JACOBS, ---- Amsterdam, 18th Century. This maker imitated the Amatis
and produced some good instruments after their Models which also
partook of their sweet tone but had little power. One authority we have
consulted calls this maker a pupil of Amati, and states that he used
whalebone purfling.
JAYE, HENRY, London, 1615. Of this maker we have not been able to find
any account unless it be to him that Mace (1676,) refers when he says,
speaking of the makers of Viols, "Of such there are no better in the
world, than those of Aldred, Jay, Smith" &c. He was certainly an
excellent maker judging from an instrument we have seen which has been
converted into a small Violoncello with four strings. It is handsomely
finished, with ornamental purfling and good varnish and a well carved
head. As a small violoncello the tone is also very good. Dated "in
Southwarke," 1615.
JAY, THOMAS, London, about 1700.
JAY, HENRY, London, 1750. It appears that this artiste was best known
as a maker of Kits, which were very well made and for which he obtained
the extraordinary price in those days of five pounds each. When we
remember that four pounds was the price that Stradiuarius got for his
best violins in his life time, and from an anecdote told by Mr.
Forster, that Cervetto could not even get that price for some he got
direct from the maker, we see one of those extraordinary freaks of
fashion for which, to use the expression of my Lord Dundreary, no
fellow can account.
JAUCH, ---- Dresden, about 1765, is said to have made good instruments
on Cremona models, and is generally placed among the good German
makers.
JOHNSON, JOHN, London, 1753.
JULIANO, FRANCISCO, Rome, 1700.