workmanship. The modelling of his instruments varied. There are
instances, particularly in the case of his Violins, where he has
entirely set aside the Stainer form, and copied Amati. These Violins
are wonderfully like the work of Francesco Ruggeri. The varnish upon
them, of a rich red colour, is of so exceptional a quality, that one
is compelled to look twice before being satisfied as to the author.
The greater number, however, of his instruments are of the German
character, the sound-hole, scroll, and outline all hinting of Stainer.
These Venetians were wonderfully fortunate in obtaining handsome wood,
and in this respect Santo Serafino was pre-eminent, for his sides and
backs are simply beautiful to perfection. His method of cutting the
wood was invariably to show the grain in even stripes. The scroll is
well cut in point of workmanship, but the style is poor. Santo
Serafino cannot be regarded as having displayed originality in any
shape, and he thus forms an exception to the great majority of Italian
makers. His instruments are either copies of Amati or of Stainer;
there is, of course, a strong Italian flavour about his Stainer
copies, which lifts them above the German school of imitators, and
hence their higher value. Nearly all his instruments were branded with
his name above the tail-pin. He used an ornamental label of large
size. The Violoncello in the possession of Mr. M. J. Astle is a
charming specimen of Serafino's work, I may say unequalled.
SNEIDER, Josefo, Pavia. Lancetti remarks that many of the Violins by
Girolamo Amati, son of Niccolo, were attributed to this maker.
Joseph Sneider Papiae
Alumnus Nicolai Amati Cremonae
fecit Anno 17--
SOCCHI, Vincenzo, 1661, Bologna. In the Catalogue of M. Chouquet
mention is made of a Kit or Pochette by this maker in the Paris
Conservatoire.
SORSANA, Giuseppe, 1700-1750. Said to have been a pupil of Stradivari.
Highly finished work, varnish of beautiful quality.
Joseph Sorsana fecit
Cremone sub discip. Ant.
Stradivarii 1737.
STATLEE, Anderl, Genoa, about 1714. Signed himself as a pupil of
Hieronymus Amati (son of Niccolo). Not unlike the work of Urquhart.
STREGNER, Magno, Venice, Lute-maker.
STORIONI, Lorenzo, Cremona, about 1769 to 1799.
Laurentius Storioni Fecit
Cremonae 17--
The last of the old makers who evinced any marked degree of
originality. Although there is an almost total absence of refinement
in his works, there is much that is clever, which has gradually caused
these instruments to be valued very highly. He appears to have made
Giuseppe Guarneri del Gesu his idol. Although his instruments cannot
be considered as copies, yet there is evidence of his having made use
of the salient points belonging to Guarneri, which he fitted, as it
were, to his own model. He had much of the disregard of mere
appearance which Guarneri so often displayed, and seems to have been
guided by similar fancies. His freak was to place his sound-holes in
all sorts of ways, scarcely twice alike. His outline is always
vigorous, but without thought of symmetrical appearance. There is not
an instrument of his make that could have been made upon a mould--they
were built from the blocks, and the result, as may be expected, is not
graceful. M. Vieuxtemps, some years ago, possessed himself of a
Storioni Violin, now belonging to Mr. Proctor, and, having carefully
regulated it, succeeded in bringing forth its great powers. His
hearers were so delighted that attention was speedily directed to this
neglected maker. These instruments are highly thought of in Italy. The
varnish is not of the Cremonese description, but partakes of the
Neapolitan character. The purfling is unusually narrow, and roughly
worked; the scroll is stiff, and the absence of finish is observable.
The material he used was generally good in point of acoustical
properties, though not handsome. Storioni does not appear to have made
many Tenors or Violoncellos--the latter are rarely met with.
Storioni died in 1799. He lived at the house No. 3, Contrada
Coltellai, which was afterwards occupied by G. B. Ceruti.
STRADIVARI, Antonio, Cremona.
"The instrument on which he played
Was in Cremona's workshops made,
By a great master of the past,
Ere yet was lost the art divine;
Fashioned of maple and of pine,
That in Tyrolian forests vast
Had rocked and wrestled with the blast;
Exquisite was it in design,
A marvel of the lutist's art,
Perfect in each minutest part;
And in its hollow chamber, thus,
The maker from whose hands it came
Had written his unrivalled name--
'Antonius Stradivarius.'"--LONGFELLOW.
Antonius Stradiuarius Cremonensis
Faciebat Anno 17--
The renown of this remarkable maker of Violins is beyond that of all
others; his praise has been sung alike by poet, artist, and musician.
His magic name is ever rising to the lips in the presence of the "king
of instruments"; its sound is as familiar to the humble player as to
the finished artist. He has received the undisputed homage of two
centuries, and time seems but to add to the number and devotion of his
liege subjects: to-day he is as little likely to be dethroned as
Shakespeare.
Although many interesting particulars concerning Antonio Stradivari
have been obtained from time to time, there is wanting that which
alone can fully satisfy his admirers, viz., connected records of the
chief events of his life. Every endeavour has been made to supply, in
some way, this deficiency, by consulting documents relating to the
city of Cremona during the 17th and 18th centuries. The results of
these inquiries are of much value, and the reader will be made
acquainted with them in the following pages.
With a patience worthy of reward, the late librarian at Cremona,
Professor Peter Fecit, searched for the will of Stradivari, but as no
proper register appears to have been kept until long after the famous
maker died, his efforts were unsuccessful. Although the contents of
the will might throw but a faint light upon the doings of the
testator, there might be found particulars that would link together
much of the information we already possess.
The date of birth of Antonio Stradivari was made known to M. Fetis in
1856,[14] upon evidence contained in an inventory of instruments which
belonged to Count Cozio di Salabue. The inventory was made upon the
occasion of the instruments being deposited with Carlo Carli, a
Milanese banker. Among the Violins there appears to have been one by
Antonio Stradivari, bearing a label upon which, in the handwriting of
its maker, was stated his age, namely, ninety-two years, and the date
1736; thus making the year of birth 1644.
"That plain white-aproned man who stood at work,
Patient and accurate, full _fourscore_ years,
Cherished his sight and touch by temperance;
And, since keen sense is love of perfectness,
Made perfect Violins, the needed paths
For inspiration and high mastery."
_Stradivari_, by GEORGE ELIOT.
[Footnote 14: "Antoine Stradivari, luthier celebre," par F. I. Fetis.
Paris, 1856.]
Previous to the publication of this evidence by M. Fetis, the date of
birth was given as 1664, and it has been stated as 1644 or 1650. Don
Paolo Lombardini, in his pamphlet on Stradivari published at Cremona
in 1872, gives an interesting genealogical account of the great
Cremonese maker and his family. The author follows the date of birth
as stated by M. Fetis. This is succeeded by information of his own
discovery, namely, the date of the marriage of Stradivari, July 4,
1667.
He appears to have married a widow named Capra, whose maiden name was
Ferraboschi, her age being twenty-seven, and that of Stradivari
twenty-three, according to the date given by Lombardini.
GENEALOGICAL TABLE OF THE FAMILY OF STRADIVARI,
EXTRACTED FROM THE PAMPHLET OF PAOLO LOMBARDINI.
STRADIVARI, ALESSANDRO = MORONI, ANNA
STRADIVARI, GIUSEPPE J., born March 20, 1623.
STRADIVARI, ANTONIO, born 1644;
died Dec. 18, 1737.
= Married, July 4, 1667
= FERRABOSCHI, FRANCESCA, born Oct. 7, 1640;
died May 25, 1698.
(1) GIULIO, born Dec. 23, 1667;
married, 1688;
died Aug. 7, 1707.
(2) FRANCESCO, born Feb. 6, 1670;
died Feb. 12, 1670.
(3) FRANCESCO, born Feb. 1, 1671;
died May 11, 1743.
(4) CATTERINA, born Feb. 18, 1674;
died Aug. 3, 1748.
(5) ALESSANDRO, born May 25, 1677;
died Jan. 26, 1732.
(6) OMOBONO, born Nov. 14, 1679;
died June 9, 1742.
= Married, second time, Aug. 24, 1699.
= ZAMBELLI, ANTONIA, born June 11, 1664
died March 3, 1737.
(7) FRANCESCA, born Sept. 19, 1700;
died Feb. 11, 1720.
(8) G. B. GIUSEPPE, born Nov. 6, 1701;
died June 7, 1702.
(9) G. B. MARTINO, born Nov. 11, 1703;
died Nov. 1, 1727.
(10) GIUSEPPE, born Oct. 27, 1704; (Priest)
died Nov. 29, 1781.
(11) PAOLO, born Jan. 26, 1708; (Cloth Merchant)
died Oct. 19, 1776.
= TEMPLARI, ELENA, born 1705;
died 1776.
ANTONIO II., born 1738;
| died 1789.
| = DALLA NOCE, MARGARITA, born 1739;
| died 1787.
| GIUSEPPE, born 1763.
| LUIGIA, born 1765.
| FRANCESCA, born 1767.
| GIACOMO, born 1769;
| | died 1828.
| | = Married, 1797.
| | = CORNIERI, GIUSEPPA, died Jan. 25, 1803.
| | CESARE, born 1798 (Physician).
| | | = Married, 1838.
| | | = MAINI, LAVINIA, born 1808;
| | | died 1862.
| | | LIBERO, born Jan. 29, 1840 (Barrister).
| | | = Married, 1867.
| | | = PODESTA, GIOVANNA, born 184-.
| | | CLELIA, born 1868.
| | | ANNITA, born 1871.
| | | ITALO, born 187-.
| | PIETRO, born 1800;
| | died 1869.
| | GIUSEPPE, born 1802.
| | = Married, 1836.
| | = CRISTINI, MARIA, born 1807.
| | FANNY.
| | EUFEMIA.
| | ENRICO.
| | = Married, second time, 1821.
| | = BONAZZI, ROSALINDA, born 1792.
| | GIACOMA 2nd, born 1822; (of Milan).
| | = Married, 1861.
| | = ROSSI, FANNY, born 1835.
| | ELENA.
| | SILVIA.
| | PIERINA.
| | FAUSTO.
| ANTONIA, born 1771;
| died 1816.
FRANCESCA, born 1739;
died 1809 (Nun).
CARLO, born Dec. 4, 1741;
died 1808.
FRANCESCO, born 1744;
died 1746.
PAOLO, born 1746;
died 1792.
It is interesting to find evidence of some importance relative to the
question of the age of Stradivari from the pen of Lancetti. He says,
"Antonio having worked to the age of ninety-three years, died in
Cremona in the year 1738, at the age of ninety-four years." Though
this is obviously incorrect (the register showing that he died in
1737), the extract serves to support the date of birth, resting upon
the evidence of the inventory, inasmuch as it satisfactorily shows the
age Stradivari was considered to be by his own family, since Count
Cozio communicated the information to Lancetti from correspondence
with Paolo Stradivari, son of Antonio. In passing, it may be observed
that Stradivari died December 18, 1737, and therefore the year
mentioned by his son Paolo was only incorrect by thirteen days. He was
equally as near the truth in saying his father was ninety-four when he
should have said he was in his ninety-fourth year.
Having referred to the manuscript inventory, upon which rests the date
of birth as given by Fetis--which document, taken by itself, it must
be said is unsatisfactory--and having noticed the age of Stradivari as
represented by his son, I will turn to other evidence in support of
the inventory. The late Mr. Muntz, of Birmingham, possessed a Violin
by Stradivari, dated 1736, and, in writing, the age of the maker is
given as ninety-two. Another Violin by Stradivari, made in the same
year, and similarly labelled, was bequeathed by the late Mrs. Lewis
Hill to the Royal Academy of Music. This Violin has been regarded as
one of the instruments found in the maker's shop when he died. It
originally belonged to Habeneck, the well-known professor, and was
taken to Paris between the years 1824 and 1830. Luigi Tarisio became
possessed of some of the instruments mentioned in the inventory found
among the papers of Carlo Carli, the banker, and one of these Violins
in all probability furnished the evidence of the date of birth
referred to by M. Fetis, and both instruments were probably purchased
by Tarisio, together with the Violin dated 1716, named by Vuillaume
"le Messie."[15] The last instrument necessary to notice in
confirmation of the date, hitherto resting alone on the inventory, was
in the possession of the late M. H. de St. Sennoch, of Paris. It is
dated 1737, and in the handwriting of Stradivari is his age,
ninety-three years, which decides the correctness of the statement
made by Lancetti (upon the authority of Count Cozio di Salabue, who
received the information from Paolo Stradivari in 1775) that "Antonio
worked up to the age of ninety-three years."
[Footnote 15: The information which M. Fetis gives of this Violin was
based on the inventory of Carlo Carli. It is also mentioned in the
correspondence between Count Cozio and Lancetti.]
In the absence of direct information concerning the life of
Stradivari, we must turn to his instruments for such evidence as we
require; and these, happily, give us a greater insight into his career
than would be readily imagined. I am not aware that any Violin of
Stradivari is known in which it is stated that he was a pupil of
Niccolo Amati, or that the assumption has been maintained on any other
grounds than the indisputable evidence furnished by the early
instruments of this great maker.[16] Never has affinity in the art of
Violin manufacture been more marked than that between Stradivari and
Niccolo Amati during the early life of the former. I have, in another
place, remarked upon the almost invariable similarity occurring
between the works of master and pupil, and have used this canon in
refutation of the doctrine that Giuseppe Guarneri del Gesu was ever a
pupil of Antonio Stradivari. Lancetti states that the instruments of
Stradivari made in 1665, and others in 1666, bear the label of Niccolo
Amati, and instances one that was in the collection of Count Cozio, to
which Stradivari made a new belly, many years later, in his best
style. It is certain that instruments as described by Lancetti have
been recognised by intelligent connoisseurs as wholly the work of
Stradivari (in which case, as may be imagined, they have no longer
been allowed to sail under false colours, but have had their proper
certificate of birth attached to them). In other instances the
beautiful scroll of Stradivari has been recognised on the body of an
Amati, or the sound-hole has shown that it was cut by the hand of
Stradivari.
[Footnote 16: Upon reference to Lancetti's MSS., I find that he states
Stradivari used a label with the words "Nicolai Amati Alumnus," about
1666.]
Having met with a Violin by Stradivari (since the publication of the
first edition of this work) dated 1666, it would appear that he left
the workshop of his master at that time, or not later than the year of
his marriage in 1667. The extracts obtained by Canon Bazzi from the
parish registers, relative to the pupils of Niccolo Amati, help to
establish the correctness of this view. Stradivari must have been in
the workshop of his master between the years 1658 and 1666. We have no
information of the pupils of Amati from 1654 to 1665. In 1666 the name
of Giorgio Fraiser is given; consequently Stradivari must have left
previous to 1666 or early in that year, and prior to the registration.
Between the years 1666 and 1672 there is observable a marked change in
style, and the workmanship is better. The instruments he made about
this period have wood for the most part singularly plain, and
different in kind from what his master used. His use of this material
I am disposed to attribute to the want of means rather than choice.
The purfling of these early instruments is very narrow, and many of
the backs are cut slab-form. Previous to about the year 1672, we find
that his whole work is in accordance with the plans of Amati (not as
seen in the latter's _grand_ pattern, but in his ordinary full-sized
instrument); the arching is identical, the corners are treated
similarly, the sound-hole is quite Amati-like in form, yet easily
distinguished by its extreme delicacy, the scroll a thorough imitation
of Amati, and presenting a singular contrast to the vigorous
individuality which Stradivari displayed in this portion of his work a
few years later. Enough has been said to enable the reader to
recognise the connection which must have existed between Amati and
Stradivari, to admit of such marked resemblances. Taking the
instruments of Stradivari as beacons throwing light upon many curious
and interesting points of the maker's manufacture, the number and
character of his Violins and Violoncellos made during the decade
following 1674 is indicative of his having increased both his
reputation and his patronage. The last year of this period, namely
1684, was that in which his master, Niccolo Amati, died, at the age of
eighty-eight. We have already seen, in the notice of Amati, that
Niccolo was the last member of the family who maintained unbroken the
long chain of associations connected with the house of Amati,
extending over a period of a century and a half. The circumstance of
all the tools, patterns, and models of Niccolo Amati having passed
into the possession of his pupil Stradivari, and not into that of his
son Girolamo (who was then thirty-five years of age), clearly shows
that the son did not succeed to his father's business. We are thus led
to believe that during the ten years above referred to, Niccolo Amati
had been gradually lessening his activity, and that the patronage so
long enjoyed by the Amati family fell for the most part to his gifted
pupil, Antonio Stradivari. Among the interesting items of information
supplied by the efforts of Paolo Lombardini, relative to Stradivari,
is that of the purchase of the house, in 1680, of the Brothers
Picenardi for seven thousand imperial lire, equivalent to above 800
pounds in present English money. This purchase, made about fourteen
years after Stradivari began to manufacture on his own account, well
marks the progress he made. I have, however, further proof of his fame
and prosperity at this period in the valuable extracts from the
manuscript of Desiderio Arisi, at Cremona.
[Illustration: _Plate XI_. ANTONIO STRADIVARI. _Tenor_. Date 1690.
(Made for the Grand Duke of Florence.) ANTONIO STRADIVARI. 1734. (LATE
GEO. AMES, ESQ.)]
The knowledge Arisi had of Stradivari is shown by the following
remarks written by him in the year 1720. He says, "In Cremona is also
living my intimate friend Antonio Stradivari, an excellent maker of
all kinds of musical instruments.[17] It will not be out of place to
make special mention of his merits. His fame is unequalled as a maker
of instruments of the finest qualities, and he has made many of
extraordinary beauty, which are richly ornamented with small figures,
flowers, fruits, arabesques, and graceful interlaying of fanciful
ornaments, all in perfect drawing, which he sometimes paints in black
or inlays with ebony and ivory, all of which is executed with the
greatest skill, rendering them worthy of the exalted personages to
whom they are intended to be presented. I have thought proper,
therefore, to mention some works of this great master, in testimony of
the high esteem and universal admiration which he enjoys." These
prefatory remarks of Arisi are followed by several important
statements, which I have arranged in accordance with the different
periods it will be necessary to refer to in the course of this notice.
[Footnote 17: Mention is made by Lancetti that in the year 1820 the
Marquis Carlo dal Negro, of Genoa, possessed a Harp bearing the name
of Stradivari. Mandolines and other stringed instruments have been
seen with his name attached.]
"In the year 1682, on the 8th of September, the banker Michele Monzi,
of Venice, sent him an order for the whole set of Violins, Altos, and
Violoncellos which that gentleman sent as a present to King James of
England."[18] The interesting remarks of Arisi with regard to the
inlaid instruments of Stradivari are those we should expect from an
admirer of delicate artistic work, who possessed no special knowledge
of Violins as instruments of music. The existence of some of the
instruments to which he refers, together with the tracings of the
actual designs and the tools with which the work was accomplished,
render his observations, read at this distance of time, peculiarly
pleasing. The possessor of the models, tools, labels, and drawings
used by Stradivari is the Marquis Dalla Valle, of Casale, to whom they
passed by inheritance from his great-uncle, Count Cozio, who purchased
them in 1775.
[Footnote 18: These instruments were probably sent to England in 1685,
or later.]
[Illustration: THE HOUSE OF STRADIVARI, WEST SIDE, PIAZZA ROMA,
CREMONA.]
Vincenzo Lancetti, referring to the collection, after mention of
Stradivari having been buried in the Church of S. Domenico, continues,
"As appears from the correspondence held in 1775, by the said Count
Cozio with Antonio's son Paolo Stradivari, cloth merchant, when the
former bought of the latter all the remaining Violins, the forms, the
patterns, moulds, and drawings of the said celebrated Antonio, as well
as those of the Amati, with which he enriched his collection." In an
article published in the "Gazzetta Piedmontese," October, 1881, upon
the occasion of the exhibition, at Milan, of the relics of the shop of
Stradivari, the writer gives the following account of the
negotiations: "Count Cozio, a great patron, intimate with the greatest
artists of the period, especially with Rolla, purchased, through the
instrumentality of the firm of merchants, Anselmi di Briata, from
Paolo and Antonio junior, respectively son and nephew of Antonio
Stradivari, in 1776, all the tools, drawings, labels, &c., which had
been used by the celebrated Violin-maker, and his heirs, who were
desirous that nothing belonging to him should remain in his native
town, as it is inferred, from a curious document, hastened to conclude
the sale."[19] It is certain, however, that Lancetti received his
information from the Count himself, and negotiations were certainly
carried on between Paolo and the Count, either directly or through his
agents, Anselmi di Briata.
[Footnote 19: Upon reference to the copy of this document (the
correspondence is given in the fourth edition of this work), I find
the words used by Paolo Stradivari to his correspondents Anselmi di
Briata run, after commenting upon the price offered, "However, to show
my desire to please you, and in order that not a single thing
belonging to my father be left in Cremona, &c.," having reference,
possibly, to some supposed feeling of indifference on the part of the
municipal authorities towards the memory of Antonio Stradivari, they
not having secured the moulds, patterns, &c.]
The contents of the letters of Paolo and Antonio Stradivari junior,
which the Marquis Dalla Valle has placed at my disposal, serve to
explain the two different accounts above given. We find that the Count
had two distinct transactions, directly or indirectly, with the family
of Stradivari. In 1775 he purchased the ten instruments made by
Antonio which remained out of ninety-one (complete and partly
finished) left by the maker at the time of his death in 1737. The
payment in connection with this transaction was arranged by the banker
Carlo Carli, which gave rise to the inventory upon which M. Fetis
based his statement as to the age of Stradivari. In the month of May,
1776, negotiations were entered upon with Paolo Stradivari, relative
to the tools, which led to their being sold. During their progress
Paolo died, October, 1776, and the business was left for his son
Antonio to complete in December, 1776. The copies of the letters
written by Paolo and Antonio Stradivari are given in the fourth
edition of this work, and the chief part of the matter therein is
referred to in the Section, "The Violin and its Votaries."
The next period to be noticed relative to the work of Stradivari is
that dating from 1686 to 1694. We here observe a marked advance in
every particular. The form is flatter, the arching differently
treated. The sound-hole, which is a masterpiece of gracefulness,
reclines more. The curves of the middle bouts are more extended than
in this maker's later instruments. The corners are brought out, though
not prominently so. Here, too, we notice the change in the formation
of the scroll. He suddenly leaves the form that he had hitherto
imitated, and follows the dictates of his own fancy. The result is
bold and striking, and foreshadows much of the character belonging to
the bodies of the instruments of his latter period, and though it may
seem daring and presumptuous criticism, I have often been impressed
with the idea that these scrolls would have been more in harmony with
his later works than those to which they belong. The varnish on the
instruments belonging to the period under consideration is very
varied. Sometimes it is of a rich golden colour, deliciously soft and
transparent; in other instances he has used varnish of a deeper hue,
which might be described as light red, the quality of which is also
very beautiful. The purfling is a trifle wider, but narrower than that
afterwards used.
From the, Arisi MSS. we have the following interesting information
relative to this period:--
"In the year 1685, on the 12th of March, Cardinal Orsini, Archbishop
of Benevento,[20] ordered a Violoncello and two Violins, which were
sent as a present to the Duke of Natalona, in Spain. The Cardinal,
besides paying liberally for the work, wrote an appreciative
acknowledgment of their merits, and appointed the artist to the place
of one of his private attendants." It may be remarked that the honour
conferred upon Stradivari was equivalent to appointing him maker to
the Archbishop.
[Footnote 20: Vincenzo Maria Orsini (of the illustrious family of the
Orsinis, Dukes of Gravina), born 1648, in the Neapolitan province of
Bari, was a learned professor of theology, and visited, between 1668
and 1672, several cities and towns, among others Naples, Bologna,
Venice, Brescia, and most likely Cremona, where he held conferences,
which were largely attended. He was created a Cardinal by Clement X.,
in 1672, Archbishop in 1675 in Manfredonia, in 1680 to Cesena, in 1686
to Benevento and Porto. In 1724 he was elected Pope, under the name of
Benedict XIII., and remained on the Pontifical throne until February,
1730, when he died, aged eighty-one.]
"In the same year, on the 12th of September, Bartolomeo Grandi, called
Il Fassina, leader of the Court Orchestra of His Royal Highness the
Duke of Savoy,[21] ordered of Stradivari a whole set of instruments
for the Court Orchestra."
[Footnote 21: Victor Amadeus II., Duke of Savoy and King of Sardinia,
was the Prince for whom Bartolomeo Grandi ordered the concerto of
instruments.]
"In the year 1686, on the 5th of April, His Serene Highness the Duke
of Modena (Francesco II. D'Este was then twenty-six years of age)
ordered a Violoncello, which, by special invitation, Stradivari was
requested to take to the Duke himself, who told him how pleased he was
to make his personal acquaintance, praised greatly his work, and
beyond the sum agreed paid him thirty pistoles (golden Spanish) as a
present."
On the 22nd of August, 1686, Marquis Michele Rodeschini ordered a Viol
da Gamba to be sent to King James II. of England.
In the year 1687 he made the set of instruments for the Spanish Court,
inlaid with ivory, and having a beautiful scroll work running round
the sides and scroll. Arisi evidently refers to this event in the
following extract: "On the 19th of January, 1687, the Marquis Niccolo
Rota ordered a Violoncello for the King of Spain." One of the Violins
of this set was purchased in Madrid about thirty years since by Ole
Bull. The Tenor belonging to this quatuor has lost its ivory work, a
blemish which is to be regretted. He also made, about this period,
some very small Violins with similar designs, instruments evidently
made to order.
"On the 7th of August of the same year, 1687, the nobleman Don
Agostino Daria, General-in-Chief of the Spanish Cavalry in Lombardy,
while he was residing in Cremona, obtained from him a Violoncello."
We now reach the year 1690, in connection with which Arisi has
supplied information of singular interest. He says: "On the 19th of
September, 1690, Stradivari received the following letter from the
Marquis Bartolommeo Ariberti,[22] a Cremonese nobleman--'The other day
I made a present of the two Violins and the Violoncello which you made
for me to His Highness the Prince of Tuscany;[23] and I assure you, to
my great satisfaction, he has accepted them with such pleasure that
more I could not expect. The members of his orchestra--and he
possesses a select number--were unanimous in expressing their great
appreciation, declaring the instruments quite perfect, and, above all,
exclaiming with one voice that they had never heard a Violoncello with
such an agreeable tone. For the highly flattering reception with which
my present has been received by His Highness, and which I cannot
sufficiently describe, I am principally indebted to the care which you
have used in the manufacture of the instruments. At the same time I
hope to have by this present shown you my appreciation, and of having
acquired the merit of practically bringing to the knowledge of such a
personage the truth of your great skill, which will procure you,
undoubtedly, many orders from this exalted house. To prove this, I
have now to request you to begin at once two Tenors, one _Tenor_ and
the other _Contralto_, which are wanted to complete the
concerto.'"[24]
[Footnote 22: The Marquis of Ariberti was born in 1666, and died 1724.
He was an elegant writer, and a member of several literary academies.
He was for some time in Tuscany. Upon returning to Cremona, where he
settled, he built in 1687, at his own expense, a theatre called after
his own name, Ariberti. He, being a passionate lover of music, was
anxious to have in his own establishment (the theatre adjoining his
palace) a place of amusement for himself and his family. About the
year 1710 he gave up the building to a religious brotherhood, and a
church was built on the site, and used until 1798, when the
brotherhood was suppressed, and, by a singular coincidence, the
building was bought in 1801 by a society of dramatic authors, and
again opened as a theatre, which still exists, and is called Teatro
Filodrammatico. The Marquis Ariberti was appointed by Joseph I.,
Emperor of Austria, to the title of Lieutenant-Marshal; he was a
member of the High Council of State in Milan. He was buried in the
church, which, as above mentioned, was afterwards used as a theatre.
(_See_ Lancetti, "Biografia Cremonese," I vol., Milano, 1819.)]
[Footnote 23: Cosimo III. de Medici.]
[Footnote 24: A chest of Viols, Mace tells us, in his "Musick's
Monument," 1676, consisted of two Basses, two Tenors, and two Trebles.
A Concerto of Violins in Italy, according to the letter of Ariberti,
consisted of one Bass, two Tenors (Contralto and Tenor) and two
Violins. The term "Concerto" was introduced at the beginning of the
17th century, in connection with sacred music in parts. These
compositions were called Church Concertos. Towards the end of the 17th
century compositions were introduced for instruments called Chamber
Concertos.]
In the collection of relics of the great master, in the possession of
the Marquis Dalla Valle, there are some items which appear to be
connected with this most interesting letter: I refer to the designs
for a case, or cases, for a concerto of instruments dated 1684, which
Stradivari himself describes as being for the Grand Duke of Florence.
The date upon these designs is indicative of the order for the Violins
and the Violoncellos having been given in that year (1684) by the
Marquis Ariberti, who at the same time gave certain instructions as to
cases and armorial designs. The completion of the order, however,
appears to have been delayed, and the instruments were not delivered
until 1690. The instructions given in the above letter to Stradivari
to complete the concerto by making the Tenors (the patterns of which
are among those in the possession of the Marquis Dalla Valle, signed,
and dated 1690), and the existence of the Violoncello and one of the
Tenors at Florence, dated 1690, are confirmatory of the opinion that
the order was executed in 1690. The following inscription, under the
left shoulder or side, is in the Tenor: "Prima 20 Ottobre 1690 per S.
A. Da Fiorenza." It is interesting to find that the Grand Duke also
possessed a Stradivari Violin, dated 1716, which is in Florence,
together with the instruments above referred to. It is therefore
evident that the belief of the Marquis that Stradivari would receive
further orders from the Grand Duke was realised.
Between the years 1690 and 1700 Stradivari made, together with the
form of instrument just described, that known to connoisseurs as the
"long Strad." We have here quite a differently constructed instrument;
it is less graceful, although there is no absence of the masterly hand
throughout the work. It has received the title of "long Strad" from
its increased length, as the name would imply.[25]
[Footnote 25: The usual length measurements of the various patterns
are as under:--
(1) "Amatise," 13-7/8 inches.
(2) "Long Strad," 14-1/8 (occasionally 14-1/4) inches.
(3) "Grand pattern," 14 to 14-1/16 inches.--EDITORS.]
Fortified with the experience which the variously constructed
instruments referred to had enabled him to gather, he would seem to
have marshalled all his forces in order to enter on an entirely new
campaign, one that should be alike glorious to himself and his art.
That he succeeded in achieving all that he could have desired, my
readers will have an opportunity of judging by the evidence I propose
to offer. It was about the year 1700 when Stradivari entered upon a
new era in his art. All his past labours appear to have been only
measures preliminary to that which he proposed afterwards to
accomplish, and were made for the purpose of testing, to the minutest
degree, the effect of particular modifications in the form and
thickness of his works.
If we stay to consider for a moment the field of research traversed by
Stradivari before entering upon what may be not inaptly named the
golden period of his life, artistically considered, we shall be better
enabled to appreciate his labours.
Starting from the days when he left the workshop of Niccolo Amati, we
find him following implicitly in the footsteps of his master. About
1686 he makes use of the more commendable points belonging to the
works of former years, adding others of great beauty and utility. At
this period he begins to make his originality felt, continuing in this
vein, with but little intermission, down to about the year 1690, when
he again gives forth fresh evidence of his power to create, as shown
in the "long Strad." In expending his powers on those instruments of
varied proportions, it might occur to the mind of the observer that he
was undoing much that he had accomplished; but I do not consider that
such was the case. His project in making these instruments _together_
with those of larger dimensions, evidences, in my opinion, a desire
that he had of fairly testing the result of changed methods of
construction. The marked variety of his work about this period of his
life, I cannot but regard as sufficient proof of the tentative
character of the steps he was taking in his art.
From this brief summary of the varied styles given to the works of
this true artist, the reader may gather some idea of the solidity of
the foundation which he laid, before trusting himself to raise those
works which have become monuments to his memory.
That which I have termed the golden period of Stradivari, commenced
about 1700, at which time he reached his 56th year: a time of life
when it is a rare occurrence to find genius asserting itself with any
degree of power--a time, if not of waning, at least of resting, when
the mind usually stays from giving forth originality bearing the
freshness of earlier years; but Stradivari, with a few other notable
instances in the field of art, forms an exception to this rule, and he
proves to us that his talent was then in its full vigour, and ripe for
new achievements. George Eliot's fancy well contrasts the painter
Naldo--
"Knowing all tricks of style at thirty-one,
And weary of them; while Antonio
At sixty-nine _wrought placidly his best_."
From about 1700 his instruments show to us much of that which follows
later. The outline is changed, but the curves, blending one with
another, are beautiful in the extreme. The corners are treated
differently. The wood used for the backs and sides is most handsome,
having a broad curl. The scrolls are of bold conception, and finely
executed. The varnish also is very rich, and leaves nothing to be
desired.
It is not possible to convey to the reader, by means of mere
description, anything approaching an adequate notion of the surpassing
gracefulness of the entire work of this epoch. The eye must be made
the channel to the mind. If the work is present, then, with the aid
which these remarks will afford, the reader may gain, by careful
study, much valuable insight into the beauties and genius of this
famous artist, together with much useful information.
But during this period of his maturity, even, we find that Stradivari
did not absolutely confine himself to making instruments as near as
possible alike; on the contrary, it is easy to point out certain
variations, the meaning of which he doubtless well understood. We find
him guided throughout this period by his usual ideas as regards
grandeur of outline and degrees of thickness; but the rotundity of the
model, the shape that he gave to the sound-hole, the method of setting
the sound-hole in the instrument, although, as before remarked, all
executed with a breadth of purpose which his earlier efforts fail to
show, may be cited as points in which he varied. I have no hesitation
in hazarding an explanation of the reasons that prompted him to these
differences of construction. It is my firm conviction that these great
makers had certain guiding principles as regards the nature and
qualities of the wood they used, and that Stradivari, in particular,
made the subject a special study. If this be granted, I do not think
there is any great difficulty in understanding the meaning of the
differences pointed out. If Stradivari constructed his instruments
upon philosophical principles, the chief element of variation in the
treatment of any particular instrument must have been the difference
of _quality_ in the material; it is evident that a method eminently
successful when applied to wood of a certain texture and character,
would ensure as eminent a failure if applied indiscriminately in all
cases. To obtain wood sufficient for two bellies that should be alike
in every particular is impossible, though cuttings should be made from
the same piece; and we find that the more the material varies in its
nature, so much the greater the variations--a fact which helps the
view advanced considerably. In another place I have stated that
scarcity of sycamore in the days of these old makers is impossible to
understand, but scarcity of a particular _kind_ of sycamore is easy to
comprehend. He might have had a cartload of wood handsome in
appearance; but handsome wood combined with acoustical properties he
deemed needful, was another matter. With what extraordinary care he
permitted himself to use the lovely wood he did possess! There are
several instances where he has used, during one year, four or five
distinct cuttings of wood, more particularly as regards the sycamore.
These several cuttings include often the handsomest and the plainest.
A year or so later we find him again making use of wood from the same
cuttings, which proves satisfactorily that he did not work up one
piece before commencing with another. He would seem to have kept back
the handsomest wood for certain important commissions. I have seen
three Stradivari Violins of 1714, with backs having but little figure,
yet this was the year in which he made the "Dolphin," which is
regarded by the chief connoisseurs in Europe as a _chef-d'oeuvre_ of
Stradivari. From the days when it was in the possession of the Marquis
de la Rosa to the present time, its beauty has excited the admiration
of the Fiddle world. The splendour of the wood is unsurpassed in any
Violin, ancient or modern, and it was named the "Dolphin" from the
richness and variety of the tints it gives to the varnish. The model
is perfection; its solidity of construction and glorious varnish all
tend to make it unique. Its beauty is of a kind that does not require
the eye of the skilled connoisseur to recognise it; it causes those to
exclaim whose knowledge is limited to being aware that it is a Fiddle.
His making this superb work of art in the same year in which he made
instruments having wood quite opposite in figure, bears out, I
consider, what I have before stated, viz., that Stradivari jealously
guarded the material he possessed having both handsome figure and
valuable acoustical properties. Mr. Charles Reade says of these
"Strads": "When a red Stradivari Violin is made of soft, velvety wood,
and the varnish is just half worn off the back in a rough triangular
form, that produces a certain beauty of light and shade which is, in
my opinion, the _ne plus ultra_. These Violins are rare; I never had
but two in my life."
[Illustration: _Plate XII_. GIUSEPPE GUARNERI DEL GESU. 1738. (B.
SINSHEIMER, ESQ.) THE "DOLPHIN" STRAD. Date 1714. ANTONIO STRADIVARI.
1718. (W. S. McMILLAN, ESQ.)]
It is conceivable that a manufacture so successful as Violin-making
proves itself to have been in Italy during the seventeenth and part of
the eighteenth centuries, should give rise to scientific inquiry, in
order to discover the reason of the excellence of the best Italian
instruments, and, if possible, the principles or laws which guided the
makers in the exercise of their genius. That investigations of this
character should be attended with important results in connection with
the science of acoustics, is to be expected. As to laws or principles
of a scientific character, I doubt whether such were recognised or
understood when the excellence of the manufacture was greatest,
believing that Violin makers of the order of Stradivari must be like
poets, "born artificers, not made." The chief merits of Stradivari and
his contemporary makers were intuitive. Their rules, having their
origin in experience, were applied as dictated by their marvellous
sense of touch and cunning, with results infinitely superior to any
obtained with the aid of the most approved mechanical contrivances.
When to these considerations we add that devotedness of purpose,
without which nothing really great in art has been accomplished, we
have a catalogue of excellences sufficient to account for the
greatness of their achievements.
Turning again to the manuscript of Arisi, we find that "On the 12th of
May, 1701, Don Antonio Cavezudo, leader of the private orchestra of
King Charles II. of Spain, wrote a highly complimentary letter to
Stradivari from Madrid, assuring him that though he had received bow
instruments from several makers, for different courts, yet he had
never been able to obtain them of such a refined and beautiful tone as
those made by him." Arisi adds that Don Antonio Cavezudo was also in
the service of the Duke of Anjou.
M. Fetis, in his notice of Stradivari,[26] remarks: "The life of
Antonio Stradivari was as tranquil as his calling was peaceful. The
year 1702, alone, must have caused him much disquiet, when, during the
war concerning the succession, the city of Cremona was taken by
Marshal Villeroy, retaken by Prince Eugene, and finally taken a third
time by the French; but after that period Italy enjoyed a long
tranquillity, in which the old age of the artist glided peacefully
away."
[Footnote 26: "Notice of Anthony Stradivari," by F. J. Fetis,
translated by John Bishop. 1864.]
A campaign had taken place in Italy in 1701, when Prince Eugene, with
thirty thousand troops, out-generalled Catinat, the able French
commander, giving Louis XIV. the opportunity of placing the empty and
presumptuous Villeroy in command. Prince Eugene had greatly harassed
the French in Italy, when, in the night of February 1, 1702, he
surprised the French garrison of Cremona, and, though momentarily
successful, "missed the town," as Eugene said, "by a quarter of an
hour," but carried off the Commander-in-Chief, Villeroy, which the
popular song-writers of the day construed into "a double gain to
France"--Cremona saved, and Villeroy lost.
It is conceivable that Stradivari, together with his fellow-citizens,
witnessed during the year 1702 more of the pomp of war than was
agreeable. The blowing of trumpets, the beating of drums, and other
martial sounds, would be music not likely to touch pleasantly the ears
of Stradivari, apart from the discomfort attendant on military
occupation. He, however, appears to have practised his art with
undiminished zeal, judging from the following interesting information
given by Arisi. He says: "Stradivari made a complete set of bow
instruments, which he intended to present to Philip V. of Spain, on
the occasion of the passage of the King through Cremona; and he had
prepared a memorial to that effect; but he was dissuaded, and the
instruments are still in his possession."
No date is supplied with regard to the events above named; we are
therefore left to assign the period when the presentation was to have
taken place by reference to other sources of information. In an
official diary of the journey of Philip V. to Italy[27] it appears
that the King arrived in Lombardy on the 10th of June, 1702, and that
from Milan he went to Lodi on the 1st of July, and made his entry into
Cremona two days later, July the 3rd, at one o'clock in the afternoon.
Philip remained several days in the town, receiving visits from the
Dukes of Parma and of Mantua, and held there several councils of war
with the generals of the allied armies (Spanish and French), and
appears to have left Cremona on the 20th of July for the seat of war
near Mantua. After the victories of Luzzara and Guastalla, the King
passed again through Cremona, arriving there on the 3rd of October,
staying one night, and leaving the following day for Milan. On this
occasion there was much festivity on account of the victories, and the
King distributed sums of money and presents for the wounded, the
officers, and the generals. It would therefore appear that Stradivari
purposed presenting the instruments to Philip either in July or
October, 1702. The condition of affairs at Cremona at this period
apparently serves to explain the cause of Stradivari having been
dissuaded from presenting the instruments.
[Footnote 27: Contained in the work of Don A. de Ubilla y Medina,
Marquis de Ribas, entitled, "Succession de el Rey D. Philipe V.';
Diario de sus Viages, &c." Madrid, 1704, fol.]
"On the 10th of November, 1702, the Marquis Giovanni Battista Toralba,
General of Cavalry and Governor of Cremona, sent for Stradivari, and,
after complimenting him on his peculiar genius, ordered two Violins
and a Violoncello, which were afterwards sent as a present to the Duke
of Alba.
"In the year 1707, the Marquis Desiderio Cleri wrote to Stradivari, by
order of King Charles III. of Spain, from Barcelona, ordering for the
royal orchestra six Violins, two Tenors, and one Violoncello."
This extract refers to the Archduke Charles of Austria, afterwards
Emperor Charles VI. Charles III., aided by the British fleet, occupied
Barcelona in 1706. We have, therefore, the interesting facts that
Stradivari made a complete set of instruments which he intended to
present to Philip V., and that he was afterwards commissioned to make
another set for Philip's opponent, the Archduke.
Lorenzo Giustiniani, a Venetian nobleman, wrote to Stradivari the
following letter, which he received July 7, 1716:--
"Venice, Giustiniani Palace,
"Campiello dei Squellini.
"It is generally known that there is not at the present time in the
world a more skilled maker of musical instruments than yourself; and
as I wish to preserve a record of such an illustrious man and famous
artist, I trouble you with this letter, to ask whether you feel
disposed to make me a Violin, of the highest quality and finish that
you can bestow upon it."
The following extract from Arisi's manuscript brings us to the end of
the interesting information therein contained in reference to the
subject of this notice, and amply justifies the closing words of the
author, who says: "From what I have written it may be seen how great
is the excellence of Stradivari's art."
"In 1715, on the 10th of June, Giovanni Battista Voleme, director of
the private orchestra of the King of Poland, arrived in Cremona, by
special order of the King, to await the completion of twelve Violins,
which had been ordered of Stradivari, and he remained here three
months; and when all the instruments were ready, he took them with him
to Poland."
Arisi doubtless refers to the Belgian musician Jean Baptiste Volumier,
who was musical director to Augustus, Elector of Saxony and King of
Poland, famous as a patron of music and the arts. It was Augustus who
appointed Francesco Maria Veracini as his solo Violinist in 1720, and
on the title-page of the charming Sonatas of Veracini we read--
"Dedicata
a sua Altezza Reale,
il Serenissimo Principe Reale di Pollonia
et Elettorale di Sassonia.
Francesco Maria Veracini Fiorentino
Compositore di Camera di sua Maesta."
The blending of the names of Stradivari, Augustus, and Veracini,
serves to carry our thoughts into channels overflowing with
interesting musical records. Voleme (Volumier) is said to have taken
the instruments from Cremona to Poland. It would therefore appear that
the Royal Orchestra was then stationed at Warsaw, the Court Musicians
having to divide their time between that city and Dresden. In these
capitals Jean Baptiste Volumier directed the music of the Elector
Augustus from the year 1706 to 1728. Veracini was appointed solo
Violinist in 1720 to Augustus, and the instruments which Stradivari
made for the King were, therefore, only five years old. Though new,
their tones were doubtless rich and beautiful. Veracini, it may be
assumed, saw, heard, and played upon these comparatively new
Stradivari Violins. He, however, whilst fully alive to their sterling
merits, played, in all probability, upon his Stainers, which he named
"St. Peter" and "St. Paul," with more pleasure, from their being
thoroughly matured. The order given by Augustus to Stradivari, and the
King's determination to have it executed, throws a strong side-light
on the lofty position held by Stradivari as a maker of Violins. It
also appears to furnish, in some measure, an explanation of the length
of time he took to execute the order given by the Marquis Ariberti. We
have here an artist of European celebrity, who was incapable of
executing indifferent work. Commissions flowed from the chief courts
faster than they could be executed. The genius of Stradivari could not
but be true to itself. He scorned to sacrifice quality at the shrine
of quantity. His patrons had, therefore, to wait patiently for their
instruments, though it might be for years. The Elector of Saxony was
evidently resolved upon securing his Violins, and it cannot be denied
that the measures he adopted to accomplish his purpose did credit to
his perseverance, and reflected honour on the Raphael of
Violin-making.
Passing to the last period of this great maker, we enter upon the
consideration of a set of instruments very distinct from those of an
earlier date, and which have given rise to a great divergence of
opinion. Some have gone to the extent of denying the authenticity of
these works, as far as they relate to Stradivari; others, again, admit
that portions of these instruments are from his hand, and finished by
his sons or Carlo Bergonzi. There are, doubtless, many exceedingly
crude-looking instruments passing under his name, bearing dates
ranging from 1730 to 1737, in the making of which he has taken no
part; but, on the other hand, to deny that there are any works of
Stradivari having these dates is to deny established facts. He must be
an ill-informed judge of Violins who fails to recognise the hand of
the master in several splendid specimens of this period. The rich oil
varnish with which they are covered is precisely the same in quality
as that found upon the instruments belonging to other periods, and
which he used without exception throughout his career. It is, perhaps,
laid on less carefully, and its colour is more varied. In some
instances it is brown, and in others light red, the tone of colour
varying according to the number of coats. He seems to have used,
generally, more varnish upon these instruments than on his earlier
ones. The thickness of the coats is seen in those parts (on the back
in particular) where the varnish is worn and broken, caused, in all
cases, by the shoulder of the player and the lining of the case upon
which the back rests. It must be borne in mind that Stradivari had
reached a great age when he made these instruments, and he evidently
felt proud of his ability to continue his artistic labours after
passing his ninetieth year, from the number of Violins wherein, in his
own handwriting, he proclaimed himself a nonagenarian. It would not be
reasonable to expect to find so high a finish as in the instruments
made from 1700 to 1725, but even in these there is a finish distinct
from that of either his sons or Bergonzi. But, beyond this, there is
recognisable the splendid form, the masterly scroll, and the perfect
sound-hole. To say that Omobono Stradivari, Francesco Stradivari, or
Carlo Bergonzi had any share in these notable works, evidences hasty
judgment, if not ignorance of the style of those makers to whom these
instruments are attributed. The work of Carlo Bergonzi is now pretty
well understood; in England, particularly, we have some glorious
specimens. I need only ask the unbiassed connoisseur if he can
reconcile one of these instruments with those of Stradivari of the
period named. I have no hesitation in saying that there is not a
single feature in common. The work of the sons of Stradivari is less
known, but it is as characteristic as that of Bergonzi, and quite as
distinct from that of their father, if not _more_ so. The outline is
rugged, the modelling distinct, the scroll a ponderous piece of
carving, quite foreign to Stradivari the elder, and the varnish,
though good, is totally different from the superb coats found on the
father's works of late date.
The division of the work of Stradivari into periods makes the reader
more acquainted with the maker's style. It must be remembered,
however, that he did not strictly confine himself to making
instruments wholly of one pattern at any time, although he certainly
did so with but few exceptions until the last period, when, as
Lancetti rightly observes, he used more frequently his earlier
patterns.
The exact spot where Stradivari was buried was made known by the
researches of Signor Sacchi, a Cremonese conversant with the annals of
his native city.[28] This was an interesting addition to the meagre
information previously handed down to us touching Stradivari. It had
long been known that a family grave was purchased by Stradivari in the
church of San Domenico, in the year 1729: but in the certificates from
the Cathedral of Cremona it is stated that he was buried in the tomb
of Francesco Villani, no mention being made of San Domenico. The exact
words are, "_Buried in the Chapel of the Rosary, in the parish of St.
Matthew_." The omission of the name of the church wherein this chapel
stood has led to the belief that the precise spot where the mortal
remains of Stradivari rest was unknown. Signor Sacchi finds that the
historians of Cremona (but especially Panni, in his "Report on the
Churches of Cremona, 1762") mention that the Church of San Domenico
was in the parish of St. Matthew, and that the only chapel known by
the name of "The Rosary" was the third on the right, entering the
Church of San Domenico.
[Footnote 28: "The Orchestra" of July 15, 1870, contains a notice
relative to the circumstance, entitled "The Tomb of Stradivari."]
An important point is mentioned by the historian above quoted, viz.,
that about the year 1720 the Parish Church of St. Matthew being judged
too full to allow of further burials in its interior, the Church of
San Domenico (its subsidiary church) was chosen as a place of burial
for the parishioners, for which purpose it was used down to about
1780, and that Stradivari purchased there the grave mentioned. This
statement is confirmed by the autograph letter of Count Cozio di
Salabue, of Casale Monferato, Piedmont.
[Illustration: 1. Church of S. Domenico. 2. Chapel of the Rosary. 3.
Tomb of Stradivari. 4. Church of St. Matthew (since 1820 the Post
Office, the church having been profaned in 1808 by the French). 5.
Convent of the Dominican Friars. 6. House of Stradivari. 7. House of
Bergonzi. 8. House of Guarneri. 9. Tower of the Church of S. Domenico.
10. The Sacristy. 11. Shop of Ruggeri (Via dei Coltellai). 12-13. Shop
of Amati. 14. Shop of Storioni, and afterwards that of Ceruti.]
The Church of San Domenico was, in consequence of its decayed
condition, demolished about the year 1870. Becoming aware of what was
taking place, I gave instructions that a photograph should be taken of
the chapel in which the body of Stradivari was interred. This was
accomplished whilst the workmen were in the act of levelling the
structure, and it has been engraved on wood for the purpose of
insertion in this volume. The stone with the inscription "Sepolcro di
Antonio Stradivari E Svoi Eredi Anno 1729," which served to denote the
spot where the body was buried, is now preserved in the Town Hall of
Cremona. Signor Sacchi remembered it having been placed in the corner,
close to the steps and iron railing inside the third chapel on the
right, in the Church of San Domenico.
M. Fetis says of Stradivari, "We know but little respecting that
uneventful existence. Polledro, late first Violin at the Chapel Royal
of Turin, who died a few years ago, at a very advanced age, declared
that his master had known Stradivari, and that he was fond of talking
about him. He was, he said, tall and thin, habitually wore, in winter,
a cap of white wool, and one of cotton in summer. He wore over his
clothes an apron of white leather when he worked, and as he was always
working, his costume scarcely ever varied. He had acquired more than
competency by labour and economy, for the inhabitants of Cremona were
accustomed to say, 'As rich as Stradivari!'"[29] The house he occupied
stands in the Piazza Roma, formerly called the Square of San Domenico,
in the centre of which was the church of the same name. The house is
still in good condition, and is the principal place of interest in the
old city of Cremona to the many admirers of Stradivari who visit the
seat of Violin-making in olden times. After the death of Stradivari it
was occupied by his sons Omobono and Francesco; and afterwards by the
maker's youngest son, Paolo, who carried on there the business of a
cloth merchant. Stradivari worked on the ground floor, and used the
upper storey for varnishing.
[Footnote 29: "Notice of Anthony Stradivari."]
It is somewhat singular that the Cremonese take but little apparent
interest in the matter, and have expressed themselves as being
astonished at the demonstrations of respect which their French and
English visitors pay to the hallowed spot. The better-informed
Cremonese have some acquaintance with the name of Stradivari; but to
create any enthusiasm among them from the fact of his having been a
Cremonese, or from the historical associations which connect him with
that city, would be difficult. After the exercise of considerable
patience and determination, Signor Sacchi, in conjunction with a few
Cremonese, managed to raise sufficient enthusiasm among the
inhabitants to permit the authorities to name a street after
Stradivari, and another after Amati. This worthy act was performed by
the late librarian, Professor Pietro Fecit, who aided Signor Sacchi in
his researches in connection with the past of Cremona's Violin-makers.
This street-naming was much opposed at the time. The citizens of
Cremona are, however, not quite singular in this respect. It has been
remarked that our American friends show far greater interest in
Stratford-upon-Avon and its memories than we ourselves do. I must
confess that I have great respect for the genuine enthusiast.
The Cremonese have scarcely an idea of the extent of veneration with
which we admirers of the art regard their illustrious citizen. They
will be astonished to hear that "Stradivari" forms the Christian name
of some Englishmen. A well-known dealer, some years since, determined
to commemorate his admiration for the great maker, and, accordingly,
named his descendant "Stradivari Turner." We have stepped out of the
ordinary path of house nomenclature, and have adopted the cherished
name of "Stradivari" to the bewilderment of the passer-by, whose
unmusical soul fails to be impressed by it. To crown our seeming
eccentricities (in the eyes of our Italian friends), I may mention
that the magic name has found its way into circles where little
interest is taken in the subject of this notice, judging from the
following announcement, which appeared in the profane pages of a
newspaper: "_Waterloo Purse.--E. Mr. Goodlake's Gilderoy beat Earl of
Stair's Stradivarius, and won the Purse;_" the result showing that
Stradivari was evidently out of place in such company.
STRADIVARI, Francesco, Cremona, 1720-43.
Franciscus Stradivarius Cremonensis
Filius Antonii faciebat Anno 1742
Son of Antonio Stradivari. Worked with his brother Omobono for several
years. Many of the later works of Antonio Stradivari have been
attributed to his sons. The character of the work is wholly distinct.
I can well understand the error of attributing the instruments of
Francesco Stradivari to Carlo Bergonzi, there being many points in
common, but that so many marked specimens of the works of Antonio
should be deemed apocryphal is beyond my comprehension. The work of
Francesco is altogether less finished, but at the same time it shows
the hand of the master. The design is bold and original. The tone of
Francesco's instruments is invariably rich and telling.
Lancetti states--speaking of Francesco Stradivari--"After the death of
his father, he made several Violins and Tenors, to which he put his
own name. Although he did not succeed in perfectly imitating the works
of his father, the instruments which he made in the years 1740 and
1742, and which remained after his death in the possession of his
brother Paolo, were sold at the same price as those of his father, as
mentioned in the correspondence between Count Cozio and Paolo.
Francesco died at the end of 1742, the year Omobono died, and in which
he made the Violins bought by Count Cozio." The date of death (as
given by Lancetti), though incorrect by some months--he having died
May 11, 1743, aged 72 years--shows the care and trouble taken to
render the information as complete as possible, these dates having
been given without reference to registers, but simply as stated by
Paolo.
STRADIVARI, Omobono, Cremona, 1742.
Omobonus Stradivarius filius Antonii
Cremone fecit, Anno 1740.
Brother of Francesco. Lancetti remarks, "Omobono chiefly restored
instruments and arranged and regulated them." Francesco, it will be
seen, survived his brother about thirteen months, and with him, as
with Girolamo Amati, the son of Niccolo, we reach the end of the
family's long and historical career of Violin-making. Upon the death
of Francesco, the shop in the Piazza San Domenico (now named Piazza
Roma) was closed, after having been occupied by the family of
Stradivari as Violin-makers for upwards of sixty-three years. From
here were sent into cathedral, church, and royal orchestras the
largest number of Violins and kindred instruments ever made by one
maker--instruments which bore the indelible stamp of genius and have
gladdened the sight and hearing of untold thousands. The famous shop,
as previously noticed, was next opened by Paolo Stradivari, who was a
cloth merchant or warehouseman. Paolo died in 1776, a year after the
date of the correspondence which passed between him and Count Cozio di
Salabue. Antonio, son of Paolo, born in 1738 and married in 1762, had
a son Giacomo, born in 1769 and married in 1797. Cesare, the son of
Giacomo, became a physician in Cremona, married in 1838, and left, as
the representative of the Cremonese branch of the family, Dr. Libero
Stradivari, a barrister-at-law and an excellent performer on the
flute.
SURSANO, Spirito, Coni, 1714-35.
TANEGIA, Carlo Antonio, Milan, early in the 18th century.
TANINGARD, Giorgio, Rome, 17--.
TECCHLER, David, Rome, 1680-1743.
David Tecchler Liutaro
fecit Romae 17--
A highly esteemed maker. He worked in Venice, Salzburg, and Rome,
chiefly in the latter city. His instruments vary in form, some having
a marked German style: they are high-modelled, and the sound-hole
partakes of the Stainer character. These were probably made in
Salzburg, to the order of his patrons. Those instruments which date
from Rome are chiefly of the Italian type, and are so much superior to
the others that it seems difficult to reconcile varieties so distinct
as the work of the same man. They are finely formed, have splendid
wood, and rich varnish of a yellow tint; the bellies are of a mottled
character, similar to those so much used by Niccolo Amati. His
Violoncellos are among the finest of his instruments. They are mostly
of a large size.
TEDESCO, Leopoldo, pupil of Niccolo Amati. He went to Rome. I have
seen a Violin of his make dated from there 1658. Workmanship a little
rough, good varnish, Amati outline.
TESTORE, Carlo Giuseppe, Milan, about 1690 to 1720. The form resembles
that of Guarneri. The wood is often plain in figure.
TESTORE, Carlo Antonio, Milan, about 1730 to 1764. Son of Giuseppe.
Copied Guarneri and Amati. These instruments are bold and well made;
their tone is excellent; wood often plain in figure.
TESTORE, Giovanni, son of Carlo Antonio.
TESTORE, Paolo Antonio, Milan, about 1740. Brother of Carlo Antonio.
Copied Guarneri. The varnish is mostly yellow; frequently unpurfled.
TIEFFENBRUCKER, Leonardo, Padua, 1587. Lute-maker.
TODINI, Michele, seventeenth century, a native of Saluzzo, lived for
many years at Rome. Todini was the inventor and maker of a great
number of musical contrivances, in which clockwork played an important
part. He occupied himself with this manufacture for several years, and
turned his house into a kind of musical museum. He published in 1676 a
pamphlet describing its contents. His name is associated with our
subject in having adopted a new mode of stringing the Violono, or
Double-Bass, by using four strings, and playing himself upon the
instrument at oratorio performances in Rome. I have mentioned in
Section I. that the Violono was originally used with several
strings--five, six, or seven--and with frets. Todini is therefore
credited with having introduced the method of stringing the Double
Bass which led to the conversion of the old Violonos into
Double-Basses fitted for modern requirements.
TONONI, Carlo, Bologna. At the exhibition at Milan in 1881, an inlaid
Kit, of beautiful workmanship, was exhibited of this maker.
Carolo Tunonus fecit Bononiae
in Platea Castaelionis Anno Domini 1698.
TONONI, Carlo Antonio, Venice, born at Bologna, probably a son of the
above.
Carolus Tononi Bonon fecit Venetiis
sub Titulo S. Cecilae Anno 1739.
The model varies very much; those of the flat pattern are excellent
instruments. They are large, and beautifully made. The varnish, though
inferior to that of Santo Serafino, is similar. These Violins are
branded above the tail-pin. His instruments date from about 1716.
TONONI, Giovanni, about 1700. Similar characteristics.
TONONI, Felice, Bologna.
TONONI, Guido, Bologna.
TOPPANI, Angelo de, Rome, about 1740. Scarce; workmanship resembles
that of Tecchler.
TORTOBELLO, Francesco, Rome, 16--. Maggini characteristics.
TRAPANI, Raffaele, Naples, about 1800. Large pattern; flat model;
purfling deeply laid; edges sharp; scroll heavy.
VALENZANO, Gio. Maria, Rome, 1771 to about 1830. Neapolitan character;
neat work; varnish excellent in some specimens, being soft and
transparent.
VETRINI, Battista, Brescia, about 1629. Yellow varnish of good
quality; handsome wood; rather small.
VIMERCATI, Paolo, Venice, about 1700. Similar to Tononi. Jacob Stainer
is said to have worked in the shop of Vimercati.
WENGER, Padua, Lute-maker, 1622.
ZANNETTO, Pellegrino, Brescia, 1547. M. Chouquet in his "Catalogue
Raisonne" of the instruments at the Conservatoire in Paris, describes
a six-string Viol da Gamba of this make.
ZANOLA, Giovanni Battista. Flat model; rough workmanship; German
character.
Joannes Baptista Zanola, Verona, 17--
ZANOLI, Giacomo, 1740-80. Verona. Worked in Venice, Padua, and Verona.
Venetian character.
ZANOTTI, Antonio, Mantua, about 1734.
Antonius Zanotus, fecit Mantuae, anno 1734.
ZANTI, Alessandro, Mantua, 1765. He copied Pietro Guarneri, but had
little knowledge of varnishing, if we are to judge from the few
instruments of this maker extant.
ZANURE, Pietro, Brescia, 1509. A maker of Viols.
ZENATTO, Pietro, Treviso, about 1634.
Pietro Zenatto fece in
Treviso Anno 1634.
SECTION VII
The French School
The French have long occupied a foremost place in the production of
articles needing delicate workmanship, and it is therefore not
surprising that they should at an early period have turned their
attention to the art of Violin-making, which requires in a high degree
both skilful workmanship and artistic treatment. The French
manufacture of Violins appears to have commenced about the same period
as the English, viz., in the early part of the 17th century, Francois
Medard and Tywersus being among the French makers, and Rayman and Wise
their fellows in England. The primitive French makers, like their
English brethren, copied the instruments made at Brescia and Cremona,
to which course they adhered down to the days of Barak Norman, when
the two nations parted company, as regards having a common type, the
French continuing the path they had hitherto taken, and copying the
Italians, with scarcely any deviation, to the present time. The
English left the Italian form for the German one of Jacob Stainer,
which they adopted, with but few exceptions, for nearly a century,
recovering the Italian about the middle of the 18th century. It is
remarkable that French makers should have restrained themselves from
following the pattern of the famous German maker when his name was at
its height and his instruments were in such demand. That in not
adopting the then popular form they were rightly guided, experience
has clearly demonstrated. When we scan the older works the French have
left us, and consider the advantage they had in keeping to the Italian
form, we cannot but feel disappointed in finding so few meritorious
instruments among them. There appear to have been many makers who were
quite unconcerned whether their instruments possessed merit becoming
the productions of a true artist; their chief aim would seem to have
been to make in dozens--in other words, quantity in place of quality.
If the early French makers are carefully studied, it will be seen that
Boquay, Pierray, and one or two of their pupils are the only makers
deserving of praise. It must be admitted that the shortcomings of the
makers of the first period were adequately supplied by those of the
second period, which includes the king of French artists, Nicolas
Lupot. The old French school, originating with Tywersus and Medard,
includes the following makers: Nicolas Renault, of Nancy, Medard, also
of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gavinies, Chappuy,
Ouvrard, Paul Grosset, Despont, Saint-Paul, Salomon, Veron, with
others of less importance. Many of these makers had a fair amount of
ideas, which, had they been well directed, might have led to fame.
Others contented themselves with copying, without giving any place to
their fancy. It will be found that many of the instruments by Boquay,
Pierray, and a few others, have varnish upon them closely resembling
that of the Venetian school; it is full-bodied, very transparent, and
rich in colour. Many of their works are covered with a very inferior
quality of varnish, which has caused some confusion respecting the
merit due to them as varnishers, they being frequently judged by their
inferior instruments, without reference to their good ones. It is
evident that they made two qualities of varnish, in accordance with
the price they were to obtain, as was commonly done in England by the
Forsters, Banks, and Wamsley, where similar confusion exists. The
Italians happily avoided this objectionable practice. Their works are
of one uniform quality in point of varnish. This divergence may
possibly be accounted for by the difference of climate. In Italy, oil
varnish, judiciously used, would dry rapidly, whereas in France or
England the reverse would be the case; hence its more sparing use.
We will now glance at the second French School of makers, commencing
with De Comble. Learning his art in Italy, and, it is said, under
Stradivari, he brought to bear a knowledge superior to that possessed
by the makers mentioned above. The form he introduced was seen to be
in advance of that hitherto met with among the French and Belgian
makers, and led to its being chiefly followed. The next maker was
Pique, who made Violins and Violas that were excellent in point of
workmanship, and had he been equally successful in varnishing he would
probably have been held in the same estimation as Nicolas Lupot. From
these makers sprang quite a little school of its own, comprising
Francois Gand, in Paris, who succeeded to the business of Lupot, and
Bernardel, with several others less known. Mention must not be omitted
of another excellent copyist--Silvestre, of Lyons. He has left some
charming specimens of his art. They are lighter in character than the
works of Nicolas Lupot, and resemble the work of Stradivari from 1680
to 1710. Every portion of the work evidences the skill and judgment of
the maker. The wood, with scarcely an exception, has not been
manipulated in order to darken it, consequently the instruments become
of increasing merit as age acts upon them.
The practice of preparing the wood for Violin-making, either by baking
it or by the application of acids, may be traced, in the first
instance, to a desire to obtain artificially those results which are
brought about by the hand of time. In obtaining lightness and dryness
in new wood, it was imagined that the object in view would be reached
without the aid of Dame Nature. Experience, however, has shown that
Fiddles, like all things intended to pass into green old age, mature
gradually, and are not to be benefited by any kind of forcing process.
The earliest account I have met with of Fiddle-baking occurred in
England about 150 years since. One Jeacocke, a baker by trade, and a
lover of music by nature, used to bake his Fiddles in sawdust for a
week whenever their tones showed symptoms of not being up to his
standard of quality. In France the practice may be said to have been
introduced about eighty years ago, with a view of facilitating the
creation of such mysteries as Duiffoprugcar and Morella Violins, baked
and browned until they had something of a fifteenth-century hue. The
same means were adopted in the production of instruments intended as
copies of the works of Stradivari and Guarneri. The brown hue of the
originals, and the worn and broken condition of the varnish which
comes of age alone, were imitated with more or less ingenuity. Happily
the error is recognised, as far as the best workmanship is concerned,
in France. The legitimate imitator's art no longer includes that of
depicting wear and brownness, rendering abortive so much excellent
work.
It only remains now to mention Salle, Vuillaume, Chanot, Gand,
Germain, Mennegand, Gaillard, and Miremont, all copyists of more or
less note, who may be said to complete the modern French school. These
makers are or were the chief manufacturers of Violins in France of a
better class. Those made by thousands yearly at Mirecourt are not
Violins in the eyes of the connoisseur. They are made, as common
cabinet work is produced in England, by several workmen, each taking a
portion, one making the backs, another the sides, another the bellies,
and so on with the other parts of the instrument, the whole being
finally arranged by a finisher. Such work must necessarily be void of
any artistic nature; they are like instruments made _in_ a mould, not
_on_ a mould, so painfully are they alike. This Manchester of
Fiddle-making has doubtless been called into being by the great demand
for cheap instruments, and has answered thus far its purpose, but it
has certainly helped to destroy the gallant little bands of makers who
were once common in France, Germany, and England, among whom were men
who were guided by reverential feelings for the art, irrespective of
the gains they reaped by their labours. The number of instruments
yearly made in Mirecourt and Saxony[1] amounts to many thousands, and
is yearly increasing. They send forth repeated copies of Amati,
Maggini, Guarneri, and Stradivari, all duly labelled and dated, to all
parts of the world, frequently disappointing their simple-minded
purchasers, who fondly fancy they have thus become possessed of the
real article at the trifling cost of a few pounds. They produce
various kinds of modern antiques in Violins, some of which display an
amount of ingenuity worthy of being exercised in a better cause; but
usually the whole thing is overdone, and the results, in point of
tone, are far more disastrous than in the common French copies. The
following list of French, Belgian, and Dutch makers contains many
names not included in the first edition of this book. The works
wherein several of these names occur are M. J. Gallay's, "Les Luthiers
Italiens aux 17ieme et 18ieme Siecles," 1869; M. Fetis, "Biographie
Universelle des Musiciens;" M. Vidal, "Les Instruments a Archet,"
1876; the "Catalogue Raisonne," of the instruments at the
Conservatoire, by Gustave Chouquet, Paris, 1875; "Recherches sur les
facteurs de Clavecins," by M. le Chevalier de Burbure, Antwerp, 1863;
Pougin's "Supplement to the Dictionary of Fetis;" and Mendel's
"Musikalisches Conversations-Lexikon," 1880.
[Footnote 1: Germany's yearly output of such instruments is enormous,
the principal seats of manufacture being Mark-Neukirchen (Saxony) and
Mittenwald (Bavaria).]
SECTION VIII
French Makers
ALDRIC, Paris, 1790-1844. Copied Stradivari with great skill. He was
also well known as a dealer in Cremonese instruments. He was one of
the earliest French makers who dealt with Luigi Tarisio, the famous
Italian connoisseur. He generally used a red varnish of good quality.
ALLAR, ----, Paris, 1788.
AMELOT, ----, Lorient; worked early in the present century. He used a
highly ornamented label.
AUBRY, ----, Paris, 1840. Succeeded his uncle Aldric, mentioned above.
AUGIERE, ----, Paris, about 1830, was established in the Rue Saint
Eustache, in partnership with Calot, and made some good instruments.
Augiere formerly worked in the shop of Clement of Paris.
BACHELIER, ----, Paris, 1788.
BASSOT, ----, Paris, 1788.
BERNARDEL, Auguste Sebastien Philippe, born at Mirecourt in 1802, was
in the workshop of Lupot, in Paris. The instruments of this maker are
excellently made, and the wood judiciously selected. He took his sons
into partnership in 1859 and retired from business in 1866. He died in
1870. His sons, Ernst Auguste and Gustave Adolphe, were in partnership
with Eugene Gand, and the firm was known as "Gand et Bernardel
freres."
BERTRAND, Nicolas, Paris, about 1700 to 1735, used varnish of a
superior kind. He made many of the Viols of the type common in Paris,
for some time after the Violin had been introduced; they were named
Dessus-de-Viole, Pardessus, Quinton, and Viole-haut-contre. His name
is often seen branded on the backs of his instruments, inside.
BOIVIN, Claude, about 1749, Paris. M. Chouquet, in his "Catalogue
Raisonne" of the instruments at the Paris Conservatoire, described a
Guitar by this maker, made for a daughter of Louis XV.
[Illustration: _Plate XIII_. ANTONIO STRADIVARI. 1702. ANTONIO
STRADIVARI. 1722. ANTONIO STRADIVARI. 1703.]
BOQUAY, Jacques, Paris, 1700-1730.
Jacques Boquay,
rue d'Argenteuil, a Paris, 1723.
One of the first of the old French school. He, with a few of his
contemporaries, inherited a good amount of the Italian character of
workmanship, introduced probably into France by Nicolas Renault.
Boquay, with others whose names are mentioned in this list of French
makers, used varnish closely allied to that of Cremona; its colour is
a warm brown, very transparent, and of a soft nature. He made many
instruments of small size. The model is often that of Girolamo Amati,
but slightly more arched; the sound-hole is more rounded and less
striking. The scroll can scarcely be considered a copy of Girolamo
Amati's; it is well cut, but lacks the peculiar grace of the Italian.
The tone is sweet, without much power.
BORLON, Artus or Arnold, about 1579, Antwerp, maker of stringed
instruments (mentioned in the pamphlet by M. le Chevalier de Burbure).
BORLON, or PORLON, Pierre, Antwerp, about 1647, of whom M. de Burbure
says: "Pierre Borlon, or Porlon, made in the year 1647 a Double-Bass
for the orchestra of the Cathedral (Antwerp). The instrument is in
existence, and inside is the name 'Peeter Porlon tot, Antwerpen f.
1647.'" The same author mentions another early Double-Bass made in
1636 by Maitre Daniel for a chapel in Antwerp, and remarks, in
passing, that in other countries the Double-Bass was not used until
about half a century later. The question of priority in this matter is
important and interesting; but in order to arrive at a satisfactory
conclusion, it is necessary to be certain that these Belgian Basses
are not, together with the Brescian and others, converted Viols.
BORLON, Joannes, Antwerp, also a maker of Viols.
BORLON, Francois, Antwerp, Viol-maker.
BOULLANGIER, C., 1823-1888. Worked in Paris, and for the late Mr.
Withers. Was in business for many years in Frith Street, Soho, and has
made many excellent instruments.
BOUMEESTER, Amsterdam, about 1650.
BOURDET, Sebastien, Mirecourt, one of the earliest Violin-makers in
Mirecourt.
BOURDET, Jacques, Paris, 1751.
BOUSSU, Eterbeck, le Bruxelles, about 1750.
BRETON, 1777. This name is met with branded on the backs, "Breton a
Paris." A little heavy in character, but fairly made; dark brown
colour.
BRETON, Le, Mirecourt, 1812-30. Commonplace instruments. Large
pattern, usually stamped with name inside.
BRUGERE, the name of several contemporary French makers, dating from
Mirecourt and elsewhere. Some show good workmanship and varnish.
CALOT, ----, about 1830. He was in the workshop of Clement prior to
date given. _See_ AUGIERE.
CASTAGNERY, Andrea. _See_ Italian list.
CASTAGNERY, Jean Paul. M. Fetis mentions this maker as having worked
in Paris, 1638-62.
CHAMPION, Rene, Paris, about 1735. His instruments are well made, and
the varnish is of good quality.
CHANOT, Francois, born at Mirecourt in 1788. An engineer by
profession. Becoming interested in the construction of Violins, he
designed one having sides like those of the guitar. M. Chouquet
describes a Violin of this maker, made for Viotti, and remarks that
the experiment of Francois Chanot opened the way to those of Savart.
The date of Chanot's patent is 1818. The paper of Savart on the
construction of bow instruments was read at the French Academy in the
following year.
CHANOT, Georges, Paris. Brother of the above-named; born at Mirecourt,
1801. Throughout life was a most indefatigable worker. He has made a
very large number of copies of Stradivari and Guarneri, chiefly of the
former, which are also the best. They are well constructed
instruments, and the wood is of an excellent description. He was long
known as a dealer in Cremonese instruments, and many notable rarities
passed into his possession. The instruments of this maker will, at no
distant date, be valued higher than they are at the present time. He
died in 1883.
CHANOT, Georges, London. Son of Georges Chanot, Paris. Assisted
Charles Maucotel, and a short time afterwards started in business on
his own behalf. He died in 1893.
CHANOT, F. Son of Georges Chanot.
CHANOT, G. A. Brother of the above-named.
CHAPPUY, Nicolas-Augustin, about 1765. His instruments are chiefly of
large pattern; nearly all are branded on the button, in a similar
manner to those of the Testore family. Chappuy differed greatly in his
work. When he used plenty of wood we have instruments of a good kind
and worthy of attention. There are many, however, having his brand
that are scarcely fit to be called Violins, so inferior is the work
and wood.
The Violin M. Habeneck used during thirty-seven years, when
instructing his class at the Conservatoire, Paris, was made by
Chappuy, and is preserved at that institution.
CHARDON, Joseph, Paris, son-in-law and pupil of Georges Chanot, Paris,
to whose business he succeeded in the year 1872.
CHAROTTE, ----, born at Mirecourt, settled at Rouen. Died in 1836.
CHATERAIN, Paris, about 1759. Good workmanship.
CHEVRIER, Andre-Augustin, about 1838. Born at Mirecourt, worked in
Paris and Brussels.
CLAUDOT, Charles, Paris, possibly came from Mirecourt. The workmanship
is heavy; varnish mostly yellow. His instruments are good for
orchestral purposes. His name is generally found stamped on the back,
inside.
CLAUDOT, Augustin, Paris, "Strad" pattern, yellow varnish, good wood.
CLEMENT, ----, Paris, 1815-40.
CLIQUOT, Henri, Paris, about 1765.
CLIQUOT, Louis Alexandre, about 1765.
COUSINEAU, Paris, about the end of the 18th century. Well made, name
often branded on button.
CUNAULT, Georges, Paris, contemporary; worked with Miremont, and
afterwards alone; a careful maker.
CUNY, ----, Paris. 18th century.
CUYPERS, Johannes, 1755-18--. Worked at the Hague; varnish often
yellow in colour. Well finished instruments, which are rising in
value.
DANIEL, ----, 1656, is described as having made a Double-Bass for the
orchestra of one of the chapels at Antwerp Cathedral.
DARCHE, Nicholas, Aix la Chapelle, died 1873. Made many useful
instruments on the lines of the Cremonese Masters. Other makers of
this name worked in Brussels and Mirecourt in the 19th century.
DAVID, ----. Maker to the court of Louis XVI.
DE COMBLE, Ambroise, Tournay, about 1760.
Fait a Tournay par
Ambroise de Comble, 1750.
It is said that he worked in the shop of Antonio Stradivari, and
judging from the character of the work, together with that of the
varnish, it is not unlikely that he did receive instructions from the
great Cremonese maker. The varnish is very like Italian; the colour
often a rich red, with much body. His instruments are inclined to
roughness as regards workmanship, and therefore are not pleasing to
the eye. There is a resemblance to the instruments of Stradivari after
1732 in form, though not in workmanship, and he would therefore seem
to have copied those late instruments. They may be described as of
large pattern, flat model, and having an abundance of wood. They are
deserving of attention both from the professor and the amateur, the
workmanship being skilful and the material excellent. The tone is
large, and frequently possesses the richness so much admired in the
works of the Italians. This quality is traceable to the soft and
flexible nature of the superior varnish with which these instruments
are covered. Several Violas and Violoncellos are extant which were
made by De Comble.
DEHOMMAIS, Paris, 1870. _See_ GERMAIN (Emile).
DELANOIX, ----, Bruxelles, about 1760.
DELAUNAY, ----, Paris, 1775, Viol-maker. M. Chouquet describes an
instrument of this maker which is in the collection at the
Conservatoire.
DELEPLANQUE, Gerard, Lille, 1768.
DERAZEY, Honore, Mirecourt. Many of the instruments of this maker are
carefully finished. They are heavy in wood. The varnish is inclined to
hardness. Died 1875.
DERAZEY, J. A., Mirecourt, 1815-85. Son of Honore; purchased the
business of Nicolas. Made many useful instruments.
DESPONS, Antoine, Paris, 17th century, is said to have made excellent
instruments of various patterns.
DIEULAFAIT, ----, 1720, Viol-maker. A Viol da Gamba of this maker is
at the Conservatoire, Paris.
DROULOT, ----, Paris, 1788.
DUCHERON, Mathurin, Paris, 1714.
DU MESNIL, Jacques, Paris, about 1655.
EESBROECK, Jean Van, 1585, Antwerp, Lute-maker. M. C. Chevalier de
Brabure states he was the son of Josse van Eesbroeck, of Maria Kerch.
He gives some interesting particulars relative to the connection of
music with the guild of St. Luke at Antwerp, and speaks of the makers
of Clavichords seeking for admission into the Guild in 1557, adding
that it was natural these makers should desire to belong to a
corporation so great and honourable as that of St. Luke, which since
1480 had its Chambers of Rhetoric "dite _de Violiren, de Violier_."
FALAISE, ----. Copied the Amatis and Stradivari. The workmanship may
be likened to that of Pique. Varnish yellow and thin. There is no
indication of a resort to any maturing process. Wood frequently
handsome.
FENT, or FENDT, ----, Paris, 1780. A maker known among French
connoisseurs; related to the Fendts who worked in London.
FLEURY, Benoist, Paris, from about 1755 to 1788. A Viol da Gamba of
this maker, from the Clapisson collection, is at the Conservatoire,
Paris.
FOURRIER, Nicolas, Mirecourt. _See_ NICOLAS.
GAILLARD, Charles, Paris, about 1850-81. Born at Mirecourt. Worked in
Paris with C. A. Gand, and later on his own account. He was one of the
best modern French makers, and his instruments already take high rank
and command good prices.
GAILLARD-LAJOUE, J. B., Mirecourt, brother of the above. Apprenticed
to Gand, for whom he worked until about 1852. Much of his work is of a
high order, and his best instruments are yearly increasing in value.
He died about 1870.
GAND, Charles Francois, Paris. He became a pupil of Nicolas Lupot in
the year 1802. During his apprenticeship he proved himself an
excellent maker, and was much valued by his famous instructor. He
married the daughter of Lupot, and succeeded him in the Rue Croix des
Petits Champs in the year 1824. The career of Francois Gand was one of
much activity. As a repairer of the works of the great masters he
early obtained a high reputation, and perhaps restored more valuable
instruments than any repairer of his time. The care that he took and
the judgment which he exercised in endeavouring to bring together the
various broken parts of an imperfect instrument, that the original
appearance might be maintained as closely as possible, cannot be too
highly praised. He often accomplished seeming impossibilities.
Splintered cracks were by his ingenuity closed as though no fibre had
been severed, while at other times pieces were inserted so deftly that
the most experienced eyes might fail to detect their presence. It was
with him a labour of love, and he did not scruple to spend days over
work on which others would only spend hours. He made many Violins,
several of which were given as prizes at the Paris Conservatoire. They
are well-made instruments, though heavy in appearance. They are good
serviceable instruments, and, the wood not having been browned by
baking or other injurious process, age mellows them greatly. He died
in the year 1845.
GAND, Charles Adolphe, son of Charles Francois Gand, was instructed by
his father, and succeeded, together with his brother, to the
old-established house founded by his grandfather. He died in 1866.
GAND, Charles Nicholas Eugene, Paris, brother of C. Adolphe Gand, was
a connoisseur of much experience and reputation. Upon the death of his
brother C. Adolphe he entered into partnership with Bernardel
Brothers. The firm employed many workmen, and turned out large numbers
of useful, well-made instruments, with red varnish. They were the
recipients of numerous medals and decorations. C. N. E. Gand died in
1892.
GAVINIES, Francois, Paris, about 1734.
Gavinies, rue
S. Thomas du Louvre,
a Paris, 17--
Father of Pierre Gavinies, the Violinist. Old French school. The wood
is often of excellent quality, and the varnish also. Many of these old
French makers, like our good English ones, made instruments of two
qualities, and Gavinies was one of them.
GERMAIN, Joseph Louis, born at Mirecourt in 1822. In Paris he was
employed by Francois Gand, and afterwards worked for Vuillaume, for
whom he made several choice instruments. It is to be regretted that
his exceptional abilities were not allowed to add lustre to his name,
he having made for the trade. He died in 1870.
GERMAIN, Emile, Paris. Son of the above; established in Paris as a
maker and restorer of Violins. He was, until 1882, in partnership with
a maker named Dehommais.
GOSSELIN, ----, Paris, 1814-40.
GRAND-GERARD, Paris, about 1800. Commonplace work branded occasionally
with his name.
GRANDSON, Fils, Mirecourt, about 1850.
GROSSET, Paul Francois, Paris, about 1750. Pupil of Claude Pierray.
GUERSAN, Louis, succeeded Paul Pierray.
Ludovicus Guersan prope Comaediam Gallicam, Lutetiae,
Anno 1766.
HEL, Pierre Joseph, Lille, contemporary. Well-made instruments.
HENRY, Jean Baptiste. Born 1757, near Mirecourt. Worked in Paris.
HENRY, Jean Baptiste Felix, son of the above. Established in Paris
1817.
HENRY, Charles, brother of the above, born 1803. Made several
excellent instruments.
HENRY, Octave, nephew of Charles.
HENRY, Eugene, son of Charles, born in 1843.
HOFMANS, Mathias, Antwerp, 1700-25. A Kit of this maker was exhibited
at Milan in 1870.
JACOBS, Hendrik, Amsterdam, 1690-17--. A close imitator of Niccolo
Amati. Few makers have been more mistaken than Jacobs; so exact was he
in following the model of Amati, that numbers of his Violins are
passed by the inexperienced as original. He mostly selected the grand
pattern of Amati for his model, which gave him full scope for the
exercise of his powers. He selected wood as nearly as possible
resembling that found in the works of Niccolo Amati. The backs are
mostly of even grain, and compact; the modelling can only be found
fault with near the purfling, where its sharpness at once catches the
attention of the critic in these matters, and divulges the true
author. The varnish, though good, is not equal to that of Amati. The
scroll is inferior to the body in merit. The purfling is of whalebone,
like that of most of the Dutch makers.
JACOBS, ----, Amsterdam, probably a son of the above. Excellent
varnish, of a deep red, very transparent; full of character, but
wanting in finish. Purfling embedded.
JACQUOT, Charles, born at Mirecourt in 1804. Worked in Paris. He
obtained prizes for his instruments at the Paris and other
exhibitions.
JACQUOT, Pierre Charles, Nancy, son of the above.
JEANDEL, P. N., born in 1812. Worked for some years in Paris, and
received prizes at the Paris and other exhibitions. He died in 1879.
KOLIKER, ----, Paris, 1789-1820.
LAMBERT, Jean Nicolas, Paris, about 1745.
LAPAIX, ----, Lille, about 1855.
LAPREVOTTE, Etienne, Paris, 1825-56.
LECLERC, ----, Paris, about 1775.
LECOMTE, ----, Paris, 1788.
LEDUC, Pierre, Paris, 1646.
LEFEBVRE, ----, Amsterdam, about 1730.
LEFEBVRE, ----, Paris, 1788.
LE JEUNE, Francois, Paris, 175-.
LE PILEUR, Pierre, about 1754.
LESCLOP, Francois Henry, Paris, 1746.
LOUIS, ----, Geneva.
LOUVET, Jean, Paris, 1750.
LUPOT, Jean, Mirecourt.
LUPOT, Laurent, Mirecourt, born 1696. Son of Jean Lupot, removed to
Plombieres, afterwards to Luneville, and again to Orleans.
LUPOT, Francois, born 1736. Son of Laurent. Born at Plombieres. In the
year 1758 he removed to Stuttgart, and was appointed maker to the Duke
of Wurtemberg. Francois removed with his son Nicolas to Orleans in
1770. He died in Paris in 1804. The workmanship and style are similar
to those seen in the instruments of Chappuy and other makers of that
period. Scroll rather rough, varnish dark brown, broad pattern.
LUPOT, Nicolas, son of Francois, born at Stuttgart in 1758, removed
with his father to Orleans in 1770.
N. Lupot fils, Luthier,
rue d'Illiers, a Orleans, l'an 1791.
Nicolas Lupot, Luthier, rue de
Grammont; a Paris, l'an 1803.
Nicolas Lupot, Luthier, rue Croix
des-petits-champs, a Paris, l'an 1817.
He established himself in Paris in 1794, his fame having reached that
city some time before. The attention which he soon received from the
musical world of Paris proved to him that his removal was
advantageous. He had not long been in Paris before he was honoured
with the patronage of the Conservatoire of Music, an honour which is
attended with many benefits, the chief of which is the making of a
Violin annually, to be awarded as a prize to the most successful
student among the Violinists. By this arrangement the maker has an
opportunity of exercising to the best advantage all the skill of which
he is capable, as he is at once aware that the attention of the public
is directed to the constructor of the prize, as well as to the
receiver, and that an immediate road to popularity is thus opened.
Lupot's appointment as maker to the Conservatoire was enjoyed by his
successor, Francois Gand, and was retained by the latter's son, in
conjunction with Bernardel. Nicolas Lupot may be justly termed the
French Stradivari. He was an artist in every sense of the word. He
regarded the works of Stradivari with the utmost veneration. While,
however, he laboured unceasingly to imitate him, he scorned all those
mischievous maturing processes common to so many French copyists; he
never desired that his copy should pass with the unwary as the
original; it left his hands wholly unsophisticated. There is not an
instance in which he did not varnish the copy all over, leaving time
to do its work of wear, although by so doing he doubtless sacrificed
much in his own time, inasmuch as all new Violins, so varnished, have
a crude appearance, notwithstanding any amount of high finish expended
upon them. What, however, Lupot lost in his own day has been awarded
to his name a hundredfold since. He seldom occupied himself in copying
Guarneri or Amati, although there are a few beautiful examples met
with now and again in which he adopted these forms. Stradivari was his
idol, and from the fact already mentioned, that he is very rarely
found to have followed any other model than that of Stradivari, he
would seem to have been aware of his own peculiar fitness for the
great master's design. Every feature of Lupot's instruments was
clearly a matter of study with him. It cannot be said of him, as of
most other makers, that certain points are good, while others are
weak. Every portion of his work contributes to the harmonious whole.
The outline is perfect; the sound-hole is executed in a masterly
manner; the model, purfling, and scroll of equal merit. He was
untouched in his own day, and his productions have never been
approached since. The varnish of Lupot is peculiar to him. Its
qualities are good, being free from hardness. Though it is not of the
Italian type, neither is it of the kind usually met with on the
Violins of his contemporaries: it may be described as a quality of
varnish coming between the Italian and the French. Its colour varies
between light and dark red. Age has assisted in heightening its
lustre, and although it will never rank with the varnish of Cremona,
yet it will hold its own among the varnishes of modern times. It is
said that many instruments having the name of Pique in them are the
work of Lupot, and this misnomer is accounted for by the story that
Pique purchased them in an unvarnished state, and varnished them with
his preparation. Be this as it may, it is certain that the varnish of
Pique could not serve to benefit such instruments; on the contrary, it
would reduce their value. The tone of Lupot's instruments improves
yearly. The quality is round and telling, and free from roughness. He
died in Paris in 1824, aged 66, and was succeeded in his business by
his son-in-law, Francois Gand.
MARQUIS DE LAIR, Mirecourt, about 1800. The name is generally branded
on the back. The wood is chiefly of a plain description, and varnish
wanting in transparency.
MAST, Jean Laurent, Paris, about 1750.
MAST, Joseph Laurent, Mirecourt and Toulouse. Son of Jean Laurent. A
Violin dated 1816 is in the Museum of the Paris Conservatoire.
MAUCOTEL, Charles, born at Mirecourt, in 1807. In 1834 he entered the
workshop of Gand in Paris. In 1844 he was employed by Davis, of
Coventry Street, London, and ultimately commenced business in Rupert
Street, from which he retired in 1860, and returned to France. He made
several instruments, all of which have good qualities in workmanship
and tone. They are strong in wood and carefully modelled.
MAUCOTEL, Charles Adolphe, Mirecourt, worked in Paris from 1839 until
1858, in which year he died. He made many excellent instruments.
MEDARD, Francois, was established in Paris about 1700.
Franciscus Medard
fecit Parisiis 1710.
The work is excellent, and the varnish soft and transparent.
MEDARD, Nicolas, Nancy, brother of Francois.
MEDARD, Jean, Nancy, brother of Nicolas.
MENNEGAND, Charles, born at Nancy in 1822. He is distinguished both as
a maker and repairer of instruments. He entered the service of Rambaux
in Paris in 1840. He has been rightly regarded as having displayed
singular ability in the delicate and difficult task of "cutting" the
large Italian Violoncellos and Tenors. The practice of reducing the
dimensions of Cremonese instruments has happily come to be looked upon
as emulative of the acts of the Goths and Vandals. It is in any case
certain that numerous instruments have been operated upon with no
greater skill than might have been expected at the hands of those
barbarians. "These ruthless men," remarks Charles Reade, "just sawed a
crescent off the top, and another off the bottom, and the result is a
thing with the inner bout of a giant and the upper and lower bout of a
dwarf." He rightly names this, "cutting in the statutory sense, viz.,
cutting and maiming," and implores the owner of an instrument in its
original state to spare it, and if too large, to play on one of the
value of 5 pounds, with the Cremona set before him to look at while he
plays. To "cut" a Cremona, and to cut a diamond into a brilliant or a
rose, are tasks equally difficult. The indifferent operator, in both
cases, suffers more or less from the injury and annoyance his
unskilfulness has occasioned. Borgis, a Venetian diamond-cutter, was
employed by Shah Jehan to cut the Koh-i-nor, and in place of a reward
was fined ten thousand ducats for his imperfect performance. Had it
happened that some possessors of Cremonese gems had inflicted monetary
or other punishment on incapable instrument cutters, the world would
have been richer in Cremonas. Mennegand was at Amsterdam for a few
years, and returned to Paris in 1857. He died in 1885.
MIREMONT, Claude Augustin, Paris. Born at Mirecourt in 1827, removed
to Paris in 1844. Miremont has made several excellent Violins, copies
of Stradivari and Guarneri. He was for some years in New York, but
returned to Paris and died at Pontorson in 1887.
MODESSIER, ----, Paris, 1810. Made several instruments of large
pattern, excellent for orchestral purposes. Wood of good quality.
MOUGENOT, Georges, Brussels, contemporary.
NAMY, ----, Paris, 1780 to 1806.
NEZOT, ----, about 1750, maker of Viols.
NICOLAS, Francois (Nicolas Fourrier), went from Mirecourt to Paris,
where he is said to have worked from about 1784 to 1816.
NICOLAS, Didier, Mirecourt, 1757-1833. The instruments of this maker
are chiefly of large size, the outline being after that of Stradivari.
They are mostly stamped on the back, inside, "A la ville de Cremonne,
D. Nicolas Aine." Colour, yellow; tone very powerful, and admirably
adapted for the orchestra.
NICOLAS, Joseph, son of Didier, born 1796, died 1864.
OUVRARD, Jean, pupil of Claude Pierray.
[Illustration: _Plate XIV_. ANTONIO STRADIVARI.]
PACHERELE, Michel, Paris, about 1779.
PACHEREL, Pierre, Nice, died 1871, probably related to Michel
Pacherele. Good workmanship; made several copies of Stradivari.
PAUL, Saint, Paris, 17th century. Chiefly copied Amati. In the style
of Boquay.
PIERRAY, Claude, Paris, from about 1700 to 1725.
Claude Pierray, proche la Comedie
a Paris, 1725.
Was an excellent workman, and many of his productions partake of the
Italian character to a considerable extent. They are of two patterns,
the majority being large. Amati would seem to have been his model, but
his instruments can scarcely be considered copies of that maker, the
outline only being retained, while the other features are dissimilar.
The wood is rarely handsome, but its quality is good; the thicknesses
are variable. The work is of average merit. Varnish is of a pale red
colour, of good quality. It is interesting to learn that these
instruments were appreciated in England at the beginning of the
eighteenth century. Tom Britton had in his collection of books and
instruments at Clerkenwell a "Claude Pierray," which is described in
the sale catalogue as "a very beautiful Violin, and as good as a
Cremona."
PIETE, N., Paris, about 1780.
PILLEMENT, F., Paris, 1790-1820. Work branded inside.
PIQUE, F. L., Paris, about 1788-1822.
Pique, rue de Grenelle St. Honore,
au coin de celle des 2 Ecus, a
Paris, 1790.
As a copyist of Stradivari, this maker approached, perhaps, nearest to
Nicolas Lupot. It has been supposed that some Violins bearing the name
of Pique were made by Lupot, and varnished by Pique. There are several
specimens of Pique's instruments upon which have been lavished care
and skill of a very high order. Each feature is brought out, while, at
the same time, exaggeration, that common error of the copyist, is
avoided. The scrolls are well executed, both in point of finish and
style; the sound-hole also is cut with precision. Many of his
instruments have whole backs, of well-chosen material; the bellies are
of a fine quality of wood. The instruments of Pique have long been
esteemed, and will grow in reputation.
PIROT, Claude, Paris, about 1800. Pressenda style and appearance.
PONS, Cesar, Grenoble, about 1775.
PONS, ----, Paris, chiefly known as a maker of Guitars.
RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt,
and afterwards in Paris. He was a clever repairer, and gifted with
excellent judgment in his treatment of the works of the old masters.
He was at one time in the workshop of Gand. He died in 1871.
RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled,
flat model.
RAUT, Jean, worked at Rennes about 1760.
REMY, ----, Paris, about 1760.
REMY, Jean Mathurin, Paris, 1770-1854.
REMY, Jules, Paris, 1813-76.
REMY, ----, London, 1840. Originally from Paris. Copied the old
masters with average ability, but unfortunately adopted the pernicious
practice of preparing the wood, making his instruments prematurely old
without the qualities of healthy age.
RENAUDIN, Leopold, Paris, about 1788.
RENAULT, Nicolas, an early maker, contemporary with Tywersus.
ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century.
High model, varnish of much brilliancy, but flaky.
ROZE, ----, Orleans, about 1760. Average workmanship, yellow varnish,
heavy scroll.
SACQUIN, ----, Paris, 1830-60, made several excellent instruments; oil
varnish of good quality, neat work, "Strad" pattern, name branded on
back, inside.
SALLE, ----, Paris, about 1825-50. Made several copies of Guarneri,
many of which are excellent. He was also a clever restorer of old
instruments, and had a critical eye for the works of the old Italian
masters, in which he dealt to some extent.
SALOMON, Jean Baptiste Deshayes, Paris, about 1750.
SAUNIER, ----, about 1740-70.
SCHNOECK, Egidius, Brussels, 1700-30.
SILVESTRE, Pierre, Lyons. A maker of rare abilities. The finish of his
instruments is of the highest order; indeed, it would be difficult to
find any maker within the range of the modern French school who has
surpassed him in delicate workmanship. It may be said of him, as of
many others, that extreme fineness of work is obtained often at the
expense of character; to develop both qualities needs the mind of a
Stradivari. Silvestre was fortunate in procuring wood of beautiful
quality; there is scarcely an instrument of his which is not handsome.
He chiefly copied Stradivari. It is to be regretted that so few of his
works are to be met with. Pierre Silvestre was born at Sommerwiller in
1801, and died at Lyons in 1859. In Paris he worked in the workshop of
Lupot, and in that of his successor, Francois Gand.
SILVESTRE, Hippolyte, born 1808, brother of Pierre, with whom he
worked in partnership at Lyons from 1831-48. Hippolyte worked in the
shop of Vuillaume. He retired from business in 1865.
SILVESTRE, Hippolyte Chretien, Lyons, succeeded to the business of his
uncles, Pierre and Hippolyte, which he transferred in 1884 to Paris.
SIMON, Claude, Paris, about 1788.
SIMONIN, Charles, Paris and Toulouse, pupil of J. B. Vuillaume.
SOCQUET, Louis, Paris, about 1760-1800.
THERESS, Charles, London.
THIBOUT, Jacques Pierre, Paris, born 1777, died 1856. A well-known
dealer in rare Italian instruments. To him belongs the merit of having
encouraged Luigi Tarisio to bring to Paris his Cremonese gems. When
Tarisio paid his first visit to Paris, the reception that he met with
was not of such a nature as to warrant his returning; but having
ultimately decided upon once more visiting the French capital, he met
with Thibout, who, by earnest solicitation, prevailed on him to remove
his rich wares to Paris. Jacques Pierre Thibout was an excellent
workman, and his instruments are highly esteemed.
THOMASSIN, ----, Paris, about 1845.
TYWERSUS, ----, Nancy, 16th century.
VAILLANT, Francois, Paris, about 1750.
VERON, Pierre Andre, 1720-50.
VIBRECHT, Gysbert, Amsterdam, about 1700.
VUILLAUME, Jean, Mirecourt, 1700-40.
VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this
family; made commonplace instruments branded with his name.