PREFATORY NOTE

In the following pages the author has endeavoured, so far as limitations of space and other circumstances would admit, to incorporate the results of observations made during a very long period of years.

Since the year 1877 he has been a more or less assiduous student of old violins and kindred instruments, and has had perhaps exceptional opportunities of handling and examining some thousands of examples of the different schools of violin-making.

Though the work does not, perhaps, come appropriately within the definition of a dictionary of the subject of which it treats, it will be found to contain notices of a considerable number of makers who have not been dealt with in previous English works on the violin.

In deciding the somewhat difficult question as to what names should be included and what rejected, the author, who has for several years been a contributor to the Strad magazine, has found his experience of the correspondence department of that journal of frequent assistance in arriving at a conclusion, as it has been possible in the light of such experience to form some sort of estimate of the nature of the information most likely to be of use to violin players and owners of stringed instruments generally.

Most of the previous works of this kind will be found to contain numbers of names of old viol and lute makers who are not known to have made violins, such as Dardelli, Duiffoprugcar, and many others; but by omitting these, almost in toto, it has been possible to include a number of minor workmen whose instruments possess merit, without unduly increasing the bulk of the book.

To deal in anything like detail with the huge army of makers of German origin is a task which no English writer has had the temerity to attempt, nor would any useful purpose be served by so doing in a work intended for English readers. Those who desire more precise information on that branch of the subject than is hereinafter conveyed are recommended to refer to the two portly volumes of the German writer, von Lütgendorff, who, with characteristic Teuton thoroughness, seems to have hunted up nearly every one of his countrymen who ever made a fiddle. The work in question is indeed a monument of literary industry and research.

A number of the more recent Italian makers, whose work has come into prominence during the past twenty-five years, have been noticed in somewhat more detailed fashion than has usually been adopted in books of this kind, and an attempt has been made to deal in the same way with a few makers of the French school whose names, for some reason or other, have previously received somewhat meagre attention.

Stradivari, and some of the other Italians of the first rank, have already been handled so fully in works which will be found mentioned in the text that the facts already published concerning them have been digested so far as possible, to enable them to be succinctly presented, and to make room for other matter.

Bexhill, August 21, 1916.

ABSAM, Thomas.—Wakefield; nineteenth century to about 1850; said to have been of Tyrolese birth. Worked for Pickard of Leeds, and on his own account.

ADAM.—Mirecourt. A family of bow-makers of whom the best was Jean Dominique, who worked to about 1860.

AIRETON, Edmund.—London. Died about 1807. A maker of the style and period of Peter Wamsley. Worked for the dealers, Norris and Barnes.

ALBANI.—Late seventeenth and first half of eighteenth centuries. A family of violin makers originating at Botzen in the Tyrol. The chief maker, and the founder of the family, was Matthias, who was born in 1621, and died at Botzen in February, 1712. Most authorities mention two different individuals named Matthias, but it seems to be established that there was but one. Matthias Albani’s work belongs chiefly to the school of Stainer, but the later and better examples show distinct traces of Italian influence, and are built upon lines more approximating to the Amati school. The arching is much less pronounced than that of older specimens, in which it is often extravagantly high; outline and sound-holes, though never losing entirely their German cut, are more Italian-looking, and the varnish, usually a brilliant red-brown, is either identical in composition with that used by Italian workmen of the period, or closely allied to it. The tone of his better instruments is excellent. The wood used is of good quality and frequently handsome. Examples with lion and other ornamental heads occur. He made violins, tenors, and basses, and the larger instruments are held in high esteem amongst players. Tradition has it that he worked for some time at Cremona or elsewhere in Italy, but anything like tangible evidence in support of this appears to be lacking. His name has been made free with by forgers and imitators, and may be seen in all sorts of worthless fiddles, ancient and modern. Spurious labels, dated in the year 1690, abound. His ordinary label reads, “Matthias Albanus fecit Bulsani in Tiroli,” with date. Other makers of the family were Michael, a son who worked chiefly in Gratz, where he died in 1730; Joseph, a younger son, who assisted him, and died at Botzen in 1722; and Joseph Anton, a nephew, who died at Botzen in 1771.

ALBANI.—Mention is made of makers of this name working in different parts of Italy in the seventeenth and eighteenth centuries. One, named Paolo, is said to have operated in Palermo, Rome, and Cremona.

ALDRIC.—Paris. Eighteenth and nineteenth centuries. Was living in 1843. One of the best of the French makers of the Lupot School. He was also well-known as a dealer. Excellent work and material. Stradivari model, and usually rather dark red varnish. Instruments frequently rather heavy looking in build. He used chiefly printed, but also written labels, and worked in Paris at various addresses. His violins and other instruments have sometimes been relabelled and sold as the work of Nicholas Lupot.

AMATI.—The family name of the founders of the celebrated school of Cremona. Their record as makers begins about the middle of the sixteenth century, or perhaps a little later, and ends in 1740. The pioneer of the family was Andrea, the date of whose birth is unknown, but there is evidence in the Archives of Cremona showing that he was alive in 1611, and buried his second wife in that year. The appearance and general character of his works point to Brescia as the school from which he derived his inspiration, but beyond tradition there is no evidence to prove that Bertolotti (known as Caspar da Salò) was his actual master. Very little of his authentic work is now in existence. A few violoncellos, and some bass and double bass viols survive, and a very few violins of small or three-quarter pattern. A wellknown example of these last was put up to auction in London recently. The arching of the instruments is high, the sound-holes, of Brescian type, are rather wide open, the wood and workmanship good, the backs of the violins generally in one piece cut slab wise. The labels seem to be dated in Roman numerals. It was this maker’s sons, Antonius and Hieronymus, more especially the latter, who produced the type of violin which will ever be associated with the name of Amati. They worked in partnership during their joint lives, but their individual workmanship is distinct; Antonius, the elder brother’s instruments retaining certain Brescian characteristics which were wisely discarded by Hieronymus, who produced examples of great elegance of form, and possessing a tone which for beautiful quality has never since been surpassed. The date of Antonius’s birth has not been discovered, nor that of his death, but it is generally believed that the latter occurred after the year 1640. Hieronymus’s birth-year is also undiscovered, but there is an entry in Cremonese registers, proving that he died of the plague in November, 1630. The violins bearing the label of the firm vary in size, and a considerable number still survive, the larger and rarer specimens, measuring about 14 inches in length of body, being of more value than the smaller patterns. The usual label of the firm is “Antonius & Hieronymus Fr. Amati Cremonen Andreae fil. F. 16....” The brothers are credited by Messrs. Hill, of Bond Street, with having been the earliest makers known to have produced violas of the smaller dimensions, measuring about 16¼ inches long, which is now accepted as the standard length for the viola. Their violoncellos were of large size—well over 30 inches long—but appear to have been all, or almost all, reduced, to fit them for modern playing. In the violins slab backs in one piece are frequently seen, but many of them, especially those of later date, have jointed backs, the wood of which is cut “on the quarter.” Numbers of labels exist or are cited in books, bearing dates long after the deaths of both brothers must have occurred. No very satisfactory explanation of this seems to be forthcoming unless we assume that Niccolò Amati, the son of Hieronymus, and the most celebrated maker, continued to use the style and tickets of the firm for a long period before finally adopting his own label. We may now turn to Niccolo Amati, who was born in Cremona on December 3, 1596, and died there on April 12, 1684. An earlier Niccolò is mentioned as having been a brother of Andrea, and the name has been copied time and again by successive compilers of lists of makers. Nothing whatever appears to be known of such a person, and there is no good reason for supposing that he ever existed. Niccolò, son of Hieronymus, closely followed his father’s pattern and teachings for a considerable time, and does not seem to have begun to use the ticket with his own name until about 1640, by which time he would be forty-four years of age. He made violins of varying sizes, the ordinary type being about 13⁷/₈ inches long. His sound-holes are generally similar in design to those of his father, but in later work the opening is frequently rather wider, and the angle at which it is set in the instrument a trifle more slanting. He also extended the arching in some of his work, carrying it nearer the sides, and somewhat diminishing the grooves running around these. The term “Grand Amati” which is associated with his name was at one time well understood to apply to a type of violin 14 inches long, with rather produced corners, and a somewhat sudden dip beginning not far from the centre of the back and belly, forming in fact a distinct ridge in the long axis of the instrument. But the term “grand” appears nowadays to be loosely applied to almost any Niccolò Amati violin of somewhat larger size than the ordinary pattern above mentioned. In addition to greater length measurement, the Grand Amati exhibits considerably greater width, which is especially noticeable in the upper portion of the body. On these large violins the enhanced fame of this great maker chiefly rests, and their money value is much greater than that of the smaller forms. They are very scarce, and there is strong reason to suppose that some of the few which exist were largely, if not altogether, the handiwork of pupils, amongst whom may be mentioned Andrea Guarneri, although that maker in his own signed work does not very often follow that pattern. It has been adopted with success by several other makers of high repute, e.g. Francesco Ruger, Sanctus Seraphin of Venice, Jacobs of Amsterdam, Banks of Salisbury, Vincenzo Panormo (rarely), and hosts of other copyists. Stradivari does not seem to have been attracted by it, and only in one or two minor features do any of his known works exhibit any resemblance to it. Niccolò Amati’s varnish is generally of the yellow type associated with the works of earlier members of his family, and the wood used for the backs and sides is of native growth and small, though often very handsome, figure. In some later work wood with a broader curl may be seen, but examples are rare. The violoncellos were originally of large size, but are seldom or never seen uncut. Niccolò Amati had numerous notable pupils and followers, the most important being, of course, Antonio Stradivari. Of these there is not space to append a list, but their names and work will be found noted in the following pages. There is good reason to believe that for at least ten years prior to his death he did not take much active part in the business of his workshop. Hieronymus Amati II., born 1649, died February 21, 1740, was the third son of Niccolò, and apparently the only one who was a violin-maker. It is now well recognised that he was a workman of much ability, and there is no room for doubt that numbers of the instruments made in the latter part of his father’s lifetime were either wholly or partially his handiwork. Many violins dating from about 1670, and bearing genuine Niccolò Amati labels exist, which exhibit a very high degree of finish, great neatness of workmanship, and other characteristics which do not appear in examples by other workmen employed by Niccolò, but which, when compared with instruments admittedly made by Hieronymus II. after his father’s death, are sufficient to proclaim their authorship. In these the cutting of the scrolls and sound-holes is clearly the work of a maker in the full maturity of his powers. The varnish on some, at least, is of a somewhat redder hue than the typical Amati yellow, and the rise of the arching more gradual. The instruments are not after the grand pattern in their design and proportions. Messrs. Hill suggest that Stradivari may have been concerned in the making of some of them, as probabilities point to that maker having continued to work for Niccolò (besides working on his own account) down to the time of his death. Hieronymus II. continued to produce and repair instruments after his father’s death, and his label, stating that he executed repairs, may still be seen in a few old instruments. The writer has seen more than one such. When he first began to insert his own labels in his work does not seem to be clear, but most of those cited in books, and all seen by the writer, have been dated after 1700. In most of his tickets he states that he was Niccolò’s son. For some reason—possibly because his father’s death left him in easy circumstances—specimens made by him after that event are by no means plentiful, and the information about them contained in most of the books on the violin is meagre, unreliable, and quite fails to do justice to his undoubted abilities. A fine violin of his make, dated 1710, is figured in the last edition of the work on “Violin Makers” by the German writer, von Lütgendorff.

AMATI, Nicolaus.—Bologna; about 1720 to 1740; commonly called “Dom Nicolaus Amati;” was a priest who made violins and other instruments of moderately good workmanship and fair tone. The writer has met with two or three violins and a viola of his make. It is not known if he was related to the Cremonese family.

AMBROSI, Petrus.—Rome and Brescia; first half of eighteenth century. According to labels the maker was a Cremonese, and in some the name is spelt “Ambrogi.” Moderate workmanship and varnish. Rough Stradivari pattern. The name may not unfrequently be seen in common fiddles, such as are sold in pawnshops.

ANDERSON.—At least three makers of the name worked in Scotland during the nineteenth century; one named John was a pupil of Matthew Hardie and a prolific workman. He lived chiefly in Aberdeen, and died there in 1883.

ANTONIAZZI.—The name of several makers in Italy in the last century. Gaetano (died 1897 in Milan) was a good workman, and obtained medals for his productions; another, Romeo, was working in Cremona recently, and makes instruments in various styles, but has a model of his own.

AUDINOT.—A Mirecourt family of the nineteenth century who have made many useful instruments. The best known is Nestor Dominique, born in 1842, who is in good repute both as a maker and repairer in Paris.

BAADER, J. A. AND Co.—Mittenwald; contemporary. A well-known firm who manufacture instruments of various classes on an extensive scale.

BACHMANN.—The name of several German makers; the two best known, Anton and Karl Ludwig, worked in Berlin in the eighteenth century.

BAGATELLA, Antonio.—Paduna. Died in 1829. Instruments scarce. Writer has seen one or two double-basses of some merit which were assigned to him. Best known as the writer of a pamphlet, published in 1782, on scientific violin making.

BAILLY, Paul.—A well-known modern French maker, who worked in Mirecourt, Paris, and London. He was a pupil of J. B. Vuillaume, and died recently.

BAIRHOFF, Giorgio.—Naples; latter half eighteenth century. Like several other makers working in Naples he was of German origin. Has produced useful instruments of the Gagliano type.

BALDANTONI, Joseph.—Ancona; 1784-1873. Was a clever mechanic and an inventor in a small way; he has left a number of well-made instruments of good form and tone.

BALESTRIERI, Tommasso.—Mantua; appears to have worked until after 1770. His instruments have long been appreciated amongst players on account of their tone, which is usually of a rich sonorous quality. He was an unequal workman, some of his violins and basses exhibiting a high amount of finish, whilst others leave a good deal to be desired in this respect. On some specimens the varnish is of excellent quality, but there are others in which it is much inferior both in appearance and texture. He seems to have used a variety of labels, from which it appears that he was a native of Cremona. Spurious tickets are fairly plentiful. The form of his violins bears a rough general resemblance to some of those of Stradivari, but he is no longer accounted a pupil of that maker, as was formerly the case. He is said to have worked in Cremona until 1757, when he removed to Mantua. The writer has seen a considerable number of his instruments, but does not recall meeting with specimens dating from Cremona. Messrs. Hill, in their monograph on Stradivari, state that he was a pupil of Peter Guarneri (“Peter of Mantua”). Some of his violoncellos are exceptionally good. Another Balestrieri, named Peter, worked in Cremona, and in his tickets calls himself a pupil of Stradivari.

BANKS.—The name of a Salisbury family of makers, of whom the best was Benjamin, born 1727, died February, 1795. His work belongs to the school of Wamsley. Copied Amati with uncommon skill, and instruments have sometimes been re-labelled, and passed as the work of Niccolò. He used on his best productions a very fine reddish-brown varnish, which resembles Italian. Violins and violoncellos are substantially built, and have stood wear well. The violoncellos are splendid instruments, and the larger ones fetch high prices; some of the violins are also excellent, and the resemblance to Amati work is close. In the sound-holes he did not always succeed in catching the true form of the originals he copied. They bear a resemblance to those of Stainer, and the scrolls in all his work are German in character and cut. He stamped the blocks and interiors of many of his productions with his initials, but some of his finest efforts are unstamped. He was assisted by various workmen, including three sons: Benjamin, who also worked in London, and Liverpool, where he died in 1820; Henry and James, both of whom died in Liverpool in 1830 and 1831, respectively. He made instruments of inferior quality for the trade, some of which bear the stamp of Longman and Broderip.

BARNES, Robert.—London. Died 1794. Principally known as a dealer, and member of the firm of Norris and Barnes.

BARRETT, John.—London; to about 1740. Long-bodied, high-built instruments, having ink lines in place of purfling. Tone small, but generally of good quality.

BARTL (or Partl).—Vienna. The name is usually spelt “Partl” in labels. Several makers of this name worked in Vienna in the eighteenth century. In some specimens the work is good.

BARZONI.—The trade name of a well-known class of modern cheap instruments made on the Continent. They are well made, and the tone is usually good.

BAUSCH.—Dresden and Leipzig; nineteenth century. A family chiefly noted as makers of bows, many of which are highly esteemed, but there are many spurious specimens about.

BEARE, John and Arthur.—London; contemporary. Well known dealers and repairers. Arthur Beare is an excellent repairer, and a sound judge of old instruments.

BELA, Szepessy.—Contemporary. Born in Buda Pesth, and well known amongst English amateurs.

BELLOSIO, Anselmo.—Venice; eighteenth century. Said to have worked with Serafino. Tone usually good, but instruments are of unequal merit and workmanship.

BERGONZI.—A celebrated Cremona family of makers, the last of whom, Benedetto, died in 1840, and seems to have been chiefly occupied as a repairer. Carlo, an artist of the first rank, was born in or about the year 1686, and is said to have died in 1747. The date of birth was discovered by the late Signor Sacchi, who ascertained from the Registers of the suppressed Church of San Matteo in Cremona, that Carlo Bergonzi was living in 1746 in the house formerly occupied by Stradivari, and his age was stated to be sixty years. Two of his sons, Michael Angelo and Zosimo, were then living with him. He worked with and for Stradivari, and in some of his instruments copied him with great exactness. In other examples he introduces modifications of the great master’s patterns; these are chiefly noticeable in the form of the sound-holes, which are of slightly pointed form, and the corners, in which a decided droop is observable. The boss of the scroll is frequently more prominent than in Stradivari violins. The arching varies, but the declivity is generally inclined to flatness. Wood usually very handsome, and varnish of different shades, from amber to deep red. It is of beautiful quality, and apparently similar in composition to that of Stradivari. The violins are from 13⁷/₈ to 14 inches long, and, so far as writer’s experience goes, he did not exceed the latter measurement. The tone of great beauty, but distinct from that of Stradivari. His fiddles have been repeatedly relabelled and sold as the work of Guarneri, del Gesù, and genuine labels are not very plentiful; even in his own work the dates and tickets cannot always be relied on, as they have in some instances been inserted to replace forged Stradivari and Guarneri labels, attached by unscrupulous dealers and others. Some of the better judges question the existence of either violas or violoncellos of his make, but very fine examples of both forms of instrument exist which have been assigned to him by connoisseurs of the first rank. The same remark applies to a few double-basses of great merit whatever their authorship. Strange as it may seem, none of his sons would appear to have used varnish of the true Cremonese type. Carlo’s name and label may be found in many instruments, both genuinely old, and of the “modern antique” class, with the making of which he had nothing to do. Nicolò, his eldest son, is supposed to have worked until about 1782. He was a good workman, and seems to have made many instruments, but they are very inferior in style to those of his father. Wood and varnish are of second-rate quality, the latter, judging by appearances, being of a hard alcoholic nature. Michael Angelo Bergonzi, the second son, was born, according to the registers quoted from by Sacchi, in 1722, and worked until about 1765-70. The finish is very passable, but pattern generally inelegant, the corners in some examples being elongated in unsightly fashion. The third son, Zosimo, born 1725, worked until about 1780, according to dates in instruments. It is said that his violoncellos are his best instruments. The writer has not met with any, but has seen a few violins of good tone, large pattern, somewhat high arching, and outline of Amati character. The varnish, a somewhat dull dark red, of soft quality. A second Carlo, who died about 1820, and was a son of Michael Angelo, seems to have been chiefly a guitar maker, and repairer of instruments.

BERNARDEL.—A well-known family of makers and dealers who carried on business in Paris in the nineteenth century, and were associated with the equally well-known Gand family under the style of Gand and Bernardel. The founder was Auguste Sebastien Philipp, born at Mirecourt in 1802, died 1870. Worked with Lupot, and later with the elder Gand. A clever maker whose instruments are in high esteem. Other members of the family were Ernest Auguste, died Paris, 1899; Gustave Adolphe, born 1832; and Leon, born in Paris, 1853. All these have continued to follow the style and traditions of Nicholas Lupot.

BERTOLOTTI.—Brescia; sixteenth and early seventeenth centuries. The chief member of this family was the celebrated Gaspar da Salò, born at Salò (province of Brescia) in or about 1542, died in City of Brescia, April, 1609. He certainly made violins, usually of rather small form, at least a dozen of which are recognised by the best authorities as authentic; but it is by no means clear that he was the first man to make a fiddle strung with four strings and generally of the form in which the instrument is now seen. The authorship of the true violin has been assigned to others: e.g. Duiffoprugcar, a viol maker, whose claims have long since been dismissed by competent judges as unsupported by evidence of any value. Gaspar’s violins, as might be expected, are of primitive appearance and character. One of them, belonging to the late Lord Amherst of Hackney, and of unquestioned authenticity, was seen many years ago by the writer, and is the only violin by da Salò of undisputed genuineness with which he has met during a long course of years. Several violas of large size (“tenores”) still exist, but the majority have been reduced, often very unskilfully, in size. Of those seen by the writer all have been remarkable for their fine tone. A number of large bass viols (violoni) still survive. They were built to carry a number of strings, but have mostly been converted by modern repairers into three or four string double basses. A very fine and perfect example of these is in the possession of the Reverend Leigh Blake. It is said that he made violoncellos, but this is probably incorrect. Instruments of various types formerly assigned to him are now recognised as the work of his pupil and follower, Gio. Paolo Maggini. Interesting information relating to him, including the date of his death, was discovered, and published in 1891, by Cavalier Livi, who also ascertained that his father was a viol maker, and that a son Francesco, who died in 1614, assisted him. Gasparo’s genuine labels are undated.

BERTRAND, Nicholas.—Paris; circa 1685-1730. Best known as a viol maker. Writer recently saw and repaired a violin by him with manuscript label, date 1710, of good workmanship and sweet tone; arching high. Some examples are branded.

BETTS.—London. A well-known family of makers and dealers in old instruments. The founder of the business was John Edward Betts, “Old John Betts,” born Stamford, 1755, died London, March, 1823. Worked with Richard Duke, and made some instruments, but employed in his own business the best workmen of the day: Bernhard Fendt, John Carter, Vincent Panormo and his sons, together with several others. The instruments made for him generally bear his stamp under the button, and this has been forged of recent years in the most wholesale manner; it may be seen, in pawnshops and elsewhere, on instruments of the commonest class and foreign make. Betts was a first rate judge of old Italian work and many fine examples passed through his hands. A nephew, Edward, was associated with him; he was a careful workman and made some good copies; he died about 1820. Other members of the family were at one time or other connected with the business, amongst whom may be mentioned two named Arthur Betts, the first a brother of John, and the second a nephew.

BIANCHI, Niccolò.—1796-1881. Born in Genoa, died Nice. A clever workman who was employed by several makers of repute, including Bagatella, G. B. Ceruti, and Pressenda. He was for some years in Paris; his own instruments are said to be very good, but he was much employed as a repairer.

BIMBI, Bartolommeo.—Siena and Florence; second half of eighteenth century. Violins usually of rather small pattern, high built, and with very pretty red-orange varnish.

BINDERNAGEL, Johann Wilhelm.—Gotha. Died 1845. Instruments highly valued in Germany. Copied Amati pattern chiefly, but also Stradivari. Was a pupil of Ernst.

BISIACH, Leandro.—Milan; contemporary. Is regarded as one of the cleverest workmen and imitators of old instruments now working in Italy. His best violins and other instruments display very fine workmanship, have generally an excellent tone, and are already in much request amongst players.

BITTNER, David.—Vienna; died 1887. A good copyist of Italian work.

BLAIR, John.—Edinburgh; to about 1820. Worked with M. Hardie. Instruments branded “J. B.”

BLAISE, Joseph.—Mirecourt and Geneva; died 1882. Little known, except as instructor of P. and N. Silvestre of Lyons.

BLANCHARD, Paul François.—Lyons. Born Mirecourt 1851. Worked formerly for Silvestre’s firm. Has made some excellent copies with good varnish.

BODIO, Gio. Battista.—Venice; to about 1830. Moderate work. Examples scarce. Writer has seen a violin with belly inlaid with ebony at edges of sound holes. Seems to have made instruments with ornamental heads.

BOIVIN, Claude.—Paris; about 1840. Chiefly guitars and similar instruments. Violins rare.

BOOTH, William.—Leeds. Died 1856. Little known. Said to have been a good workman.

BOQUAY, Jaques.—Paris. Worked until about 1735-40. One of the better makers of the older French school. Violins in two sizes, the pattern resembling Amati. Good wood, dark red-brown varnish. Back usually stamped with initials. Tone frequently very good. Very well cut scrolls, but original heads are often absent, having been transferred to old instruments by other makers.

BOULLANGIER, Charles.—London. Born Mirecourt, 1823; died London, 1888. A well-known and excellent maker. Worked in Paris with Vuillaume and Gand. In 1849 employed by Edward Withers, senior, with whom he remained until 1856. Copied both Stradivari and Guarneri with skill, and employed red varnish of different shades.

BOUMEESTER, Jan.—Amsterdam; seventeenth century. One of the best of the older Dutch makers, but his labels are not very often seen. It has been surmised that in many cases they have been removed and the tickets of Italian makers substituted.

BOURGEOIS, Séraphin.—Geneva; about 1830. A few years ago a large violin by a maker named Bourgeois was the subject of a law-suit, certain “experts” having declared it to be the work of Guarneri, del Gesù.

BOVIS, François.—Nice; contemporary. Maker to the orchestra at Monte Carlo.

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

BRANDILIONI, Filippo.—Brescia. Said to have worked there in latter half of eighteenth century. Work is described as resembling that of Mittenwald rather than Italy.

BRANDNER.—Name of numerous family working in Schönbach in the last century.

BRANDSTAETTER, Matthäus Ignaz.—Vienna; died 1851. Maker and excellent repairer.

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

BRETON, Le.—Mirecourt; died 1830. Good work, but rather commonplace in style. Instruments branded on back, and stamp may be seen on many spurious examples. An earlier Breton worked in Paris.

BROWN.—London; eighteenth and nineteenth centuries. Makers of the name worked principally for the dealers. The best known is James Brown, “Brown of Spitalfields,” a good workman, who died about 1830.

BRUGÈRE.—Nineteenth century. A well-known Mirecourt family who worked in Paris, Marseilles, and elsewhere. The best known is Charles, born in 1865. A careful workman; frequently uses a large ornamental ticket.

BRUNO, Carlo Colombo.—Turin; contemporary. Has obtained medals for instruments in Paris, Turin, and Marseilles.

BUCHSTETTER, Gabriel David.—Ratisbonn; second half of eighteenth century. Instruments not often seen in this country.

BUTHOD.—Mirecourt; nineteenth century. A maker of the name worked for J. B. Vuillaume. Labels may be seen in large numbers of cheap violins, etc., of the “factory class.”

CABROLY.—Toulouse; about 1740. Said to have come from Milan. Instruments seemingly scarce.

CAHUSAC.—London; eighteenth century. The label may be seen in many old fiddles which were obviously the work of different makers, but he seems to have made some himself. Writer has seen examples of Amati outline, and with very pretty varnish.

CALCAGNI (Calcanius), Bernardo.—Genoa; to about 1750. Medium size violins, slightly arched and with very pretty reddish-yellow varnish. General workmanship well finished.

CALVAROLA, Bartolommeo.—Bergamo; circa 1750-1770. Instruments scarce. Medium workmanship without much character. Yellow and yellow-red varnish. Pattern looks rather narrow. Scrolls small and of poor design.

CAMILLI, Camillo.—Mantua; to about 1760. A maker whose instruments have rapidly risen in value of late years. They are of unequal merit and workmanship. In good examples the wood and form are handsome. Sound-holes rather short and wide open. Varnish red, of varying shades and good texture. The tone usually excellent. The pattern usually seen bears some resemblance to violins of Stradivari. Labels both written and printed.

CAPPA, Goffredo.—Saluzzo; born 1647, died August, 1717. It is important to note the dates of birth and death, as in most books on the violin these appear as having occurred fully a century too early. Cappa’s name and work have been the subject of almost wholesale fraud, forgery, and misrepresentation. His own genuine labels are very rarely seen, and the frequent appearance of Amati tickets in his instruments gives some colour to the theory, propounded in Hill’s work on Stradivari, that he himself inserted them. Whatever may be the truth, the resemblance to Amati in his smaller pattern violins is very marked, both in form and choice of material. The varnish also is of similar quality and colour. The sound-holes, which are much more slanting than in Amati fiddles, at once betray the maker to the experienced eye; and the heads are quite unlike the type associated with the Amati name. The violins of larger build are rare, and those seen by the writer have differed so materially in form and build from those just described that they might easily be taken to be the work of another hand. Violoncellos of good form and style exist, and generally command high prices. Other makers of the name and of very doubtful existence are mentioned by different writers.

CARCASSI.—A Florentine family of makers of the eighteenth century, numbering about half a dozen members. Of these the principal workmen were Lorenzo and Tomaso, who worked both independently and in partnership from about 1740 onwards. The pattern belongs chiefly to the school of Amati, though no very close resemblance exists. Work in some cases well finished, arching fairly high, pretty wood, and varnish of good colour and texture. The name is one of those which have been freely used by forgers, and a number of spurious examples are to be met with.

CARTER, John.—London; about 1790. Worked on his own account in Wych Street, but was chiefly employed by Betts.

CASINI, Antonio.—Modena. Seventeenth century, to about 1690.

CASTAGNERI, Andrea.—Paris. Worked to about 1750. He was of Italian extraction, and his genuine violins are Italian in style. Flat arching. Outline of Stradivari type. Tone generally powerful. An earlier maker of the name is said to have been his father, and to have worked in Paris.

CASTELLO, Paolo.—Genoa; latter half of eighteenth century. Well built violins of good form and tone. Middle bouts sometimes appear rather narrow.

CAUSSIN, François.—Neufchâteau. Also spelt Coussin. Worked between about 1845-81. Was a very clever imitator of old Italian work and varnish, and his instruments have frequently been sold as originals. Pattern varies.

CELONIATI, Gian. Francesco.—Turin; circa 1730-50. The work somewhat resembles that of Cappa. Outline generally of Amati character. Varnish clear and of yellow or yellow-brown colour. Instruments generally well finished, and the tone of good quality.

CERIN, Marc Antonio.—Venice; about 1790.

CERUTI.—Cremona; eighteenth and nineteenth centuries. A family well known to modern players. Giovanni Battista, the earliest of the name, worked with Storioni, and succeeded to his business, dying somewhere between 1817 and 1820. Made a large number of instruments of varying patterns, in some of which the characteristics of more than one of the classic makers are combined. The wood of the backs and sides is often of native growth and small figure, and the varnish varies both in colour and quality. Tone frequently excellent. He used a label with an ornamental border, and containing a monogram within a circle. His son Joseph died in Mantua in 1860 and was a clever workman. He worked with his father, whose label has been found in his earlier productions. A younger son, Enrico, died in 1883. Instruments well made and of varying form. He obtained exhibition medals for some of his work.

CHANOT.—A name famous in the annals of fiddle-making. The first maker of the name was Joseph, a native of Mirecourt, who died about 1830. François, an engineer, was born at Mirecourt, 1788, died at Brest, 1823. He experimented much upon the form and construction of the violin, and made, amongst other things, guitar shaped fiddles. Georges Chanot I. born at Mirecourt, 1801, died Courcelles, 1883, was the most celebrated maker of the family, and worked in Paris. He was one of the best judges of old instruments of his time. His best violins and basses are beautifully made and chiefly of Stradivari and Guarneri pattern. They command at the present day good prices and are rising in value. A son, Georges II., worked for many years in London, and was also well known as a dealer and repairer. He died in 1893. His sons, George Adolphus, Frederick (died 1911), and Joseph Anthony, have all become known as makers. G. A. Chanot lives in Manchester, and Joseph Anthony is established in Wardour Street, London.

CHAPPUY, Nicholas Augustin.—Paris, Mirecourt; 1750-90. Instruments of unequal merit, some being of a very common class, inferior varnish and finish. Good examples have generally a tone of good quality and considerable power. What may be described as his own pattern is inelegant, flattish model, short corners, and broad in the waist; yellow and yellowish-brown varnish.

CHARDON.—Paris; contemporary. A well-known firm. Joseph Maria Chardon was a pupil of Georges Chanot, whose daughter he married.

CHARLES, J.—Marseilles; about 1780. Pretty work in style of Guersan. He was a nephew of that maker.

CHERPITEL, Nicholas Émile.—Paris; died 1893.

CHEVRIER.—Nineteenth century. A Mirecourt family who worked there and in Paris.

CHRÉTIEN, Hippolyte.—Lyons, Paris; contemporary. A good maker. Nephew of Silvestre, whose name he assumed. Firm Silvestre and Maucotel.

CLAUDOT.—Nineteenth century. Mirecourt family numbering several makers. Charles Claudot, 1794-1876, adopted the brand often seen on the backs of instruments, “Marquis de l’air l’oiseau.” Other members of the family branded their names on their work.

CLÉMENT, Jean Laurent.—Paris; about 1800-48. Substantially made instruments with good varnish, usually red-brown, and handsome wood. Large pattern violins.

COLLIN-MEZIN, Charles Jean Baptist.—Paris; contemporary. Born Mirecourt. Some of the instruments made about thirty years ago are esteemed and possess a good tone. Later specimens seem to be of the “factory class,” and are of little account.

CONTRERAS, José.—Madrid; eighteenth century. Little known in this country. Instruments frequently handsome, and work Italian in character. A good many seem to have been re-labelled with the tickets of better known Italian makers.

CORSBY, George.—London; nineteenth century. A well-known dealer in Prince’s Street, Leicester Square. Seems to have been himself a workman, but employed others to make instruments for him. Another Corsby of Northampton made some good double-basses.

COUTURIEUX, N.—Toulon; about 1840. Made useful instruments of flat pattern. Branded inside with initials “N. C.”

CRASKE, George.—Born 1795, died, Stockport, in 1888. Worked in Bath, Leeds, Sheffield, Birmingham, Manchester, and elsewhere. Made a huge number of instruments of varying patterns, but readily identifiable after seeing a few examples. Work sometimes good, but more frequently only passable or indifferent. Tone not usually of good quality.

CRISTOFORI, Bartolommeo.—Florence; seventeenth and eighteenth centuries. Pupil of Niccolò Amati. Instruments very scarce, but some fine violoncellos, and at least one double-bass, are known. Is with some probability identified with Cristorfori who is usually accounted the inventor of the pianoforte.

CROSS, Nathaniel.—London; to about 1745-50. Some well-made violins and basses exist, which exhibit a pattern and characteristics of German style. Yellow varnish. He was associated with Barak Norman (q.v.).

CUYPERS, Jan.—The Hague. Born 1723-24, died about 1810-12. In several violins of late date he states his age, which in 1806 was 82. Instruments have risen rapidly in value of late years. They are soundly made, of good wood, and with yellow varnish of good quality. Pattern, shape of sound holes, and outline vary considerably. Scrolls heavy and boldly cut, but not handsome. The name is met with in books on the violin with the spelling “Koeuppers,” presumably copied from labels. Writer has not seen such.

DALINGER, Sebastian.—Vienna; latter half of eighteenth century. Stainer pattern, dark varnish. Some examples have lion heads.

DALLA COSTA, Pietro Antonio.—Treviso; about 1740 and later. Prints his name as “a Costa” in some of his tickets. Genuine instruments not very often seen. Generally Amati outline, good red or red-brown varnish. Well-finished work.

DALL’ AGLIO, Joseph.—Mantua; nineteenth century to about 1830.

DARCHE.—Nineteenth century. A well-known Mirecourt family working in Brussels and Aix. Their instruments are of the style and character of Vuillaume.

DAVIS, William.—London; to 1846. Was a dealer and repairer in a large way in Coventry Street.

DEARLOVE, Mark William.—Leeds; nineteenth century. The violoncellos and double-basses show good work and are in favour amongst orchestral players. He was for some time in partnership with John Fryer.

DE COMBLE, Ambroise.—Tournay; about 1735 and later. Reputed to have worked with Antonio Stradivari, which is unlikely. Work not usually highly finished. Varnish red, of fine quality. Well-cut scrolls. Labels are written. There seem to be more violoncellos than violins of his make in this country.

DECONET, Michele.—Venice. Seems to have worked until after 1780. There are, or were not long ago, a certain number of spurious “Deconets” in this country; one individual, well known amongst London dealers, is said to have “specialised” in such things. Deconet used a variety of labels, written and printed, and his name is frequently spelt with a small “d.” His work is not unlike that of Montagnana, by whom he is said to have been employed. Good (sometimes excellent) varnish of the Venetian type, and red or red-brown colour. It is said that in later life he worked in Padua.

DEGANI, Eugenio.—Venice; contemporary. A good workman who has obtained several medals for his instruments. Frequently uses purfling made in five strips (three black and two white) and works on a model of his own design.

DERAZEY, Honoré.—Mirecourt, Paris; to about 1875. Some of his copies are good sound instruments; chiefly Stradivari pattern. His son, Justin Derazey, was a manufacturer on a large scale, and bought the business of “didier” Nicholas from the latter’s widow.

DEROUX.—Mirecourt, Paris; nineteenth century. There were two makers of the name. Georges, died 1889 (Reims). Worked for Derazey, and Mougenot of Brussels. Work branded, and name sometimes pencilled in instruments. His son, Auguste, born 1848, worked with Hippolyte Silvestre, and Miremont. Is a good repairer and a medallist.

DESPINE, Alexander.—Turin. Worked until about 1845. Was employed by Pressenda, and made some fine violins which bear that maker’s ticket. Occasionally copied Guarneri, del Gesù. Piatti at one time possessed a violoncello made by him.

DE VITOR, Pietro Paolo.—Venice, Brescia; about 1740. Made some large fiddles of Maggini pattern.

DIEHL.—A number of makers of the name worked in Germany in the eighteenth and nineteenth centuries.

DODD.—An English family, chiefly distinguished as bow-makers, in the late eighteenth and the nineteenth centuries. There were seven or eight workmen. John, born at Stirling, 1752, died in Richmond Workhouse, 1839, was the best-known bow-maker, and at least two Edwards, one of whom attained the age of 105 years, were also makers. Thomas Dodd, who died in about 1820, had a business as instrument dealer and maker in St. Martin’s Lane, London. He does not seem to have made instruments personally, but discovered a fine varnish which he put upon excellent instruments made for him by Bernhard Fendt, John Lott, and other workmen. These instruments, especially the violoncellos, are of great merit and handsome appearance, and realise good prices.

DÖRFFELL, also Dörffler.—The name of fully a score of German makers working in Klingenthal and Markneukirchen; eighteenth and nineteenth centuries.

DOLLENZ.—Trieste; nineteenth century; there were two of the name.

DUCHESNE, Nicholas.—Paris; about 1750. Branded instruments of no great merit.

DUKE, Richard.—London; circa 1750-85. A celebrated English maker. Chiefly copied Stainer, but also Amati, and more rarely Stradivari. Well-finished work. Usually red-brown varnish of rather dull hue, but lighter shades are seen. Instruments commonly stamped under the button. Spurious and counterfeit “Dukes,” many not in the least resembling the originals, abound. His son, Richard, attained no distinction.

DULFENN, Alexander.—Leghorn; about 1700 and later. Specimens seen by writer were of wretched material and poor workmanship.

DVORAK.—Prague. Died 1890. A good copyist, who has left some well-made fiddles and violoncellos.

DYKES, Harry, and Sons.—London; contemporary. Well-known dealers and repairers. The sons, George and Arthur D., are both skilful workmen.

EBERLE.—Various makers of the name worked in Prague and elsewhere during the eighteenth century. The chief Prague maker was Johannes Udalricus Eberle, 1699-1768, a skilful workman who has left a good many instruments, generally on the lines of Stainer, with handsome wood and well-cut scrolls. Varnish on many of them is excellent and of considerable brilliancy. Tomaso Eberle worked in Naples down to about 1790. It does not appear whether he was related to the Prague family. There is little or no trace of German teachings in his violins, which are of the Gagliano class, and often bear Gagliano tickets. He may have worked with Niccolò Gagliano or some other member of the family. The varnish is similar to that used by that family; the work usually neat and well finished. Wood well-chosen and sometimes handsome.

EMILIANI, Francesco de.—Rome; eighteenth century. Rather high built. Work of the Tecchler school. He possibly assisted that maker. Scrolls very neatly cut.

ERNST, Franz Anton.—Gotha. Died 1805. Work little known in this country. Said to be of Stradivari pattern. He was also a violinist and composer.

EURY.—Paris; early nineteenth century. An excellent bow-maker.

FABRIS, Luigi.—Venice; 1860. Obtained medal in 1872 at Treviso.

FAGNOLA, Annibale.—Turin; contemporary. A maker whose instruments have lately attracted attention. His imitations of Pressenda and Rocca’s instruments are clever and not unfrequently pass as originals. Some are not well finished. Writer has recently seen a very good example made in the style of J. B. Guadagnini.

FENDT.—London; late eighteenth and nineteenth centuries. A gifted family of makers. The first, Bernhard Fendt, was a native of Innsbruck, born circa 1775; died, London, 1832. An admirable workman who copied the best features of the great Italian makers. He worked much for Thomas Dodd (q.v.) and in association with John Lott. Later he worked for old John Betts, continuing to work for the house after the death of that maker. Work so made bears Betts’s stamp. Bernhard Simon Fendt, his eldest son, died in March, 1852. Worked for Betts and was for some time partner with one Purdy (“Purdy & Fendt”). He was a wonderfully clever copyist, and made, amongst other types, instruments of all sizes, from violins to double basses, in imitation of the Brescian style (Gaspar da Salò and Maggini). These instruments have been constantly mistaken for genuine Brescian examples—particularly the double-basses, of which a number are in existence. Jacob Fendt, third son of Bernhard I., died comparatively young in or about 1849. His abilities were also of a high order. He worked for Davis, of Coventry Street, and for Turner, the dealer, producing “modern antiques,” chiefly of Stradivari type, in which the appearance of wear and time are most skilfully imitated. The tone of his copies is usually of excellent quality. Other members of the family were Martin, William, and Francis; all good workmen.

FENT, François.—Paris; circa 1760-91. Related to above family, and stated to have been uncle and instructor of the first Bernhard Fendt. In his labels he omits the “d” from his name. Said to have come from Innsbruck. His best work has never been surpassed and seldom equalled by any maker working in France. The violins are of Stradivari form, and the style is Italian throughout. Wood of handsome figure, and the finish irreproachable. Varnish, a beautiful red brown. The tone of very fine quality even in inferior examples. His instruments, unfortunately, were obviously made in different grades; and the commoner types, which frequently bear his name stamped in various places, are of relatively little importance and money value. Some of his varnish is much oxydised (almost black), and the wood of both backs and bellies worm eaten. His finest fiddles have sometimes passed as genuine Strads, and occasionally Lupot’s labels have been inserted; but the work is less heavy and more graceful than that of Lupot. His ordinary label has an ornamental border, bears no date, and contains errors of spelling.

FICHTL.—A number of German and Austrian makers of this name are mentioned. Two named Martin Matthias worked in Vienna in the eighteenth century and followed the Stainer pattern.

FICKER.—The name of fully a score of Markneukirchen and other German makers. Johann Gottlob, who died in 1832, is amongst the best known. Used a brand with his initials. Other Fickers followed the same practice.

FIORINI.—Two makers of the name may be mentioned. Raffaele worked in Italy, chiefly in Bologna, and died there in 1898. He made some well-finished instruments, amongst them a number of violoncellos. Varnish varies in colour, but is often a rather dark red. He was also reputed a good judge of old Italian work. Giuseppe, his son, migrated to Munich, where he was at work recently.

FISCHER.—Upwards of thirty German and Austrian makers of the name are enumerated.

FLORENO.—Bologna; eighteenth century. There appear to have been at least two makers who adopted the common practice of placing the surname first in their tickets. The Christian name, Guidantus, has therefore appeared as the surname in various books. Writer has seen a few specimens bearing the label, with brilliant varnish. High built, and outline of Amati character.

FONCLAUZE.—Paris. Died 1864. A most skilful bow maker. He worked for several others, including Vuillaume.

FORSTER.—A well-known English family, who came from Brampton in Cumberland. Three were named William, the second of whom died in 1808, and is best known as “Old Forster.” Very good work of Stainer or Stainer-Amati pattern. Oil varnish of a durable but not very clear texture. His violoncellos are more valued than the violins, though the work in the latter is often excellent. He employed various assistants, was patronised by Royalty, and his instruments commanded good prices in his own day. His grandson, Simon Andrew Forster (died 1870), was joint author with Sandys of a well-known history of the violin. A very readable, but not conspicuously accurate compilation, which has been humorously dubbed “the history of the Forster family.” He was himself a maker, and some of his work is of considerable merit.

FOURRIER, François Nicolas (known as “Nicolas of Paris”).—Paris. Born in 1758; died 1816. He was a first-rate maker, but is little known amongst English dealers and players, who are apt to confound him with “didier Nicolas,” a Mirecourt workman, and latterly a manufacturer on a large scale. Fourrier’s work is handsome, well finished, and he was evidently well acquainted with the characteristics of the classic Italian makers. Writer has met with violins, pattern rather large; excellent varnish of red or red-brown colour on a fine yellow ground. Sides sometimes rather shallow. Boldly cut scrolls. He was “luthier to the chapel of the Emperor,” Napoleon I.

FURBER.—London; eighteenth and nineteenth centuries. A numerous family, most of whom worked chiefly for the trade. The best of them was John, who died somewhere about 1845. He worked largely for Betts, and was a good copyist of Amati.

GABRIELLI.—Florence; eighteenth century. There were several makers of the name. Giovanni Battista (about 1740 and later) is the best known. Handsome wood and good varnish of yellow or orange colour. There is a resemblance to German work (Stainer) in the form of some instruments. The finish is neat and careful, arching frequently high. He used both written and printed tickets, in some of which he calls himself “de Gabriellis.” He also branded some of his work with the initials G. B. G.

GAFFINO, Joseph.—Paris; circa 1740-60. Was of Italian origin. Worked with Castagnery, and afterwards on his own account.

GAGLIANO.—Naples; eighteenth and nineteenth centuries. A large and important family of makers, who have left a considerable number of valuable instruments. The founder was Alessandro, who died between 1720 and 1730, and is reputed, upon very doubtful evidence, to have worked with Stradivari. In this country his genuine instruments are scarce, though numbers of Neapolitan instruments of varying patterns have been assigned to him. Though nearly all the family appear to have worked on lines more or less akin to those of Stradivari the resemblance between Alessandro’s violins and those of that maker is by no means close. In a few seen by the writer the arching has been of the ridgy character associated with some Amati instruments, but he also made examples of flatter arching. Varnish varies. In some it is of fine quality and soft texture, and quite distinct from the ordinary Neapolitan type. The scrolls of this maker, and of others of the name, are usually of poor, cramped style and workmanship. He made some violoncellos of considerable beauty and very fine tone. He seems to have used a variety of labels, some in manuscript. Niccolò Gagliano I. was the eldest son of the foregoing, and judging by the number of works still extant, was probably the most prolific maker of the family. The dates assigned to him in most books are quite unreliable; he seems to have worked until late in the eighteenth century, and probably died about 1780. Though his productions are of unequal merit, he was undoubtedly a workman of much skill. Sometimes he employed a fine red varnish of much brilliance and soft quality; in many cases, however, he used the clear yellow preparation, characteristic of the Neapolitan school. Arching generally pretty full, and sometimes rather high. Wood frequently handsome, the backs of the instruments being generally divided. In the violins the scrolls are generally poor and of insignificant cut. In the violoncellos they are somewhat better. In the latter the back of the peg-box sometimes has an aperture cut in it, to facilitate stringing. Outline based on that of Stradivari; sound-holes very well cut, and frequently placed a shade high in instrument. They are generally set very upright in the bellies. He made a considerable number of examples inlaid with black ornamentation. Niccolò II. was a son of Giovanni Gagliano (Joannes), and was a maker of no particular account. He died about 1826. Gennaro (Jannarius), circa 1720-75, was the second son of Alessandro, and is now usually reckoned the best maker of the family. Instruments much rarer than those of Niccolò. In his best work the finish is excellent; and his varnish (orange-yellow or red) is almost uniformly of a superior kind. The pattern more or less after that of Stradivari. The scrolls well cut and of bolder character than those of the other Gagliani. Some of his fiddles and basses have contained Stradivari tickets and have passed as originals. The tone is round, equal, and free from the nasal character which is often observable in Neapolitan fiddles. Ferdinand, 1724-81. Was the eldest son of Niccolò I. A good workman. Pattern rather broad-looking. Arching moderate. Finish frequently somewhat careless. Joseph: worked until about 1795, and was the second son of Niccolò I. He was associated with a younger brother, Antonio, and the instruments of the firm bear their joint label. His instruments are somewhat similar in appearance to those of his father, but usually inferior in style and finish. Giovanni, died circa 1806; was a nephew of Gennaro, and worked with him. Some of his examples are of good pattern, and well made. He occasionally ornamented them after the manner of Niccolò. There were several other Gagliani: Gaetano, Raffaele, and Antonio, who worked together in the last century down to about 1857; and others.

GAILLARD, Charles.—Paris; 1850-81. An excellent workman of the Paris school, whose instruments are rising in value. He worked with Gand. Strad pattern; sound-holes very well cut; set rather upright, and look a little wide open.

GAILLARD-LAJOUE, J.—Mirecourt and Paris. Died about 1870. Brother of the above, and also a fine workman. Worked with Gand.

GALRAM, Joachim Joseph.—Lisbon; 1769 to 1825. Work little known in England.

GAND.—Paris, Versailles. A famous French family of makers and dealers originating in Mirecourt. Charles Michael, the founder, was born there in 1748, and died in Versailles 1820. Charles François (“Gand père”) was his eldest son. Worked with Lupot, whose daughter he married, from 1802. Was an excellent maker, and one of the most skilful repairers who ever lived. He died in 1845. Charles Nicholas Eugène, the second son of Charles François, died in 1892. Was senior partner in the firm of Gand and Bernardel, who made instruments on an extensive scale, and held important appointments. The work produced by this house is of the Lupot class and traditions, and is of a high order of merit. There were other members of the family engaged in the violin business.

GAVINIÉS, François.—Bordeaux, Paris; eighteenth century. Instruments branded. The better class examples well made.

GEISSENHOFF, Franz.—Vienna; 1754-1821. By far the best of the Viennese makers, and a close imitator of the Stradivari pattern. All the details of the work are well executed, including the scrolls. Varnish usually a dark red-brown. The tone is round and of very good quality. He usually branded his work with his initials, under the button. The violoncellos are rare. His work has risen rapidly in value and to-day commands good prices.

GEMÜNDER, August.—Born 1814, Würtemburg; died New York, 1895. Made numerous instruments which are in high esteem in America. His brother George, born 1816, died 1899, worked first with Vuillaume in Paris, but went to New York in 1849. Made good copies in the Vuillaume style.

GERMAIN, Joseph Louis.—Paris. Died 1870. Worked with Gand and later with J. B. Vuillaume; afterwards on his own account. He was a clever maker and one of the best of Vuillaume’s workmen. His son Emile, born 1853, is well known in Paris, and has made a large number of instruments.

GIBERTINI, Antonio.—Parma, Genoa; nineteenth century to about 1850. Medallist at Milan. A neat workman. A few violins seen by writer were of Stradivari pattern, good wood and handsome red varnish. His work does not seem to be plentiful.

GILKES, Samuel.—London. Died 1827. A maker of much ability. Worked for Forster before establishing himself on his own account. The finish of his instruments is remarkable. They are somewhat scarce, and generally of Amati character, but he also copied Stradivari. A son, William, was well known as a double-bass maker.

GISALBERTI, Andrea.—Parma; eighteenth century, circa 1720 and later. Said also to have worked in Bozzolo, Rimini, and elsewhere. His existence has been doubted in some quarters, but violins by him undoubtedly exist, a few of which seen by the writer were of good tone, and not without character, albeit somewhat indifferent workmanship. Horace Petherick some years since wrote a book in which he sought to prove that Gisalberti was the instructor of Guarneri, del Gesù.

GLÄZEL.—Markneukirchen. For over a century a large number of makers of this name have worked in Markneukirchen and elsewhere in Germany.

GLASS.—Klingenthal. Another German family of whom much the same may be said as of the Gläzels.

GLIER.—Markneukirchen. Another large family of makers. Eighteenth and nineteenth centuries.

GOBETTI, Francesco.—Venice; circa 1700-30. One of the finest makers of the Venetian school. There is nothing beyond tradition of a most unsatisfactory kind to prove that he was a pupil of Stradivari. His work in some cases suggests late Amati influence, both in form and style; it is frequently very beautiful in every respect, save the cutting of the scrolls. Handsome wood, beautiful red varnish, and tone of excellent quality. His genuine labels are by no means plentiful, the tickets of Francesco Ruger, Amati, and Stradivari, having been inserted in his instruments. The writer has met with two or three violins having a decidedly German outline which were assigned to this maker by judges of repute.

GOFRILLER.—Venice; to about 1740. A family, possibly of Tyrolese origin, whose work was until recent years little known in this country. The best maker was Matteo, much of whose work has been masquerading under the names of other makers, such as Joseph Guarneri, son of Andrea, Carlo Bergonzi, and Montagnana. The workmanship and style are good, wood sometimes, but not frequently, handsome, and the varnish, generally dark red, is of good quality. He seems to have made a good many violoncellos. The scrolls are well cut, but can hardly be described as of Italian type. Labels vary, and in some the name is spelt with a double “f.” Two other Gofrillers, Francesco and Antonio, are mentioned, but their work is almost unknown.

GOSSELIN, Jean.—Paris; circa 1820-30. An amateur. There are some fine violins of Stradivari pattern bearing his label. In some cases instruments made by another hand were varnished by him.

GOULDING.—London; about 1800. There are a good many violoncellos and violins bearing the stamp “Goulding,” some of English work, and others of obviously foreign make. Some of these are useful instruments, but there seems to be some doubt whether he was actually a maker.

GRAGNANI, Antonio.—Leghorn; circa 1740-1800. The best of the few makers dating from Leghorn. The violins bear some little likeness to the work of the Gagliano family, have a very good quality of tone, and the varnish is not unfrequently of good texture and appearance, though the colour is apt to fade. The scrolls are very poor. Instruments branded on the button, and sometimes in other places. Of late they have commanded some attention amongst players, and their value has increased considerably. There were two other makers of the name, but of no particular account.

GRANCINO.—Milan; late seventeenth and earlier eighteenth centuries. An important family of makers of whom there seem to have been upwards of half a dozen members. The earliest appears to have been Paolo, who was at work until near the end of the seventeenth century. The few of his instruments met with by the writer have been of Amati pattern, with yellow varnish, and wood exhibiting little or no figure. It is said that he was a pupil in Amati’s workshop. He certainly does not seem to have used varnish which can be compared with that of his master. His son Giovanni worked from about the end of the seventeenth century until 1730 or a little later, and has left a good many instruments of considerable value. The violoncellos perhaps take higher rank than the violins, but the finer specimens of the latter are not unfrequently handsome, both as to wood and varnish, and the tone is of full and telling quality. In some of his later work Giovanni discarded some of the Amati features seen in earlier examples. The arching is flatter, and the sound-hole assumes a somewhat pointed form, and is set more obliquely in the instrument. It has been said by writers that he imitated Guarneri del Gesù, a statement which is manifestly absurd having regard to dates. Instruments by him with the pointed sound-hole exist, which were made long before del Gesù’s admitted period of activity, i.e. 1725-45. Of the other makers of the name very little seems to be certainly known.

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 13⁷/₈ 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 13⁷/₈ 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 13¾ 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 14¼ to 14½ 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.