GRAND-GÉRARD.--Mirecourt; early nineteenth century. Branded instruments

of rather large flat pattern and commonplace character. The tone is not

unfrequently passable.

GRANDJON.--Mirecourt; nineteenth century. A family of makers.

Instruments of moderate price and better class “factory” style of work.

GROBLICZ, MARTIN.--Warsaw; eighteenth century. The name is commonly

printed “Grobitz” in books dealing with the violin. Examples scarce.

Pretty work of Stainer pattern. Sometimes seen with lion-heads. The name

is found in more modern instruments of a very common type, and with

edges flush with the sides, instead of overlapping them.

GROSSMAN, DR. MAX.--Born Berlin. Contemporary. Is chiefly known as

originator of a system of attuning the backs and bellies of instruments.

This has been applied to modern examples made in Germany and sold under

the name of the “New Cremona” violins, etc.

GUADAGNINI.--Piacenza, Turin, Milan, Parma; eighteenth and early

nineteenth centuries. A very celebrated family originating at either

Piacenza or Cremona. LORENZO, the founder, claims in some of his tickets

to have been a Cremonese. According to Hart and other writers, his dates

run from about 1695 to 1740, or later. Much has been written about him,

but in reality his genuine instruments are rarely seen in this country,

and his work is imperfectly known, even amongst some of our better

informed dealers. He also claims in some labels to have worked with

Stradivari, but the veracity of the statement has been questioned time

and again. The writer, during an experience of over thirty-five years,

has seen very few authentic instruments by him. They are said to be of

bolder design than those of his son Giovanni Battista, and the

sound-holes are of varying form, sometimes resembling those of Guarneri

del Gesù. All authorities are agreed as to the tone of his violins,

which is described as large, and of excellent quality. He is supposed to

have died at Milan. The most important maker of this family was GIOVANNI

BATTISTA GUADAGNINI, born apparently at Piacenza in 1711, died at Turin,

September, 1786. He was Lorenzo’s son, and like him, states in some of

the labels (those dating from Turin) that he was a Cremonese, and a

pupil of Stradivari. Nearly all writers, British and continental, state

that there were two G. B. Guadagninis, one of whom was Lorenzo’s

brother, and of somewhat earlier date than the subject of this notice.

The writer has seen a large number of instruments by G. B. Guadagnini of

varying dates and places of origin, and is constrained to admit that

violins dating from Milan and Parma present points of dissimilarity both

in form, varnish, and the cutting of the scrolls, from those dating from

Turin from about 1773 onwards. It is, however, the opinion of the best

experts in this country, that there was but one G. B. Guadagnini, who

changed his habitat several times. The facts of his life were collected

by Count Cozio di Salabue, an Italian nobleman and collector, who died

in 1824; he patronised Guadagnini and saved him in Turin from

destitution. At the death of this distinguished amateur, something like

fifty of Guadagnini’s instruments, with other valuable violins, were

amongst his effects. Guadagnini seems to have worked first in Milan,

then at Piacenza, later at Parma, where he was court maker to the duke,

and lastly at Turin, to which city he migrated in 1772. There seems to

be little doubt that he was acquainted with the composition of the

celebrated Cremonese varnish, and used it, though comparatively

infrequently, on some of his finest efforts. Some of his fiddles are

models of good work, fine wood, and beautiful varnish, but his average

instrument may fairly be described in less glowing terms. The varnish on

most of those dating from Turin is a red, almost scarlet in some cases,

of much brilliance, but less soft in texture than the true Cremonese. In

earlier work the tints are less glaring, perhaps partly owing to the

effect of time. The pattern resembles Stradivari’s. The sound-holes in

many cases show rather a pronounced sweep in their upper turns. In a

good many later examples, one is set a trifle higher than the other. The

violins are generally rather under fourteen inches long, and the

violoncellos almost always measure about twenty-eight inches or a trifle

over. Very high prices have been paid in recent years for his best

examples. The finest violin of his make ever seen by the writer, was

sold by Mr. Hart about two years since for £800; and higher figures have

been reached more recently still. GIUSEPPE GUADAGNINI (Joseph), _circa_

1736-1805. Was second son of the foregoing maker, and worked at Milan,

Como, and Parma. Work heavier-looking than that of his father. The

violins are apparently of somewhat larger pattern. The arching generally

flat and the sound-holes broad in the stem. Seems to have made a good

many instruments, including violas and violoncellos. The tone is

frequently large and of good quality. It is said that he in many cases

used the label of his father. GAETANO, another son of Giovanni Battista,

worked at Turin to about 1831. He is said to have been chiefly a

repairer. Writer has seen some violins (one or two of good workmanship

and pattern, and prettily figured wood) bearing his label, but his work

is very little known. Other members of the family, Francesco, Carlo, and

Antonio, have been employed in the violin business. One Francesco was at

work quite recently.

GUARINI.--_Vide_ Mennesson.

GUARNERI.--Cremona, Mantua, Venice; seventeenth and eighteenth

centuries. The founder of this celebrated family was ANDREA, born 1626

in Cremona; died there in December, 1698. An undoubted pupil of Niccolò

Amati, by whom he was employed as late as 1653; he was at first a close

imitator of his master. Later he altered the style of his work somewhat.

It is stated in many books that he was fellow-workman with Stradivari,

by whose style he became influenced. Dates certainly do not tend to

confirm the statement. Stradivari was not born until 1644, and even if

he was employed by Amati while Andrea Guarneri was in that maker’s

workshop, there are instruments by Andrea in existence which were made

before Stradivari could possibly be of an age to exert any influence,

and which exhibit modifications in the pattern, form of sound-holes, and

arching, showing clearly enough that the maker had begun to work on

lines of his own. Occasionally, Andrea adopted the “Grand pattern” of

Amati, and it is probable he assisted in the making of some of the

violins of that type. One very beautiful violin, bearing his own label,

is known to the writer, which might well pass for a Grand Amati. The

sides of Andrea’s heads are usually more deeply grooved than those of

Amati. Very few violas or violoncellos seem to be known. Messrs. Hill

state that they have met with one of the latter of smaller dimensions

than the usual violoncello of the period, but that other examples had

been cut down from their original size. JOSEPH GUARNERI, son of ANDREA,

was born in November, 1666, and appears to have been alive in 1738, but

the date of death has not been ascertained. He worked for some time with

his father. The beauty of the varnish on many of his violins has not

been surpassed by any other maker. Some of his backs show a broad curl,

others have wood of smaller figure, but considerable beauty. The pattern

of his violins varies considerably, as also the amount of arching in the

plates, which is commonly flatter in late than early specimens. Some

examples show a long and somewhat stiff curve in the waist, or middle

bouts; in others the curve is more pronounced, and resembles that seen

in the instruments of his celebrated relative, Del Gesù. In the heads

also a resemblance may now and then be traced, and the peg-box is

somewhat cut in at the throat. The fiddles are usually about 13-7/8

inches long. The sound-holes set a trifle lower and nearer the edge of

the instrument than is usual, and in certain examples the form of the

sound-holes is very slightly pointed at the ends. This form is not seen

in earlier specimens. His violas and violoncellos are scarce. A few fine

examples of the latter are recognised. PIETRO GIOVANNI GUARNERI (“Peter

of Mantua”), the eldest son of Andrea, was born in Cremona in February,

1655. Date of death not ascertained. He also employed most beautiful

varnish of a deep orange, or red orange tint, and has left some charming

examples of his work. The general style of his instruments belongs to

the Amati school. Arching usually somewhat full, very fine scrolls, and

sound-holes which are set almost perpendicularly, and very decidedly

arched at their upper and lower turns. The fiddles usually of medium

size, but larger examples are occasionally met with. A very fine violin

dated 1686, with ornamental purfling, is figured by von Lütgendorff. The

date when he went to Mantua does not seem to be known, and the writer is

unable to find any satisfactory proof that he worked also in Venice, as

has been frequently stated. PIETRO GUARNERI II. (“Peter of Venice”) was

a son of Joseph, son of Andrea. He was born in Cremona in April, 1695,

and appears to have worked in Venice until after 1760. In his labels,

which have an ornamental border, he calls himself son of Joseph. He is

stated to have worked for some time with his uncle, Peter of Mantua, in

that city. The writer is not well acquainted with his instruments.

GIUSEPPE GUARNERI (“Joseph, del Gesù”) was born at Cremona in October,

1687. Date and place of death are unknown. The latest date seen in a

violin is 1745. The correct birth date was ascertained by an Italian

writer (de Piccolellis), and first published in 1886, notwithstanding

which several subsequent writers have persisted in stating that the

event took place in 1683, the date formerly supposed to be correct (on

the authority of J. B. Vuillaume). According to Hart, whose view is

generally followed by the best modern authorities, del Gesù’s probable

instructor was his relative, Joseph, son of Andrea, and there are

features in some of his work which certainly support this theory. The

earliest date found in his admittedly genuine violins is said to be

1723. In that year he would be at least thirty-six years old, and no

very satisfactory explanation of the absence of authentic specimens of

earlier date seems to be forthcoming, unless we suppose that he did not

begin to follow the art in which he was so conspicuously successful

until pretty mature manhood. Horace Petherick, in 1906, published a book

(illustrated) in which he claimed to have discovered that del Gesù’s

master was Andrea Gisalberti of Parma (_q.v._), a little-known maker of

no great account. However, neither Mr. Petherick’s arguments, nor the

examples by which he strove to support them, were seriously accepted by

most judges of the first rank, and the difficulty may be said to be

still unsolved. Neither violas nor violoncellos which can unhesitatingly

be accepted as the work of del Gesù have come to light. Instruments of

both types have from time to time been put forward as authentic, but

have been rejected as spurious by all the best-informed authorities.

Much misapprehension--some at least of which may be traced to general

and loosely worded descriptions in books--has existed in regard to the

size of del Gesù’s larger violins. His more massive looking instruments

give the impression of being of greater size than is found on careful

measurement to be really the case. The widths are full, but the bodies

measure only 13-7/8 inches, or a minute fraction over, in length, and,

so far as the writer is aware, no properly verified exception to this

rule has as yet appeared. A number of his earlier works are only 13-3/4

inches long, but nevertheless possess a volume of tone which is

astonishing, considering the relatively small size of the instrument. It

has been customary to classify his works into distinct types, varying

with the period of their production. Though in the main a convenient

system, the dates found in his violins do not by any means always square

with it. Two illustrations of this will suffice. The “Hart” Joseph, now

owned by the great artist Kreisler, is of the bold massive build which

he is supposed to have adopted not earlier than 1740; but it dates,

according to the label, from the year 1737. Paganini’s famous instrument

(now in the museum at Genoa) is dated 1743, and the splendid example

known as the “Le Duc” was made in 1745. Neither of these instruments

exhibits the exceptional finish and elegance of form which may be seen

in a few examples made between about 1734-38, yet each is a remarkable

work of art, though dating from a period when his handiwork has been

said to betray a lamentable falling off in design, workmanship, and

varnish. There is no doubt that del Gesù did occasionally produce

instruments which in some features, such as the form of the sound-holes,

are uncompromisingly ugly; but, in the writer’s view, there are not

sufficient data to assign these specimens to any particular period of

his working life. His handsomest and most exquisitely finished violins

seem to have been made approximately between the dates above stated,

1734-38. Instruments of this class are rare, but will in every way bear

comparison with those of Stradivari. Three notable fiddles of this type

may be mentioned: the D’Egville, dated 1735; the “King” Joseph (now in

America), and the “Gillott,” both dated 1737. These, with perhaps a

dozen others, are reckoned amongst connoisseurs as the most finely

formed and finished specimens of this great master’s work. In early

examples a distinct resemblance to the works of his cousin, Joseph, son

of Andrea, is traceable, and instruments now properly assigned to that

maker have pretty frequently been labelled and passed as the work of Del

Gesù. The sound-holes of his violins exhibit much diversity of treatment

both in the form and the angle at which they are placed, and it is

evident that in the cutting of them he rarely had recourse to patterns,

or templates. It is generally supposed that he revived the “pointed”

form associated with the school of Brescia. In many cases there is

little or no suspicion of a “point” visible, and in no case known to the

writer is the peculiarity accentuated to the absurd extent exhibited in

swarms of copies which may be met with. His arching varies considerably,

but the rise of the plates from the edges to the centre is usually

gradual. In the outline of his more robust type of instrument there is a

resemblance to the violins of Maggini, but that maker’s large

dimensions--his ordinary fiddle is about 14-1/4 to 14-1/2 inches

long--are never approached by del Gesù. His varnish is almost always of

fine quality and Cremonese type. There are probably more yellow

specimens to be seen than those of deeper shade, but on the latter its

colouring and texture are admirable. Swarms of makers of all

nationalities have imitated, or attempted to imitate, him; but the

truth, as shown by experience, is that del Gesù’s work is very difficult

to imitate successfully; far more so than that of Stradivari and many

other noted makers. His eccentricities have been travestied to an extent

which betrays the hand of the forger to all but the most inexperienced.

The cutting of the scroll is nearly always a stumbling block, and

perhaps ninety-nine out of every hundred copies are too big. This latter

observation will generally be found to apply to the wonderfully clever

imitations made by John Frederick Lott in the last century, a goodly

number of which are still accepted as authentic “Josephs” by the

uninitiated. In recent years he has been imitated (so far at least as

external appearances go) with remarkable exactness, by a maker named

Voller, whose skilful “facsimiles” of various classic makers at first

puzzled numbers of observers by no means ill-acquainted with the

characteristics of genuine Italian work. Amongst French copyists, J. B.

Vuillaume, Pierre Silvestre, Remy, and Georges Chanot I., may be

mentioned; but their instruments, though reproducing with more or less

fidelity the form and peculiarities of del Gesù, are in the great

majority of cases of larger dimensions than the originals. Italy has

produced a number of followers, but, until quite recently, none seem to

have succeeded in producing violins which by any stretch of imagination

could be described as exact copies. Storioni and Carlo Bergonzi, and

occasionally Testore, made fiddles which for years were accepted by the

multitude as genuine “Josephs,” but nowadays few if any of them would

pass as such amongst judges of any experience. As may be supposed, the

number of this celebrated maker’s authentic works is very much less than

that of Stradivari, whose labels date from about 1665-6 to 1737, the

year of his death. It is much to be deplored that the repeated attempts

to obtain reliable details of del Gesù’s life story have produced such

meagre and disappointing results, but the prospect of fresh information

coming to light seems to be remote.

GUERSAN, LOUIS.--Paris; eighteenth century to about 1770. Worked first

with Claude Pierray. There are some good violins and other instruments

bearing his name. His personal work, though by no means scarce, is not

so plentiful as is sometimes supposed. He came of a family of makers,

and his pattern and style were followed by other makers. Red or yellow

varnish, sometimes handsome and brilliant. Sound-holes not very wide

open. Heads cleanly cut. The arching varies a good deal. Pattern looks

rather narrow; probably more so than it actually is. He used a variety

of labels, one having a shield bearing his name.

GÜTTER. A whole tribe of makers of this name worked in Markneukirchen

and elsewhere in the eighteenth and nineteenth centuries. Upwards of a

score of them are mentioned by the German writer, von Lütgendorff.

GUGGEMOS, MARCUS.--Füssen; eighteenth century. High built fiddles with

brown varnish, and ornamental labels. Füssen has produced makers whose

style and varnish are not unlike Italian, but Guggemos can hardly be

reckoned amongst them.

GUGLIELMI, GIO. BATTISTA.--Cremona; eighteenth century. Little known.

GUIDANTUS. _See_ Floreno.

GUSETTO, NICCOLÒ.--Cremona; eighteenth century. A Florentine of no

particular merit as a maker. Instruments usually high built and German

in style.

GUTERMANN, WILHELM THEODOR.--Vienna. Died in 1900. A good workman. Made

some curious shaped violins on a pattern designed by a Dr. Liharzik.

HAASE, FERDINAND.--Magdeburg, Dessau. Died 1892. Was a flute player who

turned his attention to fiddle making, but apparently with indifferent

success, his instruments being too thin in the plates.

HAENSEL, JOHANN ANTON.--Rocksburg; about 1800.

HAFF, JOSEPH ANTON.--Augsburg; nineteenth century. Died 1866. A son of

the same name died in Stuttgart in 1902, and was a clever workman. He

worked for some time in Munich and obtained medals.

HAKKERT, JACOB WOLFGANG.--Rotterdam; contemporary. A workman of ability,

who makes good copies of the Italian masters.

HAMBERGER.--Vienna, Presburg; nineteenth century. A family of makers who

made some good violins, chiefly of Stradivari pattern.

HAMM.--Markneukirchen and Vilingenthal; eighteenth and nineteenth

centuries. There were several workmen of this name, the best known of

whom, Johann Gottfried, worked for some time in Rome. Instruments of

Stainer pattern, but broader, and frequently with ivory edges. Initials

branded inside. He died in 1817.

HAMMA & CO.--Stuttgart; contemporary. A well-known firm of dealers and

repairers.

HAMMIG.--A family originating in Markneukirchen, and dating back to

about the middle of the eighteenth century. There have been several of

the name working and dealing in instruments in various parts of Germany

besides Markneukirchen (Leipzig, Dresden, Berlin), and the Berlin house,

still carried on, is well known on the Continent. HARBOUR,

JACOB.--London; about 1760-90.

HARDIE.--Edinburgh; eighteenth and nineteenth centuries. Perhaps the

best known family amongst the Scottish makers. The most celebrated

member was MATTHEW, born Edinburgh in 1755, died 1826. His best work is

very well finished. He copied the patterns of various Italian makers,

but chiefly Stradivari and Amati. The tone of many of his violins is

excellent. His varnish, according to examples seen by the writer, was

not of the best. There were two James Hardies, of whom the second, born

1836, was the founder of the present Edinburgh firm of James Hardie and

Son. He has produced an enormous number of instruments, many of which

are somewhat on the lines of Maggini. Other makers of the name were

PETER, who died at Dunkeld in 1863, and branded his work with his name;

and THOMAS, a son of Matthew, who could turn out good work when he

chose; he died in 1856.

HARE, JOHN.--London; eighteenth century, first half. Unquestionably one

of the best of the old English makers. He shares with a contemporary

(Daniel Parker) the merit of having been the earliest of the English

school to turn serious attention to the pattern of Stradivari. His

instruments are of large proportions, flat arching, and good finish, the

heads being the weakest feature of the design. He used an excellent red

varnish of considerable brilliance, and it is to be regretted that his

work is so scarce. The tone also is exceptionally good and resonant in a

well-preserved example. Opinions seem still to be divided as to whether

JOSEPH HARE, mentioned in most books on the violin, was or was not

identical with John. The latter was for some time associated in

business with an individual named Freeman, of whom nothing else seems

to be known. He worked near the Royal Exchange.

HARMAND, L.--Mirecourt; eighteenth century. Medium sized fiddles, with

reddish varnish. Stamped “Au Roi David. L. Harmand.”

HARRIS, CHARLES.--Oxford, London. Worked until about 1800. His work is

rarely labelled, and is little known, except to a few of the dealers. An

excellent maker, whose fiddles and basses (particularly the latter) are

deservedly in high repute. The pattern is generally that of Stradivari;

Amati copies do not so frequently occur. Harris is noted amongst other

things for his varnish of a warm red tint. A son of the same name worked

in Oxford and London, and was for a time employed by John Hart.

HART.--A name familiar to violinists the world over. The firm of Hart

and Son was established in Lower Wardour Street (formerly Princes

Street, Leicester Square) by JOHN THOMAS HART, who died in 1874. He was

apprenticed to Samuel Gilkes, but made few instruments. John Hart and

Georges Chanot I., of Paris, were in their day the most renowned judges

of fiddles in Europe, and the former was instrumental in forming some of

the most notable collections of violins that have ever been brought

together. GEORGE HART I., his son, who died in 1891, was also a judge of

the highest eminence, but will always be remembered as the author of

“The Violin, its Famous Makers and their Imitators,” which is recognised

as the standard English work of reference. It passed through various

editions in the author’s lifetime, and a further edition, with certain

additions and emendations by his son and the present writer, was issued

in 1909. GEORGE HART II., son of the former, is the present head of the

firm, and is a judge of wide experience of violins and violoncellos of

the highest class.

HASSERT, JOHANNES GEORGE CHRISTIAN.--Eisenach and Rudolstadt; eighteenth

century. Instruments rarely seen in this country, but according to

continental writers they are of good form, Italian style, and moderate

arching. He worked until about 1775. A son, JOHANN CHRISTIAN, worked at

Rudolstadt, and died there in 1823.

HAUDEK, CARL.--Vienna; contemporary. Succeeded to business of Lemböck.

He has obtained medals, but appears to have made few instruments; well

known as a restorer.

HÄUSSLER, GUSTAVE.--Cracow; contemporary. A maker who has obtained

medals for his instruments in Cracow and Lemberg. Stradivari pattern.

HAVELKA, JOHANN BAPTIST.--Linz; eighteenth century.

HEBERLEIN.--A family of makers originating in Markneukirchen, and

ranging in date from the early eighteenth century to the present time.

Some fifteen or sixteen makers of the name are enumerated. The best

known of these is HEINRICH THEODORE, who died in 1910, and was a

first-class workman.

HEESOM, EDWARD.--London; eighteenth century. Work very scarce and little

known. Stainer pattern.

HEINEL, OSKAR BERNHARD.--Markneukirchen; contemporary. A clever workman

in various styles, including “modern antiques.”

HEL, PIERRE JOSEPH.--Lille. Born 1842. Instruments of his workmanship

are excellent in every detail. Form, material, and varnish are all most

praiseworthy, and he occupies a prominent place amongst makers of modern

times. He obtained several medals. Instruments of an inferior grade, but

not of his own workmanship, are of the “trade class,” and of no

particular account, although occasionally sold as genuine. They bear, or

should bear, a distinctive label. The business is now carried on by a

son (Pierre), who is well known as a dealer.

HELD, JOHANN JOSEPH.--Enskirchen, Beuel. Died 1904. A clever workman,

who obtained several medals, and seems to have had some theories of his

own, one of which was impregnating the wood of his instruments. He was

patronised by Ole Bull.

HELLMER.--Several makers of the name worked in Prague in the seventeenth

and eighteenth century. The family is supposed to have come from Füssen.

In this country the best known is KARL JOSEPH, who died in 1811, and was

a pupil of Eberle. There seem to be a good many spurious labels about

containing the device used by him, a lion holding an instrument of the

lute species. Red-brown varnish, careful finish, and medium arching. The

general characteristics of his work belong to the German school. His

father, JOHANN GEORG, who died in Prague in 1770, made high-built

fiddles of the Kloz type.

HENOCQ.--Paris; eighteenth century. Two makers of the name worked in

Paris. HENRY.--Paris; nineteenth century. A family of makers of good

repute. Amongst them may be mentioned CHARLES, who died in 1859, and was

a prolific workman, who has left many useful instruments. He obtained

medals. A son, EUGENE, also a medallist, died in 1892.

HENRY, J.--Paris. Died 1870. An excellent bow-maker. Worked for some

time with Dominique Peccatte.

HERZLIEB, FRANZ.--Gratz. Died 1861. A clever copyist. Handsome wood,

yellow-brown varnish.

HILL.--A well-known family of fiddle-makers and dealers, whose

connection with stringed instruments dates back to the seventeenth

century. Some of the earlier members were makers of much ability.

Amongst them may be mentioned JOSEPH HILL II., son of another maker of

the same Christian name; this maker died in 1784, and first worked with

Banks and Peter Wamsley. His copies of Amati violins, though not

scrupulously exact, have frequently passed as originals, and some are

thoroughly good instruments. His violoncellos are also in high esteem

amongst players. Two other Josephs were also makers, and seem to have

worked both on their own account, and for the trade. There were two

LOCKEY HILLS, the second of whom, named HENRY LOCKEY, was employed by

John Betts. The writer has met with some beautiful examples of his

instruments, the style and finish of which were most praiseworthy, and

the pattern that of Stradivari. The present widely known firm of W. E.

HILL & SONS was established in Wardour Street by WILLIAM EBSWORTH HILL,

and is now located in Bond Street, London. W. E. Hill died in 1895.

Though a skilful workman he made few new instruments, and devoted his

attention chiefly to repairing and dealing in old violins. The active

members of the present firm are ARTHUR FREDERICK, born in 1860, and

ALFRED EBSWORTH, born in 1862. As a judge of old fiddles and basses the

latter holds a foremost place. The firm has published monographs on

various notable instruments, and the work on Antonio Stradivari is the

most exhaustive account of that maker and his work which has been

published.

HJORTH.--Copenhagen. A family of makers established in Copenhagen since

about the end of the eighteenth century. The founder was ANDREA, who

died there in 1834, and copied the pattern of Amati. His instruments are

branded “A. H. H.” EMIL HJORTH, born 1840, and his son OTTO carry on the

business, and have made good copies. The former at one time worked with

Bernardel in Paris.

HÖRLEIN, KARL ADAM.--Kitzingen, Würzburg. Died 1902. Pupil of Lemböck,

in Vienna. In later years imported fiddles from Markneukirchen, which he

varnished and finished personally.

HOFFMANN.--Numerous makers of the name worked in different parts of

Germany. One of the best known is MARTIN HOFFMANN, who worked in Leipzig

until about 1725. A son, JOHANN CHRISTIAN, was at work there until about

1750.

HOFMANN, ANTON.--Vienna. Died 1871. Carried on a large business as a

maker and repairer in Vienna, and dealt with Tarisio.

HOFMANS, MATTHIAS.--Antwerp; 1700-50. Good work, and excellent varnish

of Italian character and appearance. HOMOLKA.--There were nearly a

dozen makers of the name in Prague and elsewhere (one in Vienna). The

best known was FERDINAND AUGUST VINCENZ, who died in 1890, and was a

clever copyist of Italian masters, including Peter Guarneri of Mantua.

Others of the family are: EMMANUEL ADAM, died 1849 in Prague; and EDWARD

EMMANUEL, born 1860. The latter is a good maker, and judge of old

instruments.

HOPF.--A large number of makers of this name have operated in

Klingenthal, Markneukirchen, and elsewhere in Germany for generations.

Some were tolerable workmen; others most indifferent. Most of them used

to brand their work, and the name Hopf may be seen branded on

productions of the very commonest class, which are hardly fit to be

described as violins.

HORNSTEINER.--The family name of a small army of Mittenwald

fiddle-makers who have been at work for several generations. Several

bore the same Christian name, and space prohibits any attempt to

describe or discriminate between their works. Matthias II. and Joseph

II., who worked down to about the first decade of the nineteenth

century, are amongst the best of this numerous tribe.

HOYER.--A Klingenthal family of makers dating from the eighteenth

century to very recent times. Von Lütgendörff enumerates nearly forty

workmen of this name.

HUEL, HENRI.--Paris; to about 1780. Little known; used a large label.

HULINZKY, THOMAS ANDREAS.--Prague. Died 1788. A pupil of Eberle, and a

careful workman. Used a ticket bearing a device similar to that of

Hellmer.

HULSKAMP.--A Westphalian who migrated to New York. He exhibited a “freak

fiddle” with a round hole in the belly instead of the usual sound-holes

in London in 1862.

HUNGER, CHRISTOPH FRIEDRICH.--Leipzig. Died 1787. A maker whose

instruments are highly thought of in Germany. His father, who worked in

Borstendorff, was also a violin maker.

HUREL, JEAN.--Paris. Court maker about the end of the eighteenth

century.

HUSSON.--Nineteenth century. A Mirecourt family of makers, one of whom,

Charles, worked with Gand and Bernardel and was noted for his bows, some

of which are stamped with his name.

JACOBS, HENDRIK.--Amsterdam; late seventeenth century to about 1735. The

most important maker of the Dutch school. Legend has been busy with his

name, and according to the story, he worked with Niccolò Amati, and

married his daughter. To make matters complete he should have succeeded

to the business, but tradition stops short of this denouement. There

seems to be nothing like direct evidence that he had any Italian

training. He frequently imitated Amati with considerable exactness, and

employed wood resembling that used by the Cremona maker; he also used a

fine quality of varnish, usually red-brown in colour. His violins vary

in size, but many of them are built more or less on the lines of the

grand Amati. The scrolls are generally somewhat mean looking, and

narrow, when viewed from the front; but the writer has seen exceptions

where he was more successful with this feature. Sound-holes vary in

form, some being of Amatese cut, and others hinting of the school of

Stainer. His instruments are not so rare as is frequently supposed, the

fact being that many of them still figure either as the work of Amati or

of other Italian makers. One such, in the possession of a well-known

French professor, recently came under the writer’s notice, and had been

confidently declared to be an early example of Stradivari. Jacobs used

whalebone purfling, which in some cases has been removed, and wooden

purfling inserted by other hands. Whether he personally inserted Amati

tickets into his instruments, as some Italians did, is not clear. The

tone of a well-preserved example is usually excellent. The name seems to

have been at first “Jacobsz,” the final “z” being dropped in the labels

usually seen. The older books speak of a Peeter Jacobs, who, if he ever

existed, apparently cannot now be traced. Vidal supposes that he was

really identical with Pieter Rombouts, another Amsterdam maker

contemporary with Jacobs, and supposed to have worked with him.

JACOT, JEAN CHARLES.--Metz. Died 1887. Made some well-made instruments;

a son was established in Paris.

JACQUOT.--Nineteenth century; Nancy, Paris. A well-known family of

makers. The founder was CHARLES, born at Mirecourt 1804, died 1880, near

Paris. Worked with “didier” Nicolas, and later with Breton. Was first

established at Nancy, went to Paris in 1854 and there produced his best

work. An excellent workman, and a good judge of old instruments. He

received numerous medals. PIERRE CHARLES, born 1828, was his son, and

took over the business in Nancy. He died there in 1895, and also

received medals. Well-finished work, usually of Stradivari pattern. Two

of his sons, ETIENNE CHARLES ALBERT, born 1853, and JULES VICTOR, born

1855, have carried on the business.

JAEGER.--Markneukirchen. Makers of the name have been at work from early

in the eighteenth century down to very recent times.

JAIS.--Mittenwald, Botzen; eighteenth century. There were several makers

of the name. Some of their instruments have a fine red or yellow-brown

varnish of Italian character, and the build and general style of the

work is not unlike that of Albani. JOANNES JAIS seems to have worked in

Botzen until after 1780. Good work, label with an ornamental border.

ANDREAS JAIS worked in Mittenwald and Tölz down to about 1750. Made a

good many instruments of high build and frequently with well-carved

lion-heads. A son named Johannes died in Tölz in 1762. ANTON, apparently

a grandson, was at work until after 1830. Pretty wood and good varnish.

JAUCH, ANDREAS.--Dresden; _circa_ 1749-80. Work rarely seen in this

country, but is said to be of Italian character. The family name seems

to have been “Jauck” and to have originated in Gratz--other makers of

the name worked there.

JAURA.--Vienna; nineteenth century. A family of makers. The present

maker, WILHELM THOMAS, was born in 1863, and is known as a skilful

copyist and repairer.

JAY, HENRY.--London; latter half of eighteenth century. Worked for

Longman and Broderip, for whom he made violoncellos. Was also a noted

maker of kits. THOMAS JAY, his father, worked in the earlier half of the

century. Little known.

JEANDEL, PIERRE NAPOLEON.--Rouen; 1812-79. Red fiddles of good pattern

and workmanship. Obtained several medals.

JOHNSON, JOHN.--London; _circa_ 1750. Stainer pattern, mediocre

workmanship. Examples scarce. He had a music shop in Cheapside.

JOMBAR, PAUL.--Paris; contemporary. Well-made fiddles of the modern

French type. He was apprenticed to Audinot.

JORIO, VINCENZO.--Naples; _circa_ 1850. Ornamental label, printed on

yellow paper. Rather large pattern. Work well finished but seemingly

scarce.

KABINGEN, JACOB.--Budapest; _circa_ 1855. Seems to have been a superior

workman and to have migrated to Russia.

KÄMBL, JOHANN ANDREAS.--Munich. Died 1781. Apparently a maker of repute.

Writer is unacquainted with his work.

KARNER, BARTHOLOMÄUS.--Mittenwald; eighteenth century. Fairly well made

instruments. Brown varnish. Label with ornamental border.

KARNER, JOHANN GEORG.--Enns; about 1825. Instruments branded “I. K.” in

addition to bordered label. Mediocre work; wood frequently worm-eaten.

KEFFER.--Eighteenth and nineteenth centuries. There appear to have been

several German makers of the name, working chiefly in Goisern.

Instruments labelled, also branded “J. K.”

KEMPTER, ANDREAS.--Dillingen. Died 1786. High built. Stainer pattern;

sometimes with lion heads. He seems also to have made instruments of

flatter arching.

KENNEDY.--London; eighteenth and nineteenth centuries. A well-known

family of Scottish origin. ALEXANDER, the founder, died in London in

1785. Neat work. Stainer pattern. A nephew, JOHN, worked chiefly for the

trade and died in 1816. The best known maker was THOMAS, the son of

John, born 1784, died 1870. He also worked for the trade, but made a

very large number of instruments on his own account, including numerous

violoncellos. His personal work, when he chose to do his best, was of

good pattern, and very neatly finished, but he evidently made

instruments of different classes, and the poorer examples are of little

worth.

KESSLER.--Markneukirchen. A very numerous family of German makers dating

from about 1700 to the present time. They came from Markneukirchen, but

some have settled in different German towns. The more recent members

have manufactured on a considerable scale.

KITTEL, NICHOLAS.--St. Petersburg; to about 1870. Work scarce. He is

best known as a bow-maker, and has produced excellent bows, stamped with

his name.

KLEMM.--Markneukirchen. There were several workmen of the name in the

eighteenth century.

KLEYMAN, CORNELIS (also spelt Kleynman).--Amsterdam; seventeenth

century. A little known copyist of Amati.

KLOZ.--Mittenwald; seventeenth to nineteenth centuries. A very numerous

and important family of makers, and the real founders of the enormous

business in violin making which has been carried on in and around

Mittenwald since their time. About a score or more of makers of the name

have been enumerated, and, as many of them bore the same Christian name,

there has been much confusion as to their identity. About half a dozen

of the number are tolerably well known and distinguished by judges in

this country. For the rest, it is doubtful if even amongst their own

countrymen any one is living who can claim any very exact knowledge of

their individual work. The earlier workmen made more or less accurate

copies of the instruments of Stainer, and in some cases there is little

doubt that they labelled and sold their work as his, even during his

lifetime. Some of the later Klozs altered the pattern of their violins

and evidently based their designs upon Italian work, but none of them

really succeeded in producing specimens possessing the true Italian

style, although some of these have passed current as Cremonese amongst

the unlearned in such matters. Most of them made their fiddles in two or

more grades, the better of which, in certain cases, are well finished

and possess a yellow or red-brown varnish of considerable brilliancy,

and quality akin to that of Italy; but the bulk of the Kloz fiddles and

basses are covered with the poor, meagre-looking stuff known as “glue

varnish.” In numbers of cases the varnish on their work has become

almost black. Of the individual members of the family, MATTHIAS I.

(1656-1743) made fiddles of Stainer character and occasionally covered

with varnish which gives some colour to the story that he travelled in

Italy and acquired experience of Italian methods of varnishing. EGIDIUS

KLOZ I. worked until 1711, and his instruments are good and fairly

valuable. EGIDIUS II. died in 1805, and was a neat workman, but rarely

used decent varnish. His violins are fairly common in this country.

JOHANN CARL was one of the best of the tribe; model fairly flat; good

red-brown varnish, and some general resemblance to Italian style in the

work. He died in 1790. There were two makers named GEORGE, the second of

whom died in 1797, and produced some highly finished work with brilliant

varnish, but of Stainer model. Of the three JOSEPHS, the latest, who was

alive in 1798, seems to have adopted a type of fiddle which has since

been extensively imitated and has an outline of more Amati appearance

than that of his predecessors. SEBASTIAN I. was a son of the first

Matthias, and is usually reckoned the best maker of the family; he

worked until about 1750, and produced good-sized fiddles, the best of

which have handsome wood and flatter arching than those of his father;

but Stainer traditions were evidently deeply implanted in him, and he

never entirely discarded them. Several of the family adopted lion-heads

with more or less frequency. Those of the first George are very well

carved. Kloz scrolls are not artistic, though they are distinctive

enough. Genuine Kloz fiddles of one grade or another are plentiful

enough, but the celebrity at one time attaching to the name has led to

numberless forgeries, many of which figure in pawnshops, and bear little

or no resemblance to the originals.

KNILLING.--Mittenwald; eighteenth and nineteenth centuries. There were

well over a dozen makers of this name.

KNITL, JOSEPH.--Mittenwald; to about 1790. Stainer model. Another Knitl,

named Franz, said to be a son, worked in Freising, dying there in 1791.

KNOPF.--Eighteenth and nineteenth centuries. A Markneukirchen family

settled in various parts of Germany and elsewhere. One of them, HENRY

RICHARD, worked with Bausch in Dresden and was recently at work in New

York.

KÖGL, HANNS.--Vienna; about 1670. Said to have been born in Füssen.

Imitated Brescian work.

KOLDITZ.--There were two or three makers of the name, one of whom,

MATTHIAS JOHANN, worked in Munich until about 1760.

KOLIKER, JEAN GABRIEL.--Paris; to about 1810. Chiefly known as a

repairer, but is reputed to have made certain modern antiques of

nondescript appearance.

KRETZCHMANN.--Markneukirchen; eighteenth and nineteenth centuries. A

very numerous family. In some of their instruments the maker’s initials

are branded in the place usually occupied by the label.

KREUZINGER.--The name of a Schönbach family of makers in the nineteenth

century. ANTON, born 1873, is highly spoken of as a good copyist.

JOSEPH, born 1871, is reckoned a good workman, but seems latterly to

have manufactured on a large scale.

KRIGGE, HEINRICH.--Danzig; _circa_ 1750 Large fiddles, double purfled

after the manner of Maggini.

KRINER.--Mittenwald; eighteenth and nineteenth centuries. A large family

which includes one or two high-class workmen. Amongst them may be

mentioned SIMON KRINER, who died in 1821, and was a clever copyist of

Italian work. He travelled with his productions and occasionally came to

England.

KULIK, JOHANNES.--Prague. Died 1872. Neat work and well-cut heads. Used

various tickets.

LAFLEUR, JACQUES.--Paris. Died 1832. Excellent bow-maker. A son, JOSEPH

RENÉ, was also a good workman. Died 1874.

LAGETTO, LOUIS.--Paris; eighteenth century. Was an Italian. Yellow-brown

varnish. Mediocre style and appearance.

LAMBERT, JEAN NICOLAS.--Paris; eighteenth century. Used various labels,

some with ornamental border; also sometimes branded his work.

LAMY, ALFRED JOSEPH.--Paris; contemporary. Well-known bow-maker.

Imitates style of Voiriu.

LANDOLFI, CARLO FERDINANDO.--Milan; _circa_ 1740-80. A maker of some

importance. His work is fairly plentiful, and the best examples are well

finished and exhibit much handsomer material than that employed by most

of the Milanese makers. The varnish on such examples is strikingly

beautiful. It is of different shades varying between yellowish-red and

brown-red. Scrolls not handsome. He is sometimes cited as a follower of

Guarneri del Gesù, but there is little or no resemblance to the work of

that maker. Arching sometimes rather full. Sound-holes well cut, but

rather weak looking. Work generally very characteristic, but examples

are met with in which it is carelessly finished and the varnish

inferior. He seems to have made his instruments in different grades. The

violoncellos used to realise better prices than the violins. They are

good instruments, but rather small in size. A son named PIETRO ANTONIO

worked with him and succeeded him. He seems to have lived until about

the end of the century. A few examples of his work seen by the writer

were of inferior style and finish. Yellowish-red varnish of not much

brilliancy. Sound-holes slightly pointed.

LANTNER, FERDINAND MARTIN.--Prague. Died 1906. He made a number of

instruments, but they seem to be scarce in this country.

LANZA, ANTONIO MARIA.--Brescia; to about 1715. Genuine work scarce.

Maggini style.

LAPAIX, J. A.--Lille; to about 1858. Was an inventor or innovator whose

experiments did not lead to much, but made some useful fiddles of

orthodox pattern.

LA PREVOTTE, ETIENNE.--Marseilles, Paris. Died 1856. Made some handsome

violins, but was chiefly a guitar maker.

LARCHER, PIERRE.--Paris, Tours; eighteenth century. Pupil of Guersan.

LASKE, JOSEPH ANTON.--Prague. Died 1805. Said to have been a fine

workman. Little known in this country. Some of the labels have an

ornamental border.

LAVAZZA, ANTONIO MARIA.--Milan; early eighteenth century. Scarce. A

relative named SANTINO LAVAZZA worked about the same time.

LE BLANC.--Paris; about 1800. Brown instruments, branded with the name.

LE CLERC, J. N.--Paris; eighteenth century.

LEEB.--Pressburg, Vienna. A family of makers in the eighteenth and early

nineteenth centuries. The best known is ANDREAS CARL, a good workman.

Chiefly Stradivari pattern.

LEGNANI, LUIGI.--Naples; _circa_ 1760. Pupil of Zosimo Bergonzi.

LEIDOLFF.--Vienna; seventeenth and eighteenth centuries. There were

several members of the family. Their work is of the Stainer school.

LEISSMÜLLER, CHRISTOPHER and MARTIN.--Krünn, near Mittenwald; eighteenth

century. Two makers who have made useful violins of good tone.

LE JEUNE.--Paris; eighteenth and nineteenth centuries. A numerous family

of makers of no particular eminence.

LEMBÖCK, GABRIEL.--Budapest. Died 1892. A good maker and excellent

repairer.

LENOBLE, AUGUSTE.--Paris. Died 1895. A fine bow-maker. Worked first with

François Peccatte.

LENTZ, JOHANN NICHOLAUS.--London; early nineteenth century. A Tyrolese.

Instruments date from Chelsea. The work is passable, but specimens are

not often seen. He was first employed as a butler, and became friendly

with J. F. Lott.

LE PILEUR, PIERRE.--Paris; 1750.

LÉTÉ, SIMON.--Paris; nineteenth century. Married the daughter of F.

Pique. Was chiefly an organ builder, but made passable violins. J. B.

Vuillaume was in partnership with him until 1828.

LEWIS, EDWARD.--London; seventeenth century. Carefully finished work

with yellow or yellow-red varnish. Scarce.

LIEBICH.--Breslau; nineteenth century. Several of the name date from

Breslau. Some of their copies are very well made.

LIPP.--A name frequently seen in eighteenth century fiddles, mostly

dating from Mittenwald.

LIPPOLD.--Eighteenth and nineteenth centuries. A family of makers in

Markneukirchen.

LONGMAN & BRODERIP.--London. Well-known dealers in the eighteenth

century. Banks, Jay, and several other good workmen made instruments for

the firm.

LORENZ.--Eighteenth century. There were two or three German makers of

the name, chiefly in Markneukirchen. No particular merit. Name branded

on backs.

LOTT.--London. A celebrated family of German origin, dating from late

eighteenth century. The senior and perhaps most important member was

JOHN FREDERICK LOTT, who died in London in 1853. He was first associated

with Fendt in working for Thomas Dodd (_q.v._), and his double basses

will bear comparison for style and workmanship with anything of the kind

made in this country or abroad. He also made fine violoncellos, and,

more rarely, violins, but was a fine workman in all departments. His son

GEORGE FREDERICK died in 1868, and worked chiefly for Davis, the

well-known dealer in Coventry Street, for whom he made many clever

copies of Italian instruments. He was also celebrated as a judge of old

violins. JOHN FREDERICK LOTT II., who died in 1871, was the second son

of J. F. Lott, senior, and is perhaps the best known of the family

amongst violinists. His copies of del Gesù’s fiddles are frequently

remarkably clever imitations, and are still frequently mistaken for

originals, though they are usually a trifle larger than the latter. He

was almost equally successful in imitating Carlo Bergonzi, but examples

of that pattern are rather scarce. But it may be said that he could,

when he chose, imitate any of the great Cremonese masters with

extraordinary fidelity. He was occasionally employed by J. B. Vuillaume,

to whom he is said to have imparted information (little needed, one

would have supposed) on the methods employed in making facsimiles of old

Italian work.

LOUIS, JEAN.--Geneva, Basle; about 1800-20.

LOWENDALL, LOUIS.--Dresden, Berlin; nineteenth century. A well-known

manufacturer of stringed instruments and accessories.

LUPOT.--Eighteenth and early nineteenth centuries. A celebrated French

family of makers originating in Mirecourt. JEAN, the founder, died there

in 1749, and was in no way distinguished. His son LAURENT worked in

various places and died in Orleans between 1760-70. FRANCOIS LUPOT I.

was son of Laurent, and worked chiefly in Orleans, but went to Paris in

1794 and died there in 1804. He was a good workman, vastly superior to

his predecessors. His name is usually stamped on the back of his

instruments in addition to the label. Brown or yellow-brown varnish of

moderate quality. Arching sometimes inclined to be full. Sound-holes

rather upright and the opening not very wide. Scroll mediocre. He is

said to have worked with Guarneri del Gesù, but his violins bear no

likeness whatever to those of that master, and it is difficult to

understand how such a story could have gained currency. His son NICHOLAS

LUPOT, born Stuttgart, 1758, died Paris, 1824, was a maker of the first

rank, and is usually reckoned the most important of all the makers of

the French school. He worked first with his father, and his earlier

examples date from Orleans. In 1792 he made for Pique of Paris a number

of fiddles in the white, which were varnished by that maker, and bore

his label, but are easily distinguished from the works of the latter.

The migration to Paris took place in 1794, and his finest efforts are

dated from there, the best period beginning about 1800, or a year or two

later. His copies of makers other than Stradivari are comparatively

rare, but he was unquestionably one of the best imitators of the great

Cremonese who ever lived. The work throughout is scrupulously well

finished; outline exactly reproduced, and scrolls and sound-holes cut

with much vigour and accuracy. Notwithstanding this, the general

appearance of his instruments is a trifle massive and heavy, and there

is no doubt that in this respect certain other copyists, such as

François Fent and Vincent Panormo, have excelled him. His varnish is of

good quality, but varies somewhat in appearance, texture, and colour.

Dark red was the favourite shade, but lighter shades from yellow onwards

are met with, and in some examples the reds are rather glaring. The tone

of a fine example is excellent, but, like that of most French

instruments, seldom or never possesses the true Italian quality. Some

of the violoncellos are superb. He was the founder of the more modern

and typical French school of makers and had several notable pupils. His

younger brother, FRANÇOIS LUPOT II., died in Paris in 1837. Such violins

as he made are quite indifferent, and his attention was almost entirely

confined to bow-making. His best bows are excellent in every way, but he

was an unequal workman, and a good many are a trifle short in the stick.

LUTZ.--Eighteenth and nineteenth century. A large family of makers in

Schönbach. Some of them established themselves in other places (Vienna

and Paris), and were at work quite recently.

MACGEORGE, GEORGE.--Edinburgh. Worked with Matthew Hardie, and later

alone until about 1820.

MACINTOSH, JOHN.--Dublin. Died about 1840. Born in Scotland. Succeeded

to Perry and Wilkinson’s business. A tolerably good workman, but

resorted to practices for artificially maturing the wood of his

instruments.

MAGGINI, GIOVANNI PAOLO.--Brescia. Born in Botticino Sera, near Brescia,

in August, 1580. Died in or before 1632. It is supposed that he fell a

victim to the plague in the latter year. Interesting and important

information about him was discovered by Professor Berenzi, who lectured

on the subject in Brescia in 1890 and also wrote a pamphlet. The facts

thus disclosed were included in a monograph on Maggini compiled by Lady

Huggins, and published in 1892, most of the material being derived from

notes supplied by the brothers Hill. The maker was apprenticed to

Gaspar da Salò, and his earlier work is primitive looking and somewhat

rough. According to the Huggins monograph both backs and bellies were at

first cut on the slab. The violins of Gaspar da Salò, or such of them as

have survived, seem to be usually of small pattern; those of Maggini, on

the other hand, are usually of large size and may measure from 14-1/4 to

a fraction over 14-1/2 inches in length of body; but according to

observations made by the writer, there is reason to believe that he now

and then made examples of somewhat reduced proportions. Be that as it

may, the typical Maggini fiddle is considerably larger than an ordinary

full-sized instrument. His practice was to double purfle his work, but

several single purfled specimens are known. The sound-holes at his best

period are finely cut and set somewhat slantingly in the belly, the

edges being bevelled on the under side. The lower circles are somewhat

smaller than the upper ones, but it is by no means certain that this

feature was either originated by or entirely peculiar to Maggini, as has

been asserted. The cutting of the scroll is peculiar, the turns being

from a quarter to half a turn shorter than the ordinary number. In large

numbers of continental and other forgeries, and in the common copies of

Maggini violins, the process has been reversed and an extra turn added

to the volute. The varnish is of fine quality, brown in early work, and

golden with a tinge of red in the latest specimens. The outline of the

body is bold, with short corners, and, in a typical example, the waist

widens rapidly to the lower corner. The arching of the violins is very

gradual, rising to about half an inch in the centre of the plates. There

are, however, specimens, supposed to date from Maggini’s middle period,

in which the build is somewhat higher, and there is a “pronounced raised

border” running round the edges. The labels are undated, and placed near

the centre of the instrument, instead of directly under the sound-hole.

The tone of his best violins is superb, but a little deficient in

brilliancy in the upper register. Genuine Maggini work is scarce, but

imitations of it abound. One of the cleverest imitators was Bernhard

Fendt, several of whose double-basses have passed as Magginis. Violas of

unquestioned authenticity do not exceed about a dozen in number. They

are more arched than the fiddles and the sound-holes set somewhat high.

Nearly all the existing specimens have been reduced in size. Only two or

three genuine violoncellos appear to be known. Of double-basses and

instruments of the violone class it is difficult to speak with

certainty. A small chamber bass, erroneously assigned to da Salò, was in

the possession of Mr. T. W. Bourne a few years ago, and a fine example

of large size is, or was recently, in Stockholm. Much of the work of

this class formerly assigned in this country to Maggini is now

recognised as English, Fendt and one or two others being the authors of

it. Of Maggini’s two sons, one died in infancy, and the other, Pietro,

was not a violin maker. The older books mention a Pietro Santo Maggini,

but his existence as a maker is nowadays discredited.

MAIRE, NICHOLAS.--Paris. Died 1878. A good bow-maker.

MALDONER, JOHANN STEPHAN.--Füssen; eighteenth century. Mediocre work,

often worm-eaten. Used a label with an ornamental border.

MALINE.--Paris; worked to about 1850 or later. A clever bow-maker.

Worked at one time for Vuillaume. A violin-maker of the same name, who

may have been his son, also worked in Paris.

MANDELLI, CAMILLO.--Late nineteenth century. Apparently dates from

Cremona, with which city he was intimately acquainted. Work not known to

writer.

MANN, JOHN ALEXANDER.--Glasgow. Died 1889. A good workman. Usually

copied Stradivari. Dark yellow varnish. He was one of the best Scottish

makers of the last century, and was intimate with J. B. Vuillaume. Some

of his tickets are in French wording.

MANSUY, or MANSUE.--Paris; _circa_ 1840. Instruments seemingly scarce.

MANTEGAZZA--Milan; eighteenth and early nineteenth centuries. There were

three or four members of the family. PIETRO GIOVANNI seems to have

worked in partnership with two brothers. They were well-known dealers

and repairers. Good work, varnish often very dark in colour. Their

violas are highly spoken of. The form of their instruments resembles

that of Amati.

MARCHETTI, ENRICO.--Turin; late nineteenth century. Obtained a medal for

his work at Antwerp in 1885.

MARCHI, GIAN ANTONIO.--Bologna; seventeenth and eighteenth centuries.

Golden yellow or red-brown varnish of good quality. Wood handsome.

Scrolls very well cut. Appears to have made some fine violoncellos.

MARCONCINI, ALOYSIUS.--Bologna, Ferrara; _circa_ 1760-90. Said to have

been a pupil of Omobono Stradivari. A son named GIUSEPPE died in 1841.

He worked in Cremona as a pupil of Storioni.

MARENGO-RINALDI, ROMANO.--Turin. Born 1866. Succeeded the well-known

dealer, Gioffredo Rinaldi. Work is after the style of Pressenda, whose

recipe for varnish he is said to possess. He has obtained medals at

Turin and Paris.

MARIANI, ANTONIO.--Pesaro; _circa_ 1635-95. This maker has shared the

fate of Cappa, his working period having been antedated by about a

century in the older books on the violin. He was at work until very near

the end of the seventeenth century. All sorts of double purfled

instruments, some of them in no way like his, have been attributed to

him. He is said to have been a pupil of Maggini, which is certainly very

doubtful. The resemblance to the work of that maker is very trifling.

The fiddles are generally rather large, and in most cases double

purfled; but in other respects they differ materially from those of

Maggini. The pattern is primitive and inelegant; the corners long; the

sound-holes usually set very upright; in some the wings are absent, and

the sound-hole is of the type known as “Brescian.” The waist is long and

stiff looking, and quite unlike that of Maggini. The scroll a rough

piece of carving. Varnish of good quality, and usually brown or

yellow-brown. Wood generally of very plain appearance. A fine violin

with an excellent tone, having a single line of purfling, is in the

possession of the well-known artist, Philip Cathie. Another Mariani,

named FABIO, is said by Valdrighi to have worked in Pesaro in the latter

part of the seventeenth century, and was probably a son.

MARINO, BERNARDINO.--Rome; eighteenth century and early nineteenth.

Roughish work of Tecchler style. Varnish red-brown.

MARQUIS DE L’AIR. See CLAUDOT.

MARSHALL, JOHN.--London; eighteenth century. Wamsley school of work.

Stainer pattern. Labels usually in Latin. In some of his tickets there

is a mild attempt at humour, “Good beef a penny a pound, but trades all

very bad.”

MARTIN.--Eighteenth and nineteenth centuries. A pretty numerous family

working chiefly in Markneukirchen, several of whom bore the Christian

names “John Adam.”

MARTIN.--Paris; nineteenth century. There were several of the name. They

were principally dealers and repairers.

MAST.--Eighteenth and nineteenth centuries. A Mirecourt family. JEAN

LAURENT worked in Paris in the latter part of the eighteenth century.

Instruments branded. JOSEPH LAURENT, a neat workman, settled in

Toulouse. Rather high model. Pretty wood. Yellow or red varnish. He was

a skilful repairer.

MAUCOTEL.--Mirecourt, Paris, London; nineteenth century. A well-known

family of good workmen. CHARLES, born Mirecourt, 1807, worked in Paris

under Gand. Came to London in 1844, and after working for Davis

established himself in Rupert Street. Retired to France in 1860. Chiefly

copied Stradivari. Red varnish. CHARLES ADOLPHE, his brother, worked in

Paris for Vuillaume until 1844, and then set up for himself. Made a

considerable number of copies of excellent workmanship and tone.

Obtained various medals, and died in 1858. ERNST MAUCOTEL, born in

Mirecourt in 1867; assisted Hippolyte Chrétien-Silvestre, with whom he

became partner in 1900.

MAURIZI, FRANCESCO.--Appignano; eighteenth century. Used sometimes a

large oval ticket with ornamental border. Varnish brown.

MAUSSIELL, LEONHARD.--Nuremberg. Born 1685, died after 1760. A careful

maker. Usually copied Stainer. Some of the fiddles have lion-heads.

Varnish yellow, or yellow-brown.

MAYR.--Eighteenth and nineteenth centuries. Three or four of the name

worked in different parts of Germany (Salzburg, Munich, Schönbach). The

best known is ANDREAS FERDINAND, a careful workman, who copied Stainer,

and worked in Salzburg until about 1750.

MAYSON, WALTER H.--Manchester. Born 1835, died 19--. Has made a great

number of violins and other instruments of excellent finish, some of

which are elaborately carved. He wrote a book on violin making, which

was published in the “Strad Library.”

MÉDARD.--A numerous family of makers established in Nancy and Paris in

the seventeenth and early eighteenth centuries. There were upwards of a

dozen of them. The best known is François, son of Claude Médard. Born at

Nancy, he worked chiefly in Paris, where he flourished until about 1715,

or later. The work is very pretty, and the wood frequently handsome.

Light red varnish of very clear texture. Arching rather flat.

MEER, KAREL VAN DER.--Amsterdam; contemporary. A clever workman. Maker

to the Conservatoire in Amsterdam.

MEIBERI, FRANCESCO.--Leghorn; eighteenth century. One of the few makers

dating from Leghorn. Work little known.

MEINEL.--Upwards of a score of makers of the name date from Klingenthal

and Markneukirchen, in the eighteenth and nineteenth centuries. The work

of some of them is very passable. Instruments frequently branded with

maker’s initials.

MEISEL.--Another very large tribe of German makers, dating, chiefly from

Klingenthal, down to very recent times.

MEISNER, JOHANN FRIEDRICH.--Lübeck. Died 1770. A professional musician

who made violins, specimens of which are occasionally seen in this

country. Dark brown varnish.

MELEGARI, ENRICO CLODOVIO.--Turin; nineteenth century.

MELONI, ANTONIO.--Milan; late seventeenth century. Pretty work. Yellow

varnish.

MENNÉGAND, CHARLES.--Died 1885. Worked in various places, including

Amsterdam, but chiefly in Paris. A very clever workman and repairer. Has

left numerous instruments, a number of which are violoncellos. Usually

worked on Stradivari lines.

MENNESON, JEAN EMILE (pseudonym “Guarini”).--Rheims. Born 1842. A clever

workman, who has obtained several medals. Has produced a great number of

instruments with the assistance of workmen, and had formerly a factory

at Mirecourt. Many of his violins are copies of the “Messie” Stradivari.

His sons succeeded to his business.

MERCIER, A.--Paris; nineteenth century. Mirecourt class of work. Name

stamped inside instruments. Varnish yellowish red.

MÉRIOTTE, CHARLES.--Lyons; middle eighteenth century. Stradivari

pattern.

MESSORI, PIETRO.--Modena; contemporary. Manufactures various kinds of

instruments, and has received several medals. Violins are said to be

well made and amber varnish, but work is not known to the writer.

METHFESSEL, GUSTAV.--Berne. Born 1839. Worked first in Vienna.

MEYER, MAGNUS ANDREAS.--Hamburg; eighteenth century. Work said to

resemble that of Tielke. Yellow varnish. Sometimes inlaid. Written

labels.

MEZZADRI, ALESSANDRO.--Ferrara; _circa_ 1720 and later. Amati style.

Fairly good work. Another Mezzadri named FRANCESCO worked in Milan to

about 1750. Writer has seen two or three violins of fairly neat

workmanship and Amati outline. Reddish varnish.

MICHELIS.--_See_ ZANETTO.

MIGGE, OTTO KOBLENZ.--London. Born 1857. Has written a book claiming to

have discovered the secrets of the Italian masters. Violins by him seen

by the writer certainly did not justify the claim.

MIREMONT, CLAUDE AUGUSTIN.--New York, Paris. Born 1827, Mirecourt, died

1887. Has left many useful instruments, chiefly of Stradivari pattern,

which are rising in value. Sides sometimes appear rather deep. He made

some excellent violoncellos.

MÖCKEL.--Nineteenth century. A Berlin family established in Berlin,

Dresden, and elsewhere. One of them, OTTO, used a label with his

portrait upon it.

MOINEL, CHARLES.--Paris. Born 1866. Succeeded Cherpitel.

MOITESSIER, LOUIS.--Mirecourt. Worked to about 1825 and made many

instruments. Examples seen by writer were of mediocre workmanship.

MÖNNIG.--Markneukirchen. A family of nineteenth century makers. About

half a dozen of them are mentioned.

MONTADE, GREGORIO.--Cremona; to about 1730. The work is after the

pattern of Stradivari, but is little known amongst connoisseurs.

MONTAGNANA, DOMENICO.--Venice; to about 1745 or later. A maker of very

high rank, about whom very little is certainly known. He was probably

born in Venice, and the stories that he worked under either Stradivari

or Amati may be dismissed as being unsupported by any evidence worthy of

the name. The earliest date seen by the writer in an authentic ticket is

1715, and appears in a fine violin of rather small size, photographs of

which appeared in the _Strad_ magazine in June, 1912. Whoever was his

instructor, he seems to have asserted his individuality from the outset.

In a few of the violins there is more than a suspicion of a leaning

towards the German form of outline; and in the treatment of the

sound-holes the same thing may be observed. This is not surprising when

it is remembered that the majority of the old Venetian makers exhibit

traces, more or less marked, of the influence of Stainer. In his finest

examples no trace of anything of the kind is discernible. He was an

admirable workman with great knowledge of wood, and a fine eye for form.

Much of his material is very handsome, particularly in the violoncellos,

in the making of which instruments he was second to no maker, except

Stradivari. A few double-basses are known. Violas are very rarely seen,

but the few recognised as genuine are admirable instruments and possess

a very fine tone. His varnish has long excited the admiration of

connoisseurs. It is very lustrous, and of varying shades of red, the

texture being much clearer than that usually seen on work of the

Venetian school. The violins are of two sizes, the larger and more

valuable being a small fraction under 14 inches long, and the general

dimensions corresponding pretty nearly with the larger examples of

Guarneri del Gesù. In the finer examples the sound-holes are not unlike

some of those of Carlo Bergonzi. The arching is of medium height as a

rule, but now and then a little fuller. His fiddles are certainly very

rare, but their number is not so phenomenally limited as has been

asserted by some writers. Tricks have been freely played with his labels

in the past. These in some examples date from the sign “Cremona”; but

there are genuine tickets which contain no reference to it. The heads

are always splendid pieces of carving and of bold contour. One of the

handsomest of his violoncellos has long been in the possession of Mr.

George Gudgeon. A woodcut of it appears in Hart’s book on the violin.

MORLET, NICHOLAS.--France, probably Mirecourt; nineteenth century. Large

violins after the stereotyped pattern of “didier” Nicolas.

MORRISON, JOHN.--London; nineteenth century, first half. Worked in Soho,

chiefly for the trade. Instruments little known.

MOUGENOT.--Rouen; _circa_ 1760.

MOUGENOT, GEORGES.--Brussels. Born 1843. A well-known dealer and maker.

He worked with N. F. Vuillaume, whose business in Brussels he acquired.

His copies of Stradivari and Guarneri are very well made. Work usually

signed in addition to printed label.

MOUGENOT-GAUCHÉ.--Contemporary. A manufacturer of violins on a

considerable scale. His best grade fiddles are useful instruments and

mostly after the pattern of the “Messie” Stradivari.

MUCCHI, ANTONIO.--Modena. Died 1883. His violins and violoncellos are

fair examples of modern Italian work. Varnish generally yellow or

yellow-brown.

MÜLLER.--Several German makers of this name are known. Some worked in

Markneukirchen in the last century. Others in Schönbach.

NADOTTI, JOSEPH.--Piacenza; eighteenth century, latter half.

NANCY, JEAN THÉODORE.--Paris; to about 1800. Chiefly known as a clever

repairer.

NEMESSÁNYI, SAMUEL FELIX.--Budapest; _circa_ 1850-75. Work little known

in this country, but he was an exceptionally clever copyist of Guarneri

del Gesù and used good varnish.

NEUMÄRKER.--Nineteenth century. Several makers of the name worked in

Schöneck.

NEUNER.--Mittenwald; eighteenth and nineteenth centuries. A very

numerous family of makers, several of whom bore the Christian name

MATTHIAS. The second of that name died about 1830, and in 1812 founded

the well-known firm of NEUNER AND HORNSTAINER, one of the largest

manufacturing houses in Germany. LUDWIG NEUNER, born 1840, and a member

of the firm, worked for a time with J. B. Vuillaume in Paris. A clever

workman, he, in 1879, gained a medal in Berlin.

NEVEU, CHARLES.--Paris. Born 1863. A skilful copyist. Chiefly Stradivari

pattern.

NEWTON, ISAAC.--London. Died 1825. Worked for Betts.

NICOLAS.--Paris. _See_ FOURRIER.

NICOLAS.--Mirecourt; eighteenth and nineteenth centuries. A well-known

family, the principal member of which is known the world over as

“didier” Nicolas. He was born in 1757 and died in 1833. His early

personal work is good and well finished. The violins are built somewhat

upon Stradivari lines, but cannot be described as copies of that maker.

They are generally of rather large pattern and but slightly arched. Tone

powerful, and the varnishes, a reddish-yellow or yellow-brown, of good

quality. Some of the violoncellos are exceptionally good. There is no

doubt that these earlier examples possess considerable merit, but in

later years Nicolas employed a very large staff of workmen, and

degenerated into a manufacturer of coarse-sounding, common-place

instruments, which, though useful enough in the orchestra, are quite

unsuitable for other purposes. The type of instrument ultimately turned

out has been extensively copied in France and elsewhere. The feature

which at once strikes the eye is the sound-hole, the wings of which are

cut off almost horizontally. His fiddles are branded with a triangular

stamp “a la Ville de Cremonne.” Several other Mirecourt makers adopted

the “Ville de Cremonne” as a sign. A son, JOSEPH, died in 1864, and

after the latter’s death the business was sold to Derazey (_q.v._).

NIGGELL, SYMPERT.--Füssen; _circa_ 1730-75. A maker of some repute, but

not very well-known in this country. A few fiddles seen by the writer

were well-finished instruments; pattern a little like that of Albani,

and with dark brown varnish. He branded his work inside with his

initials.

NISBET, WILLIAM.--Prestonkirk. Born 1828. Pencilled his name inside the

backs of his violins. Obtained a medal in Edinburgh in 1886.

NORMAN, BARAK.--London; _circa_ 1680-1740. Said to have been the first

maker of violoncellos in this country. His work is generally double

purfled, and he imitated some of the Maggini features, including the

peculiarity observed in that maker’s sound-holes, the lower circles of

which are smaller than the upper ones. The violoncellos are large, and

well made, the varnish generally a dark red-brown, but lighter shades

occur. He and Nathaniel Cross, with whom he was for a time partner, seem

to have made a number of ornamentally purfled viols-da-gamba. The writer

has seen some of these, converted and strung as violoncellos. Violins

by Barak Norman exist, although this has been denied by some writers.

His monogram in purfling appears under the finger-boards, and sometimes

on the backs. Some large tenors of high build are in existence.

NORRIS, JOHN.--London. Died 1818. Founded the well-known business of

Norris and Barnes, for many years carried on in Coventry Street. He

learned fiddle-making with Thomas Smith, but very little seems to be

known of him as a workman.

NOVELLO.--Venice; eighteenth century. Three makers of the name are

mentioned. The only examples of violins seen by the writer were by

PIETRO VALENTINO, who was at work in the closing years of the century,

and describes himself in his tickets as a pupil of Bellosio.

NÜRNBERGER.--Markneukirchen; eighteenth and nineteenth centuries. A

large family of workmen, two or three of whom have turned their

attention to bow-making. Some of their work in this department is

excellent, and will bear comparison for style and finish with that of

the best living French bow-makers.

OBBÕ, MARCO.--Naples; earlier part of eighteenth century. Little known.

His full name does not seem to be known, but the final O in his label

has the abbreviation mark (as above) over it. Flattish fiddles. Yellow,

or yellow-brown varnish.

OBICI, BARTOLOMEO.--Verona; seventeenth and eighteenth centuries. Large

violins. Yellow varnish. Brescian style of work.

ODDONE, CARLO GIUSEPPE.--Turin. Born 1866. A clever maker, who was for a

time in England, but has been established in Turin since 1901.

ODOARDI, GIUSEPPE.--Ascoli. Born 1746; date of death not ascertained.

One Italian writer says he died at the age of 28, but this seems to be

incorrect. He seems to have experimented with different kinds of wood.

Writer has not met with examples of his work.

ÖHBERG, JOHANNES.--Stockholm; _circa_ 1760-90.

OLRY, J.--Amiens; to about 1850. Stradivari pattern; good work. Dark-red

varnish. He worked with Georges Chanot I.

OMOND, JAMES.--Stromness. Born 1833. A Scottish maker of more than

average ability. Has made a large number of instruments.

ORTEGA, ASENSIO.--Madrid. Died about 1835. A maker and repairer, who has

earned unenviable notoriety by tinkering with the famous violoncello

made by Stradivari for the Spanish Court.

OSTLER, ANDREAS.--Breslau; eighteenth century. Pretty work and handsome

wood. Yellow or yellow-brown varnish. Stainer pattern.

OTTO.--Makers of this name worked all over Germany and elsewhere. About

twenty of them are mentioned by von Lütgendorff, who devotes several

pages to them. The only member of the family of much interest to English

readers is JAKOB AUGUST, who died in 1829, and was the author of the

wellknown book on the violin.

OUVRARD, JEAN.--Paris; eighteenth century. Pupil of Pierray, whom he

imitated to some extent. Work seldom seen.

PACHERELE, MICHEL.--Paris; late eighteenth century. Scarce. Stamped his

name on the backs of his instruments. Yellow varnish.

PACHERELE, PIERRE.--Paris, Nice, Genoa, Turin. Died in Nice 1871. A fine

workman, but a “roving blade.” He did much work as a repairer. Worked

with Pressenda for several years, and made instruments which closely

resemble and are equal to those of that maker. His ordinary instruments

are of Stradivari pattern.

PACQUET.--Marseilles; late eighteenth century. Common-place instruments.

Frequently worm-eaten.

PADEWET.--Nineteenth century. Four or more makers of the name are known.

The family seems to have sprung from Vienna. Three of them worked in

Karlsruhe. JOHANN I. died 1872. A skilful maker who obtained several

medals. JOHANN II., who died in 1902, copied Stradivari, and seems to

have made a large number of instruments. He received various medals, and

was a well-known repairer.

PAGEOT.--Mirecourt. Died 1849. Name also spelt Pajeot. Bow-maker.

Personally a skilful workman, but employed workmen who turned out bows

wholesale, the prices beginning at sixpence each.

PAJOT.--Jenzat; nineteenth century. A family of makers, probably

originating in Mirecourt. Chiefly makers of hurdy-gurdies.

PALLOTA, PIETRO.--Perugia. Died about 1820. Little known.

PAMPHILON, EDWARD.--London; about 1681. He used a beautiful varnish of

yellow colour, sometimes with a tinge of red. The fiddles are squarish,

and stiff looking in outline. Scrolls small. The bottom of the shell is

finished in a peculiar way. Some of the sound-holes are more curious

than beautiful, the lower turns having a very wide sweep.

Double-purfling was generally, but not always, employed. Writer has seen

a few specimens containing Maggini labels. His own tickets are very

scarce, and contain the day of the month when instrument was finished,

in addition to the year.

PANDOLFI, ANTONIO.--Venice; eighteenth century. The work and tone are

highly spoken of, but the writer has not seen examples.

PANORMO.--London, Paris; eighteenth and nineteenth centuries. The last

survivor of this celebrated family died in Brighton in 1891. The most

important member of it was VINCENZO TRUSIANO PANORMO, or as appears in

many of his labels, “Vincent,” from whose son, Francis, were obtained

the dates of his birth and death. He was born at Monreale, near Palermo,

according to the story, in 1734, and died in London in 1813. Owing to

the wide range of dates seen in labels (genuine or otherwise) it has

been surmised that there were two Vincents, and one enthusiast claims to

have discovered three. Various traditions are current as to his early

life and training. According to one of them he worked with Carlo

Bergonzi in Cremona. Nothing, however, seems to be definitely known

except that in certain years he worked in Paris, that most of his life

was spent in London, and that he was also for a time in Ireland. A large

number of his works survive, the best of them being magnificent copies

of the different types of Stradivari. As copies these specimens have

never been surpassed, and but rarely equalled by any other maker; their

tone is of Italian character, and far superior to that of the French

copies, and they are covered with beautiful varnish, mostly of varying

shades of yellow, but more rarely red. Panormo was a consummate workman,

and given the material and the opportunity he was capable of building,

as few others could, any instrument of the fiddle tribe, from a superb

double-bass to a violin. His violoncellos are very fine. Unfortunately

he did much work for the trade, which does him little credit, although

far better than one is accustomed to see in work of its class. His best

fiddles are handsomer and less heavy looking than those of Lupot. His

son JOSEPH is best known as a violoncello maker. His violins look rather

heavy in style as a rule, but there are exceptions. GEORGE LOUIS,

usually known as Louis, died in London in or before 1845. He is said to

have been the second son. The octagon bows bearing his stamp are

frequently very fine. He specialised as a guitar maker, but turned out a

good many violins. These vary in merit, but some are decidedly handsome.

He was a good scroll-cutter.

PAQUOTTE.--Paris; nineteenth century. A Mirecourt family. The business

in Paris was founded by SEBASTIEN, who died in 1863. There were three or

four makers, all good workmen.

PARIS, CLAUDE.--Paris; late eighteenth century.

PARKER, DANIEL.--London; eighteenth century. An excellent maker, whose

work has in recent years risen rapidly in value. He seems to have worked

from quite early in the century until after 1770. He shares with John

Hare the merit of having turned attention to the pattern of Stradivari,

and it is much to be regretted that other British makers of the period

did not do the like. Some of his fiddles are upon lines more or less

like those of Amati, but his reputation chiefly rests on those which are

evidently in imitation of the “long Pattern” of Stradivari. They are not

exact copies, but in design and dimensions are very similar to

Stradivari fiddles of that type. Varnish red, of good quality, wood

frequently handsome, and tone large and brilliant. A good example was

not long ago in the possession of M. Kreisler. It is said that Parker

worked much for the trade. Writer has seen one or two labels in

manuscript.

PASTA.--Brescia; late seventeenth and eighteenth centuries. A Milanese

family, two or three of whom worked in Brescia, and the founder,

BARTOLOMEO, in Milan. In his labels he calls himself pupil of Niccolò

Amati. GAETANO PASTA, who was in Brescia until about the middle of the

eighteenth century, calls himself a pupil “dell Amati,” and is supposed

to have worked with Hieronymus Amati II. Instruments are said to have a

fine tone, and to be rather flat, with outline resembling G. B. Rogeri.

PATHAN, VINCENZ.--Vienna. Died 1894. Worked some time with Zach. Made

good copies of various Italian makers, particularly Maggini.

PATZELT.--Nineteenth century. Makers of the name date from Dresden,

Vienna, and Berlin.

PAULI.--Tachau; eighteenth century. Three or more makers of this name.

PAULUS.--Markneukirchen; nineteenth century. A numerous family, members

of which have worked in the principal German cities (Berlin, Dresden,

Leipzig) and elsewhere. One of the best of them, AUGUST, is, or was, a

member of the Dresden firm, “Richard Weichold.” Another, ALBIN LUDWIG,

of Markneukirchen, has made a large number of copies of the “trade

class,” the better qualities are well-made useful instruments.

PAZZINI, GIOVAN GAETANO.--Florence; 1630-70. Calls himself a pupil of

Maggini. High built. Dark varnish. Work scarce.

PECCATTE.--Mirecourt, Paris. A celebrated nineteenth century family of

bow-makers. DOMINIQUE, the best known, was born in 1810, and died in

1874. Some of his finest bows are unstamped. He worked for several years

for J. B. Vuillaume. FRANÇOIS, his younger brother, born 1820, died

Paris 1855, was, when he chose, almost, if not quite, as good a workman

as Dominique. He also worked with Vuillaume for three years, having

previously worked on his own account in Mirecourt for ten years.

Latterly he again worked for himself, but in Paris. Much confusion has

existed in distinguishing the bows of the two brothers. François bows

are frequently stamped “Peccatte” in a similar way to those of

Dominique, and attempts have been made to distinguish their respective

stamps--a very uncertain test. The best means of identification is in

the heads: the bows of Dominique have a sharper appearance towards the

peak than those of “Peccatte jeune.” CHARLES PECCATTE, son of François,

was at work in Paris in quite recent years, and is a maker of very fair

ability.

PEDRINELLI, ANTONIO.--Crespano. Died 1854. Began life as an undertaker.

Studied acoustics, and became a copyist of more than average capacity.

Orange-red varnish.

PELLIZON, GÖRZ.--Eighteenth and nineteenth centuries. A family who have

been at work until very recent years. Instruments not frequently seen in

England. The best known is ANTONIO, the founder, who died in 1850.

PEMBERTON, EDWARD.--London; seventeenth century. Name appears in most

books on the violin. Varnish said to be good. Work indifferent.

PENZE, IGNATIO.--Schönbach; _circa_ 1760. Appears to have been a German

named Penzl. The name is spelt in different ways, and occasionally is

quoted as Ponze or Ponzel. According to labels to which writer’s

attention has been drawn, the violins are dated from Cremona. They have

little or nothing in common with Cremonese work. The tone is described

as of good quality. Yellowish red varnish.

PEREGRINO, or PELEGRINO. _See_ ZANETTO.

PÉRON, NICOLAS.--Paris; latter half of eighteenth century. Yellow-brown

fiddles. Fairly good average work.

PERRIN.--Mirecourt; middle nineteenth century. Useful instruments. Dated

from Paris.

PERRY, THOS.--Dublin. Died 1818. The violins bearing his stamp vary

enormously, some being very fine works of art, and others quite

indifferent. A considerable number were made after his death. Wilkinson,

his son-in-law and partner, was a poor workman, and continued the

business for several years, so that the stamp appears on fiddles dated

well into the “thirties” of the last century. Perry’s earliest examples

date from about 1760 or a little later. The best specimens of his

violins are somewhat after the Amati style, and the varnish on them is

clear and of fine quality. What is known as his own model is far from

handsome, and the sound-holes are frequently placed too high in the

belly. The tone of a decently preserved specimen is generally very good.

His instruments have lately attracted considerable attention. The colour

varies from dark brown to amber, the darker shades occurring chiefly on

his earlier work. He made a number of viols. The violoncellos are

generally good. He is said to have learnt his business in London with

Duke. The original name was “Pierray,” and he seems to have been a

relative of Claude Pierray, a well-known Paris maker (_q.v._). Two other

Perrys worked in Ireland. One dates from Kilkenny, and is said to have

been a cousin of Thomas. Another was named Joseph, but the relationship

(if any) does not seem to be ascertained.

PERSOIS.--Paris; to about 1850. The name is usually spelt “Persoit.” A

clever bow-maker. Worked for Vuillaume and on his own account. Bows

stamped P.R.S.