mirecourt; nineteenth century. Large violins after the stereotyped pattern of “didier” Nicolas.

MORRISON, John.—London; nineteenth century, first half. Worked in Soho, chiefly for the trade. Instruments little known.

MOUGENOT.—Rouen; circa 1760.

MOUGENOT, Georges.—Brussels. Born 1843. A well-known dealer and maker. He worked with N. F. Vuillaume, whose business in Brussels he acquired. His copies of Stradivari and Guarneri are very well made. Work usually signed in addition to printed label.

MOUGENOT-GAUCHÉ.—Contemporary. A manufacturer of violins on a considerable scale. His best grade fiddles are useful instruments and mostly after the pattern of the “Messie” Stradivari.

MUCCHI, Antonio.—Modena. Died 1883. His violins and violoncellos are fair examples of modern Italian work. Varnish generally yellow or yellow-brown.

MÜLLER.—Several German makers of this name are known. Some worked in Markneukirchen in the last century. Others in Schönbach.

NADOTTI, Joseph.—Piacenza; eighteenth century, latter half.

NANCY, Jean Théodore.—Paris; to about 1800. Chiefly known as a clever repairer.

NEMESSÁNYI, Samuel Felix.—Budapest; circa 1850-75. Work little known in this country, but he was an exceptionally clever copyist of Guarneri del Gesù and used good varnish.

NEUMÄRKER.—Nineteenth century. Several makers of the name worked in Schöneck.

NEUNER.—Mittenwald; eighteenth and nineteenth centuries. A very numerous family of makers, several of whom bore the Christian name Matthias. The second of that name died about 1830, and in 1812 founded the well-known firm of Neuner and Hornstainer, one of the largest manufacturing houses in Germany. Ludwig Neuner, born 1840, and a member of the firm, worked for a time with J. B. Vuillaume in Paris. A clever workman, he, in 1879, gained a medal in Berlin.

NEVEU, Charles.—Paris. Born 1863. A skilful copyist. Chiefly Stradivari pattern.

NEWTON, Isaac.—London. Died 1825. Worked for Betts.

NICOLAS.—Paris. See Fourrier.

NICOLAS.—Mirecourt; eighteenth and nineteenth centuries. A well-known family, the principal member of which is known the world over as “didier” Nicolas. He was born in 1757 and died in 1833. His early personal work is good and well finished. The violins are built somewhat upon Stradivari lines, but cannot be described as copies of that maker. They are generally of rather large pattern and but slightly arched. Tone powerful, and the varnishes, a reddish-yellow or yellow-brown, of good quality. Some of the violoncellos are exceptionally good. There is no doubt that these earlier examples possess considerable merit, but in later years Nicolas employed a very large staff of workmen, and degenerated into a manufacturer of coarse-sounding, common-place instruments, which, though useful enough in the orchestra, are quite unsuitable for other purposes. The type of instrument ultimately turned out has been extensively copied in France and elsewhere. The feature which at once strikes the eye is the sound-hole, the wings of which are cut off almost horizontally. His fiddles are branded with a triangular stamp “a la Ville de Cremonne.” Several other Mirecourt makers adopted the “Ville de Cremonne” as a sign. A son, Joseph, died in 1864, and after the latter’s death the business was sold to Derazey (q.v.).

NIGGELL, Sympert.—Füssen; circa 1730-75. A maker of some repute, but not very well-known in this country. A few fiddles seen by the writer were well-finished instruments; pattern a little like that of Albani, and with dark brown varnish. He branded his work inside with his initials.

NISBET, William.—Prestonkirk. Born 1828. Pencilled his name inside the backs of his violins. Obtained a medal in Edinburgh in 1886.

NORMAN, Barak.—London; circa 1680-1740. Said to have been the first maker of violoncellos in this country. His work is generally double purfled, and he imitated some of the Maggini features, including the peculiarity observed in that maker’s sound-holes, the lower circles of which are smaller than the upper ones. The violoncellos are large, and well made, the varnish generally a dark red-brown, but lighter shades occur. He and Nathaniel Cross, with whom he was for a time partner, seem to have made a number of ornamentally purfled viols-da-gamba. The writer has seen some of these, converted and strung as violoncellos. Violins by Barak Norman exist, although this has been denied by some writers. His monogram in purfling appears under the finger-boards, and sometimes on the backs. Some large tenors of high build are in existence.

NORRIS, John.—London. Died 1818. Founded the well-known business of Norris and Barnes, for many years carried on in Coventry Street. He learned fiddle-making with Thomas Smith, but very little seems to be known of him as a workman.

NOVELLO.—Venice; eighteenth century. Three makers of the name are mentioned. The only examples of violins seen by the writer were by Pietro Valentino, who was at work in the closing years of the century, and describes himself in his tickets as a pupil of Bellosio.

NÜRNBERGER.—Markneukirchen; eighteenth and nineteenth centuries. A large family of workmen, two or three of whom have turned their attention to bow-making. Some of their work in this department is excellent, and will bear comparison for style and finish with that of the best living French bow-makers.

OBBÕ, Marco.—Naples; earlier part of eighteenth century. Little known. His full name does not seem to be known, but the final O in his label has the abbreviation mark (as above) over it. Flattish fiddles. Yellow, or yellow-brown varnish.

OBICI, Bartolomeo.—Verona; seventeenth and eighteenth centuries. Large violins. Yellow varnish. Brescian style of work.

ODDONE, Carlo Giuseppe.—Turin. Born 1866. A clever maker, who was for a time in England, but has been established in Turin since 1901.

ODOARDI, Giuseppe.—Ascoli. Born 1746; date of death not ascertained. One Italian writer says he died at the age of 28, but this seems to be incorrect. He seems to have experimented with different kinds of wood. Writer has not met with examples of his work.

ÖHBERG, Johannes.—Stockholm; circa 1760-90.

OLRY, J.—Amiens; to about 1850. Stradivari pattern; good work. Dark-red varnish. He worked with Georges Chanot I.

OMOND, James.—Stromness. Born 1833. A Scottish maker of more than average ability. Has made a large number of instruments.

ORTEGA, Asensio.—Madrid. Died about 1835. A maker and repairer, who has earned unenviable notoriety by tinkering with the famous violoncello made by Stradivari for the Spanish Court.

OSTLER, Andreas.—Breslau; eighteenth century. Pretty work and handsome wood. Yellow or yellow-brown varnish. Stainer pattern.

OTTO.—Makers of this name worked all over Germany and elsewhere. About twenty of them are mentioned by von Lütgendorff, who devotes several pages to them. The only member of the family of much interest to English readers is Jakob August, who died in 1829, and was the author of the wellknown book on the violin.

OUVRARD, Jean.—Paris; eighteenth century. Pupil of Pierray, whom he imitated to some extent. Work seldom seen.

PACHERELE, Michel.—Paris; late eighteenth century. Scarce. Stamped his name on the backs of his instruments. Yellow varnish.

PACHERELE, Pierre.—Paris, Nice, Genoa, Turin. Died in Nice 1871. A fine workman, but a “roving blade.” He did much work as a repairer. Worked with Pressenda for several years, and made instruments which closely resemble and are equal to those of that maker. His ordinary instruments are of Stradivari pattern.

PACQUET.—Marseilles; late eighteenth century. Common-place instruments. Frequently worm-eaten.

PADEWET.—Nineteenth century. Four or more makers of the name are known. The family seems to have sprung from Vienna. Three of them worked in Karlsruhe. Johann I. died 1872. A skilful maker who obtained several medals. Johann II., who died in 1902, copied Stradivari, and seems to have made a large number of instruments. He received various medals, and was a well-known repairer.

PAGEOT.—Mirecourt. Died 1849. Name also spelt Pajeot. Bow-maker. Personally a skilful workman, but employed workmen who turned out bows wholesale, the prices beginning at sixpence each.

PAJOT.—Jenzat; nineteenth century. A family of makers, probably originating in Mirecourt. Chiefly makers of hurdy-gurdies.

PALLOTA, Pietro.—Perugia. Died about 1820. Little known.

PAMPHILON, Edward.—London; about 1681. He used a beautiful varnish of yellow colour, sometimes with a tinge of red. The fiddles are squarish, and stiff looking in outline. Scrolls small. The bottom of the shell is finished in a peculiar way. Some of the sound-holes are more curious than beautiful, the lower turns having a very wide sweep. Double-purfling was generally, but not always, employed. Writer has seen a few specimens containing Maggini labels. His own tickets are very scarce, and contain the day of the month when instrument was finished, in addition to the year.

PANDOLFI, Antonio.—Venice; eighteenth century. The work and tone are highly spoken of, but the writer has not seen examples.

PANORMO.—London, Paris; eighteenth and nineteenth centuries. The last survivor of this celebrated family died in Brighton in 1891. The most important member of it was Vincenzo Trusiano Panormo, or as appears in many of his labels, “Vincent,” from whose son, Francis, were obtained the dates of his birth and death. He was born at Monreale, near Palermo, according to the story, in 1734, and died in London in 1813. Owing to the wide range of dates seen in labels (genuine or otherwise) it has been surmised that there were two Vincents, and one enthusiast claims to have discovered three. Various traditions are current as to his early life and training. According to one of them he worked with Carlo Bergonzi in Cremona. Nothing, however, seems to be definitely known except that in certain years he worked in Paris, that most of his life was spent in London, and that he was also for a time in Ireland. A large number of his works survive, the best of them being magnificent copies of the different types of Stradivari. As copies these specimens have never been surpassed, and but rarely equalled by any other maker; their tone is of Italian character, and far superior to that of the French copies, and they are covered with beautiful varnish, mostly of varying shades of yellow, but more rarely red. Panormo was a consummate workman, and given the material and the opportunity he was capable of building, as few others could, any instrument of the fiddle tribe, from a superb double-bass to a violin. His violoncellos are very fine. Unfortunately he did much work for the trade, which does him little credit, although far better than one is accustomed to see in work of its class. His best fiddles are handsomer and less heavy looking than those of Lupot. His son Joseph is best known as a violoncello maker. His violins look rather heavy in style as a rule, but there are exceptions. George Louis, usually known as Louis, died in London in or before 1845. He is said to have been the second son. The octagon bows bearing his stamp are frequently very fine. He specialised as a guitar maker, but turned out a good many violins. These vary in merit, but some are decidedly handsome. He was a good scroll-cutter.

PAQUOTTE.—Paris; nineteenth century. A Mirecourt family. The business in Paris was founded by Sebastien, who died in 1863. There were three or four makers, all good workmen.

PARIS, Claude.—Paris; late eighteenth century.

PARKER, Daniel.—London; eighteenth century. An excellent maker, whose work has in recent years risen rapidly in value. He seems to have worked from quite early in the century until after 1770. He shares with John Hare the merit of having turned attention to the pattern of Stradivari, and it is much to be regretted that other British makers of the period did not do the like. Some of his fiddles are upon lines more or less like those of Amati, but his reputation chiefly rests on those which are evidently in imitation of the “long Pattern” of Stradivari. They are not exact copies, but in design and dimensions are very similar to Stradivari fiddles of that type. Varnish red, of good quality, wood frequently handsome, and tone large and brilliant. A good example was not long ago in the possession of M. Kreisler. It is said that Parker worked much for the trade. Writer has seen one or two labels in manuscript.

PASTA.—Brescia; late seventeenth and eighteenth centuries. A Milanese family, two or three of whom worked in Brescia, and the founder, Bartolomeo, in Milan. In his labels he calls himself pupil of Niccolò Amati. Gaetano Pasta, who was in Brescia until about the middle of the eighteenth century, calls himself a pupil “dell Amati,” and is supposed to have worked with Hieronymus Amati II. Instruments are said to have a fine tone, and to be rather flat, with outline resembling G. B. Rogeri.

PATHAN, Vincenz.—Vienna. Died 1894. Worked some time with Zach. Made good copies of various Italian makers, particularly Maggini.

PATZELT.—Nineteenth century. Makers of the name date from Dresden, Vienna, and Berlin.

PAULI.—Tachau; eighteenth century. Three or more makers of this name.

PAULUS.—Markneukirchen; nineteenth century. A numerous family, members of which have worked in the principal German cities (Berlin, Dresden, Leipzig) and elsewhere. One of the best of them, August, is, or was, a member of the Dresden firm, “Richard Weichold.” Another, Albin Ludwig, of Markneukirchen, has made a large number of copies of the “trade class,” the better qualities are well-made useful instruments.

PAZZINI, Giovan Gaetano.—Florence; 1630-70. Calls himself a pupil of Maggini. High built. Dark varnish. Work scarce.

PECCATTE.—Mirecourt, Paris. A celebrated nineteenth century family of bow-makers. Dominique, the best known, was born in 1810, and died in 1874. Some of his finest bows are unstamped. He worked for several years for J. B. Vuillaume. François, his younger brother, born 1820, died Paris 1855, was, when he chose, almost, if not quite, as good a workman as Dominique. He also worked with Vuillaume for three years, having previously worked on his own account in Mirecourt for ten years. Latterly he again worked for himself, but in Paris. Much confusion has existed in distinguishing the bows of the two brothers. François bows are frequently stamped “Peccatte” in a similar way to those of Dominique, and attempts have been made to distinguish their respective stamps—a very uncertain test. The best means of identification is in the heads: the bows of Dominique have a sharper appearance towards the peak than those of “Peccatte jeune.” Charles Peccatte, son of François, was at work in Paris in quite recent years, and is a maker of very fair ability.

PEDRINELLI, Antonio.—Crespano. Died 1854. Began life as an undertaker. Studied acoustics, and became a copyist of more than average capacity. Orange-red varnish.

PELLIZON, Görz.—Eighteenth and nineteenth centuries. A family who have been at work until very recent years. Instruments not frequently seen in England. The best known is Antonio, the founder, who died in 1850.

PEMBERTON, Edward.—London; seventeenth century. Name appears in most books on the violin. Varnish said to be good. Work indifferent.

PENZE, Ignatio.—Schönbach; circa 1760. Appears to have been a German named Penzl. The name is spelt in different ways, and occasionally is quoted as Ponze or Ponzel. According to labels to which writer’s attention has been drawn, the violins are dated from Cremona. They have little or nothing in common with Cremonese work. The tone is described as of good quality. Yellowish red varnish.

PEREGRINO, or Pelegrino. See Zanetto.

PÉRON, Nicolas.—Paris; latter half of eighteenth century. Yellow-brown fiddles. Fairly good average work.

PERRIN.—Mirecourt; middle nineteenth century. Useful instruments. Dated from Paris.

PERRY, Thos.—Dublin. Died 1818. The violins bearing his stamp vary enormously, some being very fine works of art, and others quite indifferent. A considerable number were made after his death. Wilkinson, his son-in-law and partner, was a poor workman, and continued the business for several years, so that the stamp appears on fiddles dated well into the “thirties” of the last century. Perry’s earliest examples date from about 1760 or a little later. The best specimens of his violins are somewhat after the Amati style, and the varnish on them is clear and of fine quality. What is known as his own model is far from handsome, and the sound-holes are frequently placed too high in the belly. The tone of a decently preserved specimen is generally very good. His instruments have lately attracted considerable attention. The colour varies from dark brown to amber, the darker shades occurring chiefly on his earlier work. He made a number of viols. The violoncellos are generally good. He is said to have learnt his business in London with Duke. The original name was “Pierray,” and he seems to have been a relative of Claude Pierray, a well-known Paris maker (q.v.). Two other Perrys worked in Ireland. One dates from Kilkenny, and is said to have been a cousin of Thomas. Another was named Joseph, but the relationship (if any) does not seem to be ascertained.

PERSOIS.—Paris; to about 1850. The name is usually spelt “Persoit.” A clever bow-maker. Worked for Vuillaume and on his own account. Bows stamped P.R.S.

PETZ.—There were several makers of the name. One named Jacob dates from Vienna about 1830. Labels bear the two-headed eagle. An earlier maker in Vienna, Marianus Petz, died in 1781. Two others, Franz and Jacob, date from Vils in the Tyrol. The former died in 1772, the latter in 1824.

PEZZARDI.—Brescia; 1660-90. There seems to be some confusion as to this maker’s dates. Like Mariani, his working period has been antedated about 100 years. Double purfled instruments.

PFAB, Friedrich August.—Hamburg. Died 1904. Received a gold medal in Hamburg in 1889. Another in Vienna, 1873.

PFRETZCHNER.—Markneukirchen; eighteenth and nineteenth centuries. Another huge family of workmen. Twenty-two or more are enumerated. In very recent years one or two of them have become well known as bow-makers. Two of them, Johann Gottlob and Carl Friedrich, who worked in the eighteenth century, date their labels from Cremona. The style of the work is poor, and gives no countenance to the claim.

PIATTELLINI, Gaspero.—Florence; eighteenth century. Instruments said to resemble those of Gabbrielli.

PICHON.—Lyons; nineteenth century.

PIEGENDORFER, Georg.—Augsburg. Died 1906.

PIERRARD, Louis.—Brussels; contemporary. Worked with Mougenot. Violin maker to the Ghent Conservatoire. A clever workman. Published a book in 1902 on “The Violin: Its History and Origin.”

PIERRAY, Claude.—Paris; late seventeenth century to about 1726. Whether or not this excellent maker worked in Italy, as has been surmised, the varnish seen on his instruments is of excellent quality. The colour a light red or deep yellow. There is a look of Amati about the pattern, but they are not exact copies of Amati. The sound-holes have an appearance at their upper turns which is difficult to describe without the assistance of specimens. The work is neat and the tone of fine quality. The fiddles, like those of Boquay, were made in two sizes. Wood varies, but is sometimes handsomely marked. He seems to have made many instruments, but in this country they are by no means common.

PIÈTE, Noël.—Paris; eighteenth and early nineteenth centuries.

PILAT, Paul.—Budapest. Born 1860. Worked with Zach. Has received several medals. Instruments branded inside with initials within a circle.

PILLEMENT, F.—Paris; eighteenth and nineteenth centuries. A very unequal workman. Instruments branded.

PIQUE, François Louis.—Paris. Born near Mirecourt, 1758. Died 1822. One of the best known Paris makers, he early acquired a good reputation, and has left a great many instruments of varying merit. The best violins are large examples of Stradivari pattern. Their general appearance is massive, and the scrolls, though well cut, are inferior to those of Lupot, who made a number of instruments for him. The quality of the varnish is unequal, and he appears to have made two or more grades, presumably according to the price he was to receive. The wood of the backs is often in one piece, and of handsome figure. Sound-holes very well cut. Colour of varnish commonly, but not always, a deep red or red-brown. Labels commonly written, but he also used an engraved ticket. He retired from business in 1816.

PIROT, Claude.—Paris; about 1800-30. An exceptionally good workman. The instruments are of Stradivari character, but less stereotyped and more Italian looking than the average French violin of the period. Varnish red or red-brown. He used a small label with a neatly engraved border. Writer has seen examples branded under the tail pin. Some of his work has been ascribed to Pressenda.

PIZZURNO, David.—Genoa; circa 1750-65. Specimens scarce. Mediocre work.

PLACHT.—Schönbach; eighteenth and nineteenth centuries. Well over a score of makers of this name are enumerated.

PLANI, Agostino de.—Genoa; second half of eighteenth century. Very commonplace work.

PLATNER, Michael.—Rome; 1735-50. His was probably of German origin. His work belongs to the school of Tecchler, and it is not unlikely he worked for that maker. He used pretty red and golden yellow varnish, and was a good scroll cutter. The arching of his violins is rather full, and the general appearance of the instruments is of German character.

PLUMEREL, Charles.—Angers; nineteenth century; first half. A clever workman. Instruments somewhat resemble those of J. B. Vuillaume in style and finish.

POIRSON, Elophe.—Lyons. Born 1840. Began as an amateur maker. He invented a varnish which is supposed to impart an improved quality of tone. Uses a label with his portrait upon it. The workmanship of his instruments is well finished.

POISON, Justin.—Paris. Born 1851. A wellknown bow-maker.

POLLER, Anton.—Vienna; contemporary. Stradivari pattern. Reddish yellow varnish.

POLLER.—Mittenwald; eighteenth century. A family of makers. In the labels the name is usually spelt “Boller.”

POLLUSCA, Antonio.—Eighteenth century. Tecchler school of work.

POSCH (Bosch), Antony.—Vienna; 1677-1742. A son, also named Anthony, died in 1749. Violins generally high built. Both makers exhibit the Austrian double eagle on their labels.

POSTACCHINI, Andreas.—Fermo. Two makers of this name dated from Fermo. The earlier died between 1820-30. The instruments are somewhat of Gagliano type and appearance, and are rising in value. The second Andreas died about 1857.

POSTIGLIONE, Vincenzo.—Naples. Born 1835. A very neat workman. Has made some handsome and well-finished violins of Guarneri del Gesù pattern.

PRESSENDA, Giovanni Francesco.—Turin, Alba, Carmagnola. Born 1777. Died 1854. One of the most important Italian makers of the nineteenth century. His violins date chiefly from Turin, but he also worked in Alba and Carmagnola, and possibly for a short period in Marseilles. A well-known repairer told the writer that three instruments by Pressenda dating from the last-named place had passed through his hands. He learned his business in Cremona with Storioni, and went to Turin about 1820. Early specimens of his work are more or less after the pattern of Stradivari, but later he designed a pattern of his own in which he somewhat changed the character of the sound-holes and the style of the arching. The wood of his instruments is nearly always handsome, the majority of the backs in one piece, cut on the quarter. The varnish is lustrous and varies in tint, some of the finest being of a deep mahogany red. A large number of his violins and those of Rocca and other followers were imported into this country by Gioffredo Rinaldi, who wrote a brochure on Pressenda, and violin making in Piedmont. This maker has had a number of clever imitators besides Rocca, who rivals or surpasses him in popularity amongst modern players. Amongst them may be mentioned Fagnola (q.v.).

PSENNER, Johann George.—Eighteenth century. Two makers of this name, both of whom were fair workmen, date from Innsbruck.

PUPUNAT, François Marie.—Lausanne; circa 1830-60. Originally a cabinet maker he became a neat workman. A violin of his make is in the Paris Conservatoire.

RAMBAUX, Claude Victor.—Paris. Born 1806. Died 1871. Worked with Moitessier and later with Thibout and Gand. Began business on his own account in 1838, and was a most skilful repairer of old instruments. His violins and other instruments are finely finished and generally of Stradivari pattern, but he does not seem to have been a very prolific maker. He was the recipient of several medals.

RAMFTLER, Franz.—Munich; nineteenth century. Chiefly a dealer.

RASTELLI.—Genoa; nineteenth century.

RAU, August.—Markneukirchen; contemporary. A good bow-maker. Worked for a time with Weichold of Dresden.

RAUCH.—Chiefly eighteenth century. Some fourteen or fifteen makers of the name worked in Komotau (Bohemia), and in different German towns. Jacob Rauch worked in Mannheim, and it is said that his instruments are high built and clumsy looking but possess a good tone.

RAUT, Jean.—Rennes; eighteenth century.

RAWLINS.—London; eighteenth century. Practically unknown, but the name appears in most books on the violin.

RAYMAN, Jacob.—London; 1620-57. A Tyrolese. German looking fiddles. The varnish is the best feature about them.

REICHEL.—As there were about fifty or more makers of this name, principally in Markneukirchen, detailed notice of their work is out of the question.

REMY.—Paris and London; eighteenth and nineteenth centuries. There were five or more members of this family engaged in fiddle making. Mathurin François, the founder, worked circa 1760-1800. Guersan style of work. Yellow varnish. Jean Mathurin, his son, died in 1854, and is reputed a better workman. Two of the latter’s sons, Hippolyte and Jules, died in 1876 and 1869. A maker of the name better known in this country was the Remy who worked in London about the middle of the last century. Hart says that he spoilt his fiddles by artificially maturing the wood. However that may be he was a clever imitator of Italian work. The writer has seen examples which were much above the average of such things; in particular one or two copies of Guarneri del Gesù. He also copied Maggini with success. His relationship to the Paris family is not stated.

RENAUDIN, Leopold.—Paris. Born Mirecourt 1749. Guillotined during the French Revolution 1795. He used various labels; one of large size with an engraving representing a musical performance. He is best known as a double-bass maker, but his work generally is not plentiful. The violins high built and clumsy looking. Yellowish varnish, some of which is much oxydised.

RENAULT, Sebastien B.—Paris; circa 1755-1811. Firm Renault and Chatelain. They were musical instrument makers, and the violins are not often seen.

RÉSUCHE, Charles.—Lyon, Bordeaux. Born 1858. Worked with Gand and Bernardel. A good copyist of Italian instruments.

RICHTER, Christopher Adam.—Markneukirchen; eighteenth century.

RIECHERS, August.—Hanover, Berlin. Died Berlin 1893. Moved about a great deal, but settled in Berlin in 1872. He was a clever workman, and made a large number of instruments of various patterns. Writer has seen violins by him resembling those of “didier” Nicolas. Published a book on violin making. He was also a noted repairer and patronised by Joachim.

RIEDEL, Joseph Alexander.—Meseritz, Danzig. Died 1866.

RIEF.—Eighteenth and nineteenth centuries. Vils. Seven or eight makers of the name.

RIEGER.—Mittenwald. From seventeenth century to present time. At least a dozen names are mentioned.

RIESS, Andreas.—Bamberg. Died 1777. High built. He was also a professional musician and organ builder. Another Riess named Joseph also worked in Bamberg.

RINALDI, Gioffredo Benedetto.—Turin; 1850-88. Worked with Pressenda, but is best known as a dealer and importer into this country of Italian fiddles, chiefly by Pressenda and Rocca, with other makers of that school and period.

RIVOLTA, Giacomo.—Milan; circa 1820-35. One of the better makers in Italy in the last century. The violoncellos and violas are well made, and in appearance and varnish somewhat resemble work of the Neapolitan school. Varnish golden yellow. He received a gold medal, and on some of his tickets states that it was awarded “for having revived the celebrated school of Stradivari.”

ROCCA.—Turin; nineteenth century. A maker named Joannes is mentioned as having been at work about 1809, but it is not unlikely that he is identical with Joannes Rotta, the ticket cited being a written one. Giuseppe Antonio Rocca was born, probably in Turin, about 1800, and died in Genoa, according to the story, in 1867 or 1868, his body being recovered from a drain or cesspool. His labels date from about 1830 or a year or two earlier. He was employed for some time by Pressenda, whose instruments he imitated so closely that they have frequently passed as that maker’s work. His initials were frequently stamped upon the blocks and elsewhere in his instruments, and this has sometimes led to their identification in cases where Pressenda labels have been found in them. But Rocca did not confine himself to imitating Pressenda, and made numbers of fine fiddles of other patterns. His best copies of Stradivari are very valuable, and he was also successful with the del Gesù model. The varnish on early work is sometimes rather thin, and hard looking, but in this detail he seems to have improved as time went on. The colour varies a good deal, from a rich dark red of mahogany hue, to yellow of different shades. Double purfled instruments are sometimes seen, and he occasionally used mahogany for his backs. The Stradivari copies are generally, but not always, similar in pattern to the violin known as the “Messie.” His work is sought after by concert performers, and the prices paid for good specimens have in recent years been very high. He obtained several medals, and has been cleverly imitated by Fagnola and other makers. A good many counterfeit Roccas have found their way into the market. Enrico Rocca, a son, worked in Genoa and Turin, and died in May, 1915.

ROGER, G.—Montpellier; nineteenth century. Nicolas type of work.

ROGERI, Giovanni Battista.—Cremona, Brescia. Born about 1660 in Bologna. Worked until about 1730. An admirable workman, who was a pupil in Niccolò Amati’s workshop, the pupillage being invariably stated in his labels, which are often printed in red ink. Some of his work contains the genuine tickets of his master, and a good many of his instruments are very like those of Amati, the head, however, being heavier in style and the sound-holes slightly different in form. Later work shows a flatter arching, and there is more or less resemblance in the form to that of Stradivari. The general workmanship is always fine. The varnish either identical with Amati’s or a beautiful clear red. The violins were in two sizes, the large examples being very scarce. The size usually seen is about 13⁷/₈ inches long and the measurements are about those of an ordinary Amati fiddle. The spelling of the name in the labels varies. Sometimes it appears as “Rugerius,” but more commonly it is spelt with an “o.” The violoncellos are splendid examples of their class, and having mostly been built of convenient size, their proportions have not usually been reduced like those of the Amati family.

ROGERI, Pietro Giacomo.—Cremona and Brescia. Seems to have worked from about 1690 until after 1730. His relationship to G. B. Rogeri is not known, but if he worked, as some of the tickets state, with Niccolò Amati, he could not have been a son, as has often been alleged. Messrs. Hill suppose, and it is extremely probable, that the two Rogeri were associated in their work, though there do not seem to be labels containing their joint names. Pietro Giacomo’s work is almost, if not quite, equal to that of his relative. Violins bearing his label are very scarce, but strongly resemble those of the latter. The corners droop somewhat more, but the scrolls in one or two specimens seen by the writer are so alike that they might be the work of the same man. A beautiful violin with fine red varnish is in the possession of Mr. W. Sachse, the well-known professor; and Piatti for many years possessed a fine violoncello of Pietro’s make. Some of his labels date from Cremona, and his name is also sometimes seen spelt with a “u” instead of an “o.”

ROMBOUTS, Pieter.—Amsterdam; circa 1700-30. The violins are well made. Rather high built, and with a brilliant red varnish. The purfling is whalebone. There is some resemblance to the work of Jacobs, with whom he is said to have worked. It is also said that in earlier years he was known as “Pieter—Jacobs’s pupil,” and this is supposed to be the origin of the Peeter Jacobs whose name has so frequently appeared in fiddle literature.

ROMER, Adolf.—Freibourg. Born 1863. A maker who seems to possess considerable scientific knowledge, and has made some very handsome copies of the Italian masters. He has received various medals.

ROOK, Joseph.—Carlisle; circa 1775-1825. The work is neat. Rather high built; and the violins seen by writer of medium size, with clear yellow-brown varnish. It is said that he was taught by Forster, presumably when the latter worked in the North of England.

ROSSI.—Nineteenth century. Several makers of this name have lived in Italy, chiefly in Padua and Milan. One named Enrico is a good workman who, with his son, has a business in Padua, and obtained a medal in 1877.

ROTTA, Giovanni.—Cremona; early nineteenth century. The name in labels seen by the writer was spelt with a single “t,” but it is said that a good many doubtful or spurious ones exist. Work not highly finished. Reddish-yellow varnish. Writer has seen the label in at least two violins which were certainly of Mittenwald origin.

ROZE.—Orleans; eighteenth century. Rather neat work and good pattern. Yellow varnish.

RUB, August de.—Viterbo; circa 1760-75. His label states that he made his instruments for his personal delectation. Writer came across a violin in London recently.

RUDDIMAN, Joseph.—Aberdeen. Born 1733. Died 1810. Said to have been a pupil of Matthew Hardie.

RUGERI.—Cremona; seventeenth and eighteenth centuries. A celebrated family of makers. The name is seen spelt in a variety of ways, e.g. “Ruggieri,” “Rugieri,” etc. The founder was Francesco, who worked in the latter half of the seventeenth century, and adopted the distinctive title “il Per” on his label, possibly to prevent confusing his work with that of the Rogeri who also worked with Amati but came from Bologna. In this practice he was followed by his sons. He was a splendid workman and one of the best of Amati’s followers. He copied Niccolò’s instruments with much fidelity and was very successful with the “grand pattern.” Amati labels, mostly badly latinised and incorrect, seem to have been found in his violins from an early period, but it does not seem to be certainly established that he himself inserted them. Such work of his as was made in the master’s workshop would obviously bear correct labels. Most of his violins have handsome backs, some of larger figure than that usually employed by Amati. His varnish is most beautiful, and, in the finest specimens, of a brilliant red colour. In other works it is identical with the yellow seen on the majority of Amati’s instruments. In later works he somewhat altered the form of the sound-hole, but his work, of whatever date, is almost always full of grace. The heads are excellent. A large number of his violoncellos survive. They were mostly, but not invariably, of large size, and have been reduced, not always too well. The backs are frequently of plain wood. Giacinto Gio. Battista Rugeri, a son, seems to have dropped the “Gio. Battista” from his later labels. He worked down to about the end of the seventeenth century, but probably assisted his father largely, and his own signed work is comparatively scarce. It is said that he made good tenors and a number of useful violoncellos. One or two violins seen by the writer were less graceful than those of Francesco, and the varnish brown. Vincenzo Rugeri, a younger son of Francesco, seems to have been the last of the family, and was at work until 1735 or later. Writer has seen violas and violoncellos, but only one violin of his make. The work is of Amati character, and the finish good, but not remarkably so. Some, if not all, of his tickets have an ornamental border.

RUPPERT, Johann Heinrich.—Erfurt; 1719-36. Stainer outline, but arching comparatively flat; no linings or corner blocks.

RUPRECHT, Wilhelm.—Vienna. Died 1862. A clever maker. Many of his copies are double purfled, and it is said that some have been sold as genuine Brescian work. He was awarded a medal in 1839.

SACCHINI, Sabattino.—Pesaro; seventeenth century.

SACQUIN.—Paris; nineteenth century, to about 1860. Backs of instruments branded inside. Chiefly Stradivari pattern.

SAINT PAUL, Antoine.—Paris; 1768-89. Guersan style of work. Heads like those of other makers of the period, said to have been cut by women. Another Saint Paul (Pierre) worked earlier and was possibly his father.

SALLE, Le Père.—Paris; 1825-50. Chiefly known as a connoisseur and repairer. Copied Guarneri.

SALOMON, Jean Baptiste Deshayes.—Reims, Paris; circa 1735-70. This maker was either an unequal workman, or the instruments bearing his name and stamp were made in different grades. The writer has seen very good violoncellos, on which the finish was above the average. Yellow varnish and well-carved scrolls. The violins generally have a brownish-yellow varnish, the arching is carried almost to the edges. Sound-holes rather wide apart, belly wood rather hard, and backs showing little figure, though now and then they are handsomer. Tone not particularly good. He used various tickets. His business was carried on by his widow for some years after his death.

SALZARD, Francois.—Paris, Mirecourt. Born 1808. Died 1874. Mirecourt style of work. Yellow-brown varnish. Tone powerful. Name often written or branded inside the backs. There was a D. Salzar, probably his father. A son, Ernest André, worked in Moscow and St. Petersburg where he died in 1897.

SANDNER.—Eighteenth and nineteenth centuries. A large family originating in Schönbach. There have been nearly twenty of them working in different parts of Germany and elsewhere.

SANTAGIULIANA, Giacinto.—Venice; eighteenth and nineteenth centuries.

SANTINO.—Milan; about 1700. Grancino type of work.

SANTO, Giovanni.—Naples; eighteenth century.

SARDINI, Carlo.—Madrid; eighteenth century. Said to have been a Neapolitan. Large flat instruments. Yellow-orange varnish.

SARTORY, Eugene.—Paris. Born 1871. Well-known bow-maker. Imitates Voirin.

SAUNIER, Edmond.—Bordeaux. Died circa 1785. Good work. Not very plentiful in this country.

SAVART, Felix.—Paris. Died 1841. Well-known acoustician. Made fiddles of guitar outline.

SAWICKI, Carl Nicolas.—Vienna. Died 1850. Generally copied Stradivari, but also the pattern of del Gesù. A very finished workman. Scrolls and wood very handsome. Tone excellent.

SCARAMPELLA.—Brescia, Paris, Mantua, Florence; nineteenth century. A family originating in Brescia. The founder, Paolo, died in 1870. A son, Giuseppe, worked in Paris and Florence. Died about 1886 or later. Neat work. Red varnish. Another son, Stefano, born 1843, dates from Mantua and Brescia. Good work. Has obtained a silver medal.

SCHALLER.—Markneukirchen, Schönbach. A large family of nineteenth-century workmen.

SCHÄNDL.—Mittenwald; eighteenth century. There were three or four of the name. The best known are Michael and Anton. Well-made violins of the Stainer-Kloz type.

SCHEINLEIN, Johann Michael.—Langenfeld; eighteenth century. Stainer school. Another, named Matthias Friedrich, worked in the same place.

SCHETELIG.—Markneukirchen; eighteenth and nineteenth centuries. About a dozen makers of the name.

SCHLICK.—W. Dresden; nineteenth century. One of the innumerable “discoverers” of the “secret of the Italian varnishes.” Has received medals.

SCHLOSSER.—Klingenthal; eighteenth and nineteenth centuries. Another numerous tribe. One, named Johann George Schlosser, branded his work inside, “I. G. S.”

SCHMIDT.—About twenty-five German makers are enumerated by von Lütgendorff.

SCHÖNFELDER.—Markneukirchen; nineteenth century. Another tribe, running well into a score of names.

SCHONGER.—Eighteenth and nineteenth centuries. Erfurt, Cassel.

SCHRECK, Rudolph.—Berlin; eighteenth century. Said to be one of the oldest Berlin makers. His name, appropriately enough, means “fright!”

SCHUSTER.—Markneukirchen. Another horde of makers. They manufacture very cheap trade instruments.

SCHUSTER, Joseph Anton.—Schönbach; eighteenth century. Good work.

SCHWARTZ.—Strasburg; nineteenth century. Four or more of the name were instrument makers. One, named George Friederich, was a good bow-maker.

SCHWEITZER, Johann Baptist.—Budapest. Died 1865. An excellent copyist of Italian work. He was a pupil of Geissenhof of Vienna. Red-brown varnish. Innumerable instruments purporting to be his work and labelled to that effect have been made in Markneukirchen. These instruments are of a common class, and examples of them are constantly met with in this country.

SEELOS.—Innsbruck; seventeenth century. Stainer school. Work not often seen. Georg Seelos used a label printed in gold lettering.

SEIFERT, Otto.—Berlin. Born Markneukirchen, 1866. Maker of the much-advertised “New Cremona” violins, the plates of which are attuned according to a system devised by Dr. Grossmann. These instruments are well finished.

SEIZ OR SEITZ.—Mittenwald; eighteenth century. There were a large number of the name. Many of the instruments are of a useful type and have a good tone.

SERAPHIN, Santo.—Venice. Born at Udine about 1675-80, worked, according to labels, until about 1748 or later. No neater workman ever lived. His copies of Niccolò Amati’s “grand” pattern are very handsome, and, as Hart remarks, are often very like the instruments of Francesco Rugeri. Varnish a very fine red, but now and then the colour is lighter. Unfortunately the greater number of his works are of German character, so far as outline, modelling, and sound holes are concerned. Apparently Venetian patrons admired the Stainer form, as numbers of the violin-makers in Venice designed their work more or less closely upon it. The scrolls are very well cut but generally rather weak looking. Some magnificent violoncellos are known, and he is said to have excelled in double basses. The tone of Seraphin’s violins is sometimes disappointing. Some specimens handled by the writer, however, have left little to complain of on that score. He branded his work under the tail pin, and used large ornamentally engraved labels. A nephew named George Seraphin, who also branded his instruments, seems to have worked at about the same time.

SERDET, Paul.—Paris. Born Mirecourt, 1858. A well-known dealer and judge of old instruments and a fine workman. Was a pupil of the excellent maker Gaillard.

SILVESTRE, Pierre.—Lyons. Born 1801. Died 1859. His work is distinguished by superb finish, and the tone of the instruments is of excellent quality. In this country they now command high prices. Most of them are of Stradivari build, but occasionally Amati or Guarneri copies are met with. The varnish on many of them is a fine red of much brilliance and excellent quality. The widths of his Strad copies are a trifle greater than those of the originals. The purfling, generally rather narrow, is inserted with unsurpassable neatness. Moreover, he did not “mature” his wood by artificial means as did J. B. Vuillaume for a considerable period. After leaving his instructor (Blaise of Mirecourt, q.v.) he worked for a time with Lupot, and with Gand, his successor. He began business in Lyons in 1829, and from 1831 to 1848 was in partnership with his younger brother, Hippolyte. The instruments bearing the joint labels of the brothers are well made, but by no means up to the standard of those made by Pierre alone. Their appearance is more that of a first-class factory instrument, and they are consequently of minor value and importance.

SILVESTRE, Hippolyte.—Lyons. Born 1808. Died 1879. After Pierre’s death he took over the business and continued in it until 1865. He was taught by Blaise, and was also for a time with J. B. Vuillaume. He was unquestionably a skilful workman, but the abilities of his brother Pierre were so manifestly superior that his work suffers somewhat by comparison.

SILVESTRE, Hippolyte Chrétien.—See Chrétien.

SIMON, Franz.—Salzburg. Born Mittenwald, 1757. Died about 1803. He came of a Mittenwald family of makers named Simman. The work is of German (Kloz) type.

SIMON, P.—Paris. Born 1808. Mirecourt. Died Paris, 1882. An excellent bow-maker. Worked with D. Peccatte and with Vuillaume. Was also in partnership (1848-51) with Henry. Work stamped with his name.

SIMON, René.—Auch (France). Born 1844. A fine workman. Worked with N. Vuillaume and several other makers.

SIMONIN, Charles.—Mirecourt, Geneva, Toulouse; nineteenth century. Worked for some time for J. B. Vuillaume. He died in or about the year 1875. An excellent workman and amongst the best of the many employed by Vuillaume.

SIMOUTRE, Nicholas.—Mirecourt, Metz. Died 1870. A prolific workman. He was a pupil of Lupot, but his instruments though well made are not of very high rank.

SIMOUTRE, Nicolas Eugene.—Basle, Paris. Born 1839. Son of the above. He experimented to some extent and wrote pamphlets on the improvement of violin tone, but does not seem to have accomplished much in that direction.

SIMPSON, James, and Son.—London; late eighteenth century. They appear to have been dealers. It does not seem to be clear whether they were actual makers, but instruments bearing their label are not of great merit.

SIRJEAN.—Paris. Early nineteenth century. Bow-maker.

SITT, Anton.—Prague. Born 1819. Died 1878. Worked with Schweitzer, and copied various makers. His labels usually state the name of the maker from whom they are copied. Good sound work, but rather solid looking.

SMITH, Thos.—London; eighteenth century. He worked with and succeeded Wamsley. Made many violoncellos of merit. Instruments of Stainer build. They are very like the work of Wamsley and are not unfrequently sold as his.

SNEIDER, Joseph.—Padua; early eighteenth century. He was in Niccolò Amati’s workshop, but was probably of German birth. Instruments relatively scarce. Pretty work of Amati character; yellow varnish.

SNOECK.—Brussels; eighteenth century. There appear to have been three makers of the name. Egidius, circa 1700-30, is the best known. Red-brown varnish. Amati pattern.

SOCQUET, Louis.—Paris; late eighteenth century. Mediocre work. Large label with engraved border.

SOLIANI, Angelo. Mantua, Modena; late eighteenth century. Useful instruments. Tone generally powerful. Yellow or reddish-yellow varnish. His labels bear the sign of the Sun. Work generally branded.

SORSANA, Spirito.—Coni; early eighteenth century. Scarce. The name also appears with the spelling “Sursano.”

SPIDLEN, Franz.—Moscow, Prague; contemporary. A good copyist. Has obtained some medals (Paris, 1900). Brown varnish. Name branded on backs.

SPRENGER.—Nineteenth century. A Mittenwald family, three or more of whom worked in Nuremburg.

STADLMAN.—Vienna; eighteenth century. There were several of the name. Instruments seen by the writer were of good workmanship and Stainer pattern. Michael Ignatius, who died in 1813, is perhaps the best known. He seems to have made most of his instruments on Stradivari lines. Labels bear the double-headed eagle.

STAINER, Jacob.—Absam (Tyrol). Born 1621. Died 1683. The most celebrated of all the German school of makers. He is the subject of much tradition and has a small literature devoted to him. The main facts of his life have now been made public for a good many years, and much legendary rubbish has been swept away. The Stainer model has been imitated by fiddle-makers all over Europe, both during his lifetime and since. Amongst the first to copy him were the Kloz family, and in Rome, Florence, and Venice his imitators have been numerous. In this country his influence was almost paramount for upwards of a century, and only by slow degrees was it ousted by the superior form of instrument designed by the Amati family and perfected later by Stradivari. Whether he ever worked in Cremona is at least open to doubt, and the evidence which has been adduced in support of the tradition is not sufficiently strong to justify its unconditional acceptance. He employed a varnish which proves to demonstration that he was conversant with the composition of that in use by the Amati, but it is clear from the work of other makers that there was no particular mystery attaching to the ingredients of Cremonese varnish, and his use of a preparation which is not distinguishable from it does not afford any unequivocal proof of his ever having been to Cremona. The general appearance of Stainer’s instruments is familiar to all who take more than a merely passing interest in a violin; not because of the number of genuine specimens to be met with, but from the number of other makers who have copied him. As a workman he was of the first rank, but whether he worked in Italy or not, there is not a fiddle of his in existence which has the true Italian cut. The violins are usually about the size of the ordinary Amati instruments, but some of them are rather larger, and measure a full fourteen inches or a shade over in length. The varnish ranges in colour from yellow to brown; the red specimens are not often seen, but a few very handsome rose-coloured violins, of most beautiful workmanship, have survived. The wood of the backs generally shows some figure, and is often finely marked; for some of the bellies he used the fine-grained wood frequently employed by Tyrolese makers, but in his finest examples the pine is of broader grain. A good many of the instruments have lion heads, the carving of which is well executed. The scrolls are well cut, but lack the grace seen in those of better Italian work. It seems to be doubtful if Stainer himself used printed tickets, but there is no doubt that other makers, some of whom were contemporaries, and possibly workmen of his, inserted printed Stainer labels into their work. Stainer’s arching has been the subject of so much exaggeration on the part of copyists of all nationalities that many people have an altogether false idea of its true proportions. In a good specimen of Stainer’s violins the swell of the form is not really higher than that of an average Amati; now and then he did exceed this limit, but it was not his general practice. Violas are rarely seen, and violoncellos are by no means common. Forster and numerous other English makers have left numerous copies of the last-mentioned instruments, some of which are in every way excellent. The tone of a fine Stainer violin is of beautiful quality, and in examples met with by the writer, its timbre resembled that of Amati. It is almost needless to say that forgeries are innumerable, and are not unfrequently somewhat difficult to detect, not only on account of their intrinsic merit, but from the fact that his manuscript tickets have been cleverly imitated.

STAINER, Marcus.—Absam, Kuefstein, Laufen (Austria); seventeenth century. A brother of the above, he worked in a variety of places, and is reputed to have forged the labels of the more celebrated Jacob. The few examples seen by the writer resembled those of Jacob in form, and had dark red-brown varnish. One of these was a viola, of good workmanship and tone. He also used lion and other carved heads. He seems to have been alive until after 1680.

STAUDINGER, Mathaeus Wenceslaus.—Wurzburg; eighteenth century. In some of the labels the name is spelt Stautinger. The violins are very scarce, but are of fine workmanship.

STEINER, Joseph.—Lengberg. Died 1908. Seems to have been a merry blade, and a man of varied accomplishments. Experimented with varnishes. The violins are well made and of good form, but not often seen. The number of the instrument appears on the label.

STEININGER.—Eighteenth and nineteenth centuries. A family of makers said to have sprung from Füssen. The most important of them was François Xaver, born in 1778, died about 1850. He changed his abode many times and worked in Darmstadt, Frankfort on the Maine, Paris, and St. Petersburg. His work is careful, and French in character.

STIRRAT, David.—Edinburgh; early nineteenth century. Pupil of Matthew Hardie.

STOHR, Jacob.—St. Polten; about 1790-1830. Examples scarce. Stradivari outline, higher arching, light brown varnish, backs usually in one piece. There were other makers of the name; probably sons.

STORCK.—Strasburg, Augsburg; eighteenth century. About half a dozen makers.

STORIONI, Lorenzo.—Cremona. Born 1751; died 1801. This maker is usually instanced as the last of the old Cremonese school. He was a prolific workman, and a considerable number of his instruments are in existence. His varnish is, however, of a different nature, and resembles that of the Neapolitan school. His pattern varies a good deal. Now and then his outline and arching are after the style of Amati, but in most cases there is more or less resemblance both in general appearance and the cut of the sound-holes to the work of Guarneri del Gesù. It has been said that violas by him are unknown; but this is incorrect. Some very fine examples are in existence, and in more than one instance they have been sold as the work of del Gesù. The colour of his varnish is usually a red-brown of varying shades. As a general rule the finish of his violins is rough, and the purfling carelessly worked, but occasionally he took more pains, and produced handsome fiddles with prettily figured wood. The scrolls are of bold, masculine cut, and very characteristic. The backs commonly have plain or small figured wood of native growth. Bellies of very fine material. The tone of his instruments is rich and full. Violoncellos are comparatively scarce, but are very fine in tone and in high repute amongst players. G. B. Ceruti took over his business, and is said to have been employed by him.

STOSS.—Eighteenth and nineteenth centuries. This was a large family of makers, numbering fourteen or more members, and originating in Füssen. Most of them worked in Vienna, and one or two of them made instruments of more than average merit. Many of their tickets are of the ornamental kind, exhibiting various devices and engraved borders. Johann Baptist Stoss worked in Prague, and died there in 1850. The best known amongst them was Martin, who died in Vienna in 1838. He used various tickets, and is best represented by his violoncellos, which frequently show handsome wood and are carefully made.

STRADIVARI, Antonio.—Cremona. Born 1644; died December, 1737. The bulk of the biographical matter concerning this, the most famous of all fiddle makers, was collected by George Hart, who published some of it in the first edition of his celebrated work on the violin, but was unable to include the whole of it until the appearance of the second edition in 1884. He was largely assisted in his researches by Signor Sacchi, a Cremonese gentleman of considerable literary ability. In 1902 appeared the well known and sumptuous volume by the Brothers Hill, republished in cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,” the most exhaustive critical survey of the subject which has yet appeared. These two books form the chief English authorities for all that is known concerning the great Cremona master. Readers may also consult the very able article contributed by the late E. J. Payne to Grove’s Dictionary of Music, and the little volume of Horace Petherick published in the Strad Library in 1900. The writer’s observations on the work done by Stradivari during the time he was employed by Niccolò Amati will be found in the notices of that maker and of his son, Hieronymus Amati II. One or two labels still survive—one of them dated in 1666—in which Stradivari describes himself as a pupil of Amati. Early works usually exhibit an outline and arching similar to those employed by his master in his ordinary 13⁷/₈-inch instrument. The varnish seems identical, and is of the usual yellow colour, although darker shades may be seen almost from the first. The chief points of distinction lie in the heavier edges, the cutting of the sound-holes, and the form of the scrolls. This type of violin he continued to make with certain exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class, measuring 14¹/₈ inches in length, until 1684. Between that year and 1690 the pattern and details are somewhat variable. According to Messrs. Hill, Stradivari first began to pick out the edges of his scrolls with black in or about the year 1688, and continued the practice, with rare exceptions, until the end of his life. In 1690 he made the remarkable violin known as the “Tuscan,” a large instrument of exceedingly handsome wood and build, and in the years 1691 and 1692 a few violins of exceptionally large proportions. The year 1690 also saw the advent of the “long Strad,” a pattern the dimensions of which have given rise to a certain amount of controversy. As a matter of fact, the lengths of these instruments vary between about 14¹/₈ inches and 14⁵/₁₆, the latter being the extreme limit. About 14³/₁₆ inches would seem to be the more usual length. The widths are about 6⁷/₁₆ in the upper bouts, and 8 inches in the lower ones. These narrow violins were made until the year 1700, with the exception of the year 1698, from which year no examples seem to have been seen. A large number of them—something like fifty—are still in existence. During this period, however, he did not confine himself entirely to the long pattern. Some of the long Strads are of great beauty of form and material, and by the time he began to make them he had adopted a varnish of deeper colour. The maker’s best period is commonly supposed to begin about the year 1700, but some of the finest efforts are dated from 1704, in which year he made the “Betts,” a specimen in a remarkable state of preservation, and with rather long corners. In the same year he produced a violin bearing a close resemblance to the “Betts,” and which is in the possession of Colonel Glennie. The year 1709 seems to have been one of the most prolific in Stradivari’s career, and many fine examples, such as the “Ernst,” and “La Pucelle,” were made in that year. At about this period the violins having a body length of 14¹/₈ inches begin to appear. In the preceding period 14 inches was the general rule. The backs of these violins are mostly made from handsome wood with a broad curl. The years 1710 to 1716 inclusive were productive of many of the finest violins ever made by Stradivari. Amongst them are the “Parke,” 1711, the “Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,” the “Alard,” all made in 1715, and the famous “Messie,” remarkable for its unique state of preservation, and the magnificent “Cessol,” both of which belong to 1716. Between 1720 and 1725 the outline changes somewhat, and is squarer in the shoulders and the curves of the lower bouts. So far as tone goes some of the best toned fiddles in the world were made about this time, and it may be here added that of late years the later works of Stradivari have received much attention from concert players on account of their masculine tone. In the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them. Messrs. Hill enumerate eight examples of this practice; another from the year 1731 came under the writer’s notice in 1912. In the labels dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from that year onwards it appears as “Stradivarius.” The number of ornamented and inlaid instruments which have survived seems to be about a dozen. Messrs. Hill record ten of these; others are known to have been made, but traces of them, if still existing, have disappeared. The earliest seems to date from 1677, and the latest is the “Rode” violin made in 1722. These examples include a viola dated 1696, and a violoncello. Three of the inlaid violins are dated 1709. The violas at present known number only about a dozen. One of these, a “tenore,” dated 1690, measures 18⁷/₈ inches in length. The smaller examples average about 16³/₁₆ to 16⁵/₁₆ inches. There are about fifty violoncellos, the older specimens being over 31 inches long, and the later type about 29½ inches or a little over. These include many notable instruments, such as those owned by Piatti, Duport, Servais, and other celebrated players, after whom they have been named. Notwithstanding repeated assertions to the contrary, there is no trace of any double basses made by Stradivari; specimens formerly assigned to him have long been rejected as spurious, and no patterns for such instruments are to be found amongst his drawings, moulds and other working apparatus. These last were bought from Stradivari’s son by Count Cozio di Salabue, and from him descended to the Marquis dalla Valle, who is, or was recently, still in possession of them. Stradivari’s output was enormous, even when due allowance is made for the length of time during which he was at work; and the estimate made by Messrs. Hill, which gives a total of 1116 instruments, is by no means an excessive one. No other maker, who has not degenerated into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last century, can compare with him in this respect, and the marvel of it all is that his own hand is plainly visible in all his works, even to the very last. There can be no reasonable doubt that he was assisted by a considerable number of workmen, including his sons Francesco and Omobono, Carlo Bergonzi, and others whose claims to have been his pupils are more open to question; but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article. Since the beginning of the last century his fame in this country has steadily increased; his name has become a household word. In his own day his consummate abilities were widely recognised, and orders were sent to him from royal courts and noblemen all over the continent of Europe, as appears by contemporary evidence. To-day his violins command higher prices than ever, and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service, their authorship is of itself sufficient to maintain their market value at a high figure.

STRADIVARI, Francesco.—Cremona. Born 1671; died 1743. The elder of the two sons of Antonio who followed his calling. A good many violins of considerable intrinsic merit but dubious authenticity are assigned to him, but several which were formerly accepted as genuine have failed to obtain a favourable verdict amongst some of the later judges, and it is difficult to speak with any certainty about them. One magnificent violoncello, the proportions of which have been slightly reduced, is known to the writer, and its authorship appears to be unquestioned. This instrument is covered with very fine varnish of golden-red colour, and considerably more substance than that seen on violins supposed to be of his make.

STRADIVARI, Omobono.—Born 1679; died 1742. Son of Antonio. The writer is acquainted with three or four violins which are assigned to him upon good authority. These are of bold pattern and bear some resemblance to the work of Antonio, but do not display any of his fine finish. The wood of the backs is with one exception of small figured native maple. The varnish thinner in texture than that of the father. The sound-holes are somewhat like those of Bergonzi, and in one case are very slightly pointed. The back and sides of the other violin referred to are of beech. The tone of all these specimens is very fine and full. Most of Omobono’s tickets seem to have been in neatly written manuscript. A favourite date, which leads one to suspect their genuineness in some cases, is 1740.

STRAUB.—Chiefly eighteenth century. About a dozen workmen of the name are enumerated.

STRAUBE, Johann Augustin.—Born 1725; died 1802. Worked chiefly in Berlin. Instruments seemingly very scarce.

STRNAD, Caspar.—Prague. Died 1823. Fine red varnish, pattern usually that of Stradivari. He used several different labels, engraved with musical instruments and other devices.

STROBL.—Eighteenth century. There were at least three makers of the name. Two named Johann worked in Hallein, and a third named Tobias in Krems.

STUMPEL, H. C.—Minden. Born 1838. A maker who produced instruments of various models, built according to a system of thicknessing of his own. He used a label bearing a diagram showing a violin belly graduated according to his method.

STURTZER, or STURZER.—Breslau. Eighteenth century. Two makers named Johann Michael Sturzer worked in Breslau.

SÜSS, Johann Christian.—Markneukirchen. Died 1900. Worked for a time in Dresden. He was one of the best bowmakers Germany has produced.

SULOT, Nicolas.—Dijon; about 1820-40. Took out a patent for a violin with a double belly.

SUTOR, Johann Martin.—Vienna. Died 1758. Examples scarce, and little known.

SUTTERLEIN, J. Friedrich.—Strasburg. Died 1893 or later. Careful work. Stradivari pattern. Pretty varnish. He came under the notice of the artist Wilhelmj, who thought highly of his abilities.

SZEPESSY. See Bela.

TADOLINI, Ignazio.—Modena. Born 1797; died 1873. Known only as a bow-maker, in which department he excelled. A brother—Giuseppe—seems to have made a few instruments.

TANEGIA, Carlo Antonio.—Milan; about 1720. Grancino style. Examples scarce.

TANINGARD, Gio. Giorgio.—Rome; about 1730-1750. Possibly worked with Tecchler. He used various labels.

TARR, William.—Manchester. Born 1809; died 1892. This maker is chiefly known amongst English double-bass players, but made smaller instruments also. The basses are often excellent, and are in high esteem amongst Northern and Midland contrabassists.

TASSINI, Bartolommeo.—Venice; latter half of eighteenth century. The backs of his violins are usually in one piece, and the wood is often handsome. Varnish a clear golden yellow.

TAYLOR, William.—London; eighteenth and early nineteenth centuries. He was a good average workman, and made useful instruments of the Panormo class. He is said to have been taught by Panormo. The writer has met with a few good violas of his make, but he seems to have made more double-basses. Varnish yellow or yellow brown.

TECCHLER, David.—Salsburg, Venice, Rome. Born 1666; died about 1745. An important and prolific maker. He seems to have had a large business in Rome, and probably employed a good many assistants. A great number of his violoncellos are in existence, and are generally of high merit. They were of large pattern, but have frequently been reduced in size. In his best work he caught something of the true Italian style, and he was evidently acquainted with Italian methods of varnishing. But like nearly all of his countrymen, he never succeeded in freeing himself entirely from German notions, traces of which are noticeable in practically all his works. They all hint of Stainer somewhere. A few fine double-basses are in existence. The violas are very scarce. Violins are pretty plentiful, and vary somewhat in finish and general merit. The writer has met with two of these, and one violoncello with the bellies cut the wrong way of the wood, or “slab-wise.” The scrolls are often well carved, and in the violins somewhat slender at the throat. The varnish on the Roman instruments, which are much more plentiful than those dating from Salsburg or Venice, is of Amati character, and generally of yellow-red or yellow-brown colour.

TEDESCO, Leopoldo.—Cremona, Rome. Is all but unknown as a maker, but is mentioned in the Parish Registers of Cremona as a pupil of Niccolò Amati. The name seems to be there spelt “Todesco.” He was born in 1625.

TENTZEL.—Mittenwald; eighteenth century. Kloz school of work.

TERMANINI, Joseph.—Modena; about 1750 and later. Appears to have been a priest who made fiddles. Work rare and of no particular merit.

TESTORE.—Milan; seventeenth and eighteenth centuries. A widely known and important family of makers whose instruments, though chiefly of second-class workmanship and inferior finish, are much sought after by players on account of their excellent tone. However rough and unattractive the specimen may appear, a Testore may almost always be relied on to possess a fine tone. Apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions, but there are violins in existence by C. G. and C. A. Testore which prove conclusively that, given the opportunity, these makers were possessed of skill and abilities of a high order. In these rare cases we meet with specimens of good form and finish, handsome wood and brilliant varnish. The average Testore is, however, an instrument which in all or most of these particulars leaves a good deal to be desired. The bellies are almost without exception of pine of the best quality acoustically, but the backs and sides are mostly of plain or small figured native wood, the heads are mean and pinched looking, sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled. Carlo Giuseppe Testore, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son, Carlo Antonio, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini’s favourite double-bass was an example by this maker. A son, Giovanni, worked with him in later years. Paolo Antonio Testore was the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri. Varnish often palish yellow. Instruments frequently unpurfled, especially in the backs, but a good many have been purfled by later hands. He also used the eagle brand, but not invariably. Wood generally very plain.

THERESS, Charles.—London; about 1840-1850. Worked first with Maucotel; afterwards on his own account in Soho. Mirecourt style.

THIBOUT.—Paris; eighteenth and nineteenth centuries. A well-known family, most of whom worked in Paris. There were about six makers in all. The most celebrated was Jacques Pierre, born 1779, died 1856. He was one of the finest workmen of the French school, and his best copies of Stradivari are less heavy in appearance than those of Lupot and the tone is more Italian in character. The varnish on such specimens is also very handsome: red on a yellow basis. His instruments were made in at least two grades and the better ones now command very high prices. He obtained several medals, and used labels in various styles at different dates. It is much to be regretted that his best personal work is not more plentiful.

THIBOUVILLE-LAMY, Louis Emile Jerome.—Mirecourt, Paris. Born 1833. Manufactures stringed and other musical instruments on a huge scale, and of all grades. He has received various medals and employs many workmen.

THIR.—Presburg, Vienna; eighteenth century. Nine or ten makers of the name. There were two Antons in Presburg, and two in Vienna. One of the best was Andreas, who worked in Presburg until about 1798, and copied the form of Amati well. Johann Georg Thir was established in Vienna until after 1790, and made a good many instruments. Varnish dark brown or dark red. Geissenhof was for a time in partnership with him. Another good maker of the name was Mathias, who was a brother of J. G. Thir and worked until about 1795.

THOMASSIN, Louis.—Paris. Born 1855. A clever bow-maker. Voirin style.

THOMPSON.—London; late eighteenth century. There were several makers, or rather instrument dealers, in business in St. Paul’s Churchyard. Instruments vary, and the violoncellos are often better than the violins. The latter are generally a sort of mixture of the patterns of Stainer and Amati, with red or yellow varnish, and of no particular character.

THOUVENEL, Henry.—Mirecourt; about 1850-1860. Strad pattern; yellow varnish.

THUMARDT.—Straubing, Munich; eighteenth and nineteenth centuries. Eight or more makers are named. One of them, Johann Stephan, worked in Straubing until 1817, and his work is of some value.

TIEFENBRUNNER.—Mittenwald, Munich; eighteenth and nineteenth centuries. A family who must not be confounded with the Tieffenbruckers who were viol makers. Eight or nine Tiefenbrunners have been engaged in the manufacture of stringed instruments, chiefly zithers. Amongst those who made violins Johann Caspar, who died about 1769, and worked in Mittenwald, seems to be best known.

TIELKE, Joachim.—Hamburg. Born 1641; died 1719. Is said to have made violins, but the only instruments seen by the writer were of the lute or viol class.

TOBIN, Richard.—Dublin, London. A fine workman. Was for a time employed by Perry. Afterwards by Betts and other London dealers, besides working on his own account. Made some very handsome violoncellos, and violins chiefly of Stradivari pattern. He died in Shoreditch in about 1836. His scrolls are wonderful pieces of workmanship; but he was of irregular habits, and did not always do full justice to his powers.

TOLBECQUE, Auguste.—Paris. Born 1830. A violoncellist, and collector of old instruments; he made a few violins which are said to be excellent copies of Italian work.

TONONI.—Bologna, Venice, Rome; seventeenth and eighteenth centuries. An important family of makers of Bolognese origin. There were two Carlos, the elder of whom dates from Bologna, and seems to have worked down to about 1717, or perhaps later. There do not seem to be many of his instruments about. The relationships between the various members of this family are uncertain, and the accounts given of them in books on the violin vary in this respect. Most of the instruments seen are evidently based upon the form of Amati, but there is a German look about them which is apparent enough on examining a specimen though not easy to explain on paper. Many of them are beautifully finished, and built of handsomely figured wood, and the tone, especially of the violoncellos, is exceptionally good. A number of the violins are of rather large size, the arching usually fairly high. Perhaps the best known of the family is Carlo Antonio, who worked in Venice from about 1720-1768. Most of the fiddles are rather high built, have finely figured backs, and a yellow or red-orange varnish of very good quality. Name branded above the tail pin. His second Christian name does not seem to appear upon his tickets. Giovanni Tononi worked in Bologna and apparently in Venice also. His instruments date from about 1689-1740. Model varies, but is chiefly of large Amati character. Good yellow or brown-red varnish of clear texture. Felice Tononi dates from Bologna and was possibly the founder of the family, his early tickets dating from about 1670. High model, good clear varnish. Two other names are mentioned, Guido and Pietro.

TOPPANI, Angelo de.—Rome; about 1730-45. High built fiddles. Tecchler school.

TOROSSI, Cesare.—Novara; about 1840. Little known.

TOURTE.—Paris; eighteenth and nineteenth centuries. Celebrated bow-makers. Beyond being the father of the famous François, “Tourte père,” though himself a bow-maker, did not achieve any particular distinction. He died about 1780. Xaver or Savère, his elder son, made some good bows, and some very indifferent ones. Francois Tourte was born in 1747, and died in April, 1835. He made a very large number of bows, and continued to work until very late in life. They are unstamped, and save in about two cases, in which he inserted small engraved labels in the nuts, he used no distinguishing mark or brand to identify his work. He was admittedly the finest bowmaker who ever lived, but the work of other French makers is often quite equal in merit to all but his very best examples, and even then it is more a matter of superb finish than of practical utility. He probably was mainly instrumental in settling the correct length of the bow, but beyond this it is very questionable whether he was the actual “inventor” of the improvements with which he is credited in books.

TRAPANI, Raffaele.—Naples; early nineteenth century. His instruments are more remarkable for originality than beauty of appearance. Large violins. Sound-holes pointed; flat arching; varnish reddish brown. The work is fairly well finished.

TRINELLI, Giovanni.—Scandino; early nineteenth century. Large violins. Powerful tone. Not highly finished. Scarce.

TRUCCO, Girolamo.—Savona; about 1840.

TRUSKA, Simon Joseph.—Strahow. Died 1809. A priest who made violins and other stringed instruments.

TUBBS.—London; nineteenth century. A well-known family of bow-makers. William Tubbs, father of the present maker, worked with Edward Dodd, and much of his work strongly resembles that of his master; he was a good workman. James Tubbs was born in 1835, and is still at work. He has attained wide celebrity, and many of his bows are beautiful examples of his art.

TURNER.—London; nineteenth century. Was a well-known dealer and importer, but seems to have employed workmen. His stamp may be seen on many instruments of a common class (sometimes with lion heads) of continental make.

TYWERSUS.—Nancy; sixteenth century. It seems to be doubtful whether he made violins.

UEBEL.—Markneukirchen, Klingenthal; eighteenth and nineteenth centuries. There were several makers of the name. Some of them were at work until very recent times.

UGAR, Crescenzio.—Rome; late eighteenth century. Was possibly a German. Brown varnish. German style.

ULRICH, Diederich.—Hamburg; eighteenth century. Yellow varnish. Brescian type of work. Some of the instruments have lion heads.

UNGARINI, Raynaldo.—Fabriano; about 1800.

URBAN, Joseph.—Prague, New York, San Francisco. Died 1893.

URQUHART, Thomas.—London; latter half of seventeenth century. High built violins. Varnish of beautiful quality.

VAILLANT, Francois.—Paris; about 1730-80. Scarce.

VAILLANT, Nicholas.—Bordeaux; nineteenth century. Red varnish. Well finished work. Scrolls well cut.

VALENZANO, Giovanni Maria.—Valentia, Rome, Trieste. According to specimens seen by the writer the pattern varied somewhat. Work very well finished; sound-holes and scroll well cut; medium size violins with yellow or reddish yellow varnish of good quality, and resembling Neapolitan, but softer in texture. He worked in various places (chiefly Rome), and used both written and printed labels. Dates between about 1790 and 1825.

VALLENTINE, William.—London. Died about 1877. Worked for many years for Hart. A good repairer. Chiefly known as a double-bass maker.

VANDELLI, Giovanni.—Fiorano (Modena). Died 1839.

VANDERLIST.—Paris; late eighteenth century. Instruments branded. Said to have copied Guadagnini.

VANGELISTI, Pier Lorenzo.—Florence; about 1730. Rather indifferent work; somewhat high built. Seemingly scarce.

VAROTTI, Giovanni.—Bologna; late eighteenth century.

VAUCHEL, Jean Corn.—Mayence, Wurzburg, Damm. Died 1856. Was a dealer and repairer as well as a maker. He was patronised by Paganini and Spohr. His monument describes him as one of the most famous violin makers in the world. He seems to have been a workman of ability, but his instruments are little known in this country.

VENTAPANE.—Naples; eighteenth and nineteenth centuries. Three makers of this name date from Naples. Their work belongs to the Gagliano school. Instruments of their make have been sold as genuine Gaglianos. The best known of them is Lorenzo, who dates between about 1800-30. Handsome wood, good yellow-orange varnish. Vincenzo Ventapane worked down to about 1800, and produced some useful instruments. Pasquale Ventapane was an inferior workman.

VERINI, Serafino.—Arceto, Cascogno (Modena). Died 1868. He was a land surveyor who made instruments for his amusement. Andrea Verini, who was perhaps a son, also made instruments.

VERMESCH.—Beaumont-sur-Oise. A priest who worked at fiddle making about 1780-1810.

VERON, Antoine.—Paris; about 1720-50. Pierray school of work.

VERON, Pierre André.—Paris; eighteenth century.

VETRINI.—Brescia; about 1630.

VIEDENHOFER, Bernard.—Pesth (Budapest); late eighteenth century. Brescian style of work.

VIGNERON, Joseph Arthur.—Paris; contemporary. A bow-maker of considerable ability. Worked for some years with Gand and Bernardel.

VIMERCATI, Pietro.—Venice; about 1640-60. Said to be an imitator of Amati. There is a tradition that Stainer worked with him.

VIMERCATI, Paolo.—Venice; seventeenth century. Amati style according to accounts.

VINACCIA.—Naples; eighteenth and nineteenth centuries. A very large Neapolitan family. Violins bearing their labels are met with, but they are noted more as mandoline makers.

VISSENAIRE, L. Nicolas.—Lyons. Died 1890. A good workman.

VOEL, Jacob.—Mayence, Frankfort-on-the-Maine; about 1840. Well made violins; Stradivari pattern; sound-holes rather wide open; scrolls well cut.

VOGLER, Johann Georg.—Wurzburg; first half of eighteenth century.

VOIGT.—Markneukirchen; eighteenth and nineteenth centuries. A veritable swarm of makers of the name are enumerated. Upwards of thirty have been engaged in the fiddle business, and one or two of them have had branches of their establishments in this country in very recent years.

VOIRIN, Francis Nicolas.—Paris. Born 1833; died 1885. A celebrated bow-maker. His pattern has been much imitated by modern French makers, such as Lamy, Sartory, and several others.

VOLLER, William.—London. Born 1860. A most skilful imitator of old Italian work. His “facsimiles” have puzzled many by no means uninformed observers by their close resemblance to genuine Italian masterpieces, and have in some instances been productive of law suits. He imitates the appearances of wear with perhaps greater skill than any other workman who has practised the art, not even excepting Vuillaume and John Lott. Two or more brothers are, or were recently, employed in the same line of business.

VUILLAUME.—Mirecourt, Paris, Brussels; eighteenth and nineteenth centuries. The name is probably known wherever the violin is in use owing to the wide celebrity attained by the principal maker of the family, which was of Mirecourt origin. About ten Vuillaumes have been engaged in fiddle making. Four named Claude or Claude Francis operated in Mirecourt from about 1625-1865. Claude Vuillaume II. died in Mirecourt in 1834. Instruments of his make are branded on the backs “Au roi David,” Paris. Jean Baptiste Vuillaume, who made the name famous, was born in Mirecourt in 1798, and was a son of Claude Vuillaume II. He died in Paris in 1875, and at the time of his death his workshops had turned out upwards of three thousand instruments. This fact speaks for itself, and though he was personally a workman of consummate skill and employed assistants of much ability, there can be no question that the world would have been richer in really first-class examples of the copyist’s art had he been content to limit his output to more modest dimensions. But Vuillaume was a keen business man, and knew well enough that extensive production was the one and only way to amass a fortune in the manufacture of new fiddles. The story of his life has been told time and again in books on the violin, and there is no need here to repeat it. He has left some of the finest copies of Stradivari that were ever made, and many that, from a tone point of view, are of little or no account. The instruments made from artificially matured wood, of which many exist, are disastrous failures, and it is fortunate that he desisted after some time from producing such things. His violoncellos are useful instruments, and generally possess a fine tone. He was a fine judge of old Italian work, and many notable violins and basses passed through his hands. Nicolas Vuillaume, his brother, worked in Mirecourt, and died there in 1871. His work is fair, but of the trade class. He was the maker of the so-called “Stentor” violins. Nicolas Francis Vuillaume, another brother—born 1802, died 1876—worked for a time with J. B. Vuillaume, and afterwards went to Brussels, where he was for many years in business. He was maker to the Conservatoire there, and received medals. He was a very fair workman, but much inferior to his brother in ability. Sebastien Vuillaume, a nephew, died in 1876, and was not particularly distinguished. He also worked in Paris.

WAGNER.—Eighteenth and nineteenth centuries. Nine or more makers are mentioned bearing the name. They worked in different parts of Germany. Benedict Wagner, Elwangen, was at work in that place between about 1720 and 1790. Pattern varies, but they are usually high built. Yellow-brown varnish. He branded his name on the backs. Another Wagner, named Joseph, worked in Constance in the eighteenth century.

WAMSLEY, Peter.—London; first half of eighteenth century. He was the founder of a school of makers, and several workmen, such as Thomas Smith, Joseph Hill, and others, worked with, or imitated him. His instruments are of Stainer pattern, and he generally used prettily marked wood for his backs. Varnish varies in colour, but is chiefly dark red or red-brown. He made a number of violoncellos. Work often unpurfled.

WARNECKE, L. Georges.—Nancy; about 1820-30. He branded his violins with a curious monogram under the bridge.

WASSERMANN, Joseph.—Znaim; late eighteenth century. Examples scarce. Well-made instruments with orange-brown varnish.

WEBER, Michael.—Prague. Died 1844.

WEICHOLD, Richard.—Dresden. A well-known manufacturer of stringed instruments and accessories. Many of the bows bearing his stamp are excellent. He died in 1902.

WELLER.—Markneukirchen; nineteenth century. Several makers of the name are mentioned, but amongst the various Christian names that of “Samuel” does not occur.

WENGER, Gregori Ferdinand.—Augsburg; eighteenth century. Stainer character of work. Varnish red or dark brown.

WERNER.—Nineteenth century. A numerous family originating in Schönbach. A maker named Franz Werner worked in Vienna until about 1825 and was a pupil of Geissenhof. Careful work. Stradivari pattern.

WETTENGEL.—Markneukirchen; nineteenth century. A family of instrument makers. One of them (Gustav Adolf) wrote a book on violin making.

WHITAKER.—London; about 1810-29. Button and Whitaker were instrument dealers. The name may be seen on violins and violoncellos of mediocre workmanship.

WIDHALM.—Nuremburg; eighteenth and nineteenth centuries. A fairly numerous family of makers, the chief of whom was Leopold Widhalm, who was born in 1722 and died in 1776. He was a prolific workman and a good many of his fiddles are in this country. He copied Stainer with much ability, but generally overdid the arching. His varnish is usually red, and of very good quality. There is a good deal of sameness about his work. He made some fine violas. His initials are generally seen stamped under the labels. Several sons were also makers. The second of them, Gallus Ignatius, died in 1822.

WILFER.—Nineteenth century. There have been several German makers of this name.

WILLEMS.—Ghent; seventeenth and eighteenth centuries. Three makers of the name are known. Good work of the Amati school.

WILLER.—Prague; eighteenth and nineteenth centuries. Three makers known. Johann Michael Wilier died in 1826, and was a tolerably good workman.

WISE, Christopher.—London; middle of seventeenth century. A violoncello attributed to this maker was seen by the writer in London recently, but was not a very interesting specimen. The violins are occasionally met with and have very good varnish. Size rather small.

WITHERS.—London; nineteenth century and contemporary. Well-known firms of London dealers and repairers. The founder of the business was Edward Withers, who died about 1870. He was a maker of decided ability and made some instruments of high-class finish and workmanship. He also employed some excellent workmen, amongst them Boullangier (q.v.). A son of the same name was a pupil of Lott and carried on business in Wardour Street. He died in 1915, and the business is continued by his sons. George Withers, another son of the first Edward, established a successful business on his own account, and retired some years ago. The firm is now “George Withers and Sons,” the partners being two of his sons, Guarneri and Walter, both of whom underwent a course of training in Mirecourt.

WOLFF, Brothers.—Kreuznach; contemporary. Well-known manufacturers of instruments of the “factory” class.

WORLE AND WORNLE.—Makers bearing these names worked in various parts of Germany and in Vienna. Seventeenth and eighteenth centuries.

WUNDERLICH.—Markneukirchen; nineteenth century. Several of the name.

ZACH, Thomas.—Budapest, Vienna. Born 1812; died 1892. He was a very fine workman. His copies of Stradivari and Guarneri are beautifully made and take high rank amongst modern productions. The varnish on many of them is of excellent quality. A son, Carl Zach, invented a process for impregnating the wood of his instruments to improve the tone. Judging by examples seen by the writer it did not have the desired effect.

ZACHER, Franz.—Ingoldstadt; early eighteenth century. High built instruments. Careful work and handsome wood. Specimens scarce.

ZANETTO.—Brescia; late sixteenth and early seventeenth centuries. His name appears to have been Peregrino, or Pelegrino, Michelis di Zanetto, but he is usually referred to as “Zanetto.” He certainly made violas of the large, or “Tenore” class, but as to what other instruments of a type now in use he really made there seems to be some doubt. Messrs George Withers and Sons possess a viola of his make.

ZANFI, Giacomo.—Modena. Born 1756; died about 1822. According to labels was a music teacher who made violins and larger instruments.

ZANOLI, Gio. Battista.—Verona; 1730-57 Seemingly a mediocre maker.

ZANOLI, Giacomo.—Venice, Padua, Verona; about 1740-60.

ZANOTTI, Antonio.—Mantua; eighteenth century.

ZANTI, Alessandro.—Late eighteenth and early nineteenth centuries. Worked in Mantua. Work well finished. Chiefly Stradivari pattern.

ZWERGER.—Mittenwald; eighteenth and nineteenth centuries. A family of makers of Mittenwald origin. Several of them worked in Neuberg.