N O V E LL O ’

E WE R A N D C O S ~
, .

M U S I C P R I M E RS A N D E D U C A T I O N AL S E R I E S .

E DI T E D BY SI R J O HN ST AIN ER AND DR . C . H U B E RT H . P A R RY

A D I C T I O N A RY

VI O LI N M A K E RS
C O M P I L E D F RO M T H E B E S T A U T H O R I T I E S

C . ST A I N E R .

P RI C E T W O S H I L L I N G S A N D S I X P E N C E .

I n P ap er B oa rds , T h re e S h i l l ing s .

L O N D ON c
s »
NE W Y O RK

N OV E L LO , EW E R A N D CO .

A LL RI GH TS RE S E R VE D,
 P RE F A C E .

T H I S l it t le b o o k d o e s
, n ot p tend
r e to a n y li t e ra r y in t e r e s t it is me r e l y a ,

c a t al o gue p e rh ap s fa r fro m e x h a u s t iv e , o f vio l in m a k e rs p a s t

,
-
an d p re se n t ,

w hi c h h a s b e e n c a r e full y c o m p il e d fro m v a rio u s a ut h o ri t i e s .

A n ci e n t m a k e r s o f l ut e s an d vio l s o f all k in d s ha v e a l s o b e e n in c l u d e d , as

it w a s fo u n d i mp o s s i b l e t o d r a w a d e fini t e lin e o f d ivisio n b e t w e e n t h e m an d

m a k e rs o f t h e t y p e o f in s t r u me n t s n ow in g e n e ra l us e .

F o r p u rp o s e s o f r e fe r e n c e b y t h o se wh o may b e in t e r e s t e d in t h e s u bje c t ,

a c o m pl e t e l i s t o f th e w o r k s w hich h a v e b e e n c on s ul t e d is a pp e n d e d .

N a t u ra ll y t h e y a re q u a l v al ue o r e q u all y t r us t w o r t h y ; it is n o t
n ot all o f e

al w a y s s a fe t o a c c e p t a n a s s e rt io n a s a fac t h o we v e r c o n fid e n t ly and n u ,

h e s i t atin g l y s t a t e d i f n o e vi d e n c e is b r o ugh t fo r w ar d in s upp or t o f i t

' '

, B ut .

in t h e w or k s o f M e s srs Vi d al P iccol e llis H a r t & c v ari e d an d v al u a b l e

.
, , , .
,

in fo r m a t io n ma y b e fo u n d ; w hil e b o o k s li k e t h o s e o f M e s srs C out agn e .

,

B e re n z i H ill Ruf a n d o t h e rs giv e t h e r e s ul t s o f mu ch p ain s t a k in g r e se a rc h

, , ,

in t o t h e his t o r y o f in d ivi d u al vi olin m a k e rs St e p b y s t e p t h e s t o r y o f t h e

.

g r e a t fo u n d e r s o f t h e a rt i s b e in g t rac e d o u t an ci e n t a rchiv e s are s e a rch e d

, ,

r e g i s t e rs e x a min e d m o n e y an d t i me fr e e l y giv e n b y e n t h u s ia s t s wh o ha v e
,

fe l t t h e fas cin a t io n o f t his b ra n ch o f s t u d y I t w as o f c o u rs e n e c e s s a ry t h a t

.
, ,

’
t his s m all w o r k sh o u l d l a r ge l y d e p e n d o n t h e fr u i t s o f o t h e r p e o p l e s

l a b o u rs a s p e rs on al r e s e a rc h w a s o u t o f t h e q u e s t ion I a m d e e p l y in de b t e d
,
.

t o M r A r t h u r H ill fo r t h e k in d n e s s w i t h w hich h e an s w e r e d all e n q u i ri e s

.

ad d r e s s e d t o h i m a n d t h e r e a d in e ss wi t h w hic h h e p l a c e d man y v a l u a b l e
b o o k s at my d isp o sa l M y t h a n k s are a l s o d ue t o t h e violin ma k e rs livin g
.

in F ran c e G e r m a n y B e l g iu m I t a l y an d in t h is c o u n t r y wh o s o p ro mp t l y
, , , , ,

s e n t me a ll t h e in fo rm a t io n I a s k e d fo r t h e r e b y e n s u rin g a c c u ra c y an d
,

r e n d e ri n g it p o s s i b l e t o b rin g t h e b o o k fairl y up t o d a t e I sh o u l d li k e al s o .

to ad d h av e h a d t h e b e n e fit of c o n s t an t h e l p
t h at I an d s up e rvi si on fr o m my
fa t h e r Sir J o h n S t ain e r
, .

C . S .
 WO R K S R E F E RR E D T O O R
“

Q U O TE D .

A b e l e , H y a cin t h . D i e V i ol in e , i h r e G e s ch ic h t e un d i h r B au ( N e u b u r g /D a .
,

I S74 ) .

B e re n z i , P r o f . A n ge l o . G li li u t ai B r e s ci an i ( B r e s cia ,
a rt e fic i

B e re n z i , S a c A n ge l o . . Di G io v a n n i P a ol o M a ggin i ( B r e s cia ,

B ro a dh ou s e, J oh n . V iol in s , o ld a n d n e w ( 3 rd Ed .
, e nl a r ge d , L o n d o n ) .

C a t al o gu eo f t h e S p e cia l E x h i b i t i o n o f A n ci e n t M u s ic al I n s t r um e n t s in
S o u t h K e n s in gt o n M u s e u m 1 8 72 , .

C o u t agn e l e D r H e n r y , G a s p a r d D uiffo p ro u ca rt e t le s l ut hi e rs l y o n n ai s
. .

d u K V I e s 1e cl e ( P a ri s ,

D up u i c h , R . La c ot e du v i ol o n a n ci e n .

E n ge l , C a rl . Re s e a rc h e s in t o t h e e a rl y hi s t o r y o f th e violin fa mil y
(London ,

E n ge l , C a r l . Mu sic al My t h s an d F a ct s (L o n d o n ,

E n ge l , C a rl . A d e s c rip t i v e C a t a l o gue of th e Mu s ic a l I n s t ru me n t s in t h e
S o ut h K e n sin gt o n M u s e u m ( L o n d o n ,

F ét i s , F J . . n iv e r s e ll e d e s m u s ici e n s ( 2 n d E d P a ri s , 1 8 6 6 )
B io gra p hi e u .
,

F ét is , F J
B i o gra p hic al n o t ic e o f N ic o l o Pa gan in i p r e c e d e d b y a s k e t c h
. .
,

o f t h e h is t o r y o f t h e V i o l in .

F l e mi n g J a m e s , M . O l d Vi o lin s an d th e ir M a k e rs ( L o n d o n ,

G a ll a y, J . Le s l u t h i e rs i t a l i e n s aux XV I I e et XV I I I e s i ec l e s ( P a ris ,

G rov e , S i r G e o r ge . A D ic t io n a r y o f Mu sic an d Mu sician s .

H ajd e c ki , A . D ie i t al i e n is ch e L ira d a B ra c c i o ( M o s t a r ,

H a rt , G e or ge . T h e Vi olin : it s fa m ou s m a k e rs an d t h e ir i mi t a t o rs
( L ondon ,

H a w k in s S ir J o h n ,A ge n e ra l h i s t o r y o f t h e s ci e n c e a nd p r a c t ic e o f
.

mu s i c ( L o n d o n ,
He r o n Al l e n E d-
V i olin M a k in g a s it w as a n d is ( L o n d o n ,
, .
,

H e r o n A ll e n , E d w a r d
-
. De fid ic u lis b ib li o gra p h i a ( L on d o n , 1 8 90

H ill . P a ol o M a ggin i : h i s li fe an d w o r k
Gio : C o m p il e d an d e d i t e d fro m .

m a t e ria l c o l l e ct e d a n d c on t ri b u t e d b y W E H ill a n d h is s on s W illia m . .

, ,

A rt h ur an d A lfre d H i ll , b y Margare t L H uggi n s ( L on d o n , .

 J ac qu ot , A lb e r t . L e s Med a rd , l u t hi e r s l o rrain s ( Paris ,

’
Ma c e , T h o M u sic k s M on u m e n t ( L o n d on
'

.
,

M iggé, O t t o . Le s e c r e t d e s c é l eb r e s lu t hi e rs i t ali e n s , dé c o u ve rt et

e x pl i q u é p a r O t t o M i ggé .

N o r t h , H on . Ro g e r . M e m oir s o f M u sic k , ed it e d b y Ed . F . Rimb a u lt

( L on d on ,

P e arc e J o s e p h jun
, Vi olin s a n d Viol in Ma k e rs ( L on d on
, .
,

P ic c o le llis G i ov an n i d e
, L iu t ai a n t ich e e m o d e rn i ( F ir e n z e
.
,

’
Pi e rr e C o n s t a n t
, L e s fa c t e u r s d in s t ru me n t s d e m u si q u e le s l ut hi e r s
.
, e t
l a fa c t u r e in s t ru m e n t al e ( Paris ,

Ri t t e r , H e r m an n . D ie G e s chic h t e d e r Viol a Al t a
(z u d
-

Ed .
, L e ip zi g ,
Ru f, S . De r G e i g e n m a ch e r J a k o b S t ain e r ( I n n s b ru c k ,

S a n dy s F o rs t e r T h e his t o r y o f
an d . th e v i olin b y W illia m S a n d y s
, an d

S i m on A n d r e w F o rs t e r ( L o n d o n ,

’
S n o e ck , C C . C a t a l o g ue d e l a c oll e c t ion d in s t rum e n t s d e m u s i q u e
.
,

a n ci e n s et c u ri e u x fo r m é e p a r C C S n o e c k ( G a n d
, . .
,

S t arc k e , H e r m a n n . D ie G e i g e , u n d d ie M e is t e r d e r G e i g e n un d L a ut e n
b au k u n s t ( Dr e s d e n ,

S t ra e t e n a n d S n oe c k E t u d e b io g rap hi q u e e t o rga n o gra p h i q u e s u r l e s

.

W ill e m s l u t h ie rs g a u t ois d u X V I I e si ecl e p a r E d m o n d V a n d e r S t ra e t e n e t

, ,

C é s a r S n oe c k ( G a n d ,

T ol b e c q u e A u g u s t e Q ue l q u e s c o n si d era t io n s s u r l a l u t h e ri e ( Pari s
,
.
,

V i d al , A n t oin e . Le s in s t r ume n t s a a rch e t ( P a ri s ,

V i d al , A n t oin e . La l ut h e ri e e t le s l u t hi e rs ( Pa ri s ,

W a si e l e w s k i W il h e l m J os , . v on . D i e Violin e un d ih r e M e i s t e r ( 3 rd Ed
L e ip zi g ,
 A D I C T I O N A RY

VI O LI N M A K E RS .

A a c h n e r, Philipp . mak e r in Mitt e n

A in 1 73 5 was his fathe r Followe d t h e
, .

wald in 1 772 . His instrum e nts hav e Amati mode l ; his violins and violon
brown varnish . c e llos show finishe d workmanship ,

A bb a ti Gius e pp e
, Worke d in Mod e na .
, have a good ton e and are varnishe d ,

17 75 9 3
-
His doubl e basse s are w e ll
.
-
ye llow S om e instrume nts of infe rior
.
,

known in I taly . mak e follow t h e S tradivari mod e l

, .

A b s a m T homas , Worke d in W ak e . A l ban e s i Se basti a no

, Work e d in .

fi e ld Yorkshir e 1 8 1 0 4 9 Mad e violins

, ,
-
. Cre mona 1 72 0 4 4 , Pupil of Carlo -
.

for a de al e r call e d Pickard in Le e ds , . B e rgonzi H is instrum e nts are not

.

“
Lab e l : Mad e by T homas Absam ,
much arch e d and both in varnish and
Wake fi e ld F e b 1 4 , .
, mak e are similar t o thos e made in
A ce v o A mak e r littl e known
. but ,
Milan ; t h e ton e is pow e rful .

F ét i s has stat e d that h e was born A lban i Mathias b about 1 6 2 1 B otz e n

, , .
,

about 1 6 3 0 in S aluzzo was a pupil of , , ( T yrol ) ; d th e r e 1 6 73 .H i s i n s t ru .

Cappa and mad e good instrum e nts

, , m e nts are e xc e ll e nt v e ry similar to ,

principally bass viols F ét is had se e n -

. thos e mad e by S tain e r of whom h e ,

a bass viol dat e d 1 69 3 which b e longe d

-
, was possibly a pupil T he y are much .

to Marin Marais whose signature was , arche d with high sid e s t h e sound
, ,

on t h e back T h e r e is no oth e r . hole s too wid e ly op e n e d with dry ,

e vid e nc e in favour of t h e suppos e d brittl e varnish a r e ddish brown colour ,

-
,

e x ist e nc e of A ce v o . t h e wood is care fully s e l e ct e d A violon .

A dam J e an Dominiqu e b F e b 2 6 1 8 2 3
, , . .
, , ce llo of swe e t but not pow e rful tone
, ,

Mire court ; ( 1 J an 1 9 1 8 69 Was . . , . had t h e lab e l in larg e charact e rs .

t h e son pupil and succ e sso r of J e an

, , Mathias Albano fe cit in T iroli 1 6 5 1 , ,

Adam a mak e r of bows

, H e mad e . A b e autiful violin with full powe rful , ,

many bows for t h e trade but mark e d , ton e had t h e lab e l in small charact e rs :
,
“
with his nam e those that h e sold him Mathias Albano in T iroli B uls an i , , ,

s e lf His work is much sup e ri or to

. 1 64 3. T wo othe r lab e ls are
that of his fath e r . Mathias Albani fe cit B uls an i T yrol , . ,

A dam s C ,A mak e r at Garmouth . , 1 65 1, and Matthias A lb an u s fe cit ,

S cotland in 1 8 0 0 , . in T yrol B uls an i 1 6 5 4

, , .

A da n i Pan e razio
, A mak e r of cith e rs . A lb a ni , Mathias son and pupil of ,

in M ode na 1 8 2 7 . . Mathias Albani ; b 1 6 5 0 B otz e n d .

, .

A ddi s on William ,A make r of viols in . about 1 71 5 S e ttl e d in R om e probably

.
,

London Lab e l : W illiam Addison

“
.
,
r e main e d in Cre mona studying unde r
in Long Alle y ov e r against Moor , t h e A m atis for som e tim e on his way ,

fi e lds ,
th e r e . His instrum e nts follow t h e
’
A gl io Giuse pp e dall
,
Worke d in . Amati patt e rn and show b e autiful var ,

Mantua 1 8 0 0 4 0 His instrum e nts -

. nish and finishe d workmanship T hr e e .

are s i ml l ar to thos e of Camilli and violins known are dat e d re sp e ctive ly

are varnish e d a bright y e llow colour . 17 02, 17 09 1 71 2 I n a poch e tt e was
, .

“
A i re t o n ( Airton ) E dmund b about , , . t h e lab e l Mathias A lb an us
, ,

17 2 7; d 1 807 A make r in London

. . . I n R om e t h e lab e l us e d was Mattia
I t is possibl e that a workman of t h e Albano fe c e in Roma 1 6
, ,

s am e nam e e mploy e d by P W amsl e y , . A lb a n i , Paolo Work e d in Pal e rmo

.
2 A LB E RT I — A MATI .

about 1 6 5 0 8 0 I s said to have b e e n a - s e cond wife Angiola de Migli ( d ,

.

pupil of N icola Amati at Cr e mona . April Was d e sc e nd e d from

H is instrum e nts are mad e on a large an ancie nt and nobl e family of C re
patt e rn with good varnish A violin . mona datin g back as far as 1 0 9 7
,
.

known is dat e d 1 6 5 9 A son of his . Was t h e founde r of t h e gr e at Cr e mona

continu e d making violins till 1 720 . s chool of violin making which includ e s ,

A lb e rt i F e rdinando
, A make r in M ilan , , such nam e s as t h e Guarn e ri R ugge ri , ,

17 4 0-
6 0 H is instrum e nts are fairly
. B e rgonzi and S tradivari At first mad e
, .

w e ll mad e and varnish e d bright y e llow . t h e old e r form of violin — t h e viola da

Lab e l : F e rdinando Alb e rti fe c e in ,
gamba— but gradually d e v e lop e d t h e
Milano n e lla contrada d e l p e sce al
, mod e rn violin patt e rn aid e d no doubt , , ,
’
s e gno d e lla Corona n e ll anno 1 743 , . by s e e ing instrum e nts mad e by t h e
A l b e rt o Pi e tro , A ce l e brat e d mak e r of . old e r school of B re scia Whil e in s t ru .

lut e s in B ologna 1 5 9 8 T h e lab e l , .

, m e nts of Gasparo da S al e and Gio .

Pe trus Alb e rtus faci e b at B was , Paolo Maggini are still in g ood p re
found in a large mandora made of s e rvation violins known to b e t h e
,

mapl e wood b e autifully grain e d with , , g e nuin e work of Andre a are gre atly
fin e varnish brown colour t h e n e ck , , damag e d and badly r e store d which ,

inlaid with ivory . mak e s it difficult to form corr e ct

A l dr e d .A mak e r in London whos e , opinions about th e m T h e y di ffe r .

viols w e r e c e l e brat e d in t h e 1 7t h ,
0
gr e atly from t h e B re scia patt e rn in
c e ntury S p e aking of viols in his
.
, archin g form colour and transpar e ncy
, ,
’ of varnish but r e tain t h e sti ff u pright
book Musick s Monum e nt
“
( pub ,

l i sh e d M ace adds O f such , B r e scian sound hol e T h e whol e i n s t ru -

.

’
th e re are no b e tt e r in t h e world than m e nt b e cam e simplifi e d in Andre a s
thos e of Aldre d Jay S mith & 0 , , , . hands if as is som e tim e s suppos e d h e
, , ,

A l dri c . Work e d in Paris 1 788 1 8 4 0 ,

-
. was a pupil of e ithe r Gasparo da S alo or
Was w e ll known for t h e e xc e ll e nt . M aggini or e v e n worke d as a pupil i n
,

instrum e nts h e mad e on t h e S tradi ,

B r e scia h e advance d far b e yond th e m
, ,

vari patt e rn of fin e ton e with rich re d , , and shows gre at originality in his
varnish H e also construct e d altos
. work . Anoth e r su gg e st e d mast e r
“ "

from old I talian viol s with gre at e l e ve r of Andre a is Giammaria de l B uss e to ,

n e ss and care fully r e paire d old who was probably train e d i n t h e

instrum e nts An e arly V iolonce llo of . B re scian school although h e con ,

his is dat e d 1 78 8 I n anoth e r violon . struct e d his instrum e nts on di ffe re nt

’
c e llo was t h e lab e l Fait par Aldric , ,
principl e s Andre a s violins are smal l
.

l uthi e r ru e d e s Arcis 1 6 Paris

, , , , or “
thre e q uart e r siz e t h e outlin e
-

Lat e r h e move d to 71 ru e d e S e in e , ,
e xtr e m e ly grac e ful t h e b e lly and back ,

S aint G e rmain wh e r e in 1 8 40 his

-
, , ,
high strongly arch e d towards t h e
,

n e phe w Aubry succe e d e d him Lab e l : . c e ntr e ; t h e wood care fully s e l e ct e d ,

R u e d e S e in e 71 pr es c e ll e d e B ussy , , ,
e sp e cially for t h e b e lly was g e n e rally ,

Aldric luthi e r a Paris an 1 8

, , . sycamore or p e ar tre e ; t h e scroll -

“
A l e s s an dro call e d I l V e n e ziano
, a ,
b e autifully carv e d p u rfiin g v e ry n e at , ,

mak e r in V e nic e about 1 5 4 0 . and corn e rs care full y wor k e d ; t h e

A le tz ie Paul, A mak e r in Munich .
,
sound hol e s r e s e mbl e thos e of Maggini
-

1 71 0 3 6
-
I s b e st known for his t e nors
. and are usually too broad t h e
and v i olonce llos H is instrum e nts . varnish of good quality but a littl e ,

show care ful work but t h e sound , thick vari e s from cl e ar or y e llow brown
,
-

hol e s are too small and t h e brown , to a b e autiful amb e r colour t h e cl e ar

varnish is of poor q uality In a . and silve ry ton e though v e ry sw e e t , ,
’
b e autiful viola d amor e was t h e lab e l lacks powe r possibly b e caus e of t h e ,

Paulus A le t z ie H of Laut e n und small siz e and high archin g of t h e

G e ig e nmach e r in M ii n ch e n 1 72 6 , . instrum e nt t h e fourth string b e in g par ,

T w o similar lab e ls are dat e d 1 71 0 and t i c u larly w e ak B u t at that tim e t h e .

1720 . stre ngth of ton e d e mand e d at t h e

A l l ard Fran cois A make r in Paris from
, . pr e se nt day was n e ithe r e xp e ct e d nor
17 76 to 1 78 3 in t h e plac e M aub e rt , , r e quire d I n 1 8 78 two violins w e r e
.

th e n ( 1 78 8 8 9 ) at 9 ru e d u P e tit Pont
-
,
-
. sold for 752 0 and 2 5 r e sp e ctiv e ly but ,

F e w of his instrum e nt s are known . t h e pric e now vari e s from 5 0 to £ 1 5 0

A l van i A mak e r in Cr e mona in 1 75 0
.
, or more according to condition and
,

who follow e d t h e Guarn e ri patt e rn . ton e . His violonce llos some of t h e ,

A m ati Andr e a b abou t 1 5 2 5 at C re

, , .
, e arli e st mad e in I taly are v e ry rar e ; ,

mona ; d soon aft e r t h e d e ath of his

. th e varnish is dark r e ddish brown -
 '

A MA T I— A MA T I .

with a slight ting e of y e llow a colour , s e rvation ge n e rally small siz e ( t h e ,

probably copi e d from that of t h e old b ack oft e n i n on e pi e c e ) of accurat e ,

“ ’
lut e s which Mace in his Musick s , proportions slightly arche d towards ,

Monum e nt says was of a , dark th e middl e with strongly mark e d ,

blac k —re ddish colour t h e b e st groov e s at t h e sid e s t h e scrolls vary ,

”
authors did u s e to lay on that colour . oft e n richly work e d t h e corn e rs and ,

H e g radually improve d it giving it , t h e p u rfii n g are car e fully don e the ,

mor e body making it more transpar e nt

, , e dg e s just ov e rlap t h e sid e s ; t h e wood
of a re ddish y e llow colour A violon -
. g e n e rally mapl e or de al ; t h e varnish ,

ce llo of full rich tone was dat e d 1 5 72, , d e e p e r l n colour on t h e e arli e r in s t ru

m e nts (possibly owing to old ag e ) i
.

T e nors and bass e s are rar e are on a , ,

large patt e rn with b e autifully finish e d , lat e r of an orang e colour thinly laid ,

work and of swe e t ton e T h e e arli e st

, . on and throws up t h e grain of t h e
,

dat e 1 5 4 6 was found in a violin

, , wood ve ry distinctly T h e tone is far .

’
b e lie v e d to b e by him in t h e coll e ction , mor e powe rful tha n in Andr e a s i n s t ru
of Count C o z i o de S al ab u e I t is said . m e nts A violin sign e d by th e m and
.

”
that it was originally a r e be c with dat e d 1 5 9 5 which b e long e d to H e nri ,

only thre e strings but t h e fath e r of , I V of Franc e is of historical valu e

.
, .

M an t e ga z z a alt e re d it into an i n s t ru I t is mad e on a larg e patt e rn t h e oil ,

m e nt of four strings by changing t h e , varnish a brilli ant amb e r colour t h e ,

n e ck and scroll A viola bastarda is .

p u r fli n g of tortois e sh e ll and on t h e ,

dat e d 1 5 5 1 T he r e s e e ms to b e no
. back are pai n t e d t h e royal arms of
e vid e nc e in support of t h e tradition Franc e an d N avarre & c Lab e ls : , .

that h e mad e tw e nty four violins -

, Antonius e t Hie ronymus Fr Amatus .
,

twe lve larg e and tw e lve small patt e rn , C r e m on e n A n d re ae fil F ,

a . . .

six t e nors and e ight bass e s e laborat e ly , simil a r on e in a viola dat e d 1 6 2 0 :

“
de corat e d on t h e back with t h e royal Antonius e t Hi e ronymus Amatus ,

arms & c and t h e motto Pi e tat e e t

, .
, C re m on e n A n d re ae fil F 1 59 2 , a . .

J ustitia for Charl e s I X of France

, .
,
similar on e dat e d 1 6 2 4 Aft e r 1 6 2 4 .
,

or that h e we nt to Paris with the m Girolamo work e d alon e making both ,

and finish e d working at som e of th e m larg e and small violins ; t h e form e r

the re T h e r e is nothing on t h e in s t ru
. we re t h e fin e st instrum e nts much ,

m e nts th e ms e lv e s to show that th e y arche d with broad p urfiin g good , ,

we re his work Andr e a was twice . scroll an d varnish y e llow brown

,
-

marri e d and had two sons by his first colour ; be autiful ton e but t h e fourth ,

wife Antonio and Girolamo both

, ,
string was not e qual to t h e oth e rs .

violin make rs . Girolamo marri e d first I ppolita Zuch i

A m ati Antonio e ld e r son of A n dre a
, , e lli ( d th e n Laura Lazzarini on
.

Amati b Cre mona about 1 5 6 0 ; was

, . May 2 4 1 5 8 4 ; s h e had nin e childre n
, ,

still living in 1 6 4 8 , according to a lab e l t h e fifth child b e i n g N icola who ,

found in a violin Was in partn e r . b e cam e t h e most c e l e brat e d mak e r i n

ship with his broth e r Girolamo H is . t h e family .

instrum e nts dat e from 1 5 8 9 and are ,

A m ati Girolamo third son and succ e ssor
, ,

ge n e rally small siz e ; s e v e ral violins of N icola Amati b F e b 2 6 1 6 4 9 ; , . .

,

dat e d from 1 5 9 1 till 1 6 1 9 w e r e i n a d F e b 2 1 1 740 ; buri e d in S an

. .
,

catalogu e publishe d 1 79 1 of t h e i h
, , T o mm as o H is instrum e nts a re poor .

s t ru me n t s of Albinoni of Milan Th e . compare d to thos e mad e by N icola ;

patt e rn r e s e mbl e s that of his fathe r ,
h e follows an infe rior patt e rn t h e ,

but is not so arch e d t h e so n d hol e s ,

-
sound hol e s b e ing straight and plac e d
-

r e tain t h e B r e scian typ e e work , too clos e to e ach oth e r T h e i n s t ru .

shows n e at finish t h e ton e is sw e e t ,

m e nts mad e on a larg e flat patt e rn are
but not powe rful . t h e b e st t h e sound hol e s b e ing wid e r
,
-

A m a ti Girolamo s e cond son of Andr e a

, , apart ; but t h e varnish though som e ,

Amati b about 1 5 6 2 ; d N ov 2 1 6 3 0
, . . .
, . tim e s soft and transpar e nt is ge n e rally ,

“
Worke d with his broth e r Antonio till of bad quality Lab e ls : Hi e ronimus .

1 6 28 . T h e e arli e st r e liabl e dat e in Amatus fe cit C re mon ae ,

H ie ,

conn e ction with th e m is 1 5 77 T he y . ron i mu s Amatus C re mon e n s i s fe cit ,

produc e d t h e first form of t h e anno s al u t i s 1 6 9 7 Hi e ronymus ,

"

instrum e nt known as A m a t is e
”
. Amatus C re mon e n N icolai fil 1 7 , , .
,

T h e patt e rn first followe d similar to , Hi e ronymus Amatus C re mon e n s i s , ,

that of Andre a was more arch e d than , an . Hi e ronymus Amati figlio ,

that us e d lat e r T h e ir instrum e nts . di N iccol o Amati Cre mona 1 7 , ,

are fe w in numb e r but in good p re , I nstrum e nts with his lab e l dat e d
4 A MAT I— A N T O N I A ZZI .

1703 2 3 , we r e suppose d to have b e e n

-
ton e is wond e rfully sw e e t and cl e ar .

made e ith e r by S n e id e r of Pavia or Lab e ls : N icolaus Amatus C re mon ae

G B R oge ri of B r e scia
.
‘

. s e ve ral in H i e rony mus Fil ac Antonius n e p os

”
s t rume n t s dat e d 1 72 9 are k nown In . fe cit 1 6 3 0
, N icolaus Amatus C re
”
an old Amati violin re paire d by B ros . mon e nsis faci e b at anno 1 6 5 0 ( in a ,

Man t e gaz z a of Milan in 1 8 0 6 was , , large bass V iol ) ; “

N icolaus Amatus -

found writt e n at t h e base of t h e n e ck , C re mon as H ie rony mus e t Antonius

Re visto e corr e tto da me Girolamo , n e pos fe cit anno
, Violins are
figlio di N iccol o Amati Cr e mona , , known dat e d 1 6 47 1 6 5 5 1 6 6 1 and , , ,

1 71 0 Girolamo marri e d Angiola

. 1 6 6 2 and two violonc e llos dat e d 1 6 6 9
,
’
C are t t on i 1 6 78 his son Gius e pp e
, , and 1 6 70 re sp e ctiv e ly Among N icola s .

born 1 6 8 4 did not b e com e a violin , ce le brat e d pupils w e re t h e Guarn e ri ,

mak e r . t h e R u g g e ri of Cr e mona M ontag ,

A m at i Guis e pp e
, S aid to hav e liv e d in . nana of V e nice t h e R oge ri and T on on i ,

B olog na first part of 1 7th c e ntury , of B olog na and g r e at e st of all Antonio , , ,

h e us e d oil varnish for his violins S tradivari H e m arri e d M ay 2 3 1 6 4 5 .

, ,

and bass e s t h e ton e was cl e ar and , Lucre zia Pagliari ( d N ov 2 5 . .

,

sw e e t . Andre a Guarn e ri his pupil was , ,

A m ati N icola
, younge r broth e r of , p re se nt at t h e c e r e mony and si g n e d t h e
Andre a Amati is said to hav e work e d , r e gist e r O f nin e childre n only on e
.
, ,

with him 1 5 68 8 0 th e n by hims e lf till

,
-

, Girolamo b e cam e a violin mak e r , .

1 5 86 H is basse s are b e st known

. , A m br ogi Pi e tro W ork e d first in C re
, .

“
slightly arch e d back and front with , mona th e n in R om e Lab e l : P e trus
, .

oil varnish t h e ton e e xce ll e nt only t h e

, , Ambrogi Cre m fe cit R om ae an , .
, .

fourth string oft e n w e ak owing to t h e I 7

instrum e nt b e in g t oo narrow and short A m bro s i Pie tro A mak e r in B r e scia in
, .

in proportion to its thickn e ss T w o . 1 71 2 H is instrum e nt s are infe rior

.
,

bass e s are dat e d re sp e ctive ly 1 5 6 8 and and t h e varnish is of poor q uality .

1 586 . Lab e l P e trus Ambrosi fe cit B rix i ae , ,

A m ati , N icola son of Girolamo Amati , , 1 71 2 .

’
b De c 3 1 5 9 6 ; d April 1 2 1 6 8 4 , a ge d
. .
, .
, A m bro s i o Antonio d A mak e r in
, .

88 according to t h e r e gist e rs of
, N apl e s about 1 8 2 0 .

Cr e mona Cath e dral I s t h e most c e l e . A melot A mak e r in Lori e nt ( France )

.

b rat e d mak e r of t h e Amati family . about 1 8 1 2 2 9 H is instrum e nts are -

.

H is instrum e nts r e s e mbl e thos e of his poor t h e varnish is y e llow colour

,
.

fath e r till about 1 6 4 5 th e n st e adily , Lab e l Am e lot luthie r Lorie nt . ,

improv e T h e patt e rn is grac e ful

.
, 1 8 29 .

t h e thickn e ss e s and archin g accurat e ly A n ci au m e .

“
B e rnard A n ciaume wa s
d e t e rmin e d t h e varnish a d e e p rich , , found brand e d on a violin .

colour t h e ton e cl e ar sw e e t and

, , A n dr e a s J ohann e s , A mak e r in V e rona .

pow e rful Th e Grand Amati violins

. about 1 5 00 1 5 I n t h e M us e um M ode na -
.

are scarc e and a re worth £ 3 0 0 to £ 4 00 ; of Vi e nna is a lira da braccio with t h e

th e y are mad e on a lar ge patt e rn of , writt e n lab e l J oann e s A ndre as ,

b e autiful wood t h e back of mapl e , , V e ron e s is a di 1 2 A u os t o , ,

and t h e b e lly ge n e rally of d e al of , A n ge li s S ee .

which t h e thickn e ss diminish e s from A n s e l m o Pi e tro W ork e d in Cre mona

, .

t h e c e ntr e to t h e sid e s ( this wh e n , (about 1 700 ) and Ve nice H is violins .

e xa g g e rat e d mak e s t h e s e cond string , are mad e on a small patt e rn slightly ,

nasal in ton e ) t h e arching drop s som e arch e d with gold e n coloure d varnish
,
-

what sudde nly from t h e bridg e to t h e of r ich quality H is violonc e llos are .

e d g e s with a slight groov e wh e re t h e

, also w e ll mad e .

p urfii n g com e s this is said to giv e t h e , A n t e gn at i Gian Franc e sco , I s me n .

not e d swe e tn e ss of ton e ; t h e sound t i on e d by Lanfranco in his work ,

hol e s are b e autifully cut t h e varnish , S cintill e ossia r e g ol e di musica

is of fin e quality and vari e s from ch e mostra no a l e gge re il canto -

amb e r to re d colour An instrum e nt . fe rmo ( B re scia Ludovicus B ri ,

with doubl e p urfl in g is a re markabl e t an n i cu s H e is th e re spok e n

,

pi e ce of work H e mad e numb e rs of . of as on e of t h e e arlie st lut e m ak e rs

t e nors and violonc e llos s e ve ral thre e , in B re scia .

”
quart e r violins and p e rhaps thre e , A n t on i az z i Gre g orio A mak e r in, .

or four doubl e basse s M any of t h e -

. Coll e ( B e rg amo ) in 1 73 8 Lab e l : .

small violins still e x ist on e dat e d 1 6 6 8 ,

Gr e gorio A n t on iaz z i in Colle , ,

shows som e of his fin e st work and t h e , I 73 8

 A N T O N I O — B A GA T E L L A .

A n t o n io , B on on ie n s is( of B ologna) A . th e Amati patt e rn but are too much ,

viola da gamba not dat e d is in t h e , , arche d ; t h e varnish is y e llow of poor ,

B ologna L yce o filarm on ico . quality .

A n t o n io Ciciliano , S ee S iciliano . . A u b e rt A make r in T roy e s ( Franc e )

.
,

A n t o ni o C yp rian o T h e lab e l : “ C yp ri
, . 17 89 . Lab e l found in a guitar
ano Antonio a fe z e m Lisboa ao , , Aub e rt a T roy e s ,
”
Largo da E sp e ran ca was found in a , A ubry a mak e r in Paris was a n e ph e w
, ,

e i t h e r with tw e lv e strin g s in pairs of , of Aldric and succe e d e d to his busin e ss

fin e ton e probably mad e about 1 72 5 , .
in 1 8 40 but his instrum e nts have not
,

A n t o n y Girolamo
, A mak e r in C re . t h e sam e high r e putat i on .

mona in 1 75 1 H e made on a good . A u di n o t N e stor Dominiqu e b D e c 1 2

, , . .
,

patt e rn rath e r arche d with n e at pur

, , 1 8 4 2 Mire court
, Appre ntice d to his .

fiin g e dg e s rath e r thin varnish y e llow

, , , fathe r th e re 1 8 63 6 8 worke d und e r .
-

of fair quality Labe l : H ye ron imu s . S éb a s t ie n V u illau me in Paris suc ,

A n t on ij C re mon ae anno c e e de d to his busin e ss in 1 8 at

, ,
75 17 ,

A rd e n o i s J ohann e s A make r in Gh e nt
, .
, B oul e vard B onn e N ouv e ll e H e has -
.

1731 . e xp e rim e nt e d large ly in varnish e s .

A rt m an n b at W e imar W as working
, . .
Has mad e about 5 88 instrum e nts
about 1 76 0 At first a j oin e r by trad e .
, during thirty y e ars work all of which '
,

th e n b e cam e a p up il of E rnst of Gotha .

re ach a high standard of e x ce ll e nce .

H is instrum e nts are mad e on t h e Amati Lab e ls : “

N A u din ot luthie r él ev e .
, ,

patt e rn rath e r arch e d with y e llow

, , d e V ui llau me Paris 1 8 and N “
, .

varnish . A u din ot 1 7 B oul e vard B onn e N o u

, ,
-

A sk e y S amu e l d about 1 8 4 0
, At first , . . v e ll e anné e 1 8
,

a tinman th e n a pupil of J ohn , A u gi ere Worke d und e r Cl é m e nt in

.

Morrison Work e d for G e orge C ors b y . Paris I n 1 8 3 0 h e start e d a busine ss

.

about 1 8 2 5 . with Calot H e mad e good violins .

A s s al o n e Gaspare A make r in R om e
, .
, with varnish re d or y e llow brown -

17 40 . H is instrum e nts are made on colour .

B aad e r J A an d C o
, W e ll known
. .
, . About 1 72 5 b e gan to tun e t h e long thick
man ufacture rs of violins for t h e lowe st strings of doubl e basse s by m e ans of -

possibl e pric e s e stablishe d in Mitt e n , scre w p e gs a m e thod in u se e v e r sinc e

, .

wald T he y s e nd instrum e nts to all

. B achm an n O of Halb e rstadt Was an , .
, .

parts of t h e world Am e rica S witz e r , , e xc e ll e nt workman and particularly

land Russia E n g land & 0
, S om e , , . cl e ve r at re storin g old instr um e nts .

violins mad e aft e r t h e S tain e r patt e rn H e wrot e a book on t h e construction of

we re e xhibit e d in Munich 1 8 5 4 t h e , ,
violins & c e ntitl e d , T h e or e tisch
.
,

ton e was full and b e autiful . praktisch e s Handbuch d e s G e ig e n

”
B ach e l i e r J e an Gaspard A mak e r in
, . bau e s & c ( Le ipzig : G B ass e
, . .
,

P aris in t h e ru e d e la T i s s an de rie
, , B a g a t e l l a ( B agatt e lla) Antonio b about , , .

17 77 , and in t h e plac e B au d o ye r , 17 5 0 , Padua Was a v e ry good r e store r

.

17 8 3 8 9 H is instrum e nts show infe rior

-
. of violins Work e d for many G e rmans .

workmanship . Prince W alde s t e in L aib e k Prince of , ,

B ach m an n Carl Ludwig b 1 71 6 at , , . W it t e mb e rg Krauss of Pragu e — mad e ,

B e rlin ; d the re 1 8 0 0 Mad e e xce ll e nt

. . fe w n e w instrum e nts and th e y we re of ,

violins altos and violonc e llos on t h e

, , no gr e at m e rit som e violins and violon
S tradivari patt e rn with amb e r varnish ; ce llos mad e on t h e Cre mona mode l
t h e proportions w e r e good t h e choic e , w e re good Gain e d in 1 78 2 a priz e
.

of wood e xc e ll e nt amat e urs oft e n mis from t h e Accad e mia for a work on
took his instrum e nts for ge nuin e t h e construction of t h e v iolin which ,

Cre mona work H e was a skilful viola . t h e Accad e mia publish e d at its own
playe r 17 65 was appo int e d Cour t
.
, e xpe ns e in 1 7 86 I t s full titl e was .

instrum e nt mak e r and Chamb e r R e gol e p e r la costruzion e de violini

'

musician to t h e K in g of Prussia 1 770 .

,
viol e violonc e lli e violoni M e moria
,
.

’
found e d t h e Amat e ur Conce rts in pre s e ntata all Accade mia di scie nze ,

B e rl in in conj unction with Ern e st

, l e tt e r e e d arti di Padova al concorso ,
’ ’
B e nda which h e continue d till 1 79 7
, . de l pre mio d e ll arti d e ll anno~1 78 2 .
6 '

B AGA T E LLA -
BA N KS .

Dal S ignor Ant B agat e lla Padovano th e b e llie s was care fully s e l e ct e d t h e ‘

ton e is powe rful and b e com e s r i ch e r

.
, ,
’
E coronato dall Accad e mia st e ssa .

Padova T his work touch e d

,
‘

with age H e use d t wo kinds of varnish

.
,

l e ss on innovations than on practical o n e r e s e mblin g that of Guada g nini t h e ,

m e thods of arriving at a p e rfe ct imita oth e r soft e r an d rich e r in colour .

tion of t h e instrum e nts of t h e gre at Lab e l T homas B al e stri e ri C re

I talian mak e rs Amati e sp e cially ; it , mon e nsis fe cit M an t u ae 1 76 2
, , .

was translat e d into G e rman by S chaum B al l an tin e was working in E dinbur gh

,

und e r titl e of U e b e r de n B au d e r in 1 8 5 0 and in Glasgow in 1 8 5 6 .

Violin e n B ratsch e n V iolon ce ll s und

, , B ank s B e nj amin son of G e or g e and
, ,

Violons ( L e ipzig I t was from ,

B arbary B anks b J uly 1 4 1 72 7 , .
,
’
B agat e l la s work that Ma n gin in his , d F e b 1 8 1 79 5 Was on e of t h e first
. .
, .

”
M anu e l du Luthi e r took his m e thod ,
E nglish mak e rs to follow t h e Amati
of tracin g a fin e mode l of a violin with inst e ad of t h e S tain e r patt e rn copying ,

only a rul e and compass which may ,

it v e ry clos e ly Pupil of Wamsl e y .

also b e s e e n som e what short e n e d at in London th e n s e ttl e d in S alisbury

,
.

’
t h e e n d of B ishop s translation of O tto H is instrum e nts are e xc e ll e ntly made ,

on t h e violin . t h e scrolls p e rhaps som e what clumsy ;

B a g at e l l a ( B a g att e lla ) Pi e tro W ork e d , . t h e ton e is good particularly that of ,

at Padua about 1 76 0 6 6 -
. t h e violonc e llos T h e varnish is trans .

B a gn i n i O razio di Antonio , Mak e r of . pare nt and rich ; brownish y e ll ow -

cith e rs in Flore nce 1 66 7 , . colour with a re ddish tin ge is us e d for

B a ill y Paul of Mir e court and Paris
, , . his b e st instrum e nts d e e p re d with ,

R e c e iv e d a bron z e m e dal in 1 8 78 for blackish tinge for othe rs H e un .

work which though not showy was of , , fortunat e ly le t it clog t h e fibre of t h e

g ood quality Was among t h e E x hi b i . b e lli e s which gave th e m a whit e
,

tors in t h e Chicag o ( 1 8 9 3 ) E xhibition . app e aranc e or t e chnically t h e g rain , , ,

”
B ain e s Work e d in London about 1 78 0
. . was kill e d H is large violonce llos
.

Pupil of Matth e w Furb e r . are b e st t h e small e r on e s are e qually

,

B a i rh o f Giorgio , N apl e s about 1 76 0 .

, . we ll mad e but have not t h e sam e
Probably pupil of G or N Gagliano . . . amount of ton e t h e styl e of finishin g ,

B ajo n i Luigi , Mak e r in Milan from . is v e ry mark e d and d e cid e d so that ,

about 1 8 40 ; was livin g in 1 8 76 . his instrum e nt s are e asily re cognise d .

B ak e r Francis
, A ma g nifi ce nt bass V iol .
-
A V iolonce llo mad e aft e r t h e S tain e r
with six strin g s of b e autiful ton e had , , mod e l with y e llow brown re d varnish
,
-
,

t h e followin g lab e l : Francis B ak e r , had a fin e ton e Th e ave rage price of .

’ ”
in P au l s C h u rch Yard 1 6 9 6 London _
, , . t h e b e st violonc e llos b e tw e e n 1 79 0 and
B ak e r J ohn
, A mak e r in O xford about . . 17 94 was from t e n to tw e lv e guin e as ,

1 6 8 8 to 1 7 2 0 His work was in e v e ry way . but in this ce ntury th e y r e alis e d as

g ood e xc e ll e ntly finish e d t h e varnish
, , much as £ 5 0 I nfe rior instrum e nt s
.

a light y e llow colour t h e ton e not larg e , w e r e mad e by him (probably assist e d
but v e ry pure and cl e ar in q uality I n . by sons or othe r workm e n ) for Lon g
’
T homas B ritton s coll e ction of musical man and B rod e rip music publish e rs , ,

instrum e nts was a fin e viol by t h e patt e rn long mor e on t h e S tain e r ,

”
M r B ak e r of O xford
. A four stringe d .
-
mod e l with re d varnish T h e nam e s
, .

viola da g amba mad e by J ohn B ak e r of Lon g man and B rode rip are stamp e d
in O x ford anno 1 6 8 8 was e xhibit e d , ,
on t h e back unde r t h e button but ,

in London 1 8 72 , . th e re is no w ritin g or lab e l to show

B al e s tri e ri ( B ale s t ie ri ) Pi e tro broth e r , ,
who was t h e mak e r N o doubl e bass .
-

of T ommaso His instrum e nts are . of his is known and it is doubtful if h e ,

infe rior H e work e d at Cr e mona

. or an y m e mb e r of his family e v e r
about 1 72 5 . mad e on e Lab e ls : M ad e by B e njn
.
“
.

B al e s tri e ri ( B al e s t i e ri
) T ommaso , , B anks Cath e rin e S tr e e t S alisbury
, , ,

broth e r of Pi e tro A mak e r in Cr e mona . B e nj amin B anks M usical ,

about 1 72 0 5 7 th e n in M antua till about -

, I nstrum e nt Mak e r In Cath e rin e .

17 72 S aid to hav e b e e n a pupil of

. S tr e e t S alisbury 1 78 0
,
B e nj amin ,
”
S tradivari ; th e r e is a rough ge n e ral B anks fe cit S alisbury
,
B B . . .

r e s e mblance in his work to that don e Lw as stamp e d on t h e b éck or b e n e ath

by S tradivari in t h e last y e ars of his life t h e button at t h e e n d of t h e n e ck al so ,
”
( 30
17 but no comparison in point B B anks S arum
.
, .

of m e rit H e mad e som e g ood violins

.
, B an k s B e nj amin s e cond son of B e nj a
, ,

a fe w V iolas and violonc e llos o f fin e , min B an k s ( 1 72 7 b Se pt 1 3 1 75 4 ; . . ,

W ork e d w ith h is
’

ton e T h e wood vari e s that us e d for

.
, ( 1 J an
. 22 1 8 20
.
, .
 B A N K S— B A T T I ST A .

fa the r at S alisbury probably 1 770 8 0 ,

-
, known of accurat e proportions with
, ,

the n move d to London to 3 0 S h e r , , y e llow varnish som e what transpare nt ,

rard S tre e t Gold e n S quar e ; we nt , and good ton e Lab e l : Fe d e l e .

lat e r to Ha w k S tre e t Live rpool , , B arnia Milan e s e fe ce in Ve ne zia

, , ,
’
wh e re h e die d and was buri e d at S t . l anno on e dat e d 1 71 5 w as
’
Mary s E dg e hill , T w o violins are . found i n a v e ry b e autiful th e orbo .

known of his on e dat e d 1 771 t h e , , B a ro u x Live d in Paris 1 8 3 0 at 5 7

.
, , ,

othe r 1 775 and an alto dat e d 1 778 ,

. r u e d u P e tit Carr e au H e was a v e ry -
.

A violonce llo had t h e lab e l Made by abl e violin bow mak e r .

B e njn B anks N O 3 0 S h e rrard S tr e e t

.
, .
, , B a rr e t t J ohn Work e d about 1 71 4 3 0 at
, .
-

Gold e n S quar e from S alisbury , . th e H arp and Crown in Piccadilly ,

B an k s J am e s and H e nry fourth and

, , London A cont e mp orary of B arak
.

sixth sons of B B anks ( 1 72 7 B oth . N orman and N athani e l Cross He .

born in S alisbury J am e s about 1 75 6 , , mad e som e good instrum e n ts on a .

d Jun e 1 5 1 8 3 1 ; H e nry about 1 770

.
, , long and arch e d patt e rn but th e y all ,

d O ct 1 6 1 8 3 0 T he y w e r e in busi
. .
, . hav e ink lin e s inst e ad of p u rfie and -

n e ss toge th e r H e nry as a pianofort e , t h e fl u t in g wh e r e t h e i n k lin e s are is -

tun e r and r e paire r and J am e s as a ve ry acut e forming almost t h e inn e r ,

violin mak e r ; t h e latt e r was an e x half of a circl e ; t h e ton e of his violins

ce l le n t workman follow e d t h e sam e , is sw e e t but not powe rful t h e wood ,

mod e ls as his fathe r us e d similar , we ll s e l e ct e d t h e varnish a y e llow

-

varnish though occasionally t h e re d

, colour 1 802 th e y w e re valu e d at 6
.
,

colour varnish had more black in it . guin e as lat e r at 8 or 1 0 A violonce llo

, .

18 1 1 ,
th e y sold th e ir busin e ss in is m e n tion e d as of b e autiful ton e .

“
Cathe rin e S tr e e t S alisbury and we nt , , Labe ls : J ohn B arre tt at t h e Harp ,

to Live rpool to Church S tre e t a n d , an d Crown in Pickadilly 1 72 2 ,

th e n to B old S tre e t wh e r e th e y di e d , Mad e by J ohn B arr e tt at ye H arp

’ E
th e y w e re buri e d in S t Mary s dg e .
, and Crown in Pickadilly London , ,

hill A numb e r o f unfinish e d i n s t ru

. 1 73 1 .

m e nts in t h e whit e wood w e r e found B a rt o n ,

G e orge Work e d at E lliot .

in t h e c e llar of th e ir Liv e rpool house , Court O ld B ail e y London ; d about

, , .

and sold in that stat e Lab e ls . 18 10 .

J am e s and H e nry B anks M usical B a s i, Florianus

A cl e v e r mak e r of .

I nstrum e nt Mak e rs and Mu 5 1c S e ll e rs , man d ol in e s i n B olog n a 1 75 6 8 1 Lab e l : ,

-
.

S alisbury 1 8 0 2 J am e s and H e nry

,
Florianus B a si i n v ia S M amoli , .

B anks S alisbury ,
A violon , B onon e fe cit ,

c e llo mad e by both of th e m in 1 79 7 B a s s ian o Lut e mak e r in R om e 1 6 66 ;

.
,

was e xhibit e d in t h e S outh K e nsington a th e orbo with this dat e is in t h e

Mus e um London 1 8 72 , , . coll e ction of t h e G e s e llschaft d e r
B apti s t a S ee B attista
. . M usikfre und e Vi e n n a ,
.

B a rb an t i S ilva Franc e sco.

A mak e r . B a s s o t J os e ph ,
A mak e r in Paris .

in Corre ggio 1 8 50 , . about 1 78 0 t o 1 8 0 2 at t h e Q ui n z e ,

B a rb e y Guillaum e
,
Mak e r of a bass . Vingt th e n ru e Chabanais
viol with six strings at B russ e ls . H e mad e b e autiful v iolins ,

B a rb i e ri Franc e sco
,
A mak e r in . with brown v arnish som e tim e s ting e d ,

V e rona 1 6 9 5 H is violins follow t h e

, . with re d His e arli e r i n strum e nts . ,

patt e rn of Andr e a Guarn e ri . wi t h y e llow varnish are not so we ll ,

B arn e s R ob e rt Pupil of T homas S mith

, . mad e L ab e l : J os e ph B as s ot l u t h ie r
“
. , ,

at t h e Harp and H autboy in Picca Paris ,

dilly ; a fe llow appre ntic e was J ohn -

B a s t o gi Ga e ta n o Mak e r of cith e rs
, .

N orris with whom h e start e d a busi n e ss

,
and lut e s i n Le ghorn in t h e 1 8 th
in 1 76 5 N o instrum e nts of th e irs is
. ce ntury .

known e xce pt a violonce llo which was , B at ti s t a of B r e scia about t h e e n d of ,

probably mad e by E A ire t on but is .

, t h e 1 5 th c e ntury T h e r e is a v e ry old .

stamp e d with th e ir nam e on t h e back .

poch e tt e with t h e stamp B a t is ta
T h e y first live d in Wi n dmill S tre e t , B re ss a n o in t h e mus e um 0 t h e ,

th e n Cov e ntry S tre e t Lab e l : Made . L yce o filarmon i co of B ologna .

by N orris and B arn e s violin violon , , B att i s ta Giovan n i A mak e r of guitars

,
.

c e ll o an d bow mak e rs to th e ir Maj e s t i e s

, ,
and mandolin e s in N apl e s 1 70 1 accord , ,

Cov e ntry S tre e t London ”

, .
ing to a lab e l in a mandola of fin e
B arnia Fe d e l e b at Milan ; s e ttl e d in
,
ton e Lab e l : Gian B attista Fabri
.
"
,
’
.
,

V e nice Probably a pupil of Pi e tro

. ca t ore N apoli anno 1 7 in S M d e ll ,
. .

Guarn e ri A small violonce llo is

. aju t o .
8 B A U D— B E R G O N Z I
B au d A make r at V e rsaill e s A violin
. .
of h is made w ithout bars which h e,
thou ght int e rfe re d with t h e vibratio ns
was not favourably re port e d on
B au m e e s t e r S ee B ou me e s t e r
B a u s ch , Ludwig Christian Au g ust , b
J an 1 5 , 1 8 05 at N aumburg ; d
.
May 2 6 , 1 8 71 , at L e ipzig Pupil of
B Fritsch e in Dr e sd e n th e n s e ttl e d
.
in Le ipzi g as a violin bow mak e r
O th e r m e mb e rs of t h e firm w e r e
Ludwig B ausch and O tto B ausch ( b
B au s ch was a ce l e brat e d mak e r of violin
bows i n D e ssau I t is said that S pohr
gav e him advice as to t h e construction
of t h e b ow 1 8 40 h e re ce ive d a silve r
m e dal at t h e D re sd e n E xhibition
B e ck m an n ( B e kman ) S w e n o A mak e r
at S tockholm about 1 700 6 His in
s t ru me n t s a re rou g hly mad e
B e d l e r N orb e rt ,A mak e r in Wurz
bur g in 1 72 3 W as appoint e d mak e r
to t h e B avarian Court I n a viola di
bordon e in t h e Paris Cons e rvatoire
“
Coll e ction is t h e l ab e l : N orb e rt
B e d le r luthi e r d e la C our d e B avi er e
, B e r g o n z i Carlo of Cr e mona t h e first
a W u r t z b ou rg 1 72 3
B e la S z e p e ssy
, b N ov 3 0 1 8 5 6
B udap e st Appre ntic e d t o S amu e l
N e me s s an y in B udap e st from August
1 8 6 8 till M ay 2 4 1 8 7
, 4 T h e n w e nt to
Vi e nna and work e d und e r Zach till
O ct 2 0 1 8 79 . W as th e n in M unich
, .
but l e ft 1 8 8 1 to s e ttl e in London
wh e re h e has his own busin e ss H e
has p e rsonally mad e and varnishe d up
to t h e pre s e nt tim e 1 0 4 violins 4
V iolas and 2 violonc e llos H e ge n e
, .
rally follows t h e S tradivari and
Guarn e ri patt e rns but in a fe w cas e s
that of N icola Amati ; h e us e s oil
varnish of soft q uality a y e llow re d
colour H is instrum e nts are much
. than his violonc e llos are g e n e rally
li k e d
.
B e llone Pi e tro Antonio known as
, ,
11 P e s cori n o A mak e r in M ilan in
“
1 69 4 Lab e l : Pi e tro Antonio B e llon e
.
d e tto i l P e scorin o fe ce in contrada
larg a di M ilano 1 6 9 4 al s e g no di S
”
Antonio da Padova
B e ll o s i o Ans e lmo A mak e r in V e nice
, .
about 1 72 0 8 0 Pupil of S anto S e ra
fin o H e mad e good violonc e llos but
.
as a rul e his instrum e nts are not so
w e ll mad e as those of his mast e r
M A C e rin was a pupil of his Lab e l :
. .
”
A n s e l mij B e llos ij fe cit V e n e t ii s
l '
I 7
_ -
.
B e lv Gre g orio
i gli e ri , A mak e r in
B olo g na in 1 74 2 Hi s violins are
fairly g ood
B e n e di c t J ose A mak e r at C adiz in
, .
.
'
1738 . L ab e l : C omp ri e st o e n C adi x “
, p J ose B e n e dict ano de l 1 73 8
.
, .
, B e n e d i ct i Donat e de I n Cr e mona 1 6 74
, .
,
.
B e n ti Matt e o b 1 5 79
, A mak e r in , . .
. . B r e scia was cont e mporary with G P . .
Maggin i H i s instrum e nts are littl e
.
, . known but are fairly we ll made on
,
. t h e B re scia mod e l a violin was dat e d
, 1 60 1 . I n a Paris mus e um is a b e auti
. ful lut e of his r ichly inlaid and , ,
spl e ndidly mad e .
. B e r e t ta Fe lic e
, W orke d at Como about .
17 60 8 5
-
W as a pupil of Gius e pp e
.
Guadagnini H is violins are infe rior ,
.
. h e us e d bad wood and y e llow varnish
of poor quality A print e d lab e l found .
.
, in an alto of ordinary mak e was :
. Fe lic e B e re tta alli e vo di Guis e ppe ,
’
, . Guadag nino fe c e in Como l anno , ,
-
. A similar lab e l was dat e d 1 78 2 .
. B e rg e. A mak e r at T oulouse in 1 771 .
. B e rg o n z i B e n e d e tto d 1 8 4 0
, A de s , . .
. ce n dan t of t h e B e rg onzi family who ,
. work e d in t h e sam e hous e in t h e
Piazza S an D om e nico Cr e mona Was , .
a cl e v e r r e store r of violins .
, , ,
, . of t h e g r e at B e rgonzi family of mak e rs ,
, . .
, , b . d 1 747 W ork e d about 1 71 2 46
. .
-
.
B e g an to put his own nam e in his
’
, , instrum e nts about 1 71 6 H e was t h e .
, . most c e l e brat e d pupil of Antonio
S tradivari whos e patt e rn h e copie d
,
, ve ry close ly Was also said to have .
, , , b e e n a pupil of N icola Amati Aft e r .
. t h e d e ath of O mb on o S tradivari ( d .
Carlo inh e rit e d all t h e wor k ing
, mat e rial s which had b e lon ge d to A n
tonio S tradivari and in 1 74 6 h e and ,
his son Mich e l Ang e lo ( th e n age d 2 4 )
’
, move d into Antonio S tradivari s old
dw e lling in t h e Piazza S an D om e nico
,
.
,
-
His violins which are more scarce ,
,
mad e on a flat mod e l lik e t h e e arly
'
,
instrum e nts of S tradivari ; h e e nlarge d
‘
. t h e patt e rn lat e r on T h e sound hol e s .
-
,
, place d lowe r and n e are r t h e e dge are ,
, lon ge r and mor e op e n than t hos e of
, , . S tradivari ; t h e scrolls flat t e r than ,
. usual are boldly cut ; t h e archin g is
,
d e cid e d t h e wood is alway s ve ry fin e ;
-
. t h e varnish a b e autiful re d brown or,
-
, rich amb e r colour is rathe r h e avy a , ,
si g n of de cad e nce but give s t h e i n s t ru ,
. m e nts a p e culiar typ e of the ir own .
. T h e ton e is sonorous and p e n e tratin g .
, , T h e work is alw ay s b e au ti fully finish e d .
H i s violonc e llos and doubl e bass e s are
. e sp e cially good t h e latt e r b e in g som e ,
. of t h e fin e st known U n luckily h e .
. mad e th e m on too lar ge a patt e rn and ,
‘
many have b e e n cut d own to suit
 B E RGO N Z I— B E RT I .

mod e rn r e quire m e nts so that in th e ir , H e use d a lab e l ornam e nt e d like that

original stat e th e y are rar e ly to b e of Carlo : Fatto da me Zosimo B e r
’ ”
me t with T h e work is car e ful t h e
.
, g onzi l ann o 1 777 C re mon ae
, , .

wood w e ll chos e n ; t h e varnish of a , B e rn a rd e l August e S ebasti e n Philipp e , ,

re d brown colour
-
much alt e re d by , b J an 1 2 1 8 0 2 at Mir e court ; d
. .
, , .

a ge is oft e n rath e r thick

, T h e violins .
, August 6 1 8 70 at B ougival O n e of , , .

a ltos and violonc e llos (t h e latt e r b e ing

, t h e most distinguish e d F r e nch mak e rs .

thought to e qual t h e work of his H e b e gan as an appre ntice in Mire

mast e r S tradivari) are all charact e rise d
, court w e nt to Paris in 1 8 2 0 work e d
, ,

by a pe culiarly p e n e tratin g sonorou s first und e r N icolas L u p ot and th e n

ton e and are much sought aft e r
, , und e r C F Gand whom h e l e ft in 1 8 2 6. .
,

som e tim e s fe tching hi g h pric e s from , in ord e r to start a busine ss of his own
£ 2 0 0 to £ 3 0 0 A v e ry fi n e violonc e llo . in t h e ru e C oq uilli ére I n 1 8 5 9 h e took .

“
was dat e d 1 74 6 Lab e l s : Anno 1 72 3 .
,
his two sons into partn e rship and ,

Carlo B e rgon zi fe ce in Cre mona , t h e firm was call e d B e rn ard e l e t fils

t h e sam e in a violin dat e d 1 73 3 and ,
h e r e tir e d in 1 8 6 6 so as to facilitat e t h e
anothe r dat e d 1 73 1 Carlo B agan z i , association of t h e Gau ds in his
alli e v e di N icola Amati fe cit C re mon ae , , busin e ss which was the n styl e d Gand ,
”
anno Anno 1 7 re v isto e et B e rn ard e l H e mad e a larg e
corre tto da me Carl o B e rgonzi in
.

numb e r of e xce ll e nt instrum e nts t h e ,

Cre mona . violonce llos e sp e cially havin g a r e mark

“
B e rgon z i Carlo third son of Mich e l
, , , ably fin e ton e Lab e l : B e rn arde l .
,

Ange lo W ork e d in Cre mona about

. luthie r e x ouvri e r d u S r L u p ot rue
,
-
.
,
’
1 8 0 and di e d th e r e about 1 8 2 0
7 , He . C oqu i lli ére N o 4 4 a Paris l an , .
. ,

mad e a fe w violi n s of littl e valu e with ,

straight ugly sound hol e s ; but princi
,
pally guitars and mandoline s
B e rgo n z i ( B agan z i ) Franc e sco
T his was in a vi olin mad e by him soon
-
aft e r h e l e ft Gand ; p e rhaps t h e first to
. contain his signature ; it is b e autifully
Is , . finish e d and has a fin e ton e Pri nt e d .

’ ’
nam e d as e arly as 1 6 8 7 May have . lab e l : M édaill e d or e t d arge nt aux
be e n t h e fath e r of Carlo . e xpositions d e 1 8 4 4 e t 1 8 4 9 B e rn ard e l .
,

B e r g o n z i Miche l Ange lo son of Carlo

, , , luthie r élev e de L u p o t rue Croi x d e s
, ,
-

b 1 72 2 ; d aft e r 1 76 5
. Work e d in . . P e tits Champs 2 1 a Paris 1 8
-

, , ,
”
Cre mona about 1 740 6 5 His work is -
.
( S ign e d ) B e rn ard e l H onours : me n .

he avy and a ltog e the r infe ri or to that tion 1 8 2 7; bronz e m e dals Paris 1 8 3 4
, , ,

of Carlo h e flatt e n e d t h e mod e l and

,
and 1 8 3 9 ; silve r m e dal , Paris 1 8 44 for , ,

e xagg e rat e d t h e curv e s ; follow e d both an alto place d in t h e 1 s t class ; gold

small and larg e patt e rns ; t h e varnish m e dal Paris 1 8 49 ; a m e dal of t h e
, ,

is hard and thick t h e ton e is nasal , . 2 n d class London 1 8 5 1 and a m e dal , ,

B u t his doubl e bass e s show b e tt e r -

of t h e 1 st class London 1 8 5 5 for a , , ,

work and hav e a powe rful ton e s e rving ,

violin copi e d from Maggini a bass , ,

w e ll in an orch e stra Lab e l Mich e l . a n d a doubl e bass -

.

Ange lo B e rgonzi figlio di Carlo fe c e , ,

B e rn a rd e l Fr er e s E rnst August e and .

in Cre mona Anoth e r is known , ,

Gustav e Adolphe sons of S ebasti e n ,

dat e d 1 755 . Philippe ; t h e form e r b April 2 1 8 2 6 ‘

.
, ,

B e rgo n z i N icola e ld e st son of Mich e l

, ,
r e tire d from t h e busi n e ss in 1 8 86 ; t h e
Ange lo Work e d in Cre mona about
. latt e r b April 2 6 1 8 3 2 Wh e n th e ir
.
, .

17 55 8 2
-
H is instrum e nts show a
. fath e r r e tir e d in 1 8 6 6 th e y continu e d ,

gre at falling o ff ; mad e on a similar t h e busin e ss in partn e rship w ith E ug en e

mod e l to that of his fath e r his work Gand as Gand e t B e rn arde l Fr ere s
, .

is oft e n highly finishe d but 18 wantin g M Gustave B e rn arde l is now h e ad of

.

i n charact e r ; t h e scroll is cramp e d , t h e firm .

the wood oft e n too clos e grain e d -

, B e rt a s i o Luigi W orke d in Piad e na

, .
,

t h e varnish poor and thin Lab e l : . 17

“
N icolaus B e rgonzi C re mon e n s i s , ,
B e rt a s s i Ambrogio W orking in Pia
, .

facie b a t an no a t e nor dat e d d e na about 1 73 0 .

17 8 1 is known H e mad e a gr e at . B e rt e t Jos e ph R ,

A mak e r in Paris in .

numbe r of violins . t h e 1 8 t h c e ntury I n an alto of a larg e .

B e r g o n z i Zosimo broth e r of N icola H e

, , . patt e rn with thick y e llow varnish , ,
“
work e d about t h e sam e tim e p e rhaps ,
h
car e fully mad e was t lab e l : J os e ph
e ,

had more ability ; som e violonce llos R B e rt e t au Roy David rue N e uve
. ,

and doubl e basse s of his are fairly -

S t R och a Paris
.
,

we ll made but t h e work lik e that of , , B e rt i Antonio

, Cortona 1 72 1 A .
, .

’
h is broth e r is much infe rior to Carlo s , . m ake r of dul cime rs .
 B E RT O LO T T I— B O DI O .

B e rt ol ot ti D e S e e Gasparo da S al o
,
. . appre ntic e to E rnst ( 1 74 5 whe n
B e rtr a n d , N icolas A make r in Paris . O tto l e ft E rnst in ord e r to s e ttl e at
about 1 6 8 6 to 1 73 5 H e made som e . We imar H e follow e d t h e S tradivari .

violins of no gr e at valu e but is b e tt e r , patt e rn but his instrum e nts are not
,

known for various viols : a bass viol -

w e ll m ad e H e also mad e harps and .

dat e d 1 6 8 7; anoth e r with t h e lab e l guitars .

N icolas B e rtrand Paris , , B i tt n e r David , A mak e r in Vi e nna .

,

w e ll mad e with a thick re d varnish ; a

, d . 1 880 H e did a large trad e in .

tre bl e viol dat e d 1 70 1 in t h e B russ e ls

-
Am e rica E xhibit e d a violin and
.

M u se um ; a small fiv e stringe d viol -

, violonc e llo in London 1 8 6 2 , .

dat e d 1 71 4 in t h e Paris M us e um and , B l a ir J ohn

, Worke d in E dinburgh in .

a bass dat e d 1 72 0 His nam e is oft e n . 1 8 2 0 with Matth e w Hardi e .

b rand e d on his instrum e n ts . B lais e A mak e r in Mire court in 1 8 2 0

. .

B e s l e r , N orb e rt See B e d le r . . I nstrum e nt s not particularly w e ll

etts , J ohn E dward k nown as O ld “
, mad e .

”
J oh n B e tts b 1 75 5 at S tamford , .
, ,
B l a n chard Paul Fran cois grandson , ,

Lincolnshir e ; d March 1 8 2 3 was .

, , of Fran cois B lanchard a mak e r of ,

buri e d at Crippl e gat e Church Pupil . guitars ; b F e b 1 0 1 8 5 1 Mire court . .

, ,

of Richard D uk e s e nior in London , , .

( Vosg e s ) appr e ntice d th e re ( 1 8 6 5 ) to
H e mad e fe w i n strum e nt s ; t h e sound August e Dart e ( pupil of J B . .

hol e s are rathe r wid e t h e p u rfl in g , V u i l l au m e and succ e ssor t o N icolas

b road and t h e scrolls w e ll cut ; but
, V u i ll a u m e ) 1 8 68 work e d a fe w months .
,

h e had gr e at knowl e dg e of I talian at Mars e ill e s with D ani e l and in ,

instrum e nts Cl e v e r workm e n such .

, O ctob e r 1 8 6 9 s e ttl e d at Lyons working
, , ,

as t h e Panormos B e rnhard Fe ndt his , , und e r S ilve stre n e v e u until h e start e d ,

n e ph e w E dward and J ohn Cart e r , his own busin e ss 4 5 ru e F e rran die ri in , , ,

w e re e mploy e d by him principally to , 1 87 6 w h i ch h e mov e d 1 8 9 0 t o 77 rue

, , , ,

copy old E nglish and I talian in s t ru d e la Républiqu e T w o workm e n are .

“
m e nts Lab e l :
.
J o B e tts N o 2 .
, .
, e mploy e d on e for r e pairs t h e oth e r
, ,

n e ar N orthgat e t h e R oyal E xchang e , , for n e w instrum e nts B lanchard him .

London ,
H e adv e rtise d that s e lf r e pairs old instrum e nts and mak e s
“
he mak e s in t h e n e at e st mann e r , all t h e n e w violins which hav e his ,

“
violins t h e patt e rns of Ant S tradi . lab e l : Fait par Paul B lanchard a
v ariu s H i e ronymus Amatus J acobus
, , Lyon e n 1 8 No pric e d at £ 1 2 .

S tain e r and T yrols,

E qual for t h e . e a ch . U p till now h e has mad e 3 79
fin e full m e llow ton e to thos e mad e
, ,
instrum e nts (all numb e re d ) h e mak e s ,
”
in Cre mona . from 2 5 to 3 0 a y e ar ; about t h e sam e
B e tt s ( N e d ) E dward n e ph e w of J ohn
, , numb e r mad e by his workm e n are sold
B e tts lik e him a pupil of R ichard
,
at half t h e pric e of his own and are
’
Duk e . H e di e d b e for e his uncl e , lab e ll e d : Fait dans l at e li e r de P .

probably b e twe e n 1 8 1 5 and 1 8 2 0 H e . B lanchard Lyon 1 8 I nstrum e nt s , ,

-

was a good mak e r his instrum e nts , mad e by his pupils are sold at £ 3 or
had a pow e rful ton e and all t h e work ,
£4 e ach and hav e a lab e l r e pr e s e nting
,

most car e ful l y finish e d H e mad e . t h e Lyons city arms inscrib e d Lu g ,

ve ry good copi e s of old e r mak e rs ,

dunum anno 1 8 , B lanchard g e n e r
more e sp e cially of N Amati O th e r . . ally follows t h e S tradivari and G .

m e mb e rs of this family w e re not violin Guarn e ri patt e rns but do e s not ,

mak e rs th e ms e lve s though th e y con
tin n e d t h e busin e ss as d e al e rs
B ia n chi N icola b about 1 8 0 0 at G e noa ;
, ,
att e mpt to artificially age his violins
. t h e ton e shows gr e at e quality on all t h e
. strings is pow e rful and cl e ar t h e oil
, ,

work e d till about 1 8 75 Pupil of . varnish ve ry transpar e nt is a g old e n

, ,

C e ru t i at Cr e mona Guadagn ini and ,

re d colour for his own instrum e nt s a ,

P re s s e n d a at T urin Cl e v e r r e pair e r . light e r colour for thos e mad e in his

of old instrum e nts Live d about fiv e . sh 0 p H e first e xhibit e d at Paris 1 8 8 9
.
, ,

y e ars at ru e Croix d e s P e tits Champs

.
- - -
and gain e d a silve r m e dal was award e d
in Paris but having quarr e ll e d with
,
th e Grand Prix at t h e Lyons
t h e violin mak e rs th e r e h e r e turn e d , E xhibitio n in 1 8 9 4 ; was appoint e d
to G e noa and finally s e ttl e d in N ic e
, ,
Luthi e r d u co nse rvatoire national d e ,
’
l orch e s t re e t de s th eatr e s municipau x
"
wh e r e h e di e d H is instrum e nt s show .
.

“
e xc e ll e nt work and b e ar comparison ,
B o cq u ay S ee B oq u ay . .

with thos e of good mod e rn make rs . B o di o Giambattista A mak e r in V e nic e

, .

B i n d e rn a ge l ( B i n t e rn age l ) of Gotha ,
. about 1 79 2 to 1 8 3 2 T h e fe w in s t ru .

W as fi rst a carp e nt e r th e n b e cam e an ,

m e nts known show nice ly finish e d
m B O U R D E T A B R U G ER E .

o u rd e t , J acqu e s A make r in Paris . oi no gr e at valu e are ofte n imitat e d , .

1751
-

52 . H is instrum e nts are fairly Lab e l : Luthi e r de S A R M m e la . . .

’
w e ll mad e . D uch e ss e d A n goul éme .

B o u rd e t ( B ourd ot ) J e an Séb as t i e n b , , . B ro s ch i Carlo ,

Work e d in Parma . ,

1 5 3 0 Mire court
, W as s e ttl e d in Paris . 17 3 44
0 -
Lab e l :.
“
Carlo B ro s c h i in
in 1 5 5 5 Was on e of t h e first of t h e
. Parma fe cit 1 73 2 , .

ce l e brat e d Lorrain e school of mak e rs , B ro w n Anthony I s said to hav e l e arnt

, .

possibly a pupil of T yw e rs u s . his trad e und e r J os e ph P an ormo or ,

B o u rgard J e an W orke d in N ancy

, . un de r J ohn M orrison H e b e cam e .

about 1 78 0 8 7 I n a violin w e ll mad e -

.
, , ce l e brat e d for his g uitars I n 1 8 55 h e .

with re d varnish was t h e lab e l : F ‘

, was living in R osamond S tre e t Cl e rk ,
’
par moi B ou rgard fact e ur d i n s t ru, , e n w e ll but aft e rwards we nt to t h e
,

m e nts ru e de la P os on n e rie 51 N ancy , di g gings H e was not re lat e d to t h e

.

1 78 6 . oth e r violin mak e rs of t h e sam e nam e .

B o u rl i e r , Laur e nt , b 1 73 7, Mir e court ; . B ro w n , J am e s b 1 75 5 or 1 75 9 ; d S e pt , .

. .
,

d 1 78 0 N othing kno wn of this mak e r

. . .
1 8 3 0 or 1 8 34 W a s a silk w e av e r in .

B oussu Work e d in E t e rb e ck le s
.
-

S hor e ditch London ; but 1 8 0 4 l e arnt , , ,

B rux e ll e s about 1 75 0 8 0 Follow e d -

. violin making und e r T homas Ke nn e dy ,

t h e Amati patt e rn , us e d y e llow varnish an d e stablish e d hims e lf in W he e le r

on t h e whol e made g ood instrum e nts ,
.
S tr e e t S p i t alfie l ds as r e paire r and
, ,

B ra gl ia , A n tonio I n Mode na in t h e . mak e r of instrum e nts .

'

1 8 th c e ntury . B ro w n J am e s j un
,
son of J am e s , .
,

B ran d i gl i o n i I n B r e scia in t h e 1 7th . B rown b N ov ,

17 86 ; d
. 1 8 60 at .
,
.
, ,

c e ntury H e copi e d t h e M aggini mod e l

. . Whit e Lion S tre e t N orton Fol g at e ,
.

B ran d l , K arl A mak e r in B udape st , . Appr e ntic e d to his fathe r but was ,

h e s e nt two g ood violins , mad e aft e r principally e mploy e d to mak e bows for
t h e mod e ls of S tradivari and Guarn e ri , t h e various instrum e nts Aft e r his .

’
to t h e London E xhibition in 1 8 6 2 . fath e r s d e ath h e mad e violins violon , ,

B ra n z o , B arbaro Franc e sco A mak e r . ce llos and doubl e bass e s B oth fath e r
,
-
.

in Padua , and son w e r e good ave rage workm e n .

B re m e i s t e r, J an I n Amst e rdam , 1 70 7 . .
B ro w n son and pupil of J am e s B rown
, ,

B re n s i , Girolamo A mak e r of viols in . j un . W h e n about tw e nty y e ars old

B olo g na , probably at t h e b e g inning of ce as e d to mak e instrum e nts .

t h e 1 6 th c e ntury A viola da braccio . ro w n e J ohn a make r at t h e sign of

, ,

”
in t h e coll e ction of t h e L yce o fil ar th e
“
B lack Lion Cornhill London , , ,

monico at B olo g na has fiv e strin g s in 1 74 3 M ad e good copi e s of N icola

.

“
and is lab e ll e d : H ie ronymus B re n Amati cut his scrolls w e ll but his
, ,

s i u s B onon . varnish was hard .

B r e s a France sco
,
A mak e r of infe rior . ru b a ch Antoin e b J an 2 2 1 8 4 7 Mir e
, , . .
, ,

instrum e nts in M ilan in t h e 1 8 t h court I n 1 8 8 4 appoint e d h e ad of t h e

.

”
ce ntury A lab e l is known but it has . , busin e ss that A K l e in e t C ie had . .

t h e nam e of t h e town partly e ffac e d j ust start e d in R ou en H as mad e a .

France sco B r e sa fe c e alla scala in , numb e r of violins altos and violon , ,

Mil 17 08 . c e llos car e fully and w e ll O btain e d as . ,

“ collaborat ur ”
B r e t o n J F Work e d in Paris 1 74 0 8 0
, . . ,
-
. e t h e silv e r m e dal at .

His instrum e nts are rathe r h e avy in t h e R ou e n E xhibition 1 8 8 4 ,

.

charact e r but are fairly w e ll mad e , , ru g ére Charl e s G e or ge s b N ov 1 0

, ,
. .
,

varnish a dark brown colour B re ton , 1 8 65 at Mire court son of Charl e s

,

a Paris is brand e d on the ir backs"

_
. J os e ph B rugere a mak e r of guitars ,
.

“
Labe l : J F (V B r e ton ci t h arae . . .
, Appre ntic e d 1 8 78 at M ir e court to , , ,

fabricator facit v e ndit e t re con cin at E ti e nn e Drouin 1 8 8 2 w e nt to Lyons

instrum e nta musica omn e s g e ms

. ,
, ,

. to work for two and a half y e ars unde r

Parisiis anno T h e sam e lab e l
, , Paul B lanchard the n aft e r nin e months
dat e d 1 78 0 was found in a violin ,
. with Paul B ailly at Paris e nt e re d t h e ,

B r e t o n L e b 1 78 0 at Mire court wh e r e
, , .
, , workshop of Gand B e rn arde l wh e re ,

h e work e d from 1 8 1 2 to 1 8 3 0 t h e y e ar , h e r e main e d from D e c 1 8 8 5 till 1 8 9 2 .

, ,
.

of his d e ath ; was th e re a cont e mporary H e succe e d e d E ug en e H e nry S e pt 2 2 ,

.
,

of t h e e ld e st N icolas H is v iolins are . 1 892 at 1 5 1 rue S t Martin Paris

, ,
.
,
.

car e fully mad e of a g ood patt e rn , , As h e and thr e e workm e n are almost
sli ghtly arch e d t h e purflin g n e at t h e , , e xclusiv e ly e mploy e d in r e pairing old i n
varnish y e llow sli g htly tin g e d with , s t rume n t s h e only mak e s about tw e l v e
,

re d ,
his monogram brand e d on t h e n e w instrum e nt s a y e ar ; th e se wh e th e r ,

n e ck T he y are not rar e but thou g h

. ,
violins violas or violonc e llos are con
, , ,
 B R U G ER E — B U T H O D .

s e c u t i v e ly
numb e re d as mad e and only , and cithe rs at B r e scia about 1 49 0
wh e n his own p e rsonal work are 15 10 .

lab e ll e d with his nam e H e follows . B u dia u i G i av e t t a

, ( mor e corr e ctly ,

t h e S tradivari patt e rn and us e s good , Giovita Ro dian i) A make r of lut e s .

oil varnish varying in colour from , and viols in B re scia about 1 5 8 0 1 6 2 0 -

.

y e llow to gold e n re d H e e xhibit e d at -

. His instrum e nts are similar to thos e of
Lyons 1 8 9 4 a doubl e quint e t of in s t ru
, , his cont e mporary G P Maggini but , . .
,

m e nts ; t h e violins and violonce llos do not show t h e sam e skilful work .

we re r e port e d of pow e rful and swe e t N o violins are known ; but som e
ton e and t h e doubl e bass as e qually
,
-
larg e bass viols on e conv e rt e d into a
-

e xc e ll e nt on all four strings ; h e was doubl e bass with four strings had a
-

awarde d t h e first silv e r m e dal . pl e asing ton e .

B ru g er e Charl e s Malako ff b 1 8 5 6 7;
, , .
-
B u e c k e n b e rg ( B u cch e n b e rg or B u e e t e n
d 1 8 9 4 Mir e court ; e ld e st son of Fran
,
.
, b e rg ) Matt e o G e rman by birth but
, .
,

cois B rug ere Worke d a long tim e . live d in R om e about 1 5 9 7 1 6 2 0 Was -

.

und e r H e l at Lill e the n s e ttl e d in , o n e of t h e most c e l e brat e d I talian lut e

Mars e ill e s wh e re h e mad e about a , mak e rs A ch i t aron e is dat e d R om e

.
,

hundre d good instrum e nts . 1 6 14 ; in an arch lut e is t h e lab e l -

.

ru g ére Fran cois brothe r of Charl e s

, ,
Math e us B ucch e n b e rg R oma 1 6 1 9 , , .

Jos e ph B rug ere b 1 8 2 2 Mire court ; , .

,
B u o n fi gl i u o l i Pi e r Franc e sco A mak e r
, .

d the re 1 8 74 Work e d und e r Pi e rr e

. . in Flor e nc e in t h e 1 7th c e ntury .

S ilv e str e at Lyons and und e r Dani e l ,

B urgh a r d t is t h e S wiss form of t h e
“
at Mars e ill e s Mad e a gr e at man y . nam e B ou rgard q v , . .

violins violonce llos and doubl e bass e s

, ,
-
B urgl e Johann , A mak e r in G rie z b ach
. ,

for J D e raz e y at Mire court

. Had . 1 8 28 . Lab e l : “
J ohan lion B urgl e ,

thre e sons all make rs , . g e ige nmache r i n G rie z b ach 1 8 2 8 .

B ru g er e J os e ph N apoléon s e cond son

. ,
R u s a s Dom e nico A mak e r 1n Vic e nza
, .
,

of Fran cois B rug ere I s s e ttl e d at . 1740 .

Mire court wh e re h e mak e s a sp e cialty ,

B u s s e t o ( B us e to ) Giammaria de l A ,
.

of doubl e basse s and is we ll known as -

,
make r of viols in C r e mona about ,

an e xce ll e nt workman 1 5 40 8 0-
was said to hav e taught
An dre a A mati
.
,

B ru g er e Mich e l third son of Fran cois

, ,
H is instrume nts are .

B ruger e S ince 1 8 9 3 has b e e n t h e

. on a long patt e rn d e cid e dly arch e d , ,

chie f collaborat e ur of Charl e s G e org e s with large sound hol e s and brown -

B rug ere B e sid e s making n e w i n s t ru

. varnish ; on e with d e e p y e llow varnish
m e nts h e e xce ls in re pairing old on e s
, . was dat e d 1 5 70 Lab e l : Gio Maria . .

’
”
B u c c h e n b e rg . S ee B u e ck e n b e rg . d e l B uss e tto fe c e in Cr e mona 1 5 4 5
, , .

B u ch s t a d t e r Gabri e l ( B u ch s t e t t e r) ,
B u s s o l e ro Luigi A mak e r of c i the rs
,
.

David A make r in R atisbon in 1 75 2

. . and mandolin e s in R i v an a z z aro in
H e follow e d t h e Cre mona patt e rns , 18 17 .

but his instrum e nts a re not much B ussot A mak e r in Paris 1 78 8

. ,
.

arche d t h e varnish is dark y e llow or

, B ut h od A make r of ch e ap instrum e nts
.

brown colour t h e wood not always ,

in Mir e court Work e d und e r V u il
.

we ll s e l e ct e d which r e nd e rs t h e ton e
-

,
laum e for som e tim e I n 1 8 3 9 was .

harsh ; all t h e d e tails are care fully award e d a bronz e !m e dal His violins .

finishe d O wing to th e ir pow e rful

. ar e strongly mad e and are much
ton e his violins are much us e d for
, us e d in orch e stras and Cons e rvatoire s .

orch e stra playing O n e e xhibit e d in . About 8 00 violins 4 0 altos and 5 0 , ,

Paris 1 8 78 with v e ry dark y e llow

, ,
bass e s w e r e turn e d out of his workshop
varnish was dat e d 1 75 2 , Lab e l : . e ach y e ar Lat e r w e nt into part n e r
.
,

“
Gabri e l David B u ch s t e t t e r Laut e n .
ship with H usson an d t h e busin e ss ,

und G e ig e nmach e r Pe d e ponti prope gradually d e ve lop e d i n to a trad e i n

Rat i sb on a m 1 7 ,
instrum e nts of all ki n ds b e comi n g ,

B u d i a n i Franc e sco , . A mak e r of lut e s Husson B ut h od e t T hibouvill e

,
.
14 CA B R E SY— C A R O N .

C a b re s y . Is only known by a bass dat e d C a mp i o n A guitar of his mad e of

. ,

1725 . mahogany wood with six strings with , ,

C a b ro l i Lore n zo, W ork e d in Milan . e bony and moth e r of p e arl ornam e nta - -

about 1 71 6 H is violins are not ve ry . tion was e xhibi t e d in 1 8 2 3

, .

g ood h e us e d y e llow varnish

, . C am p l o y J A mak
, e r in V e rona
. .

C a b rol y W a s workin g in T oulous e abo ut

. E xhibit e d t wo violins at Munich in
1 8 5 4 on which h e had use d a varnish
17 4 0 4 7 His instrum e nts are fairly
-
.
,

g ood h e us e d pal e re d varnish Labe l

,
. of his own inve n tion .

Fait par C ab roly a T oulouse 1 74 7 , . C ap o I n M ilan in 1 71 7 according to a

.
,

C a e s t e Gae tano
, A mak e r in Cr e mona . lab e l .

in 1 6 77 . C app a G iofre d o ( Go ffre do )

, Probably .

C a e s t o ( C ae s t a) Pi e tro Antonio d e lla , . born at Cr e mona W as workin g th e re .

Work e d in T re viso 1 6 6 0 8 0 and ,

-

, und e r t h e Amatis about 1 59 0 and lat e r , ,

cl e v e rly imitat e d t h e S tradivari mod e l . about 1 64 0 in S al u z z io ( Pi e dmont ) ,

.

C ah u s a c W ork e d in association with

. Mad e both large and small violins ,

t h e sons of B anks in London about 1 78 8 . mor e valuabl e as sp e cim e ns of old

C a l c a n i ( Calcagni ) B e rnardo A mak e r , . I talian work than for th e ir ton e ; t h e
i n G e noa 1 71 0 5 0
—
. H is instrum e nts
,
-
. larg e instrum e nts are pre fe rabl e H i s .

are car e fully mad e on t h e mod e l of , violonce llos show som e of his b e st work ,

S tradivari with b e autiful gold e n or , but are too much arche d and t h e ,

orang e re d varnish a fe w with y e llow

-
, sound hol e s are badly cut t h e wood
-

varnish with small scroll and w e ll ou t

, vari e s that us e d in Cre mona was of
,

sound hol e s -
Lab e l B e rn ard i u s . for e ign growth but in Pi e dmont h e ,

C alcan i u s fe cit G e n u ae 1 71 0 anoth e r

, , us e d locally g rown wood of coars e ,

sim ilar lab e l is dat e d 1 75 0 . fibre ; t h e varnish is g e n e rally golde n

C a l o n a rd i M arco A mak e r in Cr e mona
, . or y e llow colour but vari e s a good d e al ,

in t h e 1 7th ce ntury . t h e p u rfiin g is car e l e ssly don e Th e a

.

C al o t ( Callot b 1 8 1 0 M ir e court First , .

, . patt e rn was oft e n too l arge and had
“
work e d u n e r Clém e nt in Paris but in , lat e r to b e cut down Labe ls : J o .

1830 w e nt into partn e rship with fre du s Cappa in S al u z z io fe cit anno ,

A u gi ere H is instrum e nts w e re b e auti ffri d u s Cappa fe cit s al ut i i s

. 1 640
J o , ,

fully mad e and had a fin e ton e . anno 1 6

C a l v a ro l l a B artolomm e o of T orr e B al
, , C app a G iach i mo
, ( Gioacchino ) and
don e ( B e rgamo ) W ork e d about 1 75 3 6 7 .
-

Guis e pp e Possibly sons of G iofre d o . .

in both B ologna and B e rgamo H is . W e r e both mak e rs working in S al u z z io ,

instrum e nts are fairly w e ll mad e with , and in T urin about 1 66 1 1 71 2 T h e r e -

.

y e llow varnish som e what like thos e , a re instrum e nts dat e d 1 71 2 but of no ,

of Rug ge ri in form but t h e scroll is , particular m e rit .

w e ak and badly proportion e d Lab e l : . C arc a n i u s A v e ry old lab e l print e d on

.

“
B artolomm e o C al v arolla fe cit B e r , parchm e nt is dat e d Cre mona 1 5 00 , .

gam e 1 76 , C a rc a s s i Lore nzo France sco and

,

C al z a v a ra S anto of Padua about 1 76 4

, , , . T ommas o Worke d in Flore nc e about.

T h e lab e l : S anto Calzavara fe c e in , 17 3 5 5 8 T hough not in t h e first rank of

-
.

’
Padova l anno was found in a
, mak e rs th e ir workmanship was g ood ;
,

small mandolin e . th e y us e d y e llow brown varnish -

.

C a m il l i Camillus ( C a milu s di Camila )

, . Lab e l : Lor ! e T om o Carcassi in
’ ’
W ork e d in M antua about 1 739 5 0 H e -
. Fir e nz e n e ll anno 1 75 2 all ins e g no
, ,

follow e d t h e S tradivari patt e rn and d e l Giglio .

us e d care fully s e l e ct e d wood his v1olins C arl o Guis e pp e A mak e r in Milan in

, .

hav e a b e autiful ton e and a re varnishe d , 1769 .

’
pal e re d som e what similar to L an do lfi s
, C a rl o m o rd i , Carlo . A mak e r in V e rona
instrum e nts ; t h e sound hol e s are wid e -
in 1 6 5 4 .

and short Lab e l : Camillus Camilli .

, C aro n .W ork e d in V e r saill e s 1 775 8 5 ,
-
.

fe ci t M antu a 1 73 9 a similar lab e l is , W as mak e r t o t h e Q ue e n H is in s t ru .

dat e d 1 75 0 . m e nts are not in any way r e markabl e ,

C a m i l l i o D av id o A make r in Cre mona

, . an alto w e ll made with brown black
, ,
-

in 1 755 . varnish was lab e ll e d : Caron luthi e r

, ,
 C A R R E— C E R I N . 15

de la R e in e , rue R oyal e a V e rsaill e s , , Gian Paolo n e l palazzo di S oissons in ,

”
a similar lab e l is dat e d 1 775 A . Parigi I nstrum e nts dat e d 1 6 3 9 and
,

t e n stringe d th e orbo in t h e Paris Con

-
1 6 6 2 are known .

se rv at oire Coll e ction is dat e d a C a s t e l l a n i Luigi son of Pi e tro Cas

, ,

Ve rsaill e s ru e S atory 1 78 5 , , . t e l la n i b 1 8 0 9 ; d 1 8 8 4
,
W orke d in
. . .

C arré Antoin e A cl e v e r mak e r in Arras

, . Flore nce in t h e Via C alimaru z z a H e .

about 1 79 0 but is b e st known for his was a cl e v e r re store r of old violins but
did not mak e n e w on e s ; h e mad e
, ,

b urdy gu rd ys -
.

C a rt e r J ohn , Worke d in London about

. e xc e ll e nt strings howe v e r and guitars , ,

17 8 0 9 0 for John B e tts an d mad e som e

-

, of fin e ton e H e studi e d music in his .

e xc e ll e nt instrum e nts many of which , youth and b e cam e a good play e r on

we re sold with t h e lab e l of B e tts . t h e doubl e bass O btain e d a silv e r
-
.

His own lab e l was : J Cart e r Violin .

, ,
m e dal of first class in 1 8 77 .

T e n n or and B ass Mak e r Wych S tre e t

, , , C a s t e ll a ni Pie tro b Flor e nce s e cond
, ,
.
,

Drury Lan e London , , half of t h e 1 8 t h c e ntury ; ( I 1 8 2 0 H e . .

C a s in i ( Cassini ) Antonio A mak e r in , . principally mad e guitars which are ,

Mod e na about 1 6 6 0 to 1 70 0 H is . much lik e d ; but also mad e som e violins .

violonc e llos we re mad e on a large C a s t e l l o Paolo A mak e r in G e noa

, .

patt e rn t h e varnish a cl e ar che stnut

, about 1 75 0 8 0 His instrum e nts are -
.

or brown colour t h e workmanship fair , . fairly w e ll mad e h e us e d y e llow var ,

Labe ls : “
Antonio Casini M o de n ae ,
nish A violin which has sinc e b e e n
.
,

anno 1 6 6 0 t h e sam e in a violonce llo car e fully e nlarge d was on a small ,

“
dat e d 1 66 5 ; Antonio Casini fe cit , mod e l ve ry much arch e d and it was
, ,

M u t t in ae anno 1 6 8 3 ( in a viol onc e llo) ;

, lab e ll e d : “
Paulu s Cast e llo G e n u ae , .

Antonius C as s in us fe cit M u t in ae , ,
anno 1 774 S mall print e d lab e l.

anno 1 7 Paulus Cast e llo fe cit G e n u ae anno , ,

’
C a s p a n Giampi e tro Work e d in V e nic e
, . 1 7783
about 1 6 5 0 H e follow e d t h e Amati . C a s tro W ork e d i n V e nic e 1 6 8 0 1 72 0
.
,
-
.

patt e rn His violins are small with

.
,
His instrum e nts are not lik e d ; though
y e llow varnish . t h e wood is car e fully s e l e ct e d th e ,

C a s s an e ll i Giovanni , A mak e r in Ciano . patt e rn is bad t h e sound hol e s roughly ,

-

in 1 777 . worke d and t h e re d varnish of poor

,

C as s in e au According to an old Fre nch

. quality .

musical j ournal of 1 770 C a s s in e a u , . C a t e n a r ( C at e n ari ) E nrico Was work , .

of Paris rue d e s P rou v ai re s n e ar

, ,
in g in T urin about 1 6 70 His in s t ru .

S t E ustach e mak e s s e lls buy s and

.
, , , m e nts which are we ll mad e rath e r
, ,

hire s all sorts of instrum e nts violins , ,

r e call thos e of Cappa of whom h e is ,

bass viols pard e ssus guitars clave cins

, , , ,
said to have b e e n t h e pupil Print e d .

mandolin e s doubl e bass e s & c ,

-

, . lab e l : H e nricus C a t e n ar fe cit T auri ni , ,

C a s t a gn e ry ( C as t agn e ri ) Andre a An , . anno

I talian who work e d in Par i s 1 73 2 5 7 ,
-
,
Cat i Pi e r Antonio A mak e r in Flor e nc e
,
.
,

“
at t h e H ot e l de S oissons ( which was 17 41 .His kits or pock e t violins
d e stroy e d 1 74 8 H e mad e good i n are w e ll mad e .

s t ru me n t s ; t h e varnish vari e s gre atly C a t t e n a ro A mak e r of viol s and of

.

in colour from y e llow brown to a pal e

,
-
violas da gamba in Pavia 1 6 3 9 , .

re d A violin dat e d 1 73 5 was not arch e d

.
, C a v a l o ri o Was working in G e n e va
.
,

but t h e varnish is of good quality A n

li
. 1 2
alto dat e d 1 74 1 with y e llow varnish , , C e l ir i, Giovanni t h e fathe r of B e n ,

h as a fin e to n e “
Lab e ls : Andre as . v e nuto C e llini b in Fl ore nce ; ( 1 th e r e , . .

C as t agn e ry H ot e l S oisson Paris , , ,

of t h e p e st 1 5 2 7 or 1 5 2 8 Was first , .

17 38 Andre a Castagn e t i n e l an archit e ct but the n b e cam e a lut e

palaz zo di S oe s s on e Parigi , ,
and viol mak e r His viols mad e . ,

a similar lab e l dat e d 1 74 4 C as t agn e ry

“
,
about 1 5 0 0 5 had a gr e at r e putation -
,
.

”
ru e d e s P ro u v a i re s Parigi 1 74 7 (in , , C e l o n i a t i ( C e lion a t i) Giam Franc e sco , .

a badly re stor e d violin ) O th e r dat e s . Was working in T urin in 1 73 2 He .

a re —i n violins 1 73 2 1 73 5 1 73 9 1 75 7; , , , ,
mad e good violi n s o n t h e Amati
in a bass 1 75 1 , . mod e l with a b e autiful y e llow varnish
,
.

C a s t a gn e ry ( C as t a gn e ri) Gia n Paolo , . Lab e l : “

J oan n e s Fran ci s cu s C e lo
A make r from Cre mona who worke d in , n i at u s fe cit T aurini anno 1 73 2
, , .

Paris about 1 6 3 0 6 2 H e was on e of -

. C e rin Marc Antonio
, A mak e r in .

t h e b e st Parisian mak e rs of his tim e ,

V e nic e 1 78 0 9 3 , W as a pupil of -
.

his violins had a swe e t though not Anse lmo B e llos io I nstrum e nts are .

p ow e rful to ne L ab e l :
“
C as t agn e ri . fairly w e ll made ; h e us e d p al e y e llo w
16 C E RU T I— C HA N OT .

varnish Lab e l :
. Marcus Antonius workshops of his fath e r cam e to t h e
C e rin alumnus A n s e lmii B e los ii fe cit
, , conclusion that violins might b e con
V e n e t i ae an , . struct e d on mor e sci e ntific principl e s .

C e ru t i E nrico son of Gius e pp e C e ru t i

, , , H e mad e on e o nly slightly arch e d , ,

b 1 8 0 8 ; d O c t 2 0 1 8 8 3 Work e d in
. . . , . with t h e sound hol e s n e arly straight -
,

C re mona at 1 4 Via B orgo S p e ra , . and t h e sid e s l e ss curve d in mor e lik e ,

S ai d to hav e mad e about 3 6 5 i n s t ru t h e sid e s of a guitar t h e id e a b e ing to ,

m e n ts amongst oth e r s s e ve ral violon

,
k e e p t h e wood fib re s as long as possibl e -

ce llos ; t h e work is good and I talian , as b e ing b e tt e r for vibration A violin .

orch e stral play e rs e sp e cially valu e his of this patt e rn was submitt e d to t h e
instrum e nts highly Was award e d . Académie d e s B e aux Arts and t h e -

silv e r m e dal s at London 1 8 5 1 and , Académi e d e s S ci e nce s in 1 8 1 7; aft e r

1 87 0 for his violi n s and a gold m e dal
, , , thre e tri als it was favourably j udge d ,

1 863 , at Cre mona T h e last violins . t h e ton e b e in g of sup e rior quality He .

that h e mad e w e re e xhibit e d in M ilan was awarde d a silve r m e dal in 1 8 1 9 .

in 1 8 8 1 . U nfortunat e ly violins on this mod e l are ,

C e ru t i Giovanni B attista b about 1 75 5

, ,
.
, now of poor quality t h e ton e though ,

Cr e mona ; d 1 8 1 7 Pupil of Lore nzo . . e x c e ll e nt wh e n th e y are first mad e ,

S torioni to whos e busin e ss in t h e

,
doe s not last 1 8 2 4 h e was re call e d to . ,
’
Via d e C ol t e llai n e ar Piaz za S an , active s e rvic e and was shortly aft e r
Dom e nico h e succ e e de d in 1 79 0 ,
. wards promot e d to t h e high e r g rade of
Following t h e principl e s of his mast e r an e n gin e e r of t h e first class Th e .

h e mad e v e ry good instrum e nts ; alto l e tt e rs C I D on his lab e l are t h e

. . .

“
ge th e r violins and violonc e llos th e y
, , initial s of his titl e Capitain e I n , ,
”
n umb e r about 5 0 0 H e copie d t h e .
gén ie u r D e u x i eme class e
, A violin .

mod e l of N icola Amati using y e llow , which h e mad e in 1 8 1 8 for Viotti and
varnish som e tim e s wi th a r e ddish
,
a violonce llo are in t h e Paris Con
tinge ; his work was care fully finish e d . s e rv at oi re coll e ction .

attista e ru t i
“
Lab e l : Jo B C C re .
, C h a n o t G e org e s a bro t h e r of Fran cois
, , ,

mon e nsis fe cit C re mon ae an 1 8 , ,

. b March 2 6 1 8 0 1 Mir e court ; d
.
, ,
.

C e ru t i Gius e pp e son and succ e ssor of

, ,
J an 1 0 1 8 8 3 Courc e ll e s n e ar Gif
.
, , ,

Giovanni B attista b about 1 78 7; d , . .

( S e in e e t O is e ) He first worke d in
1 8 60 ,
M antua H e e xhibit e d violins . Mir e court but in 1 8 1 9 w e nt to Paris
,

of g ood quality at Paris and e ls e wh e r e , and for a y e ar construct e d violins on

’
but h e has not t h e sam e r e putation as his brothe r s n e w mod e l ; th e n ( 1 8 2 0 )
his fath e r ; h e mor e e sp e cially oc on work e d und e r Cl é m e nt and ( 1 8 2 1 ) was ,

pi e d hims e lf with r e pairi n g old violins . e mploy e d by Gand whom h e l e ft in ,

C h a l l o n e r T homas Work e d in London

, . 1 8 2 3 in ord e r to start busin e ss on his

in t h e 1 8 th ce ntury His instrum e nts . own account livin g first ru e O blin ,

are similar to thos e of W amsl e y .

p re s d e la Hall e a u blé th e n Plac e d e s ,

Ch a m p i o n J e an B aptist e A mak e r in
,
. Victoir e s ( 1 8 2 5 Passage Chois e ul
( 1 8 28 r ue de R ivoli and
Paris in 1 78 3 .
( 18 37
Ch a m p io n R e né A mak e r in Paris
,
.
, finally quai M alaq u ais H e re tire d .

in t h e ru e d e s B ourdonnais in 1 73 1 ; , from busin e ss to Cource ll e s in 1 8 72 .

in t h e ru e de s O drie t t e s in 1 75 6 H is ,
. H e was twic e marri e d t h e s e cond
w orkmanship was e xtr e m e ly pr e tty , tim e in 1 8 5 9 his first w 1fe also mad e :

and care fully finish e d ; h e us e d fairly violins w ork 1n g with gr e at assiduity

,

good y e llow varnish similar to that , and r e nd e rin g h e r husband valuabl e

of B oq u ay of whom h e is said to hav e , aid . Ch anot mad e a care ful study of
b e e n a pupil Lab e ls : R e né Cham . old I talian instrum e nts and was e x ,

pion rue d e s B ou rd on n oi s a Paris

, , ce l l e n t at r e pairing or modifying th e m .

17 35 and R e né Champion d e S t . H is n e w instrum e nts are b e autifully

J ulie n ru e d e s Vi e ill e s O drie t t e s au
,
-
mad e and have a fin e ton e th e y are ,
’
coin d e l ech e ll e d u t e mpl e a Paris , chi e fly copi e s of S tradivari and Guar
n e ri ; t h e form e r are t h e b e st t h e wood ,

b e ing e xc e ll e nt W as award e d : M en .

instrum e nt mak e r in Mir e court b , . tion honorabl e 1 8 2 7; silve r m e dal , ,

17 8 7 M ir e court ; d 1 8 2 8 Roch e fort

,
.
, . 1 8 39 1 8 4 4 1 8 49 ( of t h e s e cond class )
, , ,
“
Aft e r b e in g in t h e E col e polyt e chniqu e , 1 855 .Lab e ls : Chanot j e un e rue ,

h e e nt e r e d t h e Fr e nch navy as e ngin e e r Passage Choise ul N 0 1 5 a Paris , .

, ,
“
b e in g r e tir e d on half pay owing to -

, and G e org e s Chanot a Paris ,

som e satirically writt e n political v e rs e s -

, 1 Q uai Mal aq u ai s anné e 1 8 5
, ,

h e we nt b ack t o Mir e cou rt and in t h e , C han o t , G e or ge s son of G e orge s Chari o t ,

 CHA N O T— C HI O C C H I . 17

an d his first wife First worke d with . of his is dat e d 1 78 3 with his nam e ,

h i s fathe r 1 851 w e nt to London .

, .
, two valuabl e violins are also known ,

wh e re h e worke d und e r M au cot e l ( a in an e xc e ll e nt stat e of pre s e rvation .

brothe r of t h e mak e r in Paris ) an d , , H e som e tim e s made instrum e nts in

1 858 h e start e d his own busin e ss
, , association with S Re nault labe ls .
,

making instrum e nts of ve ry good dat e d 1 78 1 and 1 79 1 having th e ir

quality H e re c e iv e d a .
“
m e ntion nam e s Re nault e t Chat e l ain
,
”
.

”
honorabl e at t h e Paris E xhibition , Ch a t e l in Adri e n B e noist Mak e r in .
:

1 878 . V ale n me n n e s 1 75 8 according to a , ,

C han o t G A A make r of good violins

, . . lab e l found in a viol .

at Manche st e r . C h e rb o ur g A make r i n Paris abou t .

C h a n o t Madam e ,O n e of h e r violins . 17 70 H e was t h e i n v e ntor of an

.

“ ”
was e xhibit e d in Paris 1 8 2 7 S e e , . improv e d lyre of which h e mad e ,

G e orge s Chanot se n , . s e ve ral not without m e rit although ,

C h a p p u y ( Chapuy ) N icolas Augu stin , . ve ry or1gin al in d e sign Lab e l : Che r .

Work e d in Paris about 1 73 2 76 His -

. bourg dans le T e mpl e 5. Paris
, ,

violins are fairly good ge n e rally on a , e n v e n t e u v re ( inv e nt e ur) d e la p e rfe x i o n

”
larg e patt e rn t h e work we ll finishe d , , de ce t instrum e nt tan s désiré .

th e varnish bad ge ne rally y e llow , C h éro n N icolas A mak e r in Paris

, .
,

colour (h e use d spirit varnish like , 1 6 5 8 9 1 in t h e ru e Dauphin e and th e n

-

, ,

most Fre nch make rs of that tim e ) ; in t h e ru e d e la Vi e ill e B ouche ri e -

.

n e arly all a re brande d on t h e button C h e rp i t e l N icolas E mil e b J un e 2 4

, ,
.
,

with his nam e and t h e initial N . 1 8 4 1 Mire court ; d F e b

, 1893 Work e d . .
, .

S om e tim e s are lab e ll e d “

Luthi e r de first at Mir e court th e n unde r G ran djo n , ,
”
S A R la D uch e ss e d e Montp e nsi e r
. . . . and in 1 8 5 9 e nt e re d t h e workshop of
, ,

A violin which w as use d for 3 7 y e ars

, Gand Fr ere s ( Paris ) wh e r e h e r e main e d ,

by Fr H ab e n e ck in his classe s is in t h e
.
,
till 1 8 70 H e th e n e stablish e d hims e lf
.

Paris Conse rvatoir e Coll e ction Lab e ls . at 3 6 4 rue S aint D e nis but in 1 8 8 4
,
-

C h ap p u y aParis and Augustinus move d to 1 3 ru e d u Faubourg Poisson ,

C h ap p u y fe cit Parisiis anno , in ,

n i ére At t h e Paris E xhibition 1 8 78
.
,

a violin ; anoth e r violin was dat e d h e r e ce iv e d a m e ntion honorabl e

17 32 A mak e r of t h e sam e nam e is
. for his instrum e nts which show cl e v e r
m e ntion e d in 1 79 4 . work Lab e l : N 1colas E mil e Ch e r
.

C h ard o n Mari e J ose ph son i h law and

, ,
- -
pit e l a Paris 1 3 Faubourg Poisson , ,

pupil of G e orge s Chanot s e n b , .

, . ni er e .

M ay 2 2 1 8 4 3 Paris H e succ e e de d
, , . Ch e vri e r André Augustin b in Mire , ,
.

his fath e r in law in 1 8 72 I n 1 8 78 h e - -

. court Work e d first in Paris and th e n
.

e xhibit e d two quart e ts of instrum e nts ,

in B russ e ls A w e ll mad e violin with .
-

v e ry we ll mad e t h e wood chos e n with ,

r e d orang e
-
varnish was lab e ll e d :
gre at care Was award e d a bronz e . Ch e vri e r luthi e r a B rux e ll e s 1 8 3 8 , , .

m e dal H e is v e ry skilful in re storing

. Chiar e l l i Andr e a b 1 6 75 M e ssina ; d
, , .
, .

old instrum e nts owing to his gr e at ,

1 699 A mak e r of lut e s and th e orbos
. .

e xp e ri e nc e and knowl e dg e . H e was also a c e l e brat e d lut e play e r ;

Chardo n Mari e J os e ph Antoin e G e orge s
, ,
w e nt to Rom e and N apl e s for h i s
son of Mari e J ose ph Chardon b April , . musical e ducation , the n r e turn e d t o
2 2 1 87
, 0 Worke d unde r t h e dire ction
. M e ssina and tri e d to improve t h e
of his fath e r . construction of his favourit e in s t ru
Charl e Mak e r in Paris i n 1 74 8
. . m e nt H e made s e ve ral the orbos and
.

C h a rl e s T h e re ss O riginally cam e from

, . arch lut e s ; on e of t h e latt e r is dat e d
-

Mire court but s e ttl e d in London in , , 1 69 8 .

King S tre e t S oho as a violin mak e r , , . C h i av e l l a t i , Dom e nico . Work e d in

O n his card is print e d from M au co t e l
“
. Lonigo in 1 79 6 .

C h a ro t t e b in Mire court ; d 1 8 3 6
, He
. . . C h i b o n J e an R obe rt A mak e r in Pari s
,
.
,
’
se ttl e d in Rou e n in 1 8 3 0 and work e d in t h e ru e de la Comt e ss e d A rt oi s ,

the re till his d e ath His instrum e nts . 17 75 79 ; and

-
in r u e d e la Gra n de

are infe rior . T ruand e rie 1 78 3 8 5 H is i n strum e n t s ,

-
.
,

Cha s t e l a in Martin who live d in War , ,

which are not valuabl e a re s e ldom ,

wick Flande rs about 1 5 8 0 was born

, , ,
s e e n two altos and a bass are know n ,

blind H e was a mak e r of and a

.
, h e us e d brown var n ish .

p e rform e r on viols violins spin e ts & c , , , . C hi o c ch i ( Chiocci ) Gae tano Work e d ,

.

C h a t e l a in Fran cois A mak e r in Paris

, . in Padua in t h e 1 9 t h c e ntury Was .

about 1 7779 1 first at 9 rue de B raq u e -

, , ,
cl e v e r both at r e pairing instrum e nts
t h e n in t h e rue de B e rr y An instrum e n t . an d maki n g th e m .
18 C H R ET I E N— C O L L I N M EZ I N -
.

’
Chr é ti e n Hippolyt e b April 1 1 8 4 5 lab e l Christophe r C ocks all ins e g na
'

, , .
, , , ,
’ ’
S omm e rvill e r I n 1 8 6 5 h e succ e e d e d . de ll aquila d oro V e n e tia , ,

to t h e busin e ss of his uncl e Hippolyt e , C o e lh o J oz e T e rre ira

, W ork e d in .

S ilv e str e in Lyons ; 1 8 8 4 move d to , , Lisbon 1 8t h c e ntury I n a guitar is t h e

,
.

Paris U nd e r t h e nam e of S ilv e str e

. inscription J oz e T e rr e ira Co e lho ,

ne ve u h e has mai ntain e d t h e e x a fe z e m Lisboa as Poco los N e gros , ,

ce ll e n t re putation acquire d by his a Cruz da E sp e ran ca .

uncl e His n e w instrum e nts have a

. C o ffe G o g u e t t e
-
A mak e r in Mir e .

b e autiful ton e and are we ll mad e t h e , , court who e xhibit e d i n 1 8 3 4 and 1 8 3 9

,

varnish is transpar e nt ; h e is also e x and was awarde d a bron z e m e dal .

t re me ly skilful in r e pairin g old i n s t ru Guitars of his in t h e Paris Con

m e nts Awards : silv e r m e dal Lyons
.
, s e rv a t oi re Coll e ction are tast e fully
“
1 8 72 ; large m e dal of progre ss orn am e nt e d and hav e a b e autiful ton e .

”
Vi e nna 1 8 73 ; sil v e r m e dal F an s
, , , C o in cu . S ee “
C o mmé .

1 87 8 ; gold m e dal 1 8 8 9 Lab e l : , . C o l e J am e s A mak e r in Manch e st e r

, . .

H ippolyt e Chréti e n S ilve stre n e ve u , . H e l e arnt his trade th e re first with ,

Chri s t a J os e ph Paul Mak e r in M unich

,
. T arr and th e n und e r G e org e Crask .

about 1 73 0 40 Lab e l : J ose ph Paulus

“ -
. U ntil 1 8 5 8 h e us e d a lab e l but aft e r ,
“ ”
Christa Laut e n und G e i ge nmach e r in
, that stamp e d J Col e insid e his .

M im ch e n
’

, 1740 . instrum e nts .

C h ri s t o fo ri Cristofori . S ee . C ol e , T homas W orking in London .

C h ri s t o p h l eJ e an W orke d at Avignon , .
, about 1 6 72 9 0 Lab e ls : T homas Col e -
.
,

1 655 An alto of that dat e made on a

.
, n e ar Fe tt e r Lan e in H olborn ,

large patt e rn is in t h e P aris Cons e rva , and Made 1 6 9 0 by T homas Col e of ,

toire Coll e ction . London on H olborn H ill who s e ll e th

, ,
”
C icil ia n o S ee S iciliano . . all sorts of musical instrum e nts this
C irc a p a T ommaso ,
A mak e r in N apl e s . last w as in a ve ry large t e nor which ,

about 1 73 0 3 5 A mandolin e fairly -

.
. had a fin e d e e p ton e .

w e ll made is known , . o l li ch o n Mich e l W ork e d in Paris

, .

C l a rk . A mak e r in London living at , about 1 6 8 3 9 3 t h e form e r dat e b e ing -

,

T urn mill S tr e e t Cl e rk e nw e ll W as ,
. on t h e lab e l of a viol with six strings ,

a pupil of M atth e w Furb e r . with transpare nt y e llow varnish and ,

C l a u d o t Augustin ,Work e d in Paris . t h e latt e r dat e in a bass viol e xhibit e d -

b e ginnin g of 1 8 t h ce ntury His i n s t ru . in Paris 1 8 8 9 , .

m e nts are on a larg e patt e rn with , C ol l i e r S amu e l A musical instrum e nt

, .

’ ”
y e llow varnish t h e wood of goo d , mak e r in London at C ore lli s H e ad ,

quality and t h e work car e fully finishe d

,
. on London B ridge about 1 75 0 ,

I nst e ad of using a lab e l h e g e n e rally , ol li e r T homas , W ork e d in London .

,

brand e d his instrum e nts with his nam e , 1775

Augustin C lau dot . C ol l in Claud e N icolas
,
A mak e r in .

C l au d ot Charl e s A mak e r in Paris

, . Mire court who di e d 1 8 64 He l e arnt .

who probably cam e from Mir e court . his trade unde r N F V uillau me of . .

H e mad e a numb e r of instrum e nts of , B russ e ls Amongst his pupils was .

which fe w r e main T h e w ork is i n . his son (see Collin M éz in and -

fe rior t h e varnish a y e llow brown

,
-
C A M ir e mont
. . .

colour his nam e is to b e found stamp e d C o ll in M e z in Charl e s J e an B aptist e son

'
-
, ,

insid e on t h e back . of C N Collin b N ov 1 2 1 8 4 1 Mire

. .
, . .
, ,

C l éme n t A mak e r in Paris about

. court First work e d unde r his fathe r
.

1 8 1 5 4 0 in t h e ru e de s B onn e s E nfants
-

,
-
. the re bu t in 1 8 6 8 se ttl e d in Paris in t h e
, ,

H i s violins are now much valu e d by ru e Faubourg Poissonni er e T hough .

.

amat e urs although it is said that h e ,

a ve ry cl e ve r re store r of old instrum e nt s
did littl e work hims e lf but e mploy e d h e de vot e s himse lf mor e to making n e w
on e s takin g thos e of S tradivari A m
,

cl e v e r workm e n such as G e orge s , ,

ati , ,

Chanot A ugiere Calot and T homassin , , ,

. and Guarn e ri as mode ls ; his wood is
H i s work is b e autifull y finish e d and of e x c e ll e nt quality and his work b e auti
artistic h e us e d re d brown varnish ,
-
fully finishe d Awards : g old and silve r .

with g ood e ffe ct H e e xhibit e d in . m e dals Paris 1 8 78 ( for t h e b e autiful

, ,

1 8 2 3 and 1 8 2 7 and r e c e iv e d a bronz e varnish and r e markabl e ton e of his

m e dal . violins ) ; g old m e dal Paris 1 8 79 ; silve r , ,

C o ck s ( C ock o or Cocco ) Christoph e r ,

. m e dal 1 8 8 9 N am e d
, O fficie r d e .

W as workin g in V e nic e i n 1 6 5 4 "

.
’ ”
l A cad émie in 1 88 4 Lab e ls : from 1 8 6 8 .

T h e r e is an arch lut e in t h e Paris -

to 1 8 76 Longu e ur : 9 ce nt haut e ur : .

Coll e ction With t h e Ch J B Collin M éz in fils

'

C onse rva t oir e 2 ce n t . . . .

-
,
20 CRO W T H E R— DA VIS .

with soft light y e llow varnish ; t h e and his instrum e nts show e xp e ri e nc e
ton e is cl e ar and p e n e trating He . and car e ful work .

mark e d his instrum e nts inside on t h e C uny . A mak e r in Paris about 1 74 0 .

back with his initials N C and a . . A violin from which t h e lab e l had dis
above Lab e l : B arak N orman and
. app e are d was brand e d ou t h e back
N athanie l Cross at t h e B ass viol in S t Cuny a Paris it was of infe rior
-
"
.
, ,
’
Paul s church yard London fe cit , , work wit h thick brown varnish
, .

1
7 2 C u p p in Giovan ni A nam e found in an
, .

C ro w th e r A make r in London
,
J ohn . instrum e nt which must hav e b e e n ,

H aughton tr e e t Clar e M ark e t ) about

( S , of an e arly p e riod I t was a baryton .

17 5 5 1 8 10
-
H e work e d occasionally . with no e dge s or p u rflin g t h e sound ,

for J ohn K e nn e dy y H e di e d m 18 10 . . hol e s e l e gantly cut t h e back of poplar ,

C u c h e t Gaspard W ork e d l n Gr e nobl e

, .
, wood t h e varnish a y e llow colour
, .

17 29 Lab e l
.
“
Fait par Gaspard . C u thb e rt M ak e r of viols and violins
.

C u ch e t a Gr en obl e mil s e pt c e nt 2 9 ,
. in London in t h e 1 7th c e ntury S om e .

C u n a ul t G e org e s b 1 8 5 6 Paris ; was

, , .
, instrum e nts are we ll mad e not much ,

appre ntic e d th e re and work e d with , arche d with dark varnish t h e wood of
, ,

Mire mont 1 8 74 obtaining at t h e , , good quality .

Paris E xhibition 1 8 78 a m e ntion “

, , C u y p e rs J ohann e s W ork e d at T h e
, .

”
honorabl e as collaborat e ur 1882 .
, Hagu e about 1 779 U s e d y e llow .

start e d his own workshop first at ,

varnish Lab e l : J ohann e s C u yp e rs
.
,
’
5 3 Faubourg Poissonni er e th e n at
, , fe cit s h agh e 1 779 , .

6 r u e Clauz e l
, H e is a cl e v e r mak e r .
, C y p ri a n i o S ee Antonio . .

Danie l A mak e r in An t w e rp a bout

.
P
instrum e nts P J H e l was a pupil of . . .

1 6 36 56 T w o instrum e nts of his are

-
. his 1 8 6 4 6 5
,
-
.

known a doubl e bass which h e made

,
-
D a rd e ll i Pi e tro I l padr e D arde lli
,

in 1 6 3 6 to b e us e d in Antw e rp Cath e Was a monk in t h e Franciscan monas

dral for t h e Chap e l of t h e H oly t e ry of M antua who liv e d towards t h e ,

S acram e nt and a littl e violin fairly , ,

e n d of t h e 1 st h c e ntury H e was on e .

w e ll mad e dat e d 1 6 5 6 , . of t h e b e st mak e r s of his tim e of

D a n i e l Charl e s Found e d a busin e ss in
, . re b e cs lut e s and viols of all kinds
, , ,

M ars e ill e s in 1 76 2 was succ e e de d by ,

whi ch h e ornam e nt e d with e sp e cially
his son E dmond who was succ e e de d , b e autiful inlaid work A v e ry fin e lut e .
,

by his pupil G u érin . made for t h e D uch e ss of M ant ua t h e ,

D a rch e C F Work e d in B russ e ls

, . . . n e ck admirably work e d in ivory and
W as a pupil of N F V u illau me (a . . e bony and paint e d with t h e ducal
,

broth e r of t h e Parisian mak e r who , coat of arms was dat e d Pi e tro Dar ,

had s e ttl e d l n B russ e ls) H e e xhibit e d . de lli ,

a v e ry satisfactory quart e t of n e w i n D av i d A cont e mporary of P ie rray

. .

s t ru me n t s at M unich in 1 8 5 4 but was , W as working in Paris about 1 73 0 and ,

e sp e cially succ e ssful in a work of re s suppli e d t h e orch e stra of Louis X V I .

t orat i on that had tak e n him two y e ars with instrum e nts ; his workmanship ,

to accomplish T his was an Amati . howe v e r was poor , .

violonc e llo dat e d 1 5 4 7 which had , D a v id s o n H ay A mak e r in H untl e y

, .

b e longe d to Charl e s I X of Franc e and .

,
in 1 8 70 .

was hande d ov e r to D arch e lit e rally in D avi s R ichard

, A mak e r in London . .

’
fragm e nts I n 1 8 6 7 D arch e s i n s t ru . B e gan by working in t h e e mp l of
m e nts w e r e j udge d to b e satisfactory in N orris and B arn e s ; but wh e n orris
point of workmanship but d e fici e nt in ,
di e d in 1 8 1 8 h e succ e e d e d to t h e busi ,

ton e and t h e varnish of poor quality

, . n e ss H e kn e w littl e of violin making
.
,

I n 1 8 5 4 h e construct e d a violin which and always re main e d more of a d e al e r

was curv e d on e ach side of t h e button in than a mak e r of instrum e nts He .

in such a way as to r e nd e r it far l e ss re tire d l e aving t h e busin e ss to William

,

lik e ly to slip from unde r t h e chin of Davis and di e d in B u ss age n e ar

, ,

t h e play e r . S troud his nativ e plac e , in April ,

D a rch e N icholas A mak e r in Ai x la

, .
-
1 8 3 6 and was buri e d in B l s le
, y Parish
Chap e ll e who has mad e a g re at man y ,
-
Church .
 DA V I S— D E LA N Y . 21

D avi s William A mak e r in Cove ntry

,
. th e sound hol e s and t h e corn e rs are -

S tre e t London , A cousin of R ichard . w e ll cut but t h e plat e s of wood us e d

,

Davis whos e busin e ss h e continue d

, are too thin O n e violonce llo has .

till D e c 1 8 4 6 whe n h e sold it to

.
, , y e llow varnish on t h e front and re d
E dward Withe rs and re tire d to varnish on t h e back and side s ; it is
B u s s age H e also was more of a
. w e ll made although t h e d e tails are ,

d e al e r in and re store r of violins than som e what n e gl e ct e d ; it is lab e ll e d

“
a make r and e mploy e d C harl e s , Ambrois e D e Combl e a T ou rn ay ,

M aucot e l ( a mak e r who cam e from h e also use d t h e M S labe l : .

Paris ) to work for him . Fait a T ournay par Ambrois e de

Day , Joh n An amat e ur mak e r in . Combl e lab e ls similar to t h e
,

Lon don a re tire d organist and a good

, , latt e r are dat e d 1 75 3 and 1 76
violin playe r D e vot e d himse lf to . D e c o n e t Mich e l e ,Work e d in V e nice .

re producing t h e p e rfe ct ton e as w e ll ,

about 1 74 2 79 Was a followe r of t h e -
.

as form of t h e C re mona violins and

, ,
Cre mona school T w o violins and a .

is said to hav e succe e d e d ; a copy of a violonc e llo that are known are w e ll
Guarn e ri de l J e s t: b e ing e spe cially made with y e llow varnish Labe l :
, .

m e ntione d as a magnific e nt violi n . Mich e l e D e con e t fe cit Ve n e t ii s anno , ,

D e arl o v e M ark Work e d in L e e ds

, . 17 54 a similar lab e l is dat e d 1 771 .

about 1 8 1 2 2 0 -
. D e fre s n e Pi e rr e A mak e r who s e ttle d
, .

D e arl o v e Mark William son of Mark

, , in R ou e n in 1 73 0 and was still working
D e arlov e At di ffe re nt tim e s h e e m
.
“
the re in 1 73 7 Lab e l : Fait par moi .
,

ploy e d T homas Absam John Gough , , Pi e rre D e fre s n e maistr e luthi e r de ,

and Charl e s Frye r to work for him . Paris de m e urant ru e N e uve S aint L o
,
- -

Th e latt e r h e took into partn e rship . a R ou e n ,

T h e lab e l th e y us e d was : D e arlov e D e b ay e ( D e shay e s ) W as n e ph e w an d .

and Frye r musical instrum e nt manu , only pupil of S alomon Live d about .

fact u re rs B oar Lan e L e e ds , , , 17 75 to 1 8 2 5 in Paris first in t h e ru e ,

D e arlov e e xhibit e d two violins and a d e s S aints P er e s th e n in t h e r u e d e -

,

viola in London in 1 8 6 2 . Gre n e ll e S aint Honoré At t h e sign of

- -
.

D e B l o s y N icola Working in N apl e s

, . th e Prélud e e spagnol h e sold
at 1 3 rua Catalana in 1 79 3 I n a
, , . violins violonce llos bass e s tr e bl e
, , ,
’ ”
guitar was t h e lab e l : “
N icolaus De viols bass viols violas d amore &c
,
-

, , .
,

B los y fe cit N e apoli in rua Catalana

, , , from which it will b e s e e n that h e was
al No . 13 , A D . . mor e of a d e al e r than a mak e r .

D e ch e rt Johann ,N icolaus A mak e r in . D e h om m ais Was an amat e ur who .

G ro b ru t e n b ack in t h e 1 7th c e ntury . und e rtook e xp e rim e nts in varnishe s .

D e co m b e A mak e r in Paris in t h e
. I n 1 8 70 h e w e nt into partn e rship with
1 8 th c e ntury ( is not to b e confus e d Emil e G e rmain which last e d until ,

with D e Com b l e ) H e also publishe d . 1 88 2 during this tim e about a hundre d

m u sic at his shop on t h e quai de instrum e n ts w e r e mad e u n d e r t h e nam e
’ “ ’
l E c ole at t h e sign of
, l A ccord of t h e firm D e h om mai s e t G e rmain , .

parfait . T h e y w e r e awarde d a bronz e m e dal ,

D e C o m bl e Ambrois e b at T our n ai , ,
.
, Paris 1 8 78 , .

B e lgium towards t h e e n d of t h e 1 7th

, D e l a b o rn e H e e xhibit e d guitars in .

c e ntury H e work e d till about 1 76 0

. . Paris in 1 8 1 9 a n d agai n in 1 8 2 3 .

S aid to hav e b e e n in his youth a p u pil D e L a n n oy N J A mak e r in Lill e , . .

of Antonio S tradivari at Cr e mona . about 1 74 0 75 H is instrum e nts w e r e -

.

His instrum e nts are now scarc e T he y . w e ll made with y e llow varnish Lab e l ,
.

are e xtre m e ly w e ll mad e of e xc e ll e n t , N J D e Lannoy sur la p e tit e plac e

. . ,

wood and hav e a rich full ton e e qually

, , au d e ssus d e s Hall e s a Lill e
-
,

good i n all t h e strings but lacking in , lat e r it was “

D e ssus l e s ponts de ,

brilliancy ; t h e varnish ge n e rally re d , ,

Comi n e s 1 773 Pre sumably h i s
,
.

is a littl e dry ; t h e p u rfl in g is always d e sce ndants conti n u e d t h e trad e as an ,

in e xtre m e ly narrow fin e thre ads H is . L D e lannoy in 1 8 2 8 is m e n tion e d as

.

violins and altos ge n e rally follow t h e r e stori n g a violi n mad e i n 1 774 by

S tradivari patt e rn w e ll arch e d e dg e s , , F e n t of Paris
,
.

and corn e rs rath e r thick t h e p u rfl in g , D e l an o e Pi e rr e J e an A mak e r in Paris

,
.

v e ry narrow and t h e varnish a b e auti , , in 1 75 4 .

ful re d brown colour of good q u ality

-
, . D e l an oix A cont e mporary of B oussu
. .

H is violonce llos are e sp e cially w e ll W as working in B russe ls about 1 76 0 .

made ge n e rally on a small patt e rn

, ,
Was a good mak e r .

more arch e d than that of t h e violin , D e l any ( D e lan e y ) J ohn A mak e r in , .

22 D E LA U — DI C K E N SO N .

D ublin in 1 8 0 8 is b e st known by his , mad e by N icolas but b e aring his ,

lab e ls t h e on e v e ry small t h e oth e r

, , stamp are still to b e me t with W ith
, .

v e ry large I Made by J ohn D e . . out b e ing of gre at comm e rcial valu e

lany N o 1 7 B ritain S tre e t D ublin
, .
, , , th e y are w e ll mad e and care fully
“
‘

1 8 08 .II Mad e by J ohn D e lany .

, finish e d but t h e varnish is rathe r ,

“ ”
in orde r to p e rp e tuat e his m e mory in h arsh Awards : M e ntion in 1 8 3 9
.

future age s D ublin 1 8 0 8 Libe rty .

, . and 1 8 4 4 a m e dal of t h e first class at
to all t h e world black and whit e , . t h e Paris E xhibition 1 8 5 5 and at t h e , ,

D e l a u Luci e n
. I n 1 8 3 6 ( on t h e d e ath . London E xhibition 1 8 6 2 for t h e , ,

of C h arot t e ) h e j oin e d J e an d e l in violin che apn e ss and good quality of his

making and th e y continu e d t h e busin e ss
, instrum e nts ; in 1 8 44 h e was producing
at 3 6 rue B e au v oi s in e R ou e n until
, , , 6 0 0 instrum e nts a y e ar s e lling th e m ,

1 848 . from 5 to 1 5 0 francs .

D e l au n e y ( D e launay ) . A viol mak e r in D e ro u x S ebasti e n August e b J un e 2 9

, , .
,

Paris in 1 775 . 1 848 M ire court

, Was pupil th e r e .

D e l e p l an q u e A viol mak e r Gérard J of his fath e r also a mak e r Work e d

i n Lill e 1 76 0
.
, , .

H e was at fi rst
, at Lyons und e r S ilv e str e n e v e u from
”
e stablish e d at M arché aux poul e ts , April 1 8 6 6 to August 1 8 6 9
, Aft e r , , .

n e ar t h e M arché aux poissons but , s e rvin g his four y e ars of military

about 1 76 6 transfe rr e d his busin e ss to s e rvice work e d with M ire mont at
,

t h e ru e d e la Grand e Chaussé e He -
. Paris from N o v 2 0 1 8 73 till J uly 1 5
, .
, , ,

has l e ft som e e xce ll e nt sp e cim e ns of 1 8 8 4 obtaining a

,
“
m e ntion honorabl e
his work ; a fiv e string e d viol dat e d -
, as collaborat e ur at t h e Paris E x h ib i
17 6 6 wi th y e llow varnish tinge d with
, tion 1 8 78
, T h e n start e d his own .

re d ,
was e xhibit e d in 1 8 78 ; a v e ry workshop at 1 6 ru e G e offroy Mari e ,
-
,

b e autiful guitar dat e d 1 76 8 is in t h e , , Paris wh e re h e has r e main e d e v e r

,

Paris Cons e rvatoir e Coll e ction ; also sinc e H e has gain e d a gr e at r e puta
.

anoth e r magnifi c e nt on e made of tion as on e of t h e b e st r e stor e rs of old

tortois e sh e ll inlaid with moth e r of , instrum e nts in Paris U p till now h e .

p e arl and ivory dat e d 1 775 Two ,

. has mad e 9 1 n e w instrum e nts ( violins ,

oth e r guitars are dat e d 1 770 and 1 777 . altos violonc e llos)
, H e follows t h e .

Th e lab e l Gérard J D e le p lan q u e .

, S tradivari and Guarn e ri patt e rns ,

luthi e r ru e de la Grand e Chaussé e

,
-

using rath e r dark re d brown varnish -

.

coin d e c e ll e de s D ominicains a Lill e , H e only e mploys on e workman Was .

17 88 was found in a gu itar ; t h e

, award e d a silv e r m e dal at t h e Paris
sam e dat e d 1 772 in a guitar of e l e v e n
, ,
E xhibition 1 889 Lab e l : S A , . . .

strings which was p e culiar in having

, D e roux 1 6 ru e G e o ffroy M ari e Paris
, ,
-

, ,

t h e back of t h e lut e or mandolin e shap e . 1 88 Abov e t h e dat e t h e l e tt e rs ,

D e l l a C o rn a G i ov an Paolo ( Gian , A S D
. . .

Giacomo) O n e of t h e e arli e st viol . D e s ch a m p s Claud e A mak e r in t h e ,

.

mak e rs who liv e d in B re scia about

, ru e d e S e in e Paris 1 7 83 85 , ,
-
.

1 48 4 and was m e ntion e d by G M

, . . D e sh a y e s S a l o m o n J e an B aptist e , .

”
Lanfranco ( 1 5 3 3 ) as b e ing on e of t h e S ee S alomon .

b e st lut e lyre and viol mak e rs of his , , D e sj ardi n s A mak e r in Cae n in 1 76 3 .

,

tim e . according to t h e lab e l found in on e of

D e m o u ch i P W as working in Lyons ,
. his instrum e nts : Fait par D e sj ardins ,

in 1 6 1 8 according to a lab e l found in a

, marchand luthi e r grande ru e S t J e an , .
-

bass V iol of s e v e n strings with brown

-

, a C a e n 1 76 3 , .

black varnish and t h e h e ad carv e d : , D e s p o n s Antoi n e A mak e r in Paris

, .

P De m ou ch i 5 Lyon 1 6 1 8
. .
, . about 1 6 1 0 H e follow e d t h e I talian .

D e n n i s J e ss e b 1 79 5
, A London , . . patt e rns clos e ly but fail e d to obtain ,

mak e r Appr e ntic e d to J ohn Crowth e r

. a good ton e H is i n strum e nts now .
,

about 1 8 0 5 lat e r was working und e r , v e ry rar e are much sought aft e r , ,

M atthe w Furb e r I n F e b 1 8 5 5 was .

, , although on e that is known is s afi d to
living in E w e h e rs t S tre e t Walworth , b e badly mad e and badly varnish e d .

C ommon . D e s ro u s s e a u A mak e r in t h e 1 8 th .

D e P l a n ch e Pi e rr e A six stringe d , .
-
c e ntury at V e rdun at t h e sign of t h e ,

”
viol of this Fr e nch mak e r 1s known . Luth .

D e ra z e y J A make r in Mire court

, . . D e v e r e u x J ohn H e work e d with ,
.

O n t h e d e ath of J N icolas j un .
, .
, B S imon F e ndt in London but aft e r
.
,

1 8 64 h e succ e e d e d to his busin e ss

, , wards we nt to M e lbourn e .

with all t h e mat e rials &c and so it , .

, i ck e n s o n (D ickin s on ) E dward Work e d ,
.

happ e ns that n e w i n strum e nts not , at t h e

“
H ar p an d Crown in t h e ,
 DI C K E S O N — DO DD . 23

S trand London about 1 75 0 9 0 His

, ,
-
. D i e hl ( Die l ) Jacob son of N icolaus , ,

instrum e nts mad e on t h e S tain e r , Di e hl d 1 8 73 ,E stablishe d hims e lf

. .

mode l are v e ry infe rior

, Lab e ls . as a mak e r in B re m e n in 1 8 3 4 lat e r ,

known are dat e d 1 75 0 1 75 4 and 1 79 0 , , . move d to Hamburg .

D ick e s o n ( Dickson) John B orn in ,

. D i e hl ( Die l ) J ohann a broth e r of , ,

S tirling but work e d both in Lo ndon

,
N icolaus Die hl Was a mak e r in .

and Cambridge about 1 75 0 1 78 0 ,

-
. May e nc e .

T h e r e are instrum e nts dating from both D i e hl ( probably always sp e lt Di e l ) ,

place s H e follo w e d t h e Amati patt e rn

. Martin A mak e r in May e nce in t h e
.

and his work was e xce ll e nt . 1 8th ce ntury H is fathe r in law .

- -
,

D i d e li n J os e ph ,
A mak e r in N ancy . N icolaus D op fe r was his first mast e r ; ,
“
about 1 76 5 75 at t h e sign de la -

, lat e r h e work e d with Carl H e lm e r of

”
Guitar e de s Dam e s d e Franc e Th e . Prague His work was not good . .

fe w instrum e nts known of his are D i e hl ( Die l ) N icolaus b 1 779 ; d 1 8 5 1 , , . . .

infe rior An alto is dat e d 1 775

. . S on of Martin Die hl to whos e busin e ss ,
”
.
“
D idi e r S e e N icolas . h e succ e e d e d First work e d with his .

D idio n Gabri e l , A mak e r at Mire . uncl e Jacob S t e ining e r of Frankfort

, , .

court ; d 1 8 8 1 . . D i e hl ( Di e l ) N icolaus Louis ( 1 1 8 76 , , . .

D i e ffo p ru ch ar ( Tie ffe n b r u ck e r) Magno ,

. Was a son of J acob Di e hl and worke d ,

Work e d in Ve nice about 1 5 8 0 1 6 2 1 -

. in Hamburg H e publish e d a work on .

O n e of t h e last lut e mak e rs of t h e I talian violin mak e rs e ntitl e d : “ D ie ,

gr e at family of which Gaspard D u i ffo G e ige nmach e r d e r alt e n itali e nische n

p ru g c ar was t h e h e ad Magno was of . S chul e ( Hamburg ,

B avarian d e sc e nt and his G e rman ,

D i e u l a fa i t A viol make r work ing in .
,

nam e T ie ffe n b rii ck e r be cam e italian

, , Paris in 1 72 0 this dat e with his nam e , , ,

is e d into D ie ffop ru ch ar or Di e ffop ruk b e ing in a 1 7th c e ntury bass V iol that -

har . His lut e s w e re alway s much h e had r e store d I t is now in t h e .

valu e d on e of t h e e arli e st mad e about

, , Paris Cons e rvatoir e Coll e ction .

1 5 8 0 in V e nic e with a back b e autifully , D in i Giambattista A make r in L ucig

, .

inlaid with ivory and various woods ,

nano in 1 70 7 .

has a lab e l much de face d but i n , , D i t t o n A make r in London about 1 700

. .

’
t e re s t i n g as still b e aring his G e rman I n T homas B ritton s Coll e ction was a
”
nam e Magnus T ie ffe n b ru k e r
, A . good violi n by D itton .

th e orbo was lab e ll e d : Magno T ie ffo D o d d E d w ard b 1 70 5 S h e ffi e ld ; ( 1

, , .
, .

p ruch ar a V e n e tia 1 6 1 0 An arch lut e , .

-
1 8 1 0 London at t h e a e of 1 0
, g 5 He , .

“
has t h e lab e l Magno T ie ffop ru car a was t h e first bow mak e r of this nam e
V e n e tia and was found in Castl e
, and did a gr e at d e al towards improving
E is e nb e rg B oh e mia in t h e coll e ction
, ,
t h e E nglish bow H e liv e d in S alis .

of Prince Lobkowitz A guitar was . bury Court Fl e e t S tr e e t whe r e h e , ,

’
lab e ll e d Magno D ie ffo p ru ch ar Ve n e di e d an d was buri e d in S t B rid e s
, .

tia , A b e autiful arch lut e has a -

C hurch .

large lab e l : Magno D ie ffop ru ch ar a D o dd J am e s s e cond son of E dward

, , .

Ve n e tia T h e sam e dat e is in

, Also mad e bows .

a lut e in t h e B ologna Coll e ction A . D o d d Jam e s son of J am e s Dodd s e n

, , ,
.

similar lab e l dat e d 1 6 10 with t h e lab e l , ,

W as a good b ow make r .

of t h e r e store r J acob R auch b e low , , , D o dd John e ld e st son of Edward D odd ;

, ,

was found in an arch lut e A similar -

. b 1 75 2 S tirling ; d O ct 4 1 8 39 in
.
, . .
, ,

labe l dat e d 1 6 1 2 is in a lut e in t h e

, , Richmond Workhous e ; was buri e d
B ologna Coll e ction and on e dat e d , at K e w H e was first a gu n lock
.
-

1 6 2 0 in a lut e in t h e B e rlin Hochschul e fitt e r th e n a mo n e y scal e m ak e r and

,
-

fii r Musik Coll e ction ; in t h e B e rli n fi n ally fou n d his tru e vocation in
Coll e ction is also a mandoli n e sign e d m aking bows T h e y are mad e of .

Magnus D ie tfe n b ru ge r A ,
m agn ific e n t wood and t h e work is so
th e orbo in t h e Mus e um Mode n a in b e autiful that h e is known as T h e “

”
Vi e nna has t h e undat e d lab e l Magno E nglish T ourt e ; th e ir only d e fe ct is
”
D ie ffop ru ch ar a V e n e tia . that th e y are som e tim e s too short .

D i e hl ( or Di e l as it was origi n ally sp e lt ) , H e would n e v e r tak e pupils pre fe rring ,

Fri e drich son of N icolaus D i e hl ; b

, . to k e e p s e cr e t his m e thod of cutting
1 8 14 . Work e d in Darmstadt Was . t h e wood and r e fus e d to r e v e al it for ,

awarde d a bronz e m e dal at t h e Paris a brib e of although h e was

E xhibition 1 8 6 7 , . oft e n in gre at pove rty .

D i e hl ( Di e l ) H e i n rich a son of J ohann , , D o dd T homas third son o i E dward

, ,

Di e hl Was also a mak e r

. . Dodd Was first a br e we r th e n a
.
,
24 D O D D— D U I F F O P R U GC A R .

v i olin bow mak e r in t h e B lu e B e ll w e ll cut t h e varnish is brown A fe w

-
, .

All e y M int S tre e t S outhwark ( 1 78 6

, , t e nors of his are known .

8 9) and about 1 79 8 b e cam e a d e al e r

, , D oran t W illiam , W as workin g at 6 3 .
,

in and mak e r of violins in N e w S tre e t , Winfi e ld S tr e e t , B rick Lan e S pital ,

’
Cov e nt Garde n moving to S t M artin 5 , . fie l d s in 1 8 1 4, .

L an e Charing Cross , and finally D or ffe l ( D or ffe l ) J ohann Andre as A , .

b e cam e a harp and piano mak e r in violin and lut e mak e r in Kling e nthal ,
’
B e rn e rs S tr e e t V e ry good violins . S axony in 1 74 3 I n a viola d amore
, .
,

w e r e mad e in his workshop ; but with tw e lv e strings y e llow varnish is , ,

“
although the y w e re all lab e ll e d t h e lab e l : J ohann Andr e as D b rffe l ,

T Dodd violin viol onc e llo and bow

.
, , , Violin und L au t e n m ach e r in K linge n ,
”
mak e r N e w S tr e e t Cov e nt Gard e n
, , , thal 1 74 3, .

th e y w e r e almost without e xc e ption t h e D ri n da Giacomo A mak e r in Pianzo

, .

work of B e rnhard Fe ndt and J ohn Lott , in t h e 1 8 th c e ntury .

two e xtre m e ly cl e v e r workm e n who , D ro g m e y e r H e rmann Au g ust A mak e r , .

w e r e for a long tim e in his e mploy . in B r e m e n H e publish e d a book .

D odd hims e lf had a thorough know call e d “

D ie G e ig e e in B e itrag zur ,

l e dge of I talian instrum e nts and , Aufkl arung 1 8 9 1 , .

show e d gr e at skill in his varnish t h e ,

D ro u l e a u or D rou l ot A m ak e r in .

s e cr e t of which h e always k e pt for h e , Paris at 3 5 ru e d u Te mpl e about , ,

would tak e t h e unvarnish e d i n s t ru 1 78 8 1 8 0 0-

H is work was fair h e .
,
”
m e nts in t h e whit e to u s e t h e , us e d brown varnish .

t e chnical t e rm — and varnish th e m D ro u y n D imanch e , A Parisian mak e r . .

hims e lf unaid e d H is lab e l e sp e cially . A littl e pock e t violin is known of his .

allud e s to this varnish D odd , D u ch éro n Mathurin Was a cont e m

, .

’
mak e r 9 2 S t M artin s Lan e P e rfe ct
, , . .
p orary of B oq u ay and was working in ,

0 0 pi e s of S t radiu ariu s Amati S tain e r , , , Paris in 1 71 4 accordin g to t h e following ,

&0 N ot e — T h e only poss e ssor of

. . lab e l : Mathurin D u ch éron a Paris , ,

t h e r e cip e for pr e parin g t h e original 1 71 4

Cre mona oil varnish
.

I nstrum e nts . D u i ffo p ru gc a r Gas ( D u iffop rou cart ) ,

”
improv e d an d r e paire d H is violon . pard b about 1 5 1 4 in Fre isin g
, . ,

c e llos are worth £ 4 0 to 5 0 . B avaria ; ( 1 about 1 5 70 Lyons Was . , .

D o d d E dward and T homas sons of

, , t h e principal m e mb e r of a larg e family
T homas D odd s e n T h e y both l e arnt , . of G e rmans who w e re working in ,

th e ir trad e from B e rnhard F e ndt and , N orth I taly — Padua V e nic e — till about ,
’
carri e d on t h e b usin e ss at S t M artin s . t h e middl e of t h e 1 7th c e ntury and ,

Lan e T homas show e d ability but

.
, still lat e r in S outh G e rmany T h e r e .

di e d e arly in t h e 1 9 t h c e ntury and , is much vari e ty in t h e way in which

E dward d e vot e d hims e l f mor e to th e family nam e is spe lt rangin g ,

making harps and pianos ; h e was from t h e G e rman form T ie fi e n

’ ”
accide ntally drown e d April 2 9 1 8 4 3 , , . b r ii ck e r to D ie ffe n b ru ge r ,
D ui ffo ,

” ”
D o m i n i c e l l i ( D om i n ce l li ) A mak e r in . brocard D u iffop rou gar ,
D uiffo ,
”
F e rrara about 1 6 9 5 1 71 5 who first -
, p ru ggar D u b rocard ,
D ufour ,
”
studi e d in B re scia possibly und e r G , b ou rc ar D uyfau t b ro card
,
and ,
”
B R oge ri
. H e copi e d t h e Amati . D iffob ri card T h e tradition that .

patt e rn with gr e at ability using varnish , Gaspard was a viol mak e r in B ologna ,

of a gold e n y e llow colour which was , and that at t h e r e que st of Fran cois I,
.

v e ry e ffe ctiv e . of Franc e h e accompani e d him to ,

D o m i n i ch i n o Gius e pp e I n V e rona ,
.
, Paris s e e ms to hav e no foundat ion
,
.

17 00 Followe d t h e Amati patt e rn

. . H e probably l e arnt his trad e in S .

D o n at o S e rafin o W orking in V e nic e

, .
,
G e rmany and the n we nt to Lyons at , ,

1410 -
11 . that tim e c e l e brat e d owing to t h e ,

D oni , Rocco
A pri e st in Flor e nc e 1 6 00
.
, larg e fairs h e ld the re thr e e tim e s a
6 0 who mad e lut e s and violins
,
It . y e ar T h e first d e finit e m e ntio n of
.

s probabl e that h e gr e atly assist e d him th e re is a re ce ipt for som e win e

'

t h e c e l e brat e d G B D oni ( to whom h e . . sign e d by “

Gaspard D uiffob rocard
was r e lat e d ) in working out his id e a of all e mand on N o v 2 3 1 5 5 3 anoth e r .
,
”
th e Lira B arb e rina an instrum e nt ,
re c e ipt Sl gn e d Gaspard D uiffop rou
,

” L e ttre s de
copi e d from t h e anci e nt Gre e ks . gar is dat e d N ov 4 1 5 5 5 .
,
.

D o p fe r ( D op fe r) N icolaus A mak e r , . n a t urali t é w e r e grant e d to G aspard

in May e nc e about 1 76 8 H is in . D ie ffe n b ruge r by H e nri I I fr om .
,

s t ru me n t s are w e ll mad e sli ghtly ,

Paris in J an 1 5 5 8 I t was at Lyons
,
.
,
.

arche d t h e sou n d hol e s small but

,
-
th a t Pi e rre W oe iri ot e n grave d in 1 5 6 2 , ,
 D U I FF O P R U G C A R— DU M E SN I L . 25

his ce l e br at e d portrait of him in which , it was pull e d down ; h e could not

h e is re pre s e nt e d at t h e age of 4 8 y e ars . obtain any ind e mnity and di e d shortly
’
Gaspard s instrum e nts are rare and , aft e rwards l e aving a widow and four ,

are mor e valu e d for th e ir inlaid work childre n in d e bt and in gre at mis e ry .

and ornam e ntation than for t h e quality T h e y w e r e award e d a pe nsion by

“
of th e ir ton e I nstrum e nts k nown are
. Charl e s I X in 1 5 71 S ee T i e ffe n . .

t h e famous bass V iol with t h e plan of b rii ck e r

'

-
.

Paris inlaid in di ffe re nt coloure d woods J e han

D op ro uc art )
(
'

u ifl o p ru g car u i fl , ,

on t h e back and t h e n e ck e nding in a

, son of Gaspard D uiffop ru gcar
Was .

’
hors e s h e ad now in t h e B russ e ls
, a make r of lut e s about 1 5 70 9 0 in Lyons -
.

“
Conse rvatoire Colle ction t h e bass viol -
D u i ffo p ru g c ar Magno S ee D ie ffo , .

with its back inlaid with t h e picture p r u c h ar .

kn own as t h e Vi e illard dans la chaise D u i ffo p ru g c a r , U lrich Was working .

’
d e n fan t t h e n e ck also e nding in a
, in B ologna at t h e b e ginning of t h e 1 6 th
’
horse s he ad th e small bass Vi ol -
c e ntury .

with t h e n e ck finishe d in e xactly D u k e R ichard A m ak e r in London

,
.

t h e sam e way and t h e back b e autifully

,
about 1 75 0 8 0 H e mad e e xc e ll e n t -
.

ornam e nt e d ; and inscrib e d with t h e copie s of S tradivari an d Amati i n s t ru

Latin l e g e nd Viva fui in sylvis sum
, ,
m e nts and not quit e such good on e s
,

dura occisa s e curi ; dum v i x i ta oui , of S tain e r G e nuin e instrum e nts of .

mortua dulce cano ( I t is suppos e d to his are v e ry fin e but unfortunat e ly ,

b e t h e viol that sp e aks I was living ,

his nam e was oft e n mad e u s e of in
in t h e fore st t h e cru e l ax e kill e d me
, . e xtr e m e ly poor sp e cim e ns His violins .

Living I was mut e ; d e ad I sing

, ,
and vi olonc e llos w e r e of rath e r a long
and t h e bass V iol with -

,
patt e rn v e ry arche d with y e llow
, ,
’
Mich e l Ange lo s Mos e s re pr e se nt e d varnish th e ir to n e was v e ry good ;
,

on t h e back J B V u illau me of Paris

. . .
, ,
som e of his t e nors are a littl e short in
caus e d much misappre h e nsion on t h e l e ngth but ve ry broad so as to obtain ,
’
subj e ct of Gaspard s instrum e nts by ,
a larg e d e e p ton e ; t h e re sult is good ,

in 1 8 2 7 producing violins b e autifully

,
al though t h e two lowe r strings might
inlaid and carve d in his styl e which , b e mor e pow e rful Lab e ls : R ichard .

w e re so succe ssful that ord e rs for similar D uk e L on d in i fe cit 1 760

,
similar ,

instrum e nts w e re at onc e r e ce iv e d his o n e s dat e d 1 76 7 and 1 76 9 ; R ichard “

e xampl e was soon follow e d in G e rmany D uk e mak e r Holborn London anno

, , , ,

and M ire court so that now violins and,

an othe r dat e d 1 777 T h e s e two .

violonc e llos of this d e scriptio n are labe ls w e re g e n e rally writt e n in ink .

“
num e rous T h e v i olin s known are :
. H e also us e d a print e d lab e l R ichard
on e dat e d 1 5 1 0 said to hav e be e n ,
Duk e make r n e ar opposit e Gre at
, ,

mad e for Fran cois I (h e only asc e nd e d . T urn S til e H olb o u rn Lo n do n

-

, ,
.

t h e thron e in o n e dat e d 1 5 1 1 ,
D uk e Richard son of R ichard D uk e
, , ,

with an oil painting said to b e by se n . with whom h e appare ntly l e arnt

,

L e onardo da Vinci ; on e dat e d 1 5 1 5 ; his trad e H e was not so succe ssful . ,

anothe r dat e d e ithe r 1 5 1 5 or 1 5 39 ; howe v e r B oth fath e r and son g e n e .

on e dat e d 1 5 1 7 with a portrait of ,

rally brand e d th e ir i n strum e nts on t h e
Gaspard copie d from t h e 1562 back n e ar t h e button with th e ir
, ,

e ngraving “ surnam e som e tim e s adding London

on e labe ll e d Gaspard ,

D u iffop ru gcar B on on ie n s i s a 1 5 1 5 .
, b e low .

’
t h e n e ck e nding in an old man s D u l fe n n Al e xand e r ,
Was working in .

“
h e ad on e dat e d 1 5 2 1 and on e Le ghorn in 1 6 9 9 Lab e l : Al e xan de r .

with t h e lab e l Gas p ard D u iffo Dul i cu n fe cit Livorno 1 6 9 9 , ,

.

p ru gca r a la cost e S aint S ebasti e n a -

D u m én i l N A mak e r in Paris
,
A .
.

”
Lyon . A lyra da braccio probably ,
violin of his dat e d 1 78 6 is known , ,
.

made at t h e b e ginning of t h e rot h D u m e s n il J acqu e s A mak e r in Paris ,

.

c e ntury is also lab e ll e d :

, Gaspard about 1 6 5 5 6 0 A curious littl e violi n -
.

D u i fl op ru ggar B on on ie n s i s , an n o 1 5 1 5 . is in t h e Paris Co n s e rvatoire Coll e ction ,

It has only lat e ly b e e n known that w ith a M S lab e l dat e d 1 6 5 5 Th e .

.

Gaspard was not born b e for e 1 5 1 4 . back and sid e s are of mapl e wood t h e ,

H e marri e d B arb e H o me a u ; h e was front of c e dar t h e p urfl i n g inlaid with ,

i n e asy circumstanc e s but u n fo r ,

silv e r an d whal e bon e and t h e h e ad is ,
’
t u n at e ly his hous e stood on som e carve d into a woman s fac e Th e .

ground r e quir e d for t h e e nlarge m e n t varnish a re d brown colour is e x ,

-
,

of a fortre ss (built i n Lyons he , ce l l e n t and all t h e de tails show a

,

was turn e d out of his hom e in 1 5 66 and , cl e v e r mak e r .

26 D U N CA N — E S L E R .

D u n c an W orking in Abe rd e e n in 1 76 2
. . mad e in G e rmany ; his violins ve ry ,

D u n can G e or ge , A mak e r in Glasgow . arch e d with brown — almost black

,

in 1 8 8 7 . varnish of bad q uality are said t o

, ,

D u rfe l ( D u rfe ll) J G A mak e r in , . . hav e an e xce ll e nt ton e .

Alt e nburg 1 778 His doubl e bass e s

, .
-
D u R i e z N icolas A Fre nch mak e r
, .

e sp e cially valu e d and are con I n a bass V iol was t h e l ab e l N icolas !

are ,
-

s i d e re d to b e som e of t h e b e st e v e r D u R i e z a Abb e vill e 1 66 3 , .

E b e rl e , J ohann A mak e r in U lrich . b e autiful instrum e nts rathe r arch e d , ,

Pra g u e about H e was a v e ry 173 0 60

-
. t h e wood of e x c e ll e nt q uality th e ,

cl e ve r imitator of Cre mona violins but , varnish a golde n y e llow colour -

.

his instrum e nts lack e d t h e full r ound Lab e l : Franciscus de E mi lian is ,

ton e of t h e I talian instrum e nts ; th e y fe cit R oma anno D fii 1 72 9 , ,

.

w e re of e xc e ll e nt workmanship with , E n gl e d e r Andre as , W as mak e r to t h e .

amb e r or som e tim e s brown varnish . Court at M unich I n 1 8 54 h e e x .

Lab e l : J oann e s U lri cu s E b e rl e fe cit , h i b it e d th e r e a q uint e t of instrum e nts

’
P ragm 1 75 9 , I n a viola d amor e that . mad e on a n e w pat t e rn of his own ;
h e had r e stor e d was t h e lab e l J oann e s th e y w e r e of b e autiful workmanship ,

U lricu s E b e rl e m e re p ara v i t P ragae , , and of full e xc e ll e nt ton e ; h e was

’
anno 1 749 anoth e r viola d amor e was award e d m e dals H e is w e ll known .

dat e d 1 73 0 . for his gr e at e xp e ri e nce and g ood

E b e rt i T ommaso
, An I talian mak e r . work .

abou t 1 73 0 5 0 -
. E n gl e d e r Ludwi g , A make r in B am .

E d l i n g e r J os e p h J oach i m son of T homas

, , b e r g : E xhibite d at Munich 1 8 5 4 a , ,

E dli n ge r d M ay 3 0 1 74 8 at Pra g u e
,
.
, , . violonc e llo with bow and two violins , ,

H e mad e e xc e ll e nt lut e s and was a good , w e ll mad e on t h e G e rman patt e rn , ,

workman ; for having first l e arnt his of e xce ll e nt ton e .

trade from his fath e r h e liv e d for many , E rik s o n K n u d t , A mak e r in N orway . .

’
y e ars in I taly in orde r to p e rfe ct his I nsid e a sort of viola d a mor e of t h e
art and visit e d Cre mona R om e
, , , H ardange r p e asants in N orway was ,

N apl e s B ologna Fe rrara and V e nic e

, , , . th e lab e l F ab rok e rt of K n udt '

H is instrum e nts are much valu e d . E rikson H e lland , ,

E dli n g e r T homas b in B oh e mia and

, , .
, E rn s t Franz Ant o n ; b D e c 3 1 74 5 at
, . .
, .

was livin g in Pragu e 1 71 2 1 5 S aid ,

-
. G e org e nthal in B oh e mia ; d J an 1 6 , . .
,

to b e a pupil of S tain e r made v e ry , 1 805 Gotha

, W a s a ce l e brat e d .

good instrum e nts using varnish re s e m , violinist but also t h e mak e r of som e
,

bling slightly that of t h e B e rgon z i s . v e ry e xc e ll e nt instrum e nts H is fi rst .

H is lut e s are fin e ly mad e . work was don e in Prague wh e re h e ,

E e s b ro e c k Jan van A lut e mak e r in

, . w e nt for purpos e s of study about 1 76 3 ;
Antwe rp 1 5 8 3 8 5 son of J oss e van
,
-

, but in 1 778 b e in g appoint e d solo

E e s b roe ck H e also mad e clav e cins
. , violinist to t h e Court of Gotha h e ,

E gl i n g t o n A mak e r in London in 1 8 0 2
.
, th e re found l e isur e to d e vot e hims e lf .

accordin g to a lab e l E glington fe cit , to t h e makin g of violins H e had at .

D rury Lan e London which was , , fi rst workin g with him J A O tto who . .
,

in a violin of v e ry good ton e but poor , lat e r b e cam e on e of t h e b e st G e rman

workmanship . mak e rs W he n O tto start e d his own
.
-

E l e m e n t J e an Laur e nt , W orking in . busin e ss at W e imar Artmann and ,

Paris in 1 78 3 .
B i n d e rn age l both carp e nt e rs l e ft
, ,

E l s l e r ( E sl e r ) J ohann J os e ph A mak e r , . W e imar and b e cam e appre ntice d to

in May e nce about 1 71 5 3 0 O n e bass -
. E rnst H e follow e d t h e S tradivari
.

viol with se ve n strings t h e h e ad of a , mod e l and t h e ton e of his instrum e nt s

,

woman inst e ad of scroll and with , is said almost to have e quall e d that of
varnish of a y e llow brown colour was -

, t h e Cr e mona instrum e nts I n 1 804 .

J oann J os e ph h e publish e d in t h e A l lg emein e M usik

“
dat e d 1 72 8 Lab e l : .

E sl e r Laut e n und G e ig e nmach e r e ipzig )

, , a li sch e Z ei tung ( L a v e ry
Me yn t z , int e re stin g articl e on t h e constructio n
E m il ian i France sco d e , . A mak e r in of violins .

Rom e about 1 7 1 5 20 . -
He mad e som e E sl e r . S ee E l s le r .
28 F E N D T — FI C K E R .

F e n d t Francis fourth son of B e rnhard

, , infe rior and h e us e d brown varnish of
,

F e ndt Pupil of his e ld e st broth e r

.
, bad quality I n a violi n of v e ry .

B e rnhard S imo n Work e d for som e . ordinary mak e with broad p u rfli n g ,

tim e for t h e firm of Purdy and F e ndt . and thick brown varnish was t h e ,

I n 1 8 5 6 h e was r e siding in Liv e rpool , lab e l : Pi e tro P e rati fe cit S i e na , ,

gaining a v e ry pr e carious living . 1764 .

F e n d t Fran cois b e st k n own in Franc e

, , F ére t . A pupil of M edard who was ,

as F e nt A G e rman mak e r who s e ttl e d

. working in Paris in 1 70 8 accordin g to ,

in Paris and was living th e r e cul d e -

t h e following lab e l found in a violin
sac S t Pi e rr e ru e M ontmartr e
, .
-

, , with brown varnish Fait par F ére t ,

about 1 76 3 9 1 I n his tim e h e had -

. el ev e d e M edard 1 70 8 H is in s t ru , .

t h e r e putation of b e ing on e of t h e m e nts following t h e M edard patt e rn

,

cl e v e re st mak e rs in Paris h e care fully ge n e rally show good work and t h e , ,

studi e d I t alian in s t ru me n t s p art icu l arly , brown varnish is fairly brilliant .

thos e of Ant S tradivari ; h e us e d a . F e r g u s o n D onald A mak e r in H untl e y ,

.
,

b e autiful re d brown oil varn i sh which -

, Ab e rd e e nshire .

with t h e progre ss of tim e has b e com e , F e rgu s o n a n d S o n M ak e rs in E din .

almost black his instrum e nts are also burgh at t h e b e g innin g of t h e 1 9 t h

much worm e at e n but hav e a rich -
, c e ntury .

ton e H is l ab e l Fait par F e nt mai tre

.
, , F e rr a ri A g ostino , A make r in B udrio .

luthi e r ru e Montmartr e cul de sac

, ,
- -

( taly ) in t h e 1 8 th c e ntury
I .

S aint Pi e rr e a Paris
-
”
was found in a , F e rrari Alfonso ,W orkin g in Carpi .

violin which might b e mistak e n for a ( Mod e na) in 1 73 8 .

most b e autiful I talian ins t ru me n t ; t h e -

F e rrari Carlo W as working in S ie n n a f

dim e nsions are e xactly t h e same as

.
,

in 1 740 .

thos e of a violin of Ant S tradivari ; . F e rrari Gasparo ,A mak e r in R om e in .

t h e work is car e fully fi nish e d t h e wood , 7

1 31 I n a. mandolin e was t h e lab e l :

e xc e ll e nt and t h e ton e v e ry good t h e

, , G asp aru s F e rrari R omanus fe cit , ,

original n e ck and scroll are still in -

'

ann o
plac e An alto has also b e e n s e e n and
. F e u ry o r F e rry Fran cois son i n law of , ,
-
-

a violin dat e d 1 774 re paire d by D e

, , L e cl e rc t h e violin mak e r Was working .

’
lannoy of Lill e in 1 8 2 8 , , . at ru e de l A rb re s e c Paris about -

, ,

F e n dt J ac ob third son of B e rnhard

, , 1 50 60
7 His violins are on a small
-
.

F e ndt ; b about 1 8 1 5 in London ; ( 1 . , . patt e rn t h e sound hol e s are small and

,
-

about O ct 1 8 49 in B lu e Anchor .
, . we ll cut t h e varnish is a thick re d t h e
-
, ,

Court W h i t e cros s S tre e t Finsbury

, , . work is g ood for t h e p e riod A g uitar .

Pupil of his e ld e st broth e r B e rnhard , and a doubl e bass of his hav e b e e n -

S imon W as e mploy e d occasionally by

. s e e n but h e d e vot e d most of his tim e
,

W D avis of Cov e ntry S tre e t and also

.
, , to makin g wind instrum e nts Labe ls .

’
by T urn e r a d e al e r in violins H e was , . F Fe ury ru e de l A rb re s e c v i s a
.
,
-

,
-

’
almost t h e b e st mak e r a mong t h e s on s .
vis S aint G e rmain l A u x e rroi s Paris - -
, ,

of B e rnhard his 00 pi e s of I talian , , 17 55 and F F e ury ru e d e Fossés .

, ,
’
e sp e cially of S tradivari instrum e nts , S t G e rmain I A u x e rroi s proch e la ru e
-
-

’
are v e ry fin e t h e work b e ing b e autifully , d e l A rb re s e c a Paris 1 7 -
,

finish e d ; u n luckily h e consid e re d it F e v ro t W ork e d i n L yon s from 1 78 0

.
'

n e c e ss ary to giv e th e m t h e app e aranc e to 1 8 1 3 H is work was poor I n an . .

of age and usage . old I talian guitar was t h e lab e l :

F e n d t Martin s e cond son of B e rnhard
, , R aoo mod é par F e v rot a Lyon 1 78 8 , , .

F e ndt ; b J uly 1 8 1 2 in London ; d .

, , . F e yz e au A mak e r in B orde au x in
.

J uly 1 8 4 5 in B e ll All e y , Col e man

, , 1 60
7 A lyr
. e of his is w e ll mad e with ,

S tr e e t Pup il of his fath e r ; h e had

. varnish of a pal e y e llow colour I n a .

tal e nt a n d was o n e of t h e g ood work

, quinton or fiv e stringe d viol also ,
-

m e n e mploy e d by Arthur B e tts broth e r , we ll mad e with a pal e bro wn V arnish

-
, ,

of J ohn B e tts . was t h e lab e l : F e yz e au 51 B ord e aux ,

F e n d t W illiam s e cond son of B e rnhard 1' 60

l
, , .

S imon ; b 1 8 3 3 in Finch Lan e Lon .

, , F ic (
i t h o l d F ic h t o ld
) A G e rman
, H ans .

don ; d 1 8 5 2 at 7 S mith S tre e t .

, , , mak e r of fin e lut e s who liv e d about ,

B rompton and was buri e d in B rompton , 161 2 .

C e m e t e ry Pupil of his fath e r ; h e . F i ch t l ,

Martin
A mak e r at Vi e nna .

b e cam e a v e ry cl e v e r workman makin g , about 1 75 0 7 H is instrum e nts are of -

.

e xc e ll e nt violas and doubl e bass e s -

. lar ge patt e rn h e us e d wood of good ,

P e rat i Pi e tro
, W as working in S i e nna . quality and e x ce ll e nt varnish
,
.

about 1 75 4 6 4 H is instrum e nts are -

. F i ck e r J ohann Christian
, A m ak e r i n .
 F I C K E R— F O N C L A U S E .

Cr e mo n a about 1 72 0 2 Although his re d colour and for that dat e v e ry

“

-
.
, ,

lab e ls are always dat e d from Cre mo n a , satisfactory I n a we ll made violi n is .

“
his work looks as if h e had l e arnt h i s the lab e l : Giuse pp e Carlo frat e lli
’
trad e in G e rma n y H e u s e d brow n . F i sce r fabbricatori d i n s t ru m e n t i i n
,

varnish . Milano vicino alla balla 1 76 4

, ,
.

Fick e r J ohann Gottli e b

,
A mak e r in . Fi s ch e r Anton b 1 79 4 ; d 1 8 79 A
, , . . .

Cr e mona about 1 78 8 9 -
. mak e r in Vi e nna .

F ik e r Johann Christian
,
Was working . F i s ch e r Johann U lrich T h e lab e l J
, .
,
.

in N e ukirche n ( S axony ) in t h e first Fische r Landshut 1 72 2 was in a

, , ,

half of t h e 1 8 1h c e ntury Lab e l : . tromba marina in t h e Coll e ction of t h e

-

J ohann Christian P ik e r Laut e n und ,

G e s e llschaft d e r Musikfre und e Vi e nna , .

G e ige nmach e r in N e ukirch e n b e y ,

A viola da gamba was dat e d 1 72 0 .

Adorf . F i s ch e r Zachari e b N ov 5 1 73 0
, , . .
, ,

Fil a n o Donato A mak e r of mandolin e s

, . W ii rz b u rg ; ( 1 th e r e N ov 2 7 1 8 1 2 H e . .
, .

in N apl e s in t h e rua di S Chiara ,

.
,
annou n c e d in 1 78 6 that in m aki n g his , ,

about 1 78 2 I n a mandolin e of v e ry . instrum e nts h e e mploy e d a n e w m e thod

pre tty workmanship inlaid with ,
by m e ans of which th e y e quall e d thos e
moth e r of p e arl on tortois e sh e ll with
- -
, of S tradivari and of S tain e r T his .

u fl i of ivory was t h e MS lab l was t h e m e thod of drying t h e wood in

p r n g e : , .

Donato Filano fe cit alla rua di S , . an ov e n which has sinc e oft e n b e e n

,
”
Chiara A D 1 78 2 N apoli , .
, . tri e d but n e v e r found to answe r as it ,

F in dla y J A mak e r in Pad an aram

, .
, is impossibl e to mak e t h e proc e ss
F orfars h ire . gradual e nough t h e r e sult b e ing that ,

F iori l l o Giovanni Working in F e rrara

,
. th e ton e los e s all brilliancy His .

in 1 78 0 His instrum e n ts are mad e . i n strum e n ts are lik e d .

both on G e rman and I talian patt e rns ,

F l a c Philipp e b about 1 5 3 2 A mak e r
, , . .

t h e sou n d hol e s are lik e thos e of S tain e r

-
. of lut e s an d guitars in Lyo n s abou t
His violonc e llos are among his b e st 1568 -

72 .

i n strum e nt s . Fl e t t é or H e t t é B e noist Work e d in , .

Fi o rin i G i us e pp e son of R affae l e

, ,
Paris about 1 75 6 6 3 F e w of h i s -
.

Fiori n i b 1 8 6 7 H e e arly showe d

,
. . instrum e nts are k n ow n .

’
sig n s of having inh e rit e d his fath e r s Fl e uri ( Fl e ury) J e an Fra n cois W as , .

tast e s a n d wh e n sixt e e n (aft e r havi n g

,
worki n g in Paris 1 78 3 5 ,
-
.

re c e iv e d a good e ducation ) comm e nc e d F l e u ry B e noist A mak e r in P aris i n

, .

making violins H e mad e rapid pro . t h e ru e d e s B ouch e ri e s about 1 75 1 9 1 -

.

gr e ss and t h e i n strum e nts which h e

,
H e mad e fairly good violins A n alto .

e xhibit e d at Milan an d T urin show dat e d 1 75 1 is known an d a guit ar In .

that h e is on e of t h e b e st I talian mak e rs t h e Paris Co n s e rv a toir e Coll e ctio n i s

of t h e pre s e n t tim e a bass V iol w e ll mad e dat e d 1 5 In
75
-
.
, , .

F iorin i R a ffa e le b at Pia n oro Wh e n

, , . . 17 9 1 h e was still worki n g r e pairi n g ,

s till a child h is pare nts mov e d to , violins doubl e basse s a n d alt o s

,
-
, .

B azzano wh e re th e y m e t a c e rtain ,
Lab e l B e noist Fl e ury ru e de s ,

T ad oli n i of Mod e na broth e r of t h e , ,

B ouch e ri e s Faubourg S ai n t G e rmai n ,
-

violin mak e r who r e m e mb e ring what , ,

P aris 1 774 , .

’
h e could of his broth e r s m e thods us e d ,
F l o re n u s ( F l ori n u s
) G u id a n t u s or ,

to mak e small violi n s to amuse young Flor e ntus A mak e r i n B olog n a

.

R a ffa e l e ; t h e latt e r soon b e cam e about 1 700 6 0 His i n s trum e n t s show -

.

int e r e st e d and e nd e avoure d to assist . a distinct d e cad e nc e ; t h e workman

R a ffa e l e gradually gain e d knowl e dge ship is h e avy t h e varn ish alo n e i s ,

and e xp e ri e nce and in 1 8 6 7 w e nt to , satisfactory h e followe d t h e mod e l of

B ologna to work s e riously for s e v e ral N icola Amati Lab e l : G u id an t u s .

y e ars finally op e ning his own workshop

,
F lo re n u s B on on i ae 1 70 , a s imilar ,

in t h e Palazzo P e poli th e r e . o n e dat e d 1 5

7 S ee G u ida n t u s .

F irth G , Was working i n Le e ds i n

. F o n c l a u s e Jos e ph (call e d L e May e ux
“
,

1 8 3 6 accordi n g to t h e following lab e l : b 1 8 0 0 a la Conté ; d 1 8 6 5 Paris

.
, .
, .

G Firth N o 1 1 0 B riggat e Le e ds
.
, .
, , , First work e d with Pag e ot at Mire court ,

1 83 6 H e was a pupil of William

. the n about 1 8 2 5 w e n t to Paris and
, ,

B ooth s e n e nt e r e d t h e e mploy of B V u illa u m e

, .

J . . .

F i s c e r Carlo and Gius e pp e ; two broth e rs H e b e cam e a v e ry cl e v e r mak e r of

w ork 1n g in Milan tog e th e r about 1 76 0 violi n bows and lat e r wh e n h e start e d , ,

64 . T h e ir work r e s e mbl e s more that his own busin e ss first in ru e P age v i n , ,

of G e rman than I talian mak e rs but , th e n in t h e ru e Montmartr e always ,

th e ir varnish is be tt e r ; it is a y e llow mark e d his bows with his nam e .

30 FO N TA N E LLI— FO RS T E R .

F o n t an e ll i Giovanni Giuse pp e ,
A . his fath e r H e us e d spirit varnish .
,

c e l e brat e d mak e r of mandolin e s and
lut e s in B ologna about 1 73 3 72 I n a
magnific e nt lut e p u rfl e d in ivory t h e
and did not p urfl e his instrum e nts ;
-
. th e work alto ge th e r is not highly
, , fi n ish e d b u t t h e ton e is fairly good
, .

n e ck inlaid in tortois e sh e ll moth e r o f ,

-
F o rs t e r William ( old
,
“
son of
p e arl and ivory in e v e ry way a
, , William Forst e r ( 1 71 3 b M ay .
,

sup e rbly made instrum e nt was t h e , 17 3 9 at B rampton Cumb e rland ; d

, , .

“
lab e l : Giov Gius e pp e Fontan e lli . Dec 14 . 1 8 08
, H aving work e d for
, .

’
fe c e in B ologna l anno 1 73 3 3 X b re ,
-
som e tim e und e r his fath e r h e w e nt to ,

T w o mandolin e s dat e d 1 771 and 1 772 , , London about 1 75 9 Was first a gun .

are in t h e Paris Cons e rvatoir e C ol le c stock mak e r only occasionally making ,

tion . Anoth e r lab e l is : Giovanni violins and s e lling th e m to t h e d e al e rs .

Gius e pp e Fontan e lli B ologn e s e f an , , . . About 1 78 5 h e start e d his busin e ss at

1 7 3 4 8 S trand
, I n 1 76 2 h e was making .

P o rch e v ill e J B aptist e W as workin g,

. . on t h e S tain e r patt e rn using brown ,

at S t O m e r ( Franc e ) m
. 1 673 according , varnish T h e s e instrum e nts are not
.

to t h e following lab e l found in a e qual to t h e lat e r on e s mad e on t h e

poch e tt e or littl e violin made wi th a , Amati patt e rn T his h e follow e d from .

p e nta g onal back : Fait a S t O m e r , 17 72 till t h e e n d of his life cop y in g ,

par ] B t e P orch e vill e 1 6 73

.
, . som e tim e s from Ant and Gir Amati . .
,

F o rs t e r ( Fost e r or Forre st e r) J ohn b , , . som e tim e s from N icola Amati Hi s .

about 1 688 at K irkandre ws on t h e , , violins and altos thou g h of fair wor k “

E sk ; d O ct 178 1 B rampton Cum manship hav e not such a fin e ton e as

b e rland H e was t h e first m e mb e r of
. .
, , , ,

. his violonc e llos T h e latt e r w e r e .

t h e c e l e brat e d family of Forst e rs to much lik e d in E ngland e sp e ciall y t h e ,

mak e violins H e e arly s e ttl e d in . amb e r colour e d on e s (t h e dark re d

-

B rampton and was a mak e r of , coloure d on e s w e r e r e ally e qually g ood) .

spinnin g wh e e ls also a g unmak e r ;-

, ,
For a tim e th e y w e r e n e gl e ct e d owing
“
a v e ry inge nious man and occa , ,
to t h e large numb e r of I talian violon
s i on all y mad e fidd le s A violin said .
, c e llos s e nt to E ngland but th e y still ,

to b e his is mad e on a v e ry high , s e ll at high pric e s H e only mad e .

mod e l re s e mblin g that of S tain e r

, , four doubl e bass e s thr e e of which -

althou g h t h e outlin e was som e w e re for t h e privat e band of G e orge

what similar to t h e patt e rn of an III . Lab e ls : W illiam Forst e r violin
“
,
’
Amati but t h e work was rud e and
, mak e r in S t M artin s Lan e London .
, ,

unfinish e d . 1 62
7 anoth e r W illiam Forst e r , ,

F ors t e r S imon Andre w son of William

, , violin violonc e llo t e nor and bow
, , ,

Forst e r ( 1 76 4 b M ay 1 3 1 8 0 1 .
, , mak e r N B T h e abov e instrum e nts
. .

London ; d F e b 2 1 8 70 H e carri e d . .
, . are mad e in t h e b e st mann e r and
on t h e busin e ss first at Frith S tre e t , finish e d with t h e original varnish ; and
th e n at M accle s fie ld S tre e t S oho : H e , a copy of e v e ry Capital instrum e nt in
l e arnt his trad e und e r his fath e r , E ngland may b e had .

S amu e l Gilk e s ( a workman in his F o rs t e r William ( youn g Forst e r

,
“

’
fath e r s e mploy ) and his broth e r , son of W illiam Forst e r ( 1 73 9
W illiam 1 8 2 8 40 h e mad e s e v e ral
.
-

, b J an 7 1 76 4 London ; ( 1 J uly 2 4
. .
, ,
.
,

instrum e nts v e ry much arch e d of no , , 1 8 24 H is instrum e nts are good but

.

gre at m e rit usin g t h e lab e l : S A n ot e q u al to thos e of his fath e r ; t h e

“
. .
, .

Fost e r violin t e nor and violonc e llo

, , , varnish is of g ood quality ; som e
mak e r N o Londo n H e us e d instrum e nts hav e a fin e t on e ; t h e
spirit varnish for his s e cond class
.
,

-
work is w e l l and n e atly finish e d A .

instrum e nts and only inscrib e d th e m ,

fe w doubl e bass e s mad e chi e fly for -

“
Fost e r N o at t h e tailpin
, . . l e tting out on hire we r e t h e sam e ,

H i s nam e is w e ll known as j oint author -

,
shap e as a violonc e llo and of infe rior ,

with W illiam S andys of T h e H istory

“
, workmanship Lab e ls W illiam .

of t h e Violin publish e d in London , ,

Forst e r j un violin violonc e llo t e nor
, .
, , , ,

1 8 64 . and bow mak e r 1 8 1 0 ; also Music -

F ors t e r W illiam son of J ohn Forst e r

, , , S e ll e r to th e ir R oyal H ighn e ss e s t h e
b 1 71 3 1 4 ; ( 1 March 4 1 8 0 1 H e was a
.
-
.
,
Princ e of Wal e s and t h e Duk e of
mak e r of spinning wh e e ls l n B rampton -
,
Cumb e rland N o 4 3 and William ‘
.
H

Cumb e rland m e r e ly occupy i ng his Forst e r v i ol1n violonc e llo t e nor and
, , , ,

spare tim e 1n makin g and re pairin g bow mak e r to th e ir R oyal Highn e ss e s

-

instrum e nts ; but his work shows a t h e Princ e of W al e s and Duk e of

”
conside rabl e im p rov e m e n t on that of Cumb e rland L on d 0n T o this l att e r ,
.
 F O R S T E R— G A F F I N O .
3!

lab e l w e r e add e d in manuscript t h e , in Le ipzig about 1 78 7 Was a pupil .

numb e r of t h e instrum e nt t h e dat e , , of C H Hung e r . H e mad e good . .

’
and t h e j un H e marri e d 1 78 6 and
‘
.
, i n strum e nts following t h e Cr e mo n a ,

h ad two sons both violin mak e rs , . mod e ls and using amb e r coloure d
,
-

F ors t e r William e ld e st son of William

, , varnish h e was also v e ry cl e v e r at
,

Forst e r ( 1 76 4 b D e c 1 4 1 78 8 . .
, , r e pairing instrum e nts .

London ; d O ct 8 1 8 2 4 Ch e lt e nham . .
, , . Fry e r Charl e s Work e d in L ondon and
, .

Pupil of both his fath e r and grand the n in L e e ds be coming a partn e r ,

fath e r ; h e also work e d with T homas with M W D e arlov e the re H e di e d

. . .

K e nn e dy Probably only mad e tw e lv e

. 1 8 40 .

or fift e e n instrum e nts : two or thre e F ur b e r David Was t h e first m e mb e r

, .

violins and on e violonc e llo w e r e w e ll of this family to mak e violins L e arnt .

mad e t h e work b e ing b e autifully

, his trad e from J ohn J oh n s o n ( 1 75 0
finish e d ; t h e oth e rs mad e to supply ,
a mak e r in London .

whol e sal e ord e rs are infe rior , . F urb e r H e nry J ohn son a n d pupil of
, ,

F o u q u e t S ee L e comt e. . J ohn Furb e r H e continu e d t h e busi .

Frai s e r Giorgio
, Was working in . n e ss i n Grafton S tr e e t London and , ,

Cr e mona 1 6 6 6 in t h e workshop of
, , has mad e many good instrum e nts .

N icola Amati . F urb e r J am e s e ld e st son of Matthe w

, ,

Fr a n ck Working in Ghe nt 1 8 0 0 3 0
.
,
-
. Furb e r s e n I t is doubtful if h e mad e
, .

Was a sculptor b e fore h e b e cam e a n e w i n strum e nts .

mak e r ; h e was e xtre m e ly cl e v e r at F urb e r J ohn third son of Matthe w

, ,

re pairing instrum e nts but mad e fe w , Furb e r s e n Pupil of his fath e r b e

, .
,

n e w on e s . cam e a n e xc e ll e nt workman and cl e v e r

Fra n kl a n d Was worki n g in Lo n do n in
. r e paire r M a d e num e rous violins .
,

17 8 5 in R obin Hood Court S ho e Lan e

, , , followi ng t h e Amati patt e rn H e also .

an d was occasionally e mploy e d by t h e work e d for J E B e tts at t h e R oyal . .

William Forst e rs . E xchang e Lab e l J ohn Furb e r . ,

’
F re b ru n e t J e an A mak e r i n Pari s
,
. mak e r 1 3 S t J ohn s R o w top of B rick
,
.
,

about 1 75 0 6 0 His violins show c ar e -

. Lan e O ld S t S aint Luk e 1 8 1 3
,
In .
, , .

fully finish e d work with a y e llow , 1841 h e w a s livi n g i n Cow Cros s ,

brown oil varnish of good e ffe ct I n a . S mi t h fie ld .

violin was t h e lab e l : Joa n n e s F u rb e r Matthe w s e n s on of David

, ,
.
,

F re b ru n e t , 1 76 0 . Furb e r Pupil of his fath e r H e di e d

. .

Fr e e m an S ee Har e . . about 1 79 0 and was buri e d at C le rk e n ,

Fr e y Hans b about 1 440 at N ur e mb e rg ;

, , .
, w e ll Church .

d the re 1 5 2 3 A mak e r of lut e s a n d

. . F u rb e r Matth e w s e cond son of M atth e w
, ,

viols also a cl e v e r p e rform e r o n th e m

, . Furb e r s e n Pupil of his fath e r H e
,
. .

T h e lut e s of t h e old G e rman m ak e rs di e d about 1 8 3 0 1 an d w as buri e d at -

we r e v e ry c e l e brat e d an d fe tche d h igh Cl e rk e nwe ll Church .

pric e s . F u x Matth e w
,
A mak e r of fin e lut e s t o .

Frit s ch e (F ri t z ch e ) S amu e l A m ak e r ,
. t h e Court of Vi e n n a i n t h e 1 7th c e n tury .

G abri e l l i
Antonio Work e d in Flor e n c e
,
. oft e n brand e d with his initials G B G ,
. . .

about 1 76 0 H e mad e good violins .

,
Lab e ls “
J ohann e s B aptista Gabrie lli ,

“
with gold e n colour e d varnish Lab e l : -
. Flore ntinus fe cit and Gio ,
.

Antonio Gabri e lli fe c e in Fire n z e , ,

B attista Gabri e lli fe c e in Fir e nz e , ,

176o, f . 17 57 a similar on e dat e d 1 763 .

G abri e l l i B artolomm e o
, A mak e r i n . G a e t a n o A n t on ia z z i b Aug 7 1 8 2 5
, , . . , ,

Flor e n c e about 1 73 0 . Cr e mona ; good mak e r h as g ai n e d ,

G a b ri e ll i Cristoforo
, Work e d in . m e dals of ho n our His two sons . ,

Flor e nc e about 1 73 0 . R icar d o and R om e o work with him , .

G abri e ll i Giovanni B attista A mak e r

, . G a ffi n o Gius e pp e
,
An I talian a pupil .
,

in Flore nc e about 1 740 70 Many -

. of C as t agn e ry who work e d in Paris , ,

w e ll mad e instrum e nts are known of ,

ru e d e s P rou v aire s about 1 745 8 3 ; ,
-

good ton e ; h e us e d e xc e ll e nt wood ,

his widow was still livi n g at t h e sam e
and a transpar e nt y e llow or pal e re d addre ss in 1 78 9 His violins are car e .

varnish ; his violonc e llos and altos are fully mad e and h e us e d pal e re d or
conside re d his b e st work ; th e y are y e llow varnish An alto o f larg e .
32 GA G L I A N O — G A GL I A N O .

patt e rn , th e
k n own is dat e d only on e , finish e d ; t h e varnish is rich e r in colour
ru e d e s P ro u v a i re s 1
74 8 Lab e l : , . than that us e d by othe r m e mb e rs of th e
G a ffi n o c a mp agn o di C as t agn e ri
, family As h e al so work e d for t h e
.

ru e d e s P rou v ai re s Parigi anno 1 5 5 trad e at low pric e s som e of his i n s t ru

7 , , .
,

P e rhaps h e was more of a d e al e r than m e nts are not of much valu e Violins .

a mak e r j udging by t h e adv e rtis e m e nt

, and bass e s of his are known dat e d up
o n anoth e r lab e l : At t h e sign of t h e to t h e y e ar of his d e ath and a v e ry ,
’
M us e tt e d e Colin J os e ph G affin o
‘
, , good alto dat e d 1 75 3 Lab e l : F e r .

mai tr e e t marchand luthi e r a Paris , d i n an du s Gagliano filiu s N icolai fe ci t ,

r u e d e s P rou v ai re s fait v e nd ach et e

“
, , , , N e ap . 17
, and F e rdinando
’
et lou e tout e s sort e s d in s t ru m e n t s G a glian i m e fe cit N e apoli anno 1 73 0
, ,
.

d e musiqu e savoir : violons bass e s , , a gl ian o G e nnaro s e cond son of Al e s

, ,
’
d o rch e s t re violonc e llos alto V iola , ,
-

, sandro brothe r of N icola b about 1 6 8 0

, ,
.
,
’
viol e s d amour e t tout e s sort e s d e s a at N apl e s ; ( 1 1 75 0 H e was t h e b e st . .

fa con & c , . mak e r of this family H e mad e fe w .

G a g l ian o ( Galiano ) Al e ssandro b , ,

. instrum e nts but put e xc e ll e nt work ,

about 1 6 40 at N apl e s ; d the r e about , . into th e m t h e patt e rn is good slightly ,

17 30 . At first studi e d music in l e isur e , arch e d H e imitat e d his fath e r in

.

mom e nts making a fe w mandolin e s g e n e ral outlin e and in thickn e ss e s was

and lut e s H avin g kill e d his adv e rsary
. th e re fore r e ally following t h e S t radl v ari
in a du e l h e was oblige d to l e av e , patt e rn but t h e sound hol e s are short e r
,
-

N apl e s and w e nt to Cr e mo n a and

, , and wid e r T h e wood was car e fully .

’
th e r e e nt e r e d Ant S tradivari s work . s e l e ct e d and t h e y e llow varnish is
,

shop H e re main e d about thirty y e ar s

. b e autiful t h e quality of ton e v e ry fin e
,

and showe d gr e at ability I t is possibl e . his succ e ssors n e v e r succ e e d e d in pro

’
that many of S tradivari s instrum e nts d u ci n g varnish e quall y b e autiful ,

w e re pre par e d by him H e was abl e to
r e turn to N apl e s in 1 6 9 5 and start e d
a busin e ss th e r e ; h e soon b e cam e
we ll known H e mad e a numb e r of
’ ’
. although a r e cip e in G e nnaro s own
,
handwriting r e main e d in t h e family ;
h e e ith e r purpos e ly k e pt s e cr e t som e
. e ss e ntial ingr e di e nt or forgot to mak e ,

instrum e nts g e n e rally on a larg e , it known A magnific e nt violonc e llo . ,

patt e rn which in t h e archin g in t h e

, , , of p e rfe ct workmanship dat e d Antonio ,

thickn e ss e s and in t h e care fully finish e d , S tradivari 1 73 2 is g e n e rally suppos e d , ,

’
work r e call his mast e r H e us e d a
, . to b e G e nnaro s work ; t h e back and
good strong varnish gr e yish y e llow ,
-
b e lly are mor e arch e d t h e sid e s low e r , ,

colour and good wood that of t h e

, ,
t h e warm r e d brown varnish dark e r -

’
b e lli e s b e ing of wid e and e v e n gr a i n and thick e r than in S tradivari s i n s t ru
and v e ry r e sonant t h e scroll is rath e r m e nts I t was bought from G e nnaro
.

roughly ou t t h e sound hol e s are wid e r ,

-
hims e lf about 1 74 0 by an I talian who
, , ,

and more p e rp e ndicular than thos e of sold it in 1 76 5 to M C h am p s or a w e ll .

,

S tradivari t h e ton e is pow e rful , He . known violonc e llist in Mars e ill e s on

m ad e som e re markably b e autiful violon his d e ath in 1 8 2 6 it pass e d from an , ,

c e llos ; a violonc e llo and a bass are amat e ur into t h e k e e pin g of M B onn e t .
,

known which might almost b e mistak e n so that its tradition re mains u n

for t h e work of S tradivari Lab e ls : . brok e n I i it could b e prov e d that
.

Al e xandri Gagliano Alumnu s S tradi ,

G e nnaro mad e it it would plac e him ,

v a ri u s fe cit N e apoli anno 1 72 5 and

, , ,
at onc e in t h e front rank of t h e gr e at
Al e xand e r G agli an u s fe cit N e ap ,
.
, I talian mak e rs H e s e ldom us e d lab e ls .

17 H e had two sons both ,

for his i nstrum e nts and v e ry oft e n ,

mak e rs— N icola and G e nnaro . omitt e d to dat e th e m so that it is not ,

G a g l ian o Antonio third son of N icola

, , ,
known e xactly how many y e ars h e
grandson of Al e ssandro S ee Gius e pp e . work e d ; but in 1 73 0 his work was
Gagliano . alr e ady e xc e ll e nt and it st e adily i m ,

G a gl i a n o Antonio son of Giovanni, , ,

prov e d Lab e ls : G e nnaro Gagliano
.

”
grandson of N icola See “
R affa e l e . fe cit N e apoli 1 7 and J anuarius , ,

Gagliano . Gagliano filiu s Al e xandri fe cit N e ap ,

.
,

G a gl i a n o F e rdin an do e ld e st son of 17 2 anoth e r similar o n e is dat e d

, , 3
m
(

N icola grandson of Al e ssandro

, b ,
. 17 4 1 . H e so e tim e s p e ncill ed his
1 0 6 in N apl e s ;
7 , d about 1 78 1 H is . . nam e on t h e insid e of t h e b e lly .

work shows d e cad e nc e although it is ,

G a g l ian o Giovanni fourth son of N i, ,

an imitation of that of his fath e r ; it is cola n e ph e w of t h e g re at G e nnaro

, ,

no t so arch e d t h e thic k n e ss e s are not ,

liv e d also in N apl e s b dat e not
.
.

accurat e t h e work is not so car e fully

,
known ; d 1 8 0 6 H e did not mak e . .
 GA GL I A N O— GA N D .
33

many instrume nts and is said to hav e , appre ntic e and th e n first workman in
b e e n sup e rior as a mak e r to h i s thre e . t h e workshop of Gand About 1 8 5 2 .

brothe rs ; but som e violins are of h e start e d his own busin e ss and in ,

“
poor workmanship Lab e l : J oann e s . 1 8 5 5 obtain e d a m e dal at t h e Paris
Gagliano n e pos J an u arii fe cit N e apoli , ,
E xhibition H e mad e a gre at many .

18 H e had two sons R a ffa e l e , violins of fairly good proportions ; t h e

,

and Antonio . varnish was rath e r harsh but t h e ton e ,

G a g l ian o Gius e pp e and Antonio s e cond

, , was good .

and third sons of N icola live d at , G a i ro u d Louis ,A mak e r at N ant e s .

N apl e s Gius e pp e b 1 72 6 N apl e s ;

.
, .
,
about 1 740 .

’
(1 1 7
.
9 3 Antonio s dat e s are not known
. . G al b an i Pi e ro A mak e r in Flore nc e
, .

T h e ir work was ordinary but th e y mad e ,

in 1 64 0 .

som e good cithe rs and mandolin e s ; G al b i c e l l i s G B Working in Flore nc e , . .

,

also som e violins of which on e dat e d ,

1757 ~
N apl e s 1 78 9 was sold for £ 2 0 in 1 8 5 2
, , . G a l b u s e ra Carlo Ant on io At first an
,
.

Labe l : “
J ose ph Antonius Gagliano ,
o ffic e r in t h e I talian army th e n s e ttl e d ,

fe cit anno 1 78 7 in plat e a dicta C e r ,

i n Milan and b e gan to construct ,

rigl io . instrum e nts on t h e principl e s of

G a g li an o , N icola ,
ld e st son of Al e s e Fran cois Chanot I n 1 8 3 2 h e was .

sandro b about 1 6 75 at N apl e s ; ( 1

, .
, . awarde d a silv e r m e dal by t h e Milan
the r e about 1 745 His instrum e nts . Acad e my of S ci e nc e s for a violin v e ry
are small e r and narrowe r and his work similar to that of Chanot it was a sort
is sup e rior to that of his fath e r for h e ,
of violin guitar with t h e stringing -

, ,

copi e d t h e patt e rn of S tradivari v e ry sound hol e s scroll and bord e rs of a n

-

, ,

cl e ve rly both in outlin e in thick

,
ordinary violin ; but r e call e d a guitar
n e ss e s and in archin g H I S varnish is
, . in having no corn e rs and in t h e
v e ry transpare nt and rath e r d e e p in l e ss e n e d curv e of its outlin e Although .

colour t h e ton e is v e ry brilliant t h e ,

compl e t e ly ig n ore d now it was co n ,

scroll l s ge n e rally w e ll cut round t h e -

s i d e re d such a gr e at succ e ss at t h e tim e

p u rfl i n g is som e tim e s an ornam e ntation that t h e L e ip zig pap e r t h e A l lg e me i n e ,

of diamond and loz e ng e shap e d pi e ce s -

M u s i k al isch e Z e i t u n g ( D e c 2 3 .
,

of e bony ; h e also som e tim e s copi e d t h e conclud e d a laudatory articl e by

Maggini d e sign on t h e c e ntre of t h e
back of his violins H e made a gre at
many violins viol as and violonc e llos
saying I t is i n d e e d surprisin g that it
.
should hav e tak e n c e nturi e s to giv e
, , ,
t h e violin this mor e simpl e form .

t h e latt e r b e ing e sp e cially good wi th ,

G al e rz e n a Was working in Pi e dmon t.

a fin e rich varnish not oft e n s e e n on ,

in 1 79 0 .

instrum e nts of t h e Gagliano family A .

G al l an d J e a n A mak e r in Paris ru e
,
.
,

ce rtain numb e r of his instrum e nts S t H onoré about 1 74 4 5 0

.
-
H e di e d ,
-
.

contain spuri 0us lab e ls of S tradivari ,

b e fore 1 76 1 His widow continu e d t h e .

oth e rs hav e his own lab e l : N icolaus busin e ss at t h e sam e addre ss till abou t
Gagliano fili u s Al e xandri fe cit N e ap 17

2
,
.
, 9
17 or N icolaii Gagliano fe cit i n
“
,
G a l r 1m J oachim J os e ph
,
H e was .

N apoli , H e had four sons all ,

working in Lisbon i n 1 76 9 I n som e .

mak e rs — F e rdinando Gius e pp e A n , ,

violins an d altos four i n strum e nts ,

tonio and Giovanni

, .
altog e th e r of v e ry good workm anship , ,

G a gl i a n o R a ffa e l e and Anto n io sons

, ,
with y e llow varnish which form e d ,

of Giovanni grandsons of N icola ,

.
part of t h e privat e coll e ctio n of King
T h e dat e s of births are unk n own ; Louis of Portugal was found t h e ,

R affae l e d D e c 9 1 8 5 7 and Antonio . .

, ,
following lab e l : J oachim J os e f Gal
un T h e y work e d tog e th e r ram fe cit O le s ip on oe 1 76 9
Ji n apl e s but th e ir instrum e nts a re
e 2 7 1 8 60 .
, ,
,
.

N ,
G a l t a n i R occo ,
Worki n g in Flore n c e .

infe rior Aft e r a fe w y e ars th e y con

.
in t h e 1 7th c e n tury .

fin e d the ms e lv e s to manufacturing G an d Charl e s Adolph e e ld e s t son of

, ,

strings the ir factory b e coming on e of

,
Charl e s Fran cois Gand b D e c 1 1 ,
. . ,

t h e b e st in I taly . 1 8 1 2 Paris ; d J a n 2 4 1 8 66
,
Pupil of . .
, .

G a g lian o Vi n c e nzo son of R affae l e

, , ,
his fath e r succ e e d e d him in 1 8 4 5 ,
.

d about 1 8 8 6 was t h e last of this

.
,
H e had gre at k n owl e dg e of old i n s t ru
family and n e v e r mad e instrum e nts
, ,
m e n ts a n d cl e v e rly r e paire d th e m ; h e
but conti n u e d t h e manufactur e of made fe w n e w instrum e nts but th e y ,

strings at N apl e s .
show good and sound workmanship .

G aill a rd —L ajo u e J B A mak e r at , . .

Was appoint e d Luthi e r d e la musiqu e
Mire court d about 1 8 70 ,
First an . . du R oi e t d u Cons e rvatoir e de
34 GAN D -
GA N D .

’
M usiqu e la chap e ll e
, an d lat e r , de l E cole R oyal e d e Musiqu e ru e Croix ,
’ ”
de l E mp e re ur I n 1 8 5 5 his broth e r .
, d e s p e tits Champs a Paris
- -
1 8 25 a ,

“
C N E ug en e Gand b e cam e his
. .
, 1830 ; Gand luthi e r du Cons e r ,

partn e r and at t h e Paris E xhibition

, v a t o i re de Musiqu e ru e Croix de s ,
-

that y e ar Gand fr ere s g ain e d a p e tits Champs -

1 8 33 Gand , ,

m e dal of t h e rs t class H e re c e iv e d . luthi e r de la musiqu e du roi e t d u

t h e cross of Ch e vali e r d e la Légion Cons e rvatoire de M usiqu e ru e Croix ,
’
d h on n e u r August Lab e ls : , d e s p e tits Champs Paris 1 8
- -
1 8 33 a , ,

( )
1
“
Gand luthi e r d e la musiqu e d u , 1 8 45 . H e had two sons both mak e rs , ,

R oi e t d u Cons e rvatoir e d e M usi q u e , Charl e s Adolph e and Charl e s N icolas

r ue Croix de s p e tits Champs Paris - - -

, ,
E ug en e .

18 1 8 45 1 8 4 8 A G
( )
2
“
Gand -
, . .
,
G an d Charl e s Mich e l t h e h e ad of t h e
, ,

luthi e r d u Cons e rvatoire de Musiqu e , Gand family b 1 74 8 at M ire court d , .

,
!

ru e Croix d e s p e tits Champs N O 20 - - -

, .
,
1 8 2 0 V e rsaill e s H e e stablish e d h 1m .

“
Paris 1 8 5 4 A G , G an d frére s . . .
, s e lf 1n V e rsaill e s in 1 78 0 at 71 ru e , ,
’
luthi e rs de la musiqu e de l E mp e re u r d u Comm e rc e ; lat e r mov e d to 3 2 ru e
‘

et du C ons e rvatoir e I mp eri al de d e la Paroiss e at t h e sign of “

aux ,

Musiqu e N o Paris 1 8 5 5 a , .
, t e ndre s accords H e had two sons .
,

G an d Charl e s Fran cois e ld e st son of

, , both make rs Charl e s Fran cois and ,

Charl e s M ich e l Gand b Aug 5 1 78 7 , . .

, ,
Guillaum e t h e latt e r succ e e d e d him
, .

V e rsaill e s ; d M ay 1 0 1 8 45 Paris .
, , . G an d Charl e s N icolas E ug en e s e cond
, ,

First work e d at V e rsaill e s with his son of Charl e s Fran cois Gand b ,
-
.

fath e r ; in 1 8 0 2 was appre ntic e d to J un e 5 1 8 2 5 Paris ; d F e b 5

, , . .
,

N icolas L u p ot of Paris h e r e main e d ,

B oulogn e sur S e in e H e studi e d music
- -
.
,

for four y e ars r e turning to his fath e r , at t h e sam e tim e l e arnt his trad e und e r
J uly 1 7 1 8 0 6 I n 1 8 1 0 h e again w e nt
, . his fathe r and brothe r E nt e re d t h e .

to Paris and start e d his own busin e s s ,

Paris Cons e rvatoir e N ov 1 9 1 8 3 4 , . , ,
’
at 5 ru e Croix de s p e tits Champs ; i n
,
- - -
b e ing admitt e d to B aillot s sp e cial violin
’
1 8 20 h e bought K o lik e r s prop e rty at class N ov 2 8 1 8 4 0 and n ot le av in g
, .
, ,
'

’
N o 2 4 in t h e sam e str e e t wh e r e h e
.
, ,
until B aillo t s d e ath i n 1 8 4 2 H e ,
.

r e main e d till his d e ath I n 1 8 2 4 h e . j oin e d his brothe r Charl e s Adolph e as

s u cée e de d L u p ot whos e daught e r h e ,
partn e r in 1 8 5 5 Adolph e dying in 1 8 6 6 ,
’
l

had marri e d H e follow e d in L u p o t s . t h e two hous e s Gand and B e rn ard e l ,

footst e ps makin g his instrum e nts with ,

b e cam e on e Gand e t B e rn arde l .

th e sam e care and ability n e v e r ,

fr er e s w e re first at 2 1 ru e Croix de s ,
-

l e ttin g an instrum e nt l e av e his shop p e tits Champs th e n at 4 passage S aul

-

, ,

which was not e ntir e ly mad e by his ni e r in 1 8 8 3 I nstrum e nts w e r e no .

own hands ; h e us e d brilliant re d brow n -

longe r care fully construct e d by t h e
“
varnish rath e r thic k in quality
, . mak e r hims e lf workm e n had to b e ,

L u p ot l e ft unfinish e d an ord e r for t h e e mploy e d to mak e t h e quantiti e s of

R oyal O rch e stra ; Gand compl e t e d it ,
instrum e nts re quire d for orch e stra
making 6 violins 3 violas 5 violonc e llos , , ,
playing ; during t h e Paris E xhibition ,

and 4 doubl e bass e s b e tw e e n 1 8 2 4 and -

18 8
7 t,h e firm Gand suppli e d 5 2

1 828 T h e s e b e autiful sp e cim e ns of his

. violins 1 8 altos 1 8 violonc e llos and
, , ,

work w e re unfortunat e ly d e stroy e d 1 8 doubl e bass e s for t h e bi g orch e stras

-

wh e n t h e T uil e ri e s was burnt down in playing the r e T h e s e instrum e nts all .

1 8 71 H e was e sp e cially skilful i n

. hav e Palais d u T rocad e ro 1 878 on , ,

r e pairing old instrum e nts owing to his ,

th e ir lab e ls T h ough cl e v e r workm e n .

gre at knowl e dg e of I talian work . had work e d on th e m all instrum e nts ,

Appoint e d Luthi e r d u Cons e rvatoire ,

that b e ar his n am e r e c e iv e d t h e
h e for som e tim e mad e t h e violins and finishing touch e s and w e re varnish e d
violonc e llos giv e n as priz e s to t h e by E ug en e hims e lf H e al so m ad e .

“
pupils Lab e ls : Gan d ch e z L u p ot
.
,
v e ry good bows t h e violin bows ,

r u e d e G rammont 1 8 05 us e d wh e n , ,
e sp e cially are not e d for th e ir light
’
in L u p ot s work shop ; Ch F Gand . . n e ss and p e rfe ct balanc e Li k e his .

fil s luthi e r V e rsaill e s 1 8 0 7 us e d wh e n
, , ,
fath e r h e was a gre at authority on old
working with his fath e r ; “
Ch F . . instrum e nts B e twe e n 1 8 66 and t h e .

Gand el ev e d e N L u p ot luthi e r ru e
, .
, ,
y e ar of his d e ath violins 4 6 0 , ,

Croix de s p e tits Champs a Paris an

- - -

, ,
violonc e llos and 1 9 0 altos pass e d ,

Gand luthi e r el ev e de through his hands t h e last violin b e ing ,

L u p ot ru e C ro1x d e s p e t 1ts Champs

,
- - -

,
finish e d on Au g ust 1 4 1 8 9 1 I n 1 8 8 9 , .

N o 2 4 Paris 1 8 2 0 a 1 8 2 4
.
, Gand , ,
h e and Gustav e B e rn arde l e xhibit e d a
luthi e r d e la mu siqu e d u roi e t d e doubl e bass n otic e abl e as b e i n g of t h e
-

,
36 GA T T A N A N I— G E R LE .

said to hav e b e e n dat e d 1 6 1 3 ; it had G e m u n d e r Au g ust b 1 8 1 4 W u rt e m

, , .
,

b e autiful varnish and v e ry good ton e ,

b e rg ; d S e pt 1 8 9 5 N e w York Pupil
. .
, , .

but had a n e w h e ad and n e ck T w o . of his fath e r who was also a mak e r ,

.

oth e rs violins a re sai d to b e dat e d 1 5 6 6 W e nt to t h e U nit e d S tat e s and s e ttl e d ,

’
and 1 5 76 r e sp e ctiv e ly Gasparo s . in M assachus e tts in 1 8 46 H e made .

usual lab e l was u n dat e d : Gasparo da e xc e ll e nt instrum e nts much us e d for ,

S al e in B r e scia but his nam e has solo playing H e mad e such an e xact .

b e e n much us e d in mode rn altos and copy of t h e Amati violin b e longin g to

violins made in imitation of t h e e arly S e fior S arasat e that it was pronounc e d
B r e scian typ e ; many instrum e nts with to b e e qual to t h e original .

his lab e l w e r e r e ally mad e by G P . . G e m un d e r G e orge broth e r of Au g ust

, ,

M ag gini . G e mii n de r b 1 8 1 6 I n ge lfin ge n

, in .
, ,

W urt e mb e rg Pupil of V u illau me in

’
G a t t a n an i A mak e r in Pi e dmont about . .

78 5 9 0
1 -
. Paris W e nt to N e w York in 1 8 49
. .

G a t t i n ari , E nrico . Was working in H e mad e e xc e ll e nt copi e s of many

T urin about 1 6 70 75 -
. c e l e brat e d violins I n 1 8 8 1 h e pub .

’
G a t t i n a ri Franc e sco son of E nrico
, , li s h e d G e orge G e m ii n de r s Progre ss
”
G at t i n ari A cl e v e r mak e r in T urin . in Violin Makin g .

about 1 70 0 5 A violin of e xc e ll e nt -
. G e n n aro Work e d in N apl e s 1 78 5 1 8 2 0
.
,
-
.

ton e rath e r arch e d with e ffe ctiv e re d

, , H e mad e v e ry b e autiful guitars i n ,

brown varnish was of good workman , laid with moth e r oi p e arl ivory & c - -
, ,
.

ship and was lab e ll e d

, Franc e sco Lab e ls : G e nnaro fab ricat ore anno ,

G at t in ari fe cit T aurini anno D omini , ,

1 8 0 2 N apoli S trada S
, Giacomo N o , .
,
.

17 04 An alto with thick re d varnish

. 26 , and G e nnaro fab rica t ore ann o ,
\

was also w e ll made . 1 8 2 0 N apoli S trada S

, Giacomo N o ,
.
,
.

G a u t ro t A mak e r in M ire court H is

. .
42 , found in a larg e guitar .

instrum e nts are strongly and w e ll G e ra n s , Paolo Workin g in Cr e mona .

,

mad e h e start e d a factory for in s t ru about 1 6 1 4 .

m e nts of all kinds at Ch at e au T hi e rry -

G e rl e Conrad An e arly mak e r of lut e s
,
.
,

in 1 8 5 5 . b at N ure mb e rg ; was living th e re in

.

G a v i n iés ( G av an i és ) Fran cois b abou t , , . 1 6 1 and di e d th e r e 1 5 2 1 ;

4 was buri e d
17 00 Liv e d first at B ord e aux bu t
.
,
in t h e Church of S t R och H e w as . .

about 1 73 0 mov e d to Paris with his c e l e brat e d both as a lut e play e r and
son and was living in ru e S t T homas
, .
-
lut e mak e r his lut e s call e d , Lutz ,
’
d u Louvr e
-
1734 63 H e mad e two ,
-
. d A le m aign e w e re w e ll known in t h e ,

v e ry di ffe re nt kinds of instrum e nts ; i 5 th c e ntury T h e A l lg e me i n e M u si k .

t h e on e infe rior t h e oth e r for which a l i s ch e Z e i tu ng ( L e ipzig publish e d t h e

, , )
h e us e d varnish and wood of good old notic e of his d e ath : An S t .

quality was much lik e d H e g e n e rally

, . B arbara Ab e nd starb d e r e rb ar C o nrad
brand e d th e m with h i s n am e I n s t ru G e rl e L au t e n mach e r D e m Gott
‘

,
. .

m e nts dat e d 1 73 4 1 73 5 and 1 75 1 ; also , ,

-

gn ae d ig s e y Am e n ,
.

a six string e d viol dat e d 1 74 4 in t h e

-
G e rl e H ans a son of Conrad Dat e ]

Paris Cons e r v atoir e Coll e ction are ,

of b 1rt h unknown about 1 5 0 0 d ; 1 5 70 ,
.

known T h e Cons e rvatoire also has

.
,
Liv e d in N ure mb e rg Was a lu t e play e r .
,

for t h e u s e of its pupils on e of his ,

compos e r and author and as e arly as
, ,

doubl e bass e s with t h e h e ad sculpture d

-
1 5 2 3 was fam e d for t h e lut e s h e mad e .

to r e pr e s e nt K ing D avid ; its ton e is I n 1 5 3 2 his portrait was publish e d with

e xc e ll e nt it was mad e in 1 5
7 7 , Lab e l : . t h e inscription H anns G e rl e lut e nist , ,

G av in i és ru e S t T homas du Louvr e ,
-
- -

, ( lut e play e r in N ii rn b e rg anno 1 5 3 2

) ,
.

a Paris 1 73 4 H e had a son Pi e rr e

, .
, , H e publish e d a work on t h e lut e in
t h e c e l e brat e d violinist . 1 5 3 2 e ntitl e d :
,
Musica T e u s ch auf di e
G e d l e r J ohann Anthony and J ohann
, I nstrum e nt d e r gros se n und kl e in e n
B e n e dict T w o broth e rs who work e d. G e yge n auch L au t t e n e t c durch H ans
, ,
.
,

tog e th e r in Fuss e n B avaria about , , G e rl e lu t in i s t z u N ure nb e r g au s z gan c

17 5 0 to 1 79 6 T h e y mad e infe rior .

g e n 1 53 2,
G e rman music for i n s t ru

instrum e nts . m e nts of lar g e and littl e viols also for ,

G e is e n h of ( G e iffe n h o f G e i ge n h o f ) , ,
lut e s e dit e d by
,
H ans G e rl e lut e ,

Franz b 1 75 4 ; d 1 8 2 1 A mak e r in
, . . . play e r at N ure mb e r g 1 5 3 2 ) a s e cond ,

Vi e nna H e mad e fairly good in s t ru

.
e dition app e are d in 1 5 4 6 e ntitl e d : ’
,

m e nts on t h e S tradivari patt e rn . M usica u n d T ab ulat u r ai1ff die I n s t ru ,

S om e tim e s brand e d th e m with his m e nt e n de r kl e in e n und gross e n G e yge n

initials F G J B S chw e iz e r was a
, . . . . auch L au t t e n e t c Von n e w e n corri ,
.

pupil of his .
girt und durch au s s ge b e s s e rt durch
 GE RM A I N — G I O RG I .
37

Hanse n G e rl e L au t e n m ach e r z u N urn , G i b e rt i n i , Anton io A mak e r in Parma .

.

“
b e rg von 1 5 4 6 j ar ( Music and 1 830 33 -
Made a numb e r of violins on
.

T ablatur e for instrum e nts of littl e and t h e S tradivari patt e rn using rath e r ,

larg e viols also for lut e s &c re vis e d , ,

.
, dark re d varnish ; his work was care
and corr e ct e d by Hans G e rl e lut e , fully finish e d Paganini t h e gre at .
,

mak e r at N ure mb e rg in 1 5 4 6 B oth , . violinist som e tim e s e mploye d him to ,

t h e 1 s t and 2 n d e ditions are in t h e r e pair his violins .

I mp e rial Library at B e rli n T he s e . G i gl i J ulio C e sar e

, Work e d in R om e .

two int e r e sting e ditions are most rar e “

about 1 73 0 6 2 Lab e l : Julius C ae sar -
.

and valuabl e . Gigli R omanus fe cit R om ae an no 1 76 1 ,

.

G e rm ain E mil e son of os e ph Louis

,
J , G ilb e rt N icolas Louis , A mak e r in .

G e rmain to whos e b u sm e s s h e suc , M e tz about 1 70 0 I n t h e Paris E x .

ce e d e d in 1 8 7 0 ; b J uly 2 4 1 8 5 3 Paris .
, , . h i b i t i on 1 87 8 a v e ry pr e tty fiv e
, ,

I n 1 8 6 5 h e was s e nt to Mir e court to string e d V iol— dat e d M e tz 1 70 1 ,

b e appre ntic e d to t h e trad e r e turn e d , of his was show n .

’
to Paris in 1 8 6 7 and until his fathe r s , , G ilb e rt S imon son of N icolas Louis
, ,

d e ath work e d with him W e n t . Gilb e rt Work e d at M e tz about 1 73 7

.

into partn e rship with D e h o mmai s , 65 . A fiv e string e d viol dat e d 1 744 ; -

,

living first at 1 2 ru e Croix d e s p e tit s ,

- -
anoth e r dat e d 1 749 ; and anoth e r dat e d, ,

Champs a n d the n at 5 F au b ou rg , , 17 6 5 a re known

, Lab e l : S imon .

Montmartr e D e h ommai s r e tir e d in . Gilb e rt luthi e r musici e n d e la Cath e

, ,

1 8 8 2 and E mil continu e d t h e busin e ss

, d ral e a M e tz 1 73 7 ,
.

’
alon e ; in t e n y e ars tim e h e mad e mor e G ilk e s S amu e l b 1 78 7 Morton Pinkn e y
, , .
, ,

than 5 0 0 i n strum e nts n e arly all p e rsonal , N orthamptonshire ; d N ov 1 827 . .

, ,

work showing tal e n t a n d car e h e u s e d

, London Appre ntic e d to Charl e s .

a good varnish W a s v e ry e xp e ri e n c e d . Harris s e n in London aft e rwards

, .
, ,

i n r e pairing old I talian instrum e n ts . work e d for William Forst e r ( 1 76 4

Lab e ls : “
D e h o m m ai s e t G e rmain a I n 1 8 1 0 h e start e d his own busin e ss ,

Paris 1 2 ru e Croix d e s p e tits Champs - - -

, lab e lling his instrum e nts with his own

187 8, and E mil G e rmain a Paris , , n am e H e followe d t h e N icola Amati
.

5 Faubourg Montmartr e 1 8 8 8 ,
. patt e rn and was a cl e v e r mak e r , ,

G e rm a in J os e ph Louis b J uly 2 3 1 8 2 2
, ,
.
, , although his styl e show e d trac e s of his
Mire court ( 1 th e re J uly 5 1 8 70 .
, ,
. traini n g u n d e r Charl e s H arris He .

Appre n tic e d at Mir e court w e n t to , us e d varnish of rich quality and his ,

Paris 1 8 4 0 a n d work e d u n d e r Charl e s

, , work was b e autifully finish e d He .

Fran coi s Ga n d till t h e de ath of t h e , mad e various class e s of instrum e nts for
l att e r W a s th e n e mploy e d by cou n try d e al e rs Lab e l : Gilk e s from .

’
B V u ill aume for whom h e m ad e Forst e r s violin and violonc e llo mak e r
J . .
, , ,

s e v e ral e xc e ll e n t i n strum e n ts till 1 8 5 0 , ,

34 J,
am e s S tr e e t B ucki n gham Gat e , ,

wh e n h e b e cam e fir s t workman u n d e r W e stminst e r .

Gand Fils I n 1 8 6 2 h e st a rt e d h i s G il k e s William son of S amu e l Gilk e s

"
.
, , ,

own busin e ss at 3 6 4 ru e S ai n t D e n i s ,
-
. b about 1 8 1 1 i n Gr e y Coat S tre e t
.
, ,

H e re tir e d to Mir e c o u rt i n 1 8 70 a n d , T othill Fi e ld s W e s tminst e r ; d 1 8 75 ,

.
,

di e d t h e sam e y e ar H e was a m ak e r . Lo n do n T aught by his fath e r and .

of gre at tal e nt and his instrum e n t s ,

succ e e d e d to his busin e ss in J am e s
show sup e rior workma n ship H e w a s . S tr e e t but aft e rwards mov e d to Dart
,

e s p e cially skilful i n r e p a iri n g old i h mouth S tre e t H e mad e a gre a t many .

s t ru me n t s Lab e l : J os e ph Loui s i n strum e nts of various patt e rns princi

“
.
, ,

G e rm a i n ; a P a ris an né e 1 8 6 8 H is ,
. p ally doubl e bass e s but did not gain -

son E mil e was also a violin m ak e r . t h e sam e r e putation as h i s fath e r He .

G e ro n i Dom e nico , A m ak e r in O sti a .

, c e as e d to mak e instrum e nts for som e
I taly about 1 8 00 2 0
, Mad e i n fe rior -
. tim e b e for e his d e ath .

instrum e nts . G i o ffre d a B A mak e r in T uri n in 1 8 6 0

, .
.

G h e r a rd i Giacomo Was working in

,
. G io rd a n o ( Giordan e ) Alb e rto A ,
.

B ologna i n 1 6 77 . mak e r i n Cr e mona about 1 73 5 4 0 A -

.

G h i d i n i Carlo , A mak e r in P a rma . littl e pock e t violin with ros e colour e d -

about 1 74 6 . varnish is b e autifully mad e with t h e ,

G i a n o l i Dom e nico , Work e d at Mil an . lab e l : Al t o Giordano fe cit C re m on ae

e dat e ill e gibl e )
in 1 73 1 .
( t h .

G ibb s J am e s Work e d i n London abou t

, . G iorgi N icola A mak e r in T urin in
,
.

1 8 00 4 5 ; probably di e d in 1 8 4 5
-
He . 17 45 accordin ,
g to t h e followin g lab el

w a s e mploy e d by J Morrison G e org e .

, N icolaus Giorgi fe cit T au ri n i anno ,

C o rs b y and S amu e l Gilk e s 45 3

:

,
. 17
38 G I Q U E L I E R— G R A N C I N O
"

q I n t h e Paris “
u e li e r,Cristoforo . b e autifully made . Lab e l : Matth e us
Cons e rvatoire Coll e ction is a viola G offrille r faci e b at V e n e t ii s
'

, an n o l
bastarda with fiv e strin g s dat e d 1 71 2 ,
1 7
mad e by him . ol d t , J acob H e inrich A mak e r in H am .

G i ra n i a m Workin g in L e ghorn in
. burg 1 70 0 1 5 A lut e is known of his
,
-
. .

17 3 0 according to a M S lab e l found

, . G o n n e t Pi e rr e J e an, Was workin g in .

in a violin fairly w e ll mad e with ,

ru e d u T e mpl e Paris 1 775 8 3 ,
-
.
,

y e llow v arm sh of g ood q uality . o s s e l in An amat e ur mak e r in Paris

.

G iro d , Claud e A Fre nch mak e r of . about 1 8 1 4 3 0 whos e work is littl e -

,

whom littl e is known . known and littl e valu e d H e l e arnt a .

G iro n . See “
V i llau me . gre at d e al from K olik e r H e mad e .

m
G i u lian i A mak e r of viols in Cre mona
. violins altos and violonc e llos of
, ,

in 1 6 6 0 H e was a pupil of N icola

. ordinary work anship and g ood ton e ,

Amati and made som e e xc e ll e nt copi e s

, oft e n usin g for t h e back and sid e s a
of his instrum e nts . sp e ckl e d wood which gav e the m ,

G o b e t t i Franc e sco
, A mak e r at V e nic e . rath e r a p e culiar look Lab e l : Fait .

about 1 70 5 S aid to hav e b e e n a pupil . par Goss e lin amat e ur Paris anné e , , ,

of Antonio S tradivari h e us e d spl e ndid 1 8 26 in a violin of sonorous ton e ;

,

wood v e ry b e autiful re d varnish

, , and Fait par Goss e lin luthi e r, Paris , ,

rath e r transpare nt and mad e on a ,

a nné e 1 8 3 0 .

larg e flat p att e rn with sound hol e s ,

-
Go s se t A mak e r at R h e ims who in
.
, ,

similar to thos e of R ugg e ri ; t h e 1 69

7 ,propos e d to alt e r t h e fre ts on
p u rfl i n g is not v e ry n e at and t h e scroll ,
t h e various kinds of viols and guitars
is rath e r w e ak in charact e r ; but t h e in such a way as to produc e inst e ad ,

workmanship throughout is care fully of e qual s e miton e s t h e maj or or m 7 or ,

finish e d and t h e ton e is of a rich full s e miton e which was re quir e d .

quality A v e ry b e autiful violin was

. G ou gh J ohn ,S ee “
D e arl ov e M W .
, . .

e xhibit e d in Paris 1 8 78 with fin e ‘

G o u gh Walt e r ( 1 about 1 8 3 0 H e was
not a particularly good w
.
, , , , .

gold e n re d varnish
-
with labe l , orkman .

Franciscus G ob e t t i fe cit V e n e t ii s , ,
G o u v e rn a ri Antonio A mak e r in ,
.

A similar lab e l has b e e n s e e n Cre mona about 1 6 0 0 1 0

G rab e n s e e J A A mak e r i n Duss e ldor f
.

dat e d 1 70 5 His instrum e nts are much .

, . .

lik e d : about 1 8 5 0 55 Lab e l : R e p arir t .

/

G o ffri l l e r ( G o fri le r
) Antonio A , .
( R e paire d) v on J A Grab e ns e e in .

m e mb e r of t h e family of this nam e D ii s s e ld orf 1 8 5 4 , .

working in V e nic e at t h e b e ginning of G ra gn a n i Antonio A make r in L e ghorn

, .

t h e 1 8 th c e ntury . about 1 74 1 8 0 H is w ork i s a i li t t le -

.

G o ffri l l e r Franc e sco broth e r of Matt e o ;

, , rou g h h e us e d infe rior wood an d t h e
probably work e d as his collaborator in varnish is poor but t h e ton e is ,

V e nic e H e mad e fe w instrum e nts

.
,
sympath e tic sw e e t and cl e ar He x , .

an d s e ldom put his lab e l into th e m ; g e n e rally brand e d h 1s in s trum e nts with
“
th e y w e re of fairly good work with ,
his initials A G A fiv e stringe d ,
.
-

ugly y e llow brown varnish -

. viol e xhibit e d at S outh K e nsington
G o ffril l e r M att e o A mak e r in V e nic e
, . M us e um London i n 1 8 72 had t h e , , ,

about 1 6 9 0 to 1 740 H e had gre at . lab e l : Antonius G ragn an i fe cit anno

ability and his work is p e culiarly
, 17 41 . I n an infe rior v i oll n was t h e
b e autiful and original ; h i s p at t e rn is _
lab e l Antonius G ragn an i fe cit
slightly arch e d t h e sound hol e w e ll ou t ,
-

, L i b u rn i *an n o 1 78 0 , a similar on e
t h e gold e n y e llow varnish v e ry trans -
was dat e d 1 75 2 .

pare nt I t is t h e e xc e ption to find

. G ra g n a n i G e n n aro pr e sumably a
, ,

violins and violonc e llos in which t h e r e lation of Antonio Was workin g in .

wood was care fully chos e n ; as a rul e L e ghorn 1 73 0 , .

h e was car e l e ss about his mat e rial ,

G ra gn an i O norato son of Antonio
, ,

s e v e ral violonc e llos hav e t h e back mad e G ragn an i H is wor k was infe rior to.

of poplar tre e w ood ; but t h e sam e that of his fathe r .

accurat e and skilful workmanship is G ran a di n o S e e Contr e ras J os e ph .

,
.

always shown t h e ton e was pow e rful G ra n c i n o Franc e sco and Giam B att i sta
, ,

and e v e n in quality H is whol e work .

,
sons of Giovanni and grandsons of
in arching proportions and varnish , , ,
Paolo G ran c in o Work e d tog e th e r at .

is so unlik e that of S tradivari that it is Milan 1 71 0 , T h e y w e r e t h e b e st

absurd to ins e rt S tradivari lab e ls into mak e rs of this family and mad e a g re at
his instrum e nts H i s violonc e llos are . many instrum e nts usin g ge n e rally ,

e sp e cially lik e d two b e ing k nown most , ,

spirit varnish v e ry cl e ar and an ugly , ,
 G RA N C I N O— G RO U .
39

y e llowish colour and wood of poor , m e dal of t h e I S t class in 1 8 5 5 ( Pari s

quality ; th e ir work was rough but , E xhibitio n ) bronz e m e dal in 1 8 6 7 , ,

th e ton e of th e ir violonce llos and and a m e ntion honorabl e in 1 8 78 .

doubl e bass e s was fairly good

-
A . G ra y J, A mak e r in Fochab e rs B a n ff
.
,

violonc e llo of fin e powe rful ton e was , , sh ir e S cotland in 1 8 70

, , .

made of plain wood that of t h e b e lly , G re fft s J ohann Was w orking at Fuss e n
, .
,

only b e ing fin e ; t h e light y e llow B avaria in 1 6 2 2 , .

varnish had b e com e dark e n e d with G r e gori Work e d in B olog n a about 1 79 3

. .

age . T h e ir instrum e nts g e n e rally w e r e G r e g orio A n t o n iaz z i S ee A n t on ia z z i

, . .
"

not b e autiful to look at but had a , G ri e s s e r Matthi as A mak e r in I n n s .

’
good ton e Lab e ls : Gio e Franc e sco
. . b r ii ck m 1 72 7 A viola d amore with .
,

frat e lli d e G ran cin i in contrada larga s e v e n strings for bowing and twe lv e
di Milano 1 7 and Giov B attista
, . harmonic strings of which t h e nin e t e e n ,

e Franc e sco fra G ran ci n o in contrada . p e gs are all in t h e h e ad which is v e ry ,

largo di Milano 1 7 ,
long is i n t h e Coll e ctio n of t h e L yce o
,

G ra n c i n o Giovanni son of Paolo

, ,
filarm on i co at B ologna Lab e l : .

G ran cin o Work e d i n Milan about

. Matthias Gri e ss e r Laut e n und ,

1 6 9 0 to 1 3 0 Pupil of his fath e r and G e ige nmach e r in I n n s b ru gg a n n o

7 .
,
’
,

did similar but b e tt e r work ; his in s t ru 172 73

m e nts are not so arch e d with y e llow , G ri m m Carl b about 1 79 2 ; d 1 8 55 at
, , . .

varnish and t h e wood was more car e

,
:

B e rlin A musician who showing gre at

.
,

fully chos e n ; the y hav e a pow e rful tal e nt in making violins start e d a busi ,

ton e ; t h e d e tails are not v e ry car e fully n e ss in B e rlin and was soon consid e r e d ,

finish e d Many of his violins violas

.
, , on e of t h e b e st G e rman mak e rs of his

and violonc e llos are to b e me t with , tim e H e mad e a gre at ma n y e x p e ri

.

usually mad e on a larg e flat patt e rn . m e nts combin e d w ith a s e rious study
,

“
Lab e ls : G i ov an G ran ci n o i n co n of t h e work of t h e old I talian mak e rs
trada larga di Milano al s e gno d e lla a n d his instrum e n ts are c e l e brat e d for
Corona 1 69 2 and Giovanni Gran
, , th e ir powe rful ton e and for t h e b e autiful
cino in Contrada Largha di Milano , quality of th e ir varnish T h e firm .

al s e g n o d e lla Corona 1 7 21 H e had ,

. n e v e r mad e more than thirty i n s t ru
two sons Franc e sco and Giam B attista
, , m e nts p e r y e ar thus d e votin g much ,

both mak e rs . tim e to th e ir constructio n a n d fi n ish .

G ra n c i n o Paolo Work e d at Milan

, .
, A quart e t of his i n s trum e n ts was v e ry
1 66 5 9 0
-
Pupil of N icola Amati at
. ge n e rally p rai s e d at t h e Lo n don E x
Cre mona H e made a large numb e r . h i b i t ion i n 1 8 6 2 for th e ir rich and full
of instrum e nts ; t h e altos and t h e ton e .

violonc e llos are ge n e rally lik e d He . G ri m m Ludwig son of Carl Grimm

, , .

us e d poor mat e rial oft e n making t h e ,

I n associatio n with his broth e r i n law - -

’
back and sid e s of poplar tre e wood ; H e lmich continu e d h i s fath e r s busi ,

followe d a large patt e rn slightly ,

n e ss i n B e rlin .

arche d with large sound hol e s wid e ly

,
-
G ri s e ri Filippo A mak e r i n Flor e nc e
,
.

op e n e d and a dry varnish of an

,
in 1 650 .

e ffe ctiv e gold e n y e llo w colour Th e -

. G robit z A A G e rman who was work
,
.

scroll was oft e n roughly cut and t h e ,

in g in Warsaw in 1 75 0 and mad e good ,

p urfl in g and corn e rs car e l e ssly w ork e d . violins on t h e S tain e r patt e rn .

His work on t h e whol e was but G roll Matth e w

,
A mak e r in M e ran .
,

mod e rat e ly good His son Giovanni T yrol in 1 8 00

was also a mak e r
.
.
,

. G ro s s e t Paul Fran cois , A mak e r in .

G ra n d G erard A mak e r in t h e Vosge s

-
. Paris 174 7 59 , Pupil of Claud e -
.

a bout 17 90 1 8 10 Also work e d in -

. P i e rra y H e mad e fe w instrum e nts ;
.

Paris .Mad e a gre at many i n s t ru t h e proportions w e r e g e n e rally bad too ,

m e nts ; t h e work is infe rior t h e varnish ,

much arch e d h e us e d a good varnish
a dull brown colour H e brand e d his .
-
of brilliant y e llow colour t h e work was
i n strum e nts with his nam e Lab e l : . fairly good T w o fiv e stri ng e d viols of .
-

Grand G erard a Paris -

. his are known on e dat e d 1 749 t h e , ,

G ra n din i G e ronimo s e n
, O n e of t h e , . oth e r 1 75 2 I n a violonc e llo was t h e .

we ll known mak e rs at Mire court lab e l : P F Gross e t Au di e u . .

,

whos e instrum e nts hav e m e rit . Apollon ru e d e la V e rre ri e a Pari s , , ,

G ra n djo n s e n A mak e r at Mire court 57

g
, . . 1 .

Work only mod e rat e ly good . G r s s i Gius e pp e

, W ork e d . in B ologna
G ra n djo n J son of G ra n djon se n
, . also , ,
. in 1 803 .

a mak e r at Mire court Was award e d . G ro u . A mak e r about 1 75 2 .

40 G RU LLI— GU A DA GN IN I .

G rul li Pi e tro, . Was working in Cr e mona mon e nsis fe cit T aurini 1 776 a ,

in 1 8 8 3 . similar o n e dat e d 1 775 ; and J oann e s

G u a d a g n in i Antonio son of Gae tano , , , B aptista Guadagnini C re m on e n si s .

grandson of Carlo Guadag nini b 1 8 3 1 ,

. fe cit T aurini Alum n us Antoni S tradi .

d 1 8 8 1 at T urin H e mad e a gr e at
. . vari . G E G 1780. H e had two
. . .

many instrum e nts . sons Gae tano and Gius e pp e both

, , ,

G u ada g n in i Carlo son of Gae tano , , mak e rs .

grandson of Giambattista Guadagnini . G u a d a g nin i Giova n ni B attista broth e r

, ,

A mak e r of guitars at T urin about of Lore nzo Guadagnini Work e d in .

1 78 0 H e also re paire d instrum e nts

. . Milan Piac e nza and T urin about 1 6 9 5
, ,

H is thre e sons Ga e tano Gius e pp e and , , , to 1 775 H e mad e a gr e at numb e r of

.

F e lice w e re all mak e rs but chi e fly

, , instrum e nts of ordinary workmanship , ,

work e d at re pairing old instrum e nts . but som e viol ins are w e ll finish e d and
G u a da g n in i Fe lic e son of Carlo , , t h e ton e is g ood ; th e y are mad e on
Guadagnini A mak e r in T urin about . a small patt e rn slightly arch e d t h e , ,

1 83 5 H i s work was e xc e ll e nt h e
.
, sound hol e s lon g and w e ll ou t t h e
-

mad e g ood us e ful instrum e nts with , varnish a rich dark re d colour very ,

w e ll cut scroll but t h e varnish hard

-

, di ffe r e nt to that us e d by his n e ph e w

and cold . Giambattista Lab e ls J oann e s
.

G u a da g n in i Franc e sco and Gius e pp e , , Guadagnini fe cit P lace n t i ae anno ,

sons of Antonio Guadagnini M ak e rs . and J oann e s B aptista G u ad ag

at T urin . nini P lace n t in u s fe cit M e diolan i ,

G u a d a g n ini Ga e tano son of Giam , , 1

775 anoth e r lab e l in a violin is dat e d
battista g randson of Lor e nzo W ork e d
, . 1 73 1 .
q
at T urin about 1 75 0 H e mad e fe w . G u ada g n in i , Gius e pp e s e cond son of ,

n e w instrum e nts but chi e fly r e paire d , Giambattista grandson of Lore nzo b , , .

old on e s His son Carlo was also a .

, ,
about 1 73 6 d about 1 8 0 5 Firs t a p u p il . .

mak e r . of his fath e r i n , T urin (about

G u a d a gn in i Gae tano S ee Carlo , . th e n work e d a t Milan Com o and , ,

Guadagnini . Parma (about H ad not so

G u a da g n i n i Giambattista son of , ,
much ability as oth e r m e mb e rs of his
Lore nzo b 1 71 1 at Cr e mona ; d , . . family ; h e mad e a quantity of violi ns /

S e pt 1 8 1 78 6 at T urin Possibly
, , . altos and violonc e llos on t h e S tradivar i
,

work e d und e r Antonio S tradivari in patt e rn His work was much i nfe rior
.

Cre mona b e for e h e accompani e d his to that of his fath e r whos e label h e ,

fath e r about 1 73 0 to Milan

, Lat e r , . oft e n us e d and cons e qu e ntly h av e l e ss
,

h e w e n t with him to Piac e nza and mark e t valu e ; but his instrum e nts
w ork e d th e r e many y e ars but l e ft ,
g e n e rally hav e a good ton e 1 .

wh e n his fath e r di e d and w e nt to , G u ad a g n in i Gius e pp e S ee ,

Carlo .

Parma wh e r e h e was appoint e d in s t ru

, Guadagnini .

m e nt mak e r to t h e Duk e ; but wh e n t h e G u a d a gn i n i Guis e pp e S e e Franc e sco .

’
p e nsi ons to t h e artists of t h e Duk e s G u ad agn i m .

C ourt w e re discontinu e d in 1 772 h e , , G u a da g n in i Lore nzo b at Piac e nza

, ,
.

w e nt to T urin and work e d th e r e till his about 1 66 5 ; work e d till about 1 740 A .

d e ath 1 78 6 A pupil of his fath e r his

, .
,
w e ll known pupil of Antonio S tradivari
-

violins and bass e s show t h e sam e form ,

at Cre mona h e work e d th e r e for many ,

th e sam e qualiti e s and t h e sam e ,

y e ars ; lat e r w e nt to Milan (about 1 73 0 )
d e fe cts H e follow e d t h e S tradivari
.
'
and th e ri to Piac e nza H is instrum e nts .

patt e rn and his instrum e nts stand

, a re much lik e d e sp e cially t h e violins ; ,

high in public e st i mation H e oft e n . g e n e rally mad e on a small patt e rn ,

su ffe rs in r e putation from having t h e slightly arch e d of good proportions , ,

sam e Christian nam e as his uncl e , t h e wood of good quality with v e ry ,

’
Giovanni B attista Lore nzo s broth e r , ,
b e autiful gold e n re d varnish ; t h e p u rfl -

whos e work was much infe rior He . ing and corn e rs rath e r h e avy t h e ,

us e d wood of t h e fin e st quality and ,

scroll not so w e ll ou t as that of S tradi
t h e varnish which shows unmistakabl e ,
vari t h e ton e rich and pow e rful His
,
.

signs of infe riority to that of t h e instrum e nts wh e n in good condition , ,

gr e at mak e rs was that brilliant gold e n , a re of a high comm e rcial valu e .

re d colour which is oft e n consid e re d Lab e ls : Laure ntius Guadagnini C re

"

a charact e ristic of a Guadagnini ”

mou m Alumnus S tradivari fe cit anno ,

t h e ton e is not lar g e t h e work i s D omini 1 7 and Laure ntius G u adag

' ‘

w e ll and care fully don e Lab e ls : . nini pat e r Alumnus Antoni S tradivari
,
“
J oann e s B ap tist a Guadagnini C re fe cit P lace n t i ae anno 1 745 similar ,
 G U A RI N l m
G U A RN E RI .

lab e ls are dat e d 1 74 2 and 1 74 3 . Church of S an Cl e m e nt e D e c 3 1 1 6 5 2 , .

, ,

His son Giambattista was also a , , A n na Maria O rce lli (d Jan 1 3 . .

,

mak e r . H e liv e d in Piazza S an Dom e n ico n o w ,

G u arin i ,J os e ph b at G e n e va A , . . Piazza R oma T w o of his sons Pi e tro .

,

mak e r in G e rmigny Vosge s in partn e r , , Giovanni and Gius e pp e G i o v an

ship with J ul e s Martin His violi n s . B attista w e r e mak e rs , .

show thoroughly good workmanship , G u arn e ri Antonio , T w o lab e ls of .

,

th e y hav e doubl e p u rflin g are not

-
, doubtful auth e nticity are dat e d 1 72 2 ,
.

much arch e d and are mad e of care full y , G u a rn e ri Cat e rina

, daught e r of
se l e ct e d wood with a full and powe rful , Andre a I s said to hav e work e d with
.

ton e . h e r fath e r and broth e rs and to hav e ,

G u a rn e ri Andr e a , b about 1 6 2 6 at , . mad e som e violins in which w e re M S .

Cr e mona ; d the re D e c 7 1 6 9 8 ; was . .

, lab e ls .

buri e d i n t h e Church of S an Dom e nico G u arn e ri Gian B attista

, son of ,

t h e follo w ing day H e was d e sc e nd e d . B e rnardo who was a younge r brothe r

,

from an anci e nt and nobl e Cre mon e s e of Andre a H e marri e d Angiola Maria .

family and was t h e h e ad of t h e c e l e

,
Locat e lli Aug 3 1 6 8 2 and had six
, .
, ,

b ra t e d family of mak e rs known by t h e , childre n ; four w e r e sons t h e e ld e st , ,

“
Latin form of th e ir nam e Guarn e rius Gius e pp e Antonio b J un e 8 1 6 8 3 d
Pupil of Antonio and G i rolamo Amati ;
. .
, .
,

a fe w months aft e r his birth ; t h e

lat e r about 1 64 1 of N icola Amati a
, , , s e cond t h e only violin mak e r of this
,

fe llow stud e nt b e ing Antonio S tradivari . branch of t h e family was Gius e pp e ,

He was o n e of t h e witn e sse s at N .

( d e l J e s ti ) b O c t 16 1 686 , T his . .
, .

’
Amati s marriag e in 1 6 45 but was not , is m e ntion e d b e caus e t h e dat e of t h e
with him in 1 6 4 6 but was agai n th e re , e ld e st son Gius e pp e A n to n io is v e ry
, ,

in 1 6 5 3 Whil e influ e nc e d by Ant

. . fre qu e ntly quot e d as b e ing that of
and Gir Amati h e mad e on a larg e
. Gius e pp e known as de l J e s h t h e gre at
, ,

patt e rn but th e n for many y e ars

, mak e r . Gian B attista hims e lf w as
’
follow e d N icola s patt e rn About 1 6 70 . n o t a violi n mak e r .

th e charact e r of his sound hol e s -

G u a rn e ri Gius e pp e know n as
,
“
de l ,

change d his mode l b e cam e flatt e r and

, , J e s u b e caus e of t h e mark of a cross
,

t h e scroll show e d much charact e r this with t h e l e tt e rs I H S b e n e ath on . . .

was probably whe n t h e influ e nc e of all his lab e ls Was t h e s e co n d son of .

S tradivari b e gan to b e fe lt on e of , Gian B attista Guarn e ri b O c t 1 7 , . .

,

whose e arli e st follow e rs h e b e cam e ; 1 68 6, at Cre mo n a ; d th e r e 1 74 5 . .

but throughout h e always r e tain e d a T h e dat e of his birth is e nt e r e d in t h e

quit e original and distinctiv e styl e of r e gist e rs of t h e parish of S an Donato ,

his own S om e of his instrum e nts are

. at Cre mona ; his nam e also app e ars i n
b e autifully mad e e sp e cially his violins , , oth e r archiv e s till t h e e n d of t h e y e ar
which in good condition are v e ry rare
, , 17 02,
wh e n all trac e of him is lost ;
violas of which thre e are k n own
, ,
but fe cit C re mon ae on all h i s lab e l s
sugge st both in siz e and in a g e n e ral
, prov e s that all his work was don e at
way M aggi n i s work ; a violonc e llo is
,
'
Cre mona Was said to b e a pupil of
.

known v e ry b e autiful n o t only in

, Antonio S tradivari but t h e charact e r ,

wood and varnish but also in ton e , . o f his work do e s not authoris e such a
As a rul e h e us e d good wood and s tat e m e nt ; it is impossibl e to say
e xc e ll e nt varnish which vari e d gr e atly , from whom h e l e arnt h e work e d on ,

in colour from a gold e n y e llow to s uch totally diffe r e nt principl e s to

orang e or e v e n dark e r ros e colour
, . thos e of co n t e mporary mak e rs ; but
T h e sound hol e s also vary but are -

, his work som e tim e s r e s e mbl e s that of

g e n e rally straight ; t h e patt e r n is his cousin Gius e pp e son of Andr e a ,
.

slightly arch e d t h e sid e s oft e n low ; T h e r e is a tradition that h e l e d a n

t h e ton e is brill i ant but do e s not carry , irre gular life was finally imprison e d ,

we ll ; t h e work is n e at but not highly , u n til his d e ath and mad e violins i n ,

finish e d Lab e ls : .Andr e as Guarn e prison with wood and varnish obtain e d
,

rius fe cit C re mon e n sub titulo S anct ae first from o n e mak e r and th e n from
’
T e re s i ae 1 65 0
( similar lab e l s are
, anoth e r by t h e gaol e r s daught e r who ,

date d 1 6 70 1 6 75 1 6 9 0 and , , , aft e rwards hawk e d t h e instrum e nt s

Andre as Guarn e rius Cre mon a: sub round at mis e rabl e pric e s to obtain ,

titulo S anct ae T e re s i ae 1 69 1 and , mon e y for him T his was probably .

S ub disciplina A n dre ae G u arn e rii in , i n v e nt e d to account for t h e numb e r of

‘
e jus ofii cin a sub titulo S T e re si ae . infe ri or violins whi ch contain his
Cr e mon as H e marri e d in t h e
, , lab e ls probably all spurious for e v e n
, ,
42 GU A RN E RI— GU ARN E RI .

arly imitatio n s which are w e ll made

e , , through it which though som e tim e s
, ,

are num e rous Gius e pp e de l J e su was faint can always b e s e e n For this
,

t h e gre at e st mak e r of this fam i ly his

. .

r e ason thre e violins of Carlo B e rgonz i

“

, ,

violins are e sp e cially c e l e brat e d for with b e lli e s e vid e ntly cut from t h e
th e ir pow e rful ton e Paganini play e d . sam e pi e c e of pin e w e r e for a long tim e ,
’
on a particularly fin e on e of grand , thought to b e Gius e pp e s work I n .
“

ton e dat e d 1 74 3 ; h e b e qu e athe d it to

,
t h e third p e riod dating from ab ou t ,
’

’ ’
t h e City of G e noa wh e r e it is now ,
1 3 5 to which Paganini s and Alard s
7 ,

k e pt in t h e Palazzo Municipal e . violins b e long t h e instrum e nts vary ,

oth e r v e ry fin e on e dat e d 1 71 4 , , gre atly in patt e rn and app e aranc e but ,

b e longe d to O le B ull t h e gr e at , show his originality and ability ; th e y

violinist A n othe r magnific e nt on e
.
,
a re e ual to t h e most b e autiful work of

dat e d 1 73 4 was nicknam e d Le , S tra ivari Mad e on a larg e patt e rn of

.
,

violon d u diabl e b e caus e it was t h e ,

e xc e ll e nt wood with accurat e propor ,

instrum e nt play e d on in an op e ra of tions and thickn e ss e s and b e autiful ,

that n am e A most b e autiful on e .

,
varnish as r e markabl e for its fin e and
,

which b e long e d to t h e violinist Alai d ,

e lastic quality as for its colour e ith e r ,

was lab e ll e d J os e ph Guarn e rius fe cit rich amb e r or ros e re d slightly dark e r -
,

and thick e r than that of S tradivari ;

C re mon ae anno 1 74 2 I H S , A , . . t h e quaint h e ad v e ry charact e ri stic is , ,
’
violin dat e d 1 74 1 which form e rly
, ,
e ntir e ly di f fe r e nt to S tradivari s ; t h e
b e long e d to V ie u x t e mp s has not a , p u rfli n g is e mb e dd e d t h e sou n d hol e , .
,
-
,

singl e crack ; t h e wood I S v e ry thick it , losing its point e d form is rathe r op e n ; ,

is not arch e d with high sid e s ; t h e ,

t h e e dge s are h e avy t h e ton e is pow e r ,

varnish thickly put on is a spl e ndid

, , ful m e llow and rich I t was at this
, , .

’’
brownish re d ting e d g old e n colour t h e
-
tim e that t h e so call e d prison violins ,

work is car e l e ssly finish e d but t h e , alr e ady me ntio n e d sudd e nly app e are d ,

ton e is spl e ndid T h e K ing J os e ph . All his vari e ty of work— t h e di ffe r e nt

violin was on a larg e patt e rn mad e of , siz e d patt e rns som e tim e s arch e d som e, ,

spl e ndid wood not arch e d with , , tim e s fl at ; t h e sound hol e s long , ,

p e culiarly shap e d sound hol e s and rich -

p e rp e ndicular or short and sl ah t in g ,

was a cont i nuous e ffort to i ncr e as e

,

amb e r colour e d varnish ; it was sold for

-

700 guin e as A violin mad e with t h e

.
,
t h e ton e of his instrum e nts and h e ,

back 1n two parts with brownish re d ,

finally succ e e d e d in obtainin g a no t ably
varnish was dat e d 1 72 3 A b e au t i fu lly
, . pur e and pow e rful volum e of ton e .

mad e viola was lab e ll e d : J os e ph H e mad e mor e v i qlin s than violas .

Guarn e rius C re mon e n s i s About fift y ge nu i n e v i b lin s and t e n

H

faci e b a t ,
x

17 24 . H is work is g e n e rally divide d violas are known ; no violonce llo i s

into thr e e p e riods : t h e first shows no known H is instrum e nt s hav e st e adily
.

originality for h e e ith e r imitat e d incr e as e d in pric e no doubt owin g to

‘

, ,

N icola Amati or G P M aggini . .

,
t h e strong wood h e us e d ; it d e pr e ciat e s
re vivin g t h e patt e rn of t h e latt e r which ,
t h e ton e at first but with tim e vibrat e s ,

is arch e d from t h e p u rfl in g with s e mi ,

more fr e e ly t h e quality of ton e b e com
,

circular middl e bouts point e d sound ,

ing stronge r and more re fin e d In .

hol e s and short corn e rs ; t h e ton e is

,
1 8 6 a violin was sold for 6 0 0 guin e as
7
good . I n th e s e cond p e riod t h e ,
in a sal e room ; anoth e r was re c e ntly
patt e rn is small and slightly arch e d in sold for £ 5 0 0 .

a gradual ris e from t h e p urfli n g t h e u a rn e ri Gius e pp e G iov an B attista

’
, , ,

thick ne ss e s vary but e sp e cially ,

s e c ond son of Andre a b N ov 2 5 1 6 66 , . .
, ,

incr e as e at t h e c e ntr e of t h e back— a Cre mona ; d soon aft e r 1 73 8 S aid to

.

d e fe ct in so far as it pr e v e nts fr e e hav e b e e n a pupil of his fath e r but ,

v i b ra t l on ; t h e proportions are accurat e ,

showe d much ori ginality ; som e of his
t h e sound hol e s w e ll ou t ( oft e n sharply
-
instrum e nts are v e ry similar to those
point e d top and bottom ) t h e ton e is full ,
of his cousin Gius e pp e d e l J e su but , ,

of brilliancy t h e rich gold e n or , t h e ton e is not so pow e rf ul and round ;

brownish re d varnish is of fin e e lastic othe rs follow t h e patt e rn of S tradi
'

quality v e ry transpare nt a n d rivals

, ,
vari . H is violins are num e rous and
that of S tradivari T h e work is most . show good work T he y are g e n e rally .

car e fully finishe d ; t h e wood ge n e rally , m ad e on a small patt e rn t h e w aist of ,

sycamor e vari e s both in quality and

, t h e instrum e nt narrow and rapidly .

~
wid e ning from t h e c e ntr e t h e s ound
app e aranc e it is thou ght that h e us e d .

t h e sam e lar g e pi e c e of pin e for n e arly hol e s plac e d lowe r than usual “ are
,

all t h e b e lli e s ~ a stai n or s ap mark runs —

wid e ly op e n e d about t h e middl e
44 G U E R R E R O — H A R D A N GE R .

G u e rr e ro J uan W orkin g ,
in M alag a in . pr e s e rvation with pal e y e llow varnish , ,

t h e 1 8 th c e ntury In a guitar is t h e . and of v e ry car e ful workmanship is ,

lab e l : “
J uan Gu e rre ro m e fe cit e n dat e d 1 75 2 A handsom e violin is .

Malaga e n e l ano d e 1 75 dat e d 1 73 7 anoth e r 1 74 4 and anoth e r, ,

G u e rs an Louis A mak e r in Paris about

,
. 17 66 . T w o v iolonc e llos w e r e dat e d
ru e d e la Comédi e
“
17 3 0 6 9 was
-
living in 7
1 40 . Lab e ls : Louis G u e r s a n pr es
Fran cais e in 1 760 and in ru e d e s Foss e s , la Com édi e Fran cais e a Paris 1 73 0 -

, ,

S t G e rmain in 1 76 9
.
-
Was on e of a . and Ludovicus G u e rs an prop e ,

family whos e m e mb e rs for more than

, com oe d iam gall ica m L u t e t i ae 1 76 6 , ,
.

a c e ntury had b e e n V iolin mak e rs ; h e G u g e m m o s ( G u ge m os ) A mak e r in .

hims e lf was on e of t h e b e st Fr e nch Fuss e n B avaria i n t h e 1 8 th c e ntur y

, ,
.

mak e rs of his p e riod Pupil and suc . H is work was poor and h e us e d
c e ssor of Claud e P i e rray Wh e n h e l e ft . varnish of bad quality .

’
t h e latt e r s workshop h e mad e various G u gl i e l m i Gi ob a t t i s t a
, A mak e r in
v
.

e xp e rim e nts in alt e ring t h e arching t h e , Cr e mona 1 74 7 , .

thickn e ss e s &c using spirit varnish , .

, G u i d a n t u s J oann e s F lore n u s
, A mak e r .

on his instrum e nts t h e r e sult how e v e r in B ologna abou t 1 6 8 5 t o 1 72 8 W a s

possibly a pupil of N icola A mati H e
.
, ,

w as not g ood t h e ton e produc e d b e ing ,

.

harsh and shrill H e was appoint e d . was an e xc e ll e nt workman his i n s t ru ,

mak e r to t h e D auphin and to t h e O p e ra m e nts look w e ll are on a hi g h mod e l , ,

in t h e a rchiv e s of t h e latt e r is a quaint with lon g sound hol e s ; but t h e p u rfli n g -

m e moran dum of r e pairs don e by him is care l e ssly don e and ! t h e ton e is
’
to t h e doubl e bass of t h e O p e ra -

, rath e r poor A viola d amor e e xhibit e d .

,

which prov e s that at this dat e ( 1 74 9 ) at M ilan in 1 8 8 1 ornam e nt e d wi th a ,

th e r e was only on e doubl e bass in t h e -

b e au t i fu l h e ad artistically carv e d re
.
, ,

orch e stra H e mad e many i n s t ru . pr e s e nting a blindfold e d Cupid was ,

m e nts and th e y fe tch good pric e s

,
. lab e lle d : “
J o ann e s G uid an t u s fe cit
M ade on a small patt e rn t h e propor , B o ri o n i ae anno 1 9 1 5 ,
Anoth e r lab e l .

tions d e pth of t h e sid e s and thickn e ss e s

,
was : “
J oann e s F lore n u s G uid an t u s
vary continually e sp e cially i n t h e ,
fe cit B o n on i ae 1 724 A viola da g amba ,
.

violonc e llos ; t h e alcoholic varnish is was dat e d 1 72 8 S e e i F lore n us .

‘
.
"

hard and dry e ith e r a pal e y e llow or , G u i d om i n i Lor e nzo I n M ilan 1 740
,
.
,
.

ros e colour its gr e at drawback is that G u il l a m i A S panish family of violin

.

it dri e s too q uickly and paralys e s t h e mak e rs who work e d about 1 68 0 1 78 0 -

.

vibrations doing a g re at d e al of harm , G u il l a u m e A g uitar of his is dat e d

. .

to t h e ton e ; t h e work is b e autifully 17 89 A Fran cois Guill aum e a mak e r

.
,

finish e d A viola of middl e siz e with.

,
of harp s in P ar is was working in ru e ,
’
t h e back in two parts and a brownish d e l U n iv e rsi t é 1 78 3 8 6 ; and in t h e ,
-

re d varnish is known S e v e ral fiv e , . ru e d e B e aun e 1788 89 ,

-
.

string e d viols of h i s are in t h e Coll e ction G u i t o n R of C ork ; cl e ve r mak e r

, .
,
.

of t h e P ari s C ons e rvatoir e ; two are G u s e t t o N icola ,

W ork e d in Flor e nc e . ,

dat e d 1 74 7 on e 1 75 1 and on e 1 75 5
i
, ,
. 1 30 .

T w o six string e d viols are dat e d 1 75 5

-
Gu er m an n
A mak e r of g ood i n s t ru .

and 1 76 3 A tre bl e viol in b e autiful

.
-

,
m e nts in Vi e nna in t h e 1 9 t h c e ntury .

H a e n s e l J ohann Anton , W as mak e r . di e d 1 8 6 8 H is son also work e d in .

and chamb e r musician to t h e Duk e of Pr e ssburg ; h e di e d in 1 8 9 1 Anoth e r .

S ch onburg at R ochsburg about 1 8 0 0 , , son is a mak e r in Vi e nna .

15 . I n J an 1811 h e publish e d an .
, , H a m m J ohann Gottfri e d
,
A G e rman .

articl e in t h e A llg e me i n e M u s i k a l is ch e who work e d in R om e about 1 8 1 0 .

Z e i tu ng ( L e ipzig) call e d U e be r de n , I n s trum e nts are known with ivor y ,

B au d e r Violin e in which h e d e scrib e d , e dg e s i n which his nam e is brand e d

,
.

a n e w form for t h e violin which h e , H a mm ig W H A mak e r in L e ipzig

, . . ,

said h e had inv e nt e d as e arly as 1 8 0 1 . who turns out good instrum e nts .

T h e inv e ntion did not liv e . H a rb o u r or H arb u r A mak e r who .

’
H a ff A mak e r in Au g sburg in t h e 1 8 th
. liv e d in 1 78 5 at Duk e S tre e t Lincoln s ,

c e ntury . I n n London ; in 1 78 6 at S outhampton

,

H a m b e r ge r J os e ph A c e l e brat e d , . B uildings H olborn , .

mak e r in Pr e ssburg Hun g ary ; h e , H ardan g e r For instrum e nts mad e b y .

 HA R DI E — H E L .
45

th e Hardange r p e asant s in N orway ,

Gilk e s He mad e fe w n e w instrum e nts
.
,

s ee E riks e n and H e ldal . but had a gre at re putation for his

H a rdi e J am e s ,S ons Make rs at , . e xp e ri e nc e and skill in r e p airing old
1 17 ,N icolson S tre e t E dinburgh , . I talian instrum e nts Lab e l : “
John .

J am e s Hardi e b A gu h adle y E llon , .

, ,
Hart mak e r 1 4 Princ e ss S tr e e t
, , , ,

about 1 8 3 7; grandson and pupil of Le ic e st e r S quare London anno 1 8 , ,

P e t e r H ardi e S tart e d his own busi . H art u n g Michae l A mak e r in Padua

, . ,

n e ss in E dinburgh wh e re h e is assist e d , 1 60 2 . A lut e of his of that dat e is in

by his four sons T h e y hav e mad e . t h e Coll e ction of t h e G e rmanic S oci e ty ,

b e tw e e n two and thre e thousand N ure mb e rg .

instrum e nts on t h e Maggini S tradi , ,

H a s s e t t A mak e r in E is e nach in t h e
.

vari and Guarn e ri patt e rns using oil

, ,
1 8 th c e ntury H e mad e v e ry good .

varnish re ddish y e llow colour of good

,
-

,
instrum e nts not much arch e d us e d , ,

quality E xhibit e d in . E dinburgh ,

b e autiful wood and an amb e r colour e d ,
-

1 88
7and 1 8 9 0 re c e iv e d bronz e m e dal ,
varnish ; his imitations of I talian
1 8 8 7 and gold m e dal 1 8 0 instrum e nts w e re e xc e ll e nt
, 9 , . .

H a rdi e Matth e w ( 1 about 1 8 2 5 and

, , .
,
H a s s e rt A broth e r of H as s e rt of
. .

his son T homas b 1 8 0 4 ; d Jan 1 9 ,

. . .
,
E is e nach W ork e d about 1 79 0 in .

1 85 6 : T h e y work e d toge th e r in E din R udolstadt H is instrum e nts w e re .

burgh and mad e good violins violas , ,

not so good as thos e of his broth e r ;
and violonc e llos on t h e Amati patt e rn th e y are much arch e d of e xc e ll e nt ,

his instrum e nts hav e a fin e ton e and ,

wood and finish e d with gre at car e but
, ,

t h e work is n e atly finish e d . t h e ton e is rath e r harsh .

H ardi e P e t e r A mak e r in Dunk e ld

, .
,
H au d e k Carl S e e L e mb ock , . .

b 1 773 ; d 1 8 6 3
. H e turn e d out . . H ay n e s J acob Was working in London
, .

e xc e ll e nt instrum e nts and his violon , in 1 74 6 H e follow e d t h e S tain e r

.

c e llos hav e an e sp e cially fin e ton e . patt e r n .

H ar e J ose ph (or J ohn )

, A mak e r in . H e b e rl e i n H e inrich j un A v e ry cl e v e r , ,
.

London about 1 700 3 0 H e mad e t h e -

. mak e r in Markn e ukirch e n S axony at , ,

innovation of following t h e patt e rn of t h e pr e s e nt tim e .

S tradivari inst e ad of that of S tain e r ,

H e e s o m E dward Was working in
,
.

as his cont e m p orari e s did h e also use d London about 1 74 8 5 0 H e followe d -

.

a rich re d varnish of v e ry good q uality , ,

t h e S tain e r patt e rn Lab e l : E dward .

more transpare nt than that ge n e rally H e e s om L on d in i fe cit 1 749 , ,

.

us e d by E nglish mak e rs I s said to . H e id e g g e r A mak e r in Passau . .

hav e b e e n in partn e rship with Fre e man . H e inl e J A mak e r in Paris O nly on e
, . .

“
Lab e l : Jos e ph H are at ye viol and violin dat e d 1 76 1 of his is known
, ,
.

flut e n e ar t h e R oyal E xchang e in H e l Pi e rr e J os e ph b F e b 8 1 8 4 2 at

, , . .
, ,

Cornhill London 1 72 6 , , . Mazirot n e ar Mir e court ( Vosg e s ) Was,

.

H arh a m Working in London 1 76 5 8 5 -

appre ntic e d for s e v e n y e ars in Mire
court was th e n for t wo y e ars with
.
, .

B arm a n d A mak e r in M ir e court i n

.
,

1772 . S ebasti e n V u i llau me in Paris a n d for a ,

H arri s Charl e s A mak e r in London

, .
,
y e ar ( 1 8 6 4 5 ) with N icolas D arch e at -

17 8 0 1 8 0 0 ; liv e d in Cannon S tr e e t
-
Aix la Chap e ll e I n 1 8 6 5 h e start e d his
- -
.

R oad R atcli ffe H ighway, H e was a . own busin e ss at 1 4 ru e N ational e , ,

Custom H ouse o ffi c e r H e was on e of . Lill e H e is an e xc e ll e nt workman

.

t h e b e st E nglish mak e rs of his tim e ,

and mak e s all his instrum e nts hims e lf ;
and was not e d for his violonc e llos and t h e patt e rn is v e ry b e autiful t h e ton e
t h e e xc e ll e nt varnish that h e us e d of a ,
is good ; h e us e s oil varnish ; all t h e
particular r e ddish ting e H e copi e d t h e . d e tails a re car e fully finish e d H e also .

S tradivari and Amati patt e rns but ,

shows gre at skill in r e pairing old
s e ldom lab e ll e d his instrum e nts with I talian instrum e nts H e has a sp e cial .

his nam e S amu e l Gilk e s work e d for

. m e thod of s e asoning t h e wood h e us e s ,

him for som e tim e . r e moving without t h e u s e of fire or ,

H arri s Charl e s e ld e st son of Charl e s

, ,
acids e v e ry e l e m e n t that int e rfe re s
,

H arris W a s a fe llow appre ntic e of

. with t h e ton e I n 1 8 86 h e inv e nt e d .

S amu e l Gilk e s und e r his fath e r and ,

an i n ge nious m e thod of fixing t h e
also work e d for J ohn Hart for a littl e p e gs which e nabl e s t h e strings to b e
,

tim e H i s work was w e ll finish e d h e

.
,
gradually tight e n e d and pr e v e nts th e ir ,

us e d y e llow varnish . s udd e nly ru n n i n g down ; t h e shap e of

H art , ohn T homas b D e c 1 7 1 8 0 5 ,

. .
, , t h e he ad re mains t h e sam e Was .

L o u on ; ( 1 J an 1 187 4 I n May . .
, .
,
award e d : Gold m e dal Lill e 1 8 8 2 ; , ,

1 8 20 h e b e cam e a pupil of S amu e l

, diploma of honour S t O me r 1 8 8 4 ; , .
,
 46 H E L D — HE N R Y .

gold m e dal A n tw e rp 1 8 8 5 ; gold , , André d e s Arcs A bass of his dat e d

- -
.

m e dal Liv e rpool 1 8 8 6 ; gold m e dal

, , ,
17 3 7 is known of good workmanship , ,

Paris 1 8 8 9 ; a m e mb e r of t h e j ury at
, and with re d brown varnish I t is not -
.

t h e Munich E xhibition 1 893 co n s e , , known if h e was r e lat e d to t h e pr e s e nt

qu e ntly unabl e to comp e t e ; t h e sam e H e nry family in Paris .

at Chicago 1 8 9 3 ; and at B ord e aux , H e nry Charl e s c all e d Carolus s e cond

, , ,

1 89 5 M ad e O fficie r de l A cad émie

.
'
son of J e an B aptist e H e nry ; b 1 8 0 3 .

“
and Luthi e r to t h e Lill e Cons e rva d 1 8 5 9 Pupil of his fath e r to whos e
. .
,

toir e Lab e l.
“
J os e ph H e l luthi e r '

, busin e ss in Paris h e succ e e d e d in 1 8 3 1

a Lill e 1 8 , h e mad e a large numb e r of violins ,

H e l d J J b J uly 1 7 1 8 2 3 Flam e rs
, . .
, .
, , altos and violonc e llos
,
T h e patt e rn .

h e im R he inbach ( Cologn e )
, Wh e n . vari e d e sp e cially in t h e violins ; h e
,

only 1 4 b e gan to r e pair old i n s t ru us e d y e llow re d varnish and his work -

,

m e nts and a fe w ye ars lat e r mad e n e w

, was car e fully finish e d I n 1 8 47 h e .

on e s I n 1 8 6 0 start e d his busin e ss in

. mad e an instrum e nt call e d t h e
“ ”
E uskirch e n ; mov e d to his pr e s e nt baryton which though play e d lik e , ,

abod e at B e u e l v i s a vis B onn ( R hin e ) t h e violin sound e d an octav e b e l ow t

'

- -

, ,

187 1 H e mak e s from 1 2 to 1 6 violins

. Awards : bronz e m e dal Paris 1 8 49 ; , ,

and violas a y e ar assist e d by his son , m e ntion honorabl e an d s e cond cla ss -

“
and on e workman but always do e s t h e , m e dal 1 8 5 5 Labe l : Carolus H e nry
, .
,

varni shing hims e lf ; copi e s t h e I talian luthi e r ru e S aint M artin N o 1 5 1

,
-
.
,

patt e rns Was award e d : Diploma .

, fe cit Anno D omini ( 1 8 3 1 a H is
Vi e nna 1 8 73 ; m e dal D ii s se ldorf 1 8 8 0 ;
, , , son E ug en e was also a mak e r
, ,
.

diploma D e tmold 1 8 8 1 silv e r m e dals , , H e nry E ug en e son of Charl e s H e nry

, ,

at Kre ms and W e ls 1 8 8 2 ; Milan 1 8 8 4 ; , , b 1 8 43 ;

. H e succ e e d e d
and m e dal G orlitz 1 8 8 9 , , . his fath e r and was on e of t h e b e st ,

H e l d al A of B e rge n
, I n 1 8 62 h e .
, . Parisian make rs of his tim e ; Wa s
e xhibit e d in London a H ardang e r e sp e cially succ e ssf l in r e pai ring old
u
violin more int e re sting for its
, instrum e nts M any of t h e new violins .

nationali t y than for its musical m e rit ,

‘

that b e ar his nam e we re not e ntire ly

as it was on e mad e by t h e p e asants in made by him although made in ,

H ardang e r N orway , . his workshop Awar d s : m e ntion .

H e l l F e rdinand
, A mak e r in Vi e nna . . honorabl e Paris 1 8 78 and bronz e , , ,

“ ’
I n 1 8 5 4 h e e xhibit e d in Munich a m e dal 1 88 9 H is busin e ss was
, .
,

doubl e bass of rath e r small patt e rn

-

,
continu e d aft e r his d eath b y Charl e s
but of powe rful ton e H e is also t h e . B rug er e .

inv e ntor of t h e trump e t violin an -

,
e n ry J e an B aptist e b 1 7
, 5 7at M atain , .

instrum e nt which can b e us e d as a court n e ar M ire cou ft (Vo sge s ) d

,
.

trump e t or as a violin e qually w e ll . 1 8 3 1 Paris H e was t h e h e ad of t h e

,
.

H e l m e r ( H e llm e r) Carl b 1 740 Pragu e pre s e nt family of mak e rs Was ap p re n

‘

. .
, , , .

S on of a mak e r th e r e H e re main e d . tic e d in Mire court th e n w e nt to Paris , ,

th e re working und e r U lrich E b e rl e for and e stablish e d him s e l f in conn e ction

som e y e ars and mad e som e v e ry good , with t h e S t Martin Monast e ry th e r e by .
,

violin s with re d brown varnish T h e

,
-
. obtaining e x e mption from c e rtain fe e s
e arli e st dat e found in his instrum e nts and p e nalti e s h e would oth e rwis e hav e
is said to b e 1 773 Lab e l : Carolus . had t o pay He work e d th e r e till .

H e llm e r me fe cit Prag as 1 7 , 17 8 8 wh e n t h e anci e nt privil e ge s of

,

H e l m e r J e han A mak e r of guitars in

, . t h e monast e ri e s w e r e abolish e d T he n .

Lyons about 1 5 6 8 72 Was of G e rman -

. mov e d into N o 1 75 ru e S aint Martin ; .
,
-

nationality . t h e numb e r was aft e rwards chang e d to

H e l m ich son i n law of Carl Grimm ,
- -

,
151 but his family always continu e d
,

whos e busin e ss h e continu e d with working in t h e sam e hous e A violin .

Louis Grimm on t h e d e ath of Carl is d at e d 1 78 1 but h e did not put lab e l s ,

Grimm . in his instrum e nts and thos e that b e ar ,

H e n d e rs o n D A mak e r i n Ab e rd e e n ,
.
. his nam e w e re lab e ll e d by his sons ,

H én o c ( or H én o cq) Fran cois A mak e r , . J e an B aptist e Félix and Charl e s who ,

in Paris ru e J acob 1 775 77 and ru e , ,

-

, w e r e both mak e rs .

d e s S aints P er e s 1 779 8 9 -

,
-
. e n ry J e an B aptist e F éli x e l d e s t son of
, , _
H én o c ( H én ocq ) J e an G e org e s , J e an B aptist e H e nry ; b 1 79 3 Paris ; .
,

B i e n ai m é) A mak e r in Paris from . d th e re 1 8 5 8

. Pupil of his fath e r
,
.
.

17 6 8 to about 1 79 0 Liv e d in t h e ru e . Work e d first in 1 8 1 7at rue Montmartre ,

S e in e S aint G e rmain
- -
. Paris in B ord e aux in 1 8 2 2 and in ,

H e nry A mak e r in Paris in ru e S aint

.
M arse l lle s in 1 8 2 5 I n 1 8 44 h e re turn e d .
 H E N R Y— H I L L .
47

to Paris living in t h e ru e F léch ie r , J os e ph (d 1 8 3 7) an d William E b s wort h

.

till his d e ath H e made a gr e at .

w e re both mak e rs .

many instrum e nts but n e v e r sign e d , H il l J ohn

, A make r who appar e ntly
.

the m His son O ctav e was also a

.
, , worke d in R e d Lion S tr e e t Holborn , ,

mak e r .
was the re at any rat e in 1 79 4 , , .

H e n ry O ctav e son of J e an B aptist e

, , H ill J os e ph b 1 71 5 ; d 1 78 4 H e was
, , . . .

Félix H e nry ; b 1 8 2 6 Work e d first . . a fe llow appre ntic e of B anks working

-

with his uncl e Charl e s and th e n with “

at Y e Harp and Hautboy in Picca ,

M aucot e l at Paris H e s e ttl e d in G re .

dilly London und e r P e t e r Wamsl e y
, , ,

nobl e i n 1 8 5 4 and mad e a gre at many , about 1 740 4 2 T h e n work e d in High -

.

violins . Holborn th e n at t h e sign of

H e nry A violin bow mak e r b 1 8 1 2 at
.
, .
“
Y e Violin in Ange l Court W e st , ,

Mire court d 1 8 70 at Paris H e l e ft . . minst e r and lastly at t h e sign

Mire court for Paris in 1 8 3 7 and first , of t h e H arp and Flut e in t h e H ay
work e d with Chanot th e n with P e ccat e , . mark e t Lat e r on his sons ,

Was partn e r of S imon 1 8 4 8 5 1 th e n ,

-

, b e cam e partn e rs in t h e busin e ss H is .

work e d alon e first at 8 ru e de s Vi e ux , , instrum e nts are of gre at m e rit ; his

Augustins lat e r in t h e ru e P age v in , . violonc e llos and doubl e bass e s a re -

His bows are e xc e ll e nt h e mark e d , e sp e cially lik e d som e hav e a fin e oil ,

”
th e m “
H e nry Paris H e was no , .
“
varnish Lab e l : Jose ph H ill mak e r
.
,
’
re lation to t h e H e nrys of ru e S aint at t h e Harp and Flut e in t h e Hay
‘

Martin . mark e t 1 7London 6 9 , similar lab e l s ,

Het el G , Mak e r of lut e s and cith e rs in

. a re dat e d 1 772 His sons William .
, ,

R om e in 1 76 3 Lab e l G He te l .
:

. J os e ph Lo ck e y and B e n j amin w e re
, , ,

fe cit R om ae a n no 1 76 3 , . all mak e rs .

H e u b s ch G G H e publish e d a
h . . H ill William son of J os e ph H ill
, , .

work on t e making of musical i n s t ru Work e d i n London about 1 740 8 0 H e -

.

m e nts about 1 76 4 . mad e som e good in s trum e nts rath e r ,

H i e b e n Giovanni , A mak e r of lut e s in . similar to thos e of E dmund A ire t on

Ve nic e in 1 5 8 1 I n an arch lut e was .
-
t h e varnish was a b e autiful y e llow
t h e lab e l Giovanni Hi e be n e Martin e ,
colour rathe r transpar e nt ; t h e ton e
,

faci e b a t in Ve n e zia A O 1 5 8 1 , ,
. though good was not powe rful Lab e l .

H i e ro n y m u s G e raldi A mak e r of lut e s . William Hill mak e r in Poland S tr e e t , ,

and cith e rs l n B r e scia about 1 5 74 I n . n e ar B road S tr e e t and William ,

a e i t h e r r e markably w e ll mad e is still

, , Hill mak e r in Poland S tre e t n e ar B road
, ,

l e gibl e o n i m u s B re s ci e n s i s . S tre e t Carnaby Mark e t 1 77

, ,

I n a e i t h e r in t h e Hof Mus e um at .
-
H ill William E b s w o rt h son of H e nry
, ,

Vi e nna b e autifully work e d a n d d e

,
Lock e y Hill ; b O c t 2 0 1 8 1 7; d . .
, .

cora t e d is t h e nam e , Hi e ronymus April 2 1 8 9 5 A mak e r i n London

,
. .

B ri x i e n s i s and t h e dat e 1 5 74 . L e arnt from his e ld e r broth e r Jos e ph , .

H i g gin s P H A mak e r in Montre al

, . .
, B e gan by m aking violin bridg e s always -

who e xhibit e d som e of his instrum e nts b e autifully shap e d and d e sign e d quit e
in 1 8 5 1 . 2 0 0 a re still pr e s e rv e d by t h e firm .

H il d e bra n d t Michae l Christoph e r A , . H e work e d for a y e ar with Charl e s

mak e r i n Hamburg about 1 76 5 1 8 00 -
. Harris at O xfo rd r e turni n g to Lo n don
, , ,

Good violins violas violonc e llos and , , , 1 8 38 First work e d i n S outhw ark
. ,

doubl e bass e s of his a re known h e

-
'

th e n in Wardour S tr e e t and finally ,

was also e xtre m e ly skilful in re pai ring r e mov e d to 3 8 N e w B ond S tr e e t ,

.

old instrum e nts . Wh e n h e b e ga n to re pair and d e al i n

H i l l H e nry Lock e y son of Lock e y
, , old instrum e nts h e did e v e rything with
Hill ; gran dso n of J ose ph H ill ; his own hands and had no assista n t s ,

17 4 ; d
7 A ug 1 83 5 Work e d for
.
, . u n til his sons gre w up H e e xhibit e d .

s om e tim e with John B e tts was ,

som e v e ry b e autiful violins of care fully
p robably still with him whe n h e took finish e d work an d an e xc e ll e n t viola
p a tt e rns (still pre s e rv e d by t h e firm ) of of large patt e rn with full round to n e , ,

a S tradivari violo n c e llo s e nt by ,

in London in 1 8 6 2 obtaining sp e cial , ,

Fri e drich Wilh e lm I I I of Prussi a to . comm e ndatio n and a priz e m e dal .

’
J ohn B e tts in 1 8 1 0 to b e sold in ,
Probably fe w if any of W E Hill s , , . .

E n gland H e was an e xc e ll e nt work

. cont e mporari e s had such a wid e and
ma n and som e violins violas and
, , ,
thorough knowl e dg e of t h e art and
violonc e llos of his are e xc e ptionally craft of violin making a s h e hims e lf .

good instrum e nts O f his four s ons , T hos e who had t h e pl e asur e of knowing
He n ry (d 1 8 5 6 ) w as a fin e vi o l a play e r
. h i m p e r s o n ally fo u n d h i s co n v e r s atio n
4s H I L T Z— H U E T .

full of t h e most int e re sting facts and H o ffm a n n Martin d in L e ipzig , , .

,
1
72 5 .

r e mi n isc e nc e s whil e at t h e sam e tim e ,

A mak e r of good lut e s and viols who ,

a kindly straightforward and u h , , work e d in L e ipzig from about 1 6 8 5 .

assuming man n e r p e culiarly his own , , H e also mad e violins and viol onc e llos
mad e him t h e obj e ct o f ge n e ral r e gard of good ton e although t h e in e l e ga n t , ,

a n d r e sp e ct His d e ath r e mov e d on e. patt e rn (t h e cut of t h e sound hol e s t h e -

who was a promin e nt and charac sharp cor n e rs and we ak e dg e s ) has

t e ri s t i c link b e tw e e n mod e rn tim e s and caus e d the m to b e n e gl e ct e d I n 1 72 0 .

h e b e gan to mak e t h e Viola po m

’
a bygon e typ e of p e rsonality The . posa ,

pre s e nt m e mb e rs of t h e firm are his a small violonc e llo with fiv e strings

four e ld e st sons : William H e nry b ,
. tun e d C G D A E t h e inv e n tion of
, , , , ,

J un e 3 1 8 5 7 followe d t h e musical
, ,
which is ascrib e d to J S B ach I t . . .

profe ssion for som e y e ars b e for e ,

was n e v e r much us e d an d s e e ms to hav e
j oining his brothe rs in t h e busin e ss ; b e e n m e r e ly t h e re production of an
Arthur Fre d e rick b J an 2 5 1 8 6 0 ; , . .
,
obsol e t e form of violonc e llo A
Alfre d E b s w o rt h b F e b 1 8 6 2 who ,
. .
,
sp e cim e n was e xhibit e d i n Raris 1 8 7 8 ; ,

worke d for som e tim e at M ir e court it was on a good mod e l v e ry much ,

( Vosge s ) and was t h e first E nglishman arch e d t h e h e ad e nding in a s croll

, ,

to go the r e to study ; and Walt e r and t h e sound hol e s we ll ou t .

E dgar , b N ov 4 1 8 71 who also

. .
, ,
H o fm a n s Matthias A mak e r in
,
.

worke d at Mire court T h e y e mploy . Antwe rp about 1 70 0 5 0 H e mad e .

a large sta ff of assistants in th e ir b e autiful instrum e nts on t h e patt e r n of

workshops at H anw e ll . Amati and Guarn e ri d e l J e s u h e us e d ,

H il t z Paul
, A mak e r of viols in
. a warm dark re d varnish similar to ,

N ur e mb e rg 1 6 5 6 I n t h e c oll e ction
, . that of I talian instrum e n ts of t h e s am e
of musical instrum e nts th e r e is a viola p e rio d I n a li t t le >p ock e t violin was
.

da gamba dat e d 1 6 5 6 . t h e lab e l : M atth ys H ofman s tot

H i rc u t t . A mak e r working in London A n t w e rp e n , 1 74o .

about 1 6 00 . H o l l o w ay , J ohn A mak e r in London .

H o c h b ru ck e r A mak e r in D onauworth .
,
at 3 1 G e rard S tr e e t S oho in 1 79 4
, , , .

B avaria about 1 6 9 9 , Lat e r h e work e d . H o m ol k a F A mak e r in Kutt e nb e rg

, .
,

at Augsburg H e mad e som e fairly . B oh e mia about 1 8 5 0 H e e xhibit e d

, .

good violins but is chi e fly known as ,

two violi n s in Munich 1 8 5 4 of b e auti , ,

t h e inv e ntor of p e dals for t h e harp ,

ful workmanship t h e wood was rath e r
about 1 72 0 . thick which p e rhaps r e nde r e d t h e
,

H ohn e Work e d both in Dr e sd e n and

. ton e a li t t lé h ars h but oth e rwis e fi
,

W e imar . e xc e ll e nt .

H orl e i n Carl Adam b 1 8 2 9 at W ink e l

, , . H op kin s A mak e r in Worc e st e r who
.
,

hof n e ar W ii rz b u rg Pupil of J os e ph
,
. e xhibit e d a doubl e bass in London in -

Vauch e l ; lat e r h e work e d for thr e e 1 8 62 .

y e ars in Vi e nna chi e fly und e r Anton ,

H o ril ,
Giacomo . A mak e r in R om e
H o ffmann but also und e r Gabri e l ,
about 1720 -

50 .

L e m b ock I n 1 853 . h e s e ttl e d in H o rl e i n S ee H o rle i n

.
“
.

Kitzinge n B avaria ; but in 1 8 6 6 mov e d H o rn s t e i n e r S ee N e un e r

'

. .
,

to W ii rz b u rg wh e re h e r e main e d , . H o rn s t e i n e r ( H orn s t ain e r) J os e ph A , .

B oth as a mak e r of n e w instrum e nts mak e r in Mitt e nwald about 1 73 0 H e .

and as a r e pair e r of old on e s h e has mad e som e good doubl e bass e s -

.

a gr e at r e putation I n 1 8 75 und e r .
, H o rn s t e i n e r ( H o rn s t ai n e r) Mathias A ,
’
Profe ssor H e rmann R itt e r s dir e ction ,
mak e r in M itt e nwald about 1 770 1 8 0 0 -
.

h e mad e a viola alta e xactly on t h e H is i n strum e nts w e re b e tt e r mad e than

principl e s laid down in t h e littl e book thos e of J os e ph H orn s t e i n e r Lab e l : .

call e d D i e G e schicht e d e r Viol a Mathias H orn s t e in e r de r G e ige n

Alta (L e ipzig 1 8 77) it had a full , ,
mach e r in Mitt e n wald ,

sonorous ton e . H o s b o rn T homa s Alfr e d ,

A mak e r in .

H o ffm an n Anton ,
Court mak e r i n . London in 1 6 2 9 A bass viol of thi s .

Vi e nna about 1 8 5 0 . dat e was e xhibit e d in Paris 1 8 78 , .

H o ffm an n J ohann Christian son of

, , H u e ] d in 1 8 45
,
. A mak e r in R e nn e s . .

Martin H offmann A mak e r of lut e s . Pupil of Lac et e H e mad e som e fairly .

and viols in L e ipzig about 1 72 0 H e . good guitars .

was an e xc e ll e nt workman H is . H u e t H e nri A mak e r in Paris about

,
.

youn g e r broth e r who also w ork e d in , 1 7

75 9 0 ; liv e d first at ru e S aint Martin
Le ipzig abou t t h e sam e tim e mad e ,
,
th e n rue d u Grand H url e ur m
good violins and bass viols 1 83 T his latt e r dat e was i n a n alto
7
-
. .
 H U L I N SK I— J AC QU O T .
49

of his of good workmanship with

, , to Kingis Grac e to Richard Hum e
th e ,

y e llow brown varnish

-
H e mad e at . I n gli s ma n n e q u h i lk suld mak v i oli s t o ,

t h e si gn of Au R oi de s I nstrum e nts t h e Kin g is Grac e to by s t u ffe for t h e

“
.
,
”
H u lin s k i Work e d in Pragu e in 1 76 0
. samin xx lib .

his instrum e nts we re we ll mad e with , H u m e l Christian, A mak e r in N u re m .

small sound hol e s an d grac e fully cut -

b e rg i n 1 70 9 .

scroll t h e varnish re d —brown colour

, . H u n g e r Christoph Fri e dri ch b 1 71 8
, , .
,

H u l l e r August
, A mak e r in Sh oe n e ck , Dr e sd e n ; d 1 78 7 L e ipzig Pupil of .
,
.

about 1 73 5 76 -
. J auch in Dr e sd e n H e m ad e v e ry .

H u l s k am p G H b in W e stphalia
,
. .
, . . good violins violas an d violonce llos , ,

S e ttl e d in N e w York U S A I n th e . o n t h e I talian patt e rn ; t h e wood was

1 8 6 2 London E x h i b i t 1o n h e e xhibit e d of e x ce ll e nt quality t h e var n ish amb e r ,

violins made on a n e w patt e rn I nst e ad . colour e d his instrum e n ts are som e of

of t h e ordinary sou n d hol e s was o n e -

,
t h e b e st of that tim e .

round hol e in t h e middl e of t h e violi n ,

H ur e l J e an A mak e r i n Pa ris liv i n g
, .
,

j ust b e low whe r e t h e bow s e ts t h e in 1 6 8 6 ru e d e s Arcis at t h e sign o f

, ,
’ ”
stri n gs in motion ; oth e r i n novatio n s “
A l imag e d e S t Pi e rre ; from 1 6 8 9 .
-

we re also mad e but t h e r e sult s e e ms ,

to 1 71 7 ru e S t M arti n n e ar t h e
, .
,

to hav e b e e n that t h e ton e su ffe re d i n Fo n tai n e M au b u é H e was mak e r o f .

quality . i n s trum e n t s pour la musiqu e d u R oy ,

H u m e ( or Hom e ) R ichard B orn i n ,

. and is s aid to hav e b e e n a v e ry cl e v e r
E ngland but s e ttl e d in E di n burgh a n d
,
workman A Charl e s Hur e l i s al s o .

b e cam e t h e gre at V iol a n d lut e mak e r m e n tio n e d as b e i n g a mak e r of m u s ica l

th e re about 1 5 3 0 3 5 I n t h e S cottish
,
-
. i n s trum e n ts i n Paris i n 1 6 3 6 .

’
T re asure r s accou n ts i n 1 5 3 5 i s I te m H u s s o n S ee B u t h o d
. .

I n d e l am iMatt e o A nam e found in a

, . I v ro n t i g n i , \Vo uge lli . A m ak e r in
v e ry old mandora with no m e ntion of ,
T ur i n .

town or dat e .

Ja c o bi . A mak e r of lut e s at M e iss e n , b 1 8 1 1 ; d about 1 8 8 7 at Po n t a

. .
, ,
-

S axony in t h e first part of t h e 1 8 th

, Mousso n Had two so n s t h e e ld e r a
.
,

c e n tury His instrum e nts w e re much

. mak e r t h e s e co n d Luci e n a bassoo n
, , ,

lik e d . play e r .

J a c ob s P e e t e r
,
A m a k e r i n Amst e rdam . J a cq u o t (J acq u art ) Charl e s b 1 8 0 4 a t , , .

about 1 6 9 0 1 74 0 H e mad e a gre at -

. Mire court ; d M arch 2 9 1 8 8 0 at .
, ,

numb e r of good violins altos an d , , St . M aur le s Fo s sé s n e ar Pari s- -

.

violonc e llos h e copi e d t h e larg e patt e r n Although h i s fath e r w as n o t a mak e r ,

of N icola Amati so faithfully that h i s but an army tailor h e w as d e s c e n d e d ,

violins are oft e n tak e n for g e nuin e from a family of mak e rs who dat e d ,

I talian instrum e nts ; t h e wood is car e back to on e Charl e s J acquot who liv e d ,

fully chos e n t h e re d brown varnish o f -

in 1 6 4 5 I n 1 8 1 9 h e was appre n tic e d
.

good quality t h e scroll and t h e sound to N icola s s e n l a t e r to B r e to n both of

, .
, ,

hol e s are not v e ry we ll cut ; t h e p u rfii n g th e m mak e rs i n Mir e court H e w e n t .

is of whal e bon e ; t h e to n e sw e e t but , to N a n cy 1 8 2 3 a n d work e d th e re till

, ,

not v e ry pow e rful . 1 8 2 7 wh e n h e start e d h i s o w n busi n e s s

,

J a cob s Work e d at Amst e rdam rath e r

. th e r e ; in 1 8 5 4 h e tr an sfe rr e d it to h i s
lat e r than P e e t e r J acobs ; was probably s o n Pi e rr e Charl e s an d w e nt to Pari s , .

his son H e us e d dark re d var n ish of

. T h e re h e st a rt e d a n oth e r work s hop i n
v e ry good quality ; his work was n o t r u e d e s Vi e ux Augusti n s movi n g to
4 2 -
, ,
’
care fully finish e d . ru e d e l E ch i u i e r in 1 8 5
q 7 His work .

J a c o t A e ld e st son of J e an Charl e s
, .
, i s v e ry good ; t h e violins that h e mad e
J acot I s working in Paris
. . in Paris are e sp e cially e st e e m e d for
J a c o t J e an Charl e s
,
A m ak e r at M e tz .
, the ir car e ful fin ish an d re gularit y o f
50 J A C Q U O T —
J EA N .

form h e was also l e ar n e d on t h e subj e ct wood and amb e r colour e d varnish -

of old instrum e nts Lab e l : M édaill e “

’ ’
d or e t d arg e nt Charl e s J acquot 4 2
’ ”
ru e d e l E ch i qu i e r a Paris
E xhibitions : bronz e m e dal
. and show e d g re at knowl e dge of t h e 1
, , , corr e ct proportions and thickn e ss e s
Awards at . of wood r e quir e d in various parts of t h e
N ancy , , instrum e nt t h e ton e is occasionally :

1 83 8 ; silv e r m e dal N ancy 1 8 4 3 ; I s t , , w e ak and shrill His instrum e nts w e re .

and z u d priz e Paris 1 8 4 9 ; 2 n d class , , sign e d with his nam e C F Hunge r . . .

m e dal London 1 8 5 1 ; silv e r m e dal

, , , was a pupil of his .

Paris 1 8 5 5 gold m e dal B ayonn e 1 8 6 4

, , , J ay H e nry A mak e r of viols in London
, .

bronz e m e dal Paris 1 8 6 7 , , . about 1 6 1 5 6 7 A viol that had b e e n -

.
,

J ac q u o t E ti e nn e Charl e s Alb e rt e ld e st
, , conv e rt e d into a small violonc e llo with
son of Pi e rr e Charl e s J acquot b , . four strings was e xc e ll e ntly mad e and ,
"
S e pt 1 8 1 8 5 3 N ancy
.
, L e arnt unde r , . of fin e ton e t h e varnish of good ,

his fath e r and was associat e d with , quality th e he ad w e ll ou t t h e p u rfl in g

, ,

him in his work H e publishe d two . v e ry fin e ; it was dat e d in S ou t h w ark e ,

important works : “
La Musiqu e e n 1615 .A small bass v fol dat e d 1 6 2 4 is -

Lorrain e in 1 8 8 2 an d Dictio n nair e

, , in t h e Paris Conse rvatoir e Coll e ction
”
d e s instrum e nts d e musiqu e &0 He , . a t e nor viol was e xhibit e d at t h e S outh
’
is O ffici e r d e l I n s t ru ct i on publiqu e K e nsington Mus e um London 1 8 72 , , ,

and m e mb e r of t h e S oci e ty de s with t h e lab e l H e nry J ay in S outh

B e aux Arts d e s départ e m e nts
-
. wark e I t has six strings tun e d
, ,

J a c qu o t J ul,
e s Victor s e cond son of , o n e fift h
-
high e r than t h e bass V iol -
,

Pi e rre Charl e s J acquot b Aug 1 2 cat g ut fr e ts and a b e autifully ca rv e d

'

. .
, , ,

1 855 . Also l e arnt his trad e with his scroll I t is probably this mak e r allud e d
.
,

fath e r and continu e d to work in associa to in T homas B ritton s C at alo gu e ~o f

’

tio n with him . M usic al I n st ru m e n t s : a viol said to b e

b

J a c q u o t Pi e rr e Charl e s son of Charl e s

, , t h e n e at e st and b e st that Jay e v e r mad e .

’
J acquot ; b M arch 1 0 1 8 2 8 N ancy .
, ,
. T his passag e from T homas M ac e s ,
’
Pupil of his fath e r to whos e busi n e ss ,
M usick s M on um e nt ( publish ed
in N ancy h e succ e e d e d in 1 8 5 4 H e . also probably appli e s to him :
was a cl e v e r mak e r and gain e d a gre at Your b e st provision (and most com
r e putation by t h e instrum e nts h e s e nt pl e at ) will b e a good ch e s t of viols .

to various e xhibitions H onours and . of such th e r e are no b e tt e r in t h e

awards : 1 s t priz e M e tz 1 8 6 1 priz e , ,
world than thos e of Aldre d J ay ,

m e dal (for t h e good q uality and th e s e w e r e old y e t w e chi e fly

mod e rat e pric e of his instrum e nts ) , valu e O l d I n st rum e nts b e for e n e w ; for
London 1 8 6 2 bronz e m e dal Paris
, , , by e xp e ri e nc e th e y are found to b e far
”
1 8 6 7; gr e at gold m e dal Lyons 1 8 72 ; , , t h e b e st .

silv e r m e dal Paris 1 8 78 ; diploma of , , J a y ,

H e nry Work e d in London . about
honour B ar le Duc 1 8 8 0 and at
,
- -

, , 17 46 6 8 H e was b e st known for t h e

-
.

Al g i e rs 1 8 8 1 ; silv e r m e dal (award e d

, small violins or kits that h e mad e ,

to J acquot and S ons for th e ir in s t ru which w e r e us e d by dancin g mast e rs -

m e nts of a b e autiful patt e rn varnish

, , t h e varnish was a re d—brown colour ,

copi e d from that on old instrum e nts , t h e work was n e atly finish e d and h e ,

t h e e qual quality of t h e ton e b e ing re r e c e iv e d £ 5 for e ach on e a v e ry large —

markabl e ) Paris 1 8 8 9 ; h e r e c e iv e d t h e
, , sum for thos e days H e also made .

Cross of t h e L e gion of H onour J uly , som e violonc e llos oft e n sign e d on t h e ,

”
14 1892
, H ad two sons who work e d
. back Longman and B rod e ri p T wo .

with him ; th e y e xhibit e d instrum e nts lab e ls are known : Made by H e nry
at M oscow in 1 8 9 1 Vi e nna 1 8 9 2 and ,
J ay in Long Acr e London and , ,

Chicago 1 8 9 4 , . Mad e by H e nry J ay in Windmill

J ai s J ohann A mak e r at B otz e n about
, . S tr e e t n e ar Piccadilly London 1 768
, ,
, , .

17 75 . H is instrum e nts a r e varnish e d H e is suppos e d to hav e b e e n r e lat e d to

brown . T hom a s J ay .

’ n W
d ard Poppl e w e ll ork d a y T homas Working in London from
J A s o n E w , e .
J , .

in M anch e st e r L e arnt from W illiam . about 1 6 9 0 May hav e b e e n r e lat e d to .

B ooth jun , . t h e oth e r J ays H e mad e s om e e xc e l .

J a s p ars J e an b at C o e s v e l t
, A mak er , . . l e nt violins Was possib l y i n partn e r .

of lut e s at Antw e rp about 1 5 68 . ship with E dward L e wis but th e r e is ,

J a u ch J ohann b Gratz S tyria but

, ,
.
, , no proof of it .

was working in Dr e sd e n 1 76 5 74 H e ,
-
.

J e an . A mak e r in Paris ru e S aint '

,

follow e d t h e Cr e mona patt e rn mak in g ,

Martin A guitar is known dat e d
.

v e ry g o od violins ; h e us e d e xc e ll e nt 166
7 .
52 KIA P O SSE— K LO T Z .

K i ap o s s e , S aw e s . A mak e r in St . colour is t h e lab e l , J oan Carol Klotz

”
P e t e rsburg about 1 74 8 5 0 -
. in M itt e nwald an 1 75 0 a similar , .
.

K i e s ge n Louis A mak e r in Paris

,
.
, lab e l was dat e d 1 75 3 .

first at 8 4 boul e vard Mage nta and , , K l o t z J os e ph broth e r of G e org e Klotz

, , .

th e n at 1 3 4 ru e de T ur e nn e H e has , . Was still working in Mitt e nwald in

not mad e many instrum e nts but thos e , 1
774 Also follow e d t h e S tai n e r
.

known are of be autiful workmanship ; patt e rn H e was car e ful in his s e l e ction
.

h e follow e d t h e patt e rn of Gand and of wood and his instrum e nts hav e a
us e d re d varnish . v e ry good ton e but h e us e d varnish of ,

K i rs c h s c h l a g Was working in t h e oor quality Lab el :

“
J os e ph Klotz
.

p .

T yrol in 1 78 0 . i n Mitt e nwald an d e r I s e r an 1 774 ,

. .

K l e i n A I n 1 8 8 4 h e found e d an i m
, . Kl o t z Mathias son and pupil of E gidius ;
, ,

portant busin e ss in R ou e n at 6 5 ru e , , b about 1 6 5 0

. Work e d in Mitt e n .

Gant e ri e und e r t h e titl e of A Kl e in,

. wald till about 1 73 5 H e is also said to .

”
e t C ie r e viving t h e trad e in i n s t ru
,
hav e b e e n a pupil of S tain e r and ,

m e nt making that had e ntire ly dropp e d c e rtainly follow e d his patt e rn He .

’
aft e r J e an d e l s d e ath in 1 8 79 He . trav e ll e d l n I taly visiti ng Flor e nc e and ,

plac e d Antoin e B rubach at t h e h e ad Cr e mona b e for e h e finally start e d , ,

of t h e workshop which has now , about 1 6 8 3 his gr e at work in Mitt e n ,

tur n e d out abou t 2 0 0 violi n s a n d , wald T h e small town was th e n in a

.

numb e rs of altos and violonc e llos t h e stat e of gr e at pov e rty but Mathias , ,

Work is care fully finish e d and t h e taking advantag e of t h e fam e d pi n e

varnish good of a brilliant re d colour , . woods around in which h e found j ust ,

Lab e l : A Kl e in luthi e r a R ou e n t h e mat e rial h e r e quir e d e mploy e d

“
.
, , ,

18 A K Awards from E xhibitions :

. . numb e rs of workm e n to mak e ch e ap
silv e r m e dal R ou e n 1 8 8 4 ; diploma of , , viol in s which w e r e aft e rwards hawk e d
,

honour E vr e ux 1 8 8 6 ; silv e r m e dal r ound from hous e to hous e and sold at

“

, , ,

H avre 1 8 8 7 I n 1 8 8 7 h e was mad e

, .
S e xtraordinarily low pric e s As a rul e .

O ffic e r of t h e Acad e my . e ach workman m ad e on e and only on e

K l o s s E rnst A mak e r in B re slau
, . . of t h e r e qui re d parts of t h e instrum e nt ,

K l o t z ( K lo z ) E gidius Was probably a , . oth e r workm e n w e r e e mploy e d in

pupil of S tain e r in Absam r e turni n g to , putting t h e parts tog e th e r into on e
Mitt e nwald his nativ e plac e to work , , . whol e Mitt e nwald soon rivall e d
.

H e was t h e first m e mb e r of this fa mily Markn e ukirch e n in S axony and Mir e

to mak e violins H e follow e d t h e . court i n t h e Vosg e s in this industry ,

S tain e r patt e rn using good wood and ,

an
d t h e fortun e of t h e town was mad e .

amb e r colour e d varnish ; his i n s t ru T h e ton e of t h e instrum e nts is not

“
-

m e n ts hav e a fin e full ton e are w e ll , bad but t h e y e llow brown varnish is

,

fin i sh e d and are sign e d with his na m e

, . of poor quality and t h e sound hol e s -

K l o t z G e orge son of Mathias and

, ,
rath e r small I n a V iol of which t h e .
,

grandson of E gidius Klotz Work e d in . n e ck and h e ad had b e e n chang e d so as

Mitt e nwald about 1 75 0 70 H e also -
. to turn it i n to a viola was t h e lab e l : ,

follow e d t h e S tain e r patt e rn H is . M athias K lotz L au t e n m ach e r in

instrum e nts w e r e w e ll mad e but t h e
spirit varnish som e tim e s y e llow som e
tim e s re d is of bad quality ; it is thin
and brittl e and laid on a coat of siz e
,
Mitt e nwald anno 1 7 I n t h e Paris
, , C on se rv at 0 1re Coll e c tion is a viola
’
,
d amor e with s e v e n strings and fift e e n
sympath e tic strings dat e d Mitt e nwald , ,

which pr e v e nts its p e n e trating t h e 17 32 H is thr e e sons G e org e S e bas

.
, ,

wood making it opaqu e and p e rishabl e

,
tian and J os e ph w e re all mak e rs
, , .

t h e wood is oft e n worm e at e n In a -

. Kl o t z Michae l and Carl two broth e rs
, , ,

violin of b e autifully finish e d work with working in Mitt e nwald about 1 770 .

r e d varnish was t h e lab e l : G e orge A gr e at many of t h e violins with

Klotz propria m e a m anu fe ci in M itt e n S tain e r lab e l s are mad e by
wald 1 75 3 anoth e r lab e l was G e org e
,
m e mb e rs of t h e Klotz family and th e ir
Klotz in de r Mitt e n wald an de r I s e r ,
imitators t h e Klotz lab e l s having
,
“

1 76 1 . b e e n d e stroy e d by t h e d e al e rs and
K l o t z J ohann Carl
,
Work e d in M itt e n . spurious S tain e r o n e s substi tut e d .

wald about 1 74 0 55 H e di e d you n g ; -

. Probably also wh e n th e s e mak e rs had , ,

his instrum e nts are rar e and but littl e turn e d out a sp e cially good instrum e nt
known but are said to b e among
,
th e y us e d a S tain e r lab e l inst e ad of
t h e b e st of thos e mad e by t h e Klotz th e ir own A u t h e n t ic instrum e nts of .

family I n a v e ry w e ll mad e violin t h e Klotz family are cons e q u e ntl not

.

y
with dark varnish almost black in ,
common .
 K L O T Z— L A F L E U R .
53

X K l o t z , S e bastian
a broth e r of Jos e ph , new instrum e nts but h e was an ,

and G e orge Klotz Work e d in Mitt e n . e xtr e m e ly cl e v e r r e p air e r of old on e s .

wald about 1 70 0 40 H e se e ms to -
. Kra m Andre as E rnst
, A mak e r of .

i hav e b e e n t h e b e st mak e r in t h e cith e rs in N ur e mb e rg about 1 76 5 8 5 ,

-
.

l fami ly H is violins are of a larg e

. Lab e l Andr e as E rnst K ram I n s t ru ,

patt e rn not much arch e d ; as a rul e, m e nt Mach e r in N ii rn b e rg an 1 76 7 , .

t h e varnish is e xc e ll e nt t h e ton e is , a similar on e is dat e d 1 78 1 .

cl e ar and full and t h e work is car e fully , Kra m e r H A mak e r in Vi e nna in 1 71 7

, . .

finish e d Lab e l : S e bastian Klotz in . I n t h e Coll e ction of t h e G e s e llschaft

Mitt e nwald an 1 70 0 A similar ,
. . d e r Musikfr e und e the re is a viola di
lab e l in a violin wi th y e llow brown ,
-
bordon e dat e d Wi e n 1 71 7 , .

varnish was dat e d 1 740 , . K re b a r Giovanni , A mak e r in Padua .

K l uh e r A mak e r in M arkn e ukirch e n

.
,
in 1 6 2 9 .

S axony . Kr e n Franz , A mak e r of cith e rs in .

K n ittin g Philipp W as working in

, . Munich 1 8 3 3 , .

Mitt e nwald in 1 76 0 . K ri gge H e inrich , A mak e r in Danzig .

,

K n i t tl e ( Knitl ) J os e ph A mak e r in ,
. 17 56 5 8
-
His instrum e nts sugg e st t h e
.

Mitt e nwald in 1 79 0 . Maggini patt e rn i n t h e g e n e ral mod e l , ,

K n o op Wilh e lm A mak e r i n M e ininge n

,
. . larg e siz e n e at e dge s and work a n d ,

E xhibit e d in Munich 1 8 5 4 his i n s t ru ,

doubl e p u rflin g in ink T hr e e v 1olin s .

m e nts are mad e on t h e S tain e r patt e rn ; and a t e nor of his are known t h e latt e r ,

t h e ton e is good and full . w ith a fin e to n e .

K o e u p p e rs J e an A mak e r at T h e ,
. K rin e r J os e ph A mak e r in Mitt e n
, .

Hagu e 1 755 8 0 Many of his i n s t ru

,
-
. wald about 1 78 5 9 5 -
.

m e nts are to b e had ; th e y are e x K rupp Pi e rre , Work e d in Paris ru e .

,

ce ll e n t l y mad e but t h e y e llow varnish , S t Honoré 1 7779 1 ; h e also mad e

.
-
,
-

h e us e d i s u gl y and of thick quality ‘

. harps .

K ohl J ohann
, A mak e r in Munich . K ii h l e w e i n u n d T e t z n e r M ak e rs i n .

about 1 5 70 1 6 00 H e was appoint e d -

. Markn e ukirch e n E xhibit e d in Munich .
,

mak e r to t h e Court of B avaria in 1 5 9 9 . 1 854 A violonc e llo of th e irs e x

.
,

K o lb H ans Was working in I ngolstadt

, .
, c e lle n t l y mad e on t h e S tradivar i
B avaria in 1 666 , . patt e rn not much arch e d had a fairly, ,

K ol d i t z ohann A mak e r in R umburg good ton e

J , .
,

He
.

B oh e m i a H e di e d th e re 1 79 6 He
. . K ii n t z e l A mak e r i n B e rlin
. .

mad e e xc e ll e nt violins and violas . e xhibit e d a quint e t of instrum e nts in

K old it z Mathias J ohann

, A mak e r . London 1 8 6 2 ; t h e ton e was e xc e ll e nt
, .

in Munich about 1 72 0 5 5 Lab e l : -

. Kun tz el Laur e nt b 1 79 0 at H of
, , .
,

Mathias J oann e s K old i t z Laut e n und B avaria Work e d till about 1 8 5 5

. .

G e ige nmach e r in M un ch e n 1 7 About 1 8 1 5 aft e r rath e r a ch e qu e r e d

'

, ,

K o l i k e r J e an Gabri e l Work e d in Paris

, .
, care e r s e ttl e d i n B r e slau and work e d
, ,

17 8 3 9 9 in ru e d e s Fossés S aint G e r
-

,
- -
for som e y e ars und e r F ich t e l a n i n s t ru ,

main de s Pré s -
in 1 8 00 h e move d -
m e nt mak e r th e r e ; h e th e n d e vot e d
to 2 4 ru e Croix d e s p e tits Champs
,
- - -
. hims e lf e ntir e ly to violin maki n g ,

Ch F Gand bought his busi n e ss in

. . making e xc e ll e nt imitations of I talia n
1 8 20 . I t is doubtful if h e mad e any violi n s and violo n c e llo s .

“
L a ca s s o . S ee L av a z z a . 1 8 26 , xhibit e d it in 1 8 2 7 E x
an d e .

L a c 6t e A mak e r of guitars in Paris

. h i b i t e d a guitar of s e v e n strings b e auti ,

from about 1 8 2 0 His work is v e ry . fully mad e an d of v e ry fin e ton e in ,

good but it vari e s and i t is possibl e

, , 1 839 was award e d a bronz e m e dal
,
.

that his lab e ls are to b e found in i n s t ru I n 1 8 4 4 his i n strum e nts w e r e also

m e nts h e had not mad e I n t h e Paris . plac e d i n t h e fi rs t class and a bronz e ,

Cons e rvatoire Coll e ction are two m e dal w as award e d him H e brand e d .

guitars on e mad e with six strings dat e d

, , his guitars with L acot e a Paris .

“
1852 ; t h e oth e r a h e ptachord t h e , L a cro i x S alomon A Fre nch mak e r of
, .

s e v e nth string b e ing plac e d lik e t h e t h e 1 9 t h c e ntury .

low e r strin g of t h e th e orbo t h e lab e l is L afie ur A mak e r in London broth e r

.
,

dat e d 1 8 2 H e pat e nt e d a guitar of t h e Parisian mak e r .

”
L a fl e u r J acqu e s A bow mak e r i n Paris ;
“
with t e n strings a de cachord in , , ,
.
54 L A F L E U R— L A N Z A .

b . 1 at N a n cy ; d 1 8 3 2 a t Paris I n
76 0 ,
.
, . a similar lab e l dat e d 1 75 9 is in a , ,

17 8 3 h e had b e e n s e ttl e d for s e v e ral violonc e llo in t h e Paris Cons e rvatoir e .

y e ars in ru e d e la Cout e ll e ri e h e had Coll e ction anoth e r violonc e llo is dat e d

”
mov e d to ru e d e la V e rr e ri e b y 1 78 5 _ , 17 52 ; Lamb e rt aP aris was brande d
a n d to 3 0 ru e d e la Juiv e ri e by 1 7 , 88 , on t h e insid e of t h e back of an alt o ,

th e r e h e probably r e main e d till his and “

Lamb e rt a Paris was ,

d e ath H e clos e ly copi e d t h e bows of

. inscrib e d in a e i t h e r ; a guitar was
Fran cois T ourt e an d his work has a , dat e d 1 78 4 .

w e ll m e rit e d r e putation I n t h e Paris

-
. L a m b i n A v e ry cl e v e r r e pair e r of old
.

C ons e rvatoir e Coll e ction is a bow of instrum e nts in Gh e nt 1 8 0 0 3 0 ,

-
.

his H is son J os e ph R e né was also

.
, , L a m y N Alfr e d J os e ph A bow mak er
,
. .
,

a bow mak e r . 8 1 8 5 0 at Mir e court I n 1 8 63

, , .
,

L a fl e u r J os e ph R e né son of J acqu e s
, , ap pr e ntic e d in Mir e court ; 1 8 66 77 -

b J uly 8 1 8 1 2 Paris ; d F e b 1 9 1 8 74
.
, , . .
, , work e d und e r t h e G au t rot s at Ch at e au
M aisons Lafi tt e W as living in t h e T hi e rry ; th e n w e nt to Paris to work
“

r u e d e la Cité in 1 8 3 5 probably mov e d , with F N V oirin ; t h e latt e r dying in

. .

th e re from ru e d e la J uiv e ri e aft e r his 1 8 8 5 Lamy start e d his own busin e ss at

,
’
fath e r s d e ath Pupil of his fath e r .
, 3 4 ru e Poissonni er e
, H e is a cl e v e r .

and a v e ry cl e v e r workman producing , and consci e ntious workman and his ,

bows which rival thos e of Fran cois bows are as car e fully finish e d as thos e
T ourt e ; a v e ry b e autiful on e is in t h e of his old mast e r H e bra n d s h i s .

Paris Cons e rvatoir e Coll e ction S inc e . bows b e low t h e nut with A Lamy a .
, .

about 1 8 4 0 t h e L afl e u r firm has b e e n Paris He was award e d a silv e r

.

e stablish e d in t h e boul e vard B onn e m e dal in 1 8 8 9 .

'

N ouv e ll e p res d e la port e S aint D e nis -

, L a n di Pi e tro
, Was working in S i e nna .

an d has add e d a music publi s hing -

A
W 74J
I 7

busin e ss to that of instrum e nt makin g ? L a n d o l fi Carlo F e rdl n an d o , A mak e r .

L a fra n c h i n i J acobo d e Was ap p re n

,
. in M ilan about 1 74 0 75 He mad e a -
.

t i c e d to Gasparo da S ale at t h e sam e large numb e r of v iolins which vary in ,

tim e as Maggini and aft e rwards ( 1 6 1 5 ) , charact e r som e car e fully fini sh e d with
was livin g with Maggini as workman brilliant re d varnish v e ry transpare nt , ,

and assistant . a re much lik e d oth e rs hav e a y e llow .

L a g e t t o Louis A n I talian mak e r who

, . varnish thin and hard and n o t of good ,

was working in Paris 1 74 5 5 3 at t h e ,

-

, quality H e us e d fin e wood t h e out e r

.
,

sign of La vill e d e Cr emon e in t h e e dg e is g e n e rally groov e d t h e sound ,

d e s S aints P er e s H e follow e d 3 h l e s a re badly cut and t h e scroll is

‘

ru e
e
-
.
,

t h e patt e rn of Andr e a Amati using , w e ak t h e work is oft e n unfinish e d ,

spirit varnish ; his instrum e nts w e r e ‘

only o n e coat of varnish b e ing us e d

much lik e d Lab e l : Louis Lag e tto .
, an d no p u rfli n g H e occasionally .

luthi e r rue d e s S aints P ere s faubourg -

copi e d Gius e pp e Guarn e ri v e ry clos e ly .

S aint G e rmain a Paris 1 75 3 A la H is violonc e llos g e n e rally of small siz e

-
‘
.
, , ,
’
vill e de Cr emon e ( S ig n e d ) Lag e tto . . a re e xtr e m e ly good and rank high e r ,
”
L ajo u e S ee Gaillard —L ajou e
. . than his violins ; th e y are rath e r
L a L o e A mak e r in Franc e in t h e
. similar to thos e of Pi e tro Guarn e ri ,

1 8 th c e ntury A six stringe d viol of .

-
but not so arch e d t h e proportions
his is know n . a re mor e accurat e ; th e y are worth
L a m b e rt A mak e r said to b e living in
. from £ 3 0 to £ 5 0 ; a r e markably fin e
N ancy in 1 75 0 who was call e d t h e ,
violin was pric e d at £ 5 0 Lab e ls .

Carp e nt e r b e caus e of t h e e xtra “

R e visto da m e Carlo F e rdinando
‘ "

,
’
ordinary numb e r o f violi n s h e mad e ; L an d olfi l anno 1 7 44 Carolus
th e y w e r e of no particular me rit
,

. F e rdi n an d u s L a n d u lfu s fe cit M e d i ol a n i

S auni e r is said to hav e b e e n a pupil of in v i a S M argari t ae anno . .
,

his . C a rlo F e rd in a n d o L an do lfi n e lla

L a m b e rt J e an N icolas ,
A mak e r in . co n trada di S a n ta Margh e rita al s e gno
“
Paris Was working in ru e M ich e l le
.
-
d e lla S ir e na M ilano 1 75 8 ; R e visto .
,
’
Comt e about 1 74 3 8 5 T h e d a t e of -
. da Carlo F e rdi n a n do L an dol fi l anno ,

his d e ath is not known but in 1 78 8 , 7

17 1 T w o violins w e r e dat e d 1 75 2
.

t h e busin e ss was b e ing carri e d on by an d 1 753 .

his widow H e was possibly a broth e r . L an t e z M E son i n law of G ran djon

, . .
,
- -

of t h e mak e r in N ancy T h e lab e l : . se n Was a mak er at M ir e court

. .

J N . Lamb e rt ru e Mich e l l e Comt e

.
,
- -

,
L an z a ( Lansa or Lausa) Antonio M aria ,
.

Paris 1 75 0 was in a violin of flat

, , A mak e r in B r e scia about 1 6 75 H e .

p att e rn with badly cut , sou n d hol e s ; -

follow e d th e p att e rns of G asparo d a .
,
 LA PA I X — L E C L E R C;
'

55

S ale and Maggini his instrum e nts som e of t h e b e st mak e rs in Dre sd e n ,

we r e w e ll made with re d brown var ,

-
B e rlin Vi e nna and B runn
, I n 1 76 4 h e ,
.

nish and had a good ton e

, . s e ttl e d in Pragu e and prov e d an e xc e l ,

L a p a ix J A A mak e r in Lill e ( N ord

, . .
, l e nt workman his instrum e nts violins , , ,
’
Franc e ) who from 1 8 4 0 to 1 8 5 5 mad e
, altos violonc e llos violas d amore and
, , ,

various att e mpts to improv e upon t h e mandolin e s we re e sp e cially lik e d in

usual violin patt e rn T h e first i n s t ru . B oh e mia S axony and Polan d , ,
.

m e nt dat e d 1 8 40 N o 1 was of a
, , .
, L aur e n t Louis S igismond A mak e r in
, .

v e ry e xagge rat e d charact e r ; h e con Paris about 1 773 9 0 H e work e d at -

.

”
tin n e d to mak e oth e r instrum e nts ,
t h e sign Au C yt re All e man d In a .

which di ffe r e d l e ss from t h e traditional th e orbo with y e llow varnish was t h e

form and tri e d t h e e xp e rim e nt of
, lab e l : Laur e nt luthi e r passage de
’
cutting t h e sid e s out of on e pi e c e of S aumont ru e M on t m arre pr es l égou t ,

wood hollowe d out and carv e d i n t h e

, a Paris 1 774 , .

usual shap e so that th e r e we re only ,

L a u s a S e e Lanza
. .

six pi e c e s inst e ad of t h e usual twe nty L au t t e n L W A mak e r in t h e T yrol

, . . .

four to j oin toge th e r I n 1 8 4 8 h e was . O n e fin e an d ha n dsom e violin known

“
.

award e d a m e dal by t h e S oci e ty for t h e L a v a z z a (or L ac as so) Antonio Maria A , .

E ncourage m e nt of N ational I ndustri e s ,

mak e r in Milan about 1 700 Follow e d .

and in 1 8 5 2 t h e m e rit of his instrum e nts t h e S tradivari patt e rn us e d a good ,

was notic e d by t h e I mp e rial S oci e ty of varnish pal e re d colour , Lab e l : .

Lill e H e obtain e d a m e dal of t h e

. A n tonio Maria La v az z a fe c e in
2 md clas s at t h e Paris E xhibition 1 8 5 5 , . Milano in contrada larga 1 70 8 , .

Lab e l : F ait par L ap ai x luthi e r a L a v az z a S antino Was working in

, .

”
Lill e e n 1 8 4 3 B re v e té , . Milan at t h e sam e tim e as Antonio
L a p rév o t t e E ti e nn e b Mir e court ; d
, , . . Maria L av az z a Lab e l : S antino .

1 8 5 6 Paris
, H e work e d first at Mar
s e ill e s and was still th e r e in 1 8 2 1 but
. L a v a z z a fe c e i n Mila n o i n contrada
,
larga 1 71 8
, .

from about 1 8 2 3 was e stablish e d in L a v i n v il l e A mak e r in Paris in 1 777.

,

Paris H is violins w e r e admire d for

. e sp e cially known for his ma n dolin e s .

t h e b e autifully finish e d work o n e is in Leb . Work e d in Pr e ssburg in t h e 1 8 th

t h e Paris Cons e rvatoire Coll e ction its ,
c e n tury ; was o n e of t h e b e st G e rman
varnish is a v e ry good colour ; h e mak e rs of his tim e .

r e c e iv e d a m e ntion at t h e 1 8 2 3 L e B l an c Was t h e nam e of a family

.

E xhibition and a bronz e m e dal in 1 8 2 7 , . of mak e rs who through four g e n e ra

S oon aft e r h e b e gan to mak e guitars tions work e d in Paris T h e re was a .

and gain e d a gr e at r e putation h e and ,

L e B lanc still livi n g i n 1 8 1 9 who s e ,

Lac e t e b e ing consid e r e d two of t h e work was fair h e us e d brown varnish ,

b e st Fr e nch mak e rs of this instrum e nt . an d brand e d his i n strum e nts Le

”
T w o fin e guitars of his with t h e lab e l , B lanc Paris ,
.

insid e of Guitar e L ap rév o t t e dédié e L e bl a n c Claud e A mak e r in M ire

, .

aux dam e s a re in t h e Par1s Con ,

court i n t h e 1 8 th c e ntury .

s e rv a t oi re Coll e ction H e r e c e iv e d a . L e B lond G A mak e r in Dunkirk , .

m e ntion in 1 8 3 4 and a bronz e about 1 775 9 0 A fiv e stringe d viol -

.
-

m e dal i n 1 8 44 for t h e guitars h e with y e llow varnish is dat e d 1 78 9 and ,

e xhibit e d . a cith e r 1 779 Anoth e r e i t h e r was

, .

L arch e A mak e r in B russ e ls 1 8 4 7 H e

.
, . sign e d Le blond Dunk e rqu e Labe l : , .

copi e d t h e instrum e nts of old mak e rs ,

Fait par G L e B lo n d a D unk e rqu e .
.

and e nd e avour e d to gain th e ir quality 17

of ton e by t h e u s e of acids but u n fort u ,

Le Cam u s Pi e rre A mak e r of lut e s i n ,
.

h at e ly t h e wood su ffe r e d th e r e by . Lyo n s 1 5 73 75 .

-

L a rch e r Pi e rr e A mak e r in T ours

,
.
, L e cl e rc J N Work e d l n Par i s 1 76 0
,
. .
,

17 85
. H e was a pupil of G u e rs an in 8 0 i n con n e ction with t h e
,
“
Q uinz e
Paris but his work is v e ry dissimilar ;
,
Vingt th e r e by e nj oying various
,

h e us e d a brown varnish of poor privil e ge s such as not having to pay ,

quality Lab e l Larch e r Pi e rr e

.
, ,
c e rtai n t ax e s & 0 B e sid e s making ,
.

luthi e r de Paris el ev e d e G u e rs an , ,
new i n strum e n ts h e was a cl e v e r ,

Grand e R u e au Grand Dauphi n a r e pair e r of old Lab e ls : R acomod é .

T ours ,
par Le cl e rc au 1 5 vi n gt a Paris 1 771 , ,

L a s k a J os e ph b M arch 1 8 1 73 8 at
, , .
, ,
“
and i n a violi n J N Le cl e rc luthi e r ,
. .
,

R umburg ; d N ov 3 0 1 8 0 5 at Pragu e . .
, , . aux qui n z e vi n gt a Paris 1 770 O th e r , .

Was a pupil of J K old i t z lat e r h e . lab e ls are k n ow n dat e d 1 76 1 1 768 , ,

tra v e ll e d a good d e al w o rk 1n g u n d e r ,
and 1 777 .
56 L E C O M T E — L E P I L E UR .

L e c o m t e ( or F ou q u e t L e comt e ) Antoin e -

, . ru e M ontmartr e au passage Charot “

W as working in Paris rue d e s Fossés , from about 1 775 ; h e or a mak e r of ,

S aint G e rmain d e s Pr e s
-
about 1 775 - -

, this nam e was still th e re in 1 8 1 9 , .

1 8 00 . e J e une J e an Charl e s A mak e r of

,
.

L e c uy e r Pi e rre A mak e r in Paris rue

,
.
, violins in Paris in 1 776 at t h e si g n
’
d e s Fossés S aint J acqu e s 1 775 8 3 - -

,
-
. Au Di e u de l H armon i e work e d in
L e d u c Pi e rr e
, W as working in Paris in . t h e ru e d u Four S aint G e rmain till -

ru e S t H onoré in 1 6 4
7 is th e re for e on e 1 8 3 and was succ e e d e d by his n e ph e w
7
-
.
, , ,

of t h e old e st mak e rs th e r e of whom Guillaum e Martin in 1 8 2 2 ,

.

anything d e finit e is known In a . L e J e u n e Louis A mak e r of violins in

, .

”
small violin or kit fairly w e ll made , , Paris ru e d e la J uiv e ri e 1 78 3 8 9 -

A mak e r i n Paris about

, ,

is t h e lab e l Pi e rre L e duc aParis ru e L e L i e vr e .

S aint Honoré au D uc doré

-
, 1 50 80
7
-
Lab e l in a violin fairly w e ll ,

L e ob J C arl b 1 79 2 ; d 1 8 1 9 W as a
, .
, . . . mad e with y e llow varnish :
, Le
mak e r in Vi e nna . Li evr e ru e d e s N on ian di ere s a Paris ,

L e fe bvr e ( L e fe bre ) J B W as a Fre nch , . . 1

75 4
man who work e d i n Amst e rdam abou t e m b ock Gab ri e l b O ct 1 6 1 8 1 4
, ,
. .
, ,

17 3 5 70
-
H e follow e d t h e Amati
. B udap e st ; d March 2 7 1 8 9 2 Pupil .
,
.

patt e rn usin g g ood y e llow varnish ; it

, of J B S chwe iz e r in B udap e st
. .
,

is suppos e d that h e g ain e d e xp e ri e nc e th e n work e d wi t h Fisch e r in Vi e nna .

in I taly b e for e goin g to Amst e rdam as , I n 1 8 4 0 h e start e d a busin e ss th e r e l n

his work is sup e rior in m e rit to that C a n ov as t ras s e Was appoint e d I n s t ru .

mad e in Franc e at that dat e In a . m e nt mak e r to t h e I mp e rial Court .

violonc e llo of small siz e with y e llow , H e was c e l e brat e d for his skill in re
pairing old instrum e nts H e e xhibit e d
“

varnish and o f car e fully finish e d work , .

is t h e lab e l : J B L e F e b v re fe cit in two violins v e ry good copi e s of Guar

n e ri at M i mich 1 8 5 4 A q uart e t of
.
,

Amst e rdam 1 770 , .

, , .

L e fevr e ( L e fe bvr e ) T oussaint N icola s instrum e nts e x h 1b 1t e d 1n Lo ndon 1 8 6 2

.

, , , ,

G e rmain A mak e r in Paris in ru e du . w e re also mad e aft e r t h e I talian patt e rn ,

Cim e ti er e S aint J e an about 1 78 3 8 9 - -

. and w e r e admire d for t h e b e auty and
L e gro s d e la N e uvill e N icolas A Fr e nch ,
. fuln e ss of th e ir ton e Carl Haud e k .
,

mak e r who e xhibit e d in 1 8 2 3 g uitars , who had work e d with L e mb ock u n t il , ,

violins and violonc e llos ,

. t h e d e ath of t h e latt e r succ e e d e d to ,

L e J e u ne A family of mak e rs who for

. t h e bu sin e ss .

’
s e v e ral ge n e rations work e d in Paris . L E m p e r e u r Je an B aptist e A mak e r,
.

About 1 8 1 9 th e r e was L e J e un e (ai n é) in Paris i n 1 75 0 who l e ft fe w i n s t ru ,

e
working at Cour du Comm e rc e — l ab l m e nts .

in a guitar : L e J e un e luthi e r Cour , , L e n k W b 1 8 40 at S chonbach b e i

,
.
, .
,

d u C omm e rc e N o fau b g E g e r B oh e mia W ork e d und e r K l uh e r

'

19 St . .
, .

”
G e rmain , Paris and L e j e un e (fils ) in M arkn e ukirch e n ; th e n for fiv e ye ars
working at Passage du S aumon ; and in B e rlin ; also unde r E Li e bich in .

L e j e un e ru e du Marché Palu th e re
,
-
B r e slau ; in Vi e nna B udap e st and , ,

was anoth e r m e mb e r of t h e family Munich H e finally s e ttl e d at Frankfort

.

living at 1 3 ru e B ou ch e rat 1 8 3 6 4 6 , ,
-
a/ M in t h e Prom e nad e Platz
. W as .

and finally on e e stablishe d in 1 8 6 2 at awarde d a silv e r m e dal at Frankfort ,

ru e Claud e au Marais who di e d about , 188 1 .

1 870 . e n t z ( L e n z ) J ohann N icolaus A , .

L e j e u n e B e noi t A mak e r of lut e s

,
.
, G e rman who cam e from t h e T yrol to
livin g in Lyons in 1 5 5 7 . London ; was a fri e nd of B e rnhard
L e J e u n e Fran cois W ork e d in Paris
,
. F e ndt and thus probably g ain e d som e
,

at t h e si g n a la H arp e royal e from knowl e d ge of violin making H e b e g an .

about 1 74 5 h e w as still livin g in 1 78 5 . his own busin e ss in Ch e ls e a about

H is instrum e nts are rar e and of not 1 8 0 0 ; h e was a good mak e r g e n e rally ,

particularly g ood work t h e varnish is ,

us e d a clos e g rain e d mapl e wood and - -

of poor q uality T w o violins are . varnish similar to that us e d by D odd

“
dat e d 1 74 7 and 1 75 4 a fiv e stringe d F Lott s e n Lab e l ; J ohan n
J
,
-
and . .
, .

v iol in t h e Paris Cons e rvatoir e C olle c N ico aus L e ntz fe cit n e ar t h e Church ,

tion is dat e d 1 755 anoth e r 1 75 7 and an , , Ch e ls e a ,

“
alto also 1 75 7 Lab e l : Fran cois L e . L e o n i Carlo A mak e r in T r e viso in 1 8 6 1
,
. .

J e un e ru e d e la J uiv e ri e a Paris anné e ,

L e o n i F e rdinando
,
W as wo rking in .

1
76 Parma in 1 8 16 .

Le J uen e J e an B aptist e Was a ma

,
k er . L e P il e ur Pi e rr e A mak e r in Paris
,
.

of harps as w e ll as of violins in Paris , abo ut 1 75 0 5 5 H e work e d in conn e c -

.
 '

LE R i cHE — L I P P O L D .

tion with t h e Abbay e S aint G e rmain -

, about 3 00 a y e ar passing through his
thus gaining ce rtain privil e ge s it no , hands but also mak e s from si x to t e n
long e r b e ing n e c e ssary for him to go n e w instrum e nts
p e r y e ar ; th e y hav e a
through t h e e xp e nsiv e c e r e mony of fin e full ton e and are g e n e rally mad e on ,

b e ing re c e iv e d into t h e Corporation of t h e S tradivari or Guarn e ri patt e rns ,

I nstrum e nt mak e rs ; h e was also e x e mpt with transp ar e n t varnish re ddish ,

from tax e s H is i n strum e nts are not . y e llow colour H e also copi e s t h e Amati .

particularly good of rath e r a long , a n d M aggini patt e rns h e e mploys fiv e

patt e rn and with ugly brown varnish
, . workm e n in his sh 0p but varnish e s ,

Lab e l : Pi e rre L e Pil e ur privilégi e z , all instrum e nts hims e lf Was award e d .

d u R oy dans l abbay e S aint G e rmain a silv e r m e dal B re slau 1 8 8 1 and a gold

'
-

, , ,

Paris 1 75 4 , a similar lab e l i s dat e d m e dal Pos e n 1 8 9 5 Appoint e d i n s t ru

, , .

1752 . m e nt mak e r to t h e Duk e of S ax e

-

L e R i ch e C J A mak e r of cith e rs in
,
. . Coburg an d Gotha .

Lill e rue de la Cl e f about 1 765 8 5 I n

, ,
-
. Li e bich J ohann Gottfri e d b 1 75 2 ; d
, , . .

a e ith e r with e l e v e n strings four ,

18 13 .S on of a mak e r who l e ft
doubl e and thre e singl e was t h e lab e l ,
B oh e mia to s e ttl e in S il e sia He .

C J L e R iche M e luthi e r ru e d e
. . found e d t h e busin e ss 1 79 0 w hi ch has , ,

la Cl e f 1 768 in anoth e r e i t h e r was ‘

r e main e d e v e r sinc e i n t h e family .

ru e d e la Cl e f a Lill e 17 81 .
, . L i e d o l f Jos e ph F e rdinand
, A mak e r i n .

L ét é S im o n b aboi 11 1 76 8
, A mak e r , . . Vi e nna in t h e 1 8 th c e ntury .

at Mire court who mad e instrum e nts at , L i e s s e m R e m e ru s A mak e r in London

, .
,

v e ry che ap pric e s for t h e trad e ; in 17 56 T his nam e and dat e w e r e found

.

1 8 2 3 h e was award e d a silv e r m e dal in a e ith e r of old fashion e d shap e -

.

for a v e ry satisfactory violin which ,

Li gh t A b e autiful arch lut e was found
.
-

was pric e d 2 5 francs J B . . to b e inscrib e d 4 79 L ight Fol e y ,

V u ill au me e nt e re d his workshop in Plac e Lo n do n ,

.

1 8 21 and 1 8 2 5 2 8 was in partn e rship

,
-
L i gn o l i Andr e a , A mak e r in Flore nc e .

with him H e marri e d t h e daught e r . in t h e 1 7th c e n tury .

of Piqu e t h e violin mak e r ; his son , ,

L ill y J am e s A n E n gli s h m ak e r work
,
.
,

N icolas Antoin e b M arch 2 9 1 79 3 , .

, ,
ing in 1 8 2 1 .

Mire court b e cam e an organ build e r , . L i n a ro l o ( L i n erolli) Franc e sco Th e ,

.

L e v al ois A mak e r of all kinds of

. first mak e r i n t h e family Work e d in .

instrum e nts in Paris ru e de la Calandre , ,

B e rgamo lat e r i n V e n ic e , A t e nor .

abou t 1 76 0 . viol was lab e ll e d Franciscus L i n arolu s

L e w i s E dward
, A mak e r in London . B e rgom e n s i s V e n e t i i faci e b at Was .

”
about 1 700 His work was most . probably t h e m ak e r of a n accordo
e xc e ll e nt showing gre at accuracy and
, dat e d 1 5 1 4 b e autifully mad e t h e back , ,

finish ; h e us e d good wood and v e ry i n laid with tortois e sh e ll .

fin e varnish g e n e rally a light y e llow , L i n a ro l o Giova n ni son of V e n turo

, ,

“ ’
colour but som e tim e s re d w ith gold e n
, L i n a ro l o L ab e l : Giova n n i D V e n
.

ground His violins are rar e but are

.
,
tura L i n arol in V e n e tia ,

v e ry b e autiful I n T homas B ritton s L i n a ro l o ( L i n e rol li L i n e l li) V e nturo

'
.
, , ,

Coll e ctio n was an e xc e ll e n t t e nor by son of Franc e sco L in arolo A mak e r .

”
Mr Le wis a n d a rar e good bass
. of lut e s an d viols in V e n ic e work e d ,

violi n . th e re till 1 5 8 1 Lab e l : Ve ntura di .

Li e bich E rnst b O ct 2 7 1 79 6 , . .
, ,
Franc e sco L i n arolo in Ve n e tia 1 5 8 1 , .

R e i b m t z n e ar H irschb e rg ( S il e sia) d
, . W as th e n in Padua : lab e l V e ntura ,

1 87 6 B r e slau
, Pupil and succ e ssor of . de F ran e co L i n arol in Padova f , .

his uncl e J ohann Gottfri e d Li e bich , . 1 5 85 but probably r e turn e d to V e nic e

H e follow e d t h e S tradivari and Guar shortly aft e r for th e r e is a lab e l fe c e ,

n e ri patt e rns ; and also mad e harps and in V e n e tia a T w o t e nor —viols
,
.

guitars H e was t h e fath e r of

. e xhibit e d in Lo n do n i n 1 8 72 w e r e
L i e bich E rnst b 1 8 3 0 B r e slau ; d
, , .
, . probably mad e by him th e y both
1 8 84 who succ e e d e d to t h e bu s i n e ss
, ,
had a scroll with four p e gs substitut e d
a n d conti n u e d to mak e i n strum e n ts o n for t h e anci e nt h e ad with six or s e v e n
t h e I talia n patt e r n His s o n .
, p e gs ; t h e gre at br e adth l e ft b e twe e n
L i e bich E rnst b May 2 5 1 8 6 2 B re slau
, , .
, , , t h e sound hol e s shows that t h e i n s t ru
-

l e arnt from his fath e r ; lat e r work e d m e nts w e r e originally mad e for six or
with B ittn e r in V ie nna I n 18 84 . s e v e n st rings .

succ e e d e d to t h e busin e ss at 2 Cath e r , L ip p e t a J G A m ak e r in N e ukirch e n

, . .
,

i n e n s t ras s e B r e slau H e is e sp e cially , .

S axony in 1 771 ,
.

skilful in r e pairi n g old i n strum e nts , Lipp ol d Johann G e org , Mad e fai rl y .
58 L O L I O T— L U P O T .

good instrum e nts about 1 78 0 ; us e d dat e d 1 73 3 mad e by Louv e t ru e , ,

y e llow brown varnish -

. Gr e ni e r S t Lazar e ; t h e oth e r with .
-

L ol i o Giambattista A mak e r in B e rgamo

,
. t h e lab e l Fait par J e an Louv e t ru e
in t h e 1 8 th c e ntury . d e la Croix d e s p e tits Champs pr es la - - -

L o l y J acopo ,
Was working in N apl e s . port e S t H onor e Paris .
-
I n an , ,

in 1 6 2 7 follow e d t h e patt e rn of alto was t h e lab e l : Louv e t a la

G ran ci n o ; us e d y e llow varnish ; his Vi e ll e R oyal e ru e Croix d e s p e tits - -

i n strum e nts w e r e not arch e d a n d t h e , Champs a c oté d e la Port e S aint

wood was of too hard a quality H e . H onoré a Paris 1 75 5 a similar lab e l
.
,

mad e som e larg e siz e d t e nors -

. in a h u rd y gurdy was dat e d 1 75 7 -
.

L o n g m a n a n d B ro d e ri p w e r e not violin L o u v e t Pi e rr e broth e r of J e an Louv e t

, ,

mak e rs but w e r e instrum e nt s e ll e rs in

,
also work e d in Pari s about 1 74 0 8 5 -
.

Ch e apsid e London about 1 76 0 and , , , H e chi e fly mad e harps which h e ,

”
many of t h e instrum e nts th e y sold , sign e d P Louv e t a Paris ; but a .

mark e d with th e ir nam e w e r e m ad e fi v e stri n ge d viol is known and two

-

for t h e firm by B e n jamm B a n ks or ,

b urdy gu rd ys on e dat e d 1 75 0 is , , ,

pr e ttify ornam e nt e d t h e oth e r is in

d
ay .
,

L re n z Gaspare A mak e r in Piac e nza

in i ,
. th e Paris C ons e rvatoir e Coll e ction
in t h e 1 8 th c e ntury . an d has this lab e l : Fait par P .

L o tt G e org e Fr e de rick e ld e st son of

, , Louv e t ru e M o n tmartr e a Paris 5. la
, ,

J ohn Fr e d e rick Lott s e n ; b 1 8 0 0 , . .

, Vi e ll e R oyal e j uin H e lat e r , ,

Londo n ; d th e r e 1 8 6 8 H e was an .
,
. mov e d to t h e r u e S t D e nis and was .
-

e xc e ll e nt workman and was for a long still th e r e in 1 78 3 .

tim e e mploy e d by D avis of Cov e ntry , L u d ic i (L u dge ) G e ronimo Pi e tro An , .

S tr e e t London H e copi e d I talian

,
. amat e ur mak e r working in Con e gliano ,

instrum e nts with gr e at cl e v e rn e ss . in 1 70 9 Lab e l : H i e ronymus P etrus

.

L o t t J ohn Fr e d e rick s e n
,
b , .
,
. d e L u dice anima causa faci e b a t Con e
G e rmany ; ( 1 April 1 3 1 8 5 3 London , .
, , gli an i , A D . . 1
70 9 .

and was buri e d in t h e Churchyard of S t . L u gl o n i , Gius e pp e . A mak e r in V e nic e

Gil e s i n t h e Fi e lds Whil e still young
- - -
. in 1 777 .

cam e to E ngland and s e ttl e d i n London . L u p o Pi e tro of Antwe rp I n 1 5 5 9 h e

, , .

H e was first a chair mak e r ; but forming -

is said to hav e sold to a musician s e nt
a fri e n dship with F e ndt h e b e gan to , by t h e town of U tr e cht fiv e violins
work at violin making und e r T homas e nclos e d in th e ir cas e for t h e sum ,

D odd in Ma rch 1 79 8 , H e show e d , . of £ 72 T h e s e rvic e s of a pro

.

gre at ability and mad e many e xc e ll e nt fe s s i on al play e r w e r e call e d in so that ,

violonc e llos and bass e s for T ho mas t h e quality of ton e of t h e instrum e nts
D odd in which w e re ins e rt e d th e ;

might b e fairly j udg e d b e for e t h e sal e ,

latt e r 3 lab e ls H e was e sp e cially . was conclud e d and for this and for t h e ,

fam e d for his doubl e —bass e s which , win e dru n k on t h e occasion £ 6 mor e
rival I talian instrum e nts ; t h e work is w e r e paid .

b e autifully finish e d both insid e and , L u p o t Fran cois son of Laur e nt L u p o t ;

, ,

out ; t h e scrolls a re w e ll ou t but t h e , b 1 73 6 Plombi er e s ; d 1 8 0 4 Paris

.
,
.
, .

varnish is not of good quality H is . First work e d with his fath e r at Lun e
two sons G e org e Fr e d e rick and J ohn ,
vill e ( 1 75 1 was appoint e d C our t
Fr e d e rick w e r e both mak e rs ,
. mak e r by t h e D uk e of W ii rt e mb e rg ,

L o t t J ohn Fr e d e rick s e cond son of

, , and for t e n y e ars ( 1 75 8 6 8 ) liv e d and -

J ohn Fr e de rick Lott s e n ; d 1 8 71 . . . work e d at S tuttgart A docum e nt is .

H e work e d for D av 1s of Cov e ntry ,

still e xtant sign e d by J o me lli Dire ctor
, ,

S tr e e t London and mad e skilful , of M usic to t h e Duk e att e sting to ,

i mi t a t l on s of I talian instrum e nts . Fran cois having satisfactorily fulfill e d

L o tz T h e odor A mak e r of good violins
,
. his duti e s for t e n cons e cutiv e y e ars up
i n Pr e ssburg 1 73 0 4 0 ,
-
. to t h e dat e at which h e was l e aving
L o u i s T h e r e was a mak e r of this nam e
. J un e 1 6 1 76 8 H e th e n mov e d to
, .

in G e n e va . O rl ea n s ru e S aint e Cath e rin e probably

,
-

L o u v e t J e an broth e r of Pi e rr e Louv e t
, , . to j oin h i s fath e r ; but in 1 79 4 w e nt to
H e work e d in Paris about 1 73 0 6 0 -
. Paris with his son N icolas and re main e d
H is violins w e r e not w e ll mad e ; th e y th e r e till his d e ath Hi s work show s .

we r e varnish e d brown H e chi e fly . gr e at ability and is sup e rior to that of

mad e h u rd y gu rd ys and harps and -

, Laur e nt and J e an L u p ot ; h e was

was on e of t h e first to mak e p e dal c e rtainly on e of t h e b e st Fr e nch mak e rs
harps I n t h e Paris C ons e rvatoir e
. of his tim e and is said to hav e b e e n a
,

Coll e ction are two h u rd y—gu rd ys on e , pupil of Gius e pp e Guarn e ri H e mad e .

60 M A C G E O RG E— M A G G I N I .

’ ’
making t h e violins and violonce llos Fils luthi e r , ru e d I lli e rs aO rléans , , l an
“
giv e n as priz e s to t h e C ons e rvatoire N icolas L u p o t luthi e r ru e
pupils .I n 1 8 20 h e unde rtook to de Grammont a Paris an 1 8 0 1 ,

e ntir e ly r e plac e t h e instrum e nts of t h e N icolas L u p ot luthi e r ru e Croix de s ,

-

’
royal orche stra with n e w on e s of his p e tits Champ s a Paris l an 1 8 1 2
-
.
,

own but his d e ath cut short t h e work , N L u p ot luthi e r de la musiqu e d u

.
,
’
which was compl e t e d by Ch Fr Gand . . . R oi e t d e l ecol e royal e d e Musiqu e ,

“
L ab e ls : N icolas L up ot filiu s fe cit in , Paris , Many instrum e nts we re
“
A u r e li an e n s i s anno N L a pot
,
. sig n e d with his autograph .

M a c G e o rg e . A mak e r in E dinburgh de s ig n on t h e c e ntre of t h e back ; t h e

about 1 8 0 0 2 0 -
. two latt e r ornam e ntations are n e ve r to
M ac in t o sh A mak e r in Dublin about
. b e found on t h e sam e instrum e nt ,

1 8 3 0 40
-
Pupil of T homas P e rry
. . unl e ss it is a forge ry I n t h e s e cond .

M a ffe o t t o Giuse pp e Was working in

,
. p e riod of his work t h e influ e nc e of
R om e in t h e 1 8 t h c e ntury . Gasparo is not so mark e d ; th e re is a
M a g gin i ( M agino or M aglino ) Gio : , gre at improv e m e nt in t h e construction
Pao lo son of Zovan or Giovanni M ag
, and work of t h e instrum e nt th e
:

gini and his wife Giulia ; grandson of arching is slightly high e r than i n his
S e r B e rtoli n o or B artolomm e o d e e arli e r or lat e r work and is usually ,

M aggini of B otticino a littl e village on , associat e d with a pronounc e d rais e d

t h e hills not far from B re é iz ia ; b . bord e r t h e p u rflin g is don e with more
d b e for e or in 1 6 3 2 as in a sc h e du e
.
, pre cision t h e sound hol e s though still -

pre s e nt e d in that y e ar by his son C arlo original in charact e r hav e more grac e ,
“
h e us e s t h e words fili u s quondam ful curv e s and are b e tt e r ou t ; so is
,
”
J ohannis Pauli I t is possibl e that . t h e h e ad which is mor e symm e trical
, , .

h e di e d of t h e plag u e that in 1 6 3 2 rag e d T h e wood of v e ry fin e quality is

, ,

in B r e scia His par e nts l e ft B otticino

. s e ldom cut on t h e slab ; and is n e v e r
”
a n d s e ttl e d in B r e scia Gio : Paolo . so cut for t h e b e lli e s ; t h e Dumas
was appre ntic e d to Gasparo da S al o , viola and violins are v e ry fin e sp e cim e ns
according to a l e gal docum e nt dat e d , of this p e riod T h e b e autiful i n s t ru
.

1 602 , sign e d by b o t h G asparo and x

m e nts turn e d out by Antonio and
M aggini t h e latt e r callin g hims e lf
, Girolamo Amati may possibly hav e
garzon e I n t h e first p e riod of influ e nc e d t h e third p e riod of his work
“

.
,

M aggin i fs work on e finds much that is which shows much gr e at e r accuracy

charact e ristic of t h e work of Gasparo and a mor e b e autiful form T h e p u rfl .

th e r e is t h e sam e h e avy mod e l short , ing is distinct and fin e ly don e ; t h e

blunt ed corn e rs and p u rflin g care l e ssly , sound hol e s are we ll ou t and care fully
-

inlaid T h e h e ad although showing

.
, finish e d ; t h e archin g is not so gre at ,

a gre at d e al of charact e r is also , and t h e e d g e s are light e r which giv e s ,

care l e ssly work e d on e sid e oft e n , th e instrum e nts a mor e g rac e ful
diffe ring from t h e oth e r and t h e fac e , app e aranc e T h e curv e s of t h e scro ll
.

v e ry de e ply and un e v e nly ou t whil e , are quit e symm e trical whil e t h e fl u t i n g ,

t h e fl u t i n g of t h e back of t h e h e ad is at t h e back of t h e h e ad is not so

also irr e gular T h e wood is g e n e rally . hollow e d an d is b e autifully don e .

mapl e and i s fre qu e ntly cut on t h e

, S tronge r corn e r blocks and linings are
slab ; t h e wood of t h e b e lli e s b e ing also us e d for t h e int e rior and t h e ,

also cut on t h e slab forms an int e r e sting thickn e ss e s are more accurat e ly cal
link b e tw e e n t h e V iol and t h e violin ; cu l at e d T h e varnish is alway s of
.

aft e rwards h e adopt e d t h e m e thod of r e markably fin e quality but vari e s in ,

cutting t h e wood with t h e straight colour ; h e usually us e d varnish of a

way of t h e grain I n t h e sound hol e s .
-
cl e ar brown colour similar to that on ,
’
h e und e rcut or b e v e ll e d th e ir insid e Gasparo s work ; but 1by d e gre e s it
e dg e s lik e thos e of a viol ; occasionally b e cam e mor e brilliant of a trans ,

h e ornam e nt e d his violins similarly to pare nt g old e n colour N e arly all his .

viols with inlaid p urfl in g or t h e

, , instrum e nts are doubl e p urfl e d but -

clov e r l e af d e vice at top and bottom

-
thre e violins and on e viola are known
of t h e back or w ith an e l aborat e , wit h onl y on e li ne of p urflin g ; an d
 M A GG I N I — M A N T E GA ZZ A . 61

also a v e ry fin e violin which though , Pode st a; by 1 6 26 h e had also a hous e

doubl e p urfle d on t h e b e lly has only
-

, and shop in Contrada d e ll e B o mb a sari e .

imitat e d p u rfl i n g on t h e back t h e , His only surviving son Carlo France sco , ,

doubl e lin e b e ing drawn in w ith p e ncil b e cam e a silk m e rchant an d his s on ,

or ink Th e large siz e of his violins

. Pi e tro di e d in his infancy so that ,

mak e s t h e sid e s app e ar low but at t h e , th e r e s e e ms to b e absolut e ly no ground

n e ck e n d the ir h e ight is almost id e ntical
-
for t h e stat e m e nt that his son Pi e tro ,

with that of Amati violins and som e of or Pi e tro S anto was also a violin ,

S tradivari though at t h e tail pin e n d

,
-
make r e sp e cially as no violin viola
, , ,

th e y are about on e sixt e e nth of an inch -

or violonc e llo is known mad e by any
lowe r T h e gre at l e ngth and bre adth
. oth e r Maggini than t h e gre at Gio :
n e c e ssitat e d re lativ e ly low sid e s and ,
Paolo .

Maggini obtain e d e xactly t h e right M a ir e N icolas , A violin bow mak e r in .

proportions for producing that gre at Paris ; b D e c 2 8 1 8 0 0 in Mire court ;

. .
, ,

volum e of ton e so full and m e llow for , ,

d July 1 7 1 8 78 Paris Was appre ntic e d
.
, ,
.

which his violins are fam e d th e ir siz e to J acqu e s L afle u r in Paris and con ,

pre v e nt e d the ir ge n e ral u s e but D e , tin n e d to work th e re in ru e Mont

B e ri o t t h e gre at violinist play e d con
, , martr e H e made e xc e ll e nt bows
. .

s t an t l y on a magnifice nt sp e cim e n ,
M al d o n n e r A mak e r in Fusse n .
,

which e v e ntually was sold for £ 60 0 ,

B avaria about 1 76 0 , .

and is now in t h e Coll e ction of Princ e M a l e r ( Mall e r) Laux A mak e r of , .

d e Caraman Chimay as w e ll as a viola -

, lut e s in B ologna about 1 4 1 5 m e ntion e d ,
’
and a violonce llo mad e by Maggini . by Mace in Musick s Monum e nt “

As a rul e Maggini violins are worth ( London H e says T h e re are

, ,
’
about £ 1 00 His violas are of v e ry . div e rsiti e s of M e n s N am e s in lut e s ;
high mod e l t h e arching ris e s from t h e
, but t h e Chi e f N am e w e most e st e e m
inn e r lin e of p u rflin g for t h e latt e r is , , is Laux Mall e r e v e r writt e n with ,

as usual doubl e ; t h e bord e r is high

, ,
T e xt Le tt e rs : T w o of which Lut e s I
’
and t h e sid e s are s e t clos e to t h e e dg e s hav e s e e n (p i t t i fu ll O ld B at t e r d , ,
’
of t h e back and b e lly l e aving but littl e , C rac k d T hings ) valu e d at £ 1 00 a pi ec e .

margin ; t h e corn e rs are short t h e sound Mr G o ot ie re t h e famous Lut e nist in ,

hol e s plac e d high e r than in t h e violins

, , His T im e sh e w e d m e O n e of T he m , ,

are short wid e v e ry upright and und e r

, , , which t h e King paid £ 1 0 0 for And .

’
cut on t h e inn e r e dge T h e wood is . Mr Edw J on e s (on e of Mr G oot ie re s
. . .

most e xc e ll e nt t h e varnish of v e ry fin e scholars) had t h e othe r which He so ,

quality and a r i ch gold e n brown colour ; -

valu e d ; and mad e a B argain with a
t h e ton e is v e ry fin e H is violonc e llos . M e rchant who d e sire d to hav e it wi th ,

are mad e on e xactly t h e sam e patt e rn , him in His T rav e ls ( for his E xp e ri e nc e ) ,

t h e sound hol e s plac e d rath e r high t h e A n d i f h e lik d I t whe n h e r e turn e d

'
-
, , ,

sid e s mad e rathe r low S tradivari . was to giv e Mr Jon e s £ 1 0 0 for it ; but .

’
l e arnt much from him both in , if h e R e fu s d it at t h e Price s e t h e ,

t h e making of violins and of violon was to r e turn t h e Lut e safe and to ,

c e llos ; t h e latt e r hav e almost t h e pay £ 2 0 for His E xp e ri e nc e and U s e

sam e proportions Gius e ppi Guarn e ri . of I t for that J ourn e y
, I hav e oft e n .

was anothe r mak e r on whom his s e e n Lut e s of thre e or four pounds far ,

work e x e rcis e d a strong influ e nc e . more I llustrious and T aking to a

Th e amount of work don e by common E ye obs e rv e t h e
Maggini was comparativ e ly small , Colour ; which is t h e Dark black -

probably about fifty of his i n s t ru re ddish colour ; though I b e li e v e it

-

m e nts are now e xisting ; only s e v e n contribut e s nothing at all to t h e sound ;

or e ight violas two violonc e llos , , only t h e B e st Authors did u se to lay
and o n e doubl e bass are known -

, on T hat Colour e sp e cially Laux ,

t h e latt e r of v e ry small siz e and of Mall e r "

.

poor workmanship H e probably . M a l e r S igismond

, A mak e r of lut e s in .

mad e som e viols as w e ll I n E ngland . V e nic e in 1 5 2 6 .

only twe lv e violins six or s e v e n violas , , M a n n Hans , A mak e r in N apl e s .

and on e violonc e llo are known T h e . about 1 72 0 5 0 His instrum e nts are -
.

“
lab e l us e d is : Gio : Paolo Maggini in rare H e follow e d t h e S tradivari and
.

B r e scia I t is n e v e r dat e d a fact

.
, Guarn e ri patt e rns .

which oft e n he lps to e xpos e a forge ry . M an s ie d l . S ee M au s sie ll .

Maggini marri e d Maddal e na Anna M a n t e ga z z a

( or M an t e ga t i a ) Pi e tro an d ,

For e sto o u l an 2 0 1 6 1 5 and live d in .

, , Giovanni T w o brothe rs working in .

t h e Contra da de l Palazzo V e cchio de l Mil an about 1 75 0 to 1 8 0 0 T he y .

62 M A N T O V AN I— M A ST .

mad e many good altos ; t h e varnish of , about 1 640 to 1 700 His instrum e nts .

fin e quality vari e s in colour som e , , are not of much valu e ; t h e work

tim e s is almost black t h e wood is , sugge sts Maggini but is v e ry rough ; ,

rath e r too hard Lab e ls : P e trus . th e p u rfl i n g i s g e n e rally doubl e .

J o e s F ra t re s q M an t e gat ia M e di olan i in
. . Lab e ls : Antonio Mariani P e saro ,

V i a S M argari t as a n no 1 75 7
. similar , found in an alto and Antonio ,

lab e ls are dat e d 1 76 0 1 76 3 and 1 78 0 , , Mariani fe cit anno ,

Pi etro Gio e frat e lli M an t e ga z z a

, . M arin o B e rnardino A mak e r in R om e
, .

n e lla contrada di S anta M argharita in who work e d up to 1 8 0 5 .

’
M ilano al s e gno d e ll Ange lo 1 75 6 ”
a , M a ri u s A small pock e t violin of ivory
.

similar lab e l is dat e d 1 770 and P e trus and coloure d woods was inscrib e d
J oann e s M an t e gat i a fe cit M e diolan i in Marins ”
and was prob ably mad e
,

Via S Margarita 1 79 0 .
, . about 1 6 1 0 .

M an t o v an i Was working in Parma in . M arqu i s d e L air A mak e r in Mir e .

t h e 1 8 th c e ntury . court about 1 8 0 0 H e mad e violins .

M a rat t i Giambattista , A mak e r in .

W and violonc e llos and follow e d t h e ,

V e rona about 1 6 9 0 1 70 0 His violins -

. S tradivari patt e rn ; but his work is
a r e of fair workmanship and hav e a v e ry poor t h e wood is not good and , ,

good ton e . t h e varnish an ugly y e llow brown ,

—

M a rc e l l i Giovanni A mak e r in C re
,
. colour lacks transpar e n cy ; t h e ton e is
,

mona in 1 69 6 Lab e l : J oann e s . of bad quality H e brand e d his i n .

M arc e lli fe cit Cr e mon as M D CXCV I , . s t ru m e n t s on t h e back M arquis d e ,

’
M arch al ( M are chal ) A mak e r in Paris . Lair d O i s e au .

’
about 1 79 0 A viola d amore and a . M arsh al l J ohn A mak e r in London
,
.

lyre guitar of his are known I n a

-
. about 1 75 0 6 0 A mandolin e of his -
.

th e orbo was found inscription : was dat e d 1 75 8 H e follow e d t h e .

” V

M archal a Paris . S tain e r patt e rn and his work was _

,

M arch e t ti E nrico A mak e r of go od

, . good Lab e ls :
.
“
J ohann e s M arshall
instrum e nts in T urin in t h e 1 9th L on di n i F e cit , J ohann e s
c e ntury . M arshall (in vico novo juxta C ov e n s am
M a rchi Giovanni Antonio A mak e r in
,
. hortum ) L on din i fe cit and ,

B olo g na about 1 74 0 9 5 H is violon -

. M arshal l : London 1 75 9 , .

c e llos and violi n s are good instrum e nts ; M art in A family of mak e rs in Paris
.
,

t h e latt e r a re of high mod e l with v e ry , who chi e fly de alt in and r e pair e d old
b e autiful mapl e wood us e d for t h e -
instrum e nts Guillaum e Martin suc .

back and side s and varnish of a gold e n , c e e d e d to t h e busin e ss of L e j e un e in

,

y e llow colour I z ab e l s? J oann e s . 1 8 2 2 and was in his turn succ e e d e d by

,

Antonius Marchi fe ci t B on on i m anno ‘

, a n e p h e w Charl e s Martin Al e xandr e

, .

1
774 similar lab e ls a re dat e d 1 76 0 M artin son of Charl e s took t h e
, ,

and 1 79 2 . busin e ss in 1 8 9 0 .

M a rc o Antonio ,
A mak e r in V e nic e in . M art i n J ul e s , A mak e r in G e rmigny .
,
”
1700 . Vosg e s S e e Guarini . .

M a rc o n c i n i Gius e pp e son of Luigi , M artin A mak e r in London in 1 79 0 9 5

.
-

M ar c o n c i n i Was a p up i l of S torioni . who liv e d at H e rmitag e B ridge ,

th e n s e ttl e d in F e rrara wh e r e h e di e d , Wapping .

at a gr e at age on J an 1 7 1 8 4 1 H is .
, . M a s t J e an Laur e nt A mak e r in Paris
, .

violins vari e d in workmanship som e , about 1 75 0 H is instrum e nts are v e ry .

,

e quall e d thos e of his mast e r ; th e y w e ll mad e t h e spirit varnish is thick ; ,

are w e ll mad e slightly arch e d with , , a dark brown colour which has b e ,

brilliant re d varnish . com e almost black H e brand e d his .

M a rc o n c i n i Luigi A pupil of O mobono ,

. violins with J L M ast Paris both . .
, ,

S tradivari who work e d both i n Fe rrara ,

insid e a n d outsid e .

and B ologna H is instrum e nts are of . M a s t J os e phus Laure nt son of J e an

, ,

good workmanship with pal e re d , Laure nt M ast Was born at M ire .

varnish Lab e ls : Luigi M arcon cin i . court and was still th e r e in 1 8 2 0 H e .

f B ologna and Luigi M arcon cin i

.
”
, was appr e ntic e d to N icolas th e re at
in F e rrara 1 76 7 ,
. t h e sign o f A la vill e d e Cr emon e
_ ,

M aria Gius e ppe d e,

A mak e r of man . a n d th e n s e ttl e d in T oulous e S e v e ral .

dolin e s at N apl e s 1 779 Lab e l ,

. of his violins are k nown and are said ,

J ose ph di Maria di N apoli in S trada to b e of b e tt e r workmanship than

S Pi e tro a M aj e lla f in N apoli A D
. .
, . . thos e o f his fathe r T he y are arch e d .
,

t h e sound hol e s are not we ll ou t and

7 ?
I 7 9"
-

M ar i a m Anton i o A mak e r i n P e saro

,
'

,
. h e us e d two varnish e s on e y e llow ,
 M A U C O T E L— M E L L I N G .

brown and t h e othe r re ddish colour . and t h e workmanship b e autifully

He brand e d his instrum e nts with finishe d .

Mast fils T oulouse 1 8 2 5 M e ar e s R ichard

’

T he re is , . A make r of lut e s .

a violin in t h e Paris Cons e rvatoire and V l olS in London in 1 6 77 I n 1 8 72 .

Coll e ction which has t h e lab e l was e xhibit e d in London a viola da

J os e phus Laure ntius Mast fe cit gamba with t h e lab e l : R ichard
A p olli n i D e o H armon i ae 1 8 1 6 réparé , M e ar e s without B ishopsgat e n e ar to
, ,
’
che z S chub e rt E pinal 1 8 3 1 , . S ir Paul Pind e r s London Fe cit ,
.

M a u c o t e l Charl e s broth e r of Charl e s

, , 167 7 His
. son R ichard also l e arnt
Adolphe M aucot e l ; b N ov 1 1 8 0 7 . .
, , t h e trad e but soon abandon e d it for
Mire court W as first appre ntice d to
. oth e r work .

B lois e Mast ; in 1 8 3 4 w e nt to Paris M e d a rd Antoin e b ,

1 62 1 ( baptis ed , .

and worke d und e r Gand ; in D e c 1 8 44 .

, , O ct 2 8
. son of H e nri M edard
,

move d to London whe r e at first h e , and his wife Ann e A mak e r at N ancy . .

was e mploy e d by W Davis of 3 4 .

, ,
A littl e pock e t violin is known v e ry ,

Cove ntry S tre e t but the n start e d his , care fully mad e with t h e carv e d h e ad ,

own busin e ss in 8 R up e rt S tre e t , , of a woman inst e ad of a scroll and ,

Haymark e t 1 8 5 1 5 8 G e orge s Chanot -

, re d brown
-
varnish of fin e quality .

worke d with him H e re tire d from . I nsid e is t h e lab e l : “

Antoin e M edard
busin e ss in Aug 1 8 60 and re turn e d .
, , 5. N ancy ,

to Franc e He mad e som e e xce ll e nt

. M edard Fran cois son of Claude
, ,

instrum e nts t h e work varnish and , , M edard A mak e r in Paris about

.

ton e w e re all good Lab e l Carolus . 1 6 9 0 to 1 71 5 I s said to hav e b e e n a .

M au cot e lu s fe cit L on din i 1 85 ,

pupil of S tradivari at Cre mona H is .

”
C . M . instrum e nts a re on rath e r a small
M a u co t e l Charl e s Adolph e broth e r of
, , patt e rn slightly arch e d t h e sound
, ,

Charl e s ; b 1 8 2 0 at Mire court ; d F e b

. . . hol e s are w e ll cut t h e pre tty ros e ,

6 , 1 858 at Paris
, Appre ntic e d in . colou re d varnish is ve ry transpare nt ,

Mire court ; the n we nt to Paris and ;

and t h e work is car e fully finish e d .

work e d for fiv e y e ars ( 1 8 3 9 44 ) und e r -

H e was command e d to mak e t h e i n s t ru
J B V u illau me I n 1 8 4 4 h e start e d
. . . m e nts for t h e orch e stra of Louis X I V .

his busine ss in Gal e ri e Vivi e nne but ,

Lab e l : Franciscus M éd ard fe cit
lat e r mov e d first to ru e Croix d e s p e tits - -
Parisiis 1 6 ,
a similar lab e l is
Champs and the n t o rue Prince ss e it dat e d 1 71 0 .

was the re h e committ e d suicid e in M edard H e nri son of Claud e M edard

, , ,

1 8 5 8 by cutting his throat during an

, also a mak e r A mak e r at N ancy and .

attack of brain fe v e r H e mad e e xc e l -

. Paris about 1 6 2 0 3 0 th e r e b e ing a -
,

l e nt copi e s o f t h e works of S tradivari re cord of his marriag e to Ann e Pi e r

and Gius e pp e Guarn e ri and his , e sson of P oi re s s on
, on O ct 2 3 1 6 2 0 .
,
.

num e rou s violins altos and violon , ,

Was ge n e rally cons i d e r e d to b e a pupil
c e llos show good work and hav e a of N icola Amati H is work was .

fin e ton e I n 1 8 44 h e was award e d a

. e xtr e m e ly good I n a violonc e llo was .

“
bronz e m e dal for an alto plac e d in t h e t h e lab e l : H e nry M e dart 5 N an cy ,

z u d class and in 1 8 5 5 a m e dal of t h e

, 1 627 .

2 n d class . M edard , J e an son of Claud e M edard

,
.

M a u s s i e l l (or M an s ie dl) Le onhardt A , . Work e d at N ancy .

make r in N ure mb e rg 1 72 0 5 0 He ,
-
. M e d a rd N icolas son of Claud e M edard ;
, ,

0 0pi e d t h e S tain e r patt e rn and mad e , b about 1 5 9 8 was living in N ancy in

.
,

good instrum e nts care fully finish e d , ,

1 65 8 H e follow e d t h e Amati patt e rn
. ,

with y e llow or brown varnish . his instrum e nts are small and t h e ,

M a yr ( Mai e r ) Andre as F e rdinand , A . ton e though soft and silv e ry lacks

, ,

mak e r in S alzburg about 1 74 0 8 0 Is -

. powe r ; t h e varnish is v e ry b e autiful .

said to have mad e t h e small violin on Labe ls are known dat e d 1 6 1 5 and
which Mozart l e arnt to play In a . 1 6 60 .

lut e was t h e lab e l Andr e as Fe rdinand M edard , S ebasti e n

b about 1 5 76 ; d , . .

M ayr Hof Laut e n und G e ige nmache r 1 63 6 probably anoth e r s on of Claud e

in S alzburg 1 74 1 a similar lab e l
, ,
M edard A mak e r first at N ancy
.
,

print e d in G e rman charact e rs was , th e n at Paris about 1 60 0 3 6 ,

-
.

dat e d 1 777 . M e i b e ri Franc e sco A mak e r at Le ghorn

,
.

M a y s o n Walt e r H A mak e r in Man

,
. about 1 74 5 5 0 -
.

ch e st e r who b e gan as an amat e ur but , M e llin g A mak e r in Paris in t h e ru e

.
,

soon adopt e d violin making as a pro F romon t e au plac e du Louvr e in 1 75 3 , ,

fe s s ion . H is instrume nts are e x c e ll e nt , at t h e sign of A la b e ll e V ie lle us e

“
64 M E LL I N I~ M I CHE L OT .

but in 1 771 was in ru e de s O rti e s au x , M e rl in J ose ph , A mak e r in London .

,

gal e ri e s du Louvre . Princ e s S tr e e t H anov e r S quare in , ,

M e lli n i Giovanni , Was working in .

-

17 70 8 0
-
H is violins and h i s me ch an i
.

Guastalla I taly in 1 76 8 , , . cal p e gs for violins and violonc e llos

M e l o n i Antonio , A mak e r in Milan . we r e at on e tim e v e ry fashionabl e .

about 1 6 70 9 5 Follow e d t h e Amati -

. H e followe d t h e high S tain e r mod e l ,

patt e rn ; his instrum e nts are small , his instrum e nts w e r e w e ll made but t h e ,

with w e ll ou t sound hol e s and y e llow ton e was not good Labe l : Jos e phus “
.

varnish ; th e y hav e a g ood ton e Lab e l . . M e rlin C re mon ae e m u lu s N o 1 0 4 . . .

“
Antonius M e loni M e diolan i fe cit L on di n i 1 779 I mprov e d
, 66 Que en . .
,
”
AD . Ann S tr e e t E ast Portland Chap e l , .

M e n n éga n d Charl e s b J un e , , . 1 9 , 1 822, M e s s e gu e r A S panish mak e r working

.

at N ancy ; d J an 9 1 8 8 5 at Vill e rs . .
, , about 1 64 6 .

C ott e re ts W as appre ntice d at Mire

. M e t t al A mak e r in Fr e ib e rg I n a
. .

court ; i n 1 8 4 0 w e nt to Paris and lyre g uitar of six strings was t h e

-

work e d with R amb au x for fiv e y e ars lab e l M e t t al I n strum e nt e nmache r ,

and the re gain e d t h e e xp e ri e nc e which in Fre yb e r g .

re nd e re d him such a cl e v e r r e pair e r M e t t e Fran cois

,
A mak e r in t h e S outh .

of old instrum e nts 1 8 5 1 5 2 work e d .

-
of Franc e who s e nt instrum e nts to t h e
,

with M au cot e l and in 1 8 5 2 l e ft Franc e , Paris E xhibition in 1 8 5 5 .

for Amst e rdam R e turn e d to Paris . M e u s i d l e r ( M e u s ie dle r) J ohann A , .

1 8 5 7 and s e ttl e d at 2 6 ru e d e T r év i s e , . mak e r of viols of all sorts in N u re m

H e mad e a large numb e r of good be rg about 1 5 40 5 0 -
.

violins altos and violonc e llos in

, , M e z a d ri (M e z z adie ) Al e ssandro A mak e r , .

Amst e rdam ; but aft e r his re turn to in F e rrara 1 6 9 0 1 72 0 H e followe d t h e

,
-
.

Paris principally mad e violonce llos , principl e s of t h e Amati school but t h e ,

which rank amon g t h e b e st work of patt e rn of his instrum e nts is not

t h e tim e He was award e d a m e dalo f
. grac e ful t h e sound hol e s are place d
,
-

t h e 2 n d class Paris 1 8 5 5 and b ronz e , , , too clos e ; and t h e workmanship is

m e dal s in 1 8 6 7 and 1 8 78 Lab e ls : . poor Lab e l : . Al e ssandro Me z adri
M e n n égan d luthi e r 2 6 ru e d e , , fe c e in Fe rrara anno 1 71 3 , .

T r evis e Paris and C M e n n é

,
“
, . M e z a d ri (M e z z adie ) France sco A mak e r , .

gand luthi e r 2 6 rue de T r evis e

, , at Milan about 1 700 2 0 I n an alto of -
.

Paris 1 8 77 ( S ign e d ) C M e n n égan d

, . . . small patt e rn with pinkish y e llow ,
-

“
S om e of his lab e ls hav e el ev e d e varnish v e ry light and tran spare nt
, ,

Ramb au x on t h em t h e back mad e of poplar wood i s t h e -

,

M e n n e s s o n E mil e ! b M arch 1 5 1 8 4 2 , .
, , lab e l : Franciscus M e z adri Milano , ,

R h e ims Liv e s the re at 1 0 ru e

.
, anno 1 71 2 .

Carnot Work e d with M e n n égan d

. M ez in S ee . Collin M ezin -
.

and D e roux H ad large workshop . M i a l fi J oann e s

,
A S panish mak e r .

at Mir e court 1 8 76 H as mad e , about 1 76 9 H is instrum e nts are of .

violins followin g t h e patt e rn av e rag e m e rit .

of S tradivar i s M e ssiah violin ; M i cha u d A mak e r in Paris about 1 78 8

. ,

varnish first re d lat e r y e llow re d with

, ,
-
ru e G u éri n B oiss e au au coin d e la ru e
amb e r ground E xh i bit e d at Paris . S aint D enis -
.

0 75 78
8 -
Philade lphia M i c h e l i s P e l e grino ( or P e re g rino ) di
,

R h e ims ( 1 8 76 8 9 R om e -
Zan e tto son of Zan e tto d e M ich e li s ;
,

E p e rnay Charl e vill e b 1 5 20

. A mak e r of viols and lut e s
.

and was awarde d gold and silv e r and oth e r instrum e nts in B re scia A .

m e dals and num e rous dipl om e s t e nor of his was e xhibit e d in London
’
d h on n e u r . in 1 8 8 5 which is d e scri b e d as e ss e n
,

M e ri ghi Pi e tro ,A mak e r of mando . t i all y mod e rn in mod e l and d e tail ,

lin e s i n Parma in 1 770 Lab e l : . though with re mainin g touch e s of

”
P e trus M e ri g hi fe cit P arm ae anno ,
archaism A spl e ndid six strin ge d
.
-

’
1770 3 bass V iol is in t h e Paris Cons e rvatoir e
-

M éri o t t e Charl e s A mak e r at Lyons

, . Coll e ction dat e d B r e scia 1 5 47 , ,
.

about 1 73 0 6 0 S e v e ral of his violins -

. M i ch e l i s Zan e tto de b 1 49 5 Probably
, , . .

are known mad e on t h e S tradivari ,

a nativ e of M on t e ch i aro a village n e ar ,
’

patt e rn with y e llow brown varnish

,
-

, B r e scia Was a m ak e r of cith e rs

. .

and of good workmanship Lab e l : . M ich e l o t , J acqu e s Pi e rre A mak e r in .

M ério t t e luthi e r sur le pont pr e s le , , ,

Paris about 1 78 0 9 5 at t h e sign of -

change a Lyon 1 75 5 , A lat e r lab e l , . A l a M élodi e 2 55 ru e S t H onoré , , .

- .

was print e d i n Latin . I n t h e Paris Cons e rvatoir e Coll e ction

 M I E R~ M O N T A G N A N A .

is a littl e guitar dat e d 1 78 1 H e also . Mire court b about 1 8 1 0 ; fathe r of , .

mad e fiv e stringe d viols an d violins -

, . Claud e Augustin Mire mont .

Lab e l “
J P Mich e lot ru e S t Honoré . .
, .
-

, M o d e s s i e r A mak e r in Paris in 1 8 1 0 . .

’
‘
a la M eIodi e 1 79 0 , . H is instrum e nts we re made on a larg e
M i e r A mak e r in London in 1 78 6
. . patt e rn t h e wood was g e n e rally
,

M i g gé O tto b J une 1 6 1 8 5 7 Cobl e nz

, , .
, , . e xc e ll e nt .

H as made about 8 0 violins and 1 4 M o e rs J e an H e nri A mak e r in Paris

, .

violonc e llos of good ton e . about 1 771 .

M ilan i Fran ce sco A mak e r in Milan

, . M ohr Philipp Was working in H am
, .

about 1 740 6 0 S aid to hav e b e e n -

. burg about 1 6 5 0 .

a pupil of Lore nzo Guadagnini h e , M o i n e l Charl e s n e phe w of N E

, , . .

followe d a similar patt e rn in his work . C h e rp i t e l A mak e r in Paris O n t h e. .

M i lh e t Was working in B ayonn e about

. d e ath of C h e rp it e l in 1 8 9 3 h e assist e d , ,

1 8 20 His instrum e nts we re of ordinary

. t h e widow to continu e t h e busin e ss .

workmanship H e use d y e llow brown .

-
M oi t e s s i e r Lo uis A mak e r at Mire , .

varnish . court about 1 78 0 to 1 8 2 5 H e mad e a .

M il l e A mak e r at Ai x la Chap e ll e A
.
- -
. large numb e r of instrum e nts mostly ,

small pocke t violin is known that had violins of ordinary workmanship with
,

b e e n re paire d by R e my . brown varnish O n e violin fairly .

,

M ill e r A mak e r in London about 1 75 0

. . we ll mad e was p e culiar in having t h e ,

H e work e d at t h e sign of t h e C i t e rn , b e lly as we ll as t h e back and sid e s of

London B ridg e . mapl e wood t h e ton e was good I n
-
.

’
M ill e r A A mak e r in S t Andre w s
, . .
, it was t h e lab e l : “
Ludovicus Moi
S cotland . t e ssi e r fe cit anno Domini 1 78 1 ,
.

M in oz z i Matt e o Was working in

,
. R amb au x was a pupil of his for four
B ologna in t h e 1 8 th c e ntury . y e ars .

M i ra u co u rt Ludovic ( or J os e ph ) A ,
. M o l d o n n e r A mak e r in Fuss e n B avaria .
, ,

mak e r of viols at Ve rdun about 1 74 0 about 1 75 6 9 8 -

.

50 . A six stringe d viol is dat e d 1 743 -

. M o lin ari Antonio A mak e r in V e nic e
, .
,

M ir e m o n t Claud e Augustin son of , , 1672 1703-

.

S ebastie n Mir e mont ; b 1 8 2 7 Mir e .

, J os e fo
o l i n a ri , A mak e r of man .

court ; d 1 8 8 7 Pontorson ( Manche ) .

,
. dolin e s and th e orbos in Ve nic e about
W as first a pupil of his fathe r the n for , 17 3 5 65
-
I n t h e Paris Cons e rvatoir e
.

thre e ye ars of Collin M ezin I n 1 8 44 -

. Coll e ction are two man dolin e s dat e d
h e w e nt to Paris and work e d first with , 17 6 2 and 1 76 3 r e sp e ctiv e ly Lab e l : .

L afl e u r th e n with B e rn arde l until

,
J os e ph Molinari V e n e t us anno 1 73 7 , ,
.

1 8 5 2 wh e n h e l e ft Franc e for Am e rica

, , M o n ge n o t Was working in R ou e n in .

and se ttl e d in N e w York I n 1 8 6 1 h e . 17 6 3 at t h e sign of

, S aint e C ecil e -
.

re turn e d to Paris and e stablishe d M o n ta d e ( Montani or M on t aldi) G re ,

hims e lf in ru e F au b ou rg Poissonni ere -

. gorio A mak e r i n Cre mona about 1 69 0
.

H e re tire d from busin e ss on J uly 1 5 , 1 73 5 Was e ith e r a pupil or m e re ly an

.

1 88 4 and w e nt to liv e first in B e ll e vill e

, , imitator of O mobono S tradivari His .

the n at Pontorson wh e r e h e di e d ,
. work is fairly good .

He mad e a gr e at many instrum e nts , M o n t a g n an a Dom e nico A c e l e brat e d .

.

chi e fly violonc e llos th e y we re all mak e r i n V e nic e about 1 72 0 5 0 O n e -

.

mad e with e xt re m e accuracy by him of t h e most abl e pupils of Antonio

se lf alon e no workman assisting ; th e y , S tradivari at Cr e mona ; it is said that
show good work and hav e e xc e ll e nt h e work e d with him for tw e nty y e ars ,

quality of ton e H e mad e som e e xc e l . th e n w e nt to V e nic e and s e ttl e d th e re ,

l e nt copi e s of S tradivari and Guarn e ri , at t h e sign of Cr e mo n a L ab e ls .

and also se v e ral in s t ru me n t s of e xc e ll e nt dat e d V e nic e 1 72 5 are known H is , , .

ton e on t h e Klotz patt e rn Awards at . work is admirabl e an d shows gr e at ,

E xhibitions : m e dal of first class N e w ,

knowl e dg e of t h e qualiti e s of wood and
York 1 8 5 3 and Paris 1 8 5 5 ; priz e m e dal
, , , , of t h e n e c e ssary thickn e ss e s to b e
London 1 8 6 2 ; and silv e r m e dal in ,
obtain e d ; h e mad e on a larg e patt e rn ,

1 8 6 7 and 1 8 7 8 Lab e ls : E xpositions . rath e r arch e d with t h e corn e rs promi ,

univ e rs e ll e s d e 1 8 5 3 5 5 6 2 6 7 quatre - - -

,
n e nt t h e sound hol e s grac e fully cut
,
-
,

pre mi e rs pri x C A Mire mont . . . , rath e r lik e thos e of Guarn e ri ; t h e scroll

B r e v e té Paris an 1 8 75 , . showing a gr e at d e al of charact e r and ,
”
( S ign e d ) A Mir e mont and C A .
, . . both p u rfl i n g and corn e rs car e fully
Mire mont fe cit P ari su s anno D n i , . finish e d ; h e us e d most care fully chos e n
1 88 2 3
'
wood b e autifully figur e d and v e ry
, ,

M ir e m o n t , S ebasti e n . A mak e r at tran spare nt varnish of a rich g old e n re d -

66 M O N T E C H I A RI— N E U N E R .

colour which re calls that of Carlo B e r

, ( I stri en
)
in 1 73 1 Lab e l in b e autiful .

gonzi ; t h e ton e is admirabl e Although .

t h e influ e nc e of S tradivari is notic e abl e
’
in e v e ry d e tail M on t agn an a s stron g
handwriting
_
: Pr e sbyt e r Antonius
M orona I n s u lan u s e x I stria fe cit 1 73 1 ,
, M orri s o n J ohn b about 1 76 0 ; d b e
, , . .

individuality also ass e rts its e lf and his , twe e n 1 8 2 0 and 1 8 3 0 A mak e r in .

work rivals that of Guarn e ri or B e r London first liv e d in Prince s S tre e t

, ,

gonzi His violonc e llos are e sp e cially

.
S oho th e n in 1 8 1 9 in S hadwe ll and
, , , ,

lik e d th e y are most e xc e ll e nt for solo

, finally at Littl e T urnstil e H olborn , ,

playing ; th e y are n e arly all to b e found wh e r e h e di e d M ost of his instrum e nts .

in E ngland or G e rmany only thre e or , w e r e mad e for t h e d e al e rs and we r e of

four are in France H e mad e fe w . poor workmanship .

instrum e nts ; about tw e lv e violins and M o t t e n h av e r E dward A mak e r in , .

fiv e or six violas are known t h e latt e r —

N e w York U S A who has tak e n out , ,

a re m e ntion e d as having a p e culiarly a gr e at many pat e nts for inv e ntions .

sol e mn and p e n e trating ton e I n 1 8 75 . M o u ge n o t G e orge s b Jun e 2 3 1 8 43

, , .
, ,

a doubl e bass of his w as sold for £ 8 2-

. Mir e court (Vosge s) Was appre ntic e d .

I t is said that spurious lab e ls of G n a f th e r e to D e roux (p e re ) the n work e d

n e ri u s fili u s A n d re ae and of Carlo und e r N D arch e at A i x la Chap e ll e ;
.
-

B e rgonzi a re oft e n plac e d in his was his h e ad workman 1 8 64 6 7 H e ,

-
.

e stablish e d hims e lf in Li eg e in t h e ru e
“
instrum e nts H is lab e ls are : D omini .
,

cus M ontagnana sub signum C re m on ae ’

Pont d I le ; but 1 8 75 succe e d e d to t h e
Ve n e ti i s a similar on e dat e d
, busin e ss of N F V u illau me for whom . .
,

17 4 7 and , D o m e n i cu s M ontagnana h e had long b e e n working in B russ e ls , ,

sub si g no in ab prop e ( E n ip on t u m fe cit , at 2 3 ru e M ontagn e de la Cour H e

,
.

anno 9 e mploys two workm e n to mak e n e w

M o n t e ch i a ri Giovanni A mak e r of , . violins and violonc e llos h e hims e lf ,

viols and lut e s in B re scia b e fore 1 5 3 3 always finishing th e m d e t e rminin g t h e ,

M o n t e ga t i a S e e M an t e ga z z a . .
”
thickn e ss e s doing t h e varnishing &c , , .

M o n t ro n A mak e r in Paris
.
, ru e do H e follows t h e S tradivari and Guar
Grand H url e ur about 1 78 0 9 0 ,
-
. n e ri patt e rns using brown re d varnish ,
-

M o r e l l a M orgl a t o , A mak e r of lut e s .

,
for t h e form e r and g old e n re d for t h e -

r e b e cs and viols about 1 5 1 0 5 0 who

,
-
, latt e r ; t h e ton e is good Was awarde d .

work e d first in Mantua the n in V e nic e , . silv e r m e dal Paris 1 8 78 ; g old m e dal , , ,

V e ry fe w of his instrum e nts re main ,

Amst e rdam 1 8 8 3 ; gold m e dal Ant , ,

intact as his viol s w e re oft e n utilis e d

, w e rp 1 885, diploma of honour ,

for makin g up altos or violonc e llos of Antw e rp 1 8 9 4 , .

small siz e Lab e ls : M orglat o M ore lla

“
. M o u gn e t A mak e r in Lyons who l n
.
,

M antu as 1 5 1 5 and M orglat o M ore lla

, v e nt e d a lyre —guitar in 1 8 1 1 .

fe c e in V e n e z i a 1 5 5 0 , . M u e l e v o e t s J an A mak e r of cithe rs
, .

M oro n a Antonio A mak e r in I stria

, . in Antw e rp 1 5 8 4 , .

N ad ot t i ,
Gius e pp e A mak e r in Pia N mel M A mak e r i n Par i s h u n g
. er J ,
’
. .
,

c e nza about 1 76 0 70 A violin of his -

.
,
in ru e S t G e rmain 1 A u x e rroi s i n 1 777
.
- -

e xhibit e d in M ilan was dat e d 1 7 67 , . r u e d u Pot d e F e r in 1 7 8 3 and ru e d u ,

N a m y J e an T h eodor e
, Work e d in Paris . Vi e ux Colombi e r 1 78 8 8 9 ,
-
.

about 1 75 5 1 8 0 7 Was e sp e cially -

. N e un e r Ludwig b Au g 2 1 1 8 4 0
, ,
. .
, ,

known for t h e cl e v e r way in which h e Mitt e nwald ( B avaria) Grandson of .

r e stor e d old i n strum e nts showing rare ,

M athias N e u n e r also a cl e v e r mak e r ,

skill e v e n in t h e small e st d e tails . of violins who work e d for som e tim e

,
’
First work e d in t h e busin e ss carri e d in London First l e arnt in his fath e r s
.

on by t h e widow of S alomon for in ,

workshop at Mitt e nwald aft e rwards ,

o n e of his V iolins is t h e lab e l : Fait with Andre as E n gl e de r in Munich

par N amy luthi e r ch e z Madam e ,
and Gabri e l L e mb ock in Vi e nna
S alomon a Paris 1 772 H e liv e d in th e n work e d for fiv e y e ars und e r
u illau me i n Paris
.
,

t h e plac e d u Louvr e 1 78 3 8 9 ,
-
.
J B. V . L e ft Paris .

N a y l or I saac , A pupil of R ichard . for B e rlin 1 8 6 7 and th e r e e stablish e d

, ,

Duk e H e worke d at H e adin gly n e ar

.
,
a busin e ss at 6 K u rs t ras s e working , ,

L e e ds about 1 778 9 2 ,
-
. th e r e a ssist e d by two workm e n till
N e ll a .S ee R a ffa e l e . 1 883 I n F e bruary that y e ar throu gh
.
,
68 O B B O— O T T O

th e latt e r ; but lat e r h e copie d G P . . found a lab e l in t h e handwri t i n g of

Maggini to som e e xt e nt usin g doubl e ,
“
Cross N athani e l Cross wrought my
,
”
p u rfl i n g and ornam e ntal d e vic e s such , back and be lly t h e sid e s and scroll
as t h e clove r l e af d e sign on his -
w e r e t h e work of N orman T he ir .

violonce llos H e is suppose d to hav e . lab e l was : B arak N orman and N ath
b e e n t h e first E nglish mak e r of violon an ie l Cross at t h e B ass Viol in S aint -

c e llos T he y are of large siz e t h e

.
, Paul 3 Church yard London fe cit , ,

wood be ing of good quality t h e , 17 2 T hr e e bass viols w e r e e x -

thickn e sse s corr e ctly proportion e d and h i b i t e d at S outh K e nsington Mus e um

t h e work care fully don e ; t h e varnish in 1 8 72 ; in on e of th e m which had ,

is dark t h e ton e is v e ry good ; on e

,
b e e n conve rt e d into a violonc e llo was ,

made in 1 71 8 was valu e d at 1 5 guin e as , t h e lab e l : B arak N orman at t h e ,

’
in 1 79 0 but now t h e pric e is high e r
, . B ass Viol -
in S aint Paul s all e y ,

H e also mad e b e autiful t e nors probably ,

London fe cit 1 6 9 0 , .

at an e arli e r dat e than t h e violonce llos ; N orri s J ohn b 1 73 9 London ; d

, , .
,
.

the y are of a di ffe re nt patt e rn b e ing ,

M arch 1 0 1 8 1 8 A mak e r in London , . .

v e ry much arche d T he y are ge n e rafiy . Was a pupil of T homas S mith and ,

large siz e with v e ry dark varnish and

,
did v e ry similar work W e nt into .

of fin e ton e N o violins of his re main .

,
partn e rship with R ob e rt B arn e s in
“ ”
but h e was w e ll known as a mak e r of -
17 65 . S ee B arn e s .

viols H e mark e d his instrum e nts

. N o v e ll o Pi e tro Val e ntino broth e r of
, ,

with his nam e e nclos e d in a de sign of M arco Antonio N ov e llo A mak e r in .

p u rfl i n g or with t h e mono g ram N B

“
. . V e nic e in t h e 1 8 th c e ntury .

in p u rfl in g und e r t h e wide part of t h e

, N o v e l l o Marco Antonio a broth e r of
, ,

fin ge r board or s om e tim e s in t h e c e ntre

-

,
Pi e tro Val e ntino N ov e llo who work e d ,

of t h e back H e e nt e re d i nto partn e r . in V e nic e at t h e sam e tim e T h e ir .

ship with N athani e l Cross about 1 71 5 ; instrum e nts show g ood work .

th e y work e d at t h e si g n of t h e B ass N o v e rs i Cosimo A mak e r in Flor e nce

, .

Viol . I n a viola da g amba w as

"
. in t h e i 7th c e ntury .

O b b o M arco
, W as workin g in N apl e s . O n garo I g nazio , . A mak e r in Ve nic e in
in 1 71 2 acco rding to a M S lab e l found
, . 1783 .

“
in a violin o f ordin ary mak e : M arcus » O rl a n d e lli Paolo W as workin g in , .

O b b o N apoli 1 71 2 , , . Codog no I taly in t h e 1 8 t h c e ntury , , .

O b i ci ( O h u e ) B artolomm e o A mak e r ,
. O rt e g a About 1 8 40 was a mak e r and
.

in V e rona in 1 6 8 4 Lab e l : B orto '

. re paire r of instrum e nts in M adrid .

lamio O bici in V e rona 1 68 4 , . O s tl e r Andr e as

, A mak e r in B r e slau .

’
O dani Giuse pp e M or e llo
, W as workin g . in 1 73 0 A viola d amore of ordinary
.

in N apl e s in 1 73 8 I n a violin fairly . workmanship with y e llow varnish was

w e ll mad e with v e ry dark varnish was e xhibit e d in Paris in 1 8 7 8 .

t h e lab e l : Gius e pp e More ll o O dani O t t J ohann

, O n e of t h e e arli e st mak e rs .

in N apoli , of lut e s in N ure mb e rg ; h e was born

O d o a rd i Gius e pp e W as workin g until
,
. th e re e arly in t h e i 5 t h c e ntury , and
1 67 5 in Ascoli I taly according to o n e , ,
was still living th e re in 1 46 3 .

authority ; according to anoth e r was O t t o Carl August fourth son of J A

, ,
. .

born about 1 740 H e was a p e asant .

, O tto ; b S e pt 26 1 801 J e na ; ( 1
. .
, ,
.

and though without any t eaching in

,
M ay 1 1 1 8 8 3 Ludwigslust ,S e ttl e d ,
.

t h e art of violin making show e d gr e at ,

in Ludwigslust ( M e ck le n b e rg) in 1 8 3 2 .

ability in t h e instrum e nts h e mad e . Was appoint e d mak e r to t h e M e ck le n

H e di e d wh e n 2 8 y e ars old but l e ft , b e rg S chwe rin Court
-
.

about 2 0 0 violins which are much , O t t o Carl Christian s e cond son of J A

, ,
. .

‘
sought aft e r in I taly . O tto ; b 1 79 2 dat e of d e ath unknown . .

O h b e rg J ohann A mak e r in S tockholm

, . E stablish e d hims e lf at H all e and gav e ,

in 1 773 H is instrum e nts we r e fairly

. up his tim e to re pairin g old instrum e nts .

good ; h e g e n e rally use d a y e llow O t t o C W F Louis fi fth son of J A

, . . .
,
. .

varnish . O tto ; b 1 8 05 J e na ; ( 1 F e b 3 1 8 8 4
.
, . .
, ,

O n e da Gio B attista b 1 5 2 9
, A mak e r
.
, . .
S tockholm : A mak e r in S tockholm .

of cith e rs and violins in B r e scia about O t t o Ge org Au g ust Gottfri e d e ld e st

, ,

1 56 2 . son of J A O tto ; b 1 78 9 W e imar ; . . .

,
 O T T O— P A DE W E T .

d July 2 1 8 5 7 J e na
. From 1 8 1 8, , . h i b it e d thre e violins a viola violon , ,

worke d in J e na succ e e ding to his , c e llo and doubl e bass in London

,
-
,
’
fathe r s busin e ss th e r e H e mad e . 1 8 62 . T he y w e re all w e ll mad e and
good instrum e nts . we re mode rat e ly pric e d .

O t to H e inrich Wilh e lm third son of

, , O t t o Louis son of Carl August O tto ;
, ,

J . A O tto .
; b 179 6 ; dat e of d e ath . b July 1 5 1 8 44 Ludwi gslust Pupil
.
, ,
.

unknown Work e d first in Amst e r

. of his fath e r in Ludwigslust 1 8 60 6 5 ,
-

dam an d lat e r in B e rlin . work e d with his cousin Ludwig O tto , ,

O t t o H e rmann son of Ludwig O tto ;

, , in Cologn e 1 8 6 5 6 6 th e n we nt to ,
-

b March 9 1 8 5 9 Cologn e ; ( 1 S e pt 2 0
.
, ,
. .
, Hanov e r wh e re h e work e d with Aug
,
.

1 884 S t Pe t e rsburg
, Work e d with
. . R i e ch e rs till 1 8 72 I n t h e sam e y e ar .

his fath e r in S t P e t e rsburg start e d his own busin e ss in D ii s s e ld orf

'

.
.
,

O t t o J acob August b 1 76 4 Gotha ; d

, , .
,
. at 1 6 S ch ii t z e n s t ras s e wh e re h e still
, ,

1 8 3 0 J e na, Pupil of Franz Anton E rnst . works assist e d by two workm e n H e

, .

at Gotha lat e r s e ttl e d in We imar , , is v e ry skilful at r e pairs and has ,

and was appoint e d mak e r to t h e r e paire d about 8 5 0 fin e old instrume nts .

Court Work e d also in H all e Le ipzig

.
, , For his n e w instrum e nts h e us e s
Magd e burg B e rlin and finally in J e na , ,
. b e autiful wood not l e ss than tw e nty ,

Was e sp e cially skilful in re pairing old y e ars old and follows t h e S tradivari
,

instrum e nts and made v e ry good , mode l larg e patt e rn us ing good oil
, ,

violins and violonc e llos ; six violins , varnish oran g e colour of his own
, ,

on e alto and on e violonc e llo we r e , inv e ntion ; t h e ton e is of fin e full ,

made by him for t h e R oyal O rch e stra quality He hims e lf accurat e ly d e t e r

.

of Cop e nhage n H e publish e d two . min e s t h e thickn e ss e s o f back and front ,

books on violin making : U e b e r d e n cuts t h e sound hol e s place s t h e sou n d -

B au und d i e E rhaltung d e r G e ige und posts carv e s t h e scroll a n d do e s t h e

, ,

all e r B oge ninstrum e nt e ( H all e 181

7) , varnishing About 2 3 8 violins 1 3 .
,

“
and U e b e r d e n B a u d e r B og e n violas and 3 3 violonc e llos hav e b e e n
,
’
instrum e nt e und ii b e r die Arbe it e n de r mad e H e gain e d first priz e s at t h e
.

v o rz ugli ch s t e n I nstrum e nt e nmach e r E xhibitions in D ii s s e l d orf 1 8 8 0 ; M e l

' '

( J e na 1 8 2 8 ) , t h e latt e r was translat e d bourn e 1 8 8 8 ; and Chicago 1 8 9 3 H is

, ,
.

into E nglish by J ohn B ishop in son now works und e r him .

1 8 48 His fiv e sons all b e cam e violin

. O u vrard J e a n A mak e r in Paris about
, .

mak e rs . 17 2 5 46
-
Pupil of Claud e P i e rra y A
. .

O tt o Ludwig son of G e org Au g ust

, , violonc e llo is known b e autifully mad e , ,

Gottfri e d O tto ; b S e pt 1 6 1 8 2 1 J e na ; . .
, , with v e ry fin e gold e n coloure d varnish -

d F e b 9 1 8 8 7 S t P e t e rsburg First
. .
, , . . also a small six string e d viol dat e d -

work e d in Cologn e but aft e r 1 8 71 , 17 2 6 an d a fiv e string e d viol lab e ll e d

,
-

’
s e ttl e d in S t P e t e rsburg He e x . . pl ac e de l E cole a Paris , ,

P a ch e re l e Mich e l A mak e r in Paris , . S tradivari for his mod e l H e was also .

in 1 779 H e followe d t h e patt e rn of

. a cl e v e r re paire r of instrum e nts .

G u e rs a n His instrum e nts w e re fairly

. P a cqu e t A m ak e r from Aix who was
.

w e ll mad e slightly arch e d with y e llow , , working in Mars e ill e s in 1 78 5 according ,

“ ’
varnish His nam e is brand e d on t h e. to a lab e l : Pacqu e t d A i x luthi e r a ,

t 0 p of t h e back and h e us e d a M S ,
. Mars e ill e 1 78 5 ,
.

lab e l : Mich e l P ach e re le luthi e r ru e ad e w e t J ohann A skilful mak e r of

, .

’
d A rge n t e u il a Paris 1 779 ,
. violins ; d about 1 8 74 H e start e d a . .

P a c h e re l e Pi e rr e b 1 8 0 3 Mire court ;, , .
, busin e ss in B asl e 1 8 44 but mov e d to , ,

d D e c 3 1 1 8 71 N ic e Was a fe llow
. .
, ,
. Carlsruh e ( B ad e n ) in 1 8 4 6 Was .

appre ntic e of J B V u illau m e at Mir e . . appoint e d Court instrum e nt mak e r by

court Aft e r 1 8 3 0 h e mov e d about
.
, t h e Grand Duk e of B ad e n Awards : .

working first at N ice th e n at G e n o a , , at Munich E xhibition 1 8 5 4 ; Paris , ,

th e n at T urin with P re s s e n d a t h e 1 8 5 5 : Carlsruh e 1 86 1 London 1 8 6 2 ; , ,

violin mak e r finally r e turning in 1 8 3 9 , , , Paris 1 8 6 7 ; and Fr e iburg 1 8 71

, ,
.

to N ice H e mad e a gr e at many . Pad e w e t J ohann son of J ohann

, ,

violins altos and violonce llos all of

, , , P ade w e t ; b Aug 2 3 1 8 5 1 Carlsruh e . .
, , .

good workmanship but t h e varnish , First a pupil of his fath e r th e n work e d ,

was thick and h e avy ; h e oft e n took in H an ov e r and B e rlin unde r Au g .

7
0 PA GA N I — PA N O RM O .

R i e ch e rs
till 1 8 74 S ucce e d e d to his . P a n d ol fi A mak e r in V e nic e
,
Antonio .

’
fath e r s busin e ss at 1 3 2 K ai s e rs t ras s e , , , about 1 700 2 0 H is work is good and -
.

Carlsruh e Assist e d by two workm e n h e .

, h e us e d a y e llow brown varnish ; a -

mak e s forty to fi fty instrum e nts (violins , violin dat e d 1 71 9 was e xhibit e d at
violas and violonc e llos ) a y e ar on t h e , Milan in 1 8 8 1 .

S tradivari patt e rn usin g oil varnish , ,

P an o rm o E dward e ith e r a son or a , ,

of r e ddish y e llow or gold e n brown - -

grandson of Vinc e nzo P an orm o ; h e
colour H e is e sp e cially skilful in
. work e d both in London and in I r e land .

r e pairing old instrum e nts of which a , P a n o rm o G e org e A mak e r in London , .

,

gr e at numb e r are s e nt to him from all probably a grandson of Vinc e nzo

parts of t h e world Awards : gold . P an orm o .

m e dal and diploma Carlsruh e 1 8 77; , ,

P a n o rm o G e orge Le wis s e cond son of
, ,

silv e r m e dal and diploma Mannh e im , ,

Vince n zo P an o rm o H e was a c e l e .

1 880 gold m e dal and diploma of b ra t e d bow mak e r in London and ,

honour S trassburg 1 8 9 5 , , . liv e d first in O xford S tre e t th e n in ,

P a gan i Gian B attista

, A mak e r in . H igh S tre e t S aint Gil e s in t h e Fie lds ,
- - -
.

Cr e mona in 1 74 7 A violin is know n .

, H e mad e v e ry fin e guitars (on e was
w e ll mad e . dat e d 1 8 3 3 ) and som e g ood violins on
P a g a n o n i Antonio Was workin g in
, . t h e S tradivari patt e rn .

V e nic e in t h e middl e of t h e i 8 t h P a n o rm o J os e ph e ld e st son of Vin , ,

c e ntury . c e nzo P an ormo Was born in London .

,

P a g e o t ( P aje o t ) son of Louis S imon , liv e d first in N e w Compton S tr e e t and

Page ot ; b J an 2 5 1 79 1 Mire court ; d . .
, , . the n in King S tr e e t S oho ; h e di e d ,

th e re Aug 2 4 1 8 49 A mak e r of bows .

, . in g r e at pov e rty H e was a v e ry . .

Jm e n t i on honorabl e
“
h e obtain e d a good workman and his violonc e llos ,

in 1 8 3 4 for t h e finish of h is work I n . e sp e cially w e r e e xc e ll e n t .

his workshops about doz e n s of P a n o rm o Vinc e nzo (known as ,

old
bows w e re turn e d out at pric e s varying b N ov 3 0 1 73 4 Mon . .
, ,

from 6 d to 1 4 s . . r e al e a village n e ar Pal e rmo S icily ;

, ,

P al a t e A mak e r in L i e ge about 1 71 0
. . d 1 8 1 3 London W h e n only sixt e e n
.
,
.

H e followe d t h e I talian patt e rn and , h e b e gan without aid to mak e various , ,

l e ft som e e xc e ll e nt instrum e nts . kinds of musical instrum e nts He .

P a l m a Paolo, W ork e d in Lucca about . w e n t t o Cr e mona for a short tim e and

s

1760 . probably work e d th e re und e r B e rg onzi .

P a m p h il o n A mak e r i n , E dward . About 1 75 3 w e nt to Paris ; in 1 772

London B ridge
, on gL on d on
about -

, mad e a short visit to E n g land ; 1 78 3 8 9 -

1 68 0 9 0
-
H is instrum e nts w e r e of
. was again livin g at 70 ru e d e Chartre s , ,

small patt e rn v e ry much arch e d and , , P aris but soon aft e r re mov e d to
,

g e n e rally of stiff in e l e g ant outlin e ; , London He also work e d in I r e land .

th e work care fully and d e licat e ly for a short tim e and th e re conv e rt e d a ,

fi nish e d ; t h e sound hol e s small som e -

, mapl e wood billiard tabl e into som e

-

tim e s finish e d with a drawn out curl -

v e ry b e autiful instrum e nts H e was a .

lik e t h e volut e of a scroll t h e bottom , r e markably good workman e sp e cially ,

curv e runnin g out almost at right in his fin e 00 pi e s of t h e S tradivari

angl e s to t h e axis of t h e violin ; t h e patt e rn ; his instrum e nts w e r e rathe r
h e ads too small an ordinary failin g of , small t h e sound hol e s and scrolls we ll
,
-

t h e e arly E nglish mak e rs but artisti , ou t t h e varnish a cl e ar y e llow colour

, ,

cally shap e d and oft e n d e e ply scoop e d som e tim e s ros e ; t h e ton e is v e ry fin e .

in t h e volut e T h e p u rfl in g is oft e n . A fe w violonc e llos mad e on th e S tradi

doubl e and h e us e d a v e ry fin e y e llow
, vari patt e rn are g e n e rally of handsom e
varnish which looks e xtr e m e ly w e ll ; mapl e wood for t h e back and ribs and
-

t h e ton e is cl e ar pur e and p e n e trating , , . hav e an e xtre m e ly rich and pow e rful
H e also m ad e t e nors of small patt e rn ton e H is violins violonc e llos and
.
, ,

but of good ton e ; no violonc e llos of his doubl e bass e s are all much lik e d for
-

a re known for at that tim e t h e bass , t h e pure and good quality of th e ir

viol with t h e flat back was still in u s e . ton e ; his guitars hav e a high r e puta
H is instrum e nts are still much lik e d ; tion S o me of his work is poor but
.
,

th e ir similarity to thos e mad e in B re h e mad e a good many instrum e nts for

“

scia le d to lab e ls of Gasparo da S al o t h e trade using t h e w ood ( oft e n of bad,

b e ing plac e d in th e m a d e c e ption all ,

quality ) suppli e d by his e mploy e rs and ,

t h e mor e e asily carri e d out a s fe w Pam g e n e rally had to finish the s e in s t ru

“
p h i lon lab e ls e xist Lab e l : E dward . m e nts within a giv e n tim e Lab e ls : .

’
P amp h ilon April t h e 3 rd , ,
“
Vinc e nt P an ormo ru e d e l A rb re s e e ,
-
 BAN ZA N I— P E C C AT E .
7I

a Paris , a similar lab e l is dat e d

1730 to thos e of Amati H e us e d re d .

1780 Vinc e nzo T ri u s an o P an ormo varnish a disagre e abl e colour rath e r

, ,
“
fe cit Parisiis anno 1 7 Vinc e nzo , thickly laid on t h e wood was e xc e ll e nt ,

P an orm o di Pal e rmo fe cit anno 1 7 , oft e n handsom e ly figu re d ; t h e varnish

Vinc e nzo P an ormo m e fe c e Marsiglia , rath e r transpar e nt and soft ; t h e ton e
” “
17 60 S icily , Vince nzo P an orm o , cl e ar and powe rful H e mad e l arg e ly .

London 1 79 1 ,
. for t h e trad e conse qu e ntly his i n s t ru ,

P a n z an i ( P an s an i) Antonio A ce l e , . m e nts are oft e n sold und e r oth e r

b rat e d mak e r in R om e about 1 73 5 8 5 -
. nam e s ; no viola or violonc e llo of his
P a q u o t t e Fr er e s H e nri Félix b March .
, . has e v e r b e e n s e e n only violins are ,

11 , 1 8 5 7 and Placid e b 1 8 64 sons of

, , .
, known About 1 79 3 th e y we r e valu e d
.

J e an B aptist e P aqu ot t e to whos e , at fi v e gu in e as e ach ; about 1 8 0 5 th e y

busin e ss th e y succ e e d e d in J uly 1 8 8 8 , , re alis e d as much as fi ft e e n guin e as e ach .

at 9 9 faubourg S ai nt G e rmain Paris

,
-

,
. F a rth ( or P e rth ) Andre as N icolas A , .

T h e y w e r e award e d a bronz e m e dal at mak e r in Vi e n na about 1 79 0 .

t h e 1 8 8 9 E xhibition for t h e b e autiful P a s e n a li Giacomo ,A mak e r of man .

ton e of th e ir violins but th e y chi e fly , dolin e s in t h e 1 8 th c e ntury .

work e d at r e pairing old instrum e nts . P a s t a Dom e nico and Gae tan o Mak e rs
, .

H e nri was also a violin play e r an d , in B re scia about 1 70 0 3 0 T h e y are -

.

’
was in S au z ay s class at t h e Paris said to hav e follow e d t h e Amati inst e ad
Cons e rvatoir e 1 8 73 78 ,
-
. of t h e Maggini patt e rn tradi tional in ,

P a q u o t t e J e an B aptist e , N e ph e w of . B re scia T h e y w e r e p rob ab l y p u p il s

.

S ebasti e n P aqu ot t e und e r whom h e , of G B Roge ri T he ir instrum e nts

. . .

work e d for e ight y e ars ; h e th e n work e d have not a good ton e t h e varnish is ,

und e r L afl e u r for fourt e e n y e ars B y . brown colour .

’
t h e tim e h e succ e e d e d to his uncl e s P a t z e l t J ohann Fe rdinand
, A mak e r .

busin e ss h e had gain e d gr e at e x in Vi e nna .

p e ri e n ce i n his trad e and may b e ,

P a u l i Antonius Work e d in T achau in
,
.

’
rank e d among t h e b e st Parisian mak e rs 17 23 . A viola d amor e of larg e patt e rn ,

of his tim e I n 1 8 77 h e s e ttl e d at . wi th flat back tw e lve strings pal e , ,

9 9 faubourg S aint G e rmain but r e y e llow varnish and without any trac e
-

, , ,

tire d from busin e ss in 1 8 8 8 an d was , of r e pairs or alt e rations had t h e labe l ,

succ e e d e d by his sons H e nri Félix , A n t Pauli M u s i cu s instrum e ntalis in

.

and Placid e . T achau ,

P aqu o t t e S ebasti e n b 1 8 00 Mire

, , .
, P a z z i n i Gian Gae tano
,
A mak e r in .

court ; d 1 8 6 3 Paris I n 1 8 30 h e
.
, . Flor e nc e about 1 6 3 0 70 Littl e is kno wn -
.

found e d t h e busin e ss in Paris at 5 1 , , about him but according to his labe l ,

ru e d e la Harp e aft e rwards moving to , _ h e was a pupil of Maggini His i n s t ru .

’
20 ,
r u e d e l E co le d e M edicin e His . m e n ts are v e ry ra r e Lab e ls : G io v an .

’
son S ebasti e n b S e pt 1 3 1 8 4 3 was
, , . .
, , G ae t t an o P a z z i n i alli e vo d e ll Maggi n i ,

not a violin mak e r but studi e d viol i n , di B ri x i ae Fe cit Fire nz e a n no 1 6 4 0 .

, ,

playing at t h e Paris Cons e rvatoir e . and “

Gian Ga e tano P a z z i n i alli e vo
’
P a ra l d i c T h e only instrum e nt k n own
. d e ll Maggi n i di B ri x i ae fe cit an no ,

of his is a violonc e llo mad e in 1 72 2 . 1 66 0 .

P a rdi A mak e r in Paris in 1 78 8 at

.
,
P e a rc e G e org e b N ov 1 6 1 8 2 0 War
, , . .
, ,

4 1 2 ru e S t H onoré
, .
-
. minst e r ; d J uly 3 1 8 5 6 London .
, , .

P ardin i B astiano Work e d in Flore nc e

, . His par e n ts mov e d to London in 1 8 2 4 ,

about 1 70 0 Lab e l : B astiano Pardini .

“
and in July 1 8 3 4 h e was plac e d in t h e , ,

in Fire nz e . workshop of S A Forst e r as e rrand . .

P a ri s Claud e ,
A mak e r at Paris i n t h e .
, boy but showing tal e nt was taught
,

ru e d u R oull e S t H onoré 1 775 9 1 -

.
-
,
-
. violin making and b e cam e an e xc e ll e nt
I n 1 8 1 6 was j oin e d by his n e ph e w In . workman .

a violin on which t h e p u rfli n g was a

,
P e arc e J am e s and T homas
,
T wo .

zig zag patt e rn both back and front

-
broth e rs working in London in P e t e r
with spirit varn i sh a re d y e llow colour
, ,

,
-

, S tr e e t S affron H ill about 1 78 0 1 8 00

, ,
-
.

was t h e lab e l : Claud e Paris luthi e r , , T h e ir work was poor .

ru e d u R oull e a Paris ,
P e arc e William A mak e r in London
,
. .

P ark e r D ani e l ,
A m ak e r in London . P e cc at e Charl e s A mak e r of bows in
,
.

about 1 740 8 5 H e was a ve ry cl e v e r -

. Paris O btain e d a silv e r m e dal at t h e
.

workman possibly a pupil of U rquhart , 1 8 8 9 E xhibition .

or P amp h ilon but made a st e p in , P e ccat e Dominiqu e b J uly 1 5 1 8 1 0

, , .
, ,

advanc e improving t h e patt e rn of his , ,

Mir e court ; d th e r e J an 1 3 1 8 74 I n .
, .
, .

instrum e nts making th e m mor e similar , 1 8 2 6 was appr e ntic e d to J B V u ill a u m e . .

 72 P E CC A T E — P I E RR A Y .

at Paris an d work e d with him until ,

William W ilkinson and the y turn e d ,

1 8 3 7; th e n Fran cois L u p ot di e d and , out v e ry w e ll mad e violins of good ton e .

Dominiqu e succ e e d e d to his busin e ss T h e ir lab e l was : Mad e by T ho s Pe rry .

’
at 1 8 ru e d A n gi v illi e rs H e r e main e d
,
. and W m W ilkinson m usical i n s t ru ,

th e r e till 1 8 4 7 th e n re turn e d to Mire , m e nt mak e rs N o 4 Angl e s e a S tre e t .

, ,

court and continu e d working th e re

, . Dublin 1 8 2 ,

H e ranks n e xt to Fran cois T ourt e as a P e rs o i t A mak e r of bows in Paris ; a

.

bow mak e r e v e n rivalling him in som e , v e ry cl e v e r workman H e mad e for .

of his bows which w e re finish e d with , J .B V u il l au me .1 8 23 4 1 ; but th e n ,

-

e sp e cial car e H e som e tim e s mark e d . start e d a busin e ss of his own He .

th e m with his nam e th e y w e r e at first mark e d his bows with t h e l e tt e rs

sold for 1 6 s but now th e ir pric e is , P R S . . .

almost quadrupl e d ‘
. P e t e rs Micha e l , Was working in W e y .

P e c cat e j e un e A broth e r of D ominiqu e

, ,
, b e rg i n 1 8 0 1 j udging from two lab e ls ,

who also mad e bows and was for som e , in a bass V iol of s e v e n strings ; t h e first -

’
tim e working in J B V u i ll au me s . . runs : di e s e s I nstrum e nt ist g e macht ,

shop Hi s w ork is infe rior to that of

.
'

anno 1 6 2 7 t h e s e cond is arran s ch irt ,

his broth e r H e di e d in Paris about . von Michae l P e t e rs in W e yb e rg anno ,

1 856 . 1801 .

P e cc e n in i .
Al e ssandro di L e onardo P e tz . A mak e r in Fuss e n , B avaria , in
M aria (known as de l “
1 770 .

mak e r of lut e s and viols in B ologna in Pez z a rd i A mak e r in B re scia about

.

1 59 5 15 80 1 6 1 0 -
H is instrum e nts are som e .

P e d ra z Fra Pi e tro
z i , A Dominican . what similar to thos e of Maggini his ,

friar working in Bolog na in 1 78 4

,
. cont e mporary ; th e r e is t h e sam e
P e m b e rt o n
“

E dward A mak e r in
,
. patt e rn t h e sam e doubl e p u rfl in g but
, ,

London in 1 6 6 0 H is inst rum e nts a re . t h e varnish is cl e ar e r and t h e sound

’
ugly but t h e ton e is g ood and t h e
, hol e s are di ffe re nt H is instrum e nts .

varnish of fin e q uality I t has b e e n . a re oft e n sold as b e ing thos e of

sugge st e d that a P e mb e rton w as t h e M aggini .

mak e r of t h e instrum e nt pr e s e nt e d t o P fa b A mak e r in H amburg

. .

t h e E arl of L e ic e st e r by Q u e e n E liza P fre t z s ch n e r Carl Fri e drich son of , ,

b e th which has J ”
P e ngrav e d on J ohann Gottlob P fre t z sch n e r W as
t h e tail pin— suppos e d to b e t h e initials
. . .
,

-
pr e su mabl y a G e rman but work e d in ,

of t h e mak e r and t h e dat e of t h e y e ar Cr e mona H is instrum e nts are of no .

( 57 )
1 8 in w h i c h \i t was mad e i i so h e —
, sp e cial m e rit .

was t h e e arli e st E nglish mak e r to P fre t z s c h n e r J ohann Gottlob A mak e r ,

.

mak e t h e violin of four strin g s . in Cr e mona A lab e l in on e of his .

P e ra u l t A mak e r in Paris 1 775 77 in

.
,
-

,
instrum e n ts is dat e d 1 79 4 His work .

t h e ru e d u P e tit M us e -
. is not good .

P e r e grin o Giann e tto S ee

,
“
M ich e li s . P fre t z s c h n e r A mak e r in N e ukirch e n . .

P e l e grino di Zan e tto . P i ch ol A mak e r in Paris

. .

P éro n ( or P e rou ) N icolas A mak e r in ,

. F i ci n o A mak e r in Padua in 1 71 2 ;
.

’
Paris livin g in ru e d e l A rb re s e c
,
-

,
his instrum e nts are v e ry arch e d and
17 75 7 9
-

; r u e M a u co n s e il 1 78 3 ; plac e , hav e dark varnish .

d e la C omédi e fran cais e 1 78 5 and ru e , P i ct e N o e l, S ee Pi e t e . .

R ich e li e u pr es la Comédi e fran cais e , P i e rra rd Louis A mak e r of e xc e ll e nt

,
.

17 8 78 9-
H e was appoint e d mak e r to
. violins with re d b rown varnish and of
,
-

t h e Duch e ss of O rl ean s H is i n s t ru . g o od ton e in B russ e ls at 2 3 ru e L e , , ,

m e nts are fairly w e ll mad e with y e llow , b e au H e was a pupil of M ouge n ot

.
,

but start e d his own busin e ss in 1 8 8 3

'

brown varnish I n on e of his violins . .

mad e on t h e Gagliano patt e rn was , E xhibit e d instrum e nts in B russ e ls

“
t h e lab e l : P éron luthi e r d e S A R , . . . Paris and Antwe rp and ,
’
madam e la Duche ss e d O rl éan s ru e was award e d bronz e silv e r and gold , ,

R ich e li e u pr es la Comédi e fran cais e ,

m e dals H e publish e d .
“
T rai t é d e
”
17 9 0 Paris
, H e was also t h e mak e r. luth e ri e (B russ e ls ,

of t h e S panish lyre inv e nt e d by t h e P i e rra y (or Pi e rr e t ) Claud e A con , .

Abbé d e M orlan e . t e mporary of B oqu ay h e work e d in ,

P e rry T homas
, A mak e r in Dublin . Paris about 1 70 0 3 0 H e mad e a gre at -
.

about 1 76 7 to 1 8 2 7 A larg e e it h e r is . many violins and violonc e llos t h e ,

known and a e ithe r V iol lab e ll e d :

,
-
form e r on a larg e pat t e rn H e s om e .

M ade by T homas P e rry Dublin , ,

tim e s copi e d t h e work of Girolamo
H e was in partn e rship with Amati rath e r close ly H e us e d good .
 P I E T E— P O L I S .
73

wood though not v e ry b e autiful to look

, th e b e st of t h e p e riod Lab e l : Piqu e .
,

at and re d varnish T h e proportions

, . rue d e Gr e n e ll e S t H onoré au coin d e -
.
-

of his thickn e ss e s vari e d too much ; t h e c e ll e d e s de ux E cus a Paris 1 79 0 a , ,

ton e is e xc e ll e nt but not pow e rful t h e similar lab e l is dat e d 1 8 0 9 .

work is c ar e fully finishe d I n T homas . P iro t Claud e

, A mak e r in Paris about .

’
B ritton s Coll e ction of instrum e nts was 1 800 20 -
H e mad e good violins on t h e
.

“
a violin by Claud e P ie ray of Paris , ,
I talian patt e rn t h e b e lli e s are slightly
”
as good as a Cre mona S om e of his . arch e d t h e backs hardly at all ; t h e
,

pupils b e cam e good mak e rs, such as sound hol e s are we ll cut ; t h e varnish
-

J e an O uvrard Paul Grosse t and Louis , ,

is v e ry thick som e tim e s re d brown ,
-

G u e rsan Labe ls : Claud e P ie rray

.
, som e tim e s pal e y e llow colour Lab e l .

ru e d e s Foss es S aint G e rmain d e s Prés - - - -

C de Pirot fe cit Parisiis anno ,

a Paris 1 71 0 a similar lab e l dat e d

, , S imilar lab e ls hav e b e e n found in
1 71 4 Claud e P ie ray a Paris 1 71 5
, ,
violins dat e d 1 8 0 8 1 8 1 0 1 8 1 3 , , .

Claud e P i e rray proche la Comédi e a P it e t (or Pil e t ) A mak e r in Paris in t h e .

Paris , T h e re is a bass V iol -

,
latt e r part of t h e i 7th c e ntury His .

dat e d 1 71 2 in t h e Paris Cons e rvatoire ,

instrum e nts a re more curiositi e s for
C oll e ction . coll e ctors than of an y gr e at valu e .

P i e t e ( Pi e t e ) N oe l b about 1 76 0 , , . . His nam e e ncircl e d by a Latin motto , ,

Work e d in Paris till about 1 8 1 0 Was . is oft e n found writt e n on t h e side s of

a pupil of S auni e r Made violins and . his instrum e nts most fre qu e ntly on t h e ,

violonce llos of b e autifully finishe d violonc e llos .

workmanship . P i z z u rm u s ( P o z z u rn u s ) Davi d W ork , .

“
P il e t S ee
. P it e t . ing in G e noa about 1 760 .

P il l e m e n t F A mak e r in Paris about

, . P l ack ( P lac h ) Francis A mak e r in , .

17 90 1 8 20
-
H is instrum e nts vary v e ry
. S ch oe n b ock B ohe mia about 1 74 0 8 0 , ,
-
.

much as h e oft e n change d his patt e rn ;

, H e is b e st known for t h e good violins
h e use d dark varnish H e brand e d . that h e mad e .

his violins insid e with “

P i lle me n t , Pl an e W , W orking in Glasgow in .

”
Paris . 1 8 60 .

P il o s i o Franc e sco W as workin g in . P l an i Agostino d e A mak e r in G e noa

, .

Gori 2 1a in 1 74 8 . in 1 778 according to this labe l : ,

“
P iqu e Fran cois Louis ; b 1 75 8 at
,
.
, Augustinus d e P lan i s fe cit G e n u ae ,

Rore i n e ar Mire court ; d 1 8 2 2 Cha

, .
, H is work was commonplac e .

r e nton S t Maurice -
Was a pupil of
.
-
. P l at n e r Mich e l e Probably a S wiss
, . .

S auni e r H e we nt to Paris in 1 777 or

. Was working in R om e in 1 74 7 H is .

“
17 78 living first in
, ru e C o q u il li ere instrum e nts show v e ry fair workman
”
au coin d e la rue de B ouloy according , ship th e y are rath e r arch e d t h e scroll ,

to a lab e l in a the orbo dat e d 1 779 ; is w e ll cut t h e varnish is a gold e n re d ,

-

“ “
the n 1 78 7 9 in t h e
, ru e Platri ere -

,
colour Lab e l : Michae l Platn e r
.

vis a vis d e l H ot e l de B ullion ao

- -
'
,
fe cit R om ae anno 1 74 7 , .

cording to a lab e l in a sixt e e n string e d -

P l u m e re l Was working in Paris in .

mandore dat e d 1 78 7; and fin ally at 17 40 for this dat e was found in a

,

3 6 ru e d e Gr e n e ll e S t H onoré wh e r e
,
-
.
-
, violonc e llo of rath e r poor work with ,

h e r e main e d till h e re tire d from y e llow varnish ; his nam e was bran d e d
busin e ss in 1 8 1 6 H e mad e som e . insid e .

b e autiful copi e s of S tradivari t h e , P l u m e re l Charl e s Was working in , .

workmanship b e ing of a ve ry high Ange rs Franc e in 1 8 2 2 , , .

ord e r ; t h e scrolls and sound hol e s are -

P o i ro s Louis A violin of his is known
, .
,

w e ll ou t and t h e wood is of e xc e ll e nt h e was a Fr e nch mak e r .

quality S om e instrum e nts hav e t h e

. P o i rs o n E lop h Work e d in Paris At
, . .

backs ou t in on e pi e c e and t h e pro , first took up violi n making as an

portions of t h e thickn e ss e s are som e amat e ur but in 1 8 78 having r e c e iv e d , ,

tim e s e xagge rat e d h e us e d a dark re d a v e ry flatt e ring v e rdict from M ars i ck

oil varnish rathe r opaqu e I n 1 79 2 , . on on e of his violins h e d e cid e d to giv e ,

h e appli e d to N icolas L u p ot th e n still , his whol e tim e to it I n 1 8 8 9 h e e x .

at Mire court for a ce rtain numb e r of , h i b i t e d som e of his instrum e nts and
unvarnishe d violins which h e th e n , was award e d a bronz e m e dal a violin ,

varnish e d hims e lf and sold with h i s b e ing sp e cially re mark e d as of v e ry

lab e l His instrum e nts vary from a
. good quality and of be autifully finishe d
mode rat e pric e to as much as £5 0 . workmanship .

His violins are m e ntion e d by S pohr P oli s Luca d e

, A mak e r in Cre mona .

( Méthod )
e de Violon as b e in
g som e of in 1 75 1 .
74 P O L L U SCA— QU I N O T .

P o l l u s ca (P ollu s h a) Antonio Was on e of ,

. by T homas Powe ll , 18 , Cl e m e ns Lan e ,

t h e principal mak e rs in R om e in 1 75 1 . Clar e M ark e t ,

P on s . A mak e r of guitars in Paris H is . P oz z u rn u s . S ee P iz z ur mu s .

instrum e nts w e r e rath e r short e r than P re s b l e r, Gius e pp e Was working in .

t h e ordinary patt e rn but of a larg e siz e , . Milan at t h e sign of t h e Su n

H e brand e d th e m insid e with Pons a 1 80 1 . I n a ma n d oli n e w a s t h e lab e l :
Paris . Gius e pp e P re s b le r in Milan o n e lla
’
P o n s César
,
A mak e r in Gr e nobl e . contrada d e lla dogana all ins e gno d e l
about 1 78 0 1 8 2 0 H is violins w e r e of -
. sol e 1 8 0 1
, .

larg e siz e v e ry arch e d t h e work not

, ,
P r e s s e n d a Giovanni Franc e sco b 1 777
, , .
,

v e ry good . T urin ; ( 1 th e r e 1 8 5 4 . Was t h e son of , .

P o ri o n Charl e s ,
A Fre nch mak e r about . a strolling fiddl e r R affae l e P re s s e n d a , ,

17 07 . A e i t h e r of his is known with who ge n e rally liv e d in L e qu i o B e rria -

e l e v e n strings . a village n e ar Alba Pi e dmont Gio , .

P o l ro n P e e t e r
,
A doubl e bass us e d in .
-
vanni also l e arnt to play t h e fiddl e but ,

t h e Cath e dral of Antw e rp is lab e ll e d : finding his way to Cr e mona th e r e

P e e t e r P orl on tot Antw e rp e n f . studi e d violin making und e r Lor e nzo
I t is said to b e still play e d th e r e In . S torioni and probably l e arnt th e r e to
,

1 8 4 7 its 2 0 0 t h anniv e rsary was com

,
mak e t h e varnish for which his violins
m e m ora t e d by t h e following inscription w e re aft e rwards not e d I n 1 8 1 4 h e was .

on its back : A n t w e rp i ae in S anct ae working in Alba combining cabin e t ,

Mari ae V e rgin i s uno alt e ro qu e ae v o making with violin making ; th e n w e nt

J e hov ac Laud e s C an u i . to C armagnol e for a short tim e , and
e n L au x m i n e r o f v i o l s and
R o s s ,
A mak .

‘
finally in 1 8 2 0 s e ttl e d in T urin wh e re
, , ,

lut e s in S ch oe n gau B avaria about , his ability was soon re cognis e d He

I n 1 5 64 h e w
, .

1 5 50 7 -
0 . as appoint e d was e sp e cially patronis e d by t h e c e l e
mak e r and r e pair e r of t h e instrum e nts b ra t e d violinist Poll e dro who was , ,

of t h e Munich orch e stra with a salary , appoint e d M usical Dir e ctor to t h e

of 4 0 5 fl ori n s R oyal O rch e stra at T urin in 1 8 2 4 H is .

P o s t a c c h i n i Andr e a b in Firmo; and , ,

. violins a re g e n e rally mad e on t h e
was working th e re in 1 8 2 4 H e was . S tradivari patt e rn not much arch e d , ,

e xc e ll e nt both as a mak e r and as a t h e sound hol e s w e ll ou t t h e propor

-

r e p air e r of instrum e nts Label . tions of t h e thickn e ss e s corre ct t h e ,

Andr e as P os t acch in i Amici filiu s fe cit wood good but t h e scrolls rath e r ,

Firmi anno 1 8 2 4 0pus 2 1 4 ,

. roughly finish e d ; t h e re d brown var -

P o s ti gl io n e W n ce n z o b J ul y 1 4 1 8 3 5
, ,
.
, , nish was of e xc e ll e nt q u ality Lab e l .

at N apl e s I n 1 8 4 7 was appr e ntic e d

.
-
J oann e s Franciscus P re s s e n d a f .

to Vinc e nzo J orio for fiv e y e ars H e . R apha e l fe cit T aurini anno D omini ,
’
th e n d e vot e d much tim e to studying 1 8 26 3

old instrum e nts som e important work P re s t o n A mak e r in London about

.

in t h e way of re pairing and r e storing 17 24 .I n a guitar of small siz e was t h e

”
som e instrum e nts b e longing to a c e rtain lab e l Pr e ston mak e r London , , .

S ign or Fummo also add e d to his e x P r e s t o n J ohn , A mak e r in York about .

“
p e ri e n c e H e b e cam e a good mak e r
.
17 8 5 9 5 Lab e ls :
-
. Pr e ston Pav e m e nt , ,

and mad e a gre at many instrum e nts ,

York , and J ohn Pr e ston York , ,

which will gain e v e ry y e ar in valu e . 17 9 1 F e cit

, .

P ow e ll R oyal and T homas

,
Two . P re v 6 t ( or Pr e vost ) P Charl e s A , . .

broth e rs who work e d in London about mak e r in Pari s w orking at 1 0 2 ru e d e -

,

17 7 0 1
-
8 0 0 T h e y w e r e e mploy e d about
.
la V e rre ri e at t h e sign of Au Di e u
“
,

17 8 5 7 by William Forst e r ( 1 73 9
-
Apollon from 1 775 to 1 78 9
, .

and his son William Forst e r T h e ir ,

. P ri e ur Claud e E dm e J e an
, W as .

work was always n e at and good I n . . working in Paris in ru e d e la Pe ll e t e ri e , ,

’
1 8 0 0 th e y w e r e living in S t J ohn s 17 75 77 and in ru e d e la Calandr e
-
.
, ,
’ “
S quar e S t Luk e s ,
Lab e l : .Mad e .
1779
-
89

Q ui n c i J acqu es
,
A mak e r in Paris .
In a littl e pock e t violin with carv e d ,

about 1 6 6 0 8 0 who was m e ntion e d in -

,
h e ad inlaid p urfl in g and y e llow var
, ,
-
'

1 6 8 0 as b e in g nish ; was t h e M S lab e l : J ac q u e s

“

on e of t h e most cl e v e r
“ -
.

”
u i n o t a Paris 1 6 7
of t h e honorabl e luthi e rs of Paris .

Q 0 , .
76 RA ZE N ZO— RE N I ST O .

’
wit h small sound hol e s t h e scroll also -
sam e m e rit and typ e as his fath e r s .

small but we ll ou t ; t h e varnish v e ry H e us e d oil varnish H e r e mov e d .

fin e ; its colour a y e llow brown tinge d -

from ru e T ique t on n e to 3 0 ru e d e ,

with re d ; t h e ton e cl e ar and p e n e , Gr e n e ll e S aint H onoré about 1 8 1 7 , ,

t ra t i n g H e also mad e som e fin e

. and re main e d th e r e for thirty s e v e n -

t e nors t h e workmanship good although

, , y e ars His two sons w e r e both violin
.

t h e p u rfl in g is som e tim e s d e fe ctiv e : mak e rs .

H is instrum e nts show ability and e my J ul e s Hippolyt e s e cond son of

, ,

tal e nt and are gr e atly valu e d ; th e y

, J e an M athurin R e my ; b 1 8 1 3 Paris ; .
,

hav e many of t h e charact e ristics of (1 1 8 7

. 6 H e carri e d on a busin e ss at
.

G e rman work and diffe r gr e atly from , 6 0 faubourg S t D e nis

, .
-

th e w
.

ork of t h e old E nglish viol mak e rs . R e m y M athurin Fran cois

, A mak e r in .

’
I n T homas B ritton s coll e ction of Paris first in t h e ru e S aint e M argu e rit e
,
-

instrum e nts was an e xtraordinary S aint Antoin e about 1 76 0 and th e n in

-

R ayman and also “

thr e e oth e rs T i qu e t on n e H e mad e
‘

ru e 17 75 9 1 ,
-
.

”
ditto . Lab e ls : J acob R ayman instrum e nts similar to thos e of
dwe llin g in B lackman S tr e e t Lon g ,
“
G u e rs an and G av in i e s with y e llow ,

“
S outhwark 1 6 4 1 and J acob R ay
, , brown varnish .

man at ye B e ll Yard in S ou t h w ark e

, , e n a u d in L eopold b 1 749 at Mire
, , .
,

London , court ; guillotin e d M ay 7 1 79 5 H e , , .

R a z e n z o Carol e A mak e r in B arc e lona

, . s e ttl e d in Paris living in t h e ru e S t ,
.

about 1 6 9 0 . H onoré from 1 776 till his d e ath at t h e ,

”
R e a l l i Cosmo B attista
, A mak e r in .
“
sign of Aux amat e urs H e mad e .

P arma in 1 66 7 I n a littl e pock e t fairly good instrum e nts but th e y are

’
-

.
,

vi olin of v e ry narrow patt e rn with too m uch arch e d t h e scroll i s b ad ly

'

, ,

brown varnish was t h e lab e l Cosmo , cut and t h e varnish is ugly almost
, ,

B attista R e a lli i n Parma 1 66 7 ,

. black in colour ; h e mad e e xc e ll e nt
R e c h i a rd i n i Giovanni (call e d Z u an o
, doubl e bass e s s e v e ral of th e s e how
-

, _ ,

Was working in V e nic e in t h e i 8 th e v e r w e r e d e stroy e d by t h e fire at t h e

,

c e ntury . O p e ra H ous e in 1 8 73 A violonc e llo is .

R e gn a n t ( R e nault ) J ac q u e s A mak e r , . known mad e from a bass V iol I n an -

.

’
in Paris 1 66 5 8 5 A l ittl e pock e t violin
,
-
.
, alto was t h e l ab e l : Aux amat e urs C
.

with silv e r p u rflin g was dat e d 1 6 8 2 ; in , R e naudin luthi e r fait tout e s sort e s , ,
’
anoth e r littl e po ck e t violin was t h e d i n s t ru m e n t s ru e S aint Honoré p res ,
-

’
lab e l : J acqu e s R e gn au t aParis 1 66 6 , . l O p éra in anoth e r alto was
,

H e succ e e d ed N icolas R e n ault as t h e lab e l :

“
L eopold R e naudin (t h e
mak e r to t h e K ing . addr e ss ill e gibl e ) anné e ,

R e ich e l J ohann C onrad , broth e r of , R e n a ul t J acqu e s , S e e R e gna n t . .

J ohann Got tfri e d W as workin g in . R e n a u l t N icol a s , A Fre nch mak e r .

N e ukirch e n in 1 779 . about t h e e n d of t h e 1 6 th c e ntury I s .

R e i ch e l J ohann Gott fri e d broth e r of

, , said to hav e b e e n a pupil of T yw e rs u s
J ohann Conrad W as a mak e r in .
( a mak e r in N ancy ) and aft e rwards to ,

Absam H e was a pupil of S tain e r

. hav e work e d in Paris .

and copi e d his patt e rn but his , R e n a u l t S ebasti e n , A mak e r in Paris .

work is rough and h e us e d re d brown ,

-
about 1 775 to 1 8 0 5 living in t h e rue ,

varnish of poor quality Lab e l : . d e B raqu e Cith e rs of his are known .

J ohann Gottfri e d R e ich e l dat e d 1 779 1 78 6 and 1 8 0 4 ; a violin , ,

arfu n de n v on J acob S tain e r in is d e scrib e d as mad e on a good patt e rn ,

”
A p s am . with y e llow varni sh of fair quality .

Re m y A Fr e nch mak e r who l e ft Paris

. H e was in partn e rship with F .

to s e ttl e in London about 1 8 4 0 H e . Chat e lain for som e tim e h e th e n us e d ,

mad e on t h e I talian patt e rn ; but his t h e lab e ls R e nault e t Chat e lain rue
violins hav e not it is said gain e d in , d e B raqu e au coin de la ru e S A v oye t ~ -

q uality of ton e w i th age possibly owing , a Paris 1 79 7 and ,

“
A la r e nommé e , ,

to his m e thod of artificiall y maturing r u e d e B raqu e au marais R e nault e t , ,

his wood b e for e using it . Chat e lain luthi e rs font e t v e nd e nt , ,

R e m y H ippolyt e e ld e st son of J e an
, , lou e nt ach ét e n t e t raccommode nt
,
’
M athurin R e my Was workin g about . tout e s sort e s d i n s t ru me n t s de musi qu e ,

1 835 7 0 in Paris
-
H e made som e . e tc a Paris .

violins of no g r e at m e rit . R e n is t o A mak e r in Cre mona about

.

R e m y J e an M athurin son of M athurin

, , 17 35 4 0 Pupil
-
of Carlo
. B e rgonzi ,

Fran cois R e my ; b 1 770 Paris ; ( 1 .

, . whos e work h e copi e d rath e r clos e ly ;
1 854 His work was of m uch t h e
. but h is instrum e nts are mor e arch e d ,
 R E S L E— R O G E R I .

77

and th e
de tails are not so car e Ro cca Giuse ppe Antonio A mak e r in
,
.

fully finish e d Lab e l : R e n is t o .

. T urin about 1 8 3 5 5 5 Work e d at on e -
.

C re mon ae alumnus Carlo B e rgonzi , tim e for P re s s e n da His violins are .

fe cit 1 7 ge n e rally mad e on t h e S tradivari

R e sl e Andre a
, W as working i n Fi e sso . patt e rn t h e work is care fully finish e d ,

in 1 740 I n an e xce ll e nt violin mad e

.
,
t h e scroll w e ll ou t but t h e varnish i s ,

of be autiful wood with dark varnish , ,

of poor quality Lab e l : “
J os e ph .

was t h e labe l Andre as R e sl e fe cit :

Antonio R occa fe cit T aurini an no ,

Fie s s ae 1 74 0 , . Domini 1 8 4 1 O th e r violins a re .

R e y n a u d André A mak e r at T arascon

, .
,
known dat e d 1 8 3 9 1 8 5 1 an d 1 8 5 5 , , .

17 54 66 -
I n a violonc e llo slightly
.
,
R o d i an i Giovita S ee B u dian i Gia .
,

arch e d of a v e ry grac e ful patt e rn

, ,
v e tta .

with b e autiful y e llow varnish was ,

R o s ch e r C H W , Was working in. . .

t h e lab e l : Andre as R e ynaud olim B re m e n about 1 8 71 .

c an on i cu s fe cit aT a rascon e n Prov e nc e Ro ge r G Was working in Montp e lli e r

'

.
, ,

17 54 anoth e r lab e l was Andre as in 1 8 2 0 .

Re ynaud olim ca n on i cu s T arascon e in , R o g e ri Gian B attista b in B ologna

, , .

gallo provincia 1 76 6 , . about 1 6 5 0 H e we nt to Cre mona to .

R ich a rd s E dwin A make r in London

, . . work und e r N icola Amat S tradivari
R i ch e l m e A Marius A mak e r in Mar , . . was a fe llow pupil of h is H e th e n .

s e ill e s who gre atly modifi e d t h e curv e s

, s e ttl e d in B re scia and work e d th e re
of t h e upp e r and lowe r bouts of his about 1 6 70 to 1 725 H e mad e ad mir .

instrum e nts almost r e turning to t h e , abl e instrum e nts ge n e rally following ,

anci e nt V iol shap e H e publish e d in -

. t h e Amati o r t h e S tradivari patt e rn ;
Mars e ill e s 1 8 6 8 : E tud e s e t obs e rva ,
t h e wood was chos e n with t h e gr e at e st
tions sur la luthe ri e anci e nn e e t car e ; t h e varnish is v e ry be autiful of ,
”
mod e rn e . a gold e n re d colour ; t h e sound hol e s
- -

R i c o l a z z i Lodovico A mak e r in C re
, . r e s e mbl e those of Amati t h e p u rflin g
mona in 1 72 9 . is accurat e t h e corn e rs e l e gant som e,

R i e ch e l S ee “
.R e ich e l of his violins are so e xc e ll e ntly mad e
R i e c h e rs August b March 8 1 8 3 6
, , .
, ,
and hav e such a fin e ton e th e y hav e ,

Hanove r ; d 1 8 9 3 B e rlin Was first .

, . b e e n sold as t h e work of S tradivari .

a pupil of L B ausch at L e ipzig th e n .

,
E sp e cially p e n e trating and robust is
trav e ll e d from city to city gaining t h e ton e of his violonc e llos ; h e som e
e xp e ri e nc e r e turning to Hanov e r i n ,
tim e s us e d poplar wood for t h e backs -

1 8 62 . H e mov e d to B e rlin in 1 8 72 ,
p e rhaps it was the n thought that this
at t h e spe cial re qu e st of t h e gr e at re nde r e d t h e instrum e nt mor e sonorous
violinist Jos e ph J oachim who r e cog
, ,
or possibly b e r e c e iv e d but low pric e s for
n is e d his tal e nt and ability He . his work and was oblig e d to u se t h e l e ss
,

mad e e xc e ll e nt instrum e nts on t h e e xp e nsiv e wood— but w h e th e r of poplar

S tradivari an d Guarn e ri patt e rns or mapl e t h e violonc e llos are always
and was e sp e cially succ e ssful in t e b e autifully mad e and are now much
pairing old instrum e nts About . valu e d Lab e l : J o B ap R oge ri u s
. . .

violins and ove r 2 0 0 violonc e llos B on N icolai Amati d e Cr e mona alum

.

we re mad e in his workshop He . nus B ri x iae fe cit anno Domini ,

publishe d a book on t h e construction (T h e word B o n simply m e an s B ononi .

of violi n s . e nsis of or from B ologna )

, H e always .

Rie s s . A mak e r in B amb e rg about use d t h e sam e lab e l it is som e tim e s in ,

17 40 6 0
-
H e mad e fairly good i n s t ru
. re d som e tim e s in black l e tt e rs ; oth e r
,

m e nts on t h e S tain e r patt e rn with a ,

lab e ls s e e n w e re dat e d 1 70 5 and 1 72 5 .

nic e quality of ton e . R o g e ri Pi e tro Giacomo son of Gian

, ,

R im b o u t s S ee R o m b ou t s . . B attista R oge ri ; b about 1 6 75 in .

«

R in a l di B e n e d e tto G i offre d o
, . Was a B r e scia work e d till about 1 73 5 H e .

pupil and fe llow work e r of P re ss e n da -

. mad e on a similar patt e rn to his fath e r ,

H e was still working in T urin in 1 8 8 6 ,

but not quit e so broad and us e d fin e ,

but di e d about fiv e y e ars lat e r H e . varnish His violins are n o t e qual to

.

publish e d : Classica fabbricazion e di thos e of his fathe r but his violonc e llos ,

violini in Pi e mont e a re spl e ndid i n strum e n ts a magnifice nt

(T urin ,

which is practically a short biography o n e was in t h e Coll e ctio n of Count

of P re s s e n d a . C o z io di S al ab u e H e also mad e ma n y .

Ri v o l taGiacomo A mak e r in Milan

,
. fin e violas an d doubl e ba s s e s L ab e l -
.

about 1 8 2 2 H is instrum e nts s how . P e trus J ac o bu s R oge ri fe cit B rix i m ,

’
good w ork . 1 71 4 3
78 RO I S MA N N — RU G GE RI
‘

ois m an n Was working in

, J ohann . similar to that of P re s se n da p e rhaps ,

B re slau in 1 6 8 0 A violin of his is in . not so car e fully finish e d t h e varnish ,

t h e Paris Cons e rvatoir e Coll e ction . is re d brown in colour -

Lab e l : .

R ol . A mak e r in Paris in 1 75 3 I n a . J os e ph Antonio Rota fe cit T aurini -

larg e pock e t violin in t h e Paris anno Domini 1 8

’
Cons e rvatoire Coll e ction is t h e lab e l : R o th J ohann and Christian
, A re both .

17 5 3 Cour S aint D e nis d e la Chartr e

,
-
. m e ntion e d as workin g about 1 6 75 t h e ,

R o m an o Pi e tro W ork e d in Pavia in t h e

, . form e r at D armstadt and t h e latt e r at
1 8 th c e ntury Lab e l : 17 Pi e tro . Augsburg .

R omano in B org o di Pavia . R o t t e n b ro u c k A mak e r in B russ e ls .

R o m a ri n i Antonio Working in C re
, . about 1 70 0 2 5 H e followe d t h e patt e rn -
.

mona in t h e 1 8 t h c e ntury Lab e l : of Amati and us e d fin e re d brown

“
-
.

“
Antonio Romari n i fe cit C re mon ae , varnish .

anno 1 7 T h e dat e is e ffac e d but is , R o v e t t a Antonio A mak e r in B e rgamo

,
.

probably 1 70 5 . about 1 8 4o 7o H e e xhibit e d a good

- -
.

R o m b o u t s Pi e t e r A mak e r in Amst e r
, . violin at B r e scia 1 8 6 4 ,
.

dam about 1 70 5 —3 5 H e made violin s .

“

, Roze . A mak e r at O rléan s about

violas and violonc e llos much arch e d
, , , 1 55
7 H is instrum e nts show fairly

with a brilliant but rath e r thick good workmanship t h e sound hol e s ,

-

varnish I n a six string e d bass V iol

.
- -

, w e ll cut wid e in t h e c e ntre t h e scroll

-

, ,

of which t h e work shows n e at finish , rathe r h e avy and t h e varnish a y e llow ,

was t h e lab e l : Pi e t e r R omb ou t s , colour Lab e l R oz e ru e S aint e

.
,

Amst e rdam 1 70 8 , . Cath e rin e a O rléans pr es le M art roy , ,

R o o k J os e ph
, A mak e r in London .
1
75 7
about 1 777 to 1 8 3 0 H is in s t ru me n t s .
Ru d im an W as working in Ab e rd e e n
.

show good work and follo w t h e patt e rn , in 1 76 9 A e i t h e r with inlaid wood .

,

of Forst e r . ornam e ntation had t h e inscription : ,

”
R op iqu e t An amat e ur mak e r in Paris
.
R u di m a n A B D n D G , . ; , . .

about 1 8 1 0 3 0 H e was an orche stra -

.
R u gg e ri ( R ugi e ri ) Franc e sco W as t h e ,
.

play e r by profe ss ion but mad e s om e , first of a family of mak e rs in Cre mona ,

violins of no gr e at valu e ; h e si g n e d v e ry oft e n co n fus e d with R oge ri of

th e m with his nam e .
Bre scia H e work e d in Cre mona at 7 . ,

R o s i e ro R occo ,Work e d in Cr e mona .

C ontrada C ol t e llai from about 1 6 4 5 to
in t h e e arly part of t h e i 8 th c e ntury
,

7
1 00 H . e was o n e of t h e c e l e brat e d

R o s io Paolo A mak e r in V e rolanuova

,
.
, pupils of N icola Amati Whos e patt e rn ,

who e xhibit e d a n e xc e ll e nt doubl e bass “

-
h e copi e d slightly e nla rgin g it and , ,

in B r escia i n 1 8 5 7 ,
. arching it mor e T h e o utlin e is v e ry .

R o s s (R os e ) J ohn A mak e r of viols and ,

.
grac e ful t h e sound hol e s b e autifully ,
-

lut e s in London about 1 5 6 0 to 1 6 0 0 I n . ou t rath e r short and op e n ; t h e p u rfl i n g

,

a coll e ction of airs call e d T ripla Con broad t h e varnish vari e s from a d e e p
”
cordia publish e d i n Lo n don 1 66 7
, , , orange to a brilliant y e llow orange -

by J ohn Carr is t h e following adv e r , colour it is v e ry light and transpar e nt

,

t i se m e n t : T h e r e is two ch e sts of t h e wood is g e n e rally mapl e of fin e ,

viols to b e sold on e mad e by M r , . quality oft e n b e autifully figure d ; h e

,

J ohn R oss who form e rly liv e d in , som e tim e s us e d poplar for t h e backs of
B rid e w e ll containing 2 tr e bl e s 3 t e nors , , his violonc e llos but always obtain e d a ,

and on e bass e : T h e che st was mad e sonorous and p e n e trating ton e T h e .

in t h e y e ar 1 5 9 8 I n t h e instrum e nt . violonc e llos are oft e n mad e on too

’
known as Q u e e n E lizab e th s lut e in , larg e a patt e rn ; h e made a com
,

r e ality a sp e ci e s of g uitar known as p a ra ti v e l y small numb e r of violins and

c i t h er fw i t h t e n strings to b e tun e d in
, violas but som e are e xc e ptionally
,

fiv e p ai rs o f u n isons is t h e inscription : , good t h e work b e autifully finish e d t h e

, ,

J ohann e s R osa L on din i fe cit in , , wood and varnish l e aving nothin g to

B ridw e ll t h e 2 7t h of J uly , , b e d e sir e d ; th e y gr e atly r e s e mbl e t h e
R o ta Gio v anni
,
A mak e r in Cr e mona .
work of Amati and are oft e n sold as
about 1 8 0 0 1 0 H is instrum e nts show -
.
such H is instrum e nts d e s e rv e dly
.

rath e r rough work t h e p u rfl in g is car e , fe tch v e ry high pric e s Lab e ls : Fran .

l e ss t h e wood not particularly hand

, c e sco R ugi e r ( or R uge r) d e tto il F or in
som e t h e varnish is a y e llow colour
, . Cre mona 1 6 8 6 simil ar on e s are,

Lab e l : J oann e s R ota fe cit C re mon ae

“
, dat e d 1 6 4 5 1 6 6 5 and 1 6 9 7 R u g i e r or , ,
.

anno 1 8 0 8 .
R ug e r is t h e C re mona patois r e nd e ring
”
R o ta Gius e pp e Antonio
, A mak e r in .
of R ugg e ri t h e w ord P e r is similarly
T urin about 1 8 2 5 His work is v e ry .
t h e e quival e nt of P e ro Fran ce sco .
 R U G G E R I— SA L O M O N .
79

Rugge ri d e tto i l P e r Cr e mona 1 6 71 , . hav e work e d in B re scia H e mad e .

T hre e violins are known dat e d 1 6 8 4 . many altos and violonce llos t h e work ,

R u g g e ri ( Rugie ri Giacinto Giovan ni is som e what rough and car e l e ss .

B attista son 0 Franc e sco R ugge ri ;

, H e was t h e last m e mb e r of this
b in Cre mona H is work is similar to
. . family to mak e violins H e also us e d .

“ ”
that of his fath e r but has not t h e sam e , il P e r on hi s lab e ls for t h e ,

valu e ; h e mad e s e v e ral v iolon ce llos of sam e r e ason probably v i z to dis —

,

large patt e rn rath e r arche d ge n e rally , , t i n gu i s h his work from that of t h e

of plain wood and with dark brown R oge ri of B r e scia Lab e ls : “
Vin .

varnish of good quality both t h e c e nzo R ugi e r (or R uge r) d e tto i l P e r

sound hol e s and t h e scroll w e re cut
-
in Cr e mona 1 71 4 a similar lab e l is ,
“
wide r than in Amati work Lab e l Gia .
, dat e d 1 72 0 .

cinto filio di Franc e sco R ugge ri d e tto il R u pp e rt Johann H e inrich , A mak e r .

P e r 1 69 6 anoth e r was dat e d 1 6 9 2 . in E rfurt about 1 72 0 His violins .

,

R u g g e ri ( R ugi e ri ) Guido Work e d in , . altos and violonce llos w e r e of a v e ry

,

Cre mona about 1 72 0 . flat mode l without linings corn e r , ,

R u g g e ri ( R ugi e ri ) Pi e tro Giacomo and , blocks or p u rflin g had a powe rful

, ,

Giovanni B attista B oth working in . ton e and dark brown amb e r varnish
,
-
.

B r e scia about 1 700 2 5 -

. Lab e l : “
J ohann H e inrich R upp e rt ,
”
R u g ge ri ( R ugie ri ) Vinc e nzo son of , , anno 1 71 9 in E rfurt in a viola da ,

Franc e sco R ugge ri W as working in . gamba wi th n e ck e nding in a b e auti

,

Cre mona about 1 700 50 is also said to -

, fully carv e d fe mal e he ad .

S a c ch i n i S ab at t i n o , . A mak e r in P e saro In a violonce llo with y e llow gre yish ,

-

in 1 68 6 Lab e l : S ab at t in o S acch in i
. varnish and of rathe r poor workman ,

da P e saro 1 68 6 ,
. ship is t h e labe l
, Pi e rr e S aint Paul -

S a c q u in A mak e r in Paris about

. ru e d e la Comédi e fran cois e Paris , ,

1 8 30 60 -
His instrum e nts are we ll
. 1741 .

mad e e sp e cially t h e doubl e bass e s ; t h e

,
-
S aj o t .Was working in Paris 1 73 0 3 5 ,
-
.

oil varnish is of good quality ; h e ge n e r H e mad e his instrum e nts with flat
ally followe d t h e S tradivari patt e rn . backs using varnish of a y e llow brown
,
-

His nam e is brand e d on t h e back in colour ; t h e workmanship was poor .

t h e int e rior Lab e l : S acqui n lu t h ie r .

, , Lab e l : S aj ot a Paris 1 73 4 . , .

ru e B e aur e gard 1 4 a Paris 1 8 5 , , ,

S a l in o J B , A mak e r in R om e in 1 76 0
. . .

S a i n p ra J aqu e s A mak e r in B e rlin in

, . H is instrum e nts w e re v e ry arch e d with ,

t h e 1 7th c e ntury A viola di bordon e .

, varnish of bad quality brown shading ,

or baryton was e xhibit e d in t h e S outh ,

into black in colour t h e work not w e ll
Ke nsington Mus e um 1 8 72 ,
. finish e d Lab e l : “
J B. S alino fe cit . .

S a in t P a ul Antoin e
- A mak e r in Paris
, . R oma anno 1 76 0 , .

about 1 76 5 9 0 H e was son in law and -

.
- -
S al l e le P er e
, A mak e r in Paris about .

succ e ssor of Louis G u e rs an and work e d ,

182
5 5 3
-
H e mad e a fe w violins which
.
,

at t h e sign of Au luth royal in t h e are v e ry b e autiful copi e s of Guarn e ri

ru e d e s Foss es S aint G e rmain d e s Prés - - - -

, but h e was chi e fly not e d for his cl e v e r

n e ar t h e Comédi e Fran cais e wh e re as , , n e ss in r e pairing old instrum e nts and ,

his adv e rtis e m e nt says i l fait e t v e nd , his e xtraordinary knowl e dg e of t h e

’
tout e s sort e s d i n s t ru me n t s d e musiqu e , work of old I talian mak e rs .

”
s cav o ir ; violons d e Cr e mon e violons S al o . S ee Gasparo da S al o .

d e s a fa con e t d e tout e s sort e s d aut e urs S al o m o n J e an B aptist e D e shay e s

, .

alto violas basse s e t contr e bass e s

-

, , Work e d in R h e ims till about 1 74 7 and ,

’
&c .I n a fiv e stringe d viol with a -

, th e n i n Paris at t h e plac e d e l E co le ;
’
carv e d n e ck and y e llow varnish is t h e , lat e r h e s e ttl e d in t h e ru e d e l A rb re s e c -

labe l : Antonius S aint Paul prope -

, ( about H e di e d b e for e 1 772 for ,

C om oe di am G allicam L u t e t i ae anno , , in that y e ar N amy is m e ntion e d as

1 772 . working for t h e widow e d Madam e
S a in t P a u l
-
Pi e rr e A mak e r in Paris , . S alomon H e mad e fe w violins but
.
,

about 1 740 A violin of that dat e is . th e y show good work and are on a ‘

known also a six stringe d viol dat e d

,
-
similar patt e rn to thos e of Louis
from t h e rue St André de s Arts in 1 742 .
- - -
. G u e rsan his cont e m p orary ; th e y hav e
,
80 SA L S E D O— S C A RA M P E L L A .

’
y e llow brown varnish A viola d amore
-
. work is rath e r similar to that of
of his is in t h e Paris Cons e rvatoir e G ran cin o .

Coll e ction ; h e also mad e good bass S arac e n i Dom e nico , A mak e r in .

viols . A fe w of his violonc e llos are Flore nc e in t h e 1 7th ce ntury .

of e xc e ll e nt wood and hav e a fin e S ara il l a c Fran cois A mak e r in Lyons

, .

ton e but in oth e rs t h e varnish is

, abou t 1 6 78 1 71 2 I n a six string e d -
.
-

hard and t h e ton e poor Labe ls : . bass V iol mad e on a narrow patt e rn
-

, ,

S alomon luthi e r a 8 t C ecil e plac e , , ,

with brown varnish , was t h e lab e l :
’
d e l E cole aParis 1 75 1 and Parisiis
, , ,
Fran cois S araill ac a Lion 1 71 1 ,

apud S al o mon e m ad insign e S t a C m littl e pock e t violin was dat e d 1 6 79 .

cilia S coli e Palati c 1 75 2 H e also , . S ardi . A mak e r of viols in V e nic e in

som e tim e s brand e d his instrum e nts 1 6 49 .

“
with S alomon a Paris H is widow . S a u n ie r , E dmond
Was a pupil of .

continu e d t h e busin e ss for som e tim e Lamb e rt of N ancy t h e Carp e nt e r

, ,

aft e r his d e ath moving about 1 78 8 to but did sup e rior work Live d i n .

quai de la M e gi s s e ri e . B ord e aux 1 75 4 6 4 according to his

,
-

S al s e d o Luigi , An I talian mak e r A . . violin lab e ls but by 1 770 was in Paris , ,

b e autiful mandolin e of his was mad e of living first in t h e ru e T iqu e t on n e and ,

ros e wood wit h flut ed back and inlaid , ,

th e n ( 1 775 8 3 ) in t h e ru e d e s P rouv aire s
-
.

with moth e r of p e arl - -

. H e is b e st known for t h e b e autiful
S a l z a rd F , A mak e r in Paris . . guitars h e mad e but his violins are ,

S a n o u i Giovanni B attista
, A mak e r in . also good Pi e t e t h e mak e r was a
.
, ,

V e rona about 1 7 40 H is instrum e nts . pupil of his I n 1 8 8 9 Was e xhibit e d in .

'

are much arch e d with ros e colour e d ,

-
Paris a mandolin e alto dat e d 1 78 0 -

varnish th e y are of good workmanship . Lab e l : S auni e r a B ord e aux 1 75 4 , .

S a n t a g i u l i a n a Giacinto A mak e r in , . S av a n i Gius e pp e

, Was working in .

Ve nic e about 1 8 3 0 according to a lab e l ,

Carpi in 1 8 09 .

in a violin : J acin t u s S an t agiu li an a S a w i t z k i ( S awicki ) N icolaus b 1 79 2 , , .

,

fe cit V e n e tia anno 1 8 3 0 , . Poland ; ( 1 1 8 5 0 H e s e ttl e d in Vi e nna

. .

S an t e . A mak e r in P e saro about 1 6 70 . and mad e som e v e ry good violins .

S a n t e Gius e pp e
, Was workin g in R om e . S c a ra m p e ll a Ange lo son of Paolo , ,

in 1 778 . S cara m p e lla ; b J un e 2 1 8 5 2 B r e scia .

, ,
.

S a n t o Giovanni
, A mak e r in N apl e s .
,
Was a carp e nt e r by trad e but also ,

17 00 3 0
-
H e ge n e rally copi e d Amati
. mad e guitars of good ton e .

his violins are of a small patt e rn fairly ,

, S c a ra m p e l l a Gius e pp e son of Paolo , ,

w e ll mad e with varnish of poor quality , . S c ar a mp e lla ; b Au g 2 5 1 8 3 8 B r e scia . .

, , .

S a n t o S e ra fi n o b at U din e Work e d , . . Pupil of N icola B ianchi in Paris ; 1 8 6 5 ,

in V e nic e about 1 71 0 4 8 S om e of -
. r e turn e d to B r e scia I n 1 8 6 6 w e nt to .

his instrum e nts show G e rman charac Flor e nc e to work with Luigi Cast e llani ,

t e ri s t i cs t h e sound hol e s and scroll

,
-
who though t highly of his ability and
b e ing similar to thos e of S tain e r; but gav e him much important work to do
h e g e n e rally follow e d t h e Amati patt e rn . in r e pairing old inst rum e nts H e re .

His work shows gr e at ability ; t h e store d t h e viola and t h e famous

mod e l is much arch e d t h e wood v e ry ,
violonc e llo of S tradiv ari k e pt in t h e ,

handsom e of small figur e ; t h e varnish ,

\
I stituto M usical e of Flor e nc e and in ,

brilliant of v e ry fin e quality of a rich

, , 1 8 8 4 succ e e d e d Cast e llani as K e e p e r of
r e d colour or y e llow ting e d with brown , , t h e coll e ction of instrum e nts th e r e .

but dry and e asily crack e d ; t h e scroll H e also mak e s n e w instrum e nts follow ,

is w e ll ou t and t h e workmanship , ing t h e S tradivari or Guarn e ri d e l

al m ost as b e autifully finish e d as that G e s u patt e rns which will incr e as e in ,

of S tradivari ; t h e ton e is cl e ar and valu e with tim e ; th e ir ton e is cl e ar

strong A b e autiful violonc e llo was
. and strong ; t h e work is accurat e ly
e xhibit e d in t h e S outh K e nsington and car e fully don e h e us e s a r e ddish
Mus e um in 1 8 72 its ton e was v e ry ,
colour e d oil varnish Lab e l : Giu .

e qual and sonorous ; but his doubl e s e pp e S caramp e ll a fe c e in Fir e nz e

bass e s are e sp e cially e xc e ll e nt in ton e . anno 1 8 8
All his instrum e nts are brand e d with S c a ra m p e ll a Paolo b S e p t 2 5 1 8 0 3 , , .
, ,

his nam e above t h e tail pin Lab e l : -

. B r e scia ; d April 7 1 8 70 A carp e nt e r .
, .

S anctus S e raphin U t i n e n s is fe cit by trad e but mad e many violins , ,

V e n e t ii s anno , violonc e llos guitars and mandolin e s , ,

.

S an z o S a n t in o ( S anto S e ntino ) A . S c a ra m p e l l a S t e fano son of Paolo , ,

mak e r in Milan in t h e i 8 th ce ntury . S caramp e lla ; b March 1 7 1 8 4 3 .

, ,

He m ad e fairl y good instrum e nts his B r e sci a Pupil of his broth e r Gius e p p e
. .
 S C H A E N D L— S C H W A RT Z . 81

S e ttl e d
in Mantua at 8 v i a Ve scovado , , . to labe ls so dat e d found in his in s t ru
H e has mad e many g ood violins . m e nts H e mad e e xc e ll e nt violins
.
,

S ch a e n dl Anton A mak e r in M itt e n

, . much arche d and us e d a fairly good ,

wald 1 75 3 Lab e l : Anton S ch ae n dl

, .
, varnish I n t h e Coll e ction of t h e
.

G e ige nmache r in Mitt e nwald an , . G e s e llschaft d e r M usikfr e unde in

1753 Vi e nna are two instrum e nts a Polish ,

S ch e i n l e i n , J ohann Michae l , son and e it h e r dat e d S alzburg 1 6 9 6 an d a , ,

’
pupil of Matth aus Fri e drich S ch e in l e in ; viola d amor e dat e d S alzburg 1 6 9 9 ,
.

b 1 75 1 Lange nfe ld H e followe d t h e

.
, . Lab e l : “
J oann Paul S chorn H F ,
. .

large S tain e r patt e rn in his violins but , Musion s auch Laut e n und G e ig e n
,

avoide d t h e e xagge rat e d arching ; his mach e r in S alzburg A 1 71 6 . . .

instrum e nts are n e atly and care fully S cho t t Martin , A mak e r of lut e s at .

made and had a good r e putation for Pragu e in t h e i 7th c e ntury .

the ir full and pl e asant ton e ; but th e y S c h ii n e m an n O tto A G e rman mak e r

'

, .
,

do not last w e ll t h e wood not b e ing ,

appoint e d Dire ctor of t h e S chool of
thick e nough . Violin Making at S chw e rin .

S ch e i n l e i n Matthaus Fri e drich b 1 71 0

, , .
, S ch ulz P e t e r, A mak e r in R atisbon . .

Lange nfe ld in Frank e n ( Franconia) ( 1 . I n 1 8 5 4 h e e xhibit e d at Munich thr e e

th e r e ,
H e was a violinist but , e xc e ll e nt violins mad e mor e aft e r a ,

taking gr e at int e r e st in violin making , G e rman than I talian patt e rn ; on e was

b e gan by r e pairing old instrum e nts and of e sp e cially b e autiful workmanship ,

finish e d by making e xc e ll e nt n e w on e s . but its ton e was not so cl e ar and

T h e y are much arch e d with dark , pur e .

brown varnish t h e work care fully ,

S chu s t e r G e b r u d e r T h e s e broth e rs .

don e . are t h e mak e rs of e xtraordinarily ch e ap

S ch e l l S e bastian
, A mak e r of lut e s in . violins in Markn e ukirch e n S axony ; ,

N ur e mb e rg in 1 72 7 O n e with that . th e y are pric e d at 75 s e ach ; though .

dat e is in t h e Paris Cons e rvatoir e n o t b e autiful to look at th e y hav e a ,

Coll e ction . fai rly good ton e S om e w e re e xhibit e d .

S ch e l m a y e r Christian A mak e r in
, . i n London in 1 8 6 2 .

“
Cologn e T h e labe l : Christian S ch e l
. S chu s t e r Micha e l , H e is also conn e ct e d .

may e r Musik I n strum e nt e nmach e r in -

with t h e busin e ss in Markn e ukirch e n ,

K oln . N o 602 was found in a .

"
S axony .

littl e pock e t violin . S ch w art z B e rnard , A Fr e nch mak e r .

S chl ic k A mak e r in Le ipzig

. . who s e ttl e d at S trasburg about 1 79 5 :
S ch m i d t W as w ork i n g in Cass e l i n h e di e d in 1 8 2 2 His two sons w e r e
'

. .

18 17 . His instrum e nts are mad e on both mak e rs .

t h e S tradivari patt e rn but t h e e dg e s , S ch w a rt z G e org e s Fr ed e r i c b April 7

, , .
,

a re large r and t h e p u rfl in g is not 17 8 5 S trasburg ; d th e r e D e c 2 9

,
.
, .
,

plac e d so clos e to t h e sid e s h e use d :

1 8 49 ; an d T h eophil e Guillaum e b ,
.

spirit varnish and t h e wood i s of bad O c t 1 3 1 78 7 S trasburg ; d J uly 2 9

.
, ,
.
,

quality . 186 1 ,sons of B e rnard S chwartz .

S chm i e d Was working in Vi e nna in

. Pupils of th e ir fath e r and at h i s ,

t h e i 8 th c e ntury . d e ath succ e e d e d to his busin e ss which ,

S ch b n fe l d e r J ohann Adam Was work

,
. b e cam e Fr ere s S chwartz
“
T he y .

ing in N e ukirch e n in 1 74 3 Lab e l : . made v e ry good violins and violo n

“
J ohann Adam S ch b n fe ld e r Violin c e llos ; th e ir first violin was dat e d
mach e r in N e ukirch e n A 11 1 74 3 . . . 1 824 ; b e twe e n th e n and 1 8 5 2 th e y
S c h o n g e r Franz A mak e r in E rfurt turn e d out about 8 0 violins and 3 0
in t h e i 8 th c e ntury H e mad e fairly
.
,

“
. violonc e llos Lab e l : Fr er e s S chwartz
.

good instrum e nts of large patt e rn , , aS trasbourg 1 8 3 3 N o T h eophil e , .

v e ry arch e d ; but t h e wood is not thick was chi e fly conce rn e d i n t h e in s t ru

e nough and t h e ton e is poor . m e n t maki n g G e org e s gav e his tim e to ,

S ch o n g e r G e org ,son of Franz , making bows ; h e gai n e d a we ll

S ch on ge r h e also work e d at E rfurt H e . m e rit e d r e putatio n His bows are .

was a b e tt e r mak e r than his fath e r , , g e n e rally mark e d n e ar t h e nut with

a n d l e ft som e v e ry good violins mad e , S chwartz S trasbourg ,
.

on t h e I talian patt e rn ; h e was also S c h w a r t z T h eophil e Guillaum e son of ,

consid e r e d a cl e ve r re paire r of old T h eoph i l e Guillaum e S chwartz ; b .

instrum e nts . S e pt 3 1 8 2 1
.
, I n 1 8 5 2 h e succ e e d e d .

S ch orn Johann Paul

, Work e d first in . to t h e busin e ss in S trasburg at 2 plac e ,

I nnsbruck about 1 6 8 0 9 0 th e n in -
, S aint T homas -
H e was chi e fly occ u .

S alzburg about 1 69 6 to 1 71 6 accordin g ,

p i I p
e d in re ai rin g old instrum e n t s but ,
82 S C H W E I Z E R— S I M O N I N .

also made n e w on e s usin g t h e lab e l : , to Paris first workin g un de r L up ot

,

S chwartz a S trasbourg 1 8 , and th en unde r Gand I n 1 8 29 h e _

.

S ch w e iz e r J ohann B aptist A mak e r in , . found e d t h e busin e ss in Lyons Hippo .

B udap e st ; b 1 79 8 ; d 1 8 75 H e was . . . lyt e was in partn e rship with him ,

a pupil of G e i s e n h o f in Vi e nna H is . 1 83 1
4 8 ; h e aft e rwards continu e d t h e
-

violins w e re mad e without arching , busin e ss alon e until his d e ath in 1 8 5 9 .

t h e workmanship was n e atly finish e d ; H e copi e d t h e patt e rn of S tradivari

h e also mad e som e t e nors . with gre at ability ; his instrum e nts are
S e gh e r Girolamo , b 1 6 46 Was a , . . always handsom e owing to t h e b e autiful ,

pupil of N icola Amati and was , quality of t h e wood us e d an d th e ir ton e ,

working und e r him 1 6 8 0 8 2 ,

-
. is oft e n r e markably good ; t h e varnish
S e l l a s M att e o, Was worki n g in V e nic e . is v e ry fin e and t h e work most car e fully
1 6 3 0 4 0 at t h e sign of
“
-
Alla Corona . finish e d cons e qu e ntly th e y are i n
,

I n t h e P ari S C on s e rv at oi re Coll e ction cr e asing i n comm e rcial valu e I t is

'

are two of his arch lut e s and at -

said h e mad e about 3 5 0 instrum e nts
B ologna in t h e Lic e o Comunal e di ,
“
b e aring his lab e l : Pi e rr e S ilv e str e a
M usica is a large guitar with t h e lab e l :
, Lyon 1 8 5 , Wh e n working with
Matt e o S e llas alla corona in V e n e tia , , his brothe r t h e lab e l us e d was : ,
'

1 639 A th e orbo was dat e d 1 6 3 9

. . P e trus e t H ippolytus S i lv e s t re frat re s
S e n i Franc e sco
, A mak e r in Flor e nc e . fe ce ru n t Lugdun 183 B ronz e
in 1 6 3 4 .
m e dals w e r e obtain e d at t h e Paris
S e n t a Fabri zio A mak e r in T urin . . E xhibitions in 1 8 4 4 and 1 8 5 5 .

A n i nstrum e nt of his is m e ntion e d in

-

S il v e s tr e n e v e u S ee Chréti e n . .

t h e catalogu e m a d e by B Cristofori . S im on A mak e r of viols in Lyons

.
,

( pt 2 3 1 71 6 ) of t h e instrum e nts
S e .
, in ru e de la Pomm e R oug e 1 5 6 8 73 -

,
-

b e longing to t h e Duk e of Flor e nc e . O nly his Christian nam e is known as ,

S e ra s a t i D om e nico A mak e r in N apl e s

, in all t h e docum e nts in which it
about 1 71 0 5 0 H is instrum e nts had a -
. app e ars a blank spac e is l e ft for t h e
,

good r e putation at on e tim e . surnam e which has n e v e r b e e n fill e d in

,
.

S h aw J ohn
, A mak e r of viols in . S i m on Was working at S alzburg in
.

London in 1 6 5 6 Lab e l : J ohn S haw

d
.
. 1 72 2 .

att t h e Gou ld e n harp and H ob o y n e r e S i m o n Claud e ,

A mak e r in Paris ru e .
,

t h e maypol e in t h e S trand 1 6 5 6 , . d e Gr e n e ll e S aint H onoré 1 78 3 8 8 - -

,
-
.

S ian i Val e ntino

, S aid to hav e liv e d in . S im o n P b 1 8 0 8 at Mire court
, .
,
.
,
.

Flore nc e i n t h e 1 7th c e ntury . W e nt to Paris in 1 8 3 8 wh e re h e ,

S i cil ian o ( Cicili ano ) Antonio A mak e r , . work e d for som e months und e r D .

in V e nic e about 1 6 0 0 A t e nor and a . P e ccat e th e n w e nt to t h e workshop of

bass viola da gamba are in t h e M od e na B V u i ll a u m e and r e main e d th e r e
J . .

M us e um Vi e nna , . till in 1 8 45 h e start e d his own busin e ss

, ,
.

’
S i cil ian o Gioacchino son of Antonio , , O n P e c cat e s r e tir e m e nt in 1 8 4 7 S imon , ,

S iciliano W as working in V e nic e . succ e e d e d to his busin e ss in t h e ru e

’
about 1 6 8 0 . d A n gi v i lli e rs H e was in partn e rship .

S il v a J oan Vi e ira da
, W as working in . with H e nry 1 8 48 5 1 and aft e rwards ,
-
,

Lisbon about 1 700 A e i t h e r is known . continu e d his work alon e moving lat e r ,

of his inlaid with tortois e sh e ll and

, to ru e S aint D e nis passage L e moin e -
,
.

ivory with si x pairs of wire strings

, . H e mad e most e xc e ll e nt bows and
S il v e s tr e Hippolyt e b D e c 1 4 1 8 o8, , . .
, \ ,
g e n e rally mark e d th e m with S i mon ,

S aint N icolas d u Port ( M e urth e ) ;

-
d - -
Paris n e ar t h e nut .

S im o n i n
.

D e c 3 1 8 79 S omm e rvill e r n e ar N ancy

.
, , ,
. Charl e s b at M ir e court
, ,
. .

W as first a pupil of B lais e at M ir e Was ap pr e ntic e d to J B V u illau me at . .

court th e n o f J B V u illau m e at Paris

, . . . Paris and b e cam e o n e of his most abl e
,

I n 1 8 3 1 h e j oin e d his broth e r Pi e rr e at workm e n H e the n marri e d and re .

Lyons and work e d with him till 1 8 4 8

, . t urn e d for a short tim e to Mire court .

O n t h e d e ath of Pi e rr e in 1 8 5 9 h e I n 1 8 4 1 h e s e ttl e d in G e n e va r e mainin g ,

again took up t h e busin e ss and con ,

th e r e for e ight y e ars ; h e l e ft S e pt ,
.
,

tin n e d in it till 1 8 6 5 wh e n h e trans , 1 8 49 to e stablish hims e lf in T oulous e

,
.

’
fe rr e d it to H Chréti e n his sist e r s .
, H e s e nt vario us instrum e nts to t h e
son and r e tir e d to S omm e rvill e r
, ,
Paris E xhibition in 1 8 5 5 amongst ,

wh e r e h e di e d . oth e rs a copy of G iu se p p e G u arn e ri

S il v e s tr e Pi e rr e broth e r of H ippolyt e ;
, ,
of r e markabl e ton e h e obtain e d a :

b Aug 9 1 8 0 1 at S omm e rvill e r n e ar

. .
, , ,
“
m e ntion honorabl e S inc e th e n h e .

N ancy ; d 1 8 5 9 Lyons W as also a .

, . has obtain e d various awards at oth e r
pupil of B lais e at Mire court the n w e nt , e xhibi t io ns ,
84 S O C Q U E T~ ST A I N E R .

inscription in a littl e pock e t violin in S t a in e r Andre as

, W as working in .

t h e Paris Cons e rvatoir e Coll e ction .

Absam about 1 6 6 0 H e mad e fe w .

S o cq u e t Louis A mak e r in Paris

, . violins if an y ; h e is suppos e d to hav e
,

about 1 75 0 8 0 h e work e d at t h e sign -

made barytons .

’
of Au Géni e d e l h armon ie
“
H is . t a i n e r J acob son of Martin S tain e r and
, ,

instrum e nts a re not w e ll mad e A . S abina G rafin ge r ; b J uly 1 4 1 6 2 1 at .

, ,

violin and a fiv e stringe d viol dat e d -

Absam n e ar Hall in t h e T yrol ; d
, , .

1 55 are known and an alto of 1 76 9 the re 1 6 8 3 Littl e is known of t h e first

7 , .
, .

T w o oth e r lab e ls are dat e d 1 76 5 and part of his life but th e r e s e e ms to b e ,

1
77 1 r e sp e ctiv e ly H e was living in .
absolut e ly no e vid e nce in support of
t h e plac e d u Louvr e 1 775 79 , . t h e stat e m e nt that h e w e nt to Cr e mona
S ohn Walt e r , Work e d in Vi e nna I n . . to b e com e a pupil of N icola Amati ,

a guitar is t h e lab e l Walt e r S ohn in marrie d t h e daught e r of t h e latt e r and

“

W ie n ”
. aft e rwards pass e d som e tim e in V e nic e .

S ol i a n i Ang e lo A mak e r in Mod e na

, .
, A violin with t h e inscription : J acobu s
175 2 1 8 10
-
. S tin e r cre m on i a fe ci t e 1 6 4 2
, which ,

Some r , N icolas . A mak e r in Paris was in t h e Monast e ry of S tams i s ,

about 1 72 5 5 0 -
. g e n e rally thought not to b e ge nuin e
S p e il e r A G e rm an mak e r in t h e i 8 th
. S tain e r work H e w ould no doubt .

c e ntury . hav e studi e d t h e I talian instrum e nt s

S p ic e r J ohn I t has b e e n infe rre d that us e d by t h e I talian musicians who
”
.
, ,

h e was a mak e r of lut e s and viols in ass e mbl e d at I nnsbruck at t h e Court of

London from a tok e n which is , t h e Archduk e F e rdinand Carl Count ,

inscrib e d J oh n S pic e r I n Crown . of t h e T yrol and this would account ,

Court in R uss e ll S tre e t 1 6 6 7 H is

, ,
—
for his e arli e r work showing trac e s of
Half P e ny -
with t h e d e vice of a ,
I talian influ e nc e ; t h e thickn e ss e s of
lut e . t h e wood and t h e disposition of t h e
S p il m a n D origo T h e r e is a viol of his
, . blocks and linings b e ing similar to
in t h e M od e na M us e um in Vi enna ; it Cre mon e s e work T h e old G e rman .

looks lik e t h e work of a V e n e tian and , V iol mak e rs as is known us e d no

-

, ,

probably dat e s back to t h e i 6 th c e ntury . linings at all and did the ir dim e nsions ,

T h e s o und hol e s are similar to thos e -

and thickn e ss e s by gu e ss work -
.

’
of V L i n arolo t h e scroll looks as if it
.
, S tain e r s instrum e nts soon show e d
had b e e n add e d at a lat e r dat e . thos e distinctiv e charact e ristics known
Dorigo S pilman is writt e n insid e ,
as T yrol e s e h e was practically t h e
but no dat e .
"
found e r of t h e T yrol e s e or G e rman
S o rs a n o See S u rs a n o
. . school of violin making ; t h e larg e
S p r e n g e r Anton b 1 8 3 4 M itt e nwald
, , .
, . numb e r and gre at e xc e ll e nc e of his
Was th e re a pupil of Anton H orn s t e i instrum e nts all mad e on t h e sam e ,

n e r lat e r work e d und e r T i e fe n b ru n n e r

, high mod e l and t h e r e putation h e ,

of Munich and K indl and also Fisch e r , gain e d in his life tim e causin g his ,

in Vi e nna H e i s now e stablish e d at . work to b e 00 pi e d in G e rman y ,

Stuttgart at 2 3 H os p i t al s t ras s e He , . E ngland and e v e n in I taly , And i t .

mak e s violins and violonc e llos on t h e was a long tim e b e for e mak e rs r e alis e d
S tradivari and G uarn e ri patt e rns using ,
that this high mode l was i n any way
oil varnish of good quality . d e fe ctiv e An old tradition says that
.

S t a d e l m a n n ( S t at e lm an n ) D an 1e l A ch a , instrum e nts dat e d as e arly as 1 6 3 9 are .

tius b 1 6 8 0 ; d O ct 2 7 1 744
,
. A . .
, . known ; if so th e y are e xtre m e ly rare , .

mak e r in Vi e nna who show e d g re at I n 1 6 4 1 h e was alr e ady s e lling his

ability i n imitating t h e S tain e r patt e rn ; violins at t h e larg e mark e t fairs of -

h e us e d thin varnish of a d e e p amb e r H a ll O n N o v 2 6 1 6 4 5 h e marri e d

. .
, ,

colour t h e work is w e ll finish e d . Margare th e H olzhamm e r (b March 1 0 .

,

S t a d e l m a n n ( S t a t e lm an n ) J ohann J o ,
1 6 24 ; d in Absam t h e witn e ss e s
.
,

se h
p son of D ani e l A S t ade lm an n
, . . b e i n g Micha e l P amp e rge r and Hans
H e was a v e ry cl e v e r mak e r who ,
G ra fin ge r t h e latt e r a r e lation of his
, .

copi e d t h e S tain e r mod e l to gre at H e had nin e childre n e ight daught e rs , ,

p e rfe ction ; h e work e d till 1 76 4 possibly ,

and a son who di e d in infancy In .

lat e r 1 648 h e trav e ll e d i n Austria and '

.
,

S t a dl Micha e l I gnatius
, W as working . r e main e d for som e tim e working
in Vi e nna in 1 770 H e did fairly good . in Kirchdorf living in t h e hous e of ,

work ; and us e d a y e llow brown v ar S aloman H ii b me r a J e w H e u n for

'

-
, .

’
nish ; h e som e tim e s substitut e d a lion s t u n at e ly l e ft in d e b t for a small am ount
'

h e ad for t h e scr oll , b u t th ough in 1 6 6 7 , wh e n call e d u p on

, ,
 ST A I N E R —
ST A I N E R !

he paid part of it t h e d e bt s e e m e d to
, conc e rt room but a violin play e d
-

, ,

grow rath e r than diminish for in 1 6 69 , by S iv ori is said to hav e had a ,

it had r e ache d t h e sum of 2 4 guld e n , charmingly sympath e tic and unusually

and in 1 6 77 h e made a vain app e al to brilliant ton e H is violins w e re made .

t h e E mpe ror for its r e mittanc e In . in thre e di ffe r e nt siz e s large m e dium , , ,

spit e of this h e had bought ( N ov 1 2 .

, and small and are his b e st work ; hi s
,

1 666
) a hous e and gard e n from his t e nors are not so good al though on e is ,

broth e r i n law Paul Holzhamm e r so

- -

, , m e ntion e d as b e ing p e rfe ction both in

at that tim e his affairs w e r e going on work and in charm of ton e H is .
-

w e ll T hough lat e r th e re is no doubt

. doubl e bass e s are of gr e at rarity on e
-

that mon e y worri e s h e lp e d to throw was in t h e Coll e ction of Prin c e Moriz

him into t h e stat e of profound m e lan Lobkowitz at Castl e E is e nb e rg B o ,

ch oly from which h e su ffe re d for h e mia . A viola di bordon e dat e d ,

four y e ars b e for e his d e ath and ,

1 66 0, is in t h e Coll e ction of t h e
which e nde d in his losing his re ason G e s e llschaft d e r Musikfre und e at
e ntir e ly in 1 6 8 1 Th e Archduk e
. Vi e nna and in t h e Paris Cons e rvatoire
F e rdi nand Carl had s e nt for him to Coll e ct i on is a small pock e t violin ,

I nnsbruck and O ct 2 9 1 65 8 ap
,
.
, , inlaid with silv e r with a fin e ly carv e d ,

point e d him viol i n mak e r to t h e Court . h e ad of a faun T he r e is re cord of his .

J an 9 1 66 9 h e was appoint e d violin

.
, , having sold a viola bastarda in 1 6 4 3 , ,

mak e r to t h e E mp e ror L e opold I ; . to t h e Archbishop of S al zburg and o f ,

t h e sa m e y e ar h e was imprison e d on his b e in g again in S alzburg in 1 6 70 ,

suspicion of b e ing implicat e d in t h e wh e n h e sold som e vi oli n s th e re A .

Luth e ran mov e m e nt but was r e l e ase d , viola da gamba w as dat e d 1 6 6 7 I n .

in 1 6 70 H e mad e an e normous
. 167 7 h e mad e two spl e n did violins for
numb e r of stringe d instrum e nts of all
,
th e St G e org e nbe rg Monast e ry but
.
,

sorts ; for his violins h e us e d a par th e y w e re u n luckily d e stroy e d wh e n

t icu lar kind of wood from a tr e e call e d t h e Monast e ry was burnt dow n on
”
th e H a s e lfich t e of which th e re
, J un e 2 1 1 8 6 8 T h e tradition of his
, .

w e re large quantiti e s at G le i rsc h ; having r e tire d to finish his day s in a

’
h e use d to wand e r from tr e e to B e n e dicti n e Mo n a st e ry aft e r his wife 3
tre e tappin g w ith a hamm e r until d e ath and havi ng mad e th e re sixt e e n
,

h e found on e which pl e as e d him ,

e xquisit e violins of W hi ch h e pre s e nt e d ,

and was suitabl e for hi s purpos e . twe lv e to t h e twe lv e E l e ctors and four
His instrum e nts are small ; t h e b e lly to t h e E mp e ror is quit e u n tru e I n ,
.

ris e s abru ptly from t h e e dg e s to t h e Hall C a th e dral a violin is p r e

“
th e foot of t h e bridge and th e n ,
s e rve d with t h e lab e l : J acobus S tain e r
k e e ps n e arly flat ; t h e b r e adth of oe n i p on t u m fe cit in Absam ,

this flatt e n e d part is about t h e which w a s mad e for t h e Dam e nstift

sam e as that of t h e bridge ; this high i n Hall which was suppre ss e d in 1 78 3
, .

archi ng n e c e ssarily re nd e rs t h e ton e A violin that b e longe d to Mozart was

thin in spit e of t h e fact that t h e wood
, dat e d 1 65 6 S tain e r had many pupils
.

is l e ft v e ry thick T h e sound hol e s .

-
an d imitators amo n g th e m Mathias ,

are short e r an d narrowe r tha n i n Alban i of B otz e n E gidius and Mathias ,

I tali an instrum e nts t h e upp e r an d ,

Klotz ; th e s e mak e rs if th e y had turn e d ,

low e r turns are compl e t e ly circular ; out a b e tt e r violi n than u sual would ,

th e p u rfl i ng is also narrow e r a n d u s e a S tain e r l a b e l for it T h e dat e of .

’
plac e d n e ar e r t h e e dge ; t h e scroll is S tain e r s d e ath n ot b e i n g ge n e rally
small e r and is particularly round an d k n own imitatio n s are oft e n post dat e d
,
-
.

smooth it is som e tim e s r e plac e d by a

, O n e is k n ow n d a t e d 1 6 8 4 an d o n e 1 72 9 .

’ ’
lion s he ad b e autifully carv e d ; t h e
, T hough at first S tai n e r s writt e n lab e ls
sid e s a n d back are mad e of v e ry fin e ly we r e car e fully imit a t e d l a t e r on print e d ,

figure d mapl e t h e ou tlin e is e xtre m e ly lab e ls w e re us e d with t h e dat e 1 6

e l e gant although t h e body is rath e r
, or 1 6 6 so that figur e s could b e add e d
short e r an d broad e r tha n i n I talia n i n writi n g T h e s e pri n t e d lab e ls may
.

work ; t h e work is always b e auti always b e take n as a sur e sign of copi e s

fully finish e d ; t h e varnish o f rich , or imitations ; l a b e ls are rar e ly found
quality vari e s i n colour from a re d
, in g e nuin e S t ai n e r instrum e nts but ,

mahogany e mbrown e d by tim e to a

, ,
whe n the re th e y are always w ri t t e n not
, ,

gold e n re d e qual to that of Cre mona p rint e d : J acobus S tain e r i n A b s om

“

work ; t h e ton e is not powe rful but , prop e ( E n ip on t u m fe cit 1 6 4 7 R e ally , .

has a swe e t flut e lik e sound ; it is not

-

ge nu i n e instrum e nts wh e th e r violins or ,

ge n e rally consid e re d suitabl e for a violas though at on e tim e muc h

,
86 S T A I N E R— S T R A D I V A R I .

d e pre ciat e d are now st e adily in cre as , a sal e i n Paris two violonc e llos of his ,

ing in valu e a fin e viola having , sold for £ 1 6 and £ 2 6 r e spe ctiv e ly .

re alise d ov e r 1 00 H is brothe r Paul .

“
Lab e l : F S t e ininge r Paris .
,

A mak e r i ii Frank
,

was not a violin make r . S t e in in g e r J acob , .

S t ain e r Marcus broth e r and pupil of

, , fort about 1 775 N icholas Di e hl was .

J acob S tain e r ; h e worke d in Laufe n , a pupil of his H e marri e d t h e daught e r .

Austria H e was a mak e r of mod e rat e

.
of t h e violin mak e r D op fe r .

’
ability who aft e r his broth e r s d e ath
, , , S tirb a t ( S tirrat ) David Was workin g , .

mad e poor imitations of his work with , in E dinburgh about 1 8 1 0 1 5 H is -

.

lab e ls care fully copi e d from thos e of instrum e nts w e r e co n sid e re d good .

J acob thus givin g ris e to t h e impr e ssion

, Lab e l “
D S tirbat fe cit E dinburgh
!

.
,

that J acob was som e tim e s v e ry car e l e ss 18 12 .

in his work T h e famous Flore ntin e . S t orio n i Lor e nzo b 1 75 1 Cr e mona ;

, ,
.
,

violin play e r V e racin i had two violins , , ( 1 th e r e 1 7

.
9 9 W ork e d at 3 Contrada
, .
,

that h e much valu e d th e y w e re , C ol t e ll ai H e was on e of t h e lat e st if

.
,

“ ” ”
christ e n e d S t P e t e r and S t Paul . . not t h e last of t h e c e l e brat e d mak e rs,

unluckily V e racin i was shipwr e ck e d of Cre mona and his instrum e nts , ,

sailing from London to L e ghorn in though of gre at m e rit show signs of ,

17 46 and both t h e violins w e r e lost

, . d e cad e nc e in t h e art T he y are oft e n .

H is instrum e nts are rare ly m e t with ; tak e n for t h e work of Guarn e ri de l

th e y are mad e of fin e wood t h e , G e s u whos e patt e rn h e imitat e d with
,

patt e rn of larg e siz e with dark varnish , , gre at ability H is violins are hand .

t h e ton e sw e e t but not powe rful ; a som e in app e arance slightly arche d , ,

violin i s k n o w n dat e d 1 68 3 and a

f
, t h e wood of t h e b e lly v e ry fin e that ,

viola which is said to hav e a b e autiful

, of t h e back rath e r plain ; t h e varnish
ton e has t h e writt e n lab e l :
, M arcu s is v e ry dry of a d e e p y e llow colour , ,

S tain e r B urg e r und G e i g e nmach e r in

, with a re ddi sh tinge ; t h e ton e is full ,

K ii fs t e in anno 1 6 5 9 , . rich and silv e ry ; t h e sound hol e s are

,
-

S t a i n m i s t J acob A mak e r in May e nc e

, . v e ry s e ldom cut in two instrum e nt s
’
in I n a viola d amor e with , alik e ; t h e work is not finish e d with
fourt e e n strin g s was t h e lab e l , much de licacy ; t h e narrow p u rflin g is
J acobus S t ain mis t C h ii rfii rs t l Mayn
’
roughly don e and t h e scroll has not
'

.
,

t z l H of Laut e n und G e i g e nmach e r , much finish H is violins are highly .

”
No 5 . . thought of in I taly and are ris i ng in ,

S t a n z a G ius e pp e b
, , . 1 663 in V e nice . valu e ; for many y e ars V i e ux t e mp s
I n 1 6 8 1 w as a pupil of N icola Amati play e d on a v e ry b e autiful on e H e .

at Cre mona . did not b e gin to sign th e m till 1 776 ,

S t a t e l m an n S ee S t ad e lm an n . . and non e are known aft e r 1 79 5 No .

S t a t l e e And e rl
, W as workin g in G e noa . t e nors are known but hi s violonc e llos , ,

about 1 71 4 W as a p u p il of Girolamo .
, which are rare hav e a pow e rful ton e ,
.

son of N icola Amati . Lab e ls : Laure ntius S torioni fe cit

S t au b e S ee
. S traub e . C re m o n ae 17 89 and , Laure ntius ,

S t a u ffe r J ohann Anton

, A m ak e r in . S torioni re s t au rav i t Cre mona ,

Vi e nna in t h e 1 8 th ce ntury In a . S t o s s B e rnard and M artin b in Fuss e n

, ,
.
,

guita r was t h e lab e l : J oh Anton . B avaria ; work e d in Vi e nna about 1 8 2 4 .

S tau ffe r W i e n
”
, . T h e ir instrum e nts a re not arch e d a n d
S t a u t i n g e r M atth aus W i n ce s l au s
,
A . are w e ll mad e but hav e poor varnish ; ,

mak e r of viols and lut e s i n W ii rz b u rg S t o s s Franz A mak e r in Fuss e n B a

'

, .
,

in 1 6 1 7 I n a lut e was t h e lab e l :

. varia about 1 75 0 9 8
,
-
.

Matth aus W i n ce slau s S t au t in ge r me t ra d i v a ri ( S t rad i u ari u s ) Antonio son , ,

fe cit W i rce b e rg ,
of Al e ssandro S tradivari and Anna
S t e ffa n i Carlo ,A mak e r of mandolin e s . M oroni T he re i s no d e finit e re cord of
.

in Mantua about 1 71 2 Lab e l : Carlo . his birth but i n a violin with a ge nuin e
,
’ ”
S t e ffani fe c e l anno 1 71 2 in Mantova . lab e l as follows : Antonius S tradi
S t e gh e r ( S t re gn e r) Magno A mak e r of , . v ari u s C re m on e n s i s fac i e b at anno
’
lut e s at V e nice in t h e 1 7th c e ntury . 17 32 is cl e arly s e e n in S tradivari s
,

I n t h e Lic e o Comunal e di Musica ,

handwriting b e low d e anni ,

B olo g na was a lut e with t h e i n scrip

,
Mr W E H ill had also s e e n oth e r
. . .

”
tion : M agno S t e gh e r in V e n e tia . dat e d violins which le d him to b e li e v e ,

S t e in in ge r Fran cois A mak e r in Paris

, . that S tradivari was born in 1 6 49 or
’
in 1 8 2 7 H e made e xc e ll e nt in s t ru
. 1 6 50 F ét i s s stat e m e nt that S tradivari
.

m e nts t h e work finish e d with care

, , was born in 1 6 44 was bas e d on t h e re port
t h e varnish of fin e qualit y I n 1 8 8 7 at of a violi n s aid t o b e dat e d 1 3 6 an d
.
,
7 ,
 S T R A D I V A R I — S T RA D I V A R I .

to b e inscrib e d anno ae t at i s 9 2 but it , this narrown e ss is particul arly notice

s e e ms to b e doubtful if h e or anyone e ls e abl e in t h e middl e of t h e instrume nt
had e v e r s e e n this violin S tradivari . b e twe e n t h e sound hol e s T h e work -
.

di e d D e c 1 73 7 and was buri e d D e c 1 9

.
, , .
, is most care fully finish e d e ve rything ,

17 3 7 in t h e Cath e dral of S an Dom e nico

, , proportion e d to t h e modification of
Cre mona which has since b e e n pull e d
, form . Th e ton e is brilliant and
down H e was d e sc e nd e d from a v e ry
. powe rful ; t h e var n ish is som e tim e s a
anci e nt Cre mona family whos e nam e at , ,
b e autiful ambe r colour some tim e s a ,
”
that tim e sp e lt S t radiv e rdi app e ars ,
transpare nt pal e re d T h e s e i n s t ru .

in re cords as far back as 1 2 1 3 Whil e . m e nts are not so uncommon as t h e

“
still v e ry young h e b e cam e a pupil of long S trads which h e c e as e d making
,

N icola Amati and was probably with , in 1 700 probably b e caus e o f the ir
,

him till 1 6 6 7 Whe n Amati di e d all .

,
l e ngth causing the m to b e difficult to
his tools patt e rns and mod e ls pass e d
, ,
play T h e p e riod of hi s fin e st work
.

’
into S tradivari s posse ssion His e arli e r . b e gan in 1 700 which culminat e d in ,

instrum e nts b e ar lab e ls of N icola Amati , what was practically pe rfe ction in 1 71 4 ;
and may b e re cognise d by t h e b e autiful t h e thickn e ss e s of t h e wood and t h e lin e s
scroll or by t h e charact e ristic sound of t h e patt e rn are all d e t e rmin e d with
hol e s . About 1 6 66 h e us e d a lab e l sci e ntific accuracy ; t h e varnish in ,
“
with N icolai Amati alumnus on it . brilliancy of colouring and in d e licacy
U p to 1 6 9 0 t h e violins sign e d with his and transpare ncy of quality has n e v e r ,

nam e are v e ry similar in patt e rn to since b e e n e quall e d ; t h e ton e is spl e n

Amat i s ordinary full siz e d instrum e nts -

, did invariably bright swe e t full

, , , ,

and are of high mode l compar e d to and e qual T h e wood is chos e n with
.

thos e h e made lat e r ; t h e wood is t h e gre at e st care and is sound and ,

ge n e rally plain t h e p u rflin g v e ry , sonorous t h e pine b e ing of t h e b e st

,

narrow t h e oil varnish a mor e or l e ss

, , quality from S witz e rland and t h e
pronounc e d y e llow colour but oth e r ,
T r e nti n o ; t h e willow (of which t h e
wis e v e ry similar to that use d by blocks and linings are made ) tak e n
Amati is of soft and p e n e trating
,
.
from t h e banks of t h e Po n e ar C re ,

quality and pe rm e at e s t h e wood to

, mona . T h e arching ris e s in g e ntl e
som e de pth b e n e ath t h e surfac e th e s e an d gradual curve s t h e p u rfli n g is ,

instrum e nts are known as S trad i varius

“
e x e cut e d with wond e rful pr e cision ;
’
a ma t i s e
”
H e st e adily improv e d in
. th e sound hol e s show a mast e r s
-

his work ; t h e mod e l b e com e s flatt e r , hand and r e main a mod e l for all ;
t h e sound hol e s more grac e ful -
th e , t h e scroll of s e v e r e charact e r is
, ,

scroll more striking and original t h e , e xquisit e ly carve d ; t h e whol e of t h e

p u rfl i n g slightly wid e r than b e for e t h e work (i n cluding that of t h e i n t e rior)

varnish vari e s in colour from rich shows t h e most b e autiful finish in t h e
gold e n v e ry soft and transpare nt to a
, , small e st d e tails A spl e ndid sp e cim e n .

light re d e qually fin e T his thick e r

,
. of this p e riod of work is t h e s o call e d -

and more lustrous re d varnish was what M e ssiah violin dat e d 1 71 6 which , ,

h e subs e qu e ntly us e d e xclusiv e ly In . was bought for by Alard t h e ,

1 6 9 0 h e b e gan to mak e t h e violins known distinguish e d violinist and on his ,

“
as long S trads th e y are quit e unlik e d e ath ( 1 8 8 8 ) was sold by M e ssrs Hill .

’
N Amati s work ; m e asur e m e nts by e x
. on b e half of t h e he irs for Th e
pe rts hav e conclusiv e ly prov e d that workmanship is p e rfe ction t h e arching
the se instrum e nts are quit e a quart e r of t h e back and b e lly e xquisit e ly
of an inch longe r than his usual proportion e d ; t h e wood of t h e back
patt e rn T h e s e long S trads w e r e
. b e autifully and re gularly figur e d ; t h e
inspire d by Maggi n i ; in l e ngth of body ton e strong m e llow and d e licat e ; t h e
, ,

and l e ngth of stop th e y are practically glowing ruddy varnish wond e rfully
’
t h e sam e as M aggin i s violins in his b e autiful both in colour an d quality ;
,

lat e st and fin e st p e riod T h e mod e lli n g . t h e sound hol e s most p e rfe ctly cut ; t h e
-

of t h e back and be lly t h e short e r ,

n e ck is t h e origi n al o n e but has b e e n ,

corn e rs t h e bolde r and more op e n

, l e n gth e n e d by a pi e c e add e d at its
’
sound hol e s all re call M aggin i s work
-
. j u n ction with t h e upp e r block of t h e
T h e ton e — o i r e markabl e pow e r has — body ; t h e scroll is v e ry grac e ful ; t h e
much of t h e Maggini quality S tradi . curv e s and outli n e s e xtre m e ly be autiful .

“
vari also made som e narrow violins , T h e l e tt e rs P S are v e ry distinct . .

dat e d aft e r 1 6 9 0 which though not so , , on t h e p e g box e n d of t h e n e ck ; th e y

-

in r e alit y also appe ar to b e of e xtra

, are som e tim e s found on t h e viol ins
l e n gth owing to the ir narrow pa t t e r n ;
, which still hav e t h e original n e ck ; th e y
88 S T RA D I V A R I — S T R A D I V A R I .

we re t h e initials of Paolo his youn ge st , that at t h e tim e h e made it S tradivari

, ,

son a cloth m e rchant by trad e T h e r e

,
. was not ye t e xp e ri e nc e d e nough to
is a violin also mad e in 1 71 6 in t h e make t h e thickn e ss of t h e upp e r plat e
‘

, ,

I stituto Musical e of Flor e nc e with , su ffi ci e nt in proportion to t h e siz e of

th e lab e l Antonius S tradivariu s t h e instrum e nt Whe n t h e viola was .

C re mon e n s i s faci e b at anno 1 71 6 A , . r e c e ntly tak e n to pi e c e s it was found ,

violin dat e d 1 71 4 call e d t h e D ol

, , that S tradivari himse lf had str e ngth
”
phin , owin g t o t h e e xtraordinary e n e d ( doubl e d with n e w wood ) t h e
richn e ss and vari e ty of tints in t h e parts originally too much thinn e d ;
varnish is made of spl e ndid wood
, , that only S tradivari himse lf had
and is of p e rfe ct workmanship It . touche d t h e work was prove d by his
form e rly b e long e d to Alard lat e r , inscribing it with t h e words Corre tto
”
passin g into t h e hands of Adams for da me Antonio S tradivari O n e viola .

£ 8 00 T
. h e pric e s giv e n for S tradivari is m e ntione d as having t h e back mad e
violins have rise n in a most e xtra of poplar ; it had a most b e autiful ton e
ordinary way ; S tradivari himse l f sold and show e d most d e licat e ly finishe d
the m for £ 4 but by t h e e n d o f t h e s

work F e w of his violonc e llos are in

i 8 th c e ntury the y w e re s e lling for £ 1 5
, .

e xist e nc e ; th e y w e re mad e on two

or 1 6 ; a littl e b e fore 1 8 2 4 L up o t sold patt e rns on e larg e on e small ; t h e
, ,

a violin for 1 00 which was conside re d , larg e instrum e nts are now as scarce as
a larg e sum ; in 1 8 75 a violin dat e d , t h e larg e violas ; th e y hav e an e nor
1 1 4 , sold for
7 £ 3 0 0 and aft e r 1 8 8 1 fin e , , , mo u s ly pow e rful ton e but it is p e rhaps ,

violins we re sold for or more — 4

mor e di fficult for p e rform e rs to play
in on e case for doubl e that sum T h e . on th e m owing to th e ir siz e O n e of .

violin known b e caus e of its p e rfe ct

, the s e larg e violonc e llos was in t h e
stat e of pr e s e rvation as T h e M aid e n , posse ssion of Profe ssor S e rvais of t h e ,

( La Puc e ll e
) dat ed 17 09 f
,e tch e d , B russ e ls Cons e rvatoir e ; t h e ton e was
£ 8 8 5 at a sal e in Paris F e b 1 4 1 8 78 , .
, of silv e ry sw e e tn e ss combin e d with ,

it was of b e autiful workmanship , e xtraordinary pow e r A magnific e nt .

t h e sound hol e s e xquisit e ly cu t and

-

, instrum e nt dat e d 1 72 0 which b e longe d ,

th e scroll stron g in charact e r A to S ignor Piatti t h e gre at violonce llist

"

.
, ,
” ’
most p e rfe ct sp e cim e n of t h e e arli e r was known as t h e re d c e llo ,

work of S tradivari was e xhibit e d owing to t h e v e ry rich colour of

at S outh K e nsin g t on in 1 8 8 5 it was its varnish T h e imm e ns e sup e riority .

’
mad e in 1 6 79 and was bought by of S tradivari s violonc e llos to all
S ir S amu e l H e lli e r of W om b orn e , , othe rs owing to t h e e xce l le nt choice
,

S ta ffords h ir e for 40 from t h e mak e r , of wood t h e corr e ctn e ss of t h e thick

,

hims e lf about 1 73 4 ; it is of larg e n e ss e s and t h e accurat e proportions

,

siz e and is on e of t h e inlaid of t h e whol e instrum e nt which r e sults ,

viol i ns of which th e r e are only about

,
in a ton e un e quall e d for fuln e ss ,

twe lve in e xist e nce Anoth e r inlaid . brilliancy and powe r caus e s th e m to , ,

violin is dat e d 1 6 8 7 and was originally fe tch e xtraordinarily high pric e s if by , ,

mad e for t h e King of S pain Anoth e r . any chanc e on e com e s into t h e ,

violin dat e d 1 6 9 0 which was originally ,

mark e t T h e small e r violonc e llos are
.

sold for £ 2 5 n e xt change d hands for ,

too narrow ; in proportion to t h e
£ 2 40 the n for
,
Violins sold l e n g th violonc e llos r e quire a gr e at e r
,

at sal e s do no t as a rul e fe tch such , , h e ight in t h e sid e s than violins do ;

’ ‘

high pric e s on e was sold at Christi e s , S tradivari omitt e d to tak e this into
for £ 2 9 0 ; that was in 1 8 72 and it is , account and thus som e tim e s mad e
,
”
now valu e d at Th e Am e s instrum e nts which hav e a thin quality
S trad a b e autiful v iolin in e xc e ll e nt
.
, , of ton e which is only to b e improv e d
,

pr e se rvation was sold at P ut t ick and

,
by incre asing t h e h e ight of t h e sid e s .

’
S impson s in 1 8 9 3 for £ 8 6 0 ; but this A v e ry b e autiful s p e cim e n of this
was a r e cord auction room price -
. small patt e rn form e rly b e long e d to
S tradivari only mad e a fe w violas th e y , Duport th e n to Franchomm e who
, ,

are of a larg e patt e rn and t h e quality ,

sold it for O n e of t h e fin e st
of th e ir ton e is most rich p e n e trating , ,
known form e rly b e longing to Al e xandre
,

and sympathe tic A v e ry fin e viola . B atta of Paris who paid £ 4 4 0 for it

, , ,

dat e d 1 72 3 was in t h e J an z e Coll e ction was mad e in 1 71 4 and is in e x ce p ,

on e of t h e most b e autiful k n own —t h e t ion a ll y good pr e s e rvation without a , _

Viola M e dic e a dat e d 1 6 9 1 is in t h e —

,
crack and with no trac e of any r e pairs ;
,

I stituto M usical e of Flore nc e ; it is of it was bought by M e ssrs Hill in 1 8 9 3 .

, ,

large siz e and is int e r e s ti n g as showing

,
for T his sam e firm of violin
 S T RA D I V A R I — S T R A D I V A R I .

mak e rs also had on e dat e d 1 71 1 which , e xce ll e ntly cut and varni sh of wond e r ,

th e y price d at A violonce llo fu lly d e licat e and brillian t quality A .

“
in most p e rfe ct pre se rvation dat e d , viola da gamba alla gobba ,

1 6 8 9 was bought by Profe ssor D e l s art

, , hunchback e d ) mad e in 1 6 8 4 for ,

of t h e Paris Cons e rvatoire on F e b 3 .

, Count e ss Cristina Visconti had t h e ,

1 88 7 at a sal e for
, £ 8 00 ; it i s e sp e cially violonc e llo scroll and sound hol e s ; -

re markabl e for t h e b e auty of its wood ; doubl e bass e s had long b e e n made
-

its e qual is p e rhaps only to b e found with violonc e llo sound hol e s but -
,

in t h e violonc e llo dat e d 1 6 9 1 which , , S tradivari was probably t h e first mak e r

is in t h e I stituto Musical e of Flore nc e ; to e ffe ct this improve m e nt in t h e viola
it is of v e ry large siz e and t h e work , da gamba I t is int e r e sting to n otice
.

manship is absolut e ly p e rfe ct A gre at . how e ve n in his life tim e S tradivari s

, ,
'

many of t h e violonc e llos dat e d b e twe e n instrum e nts trav e ll e d all ov e r t h e

1 6 9 8 and 1 7 0 9 hav e t h e backs mad e of world his r e putatio n was so gre at
, .

poplar wood A v e ry b e autiful violon

-
. O n S e p t 8 1 6 8 2 Mich e l e Monzi a
.
, , ,

c e llo which was i h Madrid dat e d ,

bank e r in V e n ic e s e nt him an ord e r
17 25 , was more arche d than that of for a s e t of Vi olins t e nors and , ,

Franchomm e ; t h e wood was p in e of violonc e llos ; the s e instrum e n ts we r e

e xc e ll e nt quality t h e sid e s of fin e ly
, aft e rwards s e nt as a pr e se nt to
figure d wood t h e brilliant re d varnish , J am e s I I of E nglan d I n 1 68 7 h e
.
,
.

on an amb e r gold e n ground was v e ry , mad e a s e t of i n strum e nts for t h e

d e licat e and transpare nt ; t h e whol e S panish Court inlaid with ivory ,

instrum e nt was in p e rfe ct pre s e rvation p u rfl in g and with b e autiful scroll work
-
.
,

S tradivari s doubl e bass e s are rare ;

'
-
running round t h e sid e s a n d h e ad .

Dragon e tti had on e ; Count Ludovico S om e of th e s e fin e i n strum e nts richly ,

M e lzi had anothe r a v e ry fin e spe ci , ornam e nt e d with small figur e s flow e rs , ,

me n ; i t was on a broad patt e rn v e ry , fruit arab e squ e s inlaid in e bony or

, ,

much arch e d ; t h e low e r corn e rs of t h e ivory e x e cut e d with t h e gre at e st skill

, ,

middl e bouts are round e d o ff appare ntly , are still in e xist e nc e as w e ll as t h e ,

to avoid inj ury T w o thi n gs strik e on e . tools which h e us e d and t h e original

about t h e work of S tradivari t h e e xtra —
tracings of his d e signs I n 1 690 h e .

ordinary numb e r o finstrum e nts that h e finish e d making a conc e rto v iz — .

,

mad e and th e ir gre at e xc e ll e nc e ; it two violi n s on e small and one large ,

is said that the re are no l e ss than a t e nor and on e violonc e llo for t h e Grand
, ,

thousand of his violins violas and , , Duk e of T uscany O n e of t h e t e nors .

violonc e llos ; h e liv e d to a gr e at age , is in Flor e nc e and is inscrib e d on t h e

“
a n d work e d inc e ssantly all his life . int e rior of t h e upp e r plat e Prima ,

I n his tim e viols w e re still b e ing us e d

, 2 0 ottobre 1 6 9 0 p e r S A da Fiore nza . . .

in orche stras : h e made many with six I n 1 70 7h e mad e six v iolins t wo t e nors , ,

strings an d with s e ve n strings also ,

and o n e violonce llo for t h e privat e
fiv e stringe d viols with flat back high
-

,
orche stra of Archduk e Charl e s of
side s and arch e d b e lli e s Viols bass
, .
,
Austria I n 1 71 5 h e mad e tw e lv e
.

viols violas da gamba are k n own with

, violins for t h e privat e orche stra of t h e
t h e backs mad e of poplar wood A -
. King of Poland ( E l e ctor of S axony ) .

’
viola d amor e with t h e usual six gut ,
T h e i n strum e nts re lativ e ly fe w i n ,

strings an d six wir e strings is dat e d ,

numb e r mad e by S tradivari b e twe e n
,

1 71 6 A mand olin e dat e d 1 70 0 which 17 3 0 3 7 vary a good d e al in charact e r ;

-
.
, ,

form e rly be long e d to J B V u i llau me . .

, som e are v e ry fin e and of b e autifully
was re markabl e for t h e finish of t h e finish e d work but othe rs do not attai n ,

workmanship and t h e b e auty of t h e t h e sam e p e rfe ctio n ; th e y a re more

varnish t h e h e ad was most d e licat e ly a rch e d r e sulting in a l e ss brilliant to n e
, ,

carve d A b arp is also known mad e by

. t h e d e licacy an d fi n ish of t h e wo rk has
him . A guitar i n scribe d on t h e back change d t h e scroll is h e avi e r t h e
, ,

“
of t h e p e g box Ant s S tradivarius
-

,
varnish is som e tim e s a brown colour ,

C re m on e n s F 1 6 8 0 was su p pos e d to
.
,
lik e that us e d by his s on s for th e ir
b e t h e o n ly on e mad e by him but t h e instrum e nts ; th e r e is n o doubt that ,

Paris Cons e rvatoir e claims to hav e aft e r his d e ath much of h i s u n finishe d ,

anothe r in t h e Coll e ctio n the r e In . work was compl e t e d by his so n s or by

t h e sam e Coll e ction is a b e autiful his pupil Carlo B e rgo n zi lab e ls b e ing
, ,
’
fragm e n t of t h e h e ad of a viola da us e d with S tradivari s name on th e m .

gamba and also a kit of large siz e , I n strum e nts that w e re mad e simply
dat e d 1 71 7 signe d by S tradivari which
, ,
u n d e r his dire ctio n are inscrib e d sub
”
has a grac e ful s croll t h e sound hol e s ,
-
discipli n a S t rad i u arii in v e ry small ,
90 S T R A D I V A R I — S UR S A N O .

typ e Many of his pupils b e cam e ce l e

. S tra div ari O mobono son of Antonio ; , ,

b rat e d mak e rs such as Carlo B e rgonzi , ,

b N o v 1 4 1 6 79 ; d
. J uly 8 1 74 2 H e
.
, .
,
.

Al e ssandro Gagliano Lore nzo and , work e d with his broth e r Franc e sco in
’
Giambattista Guadagnini &c S tradi , . his fath e r s workshop ; t h e lab e l the y
vari had marri e d J uly 4 1 66 7 , , , us e d was inscribe d sotto la dis
’
Franc e sca F e rrab os ch i (b 1 6 4 0 t h e .
,
c i li n a d A
p S tradivarius Cr e mon a .
,
.

widow of Giovanni Giacomo Capra) ; B u t h e mad e fe w n e w instrum e nts ,

s h e di e d M ay 2 5 1 6 8
9 S h e had s i x , and chi e fly occupi e d hims e lf in re
childre n of whom four w e re sons : , pairing old on e s Lab e l : O mob on u s .

Franc e sco b F e b 6 1 6 70 ( 1 six , . .

, , . S t rad i u ari u s fili u s A n t on u C re mon ae
d ays lat e r ; Franc e sco b F e b 1 1 6 71 ,
. .
, ,
fe cit anno ,

h e work e d with his fath e r and d . S trau b T WO lab e ls are known t h e

.
,

May 1 1 1 74 3 ; Al e ssandro b May 2 5

, , .
,
on e : S imon S traub von Frie d e n
167
7 h e b e cam e a pri e st and d
, . w e i lle r 1 70 6 in a viola bastarda of
, ,

J an . O mobono b N ov 1 4 ,
. .
,
light and de licat e workmanship ; t h e
16 9
7 h e work e d with his fath e r and
, othe r : Mathias S traub z u F ride n
d J uly 8 1 74 2
.
O n J un e 3 1 68 0 , .
, , will e r auf d e m S ch w art z w ald anno ,

S tradivari purchase d from t h e B roth e rs

i

7 "
—
I

Pice nardi for about £ 2 8 0 t h e hous e , , S tra u b e ( S taub

mak e r in B e rlin e) . A
form e rly known as 2 piazza S an , about 1 770 75 H is instrum e nts are -
.

D om e nico n o w as 1 piazza R oma ; it , , s e ldom s e e n but th e y are of good ,

was th e re that all his famous work was workmanship mad e on t h e Cre mona ,

don e H e marri e d his s e cond wife on

. patt e rn with amb e r coloure d varnish,
-
.

August 2 4 1 69 9 Antonia Z amb e lli , , H e was an e xc e ll e nt r e pair e r of old

J un e ( 1 March 3 .
, instrum e nts .

had fiv e childre n of whom four w e re , S tra u s s J os e ph A mak e r in N e ustad t

, .

sons : Gio B attista Gius e pp e b N ov .

, . . about 1 74 5 5 0 -
.

6 1 70 1 d e ight months lat e r ; Gio

, , . . S trn ad Caspar b in B oh e mia about
, , .

B attista Martino b N o v 1 1 1 703 d , . .

, , . 17 50 H e s e ttl e d in Pragu e and
.

N o v 1 1 72 7; Gius e pp e b O ct
.
, , . . work e d th e re 1 78 1 —9 5 His violins ,
.

b e cam e a pri e st and d N ov 2 9 1 78 1 ; . .

,
and violonce llos show good work t h e ,

Paolo b J an 2 6 1 70 8 d O ct 1 9
, .
, , . .
,
sound hol e s are ge n e rally small and
-

17 76 .S tradivari is d e scrib e d as a tall we ll cut t h e varnish a y e llow —ch e stnut

-

thin man inc e s santly working in his , , colour ; his guitars also w e re much
“
whit e l e ath e r apron and h i s whit e cap lik e d Lab e l : . Caspar S trnad fe cit
h e mad e a gre at d e al of mon e y for in , P ragae anno 1 78 9 , .

”
his tim e ricco com e S tradivari (rich S trobl J oh ann , A mak e r in H all e in in .

as S tradivari ) was quit e a prov e rb in t h e 1 8 th c e ntury .

C re mona . S tro n g J ohn A V iol of his of p e culiar

, . ,

S tr a di v a ri Franc e sco son of Antonio

, , shap e with doubl e p u rflin g was e x
, ,

S tradivari b F e b 1 1 6 71 C r e mona . .
, , h i b i t e d in t h e S outh K e nsington
d May
. W as a pupil of his M us e um in 1 8 72 T h e old h e ad and .

fath e r and work e d in his workshop n e ck had b e e n r e plac e d by t h e work

’
until Antonio s d e ath ; h e th e n con of on e of t h e B anks of S alisbury ,
.

t in ue d to work with his broth e r Labe l J ohn S trong S omm e rs e t , ,

O mobono H e mad e s e v e ral violins

. 16
a n d violas in which h e plac e d his own , S t ur g e is doubtful if h e e v e r
,
H . It
lab e l fro ni about 1 72 5 to 1 74 0 ; l ns
,
mad e n e w instrum e nts but h e ce r ,

work shows t h e e xce ll e nt school in fainl y r e pair e d old on e s ; in 1 8 1 1 h e

which h e had b e e n train e d and has , w a s living in B ristol but in 1 8 5 3 was ,

g e nuin e m e rit but is much infe rior t o , s e ttl e d in H udde rsfi e ld .

that of his fath e r T h e varnish is . Sulot N icolas

,
A mak e r in D 1jon . ,

v e ry b e autiful though quit e diffe r e nt , 1 8 2 5 40 I n 1 8 3 9 h e took out a pat e nt

-
.

”
to that of A n tonio it is of brownish , for an e cho violin mad e with thre e ,

h ue ; t h e scroll is h e avy t h e work , plat e s inst e ad of two .

not v e ry care fully finish e d but t h e , S u rs a n o ( S orsano ) S piritus A mak e r , .

ton e rich and p e n e trating Lab e l : . in Cun e o about 1 71 4 3 5 ; t h e littl e of -

F ran ci s c u s S tradivarius Cr e mo his work that is known i s v e ry infe rio r ,

. .

n e n sis fi liu s A n t on i i fac ie b at anno ,

Lab e l S piritus S orsano fe cit Cun e i ,

1 74 2 3 1734.
 T E S TO R E — T H I P H A N O N
“

92 .

’
arch e d ; t h e varnish is dry and of a work is not e qual to his fath e r s ; t h e
brownish y e llow colour ; t h e ton e is -
backs are g e n e rally of on e pi e ce t h e ,

good som e tim e s v e ry pow e rful and

, varnish a re d brown colour H is son -
.

p e n e trating For his violonc e llos h e . Alb e rt was also a mak e r .

g e n e rally us e d p e ar tre e wood for t h e -

T h ib o u t Gabri e l E ugen e
,
son of ,

backs and v e ry fin e wood for t h e J acqu e s Pi e rr e T h ib ou t b J un e 1 1 .

,

b e lli e s ; t h e t on e was v e ry powe rful . 1 8 2 5 at Paris , S ucc e e d e d his broth e r . ,

Wh e n t h e w e ll known Lindl e y Gran -

Gabri e l Adol ph e as luthi e r d e ,
’
cino violonc e llo was re paire d in 1 8 8 4 , l O p éra in Paris I n O ctob e r 1 8 6 1 .
, ,

t h e r e moval of t h e Cr e mona lab e l l e ft Paris and s e ttl e d in B oulogn e

e xpos e d t h e original lab e l in good sur M e r -
.

pre s e rvation as follows : Carlo , T h i b o u t J ac q u e s Pi e rr e b S e pt 1 6

, , . .
,

Gius e pp e T e store alli e vo di Gio Gran . 17 77 at Cae n ; d D e c 4 1 8 5 6 at

, . .
, ,

cino in C ontrada Larga di Milano , S aint M andé n e ar Paris First work e d

-
, .

A doubl e bass of his was -

at Cae n th e n in 1 79 6 und e r K olik e r
, , ,

play e d on by t h e c e l e brat e d B o t t e s in i at Paris ; was marri e d in 1 8 0 0 and in ,

at conc e rts ; it had a spl e ndid ton e . 1 8 0 7 e stablish e d hims e lf at 2 4 ru e ,

Lab e l : Carlo Gius e pp e T e store in Montmartr e aft e r 1 8 1 0 moving to ,

Contrada larga di M ilano al s e gno 8 ru e R am e au

, H e was a r e markabl e .

’
.

d e ll aquila H e had two sons , , mak e r and his i n strum e nts are much
Carlo Antonio and Paolo Antonio , lik e d his violins soon cam e into notice ,

b ot h v i oli n mak e rs for by a c e rtain tre atm e nt of t h e sid e s

'

T e s t or e Giovanni son of Carlo Antonio

, , h e gain e d an improv e m e nt in t h e
T e stor e q v , . . patt e rn which produc e d an e xce ll e nt
T e s t or e Paolo Antonio s e cond son of
, , quality of ton e Th e pric e vari e d .

C arlo Gius e pp e T e store and t h e last from £ 1 0 to £ 1 4 re lativ e ly high for ,

mak e r of this nam e First work e d . that p e riod but gre atly b e low the ir ,

with his broth e r Carlo Antonio but , , pre s e nt v alu e Th e workmanship and .

s e parat e d from h i m about 1 71 0 and , varnish we re so b e autiful that his

continu e d working alon e till about instrum e nts will b e ar comparison with
17 60 H e mad e a gr e at many i n s t ru
. t h e b e st I talian work two magnifice nt
m e nts but did not do such good work
, violins of his show p e culiar richn e ss of
as his fath e r ; t h e varnish is light e r , colouring in t h e varnish a re d on an —

a y e llow colour an d of infe rior quality . amb e r ground He was award e d a .

F e w of his v i ol1n s are known th e y a re ,

silv e r m e dal 1 8 2 7 a silv e r m e dal 1 8 44 , ,

not much arghe d without p u rfl in g , ,

and a first class m e dal at t h e Paris
and follow t h e Guarn e ri patt e rn H e . E xhibition in 1 8 55 for an e xc e ll e nt
“
mad e many good lut e s and guitars t h e , violonc e llo Lab e l : N ouv e au procédé .

’
latt e r e sp e cially b e ing som e of t h e approuvé par l I n s t it u t T h i b out
most b e autiful known
, , ,
.

Lab e ls . luthi e r du roi ru e R am e au no 8 a , . .

,

Paolo Antonio T e store Milan 1 7 , , Paris ,

w
and Paolo Antonio T e stor e figli o di J e r om e
.

T hib o u v ill e —L a m y A littl e ,

D
( .

Carlo Gius e pp e T e stor e in C ontrada b e fore 1 8 6 7h e b e cam e sol e propri e tor

’
larga di M ilano al s e gno d e ll a q uila ,
of t h e various factori e s at Mire court
1 75 9 . h e gradually substitut e d m e chanical
T e tz n e r S ee K u h le w e i n
. . for manual labour an d whil e incre asing ,

T h e re s s S ee Charl e s t h e numb e r of i n s t 1 u me n t s mad e at

"
. .
,

Th eri o t J B A mak e r in Paris in

, . . 1783 . t h e sam e tim e r e du ce d th e ir pric e so ,

T h ib o u t Aimé J ustin b F e b ,
, , . . 1 8 08 . that at last h e was abl e to e xhibit at
He work e d till 1 86 2 at Cae n . Vi e nna in 1 8 73 his famous violins at
, ,

T h i b o u t Alb e rt son of Gabri e l Adolph e

, ,
4 s 8
. 3 , and 1 6 3 e ach B y 1 8 8 7 . .
,

Th ib ou t ; b April 27 1839 ; d Dec .

, . . instrum e nts had b e e n mad e by this '

25 1 8 65
, A m ak e r in Paris who .
, firm H e was award e d a m e dal Vi e nna
.
, ,

succ e e de d his uncl e Gabri e l E ugen e , , 1 87 3 ; m e dal of honour S antiago 1 8 75 , ,

“ ’ ”
as luthi e r de l O p éra and was , priz e m e dal Philad e lphia 1 8 76 ; and , ,

succ e e d e d in his turn b y t h e B roth e rs g old m e dal London 1 8 8 5 H e was

, ,
.

Gand .
mad e Ch e vali e r of t h e L e gion of
T h i b o u t Gabri e l Adolph e son of J ac q u e s ‘
, , H onour April 1 0 1 8 77 and O fiicie r
, , , ,

Pi e rr e T h ib ou t ; b 1 8 0 4 at Paris ; d .
, . J an 1 5 1 8 9 2
.
, .

th e re J un e 1 4 1 8 5 8 He assist e d his
, , . T hi n M athias and G e org
,
M ak e rs of .

fath e r a long tim e and finally too k t h e good instrum e nts in Vi e nna in t h e 1 8 t h
dire ction of t h e busin e ss in 1 8 3 8 H is . c e ntury .

i nstrum e nts a re g ood though t h e , T h ip h an o n . S ee T i p h an on .

 T H I R— T O B I N 93

T hir , J ohan n G e org Was working in . similarly inscrib e d was dat e d 1 5 8 7 ,

Vi e nna in 1 79 1 A violonc e llo of good . it was r e paire d by Martin S toss in 1 8 3 2 .

work made on a large patt e rn had

, , A lut e in t h e Vi e nna Hof Mus e um was -

dark y e llow brown varnish Labe l : -

. dat e d 1 5 9 5 O n e of t h e fin e st lut e s .

J ohann e s G e orgius T hir fe cit Vi e nn as , e xisting is inscrib e d V e n de lio Ve n e re

anno in Padova 1 600 T w o instru m e nts in
, .

T hom a s s in W ork e d unde r Clém e nt at

. t h e Mode na Mus e um Vi e nna are i n , ,

Paris ru e de s B ons E nfants was a

,
-

, scrib e d t h e on e I n Padua V e nd e linus

,
”
cl e v e r workman and made good violins . T i e ffe n b rii c k e r t h e oth e r I n Padova ,

H e sign e d th e m with his nam e about Vv e n d e lio V e n e r e A uniqu e ,

1 8 25 -

45 . instrum e nt a lyra da gamba ,

T ho m p s o n ( T homson) R ob e rt A , . mount e d with sixt e e n strings and fift ee n

mak e r in London at t h e sign of t h e , sympath e tic strings is signe d : In ,
“ ’
B ass Vi olin in S t Paul s Church Padua Ve nde linus T ie ffe n b ru k e r and
"
-

, .
,

yard about 1 74 9 64 H is instrum e nts

,
-
. has a lab e l probably writt e n by t h e
w e re mad e on t h e S tain e r patt e rn H e mak e r hims e lf : “
V e nd e linus T i e fie n
'

”
was succe e de d by his sons Charl e s and , b rii k e r f in F adoua . .

S amu e l who work e d about 1 775 8 5

,
-
. T i e l k e J oachi m
, O n e of a family of .

“
Labe ls : R obe rt T hompson att t h e mak e rs who liv e d in H amburg from
’ ’
B ass Violin in Paul s ally S t Paul s
-

, about 1 5 39 to 1 70 1 H e was c e l e brat e d .

Churchyard London 17 4 9 and

, , , for t h e lut e s th e orbos guitars and , , ,

Made by T hompson and S on at t h e e sp e cially t h e viols of all kinds which

’
B ass Violin t h e w e st e n d of S t Paul s
-
, h e mad e of v e ry fin e ton e ornam e nt e d
, ,

Churchyard London The, , w ith t h e rich e st and most vari e d inlaid

printe d lab e l ( two we re dat e d 1 775 and work ; on e violin of his is also m e n a

17 8 5 ) is Mad e and sold by Chas and

, . t i on e d T h e following instrum e n ts
. ,
,
’
S am l T hompson in S t Paul s Church
.
gi v e n in the ir chronological ord e r are ,

yard . I n t h e musical dire ctory o f 1 79 4 known : a lut e in t h e Paris Cons e rva

we r e also m e ntion e d S amu e l and P e t e r toire Coll e ction ; a lut e known as a
T hompson instrum e nt mak e rs in S t , . ch i t e rn a with t h e lab e l
, Joachim .

’
Paul s Churchyard . T ie lk e in H amburg 1 5 3 9 in t h e S outh , ,

T h o ro w go o d H e nry A mak e r in , . K e nsington Mus e um London which ,

London in t h e 1 8 t h ce ntury Print e d . is inlaid with d e signs in t ort o1se s h e ll ,

1ab e 1 !
Made and sold by H e nry e ncircling mythological d e iti e s in ivory ,

T h orow good at t h e Violin and Guitar richly ornam e nt e d with pre cious ston e s .

und e r t h e N orth Piazza of t h e R oyal A guitar dat e d 1 5 9 2 a marv e l of rich ,

”
E xchang e 1 7 London , . n e ss of de sign and b e autiful workman
T h u m h a rd t is m e ntion e d as w orking in ship is in wo n d e rful pre s e rvation ; a
,

Munich and S traubing in t h e 1 8 th bass viol dat e d 1 6 69 was e xhibit e d in

-

, ,

ce ntury His work was similar to that

. Paris in 1 8 78 ; a violin dat e d 1 6 70 m e n , ,

of B u ch s t ad t e r . t i on e d by F ét i s a guitar inscrib e d on
T i e ffe n b rii ck e r (Tie fe mb ruck e r) Le o ,
t h e back
“
J oachim T ie lk e Hamburg , ,

nardo A mak e r of b e autiful lut e s

. . a v e ry b e autiful viola di
H e was a m e mbe r of t h e family b e tt e r bordon e b e longing to t h e G e s e llschaft
known by the ir I talian nam e of d e r Musikfre und e Vi e nna was lab e ll e d , , ,

D u i ffop ru gcar and work e d in t h e 1 6 th ,

J oachim T i e lk e in H amburg fe cit ,

c e ntury H e may possibly hav e b e e n

. anno 1 6 8 6 and a viola da gamba ,

a son of Gaspard D u iffop ru gcar . dat e d 1 70 1 e ntire ly inlaid with ivory , ,

T i e ffe n b rii c k e r Magnus S ee D ie ffo , . with t h e e dge s h e ad and p e gs all in , ,

”
p ru ch ar . ivory t h e t ai l pi e c e also charmi n gly
,
-

e fe m b ru ck e r
(
T i e ffe n b rfi c k e rT i ) V e n ,
d e sign e d in ivory .

d e lino Ve n e re I s suppos e d to hav e . T il l e y T homas

, A mak e r in London .

b e e n a son of Le onardo T ie ffe n b ru ck e r ,

about 1 774 .

according to t h e inscriptions found in T i p h an o n (T h ip h an on ) J e an Fran cois ,

som e of his lut e s Work e d from about . W ork e d in Paris i n rue S t T homas ,
.
-

1 57 2 to 1 6 1 1 ; his lut e s w e r e c e l e brat e d . d u Louvr e

-
from 1 775 to 1 8 00,
.

“
An ivory lut e was inscribe d V e n d e li o Lab e l : Ti p h an on ru e S t T homas . .
-

Ve n e re Padova a lut e in t h e , d u Louvre a Paris 1 78 0

-

, , .

Mod e na Mus e um Vie nna was lab e ll e d , , T i rl e r Carlo

, A mak e r in B ologna in .

“
I n Padova V v e n de li n o Ve n e re de t h e 1 8 t h c e ntury .

Le onardo Tie fe mb ruck e r 1 5 8 2 an , T o bin R ichard

, A mak e r in Lo n don .

arch lut e in t h e Coll e ction of t h e

-
from about 1 79 0 to 1 8 40 Was a pupil .

G e s e llschaft de r M usikfre und e Vi e nna , , of Pe rry of Dublin He did a good .

94 T O D E S C O — T O U RT E .

d e al of work for J ohn B e tts H e was . manship t h e varnish is a y e llow brown -

an e xce ll e nt workman and ou t mo s t colour Lab e ls : T ono mi di B olo g na

“
'

, .

b e autiful h e ads or scrolls to his i n fe cit anno 1 6 70

, and T on on i di ,

s t ru me n t s ; h e usually followe d t h e B ologna fe c e anno 1 6 8 ,

S tradivari or Guarn e ri patt e rns Th e . T o n o n i Giovanni son of F e lic e W ork e d

, ,
.

ton e of his instrum e nts is g ood and , in B ologna till about 1 70 5 V e ry fe w .

the y are much lik e d in E ngland He . instrum e nts of his are to b e found ; h e
di e d in g re at pov e rty in S hore ditch . follow e d and at t h e sam e tim e e nlarge d
,

A son of his was also a mak e r . t h e patt e rn of N icola Amati his work
T o de s c o S ee “
T e d e s co
. . is sup e rior to that of his fath e r His .

T o din i Mich e l e b in S aluz zo about

, , . violins are slightly arche d and hav e
1 625 .He liv e d in R om e wh e re in 1 6 76 , , , varnish of a b e autiful y e llow colour ;
h e publish e d his Dichiarazion e d e lla t h e ton e is v e ry fin e A violonc e llo .

”
gall e ria armonica e re tta in R oma . had t h e followin g lab e l : J oann e s de
“

H e mad e a fe w violins but is chi e fly ,

T o n on is fe cit B on on i ae in Plat e a
known as t h e mak e r of v e ry ing e ni ous P av iglion is anno 1 7 O th e r lab e ls ,

m e chanical musical instrum e n ts H e . are J oann e s T on on u s fe cit B orion iae

has b e e n also call e d t h e inv e ntor of in Plat e a P av aglion is anno D omini , ,

t h e doubl e bass but th e r e is appar e ntly

-

, and J oann e s de T on on is fe cit

nothin g to support this ass e rtion . B on on i ae anno 1 7 ,

T ol b e cq u e Au g ust e son of August e

, , T o p p a n i An ge lo de A mak e r in R om e
, .

J os e ph T olb e cque ; was born M arch 3 0 , about 1 72 0 4 0 His instrum e nts which -
.
,

1 8 3 0 Paris
, H e was a distinguish e d
. are rar e ly s e e n are similar to thos e of ,

violonc e llist but also work e d at violin T e ch le r but are more arche d ; t h e
“

, ,

makin g und e r R amb au x in Paris H e , . varnish is a gold e n y e llow colour and -

,

mad e a small numbe r of n e w i n s t ru t h e sound hol e s are cu t larg e Lab e l :

-
.

m e nts and was e xtre m e ly cl e v e r at Ange lus d e T op p an i s fe cit R om ae

‘

, ,

r e storing old on e s ; h e coll e ct e d som e anno D n i .

fin e instrum e nts which h e sold to t h e ,

T or e ll i A mak e r in V e rona about 1 6 2 5
. .

B russ e ls Cons e rvatoir e in 1 8 79

,
In . T orin g (T orring) W as a mak e r and .

1 8 5 8 h e se ttl e d in N iort D e ux S evr e s ,

-
. re paire r of violins in London about
Labe l : A t e T olb e cque fils fe cit Parigi '

,
1 8 00 .

anno 1 8 T o rt o b e l l o , Franc e sco A mak e r in .

T o n o n i f Antonio
'

A m e mb e r o f t h e . R om e in 1 68 0 , who followe d t h e M ag
family of m ake rs in B olo g na in t h e
*

gini patt e rn .

1 7th c e ntury .

"
T o ul y Claud e
, I n a fiv e s t rin ge d V iol .
-

T o n o n i Carlo , son of F e lic e

, First . with t h e upp e r and low e r plat e s both
wor ke d in B ologna th e n s e ttl e d in , arch e d and with y e llow varnish was
, ,

V e nic e H is instrum e nts vary a g ood

. t h e print e d lab e l : Par Claud e T ouly
d e al ; th e y are g e n e rally of a large a Lun e vill e 1 75 2 , .

patt e rn not so highly arch e d as thos e

, T o u l y J e an
,
A mak e r in N ancy about .

of his brothe r Giovanni and show , 1 73 0 47 -

Lab e l : Fait par moy J e an
.

b e autiful work manship ; his varnish , T ouly 5 N ancy , ,

som e what similar to that of S anto T o u rt e Fran cois ,

le j e un e b 1 747 .
,

S e rafin o is a y e llow brown colour

, A -
. Paris ; d th e re April 1 8 3 5 W as a .
, , .

pock e t violin with b e autiful inlaid wor k , ,

youn ge r broth e r of Xav e r T ourt e For .

was e xhibit e d at Milan 1 8 8 1 its lab e l , , e ight y e ars work e d as a watchmak e r ,

was : Carolo T on onu s fe cit B on on im and thus g ain e d sure n e ss and d e licacy
in Plat e a C as t ae t i on is anno D omini , of touch ; h e was not e ducat e d and ,

I n a violin in t h e Coll e ction of n e v e r e v e n l e arnt to re ad and to writ e .

’
t h e L yce o fil armon ico B olo g na is t h e , , H e s e ttl e d at 1 0 Q uai de l E cole and , ,

lab e l Carolus T o moni fe cit B on on i ae ,

b e g an to mak e bows ; for his first
anno Anoth e r lab e l is : Carolus e xp e rim e nts h e us e d t h e stav e s of old
T on on i B onon fe cit V e n e t ii s sub titulo . sugar hog sh e ads from B razil but ,

S C e cili ae
. anno H e oft e n
, aft e rwards always s e l e ct e d fin e P e r
brand e d his mono g ram n e ar t h e b utto n n amb u co wood of p e rfe ctly strai g ht
of t h e tailpi e ce . g rain stron g and e lastic Without
, ,

T o n o n i F e lic e
, A make r in B olo gna . e x c e ssiv e w e ight B y subje cting this .

about 1 6 70 9 0 H e work e d in associa -

. in a stat e of fl e x ion to a mod e rat e
tion with his son Giovanni th e ir amount of h e at for som e tim e h e ,

violonce llos hav e a gre at r e putation in o b tain e d a p e rman e nt and re g ular

I taly and are b e autiful instrum e nts o f b e nd to do this without makin g t h e
'

, ,

fin e ton e and care fully fini s h e d work e x ter 1or brittl e is always t h e gre at
96 U G A R— V E T T E R .

U ga r Cre sc e nzio A mak e r in R om e in

, . S cotchman H is work re se mbl e s. that
17 9 0 H is work is G e rman in charact e r
.
, of J acob R ayman with whom h e may ,

h e us e d brown varnish . hav e work e d and shows gre at m e rit ,

U n ga ri n i Antonio W as workin g in
, . for t h e p e riod at which h e liv e d H is .

Fabriano in 1 76 2 . violins are of two siz e s som e on a ,

U n v e rd orb e n Mar x A lut e mak e r in , . small oth e rs on a large patt e rn v e ry

, ,

V e nic e probably about 1 4 00 5 0

, A -
. arche d t h e corn e rs not v e ry promin e nt
, ,

lut e of highly finish e d workmanship ,

t h e p u rfl i n g narrow and plac e d clos e to
found in t h e Coll e ction of instrum e nts t h e e dg e ; t h e oil varnish of a y e llowish ,

at Castl e E is e nb e rg B oh e mia was , , brown or som e tim e s re d colour is of e x ,

inscribe d M arx U nv e rdorb e n a ce ll e n t quality and is similar to I talian ,

V e n e tia . varnish ; t h e ton e is cl e ar and silv e ry .

U rquhart T homas A mak e r in London

, . H is violins and violas are rare and no ,

about 1 6 5 0 8 0 ; h e was p rob ab ly a -

p violonce llo of his has b e e n s e e n .

V a ill an t (V aillot or V aillau t ) Fran cois , , . V e n e re , V e nd e lino . S ee Ti e ffe n

A mak e r in Paris who accordin g to his , , b rii ck e r .

lab e ls was livin g in t h e ru e d e la

, V e n z i Andre a
, . A mak e r in Flore nc e in
J uiv e ri e 1 73 6 3 8 and accordi n g to t h e
,
-

, 1 63 6 .

old almanacs in ru e N D d e bonn e .

-
.
- -
V e rb ru gge n T h e odor I s known as on e
, .

nouv e ll e 1 775 8 3 H is instrum e nts

,
-
. of t h e mak e rs in Antwe rp in 1 6 4 1 by a ,

show g ood workmanship but t h e var , doubl e bass which h e mad e for u s e in
-

nish is p oor Lab e l :

: F ran cois . t h e Cath e dral .

Vaillant ru e de la J uiv e ri e a Paris

, , V e ri n i Andre a
, W as workin g in .

’
17383 1 8 84 .

V a l e n t in e W illiam A mak e r in V e rl e France sco A mak e r in Padua “

.
, , .

London who di e d about 1 8 77 H e

, . about 1 5 9 0 Lab e l : I n Padova
.

made som e g ood doubl e bass e s -

. Franc e sco V e rl e .

V al l e r . A mak e r in M ars e ill e s in 1 68 3 . V e rm e s c h le P er e Work e d at B e au

, .

V a n d e l l i Giovanni , Was working in . mont sur O is e in 1 78 1

- -
A violin v e ry .
,

Mode na 1 79 6 1 8 39 H is violins are

,
-
. arch e d badly proportion e d with pal e
,

fairly we ll mad e . y e llow varnish had t h e wr 1tt e n lab e l ,

V a n d e rli s t A mak e r in Paris livin g in

.
, Fait par le P ere V e rme sch re l , .

ru e d e s Vi e ux Augustins 17 88 89 Is -

,
-
. minim e a B e aumont sur O is e
,
- -

said to hav e copi e d t h e work of Gua V éro n Antoin e,

A mak e r in Paris in .

d agnini both in patt e rn and varnish

, , 17 4 0 in
, t h e ru e d e la J uiv e ri e accordin g ,

with gre at skill H e brand e d his nam e . to t h e lab e l in a fiv e stringe d viol in t h e -

on his instrum e nts Lab e l : Luthi e r .

, Paris Cons e rvatoire C oll e ction .

’
ru e d e s Vi e u x Augustins pr es d e l égou t -
, V ero n Pi e rre André A mak e r in Paris
,
.

d e la ru e M ontmar tr e Paris ,
. about 1 72 0 5 0 H is violins show good
-
.

V an der S l a gm e u l e n . S ee S lagh work ; h e followe d t h e patt e rn of t h e

m e ul e n . I talian mak e rs .

V a ro t t i Giovanni
,
A . mak e r in B olo g na V e trin i B attista ,
W or k e d in B re scia .

in 1 8 1 3 . about 1 6 2 9 H is instrum e nts are on .

V a rq u a i n A mak e r . in Paris , ru e de rathe r a small patt e rn t h e wood is ,

B ussy about 1 74 2, . e xc e ll e nt and t h e y e llow varnish of

,

V au ch e l , J os e ph A mak e r in D amm . fin e q uality .

about 1 8 40 ; b e forethat dat e h e was V e t t e r J e an Christoph e

,
W as wor k in g .

appoint e d Court M ak e r to t h e Grand in S trasburg in 1 744 according to t h e ,

D uk e of T uscany H e e xhibit e d two . following lab e l found in a doubl e bass ,

-

violins at Munich in 1 8 5 4 which had , which was r e pair e d by Marc S n oe ck :

a fin e ton e and was awarde d t h e m e dal ,
“
J e an Christophe Ve tt e r S trasbourg , ,

of honour H orle in was a pupil of his . . 1744 2

'
 VI D— V O G L E R .
97

Vi a rd N icolas , Was working in V e r . b ra t e d mandolin e play e r of N apl e s ,

saill e s about 1 79 0 Lab e l : Fait par . always us e d his instrum e nts .

N icolas Viard a V e rsaill e s , V i n a t t e André ,

A mak e r of viols in .

V ib e rt J B A mak e r in Paris 1 775

, . .
,
Lyons in 1 5 6 8 H e was a Prot e stant . ,

8 3 in ru e de S e in e
, . and was murd e re d in t h e S t B artholo .

V i b re ch t G ys b e rt A mak e r in Amst e r
, . me w Massacr e o f Lyons in 1 5 72 .

dam about 1 70 0 1 0 -
. V in c e n z i Luigi A mak e r in Carpi
, .

V i ll a u m e e t G iron I n a violin of . in 1 775 .

fairly good workmanship was t h e V i o ri l l o Giovanni ,

A mak e r in F e rrara ,

print d lab l :
e e
“
V illau me e t Giron , 17 80 Followe d t h e S tain e r patt e rn
. .

T roy e s 1 70 ,
V ir H i e ron i m o di A mak e r in B re sa
, .
,

V i m e rc a t i Gaspare A mak e r in Milan , . S il e sia Lab e l : . H i e ron i mo di Vir

in t h e 1 7th c e ntury I n a mandolin e . in B re sa .

of b e autiful workmanship was t h e V i rc h i B e n e d e tto b 1 5 2 0

, A m ak e r of , . .

lab e l : Gaspar e Vim e rcati n e lla con viols in B re scia .

trada d e lla Dogana di Milano . V i rch i Girolamo b 1 5 2 3

, A mak e r of ,
. .

V im e rcati Pi e tro A mak e r in B re scia, . lut e s and othe r 1n s t ru m e n t s in B re scia .

’
in t h e 1 7th c e ntury I s thought to . V itor de , A mak e r in B re scia in 1 74 0
. .

hav e be e n a pupil 0f Carlo T o mo n i in His instrum e nts are similar in app e ar

Ve nice His instrum e nts are much
. anc e to thos e of Maggini th e y are on
arche d h e followe d t h e Maggi ni patt e rn
,
. a large patt e rn and of fin e workman
V in a cci a Antonio T h e h e ad of a
, . ship .

family of make rs H e work e d in . V it u s d e A n g e l i s A mak e r in B ologna .

N apl e s about 1 766 74 H e mad e a fe w -

. in 1 6 0 9 .

violins on t h e patt e rn of G aglian o

, , V i v o li Giovanni
, W as working in .

but also made e xc e ll e nt man dolin e s ; Flor e nc e in 1 6 4 2 .

som e of th e s e are in t h e M us e o V ob o am A family of mak e rs of gu itars

.

S pagnuolo ( Palazzo d e gli S tudi ) , and mandolin e s in Paris about 1 6 73 to

N apl e s and hav e t h e backs b e autifully
, 17 30 I n 1 770 an allusion is mad e to
.

’
inlaid wi th ivory moth e r o p e arl and ,
- -

, an e xc e ll e nt guitar mad e in 1 6 75 by
”
tortoise she ll Lab e l : Antonius Vin . th e
“
c e l e brat e d V ob oam A guitar .

“ ’
accia N apoli in Via C on s t an t in ii a
, , . dat e d d A le x an dre le j e un e ,

A similar lab e l is dat e d 1 774 . was most probably mad e by a m e mb e r

His two sons G e nnaro and Ga e tano , , of t h e family Anoth e r guitar is dat e d .

w e r e also mak e rs . 167 6 and two b e autiful guitars mad e

,

V in a cci a Dom e nico A mak e r of man . by J e an V ob o am dat e d 1 6 76 and 1 6 8 7 . ,

dolin e s i n N apl e s in 1 78 0 . b e long e d it is said to Mdll e de , , .

V in a cci a Gae tano and G e nnaro sons of

, , N ant e s daught e r of Louis X I V, A .

Antonio M ak e rs of mandolin e s and

. mandolin e dat e d 1 6 8 2 is in t h e Musé e
guitars in N apl e s about 1 776 I n a . Cluny A guitar inlai d with ivory is
.

mandolin e b e autifully inlaid with tor , dat e d 1 6 8 8 anoth e r is dat e d 1 6 9 9 A , .

’
t oi s e s h e ll moth e r o p e arl and ivory ,
- -

, , guitar in t h e shap e of a tortois e with

, ,

was t h e lab e l : “
J anuarius Vinaccio t h e body mad e of tortois e sh e ll and
fe cit N e apoli in rua Catalana a , . t h e h e ad fe e t an d tai l of colour e d
, ,

Domini 1 776 . e nam e l is in t h e Paris Cons e rvatoir e

,

V in ac cia Giovanni and Vinc e nzo sons , , Coll e ction ; it is dat e d 1 6 9 3 A bass .

of G e nnaro Work e d in N apl e s about . viol i n cri b e d V ob oam 1 73 0 is in

,
“
, ,

17 6 5 8 5 making e xc e ll e nt mandolin e s
-

, t h e Coll e ction of t h e Cons e rvatoir e

and guitars Lab e ls : “
J oann e s Vin . d e s Arts e t Méti e rs .

accio filiu s J an u arii fe cit N e apoli alla Voel E , A mak e r in May e nc e about
.

strada d e lla rua Catalana A D 1 770 , . .

, 1 8 40 . H is instrum e nts follow t h e
“
and Vinc e ntius Vinaccio filiu s Janu S tradivari mor e than t h e G e rman
arii fe cit N e apoli alla rua Catalana , patt e rn t h e sound hol e s are large t h e -

“
A D
. . Vinc e ntius Vinaccio varnish a re d brown colour t h e h e ad -

fe cit N e apoli S ito n e lla Calata de

, , is w e ll cut t h e ge n e ral workmanship ,

S p i t alle t t o , A D . . good .

V in a c cia Pasqual e son of Gae tano ; , , V o g e l Wolfgang d F e b 1 7 1 6 5 0 at

, , . .
, ,

b J uly 2 0 1 8 0 6 N apl e s ; ( 1 1 8 8 1
.
, , . . N ur e mb e rg wh e r e h e m ad e i n s t ru ,

Was a mak e r of e xc e ll e nt mandolin e s , m e nts which we re much lik e d .

and was appoint e d mak e r to t h e Q u e e n V o gl e r J ohann G e org Was working in

, .

of I taly Was t h e inv e ntor of st e e l . W ii r z b u r g in 74 9

1 Lab e l : J ohann
“
.

wire strings inst e ad of t h e gut on e s G e org Vogl e r Laut e n und G e ige n ,

form e rly us e d B e lisario t h e c e l e .

, mach e r in W urzburg 1 7 His son ,
98 V O GT -
V U I LLA U ME .

was t h e ce l e brat e d Abbé G e org J os e ph similar to Maggini instrum e nts ; t h e

Vogl e r . sound hol e s are badly cut t h e e dge s
-

V o gt . A mak e r of g ood instrum e nts in are too thin t h e p urfli n g paint e d and
, ,

Vi e nna in t h e S pi e ge l Gasse
,
-
. a littl e d e si g n in black ru ns round t h e
V oi gt M artin
, Was working in H am . body ; t h e scroll is carv e d t h e var nish ,

burg in 1 72 6 H is work is similar to . is y e llow in colour ; insid e is t h e lab e l :

that of T ie lk e A bass V iol t h e back .
-

, Fait par moy J e an V u illau m e a ,

inlaid in ivory havin g Apollo V e nus , , , Mire court 17 38 , Although t h e .

M e rcury and Diana re pre se nt e d was

, , Parisian family of mak e rs may hav e
dat e d H amburg 1 72 6 and was e x , , d e sc e nd e d from J e an t h e conn e ction ,

h i b i t e d at t h e S outh Ke nsin g ton has not ye t b e e n trace d .

V u i ll a u m e
Mus e um London 1 8 72 , , .

Je an B aptist e e ld e st son of
, ,

V o i ri n Fran cois N icolas b O ct 1

, , . .
,
Claud e V u1llaume b O ct 7 1 79 8 at , . .
, ,

1 8 3 3 at Mire court d J un e 4 1 88 5 at :

, ,
Mire court ; d F e b 1 9 1 8 75 at Paris . .
, .

Paris Aft e r work i ng at Mire court h e

.
. .

.
,
I n 1 8 1 7 was e mploy e d by Fr Chanot .

we nt to Paris in 1 8 5 5 and for fift e e n ,

to mak e violins on his n e wly inv e nt e d -

y e ars mad e bows for J B V uillau me ; . . patt e rn . W e nt to Paris 1 8 1 8 and , ,

h e obtain e d as collaborat e ur a was a pupil of G e orge s Chanot for two

m e ntion honorabl e at t h e 1 8 6 7 y e ars . I n 1 8 2 1 h e e nt e r e d t h e org an
Paris E xhibition H e s e parat e d from . factory of L et e and soon b e cam e a
V u ill au me in 1 8 70 and e stablish e d partn e r ; L et e e t V ui llau me s e ttl e d
hims e lf at 3 ru e du B ou loi whe re h e , , in ru e Croi x de s p e tit Champs in 1 8 2 - - -

work e d till his d e ath H e had gre at . T h e y s e parat e d in 1 8 2 8 and V u illau me ,

ability as a bow mak e r ; h e follow e d t h e start e d his busin e ss at N o 4 6 in t h e .

T o u rt e patt e rn but mad e t h e h e ad of , sam e stre e t whe re h e r e main e d for

,

his bow l e ss square ; his workmanship n e arly thirty fiv e y e ars movin g to 3 -

, ,

shows wonde rful finish and e l e g ance . ru e D e m o u rs in 1 8 60 H e tri e d at , .

H e was award e d a silv e r m e dal at t h e first to s e ll his own n e w instrum e nts ;

Paris E xhibition in 1 8 78 t h e only but findin g that t h e de mand was all
for S tradivari Guarn e ri and A mati
,

priz e g iv e n to bow m ak ing and som e -

, ,

of his bows e xhibit e d aft e r his d e ath at instrum e nts h e chang e d his m e thods, ,

t h e Antw e rp E xhibition w e r e award e d and on e day produc e d a spl e ndid

a gold me dal H e brand e d his bows . S tradivari violin si g n e d by t h e gr e at ,

with F N V oiri n a Paris . to this .

, mast e r and havin g a fin e ton e for t h e ,

was add e d on thos e bows e xhibit e d at ,

sum of £ 1 2 O rd e rs at onc e flowe d in
’
“
Paris 1 8 78 E xposition 1 8 78
,
B ows
, , . and V u illau me s fortun e was mad e .

so ld by M adam e V oiri n since h e r H is cl e v e r copi e s of S tradivari violon a

’
husband s d e ath hav e also b e e n c e llos ori g inally sold for £ 2 0 but all ,

brand e d i n t h e sam e way . his fin e instrume nts hav e now i ncre ase d
V u il l a u m e fC lau d e b 1 772 Mir e court ; , .
, in valu e four fold I n 1 8 2 8 having se e n-
.
,

d 1 8 3 4 H e is t h e fi rst m e mb e r known
. . and studie d a bass V iol of D uiffop rugcar -

of this family of violin mak e rs and ,

h e b e gan to mak e instrum e nts in t h e
made ch e ap instrum e nts branding , sam e styl e with b e autiful inlaid work
,

th e m with his nam e only H e marrie d . and he ads q uaintly carv e d T h e wood .

Ann e L e cl e rc (b 1 76 7) and had four . use d was of t h e fin e st quality obtain e d ,

sons all mak e rs J e an B aptist e N icolas

, , , from S witz e rland and t h e T yrol and ,

N icolas Fran cois and Claud e Fran cois , . t h e varnish e sp e cially on t h e i n s t ru

,

T h e y all l e arnt th e ir trad e und e r him , m e nts made aft e r 1 8 5 9 was e xtre m e ly ,

and t h e instrum e nts the y mad e at that b e autiful no doubt a re sult of t h e care
,

“
tim e we re bran d e d Au roi D avid ,
and tim e h e e xp e nd e d on t h e st udy
”
Paris . of t h e S tradivari varnish H e was .

V u il l a u m e Claud e Fran cois fourth son

, , award e d : silv e r m e d als at Paris
of Claud e V u illau me ; b M arch 1 8 0 7 .
, ,
E xhibitions 1 8 2 7 and , 1 834 g old
M ir e court First work e d at vi olin
. m e dals at Paris E xhibitions 1 8 3 9 and ,

making unde r his fath e r but lat e r ,

1 8 44 t h e only larg e Council m e dal
b e cam e an org an build e r H is son -
.
, at t h e London E x hibition in 1 8 5 1 and
S éb as t i e n was also a mak e r ,
. t h e only larg e m e dal of honour at t h e
V u i l l a u m e J e an b 1 70 0 ; d 1 74 0
,
A , . . . Paris E xhibition 1 8 5 5 V u illaume was , .

mak e r in Mire court I s said to hav e . also d e corat e d with t h e L e gion of

b e e n a pupil of S tradivari but his ,
H onour At t h e v e ry first e xhibition
.

’
work shows no sign of it A violin . of his instrum e nts in 1 8 3 4 t h e jury s , ,

known is of v e ry ordinary workman v e rdict on his copi e s of S tradivari and

ship t h e way in which it is arche d is Amati was that not only in e xt e rnal
1 00 W E A V E R— W I LL E MS .

doubl e bass e s t h e latt e r are rar e and

-
mad e v e ry skilful imitations of t h e
ge n e rally hav e re d varnish H is work . S tain e r instrum e nts t h e wood was ,

vari e s ; som e instrum e nts are badly care fully chos e n though som e tim e s ,

proportion e d with ugly straight sound , work e d too thin t h e varnish a trans ,

hol e s and brownish y e llow varnish ; -

pare nt re d colour is of good quality , .

oth e rs a re w e ll made with thick and , S e v e ral of his violins hav e doubl e
brilliant re d varnish but those with dark p u rfl i n g and are brand e d with his
brown varnish are to b e pr e fe rr e d ; initials insid e t h e work was care fully
th e y ge n e rally hav e ink lin e s inst e ad -
finish e d H e also mad e good harps
. .

of p u rfli n g H e also mad e viols I n . . Lab e l in a large alto b e autifully ,

a violonc e llo was t h e lab e l : Made made : L e opold Widhalm Laut e n ,

by P e t e r Wamsl e y at ye Gold e n Harp und G e ig e nmache r in N ii rn b e rg fe cit ,

in Pickadilly London 1 72 7 a similar , ,

17~
77
lab e l was dat e d 1 73 3 O th e r lab e ls . W i ght m an G e orge on ly known by his , ,

are : Mad e by P e t e r W amsl e y at t h e labe l : G e org e Wightman W ood ,

H arp and H autboy in Pickadilly , S tr e e t London , ,

17 35 M ad e by P e t e r Wamsl e y at W ilkin s o n of Dublin S e e P e rry “

, . .

t h e Harp and H autboy in Pickadilly ,

W il l e m s H e ndrick A mak e r in Gh e nt
, .
,

London 1 73 7 , P e t e r Wamsl e y ,
B e lgium about 1 6 5 0 1 70 0 , An alto of -
.

mak e r at t h e H arp and H au t b oy i n ,

large patt e rn has r e markably fin e
P i c a dd i lly 1 7 London 5 1 , , . wood us e d for t h e b e lly ; t h e corn e rs
W e a v e r S amu e l
, Liv e d in London . . are promin e nt and square d at t h e e nds ;
Known by his print e d lab e l All sorts , t h e sound hol e s rathe r straight and -

of musical instrum e nts made and sold stiff are similar to t h e B re scian mode l
, ,

by S aml W e av e r on London B ridge

. . or thos e in a S tain e r instrum e nt ; t h e
W e i c k e rt A mak e r in H all e about
.
’
n e ck e nds in a lion s h e ad t h e outlin e
1 800 . and t h e b e autiful fin ish could almost
W e i g e rt J ohann B lasius W as workin g
, . b e mistak e n for I talian work but t h e ,
’ ’

in Linz in 1 72 1 A viola d amo re in . varnish is too dry I t is lab e ll e d . .

t h e Coll e ction of t h e G e s e llschaft d e r H e ndrick Will e ms t o t G h e n d t 1 6 5 1 , .

M usikfr e und e at Vi e nna is lab e ll e d : For a bass V iol made for u s e in S aint -

’
J oann B lasius W e ige rt Laut e n und B avon s Cath e dral ( Gh e nt ) h e was
G e ige nmache r in Lin z , paid on March 2 8 1 6 70 a sum of £ 5
, , ,

W e i s z ( W e i ss) J acob A mak e r in , .

( Fland e rs ) A small pock e t violin .
,

S al zburg about 1 733 6 1 Lab e l : -

. with a p e ntagonal back with t h e n e ck ,
’
J acob W e isz Laut e n und G e ige n e nding in a lion s h e ad was sign e d : ,

mache r in S al zburg , H e ndrick Will e ms tot G h e n dt ,

W e i s z J ohann Ambrosius A mak e r of

, . I n 1 6 9 8 h e is m e ntion e d as t h e r e pai r e r
“
lut e s in B asl e in 1 6 2 1 Lab e l : J ohann . of t h e bass us e d in t h e rood loft of S t -
.

Ambrosius W e isz in B as e l , B avon N e arly all his instrum e nts

.

W e n g e r Gre gor Fe rdinand A mak e r

, . hav e b e autiful wood for t h e be lly bu t ,

in S alzburg about 1 75 0 6 0 Lab e l : -

. walnut lim e tre e or plan e tre e wood is
,
-
,
-

Gre gorius F e rdinand W e n ge r Laut e n fre qu e ntly us e d for t h e back and t h e

und G e ige nmach e r fe cit August a , sid e s e sp e cially in t h e case of t h e
,

1750 . bass e s .

W e n ge r A mak e r in Padua in 1 6 2 2
. . W il l e m s H e ndrick A mak e r in Ghe nt
, .

W e t t e n e n g e l Gustav Adolph A mak e r , . som e tim e aft e r t h e H e ndrick alre ady

in N e ukirch e n S axony about 1 8 2 8 , , . m e ntion e d H e mad e a violonc e llo or .

H e wrot e an e xc e ll e nt practical tre atis e bass with fiv e strin g s lab e ll e d : H e yn ,

on violin making e ntitl e d : “

Voll , d rick W ill e ms tot G h e n d t A ,

s t an dige s the ore tisch p ract is ch e s auf

,
-
violin dat e d 1 74 3 had t h e b e lly made
, ,

G ru n d s é i t z e d e r Akustik T onkunst ,
of care fully s e l e ct e d pin e t h e back of ,

u n d M ath e matik und auf d ie E rfah walnut and t h e sid e s ( v e ry e xce ptional )
,

t ung e n d e r ge schickt e st e n itali e nisch e n of mapl e Many instrum e nts mad e by .

un d d e utsch e n M e ist e r b e gru n de t e s this famil y hav e ge nuin e valu e and

Le hrbuch de r Anfe rti g un g und R e show work of gre at ability T h e Amat i .

p arat u r all e r noch je tzt ge b rau ch lich e n patt e rn (e sp e cially that of Antonio and
Gattung e n von itali e nische n und Girolamo ) was ge n e rally followe d but .

de utsch e n G e ige n ( I lm e nau ,

charact e ristic t ouche s we re gi v e n
W e y m a n n Corn e lius Was workin g in
, . which re nde r th e ir work e asily r e cog
Amst e rdam in 1 6 8 2 . n i s ab l e Th e archin g is alway s
.

W i d h a l m ( W i t h alm Le opold A mak e r , . corr e ctly calculat e d and t h e woo d ,

.

in N ure mb e r g a out 1 75 0 8 0 He -
. us e d for t h e b e lly care full y s e l e ct e d .
 W I L L E M S— ZA N O L I . 101

W ill e m s J ooris , A mak e r in Ghe nt . his fathe r and J ohn Lott Com .

about 1 6 3 0 6 5 T h e first m e ntion of

-
. me n ce d busine ss at 3 1 Cov e ntry ,

him is in August 1 6 3 4 as play e r of t h e , , S tre e t London in 1 8 5 6 ; mov e d lat e r

, ,
’
co m e t in S aint B avon s Cathe dral to 2 2 Wardour S tre e t H e e mploys no
,
.

( Gh e nt ) His instrum .e nts a re g e n e rally workm e n and mak e s about twe lv e ,

made of fin e ly figure d mapl e wood ; t h e -

instrum e nts p e r ye ar on t h e S tradivari ,

corn e rs short and thin ; t h e sound hol e s -

and Guarn e ri patt e rns using good oil ,

are grac e ful an d more lik e t h e I talian varnish an amb e r colour , .

mode l A t e nor V iol had t h e back

.
-
W i t t h al m S e e Widhalm . .

made of lim e tre e wood and was -

W ittin g J ohann G e org , A mak e r in .

labe ll e d : Jooris Will e ms tot G h e n dt , Mitt e nwald about 1 775 H is i n s t ru .

I n 1 6 5 8 h e suppli e d two viols m e nts are fai rly we ll mad e with a ,

for u s e in t h e choir of S aint B avon . dark ye llow brown varnish -

.

A violin of small patte rn with y e llow , W ol t e rs J e an Mathias A mak e r in .

varnish was lab e ll e d : J ooris Wille ms

, Paris m 1 749 I n 1 75 9 the re was in .

tot G h e n dt T h e last m e ntion

, th e S avoy e Coll ec tion a small six
of this mak e r in t h e Cathe dral archiv e s stringe d viol be autifully made w ith , ,

is in 1 6 6 2 His son N icolas was ap doubl e p u rfl in g and y e llow coloure d -

point e d viol playe r i n t h e Cathe dral

.
,

, varnish t h e h e ad ornam e nte d with

,
“
Aug 5 1 6 71
.
, . carving I t was lab e ll e d :
.
J M . .

W ill e r A mak e r in Prague in t h e 1 8 th

. Wolt e rs fe cit L u t e t iae P aris ioru m au ,

c e ntury . faubourg S aint Antoin e Paris 1 749 -

, , .

W i s e Christophe r
, A mak e r of viols . W o rn u m R ob e rt b 1 74 2 ; d 1 8 1 5
, , . . .

and violins in London about 1 6 5 6 . Was first a m u s icse lle r in Glasshous e

T h e fe w instrum e nts known are of S tr e e t and th e n from 1 777 at 4 2
, , , ,

small patt e rn not much arche d with , , Wigmor e S tre e t London H e is , .

”
ye llow v arn i s h of good quality and
_ , m e ntion e d in t h e M usical Dire ctory
are car e fully work e d Lab e l : Christo . for 1 79 4 as a violin and violonc e llo
phe r Wise in Half M oon Alle y with ,
-

, mak e r .

out B ishops Gat e London -

, , W ort e M athias A mak e r in Augsburg

,
.
,

W ith e rs E dward , H e succe e d e d to .

1 6 3 9 according to t h e lab e l found in a
,
’
William D avis s busin e ss at 3 1 , small pock e t violin Mathia s Wort e ,

Cov e ntry S tre e t London in D e c 1 8 46 , , .

, . A u gs p u rg ,

B oth Charl e s M au cot e l and B ou llan gi e r W ri ght Dani e l Liv e d in London about
, .

work e d unde r him at on e tim e . 17 4 5 ; is only known by his labe l :

W ith e rs E dward e ld e st son of E dward
, , Mad e by Dani e l Wright in Holborn ,

W ith e rs b O ct 2 2 1 8 44 Pupil of
, . .
, .
London .

Y o un g J ohn , S aid to hav e b e e n a .

Y ou s crap e rs t h at wan t a g oo d fidd l e we ll s t run g
’
,

mak e r of violins and othe r musical Y ou mus t go t o t h e man t h at is ol d w h i l e h e s

instrum e nts He and his son T albot Y oun g

y l
,
, ,
h le l l
.

’ B ut i f t is s ame fidd you fa i n w ou d p a b o d,

live d in S t Paul s Churchyard at t h e
sign of t h e Dolphin and Crown
.

Th e
,

.
You m t g t hi
’
us h ll Y o g h o s s on , w o
’ be o un w en
h e s old
son was a violin pl ay e r and assist e d in Th
’
e re s o ld Y g d y g Y g b th m
.

oun an ou n oun o en
foundi n g t h e Castl e Conce rt in Pat e r o f w
re n o n,
,

nost e r R ow in 1 72 4 T h e following .

O ld sell d y g p l y h b t fiddl i t w
s an ou n a s t e es e n o n,
v e rse s w e re s e t to music by Purce ll ,
Y g d ld l i t g t h
ou n an d m y t h y li
o ve o e e r, an a e ve
publishe d in t h e Pl e asant Musical l g
"

on

Y g p l y ld fiddl ld t ll w g
,
Companion 1 72 6 ,
"
ou n to a an o e, o o se a ne s on .

Z ach . A mak e r in Vi e nna at 1 , Z an fi, Giacomo A mak e r in Mod e na .

K arn t h n e rs t ras s e , wh o mak e s good about 1 75 6 1 8 2 2 -

.

instrum e nts . Z a n o l i Giacomo , W orke d in Padua .

,

Z a n e t t o P e l e grino
,
. S ee M ich e lis . 1740 .
1 02 ZA N O L I — ZW E R G E R .

Z an o l i Giambattista
,
A mak e r in . m e nts was e xhibit e d at t h e S out h
V e rona about 1 73 0 ; his instrum e nts K e nsington Mus e um 1 8 72 it had on e ,

are roughly finishe d th e y are not , round sound hol e place d in t h e ce ntr e
-
, ,

arche d and su g ge st G e rman work

,
. with four strings and was lab e ll e d : ,
“
Lab e l : J oann e s B aptista Zanoli , Pi e tro Z an u re B re scia 1 5 09 Fe w
, , .

Ve rona 1 7 , of his instrum e nts are k nown ; labe l s

Z a n o t ti Antonio, W orke d both at . are g e n e rally : P e trus Z an u re ,

Lodi and M antua W as in t h e latt e r

'
. B ri x i ae .
"

t ow n i n 1 73 4 according to a lab e l : Z e n at t o ,
Pi e tro A make r in T re v is o
.

“
Antonius Z an ot us fe cit M antu as , about 1 6 3 4 according to t h e lab e l :
,

anno 1 73 4 . Pi e tro Z e n at t o fe c e in T re viso ann o ,

’
Z a n o t t i Gius e pp e A mak e r in Piac e nza
, . 1 63 4 3
in t h e 1 8 th ce ntury . Z im b e l m a n n , Filippo . A mak e r in
Z a n t i Al e ssandro A mak e r in M antua
, . Flore nc e in 1 6 6 1 .

about 1 770 H e followe d t h e S tradi

. Z i v e rg e r (Z w e rge r) Anton A mak e r , .

vari patt e rn but his varnish was of ,

at Mitt e nwald 1 75 0 H e chos e good
, .

poor q uality . wood us e d dark y e llow brown varnish

,
-

Z a n u re Pi e tro
, A mak e r of viols in
. and finishe d his work care fully .

”
B r e scia about 1 5 09 O n e of his i n s t ru . Z w e rg e r . S ee Ziv e rge r .
 N OVELL O , E WE R AN D Co
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s .

E D I T ED BY . SI R J O H N ST A I N ER AN D D R C HU B E RT H PA RRY .
.

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W
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.
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2 T H E RUD I M EN T S O F M U S I C ( ri ce I s )
. . . . H C U M M I NG S . .

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,
3 J S TA I N E R -
. .

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K I N G H ALL
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. _

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1

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. . .

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. .

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) W H S T ON E
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. .
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‘

13 .
RE Y J T RO U T B E C K . .

.
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3 2 D O U B
. L E B A S S ( P r i c e A C W HI T E . .

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. O U B E B A SS ( P ri ce L A C W HI T E . .

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I Z A T I O N ( P r i ce
J S A W Y E R F . .

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37 I
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.

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"

37 A U I . R N A s z, . .

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39 A D o ( E X E RC I S E S O N ) ( P ri ce 1s ) LY 1
.

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. .

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. . . .

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'

4 2 S U M M A R Y O P M U S I CA H I S T ORY ( P rice 2 s ; ) L C H H P RRY ,

1
”

. . A .
‘

43 M U S I C A L G E S T U R E S ( P r i c
e E .

RU D I MEN T S i N RHY M E (P ri ce 9d )
'

. E .

44 B A S S . E S A N D M E L O D I E S ( P ri ce 2s 6 d ) R ALP H D U N S T A N . .
-

_
.

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4 6 A D. I C T I O N R Y O F P A
I ANI STS A N D C OM P O S E R S F O R T HE P IA N OF ORT E

( P ri c e E P AU E .

47 O G A P E D A T E C H N I QU E ( P ri ce L x B W H O RN E R
P
R N . - . .

I O S B Y A L B RE C H
.

W
,

8 T W E L V E T R T S B E RG E R ( r i ce 1s : 6d A M A RC H ANT H
4 . . . .

49 F I F.T Y T H R E E P A R T V OC S T U D I E S ( P r i ce 1 AL
s 6d ) . .

5 0 C H O
. R S O C I ET AL
V o c A L I s AT I O N ( P ri ce Y
-
A
P RT S O L E G GI ( P ri ce I s ) P .

( To BE _
C O N T I N U ED) “

Any th e ub ov e ma
‘
'

b e h ad s tron l b ound i n b oards.

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‘

ri ce 6d ~ . a
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