V I OLIN S

V I O LI N M A K E R S .

BIOGRA P HICA L DICTIONA RY

TH E OF

G R E A T I T ALI A N A R TI S T E S ,
TH E I R
F O LL O W E R S AND IM IT AT O R S ,
TO TH E
P R E S E N T T IM E .

WI T H E S S AY S ON I M P O R TA N T J
S UB E C TS
C O NN E C TED WITH T HE VI OL I N .

BY JOSEPH P E AR C E ,
JUN .

LO N DO N
N : L O G M AN A N D C o P A E R OS E R
.
,
T N T Row .

H
S E FFI E L D : J P E A R C E , J UN
. .

1866 .
 C ON T EN T S .

PA GE .

Pr e fac e
I ntr o d i
u c t on :

V i li
o n Ma k r
e s, a l ph a b i lly
et c a a rr ange d
B ow Ma k r
e s z

C r em o n a

O n th e C r emon a Vra n sh i
Gu am e rius

S te i ne r

W hy are c e rtain Vi lo in s o f mo r e Vl a ue th an oth e r s ? 1 40

O n th e Pr o d i
u c t on o f Go o dT o ne in V i li
o ns

G r eat P l aye r s an d th e i
r I ns truments
G e ne r a l N ote s
R epi a r s of I ns tr ume nts
A dd d en a

M f )
:

a r"
!
 P RE FA C E .

The V ioli n i s an i ns trume nt whi c h th ough s mall

,

and of ri i
t fl ng o ri g i nal c ost has ye t command e d
,

mos t ex tr aordi nary pri ce s . T he r e as on o f th e

i mme nse d iff e r enc e i n the v alu e of th ese ins tru
me nts must th erefore b e a subj e c t p oss e s si ng s tro ng
c l ai ms to no ti c e fro m v ir tu os o a nd am ateur .

T o disti nguis h b y the o u twar d c har act e ris ti c s

and pe c uliari ti e s o f t one , th at w hi ch will be o f

pe c u ni ary value t o the p oss e ss or and yi eld the

,

u tmos t d eligh t to the b earer i s an ac quir ement

,

at o nc e diffi c ult to obt ai n and very v al uable w he n

ob tai ned . T o as s i s t th e a mate ur and c oll e c to r i n

this pursui t i s th e obj e c t of the pre s e nt li ttl e

w ork . S u c h a work has l ong bee n a d esi d e ratu m .

Of l ate y ea rs the H is tory o f the Vi oli n a nd i ts

,

c ong e ne rs has received mu c h a tte nti o n E l aborate

.

and co s tly tr e a tis e s have b e e n p ublis h ed s o me of

,

whi ch b ei ng w ri tten in Forei g n to ng ues are e x ,

c e e d i ng ly d ifficul t to ob tai n and not ac c essi ble to

,
many of those d es ir e to peruse th e m on th at
w ho ,

acc o un t. O the rs are v e ry i mp erfe c t and u ns ati s fy

O th ers ag ai n a re from th eir hi gh pri c e
, , ,

be y ond the r e ach of the g re ate r nu mb er o f a mateurs .

T he pre s e nt w ork is i ntend e d chi efly for the

us e of th os e w h o d e sire a h and y g uid e to th e pri n

c i p al c h ar ac teri s ti c s b oth of mak e and tone wh i c h

mark th e c h i ef b uild e rs o f this mos t famous

i ns tru me nt M any per s ons anx i ous to p oss ess a
.

g ood i ns tru me nt and le d a way by th e v e ry natur a l

,

d e sir e to p oss e s s an Amati a G u ar nerius o r a

, .

S trad iu ari u s are te mp ted i nt o purc h asi ng Vi oli ns

whi ch are pres ented to th e m u nd er false and d el u
si v e ti tl e s and rej ec t frequ ently good a nd g enui ne
,

i ns tru ments of l e ss famou s m ak e rs b ut s til l v alu

,

abl e b ec au s e th ey are goo d and g e nui ne U nd oub te d

.

s p e c i me ns of th e gre at mas ters are now v e ry r ar e ly

to be h ad , u nl es s at a v ery high pri c e Ye t .

,

w h e n w e c on sid e r that e v e n S trad iuari us hi ms e lf

o bt ai ned n o more th an fo ur p ou nds fo r hi s be s t

i ns trume nts whi ch now c ommand as many hundr e d s

.

— i t i s e vid e nt that i n the ab se nc e of thos e gre at

,

produ c ti ons the w orks of hi s p upil s and su c c es s ors

,

a re w e ll w or thy th e atte nti o n of a mate urs T he r e.

is no d oubt i nd eed that many of th e s e w hi ch from

, , ,

b ei ng buil t on his pri ncipl e s are of fi rs t rate qu ali ty

-
,

have b e e n s old as th os e of th e mas ter hi ms elf It .

cannot therefore be questi oned that a knowledge
, ,

w hi c h w ill l e ad the amateur to buy an i nstrume nt

for what i t re ally i s i nstead of wh at i t pr ofesses to

,

be will a t onc e s ave hi m from the unple as antness

,

of payi ng too d early and i n re al e nj oy me nt yi e ld

,

all that c an be desired .

T he au th or believes h e h a s in this work given

the amateur and c onnoisseur i nfor mati on u gt easily
’

att ai nable els ewh ere b ut as he is fully c ons c i ou s

,

t hat there may be i mperfe cti ons i n it still he wil l

,

be gl ad to r ec eiv e any suggesti ons or i nformati on

whi ch may e nable him to render it still mor e
c omplete .

S heffi eld Febru ary

, , 1 866
.
 IN T RODUC TI ON .

Th e two most pleasing expressive and

, ,

p owerful single instruments of mu sic are the

h uman voic e and the violin Th e one th e
, ,

g ift of b enefi c ent nature h as from th e creation

,

e xercised its touching influence on th e h um an

s oul —the oth er th e produ ct of th e inge nuity

,

of man has only within the last three centuri es

,

a ttai ne d to p erfection ,b ut sinc e that p erio d

w hat d elight what rapture has arisen from so
,

s i mpl e a construction when acted upon by the

,

h and of geni us
W hil e th e m elo d ious tones of Grisi and
M ario h ave touch ed with sympath etic feelings
th e hearts and i magination s of S pell bound

li steners how h ave the ma g i c tones of Paganini

,

and E rnst wrapp ed th e souls of wondering

thou s an d s i n an e lysiu m of delight and admi

ration ! Wh at effect cannot b e pro d uced by

the Vi olin ( excep t that of sp eech ) which the
, ,

voice can accomplish

Th e Violin in the h ands of genius c an draw
tears or create laughter W hoever h as h eard
.

th e great masters of this extraordinary i ns tru

ment has h eard all the sweetness o f tone the
, ,

i ntensity of feeling the power of expression

,

th at th e most gifted sons and daughters o f

son g could p ossibly produce wi thout the ad .

di ti onal aid of speech The Violin in fact in

.
, ,

its p ower of expres s i o n far excels t hose singers ,

of whom there are to o many wh o whil e singi ng

,

th e notes fail to make their h earers understand

,

th e sense of their songs If a merry dan ce i s

.

produc ed by th e agile b ow its symp athetic ,

tones at once excite a corresponding fee ling .

I f a pl aintive air stream s in delicious and h eart

touching c adenc e s from the stri ngs what soul ,

i s th ere so dead to feeling as not to respond

The perfecti on of the Violin i s that its
m aster if alive to th e subtle and mysterio us
,

influenc es of th e imagin ation can elici t fr o m ,

it the m ost perfect and touching s o ngs wi th

ou t words .

I t is b esides th e only instrum ent ex cept th e ,

voice which is p erfec t E very shade of ex

, .
pression every ni cety of tone can b e produ ced
,

on i t All other instruments sink into ins i g

.

ni fi c anc e in comp ari son wi th th e Violin b e

,

cause they cannot d o this They are all m ore

.

or less imperfect ; and therefore fail in th ose

s ub l e ti e s of expressi o n of which the Violin an d

th e voice are s u ch able exponents .

What gratitude do we o w e therefore to th e se

great masters of Cremona m ore especi al ly th e
,

A mati an d S tradi uari us who h ave suc c eded

,

in b ringing th e Violin to its present state of

perfection .

Musi c h as in all ages b een a sourc e of th e

p urest delight Th e greatest p oet and dram ati st
.

th e worl d ever kn ew says that whoever h as not

music in his soul i s fit for treasons stratagems
, ,

and spoil s . In the present age the cultivation

of Musi c forms one of the most general and
the most refined sources of amusement and
pl easure All ranks of p eople are now privi
.

leg ed to j oin in its delightful enj oyments .

E ven the cottage of the artisan i s now

often elevated by th e elegant prac ti ce of mu sic ,

through the increased facili ties for pro ducing

instruments at a ch eap rate The consequ enc e
.
i s that i n the presen t age there i s a m ore gen
eral stud y an d a finer p erc ep ti o n of what i s
g o o d and b eau tiful an d th eir el eva tin g tenden
,

cies are d o i ng m uch for th e m ental cul tiva ti on

and refin ement of al l cl asses .

A very ex traordinary feature of th e mu si cal

worl d o f th e pres en t day i s th e enormou s
o rchestras whi ch c an b e pr o duc ed o n spe c i a l

o ccasi on s . A ch o ru s o f sever a l th ous an d

voi c es supported by hu ndreds of ins trumen ts
m ay no w b e h eard re nderin g th e im mor tal
,

c o mp o si ti o n s of th e g re a tes t m asters o f th e
divi ne A rt i n th e P e o ples Pal a c e at S yd enh am
,
’

and elsewher e Th ese O r c hes tras are chi efl y

.

selec ted from th e r anks of the pe o ple of wh o m

,

th e ar tisan i s th e chief con trib utor .

The red uc ti o n o f th e c ost of instr ume nts

and th e ad e p tion of wh a t may b e c alled th e
j oi nt s to ck pri n cipl e are tending s til l fur ther to
enl ar g e th e b oundaries of th e prac tical m usi cal
worl d A t any tim e and fo r any speci al p ur
.

p o se i t i s no w e asy to secure a b an d and

ch o ru s su ffi ci en t i n numb ers and ex e cu tive
p ower to render i n an e ffi cien t and powerful
m a nner the gl o ri o us pr o duc ti on s o f B e etho v en
, ,

M o z ar t H an d el and o the r great m asters

, , .
 In all these tran si tions th e Vi o lin b ears a
,

m o s t important p art I t i s th e l e ading ins tru

.

m ent in these great performan c es as i t i s al s o , ,

after th e voic e th e mo st powe rful mediu m

,

of expression in solo I t is als o th e p e e pl es

’

instrument .

Th e l ab ours of m any eminent violin makers

wh o h ave followed i n th e step s of the great
m asters h ave o f l ate so imm ensely improved
the art th at a go o d instru me n t m ay n ow b e
,

p o ssessed b y any on e And it m ay safely b e

.

said that with i ts improvem ent h as arisen als o ,

th e extension and wi de spread practi ce of music

gen erall y A n ear accustomed to the fin e ton e
.

of a good violin will n o t no w tolerate a b ad

pi ano forte
-
.

The Pi ano fo rte and th e Vi olin are th e m o st

-

ge neral instrum en ts and th ey h ave alik e par

,

ti c i p ate d in the impr o v em ents effe cted i n ,

b e coming ch eaper b v th e advanc e of s c i en ce .

E v ery description o f m achinery h as with in th e

last fifty years re c eived th e attention of ab le
men an d th e mech anic al constru ction o f th e
,

Pi ano forte i s on e pr o minen t pro of of th e ad

-

v antages which c an b e conferred by science on

even the l ux uries o f life .
 Th e Violin als o seemingly th e most inc a
, ,

p ab le of m ech anical applicatio n to its manu

facture is said to b e now made by a m ost p er
,

severing an d enthusiasti c lover and follower

of the great m akers by mechanical means
,
.

C opie s of these cel ebrated m akers are now ,

said to b e manufactured by him with an uni

formity a c ertainty and a preci sion impossibl e
, ,

excep t b y the ai d of scientifi c improvements .

These instruments are therefore und erstood to

require only th e ameliorating influences of
time and u se to b ecom e fine in ton e and
satisfactory in every respect .

E very on e interested in the progress of

mu si c m ust rej oic e at th e rapid devel opment
,

of its reso urces and the general spread of its

pl easures among th e people W e are a pro .

found ly commercial n ation an d it i s deligh tful

,

to see that in our greater wealth an d pro sperity ,

ration al amusements and more especi ally

,

music go on increasing step b y step with our

,

more b usiness —like o cc upation s This cl ass of .

amusements must exercise a humanisin g an d

refi ning influenc e on th e h abits and manners
of th e peopl e and they should b e therefore
,
‘

, ,
p atronised and encouraged b y all th ose wh ose
means are large an d their exampl e pow erfu l .

Th ere c an b e n o do ub t th at th eir tenden cy i s

for go od and th at those wh ose leisure ho urs
,

are dev oted to their practice an d study will b e

,

ri chly b enefited b y them in all th ose qu alities

which combin e to m ake th e go od citi z en and
the estima bl e friend .

N OT E .

To prevent to o m u ch sp ac e b eing taken up

i n the alph ab etic al p orti on of this w ork sep a
,

rate ch apters are given on th e fo ur renowned

Violin Makers Am ati S trad iu arius G uarneri u s
, , ,

and S teiner The names and dates of each of

.

th e m emb ers of th ese celebrated fami li es are

h owever given in th eir prop er places for ,

p romp t reference .

W e have no t in som e c ases b een abl e to find

any records b eyond th e nam es of c ertain makers .

Wherever p ossibl e we hav e given dates pl aces

, ,

and styl e of work .

 D IC TIONARY

V I OLI N MAKE RS .

A CE V O , Cremona Pupil of Guiseppe

,

C app a This ar ti ste m ade very good violins

.

in th e styl e o f th e A ma ti .

A D D I S O N W I LLI A M London 1 67 0
, , , .

AIRE T O N E DM U N D ,L o ndo n 1 7 3
, ,

A good and neat Mak er .

ALD R E D , London ,

E arly E n g lish Lute Maker .

ALE TZ IE P AU L O Monac o 1 7 2 0 3 0
, , ,
-
.

Famo u s for hi s Vi olon c ellos .

ALB A NI M ATTH I A S b orn at B otz en o r

, ,

B uls ani i n th e Tyrol ab ou t 1 62 1

, , This .

arti st was highl y esteem ed form erly and ,

O tto says th at i t is ex cee d i ngly di fficul t

to giv e s o ex ac t a description of th em
as re adil y to di stin guish th em fro m th o se
of Nicholas Am ati who was said to b e h i s
,

master In the presen t day o pini on s are

.
,

very d ifferent . N everth eless there a e r

 som e fine instrum ents by this maker of ,

hi gh model with red d ish brown v arnish

,

and b earing a great simi l arity to th o se of

S teiner of whom h e was also sai d to b e a
,

“
pupil . The D ictionary of M u si cians
sp eaks highl y of this m aker Thi s was .

deci dedly th e b est arti ste of this n am e .

A LB A N I P A O L O Palerm o an d Cr em on a
, , ,

W as also under Ni ch ol as A mati ab out 1 65 9 , .

A LB ANI ,
son of th e ab ove ab out 1 7 1 2 , ,

was also a c areful m aker and t urned out ,

som e goo d Instruments .

A M ATI F A MIL Y ,

F or fuller p articulars of these eminent

m akers see separate Articl e
‘

.
,

A M ATI A N D RE A S C remo na b o rn 15 2 0
, , , ,

died 1 5 80 .

AM AT I NI C H OL AS broth er of the ab ove

, , ,

c elebrate d for his B asses .

A M ATI ,
NI C H O L A S son of An dreas , ,

A M A TI AN T O NI U S and H I E R O N Y M U S
,
.

S on s o f Andreas 15 5 0 to 1 684 first m ade

, ,

toge ther and afterwards sep arately .

AMATI N I C H O L A S born 1 5 9 6 died 1 684

, , , ,

son of H eironymus Thi s was the greatest .

maker of th e F amil y .
 are of the flat S trad i uari us Model m ade of ,

g oo d wo od with amb er varnish and there

, ,

fore present c onsi d erab le similarity to their

p attern s .

B AG ANZ I s ee B ergonzi
, .

B A G AT E LL A PI E T R O —Pad ua
, , ,
1 7 66 .

S aid no t to b e very good .

B AnATE LLA, AN T O NI O ,
—
P adua ,
1 7 82 .

of a W ork on th e con str uction o f

A uth or
Instruments from which B ish op in his
,

Translation of O tto h as appended a Theory ,

for m aking a Vi olin on a v ery simpl e pl an .

H e m ade s om e excellent Violin s after

Cremona p atterns .

B AI N E S ,
Lon don ab o ut 1 7 80 , .

B AKE R , Oxford ab o ut 17 2 0 .

B AL E S T R I E R I TH O M A S , ,

Thi s excellent Maker was a pupil of

S trad i uari us an d m ade after his m odel
, ,

Th e A uthor h as seen an Instrument b y

thi s Ar tist which i s of th e large fl at
,

p attern an d has a m agnifi cent and brillian t

tone Th e w o od of th e b ack and rib s
.

rather plain — th e b elly very fin e open grain ,

p urfi in g n ot very n eat — varnish reddis h

 yell o w Pronounc ed by j udges to b e equal
.

to a fine S tradi uari us I t i s dated Thomas

.

B alestrieri C remonens is fecit Mantu a

. , ,

17 5 7 . Thi s instrument i s a proof th at

am ateurs m ay in future look with safety to

th e pupils of S tradi uarius for violi n s to tak e

th e p l ace of th o se of th e great m asters ,

which are y early b ecomin g scarcer an d

de arer .

B AL E S T R I E R I PI E T R O Cremon a
, , ,

rather e arli er than Th omas .

B AN KS B E NJAMI N
,
S alisbury
, .

B o rn 1 7 2 7 died 1 7 9 5 Foster in his ex

, .

c ell ent work c all s him on e of E ngland s ’

b est manufacturers To o m u ch c annot b e

.

sai d in pr aise o f this j u stly celebrated

M aker The work of all th e b etter cl ass of
.

instrum ents i s excel lent th e tone good of ,

all ; b u t that of the Vi olonc ellos i n p arti cul ar

i s full an d sonoro us Mr Gardiner i n hi s
. .

Musi c an d Friends s ays B ank s of

,

S alisb ury s Violoncellos are of th e finest

’

quality o f tone —not so strong and fiery as

F oster s b ut i n sweetness and puri ty ex
’

celling th em Th ey are chiefly of th e

.

A m a ti p attern — Th e b est Instruments have

 brownish yellow Varnish with a tinge of
red others deep red o f a b lac kis h tinge
, ,

Varnish not brilliant .

B AN KS B E NJAMIN S on of the former

, , ,

London b orn 1 7 5 4 died 1 82 0

, , .

B AN K S J AM E S and H E N R Y S alisb ury

, , ,

other sons of th e sam e James i s said to .

h ave b een an ex cell ent workman in hi s

’

father s style and dates ab out 180 5 , .

B ARR E TT J O H N London ab o ut 1 7 2 5
, , , .

H is lab el s state him to live at th e H arp

an d Crown in Pi c adilly H e m ade som e
, .

goo d instrum ents b ut did not p urfl e them , .

Th e author has seen a Vi oloncello b y thi s

m aker whi ch was everything that could b e
desired in th e m atter of ton e Th e wo od .

and work manship h owever w ere n ot equ al , ,

to the tone and this circ u mstanc e will

,

prob ably p artly acc o unt for th e settled

preference now given to th e I talian instru
m ents over all th e old E nglish mak e rs .

B AR T O N G E O R G E London died
, , ,
1 8 10 .

B E K MA N ,
S WE N O , S to ckh olm , 1 7 0 6 .

B E LLO S IO ,
on e of the Venetian
m akers ,
1 8th C entury .
B E N OI S T , Paris 1 8th C e ntury, .

B E NT E M ATT E O B rescia ab ou t 1 5 80
, , , .

W e ll known amon g virtu o si as a m ak er of

m eri t in th e styl e of G aspar di S ale and
Magini .

B E R GO N Z I or B AG ANZ I F R AN CI S C O
, , ,

Cremo na 1 687 , .

B E R GO NZ I C AR L O Crem o na 1 7 1 2 to
, , ,

17 5 0 ,

C onsidered b y auth oriti es to b e th e b est

p upil o f S tradi u ari us H e made i ns tru
.

ments o f the sam e b eautiful and b ri lli an t

ton e whi ch h as ren dered the produ ction s

of his master fam ou s thr o ugh o ut th e worl d .

C on s tructed on similar prin cipl es and ,

gen erally of well ch o sen woo d there is no

-

doub t th e producti on s of this ex cell e nt

arti ste will h ereafter rank very hi g h Lik e .

S trad i u ari us hi mself C arl o B erg o n zi i s by

,

s o m e con sider e d to h ave b een at on e

tim e a pupil of Nich ol as Am a ti E very .

am ateur woul d if i t were possibl e g et a

, ,

S trad iuarius an Ama ti or a G u arneri u s

, , ,

b ut as th e genuin e violin s o f th ese m akers

are very rare and v a lu abl e they s h o ul d ,
 look for th e veritable in strum en ts of thei r
pupils whi ch a re now b eginning to b e
,

highly esteemed on account of th eir i n

trins i c excellen c e .

B E R G ON Z I NI C H O L A S
, ,

S on o f C arlo b ut said to b e inferior to hi s

,

fath er .

B E R G O NZ I MI C H AE L A N G E L O
, ,

Prob ably an o ther son cf C arlo H e als o .

, ,

h as th e credit of b eing a pupil o f S trad iu

ariu s tho u gh th at seem s rath er doubtful
, ,

b ecau se the latter died in 1 7 87 at whi c h ,

tim e i f a son of C arl o h e would n ot h ave

, ,

b e en ol d enough .

B E R N AD E L , Paris 1 8th C entury , .

B E T T S J O H N c all ed O l d B etts Lon don

, , , .

and
B E T T S E D WA R D hi s n ephew
, , .

Th ese tw o w ell known m ak ers were said to

b e p upil s of D uke b ut often empl o yed,

other ar ti stes such a s C arter P anormo

, , ,

B F en dt an d hi s son s whose work

.
,
‘

, ,

chiefly imita ti ons of th e Crem ona i n

s truments gain ed th em great reputati o n
,

b o th at h o m e and abro ad 1 7 82 to 182 8 . .

 ‘

B INT E R NA G LE C entury
, G o th a 18 t h
, .

Thi s m aker was a Germ an imi t ator o f th e

Crem o n a Vi olins and i s sai d to h av e b ee n ,

very su c cessful .

B O C Q UAY J A Q U E S P aris ab o ut 162 0

, , , .

A v ery good maker and highly esteemed ,

in Franc e .

B OD I O ,
Venezi a 18th C entury , .

B OLL E S ,

A n early E n glish Lute an d Viol Maker .

Mace 1 67 5 says one b ass o f B e lle s

, , ,

I h ave kn own v alu ed at £ 1 00 equal to ,

at l east £ 600 of our present m o ney .

B O R E LLI A ND RE A S Parma 1 7 4 0
, , , .

B O ULLA IN G E R London , .

A careful m aker who first worked for ,

'

others and n e w o u his o wn account

, .

B R E M E IS TE R J A N A msterdam 1 7 0 7
, ,

B RO S C H I C A R LO Parma 1 7 4 4
; , , .

B R E T O N L e ) Pari s .

B R O WN M E S b or n 1 67 0 died 183 4
Y
, , .

and
son of do b o rn 1 7 86 .
, ,

died 1860 B o th good workmen b ut

.
,

wi thout any special i ty .

B U C H S T AD T E R —
R ati sb on
C en t ur y
,
. 18th .

U sed the fl a t m odel O tto says th e

w oo d is n ot go od and th erefore thoug h , ,

w el l b uilt th e ton e is not fine ; b ut

,

S p ohr puts his violins on his list as exc ellen t

in str umen ts H e may t herefore b e ranked
.
, ,

a mong th e g o o d German m akers .

B UD IA NI J AV IE T T A B r escia ab out 1 5 80
, , ,
.

Made after th e s tyl e o f G aspar di S ale .

0 .

'

CA ES I A , PI E T R O A N T O NI O D E LL A ,

Trevi s e , 18 th C entury imi ta ted S trad i u

.
,

arius .

C A MIL E C AM ILU S de Mantua esteem ed

, , ,

as a p upil of S trad iuari us .

C APP A G IA C HIM O or G IO FR E D A o r
,

pr o b ab ly two B rothers b orn at Cremo na ,

and worked under A ma ti D ate there ab ou t .

1 5 9 0 an d were i n Piedm o nt 164 0 .

There are s o me go od Vi oloncell o s of thi s

m ak e .

— —
C APP A G U I S E PP E S alu z z o end of l 6th
,

C entury .

C AP P E R or prob abl y C ap p a Mantu a

, , .

A Vi olin of this m ake w as sol d b y auction

in L ondon in 1861 and said to b e very ,

go od .
C L ARK ,
London .

C O LE T H O M A S Lon d on Forster s ay s
, , .

n o in str ument has b een preserved o f thi s

m aker b ut that i s a mi s tak e
, Th ere i s in .

th e n eighb orh o o d of S h effield a very l arge ,

T enor with a fin e deep t o ne and the foll o w

ing c uri ou s l ab el .

Made 1 69 0 ,

TH O M A S C O L E o f
London o n H olb orn H ill who s el
,
‘

l eth all sor ts of Musical Instruments .

C O LLI N G W O O D J O S E P H London 1 8th

, , ,

C entury .

C OR S B Y G E O R G E b elieved to b e formerly
, ,

a maker at Northampton an d no w and for ,

a long ti me a dealer in Violins & c in , .

,

Princes S treet S oh o Londo n

’

, , .

C O N WA Y WILLI A M 1 7 4 5
, ,
-

C O LLI E R S A M U E L 1 7 5 5
, ,
.

C R AS K GE O R G E o f various pl aces has

, , ,

m ade many Vi o lins in imitation of th e

Cremon a Makers s o m e of which have b een
,

sold by unscrupulous dealers as genuin e

ins trum ents an exampl e of which we h ave
,
 seen whi c h w as purch a sed b y a p ro
fes s i onal man sinc e dead o f a Vi olinist
, ,

then on a Musical T o ur I t i s only right .

h ere to say that we b elieve Mr C rask to .

b e en tirely free fr o m blame i n thi s m at ter ,

as h e sells these instruments as hi s own

pro d ucti o n s .

C R O W T H E R JO H N 1 7 5 5 to 1810
.
. .

C R O S S NAT HA NI E L L o ndon ab o ut 1 7 2 0
, , ,
.

H e was p artner a t on e time wi th B arak

N o rman an d u sed his m o no g ram s o m e
tim es . He al so stamped a Cross in
the inside of his instrumen ts as well as
u se d i t in hi s l ab el s H e m ad e s o me goo d
.

Vi olins which resembl e those of S tein er

,

H i s mark in th e inside of th e b ack i s

here given .

N . C .

A vi olin of thi s make which w e h av e seen ,

h as the great fa ult of h aving the b ass b ar

c ut out o f th e solid instead of being glued
,

in thus c ontravening th e established prin

,

c i les o f th e art
p .
C O NTRE RAS J O S E PH Madrid 1 7 4 6
, , , .

An e xcellent m aker wh o was p articularl y

-

celebrated for his copie s of S trad i u ari us .

D .

DARDE LLI, PI E T R O Mantu a ab out 1 5 00 , , .

Made goo d reb ec s viol as and vi ols d a ,

gamb a Feti s mentions so me of th em as

.

still exi stin g .

D E C O MB RE A M B R O I S E T ournay 1 7 00
, , , .

to 1 7 3 5 was s a id to b e one of th e pupil s

,

of S trad iu arius and m ad e som e go o d in

s tru ments of hi s p attern

D ES P O NS A N T O I N E Pari s —
.

,
o ne of the , ,

good French Mak ers ab ou t 1 7 2 5 , .

D I C K E N S O N E D W AR D 1 7 5 4, ,

D I C KS O N JO H N C amb ri dge 1 7 7 9
, , ,

D I E H L NIC H O LAU S D arm stadt 1 7 th

, , ,

C entury .

D ITT O N ,
London ab out 1 7 2 0 ,
.

D OD D T H O M A S S on of E dward D odd o f
, ,

S he ffi e ld an d who died in London in 1 8 10

,

at the great age of 1 0 5 years ( see B ow

Makers )
’

Th omas D o dd s instruments
.

have had con si derabl e reputation b ut i t i s ,

 b eli eved he w as no t a maker himself b ut ,

empl oyed B ernard Fendt an d John Lott ,

through w hose excell ent workmanship his

n ame whi ch h e put on th e l ab el s b ecame
, ,

w ell known .

D OD D T H O MA S S o n of the ab ove ; h e was

, .

drowned in 1 84 3 .

D O MINI S C E LLI Ferrar a 18th C entury -

, . .

A goo d w o rkm an .

D U KE R I C H A R D London 1 7 67 to 1 7 7 7
, , , .

This Artist w as very cel ebrate d in his d ay

an d his instruments comm anded very goo d
pri ces H e frequently st amped his nam e
.

on th e b ack b ut as far as we h ave seen

, ,

only On inferior pro du cti o ns Very good .

instruments m ay n ow o c casionall y b e met

wi th at lo w prices in consequence of th e
great prej udic e in favo ur of th e I talian
and other forei gn makers .

D U RFE L ,
Al tenb urg made good doub l e
,

B asses H is violins are als o said by on e

.

auth o ri ty to b e ex cell en t in p oin t o f t o n e .

D U IFFOP R U G C AR G A S P A RD b orn in the

, ,

Tyr o l est ab li sh ed in B o l ogn a in 1 5 10 a nd

,
.

w ent to P aris a t th e invi ta ti o n o f Franc i s l s t .

 H e afterwards rem o ved to Lyons This ap .

pears to b e th e first m aker of the genuin e

Violin we h ave o n record and some i n ,

s truments still exist to attest the excell ence

to which he h ad reach ed M V uillaume
. .
,

p ossesses a B ass Viol and other Pari si an

,

C o llectors po ssess instruments by this

an cient arti ste .

E B E RL E J E AN U L R I C Pragu e 1 7 4 9
, , , .

O tto s ays this i s on e of the mo st celebrated

German Makers and hi s instrum ents h ave
b een frequ ently tak en b y experienced
connoisseurs for Itali an th e differenc e
b eing th at they h ave a sh arper or rath er
n ot so round and full a tone C onnoisseurs
.

could not b e very e x perien ced at th at tim e ,

if th ey c o ul d mistak e for Cre monese i a ,

s truments p o ssessing this characteristi c ,

which i s ex actly what distinguishes th e

inferi or instruments from th e gen uine .

E B E RTI T O MM A S O ab ou t 1 7 3 0
, , ,

E D LIN GE R , T H O M AS P rague
, 1 7 15 .
E D LING E R J O S E P H J O A C H IM Pra g u e
, , ,

son of Th omas Visited I taly and aft e r

.
,

w ards buil t some excellen t i nstrumen ts ;

died in 1 7 4 8 .

E R N S T F R A N C O I S A NT O I N E b orn i n
, ,

B o hemi a in 1 7 4 5 Thi s ar tist e m ade som e

.
-

excellent instruments whi ch are said almost

to reach the Crem o nas in tone H e was .

also the A uth or of a Treatise on Ins tru

m ents The c elebrated Violinist S pohr
.
,

au thor of th e V iolin S cho o l i s said to

"

h av e at on e tim e used one of this maker s

’

instruments .

E V A N S R I C H A R D London 1 7 4 2
, , .

F .

FA R INAT O ,
P AU L Ven ezia ab out 1 7 0 0
, ,
.

FE ND T , o r FINT H Pari s 1 7 63 —,
80 Made ,
.

g o o d instrumen ts after th e S tradi uari us

model s o me o f which foll o wed his s tyle so
,

c arefully as to hav e b een tak en for those

o f th a t master .

F E ND T B E R N H AR D b o rn 1 7 7 5 died 182 5
, ,
.

N ephew o f the ab ove H e worked first for .

 D odd and a fterwards fo r old J o h n B e tte .

H e was a c apit al workm an and made many

fine imitati ons o f the Cremones e ins tru
ments .

F E ND T B E R N A R D S IMO N S on of the
, ,

ab ove born 1 800 died 18 5 2 b ec am e p art

, .

n er with Purdy in the wel l know n firm o f

P urdy and Fend t .

F E ND T M A R TI N broth er of th e ab ove b orn

, .
,

1 8 12 died 184 5
,
.

F E ND T JA C O B b o rn 1 8 15 died 1 84 9
, , , .

F E ND T F R AN CI S
, ,

F E ND T W I LLI AM S on o f B ernard S imon

, , ,

b o rn 1 83 3 di ed 185 2 ,
"

All th e F e nd ts h ave th e reputation of b eing ex

c elle nt w orkmen .

FIC H T O LD HA N S 1 6 12 i s said to h av e
'

, , ,

made good instruments .

FI C K E R J O HA N N C H R I S TI AN Cremon a
, ,

17 22 .

FI C K E R J O HANN
, G O T LIE B , Crem on a
1 7 88 .

FL E U R Y B E N O I S T Paris ab out 1 7 2 0
, , , .

F LO R E NT U S FLOR IN U S B ologn a 169 0

, , ,
.

Follo wed the A mati p atterns and has a ,

goo d rep utati o n in that style .

 C rem on a Makers h ave had no rivals .

W hether in power p urity and sw eetness of

, ,

—
ton e o r b eau ty of w o od and w o rkmanship
-
th e b est instruments o f Nichol as A m a ti ,

Antoni u s S trad i uari u s and Jose p h Gu ar ,

neri us h ave n ever ye t b een equall ed Wm . .

Fo ster s Violon cello s h ave however ( in , ,

E ngl an d at any rate ) b een h eld in high ,

esteem b oth b y pl ayers an d am ate urs an d .

h ave reali sed g o o d pri c es .

F O R S T E R W ILLI AM the third of th e nam e

, ,

b orn 1 7 64 die d 1 82 4 known as young

, ,

Forster H i s instrum ents are no t so go o d

.

as th ose of his fath er bu t stil l exc ellent ,

produ ctions .

F O R S T E R W ILLI AM th e fourth of th e
, ,

n am e b orn 1 7 88 died 1 82 4
,
A g o od ,
.

workman b ut no t equal to th e secon d

,

W illiam F orster .

F O R S T E R S I MO N A ND R E W son of th e
, ,

ab ove b orn 1 80 1 author in c onj un cti o n

, , ,

with W illiam S andys o f a m ost ,

elab orate an d ex cellent w ork from which

these particulars are taken entitled Hist o ry ,

o f th e Vi o lin and o the rIn struments played

 on wi th th e B o w from the rem o test time s ,

to the presen t H e is als o like th e rest of.

th e family a m aker and b ears a g o o d re

,

putation .

F O R EST E R — O f thi s n oted family Dub ourg

in his amu si ng and intere s ting b o ok Th e ,

V i olin sp e aks i n complim e ntary term s

,
.

H e s ays T h e Forsters old and you ng

, ,

grandfather an d grandson h av e in th eir , ,

departm e nt of art a n am e th at lives ,

.

F O U RR I E R N I C H O L A S b orn at M ire
, ,

c o urt S ettled i n Paris di ed 18 1 0 good

.
,

m aker after th e Crem o n a scho ol

, .

FR IT Z C HE , S A M U E L Leipsi c 1 7 8 7 pupil
, , ,

of H unger and made simil ar instrum e nts

,
.

Th ey are o f th e Itali an m odel and h ave

amb er varnish .

F R ITZ B E R T H O LD Leip sic

, , , 17 5 7 .

F R AN K L AN D , London ,
1 7 85 .

F RE Y H AN S Nuremb erg l ute maker

, , ,
l 5 th

C entury .

F U RB E R D AVI D ab out 1 7 0 0
, , .

F U R B E R M ATTH E W son
, ,
of D avid ,
1740 .

F UR B E R J O H N grandson
, , of D avid ,
17 5 9 .
F U R B E R M ATT H E W son of th e ab ove
, , ,

di e d 184 0 .

F U R B E R J O H N son of M atth ew 1 84 0
, , , .

G AB R I ELL E GI O VA N NI B APTI S T A
, , ,

Floren ce 18th C entury c onsidered to b e

,
. .

a goo d M aker .

G A GLI A N O or G aLIAN o A L E S S A ND R O
, , ,

N aples ab o ut 1 7 10 i s gen erally reck o ned

, ,

as one of th e p upils of S trad i uari us b ut ,

was m ore prob ab ly only o ne o f his imi ta tors .

H e m ade som e g o o d instruments o f th e

S trad i u ari us model whi ch p ossess a bright
,

an d sparkling ton e ; they are h o wever , ,

generally ch ar acteri sed b y l ess p ower of

tone S trad i uari u s h avin g in this particular
,

th e ad v antage over n early all hi s imitators ,

some o f his personal pu pils b ein g p erhap s

th e only exceptions .

N O T E — M F etis c omm ences th e line of th e

. .

Gaglian o s with Ni c ol o 1 7 00 ten ye ars , ,

e arlier th an Al essandro wh om h e als o ,

c all s Genn aro and ranks him as a m aker

,

formed un der one of th e immediate pupi ls

of S trad i u ariu s .
G AGLI AN O J AN U AR I U S Napl es 1 7 4 0
, , ,
.

S on o f A lessandr o .

G A GLI A N O NIC H O LAU S N apl es

, ,
.

A no ther s o n of A lessandr o
.
.

G A G LIA NO F E RD 1N AND O N aples m ad e

, ,

to 1 7 9 0 .

G A GLI A N O G U I S E PP E N aples 1 7 9 0
, , , .

G A GLI AN O GI O V A N NI N apl es
, ,
.

G A GLI A N O A NT O NI O N aples
, ,
.

G A GLI A N O R AP HA E L N aples s o n
, , ,
of

Gi o v a nni .

G AGLI A N O A NT O NI O N aples son

, , ,
of

Gi o van ni .

G A G LIA N O F AMI L Y .

Mo st o f th e ins truments m ade b y th e

G a g li an o family possess a go o d qu ality o f
to ne and A m a teurs w h o h av e n o necessi ty
.

fo r th a t gre a t p o w er which S trad i uari us

a nd Gu arnerius c o nfe rr e d on th eir b es t
pro ducti on s wil l d o well to secure any
,

gen uine G a gli ano whi ch th e y may m eet

wi th r a ther th a n ri sk the ch ance o f gettin g
,

less m erit u nd e r a mo re pre tenti o u s n am e

,
.

G AL E R Z E NA, P i e d mo nt ,
17 9 0
G AN D ,
P ari s . A fi rs t -
r a te m aker . He
w as son -
i n law to
-
Lu p o t .

G AR A NA MI C H AE L A N G E LO B olo gn a
, ,
.

An excellen t m aker ab ou t 1 7 00 c onsidered , ,

b y F eti s to b e a pupil of on e of th o se
c el ebr a ted m ak ers fo rmed in th e Crem o n a
sch o o ls .

G ATTA NA NI Pi edm o nt 1 7 9 0
, ,
.

G AV INIE S , Pari s 18 th C entury , .

G E D L E R J O H A N N A N TO N Y Fi s s en
, , ,

B avari a 1 8th C entury, .

G E D L E R J O H A N N B E N E D I CT sam e
, ,

pl ac e an d sam e date .

G E R AN S ,
P A U L Crem o na , ,
a b o ut 1 61 5 .

G E R L E J E AN Nuremb erg ab ou t
, , , 15 4 0 .

Made Lu tes Vi ols da Gamb a & c , , .

GIL K E S S AM U E L L o n don 1 7 8 7 to 1 82 7
, , , .

Pupil o f th e S ec o n d W illi am Forster A n .

ex c e ll ent maker H i s work Wfl S m ost -

‘

hi ghl y fini sh ed and his varnish of a rich

qu ali ty .

GIL K E S W ILLI AM b orn

, ,
18 1 1 . N ot equal
as a m ak er to S amu el .

GI O R D A N E ,
A LB E R T O , Crem o na , 17 3 5 .
G O B E T TI F R A N C I S C O V e nezia ab o u t
, , ,

1 7 00 . A pupil o f S trad i uari us a nd a n ,

e x cell en t ar tis te .

G OFILLE R M A T TE O V e ne zi a ab o u t
, , ,

17 2 5 . A good maker a fter Crem o n a

p atterns .

G OFILLE R F R A N CI S C O V enezi a
, , .

B r o th er to Ma tte o simil ar s am e dat e , , .

G R A G NA R IU S A N T O NI O early par t o f
, ,
-

1 8th C entury .

G R AN C INO GI O V A NN I Milan middle of

, , ,

1 7 th C en tury .

G RA N C INO
-

, PA O L O , do .

G R AN C IN O GI O VA N N I B A PTI S T A
, ,

Mil an son o f firs t n amed

, .

G R A N C INO GI O VA N NI B A PTI S T A
, ,

Milan e arly in 18 th C en t ury

, .

G R AN C IN O F R A N C I S C O s on o f Giovanni
, ,

B ap ti sta This a r tis te m a de to ab o ut 1 7 60

.
,

or ra th er l ater .

G R A N C IN O F A MI LY .

These makers p ro d uc ed so me v e ry g o o d
b ut no t h andsome ins truments Lindley .

is said to have had a Viol o n cello b y o ne

 o f th e G ranc inos th e t o n e o f w hi ch was
,

very fi ne and p o werful wi th ligh t y ell o w ,

v arni sh darke n ed by a g e ; th e wo o d o f b a c k
and sides very pl ai n b ut th e b ell y very
,

fin e.

G R O B ITZ , W a r saw a b o u t 1 7 5 0 ,
.

Made some goo d i ns trumentS o f th e S tein er f

m o del .

G U E R S AN ,
P aris An ex ce ll ent m aker
.
,

sm all m odel c areful fi nish and fin e t on e

, ,

ab o ut 1 7 3 0
G U G E MM O S ,
Fi s s en B avari a , .

G UID A NT U S GI OV A N NI FLOR E NU S
, .

B olo gna ab o ut 1 7 5 0 An exc e ll en t m aker

,
. .

G U LE T T O N I C H O L AS Cre mo na a b ou t
, , ,

17 9 0

G U A D A GN IN I LO RE NZ O C rem o na 169 0
, , ,

to 1 7 2 0 Pupil o f S trad uari us and highly

.

esteem e d as a maker Foll o wed th e style

.

of his c elebrated teacher .

Gu adagnini i s o ne of th e m akers esp e cially

rec o mm e n ded b y S pohr when o ne of th e
thre e gre a t masters c anno t b e p ro cured A .

g o o d sp ecimen o f hi s w ork will alway s

c omm and a g o od pri ce .
 Joseph w as th e great m aker o f th e family ,

b o rn 1 683 di ed 1 7 4 5 at Crem ona

, , .

H AR B O U R , London , 1 7 85 .

H AR D I E M AT TH E W E dinb ur g h ab ou t
, , ,

1 82 0 . Made s o me goo d ins trum en ts which

o c c as i o nl
y p ossessed great p ower b ut n ot ,

always very n eat finish .

H AR D I E TH O M A S S on o f M a tthew E din
, , ,

b urgh was als o a go o d workman — di ed in

,

1 85 6 fro m acci dentally falli ng d o wn stairs

, .

H AR E J O S E PH Lo ndon 1 7 2 0 i s s ai d to
, , , ,

h ave b een th e first in E ngland to i ntrodu c e

th e flat mo del all th e m akers b efore him
,

an d fo r s o m e tim e after fo llowin g th e el e ,

v a te d m odel of S tein er H e al so in tr o d u ced

.

a va rni sh o f greater tr an spare ncy th an w as

generally u se d at th a t tim e in E ngl and .

H AR R I S C H AR L E S London ab out 1 81 5
, , , .

H A RR I S C H A R L E S S o n of the ab ove
, , .

H A R T J OH N o f P ri nce s S treet Lei c ester

, , ,

S quare L o ndon pupil o f S am u el G ilke s

, , ,

i s a m aker ; and resto rer of ins trum e nts ,

i n which latter c apaci ty w e h ave ple asure
in statin g him to b e wor thy of the
ex tensive reputation h e h a s acquired .

H e i s also a great c o nn oisseur in old i n

s trumen ts and h as th e h o n o ur o f h aving
,

form ed m o st of th e fin e c ollections in thi s

c oun try Th e largest price ever given for
.

a Vi olin was fo r on e impor ted b y hi m and

whi ch fr o m i ts b eauty m o del varnish an d
, ,

p erfec ti o n of c ondi ti o n is known b y th e

n a m e of th e K ing Joseph G u arneri u s This .

i ns trumen t i s c onsidered qui te u ni qu e an d

was s o l d fo r 7 00 guin e a s Th e celebra te d
.

c o llecti o n of Ch arl e s Pl o wden E s q w hi c h

, ,

e mb r a ces fo ur fi ne in s trumen ts o f S tra d i u

ari us an d fo ur of J oseph Gu arn eriu s and ,

which i s ackn ow le d g e d to b e th e fines t c ol

lectio n i n th e w o rl d w as als o form ed by
,

Mr H art Mr P lo w d en s taste b ein g

’

. . .

high ly cul tiva ted h e rej ects any instrum ent

,

whi ch i s no t o f th e v ery hi g h est order and ,

th erefore it r e flec ts gre a t credi t on Mr H art s

.
’

j udgme n t to h ave su c ceded in pl acin g so

m any fin e i nstruments in th e collecti on of
so c ri ti cal a c onn oi sseur W e shall h av e c c
 casi o n to menti o n o th er cel ebrated i n
inst ruments i n the Chapters on th e Great
Masters of the Art .

H A S S E RT , R udol stadt 1 8th C en tury

,
.

Made instrum ents of a high m odel whi ch ,

th o ugh h e used good woo d an d fini she d

th em c a refully did n ot p ossess very go od
,

to ne Very few m akers h ave succeded i n

.

imp arti ng sup eri o r ton e to high b uilt in

ments
s tru .

H A S S E RT E isen ach
C entury , 1 8th ,

b ro ther of th e ab ove adopted a di fferent -

system an d foll o wed the flatter model o f

,

the C rem on a S ch o o l wi th c onsiderab l e suc

c ess H i s instr um en t s are rem arkabl e for
.

b e au tiful w o od and O tto sp e aks very b igly

,

o f th e m sayin g th at many o f them c an

,

only b e di s tin g ui sh ed fro m th e genuine

I talian s by experien c ed j udges In the .

presen t day w e think O tto was p arti al to

his own c o untrymen s work and that th ere
'

ar e ver y few Germ an in struments which

c an b e tak en fo r I talian by j udge s .

H E E S OM , E D W AR D , London , 17 5 0 .
H E LM E R C H A R L E S Pr agu e 1 7 4 0
, , , .

This ar tis te w as a pupil of E b erle and i s ,

c o nsider ed a c a refu l workm an bu t u sed to o ,

ligh t a b ass b ar which u nl es s a s tr o n g e r ,

one b e sub sti tu ted depre c i a tes th e ch aracter

,

o f his ins trum e nts .

H ILD E B R AN T MI C H A E L C H R I S T O
,

PH E R H amb urg 1 7 65 E steemed as a

, . .

good m aker .

H I LL W I LLI A M London 1 7 4 0 M ade

, , , .

som e go o d in s trumen ts b ut th ey are said

-

to b e defici e n t in qu ality in con sequ ence o f

b ei ng b uil t on a wron g prin c iple th e ce ntres ,

h avin g to o li ttle wood .

H I LL J O S E P H London 1 7 7 0 broth e r o f
, , , ,

th e ab ove R e ek o ne d a sup eri o r m aker to

.

hi s brother and produced s o me v ery

,

excell e nt Violon c ello s whi ch ob ta ined him

a g o od rep u ta ti o n and c au s e d him to b e ,

classed hi g h amo n g E nglish makers b u t ,

like the o thers he i s no w depre c iated in

,

val ue b elo w hi s real meri ts .

H IR C U T T ,
E ngli sh m ak er ab o ut 160 0 ,
.

H OF FM A N M A R T IN L ei psi c i s said to b e
, , ,

chiefly kn o wn as a skilful l u te m aker H i s .

 Ten o rs are c o nsidered good an d O tt o says ,

hi s violins h ave an excellent qu ality o f

ton e wh en unspoiled b ut are no t esteemed ,

on acc o un t of th eir un graceful appearan ce .

H O LL O W A Y J L o n d o n 1 7 9 4 , .
, , .

H OR IL , ( I talian ) ab o ut 1 7 2 0 .

H U LL E R A U G U S TI N E S h oene ek 1 7 7 5
, , ,
.

H U M E R I C H A R D E dinb urgh A n early

, , .

E nglish l ute maker ; ab ou t 1 5 3 0 .

H U N G E R C H R I S T OP H E R F R E D E R I C K
,

Leipsic 1 7 87 A g o od m aker w ho fo llowed

, .

th e Itali an styl e u sed goo d w o o d and ,

amb er v arnish This maker is cl ass e d

amon g th e sup eri or Germ an artistes an d ,

hi s instruments are said to b e b eautiful .

J A C OB S , Amsterd am 1 8th C entuly ,

. .

This maker imi t ate d th e Am atis and pro

d uc e d s o m e g o od instrume nts after their
M o dels whi ch als o p arto o k o f their sweet
to ne b ut h ad li ttle p o wer O ne a u th ority .

we h av e c o nsul te d calls this m aker a pupil

o f A mati and states that h e u sed whal eb one
,

p urfi ing .
JAY E H E N R Y Lond on 1 61 5 O f this
, , ,
.

m aker we h av e no t b een ab le to find any

ac c o unt unless it b e to him th at Mac e
refers when h e says speaking of the ,

“
mak ers o f Vi o l s O f su ch there are no
,

b e tter in th e w o rl d than th ose of A ldred , ,

J ay S mi th ,
85 0 H e was c er tai nly an ex
.

c ellent maker j udging from an instrumen t

we hav e seen which h as b een converted

into a sm all V i o l on c ell o with fo ur strin gs .

It i s h a ndsomely fini sh ed with o r na me nta l ,

u rfi i n and good v arni sh a nd a well carved

p g
head A s a sm all V iol o n cell o th e ton e i s
.

also v ery good D a ted in S o u th w ark e

.
,

1615 .

J AY ,
T H O M AS Londo n ab o ut
, ,
17 00 .

JAY , H E N R Y London 1 7 5 0 I t appears

, , .

th at this artiste w as b es t kn o wn as a maker

o f K its which were very well m ade and for
,

which h e ob tained the extraordinary pri ce

in th ose days o f five p ounds e ach W hen .

w e rememb er th a t fo ur p ounds was the

pric e th at S trad iuariu s g o t for his best
v i o lins in his life time a nd from an anec ,

d o te told by Mr Fors ter th at C erv e tto . .

 c o uld not even g e t that pri ce for so me h e
o t direc t from th e m aker we se e o ne of
g ,

th o se extra o r d inary fre aks of fashi o n fo r

whi ch to u se th e ex p ression of my Lor d
,

D undreary n o fell o w can ac c o unt ,

-
.

J AU C H ,
Dresden ab out 1 7 65 i s said to , ,

h ave m ade good ins tru ments o n Crem o n a

mode l s and i s g enerallv p l a ced among th e
,

go o d German m akers .

J O H N S O N J O H N Lo nd o n 1 7 5 3
, , ,
.

J U LI A N O F R A N C I S C O R ome 1 7 0 0
, , , .

K .

K AMB L J O H A N N C O R N E LI U S 163 5
, , , .

K E NN E D Y A L E XAN D E R L o nd o n died
, ,

1 7 8 5 and co nsi dered to b e ab o u t 9 0 y ears

,

of ag e Thi s ar ti ste o bt ain ed c o nsiderab l e

r eput a ti on fo r g o o d and n eat work H e .

fo ll o w e d th e S te iner mo del and u sed yell o w ,

v arnish It i s no t known th at h e m ade

.

a ny o ther ins trum en t s th an violins .

K E NN E D Y J O H N London di e d in 1 8 1 6
, , , ,

and . co nsidered to b e 8 6 years of age .

M a de violins an d tenors of th e S teiner

mo del .
K LO TZ E G ITIA
, This mak er wh o appears
.
,

to h ave b een a son of Matthias i s o ften ,

consi dered to b e th e b est maker of thi s

Family H e i s c omm on ly c alle d the pupil
.

o f S teiner b ut th at m ust b e d o ub tful

, .

More prob ably h e fo ll o wed th e S teiner

tra d ition s as exem plified by his fath er H e .

used amb er v arnish go od wood and hi s , ,

in strume n t s are w ell m ade an d h av e his

own n am e upon th em .

K L O TZ ,
GE O R GE ,
br o th er of E g i ti a .

K LOTZ ,
S E B A S TI AN an other broth er ,
.

W e b elieve thi s arti ste to b e the b est m aker

o f th e K l o tz fa mi ly H e b uilt l ar g e siz ed
.

vi olins whi ch p ossess a fine t o n e and h ave

,

ex c ellen t varni sh .

K L O TZ MI C H A E L
,
—17 7 1 , .

K L OT Z J O S E P H s o n of E g i tia Mitten
, , ,

w ald an d er I ser 1 7 7 4 O tto says this

,
.

artiste b uilt after hi s fath er s system — b ut

’

was b etter a cqu ainted with th e qu alities o f

wood an d hi s instrum ents are th e refore
,

sup erior in ton e b ut are b adly varnish ed

,

in their original state .

T HE K LO TZ F AMI L Y .

S pohr enum era te s K lo tz am on g the makers

who se instru ments are wor thy of attention ,

b ut d o es n o t in dic ate which of them in

p arti c ul ar W e h ave b efore expresse d our
.

o pinion th at S eb asti an ranks highest in

meri t w hi c h i s c o rrob orate d b y th e m ost
'

experi en c ed co nn o isseur o f th e presen t

d ay. S o m e vi o lin s o f thi s n am e h ave
.

a chieved a high reputa tion Parkes in .

,

his Mu si cal M em o irs men tions a K lotz ,

Vi o lin b elongin g to Mr H ay th e Leader .

,

o f th e K ing s B and fo r whi ch a N obl e

’

L o rd offered £ 3 0 0 and an a nnuit y of

£ 1 00 .This se ems a m ost extraordinary
offer fo r any in strument unless i t were a
, ,

v ery fin e S trad i uari us o r Gu arneri us .

K O HL J E A N Muni c h Luthier to the C o urt

, , , ,

ab out Fe ti s states th at fro m som e

15 7 0 .

o ld a c c o unts h e fin d s h e w as p ai d two

fi o rins for a l ute a stra n g e discrepancy in

,

value from the statement of Mac e a c entury

l ater —.
( S e e B e ll es ) .

K OL B ITZ , M ATTH I A S J O H A N N ,

Munich , 17 2 2 .
K O LD IT Z J AQ U E S R umb o urg in B oh e
, , ,

mi a ,
17 90 s ai d to b e very g o od .

K O LIK E R Paris a n oted mak er and

, ,

c oll ector ab o ut 1 7 5 0 , .

K NIT TI N G , P HI LI P Mittenwald , , 1 7 60 .

K NI TL , J O S E PH . Mitten w al d ,
17 9 0 .

K R IN E R , JO S EPH , Mittenwal d , 1 7 85 .

L .

LAC AS S O , M AR I A ANT O NI O , Mil an ,

prob ably the sam e as Lausa .

L AG E TT O Paris ab ou t , , 1 65 0 . Followed
th e A m ati p attern s .

L AMB E R T , J O HAN N HE NRY ,

B erlin ,

1 7 60 .

L AMB E R T N ancy 1 7 60 A prolific

, , .

b ut n ot very c areful m aker which g ained ,

h i m th e n ame of th e Lute C arpenter .

LAND OLP H I C A R L O Fl o ren ce 1 7 5 0

, , ,
.

An excellent m aker wh o followe d th e ,

Cremona p atterns with consi derab l e s uc

C GS S .
LAND OLP H I FE R D I N AN D ,
, Mil an , b out
a

sam e date .

Th ere appe ars to b e s o m e doub t wh ether

there was more th an on e Land olp b i his ,

n ame b ein g C arl o Ferdinand bu t b ein g ,

m en tioned as o f b oth Floren ce and Mil an ,

and the C hristian n ames given sep arately ,

there m ay h av e b ee n tw o F e ti s only
men ti o n s C arl o an d l ocates him at Mil an
, .

L AU S A A NT O NI O M AR I A 1 67 5 A
, , .

c ap i tal imitator of Magini and G a spar di

S alo s ins trume nts bu t is sai d no t to hav e
’

suc ceded in rivallin g them in ton e .

LAUT TE N L W No particul ars of this

,
. .

m aker ; b ut w e find a vio lin by him in

a C atalogue describ ed as ,fine and
h an dsome .

LE C LE R C , P aris , 1 8th C entury

L E NTZ J O H AN N NIC HOLAU S London
, , ,

ab o ut 18 0 0 C o nsidered a good workm an

. .

L E WI S E D WA R D Londo n ab out 1 7 0 0
, .
,
.

An excellent m aker used good wood fin e , ,

varni sh chiefly of a yel low c o l our and was

, ,

n o tabl e fo r hi s exc ell ent fin i sh .

LIN E LLI , or LINARO LLA ,
V enez i a ,

ab o ut 1 5 2 0 A m aker o f rebe cs vi o ls and

. , ,

vi o ls d a g amb a .

L OTT J O H N FRE D E R IC K Lond o n b orn

, , ,

1 7 7 5 di ed 1 8 5 3
,
An ex c ell en t workm an . ,

w h o m a de many in strum ents fo r Th o mas

D o dd H e is also very generall y known

.

as a fi rs t rate double b ass m aker

-
.

L O TT G E O R G E F RE D E R I C K s on o f th e
, .

ab o ve was also an excellent workman a nd

, ,

is said to h ave b een c hiefly em p loyed b y

dealers .

L OTZ T H E OD O R E Prestburg ab ou t 1 7 3 5
, , , ,

h as a goo d rep u ta ti o n as a maker of violins .

LU P O T ,F RA N C O I S S tu ttg ard ab o ut , ,

17 7 0 .

LU P OT ,
N I CH O L A Sof Fran c o is b orn , s on ,

at S tuttg ard 17 5 8 ; we n t to O rl e ans 1 7 86

, , ,

and Paris 1 7 9 4 d ied 1 82 4 Thi s artiste

, .

deserves th e ti tl e o f th e K i ng o f th e Fren ch
m akers H e fo llowed th e m od el o f S tra
.

d i u ari us u s e d excellent w o od and good

,

v arnish much in th e st yl e of that master

, .

H i s vi o lins are very fine in tone an d resem

b le the It ali an m o re than any o ther maker s
’

.
 the violinist has two ver y fin e
T olb e c q u e ,

specimen s H i s i ns trum ents h ave b een fre

.

qu ently sel ected by the Fren ch C onserva toire

as pri z es for th eir p u pil s They now fet c h .

high prices D ub ourg calls hi m a studi

.

o u s artist wh ose in strum e n ts are in req u est

,

when a goo d Crem o n a i s un attain ab l e .

H e also says sixty gui neas h ave b e en

,

refu sed fo r on e of hi s b est vi olin s S p ohr .

i n hi s V iolin S ch o ol al s o recommen d s ,

his i ns truments This ar tiste published a

.

work on th e c o n stru c tion of violin s call e d ,

La C helo no mi e on le p arfait Luthier , .

M A G GIN I GI O V A NNI P A O LO Bresci a ,

1 5 9 0 to 1 6 1 0 Thi s cel ebrated ar tiste w as

.

a pupil o f Gasp ar di S al o H i s ins tru .

men ts are hi g hl y es teemed and are b o th ,

-

rare and al u abl e Th ey are gen erall y o f

v .

a large p a ttern wi th e l e v ated m odel rea c h

, ,

in g al mos t to the e d g e s ; narrow ribs d o ubl e ,

p u rfli ng frequ e ntly ending o n the top and

,

b ott o m o f the ba c k wi th an o rnam ent in

 —
the s hape of a l eaf and fine yellow
ish brown or gol d en c oloured varnish of ,

good qu ality S om e few are said to h ave

.

deep brown varnish They p o ssess a ton e .

of a p eculiar ch aracter— deep solemn and , ,

S om ewhat pl aintiv e D ub ourg descri b es

.

it as l ess soft than th a t of a S trad iu ari us ,

and le ss poten t th an a O u arneri us approach ,

ing that o f a viol an d h as in i t a touch

,

of m el an chol y Fr o m their siz e th ese

‘

instruments h ad n o t b een in great fav o ur

wi th violini sts u ntil the celebrated D e B eri o t
in tro du ced one whi ch fro m its spl endi d
,

tone br o ught them at o nc e into esteem an d ,

for which h e h as b een o ffered almost fab u

lo u s sum s .

M AGGINI PI E T R O S ANT O Brescia s o n

, , ,

of Gio v anni Pa o lo 1 63 0 to 1680 Followed

, .

th e same s tyl e as his fath er b ut was more ,

p articularly fam o us for his do ubl e b asses ,

whi ch th e I talian s c onsider to b e the b est

ever m ade after th o se of Gasp ar di S al o
,

M AI E R A N D R E A F E R DI N AND S alz
, ,

b urg 1 7 4 6 Littl e is kn o wn of this maker

, .

ex cept th a t h e mad e th e s mall ins trument

 as this p ittiful b attered Iute ' In th e
fac e of this fact ( as we supp o se i t i s ) we
c annot b e surprised th at en thusias ti c ama
teurs sh o ul d in th e present day give su ch

large pri c es for th e splendid pro ductio ns

o f th e great Cremon a Makers .

M AR I AN I A NT O N I O Pesar o 1 5 7 0 to
,
, ,

1 62 0. An i mitator of Gasp ard di S al o .

M AR ATTI , Veron a 1 69 0 M ade good , .

toned vio lin s b ut th e Workmanship has

,

littl e ch arac ter .

M AR Q U I S D E L A I R A French m aker
,

ab out 1 800 .

M AR S HALL J O H N Lond o n 17 60
, , , ,

M AR TI N ,
London 1 7 9 0 , .

M AU OO T E L C H AR L E S Lond o n
, An ,

ex ce llent w o rkman wh o h as pro du ced ,

som e b eautiful instrum ents .

M AU S IE LL L E O N AR D
,
Nuremb urg , ,

1 7 2 5 A c ap i tal imitator of S tei ner who se

.
,

styl e he foll owed so cl osely as to render it

( as i t i s stated ) di ffi cul t to distinguish th e
on e from th e other Thi s i s o ne of th e.

m akers prai sed by S po hr in his Vi oli n

S chool as wor thy attention wh en a go o d
,

Cremon a c annot b e g o t .
M AY R H O F A ND RE A F E R D I N A ND
, ,

S alzb ur g 1 7 4 0 , .

M E D AR D H E N R Y Paris an d N an cy A
, , .

Fren ch m aker wh o i s gen erally considered ,

to h av e b een a pupil of Nichol a s A mati ,

an d was esteemed n e arly equ al to hi s

ma s ter ; b ut Fe tis in cludes hi m in h i s list
of the p erson al pupils of A nt o niu s S tra
d i u ari us .

M E R LI N J O S E P H London ab out 1 7 80
, , , .

A v ery in g eni ou s p ers o n wh o ob tained th e ,

h o nour o f b ein g men tioned in Madam e

D A rb lay s Di ary and L e tters His
’ ’

vi olins were after th e S tein er pattern an d ,

well made b ut did no t approach th e S teiner

,

ton e .

M E U S IDLE R J E A N N ur e mb erg ab o ut , , ,

15 1 0 A m aker o f v i o ls viols da gamb a & c

.
, , .

M E Z Z A D IE A L E X A ND E R F errara ab out
, , .

1 7 00 A g o o d m aker w h o followed th e
.

A m ati s tyl e and i s reck o ned by Fe ti s as,

on e o f tha t sch o o l .

MI E R , L ond o n 1 7 8 0 ,

MIL A N I F R A N CI S C O Mil an is supp osed

, , ,

t o be a p upi l o f Gu a d a gni ni and fo ll o wed

his s tyle — ab out 1 7 60 , .

MI L LE R , Lond on ab out 1 7 5 0 , .

M O H R P HILIP H amburg 1 65 0
, , , .

M O NT AD E G R E G O R I O Cremon a 17 3 5
, , .

C onsidered to b e a pupil of S tradi u arius

b ut more prob ably an i mitator .

MO N T A GN A N A D OMIN I C O Venezia , , ,

17 2 5 .T h i s excellent artis te made i ns tru

m ents ge neral ly o f a large siz e and u sed ,

w o o d of a l arge an d b eautiful figure The .

varnish ex ceedingly brilliant and of a rich

yellow or y ell o w red colo ur and the ton e ,

every thin g th a t c an b e desired Mr Perkin s . .

h ad a viol o n cello o f thi s make which was ,

ori g inally sold as a Joseph Guarn eri u s ,

an d was said in th e c atalogue to he um

c o mmonl v fine an d h an dsome Thi s i s .

anoth er of th o se c areful artistes wh ose ,

produc ti on s are now in high esteem w h en

one of the t hree gre at masters can not b e
ob tained and whi ch will very prob ably
,

hereafter rank wi th them and b ecom e very

famous .

M O RR I S O N J O H N London 1 7 80 to 1 819
, , ,
.

M O RE LL A M ORG LAT O Mantua ab ou t

, , ,

15 5 0 . F amou s fo r reb ecs viols and v i ola , ,

da gamb a .
 N .

N AM Y Paris ab o ut
, 1 80 0 .

N A Y L O R I S AA C Leeds
, , , 1 7 88 .

N E W T O N I S AA C 1 7 80
, , .

NI C H OL A S , Geneva ,
17 9 0 .

N IG G E L,S Y M P E RT U S , Pari s ab o u t 1 65 0 .

N O R M A N B A R AK London 1 69 0 to 1 7 4 0
, , ,
.

H e generally used a monogram formed o f

the lettes NB i nterlaced This artiste h as
. .

l ong b een a fav o urite and h e certainly made

,

som e goo d in struments which in th e pre ,

sent d ay a re depreci ated b elow th eir real

worth a s i s the c ase also with other E ng
,

lish m akers wh ose productions h ave h ad

,

to give way b efore the prevailin g preferenc e

fo r I tali an instrum ents H e w as p artner .

at o ne ti me wi th N ath aniel C ross and th e ,

instrumen ts th en m ade b ear their j oint

n ames o n the l ab el s .

N O RR I S A ND B A R N E S pupils of Th o mas
,

S mith ,
1 7 85 to 1 818 .

N OV E LLO VA L E N TI N O Ven ezi a ab out

, , ,

th e middle of 1 8th C entury .

N OV E LLO M AR C O AN T O NI O Venezi a
, , ,

sam e date B oth th ese m akers are in go o d

.

esteem .

O .

O R U E B AR T O L O M E O Ver o n a
, , .

O D O ARD I G U I S E PP E early 18th C entury

, , .

O TT J E AN N uremb erg Lute m aker 15 th

, , .
,

C entury .

O TT O J A C OB AU G U S T U S b o rn at Goth a
, , ,

17 62 died 183 0 Au th o r o f th e c el ebrate d

, .

B o o k o n th e C on stru ction of the Violin .

H e made som e goo d ins trum en ts whi ch i n ,

”
hi s b o ok h e say s h e proved b y a m achin e
W illi ch pl ayed t h em in thirds fourth s and
-

i
, ,

fifths for a con tinu ed p eriod thu s me ll ow ,

ing an d p erfecting th e ton e W e do no t .

b eliev e in thi s do ctri ne From al l p ast .

experien ce th ere can b e n o do ub t that

,

whatever p ain s or tr o ubl e a m aker m ay

tak e to bring his instruments whil e n ew , ,

to b ear th e ch aracter o f ol d hi s l ab our i s ,

qui te u seless Th ere i s no instance of an

.

instrum ent b ecoming famous fo r its fi ne

tone till it h ad attained a good ol d age .
 S om e modern makers use chemical me ans
to m ature th eir vi olin s b ut thi s process i s

u tterly destructive to th em as th ey b eco me ,

quite rotten thro u gh th e action of th e acid

after a lapse of ye ars Time al o ne c an .

rip en and m ellow all musi cal instrumen ts

m ade of w o o d th e violin and the o rg a n
,

especi ally .

P .

P AN O RM O ,
V IN C E NZ IO,b orn n ear Pal
ermo 1 7 3 4 H e appears to h ave left hi s
,
.

n ative pl a c e an d after a temporary soj ourn

,

in several town s c ame to E ngl and ab o u t

1 7 7 2 and died in 1 8 1 3
,
H e was a n ex .

c ellent artiste H i s instr umen ts are care

.

fully constr uc te d o n Cremon a m o del s and ,

p o ssess a fine tone H e m ade a fe w

.

V iolonc ell o s whi ch are hi g hly pri z ed th eir ,

ton e b eing extremely ri c h and p o werful .

Th ey are o f th e S trad iu ari us p a ttern m ostly ,

o f h an dsom e m apl e fo r th e b ack an d rib s .

All hi s ins trum e n ts are o f a go o d I talian

quali ty of tone a nd are among th ose whi ch
,

are risin g i n v alue as the grea t m as ters b e

c o m e rarer and de arer .
P A NO R M O , J O S E P H son of Vi nc enz io , ,

al so a go o d work man .

P A N O RM O G E O R G E L E W I S ano ther
, ,

son of V i nc enz io a cel e brated b ow m ak e r

,
.

P A N O R M O E dward ,
.

P AN O R M O G E O R G E pr o b abl y grandso n
, ,

of V inc enz i o .

P AM P H ILO N ,
E D WA R D
London 1 685 , , .

A v erv cl ev er arti ste Made violin s of rather

.

small model somewh at high b uilt rich

, ,

yello w v arnish and sometim es doubl e p ur

,

fi ed . Th e E ditor h as known one of his

i nstruments which was in th e hands of a
,

rich amateur i n whose h ouse he has h eard

,

it played and very much approved .

P AN S ANT A N T O NI O R om e 1 7 85
, , ,
.

P ARKE R D ANI E L Lon don 1 7 14 is c on

, , , ,

s id e re d on e of the good old E nglish m akers .

Hi s instruments have a cl ear and p owerful .

ton e A fi rs t rate a uthority c all s him an

.
-

excellent w o rkman ano ther says though

h e w as oth erwise goo d he used a b ad brick
red varnish .

P AS T A G A E T AN O Brescia early in 1 8th

, , ,

C entury ;
 inexperien ced j u dges Th e y are o f a deep .

re d colour and fin e l y finis h ed with an ex ,

c el len t quality o f tone .

PI E T E N O E L Pari s ab ou t 1 7 85 pupil o f
, , , ,

S auni er An artiste well spoken o f

. .

PL AC K F R AN C I S
,
S c h oenb ac k 17 3 8 , , .

C onsidered a go o d m aker .

P OLLU S H A A NT O NI O R o me 1 7 5 1
, , ,

PONS ,
Gren ob le France , ,

l arge p attern violi ns with high m odel ,

which h ave n o g reat va lu e .

P O S S E N LAUX MIN B avari a ab o ut 15 4 0

, , , .

Made reb ec s vi ols and vi ol s da gamb a, , .

P O WE LL R O Y A L and TH O M A S Lond o n
, , ,

1 7 85 .

P R E S T O N, J OHN , Y o rk , 1 7 89
“A “
w A

RA C C E RIS Mantu a 1 67 0 b eliev e d to , ,

h av e b een a p artn er with one of the

Gaglianos an d m ade similar instruments
, .

R AF ,
B avaria .

R AM B EAUX P aris a pupil of Gand

, , ,

and an ex cellent workman .

R AP HA E L N E LL A Bresci a 1 8th C entur y
, , ,
.

Thi s ar ti ste was of th e sch o ol o f Mag gini ,

and his i nstruments are sai d to h ave th e

s c rolls sculptured and to h av e inscriptions

,

o n th e sides .

R AU C H ,
JA QU E S M annh e im 1 7 3 0 to
, ,

17 4 0 . C o n sidere d to b e a very good .

m aker .

R AU C H ,
S E B AS TI A N ,
1 7 4 2 to 1 7 63 .

R AU C H , B reslau .

R AU C H ,
W urtz b urg .

O tto praises the instruments of the two

b ro thers o f B resl a u and VVurtz b urg H e .

s ays th ey are excell en t vi olins b u t have a

shap e an d model peculiar to themselves
an d entirely differen t to the I talian or
S tein ers b ut p o ssess wh en uninj ured a full
, ,

r o un d and p owerful t o n e I f O tt o had .

told u s what instrumen ts were like inste ad

o f wh a t they were n o t like his b ook wo uld ,

h ave b een more v al u able .

R AU T ,J E A N Bre tagn e H e was at R ennes

, .

till 17 9 0 M ade go o d instrumen ts after

.

th e Gu arne ri us sc h o o l .
 Y
R A MA N J A C OB L o ndon 1 64 1 Th e
, , , .

instru ments o f thi s m aker were very highly

valued formerly H e i s considered o ne of .

o ur b est o ld E nglish artistes

‘

RE I C H E L J O H A NN G O TTF R I E D , ,

Ab s om An imitator of S teiner
. .

R E I C H E L J O H A NN C O N R AD N eukirch
, , ,

l 779 .

RE I S S , B amburg A capital imitator .

o f S teiner and made ex c ellent ins tru ments

,
.

RE M Y ,
Paris .

RE NIS T O Crem ona 1 7 4 0 pupil of

. , ,

C arlo B ergo nzi H i s instruments are very

,
.

simi lar to those of hi s m aster b ut rath er ,

hi gher m odelled an d th e w o rkman ship ,

som ewh at rou g h er .

RE T A N T IN O No parti cul ars of thi s

,

m aker .

RIM B OU T S P E T E R A mster d am , ,
.

R O O K J O S EPH Lond o n 1 7 7 7 to 185 2

, , , .

A go od workman who i mitated Fors ter ,

.

R O S S J O HN , 1 5 62
,
A n early m aker of .

lutes .

R O T H C H R I S TI AN A u gsb urg 167 5

, , ,
.

R OVE LIN 1 8th C entury

,
.
BU D G E R , C rem o na — not one of the
R ugg e ri Family Made some good i ns tru
.

m en ts of th e high b uild and deep sides , ,

a nd u sed fine varnish .

R U GG E R I F R AN CI S C O Cre mo n a 1 64 0
, , ,

to 1684 Thi s cel ebrated m aker i s c o n

.

s i d ere d to h ave b een a pupil of A ntoni u s

A m a ti and m ade m any excellen t i ns tru

,

m en ts which b e ar a high reputation Th ey .

rank n ex t to the A m ati Th ei r q uali ty i s .

simil ar an d th e s tyl e o f w o rk i s easily s e en

p

to b elon g to the s a me cl ass Th ere are a .

few violin s by this m ak er of the sam e p a t

tern as the Grand A matis whi ch are sai d ,

to surp ass the l a tter h avin g m ore w o o d in

,

them whi ch was de trimental wh en they

,

were made b ut which a g e h as m ellowed

, ,

and they n o w possess a strong an d free

vibrati o n M any of th e R ug g eri s h ave

.

v arnish lit tle inferior to tha t o f S trad i uari us

and G u arn erius This artiste r anks h igh es t
.

i n th e family i n the estim ati o n o f th e c o n

n o i s s e ur H i s w o rk i s extrem e ly cle an
. .

Th e next is G o v anni B aptista rath er hi g h er ,

b uil t and soun d holes rather bro ader T he .

 s c rolls are larger th an th os e of Amati b ut
o f th e same type There are many sp len
,

did Viol on cellos of th ese makers and a few

tenors S om e of th e form er are ve ry large
. .

F ran ci s c o R u ggeri i s m ention ed by S poh r

in his list of instruments to b e so u ght for
in th e ab sen ce of th e three great m akers ,

Nichol as Am ati Antoni o S trad iuarius and

,

Joseph Gu arnerius .

RU G GE RI ,
G U I D O Crem on a
, , 1 67 9 .

R U GG E R I GI OVA NNI B APTI S T A s on

, ,

of Francisco Bresci a 1 69 6 Mentioned

.
,
.

ab ov e .

RU GG E R I PI E T R O GI A C OM O
,
. B rescia
17 00 to 1 7 2 0 Th e cel eb rated v i olonc el
.

list Pi atti pl ays on an instrum ent by this

m aker an d the ton e is un commonly fin e
,

and son orous as all wh o have heard him

know .

R U G GE RI , V IN C E NZ IO ,
Crem on a ,
1 7 00
to 1 7 3 0 .

RU PP E R T F R AN CI S E rfruth
,
m ade so me , ,

e xc ellent instrum ents of a ver y flat

m ode l bu t g en eral ly o mitte d th e linings
,
 a ndcorner blo cks as well as the p urfling .

They are neverth e less esteem ed in Germany .

They hav e a dark brown am b er varnish .

S AI NT ,
P AU L Paris ab out
, ,
An
exc ell ent French maker .

S AL O ,
G A S P A R DI Bresci a d ates fro m
, ,

1 5 60 to 1610 This celebrated ar tiste was

.

the contemp orary o f th e ancient A m atis ,

and is th ought b y som e c o nnoisseurs to

h ave b een th e master of A ndrew H owever .

th at m ay b e as there can b e no certainty

,

o f th e fac t th e varnish on which th e g reat

,

C remonese m akers establi shed that notable

rep utati o n whi ch disti ngui shes them to the
present d ay b ears a str ong anal ogy to th at
,

o f G asp ar di S al o however they may hav e

,

derived i t In this respe c t also Gasp ar

.
, ,

e x c ells M a ggini his p upil and fo llo w er w h o

, ,

w as eviden tly no t i ni ti ated into th e secre t

o f making tha t excell en t varnis h which

char a cterises hi s mas ter .

Th e pa ttern of the instrumen ts whic h

t h e two e arl y and famo us chiefs of t he
Cremonese and B res c ian S ch ool s b uilt i s ,

however to t ally differe nt Those o f Gaspar.

are l arge m assi v e doubl e purfled and wi th

, , ,

l arge sound h oles A ndre w is n o ted for a

.

sm all p attern and if h e studied i n th e

,

Bresci an workshop he di scarded th e s tyl e

,

h e found there ( varnish excepted ) an d

aimed at alt o geth e r a different obj ect in his
o wn producti o ns . Th o se of Gaspar di S al o
are con stru c ted wi th c apacity and strength
to pro duce a considerabl e volu me of ton e .

Th e Crem o nese A rtiste o n th e o ther h and ,

m ade instrumen ts which b oth in their p ro,

p ortion s and adj ustment were especially ,

adapted for th e pro du ction o f a sweet b u t

'

n ot p owerful ton e G as p ar s instruments

.

seem to foresh adow in th eir to ne and power ,

th o se o f S tad i u ariu s and Joseph G uarne riu s ,

whil e th e Amatis seem generally to hav e

b een contented wi th producing a t o n e of
surp assi ng sweetn ess Gaspar also suc
.

ceded in giving to hi s productions th at

fine tone whi ch seems to have b een es p ec i
ally aimed at by the e arly m ak ers bu t as ,

h e also fro m th e siz e an d strength of hi s

“
b ass pl aye r of our day u sed one of Gas ,

p ar s instruments which was presen ted

, to
him on accoun t of their admira tion o f his
wonderful talent by the order o f th e C on
,

v ent of S t Mark at Veni ce. S hortly before .

his death the D uke of Lei nster offered him

£ 7 0 0 for i t a p ri ncely sum bu t it w as re
, ,

fused as D ragonetti did not feel j ustified

‘

in p arting w ith it and he or d ered in his,

will that it should b e returned to the con

vent at Venic e which was ac cordingly
done
‘
O le B ull h as a very c elebrated
.

vi o lin o f Gasp ers m ake

’

In th e first .

place i t was sc ulptured with C aryatides

, ,

b y th e great Florentine artist B envenuto ,

C ellini at th e special c o m mand of another

,

e minent p erson C ardinal Ald ob rand ini

, ,

who pre s ented it to the museum of Ins

p ruc k in the Tyrol In 1 80 9 that c ity .
s

was assaulted b y the French the mu seu m ,

w as plundered and this vi olin c arried to

,

Vienna wh ere it b ecame th e prop erty of

,

a nother notabl e person th e Councillor ,

R eh az ek who w a s famo u s for hi s collee

,

ti o n of anci ent mus1c al instrumen ts

-
He .
 le ft i t by w ill to ano th er still more c elc
’

b rate d p erso n Ol e B ull th e distinguish ed

, ,

N o r w eg an vi olini st by w h om i t w as e x hi
i

»
,

bited in Lo ndon in 1 862 and with wh o m ,

i t still remains To our descrip tion of

.

G as p ar s instruments we sh o uld add that

’

his tenors and doubl e b asses are of a

r a ther bro ader form th an hi s violin s .

S ALL E , Paris 1800 This arti ste w as

, . :

an exc el lent w o rkm an an d famous also as ,

a j udge of ol d instrum ents .

S AN ONI ,
GI OVANN I B APTI S T A Veron a , .

S ANTI GI OVA NNI Na p l es 1 7 3 0

, , ,
.

S AN CT U S SE RAP H INO ,
Venezia ab ou t ,

17 3 0 An ex cell e n t workm an whose i n

.
,

s truments p ossess alm o st th e b eautiful

finish of S trad iuari us H e u sed h andsom e .

w oo d of s mall fi gure and hi s varnish i s ,

o ften b ea u tifu l in th e extrem e Th e model .

h owever appro ach es that of th e S teine r

sch ool and th e ton e is th erefore generally
,

w anting in fulln ess and ro undness H e .

made also a few viol on cello s with simil ar -

ch aracte ri sti cs .
S API N O , Cremona Pupil of Guisepp e .

C app a m ade instruments after th e sty le of

,

th e Am ati .

S ANZ O S AN TIN O Milan , ,

S AU N I E R b orn in Lorraine 1 7 4 0 An
, .

ex cellen t artiste whose instrum ents are

reckoned among th e b est of th e Fren ch
sch o ol .

S C H E INLE IN M AT T H IAS FRE D E R IC K

,

Lan genfeld b orn 1 7 10 died 1 7 7 1

, , .

S C H E INLE IN J E A N MI C H AE L ,
Lan ,

genfe ld b orn 17 5 1 M ade instruments

, .

whi ch are sai d to b e go od b ut no t strongl y

b uilt
.

S C HMI DT C assel m enti oned b y O tto

, ,

as livin g in 1 81 7 an d prai sed b y hi m a s

,

an ex cellent maker H i s instrum ents are .

of the flat mo del of S trad iuariu s bu t h av e ,

th e edges larger and th e p urfi ing further

from th e sides .

S C H ONGE R F R AN CI S E rfurth m ade

,
.
,

high m odelled instru ments bu t of p o or ,

tone .

S C H O N G E R G E O R G E E rfurth son of
, , ,

th e ab ove m odell ed hi s instru men ts in the

,
 I tali an s tyle and pr o duced some very
superior examples .

S C H O R N J A C OB S alz b o urg
, ,
.

S C H O R N J O H AN N
, ,
Ins p ruc k , 1 688 .

S C H O TT , M A R TI N Prague , .

S HAW ,
London 165 6 , .

S IMP S O N J O H N London
, , , 17 9 0 .

S IMP S O N J and J , . .
,
son of th e a b o v e .

S IMO N ,
S alz b o urg ,
17 22 .

S IM O N ,
Paris .

S MIT H ,
H E NR Y
Lond o n 1 62 9
,
This ,
.

may b e a c el ebra ted m ak er of v iols & c , .

,

men tioned b y Mace 167 6 as one of th e , ,

b es t th en known .

S MITH TH O M A S London 1 7 5 6 to 1 7 9 9
, , , .

This w el l known m aker was a pupil of

Pe ter W amsley H i s violoncellos are of
.

th e S teiner model and some of them p os ,

sess considerable p o wer and w ere formerly ,

hi g hl y esteemed b u t they are n ow con,

s i d ere d to b e deficient in quality an d

w an ting i n the rich fin e tone o f the I tali an
a r tis tes N o twi th s tanding th ey a re s till
.

favo uri tes in the c o untry ; th e edit o r

 knows two of his vi ol oncell os which have
b een resp ectively s o ld for £ 80 and £ 4 0
wi thi n a few years .

S MITH W ILLI AM London 1 7 7 1

, , , .

S OL OM O N , pupil of B oc q uay, a goo d

French artiste .

S P E IL E R ,
1 8th C entury .

S TADE LM AN S , D A NI E L , 17 4 4 , Vienn a .

S TAD E LM AN S J O H AN N J O S E PH
, ,

Vi enn a 1 7 84 Fame sp eaks very highl y

,
.

of this m aker who closely imitated Jacob

,

S teiner an d ranks next to him among the

Germ an m akers .

S T E IN E R J A C OB ,
of Ab s om in the Tyrol, ,

b orn ab out 1 62 0 date of death no t known

, ,

b ut at ab o ut th e age of seventy retired to a

C onvent .

S e e sep arate ch apter on this celebrated

artiste .

S T O S S F R AN CI S
,
B avari a ,
.

S T O R I O NI L O R E NZ O Cremon a living in
, , ,

1 7 82 said to b e th e l ast of th e great

,

Crem o n a mak ers F orster says hi s i ns tru

.

ments resemble th o se of Jo seph Guarnerius ,

 and that Vi e ux temp s sol o violin in 18 61
’

w as by this master an d was very much ad,

mired Hi s vi o loncellos are v ery powerful

. .

Th e auth o r knows a vio lin which an au .

th ori ty says i s b y S t o rio ni but whi ch th e ,

own er c onsi d ered to b e by A ntonius an d

H ieronymus A mati Th e same authority
says there are only two in E n g l and of thi s
m ak e . I t p ossesses a splendi d fin e full
a nd ri ch t o n e b eautiful woo d for th e b elly
, ,

b ut th e b a ck rather plain varnish deep ,

yellow with reddish tinge W orkman ship .

n ot very fine W e m enti on those little

.

known artistes in struments when w e h ave

’

seen th em b ecau se th ey are no w ri sing in

,

valu e and are esteemed as likely to affo rd

go o d in struments to th ose w h o cann o t
afford th o se of th e three g reat masters .

S T R AD IUAR IU S ,
A NT O NI U S ,
Crem ona ,

b orn 1 64 4 , di ed 17 3 7 .

S ee sep arate chap ter for a . fu11er account

of thi s cel ebrated artiste .

S TR AD IU AR IU S H OM OB O N O C re mo n a
, , ,

son o f Antonius m ade ins truments under

 th e direction of his fath er whi ch were signed ,

S u b d i s c ip lina A S tra d i u a rius

'

. .

S T R AD IU ARIU S F R AN CI S C O Cremona
, , ,

an o ther son of Ant onius and signed in the ,

same m anner as his broth er .

S T R AU B E ,
B erlin 1 7 7 0 C o nstructed , .

after th e I talian model Hi s instruments .

are sc arc e an d goo d .

S T R N AD G A S P A R Pragu e 1 7 8 1 to 1 7 9 3
, , .

Thi s m aker b ears a go o d repu tation .

S T U RIO N U S L AU RE NTI U S S ee S tori o ni

, . .

S U RS ANO , S PI R I TU S ,
C oni , 1 7 64 .

T AY LO R London , 17 7 0 to 1 82 0 .

T E C H LE R , D AVI D first establish ed him

,

s elf at S al zb u rg and afterw ards wen t to

,

Venice wh ere th e story g o es th at h e was

,

so persecuted by o th er m akers th at h e fled

to R om e ab ou t 1 7 0 6 H e made s o m e ex
, .

c ellen t an d b e au tifu l ins trum ents Th ey .

h ave fine yell o w varni sh and resembl e

tho se o f the Tyr o l ean sch ool o f A lb ani an d
others Lindley h ad a violon cello by this
.
 hi s destin ation h e w ould replac e th em with
,

o u t th e aid o f a single m ark After his .

d eath his hou se or rather his hermitage

, ,

was visited by co nn oisseurs wh o fou d i t ,

strewed with d ifi h rent p art s of instrum ents ,

som e b eing foun d in th e m ost ou t o f the

way places H e had th e m aj or p art o f all
.

the great instruments thr o ugh his hands .

A m o ng other v aluabl e in struments found

in his h ouse after his death w as a G asp a r
,

di S alo doub le b ass and a B ergonzi double

b ass— th e l atter unique B oth th ese
.

instruments are n ow in Mr H art s p osses

’

sion Th e Gaspar di S al o is very p erfect

.
'

and its tone i s unsurpassed The B er .

gonz i is quite a curiosity from its b eing

,

th e only one of his make known He .

vi sited this country during th e E xhibition

of 185 1 and was d eeply gratified up on
,

seein g so many high class instruments

amon g th e dilett anti here and the taste
,

an d z est th e E nglish have in forming col

lections .

T E S T O RE C AR LO G U I S E PP E C remona
, ,

abou t 1 7 0 0 This artiste m ade some very

.
 good i n strum ents after th e Guarne riu s
p a ttern Th e w o o d of the b acks o f his
.

vi o l o ncell o s is m os tly p ear tree an d th e ,

b ellies are o f splendid wo o d The t o ne is.

very p owerful b ut not always so smo o th as

,

mi g ht b e w ished This i s anoth er rising

.

n am e The c el ebrated d o uble b ass pl ayer

.

B o ttes i ni u ses one o f this m aker s i ns tru

’

ments which possesses a splendid tone and ,

i s s ufii c i ent to stamp Tes tore as an excel

lent maker If any of hi s smaller ins tru
.

ments p o ssess as g oo d an d fine a ton e as

this double b ass he must b e ranked among
th e b est I talian artistes U se will prob ably
.

w ear away th e wan t of smoo thness at pre

sent complained of in som e of them .

T E S T O R E C AR L O ANT O NI O Mil an
, , ,

ab o ut 1 7 1 0 to 1 7 3 0 .

T E S T O RE P A OL O ANT O NI O Milan
, , ,

ab out 1 7 2 0 to 1 7 4 0 B oth th e ab ove

.

h ave the reputation of b eing good makers .

O f these arti stes we h ave a note which

states th at th eir model was flat resembling ,

J o seph Gu arneri us in sh ape b ut the var ,

ni sh very inferi o r a nd v oid of c ol our .

T H OROW G O O D H E N RY , London ,
the
18th century .

T OB IN , L o ndon 1 800 to 183 6 Thi s , .

maker ou t mos t b eautiful heads and his ,

work was neatn ess in th e ex treme so mu ch ,

so indeed as to rob i t of decided ch ar acter .

T O NI N I F E LI C E B ol ogna
, , .

T O NIN I A NT O NI O B ologna
, , .

T ONI NI C AR LO B ologna
, , .

T O NINI G U ID O B ologn a
, ,
.

W e h ave n o special informa ti o n on these

makers b ut they are generally rank ed
,

among th e g o od Italian m akers .

T O NO NI C AR L O Venezia 1 69 9
, , ,

T ON O NI GI O V ANNI Venezia 1 69 9 T h e
, , , .

instruments by T ononi are worthy of the

high est praise They are ho wever very
.

scarce Th ey are of t he lar g e p attern and

.
,

flat model with goo d varnish and every

, ,

thing ab o ut them including a superi o r ,

tone to entitle them to b e ranked as excel

,

lent instruments .

T O RI N G , Lon don .

T RU N C O , Cremona ,
1 660 .
 U .

U RQ U ART , T H O M A S L o ndon 1 65 0 An ,
, .

exc elle nt old E nglish maker H e used .

b eau tiful v arnish ( fo r E ngli sh ) and m ade

m any sm all violins w hich are usefu l to
young play e rs b ein g old and th e pri c e
,

reasonab le .

V .

VA LL E R ,
Marseilles 1 683 , .

VE RO N ,
P aris ab o ut 1 7 2 5
, H ighly .

esteemed in Franc e .

VI A R D N I C H O L AS V ersailles abo ut 17 3 0
, , , .

V IB RE C H T G Y S B E RT A ms ter d am 1 7 0 7
, , , .

VIM E R C ATI P AU LO Ven ez i a 1 7 0 0

, , , .

V O G E L W O LF G AN G Nuremb e rg
, , .

V UILLAU M E JE AN ,
1 7 00 to 1 7 4 0 , .

W o rked with S trad u ari us and m ade som e ,

g o o d ins tr uments under his own n am e .

V UILLAU M E J E A N B A PTI S T E,
P aris , .

N o w living F a m o us fo r hi s c o pies o f
.

Cremonese ins truments This artis te ob .

t aine d b y pers o nal rese arch es in Crem o n a

t he p articul ars o f th e li fe o f S tra di u ari u s ,

which Fetis h as emb odi ed i n his b o o k .

 W .

WA GN E R J O S E PH C o n stan ce 1 7 3 3 , , .

WAM S L E Y
P E T E R London 1 7 2 7 A
, , ,
.

celebrated ar ti ste wh o made m any excellent ,

ins trum en ts Those with the dark brown .

varnish are th e mo st valu abl e They were .

m ostly of th e S tein er p atterns Mr . .

J R odgers organist of D o n c aster Parish

. ,

Ch urch h as a very b eautiful ten o r b y this

,

maker which i s b uilt in the sh ape of a

,

d o ubl e b ass an d with very p eculiar sound

,

h oles instead o f th e us u al S S .

WE AV E R S AM U E L London
, , .

W E I S S J A C OB S alzb urg 1 7 61
, , , .

WE N G E R G RE G O R I O F E RD I N A ND
, ,

S al z b urg 1 7 61 , .

W E Y M A NN C O R N E LI U S Amsterdam
, , ,

1 682 .

W I GH TM A N G E O R G E 1 7 6 1 , , .

W IT H A LM L E O P O LD N uremb erg 1 7 65
, , ,

to 1 7 88 O tto says this maker s i ns tru

.
’

ments are worthy th e attention of th e

virtuoso and are extremel y like those of
,

of S teiner and diffic ul t to disti n guish fi om

,
'

them .
WI S E C H R I S TO PH E R L ondon 1 65 6
, , , .

W ORNUM London 1 7 9 4
, , .

WR I GHT D A NI E L London 1 7 4 5
, , , .

Y .

YOUN GE JO H N London
, , 17 24 .

Z .

Z AN E TT O P E RE G R IN O , ,
B rescia ab out ,

15 4 0 A m aker of reb e cs
.
, violas and vio l s
,

d a gamb a .

Z ANTI A L E S S AND R O
, ,
Mantua ab out ,

17 7 0 R eck o ned amon g

. th e g ood It alian
m akers .
 BO W MAKE R S .

I t will not b e considered o ut of pl ac e in the

course of a bi ographic al acco unt o f th e prin cipal
m ak ers o f violins to give a sh ort n otice of
,

som e emi n en t persons without whose l ab o urs ,

th e vi olin itself w ould nev er h ave b een developed

as i t h as b een to wi t v i olin b ow m akers
, , .

Much of th e elegant fi ni sh and refinement of

ton e an d styl e which distinguish th e great
players o f th e vi olin if no t due alto geth er to
,

th e b ow by w hich th e t on e i s produced i s at
, ,

all events greatly aided by it A Paganini .

will h ave a T o ur te b o w and s o wil l ev erv o ther

,

g re at mas t e r i f h e c an g e t o ne
,
There must
.

b e something th erefo re in th e b ow as well as ,

i n th e vi o li n m o re th an m eets the ey e of a
,

c a sual ob server W e h av e no t h ere sp ace to

.

e nter into th e sub tle niceties whi ch distinguish

 T O U RT E F R AN C I S Paris b o rn 1 7 4 7
, , , ,

d ied 1 83 5 This is c o nceded b y al l th e b est

.
,

j udges to b e th e greatest m aker w e h ave ever

,

kn o wn in fact th e S trad iuarius of th e b ow

, .

H i s father and gran d fa ther w ere in strumental

in improving th e h ow bu t Fr an cis Tourte,

br o ugh t i t to th e greatest p erfection Hi s b ows .

are light an d flexible yet straigh t

,
Th ey are .

highly finished and made of the finest Br azil

w ood . H e himsel f sold his b o w s m o unted
with go ld at 12 l ouis
,
4 s 6d ) each ; with
, . .

sil er 3 % l oui s
v 5 8 6d I t i s sai d th e
. .

reason of hi s c h arging so mu ch was th at h e

fo u n d so great a di fficul ty in getting wood fin e
enough to sati sfy hi s criti c al j udgm en t and ,

that h e also m ade n o scrupl e to break any

whi ch did not reach hi s standard of perfecti on

h e was th erefore c ompelled to ch arge those
sum s for such as h e permitted to go forth .

W ho ever w ishes to m atch hi s cheri sh ed

C remon a with an equ ally fine how will get a
T ourte if h e can .

LU P OT ,
of Pari s was anoth er ex cellent
,

m aker . H i s b ow s are not quite so ligh t as

th o se of Tourte bu t they are in all o ther
, re ~

s e c ts highly esteemed
p .

D ODD E D WA R D b orn at S he ffi el d an d
, , ,

d ied in London a t the age of 1 0 5 years i n

, ,

1 8 1 0 was dis tinguishe d as an improver of th e

,

b o w in E ngland ab out th e sam e tim e th at th e

,

Tourtes were founding their great reputation

in Franc e Th e great m aker of this n am e
.
,

h o wever an d who has achi eved th e honourabl e

,

title o f th e T our te of E ngland i s ,

D OD D J O H N the son of E dward Th e

, , .

b est b ows o f this maker are highly esteemed ,

and p ar take of all th e exc e llencies of thos e of

Tourte S ome of them h o wever are rather
.
, ,

short which i s p erh ap s their only defec t

,
.

A fter these com e th e b ows of P anormo ,

P e c atte Tubb s V uillau me and o th er E n glish

, , ,

an d F o reign ar tis tes wh o se b est b o ws are ,

much e steem ed .

As b etween ol d an d new b ows we woul d ,

o bserve th a t i n gener al m odern b ows are ne arly

a

as u seless as ne w vio lins Th e w o o d of which .

m ost of them are m ade is very inferi o r to t hat

o f the older artistes and there i s a lways a d o ub t
,
wh eth er they will stan d continued use an d re
m ain straight and flexible With an old b o w
.
,

if i t i s strai gh t there i s n o fear with ordinary

, ,

c are of its remaining so A good ho w i s a s

, .

important as a good violin .

GREAT CR EMONA MA KER S .

TH E AMAT I FA M I LY .

Crem o n a W h o has not h eard o f this n ow

cel ebr ated I talian ci ty A n d ye t b ut for a
fi ddle m ak er it i s very pr o b able indeed th at it
woul d n ever have b een known b eyo n d th e circl e
of its own l o cal interests and its rela tion s wi th
neighbou ri n g cities N ow h owever its n ame
.
, ,

i s a sp el l to c onj ure with A Cremon a Vi o lin

.

is to a rich am a teur a l o adston e tha t i s sure to

, ,

attrac t th e shi nin g m et al fr o m th e dep th s o f

hi s purs e. S eve n h undred pounds h ave b een
g iven for a Gu arn erius Vi olin Think o f th at
v e dil ett a nti w h o a re so prou d of y o ur pi cture s

an d marbl es ! E ven th e p o or fiddl e r h as hi s

Mecc a far away and i t i s c alled Cremon a
,
.
94 TH E AM AT I FA M ILY .

Like pic tures th e Cremon a Violin s are real

,

w orks of art and like them also were onc e to

, ,

b e h ad for trifling s ums C uyp s and Paul .

Potters S tradi uarii and G uarnerii were once to

,

b e had for three or four p ounds each that are

n ow worth as many hundreds A Cremona .

instrument has even b een co nsidered a worthy

gift to p ass b etween crowned h eads Pop e ,

Pius V having presented a vi o lon cello by

.

A n dreas A m ati to Ch arl es IX of Franc e . .

Fleeting h o wever are th e honours of tim e !

Cremona h as lo st its m o st fa mous names from
among its citiz ens and wi th them i ts m o st
,

distinguish ed ch aracteristi c For nearly a

h undred years n o maker of gre at skill has arisen
to dispute the gl o ry o f th e pl ac e wi th th e A m ati ,

S trad iu ari u s and G uarneriu s b y wh o m the

, ,

fame of Cremon a will b e c arried to the latest

generati ons .

I t is now ab out three c enturies s i nCe there

flourish ed a t Cremon a its first gre at vi olin
maker Andreas Amati app ears to h ave b een
.

b orn there in 1 5 2 0 an d died in 1 5 80 Th e

, .

family was an anci ent one and i s menti o ned

,

as early as 10 9 7 i n th e r ec ords of the Ci ty It .

 TH E AM A T l F AM I L Y . 95

i s a rem arkab le fa c t and sh o ws in a str ong

,

light th e differe n c e of m anners and cu st o ms i n

di fferent coun tries th at b o th Amati and S tradi
u ari us seem to h ave b een of an cie nt and

h on o urable families and y et notwithstandin g

,

their ad o pting an avo ca tion which w ould in

E ngland b e th o u ght to tarnish an old family
nam e th ey lived and di ed resp ected and
,

h on o ured b y th eir fellow ci tiz ens T here is .

no acc o unt of how or of wh o m A n drew A mati

acquired the art o f vi olin making ; b ut i t i s

clear th at b y som e m eans h e had attained to a
c o nsiderabl e am o unt o f skill U nder th e head
.

of Gaspar di S alo we h ave h o wever haz arded

,

a conj ecture th at h e h ad b een to B resci a for

the first principl es of th e art b ut that h e h ad
,

adopted lit tl e th a t h e fo und th ere excep t th e

varni sh and th e ge ner al r o u tin e of th e work
sh o p S ome o f hi s instruments are described
.

a s b ea u tifully m ade an d to h ave amb er varnish

,

of excellent quality of a deep rich yellow tinted

wi th brown or light red c olo ur H i s violins .

a ppear to have b e en chi efly of th e small p attern

and high m odel Th e b a cks are m ostl y cu t

.

th e reverse w ay of the grain to b e present rule ,

96 TH E AM AT I F AM I L Y
for ming wh at are now t e r med sl ab b acks .

They possess a delic ate graceful t o n e o f w o n

d erful sweetn ess which h as a lso b een m ore or
,

l ess th e chief characteristic o f th e oth er m akers

of this family Wi th referenc e to this peculi
.

ari t,y an emin ent writer o b serves th at in th e

times i n which th e Amati lived th e tone w a s ,

not required to b e of that p owerful ch aracter

which mo dern players demand an d that such
,

an i mmense to ne as many l ater ins trum ents

p ossess wo uld no t th en ha v e b een t o lerated .

Thi s i s very prob able and m ay account also for

,

th e el evated mo del which w as adopted b oth by

A ndrew and s o me o th ers of th e A m ati This .

model conj oined with their b e au tiful w o rkman

ship and generall y small siz e c ombined t o ,

produce that el egant delicious s wee t tone which

of al l oth er m akers the Am atis esp ecially
,

p ossess They also all of th em mad e a greater

.
,“ ,

numb er of instruments of the smaller siz e th an

wh at i s known as the grand p attern no doub t ,

b ecause th e t o n e produced by th em w as fo und

generally suffici ent They were also m ade to
.

c arry a much lower b ridge and a lighter b ass

b ar th an are n ow used and the prop ortions
,
98 TH E AM AT I F AM ILY .

strengthen th e b ar whi ch wi thout th at b ein g

, ,

drawn into too great a vibra ti on wo uld give to ,

the strings sol and re a co tt o ny sound whi ch

would have quite spoile d th e goodness of th e
instrumen t . M Mangi n does no t s ay why
.

higher bridges are now u sed b ut there i s no ,

doub t on this p oint All j udges concur

.

that the p i tch h aving b een so gre atly raised

s ince th e old instruments were b uilt a ,

s tr o nger b ar h as b een fo u nd n ecessary to ,

c ounterb al an ce th e in creased ten sion of th e

high er bridge .

A ndrew A m ati gave to his instruments a still

more deci ded swell than th e later memb ers of
hi s family his successors no d o ub t finding a
, .

diminution in th e rise of the model to produ c e

a fuller if n ot a sweeter ton e Thi s principle .

w as gradually carried forward till i t culminated

in Antonius S trad i u ari us w h o broug ht i t to
,

p erfection and demons trated th at the flat m odel .

produc ed the greatest v ibration and c ons quently

th e m ost powerful tone O tto in hi s celebrat ed
.

work on th e C onstr uction of th e Violin d o es ,

not mention Andrew A mati b ut says that those ,

of H i eronymu s were th e ol dest C rem on a

 TH E A M AT I F AM I L Y . 99

Vi olin s Thi s Is on e of th e mi stakes in hi s

.

original work which renders i t c o mp aratively

u seless C o nnoisseurs an d collectors h ave di s
.

s i ate d those errors and we now know to a

p ,

certainty that to A ndrew Amati of Crem o na ,

an d G asp ar di S al e of Bresci a ( of wh o m al so ,

O t to was ign orant w e o w e the establishment

of these two great sch ools o f violin m aking .

From their gre at age th e instruments of th ese

,

two great m ak ers are now very rare They are .

mo st of them ab o u t three c enturies old and ,

th ough th ey app ear to h ave m ade a c onsider

a bl e numb er th ey hav e thr o ugh th e influences
,

of tim e an d accident gradu ally disappeared .

S om e of A ndrew A mati s instruments are s till

’

l eft h owever in th e hands of dil ettanti and col

l ect ors an d retain th a t distinguishing c h arac
,

teri s ti c of deli ci o u s an d s ympath etic qu ality

i
w hich h as b een th e chief charm o f all the Ama t

produ c ti on s Andrew h ad a bro th er c alle d

.

N I C HO L AS o f whom little appears to b e known

, .

A fter A N D R E W as g reat m akers c om e hi s

, ,

two sons A N T O N I U S and H I E RON YM U S w ho ,

flouri sh ed from 1 5 5 0 to 163 4 A N T ON I U S .

mad e m any small p attern violin s which po s ,

100 THE AM AT I FAMI L Y .

sess i n th e highest degree the distinguishing

characteristi c O f the family— a s weet b ut not
e

p o werful tone H e also constructed some of a

.

l arger pattern A N T ON I U S an d H I E RON Y M U S

.

co nj ointly b uilt a numb er of l arge p attern

violins whi ch are of high fini sh and b ea u ti ful
,

wood Th ey are very highly esteemed and a

.
,

well preser v ed exampl e will command a l arge

pric e N I C HO L AS w as th e greates t artis te o f
.

this deservedly cel ebrated family and many ,

ins trum en ts still ex ist to attest the exc el len ce

o f hi s work manship an d his kn o wledge o f the

proporti o ns requisite to produce a fin e ton e .

H e al so b uilt m any small p a ttern instrum ents ,

b ut h e app ears to h ave almo st an ticip a ted

S trad i uari us and succeede d in pr o duci ng s o m e
instrumen ts o f th e grand p attern which
u

p ossess a very p owerful as well as s w ee t t o n e ,

an d are considered to rival in every respect th e

famou s instruments of th at great master S o m e .

of hi s violins p o sse s s a dis ti nguishing m ark i n

a rather abrupt ri se in th e centre Otto de .

scrib es i t as a sharp ridge It is no t ex

.

a c tl
y so b
,
ut is still v ery different to th e j
grad u al swe ll on the other Cremona instruments .
10 2 TH E AM AT I FAM ILv .

Fr ancois Cramer was sold by au ction and it

, ,

was stated in th e catal ogue th at that great

p erformer al w ays l ed the Ancient and othe r
c on certs on th at instrument The fact n o
.

doub t i s th at it i s th e fin e an d pure quality

of ton e that tells arising from age c onstant
, ,

use and b eautiful wo o ds Th ey seem to b e

,
.

no w d ivested of all extrane o us ch aracter

i s ti c s and are b ecome refin ed and eth ereal and ,

are in fact th e nightingales o f th e stringed

trib e That the S trad iuari us and Guarneriu s
.

h ave equ al q uality combined with m ore p ower

arising from th eir fl atter model i s undoub ted ,

and therefore th ey are th e most valued I t is .

b elieved that th e finest speci men o f the ski ll

of Nicholas Amati i s in the p ossession of O l e
B ull I t is o f the l arge p attern and p o ssesses
.
,

a m agnificent ton e as m any of our reader s

,

h av e n o doubt heard .

W e think we sh all please our readers b y

inserting verb atim th e following excellent de
scription o f the Am ati instruments furnished ,

to u s by an able and experienced connoisseu r .

H e says
 TH E AM AT I F AM I L Y . 1 03

N I C H O L A S AM AT I and th e B RO TH E R S AM AT I .

Th e t o ne is with few excep tions sweet in quality

and seldom powerful b ut admirably suited to
th e amateur The workmanship i s of the
.

highest order which c o nduc es to this result

,
.

Th e wo o d must have b een sel ec ted with great

j udgment The b ellies are nearly always of a
.

fine reedy n ature S ome tim es th e b acks are

.

whole b acks ( in one piece ) at o thers in tw o

, ,

mo re often th e l atter The varnish of a b eau

.

ti ful amb er colour and there are a few inst ances

,

of fine red The sides generally rather sh allow

.
,

heads of exquisite form and wel l defined Th e .

c are b estowed upon them alone b espeaks th e

hand of the artis t Th ere are several magni
.

fi c ent ten o rs and violon cello s and p erh ap s ,

three or fo ur double b asses The tenors are .

sometimes seen of large siz e The A mati .

family made several sets of instruments for

foreign co ur ts w hich he ar their particular
,

arms m ostly b eautifully p ainted on the b acks

, .

Th e violin s known as Grand A m atis are the

b est an d were m ade by Nicholas Am ati Th ey
, .

t ake their n ame from their siz e H e also m ade

.

m an y lo ng p attern instr ume nts and also ,

1 04 TH E AM AT I FAM ILY .

several three quarter violins whi ch h ave con ,

ferred a great b oon up on j uvenile vi olinists

wh o are able to purch ase them by giving them ,

an opportunity of e arly b ecoming familiar with

th e irrepro ach ab le I talian qu ality of ton e .

In referenc e to th e rem ark m ade in th e pre

cedi ng par agraph it i s recorded that a set of
,

instrum ents n o doub t on e of those therein

,

allu ded to was m ade for Charles 9 th of Franc e

,

b y Andrew A mati , c onsisting O f twenty four -

v iolins si x violas an d eigh t b asses Thes e

, , .

were lost from Versailles in 1 7 9 0 an d h av e ,

n ot b een re c o vered ex cept two which M C

, .
‘

ti er discovered some years sinc e Notwi th .

standing that Andre w A m ati was th e first

maker o f any note except G asp ar di S alo
,

of B resci a it i s clear th at h e h ad attained

,

an astonishing amount of skill as there ,

is an account of a v i olonc ello which was o ffered

b y aucti on at the sale o f th e celebrated S ir
W m C urtis s instr uments b y Mr Musgrave
’

. .
,

w ho in th e cata logue stated that a document

was given to the p roprietor when h e purchased
this instrument stating that It was presented
,

by Pop e Pius 5 th to Ch arles 9 th of Fran ce for

1 06 TH E AM AT I F AM I L Y .

p o ssessed a quartett of instruments by Ni cho

l as Am ati which have since b een sold in Lo n
,
~

don ( see the articl e on S trad iuari us ) M . .

Feti s describes these as a d mi ra ble but as our ,

re aders will see th e E nglish c onn oisseurs d o

,

no t app ear to h ave coincided g enerally wit h

th e criti c on their quali ty as o nly o ne of the m

,

pro duced any great pri ce Th ere i s a s p lend i d

.

g ran d A mati in th e h ands of an am ateur i n

D erbyshire which formerl y b elonged to Mr
, .

H ankey th e b anker for w hom i t was purchased

,

with o thers by V iotti who dedicated several of

,

hi s c omp ositi ons to him Thi s instrument

.

p ossesses in an eminent degree the admirab le

qu alities of th e Am ati tone with also consider
,

abl e p ower Another o f th e same se t in th e

.

s ame h ands i s a spl en d id S tradi uari us of the

l arg e p attern with a ma g nificent tone There

a re m any fine examples of the di fferent m aker s

o f t his celebrated n ame i n this country E ng .

li sh connoisseurs s uffer tho se of n o other

nati on to excel them in t h eir coll ections .
A N T ON I U S S T R AD IU AR IU S .

A m ost interestin g account of Antoniu s

S trad i u ari us who i s generally th o ught to b e th e
,

greatest maker of the violin— h as b een pub

li s h ed by M Fe tis an d tr anslate d into E nglish
.
,

by Mr B ish op of Cheltenham In addition

. .

to rec o rds of hi s family whi ch was an ancient

,

on e i n Cremon a ob tained by M V uillaume in

, .

hi s p erseveri ng l ab ours in search of inform a

tion and whi ch h e place d at th e servic e of M
,
.

Fetis— the l atter enters deeply into what w e

may call the science of vi o lin m aking and ,

presents u s with m any interesting and v aluabl e

expe ri m ents whi ch h ave b een made on frag
men ts o f the great instruments in order to
,

a scer tain th e exact prin cipl es whi c h enabled

S trad iu ari us to b uild wit h su ch undeviatin g

and brillian t su ccess . Th e b ook i s well worthy
the p erusal o f al l amateurs of the vi olin .
1 08 A N T ON IU S S TR AD IUAR IUS .

A Nro mus S TR AD IU A R IU S
w as b orn in
Cremona in 164 4 and di ed th ere in 1 7 3 7
, , ,

h av1 ng lived in the p eaceful exerci se of his art

to th e great age of ninty three There i s a -
.

violin still extant which b ears hi s si gn ature

and proves this fact In th e early p art of his
.

life h e was a pupil of Nich ol as A mati and

, ,

som e of hi s early prod uctions b ear hi s m aster s

n am e as seems to h ave b een th e c ustom These
, .

instruments h ave th e Amati characteristics ,

an d have some of th e b acks ou t th e c ontrary

way of th e grain forming what are k nown b y
,

th e name of sl ab b acks H e afterwards .

enlarged his m ode l an d adopted a flatter

p attern an d arrived at th e greatest p erfection
,

ab o ut 1 7 0 0 From th at p erio d to 1 7 2 5
.
,

everything he made b ore th e impress of

th e great m aster In sh ap e th e c u tting o f
.
,

the S hol es th e v arnish and th e accuracy with

, ,

which all th e p arts were adj u sted in harmonica]

rel ation from that tim e h e ex c elled all wh o
,

h ad gon e b efore him or who h ave since at ,

tempted th e di ffi cult task of v i ei ng with hi m .

All th ese instruments are of th e flat p attern ,

wh i ch is now proved to b e b est adapted for th e

1 10 A N T ON I U S S T R AD IUAR IU S .

th at while in th e h ands of vario us posses

sors s o fin e an instrument should h ave b een
,

su ff ered to li e i dle in a cabinet as though it ,

w ere a pi cture to b e looked at b ut not t o u ched , .

From its condi tion h owever i t i s clear th at i t

, ,

h a d alwa ys b een in hands that priz ed it for h e ,

describ e s i t as h aving q uite th e appearance of

a n ew in strum ent In this resp ect therefore
.
, ,

we m ust s ti ll adopt th e opinion of th e most

eminent j udges including that recorded b y
,

S pohr th at it requires b oth time and use to

,

p erfec t all ins truments of th e vi o lin cl ass I t .

woul d app ear more o ver tha t this h as always

b een a settled b elief for even M ac e in hi s ,

”
Musi c s Monument published in 1 67 6 says
'

, ,

W e chiefly val u e old instr uments b e fo re new

fo r by exp eri en ce th ey are found to b e far th e
-

”
b est . A s to th e condition of this in strument
which F etis s tates to b e quite unique for its
p erfection an d app arent n ewn ess ,

countrym an Mr G ardiner in hi s interesting

,
.
,

w o rk ,
Mu s i c and Fri ends says th at Mr , .

C h ampion an am a teur h ad given 800 guineas

,

for a S trad i uariu s violin and ten o r of a b eau ti ,

ful yellow c ol o ur inclini ng to orange and which ,

 A NTO NIUS S T R A D IU AR IU S . 1 11

appeared to h ave b een unt o uch ed si nce th e

day th e y were made H ere th en in this c o untry
.

i s a doubl e instance of the same fac t as to c on

di tion for whi ch M F etis cl aims fo r th e P aris
, .

instrument th e title o f uni que The fact is .

th at th ese fine vi o lin s h ave for many y ears

b een so hi ghly appreci ated that their possess o rs
have taken the m o st e x traord inarv c are to pre
vent thei r b ein g d amaged or di sfigured and ,

there are m any instan ces of violins in equally

p erfec t c o ndi tion .

A fter 1 7 2 5 at which date S trad i uari us w as

,

8 0 ye ars old his work lo st s o me of i ts ch arac

‘

te risti c ex c ellen c e though s till o f gre a t m eri t .

His sons H o m o b o n o and Fran cesc o no w

, ,

a ssisted him b u t h e appears s till to have

,

signed th em o cc asionally a ddin g to their

,

names h owever th e words s u b d is c ip lzna A

'

.
,

S tra d i u a ri u s H e had m any pupils the

.
,

chi ef and th e b est of whom was C arlo ar

g o nzi
. There were also G ob etti of Venice ,

Guada g nini of Cremona Mich ael Angelo B er,

gonzi and o thers m enti o ned in th e dictionar y

, .

Fin e examples of the works o f his pupils are

no w b ec o min g very v al uabl e and are wel l
,

worthy a tten tion .

1 12 A N T ON IU S S TRAD IUAR IUS .

S trad iuari us made a few instrum ents inlaid

wi th eb ony an d ivory roun d th e edges There .

i s a qu artett of th em all b earing th e same d ate

,

On e i s in th e collec tion of Charl es

Plowden E s q ; the o ther violin b elongs to a
,

ge ntlem an in S taffordshire the viol on c ell o

b elongs to the Q ueen of S p ain and th e ten o r ,

was on c e th e prop erty of S ir W m C urtis . .

Thi s i s a very curi o u s and rem arkabl e set of

instruments very highly finished an d in fi ne
,

preservation There i s als o another violin inl aid

.

which b el onged to the l ate D r C amidge of Y ork .

,

b earing date 1 7 13 A Fountain E sq h as in his

. .
,
.
,

p ossession th e l ast vi olin which S trad iuari us

m ade This instrument i s known as th e
H ab eno ck Violi n from th e previ ou s owner s
’

name fr o m wh om Mr Fountain h a d i t Charl es

. .

Plowden E s q has a quartettof splen d i d i ns tru

, ,

ments b y S tradi uari us of whi ch on e v i olin i s of

,

th e Grand Pattern dated 1 7 19 anoth er dated

,

17 11 whi ch are p erfect in model and preser

v ation an d b oth fi rs t class th e third i s a re
,
-

m arkabl e violin wi th rich golden v arnish dated

, ,

1 7 09 — a perfect instrument which has b een ,

twice sold for £ 60 0 was formerly the property

,
1 14 A N T ON I U S S TR AD IU AR IU S .

i s said to b e th e h andso mest kn own and which ,

cost him 5 00 g uineas .

The v alue of th e b est productions of th e

geni us of S trad i uari us i s now very great Mr . .

B etts of Lond on h ad on e fo r which he refu sed

, ,

th e enormous sum of £ 5 0 0 and D ragonetti ,

also refused £ 80 0 for a double b ass The .

high est pric e £ 600 h o wever was given twi ce

,

for th e violin n o w b elongi ng to Mr Plowden . .

B ut even such prices have b een ex ceeded by

that o f the cel ebrated King Jose p h Guarn e rius
m e ntioned elsewh ere which realised £ 7 0 0 It
, .

must not b e understo od however that su c h

pri ces are the rule fo r i t is only for ex traord i
,

n ary sp ecimens th at any su eh great sum c an

b e ob tained E x cellent instrumen ts are fre
.

q uently s ol d for mu ch sm aller am o unts and it ,

must al s o b e rem emb ered that n o ne b ut those

m ade from ab out 1 7 0 0 to 1 7 2 5 realise such
e normou s sums .Hi s earlier production s ,

whi ch resembl e th ose o f his m aster and wh ich ,

are kn o wn b y th e name o f S trad i uari us A matis ,

c an b e h ad o ccasion ally for moderate prices .

An undoub ted vi o li n of any p eriod of this

great m aster s make i s well worthy th e atten
’

tion of the virtuoso They are all go o d b ut

.
,
 A N T ON I U S S T R AD IU AR IU S .

the grand p a tt e rn o f this w onderful geniu s ,

p o ssessing equal sweetn ess with greatly in

creased p ower are only now to b e had b y
,

c onnoisseurs o f unlimited m ean s .

A s an illus tration of th e more mo derate

pri c es which these fine productions command ,

we think i t may interest our readers to give

here the resu lt of a public sal e of Crem o n a
i nstruments b el o nging to the C ount de C astel
b arc o o f Milan a distin g uished ama teur M
,
. .

Fetis in hi s w ork states that the C o unt pos

sesse d tw o qu artet ts of S trad iu ari us v ery ,

rem arkable instruments ; ano ther of Joseph

Gu arneriu s ; a four th of Nichol as A m ati an d ,

lastly a quar te tt of S teiner o f whi ch

,
he
speci all y p ar ticu larises the Tenor as b ei ng a
model of perfection as to workmanship an d ,

the to ne of which is of extreme b eauty These .

instruments were so ld b y a u c tion b y Messrs .

P utti c k an d S impson on th e 2 6th June 1862

, ,
.

”
W e quote th e report of th e Times b y whi ch ,

it will b e seen that o ur E nglish connoisseurs

d id not appreci ate them so high ly as M Fe ti s . .

The Tim e s di d no t m ention the G uarnerii

and the S teiner a t all w e presu me b ecau s e th e
,
‘

pri ces were no thing remark ab le .

1 16 A N T ON I U S S T R AD IUAR IU S .

LO T .

1 Vi o lin by S trad i uariu s 1 7 12 ,

£70
2 DO . do . 169 9 £56
5 Ten o r do . 1 7 1 5 £ 100

6 Violin do 1 7 0 1 £ 13 5
8 DO . do 1 685 £ 13 5
.

9 DO . do 1 7 13 £ 9 0
.

12 Do . Nichol as gs .

13 Do . An dre w Am a ti 36 gs .

26 Violo ncello S trad iu ari u3 169 7 £ 2 10

,

28 DO . do . 1687 £ 1 15
30 D o —Nicholas
.
£ 13 0
3 1 O rigin al L etter by S trad i uari u s £ 8
At the sam e sale a Grand Am ati Vi o lin ,

j e w e lled a t th e corners £ 60 Violin by G uar

,

neri us 3 8 g uineas
,
.

In addition to th e ab ove w e m ay mention

that th e S trad iuari us Violin whi ch once he ,

longed to a memb er of the Mladici Family was ,

sold b y auction a short time ago at th e H o tel ,

de D rouet in Pari s for 5 7 4 5 f ab out £ 2 3 0

, ,
.
, ,

an excellen t pri ce for a Parisian conn oisseu r .

W e have already menti oned m any fine i ns tru

m ents by S tradiuarius whi ch are in the hands
of connoisseurs an d p erformers W e will .
1 18 A N T ON I U S S T R AD IU ARIU S .

tri ou s
c areer th at his fellow citiz ens sp oke of
,

”
him as rich A s ri c h as S trad iu ari us was a
.
,

comm on remark as we see b y M Fetis notice

, . .

Another anecdote i s th at C erv etto , ,

I talian merch ant in Lo ndon h ad a consign ,

ment of violins from th e m aster himself and ,

as h e could no t get four p ounds each for th em

h e return ed them This app ears str o ngly to
.

disprov e th e assertion th at his instruments

were as g o od when made as they are now ,

esp eci ally wh e n w e fin d that in 1662 £ 4 0 was ,

given for two Cremon a violin s for K in g Ch arles ' ’

b and n o doub t th e elder Amati s which at

’

, ,

th at date wo uld b e getting m ellowed b y tim e .

I t i s clear th at K in g Ch arl es or the leader of ,

h i s b and k new the value of Cremon a i ns tru

,

m ents for reckoning the differen c e in the valu e

,

o f m o ney at th e two p eriods £ 2 0 then w ould

.

p urch ase £ 12 0 w orth of go ods now It is .

therefore extraordinary that i f they were as

good new as wh en they are old th e paltry sum ,

o f four po u n d s co u ld not b e got for th em Th e .

re al truth no doub t i s that wh o ever th e

m ak er time mu st b e th e refiner and even
, ,

genius like th at of S trad iuarius and G uarneri us

 A NTO NIUS S T R A D IUA R IUS . 1 19

c ould not impart th at grand rich and m ellow

, ,

ton e which di stin guishes th em wi thout the aid

of old F a ther Time .

T H E GR E M O NA V ARN I S H .

Th ose who desire to m ake themselves ao

u ai nte d with th e chi ef ch aracteris tic s o f th e
q
great Cremon a makers shou l d take every op p or
tuni ty of ex amining genuin e instruments In .

additi on to th e o th er e xtern al indic ations we

have p oi nted ou t one of th e mo st imp ortant
, ,

whi ch is als o th e mo st di fficult if no t im

p ossibl e to i mi tate i s th e varnish inclu di ng
, ,

th e c olour . N one of them seem to h ave

adhered to o ne colour o nly Th e present
.

m aster for i nstan ce covered so me of hi s finest

vi o lin s with a deep rich yellow almost ap ,

p ro a ching to orange O thers agai n will b e

.

foun d of a fine red havin g somethin g of a

,

most l ovely ligh t cherry tint N ow these

. .

colours were mixed by th e b est makers wi th

amb er v arnish of the purest and clearest co n
sistency and b oth colours and varnish are p er
,

fe c tly free fr o m that m u ddy sort of appearan c e

which so often di s fi g ure s modern ins trumen ts .
12 0 A N T ON IU S S TR AD IU AR IUS .

Th e e ffect i s tha t of p erfect tr ansparency Yo u .

l ook at a clear p erfect rich colour as it were , ,

throu gh the p urest cr y stal This i s o ne of.

th e m ost certain indications of a gen uine ih

str umen t The moderns unfo rtuna tely seem
.

to have lost the secret of making this l ovely

transp are n t clear coloured varnish an d the ,

consequen c e i s that a c o nnoisseur of ability

and exp eri enc e n ever do ub t s wh en h e sees an
instrument wheth er it b e th e work of a great
m aster I t i s h owever suppose d that all th e
‘

genuine produ c tions of th e chief Cremona

m akers are now known an d we w o uld no t ,

therefore have our readers fi atter themselve s

th ey c an pick up any of them in a c asual way .

Vigilant eyes and sharp j u dgments h av e long

swept over E urope in s earch of them B ut .

th e advanta g e i s thi s — that a kn owledge of the

b est enables ; the amateur to discern a n ear

approach to i t and thus disting uis h those
,

m akers who are no t so well known th ough , ,

b eing th e pupils and followers of the great

m asters th ey are well worthy o f his choic e
, .

L arge diamonds are rare and very dear A .

smaller gem must su ffic e the amateur of

moderate means .
12 2 TH E G U AR N E R I U S F AM IL Y .

1 69 5 He app ears to h ave b een a pupil of

.

Nicholas A m ati and shows mu ch of his ,

teach er s careful finish Hi s instru ments are

'

generally b eau tifully made of go o d an d hand ,

som e wood with excellent varnish princip ally

, ,

o f amb er c o lour like that of th e Amatis H e .

also o ccasion all y b ut mu ch m ore seld o m used

, ,

red co loure d varnish This artiste i s n o t

.

fam ou s for producin g a gre at ton e in h s in i

s truments and he i s therefore not el evated to

,

th e first class b ut h e m ade very good violins

,

which are well worthy th e attention of th e

amateur W e h ave seen a very fin e sp ecim en
in th e h ands of A B righ t E s q of S h e ffield
.
, , ,

which was purch ased of Mr H art an d whic h .

,

i s decidedly th e b est instrument we have see n

of thi s m aster I t i s remarkab ly h andsome of
.
,

a b eautiful yello w c olour th e b ack of on e ,

piec e with rather sm all figure the rib s similar , ,

th e head most c arefully and accuratel y formed

an d the b el ly of fine wood Th e ton e is also .

more p owerful th an A n d rew s vi o lins generally

’

are an d it i s altogether a very fine exampl e of

,

hi s work .
 TH E G U ARN E R I U S F AM I LY . 12 3

G U I S E PP E G U ARN E R I U S i s considered to b e
th e son of Andrew and his instruments
,

are generally signed as fi ili us And ree very ,

prob abl y to distinguish him from his m ore

c elebra ted cousin and n amesake wh o is b esides ,

generally kn own b y the nam e of Jo seph d el

Gesu G ui s ep p e s i nstruments are very simil ar
’

to hi s c ou sin s in qu ali ty — b u t l ess p owerful

’

and prob ably not so round in ton e They .

h ave however a firm well defined kin d of sound

, ,

which i s alway s pleasing b oth to th e pl ayer

and th e b e arer th e former n ever feeling th at
,

th e ton e wil l give way und er his b ow There .

are a grea t numb er wi th slab b acks Th e .

v a rn ish i s of first qu ali ty an d his v iolins are

,

yearly b ecomin g m ore valu abl e and o f greater

imp ortance W e hav e seen a vio lo ncell o b y
.

thi s master which i s v ery fine Th e b ack rib s

,
.
,

an d h ead of very b eautiful sm all figured woo d .

T he b elly of very fin e grained w o od the b ate ,

l o oking li k e fine threads of silk stretched at

regul ar intervals th e wh ole width an d le ngt h of
th e ins tr ument an d with an exceedingly ri ch
,

re d va rnish . I t possesses also a fine quality .

of tone and is dated 1 7 13

, .
12 4 TH E G U AR N E R I U S FAM ILY .

P I E T RO another son of Andreas dates fro m

, ,

169 0 to 1 7 2 0 In the l atter p art of hi s life

.
,

h e appears to h ave removed fr o m Cremona to

M antua his l ab el s he ari ng date fr o m thence
, .

H e w as a p upil of hi s father b ut is s aid not to

,

h ave equalled him in careful finish His in .

s tru ments h owever c ommand c onsiderabl e

, ,

respect an d fetch a go od pric e a violoncell o of ,

hi s b ein g re corded to h ave sol d a few years ‘

ago for £ 1 2 0
J O S E P H neph ew of Andreas b orn in 1 683
, , ,

and died in i s th e l ast an d best of the

race of violin m akers of thi s n am e H e was .

distinguishe d b y th e title of J o seph del Gesu ,

through his using on his lab els the m onogra m ,

with a cr o ss over or through th e H .

H is c areer app ears to hav e b een o f a very

chequered complexion From al l the a c coun ts
.

that h ave com e down to u s h e seems to h ave ,

b een a m an of irregular h abi s an d ecc entri c t

genius In c onsequenc e o f these p eculiariti es

.
,

his instrum ents differ greatly in th eir charac

teri s ti c s Neith er the m o del the wood n or
m
.
, ,

the varnish possesse s much verisi ilitude at

d ifferent p eriods of his eareer They are all . .
12 6 TH E G U AR N E R I U S F AM ILY .

Thi s was th e instrumen t on which th e ,

m ost c elebrated of all vi o lin p l ayers th e world

ever saw pro duc ed tho se extraor d inary effects
,

whi ch astonished the whol e musical worl d an d ,

whi ch will n ever b e fo rgotten by those w ho

h e ard them nor perhaps excel led by any other
, .

These instruments are h owever unfortunately

very rare and as rich connoisseurs will have
,

the m if p ossible th e value o f the m has c ome

,

to b e v ery great W e h ave elsewhere men

.

ti one d th e m a g nificent violin kn own by th e

n am e of th e King Joseph Guarn erius for which ,

Mr H art receiv ed th e enormous sum of £ 7 0 0

.
,

whi ch is th e l argest amo unt ever o btained fo r

a violi n on record T his spl en di d violin i s of
.

large p attern with b eautiful rich orange ye llow

,

varnish and splendi d w o od I t was imported .

into this country b y Mr H art and has b een .

,

in th e h ands of those enthu si asti c an d j udicious

co llectors Mr James Goding and Mr S tewart
, . . .

Joseph Gu arnerius app ears to have endea

v o ure d to produc e th e grandest tone c omb in ,

ing m aj esty and refinement Many peopl e .

think h e di d s o without thought or design b ut ,

we think oth erwi se In the first pl ace he seem s

.
 TH E G U AR N E R I U S F AM I L Y . 12 7

to h ave fix ed on Gasp ar di S ale and Magini

as hi s m odels for if a comp aris o n b e made we
,

sh all find th ere are many p oints whi ch re

semble these instruments for example th e
, ,

p eculi ar shap ed sound holes th e m anner in

,

which they are placed and th e flat m odel all ,

of whi ch tend to produce power while h e ob ,

tai ned the qu ality from th e wonderful ingenuity

h e exercised i h l eaving th e thicknesses of the

woo d in evidently the c o rrect places which ,

was th e necessary step in advance H e cer .

tai nly m ade m any rough instrum ents whi ch

are ascrib ed to hi s imprisonment and which ,

are now called the Prison G uarneri i b ut the ,

varnish on these even i s no t surpassed H e .

made m any of a ri ch yellow colour an d others ,

of red the l a tter of whi ch are m atchless ins tru

,

m ents His heads are not finely cut b ut th e

.
,

character h e g av e them h as n ever b een excelled .

In th e first rank of Joseph Gu arnerius in

s truments we mu st no doub t place th at b el ong

in g to Paganini which would i f it could

, ,

b e ob tained c o mmand an extraordinary price

, ,

and there are al so m any other nobl e p roductions

of his skill extant The K ing Joseph G uar
.

nerius we have b efo re mentione d Mr Plow d en . .

12 8 TH E GU A R N E RI U S F AM ILY .

has four v ery valuable vi olins by th i s master .

One was formerly th e property of Mr Go d ing .

,

an d was esteemed by him the fin est in his

c ollection Anoth er i s quite equal more hi g hly
.
,

finish ed and h as hi s splendid red v arni sh Th e .

third was form erly the pr o perty of Ole B ull ,

and i s c onsidered of th e finest model of the

master in hi s m o re unfinish ed an d larger siz ed
instruments dated 1 7 14 Th e fourth les s well
,
.
,

known b ut perhaps m o re perfect c ertai nly in

, ,

ton e 1 7 4 2 Th ese four instrum en ts are con

.

s i d ere d by m ost of th e virtuosi to b e probably

,

th e fin est examples extan t of thi s great master .

C ertainly there are few collectors who can b oast

o f h aving so m any fine violins as these fo ur b
y
Gu arne ri us and th e fo ur b y S tradi uarius pre
,

v i o usly describ ed Mr Pl owden has always

. .

gone on th e p ri ncipl e of getting the very b est

instrum ents of each m as ter and his taste and
,

j udgment are well evidenced in his col lection .

The l ate E arl of F almouth possessed som e very

valu ab le instruments such as th e Kiesewetter
Gu arneriu s and th e J arnov i ck Guarnerius so ,

n amed after th eir owners and also a fine M agini

,

Tenor all of which were p urch ase d by Mr H art

, . .
13 0 TH E G U AR N E R I U S F AM ILY .

h as refine d th e quality and increased the tone .

Fifty years ago a Guarneriu s of th e b est time

,

might h ave b een b ou ght for £ 5 0 that will ne w

comman d £ 5 00 N eith er does it appear that
.

they have yet re ach ed their climax for they ,

are yearly increasing in value as the examples

we h ave menti oned cl early show .

GREAT TYR OLESE MA KER .

JA C O B S T E INE R .

The time has b een when th e instruments of

thi s mas ter w hose nam e i s perh aps yet as widely
,

known as the Cremon ese were very highly

,

esteemed in E ngland In Germany it i s so

.

yet and many of the am ateurs of th at country

,

flatter th emsel v es that S teiner ranks first in th e

roll of famo u s violin m akers Their celebrate d
.

vi o linist S p ohr however in hi s rem arks on

, , ,

th e subj ect inser ted in his Violin S ch ool does

not coincide with the o pinion of his fellow
countrymen to this e ffect for he puts S te rner
,

in the second rank r eservi ng to the first

,

Nicholas Amati Antonius S trad iuarius and

, ,

Joseph G u arn erius In this decision h e also

.
13 2 JAC O B S TE I N ER .

generally expresses the O pinion of the travelled

professi onal vio linists of his o wn country as
well as all E urop e Bu t i t is well known that
.

in Germany a well preserved instrument of

’

S teiner s b est period will sel l for much more

mOney than any wh ere else In E n gl and
.

m ore especially we ad e p t ex actly the reverse

valuation S teiner will not ne w command a
.

greater p ri c e th an many of the pupils of the

’

great masters and p erhap s to some extent this

,

m ay arise fr o m the immense numb e r of s p a

ri o us instruments b earing his n ame which the ,

inferior Tyrol ese makers put for th to th e worl d

and p almed o n a credulous p ublic as hi s
genuine instr um ents Perhaps n o m aster has
.

b een more copied and imitated b oth in Ger ,

many and e l sewh ere In E ngl and th e vio lin

.

m akers in th e b eginning of th e eighteenth cen

tury mos tly copied th e pattern and m o del o f
,

S teiner .
There must therefore b e some g ood
, ,

and powerful reason for thi s general deprecia

tion in value and reputatio n which S teiner has
s uffere d This the c andid inquirer rea d ily
.

fin d s in the fact th at the instruments o f S tei

ner which were gen erally constructe d on a
,
 J AC O B S TE I N E R .

K erlino ,which h e found in th e hou se gave ,

h im hi s first ten dencies towar d s the art of

violin m aking C ertain it i s h owever that
.

whil e yet a youth h e ob tained empl oym ent in

the w o rksh o p of Ni c hol as A m a ti This was .

an ex cellent sc ho ol for the young aspirant ,

and after so me years he made s o me i ns tru

m en ts which wi th the exception o f sixteen
,

w h i ch will b e m enti o ned l a ter are con sidered

,

to b e th e finest specimens of his talent These .

fine violins are the product of his Cremon ese

inspirati o n an d b ear a written l ab el signed b y
,

himself and dated from Cremon a ab out 164 4 .

Th ese instruments are m o delled hi g her than

those of hi s m aster thus sh o wing a singular
,

divergen ce from the principle o f gradu al de

crease in th e heigh t of th e model of the
A m atis fr o m A ndrew to Ni cholas
,
This .

divergenc e from that principl e whi ch ended in,

the flat m o del of S trad iu ari us m u st b e c on ,

s id ere d to be th e real c ause o f th e l oss o f

favour which the S teiner vi o lins th ou gh b eau ,

ti ful in o ther respects h av e u nder g on e S teiner

. .

ex aggerated the old practic e instead of fol

l o wing th e new ligh ts of s ci ence an d whil e ,
 JAC O B S T E I N E R
‘

. 13 5

the latter have yi elded th e bri ghtest results ,

th e fo rmer h as tarnished the real tal en t o f thi s

o ther wise excellent ar tiste Prob ably ano th er
.

reason for th e defective tone of S tei ner s i n

’

s trumen ts in c omparison wi th the Cremo

.

nese and Brescian is the prac ti c e of m o del

,

ling his violins wi th an extr a ordinary and p e

c uli ar rise to ab o ut the foo t of the bridge and ,

th en keeping it ne arly flat O tto describ es i t

.

thu s the bread th o f this rai sed p art i s ab ou t

,

the sam e as the bridge i t self and then it fall s

,

of f towards th e edges The m o del is preci sely

.

similar to wards th e neck an d on th e br o ad

p art ( benea th the finger b oard : This de
scrip ti o n i s o nly imperfec t i n this p oint th a t
sufficien t stress i s no t lai d on the w o rds f a ll
o
f. I t is liter all y a fallin g off and o n the ,

prin c iples o f ac o us ti c s mu s t of n ecessity mak e

the t o ne thi n . A ndrew A m a ti on the c on ,

trary b uilt near ly as high b u t b eau tifully and

, ,

gr adually sl o ped th em d o wn to th e p urfi ing ,

and h i s i ns truments though s mall i n to ne are

, ,

yet full r o un d and sweet I n o th er respe c ts

, .

S tei ner at thi s peri o d was a m o st c ar e ful

m aker a nd hi s instr uments sh o w v ery fine
,
13 6 J A C O B S T E I N ER .

fini sh an d workm anship Th ey are o f th e

.

sm all p attern with the S h oles rather sh orter

,

th an the Crem o nas somewhat n arro w and

,

b eau tifully formed th e he ad al so sm aller and

p articul arly round an d sm o oth Th e varni sh.

i s similar to tha t of th e A m ati s and th e wo o d

,

of th e b elly has a fin e open grain .

A fter th e produc tion of th ese instruments a t

Crem ona S tei ner rem oved to his native plac e
,

and h avin g m arried th e daughter of Antonius

A mati app ears to have lost his a mbiti on an d ,

made m any very inferior instruments His .

history at this p erio d i s somewh a t m elancholy .

Pressed by th e necessi ties of a famil y and th e

want of ac tive p atronage his g enius languishe d
,

and h e b ecame n egligent and careless in hi s

work This c ontinu ed for some tim e til l for

.

tun e again smil ed up o n him when no t b ein g

,

compelled to sell for imm edi ate wan ts he a gain

resume d his careful finish and b egan to b e
dis tingui shed as a go o d m aker A t ab ou t this
.

p eri o d K l o tz and A lbani b ecam e his pupils ,

and h e produce d some ex cellen t instruments ,

which are o fte n di sti ng uish ed b y th e scr o lls

b ein g orn amen ted with li on s h eads w hich are
188 J A C O B S T E I N ER .

w hich b y common c on sent m o st enti tl e this

artiste to rank with th e gre at m asters Th ey .

are of th e very high est qu ality of th e S tein er '

ton e whi ch D ub ourg d escrib es as a pure

,

ringing ether e al ton e comp arab le to that of a

,

wom an s perfect voice — a shap e of elegan ce

’

stu died finish i n every detail and a d i ap hono us

,

v arnish o f g o lden hue S uch are th e charac

.

says this enth usiastic admirer o f th e se

teri s ti c s ,
’

produ ctions o f S tein er s third or last epoch .

Th ere were sixteen of these vi olins o ne of which ,

h e presented to each Of th e twel e E l ectors and v

,

th e rem ai n i ng four to the E mp e ror U nfortu .

mately thirteen of th em appear to h ave b een

l ost an d th e remainder h av e all b een in r oyal
,

h ands th e E mpress Maria Theresa th e D uke

, ,

o f Orleans grandfather o f K ing Louis Phi lipp e

, ,

a nd Frederick W illiam O f Prussi a and b ee n ,

p resented by th em ( e x c ep t th e l ast ) to emi n ent

fo reign violini sts .

We h ave now present c d a concise sket c h of

-

th e career o f thi s c el ebrated ar tiste and it is to ,

b e regretted th at non e O f hi s more celebrated

‘

v iolins are known to b e i n thi s c o untry to e n ,

a ble u s to j udge m ore accurately whe ther he ,

 JAC O B S TE I N E R . 13 9

succ ed e d i n any of them in pr o du cin g any

, ,

close ap p roxim a ti o n to the rich roun d ton e o f

th e b est Crem on a m akers The b est of thos e
.

k no wn to E n glish conn o i sseurs are ch aracter

ised by th e thin th o u g h brilli ant t one w e h av e
described whi ch wh en c o mpared with th e
, ,

I tali an masterpieces h as led to th eir general

,

d e preci a ti o n in th e estim ation of the high est

au th o ri ties and th e m ost distinguished p er
formers on th e violin .
WHY AR E C E RTAIN VIO LINS OF

M O R E VALUE T H AN O T HE RS 9

In consideri ng this question several d iffi

,

c ul ti es presen t th emselves t o th e inquirer

. We
are al l aware of the infinite diversity of tastes
i n th e first in stance an d in th e n ext accurate
, ,

j u d gm ent i s a matter whi ch dep end s on the

uni on o f so many qualities th at it is rare indeed
to fin d tw o O pinion s compl etel y alike Never
.

th eles s we d o find th at there are a few ins tru

m ents which by universal consen t h ave b ecom e
th e standard of taste They are th e glass of
.

fashion and th e m ould of fo rm in th e violin

world A n app eal to th ese famous vi o lins
.

mu s t therefore b e o f som e service in this i n

quiry whi ch is Of very considerabl e imp ortance
, ,

b ecause i ts obj ect is to d ecide what i s that

14 2 C AU S E OF V ALU E .

tone i s clogged an d thickened with th e resino u s

p articles which have remained in th e woo d and
which p erh ap s fro m its n atur e m ay never leave
,

it altogeth er and the vibration is not th erefo re

,

perfect A noth er cause Of fa lse p ower i s a

.

certain imperfect b uild wh erein the p arts are

no t properly calculated as in th e fine Cremon a
produ cti o ns Th ese two cl asses of instruments
.

are very apt to deceive unprac tised e ar s B ut .

a moment s comp arison with one of th e genuine

great masters will show them in a m o st unmi s
t akabl e m anner the di fference W hat then 1s .

real p ower It i s simply musical ton e divested ,

of al l adventitious qu alities When tone of .

this class is heard near th e e ffect i s C harming

,

to th e ear W hen h eard afar Off i t seems to

.
,

swell o ut an d b ecom e magnifi cent and tellin g .

W h o th at has heard a great player on a fine

instrument th at h as n ot b een astonished at
,

th e immense qu antity of tone which arise s

from this exceedin g ly fine qu ality And it i s .

in this way th at even the small A matis built ,

when great amount of ton e was no tw ante d and

wo uld n ot h ave b een appreci ated are still most ,

delightful as solo instru ments Its purity .

 C AU S E OF V AL U E . 14 3

and fine quality carry i t to a much gre ater

distan ce and pr o duce a greater effect ,

than w o ul d arise from l arger instruments of

l ess c areful build and euph o nic qualities .

H erein i s discovered the d ifferen c e b etween

vi olins of th e three great m asters n am ed an d
others of th e s am e n am e If a sm all Ni c hol as
.

Amati b e comp ared with a large m odel it will ,

b e fo und th at th e qu ality is similar b ut th e ,

quantity i s gre ater and therefore th e ins tru

,

m ent b ecomes more valu able A g ai n in a

.
,

S trad i u ari us or Jo seph Guarnerius O f th e b est

period whi ch are o f th e flat m odel and most
,

accur ate b uild we find a p ure ringing and de

,

li c i ou s ly rich qu ali ty wi th o u t rough ness or

,

c o arseness th a t finds i ts w ay thr o ugh every

,

thi ng to a great distance even in a crowded

,

c o n cer t room
. The di fferen ces in the thre e
g reat m akers seems to b e n o w decided to c o n
sist in fulln e ss o f t o ne and quantity of p ower .

Th e A matis are essen tially sweet and v o ca l .

Th e S trad i uari us o f similar qu ality greatly

-

incre a sed i n b o dy and o f a more ringin g b ell

l ike char a c ter T he Gu arnerius of th e b est
m odel is even still m ore p o werful B ut th ey .
14 4 C AUS E OF V AL UE .

al l p os s ess th at e s s s enti al p urity and richnes s

of ton e withou t which there i s n o real e x ce l
l en ce O n thi s h ead w e find therefore that
.
, ,

p ower providing it b e ac companied by t he

,

other essentials of s weetness an d purity confers ,

on v io lin s th e greatest valu e A N i c h o las

—
.

A m ati of th e gran d p attern a S trad i uari us o f

th e l arge fi at model or a Gu arnerius of similar

,

ch ar acteri sti cs—all of whi ch have been b uil t

w ith th e greatest care and attention to th e

reson ant qu alities of th e wood an d p ossess

all these e ssential s —
.

are th erefore th e i ns tru

me nts th at h ave and will always comman d th e
greatest admiration .

Th e n ext essenti al point in a goo d i ns tru

ment we h av e to con sider i s s we e tn ess Thi s .

c ombines ch aracteristics which are not essen

ti al to p ower A violin may p ossess th e l atter
.

without th e fo rm er The ton e m ay b e of a

.

qu ality which will tell an d carry b ut no t of ,

th at soft d eliciou s voice like n ature whi ch we

c all swee tn ess Th e m ost admirabl e i ns tru
.

ments of this characteristi c h ave b een variously

comp ared to a flute o r to th e femal e voice .

Th e latter i s th e b est comparison For the .

14 6 C AUS E OF V AL U E .

ch aracteristi c It i s on this account that in

.

th e present day m any of th e S teiner ins tru

m ents have l ost favour There are a few whi ch
.

p ossess b oth sweetness an d p urity and the y ,

rank wi th th e sm all Amatis B u t th e b est of

.

th em are wanting in p ower Thi s ch aracter

.

i s ti c is on ly h eard in p erfecti on in th e S tradi

uari u s or th e Gu arnerius of Cremon a and th e ,

great B rescian m akers Gasp ar di S ale and

Magini An am ateur S hou ld l o ok th erefore
.

i n purch asin g an in strument whether it pos

sesses these three ch aracteristic s or any o r
w hi ch of them .

W e have n ow show n what are th e essentials

of a fin e instrument bu t as th e genuin e pro
,

d uc ti ons of these great masters are mostly in th e

h ands of rich am ateurs it i s s carcel y possibl e
to b ecom e the h appy p ossessor of one of th e
p erfect instruments W h at th en shall we d o
.

Th e reply i s simpl e S tudy th e ch aracteristics

.

w e h av e described and yo u w ill find in som e

,

of th e pupils of th e Am ati S trad iuari us or

, ,

G uarnerius a n ear approach to this ex cell en ce .

I n fact it i s well kn o wn that in the scarci ty of

origin als fine examples by the p upils h ave
 C AU S E or V AL U E . 14 7

frequen tly b een sold as th e work of the m asters

themselves . Th e D ic tionary we h ave compil e d
will te ll th e amateur wh at names will m o st
pr ob ably supply the qualiti es h e desires C are
.

and attention will do th e rest .

 ON THE P R O D UC TIO N

G O OD T ON E I N V I O LI N S .

I n th e precedin g ch apter we h ave endea

v o ured to solve th e q u estion what are th e

qu alities th at constitute goo d ton e W e now

.

propose to inquire how goo d tone i s provide d

fo r in th e con struction of th e violin . W e are
no t ab ou t to enter into th e scie ntific question .

W e wish m ere ly to give to th e gen eral am ateur

a knowle d ge which i s often only acquire d after
year s o f p atient stu dy and tri al of instr ume nts ,

by certain ge ner al prin cip les which will seldom

or n ever b e fo und to b e incorrect in f c t and
a .

th en only through instruments b eing b uilt on

fal se rules in o ther respects In goo d i ns tru
.

m ent s these rul es may b e said to b e infallible .

150 P RO D U C T I ON OF G O O D T ON E .

th e requisite mass o f air to pro duce good ton e

a flat vi olin has to b e made o f a c lum sy awk
ward sh ap e In th e b eautiful modelled violin
.

this i s pr o vi ded for in the rise of th e b ack an d

b elly The rib s m ay th erefore b e more or le ss
.

sh all o w according to the h eight of th e model ,

an d yet provide a s ufi c i ent sp ace for th e u s e es

sary am o unt o f air for th e producti o n Of g o o d
ton e W e arrive th en at thi s on e certain fact ,

th at th e flatter th e model Of a vi olin th e greater

th e prob ability of a go od fin e tone It is of .

su ch violins th erefore th at we find the great

performers p ossess th em selves Thi s m ay b e
.

said to b e an infallibl e rule an d an ex am in a

,

tion of th e instr uments of th e mo st celebrated

m akers fully confirms it .

W hy therefore did th e elder Amati contem ,

o rary and prob ably pupil of Gasp ar di S alo

p ,

ch ange th e m o del and siz e of th e in strument

This inquiry brings u s to the second ru l e for
th e amateur There canno t b e a doub t th at
.

h e ad o pted this pl an b ec ause th e flat m odel

pro duced a m o re powerful tone th an was then
required H e th erefore n o doub t acquainte d
.
,

practically if not theoreti cally with th e

, ,
 P RO D U C T I ON O F G OO D T O N E . 15 1

princip les o f aco ustics raised his m o del and ,

decreased hi s siz e to provide for the production

of th at eminently sweet ton e which ch aracteri ses
hi s instrum ents Th e amateur therefo re who
.

desires ton e o f this description b ut d o es no t ,

want p o wer will generally fin d it in the m o del

,

of medium heigh t providing as in all oth er,

cases the work an d the woo d are good O f

, .

this m odel are som e of the sweete s t toned

vio lin s to b e found Of which the A m atis are,

the type .

Fin ally many in struments are to b e found

,

construc ted o n S teiner s plan with very elevated

’

model flat on th e c entre and falling o ff abruptly ,

t o wards th e sides These are al l c o ntrary to

.

acou s tic principles and their thin pi ercin g,

ton e is to b e ascrib ed to th e wan t o f th a t h ar

.

moni o u s c ommunica tion of vibrati on which

the r pec uli ar con structi on i nevitably indicates
i .

Let therefo re th e amateur w h o wi sh es to b e

, ,

his own purveyor ex amine wi th these prin , ,

c i les impressed on his mind w h atever i ns tru

p ,

ments h e c an gain access to and the result will

b e th a t h e will sel dom err in thi s m a tter .

A fter this h e m u s t study the ch aracteristi cs

o f go o d wood careful finish and fine varnish
, ,
.
15 2 P RO D U C T I ON OF G OO D T ON E
A kn o wl edge of these i s b est acquired by ex ~

amini n
g th e instrume n ts of the great m asters .

To go fully into these al so is no t n ecess ary

h ere h aving already commented on them under
,

th eir respective heads O ne remark is how

.
,

ever necessary h ere Many p e opl e fo o lishly

, .

im agine that a ny violi n m ay b e made to pro

duce as swee t so unds in th e hands o f a skil ful
player as a hi g h class instrument Thi s i s a .

great mistake an d a convincing proof of its

,

fallacy m ay b e drawn from th e fact that all th e

great s oloists pl ay upon high class violins .

Th ey do this moreover at a tim e when they

would gladly save the expense w ere i t p ossible .

A few instances m ay interest the reader .

GRE AT P L AY E R S AN D T H E I R I N S TR U M E N T S .

Joachim pl ays upon a S trad i uari us Vieux ,

temp s on a Guarneri us Ol e B ull on a G uar

,

n erins and an A m ati D e B eri ot on a Magini

, ,

( of which h e had two very S plendid

ex amples th e S econd b ein g now in th e po s
,

s ession O f th e author ) C arro d us a Guarnerius

, ,
 G E N E R AL NO T E S .

In the last arti cle we h ave given some

,

general rules for j udging of th e prob ab le tone

of an instrument from its m odel A few further
.

remarks on this and other important t opi cs wil l

well supp lement what we h ave said .

1
. A ccurate j udgment in violin s can on ly
-

b e ob tained b y l o ng experien ce an d seeing

m any in strumen ts and i f p o ssible those of a
,

high cl ass Th ere are m any littl e points which

.

t o a casual or c areless O b server are invisible

,

b ut which a practised conn o isseur detects i m

medi ately an d thereby is en abl ed to d ecl are
,

th e m aker A difficul ty will often present

.

i tself to a tyro in the knowledge of violins ,

from the family likeness which i t i s possible

totrace for example b etween A m ati S tradi
, , ,

u arius a nd B ergo nzi Th ese h ave a general

.
 G E N E R AL N O TE S . 15 5

re semblance which indic ates th e comi ng from

o ne sch o ol . This applies also in many oth er
cases — b ut every mas ter has som e distin ct
di fferenc e which i s p erceptible to th e prac tised
eye Th e faces of a flock of S heep are to a
.

stranger all alike ; to th e shepher d each h as ,

its p ei s onal in d ivi duali ty It IS th e same with

.

vi o lins whi c h c an b e read b y the practise d

,

s tudent as easily as we know e ach other by th e

cou nte n an ce .

2 — It is e rroneous to i magine that Cremon ese

ins truments c an b e successfully imitated a very ,

p o p ul ar s tory ab ou t Pag anini s Gu arneriu s to

’

t 1 e contrary n otwithstandin g as th e l awyers

,

say An attemp t to imp o se an imitation o n a

.

prac tised j udge i s always productive o f an um

ple a sant result T O fall from th e sub lim e to
.

th e ridic u l o us i s especially awkward and re ,

s ults in b ec o ming very par ticularly ridiculous

yourself This mus t b e whenever a modern

.

maker a ttempts to m ake an ancient violin .

There are practi cal difficulti es impossible n ow

to g e t o ver— such as the varnish Th e secret
.

of makin g th e grand ol d varnish is lost and ,

th erefore whatever is put on b y a modern tells

 15 6 G E N E R AL NO T E S .

th e tale an d cri eS al oud to the j udge —This is

a cheat
3 — It is easier to imitate an old painting
.

than an old violin though th at is difficult

,

enough to a g o o d j udge b u t su ch an insuper

,

abl e ob stacle as th e o ld amb er varnish do es

no t puzzle the pi ct ure forger .

4 — .In choosin g an in s trument i t i s b etter

to select o ne of a flat m odel the S i des o f m e
,

d i a m height well proportioned and with goo d

,

oil varnish .

5 — W e are inclined to think th at all th e

.

great instrumen ts of the great makers are well

k nown and th at there are n o ne lying by nu
,

known to fame .

6 —.M ost of the more celebrated instru ments

are given a nam e of dis tin c ti on such as th e ,

Y ellow S trad iu arius the B lo od R ed K night

,

Gu arnerius th e O le B ull Guarnerius the D e

,
.

B eri ot Magini the E mmeli ani S trad i uari us

, ,

the General K idd S trad i uari us Violoncell o the ,

S ervais S trad iu ari us Viol o ncell o and other s , .

These c an b e recognised like th e h uman face .

7 —Th e reason why I talian instruments are

.

S o superior to all others must b e ascribed to

.
15 8 G E N E RAL NO T E S .

£ 10 to £ 2 5 I t i s b etter to purch ase one o f

.

these than a b aked C opy or a new violin Then .

again amateurs m ay resort to th e old French

makers some Old E nglish and the Tyrol ean
, ,

whic h m ay b e h ad cheap er still .

l l —A respectabl e dealer wh o i s known to

.

b e a connoisseur of exp erience will n ever sell ,

you a m o dern copy for an old Italian viol n i

wi th a l ong st ory of h ow h e g ot i t in som e

wonderful way Il is character i s at stake
. .

B eware of ignoran ce which assumes the m ask

of knowledge or of designing roguery which
,

apes the appearance of innocence .

12 . Th e present excellence of the old i n

-

s truments arises from their having b een made

thi ck in wood which time h as ameliorated and

,

mellowed and now permits free vibration It

, .

i s much to b e deplored that m any instruments

have not b een suffered to remain as th e makers
left them and that others under a false not ion
,

of givin g an Old tone h ave b een made to o thin .

13 . H ad Magini Gaspar di S al o an d other

-

, ,

very Old m akers used as littl e woo d as som e of

their successors wh ere wo ul d their instruments
,

h ave b een ne w 9 W e are at th e present ti m e

reaping the b enefit of their foresight .
 G E N E RAL NO T E S . 15 9

l4 .
—There is evident pro of of the deep
interest the high class makers took in endea
v o uri ng to a dvanc e th e interes ts of th eir art .

For example S tradi uari us s o metimes put the

,

w idest grained woo d on th e four th string side ,

feeli ng i t was the weakest and n eeded the O pe n

grain S om etimes h e put it on th e first stri ng
.

side H e was evi dently tryin g exp eriments

. .

B ut he mo stly adopted the fo rmer plan no doub t ,

correctly A gain they made instru ments larger

.
,

a t the b ott o m than at th e upp er p ar t gradually ,

reducing in S iz e and d ep th an experiment which

,

ob servation has sinc e found to b e correc t .

They also m ade in truments thicker under th e

s

bridge to enable them to b ear th e great tension

to which they are subj ect and many other ,

p oints sh owing how perfect they b ecam e Th ey .

left littl e for modern ingenuity to discover .

l 5 —Ol d instruments Of character sh ould

.

b e greatly priz ed and carefully preserved for ,

it seem s prob able th a t there wil l b e n o others

“

to take their pl aces from many well known

,

cau ses .

1 6 — Makers of th e prese nt time h ave per

.

verted their talents to discover a means o f

1 60 G E N E R AL NO T E S .

producing th e qu alities of ol d instruments in

new one s an achievement u tterly impossibl e
, ,

as their efforts S how Many make instruments

.

with the greatest care copying th e plans of th e

,

old masters — b ut instead of allowin g F ather

Ti me to rip en them they use an acid to dry ,

up the wo od or b ake them ,

Th ese are known .

b y a p eculi ar smell which tell s th e tale and ,

they get worse instead of b etter A gain th ey .

,

dee m it wise to get a colour at any pric e ,

Which can only b e done in our day by the use

o f Spirit varnish D id they use Oil varnish
. ,

our successors woul d at all events reap the

b ene fi t i f not ourselves Th e great m asters
, .

were willing to wait for fam e and trie d none of

these dodges O thers again put the varnish
.

on and rub it off in places to resemble th e

wear of age Much b etter woul d i t b e to C over
.

the instrument with varnish and leave age to

do the re st S uch schemes ar e futi le and re
.

fl e c t c us cred it on those who adop t them .

17 . The peg holes seen in Old Italian

violon cellos in the middle of the b ack ar e
where a peg was put to fasten the instrument
 EPAIRS OF lNSTRUlllENTS
/ .

W e cannot p art with th e r eader wh o has

,

thu s far accomp anied u s in our labours with

,
~

o ut m aking a few remarks on the impo tant r

subj ect of repairs S O m an y fine instrument s

.

h ave b een ruine d and th e b eau ty of S O many

m ore tarnish ed b y th e m al address s an d i g no
-

rance of som e s o c alled restorers and rep airers

-

that w e think we S hal l b e serving th e admirers

of the v iolin b y warning them against entrust
ing v aluabl e instruments to incompetent h ands .

A few n otes will serv e to illustrate th e chief

s ubj ects for care and some imp ortant items in
fittin g instruments properly .

1 —S O called repairs h ave b een frequently

.
-

s o cl umsily done as to damage Old and val uable

,

i nstr ument s to an extent i mpossible to reme d y .

 R E P AIRS OF I N S TR U M E N T S . 1 63

2 .
—There are many instances wh ere wo o d
h as b een taken out of th e instrumen t under
the ide a of improving th e t on e Thi s i s a
.

fatal error and when th e mischief is discovered

,

it i s rep l aced by n ew wood O thers h ave don e

.

th e sam e under another erroneou s impressi o n ,

th a t i t will give strength to th e instrument to

enabl e it to b ear th e increased press ure caused

b y th e higher pitch used at th e present tim e ,

Wh atever the notion th e resul t is al ways b ad

, .

Th e grain of th e new wood d o e s not c ome l ev el

with th e Old and causes a sudden check to the
,

vibration The gl ue al so lyin g b etween th e

.

ol d and th e n ew wood dea d en s the s o und .

S o me repairers h ave b een guilty of this prae

ti ce to a great extent and m any fin e i ns tru
,

m ents h ave b een thu s damaged Let no on e .

under any pl e a tamper with th e thicknesses of

wood in a goo d violin .

8 Th e so un d b ar used by th e old m asters

-

( as we h ave b efore stated ) an d others of th at

p eri o d w as mu ch shorter th an i s now used
, ,

and consequently all h ave b een ch an ged Th e .

present b ar i s qui te sufficien t to b ear the i n

creased pressure requi red i n our time without ,
164 R E P AI RS or I N S T R UM E N T S .

r esorting to any other means I f an al teration.

b e required an experienced rep airer onl y can

know th e kind of b ar required .

4 —Th e necks of th e old instr uments wer e

.

S h ort ; they have therefore to b e l engthened

if found in their ol d state A goo d repairer

.

will splice a neck in so as to b e scarcely per

c ep tib le Mu ch of th e ease and comfort of
.

playing dep ends how this is don e

5 —
.

. Th e sound post i s a very imp ortant item

in fitting an instrument There i s a marvellous
.

p ower in this S imple contrivanc e It should .

fit as though i t were p art of the b ack and b elly .

An instrument can b e frequently cured of a

b ad descrip tion of ton e by th e slightest move
of th e post Those subj ect to what are termed
.

wolfy n otes c an b e remedied or th e b ad notes

S hifted to l ess important ones It i s a mistake
.

to suppose there i s a p articular plac e for the

sound p ost in all instruments alike It depends .

u po n th e m odel of the instrument to a gre at

extent H igh models require the p ost nearer

.

the foot of th e bridge th an fi at m odel s O ther s .

require the p ost thick or thin Th e regul ating.

of the post Should only b e entr uste d to the

166 R E P AI RS or I N S T R U ME N T S .

If the fifth is imp erfec t tun e o ne stri ng a sh a d e ,

hi gher an d try again If then perfect it re

, .

quires a sm aller string If n ot tun e a S h ade .

,

l ower th an the perfect open fifth if then right ,

when tri ed as b efore it requires a thicker ,

strin g ! .

at We h av e s e en a littl i e n s t ume nt a d v e t s e
r r i d to
acc o p li i imp r m r i
m sh th s r bl o tan t a tte w th o ut t ou e.

T H E P ER E T U GE
F C f g g
F IE T H
’
S G A u s e ul au e is
m rk d pr i i r d r
.

w i th s uc h ri g e c s on as to en e all st n s

g gdb i rd r pr d
a e

au
'

y t in a c c o i g an c e w th e ach o th e uc i n

pr f bl g p r rm r p g
e o

e fe c t fi th s , e na i n th e e fo e to e x e c ute as s a es

of d bl ou gr il
n ote s wi th th e rr e ate s t fac i ty an d e c tne s s ,

id r b l
e co

at m im f
th e sa i ge t e eg im
fe c t n a c on s e a e s av i n of t e

and e x p ir l p r i g
e ns e by m
en t d su e s ed n th e O ld e th o of

b ig
e y
g ri g
fif th s b y c h ang in th e
tain n m st n s
”
It i s anu

ld M J H r
O .

fa c ture d and s o by r oh n Pr i r a t, 1 4,
’
nc e s s t e e t,

r L d
-
.

L i r
e c e s te -
s qua e, on on .
 AD D E ND A .

L AR C H E , B russels C opyist o f
,

old m akers On e o f those who endeavoured

.

to pro duce an O ld tone by th e u se of acid ,

an d c onsequ entl y sp oiled th e wo o d .

ALB A N E S I ,
C rem o na 1 7 3 7 S imilar ,

to Testore of Milan b ut bro ad p attern H is

, .

instruments h ave a large tone b ut poor ,

varnish .

G OB IT , Venic e 1 7 1 6 Ma d e similar
, .

instruments to Rug g eri us and used b eau ti ,

ful varni sh .

GAB R I E LLI Florence 1 7 4 0 Made

, , .

excellent Violonc ello s yellow varnish ,

.

W ritten lab el s .
,
1 68 AD D E NDA .

ANT O NIAZZI G AE T AN O Crem on a 1860

, , , .

Thi s maker sent a violin to th e E xhibi ti o n

of 1862 b ut is mu ch b ehind hi s prede
,

c es s o rs .

F AL C O , Cremona 1 7 5 2 Made w ell ,

proportioned instrum ents .

H ARR I S C H A R L E S London An ad mi r
, ,
.

abl e workm an H i s i nstr uments are am o ng

.

the finest of th e E nglish .

G A GLI A N O NI C H O L AS N apl es p upil o f

, , ,

S trad iuari us W e h ave a n o t e ( omit ted in

.

its prop er pl ac e ) th at this m aker excell e d

i n violoncello s m any o f which are c overed
,

w ith fin e rich varni sh seld o m seen on ,

in struments b y th e G a gli ano famil y .

In our noti c e of S trad i uarius Violins at

p age 1 18 w e Shoul d h ave sai d th at W illi a m
H owar d E sq o f S he ffi eld p ossessed tw o fi ne
, , ,

ex amples— one as describ ed and th e o th er of

th e b eautiful r e d varnish the l a tter formerly ,

th e prop erty of th e celebrated vi olinist S al o

mon for wh om H aydn wrote his twelve grand

,

symphonies .

P E AR C E , P RINTE R ,
S HE FFI E LD .
2 NE W W OR KS P U BL I S HE D BY L ON G MAN A ND CO .

L E C T UR E S H I S TO RY of E N GL AN D B y W mmm I
on th e .

M AN .V O L I fr om t h e ea r li e t ti mes to th e D e ath o f K i ng E d w a r d II
. . s
6 Ma p s a c olo ured Pl a te a nd 5 3 W ood c uts
, 8v o 1 5 s , . . .

A C H R O N ICL E of E N GL AN D fro m 5 5 to A D 1 4 85 ; W ) , . .

and ill u s tr at e d b y J E D O YL E W i th 81 D e s ig ns e ng r av e d on W ood. . .

p ri nted i n C olour s b y E E a ns t to 423 v a

V
. . . .

H I S TO RY of CI ILI S AT I O N By H E N R Y T OM AS B U C K L E 2 . H .

P r i c e £ 1 1 73 .

V OL I E ng la nd a nd Fra nce F our th E di ti on 218

. .
,
-

, .

V OL 11 S p a i n a nd S cotla nd S econd E di ti on 1 63
. .
, , .

DE M O C R AC Y i n AM E R IC A B y A L E X I S D E T O C Q U E V ILL E I ’

l ated b y H ENR Y R EE V E w i th an I ntr oduc tory N oti c e b y the T ran

. .

2 v ol s 8v o 2 13. . .

Th e S P AN I S H C O N Q U E S T i n AM E R I C A a nd i ts R e ati o n t l
H is t ry Of S lav ery and to th e G ov er nme nt of C ol oni es B y ARTH U R
,
o .

4 v o l s Sv o £ 3 V O L S I and II 283 V O L S III and IV 1 63 each

. . . . . . . . . . . .

H I S TO RY of th e R E F O R MAT I O N i n EUR O P E i n th e T i r
C al v i n B y J H M ER L E D A U B IG NE D D V O L S I and II 8v o 2 5
’
. . . . . .
, . . .

V O L III 1 23
. . .

LI BR AR Y H I S TO RY of F R AN C E in 5 v o s 8v 0 B y E Y R E , l . .

CR OWE V OL I 143 VO L II 1 53 V O L III 1 83 VO L IV nearl y r eady

. . . . . . . . . . . .

L E C T UR E S on th e H I S T O RY of F RAN C E B y the ate S ir l

S TE P HEN LL D 2 v ol s 8v o 24s
.

d
. . . . .
,

Th e H I S TO R Y of GR E E C E B y C T H I R LW A LL D D Lo r . .
,
. .
,

of S t D av id s 8 v ol s 8v 0 £ 3 ; or i n 8 v o l s fc p 283
’
. . . . . . .

Th e T A L E of th e GR EA T P E RS I AN W AR fr o m th e H is to r ,

H er od otu s B y th e R ev G W C ox M A l ate S c h ol ar of T r i n C oll

. . . . , . . . .

Fc p 8v o 7 s 6d
. . . .

AN CI E N T
H I S TO R Y of E GYP T A SSYR I A and BAB YL O N I A
th e Auth or o f Amy H er b e r t!
, ,
‘
F c p 8v o 6s ,
. . .

C R I T IC AL H I S TO RY of th e L AN GU AGE a nd LITER ATU

A nc i ent Gr eec e B y W I LL I A M M U RE of C a ld we ll 5 v o l s Sv o £ 3 9
. , . . .

H I S TO RY of th e LI TE RAT URE of AN CI E N T GR E E C E B y
T ran l ated b y th e Rig h t H on S ir GE OR G E
.

fess or K O M ULL ER
W A LL LEW I S B art and b y J lW D O N A LD SO N D D 3 v o l s 8v o 3 63
. . . s .

d
. . . .
, . . .
,

H I S TO R Y of th e R O M AN S u n er th e E M PI RE By the
CHA R L E S M ER I V A L E R D 7 v ol s 8v o w ith Map s £ 5
. .

. . . .
, ,

Th e F A LL of th e R O MAN R E P U B LIC e s hort H i s to ry o f th

'

C e nt ury o f th e C ommonw ealth B y th e R ev CH AR L E S M ER I VAL] . .

1 2mo 7 3 6d . . .

O R
Th e B I G AP H IC AL H ISTOR Y P H I LO S O P H Y from i ts
of
B y GE O R GE H ENR Y L EWE S Revi s
.
,

in Gre e ce to th e P res ent D ay . .

e nl ar g e d E d i t i on Sv o 1 63

V
. . .

H I S TO RY of th e IN DU C T I E S CI E N C E S B y W I L LI A M W H E .

D D F R S M aster of T r i n C oll C antab

. . . . Thi r d E di tion 3 v ol s
. . . . . .

Sv o 248 . .
 L I BR Y E D I T I O N 3 v ol s Sv o 3 63
AR , . . .

T R AVE LL ER S E D I T I O N i n 1 v ol 2 13 ’
, . .

In P O C K ET V O L U ME S 3 v o l s fc p 2 13 ,
. . .

P E O P L E S E D I T I O N 2 v ol s c r ow n Sv o
,

83
’
. . .
,

E GYP TS ’
U N I E RS A L H I S T O R Y ; a n H i stor i c al Inv
PL A C E in V
g ati on B y C C J B U N S EN D D T r a ns la te d b y C H C O TTRE LL
. .
, . . .

W i t h many I ll u s tr a ti ons 4 v o l s Sv o £ 5 83 VO L V IS nea r l y rea dy

.
.
_ ,

p
. . . . . . .

MAU N DE R S H I S T O R I C AL T R E A SUR Y ; c o m r i s i ng a G e ne r a l
’

t ro d uc tory O utli ne o f U n i v e r s a l H i s tory a nd a s er i e s o f S e p ar a te H i s tr ,

Fc p Sv o 1 03

p
. . .

H I S T O R IC AL and C H R O N O L O GIC AL E N CYCL O P E D I A r e s e n

i n b r i e f and c o nv e n i e nt for m C h r o no l o g i c a l N ot i c e s of all th e Gr eat E
,

o f U ni v e r s a l H i s tory B y B B IVO OD W AR D F S A L i b r ar i a n t o th e Q 1
a x
. . . .
. .
,

[ In th e p re

H I S T O R Y o f C H R I S T I AN M I SS I O N S ; th i r A g e ents a nd th e ir R es
B y T W M M AR S HAL L
.
.
. . . 2 v o s. l Sro 24 .
3
.

H I S TO R Y of th e E AR LY C HU R C H fro m the F i r s t P reac hi ng o

G os p e l to th e C o unc il of N i c a a A D 3 25 B y th e A uth or of Amy H er
,
‘ ’
. .
,

Fe p S v o 43 6d
. . . .

H I S T ORY of W E S L E Y A N M E T H O DI S M . By G EO R GE SM
P A S
. . . N ew E di t i on w i th
Po r tra i ts i n 3 1 p ar ts P r ic e 6d each , , . . .

H I S T O R Y of M O DE R N M U S IC ; a C o u r se of Le c tur e s d e liv ere

t h e R oya l I ns ti t u t i o n B y J O H N H U LLA H P r o fes s o r O f V o ca l M us
K i ng s C oll eg e a nd i n Q u e e n s C o ll e g e L o nd on P os t Sro 63 6d
.
,
’ ’

, . . . .

H I S T O R Y of M E D ICI N E fr o m the E a r li e st A g es to the P re ,

Ti me B y E D WA R D . FGS V ol I S v o 123 6d . . . . . . . .

B iog rap hy a nd M emoirs .

S IR JO HN E LI O T 3 B i o g r a h y : 1 5 9 0 —1 63 2 B y J O H N Fo ns
W i th T w o Po r t ra i ts o n S tee l fr o m th e O r igi na l s at P or t E li ot 2
, . p .

c row n 8v o . 3 03 .

L E T T E RS LIF E of F RA N CI S B AC O N i nc l ud i ng all h is 0
a nd ,

s i o na l W o r k s C olle c te d a nd e di te d w i t h a C o mme ntary b y J S P E D D

.
, .

T r i n C oll C a nta b V O L S I a nd II S v o 24 3
,

. . . . . . . .

LI F E of R O B E R T S T E PH E N S O N F R S B y J C J E A F P R E
B arr i s te r a t Law ; a nd W I LL I A M P O L E F R S Mc mb I ns t C i v
, . . . . .

- -
. . . . . .

W i t h 2 Po r tra i ts and ma ny I ll us tr at i o ns 2 v o l s S v o
,

[ Nea rly r ea c
V b p p
. . .

A P O L O G I A p ro I T A S UA : ei ng a R e l y to a P a m hl e t e nti
W li at t hen d oes D r N e w ma n mea n By J O H N H ENR Y N EWM A N
é v0 . 1 43 .
. . ,
 NE W W OR K S P U BL I S HE D BY L ON G MA N AND CO .

IFE Of th e D U KE of W E LLI N GTO N . B y the R e v . G . R . G LE IG ,

M . A . Pop ul ar E di tion , ca e u r f lly r ev i se d ; w i th co pi ou s A dditi ons . C row n
Sv o 5 3 . .

ri a l mont a nd Gl e i g ’
s L i fe of th e Du k e of W e lli n g ton . 4 v o s. l
Sv o w th . i I ll us tr ati ons , £ 2 14s .

i fe of th e Du k e of W e lli n g ton, p r ly a t fr o m the Fre nc h of M

from O rigi na l R
.

B R IA LM O N T , pa t y rl D oc uments . By th e R ev . G .

G LE IG , M A . . Sv o w th . i P or tra i t 15 8 , .

A THER MA T H EW : 3. B i o g r ph a y . By J O HN F R A N C I S MA GUI R E .

MP . . S eco n d E di ti on , w th i P r tr a it P os t Sv o
o . . 1 23 6d . .

o me ; i ts Ru l er and i ts I ns ti tu ti ons . B y the sa me A utho r . N ew

E di ti on i n p r ep arat ion .

IF E of AM E LI A W IL H E L M I N A I E E R I N G, fr om the G er man
E di te d w i th th e Au th or s s anc t i on b y C A THER NE W IN K W OR T H P os t 8v o
’
S V I .
.

, ,

w th i Por trait , 1 2s .

E LI X L E TT E RS from Ita ly a nd S w i tz er la nd
ME N DE L SS O HN S ’

t ra ns l a te d b y L A DY W A LL AC E T h i r d E di t i on w i t h N o ti c e o f M EN D E L
S S O H N S L i fe a nd W o r k s in H e nr y F C H O R L E Y ; a nd L e tters f r om 1 83 3 tc
, ,
’

1 84 7 tr a ns l at e d b y L a dy
.
,

, ALLAC E N e w E di ti o n w i th P or tr a i t 2 v o l s . , .

c r ow n Sy o 5 3 e ac h . . .

IARIE S
N ote s, by A
of a
.
L AD Y of Q U ALI TY fr om 1 7 9 7 to 184 4
H ay w ard Q C S econd E di ti on P os t Sv o 1 03 .
,
.
.

.
E
6d
di d
.
te ,
w it
, . .

E C OLLE CTION S of th e l a te W ILLI AM W ILB E R F O R C E , MP .

for t h e C o unty o f o k Y r du r i ng nea rl y 30 Years By J S H A R E OR D , D C L

FRS
. . . . .

. os t S v o 7 s
. . P . .

IFE C O RR E S P O N DE N C E of T H E O D O RE P AR KE R
and B
J O HN W E I S S W i th 2 Por trai ts a nd 1 9 W ood E ng rav i ng s 2 v ol s Sv o
.

. . . . 3 08

OUTH E Y’ S
C C
LI F E of W E S L E Y
S O U THE Y M A Crow n 8v o
. F i fth E di i t o n. E di d te b y the R ev
. .
, . . . 7s 6d . .

H O M AS M OO RE S M E M O I RS JO UR N AL and fC OR R E S P OND ’

E di te d a nd a b r idge d fr om th e F i r s t E di ti on b y E a r l RU S S E L L
, ,

E NC E .

S q u a r e c r o w n 8v o w i th 8 Po rtra i ts 1 2s 6d .
, . .

E M OIR of th e R ev S Y DN E Y S M I T H B y h is D au h te r , La d g
H L U TI N
. .

LL A N D
O . Wi th a S l ti e ec on fr om h i s e tte s , r e di te d by Mrs A . S
2 v o l s Sv o . . 2 38 .

IFE of W ILLI AM W AR B UR TO N , D D . . B i sh o p f Gl o o uc e s te r fro

1 7 60 to 1 7 29 . B y th e Re v . J . S . W A T S ON M A , . . i P rr i
S v o w th . o t a t, 1 8s .

S
A TI E B ORACE N SE S L v es o f the A r c h s o s o o
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Ss ay on th e O r i g in a nd F ormat i on of th e R omanc e L ang ua g es

p r i c e 73 . (3d .

i s tori c a l S u r v ey of th e As t r onomy of th e A nc i e n ts , 153 .

nq u i ry
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d Ob
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n th e M e th o s of s erv a t on i a nd R ea s oni ng i n P oli t i c s , 2 vo s l

p r i c e 2 83 .

r ish D i s tur anc es b a nd Ir i sh C h urch Q ues t i on, 12 3 .

s mark s on th e U s e and A b u s e of s o me P oli ti c a l T e rms , 93 .

11 F or e i g n J uri s d i c ti c n and E x tra di i t on of Cr i mi na l s , 23 . 6d .

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p r i c e 1 88 .

of th e E n li s h L an u a e B y the s ame A utho r F o ur t g g g . .

E di ti o n C r ow n Sy o 73 6d

p
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E l ements of C om arati v e P h i o l o y B y the s ame Author 8v o 2 1 l g . . .

 NE W W OR KS P U BL I S HE D BY L ON G M AN AND CO .

H E SAUR U S of E N GLISH W O RD S a nd P IIR A SE S,

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li ne s w i th E x e rci s es Sv o 1 23 6d K E Y 5 3 P A RT II E x c ep ti ona l Forms , . . . , . .

a nd C o ns tr u c ti o ns 1 23 6d , . .

N E W L AT I N E N GLI S H D IC T I O N ARY By the R ev J T W I TE

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N E W E N GLI S H GR E E K L E XIC O N c o nta i ni ng all the G r e e k -

W or d s u s e d b y W r i te r s o f g o od au th or i ty B y C D Y ON G E B A F ow th
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E di ti o n 4 to 2 13

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S c h ool s from h i s E ngli s h Gre ek L ex i c on b y th e Au th or C D YO N G E D A
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Th e A u t u mn H o l i d a s of a C o u n t r y P a r s on By the s a me A .

1 vol .
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ri e nd s i n C ou n c i l S E C O ND S E R I E S 2 v ol s p os t 8 ro 14 s , . . . .

E s s ay s w ri tten i n th e In ter v al s of B u s i n es s F c p 8 o 2 6d . . v . s .

C omp a n i ons of M y S o li tu de B y th e s me A uthor F c p S ro . a . . .

LO R D MA C AU L AY S M I S C E LL AN E O US WR I TIN GS : c omp
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I ns ti t ution B y t h e s ame Au t h or Fc p 8v o 7s
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Th e W i t a n d i s d o m of S dne S mi t h : a S ele ction o f the

me morabl e Pas s ag e s i n his W riti ngs a nd onver s a ti on 16mo 78 C . . .

F
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B y W I LL I A M H O W I TT
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2 vol s po s t Sv o

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CH AP TERS onM E N TAL P H YS I OL GY B y S ir H E N R Y H O L

S e c o nd E d i t i o n P o s t Sv o 88 Gd
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T OD Sv o 1 03 6d

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T W W EB B M A W i th M ap o f th e M oo n a nd W oo d cu t s
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B y M F M A U R Y LL D A u t h or o f P h y s ic al G eogr a p h y o f t h e
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P op Sv o w it h 2 Pl a te s 2s 6d
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A DIC TI N ARY G e o g r a p hic al S t ati s tic al a nd H i s tor i c al

v ar i ou s o unt r i e s Pl a ce s and P r i ncip al at u r a l bj e ct s i n t h e W 0
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A M AN U AL O f GE O GR AP H Y P h ys i c al Indu s tri al and P

B y W H U G HE S P r o fes s o r o f G e o g rap h y in K i ng s olleg e
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Or i n Tw o Pa rt s — PA RT I E u r ope 3 Gd PA RT II As ia Afr ic a .
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Th e Ge o g r a p h of Bri t i s h H i s t or ; a G e o g r a p hic a l d eseri p

the B r itis h Island s at S ucce s s iv e P e r iods fr o m th e E ar lie s t Tim ,

Pre s ent D ay B y the s a me W it h 6 M ap s Fcp 8v o 83 6d . . . . .

y
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Th e B R I TI S H E M P I RE ; a S k etch o f the G e o g r a ph G r ow th

C
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C OLO NI S ATI N a nd C L NI ES : a S erie s of Lecture s d ol ive

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Map s and 1 6 Pl ate s Fep S ro 108 . . . .

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N a t ur a H is tory d P op u a r S i en e l an l c c .

h e E L E M E N TS of P H Y S IC S o r N ATURAL P H I L S P HY B y
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TRE ATI SE o n E L E TR ICI TY i n T he or and P r a ctice

D E LA RI V E P r o f i n th Ac a d emy o f G e nev
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C R I TIC AL a n d GRAMMATIC AL C O M M E N TARY o n S T P

C
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E pis tles B y J E LL I C O TT D D L ord B i s h op o f G louce s ter and B r i s t
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G a l a ti a n s T h ird E dition 83 6d
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E ph e si ans , T hird E diti on , 83 6d . .

P a s tor a l Epi s tle s , S econd E dition , 103 6d . .

P h i l i pp i a n s Co l o s s i a n s
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T h e s s a l o n i a n s , S ec ond E d ition , 7 3 6d . .

Hi s t o ri c a l L e c t ure s o n th e L i fe of our L or d J e s u s Chr i s t : b ei

H ul s e an L ect u r e s for 1 85 9 B y t h e s ame T h i r d E dition Sv o ]

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Rev JO H N AYE E
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V O L I t h e G o s pel s and Act s 203

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V OL II t he E pi s tle s and Apocalyp s e

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243 .

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SP I R I TU AL S O N GS for th e SU N DAYS a nd H L I DAYS th r

out t h e Y e ar By J S B M ON SE LL LL D V icar o f E g h am Third E
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Fcp 8v o 43 6d
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a r r a nged i n th e o r d e r O f th e
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YR A S AC RA ; Hy mn s A nc ient nd M o dern O d e nd F r g a s a a
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LYR A GER M ANIC A tr ns l te d fro m the G er man b y M i s C I

W ORTH F I R T S ER I ES H ymn for th S nd y nd C h i f F
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S E C O N D S ER I t h e C hri ti n L i fe F p 8 5 e c h S ER I E
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ymns fro m Ly r a G er ma n i c a , 18mo 1 3 . .

YRA E UCH AR ISTICA ; H mn s and V er s e s on the H o l C o mm

A ncie nt a nd M d e r n w it h ot h e r Poems oE d ited b v the ev O B B Y
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LE Y M A , . . S E
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T Y N D A LL F R S S qu re c r ow n Sv o w ith 2 V iew s 73 6d a

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UIDE t o t h e P YRE N EES for th e u s e of M ount a ineer s

CH AR L E S PA C K E W i th Map s 8 0 and a new Appendix P op 63 .
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UIDE t o th e C E N TR AL ALP S incl udin g the B erne s e O b e

E as ter n S w it z e rland L omb ard y a nd Vl es tern Tyrol B y JO HN
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P o s t 8 v 0 w i th 8 M a p s 7 3 6d or w it h an IN T R O D U C T I
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T I O N s ep ar a tely 13
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z ui d e t o th e e s t er n A l p s B y the s ame A uthor Wi . .

A r ticle o n t h e gG eolog y o f the Alp s by M E B E S O R Po s t Sv o w it h . . . .

&c 73 6d

WEERODD
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L N S T BL I HT ; i te d
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S c enes Illu s trative o f S t r ik i ng P as s age s i n E ngli s h H i s to ry a nd

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B y W I LL I A M H O W I TT 2 vol s s qu ar e c r o w n Sv o w it h W ood E ngr . . .

p r ice 2 5 3
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h e RUR AL L I E of E N GL A N D B y the s ame A uth or . .

W oodcut s by Be wi ck and W ill i ams M edium Sv o 1 23 6d . . . .

Works of Fi c tio n .

LAT E L AURE L S a Tal e . By the A u thor of W he at and T ar

vol s po s t Sv o 153 . . .

R N E the uthor H e a dl on g H a ll
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G e n er a l B o u n ce , or the Lad y a nd the Lo cu s t s . By the sa me . 1

H o l mb y House, a T al e of O ld N orth am p ton s hire . 1 v ol . 53 .

Go o d for N o t h i n g or , A ll D o w n H ill . By the sa me . 1 v ol 6 .

Th e Q ue e n M ar i e s , R omanc e of H ol y ro od 1 v ol 63
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Th e In t er p re t er , a T al e o f the W ar . By the sa me . 1 v ol . 53 .

ES fr o m GREE K M Y TH O LO GY B y the R G W C O X
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Ta l e s of t h e Go d s a nd H er oe s By the sa me A uthor
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Ta l e s of Th e b e s a nd Ar go s . B y th e sa me A uthor . F cp . 8v o .

Th e W A R DE N : a N o vel . By A N T H O N Y T R O LL O P E . C ro w n S v o .

B a r ch e s t e r
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MO O RE ’ S P E TIC AL O W
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TE NNIE L S E D I TI O N of M O O RE S L ALL A R O K H w i t h 68
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E ngraving s fr o m origi na l D ra w i ngs and other Illus tra t ions Fcp at . .

Mo or e s Lall a R o o k h 3 2 mo P l ate 13 1 6mo V i g nette 2

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S quare c r ow n 8v o w ith 13 P lates 1 5 3

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MACLISE S E D I TI O N of M O RE S I R I S H M E LO DI ES w it
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S qua r e c r ow n 8v o w it h 13 Pl a tes 213 . .

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SO U TH EY S P O E TIC AL ’
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Po r tra it a nd V ig ne t te 1 43 or i n 1 0 vol fcp 3 3 6d e a ch , . s. . . . .

LAY S o f A NCI E N T R O M E ; w i t h 1 v a nd the A rma d a

Right H on L O R D MA C A U L AY 1 6mo 43 6d
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P O ET IC AL W
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2 vol s 1 6mo 1 03
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P L A Y TIM E w i t h t h e P O E T S a S ele ction o f the b e st E n g li s h

for t h e u se o f h il dre n B y a LA D Y C
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An E N GL I S H TR AGE DY ; M ar y S tu art fro m S H I L L E R ; a nd C

D e B elle I s l e fr o m A D U M A s —e ac h a Pl ay i n 5 A ct s by F R A N C E S
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K E M B L E Pos t Sv o 123
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R u ra l S p orts , S
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tori é al P r ac tic a l a nd D es c r iptive Of H u nti ng S h o oti ng Fi s h i ng
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mu ni ti e s B y T R AV ER S TW I S S D C L R egiu s P r o fe s s o r o f ivil L
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PA R T 1 1 Wa r 1 88 . , .

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l ative to th e B u il d i ng and E q u ip me nt o f S aili ng Ve s el s and S t ea s

B y A RTH U R Y O U N G S econd E dition ; w ith Pl ate s and 15 0 V .

Sv o 1 83. .

A M AN U AL fo r N AVA L CAD T E S . .
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S O UTHERN REG IO NAL LIBRARY FAC ILI TY
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Retu n t whic h it was b o rr owe d .

MAY 2 3 2003