CHAPTER XXI

NOTES ON TONE

CARRYING POWER.--Here we have that phase of tone which is most elusive.

A violin seemingly loud, full and even brilliant, to the player, may, at

a little distance, be thin and wailing. Such a violin is lacking in

carrying power, and when played with a small orchestra, is rarely heard

in the lower register by any save the player. The voice of a true-toned

violin is rarely loud to the player, and, in the hands of many, such an

instrument never has a chance to display its ability to lead the

accompanying instruments. Those unused to such an instrument are

charmed, it may be, with the purity of tone, but disappointed with its

supposed lack of volume which, in their misguided efforts to produce, is

all but destroyed. It is seldom such players can be brought to realise

that carrying power is due to purity and not to mere loudness; that a

tone which strikes the player as loud and the hearer as weak possesses

elements of a conflicting nature which, in their efforts to dominate

each other, all but destroy the carrying ability; that tone, when

“pure,” is divested of these elements, or most of them, and is naturally

less in quantity, or loudness, but greater in penetrative ability; and,

finally, that pure tone requires no forcing, or undue pressure, to

create a carrying power entirely beyond the possibilities of most

loud-toned fiddles. These facts are rarely appreciated save by artists,

whether players or singers, and it is seldom that amateurs, or some who

rank as professionals, understand purity of tone sufficiently well to

recognise what degree of carrying power it will possess. In fact, a

loud-toned violin, although lacking the finer elements, is more suited

to such players than a purer-toned instrument. It is better that they

possess a fiddle with the tone with which they can be satisfied than

another which is belaboured with the bow in the vain effort to create

what is considered an effective, or “big,” tone. In justice to the

player it must be said he is not wholly to blame. Wrong ideals of tone

and carrying power are easily formed through the use of an unsuitable

instrument. And it must be remembered a player can never “hear himself

as others hear him.”

QUANTITY _versus_ QUALITY.--“Ruggeri,” writing in the _Strad_ for

February, 1913, says: “There seems so often a tendency among violinists

of the present day to forget that it is not quantity, but the ‘quality’

of tone that holds the audience spell-bound.” This warning should be

remembered by all devotees of the fiddle. While the possession of a

beautiful toned violin does not, _ipso facto_, make a tone-poet of its

owner, it is the essential part of his equipment. Tone of superfine

quality can only be freely and easily produced from a pure and flexible

toned violin, and the importance of such a violin to those who would

express the highest ideals in a masterly manner cannot be

over-estimated. However sound the player’s theory may be, however high

his ideals, he is, in practice, bound to limits of expression which are

set by the instrument. Long association and use of a particular violin

create a feeling that the limit of the player’s ability to produce

quality of tone, and the capacity of the violin for giving it forth, are

one and the same, whereas they are entirely different; the player’s

ability is constantly growing and expanding, but the capacity of the

violin remains always the same. Should this violin capacity be of a low

order the player is bound to a dead level of tonal mediocrity, although

rarely conscious of the fact. On the other hand, a violin which is

practically limitless in capacity for expressing quality of tone places

no obstacle in the way of the player whose ambition is to “hold the

audience spell-bound.”

FLEXIBILITY OF TONE.--By flexibility is meant ease of production, the

instant tone-response to the lightest touch of the bow--not only in the

first, but in the high positions. Without flexibility tone loses its

tenderness, most of its qualities of appeal, and delicate shades of

expression become next to impossible. Its absence adds to the technical

labour of the student and robs the soloist of his main source of

inspiration--the command of a supple voice.

TONE-FAILURE.--It is sometimes remarked by players that certain violins

and other bow instruments “lose their voice” after being played for a

time under certain conditions. This would appear to take place in heated

and crowded rooms and halls. It would further appear that it is certain

old violins which are most affected, but new instruments are not

entirely exempt, although less susceptible. There is, without doubt, a

scientific reason for this, but I have not seen any explanation of the

phenomenon in print. I mention it only as an eccentricity of tone, and

one which would appear to present difficulty in regulating, and it may

be said that an instrument possessing this peculiarity must, indeed, be

near to tonal collapse when heat, humidity, and general heaviness of

the air are sufficient to produce such a fatal effect. Old wood is

spongy in nature. When too old it is dark brown in colour and almost

crumbles to the touch. It is not difficult to imagine old wood,

particularly if affected with some slight degree of dry rot, absorbing

moisture which, together with heat, would cause it to become leathery

and lose the crispness it would possess under opposite conditions. If

the new violin is affected the cause may possibly be found in the fact

that its tone is, under the most favourable conditions, hanging on the

very brink of failure, which the mere touch of a heavy atmosphere is

sufficient to consummate. If this be the reason for tone failure we

should expect the old violin to become affected after some exposure to

the conditions stated, and the new instrument immediately.

FIDDLES CLASSIFIED.--It is a task of extreme difficulty to classify

violins according to their tonal value; while they may be dealt with

singly, any attempt to separate them into well-defined groups, in which

certain makers are associated with certain tone characteristics, will

yield a result which, for reasons that are well understood, can only be

considered approximately correct. Yet they may be roughly divided into

four groups which I may be allowed to indicate as follows:--

(1) _Superior Tone._--This must be sought for among the violins of the

old Italian masters; among those produced by one or two old makers in

other countries, and among the instruments produced by the best makers

of the present day. The first are the most difficult to obtain, and by

far the most expensive, due to their scarcity and to the fame of their

builders. Owing to the ravages of time, to the influence of damp, wear,

accident, much repairing (not always skilful), and the vandal efforts of

“improvers,” many violins by old masters have greatly depreciated in

tone.

(2) _Excellent Tone._--The lesser lights of the “Palmy Days” turned out

an occasional great violin, worthy to rank with the master fiddles of

any age, and the same may be said of some of the great copyists of the

eighteenth and nineteenth centuries. These are rare examples, and so

mixed with others of less tonal worth by the same makers as to render

their discovery possible only to the expert. Consecutive reproduction of

superior tone is such a difficult part of violin construction that only

masters can accomplish the feat successfully. The celebrated old makers

are known to have succeeded, and so have a select few of the living

makers. Mr. Towry Piper, writing in the _Strad_, says of a modern

builder: “He can build a fiddle with a certain quality and volume of

tone, and within human limits, repeat the process _ad lib._” It need

hardly be pointed out that the old masters also laboured “within human

limits.” Apart from the specially good examples, the old violin makers

of the second class produced in their instruments a quality of tone in

every respect worthy of being termed Excellent.

(3) _Good Tone._--Within this category is a wide range of fiddles

suitable for all ordinary uses, made in all ages of the art, but usually

found among violins by old makers of the third class in Italy, those of

the second class in France, Germany, and England. The tone of some of

these violins deserves to rank as excellent, but here, again, is found a

wide difference in fiddles by the same maker. In this class the

inexperienced will also find difficulty in making a selection, and the

advice of an expert should be secured.

(4) “_Just Fiddles._”--Nameless, but “old” Italian, French, German, or

English fiddles. Violins of all sorts, old and new, bearing unfamiliar

names. The age-baked imitations by makers with and without repute.

“Pawnshop” fiddles, manufactured to catch the eye of those seeking the

rare but unrecognised! Factory-made “copies” of Amati, Guarneri,

Stradivari, Stainer, etc. Numbered by thousands, such fiddles as these

are carefully avoided by the knowing seeker after tone. Because one or

the other rarely fail to deceive the well-meaning but uninformed, it

does not follow that they lack any legitimate place in the world of

fiddles. When sold on their merits, or by dealers of repute, they are

low in price. On them one may “whack out” a lively tune of sorts and

bring pleasure to the uncritical atmosphere of many homes--may, indeed,

be a direct lead to better things. The King of Instruments rules over

the pleasures of the great, and the little princes of his house bring an

equal happiness to those whose lives and tastes are humble. Thus may

these instruments bring music to the forecastle and the farm, and

pleasure to those who, by one circumstance or another, are barred from

better things.

A STRANGE BELIEF.--As an illustration of the extraordinary beliefs held

regarding tone and its connection with the violin, I quote the following

from a recent issue of an American journal: “If Stradivarius were living

to-day and was a violin-maker ... he would be just as big a failure as

our best modern makers are to-day ... he builded better than he knew.”

The writer of this is without first-hand knowledge, either of Stradivari

or the “best modern makers,” else he would cite a different explanation

of failure. But what are we to say of such beliefs--long since

exploded--being revived in a modern journal? Unfortunately for the

accuracy of this theory, time has not dealt in a like manner with

Stradivari’s sons. _They_ did not build “better than they knew.”

TONE HEALTH.--It is said a violin should always be kept in its case when

not in use. While small objection can be found with this advice, I

believe good fresh air is beneficial, and it is my practice to make the

fullest use of this reviving and antiseptic influence on suitable

occasions. I hang the violin away from the wall if indoors, and in a

shady place if in the open, so arranged that it will not strike against

anything should it swing about through the action of a passing breeze.

Violinists are apt to neglect their cases, which should also be kept

well aired and dry, together with the cloth used to cover the

instrument. The function of a case is to keep out damp, not to keep it

in, but I have seen some cases so musty and damp that steam has risen

from the covering cloth when held before the gentle warmth of a fire. No

wonder violinists are troubled with their tone by thus neglecting the

first principles of hygiene. It may be thought superfluous to add that

the violin should be kept perfectly clean, but every one experienced in

these matters is aware that many players are exceedingly careless, while

others actually look upon dirt as an ornament. The interior of the

instrument may be cleaned by pouring a handful of rice through the

soundhole, shaking it about, and emptying through the same orifice. On

the exterior use a very soft cloth or chamois leather, and remove every

trace of dust and dampness. This last is deposited from the hands, and

may prove fatal to the varnish because of its saline properties. Where

the hand touches the body of the instrument most frequently it is not

uncommon to see, particularly in the old violins, the varnish entirely

removed and the bare wood left to absorb, not only moisture, but grease,

which is difficult to extract without injury to the wood. I am aware

that, even to mention such a thing, is to suggest something in the

nature of vandalism, but I do say these bare places should be carefully

cleaned and _revarnished_--but _only_ where the hand touches when in the

high positions, a chin-rest will protect the other end of the violin.

The owner of the violin may, however, do as he pleases; it is merely a

question whether health in tone or wealth in fiddle is to have the most

consideration.

TONAL MISJUDGMENT.--The violin presents many strange difficulties, and,

in order to indicate that the judging of tone is no simple or easy

matter, I will cite a few cases to show how some excellent and

experienced players have been deceived. A professional played upon two

violins at a public entertainment--his own, an old Italian which cost

one hundred and eighty pounds, and a modern instrument worth about

thirty pounds. He played the first half of a selection on the Italian

and the second half on the modern, the change occupying but a few

seconds. The numerous audience were unaware of any test being made. The

instant he began playing the modern instrument the surprise was general,

the contrast being extraordinary, the intensity, richness, and telling

qualities of the new fiddle’s tone completely eclipsing that of the

older violin, which, in comparison, seemed weak and wailing. Note the

sequel. Immediately the piece was finished the player, who was unaware

of the impression created on his hearers, observed to a friend: “The new

fiddle is good, but too weak. I could never lead with it!”

A Stradivari violin, once the property of a celebrated artist who used

the instrument until his death, playing in all the great cities in

Europe, was borrowed by a very talented amateur for the purpose of

playing a solo at his farewell concert, as he was about to live abroad.

He did not use this violin, however, the excuse being that he did not

think it would carry sufficiently well to fill the hall, not by any

means a large one. He used, instead, another instrument, the property

of a local player, and, it is hardly necessary to add, treated his

hearers to a tone not only less in quantity, but with no quality

whatever.

It is the belief among a certain class of players (who are not by any

means always amateurs), that an ear-splitting sound indicates a violin

possessed of all the requirements of a first-class fiddle. When they

discover such an instrument it is treasured above pearls,

notwithstanding their progress and popularity are in no wise enhanced by

its possession. An artist once called upon a continental expert with an

old French fiddle. It had cost a considerable sum, and was looked upon

by its owner as perfectly ideal in tone. The expert differed, however,

but expressed his opinion as mildly as possible, merely observing that

the tone was hardly suited to the artist’s talents! This opinion the

said artist received with some show of pique. Later, this violinist

began studying under a celebrated master, who condemned the thing in

language both forceful and picturesque; and a better toned instrument

was procured.

While most of the great violinists use instruments with which no tone

fault can be found, others are not so happy in their possession,

although, doubtless, quite satisfied themselves. Among these last are

two whose names are household words, and the fault lies in the two

lower strings of their violins, the sounds from which are scarcely

audible in a fair-sized hall, although the hearer may sit only some

thirty feet distant--_axioma medium_!

There are players so accustomed to the tone of one violin that they are

utterly incapable of correctly judging the tonal qualities of another. I

once met a player of no mean ability who owned and played upon a

factory-made instrument which emitted a miserably flat and thin tone.

Yet this fiddle had been treasured and used for twelve years! No other

violin “suited” so well! although many excellent instruments had been

tried. Such extreme cases of self-deception as this are, fortunately,

rare, but they are occasionally met with.

ACCESSORIES AND TONE.--So far as the player is concerned, the important

accessories are the strings, bridge and sound post, and with these it is

not advisable to experiment. The post and the bridge are usually

correctly proportioned and in their proper positions. The former may

fall when all the strings are loose, and because of this it is well to

keep them fairly taut always. When the violin is not in use I consider

the E and G strings may be slightly lowered, the first to prevent

unnecessary breakage and the last to prevent thinning of the core and

consequent “buzzing.” When a string breaks put a new one on at once. If

the instrument is to be restrung throughout, change one string at a

time. It is well for the player to bear in mind that resetting the sound

post may seem a simple matter, but that it is not so simple as it

appears. Not one player in a thousand can accomplish this operation

properly, or without some damage to the instrument. The position of the

post should be marked on the back of the violin by inserting a thin

pencil through the right-hand sound hole and marking as far as possible,

and faintly, around its lower end. If the post falls, take the

instrument to the nearest repairer.

The bridge is almost indestructible if it receives proper attention. It

is important that it should lean slightly towards the tailpiece, never

be upright, nor lean towards the finger-board. Watch the bridge

frequently when tuning up, or when putting on a new string. The E string

is a particular offender owing to its high tension and the frequency of

its tuning and renewal. It pulls the upper right-hand corner of the

bridge forward. Pay _constant_ attention to the bridge and keep it in

the correct position. This pulling forward may be somewhat overcome if

the nicks wherein the strings rest are leaded, using the sharp point of

a soft pencil.

Every player should possess a string gauge on which is marked the sizes

most suitable for the violin. Tone is greatly influenced by the

hardness, softness, or size of the strings, and the player should

ascertain by experiment what is most suited to the instrument and keep

to that. It is rare that two violins are exactly alike in their string

requirements, and they also differ in temperament: that is to say, one

may demand a certain size and kind of string before the best results are

obtained, while another will respond very well without more than

ordinary care in selection.

THE BOW.--This important accessory should be selected with care. It has

an important part in the production of tone, to say nothing of that

technic which belongs to it. It is said that a really good bow of

correct balance, flexibility and weight, is more difficult to find than

a good toned violin. Only the few can afford a bow by Tourte, or other

famous makers, but really fine modern bows may be obtained at reasonable

prices from most of the dealers, and especially from those who are, in

addition, bow-makers. Just as one may become used to a violin of faulty

tone, so also may the player become used to a bow which adds to his

tonal and technical difficulties. A good “stick” is a treasure and

should be well cared for. When not in use the tension should be

entirely removed. The stick should be kept perfectly clean, especially

on the under side, and the screw oiled occasionally.

THE FIDDLE “DOCTOR.”--The simplicity of the fiddle is deceptive. It is

not only not so simple as it appears, but of all musical instruments

requires the most knowledge and skill in its repair and adjustment. Any

player may apply the means by which tone can be preserved, and this is

best accomplished by keeping the violin in a cleanly condition and

healthy surroundings; but “accidents will happen,” or something peculiar

in the tone will indicate the need of attention, and in either case, it

is the luthier and not the fiddle “doctor” who should be consulted.

Skilful repairers are to be found in practically every city in the

world, and in their hands the ailing violin may be left with

confidence.

CONCLUSION

And now a few words regarding the process of regulating and developing

the tone of a violin. It would in my judgment serve no useful purpose to

attempt to publish details of the means employed, as I am satisfied that

nothing short of practical exposition and demonstration (coupled with

experience) will suffice to convey the knowledge which must be acquired

by any one desiring to command anything like uniform success.

“Thicknessing,” as it is termed, upon which such success is very largely

dependent, is a variable and complex operation and cannot be learned

from books; and the most that can be said is that after a violin is

built its tone can be fundamentally altered, regulated, and developed by

internal and external means to give such final results as the maker, or

operator who develops the tone, may consider to be ideal. This is well

enough understood by the best makers, but, for reasons which are fairly

self-evident, those who practise it are very few indeed.

As much more is required of the student of tone development than a mere

acquaintance with the means can give, a thorough working knowledge,

leading to successful application, is best acquired by personal

instruction from one acquainted with the complicated and ever-changing

tonal problems presented by the newly-made violin, and experienced in

dealing with them--just as I believe this art was imparted to pupils by

masters in the “golden period” of violin-making; the measure of success

achieved depending always upon the tone ideals of both the master and

pupil, and the skill with which the process is employed to obtain his

results. I hope a return will be made to the methods of that period,

when tone reached its fullest perfection, to the end that the world may

become richer in instruments possessing that quality of tone which is

now almost exclusively associated with the violins produced by the “old

masters.”

NOTICES

BIOGRAPHICAL AND CRITICAL

OF THE PRINCIPAL VIOLIN MAKERS

OF THE VARIOUS SCHOOLS AND OF THEIR WORKS

By TOWRY PIPER

PREFATORY NOTE

In the following pages the author has endeavoured, so far as limitations

of space and other circumstances would admit, to incorporate the results

of observations made during a very long period of years.

Since the year 1877 he has been a more or less assiduous student of old

violins and kindred instruments, and has had perhaps exceptional

opportunities of handling and examining some thousands of examples of

the different schools of violin-making.

Though the work does not, perhaps, come appropriately within the

definition of a dictionary of the subject of which it treats, it will be

found to contain notices of a considerable number of makers who have not

been dealt with in previous English works on the violin.

In deciding the somewhat difficult question as to what names should be

included and what rejected, the author, who has for several years been a

contributor to the _Strad_ magazine, has found his experience of the

correspondence department of that journal of frequent assistance in

arriving at a conclusion, as it has been possible in the light of such

experience to form some sort of estimate of the nature of the

information most likely to be of use to violin players and owners of

stringed instruments generally.

Most of the previous works of this kind will be found to contain numbers

of names of old viol and lute makers who are not known to have made

violins, such as Dardelli, Duiffoprugcar, and many others; but by

omitting these, almost _in toto_, it has been possible to include a

number of minor workmen whose instruments possess merit, without unduly

increasing the bulk of the book.

To deal in anything like detail with the huge army of makers of German

origin is a task which no English writer has had the temerity to

attempt, nor would any useful purpose be served by so doing in a work

intended for English readers. Those who desire more precise information

on that branch of the subject than is hereinafter conveyed are

recommended to refer to the two portly volumes of the German writer, von

Lütgendorff, who, with characteristic Teuton thoroughness, seems to have

hunted up nearly every one of his countrymen who ever made a fiddle. The

work in question is indeed a monument of literary industry and research.

A number of the more recent Italian makers, whose work has come into

prominence during the past twenty-five years, have been noticed in

somewhat more detailed fashion than has usually been adopted in books of

this kind, and an attempt has been made to deal in the same way with a

few makers of the French school whose names, for some reason or other,

have previously received somewhat meagre attention.

Stradivari, and some of the other Italians of the first rank, have

already been handled so fully in works which will be found mentioned in

the text that the facts already published concerning them have been

digested so far as possible, to enable them to be succinctly presented,

and to make room for other matter.

BEXHILL, AUGUST 21, 1916.

ABSAM, THOMAS.--Wakefield; nineteenth century to about 1850; said to

have been of Tyrolese birth. Worked for Pickard of Leeds, and on his own

account.

ADAM.--Mirecourt. A family of bow-makers of whom the best was JEAN

DOMINIQUE, who worked to about 1860.

AIRETON, EDMUND.--London. Died about 1807. A maker of the style and

period of Peter Wamsley. Worked for the dealers, Norris and Barnes.

ALBANI.--Late seventeenth and first half of eighteenth centuries. A

family of violin makers originating at Botzen in the Tyrol. The chief

maker, and the founder of the family, was MATTHIAS, who was born in

1621, and died at Botzen in February, 1712. Most authorities mention two

different individuals named Matthias, but it seems to be established

that there was but one. Matthias Albani’s work belongs chiefly to the

school of Stainer, but the later and better examples show distinct

traces of Italian influence, and are built upon lines more approximating

to the Amati school. The arching is much less pronounced than that of

older specimens, in which it is often extravagantly high; outline and

sound-holes, though never losing entirely their German cut, are more

Italian-looking, and the varnish, usually a brilliant red-brown, is

either identical in composition with that used by Italian workmen of the

period, or closely allied to it. The tone of his better instruments is

excellent. The wood used is of good quality and frequently handsome.

Examples with lion and other ornamental heads occur. He made violins,

tenors, and basses, and the larger instruments are held in high esteem

amongst players. Tradition has it that he worked for some time at

Cremona or elsewhere in Italy, but anything like tangible evidence in

support of this appears to be lacking. His name has been made free with

by forgers and imitators, and may be seen in all sorts of worthless

fiddles, ancient and modern. Spurious labels, dated in the year 1690,

abound. His ordinary label reads, “Matthias Albanus fecit Bulsani in

Tiroli,” with date. Other makers of the family were MICHAEL, a son who

worked chiefly in Gratz, where he died in 1730; JOSEPH, a younger son,

who assisted him, and died at Botzen in 1722; and JOSEPH ANTON, a

nephew, who died at Botzen in 1771.

ALBANI.--Mention is made of makers of this name working in different

parts of Italy in the seventeenth and eighteenth centuries. One, named

PAOLO, is said to have operated in Palermo, Rome, and Cremona.

ALDRIC.--Paris. Eighteenth and nineteenth centuries. Was living in 1843.

One of the best of the French makers of the Lupot School. He was also

well-known as a dealer. Excellent work and material. Stradivari model,

and usually rather dark red varnish. Instruments frequently rather heavy

looking in build. He used chiefly printed, but also written labels, and

worked in Paris at various addresses. His violins and other instruments

have sometimes been relabelled and sold as the work of Nicholas Lupot.

AMATI.--The family name of the founders of the celebrated school of

Cremona. Their record as makers begins about the middle of the sixteenth

century, or perhaps a little later, and ends in 1740. The pioneer of the

family was ANDREA, the date of whose birth is unknown, but there is

evidence in the Archives of Cremona showing that he was alive in 1611,

and buried his second wife in that year. The appearance and general

character of his works point to Brescia as the school from which he

derived his inspiration, but beyond tradition there is no evidence to

prove that Bertolotti (known as Caspar da Salò) was his actual master.

Very little of his authentic work is now in existence. A few

violoncellos, and some bass and double bass viols survive, and a very

few violins of small or three-quarter pattern. A wellknown example of

these last was put up to auction in London recently. The arching of the

instruments is high, the sound-holes, of Brescian type, are rather wide

open, the wood and workmanship good, the backs of the violins generally

in one piece cut slab wise. The labels seem to be dated in Roman

numerals. It was this maker’s sons, ANTONIUS and HIERONYMUS, more

especially the latter, who produced the type of violin which will ever

be associated with the name of Amati. They worked in partnership during

their joint lives, but their individual workmanship is distinct;

ANTONIUS, the elder brother’s instruments retaining certain Brescian

characteristics which were wisely discarded by Hieronymus, who produced

examples of great elegance of form, and possessing a tone which for

beautiful quality has never since been surpassed. The date of Antonius’s

birth has not been discovered, nor that of his death, but it is

generally believed that the latter occurred after the year 1640.

Hieronymus’s birth-year is also undiscovered, but there is an entry in

Cremonese registers, proving that he died of the plague in November,

1630. The violins bearing the label of the firm vary in size, and a

considerable number still survive, the larger and rarer specimens,

measuring about 14 inches in length of body, being of more value than

the smaller patterns. The usual label of the firm is “Antonius &

Hieronymus Fr. Amati Cremonen Andreae fil. F. 16....” The brothers are

credited by Messrs. Hill, of Bond Street, with having been the earliest

makers known to have produced violas of the smaller dimensions,

measuring about 16-1/4 inches long, which is now accepted as the

standard length for the viola. Their violoncellos were of large

size--well over 30 inches long--but appear to have been all, or almost

all, reduced, to fit them for modern playing. In the violins slab backs

in one piece are frequently seen, but many of them, especially those of

later date, have jointed backs, the wood of which is cut “on the

quarter.” Numbers of labels exist or are cited in books, bearing dates

long after the deaths of both brothers must have occurred. No very

satisfactory explanation of this seems to be forthcoming unless we

assume that Niccolò Amati, the son of Hieronymus, and the most

celebrated maker, continued to use the style and tickets of the firm for

a long period before finally adopting his own label. We may now turn to

NICCOLO AMATI, who was born in Cremona on December 3, 1596, and died

there on April 12, 1684. An earlier Niccolò is mentioned as having been

a brother of Andrea, and the name has been copied time and again by

successive compilers of lists of makers. Nothing whatever appears to be

known of such a person, and there is no good reason for supposing that

he ever existed. Niccolò, son of Hieronymus, closely followed his

father’s pattern and teachings for a considerable time, and does not

seem to have begun to use the ticket with his own name until about 1640,

by which time he would be forty-four years of age. He made violins of

varying sizes, the ordinary type being about 13-7/8 inches long. His

sound-holes are generally similar in design to those of his father, but

in later work the opening is frequently rather wider, and the angle at

which it is set in the instrument a trifle more slanting. He also

extended the arching in some of his work, carrying it nearer the sides,

and somewhat diminishing the grooves running around these. The term

“Grand Amati” which is associated with his name was at one time well

understood to apply to a type of violin 14 inches long, with rather

produced corners, and a somewhat sudden dip beginning not far from the

centre of the back and belly, forming in fact a distinct ridge in the

long axis of the instrument. But the term “grand” appears nowadays to be

loosely applied to almost any Niccolò Amati violin of somewhat larger

size than the ordinary pattern above mentioned. In addition to greater

length measurement, the Grand Amati exhibits considerably greater width,

which is especially noticeable in the upper portion of the body. On

these large violins the enhanced fame of this great maker chiefly rests,

and their money value is much greater than that of the smaller forms.

They are very scarce, and there is strong reason to suppose that some of

the few which exist were largely, if not altogether, the handiwork of

pupils, amongst whom may be mentioned Andrea Guarneri, although that

maker in his own signed work does not very often follow that pattern. It

has been adopted with success by several other makers of high repute,

_e.g._ Francesco Ruger, Sanctus Seraphin of Venice, Jacobs of Amsterdam,

Banks of Salisbury, Vincenzo Panormo (rarely), and hosts of other

copyists. Stradivari does not seem to have been attracted by it, and

only in one or two minor features do any of his known works exhibit any

resemblance to it. Niccolò Amati’s varnish is generally of the yellow

type associated with the works of earlier members of his family, and the

wood used for the backs and sides is of native growth and small, though

often very handsome, figure. In some later work wood with a broader curl

may be seen, but examples are rare. The violoncellos were originally of

large size, but are seldom or never seen uncut. Niccolò Amati had

numerous notable pupils and followers, the most important being, of

course, Antonio Stradivari. Of these there is not space to append a

list, but their names and work will be found noted in the following

pages. There is good reason to believe that for at least ten years prior

to his death he did not take much active part in the business of his

workshop. HIERONYMUS AMATI II., born 1649, died February 21, 1740, was

the third son of Niccolò, and apparently the only one who was a

violin-maker. It is now well recognised that he was a workman of much

ability, and there is no room for doubt that numbers of the instruments

made in the latter part of his father’s lifetime were either wholly or

partially his handiwork. Many violins dating from about 1670, and

bearing genuine Niccolò Amati labels exist, which exhibit a very high

degree of finish, great neatness of workmanship, and other

characteristics which do not appear in examples by other workmen

employed by Niccolò, but which, when compared with instruments

admittedly made by Hieronymus II. after his father’s death, are

sufficient to proclaim their authorship. In these the cutting of the

scrolls and sound-holes is clearly the work of a maker in the full

maturity of his powers. The varnish on some, at least, is of a somewhat

redder hue than the typical Amati yellow, and the rise of the arching

more gradual. The instruments are not after the grand pattern in their

design and proportions. Messrs. Hill suggest that Stradivari may have

been concerned in the making of some of them, as probabilities point to

that maker having continued to work for Niccolò (besides working on his

own account) down to the time of his death. Hieronymus II. continued to

produce and repair instruments after his father’s death, and his label,

stating that he executed repairs, may still be seen in a few old

instruments. The writer has seen more than one such. When he first began

to insert his own labels in his work does not seem to be clear, but most

of those cited in books, and all seen by the writer, have been dated

after 1700. In most of his tickets he states that he was Niccolò’s son.

For some reason--possibly because his father’s death left him in easy

circumstances--specimens made by him after that event are by no means

plentiful, and the information about them contained in most of the books

on the violin is meagre, unreliable, and quite fails to do justice to

his undoubted abilities. A fine violin of his make, dated 1710, is

figured in the last edition of the work on “Violin Makers” by the German

writer, von Lütgendorff.

AMATI, NICOLAUS.--Bologna; about 1720 to 1740; commonly called “Dom

Nicolaus Amati;” was a priest who made violins and other instruments of

moderately good workmanship and fair tone. The writer has met with two

or three violins and a viola of his make. It is not known if he was

related to the Cremonese family.

AMBROSI, PETRUS.--Rome and Brescia; first half of eighteenth century.

According to labels the maker was a Cremonese, and in some the name is

spelt “Ambrogi.” Moderate workmanship and varnish. Rough Stradivari

pattern. The name may not unfrequently be seen in common fiddles, such

as are sold in pawnshops.

ANDERSON.--At least three makers of the name worked in Scotland during

the nineteenth century; one named JOHN was a pupil of Matthew Hardie and

a prolific workman. He lived chiefly in Aberdeen, and died there in

1883.

ANTONIAZZI.--The name of several makers in Italy in the last century.

GAETANO (died 1897 in Milan) was a good workman, and obtained medals for

his productions; another, ROMEO, was working in Cremona recently, and

makes instruments in various styles, but has a model of his own.

AUDINOT.--A Mirecourt family of the nineteenth century who have made

many useful instruments. The best known is NESTOR DOMINIQUE, born in

1842, who is in good repute both as a maker and repairer in Paris.

BAADER, J. A. AND Co.--Mittenwald; contemporary. A well-known firm who

manufacture instruments of various classes on an extensive scale.

BACHMANN.--The name of several German makers; the two best known, ANTON

and KARL LUDWIG, worked in Berlin in the eighteenth century.

BAGATELLA, ANTONIO.--Paduna. Died in 1829. Instruments scarce. Writer

has seen one or two double-basses of some merit which were assigned to

him. Best known as the writer of a pamphlet, published in 1782, on

scientific violin making.

BAILLY, PAUL.--A well-known modern French maker, who worked in

Mirecourt, Paris, and London. He was a pupil of J. B. Vuillaume, and

died recently.

BAIRHOFF, GIORGIO.--Naples; latter half eighteenth century. Like several

other makers working in Naples he was of German origin. Has produced

useful instruments of the Gagliano type.

BALDANTONI, JOSEPH.--Ancona; 1784-1873. Was a clever mechanic and an

inventor in a small way; he has left a number of well-made instruments

of good form and tone.

BALESTRIERI, TOMMASSO.--Mantua; appears to have worked until after 1770.

His instruments have long been appreciated amongst players on account of

their tone, which is usually of a rich sonorous quality. He was an

unequal workman, some of his violins and basses exhibiting a high amount

of finish, whilst others leave a good deal to be desired in this

respect. On some specimens the varnish is of excellent quality, but

there are others in which it is much inferior both in appearance and

texture. He seems to have used a variety of labels, from which it

appears that he was a native of Cremona. Spurious tickets are fairly

plentiful. The form of his violins bears a rough general resemblance to

some of those of Stradivari, but he is no longer accounted a pupil of

that maker, as was formerly the case. He is said to have worked in

Cremona until 1757, when he removed to Mantua. The writer has seen a

considerable number of his instruments, but does not recall meeting with

specimens dating from Cremona. Messrs. Hill, in their monograph on

Stradivari, state that he was a pupil of Peter Guarneri (“Peter of

Mantua”). Some of his violoncellos are exceptionally good. Another

Balestrieri, named PETER, worked in Cremona, and in his tickets calls

himself a pupil of Stradivari.

BANKS.--The name of a Salisbury family of makers, of whom the best was

BENJAMIN, born 1727, died February, 1795. His work belongs to the school

of Wamsley. Copied Amati with uncommon skill, and instruments have

sometimes been re-labelled, and passed as the work of Niccolò. He used

on his best productions a very fine reddish-brown varnish, which

resembles Italian. Violins and violoncellos are substantially built, and

have stood wear well. The violoncellos are splendid instruments, and the

larger ones fetch high prices; some of the violins are also excellent,

and the resemblance to Amati work is close. In the sound-holes he did

not always succeed in catching the true form of the originals he copied.

They bear a resemblance to those of Stainer, and the scrolls in all his

work are German in character and cut. He stamped the blocks and

interiors of many of his productions with his initials, but some of his

finest efforts are unstamped. He was assisted by various workmen,

including three sons: BENJAMIN, who also worked in London, and

Liverpool, where he died in 1820; HENRY and JAMES, both of whom died in

Liverpool in 1830 and 1831, respectively. He made instruments of

inferior quality for the trade, some of which bear the stamp of Longman

and Broderip.

BARNES, ROBERT.--London. Died 1794. Principally known as a dealer, and

member of the firm of Norris and Barnes.

BARRETT, JOHN.--London; to about 1740. Long-bodied, high-built

instruments, having ink lines in place of purfling. Tone small, but

generally of good quality.

BARTL (or PARTL).--Vienna. The name is usually spelt “Partl” in labels.

Several makers of this name worked in Vienna in the eighteenth century.

In some specimens the work is good.

BARZONI.--The trade name of a well-known class of modern cheap

instruments made on the Continent. They are well made, and the tone is

usually good.

BAUSCH.--Dresden and Leipzig; nineteenth century. A family chiefly noted

as makers of bows, many of which are highly esteemed, but there are many

spurious specimens about.

BEARE, JOHN and ARTHUR.--London; contemporary. Well known dealers and

repairers. Arthur Beare is an excellent repairer, and a sound judge of

old instruments.

BELA, SZEPESSY.--Contemporary. Born in Buda Pesth, and well known

amongst English amateurs.

BELLOSIO, ANSELMO.--Venice; eighteenth century. Said to have worked with

Serafino. Tone usually good, but instruments are of unequal merit and

workmanship.

BERGONZI.--A celebrated Cremona family of makers, the last of whom,

BENEDETTO, died in 1840, and seems to have been chiefly occupied as a

repairer. CARLO, an artist of the first rank, was born in or about the

year 1686, and is said to have died in 1747. The date of birth was

discovered by the late Signor Sacchi, who ascertained from the Registers

of the suppressed Church of San Matteo in Cremona, that Carlo Bergonzi

was living in 1746 in the house formerly occupied by Stradivari, and his

age was stated to be sixty years. Two of his sons, Michael Angelo and

Zosimo, were then living with him. He worked with and for Stradivari,

and in some of his instruments copied him with great exactness. In other

examples he introduces modifications of the great master’s patterns;

these are chiefly noticeable in the form of the sound-holes, which are

of slightly pointed form, and the corners, in which a decided droop is

observable. The boss of the scroll is frequently more prominent than in

Stradivari violins. The arching varies, but the declivity is generally

inclined to flatness. Wood usually very handsome, and varnish of

different shades, from amber to deep red. It is of beautiful quality,

and apparently similar in composition to that of Stradivari. The violins

are from 13-7/8 to 14 inches long, and, so far as writer’s experience

goes, he did not exceed the latter measurement. The tone of great

beauty, but distinct from that of Stradivari. His fiddles have been

repeatedly relabelled and sold as the work of Guarneri, del Gesù, and

genuine labels are not very plentiful; even in his own work the dates

and tickets cannot always be relied on, as they have in some instances

been inserted to replace forged Stradivari and Guarneri labels, attached

by unscrupulous dealers and others. Some of the better judges question

the existence of either violas or violoncellos of his make, but very

fine examples of both forms of instrument exist which have been assigned

to him by connoisseurs of the first rank. The same remark applies to a

few double-basses of great merit whatever their authorship. Strange as

it may seem, none of his sons would appear to have used varnish of the

true Cremonese type. Carlo’s name and label may be found in many

instruments, both genuinely old, and of the “modern antique” class, with

the making of which he had nothing to do. NICOLÒ, his eldest son, is

supposed to have worked until about 1782. He was a good workman, and

seems to have made many instruments, but they are very inferior in style

to those of his father. Wood and varnish are of second-rate quality, the

latter, judging by appearances, being of a hard alcoholic nature.

MICHAEL ANGELO BERGONZI, the second son, was born, according to the

registers quoted from by Sacchi, in 1722, and worked until about

1765-70. The finish is very passable, but pattern generally inelegant,

the corners in some examples being elongated in unsightly fashion. The

third son, ZOSIMO, born 1725, worked until about 1780, according to

dates in instruments. It is said that his violoncellos are his best

instruments. The writer has not met with any, but has seen a few violins

of good tone, large pattern, somewhat high arching, and outline of Amati

character. The varnish, a somewhat dull dark red, of soft quality. A

second CARLO, who died about 1820, and was a son of Michael Angelo,

seems to have been chiefly a guitar maker, and repairer of instruments.

BERNARDEL.--A well-known family of makers and dealers who carried on

business in Paris in the nineteenth century, and were associated with

the equally well-known Gand family under the style of Gand and

Bernardel. The founder was AUGUSTE SEBASTIEN PHILIPP, born at Mirecourt

in 1802, died 1870. Worked with Lupot, and later with the elder Gand. A

clever maker whose instruments are in high esteem. Other members of the

family were ERNEST AUGUSTE, died Paris, 1899; GUSTAVE ADOLPHE, born

1832; and LEON, born in Paris, 1853. All these have continued to follow

the style and traditions of Nicholas Lupot.

BERTOLOTTI.--Brescia; sixteenth and early seventeenth centuries. The

chief member of this family was the celebrated GASPAR DA SALÒ, born at

Salò (province of Brescia) in or about 1542, died in City of Brescia,

April, 1609. He certainly made violins, usually of rather small form, at

least a dozen of which are recognised by the best authorities as

authentic; but it is by no means clear that he was the first man to make

a fiddle strung with four strings and generally of the form in which the

instrument is now seen. The authorship of the true violin has been

assigned to others: _e.g._ Duiffoprugcar, a viol maker, whose claims

have long since been dismissed by competent judges as unsupported by

evidence of any value. Gaspar’s violins, as might be expected, are of

primitive appearance and character. One of them, belonging to the late

Lord Amherst of Hackney, and of unquestioned authenticity, was seen many

years ago by the writer, and is the only violin by da Salò of undisputed

genuineness with which he has met during a long course of years. Several

violas of large size (“tenores”) still exist, but the majority have been

reduced, often very unskilfully, in size. Of those seen by the writer

all have been remarkable for their fine tone. A number of large bass

viols (violoni) still survive. They were built to carry a number of

strings, but have mostly been converted by modern repairers into three

or four string double basses. A very fine and perfect example of these

is in the possession of the Reverend Leigh Blake. It is said that he

made violoncellos, but this is probably incorrect. Instruments of

various types formerly assigned to him are now recognised as the work of

his pupil and follower, Gio. Paolo Maggini. Interesting information

relating to him, including the date of his death, was discovered, and

published in 1891, by Cavalier Livi, who also ascertained that his

father was a viol maker, and that a son FRANCESCO, who died in 1614,

assisted him. Gasparo’s genuine labels are undated.

BERTRAND, NICHOLAS.--Paris; _circa_ 1685-1730. Best known as a viol

maker. Writer recently saw and repaired a violin by him with manuscript

label, date 1710, of good workmanship and sweet tone; arching high. Some

examples are branded.

BETTS.--London. A well-known family of makers and dealers in old

instruments. The founder of the business was JOHN EDWARD BETTS, “Old

John Betts,” born Stamford, 1755, died London, March, 1823. Worked with

Richard Duke, and made some instruments, but employed in his own

business the best workmen of the day: Bernhard Fendt, John Carter,

Vincent Panormo and his sons, together with several others. The

instruments made for him generally bear his stamp under the button, and

this has been forged of recent years in the most wholesale manner; it

may be seen, in pawnshops and elsewhere, on instruments of the commonest

class and foreign make. Betts was a first rate judge of old Italian

work and many fine examples passed through his hands. A nephew, EDWARD,

was associated with him; he was a careful workman and made some good

copies; he died about 1820. Other members of the family were at one time

or other connected with the business, amongst whom may be mentioned two

named Arthur Betts, the first a brother of John, and the second a

nephew.

BIANCHI, NICCOLÒ.--1796-1881. Born in Genoa, died Nice. A clever workman

who was employed by several makers of repute, including Bagatella, G. B.

Ceruti, and Pressenda. He was for some years in Paris; his own

instruments are said to be very good, but he was much employed as a

repairer.

BIMBI, BARTOLOMMEO.--Siena and Florence; second half of eighteenth

century. Violins usually of rather small pattern, high built, and with

very pretty red-orange varnish.

BINDERNAGEL, JOHANN WILHELM.--Gotha. Died 1845. Instruments highly

valued in Germany. Copied Amati pattern chiefly, but also Stradivari.

Was a pupil of Ernst.

BISIACH, LEANDRO.--Milan; contemporary. Is regarded as one of the

cleverest workmen and imitators of old instruments now working in Italy.

His best violins and other instruments display very fine workmanship,

have generally an excellent tone, and are already in much request

amongst players.

BITTNER, DAVID.--Vienna; died 1887. A good copyist of Italian work.

BLAIR, JOHN.--Edinburgh; to about 1820. Worked with M. Hardie.

Instruments branded “J. B.”

BLAISE, JOSEPH.--Mirecourt and Geneva; died 1882. Little known, except

as instructor of P. and N. Silvestre of Lyons.

BLANCHARD, PAUL FRANÇOIS.--Lyons. Born Mirecourt 1851. Worked formerly

for Silvestre’s firm. Has made some excellent copies with good varnish.

BODIO, GIO. BATTISTA.--Venice; to about 1830. Moderate work. Examples

scarce. Writer has seen a violin with belly inlaid with ebony at edges

of sound holes. Seems to have made instruments with ornamental heads.

BOIVIN, CLAUDE.--Paris; about 1840. Chiefly guitars and similar

instruments. Violins rare.

BOOTH, WILLIAM.--Leeds. Died 1856. Little known. Said to have been a

good workman.

BOQUAY, JAQUES.--Paris. Worked until about 1735-40. One of the better

makers of the older French school. Violins in two sizes, the pattern

resembling Amati. Good wood, dark red-brown varnish. Back usually

stamped with initials. Tone frequently very good. Very well cut scrolls,

but original heads are often absent, having been transferred to old

instruments by other makers.

BOULLANGIER, CHARLES.--London. Born Mirecourt, 1823; died London, 1888.

A well-known and excellent maker. Worked in Paris with Vuillaume and

Gand. In 1849 employed by Edward Withers, senior, with whom he remained

until 1856. Copied both Stradivari and Guarneri with skill, and employed

red varnish of different shades.

BOUMEESTER, JAN.--Amsterdam; seventeenth century. One of the best of the

older Dutch makers, but his labels are not very often seen. It has been

surmised that in many cases they have been removed and the tickets of

Italian makers substituted.

BOURGEOIS, SÉRAPHIN.--Geneva; about 1830. A few years ago a large violin

by a maker named Bourgeois was the subject of a law-suit, certain

“experts” having declared it to be the work of Guarneri, del Gesù.

BOVIS, FRANÇOIS.--Nice; contemporary. Maker to the orchestra at Monte

Carlo.

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

BRANDILIONI, FILIPPO.--Brescia. Said to have worked there in latter half

of eighteenth century. Work is described as resembling that of

Mittenwald rather than Italy.

BRANDNER.--Name of numerous family working in Schönbach in the last

century.

BRANDSTAETTER, MATTHÄUS IGNAZ.--Vienna; died 1851. Maker and excellent

repairer.

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

century.

BRETON, LE.--Mirecourt; died 1830. Good work, but rather commonplace in

style. Instruments branded on back, and stamp may be seen on many

spurious examples. An earlier Breton worked in Paris.

BROWN.--London; eighteenth and nineteenth centuries. Makers of the name

worked principally for the dealers. The best known is JAMES BROWN,

“Brown of Spitalfields,” a good workman, who died about 1830.

BRUGÈRE.--Nineteenth century. A well-known Mirecourt family who worked

in Paris, Marseilles, and elsewhere. The best known is CHARLES, born in

1865. A careful workman; frequently uses a large ornamental ticket.

BRUNO, CARLO COLOMBO.--Turin; contemporary. Has obtained medals for

instruments in Paris, Turin, and Marseilles.

BUCHSTETTER, GABRIEL DAVID.--Ratisbonn; second half of eighteenth

century. Instruments not often seen in this country.

BUTHOD.--Mirecourt; nineteenth century. A maker of the name worked for

J. B. Vuillaume. Labels may be seen in large numbers of cheap violins,

etc., of the “factory class.”

CABROLY.--Toulouse; about 1740. Said to have come from Milan.

Instruments seemingly scarce.

CAHUSAC.--London; eighteenth century. The label may be seen in many old

fiddles which were obviously the work of different makers, but he seems

to have made some himself. Writer has seen examples of Amati outline,

and with very pretty varnish.

CALCAGNI (CALCANIUS), BERNARDO.--Genoa; to about 1750. Medium size

violins, slightly arched and with very pretty reddish-yellow varnish.

General workmanship well finished.

CALVAROLA, BARTOLOMMEO.--Bergamo; _circa_ 1750-1770. Instruments scarce.

Medium workmanship without much character. Yellow and yellow-red

varnish. Pattern looks rather narrow. Scrolls small and of poor design.

CAMILLI, CAMILLO.--Mantua; to about 1760. A maker whose instruments have

rapidly risen in value of late years. They are of unequal merit and

workmanship. In good examples the wood and form are handsome.

Sound-holes rather short and wide open. Varnish red, of varying shades

and good texture. The tone usually excellent. The pattern usually seen

bears some resemblance to violins of Stradivari. Labels both written and

printed.

CAPPA, GOFFREDO.--Saluzzo; born 1647, died August, 1717. It is important

to note the dates of birth and death, as in most books on the violin

these appear as having occurred fully a century too early. Cappa’s name

and work have been the subject of almost wholesale fraud, forgery, and

misrepresentation. His own genuine labels are very rarely seen, and the

frequent appearance of Amati tickets in his instruments gives some

colour to the theory, propounded in Hill’s work on Stradivari, that he

himself inserted them. Whatever may be the truth, the resemblance to

Amati in his smaller pattern violins is very marked, both in form and

choice of material. The varnish also is of similar quality and colour.

The sound-holes, which are much more slanting than in Amati fiddles, at

once betray the maker to the experienced eye; and the heads are quite

unlike the type associated with the Amati name. The violins of larger

build are rare, and those seen by the writer have differed so materially

in form and build from those just described that they might easily be

taken to be the work of another hand. Violoncellos of good form and

style exist, and generally command high prices. Other makers of the name

and of very doubtful existence are mentioned by different writers.

CARCASSI.--A Florentine family of makers of the eighteenth century,

numbering about half a dozen members. Of these the principal workmen

were LORENZO and TOMASO, who worked both independently and in

partnership from about 1740 onwards. The pattern belongs chiefly to the

school of Amati, though no very close resemblance exists. Work in some

cases well finished, arching fairly high, pretty wood, and varnish of

good colour and texture. The name is one of those which have been freely

used by forgers, and a number of spurious examples are to be met with.

CARTER, JOHN.--London; about 1790. Worked on his own account in Wych

Street, but was chiefly employed by Betts.

CASINI, ANTONIO.--Modena. Seventeenth century, to about 1690.

CASTAGNERI, ANDREA.--Paris. Worked to about 1750. He was of Italian

extraction, and his genuine violins are Italian in style. Flat arching.

Outline of Stradivari type. Tone generally powerful. An earlier maker of

the name is said to have been his father, and to have worked in Paris.

CASTELLO, PAOLO.--Genoa; latter half of eighteenth century. Well built

violins of good form and tone. Middle bouts sometimes appear rather

narrow.

CAUSSIN, FRANÇOIS.--Neufchâteau. Also spelt Coussin. Worked between

about 1845-81. Was a very clever imitator of old Italian work and

varnish, and his instruments have frequently been sold as originals.

Pattern varies.

CELONIATI, GIAN. FRANCESCO.--Turin; _circa_ 1730-50. The work somewhat

resembles that of Cappa. Outline generally of Amati character. Varnish

clear and of yellow or yellow-brown colour. Instruments generally well

finished, and the tone of good quality.

CERIN, MARC ANTONIO.--Venice; about 1790.

CERUTI.--Cremona; eighteenth and nineteenth centuries. A family well

known to modern players. GIOVANNI BATTISTA, the earliest of the name,

worked with Storioni, and succeeded to his business, dying somewhere

between 1817 and 1820. Made a large number of instruments of varying

patterns, in some of which the characteristics of more than one of the

classic makers are combined. The wood of the backs and sides is often of

native growth and small figure, and the varnish varies both in colour

and quality. Tone frequently excellent. He used a label with an

ornamental border, and containing a monogram within a circle. His son

JOSEPH died in Mantua in 1860 and was a clever workman. He worked with

his father, whose label has been found in his earlier productions. A

younger son, ENRICO, died in 1883. Instruments well made and of varying

form. He obtained exhibition medals for some of his work.

CHANOT.--A name famous in the annals of fiddle-making. The first maker

of the name was JOSEPH, a native of Mirecourt, who died about 1830.

FRANÇOIS, an engineer, was born at Mirecourt, 1788, died at Brest, 1823.

He experimented much upon the form and construction of the violin, and

made, amongst other things, guitar shaped fiddles. GEORGES CHANOT I.

born at Mirecourt, 1801, died Courcelles, 1883, was the most celebrated

maker of the family, and worked in Paris. He was one of the best judges

of old instruments of his time. His best violins and basses are

beautifully made and chiefly of Stradivari and Guarneri pattern. They

command at the present day good prices and are rising in value. A son,

GEORGES II., worked for many years in London, and was also well known as

a dealer and repairer. He died in 1893. His sons, GEORGE ADOLPHUS,

FREDERICK (died 1911), and JOSEPH ANTHONY, have all become known as

makers. G. A. Chanot lives in Manchester, and Joseph Anthony is

established in Wardour Street, London.

CHAPPUY, NICHOLAS AUGUSTIN.--Paris, Mirecourt; 1750-90. Instruments of

unequal merit, some being of a very common class, inferior varnish and

finish. Good examples have generally a tone of good quality and

considerable power. What may be described as his own pattern is

inelegant, flattish model, short corners, and broad in the waist; yellow

and yellowish-brown varnish.

CHARDON.--Paris; contemporary. A well-known firm. JOSEPH MARIA CHARDON

was a pupil of Georges Chanot, whose daughter he married.

CHARLES, J.--Marseilles; about 1780. Pretty work in style of Guersan. He

was a nephew of that maker.

CHERPITEL, NICHOLAS ÉMILE.--Paris; died 1893.

CHEVRIER.--Nineteenth century. A Mirecourt family who worked there and

in Paris.

CHRÉTIEN, HIPPOLYTE.--Lyons, Paris; contemporary. A good maker. Nephew

of Silvestre, whose name he assumed. Firm Silvestre and Maucotel.

CLAUDOT.--Nineteenth century. Mirecourt family numbering several makers.

CHARLES CLAUDOT, 1794-1876, adopted the brand often seen on the backs of

instruments, “Marquis de l’air l’oiseau.” Other members of the family

branded their names on their work.

CLÉMENT, JEAN LAURENT.--Paris; about 1800-48. Substantially made

instruments with good varnish, usually red-brown, and handsome wood.

Large pattern violins.

COLLIN-MEZIN, CHARLES JEAN BAPTIST.--Paris; contemporary. Born

Mirecourt. Some of the instruments made about thirty years ago are

esteemed and possess a good tone. Later specimens seem to be of the

“factory class,” and are of little account.

CONTRERAS, JOSÉ.--Madrid; eighteenth century. Little known in this

country. Instruments frequently handsome, and work Italian in character.

A good many seem to have been re-labelled with the tickets of better

known Italian makers.

CORSBY, GEORGE.--London; nineteenth century. A well-known dealer in

Prince’s Street, Leicester Square. Seems to have been himself a workman,

but employed others to make instruments for him. Another Corsby of

Northampton made some good double-basses.

COUTURIEUX, N.--Toulon; about 1840. Made useful instruments of flat

pattern. Branded inside with initials “N. C.”

CRASKE, GEORGE.--Born 1795, died, Stockport, in 1888. Worked in Bath,

Leeds, Sheffield, Birmingham, Manchester, and elsewhere. Made a huge

number of instruments of varying patterns, but readily identifiable

after seeing a few examples. Work sometimes good, but more frequently

only passable or indifferent. Tone not usually of good quality.

CRISTOFORI, BARTOLOMMEO.--Florence; seventeenth and eighteenth

centuries. Pupil of Niccolò Amati. Instruments very scarce, but some

fine violoncellos, and at least one double-bass, are known. Is with some

probability identified with Cristorfori who is usually accounted the

inventor of the pianoforte.

CROSS, NATHANIEL.--London; to about 1745-50. Some well-made violins and

basses exist, which exhibit a pattern and characteristics of German

style. Yellow varnish. He was associated with Barak Norman (_q.v._).

CUYPERS, JAN.--The Hague. Born 1723-24, died about 1810-12. In several

violins of late date he states his age, which in 1806 was 82.

Instruments have risen rapidly in value of late years. They are soundly

made, of good wood, and with yellow varnish of good quality. Pattern,

shape of sound holes, and outline vary considerably. Scrolls heavy and

boldly cut, but not handsome. The name is met with in books on the

violin with the spelling “Koeuppers,” presumably copied from labels.

Writer has not seen such.

DALINGER, SEBASTIAN.--Vienna; latter half of eighteenth century. Stainer

pattern, dark varnish. Some examples have lion heads.

DALLA COSTA, PIETRO ANTONIO.--Treviso; about 1740 and later. Prints his

name as “a Costa” in some of his tickets. Genuine instruments not very

often seen. Generally Amati outline, good red or red-brown varnish.

Well-finished work.

DALL’ AGLIO, JOSEPH.--Mantua; nineteenth century to about 1830.

DARCHE.--Nineteenth century. A well-known Mirecourt family working in

Brussels and Aix. Their instruments are of the style and character of

Vuillaume.

DAVIS, WILLIAM.--London; to 1846. Was a dealer and repairer in a large

way in Coventry Street.

DEARLOVE, MARK WILLIAM.--Leeds; nineteenth century. The violoncellos and

double-basses show good work and are in favour amongst orchestral

players. He was for some time in partnership with John Fryer.

DE COMBLE, AMBROISE.--Tournay; about 1735 and later. Reputed to have

worked with Antonio Stradivari, which is unlikely. Work not usually

highly finished. Varnish red, of fine quality. Well-cut scrolls. Labels

are written. There seem to be more violoncellos than violins of his make

in this country.

DECONET, MICHELE.--Venice. Seems to have worked until after 1780. There

are, or were not long ago, a certain number of spurious “Deconets” in

this country; one individual, well known amongst London dealers, is said

to have “specialised” in such things. Deconet used a variety of labels,

written and printed, and his name is frequently spelt with a small “d.”

His work is not unlike that of Montagnana, by whom he is said to have

been employed. Good (sometimes excellent) varnish of the Venetian type,

and red or red-brown colour. It is said that in later life he worked in

Padua.

DEGANI, EUGENIO.--Venice; contemporary. A good workman who has obtained

several medals for his instruments. Frequently uses purfling made in

five strips (three black and two white) and works on a model of his own

design.

DERAZEY, HONORÉ.--Mirecourt, Paris; to about 1875. Some of his copies

are good sound instruments; chiefly Stradivari pattern. His son, JUSTIN

DERAZEY, was a manufacturer on a large scale, and bought the business of

“didier” Nicholas from the latter’s widow.

DEROUX.--Mirecourt, Paris; nineteenth century. There were two makers of

the name. GEORGES, died 1889 (Reims). Worked for Derazey, and Mougenot

of Brussels. Work branded, and name sometimes pencilled in instruments.

His son, AUGUSTE, born 1848, worked with Hippolyte Silvestre, and

Miremont. Is a good repairer and a medallist.

DESPINE, ALEXANDER.--Turin. Worked until about 1845. Was employed by

Pressenda, and made some fine violins which bear that maker’s ticket.

Occasionally copied Guarneri, del Gesù. Piatti at one time possessed a

violoncello made by him.

DE VITOR, PIETRO PAOLO.--Venice, Brescia; about 1740. Made some large

fiddles of Maggini pattern.

DIEHL.--A number of makers of the name worked in Germany in the

eighteenth and nineteenth centuries.

DODD.--An English family, chiefly distinguished as bow-makers, in the

late eighteenth and the nineteenth centuries. There were seven or eight

workmen. JOHN, born at Stirling, 1752, died in Richmond Workhouse, 1839,

was the best-known bow-maker, and at least two EDWARDS, one of whom

attained the age of 105 years, were also makers. THOMAS DODD, who died

in about 1820, had a business as instrument dealer and maker in St.

Martin’s Lane, London. He does not seem to have made instruments

personally, but discovered a fine varnish which he put upon excellent

instruments made for him by Bernhard Fendt, John Lott, and other

workmen. These instruments, especially the violoncellos, are of great

merit and handsome appearance, and realise good prices.

DÖRFFELL, _also_ DÖRFFLER.--The name of fully a score of German makers

working in Klingenthal and Markneukirchen; eighteenth and nineteenth

centuries.

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

DUCHESNE, NICHOLAS.--Paris; about 1750. Branded instruments of no great

merit.

DUKE, RICHARD.--London; _circa_ 1750-85. A celebrated English maker.

Chiefly copied Stainer, but also Amati, and more rarely Stradivari.

Well-finished work. Usually red-brown varnish of rather dull hue, but

lighter shades are seen. Instruments commonly stamped under the button.

Spurious and counterfeit “Dukes,” many not in the least resembling the

originals, abound. His son, Richard, attained no distinction.

DULFENN, ALEXANDER.--Leghorn; about 1700 and later. Specimens seen by

writer were of wretched material and poor workmanship.

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

fiddles and violoncellos.

DYKES, HARRY, AND SONS.--London; contemporary. Well-known dealers and

repairers. The sons, George and Arthur D., are both skilful workmen.

EBERLE.--Various makers of the name worked in Prague and elsewhere

during the eighteenth century. The chief Prague maker was JOHANNES

UDALRICUS EBERLE, 1699-1768, a skilful workman who has left a good many

instruments, generally on the lines of Stainer, with handsome wood and

well-cut scrolls. Varnish on many of them is excellent and of

considerable brilliancy. TOMASO EBERLE worked in Naples down to about

1790. It does not appear whether he was related to the Prague family.

There is little or no trace of German teachings in his violins, which

are of the Gagliano class, and often bear Gagliano tickets. He may have

worked with Niccolò Gagliano or some other member of the family. The

varnish is similar to that used by that family; the work usually neat

and well finished. Wood well-chosen and sometimes handsome.

EMILIANI, FRANCESCO DE.--Rome; eighteenth century. Rather high built.

Work of the Tecchler school. He possibly assisted that maker. Scrolls

very neatly cut.

ERNST, FRANZ ANTON.--Gotha. Died 1805. Work little known in this

country. Said to be of Stradivari pattern. He was also a violinist and

composer.

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

FABRIS, LUIGI.--Venice; 1860. Obtained medal in 1872 at Treviso.

FAGNOLA, ANNIBALE.--Turin; contemporary. A maker whose instruments have

lately attracted attention. His imitations of Pressenda and Rocca’s

instruments are clever and not unfrequently pass as originals. Some are

not well finished. Writer has recently seen a very good example made in

the style of J. B. Guadagnini.

FENDT.--London; late eighteenth and nineteenth centuries. A gifted

family of makers. The first, BERNHARD FENDT, was a native of Innsbruck,

born _circa_ 1775; died, London, 1832. An admirable workman who copied

the best features of the great Italian makers. He worked much for Thomas

Dodd (_q.v._) and in association with John Lott. Later he worked for old

John Betts, continuing to work for the house after the death of that

maker. Work so made bears Betts’s stamp. BERNHARD SIMON FENDT, his

eldest son, died in March, 1852. Worked for Betts and was for some time

partner with one Purdy (“Purdy & Fendt”). He was a wonderfully clever

copyist, and made, amongst other types, instruments of all sizes, from

violins to double basses, in imitation of the Brescian style (Gaspar da

Salò and Maggini). These instruments have been constantly mistaken for

genuine Brescian examples--particularly the double-basses, of which a

number are in existence. JACOB FENDT, third son of Bernhard I., died

comparatively young in or about 1849. His abilities were also of a high

order. He worked for Davis, of Coventry Street, and for Turner, the

dealer, producing “modern antiques,” chiefly of Stradivari type, in

which the appearance of wear and time are most skilfully imitated. The

tone of his copies is usually of excellent quality. Other members of the

family were MARTIN, WILLIAM, and FRANCIS; all good workmen.

FENT, FRANÇOIS.--Paris; _circa_ 1760-91. Related to above family, and

stated to have been uncle and instructor of the first Bernhard Fendt. In

his labels he omits the “d” from his name. Said to have come from

Innsbruck. His best work has never been surpassed and seldom equalled by

any maker working in France. The violins are of Stradivari form, and the

style is Italian throughout. Wood of handsome figure, and the finish

irreproachable. Varnish, a beautiful red brown. The tone of very fine

quality even in inferior examples. His instruments, unfortunately, were

obviously made in different grades; and the commoner types, which

frequently bear his name stamped in various places, are of relatively

little importance and money value. Some of his varnish is much oxydised

(almost black), and the wood of both backs and bellies worm eaten. His

finest fiddles have sometimes passed as genuine Strads, and occasionally

Lupot’s labels have been inserted; but the work is less heavy and more

graceful than that of Lupot. His ordinary label has an ornamental

border, bears no date, and contains errors of spelling.

FICHTL.--A number of German and Austrian makers of this name are

mentioned. Two named MARTIN MATTHIAS worked in Vienna in the eighteenth

century and followed the Stainer pattern.

FICKER.--The name of fully a score of Markneukirchen and other German

makers. JOHANN GOTTLOB, who died in 1832, is amongst the best known.

Used a brand with his initials. Other Fickers followed the same

practice.

FIORINI.--Two makers of the name may be mentioned. RAFFAELE worked in

Italy, chiefly in Bologna, and died there in 1898. He made some

well-finished instruments, amongst them a number of violoncellos.

Varnish varies in colour, but is often a rather dark red. He was also

reputed a good judge of old Italian work. GIUSEPPE, his son, migrated to

Munich, where he was at work recently.

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

enumerated.

FLORENO.--Bologna; eighteenth century. There appear to have been at

least two makers who adopted the common practice of placing the surname

first in their tickets. The Christian name, GUIDANTUS, has therefore

appeared as the surname in various books. Writer has seen a few

specimens bearing the label, with brilliant varnish. High built, and

outline of Amati character.

FONCLAUZE.--Paris. Died 1864. A most skilful bow maker. He worked for

several others, including Vuillaume.

FORSTER.--A well-known English family, who came from Brampton in

Cumberland. Three were named WILLIAM, the second of whom died in 1808,

and is best known as “Old Forster.” Very good work of Stainer or

Stainer-Amati pattern. Oil varnish of a durable but not very clear

texture. His violoncellos are more valued than the violins, though the

work in the latter is often excellent. He employed various assistants,

was patronised by Royalty, and his instruments commanded good prices in

his own day. His grandson, SIMON ANDREW FORSTER (died 1870), was joint

author with Sandys of a well-known history of the violin. A very

readable, but not conspicuously accurate compilation, which has been

humorously dubbed “the history of the Forster family.” He was himself a

maker, and some of his work is of considerable merit.

FOURRIER, FRANÇOIS NICOLAS (known as “Nicolas of Paris”).--Paris. Born

in 1758; died 1816. He was a first-rate maker, but is little known

amongst English dealers and players, who are apt to confound him with

“didier Nicolas,” a Mirecourt workman, and latterly a manufacturer on a

large scale. Fourrier’s work is handsome, well finished, and he was

evidently well acquainted with the characteristics of the classic

Italian makers. Writer has met with violins, pattern rather large;

excellent varnish of red or red-brown colour on a fine yellow ground.

Sides sometimes rather shallow. Boldly cut scrolls. He was “luthier to

the chapel of the Emperor,” Napoleon I.

FURBER.--London; eighteenth and nineteenth centuries. A numerous family,

most of whom worked chiefly for the trade. The best of them was JOHN,

who died somewhere about 1845. He worked largely for Betts, and was a

good copyist of Amati.

GABRIELLI.--Florence; eighteenth century. There were several makers of

the name. GIOVANNI BATTISTA (about 1740 and later) is the best known.

Handsome wood and good varnish of yellow or orange colour. There is a

resemblance to German work (Stainer) in the form of some instruments.

The finish is neat and careful, arching frequently high. He used both

written and printed tickets, in some of which he calls himself “de

Gabriellis.” He also branded some of his work with the initials G. B.

G.

GAFFINO, JOSEPH.--Paris; _circa_ 1740-60. Was of Italian origin. Worked

with Castagnery, and afterwards on his own account.

GAGLIANO.--Naples; eighteenth and nineteenth centuries. A large and

important family of makers, who have left a considerable number of

valuable instruments. The founder was ALESSANDRO, who died between 1720

and 1730, and is reputed, upon very doubtful evidence, to have worked

with Stradivari. In this country his genuine instruments are scarce,

though numbers of Neapolitan instruments of varying patterns have been

assigned to him. Though nearly all the family appear to have worked on

lines more or less akin to those of Stradivari the resemblance between

Alessandro’s violins and those of that maker is by no means close. In a

few seen by the writer the arching has been of the ridgy character

associated with some Amati instruments, but he also made examples of

flatter arching. Varnish varies. In some it is of fine quality and soft

texture, and quite distinct from the ordinary Neapolitan type. The

scrolls of this maker, and of others of the name, are usually of poor,

cramped style and workmanship. He made some violoncellos of considerable

beauty and very fine tone. He seems to have used a variety of labels,

some in manuscript. NICCOLÒ GAGLIANO I. was the eldest son of the

foregoing, and judging by the number of works still extant, was probably

the most prolific maker of the family. The dates assigned to him in most

books are quite unreliable; he seems to have worked until late in the

eighteenth century, and probably died about 1780. Though his productions

are of unequal merit, he was undoubtedly a workman of much skill.

Sometimes he employed a fine red varnish of much brilliance and soft

quality; in many cases, however, he used the clear yellow preparation,

characteristic of the Neapolitan school. Arching generally pretty full,

and sometimes rather high. Wood frequently handsome, the backs of the

instruments being generally divided. In the violins the scrolls are

generally poor and of insignificant cut. In the violoncellos they are

somewhat better. In the latter the back of the peg-box sometimes has an

aperture cut in it, to facilitate stringing. Outline based on that of

Stradivari; sound-holes very well cut, and frequently placed a shade

high in instrument. They are generally set very upright in the bellies.

He made a considerable number of examples inlaid with black

ornamentation. NICCOLÒ II. was a son of Giovanni Gagliano (Joannes), and

was a maker of no particular account. He died about 1826. GENNARO

(Jannarius), _circa_ 1720-75, was the second son of Alessandro, and is

now usually reckoned the best maker of the family. Instruments much

rarer than those of Niccolò. In his best work the finish is excellent;

and his varnish (orange-yellow or red) is almost uniformly of a superior

kind. The pattern more or less after that of Stradivari. The scrolls

well cut and of bolder character than those of the other Gagliani. Some

of his fiddles and basses have contained Stradivari tickets and have

passed as originals. The tone is round, equal, and free from the nasal

character which is often observable in Neapolitan fiddles. FERDINAND,

1724-81. Was the eldest son of Niccolò I. A good workman. Pattern rather

broad-looking. Arching moderate. Finish frequently somewhat careless.

JOSEPH: worked until about 1795, and was the second son of Niccolò I. He

was associated with a younger brother, Antonio, and the instruments of

the firm bear their joint label. His instruments are somewhat similar in

appearance to those of his father, but usually inferior in style and

finish. GIOVANNI, died _circa_ 1806; was a nephew of Gennaro, and worked

with him. Some of his examples are of good pattern, and well made. He

occasionally ornamented them after the manner of Niccolò. There were

several other Gagliani: GAETANO, RAFFAELE, and ANTONIO, who worked

together in the last century down to about 1857; and others.

GAILLARD, CHARLES.--Paris; 1850-81. An excellent workman of the Paris

school, whose instruments are rising in value. He worked with Gand.

Strad pattern; sound-holes very well cut; set rather upright, and look a

little wide open.

GAILLARD-LAJOUE, J.--Mirecourt and Paris. Died about 1870. Brother of

the above, and also a fine workman. Worked with Gand.

GALRAM, JOACHIM JOSEPH.--Lisbon; 1769 to 1825. Work little known in

England.

GAND.--Paris, Versailles. A famous French family of makers and dealers

originating in Mirecourt. CHARLES MICHAEL, the founder, was born there

in 1748, and died in Versailles 1820. CHARLES FRANÇOIS (“Gand père”) was

his eldest son. Worked with Lupot, whose daughter he married, from 1802.

Was an excellent maker, and one of the most skilful repairers who ever

lived. He died in 1845. CHARLES NICHOLAS EUGÈNE, the second son of

Charles François, died in 1892. Was senior partner in the firm of Gand

and Bernardel, who made instruments on an extensive scale, and held

important appointments. The work produced by this house is of the Lupot

class and traditions, and is of a high order of merit. There were other

members of the family engaged in the violin business.

GAVINIÉS, FRANÇOIS.--Bordeaux, Paris; eighteenth century. Instruments

branded. The better class examples well made.

GEISSENHOFF, FRANZ.--Vienna; 1754-1821. By far the best of the Viennese

makers, and a close imitator of the Stradivari pattern. All the details

of the work are well executed, including the scrolls. Varnish usually a

dark red-brown. The tone is round and of very good quality. He usually

branded his work with his initials, under the button. The violoncellos

are rare. His work has risen rapidly in value and to-day commands good

prices.

GEMÜNDER, AUGUST.--Born 1814, Würtemburg; died New York, 1895. Made

numerous instruments which are in high esteem in America. His brother

GEORGE, born 1816, died 1899, worked first with Vuillaume in Paris, but

went to New York in 1849. Made good copies in the Vuillaume style.

GERMAIN, JOSEPH LOUIS.--Paris. Died 1870. Worked with Gand and later

with J. B. Vuillaume; afterwards on his own account. He was a clever

maker and one of the best of Vuillaume’s workmen. His son EMILE, born

1853, is well known in Paris, and has made a large number of

instruments.

GIBERTINI, ANTONIO.--Parma, Genoa; nineteenth century to about 1850.

Medallist at Milan. A neat workman. A few violins seen by writer were of

Stradivari pattern, good wood and handsome red varnish. His work does

not seem to be plentiful.

GILKES, SAMUEL.--London. Died 1827. A maker of much ability. Worked for

Forster before establishing himself on his own account. The finish of

his instruments is remarkable. They are somewhat scarce, and generally

of Amati character, but he also copied Stradivari. A son, WILLIAM, was

well known as a double-bass maker.

GISALBERTI, ANDREA.--Parma; eighteenth century, _circa_ 1720 and later.

Said also to have worked in Bozzolo, Rimini, and elsewhere. His

existence has been doubted in some quarters, but violins by him

undoubtedly exist, a few of which seen by the writer were of good tone,

and not without character, albeit somewhat indifferent workmanship.

Horace Petherick some years since wrote a book in which he sought to

prove that Gisalberti was the instructor of Guarneri, del Gesù.

GLÄZEL.--Markneukirchen. For over a century a large number of makers of

this name have worked in Markneukirchen and elsewhere in Germany.

GLASS.--Klingenthal. Another German family of whom much the same may be

said as of the Gläzels.

GLIER.--Markneukirchen. Another large family of makers. Eighteenth and

nineteenth centuries.

GOBETTI, FRANCESCO.--Venice; _circa_ 1700-30. One of the finest makers

of the Venetian school. There is nothing beyond tradition of a most

unsatisfactory kind to prove that he was a pupil of Stradivari. His work

in some cases suggests late Amati influence, both in form and style; it

is frequently very beautiful in every respect, save the cutting of the

scrolls. Handsome wood, beautiful red varnish, and tone of excellent

quality. His genuine labels are by no means plentiful, the tickets of

Francesco Ruger, Amati, and Stradivari, having been inserted in his

instruments. The writer has met with two or three violins having a

decidedly German outline which were assigned to this maker by judges of

repute.

GOFRILLER.--Venice; to about 1740. A family, possibly of Tyrolese

origin, whose work was until recent years little known in this country.

The best maker was MATTEO, much of whose work has been masquerading

under the names of other makers, such as Joseph Guarneri, son of Andrea,

Carlo Bergonzi, and Montagnana. The workmanship and style are good, wood

sometimes, but not frequently, handsome, and the varnish, generally dark

red, is of good quality. He seems to have made a good many violoncellos.

The scrolls are well cut, but can hardly be described as of Italian

type. Labels vary, and in some the name is spelt with a double “f.” Two

other Gofrillers, Francesco and Antonio, are mentioned, but their work

is almost unknown.

GOSSELIN, JEAN.--Paris; _circa_ 1820-30. An amateur. There are some fine

violins of Stradivari pattern bearing his label. In some cases

instruments made by another hand were varnished by him.

GOULDING.--London; about 1800. There are a good many violoncellos and

violins bearing the stamp “Goulding,” some of English work, and others

of obviously foreign make. Some of these are useful instruments, but

there seems to be some doubt whether he was actually a maker.

GRAGNANI, ANTONIO.--Leghorn; _circa_ 1740-1800. The best of the few

makers dating from Leghorn. The violins bear some little likeness to

the work of the Gagliano family, have a very good quality of tone, and

the varnish is not unfrequently of good texture and appearance, though

the colour is apt to fade. The scrolls are very poor. Instruments

branded on the button, and sometimes in other places. Of late they have

commanded some attention amongst players, and their value has increased

considerably. There were two other makers of the name, but of no

particular account.

GRANCINO.--Milan; late seventeenth and earlier eighteenth centuries. An

important family of makers of whom there seem to have been upwards of

half a dozen members. The earliest appears to have been PAOLO, who was

at work until near the end of the seventeenth century. The few of his

instruments met with by the writer have been of Amati pattern, with

yellow varnish, and wood exhibiting little or no figure. It is said that

he was a pupil in Amati’s workshop. He certainly does not seem to have

used varnish which can be compared with that of his master. His son

GIOVANNI worked from about the end of the seventeenth century until 1730

or a little later, and has left a good many instruments of considerable

value. The violoncellos perhaps take higher rank than the violins, but

the finer specimens of the latter are not unfrequently handsome, both as

to wood and varnish, and the tone is of full and telling quality. In

some of his later work Giovanni discarded some of the Amati features

seen in earlier examples. The arching is flatter, and the sound-hole

assumes a somewhat pointed form, and is set more obliquely in the

instrument. It has been said by writers that he imitated Guarneri del

Gesù, a statement which is manifestly absurd having regard to dates.

Instruments by him with the pointed sound-hole exist, which were made

long before del Gesù’s admitted period of activity, _i.e._ 1725-45. Of

the other makers of the name very little seems to be certainly known.