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S S C T E N T i A vº







S
*


NOVELLO, EWER AND CO.'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.
EDITED BY SIR JOHN STAINER AND DR. C. HUBERT H. PARRY.
H A RM O NY.
DR. STA|NER.
CONTENTS.
Subjects included in the study of Harmony: Scales, Intervals,
Chords, Progressions—The different kinds of Scales : Diatonic,
Chromatic; Enharmonic—Variety of forms of Minor Scale—
Relation of Scales—Diagram of Division of Scales—Key—
Relation of Keys—Cycle of Keys—Method of reckoning and
naming Intervals—Major, Minor, and Diminished Intervals—
Table of Diminished Sevenths—Simple and Compound Intervals
—Diagram of threefold Division of Intervals—The Construction
of Chords—Common Chords—Rules governing the Succession of
Common Chords—Examples and Exercises.—Inversion of Chords
—Figuring of Chords—Distribution of Parts—Treatment of
Leading-Note—Examples and Exercises.—Different kinds of
Motion—Rules governing the filling in of Bass Parts—Examples
and Exercises.—Analysis of "Simple Harmony—Chorals to be
Analysed—Chord of the Dominant Seventh—Its inversions—
Their figuring and treatment—False relation—Examples and
Exercises.—Suspensions—Suspension of nine to eight—Inversions
of nine to eight—Examples and Exercises.—Chord of Dominant
Ninth—Its inversions, treatment, and figuring—Examples and
Exercises.-Suspension of four to three—Its resolutions and
inversions—Dominant Eleventh—Its inversions and resolutions—
Suspended Leading-Note—Its resolutions and inversions—Exam-
ples and Exercises.—Double Suspensions—-Triple Suspensions—
Examples and Exercises.—Different Triads—Their nature and
treatment—Chords of the Augmented Sixth—Suspension six-four
to five-three on the Tonic—Six to five on Dominant—Neapolitan
Sixth–Passing-Notes, Diatonic and Chromatic–Cadences—
Attendant or Relative • Keys—Modulation—Exercises.—Conclu-
S2O7%,
•A 5 - W - 23
NOVELLO, EWER AND CO.'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.
EDITED BY SIR JOHN STAINER AND DR. C. HUBERT H. PARRY.
A DICTIONARY
OF

VIO LIN MAKERS
COMPILED FROM THE BEST AUTHORITIES
BY
C*STAINER,
PRICE TWO SHILLINGS AND SIXPENCE.
In Paper Boards, Three Shillings.
LONDON & NEW YORK
NOVELLO, EWER AND CO. tº
ALL RIGHTS RESERVED.
Music
/11
& O 2.
S 78°
LONDON .
NOVELLO, EWER AND CO.,
Q º PRINTERS.

STELLFELD
PREFACE.
This little book does not pretend to any literary interest, it is merely a
catalogue, perhaps far from exhaustive, of violin makers past and present,
which has been carefully compiled from various authorities.
Ancient makers of lutes and viols of all kinds have also been included, as
it was found impossible to draw a definite line of division between them and
makers of the type of instruments now in general use.
For purposes of reference by those who may be interested in the subject,
a complete list of the works which have been consulted is appended.
Naturally they are not all of equal value or equally trustworthy; it is not
always safe to accept an assertion as a fact, however confidently and un-
hesitatingly stated, if no evidence is brought forward in support of it. But
in the works of Messrs. Vidal, Piccolellis, Hart, &c., varied and valuable
information may be found ; while books like those of Messrs. Coutagne,
Berenzi, Hill, Ruf, and others give the results of much painstaking research
into the history of individual violin makers. Step by step the story of the
great founders of the art is being traced out, ancient archives are searched,
registers examined, money and time freely given by enthusiasts who have
felt the fascination of this branch of study. It was, of course, necessary that
this small work should largely depend on the fruits of other people's
labours, as personal research was out of the question. I am deeply indebted
to Mr. Arthur Hill for the kindness with which he answered all enquiries
addressed to him and the readiness with which he placed many valuable
books at my disposal. My thanks are also due to the violin makers living
in France, Germany, Belgium, Italy, and in this country, who so promptly
sent me all the information I asked for, thereby ensuring accuracy and
rendering it possible to bring the book fairly up to date. I should like also
to add that I have had the benefit of constant help and supervision from my
father, Sir John Stainer.
C. S.
WORKS REFERRED TO OR QUOTED.
Abele, Hyacinth. Die Violine, ihre Geschichte und ihr Bau (Neuburg aſ D.,
1874).
Berenzi, Prof. Angelo. Gli arteficiliutai Bresciani (Brescia, 1890).
Berenzi, Sac. Angelo. Di Giovanni Paolo Maggini (Brescia, 1890).
Broadhouse, John. Violins, old and new (3rd Ed., enlarged, London).
Catalogue of the Special Exhibition of Ancient Musical Instruments in
..South Kensington Museum, 1872.
Coutagne, le Dr. Henry. Gaspard Duiffoproucart et les luthiers lyonnais
du XVIe siècle (Paris, 1893).
Dupuich, R. La cote du violon ancien.
Engel, Carl. Researches into the early history of the violin family
(London, 1883).
Engel, Carl, Musical Myths and Facts (London, 1876).
Engel, Carl. A descriptive Catalogue of the Musical Instruments in the
South Kensington Museum (London, 1870).
Fétis, F. J. Biographie universelle des musiciens (2nd Ed., Paris, 1866).
Fétis, F. J. Biographical notice of Nicolo Paganini, preceded by a sketch
of the history of the violin.
Fleming, James M. Old Violins and their Makers (London, 1883).
Gallay, J. Les luthiers italiens aux XVIIe et XVIIIe siècles (Paris, 1869).
Grove, Sir George. A Dictionary of Music and Musicians.
Hajdecki, A. Die italienische Lira da Braccio (Mostar, 1892).
&
Hart, George. The Violin : its famous makers and their imitators
(London, 1887).
Hawkins, Sir John. A general history of the science and practice of
music (London, 1853). es
Heron-Allen, Ed. Violin Making, as it was and is (London, 1885).
Heron-Allen, Edward. De fidiculis bibliographia (London, 1890-4).
Hill. Gio: Paolo Maggini; his life and work. Compiled and edited from
material collected and contributed by W. E. Hill and his sons, William,
Arthur and Alfred Hill, by Margaret L. Huggins (London, 1892).
gº
Jacquot, Albert. Les Médard, luthiers lorrains (Paris, 1896).
Mace, Tho. Musick's Monument (London, 1676).
Miggé, Otto. Le secret des célèbres luthiers italiens, découvert et
expliqué par Otto Miggé.
North, Hon. Roger. Memoirs of Musick, edited by Ed. F. Rimbault
(London, 1846).
Pearce, Joseph, jun. Violins and Violin Makers (London, 1866).
Piccolellis, Giovanni de. Liutai antiche e moderni (Firenze, 1885).
Pierre, Constant. Les facteurs d’instruments de musique, les luthiers et
la facture instrumentale (Paris, 1893).
Ritter, Hermann. Die Geschichte der Viola Alta (2nd Ed., Leipzig, 1877).
Ruf, S. Der Geigenmacher Jakob Stainer (Innsbrück, 1872).
Sandys and Forster. The history of the violin, by William Sandys and
Simon Andrew Forster (London, 1864).
Snoeck, /C. C. Catalogue de la collection d'instruments de musique,
anciens et curieux, formée par C. C. Snoeck (Gand, 1894).
Starcke, Hermann. Die Geige, und die Meister der Geigen- und Lauten-
baukunst (Dresden, 1884).
Straeten and Snoeck. Etude biographique et organographique sur les
Willems, luthiers gantois du XVIIe siècle, par Edmond Vander Straeten et
César Snoeck (Gand, 1896).
Tolbecque, Auguste. Quelques considérations sur la lutherie (Paris, 1890).
Vidal, Antoine. Les instruments à archet (Paris, 1876).
Vidal, Antoine. La lutherie et les luthiers (Paris, 1889).
Wasielewski, Wilhelm Jos. von. Die Violine und ihre Meister (3rd Ed.,
Leipzig, 1893).
A DICTIONARY
VIOLIN MAKERS.
Aachner, Philipp. A maker in Mitten-
wald, in 1772. His instruments have
brown varnish. |
Abbati, Giuseppe. Worked in Modena,
1775-93. His double-basses are well
known in Italy.
Absam, Thomas. Worked in Wake-
field, Yorkshire, 1810-49. Made violins
for a dealer called Pickard, in Leeds.
Label : “Made by Thomas Absam,
Wakefield, Feb. 14, 1833.”
Acevo. A maker little known, but
Fétis has stated that he was born
about 1630, in Saluzzo, was a pupil of
Cappa, and made good instruments,
principally bass-viols. Fétis had seen
a bass-vibl. dated 1693, which, belonged
to Marin Marais, whose signature was.
on the back. There is no other
evidence in favour of the supposed
existence.of Acevo. *
Adam, Jean Dominique, b. Feb. 26, 1823,
Mirecourt; d. Jan. 19, 1869. Was
the son, pupil, and successor of Jean
Adam, a maker of bows. He made
many bows for the trade, but marked
*h. name those that he sold him-
Seii.
that of his father.
Adams, C. A maker at Garmouth,
Scotland, in 1800.
• Adani, Panerazio.
in Modena, 1827.
, Addison, William. A maker of viols in
London. Label: “William Addison,
in Long 'Alley, over against Moor-
fields, 1670.” .
Aglio, Giuseppe dall’. Worked in
Mantua, I8o0-40. His instruments
are similar to those of Camilli and
are varnished a bright yellow colour.
A maker of cithers
Aireton (Airton), Edmund, b. about ||
1727; d. 1807. A maker in London.
It is possible that a workman of the
same name, employed by P. Wamsley
His work is much superior to:
in 1735, was his father. Followed the
Amati model; his violins and violon-
cellos show finished workmanship,
have a good tone, and are warnished
yellow. Some instruments, of inferior
make, follow the Stradivari model. -
Albanesi, Sebastiano. Worked in
Cremona, 1720-44. Pupil of Carlo.
Bergonzi. His instruments are. not
much arched and both in varnish and
make are similar to those made in.
Milan; the tone is powerful.
Albani, Mathias, b. about 1621, Botzen
(Tyrol); d. there 1673. His instru-
ments are excellent, very similar to
those made by Stainer, of whom he
was possibly a pupil. They are much
arched, with high sides, the sound-
holes too widely opened, with dry
brittle varnish, a reddish-brown colour,
the wood is carefully selected. A violon-
cello, of sweet but not powerful tone,
had the label, in large characters:
“Mathias Albano, fecitin Tiroli, 1651.”
A beautiful violin, with full, powerful
tone, had the label in small characters.:
“Mathias Albano, in Tiroli, Bulsani,
I643.” Two other labels are :
“Mathias Albani, fecit Bulsani, Tyrol,
1651,” and “Matthias Albanus, fecit
in Tyrol, Bulsani, 1654.”
Albani, Mathias, son and, pupil of
Mathias Albani; b. 1650, Botzen ; d.
about 1715. Settled in Rome, probably
remained in Cremona studying under
the Amatis for some time, on his way
there. His instruments follow the:
Amati pattern, and show beautiful var-
nish and finished'workmanship. Three
violins known are dated, respectively
I702, I709, I712. In a pochette was
the label, “Mathias Albanus, I68o.”
In Rome the label used was, “Mattia.
Albano, fece in Roma, I6 –.” -
| Albani, Paolo. Worked in Palermo
2 ALBERTI—AMATI.
about 1650-80. Is said to have been a
pupil of Nicola Amati at Cremona.
His instruments are made on a large
pattern with good varnish. A violin
known is dated 1659. A son of his
continued making violins till 1720.
Alberti, Ferdinando, A maker in Milan,
1740-60. His instruments are fairly
well made and varnished bright yellow.
Label : “Ferdinando Alberti, fece in
Milano, nella contrada del pesce al
segno della Corona, nell' anno 1743.”
Alberto, Pietro. A celebrated maker of
lutes in Bologna, 1598. The label,
“Petrus Albertus, faciebat B–,” was
found in a large mandora made of
maple wood, beautifully grained, with
fine varnish, brown colour, the neck
inlaid with ivory.
-Aldred. A maker in London, whose
viols were celebrated in the 17th
century. Speaking of viols, in his
book “Musick's Monument” (pub-
lished 1676), Mace adds, “Of such
there are no better in the world, than
those of Aldred, Jay, Smith, &c.”
-Aldric.
Was well known for the excellent
instruments he made, on the Stradi-
vari pattern, of fine tone, with rich red
varnish. He also constructed altos
from old Italian viols with great clever-
ness and carefully repaired old
instruments. An early violoncello of
his is dated 1788. In another violon-
cello was the label, “Fait par Aldric,
luthier, rue des Arcis, 16, Paris, 1792.”
Later he moved to 71, rue de Seine,
Saint-Germain, where, in 1840, his
nephew Aubry succeeded him. Label:
“Rue de Seine, 71, près celle de Bussy,
Aldric, luthier a Paris, an. 18–.”
Alessandro, called “Il Veneziano,” a
maker in Venice about 1540.
Aletzie, Paul. A maker in Munich,
I7IO-36. Is best known for his tenors
and violoncellos. His instruments
show careful work, but the sound-
holes are too small, and the brown
varnish , is of poor quality. In a
beautiful viola d'amore was the label:
“Paulus Aletzie Hof Lauten und
Geigenmacher in München, 1726.”
Two similar labels are dated 1716 and
I'72O.
Allard, François. A maker in Paris from
I776 to 1783, in the place Maubert,
then (1788-89) at 9, rue du Petit-Pont.
Few of his instruments are known.
Alvani. A maker in Cremona in 1750,
who followed the Guarneri pattern.
Amati, Andrea, b. about 1525, at Cre-
mona; d. Soon after the death of his
Worked in Paris, 1788-1840.
second wife, Angiola de Migli (d.
April Io, 1611), Was descended from
an ancient and noble family of Cre-
mona, dating back as far as Io97.
Was the founder of the great Cremona
school of violin making, which includes
such names as the Guarneri, Ruggeri,
Bergonzi, and Stradivari. At first made
the older form of violin—the viola da
gamba—but gradually developed the
modern violin pattern, aided, no doubt,
by seeing instruments made by the
older school of Brescia. While instru-
ments of Gasparo da Salò and Gio.
Paolo Maggini are still in good pre-
servation, violins known to be the
genuine work of Andrea are greatly
damaged and badly restored, which
makes it difficult to form correct
opinions about them. They differ
greatly from the Brescia pattern in
arching, form, colour and transparency
of varnish, but retain the stiff upright
Brescian sound-hole. The whole instru-
ment became simplified in Andrea's
hands; if, as is sometimes supposed, he,
was a pupil of either Gasparoda Salò or
Maggini, or even worked as a pupil in
Brescia, he advanced far beyond them,
and shows great originality in his
work. Another suggested “master”
of Andrea is Giammaria del Busseto,
who was probably trained in the
Brescian school, although he con-
structed his instruments on different
principles. Andrea's violins are small
or “three-quarter” size, the outline
extremely graceful, the belly and back
high, strongly arched towards the
centre; the wood carefully selected,
especially for the belly, was generally
Sycamore or pear-tree; the scroll
beautifully carved, purfling very neat,
and corners carefully worked; the
sound-holes resemble those of Maggini
and , are usually too broad ; the
varnish of good quality, but a little
thick, varies from clear or yellow-brown
to a beautiful amber colour; the clear
and silvery tone, though very sweet,
lacks power, possibly because of the
small size and high arching of the
instrument, the fourth string being par-
ticularly weak. But at that time the
strength of tone demanded at the
present day was neither expected nor
required. In 1878 two violins were
sold for £20 and £25 respectively, but
the price now varies from £50 to £150
or more, according to condition and
tone. His violoncellos, some of the
earliest made in Italy, are very rare;
the varnish is dark reddish-brown
AMATI—AMATI. 3
with a slight tinge of yellow, a colour
probably copied from that of the old
lutes which Mace, in his “Musick's
Monument,” says was of a “dark-
black-reddish colour ... the best
authors did use to lay on that colour.”
He gradually improved it, giving it
more body, making it more transparent,
of a reddish-yellow colour. A violon-
cello of full, rich tone, was dated I572.
Tenors and basses are rare, are on a
large pattern, with beautifully finished
work, and of sweet tone. The earliest
date, 1546, was found in a violin
believed to be by him, in the collection
of Count Cozio de Salabue. It is said
that it was originally a “rebec” with
only three strings, but the father of
Mantegazza altered it into an instru-
ment of four strings, by changing, the
neck and scroll. A viola bastarda is
dated I551. There seems to be no
evidence in support of the tradition
that he made twenty-four violins,
twelve large and twelve small pattern,
six tenors and eight basses, elaborately
decorated on the back with the royal
arms, &c., and the motto “Pietate et
Justitia,” for Charles IX. of France,
or that he went to Paris with them
and finished working at some of them
there. There is nothing on the instru-
ments themselves to show that they
were his work. Andrea was twice
married and had two sons by his first
wife, Antonio and Girolamo, both
violin makers.
Amati, Antonio, elder son of Andrea
Amati, b. Cremona about 1560; was
still living in 1648, according to a label
found in a violin. Was in partner-
ship with his brother Girolamo. His
instruments date from 1589, and are
generally small size; several violins
dated from 1591 till 1619 were in a
catalogue, published 1791, of the in-
struments of Albinoni of Milan. The
pattern resembles that of his father,
but is not so arched, the sound-holes
retain the Brescian type, the work
shows neat finish, the tone is sweet
but not powerful.
Amati, Girolamo, second son of Andrea
Amati, b. about 1562; d. Nov. 2, 1630.
Worked with his brother Antonio till
I628. The earliest reliable date in
connection with them is 1577, They
produced the first form of the
instrument known as “Amatise,”
The pattern first followed, similar to
that of Andrea, was more arched than
that used later. Their instruments
are few in number, but in good pre-
servation, generally small size (the
back often in one piece), of accurate
proportions, slightly arched towards
the middle, with strongly marked
grooves at the sides; the scrolls vary,
often richly worked, the corners and
the purfling are carefully done, the
edges just overlap the sides; the wood
generally maple or deal; the varnish,
deeper in colour on the earlier instru-
ments (possibly owing to old age), is
later of an orange colour, thinly laid
on, and throws up the grain of the
wood very distinctly. The tone is far
more powerful than in Andrea's instru-
ments. A violin signed by them and
dated 1595, which belonged to Henri
IV. of France, is of historical value.
It is made on a large pattern, the oil
varnish a brilliant amber colour, the
purfling of tortoiseshell, and on the
back are painted the royal arms of
France and Navarre, &c. Labels :
“Antonius et Hieronymus Fr. Amatus,
Cremonen, Andreae fil. F. I 590'’; a
similar one in a viola dated I62o :
, “Antonius et Hieronymus Amatus,
Cremonen, Andreae fil. F. I592 ''; a
similar one dated 1624. After 1624,
Girolamo worked alone, making both
large and small violins; the former
were the finest instruments, much
arched, with broad purfling, good
scroll, and varnish yellow-brown
colour; beautiful tone, but the fourth
string was not equal to the others.
Girolamo married first Ippolita Zuchi-
elli (d. 1583), then Laura Lazzarini on
May 24, 1584; she had nine children,
the fifth child being Nicola, who
became the most celebrated maker in
the family.
Amati, Girolamo, third son and successor
of Nicola Amati, b. Feb. 26, 1649;
d. Feb. 21, 1740 ; buried in San
Tommaso. His instruments are poor
compared to those made by Nicola;
he follows an inferior pattern, the
sound-holes being straight and placed
too close to each other. The instru-
ments made on a large flat pattern are
the best, the sound-holes being wider
apart; but the varnish, though some-
times soft and transparent, is generally
of bad quality. Labels: “Hieronimus
Amatus, fecit Cremonae, 1670”; “Hie-
ronimus Amatus Cremonensis, fecit
anno salutis, 1697”; “Hieronymus
Amatus, Cremonen, Nicolai fil., 17—”;
“Hieronymus Amatus, Cremonensis,
an. 17oo”; “Hieronymus Amati, figlio
di Niccolò Amati, Cremona, I7—.”
Instruments with his label dated
4. AMATI—ANTONIAZZI.
1703-23 were supposed to have been
made either by Sneider of Pavia or
G. B. Rogeri of Brescia; several in-
struments dated 1729 are known. In
an old Amati violin repaired by Bros.
Mantegazza of Milan, in 1806, was
found written at the base of the neck,
“Revisto e corretto da me Girolamo,
figlio di Niccolò Amati, Cremona,
171o,” Girolamo married Angiola
Carettoni, 1678; his son Giuseppe,
born 1684, did not become a violin
maker.
Amati, Guiseppe. Said to have lived in
Bologna first part of . I'7th century,
he used oil varnish for his violins
and basses, the tone was clear and
- Sweet.
Amati, Nicola, younger brother of
Andrea Amati, is said to have worked
with him, 1568-80, then by himself till
1586. His basses are best known,
slightly arched back and front, with
oil varnish, the tone excellent, only the
fourth string often weak owing to the
instrument being too narrow and short
in proportion to its thickness. Two
basses are dated respectively 1568 and
I586.
Amati, Nicola, son of Girolamo Amati,
b. Dec. 3, 1596; d. April 12, 1684, aged
88, according to the registers of
Cremona Cathedral. Is the most cele-
brated maker of the Amati family.
His instruments resemble those of his
father till about 1645, then steadily
improve. The pattern is graceful,
the thicknesses and arching accurately
determined, the varnish a deep, rich
colour, the tone clear, sweet and
powerful. The “Grand Amati” violins
are scarce and are worth £300 to £400;
they are made on a large pattern, of
beautiful wood, the back of maple,
and the belly generally of deal, of
which the thickness diminishes from
the centre to the sides (this, when
exaggerated, makes the second string
nasal intone); the arching drops some-
what suddenly from the bridge to the
edges, with a slight groove where the
purfling comes, this is said to give the
noted Sweetness of tone; the sound-
holes are beautifully cut, the varnish
is of fine quality and varies from
amber to red colour. An instrument
with double purfling is a remarkable
piece of work. He made numbers of
tenors and violoncellos, several “three-
quarter” violins, and perhaps three
or four double-basses. Many of the
Small violins still exist, one dated 1668
shows some of his finest work, and the
tone is wonderfully sweet and clear.
Labels: “Nicolaus Amatus Cremonae
Hieronymus Fil., ac, Antonius nepos
fecit, 1630” ; “Nicolaus Amatus Cre-
monensis faciebat, anno 1650 " (in a
large bass-viol); “Nicolaus Amatus
Cremonae Hieronymus, et Antonius
nepos, fecit anno 1664.” Violins are
known dated 1647, 1655, 1661, and
I662, and two violoncellos dated I669
and 1670 respectively. Among Nicola's
celebrated pupils were the Guarneri,
the Ruggeri of Cremona, Montag-
nana of Venice, the Rogeri and Tononi
of Bologna, and, greatest of all, Antonio
Stradivari. He married May 23, 1645,
Lucrezia Pagliari (d. Nov. 25. I703);
Andrea Guarneri, his pupil, was
present at the ceremony and signed the
register. Of nine children, only one,
Girolamo, became a violin maker.
Ambrogi, Pietro. Worked first in Cre-
mona, then in Rome. Label: “Petrus
Ambrogi, Crem. fecit Romae, an.
I7—.”
Ambrosi, Pietro. A maker in Brescia in
1712. His instruments are inferior,
and the varnish is of poor quality.
Label: “Petrus Ambrosi, fecit Brixiae,
1712.”
Ambrosio, Antonio d'.
Naples about 1820.
Amelot. A maker in Lorient (France)
about 1812–29. His instruments are
poor, the varnish is yellow colour,
A maker in
Label : “Amelot, luthier, Lorient,
1829.”
Anciaume. “Bernard Anciaume’’ was
found branded on a violin.
Andreas, Johannes. A maker in Verona
about 1500-15. In the Museum Modena
of Vienna is a lira da braccio with the
written label : “Joannes Andreas,
Veronesis, a di I2 Auosto, I5II.”
Angelis. See “Vitus.”
Anselmo, Pietro. Worked in Cremona
(about 1700) and Venice. His violins
are made on a small pattern, slightly
arched, with golden-coloured varnish
of rich quality. His violoncellos are
also well made.
Antegnati, Gian Francesco. Is men-
tioned by Lanfranco in his work,
“Scintille ossia regole di musica
che mostrano a leggere il canto
fermo " (Brescia, Ludovicus Bri-
tannicus, 1533). He is there spoken
of as one of the earliest lute makers
in Brescia.
Antoniazzi, Gregorio. A maker in
Colle (Bergamo) in 1738. Label :
* Gregorio Antoniazzi, in Colle,

1738.”
ANTONIO-BAGATELLA. 5.
Antonio, Bononiensis (of Bologna). A
viola da gamba, not dated, is in the
Bologna Lyceo filarmonico.
Antonio, Ciciliano. See “Siciliano.”
Antonio, Cypriano. The label: “Cypri-
ano Antonio, a fez em. Lisboa, ao
Largo da Esperança,” was found in a
cither with twelve strings in pairs, of
fine tone, probably made about 1725.
Antony, Girolamo. A maker in Cre-
mona in I75I. He made on a good
pattern, rather arched, with neat pur-
fling, edges rather thin, varnish yellow,
of fair quality. Label: “Hyeronimus
Antonij, Cremonae, anno 1751.”
Ardenois, Johannes. A maker in Ghent,
I73I.
Artmann, b. at Weimar. Was working
about 1760. At first a joiner by trade,
then became a pupil of Ernst of Gotha.
His instruments are made on the Amati
patterm, rather arched, with yellow
varnish.
Askey, Samuel, d. about 1840. At first
a tinman, then a pupil of John
Morrison. Worked for George Corsby
about 1825.
Assalone, Gaspare. A maker in Rome,
1740. His instruments are made on
Baader, J. A., and Co. Well known
manufacturers of violins for the lowest
possible prices, established in Mitten-
wald. They send, instruments to all
parts of the world, America, Switzer-
land, Russia, England, &c. Some
violins made after the Stainer pattern
were exhibited in Munich, 1854, the
tone was full and beautiful.
Bachelier, Jean Gaspard. A maker in
Paris, in the rue de la Tissanderie,
I777, and in the place Baudoyer,
1783-89. His instruments show inferior
workmanship.
Bachmann, Carl Ludwig, b. 1716 at
Berlin; d. there 18oo. Made excellent
violins, altos, and violoncellos on the
Stradivari pattern with amber varnish;
the proportions were good, the choice
of woodexcellent; amateurs often mis-
took his instruments for genuine
Cremona work. He was a skilful viola
player, 1765, was appointed Court
instrument maker and Chamber
musician to the King of Prussia. 1770,
founded the Amateur Concerts in
Berlin, in conjunction with Ernest
Benda, which he continued till 1797.
the Amati pattern, but are too much
arched; the varnish is yellow, of poor
quality.
Aubert. A maker in Troyes (France),
I789. Label found in a guitar:
“Aubert à Troyes, 1789.”
Aubry, a maker in Paris, was a nephew
of Aldric and succeeded to his business
in 1840, but his instruments have not
the same high reputation.
Audinot, Nestor Dominique, b. Dec. 12,
1842, Mirecourt. Apprenticed to his
father there. I863-68, worked under
Sébastien Vuillaume in Paris, suc-
ceeded to his business in 1875 at 17,
Boulevard Bonne-Nouvelle. He has
experimented largely in varnishes.
Has made about 588 instruments
during thirty years' work, all of which
reach a high standard of excellence.
Labels: “N. Audinot, luthier, élève-
de Vuillaume, Paris 18–,” and “N.
Audinot, 17, Boulevard Bonne-Nou.--
velle, année I8—,”
Augière. Worked under Clément in
Paris. In 1830 he started a business
with Calot. He made good violins
with varnish red or yellow-brown
colour.
About 1725 began to tune the long thick
strings of double-basses by means of
screw pegs, a methodin use ever since.
Bachmann, O., of Halberstadt. Was an
excellent workman and particularly
clever at restoring old instruments.
He wrote a book on the construction of
violins, &c., entitled “Theoretisch-
praktisches Handbuch des Geigen-
baues, &c.” (Leipzig : G. Basse, 1835.)
Bagatella (Bagattella), Antonio, b. about
1750, Padua. Was a very good restorer
of violins. Worked formany Germans—
Prince Waldestein, Laibek, Prince of
Wittemberg, Krauss of Prague—made
few new instruments, and they were of
no great merit; some violins and violon-
cellos made on the Cremona model
were good. Gained in . I'782 a prize
from the “Accademia.” for a work on
the construction of the violin, which
the Accademia published at its own
expense in 1786. Its full title was
“Regole per la costruzione de' violini,
viole, violoncelli e violoni. Memoria
presentata all’ Accademia di scienze,
lettere ed, arti di Padova, al concorso
del premio dell' arti dell 'anno. 1782.
6 BAGATELLA—BANKS.
Dal Signor Ant. Bagatella, Padovano,
E. coronato dall’ Accademia stessa.
Padova, 1786.” This work touched
less on innovations than on practical
methods of arriving at a perfect imita-
tion of the instruments of the great
Italian makers, Amati especially; it
was translated into German by Schaum
under title of “Ueber den Bau der
Violinen, Bratschen, Violoncells und
Violons” (Leipzig, 1806). It was from
Bagatella's work that Maugin, in his
“Manuel du Luthier,” took his method
of tracing a fine model of a violin with
only a rule and compass, which may
also be seen somewhat shortened at
the end of Bishop's translation of Otto
on the violin.
Bagatella (Bagattella), Pietro. Worked
at Padua about 1760-66.
Bagnini, Orazio di Antonio.
cithers in Florence, 1667.
Bailly, Paul, of Mirecourt and Paris.
Received a bronze medal in 1878 for
work which, though not showy, was of
good quality. Was among the Exhibi-
tors in the Chicago (1893) Exhibition.
Baines. Worked in London about 1780.
Pupil of Matthew Furber.
Bairhof, Giorgio. Naples, about 1760.
Probably pupil of G. or N. Gagliano.
Bajoni, Luigi. Maker in Milan from
about 1840; was living in 1876.
Baker, Francis. A magnificent bass-viol
with six strings, of beautiful tone, had
the following label: “Francis Baker,
in Paul's Church Yard, 1696, London.”
Baker, John. A maker in Oxford about
I688 to 1720. His work was in every way
good, excellently finished, the varnish
a light yellow colour, the tone not large
but very pure and clear in quality. In
Thomas Britton's collection of musical
instruments was “a fine viol by
Mr. Baker of Oxford.” A four-stringed
viola da gamba “made by John Baker
in Oxford, anno 1688,” was exhibited
in London, 1872.
Balestrieri (Balestieri), Pietro, brother
of Tommaso. His instruments are
Maker of
inferior. He worked at Cremona
about 1725.
Balestrieri (Balestieri), Tommaso,
brother of Pietro. A maker in Cremona
about 1720-57, thenin Mantua till about
I772. Said to have been a pupil of
Stradivari; there is a rough general
resemblance in his work to that done
by Stradivari in the last years of his life
(1730-37), but no comparison in point
of merit. He made some good violins,
a few violas, and violoncellos of fine
tone. The wood varies, that used for
the bellies was carefully selected ; the
tone is powerful and becomes richer
with age. He used two kinds of varnish,
one resembling that of Guadagnini, the
other softer and richer in colour.
Label : “Thomas Balestrieri, Cre-
monensis, fecit Mantua, I762.”
Ballantine, was working in Edinburgh
in 1850 and in Glasgow in 1856.
Banks, Benjamin, son of George and
Barbary Banks, b. July 14, I727;
d. Feb. 18, 1795. Was one of the first
English makers to follow the Amati
instead of the Stainer pattern, copying
it very closely. Pupil of Wamsley
in London, then settled in Salisbury.
His instruments are excellently made,
the scrolls perhaps somewhat clumsy;
the tone is good, particularly that of
the violoncellos. The varnish is trans-
parent and rich; brownish-yellow
colour with a reddish tinge is used for
his best instruments, deep red with
blackish tinge for others. He un-
fortunately let it clog the fibre of the
bellies, which gave them a white
appearance, or, technically, “the grain
was killed.” His large violoncellos
are best, the smaller ones are equally
well made but have not the same ,
amount of tone, the style of finishing
is very marked and decided, so that
his instruments are easily recognised.
A violoncello made after the Stainer
model, with yellow brown-red varnish,
had a fine tone. The average price of
the best violoncellos between 1790 and
I794 was from ten to twelve guineas,
but in this century they realised as
much as £50. Inferior instruments
were made by him (probably assisted
by sons or other workmen) for Long-
man and Broderip, music publishers,
the pattern long, more on the Stainer
model, with red varnish. The names
of Longman and Broderip are stamped
on the back under the button, but
there is no writing or label to show
who was the maker. No double-bass
of his is known, and it is doubtful if he
or any member of his family ever
made one. Labels: “Made by Benjn.
Banks, Catherine Street, Salisbury,
1773”; “Benjamin Banks, Musical
Instrument Maker. In Catherine
Street, Salisbury, 178o”; “Benjamin
Banks, fecit Salisbury.” “B. B.”
was stamped on the back or beneath
the button at the erd of the neck, also
“B. Banks, Sarum.”
Banks, Benjamin, seccnd son of Benja-
min Banks (1727–95), b. Sept. 13, 1754;
d. Jan. 22, 1820. Worked with his
BAN KS–BATTISTA. 7
father at Salisbury, probably 1770-80,
then moved to London, to 30, Sher-
rard Street, Golden Square; went
later to Hawk Street, Liverpool,
where he died and was buried at St.
Mary's, Edgehill. Two violins are
known of his, one dated 1771, the
other 1775, and an alto dated 1778.
A violoncello had the label: “Made by
Benjn. Banks, No. 30, Sherrard Street,
Golden Square, from Salisbury.”
Banks, James and Henry, fourth and
sixth sons of B. Banks (1727-95). Both
born in Salisbury, James about 1756,
d. June 15, 1831; Henry about 1770,
d. Oct. 16, 1830. They were in busi-
ness together, Henry as a pianoforte
tuner and repairer and James as a
violin maker; the latter was an ex-
cellent workman, followed the same
models as his father, used similar
varnish, though occasionally the red-
colour varnish had more black in it.
1811, they sold their business in
Catherine Street, Salisbury, and went
to Liverpool, to Church Street and
then to Bold Street, where they died;
they were buried in St. Mary's, Edge-
hill. A number of unfinished instru-
ments in the white wood were found
in the cellar of their Liverpool house,
and sold in that state. Labels :
* James and Henry Banks, Musical
Instrument Makers and Music Sellers,
Salisbury, 1802"; “James and Henry
Banks, Salisbury, 1804.” A violon-
cello made by both of them in 1797
was exhibited in the South Kensington
Museum, London, 1872.
Baptista. See “Battista.”
Barbanti, Silva Francesco.
in Correggio, 1850.
Barbey, Guillaume. Maker of a bass-
viol with six strings at Brussels.
Barbieri, Francesco. A maker in
Verona, I695. His violins follow the
pattern of Andrea Guarneri.
Barnes, Robert. Pupil of Thomas Smith
at the “Harp and Hautboy” in Picca-
dilly; a fellow-apprentice was John
Norris, with whom he started a business
in 1765. No instruments of theirs is
known except a violoncello, which was
probably made by E. Aireton, but is
stamped with their name on the back.
They first lived in Windmill Street,
then Coventry Street. Label: “Made
by Norris and Barnes, violin, violon-
cello,and bowmakers to their Majesties,
Coventry Street, London.”
Barnia, Fedele, b. at Milan; settled in
Venice. Probably a pupil of Pietro
Guarneri. A small violoncello is
A maker
known, of accurate proportions, with
yellow varnish somewhat transparent,
and good tone. Label : “Fedele
Barnia, Milanese, fece in Venezia,
1'anno 1761 °; one dated 1715 was
found in a very beautiful theorbo.
Baroux. Lived in Paris, 1830, at 57,
rue du Petit-Carreau. He was a very
able violin bow maker.
Barrett, John. Worked about 1714-30 at
the “Harp and Crown’’ in Piccadilly,
London. A contemporary of Barak
Norman and Nathaniel Cross. He
made some good instruments on a
long and arched pattern, but they all
have ink-lines instead of purfle, and
the fluting where the ink-lines are is
very acute, forming almost the inner
half of a circle; the tone of his violins
is sweet but not powerful, the wood
well selected, the varnish a yellow
colour. 1802, they were valued at 6
guineas, later at 8 or Io. A violoncello
is mentioned as of beautiful tone.
Labels: “John Barrett, at the Harp
and Crown in Pickadilly, I'722 ”;
“Made by John Barrett at ye Harp
and Crown in Pickadilly, London,
1731.”
Bën. George. Of Elliot Court,
Old Bailey, London; d. about 1810.
Barzellini, Egidius. Maker in Cremona,
1670-17oo. Label: “Egidius Barzellini
fecit ecolle Amatius Cremonen, 168o.”
Basi, Florianus. A clever maker of
mandolines in Bologna, 1756-81. Label:
“ Florianus Basi, in via S. Mamoli
Bonone, fecit 1756.”
Bassiano. Lute maker in Rome, I666;
a theorbo with this date is in the
collection of the Gesellschaft der
Musikfreunde, Vienna.
Bassot, Joseph. A maker in Paris
about 1780 to 1802, at the Quinze-
Vingt (1783), then rue Chabanais
(1788). He made beautiful violins,
with brown varnish, sometimes tinged
with red. His earlier instruments,
with yellow varnish, are not so well
made. Label: “Joseph Bassot, luthier,
Paris, I802.”
Bastogi, Gaetano. Maker of cithers
and lutes in Leghorn, I7—.
Battista of Brescia, about the end of
the 15th century. There is a very old
“pochette,” with the stamp “Baptista
Bressano,” in the museum of the
Lyceo filarmonico of Bologna.
Battista, Giovanni. A maker of guitars
and mandolines in Naples, I7—, accord-
ing to a label in a mandola of fine
tone, “Gian Battista, Fabricatore
Napoli, anno 17—in S. M. dell'ajuto.”
sº
3 - BAUD-EBRGONZI.
Baud. A maker at Versailles. A violin
of his, made without bars, which he
thought interfered with the vibrations,
was not favourably reported on.
Baumeester. See “Boumeester.”
IBausch, Ludwig Christian August, b.
Jan. I5, 1805, at Naumburg; d.
May 26, 1871, at Leipzig. Pupil of
B. Fritsche in Dresden, then settled
in Leipzig as a violin bow maker.
Other members of the firm were
Ludwig Bausch and Otto Bausch (b.
I84I).
Bººk was a celebrated maker of violin
bows in Dessau. It is said that Spohr
gave him advice as to the construction
of the bow. 1840, he received a silver
medal at the Dresden Exhibition.
Beckmann (Bekman), Sweno. A maker
at Stockholm about 1700-6. His in-
struments are roughly made. -
JBedker, Norbert. A maker in Würz-
burg in 1723. Was appointed maker
to the Bavarian Court. In a yiola di
bordone in the Paris Conservatoire
Collection is the label: “Norbert
Bedler, luthier de la Cour de Bavière
à Wurtzbourg, 1723.”
Bela, Szepessy, b. Nov. 30, 1856,
Budapest. Apprenticed to Samuel
Nemessany in Budapest, from August,
1868, till May 24, 1874. Then went to
Vienna and worked under Zach till
Oct. 20, 1879. Was then in Munich,
but left, 1881, to settle in London,
where he has his own business. He
has personally made and varnished up
to the present time Ioq violins, 4
violas, and 2 violoncellos. He gene-
rally follows the Stradivari and
Guarneri patterns, but in a few cases
that of Nicola Amati ; he uses oil
warnish of soft quality, a yellow-red
colour. His instruments are much
liked.
Bellone, Pietro Antonio, known as
Il Pescorino. A maker in Milan in
I694. Label: “Pietro Antonio Bellone,
detto il Pescorino, fece in contrada
..larga di Milano, 1694, al segno di S.
Antonio da Padova.”
Bellosio, Anselmo. A maker in Venice
about 1720-80. Pupil of Santo Sera-
fino. He made good violoncellos, but
as a rule his instruments are not so
well made as those of his master.
M. A. Cerin was a pupil of his. Label:
“Anselmij Bellosij, fecit Venetiis,
I7—.” -
Belviglieri, Gregorio. A maker in
#Bologna in 1742. His violins are
fairly good.
Benedict, Jose. A maker at Cadiz in
1738. Label: “Compuesto en Cadix
p. Jose Benedict, afio del 1738.”
Benedicti, Donate de. In Cremona, I674.
Henti, Matteo, b. 1579. A maker in
Brescia, was contemporary with G. P.
Maggini. His instruments are little
known, but are fairly well made on
the Brescia model; a violin was dated
1601. In a Paris museum is a beauti-
ful lute of his, richly inlaid, and
splendidly made.
Beretta, Felice. Worked at Como about
1760-85. Was a pupil of Giuseppe
Guadagnini. His violins are inferior,
he used bad wood and yellow varnish
of poor quality. A printed label found
in an alto of ordinary make was :
“ Felice Beretta, allievo di Guiseppe
Guadagnino, fece in Como, 1'anno
1784.” A similar label was dated 1782.
Bergé. A maker at Toulouse in 1771.
Bergonzi, Benedetto, d. 1840. A des-
cendant of the Bergonzi family, who
worked in the same house in the
Piazza San Domenico, Cremona. Was
a clever restorer of violins.
Bergonzi, Carlo, of Cremona, the first
of the great Bergonzi family of makers,
b. (?); d. 1747. Worked about 1712-46.
Began to put his own name in his
instruments about 1716. He was the
most celebrated pupil of Antonio
Stradivari, whose pattern he copied
very closely. Was also said to have
been a pupil of Nicola Amati. After
the death of Ombono Stradivari (d.
I742), Carlo inherited all the working
materials which had belonged to An-
tonio Stradivari, and in 1746 he and
his son Michel Angelo (then aged 24)
moved into Antonio Stradivari's old
dwelling, in the Piazza San Domenico.
His violins, which are more scarce
than his violoncellos, are generally
made on a flat model, like the early
instruments of Stradivari; he enlarged
the pattern laterion. The sound-holes,
placed lower and nearer the edge, are
longer and more open than those of
Stradivari; the scrolls, flatter than
usual, are boldly cut ; the arching is
decided; the wood is always very fine;
the varnish, a beautiful red-brown or
rich amber colour, is rather heavy, a
sign of decadence, but gives the instru-
ments a peculiar type of their own.
The tone is sonorous and penetrating.
The work is always beautifully finished.
His violoncellos and double-basses;are
especially good, the latter being some
of the finest known. Unluckily he
made them on too large a pattern, and
many have been cut down to suit

BERGONZI—B.ERT-I. . - 9 . {}
modern requirements, so that in their
original state they are rarely to be
met with. The work is careful, the
wood well chosen; the varnish, of a
red-brown colour, much altered by
age, is often rather thick. The violins,
altos, and violoncellos (the latter being
...thought to equal the work of his
master, Stradivari) are all characterised
by a peculiarly penetrating Sonorous
tone, and are much sought after,
sometimes fetching high prices, from
×200 to £300. A very fine violoncello
was dated 1746. Labels: “Anno 1723,
Carlo Bergonzi, fece in Cremona ’’;
£he same in a violin dated 1733, and
another dated 1731 ; “Carlo Baganzi,
allieve di Nicola Amati, fecit Cremonae,
He used a label ornamented like that
of Carlo: “Fatto da me Zosimo Ber-
gonzi, l'anno 1777, Cremonae.” -
Bernardel, Auguste Sébastien Philippe,
ib. Jan. I2, 1802, at Mirecourt; d.
August 6, 1870, at Bougival. One of
the most distinguished French makers.
He began as an apprentice in Mire-
court, went to Paris in 1820, worked
first under Nicolas Lupot and then w
under C. F. Gand, whom he left in 1826
..in order to start a business of his own
in the rue Coquillière. In 1859 he took
his two sons into partnership, and
the firm was called “Bernardelet fils”;
he retired in 1866 sofas to facilitate the
association of the Gands in his
business, which was then styled “Gand
anno 1723 ''; “Anno I7—, revisto e et Bernardel.” He made a large
corretto da me Carlo Bergonzi in number of excellent instruments, the
Cremona.” violoncellos especially having a remark-
Bergonzi, Carlo, third son of Michel
Angelo. Worked in Cremona about
..1780, and died there about 1820. He
made a few violins of little value, with
straight, ugly sound-holes; but princi-
pally guitars and mandolines.
Bergonzi (Baganzi), Fransesco. Is
named as early as 1687. May have
(been the father of Carlo. -
Bergonzi, Michel Angelo, son of Carlo,
b. 1722; d. after 1765. Worked in
Cremona about 1740-65. His work is
heavy and altogether inferior to that
of Carlo, he flattened the model and
exaggerated the curves; followed both
small and large patterns; the varnish
is hard and thick, the tone is nasal.
But his double-basses, show better
work and have a powerful tone, serving
well in an orchestra. Label: “Michel
Angelo Bergonzi, figlio di Carlo, fece
ably fine tone. Label : “Fernardel,
luthier, ex-ouvrier du Sr. Lupot, rue
Coquillière, No. 44, a Paris, l'an 1826.”
This was in a violin made by him soon
after he left Gand; perhaps the first to
contain his signature; it is beautifully
finished and has a fine tone. Printed
label: “Médaille d'or et d'argent aux
expositions de 1844 et 1849. Bernardel,
|luthier, élève de Lupot, rue Croix-des-
.Petits-Champs, 21, a Paris, I8— . . .
(Signed) Bernardel.” Honours: men-
tion, 1827; bronze medals, Paris, 1834
and 1839; silver medal, Paris, 1844, for
an alto placed in the Ist class; gold
medal, Paris, 1849; a medal of the
2nd class, London, 1851; and a medal
of the Ist class, London, 1855, for a
violin copied from Maggini, a bass,
and a double-bass. -
Bernardel Frères. Ernst Auguste and
in Cremona, 1740.” Anotheris known,
dated I?55. •
Bergonzi, Nicola, eldest son of Michel
Angelo. Worked in Cremona about
I755-82. His instruments show a
great falling off; made on a similar
model to that of his father; his work
is often highly finished but is wanting
in character; the scroll is cramped,
Gustave Adolphe, sons of Sébastien
Philippe ; the former b, April 2, 1826,
retired from the business in 1886; the
latter b. April 26, 1832. When their
father retired, in 1866, they continued
the businessin partnership with Eugène
Gand, as “Gand et Bernardel Frères.”
M. Gustave Bernardel is now head of
the firm. *.
the wood often too close-grained, Bertasio, Luigi. Worked in Piadena,
the varnish poor and thin. Label : I7—.
“Nicolaus Bergonzi, Cremonensis, Bertassi, Ambrogio. Working in Pia-
faciebat anno 1760"; a tenor dated dena about I730.
1781 is known. He made a great Bertet, Joseph R. A maker in Paris in
number of violins. . the 18th century. In an alto of a large
Bergonzi, Zosimo, brother of Nicola. He pattern, with thick yellow varnish,
worked about the same time, perhaps carefully made, was the label: “Joseph
had more ability; some violoncellos | R. Bertet, au Roy David, rue Neuve
and double-basses of his are fairly St. Roch ä Paris, 1754.”
well made, but the work, like that of Berti, Antonio. Cortona, 1721. A
his brother, is much inferior to Carlo's. . maker of dulcimers.
IO
BERTOLOTTI—BODIO.
Bertolotti, De. See Gasparo da Salò.
Bertrand, Nicolas.
Besler, Norbert.
B
A maker in Paris
about 1686 to 1735. He made some
violins of no great value, but is better
known for various viols: a bass-viol
dated 1687; another with the label
“ Nicolas Bertrand, Paris, 1720,”
well made, with a thick red varnish; a
treble-viol dated 1701 in the Brussels
Museum ; a small five-stringed viol,
dated 1714, in the Paris Museum ; and
a bass dated 1720. His name is often
branded on his instruments.
See “Bedler.”
etts, John Edward, known as “Old
John Betts,” b. 1755, at Stamford,
Lincolnshire; d. March, 1823, was
buried at Cripplegate Church. Pupil
of Richard Duke, senior, in London.
He made few instruments; the sound-
holes are rather wide, the purſing
broad, and the scrolls well cut; but
he had great knowledge of Italian
instruments. Clever workmen, such
as the Panormos, Bernhard Fendt, his
nephew Edward, and John Carter
were employed by him, principally to
copy old English and Italian instru-
ments. Label: “Jo. Betts, No. 2,
near Northgate, the Royal Exchange,
London, 1782.” He advertised that
he “makes in the neatest manner,
violins the patterns of Ant. Stradi-
varius, Hieronymus Amatus, Jacobus
Stainer, and Tyrols. Equal for the
fine, full, mellow tone to those made
in Cremona.” "
Betts (Ned), Edward, nephew of John
Betts, like him a pupil of Richard
Duke. He died before his uncle,
probably between 1815 and 1820. He
was a good maker, his instruments
had a powerful tone, and all the work
most carefully finished.
He made
very good copies of older makers,
more especially of N. Amati. Other
members of this family were not violin
makers themselves though they con-
tinued the business as dealers. -
B1anchi, Nicola, b. about 1800 at Genoa;
to Genoa, and finally settled in Nice,
B
worked till about 1875. Pupil of
Ceruti at Cremona, Guadagnini and
Pressenda at Turin. Clever repairer
of old instruments. Lived about five
years at rue Croix-des-Petits-Champs
in Paris, but having quarrelled with
the violin makers there, he returned
where he died. His instruments show
excellent work, and bear comparison
with those of good modern makers.
indernagel (Binternagel), of Gotha.
Was first a carpenter, then became an
apprentice to Ernst (1745-1804), when
Otto left Ernst in order to settle at
Weimar. He followed the Stradivari
pattern, but his instruments are not
well made. He also made harps and
guitars. - *
Bittner, David. A maker in Vienna,
d. (?) 1880. He did a large trade in
America. Exhibited a violin and
violoncello in London, 1862.
Blair, John. Worked in Edinburgh in
Blaise.
1820 with Matthew Hardie. f
A maker in Mirecourt in 1820.
Instruments not particularly well
made. -

Blanchard, Paul François, grandson
*
of François Blanchard, a maker of
guitars ; b. Feb. Io, 1851, Mirecourt
(Vosges); apprenticed there (1865) to .
Auguste Darte (pupil of . J. B.
Vuillaume and successor to Nicolas
Vuillaume). 1868, worked a few months'
at Marseilles with Daniel, and in
October, 1869, settled at Lyons, working
under Silvestre neveu, until he started
his own business, 45, rue Ferrandieri, in
1876, which he moved, 1890, to 77, rue
de la République. Two workmen are
employed, one for repairs, the other
for new instruments. Blanchard him-
self repairs old instruments and makes
all the new violins, which have his
label : “Fait par Paul Blanchard à
Lyon en 18—, No. —,” priced at £12.
each. Up till now he has made 379
instruments (all numbered), he makes
from 25 to 30 a year; about the same
number made by his workmen are sold
at half the price of his own and are
labelled : “Fait dans l’atelier de P.
Blanchard, Lyon, 18–.” Instruments
made by his pupils are sold at £3 or
44 each, and have a label representing
the Lyons city arms inscribed, “Lug-
dunum, anno 18–.” Blanchard gener-
ally follows the Stradivari and G.
Guarneri patterns, but does not
attempt to artificially age his violins;
the tone shows great equality on all the
strings, is powerful and clear, the oil
varnish, very transparent, is a golden
red colour for his own instruments, a
lighter colour for those made in his
shop. He first exhibited at Paris, 1889,
and gained a silver medal; was awarded
the “Grand Prix " at the Lyons
Exhibition in 1894; was appointed
“Luthier du conservatoire national, de
l'orchestreet desthéâtres municipaux.”
Bocquay. See “Boquay.”
| Bodio, Giambattista. A maker in Venice
about 1792 to 1832. The few instru-
ments known show nicely finished
Boivin–Bourbon. II
work and have a fine oil varnish.
Pietro Valentino Novello was a pupil
of his. . .
Boivin, Claude. A maker in Paris
about 1735-53. A violin with rose-
coloured varnish was well made and
had the label : “Claude Boivin, rue
Tiquetonne, ‘ā la guitare royale,” a
Paris, 1746.” Two similar labels
were dated 1744 and 1748. A bass-
viol is dated 1735, and a guitar in the
Paris Conservatoire Collection, made
for the daughter of Louis XV., is
dated I749. * .
Bolles. One of the earliest makers of
lutes and viols in London in the
beginning of the 17th century. Mace
(“Musick's Monument,” publ. 1676),
speaking of a good “chest of viols,”
says: “Yet the highest in esteem are
Bolles . (one Bass of Bolles's I
have known valued at £Ioo) .
these were old &C.”
Bomberghi, Lorenzo. A maker in
Florence towards the end of the 17th
century. t -
Bomé, Thomas. In a violin of ordinary
workmanship in the Paris Conserva-
toire Collection is the following label:
“Thomas Bomé, Versailles, 1790.”
Bongars, Simon. Only known by a
bass-viol with six strings, dated 1655.
Bonoris, Cesare. A maker of excellent
viols in Mantua, I658.
Booth, William, b. 1779; believed to
have died 1857 or 1858. At first a
hairdresser, but 1809 commenced to
make and repair violins. Label:
“Wm. Booth, maker, Leeds, 1828.”
Booth, William, son of W. Booth,
senior, b. 1816, Leeds; d. June 1, 1856;
buried at Burmantofts Cemetery.
Employed by Henri Gugel, 1834-38.
Returned to Leeds (1838) and began
business as an instrument maker. He
was a clever workman.
Boquay (Bocquay), Jacques, b. at
Lyons. Worked in Paris about 1705-
35, was living rue de la Juiverie, 1718,
but went to rue d’Argenteuil, 1719.
Made too many instruments to finish
them with care. His violins are good,
though inferior to those of Pierray, his
contemporary. He followed the Amati
pattern, his instruments are small,
slightly arched, the tone generally
poor owing to the thicknesses being
badly calculated; the varnish, very
transparent, is red-brown, sometimes
yellow colour. His violoncellos are
handsome instruments and have a fine
tone. Label: “Jacques Boquay, rue
d'Argenteuil, à Paris, 1723.” An alto
Bosi.
was dated 1709; a violin dated 1718 in
the Paris Conservatoire collection was
one on which Baillot used to play when
teaching. A violoncello dated 1719
and a violin dated 1730 are also known.
Borbon (Bourbon), Gaspar. Worked
towards the end of the 16th century
in Brussels. He made violins, altos,
and double-basses, after the pattern of
Gasparo da Salò, with perpendicular
sound-holes, widely opened. An alto,
curiously made, with yellow varnish,
was exhibited at Paris, 1878.
Borelli, Andreas. Worked in Parma
about 1730-47. His instruments are
liked in Italy, the pattern is similar to
that of Lorenzo Guadagnini, but the
varnish’ is not so beautiful. Label:
“Andreas Borelli, fecit Parmae, anno
1746.” -
Borlon (Porlon), Artus or Arnould.
A maker of stringed instruments,
principally cithers, in Antwerp, about
I579. •
Borlon, François. A maker in Antwerp
about 1680-1710. A bass-viol of his in
the Church of St. James, Antwerp, is
said to have a beautiful tone.
Borlon, Jean. Worked about 1680-1719
in Antwerp.
Bortolotti, Luigi. A maker in Milan
about 1810-15. His instruments are
carefully made, with yellow varnish.
“Luigi Bortolotti, 1815,” was found
stamped on a cither.
See “Basi.”
Bossu. See “Boussu.”
Boucher. Worked in London in 1764.
Boullangier, Charles, b. 1823, Mire-
court; d. Oct., 1888. Learnt his
trade in Mirecourt till 1843. Then
worked in Paris under Vuillaume till
1846, and 1846-49 under Gand and
Bernardel. Went to London, March,
1849, and made violins for Edward
Withers till 1856, when he started his
own business. He made a great many
violins, violas, and violoncellos, gene-
rally copied from Stradivari or
Guarneri patterns, and used a dark *
red varnish. He exhibited in 1862,
I872, and 1888, and was awarded two
diplomas and a silver medal. &
Boumeester (Baumeester), Jan. A
maker in Amsterdam about 1637-68.
A violoncello of large pattern, with
carved scroll and varnished yellow,
was labelled “Jan Boumeester, me
fecit in Amsterdam, anno 1637.” In
a five-stringed bass-viol with carved
head and yellow varnish was the label: .
“Jean Baumeester, Amsterdam, 1667.”
Bourbon. See “Borbon, Gaspar.”
B
*
I2 . BourDET-BRUG#RE.
Bourdet, Jacques. A maker in Paris
I75I-52. His instruments are fairly
well made.
Bourdet (Bourdot), Jean Sébastien, b.
1530, Mirecourt. Wassettled in Paris
in 1555. Was one of the first of the
celebrated. Lorraine school of makers,
possibly a pupil of Tywersus.
Bourgard, Jean. Worked in. Nancy
about 1780-87. In a violin, well made,
with-red varnish, was the label: “F*
par moi, Bourgard, facteur d'instru-
ments, rue de la Posonnerie à Nancy,
1786,” -
Bourlier, Laurent, b. 1737, Mirecourt ;
d.1780. Nothing known of this maker.
Boussu. Worked in Eterbeck-les-
Bruxelles about 1750-80. . Followed
the Amatipattern, used yellow varnish;
on the whole, made good instruments.
Braglia, Antonio. In Modena in the
18th century. - -
Brandiglioni. In Brescia in the 17th
century. He copied the Maggini model.
Brandl, Karl. A. maker in Budapest,
he sent two good violins, made, after
the models of Stradivari and Guarneri,
to the London Exhibition in 1862.
Branzo, Barbaro Francesco. A maker
in Padua, I66o.
Bremeister, Jan. In Amsterdam, 1707.
Brensi, Girolamo. A maker of viols in
Bologna, probably at the beginning of
the 16th century. A “violada braccio”
in the collection of the Lyceo. filar-
monico at Bologna has five strings.
and is labelled : “Hieronymus Bren-
sius Bonon.”
Bresa; Francesco. A maker of inferior.
instruments in Milan in the 18th
century. A label is known, but it has
the name of the town partly effaced:
“Francesco Bresa, fece alla scala in
Mil. . . 1708.”
Breton, J.F. Worked in Paris, 1740-8o.
His instruments are rather heavy in
character, but are fairly well made,
varnish a dark brown colour, “Breton
à Paris” is branded on their backs.
Label.: “J. F. (V. 2) Breton, citharae
fabricator, facit, vendit et reconcinat
instrumenta musica omnes genis.—
Parisiis, anno 1740.” The same label,
dated. I780, was found in a violin.
Breton, Le, b. 1780, at Mirecourt, where
he worked from 1812 to 1830, the year
of his death; was there a contemporary
of the eldest Nicolas. His violins are .
carefully made, of a good pattern,
slightly arched, the purfling neat, the
varnish yellow, slightly tinged with
red, his monogram branded on the
neck. They are not rare, but though
rº-
of no great value, are often imitated.
Label.: “Luthier de..S. A. R. Mme. la
Duchesse d'Angoulême.”
Broschi, Carlo. Worked in Parma,.
1730-44. Label: “Carlo Broschi, in
Parma, fecit 1732.”
Brown, Anthony. Is said to have learnt
his trade under Joseph Panormo, or
under John Morrison. He became
celebrated for his guitars. In 1855 he
was living in Rosamond Street, Clerk-
enwell, but afterwards. went to the
“diggings.” He was not related to the
—other violin makers of the same name.
Brown, James,b. 1755 on 1759; d. Sept.,.
1830, or 1834, Was a silk weaver in
Shoreditch, London; but, 1894, learnt
violin making under Thomas Kennedy,
and established himself in Wheeler
Street, Spitalfields; as repairer an
maker of instruments. - *
Brown, James, jun., Son of James
Brown, b, Nov., 1786; d., 1860, at
White. Lion. Street, Norton Folgate:.
Apprenticed, to his father, but was
principally employed to make bows, for
the various instruments. After his.
father's death, he made violins, violon-
cellos, and double-basses: Both father
and son were good average workmen.
Brown, son and pupil of James Brown;.
jun. When about twenty years old,
ceased to make instruments.
Browne, John, a maker at the sign of
the “Black Lion,” Cornhill, London,.
in 1743. Made good copies of Nicola
Amati, cut his scrolls well, but his
varnish was, hard.
Brubach, Antoine, b. Jan. 22, 1847, Mire-
court. In 1884 appointed head of the:
business, that “A. Klein.et Cie.” had
just started in. Rouen. Has made, a
number of violins, altos, and violon-
cellos carefully and well, Obtained, as
“collaborateur,” the silver medal, at
the Rouen Exhibition, 1884.
Brugère, Charles Georges, b. Nov., Io;.
1865, at Mirecourt; son of Charles
Joseph Brugère, a maker of guitars.
Apprenticed, 1878, at Mirecourt, to
Etienne Drouin. 1882, went to Lyons
to work for two and a half years under
Paullblanchard; then after nine months
with Paul Bailly at Paris, entered the
workshop of Gand & Bernardel, where
he remained from Dec., 1885, till 1892.
He succeeded Eugène Henry, Sept. 22,
I892, at I5I, rue St. Martin, Paris.
As he and three workmen are almost
exclusively employed in repairing oldin-
struments, he only makes about twelve
new instruments a year; these, whether
violins, violas, or violencellos, are, con-
BRUGBRE–BUTHop. I3-
secutively numbered as made, and only
when his own personal work are
labelled with his name. He follows
the Strädivari pattern, and uses good
oil varnish, varying in colour from
yellow to golden-red. He exhibited at
Lyons, 1894, a double quintet of instru-
ments; the violins and violoncellos
were reported of powerful and sweet
tone, and the double-bass as equally
excellent on all four strings; he was
awarded the first silver medal.
Brugère, Charles Malakoff, b. 1856-7;
d. 1894, Mirecourt; eldest son of Fran-
çois: Brugère.
Marseilles, where he made about a
hundred good instruments.
Brugère, François, brother of Charles -
Joseph Brugère, b. 1822, Mirecoturt;
d. there 1874. Worked under Pierre
Silvestre at Lyons, and under Daniel
at Marseilles. Made a great, many
violins, violoncellos, and double-basses
for J. Derazey at Mirecourt. Had
three sons, all makers:
Brugère, Joseph Napoléon, second son
of François Brugère. Is settled at
Mirecourt, where he makes a specialty
of double-basses, and is well known as
an excellent workman. -
Brugère, Michel, third son of François
Brugère. Since 1893 has been the
chief collaborateur of Charles Georges
Brugère. Besides making new instru-
ments, he excels in repairing old.ones.
Bucchenberg. See "Bueckenberg.”
Buchstadter (Buchstetter), Gabriel
David. A maker in Ratisbon in 1752. '
He followed the Cremona patterns,
but his instruments are not much
arched, the varnish is dark yellow or
brown colour, the wood not always
well selected, which renders the tone
harsh; all the details. are carefully
finished. Owing to their powerful
tone, his violins, are much used for
orchestra playing. One exhibited in
Paris, 1878, with very dark yellow
varnish, was dated. 1752. Label:
“Gabriel David Buchstetter, Lauten
und. Geigenmacher, Pede. ponti prope
Ratisbonam, 17—.”
Budiani, Francesco. A maker of lutes
Worked a long time.
under Hel at Lille, then settled in.
and cithers at Brescia about 1490-
I5IO. **.
Budiani, Giavetta (more correctly,
Giovita Rodiani). A maker of lutes
and viols in Brescia about 1580-162o.
His instruments are similar to those of.
his contemporary, G. P. Maggini, but
do not show the same skilful work.
No violins are known; but some
large bass-viols, one. Converted into a
double-bass with four strings, had a.
pleasing tone.
Bueckenberg (Bucchenberg or Bueeten-
berg), Matteo. German by birth, but
lived in Rome. about 1597–162o. Was.
one of the most celebrated Italian lute
makers. A chitarone is dated Rome, .
1614; in an arch-lute is the label:
“Matheus Bucchenberg, Roma, 1619.”
Buonfigliuoli, Pier Francesco. A maker
in Florence in the 17th century.
Burghardt is the Swiss form of the.
name “Bourgard,” q.v.
Burgle, Johann. A maker in Griezbach,
1828; Label: “Johan lion Burgle,
geigenmacher in Griezbach, 1828.”
Busas, Domenico. A maker in Vicenza, ,
I740.
Busseto (Buseto), Giammaria del. A *
maker of viols in Cremona, about
I540-80, was said to have taught.
Andrea Amati. His instruments are:
on a long pattern, decidedly arched,
with large, sound-holes and brown
varnish; one with deep, yellow varnish
was dated 1570. Label: “Gio. Maria.
del Bussetto, fece in Cremona, I545.”
Bussolero, Luigi. A maker of cithers
and mandolines in Rivanazzaro in
1817. .
Bussot. A maker in Paris, 1788.
Buthod. A maker of cheap instruments.
in Mirecourt. Worked under Vuil-
laume for some time. . In 1839, was.
awarded a bronze-medal. His violins.
are strongly made and are much
used in orchestras.and Conservatoires.
About 8oo violins, 40. altos, and 59.
basses were turned out of his workshop
each year. Later, went into partner=
ship with Husson, and the business.
gradually developed into a trade in
instruments of all kinds, becoming
“Husson, Buthod et Thibouville."
I4
Cabresy. Is only known by a bass dated
I'72 R.
cºi. Lorenzo. Worked in Milan
about 1716. His violins are not very
good, he used yellow varnish.
Cabroly. Was working in Toulouse about
1740-47. His instruments are fairly
good, he used pale red varnish. Label:
“Fait par Cabroly a Toulouse, 1747.”
Caeste, Gaetano. A maker in Cremona
in 1677.
Caesto (Caesta), Pietro Antonio della.
Worked in Treviso, 1660-80, and
cleverly imitated the Stradivari model.
Cahusac. Worked in association with
the sons of Banks in London about I788.
Calcani (Calcagni), Bernardo. A maker
in Genoa, I7IO-50. His instruments
are carefully made, on the model of
Stradivari, with beautiful golden or
orange-red varnish, a few with yellow
varnish, with small scroll and well cut
sound-holes. Label : “Bernardius
Calcanius, fecit Genuae, I7Io”; another
similar label is dated I750.
Calonardi, Marco. A maker in Cremona
in the 17th century. -
Calot (Callot), b. 1810, Mirecourt. First
worked under Clément in Paris, but in
1830 went into partnership with
Augière. His instruments were beauti-
fully made and had a fine tone.
Calvarolla, Bartolommeo, of Torre Bal-
done (Bergamo). Worked about 1753-67
in both Bologna and Bergamo. His
instruments are fairly well made, with
yellow varnish, somewhat like those
of Ruggeri in form, but the scroll is
weak and badly proportioned. Label:
“Bartolommeo Calvarolla, fecit Ber-
game, I76—.”
Calzavara, Santo, of Padua, about 1764.
The label: “Santo Calzavara, fece in
Padova, l'anno I764,” was found in a
small mandoline. -
Camilli, Camillus (Camilus di Camila).
Worked in Mantua about 1739-50. He
followed the Stradivari pattern, and
used carefully selected wood; his violins
have a beautiful tone, and are varnished
palered, somewhat similar to Landolfi’s
instruments; the sound-holes are wide
and short. Label: “Camillus Camilli,
fecit Mantua, I739”; a similar label is
dated 1750. w
Camillio, Davido. A maker in Cremona
in I755.
cABRESY—CARON.
C.
Campion. A guitar of his, made of
mahogany wood, with six strings, with
ebony and mother-of-pearl ornamenta-
tion, was exhibited in 1823.
Camploy, J. A maker in Verona.
Exhibited two violins at Munich in
1854, on which he had used a varnish
of his own invention. -
Capo. In Milan in 1717, according to a
label. -
Cappa, Giofredo (Goffredo). Probably
born at Cremona. Was working there
under the Amatis about 1590, and later, ,
about 1640, in Saluzzio (Piedmont).
Made both large and small violins,
more valuable as specimens of old
Italian work than for their tone; the
large instruments are preferable. His
violoncellos show some of his best work,
but are too much arched, and the
sound-holes are badly cut; the wood
varies, that used in Cremona was of
foreign growth, but in Piedmont he
used locally grown wood, of coarse
fibre; the varnish is generally golden
or yellow colour, but varies a good deal;
the purfling is carelessly done. The
pattern was often too large and had
later to be cut down. Labels: “Jo-
fredus Cappa in Saluzzio, fecit anno
I640”; “Joffridus Cappa, fecit salutiis,
anno I6—.”
Cappa, Giachimo (Gioacchino) and
Guiseppe. Possibly sons of Giofredo.
Were both makers, working in Saluzzio
and in Turin about 1661-1712. There
are instruments dated 1712, but of no
particular merit. ;
Carcanius. A very old label printed on
parchment is dated Cremona, 1500.
Carcassi, Lorenzo Francesco and
Tommaso. Worked in Florence about
1735-58. Though not in the first rank of
makers, their workmanship was good;
they used yellow-brown varnish.
Label: “Loro e Tomo . Carcassi in
Firenze, nell' anno 1752, all' insegno
del Giglio.”
Carlo, Guiseppe. A maker in Milan in
I769.
Carlomordi, Carlo. A maker in Verona
in 1654.
Caron. Worked in Versailles, 1775-85.
Was maker to the Queen. His instru-
ments are not in any way remarkable,
an alto, well made, with brown-black
varnish, was labelled: “Caron, luthier
gº CARRE–CERIN.
I5
de la Reine, rue Royale, à Versailles,
I777’’; a similar label is dated 1775. A
ten-stringed theorbo in the Paris Con-
servatoire Collection is dated “à
Versailles, rue Satory, 1785.”
Carré; Antoine. A clever maker in Arras
about 1790, but is best known for his
hurdy-gurdys.
Carter, John. Worked in London about
I78o-go for John Betts, and made some
excellent instruments, many of which
were sold with the label of Betts.
His own label was: “J. Carter, Violin,
Tennor, and Bass Maker, Wych Street,
Drury Lane, London, 1787.”
Casini (Cassini), Antonio. A maker in
Modena about 1660 to 17oo. His
violoncellos were made on a large
pattern, the varnish a clear chestnut
or brown colour, the workmanship fair.
Labels: “Antonio Casini Modenae,
anno I66o”; the same in a violoncello
dated I665; “Antonio Casini, fecit
Muttinae, anno 1683" (in a violoncello);
“Antonius Cassinus, fecit Mutinae,
anno I7—.”
Caspan, Giampietro. Worked in Venice
about 1650. He followed the Amati
pattern. His violins are small, with
yellow varnish.
Cassanelli, Giovanni.
in 1777.
Cassineau. According to an old French
musical journal of 1770, “Cassineau,
of Paris, rue des Prouvaires, near
St. Eustache, makes, sells, buys and
hires all sorts of instruments, violins,
bass viols, pardessus, guitars, clavecins,
mandolines, double-basses, &c.”
Castagnery (Castagneri), Andrea. An
Italian who worked in Paris, 1732-57,
at the Hôtel de Soissons (which was
destroyed 1748-9). He made good in-
struments; the varnish varies greatly
in colour, from yellow-brown to a pale
red. A violin dated 1735 was not arched,
but the varnish is of good quality. An
alto dated 1741, with yellow varnish,
has a fine tone. Labels: “Andreas
Castagnery, Hôtel Soisson, Paris,
1738"; “Andrea Castagneri nel
palazzo di Soessone, Parigi, 1740";
a similar label dated 1744; “Castagnery,
rue des Prouvaires, Parigi, 1747” (in
a badly restored violin). Other dates
are—in violins, 1732, 1735, 1739, 1757;
in a bass, I75I.
Castagnery (Castagneri), Gian Paolo.
A maker from Cremona, who worked in
Paris about 1630-62. He was one of
the best Parisian makers of his time,
his violins had a sweet though not
powerful tone. Label: “Castagneri
A maker in Ciano
Gian Paolo, nel palazzo di Soissons in
Parigi.” Instruments dated 1639 and
1662 are known. -
Castellani, Luigi, son of Pietro Cas-
tellani, b. 1809; d. 1884. Worked in
Florence in the Via Calimaruzza. He
was a clever restorer of old violins, but
did not make new ones; he made
excellent strings, however, and guitars
of fine tone. He studied music in his
youth and became a good player on
the double-bass. Obtained a silver
medal of first class in 1877. -
Castellani, Pietro, b. Florence, second
half of the 18th century; d. 1820. He
principally made guitars, which are
much liked; but also made some violins.
Castello, Paolo. A maker in Genoa
about 1750-80. His instruments are
fairly well made, he used yellow var-
nish. A violin, which has since been
carefully enlarged, was on a small
model, very much arched, and it was
labelled: “Paulus Castello, Genuae,
anno 1774.” Small printed label: ,
“Paulus Castello, fecit Genuae, anno
1778.” -
Castro. Worked in Venice, 1680-1720.
His instruments are not liked; though
the wood is carefully selected, the
pattern is bad, the sound-holes roughly
worked, and the red varnish of poor
quality. -
Catenar (Catenari), Enrico. Was work-
ing in Turin about 1670. His instru-
ments, which are well made, rather
recall those of Cappa, of whom he is
said to have been the pupil. Printed
label: “Henricus Catenar, fecit Taurini,
anno 1671.” -
Cati, Pier Antonio. A maker in Florence,
1741. His “kits" or pocket violins
are well made. #
Cattenaro. A maker of viols and of
violas da gamba in Pavia, 1639.
Cavalorio. Was working in Geneva,
I'72 R.
că, Giovanni, the father of Ben-
venuto Cellini, b. in Florence; d. there
of the pest, 1527 or 1528. Was first
an architect but then became a lute
and viol maker. His viols, made
about 1500-5, had a great reputation.
Celoniati (Celionati), Giam Francesco.
Was working in Turin in 1732. He
made good violins on the Amati
model, with a beautiful yellow varnish.
Label: , “Joannes Franciscus Celo-
niatus, fecit Taurini, anno 1732.”
Cerin, Marc Antonio. A maker in
Venice, 1780-93. Was a pupil of
Anselmo Bellosio. Instruments are
fairly well made ; he used pale yellow
*
T6
CERUTI—CHANOT.
varnish. Label: “Marcus Antonius
Cerin, alumnus Anselmii Belosii, fecit
Venetiae, an. 1793.”
Ceruti, Enrico, son of Giuseppe Ceruti,
b. 1808; d. Oct. 20, 1883. Worked in
Cremona at I4, Via Borgo Spera.
Said to have made about 365 instru-
ments, amongst others several violon-
cellos; the work is good, and Italian
orchestral players especially value his
instruments highly. Was awarded
silver medals at London, 1851 and
1870, for his violins, and a gold medal,
1863, at Cremona. The last violins
that he made were exhibited in Milan
in, I88I.
*Ceruti, Giovanni Battista, b. about I755,
**C.
Cremona; d. 1817. Pupil of Lorenzo
Storioni, to whose business in the
Via de' Coltellai, near Piazza San
Domenico, he succeeded in 1790.
Following the principles of his master
he made very good instruments; alto-
gether, violins and violoncellos, they
number about 500. He copied the
model of Nicola Amati, using yellow
varnish, sometimes with a reddish
tinge; his work was carefully finished.
Label: º: Battista Ceruti, Cre-
monensis, fecit Cremonae, an. I8—.”
eruti, Giuseppe, son and successor of
Giovanni Battista, b. about 1787; d.
1860, Mantua. He exhibited violins
of good quality at Paris and elsewhere,
but he has not the same reputation as
his father; he more especially occu-
pied himself with repairing old violins.
| Challoner, Thomas. Worked in London
Champion, Jean Baptiste. A maker in
C
C
in the 18th century. His instruments
are similar to those of Wamsley.
Paris in 1783.
hampion, René. A maker in Paris,
in the rue des Bourdonnais, in 1731 ;
in the rue des Odriettes, in 1756. His
workmanship was extremely pretty,
and carefully finished; he used fairly
good yellow varnish, similar to that
of Boquay, of whom he is said to have
been a pupil. Labels: “René Cham-
pion, rue des Bourdonnois à Paris,
I735”; and “René Champion de St.-
Julien, rue des Vieilles-Odriettes au
coin de l'échelle du temple à Paris,
1748.” •
hanot, François, son of a musical
instrument maker in Mirecourt, b.
1787, Mirecourt; d. 1828, Rochefort.
After being in the Ecole polytechnique,
he entered the French navy as engineer;
being retired on half-pay, owing to
some satirically-written political verses,
he went back to Mirecourt, and in the
workshops of his father came to the
conclusion that violins might be con-
structed on more scientific principles.
He made one, only slightly arched,
with the sound-holes nearly straight,
and the sides less curved in, more like
the sides of a guitar, the idea being to
keep the wood-fibres as long as possible,
as being better for vibration. A violin
of this pattern was submitted to the
Académie des Beaux-Arts and the
Académie des Sciences in 1817; after
three trials it was favourably judged,
the tone being of superior quality. He
was awarded a silver medal in 1819.
Unfortunately, violins on this model are
now of poor quality; the tone, though
excellent when they are first made,
does not last. I824, he was recalled to
active service and was shortly after-
wards promoted to the higher grade of
an engineer of the first class. The
letters C.I.D. on his label are the
initials of his title, “Capitaine, In-
génieur, Deuxième classe.” A violin
which he made in 1818 for Viotti and
a violoncello are in the Paris Con-
servatoire collection.
Chanot, Georges, a brother of François,
b. March 26, 1801, Mirecourt ; d.
Jan. Io, 1883, Courcelles, near Gif
(Seine et Oise). He first worked in
Mirecourt, but in 1819 went to Paris
and for a year constructed violins on
his brother's new model; then (1820)
worked under Clément, and (1821) was
employed by Gand, whom he left in
1823 in order to start business on his
own account, living first rue Oblin
près de la Halle au blé, then Place des
Victoires (1825-28), Passage Choiseul
(1828-37), rue de Rivoli (1837-48), and
finally quai Malaquais. He retired
from business to Courcelles in 1872.
He was twice married, the second
time in 1859; his first wife also made
violins, working with great assiduity
and rendering her husband valuable
aid. Chanot made a careful study of
old Italian instruments, and was ex-
cellent at repairing or modifying them.
His new instruments are beautifully
made and have a fine tone, they are
chiefly copies of Stradivari and Guar-
neri; the former are the best, the wood
being excellent. Was awarded: Men-
tion honorable, 1827; silver medal,
I839, 1844, 1849 (of the second class),
1855. Labels: “Chanot jeune, rue
Passage Choiseul, No. 15, a Paris,
1825,” and “Georges Chanot à Paris,
I, Quai Malaquais, année 1855.”
Chanot, Georges, son of Georges Chanot
CHANOT-cHIocCHI. wº 17
and his first wife. First worked with
his father. I851, went to London,
where he worked under Maucotel (a
brother of the maker in Paris), and,
1858, he started his own business,
making instruments of very good
quality. He received a “Mention
honorable '' at the Paris Exhibition,
1878. -
Chanot, G. A. A maker of good violins
at Manchester.
Chanot, Madame. One of her violins
was exhibited in Paris, 1827. See
Georges Chanot, sen.
Chappuy (Chapuy), Nicolas Augustin.
Worked in Paris about 1732-76. His
violins are fairly good, generally on a
large pattern, the work well finished,
the varnish bad, generally yellow
colour (he used spirit varnish, like
‘most French makers of that time);
nearly all are branded on the button
with his name and the initial N.
Sometimes are labelled “Luthier de
S.A.R. la Duchesse de Montpensier.”
A violin, which was used for 37 years
by Fr. Habeneck in his classes, is in the
Paris Conservatoire Collection. Labels:
“Chappuy a Paris,” and “Augustinus
Chappuy, fecit Parisiis, anno 1776,” in
a violin; another violin was dated
I732. A maker of the same name is
mentioned in 1794.
Chardon, Marie Joseph, son-in-law an
pupil of Georges Chanot, sen., b.
May 22, 1843, Paris. He succeeded
his father-in-law in 1872. In 1878 he
exhibited two quartets of instruments,
very well made, the wood chosen with
great care. Was awarded a bronze
medal. He is very skilful in restoring
old instruments, owing to his great
experience and knowledge.
Chardon, Marie Joseph Antoine Georges,
son of Marie Joseph Chardon, b. April
22, 1870. Worked under the direction
of his father.
Charle. Maker in Paris in 1748.
Charles, Theress. Originally came from
Mirecourt, but settled in London, in
King Street, Soho, as a violin maker.
On his card is printed “from Maucotel.”
Charotte, b. in Mirecourt; d. 1836. He
settled in Rouen in 1830 and worked
there till his death. His instruments
are inferior.
Chastelain, Martin, who lived in War-
wick, Flanders, about 1580, was born
blind. He was a maker of, and a
performer on viols, violins, spinets, &c.
Chatelain, François. A maker in Paris
..about 1777-91, first at 9, rue de Braque,
then in the rue de Berry. An instrument
of his is dated 1783, with his name;
two valuable violins are also known,
in an excellent state of preservation.
He sometimes made instruments in
association with S. Renault, labels
dated 1781 and 1791 having their
names, “Renault et Chatelain.”
Chatelin, Adrien Benoist. Maker in
Valenciennes, 1758, according to a
label found in a viol.
Cherbourg. A maker in Paris about
1770. He was the inventor of an
“improved” lyre, of which he made
several, not without merit, although
very original in design. Label: “Cher-
bourg, dans le Temple à Paris,
enventeuvre (inventeur) de la perfexion
de cet instrument tans désiré.”
Chéron, Nicolas. A maker in Paris,
1658-91, in the rue Dauphine, and then
in the rue de la Vieille-Boucherie.
Cherpite1, Nicolas Emile, b. June 24,
1841, Mirecourt; d. Feb., 1893. Worked
first at Mirecourt, then under Grandjon,
and, in 1859, entered the workshop of
Gand Frères (Paris), where he remained
till 1870. He then established himself
at 364, rue Saint-Denis, but in 1884
moved to 13, rue du Faubourg Poisson-
nière. At the Paris Exhibition, 1878,
he received a “Mention honorable '’
for his instruments, which show clever
work. Label : “Nicolas Emile Cher-
pitel à Paris, 13, Faubourg Poisson-
nière. N.E.C.”
Chevrier, André Augustin, b. in Mire-
court. Worked first in Paris and then
in Brussels. A well made violin with
red-orange varnish was labelled:
“Chevrier, luthier a Bruxelles, 1838.”
Chiarelli, Andrea, b. 1675, Messina ; d.
I699. A maker of lutes and theorbos.
He was also a celebrated lute player;
went to Rome and Naples for his
musical education, then returned to
Messina and tried to improve the
construction of his favourite instru-
ment. He made several theorbos and
arch-lutes; one of the latter is dated
I698. •
Chiavellati, Domenico. Worked in
Lonigo in I796.
Chibon, Jean Robert. A maker in Paris,
in the rue de la Comtesse d'Artois,
1775-79 ; and in rue de la Grande
Truanderie, 1783-85. His instruments,
which are not valuable, are seldom
seen ; two altos and a bass are known,
he used brown varnish.
Chiocchi (Chiocci), Gaetano. Worked
in Padua in the 19th century. Was
clever both at repairing instruments
and making them.
*
I8 • CHRETIEN–COLLIN-MEZIN.
Chrétien, Hippolyte, b. April 1, 1845,
Sommerviller. In 1865 he succeeded
to the business of his uncle, Hippolyte
Silvestre, in Lyons; 1884, moved to
Paris. Under the name of “Silvestre
neveu ’’ he has maintained the ex-
cellent reputation acquired by his
uncle. His new instruments have a
beautiful tone and are well made, the
varnish is transparent; he is also ex-
tremely skilful in repairing old instru-
ments. Awards: silver medal, Lyons,
1872; large medal of “progress,”
Vienna, 1873; silver medal, Paris,
1878; gold medal, 1889. Label:
“Hippolyte Chrétien, Silvestre neveu.”
Christa, Joseph Paul. Maker in Munich
about 1730-40. Label: “Joseph Paulus
Christa, Lauten und Geigenmacher in
München, 1740.”
Christofori. See Cristofori.
Christophle, Jean. Worked at Avignon,
1655. An alto of that date, made on a
large pattern, is in the Paris Conserva-
toire Collection.
Ciciliano. See “Siciliano.”
Circapa, Tommaso. A maker in Naples
about 1730-35. A mandoline, fairly
well made, is known.
Clark. A maker in London, living at
Turnmill Street, Clerkenwell. Was
a pupil of Matthew Furber.
Claudot, Augustin. Worked in Paris
beginning of 18th century. His instru-
ments are on a large pattern, with
yellow varnish, the wood of good
quality, and the work carefully finished.
Instead of using a label, he generally
branded his instruments with his name,
“Augustin Claudot.”
Claudot, Charles. A maker in Paris
who probably came from Mirecourt.
He made a number of instruments, of
which few remain. The work is in-
ferior, the varnish a yellow-brown
colour; his name is to be found stamped
inside on the back.
Clément. A maker in Paris about
1815-40, in the rue des Bonnes-Enfants.
His violins are now much valued by
amateurs, although it is said that he
did little work himself, but employed
clever workmen, such as Georges
Chanot, Augière, Calot, and Thomassin.
His work is beautifully finished and
artistic, he used red-brown varnish
with good effect. He exhibited in
I823 and 1827 and received a bronze
medal.
Cocks (Cocko or Cocco), Christopher.
Was working in Venice in 1654.
There is an arch-lute in the Paris
Conservatoire Collection with the
label, “Christopher Cocks, all' insegna
dell' aquila d'oro, Venetia, 1654,”
Coelho, Joze Terreira. Worked in
Lisbon, 18th century. In a guitaris the
inscription: “Joze Terreira Coelho,
a fez em Lisboa, as Poco los Negros,
a Cruz da Esperança.”
Coffe-Goguette. A maker in Mire-
court, who exhibited in 1834 and 1839
and was awarded a bronze medal.
Guitars of his in the Paris Con-
servatoire Collection are tastefully
ornamented and have a beautiful tone.
Coincu. See “Commé.”
Cole, º A maker in Manchester.
He learnt his trade there, first with
Tarr and then under George Crask.
Until 1858 he used a label, but after
that stamped “J. Cole” inside his
instruments.
Cole, Thomas. Working in London
about 1672-90. Labels: “Thomas Cole,
near Fetter Lane in Holborn, I672,”
and “Made, 1690, by Thomas Cole of
London, on Holborn Hill, who selleth
all sorts of musical instruments”; this
last was in a very large tenor, which
had a fine deep tone. -
Collichon, Michel. Worked in Paris
about 1683-93, the former date being
on the label of a viol with six strings,
with transparent yellow varnish, and
the latter date in a bass-viol exhibited
in Paris, 1889.
Collier, Samuel, A musical instrument
maker in London, at “Corelli's Head”
on London Bridge, about I750-55.
Collier, Thomas. Worked in London,
I775. - &
Collin, Claude Nicolas. A maker in
Mirecourt who died 1864. He learnt
his trade under N. F. Vuillaume of
Brussels. Amongst his pupils was
his son (see “Collin-Mézin'") and
C. A. Miremont.
Collin-Mézin, Charles Jean Baptiste, son
of C. N. Collin, b. Nov. 12, 1841, Mire-
court. First worked under his father
there, but in 1868 settled in Paris; in the
rue Faubourg Poissonnière. Though
a very clever restorer of old instruments
he devotes himself more to making new
ones, taking those of Stradivari, Amati,
and Guarneri as models; his wood is
of excellent quality and his work beauti-
fully finished. Awards: gold and silver
medals, Paris, 1878 (for the beautiful
varnish and remarkable tone of his
violins); gold medal, Paris, 1879; silver
medal, 1889. Named “Officier de
l'Académie” in 1884. Labels: from 1868
to 1876—“Longueur: 9 cent. hauteur:
2 cent. Ch. J. B. Collin-Mézin fils,
\
collingwooD–cRoss. I9
... luthier, Paris, l'an 1870”; from 1876 on-
ward—“Longueur: 9 cent. hauteur 3%,
Ch. J. B. Collin-Mézin fils, luthier a
Paris, rue du Faubg. Poissonnière Ib.”
Collingwood, Joseph. Worked . . in
London about 1760, at the “Golden
Spectacles” on London Bridge.
Comble. See “De Comble.”
Commé (or Coincu).
made by this maker at Blois.
Contreras, Jº. b. about I7Io,
Granada; d. about 1780. Known as
“Granadino” owing to his birthplace.
He worked in Madrid from about 1745,
making such fine copies of Stradivari's
instruments that they were often
mistaken for the originals. A beautiful
violin exhibited in Paris, 1878, was
slightly arched, the sound-holes well
cut, the varnish a yellow-red colour,
very brilliant, the scroll rather heavy,
the work beautifully finished. In it was
the label: “Matriti per Granadensem
Josephum Contreras, anno 1760.”
Contreras, son of Joseph Contreras.
Label: “Matriti per filium Granadensis
Joseph de Contreras, anno 1793, No.
I6.”
Conway, William. A maker in London
about I745-50.
Cordano, Jacopo Filippo. Worked in
Genoa about 1774. Label: “Jacobus
Philippus Cordanus, fecit Genuae, anno
sal. I'774.”
Corna. See “Della Corna.” ---
Cornelli, Carlo. A maker in Cremona,
1702. Label: “Carolus Cornelli, fecit
Cremonae, anno 1702.” º
Correa, Manoel, of Almeida, in the
province of Beira, Portugal. Entitled
“Maker to the Queen.” In a guitar
made about 16oo is the inscription
“Manoel Correa de Almda Uileiro da
Rainha, N.S. Morador na Ruadireita
la Esperança LXa.”
Corsby, George, believed to be a brother
of Corsby of Northampton. A maker
in London, in Princes Street, Leicester
Square, who also dealt in old instru-
ments.
Corsby. A maker in Northampton about
1780, who chiefly made double-basses.
See “Corsby, George.”
Costa, Agostino, of Brescia. A maker
in Venice in the 17th century.
Costa, Marco dalla. A maker in Treviso
about 1660-80. j
Costa, Pietro Antonio dalla. Worked
in Treviso about 1740-65. He made
some fairly good violins, following the
patterns of Ant, and Gir. Amati; he
used yellow varnish of good quality.
Labels: “Pietro Antonio dalla Costa,
A guitar known
fece in Treviso, anno 174—”; “Petrus
Antonius a Costa, fecitº ad similitu-
dinem illorum quod fecerunt Antonius
and Hieronymus fratres Amati Cremon-
enses, filii Andreae Tarvisii, anno
1757 °; “Petrus Antonius a Costa,
fecit Tarvisii, anno 1760'’; “Petrus
Antonius a Costa, fecit Tarvisii, anno
1764.”
Cotton, Robert. The label, “Robert
Cotton a Rouen,” was found in a tenor
viol or viola bastarda, which had six
strings, rather deep sides, the head
carved, the varnish red colour.
Cousineau, Georges (? Pierre Joseph), b.
about 1753, in Paris ; d. 1824. In 1788
was entitled “Luthier de la reine.”
He chiefly made harps and guitars,
but an alto is known branded with his
name, and a double-bass with three
strings, which is in the Paris Conserva-
toire Collection, was labelled “rue des
Poulies, vis-à-vis la colonade du
Louvre, ‘ā la Victoire.” Cousineau
luthier, fait et vend harpes, lyres,
violons, violoncellos, contrebasses, par-
dessus de viole, alto-viola, guitares,
violes d'amour, mandolines, sistres et
autres instruments de musique. Il
vend aussi des cordes de Naples et
tient magasin de musique française
et italienne. Son épouse grave la
musique.”
Cramond, Charles.
deen about 1821-34.
Crask, George. Worked in various
places, Salford, Manchester, &c.; he
made a number of instruments, gener-
ally Italian in character.
Cristofori (Christofori), Bartolommeo,
b. probably May 4, 1655, in Padua; d.
Jan. 27, 1731. He settled in Florence
in 1710. Was a maker of clavecins,
but in the collection of musical instru-
ments at Florence is a double-bass,
quite possibly the only one he ever
made, of which the workmanship
leaves much to be desired; it is
inscribed “ Bartolommeo Cristofori,
Firenze, 1715.” -
Cross, Nathaniel. A maker in Londo I
about 1700-51. About 1720 he entered
into partnership with Barak Norman,
His instruments resemble those of
Stainer, of whom it is supposed that
he was a pupil. He made good violins,
beautifully finished in all details, the
fluting round the edge, where the
purſle is inlaid, is very acute, and the
scrolls are excellently cut. Violoncellos
of his are known very similar to those
made during his partnership with .
Norman; they are rather small in size,
A maker in Aber-
T2O
#
cRow THER—DAvis.
with soft light yellow varnish ; the
, tone is clear and penetrating. He
'marked his instruments inside on the
back with his initials N. C. and a +
above. Label: “Barak Norman and
Nathaniel Cross, at the Bass-violin St.
Paul's church yard, London, fecit
*I'72—.”
cºmer. John. A maker in London
(Haughton Street, Clare Market) about
1755-1810. He worked occasionally
for John Kennedy. He died in 1810.
'Cuchet, Gaspard. Worked in Grenoble,
1729. Label: “Fait par Gaspard
Cuchet à Grenoble, mil sept cent 29.”
Cunault, Georges, b. 1856, Paris; was
apprenticed there, and worked with
Aſiremont, 1874-82; obtaining, at the
Paris Exhibition, 1878, a “Mention
‘honorable" as collaborateur. I882,
started his own workshop, first at
53, Faubourg Poissonnière, then at
16, rue Clauzel. He is a clever maker
-Cuypers, Johannes.
and his instruments show experience
and careful work.
:Cuny. . A maker in Paris about 'T'ſ 4o.
A violin from which the label had dis-
appeared was branded on the back
“Cuny à Paris,” it was of inferior
work, with thick brown varnish.
Cuppin, Giovanni. A name found in an
instrument which, must have been
of an early period. It was a baryton
with no edges or purfling, the sound-
holes elegantly cut, the back of poplar
wood, the varnish a yellow colour.
Cuthbert. Maker of viols and violins
in London in the 17th century. Some
instruments are well made, not much
arched, with dark varnish, the wood of
good qualitv.
g Q y ‘Worked at "The
Hague about 1779. Used yellow
varnish. Label: “Johannes'Cuypers,
fecit s'haghe, 1779.” -
Cyprianio. See “Antonio.”
D.
Daniel. A maker in Antwerp about
T636-56. Two instruments of his are
known, a double-bass which he made
in 1636 to be used in Antwerp Cathe-
dral for the Chapel of the Holy
Sacrament, and a little violin, fairly
well made, dated 1656.
Daniel, Charles. Founded a business in
TMarseilles in 1762, was succeeded by
his son Edmond, who was succeeded
by his pupil Guérin.
T) arche, C. F. Worked in Brussels.
*Was a pupil of N. F. Vuillaume (a
brother of the Parisian maker, who
had settled in Brussels). He exhibited
a very satisfactory quartet of new in-
'struments at Munich in 1854, but was
"especially successful in a work of res-
toration that had taken him two years
-to accomplish. This was an Amati
violoncello dated 1547, which had
ºbelonged to Charles IX. of France, and
was handed over to Darche literally in
fragments. In 1867 Darche's instru-
ments were judged to be satisfactory in
point of workmanship, but deficient in
tone, and the varnish of poor quality.
In 1854 he constructed a violin which
was curved on each side of the button
in such a way as to render it far less
likely to slip from under the chin of
the player.
Darche, Nicholas. A maker in Aix-la-
Chapelle, who has made a great many
instruments. P. J. Hel was a pupil of
his, 1864-65.
Dardelli, Pietro ("Il padre Dardelli").
Was a monk in the Franciscan monas-
tery of Mantua, who lived towards the
end of the 15th century. He was one
of the best makers of his time of
rebecs, lutes, and viols of all kinds,
- which he ornamented with especially
beautiful inlaid work. A very fine lute,
made for the Duchess of Mantua, the
neck admirably worked in ivory and
ebony, and painted with the ducal
coat of arms, was dated “Pietro Dar-
delli, 1497.”
David. A contemporary of Pierray.
Was working in Paris about 1730, and
supplied the orchestra of Louis XVI.
with instruments; his workmanship,
however, was poor.
Davidson, Hay. A maker in Huntley
in 1870.
TXavis, Richard. A maker in London.
Began by working in the employ of .
Norris and Barnes; but when Norris
died, in 1818, he succeeded to the busi-
ness. He knew little of violin making,
and always remained more of a dealer .
in than a maker of instruments. He
retired, leaving the business to William
Davis, and died in Bussage, near *
Stroud, his native place, in April,
1836, and was buried in Bisley Parish
Church.
'DAVIS-DELANY. - 2I
IDavis, William. A maker in Coventry
Street, London. A cousin of Richard
“Davis, whose business he continued
ſtill Dec., 1846, when he sold it to
Edward Withers and retired to
Bussage. He also was more of a
dealer in and restorer of violins than
a maker, and employed Charles
Maucotel (a maker who came from
Paris) to work for him.
{Day, d ohn. An amateur maker in
ILondon, a retired organist, and a good
violin player. Devoted himself to
reproducing the perfect tone, as well
las form, of the Cremona violins, and
is said to have succeeded; a copy of a
"Guarneri del Jesú being especially
mentioned as a magnificent violin.
‘Dearlove, Mark.
about 1812-20.
*Dearlove, Mark William, son of Mark
I)earlove. At different times he em-
ployed Thomas Absam, John Gough,
and Charles Fryer to work for him.
The latter he took into partnership.
The label they used was: “Dearlove
and Fryer, musical instrument manu-
facturers, Boar Lane, Leeds, 1828.”
Dearlove exhibited two violins and a
viola in London in 1862.
II)e Blosy, Nicola. Working in Naples
at 13, rua Catalana, in 1793. In a
guitar was the label : “Nicolaus De
‘Blosy, fecit Neapoli, in rua Catalana,
:al No. 13, A.D. 1793.”
ADechert, Johann Nicolaus. A maker in
;Grobrutenback in the 17th century.
‘ī)ecombe. A maker in Paris in the
18th century (is not to be confused
with De Comble). He also published
music at his shop on the quai de
l'Ecole, at the sign of “l'Accord
parfait.”
... De Comble, Ambroise, b. at Tournai,
Belgium, towards the end of the 17th
century. He worked till about 1760.
Said to have been in his youth a pupil
of Antonio Stradivari at Cremona.
His instruments are now scarce. They
rare extremely well made, of excellent
wood, and have a rich full tone, equally
good in all the strings, but lacking in
brilliancy; the varnish, generally red,
is a little dry; the purfling is always
in extremely narrow fine threads. His
violins, and altos generally follow the
Stradivari pattern, well arched, edges
and corners rather thick, the purfling
very narrow, and the varnish, a beauti-
iful; red-brown colour, of good quality.
His violoncellos are especially well
Tmade, generally on a small pattern,
more arched than that of the violin,
Worked in Leeds
the sound-holes and the corners are :
well cut, but the plates of wood used
are too thin. One violoncello has
yellow varnish on the front and red
varnish on the back and sides; it is
well made, although the details are
somewhat neglected; it is labelled
“Ambroise De Comble à Tournay,
1741 "; he also used the MS. label:
“Fait à Tournay par Ambroise de
Comble, 1750”; labels similar to the
latter are dated 1753 and I76—.
Deconet, Michele. Worked in Venice
about 1742-79. Was a follower of the
Cremona school. Two violins and a
violoncello that are known are well
made, with yellow varnish. Label :
“Michele Deconet, fecit Venetiis, anno
1754”; a similar label is dated 1771.
Defresne, Pierre. A maker who settled
in Rouen in 1730 and was still working
there in 1737. Label: “Fait partmoi,
Pierre Defresne, maistre luthier de
Paris, demeurant rue Neuve-Saint-Lô
à Rouen, 1737.” .
Lehaye (Deshayes). Was nephew and
only pupil of Salomon. Lived about
1775 to 1825 in Paris, first in the rue
des Saints-Pères, then in the rue de
Grenelle-Saint-Honoré. At the sign of
the “Prélude espagnol ’’ he sold
“violins, violoncellos, basses, treble-
viols, bass-viols, violas d'amore,” &c.,
from which it will be seen that he was
more of a dealer than a maker.
Dehommais. Was an amateur who
undertook experiments in varnishes.
In 1870 he went into partnership-with
Emile Germain, which lasted until
1882; during this time about a hundred
instruments were made under the name
of the firm, “Dehommais et Germain.”
They were awarded a bronze medal,
Paris, 1878. -
Delaborne. He exhibited guitars in
Paris in 1819 and again in 1823.
De Lannoy, N. J. A maker in Lille
about 1740-75. His instruments were
well made, with yellow varnish. Läbel:
“N. J. De Lannoy sur la petite place,
au-dessus des Halles à Lille, 1747 '';
later it was, “Dessus les ponts de
Comines, 1773.” Presumably his
descendants continued the trade, as an
L. Delannoy in 1828 is mentioned as
restoring a violin made in 1774 by
Fent, of Paris.
Delanoe, Pierre Jean. A maker in Paris
in 1754. -
Delanoix. A contemporary of Boussu.
Was working in Brussels about 1760.
Was a good maker.
Delany (Delaney), John. A maker in
22 - DELAU—IDICKENSON.
Dublin in 1808, is best known by his
labels, the one very small, the other
very large. I. “Made by John De-
lany, No. 17, Britain Street, Dublin,
1808.” II. “Made by John Delany,
in order to perpetuate his memory in
future ages. Dublin, 1808. Liberty
to all the world, black and white.”
Delau, Lucien. In 1836 (on the death
of Charotte) he joined Jeandel in violin
making, and they continued the business
at 36, rue Beauvoisine, Rouen, until
1848.
Delauney (Delaunay).
Paris in 1775.
Deleplanque, Gérard J. A viol maker
in Lille, 1760-88. He was at , first
established at “Marché aux poulets,”
near the “Marché aux poissons,” but
about 1766 transferred his business to
the rue de la Grande-Chaussée. He
has left some excellent specimens of
his work; a five-stringed viol, dated
1766, with yellow varnish tinged with
red, was exhibited in 1878; a very
A viol maker in
beautiful guitar, dated 1768, is in the
Paris Conservatoire Collection; also
another magnificent one made of
tortoiseshell, inlaid with mother-of-
pearl and ivory, dated 1775.
other guitars are dated 1770 and I777.
The label “Gérard J. Deleplanque,
luthier, rue de la Grande-Chaussée
coin de celle des Dominicains à Lille,
1788,” was found in a guitar; the
same, dated 1772, in a guitar of eleven
strings, which was peculiar in having
the back of the lute or mandoline shape.
Della Corna, Giovan Paolo (Gian
Giacomo). One of the earliest viol
makers, who lived in Brescia about
I484, and was mentioned by G. M.
Lanfranco (1533) as being one of the
best lute, lyre, and viol makers of his
time. -
Demouchi, P. Was working in Lyons
in 1618, according to a label found in a
bass-viol of seven strings, with brown-
black varnish, and the head carved :
“P. Demouchi à Lyon, 1618.”
Dennis, Jesse, b. 1795. A London
maker. Apprenticed to John Crowther
about 1805, later was working under
Matthew Furber. In Feb., 1855, was
living in Eweherst Street, Walworth
Common. º
De Planche, Pierre. A six-stringed
viol of this French maker is known.
Derazey, J. A maker in Mirecourt.
On the death of J. Nicolas, jun., in
1864, he succeeded to his business,
with all the materials, &c., and so it
happens that new instruments, not
Two
\
made by Nicolas, but bearing his
stamp, are still to be met with. . With-
out being of great commercial value
they are well made and carefully
finished, but the varnish is rather
harsh. Awards: “Mention ” in 1839
and 1844; a medal of the first class at
the Paris Exhibition, 1855, and at the
London Exhibition, 1862, for the
cheapness and good quality of his
instruments; in 1844 he was producing
6oo instruments a year, selling them
from 5 to 150 francs.
Deroux, Sébastien Auguste, b. June 29,
1848, Mirecourt. Was pupil there
of his father, also a maker. Worked
at Lyons under Silvestre neveu from
April, 1866, to August, 1869. After
serving his four years of military
service, worked with Miremont at
Paris, from Nov. 20, 1873, till, July 15,
1884, obtaining a “Mention honorable”
as collaborateur at the Paris Exhibi-
tion, 1878. Then started his own
workshop at 16, rue Geoffroy-Marie,
Paris, where he has remained ever
since. He has gained a great reputa-
tion as one of the best restorers of old
instruments in Paris. Up till now he,
has made 91 new instruments (violins,
altos, violoncellos). He follows the
Stradivari and Guarneri patterns,
using rather dark red-brown varnish.
He only employs one workman. Was
awarded a silver medal at the Paris
Exhibition, 1889. Label: “S. A.
Deroux, 16, rue Geoffroy-Marie, Paris,
188—.” Above the date, the letters
“A. S. D.”
Deschamps, Claude. A maker in the
rue de Seine, Paris, 1783-85.
Deshayes - Salomon, Jean Baptiste.
See “Salomon.”
Desjardins. A maker in Caen in 1763,
according to the label found in one of
his instruments: “Fait par Desjardins,
marchand luthier, grande rue St.-Jean
à Caen, 1763.” -
Despons, Antoine. A maker in Paris
about 16Io. He followed the Italian
patterns closely, but failed to obtain
a good tone. His instruments, now
very rare, are much sought after,
although one that is known is said to
be badly made and badly varnished.
Desrousseau. A maker in the 18th
century at Verdun, at the sign of the
** Luth.” -
Devereux, John. He worked with
B. Simon Fendt in London, but after-
wards went to Melbourne.
Dickenson(Dickinson), Edward. Worked
at the “Harp and Crown,” in the
DICKESON.—DODD. 23
Strand, London, about I750-90. His
instruments, made on the Stainer
model, are very inferior. Labels
known are dated I750, 1754, and I790.
Dickeson (Dickson), John. Born in
Stirling, but worked both in London
and Cambridge, about 1750-1780.
There are instruments dating from both
places. He followed the Amati pattern
and his work was excellent.
Didelin, Joseph. A maker in Nancy
about 1765-75, at the sign “ de la
Guitare des Dames de France.” The
few instruments known of his are
inferior. An alto is dated 1775.
Didier. See “Nicolas.”
Didion, Gabriel. A maker at Mire-
court; d. 1881.
Dieffopruchar (Tieffenbrücker), Magno.
Worked in Venice about 1580-1621.
One of the last lute makers of the
great family of which Gaspard Duiffo-
prugear was the head. , Magno was of
Bavarian descent, and his German
name, Tieffenbrücker, became italian-
ised into Dieffopruchar or Dieffopruk-
har. His lutes were always much
valued, one of the earliest, made about
1580 in Venice, with a back beautifully
inlaid with ivory and various woods,
has a label, much defaced, but in-
teresting as still bearing his German
name, “Magnus Tieffenbruker.” A
theorbo was labelled: “Magno Tieffo-
pruchara Venetia, 16Io.” An arch-lute
has the label “Magno Tieffoprucar a
Venetia, 1607,” and was found in Castle
Eisenberg, Bohemia, in the collection
of Prince Lobkowitz. A guitar was
labelled : “Magno Dieffopruchar Vene-
tia, 1606.” A beautiful arch-lute has a
large label: “Magno Dieffopruchar a
Venetia, I608.” The same date is in
a lute in the Bologna Collection. A
similar label, dated 16Io, with the label
of the restorer, Jacob Rauch, below,
was found in an arch-lute. A similar
label, dated 1612, is in a lute in the
Bologna Collection, and one dated
I62o in alute in the Berlin “Hochschule
für Musik” Collection ; in the Berlin
Collection is also a mandoline signed
“Magnus Dieffenbruger, 1621.” A
theorbo in the Museum Modena in
Vienna has the undated label: “Magno
Dieffopruchar a Venetia.”
Diehl (or Diel as it was originally spelt),
Friedrich, son of Nicolaus Diehl ; b.
1814. Worked in Darmstadt. Was
awarded a bronze medal at the Paris
Exhibition, 1867. -
Diehl (Diel), Heinrich, a son of Johann
Diehl. Was also a maker.
Diehl (Diel), Jacob, son of Nicolaus
Diehl, d. 1873. Established himself
as a maker in Bremen in 1834, later
moved to Hamburg.
Diehl (Diel), Johann,
Nicolaus Diehl.
Mayence.
Diehl (probably always spelt Diel),
Martin. A maker in Mayence in the
I8th century. His father-in-law,
Nicolaus Döpfer, was his first master;
later he worked with Carl Helmer of
Prague. His work was not good.
Diehl (Diel), Nicolaus, b. 1779; d. 1851.
Son of Martin Diehl, to whose business
he succeeded. First worked with his
uncle, Jacob Steininger, of Frankfort.
Diehl (Diel), Nicolaus Louis, d. 1876.
Was a son of Jacob Diehl, and worked
in Hamburg. He published a work on
Italian violin makers, entitled : “Die
Geigenmacher der alten italienischen
Schule” (Hamburg, 1864). .
Dieulafait. A viol maker, working in
Paris in 1720, this date, with his name, ,
being in a 17th century bass-viol that
he had restored. It is now in the
Paris Conservatoire Collection. -
Dini, Giambattista. A maker in Lucig-
nano in 1707.
Ditton. A maker in London about 17oo.
In Thomas Britton's Collection was a
“good violin by Ditton.”
a brother of
Was a maker in
Dodd, Edward, b. 1705, Sheffield ; d.
I8Io, London, at the age, of Ios. He
was the first bow maker of this name
and did a great deal towards improving
the English bow. He lived in Salis-
bury Court, Fleet Street, where he
died, and was buried in St. Bride's
Church. *
Dodd, James, second son of Edward.
Also made bows.
Dodd, James, son of James Dodd, sen.
Was a good bow maker. -
Dodd, John, eldest son of Edward Dodd;
b. I752, Stirling; d. Oct. 4, 1839, in
Richmond Workhouse ; was buried
at Kew. He was first a gun-lock
fitter, then a money-scale maker, and
finally found his true vocation in .
making bows. They are made of
magnificent wood and the work is so
beautiful that he is known as “The
English Tourte”; their only defect is
that they are sometimes too short.
He would never take pupils, preferring
to keep secret his method of cutting
the wood, and refused to reveal it for
a bribe of £1,000, although he was
often in great poverty.
Dodd, Thomas, third son of Edward
Dodd. Was first a brewer, then a
24 DoDD--DUIFFOPRUGCAR.
violin bow maker in the Blue Bell
Alley, Mint Street, Southwark (1786-
89); and, about 1798, became a dealer
in and maker of violins in New Street,
Covent Garden, moving to St. Martin's
Lane, Charing Cross (1809); and finally
became a harp and piano maker in
Berners Street. Very good violins
were made in his workshop ; but
although they were all labelled
“T. Dodd, violin, violoncello, and bow
maker, New Street, Covent Garden,”
they were almost without exception the
work of Bernhard Fendt and John Lott,
two, extremely clever workmen, who
were for a long time in his employ.
Dodd himself had a thorough know-
ledge of Italian instruments,
showed great skill in his varnish, the
secret of which he always kept, for he
would take the unvarnished instru-
ments—" in the white,” to use the
technical term — and varnish them
himself unaided. His label especially
alludes to this varnish : “Dodd,
maker, 92, St. Martin's Lane. Perfect .
copies of Stradiuarius, Amati, Stainer,
&c. Note:—The only possessor of
the recipe for preparing the original.
Cremona oil varnish. Instruments
improved and repaired.” His violon-
cellos are worth £40 to £50.
Dodd, Edward and Thomas, sons of
Thomas Dodd, sen. They both learnt
their trade from Bernhard Fendt, and
carried on the business at St. Martin's
Lane. Thomas showed ability, but
died early in the 19th century, and
Edward. devoted himself more to
making harps and pianos; he was
accidentally drowned, April 29, 1843.
Dominicelli (Domincelli).
Ferrara about 1695-1715, who first
studied in Brescia, possibly under G.
B. Rogeri. He copied the Amati
pattern with greatability, using varnish
of a golden-yellow, colour, which was
very effective.
Dominichino, Giuseppe: In Verona,
17oo. Followed the Amati pattern.
Donato, Serafino. Working in Venice,
I4IO-II. -
Doni, Rocco. A priest in Florence, 16oo-
6o, who made lutes and violins. It
is probable that he greatly assisted
the celebrated: G. B. Doni (to whom he
was related) in working out his idea of
the “Lira Barberina,” an instrument
copied from the ancient Greeks.
Dopfer (Döpfer), Nicolaus. A maker
in Mayence (?) about 1768. His in-
struments are well made, slightly
arched, the sound-holes small but
and.
A maker in
well cut, the varnish is brown. A few
tenors of his are known.
Dorant, William. Was working at 63,
Winfield Street, Brick Lane, Spital-
fields, in 1814.
Dorffel (Dörffel), Johann Andreas. A
violin and lute maker in Klingenthal,
Saxony, in 1743. In a viola d'amore,
with twelve strings, yellow varnish, is
the label : “ Johann Andreas Dörffel,
Violin und Lautenmacher, in Klingen-
thal, 1743.”
Drinda, Giacomo. A. maker in Pianzo
in the 18th century.
Drögmeyer, Hermann Aiugust. A maker .
in Bremen. He published a book.
called “Die Geige, ein: Beitrag zur.
Aufklärung,” 1891.
Drouleau or Droulot. A maker ink
Paris at 35, rue du Temple, about
1788-1800. His work was fair, he
used brown varnish. -
Drouyn, Dimanche. A Parisian maker.
A little pocket violin is known of his.
Duchéron, Mathurin. Was a contem-
porary of Boquay, and was working in
Paris in 1714, according to the following
label: “Mathurin Duchéron, a Paris,
I714.”
Duiffoprugear (Duiffoproucart), Gas-
pard, b. about 1514 in Freising,
Bavaria; d. about 1570, Lyons. Was
the principal member of a large family
of Gërmans, who were working in
North Italy—Padua, Venice—tillabout
the middle of the 17th century, and
still later in South. Germany. There
is much variety in the way in which
the family name is spelt, ranging
from the German form “Tieffen-
brücker,” to “Dieffenbruger,” “Duiffo-
brocard,” “Duiffoprougar,” “Duiffo-
pruggar,” “Dubrocard,” “ Dufour-
bourcar,” “Duyfautbrocard,” and
“Diffobricard.” The tradition that
Gaspard was a viol maker in Bologna,
and that, at the request of François I.
of France, he accompanied him to
Paris, seems to have no foundation.
He probably learnt his trade: in S.
Germany, and then went to Lyons, at
that time celebrated, owing to the
large fairs held there three times a
year. The first definite mention of
him there is a receipt for some wine
signed by “Gaspard Duiffobrocard
allemand,” on Nov. 23, 1553; another'
receipt, signed “Gaspard Duiffoprou.
gar” is dated Nov. 4, 1555. “Lettresde
naturalité" were granted to Gaspard
Dieffenbruger by Henri II., from
Paris, in Jan., 1558. It was at Lyons
that Pierre Woeiriot engraved, in 1562,
DUIFFOPRUGCAR–D'UMESNIL.
his celebrated portrait of him, in which
he is represented at the age of 48 years.
Gaspard's instruments are rare, and
are more valued for their inlaid work
and ornamentation than for the quality
of their tone. Instruments known are:
the famous bass-viol with the plan of
Paris inlaid in different coloured woods
on the back, and the neck ending in a
horse's head, now in the Brussels
Conservatoire Collection ; the bass-viol
with its back inlaid with the picture
known as the “Vieillard dansla chaise
d'enfant,” the neck also ending in a
horse's head the small bass-viol
with the neck finished in exactly
the same way, and the back beautifully
ornamented; and inscribed, with the
Latin legend, “Viva fui in sylvis, sum.
dura. Occisa securi; dum vixi tacui,
mortua dulce cano” (It is supposed to
be the viol that speaks, “I was living
in the forest, the cruel axe killed me.
Living, I was mute; dead, I sing
sweetly.”); and the bass-viol, with
Michel Angelo's “Moses” represented
on the back. J. B. Vuillaume, of Paris,
caused much misapprehension on the
subject of Gaspard's instruments by,
in 1827, producing violins beautifully
inlaid, and carved in his style, which
were so successful that ordersfor similar
instruments were at once received ; his
example was soon followed in Germany
and Mirecourt, so that now violins and
violoncellos of this description are
numerous. The “violins’ known are:
one dated 15Io, said to have been
made for François I. (he only ascended
the throne in 1515); one dated 1511,
with an oil painting said to be by
Leonardo da Vinci; one dated 1515;
another dated either I515 or 1539;
one dated I517, with a portrait of
Gaspard copied from the 1562
engraving ; one labelled, “Gaspard
Duiffoprugear Bononiensis a. 1515,”
the neck ending in an old man's
head ; one dated 1521 ; and one
with the label : “Gaspard Duiffo-
pruggar a la coste Saint-Sébastien, ä
Lyon.” A “lyra da braccio,” probably
made at the beginning of the 16th
century, is also labelled: “Gaspard
Duiffopruggar Bononiensis,anno 1515.”
. It has only lately been known that
Gaspard was not born before 1514.
He married Barbe Homeau; he was
in easy circumstances, but unfor-
tunately his house stood on some
ground required, for the enlargement
of a fortress (built in Lyons, 1564); he
was turned out of his home in 1566, and
D
3
Duiffoprugcar, Magno.
Dulfenn, Alexander.
Duménil, N. A maker in Paris.
Dumesnil, Jacques.
25
it was pulled down; he could not
obtain any indemnity and died shortly.
afterwards, leaving a widow and four
children in debt and in great misery.
They were awarded a pension by
Charles IX. in 1571. See: “Tieffen-
brücker.” "
uiffoprugear (Duiffoproucart), Jehan,
son of Gaspard Duiffoprugear. Was
a maker of lutes about 1570-90 in Lyons.
See “Dieffo-
pruchar.”
Duiffoprugear, Ulrich. Was working
in Bologna at the beginning of the I6tti.
century.
Duke, Richard. A maker in. London
about 1750-80. He made excellent
copies of Stradivari and Amati instru-
ments, and not quite such good ones
of Stainer. Genuine instruments of
his are very fine, but unfortunately
his name was often made use of in
extremely poor specimens. His violins
and violoncellos were of rather a long
pattern, very arched, with yellow
varnish, their tone was very good;
some of his tenors are a little short in
length but very broad, so as to obtain
a large deep tone; the result is good, .
although the two lower strings might
be more powerful. Labels: “Richard
Duke, Londini, fecit 1760'’; similar
ones dated 1767 and 1769; “Richard
Duke, maker, Holborn, London, anno
1768”; another dated 1777. These two
labels were generally written in ink.
He also used a printed label: “Richard
Duke, maker, near opposite Great.
Turn-Stile, Holbourn; London.”

Duke, Richard, son of Richard Duke,
sen., with whom he apparently learnt
his trade. He was not so successful,
however. Both father and son gene-
rally branded their instruments on the
back, near the button, with their
surname, sometimes adding “London”
below.
Was working in
Leghorn in 1699. Label: “Alexander
Dulfenn, fecit Livorno, I699.” A
violin of his, dated 1786, is known.
A maker in Paris
about 1655-60. A curious little violin
is in the Paris Conservatoire Collection,
with a MS. label dated 1655. The
back and sides are of maple wood, the
front of cedar, the purfling inlaid with
silver and whalebone, and the head is
carved into a woman's face. The
varnish, a red-brown colour, is ex-
cellent, and all the details show a
clever maker,
26 - DUNcAN–Esler.
Duncan. Working in Aberdeen in 1762.
Duncan, George. A maker in Glasgow
in 1887. .
Durfel (Dürfell), J. G. A maker in
Altenburg, 1778. His double-basses
are especially valued, and are con-
sidered to be some of the best ever
Eberle, Johann Ulrich. A maker in
Prague about 1730-60. He was a very
clever imitator of Cremona violins, but
his instruments lacked the full round
tone of the Italian instruments; they
were of excellent workmanship, with
amber or sometimes brown varnish.
Label: “Joannes Ulricus Eberle, fecit
Pragae, 1759.” In a viola d'amore that
he had restored was the label: “Joannes
Ulricus Eberle, me reparavit Pragae,
anno 1749 ''; another viola d'amore was
dated 1730.
Eberti, Tommaso.
about 1730-50.
Edlinger, Joseph Joachim, son of Thomas
Edlinger, d. May 30, 1748, at Prague.
He made excellent lutes, and was a good
workman ; for having first learnt his
trade from his father, he lived for many
years in Italy in order to perfect his
art, and visited Cremona, Rome,
Naples, Bologna, Ferrara, and Venice.
His instruments are much valued.
Edlinger, Thomas, b. in Bohemia, and
was living in Prague, 1712-15. Said
to be a pupil of Stainer, made very
good instruments, using varnish resem-
bling slightly that of the Bergonzis.
His lutes are finely made.
Eesbroeck, Jan van. A lute maker in
Antwerp, 1583-85, son of Josse van
Eesbroeck. He also made clavecins.
Eglington. A maker in London in 1802,
according to a label “Eglington fecit,
Drury Lane, London, 1802,” which was
in a violin of very good tone, but poor
workmanship. *g
Elément, Jean Laurent.
Paris in 1783.
Elsler (Esler), Johann Joseph. A maker
in Mayence about 1715-30. One bass-
viol with seven strings, the head of a
woman instead of scroll, and with
varnish of a yellow-brown colour, was
dated 1728. Label: “Joann Joseph
Esler, Lauten und Geigenmacher,
Meyntz, 1717.”
Emiliani, Francesco de.
Rome about 1715-20.
An Italian maker
Working in
A maker in
He made some
Engleder, Andreas.
made in Germany; his violins, very
arched, with brown—almost black—
varnish, of bad quality, are said to
have an excellent tohe. .
Du Riez, Nicolas. A French maker.
In a bass-viol was the label: “Nicolas
Du Riez à Abbeville, 1663.”
beautiful instruments, rather arched,
the wood of excelléºt quality, the
varnish a golden-yellow colour.
Label : “Franciscus de Emilianis,
fecit Roma, anno Dñi, I729.”
Was maker to the
Court at Munich. In 1854 he ex-
hibited there a quintet of instruments
made on a new pattern of his own ;
they were of beautiful workmanship,
and of full excellent tone ; he was
awarded medals. He is well known
for his great experience and good
work.
Engleder, Ludwig. A maker in Bam-
berg. Exhibited at Munich, 1854, a
violoncello with bow, and two violins,
well made, on the German pattern,
of excellent tone.
Erikson, Knudt. A maker in Norway.
Inside a sort of viola d'amore of the
Hardanger peasants in Norway was
the label : “Fabrokert of Knudt
Erikson, Helland, 1872.”
Ernst, Franz Anton; b. Dec. 3, 1745, at
Georgenthal, in Bohemia; d. Jan. I6,
1805, Gotha. Was a celebrated
violinist, but also the maker of some
very excellent instruments. His first
work was done in Prague, where he
went for purposes of study about 1763;
but in 1778, being appointed solo
violinist to the Court of Gotha, he
there found leisure to devote himself
to the making of violins. He had at
first working with him J. A. Otto, who
later became one of the best German
makers. When Otto started his own
business at Weimar, Artmann and
Bindernagel, both carpenters, left
Weimar and became apprenticed to
Ernst. He followed the Stradivari
model, and the tone of his instruments
is said almost to have equalled that of
the Cremona instruments. In 1804
he published in the Allgemeine Musik-
alische Zeitung (Leipzig) a very
interesting article on the construction
of violins.
Esler. See “Elsler.”
EULRY-CLEMENT—FENDT. - 27
Eulry-Clément. A maker in Mire-
court at the beginning of the 19th
century. A mandoline of his is known,
with eight strings arranged in four
pairs; it has the back inlaid with
different woods.
Eury. A violin bow maker in Paris
about 1810-30. He was working at
20, rue des Lyonnais-Saint-Jacques in
1820. His bows are justly celebrated,
and are thought to rival even those of
François Tourte. He generally marked
them with his name. \
Evangelisti. maker in Florence in
the 18th century. Violins of his are
known.
Evans, Richard. A maker in London
about 1742-50. Was rather illiterate,
*
Fabris, Luigi. A maker in Venice in
the 19th century.
Facini, Agostino.
order of Saint Jean de Dieu, at Bo-
logna, 1732-42. Several violins of his
are known, well made, on a graceful
pattern, with remarkable yellow
varnish. -
Falaise. A French maker, whose work
was similar to that of Pique. He
followed the Amati and Stradivari
patterns, using thin yellow varnish.
Farinato, Paolo. Worked in Venice
about 17oo-30. His instruments are
not without merit, the pattern is
elegant, of the school of Santo Sera-
fino, and the varnish a yellow-red
colour. - -
Faron, Achille. Only known by a MS.
label, stating that he was working in
Ratisbon in 1701. z' -
Febbre. A maker in Amsterdam in
1762.
Feldlen, Magnus.
in 1556.
the Collection of the Gesellschaft der
Musikfreunde, Vienna, is the label :
“Magnus Feldlen, Wien, 1556.”
Fendt, Bernhard, a nephew of François
Fent, of Paris; b. 1755-6, at Innsbrück,
in the Tyrol; d. 1832-3, in Aylesbury
Street, Clerkenwell, aged 57, and was
buried in Clerkenwell Churchyard.
When seven years old he left Inns-
brück for Paris, to live with his uncle
there; later he went to England, and
entered the employ of Thomas Dodd
in Jan., 1798, remaining with him for
eleven years. He persuaded J. F. Lott
(also a German) to leave his trade of
Working in Vienna
Eve, Jacques Charles (?)
Was a monk of the
In a viola di bordone in
judging by a label in an instrument
reconstructed by him: “Maid in the
Paris of Anirhengel by Richard Evans,
instrument maker, in the year 1742.”
A maker in
Paris about 1770-90. His violins look
as if they were made on a German.
model, very arched, with small sound-
holes, and red-brown varnish ; rather
heavy effect altogether, but the work
is carefully done. In a violin with
spirit varnish, rather transparent, was
the label: “Eve, Me Luthier, rue
Neuve-Ste-Catherine, au coin de celle
de St-Louis proche la Place Royale
‘ā la Fortune.’” Another violin is.
dated 1770. In 1788 he was living in
the rue Vieille-du-Temple.
cabinet-making in order to make violins.
with him under Dodd; their instru-
ments always have Dodd's label in
them, the latter invariably doing the
varnishing himself. Fendt, on leaving
Dodd, worked for John Betts, making
those excellent copies of Amati which
are so highly valued; they all bear the
name of Betts. Betts died in 1823, but
Fendt continued to work for the same
firm. He had four sons, also violin
makers.
Fendt, Bernhard Simon, or Simmon ;
eldest son of Bernhard, b. 1800 in
London; d. March 6, 1852, at 7, Smith
Street, Brompton. He learnt his trade
from his father in the workshop of
John Betts, where he remained till
Betts' death (1823); then he became
either a workman for or a partner
with Farn, a dealer in violins in
Lombard Street. Farn dying, he
joined George Purdy, “Purdy and
Fendt’ commencing business in Finch
Lane in September, 1832; in June,
1843, they also opened a shop in
Oxenden Street, Haymarket; about
1850 these two shops were closed and
they moved to 74, Dean Street, Soho.
He made many very good double-
basses on the model of Gasparo da
Salò, using varnish much superior to
that on his violins; he made an
extraordinary number of violins, those
on the model of Guarneri alone num-
bering some hundreds; but the work
is not very carefully finished, the
varnish is bright red colour. He made
an excellent quartet of instruments
for the London Exhibition in 1851.
C
28° FENDT-FICKER.
Fendt, Francis, fourth son of Bernhard
Fendt. Pupil of his eldest brother,
Bernhard Simon. Worked for some
time for the firm of Purdy and Fendt.
In 1856 he was residing in Liverpool,
gaining a very precarious living.
Fendt, François, best known in France
as Fent. A German maker who settled
in Paris and was living there “cul-de-
sac St.-Pierre, rue Montmartre,”
about 1763-91. In his time he had
the reputation of being one of the
cleverest makers in Paris; he carefully
studied Italianinstruments,particularly
those of Ant. Stradivari; he used a
Deautiful red-brown oil varnish which,
with the progress of time, has become
almost black; his instruments are also
much worm-eaten, but have a rich
tone. His label, “Fait par Fent, maitre
luthier, rue Montmartre, cul-de-Sac
Saint-Pierre, a Paris,” was found in a
violin which might be mistaken for a
most beautiful Italian instrument; the
dimensions are exactly the same as
those of a violin of Ant. Stradivari;
the work is carefully finished, the wood
excellent, and the tone very good, the
original neck and scroll are still in
place. An alto has also been seen and
a violin, dated 1774, repaired by De-
lannoy, of Lille, in 1828.
Fendt, Jacob, third son of Bernhard
Fendt; b. about 1815, in London; d.
about Oct., 1849, in Blue Anchor
Court, Whitecross Street, Finsbury.
Pupil of his eldest brother, Bernhard.
Simon. Was employed occasionally by
W. Davis, of Coventry Street, and also
by Turner, a dealer in violins. He was
almost the best maker among the sons
of Bernhard, his copies of Italian,
especially of Stradivari instruments,
are very fine, the work being beautifully
finished; unluckily he considered it
necessary to give them the appearance
of age and usage.
Fendt, Martin, second son of Bernhard
Fendt; b. July, 1812, in London; d.
July, 1845, in Bell Alley, Coleman
Street. Pupil of his father; he had
talent, and was one of the good work-
men employed by Arthur Betts, brother
of John Betts.
Fendt, William, second son of Bernhard
Simon; b. 1833, in Finch Lane, Lon-
don; d. 1852, at 7, Smith Street,
Brompton, and was buried in Brompton
Cemetery. Pupil of his father; he
became a very clever workman, making
excellent violas and double-basses.
Ferati, Pietro. Was working in Sienna
about 1754–64. His instruments are
inferior, and he used brown varnish of
bad quality. In a violin of very
ordinary make, with broad purfling
and thick brown varnish, was the
label: “Pietro Ferati, fecit Siena,
1764.” *
Féret. A pupil of Médard, who was
working in Paris in 1708, according to
the following label found in a violin
with brown varnish : “Fait par Féret,
élève de Médard, 1708.” His instru-
ments, following the Médard pattern
generally, show good work, and the
brown varnish is fairly brilliant.
Ferguson, Donald. A maker in Huntley,
Aberdeenshire.
Ferguson and Son. Makers in Edin-
burgh at the beginning of the 19th
century.
Ferrari, Agostino. A maker in Budrio
(Italy) in the 18th century.
Ferrari, Alfonso. Working in Carpi
(Modena) in 1738. *
Ferrari, Carlo. Was working in Sienna.
in 1740. ”.
Ferrari, Gasparo. A maker in Rome in
1731. In a mandoline was the label : .
“Gasparus Ferrari, Romanus, feeit
anno 1731.”
Feury (or Ferry), François, son-in-law of
Leclerc the violin maker. Wasworking
at rue de l'Arbre-sec, Paris, about
I750-60. His violins are on a small
pattern, the sound-holes are small and
well-cut, the varnish is a thick red, the
work is good for the period. A guitar
and a double-bass of his have been
seen, but he devoted most of his time
to making wind instruments. Labels:
“F. Feury, rue de l'Arbre-sec, vis-à-
vis Saint-Germain-l'Auxerrois, Paris,
1755’’; and “F. Feury, rue de Fossés,
St-Germain-l'Auxerrois proche la rue
de l'Arbre-sec à Paris, I7—.”
Fevrot. Worked in Lyons from 1780
to 1813. His work was poor. In an
old Italian guitar was the label :
“Racomodépar Fevrot, a Lyon, 1788.”
Feyzeau. A maker in Bordeaux in
I760. A lyre of his is well made, with
varnish of a pale yellow colour. In a
quinton, or five-stringed viol, also
well-made, with a pale brown varnish,
was the label: “Feyzeau ä Bordeaux,
1760.” -
Fichthold (Fichtold), Hans. A German
maker of fine lutes, who lived about
I6I2.
Fichtl, Martin. A maker at Vienna
about 1750-7. His instruments are of
large pattern, he used wood of good
quality, and excellent varnish.
Ficker, Johann Christian. A maker in
FIcKER—FoncLAUSE. 29
Cremona about 1720-2. Although his
labels are always dated from Cremona,
his work looks as if he had learnt his
trade in Germany. He used brown
varnish.
Ficker, Johann Gottlieb. A maker in
Cremona about I788-9.
Fiker, Johann Christian. Was working
in Neukirchen (Saxony) in the first
half of the 18th century. Label:
“Johann Christian Fiker, Lauten und
Geigenmacher in Neukirchen, bey
Adorf.”’’ - -
Filano, Donato. A maker of mandolines
in Naples, in the rua di S. Chiara,
about 1782. In a mandoline of very
pretty workmanship, inlaid with
mother-of-pearl on tortoiseshell, with
purfling of ivory, was the MS. label :
Donato Filano, fecit alla rua di S.
Chiara, A.D. 1782, Napoli.”
Findlay, A maker in Padanaram,
Forfarshire.
Fiorillo, Giovanni. Working in Ferrara
in 1780. His instruments are made
both on German and Italian patterns,
the sound-holes are like those of Stainer.
His violoncellos are among his best
instruments.
Fiorini, Giuseppe, son of Raffaele
Fiorini, b. 1867. He early showed
signs of having inherited his father's
tastes, and when sixteen (after having :
received a good º commenced
making violins. He made rapid pro-
gress, and the instruments which he
exhibited at Milan and Turin show
that he is one of the best Italian makers
of the present time.
Fiorini, Raffaele, b. at Pianoro. When
still a child, his parents moved to
Bazzano, where they met a certain
Tadolini, of Modena, brother of the
violin maker, who, remembering what
he could of his brother's methods, used
to make small violins to amuse young
Raffaele ; the latter soon became
interested and endeavoured to assist.
Raffaele gradually gained knowledge
and experience, and in 1867 went to
Bologna to work seriously for several
years, finally opening his own workshop
in the Palazzo Pepoli there.
Firth, G. Was working in Leeds in
1836 according to the following label:
“G. Firth, No. IIo, Briggate, Leeds,
1836.” He was a pupil of William
Booth, sen.
Fiscer, Carlo and Giuseppe; two brothers
working in Milan together about 1760-
64. Their work resembles more that
of German, than Italian makers, but
their varnish is better; it is a yellow-
Fleuri (Fleury), Jean François.
red colour and, for that date, very
satisfactory. In a well made violin' is
the label: “Giuseppe Carlo fratelli
Fiscer, fabbricatori d'instrumenti : in
Milano, vicino alla balla, I764.”
Fischer, Anton, b. 1794; d. 1879. A
maker in Vienna.
Fischer, Johann Ulrich. The label, “J.
Fischer, Landshut, I'722,” was in a
tromba-marina in the Collection of the
Gesellschaft der Musikfreunde, Vienna.
A viola da gamba was dated 1720. .
Fischer, Zacharie, b. Nov. 5, 1730,
Würzburg; d. there Nov. 27, 1812. He
announced, in 1786, that in making his
instruments he employed a new method
by means of which they equalled those
of Stradivari and of Stainer. This
was the method of drying the wood in
an oven, which has since often been
tried but never found to answer, as-it
is impossible to make the process
gradual enough, the result being that
the tone loses all brilliancy. His
instruments are liked.
Flac, Philippe, b. about 1532. A maker
of lutes and guitars in Lyons about
1568-72.
Fletté (or Hetté), Benoist. Worked in
Paris about 1756–63. Few of his
instruments are known. -
Was
working in Paris, 1783-5.
Fleury, Benoist. A maker in Paris, in
the rue des Boucheries about 1751-91.
He made fairly good violins. An alto
dated I75I is known and a guitar. In
the Paris Conservatoire Collection is
a bass-viol, well made, dated 1755. In
I791 he was still working, repairing
violins, double-basses, and altos.
Label : “Benoist Fleury, rue des.
Boucheries, Faubourg Saint-Germain,
Paris, 1774.”
Florenus (Florinus), Guidantus or
Florentus. A maker in Bologna.
about I700-60. His instruments show
a distinct decadence; the workman-
ship is heavy, the varnish alone is
satisfactory; he followed the model of
Nicola Amati. Label: “Guidantus.
Florenus, Bononiae, 170—”; a similar
one dated 175—. See “Guidantus.”
Fonclause, Joseph (called “Le Mayeux"),
b. 18oo, ä la Conté; d. 1865, Paris.
First worked with Pageot at Mirecourt,
then, about 1825, went to Paris and
entered the employ of J. B. Vuillaume.
He became a very clever maker of
violin bows, and later, when he started
his own business, first in rue Pagevin,
then in the rue Montmartre, always
marked his bows with his name.
3O
FontaneLLI—ForstER.
Fontanelli, Giovanni Giuseppe. A
celebrated maker of mandolines and
lutes in Bologna about 1733-72. In a
magnificent lute, purfled in ivory, the
neck inlaid in tortoiseshell, mother-of-
pearl, and ivory, in every way, a
superbly made instrument, was the
label: “Giov. Giuseppe Fontanelli,
fece in Bologna, l'anno 1733-3 Xbre.”
Two mandolines, dated 1771 and I772,
are in the Paris Conservatoire Collec-
tion. Another label is: “Giovanni
Giuseppe Fontanelli, Bolognese, f. an.
I —.” -
Forcheville, J. Baptiste. Was working
at St. Omer (France) in 1673, according
to the following label found in a
pochette or little violin, made with a
pentagonal back: “Fait a St. Omer,
par J. Bte. Forcheville, 1673.” l
Forster (Foster or Forrester), John, b.
about 1688, at Kirkandrews, on the
Esk; d. Oct., 1781, Brampton, Cum-
berland. He was the first member of
the celebrated family of Forsters to
make violins. He early settled in
Brampton, and was a maker of
spinning-wheels, also a gunmaker;
“a very ingenious man, and occa-
sionally made fiddles.” A violin, said
to be his, is made on a very high
model, resembling that of Stainer,
although the outline was some-
what similar to the pattern of an
. Amati, but the work, was rude and
unfinished.
Forster, Simon Andrew, son of William
Forster (1764-1824), b. May 13, 1801,
London; d. Feb. 2, 1870. He carried
on the business first at Frith Street,
then at Macclesfield Street, Soho. He
learnt his trade under his father,
Samuel Gilkes (a workman in his
father's employ), and his brother
William. I828–40, he made several
instruments, very much arched, of no
great merit, using the label: “S. A.
Foster, violin, tenor, and violoncello
maker, No. , London.” He used
spirit varnish for his second-class
instruments, and only inscribed them
“Foster, No. —,” at the tailpin.
His name is well known as joint-author,
with William Sandys, of “The History
of the Violin,” published in London,
1864.
Forster, William, son of John Forster,
b. I'713-14; d. March 4, 1801. He was a
maker of spinning-wheels in Brampton,
Cumberland, merely occupying his
• spare time in making and repairing
instruments; but his work shows a
considerable improvement on that of
his father. He used spirit varnish
and did not purſle his instruments;
the work altogether is not highly
finished, but the tone is fairly good.
Forster, William (“old Forster”), son of
William Forster (1713-1801), b. May,
1739, at Brampton, Cumberland; d.
Dec., I4, 1808. Having workéd for
some time under his father, he went to
London about 1759. Was first a gun-
stock maker, only occasionally making
violins and selling them to the dealers.
About 1785 he started his business at
348, Strand. In 1762 he was making
on the Stainer pattern, using brown
varnish. These instruments are not
equal to the later ones made on the
Amati pattern. This he followed from
1772 till the end of his life, copying
sometimes from Ant. and Gir. Amati,
sometimes from Nicola Amati. His
violins and altos, though of fair work-
manship, have not such a fine tone, as,
his violoncellos. The latter were
much liked in England, especially the
“amber-coloured ” ones (the dark red-
coloured ones were really equally good).
For a time they were neglected owing
to the large number of Italian violon-
cellos sent to England, but they still
sell at high prices. He only made
four double-basses, three of which
were for the private band of George
III. Labels: “William Forster, violin
maker in St. Martin's Lane, London,
1762 ”; another, “William Forster,
violin, violoncello, tenor, and bow
maker. N.B. The above instruments
are made in the best manner and
finished with the original varnish; and
a copy of every Capital instrument in
England may be had.” -
Forster, William (“young Forster”),
son of William Forster (1739-1808),
b. Jan. 7, 1764, London ; d. July 24,
1824. His instruments are good but
not equal to those of his father; the
varnish is of good quality; some
instruments have a fine tone; the
work is well and neatly finished. A
few double-basses, made chiefly for
letting out on hire, were the same
shape as a violoncello, and of inferior
workmanship. Labels: “William
Forster, jun., violin, violoncello, tenor,
and bow-maker, 1810; also Music
Seller to their Royal Highnesses the
Prince of Wales and the Duke of
Cumberland, ‘No. 43’”; and “William
Forster, violin, violoncello, tenor, and
bow-maker to their Royal Highnesses
the Prince of Wales and Duke of
Cumberland, London.” To this latter
FoRSTER—GAFFINo. 31
label were added in manuscript the
number of the instrument, the date,
and the ‘jun.' He married, I786, and
had two sons, both violin makers.
Forster, William, eldest son of William
Forster (1764-1824), b. Dec. 14, 1788,
London; d. Oct. 8, 1824, Cheltenham.
Pupil of both his father and grand-
father; he also worked with Thomas
Kennedy. Probably only made twelve
or fifteen instruments: two or three
violins and one violoncello were well
made, the work being beautifully
finished; the others, made to supply
wholesale orders, are inferior.
Fouquet. See “Lecomte.”
Fraiser, Giorgio. Was working in
Cremona, 1666, in the workshop of
Nicola Amati.
Franck. Working in Ghent, 1800-30.
Was a sculptor before he became a
maker; he was extremely clever at
repairing instruments, but made few
Iſle W OneS. -
Frankland. Was working in London in
I785, in Robin Hood Court, Shoe Lane,
and was occasionally employed by the
William Forsters.
Frebrunet, Jean. A maker in Paris
about I750-60. His violins show care-
fully finished work, with a yellow-
brown oil varnish of good effect. In a
violin was the label: “Joannes
Frebrunet, 1760.”
Freeman. See “Hare.” -
Frey, Hans, b. about I440, at Nuremberg;
d. there 1523. A maker of lutes and
viols, also a clever performer on them.
The lutes of the old German makers
were very celebrated and fetched high
prices. - -
Fritsche (Fritzche), Samuel. A maker
Gabrielli, Antonio. Worked in Florence
about 1760. He made good violins,
with golden-coloured varnish. Label:
“Antonio Gabrielli, fece in Firenze,
1760, f.”
Gabrielli, Bartolommeo.
Florence about 1730.
Gabrielli, Cristoforo.
Florence about 1730.
Gabrielli, Giovanni Battista. A maker
in Florence about 1740-70. Many
well made instruments are known, of
good tone; he used excellent wood,
and a transparent yellow or pale red
varnish; his violoncellos and altos are
considered his best work; they are
A maker in
Worked in
t
in Leipzig about 1787. Was a pupil
of C. H. Hunger. He made good
instruments, following the Cremona
models, and using amber-coloured
varnish, he was also very clever at
repairing instruments.
Fryer, Charles. Worked in London and
then in Leeds, becoming a partner
with M. W. Dearlove there. He died
I840.
Fºr David. Was the first member
of this family to make violins. Learnt
s his trade from John Johnson (1750-60),
a maker in London.
Furber, Henry John, son, and pupil of
John Furber. He continued the busi-
ness in Grafton Street, London, and
has made many good instruments.
Furber, James, eldest son of Matthew
Furber, sen. It is doubtful if he made
new instruments.
Furber, John, third son of Matthew
Furber, sen. Pupil of his father, be-
came an excellent workman and clever
repairer. Made numerous violins,
following the Amati pattern. He also .
worked for J. E. Betts at the Royal
Exchange. Label : “John Furber,
maker, 13 St. John's Row, top of Brick
Lane, Old St., Saint Luke, 1813.” In
1841 he was living in Cow Cross,
Smithfield.
Furber, Matthew, sen, son of David -
Furber. Pupil of his father. He died
about 1790, and was buried at Clerken-
well Church.
Furber, Matthew, second son of Matthew
Furber, sen. Pupil of his father He
died about 1830-1, and was buried at
Clerkenwell Church. w
Fux, Matthew. A maker of fine lutes to
the Court of Vienna in the 17th century.
often branded with his initials, G. B. G.
Labels: “Johannes Baptista Gabrielli,
Florentinus, fecit 1742"; and “Gio.
Battista Gabrielli, fece in Firenze,
I757”; a similar one dated I763.
Gaetano, Antoniazzi, b. Aug. 7, 1825,
Cremona ; good maker, has gained
medals of honour. His two sons,
Ricardo and Romeo, work with him.
Gaffino, Giuseppe. An Italian, a pupil
of Castagnery, who worked in Paris,
rue des Prouvaires, about 1745–83;
his widow was still living at the same
address in 1789. His violins are care-
fully made and he used pale red or
yellow varnish. An alto of large
32
GAGLIANO-GAGLIANO.
3 pattern, the only one known, is dated
“rue des Prouvaires, 1748. Label:
“Gaffino, campagno di Castagneri,
• rue des Prouvaires, Parigi, anno 1755.”
Perhaps he was more of a dealer than
a maker, judging by the advertisement
… on another label: “At the sign of the
“Musette de Colin,’ Joseph Gaffino,
“maître et marchand luthier a Paris,
rue des Prouvaires, fait, vend, achète,
… et loue toutes sortes d'instruments
de musique, savoir : violons, basses
d'orchestre, violoncellos, alto-viola,
violes d'amour et toutes sortes de Sa
façon,” &c.
Gagliano (Galiano), Alessandro, b.
about 1640, at Naples; d. there about
1730. At first studied music, in leisure
moments making a few mandolines
and lutes. Having killed his adversary
in a duel, he was obliged to leave
Naples, and went to Cremona, and
there entered Ant. Stradivari's work-
shop. He remained about thirty years
and showed great ability. It is possible
that many of Stradivari's instruments
were prepared by him. He was able to
“return to Naples in 1695, and started
a business there ; he soon became
well known. He made a number of
instruments, generally on a large
pattern, which, in the arching, in the
thicknesses, and in the carefully finished
work, recall his master. He used a
good strong varnish, greyish-yellow
colour, and good wood, that of the
“bellies being of wide and even grain
and very resonant; the scroll is rather .
roughly cut, the sound-holes are wider
and more perpendicular than those of
Stradivari, the tone is powerful. He
‘made some remarkably beautiful violon-
cellos; a violoncello and a bass are
known which might almost be mistaken
for the work of Stradivari. Labels:
“Alexandri Gagliano, Alumnus Stradi-
varius, fecit Neapoli, anno 1725,” and
“Alexander Gagliànus, fecit Neap.,
, I'7—.” He had two sons, both
makers—Nicola and Gennaro.
Gagliano, Antonio, third son of Nicola,
grandson of Alessandro. See “Giuseppe
Gagliano.”
'Gagliano, Antonio, son of Giovanni,
-grandson of Nicola. See “Raffaele
Gagliano.”
'Gagliano, Ferdinando, eldest son of
Nicola, grandson of Alessandro, b.
1706, in Naples; d. about 1781. His
work shows decadence, although it is
an imitation of that of his father; it is
not. So arched, the thicknesses are not
accurate, the work is not so carefully
finished; the varnish is richer in colour
than that used by other members of the
family. As he also worked for the
trade at low prices, some of his instru-
ments are not of much value. Violins
and basses of his are known dated up
to the year of his death, and a very
good alto dated 1753. Label: “Fer-
dinandus Gagliano filius Nicolai, fecit
Neap., 17—,” and “Ferdinando
Gagliani, me fecit Neapoli, anno 1730.”
Gagliano, Gennaro, second son of Ales-
sandro, brother of Nicola, b. about 1680,
at Naples; d. 1750. He was the best
maker of this family. He made few
instruments, but put excellent work
into them ; the pattern is good, slightly
arched. He imitated his father in
general outline and in thicknesses, was
therefore really following the Stradivari
pattern, but the sound-holes are shorter
and wider. The wood was carefully
selected, and the yellow varnish is
beautiful, the quality of tone very fine;
his successors never succeeded in pro-
ducing varnish equally beautiful,
although a recipe in Gennaro's own
handwriting remained in the family;
he either purposely kept secret some
essential ingredient, or forgot to make
it known. A magnificent violoncello,
of perfect workmanship, dated Antonio
Stradivari, 1732, is generally supposed
to be Gennaro's work; the back and
belly are more arched, the sides lower,
the warm red-brown varnish darker
and thicker than in Stradivari's instru-
ments. It was bought from Gennaro
himself, about 1740, by an Italian, who
sold it in 1765 to M. Champsor, a well
known violoncellist in Marseilles ; on
his death, in 1826, it passed from an
amateur into the keeping of M. Bonnet,
so that its tradition remains un-
broken. If it could be proved that
Gennaro made it, it would place him
at once in the front rank of the great
Italian makers. He seldom used labels
for his instruments, and very often
omitted to date them, so that it is not
known exactly how many years he
worked; but in 1730 his work was
already excellent, and it steadily im-
proved. Labels: “Gennaro Gagliano
fecit. Neapoli, I7— ”, and “Januarius
Gagliano filius Alexandri, fecit Neap.,
I732 ”; another similar one is dated
I741. He sometimes pencilled his
name on the inside of the belly.
Gagliano, Giovanni, fourth son of Ni-
cola, nephew of the great Gennaro,
lived also in Naples; b. date not
known; d. 1806. He did not make
GAGLIANO-GAND. .33
many instruments, and is said to have
been superior as a maker to his three
but some violins are of
brothers;
poor workmanship. Label: “Joannes
Gagliano nepos Januarii, fecit Neapoli,
18—.” He had two sons, Raffaele
and Antonio.
Gagliano, Giuseppe and Antonio, second
and third sons of Nicola, lived at
Naples. Giuseppe, b. 1726, Naples;
d. I'793. Antonio's dates are not known.
Their work was ordinary, but they made
Some good cithers and mandolines ;
also some violins, of which one dated
Naples, 1789, was sold for £20 in 1852.
Label: “Joseph Antonius Gagliano,
fecit anno 1787, in platea dicta Cer-
riglio.”
'Gagliano, Nicola, eldest son of Ales-
Sandro, b. about 1675, at Naples; d.
there about 1745. His instruments
are smaller and narrower and his work
is superior to that of his father, for he
copied the pattern of Stradivari very
cleverly, both in outline, in thick-
nesses, and in arching. His varnish is
very transparent and rather deep in
-colour, the tone is very brilliant, the
scroll is generally well-cut; round the
purfling is sometimes an ornamentation
of diamond and lozenge-shaped pieces
of ebony; he also sometimes copied the .
Maggini design on the centre of the
back of his violins. He made a great
many violins, violas, and violoncellos,
the latter being especially good, with
a fine rich varnish, not often seen on
instruments of the Gagliano family. A
certain number of his instruments
contain spurious labels of Stradivari,
others have his own label: “Nicolaus
Gagliano filius Alexandri, fecit Neap.,
I7—,” or “Nicolaii Gagliano, fecit in
Napoli, 17II.” He had four sons, all
..makers—Ferdinando, Giuseppe, An-
tonio, and Giovanni.
. . Gagliano, Raffaele and Antonio, sons
of Giovanni, grandsons of Nicola.
The dates of births are unknown ;
Raffaele d. Dec. 9, 1857, and Antonio
June 27, 1860. They worked together
in Naples, but their instruments are
inferior. After a few years they con-
fined themselves to manufacturing
strings, their factory becoming one of
the best in Italy.
Gagliano, Vincenzo, son of Raffaele,
.d. about 1886, was the last of this
family, and never made instruments,
but continued the manufacture of
strings at Naples.
Gaillard-Lajoue, J. B. A maker at
Mirecourt, d. about 1870. First an
apprentice and then first workman in
the workshop of Gand. About 1852
he started his own business, and in
I855 obtained a medal at the Paris
IExhibition. He made a great many
violins, of fairly good proportions; the
varnish was rather harsh, but the tone
was good. g
'Gairoud, Louis. A maker at Nantes
about I740. -
Galbani, Piero. A maker in Florence
in 1640.
'Galbicellis, G. B. Working in Florence,
I757. g -
I757 .
Galbusera, Carlo Antonio. At first an
officer in the Italian army, then settled
in Milan, and began to construct
instruments on the principles of
François Chanot. In 1832 he was
awarded a silver medal by the Milan
Academy of Sciences for a violin very
similar to that of Chanot; it was a sort
of violin-guitar, with the stringing,
sound-holes, scroll, and borders of an
ordinary violin; but recalled a guitar
in having no corners and in the
lessened curve of its outline. Although
completely ignored now, it was con-
sidered such a great success at the time
that the Leipzig paper, the Allgemeine
Musikalische Zeitung (Dec. 23, 1832),
concluded a laudatory article by
saying “It is indeed surprising that it
should have taken centuries to give
the violin this more simple form.”
Galerzena. Was working in Piedmont
in 1790. - -
Galland, Jean. A maker in Paris, rue
St.-Honoré, about 1744-50. He died
before 1761. His widow continued the
business at the same address till about
I779. g -
Galram, Joachim Joseph. He was
working in Lisbon in 1769. In some
violins and altos, four instruments
altogether, of very good workmanship,
with yellow varnish, which formed
part of the private collection of King’
Louis of Portugal, was found the
following label: “Joachim Josef Gal-
ram, fecit Olesiponoe, I769.”
Galtani, Rocco. ‘Working in Florence
in the 17th century. . .*
Gand, Charles Adolphe, eldest son of
Charles François Gand, b. Dec. II,
1812, Paris; d. Jan. 24, 1866. Pupil of
his father, succeeded him in 1845.
He had great knowledge of old instru-
ments and cleverly repaired them ; he
made few new instruments, but they
show good and sound workmanship.
Was appointed “Luthier de la musique
du Roi et du Conservatoire de
34 .
GAND–GAND.
Musique,” and later, “de la chapelle
de l'Empereur.” In 1855 his brother,
C. N. Eugène Gand, became his
partner, and at the Paris Exhibition
that year “Gand frères” gained a
medal of the 1st class. He received
the cross of “Chevalier de la Légion
d'honneur,” August 19, 1862. Labels:
(1) “Gand, luthier de la musique du
Roi et du Conservatoire de Musique,
rue Croix-des-petits-Champs, Paris,
18—. 1845-1848, A. G.”; (2) “Gand,
luthier du Conservatoire de Musique,
rue Croix-des-petits-Champs, No. 20,
Paris, 1854. A. G.”; (3) “Gand frères,
luthiers de la musique de l'Empereur
et du Conservatoire Impérial de
Musique, No. — Paris, 1855 a 1866.”
‘Gand, Charles François, eldest son of
z
Charles Michel Gand, b. Aug. 5, 1787,
Versailles; d. May Io, 1845, Paris.
First worked at Versailles with his
father; in 1802 was apprenticed to
Nicolas Lupot, of Paris; he remained
for four years, returning to his father
July 17, 1806. In 1810 he again went
to Paris, and started his own business
at 5, rue Croix-des-petits-Champs; in
1820 he bought Koliker's property at
No. 24, in the same street, where he
remained till his death. In 1824 he
succeeded Lupot, whose daughter he
had married. He followed in Lupot's
footsteps, making his instruments with
the same care and ability, never
letting an instrument leave his shop
which was not entirely made by his
own hands; he used brilliant red-brown
varnish, , rather thick in quality.
Lupot left unfinished an order for the
Royal Orchestra; Gand completed it,
making 6 violins, 3 violas, 5 violoncellos,
and 4 double-basses between 1824 and
1828. These beautiful specimens of his
work were unfortunately destroyed
when the Tuileries was burnt down in
1871. He was especially skilful in
repairing old instruments, owing to his
great knowledge of Italian work.
Appointed “Luthier du Conservatoire,”
he for some time made the violins and
violoncellos, given as prizes to the
pupils. Labels: “Gand chez Lupot,
rue de Grammont, 1805,” used when
in Lupot's workshop; “Ch. F. Gand
fils, luthier Versailles, 1807,” used when
working with his father; “Ch. F.
Gand, élève de N. Lupot, luthier, rue
Croix-des-petits-Champs, ä Paris, an
I8I2 ”; “Gand, luthier, élève de
Lupot, rue Croix-des-petits-Champs,
No. 24, Paris, 1820 a 1824"; “Gand,
luthier de la musique du roi et de
became one.
l'Ecole Royale de Musique, rue Croix-
des-petits-Champs a Paris, 1825 a
1830; ” “Gand, luthier du Conser-
vatoire de Musique, rue Croix-des-
petits-Champs, I833 '' ; “Gand,
luthier de la musique du roi et du
Conservatoire de Musique, rue Croix-
des-petits-Champs, Paris, I8–, 1833 a
I845.” He had two sons, both makers,
Charles Adolphe and Charles Nicolas
Eugène. sº
Gand, Charles Michel, the head of the *
Gand family, b. 1748, at Mirecourt; d.
1820, Versailles. He established him-
self in Versailles in 1780, at 71, rue
du Commerce ; later moved to 32, rue
de la Paroisse, at the sign of “aux
tendres accords.” He had two sons,
both makers, Charles François, and
Guillaume, the latter succeeded him.
Gand, 'Charles Nicolas Eugène, second
son of Charles François Gand, b.
June 5, 1825, Paris; d. Feb. 5, 1892,
Boulogne-sur-Seine. He studied music,
at the same time learnt his trade under
his father and brother. Entered the
Paris Conservatoire, Nov. Ig, 1834,
being admitted to Baillot's special violin
class, Nov. 28, 1840, and not leaving
until Baillot's death, in 1842. He
joined his brother Charles Adolphe as
partner in 1855; Adolphe dying in 1866,
the two houses, Gand and Bernardel,
“ Gand et Bernardel
frères” were first at 21, rue Croix-des-
petits-Champs, then at 4, passage Saul-
nier in 1883. Instruments were no
longer dºll; constructed by the
maker himself, workmen had to be
employed to make the quantities of
instruments required for orchestra
playing; during the Paris Exhibition,
1878, the firm “Gand ” supplied 52
violins, 18 altos, 18 violoncellos, and
18 double-basses for the big orchestras
playing there. These instruments all
have “Palais du Trocadero, 1878,” on
their labels. Though clever workmen
had worked on them, all instruments
that bear his name received the
finishing touches and were varnished,
by Eugène himself. He also made
very good bows, the violin bows
especially are noted for their light-
ness and perfect balance. Like his
father he was a great authority on old
instruments. Between 1866 and the
year of his death, 1,506 violins, 460
violoncellos, and 190 altos passed
through his hands, the last violin being
finished on August 14, 1891. In 1889
he and Gustave Bernardel exhibited a
double-bass, noticeable as being of the
*
GAND—GASPARO DA SALó. 35
ordinary size, but having five strings.
The firm was awarded the silver medal
at the 1867 Exhibition; in 1878 they
exhibited a double quartet, which was
reported on as being of great beauty,
harmonious proportions, careful work-
manship, with red varnish like that of
Lupot; excellent tone, everything show-
ing a skilled maker; they were awarded
the gold medal. Label: “Gand et
Bernardel Fres, luthiers de la musique
de l'Empereur et du Conservatoire,
No. —. Paris, I8—.”. Eugène was
made Chevalier de la Légion d'honneur
(Oct. 20, 1878). He was appointed a
member of the jury at the Exhibition
of Amsterdam, 1883 ; Rouen, 1884;
Antwerp, 1885; Havre, 1887; Barcelona,
1888; and of Paris, 1889, when he was
made Officier de la Légion d'honneur
§ 29, 1889). He also received the
ollowing orders and honours: Nicham
Iftichar, Oct. 20, 1885; order of
Leopold of Belgium, Feb. 1, 1886; of
Isabelle la Catholique, March 18,
I889 ; and “les palmes académiques,”
Dec. 29, 1888.
Gand, Guillaume, second son of Charles
Michel Gand, b. July 22, 1792, Paris;
d. May 31, 1858, Versailles. Was a
pupil of Nicolas Lupot. Succeeded to
his father's business at Versailles in
I820. His instruments are similar in
work to those of Lupot, they are much
liked, and always fetch a good price.
Garani (Garana), Michelangelo. A maker
in Bologna about 1680 to 1720. He
followed the pattern of Stradivari; his
violas were particularly well made, but
his instruments, though of sweet tone
and careful work, have little value
commercially. *
Garani, Nicola. Worked in Naples
about I700. Made fair instruments on
the Gagliano pattern ; used plain wood
and yellow varnish. s
Garenghi, Guiseppe. Worked in Brescia,
1857.
Gaspan. A viol maker of early date.
Gasparo da Salò, son of Francesco
Bertolotti, b. 1542, probably in Salò,
a small town in Brescia on the shores
of Lake Garda ; d. April 14, 1609:
One of the earliest of the great makers
in Brescia, and probably among the
first to give the violin the form
afterwards definitely adopted by the
Italian makers; he certainly assisted in
the transformation of the ancient viol-
form into that of the violin. His
violins have more of an historical than
practical or artistic interest; the pattern
is primitive, and one must realise the
*
early date of his work to appreciate its
merit in spite of its imperfections; for
it is not to be compared with that of
G. P. Maggini, who came soon after
him (1580-1632). He was famed for
his viols, bass-viols, and tenor-viols; his
bass-viols have generally been re-
mounted as double-basses; one, admir-
able for the equality of its tone,
belonged to Dragonetti, who refused
48oo for it, and bequeathed it to Venice;
another, with four strings, is in the
Paris Conservatoire Collection ; also a
little bass-viol, of rather clumsy work-
manship with very dark varnish.
About 1570 this form of his work
varied a good deal; the lower plate is
quite flat and the upper plate arched, .
whilst the upper part, instead of having
the round form of the violin, sinks on
each side, similarly to a viol; the tone
is strong. His tenors were unquestion-
ably his best instruments; one that
was exhibited in London in 1872 was
sold in 1894 for £81 ; the varnish was
a beautiful golden-yellow ; true four-
stringed tenors, made with only two
corners, a very primitive form, exist,
but are very rare. The violoncello,
with a head with four pegs, was made
in Italy from about 1520, but the first
authentic specimensdate from Gasparo,
and are extremely rare. Only about
ten viols, viols da gamba, and other
instruments are known, and of really
authentic violins only six or seven,
which are much prized, chiefly because
of their rarity. They are made on a
longer and more arched pattern than .
the Cremona instruments (his viols are
generally on a flat model); the sound-
hole is straight, long, pointed, and
widely opened; the centre bouts often
short and shallow ; the scroll rough ;
the wood well chosen (pear wood and
sycamore wood are often used), the
grain of the bellies usually very regular

and even ; the varnish sometimes rich
brown (probably darkened with age),
sometimes very clear brown-amber
colour; penetrating, strong tone ; the
corners not very prominent and much
rounded; the purfling generally single;
the workmanship heavy and not highly
finished. This pattern was partially
revived by Giuseppe Guarneri (1686-
1745), owing, doubtless, to its great
tone-producing capacity. The cele-
brated violin that belonged to Ole Bull
was made of light wood, with rich
varnish, paler in colour than usual ; it
had a beautifully carved head. Another
violin, which belonged to Dr. Forster, is
36
GATTANANI—GERLE.
...said to have been dated 1613; it had
beautiful varnish and very good tone,
but had a new head and neck. Two
... other violins are said to be dated 1566
... and 1576 respectively. Gasparo's
usual label was undated: “Gasparo da
Salò in Brescia.” ; but his name has
been much used in modern altos, and
violins made in imitation of the early
Brescian type; many instruments with
his label were really made by G. P.
Maggini.
Gattanani. A maker in Piedmont about
I785-90.
Gattinari, Enrico. Was working in
..Turin about 1670-75.
.Gattinari, Francesco, son of Enrico
Gattinari. A clever maker in Turin
about I700-5. A violin of excellent
tone, rather arched, with effective red-
...brown varnish, was of good workman-
ship, and was labelled “Francesco
Gattinari, fecit Taurini, anno Domini
I704.” An alto with thick red varnish
was also well made.
Gemünder, August, b. 1814, Würtem-
berg; d. Sept., 1895, New York. Pupil
of his father, who was also a maker.
Went to the United States, and settled
in Massachusetts in 1846. He made
excellent instruments, much used for
solo playing. He made such an exact
copy of the Amati violin belonging to
Señor Sarasate that it was pronounced
to be equal to the original.
Gemünder, George, brother of August
Gemünder, b. 1816, Ingelfingen, in
Würtemberg. Pupil of Vuillaume in
Paris. Went to New York in 1849.
He made excellent copies of many
celebrated violins. . In 1881 he pub-
lished “George Gemünder's Progress
in Violin Making.”
Gennaro. Worked in Naples, 1785-1820.
He made very beautiful guitars, in-
laid with mother-of-pearl, ivory, &c.
Labels: “Gennaro fabricatore, anno
1802, Napoli, Strada S. Giacomo, No.
26,” and “Gennaro fabricatore, anno
1820, Napoli, Strada S. Giacomo, No.
-Gautrot. A maker in Mirecourt. His
instruments are strongly and well
made ; he started a factory for instru-
ments of all kinds at Château-Thierry
in 1855. -- -
;Gaviniés (Gavaniès), François, b. about
42,” found in a large guitar. -
Gerans, Paolo. Working in Cremon
about 1614.
Gerle, Conrad. An early maker of lutes,
b. at Nuremberg; was living there in
I461 and died there 1521; was buried
a Geisenhof
I7oo. Lived first at Bordeaux, but
about 1730 moved to Paris with his
son, and was living in rue St.-Thomas-
du-Louvre, 1734-63. He made two
very different kinds of instruments;
-the one inferior, the other, for which
he used varnish and wood of good
guality, was much liked. He generally
branded them with his name. Instru-
ments dated 1734, 1735, and 1751; also
a six-stringed viol dated 1744 in the
Paris Conservatoire Collection, are
...known. The Conservatoire also has,
for the use of its pupils, one of his
double-basses with the head sculptured
: to represent King David ; its tone is
;excellent, it was made in 1757. Label:
“Gaviniés, rue St-Thomas-du-Louvre,
a Paris, I734.” He had a son, Pierre,
the celebrated violinist.
Gedler, Johann Anthony and Johann
Benedict. Two brothers who worked
together in Fussen, Bavaria, about
1750 to 1796. They made inferior
instruments.
(Geiffenhof, Geigenhof),
Franz, b. I754; d. 1821. A maker in
.Vienna. He made fairly good instru-
ments, on the Stradivari pattern.
Sometimes branded them with his
cinitials, “F. G.” J. B. Schweizer was a
pupil of his.
in the Church of St. Roch. He was
celebrated both as a lute player and
lute maker, his lutes, called “Lutz
d'Alemaigne,” were well known in the
15th century. The Allgemeine Musik-
alische Zeitung (Leipzig) published the
old notice of his death : “An St.
Barbara Abend starb der erbar Conrad
Gerle, Lautenmacher. Dem Gott
gnaedig Sey, Amen.” *
Gerle, Hans (?), a son of Conrad. Date
of birth unknown, about 1500; d. 1570.
Lived in Nuremberg. Wasalute player,
composer, and author, and as early as
1523 was famed for the lutes he made.
In 1532 his portrait was published with
the inscription, “Hanns Gerle, lutenist
(lute player) in Nürnberg, anno 1532.”
He published a work on the lute in
1532, entitled: “Musica Teusch auf die
Instrument der grossen und kleinen
Geygen, auch Lautten, etc., durch Hans
Gerle lutinist zu Nurenberg auszgan-
gen, 1532 '' (“German music for instru-
ments of large and little viols, also for
lutes,” edited by Hans Gerle, lute
player at Nuremberg, I532); a second
edition appeared in 1546, entitled :
“Musica undTabulatur, atiff die Instru-
menten der kleinen und grossen Geygen
auch Lautten, etc. Von newen corri-
girt und durch aussgebessert durch
... GERMAIN-Egº IORGI.
Hansen Gerle, Lautenmacher zu Nürn-
..berg von . I546 jar ’’ (“Music ... and
Tablature for instruments of little and
large viols, also for lutes, &c., revised
; and , corrected by Hans Gerle, lute
maker at Nuremberg, in 1546”). Both
the Ist and 2nd editions are in the
Imperial Library at Berlin. These
two interesting editions are most rare
and valuable.
Germain, Emile, son of Joseph Louis
Germain, to whose business he suc-
ceeded in 1870; b. July 24, 1853, Paris.
In 1865 he was sent to Mirecourt to
be apprenticed to the trade, returned
to Paris in 1867, and, until his father's
death (1870), worked with him. Went
into partnership with Dehommais,
living first at I2, rue Croix-des-petits-
Champs, and then at 5, Faubourg
Montmartre. Dehommais retired in
.1882, and Emil continued the business
alone; in ten years' time he made more
than 500 instruments, nearly all personal
work, showing talent and care ; he used
a good varnish. Was very experienced
in repairing old Italian instruments.
Labels : “Dehommais et Germain ā
Paris, I2 rue Croix-des-petits-Champs,
1878,” and “Emil Germain, a Paris,
5 Faubourg Montmartre, 1888.”
|Germain, Joseph Louis, b. July 23, 1822,
Mirecourt ; d.
-:François Gand, till the death of the
latter (1845). Was then employed by
J. B. Vuillaume, for whom he made
several excellent instruments, till 1850,
when he became first workman under
“Gand Fils.” In 1862 he started his
own business at 364, rue Saint-Denis.
, He retired to Mirecourt in 1870, and
died the same year. He was a maker
of great talent, and his instruments
show superior workmanship. He was
especially skilful in repairing old in-
struments. Label: “Joseph Louis
Germain ; a Paris, année. I868.” His
son Emile was also a violin maker.
Geroni, Domenico. A maker in Ostia,
Italy, about 1800-20. Made inferior
instruments.
cGherardi, Giacomo.
Bologna in 1677.
Ghidini, Carlo.
about I746. *
;Gianoli, Domenico.
in I73I.
|Gibbs, James. Worked in London about
or 800-45; probably died in 1845, . He
was employed by J. Morrison, George
Corsby, and Samuel Gilkes.
Was working in
A maker in Parma
Worked at Milan
there, July 5, 1870.
Apprenticed at Mirecourt, went to
Paris, 1840, and worked under Charles .
Gibertini, Antonio. A maker in Parma,
1830-33. Made a number of violins on
the Stradivari pattern, using rather
dark red varnish; his work was care-
fully finished. Paganini, the great
violinist, sometimes employed him to
repair his violins.
Gigli, Julio Cesare. Worked in Rome
about 1730-62. Label: “Julius Caesar
Gigli Romanus fecit Romae, anno 1761.”
Gilbert, Nicolas Louis. A maker in
Metz about 17oo. . In the Paris Ex-
hibition, 1878, a very pretty five-
stringed viol—dated “Metz, 1701 "–
of his was shown.
Gilbert, Simon, son of Nicolas Louis.
Gilbert. Worked at Metz about I737-
65. A five-stringed viol, dated I744;
another, dated 1749; and another, dated
1765, are known. Label : , “Simon
Gilbert, luthier, musicien de la Cathé-
drale à Metz, 1737.”
;Gilkes, Samuel, b. 1787, Morton Pinkney,
Northamptonshire; d. Nov., 1827,
London. Apprenticed to . Charles.
Harris, sen., in London, afterwards.
worked for William Forster (1764-1824).
In 1810 he started his own business,
labelling his instruments with his own
name. He followed the Nicola Amati
pattern, and was a clever maker,
although his style showed traces of his
training under Charles. Harris. . He
used varnish of rich quality, and, his.
work was beautifully finished. He
made various classes of instruments for
country dealers. Label: “Gilkes from
Forster's, violin and violoncello maker,
34, James Street, Buckingham Gate,
Westminster.” • *
Gilkes, William, son of Samuel Gilkes,
b. about 1811, in Grey Coat Street,
Tothill Fields, Westminster; d. 1875,
London. Taught by his father and
succeeded to his business in James.
Street, but afterwards moved to Dart-
mouth Street. He made a great many
instruments, of various patterns, princi-
pally double-basses, but did not gain
the same reputation as his father. He
, ceased to make instruments for some
time before his death.
Gioffreda, B. A maker in Turin in 1860.
Giordano (Giordane), Alberto. A.
maker in Cremona about I735-40. A
little pocket violin with rose-coloured
varnish is beautifully made, with the
label: “Alto Giordano fecit Cremonae''
(the date illegible).
Giorgi, Nicola. A maker in Turin in
1745, according to the following label:
“Nicolaus Giorgi fecit Taurini, anno
I745.” -
38
Giquelier, Cristoforo. In the Paris
Conservatoire Collection is a viola
bastarda with five strings dated I712,
made by him. &
Giraniani. Working in Leghorn in
I730, according to a MS. label found
in a violin, fairly well made, with
yellow varnish of good quality.
Girod, Claude. A French maker of
whom little is known. -
Giron. See “Villaume.”
Giuliani. A maker of viols in Cremona
in 1660. He was a pupil of Nicola
Amati, and made some excellent copies
of his instruments.
Gobetti, Francesco. A maker at Venice
about 1705. Said to have been a pupil
of Antonio Stradivari; he used splendid
wood, very beautiful red varnish,
rather transparent, and made on a
large flat pattern, with sound-holes
similar to those of Ruggeri; the
purfling is not very neat, and the scroll
is rather weak in character; but the
workmanship throughout is carefully
finished and the tone is of a rich full
quality. . A very beautiful violin was
exhibited in Paris, 1878, with fine
golden-red varnish, with label :
“Franciscus Gobetti, fecit Venetiis,
I715.” A similar label has been seen
dated I705. His instruments are much
liked. • ‘
Goffriller (Gofriler), Antonio. A
member of the family of this name
working in Venice at the beginning of
the 18th century. *
Goffriller, Francesco, brother of Matteo;
probably worked as his collaboratór in
Venice. He made few instruments,
and seldom put his label into them ;
they were of fairly good work, with
ugly yellow-brown varnish. -
Goffriller, Matteo. A maker in Venice
about 1690 to 1740. He had great
ability, and his work is peculiarly
beautiful and original; his pattern is
slightly arched, the sound-hole well cut,
the golden-yellow varnish very trans-
parent. It is the exception to find.
violins and violoncellos in which the
wood was carefully chosen ; as a rule
he was careless about his material,
several violoncellos have the back made
of poplar tree wood; but the same
accurate, and skilful workmanship is
always shown ; the tone was powerful
and even in quality. His whole work,
in arching, proportions, and varnish,
is so unlike that of Stradivari that it is
absurd to insert Stradivari labels into
his instruments: His violoncellos are
especially liked, two being known, most
GIQUELIER—GRANCINO.
beautifully made. Label: “Mattheus
Goffriller faciebat Venetiis, anno
I —.” -
Goldt, Jacob Heinrich. A makerin Ham-
burg, 1700-15. A lute is known of his.
Gonnet, Pierre Jean. Was working in
rue du Temple, Paris, 1775-83. . .
Gosselin. An amateur maker in Paris
about 1814-30, whose work is little
known and little valued. He learnt a
great deal from Koliker. He made
violins, altos, and violoncellos of
ordinary workmanship and good tone,
often using for the back and sides a
speckled wood, which gave them.’
rather a peculiar look. Label: “Fait
par Gosselin, amateur, Paris, année
1826,” in a violin of sonorous tone;
and “Fait par Gosselin, luthier, Paris,
année 1830.”
Gosset. A maker at Rheims, who, in
I769, proposed to alter the frets on
the various kinds of viols and guitars
in such a way as to produce, instead
of equal semitones, the major or minor
semitone which was required.
Gough, John. See “Dearlove, M. W.”
Gough, Walter, d. about 1830. He was
not a particularly good workman.
Gouvernari, Antonio. A maker in
Cremona about 1600-Io.
Grabensee, J. A. A maker in Düsseldorf
Label : “Reparirt
about 1850-55.
A. Grabensee in
(Repaired) von J.
Düsseldorf, 1854.” .
Gragnani, Antonio. A maker in Leghorn
about 1741-80. His work is a little
rough ; he used inferior wood and the
varnish is poor, but the tone is
sympathetic, sweet, and clear. He
generally branded his instruments with
his initials, “A. G.” A five-stringed
viol exhibited at South Kensington
Museum, London, in 1872, had the
label: “Antonius Gragnani, fecit anno
I74I.” In an inferior violin was the
label : “Antonius Gragnani fecit
Liburni, anno 1780"; a similar one
was dated 1752.
Gragnani, Gennaro,
relation of Antonio.
Leghorn, I730.
Gragnani, Onorato, son of Antonio
Gragnani. His work was inferior to
that of his father.
Granadino. See “Contreras, Joseph.”
Grancino, Francesco and Giam Battista,
Sons of Giovanni and grandsons of
Paolo Grancino. Worked together at
Milan, 1710-60. They were the best
makers of this family and made a great
many instruments, using generally
spirit varnish, very clear, and an ugly
presumably a
Was working in
GRANCINo–GROU. 39
yellowish colour, and wood of poor
quality; their work was rough, but
the tone of their violoncellos and
double-basses was fairly good. A
violoncello, of fine powerful tone, was
made of plain wood, that of the belly
only being fine ; the light yellow
varnish had become darkened with
age. Their instruments generally were
not beautiful to look at, but had a
good tone. Labels: “Gio. e Francesco
fratelli de Grancini in contrada larga
di Milano, 17—,” and “Giov. Battista
e Francesco fra. Grancino in contrada |
largo di Milano, 17—.”
Grancino, Giovanni, son of Paolo
Grancino. Worked in Milan about
1690 to 1730. Pupil of his father, and
did similar but better work; his instru-
ments are not so arched, with yellow
varnish, and the wood was more care-
fully chosen ; they have a powerful
tone; the details are not very carefully
finished. Many of his violins, violas,
and violoncellos are to be met with,
usually made on a large flat pattern.
Labels: “Giovan Grancino in con-
trada larga di Milano al segno della
Corona, 1692,” and “Giovanni Gran-
cino in Contrada Largha di Milano,
al segno della Corona, 1721.” He had
two sons, Francesco and Giam Battista,
both makers.
Grancino, Paolo. Worked at Milan,
1665-90. Pupil of Nicola Amati, at
Cremona. He made a large number
of instruments; the altos and the
violoncellos are generally liked. He
used poor material, often making the
back and sides of poplar tree wood;
followed a large pattern, slightly
arched, with large sound-holes widely
opened, and a dry varnish of an
effective golden-yellow colour. The
scroll was often roughly cut, and the
purfling and corners carelessly worked.
His work on the whole was but
moderately good. His son, Giovanni,
was also a maker.
Grand-Gérard. A maker in the Vosges
about 1790-1810. Also worked in
Paris. Made a great many instru-
ments; the work is inferior, the varnish
a dull brown colour. He branded his
instruments with his name. Label :
“Grand-Gérard à Paris.”
Grandini, Geronimo, sen. One of the
well known makers at Mirecourt
whose instruments have merit.
Grandjon, sen. A maker at Mirecourt.
Work only moderately good.
Grandjon, J., son of Grandjon, sen. ; also
a maker at Mirecourt. Was awarded
medal of the Ist class in 1855 (Paris
Exhibition), bronze medal in 1867,
and a “Mention honorable” in 1878.
Gray, J. A maker in Fochabers, Banff-
shire, Scotland, in 1870.
Greffts, Johann. Was working at Fussen,
Bavaria, in 1622. *
Gregori. Worked in Bologna about 1793.
Gregorio, Antoniazzi. See “Antoniazzi.”
Griesser, Matthias. A maker in Inns-
brück in 1727. A viola d'amore, with
seven strings for bowing and twelve
harmonic strings, of which the nineteen
pegs are all in the head, which is very
long, is in the Collection of the Lyceo
filarmonico at Bologna. Label :
“Matthias Griesser, Lauten und
Geigenmacher in Innsbrugg, anno

y 3
1727.
Grimm, Carl, b. about 1792; d. 1855 at
Berlin. A musician who, showing great
talent in making violins, started a busi-
ness in Berlin, and was soon considered
one of the best German makers of his
time. He made a great many experi-
ments, combined with a serious study
of the work of the old Italian makers;
and his instruments are celebrated for
their powerful tone and for the beautiful
quality of their varnish. The firm
never made more than thirty instru-
ments per year, thus devoting much
time to their construction and finish.
A quartet of his instruments was very
generally praised at the London Ex-
hibition in 1862 for their rich and full
tone. -
Grimm, Ludwig, son of Carl Grimm.
In association with his brother-in-law
Helmich, continued his father's busi-
ness in Berlin. -
Griseri, Filippo.
in 1650. -
Grobitz, A. A German who was work-
ing in Warsaw in 1750, and made good
violins on the Stainer pattern.
Groll, Matthew. A maker in Meran,
Tyrol, in 18oo.
Grosset, Paul François. A maker in
Paris, 1747-59. Pupil of Claude
Pierray. He made few instruments;
the proportions were generally bad, too
much arched; he used a good varnish
of brilliant yellow colour; the work was
fairly good. Two five-stringed viols of
his are known, one dated 1749, the
other 1752. In a violoncello was the
label: “P. F. Grosset, Au dieu
Apollon, rue de la Verrérie, a Paris,
1757.” ---
Grossi, Giuseppe.
in 1803.
Grou. A maker about 1752.
*
A maker in Florence
Worked in Bologna
4O' GRULLI–GUADAGNINI.
Grulli, Pietro. Was working in Cremona
in 1883.
Guadagnini, Antonio, son of Gaetano,
grandson of Carlo Guadagnini, b. 1831 ;
d. 1881 at Turin. He made a great
many instruments. -
Guadagnini, Carlo (?), son of Gaetano,
grandson of Giambattista Guadagnini.
A maker of guitars at Turin about
1780. He also repaired instruments.
His three sons, Gaetano, Giuseppe, and
Felice, were all makers, but chiefly
worked at repairing old instruments.
Guadagnini, Felice, son of Carlo
Guadagnini. A maker in Turin about
I835. His work was excellent, he
made good useful instruments, with
well-cut scroll, but the varnish hard
and cold.
Guadagnini, Francesco and Giuseppe,
sons of Antonio Guadagnini. Makers
at Turin.
Guadagnini, Gaetano, son of Giam-
battista, grandson of Lorenzo. Worked
at Turin about 1750. He made few
new instruments, but chiefly repaired
old ones. His son, Carlo, was also a
maker.
Guadagnini, Gaetano. See “Carlo
Guadagnini.” *
Guadagnini, Giambattista, son of
Lorenzo, b. I'7II at Cremona ; d.
Sept. 18, 1786, at Turin. Possibly
worked under Antonio Stradivari in
Cremona before he accompanied his
father, about 1730, to Milan. Later
he went with him to Piacenza and
worked there many years, but left
when his father died, and went to
Parma, where he was appointed instru-º
ment maker to the Duke; but when the
pensions to the artists of the Duke's
Court were discontinued, in 1772, he
went to Turin and worked there till his
death, 1786. A pupil of his father, his
violins and basses show the same form,
the same qualities, and the same
defects. He followed the Stradivari
pattern, and his instruments stand
high in public estimation. He often
suffers in reputation from having the
same Christian name as his uncle,
Giovanni Battista, Lorenzo's brother,
whose work was much-inferior. He
used wood of the finest quality, and
the varnish, which shows unmistakable
signs of inferiority to that of the
great makers, was that brilliant golden-
red colour which is often considered
a characteristic of a “ Guadagnini”;
the tone is not large, the work is
well and carefully done. Labels:
“Joannes Baptista Guadagnini Cre-
monensis fecit Taurini, 1776”; a
similar one dated 1775; and “Joannes
Baptista Guadagnini. Cremonensis
fecit Taurini. Alumnus Antoni Stradi-
vari. G.B.G. 1780.” He had two
sons, Gaetano and Giuseppe, both
makers.
Guadagnini, Giovanni Battista, brother
of Lorenzo Guadagnini. Worked in
Milan, Piacenza, and Turin about I695
to 1775. He made a great number of
instruments, of ordinary workmanship,
but some violins are well finished and
the tone is good; they are made on
a small pattern, slightly arched, the
sound-holes long and well cut, the
varnish a rich dark red colour, very
different to that used by his nephew
Giambattista. Labels : , “Joannes
Guadagnini fecit Placentiae, anno
1747,” and “Joannes Baptista Guadag-
nini Placentinus fecit Mediolani,
1775”; another label in a violin is dated
I73I.
Guadagnini, Giuseppe, second son of
Giambattista, grandson of Lorenzo, b.
about 1736; d. about 1805. First a pupil
of his father in Turin (about 1751),
then worked at Milan, Como, and
Parma (about 1793). Had not so
much ability as other members of his
family; he made a quantity of violins,
altos, and violoncellos on the Stradivari
pattern. His work was much inferior
to that of his father, whose label he
often used, and consequently have less
market value ; but his instruments
generally have a good tone.
Guadagnini, Giuseppe. See “Carlo
Guadagnini.”
Guadagnini, Giuseppe. See “Francesco
Guadagnini.” &
Guadagnini, Lorenzo, b. at Piacenza (?)
about 1665; worked till about 1740. A
well-known pupil of Antonio Stradivari
at Cremona, he worked there formany
years; later went to Milan (about 1730)
and then to Piacenza. His instruments
are much liked, especially the violins;
generally made on a small pattern,
slightly arched, of good proportions,
the wood of good quality, with very
beautiful golden-red varnish; the purfl-
ing and corners rather heavy, the
scroll not so well cut as that of Stradi-
vari, the tone rich and powerful. His
instruments, when in good condition,
are of a high commercial value.
Labels: “Laurentius Guadagnini Cre-
monae Alumnus Stradivari fecit, anno
Domini I7—,” and Laurentius Guadag-
nini pater, Alumnus Antoni Stradivari
fecit Placentiae, anno 1745"; similar
GUARINSI-I-GUARNER.I. 4I
labels are dated I742 and I743.
His son, Giambattista, was also
maker. -
Guarini, Joseph, b. at Geneva. A
maker in Germigny, Vosges, in partner-
ship with Jules Martin. His violins
show thoroughly good workmanship,
they have double purfling, are not
much arched, and are made of carefully
selected wood, with a full and powerful
tone.
Guarneri, Andrea, b. about 1626 at
Cremona; d. there Dec. 7, 1698; was
buried in the Church of San Domenico
the following day. He was descended
from an ancient and noble Cremonese
family, and was the head of the cele-
brated family of makers, known by the
Latinform of their name, “Guarnerius.”
Pupil of Antonio and Girolamo Amati',
later, about 1641, of Nicola Amati, a
fellow student being Antonio Stradivari.
He was one of the witnesses at N.
Amati's marriage in 1645, but was not
with him in 1646, but was again there
, in 1653. While influenced by Ant.
and Gir. Amati he made on a large
attern, but then for many years
followed Nicola's pattern. About 1670
the character of his sound-holes
changed, his model became flatter, and
the scroll showed much character; this
was probably when the influence of
Stradivari began to be felt, one of
whose earliest followers he became ;
but throughout he always retained a
quite original and distinctive style of
his own. Some of his instruments are
beautifully made, especially his violins,
which, in good condition, are very rare;
violas, of which three are known,
suggest, both in size and in a general
way, Maggini's work ; a violoncello is
known, very beautiful not only in
wood and varnish, but also in tone.
As a rule he used good wood and
excellent varnish, which varied greatly
in colour from a golden yellow to
Orange, or even darker rose colour.
The sound-holes also vary, but are
generally straight; the pattern is
slightly arched, the sides often low ;
the tone is brilliant, but does not carry
well; the work is neat, but not highly
finished. Labels: “Andreas Guarne-
rius fecit Cremonen sub titulo Sanctae
Teresiae, 1650 " (similar labels are
dated 1670, 1675, 1690, and 1696);
“Andreas Guarnerius Cremonae sub
titulo Sanctae Teresiae, 1691 "; and
“Sub disciplina, Andreae Guarnerii in
ejus officina sub titulo S. Teresiae
Cremonae, 1676.” He married, in the
Church of San Clemente, Dec. 31, 1652,
Anna Maria Orcelli (d. Jan. 13, 1695).
He lived in Piazza San Domenico, now
Piazza Roma. Two of his sons, Pietro
Giovanni and Giuseppe Giovan
Battista, were makers. -
Guarneri, Antonio. Two labels, of
doubtful authenticity, are dated 1722.
Guarneri, Caterina º: daughter of
Andrea. Is said to have worked with
her father and brothers, and to have
made some violins in which were MS.
labels. -
Guarneri, Gian Battista, son of
Bernardo, who was a younger brother
of Andrea. He married Angiola Maria
Locatelli, Aug. 3, 1682, and had six
children; four were sons, the eldest,
Giuseppe Antonio, b. June 8, 1683; d.
a few months after his birth; the
second, the only violin maker of this
branch of the family, was Giuseppe
(del Jesú), b. Oct. 16, 1686. This
is mentioned because the date of the
eldest son, Giuseppe Antonio, is very
frequently quoted as being that of
Giuseppe, known as del Jesú, the great
maker. Gian Battista himself was
not a violin maker.
Guarneri, Giuseppe, known as “del
Jesú,” because of the mark of a cross
with the letters “I.H.S.” beneath on
all his labels. Was the second son.of
Gian Battista Guarneri, b. Oct. 17,
I686, at Cremona; d. there 1745.
The date of his birth is entered in the
registers of the parish of San Donato,
at Cremona; his name also appears in
other archives till the end of the year
I702, when all trace of him is lost;
but “fecit Cremonae'' on all his labels
proves that all his work was done at
Cremona. Was said to be a pupil of
Antonio Stradivari, but the character
of his work does not authorise such a
statement; it is impossible to say
from whom he learnt, he worked on
such totally different principles to
those of contemporary makers; but
his work sometimes resembles that of
his cousin Giuseppe, son of Andrea.
There is a tradition that he led an
irregular life, was finally imprisoned
until his death, and made violins in
prison, with wood and varnish obtained
first from one maker and then from
another by the gaoler's daughter, who
afterwards havked the instruments
round at miserable prices, to obtain
money for him. This was probably
invented to account for the number of
inferior violins which contain his
labels, probably all spurious, for even
42
GUARNERI–GUARNER.I.
early imitations, which are well made,
are numerous. Giuseppe del Jesú was
the greatest maker of this family, his
violins are especially celebrated for
their powerful tone. Paganini played
on a particularly fine one, of grand
dated
instrument played on in an opera of
tone, dated 1743; he bequeathed it to
the City of Genoa, where it is now
kept in the Palazzo Municipale. An-
other very fine one, dated 1714,
belonged to Ole Bull, the great
violinist. Another magnificent one,
1734, was nicknamed “Le
violon du diable,” because it was the
that name. A most beautiful one,
which belonged to the violinist Alard,
was labelled “Joseph Guarnerius fecit
+
Cremonae, anno 1742, I.H.S.” A
violin, dated 1741, which formerly
belonged to Vieuxtemps, has not a
single crack; the wood is very thick, it
is not arched, with high sides; the
varnish, thickly put on, is a splendidº
brownish-red tinged golden colour; the
work is carelessly finished, but the
tone is splendid. The “King Joseph "
violin was on a large pattern, made of
splendid wood, not arched, with
peculiarly shaped sound-holes, and rich
amber-coloured varnish; it was sold for
7oo guineas. A violin, made with the
back in two parts, with brownish-red
varnish, was dated 1723. A beautifully
made viola was labelled: “Joseph
Guarnerius Cremonensis faciebat,
1724.” His work is generally divided
into three periods: the first shows no
originality, for he either imitated
Nicola Amati or G. P. Maggini,
reviving the pattern of the latter, which
is arched from the purfling, with semi-
circular middle bouts; pointed sound-
holes, and short corners; the tone is
good. In the second period, the
pattern is small and slightly arched in
a gradual rise from the purfling, the
thicknesses vary, but especially
increase at the centre of the back—a
defect, in so far as it prevents free
vibration; the proportions are accurate,
the sound-holes well cut (often sharply
pointed top and bottom), the tone is full
of brilliancy, the rich golden or
brownish-red varnish is of fine elastic
quality, very transparent, and rivals
that of Stradivari. The work is most
carefully finished; the wood, generally
sycamore, varies both in quality and
appearance; it is thought that he used
the same large piece of pine for nearly
all the bellies—a stain or sap mark runs
through it, which, though sometimes
faint, can always be seen. For this
reason three violins of Carlo Bergonzi,
with bellies, evidently cut from the
same piece of pine, were for a long time
thought to be Giuseppe's work. In
the third period, dating from about
1735, to which Paganini's and Alard's
violins belong, the instruments vary.
greatly in pattern and appearance, but
show his originality and ability; they
are equal to the most beautiful work of
Stradivari. Made on a large pattern, of
excellent wood, with accurate propor-
tions and thicknesses, and beautiful
varnish, as remarkable for its fine and
elastic quality as for its colour, either
rich amber or rose-red, slightly darker
and thicker than that of Stradivari;
the quaint head, very characteristic, is
entirely different to Stradivari's; the
purfling is embedded, the sound-hole,
losing its pointed form, is rather open ;
the edges are heavy, the tone is power-
ful, mellow, and rich. It was at this
time that the so-called “prison” violins,
already mentioned, suddenly appeared.
All his variety of work—the different
sized patterns, sometimes arched, some-
times flat ; the sound-holes, long,
perpendicular, or short and slanting—
was a continuous effort to increase
the tone of his instruments, and he
finally succeeded in obtaining a notably
pure and powerful volume of tone.
He made more violins than violas.
About fifty genuiné violins and ten
violas are known ; no violoncello is
known. His instruments have steadily
increased in price, no doubt owing to
the strong wood he used; it depreciates
the tone at first, but with time vibrates
more freely, the quality of tone becom-
ing stronger and more refined. In
1876 a violin was sold for 600 guineas
in a sale-room; another was recently
sold for £500.
Guarneri, Giuseppe Giovan Battista,
second son of Andrea, b. Nov. 25, 1666,
Cremona ; d. Soon after 1738. Said to
have been a pupil of his father, but
showed much originality; some of his
instruments are very similar to those
of his cousin, Giuseppe del Jesú, but
the tone is not so powerful and round ;
others follow the pattern of Stradi-
vari. His violins are numerous and
show good work. They are generally
made on a small pattern, the waist of
the instrument narrow and rapidly
widening from the centre ; the sound-
holes, placed lower than usual, are
widely opened about the middle; the
GUARNERI-GUERRA. - 43
brilliant reddish varnish is of excellent
quality, the wood well chosen, the tone
very full and rich, the work carefully
finished; two beautiful, instruments
were exhibited at South Kensington
Museum, 1872, dated respectively 1684
and I707. Many of his best violins
have been given labels of Giuseppe del
Jesú, since the latter's name became
well known, and some good imitations
of Stradivari have been labelled with
Stradivari's name. He also made
tenors and violoncellos ; the latter are
very rare, the wood generally plain,
workmanship rather careless, but the
tone always excellent. A very fine
violoncello, with back, sides, and neck
of beautiful small-figured wood, belly
of fine-grained wood, with rich red
varnish, and of good tone, was dated
I713. Label: “Joseph Guarnerius,
filius Andreae fecit Cremonae, sub
titulo S. Teresiae, 16—”; a similar
one dated 1706. On Jan. 4, 1690, he
married Barbara Franchi (d. 1738),
and had six children. Of his three
sons, Pietro was the only one who
became a maker.
Guarneri, Pietro, son of Giuseppe Giovan
Battista Guarneri, grandson of Andrea,
b. April 14, 1695, at Cremona. Worked
first in Mantua and then in Venice till
about 1760. He followed the patterns
of his uncle Pietro, and may have been
his pupil while in Mantua. His work
is very good; his instruments are
rather arched, have splendid varnish,
and a fine rich tone. A most beautiful
violoncello is known, the sides and back
made of maple, beautifully marked, the
varnish admirable, a golden amber
colour tinted with rose, rather similar
to that of Montagnana. In it is the
label : “Petrus Guarnerius filius
Joseph Cremonensis fecit Venetiis,
anno I739"; a similar label is dated
I755. -
Guarneri, Pietro Giovanni, eldest son of
Andrea, b. Feb. 18, 1655, at Cremona;
d. about 1740. He remained in Cre-
mona till I680, then went to Mantua;
he visited Cremona for a few months
in 1698 (the year of his father's death),
but returned to Mantua and probably
lived there, 1700-40. Said to have
been a pupil of Girolamo Amati. His
instruments differ from those of his
father and brother, but he used their
labels for the violins made before he
had left Cremona. , His work shows.
great originality; his violins are on a
large pattern, very arched, made of
good wood, that of the bellies being
wide in grain and very even ; the
breadth between the sound-holes is
increased and the corners are delicately
worked; the purfling excellent; the
scroll very characteristic; the trans-
parent varnish, of beautiful rich quality,
either warm yellow or pale red colour;
the tone is , full, but lacks brilliancy.
The violoncellos he made when in Man-
tua are often of exaggerated form, and
were intended for use in processions,
the performers having them suspended
round the neck. His work, generally
excellent, had some serious defects.
Though quite correctly making the
backs and bellies of his violins of
equal 'thicknesses, he made them too
thin, which rendered the tone veiled
and dull, and also gave too much
flexibility to the instrument, so that
the tension on the strings is great,
it is difficult to keep them up to pitch,
and they are liable to break. His
instruments, however, are much valued.
Labels: “Petrus Guarnerius Cre-
monensis fecit Mantuae sub. tit. Sanctae
Teresiae, I695,” similar ones are dated
I690 and I7Io; and “Revisto e corretto
da me Pietro Guarneri Cremonese in
Mantova, 1697.” In 1677 he married
Caterina Sussagni; had one son, Andrea
Francesco, b. Jan. 29, 1678, who was
not a violin maker. }.
Gudis, Hieronimo. A maker in Cremona
in 1727. A very beautiful viola d'amore
of his is known, the belly made of good
pine, the back and sides of beautifully
marked maple; the carved neck ends in
a woman's head with eyes bandaged,
it has 17 pegs; the varnish is light, a
golden yellow colour, and the work is
carefully finished. -
Guédon, Jacques Antoine. A maker in
Paris; working, I775-77, in rue de la
Tissanderie ; and, I779-83, in rue
Barillerie. -
Guérin, Alexandre Sauveur, b. Aug. 20,
1834, Hyères. Pupil and successor of
Edmond Daniel. Works at Marseilles,
18 rue Paradis. Repairs old instru-
ments and makes new ones on the
pattern of Stradivari; uses an orange-
red varnish. Exhibited at Marseilles,
1861 and 1886; Nimes, 1863; and Paris,
1889; and was awarded 3 gold medals,
I silver medal, I bronze medal, and a
diploma of honour. He is assisted by
his son Marius (b. 1871), who was a
pupil of Darte at Mirecourt, and then
worked under Gand and Bernardel in
Paris. & -
Guerra, Giacomo. A maker in Modena
in 1810. .
D
44
GUERRERO–HARDANGER.
Guerrero, Juan. Working in Malaga in
the 18th century. In a guitar is the
label: “Juan Guerrero me fecit en
Malaga en el ano de I75–.” *
Guersan, Louis. A maker in Paris about
1730-69; was living in rue dela Comédie-
Française in 1760, and in rue des Fosses
St.-Germain in 1769. Was one of a
family, whose members for more than
a century had been violin makers; he
himself was one of the best French
makers of his period. Pupil and suc-
cessor of Claude Pierray. When he left
the latter's workshop he made various
experiments in altering the arching, the
thicknesses, &c., using spirit varnish
on his instruments; the result, however,
was not good, the tone produced being
harsh and shrill. He was appointed
maker to the Dauphin and to the Opera;
in the archives of the latter is a quaint
memorandum of repairs done by him
to the double-bass of the Opera,
which proves that at this date (1749)
there was only one double-bass in the
orchestra. He made many instru-
ments, and they fetch good prices.
Made on a small pattern, the propor-
tions, depth of the sides and thicknesses
vary continually, especially in the
violoncellos ; the alcoholic varnish is
hard and dry, either a pale yellow or
rose colour; its great drawback is that
it dries too quickly and paralyses the
vibrations, doing a great deal of harm
to the tone; the work is beautifully
finished. A viola of middle size, with
the back in two parts and a brownish-
red varnish, is known. Several five-
stringed viols of his are in the Collection
of the Paris Conservatoire; two are
dated I747, one I75I, and one 1755.
Two six-stringed viols are dated 1755
and I763. A treble-viol, in beautiful
Haensel, Johann Anton. Was maker
and chamber musician to the Duke of
Schönburg, at Rochsburg, about 1800-
I5. . In Jan., 1811, he published an
article in the Allgemeine Musikalische
Zeitung (Leipzig), called “Ueber den
Bau der Violine,” in which he described
a new form for the violin, which he
said he had invented as early as 1801.
The invention did not live.
Haff. A maker in Augsburg in the 18th
century.
Hamberger, Joseph. A celebrated
maker in Pressburg, Hungary; he
preservation, with pale yellow varnish,
and of very careful workmanship, is
dated 1752. A handsome violin is
dated 1737, another 1744, and another
1766. Two violoncellos were dated
I740. Labels: “Lóuis Guersan près
la Comédie-Française à Paris, I73o,”
and “Ludovicus Guersan, prope
comoediam gallicam, Lutetiae, I766.”
Gugemmos (Gugemos). A maker in
Fussen, Bavaria, in the 18th century.
His work was poor and he used
varnish of bad quality.
Guglielmi, Giobattista.
Cremona, I747.
Guidantus, Joannes Florenus. A maker
in Bologna about 1685 to 1728. Was
possibly a pupil of Nicola Amati. He
was an excellent workman, his instru-
ments look well, are on a high model,
with long sound-holes; but the purfling,
is carelessly done and the tone is
rather poor. A viola d'amore, exhibited
at Milan in 1881, ornamented with a
beautiful head, artistically carved, re-
presenting a blindfolded Cupid, was
labelled: “Joannes Guidantus fecit
Bononiae, anno 1715.” Another label
was: “Joannes Florenus Guidantus
fecit Bononiae, 1724.” A viola da gamba
was dated 1728. See “Florenus.”
Guidomini, Lorenzo. In Milan, I'740.
Guillami. A Spanish family of violin
makers who worked about 1680-1780.
Guillaume. A guitar of his is dated
1789. A François Guillaume, a maker
of harps in Paris, was working in rue
de l’Université, 1783-86; and in the
rue de Beaune, 1788-89.
Guiton, R., of Cork; clever maker.
Gusetto, Nicola. Worked in Florence,
I730. --
Gutermann. A maker of good instru-
ments in Vienna in the 19th century.
A maker in
H.
His son also worked in
Another
died I368.
Pressburg; he died in 1891.
Son is a maker in Vienna.
Hamm, Johann Gottfried. A German
who worked in Rome, 1780-1810.
Instruments are known, with ivory
edges, in which his name is branded.
Hammig, W. H. A maker in Leipzig,
who turns out good instruments.
Harbour or Harbur. A maker who
lived in 1785 at Duke Street, Lincoln's
Inn, London; in 1786, at Southampton
Buildings, Holborn. t
Hardanger. For instruments made by
HARDIE—HEL. t 45
the Hardanger peasants in Norway,
see “Eriksen” and “Heldal.”
Hardie, James, and Sons.
II7, Nicolson Street, Edinburgh.
James Hardie, b. Aguhadley, Ellon,
about 1837; grandson and pupil of
Peter Hardie. Started his own busi-
riess in Edinburgh, where he is assisted
by his four sons. They have made
between two and three thousand
instruments, on the Maggini, Stradi-
vari, and Guarneri patterns, using oil
varnish, reddish-yellow colour, of good
quality.
I887 and I890; received bronze medal,
I887, and gold medal, 1890.
Hardie, Matthew, d. about 1825, and
his son, Thomas, b. 1804; d. Jan. 19,
1856. They worked together in Edin-
burgh and made good violins, violas,
and violoncellos on the Amati pattern ;
his instruments have a fine tone, and
the work is neatly finished.
Hardie, Peter. A maker in Dunkeld,
b. I'773; d. 1863. He turned out
excellent instruments, and his violon-
cellos have an especially fine tone.
Hare, Joseph (or John). A maker in
London about I700-30. He made the
innovation of following the pattern of
Stradivari, instead of that of Stainer
as his contemporaries did ; he also used
a rich red varnish, of very good quality,
more transparent than that generally
used by English makers. Is said to
have been in partnership with Freeman.
Label: “Joseph Hare at ye viol and
flute near the Royal Exchange in
Cornhill, London, 1726.”
Harham. Working in London, 1765-85.
Harmand. A maker ‘in Mirecourt in
I772.
Harris, Charles. A maker in London,
1780-1800; lived in Cannon Street
Road, Ratcliffe Highway. He was a
Custom House officer. He was one of
the best English makers of his time,
and was noted for his violoncellos and
the excellent varnish that he used, of a
particular reddish tinge. He copied the
Stradivari and Amati patterns, but
seldom labelled his instruments with
his name. Samuel Gilkes worked for
him for some time.
Harris, Charles, eldest son of Charles
Harris, Was a fellow apprentice of
Samuel Gilkes under his father, and
also worked for John Hart for a little
time. His work was well finished; he
used yellow varnish.
Hart, J. Thomas, b. Dec. 17, 1805,
London; d. Jan. I, 1874. In May,
I820; he became a pupil of Samuel
Makers at
Exhibited in Edinburgh,
Gilkes. He made few new instruments,
but had a great reputation for his
experience and skill in repairing old
Italian instruments. Label: “John
Hart, maker, I4, Princess Street,
Leicester Square, London, anno 18—.”
Hartung, Michael. A maker in Padua,
I602. A lute of his of that date is in
the Collection of the Germanic Society,
Nuremberg. -
Hassert. A maker in Eisenach in the
18th century. He made very good
instruments, not much arched, used
beautiful wood, and an amber-coloured
varnish ; his imitations of Italian
instruments were excellent.
Hassert. A brother of Hassert, of
Eisenach. Worked about 1790 in
Rudolstadt. His instruments were
not so good as those of his brother;
they are much arched, of excellent
wood, and finished with great care, but
the tone is rather harsh.
Haudek, Carl. See “Lemböck.”
Haynes, Jacob. Was working in London
in 1746. He followed the Stainer
pattern.
Heberlein, Heinrich, jun. A very clever
maker in Markneukirchen, Saxony, at
the present time.
Heesom, Edward. Was working in
London about 1748–50. He followed
the Stainer pattern. Label: “Edward
Heesom, Londini, fecit 1749.”
Heidegger. A maker in Passau.
Heinle, J. A maker in Paris. Only one
violin, dated 1761, of his is known.
Hel, Pierre Joseph, b. Feb. 8, 1842, at
Mazirot, near Mirecourt (Vosges). Was
apprenticed for seven years in Mire-
court, was then for two years with
Sébastien Vuillaume in Paris, and for a
year (1864-5) with Nicolas Darche at
Aix-la-Chapelle. In 1865 he started his
own business at I4, rue Nationale,
Lille. He is an excellent workman
and makes all his instruments himself;
the pattern is very beautiful; the tone
is good; he uses oil varnish ; all the
details are carefully finished. He also
shows great skill in repairing old
Italian instruments. He has a special
method of seasoning the wood he uses,
removing, without the use of fire or
acids, every element that interferes.
with the tone. In 1886 he invented
an ingenious method of fixing the
pegs, which enables the strings to be
gradually tightened, and prevents their
suddenly running down; the shape of
the head remains the same. Was.
awarded: gold medal, Lille, 1882; .
diploma of honour, St. Omer, 1884;
gold medal, Antwerp, 1885; gold
medal, Liverpool, 1886; gold medal,
Paris, 1889; a member of the jury at
the Munich Exhibition, 1893, conse-
quently unable to compete; the same
at Chicago, I893; and at Bordeaux,
1895. Made “Officier de l'Académie"
and “Luthier to the Lille Conserva-
toire.” Label: “Joseph Hel, luthier
à Lille, 18—.”
Held, J. J., b. July 17, 1823, Flamers-
* heim, Rheinbach (Cologne). When
only I4 began to repair old instru-
ments, and a few years later made new
ones. In 1860 started his business in
Euskirchen; moved to his present
abode at Beuel vis-à-vis Bonn (Rhine),
1871. He makes from 12 to 16 violins
and violas a year, assisted by his son
and one workman, but always does the
varnishing himself; copies the Italian
patterns. Was awarded: Diploma,
Vienna, 1873; medal, Düsseldorf, 1880;
diploma, Detmold, 1881; silver medals
at Krems and Wels, 1882; Milan, 1884;
and medal, Görlitz, 1889.
Heldal, A., of Bergen. In 1862 he
exhibited in London a “Hardanger
violin,” more interesting for its
nationality than for its musical merit,
as it was one made by the peasants in
Hardanger, Norway.
Hell, Ferdinand. A maker in Vienna.
In 1854 he exhibited in Munich a
double-bass of rather small pattern,
but of powerful tone. He is also the
inventor of the trumpet-violin, an
instrument which can be used as a
trumpet or as a violin equally well.
Helmer (Hellmer), Carl, b. 1740, Prague.
Son of a maker there. He remained
there working under Ulrich Eberle for
Some years, and made some very good
violins, with red-brown varnish. The
earliest date found in his instruments
is said to be 1773. Label: “Carolus
Hellmer me fecit Pragae, 17–.”
Helmer, Jehan. A maker of guitars in
Lyons about 1568-72. Was of German
nationality.
Helmich, Son-in-law of Carl Grimm,
whose business he continued with
Louis Grimm on the death of Carl
Grimm.
Henderson, D. A maker in Aberdeen.
Hénoc (or Hénocq), François. A maker
in Paris, rue Jacob, 1775-77, and rue
des Saints-Pères, 1779-89.
Hénoc . (Hénocq), Jean (? Georges
Bienaimé). A maker in Paris from
I768 to about 1790. Lived in the rue
Seine-Saint-Germain.
Henry. A maker in Paris in rue Saint-
6 * - HELD–HENRY.
André-des-Arcs. A bass of his dated
I737 is known, of good workmanship,
and with red-brown varnish. It is not
known if he was related to the present
Henry family in Paris.
- Henry, Charles, called Carolus, second
son of Jean Baptiste Henry; b. 1803;
d. 1859. Pupil of his father, to whose
business in Paris he succeeded in 1831 ;
he made a large number of violins,'
altos, and violoncellos. The pattern
varied, especially in the violins; he
used yellow-red varnish, and his work
was carefully finished. In 1847 he
made an instrument called the
“baryton,” which, though played like
the violin, sounded an octave below.
Awards: bronze medal, Paris, I849;
“Mention honorable" and second-class
medal, 1855. Label: “Carolus Henry,
luthier, rue Saint-Martin No. 151,
fecit Anno Domini (1831 a 1859).” His
son, Eugène, was also a maker.
Henry, Eugène, son of Charles Henry :
b. 1843; d. Sept. 7, 1892. He succeeded
his father, and was one of the best
Parisian makers of his time ; was
especially successful in repairing old
instruments. Many of the new violins
that bear his name were not entirely
made by him, although made in
his workshop. Awards: “Mention
honorable,” Paris, 1878, and bronze
medal, 1889. His business was
continued after his death by Charles
Brugère.
Henry, Jean Baptiste, b. 1757 at Matain-
court, near Mirecourt (Vosges); d.
1831, Paris. He was the head of the
present family of makers. Was appren-
ticed in Mirecourt, then went to Paris,
and established himself in connection
with the St. Martin Monastery, thereby
obtaining exemption from certain fees
and penalties he would otherwise have
had to pay. He worked there till
1788, when the ancient privileges of
the monasteries were abolished. Then
moved into No. 175, rue Saint-Martin;
the number was afterwards changed to
I51, but his family always continued
working in the same house. A violin
is dated 1781, but he did not put labels
in his instruments, and those that bear
his name were labelled by his sons,
Jean Baptiste Félix and Charles, who
were both makers.
Henry, Jean Baptiste Félix, eldest son of
Jean Baptiste Henry; b. 1793, Paris;
d. there, 1858. Pupil of his father.
Worked first in 1817 atrue Montmartre,
Paris; in Bordeaux in 1822, and in
Marseilles in 1825. In 1844 he returned
HENRY-HILL.
to Paris, living in the rue Fléchier
till his death. He made a great
many instruments, but never signed
them. His son, Octave, was also a
maker. -
Henry, Octave, son of Jean Baptiste
Félix Henry; b. 1826. Worked first
with his uncle, Charles, and then with
Maucotel at Paris. He settled in Gre-
noble in 1854 and made a great many
violins.
Henry. A violin bow maker, b. 1812 at
Mirecourt; d. 1870 at Paris. He left
Mirecourt for Paris in 1837, and first
worked with Chanot, then with Peccate.
Was partner of Simon, 1848-51, then
worked alone, first at 8, rue des Vieux-
Augustins, later in the rue Pagevin.
His bows are excellent, he marked
them “Henry, Paris.” He was no
relation to the Henrys of rue Saint-
Martin. • .
Hetel, G. Maker of lutes and cithers in
Rome in 1763. Label ; “G. Hetel
fecit Romae, anno 1763.”
Heubsch, J. G. G. He published a
work on the making of musical instru-
ments about 1764.
Hieben, Giovanni. A maker of lutes in
Venice in 1581. In an arch-lute was
the label “Giovanni Hieben e Martine,
faciebat in Venezia, Ao. I58I.”
Hieronymus, Geraldi. A maker of lutes
and cithers in Brescia about 1574. In
a cither, remarkably well made, is still
legible “ . onimus Bresciensis.”
In a cither in the Hof.-Museum at
Vienna, beautifully worked and de-
corated, is the name “Hieronymus
Brixiensis” and the date 1574.
Higgins, P. H. A maker in Montreal,
who exhibited some of his instruments
in 1851.
Hildebrandt, Michael Christopher. A
maker in Hamburg about I765-1800.
Good violins, violas, violoncellos, and
double-basses of his are known ; he
was also extremely skilful in repairing
old instruments.
Hill, Henry Lockey, son of Lockey
Hill ; grandson of Joseph Hill ;
b. 1774; d. Aug., 1835. Worked for
some time with John Betts, was
probably still with him when he took
patterns (still preserved by the firm) of
a Stradivari violoncello, sent by
Friedrich Wilhelm III. of Prussia to
John Betts in 1810, to be sold in
England. He was an excellent work-
man, and some violins, violas, and
violoncellos of his are exceptionally
good instruments. Of his four sons,
Henry (d. 1856) was a fine viola player,
Joseph (d. 1837) and William Ebsworth
were both makers.
Hill, John. A maker who apparently
worked in Red Lion Street, Holborn,
was there, at any rate, in I794.
Hill, Joseph, b. 1715; d. 1784. He was
a fellow-apprentice of Banks, working
at “Ye Harp and Hautboy,” in Picca-
dilly, London, under Peter Wamsley,
about 1740-42. Then worked in High
Holborn (1753), then at the sign of
“Ye Violin,” in Angel Court, West-
minster (1756), and lastly at the sign
of the “Harp and Flute" in the Hay-
market (1762). Later on, his sons
became partners in the business. His
instruments are of great merit; his
violoncellos and double-basses are
especially liked, some have a fine oil
varnish. Label: “Joseph Hill, maker
at the ‘Harp and Flute' in the Hay-
market, 17 London, 69”; similar labels
are dated 1772. His sons, William,
Joseph, Lockey, and Benjamin, were
all makers.
Hill, William, son of Joseph Hill.
Worked in London about 1740-80. He
made some good instruments, rather
similar to those of Edmund Aireton ;
the varnish was a beautiful yellow
colour, rather transparent; the tone
though good was not powerful. Label:
“William Hill, maker in Poland Street,
near Broad Street, 1741,” and “William
Hill, makerin Poland Street, near Broad
Street, Carnaby Market, I'77—.”
Hill, William Ebsworth, son of Henry
Lockey Hill; b. Oct. 20, 1817; d.
April 2, 1895. A maker in London.
Learnt from his elder brother, Joseph.
Began by making violin-bridges, always
beautifully shaped and designed; quite
200 are still preserved by the firm.
He worked for a year with Charles
Harris, at Oxford, returning to London,
1838. First worked in Southwark,
then in Wardour Street, and finally
removed to 38, New Bond Street.
When he began to repair and deal in
old instruments he did everything with
his own hands, and had no assistants
until his sons grew up. He exhibited
some very beautiful violins of carefully
finished work and an excellent viola
of large pattern, with full round tone,
in London, in 1862, obtaining special
commendation and a prize medal.
Probably few, if any, of W. E. Hill's
contemporaries had such a wide and
thorough knowledge of the art and
craft of violin making as he himself.
Those who had the pleasure of knowing
him personally found his conversation
48 - HILtz–HUET.
full of the most interesting facts and
reminiscences, while at the same time
a kindly, straightforward, and un-
assuming manner, peculiarly his own,
made him the object of general regard
and respect. His death removed one
who was a prominent and charac-
teristic link between modern times and
a bygone type of personality. The
present members of the firm are his
four eldest sons: William Henry, b.
June 3, 1857, followed the musical
profession for some years, before
joining his brothers in the business;
Arthur Frederick, b. Jan. 25, 1860 ;
Alfred Ebsworth, b. Feb. 1862, who
worked for some time at Mirecourt
(Vosges) and was the first Englishman
to go there to study ; and Walter
Edgar, b. Nov. 4, 1871, who also
worked at Mirecourt. They employ
a large staff of assistants in their
workshops at Hanwell.
Hiltz, Paul. A maker of viols in
Nuremberg, I656. In the collection
of musical instruments there is a viola
da gamba dated 1656.
FIircutt. A maker working in London
about I600. -
Hochbrücker. A maker in Donauworth,
Bavaria, about 1699. Later he worked
at Augsburg. He made some fairly
good violins, but is chiefly known as
the inventor of pedals for the harp,
about 1720.
Höhne. Worked both in Dresden and
Weimar.
Hörlein, Carl Adam, b. 1829 at Winkel-
hof, near Würzburg. Pupil of Joseph
Vauchel; later he worked for three
years in Vienna, chiefly under Anton
Hoffmann, but also under Gabriel
Lemböck. In 1853 he settled in
Kitzingen, Bavaria; but in 1866 moved
to Würzburg, where he remained.
Both as a maker of new instruments
and as a repairer of old ones he has
a great reputation. In 1875, under
Professor Hermann Ritter's direction,
he made a “viola alta" exactly on the
principles laid down in the little book
called “Die Geschichte der Viola
Alta " (Leipzig, 1877); it had a full,
SOnorous tone. '
Hoffmann, Anton.
Vienna about 1850.
Hoffmann, Johann Christian, son of
Martin Hoffmann. A maker of lutes
and viols in Leipzig about 1720. He
was an excellent workman. His
younger brother, who also worked in
Leipzig about the same time, mad
good violins and bass-viols. -
Court maker in
Hoffmann, Martin, d. in Leipzig, 1725.
A maker of good lutes and viols, who
worked in Leipzig from about 1685.
He also made violins and violoncellos
of good tone, although the inelegant
pattern (the cut of the sound-holes, the
sharp corners and weak edges) has
caused them to be neglected. In 1720
he began to make the “Viola pomposa,”
a small violoncello with five strings
tuned C, G, D, A, E, the invention of
which is ascribed to J. S. Bach. It
was never much used and seems to have
been merely the reproduction of an
obsolete form of violoncello. A
specimen was exhibited in Paris, 1878;
it was on a good model, very much
arched, the head ending in a scroll,
and the sound-holes well cut.
Hofmans, Matthias. A maker in
Antwerp about 1700-50. He made
beautiful instruments on the pattern of
Amati and Guarneri del Jesú, he used
a warm dark red varnish, similar to
that of Italian instruments of the same
period. In a little pocket violin was
the label: “Matthys Hofmans tot
Antwerpen, I74o.”
Holloway, John. A maker in London
at 31, Gerard Street, Soho, in 1794.
Homolka, F. A maker in Kuttenberg,
Bohemia, about 1850.
two violins in Munich, 1854, of beauti-
ful workmanship; the wood was rather
thick, which perhaps rendered the
tone a little harsh, but otherwise
excellent.
Hopkins. A maker in Worcester, who
exhibited a double-bass in London i
I862. -
Horil, Giacomo. A maker in Rome
about I720-50. *
Horlein. See “Hörlein.”
Hornsteiner. See “Neuner.” .
Hornsteiner (Hornstainer), Joseph. A
maker in Mittenwald about 1730. He
made some good double-basses.
Hornsteiner (Hornstainer), Mathias. A
maker in Mittenwald about 1770-1800.
His instruments were better made than
those of Joseph Hornsteiner. Label :
“Mathias Hornsteiner der Geigen-
macher in Mittenwald, 1770.”
Hosborn, Thomas Alfred. A maker in
London in 1629. A bass viol of this
date was exhibited in Paris, 1878.
Huel, d. in 1845. A maker in Rennes.
Pupil of Lacôte. He made some fairly
good guitars.
Huet, Henri. A maker in Paris about
1775-90; lived first at rue Saint-Martin
(1778), then rue du Grand-Hurleur in
1783. This latter date was in an alto
He exhibited
HULINSKI—JACQUOT. : 49
of his, of good workmanship, with
yellow-brown varnish. He made at
the sign of “Au Roi des Instruments.”
Hulinski. Worked in Prague in 1760 ;
his instruments were well made, with
small sound-holes and gracefully cut
scroll, the varnish red-brown colour.
Huller, August, A maker in Shoeneck
about 1735-76.
Hulskamp, J. H., b. in Westphalia.
Settled in New York, U.S.A. In the
1862 London Exhibition he exhibited
violins made on a new pattern. Instead
of the ordinary sound-holes, was one
round hole in the middle of the violin,
just below where the bow sets the
strings in motion; other innovations
were also made, but the result seems
to have been that the tone suffered in
quality.
Hume (or Home), Richard. Born in
England, but settled in Edinburgh and
became the great viol and lute maker
there, about 1530-35. In the Scottish
Treasurer's accounts in 1535 is “Item
to the Kingis Grace to Richard Hume,
Inglismanne, quhilk suld mak violis to
the Kingis Grace, to by stuffe for the
samin xx lib.” j .
Humel, Christian.
berg in I709.
Hunger, Christoph Friedrich, b. 1718,
Dresden; d. 1787, Leipzig. Pupil of
Jauch in Dresden. He made very
good violins, violas, and violoncellos
on the Italian pattern ; the wood was
of excellent quality, the varnish amber-
coloured ; his instruments are some of
the best of that time. -
Hurel, Jean. A maker in Paris, living
in 1686, rue des Arcis, at the sign of
“A l'image de St.-Pierre”; from 1689
to 1717, rue St. - Martin, near the
Fontaine Maubué. He was maker of
instruments “pour la musique du Roy,”
and is said to have been a very clever
workman. A Charles Hurel is also
mentioned as being a maker of musical
instruments in Paris in I636.
Husson. See “Buthod.”
A maker in Nurem-
Indelami, Matteo. A name found in a Ivrontigni, Wougelli. A maker in
very old mandora, with no mention of
town or date.
Jacobi. A maker of lutes at Meissen,
Saxony, in the first part of the 18th
century. His instruments were much
liked.
Jacobs, Peeter. A maker in Amsterdam
about 1690-1740. He made a great
number of good violins, altos, and
violoncellos; he copied the large pattern
of Nicola Amati so faithfully that his
violins are often taken for genuine
Italian instruments; the wood is care-
fully chosen; the red-brown varnish of
good quality; the scroll and the sound-
holes are not very well cut; the purfling
is of whalebone ; the tone sweet, but
not very powerful. .
Jacobs. Worked at Amsterdam rather
later than Peeter Jacobs; was probably
his son. He used dark red varnish of
very good quality; his work was not
carefully finished.
Jacot, A., eldest son of Jean Charles
Jacot. Is working in Paris.
Jacot, Jean Charles. A maker at Metz,
Turin.
b. 1811; d., about 1887, at Pont-à
Mousson. Had two sons, the elder a
maker, the second, Lucien, a bassoon
player. -
Jacquot (Jacquart), Charles, b. 1804 at
Mirecourt; d. March 29, 1880, at
St. Maur-les-Fossés near Paris.
Although his father was not a maker,
but an army tailor, he was descended
from a family of makers, who dated
back to one Charles Jacquot, who lived
in 1645. In 1819 he was apprenticed
to Nicolas, sen., later to Breton, both of
them makers in Mirecourt. He went
to Nancy, 1823, and worked there till
1827, when he started his own business
there; in 1854 he transferred it to his
son Pierre Charles, and went to Paris.
There he started another workshop in
rue des Vieux-Augustins, moving to 42,
rue de l'Echiquier in 1857. His work
is very good; the violins that he made
in Paris are especially esteemed for
their careful finish and regularity of
50
JACQUOT-JEAN.
J
form; he was also learned on the subject
of old instruments. Label: “Médaille
d'or et d'argent, Charles Jacquot, 42,
rue de l'Echiquier a Paris.” Awards at
Exhibitions: bronze medal, Nancy,
1838; silver medal, Nancy, 1843; Ist
and 2nd prize, Paris, 1849; 2nd class
medal, London, 1851 ; silver medal,
Paris, I855; gold medal, Bayonne, I864;
bronze medal, Paris, 1867.
acquot, Etienne Charles Albert, eldest
son of Pierre Charles Jacquot, b.
Sept. 18, 1853, Nancy. Learnt under
his father, and was associated with
him in his work. He published two
important works: “La Musique en
Lorraine,” in 1882, and “Dictionnaire
des instruments de musique,” &c. He
is Officier de l’Instruction publique
and member of the Society “des
Beaux-Arts des départements.”
Jacquot, Jules Victor, second son of
Pierre Charles Jacquot, b. Aug. 12,
1855. Also learnt his trade with his
father and continued to work in associa-
tion with him. ... "
Jacquot, Pierre Charles, son of Charles
Jacquot; b. March Io, 1828, Nancy.
Pupil of his father, to whose business
in Nancy he succeeded in 1854. He
was a clever maker and gained a great
reputation by the instruments he sent
to various exhibitions. Honours and
awards: Ist prize, Metz, 1861 ; prize
medal (for the good quality and
moderate price of his instruments),
London, I862; bronze medal, Paris,
1867; great gold medal, Lyons, 1872;
silver medal, Paris, 1878; diploma of
honour, Bar-le-Duc, 1880, and at
Algiers, 1881 ; silver medal (awarded
to Jacquot and Sons for their instru-
ments, of a beautiful pattern, varnish
copied from that on old instruments,
the equal quality of the tone being re-
markable), Paris, 1889; he received the
Cross of the Legion of Honour, July
I4, 1892. Had two sons who worked
with him; they exhibited instruments
at Moscow in 1891 ; Vienna, 1892; and
Chicago, 1894.
Jais, Johann. A maker at Botzen about
I775. His instruments are varnished
brown.
J'Anson, Edward Popplewell. Worked
in Manchester. Learnt from William
Booth, jun.
Jaspars, Jean, b. at Coesvelt. A maker
of lutes at Antwerp about 1568.
Jauch, Johann, b. Gratz, Styria, but
was working in Dresden, 1765-74. He
followed the Cremona pattern, making
very good violins; he used excellent
wood and amber-coloured varnish,
and showed great knowledge of the
correct proportions and thicknesses
of wood required in various parts of the
instrument ; the tone is occasionally
weak and shrill. His instruments were
signed with his name. C. F. Hunger
was a pupil of his.
Jay, Henry. A maker of viols in London
about 1615-67. A viol, that had been
converted into a small violoncello with
four strings, was excellently made and
of fine tone, the varnish of good
quality, the head well cut, the purfling
very fine; it was dated “in Southwarke,
I615.” A small bass-viol dated 1624 is
in the Paris Conservatoire Collection ;
a tenor viol was exhibited at the South
Kensington Museum, London, 1872,
with the label “Henry Jay in South-
warke, 1667.” It has six strings, tuned
one-fifth higher than the bass-viol,
catgut frets, and a beautifully carved
scroll. It is probably this maker, alluded
to in Thomas Britton's Catalogue of
Musical Instruments: “a viol said to be
the neatestand best that Jay ever made.”
This passage, from Thomas Mace's
“Musick's Monument " (published
I676), also probably applies to him :
“Your best provision (and most com-
pleat) will be a good chest of viols . . .
of such there are no better in the
world than those of Aldred, Jay . . . .
these were old . . . . yet we chiefly
value Old Instruments before new; for
by experience they are found to be far
the best.”
Jay, Henry. Worked in London about
1746–68. He was best known for the
small violins or “kits" that he made,
which were used by dancing-masters;
the varnish was a red-brown colour,
the work was neatly finished, and he
received £5 for each one—a very large
sum for those days. He also made
Some violoncellos, often signed on the
back “Longman and Broderip.” Two
labels are known : “Made by Henry
Jay in Long Acre, London, I746,” and
“Made by Henry Jay in Windmill
Street, near Piccadilly, London, 1768.”
He is supposed to have been related to
Thomas Jay.
Jay, Thomas. Working in London from
about 1690. May have been related to
the other Jays. He made some excel-
lent violins. Was possibly in partner-
ship with Edward Lewis, but there is
no proof of it.
Jean. A maker in Paris, rue Saint-
Martin. A guitar is known dated
1667. &
JEAN DEL–KERLINO. - 5I
Jeandel, Pierre Napoléon, b. 1812,
Courcelles-sous-Vaudémont (Meurthe);
d. May Io, 1879, Rouen. Appren-
ticed at Mirecourt; went to Rouen,
worked under Charotte of Mirecourt,
1830-36; then, in partnership with
Lucien Delau, succeeded to the busi-
ness at 36, rue Beauvoisine. They
separated in 1848, and Jeandel worked
at 51, quai de Paris till 1878, when
his health failed, and he was ad-
mitted into the “hospice général ”
of Rouen, Dec. 27, 1878. He was a
clever workman, and his instruments
are well made and have a good tone; he
used red varnish. Awards: bronze
medal, Rouen, 1854; Ist class medal,
Paris, I855; silver medal, Rouen,
1856.
Kâmb1 (Kambly, Johann Andreas. A
maker in Munich in 1640, according to
the label: “Johann Andreas Kåmbl
Chūrfürstl. Hof Lauten und Geigen-
macher in München, 1640.” ©
Kâmb1 (Kambl), Johann Cornelius. Was
working in Darmstadt, 1635-40.
Kaiser, Martin. A German maker who
settled in Venice; was working there
in 1609. There is an arch-lute of this
date in the Paris Conservatoire Col-
lection.
Karb. A maker of viols in Königsberg.
Kembter. A maker in Dibingen about
1725-30. He followed the Stainer
pattern; his violins are arched, of a
good pattern, with varnish, sometimes
yellow-brown, sometimes pale red
colour; the wood is excellent and the
purfling well done.
Kennedy, Alexander, b. in Scotland
about 1695; d. in London, 1785. Was
the first maker of this family. He
followed the Stainer pattern, and gained
a great reputation in England for his
beautiful violins (no other instruments
of his are known); the work, both of
the interior and exterior, was good
and neatly finished, and the purfling
well done; the spirit varnish was of
a brownish-yellow colour. Label :
“Alexander Kennedy, musical instru-
ment maker, living in Market Street,
in Oxford Road, London, 1749.” A
violin is dated 1743.
Kennedy, John, b. 1730, London; d.
there, 1816. Was buried in Shoreditch
Church. He was a nephew and pupil
of Alexander Kennedy. The only
K.
Johnson, John. A maker in London,
1750-60. He followed the Stainer pat-
tern. Two labels, one undated: “Sold
by John Johnson, Cheapside, London”;
the other, “Made and sold by John
Johnson at the ‘Harp and Crown' in
Cheapside, 17 London, 53"; a similar
label was dated I759.
Jombar, Paul. A maker in Paris. He
worked for some time in the workshop
of Gand and Bernardel, but started his
own business in 1892.
Jorio, Vincenzo. Was working in Naples
in 1847. Was a good maker.
Joseph, J. A maker in Vienna in 1764.
Juliano, Francesco. A maker in Rome
about 1720-70. Label: “Francesco
Juliano in Roma, 1725,” in a well
made violin.
instruments he made were violins and
violas, all very arched, on the Stainer
pattern ; he chiefly worked for the
dealers. He lived first in Cooper's
Gardens near Shoreditch Church, then,
after various changes, in Long Alley,
Sun Street, Moorfields, where he
died.
Kennedy, Thomas, b. Jan. 21, 1784,
London; d. 1870. , Was a son of John
Kennedy; pupil of his father, also of
Thomas Powell, to whom he was
apprenticed June 17, 1795. He worked
at times for William Forster (1764-
1824), but his own workshop was first
in Princes Street, Westminster, and
then at 364, Oxford Street. He retired
from business in June, 1849, having
made at least 300 violoncellos as well
as other instruments; all his work
was well and neatly finished.
Kerlino, Joann. A maker of rebecs and
viols of all sorts at Brescia about
1449-93. He is one of the earliest
makers known, and was probably the
founder of the Brescian School. It
has been suggested that he originally
came from Brittany, as many family
names there commence with the
syllable “Ker.” A viol of his, which
had had the neck changed (probably
by Koliker, of Paris, in 1804), and was
mounted with four strings like a violin
—only instead of a tail-piece it had a
piece of ivory pierced with four holes
to which to attach the strings—was
very much arched, and had a soft,
muffled tone. Inside was the inscrip-
tion : “Joann Kerlino, ann. I449.”
52
Kiaposse, Sawes. A maker in St.
Kiesgen, Louis.
then at 134, rue de Turenne.
Petersburg about 1748–50.
A maker in Paris,
first at 84, boulevard Magenta, and
He has
not made many instruments, but those
known are of beautiful workmanship ;
he followed the pattern of Gand and
K
used red varnish.
irschschlag. Was working in the
Tyrol in 1780.
Klein, A. In 1884 he founded, an im-
portant business in Rouen, at 65, rue
Ganterie, under the title of “A. Klein
et Cie,” reviving the trade in instru-
ment making that had entirely dropped
after Jeandel's death in 1879. He
placed Antoine Brubach at the head
of the workshop, which has now
turned out about 200 violins, and
numbers of altos and violoncellos ; the
work is carefully finished and the
varnish good, of a brilliant red colour.
Label: “A. Klein, luthier a Rouen,
I8—. A. K.” Awards from Exhibitions:
silver medal, Rouen, 1884; diploma of
Havre, 1887.
IK
R
Klotz,
K
honour, Evreux, 1886; silver medal,
In 1887 he was made
Officer of the Academy.
loss, Ernst. A maker in Breslau.
lotz (Kloz), Egidius. Was probably a
pupil of Stainer in Absam, returning to
Mittenwald, his native place, to work.
He was the first member of this family
to make violins. He followed the
Stainer pattern, using good wood and
amber-coloured varnish ; his instru-
ments have a fine full tone, are well
finished, and are signed with his name.
George, son of Mathias and
grandson of Egidius Klotz. Worked in
Mittenwald about 1750-70. He also
followed the Stainer pattern. His
instruments were well made, but the
spirit varnish, sometimes yellow, some-
times red, is of bad quality; it is thin
and brittle and laid on a coat of size
which prevents its penetrating the
wood, making it opaque and perishable;
the wood is often worm-eaten. In a
violin of beautifully finished work with
red varnish was the label: “George
Klotz propria mea manu feci in Mitten-
wald, 1753”; another label was “George
Rlotz in der Mittenwald an der Iser,
1761.” t
lotz, Johann Carl. Worked in Mitten-
wald about 1740-55. He died young;
his instruments are rare and but little
known, but are said to be among
the best of those made by the Klotz
family. In a very well made violin
with dark varnish, almost black in
KIAPOSSE—KLOTZ.
colour, is the label: “Joan Carol Klotz
in Mittenwald, an. I'750"; a similar
label was dated I753.
Klotz, Joseph, brother of George Klotz.
Was still working in Mittenwald in
1774. Also followed the Stainer
pattern. He was careful in his selection
of wood and his instruments have a
very good tone, but he used varnish of
poor quality. Label: “Joseph Klotz
in Mittenwald an der Iser, an. I'774.”
Klotz, Mathias, son and pupil of Egidius;
b. about 1650. Worked in Mitten-
wald till about 1735. He is also said to
have been a pupil of Stainer, and
certainly followed his pattern. He
travelled in Italy, visiting Florence and
Cremona, before he finally started,
about 1683, his great work in Mitten-
wald. The small town was then in a
state of great poverty, but Mathias,
taking advantage of the famed pine
woods around, in which he found just
the material he required, employed
numbers of workmen to make cheap
violins, which were afterwards hawked
round from house to house and sold at
extraordinarily low prices. As a rule
each workman made one and only one
of the required parts of the instrument,
other workmen were employed in
putting the parts together into one
whole. Mittenwald soon rivalled
Markneukirchen in Saxony and Mire-
court in the Vosges in this industry,
and the fortune of the town was made.
The tone of the instruments is not
bad, but the yellow-brown varnish is
of poor quality and the sound-holes
rather small. In a viol, of which the
neck and head had been changed so as
to turn it into a viola, was the label :
“Mathias Klotz Lautenmacher in
Mittenwald, anno I7—.” In the Paris
Conservatoire Collection is a viola
d'amore with seven strings and fifteen
sympathetic strings, dated Mittenwald,
I732. His three sons, George, Sebas-
tian, and Joseph, were all makers.
Klotz, Michael and Carl, two brothers,
working in Mittenwald about 1770.
A great many of the violins with
“Stainer” labels are made by
members of the Klotz family and their
imitators, the “Klotz” labels having
been destroyed by the dealers and
spurious “Stainer” ones substituted.
Probably, also, when these makers had
turned out a specially good instrument
they used a “Stainer” label instead of
their own. Authentic instruments of .
the Klotz family are consequently not
COIT) II] OIl.
KLOTZ–LAFLEUR.
53
Klotz, Sebastian, a brother of Joseph
and George Klotz. Worked in Mitten-
wald about I700-40. He seems to
have been the best maker in the
family. His violins are of a large
pattern, not much arched; as a rule
the varnish is excellent, the tone is
clear and full, and the work is carefully
finished. Label: “Sebastian Klotz in
Mittenwald, an. 17oo.”
label in a violin, with yellow-brown
varnish, was dated 1740.
Klüher. A maker in Markneukirchen,
Saxony.
Knitting, Philipp.
Mittenwald in 1760.
Knittle (Knit!), Joseph. A maker in
Mittenwald in 1790.
Knoop, Wilhelm. A makerin Meiningen.
Exhibited in Munich, 1854; his instru-
ments are made on the Stainer pattern;
the tone is good and full.
Koeuppers, Jean. A maker at The
Hague, 1755-80. Many of his instru-
ments are to be had ; they are ex-
cellently made, but the yellow varnish
he used is ugly and of thick quality.
Kohl, Johann. A maker in Munich
about 1570-1600. He was appointed
maker to the Court of Bavaria in 1599.
Kolb, Hans. Was working in Ingolstadt,
Bavaria, in 1666.
Kolditz, Johann. A maker in Rumburg,
Bohemia. He died there 1796. He
made excellent violins and violas.
Kolditz, Mathias Johann. A maker
in Munich about 1720-55. Label:
“Mathias Joannes Kolditz Lauten und
Geigenmacher in München, 17—.”
Koliker, Jean Gabriel. Worked in Paris,
1783-99, in rue des Fossés-Saint-Ger-
main-des-Prés; in 1800 he moved
to 24, rue Croix-des-petits-Champs.
Ch. F. Gand bought his business in
Was working in
1820. It is doubtful if he made any
Lacasso. See “Lavazza.”
Lacôte. A maker of guitars in Paris
from about 1820. His work is very
good, but it varies, and it is possible
that his labels are to be found in instru-
ments he had not made. In the Paris
Conservatoire Collection are two
guitars, one made with six strings, dated
1852; the other “a heptachord,” the
seventh string being placed like the
lower string of the theorbo; the label is
dated “182—.” He patented a guitar
with ten strings, a “decachord,” in
A similar
L.
new instruments, but he was an
extremely clever repairer of old ones.
Kram, Andreas Ernst. A maker of
cithers in Nuremberg, about 1765-85.
Label: “Andreas Ernst Kram, Instru-
ment Macher in Nürnberg, an. 1767";
a similar one is dated 1781.
Kramer, H. A maker in Vienna in 1717.
In the Collection of the Gesellschaft
der Musikfreunde there is a viola di
bordone dated “Wien, 1717.”
Krebar, , Giovanni. A maker in Padua
in I629.
Kren, Franz. A maker of cithers in
Munich, 1833. &
Krigge, Heinrich. A maker in Danzig,
I756-58. His instruments suggest the
Maggini pattern, in the general model,
large size, neat edges and work, and
double purfling in ink. Three violins
and a tenor of his are known, the latter
with a fine tone.
Kriner, Joseph. A maker in Mitten-
wald about 1785-95.
Krupp, Pierre. Worked in Paris, rue
St.-Honoré, 1777-91 ; he also made
harps. l
Kühlewein und Tetzner. Makers in
Markneukirchen. Exhibited in Munich,
1854. A violoncello of theirs, ex-
cellently made on the Stradivari
pattern, not much arched, had a fairly
good tone. -
Küntzel. A maker in Berlin. He
exhibited a quintet of instruments in
London, 1862; the tone was excellent.
Kuntzel, Laurent, b. 1790, at Hof,
Bavaria. Worked till about 1855.
About 1815, after rather a chequered
career, settled in Breslau, and worked
for some years under Fichtel, an instru-
ment maker there; he then devoted
himself entirely to violin making,
making excellent imitations of Italian
violins and violoncellos.
1826, and exhibited it in 1827. Ex-
hibited a guitar of seven strings, beauti-
fully made and of very fine tone, in
1839, was awarded a bronze medal.
In 1844 his instruments were also
placed in the first class, and a bronze
medal was awarded him. He branded
his guitars with “Lacôte à Paris.”
Lacroix, Salomon. A French maker of
the 19th century.
Lafleur. A maker in London, brother
of the Parisian maker.
Lafleur, Jacques. A bow maker in Paris;
54 LAFLEUR—LANZA.
b. I'760, at Nancy; d. 1832, at Paris. In
I783 he had been settled for several
years in rue de la Coutellerie; he had
moved to rue de la Verrerie by I785,
and to 30, rue de la juiverie by 1788,
there he probably remained till his
death. He closely copied the bows of
François Tourte, and his work has a
well-merited reputation. In the Paris
Conservatoire Collection is a bow of
his. His son, Joseph René, was also
a bow maker.
Lafleur, Joseph René, son of Jacques ;
b. July 8, 1812, Paris; d. Feb. 19, 1874,
Maisons Lafitte. Was living in the
rue de la Cité in 1835, probably moved
there from rue de la Juiverie after his
father's death. Pupil of his father,
and a very clever workman, producing
bows which rival those of François
Tourte; a very beautiful one is in the
Paris Conservatoire Collection. Since
about 1840 the Lafleur firm has been
established in the boulevard Bonne-
Nouvelle près de la porte Saint-Denis,
and has added a music-publishing
business to that of instrument making.
Lafranchini, Jacobo de. Was appren-
ticed to Gasparo da Salò at the same
time as Maggini, and afterwards (1615)
was living with Maggini as workman
and assistant.
Lagetto, Louis. An Italian maker who
was working in Paris, I745-53, at the
sign of “La ville de Crémone '' in the
rue des Saints-Pères. He followed
the pattern of Andrea Amati, using
spirit varnish ; his instruments were
much liked. Label : “Louis Lagetto,
luthier rue des Saints-Pères faubourg
Saint-Germain à Paris, 1753. ‘A la
ville de Crémone.' (Signed) Lagetto.”
Lajoue. See “Gaillard-Lajoue.”
La Loe. A maker in France in the
18th century. A six-stringed viol of
his is known.
Lambert. A maker said to be living in
Nancy in I750, who was called the
“Carpenter,” because of the extra-
Ordinary number of violins he made ;
they were of no particular merit.
iºnier is said to have been a pupil of
1S.
Lambert, Jean Nicolas. A maker in
Paris. Was working in rue Michel-le-
Comte about 1743-85. The date of
his death is not known, but in 1788
the business was being carried on by
his widow. He was possibly a brother
of the maker in Nancy. The label:
“J. N. Lambert, rue Michel-le-Comte,
Paris, I750,” was in a violin of flat
pattern, with badly cut sound-holes;
a similar label, dated I759, is in a
violoncello in the Paris Conservatoire
Collection; another violoncello is dated
1752; “Lambert à Paris” was branded
on the inside of the back of an alto,
and “Lambert à Paris, I782,” was
inscribed in a cither ; a guitar was
dated 1784.
Lambin. A very clever repairer of old
‘instruments in Ghent, I8oo-3o.
Lamy, N. Alfred Joseph. A bow maker,
b. Sept. 8, 1850, at Mirecourt. In 1863,
apprenticed in Mirecourt; 1866-77,
worked under the Gautrots at Château-
Thierry; then went to Paris to work
with F. N. Voirin ; the latter dying in
1885, Lamy started his own business at
34, rue Poissonnière. He is a clever
and conscientious workman, and his
bows are as carefully finished as those
of his old master. He brands his
bows below the nut with “A. Lamy, a
Paris.” He was awarded a silver
medal in 1889.
Landi, Pietro.
in I774.
Landolfi, Carlo Ferdinando. A maker
in Milan about 1740–75. He made a
large number of violins, which vary in
character; some carefully finished with
brilliant red varnish, very transparent,
are much liked ; others have a yellow
varnish, thin and hard and not of good
quality. He used fine wood, the outer
edge is generally grooved, the sound-
holes are badly cut, and the scroll is
weak; the work is often unfinished,
only one coat of varnish being used
and no purfling. He occasionally
copied Giuseppe Guarneri very closely.
His violoncellos, generally of small size,
are extremely good, and rank higher
than his violins; they are rather
similar to those of Pietro Guarneri,
but not so arched; the proportions
are more accurate ; they are worth
from £30 to £50; a remarkably fine
violin was priced at £50. Labels:
“Revisto da me Carlo Ferdinando
Landolfi, l'anno 1744 ''; “Carolus
Ferdinandus Landulfus fecit Mediolani
in via S. Margaritae, anno 1755 '';
“Carlo Ferdinando Landolfi nella
contrada di Santa Margherita al Segno
della Sirena. Milano, 1758”; “Revisto
da Carlo Ferdinando Landolfi, l'anno
1771.” Two violins were dated 1752
and 1753.
Lantez, M. E., son-in-law of Grandjon,
sen. Was a maker at Mirecourt.
Lanza (Lansa or Lausa), Antonio Maria.
A maker in Brescia about 1675. He
followed the patterns of Gasparo da
Was working in Sienna
LAPAIX—LECLERC. 55
Salò and Maggini; his instruments
were well made, with red-brown var-
nish, and had a good tone.
Lapaix, J. A. A maker in Lille (Nord,
F#. who from 1840 to 1855 made
various attempts to improve upon the
usual violin pattern. The first instru-
ment, dated “I840, No. I,” was of a
very exaggerated character; he con-
tinued to make other instruments,
which differed less from the traditional
form, and tried the experiment of
cutting the sides out of one piece of
wood, hollowed out and carved in the
usual shape, so that there were only
six pieces instead of the usual twenty-
four to join together. In 1848 he was
awarded a medal by the Society for the
Encouragement of National Industries,
and in 1852 the merit of his instruments
was noticed by the Imperial Society of
Lille. He obtained a medal of the
2nd class at the Paris Exhibition, 1855.
Label : “Fait par Lapaix luthier a
Lilleen 1843, Breveté.”
Ilaprévotte, Etienne, b. Mirecourt; d.
1856, Paris. He worked first at Mar-
seilles and was still there in 1821, but
from about 1823 was established in
Paris. His violins were admired for
the beautifully finished work; one is in
the Paris Conservatoire Collection, its
varnish is a very good colour; he
received a “Mention '' at the 1823
Exhibition, and a bronze medal in 1827.
Soon after he began to make guitars
and gained a great reputation, he and
Lacôte being considered two of the
best French makers of this instrument.
Two fine guitars of his, with the label
inside of “Guitare Laprévotte, dédiée
aux dames,” are in the Paris Con-
servatoire Collection. He received a
“Mention ” in 1834 and a bronze
medal in 1844 for the guitars he
exhibited. sº
Larche. A maker in Brussels, 1847. He
copied the instruments of old makers,
and endeavoured to gain their quality
of tone by the use of acids, but unfortu-
nately the wood suffered thereby.
Larcher, Pierre. A maker in Tours,
1785. He was a pupil of Guersan in
Paris, but his work is very dissimilar;
he used a brown varnish of poor
quality. Label : “ Larcher, Pierre,
luthier de Paris, élève de Guersan,
Grande Rue au Grand Dauphin a
Tours, 1785.”
Laska, Joseph, b. March 18, 1738, at
Rumburg; d. Nov. 30, 1805, at Prague.
Was a pupil of J. Kolditz, later he
travelled a good deal, working under
some of the best makers in Dresden,
Berlin, Vienna, and Brünn. In 1764 he
settled in Prague, and proved an excel-
lent workman, his instruments, violins,
altos, violoncellos, violas d'amore, and
mandolines, were especially liked in
Bohemia, Saxony, and Poland.
Laurent, Louis Sigismond. A maker in
Paris about 1773-90. He worked at
the sign “Au Cytre Allemand.” In a
theorbo with yellow varnish was the
label : “Laurent luthier passage de
Saumont, rue Montmarre près l'égout
à Paris, 1774.”
Lausa. See “Lanza.”
Lautten, L. W. A maker in the Tyrol.
One “fine and handsome”violin known.
Lavazza (or Lacasso), Antonio Maria. A
maker in Milan about 17oo. Followed
the Stradivari pattern, used a good
varnish, pale red colour. Label:
“Antonio Maria Lavazza fece in
Milano in contrada larga, 1708 "
Lavazza, Santino. Was working in
Milan at the same time as Antonio
Maria Lavazza. Label: “Santino
Lavazza fece in Milano in contrada
larga, I718.”
Lavinville. A maker in Paris in 1777,
especially known for his mandolines.
Leb. Worked in Pressburg in the 18th
century; was one of the best German
makers of his time.
Le Blanc. Was the name of a family
of makers who through four genera-
tions worked in Paris. There was a
Le Blanc still living in 1819, whose
work was fair, he used brown varnish
and branded his instruments “ Le
Blanc, Paris.”
Leblanc, Claude. A maker in Mire-
court in the 18th century.
Le Blond, G. A maker in Dunkirk
about 1775-90. A five-stringed viol
with yellow varnish is dated 1789, and
a cither, 1779. Another cither was
signed “Leblond, Dunkerque.” Label:
“Fait par G. Le Blond a Dunkerque,
I7—.” & -
Le Camus, Pierre. A maker of lutes in
Lyons, I573-75. e &
Leclerc, J. N. Worked in Paris, 1760-
8o, in connection with the “Quinze-
Vingt,” thereby enjoying various
privileges, such as not having to pay
certain taxes, &c. Besides making
new instruments, he was a clever
repairer of old. Labels: “Racomodé
par Leclerc au I; vingt à Paris, 1771,”
and in a violin, “J. N. Leclerc, luthier
aux quinze vingt à Paris, I770.” Other
labels are known dated 1761, 1768,
and I777. •
56
LECOMTE–LE PILEUR.
Lecomte (or Fouquet-Lecomte), Antoine.
Was working in Paris, rue des Fossés,
Saint-Germain-des-Prés, about 1775-
I8oo.
Lecuyer, Pierre. A maker in Paris, rue
des Fossés-Saint-Jacques, I775–83.
Leduc, Pierre. Was working in Paris in
rue St.-Honoré in 1647, is therefore one
of the oldest makers there of whom
anything definite is known. In a
small violin or “kit,” fairly well made,
is the label : “Pierre Leduc à Paris rue
Saint-Honoré au Duc doré, I647.”
Leeb, J. Carl, b. 1792; d. 1819. Was a
maker in Vienna.
Lefebvre (Lefebre), J. B. Was a French-
man who worked in Amsterdam about
1735-70. He followed the Amati
pattern, using good yellow varnish; it
is supposed that he gained experience
in Italy before going to Amsterdam, as
his work is superior in merit to that
made in France at that date. In a
violoncello of small size, with yellow
varnish and of carefully finished work,
is the label: “J. B. Le Febvre fecit in
Amsterdam, I'77o.”
Lefèvre (Lefebvre), Toussaint Nicolas
Germain. A maker in Paris in rue du
Cimetière Saint-Jean about 1783-89.
Legros dela Neuville, Nicolas. A French
maker who exhibited in 1823 guitars,
violins, and violoncellos.
Le Jeune. A family of makers who for
several generations worked in Paris.
About 1819 there was Le Jeune (ainé)
working at Cour du Commerce—label
in a guitar: “Le Jeune, luthier, Cour
du Commerce No. 19 faubg. St.-
Germain, Paris"; and Lejeune (fils)
working at Passage du Saumon ; and
Lejeune, rue du Marché-Palu ; there
was another member of the family
living at 13, rue Boucherat, I836–46;
and finally one established in 1862 at
rue Claude au Marais, who died about
1870. g
Lejeune, Benoit. A maker of lutes,
living in Lyons in I557.
Le Jeune, François. Worked in Paris
at the sign “a la Harpe royale '' from
about 1745; he was still living in 1785.
His instruments are rare and of not
particularly good work, the varnish is
of poor quality. Two violins are
dated 1747 and 1754, a five-stringed
viol in the Paris Conservatoire Collec-
tion is dated 1755, another I757, and an
alto also 1757. Label : “François Le
Jeune rue de la Juiverie, à Paris année
I76—.”
Le Jeune, Jean Baptiste. Was a maker
of harps as well as of violins in Paris,
rue Montmartre au passage Charot,
from about 1775; he, or a maker of
this name, was still there in 1819.
Le Jeune, Jean Charles. A maker of
violins in Paris in 1776 at the sign
“Au Dieu de l’Harmonie”; worked in
the rue du Four Saint-Germain till
1783, and was succeeded by his nephew,
Guillaume Martin, in 1822. +
Le Jeune, Louis. A maker of violins in
Paris, rue de la Juiverie, 1783-89.
Le Lièvre. . A maker in Paris about
1750-80. Label in a violin, fairly well
made, with yellow varnish : “Le
Lièvre rue des Noniandières à Paris,
I754.” *
Lemböck, Gabriel, b. Oct. I6, 1814,
Budapest; d. March 27, 1892. Pupil
of J. B. Schweizer in Budapest,
then worked with Fischer in Vienna.
In 1840 he started a business there in
Canovastrasse. Was appointed Instru-
ment maker to the Imperial Court.
He was celebrated for his skill in re-
pairing old instruments. He exhibited
two violins, very good copies of Guar-
neri, at Munich, 1854. A quartet of
instruments, exhibited in London, 1862,
were also made after the Italian pattern,
and were admired for the beauty and
fulness of their tone. Carl Haudek,
who had worked with Lemböck, until
the death of the latter, succeeded to
the business.
L'Empereur, Jean Baptiste. A maker
in Paris in 1750, who left few instru-
mentS.
Lenk, W., b. 1840, at Schönbach bei
Eger, Bohemia. Worked under Klüher
in Markneukirchen; then for five years
in Berlin ; also under E. Liebich in
Breslau; in Vienna, Budapest, and
Munich. He finally settled at Frankfort
aſ M. in the Promenade Platz. Was
awarded a silver medal at Frankfort,
I88I. wº
Lentz (Lenz), Johann Nicolaus. A
German who came from the Tyrol to
London ; was a friend of Bernhard
Fendt, and thus probably gained some
knowledge of violin making. He began
his own business in Chelsea about
I8oo; he was a good maker, generally,
used a close-grained maple-wood, and
varnish similar to that used by Dodd
and J. F. Lott, sen. Label: “Johann
Nicolaus Lentz fecit near the Church,
Chelsea, 1803.”
Leoni, Carlo. A makerin Treviso in 1861.
Leoni, Ferdinando. Was working in
Parma in 1816.
. Le Pileur, Pierre. A maker in Paris
about I750-55. He worked in connec-
LE RICHE–LIPPOLD. - 57
tion with the Abbaye Saint-Germain,
thus gaining certain privileges, it no
longer being necessary for him to go
through the expensive ceremony of
being received into the Corporation of
Instrument makers; he was also exempt
from taxes. His instruments are not
particularly good, of rather a long
pattern, and with ugly brown varnish.
Label : “Pierre Le Pileur, privilégiez
du Roy dans l'abbaye Saint-Germain a
Paris, 1754 '' ; a similar label is dated
I752.
Le Riche, C. J. A maker of cithers in
Lille, rue de la Clef, about 1765-85. In
a cither with eleven strings, four
double and three single, was the label:
“C. J. Le Riche Me. luthier rue de
la Clef I768"; in another cither was
“rue de la Clef a Lille, 1781.”
Lété, Simon, b. about 1768. A maker
at Mirecourt, who made instruments at
very cheap prices for the trade; in
I823 he was awarded a silver medal
for a very satisfactory violin, which
was priced 25 francs (£I). J. B.
Vuillaume entered his workshop in
I821, and 1825-28 was in partnership
with him. He married the daughter
of Pique, the violin maker; his son,
Nicolas Antoine, b. March 29, 1793,
Mirecourt, became an organ builder.
Levalois. A maker of all kinds of
instrumentsin Paris, rue de la Calandre,
about 1760. -
Lewis, Edward. A maker in London
about I700. His work was most
excellent, showing great accuracy and
finish ; he used good wood and very
fine varnish, generally a light yellow
colour, but sometimes red with golden
ground. His violins are rare, but are
very beautiful. In Thomas Britton's
Collection was an “excellent tenor by
Mr. Lewis’’ and a “rare good” bass-
violin. - --
Liebich, Ernst, b. Oct. 27, 1796,
Reibnitz, near Hirschberg (Silesia); d.
1876, Breslau. Pupil and successor of
his uncle, Johann Gottfried Liebich.
He followed the Stradivari and Guar-
neri patterns; and also made harps and
guitars. He was the father of
Liebich, Ernst, b. 1830, Breslau; d.
1884, who succeeded to the business,
and continued to make instruments on
the Italian pattern. His son,
Liebich, Ernst, b. May 25, 1862, Breslau,
learnt from his father; later worked
with Bittner in Vienna. In 1884
succeeded to the business at 2, Cather-
inenstrasse, Breslau. He is especially
skilful in repairing old instruments,
about 300 a year passing through his
hands; but also makes from six to ten
new instruments per year; they have a
fine full tone, and are generally made on
the Stradivari, or Guarneri patterns,
with transparent varnish, reddish-
yellow colour. He also copies the Amati
and Maggini patterns; he employs five
workmen in his shop, but varnishes
all instruments himself. Was awarded
silver medal, Breslau, 1881, and a gold
medal, Posen, 1895. Appointed instru-
ment-maker to the Duke of Saxe-
Coburg and Gotha.
Liebich, Johann Gottfried, b. 1752; d.
1813. Son of a maker who left
Bohemia to settle in Silesia. He
founded the business, 1790, which has
remained ever since in the family.
Liedolf, Joseph Ferdinand. A maker in
Vienna in the 18th century. , *
Liessem, Remerus. A maker in London,
I756. This name and date were found
in a cither of old-fashioned shape.
Light. A beautiful arch-lute was found
to be inscribed “479 Light, Foley
Place, London.”
Lignoli, Andrea. A maker in Florence
in the 17th century.
Lilly, James. An English maker, work-
ing in 1821. -
Linarolo (Linerolli), Francesco. The
first maker in the family. Worked in
Bergamo, later in Venice. A tenor-
viol was labelled “Franciscus Linarolus
Bergomensis Venetii faciebat.” Was
probably the maker of an “accordo”
dated I514, beautifully made, the back
inlaid with tortoiseshell.
Linarolo, Giovanni, son of Venturo
Linarolo. Label: “Giovanni D'Ven-
tura Linarol in Venetia, I622.”
Linarolo (Linerolli, Linelli), Venturo,
son of Francesco Linarolo. A maker
of lutes and viols in Venice, worked
there till 1581. Label: “Ventura di
Francesco Linarolo in Venetia, 1581.”
Was then in Padua : label, “Ventura.
de Franceo Linarol in Padova, f.
1585"; but probably returned to Venice
shortly after, for there is a label “fece
in Venetia, a: I591.” . Two tenor-viols
exhibited in London in 1872 were
probably made by him ; they both
had a scroll with four pegs substituted
for the ancient head with six or seven
pegs; the great breadth left between
the sound-holes shows that the instru-
ments were originally made for six or
seven strings.
Lippeta, J. G. A maker in Neukirchen,
Saxony, in I77I.
Lippold, Johann Georg. Made fairly
58 LISTER—LUPot.
good instruments about 1780 ; used
yellow-brown varnish.
Lister, John, Leeds, 1727.
Lolio, Giambattista. Bergamo, I7—.
Loly, Jacopo. Was working in Naples
in 1627; followed the pattern of
Grancino; used yellow varnish ; his
instruments were not arched, and the
wood was of too hard a quality. He
made some large-sized tenors.
Longman and Broderip were not violin
makers, but were instrument sellers in
Cheapside, London, about 1760, and
many of the instruments they sold,
marked with their name, were made
for the firm by Benjamin Banks, or
3.V.
Lºani Gaspare. A makerin Piacenza
in the 18th century.
Lott, George Frederick, eldest son of
John Frederick Lott, Sen, ; b. 1800,
London ; d. there, I868. He was an
excellent workman and was for a long
time employed by Davis, of Coventry
Street, London. He copied Italian
instruments with great cleverness.
Lott, John Frederick, sen., b. 1775,
Germany ; d. April 13, 1853, London,
and was buried in the Churchyard of St.
Giles-in-the-Fields. While still young
came to England and settled in London.
He was first a chair-maker; but forming
a friendship with Fendt, he began to
work at violin making under Thomas .
Dodd, in March, 1798. He showed
great ability and made many excellent
violoncellos and basses for Thomas
Dodd, in which were inserted the
latter's labels. He was especially
famed for his double-basses, which
rival Italian instruments; the work is
beautifully finished, both inside and
out; the scrolls are well cut, but the
varnish is not of good quality. His
two sons, George Frederick and John
Frederick, were both makers.
Lott, John Frederick, second son of
John Frederick Lott, sen, ; d. 1871.
He worked for Davis, of Coventry
Street, London, and made skilful
imitations of Italian instruments.
Lotz, Theodor. A maker of good violins
in Pressburg, I730-40.
Louis. There was a maker of this name
in Geneva.
Louvet, Jean, brother of Pierre Louvet.
He worked in Paris about 1730-60.
His violins were not well made; they
were varnished brown. He chiefly
made hurdy-gurdys and harps, and
was one of the first to make pedal-
harps. In the Paris Conservatoire
Collection are two hurdy-gurdys, one
dated 1733, made by Louvet, rue
Grenier St.-Lazare ; the other with
the label : “Fait par Jean Louvet rue
de la Croix-des-petits-Champs, près la
porte St.-Honoré, Paris, 1750.” In an
alto was the label: “Louvet à la
Vielle Royale rue Croix-des-petits-
Champs a côté de la Porte Saint-
Honoré à Paris, 1755”; a similar label
in a hurdy-gurdy was dated 1757.
Louvet, Pierre, brother of Jean Louvet;
also worked in Paris about 1740-85.
He chiefly made harps, which he
signed “P. Louvet à Paris”; but a
five-stringed viol is known, and two
hurdy-gurdys, one, dated I'750, is
prettily ornamented, the other is in
the Paris Conservatoire Collection
and has this label: “Fait par P.
Louvet, rue Montmartre à Paris, a la
Vielle Royale, juin, 1747.” He later
moved to the rue St.-Denis, and was
still there in 1783.
Ludici (Ludge), Geronimo Pietro. An
amateur maker, working in Conegliano
in 1709. Label: “Hieronymus Petrus
de Ludice anima causa faciebat Cone-
gliani, A.D. 1709.”
Lugloni, Giuseppe.
1n 1777.
Lupo, Pietro, of Antwerp. In 1559 he
is said to have sold to a musician sent
by the town of Utrecht, “five violins
enclosed in their case,” for the sum
of £72. The services of a pro-
fessional player were called in, so that
the quality of tone of the instruments
might be fairly judged, before the sale
was concluded, and for this and for the
wine drunk on the occasion {6 more
were paid.
Lupot, François, Son of Laurent Lupot;
b. 1736, Plombières ; d. 1804, Paris.
First worked with his father at Lune-
ville (1751-56), was appointed Court
maker by the Duke of Würtemberg,
and for ten years (1758-68) lived and
worked at Stuttgart. A document is
still extant, signed by Jomelli, Director
of Music to the Duke, attesting to
François having satisfactorily fulfilled
his duties for ten consecutive years up
to the date at which he was leaving—
June 16, 1768. He then moved to
Orléans, rue Sainte-Catherine, probably
to join his father; but in 1794 went to
Paris with his son Nicolas and remained
there till his death. His work shows
great ability and is superior to that of
Laurent and Jean Lupot; he was
certainly one of the best French makers
of his time, and is said to have been a
pupil of Giuseppe Guarneri. He made
A maker in Venice
LUPOT-LUPOT. - 59
a number of instruments on rather a
broad pattern, with dark-brown varnish
of poor quality. In the Paris Conserva-
toire Collection is a splendid violin
made at Orléans in 1772. Labels: a
curiously-spelt one, “François Lupot,
luttier de la coure de Wirtenbergt à
Stoutgard, 1765,” and “Francisco
Lupot fecit in Orléans, anno 177—.”
He married in 1754, at the age of 18,
and his two sons, Nicolas and François,
were both makers.
Lupot, François, son of François Lupot
(1736-1804); b. 1774, Orléans; d. Feb. 4,
I837, Paris. From 1815 until his death
he worked in Paris at 18, rue d'Angi-
villiers at making bows only. He in-
vented the “coulisse,” or metal groove
attached to the nut, and carefully
fitted to the stick on which it works,
a very useful contrivance, which has
been in use ever since. He made
beautiful bows, closely copied from
the Tourte bow; they are still much
liked.
Lupot, Jean. A maker at Mirecourt, b.
about 1674; d. March 1, 1749. His
violins are not particularly good. His
son, Laurent, was also a maker.
Lupot, Laurent, son of Jean Lupot and
his wife, Laure; b. 1696, Mirecourt. In
I747 he was acting as a schoolmaster
at Plombières, but in 1751 established
himself as a violin maker at Luneville,
where he remained till 1756. Later he
moved to Orléans, and was working
there, 1762. His instruments are only
interesting as showing the sort of work
that preceded that of Nicolas Lupot.
His son, François (1736-1804), was also
a maker.
Lupot, Nicolas, son of François Lupot
(1736-1804); b. 1758, Stuttgart; d. Aug.
I3, 1824, Paris. He was the most
distinguished member of this family,
and exercised a great influence on the
French School of violin making ; he
carefully studied the work of the Italian
makers, especially of Antonio Stradi-
vari, and finally combining theory and
practice in an extraordinary degree,
made instruments far above anything
produced up to that time by French
makers. In 1768 he went with his
father to Orléans, and there learnt his
trade; in 1792, while still living there,
Pique, the Parisian maker, who was
already well known for his violins, made
an arrangement with him, by which
he was to supply a certain number of
violins “in the white" (i.e., unvarnished),
at the rate of 30 francs each, to Piqué,
who had not the time to make them
himself. This was good pay, for later
J. B. Vuillaume only gave 15 or 20
francs (12s. to 16s.) for violins in this
state, and now the price is about 40 to
50 francs (£I I2s. to £2). , Nicolas
went to Paris in 1794, but did not start
his business in rue de Grammont till
1798; in 1806 he moved to rue Croix-
des-petits-Champs, where he remained
till his death ; it was there that he
produced his famous copies of Italian
instruments. He did not attempt to
be original, but worked until he could
produce exact imitations of the great
Stradivari violins; a few copies of
Guarneri and Amati are known ; they
are very beautiful, but it was the Stradi-
vari pattern that he was most success-
ful with. The result of his large
experience of the methods employed
by Italian makers was incorporated in
the Abbé Sibire's work, entitled “La
Chélonomie ou le parfait luthier,” pub-
lished in Paris, 1806. He made many
violins, altos, and violoncellos, which
now fetch high prices; his earlier violins,
those dated Orléans, and the first part
of his time in Paris, are worth £20 or
more ; those made between 1804 and
1824, from £50 to £60 or more; his
violoncellos are rarer, and a fine speci-
men is worth about £80. Some quintets
of instruments (2 violins, 2 altos, and I
...] which he endeavoured to
make similar in appearance and tone,
are now very rare, and fetch fancy
prices. It is said that every instrument
that left his workshop was entirely
made by his own hands; he was a real
artist, and every small detail was
beautifully finished. He used different
varnishes, the usual one with time
becomes cracked and lumpy-looking,
which though a defect does not affect
the tone. It is of good quality, free
from hardness, but often too thick and
heavy, especially on the violoncellos.
The colour varies from yellow to dark
red; the tone is always very fine.
Spohr used to play on one of Nicolas'
violins during his concert tours; this
instrument passed into the possession
of Matthäi of Leipzig, and when he
died into that of Ulrich. Nicolas was
also famed for the skilful manner in
which he repaired old Italian instru-
ments. He had several distinguished
pupils—Aug. Seb. P. Bernardel, Nicolas
Eugène Gand, and Charles François
Gand, his son-in-law and successor.
In 1815 he was appointed maker to the
King, and in 1816 maker to the Paris
Conservatoire; this latter post involved
E
6o MACGEORGE–MAG GINI.
making the violins and violoncellos
given as prizes to the Conservatoire
pupils. In 1820 he undertook to
entirely replace the instruments of the
royal orchestra with new ones of his
own; but his death cut short the work,
which was completed by Ch. Fr. Gand.
Labels: “Nicolas Lupot, filius fecit in
Aurelianensis, anno I776”; “N. Lupot
M.
MacGeorge. A maker in Edinburgh
about 1800–20.
Macintosh. A maker in Dublin about
1830-40. Pupil of Thomas Perry.
Maffeotto, Giuseppe. Was working in
Rome in the 18th century.
Maggini (Magino or Maglino), Gio :
Paolo, son of Zovan or Giovanni Mag-
gini and his wife Giulia; grandson of
Ser Bertolino or Bartolommeo de
Maggini of Botticino, a little village on
the hills not far from Brescia; b. 1580 ;
d. before or in 1632, as in a schedule
presented in that year by his son Carlo
he uses the words “filius quondam
Johannis Pauli.” It is possible that
he died of the plague that in 1632 raged
in Brescia. His parents left Botticino
and settled in Brescia. Gio : Paolo
was apprenticed to Gasparo da Salò,
according to a legal document, dated
I602, signed by both Gasparo and
Maggini, the latter calling himself
“garzone.” In the first period of
Maggini’s work one finds much that is
characteristic of the work of Gasparo ;
there is the same heavy model, short
blunted corners, and purfling carelessly
inlaid. The head, although showing
a great deal of character, is also
carelessly worked, one side often
differing from the other, and the face
very deeply and unevenly cut, while
the fluting of the back of the head is
also irregular. The wood is generally
maple, and is frequently cut on the
slab; the wood of the bellies being
also cut on the slab forms an interesting
link between the viol and the violin;
afterwards he adopted the method of
cutting the wood with the straight
way of the grain. In the sound-holes
he undercut or bevelled their inside
edges like those of a viol; occasionally
he ornamented his violins similarly to
viols, with inlaid purfling, or the
“clover-leaf” device at top and bottom
of the back, or with an elaborate
Fils luthier, rue d’Illiers, ā Orléans, l'an
1791 "; “Nicolas Lupot luthier rue
de Grammont à Paris, an I8or " :
“Nicolas Lupot luthier, rue Croix-des-
petits-Champs a Paris, l'an 1812'' ;
“N. Lupot, luthier de la musique du
Roi et de l'école royale de Musique,
Paris, 1817.” Many instruments were
signed with his autograph.
design on the centre of the back; the
two latter ornamentations are never to
be found on the same instrument,
unless it is a forgery. In the second
period of his work the influence of
Gasparo is not so marked; there is a
great improvement in the construction
and work of the instrument ; the
arching is slightly higher than in his
earlier or later work, and is usually
associated with a pronounced raised
border; the purfling is done with more
precision ; the sound-holes, though still
original in character, have more grace-
ful curves, and are better cut ; so is
the head, which is more symmetrical.
The wood, of very fine quality, is
seldom cut on the slab; and is never
so cut for the bellies; the “Dumas”
viola and violins are very fine specimens
of this period. The beautiful instru-
ments turned out by Antonio and
Girolamo Amati may possibly have
influenced the third period of his work,
which shows much greater accuracy
and a more beautiful form. The purfl-
ing is distinct and finely done; the
sound-holes are well cut and carefully
finished ; the arching is not so great,
and the edges' are lighter, which gives
the instruments a more graceful
appearance. The curves of the scroll
are quite symmetrical, while the fluting
at the back of the head is not so
hollowed and is beautifully done.
Stronger corner-blocks and linings are
also used for the interior, and the
thicknesses are more accurately cal-
culated. The varnish is always of
remarkably fine quality, but varies in
colour; he usually used varnish of a
clear brown colour, similar to that on
Gasparo's work; but by degrees it
became more brilliant, of a trans-
parent golden colour. Nearly all his
instruments are double-purfled, but
three violins and one viola are known
with only one line of purfling ; and
MAGG.INI-MANTEGAZZA.
i.6I
also a very fine violin, which though
double-purfled on the belly, has only
imitated purfling on the back, the
double line being drawn in with pencil
or ink. The large size of his violins
makes the sides appear low, but at the
neck-end their height is almost identical
with that of Amati violins and some of
Stradivari, though at the tail-pin end
- they are about one-sixteenth of an inch
lower. The great length and breadth
necessitated relatively low sides, and
Maggini obtained exactly the right
proportions for producing that great
volume of tone, so full and mellow, for
which his violins are famed ; their size
prevented their general use, but De
Beriot, the great violinist, played con-
stantly on a magnificent specimen,
which eventually was sold for £600,
and is now in the Collection of Prince
de Caraman-Chimay, as well as a viola
and a violoncello made by Maggini.
As a rule Maggini violins are worth
about £Ioo. His violas are of very
high model, the arching rises from the
inner line of purfling, for the latter is,
as usual, double; the border is high,
and the sides are set close to the edges
of the back and belly, leaving but little
margin; the corners are short; the sound-
holes, placed higher than in the violins,
are short, wide, very upright, and under-
cut on the inner edge. The wood is
most excellent, the varnish of very fine
quality and a rich golden-brown colour;
the tone is very fine. His violoncellos
are made on exactly the same pattern,
the sound-holes placed rather high, the
sides made rather low. Stradivari
learnt much from him, both in
the making of violins and of violon-
cellos; the latter have almost the
same proportions. Giuseppe Guarneri
was another maker on whom his
work exercised a strong influence.
The amount of work done by
Maggini was comparatively small,
probably about fifty of his instru-
ments are now existing; only seven
or eight violas, two violoncellos,
and one double-bass are known,
the latter of very small size and of
poor workmanship. He probably
made some viols as well. In England
only twelve violins, six or seven violas,
and one violoncello are known. The
label used is: “Gio: Paolo Maggini in
Brescia.” It is never dated, a fact
which often helps to expose a forgery.
Maggini married Maddalena Anna
Foresto †: 20, 1615, and lived in
the Contrada del Palazzo Vecchio del
Podestà ; by 1626 he had also a house
and shop in Contrada delle Bombasarie.
His only surviving son, Carlo Francesco,
became a silk merchant, and his son
Pietro died in his infancy, so that
there seems to be absolutely no ground .
for the statement that his son, Pietro,
or Pietro Santo, was also a violin
maker, especially as no violin, viola,
or violoncello is known made by any
other Maggini than the great Gio :
Paolo.
Maire, Nicolas. A violin bow maker in
Paris; b. Dec. 28, 18oo, in Mirecourt;.
d. July 17, 1878, Paris. was apprenticed
to Jacques Lafleur in Paris, and con-
tinued to work there in rue Mont-
martre. He made excellent bows.
Maldonner. A maker in Fussen,.
Bavaria, about 1760.
Maler (Maller), Laux. A maker of
lutes in Bologna about 1415, mentioned
by Mace in “Musick's Monument "
London, 1676). He says, “There are:
iversities of Men's Names in lutes;
but the Chief Name we most esteem
is Laux Maller, ever written with
Text Letters: Two of which Lutes. I
have seen (pittifull Old, Batter'd,
Crack'd Things) valued at £Ioo a piece.
Mr. Gootiere, the famous Lutenist in
His Time, shewed me One of Them,
which the King paid £Ioo for. And
Mr. Edw. Jones (one of Mr. Gootiere's
scholars) had the other, which He so
valued ; and made a Bargain with a
Merchant, who desired to have it with
him in His Travels, (for his Experience);
And if he lik'd. It when he returned,
was to give Mr. Jones £Ioo for it; but
if he Refus'd it at the Price set, he
was to return the Lute safe, and to
pay £20 for His Experience and Use
of It, for that Journey. I have often
seen Lutes of three or four pounds, far
more Illustrious and Taking to a
common Eye . . observe the .
Colour ; which is the Dark-black-
reddish-colour ; though I believe it
contributes nothing at all to the sound;
only the Best Authors did use to lay
on That Colour, especially Laux
Maller.” -
Maler, Sigismond. A maker of lutes in
Venice in 1526.
Mann, Hans. A maker in Naples
about 1720-50. His instruments are
rare. He followed the Stradivari and
Guarneri patterns.
Mansiedl. See “Maussiell.”
“Aſantegazza (or Montegatia), Pietro and
Giovanni. Two brothers working in
Milan about 1750 to 1800. They
Ö2 MantovaNI—Mast.
made many good altos; the varnish, of
fine quality, varies in colour, some-
times is almost black, the wood is
rather too hard. Labels: “ Petrus
Joes. Fratresq. Mantegatia Mediolani in
Via S. Margaritae, anno 1757"; similar
labels are dated 1760, 1763, and 1780 ;
“Pietro, Gio. e fratelli Mantegazza
nella contrada di Santa Margharita in
Milano al segno dell’Angelo, I756”; a
similar label is dated 1770; and “Petrus
Joannes Mantegatia fecit Mediolani in
Via S. Margarita, I790.”
Mantovani. Was working in Parma in
the 18th century.
Maratti, Giambattista. A maker in
Verona about 1690-1700. His violins
are of fair workmanship and have a
good tone.
Marcelli, Giovanni. A maker in Cre-
mona in 1696. Label : “Joannes
Marcelli fecit Cremonae, MDCXCVI.”
Marchal (Marechal). A maker in Paris
about 1790. A viola d'amore and a
lyre-guitar of his are known. In a
theorbo was found the inscription :
“Marchal a Paris.”
Marchetti, Enrico. A maker of good
instruments in Turin in the 19th
century. *
Marchi, Giovanni Antonio. A maker in
Bologna about 1740-95. His violon-
cellos and violins are good instruments;
the latter are of high model, with very
beautiful maple-wood used for the
back and sides, and varnish of a golden-
yellow colour. Label : “Joannes
Antonius Marchi fecit Bononiae, anno
1774"; similar labels are dated 1760
and I792. t
TMarco, Antonio. A maker in Venice in
17oo.
TMarconcini, Giuseppe, Son of Luigi
Marconcini. Was a pupil of Storioni;
then settled in Ferrara, where he died
at a great age on Jan. I'7, 1841. His
violins varied in workmanship, some
equalled those of his master ; they
are well made, slightly arched, with
brilliant red varnish.
Marconcini, Luigi. A pupil of Omobono
Stradivari, who worked both in Ferrara
and Bologna.
good workmanship, with pale red
varnish. Labels: “Luigi Marconcini
f. Bologna,” and “Luigi Marconcini
in Ferrara, 1767.”
NMaria, Giuseppe de. A maker of man-
dolines at Naples, 1779. Label :
“Joseph di Maria di Napoli in Strada
S. Pietro a Majella f. in Napoli, A.D.
1779.”
Mariani, Antonio. A maker in Pesaro
His instruments are of
about 1640 to 17oo. His instruments
are not of much value ; the work
suggests Maggini, but is very rough ;
the purfling is generally double.
Labels: “Antonio Mariani Pesaro,
I646,” found in an alto, and “Antonio
Mariani fecit, anno 1694.”
Marino, Bernardino. A maker in Rome
who worked up to 1805. º
Marins. A small pocket violin of ivory
and coloured woods was inscribed
“Marins,” and was probably made
about 16Io. {
Marquis de Lair. A maker in Mire-
court about 18oo. He made violins
and violoncellos, and followed the
Stradivari pattern; but his work is
very poor, the wood is not good, and
the varnish, an ugly yellow-brown
colour, lacks transparency; the tone is
of bad quality. He branded his in-
struments on the back, “Marquis de
Lair d'Oiseau.” &
Marshall, John. A maker in London
about 1750-60. A mandoline of his
was dated 1758. He followed the
Stainer pattern, and his work was
good. Labels: “Johannes Marshall
Londini. Fecit 1750"; “Johannes
Marshall (in vico novo juxta Covensam
hortum) Londini, fecit 1757"; and
“Marshall: London, 1759.”
Martin. A family of makers in Paris,
who chiefly dealt in and repaired old
instruments. Guillaume Martin suc-
ceeded to the business of Lejeune in
1822, and was in his turn succeeded by
a nephew, Charles Martin. Alexandre
Martin, son of Charles, took the
business in 1890.
Martin, Jules. A maker in Germigny,
Vosges. See “Guarini.” -
Martin. A maker in London in 1790-95,
who lived at Hermitage Bridge,
Wapping. %
Mast, Jean Laurent. A maker in Paris
about 1750. His instruments are very
well made, the spirit varnish is thick,
a dark brown colour, which has be-
come almost black. He branded his
violins with “J. L. Mast, Paris,” both
inside and outside.
Mast, Josephus Laurent, son of Jean
Laurent Mast. Was born at Mire-
court and was still there in 1820. He
was apprenticed to Nicolas there at
the sign of “A la ville de Crémone,”
and then settled in Toulouse. Several
of his violins are known, and are said
to be of better workmanship than
those of his father. They are arched, .
the sound-holes are not well cut, and
he used two varnishes, one yellow-
MAUCOTEL–MELLING.
63
brown and the other reddish colour.
He branded his instruments with
“Mast fils Toulouse, 1825.” There is
a violin in the Paris Conservatoire.
Collection which has the label :
“Josephus Laurentius Mast fecit
Apollini Deo Harmoniae 1816, réparé
chez Schubert Epinal, 1831.”
Maucotel, Charles, brother of Charles
Adolphe Maucotel; b. Nov. 1, 1807,
Mirecourt. Was first apprenticed to
Bloise Mast; in 1834 went to Paris
and worked under Gand; in Dec., 1844,
moved to London, where at first he
was employed by W. Davis, of 34,
Coventry Street, but then started his
own business in 8, Rupert Street,
Haymarket; 1851-58, Georges Chanot
worked with him. He retired from
business in Aug., 1860, and returned
to France. He made some excellent
instruments, the work, varnish and
tone were all good. Label: “Carolus
Maucotelus fecit Londini, 185—,
C. H. M.”
Maucotel, Charles Adolphe, brother of
Charles ; b. 1820 at Mirecourt; d. Feb.
6, 1858, at Paris. Apprenticed in
Mirecourt ; then went to Paris and
worked for five years (1839-44) under
. B. Vuillaume. In 1844 he started
is business in Galerie Vivienne, but
later moved first to rue Croix-des-petits-
Champs and then to rue Princesse; it
was there he committed suicide in
1858, by cutting his throat during an
attack of brain-fever. He made excel-
lent copies of the works of Stradivari
and Giuseppe Guarneri, and his
numerous violins, altos, and violon-
cellos show good work and have a
fine tone. In 1844 he was awarded a
bronze medal for an alto placed in the
2nd class, and in 1855 a medal of the
2nd class. -
Maussiell (or Mansiedl), Leonhardt. A
maker in Nuremberg, 1720-50. He
copied the Stainer pattern, and made
good instruments, carefully finished,
with yellow or brown varnish.
Mayr (Maier), Andreas Ferdinand. A
maker in Salzburg about 1740-80. Is
said to have made the small violin on
which Mozart learnt to play. In a
lute was the label: “Andreas Ferdinand
Mayr Hof Lauten und Geigenmacher
in Salzburg, 1741 "; a similar label,
printed in German characters, was
dated 1777.
Mayson, Walter H. A maker in Man-
chester who began as an amateur, but
soon adopted violin making as a pro-
fession. His instruments are excellent,
|
and the workmanship beautifully
finished.
Meares, Richard. A maker of lutes
and viols in London in 1677. In 1872
was exhibited in London a viola da
gamba with the label: “Richard
Meares, without Bishopsgate, near to
Sir Paul Pinder's, London. Fecit
1677.” His son, Richard, also learnt
the trade but soon abandoned it for
other work.
Médard, Antoine, b. 1621 (baptised
Oct. 28, 1621), son of Henri Médard
and his wife, Anne. A maker at Nancy.
A little pocket violin is known, very
carefully made, with the carved head
of a woman instead of a scroll, and
red-brown varnish of fine quality.
Inside is the label: “Antoine Médard
à Nancy, 1666.” *
Médard, François, son of . Claude
Médard. A maker in Paris, about
1690 to 1715. Is said to have been a
pupil of Stradivari at Cremona. His
instruments are on rather a small
pattern, slightly arched, the sound-
holes are well cut, the pretty rose-
coloured varnish is very transparent,
and the work is carefully finished.
He was commanded to make the instru-
ments for the orchestra of Louis XIV.
Label : “Franciscus Médard fecit
Parisiis, 16—”; a similar label is
dated 1710.
Médard, Henri, son of Claude Médard,
also a maker. A maker at Nancy and
Paris about 1620-30, there being a
record of his marriage to Anne Pier-
esson, of Poiresson, on Oct. 23, I62o.
Was generally considered to be a pupil
of Nicola Amati. His work was
extremely good. In a violoncello was
the label: “Henry Medart à Nancy,
1627.”
Médard, Jean, son of Claude Médard.
Worked at Nancy.
Médard, Nicolas, son of Claude Médard;
b. about 1598, was living in Nancy in
1658. He followed the Amati pattern,
his instruments are small, and the
tone, though soft and silvery, lacks
power; the varnish is very beautiful.
Labels are known dated 1615 and
I66O.
Médard, Sébastien, b. about 1576; d.
1636; probably another son of Claude
Médard. A maker, first at Nancy
then at Paris, about 1600–36.
Meiberi, Francesco. A maker at Leghorn
about I745-50.
Melling. A maker in Paris, in the rue
Fromonteau, place du Louvre, in 1753,
at the sign of “A labelle Vielleuse”;
*
rö4 -
MELLINI—MICHELOT.
. Mellini, Giovanni.
. Meloni, Antonio.
but in 1771 was in rue des Orties, aux
galeries du Louvre.
Was working in
Guastalla, Italy, in 1768.
A maker in Milan
about 1670-95. Followed the Amati
pattern ; his instruments are small,
with well cut sound-holes and yellow
varnish; they have a good tone. Label:
“Antonius Meloni Mediolani fecit
A.D. 1690.”
Mennégand, Charles, b. June 19, 1822,
at Nancy; d. Jan. 9, 1885, at Villers-
Cotterets. Was apprenticed at Mire-
court; in 1840 went to Paris and
worked with Rambaux for five years
and there gained the experience which
rendered him such a clever repairer
of old instruments. I851-52 worked
with Maucotel, and in 1852 left France
for Amsterdam. Returned to Paris
1857 and settled at 26, rue de Trévise.
He made a large number of good
violins, altos, and violoncellos in
Amsterdam; but after his return to
Paris principally made violoncellos,
which rank among the best work of
the time. He was awarded a medal of
the 2nd class, Paris, 1855, and bronze
medals in 1867 and 1878. Labels:
“Mennégand, luthier, 26 rue de
Trévise, Paris, 1867,” and “C. Menné-
gand, luthier, 26 rue de Trévise,
Paris, 1877. (Signed) C. Mennégand.”
Some of his labels have “elève de
Rambaux” on them.
IMennesson, Emile, b. March 15, 1842,
Rheims. Lives there at Io, rue
Carnot. Worked with Mennégand
and Deroux. Had large workshop
at Mirecourt, 1876-81. Has made
2,380 violins, following the pattern
of Stradivari’s “Messiah. ” violin;
varnish, first red, later yellow-red with
amber ground. Exhibited at Paris
(1875-78-94), Philadelphia (1876),
Rheims (1876-89-95), Rome (1884),
Epernay (1884), Charleville (1894),
and was awarded gold and silver
medals and numerous “ diplômes
d’honneur.”
Merighi, Pietro. A maker of mando-
lines in Parma in 1770. Label :
“Petrus Merighi fecit Parmae, anno
I '77O.’’ -
Mériotte, Charles. A maker at Lyons
about 1730-60. Several of his violins
are known, made on the Stradivari
pattern, with yellow-brown varnish,
and of good workmanship. Label:
“Mériotte, luthier, sur le pont, près le
change, a Lyon, 1755.” A later label
was printed in Latin.
Merlin, Joseph. A maker in London,
Princes Street, Hanover Square, in
1770-80. His violins and his mechani-
cal pegs for violins and violoncellos
were at one time very fashionable.
He followed the high Stainer model,
his instruments were well made, but the
tone was not good. Label: “Josephus
Merlin Cremonae emulus. No. IO4.
Londini, 1779. Improved. 66, Queen
Ann Street East, Portland Chapel.”
Messeguer. A Spanish maker working
about 1646.
Mettal. A maker in Freiberg. In a
lyre-guitar of six strings was the
label: “Mettal, Instrumentenmacher
in Freyberg.”
Mette, François. A maker in the South
of France, who sent instruments to the
Paris Exhibition in 1855. " .
Meusidler (Meusiedler), Johann. A
maker of viols of all sorts in Nurem-
berg about I540-50. -
Mezadri (Mezzadie),Alessandro. A maker
in Ferrara, 1690-1720. He followed the
principles of the Amati school, but the
pattern of his instruments is not
graceful, the sound-holes are placed
too close, and the workmanship is
poor. Label : “Alessandro Mezadri
fece in Ferrara, anno 1713.”
Mezadri (Mezzadie), Francesco. A maker
at Milan about 1700-20. In an alto of
small pattern, with pinkish - yellow
varnish, very light and transparent,
the back made of poplar-wood, is the
label: “Franciscus Mezadri, Milano,
anno 1712.”
Mézin. See “Collin-Mézin.”
Mialfi, Joannes.
A Spanish maker
about 1769. His instruments are of
average merit. -
Michaud. A maker in Paris about 1788,
rue Guérin Boisseau au coin de la rue
Saint-Dénis.
Michelis, Pelegrino (or Péregrino) di
Zanetto, son of Zanetto de Michelis;
b. 1520. A maker of viols and lutes
and other instruments in Brescia. A
tenor of his was exhibited in London
in 1885, which is described as “essen-
tially modern in model and detail,
though with remaining touches of
archaism.” A splendid six-stringed
bass-viol is in the Paris Conservatoire
Collection, dated Brescia, 1547.
Michelis, Zanetto de, b. 1495. Probably
a native of Montechiaro, a village near
Brescia. Was a maker of cithers.
Michelot, Jacques Pierre. A maker in
Paris about 1780-95, at the sign of
“A la Mélodie,” 255, rue St.-Honoré.
In the Paris Conservatoire Collection
MIER—MONTAGNANA. 65.
is a little guitar dated 1781. He also
made five-stringed viols, and violins.
Label: “J. P. Michelot, rue St.-Honoré,
‘à la Mélodie,’ 1790.”
Mier. A maker in London in 1786.
Miggé, Otto, b. June 16, 1857, Coblenz.
Has made about 8o violins and I4
violoncellos of good tone.
Milani, Francesco. A maker in Milan
about 1740-60. Said to have been
a pupil of Lorenzo Guadagnini, he
followed a similar pattern in his work.
Milhet. Was working in Bayonne about
1820. His instruments were of ordinary
workmanship. He used yellow-brown
varnish.
Mille. A maker at Aix-la-Chapelle. A
small pocket violin is known that had
been repaired by Remy.
Miller. A maker in London about 1750.
He worked at the sign of the “Citern,”
London Bridge.
Miller, A. A maker in St. Andrew's,
Scotland.
Minozzi, Matteo. Was working in
Bologna in the 18th century.
Miraucourt, Ludovic (or Joseph). A
maker of viols at Verdun about I740-
50. A six-stringed viol is dated 1743.
Miremont, Claude Augustin, son of
Sébastien Miremont; b. 1827, Mire-
court; d. 1887, Pontorson (Manche).
Was first a pupil of his father, then for
three years of Collin-Mézin. In 1844
he went to Paris, and worked first with
Lafleur, then with Bernardel until
1852, when he left France for America,
and settled in New York. In 1861 he
returned to Paris and established
himself in rue Faubourg-Poissonnière.
He retired from business on July 15,
1884, and went to live first in Belleville,
then at Pontorson, where he died.
He made a great many instruments,
chiefly violoncellos ; they were all
made with extreme accuracy by him-
self alone, no workman assisting ; they
show good work and have excellent
quality of tone. He made some excel-
lent copies of Stradivari and Guarneri,
and also several instruments of excellent
tone on the Klotz pattern. Awards at
Exhibitions: medal of first class, New
York, 1853, and Paris, 1855; prize medal,
London, 1862; and silver medal in
1867 and 1878. Labels: “Expositions
universelles de 1853-55-62-67, quatre
premiers prix. A. Miremont,
Breveté S.G.D.G. Paris, an 1875.
(Signed) A. Miremont,” and “C. A.
Miremont fecit Parisiis, anno Dni.
I882.”
Miremont,
Sébastien. A maker at
Mirecourt, b. about 181o; father of
Claude Augustin Miremont.
Modessier. A maker in Paris in 181o.
His instruments were made on a large
pattern, the wood was generally
excellent.
Moers, Jean Henri. A maker in Paris
about I77I.
Mohr, Philipp. Was working in Ham-
burg about 1650.
Moinel, Charles, nephew of N. E.
Cherpitel. A maker in Paris. On the
death of Cherpitel, in 1893, he assisted
the widow to continue the business.
Moitessier, Louis. A maker at Mire-
court about 1780 to 1825. He made a
large number of instruments, mostly
violins, of ordinary workmanship with
brown varnish. One violin, fairly
well made, was peculiar in having the
belly as well as the back and sides of
maple-wood; the tone was good. In
it was the label : “Ludovicus Moi-
tessier fecit, anno Domini 1781.”
Rambaux was a pupil of his for four
years.
Moldonner. A makerin Fussen, Bavaria,
about 1756-98.
Molinari, Antonio.
1672–1703.
Molinari, Josefo. A maker of man-
dolines and theorbos in Venice about
1735-65. In the Paris Conservatoire
Collection are two mandolines dated
1762 and 1763 respectively. Label:
“Joseph Molinari, Venetus, anno 1737.
Mongenot. Was working in Rouen in
1763, at the sign of “Sainte-Cécile.”
A maker in Venice,
Montade (Montani or Montaldi), Gre-
gorio. A maker in Cremona about 1690-
1735. Was either a pupil or merely an
imitator of Omobono Stradivari. His
work is fairly good.
Montagnana, Domenico. A celebrated
maker in Venice about 1720-50. One
of the most able pupils of Antonio
Stradivari at Cremona; it is said that
he worked with him for twenty years,
then went to Venice and settled there,
at the sign of “Cremona.” Labels
dated Venice, 1725, are known. His
work is admirable, and shows great
knowledge of the qualities of wood and
of the necessary thicknesses to be
obtained; he made on a large pattern,
rather arched, with the corners promi-
nent, the sound-holes gracefully cut,
rather like those of Guarneri; the scroll
showing a great deal of character, and
both purfling and corners carefully
finished; he used most carefully chosen
wood, beautifully figured, and very
transparent varnish of a rich golden-red
66 . M ON TECHIARI–NE UNER,
colour, which recalls that of Carlo Ber-
gonzi; the tone is admirable. Although
the influence of Stradivari is noticeable
in every detail, Montagnana's strong
individuality also asserts itself, and his
work rivals that of Guarneri or Ber-
gonzi. His violoncellos are especially
liked, they are most excellent for solo
playing; they are nearly all to be found
in England or Germany, only three or
four are in France. He made few
instruments; about twelve violins and
five or six violas are known—the latter
are mentioned as having a peculiarly
solemn and penetrating tone. In 1875
a double-bass of his was sold for £82.
It is said that spurious labels of “Guar-
nerius filius Andreae'' and of “Carlo
Bergonzi" are often placed in his
instruments. His labels are: “Domini-
cus Montagnana sub signum Cremonae
Venetiis, 1729,” a similar one dated
I747, and “Domenicus Montagnana
sub signo in ab prope GEnipontum fecit,
anno I73o.”
Montechiari, Giovanni. A maker of
viols and lutes in Brescia before 1533.
Montegatia. See “Mantegazza.”
Montron. A maker in Paris, rue du
Grand Hurleur, about 1780-90.
Morella, Morglato. A maker of lutes,
rebecs, and viols about 1510-50, who
worked first in Mantua, then in Venice.
Very few of his instruments remain
intact, as his viols were often utilised
for making up altos or violoncellos of
small size. Labels: “Morglato Morella
Mantuae, 1515,” and “Morglato Morella
fece in Venezia, 1550.”
Morona, Antonio. A maker in Istria
Nadotti, Giuseppe. A maker in Pia-
cenza about 1760-70. A violin of his,
exhibited in Milan, was dated 1767.
Namy, Jean Théodore. Worked in Paris
about 1755-1807. Was especially
known for the clever way in which he
restored old instruments, showing rare
skill even in the smallest details.
First worked in the business carried
on by the widow of Salomon, for in
one of his violins is the label: “Fait
par Namy, luthier chez Madame
Salomon à Paris, 1772.” He lived in
the place du Louvre, 1783-89.
Naylor, Isaac. A pupil of Richard
Duke. He worked at Headingly, near
Leeds, about 1778-92.
Nella. See “Raffaele.”
(Istrien) in 1731. Label in beautiful
handwriting : “Presbyter Antonius
Morona Insulanus ex Istria fecit, 1731.”
Morrison, John, b. about 1760 ; d. be-
tween 1820 and 1830. A maker in
London, first lived in Princes Street,
Soho, then, in 1819, in Shadwell, and
finally at Little Turnstile, Holborn,
where he died. Most of his instruments
were made for the dealers and were of
poor workmanship.
Mottenhaver, Edward. A maker in
New York, U.S.A., who has taken out
a great many patents for inventions.
Mougenot, Georges, b. June 23, 1843,
Mirecourt (Vosges). Was apprenticed
there to Deroux (père), then worked
under N. Darche at Aix-la-Chapelle;
was his head workman, 1864-67. He
established himself in Liège, in the rue
Pont d'Ile ; but 1875 succeeded to the
business of N. F. Vuillaume, for whom
he had long been working, in Brussels,
at 23, rue Montagne de la Cour. He
employs two workmen to make new
violins and violoncellos, he himself
always finishing them, determining the
thicknesses, doing the varnishing, &c.
He follows the Stradivari and Guar-
neri patterns, using brown-red varnish
for the former and golden-red for the
latter; the tone is good. Was awarded
silver medal, Paris, 1878; gold medal,
Amsterdam, 1883; gold medal, Ant-
werp, 1885; diploma of honour,
Antwerp, 1894.
Mougnet. A maker in Lyons, who in-
vented a lyre-guitar in 1811.
Muelevoets, Jan. A maker of cithers
in Antwerp, 1584.
Nermel, J. M. A maker in Paris, living
in rue St.-Germain-l'Auxerrois in 1777,
rue du Pot-de-Fer in 1783, and rue du
Vieux Colombier, 1788-89.
Neuner, Ludwig, b. Aug. 21, 1840,
Mittenwald (Bavaria). Grandson of
Mathias Neuner, also a clever maker
of violins, who worked for some time
in London. First learnt in his father's
workshop at Mittenwald, afterwards
with Andreas Engleder in Munich
and Gabriel Lemböck in Vienna ;
then worked for five years under
J. B. Vuillaume in Paris. Left Paris
for Berlin, 1867, and there established
a business at 6, Kurstrasse, working
there assisted by two workmen till
1883. In February that year, through
NEWTON.—NORMAN. 67
the death of his brother, became
partner in the firm of Neuner und
Hornsteiner, Mittenwald. He has 200
workmen there, and from I5,ooo to
20,000 instruments are yearly sent out
to all parts of the world; these all show
excellent work, considering their extra-
ordinarily low price. He himself
makes instruments for solo-playing,
closely copied from Italian models.
A quartet of solo instruments exhibited
in Berlin, 1879, gained the silver
medal. He was awarded the large
medal for Industries, founded by
Friedrich Wilhelm IV. His instru-
ments were also commended at the
Bologna Exhibition, 1888.
Newton, Isaac. Worked in London
about 1775-1825. He made fairly good
instruments, but used a dingy yellow
varnish. Sometimes made violins and
violoncellos for Betts, but these were
always varnished by the latter.
Nezot. A maker in Paris about 1730-60.
He principally made viols, but also
a few violins. A beautiful viol of his,
undated, is in the Paris Conservatoire
Collection.
Nicolas, Didier, l’ainé (known as
“deaf Nicolas”), b. 1757, Mirecourt;
d. there, 1833. His business was
carried on at the sign of “A la ville de
Crémone.” He was a clever work-
man, and made large quantities of
instruments, fairly good, although de-
ficient in some respects. They are
generally on a large pattern, slightly
arched, the varnish either red-brown
tinged with yellow or bright red
colour; the sound-holes rather peculiar
in cut, very widely opened in the
middle; the tone is large, and the
instruments are suitable for use in
orchestras, those with red varnish
being generally superior in work.
They are branded, just where the
label is usually placed, with the in-
scription: “A la ville de Crémone,
D. Nicolas, ainé.” He first exhibited
in 1802, being the first maker of Mire-
court to do so; he received no award
then, but in 1806 was awarded a silver
medal at the Paris Exhibition. At
the time of his death about 600 work-
men were employed in his workshops.
Nicolas, François Nicolas Fourrier
(was known simply as “Nicolas”), b.
Oct. 5, 1758, Mirecourt; d. 1816,
Paris. Began to work under Saunier
in Paris in 1770, was appointed maker
to the Royal School of Music in 1784,
and maker to the Emperor in 1804,
and made all the string instruments
used in the private orchestra of
Napoleon I. He is especially' to be
commended for the careful choice
of wood and the good proportions of
his instruments; the latter he had
closely copied from beautiful specimens
of Cremona work. His instruments,
though much used at one time, dropped
out of fashion, but good violins of his
are still to be had. A MS. label found
in a violin: “Réparé par Fourrier
Nicolas, luthier de la chapelle de S.M.
l'Empereur, pour son ami Julien, chef
d'orchestre des bals de la Cour,
I806.’’ - .
Nicolas, Joseph, son of Didier Nicolas;
b. 1796, Mirecourt; d. 1864. Pupil
and successor of his father. His
instruments are branded “J. Nicolas
fils.” He was awarded a bronze medal
in 1834; in 1855 he constructed a
violin which could be played on both
back and front, being provided with
two finger-boards, two bridges, &c.—
the utility of this instrument is not
obvious. After his death his widow
sold all the stock-in-trade to the maker
Derazey, of Mirecourt; the two stamps
with which Joseph and his father
had branded their instruments were
included; these were apparently made
use of along with the other material by
Derazey, consequently new instruments
have since appeared not made by a
Nicolas, although stamped with the
Ila Iſle.
Nicolas, Mathieu. Is mentioned as a
maker in Mirecourt. His instruments
were of ordinary workmanship, some-
times with yellow, sometimes with red
varnish.
Nicolas. In a five-stringed viol was the
inscription “à Verdun par Nicolas des
Rousseaux, 1755.”
Niggell, Simpertus. A maker of viols
and violins in Fussen near Hohen-
schwangau about I743-66. His instru-
ments are well-made, on a flat pattern,
with brown varnish, and are branded
on the interior with the letters “S. N.”,
In a viola d'amore, with a carved head
and red-brown varnish, was the label :
“Sympertus Niggell Lauten und Geigen
Macher in Fussen, 1744 "; a similar
label was dated 1765.
Norborn, John. Was working in London
about 1723.
Norman, Barak, b. 1688; d. 1740. A
maker in London, lived first in Bishops-
gate and then in St. Paul's Churchyard.
He was probably a pupil of Thomas
Urquhart, his earlier work having
much the same appearance as that of
68. O.B.E.O-OTTO
the latter; but later he copied G. P.
Maggini to some extent, using double
purfling and ornamental devices, such
as the “clover-leaf " design on his
violoncellos. He is supposed to have
been the first English maker of violon-
cellos. They are of large size, the
wood being of good quality, the
thicknesses correctly proportioned and
the work carefully done; the varnish
is dark, the tone is very good ; one
made in 1718, was valued at 15 guineas
in 1790; but now the price is higher.
He also made beautiful tenors, probably
at an earlier date than the violoncellos;
they are of a different pattern, being
very much arched. They are generally
large size, with very dark varnish and
of fine tone. No violins of his remain,
but he was well-known as a maker of
viols. He marked his instruments
with his name enclosed in a design of
purfling or with the monogram “N. B.”
in purfling, under the wide part of the
finger-board, or sometimes in the centre
of the back. He entered into partner-
ship with Nathaniel Cross about 1715;
they worked at the sign of the “Bass-
Viol.” In a viola da gamba was
(Obbo, Marco. Was working in Naples
in 1712, according to a MS. label found
in a violin of ordinary make: “Marcus
Obbo, Napoli, 1712.” -
‘Obici (Obue), Bartolommeo. A maker
in Verona in 1684. Label: “Borto-
lamio Obici in Verona, 1684.”
Odani, Giuseppe Morello. Was working
in Naples in 1738. In a violin fairly
well made with very dark varnish was
the label: “Giuseppe Morello Odani
in Napoli, 1738.”
Odoardi, Giuseppe. Was working until
1675 in Ascoli, Italy, according to one
authority ; according to another was
born about 1740. He was a peasant,
and, though without any teaching in
the art of violin making, showed great
ability in the instruments he made.
He died when 28 years old, but left
about 200 violins, which are much
sought after in Italy.
Ohberg, Johann. A maker in Stockholm
in 1773. His instruments were fairly
good; he generally used a yellow
varnish.
Oneda, Gio. Battista, b. 1529. A maker
of cithers and violins in Brescia about
I562.
found a label in the handwriting of
Cross, “Nathaniel Cross wrought my
back and belly”; the sides and scroll
were the work of Norman. Their
label was: “Barak Norman and Nath-
aniel Cross at the Bass-Viol in Saint
Paul's Church yard, London, fecit
172—.” Three bass-viols were ex-
hibited at South Kensington Museum
in 1872; in one of them, which had
been converted into a violoncello, was
the label : “Barak Norman, at the
Bass-Viol in Saint Paul's alley,
London, fecit 1690.”
Norris, John, b. 1739, London; d.
March Io, I818. A maker in London.
Was a pupil of Thomas Smith, and
did very similar work. Went into
partnership with . Robert Barnes in
1765. See “Barnes.”
Novello, Pietro Valentino, brother of
Marco Antonio Novello. A maker in
Venice in the 18th century.
Novello, Marco Antonio, a brother of
Pietro Valentino Novello, who worked
in Venice at the same time. Their
instruments show good work.
Noversi, Cosimo. A maker in Florence
in the 17th century.
Ongaro, Ignazio. A maker in Venice in
I783.
Orlandelli, Paolo. Was working in
Codogno, Italy, in the 18th century.
Ortega. About 1840 was a maker and
repairer of instruments in Madrid.
Ostler, Andreas. A maker in Breslau
in 1730. A viola d'amore of ordinary
workmanship with yellow varnish was
exhibited in Paris in 1878.
Ott, Johann. One of the earliest makers
of lutes in Nuremberg; he was born
there early in the I5th century, and
was still living there in 1463.
Otto, Carl August, fourth son of J. A.
Otto; b. Sept. 26, 1801, Jena; d.
May II, 1883, Ludwigslust. Settled
in Ludwigslust (Mecklenberg) in 1832.
Was appointed maker to the Mecklen-
berg-Schwerin Court.
Otto, Carl Christian, second son of J. A.
Otto ; b. 1792; date of death unknown.
Established himself at Halle, and gave
up his time to repairing old instruments.
Otto, C. W. F. Louis, fifth son of J. A.
Otto; b. 1805, Jena; d. Feb. 3, 1884,
Stockholm. A maker in Stockholm.
Otto, Georg August Gottfried, eldest
son of J. A. Otto; b. 1789, Weimar;
OTTO—PADEW E.T.' 69.
d. July 2, 1857, Jena. From 1818
worked in Jena, succeeding to his
father's business there. He made
good instruments. -
Otto, Heinrich Wilhelm, third son of
J. A. Otto ; b. 1796; date of death
unknown. Worked first in Amster-
dam and later in Berlin.
Otto, Hermann, son of Ludwig Otto ;
b. March 9, 1859, Cologne; d. Sept. 20,
1884, St. Petersburg. Worked with
his father in St. Petersburg.
Otto, Jacob August, b. 1764, Gotha ; d.
1830, Jena. Pupil of Franz Anton Ernst
at Gotha, later settled in Weimar,
and was appointed, maker to the
Court. Worked also in Halle, Leipzig,
Magdeburg, Berlin, and finally in Jena.
Was especially skilful in repairing old
instruments, and made very good
violins and violoncellos; six violins,
one alto, and one violoncello were
made by him for the Royal Orchestra
of Copenhagen. He published two
books on violin making: “Ueber den
Bau und die Erhaltung der Geige und
aller Bogeninstrumente” (Halle, 1817);
and “Ueber den Bau der Bogen-
instrumente und über die Arbeiten der
vorzüglichsten Instrumentenmacher ”
(Jena, 1828); the latter was translated
into English by John Bishop in
I848. His five sons all became violin
makers.
Otto, Ludwig, son of Georg August
Gottfried Otto; b. Sept. 16, 1821, Jena;
d. Feb. 9, 1887, St. Petersburg. First
worked in Cologne, but after 1871
settled in St. Petersburg. He ex-
Pacherele, Michel. A maker in Paris
in 1779. He followed the pattern of
Guersan. His instruments were fairly
well made, slightly arched, with yellow
varnish. His name is branded on the
top of the back, and he used a MS.
label: “Michel Pacherele, luthier rue
d'Argenteuil a Paris, 1779.”
Pacherele, Pierre, b. 1803, Mirecourt;
d. Dec. 31, 1871, Nice. Was a fellow-
apprentice of J. B. Vuillaume at Mire-
court. After 1830 he moved about,
working first at Nice, then at Genoa,
then at Turin with Pressenda the
violin maker, finally returning, in 1839,
to Nice. He made a great many
violins, altos, and violoncellos, all of
good workmanship, but the varnish
was, thick and heavy; he often took
hibited three violins, a viola, violon-
cello, and double-bass in London,
1862. They were all well made and
were moderately priced.
Otto, Louis, son of Carl August Otto ;
b. July 15, 1844, Ludwigslust. Pupil
of his father in Ludwigslust, 1860-65;
worked with his cousin, Ludwig Otto,
in Cologne, 1865-66, then went to
Hanover, where he worked with Aug.
Riechers till 1872. In the same year
started his own business in Düsseldorf,
at 16, Schützenstrasse, where he still
works, assisted by two workmen. He
is very skilful at repairs, and has
repaired about 850 fine old instruments:
For his new instruments he uses
beautiful wood, not less than twenty
years old, and follows the Stradivari
model, large pattern, using good oil
varnish, orange colour, of his own
invention; the tone is of fine, full
quality. He himself accurately deter-
mines the thicknesses of back and front,
cuts the sound-holes, places the sound-
posts, carves the scroll, and does the
varnishing. About 238 violins, I3
violas, and 33 violoncellos have been
made. He gained first prizes at the
Exhibitions in Düsseldorf, I88o ; Mel-
bourne, 1888; and Chicago, I893. His
son now works under him.
Ouvrard, Jean. A maker in Paris about
1725-46. Pupil of Claude Pierray. A
violoncello is known, beautifully made,
with very fine golden-coloured varnish;
also a small six-stringed viol dated
1726, and a five-stringed viol labelled
“place de l'Ecole, à Paris, 1745.”
Stradivari for his model. He was also
a clever repairer of instruments.
Pacquet. A maker from Aix who was
working in Marseilles in 1785, according
to a label: “Pacquet d'Aix, luthier a
Marseille, 1785.”
Padewet, Iohann. A skilful maker of
violins; d. about 1874. He started a
business in Basle, 1844, but moved to
Carlsruhe (Baden) in 1846. , Was
appointed Court instrument maker by
the Grand Duke of Baden. Awards:
at Munich Exhibition, 1854: ; Paris,
1855; Carlsruhe, 1861 ; London, 1862;
Paris, 1867; and Freiburg, 1871.
Padewet, Johann, son of Johann
Padewet; b. Aug. 23, 1851; Carlsruhe.
First a pupil of his father, then worked
in Hanover and Berlin under Aug.
7o PAGANI—PANORMO.
Riechers till 1874. Succeeded to his
father's business, at 132, Kaiserstrasse,
Carlsruhe. Assisted by two workmen, he
makes forty to fifty instruments (violins,
violas and violoncellos) a year, on the
Stradivari pattern, using oil varnish,
of reddish-yellow or golden-brown
colour. He is especially skilful in
repairing old instruments, of which a
great number are sent to him from all
parts of the world. Awards: gold
medal and diploma, Carlsruhe, 1877 ;
silver medal and diploma, Mannheim,
188o ; gold medal and diploma of
honour, Strassburg, 1895.
Pagani, Gian Battista. A maker in
Cremona in 1747. A violin is known,
well made.
Paganoni, Antonio. Was working in
Venice in the middle of the 18th
century.
Pageot (Pajeot), son of Louis Simon
Pageot; b. Jan. 25, 1791, Mirecourt; d.
there Aug. 24, 1849. A maker of bows,
he obtained a “Mention honorable ''
in 1834 for the finish of his work. In
his workshops about 8,000 dozens of
bows were turned out at prices varying
from 6d. to I4s.
Palate. A maker in Liège about 1710.
He followed the Italian pattern, and
left some excellent instruments.
Palma, Paolo. Worked in Lucca about
I760.
Pamphilon, Edward. A maker in
London, on London Bridge, about
I680-90. His instruments were of
small pattern, very much arched, and
generally of stiff, inelegant outline ;
the work carefully and delicately
finished; the sound-holes small, some-
times finished with a drawn-out curl
like the volute of a scroll, the bottom
curve running out almost at right
angles to the axis of the violin; the
heads too small, an ordinary failing of
the early English makers, but artisti-
cally shaped and often deeply scooped
in the volute. The purfling is often
double, and he used a very fine yellow
varnish which looks extremely well;
the tone is clear, pure, and penetrating.
He also made tenors of small pattern
but of good tone; no violoncellos of his
are known, for at that time the bass-
viol with the flat back was still in use.
His instruments are still much liked;
their similarity to those made in Bre-
scia led to labels of “Gasparo da Salò”
being placed in them, a deception all
the more easily carried out as few Pam-
philon labels exist. Label: “Edward
Pamphilon, April the 3rd, 1685.”
Pandolfi, Antonio. A maker in Venice
about 1700-20. His work is good and
he used a yellow-brown varnish ; a
violin dated 1719 was exhibited at
Milan in 1881. t
Panormo, Edward, either a Son or a
grandson of Vincenzo Panormo ; he
worked both in London and in Ireland.
Panormo, George. A maker in London,
probably a grandson of Vincenzo
Panormo. *
Panormo, George Lewis, second son of
Vincenzo Panormo. He was a cele-
brated bow maker in London, and
lived first in Oxford Street, then in
High Street, Saint Giles-in-the-Fields.
He made very fine guitars (one was
dated 1833) and some good violins on
the Stradivari pattern. -
Panormo, Joseph, eldest son of Vin-
cenzo Panormo. Was born in London,
lived first in New Compton Street and
then in King Street, Soho; he died
in great poverty. He was a very
good workman, and his violoncellos
especially were excellent.
Panormo, Vincenzo (known as “old
º b. Nov. 30, 1734, Mon-
reale, a village near Palermo, Sicily;
d. 1813, London. When only sixteen
he began, without aid, to make various
kinds of musical instruments. He
went to Cremona for a short time and
probably worked there under Bergonzi.
About 1753 went to Paris; in 1772
made a short visit to England; 1783-89,
was again living at 70, rue de Chartres,
Paris, but soon after removed to
London. He also worked in Ireland
for a short time, and there converted a
maple-wood billiard table into some
very beautiful instruments. He was a
remarkably good workman, especially
in his fine copies of the Stradivari
pattern; his instruments were rather
small, the sound-holes and scrolls well
cut, the varnish a clear yellow colours
sometimes rose; the tone is very fine.
A few violoncellos made on the Stradi-
vari pattern are generally of handsome
maple-wood for the back and ribs, and
have an extremely rich and powerful
tone. His violins, violoncellos, and
double-basses are all much liked for
the pure and good quality of their
tone; his guitars have a high reputa-
tion. Some of his work is poor, but
he made a good many instruments for
the trade, using the wood (often of bad
quality) supplied by his employers, and
generally had to finish these instru-
ments within a given time. Labels:
“Vincent Panormo, rue de l'Arbre-sec

PANZANI—PECCATE. & 71
à Paris, 1730"; a similar label is dated
178o; “Vincenzo Triusano Panormo
fecit Parisiis, anno 17—”; “Vincenzo
Panormo di Palermo fecit, anno 17—”;
“Vincenzo Panormo, me fece Marsiglia
1760, Sicily”; “Vincenzo Panormo,
London, 1791.” &
Panzani (Pansani), Antonio. A cele-
brated maker in Rome about 1735-85.
Paquotte Frères. Henri Félix, b. March
II, 1857, and Placide, b. 1864, sons of
!. Baptiste Paquotte, to whose
usiness they succeeded in July, 1888,
at 99, faubourg Saint-Germain, Paris.
They were awarded a bronze medal at
the 1889 Exhibition for the beautiful
tone of their violins, but they chiefly
worked at repairing old instruments.
Henri was also a violin' player, and
was in Sauzay's class at the Paris
Conservatoire, 1873-78.
Paquotte, Jean Baptiste. Nephew of
Sébastien Paquotte, under whom he
worked for eight years; he then worked
under Lafleur for fourteen years. By
the time he succeeded to his uncle's
business he had gained great ex-
perience in his trade, and may be
ranked among the best Parisian makers
of his time. In 1877 he settled at
99, faubourg Saint-Germain, but re-
tired from business in 1888, and was
succeeded by his sons, Henri Félix
and Placide.
Paquotte, Sébastien, b. 1800, Mire-
court; d. 1863, Paris. In 1830 he
founded the business in Paris, at 51,
rue de la Harpe, afterwards moving to
2O, rue de l'Ecole de Médicine. His
son, Sébastien, b. Sept. I3, 1843, was
not a violin maker, but studied violin
playing at the Paris Conservatoire.
Paraldic. The only instrument known
of his is a violoncello made in 1722.
Pardi. A maker in Paris in 1788, at
412, rue St.-Honoré.
Pardini, Bastiano. Worked in Florence
about 1700. Label: “Bastiano Pardini
in Firenze.”
Paris, Claude. A maker at Paris, in the
rue du Roulle-St.; Honoré, 1775-91.
In 1816 was joined by his nephew. In
a violin, on which the purfling was a
zig-zag patteyn, both back and front,
with spirit varnish, a red-yellow colour,
was the label: “Claude Paris, luthier,
rue du Roulle à Paris, 1780.”
Parker, Daniel. A maker in London
about 1740-85. He was a very clever
workman, possibly a pupil of Urquhart
or Pamphilon, but made a step in
advance, improving the pattern of his
instruments, making them more similar
to those of Amati. He used red
varnish, a disagreeable colour, rather
thickly laid on ; the wood was excellent,
often handsomely figured; the varnish
rather transparent and soft; the tone
clear and powerful. He made largely
for the trade, consequently his instru-
ments are often sold under other
names; no viola or violoncello of his
has ever been seen, only violins are
known. About 1793 they were valued
at five guineas each ; about 1805 they
realised as much as fifteen guineas each.
Parth (or Perth), Andreas Nicolas. A
maker in Vienna about I790. -
Pasenali, Giacomo. A maker of man-
dolines in the 18th century.
Pasta, Domenico and Gaetano. Makers
in Brescia about I700-30. They are
said to have followed the Amati instead
of the Maggini pattern, traditional in
Brescia. They were probably pupils
of G. B. Rogeri. Their instruments
have not a good tone, the varnish is
brown colour.
Patzelt, Johann Ferdinand. A maker
in Vienna.
Pauli, Antonius. Worked in Tachau in
1723. A viola d'amore of large pattern,
with flat back, twelve strings, pale
yellow varnish, and without any trace
of repairs or alterations, had the label:
“Ant. Pauli Musicus instrumentalis in
Tachau, 1723.”
Pazzini, Gian Gaetano. A maker in
Florence about 1630-70. Little is known
about him, but according to his label
he was a pupil of Maggini. His instru-
ments are very rare. Labels: “Giovan:
Gaettano Pazzini, allievo dell' Maggini
di Brixiae. Fecit Firenze, anno 1640,”
and “Gian Gaetano Pazzini allievo
dell' Maggini di Brixiae fecit, anno
I66O.’’
Pearce, George, b. Nov. 16, 1820, War-
minster; d. July 3, 1856, London.
His parents moved to London in 1824,
and in July, 1834, he was placed in the
workshop of S. A. Forster as errand
boy, but showing talent was taught
violin making and became an excellent
workman.
Pearce, James and Thomas. Two
brothers working in London, in Peter
Street, Saffron Hill, about 1780-1800.
Their work was poor.
Pearce, William. A maker in London.
Peccate, Charles. A maker of bows in
Paris. Obtained a silver medal at the
1889 Exhibition.
Peccate, Dominique, b. July 15, 1810,
Mirecourt; d. there, Jan. I3, 1874. In
1826 was apprenticed to J. B. Vuillaume
*
72 PECCATE–PIERRAY.
at Paris, and worked with him until
1837; then François Lupot died, and
Dominique succeeded to his business
at 18, rue d'Angivilliers. He remained
there till 1847, then returned to Mire-
court, and continued working there.
He ranks next to François Tourte as a
bow maker, even rivalling him in some
of his bows, which were finished with
especial care. He sometimes marked
them with his name ; they were at first
sold for 16s., but now their price is
almost quadrupled.
* Peccate, jeune. A brother of Dominique,
who also made bows, and was for some
time working in J. B. Vuillaume's
shop. His work is inferior to that of
his brother. He died in Paris about
1856. .
Peccenini, Alessandro di Leonardo
Maria (known as “del lento”). A
maker of lutes and viols in Bologna in
I595.
Pedrazzi, Fra Pietro. A Dominican
friar, working in Bologna in 1784.
Pemberton, Edward. A maker in
London in I660. His instruments are
ugly, but the tone is good and the
varnish of fine quality. It has been
suggested that a Pemberton was the
maker of the instrument presented to
the Earl of Leicester by Queen Eliza-
beth, which has “J. #3 P.”"engraved on
the tail-pin—supposed to be the initials
of the maker and the date of the year
(1578) in which it was made—if so, he
was the earliest English maker to
make the violin of four strings.
Perault. A maker in Paris, 1775-77, in
the rue du Petit-Muse.
Peregrino, Giannetto.
Pelegrino di Zanetto.”
Péron (or Perou), Nicolas. A maker in
Paris, living in rue de l’Arbre-sec,
I775-79; rue Mauconseil, 1783; place
de la Comédie française, 1785; and rue
Richelieu près la Comédie française,
I787-89. He was appointed maker to
the Duchess of Orléans. ' His instru-
ments are fairly well made, with yellow-
brown varnish. In one of his violins
made on the Gagliano pattern, was
the label: “Péron, luthier de S.A.R.
madame la Duchesse d’Orléans rue
Richelieu près la Comédie française,
I790, Paris.” He was also the maker
of the “Spanish lyre" invented by the
Abbé de Morlane.
Perry, Thomas. A maker in Dublin
about 1767 to 1827. A large cither is
known, and a cither-viol labelled :
“Made by Thomas Perry, Dublin,
I767.” He was in partnership with
See “Michelis
former on a large pattern.
William Wilkinson, and they turned
out very well made violins of good tone.
Their label was: “Made by Thos. Perry
and Wm. Wilkinson, musical instru-
ment makers, No. 4, Anglesea Street,
Dublin, 182—.”
Persoit. A maker of bows in Paris; a.
very clever workman. He made for
J. B. Vuillaume, 1823-41 ; but then
started a business of his own. He
marked his bows with the letters
“P. R. S.”
Peters, Michael. Was working in Wey-
berg in 1801, judging from two labels.
in a bass-viol of seven strings; the first
runs: “ dieses Instrument ist gemacht,
anno 1627,” the second is “arranschirt
von Michael Peters in Weyberg, anno.
I8OI.”
Petz. A maker in Fussen, Bavaria, in
I770.
Pezzardi. A maker in Brescia about
I580-16Io. His instruments are some-
what similar to those of Maggini, his
contemporary; there is the same
pattern, the same double purfling, but
the varnish is clearer and the sound-
holes are different. His instruments
are often sold as being those of
Maggini.
Pfab. A maker in Hamburg. .
Pfretzschner, Carl Friedrich, son of
Johann Gottlob Pfretzschner. Was
presumably a German, but worked in
Cremona. His instruments are of no
special merit.
Pfretzschner, Johann Gottlob. A maker
in Cremona. A label in one of his
instruments is dated 1794. His work
is not good. -
Pfretzschner. A maker in Neukirchen.
Pichol. A maker in Paris.
Picino. A maker in Padua in 1712;
his instruments are very arched and
have dark varnish. -
Picte, Noel. See “Piete.”
Pierrard, Louis. A maker of excellent
violins, with red-brown varnish, and of
good tone, in Brussels, at 23, rue Le
beau. He was a pupil of Mougenot,
but started his own business in 1883.
Exhibited instruments in Brussels
(1888), Paris (1889), and Antwerp, and
was awarded bronze, silver, and gold
medals. He published “Traité de
lutherie” (Brussels, 1890).
Pierray (or Pierret), Claude. A con-
temporary of Boquay, he worked in
Paris about 1700-30. He made a great
many violins and violoncellos, the
He some-
times copied the work of Girolamo
Amati rather closely. He used good
PIETE–POLIS. 73
wood, though not very beautiful to look
at, and red varnish. The proportions
of his thicknesses varied too much; the
tone is excellent but not powerful; the
work is carefully finished. In Thomas
Britton's Collection of instruments was
a violin by “Claude Pieray, of Paris,
as good as a Cremona.” Some of his
pupils became good makers, such as
Jean Ouvrard, Paul Grosset, and Louis
Guersan. Labels: “Claude Pierray,
rue des Fossés-Saint-Germain-des-Prés
à Paris, 17Io”; a similar label, dated
I714, “Claude Pieray a Paris, 1715”;
“Claude Pierray proche la Comédie à
Paris, I725.” There is a bass-viol,
dated I712, in the Paris Conservatoire
Collection.
Piete (Picte), Noel, b. about 1760.
Worked in Paris till about 181o. a.S
a pupil of Saunier. Made violins and
violoncellos of beautifully finished
workmanship.
Pilet. See “Pitet.” -
Pillement, F. A maker in Paris about
I790-1820. His instruments vary very
much, as he often changed his pattern;
he used dark varnish. He branded
his violins inside with “Pillement,
Paris.”
Pilosio, Francesco.
Gorizia in 1748.
Pique, François Louis ; b. 1758, at
Rorei, near Mirecourt; d. 1822, Cha-
renton-St.-Maurice. Was a pupil of
Saunier. He went to Paris in 1777 or
1778, living first in “rue Coquillière
au coin de la rue de Bouloy,” according
to a label in a theorbo dated 1779;
then, 1787-9, in the “rue Platrière
vis-à-vis de l'Hôtel de Bullion,” ac-
cording to a label in a sixteen-stringed
mandore dated 1787; and finally at
36, rue de Grenelle-St.-Honoré, where
he remained till he retired from
business in 1816. He made some
beautiful copies of Stradivari, the
workmanship being of a very high
order; the scrolls and sound-holes are
well cut and the wood is of excellent
quality. Some instruments have the
backs cut in one piece, and the pro-
portions of the thicknesses are some-
times exaggerated ; he used a dark red
oil varnish, rather opaque. In 1792
he applied to Nicolas Lupot, then still
at Mirecourt, for a certain number of
unvarnished violins, which he then
varnished himself and sold with his
label. His instruments vary from a
moderate price to as much as £50.
His violins are mentioned by Spohr
(Méthode de Violon) as being some of
Was working in
the best of the period. Label: “Pique,
rue de Grenelle-St.-Honoré, au coin de
celle des deux Ecus, a Paris, 1790"; a
similar label is dated 1809.
Pirot, Claude. A maker in Paris about
1800-20. He made good violins on the
Italian pattern; the bellies are slightly
arched, the backs hardly at all; the
sound-holes are well cut; the varnish
is very thick, sometimes red-brown,
sometimes pale yellow colour. Label:
“Cde. Pirot fecit Parisiis, anno 1803.”
Similar labels have been found in
violins dated 1808, 1810, 1813.
Pitet (or Pilet). A maker in Paris in the
latter part of the 17th century. His
instruments are more curiosities for
collectors than of any great value.
His name, encircled by a Latin motto,
is often found written on the sides of
his instruments, most frequently on the
violoncellos.
Pizzurmus (Pozzurnus), David. Work-
ing in Genoa about 1760.
Plack (Plach), Francis. A maker in
Schoenbock, Bohemia, about 1740-8o.
He is best known for the good violins
that he made. -
Plane, W. Working in Glasgow in
I86O.
Plani, Agostino de. A maker in Genoa
in 1778, according to this label:
“Augustinus de Planis fecit Genuae,
1778.” His work was commonplace.
Platner, Michele. Probably a Swiss.
Was working in Rome in 1747. His
instruments show very fair workman-
ship; they are rather arched, the scroll
is well cut, the varnish is a golden-red
colour. Label : “Michael Platner
fecit Romae, anno 1747.”
Plumerel. Was working in Paris in
I740, for this date was found in a
violoncello of rather poor work, with
yellow varnish ; his name was branded
inside. -- . -
Plumerel, Charles. Was working in
Angers, France, in 1822. *.
Poiros, Louis. A violin of his is known,
he was a French maker.
Poirson, Eloph. Worked in Paris. At
first took up violin making as an
amateur, but in 1878, having received
a very flattering verdict from Marsick
on one of his violins, he decided to give
his whole time to it. In 1889 he ex-
hibited some of his instruments and
was awarded a bronze medal, a violin
being specially remarked as of very
good quality and of beautifully finished
workmanship.
Polis, Luca de.
in I75I.
A maker in Cremona
74
POLLUSCA–QUINOT.
Pollusca (Pollusha), Antonio. Was one of
the principal makers in Rome in I75I.
Pons. A maker of guitars in Paris. His
instruments were rather shorter than
the ordinary pattern, but of a large size.
He branded them inside with “Pons à
Paris.”
Pons, César. A maker in Grenoble
about 1780-1820. His violins were of
large size, very arched, the work not
very good.
Porion, Charles. A French maker about
1707. A cither of his is known with
eleven strings.
Polron, Peeter. A double-bass used in
the Cathedral of Antwerp is labelled :
“Peeter Porlon tot Antwerpen f. I647.”
It is said to be still played there. In
1847, its 200th anniversary was com-
memorated by the following inscription
on its back : “Antwerpiae in Sanctae
Mariae Verginis uno alteroque aevo
Jehovae Laudes Canui.”
Possen, Lauxmin. A maker of viols and
lutes in Schoengau, Bavaria, about
1550-70. In 1564 he was appointed
maker and repairer of the instruments
of the Munich orchestra, with a salary
of 405 florins
Postacchini, Andrea, b. in Firmo, and
was working there in 1824. He was
excellent both as a maker and as a
repairer of instruments. . . Label :
“Andreas Postacchini Amici filius fecit
Firmi anno 1824, opus 2I4.”
Postiglione, Vincenzo, b. July 14, 1835,
at Naples. In 1847 was apprenticed
to Vincenzo Jorio for five years. He
then devoted much time to studying
old instruments; some important work
in the way of repairing and restoring
some instruments belonging to a certain
Signor Fummo also added to his ex-
perience. He became a good maker
and made a great many instruments,
which will gain every year in value.
Powell, Royal and Thomas. Two
brothers who worked in London about
1770-1800. They were employed about
1785-7 by William Forster (1739-1808),
and his son, William Forster. Their
work was always neat and good. In
18oo they were living in St. John's
Square, St. Luke's. Label: “Made
Quinot, Jacques. . A maker in Paris
about 1660-80, who was mentioned in
1680 as being “one of the most clever
of the honorable luthiers of Paris.”
Q.
by Thomas Powell, 18, Clemens Lane,
Clare Market, 1793.”
Pozzurnus. See “Pizzurmus.”
Presbler, Giuseppe. Was working in
Milan at the sign of the “Sun" in
I8or. In a mandoline was the label :
“Giuseppe Presbler in Milano nella
contrada della dogana all' insegno del
sole, 1801.”
Pressenda, Giovanni Francesco, b. 1777,
Turin; d. there, 1854. Was the son of
a strolling fiddler, Raffaele Pressenda,
who generally lived in Lequio-Berria,
a village near Alba, Piedmont. Gio-
vanni also learnt to play the fiddle, but
finding his way to Cremona there
studied violin making under Lorenzo
Storioni, and probably learnt there to
make the varnish for which his violins
were afterwards noted. In 1814 he was
working in Alba, combining cabinet
making with violin making; then went
to Carmagnole for a short time, and
finally, in 1820, settled in Turin, where
his ability was soon recognised. He
was especially patronised by the cele-
brated violinist, Polledro, who was
appointed Musical Director to the
Royal Orchestra at Turin in 1824. His
violins are generally made on the
Stradivari pattern, not much arched,
the sound-holes well cut, the propor-
tions of the thicknesses correct, the
wood good, but the scrolls rather
roughly finished; the red-brown var-
nish was of excellent quality. Label :
“Joannes Franciscus Pressenda f.
Raphael fecit Taurini, anno Domini
I826.’’ -
Preston. A maker in London about
I724. In a guitar of small size was the
label : “Preston, maker, London.” -
Preston, John. A maker in York about
I785-95. Labels: “Preston, Pavement,
York, 1789,” and “John Preston, York,
1791, Fecit.”
Prevět (or Prevost), P. Charles. A
maker in Paris, working at Io2, rue de
la Verrerie, at the sign of “Au Dieu
Apollon,” from 1775 to 1789.
Prieur, Claude Edme Jean. Was
working in Paris, in rue de la Pelleterie,
I775-77, and in rue de la Calandre,
I779-89.
e
In a little pocket violin, with carved
head, inlaid purfling, and yellow var-
nish, was the MS. label: “Jacques
Quinot à Paris, 1670.”
RACCERIS–RAYMAN. 75.
Racceris. A maker in Mantua in 1670.
His instruments were very similar to
those of the Gagliano family, with one
of whom he is said to have been in
partnership. -
Raffaele, Nella (or Della). Was working
in Brescia in the 18th century. He
followed the pattern of Maggini, his
instruments generally have the sides
ornamented with inscriptions, and have
brown varnish ; they are not of great
merit.
Railich, Giovanni. Worked in Padua.
Label : “Giovanni Railich lautaro in
Padova.”
Rambaux, Claude Victor, b. Feb. 25,
1806, at Darney in the Vosges; d. June
25, 1871, at Mirecourt. In 1820 was
apprenticed to L. Moitessier in Mire-
court, and remained with him till July
12, 1824. Then went to Caen and
worked under Thibout, 1824-27, and
then to Paris, where, from Aug. 22,
1827, till June 7, 1838, he worked with
Gand. In 1838 he started his own
business at 18, faubourg Poissonnière.
The new instruments that he made
show great ability, but he chiefly
devoted himself, with infinite patience
and care, to repairing old instruments;
he was especially skilful in “cutting
down '' the old Italian violoncellos,
which vary much in pattern, and
generally have to be reduced in size to
that of the Stradivari model, so as to
meet modern requirements. After nine-
teen years' work in Paris, he retired to
Mirecourt in June, 1857, having gained
silver medals at the 1844 and 1849
Exhibitions, and the first class medal
at the 1855 Paris Exhibition. Label:
“Claude Victor Rambaux Breveté à
Paris, 1846, C.V.R.” He had two
sons, but neither of them became .
violin makers.
Rambouts. See “Rombouts.”
Ramftler, Franz, b. May 23, 1834,
Munich. Pupil of Andreas Engleder
in Munich; started his own business
there in 1860. Principally repairs and
deals in old Italian instruments, but
has lately made some very good new
violins on the Stradivari pattern, using
a varnish of his own invention. Was
appointed Court violin maker.
Rance, Thomas. A maker in Brussels
about 1680-85. A violin of ordinary
Rawlins.
workmanship had a flat back, the -
sound-holes rather wide, and purfling .
well executed.
Ranta, Pietro. A maker in Brescia in
I733, who followed the Amati pattern.
Raphael. See “Raffaele.”
Rasura, Vincenzo. Worked at Lugo in
I785. -
Rau, J. F. A maker in Nuremberg.
Exhibited at Munich, in 1854, a violin
of good though rather coarse tone,
which would improve with time.
Rauch, of Breslau, and Rauch, of Würz-
burg, were two brothers working about
1730-60. They made good violins on
a model peculiar to themselves, using
varnish of a red-brown colour; the
tone was full and powerful.
Rauch, Jacob. A maker in Mannheim
about 1720-50. He produced some
very good work, the quality of tone of
his violins is said to be very similar to:
that of Stainer violins; he also made
excellent altos, violoncellos, and double--
basses. In an arch-lute of Laux Maler,
which had been restored by Rauch,
was found the label: “Jacob Rauch
Hof-Lauten und . Geigenmacher in
Mannheim, anno 1740. Zugericht.”
Another label was dated 1747.
Rauch, Sebastian.
worked in Hamburg about 1725, and
in Leitmeritz, in Bohemia, 1742-63.
His instruments were much arched,
and the work was not carefully finished.
Raut, Jean. A native of Bretagne, who '.
worked in Rennes till about 1790. A
few violins of his are known, made on
the pattern of Guarneri, with red
varnish.
Rautmann. A maker in Brunswick.
Was working in London in
I779. Label found in a viola : .
“Henricus Rawlins, Londini, 1779.”
Another label: “Restauratus Henricus .
Rawlins auspicio Giardini Londini,
1781.” (Giardini was at that time
leader of the orchestra at the Italian
Opera). -
Rayman, Jacob, b. in the Tyrol, but
settled in London about 1620, living
first at Blackman Street, then at Bell
Yard, Southwark. He worked till
about 1650. He seems to have been
one of the earliest makers of violins in
England; they are of small size, of
rather an ugly pattern, not arched,
F
Is said to have
76 RAZENZO-RENIST.O.
with small sound-holes; the scroll also
small but well cut; the varnish very
fine, its colour a yellow-brown tinged
with red; the tone, clear and pene-
trating. He also made some fine
tenors, the workmanship good, although
the purfling, is sometimes defective,
His instruments show ability and
talent, and are greatly valued ; they
have many of the characteristics of
German work, and differ greatly from
the work of the old English viol makers.
In Thomas Britton's collection of
instruments was an “extraordinary
Rayman " and also “three others
ditto.” Labels : “Jacob Rayman
dwelling in Blackman Street, Long-
Southwark, 1641,” and “Jacob Ray-
man, at ye Bell Yard in Southwarke,
London, I648.”
Razenzo, Carole. A maker in Barcelona
about 1690. -
Realli, Cosmo Battista. A maker in
Parma in 1667. In a little pocket
violin of very narrow pattern, with
brown varnish, was the label : “Cosmo
Battista Realli in Parma, 1667.”
Rechiardini, Giovanni (called “Zuano”).
Was working in Venice in the 18th
century.
Regnaut (Renault), Jacques. A maker
in Paris, 1665-85. A little pocket violin,
with silver purfling, was dated 1682; in
another little pocket violin was the
label: “Jacques Regnaut à Paris, 1666.”
He succeeded Nicolas Renault as
maker to the King. -
Reichel, Johann Conrad, brother of
Johann Gottfried. Was working in
Neukirchen in 1779.
Reichel, Johann Gottfried, brother of
Johann Conrad. Was a maker in
Absam. He was a pupil of Stainer
and copied his pattern, but his
work is rough, and he used red-brown
varnish of poor quality. Label :
“Johann Gottfried Reichel g
arfunden von Jacob Stainer in
Apsam.”
Remy. A French maker who left Paris
to settle in London about 1840. He
made on the Italian pattern ; but his
violins have not, it is said, gained in
quality of tone with age, possibly owing
to his method of artificially maturing
his wood before using it.
Remy, Hippolyte, eldest son of Jean
Mathurin Remy. Was working about
I835-70 in Paris. He made some
violins of no great merit.
Remy, Jean Mathurin, son of Mathurin
François Remy 5 b. 1770, Paris; d.
1854. His work was of much the
§
same merit and type as his father's.
He used oil varnish. He removed
from rue Tiquetonne to 30, rue de
Grenelle-Saint-Honoré, about 1817,
and remained there for thirty-seven
years. His two sons were both violin
makers. *,
Remy, Jules Hippolyte, second son of
Jean Mathurin Remy; b. 1813, Paris;
d. 1876. He carried on a business at
60, faubourg St.-Denis.
Remy, Mathurin François. A maker in
Paris, first in the rue Sainte-Marguerite-
Saint-Antoine about 1760, and then in
rue Tiquetonne, 1775-91. He made
instruments similar to those of
Guersan and Gaviniès, with yellow-
brown varnish.
Renaudin, Léopold, b. 1749, at Mire-
court; guillotined, May 7, 1795. He
settled in Paris, living in the rue St.-
Honoré from 1776 till his death, at the
sign of “Aux amateurs.” He made
fairly good instruments, but they are
too much arched, the scroll is badly
cut, and the varnish is ugly, almost
black in colour; he made excellent
double-basses, several of these, how-
ever, were destroyed by the fire at the
Opera House in 1873. A violoncello is
known made from a bass-viol. In an
alto was the label : “‘Aux amateurs.'
Renaudin, luthier, fait toutes sortes
d'instruments, rue Saint-Honoré près
1'Opéra, 1783 ''; in another alto was
the label: “Léopold Renaudin (the
address illegible), année 1789.”
Renault, Jacques. See “Regnaut.”
Renault, Nicolas. A French maker
about the end of the 16th century. Is
said to have been a pupil of Tywersus
(a maker in Nancy), and afterwards to
have worked in Paris. -
Renault, Sébastien. A maker in Paris
about 1775 to 1805, living in the rue
de Braque. Cithers of his are known
dated 1779, 1786, and 1804; a violin
is described as made on a good pattern,
with yellow varnish of fair quality.
He was in partnership with F.
Chatelain for some time, he then used
the labels: “Renault et Chatelain rue
de Braque au coin de la rue St.-Avoye
à Paris, 1797,” and “A la renommée,
rue de Braque, au marais, Renault et
Chatelain, luthiers, font et vendent
louent, achètent et raccommodent
toutes sortes d'instruments de musique,
etc., a Paris.”
Renisto. A maker in Cremona about
I735-40. Pupil of Carlo Bergonzi,
whose work he copied rather closely ;
but his instruments are more arched,
1 RESLE-ROGERI. 77
and the details are not so care-
fully finished. Label : “Renisto,
Cremonae alumnus Carlo Bergonzi,
fecit I7—.” • ‘
Resle, Andrea. Was working in Fiesso
in 1740. In an excellent violin, made
of beautiful wood, with dark varnish,
was the label : “Andreas Resle fecit
Fiessae, 1740.”
Reynaud, André. A maker at Tarascon,
1754-66. In a violoncello, slightly
arched, of a very graceful pattern,
with beautiful yellow varnish, was
the label: “Andreas Reynaud olim
Canonicus fecit a Tarascon en Provence,
I754'; another label was “Andreas
Reynaud, olim canonicus Tarascone in
gallo provincia, 1766.”
Richards, Edwin. A maker in London.
Richelme, A. Marius. A maker in Mar-
seilles, who greatly modified the curves
of the upper and lower bouts of his
instruments, almost returning to the
ancient viol-shape. He published in
Marseilles, 1868: “Etudes et observa-
tions sur la lutherie ancienne et
moderne.”
Ricolazzi, Lodovico.
mona in I729.
Riechel. See “Reichel ”
Riechers, August, b. March 8, 1836,
Hanover ; d. 1893, Berlin. Was first
a pupil of L. Bausch at Leipzig, then
travelled from city to city gaining
experience, returning to Hanover in
1862. He moved to Berlin in 1872,
at the special request of the great
violinist, Joseph Joachim, who recog-
nised his talent and ability. He
made excellent instruments on the
Stradivari and Guarneri patterns
and was especially successful in re-
pairing old instruments. About I, ooo
violins
were made in his workshop. He
published a book on the construction
of violins. w
Riess. A maker in Bamberg about
I740-60. He made fairly good instru-
ments on the Stainer pattern, with a
nice quality of tone.
Rimbouts. See “Rombouts.”
Rinaldi, Benedetto Gioffredo. Was a
pupil and fellow-worker of Pressenda.
He was still working in Turin in 1886,
but died about five years later. He
published: “Classica fabbricazione di
violini in Piemonte" (Turin, 1873),
which is practically a short biography
of Pressenda.
Rivolta, Giacomo. A maker in Milan
about 1822. His instruments show
good work. • •
Rodiani, Giovita.
A maker in Cre-
and over 200 violoncellos'
Rocca, Giuseppe Antonio. A maker in
Turin about 1835-55. Worked at one
time for Pressenda. His violins are
generally made on the Stradivari
pattern ; the work is carefully finished,
the scroll well cut, but the varnish is
of poor quality. , Label: “Joseph
Antonio Rocca fecit Taurini, anno
Domini 1841.” Other violins are
known dated 1839, 1851, and 1855.
See “Budiani, Gia-
vetta.” -
Röscher, C. H. W. Was working in
Bremen about 1871.
Roger, G. Was working in Montpellier
in 1820.
Rogeri, Gian Battista, b. in Bologna
about 1650. He went to Cremona to
work under Nicola Amati; Stradivari
was a fellow pupil of his. He then
settled in Brescia and worked there
about 1670 to 1725. He made admir-
able instruments, generally following
the Amati or the Stradivari pattern ;
the wood was chosen with the greatest
care; the varnish is very beautiful, of
a golden-red colour; the sound-holes
resemble those of Amati; the purfling
is accurate, the corners elegant ; SOme
of his violins are so excellently made
and have such a fine tone, they have
been sold as the work of Stradivari.
Especially penetrating and robust is
the tone of his violoncellos; he some-
times used poplar-wood for the backs—
perhaps it was then thought that this
rendered theinstrument more sonorous;
or possibly hereceived but low prices for
his work, and was obliged to use the less
expensive wood—but whether of poplar
or maple the violoncellos are always
beautifully made and are now much
valued. Label : “Jo. Bap. Rogerius
Bon. Nicolai Amati de Cremona alum-
nus Brixiae fecit, anno Domini 1671.”
(The word Bon. simply means Bononi-
ensis, of or from Bologna.) He always
used the same label, it is sometimes in
red, sometimes in black letters; other
labels seen were dated 1705 and 1725.
Rogeri, Pietro Giacomo, son of Gian
Battista Rogeri; b. about 1675 in
Brescia ; worked till about 1735. He
made on a similar pattern to his father,
but not quite so broad, and used fine
varnish. His violins are not equal to
those of his father, but his violoncellos
are splendid instruments; a magnificent
one was in the Collection of Count
Cozio di Salabue. He also made many
fine violas and double-basses. Label:
“Petrus Jacobus Rogeri fecit Brixiae,
1714.”
78 ROISMANN-RUGGERI.
Roismann, Johann. Was working in
Breslau in 1680. A violin of his is in
the Paris Conservatoire Collection.
Rol. A maker in Paris in 1753. In a
large pocket violin in the Paris
Conservatoire Collection is the label :
“I753, Cour Saint-Denis dela Chartre.”
Romano, Pietro. Worked in Pavia in the
18th century. Label: “ 17— Pietro
Romano in Borgo di Pavia.”
Romarini, Antonio. Working in Cre-
mona in the 18th century. Label :
“Antonio Romarini fecit Cremonae,
anno 17—.” The date is effaced, but is
probably I705.
Rombouts, Pieter. A maker in Amster-
dam about I705-35. He made violins,
violas, and violoncellos, much arched,
with a brilliant but rather thick
varnish. In a six-stringed bass-viol,
of which the work shows neat finish,
was the label : “Pieter Rombouts,
Amsterdam, 1708.” -
Rook, Joseph. A maker in London
about 1777 to 1830. His instruments
show good work and follow the pattern
of Forster.
Ropiguet. An amateur maker in Paris
about 1810-30. He was an orchestra
player by profession, but made some
violins of no great value; he signed
them with his name.
Rosiero, Rocco. Worked in Cremona
in the early part of the 18th century.
Rosio, Paolo. A maker in Verolanuova,
who exhibited an excellent double-bass
in Brescia in 1857.
Ross (Rose), John. A maker of viols and
lutes in London about 1560 to 16oo. In
a collection of airs called “Tripla Con-
cordia,” published in London, 1667,
by John Carr, is the following adver-
tisement: “There is two chests of
viols to be sold, one made by Mr.
John Ross, who formerly lived in
Bridewell, containing 2 trebles, 3 tenors
and one basse : The chest was made
in the year 1598.” In the instrument
known as Queen Elizabeth's lute, in
reality a species of guitar known as
cither, with ten strings to be tuned in
five pairs of unisons, is the inscription:
“Johannes Rosa, Londini fecit, in
Bridwell, the 27th of July, 1580.”
Rota, Giovanni. A maker in Cremona
about 1800-Io. His instruments show
rather rough work, the purfling is care-
less, the wood not particularly hand-
some, the varnish is a yellow colour.
Label: “Joannes Rota fecit Cremonae,
anno I3O8.” *
Rota, Giuseppe Antonio. A maker in
Turin about 1825. His work is very
similar to that of Pressenda, perhaps
not so carefully finished, the varnish
is red-brown in colour. Label:
“Joseph Antonio Rota fecit Taurini,
anno Domini 18—.”
Roth, Johann and Christian. Are both
mentioned as working about 1675, the
former at Darmstadt and the latter at
Augsburg.
Rotten brouck. A maker in Brussels
about 1700-25. He followed the pattern
of Amati and used fine red-brown
varnish. -
Rovetta, Antonio. A maker in Bergamo
about 1840-70. He exhibited a good
violin at Brescia, I864. *
Roze. A maker at Orléans about
1755-65. His instruments show fairly
good workmanship, the Sound-holes
well-cut, wide in the centre, the scroll
rather heavy, and the varnish a yellow
colour. Label : “Roze, rue Sainte-
Catherine, à Orléans près le Martroy,
I757.” • *
Rúan Was working in Aberdeen
in 1769. A cither, with inlaid wood
ornamentation, had the inscription:
“Rudiman, A. B. Dn, D. G.'
Ruggeri (Rugieri), Francesco. Was the
first of a family of makers in Cremona,
very often confused with Rogeri of.
Brescia. He worked in Cremona at 7,
Contrada Coltellai, from about 1645 to
1700. He was one of the celebrated
pupils of Nicola Amati, whose pattern
he copied, slightly enlarging it, and
arching it more. The outline is very
graceful, the sound-holes beautifully
cut, rather short and open; the purfling
broad; the varnish varies from a deep
orange to a brilliant yellow-orange
colour, it is very light and transparent;
the wood is generally maple, of fine
quality, often beautifully figured; he
sometimes used poplar for the backs of
his violoncellos, but always obtained a
sonorous and penetrating tone. The
violoncellos are often made on too
large a pattern ; he made a com-
paratively small number of violins and
violas, but some are exceptionally
good, the work beautifully finished, the
wood and varnish leaving nothing to
be desired; they greatly resemble the
work of Amati and are often sold as
such. His instruments deservedly
fetch very high prices. Labels: “Fran-
cesco Rugier (or Ruger) detto il Per in
Cremona, 1686 '' ; similar ones are
dated 1645, 1665, and 1697. Rugier or
Ruger is the Cremonapatois rendering
of Ruggeri; the word “Per” is similarly
the equivalent of “Pero.” “Francesco
RUGGERI–SALOMON. 79
Ruggeri detto il Per Cremona, 1671.”
Three violins are known dated 1684.
Ruggeri (Rugieri), Giacinto Giovanni
Battista, son of Francesco Ruggeri;
b. in Cremona. His work is similar to
that of his father, but has not the same
value ; , he made several violoncellos of
large pattern, rather arched, generally
of plain wood and with dark brown
varnish of good quality ; both the
sound-holes and the scroll were cut
wider than in Amati work. Label, “Gia-
cinto filio di Francesco Ruggeri detto il
Per I696.'; another was dated 1692.
Ruggeri (Rugieri), Guido. Worked in
Cremona about I720. \
Ruggeri (Rugieri), Pietro Giacomo and
Giovanni Battista. Both working in
Brescia about I700-25.
Ruggeri (Rugieri), Vincenzo, son of
Francesco Ruggeri. Was working in
Cremona about I700-50, is also said to
S.
Sacchini, Sabattino. A maker in Pesaro
in 1686. Label: “Sabattino Sacchini
da Pesaro, I686.”
Sacquin. A maker in Paris about
‘. 1830-60. His instruments are well
made, especially the double-basses; the
oil varnish is of good quality; he gener-
ally followed the Stradivari pattern.
His name is branded on the back in
the interior. Label: “Sacquin, luthier,
rue Beauregard, I4, a Paris, 185—.”
Sainpra, Jaques. A maker in Berlin in
the 17th century. A viola di bordone,
or baryton, was exhibited in the South
Kensington Museum, 1872.
Saint-Paul, Antoine. A maker in Paris
about 1765-90. He was son-in-law and
successor of Louis Guersan, and worked
at the sign of “Au luth royal" in the
ruedes Fossés-Saint-Germain-des-Prés,
near the Comédie Française, where, as
his advertisement says, “il fait et vend
toutes sortes d'instruments de musique,
scavoir; violons de Cremone, violons
desa façon et de toutes sortes d'auteurs;
alto-violas, basses et contrebasses,”
&c. In a five-stringed viol, with a
carved neck and yellow varnish, is the
label: “Antonius Saint-Paul, prope
Comoediam Gallicam, Lutetiae, anno
Saint-Paul, Pierre. A maker in Paris
about 1740. A violin of that date is
known, also a six-stringed viol dated
from the rue St.-André-des-Agis in 1742.
have worked in Brescia. He made
many altos and violoncellos, the work
is somewhat rough and careless.
He was the last member of this
family to make violins. He also used
“ il Per '' on his labels, for the
same reason probably—viz., to dis-
tinguish his work from that of the
Rogeri of Brescia. Labels: “Vin-
cenzo Rugier (or Ruger) detto il Per
in Cremona, I714'; a similar label is
dated 1720. - -
Ruppert, Johann Heinrich. A maker
in Erfurt about 1720. His violins,
altos, and violoncellos were of a very
flat model, without linings, corner
blocks, or purfling, had a powerful
tone, and dark brown-amber varnish.
Label: “Johann Heinrich Ruppert,
anno 1719 in Erfurt,” in a viola da
gamba, with neck ending in a beauti
fully carved female head. -
In a violoncello, with yellow-greyish
varnish, and of rather poor workman-
ship, is the label: “Pierre Saint-Paul,
rue de la Comédie françoise, Paris,
I74I.”
Sajot. Was working in Paris, 1730-35.
He made his instruments with flat
backs, using varnish of a yellow-brown
colour; the workmanship was poor.
Label: “Sajot, a Paris, 1734.”
Salino, J. B. A maker in Rome in 1760.
His instruments were very arched, with
varnish of bad quality, brown shading
into black in colour; the work not well
finished. Label: “J. B. Salino fecit
Roma, anno 1760.”
Salle, le Père. A maker in Paris about
I825-53. He made a few violins, which
are very beautiful copies of Guarneri;
but he was chiefly noted for his clever-
ness in repairing old instruments, and
his extraordinary knowledge of the
work of old Italian makers. -
Salò. See “Gasparo da Salò.” -
Salomon, Jean Baptiste Deshayes.
Worked in Rheims till about 1747, and
then in Paris at the place de l'Ecole;
later he settled in the rue de l'Arbre-sec
(about 1769). He died before 1772, for
in that year Namy is mentioned as
working for the widowed Madame
Salomon. He made few violins, but
they show good work, and are on a
similar pattern to those of Louis
Guersan, his contemporary; they have
8o
SALSEDo-scaRAMPELLA.
yellow-brown varnish. A viola d'amore
of his is in the Paris Conservatoire
Collection; he also made good bass-
viols. A few of his violoncellos are
of excellent wood and have a fine
tone, but in others the varnish is
hard and the tone poor. Labels:
“Salomon, luthier, à Ste. Cécile, place
de l'Ecole, à Paris, 1751,” and “Parisiis
apud Salomonem ad insigne Sta. Cae-
cilia Scolie Palatio, 1752.” He also
Sometimes branded his instruments
with “Salomon à Paris.” . His widów
continued the business for some time
after his death, moving about 1788 to
quai de la Megisserie.
'Salsedo, Luigi. An Italian maker. A
beautiful mandoline of his was made of
rosewood, with fluted back, and inlaid
with mother-of-pearl.
Salzard, F. A maker in Paris.
Sanoni, Giovanni Battista. A maker in
Verona about 1740. His instruments
are much arched, with rose-coloured
varnish; they are of good workmanship.
Santagiuliana, Giacinto. A maker in
Venice about 1830, according to a label
in a violin : “Jacintus Santagiuliana
fecit Venetia, anno 1830.”
Sante. A maker in Pesaro about 1670.
Sante, Giuseppe. Was working in Rome
in 1778.
Santo, Giovanni. A maker in Naples,
I700-30. He generally copied Amati ;
his violins are of a small pattern, fairly
well made, with varnish of poor quality.
Santo Serafino, b. at Udine. Worked
in Venice about 1710-48. Some of
his instruments show German charac-
teristics, the sound-holes and scroll
being similar to those of Stainer; but
he generally followed the Amatipattern.
His work shows great ability; the
model is much arched, the wood very
handsome, of small figure; the varnish
brilliant, of very fine quality, of a rich
red colour, or yellow tinged with brown,
but dry and easily cracked; the scroll
is well cut, and the workmanship
almost as beautifully finished as that
of Stradivari; the tone is clear and
strong. A beautiful violoncello was
exhibited in the South Kensington
Museum in 1872, its tone was very
equal and Sonorous; but his double-
basses are especially excellent in tone.
All his instruments are branded with
his name above the tail-pin. Label :
“Sanctus Seraphin Utinensis fecit
Venetiis, anno 1730.”
Sanzo Santino (Santo Sentino). A
maker in Milan in the 18th century.
He made fairly good instruments; his .
*
work is rather similar to that of
Grancino.
Saraceni, Domenico. A maker
Florence in the 17th century.
Saraillac, François. A maker in Lyons
about 1678–1712. In a six-stringed
bass-viol, made on a narrow pattern,
with brown varnish, was the label :
“François Saraillac à Lion, I7II ''; a
little pocket violin was dated 1679.
Sardi. A maker of viols in Venice in
I649.
Saunier, Edmond. Was a pupil of
Lambert, of Nancy, the “Carpenter,”
but did superior work. Lived in
Bordeaux, 1754–64, according to his
violin labels, but by 1770 was in Paris,
living first in the rue Tiquetonne, and
then (1775-83) in the rue des Prouvaires.
He is best known for the beautiful
guitars he made, but his violins are
also good. Piete, the maker, was a
pupil of his. In 1889 was exhibited in
Paris a mandoline-alto dated 1780.
Label: “Saunier a Bordeaux, I754.” .
Savani, Giuseppe. Was working in
Carpi in 1809. - -
Sawitzki (Sawicki), Nicolaus, b. 1792,
Poland; d. 1850. He settled in Vienna
and made some very good violins.
Scarampella, Angelo, son of Paolo
Scarampella; b. June 2, 1852, Brescia.
Was a carpenter by trade, but also
made guitars of good tone. *
Scarampella, Giuseppe, son of Paolo
Scarampella; b. Aug. 25, 1838, Brescia.
Pupil of Nicola Bianchi in Paris; 1865,
returned to Brescia. In 1866 went to
Florence to work with Luigi Castellani,
who thought highly of his ability and
gave him much important work to do
in repairing old instruments. He re-
stored the viola and the famous
violoncello of Stradivari, kept in the
Istituto Musicale of Florence, and in
1884 succeeded Castellani as Keeper of
the collection of instruments there.
He also makes new instruments, follow-
ing the Stradivari or Guarneri del
Gesù patterns, which will increase in
value with time; their tone is clear
and strong; the work is accurately
and carefully done; he uses a reddish-
, coloured oil varnish. Label: “Giu-
seppe Scarampella fece in Firenze
anno 188—.” º
Scarampella, Paolo, b. Sept. 25, 1803,
Brescia; d. April 7, 1870. A carpenter
by trade, but made many violins,
violoncellos, guitars, and mandolines.
Scarampella, Stefano, son of Paolo
Scarampella; b. March 17, 1843,
Brescia. Pupil of his brother Giuseppe.
in
scHAENDL–scHwartz. - 8T
–4–
Settled in Mantua, at 8, via Vescovado.
He has made many good violins.
Schaendl, Anton. A maker in Mitten-
wald, 1753. Label: “Anton Schaendl,
Geigenmacher in Mittenwald, an.
Scheinlein, Johann Michael, son and
pupil of Matthäus Friedrich Scheinlein;
b. 1751, Langenfeld. He followed the
large Stainer pattern in his violins, but
avoided the exaggerated arching; his
instruments are neatly and carefully
made and had a good reputation for
their full and pleasant tone; but they
do not last well, the wood not being
thick enough. --
Scheinlein, Matthäus Friedrich, b. 1710,
Langenfeld in Franken (Franconia); d.
there, 1771. He was a violinist, but
taking great interest in violin making,
began by repairing old instruments and
finished by making excellent new ones.
They are much arched, with dark
brown varnish, the work carefully
done.
Schell, Sebastian. A maker of lutes in
Nuremberg in 1727. One with that
date is in the Paris Conservatoire
Collection.
Schelmayer, Christian. A maker in
Cologne. The label: “Christian Schel-,
mayer Musik-Instrumentenmacher in
Köln. No. 602 ”; was found in a
little pocket violin.
Schlick. A maker in Leipzig.
Schmidt. Was working in Cassel in
1817. His instruments are made on
the Stradivari pattern, but the edges
are larger and the purfling is not
placed so close to the sides; he used
spirit varnish and the wood is of bad
quality. ' ' -
Schmied. Was working in Vienna in
the 18th century.
Schönfelder, Johann Adam. Was work-
ing in Neukirchen in 1743. Label :
“Johann Adam Schönfelder Violin-
macher in Neukirchen. An. I'743.”
Schonger, Franz. A maker in Erfurt
in the 18th century. He made fairly
good instruments, of large pattern,
very arched; but the wood is not thick
enough and the tone is poor.
Schonger, Georg, son of Franz
Schonger; he also worked at Erfurt. He
was a better maker than his father,
and left some very good violins, made
on the Italian pattern ; he was also
considered a clever repairer of old
instruments. *
Schorn, Johann Paul. Worked first in
Innsbrück about 1680-90, then in
Salzburg about 1696 to 1716, according
/to labels so dated found in his instru-
ments. He made excellent violins,
much arched, and used a fairly good
varnish. In the Collection of the
Gesellschaft der Musikfreunde in
Vienna are two instruments, a Polish
cither dated Salzburg, 1696, and a
viola d'amore dated Salzburg, 1699.
Label: “Joann Paul Schorn, H. F.
Musicus, auch Lauten und Geigen-
macher in Salzburg. A 1716.”
Schott, Martin. A maker of lutes at
Prague in the 17th century.
Schünemann, Otto. A German maker,
appointed Director of the School of
Violin Making at Schwerin.
Schulz, Peter. A maker in Ratisbon.
In 1854 he exhibited at Munich three
excellent violins, made more after a
German than Italian pattern; one was
of especially beautiful workmanship,
but its tone was not so clear and
pure.
Schuster Gebrüder. These brothers
are the makers of extraordinarily cheap
violins in Markneukirchen, Saxony;
they are priced at 75s. each ; though
not beautiful to look at, they have a
fairly good tone. Some were exhibited
in London in 1862. -
Schuster, Michael. He is also connected
with the business in Markneukirchen,
Saxony. -
Schwartz, Bernard. A French maker
who settled at Strassburg about 1795;
he died in 1822. His two sons were
both makers. -
Schwartz, Georges Frédéric, b. April 7,
I785, Strassburg; d. there, Dec. 29,
1849; and Théophile Guillaume, b.
Oct. 13, 1787, Strassburg; d. July 29,
1861, sons of Bernard Schwartz.
Pupils of their father, and at his
death succeeded to his business, which
became “Frères Schwartz.” They
made very good violins and violon-
cellos; their first violin was dated
1824; between then and 1852 they
turned out about 8o violins and 30.
violoncellos. Label: “Frères Schwartz
ă Strasbourg 1833, No. 15.” Théophile
was chiefly concerned in the instru-
ment making, Georges gave his time to
making bows; he gained a well-
merited reputation. His bows are
generally marked near the nut with
“Schwartz, Strasbourg.”
, Schwartz, Théophile Guillaume, son of
Théophile Guillaume Schwartz; b.
Sept. 3, 1821. In 1852 he succeeded
to the business in Strsasburg at 2, place
Saint-Thomas. He was chiefly occu-
pied in repairing old instruments, but
... 82 º schweizer–SIMONIN.

also made new ones, using the label:
“Schwartz à Strasbourg, 18–.”
Schweizer, Johann Baptist. A maker in
Budapest; b. 1798; d. 1875. He was
a pupil of Geisenhof in Vienna. His
violins were made without arching,
the workmanship was neatly finished;
he also made some tenors.
; Segher, Girolamo, b. 1646.
pupil of Nicola Amati,
working under him, 1680-82.
- Sellas Matteo. Was working in Venice
I630-40 at the sign of “Alla Corona.”
In the Paris Conservatoire Collection
are two of his arch-lutes ; and at
Bologna, in the Liceo Comunale di
Musica, is a large guitar with the label:
“Matteo Sellas, alla corona in Venetia,
I639.” A theorbo was dated 1639.
..Seni, Francesco. A maker in Florence
in 1634.
Senta, Fabrizio. A maker in Turin.
An instrument of his is mentioned in
the catalogue made by B. Cristofori
(Sept. 23, 1716) of the instruments
belonging to the Duke of Florence.
-Serasati, Domenico. A maker in Naples
about I7IO-50. His instruments had a
good reputation at one time.
:Shaw, John. A maker of viols in
London in 1656. Label; “John Shaw
att the Goulden harp and Hoboy nere
the maypole in the Strand, 1656.”
Siani, Valentino. Said to have lived in
Florence in the 17th century.
Siciliano (Ciciliano), Antonio. A maker
in Venice about 16oo. A tenor and a
bass viola da gamba are in the Modena
Museum, Vienna.
Siciliano, Gioacchino, son of Antonio
Siciliano. Was working in Venice
about 1680. -
Silva, Joan Vieira da. Was working in
Lisbon about 17oo. A cither is known
of his, inlaid with tortoiseshell and
ivory, with six pairs of wire strings.
Silvestre, Hippolyte, b. Dec. 14, 1808,
‘Saint-Nicolas-du-Port (Meurthe); d.
Dec. 3, 1879, Sommerviller, near Nancy.
Was first a pupil of Blaise at Mire-
court, then of J. B. Vuillaume at Paris.
In 1831 he joined his brother Pierre at
Lyons, and worked with him till 1848.
On the death of Pierre in 1859 he
again took up the business, and con-
tinued in it till 1865, when he trans-
ferred it to H. Chrétien, his sister's
son, and retired to Sommerviller,
where he died.
Silvestre, Pierre, brother of Hippolyte;
b. Aug. 9, 1801, at Sommerviller, near
Nancy; d. 1859, Lyons. Was also a
pupil of Blaise at Mirecourt, then went
Was a
and was
to Paris, first working under Lupot
and then under Gand. In 1829 he
founded the business in Lyons. Hippo-
lyte was in partnership with him,
1831-48; he afterwards continued the
business alone until his death in 1859.
He copied the pattern of Stradivari
with great ability; his instruments are
always handsome, owing to the beautiful
quality of the wood used, and their tone
is often remarkably good; the varnish
is very fine and the work most carefully
finished, consequently they are in-
creasing in commercial value. It is
said he made about 35o instruments,
bearing his label: “Pierre Silvestre à
Lyon, 185—.” When working with
his brother, the label used was :
“Petrus et Hippolytus Silvestre fratres
fecerunt Lugdun . . . 183—.” Bronze
medals were obtained at the Paris
Exhibitions in 1844 and 1855.
Silvestre neveu. See “Chrétien.”
Simon. A maker of viols in Lyons,
in rue de la Pomme-Rouge, I568-73.
Only his Christian name is known, as
in all the documents in which it
appears, a blank space is left for the
surname, which has never been filled in.
Simon. Was working at Salzburg in
I722.
Simon, Claude. A maker in Paris, rue
de Grenelle-Saint-Honoré, 1783-88.
Simon, P., b. 1808, at Mirecourt.
Went to Paris in 1838, where he
worked for some months under D.
Peccate; then went to the workshop of
J. B. Vuillaume and remained there
till, in 1845, he started his own business.
On Peccate's retirement, in 1847, Simon
succeeded to his business in the rue
d’Angivilliers. He was in partnership
with Henry, 1848-51, and afterwards
continued his work alone, moving later
to rue Saint-Denis, passage Lemoine.
He made most excellent bows, and
generally marked them with “Simon,
Paris,” near the nut.
Simonin, Charles, b. at Mirecourt.
Was apprenticed to J. B. Vuillaume at
Paris, and became one of his most able
workmen. He then married and re-
turned for a short time to Mirecourt.
In 1841 he settled in Geneva, remaining
there for eight years; he left, Sept.,
1849, to establish himself in Toulouse.
He sent various instruments to the
Paris Exhibition in 1855, amongst
others a copy of Giuseppe Guarneri
of remarkable tone; he obtained a
“Mention honorable.” Since then he
has obtained various awards at other
exhibitions. -
SIMOUTRE-SOCCHI. - 83
Simoutre, Nicolas, b. 1788, at Mire- ſ
court; d. 1870, at Metz. He began
his business as a violin maker in 1820;
in 1844 settled in Metz and worked
there till his death. His son, Nicolas
Eugène, was also a maker.
Simoutre, Nicolas Eugène, son of Nicolas
Simoutre; b. April 19, 1834, at Mire-
court. Was first a pupil of his father,
then of Darche, in 1852, at Paris; then
of Ch. Roth, in 1856, at Strassburg.
He worked in Strassburg for four years,
and in 1860 founded workshops both
at Mulhausen and at Basle; since 1890
he has returned to Paris. He made
various suggestions for improving the
tone of violins; in 1883 he published
on this subject, “Aux amateurs du
violon historique, construction, répara-
tion et conservation de cet instrument”;
this was followed, in 1886, by “Un
progrès en lutherie”; and in 1889 by
a “Supplément aux amateurs du violon
et au progrès en lutherie.” He was
awarded a “ diplôme d'honneur" at
the Basle Exhibition in 1877, and again
at Zurich, 1883; but at the Paris Ex-
hibition, 1889, only a bronze medal was
awarded, which he refused to accept.
Simpson, James, and Son. Were musical
instrument makers in London in 1794.
Label: “J. and J. Simpson, musical
instrument makers at the Bass-Viol
and Flute in Sweeting's Alley, opposite
the East door of the Royal Exchange,
London.” The following label probably
belongs to the son: “John Simpson,
musical instrument maker, at the Bass
Viol and Flute, in Sweeting's Alley,
opposite the East door of the Royal
Exchange, London.”
Sirjean. Was a maker of bows in Paris,
at 31, rue de l’Ecole, in 1818.
Sitt, A. A maker in Prague. A violin
that he exhibited at Munich, in 1854,
made on the Stradivari pattern, showed
fine work; only the wood was rather
thick and the tone slightly rough and
dull, but both these defects would
naturally wear off with time.
Slaghmeulen, Jan Baptist van der. A
maker in Antwerp about 1672. A
violoncello of that date was exhibited
in Paris in 1878, its proportions are
good; the sound-holes much opened,
but well cut; the varnish a pale brown
colour; the scroll is pierced and re-
presents a carved head surmounted by
a gilt crown; within the purfling on
the upper plate is a black band with
a design in gold. Label: “Joannes
Baptista van der Slaghmeulen tot
Antwerpen, 16—.”
Smith, Henry. A maker of viols in
London in 1633. In a collection of
airs called Tripla Concordia, published
I667, is an advertisement of a chest of
viols “made by Mr. Henry Smith,
who formerly lived over against
Hatton house, in Holbourn, con-
taining 2 trebles, 2 tenors, 2 basses.
The chest was made in the year 1633.”
Smith, Thomas. A maker in London
about I740-90. Pupil and successor of
Peter Wamsley. He had a great re-
putation as a maker of violoncellos,
his instruments are much liked in
England; they are made on the Stainer
model, and some have a powerful
tone, though not of very good quality;
the varnish is rather poor, of a
brownish-yellow colour; in 1799 they
sold for £5 5s. up to £8; more recently
two realised £30 and £40 each. It is
doubtful if he ever made any violins
and tenors. Jºhn Norris was a pupil
of his. Label: “Made by Thos. Smith
at the harp and hautboy in Pickadilly,
London, 1756 ''; similar labels were
used until 1766.
Smith, William. A maker in Hedon,
Yorkshire, in 1786. Label: “William
Smith, violin maker, Hedon, 1786.”
Sneider, Giuseppe. A maker in Pavia
about 1700-25. A pupil of Nicola
Amati. His violins are slightly arched,
the sound-holes gracefully cut, the
workmanship carefully finished; the
varnish is a rich yellow colour. Instru-
ments made by Girolamo, son of Nicola
Amati, have often been attributed to
Sneider. Labels: “Joseph Sneider
Paviae, alumnus Nicola Amati Cre-
monae fecit, anno 1703,” and “Giuseppe
Sneider in Pavia 1718, alumnus Nicola
Amati Cremonae.”
Snoeck (Schnoeck), Egidius. A maker
in Brussels in 1731. Instruments are
known of his, which are well made on
the Amati pattern, with beautiful red-
brown varnish. Label: “ Egidius
Snoeck tot Brussel, 1731.”
Snoeck, Marc. Worked in Brussels after
1744. The following inscription was
found written in a violoncello, which
had undergone important repairs:
“Cette basse par Marc Snoeck,
réparée pour faire voir à ces envieux
mon adresse, icy près de l'Eglise de
Saint-Gery à Bruxelles, ancien luthier.”
There is no date, but what is pre-
sumably the original label is dated
1744, viz.: “Jean Christophe Vetter,
Strasbourg, 1744.”
Socchi, Vincenzo. Was working in
Bologna in 1661, according to the
84 socquet–STAINER,
inscription in a little pocket violin in
the Paris Conservatoire Collection.
Socquet, Louis. A maker in Paris
about 1750–80; he worked at the sign
of “Au Génie de l'harmonie.” His
instruments are not well made. A
violin and a five-stringed viol dated
1755 are known, and an alto of I769.
Two other labels are dated 1765 and
1771 respectively. He was living in
the place du Louvre, 1775-79.
Sohn, Walter. Worked in Vienna. In
a guitar is the label: “Walter Sohn in
Wien.”
Soliani, Angelo.
I752-1810. -
Somer, Nicolas.
about 1725-50.
Speiler. A German maker in the 18th
century. !
Spicer, John. It has been inferred that
he was a maker of lutes and viols in
London, from a token which is
inscribed “John Spicer. In Crown
Court, in Russell Street, 1667—His
Half-Peny,” with the device of a
lute. -
Spilman, Dorigo. There is a viol of his
in the Modena Museum in Vienna; it
looks like the work of a Venetian, and
probably dates back to the 16th century.
The sound-holes are similar to those
of V. Linarolo, the scroll looks as if it
had been added at a later date.
“ Dorigo Spilman " is written inside,
but no date. .*
Sorsano. See “Sursano.”
Sprenger, Anton, b. 1834, Mittenwald.
Was there a pupil of Anton Hornstei-
ner, later worked under Tiefenbrunner
of Munich, and Kindl and also Fischer
in Vienna. He is now established at
Stuttgart at 23, Hospitalstrasse. He
makes violins and violoncellos on the
Stradivari and Guarneri patterns, using
oil varnish of good quality.
Stadelmann (Statelmann), Daniel Acha-
tius, b. 1680; d. Oct. 27, 1744. A
maker in Vienna, who showed great
ability in imitating the Stainer pattern;
he used thin varnish of a deep amber
colour; the work is well finished.
Stadelmann (Statelmann), Johann Jo-
seph, son of. Daniel A. Stadelmann.
He was a very clever maker, who
copied the Stainer model to great
perfection; he worked till 1764, possibly
later.
Stadl, Michael Ignatius. Was working
in Vienna in 1770. He did fairly good
work; and used a yellow-brown var-
nish; he sometimes substituted a lion's
head for the scroll.
A maker in Modena,
A maker in Paris
Stainer, Andreas. Was working in
Absam about 1660. He made few
violins, if any ; he is supposed to have
made barytons.
Stainer, Jacob, son of Martin Stainer and
Sabina Grafinger; b. July 14, 1621, at
Absam, near Hall, in the Tyrol; d.
there, 1683. Little is known of the first
part of his life, but there seems to be
absolutely no evidence in support of
the statement that he went to Cremona.
to become a pupil of Nicola Amati,
married the daughter of the latter, and
afterwards passed some time in Venice.
A violin with the inscription: “Jacobus
Stiner, cremonia fecite 1642,” which
was in the Monastery of Stams, is
generally thought not to be genuine
Stainer work. He would no doubt
have studied the Italian instruments
used by the Italian musicians, who
assembled at Innsbrück at the Court of
the Archduke Ferdinand Carl, Count
of the Tyrol, and this would account
for his earlier work showing traces of
Italian influence; the thicknesses of
the wood and the disposition of the
blocks and linings being similar to
Cremonese work. The old German
viol-makers, as is known, used no
linings at all, and did their dimensions
and thicknesses by guess - work.
Stainer's instruments soon showed
those distinctive characteristics known
as “Tyrolese"; he was practically the
founder of the Tyrolese or German
school of violin making ; the large
number and great excellence of his
instruments, all made on the same
high model, and the reputation he
gained in his lifetime, causing his
work to be copied in Germany,
England, and even in Italy. And it
was a long time before makers realised
that this high model was in any way
defective. An old tradition says that
instruments dated as early as I639 are
known; if so, they are extremely rare.
In 1641 he was already selling his
violins at the large market-fairs of
Hall. On Nov. 26, 1645, he married
Margarethe Holzhammer (b. March Io,
1624; d. 1693), in Absam, the witnesses
being Michael Pamperger and Hans
Grafinger, the latter a relation of his.
He had nine children, eight daughters,
and a son who died in infancy. In
1648 he travelled in Austria, and
remained for some time working
in Kirchdorf, living in the house of
Saloman Hübmer, a Jew. He unfor-
tunately left in debt for a small amount;
but though, in 1667, when called upon,
STAINER—STAINER 85
he paid part of it, the debt seemed to
grow rather than diminish, for in 1669
it had reached the sum of 24 gulden,
and in 1677 he made a vain appeal to
the Emperor for its remittance. In
spite of this he had bought (Nov. 12,
1666) a house and garden from his
brother-in-law, Paul Holzhammer, so
at that time his affairs were going on
well. Though later there is no doubt
that money worries helped to throw
him into the state of profound melan-
choly from which he suffered for
four years before his death, and
which ended in his losing his reason
entirely in 1681. The Archduke
Ferdinand Carl had sent for him to
Innsbrück, and, Oct. 29, 1658, ap-
pointed him violin maker to the Court.
Jan. 9, 1669, he was appointed violin
maker to the Emperor Leopold I. ;
the same year he was imprisoned on
suspicion of being implicated in the
Lutheran movement, but was released
in 1670. He made an enormous
number of stringed instruments of all
sorts; for his violins he used a par-
ticular kind of wood from a tree called
the “ Haselfichte,” of which there
were large quantities at Gleirsch ;
he used to wander from tree to
tree tapping with, a hammer until
he found one which pleased him,
and was suitable for his purpose.
His instruments are small; the belly
rises abruptly from the edges to
the foot of the bridge, and then
keeps nearly flat; the breadth of
this flattened part is about the
same as that of the bridge; this high
arching necessarily renders the tone
thin, in spite of the fact that the wood
is left very thick. The sound-holes
are shorter and narrower than in
Italian instruments, the upper and
lower turns are completely circular;
the purfling is also narrower and
placed nearer the edge ; the scroll is
smaller and is particularly round and
smooth, it is sometimes replaced by a
lion's head, beautifully carved ; the
sides and back are made of very finely
figured maple; the outline is extremely
elegant, although the body is rather
shorter and broader than in Italian
work ; the work is always beauti-
fully finished ; the varnish, of rich
quality, varies in colour from a red
mahogany, embrowned by time, to a
golden red equal to that of Cremona
work; the tone is not powerful, but
has a sweet flute-like sound; it is not
generally considered suitable for a
concert-room, but a violin, played
by Sivori, is said to have had a
charmingly sympathetic ànd unusually
brilliant tone. His violins were made
in three different sizes, large, medium,
and small, and are his best work; his
tenors are not so good, although one is
mentioned as being perfection both in
work and in charm of tone. His
double-basses are of great rarity, one
was in the Collection of Prince Moriz
Lobkowitz at Castle Eisenberg, Bo-
hemia. A viola di bordone, dated
I660, is in the , Collection of the
Gesellschaft der Musikfreunde at
Vienna, and in the Paris Conservatoire.
Collection is a small pocket violin,
inlaid with silver, with a finely carved
head of a faun. There is record of his
having sold a viola bastarda, in 1643,
to the Archbishop of Salzburg, and of
his being again in Salzburg in 1670,
when he sold some violins there. A
viola da gamba was dated 1667. In
1677 he made two splendid violins for
the St. Georgenberg Monastery, but
they were unluckily destroyed when
the Monastery was burnt down on
!. 2I, I868. The tradition of his.
aving retired to finish his days in a
Benedictine Monastery after his wife's
death, and having made there sixteen
exquisite violins, of which he presented
twelve to the twelve Electors and four
to the Emperor, is quite untrue. In
the Hall Cathedral a violin is pre-
served with the label: “Jacobus Stainer
oenipontum fecit in Absam, 1653,”
which was made for the “Damenstift.”
in Hall, which was suppressed in 1783.
A violin that belonged to Mozart was.
dated 1656. Stainer had many pupils .
and imitators, among them Mathias.
Albani of Botzen, Egidius and Mathias
Klotz; these makers, if they had turned
out a better violin than usual, would
use a Stainer label for it. The date of
Stainer's death not being generally
known, imitations are often post-dated.
One is known dated 1684 and one 1729.
Though at first Stainer's written labels.
were carefully imitated, later on printed
labels were used with the date 16—
or 166—, so that figures could be added
in writing. These printed labels may
always be taken as a sure sign of copies.
or imitations; labels are rarely found
in genuine Stainer instruments, but
when there, they are always written, not
printed: “Jacobus Stainer in Absom
prope CEnipontum, fecit 1647.” Really
genuine instruments, whether violins
or violas, though at one time much
86
STAINER—STRADIVARI.
depreciated, are now steadily increas-
ing in value, a fine viola having
realised over £100. His brother Paul
was not a violin maker.
Stainer, Marcus, brother and pupil of
Jacob Stainer; he worked in Laufen,
Austria. He was a maker of moderate
ability, who, after his brother's death,
made poor imitations of his work, with
labels, carefully copied from those of
Jacob, thusgiving rise to the impression
that Jacob was sometimes very careless
in his work. The famous Florentine
violin player, Veracini, had two violins
that he much valued, they were
Christened “St. Peter” and “St. Paul’’;
unluckily Veracini was shipwrecked
sailing from London to Leghorn in
1746, and both the violins were lost.
His instruments are rarely met with ;
they are made of fine wood, the
pattern of large size, with dark varnish,
the tone sweet but not powerful; a
violin is known dated 1683, and a
viola, which is said to have a beautiful
tone, has the written label : “Marcus
Stainer, Burger und Geigenmacher in
Küfstein, anno 1659.”
Stainmist, Jacob. A maker in Mayence
in 1777. In a viola d'amore, with
fourteen strings, was the label :
“Jacobus Stainmist Chūrfürstl. Mayn-
tzl Hof Lauten und Geigenmacher,
1777. No. 5.”
Stanza, Giuseppe, b. 1663, in Venice.
In 1681 was a pupil of Nicola Amati
at Cremona.
Statelmann. See “Stadelmann.”
Statlee, Anderl.
about 1714. Was a pupil of Girolamo,
son of Nicola Amati.
Staube. See “Straube.”
Stauffer, Johann Anton. A maker in
Vienna in the 18th century. In a
guitar was the label : “Joh. Anton
Stauffer, Wien.”
Stautinger, Matthäus Winceslaus. A
maker of viols and lutes in Würzburg
in 1617. In a lute was the label:
“Matthäus Winceslaus Stautinger me
fecit Wirceberg, 1617.”
Steffani, Carlo. A maker of mandolines
in Mantua about 1712. Label: “Carlo
Steffani fece l'anno 1712 in Mantova.”
Stegher (Stregner), Magno. A maker of
lutes at Venice in the 17th century.
In the Liceo Comunale di Musica,
Bologna, was a lute with the inscrip-
tion: “Magno Stegher in Venetia.”
Steininger, François. A maker in Paris
in 1827. He made excellent instru-
ments, the work finished with care,
the varnish of fine quality. In 1887, at
Was working in Genoa
a sale in Paris, two violoncellos of his
sold for £16 and £26 respectively.
Label: “F. Steininger, Paris, 1827.”
Steininger, Jacob. A maker in Frank-
fort about 1775. Nicholas Diehl was
a pupil of his. He married the daughter
of the violin maker Döpfer. -
Stirbat (Stirrat), David. Was working
in Edinburgh about 1810-15. His
instruments were considered good.
Label: “D. Stirbat fecit Edinburgh,
I8I2.’’
Storioni, Lorenzo, b. 1751, Cremona;
d. there, 1799. Worked at 3, Contrada
Coltellai. He was one of the latest, if
not the last, of the celebrated makers
of Cremona, and his instruments,
though of great merit, show signs of
decadence in the art. They are often
taken for the work of Guarneri del
Gesù, whose pattern he imitated with
great ability. His violins are hand-
some in appearance, slightly arched,
the wood of the belly very fine, that
of the back rather plain; the varnish
is very dry, of a deep yellow colour,
with a reddish tinge; the tone is full,
rich, and silvery ; the sound-holes are
very seldom cut in two instruments
alike; the work is not finished with
much delicacy; the narrow purfling is
roughly done, and the scroll has not
much finish. His violins are highly
thought of in Italy, and are rising in
value; for many years Vieuxtemps
played on a very beautiful one. He
did not begin to sign them till 1776,
and none are known after 1795. No
tenors are known, but his violoncellos,
which are rare, have a powerful tone.
Labels: “Laurentius Storioni fecit
Cremonae, 1789,” and “Laurentius
Storioni restauravit Cremona, 1780.”
Stoss, Bernard and Martin, b. in Fussen,
Bavaria; worked in Vienna about 1824.
Their instruments are not arched and
... are well made, but have poor varnish.
Stoss, Franz. A maker in Fussen, Ba-
varia, about I750-98.
Stradivari (Stradiuarius), Antonio, son
of Alessandro Stradivari and Anna
Moroni. There is no definite record of
his birth, but in a violin with a genuine
label as follows: “Antonius Stradi-
varius Cremonensis faciebat anno
1732,” is clearly seen in Stradivari's
handwriting below, “de anni 82 ”;
Mr. W. E. Hill had also seen other
dated violins, which led him to believe
that Stradivari was born in 1649 or
I650. Fétis's statemci t that Stradivari
was born in 1644 was bised on thereport
of a violin said to be dated 1736, and
STRADIVARI–STRADIVARI. 87.
to be inscribed “anno aetatis 92,” but it
seems to be doubtful if he or anyone else
had ever seen this violin. Stradivari
died Dec., 1737, and was buried Dec. 19,
1737, in the Cathedral of San Domenico,
Cremona, which has since been pulled
down. He was descended from a very
ancient Cremona family, whose name, at
that time spelt “Stradiverdi,” appears
in records as far back as 1213. While
still very young he became a pupil of
Nicola Amati, and was probably with
him till 1667. When Amati died, all
his tools, patterns, and models passed
into Stradivari's possession. His earlier
instruments bear labels of Nicola Amati,
and may be recognised by the beautiful
scroll or by the characteristic sound-
holes. About 1666 he used a label
with “Nicolai Amati alumnus” on it.
Up to 1690 the violins signed with his
name are very similar in pattern to
Amati's ordinary full-sized instruments,
and are of high model compared to
those he made later ; the wood is
generally plain, the purfling very
narrow, the oil varnish, a more or less
pronounced yellow colour, but other-
wise very similar to that used by
Amati, is of soft and penetrating
quality, and permeates the wood to
some depth beneath the surface; these
instruments are known as “Stradivarius
amatise.” He steadily improved in
his work; the model becomes flatter,
the , sound-holes more graceful, the
scroll more striking and original, the
purfling slightly wider than before; the
varnish varies in colour from rich
golden, very soft and transparent, to a
light red, equally fine. This thicker
and more lustrous red varnish was what
he subsequently used exclusively. In
I690 he began to make the violinsknown
as “long Strads”; they are quite unlike
N. Amati's work; measurements by ex-
perts have conclusively proved that
these instruments are quite a quarter
of an inch longer than his usual
pattern. These “long Strads” were
inspired by Maggini; in length of body
and length of stop they are practically
the same as Maggini's violins in his
latest and finest period. The modelling
of the back and belly, the shorter
corners, the bolder and more open
sound-holes all recall Maggini's work.
The tone—of remarkable power—has
much of the Maggini quality. Stradi-
vari also made some narrow violins,
dated after 1690, which, though not so
in reality, also appear to be of extra
length, owing to their narrow pattern;
this narrowness is particularly notice-
able in the middle of the instrument
between the sound-holes. The work
is most carefully finished, everything
proportioned to the modification of
form. The tone is brilliant and
powerful; the varnish is sometimes a
beautiful amber colour, sometimes a
transparent pale red. These instru-
ments are not So uncommon as the
“long Strads,” which he ceased making
in 17oo, probably because of their
length causing them to be difficult to
play. The period of his finest work
began in 1700, which culminated in
what was practically perfection in 1714;
the thicknesses of the wood and the lines
of the pattern are all determined with
scientific accuracy; the varnish, in
brilliancy of colouring and in delicacy
and transparency of quality, has never
since been equalled; the tone is splen-
did, invariably bright, sweet, full,
and equal. The wood is chosen with
the greatest care, and is sound and
Sonorous, the pine being of the best
quality from Switzerland and the
Trentino; the willow (of which the
blocks, and linings are made) taken
from the banks of the Po, near Cre-
mona. The arching rises in gentle
and gradual curves, the purfling is
executed with wonderful precision ;
the sound-holes show a master's
hand and remain a model for all;
the scroll, of severe character, is
exquisitely carved ; the whole of the
work (including that of the interior)
shows the most beautiful finish in the
smallest details. A splendid specimen
of this period of work is the so-called
“Messiah.” violin, dated 1716, which
was bought for £1,000 by Alard, the
distinguished violinist, and on his
death (1888) was sold by Messrs. Hill
on behalf of the heirs for £2,000. The
workmanship is perfection; the arching
of the back and belly exquisitely
proportioned ; the wood of the back
beautifully and regularly figured; the
tone strong, mellow, and delicate; the
glowing, ruddy, varnish wonderfully
beautiful, both in colour and quality;
the sound-holes most perfectly cut; the
neck is the original one, but has been
lengthened by a piece added at its
junction with the upper block of the
body; the Scroll is very graceful; the
curves and outlines extremely beautiful.
The letters “P. S." are very distinct
on the peg-box end of the neck; they
are sometimes found on the violins
which still have the original neck; they
38
STRADIVARI—STRADIVARI.
were the initials of Paolo, his youngest
son, a cloth merchant by trade. There
is a violin, also made in 1716, in the
Istituto Musicale of Florence, with
the label : “Antonius Stradivarius
Cremonensis faciebat, anno 1716.” A
violin, dated 1714, called the “Dol-
phin,” owing to the extraordinary
richness and variety of tints in the
varnish, is made of splendid wood,
and is of perfect workmanship. It
formerly belonged to Alard, later
passing into the hands of Adams for
£8oo. The prices given for Stradivari
violins have risen in a most extra-
ordinary way; Stradivari himself sold
them for £4, but by the end of the
18th century they were selling for £15
or £16; a little before 1824 Lupot sold
a violin for £100, which was considered
a large sum ; in 1875 a violin, dated
1714, sold for £300, and, after 1881, fine
violins were sold for £1,000 or more—
in one case for double that sum. The
violin, known because of its perfect
state of preservation, as “The Maiden”
(La Pucelle), dated 1709, fetched
£885 at a sale in Paris, Feb. 14, 1878;
it was of beautiful workmanship,
the sound-holes exquisitely cut, and
the scroll strong in character. A
most perfect specimen of the earlier
work of Stradivari was exhibited
at South Kensington in 1885; it was
made in 1679 and was bought by
Sir Samuel Hellier, of Womborne,
Staffordshire, for £40 from the maker
himself about 1734; it is of large
size, and is one of the inlaid
violins, of which there are only about
twelve in existence. Another inlaid
violin is dated 1687 and was originally
made for the King of Spain. Another
violin dated 1690, which was originally
sold for £25, next changed hands for
£240, then for £1,000. , Violins sold
at sales do not, as a rule, fetch such
high prices; one was sold at Christie's
for £290; that was in 1872, and it is
now valued at #. 1,000. The “Ames”
Strad., a beautiful violin, in excellent
preservation, was sold at Puttick and
Simpson's in 1893 for £860 ; but this
was a record auction-room price.
Stradivari only made a few violas, they
are of a large pattern, and the quality
of their tone is most rich, penetrating,
and sympathetic. A very fine viola
dated 1723 was in the Janze Collection;
one of the most beautiful known—the
Viola Medicea—dated 1691, is in the
Istituto Musicale of Florence; it is of
large size, and is interesting as showing
that, at the time he made it, Stradivari
was not yet experienced enough to
make the thickness of the upper plate
sufficient in proportion to the size of
the instrument. When the viola was
recently taken to pieces it was found
that Stradivari himself had strength-
‘ened (doubled with new wood) the
parts originally too much thinned ;
that only Stradivari himself had
touched the work was proved by his
inscribing it with the words “Corretto
da me Antonio Stradivari.” One viola
is mentioned as having the back made
of poplar; it had a most beautiful tone
and showed most delicately finished
work. Few of his violoncellos are in
existence ; they were made on two
patterns, one large, one small ; the
large instruments are now as scarce as
the large violas ; they have an enor-
mously powerful tone, but it is perhaps
more difficult for performers to play
on them owing to their size. One of
these large violoncellos was in the
possession of Professor Servais, of the
Brussels Conservatoire; the tone was
of silvery sweetness, combined with
extraordinary power. A magnificent
instrument dated 1720, which belonged
to Signor Piatti, the great violoncellist,
was known as the “red '' 'cello,
owing to the very rich colour of
its varnish. The immense superiority
of Stradivari's violoncellos to all
others, owing to the excellent choice
of wood, the correctness of the thick-
nesses, and the accurate proportions
of the whole instrument, which results
in a tone unequalled for fulness,
brilliancy, and power, causes them to
fetch extraordinarily high prices, if, by
any chance, one comes into the
market. The smaller violoncellos are
too narrow; in proportion to the
length, violoncellos require a greater
height in the sides than violins do;
Stradivari omitted to take this into
account, and thus sometimes made
instruments which have a thin quality
of tone, which is only to be improved
by increasing the height of the sides.
A very beautiful specimen of this
small pattern formerly belonged to
Duport, then to Franchomme, who
sold it for £1,600. One of the finest
known, formerly belonging to Alexandre
Batta, of Paris, who paid £440 for it,
was made in 1714, and is in excep-
tionally good preservation, without a
crack, and with no trace of any repairs;
it was bought by Messrs. Hill, in 1893,
for £3,200 ! This same firm of violin
STRADIVARI–st RADIVARI. 89.
makers also had one dated I7II, which
they priced at £2,800. A violoncello
in most perfect preservation, dated
1689, was bought by Professor Delsart,
of the Paris Conservatoire, on Feb. 3,
1887, at a sale for £800; it is especially
remarkable for the beauty of its wood;
its equal is perhaps only to be found
in the violoncello, dated 1691, which
is in the Istituto Musicale of Florence;
it is of very large size, and the work-
manship is absolutely perfect. A great
many of the violoncellos dated between
1698 and I709 have the backs made of
poplar-wood. A very beautiful violon-
cello which was in Madrid, dated
I725, was more arched than that of
Franchomme; the wood was pine of
excellent quality, the sides of finely
figured wood; the brilliant red varnish,
on an amber golden ground, was very
delicate and transparent; the whole
instrument was in perfect preservation.
Stradivari's double-basses are rare ;
Dragonetti had one ; Count Ludovico
Melzi had another, a very fine speci-
men; it was on a broad pattern, very
much arched; the lower corners of the
middlebouts are rounded off, apparently
to avoid injury. Two things strike one
about the work of Stradivari—the extra-
ordinary number of instruments that he
made and their great excellence; it
is said that there are no less than a
thousand of his violins, violas, and
violoncellos; he lived to a great age,
and worked incessantly all his life.
In his time, viols were still being used
in orchestras; he made many with six
strings and with seven strings, also
five-stringed viols with flat back, high
sides, and arched bellies. Viols, bass-
viols, violas da gamba are known with
the backs made of poplar-wood. A
viola d'amore, with the usual six gut
strings and six wire strings, is dated
I716. A mandoline, dated 17oo, which
formerly belonged to J. B. Vuillaume,
was remarkable for the finish of the
workmanship and the beauty of the
varnish ; the head was most delicately
carved. A harp is also known made by
him. A guitar inscribed on the back
of the peg-box, “Ants Stradivarius
Cremonens F. I68o,” was supposed to
be the only one made by him; but the
Paris Conservatoire claims to have
another in the Collection there. In
the same Collection is a beautiful
fragment of the head of a viola da
gamba and also a kit of large size,
dated 1717, signed by Stradivari, which
has a graceful scroll, the sound-holes
excellently cut, and varnish of wonder-
fully delicate and brilliant quality. A
viola da gamba, “alla gobba" (i.e.,
hunchbacked), made in 1684 for
Countess Cristina Visconti, had the
violoncello scroll, and sound-holes;
double-basses had long been made
with violoncello sound-holes, but
Stradivari was probably the first maker
to effect this improvement in the viola
da gamba. It is interesting to notice
how, even in his lifetime, Stradivari's
instruments travelled all over the
world, his reputation was so great.
On Sept. 8, 1682, Michele Monzi, a
banker in Venice, sent him an order
for a set of violins, tenors, and
violoncellos ; these instruments were
afterwards sent as a present to
James II., of England. In 1687 he
made a set of instruments for the
Spanish Court, inlaid with ivory
purfling, and with beautiful scroll-work
running round the sides and head.
Some of these fine instruments, richly
ornamented with small figures, flowers,
fruit, arabesques, inlaid in ebony or
ivory, executed with the greatest skill,
are still in existence, as well as the
tools which he used and the original
tracings of his designs. In 1690 he
finished making a “concerto"—viz.,
two violins, one small and one large
tenor, and one violoncello, for the Grand
Duke of Tuscany. One of the tenors
is in Florence and is inscribed on the
interior of the upper plate, “Prima
20 ottobre 1690 per S. A. da Fiorenza.”
In 1707 he made six violins, two tenors,
and one violoncello for the private
orchestra of Archduke Charles of
Austria. In 1715 he made twelve
violins for the private orchestra of the
King of Poland (Elector of Saxony).
The instruments, relatively few in
number, made by Stradivari between
I730-37 vary a good deal in character;
some are very fine and of beautifully
finished work, but others do not attain
the same perfection; they are more
arched, resulting in a less brilliant tone,
the delicacy and finish of the work has
changed, the scroll is heavier, the
varnish is sometimes a brown colour,
like that used by his sons for their
instruments; there is no doubt that,
after his death, much of his unfinished
work was completed by his sons or by
his pupil, Carlo Bergonzi, labels being
used with Stradivari's name on them.
Instruments that were made simply
under his direction are inscribed “sub
disciplinä Stradiuarii,” in very small
90 STRADIVARI—sursano.
type. Many of his pupils became cele-
brated makers, such as Carlo Bergonzi,
Alessandro Gagliano, Lorenzo and
Giambattista Guadagnini, &c. Stradi-
vari had married, July 4, 1667,
Francesca Ferraboschi (b. 1640, the
widow of Giovanni Giacomo Capra);
she died May 25, 1698 She had six
children, of whom four were sons:
Francesco, b. Feb. 6, 1670, d. six
days later; Francesco, b. Feb. 1, 1671,
he worked with his father and d.
May II, 1743; Alessandro, b. May 25,
I677, he became a priest and d.
Jan. 26, 1732; Omobono, b. Nov. I4,
I679, he worked with his father and
d. July 8, 1742. On June 3, 1680,
Stradivaripurchased from the Brothers
Picenardi, for about £280, the house
formerly known as 2, piazza San
Domenico, now as I, piazza Roma; it
was there that all his famous work was
done. He married his second wife on
August 24, 1699, Antonia Zambelli .
º II, I664, d. March 3, 1737), she
ad five children, of whom four were
sons: Gio. Battista Giuseppe, b. Nov.
6, 17OI, d. eight months later; Gio.
Battista Martino, b. Nov. II, 1703, d.
Nov. I, I727; Giuseppe, b. Oct. 27, 1704,
became a priest and d. Nov. 29, 1781 ;
Paolo, b. Jan. 26, 1708, d. Oct. 19,
I776. Stradivari is described as a tall
thin man, incessantly working, in his
white leather apron and his white cap;
&
he made a great deal of money, for in
his time “ricco come Stradivari” (rich
as Stradivari) was quite a proverb in
Cremona. *
Stradivari, Francesco, son of Antonio
Stradivari; b. Feb. 1, 1671, Cremona;
d. May II, 1743.
father and worked in his workshop
until Antonio's death; he then con-
tinued to work with his brother
Omobono. He made several violins
and violas, in which he placed his own
label, from about 1725 to 1740; his
work shows the excellent school in
which he had been trained, and has
genuine merit, but is much inferior to
that of his father. The varnish is
very beautiful, though quite different
to that of Antonio, it is of brownish
hue ; the scroll is heavy, the work |
not very carefully finished, but the
tone rich and penetrating. Label :
“Franciscus Stradivarius Cremo-
nensis filius Antonii faciebat, anno
I742.’
Was a pupil of his .
Stradivari, Omobono, son of Antonio;
b. Nov. I4, 1679; d. July 8, 1742. He
worked with his brother Francesco in
his father's workshop; the label they,
used was inscribed “ sotto la dis-
ciplina d'A. Stradivarius, Cremona.”
But he made few new instruments,
and chiefly occupied himself in re-
pairing old ones. Label: “Omobonus
Stradiuarius filius Antonii Cremonae
fecit, anno 1740.” -
Straub. Two labels, are known, the
one : “Simon Straub von Frieden-
weiller, 1706,” in a viola bastarda of
light and delicate workmanship; the
other : “Mathias Straub zu Friden-
willer auf dem Schwartzwald, anno
I —.”
Straube (Staube). A maker in Berlin.
about 1770-75. His instruments are
seldom seen, but they are of good
workmanship, made on the Cremona
pattern, with amber-coloured varnish.
He was an excellent repairer of old
instruments.
Strauss, Joseph. A maker in Neustadt
about 1745-50.
Strnad, Caspar, b. in Bohemia about
1750. He settled in Prague and
worked there, 1781-95. His violins
and violoncellos show good work, the
sound-holes are generally small and
well-cut, the varnish a yellow-chestnut
colour; his guitars also were much
liked. Label: “Caspar Strnad fecit
Pragae, anno 1789.” -
Strobl, Johann. A maker in Hallein in
the 18th century.
Strong, John. A viol of his, of peculiar
shape, with double purfling, was ex-
hibited in the South Kensington
Museum in 1872. . The old head and
neck had been replaced by the work
of one of the Banks, of Salisbury.
Label : “John Strong, Sommerset,
I6—.” -
Sturge, H. It is doubtful if he ever
made new instruments, but he cer-
tainly repaired old ones; in 1811 he
was living in Bristol, but in 1853 was
settled in Huddersfield.
Sulot, Nicolas. A maker in Dijon,
1825-40. In 1839 he took out a patent
for an “echo” violin, made with three
plates instead of two. -
Sursano (Sorsano), Spiritus. A maker
in Cuneo about 1714-35; the little of
his work that is known, is very inferior.
Label: “Spiritus Sorsano fecit Cunei,
1734.”
TACHINARDI—TEstorE. 9I
Tachinardi. A maker in Cremona in
I690.
Tadolini. A maker in Modena in
the 19th century. See “Fiorini
Raffaele.”
Tanegia, Carlo Antonio. Was working
in Milan about 1725-30. Label:
“Carolus Antonius Tanegia fecit in
Via Lata, Mediolani, anno 1730.”
Tanigardi (Taningard), Georgio. Was
working in Rome about 1735. Labels:
“Georgius Tanigardus fecit Romae,
anno 1735,” and “Georgio Tanigardi
fecit Romae, 17—.”
Targhetta. A maker of guitars and
other instruments in Brescia towards
the close of the 16th century.
Tarr, William. A maker in Manchester,
said to have made very good double-
basses about 1829-55, when he gave up
violin making to become a photo-
grapher. - -
Tassini, Bartolommeo. A maker in
Venice in 1754. His instruments,
similar to those of Testore, show fairly
good work. Label: “Opus Bartholomei
Tassini Venetia, 1754.”
Taylor, b. about 1750. Worked in
London, in Princes Street, Drury
Lane ; was said to be a pupil of
Panormo. He made good instruments,
principally double-basses, and was
clever at repairing old instruments.
Techler (Tecchler), David, b. 1666.
Lived first at Salzburg, then went to
Venice, but owing to the ill-treatment
he received from the makers there, left
Venice and finally settled in Rome
about I705; he is said to have stopped
at Cremona on his way there. Some of
his work is very German in character,
but instruments dated from Rome are
generally of fine workmanship, and
follow the Italian pattern very closely.
His violoncellos are especially good;
made of excellent wood, on a large
pattern, much arched, but the thick-
nesses are often inaccurate; the sound-
holes are large, they vary, sometimes
being widely opened, sometimes not ;
the varnish, of good quality, is generally
reddish-yellow, sometimes yellow-
brown in colour; the tone is very
powerful, the work beautifully finished;
one was sold at an auction for £50.
His double-basses also show good
work and have a sonorous tone. A
violin of highly finished workmanship
was made of beautiful wood and had a
very pure and sweet tone. Labels:
“David Tecchler Liutaro fecit Romae,
anno 1703,” a similar one is dated
1706: “David Tecchler fecit Romae,
1733,” and “David Techler fecit, an.
Dni. I'743, aetatis suae, 77.”
Tedesco (Todesco), Leopoldo, b. 1625.
Was a pupil of Nicola Amati in
Cremona, 1653-54. Afterwards worked
in Rome; a violin dated from there in
I658 is made on the Amati pattern,
and has good varnish, but the work is
not highly finished.
Teoditi (Teoditti), Giovanni.
in Rome in the 17th century.
Ternyanini, Pietro. Working in Modena,
I755.
Testator, “Il Vecchio.” Is said to have
lived in Milan about 1520, and to have
been one of the first to modify the
viol into the violin shape; but there is
absolutely no evidence of this. *
Testore, Carlo Antonio, eldest son of
Carlo Giuseppe Testore, from whom
he learnt his trade. Worked in
Milan, in the Contrada Larga, at the
sign of the Eagle (dell' aquila), about
1735-65; according to one label was
associated with his son Giovanni in
1764. His violins are made on the
Guarneri pattern, of excellent wood,
though not finely figured; the varnish
is golden-yellow in colour, the work-
manship is good. His violoncellos and
altos are especially fine instruments;
the varnish, rather thick, is generally
brown in colour. Labels: “Carlo
Antonio Testore figlio maggiore del fú
Carlo Giuseppe in Contrada larga al
segno dell' aquila, Milano, I74I " ;
another label is dated 1736: “Carlo
Antonio e Giovanni padre e figlio
Testori, il qual Carlo e figlio maggiore
del fú Carlo Giuseppe Testore, abitanti
in Contrada larga al segno dell' aquila,
Milano, I764. -
Testore, Carlo Giuseppe, b. at Novara ;
settled at Milan about 1687, and worked
there till about 1720. He was a pupil
of Giovanni Grancino, for whose work
his instruments are often mistaken.
He was the best workman in this
family, but did not make many instru-
ments. His violins, of excellent wood,
show good strong work, but not highly.
finished, and are plain in appearance.
The pattern varies; it is moderately
A maker
G
92
Testore–THIPHANoN.
arched; the varnish is dry and of a
brownish-yellow colour; the tone is
good, sometimes very powerful and
penetrating. For his violoncellos he
generally used pear-tree wood for the
backs and very fine wood for the
bellies; the tone was very powerful.
When the well-known Lindley “Gran-
cino 'violoncello was repaired in 1884,
the removal of the Cremona label
exposed the original label in good
preservation, as follows: “Carlo
Giuseppe Testore allievo di Gio. Gran-
cino in Contrada Larga di Milano,
I690.” A double-bass of his was
played on by the celebrated Bottesini
at concerts; it had a splendid tone.
Label: “Carlo Giuseppe Testore in
Contrada larga di Milano al segno
dell' aquila, 17oo.” He had two sons,
Carlo Antonio and Paolo Antonio,
both violin makers.
Testore, Giovanni, son of Carlo Antonio
Testore, q.v.
Testore, Paolo Antonio, second son of
Carlo Giuseppe Testore and the last
maker of this name. First worked
with his brother, Carlo Antonio, but
separated from him about 1710, and
continued working alone till about
I760. He made a great many instru-
ments, but did not do such good work
as his father; the varnish is lighter,
a yellow colour, and of inferior quality.
Few of his violins are known, they are
not much arched, without purfling,
and follow the Guarneri pattern. He
made many good lutes and guitars, the
latter, especially, being some of the
most beautiful known. Labels :
“Paolo Antonio Testore, Milan, 17—,”
and “Paolo Antonio Testore figlio di
Carlo Giuseppe Testore in Contrada
larga di Milano al segno dell’ aquila,
I759.”
Tetzner. See “ Kühlewein.”
Theress. See “Charles.”
Thériot, J. B. A maker in Paris in 1783.
Thibout, Aimé Justin, b. Feb., 1808.
He worked till 1862 at Caen.
Thibout, Albert, son of Gabriel Adolphe
Thibout; b. April 27, 1839; d. Dec.
25, 1865. A maker in Paris, who
succeeded his uncle, Gabriel Eugène,
as “luthier de l'Opéra,” and was
succeeded in his turn by the Brothers
Gand. -
Thibout, Gabriel Adolphe, son of Jacques
Pierre Thibout; b. 1804, at Paris; d.
there, June 14, 1858. He assisted his
father a long time and finally took the
direction of the business in 1838. His
instruments are good, though the
work is not equal to his father's; the
backs are generally of one piece, the
varnish a red-brown colour. His son
Albert was also a maker.
Thibout, Gabriel Eugène, son of
Jacques Pierre Thibout; b. June II,
1825, at Paris. Succeeded his brother,
Gabriel Adolphe, as “luthier de
l'Opéra" in Paris. In October, 1861,
left Paris and settled in Boulogne-
sur-Mer.
Thibout, Jacques Pierre, b. Sept. 16,
1777, at Caen ; d. Dec. 4, 1856, at
Saint-Mandé, near Paris. First worked
at Caen, then, in 1796, under Koliker
at Paris; was married in 1800, and in
1807 established himself at 24, rue
Montmartre, after 181o moving to
8, rue Rameau. He was a remarkable,
maker and his instruments are much
liked; his violins soon came into notice,
for by a certain treatment of the sides
he gained an improvement in the
pattern which produced an excellent
quality of tone. The price varied
from £10 to £14, relatively, high, for
that period, but greatly below their
present value. The workmanship and
varnish were so beautiful that his
instruments will bear comparison with
the best Italian work; two magnificent
violins of his show peculiar richness of
colouring in the varnish—a red on an
amber ground. He was awarded a
silver medal, 1827; a silver medal, 1844;
and a first class medal at the Paris
Exhibition in 1855 for an excellent
violoncello. Label: “Nouveau procédé
approuvé par l'Institut. hibout,
luthier du roi, rue Rameau, no. 8, a
Paris, 1825.”
Thibouville-Lamy, Jérôme. A little
before 1867 he became sole proprietor
of the various factories at Mirecourt;
he gradually substituted mechanical
for manual labour, and while increasing
the number of instruments made, at .
the same time reduced their price, so
that at last he was able to exhibit at
Vienna, in 1873, his famous violins at
4s., 8s., and 16s. each. By 1887, 35,000
instruments had been made by this
firm. He was awarded a medal, Vienna,
1873; medal of honour, Santiago, 1875;
prize medal, Philadelphia, 1876; and
gold medal, London, 1885. He was
made Chevalier of the Legion of
Honour, April 10, 1877, and Officier,
an. I5, 1892. t
Thin, Mathias and Georg. Makers of
good instruments in Vienna in the 18th
century. -
Thiphanon. See “Tiphanon.”
THIR-TOBIN. - 93
Thir, Johann Georg, Was working in
Vienna in 1791. A violoncello of good
work, made on a large pattern, had
dark yellow-brown varnish. Label:
“Johannes Georgius Thirfecit Viennae,
anno I791.”
Thomassin. Worked under Clément at
Paris, rue des Bons-Enfants, was a
clever workman and made good violins.
He signed them with his name about
I825-45.
Thompson (Thomson), Robert. A
maker in London, at the sign of the
“Bass-Violin,” in St. Paul's Church-
yard, about 1749-64. His instruments
were made on the Stainer pattern. He
was succeeded by his sons, Charles and
Samuel, who worked about 1775-85.
Labels: “Robert Thompson att the
Bass-Violin in Paul's ally, St. Paul's
Churchyard, London, 1749,” and
“Made by Thompson and Son at the
Bass-Violin, the west end of St. Paul's
Churchyard, London, , 1764.” The
printed label (two were dated 1775 and
1785) is, “Made and sold by Chas. and
Saml. Thompson in St. Paul's Church-
yard.”. In the musical directory of 1794
were also mentioned Samuel and Peter
Thompson, instrument makers in St.
Paul's Churchyard.
Thorowgood, Henry. A maker in
London in the 18th century. Printed
label: “Made and sold by Henry
Thorowgood at the Violin and Guitar
under the North Piazza of the Royal
Exchange, I7—, London.”
Thumbardt is mentioned as working in
Munich and Straubing in the 18th
century. His work was similar to that
of Buchstadter.
Tieffenbrücker (Tiefenbrucker), Leo-
nardo. A maker of beautiful lutes.
He was a member of the family better
known by their Italian name of
Duiffoprugear, and worked in the 16th
century. He may possibly have been
a son of Gaspard Duiffoprugear.
Tieffenbrücker, Magnus. See “Dieffo-
pruchar.”
Tieffenbrücker (Tiefenbrucker), Ven-
delino Venere. Is supposed to have
been a son of Leonardo Tieffenbrücker,
according to the inscriptions found in
some of his lutes. Worked from about
1572 to 16II; his lutes were celebrated.
An ivory lute was inscribed “Vendelio
Venere Padova, 1572”; a lute in the
Modena Museum, Vienna, was labelled
“In Padova Vvendelino Venere de
Leonardo Tiefenbrucker, 1582 "; an
arch-lute in the Collection of the
Gesellschaft der Musikfreunde, Vienna,
similarly inscribed, was dated 1587;
it was repaired by Martin Stoss in 1832.
A lute in the Vienna Hof-Museum was
dated 1595. One of the finest lutes
existing is inscribed “Vendelio Venere
in Padova, 1600.” Two instruments in
the Modena Museum, Vienna, are in-
scribed, the one “In Padua Vendelinus
Tieffenbrücker,” the other “In Padova
Vvendelio Venere, 1611.” A unique
instrument, a “ lyra da gamba "
mounted with sixteen strings and fifteen
sympathetic strings, is signed: “In
Padua Vendelinus Tieffenbrüker,” and
has a label probably written by the
maker himself: “Vendelinus Tieffen-
brüker f. in Padoua.”
Tielke, Joachim. One of a family of
makers who lived in Hamburg from
about 1539 to 1701. He was celebrated
for the lutes, theorbos, guitars, and
especially the viols of all kinds which
he made, of very fine tone, ornamented
with the richest and most varied inlaid
work; one violin of his is also men-
tioned. The following instruments,
given in their chronological order, are
known : a lute in the Paris Conserva-
toire Collection; a lute known as a
chiterna, with the label: “Joachim
Tielke in Hamburg, 1539,” in the South
Kensington Museum, London, which
is inlaid with designs in tortoiseshell,
encircling mythological deities in ivory,
richly ornamented with precious stones.
A guitar dated 1592, a marvel of rich-
ness of design and beautiful workman-
ship, is in wonderful preservation; a
bass-viol, dated 1669, was exhibited in
Paris in 1878; a violin, dated 1670, men-
tioned by Fétis; a guitar inscribed on
the back “Joachim Tielke, Hamburg,
1676”; a very beautiful viola di
bordone belonging to the Gesellschaft
der Musikfreunde, Vienna, was labelled,
“Joachim Tielke in Hamburg fecit,
anno 1686"; and a viola da gamba,
dated 1701, entirely inlaid with ivory,
with the edges, head, and pegs all in
ivory, the tail-piece also charmingly
designed in ivory.
Tilley, Thomas. A maker in London
about 1774.
Tiphanon (Thiphanon), Jean François.
Worked in Paris, in rue St.-Thomas-
du-Louvre, from 1775 to 1800.
Label: “Tiphanon, rue St.-Thomas-
du-Louvre, à Paris, 1780.”
Tirler, Carlo. A maker in Bologna in
the 18th century.
Tobin, Richard. A maker in London
from about 1790 to 1840. Was a pupil
of Perry of Dublin. He did a good

94 TODESCO-TOURTE.
deal of work for John Betts. He was
an excellent workman, and cut most
beautiful heads or scrolls to his in-
struments; he usually followed the
Stradivarior Guarneri patterns. The
tone of his instruments is good, and
they are much liked in England. He
died in great poverty in Shoreditch.
A son of his was also a maker.
Todes.co. See “Tedesco.”
Todini, Michele, b. in Saluzzo about
1625. He lived in Rome, where, in 1676,
he published his “Dichiarazione della
galleria armonica eretta in Roma.”
He made a few violins, but is chiefly
known as the maker of very ingenious
mechanical musical instruments. He
has been also called the inventor of
the double-bass, but there is apparently
nothing to support this assertion.
Tolbecque, Auguste, son of Auguste
Joseph Tolbecque; was born March 30,
1830, Paris. He was a distinguished
violoncellist, but also worked at violin
making under Rambaux, in Paris. He
made a small number of new instru-
ments, and was extremely clever at
restoring old ones; he collected some
fine instruments, which he sold to the
Brussels Conservatoire in 1879. In
1858 he settled in Niort, Deux-Sèvres.
Label: Ate. Tolbecque fils fecit Parigi,
anno 1851.”
Tononi, Antonio. A member of the
family of makers in Bologna in the
17th century. -
Tononi, Carlo, son of Felice. First
worked in Bologna, then settled in
Venice. His instruments vary a good
deal; they are generally of a large
pattern, not so highly arched as those
of his brother Giovanni, and show
beautiful workmanship; his varnish,
somewhat similar to that of Santo
Serafino, is a yellow-brown colour. A
pocket violin, with beautiful inlaid work,
was exhibited at Milan, 1881, its label
was: “Carolo Tononus fecit Bononiae
in Platea Castaetionis, anno Domini
1698.” In a violin in the Collection of
the Lyceo filarmonico, Bologna, is the
label : “Carolus Tononi fecit Bononiae,
anno 1717.” Another label is: “Carolus
Tononi Bonon. fecit Venetiis sub titulo
S. Ceciliae, anno 1739.” He often
branded his monogram near the button
of the tailpiece.
Tononi, 'Felice. A maker in Bologna
about 1670-90. He worked in associa-
tion with his son Giovanni ; their
violoncellos have a great reputation in
Italy, and are beautiful instruments, of
fine tone and carefully finished work-
&,
manship; the varnish is a yellow-brown
colour. Labels: “Tononi di Bologna
fecit, anno 1670,” and “Tononi di
Bologna fece, anno 168—.”
Tononi, Giovanni, son of Felice. Worked
in Bologna till about 1705, Very few
instruments of his are to be found; he
followed, and at the same time enlarged
the pattern of Nicola Amati; his work
is superior to that of his father. His
violins are slightly arched and have
varnish of a beautiful yellow colour;
the tone is very fine. A violoncello
had the following label: “Joannes de
Tononis fecit Bononiae in Platea
Paviglionis, anno 17—.” Other labels.
are “Joannes Tononus fecit Bononiae
in Platea Pavaglionis, anno Domini,
1690,” and “Joannes de Tononis fecit
Bononiae, anno I7—.”
Toppani, Angelo de. A maker in Rome
about 1720-40. His instruments, which
are rarely seen, are similar to those of
Techler, but are more arched; the
varnish is a golden-yellow colour, and
the sound-holes are cut large. Label:
“Angelus de Toppanis fecit Romae,
anno Dni. I'740.”
Torelli. A maker in Verona about 1625.
Toring (Torring). Was a maker and
repairer of violins in London about
I8oo. -
Tortobello, Francesco. A maker in
Rome in 1680, who followed the Mag-
gini pattern. -
Touly, Claude. In a five-stringed viol,
with the upper and lower plates both
arched, and with yellow varnish, was
the printed label: “Par Claude Touly
à Luneville, 1752.” . §
Touly, Jean. A maker in Nancy about
1730-47. Label: “Fait par moy Jean
Touly, à Nancy, 1747.”
Tourte, François (“le jeune"), b. 1747,
Paris; d. there, April, 1835. Was a
younger brother of Xaver Tourte. For
eight years worked as a watchmaker,
and thus gained sureness and delicacy
of touch ; he was not educated, and
never even learnt to read and to write.
He settled at Io, Quai de l'Ecole, and
began to make bows; for his first
experiments he used the staves of old
sugar hogsheads from Brazil, but
afterwards always selected fine Per-
nambuco wood of perfectly straight
grain, strong, and elastic, without
excessive weight. By subjecting this
in a state of flexion to a moderate
amount of heat for some time, he
obtained a permanent and regular
bend; to do this without making the
exterior brittle is always the great

TourtE–Tywersus. '95
difficulty of bow makers. He was
able to definitely , settle the correct
length and curvature of the stick, the
gradual tapering towards the point,
and also invented a method of spread-
ing the hairs of the bow and fixing .
them on the face of the nut by means
of a moveable band of metal, fitting on
a slide of mother-o'-pearl. In fact, he
practically invented the modern bow,
and has well been called the “Strad-
ivari” of the bow, for his skill has
never been equalled. Most of his great
work was done after 1775. Viotti, who
arrived in Paris in 1782, is said to have
suggested many of the improvements
that were required from a violinist's
point of view. He worked until he was
eighty-five, when failing eyesight neces-
sitated a rest. He himself charged
12 louis d'or (about £10) for the bows
mounted in gold, and 3% louis d'or
(nearly £3) for those mounted in silver,
but they now fetch from £20 each ;
for Tourte's bows are always preferred
to any others by violinists, and as yet
show no signs of wear. Violoncello
bows are rarer; at a sale in Paris, Feb.
5, 1887, one was sold to Messrs. Hill
and Son for £44. Several of his bows
are in the Paris Conservatoire Collec-
tion, they are never marked; only two
are known with small engraved labels:
“Cet archet a été fait par Tourteen
1824, agé de Soixante-dix-sept ans.”
His bows were so closely imitated by
other makers that it is not easy always
to distinguish between the original and
the copy. -
Tourte, le Père. Settled in Paris about
1740. Was a clever bow maker; his
work showed great improvement on
that of his predecessors; he used
lighter wood and proportioned his
bow more accurately, giving it the
backward bend indispensable to its
elasticity. Heinvented the nutworked
by a propelling and withdrawing screw,
the nut and head of the screw were
generally of ivory. The bows are
elegantly fluted for half or the whole
of the length, the head is lighter and
more elegant. He had two sons, Xaver
and the celebrated François.
Tourte, Xaver (l'ainé), eldest son of
Tourte père. Worked with him for
Turner, William.
some time and finally succeeded to his
business. Although inferior to his
father as a workman, he made some
excellent bows. It is said that he was
in partnership with François, the latter
making the sticks and Xaver the nuts
and fittings; but they quarrelled and
separated, each one continuing to work
alone. Xaver reproduced as much as
possible the improvements made b
his brother in the bow. -
Trapani, Raffaele. A maker in Naples
about 1810. His workmanship is good
and original in character; his violins
are on a large pattern, with prominent
edges, and heavy purfling; the scroll is
heavy and of the Brescian type; the
varnish is rather thick and of a red-
brown colour. Label : “Raffaele
Trapani, Napoli, No. —.” *
Trévillot, Claude. A maker in Mire-
court about 1698. -
Trinelli, Giovanni. An Italian maker.
Trunco. Worked in Cremona in 1660.
Truska, Simon Joseph, b. April 5, 1734,
Raudnitz, Bohemia; d. Jan. I4, 1809,
Strahow Monastery. Entered Strahow
Monastery, Dec. 8, 1758, taking the
vows, Jan. 1, 1761. Became proficient
as a musician and composer, and then
began to construct instruments, making
violins, altos, violas d'amore, and bass-
viols.
Tubbs, James. A maker of excellent
bows, who lives in Wardour Street,
London. His father and grandfather
were also bow makers, their work
being very similar to that of Dodd.
James Tubbs' bows are made. on
scientific principles, and are of elegant
º: they are much liked by
players for their lightness and good
balance, and rank among the best
made. . -
Was working in
London in 1650. In a viola di bordone,
or baryton, of beautiful workmanship,
and made of splendid wood, is the
label: “William Turner, at ye hand
and crown in gravelle lane neere
Aldgate, London, 1650.”
Tywersus. Was maker to the Prince
of Lorraine at the beginning of the
16th century; his instruments are very
similar to those of Andrea Amati.
Nicolas Renault was a pupil of his.

96 UGAR–VETTER.
U.
Ugar, Crescenzio. A maker in Rome in
1790. His work is German in character,
he used brown varnish. .
Ungarini, Antonio. Was working in
Fabriano in 1762.
Unverdorben, Marx. A lute maker in
Venice, probably about 1400-50. A
lute of highly finished workmanship,
found in the Collection of instruments
at Castle Eisenberg, Bohemia, was
inscribed : “Marx Unverdorben a
Venetia.” - -
Urquhart, Thomas. A maker in London
about 1650-80 ; he was probably a
V.
Vaillant (Vaillot, or Vaillaut), François.
A maker in Paris, who, according to his
labels, was living in the rue de la
Juiverie, 1736-38, and according to the
old almanacs in rue N.-D.-de-bonne-
nouvelle, 1775–83. His instruments
show good workmanship, but the var-
nish is poor. Label : “François
Vaillant, rue de la Juiverie à Paris,
1738.”
Valentine, William. A maker in
London, who died about 1877. He
made some good double-basses.
Valler. A maker in Marseilles in 1683.
Vandelli, Giovanni. Was working in
Modena, I796-1839. His violins are
fairly well made.
Vanderlist. A maker in Paris, living in
rue des Vieux-Augustins, 1788-89. Is
said to have copied the work of Gua-
dagnini, both in pattern and varnish,
with great skill. He branded his name
on his instruments. Label: “Luthier,
rue des Vieux-Augustins, près de l'égout
de la rue Montmartre, Paris.”
Van der Slagmeulen. See “Slagh-
meulen.”
Varotti, Giovanni.
in 1813.
Varquain. A maker in Paris, rue de
Bussy, about 1742.
Vauchel, Joseph. A maker in Damm
about 1840; before that date he was
appointed Court Maker to the Grand
Duke of Tuscany. He exhibited two
violins at Munich in 1854, which had
a fine tone, and was awarded the medal
of honour. Hörlein was a pupil of his.
A maker in Bologna
Scotchman. His work resembles that
of Jacob Rayman, with whom he ma
have worked, and shows great merit
for the period at which he lived. His
violins are of two sizes, some on a
small, others on a large pattern, very
arched, the corners not very prominent,
the purfling narrow and placed close to
the edge; the oil varnish, of a yellowish-
brown or sometimes red colour, is of ex-
cellent quality, and is similar to Italian
varnish; the tone is clear and silvery.
His violins and violas are rare, and no
violoncello of his has been seen.
Venere, Vendelino. See “Tieffen-
brücker.” -
Venzi, Andrea. A maker in Florence in
I636.
Verbruggen, Theodor. Is known as one
of the makers in Antwerp in 1641, by a
double-bass which he made for use in
the Cathedral.
Verini, Andrea. Was working in
1884.
Verle, Francesco. A maker in Padua
about 1590. Label: “In Padova
Francesco Verle.”
Vermesch, le Père. Worked at Beau-
mont-sur-Oise in 1781. A violin, very
arched, badly proportioned, with pale
yellow varnish, had the written label:
“Fait par le Père Vermesch, rel.
minime, a Beaumont-sur-Oise, 1781.”
Véron, Antoine. . A maker in Paris, in
1740, in the rue de la Juiverie, according
to the label in a five-stringed viol in the
Paris Conservatoire Collection.
Véron, Pierre André. A maker in Paris
about 1720-50. His violins show good
work; he followed the pattern of the
Italian makers.
Vetrini, Battista. Worked in Brescia
about 1629. His instruments are on
rather a small pattern, the wood is
excellent, and the yellow varnish of
fine quality.
Vetter, Jean Christophe. Was working
in Strassburg in 1744, according to the
following label, found in a double-bass
which was repaired by Marc Snoeck:
“Jean Christophe Vetter, Strasbourg,
I744.”
viaRD—vogleR. g7
Viard, Nicolas. Was working in Ver-
sailles about 1790. Label: “Fait par
Nicolas Viard à Versailles, 1790.”
Vibert, J. B. A. maker in Paris, 1775-
83, in rue de Seine.
Vibrecht, Gysbert. A maker in Amster-
dam about 1700-Io.
Villaume et Giron. In a violin of
fairly good workmanship was the
printed label: “Villaume et Giron,
Troyes, 170—.” -
Vimercati, Gaspare. A maker in Milan
in the 17th century. In a mandoline
of beautiful workmanship was the
label: "Gaspare Vimercati nella con-
trada della Dogana di Milano.”
Vimercati, Pietro. A maker in Brescia
in the 17th century. Is thought to
have been a pupil of Carlo Tononi in
Venice. His instruments are much
arched, he followed the Maggini pattern.
Vinaccia, Antonio. The head of a
family of makers. He worked in
Naples about 1766-74. He made a few
violins, on the pattern of Gagliano,
but also made excellent mandolines;
some of these are in the Museo
Spagnuolo (Palazzo degli Studi),
Naples, and have the backs beautifully
inlaid with ivory, mother-o'-pearl, and
tortoiseshell. Label: “Antonius Vin-
accia, Napoli in Via Constantinii, a.
1766.”
His two sons, Gennaro and Gaetano,
were also makers.
Vinaccia, Domenico. A maker of man-
dolines in Naples in 1780.
Vinaccia, Gaetano and Gennaro, sons of
Antonio. Makers of mandolines and
guitars in Naples about 1776. . In a
mandoline, beautifully inlaid with tor-
toiseshell, mother-o'-pearl, and ivory,
was the label: “Januarius Vinaccio
fecit Neapoli in rua Catalana, a.
Domini 1776.”
Vinaccia, Giovanni and Vincenzo, sons
of Gennaro. Worked in Naples about
1765-85, making excellent mandolines
and guitars. Labels : “Joannes Vin-
accio filius Januarii fecit. Neapoli alla
strada della rua Catalana, A.D. 1770,”
and “Vincentius Vinaccio filius Janu-
arii fecit Neapoli alla rua Catalana,
A.D. 1775”; “Vincentius Vinaccio
fecit, Neapoli, Sito nella Calata de
Spitalletto, A.D. 1785.”
Vinaccia, Pasquale, son of Gaetano;
b. July 20, 1806, Naples; d. 1881.
Was a maker of excellent mandolines,
and was appointed maker to the 9.
of Italy. Was the inventor of steel
wire strings instead of the gut ones
formerly used. Belisario, the cele-
Vincenzi, Luigi.
A similar label is dated 1774.
brated mandoline player of Naples,
always used his instruments. --
Vinatte, André. A maker of viols in
Lyons in 1568. He was a Protestant,
and was murdered in the St. Bartholo-
mew Massacre of Lyons in 1572.
A maker in Carpi
in 1775. -
Viorillo, Giovanni. A maker in Ferrara,
1780. Followed the Stainer pattern.
Vir, Hieronimo di. A maker in Bresa,
Silesia. Label : “Hieronimo di Vir
in Bresa.”
Virchi, Benedetto, b. 1520. A maker of
viols in Brescia.
Virchi, Girolamo, b. 1523. A maker of
lutes and other instruments in Brescia.
Vitor, de. A maker in Brescia in 1740.
His instruments are similar in appear-
ance to those of Maggini; they are on
a large pattern and of fine workman-
ship.
Vitus de Angelis. A maker in Bologna
in 1609.
Vivoli, Giovanni.
Florence in 1642.
Voboam. A family of makers of guitars
and mandolines in Paris about 1673 to
1730. In 1770 an allusion is made to
an excellent guitar made in 1675 by
the “celebrated” Voboam. A guitar
dated “d'Alexandre le jeune, 1673,”
was most probably made by a member
of the family. Another guitar is dated
1676, and two beautiful guitars made
by Jean Voboam, dated 1676 and 1687,
belonged, it is said, to Mdlle. de
Nantes, daughter of Louis XIV. A
mandoline dated 1682 is in the Musée
Cluny. A guitar inlaid with ivory is
dated 1688, another is dated 1699. A
guitar, in the shape of a tortoise, with
the body made of tortoiseshell and
the head, feet, and tail of coloured
enamel, is in the Paris Conservatoire
Collection; it is dated 1693. A bass-
viol, incribed “Voboam, 1730,” is in
the Collection of the Conservatoire
des Arts et Métiers. -
Voel, E. A maker in Mayence about
1840. His instruments follow the
Stradivari more than the German
pattern; the sound-holes are large, the
varnish a red-brown colour, the head
is well cut, the general workmanship
good.
Vogel, Wolfgang, d. Feb. 17, 1650, at
Nuremberg, where he made instru-
ments which were much liked.
Vogler, Johann Georg. Was working in
Würzburg in 1749. Label: “Johann
Georg Vogler, Lauten und Geigen-
macher in Würzburg, 17–.” His son
Was working in
98 VOIGT-VUILLAUME.
T-
was the celebrated Abbé Georg Joseph
Vogler.
Voigt, C. Hermann, b. 1850. Pupil of
Lemböck. Works in Vienna.
Voigt, Martin. Was working in Ham-
burg in 1726. His work is similar to
that of Tielke. A bass-viol, the back
inlaid in ivory, having Apollo, Venus,
Mercury, and Diana represented, was
dated Hamburg, 1726, and was ex-
hibited at the South Kensington
Museum, London, 1872.
Voirin, François Nicolas, b. Oct. I,
1833, at Mirecourt; d. June 4, 1885, at
Paris. After working at Mirecourt, he
went to Paris in 1855, and for fifteen
years made bows for J. B. Vuillaume ;
he obtained as “collaborateur '' a
“Mention honorable at the 1867
Paris Exhibition. He separated from
Vuillaume in 1870 and established
himself at 3, rue du Bouloi, where he
worked till his death. He had great
ability as a bow maker; he followed the
Tourte pattern, but made the head of
his bow less square; his workmanship
shows wonderful finish and elegance.
He was awarded a silver medal at the
Paris Exhibition in 1878, the only
prize given to bow-making; and some
of his bows exhibited after his death at
the Antwerp Exhibition were awarded
a gold medal. He branded his bows
with “ F. N. Voirin, a Paris”; to this
was added, on those bows exhibited at
Paris, 1878, “Exposition, 1878.” Bows
sold by Madame Voirin since her
husband's death have also been
branded in the same way.
Vuillaume, Claude, b. 1772, Mirecourt;
d. 1834. He is the first member known
of this family of violin makers, and
made cheap instruments, branding
them with his name only. He married
Anne Leclerc (b. 1767) and had four
sons, all makers: Jean Baptiste, Nicolas,
Nicolas François, and Claude François.
They all learnt their trade under him,
and the instruments they made at that
time were branded “Au roi David,
Paris.”
Vuillaume, Claude François, fourth son
of Claude Vuillaume; b. March, 1807,
Mirecourt. First worked at violin
making under his father, but later
became an organ-builder. His son,
Sébastien, was also a maker.
Vuillaume, Jean, b. 1700; d. 1740. A
maker in Mirecourt. Is said to have
been a pupil of Stradivari, but his
work shows no sign of it. A violin
known is of very ordinary workman-
ship; the way in which it is arched is
similar to Maggini instruments; the
sound-holes are badly cut, the edges
are too thin, the purfling painted, and
a little design in black runs round the
body; the scroll is carved, the varnish
is yellow in colour; inside is the label:
“Fait par moy, Jean Vuillaume à
Mirecourt, 1738.” Although the
Parisian family of makers may have
descended from Jean, the connection
has not yet been traced.
Vuillaume, Jean Baptiste, eldest son of
Claude Vuillaume, b. Oct. 7, 1798, at
Mirecourt; d. Feb. 19, 1875, at Paris.
In 1817 was employed by Fr. Chanot
to make violins on his newly-invented
pattern. Went to Paris, 1818, and
was a pupil of Georges Chanot for two
years. In 1821 he entered the organ
factory of Lété and soon became a
partner; “Lété et Vuillaume" settled
in rue Croix-des-petit-Champs in 1825.
They separated in 1828, and Vuillaume
started his business at No. 46 in the
same street, where he remained for
nearly thirty-five years, moving to 3,
rue Demours, in 1860. He tried at
first to sell his own new instruments;
but finding that the demand was all
for Stradivari, Guarneri, and Amati
instruments, he changed his methods,
and one day produced a splendid
Stradivari violin, signed by the great
master and having a fine tone, for the
sum of £12 Orders at once flowed in
and Vuillaume's fortune was made.
His clever copies of Stradivari violon-
cellos originally sold for £20, but all
his fine instruments have now increased
in value four-fold. In 1828, having seen
and studied a bass-viol of Duiffoprugear,
he began to make instruments in the
same style, with beautiful inlaid work
and heads quaintly carved. The wood
used was of the finest quality, obtained
from Switzerland and the Tyrol, and
the varnish, especially on the instru-
ments made after 1859, was extremely
beautiful, no doubt a result of the care
and time he expended on the study
of the Stradivari varnish. He was
awarded : silver medals at Paris
Exhibitions, 1827 and 1834; gold
medals at Paris Exhibitions, 1839 and
1844; the only large “Council" medal
at the London Exhibition in 1851; and
the only large medal of honour at the
Paris Exhibition, 1855. Vuillaume was
also decorated with the Legion of
Honour. At the very first exhibition
of his instruments, in 1834, the jury's
verdict on his copies of Stradivari and
Amati was that not only in external
VUILLAUME-WAMSLEY. 99
workmanship were they exact imita-
tions, but that also the quality of tone
was so perfect, even the most practised
ear might be deceived. Vuillaume also
made very fine bows; he had studied
and accurately determined the propor-
tions of those made by Tourte. He
invented the fixed nut, which, firmly
fixed to the stick, has inside another of
brass to which the hair of the bow is
attached, the hair, as usual, being
tightened or loosened by the screw of
the button. In 1834 he began to make
bows in metal, and for ten years
turned out 500 of them annually; they
were originally sold, as were the wooden
ones, for £1, and were very successful.
He employed a large number of work-
men, and at the time of his death
nearly 3,000 instruments had been
made in , his workshop. He also
invented, in 1851, the octo-bass, a three-
stringed instrument, tuned four notes
lower than the double-bass, to C, G, C;
the Contralto, in 1855 (both an octo-
bass and a contralto are to be seen in
the Paris Conservatoire Collection);
and the pédal-sourdine, or chin-mute
(1867), a contrivance by which the
player has only to press his chin on
the tail-piece, instead of placing a mute
on the bridge. Labels: “Jean Baptiste
Vuillaume à Paris, rue Croix-des-petits-
Champs”; “J. B. Vuillaume, no. 21,
rue Croix-des-petits-Champs. No. 30,
Paris, 1829"; and “Jean Baptiste
Vuillaume à Paris, 3 rue Demours-
Ternes, 1844.” He married Mdlle.
Adèle Guesnet, of Clermont (Oise).
Vuillaume supplied Fétis with all the
material for his work on Antonio
Stradivari.
Vuillaume, Nicolas, second son of Claude
Vuillaume; b 1800; d. 1871. He first
W.
Wagner, Benedict. A maker of lutes
and violins in Estwangen in 1769,
according to a label found in a violin,
much arched, with red varnish, of
fair workmanship. Label: “Benedict
Wagner hochfürstlichen Hof Lauten
und Geigenmacher in Estwangen, anno
1769.”
Wagner, Joseph. A maker in Constance
in the 18th century.
Waldaner. Was working in Fussen in
1770.
Walmsley. See “Wamsley.”
!
lived at Mirecourt, but losing his wife
in 1832, he left Mirecourt and went to
Paris, where he worked with Jean
Baptiste, his elder brother, for ten
years. He returned to Mirecourt,
starting a business there in 1842. His
instruments are of ordinary work-
manship; he exhibited in Paris, 1855,
violins at low prices, called “violons
stentor,” and was awarded a bronze
medal. His son, Antoine, died at the
age of 2I.
Vuillaume, Nicolas François, third son
of Claude Vuillaume; b. May 13, 1802,
Mirecourt; d. Jan. 16, 1876, Brabant.
He worked with his brother, Jean
Baptiste, in Paris, till 1828; and then
went to Brussels. He made good
instruments, of finished workmanship,
with red varnish; an exact copy he
made of the Stradivari violoncello
belonging to Prof. Servais was very
fine. Awards: silver medals, Brussels
Exhibitions, 1835 and 1841; medals of
first class, London Exhibition, 1851 ;
Paris Exhibition, 1855; Dublin Exhibi-
tion, 1867; and Vienna Exhibition,
1873. The Belgian Government also
made him a Chevalier de l'Ordre de
Léopold.
Vuillaume, Sébastien, son of Claude
François Vuillaume; b. 1835; d. Nov.
17, 1875, Paris. He founded a business
in Paris at 17, Boulevard Bonne-
Nouvelle, to which Audinot succeeded,
He was the last maker of this family,
and continued to make bows on the
same pattern as Jean Baptiste Vuil-
laume, having in his possession the
machine for cutting bows which J. B.
V. had invented shortly before his
death. Awards: bronze medal, Paris
Exhibition, 1867; silver medal, Havre
Exhibition, 1868.
Walter, Jean. A maker in Paris about
1775 to 1800.
Wamsley, Peter. A maker in London
about 1715-51. He had at one time a
great reputation, especially for his
violoncellos. He copied the Stainer
pattern very closely, and also made a few
imitations of Stradivari instruments;
but in his attempts to obtain an Italian
quality of tone he thinned the wood
...too much, making the tone sound
hollow. His violoncellos with thicker
wood have a fine tone; so have his
H
IOO
WEAVER—VVILLEMS.
double-basses; the latter are rare and
generally have red varnish. His work
varies; some instruments are badly
proportioned, with ugly straight Sound-
holes and brownish-yellow varnish;
others are well made, with thick and
brilliant red varnish; but those with dark
brown varnish are to be preferred ;
they generally have ink-lines instead
of purfling. He also made viols. In
a violoncello was the label: “Made
by Peter Wamsley at ye Golden Harp
in Pickadilly, London, 1727”; a similar
label was dated 1733. Other labels
are: “Made by Peter Wamsley at the
Harp and Hautboy in Pickadilly,
1735”; “Made by Peter Wamsley at
the Harp and Hautboy in Pickadilly,
London, 1737 "; “Peter Wamsley,
maker at the Harp and Hautboy in
Picaddilly, 17 London, 51.”
Weaver, Samuel. Lived in London.
Known by his printed label, “All sorts
of musical instruments made and sold
by Saml. Weaver on London Bridge.”
Weickert. A maker in Halle about
I8oo.”
Weigert, Johann Blasius. Was working
in Linz in 1721. A viola d'amore in
the Collection of the Gesellschaft der
Musikfreunde at Vienna is labelled:
“Joann Blasius Weigert Lauten und
Geigenmacher in Linz, 1721.”
Weisz (Weiss), Jacob. A maker in
Salzburg about 1733-61. Label :
“Jacob Weisz Lauten und Geigen-
macher in Salzburg, 1733.”
Weisz, Johann Ambrosius. A maker of
lutes in Basle in 1621. Label: “Johann
Ambrosius Weisz in Basel, I621.”
Wenger, Gregor Ferdinand. A maker
in Salzburg about 1750-60. Label:
“Gregorius Ferdinand Wenger Lauten
und Geigenmacher fecit Augustae,
1750.”
Wenger. A maker in Padua in 1622.
Wettenengel, Gustav Adolph. A maker
in Neukirchen, Saxony, about 1828.
He wrote an excellent practical treatise
on violin making, entitled: “Voll-
ständiges, theoretisch-practisches auf
Grundsätze der Akustik, Tonkunst
und Mathematik und auf die Erfah.”
rungen der geschicktesten italienischertº
und deutschen Meister begründetes
Lehrbuch der Anfertigung und. Re-
paratur aller noch jetzt gebräuchlichen
Gattungen von italienischen und
deutschen Geigen” (Ilmenau, 1828).
Weymann, Cornelius. Was working in
Amsterdam in 1682.
Widhalm (Withalm), Leopold. Amaker
n Nuremberg about 1750-80. He
made very skilful imitations of the
Stainer instruments, the wood was
carefully chosen, though sometimes
worked too thin ; the varnish, a trans-
parent red colour, is of good quality.
Several of his violins have double
purfling and are branded with his
initials inside; the work was carefully
finished. He also made good harps.
Label in a large alto, beautifully
made : “Leopold Widhalm, Lauten
und Geigenmacher in Nürnberg, fecit
I .”
Wightman, George, only known by his
label: “George Wightman, Wood
Street, London, 1761.”
Wilkinson, of Dublin. See “Perry.”
Willems, Hendrick. A maker in Ghent,
Belgium, about 1650-1700. An alto of
large pattern has remarkably fine
wood used for the belly; the corners
are prominent and squared at the ends;
the sound-holes, rather straight and
stiff, are similar to the Brescian model,
or those in a Stainer instrument; the
neck ends in a lion's head; the outline
and the beautiful finish could almost
be mistaken for Italian work, but the
varnish is too dry. It is labelled:
“Hendrick Willems tot Ghendt, 1651.”
For a bass-viol made for use in Saint-
Bavon's Cathedral (Ghent) he was
paid, on March 28, 1670, a sum of £5
(Flanders). A small pocket violin,
with a pentagonal back, with the neck
ending in a lion's head, was signed :
“Hendrick Willems tot Ghendt, 1679.”
In 1698 he is mentioned as the repairer
of the bass used in the rood-loft of St.
Bavon. Nearly all his instruments
have beautiful wood for the belly, but
walnut, lime-tree, or plane-tree wood is
frequently used for the back and the
sides, especially in the case of the
basses.
Willems, Hendrick. A maker in Ghent
some time after the Hendrick already
mentioned. He made a violoncello or
bass with five strings, labelled: “Heyn-
drick Willems tot Ghendt, 1717.” A
violin, dated 1743, had the belly made
of carefully selected pine, the back of
walnut, and the sides (very exceptional)
of maple. Many instruments made by
this family have genuine value and
show work of great ability. The Amati
pattern (especially that of Antonio and
Girolamo) was generally followed, but
characteristic touches were given
which render their work easily recog-
nisable. The arching is always
correctly calculated, and the wood
used for the belly carefully selected.

+

VyILLEMS–ZANOLI. IOI
Willems, Jooris. A maker in Ghent
about 1630-65. The first mention of
him is in August, 1634, as player of the
cornet in Saint Bavon's Cathedral
(Ghent). His instruments are generally
made of finely figured maple-wood; the
corners short and thin; the sound-holes
are graceful and more like the Italian
model. A tenor-viol had the back
made of lime-tree wood and was
labelled: “Jooris Willems tot Ghendt,
1642.” In 1658 he supplied two viols
for use in the choir of Saint Bavon.
A violin of small pattern, with yellow
varnish, was labelled: “Jooris Willems
tot Ghendt, 1659.” The last mention
of this maker in the Cathedral archives
is in 1662. His son, Nicolas, was ap-
pointed viol player in the Cathedral,
Aug. 5, I67I.
Willer. A maker in Prague in the 18th
century.
Wise, Christopher. A maker of viols
and violins in London about 1656.
The few instruments known are of
small pattern, not much arched, with
yellow varnish of good quality, and
are carefully worked. Label: “Christo-
pher Wise, in Half-Moon Alley, with-
out Bishops-Gate, London, 1656.”
Withers, Edward. He succeeded to
William Davis's business at 31,
Coventry Street, London, in Dec., 1846.
Both Charles Maucotel and Boullangier
worked under him at one time.
Withers, Edward, eldest son of Edward
Withers, b. Oct. 22, 1844. Pupil of
Young, John. Said to have been a
maker of violins and other musical
instruments. He and his son, Talbot,
lived in St. Paul's Churchyard, at the
sign of the “Dolphin and Crown.” The
son was a violin player and assisted in
founding the Castle Concert in Pater-
noster Row in 1724. The following
verses were set to music by Purcell,
published in the “Pleasant Musical
Companion,” 1726:—
* Zach. A maker in Vienna at I,
Kärnthnerstrasse, who makes good
instruments.
Zanetto, Pelegrino. See “Michelis.”
his father and John Lott. Com-
menced business at 31, Coventry
Street, London, in 1856; moved later
to 22, Wardour Street. He employs no
workmen, and makes about twelve
instruments per year, on the Stradivari
and Guarneri patterns, using good oil
varnish, an amber colour.
Witthalm. See “Widhalm.”
Witting, Johann Georg. A maker in
Mittenwald about 1775. His instru-
ments are fairly well, made, with a
dark yellow-brown varnish.
Wolters, Jean Mathias. A maker in
Paris in 1749. In 1759 there was in
the Savoye Collection a small six-
stringed viol, beautifully made, with
double purfling and yellow-coloured
varnish, the head ornamented with
carving. It was labelled: “J. M.
Wolters fecit Lutetiae Parisiorum, au
faubourg Saint-Antoine, Paris, 1749.”
Wornum, Robert, b. 1742; d. 1815.
Was first a musicseller in Glasshouse
Street, and then, from 1777, at 42,
Wigmore Street, London. He is
mentioned in the “Musical Directory”
for 1794 as a violin and violoncello
maker.
Worte, Mathias. A maker in Augsburg,
1639, according to the label found in a
small pocket violin: “Mathias Worte,
Augspurg, I639.”
Wright, Daniel. Lived in London about
1745; is only known by his label:
“Made by Daniel Wright in Holborn,
London.

You scrapers that want a good fiddle well strung,
You must go to the man that is old while he's
Young,
But if this same fiddle you fain would play bold,
You must go to his son, who'll be Young when
he's old.
There's old Young and young Young, both men
of renown,
Old sells and young plays the best fiddle in town,
Young and old live together, and may they live
long,
Young to play an old fiddle, old to sell a new song.
Zanfi, Giacomo. A maker in Modena
about 1756-1822.
Zanoli, Giacomo,
I740.
Worked in Padua,
IO2 ZANOLI–ZWERGER.
Zanoli, Giambattista. A maker in
Verona about 1730; his instruments
are roughly finished, they are not
arched, and suggest German work.
Label: “Joannes Baptista Zanoli,
Verona, 17—.”
Zanotti, Antonio. Worked both at
Lodi and Mantua. Was in the latter
town in 1734 according to a label:
“Antonius Zanotus fecit Mantuae,
anno 1734.”
Zanotti, Giuseppe. A makerin Piacenza
in the 18th century.
2anti, Alessandro. A maker in Mantua
about 1770. He followed the Stradi-
vari pattern, but his varnish was of
poor quality.
Zanure, Pietro. A maker of viols in
Brescia about 1509. One of his instru-
l
ments was exhibited at the South
Kensington Museum, 1872; it had one
round sound-hole, placed in ti g centre,
with four strings, and was labelled:
“Pietro Zanure, Brescia, 1509.” Few
of his instruments are known; labels
are generally : “Petrus Zauure,
Brixiae.”
Zenatto, Pietro. A maker in Treviso
about 1634, according to the label:
“Pietro Zenatto fece in Treviso, anno
I634.”
Zimbelmann, Filippo.
Florence in 1661.
Ziverger (Zwerger), Anton. A maker
at Mittenwald, 1750. He chose good
wood, used dark yellow-brown varnish,
and finished his work carefully.
Zwerger. See “Ziverger.”
A maker in
4

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