LOLIO, Giambattista. 18th cent.
LOLY, Jacopo. Naples, 1627. Pattern of Grancino; yellow varnish;
made large-sized tenors.
LONGMAN AND BRODERIP, dealers who employed Jay or Benjamin Banks,
and labelled with their own names.
LORENZINI, Gaspare. Piacenza, eighteenth century.
LOTT, George Frederick. 1775-1853.
LOTT, George Frederick. 1800-1868.
LOTT, John Frederick, son of G. F. Lott. (_See_ p. 219.)
LOTZ, Theodor. Pressburg. 1730-40. Good violins.
LOUIS. Geneva.
LOUVET, Jean, brother of Pierre Louvet. Paris, 1730-60. Made bad
fiddles, but good hurdy-gurdys and harps.
LUDICI (Ludge), Geronimo Pietro. An amateur maker in Conegliano in
1709.
LUGLONI, Giuseppe. Venice in 1777.
LUPO, Pietro. Antwerp. In 1559 he is said to have sold to a
musician sent by the town of Utrecht, “five violins enclosed in
their case,” for the sum of £72.
LUPÔT, François, son of Laurent Lupôt.
LUPOT, Nicolas. The greatest of the family. (_See_ p. 106.)
MACGEORGE. Edinburgh, 1800-20.
MACINTOSH. Dublin, 1830-40. Pupil of Thomas Perry.
MAFFEOTTO, Giuseppe. Rome, eighteenth century.
MAGGINI (Magino or Maglino), Gio Paolo. (_See_ p. 32.)
MAIRE, Nicolas. A violin bow-maker in Paris; 1800, in Mirecourt;
1878, Paris; apprenticed to Jacques Lafleur; he made excellent bows.
MALDONNER. Füssen, Bavaria, 1760.
MANN, Hans. Naples, 1720-50. His instruments are rare; Stradivari
and Guarneri patterns.
MANTEGAZZA (or Mantegatia), Pietro and Giovanni. Two brothers
working in Milan about 1750-1800; they made many good altos.
MANTOVANI. Parma, eighteenth century.
MARATTI, Giambattista. Verona about 1690-1700. Good tone.
MARCELLI, Giovanni. Cremona in 1696.
MARCHETTI, Enrico. Turin, nineteenth century. Good maker.
MARCHI, Giovanni Antonio. Bologna, 1740-95. Good violoncellos and
violins; violins high model; beautiful maple-wood back and sides;
varnish golden yellow.
MARCO, Antonio. Venice, 1700.
MARCONCINI, Giuseppe. Pupil of Storioni; Ferrara, where he died at
a great age, 1841; unequal maker; very good sometimes.
MARCONCINI, Luigi. A pupil of Omobono Stradivari, 1760; Ferrara and
Bologna; good workmanship; pale red varnish.
MARIANI, Antonio. Pesaro, 1640 to 1700; not of much value; reminds
of Maggini, but rough, purfling double.
MARINO, Bernardino. Rome. Worked up to 1805.
MARQUIS DE LAIR. Mirecourt, 1800. Violins and violoncellos of
Stradivari pattern; work poor, the wood not good; varnish ugly
brown; tone bad.
MARSHALL, John. London about 1750-60. Stainer pattern; work good.
MARTIN. A family of makers in Paris, chiefly repairers.
MARTIN, Jules. Germigny, Vosges.
MARTIN. London, 1790-95, who lived at Hermitage Bridge, Wapping.
MAST, Jean Laurent. Paris, 1750. His instruments are well made;
violins; blackish varnish.
MAST, Josephus Laurent, son of Jean Laurent Mast. Mirecourt; still
there in 1820; better than his father, but not very noteworthy.
MAUCOTEL, Charles, brother of Charles Adolphe Maucotel. 1807-60,
Mirecourt. Studied under Gand; went to London; excellent tone.
MAUCOTEL, Charles Adolphe, brother of Charles. 1820-58, Mirecourt.
Apprenticed in Mirecourt; went to Paris; worked under J. B.
Vuillaume; excellent copyist of Stradivari.
MAUSSIELL (or Mansiedl), Leonhardt. Nuremberg, 1720-50. Stainer
pattern; very good.
MAYR (Maier), Andreas Ferdinand. Salzburg, about 1740-80. Is said
to have made the small violin on which Mozart learned to play.
MAYSON, Walter H. A maker in Manchester who began as an amateur,
but soon adopted violin-making as a profession. His instruments are
excellent.
MEARES, Richard. A maker of lutes. London in 1677; lute and
viol-maker on verge of the violin.
MÉDARD, Antoine, b. 1621. (_See_ p. 187.)
MÉDARD, François.
MÉDARD, Henri.
MÉDARD, Jean.
MÉDARD, Nicolas.
MÉDARD, Sébastien.
MEIBERI, Francesco. Leghorn, 1745-50.
MELLING. Paris, 1753-71.
MELLINI, Giovanni. Guastalla, Italy, 1768.
MELONI, Antonio. Milan, about 1670-95. Followed the Amati pattern;
his instruments are small, but good tone.
MENNÉGAND, Charles. Nancy, 1885. Apprenticed at Mirecourt; went
to Paris and Amsterdam; worked with Rambaux; returned to Turin;
consummate repairer.
MENNESSON, Emile. 1842-98, Rheims. Has made 2380 violins; fine
copyist of Stradivari’s “Messiah” period; gold medallist.
MÉRIOTTE, Charles. Lyons about 1730-60. Made on the Stradivari
pattern; yellow-brown varnish; good workmanship.
MERLIN, Joseph. London, 1770-80. His violins and his mechanical
pegs for violins and violoncellos at first the vogue, but have
not maintained their place; he followed the high Stainer model;
instruments were well made, but tone not good.
MESSEGUER. A Spanish maker, 1646.
METTE, François. A maker in the South of France.
MEZADRI (Mezzadie), Alessandro. Ferrara, 1690-1720. Amati school,
but failed to rival their grace; inferior tone.
MEZADRI (Mezzadie), Francesco. A maker at Milan about 1700-20; his
altos were of small pattern.
MIALFI, Joannes. A Spanish maker about 1769; nothing remarkable.
MICHAUD. Paris about 1788.
MICHELIS, Pelegrino (or Peregrino) di Zanetto, son of Zanetto de
Michelis, b. 1520. Made lutes and other instruments in Brescia; on
the verge of the violin; a fine tenor known.
MICHELOT, Jacques Pierre. Paris about 1780-95, at the sign of “A la
Mélodie.” He made five-stringed viols and violins.
MIER. London, 1786.
MIGGÉ, Otto, b. June 16, 1857, Coblenz; made 80 violins and 14
violoncellos; good tone.
MILANI, Francesco. Milan about 1740-60. School of Lorenzo
Guadagnini.
MILHET. Bayonne, 1820.
MILLE. Aix-la-Chapelle. A small pocket-violin is known.
MILLER. London, 1750.
MILLER, A. St. Andrews, Scotland.
MINOZZI, Matteo. Bologna, eighteenth century.
MIRAUCOURT, Ludovic (or Joseph). On verge of violin; still made
viols in 1743.
MIREMONT, Claude Augustin, son of Sébastien Miremont. 1827,
Mirecourt; d. 1887, Pontorson (Manche); in 1844 to Paris, and
worked first with Lafleur, then with Bernardel until 1852, when
he left France for America, and settled in New York; returned to
France; made chiefly violoncellos; excellent tone; Stradivari
pattern.
MIREMONT, Sébastien. Mirecourt, 1810.
MODESSIER. Paris in 1810. His instruments a large pattern;
excellent wood.
MOERS, Jean Henri. Paris, 1771.
MOHR, Philipp. Hamburg, 1650.
MOINEL, Charles, nephew of N. E. Cherpitel. Paris, 1893. Continued
Cherpitel’s business.
MOITESSIER, Louis. Mirecourt, 1780 to 1825. He made a large number
of instruments; many violins; rather common; fair tone.
MOLDONNER. Fussen, Bavaria, 1756-98.
MOLINARI, Antonio. Venice, 1672-1703.
MONGENOT. Rouen, 1763.
MONTADE (Montani or Montaldi), Gregorio. Cremona, 1690-1735. Pupil
or imitator of Omobono Stradivari; fairly good.
MONTAGNANA, Domenico. A celebrated maker in Venice about 1720-50.
(_See_ p. 87.)
MONTRON. Paris, 1780-90.
MORELLA, Morglato. A maker of lutes, rebecs, and viols, 1510-50;
has lasted into the violin epoch on account of his viols having
been cut down for violas.
MORONA, Antonio. Istria (Istrien) in 1731.
MORRISON, John. 1760-1830. Poor maker; did job work for the trade.
MOTTENHAVER, Edward. New York, U.S.A., who has taken out a great
many patents for inventions.
MOUGENOT, Georges. 1843-98, Mirecourt (Vosges). Worked in Brussels
for N. F. Vuillaume, and succeeded him; uses “hands,” but plans
and finishes himself; gold medallist.
NADOTTI, Giuseppe. Piacenza, 1760-70.
NAMY, Jean Théodore. Paris, 1755-1807; fine restorer; worked for
Salomon’s widow in Paris.
NAYLOR, Isaac. A pupil of Richard Duke; worked at Headingly, near
Leeds, 1778-92.
NERMEL, J. M. Paris, 1777-89.
NEUNER, Ludwig. 1840, Mittenwald (Bavaria). Grandson of Mathias
Neuner, also a clever maker of violins, who worked for some time
in London; worked for J. B. Vuillaume, Paris; settled in Berlin;
accomplished maker; sends out from his firm 20,000 instruments a
year; very cheap and good money’s worth; can do better quality when
he chooses.
NEWTON, Isaac. London about 1775-1825. He made fairly good
instruments, but used a dingy yellow varnish. Sometimes made
violins and violoncellos for Betts, but these were always varnished
by the latter.
NEZOT. Paris, 1730-60; transition maker from viols to violins; only
a few violins.
NICOLAS, Didier, l’aîné (known as “deaf Nicolas”), 1757-1833,
Mirecourt; clever workman and large employer; large pattern, loud
tone; suitable for orchestra.
NICOLAS, François Nicolas Fourrier (was known simply as “Nicolas”),
b. Oct. 5, 1758. 1816, Paris. Made all the instruments used in the
private orchestra of Napoleon I.; careful choice of wood; good
proportions; closely copied from beautiful specimens of Cremona;
not much in fashion now, but good violins of his still about.
NICOLAS, Joseph, son of Didier Nicolas. 1796-1864. Mirecourt;
eccentric maker; after his death his stamp and his father’s sold
off with stock, and used for violins made by neither. Pupil and
successor of his father.
NICOLAS, Mathieu. Mirecourt. His instruments of ordinary
workmanship, some yellow or red varnish.
NIGGELL, Simpertus. A maker of viols and violins. Fussen, 1743-66;
transition maker of viols and violins; flat pattern.
NORBORN, John. London, 1723.
NORMAN, Barak, b. 1688; d. 1740. (_See_ p. 125.)
NORRIS, John, b. 1739, London; d. March 10, 1818; pupil of Thomas
Smith; went into partnership with Robert Barnes in 1765.
NOVELLO, Pietro Valentino, brother of Marco Antonio Novello.
Venice, eighteenth century.
NOVELLO, Marco Antonio, a brother of Pietro Valentino Novello; in
Venice at the same time; good work.
NOVERSI, Cosimo. Florence, seventeenth century.
OBBO, Marco. Naples, 1712; ordinary work.
OBICI (Obue), Bartolommeo. Verona in 1684.
ODANI, Giuseppe Morello. Naples, 1738.
ODOARDI, Giuseppe. Working until 1675, Ascoli, Italy; some
confusion about his date, 1675-1740; died at 28; self-taught; an
original genius; about two hundred violins; much valued when can be
found.
OHBERG, Johann. Stockholm in 1773; fairly good; a yellow varnish.
ONEDA, Gio. Battista, b. 1529. A maker of cithers and violins (?)
in Brescia about 1562.
ONGARO, Ignazio. Venice, 1783.
ORLANDELLI, Paolo. Codogno, Italy, eighteenth century.
ORTEGA. 1840; maker and repairer. Madrid.
OSTLER, Andreas. Breslau, 1730; chiefly viols.
OTTO, Carl August, fourth son of J. A. Otto; b. 1801, Jena; d.
1883, Ludwigslust; maker to the Mecklenberg-Schwerin Court.
OTTO, Carl Christian, second son of J. A. Otto, 1792; Halle;
repairs old instruments.
OTTO, C. W. F. Louis, fifth son of J. A. Otto, 1805-84, Stockholm.
OTTO, Georg August Gottfried, eldest son of J. A. Otto; 1789,
Weimar; 1857, Jena; good maker.
OTTO, Heinrich Wilhelm, third son of J. A. Otto; b. 1796. Amsterdam
and Berlin.
OTTO, Hermann, son of Ludwig Otto, 1859-84. Cologne, St Petersburg.
OTTO, Jacob August; b. 1764, Gotha; d. 1830, Jena. Pupil of Franz
Anton Ernst at Gotha; settled in Weimar; maker to the Court; worked
also in Halle, Leipzig, Magdeburg, Berlin, and Jena; fine repairer,
but made excellent violins and violoncellos. His five sons all
became violin makers.
OTTO, Ludwig, son of Georg August Gottfried Otto; b. 1821, Jena;
1887, St Petersburg, Cologne, St Petersburg. He exhibited three
violins, a viola, violoncello, and double-bass, in London, 1862.
They were all well made, and were moderately priced.
OTTO, Louis, son of Carl August Otto; b. July 15, 1844,
Ludwigslust. Pupil of his father in Ludwigslust, 1860-65; in
Cologne, 1865-66, then went to Hanover, 1872; then still there
(1898); careful in selection of wood; large Stradivari pattern;
excellent work; has made 238 violins, and many tenors and ’cellos.
First prizeman, Chicago and Melbourne.
OUVRARD, Jean. 1725-46; pupil of Claude Pierray. Transition maker,
but true violoncello pattern, though continued to make viols.
PACHERELE, Michel. A maker in Paris in 1779; followed Guersan;
slightly arched; yellow varnish.
PACHERELE, Pierre. 1803, Mirecourt; 1871, Nice; fellow-apprentice
of J. B. Vuillaume at Mirecourt; worked at Genoa, and with
Pressenda, Turin; made a great many violins, altos, and
violoncellos, all of good workmanship; varnish too thick; took
Stradivari for his model; a clever repairer.
PACQUET. From Aix; working in Marseilles in 1785.
PADEWET, Johann. A good maker; d. about 1874; started at Basle,
1844, but moved to Carlsruhe.
PADEWET, Johann, son of Johann Padewet; b. Aug. 23, 1851-95,
Carlsruhe. Hanover, Berlin, under Aug. Riechers till 1874. Assisted
by two workmen, he makes forty to fifty instruments (violins,
violas, and violoncellos) a year, on the Stradivari pattern, using
oil varnish of reddish-yellow or golden-brown colour; good repairer.
PAGANI, Gian Battista. Cremona, 1747.
PAGANONI, Antonio. Working in Venice in eighteenth century.
PAGEOT (Pajeot), son of Louis Simon Pageot; b. Jan. 25, 1791,
Mirecourt; d. there Aug. 24, 1849. A maker of bows. In his
workshops about 8000 dozens of bows were turned out at prices
varying from 6d. to 14s.
PALATE. Liège, 1710; Italian pattern; excellent instruments.
PALMA, Paolo. Lucca, 1760.
PAMPHILON, Edward. A maker in London, on London Bridge, about
1680-90. (_See_ p. 124.)
PANDOLFI, Antonio. Venice, 1700-20; good; yellow-brown varnish.
PANORMO, Edward, either a son or a grandson of Vincenzo Panormo; he
worked both in London and in Ireland.
PANORMO, George. London. Probably a grandson of Vincenzo Panormo.
PANORMO, George Lewis, second son of Vincenzo Panormo. Very good
bows; fine guitars and a few good fiddles.
PANORMO, Joseph, eldest son of Vincenzo Panormo. London. Died in
great poverty; good workman; violoncellos excellent.
PANORMO, Vincenzo (known as “old Panormo”), b. Nov. 30, 1734,
Monreale, a village near Palermo, Sicily; d. 1813, London. Began
at sixteen; worked in England, Ireland, and Paris; perhaps with
Bergonzi in Cremona; excellent maker; powerful tone; Stradivari
pattern; clear yellow varnish; also guitars.
PANZANI (Pansani), Antonio. Rome, 1735-85; good maker.
PAQUOTTE Frères. Henri Félix, 1857, and Placide, 1864, sons of Jean
Baptiste Paquotte, to whose business they succeeded in July 1888.
Paris; a few violins; excellent in tone, but firm chiefly repaired.
PAQUOTTE, Jean Baptiste. Nephew of Sébastien Paquotte; one of the
best Paris makers of the day, 1860-88.
PAQUOTTE, Sébastien. Mirecourt, 1800-63, Paris. In 1830 he founded
the business in Paris.
PARALDIC. 1722.
PARDI. Paris, 1788.
PARDINI, Bastiano. 1700.
PARIS, Claude. Paris, 1775. In 1816 was joined by his nephew;
spirit varnish, a red-yellow colour.
PARKER, Daniel. London, 1740-85. A very clever workman, possibly a
pupil of Urquhart or Pamphilon. Red varnish, wood excellent, tone
clear and powerful. He made largely for the trade; his instruments
are often sold under other names; no viola or violoncello of his
known. About 1793 instruments valued at five guineas each; about
1805 they realised as much as fifteen.
PARTH (or Perth), Andreas Nicolas. Vienna about 1790.
PASTA, Domenico and Gaetano. Brescia about 1700-30; followed the
Amati instead of the Maggini pattern; poor tone; varnish brown.
PATZELT, Johann Ferdinand. Vienna.
PAZZINI, Gian Gaetano. Florence, 1630-70. According to label a
pupil of Maggini; instruments are not common.
PEARCE, George; b. Nov. 16, 1820, Warminster; d. 1856, London. In
the workshop of S. A. Forster as errand-boy, taught violin-making,
and became an excellent workman.
PEARCE, James and Thomas. Brothers working in London, 1780-1800;
work poor.
PEARCE, William. London.
PECCATE, Charles. Maker of bows in Paris, 1889.
PECCATE, Dominique. 1810, Mirecourt; d. there, Jan. 13, 1874. In
1826 was apprenticed to J. B. Vuillaume at Paris, and worked with
him until 1837; then François Lupot died, and Dominique succeeded
to his business at 18 Rue d’Angivilliers; returned to Mirecourt;
ranks next to François Tourte as a bow-maker; at first sold for
16s., now price quadrupled.
PECCATE, jeune. A brother of Dominique; also made bows; worked for
J. B. Vuillaume; work is inferior to that of his brother, 1856.
PEDRAZZI, Fra Pietro. A Dominican friar; working in Bologna in 1784.
PEMBERTON, Edward. London in 1660; instruments ugly, but tone good
and the varnish fine. It has been suggested that a Pemberton was
the maker of the instrument presented to the Earl of Leicester
by Queen Elizabeth which has “J. 15/78 P.” engraved on the
tail-pin--supposed to be the initials of the maker and the date of
the year (1578) in which it was made. If so, he was the earliest
English maker of the four-stringed violin.
PERAULT. A maker in Paris, 1775-77.
PÉRON (or Perou), Nicolas. Paris, 1775-90; appointed maker to the
Duchess of Orléans; instruments well made; yellow-brown varnish;
Gagliano pattern.
PERRY, Thomas. A maker in Dublin, 1767-1827. He was in partnership
with William Wilkinson; they made good violins.
PERSOIT. Maker of excellent bows in Paris. He made for J. B.
Vuillaume, 1823-41; but then started a business of his own. He
marked his bows “P. R. S.”
PETERS, Michael. Weyberg in 1801, judging from two labels in a
bass-viol of seven strings; the first runs: “Dieses Instrument ist
gemacht, anno 1627,” the second is “Arranschirt von Michael Peters
in Weyberg, anno 1801.”
PETZ. Fussen, Bavaria, 1770.
PEZZARDI. Brescia, 1580-1610; violins similar to those of Maggini;
sometimes sold as Maggini.
PFAB. Hamburg.
PFRETZSCHNER, Carl Friedrich, son of Johann Gottlob Pfretzschner.
Worked in Cremona; no great merit.
PFRETZSCHNER, Johann Gottlob. Cremona, 1794; not good.
PFRETZSCHNER. Neukirchen.
PICHOL. Paris.
PICINO. Padua, 1712; instruments arched; dark varnish.
PIERRARD, Louis, 1890. A maker of excellent violins, with red-brown
varnish, and of good tone, Brussels; pupil of Mougenot, but started
his own business in 1883; wrote “Traité de lutherie.”
PIERRAY (or Pierret), Claude. A contemporary of Boquay; he worked
in Paris about 1700-30.
PIETE (PICTE), Noel. Paris, 1760-1810; beautifully finished
workmanship.
PILLEMENT, F. Paris, 1790-1820; capricious maker; dark varnish.
PILOSIO, Francesco. Gorizia in 1748.
PIQUE, François Louis; b. 1758 at Rorei, near Mirecourt; d. 1822,
Charenton St Maurice. Went to Paris in 1777.
PIROT, Claude. Paris, 1800-20; good violins, Italian pattern;
bellies slightly arched, backs hardly at all; the sound-holes well
cut; varnish thick, red-brown or pale yellow colour.
PITET (or Pilet). A maker in Paris latter part of the seventeenth
century; no great value.
PIZZURMUS (Pozzurnus), David. Genoa, 1760.
PLACK (Plach), Francis. Schœnbock, Bohemia, 1740-80; good violins.
PLANE, W. Glasgow, 1860.
PLANI, Agostino de. Genoa in 1778; commonplace.
PLATNER, Michele. A Swiss; working in Rome in 1747; fair
workmanship; rather arched; scroll well cut; varnish golden-red.
PLUMEREL. Was working in Paris in 1740.
PLUMEREL, Charles. Angers, France, in 1822.
POIROS, Louis. French maker.
POIRSON, Eloph. Paris, 1875-89; first an amateur, afterwards made
for the trade; good work.
POLIS. Luca de. Cremona in 1751.
POLLUSCA (Pollusha), Antonio. Rome in 1751.
PONS, César. Grenoble, 1780-1820; violins large size, arched; work
not good.
POLRON, Peeter. A double-bass used in the Cathedral of Antwerp is
dated 1647.
POSTACCHINI, Andrea. Firmo, 1824; excellent maker, and good
repairer of instruments.
POSTIGLIONE, Vincenzo. 1835 at Naples; good maker, and made many
instruments, which rise every year in value.
POWELL, Royal and Thomas. Two brothers who worked in London,
1770-1800; employed by William Forster, and his son, William
Forster; work neat and good.
PRESSENDA, Giovanni Francesco; b. 1777, Turin; d. there, 1854.
Was the son of a strolling fiddler, Raffaele Pressenda; went to
Cremona; there studied violin-making under Lorenzo Storioni; learnt
there to make the varnish for which his violins were afterwards
noted; Stradivari pattern, not much arched, sound-holes well
cut, proportions correct, wood good, but scrolls rather roughly
finished; red-brown varnish of excellent quality.
PRESTON, John. York, 1785-95.
PREVÔT (or Prevost), P. Charles. Paris from 1775-89.
PRIEUR, Claude Edme Jean. Paris, 1775-89.
QUINOT, Jacques. Paris, 1660. Mentioned in 1680 as being “one of
the most clever of the honourable luthiers of Paris.”
RACCERIS. Mantua, 1670; similar to the Gagliano family, with one of
whom he is said to have been in partnership.
RAFFAELLE, Nella (or Della). Brescia, 18th century; pattern
of Maggini; his instruments have the sides ornamented with
inscriptions; brown varnish; no great merit.
RAMBAUX, Claude Victor, 1806-71; at Darney in the Vosges; d. at
Mirecourt. Went to Caen and worked under Thibout, 1824-27; then to
Paris, where he worked with Gand; great repairer and adapter of old
instruments by cutting down.
RAMFPLER, Franz, 1834-90, Munich; pupil of Andreas Engleder,
Munich; used his own invented varnish; made good fiddles.
RANCE, Thomas. Brussels, about 1680-85.
RANTA, Pietro. Brescia, 1733; Amati pattern.
RASURA, Vincenzo. Lugo, 1785.
RAU, J. F. Nuremberg; exhibited at Munich in 1854 a violin of good
though rather coarse tone.
RAUCH, Breslau, and Rauch of Würzburg, two brothers, 1730-60; good
violins; used their own models; varnish red; tone sound.
RAUCH, Jacob. Mannheim, 1720-50; good work; violins Stainer tone;
excellent altos, violoncellos, and double-basses.
RAUCH, Sebastian, 1725-90 Hamburg, and Leitmeritz in Bohemia;
violins arched, not remarkable.
RAUT, Jean. Bretagne; who worked in Rennes till about 1790; pattern
of Guarneri; red varnish.
RAUTMANN. Brunswick.
RAWLINS. London in 1779.
RAYMAN, Jacob; b. in the Tyrol, but settled in London about 1620-48.
RAZENZO, Carole. Barcelona, 1690.
REALLI, Cosmo Battista. Parma, 1667.
RECHIARDINI, Giovanni (called “Zuano”). Venice, 18th century.
REGNAUT (Renault), Jacques. Paris, 1665-85; a little pocket-violin,
with silver purfling, was dated 1682; maker to the King.
REICHEL, Johann Conrad, brother of Johann Gottfried. Neukirchen in
1779.
REICHEL, Johann Gottfried, brother of Johann Conrad. Absam; pupil
of Stainer; work rough; red-brown varnish of poor quality.
REMY. A French maker; 1840, Paris and London; Italian pattern; wood
artificially aged.
REMY, Hippolyte, eldest son of Jean Mathurin Remy. 1835-70 in
Paris; no great merit.
REMY, Jean Mathurin, son of Mathurin François Remy; b. 1770, Paris;
d. 1854; his work same as father’s; oil varnish.
REMY, Jules Hippolyte, second son of Jean Mathurin Remy; b. 1813,
Paris; d. 1876.
REMY, Mathurin François, 1775-91, Paris; yellow-brown varnish.
RENAUDIN, Léopold; b. 1749, at Mirecourt; guillotined, May 7,
1795. He settled in Paris, living in the Rue St Honoré from 1776
till his death at the sign of “Aux amateurs”; fairly good violins,
but too much arched; varnish almost black in colour; excellent
double-basses.
RENAULT, Nicolas. A French maker, 16th century.
RENAULT, Sébastien. Paris, 1775-1805. Cithers of his are known
dated 1779, 1786, and 1804; a violin is described as made on a
good pattern, with yellow varnish of fair quality; worked with F.
Chatelain. Advt.: “Renault et Chatelain, luthiers, font et vendent
louent, achètent et raccommodent toutes sortes d’instruments de
musique, etc., à Paris.”
RENISTO. Cremona, 1735-40; pupil of Carlo Bergonzi, whose work he
copied closely.
RESLE, Andrea. Fiesso in 1740; good.
REYNAUD, André. Tarascon, 1754-66; good violoncellos.
RICHARDS. London.
RICHELME, A. Marius. Marseilles; curves of the upper and lower
bouts almost returning to the ancient viol-shape. He published in
Marseilles, 1868: “Etudes et observations sur la lutherie ancienne
et moderne.”
RICOLAZZI, Lodovico, 1729.
RIECHERS, 1836, Hanover; d. 1893, Berlin. Was first a pupil
of L. Bausch at Leipzig, then moved to Berlin in 1872, at the
special request of the violinist, Joseph Joachim; made excellent
instruments on the Stradivari and Guarneri patterns; about 1000
violins and over 200 violoncellos were made in his workshop.
RIESS. A maker, Bamberg, about 1740-60; fair maker; Stainer pattern.
RINALDI, Benedetto Gioffredo, Pupil of Pressenda; d. 1890. Turin.
RIVOLTA, Giacomo. Milan, 1822. Good work.
ROCCA, Giuseppe Antonio. Turin, 1835-55; worked at one time for
Pressenda; Stradivari pattern; varnish is poor quality.
RÖSCHER, C. H. W. Bremen, 1871.
ROGER, G. Montpellier, 1820.
ROGERI, Gian Battista; b. Bologna, 1650. Cremona, under Nicolo
Amati; Stradivari was a fellow-pupil of his.
ROISMANN, Johann. Breslau, 1680.
ROL. Paris, 1753.
ROMANO, Pietro. Pavia, 18th century.
ROMARINI, Antonio. Cremona, 18th century.
ROMBOUTS, Pieter. Amsterdam, 1705-35; he made violins, violas, and
violoncellos, much arched; bright but thick varnish.
ROOK, Joseph. London, about 1777-1830; good work; Forster pattern.
ROPIQUET. Paris, 1810-30; he was an orchestral player; made some
violins of no great value.
ROSIERO, Rocco. Cremona, early part of 18th century.
ROSIO, Paolo. 1857, Verolanuova; Brescia.
ROTA, Giovanni. Cremona, 1800-10; rough work; varnish yellow.
ROTA, Giuseppe Antonio. Turin, 1825; his work similar to that of
Pressenda; varnish is red-brown.
ROTH, Johann and Christian. Both about 1675, the former at
Darmstadt and the latter at Augsburg.
ROTTENBROUCK. Brussels, 1700-25; pattern of Amati; red-brown
varnish.
ROVETTA, Antonio. Bergamo, 1840-70.
ROZE. Orléans, 1755-65; good workmanship; varnish yellow.
RUGGERI (Rugieri), Francesco. 1668-1720. Was the first of a family
of makers in Cremona, very often confused with Rogeri of Brescia.
(_See_ p. 50.)
RUGGERI (Rugieri), Giacinto, son of Francesco Ruggeri; b. in
Cremona.
RUGGERI (Rugieri), Guido. Cremona about 1720.
RUGGERI (Rugieri), Pietro Giacomo and Giovanni Battista. Both
working in Brescia about 1700-25.
RUGGERI (Rugieri), Vincenzo, son of Francesco Ruggeri. Cremona
about 1700-30, is also said to have worked in Brescia. He made many
altos and violoncellos; work rough; last member of this family to
make violins. He also used “il Per” on his labels, for the same
reason, probably, viz., to distinguish his work from that of the
Rogeri of Brescia.
RUGGERI, Gianbattista. Cremona, _cir._ 1693.
RUPPERT, Johann Heinrich. Erfurt about 1720. His violins, altos,
and violoncellos were of a flat model, without linings, corner
blocks, or purfling; loud tone, and dark brown varnish.
SACCHINI, Sabattino. Pesaro in 1686.
SACQUIN. Paris about 1830-60; instruments well made, especially the
double basses; followed the Stradivari pattern.
SAINT-PAUL, Antoine. Paris, about 1765-90. He was son-in-law and
successor of Louis Guersan; his advertisement says, “Il fait
et vend toutes sortes d’instruments de musique sçavoir; violons
de Cremone, violons de sa façon et de toutes sortes d’auteurs;
alto-violas, basses et contrebasses.”
SAINT-PAUL, Pierre. Paris, 1740.
SAJOT. Paris, 1730-35; instruments with flat backs; varnish
yellow-brown; the work poor.
SALINO, J. B. Rome in 1760; very arched; varnish bad, brown.
SALLE, le Père. Paris about 1825-53. He made a few violins;
beautiful copies of Guarneri; fine repairer and great connoisseur.
SALOMON, Jean Baptist Deshayes. Rheims, 1747-70 (?); went to
Paris, where his widow carried on the firm, employing Namy; later
he settled in the Rue de l’Arbre-sec (about 1769). He died before
1772, for in that year Namy is mentioned as working for the
widowed Madame Salomon. He made few violins, but they show good
work, and are on a similar pattern to those of Louis Guersan, his
contemporary; they have yellow-brown varnish; unequal maker; some
good violoncellos and bass viols.
SALZARD, F. Paris.
SANONI, Giovanni Battista. Verona, 1740; instruments much arched;
rose-coloured varnish; good work.
SANTAGIULIANA, Giacinto. Venice, 1830.
SANTE, Pesaro. 1670.
SANTE, Giuseppe. Rome, 1778.
SANTO, Giovanni. Naples, 1700-30; copied Amati; small pattern; well
made; varnish poor.
SANTO SERAFINO; b. at Udine; worked in Venice about 1710-48. (_See_
p. 90.)
SANZO SANTINO (Santo Sentino). Milan, 18th century; good; resembles
Grancino.
SARACENI, Domenico. Florence, 17th century.
SARAILLAC, François. Lyons, 1678-1712.
SASSANO. Fine Italian maker; rarely met with; yellow varnish;
beautiful free tone.
SAUNIER, Edmond. 1754-80, Bordeaux and Paris. Was a pupil of
Lambert of Nancy, the “Carpenter,” but did superior work.
SAVANI, Giuseppe. Carpi, 1809.
SAWITZKI (Sawicki), Nicolaus; b. 1792, Poland; d. 1850; settled in
Vienna; good.
SCARAMPELLA, Giuseppe, son of Paolo Scarampella; 1838-80 (?),
Brescia, Paris, Florence. He restored the viola and the famous
violoncello of Stradivari kept in the Istituto Musicale of
Florence, and in 1884 succeeded Castellani as keeper of the
collection of instruments there; makes new instruments, following
the Stradivari or Guarneri del Gesù patterns; tone clear and
strong; the work carefully done; reddish oil varnish.
SCARAMPELLA, Paolo; b. Sept. 25, 1803, Brescia; d. April 7, 1870. A
carpenter by trade, but made many violins, violoncellos, guitars,
and mandolines.
SCARAMPELLA, Stefano, son of Paolo Scarampella. Brescia, 1843;
settled in Mantua; made many good violins.
SCHAENDL, Anton. Mittenwald, 1753.
SCHEINLEIN, Johann Michael, son and pupil of Matthäus Friedrich
Scheinlein; 1751, Langenfeld; large Stainer pattern, but avoided
the arching; full and pleasant tone; but wood not being thick
enough, so not durable.
SCHEINLEIN, Matthäus Friedrich, 1710, Langenfeld in Franken
(Franconia); d. there, 1771. A violinist, but taking great interest
in violin-making, began by repairing old instruments and finished
by making new ones; much arched; dark brown varnish; work careful.
SCHELMAYER, Christian. Cologne.
SCHLICK, Leipzig.
SCHMIDT. Cassel, 1817; Stradivari pattern, but edges are larger and
purfling not so close to the sides; spirit varnish; wood of bad
quality.
SCHMIED. Vienna, 18th century.
SCHÖNFELDER, Johann Adam. Neukirchen in 1743.
SCHONGER, Franz. Erfurt, 18th century; fairly good.
SCHONGER, Georg, son of Franz Schonger. Erfurt; better than his
father, and left some good violins; Italian pattern; good repairer.
SCHORN, Johann Paul; 1680-1716, Innsbrück; made excellent violins;
much arched; good varnish.
SCHÜNEMANN, Otto. German; appointed Director of the School of
Violin-Making at Schwerin.
SCHULZ, Peter. Ratisbon, 1854; German school; good.
SCHUSTER, Gebrüder. Brothers who make cheap fiddles, 75s., good
tone, at Markneukirchen.
SCHUSTER, Michael. Also connected with the business in
Markneukirchen, Saxony.
SCHWARTZ, Bernard. French maker who settled at Strasburg,
1795-1822; two sons, both makers.
SCHWARTZ, Georges Frédéric; 1785-1849; and Théophile Guillaume,
1787; Strasburg, 1861, sons of Bernard Schwartz. Pupils of
their father, and at his death succeeded to his business, which
became “Frères Schwartz.” Théophile was chiefly concerned in the
instrument-making, Georges gave his time to making bows; he gained
a well-merited reputation. His bows are generally marked near the
nut with “Schwartz, Strasbourg.”
SCHWARTZ, Théophile Guillaume, son of Théophile Guillaume Schwartz;
b. Sept. 3, 1821. In 1852 he succeeded to the business in Strasburg
at 2 Place Saint-Thomas; chiefly repairer.
SCHWEIZER, Johann Baptist. Budapest, 1798-1875; pupil of Geisenhof
in Vienna; his violins not arched; work neat.
SEGHER, Girolamo; b. 1646. Was a pupil of Nicola Amati, and was
working under him, 1680-82.
SENI, Francesco. Florence in 1634.
SERASATI, Domenico. Naples, 1710-50; fair.
SICILIANO (Ciciliano), Antonio. Venice about 1600. A tenor and a
bass viola da gamba in the Modena Museum, Vienna.
SICILIANO, Gioacchino, son of Antonio Siciliano. Venice about 1680.
SILVESTRE, Hippolyte; 1808, Saint-Nicolas-du-Port (Meurthe); 1879,
Sommerviller, near Nancy. Was first a pupil of Blaise at Mirecourt,
then of J. B. Vuillaume at Paris.
SILVESTRE, Pierre, brother of Hippolyte; b. Aug. 9, 1801, at
Sommerviller, near Nancy; d. 1859, Lyons. Was also a pupil of
Blaise at Mirecourt, then went to Paris; worked with Lupot;
excellent violins; made about 350 instruments, bearing his label:
“Pierre Silvestre à Lyon, 185--.” When working with his brother,
the label used was: “Petrus et Hippolytus Silvestre fratres
fecerunt Lugdun.”
SIMON. Salzburg, 1722.
SIMON, Claude. Paris, 1733-88.
SIMON, P.; b. 1808, Mirecourt. Went to Paris in 1838, where he
worked for some months under D. Peccate; then to J. B. Vuillaume;
made most excellent bows, and generally marked them with “Simon,
Paris,” near the nut.
SIMONIN, Charles. Mirecourt. Was apprenticed to J. B. Vuillaume at
Paris, and became one of his most able workmen. In 1841 he settled
in Geneva, then went to Toulouse; excellent maker.
SIMOUTRE, Nicolas. 1788, Mirecourt; d. 1870, at Metz. His son,
Nicolas Eugène, was also a maker.
SIMOUTRE, Nicolas Eugène, son of Nicolas Simoutre. 1834-89,
Mirecourt. Was first a pupil of his father, then of Darche in
1852 at Paris; then of Ch. Roth in 1856 at Strasburg; worked in
Strasburg, Mulhausen, Basle, and Paris; a prolific writer on his
art.
SIMPSON, James, and Son. Were musical instrument makers in London
in 1794.
SIRJEAN. Maker of bows in Paris, 1818.
SITT, A. Prague, 1854. Stradivari pattern, which improve with age.
SLAGHMEULEN, Jan Baptist van der. Antwerp, 1672. The varnish a pale
brown.
SMITH, Thomas. London, 1740-90. Pupil and successor of Peter
Wamsley; fine violoncellos; Stainer pattern; rising in price. John
Norris was a pupil of his. Label: “Made by Thos. Smith at the harp
and hautboy in Pickadilly. London, 1756;” similar labels were used
until 1766.
SMITH, William. Hedon, Yorkshire, in 1786.
SNEIDER, Giuseppe. Pavia, 1700-25. A pupil of Nicola Amati. Violins
slightly arched; varnish is a rich yellow colour; instruments made
by Girolamo, son of Nicola Amati, have often been attributed to
Sneider.
SNOECK (Schnoeck), Egidius. Brussels, 1731. Amati pattern; dark
reddish varnish.
SNOECK, Marc. Brussels, 1744. Clever repairer.
SOCCHI, Vincenzo. Bologna, 1661.
SOCQUET, Louis. Paris, 1750-80. Not good.
SOLIANI, Angelo. Modena, 1752-1810.
SOMER, Nicolas. Paris, 1725-50.
SPEILER. A German maker, 18th century.
SPRENGER, Anton. 1834, Mittenwald. Makes violins and violoncellos
on the Stradivari and Guarneri patterns; oil varnish of good
quality.
STADELMANN (Statelmann), Daniel Achatius. 1680-1744, Vienna, who
showed great ability in imitating the Stainer pattern; he used thin
varnish of a deep amber colour; the work is well finished.
STADELMANN (Statelmann), Johann Joseph, son of Daniel A.
Stadelmann; good copyist of Stainer, 1764.
STADL, Michael Ignatius. Vienna in 1770. Fair.
STAINER, Andreas. Was working in Absam about 1660; made few violins.
STAINER, Jacob, son of Martin Stainer and Sabina Grafinger. (_See_
p. 93.)
STAINER, Marcus, brother and pupil of Jacob Stainer; he worked in
Laufen, Austria.
STANZA, Giuseppe, b. 1663 in Venice. Pupil of Nicola Amati at
Cremona.
STATLEE, Anderl. Genoa, 1714. Pupil of Girolamo, son of Nicola
Amati.
STEININGER, François. Paris, 1827. Excellent maker.
STEININGER, Jacob. Frankfort, 1775. Nicholas Diehl was a pupil of
his.
STIRBAT (Stirrat), David. Edinburgh, 1810-15; good.
STORIONI, Lorenzo. 1751-80, Cremona. Worked at 3 Contrada
Coltellai; he was one of the latest, if not the last of the
celebrated makers of Cremona, and his instruments, though of great
merit, show signs of decadence in the art. (_See_ p. 88.)
STOSS, Bernard and Martin. Fussen, Bavaria; worked in Vienna; fair
makers.
STOSS, Franz. Fussen, Bavaria, 1750-98.
STRADIVARI (Stradiuarius), Antonio, son of Alessandro Stradivari
and Anna Moroni. (_See_ p. 61.)
STRADIVARI, Francesco, son of Antonio Stradivari. 1671-1743.
STRADIVARI, Omobono, son of Antonio. 1679-1742.
STRAUBE (Staube). Berlin about 1770-75. Few known, but good;
excellent repairer.
STRAUS, Joseph. Neustadt, 1745-50.
STRNAD, Caspar. 1750. He settled in Prague and worked there,
1781-95; good maker.
STROBL, Johann. Hallein in 18th century.
STURGE, H. 1811-53, Bristol; repairer, Huddersfield.
SULOT, Nicolas. Dijon, 1825-40. Eccentric maker.
SURSANO (Sorsano), Spiritus. Cuneo, 1714-35; inferior.
TACHINARDI. Cremona, 1690.
TADOLINI. Modena, 19th century.
TANEGIA, Carlo Antonio. Milan, 1725-30.
TANIGARDI (Taningard), Georgio. Rome, 1735.
TARR, William. Manchester, 1829-55; made some fair double-basses.
TASSINI, Bartolommeo. Venice, 1754; followed Testore.
TAYLOR, 1750, London; supposed pupil of Panormo; good instruments,
principally double-basses, and clever at repairing old ones.
TECHLER (Tecchler), David; 1666-1743. (_See_ p. 102.)
TEDESCO (Todesco), Leopoldo, 1625-58; pupil of Nicola Amati in
Cremona, 1653-54.
TEODITI (Teoditti), Giovanni. Rome, 17th century.
TERNYANINI, Pietro. Modena, 1755.
TESTATOR, “Il Vecchio.” Milan, 1520; reputed transition maker from
viol to violin.
TESTORE, Carlo Antonio, eldest son of Carlo Giuseppe Testore.
Milan, 1735-65; followed the Guarneri model; violoncellos and
tenors very good; varnish golden-yellow.
TESTORE, Carlo Giuseppe; b. at Novarra; settled at Milan about
1687, and worked there till about 1720; pupil of Giovanni Grancino,
for whose work his instruments are often mistaken; best workman in
this family, but made few instruments. When the well-known Lindley
“Grancino” violoncello was repaired in 1884, the removal of the
Cremona label exposed the original label in good preservation,
as follows: “Carlo Giuseppe Testore allievo di Gio. Grancino in
Contrada Larga di Milano, 1690.” A double-bass of his was played on
by the celebrated Bottesini at concerts; it had a splendid tone.
Label: “Carlo Giuseppe Testore in Contrada larga di Milano al segno
dell aquila, 1700.” He had two sons, Carlo Antonio and Paolo
Antonio, both violin-makers.
TESTORE, Giovanni, son of Carlo Testore, _q.v._
TESTORE, Paolo Antonio, second son of Carlo Giuseppe Testore and
the last maker of this name.
THÉRIOT, J. B. Paris, 1783.
THIBOUT, Aimé Justin. 1808-62, Caen.
THIBOUT, Albert, son of Gabriel Adolphe Thibout. 1839-65, Paris;
succeeded his uncle, Gabriel Eugène, as “luthier de l’Opéra,” and
was succeeded in his turn by the brothers Gand.
THIBOUT, Gabriel Adolphe, son of Jacques Pierre Thibout, 1804;
Paris, 1858; not as good as his father.
THIBOUT, Gabriel Eugène, son of Jacques Pierre Thibout. 1825 at
Paris; succeeded his brother, Gabriel Adolphe, as “luthier de
l’Opéra” in Paris; 1861, Boulogne-sur-Mer.
THIBOUT, Jacques Pierre. 1777-1856, Caen. First worked at
Caen, then under Koliker at Paris; fine maker; excellent tone;
workmanship rivals best Cremona style; varnish red on amber ground.
Advt.: “Nouveau procédé approuvé par l’Institut. Thibout, luthier
du roi, rue Rameau, no. 8, à Paris, 1825.”
THIBOUVILLE-LAMY, Jérôme. A little before 1867 he became sole
proprietor of the various factories at Mirecourt; he gradually
substituted mechanical for manual labour, and while increasing the
number of instruments made, at the same time reduced their price,
so that at last he was able to exhibit at Vienna in 1873 his famous
violins at 4s., 8s., and 16s. each. By 1887, 35,000 instruments had
been made by this firm. He was awarded a medal, Vienna, 1873; medal
of honour, Santiago, 1875; prize medal, Philadelphia, 1876; and
gold medal, London, 1885. He was made Chevalier of the Legion of
Honour, April 10, 1877, and Officer, Jan. 15, 1892.
THIN, Mathias and Georg. Vienna, 18th century; good.
THIR, Johann Georg. Vienna, 1791.
THOMASSIN. Worked under Clément at Paris, 1825-45; good.
THOMPSON (Thomson), Robert. London, at the sign of the
“Bass-Violin,” in St. Paul’s Churchyard, 1749-64; Stainer pattern.
He was succeeded by his sons, Charles and Samuel, who worked about
1775-85.
THOROWGOOD, Henry. London, 18th century. Label: “Made and sold by
Henry Thorowgood at the Violin and Guitar under the North Piazza of
the Royal Exchange, 17--, London.”
THUMHARDT, Munich and Straubing in the 18th century; German style.
TIELKE, Joachim. One of a family of makers. Hamburg, 1539-1701. He
was celebrated for the lutes, theorbos, guitars, and especially the
viols of all kinds which he made, of very fine tone, ornamented
with the richest and most varied inlaid work; one violin of his is
also mentioned.
TILLEY, Thomas. London, 1774.
TIPHANON (Thiphanon), Jean François. Paris, 1775-1800.
TIRLER, Carlo. Bologna, 18th century.
TOBIN, Richard. London, 1790-1840; pupil of Perry, Dublin; worked
for John Betts; followed the Stradivari or Guarneri patterns; good
maker. A son of his was also a maker.
TODINI, Michele, 1625. Lived in Rome; made a few violins.
TOLBECQUE, Auguste, son of Auguste Joseph Tolbecque; 1830-51,
Paris. He was a violoncellist; also worked at violin-making under
Rambaux in Paris; made a small number of new instruments; extremely
clever at restoring old ones.
TONONI, Antonio. Bologna, 17th century.
TONONI, Carlo, son of Felice. First worked, 1698-1739, Bologna;
settled in Venice. His instruments vary; they are generally of
a large pattern, not so highly arched as those of his brother
Giovanni; varnish similar to that of Santo Serafino; yellow-brown
colour. He often branded his monogram near the button of the
tailpiece.
TONONI, Felice. Bologna, 1670-90. He worked with his son Giovanni;
their violoncellos have a great reputation in Italy.
TONONI, Giovanni, son of Felice. Worked in Bologna till about 1705;
few instruments of his are to be found.
TOPPANI, Angelo de. Rome, 1720-40. His instruments are rarely
seen, are similar to those of Techler, but more arched; varnish
golden-yellow; sound-holes are cut large.
TORELLI. Verona, 1625.
TORING (Torring). Maker and repairer of violins; London, 1800.
TORTOBELLO, Francesco. Rome, 1680; Maggini pattern.
TOULY, Jean. Nancy, 1730-47. Label: “Fait par moy Jean Touly à
Nancy, 1747.”
TOURTE, François (“le jeune”); b. 1747, Paris; d. there, April
1835. Was a younger brother of Xaver Tourte. (_See_ p. 163.)
TOURTE, le Père. Settled in Paris about 1740.
TOURTE, Xaver (l’aîné), eldest son of Tourte père.
TRAPANI, Raffaele. Naples, 1810; workmanship is good; violins large
patterns, with prominent edges and heavy purfling; the scroll
Brescian type; varnish thick and of a red-brown colour.
TRÉVILLOT, Claude. Mirecourt, 1698.
TRINELLI, Giovanni. Italian.
TRUNCO. Cremona, 1660.
TRUSKA, Simon Joseph, 1734-1809, Raudnitz, Bohemia. Entered Strahow
Monastery, Dec. 8, 1758, taking the vows, Jan. 1, 1761. Became
proficient as a musician and composer, and then began to construct
instruments, making violins, altos, violas d’amore, and bass-viols.
TUBBS, James. A maker of excellent bows, Wardour Street, London.
TURNER, William. London in 1650; splendid wood. Label: “William
Turner, at ye hand and crown in gravelle lane neere Aldgate,
London, 1650.”
TYWERSUS. Instruments are similar to those of Andrea Amati. Nicolas
Renault was a pupil of his. (_See_ p. 187.)
UGAR, Crescenzio. Rome in 1790; work is German in character; brown
varnish.
UNGARINI, Antonio. Fabriano, 1762.
URQUHART, Thomas. A maker in London about 1650-80; he was probably
a Scotchman. His work resembles that of Jacob Rayman, with whom
he may have worked, and shows great merit. His violins are of two
sizes, some on a small, others on a large pattern, very arched, the
corners not very prominent, the purfling narrow and placed close to
the edge; the oil varnish, of a yellowish-brown or sometimes red
colour, is of excellent quality, and is similar to Italian varnish;
the tone is clear and silvery. His violins and violas are rare, and
no violoncello of his has been seen. Urquhart is sure to rise in
value, and some of his work is splendid in finish.
VAILLANT (Vaillot or Vaillaut), François. Paris, 1736-83; good
workmanship; varnish poor.
VALENTINE, William. London, died about 1877; made good
double-basses.
VALLER. Marseilles, 1683.
VANDELLI, Giovanni. Modena, 1796-1839; fair work.
VANDERLIST. Paris, 1788-89. Guadagnini pattern and varnish. He
branded his name on his instruments. Label: “Luthier, rue des
Vieux-Augustins, près de l’égout de la rue Montmartre, Paris.”
VAROTTI, Giovanni. Bologna, 1813.
VARQUAIN. Paris, 1742.
VAUCHEL, Joseph. Damm about 1840. He exhibited two violins at
Munich in 1854, which had a fine tone, and was awarded the medal of
honour. Hörlein was a pupil of his.
VENZI, Andrea. Florence, 1636.
VERBRUGGEN, Theodor. Is known as one of the makers in Antwerp in
1641 by a double-bass which he made for use in the Cathedral.
VERINI, Andrea. 1884.
VERLE, Francesco. Padua about 1590. Label: “In Padova Francesco
Verle.”
VERMESCH, le Père. Beaumont-sur-Oise in 1781.
VÉRON, Pierre André. Paris about 1720-50; good work; pattern
Italian.
VETRINI, Battista. Brescia about 1629; small pattern; wood is
excellent; good yellow varnish.
VETTER, Jeane Christophe. Strasburg in 1744.
VIARD, Nicolas. Versailles, 1790.
VIBERT, J. B. Paris, 1775.
VIBRECHT, Gysbert. Amsterdam, 1700-10.
VILLAUME ET GIRON. In a violin of fairly good workmanship was the
printed label: “Villaume et Giron, Troyes, 170--.”
VIMERCATI, Pietro. Do not confound with Gaspar, a lute-maker. A
maker in Brescia in the 17th century; is thought to have been
a pupil of Carlo Tononi in Venice; instruments arched; Maggini
pattern.
VINACCIA, Antonio. The head of a family of makers; worked in
Naples, 1766-74; pattern of Gagliano. Two sons, Gennaro and
Gaetano, were also makers, but chiefly of mandolines.
VINACCIA, Pasquale, son of Gaetano, 1806-81.
VINCENZI, Luigi. Carpi in 1775.
VIORILLO, Giovanni. Ferrara, 1780; followed Stainer pattern.
VIR, Hieronimo di. Bresa, Silesia.
VITOR, de. A maker in Brescia in 1740; instruments similar in
appearance to those of Maggini; large pattern; fine workmanship.
VITUS DE ANGELIS. Bologna, 1609.
VIVOLI, Giovanni. Florence, 1642.
VOEL, E. Mayence, 1840; his instruments follow the Stradivari more
than the German pattern; general workmanship good.
VOGEL, Wolfgang; d. Feb. 17, 1650, Nuremberg; instruments much
liked.
VOGLER, Johan Georg. Würzburg in 1749. Label: “Johann Georg Vogler,
Lauten und Geigenmacher in Würzburg, 17--.” His son was the
celebrated Abbé Georg Joseph Vogler.
VOGT. Good instruments, Vienna, in the Speigel-Gasse.
VOIGT, Martin. Hamburg, 1726. His work is similar to that of
Tielke. A bass-viol, the back inlaid in ivory, having Apollo,
Venus, Mercury, and Diana represented, was dated Hamburg, 1726, and
was exhibited at the South Kensington Museum, London, 1872.
VOIRIN, François Nicolas. 1833, at Mirecourt; 1885, Paris. After
working at Mirecourt, he went to Paris in 1855, and for fifteen
years made bows for J. B. Vuillaume; he obtained as “collaborateur”
a “mention honourable” at the 1867 Paris Exhibition; gold and
silver medalist, Paris, 1867 and 1878; followed the Tourte pattern,
but made the head of his bow less square; his workmanship shows
wonderful finish and elegance. He was awarded a silver medal at
the Paris Exhibition in 1878, the only prize given to bow-making;
and some of his bows exhibited after his death at the Antwerp
Exhibition were awarded a gold medal. He branded his bows with “F.
N. Voirin, à Paris”; to this was added, on those bows exhibited at
Paris, 1878, “Exposition, 1878.”
VUILLAUME, Claude; b. 1772, Mirecourt; d. 1834. He is the first
member known of this family of violin-makers.
VUILLAUME, Claude François, fourth son of Claude Vuillaume; b.
March 1807, Mirecourt. His son, Sébastien, was also a maker.
VUILLAUME, Jean; b. 1700; d. 1740. A maker in Mirecourt; is said to
have been a pupil of Stradivari, but his work shows no sign of it.
VUILLAUME, Jean Baptiste, eldest son of Claude Vuillaume. 1798,
Mirecourt; 1875, at Paris. (_See_ p. 110.)
VUILLAUME, Nicolas, second son of Claude Vuillaume. 1800-71,
Mirecourt. Worked with Jean Baptiste, his elder brother, for ten
years at Paris.
VUILLAUME, Nicolas François, third son of Claude Vuillaume.
1802, Mirecourt; 1876, Brabant. He worked with his brother, Jean
Baptiste, Paris; made fair instruments, and was a fine copyist of
Stradivari.
VUILLAUME, Sébastien, son of Claude François Vuillaume; b. 1835; d.
1875, Paris. He was the last maker of this family, and continued to
make bows on the same pattern as Jean Baptiste Vuillaume, having
in his possession the machine for cutting bows which J. B. V. had
invented shortly before his death. Bronze and silver medals: Paris,
1867; Havre, 1868.
WAGNER, Benedict. A maker of lutes and violins in Estwangen in 1769.
WAGNER, Joseph. Constance, 18th century.
WALDANER. Fussen, 1770.
WALTER, Jean. Paris, 1775-1800.
WAMSLEY, Peter. A maker in London about 1715-51. He had at one time
a great reputation, especially for his violoncellos. He copied the
Stainer pattern very closely, and also made a few imitations of
Stradivari instruments; but in his attempts to obtain an Italian
quality of tone he thinned the wood too much, making the tone sound
hollow. His violoncellos with thicker wood have a fine tone, so
have his double-basses; the latter are rare, and generally have red
varnish.
WEAVER, Samuel. London; known by his printed label, “All sorts of
musical instruments made and sold by Saml. Weaver on London Bridge.”
WEICKERT. Halle, 1800.
WEIGERT, Johann Blasius. Linz, 1721; a viola d’amore known,
labelled: “Joann Blasius Weigert Lauten und Geigenmacher in Linz,
1721.”
WEISZ (Weiss), Jacob. Salzburg, 1733-61.
WENGER, Gregor Ferdinand. Salzburg, 1750-60.
WENGER. Padua, 1622.
WETTENENGEL, Gustav Adolph. Neukirchen, Saxony, 1828. He wrote an
excellent practical treatise on violin-making.
WEYMANN, Cornelius. Amsterdam, 1682.
WIDHALM (Withalm), Leopold. Nuremberg, about 1750-80; imitated
Stainer; wood carefully chosen, sometimes too thin; the varnish red
colour, good quality. Several of his violins have double purfling,
and are branded with his initials inside.
WIGHTMAN, George. Only known by his label: “George Wightman, Wood
Street, London, 1761.”
WILLEMS, Hendrick. Ghent, Belgium, 1650-1700. An alto of large
pattern has remarkably fine wood used for the belly; the corners
are prominent and squared at the end; Brescian model; the neck ends
in a lion’s head; the outline and the beautiful finish could almost
be mistaken for Italian work, but the varnish is too dry. Nearly
all his instruments have beautiful wood for the belly, but walnut,
lime-tree, or plane-tree wood is frequently used for the back and
the sides, especially in the case of the basses.
WILLEMS, Hendrick. Ghent; some time after the previous Hendrick
already mentioned. He made a violoncello or bass with five strings,
labelled: “Heyndrick Willems tot Ghendt, 1717.” A violin, dated
1743, had the belly made of carefully selected pine, the back of
walnut, and the sides (very exceptional) of maple.
WILLEMS, Jooris. Ghent, 1630-65; a cornet-player, 1634-71. The
first mention of him is in August 1634; used lime-wood and
finely-figured maple; Italian style.
WILLER. Prague, 18th century.
WISE, Christopher. Transition maker of viols and violins in London,
1656; small pattern, not much arched; yellow varnish, good quality;
careful work. Label: “Christopher Wise, in Half-Moon Alley, without
Bishops-Gate, London, 1656.”
WITHERS, Edward. He succeeded to William Davis’s business at 31
Coventry Street, London, in December 1846. Both Charles Maucotel
and Boullangier worked under him at one time.
WITHERS, Edward, eldest son of Edward Withers, b. Oct. 22, 1844.
Pupil of his father and John Lott. Commenced business at 31
Coventry Street, London, in 1856; makes about twelve instruments
per year, on the Stradivari and Guarneri patterns, using good oil
varnish, amber colour.
WITTING, Johann Georg. Mittenwald, about 1775; his instruments are
well made; dark varnish.
WORNUM, Robert, 1742-1815. A music-seller in Glasshouse Street,
also a violin and violoncello maker.
WORTE, Matthias. Augsburg, 1639.
WRIGHT, Daniel. London, 1745. Label: “Made by Daniel Wright in
Holborn, London.”
ZACH. Vienna; makes good instruments.
ZANFI, Giacomo. Modena, 1756-1822.
ZANOLI, Giacomo. Padua, 1740.
ZANOLI, Giambattista. Verona, 1730; rough work; German style.
ZANOTTI, Antonio. Lodi and Mantua, 1734.
ZANOTTI, Giuseppe. Piacenza, 18th century.
ZANTI, Alessandro. Mantua, 1770; Stradivari pattern; poor varnish.
ZENATTO, Pietro. Treviso, 1634.
ZIMBELMANN, Filippo. Florence, 1661.
ZIVERGER (Zwerger), Anton. Mittenwald, 1750; good wood; dark
varnish; fair finish.
BIBLIOGRAPHY
It is very difficult to define my obligations to previous writers
and advisers when I owe almost everything to them; but I am bound
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Mr Fleming, I could not have written this book at all. The preceding
list of makers has been largely adopted from Miss Stainer’s elaborate
Music Primer, “Violin Makers,” published by Novello.
ENGLISH.
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OTTO, JACOB AUGUSTUS. “Treatise on the Construction, Preservation, and
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ADZE, WILLET. “Musical Notes,” including “Violinists” and “The Violin
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BROADHOUSE, JOHN. “Facts about Fiddles.” London, n.d. (1879). W. Reeves.
PORTER, THOMAS. “How to Choose a Violin.” London, n.d. (1879). F.
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NICHOLSON, J. “Designs and Plans for the Construction and New Model of
Violin, and Arrangement of the New Model Violin.” London, 1880. Printed
by H. K. Lewis. Large folio.
HART, GEORGE. “The Violin, its Famous Makers.” London, 1875, 1884,
1880. Dulan & Schott. Large post 4to and small 8vo.
HART, GEORGE. “The Violin and its Music.” London, 1881. Dulan & Schott.
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READE, CHARLES. “Jack of All Trades.” London, 1882. Chatto & Windus.
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ITALIAN.
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operato da Antonio Gibertini da Parma.” Palermo, 1845. Tipografia
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REGLI, FRANCESCO. “Storia del Violino in Piemonte.” Turin, 1863. Enrico
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MAUGIN, J. C. “Manuel du Luthier.” Paris, 1834. Roret 12mo.
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Large 8vo pamphlet.
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Ilmenda, 1828. B. F. Voigt.
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8vo.
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Schule.” Hamburg, 1866, 1877. J. F. Richter.
WETTENGEL, GUSTAV ADOLPH. “G. A. W.’s weil Violin-bogenmachers zu
Markneukirchen.” Weimar, 1869. B. F. Voigt.
WASIELEWSKI, JOSEPH WILHELM VON. “Die Violine im XVII. Jahrhundert.”
Bonn, 1874. M. Cohen.
RITTER, HERMANN. “Die Viola Alta.” Heidelberg, 1876. G. Weiss. 4to.
NIEDERHEITMANN, FRIEDRICH. “Die Meister der Geigenbaukunst in Italien
und Tyrol.” Hamburg, 1876. Aug. Cranz, 1876.
---- Cremona. “Eine Charakteristik der Italienischen Geigenbauer.”
Leipzig, 1877. Carl Merzeburger. 8vo.
DESCRIPTION OF PLATES
PLATE I (_to face page 18_)
A Duiffoprugcar viol da Gamba, owned by Mr George Donaldson. This
matchless antique is doubtless one of many, but most of the rest
have perished; it stands almost alone as a poetic specimen of the
phantasy of the old viol makers. It is elaborately decorated on the
back, after the taste of the period, with an excess of ornament,
which the fine instinct of the subsequent makers of violins rejected
as prejudicial to tone. The habit of adopting a creature’s head,
or a face, for a scroll long lingered, and is not unknown in the
work of Stradivarius. In England numerous copies of Duke that have
been palmed off as original have lion heads. These instruments were
usually “made in Germany,” and it appears to have been a favourite
practice there to use such carved scrolls.
PLATE II (_to face page 38_)
A Maggini violin (the “De Beriot”) owned by Mr Antonietti. The
Maggini here given is an admirably preserved specimen of the great
Brescian master, who, next to Stradiuarius, did more than any one
man to inspire and define the ideal shape, from which even the Amati
at first departed, but which Strad had the genius to restore and
perfect. The corners, however, have been rubbed, and not in every
case renewed, otherwise it is in as perfect a condition as can be
expected in so old a fiddle. The scroll is cut with a care and an
advanced finish which reminds us of the bolder Strad period, 1700-30.
Maggini, oddly enough, was little honoured in the first quarter of
this century, but De Beriot had the insight to discern his merits;
and from the time he adopted him for his masterly and full-toned
performances, the Magginis rose, and have been continuing to rise, in
public estimation.
PLATE III (_to face page 50_)
Her late Majesty’s Amati tenor is in beautiful condition; it is
elaborately ornamented, in lieu of the usual purfling. It was,
doubtless, originally made to order for some great prelate; and it
bears on its back a noble coat of arms hardly decipherable, and the
image of John Baptist carrying a lamb (“Behold the Lamb of God!” John
i. 36). The instrument was used in Her late Majesty’s private band
by Mr Hann (1898). Like many old viols it has been somewhat reduced
in size. For the loan of this instrument I am indebted to the good
offices of Sir Walter Parratt, director of the late Queen’s private
band.
PLATE IV (_to face page 58_)
Paganini’s Joseph Guarnerius. This is a fine and very characteristic
specimen of the mighty Del Gesù. It is in his most powerful and
massive style (the head almost brutal in its bull-dog strength), with
full rich colour thickly laid on to match. Seldom, indeed, do we find
so much varnish left on the back of so old a violin. The instrument
has been very carefully dealt with. The story of how it passed into
Paganini’s hands is well known. An Italian amateur, who evidently
knew its value, lent it to the great maestro, and, after hearing its
marvellous qualities, as drawn forth by the Magician of the Violin,
declared that no other hand should henceforth set its chords in
vibration. Paganini left it to his native town of Genoa, and there it
may still be seen in the Town Hall. It was his favourite instrument;
and the giant Joseph Guarnerius was well matched with the giant
Nicolo Paganini.
PLATE V (_to face page 66_)
The Rode and Spanish violins and the Spanish tenor, it will be
observed, are all inlaid. Strad was no bigot, and although we may
confidently assert that he disapproved of all inlaying or decoration
on the bellies or backs, and confined it to its narrowest limits
when resorted to in lieu of the usual strip of purfling, he probably
judged that if it did not encroach upon the vibratory surfaces much
beyond a common purfle, it was comparatively harmless. It is likely
that the Rode Strad, whose history I am unable to record, was made
for Royalty or some great Prince Cardinal of the Church, the extra
decoration being considered due to the high rank of the patron, or
wrought in obedience to a special request. We have many evidences
that Strad was not above pleasing the individual whims of his
clients. He was himself an expert carver, and could inlay with the
best of them when he chose. The Rode Strad was sold to Messrs Hill
by M. Lamoureux, the eminent French conductor, and by them to Dr
Oldham of Brighton. The Strad ’cello is a good specimen of Strad’s
improved bass model. The size is brought down characteristically, and
the comparative smallness of the upper, contrasting with the ample
development of the lower part, gives the instrument an appearance of
lightness and grace; whilst the delicate and somewhat narrow head,
with its sufficiently massive and finely cut out scroll, admirably
balances the whole to the eye with a certain “chic” quite _a la
Strad_.
PLATE VI (_to face page 68_)
This plate contains profiles of the three Strads shown in Plate V.,
and is interesting as displaying the variety exhibited in Strad’s
scroll carving. The Spanish Strad has quite an Amatisé scroll, long,
light, and very restrained, and undeveloped at the lower extremity.
Notice the greater freedom of the Rode scroll, quite in Strad’s best
manner. The Rode model is also flatter in the back, but the bellies
are all flat in the approved style, after the earlier Amati groove
had almost entirely disappeared from the Cremona model.
PLATE VII (_to face page 82_)
A Panoramic View of Cremona, taken outside Porto Po from the banks of
the river, and engraved about 1830 by Caporali. Names of buildings,
counting from the right of the print: 1. Church of S. Pietro; 2.
Tower of the old prisons near the Town Hall; 3. Battisterio; 4.
Cathedral; 5. Town Hall Tower; 6. Torrazzo, the Cathedral Tower,
the highest in Italy; 7. Church of S. Marcellino; 8. Church of S.
Domenico; 9. Church of S. Agostino; 10. Church of S. Lucca; 11.
Church of S. Omobono, patron of the town; 12. Church of S. Agata; 13.
Church of S. Ilario; 14. Church of S. Luca. Signor Sacchi, a native
of Cremona, has kindly identified all the above for me.
PLATES VIII AND IX (_to face pages 106, 110_)
These portraits of Tourte, Lupot, Vuillaume, and Ebsworth Hill being
fully dwelt on in the text, need no further comment.
PLATE X (_to face page 162_)
This plate of backs, bellies, and bows, has been fully explained in
the text.
PLATE XI (_to face page 182_)
Portraits of Paganini abound. Landseer sketched a series, which,
however, are slightly of the nature of caricatures. It was difficult
to do otherwise. The Maestro’s features were so marked, his long
hair so weird, the tall forehead, the wide sensitive mouth, the dark
eyes, the ungainly and gaunt, almost dislocated attitudes of the man
lent themselves freely to a lively and not always sympathetic or
respectful pencil. The portrait, a rare one, here produced, hits the
happy mean. The finest representation of him is, however, Danton’s
small bust (admirably reproduced by Mrs Haweis’ pencil in “My Musical
Life,” where see my biographical study of Paganini).
PLATE XII (_to face page 238_)
For a fuller list of labels, the “Collector” had better consult Mr
Vidal’s most valuable book referred to in our Bibliography, from
which our seven specimens are reproduced. I may observe that a
forged fiddle may often have what purports to be a genuine label. A
reference, therefore, to these facsimiles may be useful.
Buyers should also beware of labels bearing dates _posterior_ to the
death of the alleged makers. I have seen Stainer’s so decorated.
Stainer labels in two different sorts of type, _i.e._, the name in a
running type and the rest in print, are never genuine. Duke copies of
Stainer, often very good ones, sometimes present this peculiarity.
Notice that Gasparo and Gio Paolo Maggini never _dated_ their
instruments. There exist numerous dated copies of Maggini--generally
recent copies--De Beriot having brought the great Gio into notice.
These are all frauds.
Stradiuarius changed his labels late in life, using a _v_ instead
of _u_, and spelling Stradivari or Stradivarius. This is called the
cursive _v_. Some Stradivarius-labelled violins have all the figures
of the date _printed_, _e.g._, 1712. These are forgeries. The last
two figures in the real labels being always filled up in ink, which
has much faded. It does not, however, follow that all thus filled in
are genuine--indeed, most are frauds. A particularly favourite date
for forged Stradivari labels is 1721.
INDEX
Albani, 102
Aldric, Paris dealer, 174
Aireton, 124
Amateurs, their opinions, 225
Amati, the, 43, 44, 47
Americans, their wood, 233
Artôt’s Strad, 75
Balzar, great violinist, 122
Band, Charles II.’s, 121
Banks, English maker, 130
Barak Norman, English maker, 125
Bernadel, French maker, 109, 189
Betts, English maker, 133
Bisexual violin nature, 22
Boquay, French maker, 105
Bows, _see_ Chap. XI.
Buying fiddles, 235
Carlo Bergonzi, 83;
supremacy, 230;
gems, 173;
influence, 94
Charles II.’s court, influence on music, 121
Charles Reade, 180, 217
Children, their fiddles, 68
Collecting mania, 12
Completeness of violin, 7
Control of violin, 9
Convalescent fiddles, 200
Cracked fiddles, 198
Cremona city, 42
Cremona gems, discovery of, 173
Cremona influence, 94
Cross, English maker, 125
Dealers, _see_ Chap. XV.
Dodd, bow-maker, 133, 166
“Dolphin,” a celebrated Strad, 74
Duiffoprugcar, old maker, 12;
his viol da Gamba, 19
Duke, English maker, 132
Elector fiddles by Stainer, 97
English makers, _see_ Chap. VIII.
“False” strings, 156
Fendt, Bernard, 132
Fiddles and umbrellas, 214
Fiddle flukes, 220
Fiddle frauds, 223
Fiddle judges, 224
Fiddles, new and old, secret of, 227, 233
Fingerboard, 207
“Finish” of old makers, 26
Foster, the family of, 126-127, &c.
France, violins in, _see_ Chap. VII.
François Tourte, bow-maker, 164
Gagliano, 89
Gand, French maker, 109, 189
Gasparo da Salo, 30
Genesis of violin, _see_ Chap. I.
German strings, 158
Germany, fiddle-makers, _see_ Chap. VI.
Geronimo Amati, 44
Gillott’s Mr, collection, 217
Giuseppe or Joseph Guarnerius, 53
Goding’s, Mr, collection, 178
Golden Strad period, 73
Guadagnini, 86
Guarneri family, 51
Guild of Markneukirchen, 194-197.
Hart, John, dealer, 180
Hill, William Ebsworth, 133
Holmes, Oliver Wendell, 226
Horses, fiddles and umbrellas, 214
Ignorance and neglect, 215
Jaques, French maker, 105
Jay, English maker, 124
Jean and Nicolas Medard, 187
Joseph or Giuseppe Guarnerius, 53
Kennedys, the English, 1872 and 1885, 218;
makers, 124
Klotz family, 101, 191
Landolpho, Italian, 216
Lott, John, English, 219
Luigi Tarisio, rediscoverer of Cremonas, 179, 181;
_see_ Chap. XIV.
Lupôt, French maker, 106, 168-188
Maggini, early Brescian maker, 32-40
Mantegazza, Venetian maker, 90
Manufacture of strings process, 155
Markneukirchen, early home of violin manufacture, 186, 193
“Master” Reiter, Mittenwald maker, 192
Maucotel, French, 188
Medard, early Tyrol maker, 187;
_see_ Chap. XIII.
Menegand, French, 188
“Messie,” a great Strad violin, 77
Mirecourt, early home of violin manufacture, 189
Mittenwald violin manufacture, 186
Montagnana, Venetian maker, 87
Mutes or sordini to deaden sounds, 159
Neglect of English makers, 118
Neglect of violins, 215
New fiddles, 227, 233
Nicolas Lupôt, _see_ Lupôt.
Nicolo Amati, the best of the family, 47
Norman, _see_ Barak Norman.
Oliver Wendell Holmes, a letter, 226
Ouri, the violinist, 170
Over-restoration, 203
Paduan strings, 158
Paganini, 9-56, 182
Pamphilon, English maker, 124
Panormo, maker of guitars and fiddles, 124
Paris, Vuillaume and Tarisio at, 176-178
Parker, English maker, 124
Peccate, Italian maker, 169
Pernambuco wood for bows, 161
Personal fascination in violin-playing, secret of it, 11
Pieray, 105
Pique, French maker, 108
Prelude and postlude, 7, 237
“Pucelle,” a celebrated Strad, 78
Reade, _see_ Charles Reade.
Reiter, _see_ “Master.”
Remenyi, violinist, 170, 224
Restoration, 203
Revarder, Mirecourt maker, 188
Rosin, treatment and use of, 202
Rugerius, Italian maker, 50
Salo, early violin centre, 30
Savart’s experiments, 25
Scale of prices, 236
Secret or old violins, 228
Sound qualities of old and new violins, 227
South Kensington Collections, _see_ Kensington.
Stainer, _see_ Chap. VI.
Stainer, Miss, “Violin Manual,” 189
Stradivarius, _see_ Chap. V.
Strange finds, 77
String gauge, 154
Strings, violin, _see_ Chap. X.
Story of the Markneukirchen Guild, 194-197
Subdivision of labour a cause of decline, 231
Tarisio, _see_ Luigi, 179, and Chap. XIV.
Techler, German school, 102
Thibouville-Lamy, French maker, 189
Tourte, bow-maker, 164
Treatment of violin, _see_ Chap. XIV.
Tubbs, bow-maker, 169
“Tuscan,” the celebrated Strad, 69
Urquhart, English maker, 124
Varnish, _see_ Chap. IX.
Violin constitution, _see_ Chap. II.
Violin dealing and collecting, _see_ Chap. XV.
Violin progress, _see_ Chap. I.
Violin rise, _see_ Chap. I.
Violin treatment, _see_ Chap. XIV.
Viols, _see_ Chap. I.;
English, 119
Vision of Stradivari, 79
Vuillaume, 110, 168
Walmesley, English maker, 125
PRINTED BY OLIVER AND BOYD, EDINBURGH
_Uniform with this Volume_
Fine Prints
By Frederick Wedmore
With 12 Plates. 7s. 6d. net
Illustrations by Examples after Mantegna, Marc Antonio, Schöngauer,
Dürer, Beham, Lucas van Leyden, Rembrandt, Watteau,
Chardin, Reynolds, and Turner.
CONTENTS: Introduction--The Task of the Collector--Claude,
Vandyke, Ostade, Hollar--Rembrandt (Illustrations)--French Revival
of Etching (Illustrations)--Whistler and Haden--Later English
Etchers--Dürer: The “Little Masters” (Illustrations)--Italian
Line Engravers (Illustrations)--French Eighteenth Century Prints
(Illustrations)--Turner Prints (Illustrations)--Mezzotints
(Illustrations)--Lithographs--Appendix: Certain
Woodcuts--Postscript--Bibliography--Index.
“The ‘collector of moderate means,’ for whose special behoof the
volumes of the Collector Series are designed, will take pleasure
and find profit in the admirable guide to Fine Prints which Mr
Frederick Wedmore has written for Mr Redway. It maps out the ground
for him who would go forth on the delightful quest of rare and
beautiful etchings, line engravings, and mezzotints; and at every
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critic, and altogether a competent hand for the undertaking.
He discusses the work of the masters of engraving, ancient and
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beautiful reproductions from the best engravings of some of the
best men, rendered with admirable fidelity in the different styles
of line, mezzotint, and etching.”--_Daily News._
_The Magazine of Art_ says:--“Mr Wedmore is one of the few
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England, our great period of mezzotint, and line engraving in
Italy, as well as the prints of Turner, lithographs of the present
day, and famous woodcuts of the past.”
_Uniform with this Volume_
The Coin Collector
By W. Carew Hazlitt
_New and Revised Edition_
Illustrated with 12 full-page Plates depicting 129 Rare Pieces
_Pub. 7s. 6d. net_
CONTENTS
Introductory--Collectors and Collections--Value of Coins--Unique or
Remarkable Coins--Greek Coins--Rome--Continent of Europe--United
Kingdom--The Coin Market--Terminology--Bibliography--Description of
Plates--Index.
“Mr Hazlitt is an expert in regard to coins; his book from the
practical standpoint is trustworthy.”--_Notes and Queries._
“We may say at once that we have a very interesting and instructive
volume before us. The subject is, of course, only lightly
touched upon, and no attempt at dealing with any section of it
in detail is made. This is as it should be in a book on coins in
general.”--_Antiquary._
“Perhaps as excellent an introduction to the study of a delightful
pursuit as could have been written.”--_Daily Telegraph._
“Abreast of the latest discoveries and theories, and is sure
of a welcome from the general reader as well as from the
collector.”--_Scotsman._
“This admirable volume gives a bird’s-eye view of the whole. It is
clear that Mr Hazlitt is not only an enthusiast in the subject of
his book, but also a student whose knowledge is at once singularly
wide and remarkably accurate.”--_Publishers’ Circular._
The Book Collector
By W. Carew Hazlitt
A General Survey of the Pursuit, and of those who have engaged in
it, from the Earliest Period to the Present Time; with an Account
of Public and Private Libraries, and Anecdotes of their Founders or
Owners, and Remarks on Bookbinding and on Special Copies of Books,
illustrated with a beautiful photogravure of a famous sale of books
at Sotheby’s, square cr 8vo, art canvas, gilt top, fore and under
edges uncut
_Pub. 7s. 6d. net_
“As Mr Hazlitt shows, his field of choice is wide enough. Ancient
typography fascinates some, but here a long purse is needed. Bibles
and Testaments, Liturgies, Books of Hours, or similar devotional
works appeal to others. The British Museum Library, for instance,
is singularly rich in editions in all languages of the ‘Imitatio
Christi.’ Books of travel, of voyages, and on topography, such as
county and town histories, have all their devotees, and of late
years the search for Alpine literature has become so much keener
that some books, printed barely forty years ago, have quite doubled
their published price. Yet even the systematic collector, as Mr
Hazlitt tells us, often runs risks. Here, as among all things human,
fashions and whims exist, and a particular class of literature may
have ‘booms’ and ‘slumps,’ like certain ‘stocks’ of a questionable
character. The books, for instance, in William Morris’s library were
‘below mediocrity in state,’ and of little intrinsic value, yet
they excited keen competition, and went for sums ‘which were simply
absurd.’”--_Standard._
“The subject abounds with stories, for, indeed, in a sense which the
author of the aphorism little imagined, _habent sua fata libelli_.
We might fill columns with curiosities about the buying and selling
of books from these pages. Mr Hazlitt, however, is not of the
non-literary collectors; no man could write such a book as this about
the subject if he were. Readers, therefore, as well as buyers, may
find ‘The Book Collector’ to their taste. Then there is the eleventh
chapter, with its many interesting anecdotes of inscriptions;
often the casual name or note which some purchaser or owner of a
bye-gone time has written will be of more interest than the volume
itself.”--_Spectator._
“There is pleasure nevertheless--nay, much intellectual and
sometimes pecuniary profit--in the pursuit, when intelligently
pursued. Mr Hazlitt discourses pleasantly on every side of
book-collecting, and his book will be valued by all interested in the
subject.”--_Chambers’ Journal._
FOOTNOTES:
[1] An unique set of instruments by the Amati family worthy of
mention is the quintett, composed of three violins, a viola, and a
violoncello, now (1898) in the possession of Miss Willmott.
[2] This Fent is no relation, as far as is known, to the family
working in England, whose name is spelt Fendt.
[3] A popular comedy (1898).
TRANSCRIBER’S NOTE
Obvious typographical errors and punctuation errors have been
corrected after careful comparison with other occurrences within the
text and consultation of external sources.
Some hyphens in words have been silently removed, some added, when a
predominant preference was found in the original book.
Except for those changes noted below, all misspellings in the text,
and inconsistent or archaic usage, have been retained.
p61-> ‘the boy Giuseppe Gaurneri’ amended to ‘the boy Giuseppe Guarneri’
p105-> ‘Jaques Boquay’ amended to ‘Jacques Boquay’
p278-> ‘he branded’ amended to ‘He branded’