PETZ.--There were several makers of the name. One named JACOB dates from

Vienna about 1830. Labels bear the two-headed eagle. An earlier maker in

Vienna, MARIANUS PETZ, died in 1781. Two others, FRANZ and JACOB, date

from Vils in the Tyrol. The former died in 1772, the latter in 1824.

PEZZARDI.--Brescia; 1660-90. There seems to be some confusion as to this

maker’s dates. Like Mariani, his working period has been antedated about

100 years. Double purfled instruments.

PFAB, FRIEDRICH AUGUST.--Hamburg. Died 1904. Received a gold medal in

Hamburg in 1889. Another in Vienna, 1873.

PFRETZCHNER.--Markneukirchen; eighteenth and nineteenth centuries.

Another huge family of workmen. Twenty-two or more are enumerated. In

very recent years one or two of them have become well known as

bow-makers. Two of them, JOHANN GOTTLOB and CARL FRIEDRICH, who worked

in the eighteenth century, date their labels from Cremona. The style of

the work is poor, and gives no countenance to the claim.

PIATTELLINI, GASPERO.--Florence; eighteenth century. Instruments said to

resemble those of Gabbrielli.

PICHON.--Lyons; nineteenth century.

PIEGENDORFER, GEORG.--Augsburg. Died 1906.

PIERRARD, LOUIS.--Brussels; contemporary. Worked with Mougenot. Violin

maker to the Ghent Conservatoire. A clever workman. Published a book in

1902 on “The Violin: Its History and Origin.”

PIERRAY, CLAUDE.--Paris; late seventeenth century to about 1726. Whether

or not this excellent maker worked in Italy, as has been surmised, the

varnish seen on his instruments is of excellent quality. The colour a

light red or deep yellow. There is a look of Amati about the pattern,

but they are not exact copies of Amati. The sound-holes have an

appearance at their upper turns which is difficult to describe without

the assistance of specimens. The work is neat and the tone of fine

quality. The fiddles, like those of Boquay, were made in two sizes.

Wood varies, but is sometimes handsomely marked. He seems to have made

many instruments, but in this country they are by no means common.

PIÈTE, NOËL.--Paris; eighteenth and early nineteenth centuries.

PILAT, PAUL.--Budapest. Born 1860. Worked with Zach. Has received

several medals. Instruments branded inside with initials within a

circle.

PILLEMENT, F.--Paris; eighteenth and nineteenth centuries. A very

unequal workman. Instruments branded.

PIQUE, FRANÇOIS LOUIS.--Paris. Born near Mirecourt, 1758. Died 1822. One

of the best known Paris makers, he early acquired a good reputation, and

has left a great many instruments of varying merit. The best violins are

large examples of Stradivari pattern. Their general appearance is

massive, and the scrolls, though well cut, are inferior to those of

Lupot, who made a number of instruments for him. The quality of the

varnish is unequal, and he appears to have made two or more grades,

presumably according to the price he was to receive. The wood of the

backs is often in one piece, and of handsome figure. Sound-holes very

well cut. Colour of varnish commonly, but not always, a deep red or

red-brown. Labels commonly written, but he also used an engraved ticket.

He retired from business in 1816.

PIROT, CLAUDE.--Paris; about 1800-30. An exceptionally good workman. The

instruments are of Stradivari character, but less stereotyped and more

Italian looking than the average French violin of the period. Varnish

red or red-brown. He used a small label with a neatly engraved border.

Writer has seen examples branded under the tail pin. Some of his work

has been ascribed to Pressenda.

PIZZURNO, DAVID.--Genoa; _circa_ 1750-65. Specimens scarce. Mediocre

work.

PLACHT.--Schönbach; eighteenth and nineteenth centuries. Well over a

score of makers of this name are enumerated.

PLANI, AGOSTINO DE.--Genoa; second half of eighteenth century. Very

commonplace work.

PLATNER, MICHAEL.--Rome; 1735-50. His was probably of German origin. His

work belongs to the school of Tecchler, and it is not unlikely he worked

for that maker. He used pretty red and golden yellow varnish, and was a

good scroll cutter. The arching of his violins is rather full, and the

general appearance of the instruments is of German character.

PLUMEREL, CHARLES.--Angers; nineteenth century; first half. A clever

workman. Instruments somewhat resemble those of J. B. Vuillaume in style

and finish.

POIRSON, ELOPHE.--Lyons. Born 1840. Began as an amateur maker. He

invented a varnish which is supposed to impart an improved quality of

tone. Uses a label with his portrait upon it. The workmanship of his

instruments is well finished.

POISON, JUSTIN.--Paris. Born 1851. A wellknown bow-maker.

POLLER, ANTON.--Vienna; contemporary. Stradivari pattern. Reddish yellow

varnish.

POLLER.--Mittenwald; eighteenth century. A family of makers. In the

labels the name is usually spelt “Boller.”

POLLUSCA, ANTONIO.--Eighteenth century. Tecchler school of work.

POSCH (BOSCH), ANTONY.--Vienna; 1677-1742. A son, also named ANTHONY,

died in 1749. Violins generally high built. Both makers exhibit the

Austrian double eagle on their labels.

POSTACCHINI, ANDREAS.--Fermo. Two makers of this name dated from Fermo.

The earlier died between 1820-30. The instruments are somewhat of

Gagliano type and appearance, and are rising in value. The second

Andreas died about 1857.

POSTIGLIONE, VINCENZO.--Naples. Born 1835. A very neat workman. Has made

some handsome and well-finished violins of Guarneri del Gesù pattern.

PRESSENDA, GIOVANNI FRANCESCO.--Turin, Alba, Carmagnola. Born 1777. Died

1854. One of the most important Italian makers of the nineteenth

century. His violins date chiefly from Turin, but he also worked in Alba

and Carmagnola, and possibly for a short period in Marseilles. A

well-known repairer told the writer that three instruments by Pressenda

dating from the last-named place had passed through his hands. He

learned his business in Cremona with Storioni, and went to Turin about

1820. Early specimens of his work are more or less after the pattern of

Stradivari, but later he designed a pattern of his own in which he

somewhat changed the character of the sound-holes and the style of the

arching. The wood of his instruments is nearly always handsome, the

majority of the backs in one piece, cut on the quarter. The varnish is

lustrous and varies in tint, some of the finest being of a deep mahogany

red. A large number of his violins and those of Rocca and other

followers were imported into this country by Gioffredo Rinaldi, who

wrote a brochure on Pressenda, and violin making in Piedmont. This maker

has had a number of clever imitators besides Rocca, who rivals or

surpasses him in popularity amongst modern players. Amongst them may be

mentioned Fagnola (_q.v._).

PSENNER, JOHANN GEORGE.--Eighteenth century. Two makers of this name,

both of whom were fair workmen, date from Innsbruck.

PUPUNAT, FRANÇOIS MARIE.--Lausanne; _circa_ 1830-60. Originally a

cabinet maker he became a neat workman. A violin of his make is in the

Paris Conservatoire.

RAMBAUX, CLAUDE VICTOR.--Paris. Born 1806. Died 1871. Worked with

Moitessier and later with Thibout and Gand. Began business on his own

account in 1838, and was a most skilful repairer of old instruments. His

violins and other instruments are finely finished and generally of

Stradivari pattern, but he does not seem to have been a very prolific

maker. He was the recipient of several medals.

RAMFTLER, FRANZ.--Munich; nineteenth century. Chiefly a dealer.

RASTELLI.--Genoa; nineteenth century.

RAU, AUGUST.--Markneukirchen; contemporary. A good bow-maker. Worked for

a time with Weichold of Dresden.

RAUCH.--Chiefly eighteenth century. Some fourteen or fifteen makers of

the name worked in Komotau (Bohemia), and in different German towns.

JACOB RAUCH worked in Mannheim, and it is said that his instruments are

high built and clumsy looking but possess a good tone.

RAUT, JEAN.--Rennes; eighteenth century.

RAWLINS.--London; eighteenth century. Practically unknown, but the name

appears in most books on the violin.

RAYMAN, JACOB.--London; 1620-57. A Tyrolese. German looking fiddles. The

varnish is the best feature about them.

REICHEL.--As there were about fifty or more makers of this name,

principally in Markneukirchen, detailed notice of their work is out of

the question.

REMY.--Paris and London; eighteenth and nineteenth centuries. There were

five or more members of this family engaged in fiddle making. MATHURIN

FRANÇOIS, the founder, worked _circa_ 1760-1800. Guersan style of work.

Yellow varnish. JEAN MATHURIN, his son, died in 1854, and is reputed a

better workman. Two of the latter’s sons, HIPPOLYTE and JULES, died in

1876 and 1869. A maker of the name better known in this country was the

REMY who worked in London about the middle of the last century. Hart

says that he spoilt his fiddles by artificially maturing the wood.

However that may be he was a clever imitator of Italian work. The writer

has seen examples which were much above the average of such things; in

particular one or two copies of Guarneri del Gesù. He also copied

Maggini with success. His relationship to the Paris family is not

stated.

RENAUDIN, LEOPOLD.--Paris. Born Mirecourt 1749. Guillotined during the

French Revolution 1795. He used various labels; one of large size with

an engraving representing a musical performance. He is best known as a

double-bass maker, but his work generally is not plentiful. The violins

high built and clumsy looking. Yellowish varnish, some of which is much

oxydised.

RENAULT, SEBASTIEN B.--Paris; _circa_ 1755-1811. Firm Renault and

Chatelain. They were musical instrument makers, and the violins are not

often seen.

RÉSUCHE, CHARLES.--Lyon, Bordeaux. Born 1858. Worked with Gand and

Bernardel. A good copyist of Italian instruments.

RICHTER, CHRISTOPHER ADAM.--Markneukirchen; eighteenth century.

RIECHERS, AUGUST.--Hanover, Berlin. Died Berlin 1893. Moved about a

great deal, but settled in Berlin in 1872. He was a clever workman, and

made a large number of instruments of various patterns. Writer has seen

violins by him resembling those of “didier” Nicolas. Published a book on

violin making. He was also a noted repairer and patronised by Joachim.

RIEDEL, JOSEPH ALEXANDER.--Meseritz, Danzig. Died 1866.

RIEF.--Eighteenth and nineteenth centuries. Vils. Seven or eight makers

of the name.

RIEGER.--Mittenwald. From seventeenth century to present time. At least

a dozen names are mentioned.

RIESS, ANDREAS.--Bamberg. Died 1777. High built. He was also a

professional musician and organ builder. Another Riess named JOSEPH also

worked in Bamberg.

RINALDI, GIOFFREDO BENEDETTO.--Turin; 1850-88. Worked with Pressenda,

but is best known as a dealer and importer into this country of Italian

fiddles, chiefly by Pressenda and Rocca, with other makers of that

school and period.

RIVOLTA, GIACOMO.--Milan; _circa_ 1820-35. One of the better makers in

Italy in the last century. The violoncellos and violas are well made,

and in appearance and varnish somewhat resemble work of the Neapolitan

school. Varnish golden yellow. He received a gold medal, and on some of

his tickets states that it was awarded “for having revived the

celebrated school of Stradivari.”

ROCCA.--Turin; nineteenth century. A maker named Joannes is mentioned as

having been at work about 1809, but it is not unlikely that he is

identical with Joannes Rotta, the ticket cited being a written one.

GIUSEPPE ANTONIO ROCCA was born, probably in Turin, about 1800, and died

in Genoa, according to the story, in 1867 or 1868, his body being

recovered from a drain or cesspool. His labels date from about 1830 or a

year or two earlier. He was employed for some time by Pressenda, whose

instruments he imitated so closely that they have frequently passed as

that maker’s work. His initials were frequently stamped upon the blocks

and elsewhere in his instruments, and this has sometimes led to their

identification in cases where Pressenda labels have been found in them.

But Rocca did not confine himself to imitating Pressenda, and made

numbers of fine fiddles of other patterns. His best copies of

Stradivari are very valuable, and he was also successful with the del

Gesù model. The varnish on early work is sometimes rather thin, and hard

looking, but in this detail he seems to have improved as time went on.

The colour varies a good deal, from a rich dark red of mahogany hue, to

yellow of different shades. Double purfled instruments are sometimes

seen, and he occasionally used mahogany for his backs. The Stradivari

copies are generally, but not always, similar in pattern to the violin

known as the “Messie.” His work is sought after by concert performers,

and the prices paid for good specimens have in recent years been very

high. He obtained several medals, and has been cleverly imitated by

Fagnola and other makers. A good many counterfeit Roccas have found

their way into the market. ENRICO ROCCA, a son, worked in Genoa and

Turin, and died in May, 1915.

ROGER, G.--Montpellier; nineteenth century. Nicolas type of work.

ROGERI, GIOVANNI BATTISTA.--Cremona, Brescia. Born about 1660 in

Bologna. Worked until about 1730. An admirable workman, who was a pupil

in Niccolò Amati’s workshop, the pupillage being invariably stated in

his labels, which are often printed in red ink. Some of his work

contains the genuine tickets of his master, and a good many of his

instruments are very like those of Amati, the head, however, being

heavier in style and the sound-holes slightly different in form. Later

work shows a flatter arching, and there is more or less resemblance in

the form to that of Stradivari. The general workmanship is always fine.

The varnish either identical with Amati’s or a beautiful clear red. The

violins were in two sizes, the large examples being very scarce. The

size usually seen is about 13-7/8 inches long and the measurements are

about those of an ordinary Amati fiddle. The spelling of the name in the

labels varies. Sometimes it appears as “Rugerius,” but more commonly it

is spelt with an “o.” The violoncellos are splendid examples of their

class, and having mostly been built of convenient size, their

proportions have not usually been reduced like those of the Amati

family.

ROGERI, PIETRO GIACOMO.--Cremona and Brescia. Seems to have worked from

about 1690 until after 1730. His relationship to G. B. Rogeri is not

known, but if he worked, as some of the tickets state, with Niccolò

Amati, he could not have been a son, as has often been alleged. Messrs.

Hill suppose, and it is extremely probable, that the two Rogeri were

associated in their work, though there do not seem to be labels

containing their joint names. Pietro Giacomo’s work is almost, if not

quite, equal to that of his relative. Violins bearing his label are very

scarce, but strongly resemble those of the latter. The corners droop

somewhat more, but the scrolls in one or two specimens seen by the

writer are so alike that they might be the work of the same man. A

beautiful violin with fine red varnish is in the possession of Mr. W.

Sachse, the well-known professor; and Piatti for many years possessed a

fine violoncello of Pietro’s make. Some of his labels date from Cremona,

and his name is also sometimes seen spelt with a “u” instead of an “o.”

ROMBOUTS, PIETER.--Amsterdam; _circa_ 1700-30. The violins are well

made. Rather high built, and with a brilliant red varnish. The purfling

is whalebone. There is some resemblance to the work of Jacobs, with

whom he is said to have worked. It is also said that in earlier years he

was known as “Pieter--Jacobs’s pupil,” and this is supposed to be the

origin of the Peeter Jacobs whose name has so frequently appeared in

fiddle literature.

ROMER, ADOLF.--Freibourg. Born 1863. A maker who seems to possess

considerable scientific knowledge, and has made some very handsome

copies of the Italian masters. He has received various medals.

ROOK, JOSEPH.--Carlisle; _circa_ 1775-1825. The work is neat. Rather

high built; and the violins seen by writer of medium size, with clear

yellow-brown varnish. It is said that he was taught by Forster,

presumably when the latter worked in the North of England.

ROSSI.--Nineteenth century. Several makers of this name have lived in

Italy, chiefly in Padua and Milan. One named ENRICO is a good workman

who, with his son, has a business in Padua, and obtained a medal in

1877.

ROTTA, GIOVANNI.--Cremona; early nineteenth century. The name in labels

seen by the writer was spelt with a single “t,” but it is said that a

good many doubtful or spurious ones exist. Work not highly finished.

Reddish-yellow varnish. Writer has seen the label in at least two

violins which were certainly of Mittenwald origin.

ROZE.--Orleans; eighteenth century. Rather neat work and good pattern.

Yellow varnish.

RUB, AUGUST DE.--Viterbo; _circa_ 1760-75. His label states that he made

his instruments for his personal delectation. Writer came across a

violin in London recently.

RUDDIMAN, JOSEPH.--Aberdeen. Born 1733. Died 1810. Said to have been a

pupil of Matthew Hardie.

RUGERI.--Cremona; seventeenth and eighteenth centuries. A celebrated

family of makers. The name is seen spelt in a variety of ways, _e.g._

“Ruggieri,” “Rugieri,” etc. The founder was FRANCESCO, who worked in the

latter half of the seventeenth century, and adopted the distinctive

title “il Per” on his label, possibly to prevent confusing his work with

that of the Rogeri who also worked with Amati but came from Bologna. In

this practice he was followed by his sons. He was a splendid workman and

one of the best of Amati’s followers. He copied Niccolò’s instruments

with much fidelity and was very successful with the “grand pattern.”

Amati labels, _mostly badly latinised and incorrect_, seem to have been

found in his violins from an early period, but it does not seem to be

certainly established that he himself inserted them. Such work of his as

was made in the master’s workshop would obviously bear correct labels.

Most of his violins have handsome backs, some of larger figure than that

usually employed by Amati. His varnish is most beautiful, and, in the

finest specimens, of a brilliant red colour. In other works it is

identical with the yellow seen on the majority of Amati’s instruments.

In later works he somewhat altered the form of the sound-hole, but his

work, of whatever date, is almost always full of grace. The heads are

excellent. A large number of his violoncellos survive. They were mostly,

but not invariably, of large size, and have been reduced, not always

too well. The backs are frequently of plain wood. GIACINTO GIO. BATTISTA

RUGERI, a son, seems to have dropped the “Gio. Battista” from his later

labels. He worked down to about the end of the seventeenth century, but

probably assisted his father largely, and his own signed work is

comparatively scarce. It is said that he made good tenors and a number

of useful violoncellos. One or two violins seen by the writer were less

graceful than those of Francesco, and the varnish brown. VINCENZO

RUGERI, a younger son of Francesco, seems to have been the last of the

family, and was at work until 1735 or later. Writer has seen violas and

violoncellos, but only one violin of his make. The work is of Amati

character, and the finish good, but not remarkably so. Some, if not all,

of his tickets have an ornamental border.

RUPPERT, JOHANN HEINRICH.--Erfurt; 1719-36. Stainer outline, but arching

comparatively flat; no linings or corner blocks.

RUPRECHT, WILHELM.--Vienna. Died 1862. A clever maker. Many of his

copies are double purfled, and it is said that some have been sold as

genuine Brescian work. He was awarded a medal in 1839.

SACCHINI, SABATTINO.--Pesaro; seventeenth century.

SACQUIN.--Paris; nineteenth century, to about 1860. Backs of instruments

branded inside. Chiefly Stradivari pattern.

SAINT PAUL, ANTOINE.--Paris; 1768-89. Guersan style of work. Heads like

those of other makers of the period, said to have been cut by women.

Another Saint Paul (Pierre) worked earlier and was possibly his father.

SALLE, LE PÈRE.--Paris; 1825-50. Chiefly known as a connoisseur and

repairer. Copied Guarneri.

SALOMON, JEAN BAPTISTE DESHAYES.--Reims, Paris; _circa_ 1735-70. This

maker was either an unequal workman, or the instruments bearing his name

and stamp were made in different grades. The writer has seen very good

violoncellos, on which the finish was above the average. Yellow varnish

and well-carved scrolls. The violins generally have a brownish-yellow

varnish, the arching is carried almost to the edges. Sound-holes rather

wide apart, belly wood rather hard, and backs showing little figure,

though now and then they are handsomer. Tone not particularly good. He

used various tickets. His business was carried on by his widow for some

years after his death.

SALZARD, FRANCOIS.--Paris, Mirecourt. Born 1808. Died 1874. Mirecourt

style of work. Yellow-brown varnish. Tone powerful. Name often written

or branded inside the backs. There was a D. Salzar, probably his father.

A son, Ernest André, worked in Moscow and St. Petersburg where he died

in 1897.

SANDNER.--Eighteenth and nineteenth centuries. A large family

originating in Schönbach. There have been nearly twenty of them working

in different parts of Germany and elsewhere.

SANTAGIULIANA, GIACINTO.--Venice; eighteenth and nineteenth centuries.

SANTINO.--Milan; about 1700. Grancino type of work.

SANTO, GIOVANNI.--Naples; eighteenth century.

SARDINI, CARLO.--Madrid; eighteenth century. Said to have been a

Neapolitan. Large flat instruments. Yellow-orange varnish.

SARTORY, EUGENE.--Paris. Born 1871. Well-known bow-maker. Imitates

Voirin.

SAUNIER, EDMOND.--Bordeaux. Died _circa_ 1785. Good work. Not very

plentiful in this country.

SAVART, FELIX.--Paris. Died 1841. Well-known acoustician. Made fiddles

of guitar outline.

SAWICKI, CARL NICOLAS.--Vienna. Died 1850. Generally copied Stradivari,

but also the pattern of del Gesù. A very finished workman. Scrolls and

wood very handsome. Tone excellent.

SCARAMPELLA.--Brescia, Paris, Mantua, Florence; nineteenth century. A

family originating in Brescia. The founder, PAOLO, died in 1870. A son,

GIUSEPPE, worked in Paris and Florence. Died about 1886 or later. Neat

work. Red varnish. Another son, STEFANO, born 1843, dates from Mantua

and Brescia. Good work. Has obtained a silver medal.

SCHALLER.--Markneukirchen, Schönbach. A large family of

nineteenth-century workmen.

SCHÄNDL.--Mittenwald; eighteenth century. There were three or four of

the name. The best known are MICHAEL and ANTON. Well-made violins of the

Stainer-Kloz type.

SCHEINLEIN, JOHANN MICHAEL.--Langenfeld; eighteenth century. Stainer

school. Another, named Matthias Friedrich, worked in the same place.

SCHETELIG.--Markneukirchen; eighteenth and nineteenth centuries. About a

dozen makers of the name.

SCHLICK.--W. Dresden; nineteenth century. One of the innumerable

“discoverers” of the “secret of the Italian varnishes.” Has received

medals.

SCHLOSSER.--Klingenthal; eighteenth and nineteenth centuries. Another

numerous tribe. One, named Johann George Schlosser, branded his work

inside, “I. G. S.”

SCHMIDT.--About twenty-five German makers are enumerated by von

Lütgendorff.

SCHÖNFELDER.--Markneukirchen; nineteenth century. Another tribe, running

well into a score of names.

SCHONGER.--Eighteenth and nineteenth centuries. Erfurt, Cassel.

SCHRECK, RUDOLPH.--Berlin; eighteenth century. Said to be one of the

oldest Berlin makers. His name, appropriately enough, means “fright!”

SCHUSTER.--Markneukirchen. Another horde of makers. They manufacture

very cheap trade instruments.

SCHUSTER, JOSEPH ANTON.--Schönbach; eighteenth century. Good work.

SCHWARTZ.--Strasburg; nineteenth century. Four or more of the name were

instrument makers. One, named George Friederich, was a good bow-maker.

SCHWEITZER, JOHANN BAPTIST.--Budapest. Died 1865. An excellent copyist

of Italian work. He was a pupil of Geissenhof of Vienna. Red-brown

varnish. Innumerable instruments purporting to be his work and labelled

to that effect have been made in Markneukirchen. These instruments are

of a common class, and examples of them are constantly met with in this

country.

SEELOS.--Innsbruck; seventeenth century. Stainer school. Work not often

seen. Georg Seelos used a label printed in gold lettering.

SEIFERT, OTTO.--Berlin. Born Markneukirchen, 1866. Maker of the

much-advertised “New Cremona” violins, the plates of which are attuned

according to a system devised by Dr. Grossmann. These instruments are

well finished.

SEIZ OR SEITZ.--Mittenwald; eighteenth century. There were a large

number of the name. Many of the instruments are of a useful type and

have a good tone.

SERAPHIN, SANTO.--Venice. Born at Udine about 1675-80, worked, according

to labels, until about 1748 or later. No neater workman ever lived. His

copies of Niccolò Amati’s “grand” pattern are very handsome, and, as

Hart remarks, are often very like the instruments of Francesco Rugeri.

Varnish a very fine red, but now and then the colour is lighter.

Unfortunately the greater number of his works are of German character,

so far as outline, modelling, and sound holes are concerned. Apparently

Venetian patrons admired the Stainer form, as numbers of the

violin-makers in Venice designed their work more or less closely upon

it. The scrolls are very well cut but generally rather weak looking.

Some magnificent violoncellos are known, and he is said to have excelled

in double basses. The tone of Seraphin’s violins is sometimes

disappointing. Some specimens handled by the writer, however, have left

little to complain of on that score. He branded his work under the tail

pin, and used large ornamentally engraved labels. A nephew named GEORGE

SERAPHIN, who also branded his instruments, seems to have worked at

about the same time.

SERDET, PAUL.--Paris. Born Mirecourt, 1858. A well-known dealer and

judge of old instruments and a fine workman. Was a pupil of the

excellent maker Gaillard.

SILVESTRE, PIERRE.--Lyons. Born 1801. Died 1859. His work is

distinguished by superb finish, and the tone of the instruments is of

excellent quality. In this country they now command high prices. Most of

them are of Stradivari build, but occasionally Amati or Guarneri copies

are met with. The varnish on many of them is a fine red of much

brilliance and excellent quality. The widths of his Strad copies are a

trifle greater than those of the originals. The purfling, generally

rather narrow, is inserted with unsurpassable neatness. Moreover, he did

not “mature” his wood by artificial means as did J. B. Vuillaume for a

considerable period. After leaving his instructor (Blaise of Mirecourt,

_q.v._) he worked for a time with Lupot, and with Gand, his successor.

He began business in Lyons in 1829, and from 1831 to 1848 was in

partnership with his younger brother, Hippolyte. The instruments bearing

the joint labels of the brothers are well made, but by no means up to

the standard of those made by Pierre alone. Their appearance is more

that of a first-class factory instrument, and they are consequently of

minor value and importance.

SILVESTRE, HIPPOLYTE.--Lyons. Born 1808. Died 1879. After Pierre’s death

he took over the business and continued in it until 1865. He was taught

by Blaise, and was also for a time with J. B. Vuillaume. He was

unquestionably a skilful workman, but the abilities of his brother

Pierre were so manifestly superior that his work suffers somewhat by

comparison.

SILVESTRE, HIPPOLYTE CHRÉTIEN.--See Chrétien.

SIMON, FRANZ.--Salzburg. Born Mittenwald, 1757. Died about 1803. He came

of a Mittenwald family of makers named Simman. The work is of German

(Kloz) type.

SIMON, P.--Paris. Born 1808. Mirecourt. Died Paris, 1882. An excellent

bow-maker. Worked with D. Peccatte and with Vuillaume. Was also in

partnership (1848-51) with Henry. Work stamped with his name.

SIMON, RENÉ.--Auch (France). Born 1844. A fine workman. Worked with N.

Vuillaume and several other makers.

SIMONIN, CHARLES.--Mirecourt, Geneva, Toulouse; nineteenth century.

Worked for some time for J. B. Vuillaume. He died in or about the year

1875. An excellent workman and amongst the best of the many employed by

Vuillaume.

SIMOUTRE, NICHOLAS.--Mirecourt, Metz. Died 1870. A prolific workman. He

was a pupil of Lupot, but his instruments though well made are not of

very high rank.

SIMOUTRE, NICOLAS EUGENE.--Basle, Paris. Born 1839. Son of the above. He

experimented to some extent and wrote pamphlets on the improvement of

violin tone, but does not seem to have accomplished much in that

direction.

SIMPSON, JAMES, AND SON.--London; late eighteenth century. They appear

to have been dealers. It does not seem to be clear whether they were

actual makers, but instruments bearing their label are not of great

merit.

SIRJEAN.--Paris. Early nineteenth century. Bow-maker.

SITT, ANTON.--Prague. Born 1819. Died 1878. Worked with Schweitzer, and

copied various makers. His labels usually state the name of the maker

from whom they are copied. Good sound work, but rather solid looking.

SMITH, THOS.--London; eighteenth century. He worked with and succeeded

Wamsley. Made many violoncellos of merit. Instruments of Stainer build.

They are very like the work of Wamsley and are not unfrequently sold as

his.

SNEIDER, JOSEPH.--Padua; early eighteenth century. He was in Niccolò

Amati’s workshop, but was probably of German birth. Instruments

relatively scarce. Pretty work of Amati character; yellow varnish.

SNOECK.--Brussels; eighteenth century. There appear to have been three

makers of the name. EGIDIUS, _circa_ 1700-30, is the best known.

Red-brown varnish. Amati pattern.

SOCQUET, LOUIS.--Paris; late eighteenth century. Mediocre work. Large

label with engraved border.

SOLIANI, ANGELO. Mantua, Modena; late eighteenth century. Useful

instruments. Tone generally powerful. Yellow or reddish-yellow varnish.

His labels bear the sign of the Sun. Work generally branded.

SORSANA, SPIRITO.--Coni; early eighteenth century. Scarce. The name also

appears with the spelling “Sursano.”

SPIDLEN, FRANZ.--Moscow, Prague; contemporary. A good copyist. Has

obtained some medals (Paris, 1900). Brown varnish. Name branded on

backs.

SPRENGER.--Nineteenth century. A Mittenwald family, three or more of

whom worked in Nuremburg.

STADLMAN.--Vienna; eighteenth century. There were several of the name.

Instruments seen by the writer were of good workmanship and Stainer

pattern. MICHAEL IGNATIUS, who died in 1813, is perhaps the best known.

He seems to have made most of his instruments on Stradivari lines.

Labels bear the double-headed eagle.

STAINER, JACOB.--Absam (Tyrol). Born 1621. Died 1683. The most

celebrated of all the German school of makers. He is the subject of much

tradition and has a small literature devoted to him. The main facts of

his life have now been made public for a good many years, and much

legendary rubbish has been swept away. The Stainer model has been

imitated by fiddle-makers all over Europe, both during his lifetime and

since. Amongst the first to copy him were the Kloz family, and in Rome,

Florence, and Venice his imitators have been numerous. In this country

his influence was almost paramount for upwards of a century, and only by

slow degrees was it ousted by the superior form of instrument designed

by the Amati family and perfected later by Stradivari. Whether he ever

worked in Cremona is at least open to doubt, and the evidence which has

been adduced in support of the tradition is not sufficiently strong to

justify its unconditional acceptance. He employed a varnish which proves

to demonstration that he was conversant with the composition of that in

use by the Amati, but it is clear from the work of other makers that

there was no particular mystery attaching to the ingredients of

Cremonese varnish, and his use of a preparation which is not

distinguishable from it does not afford any unequivocal proof of his

ever having been to Cremona. The general appearance of Stainer’s

instruments is familiar to all who take more than a merely passing

interest in a violin; not because of the number of genuine specimens to

be met with, but from the number of other makers who have copied him. As

a workman he was of the first rank, but whether he worked in Italy or

not, there is not a fiddle of his in existence which has the true

Italian cut. The violins are usually about the size of the ordinary

Amati instruments, but some of them are rather larger, and measure a

full fourteen inches or a shade over in length. The varnish ranges in

colour from yellow to brown; the red specimens are not often seen, but a

few very handsome rose-coloured violins, of most beautiful workmanship,

have survived. The wood of the backs generally shows some figure, and

is often finely marked; for some of the bellies he used the fine-grained

wood frequently employed by Tyrolese makers, but in his finest examples

the pine is of broader grain. A good many of the instruments have lion

heads, the carving of which is well executed. The scrolls are well cut,

but lack the grace seen in those of better Italian work. It seems to be

doubtful if Stainer himself used printed tickets, but there is no doubt

that other makers, some of whom were contemporaries, and possibly

workmen of his, inserted printed Stainer labels into their work.

Stainer’s arching has been the subject of so much exaggeration on the

part of copyists of all nationalities that many people have an

altogether false idea of its true proportions. In a good specimen of

Stainer’s violins the swell of the form is not really higher than that

of an average Amati; now and then he did exceed this limit, but it was

not his general practice. Violas are rarely seen, and violoncellos are

by no means common. Forster and numerous other English makers have left

numerous copies of the last-mentioned instruments, some of which are in

every way excellent. The tone of a fine Stainer violin is of beautiful

quality, and in examples met with by the writer, its timbre resembled

that of Amati. It is almost needless to say that forgeries are

innumerable, and are not unfrequently somewhat difficult to detect, not

only on account of their intrinsic merit, but from the fact that his

manuscript tickets have been cleverly imitated.

STAINER, MARCUS.--Absam, Kuefstein, Laufen (Austria); seventeenth

century. A brother of the above, he worked in a variety of places, and

is reputed to have forged the labels of the more celebrated Jacob. The

few examples seen by the writer resembled those of Jacob in form, and

had dark red-brown varnish. One of these was a viola, of good

workmanship and tone. He also used lion and other carved heads. He seems

to have been alive until after 1680.

STAUDINGER, MATHAEUS WENCESLAUS.--Wurzburg; eighteenth century. In some

of the labels the name is spelt Stautinger. The violins are very scarce,

but are of fine workmanship.

STEINER, JOSEPH.--Lengberg. Died 1908. Seems to have been a merry blade,

and a man of varied accomplishments. Experimented with varnishes. The

violins are well made and of good form, but not often seen. The number

of the instrument appears on the label.

STEININGER.--Eighteenth and nineteenth centuries. A family of makers

said to have sprung from Füssen. The most important of them was François

Xaver, born in 1778, died about 1850. He changed his abode many times

and worked in Darmstadt, Frankfort on the Maine, Paris, and St.

Petersburg. His work is careful, and French in character.

STIRRAT, DAVID.--Edinburgh; early nineteenth century. Pupil of Matthew

Hardie.

STOHR, JACOB.--St. Polten; about 1790-1830. Examples scarce. Stradivari

outline, higher arching, light brown varnish, backs usually in one

piece. There were other makers of the name; probably sons.

STORCK.--Strasburg, Augsburg; eighteenth century. About half a dozen

makers.

STORIONI, LORENZO.--Cremona. Born 1751; died 1801. This maker is usually

instanced as the last of the old Cremonese school. He was a prolific

workman, and a considerable number of his instruments are in existence.

His varnish is, however, of a different nature, and resembles that of

the Neapolitan school. His pattern varies a good deal. Now and then his

outline and arching are after the style of Amati, but in most cases

there is more or less resemblance both in general appearance and the cut

of the sound-holes to the work of Guarneri del Gesù. It has been said

that violas by him are unknown; but this is incorrect. Some very fine

examples are in existence, and in more than one instance they have been

sold as the work of del Gesù. The colour of his varnish is usually a

red-brown of varying shades. As a general rule the finish of his violins

is rough, and the purfling carelessly worked, but occasionally he took

more pains, and produced handsome fiddles with prettily figured wood.

The scrolls are of bold, masculine cut, and very characteristic. The

backs commonly have plain or small figured wood of native growth.

Bellies of very fine material. The tone of his instruments is rich and

full. Violoncellos are comparatively scarce, but are very fine in tone

and in high repute amongst players. G. B. Ceruti took over his business,

and is said to have been employed by him.

STOSS.--Eighteenth and nineteenth centuries. This was a large family of

makers, numbering fourteen or more members, and originating in Füssen.

Most of them worked in Vienna, and one or two of them made instruments

of more than average merit. Many of their tickets are of the ornamental

kind, exhibiting various devices and engraved borders. JOHANN BAPTIST

STOSS worked in Prague, and died there in 1850. The best known amongst

them was MARTIN, who died in Vienna in 1838. He used various tickets,

and is best represented by his violoncellos, which frequently show

handsome wood and are carefully made.

STRADIVARI, ANTONIO.--Cremona. Born 1644; died December, 1737. The bulk

of the biographical matter concerning this, the most famous of all

fiddle makers, was collected by George Hart, who published some of it in

the first edition of his celebrated work on the violin, but was unable

to include the whole of it until the appearance of the second edition in

1884. He was largely assisted in his researches by Signor Sacchi, a

Cremonese gentleman of considerable literary ability. In 1902 appeared

the well known and sumptuous volume by the Brothers Hill, republished in

cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,”

the most exhaustive critical survey of the subject which has yet

appeared. These two books form the chief English authorities for all

that is known concerning the great Cremona master. Readers may also

consult the very able article contributed by the late E. J. Payne to

Grove’s Dictionary of Music, and the little volume of Horace Petherick

published in the Strad Library in 1900. The writer’s observations on the

work done by Stradivari during the time he was employed by Niccolò Amati

will be found in the notices of that maker and of his son, Hieronymus

Amati II. One or two labels still survive--one of them dated in 1666--in

which Stradivari describes himself as a pupil of Amati. Early works

usually exhibit an outline and arching similar to those employed by his

master in his ordinary 13-7/8-inch instrument. The varnish seems

identical, and is of the usual yellow colour, although darker shades may

be seen almost from the first. The chief points of distinction lie in

the heavier edges, the cutting of the sound-holes, and the form of the

scrolls. This type of violin he continued to make with certain

exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class,

measuring 14-1/8 inches in length, until 1684. Between that year and

1690 the pattern and details are somewhat variable. According to Messrs.

Hill, Stradivari first began to pick out the edges of his scrolls with

black in or about the year 1688, and continued the practice, with rare

exceptions, until the end of his life. In 1690 he made the remarkable

violin known as the “Tuscan,” a large instrument of exceedingly handsome

wood and build, and in the years 1691 and 1692 a few violins of

exceptionally large proportions. The year 1690 also saw the advent of

the “long Strad,” a pattern the dimensions of which have given rise to a

certain amount of controversy. As a matter of fact, the lengths of these

instruments vary between about 14-1/8 inches and 14-5/16, the latter

being the extreme limit. About 14-3/16 inches would seem to be the more

usual length. The widths are about 6-7/16 in the upper bouts, and 8

inches in the lower ones. These narrow violins were made until the year

1700, with the exception of the year 1698, from which year no examples

seem to have been seen. A large number of them--something like

fifty--are still in existence. During this period, however, he did not

confine himself entirely to the long pattern. Some of the long Strads

are of great beauty of form and material, and by the time he began to

make them he had adopted a varnish of deeper colour. The maker’s best

period is commonly supposed to begin about the year 1700, but some of

the finest efforts are dated from 1704, in which year he made the

“Betts,” a specimen in a remarkable state of preservation, and with

rather long corners. In the same year he produced a violin bearing a

close resemblance to the “Betts,” and which is in the possession of

Colonel Glennie. The year 1709 seems to have been one of the most

prolific in Stradivari’s career, and many fine examples, such as the

“Ernst,” and “La Pucelle,” were made in that year. At about this period

the violins having a body length of 14-1/8 inches begin to appear. In

the preceding period 14 inches was the general rule. The backs of these

violins are mostly made from handsome wood with a broad curl. The years

1710 to 1716 inclusive were productive of many of the finest violins

ever made by Stradivari. Amongst them are the “Parke,” 1711, the

“Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,”

the “Alard,” all made in 1715, and the famous “Messie,” remarkable for

its unique state of preservation, and the magnificent “Cessol,” both of

which belong to 1716. Between 1720 and 1725 the outline changes

somewhat, and is squarer in the shoulders and the curves of the lower

bouts. So far as tone goes some of the best toned fiddles in the world

were made about this time, and it may be here added that of late years

the later works of Stradivari have received much attention from concert

players on account of their masculine tone. In the years immediately

preceding his death the maker was in the habit of recording his age in

manuscript either upon the labels or on a slip of paper just beneath

them. Messrs. Hill enumerate eight examples of this practice; another

from the year 1731 came under the writer’s notice in 1912. In the labels

dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from

that year onwards it appears as “Stradivarius.” The number of ornamented

and inlaid instruments which have survived seems to be about a dozen.

Messrs. Hill record ten of these; others are known to have been made,

but traces of them, if still existing, have disappeared. The earliest

seems to date from 1677, and the latest is the “Rode” violin made in

1722. These examples include a viola dated 1696, and a violoncello.

Three of the inlaid violins are dated 1709. The violas at present known

number only about a dozen. One of these, a “tenore,” dated 1690,

measures 18-7/8 inches in length. The smaller examples average about

16-3/16 to 16-5/16 inches. There are about fifty violoncellos, the older

specimens being over 31 inches long, and the later type about 29-1/2

inches or a little over. These include many notable instruments, such as

those owned by Piatti, Duport, Servais, and other celebrated players,

after whom they have been named. Notwithstanding repeated assertions to

the contrary, there is no trace of any double basses made by Stradivari;

specimens formerly assigned to him have long been rejected as spurious,

and no patterns for such instruments are to be found amongst his

drawings, moulds and other working apparatus. These last were bought

from Stradivari’s son by Count Cozio di Salabue, and from him descended

to the Marquis dalla Valle, who is, or was recently, still in possession

of them. Stradivari’s output was enormous, even when due allowance is

made for the length of time during which he was at work; and the

estimate made by Messrs. Hill, which gives a total of 1116 instruments,

is by no means an excessive one. No other maker, who has not degenerated

into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last

century, can compare with him in this respect, and the marvel of it all

is that his own hand is plainly visible in all his works, even to the

very last. There can be no reasonable doubt that he was assisted by a

considerable number of workmen, including his sons Francesco and

Omobono, Carlo Bergonzi, and others whose claims to have been his pupils

are more open to question; but whatever share these may have had in the

earlier and rougher stages of the work the master left but little trace

of it in the finished article. Since the beginning of the last century

his fame in this country has steadily increased; his name has become a

household word. In his own day his consummate abilities were widely

recognised, and orders were sent to him from royal courts and noblemen

all over the continent of Europe, as appears by contemporary evidence.

To-day his violins command higher prices than ever, and although some of

his earlier instruments are more or less played out by the successive

generations in whose hands they have seen service, their authorship is

of itself sufficient to maintain their market value at a high figure.

STRADIVARI, FRANCESCO.--Cremona. Born 1671; died 1743. The elder of the

two sons of Antonio who followed his calling. A good many violins of

considerable intrinsic merit but dubious authenticity are assigned to

him, but several which were formerly accepted as genuine have failed to

obtain a favourable verdict amongst some of the later judges, and it is

difficult to speak with any certainty about them. One magnificent

violoncello, the proportions of which have been slightly reduced, is

known to the writer, and its authorship appears to be unquestioned. This

instrument is covered with very fine varnish of golden-red colour, and

considerably more substance than that seen on violins supposed to be of

his make.

STRADIVARI, OMOBONO.--Born 1679; died 1742. Son of Antonio. The writer

is acquainted with three or four violins which are assigned to him upon

good authority. These are of bold pattern and bear some resemblance to

the work of Antonio, but do not display any of his fine finish. The wood

of the backs is with one exception of small figured native maple. The

varnish thinner in texture than that of the father. The sound-holes are

somewhat like those of Bergonzi, and in one case are very slightly

pointed. The back and sides of the other violin referred to are of

beech. The tone of all these specimens is very fine and full. Most of

Omobono’s tickets seem to have been in neatly written manuscript. A

favourite date, which leads one to suspect their genuineness in some

cases, is 1740.

STRAUB.--Chiefly eighteenth century. About a dozen workmen of the name

are enumerated.

STRAUBE, JOHANN AUGUSTIN.--Born 1725; died 1802. Worked chiefly in

Berlin. Instruments seemingly very scarce.

STRNAD, CASPAR.--Prague. Died 1823. Fine red varnish, pattern usually

that of Stradivari. He used several different labels, engraved with

musical instruments and other devices.

STROBL.--Eighteenth century. There were at least three makers of the

name. Two named Johann worked in Hallein, and a third named Tobias in

Krems.

STUMPEL, H. C.--Minden. Born 1838. A maker who produced instruments of

various models, built according to a system of thicknessing of his own.

He used a label bearing a diagram showing a violin belly graduated

according to his method.

STURTZER, or STURZER.--Breslau. Eighteenth century. Two makers named

Johann Michael Sturzer worked in Breslau.

SÜSS, JOHANN CHRISTIAN.--Markneukirchen. Died 1900. Worked for a time in

Dresden. He was one of the best bowmakers Germany has produced.

SULOT, NICOLAS.--Dijon; about 1820-40. Took out a patent for a violin

with a double belly.

SUTOR, JOHANN MARTIN.--Vienna. Died 1758. Examples scarce, and little

known.

SUTTERLEIN, J. FRIEDRICH.--Strasburg. Died 1893 or later. Careful work.

Stradivari pattern. Pretty varnish. He came under the notice of the

artist Wilhelmj, who thought highly of his abilities.

SZEPESSY. See Bela.

TADOLINI, IGNAZIO.--Modena. Born 1797; died 1873. Known only as a

bow-maker, in which department he excelled. A brother--Giuseppe--seems

to have made a few instruments.

TANEGIA, CARLO ANTONIO.--Milan; about 1720. Grancino style. Examples

scarce.

TANINGARD, GIO. GIORGIO.--Rome; about 1730-1750. Possibly worked with

Tecchler. He used various labels.

TARR, WILLIAM.--Manchester. Born 1809; died 1892. This maker is chiefly

known amongst English double-bass players, but made smaller instruments

also. The basses are often excellent, and are in high esteem amongst

Northern and Midland contrabassists.

TASSINI, BARTOLOMMEO.--Venice; latter half of eighteenth century. The

backs of his violins are usually in one piece, and the wood is often

handsome. Varnish a clear golden yellow.

TAYLOR, WILLIAM.--London; eighteenth and early nineteenth centuries. He

was a good average workman, and made useful instruments of the Panormo

class. He is said to have been taught by Panormo. The writer has met

with a few good violas of his make, but he seems to have made more

double-basses. Varnish yellow or yellow brown.

TECCHLER, DAVID.--Salsburg, Venice, Rome. Born 1666; died about 1745. An

important and prolific maker. He seems to have had a large business in

Rome, and probably employed a good many assistants. A great number of

his violoncellos are in existence, and are generally of high merit. They

were of large pattern, but have frequently been reduced in size. In his

best work he caught something of the true Italian style, and he was

evidently acquainted with Italian methods of varnishing. But like nearly

all of his countrymen, he never succeeded in freeing himself entirely

from German notions, traces of which are noticeable in practically all

his works. They all hint of Stainer somewhere. A few fine double-basses

are in existence. The violas are very scarce. Violins are pretty

plentiful, and vary somewhat in finish and general merit. The writer has

met with two of these, and one violoncello with the bellies cut the

wrong way of the wood, or “slab-wise.” The scrolls are often well

carved, and in the violins somewhat slender at the throat. The varnish

on the Roman instruments, which are much more plentiful than those

dating from Salsburg or Venice, is of Amati character, and generally of

yellow-red or yellow-brown colour.

TEDESCO, LEOPOLDO.--Cremona, Rome. Is all but unknown as a maker, but is

mentioned in the Parish Registers of Cremona as a pupil of Niccolò

Amati. The name seems to be there spelt “Todesco.” He was born in 1625.

TENTZEL.--Mittenwald; eighteenth century. Kloz school of work.

TERMANINI, JOSEPH.--Modena; about 1750 and later. Appears to have been a

priest who made fiddles. Work rare and of no particular merit.

TESTORE.--Milan; seventeenth and eighteenth centuries. A widely known

and important family of makers whose instruments, though chiefly of

second-class workmanship and inferior finish, are much sought after by

players on account of their excellent tone. However rough and

unattractive the specimen may appear, a Testore may almost always be

relied on to possess a fine tone. Apparently the patronage they were

able to obtain did not permit them to do their best save on rare

occasions, but there are violins in existence by C. G. and C. A. Testore

which prove conclusively that, given the opportunity, these makers were

possessed of skill and abilities of a high order. In these rare cases we

meet with specimens of good form and finish, handsome wood and brilliant

varnish. The average Testore is, however, an instrument which in all or

most of these particulars leaves a good deal to be desired. The bellies

are almost without exception of pine of the best quality acoustically,

but the backs and sides are mostly of plain or small figured native

wood, the heads are mean and pinched looking, sound-holes carelessly

cut, varnish a dull yellow or dirty brown, and many of them are (or

rather were) unpurfled. CARLO GIUSEPPE TESTORE, the first of the name,

worked between about 1680 and 1710. He was a pupil of Giovanni Grancino,

whose label has been found in violins and violoncellos of his make, his

own label being discovered by repairers underneath. This happened in the

case of a violoncello owned by Robert Lindley. His model varies, but it

is absurd, having regard to dates, to class him as an imitator of

Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year

or two earlier. Such resemblance as may exist between the violins of the

two makers is very trifling, and can hardly be said to extend beyond an

occasional similarity in the form of the sound-holes. The varnish is

usually brown or brownish yellow. In some, but not all, of the

instruments a brand mark, representing an eagle, is met with, but the

use of the brand is more frequently observed in the work of his son,

Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the

wood of the backs being mostly pear tree or plain material. He is also

in repute as a double-bass maker. His elder son, CARLO ANTONIO, seems to

have worked until after 1760, and apparently made more violins than his

father. The pattern varies a good deal and it is difficult to say that

he imitated any other maker in particular. Most of his instruments are

branded inside with the double eagle, sometimes in two or more places.

The work is often roughly finished. Bottesini’s favourite double-bass

was an example by this maker. A son, GIOVANNI, worked with him in later

years. PAOLO ANTONIO TESTORE was the younger son of Carlo Giuseppe. He

was at work until after 1760. His violins bear some resemblance to those

of Guarneri. Varnish often palish yellow. Instruments frequently

unpurfled, especially in the backs, but a good many have been purfled by

later hands. He also used the eagle brand, but not invariably. Wood

generally very plain.

THERESS, CHARLES.--London; about 1840-1850. Worked first with Maucotel;

afterwards on his own account in Soho. Mirecourt style.

THIBOUT.--Paris; eighteenth and nineteenth centuries. A well-known

family, most of whom worked in Paris. There were about six makers in

all. The most celebrated was JACQUES PIERRE, born 1779, died 1856. He

was one of the finest workmen of the French school, and his best copies

of Stradivari are less heavy in appearance than those of Lupot and the

tone is more Italian in character. The varnish on such specimens is also

very handsome: red on a yellow basis. His instruments were made in at

least two grades and the better ones now command very high prices. He

obtained several medals, and used labels in various styles at different

dates. It is much to be regretted that his best personal work is not

more plentiful.

THIBOUVILLE-LAMY, LOUIS EMILE JEROME.--Mirecourt, Paris. Born 1833.

Manufactures stringed and other musical instruments on a huge scale, and

of all grades. He has received various medals and employs many workmen.

THIR.--Presburg, Vienna; eighteenth century. Nine or ten makers of the

name. There were two Antons in Presburg, and two in Vienna. One of the

best was ANDREAS, who worked in Presburg until about 1798, and copied

the form of Amati well. JOHANN GEORG THIR was established in Vienna

until after 1790, and made a good many instruments. Varnish dark brown

or dark red. Geissenhof was for a time in partnership with him. Another

good maker of the name was MATHIAS, who was a brother of J. G. Thir and

worked until about 1795.

THOMASSIN, LOUIS.--Paris. Born 1855. A clever bow-maker. Voirin style.

THOMPSON.--London; late eighteenth century. There were several makers,

or rather instrument dealers, in business in St. Paul’s Churchyard.

Instruments vary, and the violoncellos are often better than the

violins. The latter are generally a sort of mixture of the patterns of

Stainer and Amati, with red or yellow varnish, and of no particular

character.

THOUVENEL, HENRY.--Mirecourt; about 1850-1860. Strad pattern; yellow

varnish.

THUMARDT.--Straubing, Munich; eighteenth and nineteenth centuries. Eight

or more makers are named. One of them, JOHANN STEPHAN, worked in

Straubing until 1817, and his work is of some value.

TIEFENBRUNNER.--Mittenwald, Munich; eighteenth and nineteenth centuries.

A family who must not be confounded with the Tieffenbruckers who were

viol makers. Eight or nine Tiefenbrunners have been engaged in the

manufacture of stringed instruments, chiefly zithers. Amongst those who

made violins JOHANN CASPAR, who died about 1769, and worked in

Mittenwald, seems to be best known.

TIELKE, JOACHIM.--Hamburg. Born 1641; died 1719. Is said to have made

violins, but the only instruments seen by the writer were of the lute or

viol class.

TOBIN, RICHARD.--Dublin, London. A fine workman. Was for a time employed

by Perry. Afterwards by Betts and other London dealers, besides working

on his own account. Made some very handsome violoncellos, and violins

chiefly of Stradivari pattern. He died in Shoreditch in about 1836. His

scrolls are wonderful pieces of workmanship; but he was of irregular

habits, and did not always do full justice to his powers.

TOLBECQUE, AUGUSTE.--Paris. Born 1830. A violoncellist, and collector of

old instruments; he made a few violins which are said to be excellent

copies of Italian work.

TONONI.--Bologna, Venice, Rome; seventeenth and eighteenth centuries. An

important family of makers of Bolognese origin. There were two Carlos,

the elder of whom dates from Bologna, and seems to have worked down to

about 1717, or perhaps later. There do not seem to be many of his

instruments about. The relationships between the various members of this

family are uncertain, and the accounts given of them in books on the

violin vary in this respect. Most of the instruments seen are evidently

based upon the form of Amati, but there is a German look about them

which is apparent enough on examining a specimen though not easy to

explain on paper. Many of them are beautifully finished, and built of

handsomely figured wood, and the tone, especially of the violoncellos,

is exceptionally good. A number of the violins are of rather large size,

the arching usually fairly high. Perhaps the best known of the family is

CARLO ANTONIO, who worked in Venice from about 1720-1768. Most of the

fiddles are rather high built, have finely figured backs, and a yellow

or red-orange varnish of very good quality. Name branded above the tail

pin. His second Christian name does not seem to appear upon his tickets.

GIOVANNI TONONI worked in Bologna and apparently in Venice also. His

instruments date from about 1689-1740. Model varies, but is chiefly of

large Amati character. Good yellow or brown-red varnish of clear

texture. FELICE TONONI dates from Bologna and was possibly the founder

of the family, his early tickets dating from about 1670. High model,

good clear varnish. Two other names are mentioned, GUIDO and PIETRO.

TOPPANI, ANGELO DE.--Rome; about 1730-45. High built fiddles. Tecchler

school.

TOROSSI, CESARE.--Novara; about 1840. Little known.

TOURTE.--Paris; eighteenth and nineteenth centuries. Celebrated

bow-makers. Beyond being the father of the famous François, “Tourte

père,” though himself a bow-maker, did not achieve any particular

distinction. He died about 1780. XAVER or SAVÈRE, his elder son, made

some good bows, and some very indifferent ones. FRANCOIS TOURTE was born

in 1747, and died in April, 1835. He made a very large number of bows,

and continued to work until very late in life. They are unstamped, and

save in about two cases, in which he inserted small engraved labels in

the nuts, he used no distinguishing mark or brand to identify his work.

He was admittedly the finest bowmaker who ever lived, but the work of

other French makers is often quite equal in merit to all but his very

best examples, and even then it is more a matter of superb finish than

of practical utility. He probably was mainly instrumental in settling

the correct length of the bow, but beyond this it is very questionable

whether he was the actual “inventor” of the improvements with which he

is credited in books.

TRAPANI, RAFFAELE.--Naples; early nineteenth century. His instruments

are more remarkable for originality than beauty of appearance. Large

violins. Sound-holes pointed; flat arching; varnish reddish brown. The

work is fairly well finished.

TRINELLI, GIOVANNI.--Scandino; early nineteenth century. Large violins.

Powerful tone. Not highly finished. Scarce.

TRUCCO, GIROLAMO.--Savona; about 1840.

TRUSKA, SIMON JOSEPH.--Strahow. Died 1809. A priest who made violins and

other stringed instruments.

TUBBS.--London; nineteenth century. A well-known family of bow-makers.

William Tubbs, father of the present maker, worked with Edward Dodd, and

much of his work strongly resembles that of his master; he was a good

workman. JAMES TUBBS was born in 1835, and is still at work. He has

attained wide celebrity, and many of his bows are beautiful examples of

his art.

TURNER.--London; nineteenth century. Was a well-known dealer and

importer, but seems to have employed workmen. His stamp may be seen on

many instruments of a common class (sometimes with lion heads) of

continental make.

TYWERSUS.--Nancy; sixteenth century. It seems to be doubtful whether he

made violins.

UEBEL.--Markneukirchen, Klingenthal; eighteenth and nineteenth

centuries. There were several makers of the name. Some of them were at

work until very recent times.

UGAR, CRESCENZIO.--Rome; late eighteenth century. Was possibly a German.

Brown varnish. German style.

ULRICH, DIEDERICH.--Hamburg; eighteenth century. Yellow varnish.

Brescian type of work. Some of the instruments have lion heads.

UNGARINI, RAYNALDO.--Fabriano; about 1800.

URBAN, JOSEPH.--Prague, New York, San Francisco. Died 1893.

URQUHART, THOMAS.--London; latter half of seventeenth century. High

built violins. Varnish of beautiful quality.

VAILLANT, FRANCOIS.--Paris; about 1730-80. Scarce.

VAILLANT, NICHOLAS.--Bordeaux; nineteenth century. Red varnish. Well

finished work. Scrolls well cut.

VALENZANO, GIOVANNI MARIA.--Valentia, Rome, Trieste. According to

specimens seen by the writer the pattern varied somewhat. Work very well

finished; sound-holes and scroll well cut; medium size violins with

yellow or reddish yellow varnish of good quality, and resembling

Neapolitan, but softer in texture. He worked in various places (chiefly

Rome), and used both written and printed labels. Dates between about

1790 and 1825.

VALLENTINE, WILLIAM.--London. Died about 1877. Worked for many years for

Hart. A good repairer. Chiefly known as a double-bass maker.

VANDELLI, GIOVANNI.--Fiorano (Modena). Died 1839.

VANDERLIST.--Paris; late eighteenth century. Instruments branded. Said

to have copied Guadagnini.

VANGELISTI, PIER LORENZO.--Florence; about 1730. Rather indifferent

work; somewhat high built. Seemingly scarce.

VAROTTI, GIOVANNI.--Bologna; late eighteenth century.

VAUCHEL, JEAN CORN.--Mayence, Wurzburg, Damm. Died 1856. Was a dealer

and repairer as well as a maker. He was patronised by Paganini and

Spohr. His monument describes him as one of the most famous violin

makers in the world. He seems to have been a workman of ability, but his

instruments are little known in this country.

VENTAPANE.--Naples; eighteenth and nineteenth centuries. Three makers of

this name date from Naples. Their work belongs to the Gagliano school.

Instruments of their make have been sold as genuine Gaglianos. The best

known of them is LORENZO, who dates between about 1800-30. Handsome

wood, good yellow-orange varnish. VINCENZO VENTAPANE worked down to

about 1800, and produced some useful instruments. PASQUALE VENTAPANE was

an inferior workman.

VERINI, SERAFINO.--Arceto, Cascogno (Modena). Died 1868. He was a land

surveyor who made instruments for his amusement. Andrea Verini, who was

perhaps a son, also made instruments.

VERMESCH.--Beaumont-sur-Oise. A priest who worked at fiddle making about

1780-1810.

VERON, ANTOINE.--Paris; about 1720-50. Pierray school of work.

VERON, PIERRE ANDRÉ.--Paris; eighteenth century.

VETRINI.--Brescia; about 1630.

VIEDENHOFER, BERNARD.--Pesth (Budapest); late eighteenth century.

Brescian style of work.

VIGNERON, JOSEPH ARTHUR.--Paris; contemporary. A bow-maker of

considerable ability. Worked for some years with Gand and Bernardel.

VIMERCATI, PIETRO.--Venice; about 1640-60. Said to be an imitator of

Amati. There is a tradition that Stainer worked with him.

VIMERCATI, PAOLO.--Venice; seventeenth century. Amati style according to

accounts.

VINACCIA.--Naples; eighteenth and nineteenth centuries. A very large

Neapolitan family. Violins bearing their labels are met with, but they

are noted more as mandoline makers.

VISSENAIRE, L. NICOLAS.--Lyons. Died 1890. A good workman.

VOEL, JACOB.--Mayence, Frankfort-on-the-Maine; about 1840. Well made

violins; Stradivari pattern; sound-holes rather wide open; scrolls well

cut.

VOGLER, JOHANN GEORG.--Wurzburg; first half of eighteenth century.

VOIGT.--Markneukirchen; eighteenth and nineteenth centuries. A veritable

swarm of makers of the name are enumerated. Upwards of thirty have been

engaged in the fiddle business, and one or two of them have had

branches of their establishments in this country in very recent years.

VOIRIN, FRANCIS NICOLAS.--Paris. Born 1833; died 1885. A celebrated

bow-maker. His pattern has been much imitated by modern French makers,

such as Lamy, Sartory, and several others.

VOLLER, WILLIAM.--London. Born 1860. A most skilful imitator of old

Italian work. His “facsimiles” have puzzled many by no means uninformed

observers by their close resemblance to genuine Italian masterpieces,

and have in some instances been productive of law suits. He imitates the

appearances of wear with perhaps greater skill than any other workman

who has practised the art, not even excepting Vuillaume and John Lott.

Two or more brothers are, or were recently, employed in the same line of

business.

VUILLAUME.--Mirecourt, Paris, Brussels; eighteenth and nineteenth

centuries. The name is probably known wherever the violin is in use

owing to the wide celebrity attained by the principal maker of the

family, which was of Mirecourt origin. About ten Vuillaumes have been

engaged in fiddle making. Four named Claude or Claude Francis operated

in Mirecourt from about 1625-1865. Claude Vuillaume II. died in

Mirecourt in 1834. Instruments of his make are branded on the backs “Au

roi David,” Paris. JEAN BAPTISTE VUILLAUME, who made the name famous,

was born in Mirecourt in 1798, and was a son of Claude Vuillaume II. He

died in Paris in 1875, and at the time of his death his workshops had

turned out upwards of three thousand instruments. This fact speaks for

itself, and though he was personally a workman of consummate skill and

employed assistants of much ability, there can be no question that the

world would have been richer in really first-class examples of the

copyist’s art had he been content to limit his output to more modest

dimensions. But Vuillaume was a keen business man, and knew well enough

that extensive production was the one and only way to amass a fortune in

the manufacture of new fiddles. The story of his life has been told time

and again in books on the violin, and there is no need here to repeat

it. He has left some of the finest copies of Stradivari that were ever

made, and many that, from a tone point of view, are of little or no

account. The instruments made from artificially matured wood, of which

many exist, are disastrous failures, and it is fortunate that he

desisted after some time from producing such things. His violoncellos

are useful instruments, and generally possess a fine tone. He was a fine

judge of old Italian work, and many notable violins and basses passed

through his hands. NICOLAS VUILLAUME, his brother, worked in Mirecourt,

and died there in 1871. His work is fair, but of the trade class. He was

the maker of the so-called “Stentor” violins. NICOLAS FRANCIS VUILLAUME,

another brother--born 1802, died 1876--worked for a time with J. B.

Vuillaume, and afterwards went to Brussels, where he was for many years

in business. He was maker to the Conservatoire there, and received

medals. He was a very fair workman, but much inferior to his brother in

ability. SEBASTIEN VUILLAUME, a nephew, died in 1876, and was not

particularly distinguished. He also worked in Paris.

WAGNER.--Eighteenth and nineteenth centuries. Nine or more makers are

mentioned bearing the name. They worked in different parts of Germany.

Benedict Wagner, Elwangen, was at work in that place between about 1720

and 1790. Pattern varies, but they are usually high built. Yellow-brown

varnish. He branded his name on the backs. Another Wagner, named Joseph,

worked in Constance in the eighteenth century.

WAMSLEY, PETER.--London; first half of eighteenth century. He was the

founder of a school of makers, and several workmen, such as Thomas

Smith, Joseph Hill, and others, worked with, or imitated him. His

instruments are of Stainer pattern, and he generally used prettily

marked wood for his backs. Varnish varies in colour, but is chiefly dark

red or red-brown. He made a number of violoncellos. Work often

unpurfled.

WARNECKE, L. GEORGES.--Nancy; about 1820-30. He branded his violins with

a curious monogram under the bridge.

WASSERMANN, JOSEPH.--Znaim; late eighteenth century. Examples scarce.

Well-made instruments with orange-brown varnish.

WEBER, MICHAEL.--Prague. Died 1844.

WEICHOLD, RICHARD.--Dresden. A well-known manufacturer of stringed

instruments and accessories. Many of the bows bearing his stamp are

excellent. He died in 1902.

WELLER.--Markneukirchen; nineteenth century. Several makers of the name

are mentioned, but amongst the various Christian names that of “Samuel”

does not occur.

WENGER, GREGORI FERDINAND.--Augsburg; eighteenth century. Stainer

character of work. Varnish red or dark brown.

WERNER.--Nineteenth century. A numerous family originating in Schönbach.

A maker named FRANZ WERNER worked in Vienna until about 1825 and was a

pupil of Geissenhof. Careful work. Stradivari pattern.

WETTENGEL.--Markneukirchen; nineteenth century. A family of instrument

makers. One of them (Gustav Adolf) wrote a book on violin making.

WHITAKER.--London; about 1810-29. Button and Whitaker were instrument

dealers. The name may be seen on violins and violoncellos of mediocre

workmanship.

WIDHALM.--Nuremburg; eighteenth and nineteenth centuries. A fairly

numerous family of makers, the chief of whom was LEOPOLD WIDHALM, who

was born in 1722 and died in 1776. He was a prolific workman and a good

many of his fiddles are in this country. He copied Stainer with much

ability, but generally overdid the arching. His varnish is usually red,

and of very good quality. There is a good deal of sameness about his

work. He made some fine violas. His initials are generally seen stamped

under the labels. Several sons were also makers. The second of them,

GALLUS IGNATIUS, died in 1822.

WILFER.--Nineteenth century. There have been several German makers of

this name.

WILLEMS.--Ghent; seventeenth and eighteenth centuries. Three makers of

the name are known. Good work of the Amati school.

WILLER.--Prague; eighteenth and nineteenth centuries. Three makers

known. Johann Michael Wilier died in 1826, and was a tolerably good

workman.

WISE, CHRISTOPHER.--London; middle of seventeenth century. A violoncello

attributed to this maker was seen by the writer in London recently, but

was not a very interesting specimen. The violins are occasionally met

with and have very good varnish. Size rather small.

WITHERS.--London; nineteenth century and contemporary. Well-known firms

of London dealers and repairers. The founder of the business was EDWARD

WITHERS, who died about 1870. He was a maker of decided ability and made

some instruments of high-class finish and workmanship. He also employed

some excellent workmen, amongst them Boullangier (_q.v._). A son of the

same name was a pupil of Lott and carried on business in Wardour Street.

He died in 1915, and the business is continued by his sons. GEORGE

WITHERS, another son of the first Edward, established a successful

business on his own account, and retired some years ago. The firm is now

“George Withers and Sons,” the partners being two of his sons, GUARNERI

and WALTER, both of whom underwent a course of training in Mirecourt.

WOLFF, BROTHERS.--Kreuznach; contemporary. Well-known manufacturers of

instruments of the “factory” class.

WORLE AND WORNLE.--Makers bearing these names worked in various parts of

Germany and in Vienna. Seventeenth and eighteenth centuries.

WUNDERLICH.--Markneukirchen; nineteenth century. Several of the name.

ZACH, THOMAS.--Budapest, Vienna. Born 1812; died 1892. He was a very

fine workman. His copies of Stradivari and Guarneri are beautifully made

and take high rank amongst modern productions. The varnish on many of

them is of excellent quality. A son, CARL ZACH, invented a process for

impregnating the wood of his instruments to improve the tone. Judging by

examples seen by the writer it did not have the desired effect.

ZACHER, FRANZ.--Ingoldstadt; early eighteenth century. High built

instruments. Careful work and handsome wood. Specimens scarce.

ZANETTO.--Brescia; late sixteenth and early seventeenth centuries. His

name appears to have been Peregrino, or Pelegrino, Michelis di Zanetto,

but he is usually referred to as “Zanetto.” He certainly made violas of

the large, or “Tenore” class, but as to what other instruments of a type

now in use he really made there seems to be some doubt. Messrs George

Withers and Sons possess a viola of his make.

ZANFI, GIACOMO.--Modena. Born 1756; died about 1822. According to labels

was a music teacher who made violins and larger instruments.

ZANOLI, GIO. BATTISTA.--Verona; 1730-57 Seemingly a mediocre maker.

ZANOLI, GIACOMO.--Venice, Padua, Verona; about 1740-60.

ZANOTTI, ANTONIO.--Mantua; eighteenth century.

ZANTI, ALESSANDRO.--Late eighteenth and early nineteenth centuries.

Worked in Mantua. Work well finished. Chiefly Stradivari pattern.

ZWERGER.--Mittenwald; eighteenth and nineteenth centuries. A family of

makers of Mittenwald origin. Several of them worked in Neuberg.

ADDENDUM

AMATI, HIERONYMUS II.--Since the notice of this maker was written

(_vide_ page 139) the writer has met with two violins labelled prior to

the year 1700. One of these is dated 1689.

PRINTED IN ENGLAND BY WILLIAM CLOWES AND SONS, LIMITED,

LONDON AND BECCLES.

[Illustration]

FOOTNOTES:

[A] Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor

tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end

blocks or linings, inside the instrument, add any particular value to

the violin if original. Most of these items are, in a well-fitted old

violin, _modern_. The vital parts for curio valuation are the head,

top, back, and ribs.

[B] The violins produced in any part of _modern_ Italy as a rule

possess repute no higher than those made in other countries. So long

ago as the latter years of the eighteenth century it became necessary

for the Italian workmen to seek information in the art from Paris and

other cities of France. As for Cremona of the present day, it may

almost be said that, as a violin centre, it is not seriously considered

at all. I believe some effort has recently been made to revive its

ancient glories, but the success of the venture is still very much in

doubt.

[C] It has been variously estimated that Stradivari constructed during

his lifetime between 1000 and 1500 instruments.

[D] Antonio Stradivari is the best known of all violin makers of

past times, and it is solely for this reason that we use his name

so frequently when referring to the old makers, rather than that of

another less familiar.

[E] “We unhesitatingly assert that modern violin-makers have a choice

of material equal in every respect to that which existed at the time of

Stradivari.... We may here add a word as to the delusion that material

taken from buildings, such as for instance Swiss châlets--in some cases

centuries old--is preferable to that cut and seasoned during a lesser,

but still a sufficient, number of years. We have tried both kinds ...

and we fail to find that the former has any real advantage over the

latter; in fact, our opinion is rather in favour of the more youthful

wood.”--Messrs. Hill, “Antonio Stradivari,” p. 173.

[F] A potent factor in retarding a general recognition and revival

of tone is that modern violin makers are all too frequently looked

upon--and look upon themselves--as mere carvers of wood, and are judged

almost entirely from that standpoint. Perfection of workmanship and

such artistry as each maker may achieve, rather than the tone-merit his

instruments may possess, seems the only existing method of indicating

his status as a violin maker. Aside from other considerations, this

renders his position difficult in the extreme, the violin offering

little scope (as in the plastic and kindred arts) for originality; and

any departure from convention is apt to be characterised as freakish,

whilst all possible refinement of detail seems long since anticipated.

[G] These principles, as we have endeavoured to explain, are as old as

the violin itself.

[H] It has long been considered by many who seek to duplicate the

tone of the old master violins that the more perfectly size, outline,

arching, thickness--or model--is copied, the more chance of securing

the desired tone. Notwithstanding the lack of success attending such

efforts, copying is still extensively practised and _relied upon_ for

tone production.

[I] Many violins of little tonal worth, but by a more or less famous

ancient maker, are advertised in a manner calculated to fire the

imagination of the reader and effect a sale through an appeal to

romantic sentiment. It is for this reason that so much is said about

the maker, his times, master, family, etc., and so little about the

tone of the particular instrument.

[J] “The copies of Stradivari by Jacob Fendt are among his best

efforts. The work is well done; the dicoloration of the wood cleverly

managed, and the effect of wear counterfeited with greater skill than

has ever been done before or since, and finally, an amount of style

is thrown into the work which transcends the ingenuity of any other

copyist.”--“The Violin,” G. Hart, page 297.

[K] “Violin Making as it Was and Is,” Ed. Heron Allen, London, 1885.

[L] A rather popular belief is that all old violins by a certain

celebrated maker, or new ones by a modern maker, are alike in tonal

worth. This is not the case, and the fact should be carefully

remembered. The variation is not due so much to the vicissitudes of a

long and strenuous existence on the part of the instrument as to those

human limitations which render it impossible for a master in any art to

copy himself with unfailing regularity and success.

[M] This number may appear large, but we believe it is under, rather

than over, the mark. Some of the makers of later times, now, however,

ranking as “old,” turned out from their shops as many as 2,500

instruments. If the 900 makers produced an average of 100 violins each

during their lifetime, the total would amount to 90,000.

[N] While most of the great dealers throughout the world are either

good judges of tone themselves, or employ those who are, they cannot,

as vendors, be considered impartial. It is only fair to say they

recognise this, and prefer that the prospective buyer form his own

opinion.

[O] In the Correspondence Department of _The Strad_ for May, 1916, we

find the following: “I think his (Stradivari’s) varnish was purely

and simply got by a visit to his fowl-shed, and the selection of half

a dozen brown-shelled eggs therefrom, simply breaking in a dish,

beating the contents well together, removing the froth, and applying

the residuum at once to his finished violins.... I believe this is the

long-sought solution of the means employed by Strad to finish off his

violins.”

Typographical errors corrected by the etext transcriber:

succed in tone=> succeed in tone {pg xv}

approximateiy accurate=> approximately accurate {pg xvii}

be more worthy the=> be more worthy of the {pg 50}

ridiculous claims or=> ridiculous claims of {pg 107}

GLASS.--Klingeuthal=> GLASS.--Klingenthal {pg 170}

HAÜSSLER, GUSTAVE=> HÄUSSLER, GUSTAVE {pg 187}

enumerated by von Lutgendörff=> enumerated by von Lütgendorff {pg 244}

EGIDUIS, _circa_ 1700-30=> EGIDIUS, _circa_ 1700-30 {pg 249}

Moscrow, Prague=> Moscow, Prague {pg 249}