GREAT ITALIAN ARTISTES,

THEIR

FOLLOWERS AND IMITATORS,

TO THE

PRESENT TIME.

WITH ESSAYS ON IMPORTANT SUBJECTS CONNECTED WITH THE VIOLIN.

BY JOSEPH PEARCE, JUN.

London: Longman and Co., Paternoster Row. Sheffield: J. Pearce, Jun. 1866.

CONTENTS.

PAGE.

Preface 5

Introduction 8

Violin Makers, alphabetically arranged 15

Bow Makers 88

Cremona 93

Amati Family 93

Stradiuarius 107

On the Cremona Varnish 119

Guarnerius 121

Steiner 131

Why are certain Violins of more Value than others? 140

On the Production of Good Tone in Violins 148

Great Players and their Instruments 152

General Notes 154

Repairs of Instruments 162

Addenda 167

PREFACE.

The Violin is an instrument which, though small and of trifling original cost, has yet commanded most extraordinary prices. The reason of the immense difference in the value of these instruments must therefore be a subject possessing strong claims to notice from virtuoso and amateur.

To distinguish by the outward characteristics and peculiarities of tone, that which will be of pecuniary value to the possessor, and yield the utmost delight to the hearer, is an acquirement at once difficult to obtain and very valuable when obtained. To assist the amateur and collector in this pursuit is the object of the present little work. Such a work has long been a desideratum.

Of late years, the History of the Violin and its congeners has received much attention. Elaborate and costly treatises have been published, some of which being written in Foreign tongues, are exceedingly difficult to obtain, and not accessible to many of those who desire to peruse them, on that account. Others are very imperfect and unsatisfying. Others again, are, from their high price, beyond the reach of the greater number of amateurs.

The present work is intended chiefly for the use of those who desire a handy guide to the principal characteristics both of make and tone which mark the chief builders of this most famous instrument. Many persons anxious to possess a good instrument, and led away by the very natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are tempted into purchasing Violins which are presented to them under false and delusive titles, and reject frequently good and genuine instruments of less famous makers, but still valuable because they are good and genuine. Undoubted specimens of the great masters are now very rarely to be had, unless at a very high price. Yet, when we consider that even Stradiuarius himself obtained no more than four pounds for his best instruments, which now command as many hundreds—it is evident that, in the absence of those great productions, the works of his pupils and successors are well worthy the attention of amateurs. There is no doubt, indeed, that many of these, which from being built on his principles are of first-rate quality, have been sold as those of the master himself. It cannot, therefore, be questioned that a knowledge which will lead the amateur to buy an instrument for what it really is, instead of what it professes to be, will at once save him from the unpleasantness of paying too dearly, and in real enjoyment yield all that can be desired.

The author believes he has in this work given the amateur and connoisseur information not easily attainable elsewhere, but as he is fully conscious that there may be imperfections in it still, he will be glad to receive any suggestions or information which may enable him to render it still more complete.

Sheffield, February, 1866.

INTRODUCTION.

The two most pleasing, expressive, and powerful single instruments of music are the human voice and the violin. The one, the gift of beneficent nature, has from the creation exercised its touching influence on the human soul—the other, the product of the ingenuity of man, has only within the last three centuries attained to perfection, but since that period what delight, what rapture has arisen from so simple a construction, when acted upon by the hand of genius!

While the melodious tones of Grisi and Mario have touched with sympathetic feelings the hearts and imaginations of spell bound listeners, how have the magic tones of Paganini and Ernst wrapped the souls of wondering thousands in an elysium of delight and admiration! What effect cannot be produced by the Violin, (except that of speech,) which the voice can accomplish?

The Violin in the hands of genius can draw tears or create laughter. Whoever has heard the great masters of this extraordinary instrument, has heard all the sweetness of tone, the intensity of feeling, the power of expression that the most gifted sons and daughters of song could possibly produce without the additional aid of speech. The Violin, in fact, in its power of expression far excels those singers, of whom there are too many, who while singing the notes, fail to make their hearers understand the sense of their songs. If a merry dance is produced by the agile bow, its sympathetic tones at once excite a corresponding feeling. If a plaintive air streams in delicious and heart-touching cadences from the strings, what soul is there so dead to feeling as not to respond?

The perfection of the Violin is that its master, if alive to the subtle and mysterious influences of the imagination, can elicit from it the most perfect and touching "songs without words."

It is besides the only instrument, except the voice, which is perfect. Every shade of expression, every nicety of tone can be produced on it. All other instruments sink into insignificance in comparison with the Violin, because they cannot do this. They are all more or less imperfect; and therefore fail in those subtleties of expression of which the Violin and the voice are such able exponents.

What gratitude do we owe therefore to those great masters of Cremona, more especially the Amati and Stradiuarius, who have succeeded in bringing the Violin to its present state of perfection.

Music has in all ages been a source of the purest delight. The greatest poet and dramatist the world ever knew says that whoever "has not music in his soul is fit for treasons, stratagems, and spoils." In the present age the cultivation of Music forms one of the most general and the most refined sources of amusement and pleasure. All ranks of people are now privileged to join in its delightful enjoyments.

Even the cottage of the artisan is now often elevated by the elegant practice of music, through the increased facilities for producing instruments at a cheap rate. The consequence is that in the present age there is a more general study and a finer perception of what is good and beautiful, and their elevating tendencies are doing much for the mental cultivation and refinement of all classes.

A very extraordinary feature of the musical world of the present day is the enormous orchestras which can be produced on special occasions. A chorus of several thousand voices supported by hundreds of instruments may now be heard, rendering the immortal compositions of the greatest masters of the divine Art, in the Peoples' Palace at Sydenham and elsewhere. These Orchestras are chiefly selected from the ranks of the people, of whom the artisan is the chief contributor.

The reduction of the cost of instruments and the adoption of what may be called the joint stock principle are tending still further to enlarge the boundaries of the practical musical world. At any time and for any special purpose it is now easy to secure a band and chorus sufficient in numbers and executive power to render in an efficient and powerful manner, the glorious productions of Beethoven, Mozart, Handel, and other great masters.

In all these transitions, the Violin bears a most important part. It is the leading instrument in these great performances, as it is also, after the voice, the most powerful medium of expression in solo. It is also the peoples' instrument.

The labours of many eminent violin makers who have followed in the steps of the great masters have of late so immensely improved the art, that a good instrument may now be possessed by any one. And it may safely be said that with its improvement, has arisen also the extension and wide spread practice of music generally. An ear accustomed to the fine tone of a good violin will not now tolerate a bad piano-forte.

The Piano-forte and the Violin are the most general instruments, and they have alike participated in the improvements effected, in becoming cheaper by the advance of science. Every description of machinery has within the last fifty years received the attention of able men, and the mechanical construction of the Piano-forte is one prominent proof of the advantages which can be conferred by science on even the luxuries of life.

The Violin, also, seemingly the most incapable of mechanical application to its manufacture, is said to be now made by a most persevering and enthusiastic lover and follower of the great makers, by mechanical means. Copies of these celebrated makers, are now said to be manufactured by him with an uniformity, a certainty, and a precision impossible except by the aid of scientific improvements. These instruments are therefore understood to require only the ameliorating influences of time and use to become fine in tone and satisfactory in every respect.

Every one interested in the progress of music, must rejoice at the rapid development of its resources and the general spread of its pleasures among the people. We are a profoundly commercial nation, and it is delightful to see that in our greater wealth and prosperity, rational amusements, and more especially music, go on increasing step by step with our more business-like occupations. This class of amusements must exercise a humanising and refining influence on the habits and manners of the people, and they should be, therefore, patronised and encouraged by all those whose means are large and their example powerful. There can be no doubt that their tendency is for good, and that those whose leisure hours are devoted to their practice and study, will be richly benefited by them in all those qualities which combine to make the good citizen and the estimable friend.

NOTE.

To prevent too much space being taken up in the alphabetical portion of this work, separate chapters are given on the four renowned Violin Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and dates of each of the members of these celebrated families are however given in their proper places, for prompt reference.

We have not in some cases been able to find any records beyond the names of certain makers. Wherever possible we have given dates, places, and style of work.

DICTIONARY

OF

VIOLIN MAKERS.

A.

ACEVO, —- Cremona, Pupil of Guiseppe Cappa. This artiste made very good violins in the style of the Amati.

ADDISON, WILLIAM, London, 1670.

AIRETON, EDMUND, London, 1730. A good and neat Maker.

ALDRED, —- London, Early English Lute Maker.

ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos.

ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. This artist was highly esteemed formerly, and Otto says that it is exceedingly difficult to give so exact a description of them as readily to distinguish them from those of Nicholas Amati, who was said to be his master. In the present day, opinions are very different. Nevertheless there are some fine instruments by this maker, of high model, with reddish brown varnish and bearing a great similarity to those of Steiner, of whom he was also said to be a pupil. The "Dictionary of Musicians" speaks highly of this maker. This was decidedly the best artiste of this name.

ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, about 1659.

ALBANI, —- son of the above, about 1712, was also a careful maker, and turned out some good Instruments.

AMATI FAMILY.

For fuller particulars of these eminent makers, see separate Article.

AMATI, ANDREAS, Cremona, born 1520, died 1580.

AMATI, NICHOLAS, brother of the above, celebrated for his Basses.

AMATI, NICHOLAS, son of Andreas.

AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first made together and afterwards separately.

AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the greatest maker of the family.

AMATI, ANTONIO JEROME, do. 1640 to 1670.

AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of the Amati family. A violin of his is mentioned, dated 1672.

AMELINGUE, —- Paris, 18th Century.

ANSELMO, PIETRO, Venezia, 18th Century.

ARTMANN, GOTHA. Followed Cremona pattern.

ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns.

B.

BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be one of the best makers of Germany. Otto says, the Instruments by this Maker are next in point of quality to the Cremonese. Without going so far, with our present increased knowledge of the pupils of the Cremona makers, it may still be admitted that Bachmann was an excellent maker and was very careful in his proportions, so that Amateurs have been often deceived into thinking them genuine Cremonas. They are of the flat Stradiuarius Model, made of good wood, with amber varnish, and therefore present considerable similarity to their patterns.

BAGANZI, —- see Bergonzi.

BAGATELLA, PIETRO,—Padua, 1766. Said not to be very good.

BAGATELLA, ANTONIO,—Padua, 1782. Author of a Work on the construction of Instruments, from which Bishop in his Translation of Otto, has appended a Theory for making a Violin on a very simple plan. He made some excellent Violins after Cremona patterns.

BAINES, —- London, about 1780.

BAKER, —- Oxford about 1720.

BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, and made after his model. The Author has seen an Instrument by this Artist, which is of the large flat pattern and has a magnificent and brilliant tone. The wood of the back and ribs rather plain—the belly very fine open grain, purfling not very neat—varnish reddish yellow. Pronounced by judges to be equal to a fine Stradiuarius. It is dated Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is a proof that amateurs may in future look with safety to the pupils of Stradiuarius for violins to take the place of those of the great masters, which are yearly becoming scarcer and dearer.

BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas.

BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his excellent work calls him "one of England's best manufacturers. Too much cannot be said in praise of this justly celebrated Maker. The work of all the better class of instruments is excellent, the tone good of all; but that of the Violoncellos in particular is full and sonorous." Mr. Gardiner in his "Music and Friends," says "Banks of Salisbury's Violoncellos are of the finest quality of tone—not so strong and fiery as Foster's, but in sweetness and purity excelling them." They are chiefly of the Amati pattern.—The best Instruments have brownish yellow Varnish with a tinge of red, others deep red of a blackish tinge, Varnish not brilliant.

BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820.

BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is said to have been an excellent workman in his father's style, and dates about 1805.

BARRETT, JOHN, London, about 1725. His labels state him to live at the Harp and Crown, in Picadilly. He made some good instruments, but did not purfle them. The author has seen a Violoncello by this maker which was everything that could be desired in the matter of tone. The wood and workmanship, however, were not equal to the tone, and this circumstance will probably partly account for the settled preference now given to the Italian instruments over all the old English makers.

BARTON, GEORGE, London, died 1810.

BEKMAN, SWENO, Stockholm, 1706.

BELLOSIO, —- one of the Venetian makers, 18th Century.

BENOIST, —- Paris, 18th Century.

BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a maker of merit in the style of Gaspar di Salo and Magini.

BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687.

BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to be the best pupil of Stradiuarius. He made instruments of the same beautiful and brilliant tone which has rendered the productions of his master famous throughout the world. Constructed on similar principles, and generally of well-chosen wood, there is no doubt the productions of this excellent artiste will hereafter rank very high. Like Stradiuarius himself, Carlo Bergonzi is by some considered to have been at one time a pupil of Nicholas Amati. Every amateur would, if it were possible, get a Stradiuarius, an Amati, or a Guarnerius, but as the genuine violins of these makers are very rare and valuable, they should look for the veritable instruments of their pupils, which are now beginning to be highly esteemed on account of their intrinsic excellence.

BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his father.

BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has the credit of being a pupil of Stradiuarius, though that seems rather doubtful, because the latter died in 1737, at which time, if a son of Carlo, he would not have been old enough.

BERNADEL, —- Paris, 18th Century.

BETTS, JOHN, called Old Betts, London,

and

BETTS, EDWARD, his nephew.

These two well known makers were said to be pupils of Duke, but often employed other artistes, such as Carter, Panormo, B. Fendt, and his sons, whose work, chiefly imitations of the Cremona instruments, gained them great reputation both at home and abroad. 1782 to 1823.

BINTERNAGLE, —- Gotha, 18th Century. This maker was a German imitator of the Cremona Violins, and is said to have been very successful.

BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly esteemed in France.

BODIO, —- Venezia, 18th Century.

BOLLES, —- An early English Lute and Viol Maker. Mace, 1675, says "one bass of Bolles, I have known valued at £100," equal to at least £600 of our present money.

BORELLI, ANDREAS, Parma, 1740.

BOULLAINGER, —- London. A careful maker, who first worked for others, and now on his own account.

BREMEISTER, JAN., Amsterdam, 1707.

BROSCHI, CARLO, Parma, 1744.

BRETON, Le, Paris.

BROWN, JAMES, born 1670, died 1834,

and

BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but without any speciality.

BUCHSTADTER, —- Ratisbon, 18th Century. Used the flat model. Otto says the wood is not good, and therefore, though well built, the tone is not fine; but Spohr puts his violins on his list as excellent instruments. He may, therefore, be ranked among the good German makers.

BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar di Salo.

C.

CAESTA, PIETRO ANTONIO DELLA, Trevisa, 18th Century, imitated Stradiuarius.

CAMILE, CAMILUS de, Mantua, esteemed as a pupil of Stradiuarius.

CAPPA, GIACHIMO or GIOFREDA or probably two Brothers, born at Cremona and worked under Amati. Date there about 1590 and were in Piedmont 1640. There are some good Violoncellos of this make.

CAPPA, GUISEPPE—Saluzzo—end of 16th Century.

CAPPER, —- or probably Cappa, Mantua. A Violin of this make was sold by auction in London in 1861, and said to be very good.

CARTER, JOHN, London, 1789, made some excellent instruments which were sold both under his own name and under that of John Betts for whom he had worked.

CARLO, GUISEPPE, Milan 1769.

CASSINO, ANTONIO, Modena, 17th Century.

CASTAGNERY, JEAN PAUL, Paris 1639 to 1662. This artist is considered to be one of the best of the old French Makers. One authority says they have a fine silvery tone but not powerful.

CASTAGNERI, ANDREA, Paris. 18th Century.

CHANOT, —- Mirecourt, France, a good maker, 18th Century.

CHANOT, —- London.

CHAPPUIS, (or Chappuy,) AUGUSTINE, about 1710.

CHARLES, THERESS, London.

CHEROTTE, —- Mirecourt, 18th Century.

CHEVRIER, —- Paris, 18th Century.

CHRISTA, JOSEPH PAUL, Munich, 1730.

CHRISTOPHORI, BARTOLOMEO, Florence, 18th Century.

CIRCAPA, THOMASO. Naples, 1730.

CLARK, —- London.

COLE, THOMAS, London. Forster says no instrument has been preserved of this maker, but that is a mistake. There is in the neighborhood of Sheffield, a very large Tenor with a fine deep tone and the following curious label.

Made 1690, THOMAS COLE of London, on Holborn Hill, who selleth all sorts of Musical Instruments. by

COLLINGWOOD, JOSEPH, London, 18th Century.

CORSBY, GEORGE, believed to be formerly a maker at Northampton, and now and for a long time a dealer in Violins, &c., in Princes' Street, Soho, London.

CONWAY, WILLIAM, 1745.

COLLIER, SAMUEL, 1755.

CRASK, GEORGE, of various places, has made many Violins in imitation of the Cremona Makers, some of which have been sold by unscrupulous dealers as genuine instruments, an example of which we have seen which was purchased by a professional man, since dead, of a Violinist then on a Musical Tour. It is only right here to say that we believe Mr. Crask to be entirely free from blame in this matter, as he sells these instruments as his own productions.

CROWTHER, JOHN, 1755 to 1810.

CROSS, NATHANIEL, London, about 1720. He was partner at one time with Barak Norman and used his monogram sometimes. He also stamped a Cross in the inside of his instruments as well as used it in his labels. He made some good Violins, which resemble those of Steiner. His mark in the inside of the back is here given.

+ N. C.

A violin of this make which we have seen, has the great fault of having the bass bar cut out of the solid, instead of being glued in, thus contravening the established principles of the art.

CONTRERAS, JOSEPH, Madrid, 1746. An excellent maker, who was particularly celebrated for his copies of Stradiuarius.

D.

DARDELLI, PIETRO, Mantua, about 1500. Made good rebecs, violas and viols da gamba. Fetis mentions some of them as still existing.

DECOMBRE, AMBROISE, Tournay, 1700 to 1735, was said to be one of the pupils of Stradiuarius and made some good instruments of his pattern.

DESPONS, ANTOINE, Paris,—one of the good French Makers, about 1725.

DICKENSON, EDWARD, 1754.

DICKSON, JOHN, Cambridge, 1779.

DIEHL, NICHOLAUS, Darmstadt, 17th Century.

DITTON, —— London, about 1720.

DODD, THOMAS, Son of Edward Dodd of Sheffield, and who died in London in 1810, at the great age of 105 years (see Bow Makers). Thomas Dodd's instruments have had considerable reputation, but it is believed he was not a maker himself, but employed Bernard Fendt and John Lott, through whose excellent workmanship his name, which he put on the labels, became well known.

DODD, THOMAS. Son of the above; he was drowned in 1843.

DOMINISCELLI—Ferrara, 18th Century. A good workman.

DUKE, RICHARD, London, 1767 to 1777. This Artist was very celebrated in his day and his instruments commanded very good prices. He frequently stamped his name on the back, but as far as we have seen, only on inferior productions. Very good instruments may now occasionally be met with at low prices in consequence of the great prejudice in favour of the Italian and other foreign makers.

DURFEL, —— Altenburg, made good double Basses. His violins are also said by one authority to be excellent in point of tone.

DUIFFOPRUGCAR, GASPARD, born in the Tyrol, established in Bologna in 1510, and went to Paris at the invitation of Francis 1st. He afterwards removed to Lyons. This appears to be the first maker of the genuine Violin we have on record, and some instruments still exist to attest the excellence to which he had reached. M. Vuillaume, possesses a Bass Viol, and other Parisian Collectors possess instruments by this ancient artiste.

E.

EBERLE, JEAN ULRIC, Prague, 1749. Otto says this is one of the most celebrated German Makers and his instruments have been frequently taken by experienced connoisseurs for Italian; the difference being that they "have a sharper or rather not so round and full a tone." Connoisseurs could not be very experienced at that time, if they could mistake for Cremonese, instruments possessing this characteristic, which is exactly what distinguishes the inferior instruments from the genuine.

EBERTI, TOMMASO, about 1730.

EDLINGER, THOMAS, Prague 1715.

EDLINGER, JOSEPH JOACHIM, Prague, son of Thomas. Visited Italy, and afterwards built some excellent instruments; died in 1748.

ERNST, FRANCOIS ANTOINE, born in Bohemia in 1745. This artiste made some excellent instruments which are said almost to reach the Cremonas in tone. He was also the Author of a Treatise on Instruments. The celebrated Violinist Spohr, author of "the Violin School," is said to have at one time used one of this maker's instruments.

EVANS, RICHARD London, 1742.

F.

FARINATO, PAUL, Venezia, about 1700.

FENDT, or FINTH, Paris, 1763-80. Made good instruments after the Stradiuarius model, some of which followed his style so carefully as to have been taken for those of that master.

FENDT, BERNHARD, born 1775, died 1825. Nephew of the above. He worked first for Dodd and afterwards for old John Betts. He was a capital workman and made many fine imitations of the Cremonese instruments.

FENDT, BERNARD SIMON, Son of the above, born 1800, died 1852, became partner with Purdy in the well known firm of Purdy and Fendt.

FENDT, MARTIN, brother of the above, born 1812, died 1845.

FENDT, JACOB, born 1815, died 1849.

FENDT, FRANCIS.

FENDT, WILLIAM, Son of Bernard Simon, born 1833, died 1852.

All the Fendts have the reputation of being excellent workmen.

FICHTOLD, HANS, 1612, is said to have made good instruments.

FICKER, JOHANN CHRISTIAN, Cremona 1722.

FICKER, JOHANN GOTLIEB, Cremona 1788.

FLEURY, BENOIST, Paris, about 1720.

FLORENTUS, FLORINUS, Bologna, 1690. Followed the Amati patterns, and has a good reputation in that style.

FORSTER, WILLIAM. The first Violin maker of this now celebrated name, born 1713, died 1801.

FORSTER, WILLIAM, born 1739, died 1808. This maker was very celebrated for his Violas and Violoncellos. He appears to have followed the Steiner pattern in 1762, and the Amati pattern in 1772. His common instruments were not purfled, second class purfled but still much inferior to the third class, "in which," says an authority, "everything was embodied to conduce to excellence and beautiful appearance and to the finest tone;" and again, "his instruments are second to none in merit and the best Europe has ever known, especially his amber coloured Violoncellos, which are renowned for mellowness, volume, and power of tone, equalled by few, surpassed by none." We need scarcely say that this opinion is rather strongly expressed, and may be considered partial. Without at all detracting from the real excellence of Wm. Forster's instruments, which is very great, we may confidently assert that the great Cremona Makers have had no rivals. Whether in power, purity, and sweetness of tone—or beauty of wood and workmanship—the best instruments of Nicholas Amati, Antonius Stradiuarius, and Joseph Guarnerius have never yet been equalled. Wm. Forster's Violoncellos have, however, (in England at any rate,) been held in high esteem both by players and amateurs, and have realised good prices.

FORSTER, WILLIAM, the third of the name born 1764, died 1824, known as young Forster. His instruments are not so good as those of his father, but still excellent productions.

FORSTER, WILLIAM, the fourth of the name, born 1788, died 1824. A good workman, but not equal to the second William Forster.

FORSTER, SIMON ANDREW, son of the above, born 1801, author, in conjunction with William Sandys, F.S.A., of a most elaborate and excellent work from which these particulars are taken, entitled "History of the Violin and other Instruments played on with the Bow, from the remotest times to the present." He is also like the rest of the family, a maker and bears a good reputation.

FORSTER.—Of this noted family Dubourg in his amusing and interesting book, "The Violin," speaks in complimentary terms. He says, "The Forsters, old and young, grandfather and grandson, have, in their department of art, a name that lives."

FOURRIER, NICHOLAS, born at Mirecourt. Settled in Paris, died 1816; good maker, after the Cremona school.

FRITZCHE, SAMUEL, Leipsic, 1787, pupil of Hunger, and made similar instruments. They are of the Italian model and have amber varnish.

FRITZ, BERTHOLD, Leipsic, 1757.

FRANKLAND, —— London, 1785.

FREY, HANS, Nuremberg, lute maker, 15th Century.

FURBER, DAVID, about 1700.

FURBER, MATTHEW, son of David, 1740.

FURBER, JOHN, grandson of David, 1759.

FURBER, MATTHEW, son of the above, died 1840.

FURBER, JOHN, son of Matthew, 1840.

G.

GABRIELLE, GIOVANNI, BAPTISTA, Florence, 18th Century, considered to be a good Maker.

GAGLIANO, or GALIANO, ALESSANDRO, Naples, about 1710, is generally reckoned as one of the pupils of Stradiuarius, but was more probably only one of his imitators. He made some good instruments of the Stradiuarius model, which possess a bright and sparkling tone; they are, however, generally characterised by less power of tone, Stradiuarius having in this particular the advantage over nearly all his imitators, some of his personal pupils being perhaps the only exceptions.

Note.—M. Fetis commences the line of the Gaglianos with Nicolo, 1700, ten years earlier than Alessandro, whom he also calls Gennaro, and ranks him as a maker formed under one of the immediate pupils of Stradiuarius.

GAGLIANO, JANUARIUS, Naples, 1740. Son of Alessandro.

GAGLIANO, NICHOLAUS, Naples. Another son of Alessandro.

GAGLIANO, FERDINANDO, Naples, made to 1790.

GAGLIANO, GUISEPPE, Naples, 1790.

GAGLIANO, GIOVANNI, Naples.

GAGLIANO, ANTONIO, Naples.

GAGLIANO, RAPHAEL, Naples, son of Giovanni.

GAGLIANO, ANTONIO, Naples, son of Giovanni.

GAGLIANO FAMILY.

Most of the instruments made by the Gagliano family possess a good quality of tone, and Amateurs who have no necessity for that great power which Stradiuarius and Guarnerius conferred on their best productions, will do well to secure any genuine Gagliano which they may meet with, rather than risk the chance of getting less merit, under a more pretentious name.

GALERZENA, —— Piedmont, 1790.

GAND, —— Paris. A first-rate maker. He was son-in-law to Lupot.

GARANA, MICHAEL ANGELO, Bologna. An excellent maker, about 1700, considered by Fetis to be a pupil of one of those celebrated makers formed in the Cremona schools.

GATTANANI, —— Piedmont, 1790.

GAVINIES, —— Paris, 18th Century.

GEDLER, JOHANN ANTONY, Fissen, Bavaria, 18th Century.

GEDLER, JOHANN BENEDICT, same place and same date.

GERANS, PAUL, Cremona, about 1615.

GERLE, JEAN, Nuremberg, about 1540. Made Lutes, Viols da Gamba, &c.

GILKES, SAMUEL, London, 1787 to 1827. Pupil of the Second William Forster. An excellent maker. His work was most highly finished and his varnish of a rich quality.

GILKES, WILLIAM, born 1811. Not equal as a maker to Samuel.

GIORDANE, ALBERTO, Cremona, 1735.

GOBETTI, FRANCISCO, Venezia, about 1700. A pupil of Stradiuarius, and an excellent artiste.

GOFILLER, MATTEO, Venezia, about 1725. A good maker after Cremona patterns.

GOFILLER, FRANCISCO, Venezia. Brother to Matteo, similar, same date.

GRAGNARIUS, ANTONIO, early part of 18th Century.

GRANCINO, GIOVANNI, Milan, middle of 17th Century.

GRANCINO, PAOLO, do. do.

GRANCINO, GIOVANNI BAPTISTA, Milan, son of first named.

GRANCINO, GIOVANNI BAPTISTA, Milan, early in 18th Century.

GRANCINO, FRANCISCO, son of Giovanni Baptista. This artiste made to about 1760, or rather later.

GRANCINO FAMILY.

These makers produced some very good but not handsome instruments. Lindley is said to have had a Violoncello by one of the Grancinos, the tone of which was very fine and powerful, with light yellow varnish darkened by age; the wood of back and sides very plain, but the belly very fine.

GROBITZ, —— Warsaw, about 1750. Made some good instruments of the Steiner model.

GUERSAN, —— Paris. An excellent maker, small model, careful finish, and fine tone; about 1730.

GUGEMMOS, —— Fissen, Bavaria.

GUIDANTUS, GIOVANNI FLORENUS, Bologna, about 1750. An excellent maker.

GULETTO, NICHOLAS, Cremona, about 1790.

GUADAGNINI, LORENZO, Cremona, 1690 to 1720. Pupil of Stradiuarius and highly esteemed as a maker. Followed the style of his celebrated teacher.

Guadagnini is one of the makers especially recommended by Spohr when one of the three great masters cannot be procured. A good specimen of his work will always command a good price.

GUADAGNINI, LORENZO, Placentia and Milan, 1742. Made instruments generally of the smaller model. Was a careful workman and finished his instruments well, and used good varnish.

GUADAGNINI, BAPTISTA. Same places and about same dates, and made similar instruments.

GUADAGNINI, GUISEPPE, Turin, 1751.

GUADAGNINI, GUISEPPE, Parma, 1793.

GUARNERIUS FAMILY.

A more extended account of these great masters will be found in a separate chapter.

GUARNERIUS, ANDREAS, Cremona, horn 1630, dates to 1680. Pupil of Hieronymus Amati.

GUARNERIUS, GUISEPPE, son of Andreas, Cremona, dates from 1690 to 1730.

GUARNERIUS, PIETRO, another son of Andreas. Removed in the latter part of his life from Cremona to Mantua.

GUARNERIUS, JOSEPH, nephew of Andreas. Known as Joseph to distinguish him from his cousin of the same name, but who is generally known as Guiseppe. Joseph was the great maker of the family, born 1683, died 1745, at Cremona.

H.

HARBOUR, —— London, 1785.

HARDIE, MATTHEW, Edinburgh, about 1820. Made some good instruments which occasionally possessed great power, but not always very neat finish.

HARDIE, THOMAS. Son of Matthew, Edinburgh, was also a good workman—died in 1856, from accidentally falling down stairs.

HARE, JOSEPH, London, 1720, is said to have been the first in England to introduce the flat model, all the makers before him and for some time after, following the elevated model of Steiner. He also introduced a varnish of greater transparency than was generally used at that time in England.

HARRIS, CHARLES, London, about 1815.

HARRIS, CHARLES. Son of the above.

HART, JOHN, of Princes Street, Leicester Square, London, pupil of Samuel Gilkes, is a maker; and restorer of instruments, in which latter capacity we have pleasure in stating him to be worthy of the extensive reputation he has acquired. He is also a great connoisseur in old instruments, and has the honour of having formed most of the fine collections in this country. The largest price ever given for a Violin was for one imported by him and which from its beauty, model, varnish and perfection of condition is known by the name of the King Joseph Guarnerius. This instrument is considered quite unique and was sold for 700 guineas. The celebrated collection of Charles Plowden, Esq., which embraces four fine instruments of Stradiuarius and four of Joseph Guarnerius, and which is acknowledged to be the finest collection in the world, was also formed by Mr. Hart. Mr. Plowden's taste being highly cultivated, he rejects any instrument which is not of the very highest order, and therefore it reflects great credit on Mr. Hart's judgment to have succeeded in placing so many fine instruments in the collection of so critical a connoisseur. We shall have occasion to mention other celebrated instruments in the Chapters on the Great Masters of the Art.

HASSERT, —— Rudolstadt, 18th Century. Made instruments of a high model, which though he used good wood and finished them carefully, did not possess very good tone. Very few makers have succeeded in imparting superior tone to high built instruments.

HASSERT, ——, Eisenach, 18th Century, brother of the above—adopted a different system, and followed the flatter model of the Cremona School with considerable success. His instruments are remarkable for beautiful wood, and Otto speaks very highly of them, saying that many of them can only be distinguished from the genuine Italians by experienced judges. In the present day we think Otto was partial to his own countrymen's work, and that there are very few German instruments which can be taken for Italian by judges.

HEESOM, EDWARD, London, 1750.

HELMER, CHARLES, Prague, 1740. This artiste was a pupil of Eberle, and is considered a careful workman, but used too light a bass bar, which, unless a stronger one be substituted, depreciates the character of his instruments.

HILDEBRANT, MICHAEL CHRISTOPHER, Hamburg, 1765. Esteemed as a good maker.

HILL, WILLIAM, London, 1740. Made some good instruments, but they are said to be deficient in quality in consequence of being built on a wrong principle, the centres having too little wood.

HILL, JOSEPH, London, 1770, brother of the above. Reckoned a superior maker to his brother, and produced some very excellent Violoncellos which obtained him a good reputation, and caused him to be classed high among English makers, but like the others, he is now depreciated in value below his real merits.

HIRCUTT, —— English maker, about 1600.

HOFFMAN, MARTIN, Leipsic, is said to be chiefly known as a skilful lute maker. His Tenors are considered good, and Otto says his violins have an excellent quality of tone when unspoiled, but are not esteemed on account of their ungraceful appearance.

HOLLOWAY, J., London, 1794.

HORIL, —— (Italian) about 1720.

HULLER, AUGUSTINE, Shœneck, 1775.

HUME, RICHARD, Edinburgh. An early English lute maker; about 1530.

HUNGER, CHRISTOPHER FREDERICK, Leipsic, 1787. A good maker who followed the Italian style, used good wood and amber varnish. This maker is classed among the superior German artistes, and his instruments are said to be beautiful.

J.

JACOBS, —— Amsterdam, 18th Century. This maker imitated the Amatis and produced some good instruments after their Models which also partook of their sweet tone but had little power. One authority we have consulted calls this maker a pupil of Amati, and states that he used whalebone purfling.

JAYE, HENRY, London, 1615. Of this maker we have not been able to find any account unless it be to him that Mace (1676,) refers when he says, speaking of the makers of Viols, "Of such there are no better in the world, than those of Aldred, Jay, Smith" &c. He was certainly an excellent maker judging from an instrument we have seen which has been converted into a small Violoncello with four strings. It is handsomely finished, with ornamental purfling and good varnish and a well carved head. As a small violoncello the tone is also very good. Dated "in Southwarke," 1615.

JAY, THOMAS, London, about 1700.

JAY, HENRY, London, 1750. It appears that this artiste was best known as a maker of Kits, which were very well made and for which he obtained the extraordinary price in those days of five pounds each. When we remember that four pounds was the price that Stradiuarius got for his best violins in his life time, and from an anecdote told by Mr. Forster, that Cervetto could not even get that price for some he got direct from the maker, we see one of those extraordinary freaks of fashion for which, to use the expression of my Lord Dundreary, no fellow can account.

JAUCH, —— Dresden, about 1765, is said to have made good instruments on Cremona models, and is generally placed among the good German makers.

JOHNSON, JOHN, London, 1753.

JULIANO, FRANCISCO, Rome, 1700.

K.

KAMBL, JOHANN, CORNELIUS, 1635.

KENNEDY, ALEXANDER, London, died 1785, and considered to be about 90 years of age. This artiste obtained considerable reputation for good and neat work. He followed the Steiner model, and used yellow varnish. It is not known that he made any other instruments than violins.

KENNEDY, JOHN, London, died in 1816, and considered to be 86 years of age. Made violins and tenors of the Steiner model.

KENNEDY, THOMAS, son of John, London, bears the reputation of a good and neat artiste, and is said to have made at least 300 violoncellos and other instruments in proportion.

KEKLIN, JOAN, Brescia, about 1450. This artiste is believed by some inquirers to be the earliest maker of the violin proper, but Fetis says that the only instrument of his that is known, and which was in the possession of Koliker of Paris, and dated 1449, was not really a violin, but a viol with changed neck and mounted with four strings. It would appear, therefore, that the merit of the actual introduction of the real violin belongs properly to Gaspar di Salo.

KIAPOSSE, SAWES, Petersburg, 1748.

KLOTZ, MATTHIAS, Tyrolese, about 1675, considered by Fetis to have been a pupil of Steiner, and the first violin maker of this well known name. He made some instruments, which established his reputation as a careful artiste.

KLOTZ, EGITIA. This maker, who appears to have been a son of Matthias, is often considered to be the best maker of this Family. He is commonly called the pupil of Steiner, but that must be doubtful. More probably he followed the Steiner traditions as exemplified by his father. He used amber varnish, good wood, and his instruments are well made and have his own name upon them.

KLOTZ, GEORGE, brother of Egitia.

KLOTZ, SEBASTIAN, another brother. We believe this artiste to be the best maker of the Klotz family. He built large sized violins, which possess a fine tone and have excellent varnish.

KLOTZ, MICHAEL,—1771.

KLOTZ, JOSEPH, son of Egitia, Mittenwald an der Iser, 1774. Otto says this artiste built after his father's system—but was better acquainted with the qualities of wood, and his instruments are therefore superior in tone, but are badly varnished in their original state.

THE KLOTZ FAMILY.

Spohr enumerates Klotz among the makers whose instruments are worthy of attention, but does not indicate which of them in particular. We have before expressed our opinion that Sebastian ranks highest in merit, which is corroborated by the most experienced connoisseur of the present day. Some violins of this name have achieved a high reputation. Parkes, in his "Musical Memoirs," mentions a Klotz Violin belonging to Mr. Hay, the Leader of the King's Band, for which a Noble Lord offered £300 and an annuity of £100. This seems a most extraordinary offer, for any instrument, unless it were a very fine Stradiuarius or Guarnerius.

KOHL, JEAN, Munich, Luthier to the Court, about 1570. Fetis states that from some old accounts he finds he was paid two florins for a lute, a strange discrepancy in value from the statement of Mace a century later.—(See Bolles.)

KOLDITZ, MATTHIAS JOHANN, Munich, 1722.

KOLDITZ, JAQUES, Rumbourg, in Bohemia, 1790; said to be very good.

KOLIKER, —— Paris, a noted maker and collector, about 1750.

KNITTING, PHILIP, Mittenwald, 1760.

KNITL, JOSEPH, Mittenwald, 1790.

KRINER, JOSEPH, Mittenwald, 1785.

L.

LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa.

LAGETTO, Paris, about 1650. Followed the Amati patterns.

LAMBERT, JOHANN HENRY, Berlin, 1760.

LAMBERT, —— Nancy, 1760. A prolific but not very careful maker, which gained him the name of the Lute Carpenter.

LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the Cremona patterns with considerable success.

LANDOLPHI, FERDINAND, Milan, about same date.

There appears to be some doubt whether there was more than one Landolphi, his name being Carlo Ferdinand, but being mentioned as of both Florence and Milan, and the Christian names given separately, there may have been two. Fetis only mentions Carlo, and locates him at Milan.

LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di Salo's instruments, but is said not to have succeeded in rivalling them in tone.

LAUTTEN, L. W. No particulars of this maker; but we find a violin by him in a Catalogue, described as "fine and handsome."

LECLERC, —— Paris, 18th Century.

LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman.

LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood, fine varnish, chiefly of a yellow colour, and was notable for his excellent finish.

LINELLI, or LINAROLLA, —— Venezia, about 1520. A maker of rebecs, viols, and viols da gamba.

LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent workman, who made many instruments for Thomas Dodd. He is also very generally known as a first-rate double bass maker.

LOTT, GEORGE FREDERICK, son of the above, was also an excellent workman, and is said to have been chiefly employed by dealers.

LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker of violins.

LUPOT, FRANCOIS, Stuttgard, about 1770.

LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the title of the King of the French makers. He followed the model of Stradiuarius, used excellent wood and good varnish, much in the style of that master. His violins are very fine in tone and resemble the Italian more than any other maker's. Tolbecque, the violinist has two very fine specimens. His instruments have been frequently selected by the French Conservatoire as prizes for their pupils. They now fetch high prices. Dubourg calls him "a studious artist, whose instruments are in request when a good Cremona is unattainable." He also says, "sixty guineas have been refused for one of his best violins." Spohr in his "Violin School," also recommends his instruments. This artiste published a work on the construction of violins, called "La Chelonomie, on le parfait Luthier."

M.

MAGGINI, GIOVANNI PAOLO, Brescia, 1590 to 1640. This celebrated artiste was a pupil of Gaspar di Salo. His instruments are highly esteemed, and are both rare and valuable. They are generally of a large pattern, with elevated model, reaching almost to the edges; narrow ribs, double purfling, frequently ending on the top and bottom of the back with an ornament in the shape of a leaf—and fine yellowish brown or golden coloured varnish, of good quality. Some few are said to have deep brown varnish. They possess a tone of a peculiar character—deep, solemn, and somewhat plaintive. Dubourg describes it as "less soft than that of a Stradiuarius, and less potent than a Guarnerius, approaching that of a viol, and has in it a touch of melancholy." From their size these instruments had not been in great favour with violinists until the celebrated DeBeriot introduced one, which from its splendid tone brought them at once into esteem, and for which he has been offered almost fabulous sums.

MAGGINI, PIETRO SANTO, Brescia, son of Giovanni Paolo, 1630 to 1680. Followed the same style as his father, but was more particularly famous for his double basses, which the Italians consider to be the best ever made, after those of Gaspar di Salo.

MAIER, ANDREA FERDINAND, Salzburg, 1746. Little is known of this maker except that he made the small instrument on which the immortal Mozart first learned to play the violin, which event, could he have foreseen, would no doubt have compensated him for the want of more general fame.

MALDONNER, —— Bavaria, about 1760.

MALLER, LAUX, Venice. This artiste was an early and highly esteemed maker of lutes. Mace in his curious and very interesting book, "Music's Monument," mentions him as one of the best authors, i.e. makers. He also says he has "seen two of his lutes ('pittiful, battered, cracked Things,') valued at £100 apiece." Mace's book was published in 1676. Think of £100 for a lute two hundred years ago, when the value of money was at least six times less than it is now! This would make the comparative value of a "battered" old lute about £600, a sum (with the exception of the King Joseph Guarnerius, mentioned elsewhere) exceeding the highest price we have heard of in modern times. Even the most splendid and perfect violins of Stradiuarius have never realised as much as this "pittiful battered lute!" In the face of this fact (as we suppose it is) we cannot be surprised that enthusiastic amateurs should in the present day give such large prices for the splendid productions of the great Cremona Makers.

MARIANI, ANTONIO, Pesaro, 1570 to 1620. An imitator of Gaspar di Salo.

MARATTI, —— Verona, 1690. Made good toned violins, but the workmanship has little character.

MARQUIS DE LAIR, —— A French maker about 1800.

MARSHALL, JOHN, London, 1760.

MARTIN, —— London, 1790.

MAUCOTEL, CHARLES, London. An excellent workman, who has produced some beautiful instruments.

MAUSIELL, LEONARD, Nuremburg, 1725. A capital imitator of Steiner, whose style he followed so closely as to render it (as it is stated) difficult to distinguish the one from the other. This is one of the makers praised by Spohr in his "Violin School," as worthy attention when a good Cremona cannot be got.

MAYRHOF, ANDREA FERDINAND, Salzburg, 1740.

MEDARD, HENRY, Paris and Nancy. A French maker, who is generally considered to have been a pupil of Nicholas Amati, and was esteemed nearly equal to his master; but Fetis includes him in his list of the personal pupils of Antonius Stradiuarius.

MERLIN, JOSEPH, London, about 1780. A very ingenious person, who obtained the honour of being mentioned in Madame D'Arblay's "Diary and Letters." His violins were after the Steiner pattern, and well made, but did not approach the Steiner tone.

MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da gamba, &c.

MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the Amati style, and is reckoned by Fetis as one of that school.

MIER, —— London, 1786.

MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and followed his style,—about 1760.

MILLER, —— London, about 1750.

MOHR, PHILIP, Hamburg, 1650.

MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of Stradiuarius, but more probably an imitator.

MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made instruments generally of a large size, and used wood of a large and beautiful figure. The varnish exceedingly brilliant and of a rich yellow or yellow red colour, and the tone everything that can be desired. Mr. Perkins had a violoncello of this make, which was originally sold as a Joseph Guarnerius, and was said in the catalogue to be uncommonly fine and handsome. This is another of those careful artistes, whose productions are now in high esteem when one of the three great masters cannot be obtained, and which will very probably hereafter rank with them and become very famous.

MORRISON, JOHN, London, 1780 to 1819.

MORELLA, MORGLATO, Mantua, about 1550. Famous for rebecs, viols, and viols da gamba.

N.

NAMY, —— Paris, about 1800.

NAYLOR, ISAAC, Leeds, 1788.

NEWTON, ISAAC, 1780.

NICHOLAS, —— Geneva, 1790.

NIGGEL, SYMPERTUS, Paris, about 1650.

NORMAN, BARAK, London, 1690 to 1740. He generally used a monogram formed of the letters NB. interlaced. This artiste has long been a favourite, and he certainly made some good instruments, which in the present day are depreciated below their real worth, as is the case also with other English makers, whose productions have had to give way before the prevailing preference for Italian instruments. He was partner at one time with Nathaniel Cross, and the instruments then made bear their joint names on the labels.

NORRIS AND BARNES, pupils of Thomas Smith, 1785 to 1818.

NOVELLO, VALENTINO, Venezia, about the middle of 18th Century.

NOVELLO, MARCO ANTONIO, Venezia, same date. Both these makers are in good esteem.

O.

OBUE, BARTOLOMEO, Verona.

ODOARDI, GUISEPPE, early 18th Century.

OTT, JEAN, Nuremberg. Lute maker, 15th Century.

OTTO, JACOB AUGUSTUS, born at Gotha, 1762, died 1830. Author of the celebrated Book on the Construction of the Violin. He made some good instruments which, in his book he says he "proved" by a machine which played them in thirds, fourths, and fifths for a continued period, thus mellowing and perfecting the tone. We do not believe in this doctrine. From all past experience, there can be no doubt that whatever pains or trouble a maker may take to bring his instruments, while new, to bear the character of old, his labour is quite useless. There is no instance of an instrument becoming famous for its fine tone till it had attained a good old age. Some modern makers use chemical means to mature their violins; but this process is utterly destructive to them, as they become quite rotten through the action of the acid after a lapse of years. Time alone can ripen and mellow all musical instruments made of wood, the violin and the organ especially.

P.

PANORMO, VINCENZIO, born near Palermo, 1734. He appears to have left his native place, and after a temporary sojourn in several towns came to England about 1772, and died in 1813. He was an excellent artiste. His instruments are carefully constructed on Cremona models, and possess a fine tone. He made a few violoncellos which are highly prized, their tone being extremely rich and powerful. They are of the Stradiuarius pattern, mostly of handsome maple for the back and ribs. All his instruments are of a good Italian quality of tone, and are among those which are rising in value as the great masters become rarer and dearer.

PANORMO, JOSEPH, son of Vincenzio, also a good workman.

PANORMO, GEORGE LEWIS, another son of Vincenzio, a celebrated bow maker.

PANORMO, Edward.

PANORMO, GEORGE, probably grandson of Vincenzio.

PAMPHILON, EDWARD, London, 1685. A very clever artiste. Made violins of rather small model, somewhat high built, rich yellow varnish, and sometimes double purfled. The Editor has known one of his instruments, which was in the hands of a rich amateur, in whose house he has heard it played and very much approved.

PANSANI, ANTONIO, Rome, 1785.

PARKER, DANIEL, London, 1714, is considered one of the good old English makers. His instruments have a clear and powerful tone. A first-rate authority calls him an excellent workman; another says though he was otherwise good he used a bad brick red varnish.

PASTA, GAETANO, Brescia, early in 18th Century.

PASTA, DOMINICO, Brescia, same date. Said to have followed the Amati patterns, and deserted the Brescian standard of Gaspar di Salo and Maggini.

PEARCE, JAMES and THOMAS, London, 1780.

PEMBERTON, J., London, 1580. An English maker of considerable talent. Is supposed to have been the maker of the instrument presented by Queen Elizabeth to the Earl of Leicester.

PFRETZSCHNER, GOTTLOB, Cremona, 1749.

PFRETZSCHNER, CARL FREDERICK, Cremona.

PICHOL, —— Paris.

PIQUE, —— Paris. An excellent maker, and the master of Lupot. Spohr recommends Pique's instruments, and Dubourg says they were given as prizes by the French Conservatoire in the beginning of the present Century.

PIERRAY, or PIERRET, CLAUDE, Paris. A charming workman. His violins have been frequently mistaken for Italian by inexperienced judges. They are of a deep red colour and finely finished, with an excellent quality of tone.

PIETE, NOEL, Paris, about 1785, pupil of Saunier. An artiste well spoken of.

PLACK, FRANCIS, Schœnback, 1738. Considered a good maker.

POLLUSHA, ANTONIO, Rome, 1751.

PONS, —— Grenoble, France, 1787. Made large pattern violins with high model, which have no great value.

POSSEN, LAUXMIN, Bavaria, about 1540. Made rebecs, viols, and viols da gamba.

POWELL, ROYAL and THOMAS, London, 1785.

PRESTON, JOHN, York, 1789.

R.

RACCERIS, —— Mantua, 1670, believed to have been a partner with one of the Gaglianos, and made similar instruments.

RAF, —— Bavaria.

RAMBEAUX, —— Paris, a pupil of Gand, and an excellent workman.

RAPHAEL, NELLA, Brescia, 18th Century. This artiste was of the school of Maggini, and his instruments are said to have the scrolls sculptured, and to have inscriptions on the sides.

RAUCH, JAQUES, Mannheim, 1730 to 1740. Considered to be a very good maker.

RAUCH, SEBASTIAN, 1742 to 1763.

RAUCH, —— Breslau.

RAUCH, —— Wurtzburg.

Otto praises the instruments of the two brothers of Breslau and Wurtzburg. He says they are excellent violins but have a shape and model peculiar to themselves and entirely different to the Italian or Steiners, but possess when uninjured a full, round and powerful tone. If Otto had told us what instruments were like instead of what they were not like, his book would have been more valuable.

RAUT, JEAN, Bretagne. He was at Rennes till 1790. Made good instruments after the Guarnerius school.

RAYMAN, JACOB, London, 1641. The instruments of this maker were very highly valued formerly. He is considered one of our best old English artistes.

REICHEL, JOHANN GOTTFRIED, Absom. An imitator of Steiner.

REICHEL, JOHANN CONRAD, Neukirch, 1779.

REISS, —— Bamburg. A capital imitator of Steiner, and made excellent instruments.

REMY, —— Paris.

RENISTO, —— Cremona, 1740, pupil of Carlo Bergonzi. His instruments are very similar to those of his master, but rather higher modelled, and the workmanship somewhat rougher.

RETANTINO, —— No particulars of this maker.

RIMBOUTS, PETER, Amsterdam.

ROOK, JOSEPH, London, 1777 to 1852. A good workman, who imitated Forster.

ROSS, JOHN, 1562. An early maker of lutes.

ROTH, CHRISTIAN, Augsburg, 1675.

ROVELIN, —— 18th Century.

RUDGER, —— Cremona—not one of the Ruggeri Family. Made some good instruments of the high build, and deep sides, and used fine varnish.

RUGGERI, FRANCISCO, Cremona, 1640 to 1684. This celebrated maker is considered to have been a pupil of Antonius Amati, and made many excellent instruments which bear a high reputation. They rank next to the Amati. Their quality is similar, and the style of work is easily seen to belong to the same class. There are a few violins by this maker of the same pattern as the Grand Amatis, which are said to surpass the latter, having more wood in them, which was detrimental when they were made, but which age has mellowed, and they now possess a strong and free vibration. Many of the Ruggeris have varnish little inferior to that of Stradiuarius and Guarnerius. This artiste ranks highest in the family in the estimation of the connoisseur. His work is extremely clean. The next is Giovanni Baptista, rather higher built and sound holes rather broader. The scrolls are larger than those of Amati but of the same type, There are many splendid violoncellos of these makers and a few tenors. Some of the former are very large. Francisco Ruggeri is mentioned by Spohr in his list of instruments to be sought for in the absence of the three great makers, Nicholas Amati, Antonio Stradiuarius and Joseph Guarnerius.

RUGGERI, GUIDO, Cremona, 1679.

RUGGERI, GIOVANNI BAPTISTA, son of Francisco. Brescia, 1690. Mentioned above.

RUGGERI, PIETRO GIACOMO. Brescia 1700 to 1720. The celebrated violoncellist Piatti plays on an instrument by this maker, and the tone is uncommonly fine and sonorous as all who have heard him know.

RUGGERI, VINCENZIO, Cremona, 1700 to 1730.

RUPPERT, FRANCIS, Erfruth, made some excellent instruments of a very flat model, but generally omitted the linings and corner blocks as well us the purfling. They are nevertheless esteemed in Germany. They have a dark brown amber varnish.

S.

SAINT, PAUL. Paris, about 1650. An excellent French maker.

SALO, GASPAR DI, Brescia, dates from 1560 to 1610. This celebrated artiste was the contemporary of the ancient Amatis, and is thought by some connoisseurs to have been the master of Andrew. However that may be, as there can be no certainty of the fact, the varnish on which the great Cremonese makers established that notable reputation which distinguishes them to the present day, bears a strong analogy to that of Gaspar di Salo, however they may have derived it. In this respect, also, Gaspar excels Maggini, his pupil and follower, who was evidently not initiated into the secret of making that excellent varnish which characterises his master.

The pattern of the instruments which the two early and famous chiefs of the Cremonese and Brescian Schools built, is however totally different. Those of Gaspar are large, massive, double purfled, and with large sound holes. Andrew is noted for a small pattern, and if he studied in the Brescian workshop, he discarded the style he found there (varnish excepted) and aimed at altogether a different object in his own productions. Those of Gaspar di Salo are constructed with capacity and strength to produce a considerable volume of tone. The Cremonese Artiste on the other hand, made instruments which, both in their proportions and adjustment, were especially adapted for the production of a sweet but not powerful tone. Gaspar's instruments seem to foreshadow in their tone and power, those of Stradiuarius and Joseph Guarnerius, while the Amatis seem generally to have been contented with producing a tone of surpassing sweetness. Gaspar also succeeded in giving to his productions that fine tone which seems to have been especially aimed at by the early makers, but as he also from the size and strength of his instruments, produced more tone, he may be considered far the superior of Andrew, the first of the Amatis. It is on this account that in the present day, Gaspar di Salo is esteemed as the greatest maker of his time, and connoisseurs value his instruments accordingly.

There are not many violins by this great master, but of tenors and double basses more. These are very fine and rich in tone. He was not however famous for giving so very high a finish to his works as was afterwards attained at Cremona. His violins are described as rather long, and with a gentle elevation from the sides to the centre. The sound holes straight and large, well cut and parallel, and double purfling. The varnish is generally of a rich brown. These are the chief external characteristics, but they have always possessed that "which passeth show," and commanded the esteem of the dilettanti in that rich quality of tone which is the first essential in a perfect instrument.

Signor Dragonetti, the greatest double bass player of our day, used one of Gaspar's instruments, which was presented to him on account of their admiration of his wonderful talent, by the order of the Convent of St. Mark at Venice. Shortly before his death the Duke of Leinster offered him £700 for it, a princely sum, but it was refused, as Dragonetti did not feel justified in parting with it, and he ordered in his will that it should be returned to the convent at Venice, which was accordingly done. Ole Bull has a very celebrated violin of Gaspar's make. In the first place, it was sculptured with Caryatides, by the great Florentine artist, Benvenuto Cellini, at the special command of another eminent person, Cardinal Aldobrandini, who presented it to the museum of Inspruck in the Tyrol. In 1809 that city was assaulted by the French, the museum was plundered, and this violin carried to Vienna, where it became the property of another notable person, the Councillor Rehazek, who was famous for his collection of ancient musical instruments. He left it by will to another still more celebrated person, Ole Bull, the distinguished Norwegian violinist, by whom it was exhibited in London in 1862, and with whom it still remains. To our description of Gaspar's instruments we should add that his tenors and double basses are of a rather broader form than his violins.

SALLE, —— Paris, 1800. This artiste was an excellent workman, and famous also as a judge of old instruments.

SANONI, GIOVANNI BAPTISTA, Verona.

SANTI, GIOVANNI, Naples, 1730.

SANCTUS SERAPHINO, Venezia, about 1730. An excellent workman, whose instruments possess almost the beautiful finish of Stradiuarius. He used handsome wood of small figure, and his varnish is often beautiful in the extreme. The model however approaches that of the Steiner school, and the tone is therefore generally wanting in fullness and roundness. He made also a few violoncellos with similar characteristics.

SAPINO, —— Cremona. Pupil of Guiseppe Cappa, made instruments after the style of the Amati.

SANZO SANTINO, —— Milan.

SAUNIER, —— born in Lorraine 1740. An excellent artiste whose instruments are reckoned among the best of the French school.

SCHEINLEIN, MATTHIAS FREDERICK, Langenfeld, born 1710, died 1771.

SCHEINLEIN, JEAN MICHAEL, Langenfeld, born 1751. Made instruments which are said to be good but not strongly built.

SCHMIDT, —— Cassel, mentioned by Otto as living in 1817, and praised by him as an excellent maker. His instruments are of the flat model of Stradiuarius but have the edges larger and the purfling further from the sides.

SCHONGER, FRANCIS, Erfurth, made high modelled instruments, but of poor tone.

SCHONGER, GEORGE, Erfurth, son of the above, modelled his instruments in the Italian style and produced some very superior examples.

SCHORN, JACOB, Salzbourg.

SCHORN, JOHANN, Inspruck, 1688.

SCHOTT, MARTIN, Prague.

SHAW, —— London, 1656.

SIMPSON, JOHN, London, 1790.

SIMPSON, J. and J., son of the above.

SIMON, —— Salzbourg, 1722.

SIMON, —— Paris.

SMITH, HENRY, London, 1629. This may be a celebrated maker of viols, &c., mentioned by Mace, 1676, as one of the best then known.

SMITH, THOMAS, London, 1756 to 1799. This well known maker was a pupil of Peter Wamsley. His violoncellos are of the Steiner model, and some of them possess considerable power, and were formerly highly esteemed, but they are now considered to be deficient in quality and wanting in the rich fine tone of the Italian artistes. Notwithstanding, they are still favourites in the country; the editor knows two of his violoncellos which have been respectively sold for £30 and £40 within a few years.

SMITH, WILLIAM, London, 1771.

SOLOMON, —— pupil of Bocquay, a good French artiste.

SPEILER, —— 18th Century.

STADELMANS, DANIEL, 1744, Vienna.

STADELMANS, JOHANN JOSEPH, Vienna, 1784. Fame speaks very highly of this maker, who closely imitated Jacob Steiner and ranks next to him among the German makers.

STEINER, JACOB, of Absom in the Tyrol, born about 1620, date of death not known, but at about the age of seventy retired to a Convent.

See separate chapter on this celebrated artiste.

STOSS, FRANCIS, Bavaria.

STORIONI, LORENZO, Cremona, living in 1782, said to be the last of the great Cremona makers. Forster says his instruments resemble those of Joseph Guarnerius, and that Vieuxtemps' solo violin in 1861, was by this master, and was very much admired. His violoncellos are very powerful. The author knows a violin which an authority says is by Storioni, but which the owner considered to be by Antonius and Hieronymus Amati. The same authority says there are only two in England of this make. It possesses a splendid fine full and rich tone, beautiful wood for the belly, but the back rather plain, varnish deep yellow with reddish tinge. Workmanship not very fine. We mention those little known artistes' instruments when we have seen them, because they are now rising in value and are esteemed as likely to afford good instruments to those who cannot afford those of the three great masters.

STRADIUARIUS, ANTONIUS, Cremona, born 1644, died 1737.

See separate chapter for a fuller account of this celebrated artiste.

STRADIUARIUS, HOMOBONO, Cremona, son of Antonius; made instruments under the direction of his father, which were signed "Sub disciplina A. Stradiuarius."

STRADIUARIUS, FRANCISCO, Cremona, another son of Antonius, and signed in the same manner as his brother.

STRAUBE, —— Berlin, 1770. Constructed after the Italian model. His instruments are scarce and good.

STRNAD, GASPAR, Prague, 1781 to 1793. This maker bears a good reputation.

STURIONUS, LAURENTIUS. See Storioni.

SURSANO, SPIRITUS, Coni, 1764.

T.

TAYLOR, —— London, 1770 to 1820.

TECHLER, DAVID, first established himself at Salzburg, and afterwards went to Venice, where the story goes that he was so persecuted by other makers that he fled to Rome, about 1706. He made some excellent and beautiful instruments. They have fine yellow varnish and resemble those of the Tyrolean school of Albani and others. Lindley had a violoncello by this maker which was very fine, and powerful in tone. Another was sold a few years ago by auction, for £50. We have seen a violin of this maker, with very beautiful wood and highly finished workmanship, the tone of which was very pure and polished.

TENZEL, —— One of our catalogues contains a violin by this maker, but we have no particulars.

TEODITI, JEROME, Rome, 1750.

TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for this maker that he was the first to give the name of violino to the reduced viol.

TERRESIO, —— An Italian who died in 1853, was a most eminent judge of instruments. His whole existence seemed to be centered in his art, and his eye became so practised that when travelling to discover old instruments, he took them all to pieces, sides, backs, heads, and all parts, forming a conglomerate mass of pieces of valuable violins. The object of so doing was to avoid the customs' dues which are of course heavy on old instruments. When he reached his destination, he would replace them without the aid of a single mark. After his death his house, or rather his hermitage, was visited by connoisseurs, who found it strewed with different parts of instruments, some being found in the most out of the way places. He had the major part of all the great instruments through his hands. Among other valuable instruments found in his house after his death, was a Gaspar di Salo double bass and a Bergonzi double bass—the latter unique. Both these instruments are now in Mr. Hart's possession. The Gaspar di Salo is very perfect and its tone is unsurpassed. The Bergonzi is quite a curiosity, from its being the only one of his make known. He visited this country during the Exhibition of 1851, and was deeply gratified upon seeing so many high class instruments among the dilettanti here, and the taste and zest the English have in forming collections.

TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some very good instruments after the Guarnerius pattern. The wood of the backs of his violoncellos is mostly pear tree, and the bellies are of splendid wood. The tone is very powerful, but not always so smooth as might be wished. This is another rising name. The celebrated double bass player Bottesini, uses one of this maker's instruments which possesses a splendid tone, and is sufficient to stamp Testore as an excellent maker. If any of his smaller instruments possess as good and fine a tone as this double bass he must be ranked among the best Italian artistes. Use will probably wear away the want of smoothness at present complained of in some of them.

TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730.

TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have the reputation of being good makers. Of these artistes we have a note which states that their model was flat, resembling Joseph Guarnerius in shape, but the varnish very inferior and void of colour.

THOROWGOOD. HENRY, London, the 18th Century.

TOBIN, —— London, 1800 to 1836. This maker cut most beautiful heads, and his work was neatness in the extreme, so much so indeed as to rob it of decided character.

TONINI, FELICE, Bologna.

TONINI, ANTONIO, Bologna.

TONINI, CARLO, Bologna.

TONINI, GUIDO, Bologna.

We have no special information on these makers, but they are generally ranked among the good Italian makers.

TONONI, CARLO, Venezia, 1699

TONONI, GIOVANNI, Venezia, 1699. The instruments by Tononi are worthy of the highest praise. They are however very scarce. They are of the large pattern, and flat model, with good varnish, and everything about them, including a superior tone, to entitle them to be ranked as excellent instruments.

TORING, —— London.

TRUNCO, —— Cremona, 1660.

U.

URQUART, THOMAS, London, 1650. An excellent old English maker. He used beautiful varnish (for English) and made many small violins which are useful to young players, being old and the price reasonable.

V.

VALLER, —— Marseilles, 1683.

VERON, —— Paris, about 1725. Highly esteemed in France.

VIARD, NICHOLAS, Versailles, about 1730.

VIBRECHT, GYSBERT, Amsterdam, 1707.

VIMERCATI, PAULO, Venezia, 1700.

VOGEL, WOLFGANG, Nuremberg.

VUILLAUME, JEAN, 1700 to 1740. Worked with Straduarius, and made some good instruments under his own name.

VUILLAUME, JEAN BAPTISTE, Paris. Now living. Famous for his copies of Cremonese instruments. This artiste obtained by personal researches in Cremona the particulars of the life of Stradiuarius, which Fetis has embodied in his book.

W.

WAGNER, JOSEPH, Constance, 1733.

WAMSLEY, PETER, London, 1727. A celebrated artiste, who made many excellent instruments. Those with the dark brown varnish are the most valuable. They were mostly of the Steiner patterns. Mr. J. Rodgers, organist of Doncaster Parish Church, has a very beautiful tenor by this maker, which is built in the shape of a double bass, and with very peculiar sound holes instead of the usual S S.

WEAVER, SAMUEL, London.

WEISS, JACOB, Salzburg, 1761.

WENGER, GREGORIO FERDINAND, Salzburg, 1761.

WEYMANN, CORNELIUS, Amsterdam, 1682.

WIGHTMAN, GEORGE, 1761.

WITHALM, LEOPOLD, Nuremberg, 1765 to 1788. Otto says this maker's instruments are worthy the attention of the virtuoso, and are extremely like those of Steiner, and difficult to distinguish from them.

WISE, CHRISTOPHER, London, 1656.

WORNUM, —— London, 1794.

WRIGHT, DANIEL, London, 1745.

Y.

YOUNGE, JOHN, London, 1724.

Z.

ZANETTO, PEREGRINO, Brescia, about 1540. A maker of rebecs, violas, and viols da gamba.

ZANTI, ALESSANDRO, Mantua, about 1770. Reckoned among the good Italian makers.

BOW MAKERS.

It will not be considered out of place in the course of a biographical account of the principal makers of violins, to give a short notice of some eminent persons without whose labours, the violin itself would never have been developed as it has been, to wit, violin bow makers. Much of the elegant finish and refinement of tone and style which distinguish the great players of the violin, if not due altogether to the bow, by which the tone is produced, is at all events greatly aided by it. A Paganini will have a Tourte bow, and so will every other great master, if he can get one. There must be something therefore in the bow, as well as in the violin, more than meets the eye of a casual observer. We have not here space to enter into the subtle niceties which distinguish the bows of Tourte of France, of Dodd of England, and others. Suffice it to say that whoever boasts of an excellent violin should match it with a superior bow. One is incomplete without the other. There are many excellent makers, but we must content ourselves with briefly noticing the most prominent. Suffice it to say in the way of advice and warning that whether the amateur buy an old or a new bow, let him see that its flexibility, which is its great merit, is perfect, and that it is still strong though light and straight. Mr. Bishop in his edition of Otto says the finest bows are those of Vuillaume! He does not even mention any others. Tourte and Dodd do not deem to be worthy his remembrance! There must be nevertheless something in the bows of these makers which commands great respect, for any performer of skill will give (if he can get one, that is the difficulty,) ten or twelve times the amount for a perfect Tourte, which will buy a Vuillaume! There is no doubt that Vuillaume manufactures good bows—but to rank them highest is so palpable a misrepresentation that we have thought it necessary to enter a protest against it.

TOURTE, FRANCIS, Paris, born 1747, died 1835. This is conceded, by all the best judges, to be the greatest maker we have ever known, in fact the Stradiuarius of the bow. His father and grandfather were instrumental in improving the bow, but Francis Tourte brought it to the greatest perfection. His bows are light and flexible, yet straight. They are highly finished and made of the finest Brazil wood. He himself sold his bows mounted with gold, at 12 louis, (£11 4s. 6d.) each; with silver 3½ louis (£3 5s. 6d.) It is said the reason of his charging so much was that he found so great a difficulty in getting wood fine enough to satisfy his critical judgment, and that he also made no scruple to break any which did not reach his standard of perfection; he was therefore compelled to charge those sums for such as he permitted to go forth. Whoever wishes to match his cherished Cremona with an equally fine bow will get a Tourte if he can.

LUPOT, of Paris, was another excellent maker. His bows are not quite so light as those of Tourte, but they are in all other respects highly esteemed.

DODD, EDWARD, born at Sheffield, and died in London, at the age of 105 years, in 1810, was distinguished as an improver of the bow in England, about the same time that the Tourtes were founding their great reputation in France. The great maker of this name, however, and who has achieved the honourable title of the Tourte of England, is

DODD, JOHN, the son of Edward. The best bows of this maker are highly esteemed, and partake of all the excellencies of those of Tourte. Some of them, however, are rather short, which is perhaps their only defect.

After these come the bows of Panormo, Pecatte, Tubbs, Vuillaume, and other English and Foreign artistes, whose best bows are much esteemed.

As between old and new bows, we would observe that in general modern bows are nearly us useless as new violins. The wood of which most of them are made is very inferior to that of the older artistes, and there is always a doubt whether they will stand continued use and remain straight and flexible. With an old bow, if it is straight, there is no fear, with ordinary care, of its remaining so. A good bow is as important as a good violin.

THE GREAT CREMONA MAKERS.

THE AMATI FAMILY.

Cremona! Who has not heard of this now celebrated Italian city? And yet but for a fiddle maker it is very probable indeed that it would never have been known beyond the circle of its own local interests and its relations with neighbouring cities. Now, however, its name is a spell to conjure with. A Cremona Violin is, to a rich amateur, a loadstone that is sure to attract the shining metal from the depths of his purse. Seven hundred pounds have been given for a Guarnerius Violin! Think of that ye dilettanti who are so proud of your pictures and marbles! Even the poor fiddler has his Mecca far away, and it is called Cremona. Like pictures, the Cremona Violins are real works of art, and like them also, were once to be had for trifling sums. Cuyps and Paul Potters, Stradiuarii and Guarnerii were once to be had for three or four pounds each that are now worth as many hundreds. A Cremona instrument has even been considered a worthy gift to pass between crowned heads, Pope Pius V. having presented a violoncello by Andreas Amati to Charles IX. of France. Fleeting however are the honours of time! Cremona has lost its most famous names from among its citizens, and with them its most distinguished characteristic. For nearly a hundred years no maker of great skill has arisen to dispute the glory of the place with the Amati, Stradiuarius, and Guarnerius, by whom the fame of Cremona will be carried to the latest generations.

It is now about three centuries since there flourished at Cremona its first great violin maker. Andreas Amati appears to have been born there in 1520, and died in 1580. The family was an ancient one, and is mentioned as early as 1097 in the records of the city. It is a remarkable fact, and shows in a strong light the difference of manners and customs in different countries that both Amati and Stradiuarius seem to have been of ancient and honourable families, and yet notwithstanding their adopting an avocation which would in England be thought to tarnish an old family name, they lived and died respected and honoured by their fellow citizens. There is no account of how or of whom Andrew Amati acquired the art of violin making; but it is clear that by some means he had attained to a considerable amount of skill. Under the head of Gaspar di Salo, we have however hazarded a conjecture that he had been to Brescia for the first principles of the art, but that he had adopted little that he found there except the varnish and the general routine of the workshop. Some of his instruments are described as beautifully made, and to have amber varnish of excellent quality of a deep rich yellow tinted with brown or light red colour. His violins appear to have been chiefly of the small pattern and high model. The backs are mostly cut the reverse way of the grain to the present rule, forming what are now termed "slab" backs. They possess a delicate graceful tone of wonderful sweetness, which has also been more or less the chief characteristic of the other makers of this family. With reference to this peculiarity, an eminent writer observes that in the times in which the Amati lived, the tone was not required to be of that powerful character which modern players demand, and that such an immense tone as many later instruments possess would not then have been tolerated. This is very probable, and may account also for the elevated model which was adopted both by Andrew and some others of the Amati. This model conjoined with their beautiful workmanship and generally small size, combined to produce that elegant delicious sweet tone which of all other makers, the Amatis especially possess. They also, all of them, made a greater number of instruments of the smaller size than what is known as the grand pattern, no doubt because the tone produced by them was found generally sufficient. They were also made to carry a much lower bridge and a lighter bass bar than are now used, and the proportions were arranged accordingly. On this point M. Maugin, author of a Treatise, entitled Manuel du Luthier, makes some remarks which we have translated as pertinent and valuable. Speaking on the subject of repairing old instruments, he says, "There is no violin maker now, who does not put, whether in the instruments he has to repair, or in those which he makes, a much stronger bar than those which were employed by the great makers themselves. They must have felt the necessity of doing this or they would not all act in this way. Now what is the reason of this mode of working? I have seen in the hands of rich amateurs, several instruments which have been preserved with a religious care, absolutely in the form which Amati and Stradiuarius had given to them. The bridges of these violins had only an inch and a fraction of height above the belly, while now-adays bridges have a height of an inch and (say) three-eighths. Now, the belly being put into vibration by strings at a great distance from it, and these strings vibrating by themselves more at the distance of fourteen lines than at twelve, it has been found necessary to strengthen the bar which, without that, being drawn into too great a vibration, would give to the strings sol and re a cottony sound which would have quite spoiled the goodness of the instrument." M. Maugin does not say why higher bridges are now used, but there is no doubt on this point. All judges concur that the pitch having been so greatly raised since the old instruments were built, a stronger bar has been found necessary, to counterbalance the increased tension of the higher bridge.

Andrew Amati gave to his instruments a still more decided swell than the later members of his family, his successors no doubt finding a diminution in the rise of the model to produce a fuller if not a sweeter tone. This principle was gradually carried forward till it culminated in Antonius Stradiuarius, who brought it to perfection and demonstrated that the flat model produced the greatest vibration and consequently the most powerful tone. Otto in his celebrated work on the Construction of the Violin, does not mention Andrew Amati, but says that those of Hieronymus were the oldest Cremona Violins. This is one of the mistakes in his original work which renders it comparatively useless. Connoisseurs and collectors have dissipated those errors, and we now know to a certainty that to Andrew Amati of Cremona, and Gaspar di Salo of Brescia, (of whom also Otto was ignorant,) we owe the establishment of these two great schools of violin making. From their great age, the instruments of these two great makers are now very rare. They are most of them about three centuries old, and though they appear to have made a considerable number, they have through the influences of time and accident gradually disappeared. Some of Andrew Amati's instruments are still left however in the hands of dilettanti and collectors, and retain that distinguishing characteristic of delicious and sympathetic quality which has been the chief charm of all the Amati productions. Andrew had a brother called Nicholas, of whom little appears to be known.

After Andrew, as great makers, come his two sons Antonius and Hieronymus, who flourished from 1550 to 1634. Antonius made many small pattern violins, which possess in the highest degree the distinguishing characteristic of the family—a sweet but not powerful tone. He also constructed some of a larger pattern. Antonius and Hieronymus conjointly built a number of large pattern violins, which are of high finish and beautiful wood. They are very highly esteemed, and a well preserved example will command a large price. Nicholas was the greatest artiste of this deservedly celebrated family, and many instruments still exist to attest the excellence of his workmanship and his knowledge of the proportions requisite to produce a fine tone. He also built many small pattern instruments, but he appears to have almost anticipated Stradiuarius and succeeded in producing some instruments of the grand pattern which possess a very powerful as well as sweet tone, and are considered to rival in every respect the famous instruments of that great master. Some of his violins possess a distinguishing mark in a rather abrupt rise in the centre. Otto describes it as a "sharp ridge." It is not exactly so, but is still very different to the gradual swell on the other Cremona instruments. His best violins, which are known by the title of Grand Amatis, are those which approximate closely to the very best instruments of Stradiuarius and Guarnerius. There can be no doubt therefore, that in these fine specimens of his skill, he had hit upon the same principles which afterwards guided those distinguished artistes in the construction of those most renowned violins which now command the admiration of violinists throughout the world.

We have said that the chief characteristic of the Amati violins is a sweet but not powerful tone. It is necessary to qualify and explain this remark. From their excellent construction and beautiful wood, which has evidently been selected with the greatest care for its resonant quality—their age and long and careful use, their tone is divested of all extraneous properties, and become fine and pure. Notwithstanding therefore their original small tone, when fitted with the modern appliances of larger bars and higher bridges, some have been found quite competent for all purposes. In 1861 the celebrated instrument by Antonius Amati, which was presented by George IV. to Francois Cramer, was sold by auction, and it was stated in the catalogue that that great performer always led the Ancient and other concerts on that instrument. The fact no doubt is that it is the fine and pure quality of tone that tells, arising from age, constant use, and beautiful woods. They seem to be now divested of all extraneous characteristics and are become refined and ethereal, and are in fact the nightingales of the stringed tribe. That the Stradiuarius and Guarnerius have equal quality combined with more power arising from their flatter model is undoubted, and therefore they are the most valued. It is believed that the finest specimen of the skill of Nicholas Amati is in the possession of Ole Bull. It is of the large pattern, and possesses a magnificent tone, as many of our readers have no doubt heard.

We think we shall please our readers by inserting verbatim the following excellent description of the Amati instruments, furnished to us by an able and experienced connoisseur. He says:—

"Nicholas Amati and the Brothers Amati. The tone is with few exceptions sweet in quality and seldom powerful, but admirably suited to the amateur. The workmanship is of the highest order, which conduces to this result. The wood must have been selected with great judgment. The bellies are nearly always of a fine reedy nature. Sometimes the backs are whole backs (in one piece), at others in two, more often the latter. The varnish of a beautiful amber colour, and there are a few instances of fine red. The sides generally rather shallow, heads of exquisite form and well defined. The care bestowed upon them alone bespeaks the hand of the artist. There are several magnificent tenors and violoncellos, and perhaps three or four double basses. The tenors are sometimes seen of large size. The Amati family made several sets of instruments for foreign courts, which bear their particular arms, mostly beautifully painted on the backs. The violins known as Grand Amatis are the best, and were made by Nicholas Amati. They take their name from their size. He also made many long pattern instruments, and also several three quarter violins, which have conferred a great boon upon juvenile violinists who are able to purchase them, by giving them an opportunity of early becoming familiar with the irreproachable Italian quality of tone."

In reference to the remark made in the preceding paragraph, it is recorded that a set of instruments, no doubt one of those therein alluded to, was made for Charles 9th of France by Andrew Amati, consisting of twenty-four violins, six violas, and eight basses. These were lost from Versailles in 1790, and have not been recovered, except two which M. Cartier discovered some years since. Notwithstanding that Andrew Amati was the first maker of any note, except Gaspar di Salo of Brescia, it is clear that he had attained an astonishing amount of skill, as there is an account of a violoncello which was offered by auction at the sale of the celebrated Sir Wm. Curtis's instruments by Mr. Musgrave, who in the catalogue stated that "a document was given to the proprietor when he purchased this instrument, stating that it was presented by Pope Pius 5th to Charles 9th of France for his chapel. It has been richly painted, the arms of France being on the back, and the motto 'Pietate et Justitia' on the sides. The tone of this violoncello is of extraordinary power and richness." Mr. Forster supposes this to have been one of the instruments mentioned before, but that would destroy the value of the document given to Sir William, because if Andrew Amati made it for Pope Pius 5th, who presented it to Charles 9th it could not have been one of those made by him expressly for that monarch. It is clear however that the tone was both grand and fine, and therefore the first of the Amatis must have attained great ability in his art. We have before mentioned the celebrated Nicholas Amati violin, dated 1679, formerly the property of the same distinguished collector, Sir W. Curtis, and which has since been sold by Mr. Hart to the great violinist Ole Bull. This is considered the finest specimen of the Amati skill and was thus described in the catalogue of the sale—"This is justly considered as one of the most beautiful and finest instruments in the whole world." The Count de Castelbarco of Milan, possessed a quartett of instruments by Nicholas Amati, which have since been sold in London (see the article on Stradiuarius.) M. Fetis describes these as admirable, but as our readers will see, the English connoisseurs do not appear to have coincided generally with the critic on their quality, as only one of them produced any great price. There is a splendid grand Amati in the hands of an amateur in Derbyshire, which formerly belonged to Mr. Hankey the banker, for whom it was purchased with others by Viotti, who dedicated several of his compositions to him. This instrument possesses in an eminent degree the admirable qualities of the Amati tone, with also considerable power. Another of the same set in the same hands is a splendid Stradiuarius of the large pattern with a magnificent tone. There are many fine examples of the different makers of this celebrated name in this country. English connoisseurs suffer those of no other nation to excel them in their collections.

ANTONIUS STRADIUARIUS.

A most interesting account of Antonius Stradiuarius, who is generally thought to be the greatest maker of the violin—has been published by M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In addition to records of his family, which was an ancient one in Cremona, obtained by M. Vuillaume in his persevering labours in search of information, and which he placed at the service of M. Fetis—the latter enters deeply into what we may call the science of violin making, and presents us with many interesting and valuable experiments which have been made on fragments of the great instruments, in order to ascertain the exact principles which enabled Stradiuarius to build with such undeviating and brilliant success. The book is well worthy the perusal of all amateurs of the violin.

Antonius Stradiuarius was born in Cremona, in 1644, and died there in 1737, having lived in the peaceful exercise of his art to the great age of ninety-three. There is a violin still extant which bears his signature and proves this fact. In the early part of his life, he was a pupil of Nicholas Amati, and some of his early productions bear his master's name, as seems to have been the custom. These instruments have the Amati characteristics, and have some of the backs cut the contrary way of the grain, forming what are known by the name of "slab" backs. He afterwards enlarged his model and adopted a flatter pattern, and arrived at the greatest perfection about 1700. From that period to 1725, everything he made bore the impress of the great master. In shape, the cutting of the S holes, the varnish, and the accuracy with which all the parts were adjusted in harmonical relation, from that time he excelled all who had gone before him, or who have since attempted the difficult task of vying with him. All these instruments are of the flat pattern, which is now proved to be best adapted for the production of a rich, deep and powerful tone. It would appear that the more elevated model used before his time, although it allowed of very fine quality of tone, tended to prevent that strong vibration which is the cause of great tone. M. Fetis insists that the violins of Stradiuarius were as good and fine in quality of tone when made as they are now, contrary to the established opinion that time is necessary as well as use for refining and perfecting all violins. He gives an instance of a violin made by Stradiuarius, now in Paris, which he states has never been played upon—but we must beg to doubt this fact. Though we are ready to admit that the careful adjustment of the different parts and the selection of fine wood, would tend to perfect the tone of these instruments, much sooner than others less carefully fashioned, yet in the instance he brings forward in support of his theory, it does not appear quite so clear that the violin never had been played upon. On the contrary, there are many years unaccounted for, in his description of it, during which it might have undergone considerable use. It appears almost impossible that while in the hands of various possessors, so fine an instrument should have been suffered to lie idle in a cabinet, as though it were a picture to be looked at, but not touched. From its condition, however, it is clear that it had always been in hands that prized it, for he describes it as having quite the appearance of a new instrument. In this respect, therefore, we must still adopt the opinion of the most eminent judges, including that recorded by Spohr, that it requires both time and use to perfect all instruments of the violin class. It would appear moreover that this has always been a settled belief, for even Mace in his "Music's Monument," published in 1676, says "We chiefly value old instruments before new for by experience they are found to be far the best." As to the condition of this instrument which Fetis states to be quite unique for its perfection and apparent newness, our countryman, Mr. Gardiner, in his interesting work, "Music and Friends," says that Mr. Champion, an amateur had given 300 guineas for a Stradiuarius violin and tenor, of a beautiful yellow colour inclining to orange, and which appeared to have been untouched since the day they were made. Here then in this country is a double instance of the same fact as to condition, for which M. Fetis claims for the Paris instrument the title of unique. The fact is that these fine violins have for many years been so highly appreciated that their possessors have taken the most extraordinary care to prevent their being damaged or disfigured, and there are many instances of violins in equally perfect condition.