;^.M.FLEMmG Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022320166 THE FIDDLE FANCIER'S GUIDE. a THE FIDDLE FANCIER'S GUIDE A MANUAL • OF INFORMATION REGARDING VIOLINS, VIOLAS, BASSES, AND BOWS OF CLASSICAL Al^D MODERN TIMES TOGETHER WITH BIOGRAPHICAL NOTICES AND PORTRAITS OF THE MOST FAMOUS PERFORMERS ON THESE INSTRUMENTS BY JAMES M. FLEMING Author of "Old Violins and their Makers, &-c., &-c. SECOND EDITION ILLUSTRATED With Facsimiles of Violin Tickets HAYNES, FOUCHER & CO., 14, GRAY'S INN ROAD 1892 PRINTED BY E. SHORE AND CO., TYPE-MUSIC AND GENERAL PRINTERS, 3, GREEN TERRACE, CLERKENWELL, E.G. JAMES M. FLEMING. PREFACE. The Reader wha may be interested in the subject of this Guide will, I hope, find the contents of the book to be of some value to him — how much, if any, more than usual, is not for me to say. I think, however, I may, without egotism, state that there is hardly a maker of any irnport- ance, from the earliest to the latest, about whom, or about whose work, something fresh in the matter of descriptiye detail may not be gleaned from these pages, while a very large number of the more ordinary class of craftsmen have had certain points of their work briefly elucidated in a manner calculated to be helpful for purposes of identification. Everything in the book has been, to employ a comriion phrase, brought up to date, and although, as a matter of duty to my readers and to' myself, I have, in writing The Fiddle Fancier's Guide, consulted and collated afresh, with great a;dvantage, every source of information known to me, I think I may yet fairly claim that the results which have been tabulated throughout, are very largely those of my own observation, and practical experience, and where these have failed me, the harries of the authors on whose assistance I have drawn, will be found duly recorded in the body of the work. J. M. FLEMING, .London, 1st Octohev, 1892. CONTENTS. CHAPTER I. PAGE The Bow AND Ceuth ..' .. .. i .... I CHAPTER H. ;". The Bow and Cruth (continued) .. .. ., .. 12 CHAPTER III. The Cruth and Viols 18 CHAPTER IV. On Old and New Violins ;. ; .. 25 CHAPTER V. 'Classical and Post-Classical Makers 30 CHAPTER VI. Second Series of Classical' and Pos't-Classical Makers 135 CHAPTER VII. Violin Bow Makers .. 230 CHAPTER VIII. Violinists . . 244 CHAPTER IX. Basses and Bass Players ;' .. .. 301 LIST OF PLATES. Corelli .. PAGE .. ... 249 Tartini ..254 Viotti, 266 Nicolo Paganini ..^74 Louis Spohr 279' OleBuU 283. Henri Vieuxtpmps ,. 293; John Tiplady Carrodus . . 296 Martin Meliton Sarasate. . 298. THE FIDDLE FANCIER'S GUIDE, CHAPTER I. ^hc ^oto anil (Eritth. THE Arabs have a saying that the best discourse is that which is " short and clear." No doubt they mean " clear and short." That is, at least, how I should prefer to understand the apothegm — lucidity first, and brevity afterwards, in as far as. it may be possible. In whatever order they appear, I trust both virtues may be found illustrated in the method of this manual, but I shall make, at any rate, a sincere effort to secure the presence of one of them by beginning at once the consideration of my subject. Eleven years ago, when writing a work on the history of the violin, I began by referring to what was then, in my view, the more important factor in dealing with the antiquity of the instrument, namely, the violin bow, and I pointed out that the hard and fast conclusion which then prevailed with regard to the age of this 'adjunct was not altogether a very philoEophical ■2 THE FIDDLE FANCIER S GUIDE. one. ' Writers of eminence, who, at that time, might l)e said to represent the literary view of the subject, had stated that it was theti proved that the Greeks and the Romans were not acquainted with the use of bowed instruments. I suggested that the investiga- tions which led to that conclusion had not been so thorough as to justify its expression in these absolute terms, and I offered some evidence in support of my conception that niore proof of the bow's antiquity might be available if due care were observed in seeking it. Since then the question has been in some measure revived, aijd it is now admitted that the Greeks and Romans probably did know something .about the archaic representative of the fiddle bow, and were very likely practically acquainted with its uses. From subsequent investigations, I confess it is to me almost impossible to believe that they could have been ignorant of it, when we take into considera- tion the antique monuments in existence which display figures of musicians with stringed , instruments and rods in their hands, the latter of which could be of little or ilo use to them in any capacity other than that which the violin bow has to us. < The evidence which I offered on the , above point was a drawing from an Etruscan vase, in \\rhich an implement like an early bow was placed across the strings of a musical instrument, and in calling atten- tion to this drawing, I said that the bow was placed so close to the strings as to appear as if it had no hair, and that it might on that account be claimed as a kind of plectrum, with which the ancients were THE BOW AND CRUTH. 3 understood to strike or twang the strings. I said then that if we remembered how Paganini is reported to have played exquisitely with a rush on the occasion of a contest which he had with a young man in Italy, there would be no difficulty in supposing that the ancients may have excited the vibrations of their strings by a similar contact before hair came to be used. A year or two after the publication of this view, it appears to have been accepted in a tentative manner, and it is now admitted as a highly probable explanation. I may here em- phasise the view which I then expressed by pointing out that had the artist who decorated that vase intended to depict a plectrum for striking the strings, he would hardly have placed it across them, but would probably have shown it hanging parallel to the instrument. The position in which this implement is found — across the strings at the very place where the musician would use his bow, is, in my view, evidence of a conclusive kind that in those times, they were acquainted with, and practised, the method of producing musical sounds by means of Continuous friction over strings. Indeed I do not see how evidence of this kind could be more decisive, for the Greeks were under the most stringent laws with regard to the reproduction, in the domain of art, of instruments which were in established use. Artists were not allowed to invent forms Which did not actually exist. They were not permitted to make innovations or alterations pictorially in the instruments which they represented — special mention of " musical branches " being actually iliade in the law of which Plato informs us. In the scene depicted on the vase B2 \ THE FIDDLE FANCIER'S GUIDE. referred to there are two musical instruments — one on each side of the principal figure. In this case they indicate the profession of the person whom they flank, and the personage represented on the cup to which I refer was Chiironeis, a learned Greek musician and scientist. Since these views were expressed in 1881, the ten- dency has been .to pursue the subject on similar lines, and even the mounds of Nineveh are now, and I think rightly, supposed to yield their quotum of evidence in the same directioti. Whether it ■vyill ever be possible tO' bridge over the gulf which separates the eighth or ninth century of the Christian era from the time of the fulfil- ment of Jonah's prophecy — and bridge- it 6ver in such a manner as will yield a firm footing to the historical inquirer — it may not be at the present moment easy to say, but I am very hopeful of such a solution, and I am sure it will come all the more quickly the less people are anxious to have their personal theories and fads accepted at all cost and at every hazard. As one of the very mildest instances of the results of unconscious bias towards a preconceived idea I mayhere quote a few lines from an old Welsh poem which has been printed in a ■\'oIume entitled " Musical and Poetical Relics of the Welsh Bards," by Edward Jones (1794) for the purpose of showing that the early Welsh Crwth or Cruth was played with a bow. The precise date of the composition of the poem is not known, but the liame of the author is, and it is supposed by those whoclaim to have a knowledge of Welsh literature, that the verses were written in the fifteenth century. The poem contains a detailed account THE BOW AND CRUTH. 5 of the instrument, but four lines will be sufficient for my purpose. "A fair coffer with a bow, a girdle, A finger board and a bridge ; its price a pound. It has a frontlett formed like a whqel With a short-nosed bow across." Now the comment on these lines by a distinguished writer is that "it is by no means certain to the unbiassed enquirer that it (the bow) is alluded to in the above description of the instrument. The bow which is mentioned may possibly refer to the curved shape of the frame." If the first line were the only one in which the word " bow " occurred, I could understand how one might maintain that it was a reference to the shape of the instrument, but how the fourth line could be supposed ,to be a repetition of the same description passes my comprehension. I confess it seems to me as clear an account of a primitive fiddle bow as could well be put in English words. If literary evidence of, that kind is to be rejected, or even discredited, one may 'as well reject everything that has ever been written by any writer in any ^country of the world. I am almost inclined to believe that the author of the above, comment had forgotten all about the details given in the poem, and had turned to the first line only when penning his curious remark. There is no mistake in the translation, as even a reader accustomed to very old English will see on comparing it with the original : — " Prennolt t6g bwa a gwregis, Pont a bran, pun,t yw ei bris ; Athalaith ar waith olwyn, A'r bwa ar draws byr ei drwyn, etc." b THE FIDDLE FANCIER S GUIDE. It SO happens that the rejection of this evidence would not, in this case, be of great importance, but it might have been, and at any rate, it is not a right way to .deal with evidence, however slight it may be. The same author says, " sure enough, in Wales they found a curious sort of fiddle, said by the natives to have been in use with them from time iriimemorial, as people always say when they possess something peculiar, the origin of which they are unable to trace. Thie supposed high antiquity enhances to the people the value of their relic,, especially if they find it admired by foreigners and learned anti- quaries." So much for the claim of poor Wales. Just previously the same distinguished writer had given an illustration of a Burmese " Thro," which happens to be a very near approach to violin form, and which appears to have been unearthed from a bdok of travels (Embassy to Ava in the year 1795). The only evidence which is adduced in support of the conjecture that this instru- ment is of Burmese invention, or, at least, not a repro- duction from a European model, is the statement of the person who was of the Embassy. " I at first imagined it had been of Eui'opean introduction, and brought to Pegu by the Portuguese; but I was assured that it is an original instrument of the country." This simple statement of a traveller, together with the circumstance that the Burmese name " Thro "is said to be a deriva- tive froin a Sanskrit root sarva, which means " entii^e " or " universal," and from which a number of Indian musical instruments' have received their names, is to be Accepted as evidence that the Burmese fiddle is ancient and indigenous to the country in which a member of a THE BOW AND CRUTH. 7 diplomatic mission saw it, while a three or four hundred year old Welsh poem minutely describing an instrument, then in existence is to be rejected as evidence of that existence for no reason whatever — ^unless it be that " people always say these things when they possess, something peculiar, the origin of which they are unable to trace " — the Burmese people, of course, alone excepted. I merely mention this to show how lightly scientific modes of reasoning weigh sometimes with cultured minds, and how utterly unreliable are the conclusions which ar& drawn in such fashion. If the circumstance that the name of the Buirmese " Thro," derived from a Sanskrit root sarva, meaning , " entire " or " universal " be considered an element sufficiently weighty to make evidence pointing to its Oriental origin, why' should I hesitate to trace the Welsh Cruth in a much more direct manner to the Hebrew participle Cruth signifying " cut " or " engraved ? " It has never been suggested before, but suppose I do so in this Fiddle Fanciers's Guide, merely to show how easy it is to work out a plausible conclusion on paper with the aid of etymology. The ancient Eastern lyre had an arched back cut and engraved to imitate the shell of a tortoise. The Greeks, who had their letters — ^if not their literature and sciences — largely from the citifes of the plain, seeing this, called it chelys (x«^«) their name for a tortoise, and the Romans called it testudo, which is the Latin name for the same creature, and also, secondarily, for any stringed instrument whose body is of an arched character. Now, how is it that the Anglo-Saxons and the Welsh,. alone among all occidental peoples,retained the original Hebrew « THE FIDDLE FANCIER'S GUIDE. word in almost its primitive phonetic purity — for that the two words are identical 1 have hot a doubt ? The Anglo- Saxon word is Cruth, and the Welsh Crwth, in old French Carotk. In old high German chrota, whence it degene- rated to chrotta, from that to Motte, thence to rotte, with intermediate modifications, such as crotia,, and the English £rowd, until it ultimately became rote. There are besides, these, some dozens of different forms of the same word and its degenerations, such as the Irish cruit, kruit'h, and the Cornish kroud. In Halliwel's " Dictionary of Archaic and Provincial Words " croud and crouth are found as nouns signifying a fiddle, while, the verb crowd is " to move one thing across another, to make a grating noise." It is more than merely interesting in this last connection to note that the old Hebrew verbal root ghrad or ghroud is Almost identical in phonetic power and meaning. It signifies "to scrape "or "scratch." Suppose we go a little further and point out that long before the Greeks and Romans knew, anything about the British Isles, the Canaanites (Phenician). had colofiised a considerable portion of the mainland, and were busy working its mining resources. The Cassiterides islands were no doubt known to the later Greeks by name, but Diodorus Siculus confesses that he did not know where they were. He had merely heard of them as places to which the early Phenicians had gone. Although some modern scholars — ^for reasons which do not appear to be very cogent— have relinquished the notion that the Cassiterides of these Canaariitish settlers are the Scilly , Isles off the Cornish coast, Cornwall itself, and all the southern district teem with etymological reminiscences THE BOW AND CRUTH. 9 of' these almost prehistoric colonists. They baptised the streams by. which thfey squatted, giving them designations which have come down to our own day. The Taff, the Tawe, the 'Teiffy, the Tavy — these are all names of rivers at the " end " of the landj and are formed from the Pheniciain Tauv, Tav, Tau, or Te — the final letter of the ancient Hebrew alphabet and signifying a mark, limit, or boundary. There is at the extreme limit of farther India another river so- called by the same colonising race, namely, the Tavoy, and we have another instance of it in the Tay, which, in' Scotland, drains the Southern boundry line of the Grampians. In addition, we have in the North the Yare, the Yore, and the Yarrow — all niodifications of " Yeri," a river. We have the Plym, the Tamar, the Thames — and how well they named this Jast great stream, may be realised by anyone who visits Heme Bay or Southend, and observes the steady manner in which the great estuary still performs the duty which earned for it the title it has now borne, for, it may be, three or four thousand years. It is still " melting away " the land — carr)ring the " London clay " in solution out to sea. In the matter of names in almost their original purity the country, as I havfe said, teems with these ancient Hebrew words — and the Phefiician or Canaanitish dialect is nearly identical with ancient Hebrew. What does all this point to ? That the Cruth is the progenitor . of our present violin ? Most certainly that, and nothing less — ^if etymology is to have its say in .the matter. Of the score of spell^ings in which this musical instrument's name is to be found throughout lO THE FIDDLE FANCIER S GUIDE. Europe and Asia the purest is that .still current in the British Isles, and all the others are corruptions of it. Charuth, C'ruth or Cruth is the Hebrew form. Cruth and Crwth the British and Welsh. Kruith and Cruit the Irish, Caroth, old French. Chrotta, Crotta .and Chrota, Latin and German. The initial sound of the Hebrew word is a strong gutteral like the ch in the Scottish word loch, or in, the German hoch. By variety of vocalis3.tiDn this gutteral became a strong aspirate, and then we have on the Continent of Europe hrotta and hrota. Still further softened it becomes rotta, rota, rotel, roet, and has about a dozen other changes, among which are rotteh, rote, riote, rott, rotha, rothes, rottem But in whatever forms this narne appears they are all~ corruptions of the primitive Hebrew word Cruth, instead of Cruth being a corruption of Chrotta. That is, as it appears to me, the conclusion to which etymology points and in a ^ery decisive manner. With regard to the actual delineation of these bowed instruments in historical records there are, in existence, manuscripts — dating from about the tenth and eleventh centuries^-which contain drawings of them in various- forms called the crowd, the crout, and rote, and on architectural edifices dating a century or two later sculptures of them are found, but it is a mistake to suppose that the dates of these manuscripts and sculp- tures indicate in even the vaguest manner the time or period of the instrument's introduction to use with the people among whom it is found thus commemorated. This is, however, a common error, and many- writers do not seem to realize that before such musical instruments THE BOW AND CRUTH. II could in those old times become conventionalized decora- tive adjuncts of architectural structures — especially when connected with edifices erected for purposes of religious, worship — they must, have been part and parcel of the people's life for ages-^one might say, if not froni time immemorial — a phrase to which some of us object for no- particular reason, but which, in the circumstances, is strictly accurate. Although I look with a kind of respectful terror on that magnificent hyperbole of Michelet's where he describes the sixteenth century as. extending " from Columbus to Copernicus, from Coper- nicus to Galileo ; from the discovery of the earth to that of heaven," I would point out in somewhat of theisame spirit, but in less beautiful, and epigrammatic form, that these drawings and sculptures of the tenth, eleventh, twelfth, and thirteenth centuries, with their fiddle bows and fiddles of all sorts and ,sizes, indicate that the objects which have lent themselves in this way to schools of decoration or folk-lore treatises, have been in existence a^d famiUar to the people for ages before the time of the chroniclers who wrote about them, or the Cathedral builders who used them. They are of little or no use either in fixing the comparative age, or in tracing the development of any one of them. They are merely valuable monuments of their existence, but a;re not evidence capable of fixing priority of use. The changes found in their appearance are almost certainly the results of selection on the. part of the decorator, and, in' the matter of manuscripts, the differences probably indicate the, limits of their writer's research. CHAPTER II. %ht §OiXi mb (ErUth (continues,). rHE earliest known literary reference to the cruth is contained in two well canvassed lines of a itin poem written by Venantius Fortunatus, a bishop Poitiers — the capital of the old French province of )itou, and ,which is now called the department of ienne. This rather important poet — from a fiddle ncier's point of view — was born in the yea r S^\o. :ar Ceneda, in the vicinity of Treviso, in Italy, and ed early in the following century at Poitiers. The ro lines, which have, for many years afforded oppor- nities of discussion to musical antiquarians, occur in 1 ^ode to be found published in a volume in 1617, lied " Venahtii . Fortunati Poemata." They are as Hows :-■ — " Romanusque lyra plaudat tlbi, Barbarus harpa, Grsecus Achilliaca, Chrotta Britanna canat." he passage has been translated in several ways to i referred to later on, but, in the rneantime, we may ke one rendering which is, perhaps, the least faoilty. ^t the Roman praise thee on the lyre, the Barbarian on the harp, The Greek on the Achilhaca,' and let the Britan Crouth sing." What the Achilliaca was is not certainly known. is supposed to have been the Cithara, or Cyther. hat is, however, of little importance to us at present. THE BpW AND CRUTJ-I. IJ- except as a passing matter. What we are chiefly concerned with is that portion of the extract formed by the words, " Chrotta Britanna; canat." That this word, taken along with its context, means that the- British Cruth sang, appears to me to be quite beyond dispute. Why the bishop should have described the- cruth as a singing instrument has been explained by Welsh commentators as a complimentary allusion to- the excellence of the technique of British performers, and people have made merry in gentle fashion over what appeared to them to be an interpretation having- about it a soujicon of egotism. I do not think there is . any particularly good reason for banter of this kind, "because it appears to me that the conclusion was . a very natural • one to draw, although I do not think it was the correct one. When His Grace of Poitiers was writing poetry he would doubtless choose his- similes much after the manner of his kind when seeking to describe some distinction either of appear- ance or eifect. He did not scruple, for example, to- employ, or compound, the term " Achilliaca," to ■ describe the Greek instrument', although for it there ■ were already then at hi? disposal one Or two names which would have been clearly enough " understanded , of the people " — such as Cithera or Chelys. But it is just possible that- he thought the term "chelys " to be ^ derived from " Achilles," and made a new name for the instrument on that account— -although such a dreadful supposition should perhaps be advanced only with the greatest diffidence. But a scholarly man like Fortunatus, having such an impression on his mind, . J4 ■ THE FIDDLE FANCIER S GUIDE. would undoubtedly seek to discredit what he con- sidered to be a corrupt form ; of the name, and en- deavour to restore it to a closer relation with its origin, and hence we might well have, instead of " Chelys," the mediaeval substitute, " Achilliaca," Ivhich nobody ■texcept Venantius Fortuhatus appears to know anything ^about. That is not the -first time in the history of musical nomenclature where' a new name > suddenly appears in a well developed literature, and of which no trace, can be found either before or after the solitary instance of its materialisation. At any rate, whatever ^' Achilliaca " may mean, we know that canere means ■" to sing." Now it does not appear to have struck any one of the numerous commentators on this precious couplet of the bishop's, . to enquire why he used this term to describe the cruth, if he does not mean that the sounds emitted by that iilstrument when played were continuous sounds such as are characteristic of the voice in singing. In other words, I think the bishop is, of set purpose, describing the sounds of an instrumeiit played with the bow. I am supported in this belief by another circumstaiice which also appears to have entirely escaped the notice of those who have engaged in this discussion. Fortunatus does not say "Let the Romans extol thee on the lyre,',' etc., in a general fashion, but in quite a particular ' manner. He is indeed very much concerned to be accurate. He does not employ laudaye, which woiild have suited well enough had his purpose merely ,been to invoke th6 -imanimity of nations and races in their musi9fp.l praises. He wanted to indicate their methods, and _tiierefore he_ THE BOW AND CRUTH. 15 used plaudare. " Let the Romans praise (applaud) thee (by beating, striking, plucking, twitching, twang- ing — by any kind of percussive action whatever) on the lyre, the Barbarians on the harp, the Greeks on the Achilliaca," and " let the British Cruth sing.'' He could not well have been more explicit. Plaudare signifies to clap, to beat, to strike,, to stamp, and, secondarily, to applaud in that fashion, and this mediaeval writer seems to be most emphatically specific in his choice of words to describe the marked, distinction between the instruments which were struck or twanged, and the British or Breton cruth which was bowed. It is rather a curious thing that several ti'anslations have been made which appear to go pretty wide of the original. For exainple, M. Vidal renders it as follows : — " Le Romain t'applaudit sur la lyre, le Barbare sur la harpe et le crouth breton, le Grec sur la Cythare." This, in English, would be : — "The Roman praises thee on the lyre, the Barbarian on the harp and the Breton CroUth, the Greek on the Cithara." Why he should have so translated it does not very clearly come out. I hope it is not uncharitably to suppose that it was merely not to seem to literally copy M. Fetis, who had previously translated it thus : — " Le Romain t'applaudit sur la lyre, le Grec te chante avec la cithare, le Barbare avec la harpe, et le croUth Breton." This in, English, would be :■ — " The Roman praises thee on the lyre, the Greek sings to thee .with the Cithara, the Barbarian with the harpe,, and the Breton crouth." l6 THE fIDDLE fancier's GUIDE. M. Fetis' translation is quite as unsatisfactory as ■ M. Vidal's. We have another version from Herr Abele which runs : — " Der Romer lobt dich auf der Leier, der Barbar singt dir iJiit der Harpe, der Grieche mit der Cyther, der Britannier mit der crouth." This becomes, in English : — " The Roman praises thee on the lyre, the Barbarian sings to thee with the harp, the Greek with the Cyther, the Briton with the crouth. ' ' Then we have in English, direct from the Latin of Fortunatus :— " Let the Romans applaud thee with the lyre, the Barbarians with the harp, the Greeks with the cithera ; let the British crouth sing.'l I confess I like none of these. They all appear to have been, made without a careful consideration of the original. I take the liberty of offering another trans- lation which, I imagine, is more faithful to, the words-, construction and intent of the author. " To thee the Roman strikes the lyre, the Barbarian the harp, the Greek the Chelys, and the British Crouth siftgs." At the risk of being considered a little prosy, I should like to point out ihat the literal and fully extended meaning of the mediaeval bishop— who died just when the Latin tongue had ceased to be a living language: — is as follows, with those words added which poetic usage elided from his verse. "The Roman the lyre strikes to thee, the Barbarian (strikes to thee) the harp, the Greek (strikes to thee) the Chelys, and (tp thee) the British Crouth sings." And now I have done with this valuable couplet — for it certainly is valuable as evidence of the existence THE BOW AND CRUTH. 1 7 of the bowed form of the cruth as early as the sixth century in literature, and when we realise that these literary and architectural witnesses testify tp the preva- lence of forms long prior to the periods when they are themselves found in the witness Ipox, the real importance of their evidence is enormously enhanced. ' A representation of the crouth tnthant, or three stringed crouth,, played with a bow, was iound in a manuscript of the eleventh century in the abbey of Saint Martial of Limoges. That manuscript would not be a register of new inventions any more than the bishop's reference to harps and lyres indicated new instruments. It is, however, a far cry from the sixth to the eleventh century^ but the instrument, neverthe- less, existed during all that time and down to a much later period. The Welsh cruth only went out of use with the death of John Morgan, of Newbury, in the island of Anglesea, in the end of the eighteenth century. He was aliv6 in 1776. I have also, in a previous work, indicated that evidence of the cruth having been played with a bow as early as the tenth century in Wales, might be found in the prizes awarded to musicians by Howell Dda, a king of Cambria who reigned from 904 to 948. The first, second, and third prizes consisted respectively of a harp, a cruth, and a bagpipe. I have thought I recognised in these, representatives of the various methods of producing musical sounds for purposes of melody and harmony, namely, the harp by percussive sounds, the cruth by bowed sounds or continuous friction, and the bagpipes as representing the wood wind. CHAPTER III. %iu Crutk i\nb Wxoh. AFTER the early Cruth period of Fortunatus, literature and the arts are, for nearly five hundred years, almost silent about this primitive instrument. But it had not disappeared during that time. On the contrary, it was quite as much ah item in the life of Occidental nations in the eleventh century as it had been in the sixth ; quite as familiar to them, and found to be quite- as suitable as the decorative adjunct of a monk's ■ manuscript as it had been deemed fitting to adorn a poet's line. In the Latin illuminated work of the eleventh century already referred to and which was discovered at the abbey of Saint Martial of Limoges,, but whiph is now in the National Library of Paris, the body of the three-stringed Cruth or Cruth trithant, is not unlike that of a Guitar, having three strings led over a bridge from one end of the instrument to the other, and having no neck nor fingerboard, but a some- what large oblong opening on each side of the strings; so as to permit the hetnd to pass through from the back in order to stop them. Coeval with this cruth trithant of the eleventh ceintury we- find a large variety of stringed instruments played with a bow, and which^perhaps on account of their irritating nlultiplicity^appear to niany to have claims to separate classification as of distiqctly different origin! I have ' grave doubts of the necessity THE CRUTH AND VIOLS. 19 for such a classification, but the pages of a brief manual like the present, which is chiefly concerned with the modern violin, are hardly a suitable medium for more detailed expression of those opinions. I will content myself with saying here that I still harbour the conviction that the cruth — through the viols— ^is the progenitor of the violin, and that I have found no reasons adduced; in any quarter sufficiently cogent to change the tendency of this belief, but that most results of subsequent research have, on the contrary, tended to confirm it." I have shown, I think as clearly as words fairly dealt ^yith can, that the Cruth of the ^ivth rpntury was pla yed with a bo w, and there is very little room for doubt— rseeing that almost everyone is agreed — that the cruth of the eleventh century is a similar instru- ment. And. now I want my readers particularly to notice the falct that for a period of five hundred years there has not been found a single literary refer- ence to, or artistic reminiscence of, this instrument between the twp dates over the whole area of the then civilised world. I am not concerned at present with the reason for this teniporary oblivion, I am merely asking an interest in it as a fact, for the purpose of enquiring if such a fact as this should not teach us to be chary in drawing conclusions. Should it not inoculate us securely against the inroads of the fever for immature classification ? I certainly think it should.. Here we have a popular instrument existing through a. period of five centuries without the slightest reference to it being fpund in any literary .or' artistic .ift'onument of the period intervening these two dates ! We may ■C2 -20 THK FIDDLE FANCIER S GUIDE. well pause when we are asked to believe that certain ■other instruments were not known at all, merely' because no trace of them has been found in literary or artistic remain's. In face of a circumstance like this, I shall not venture at present to follow too dogmatically any .particular line of classification in dealing with the ancestry of the violin. I will merely point out that among all the forms which have been marshalled to show their kinship to the monarch of string instruments, not one ■of the earlier , species has a sourtd-post except the old viols. That circumstance alone is, in my view, sufficient to prove their direct descent from the cruth, which, although ' it had no sound post in the sense in which we now understand that term,, namely a movable sound post, it certainly had one in principlie — the long, left foot of the bridge going through the left sound hole and being supported on the inside of the back. .The only other instrument which has been set up — with any particular claims to notice — as the ancestor of the violin is the rebab. It, however, had no sideis, and although it may be called a contemporary of the cruth — seeing that illustrations of it have been found as far back as th e ninth century — I am afraid its claims must be lightly passe3'5Ver. Its form was that of a heart-shaped block of wood, hollowed, out and narrowed" towards the handle. It had, at different times, one, two, and three strings, and its name rebab — supposed to be an Arabic word — is quoted as meaning " emitting melancholy sounds." I think this derivation is a mistake. The word rebab is, I fancy, an Arabic variation of the old Hebrew word " lebab " — the Hebrew letters r and THE CRUTH AND VIOLS. 21 being interchangable. " Lebab " signifies the heart, and it appears to have had also the meaning of " hollow"^ if we may follow Gesenius .and Principal Lee. It has, further, the rrieaning of "hollow-hearted" an epithet which admirably describes the primitive form of the rebab. The earliest known illustration of a viol — the instru- ment which seems to me to be clearly the only direct descendant of the cruth — is contained in a work entitled " T^^ ^^'"°^ ^""^ "^ '^""C^," and printed at Verona in ^i49ijThis illustration will be found reproduced in No. 5 of '' The Violin Monthly Magazine." The instrument is a five-stringed viol having, in addition, two deep-toned strings under or outside of the fingerboard and apparently for a purpose similar to that which the two detached strings of the Welsh Cruth serve, but which, on the latter instrument, are placed on the opposite side of the fingerboard. A most interesting feature of this very early viol is found in the circumstance that although it has no middle bouts as we now know them it possesses an a,pproiximation to- what we are familiar with as the Brescian violin corner. I am quite sure that we cannot in every case depend on the entire accuracy of these early drawings, for we find in them many little details which are visibly absurd, but in their main features, and in their outline I think, they are quite trustworthy, and in this, the very earliest known illustration of such an instrument, there is a clear and unmistakable approach to violin form in the rounded end, the. corners, the position of the sound holes in relation to the corners, and the position of. the bridge in relation to the sound 22 THE FibDLE FANCIER's GUmE.' holes. There is also a tail piece to this viol attached to the end of the. instrument in precisely the same fashion as many old specimens of tail pieces are still attached. In addition there is in this drawing a most important feature, which must not be ' overlooked. The finger- board is quite a long and broad one, and displays no frets. A drawing of this kind having such a striking resemblance to violin form, and found in a work published in Italy in _i49i-^long before we have any historidal trace of lute or viol makers anywhere, should dispel for the present all the hazy speculative notions regarding the post-historic Arabian origin of either the violin or the bow, for, side by side with this viol there is the drawing of a bow as like the modern violin bow in principle and in measure- ment as could well be expected in so early a specimen. It is a little longer than the instrument and has a mechanism shown on the stick quite evidently for the purpose of increasing or decreasing the tension. The original bow might even have a backward curve when in a relaxed condition as the hair in the drawing is represented to be tight while the stick is drawn straight. In view of all this, in the picture of a viol coeval with the cruth, and almost identical in style and stringing with known forms of the latter instrument, it appears to me difficult to avoid at least one tentative conclusion, namely, that the " First Book of Songs " of Augurellus temp 149 1, confirms in a singularly cogent fashion my previously estpressed- ppitiion that the cruth was the progenitor of the violin. ' Subsequent to the publication of the above, work, one or two musical treatises came from the early printing THE CRUTH AND VIOLS. 23 presses, and in these are found illustrations of viols of various shapes, until we come to the large work of Athanasius Kircher issued from the Roman press in 1650, and entitled " Musurgia Universalis." The illustrations of viols in this book represent violin form as it is at the present day. In every point, these illustrations conform to our present outline and model. He calls them Chelys major and Chelys minor. They are four-stringed instruments — large and small — having volute and scroll precisely like our present 'violin. The shaping of the neck and fingerboard is much the same as we have them. The outline of the instruments almost exactly corresponds to that of our violin. The design of the sound holes, and the placing of them are what might well be called identical with our methods. We are only shown the front of the viols, but the shading round the margins, combined with that on the fingerboards, and the evident curve of the bridges, plainly indicate the nature of the arching to be broad and long. Kircher, in describing these instruments, says that the larger one was commonly called violone, and that it had at the utmost four strings. That the stopped portion of the strings was a third part of their whole length, he further adds, with regard to the violone, but, in describing the lesser " Chelys," which he calls a noble instrument, he says that although it has at the most four strings, one can ascend as far as the fourth octave. , This imphes a much longer finger- ' board than is shown in the drawing, which, for the rest > is remarkably accurate in its general features. The only other point in which its absolute faithfulness might be questioned would be the indication of the precise 24 THE FIDDLE FANCIER's GUIDE. spot in which the bridge is placed. With us it occupies a position between the notches in the sound holes, but in Kircher's drawings the bridge stands just a little nearer the tail piece. Whether the backs of these viols were flat or arched in the same way as the fronts, is not of the slightest importance. There they are, violin forms from head to tail, and at the present time instrumepts claiming to be violins are sent out into the world with similar in- felicitous outlines, similar heavy-looking sound holes, similar crude scrolls and volutes, and almost as stinted fingerboards. What, if any, particular individual can claim to have been the inventor or designer of this vioUn form will be considered in another portion of this book, but here it maybe said that it can be traced in various ways tlirough many models and fanciful variety of outline back to the viol of 1491, and that the violin, as we have it, also actually , existed long before Kircher's book was prii)t'ed. CHAPTER IV. (Dn ®lb anb ^^eto lioUns. BRESCIA and Cremona are, no doubt, the chief centres of interest for the intelligent fiddle fancier — that is, the fancier of old fiddles. If it is not so, it should be so, for, although ther-e are many other places where fine fiddles have been produced in times past, the great majority of these places are still producing fine instruments of much the same class — if people only knew what to look for, and where to look for it — but there are no places in the world producing violins of the same high character in all respects as those which have come down to us from the great masters of the Cremonese and Brescian schools, and here it may be, I think, just as well to say a word or two about new fiddles. It is, undoubtedly, a general opinion current among pro- • fessional and amateur players that new violins are. usually new in the matter of tone. That means that the tone is " woody," " hard," or " metallic." These are really the only terms that may properly describe the supposed defect. Now, that opinion is, in regard to the vast bulk of ordinary trade violins, perfectly sound', and these three terms very accurately portray the kinds of tone which new violins of the trade class . possess. Curiously enough, the same three terms will exactly describe the tones of ninety out of every hundred fiddles of the old type to be found in the market at the present time. I 26 THE FIDDLE FANCIER's GUIDE. am speaking now principally of violins from twenty-five and thirty pounds downward to eight, six, five, .four, and •even fewer pounds: These sums are freely given for common, old rubbish,; such as are really only fit to be broken up when compared with new instruments at similar prices. The reader will observe that T have ' said ninety out of every hundred-^a rough and ready way of indicating the proportion of bad tg good instru- ments. And by " bad " I here mean not intrinsically bad, but bad by coijiparison with new instruments at equal prices. It is now going on for half a century since I began to take an interest in violins, and few aspects >bf the subject have caused, me more surprise from time to time than the apparently fixed determination of people to have an old fiddle at all hazards. It is not so much that they want a beautiful old violin, or an' exquisitely toned old violin,, for these distinctions cannot :generally be promiscuously secured at such prites as they are willing to give, but they want an old violin, because they consider that its age will be a kind of guarantee of its •excellence. Few notions could well be more absurd than Ihis. Age guarantees nothing, except the possibility that there will be a few cracks here and there in the wood •of the instrument, a few square inches of varnish rubbed ■off, a fracture or two in the ribs, a scroll defective on one side, or some such ipdication of abuse or wear, but age ^u^rantees nothing with regard to excellence of manufacture or quality of tone. If the instrument has ■originally been a good violin, with a good quality of tone, age and use undoubtedly improve that quality in a manner which no person- — scientific or unscientific — has ON OLD AND NEW VIOLINS. 27 as yet been able satisfactorily to explain'. A great many people have, from time to time, advanced more or less plausible reasons for this impbirtant betterment of violin tone through kindly treatment and the beneficent influences of the lapse of years, but . the best of these explanations are merely careful examinations of, and researches into, the mechanism of phenomena which have nothing to do with the question of improvement, of tone, but only concern its production or existing quality. If a scientist were to set about subjecting; to practical analysis the constitution of one of the eternal verities, he would probably find himself involved in. ■conditions of work and experiment, which would render his efforts of little use to his fellow man, and although I daresay it will not be found quite so hard a task to investigate the causes of' improvement in violin tone, I do not think it will be accomplished in a trustworthy manner under present limitations. To shake together, as it were in a box, a few choice selections from a technical terminology and sprinkle them', with a little ink and more or less taste and skill, over the surface of a sheet of paper is one way of explaining this curious phenomenon^and a good many other much more important phenomena, be it said, without offence — but it is never resorted to by genuinely scientific writers. It is the stock-in-trade of the secondary hand, wlio, having nothing particular to say, but, convinced in deadly earnest that he must say something for his own preservation, riishes with a sensation of fierce hunger in his literary .stomach, and clutches at the little store of some patient worker who has modestly placed the results of his 28 THE FIDDiE FANCIER'S GUIDE. research before the world in some out-of-the-way corner of the country. Lucubrations of this kind are valueless, because they are generally compiled by those who only in a very superficial manner understand what they are .writing about, and who indeed do not always appear to comprehend the precise meaning of the terms they cull from the works upon which their efforts are based. Many felicitous instances of this kind of misplaced confi- dence in what are frequently considered quite legitimate authorities might be quoted, but this is hardly the place for them. Now, whatever may be the cause or causes — few or innumerable — of this improvement through age and use in a violin's tone, the general reader may rest assured that any instrument possessing it in a marked degree in com- bination with those excellences which now characterise the better classes of modern -work, will be well looked after. There is always, of course, the chance of a fine old violin of the second, third, or fourth rank coming within reach at a moderate price, but a " moderate price " is not now determined by the figures employed, but by the quality of the instrument to be sold. Forty pounds may be a moderate price for one violin, and two thousand pounds may be a moderate price for another. But it is now one of the rarest things to find an instrument of good quality and finish, having that round maturity of tone so much desired, at anything like forty pounds. And under that and down to five pounds, if a buyer only knows how to choose, modern instruments will put old Ones entirely out of court. I say this unhesitatingly,' and with regard to almost every point in which one violin can excel another. The difficulty is in ON OLD AND NEW VIOLINS. 29 the choosing of them. In the matter of tone and capacity there are hardly two viohns ahke, and one does not meet a great many people who are really good judges of tone. It appears to be a faculty something, like tea-tasting, and for which no amount of training seems to be a very good substitute. Many grocers' assistants could tell you a fairly sound tea by closing their hand on a small quantity, and others could indicate a similar quality by scanning the roll of the leaf, but standards, of that kind are the result of an experience which might fail any day. No man during this century had better opportunities of training himself in the matter of proper violin tone than the late J. B. Vuillaume of Paris, and few men have spoken with a calmer assumption of supreme knowledge than he, and yet few — I was about to say not. any — have been so thoroughly hoaxed on this subject as he was. He made splendid violins with a most excellent quality of tone in a great many instances, but he did not know appar- ently — although he professed to know — the differences when he heard them. -My advice to all readers of this Guide who think of laying out five, ten, fifteen, twenty, or even twenty-five and thirty pounds on a violin, is to purchase a sound, new instrument — unless, of course, they have some exceptionally rare opportunity of getting one of the finer old ones at the same money — a chance .which is not likely to occur. And if they have no knowledge them- selves of what a vioHn tone should be, let them seek the services of someone who does know. CHAPTER V. Classical anb §ost-chsskid 'Bxolxn Jttahers. THE reader will find the following alphabetical arrangement easy of reference. I^e will be able to turn at once to the name of the maker, and find there explained such points of his work as I have found it possible to differentiate. There is a very. l9.rge number about whom little or nothing can be said, arid these have been excluded from this list, and given in one later on, but, the. latest particulars are given in all cases where any particulars were available. I have ex- cluded certain names which are found in tickets in old violins sold at the present day, because in the mean- time, I am inclined to the belief that they are absurd concoctions of violin dealers and others. Such names are Raccomodes, Revisto, Renisto, etc. I have seen Renisto gravely described as a pupil of Carlo Bergonzi. To me all these names appear to be concoctions suggested ' in the following fashion. Italian makers, when they repaired a violin, have occasionally put in a ticket intimating that circumstance as follows, generally in handwriting, but now and again printed, " Revisto da me,'' followed by the repairer's name. .This means in our idiom, "overhauled by me," literally, "revised by me." I have seen a ticket of Carlo Bergbnzi's — which is, I think, reproduced somewhere — containing this expression, " Revisto da me Carlo Bergonzi." CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 3I Sometimes these inscriptidns are not very legible, and I daresay an enterprising man coming across one of the half erased tickets, and not, perhaps, acquainted with Italian, might readily think Revisto was a maker's name and that da mea'nt, in this case, " from " and not "by." I could conceive him, then, in the interests of his art, getting a few tickets printed to put into violins which he was absolutely certain were made by the sartlfr hand. Having accomplished this, these tickets might, in their turn, become partially illegible, and some other dealer might very readily misread v for n, and feel that he also had a duty to perform to society, and hence we have Renisto. At any rate this is my present view with regard to these names, but, of course, I , am quite open to change it on proper evidence being adduced that persons bearing them, and who were fiddle makers, really existed. There are many queer names in the world. I have the same opinion with regard to " Raccomodes," which appears to be a corruption of the French participle raccommode, and which signifies- "repaired." Acevo and Sapino have long been suspected as fabricated names, and I h.ave not included them either. They were at one time supposed to have been pupils of Cappa. The first name appears to be a corruption of acero which, in Italian, means maple, and sapino means, pine, the two woods of which a violin, is generally made. Of course we have, in this country, both these names, the owners of which both work in wood,, the one in fiddles, the other in furniture, but there is, an air of mystery in addition attached to Acevo and Sapino^ 32 THE 'FIDDLE FANCIER S- GUIDE. which has never been dispelled, and there seems to be little ground for supposing them to be the names of actual makers. Acton, W. J. Contemporary. One of our good native makers. Violins. AiRETON, E., London, 1727^1807. A very good maker who made for Peter Wamsley and afterwards for himself in Piccadilly. Model Amati. Albani, M., B6tzen, 1621 — 1673. An old Tyrolese maker. Good quality, but tubby Stainer model. Albani, M., Botzen, 1650 — 1712. Son of preceeding maker. Totally different style of work from that of his father. In some cases it is really of a very high class, and might very readily be mistaken for Cremonese work. Beautifully figured wood. Albani, M., Gratz. I know nothing of this maker. Albani, P., CremOna, 1650 — 1670. I know nothing of this maker. He is supposed to have been a pupil of Nicolas Amati, and to have made instruinents of that model and of good workmanship. Aldric, . Paris'j 1792 — 1840. Some of the work of this maker calls for the highest praise. He made beautiful copies of Stradivari, not only in model . and arching, but in some cases succeeded in getting the Cremonese quality of tone to quite a marvellous degreed His varnish is sometimes very spiritless and common- looking, but one might say it is his only defect. The heads of his violins are strong and massive-looking, and finely designed. The grain of the belly is sometimes irregular in width, which in some people's eyes indicates carelessness in selection, but the tone tells a diffefpnt CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 33 tale. His sound holes are prettily cut, .but just a little pot-bellied. His arching is very fine, and his ribs of a full height. His finest varnish is of a dark reddish brown, and a perfect specimen of this maker's work might be played along with many a fine Stradivari and not suffer much by the comparison. Alletsee, Paul, Munich, 1726-^1735. A, very artistic and in some respects — chiefly in matters of design— an original worker. Sometimes has beautifully grained wood, such as even A. and H. Amati might have been ' proud of. Made large instruments mostly. Tickets generally in German letters " Paulus Alletsee Geigen- macher in Miinchen." Amati, Andrea, Cremona, was the founder of this family of violin makers. The date of his birth is not known. It is conjectured that he was married to his first wife in 1554, and that his sons Antonio and Hieronymus were borh in 1555 and 1556, respectively. By this marriage he had also a daughter, Valeria, who was herself married for the first time on 3rd May, 1587. This is the earliest fixed date regarding the Amati family ttat has been ascertained firom documentary evidence. ' The father, Andrea, was married a second' time in 1609, and of this, union was born another daughter, Caildida, who did not survive a month. Of the work of Andreas it is only possible to speak in very limited fashion. I have Only seen two specimens which could claim to be from., his hand. One was the fariious " King Andreas Amati " 'cello which, it is said, was presented by Pope Pius to Charles IX. It is a magnificently decorated instrument with somewhat narrow but. finely finished, margins, and D 34, THE FIDDLE FANCIERS GUIDE. having beautiful golden-brown varnish over wood of which it is not very easy to see the quaUty, or to say anything that could not be said of its very clever copy by John Betts. "The purfling certainly is of exquisite quality, but there does not appear to have been the same care in the -selection of wood as makers displayed later on. The second was another of the same suite, but a violin, the outline of which did not strike me as being particu- larly good. Instruments by this maker are scarcely known, and are chiefly of antiquarian interest. Amati, a. and H., Cremona. Antonius and Hieronymus Amati were the sons of Andreas, and aris supposed to have been born in 1555 and 1556 respectiyely. Hierony- mus died on the 2nd November, 1630, and there is no trace of his brother Antonius either having lived or died. There is an Antonius mentibned in the documents of another parish in Cremona as having died in 1595, but those who have carried out the researches believe that he was only distantly related to the fiddle family. The instruments of this firm are of the highest merit in their class. , They are finished in the most perfect manner, and covered with varnish passing froni a warm maple brown to a beautiful golden brown with a tinge of red. The wood selected is of the finest character, and the sizes of the instruments are generally small. The arching is somewhat high, but finely and gracefully " carried out, and has, of course, nothing of the grotesque and tubby character displayed in imitations. All the work is of a refined and delicate nature, and harmonises Well with the choice of wood, which may be described as fine, and delicate too. I have seen some CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 35 of this firm's wood of a nice open grain, but it is usually close. Many of their two-piece backs are beautifully matched, and have a clearly defined figure. The sound holes are graceful, and well placed, and have a slightly peculiar look which has given rise to certain extremely odd effects in the imitations. The' inner side of each sound hole being, to a certain extent, on the rise of the long and graceful arch, these have a slightly misleading appearance given to them, as if they were in fact, just a little knockkneed, so to speak. The result of this mis- apprehension is that in so cutting them in many of even the best ijnitations, the grossly exaggerated arch of the copies gives to these sound holes quite a ludicrous appearance in the eyes of a connoisseur, although it might not be so easily observed' by anyone not acquaijited with the originals. Some of their work, like that of Andreas Amati, was painted and gilded, and otherwise decorated — or abused — as many might not think it unseemly to say. The tone of the A. and H. Amati violins is generally exceedingly rich and sweet, although it is not usually very powerful. Amati, Nicolas, Cremona. This maker was the great artist of the family. He was a son of the Hieronymus Amati previously mentioned, by his second wife, Madonna Laura Lazzarini, who died of the jllague some six days before her husband, on the 27th October, 1630. Nicolas was the fifth child of the second union, his brothers and sisters by the two marriages numbering in all thirteen. He was born on the 3rd December, 1596, and died on the 12th April, 1684, being buried in the CarmeHte Church of Saint Imerio. His work is very ■ D2 36 THE FIDDLE FANCIER's GUIDE. rare, although one would not readily suppose sq from the number of instruments claiming to be original specimens from his hands. He somewhat flatteneid the model of his father's firm, arid brought the ~ arching nearer to the itiargins. Indeed I have seen late specimens of his, work in which the contour of the arch might almost be described as quite rounded. In work again dating forty years before his death, the arch is quite high, but all his work is, o'f course, fine. ' That goes without saying. One peculiar characteristic of his early period may be seen in the very pronounced corners. They are so fully developed that they are not unlike a dog's nose. Later,, that peculiarity almost disappears. > At any rate, it ceases to be so strongly in evidence. The figiire of his wood, both back and ribs, is generally very full. The sound holes are narrow in early work, and in later a little wjder. His varnish is a beautiful golden yellow, through brown, to golden red. The model of, a Nicolas Amati of the grand 'pattern has a distinctly solid look about it. The width of the upper portion of the' violin is much nearer that of the lower portion than in the work of his predecessors in^ the firm, namely, A- and H. Their violins have a more tender, less robust look, chiefly because of this difference between the width of the upper and lower portions. The sound holes^that is, the main stems of their design — in a fine specimen appear as if infinitesimally drawn toward each other at the lower half of the stems. They are, irl reality almost parallel, and that delusive appearance is the will o' the wisp which leads copyists astray. Nicolas Amati was married on 23rd May, 164^, to Lucrezia Pagliari, who CLASSICAL And post-classical violin makers. 37 was his junior by thirteen years. They had nine children, of whom only one followed the father's calling. Among" the pupils who resided in the house of Nicolas Amati,. as is evidenced by extracts from the parish records, may be mentioned, in 1 641 Andrea Guarnieri, fifteen years old. Five years afterwards, Andrea Guarnieri is not mentioned. Then, in 1653 he reappears, and is described as being then married, and next year dis- appears for good from the house of his master. Amati, Hxeronymus, Cremona. Born 26th February,, 1649, died 2ist February, 1740. This, was the only member of Nicholas Amati's family who followed the father's calling. He appears to have done so chiefly as a dealer, for the styles of the instruments bearing his name are of such remarkably varied character as to leave one strongly doubting that they were all made by one man. Ambrosi, p., Brescia, Rome, 1730. Reputedly some- what common work. Anselmo, p., Cremona and Venice, 1701. Very little known about him. Described as good work. Assalone, G., Rome, 17 — . Poor work. AuBRY, Paris, 1840^ A nephew of Aldric, ailready referred to, and who succeeded to his uncle's business, but not to his skillof fame. AuDiNOT, Nicolas, Paris. .An excellent French maker, born in Mirecourt ih 1842, and trained by his father, who Was established there. He was afterwa,rds employed by Sebastien Vuillaume (who was a nephew of the great J. B. Vuillaume) and was in business in / Paris. His instruments are of great merit. 38 THE FIDDLE FANCIER's GUIDE. AuGi^RE. Avery good Parisian maker, established about 1830. Bagatella, Antonio, Padua, 1786. Chiefly known as the author of a work on violins which is of great interest even yet. He was a fine repairer of old violins, and was employed by Tartini. Balestrieri, T., Cremona and Mantua, 1720 — 1772. A very good maker indeed. Some of his work is re- markably like that of Stradivari in almost all points, except finish. Powerful arid good quality of tone. Balestrieri, P., Cremona. Brother of preceeding. Poor work. Barnia, Fidele, Venice, 1760. A Milanese trained maker, who was' established in Venice. Fairly good, neat work, yellow varnish. Banks, Benjamin, Salisbury, 1727 — 1795. One of our finest English makers. Quite equal in style, finish, and tone to many of the fine Italian makers. His margins are splendid. His edges beautifully rounded. His corners full, and of true Nicolas Amati early style. His arching is exquisite, and the tone of his violins fine and ringing. The grain of the wood is generally remarkably equal, and of medium width. His varnish is decidedly rich, of a beautiful purplish cherry colour, and fairly transparent. His bigger instruments are also superb, and grand in tone. Belosio, Anselmo, Venice, 1720 — 1780. A pupil of Santo Serafino, but a mediocre worker. Dull, thicker varnish than his master's. Barrett, J. London, 1714 — 1725. A copyist of Stainer whose model he has much exaggerated, like CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 39 dozens of other makers who have tried it. It may indeed be said that the bulk of Stainer copies are so exaggerated as not to merit the title of Stainer copies at all. They are caricatures. Barrett's work is, however, by no means bad. His tone is of fairly good quaHty with a certain amount of breadth in it. His sound holes are quaint looking— the lower turn having a long sweep. Varnish a warmish yellow. Edges round ; pur fling not particularly good. Bergonzi, Carlo, Cremona, 1716 — 1747. This maker is one of the finest of the Cremonese artists. A member in fact, of the quartet pav excellence, Amati' Stradivari, Guarnieri, Bergpnzi. It is not known yet when he was born, .but he began working on his own account in the year first mentioned, and died ■'in 1747. He was a pupil of Stradivari when the latter was doing his finest work, as seems to be borne ovit by the grand outline of .Carlo's own work, which is akin to the best of Stradivari, and of Nicolas Amati. The sound holes are very pure, and sometimes approach the style of Nicolas Amati, except that they bend slightly outwards at the lower turn. The model is grand, although his violins are sometimes small, being slightly under fourteen inches. There is that approach towards equality between the upper and lower portions of the instrument which gives that magnificent appearance to what is called the "grand" pattern of both Stradivari and Nicolas Amati. His arching is flat, and his varnish of rich quality, and exceedingly fine in colour. In many of his violins it is of a beautiful, rich, transparent brown on reddish orange, and is occasionally rather thickly laid .O THE FIDDLE FANCIERS GUIDE.. in. In some instruments it has crackled all over, not inlike the manner of the famous Vernis Martin on some lid French pieces of furniture: His scroll 'is very fine. There is a marked peculiarity about the ear, or eye, Ls it is sometimes called. More properly it would be he boss of the volute, or terminal stem, which shows tself on each side sticking out at the last turn. This ast turn coines suddenly out, although the immediately previous turn is almost parallel to the vertical axis of :he volut^ viewed from the back. The toiie of his nstruments is generally splendidly full, broad, smooth, md magnificently equal. ■ - Bergonzi, M. a., Cremona, 1720 — 1760. ■ This maker was a son of Carlo. His work is not equal, by many degrees, to that of his father, but that is not saying a very great deal against him, for his father, as has been' said, was one of the greatest of the Cremonese. Michael Angelo Bergonzi's style is, however, heavy, and perhaps many fastidious judges would not appreciate him on that account, but he employed good wood, both in back and front, and plenty of it. His work is solid and massive, and not so artistically finished, but there is no doubt about the quality of his tone being of a high character. His sound holes are after his father's style, but longer — of very fair design, but slightly unequal./ Purfling not particularly good, but his varhish is of good- quality. His outline is not so good as his father's, and his middle bOuts are set in much deeper, but' with all that there is a sense of strength and individuality about his work which, when combined with the quality of his tone, :niakes a fine specimen of his something to be cherished. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 4r Bergonzi,. NicoLAUs, Cremona, 1739 — 1765. Son of Michael Angelo Bergonzi, made better finished instru- ments than his father, and much after same model, but worse varnish, and as far as I have been able to judge, I do not like them so well. Bergonzi, Zosimo, Grempna, 1765. Another son of Michael Angelo, made somewhat highly arched instru- ments for a Bergonzi,- but having a pretty enough tone. BASSOf, Joseph, Paris, from about 1788. This is reckoned a good French maker. Anything I have seen of his did not strike me as being of very high class, but it was of sound construction and the tone of good quality. Model . somewhat high;, and boxy. Varnish ordinary. Bernardel, Sebastien Phillipe, Paris. Born at Mirecourt in 1802. He learned violin making there and went to Paris, where he got employment from the famous Nicolas Lupot at first, and afterwards from ■ Charles Fran9ois Gand, another' famous Parisian maker. He is called in the trade Bernardel pere, and many of his violins are of a class reckoned only inferior to Lupot. Bernardel indeed made instruments very like those of his first employer, as was to be expected. They are highly esteemed in France, but not much appreciated here. He retired from business in 1866, and died on 6th August, 1870. Previous to his retirement, his two sons were taken into the business, and the firm became Bernardel and Sons. After his retirement in 1866, the late Eugene Gand became a partner of the two brothers, and the firm was changed to Gand and Bernardel Bros. 42 ' THE FIDDLE FANCIER S GUIDE. Betts, John, London. He was born at Stamford Lincolnshire, in 1755, aild died in 1823. This maker and dealer has become famous chiefly through two things, the first, being his copy of the King Andreas Amati 'Cello before referred to. This copy is certainly a fine pro- duction, which, besides showing paint in what was apparently the primitive abundance, also shows the wood, a very great advantage over the original, which is rather ancient now, and dingy-looking. The second circumstance was that singularly fortunate, and most exceptionally lucky windfall^ — as it might be named — in his direction of the now famous "Betts Strad," one of the handsomest of Stradivari violins. Nothing definite appears to be known about the date of 'this transaction, but it occurred probably between severity and, eighty years ago. Some person sold a violin over the counter to one of the Messrs. Betts, in their shop at the Royal Exchange — No. o, — one of the shops, probably, which at present face the front of the Bank of England; The price asked, or agreed upon, for the instrument was twenty shillings, 4he person selling it, not having, of course, the slightest idea of its value. ' Mr. Betts, how- ever, knew what it was, and bought it, keeping it beside^ him for years, and declining very handsome offers of as much as five hundred guineas for it. The story is a striking one, but it is not without its parallel, even in recent times. John and Arthur Betts are said to have made a copy of this Stradivari. These were descendants of the original John, who does not seem to have been a prolific violin maker. This copy has very handsome wood in the back, as it ought to have, in order to match CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 43 its original, but the sound holes appear rather weak, and the volute of the scroll just a Httle topheavy. Anything I have seen of the original John Betts was good, solid, square work, without any great display of taste, and with rather bad sound holes. There was an Edward Betts, who did better work as far as concerps appearance. They were both pupils of Richard Duke, but they chiefly employed other people to make for them, and, as far as I can judge, a considerable quantity of rubbish passed through their shop along with a great deal that was good, and much that was splendid, and which will be referred to under the actual makers. BoQUAY, J., Paris, 1705 — 1735. This maker was famous in his day, and many people like him yet. His model is high, and his varnish is not bad, of a reddish brown, tending to yellow. I do not think much of the tone. Bachmann, C. L., Berlin. Born 1716. Died 1800. One of the best Ge;rman copyists in Amati and Stainer models. He was a professional musician at the Prussian court, a distinguished connoisseur of his time and the inventor of the system of screwing the double bass pegs, which led to the adoption of machine heads. His instruments are soundly made, and covered with a kind of oil varnish. Breton, F. " Brevete de S. A. R. Me La Duchesse D'Angouleme a Mirecourt," so runs the ticket of this maker who seems to have worked in Mirecourt from about 1800 to 1830, or later. His instruments frequently have a light brownish yellow varnish, not unpleasant to look at, though of rather common type, and such as one might expect to see on a good class of trade instru- 44 THE FIDDLE FANCIER S GUIDE. ment. The tone is not without breadth, and is, to a certain degree, sympathetic. The arching is flat, and altogether the work is by no means bad, but is what people think common-looking, no fault at all in a good violin. Briggs, James W., Leeds. Contemporary. A pupil of William Tarr of Manchester. Violins, violas, and basses. CoLLiNGwooD, JosEPH, London, 1760. A fine old English maker of considerable originality. Fine wood, and pleasing, light yeUpw varnish. His sound holes are well designed, but very wide Amati-Stainer model, with remarkably good quality of tone. Camillus, CAMiLLi,JV[antua, about 1740. A maker who copied Stradivari to a certain extent, and employed good wood and fairly good varnish. Cappa, Joffridus, Saluzzo. This was a Piedmontese maker, about whom a good deal has been written without much foundation. Fetis had authoritatively said that he was born in Cremona, and had been a pupil of A. and H.' Amati, giving other apparently well ascertained particulars regarding him which very naturally led people to suppose that he had acquired them in some specifically authentic fashion. An Italian connoisseur of much distinction also took some trduble to find out ai little about this maker, but failed. Conjecture appears ■ to have been very busy with him and his work. It now seems that he was at work in Saluzzo and in Turin during the first half of the seventeenth century, and this information is derived solely from tickets found in instruments claiming to be by him.- Anything that I CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 45 have seen which I could be persuaded to admit might' possibly belong to the period in which he is siippo'sed to have lived, although of fairly good style, showed poor eare in the wopd, a generally tubby look, and rather tasteless sound holes. Other examples equally claimant for the hopourof his parentage showed discrepancies in style, varnish, model, and everything else, which were so palpably absurd, that I think him one of those dummies in regard to whom the fiddle-fancier should be particularly cautious. There are some very fine instruments bearing this name, whether they are by Cappa or not. He had sons who followed the business, but whose work is of little importance. Carcassi, Lorenzo and Tomasso, Florence, 1738 — 1758. I have seen a number of instruments professing to be by these makers. A few of them were fairly good. This is a name which is, unfortunately, largely used to put into any kind of absurd rubbish which it is thought may be got rid of in a sale room. CastaGneri, Gian Paolo. An Italian maker who settled in Paris, and whose violins appear to be remark- ably rare and of mediocre quality to boot. Castagneri, Andrea, .Paris, 1735 — 1741. This maker was a son of above, and made somewhat better instru- ments than his father. The dates given aipe those found on two of his instruments. Castro, Venice, 1680 — 1720. jPoor work. Castello, Paolo, Genoa, 1750. Poor work. Ceruti, Giovambatista, Cremona, 1755— -1 8 1 7. This maker is, in Italy, supposed to have been a pupil of Storioni, on what ground it is difficult to guess. He 46 THE FIDDLE FANCIER'S GUIDE. succeeded to Storioni's business in 1790, or, at least, removed into the premises previously occupied by Storioni at No. 3', Contrada Coltellai, near the square of Saint Domenic. Perhaps this circumstance may have given rise to the notion, for there is very little in common between Ceruti and Storioni. The instruments of Ceruti are very good, chiefly of the Amati model, but having a tone quite French in style. The varnish is of a soft and elastic character, but not particularly spirited in appear- ance, and not very transparent. It is frequently of a dull, cherry colour, rather scumbly. Guiseppe and Enrico were son and grandson of Giovambatista, and carried on the traditions of the house with credit. Enrico, the last of the Cerutis, died oh • 20th October, 1883 — his father, Guiseppe, having predeceased him in i860 — and thus the direct line of communication which had subsisted between makers of modern times, and the last of the more important Cremonese artistes was severed, as Giovambatista was the depository, through Storioni, of much of the traditionary lore regarding the greatest of the Cremonese, School. As the irresponsible talk to which that kind of information gives rise has something to do with the confusion of knowledge regarding the subject, the drying up of such a stream of gossip is not so much to be regretted as the disappearance of the firm of Ceruti itself from the contemporary annals of fiddle lore. Chanot, Francis. Born at , Mirecourt, 1788. Died at Rochefort, 1828. He was a naval engineer, and a scientist who distinguished himself greatly in the study of violin acoustics and construction. He invented CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 47 a new violin which did not succeed permanently, although it made a considerable sensation at the time. He continued to make and sell specimens of it for about seven years from 1817. They differed almost wholly from the classical shape and in their principles of construction, but are now interesting in many ways. Guitar-shaped, they had no protruding margins, no blocks ; back and front were in single pieces, sound holes parallel, bass bar in the centre, and so on. A specimen was tested by a commission of distinguished musicians, and pronounced superior to the best known ,Sttadivaris. Chanot, George. Brother of preceeding, was born at Mirecourt in 1801. Learnt violin-making there and went to Paris in 1819. Became one of the finest makers of his time, and worked first for his brother, then on the regular fiddle with Clement, a Paris maker. Then, in 1 82 1, with Gand for two years. In 1823 he began on his own account, and continued until 1872, when he retired. He was reputed the finest connoisseur in Europe, and his instruments have a very high deputa- tion; He died in January, 1883. • His son, George, learnt his business with his father in Paris, and afterwards came to London, where he has been a maker and dealer for upwards of forty years. One of the finest modern copies of Joseph Guarnerius that I have seen — as far as outward look and wood goes — was made by this latter George, who has also sons (F. and G. A.), worthily carrying on the family name and reputation in London and Manchester. CoMBLE, Ambroise de, Touriiay, 1720 — 1755. This 48 THE FIDDLE FANCIER's GUIDE. maker has undoubtedly high claims to acknowledg- ment. He has the reputation of having been actually at Cremona under Stradivari. His work is of a very high character. The outline of his larger instruments is extremely beautiful, and bears quitfe recognisable evidence of having been guided by a Stradivari motif, but his sound holes are cut much lower than in Stradivari instruments, which is a curious circumstance in a maker who came so directly under the influence of the great Cremonese. Oddly enough, they do not detract much from the fine feeling of the ensemble. There is not that sense of entire compactness with which a Stradivari 'cello inspires one, but that is all., De Comble's scrolls are very beautiful specimens of sculpture.' Varnish a fine brownish red, pretty closely resembling Italian. CoMiN§, John, Loildon, .about 1800. A very good worker who, it is said, was a pupil of Forster. Made instruments pretty deep in the ribs. Light yellow-brown varnish. Fine wood. CoNTRERAS, JosEPH, Madrid, 1745. Very good style and work. Not very many specimens about. Cross, Nathaniel, London, 1700 — 1750. ,1 cannot say that I greatly admire this maker's work. Somewhat large and deepsided, his violins have rather tasteless sound holes, very .short corners, and common outline'. They are covered with a light yellow varnish. He worked in conjunction with ' Barak Norman. His scrolls are certainly fine. Derazey, H., Mirecourt. From about 1820. A good copier of J. B. Vuillaume in outward appearance, especially in the figures of the backs of some of his CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 49 violins. The varnish on the back is a Uttle crackly sometimes, more like that of the elder Gand than of Vuillaume. His scrolls are also not unhke those of Gand pere, but not nearly so powerful looking, and not so wide at the bottom. His varnish is a fed, slightly inclining to purple. Tone fairly good, but decidedly nasal. Duke, Richard, London, 1754 — 1780. This is a magnificent maker. His outline is very pure — Amati or Stainer. The sound holes in the Stainer models are, curiously enough, not particularly fine, but those in Amati copies are better. The latter are cut a little narrower at the top than at the bottom turn, which gives them a slightly quaint look. His scrolls are very fine, and the tone of his instruments is of a most exquisite character. I consider that he is quite entitled to walk in line with the Italians of importance in everything except his varnish, and that chiefly excepted yvith regard to its colour, but not in regard to its pate. It is of a beautiful soft, but dull brown, with little or no life in it;. Richard Duke violins are, it hardly need be said to experienced fanciers, very rare indeed. DoDD, Thomas, London, 1786 — 1823. This was a clever man who did not make violins himself, like sO' many others, about his time. He employed first-class men to deliver them to him unvarnished. Among these workers were such as Bernard Fendt and John Lott, both men of the highest skill. , Dodd varnisTied the instruments himself. It is a nice oil varnish, but nothing to set the temse on .flre^ The instruments, such, at least as were made by Fendt, are splendid examples of Violin making. Dodd professed to be "the only 50 THE FIDDLE FANCIER'S GUIDE. possessor of the recipe for preparing the original Cremona varnish." This statement appears on his tickets, and may be quite true, but he certainly never seems to have used the recipe. DuiFFOPRUGCAR, Gaspar, Bologna, Paris, Lyons, 1510 — 1540. This is an early lute and viol maker, who, having once ,got into books about violins, seems destined never to get out of them. Every now and again some person starts the discussion as to whether or not he made violins. The latest fight was in May, 1 891, in a Leipsic paper, where a writer took the trouble to review che whole question, because a Mr. F. Niderheitmann, of Aix-la-Chapelle, believes that he has discovered three vi6lins by this splendid old viol maker, although every- one to whom he has shown them, and who professes to know anything about the subj.ect, has told him that they are modern French reproductions — rthat is, modern in the sense that they are probably some of J. B.' Vuillaume's clever — fac-similes — as I suppose they should be called. The whole question has been threshed out over again, and the fever of battle has spread to New York, where an esteemed correspondent of my own has taken the trouble to translate the article and reproduce it in the form of a srrlall brochure of seven or eight pages, " Was Caspar Duiffoprugcar really the First Violin Maker ? " I never saw any viojins by the great Bolognese. , Eberle, J. U., Prague. About \ 1750 — 1759. A clever maker of the old style ; fine finish, but thin, poor quality of tone. High model and good quality of varnish, but somewhat dark in colour. AH the Eberles CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 5I — there were several of them — appear to have been of a highly artistic turn. Such work of theirs as I have seen was of a refined and decorative style. Ernst, Frank Anthony. Born in Bohemia, was a musician, writer and violin maker who did good service to the- art in Germany by teaching Jacob Augustus Otto how to make instruments. I have not seen any by either master or pupil. Ernst , began business in Gotha. about 1 778 . as a musician at Court, and having a little leisure he turned his attention to making violins and succeeded, as is reported, in producing very good ones. Fent, taris, 1763 — 1780. This maker has the reputation of being one of the highest class in France of his day. I . have never been able to understand why his violins have not ranked above those of any French maker, unless the circumstance that he' has been so unfortunate in the matter of worms has told against him, and, perhaps, in addition, the darkening down of his vairnish. In all other respects his work is of the finest. His model was Stradivari. He spelt his name " Fent " in his tickets alid his calling " lutier." Fendt, Bernhard. This maker was, it is supposed, a nephew of the Paris Fent. He was born at Inns- bruck in 1756 and died in London in 1832. His name is spelt differently from that of his Parisian relative, who was not partidularly good at spelling either in his own or in his adopted language, as may be seen by reference to last article. Bernhard learnt violin making with this mftcle in Paris, and at the time of the French Revolution came to London, where he found employ- E2 52 THE FIDDLE FANCIER S GUIDE. ment with Thomas Dodd already mentioned. His initruments are beautiful specihiens of his art, having a tone which is exquisite in quality and may quite truthfully be described as Cremonese in that respect. The varnish which Dodd put on, although not exactly what he professes it to be, is a very fine varnish, and might readily mislead people who have not seen examples of Cremonese. Bernhard Fendt also worked for John Betts.. Fendt, Bernard Simon, London. Born in 1800, died 1 85 1. He was a son of the previous maker. He spells "Bernard," as will be observed, without the letter " h." Like his father, he was a splendid maker, and has produced work which will rank with some of the finest Italian. Indeed, in the prime matter of tone, his earlier instruments are now almost quite in line with the best of the Italians for quality. There is a rich roundness on all the strings which is rarely found in any -instruments other than Cremonese. His work, is of fine Italian style, haying a brilliant orange varnish, spacious margins, full and handsome sides, elegant arching, and very good and neat purfling, while his scrolls are exceedingly fine. Altogether his earlier instruments are splendid productions. He also made a number of excellent double basses and 'cellos, and in 185J he displayed at the great International Exhibition in London a quartet consisting of violin, viola, violoncello and double bass, which, in the opinion of almost every competent judge in the country, surpassed anything exhibited in that show. The most competent judges did not, however, happen to be the ' jury on that occa- CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS.. 53 sion, and although B, S. Fendt got a prize medal, the one which he should have had — the grand council medal —went to J. B. Vuillaume, of Paris. The. jury on the violins in the 1851 Exhibition consisted of Sir H. R. Bishop, Sigismund Thalberg, W. Sterndale Bennett, Hector Berlioz, J. R. Black, Chevalier Neukomm, Cipriani Potter, Dr. Schafthauk, Sir George Smart and Professor Henry Wylde. They were assisted by the Rev. W. Cazalet, James Stewart and WiUiam Telford. Only one of these gentlemen could even play the violin when he was a young man, namely. Sir George Smart. The others were general musicians, pianists and organ- ists — distinguished, of course, in high degree, but who knew little more about the question of fiddles than the man in the moon. One was a pianoforte maker, another an organ builder, a third a geologist and metallurgist, a fourth a physician, a fifth a clergyman who happened to be superintendent of the Royal Academy, and the rest were professors there, or elsewhere, of the piano and organ. The very same gentlemen, in fact, who awarded prize medals to successful competitors in barrel organs or big drums distributed the honours for the most wonderful instrument in the world, and it is not, therefore, surprising that the object rewarded in this case- was, in the words of Sir Henry Bishop, " New modes of making violins in such a manner that they are matured and perfected immediately on the completion of the manufacture, thus avoiding the necessity of keeping them for considerable periods to. develop their excellencies." That is the deliberate statement of the chairman of the jury as, to the reason why they gave the 54 . THE FIDDLE FANCIER's GUIDE. Council medal to J. B Vuillaume. A decision like that was quite enough to take away any violin maker's breath for all time, and it is not in the least astonishing that B. S. Fendt died that same year ! Seriously, however, that decision will remain a curious comment on the astonishing ignorance of fiddle matters which prevailed in distinguished musical circles forty or more years ago. I yield to none in my admiration of J. B. Vuilla,ume's fine violins» and I also know that B, S. Fendt in his later instrurrients tried somewhat similar ways, but to accept an honour for processes of that kind, argues as much ignorance on Vuillaume's part at that time as the jury themselves displayed, or else an unusual amount of hardihood in the arts of self advertisenjent. The instruments of almost every member of the Fendt faniily have for years back been steadily advanc- ing in public favour. The beautiful character of the tone which they possess is ' sufficient to account for this, but apart from tone, there is a style about Bernhard, Bernard Simon and Jacob, which so forcibly recalls the finest efforts of the greater Cremoriese, as to make one almost realise, in the latter's absence, what it is to have a fine Crerriona violin. The varnish on his later instruments is, occasionally a little dull. In his tickets his name is printed " Bernard S. Fendt, Junr." Fendt, Martin, London. Born 1812; This maker was another son of Bernhard Fendt, and was in the employment of the Betts firm. I have not seen any instrurrients which were made by him, and it is probable that he was chiefly occupied with repairs. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 55 Fendt, Jacob, London. Born 1815. Died 1849. Another son of Bernhard Fendt. The whole conception of his instruments is generally higher than the work of other members of his family.. His wood is generally very fine and regular, while some of his backs are really, in regard to figure, most beautiful. In his Guarnerius copies, the sound holes are rather exaggerated reproductions of that great maker's, style, but in this respect he is in very good conipany, as the best copyists that ever lived have failed in exactly hitting off the striking pecuHarity of Joseph del Jesu's sound holes. I have heard it urged that these great makers, both English and foreign, did not try to " slavishly copy " the individuality of Joseph Guarnerius, but I cannot say that I have great faith in the V9.1idity of this kind of reasoning. I believe that they tried to copy him and Stradivari, as well as Nicolas Amati, in the most minute particular, and that " they simply failed to do it perfectly. When Vuillaume turned out, under stress of circum- stances, his reproductions of the old masters, and put in imitations of the old tickets — and very clever imitations too — we may be absolutely certain that he left nothing undone that he could have done, and so it is with any maker, who has set himself to copy the old masters in tha:t fashion. With the exception of putting in old tickets, discolouring the wood by artificial means, and otherwise imitating the aged appearance — barring, perhaps, the artistic breaking up of varnish — ^makers could not do better than "slavishly " copy such productions as the Cremonese masters have left us. Like Vuillaume, Jacob Fendt, in order to live. 56 THE FIDDLE FANCIER's GUIDE. was constrained to- turn out the modern antique, and the man's genius is visible in the circumstance that he could do the latter thing, and at the same time turn out a splendid violin. In tone, style, and everything, a good specimen of Jacob Fendt is magnificent. Fendt, Francis, London. This was another son of Bernhard, of whom little is known. Fendt, William, London. This maker was a son of Bernard Simon, and was employed with his father. He did not make many violins, but was at work with his father in the making of double basses. Ford, Jacob, London, 1790. A very clever maker, who imitated in a remarkable manner the great favourite of most 1 8th century workers, Jacob Stainer. His scrolls are a little stiif-looking, and in other respects, the model is not really Stainer, but borders very closely on' it. For example, Stainer's margins, which few English, or even Continental makers, have copied well, are very faithfully reproduced by Ford. Stainer's margins, though not so large as the Italians, are much less niggardly than the great majority of his imitators would have us believe, and although there is no great credit, perhaps, in the mere reproduction- of the design of a fiddle, when we find a man doing this in a faithful manner we have reason to cherish tlie hope that he may have his heiad screwed on properly with regard to other things. . The sound holes are not Stainer, nor is the archiiig, and one may well ask, " What is there about the work that is Stainer ? " Just the general look and tone feehng, the finish of the work, which is great, and the choice of wood. Varnish a deepish tinted yellow. CLASSICAL ANP POST-CLASSICAL VIOLIN MAKERS. 57 FoRSTER, John, Brampton. Born 1688. Of interest chiefly because it is supposed that he was the , father of William Forster, who follows. It is understood that John Forster made one violin. Forster, William, Brampton-. Born 1713 — 4. Died i8oi. He is chiefly of interest because he was the father of the next Forster. Forster, William, Brarnpton. Born about. 1738. He was a spinningwheel maker, violin maker, and violinist, celebrated throughout the country side in Cumberland for his performance of Scotch reels. He also composed and published reels. He came to London in 1759, and tried spinningwheel making in Commercial Road, East, but not successfully. Then he manu- factured gun stocks, and occasionally a violin for the music shops. By-and-by, after some hardship, he •entered the service of a maker in Tower Hill named Beck. There is no trace of this Beck anywhere except in the biography of the Forsters. William Forster was successful with Beck, and asked an advance of wages, was refused, and left. In 1762 he began business on his own account in Duke's Court, St. Martin's Lane. -Success came there in the form of aristocratic patronage, and between last date and 1782, he. added music publishing to his business, and at this time used the title page of one of these works as a label. In 1781, he was in St. Martin's Lane, and three years later in the Strand — -No. 348. Royal patronage now came, arid the climax of his success was attained. He negotiated with Haydn for the publication of his works, and among his customers were the famous engraver, Bartolozzi, and the 58 THE FIDDLE FANCIER's GUIDE. no less famous litterateur, Peter Pindar (Dr. Walcot). This William Forster (called in the trade " old Forster") died in 1807. That he made instruments of high quality goes without spying. His violoncellos are very good, and much coveted. I confess I do not altogether admire the style of his tenors and violins — -thait is, of course, judging them by the highest standard, and his violoncellos do not always appear to me to be very gtaceful instruments ^s far as outline goes, but rather broad at bottom, and narrow at top ; but their tone is decidedly good. His varnish is dull, staid, but of a refined character, if one may employ such expressions with regard to. varnish; The colour of much of it is like a reddish brown, not too dark, with an almost entire absence of polish on its surface, but having an air of eminent respectability, like the surface of a well-worn piece of dull grain goatskin leather. His wood is always fine. About 1762 he adopted the Stainer model, and worked on it for ten years, when he turned to Amati; — (A. and H. and Nicolas). What I have said about his varnish refers to his later work, from about 1780, or, a year or two before that. In the early work he appears to have stained the wood before varnishing. On these it is dark red with a, blackish tinge. He made only four double basses. His commoner violins, etc., had no purfling. Labels, William Forster,' Violin Maker, in St. Martin's Lane, London. Forster, William, London. Born 176^. Son of above. He began to make violins early, his first one being entered when he was fifteen. His work is generally highly finished, but is not of equal merit in other respectSj CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 5^ and is inferior to that of his father. He only made two or three violins of any worth, and about a dozen common ones. His varnish is same as his fathier's best. He died in 1824. Added "Junior" to his name in his labels, and " Music Seller to the Prince of Wales and Duke of Cumberland." FoRSTER, William, London. Born 1788. Died 1824. Son of above. Made very few violins. I have not seen any. FoRSTER, Simon Andrew, London. Born 1781. Died 1869. Made few instruments personally, and not of great merit, as far as I can learn. He is best known as the joint author, along with Mr. Sandys, of a " History of the Violin " which contains a deal of valuable information regarding the ' English School of Makers. He states in this work that he made fifteen violins, four violas, thirty-eight violoncellos, and five double basses, all of the best class, and that he also made other forty instruments, of ^ all classes, of an inferior quality. That would be in all over a hundred instrunients. I have only seen two or three claiming to be by him, and they were violins of rather poor qualityJ But I am not in a position to say that I recognised his work in these. FuRBER, London. A family of violin makers regarding the early members of which very little is known. They have been chiefly employed making for others. The first was David, of whom nothing appears to be known. His son, Matthew, died in 1790. A subsequent Matthew and a John Furber worked for the Betts' firm, and Mr. Hart states that this John made fine copies of the " Betts' " Stradivari, while that instrument remained <6o THE FIDDLE FANCIER'S GyiDE. with the firm. There should therefore be some excellent •copies of this famous ' fiddle about, and for which time will have done some service — all other things being •equal. The last-mentioned Matthew died about 1830, and John sometime after 1841. ' The present representa- tive of the family is Henry John Furber. , Gabrielli. a Florentine family of violin makers from about the beginning of last century. Christoforo, Barlolomeo, Gian-Battista, and Antonio. Gian-Battista is the best known, and has sometimes attractive looking wood in his instruriients. Of second and third rate quality, but carefully made. Yellowish varnish, and somewhat tubby model. Gagliano, Alessandro, Naples. Born about 1640. The biographical details regarding this maker corruscate ■around, a duel, which he is said to have fought, arid which drove him to the manufacture of violins. The story has taken various shapes, the most recent being that from his youngest days he studied music, and amused himself by making mandolines" and l,utes. That in his time the Kingdom of Naples, being under Spanish Dominion, was affected by an unusual disregard of the value of life. That duelling was constantly practised — which is quite correct^ — and that the inhabitants, in order to be able to defend themselves, or from a love of fighting, learnt and taught their children assiduously the art of fencing, and the general management of lethal weapons. Alexander Gagliano, in this way, acquired consummate skill in the art of duelling while yet he was young, and one evening he had a quarrel with a Neapolitan gentle- man, a member of a family called Mayo. They had no CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 6r sooner crossed swords, when Gagliano's opponent received his death wound. The duel occurred in th& Httle square of New St. Mary's, near the Church of th& Franciscan's, which was sacrilege according to the bull of Pope Gregory XIV. The friends of the murdered man were sufficiently powerful with the viceroy df the: Kingdom, and Gagliano, alarmed at the possible conse- quences of the deed, sought asylum with the brotherhood, and put himself under their protection. The viceroy — one Count Penneranda — was vehemently opposed to the practice of duelling, and missed no opportunity of" treating offenders with the greatest rigour. The^ murdered man was, in this case, one of his most intimate friends, and naturally, his resentment was- considerably accentuated. The Spanish Government made determined efforts to upset the privileges of the^ monastical establishments, the inmates of which had more than once, however, shown themselves to- be powerful defenders of their rights, and Penneranda had, at last, to retire repulsed. This, of , course,, increased his anger, and he at length threatened to assault the convent ifj within a given date, the culprit: were not delivered up to him. In the meantime, the Neapolitan Cardinal, Ascanio Filomorino, had mixed', himself up in the affair, and supported the brotherhood in their efforts to keep Gagliano safe by getting him out of the way. Rearranged all the means, and by night and accompanied by a well-armed escort, he dispatched him to Mignamillo, in one of his districts, from whence^ he sent him off to Rome. Gaghano, from this jioint, directed his steps northwards, and it is. not unlikely that: 63 ■ THE FIDDLE FANCIER'S GUIDE. Jiis thoughts turned to Cremona. At any rate, he travelled from town to town until he arrived there, and •came to know Stradivari, and arranged to enter his shop as a pupil. He worked, it is said, with Stradivari for about thirty years, and, having received intimation of a pardon, returned to his native place at the end of 1695. The chief point of interest in this narrative is that it places Gagliano as pupil of Stradivari at a date when that great maker was himself working with Nicolas Amati, or had, at least, just begun business OU' his own account, namely, in 1664 or 1665. Now the violins of Alessandro Gagliano are of a type totally different from those which Stradivari is supposed to have been working at during the period' intervening these two dates. Gagliano's violins are of a fiat model, much flatter, and indeed, larger, than anything Stradivari is supposed to have made, until long after his pupil was peacefully settled in his native town. The varnish on his instru- ments is generally of a sickly-looking yellow tint, but is also of reddish brown. His wood is of a fine quality, and his general proportions are also good. The figure shown in his wood is usually of a large kind — the sides being of ordinary height, and his purfling and •corners cajreful. The tone of his violins is very good, and of a pure and silvery quality in the upper strings, and fairly round and full in the lower. He died in Naples in 1725. He seldom used labels. Gagliano, Nicolas,, Naples. Born about 1665, just about the time his father had to flee from Naplesi He was rather a finer workman than his father, and had a detorative turn as well, some of his violins being orna- CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 63 mented round the line of purfling. His instruments are of an altogether different type^ more graceful, and softer in outline, and somewhat more highly arched. The varnish is also different, being of a darker yellow, and very transparent. The tone is altogether very beautiful in a fine example. He made a large number of violins, violas, and 'cellos, and into some of them, he, or some- body after him, put Stradivari tickets. His own tickets run " Nicolaus Gagliano filius Alexandri fecit Neap,'i' then date. He died in 1740. , Gagliano, Gennaro, Naples. He was second son of Allessandro. He was probably born about i6g6, and was the finest maker of this name. His works are very rare. He seems to have used Stradivari tickets chiefly, and when he did use his own, he never put a date in them. They simply ran " Gennaro Gagliano fecit Neapoli, 17 — " the two figures which would have located the instrument in point of time being omitted. He had a fine varnish, and a recipe for varnish in his own hand- writing still remains with the Gagliano family, but it is very likely not for that which he used, as his, successors have never been able to reproduce it. He employed beautiful wood, and his style is not unlike that of' his father, AlessandrOj except that his sound holes are shorter and wider. He died in 1750. Gagliano, Ferdinanijo, Naples. Born 1706. Died 1 781. This maker was eldest son of Nicolas Gagliano, and grandson of Alessandro. His instrilments are in some respects like his father's, but more arched. Indeed the arch is a very long one, and rises somewhat suddenly at the top, continuing at about an equal, height 64 THE FIDDLE FANCIER's GUIDE. as far as the notch of the sound holes, where it appears to begin to fall away gradually to the lower nlargin. The arching of the back is not so pronounced, and is more equally distributed. His outline cannot be called I graceful, but rather heavy-looking. The sound holes are well cut and very well designed, long and open. Fine wood and well finished work. Varnish a warmish yellow, of a common-looking character. Scroll not very artistic in design, but well cut. Looking at it from front, volute spreads rapidly out at bottom turn. Altogether very good violins. Tone a little thin, but penetrating. Gagliano, Guiseppe and Antonio, Naples. Brothers of Ferdinanci, made instruments of no great importance so far as concerns violins, but made fairly good mandolines and guitars. An early ticket of theirs is dated 1707, and Guiseppe died in 1793, while Antonio lived on to the end of that century. Gagliano, Giovanni, Naples. Another brother of Ferdinand. He was rather better as a violin maker , than the previous firm, but has left nothing of importance as far as I know. He died in 1806. Gagliano, Raffaele and Antonio, Naples. Sons of Giovanni. They worked in partnership, but appear to have made nothing worth remembering. Raffaele died gth December, 1857, and Antonio 27th June, i860. Gagliano, Vincenzo, Naples, is the last of this numerous fiddle family. He is not a vioHn maker, but a maker of strings; His first strings have a high reputa- tiofa in Italy. As he has neither wife nor children, I suppose the name will die out with him. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 65 Gand, Michel, Versailles. This maker was the first of the famous family of this name. He was born in Mirecourt, and went to Versailles in 1780. His instru- ments are not much appreciated. He had two sons. Gand, Charles Francois, Versailles. Bo.rn 5th August, 1787. Died loth May, 1845. He first began business in his native place in 1807 and continued there till 1810. He then removed to Paris, where he died. He was taught partly by his father, but chiefly by Lupot of whom he was an acknowledged pupil. He became Lupot's son-in-laW and succeeded him in business. The violins of C. F. Gand, or, as he is called in the trade, Gand pere, have a majestic outline. They are distinctly individual. The scroll is a most powerful piece of cutting. Viewed at the back, it has a broad, massive appearance not found in ■ the work of any other — at least not to such a pronounced degree. The varnish is a strong red brown, tending to red, on a yellow ground. He was in the habit of leaving patches of yellow near the margins where the hands are supposed to catch a violin in handling it. It is a kind of family mark, which has been modified by his successor slightly, and, of course, imitated by all who wished their instruments to pass as having been made by him. It is generally left on each shoulder and also- at the bottoni on each side. The tone of his instruments- is very fine. Gand, Guillaume, Paris. Born 22nd July, 1792.. Died at Versailles 31st May, 1858. This maker was a brother of C. F. Gand, and was also a pupil of Lupot,, after leaving whom he returned to Versailles and 66 THE, FIDDLE FANCIER's GUIDE. tecame successor to his father. Hi^ instruments are well appreciated in France. I have not seen any of them. Gand, Charles Adolphe, Paris. Born nth December, 1812. Died 24th January, 1866. This malcer was a son of C. F. Gand and succeeded to his father's business in 1845, and also to the appointment of maker to the King's musicians and to the conserva- toire and later to the Emperor's Chapel. The two first appointments had been continued to the firm since the time of Lupot, to whom they were first granted. C. A. Gand did not make many new instruments. In 1855 he took as partner his brother, Eugene Gand. Gand, Eugene, Paris. Born on 5th June, 1825. Died at Boulogne sur Seine on the 5th February, 1892. This maker— ^the brother above referred to as associated with C. A. Gand^-has played a somewhat important part in the history of this famous house. While he studied violin making under his father and brother he also studied violin playing under the celebrated Baillot at the Conservatoire, and left it only at the death of that great violinist in 1842. On the death of his brother in 1866, the two brothers Bernardel already referred to became his partners and the firm then became Gand and Bernardel Freres. For a number of years the instruments of this firm had ceased to be personal works. Their business extended considerably, and could only be done in that fashion, namely, in employing clever workers to do what their fathers were supposed to have carried out with their own CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 67 hands. Of course all violins were understood to be subjected to the supervision of the masters during their progress. A supervision quite sufficient, no doubt, to ensure that the instruments would sustain the reputation of the concern for style, finish, and tone. One gigantic order which ithe firm had was for the orchestras in the. Trocadero at the International Exhibition of 1878. My recollection of that is sufficiently vivid. This firm alone furnished 51 violins, 18 altos, 18 'cellos, and 18 double basses. The greater number of these were bought by the Conservatoire. In the violin department of that Exhibition the jury awarded the grand gold medal to the firm. An award of this kind does 'not always mean much, but instruments of theirs which I have seen are decidedly good violins of exquisite outline, and fine Stradivari model. They are covered with a kind of traditional family red varnish, and have a powerful, ringing tone, which when it settles down will doubtless be highly appreciated. Eugene Gand received a good many decorations. He' was an officer of the Legion of Honour, a commander of the order of Isabella the Cathohc, a chevalier of the order of Leopold of Belgium, a chevalier of Nircham — whatever that may be — president of the Association of Artiste Musicians, an officer of the French Academy, violin maker ta the Conservatoire, to the Opera, and to the Opera Comique. He was also a good judge of old violins, although his opinions occasionally required confirmation. His recent death will certainly leave a great gap in the ranks of the trade. He was a man of culture and F2 68 THE FIDDLE FANCIER'S GUIDE. judgment, and had seen almost all the fine violins in, the. world — at least, almost all the fine Stradivari violins. Gasparo da Salo, or, to give hitn what has now been discovered to be his proper name, Gasparo di BertoloUi, was a violin maker in Brescia who has hitherto had the, honour accorded to him of being the inventor or de- signer of the violin in. its present form. It, now appears that not only was his father, Francesco di BertoloUi, a violin maker before him, but that others — such as one Gio. Battista D'Oneda in 1529 — were also makers of similar instruments. The origin of these important discoveries is as follows : On the 12th of January, ' 1890, Professor D. Angelo Berenzi , delivered a very interest- ing lecture in the Athenaeum of Brescia on the subject of the ancient Brescian violin makers, and at the conclusion of his lecture he expressed a hope that Brescia might be induced to follow the example of. Cremona, and seek to commemorate in some permanent manner the fame of her most distinguished workers in this art industry, namely Gasparo da Sal6 and G. P.- Maggini, and suggested that it might convenietitly be done in the form of a memorial stone with their names- inscribed upon it. Some of those present advised that if he would make investigations in th« State archives, and in those of the municipality and suburban parishes for the purpose of finding out where these two dis-- tinguished violin makers lived, or had their shops, it would be all the easier to obtain .from the authorities permission to place the stones in the most suitable localities. He at once set about his task, and after the most laborious researches, in a few months laid before CLASSICAL A^D POST-CLASSICAL VIOLIN MAKERS. 69 ' the public the results of his investigations. These wer.e published in October, 1890, and consist of a great many valuable facts coilnected with Maggini, his father, wife, family, house, business, &c., &c., and which will be noted ' under the maker's name. . Professor Berenzi was unques- tionably the pioneer in these investigations. He, and no other, initiated and carried them out — cleared the jungle " in fact, and made a path through the wood, so that whoever iriight follow him would have little or nothing to do beyond verifying for themselves the discoveries which he had made, and acquainting themselves with the facts which he had already brought to light. Having accomplished this for Maggini, his friend, Cavalier Livi, who is the keeper of the State Archives • in Brescia and had greatly assisted him in his investi- gations, entered the now cleared path on his own account and penetrated farther in search of Gasparo da Sal6. His journey was also successful and resulted in the discovery of some very interesting particulars /concerning this maker, of whom so little was previously known. Cavalier Livi published these particulars in August, 1891, in the " Nuova Antalogia." They are in substance as follows : Gasparo di Bertdlotti — ^known .to us hitherto as Gasparo da Sold— was the son of r Francesco di Santino Bertolotti of Sal6, and was born . there in 1542. The exact dates cannot be ascertained because two pages — -224 and 225 — of the register in which the birth entry should have appeared are missing. But subsequent documents prove that he was born in the J, ^ar mentioned. These are income tax returns for , the yeai;s 1568 and 1588, in the first of which' Caspar 70 , THE FIDDLE FANCIER S GUIDE. declares that he is twenty-six years old, and fprty-five in the second. There is no mention of him before 1565, but he then appears to have acquired the title of maestro, and may have had a shop. There is some reason for supposing that Gasparo was a pupil of one Girolamo Virchi, a maker in Brescia, who was sponsor at the baptism of one of Gasparo's children — a son named Francesco. In 1568 the rent of his house and shop was about ^"20 per annum, and he had a stock of musical instruments which he valued at close on ^60. Twenty years after that his stock had increased con- siderably. He says then that he had violins finished and unfinished which he valued at about ;^2oo. In 1599 he bought another house in Brescia in a street called St. Peter the Martyr^ and from 1581 to 1607, a few small places situated chiefly in Calvagese near Sal6. This maker died in Brescia on the 14th April, 1609, and was buried in Santo Joseffb. The work of Gasparo da Sal6 (di Bertolotti) is the work of an artist. His violins are arched rather full, but the contour of the arch is as if the instrument were blown out like a silken bag under certain specified restraints. There is a fine large feeling about Jais sound holes, which are pretty nearly parallel thrpu^out. That is to say, their width is pretty nearly the \same until the stem approaches both top and bottom cirdjles. They are not parallel in the sense of being in line wkh the long axis of the fiddle. The corners are very shorti and the margins rather narrow. His varnish has^j^ some cases, been a golden red, passing through H* ^"^ and in others a beautiful rich brown — a toas^^ before CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 71 His' sound holes are remarkably expressive and are seen to great perfection in his violas. In the matter of outline, his instruments are exquisite. The purfling has, been double in those violins and violas which I have seen, and the scrolls beautifully cut. In his violins I have observed the grain of the front wood to be as wide almost as in many a 'cello, and the arching to rise from the margins almost equal to the style of Stradivari. In face of these works of this early master, it is quite surprising that the later Amati School should have departed from his , type. His instruments are of the greatest possible rarity. Gedler, J. A., Fiissen, 1750 — 1757. His instruments are certainly original in outline, and are intended to be of Stainer model. The arching is, as usual, much exaggerated, and the groove around the contour of the instrument is very deep. The outline is flattened at top and bottom, and gives a peculiarly square look to the violin, and is accentuated by the upper portion being consider- ably nearer the dimension of the lower part than is usual. The sound holes are rather stiff-looking in consequence of being pretty long, and cut alrhost quite parallel to the long axis of the fiddle. The upper turns are not exactly circular — as the great majority of the imitators of Stainer try to make them — nor are the bottom turns either, and although they are fairly well cut, they have not a very graceful appearance. Varnish reddish brown. Tone, thin and clear. Gedler, J. B., Fiissen, about 1790—^96. Pxobably a ^Em or other relative of above. Work same in type, but the fioner. theyearvjLLER, Mattheus, Venice, 1700 — 1740. This 72 THE KIDDLE FANCIER S GUIDE. maker was a fine workman, especially in his violoncellos. These are decidedly original to a certain extent. The upper portion is a little narrower than is usual, and shorter, which gives to the part bet^yeen the middle bouts an appearance of being wider. His model in his best, 'cellos seems to have been A. and H. Amati, only his curves are not so flowing as we find them in instruments by this fampus Crem'onese firm. The curves of GofFriller's C's are also different, their cutting in being like that of Stradivari in some cases, and the C's themselves look very long^an appearance produced by the shortness of the upper portion of the 'cello. The sound holes are quite beautifully cut, and are evidently based on Stradivari instead of A. and H. Amati. The design of the whole is, in fact, a congeries of one or two styles, tjie result of which is by no means unpleasing. The sound holes, thoiigh beautifully designed, as I have said, are a little wider than usual, and have the appeairance of being . long, also because of the stunted look of the upper portion of the instrument. His varnish is a very transparent and rather deep orange, with fine golden flashes here and there. 'It is sometimes cracklied all over those parts near the corners and middle sides. They have ,a very fine tone, and Goffriller rarely put labels in his work. When he did, it ran as follows : — "Mattheus Gofiiriller, faciebat anno — ." It is not yet known when he was born, nor when he died; GoFFRiLLER, Francesco, Venice. Brother of above and worked for him . The instruments which he made for him - self have very rarely anything in the shape of a ticket. Like his brother's, they are pure in tone and strong. Indeed, great sonority is a distinguishing characteristic in them. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 73' GiLKES, Samuel, London. Born 1787. Died 1827. He was born at Morton Pinkney, Northamptonshire, and was taught violin-making by Charles Harris, who was a relative. After leaving Harris, he was employed by Forster. In 1810, he began business- on his own account in James Street, Buckingham Gate. The outline of his violins is exceedingly fine, the upper part ■being beautifully proportioned to the lower, so that there is not that excessive disparity, between the two, which is not uncommon, even with very good makers. He •copied Amati chiefly, but his Stradivari, instruments are .really excellent, the sound holes being remarkably well idesigned, although cut just a little wide. Very hand- .some scrolls. Yellowish brown varnish. , GiLKES, William, London. Born 1811. Died 1875. A son of above maker, and a more varied worker than his father, but not so good. He chiefly made double basses. These are excellent. GoBETTi, Franoiscus, Venice, 1690 — 1720. A so- called pupil of Stiradivari, in whose work, so far as I have seen, it is difficult to trace any influence of the great maker. The outline is of the Amati type, but large in style. Short corners, deep middle bouts, and rathei;' highly arched. Tone, however, very good. Scroll cleanly cut, but somewhat monotonous looking, and of same width almost to the first turn. Sound holes much more like Amati or Rugerius than Stradivari, and slightly gaping. Varnish transparent and weak- looking red, but of fine quality. His tickets run •" Franciscus Gobetti fecit Venetiis," and date. Gosselin, Paris. 18 14 to about 1830. An amateur 74, THE FIDDLE FANCIER S GUIDE. maker — so-called — ^who has considerably surpassed in style and finish, many a professional with a high deputation. His instruments are, undoubtedly, of a high class, and have a superior quality of tone. His choice in wood was original and felicitous, the figure of his backs running in an extremely picturesque manner in th« direction of the long axis. The belly wood of exquisite selection, and the varnish^a fine red. He may be called a. pupil -of Kolliker, the famous Parisian maker and restorer towards the end of the eighteenth, and beginning of the nineteenth century. Gosselin's instruments have a splendid outline, and the design of his sound holes is good and original, based on Stradivari, and a little longer. The finish of the work is of a high class, and his scrolls very handsome. His tickets run " Fait par Gosselin, amateur, Paris, ann6e — ." Gragnani, Antonio, Livorno, 1741 — 1785. Coarse work, but a sympathetic and sweet tone. , Poor quality of varnish, and not particularly fine wood. His initials sometimes branded on the ribs below tail pin. His tickets run " Antonius Gragnani, fecit Liburni anno — ." Gragnani, Onorato, Livorno.^ A son of above and inferior work. GranCino, Paolo, Milan, 1665 — 1690. A fine maker in many respects. Supposed to be a pupil of Nicolas Amati, whose style he has followed in most particulars except the scroll. His violoncellos are his best works, and are of high character in the matter of tone. Varnish lightish yellow. Grancino; Giovanni, Milan, 1694 — ^73°- Son of above. A superior maker to his father. Sometimes has very handsome wood in back, unlike the majority of CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 75 Milanese makers, and his belly wood is often distinguished for being remarkably fine and straight. It is also some- times pretty wide. Light varnish — almost colourless. The outline of his instruments is occasionally a little shaky, but the tone is good. Tickets " Giovanni Grancino in contrada largha di Milano al segno della Corona — ." Grancino, Giambattista e Francesco, 1710 — 1750. They are, perhaps, the best of this name. Their violon- cellos and double basses are very good. Roughish work and ordinary wood, but good tone. Transparent yellow spirit varnish. Tickets " Giov. Battista and Francesco, fra. Grancino in contrada larga di Milano — ." Guadagnini, Lorenzo, Piacenza, 1695 — 1760. This maker worked for a number of years with Stradivari — so it is said — and returned to Piacenza about 1730. His violins are grand instruments, and, curiously enough, a goodly number of them bear Nicolas Amati labels. They are highly finished. Their quality of tone is exceed- ingly fine, though not always equal all over. The fourth string is sometimes a little weak. His varnish is a deep yellowish red, and of very fine quality. Tickets " Lauren- tius Guadganini Pater et alumnus Antonij Stradivari fecit Placentise anno — ." This ticket is probably the foundation for the notion that he worked with Stradivari. At any rate the work is well worthy of such a master. 76 THE FIDDLE FANCIER S GUIDE. GuADAGNiNi, GiAMBATTisTA. Son of abovc. Is Said to have been born in Cremona during his father's stay there, and to have also been a pupil of Stradivari. His instruments are valued as highly as his father's, although they are not so powerful. He went to Piacenza after his parent, and worked there a long time, then went to Turin, where he died in 1780. His instruments are 'covered with a slightly yellowish red varnish, and his tickets run " Joannes Baptista Guadagnini Cremonensis fecit Taurini (or Placentiae) Alumnus Antonij Stradivari." Guadagnini, Giovanni Battista, Milan, from about 1695 to 1750. This maker was a brother of Lorenzo Guadagnini, and he is sometimes confounded with his nephew, the preceeding maker. Although he was not always so good a maker as his brother or nephew, he certainly made some magnificent instruments, sometimes of Stradivari type, and sometimes of Amati. Middle bouts pretty deep, fine, equally-balanced outline. Excellent wood, and finely-designed sound holes. Varnish frequently of a very deep orange red. Tickets " Joannes Baptista Guadagnini Placentinus fecit mediolani." His arching is of a rather flat character and his sound holes a little longer than usual. (fll!^"*i'S»- ^•f CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 77^ GuADAGNiNi, GuisEPPE. Son pf the precceding. Was a violin maker in Milan, Como, and Parma,, and employed his father's tickets. His instruments have a fairly good tone. GuADAGNiNi. There were a number of this name, subsequent to above, and settled in Turin. Almost all the Guadagnini violins have good tone. GuARNERius, Andreas, Cremona. The first . maker of this celebrated name is supposed to have been born there about 1626. He was married on 31st December, 1652, to Anna Maria Orcelli, and had seven children born to him. He died at Cremona on 7th December, 1698. When he was fifteen years old he was working in the shop of Nicolas Amati, and four years afterwards he- was one of the witnesses mentioned in the register as- being present at the marriage of his master. His instruments are of beautiful workmanship, and. of the early Amati model iii rnany cases, and also of the later style of his master. His varnish is of a golden yellow, bright orange, with a brownish tint, and is occasionally of a fine brown. It is sometimes thickly laid on, but is- always of the finest quality. Guarnerius, Pietro Giovanni, Cremona. Eldest son of above. Born i8th February, 1655, and remained at home until about 1680, when he went to Mantua. Three years before this he had rriarried Caterina Sussagni. About 1698, he returned to Cremona, and appears to. have remained there until after the death of his father in that year.. He went back to Mantua after this event, and lived there a longtime, going late in life to Venice^, where he died at an advanced age. His violins are very 78 THE FIDDLE FANCIER's GUIDE. beautiful specimens of work, of exquisite tone and style, and covered with lovely varnish. He varied a good deal, however, and there are examples of his which do not command the same unstinted admiration. His sound holes are often lower than usual, and their cutting parallel for a certain distance on each side of notch. They also have the appearance of being placed straight with the long axis of the fiddle. His outline also looks somewhat full, and just a little heavier than in his greater contemporaries ; but there are occasions when he sur- passes himself. The tone of his instruments is very fine. The ribs often have very pretty figuration, and his varnish is a beautiful golden amber, occasionally passing to a rich brown. His 'cellos have a superb tone, but are often plainly wooded, and have a slightly reddened brown varnish. He also used spirit varnish of similar colours to his oil varnish. Although his baptismal name was Pietvo Giovanni Guarnieri, he always calls himself simply Petrus Guarnerius as under. Guarnerius, Guiseppe Gian Battista, Cremona. Second son of Andreas was born 25th November, i566. Died about 1739. He apparently lived with his father all his life, and when his brother Peter was back at home waiting, seemingly, on the death of the old man, Peter CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 79 made some "fiddles and put his brother's name in them. This maker is called "Joseph son of Andrew " from the inscription found in his tickets. He was the cleverest of that family. He chose very handsome wood which, for figure, has rarely been surpassed. His margins are generally small, and his purfling sometimes close. His varnish is superb — golden red. The corners of his in- struments, when perfect, show with what extreme care he finished his work, as they come out quite pronounced and sharp. His sound holes have not the vigour of his , greater brethren. His tickets run ^' Joseph Guarnerius filius Andrese fecit Cremonae sub titulo Sanctse Teresise — ." Guarnerius, Joseph (called del Jesu), Cremona. Born October i6th, 1687. Date of death unknown. This was the greatest of all the artistes called Guarnerius. He was only a very distant relative of the family, his grandfather haying been a cousin of Andreas Guarnerius. It is not known where he learnt his business, nor where he carried it on. His tickets date from Cremona ^-'\t . , , , . _, ae IS there is no trace of him there alter 1702. The f holes known tickets date from 1725, and the latest b^-" . ^^ . . r ^^ copies N. The story that he died in pnson was iQf^ , , •, circumstance that a person named Gir , '^ . >rcely perceptible, died there in the year 1715. This tr^ ^^ ^^^ ^^ ^^^^. triously circulated, and a great r/Tj^ .^ ^ yellow-not fiddles were called "prison Jos. , , , , , ^ •' c tint, but not unpleas- genuine. All that sort of thing 1 , , ° . ° ats, when m proper man was an artiste of the highest these inferior fiddles. His ins/g.^^^ ^g^^_ ^.^^ ^g^g^ arch rising gently from the p4 ^^^j^^^,^ ^^^^^ ^^ ^^^ 80 THE FIDDLE FANCIER'S GUIDE. outline is very perfect and restful. Many of his instru- ments are small, and do not exceed fourteen inches in length, but the peculiarity which will strike most people will be found in the sound holes. These are of an early type, and designed in a most masterly way. At the top the circle has the appearance of a miniature arch of Gothic type. That is to say, the impression made on the mind of an ordinary observer is of that character. They then slope away a little towards the margins and are fairly wide at the middle, the notch being cut at an angle of about forty-five degrees to the longer axis. His margins are large and massive, his edges round and solid. His ribs are about i-J- at the top, i^^^ at the corners, and about i| at the tail pin. In a good many of his violins there is a peculiarity which indicates that he possessed at one time a goodly piece of pine. It is a streak of what is called grey wood, and runs down from the top on the left of the fingerboard. I have also seen it on the right of the fingerboard. It can easily be seen through the \a^-sh This grev strip looksjust as if the wood under ,( ."(-"^^t-nish at that point were dirty. It is about an fW^*t1S£g^^'^vidth, sometimes less, and travels in certain down as the top of the left sound hole. .% fiddles are often of the finest figure, H in a few instances, extremely fine ^ „ ^ne is grand, round, and sonorous, CjUARNERIUS, GuiSEPPl . . . c- J r » 1 =:nce between him and Stradivari becond son of Andreas wa, T^- J 1 , TT )erhaps, because there are fewer Died about 1739. He api ^ ^ ' ,, i_- IT , , , . , choose irom. His varnish is a all his hie, and when his brotx ^ , ■ , • . , , , m tints of the most entrancing waiting, seemingly, on the dear. , , , ^ ot surpassed by any other CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS.* 8l maker. The middle bouts are generally cut in at the top without any tendency to travel upward, and sweep out towards the lower corner in a beautiful curve which leaves the indention quite shallow by the time the curve is ended. The grain of a Guarnerius belly is usually of a fairly wide guage. He made no violon- cellos that-I know of, and I have only heard of one tenor, but never saw it. GuERSAN, Louis, Paris, 1735 — 1766. Many of his instruments are attractive looking. They vary consider* ^bly in style, but tone rather deficient. He made a number of 'cellos, and employed a varnish which in some cases might be called " golden." There is no doubt he ■ could make very beautiful instruments when he chose to do so. He was a pupil of Claude Pierray. Ha,rdie, Matthew, Edinburgh, about 1800 — 1825. This maker has produced singularly fine copies of Nicolas Amati. I question if he has been surpassed in that respect by any one of our native makers. His wood is of first class quality. His outline is a very accurate reproduction. His sound holes slightly err, where almost every maker who copies N. Amati does err, in being just the least bit knockkneed, but in his case it is so trifling as to be scarcely perceptible. He has caught the general proportions of the N. Amati model with great feUcity. His varnish is a yellow— not of the finest degree — of rather light tint, but not unpleas- ing. The tone of his instruments, when in proper .condition, is quite of a high class. Hardie, Thomas, Edinburgh. Born 1804. Died 1856. Son of above. Worked in his father's shop. He has G 82 THE FIDDLE FANCIER'S GUIDE. not the same reputation as his father, but I am not in a position to say anything about him. Harris, Charles, London, about 1800 to 1815. This is another splendid native maker, whose work is entitled to rank with that of the best Continental copyists. His out. lines and modelling are beautiful, and the design of his sound holes exceedingly graceful. The cutting of his scrolls is also most satisfactory. The sides of his violins are somewhat low, but in almost all other respects, his conceptions are of the best. His varnish is of fine quality and of a good, yellowish brown. Hart, John Thomas, London. Born 1805. Died 1874. This is a famous name in fiddle Iqre. He was articled to Samuel GiUcfes previously mentioned, and duly learnt the art of violin making. Just at the time he started business the fever for Italians became accentuated and he turned his attention to the study of the classical instruments. His opportunities were great, and by-and- by he became a judge of violins of quite a European reputation. Some of the finest collections of the time were formed by him, including the celebrated Goding Cabinet, and also that of Plowden. He also supplied a large number of the fine instruments for . the Gillott collection — the largest ever made by one private individual. Hart and Son. This became the style of the preceeding firm, when the late Mr. George Hart became a partner of his father. Mr. George Hart also acquired a world-wide reputation as a connoisseur and dealer — forming many beautiful collections, and becoming acquainted-^like his father— with almost every CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 83 known instrument of importance. He was entrusted with the arrangement of the Gillott collection, and the <;ataloguing of it when it came under the hammer of Messrs. Christie and Manson, and ntimberless other important commissions with respect to the finest instru- ments in the world were placed in his hands. He is known wherever a fiddle-fancier has his habitat, as the author of what is, perhaps, the most reliable work on the violin that has ever been written, and he is, besides, the author of a work on " The Violin and its Music," which, for interest in that branch of musical literature, can hardly be surpassed. He was bdrn in 1839, and died on April 25th, 1891. His son, the present Mr. George Hart, carries on the business under the same style, and the name has become a household word in the vocabulary of fiddle-fanciers. Hel, Pierre-Joseph, Lille. This maker was born near, Mirecourt in 1842. He learnt violin-making there in thorough fashion, and afterwards went to Paris, where he worked with Sebastien Vuillaume. He also was at Aix-la-Chapelle with Darche, and started on his own account in Lille in 1865. He is a good restorer, and claims to have a means of aging wood without using acid or heat. He is also the inventor of a system of tuning which can be apphed to existing violin heads, and which is said to peripit the player to tune easily. Henry. A family of violin makers of this name has existed in Paris for about a hundred and fifty years.. The work is good in regard to several members of the= family, such as Jean-Baptiste, born in Mirecourt, 1757, G2 §4 THE FI0DLE FANCIER's GUIDE.. •his son, Jean-Baptiste-Felix, born in Paris, 1793, and died in 1858, and one of his grandsons, Charles, born 1803, and died 1859. Eugene Henry, son of the lastr mentioned, was born in 1843, and is a good restorer. Hill. A family of English violin-makers, which has existed in London for about as long a period as the Henry's existed in Paris. The first of the name appears to have been — ' " . Hill, Joseph. A pupil of Peter Wamsley. The ' only instruments of this maker which I have seen were a tenor and a 'cello. The tenor was in the exhibition of 1885, and 4eserved, in my opinion, high commendation for its finish and the appearance of the varnish. The sound holes might have been more artistically designed, , but the style of the instrument, and the. brilliancy of its varnish, as it hung in its case, really seemed to be •dangerously near the genuine Italian article. Hill, Lockey, London, about 1720. A violin by this malcer was exhibited at the same exhibition, and had, I -remember, a very beautiful back. Hill, Joseph and Son. 1770. This firm was repre- sented at the same show by a very clever-looking violin, and I have seen a fine 'cello by them of Ruggerius model, with 'ornamental purfling, and of excellent tone, especially on the two lower strings. Hill, Lockey, About 1810. There must have been two Lockey Hills, I • should think, if the dates in two violins bearing this name are correct, orcorrectly printed in the catalogue of the exhibition in which they were shown. The 1720 violin was a very clever looking instrument, but the 1 8 10 specimen was quite a little gem, in a plain CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 85 / varnish, and with wood of the most exquisite regularity.' The sound holes. were almost perfect, the corners charm- ing, and the margins fine and full. Of the subsequent work of this family I know nothing. The present firm is Hill and Sons, W. E. The senior member of this firm is Mr. William Ebsworth Hill, a practical violin maker, and for many years knoWn as a highly competent judge of classical instruments. He is assisted by his sons, William, Arthur, and Alfred Hill, and, in addition to their ordinary business, the firm have brought out several highly interesting monographs on fine violins in which they have embodied the results of the most recent research. Jacobs, Peeter, Amsterdam, 1690 — 1740. This maker copied Nicholas Amati with remarkable fidelity in almost every point. In the choice of his wood even, he sought to reproduce the 'figure generally associated with the name of the Cremonese master. %^ He is very successful with the outline and arching. His work is, however, easily recognised by the purfling. He always used whalebone for this instead of the black stopping, and where the varnish has been worn off the purfling, a little rubbing will bring up on the whalebone a most glassy surface — if one cannot detect the maker in any other way. It glistens in a way unknown in any other case. His instruments are very good. Varnish, a red brown. Jacobs, Amsterdam. I do not know anything of this- maker, who was perhaps related to the above Peeter. His instruments -are reported to be coarse, but of good tone, and having a deep red varnish — transparent. Jacquot, Charles, Paris. Boirn at Mirecourt, 1808. S6 THE FIDDLE FANCIEr'S GUIDE. He was a pupil of Nicolas Aine and Breton, and began to learn his business when quite a child. When he was fifteen years old he went to Nancy, where he worked for the trade in .co-operation with a few others. In 1827, he began in Nancy on his own account, and continued there until 1853, when he went. to Paris, where he remained until liis death in 1880. His workmanship was of a good character. Varnish of a common red on orange type. Tone of the t'v^fangy, nasal kind, but instruments soundly made, and of a quality to improve in the course of time. Jacquot, Pierre Charles. Son of preceeding, and born 1828, in Nancy, where he succeeded to his parent's business after the latter went to Paris. His instruments are of a type similar to his father's. Jeandel, Pierre Napolkon. Born at Courcelles sous Vaudmont in 1812, he was taught 'at Mirecourt by Charotte. He went to Roiien in 1835, where he worked for the brother of his Mirecourt master. His employer died in 1836, and Jeandel and another took the business. These partners ultimately separated, and Jeandel carried on on his own account from 1848 to ■ 1878. Infirmities then obliged him to relinquish active work on any extended scale. He fell , into, poor circumstances, and the sudden death of his daughter, in whose place he stayed, withdrew his only shelter, and he was admitted to the hospital at Rouen, where he died in 1879, some five months after admission. He made very good violins, and received prize medals from three different exhibition juries. His work is of a type similar to that of the previous maker. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 87 Jay, Henry, London, 1744 — 1777. Made a number of instruments for dealers among which are some good 'cellos. Johnson, John, London. About 1750 — 1758. This maker seems to have confined himself largely to Stainer models, and he does not appear to have been personally a maker. His instruments are frequently large and heavy looking, although of good outline. Very narrow margins, and pitched up from the groove which goes quite round the outline. The edges are flat, or rather elliptical, and the corner's mean-looking. Frequently linpurfled, but having painted lines instead. Altogether, work of rather a common type. Varnish, light brown. Tone fairly good. Kennedy. A family of violin makers for a very long time — since about 1700. The best known of the name was Thomas, who made a great many instruments of no great value. Dark coloured varnish. Kerlino, J., Brescia. A maker of little interest to the modern fiddle-fancier, except from his connection with the early Brescian school. I used to think he was an imaginary character, but in' a work published in 1890, entitled " La Musica in Mantova," by A. Bertolotti, and issued by Ricordi of Milan, a reference to him dating in 1493 has been found, and appears to prove con- clusively that he was a celebrated maker of viols at that date. KiAPOssE, S., , St. Petersburg. 1748 — 50. This maker's instruments are of the " odd " character. Fairly well made and proportioned, they are of the usual size — but perhaps a little thin in the wood. The back 80 THE FIDDLE' FANCIER S GUIDE. and front are worked off straight to the margins, and rounded with the sides. That is, the usual violin edges are wanting. The ribs or sides are of considerable thickness. Everything is " rounded •" off. The Sound holes are not badly designed. The general result is not distasteful in appearance, but a mistake technically. The varnish is of a commonplace character. The tone is of a thin nasal quality. Klotz, Edgidius, Absam and Mittenwald, 1675. This maker's instruments are very finished performances, both inside and but. When they are in ^ gocid condition, they are extremely attractive looking, but they are very rarely in condition. Klotz, George, Mittenwald. About 1754. Another good maker of this family. His instruments are of larger style, but sound holes jiot very pretty, and poor varnish. , Klotz, Sebastien, Mittenwald, 1700— 1760. Also good when in genuine condition. A large number of Klotz' instruments are not worth carrying away. Landolfi, C. F., Milan. 1735 — 1775. This is a fine Italian maker, who made some very good 'cellos of small size. The outline of his violins is good, but the middle bouts are long and deeply cut in, giving a somewhat gaunt look to the instrument, the lower portion of which seems to spread out a deal in consequence, and cause the upper portion to appear smaller than it really is. His sound holes are not badly designed. His varnishes, as well as the details of his instruments, vary a good deal, some are a brilliant red,' and others a dark, red, while others again tend to a yellowish orange. Much of his work certainly does not look very ' pretty, but the' CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 89? tone is by no means bid. He has often narrow margins. Lenz, J. N., London. 1803 — 1807. I have Httle to, say in favour of this maker. Anything I have seen of his was of a very tasteless description.. Very " scoopy '" and unequal. Lenz, Jacob, London. I suppose this maker was a son of the proceeding. His work was of a superior kind,, and he was a fine maker of double basses. He made, I believe, only two violins, one of which I have seen. It is a copy of Joseph Guarnerius, and is, in many ways, a very clever copy, except that the sound holes are far toO' wide. In other respects of arching and scroll, he has- caught the points of Joseph very well. The wood in this instrument is fine. LoTT, G. F., London. Born 1800. Died 1868. Was a son of the famous John Lott, mentioned below. He was a clever maker oi old fiddles. Lott, John Frederick, London. 1775 — 1853. This was father of the preceediiig, and following maker of same name. He was a German, and originally ' a cabinet maker, whom Bernard Fendt induced to take tO' fiddle making under Thomas Dodd, already mentioned. All his work is of a high character, especially his double; basses, which are really chefs d'ceuvres. Lott, John Frederick, London. Son of above, and hero of Charles Reade's Romance, " Jack of All Trades." He certainly was a clever violin maker, and took a long time to get up those imitations, with which, I daresay^ a good many people were at one' time hoaxed. There is r for example, an appearance of a kind of brutal hardihood,,- 90 THE FIDDLE FANCIER S GUIDE. in the seeming recklessness with which he copied, and, in some cases, travestied, the saUent points of Joseph del Jesu, and yet he may have laboured over the instrument for months, getting up those antique fractures, indenta- tions, scratchings, and rubbings, which give an air of genuine age to some of his productions. He was a man of many adventures, which have been duly recorded in Mr. Reade's novels. He died about 1871. LupoT, Nicolas.. The greatest of a French family of violin makers which has flourished for about two centuries. The first was a Jean Lupot in Mirecourt, whose son Laurent was born there in i6g6, and became a violin maker .also. Travelling about a little, he settled in Orleans, and about 1762, disappears from fiddlehistory. This son, Fran9ois Lupot, also violin maker, after moving about in similar fashion, settled temporarily in Orleans, and then in Paris, where he died in 1804. The last mentioned had two sons, the above Nicolas born in Stuttgard in 1758, and Franfois born in Orleans in 1774. Nicolas was the great maker of the family, and was trained by his father in Orleans, where he continued to work until he was about forty years of age, and then went to Paris, where he started business in 1794, and died in 1824. The violins of this maker are undoubtedly of the highest character. There is great variety in his style,, and many of those hailing from Orleans, one would hardly recognise, if placed side by side with some of those which he made in Paris later on. This is chiefly, but not wholly, seen in his varnish, however, for there is the same masterly, solid style about all his instruments. A great many of his early violins are covered with a dull, CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 9I brown varnish, which looks very well when a considerable portion of it has been worn away. His Paris instru- ments are covered with much variety of varnish, from brown, through orange to a red that would almost knock one down. Those covered with the red upon Orange are splendid instruments — of taassive style, and tone clear and pure, and of rocklike firmness. Some ,of his varnishes have gone very nearly black, and here and there are specimens which have it so thickly laid on, that one might say there is almost as much varnish as wood. Some of his Paris instruments are slightly smaller than those large orange instruments, and these, as indeed all his violins, are finished most exquisitely. Stradivari was his favourite model, but he also copied Guarnerius, and succeeded with the sound holes remarkably well. But the manner in which he has caught the " grand " out- line of Stradivari is quite exceptional. His sides and margins' are full, and there is a fine feeling of solidity, even in the handling of his best instruments, which does not escape one's notice when a nice specimen is en- countered. Some of his very fine work is really entrancing in the matter of finish and style. His father, Fran9ois, was also a splendid maker, and the. fitting instructor of his son. LuPOT, Francois. The brother of Nicolas, the only other distinguished member of the family, was a bow- maker, and is referred to in the chapter on bows. Maggini, Giovanni Paolo, Brpscia. This distinguished early Italian maker was born in Botticino Sera on the 25th August, 1580, and the precise date of his death is not yet known, but in an income tax return of the 92 THE FIDDLE FANCIER S GUIDE. year 1632, his son, Carlp Maggini, is spoken of as " filius quondam Johannis Pauli," son of the late Giovanni Paolo. As alrekdy stated in' the article, Gasparo da Said, Professor D. Angelp Berenzi delivered a lecture in Brescia-in the month of January, 1,890, on distinguished Brescian violin makers, and at its conclusion, it was mooted that a search should be made by him in . the Municipal and State archives for the purpose of discovering what could be known about " these great early artistes. Professor Berenzi set about his task at once, and, as I have already said, in a few months he was able to publish the results of his researches,, namely, in October, 1890. Nothing whatever had been previously known about" Maggini, except what was based upon tradition — ^if that can be called knowledge — and observa- tion of his work. There was not a scrap of documen- tary evidence known to exist, either regarding him or the other great maker, Gasparo da Salo, of whom he was conjectured to be a pupil. AH was guess work, com- bined, of course, with the traditionary gossip to which I have alluded. - But the researches of Professor Berenzi, ■ have now set all these matters at rest in the case of Maggini. In a little pamphlet entitled " Di Giovanni Paolo Maggini," and published in Brescia in 1890, he gave to the world his discoveries in a separate, form, although they had appeared previously in his first communication to "II Bibliofilo " in October of the same year. This communication related that he had found mention made of Magginis during the first half of the sixteenth century in the returns of Gerola and West- Botticino — ^two small places in the vicinity of BresciafHj CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 93 .and during the second half of the same century in those of West Botticino, and, of Brescia. And later, in other returns of Brescia, Bagnolo, and Manerbio. All thi§ means a considerable amount of very patient labour, arid when he had thoroughly examined these various sources of information regarding people of the name of Maggini, he fixed on those of Botticino Sera^or West Botticino — and Brescia as being what concerned his quest. He unearthed from the archives two returns, one dated 1568, and the other, 1588. The first relates to the father of G. P. Maggini, and begins " Boticino de Sera. — Poliza de mi Zovan q Bertolino di Magini," etc., arid gives particulars of the ages of himself, his wife, son, and daughter, and his brother. .The second" (dated 1588) beginning " Brescia^ — 300, p Johannis Polizza de mi Giovanni f. q. Ser BertoUno Magini, cittadino et •habitante in Bressa," etc., and gives his own age, and that of his wife — erroneously, apparently — and then continues with that of a &on, and son's wife, followed by the mention of " Gio Paolo, mio figliolo, d'eta d'anni 7." 'This is the first official documentary reference found in Brescia having regard to the existence of G. P. Maggini. A later search by the same cultured writer at Botticino Sera revealed an earlier one--the baptismal entry. In the Book of Leaseholds, or Rent Book of St. Agatha in Brescia, and among the entries between the years 1500 and 1636, Professor ^erenzi found that Gian Paolo Maggini bought from Ser Ludovico Serina, the house which stands opposite the Old Mayor's Palace, (or, as -s^e would call it, the Old Mansion House) and that the said ^' Gio Pavolo Magini, che fa k cetere" as proprietor of the 94 THE FIDDLE FANCIERS GUIDE. said house began to pay to the parish of St. Agatha about two pounds, sixteen and sevenpence per annum for the perpetual lease. He then discovered a return dated September loth, 1614, and another dated 1617, which confirmed the purchase of property, and gave particulars of ages, debts, and assets. This begins, " Polizza del estimo di M. Gio Paolo Maggirii, maestro .di violini in contrada del Palazzo Vecchio del Podesta," and gives his age as thirty-six, his wife's age as twenty- two, and his son, Gio Pietr6's, as one year. The return finishes up after giving particulars referred to with the following estimate of, his stock in Jiand at that date. " Item mi ritrovo in mercantia di violini, lignami et cordi di essi violini — lire cento pi. — ^^100." — ^Item. I have stock in violins, furnishings, and strings for these violins, ;^43 6s. 8d. If we strike a balance at this time, Maggini was in debt to the extent, of £2^ 5s. But the next return which Professor Berenzi discovered, tells a very different tale. It is dated 1626 and 1627, and begins, " PoUizza del estimo di me Gio Paolo Maggini che fa violini in contrada delle Bombasa.rie a Santa Agatha," and gives his age as forty- six, that of his wife as thirty-two, that of his daughter Cecilia as five, another daughter, Veronicha, two, and a son. Carlo, six months. During ' the ten years which elapsed between the dates of these two returns, Maggini could show a balance to his credit of about two thousand, three hundred and ninety-six pounds, and a few shillings. For those days, this was undoubtedly good progress. He had become the owner of property in the 'country, and it will be observed, he had changed his place of business. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 95 The next important discovery which Professor Berenzi made, was the marriage enti-y of January 20th, 1615, from which we see that Maggini was married to Anna, daughter of Fausto Foresto on that day. Continuing his investigations, Professor Berenzi made out a list of Maggini's children — ten — with the dates of birth and death, and, further, the approximate date of the violin- maker's death, fronj. the return made by the son Carlo, and already referred to. The Professor's next discovery was the, entry recordings the date of the widow's death, namely, November 24thj 1651, and he concludes his very interesting article by speculating as to the identity of the maker whom we have hitherto called Pietro Santo Maggini. All these particulars were published in detail in theyear 1890, in a periodical published in Brescia, and called " II Bibliofilo." After this very satisfactory search. Professor Berenzi continued his investigations for the purpose of bringing to light, if possible, the place and date of Maggini's birth. After a deal of patient searching in the parishes in the neighbourhood of Brescia, he discovered the entry in the records of the small parish of Botticino Sera (West), and published it in a little pamphlet entitled, " La Patria di Giovanni Paolo Maggini," in i&gi. The credit of these discoveries from first to last, and almost verbatim et literatim, belongs to Professor Berenzi, and apparently to no other person whatever, with the exception of Cavalier Livi, whose counsels and assistance he gratefully acknowledges as well as the services of Messrs. A. Coen, and D. L. Corbolani. The instruments by G. P. Maggini which I have seea ■^6 THE FIDDLE, fancier's GUIDE. were all of the highest type in finish and style. The ,jnost striking peculiarities which they show in contrast , to great violins of a later make are their soutld holes, ■ .their corners,, and their arching. ' | The highest point of Maggini's arching is, as far as I have been able to ascer- " tain, always as near as possible fifteen thirty-seconds of • an inch above the upper plane of the sides — that is, above ,-what is called the symmetrical plane. If my readers will suppose that, instead of the upper table, a flat sheet of glass is placed absolutely level on the rims of a fiddle, the lower surface of the glass will represent the symmetri- cal plane, and Magini's arch at its highest point would be the above height from it. This height does not de- crease at once, but is maintained for about two inches ■ and three-eights on the long axis, and on each side of the central point, after wluch it gradually and steadily ■decreases to the margins,! Doubtless no one who has' seen a fine work by Maggini can help wondering why the Amatis or anybody else , kept on arching fiddles to ■ such an extent, and for so long a time, after his name and fame were so widely spread as to make people .curious to see his work. But so it was, and the reason is not far to seek. It can be found at almost any stage in the history of fiddle-making, and is more closely associated with individuality and opinionativeness than with tech- nical skill. Maggini never seems to have varied in his arching from the time when he was twenty years of age until he .laid down his tools, and it would be, bfeyond ■question, a serious blunder to disguise from oneself that nowhere can be^een anything grander or more majestic .than the lines which are visible in his work. The CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 97 strength bf his broad arching seems to claim for him a place side by side with Stradivari. Another peculiarity is seen in his sound holes, which are intensely Gothic in feeling. They are wide, and inclined at such an angle^ that two straight lines, one drawn through the middle of each opening, parallel to, and equi-distant from their edges, would, if produced, intersect each other at the centre of the top edge of the violin. The corners in the upper and lower circles of the sound holes have not the broad terminals of later and Cremonese makers. They are finished square, but narrow, and in many cases, appear almost pointed, but that' is more the result of wear, and, perhaps, interference, than design. His varnish is a yellow, having a slightly red tint, and is chiefly spirit varnish, but he also used oil varnish of similar colour, and sometimes it is a brownish red. A great many of his backs are slab backs. The outline corners of the middle bouts are very short and stunted, but not on that account ungraceful, while the middle bouts them- selves are rather shallow, and formed by a simple curve, which almost looks like part of a circle, except towards the lower corners, where the curve is slightly elongated. A great number of Maggini's instruments are double purfled, and have also decorations in purfling on the back, some at top and bottom, and some in the centre. These decorations take the form of a conventional trefoil, finishing off the limbs of a St. Andrew's Cross in the centre, and are all done with purfling. The decora- tion varies. Sometimes a lozefige is projected between the limbs of the cross, and sometimes the trefoil gives place to three small squares. Of course thfese decorations ^8 ' THE FIDDLE FANCIER'S GUIDE. have been copied, and reproduced in the imitations more ■or less accurately. Some of his violins have only a single line of purfling, like ordinary instruments. It is supposed that he never dated his tickets. Medard, Nicolas, Nancy and Paris, about 1655. One of the finest of Frenfch copyists of Amati^so far as appearance goes. Beautiful wood, and fine, rich, golden red varnish. The reproductions by this maker are really as faithful as one could wish. The sound holes are finely imitated, and the, choice of wood quite of a high class. There were a number of tnakers of this name from early in 1600. Toussaint-Medard, Antoine Medard, Fran9ois, and Nicolas. Their instruments are very rare. Montagnana, Domenico, Cremona and Venice. This maker is supposed to have been a fellow pupil or workman in Nicolas Amati's shop, along with Stradivari. There is no doubt about the quality of his work. It stands in line with the finest. The outlines of his violins are almost identical with those of Nicolas Amati's best model, except that at the upper and lower bouts they are slightly fuller, while the inclination of his sound holes is distinctly outward to^jrards the 'lower corners. The middle bouts are also deeper and longer, and the c;orners fine and full. The arching is of the Amati type. There are very few specimens known to exist. His 'cellos are really grand, the outline sometimes — in contrast to that of his violins — appearing to droop some- what from the shoulders, and , in other instances, being fuller and finer. There is a certain feeling of parsimoni- ousness in the outline of his bigger instruments, with CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 99 regard to which the character of the wood may have had something to do. His varnish is magnificent — of a beautiful red orange, or deep golden red. His wood is always of the very finest, and his instruments are so scarce, that they are probably unobtainable except at prices for which one could get very good specimens of the greater Cremonese. Nicolas, Didier (Aine). The best of a family of Mirecourt violin makers. He was born in Mirecourt, 1757, and died there in 1833. His genuine instruments are very good viohns by this time. He copied Stradivari. Varnish a fine, lively, yellowish brown, sometimes slightly red. He has good margins, but rather irregular purfling. Tone very good. This maker was in fashion at one time, and his own violins are fashionable yet for that matter, but one result of his vogtte is that a very large number of instruments are branded with his mark, although he had nothing to do with them. His brand, " A la ville de Cremonne D. Nicolas aine " is formed into a triangle, with a small circle having D. N. and a small cross inside, placed in the middle of the triangle. He was succeeded by his son Joseph, who signed his own violins " J. Nicolas fils," and the widow of the latter sold the business, and the right to use the brands to H. Derazy, a Mirecourt maker already mentioned. lOO THE FIDDLE FANCIER S GUIDE. Norman, Barak, London. 1683 — 1740. A highly artistic maker of viols, violas, violoncellos, and violins. His work is often of a very refined character, with fruity decorations of a tasteful description. The style of his violins deserves the highest commendation except in the cutting of the sound holes, which are very much below par in the matter of design. But in' other respects, the lines on which the instruments are built are exceedingly fine. His varnish is really nowhere by this time in point of colour, but it is of good quality. He was a partner of Nathaniel Cross, already mentioned, at " The Bass Viol- in St. Paul's Church Yard, London-" Otto, Jacob Augustus, Halle and Jena. This maker was a pupil of Ernst, already mentioned, and is chiefly known for his work on the violin. I never saw any of his instruments. He had also four sons, who carried on the business or businesses, which were established by one or two of them in above and other places, but their work is hardly known, apparently, except by their father. Panormo. a family of violin makers, about the earlier members of whom there is a great amount of confusion. Vincent, the first bearer of the cognomen, is supposed to have been a native of Palermo, in Sicily, where he is said to have been born in the beginning of the eighteenth century, and to have gone to Paris about 1735, where he attained a splendid reputation. His tickets there date from 1738 to about 1778, namely forty years, according to one authority, while, according to another, he was only a few years in Paris, and orily a few violins are dated from it. He visited Ireland also, it is said, and made instruments there from an old CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 101 billiard table (maple) which he bought. At any rate, he appears to have been a maker working under stress of canvas, and from hand to mouth. He made magni- ficent double basses, some of which, are, however^ of veiry poor wood. But his workmanship is always fine. The appearance of his instruments varies much. Some- times his varnish is a splendid rich amber, almost worthy of Cremona, and at other times, as if he had chosen altogether different materials to make it. The style of his work is splendid ; very full margins— one might almost say too full. His favourite . model is Stradivari, but he copied Guarnerius and Amati as well. Indeed, he did pretty nearly anything h6 was asked to do, and, it is quite evident, he changed about a good deal. As I have said, tickets in Paris fiddles are found from 1738 to 1778, and I have seen fiddles having Palermo tickets and London tickets between these dates, and to crown all, it is said that he died in 1813. If all these dates refer to the same Vincent Panormo, he appears to have attained a ripe old age. There were also a number of Panormbs after him — three sons, Joseph, George Louis, and Edward, the first and second being good violin makers. George Louis also for bows and guitars. The last of the Panormos died a few inonths ago, at Brighton, in very poor circumstances. ■ Parker, Daniel, London, 1715 — 1785. This is one of our fine English makers. His tone is pure and clear, and in his varnish he has caught a great deal of the brightness of the Italians, although he has not caught the pMe. It is very rich and pulpy-looking. His violins show very full margins, which is a characteristic of the 102 THE FIDDLE FANCIER S GUIDE. better class of Italians, and his sound holes are cut in a very masterly way. His choice of wood also displays great judgment and a fine eye for Italian style. In some instances, his varnish is of a dull red, and a great many of his instruments appear to have been made for the music shops, and to have been sold under other names. Perry, Thomas, Dublin, 1767^ — 1800. This maker has certainly turned out many good violins and some of them merit high praise in every respect. The tone is sweet and clear. Workmanship generally most excellent. Scrolls very fine. Varnish usually almost colourless, but of good quality, and quite transparent. Copied Amati largely, but, like many a good copyist of the same school, the droop in the top part of his outlines shows pretty clearly where his model came from— namely from some of the finest German copyists, but not from an original Amati. About 1820 he became a partner with WilliamWilkinson, and the firm was Perry and Wilkinson for a period of about ten or fifteen years. PiERRAY, Claude, Paris, 1714 — 1730. Well made, but somewhat thin-wooded violins were produced by this maker. Red varnish of fairly good appearance. Tone of rather poor quality. Pique, F. L., Paris, 1788 — 1822-. A fine maker, whose instruments are of remarkably good style. His favourite model was Stradivari, and he certainly niade exceedingly correct cofiies. Tone very fine. The wood is all excel- lent in such instruments as I have seen. His margins are beautifully full, and his corners and sound holes exceedingly well designed. The varnish, although some- times somewhat " gummy " in appearance, is often of CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. IO3, good quality and transparency, and of a colour which may be described as of a nice brown. Plane, Walter, Glasgow, 1820— 1860 or later. A very fair Scotch maker who turned out neat and taste- ful work, and who could, with a model before him, copy an old master with considerable skill, but who never was in a position to be particularly ' chpice about his- wood. I have known very good Amati copies by him. Light yellow varnish. RoMBOUTS, P., Amsterdam, 1720 — 1740. I cannot say that I admire this maker's work, although it may be called' good in its way. It might be described as " fat and fine," but his purfling is very careless. I have not, however, seen much of his work, but in what I have seen the varnish had a dry resinous look which was not pleasant. Rayman, JacGb, London. 1620 — 1650. This maker's large work merits the highest praise. Some of his- 'cellos for the excellence of the wood and dignified char- acter of the design deserve to be placed in line with the best. I cannot say so much for his violins. They ar& pretty enough in some respects, but the outline of such as I have seen is very poor, as is also the design of his sound holes. These might, indeed, be called disastrous. The workmanship is good, but had his reputation depended on the appearance of his violins it would never have reached the point to which it attained. Fortu- nately, his big" instruments show us, beyond a possibility of error, what he really could do, and raise him to the rank of an artiste in his calling, while some of the wood which he uses in this large work' is as fine as anything; to be seen. J04 THE FIDDLE FANCIER'S GUIDE. RoGERi, GiAMBATTiSTA, (commonly called G. B. Rugerius) was a native of Bologna but it is not known when he was born. He was a pupil of, or, at least, a workman with, Nicolas Amati about the same time as Stradivari, and made remarkably fine violins on his own account when he started business. It is not known precisely when he began in Cremona after leaving the service of Amati, but after i66p he was established in Brescia and continued in business there until after 1730. His instruments are very fine, have the finest, wood, and ■the finest varnish, and it is said that many of the in- struments which we now call Nicolas Amati's were made by him— a very likely thing no doubt — the same may be said of all the great pupils of Nicolas. G. B's instruments are modelled very much after the style of Amati, of exceedingly fine wood, and highly finished in all but the purfling, which often looks as if carelessly done. The figure of his backs is often quite striking. His margins are full and flat. There is a charming look about his sound holes which it is not very easy to describe. They are of the N. Amati style, but the inner edge looks like a beautiful, clean, straight cut for a considerable distance before it merges into the lower curve, or turns round to the top corner. His varnish is fine and not unlike that of his master. His 'cellos are magnificent insti;uments, and his varnish on them is not always so transparent, besides leaning to brbwn. RocjERi, PiETRO, GiACOMO. A SOU of the preceeding whose special excellence lay in tenors, 'cellos, and double basses. His work is said to be very little, if at all, inferior to his father's, but I am not in a position to speak of it. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. I05 RuGiERi, Francesco, Cremona. This maker was a pupil of Hieronymus Amati and no relative of the above Bolognese family. He was thus of a somewhat earlier school — namely that in which Nicholas Amati was him- self trained. His vioUns are very beautiful, of the A. and H. Amati type, with the pretty, ridgy arch, the beautiful finish, fine varnish, and pure tone. ' But he did not always make like his master, and gradually crept away from the model until as we get on to 1690, or a little before, we find him leaving it almost entirely — becoming flatter in his arching, enlarging his model, and changing and lengthening the design of his sound holes. Then later — a year or two — back he goes in his violins to the old, beautiful, sweet toned arch. His scrolls have large-headed volutes. His outline is not quite so graceful and complete as that of his master or of his fellow pupil, and his middle bouts are pretty deep and long, but they are exceedingly handsome instruments for all thati and very rare indeed. Many of his backs are cut on the slab. His varpish is of a somewhat dull golden brown. His tickets run, ^' Francesco Rugier detto il Per in Cremona." Rugier, Vincenzo, Cremona. Son , of preceding. He also used the phrase " detto il Per " in his tickets to distinguish his work, presumably, from that of the Rogerius family. So, at least, it is thought. His work is not reckoned so good as his father's, and is called coarse by some, but anything that I have seen was of quite a refined style, and displayed a most excellent judgment in the selection of wood. I have seen wood in his instruments not in the least unworthy of even the I06 THE FIDDLE FANCIER's GUIDE. finest grained examples of the Amati, who was his father's master, and with a varnish for colour and quality not second to the same distinguished makers. There were other members of these two families of whose work I do not know anything. One is named Giacinto, and he calls himself in his ticket a son of Francesco, and there is another palled Giambattista Ruggeri, who also calls himself " il Per," but whether he was a scion of the Bolognese Rogerius, or of the Cremonese Rugier, is not kiiown. They are both credited with good work, but there has been considerable confu- sion with regard to these two families in consequence of the names having been similarly spelt, and their precise relations to the two have n6t yet been defined. Saunier, Paris. About 1770. This maker is chiefly known because he is credited with being the instructor of F. L. Pique. Sanctus, SERAPHiN,Venice, 1710 — 1748. Santo Sera- fino was an exquisite maker in many ways. The artistic and picturesque functions of the violin maker were un- doubtedly exercised by him to a considerable extent, and anything more lovely so far as regards outward appearance than some of his work both big and little could scarcely be found. His double basses are most magnificent, but adjectives of that kind are not quite fine enough to de- scribe his other classes. His basses are his best for tone, the smaller instruments not being quite equal in that respect to the hopes their splendid appearance raises. For beautiful wood, finished work, splendid varnish— a rich and brilliant golden brown — if' Santo Serafino does not rival Stradivari, it is diificult to say who does. His CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. I07 margins and corners are exquisitely finished — the margins being rather narrow — and, altogether, he makes bright and beautiful instruments such as even Stradivari might have been proud of had they only possessed the proper tone. In the latter respect they are considerably behind, but not in any other. His instruments are some- what rare, And his tickets run " Sanctus Seraphin Utinensis fecit Venetijs anno." He was born in Udine, a town of considerable size in the extreme north-east of Italy, and far enough from Cremona where the two famous men lived whose works ha made his models. Where he learnt his business is not known. He went from Udine to Venice. " Utinensis " means " Udinese" just as " Cremonensis " meafis " Cremonese." He copied Amati and Stradivari. SiLVESTRE, Pierre, Lyons. Born 1801. Died 1859. This maker was born at Somerwiller. He was taught violin making by Blaise of Mirecourt. He afterwards went to Paris, and worked first for Nicolas Lupot, and after-wrards for Gand. He is a splendid maker, using magnificent wood, and very good varnish. His outlines are of surpassing beauty, and the finish of his work beyond reproach. The fluting of his heads is bounded at the bottom by a quaint line which slightly squares off ' the corners. The corners of the middle bouts are full and perfect, his sound holes most graceful, and the tone of his instruments is of exceedingly fine quality. He had a brother who was taught by the same Mirecourt maker, and who went to Paris also, and entered the service of J. B. Vuillaume. This brother, Hippolyte, and Pierre became partners, and started business in 108 THE FIDDLE FANCIER's GUIDE. Lyons in 1829. In 1848 Hippolyte retired, and Pierre ■continued until his death. When the brothers were together, the tickets ran in Latin, " Petrus et Hippolytus Silvestre fratres, fecerunt Lugdun," and when Pierre was by himself he used his native tongue, "Pierre -Silvestre a Lyon." Pierre made a goodly number of vioUns himself, but they appear to have been picked up rapidly, as they are now somewhat rare. The firm's instruments are not quite so good. Stainer, Jacobus, Absam near Inspruck. This great maker was born on July 14th, 1621, at Hall — a short ■distance from Absam where he settled, and where he "died in 1683. He was first put to work with an organ builder in Inspruck named Daniel Herz — who appears to have been also an organ player. It is said that -Stainer's constitution was not robust enough ' for this calling— although the work, ig not particularly heavy — -and that Hferz recommended him to try violin making. We are next informed that the parish priest of Absam was instrumental in getting Stainer placed at work in Cremona, and with Nicolas Amati. This incident in Stainer's life is supposed to be an ' apocryphal interpola-. tion, because no particular resemblance to Cremonese has been found by the doubters in what they considered to be his work when theyplaced it along side of that of the Cremonese makers. Those who are not inclined wholly to, discredit the story, suggest that it is just possible the doubters never really saw Stainer's finest workj and have come to their conclusions from observations^ of instruments which were not his at all. This is not an unlikely explanation of the matter, for a fine, genuine Stainer CLASSICAl, AND POST-CLASSICAL VIOLIN MAKERS. I09. violin is almost the rarest thing in fiddles. People who- talkabout Stainers as'if they were faniiliar with them to their finger tips are generally talking about instru- ments which have never had the impress of his tools. I am not how referring to the tubby, or even to the untnhhy,. vioUns, which are usually called Stainers all over the country, but to good, well made, and really old, instru- ments of considerable merit — sometimes Italian, some- times German, sometimes English, and sometimes French, which responsible people often accept, and speak of, as Stainer's. The pampered instrument, which has been in one family for over a hundred years, is not thfr- only guilty thing in this connection ; and even if it were, its pretensions would be quite lost on a London dealer, and perhaps as completely on a provincial dealer, if he happen to have had a little real experience. But there is another, and much more dangerous candidate- for Bavarian honours, wearing the remains of a nice- golden-tinted sizing, and a suspicion of cherry-coloured varnish — you can almost see the bloom of it hiding away in the shadow of the corners — and had, the details of" Stainer's life only been known to us a little earlier, together with the knowledge that he was a kind of peripatetic wholesale maker, who attended fairs, etc., for the purpose of disposing of his stock, we might have- had this instrument handed down to us as the " Market Stainer " — a fitting companion to the " Prison Joseph," and the " Early Maggini." Though a finely-finished violin, however, it is generally too delicate about the edges, too narrow in the margins, and having sound holes too much of all sorts. It has little or no resem- no THE FIDDLE FANCIERS GUIDE. blance to Cremonese work, and just as little to Stainer's, and is, I fancy, the kind of violin which makes people imagine that Stainers are by no means uncommon, and which clearly proves to them the absence of Italian influence in his work. It appears to me that the Italian influence in his work is very evident, and I should not be greatly surprised if the old tradition that he did business in Cremona at one time, had some foundation in fact. It seems a far cry from Absam, but it is really little more than a journey from Liverpool to London would be to us. In those days there was considerable traffic from market to market, and fair to fair, and had he even started on foot on the old road over the Brenner pass, he could have done the whole distance merely as a tourist in three or four' days, but in such intervening towns as Schonberg, Sterzing, Brixen, Klausen, Botzen, Ngu- markt, Trent, there would be lots of opportunities for such business as he appears to have cultivated. The Albanis were in Botzen even in his own day, and there - are traces of a large fiddle trade between the Tyrol and Cremona, of which a maker, such as he was, would not be slow to take advantage, whether he made all the instruments himself or not. Trent — ^^half way — was one of the busiest and gayest towns in the Tyrol. Koveredo, was another lively, commercial place, and when there, one is within hearing of the heartbeat of the classical fiddle country. Many a bit of fine Tyrol wood has, no doubt, gone down to Brescia and Cremona, and hroughout Lombardy, and elsewhere in Italy, oVer that old post road, across the Brenner. In some such fashion, one might link Absam with Cremona ; but it is CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. Ill not a very satisfactory way of dealing with the subject. There is not, however, the slightest doubt that on his finest work, the varnish is of exa,ctly the same character as is found on Cremonese instruments. The violins which were formerly called " Elector " Stainer's, because it was supposed that he made one for each of the German Electors, are magnificent instruments. The story about them is a bit of romantic rubbish, woven into the old , biographical accounts of him, and has been exploded for a few years now. But there is no mistake about the violins. They are really grand, about I4J- inches from margin to margin lengthways. Width across the bottom about 8 inches, across the top, about 6^. The margins are of good width, and gracefully thrown up a little from the purfling. The edges are circular. The corners are not so pronounced as those of Nicolas Amati, and the purfling is rather wider than usual with Stainer. It is not, however, so very neat as in many an inferior maker, but of an entirely satisfactory character for all that. There is a perceptible groove running round the margins of both back and front. The tops of the sound holes are circular, and so are the lower turns, but larger. The arching is greater on the front than on the back. It starts to falllongitudinallyat the same points from upper and lower margins, but as the arch below the sound holes is perceptibly higher than it is above them, the fall at the former point seems more sudden than appears above, whefe it seems to occupy about a third more of the distance in falling. The tone is of a lovely quality; full, round, and resonant. He made niagni- ficent. double basses. He was married on 7th October, 112 THE FIDDLE FANCIERS GUIDE. 1645, to a Margaretha Holzhammer, and had nine children. He was unfortunate in his business, fell into debt, and died, out of his mind, in 1683. His house is pointed out in Absam, and the bench to which he was bound when he died mad. His label is written. Storioni, Lorenzo, 1751 — 1798. A Cremonese maker who is generally called the last of the fine school. His instruments cannot be called pretty, but the wood is very fine, and gives a most excellent tone. He employed^a spirit varnish which sometimes app'ears to have actually sunk into the wood. Many of his instruments are of very broad grain in the upper table, and he certainly is not graceful in his outline, as, frequently, his work looks almost shapeless.' Many instruments having this broad grain and unattractive, appearance are called Storioni work. His model is Joseph Guarnerius. He made some magnificent double basses, and the tickets " Laurentius Storioni fecit Cremonse — " are not so often genuine as one could wish. Stradivari, Antonio, Cremona. This maker is, as every one probably knows, the greatest artiste in the matter of violins that has ever lived. The year of his birth is supiposed to be 1644, and the place Cremona. The interest which his work has aroused regarding him has been so keen that people, for lack of information directly concerning himself, have taken to hunting up the name in old registers in Crempna for the purpose of finding, presurnably, how far back they can trace it. Up to the present the year 12 13 is the earliest redorded date concerning ail entry of a name bearing a likeness to that of our great fiddle maker. In a practical work CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. IIJ like this, lucubration of that kind may be limited to the statement that bearers of the* name ot Stradivari have occupied honourable positions in Cremonese history from very early times, but no direct relationship has been traced between Antonio, the violin maker, and these distinguished people. His fame is not much in need of it, having spread far enough and wide enough in all conscience through the merits of. his own work. Indeed, those lawyers, doctors, etc., etc., of old times have had their names rescued from oblivion solely because of Antonio Stradivari, the violin maker, and we may therefore in a brief work like this leave them in peace. Stradivari's father and mother were AUesandro Stradivari and Anna Moroni, and they had anothet son, Joseph Julius Caesar, whose birth in Cremona has -been, found registered. The entry of Antonio's has not been found. Stradivari was twice married, first to a widow lady, a Signora Capra in 1667, who died in 1698, The lady had a ' daughter before her marriage with Stradivari, and there were six children born to them. On the 3rd June, 1680, Stradivari had bought the house in- the square of St. Domenic and it remained in the possession of his heirs for forty years after his death, when it was sold to some persons called Ancina, and in 1801 changed hands again, this time becoming the property of a Signor Bono. Fifty years after this it was purchased from his heirs by one Vigani, then in 1862 by a draper called d'Orleans. It is at present No. i, Piazza Roma and is a modest house of three floors looking over the square. The shop floor has two windows at one side and the I 114 THE FIDDLE FANGIER S GUIDE. door at the other. The upper floors have, each, three windows. In these unpretending premises the great vioUn maker resided and worked for nearly fifty-eight years, having on the 24th August, 1699, married .his second wife, Antonia Zambelli. Five children were born of this second union, of whom only two followed their father's calling. These were Francesco, born ist July, 1671, and Omobono, bbrn 14th Nov. 1679. The exact date of Stradivari's death is not known, but he was carried out of his house on the 19th December, 1737, and laid, not in the farriily tomb he had prepared for himself, biit in one Francesco Vitani's vault in the Chapel of the Rosary Church of St. Domeflic. His second wife had preceefied him in death by nine months. Stradivari is supposed to have been a pupil of Nicolas Amati. His name has 'not been found entered in any return as an ■ inmate of Nicola^ Amati's ^s is the case with Andreas Guarnerius — that other' pupil of his. But observation of his work reveals the fact that he made violins which bear Amati's name, that is as early as •1666, at which date he also began to put in his own name. If we place implicit reliance on the integrity of the^e tickets— a matter which, by the way, it is im- possible to decide — and if we believe that they have remained in the violins in which they were originally placed, we are thrown into the utmost confusion in attempting to trace any gradual development in his, work. Since his death, no person has shown himself possessed of any specially authentic data from which eould be deduced the theories regarding his various models which have for so long a time prevailed. When; CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. ' II5 probed to the bottom these theories are found to be, very largely, guess-work. It is very reasonable guess- work in a great many cases, but it never is more than that. It is, of course; highly reasonable to suppose that while he was — if he was — in the employment of Nicolas Amati, he made violins as Nicolas Amati liked them to be made, and that after he left his employer he would probably continue to make them somewhat after the same style, unless, or until, he discovered something better. It is not however a very profitable subject of discussion, arid is now largely confined to one or two authorities on the subject, and to those who do not yet know very much about it. What chiefly concerns the fiddle fancier is thatStsadivari had several models, but when, (luring" "his active working life on his own account, he began, interrupted, renewed, or finally dis- continued, the use of any one of them is more than any person can now tell. What is considered to be his earliest style after he ■ceased -forking for N. Amati — if he ever did work for him — ^is the amatisi model. That is, ,an instrument' having, to a certkin extent, the long, and somewhat ridgy, 'but graceful arch, which is characteristic of Amati style.' This model he is supposed to have used until about 1690, or a year or so after. Then from 1690 or so until 1700, he is supposed to have made what are called " long " Strads. That is, a model having a total length of about 14J inches. From about 1700 onwards what is called his "grand'' period . prevails, in which the length is generally somewhat less, while the widths of the upper and lower portions are slightly greater. These r 1 2 Il6 THE FIDDLE FANCIER's GUIDE. are the general appearances of what are known as his three periods, but whether thfe instruments were actually made in this succession or not is a matter which cannot now be decided. In some of his so-called early instru- ments, he employed a kind of poplar for the back. There are very few examples of the amatis6 model in this country, and the " long " pattern is quite as great a rarity. The distance from corner to corner of the, middle bouts in the " long " rnodel is about 3jin. — rather . under than over — and in the " grand " pattern it is 3 in. The sound holes in both " long*' and ''grand " are the same, and it is very difficult to give any indication in writing of their perfect beauty. The grain of the wood in the upper table of a Stradivari /'olis .is^generally of a medium, width, but it is frequently very ci65e'and regular. I have, now and again, seen it as wide >as is found in Joseph del Jesu's violins. Throughout aiV these styles there is great variety in individual instruments, and. solidity of construction, combine'd with refineds finish is characteristic of them all. In the " long " pattern the middle bouts are cut in very sweetly. The top; curve of these does not, as in the case of the " grand " .pattern, appear to almost rise a little into the upper po^stion of the violin before it turns down. In the " grand " jpattern this gives these bouts somevfrhat of the appearanta of an ellipse of more pronounced character, and as an instance of how Stradivari reverted to what is called a previous style, the middle bouts of the " grand " pattern of, ,say 1 71 6, or thereabout, may be found in instruments of 1(690, of distinctly amatise model. The outline of a " graiid " pattern is fuller than that of a " long," and gives tdt the CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. II7 instrument the appearance of having — ^what it really has — a greater approach to equality of dimension between the upper and lower portions of the body. The top curve of a " grand " does not droop so quickly from the level of its start at the neck as that of a " long," but, though constantly falling,'keeps traveUing out a bit, so to speak, nearer the level of its start. The result of this is that fulness already referred to. The varnish of Stradivari is of various colours. That of his so-called early work is often of a beautiful golden brown, golden yellow, and also a kind of cherry brown, The " long " has much the same range of tint in golden brown tinged with red. The " grand," as far as I have seen, has a .wider range of colour, from a clear straw tint (almost) through toast brown to golden brown, orange, red orange, and golden rfed. AH these ate extremely transparent and beautiful, and soft to the' touch like velvet. Such descriptions can, however, only apply in a general sense, for I have seen them in all styles, just as I have seen a highly arched back — which might, indeed, almost be Called amitise — dating from the very heart of' the "grand" period, while I have also seen a model of about 1680, repeated line for line more, than forty years afterwards so far as tickets are con- cerned. The quality of the varnish is almost always fine. Sometimes it is of a dull, scumbly character, and it is barely possible that the few instruments where I observed it of this appearance^ had been treated to some cleansing process which might easily cause the dis- appearance of the polish. There is also some variety in the p^te of the varnish. On many instruments it is Il8 THE FIDDLE FANCIER'S GUIDE. thin, soft, and gleaming, on others, thick and luscious, like a flaming ruby gum. On a back which has been treated by Stradivari himself to imitate the picturesque appearance of age, it cari be seen vanishing away in thinnest scales at the borders of wear. In one of the earliest instrtiments I ever saw, the margins were large, and that appears to have been in almost all cases, a sine qua noft, but not in all. Fourteen years later, they grew small, while in the immediately proceeding year they were large and magnificent. They are generally of a handsome width,' and, When not worn away, there is present a fine sense of solidity, combined with lightness of construction. The scrolls are of the finest and most artistic contour, having broad and full sides for the peg box, and they are usually of the same material apparently as that employed for the back. But the grafting of new ■necks has given opportunities of changing scrolls in earlier times which are now well past recall in a great many instances. These changes have been made for the purpose, sornetimes, of supplying a well preserved scroll to a violin whose head had been either lost, broken, or worn down. A great many of them are worn down on the side of the fourth string because of the habit, not yet extinct, of placing that side of the volute against some firm support while tuning up. In some cases that wear, has been so excessive as to tempt makers and owners to have a fresh piece inserted, and the contour in some measure restored. When the wood is well matched, and the work accomplished in an artistic manner, it is quite a right thing to do. Stradivari scrolls vary a little in appearance, early ones having CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. IIQ deeper fluting at the back than later work — ^but their dimensions do not vary much. From the bottom of the fluting at the back to the apex ■ of the volute, they measure about four inches. Their width across from boss-edge to boss-edge is about i-| inches. The " boss " is the protuberant terminal of the volute, which sticks out on each side. It is sometimes called the " ear," and at other times the "eye," and it would be just as rational to call it the " nose,"- or the " mouth." The width of the widest part of the fluting is about an inch, and that of the narrowest part of the volute at the top is about -f^ of an inch. Width of the first curl of the volute, measuring, as it were, right through from boss- edge to boss-edge, and along their tops is about i^ in. Width of second curl across top, and in same direction,. Af in. Depth of sculpture of first curl, at boss, about J in. Width of under turn of volute at its junction withpegbox i in. Greatest width of pegbox, a!t the nut, f in. , and then diminishes to f in. at top. Width of fluting at back, opposite bosses, f in. Depth- of side of pegbox across second peghole from top about i in. Depth from back of second curl at level of boss tops to fluting about ij in., and then diminishing gradually, as it turns round to where it -overhangs pegbox at same level to Jin., and further diminishing until lost in the boss on the up cut, the sculpture widening from the front uq^il it is flush with the boss end. In some the cutting is hollow from about J of an inch above the A peghole. The thickness of the pegbox sides is about -f^ of an inch. These measurements m&y be of service to the fancier, although, of course, they must not be understood to be 120 THE FIDDLE FANCIERS GUIDE. an unvarying standard. Viewed sideways a Stradivari scroll looks very perfect, curling in towards the boss in ever lessening depth until the cutting ends just as ■ it reaches the top. The undercut where the ipegbox joins the volute is as highly finished as any other portion, and comes slightly out to meet the under turn in a most graceful manner. The wood is usually very well marked and the whole appearance of very refined, and strong character. Of course in those cases where the splicing of a scroll has been carelessly done, and the pegbox sides, or cheeks,, thinned away on the inside to conceal a poor job, the front view of that portion will not harmonise with what is said of their thicknesses, and where the joint has been made too high up, it will often destroy in a distressing manner the beautiful appearance one expects to fine even there. • Stradivari, Francesco, Cremona. Born the ist February, 1671. Died nth May, 1743. This maker was a son of Antonio, and the elder of the only two merhbers of his large family who followed their father's calling; As a maker Francesco did not attain to the ' level of his father, which is not saying very much in his dispraise, seeing that none of the other great Cremonese makers permanently attained to that level. What I have seen of Francisco's work was heavier in style, but it had exactly the same quality of varnish as is found on his father's instruments. There, however, the resemblance may be said , to cease, although that circumstance will not, as the fancier knows, lesseri the interest in Francesco's work, for he has qualities which are personal to himself. His margins for instance are relieved in the CLASSICAL AND POST-CLASSICAL VIOLIN MARKERS. 121 most beautiful manner-^like a thickish cord rising up from the. marginal groove — and his edges are rounded very sweetly. His arching is. somewhat after that of his father in the earlier style of the " grand " pattern — not so graceful in any point, but having a little of the paternal feeling for all that. The cutting in of his middle bouts betrays the same influence^ but they are , not so artistic and have the appearence of being deeper and longer— which they really are except in regard to the father's model, which is called the "long," pattern. His varnish — in what I have seen — ;is of a reddish, golden brown, soft and transparent like his father's, but not so brilliant. His sound holes appear more straightly cut than his father's, and have their terminal wings not so square or broad. They are also placed a little lower. The corners of his middle bouts are also more pointed. His scrolls are slightly different, the volute appearing to be rather long, but not ungraceful, in front, and narrowing steadily towards the top. He made very few instruments, and they are exceedingly rare. His tickets run " Franciscus Stradivarius Cremonensis Filius. Antonii faciebat anno." Stradivari, Omobono, Cremona. Bom 14th Novem- ber, 1679. Died gth June, 1742. This maker is the only other son of Antonio who -became a violin maker. I am not acquainted with his work. He appears to have been chiefly employed in making repairs. There is a ticket which, it is said, he used, an4 which runs ". Omobonus Stradiuarius figlij Antonij Cremone," etc. I should very much doubt that he ever was such a donkey, or at least, that he used such an inscription 122 THE FIDDLE FANCIER S GUIDE. twice. The clerical patrons of the family were too numerous to permit such a thing, I should say. Tecchler, David, Ronie. This was a fine maker, who — ^if we may trust to the accuracy of inscriptions on tickets — was born in Salzburg in 1666. Anything that I have seen of his work was of very high character and altogether Italian in style. It is said, however, that he made highly arched instruments when he , was in Salzburg, which is very likely. He certainly was in Rome when he was about thirty years old, and his work was Italian in character then. It displays finely and massively moulded corners and margins, and altogether a noble and grand appearance. The wood is of the finest kind and beautifully figured, back and sides.. His violoncellos are superb instruments. His varnish is a golden brown of somewhat scumbly appearance. How long he lasted I cannot say. It is generally supposed until about 1742 or 3. It is also said that he worked in Venice and had a quarrel there with the other makers, who threatened him in some way, so that he removed to Rome. I am only acquainted with his, Roman work. Testore, G. G., Milan, 1690 — 1715. Well finished instruments of Guarnerius model. Brown varnish. Testore, C. A., Milan, 1720 — 1745. Eldest son of preceeding. He made very good copies of Guarnerius, ' Amati, and Stradivari, \3ood tone. Varnish of a some- what thickish brown pkte. He made fine 'cellos and tenors. Testore, P. A., Milan, 1720 — 1759. Similar work to preceding. Varnish yellow, and yellowish ^brown. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. I2'3, TftiBOUT, J. P., Paris. Born at Caen, 1777. Died near Paris, 1856. This was an excellent French maker who started business in Paris in 1807. His workman- , ship is very fine, and distinctive in many instances by his corners, where the joinings of the sides are not made in the usual way, but square, through carrying out' the. corner blocks, and facing apex of these until about' an eighth of inch surface appears. His margins are quiet, and finished looking, and fall over, so to say, on the sides, not greatly projecting over these. His sounct holes have something of the straight inner cut of Rogerius.. His arching is flat, and his varnish a red mahogany, with' a very slight tinge of brilliant brick red. His scrolls are beautiful, not so deep nor so long as other French or Italian specimens, but of exquisite line and curve ill profile. Strong pegbox, and most finished volute^ His tone is French, powerful, and good. Altogether his style is restrained, strong, and artistic, and his finish very fine. Thompson. Name of a nuinber of London violin makers beginning with " Charles and Samuel Thompson, in St. Paul's Church Yard, London," as the tickets run. None of the work is very good, that of Charles and Samuel being of poor outline, poor wood, poor, tasteless- sound holes. Everything about it, indeed, more or less, mean. Thin tone, and weak, inartistic scroll. Their, instruments have generally a pronounced groove round, margins both back and front, and the varnish is of a lifeless, maple stain tint. This firm carried on business- about 1720 — ^48. Other firms of the name are Jho. Thompson, 1753 — 9, and thereabout. R. Tfiompson. 124 THE FIDDLE FANCIERS GUIDE. about 1749, Thompson and Son (S. and P.) about 1764. Some of the work of these firms is rather better than the founders', but none of it calls for particular mention so far as I have known it. ToBiN, Richard, London, 1800 — 36. This was a fairly good maker, who worked at one time for John Betts. He died in poverty in Shoreditch. His instru- ments are good-looking, and well varnished. He was a pupil of Perry and Wilkinson, Dublin, and he had the reputation of being the finest scroll cutter ever known in 'this country. His scrolls are certainly very good. ToDiNi, MicHELE, Rome. About 1620 — 1676. A native of Saluzzo, who used to be credited with the invention of the four-stringed contra basso, a notion some time ago exploded. ToNONi, Felice and Guido, Bologna. They made very fine violoncellos of exquisite work and considerable power. Their titkets run " Tononi di Bologna fecero 168—" '^ ToNONi, Giovanni, Bologna. Son of Felice. A better maker than preceding firm. He made large 'cellos and tenors, which are very fine, and of Nicolas Amati model. His tickets run " Joannes de Tononi's fecit Bononioe in Platea Paviglionis anno 17 — " Tononi, Carlo, Venice, 1716— 1768. Son of pre- ceding. His violins are well sha.ped instruments, and have a very good quality of varnish. Urquhart, Thomas, London, 1648^1666. This maker is one of the finest of the early English school. His work is that of an artist in all points, from the quaint, pure cutting of the sound holes, to the CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 1 25 beautiful golden varnish, which hardly can be . named second to even the best Italian. Vaillant, F., Paris. About' 1738. This was a very- good maker, who produced some fine instruments on the lines of Nicolas Amati. His outline is very pure,' with somewhat long middle bouts. His tickets run " Fran9ois Vaillant rue de la Juiverie a Paris." VuiLLAUME, J. B., Paris, 1798 — 1875. In some respects this distinguished maker is the greatest that France has ever had. In other respects he is not. He certainly had the capacity to be the greatest in all points, had he so chosen, but he did not so choose, with the result that he never gained on Lupot except in one or two points of comparatively slight importance. He was born in Mirecourt on' the 7th October, 1798, and all his biographers, without exception, state that his father, Claude Vuillaume, was a violin makier there. I have, myself, adopted that statement in making reference to him elsewhere, and even the late highly esteemed Gustave Ghouquet, keeper of the museum of thq Conservatoire at Paris, , has apparently drawn his information from the same source, namely, Antoine Vidal. It has even been recently stated that his grand- father was a violin maker, although he does not appear to have gone quite so far as that himself. In 1874, when M. Vidal was writing his book, he asked Vuillaume to make some researches , in his native town, in order to ascertain the history of his family. What came of these searches will be referred to presently, but long previous to that date, namely, about 1856, when M. F. J. Fetis, Chapel Master to the King of the Belgians, and Director 126 THE FIDDLE FANCIER's GUIDE. ■of the Brussels Conservatoire, was compiling his, mono- graph on Antonio Stradivari, mainly from material supplied to . him by Vuillaume, we find incorporated in ■ this work a statement that there was a Jean Vuillaume, -who had been employed in the establishment of Stradivari,, ,and who had made good violins from about 1700 to 1740. The only known specimen of a violin by this maker appears to have been one which was in the possession of J. B. Vuillaume, and which was seen by M. Vidal, who describes it as a very common piece of work, with painted purfling, narrow edges, and yellow varnish, and in which no connoisseur could find the slightest trace of the magnificent example and tuition of Stradivari. When the researches as above referred to were made, no trace of relationship between the two families could be found.- It is not even said that this Jean Vuillaume had been discovered to be a real personage. However that may, be, the most remote ancestor of the family then reported was Vuillaume's own father, Claude, who is ■called a violin maker, and the prentice master of , his four sons, Jean Baptiste, Nicolas, Nicolas-Fran96is, and ■ Claude Fran9ois. It does not appear that the informal tion supplied in this way to M. Vidal was verified by him when he published it in the year following Vuillaume's death, namely, in 1876, and I am beginning to fancy that J. B. Vuillaume, however clever he was as • a violin maker and dealer, was a practical joker of a some- what serious turn of mind, or else that those to whom he conveyed such 'details had failed to comprehend their precise significance. At all events, the biographical account of the family which is at present current from CLASSICAL Ar,D POST-CLASSICAL VIOLIN MAKERS. I27> the pens of the late Gustave Chouquet and Antoine Yidal, and which is adopted by all others with the addition of a grandfather, whom these gentlemen do not mention, is to the effect that Claude Vuillaume, born in Mirecourt in 1771, according to Chouquet, and in 1772, according to Vidal, was a violin maker in that town, and the first known member of the family ; that he trained his fous sons in the business, who continued it under his direction ; that he was a maker of trade instruments, etc., etc., and had used as his trade mark, " Au roi David, Paris," branded in the backs. I am now informed that this Claude Vuillaume was not a violin maker at all, but was what we would call the " carrier," between Mirecourt and Nancy. 'There may be people alive in both places at the present time who will remember the old man quite well— r-he died in 1834 — ^^^ who could confirm this, I daresay, -if it were necessary. Assuming, for the nonce, that he was even a dealer in cheap instruments in Mirecourt, what a strange fancy it was to start a " violin " ancestry in this way ! And if he was not a violin dealer, and had nothing whatever to ■do with the business,except as the carrier of the goods from one town to the other, what a lurid light the circumstance throws on the eagerness to establish by some means a connection — if even only a nominal one — between an undoubtedly talented personality, and the glorious old shop in Cremona. It is very unpleasant to have one's confidence in the accuracy of biographical detail shaken in this fashion, and 'although it appears that his brother, Claude Vuillaume, never made any s.uch pretensions and laughed at the idea when the subject was broached in 128 THE FIDDLE FANCIER'S Gl'tpE. his presence, the matter has really a much gravei' aspect than that of a practical joke. If the late J. B. Vuillaume led Vidal to believe that his father was a violin maker,' , who himself trained his four sons in the art, and this information has no foundation in fact, the circumstance is sure to cast discredit on anything he ever said. And further, if he, more than .a quarter of a century before that, supplied Fetis with the story of the " Jean Vuillaume " violin and its maker's supposed connection with Stradivari, without having any foundation for his statements, then he certainly would be called an untrust- worthy authority, who did not scruple to divert with the most unpardonable audacity, the ordinary channel of musical history in a direction which it would not other- wise have taken in that particular respect, and people in such an event would not be slow to believe that he did this for purposes of self advertisement as a violin maker and dealer. Whether his father was a violin maker or not, he him- self was one, and a great one, without any doubt ^hat- ever, and had he not descended to, very reprehensible practices in the treatment of the wood, etc., in such a manner as could only aid in deception, he would have occupied even a higher position than he at present holds. In 1818 he went to Pa,ris and began work with Francis Chanot, who was then making his guitar-shaped violins. Remaining there for two years, he next went to an orgfaii-builder named Lete, who kept a fiddle shop as well. In four years' time he, became a partner there, and the firm was Lete and Vuillaume. Three years later he separated from Lete and started on his own account. CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. 1 29 InJ 1826 he had married a lady named AdMe Guesnet, through whqse acquaintances he came to know Savart. the acousticien. Vuillaume is made to explain that when he began business he tried to sell carefully made new instruments — instruments made with all the skill of which he was capable — but that he found they sold very cheaply and slowly, and that the rage for old Italian violins had set in. He suited himself to the times, and produced old instruments, placed sham tickets in thenl, and found his customers. In order to produce'a prematurely old tone, he destroyed its capacity for endurance. ' In order to produce an old appearance he destroyed the wood to a certain extent with acid. He is not the only maker who has done this sort of thing, and his excuse is the same as -that of others, namely, "he had to live." AH things considered, this excuse does not appear to be, in his case, quite valid. In 1825, when he was only twenty-seven years of age, his ability procured for him a partnership in an old established concern. In 1826, he had married into a good family. In 1827, he had gained a silver medal at an exhibition in Paris at a time when Aldric, Chanot pere, C. F. Gand, and many other high class makers were alive and working. In i828,he had made over one hundred and thirty vioUns, exclusive of tenors, 'cellos, and double basses, and in that year he started on his own account with an excellent reputation. He was then only twenty-nine, and I certainly cannot see that he had much to complain of, yet in that very year he began making those imitations of old instruments . to which I have already referred, and he confessedly made them to satisfy the demand for " old Italians." I put it K 13° THE FIDDLE FANCIER's GUIDE. that in view of the progress indicated above, to say th4t it was with him a question of either " living by imitations or starving by th!e fabrication of new violins " is simple nonsense, unworthy of a serious historian. The true secret of those clever productions is probably that VuiUaume was in a hurry to make money, and it is admitted that they were the origin of his fortune. These instruments he sold at ;^i2-— the violins-^and the 'cellos at £10. He clearly does not appear to me to have laid the foundation of his fortune in a legitimate manner. Many people profess tb believe that he did not sell those instruments as genuine old Italian violins. He may not always have so sold them — we know al about that — ^nevertheless he does not occupy a higher position in this particular respect than many a man to whom we apply names which sound really quite harsh . It is also said on his behalf that he was no worse than the people who expected old Ita,lians at such prices. I, do not think so. He did not confine himself to Strad. and Guarnerius imitations, and in those days, and for long after, £\'2, was not a small price for outside Italian makers. Had he limited his skill to external imitation only there would have been no ground of complaint, but the colouring of the wood inside and out with acid, has siniply made a great many of these instruments almost useless when combined with the thinning away in parts which is also characteristic of them. In 1834 ^^ ^'^^ another silver medal, and in 1839 and 1844 he had gold medals. These were for Paris exhibits, but in 185 1 he sent to the Great Exhibition here two quartets and the great octobasse which he had previously , invented and CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. I3I •which gave four notes lower than the ordinary double "bass. In this Exhibition he carried away the only grand council medal that was given. But ^he grounds upon which he got it are so curious, and display so much ignorance on the part of the jury, that the distinction was a very , questionable' one indeed. Although I have, quoted this award already in the article Bernard Simon Fendt (which see), it will be as well to reproduce it here. ',' Niew modes of making violins, in such a manner that they are matured and perfected immediately on the completion of the manufacture, thus avoiding the necessity of keeping them for considerable ' periods to develop their excellencies." It has all the air of a splendid trade advertiseinent and, no doubt,- served as one. Fortunately, Vuill^ume also made violins in an absolutely legitimate manner — ^liot by any " new mode," but by the old mode. These had all to be developed and perfected in the usual way, nan;iely, by careful playing and the flight of time. These are grands instruments of which any man might well be proud, and they are what place him in the front rank of French makers. His favourite model was Stradivari, hut he made copies of all the great makers, almost without exception, and these instruments taay one and :all , be called chefs d'cetwre in the highest significance of the phrase. If they , have a fault it is that the uppe'r table is not always strong enough to resist the pressure where it should be able to do so. In all other respects they are superb. His edges are properly massive and the margins always righf with the model he might be copying. Every . point of his work is of an artistic 132 THE FIDDLE FANCIER S GUIDE. character, and he must have been, a most indefatigable worker, as he says himself that he made 3000 violins. That does not mean that he personally made all. In his early days he undoubtedly did so, but I imagine that after 1829 or 30 he must have had people constantly wotking for him besides his own brothers, although every now and then he turned out a violin made entirely by himself, or almost wholly. His early instruments are spirit varnished, generally of a deep, red orange, and later, he used a kind of covering which is neither spirit varnish nor oil. varnish, as we understand the terms now-a-days. It is a sort of nondescript production which can hardly be called a varnish at all. At this period the colour becomes a rich red brown, appears exceedingly well, and feels quite elastic. It has the look of a kind of paint. His sound holes in the Stradivari models of early days are very good, but they are not reproductions of Stradivari fs. They are too round in the upper curve, and too wide in the middle. His Guarneriiis models are also clever, but the sdund holes are exaggerated.' The tone, however, of the latter model is powerful and very suitable for orchestral work. With the exception of those doctored violins, his instru- ments are very fine specimens of violin making, and when they are perfect, will, be much .sought after. He was an inventor of one or two things which have never come into extensive use, and was a large dealer in old violins. He died 19th February, 1875: One of his daughters was married to the famous French violinist, Delphin Alard. His brother Nicholas worked with Vuillaume in Paris for about ten years and then returned CLASSICAL AND POST-CLASSICAL VIOLIN MAKERS. I33 to Mirecourt and the making of cheap instruments. NicoIas-Fran9ois, also worked with his brother in Paris until he was about twenty-eight, when he went to Brussels, and started on his own account there, and was a good maker. He died in 1876. Claude Fran99is, the fourth brother, became an organ builder, and then a fiddle case maker. There was a nephew of J. B. Vuillaume called Sebastien — a son of Claude's — who began business in Paris but died in the same year as his uncle. He was not a particularly good maker. The name then disappeared, from the trade. Wamsley, Peter, London, 1727 — 1740. This was a good old English maker, some of whose work is of a fine class. The wood isj however, left far too thin. He made copies of Stainer of a sornewhat tubby style. His sound holes are not particularly tasteful, and those instruments which have a kind of dull brown varnish inclining to black are reckoned his best. Wise, Christopher, ■ London, 1650 — ^^56. This maker was undoubtedly an artist in his way, and occa.sionally indulged in decorative purfliing, sometimes all over the back. His ribs or sides are of a good height. He was an East End London artist like some of the best makers of his time and after. His place was in Vine Court, Halfmoon Alley, Bishopsgate Without, and has only recently been cleared away. Widhalm, L., Nuremberg, 1765' — 1788. A very good maker, who copied Stainer well, but, as usual, in exaggerated fashion. His instruments are, nevertheless, of fine quality and finish. Brownish red and pale, varnish. 134 '^^^ FIDDLE FANCIERS GUIDE. Withers, Edward, London. This was a capital maker, whose instruments are gradually rising in value. He succeeded W. Davis of Coventry Street,who flourished about the first half of the present century., There are two branches of the firm now existing. Edward Withers, in Wardour Street, and George Withers in Leicester Square. CHAPTER VI. ^zconh Scrks of (EksBical anb Post-Classical Many of the following are mere names and' dates which have simply been carried on from one treatise to another. Wherever it has been possible, information is given. Where none is found it is to be understood that nothing further than the names, etc., has hitherto been known. AaChner, Philip, Mitten wald, about 1772. Absam, Thomas, Wakefield, 1810 — 1849. His tickets are in English "Made by Thomas Absam, Wakefield," and he appears to have been particular enough to put in the date to the very day. Abbati, Gianbattista,, Modena; 1775 — 1793- A fine maker of double basses and other large instruments. He was trained in the establishment of Antonio Casini, another Modenese maker — or, at least, followed his stj^le. His model is, good, his work careful, capital wood and brown varnish. Adams, C, Garmouth, Scotland, about 1800. Addison, William, London, 1670. Adler, Paris. A Swiss maker who settled in Paris beginning of present century. Aglio, Guiseppe Dall, Mantua, 1800 — 1840. Albanesi, Sebastiano, Cremona. About the middle 136 , THE FIDDLE FANCIEr's GUIDE. of the 1 8th century. Said to be a pupil of Carlo Bergonzi. Alberti, Ferdinando, Mikn, 1749 — 1760. Fairly good work. Light yellow varnish. Aldred, London. An old English viol maker of 1 6th or 17th century. Aldrovandi, Emilio, Bologna> 1850 — 80. Alessandro (called the Venetian), i6th century. A violin of this ' maker's was shown in aij exhibition in Turin in 1880. Alvani, Cremona. Said to be an imitator of Joseph Guarnerius. I have never seen any of his instruments. Allegretti, Massimiliano, Soliera, 1870. Amelot, Lorient, 1829. The only reminiscence of this maker appears to be a ticket. Anciaume, Bernard. A French maker of whom nothing is left but the name. Andrea, Venice, about 1640. AiRAGHi, Cesare, Milan. Modern. Antognati, Gian-Franceso, Brescia, 1533. Antonio (called the Sicilian). An old viol maker of whose work a specimen exists in the museum of Bologna (Philharmonic). Antonio (called the Bolognese). Another old viol maker. Antoniazzi, Gregorio, Colle (Bergamo), i8th century. Antony, Girolamo, Cremona, about 1751. A fairly good maker. Good arching and model. Good finish and nice yellow varnish. Artmann, Weimar. i8th century. Amati model. Good work. Golden varnish. CLASSICAL AND POST-CLASSICAL MAKERS. I37 AsKEY, Samuel, London. About 1825 — 40. AssALONE, Gaspare, Rome, .i8th century. Said to be good work. , AuBRY, Neveu, Paris. Nephew and successor of Aldric, whose business he took over in 1840. Bachelier, Paris. About 1788. Baffo, Gian- Antonio, Venice. 1630. Bagoletto, Antonio, Padua. 1782. Baines, London. 1780. Bajoni, Luigi, Milan. 19th century. Baker, F., London, 1696. An old viol maker, whose instrument bearing above date, at present owned in Paris, is described as possessing a ravishing quality of tone. Baker, John, Oxford, 1648—88. Another old viol maker. Balcaini. An Italian maker about 1760 who. copied Amati. Baldantoni, Guiseppe, Ancona. 19th century. Ballantine, Edinburgh. About 1850. Compara- tively poor work. Bandl, Joseph, Oiffern. 1765. > Bantis, Jean, Mirecourt. About 1730. Fairly good work. ' Barbanti-Silva, Francesco, Correggio, 1850. Violins. Made also a number of double basses. Barbe Pi!RE, J. An old French maker of no great merit. He also made 'cellos. Barbey, Guillaume, Paris. i8th century. Viol maker. ' Barnes, Robert, London. About 1780-^1823. 138 THE FIDDLE FANCIER'S GUIDE. Became partner in the firm Norris and Barnes, which subsequently became R. and W. Davies and is now Withers. Barton, G., London.' About 1810. Barbieri, Pietro, Mantua, 1864. ' Barbieri, Guiseppe, Mantua, 1879. Baraldi, Alfonso, Modena, 1879. VioUns. Saraldi, Giovanni, S. Felice, 1766. 'Cellos. Baracchi, v., S. Martino. 19th century. Violins. Barbieri, Francesco, Verona, 1695. After the style of Andreas Guarnerius. Bassi, a., Scandiano, , 19th century. Chiefly a maker of 'cellos. Bastogi, Gaetano, Leghorn. i8th century. Chiefly lutes and guitars. Battani, Antonio, Frassinoro. 19th century. Chiefly repairs, but also makes violins. Baud, Versailles, 1796 — 1810. Baur, Carl Alexis, Tours, 1789 — 1810. This maker tried to abolish the tail pin. Bausch, C. a. Ludwig, Leipsic. Born 1815, died 1873; , Pupil of Fritsche, Dresden. Had also. two sons, Ludwig and Otto, who carried on the business. Beckmann, S., Stockholm, 1706. Bedler, Norbert, Wurtzburg. 1723 — 50. Chiefly viols. : Bellon, J. F., Paris, 1832. Invented a new mute. The one for the 'cello was adjusted by a pedal. ■, BELCidNi, Antonio, Italian, 1663. Bellone, PIerantonio, Milan, 1690. Old viol maker. CLASSICAL AND POST-CLASSICAL MAKERS. 1 39 Bellville, Paris, 1828. Violins. Tried new forms unsuccessfully. Belviglieri, Gregorio, Bologna, 1742. Violins very well made. Bente, Matteo, Brescia, 1570 — 1600. Lutes and guitars chiefly. Bendini, G. B., Italian, 1668. Violins. Benecke, S,., Stockholm, 19th century. Violins \ Beratti, Imola. 19th century. Violins. Berge, Toulouse. 1771. Viols. Beretta, Felice, Como, 1784. Calls himself a pupil of " Joseph Guadagnino." Poor work. Yellow varnish. Wretched wood. Bertasio, LuiGi, Piadena. i8th century. Berti, G., Fium^lbo. 19th century. Bertrand, N., Paris, 1701 — 35. Viols. Besancenol, Dijop, 177.6. Violins. Bessard, Louis, Paris, 1753. Dean of the Violin Makers' Guild for that year. Beveridge, W., Craigh, Aberdeen. Modern. BiANCHi, N., Nice. Modern. Native of Genoa. Formerly in Paris. Chiefly repairs, but also new violins. Died in Nice. Bindernagel, Gotha and Weimar. Associated with Otto and Ernst in Gotha. Subsequently with Otto in Weimar. Ordinary workman. BiTTNER, David. Another modem Viennese restorer. Birmetti, G. B., Florence. About 1770. Employed fairly good wood and varnish. Stradivari model. BizAN, Brussels, 1749. Blair, J., Edinburgh, 1820. 140 THE FIDDLE FANCIER'S GUIDE. Blaise, Mirecourt, 1820. Blanchard, p. F., Lyons. Born at Mirecourt, 1851, where he learnt his calling. Afterwards worked with the Silvestres in Lyons. Began on his own account 1876. Red oil varnish and well made. BocQUAY, Lyons. i6th and 17th century. Not to' be confounded with Jacques Bqquay, Paris. BoDio, G. B., Venice, 1792. BoFiLL, S., Barcelona. About 1720. Good maker who copied J. Guarnerius. ^ BoiviN, Claude, Paris, 1744 — 52. A good maker w'fho was Dean of Makers' Guild for the latter year. BoLELLi, Bologna. 19th century. Boll;es, London. An early viol maker. i6th or 17th century (1675). Bomberghi, Lorenzo, Florence. 17th century* Bono, G., Venice. 18th century. BoNORis, C, Mantua, 1568. School of Dardelli. BoNViciNi, Phillip, Spilamberto, 1790, Chiefly a repairer. - Boom, Pierre, Brussels, 1758 — 73. Booth, William, Leeds, 1779' — 1857. Booth, W., Junr., Leeds, 1838 — 1856. - BoRBON, Casper, Brussels, 1689. Viol maker, and also violin,, tenor, and double basses, very early, style. Yellow varnish. Borelli, Andrea, Parmia, 1746, Violins, Guadagnini style. , BoRGOGNONi, Senigallia, 19th century. An amateur maker of double b asses who had some success in Italy. . Borlon. (See Porlon). ■ CLASSICAL AND POST-CLASSICAL MAKERS. I4I BoRtolotti, (or Bertolotti) Luigi.. Careful, modern Milanese style of work. Yellow varnish inclining to orange. Time about 1810 or 1820. BoTTE, D. I. B., Brescia, 1770. Bous'su, Eterbeck-les-Bruxelles, 1750 — 1780. Good work. Amati style. Yellow orange varnish. Boucher, London, 1764. BouLLANGiER, Londou. Modern. BouMEESTER, Jean, Amsterdam, 1637. Good maker. Yellow varnish. Bourbon, Caspar, Brussels, 1601 — 1692. Chiefly repairs. Bourbon, Pierre, Brussels, 17th century. Made a very large number of violins, tenors, and double basses. Bourdet, Jacques, Paris. Another Dean of the Parisian Violin Makers' Guild for 1751. Bourdet, Sebastien, Mirecourt. Early 18th century. A good maker. Bourgard, Nancy. A maker after the style of Medard. Bourlier, Laurent, Mirecourt. Born 1737. Died 1780. Braglia, Antonio, Modena, 18th century. Violins and bows. Brandiglioni, Brescia, i8th century. Brandl, K., Pesth. Modern. Branzo-Barbaro, Francesco, Padua, 1660. Brelin, N., Grum, 1690 — 1753. Brensius, Girolamo, Bologna, i6th' century. Viol maker. Bresa, Francesco, Milan. About 1708. Not pa'rticu-. larly good work. 142 THE FIDDLE FANCIER S GUIDE. Broschi, Carlo, Parma. End of i8th, beginning of 19th centuries. (1744.) Brown, James, London. Born 1770. Died ,1834. Style of Kennedy. Brown, J AS., London. Son of preceding. Born 1786. Died i860. Ordinary work. Browne, John, London. Middle of i8th century. Amati style. Good work, but poor varnish. Brown, A., London, 1855. BrugSre, Francois, Mirecourt. Born 1822. Died 1874. Buchstadter, Ratisbon, i8th century. Stainer copies, not particularly jfine. BuDiANi, G., Brescia, i5tli and i6th century. Lutes and viols. BuoNFiGLiNOLi, P. Fj di L., Florence, 1653. BusAS, DoMENico, Venice, 1740. BussETO, G. M. del, Cremona, 1540 — 1583. Viols and perhaps violins. BuTHOT, Mirecourt. Modern. Cabroli, Lorenzo, Milan, ,1716. Cabroly, Toulouse. About 1747. Cabasse, Paris. Ordinary class of work.i Caeste, Gaetano, Cremona, 1677. Cahusac, London. About 1788. Common work. Varnish frequently gone almost black. Calcagno, Bernardo, Genoa, 1720 — 1750. A fine maker. Varnish of a reddish amber tint. Model Stradivari. Tickets run, " Bernardus Calcanius fecit Genuae, anno — ." Calonardi, Marco, Cremona. 17th century. CLASSICAL AND POST-CLASSICAL MAKERS. I43 Calot. a native of Mirecourt, who worked in Paris for Clement, and in 1830 entered into partnership with Augi^re, already mentioned. He was a finished workman. Calvarola, Bartolommeo, of Torre Baldone (Bergamo), 1753 — 1767. Of the early Cremonese type, with the Amati style of arching. Medium work. It is said that he. also dates from Bologna. Small scrolls. Camillio, D., Cremona, 1755. Camploy, J., Verona. Modern. Capo, Milan, 1717. His work is marked with a *' spread-eagle." ; Caprari, Fraijcesco, Rolo, 1846.' Carcanius, Cremona. i6th century. His tickets are printed on parchment.- Cardi, LuiGi, Verona, igth century. Carre, Antoine, Arras. i8th century. An old viol maker. , Carlo, J., Milan, 1769. Carlomordi, Carlo, Verona, 1654. Carl-Issep, Milan, 1800. Caron,- Versailles, 1777 — 85. He was a court maker, in the reign of Louis XVI., and was patronised by the ill-starred Marie Antoinette, At ~ least, his tickets lead one to suppose so. Three years after this unfortunate lady's husband succeeded to the throne, Caron was in the Rue Royale, Versailles, and he calls himself "'Luthier de la Reine." He held this position until 1785, when he was in the Rue Satory. After this date we hear no more of him. A couple of years later, the pre- revolutionary troubles began, and by-and-by, the court 144 THE FIDDLE FANCIER S GUIDE. of Versailles vanished for a time. Caron was a good maker. Brown varnish. Carter, John, London, 1789. This rhaker was one of those whose instruments went into the shop of Betts, and helped to swell the fame of that dealer, but not greatly. Gary, Alphonse, London. Modern. Casini, Antonio, Modena, 1630 — 1690. A maker of considerable importance, who is celebrated over a large part of Italy for his work. His model is not unlike that of Rugier of Cremona, and his varnish of a somewhat dull, cherry brown. He made a very large number of 'cellos and double basses, which are exceedingly popular in Italy, and sought after with some eagerness. His corners are elegant, the sound holes pretty correctly designed, while the tone of his violins is brilliant and sweet generally, and in some very full. His inlay is sometimes a composition which' appears to ' have been put into his commoner work. The quality of the wood varies considerably, but on the whole he is a good maker. Cassanelli, Giovanni, Ciano, 1777. Cassini, Antonio, Modena, i8th century. Probably a descendant of the previously mentioned maker of the same name. His tickets are printed, and run, " Antonius Cassinus fecit Mutinse anno." " Muttinse " or " Mutinse" is the Latin form of " Modena." Castellani, Pietro, Florence. Born about 1760. Died 1820. A good maker of violins and guitars. Castellani, Luigi, Florence. Born 1809. Died 1884. Son of preceding. He was a fine repairer of violins, and a restorer. It is not known -that he made any, but he 'made many firstclass guitars; hewaSa capital doublebass player. CLASSICAL AND POST-CLASSICAL MAKERS. I45 Caspani, Giovan-Pietro, Venice. About 1658. A maker who copied Amati and Andrew Guariierius. Castendorfer, Melchiorre di iSxEFANO, Erfurt. 15th century. Old viol maker. Casteni?orfer, Michele di Stefano, Erfurt. 15th century. Old viol maker. ' Catenar, Enrico, Turin. About 1671. This maker is called a pupil of Cappa. Cattenaro, Pa via. About 1639. A maker of bassei and viols. Catignoli, Guiseppe, jVIilan. 19th century. Cavalorio, Genoa, 1725. Cavallini, Luigi, Arezzo.. 19th century. Viol maker Cavani, Giovanni, Spilamberto. 19th century. Caussin, F., Neuchatel. i860 — 81. Violins of Italian style. Cellini, Giovanni, Florence. 15th century. This was the father of the illustrious Benvenuto Cellini, whose testimony regarding his parent's skill. in the art of making string instruments is of a very conclusive character. He says that his father " had the reputation , of making violas of rare beauty and perfection — the finest that- had ever been: seen." Giovanni Cellini died in Florence in 1527 or 1528. He was also amusician of a kind, and in some«faVour with ecclesiastics in authority. He was born about the middle of the fifteenth century, and it does not appear to me[^to be unlikely that he was a professional maker. Celoniato, Francesco, Turin. About 1715 — 25. Geloniati, Gian-Francesco, Turin. About 173^. He is said to have been a good copier of Amati, with 146 THE FIDDLE FANCIER's GUIDE. yelloNv varnish. In Italy they describe his work as of the school of Cappa. HiSlicket runs, "Joannes Franciscus Celoniatus fecit Taurini. Anno 1732;" this being the only known inscription of this maker. It is not unlikely that he was a son of the preceding. Cerin, Marcantonio, Venice. A pupil of Bellosio in Venice. This information is derived from a ticket which runs, " Marcus Antonius Cerin alumnus Anselimi Belosij fecit Venetiae anno 1793." Cervella, Giovanni, Italian. i8th century. Challoner, Thomas, London. About 1750. High Stainer model. Brownish' yellow varnish. Champion, Rene, Paris. About 1735. This maker appears to have been a pupilor imitator of Boquay. The work is of that style, and well finished. Varnish of same character as Boquay's. His ticket runs, in one case, " Rfene Champion, rue des Bourdonnois, a Paris." Chappuy, Nicolas Augustin, Paris, 1762 — 94. This maker made some very e,xcelfent instruments, but he- is also responsible for a number of poor specimens. The initial N. is branded on tlie button, and nothing else indicates, in many cases, the maker's name. Some' tickets which he used bear the inscription, luthier to Her Royal Highness the Dvichess of Montpensier — in French, of course, namely, " luthier de S. A. R. la duchesse de Montpensier." He employed a yellowish spirit varnigh mostly^of poor quality. Chardon, Joseph, Paris. Modern. This maker is a son-in-law of George Chanot pSre of Paris, to, whose .business he succeeded in 1872. The firm is known as Chardon-Chanot. CLASSICAL AND POST-CLASSICAL MAKERS. J47 Charotte. a native of Mirecourt, who worked in Rouen from 1830 to 1836. Chastelain, Martin, Warwick,' Flanders, 1580. Vio maker. Cherpitel, Nicolas Emile, Paris. Born in Mire- court, 1841. He became a workman with G&.nd Freres in Paris in 1850, left in 1873, and started on his own account. His tickets run " Nicolas- E'mile Cherpitel, in Paris, 13, Faubourg Poissonniere, N.E.C." His first address was in the Rue Saint-Denis. Chevrier, Andr6 Augustin, Brussels. Born in Mirecourt,. this njaker, had a good training. Hife violins liave mostly a good outline ; solid, ' and not unlike Lupot's bfest style, but heavier. The corners are full, and the sound holes well designed. The scrolls are also good. Indeed, if the tone were equal to the general work they would be excellent instruments. The wood chosen is of fine quality, ahd nothing seems to be -wanting but fine tone. His varnish is a red orange, sometimes webbed all over like Vernis-Martin. Chiarelli, Andrea, Messina, 1675 — 99.. An did lute player, and improver of the instrument to such an, extent as to claim for him a place. Chiavellati, Domenico, Lonigo, 1796. A viol maker. Chiocchi, Gaetano, Padua, 1870. A good maker and repairer. Christa, Joseph Paul, Muliich,' 1730^0. A maker of whom nothing, appears to be known. CHRisTOfORi, Bartolommeo, Cremona or Padua claims him. He was living in the Amati house- hold in Cremona in 1680, and was then thirteen L2. 148 THE FIDDLE FANGIER'S GUIDE. yeairs old. This information is from a parish record,, and is conclusive with regard to the date of his. birth, namely., 1667. In a musical museum in Florence, there' is a double bass with the following- inscription Written on the inside of the back, " Barto-- lommeo Crlstofori Firenze, 1715," and, it is not known. . -whether he ever made any other instru- ments of the violin kind. It seems to me to be in the highest, degree probable. This double bass is not a pa,fticularly fine instrument. It is generally Supposed that this maker invented the piano, and, indeed, this supposition amounts almost to a certainty. A very- interesting description of this phase of his career will be; found in Sir George Grove's Dictionary, where the dates are all wrong, or in " Hipkin's History of the: Piano," where the dates are equally wrong, as, indeed, , all dating with regard to him prior to 1886 must be, seeing that the above parish record was only published/ - theuv It is said, for instance, that Prince Ferdinand, son of the Grand Duke Cosimo Medici III., visited Padua in 1687, and induced Cristofori then, or shortly after,, to reniove from Padua to Florence. If this is correct,. Cristofori must have invented his piano and become, famous throughout Italy when he was a very young man, about tw,enty years of age, say,. not an impossible thing- by any means, but showing that these valuable notices. of him are now in need of revision. It is said that: Cristofori died at the advanced age of eighty in 1731. He Was really only ^ixty-four at this period, Supposing th& identity to be established. His name used to be spelt Christpfori. In Italy it, is Cristofori, and there they do> CLASSICAL AND POST-CLASSICAL .MAKERS. J4.9 not appear to know anything definite with, referenqe to the date of his deaths CiNTij Gui.SEPPE, Bologna, 1856. A niaker: and restorer, or repairer. CiRCAPAj ToMAsso, Naples, 1735. Another of the same of no particular distinction. Clark, London. A raere name. ClaudoTj Augustin. • An old French maker, who ■stamped or branded his name on the inside of the backs of his violins. The work is of a somewhat common character, with yellow varnish, but has a fairly good outline. He was also a maker of English guitars. Claudot, Charles. A Mirecourt maker of an •earlier date than the preceeding, but having similar characteristics. Clement, Paris, 1815 to 1840. This was a maker who, like our John Bfetts, made comparatively few violins himself, but employed first class men to do, so, such as Georges Chanot- pere, Augiere, Calot, etc. Xliquot, Louis-Alexandre, and Henri. Two brothers not in partnership, but who were successively deans of the Paris Violin Makers' Guild for the years 1756 and 1765 respectively. It appears to be their only ■distinction. Cleinmann, C, Amsterdam, 1671 — 88. An old viol niaker. Clusolis, Antonio De, Clausen, 1784. This was a fine double bass maker of the Tyrolese school, who worked in Roveredo. He was probably a native, of Clausen, a Small town on the Trent, so small, that' it consisted of one narrow street in his time, so narrow, 150 THE FIDDLE FANCIER S GUIDE. that people could shake hands across it through their open windows. The. wonder is that he ever was able to make a double bass in such circumscribed surroundings, or that, having made one, he ever was able to get it out of the, street. Perhaps that was the reason he followed the course of his native stream, through its magnificent scenery down to Roveredo, where he was in the society of a busy, prosperous, commercial people, who, na doubt, largely, bought his instruments. His is, ?it any rate, evidently fine work, of a grand model, and he used the following inscription, " Antonius De Clusolis faciebat Roboreti opus," then follows the nuinber of the work in Roman numerals. Although he is of the Tyrolese schools, his style makes it quite clear that he was acquainted /with the work of Stradivari. His inscription ' is ' a corroboration of this, if there were no other. Stradivari, as I have elsewhere pointed out, was the first to use the historical tense, "faciebat."' Here we have- Antonio of ClaUsen copying Antonio of Gremona, in even this small point. But he copies him in greater as well. Cocco, Cristoforo, Venice. About 1654. ^^ °^^ lute and viol maker. Cole, T., London, 1690. CoLLicHON, Michel, Paris, 1693. An old French viol maker. Collier, Samuel, London, 1750. Collier, Thomas, London,. 1775. Collin, Claude-Nicolas, Mirecourt. Died in 1865. The father of the better known maker CoUin-Medn. Gollin-Mezin, Charles Jean Baptiste. Born in CLASSICAL AND POST-CLASSICAL MAKERS. X51 . Mirecourt in 1840., Was taught by his father, the preceding maker. . He went to Paris' in 1868. There appears to be Uttle doubt that he has made a number of instruments of a high character, and which have been, examined and reported upon by various artistes very, favourably. Those which it has been my good foftune to see and try, were probably not of the same class. They were, however, artistically made instruments of good outline and appearance. CoMUNi, Antonio, Piacenza, 1823. CoNTURiER. A French common maker. Yellow varnish. Conway, William, London, 1750. CoRDANO, Jacopo Filipo, Genoa. A ticket of his runs, "Jacobus Philippus Cordahus fecit Genuae, anno sal, 1774." CoRNELLi, Carlo, Cremona. His ticket r^ns, " Carolus Cornelli fecit Cremonae, anno 1702." CoRSBY, Northampton. About 1780. Made double basses. There was George Corsby in London, a dealer chiefly. CoRTE, Dalla, Naples, 1881. Costa, Genoa. 19th century. CosTA, Agostino, Brescia. 17th cenfury. Costa, Marco Dalla, Treviso, i65o. Imitated the style and varnish of A. and H. Amati. Costa, Pierantonio Dalla, Treviso and Venice. He copied Amati also. CosTA, PiETRO Dalla, Treviso. This member of the family also copied Amati brothers, using, like the others, an amber coloured varnish of fine quality. 152 THE FIDDLE , FANCIER S GUIDE. Cramond, C, Aberdeen, 1821 — 34. Crask, George, Manchester. A prolific maker of copies of - the classical schools. . His period ranges from about ,1826 onwards. He made for the For-sters, Dodd, and Clementi, ' and generally for any firm to whopi he could sell. Much of his work is said to be very clever, and in a, circular issued by hi^ successor in business, Mr. Crompton, it is stated that he made ' over 2,000 violins, 250 .tenors, 250 'cellos, and 20 double basses; It has not been my good fortune to see one of these to my knowledge, : although, I have no doubt, I have seen many of them , in my ignorance. Cristoni, Eusebio, Modena, 19th century. Crowther, John, London, 1760 — 1810. Crugrassi, ViNCENZo, Florence, 1767. CuCHET, Gaspard, Grenoble, 17^9. CuNAULT, Georges, Paris. Born 1856. Learnt his business in Paris and worked for Miremont from 18^4 to 82,, and afterwards for himself. • CuNY, Paris. i8th century. Common work. Branded inside of back " Cuny a Paris." CuTHBERT, London. 17th century. Good wood, flat model, dark varnish. CuppiN, Giovanni. An .old Italian viol maker,- yellow varnish. Cu-YPERs (See Koeuppers). , Daitlanst. A m^ker whose habitat, style and date are quite unknown. Daniel, Antwerp. A famous old maker of double basses. CLASSICAL AND POST-CLASSICAL MAKERS. I53 Darche, Aix-la-Chapelle. Copies of the classical masters. Darche, C. F.,- Brussels, Modern. Dardelli,. Fra' Pietro, Mantua. This maker was alive in 1493 — 1497, and a member of the Franciscan Convent, Mantua. The latter date was ascertained from an instrument of Dardelli's in the possession of a painter named Richard in Lyons, about 1807. It was a highly decorated lute. This instrument seems to have dis- appeared, and all that was known of Dardelli was founded upon it. A few yeairs ago, however, a docunjent dated 1493 was found to contain a reference to a magni- ficent quartet of larger instruments, which excited the utmost enthusiasm in the writer. Some of these large viols, etc., are in public and, private museums, and in some cases> they show rather coarse work, which is accounted for by the supposition that just then there was a kind of renaissance in this tribe of musical . instru- ments, and a new departure taken to a certain extent. He also made rebecs, lutes, and viols, which are lovely works of art, and decorated in gold, silver, enamel, ivory, and ebony. , David, Paris. About 1730. Ordinary work. •Davidson, Hay, Hantly, 1870. Davini, Giusto, Lucca, 19th century. Davis, Richard. A workman with Norris and. Barnes, and ultimately became partner with the following. Davis, - William, ' London. The . firm then became R. and W. Davis, Coventry Street, and is now Withers ^nd Co. Dearlove and Fryer, Leeds. About 1840. . 154 THE FIDDLE FANCIER'S GUIDE. Dearlove, Mark, Leeds, 1828. ' Dearlove, Mark, W., Leeds. Modern. De Canus Nunzio. An old Italian professor who, in the end of the ,18th century, endeavoured to equalise matters between good and bad fiddles by scraping the wood out of the fine ones. In this regard he advertised himself as a kind., of public benefactor, and offered his services to any one who wished them. It is as well tO' add, however, that he was under the impression that he was improving the old ones. How long he had been at large is not known, and, of course, no estimate can be formed of the number of instruments which had passed through his hands, or been scraped by him, but when last heard of, he was a contributor to the Tuscan Gazette,. and his latest offer appears in the issue of that newspaper of 7th November, 1789, when, fortunately, he was at " an advanced age." Decomble, Ambroise. See " Comble, Arnbroise de.'* Deconer, Mechael, Venice, i8th century. Deconet; Andrea, .Venice, 1785. Deconet, Michele, Venice, 1769 — 71. - Deconet, Michele, Padua, 1722—69. Deconeti, M., Venice, 1742. With regard to these five makers there is really noi information. " Michael Deconer fecit Venetiae, An. Dom.,' 17 — ," is the supposed ticket of one, and "Michele Deconet fecit Venetiis, anno 1754," is the supposed ticket of another, but I have not seen an instrument by any one of them, and I am not acquainted with any person who has. Of course, the tickets may now and again be seen. CLASSICAL AND POST-CLASSICAL MAKERS. 155; Deckert, G. N., Grotbrutenback, 17th century. Defresne, Pierre, Rouen. About 173 1 — 1737. This, maker has recently been included among violin makers, not because any violins of his have been discovered, but because he had a dispute with the members of the^ Rouen guild of makers. He was a master of the Paris. Guild, and had advertised himself as such whbn he settled in Rouen in 1731. This raised the ire of the local guild, and they prosecuted him. Ultimately the quarrel was arranged by Defresne paying a sum of' money to be admitted to the Rouen Society. Degani, Eugenio, Montagnani, 19th century. Delany, John, Dublin, 1808. A maker who used a. curious ticket occasionally, " Made by Johii Delany in order to perpetuate his memory in future ages. DubliiJr. 1808. Liberty to all the world black and white." Delaunay, Paris, 1775. A vielle maker. DelannoiX. A Belgian maker in 1760. De Lannoy, H. J., Lille. About 1747. A very good maker, and probably the same as the preceding, whose, name may have been so mis-spelled. Deleplanque, Gerard, Lille, 1766 — 70. An artistic, maker who employed a reddish tinted amber coloured varnish. Della Corna, Giovan Paolo, Brescia, i6th century. A maker mentioned by a writer named Lanfranco, but; who is not known to any other. Dennis, Jessie, London, 1805. Deroux, Sebastien Auguste. Born in Mirecourt, 1848. His father was a maker there, and taught his. son, who afterwards worked with Silvestre in Lyons for 156 THE FIDDLE FANCIER's GUIDE. three years. He became a soldier at the outbreak of the Rranco-German war, returning to his lousiness in 1873, this time with Mir emont in Paris, and with whom he remained for eleven years. In 1884 he started on his ' own account. Hjs ticket runs, " S. A. Deroux, 16, Rue ' GeofFroy-Marie, Paris "^with A. S. D. inscribed over the date, Despons-, Antoine, Paris, 17th century^ Desrousseau, Verdun. Devereux, John, Melbourne. Contemporary. This is the only maker in Australia whose name J have seen. He formerly worked for B. S. Fendt. He certainly had a splendid guide. Dickeson, John, 1750 — 80. Born in Stirling. It is not known where he learnt violin making, but his work has many of the fine points of Italian style, He was undoubtedly an artist, and his model was- chiefly Amati. His instruments are dated both from Cambridge and London. Dickinson, Edward, London, 1750. An ordinary maker on Stainer lines, exaggerated, as usual. Diel. The name of a family of violin makers, the ■different rnembers of which date from about i6go down to the present day. Nicolas, Martin, Nicolaus, Johann, Jacob. These all spell the name " Diel." Then Nicolaus, Louis, Friedrich, Johann, and Heinrich spell it " Diehl." They severally date from Mayence (Maintz) Prague, Frankfort, Hamburg, Bremen, and Darmstadt. DiETZ, Christian, Emmerich, 1801. Dietz, Johann Christian, Darmstadt, 1805. DiEULAFAiT, Paris, 1720. A viol inaker. CLASSICAL AND POST-CLASSICAL MAKERS. 157- DiNi, GiAMBATTisTA, Lucignano, 1707. A maker of ~ double basses chiefly. DioNELLi, Gaetano, Mantua, 1869. DiTTON, London. , About 1700. The " Small Coal Man " — a famous musical London personage of last century— had an instrument by this maker in his possession. Perhaps the similarity of the two names may account for the conjunction of maker and owner. " A fiddle by Ditton, Possessed by Tom Britton, Is sometiiing to spend a small muse's small wit on." Ditton was also a harp maker. DoBRucKi, Mattia, Cracow, 1602. DoDi, Giovanni, Modena, 19th century. A maker of double basses. ' DoLLENZ, Giovanni, Trieste, 1841. DoMANSKi, Alberto, Warsaw, 1830 — 1850. DoMiNCELLi, Br^escia, i8th century. Dominicelli, Ferrara, 1695 — ly^S- Amati models. DoMiNicHiNi, A. E., Bologna, 1708—66. A maker' and repairer. < DoNATO, Serafino, Venice, 1411. DoNi, Rocco, Florence, i6co— ,1660* A Florentine . priest, who worked at instrument making, and was the father cif the illustrious musical writer, Gian Battista Doni, who died in 1669. Rocco Doni made lutes and violins, and his son, G. B., invented the lira Barberina. Doerffler, C. F. A German maker about the end of eighteenth century. A good kind of ordinary work.. DOpfer, Nicolaus, Maintz. A violin maker who : taught Martin -Diel, and whose daughter his pupil married. ^ . - afS THE FIDDLE FANCIER'S GUIDE. DoRANT, W., London. 1814. Dosi, PiETRO, Bologna. 19th century. Drinda, Giacomo, Pianzo. i8th century. Droulot, Paris.. About 1788. Drouot, Mirecourt, DucHERON, Mathurin, Paris. A maker in th£ •«arly part of the 1 8th century. DuiFFOPRUGCAR (or TicfFcnbrucher), Magnus, Venice. About 1607 — 12, A lute a:nd viol maker. This name ■appears in a variety of spelljiigs and hails from various places. There is DiefFenbrucker of Padua, Tieffen- "brunner of Munich, arid, Tie'fFenbrucher of Venice. Whether they represent the same' establishment one -cannot, of course, say. They all made the same clasp ■of instruments, and their dates run from about i559to about 1612. DuLFENN, A., Li vorno ( Leghorn ) 1699. DuLiG, M. A Geman maker who copied Stainer -fairly well about the middle of last century. Du Mesnil, Jacques, Paris. About 1655. An "exceedingly artistic , maker of the decorative class. •Cherry-red varnish. Duncan, Aberdeen, 1762. DuRAND, Mirecourt. 19th century. DiJRFEL, Altenburg. i8th century. A maker of •double basses which are highly praised. DuvRARD, Paris, 1745. A viol maker. Eberspacher, Bartolomeo, Florence. 17th century. Eberti, T. About 1750. Edlinger, T., Prague. About 1 715. A fine maker. His instruments are chiefly on Stainer lines and covered CLASSICAL AND POST-CLASSICAL. MAKERS. 159 ■with an exceedingly good amber coloured varnish with a slightly red tinge. Edlinger, Joseph Johann, Prague. Son of the preceding and a good maker. About 1748. EoLikGER, T., Augsburg, i8th century. Eesbroeck, Jean Van, Antwerp, 1585. An old lute maker. Eglinton, Londo;^. About 1800. Ehlers, J., Vienna, 1825. Esler, J. J., Maintz, 18th century. A good old viol maker. ' Emiliani, Francesco de, Rome. Beginning of r8th century. Highly arched violins, having a light orange varnish. Very fine wood, and good finish. • .EngleQer, a., Carlsruhe, 19th century. Engleder, a., Munich, 19th century. Engleder, L., Bamberg, 19th century. Ertl, Carl, Presburg. Fine quality of varilish. Evangelisti, Florence, i8th| century. Evans; Richard, London, about 1750. Eve, Paris, about 1788. Model somewhat high, deeply grooved around borders, good work, orange spirit varnish. Fabbris, Luigi, Venice, igth century. Facini,. Agostine, Bologna, 1732^-42. This makejr was a monk of the order of St. John of God in Bologna, and made several violins of good character, with a fine quality of varnish, Stradivari Sound holes, and very excellent outline. FaLaise, a French maker who copied Amati and l6o , JHE FIDDLE FANCIER's GUIDS. Stradivari, but where or when is not known.. Good, wood and yellow varnish. Falco, Cremona, rSth century^ A so-called pupil and follower of Bergonzi. Farinatq, Paolo, Venice, iSth century. : A fairly good maker, who followed the style of ' Santo Serafino, in. wood and varnish. Faron, Achille, Ratisbon, a"bout 1701. Faustino, Lucca and Modena, 17th century. Febsre, Amsterdam, 1762. Felden, Magnus, Vienna, 1556. A viol maker. Feldlen, Magnus, Vienna, 1722. I am inclined to- think this maker has only had a nominal existence on a ticket fabricated by some one who did not know the precise date of Magnus Felden's activity, an^i" had not caught the exact spelhng of the name. Still, it is only an inclination so to think. One can never he quite sure about these names, apart from conclusive (iocumenta^'y evidence. A great many of them are muen alike, as in the case of our own nomenclature, and I/nave, therefore, preferred to leave them ipthe list without jnore than the present comment. Ferati, Pietro, Siena. About i764.^^Qmewhat common work, broad purfling, and thick, brown varnish.. Feret, Paris; About 1708. According to his own account of himself, this inaker was a pupil of Medard, and the style of his work bears out the statement. He employed a brown varnish. Ferguson, Donald, Huntly, 19th century. Fejiguson and Son, Edinburgh,. 19th century. Ferraresi, Vincenzo, San Felici, 1869. CLASSICAL AND POST-CLASSICAL MAKERS. l6r Ferrari, Agostino, Budrio, i8th century. Ferrari, Alfonso, Carpi. About 1738. A maker 6i double basses. Ferrari, CArlo, Siena. About 1740. Violins. Ferrari, G. B., Modena, 19th century. Violins and guitars. Ferri, Primo, Mirandola, 1848 — 51. Feury, Francois, Paris, Dean of the Violin Maker's Guild for 1757. Fevrot, Lyons. About 1788. Feyzeau, Bordeau, about 1760. The instruments ' of tl^is maker are well made. The varnish is a sort of weak brown, but the work is very good under it, the sound holes being well designed, and the corners elegant. FiCHER, GuiSEPPE, AND Carlo, Milan. These makers sometimes spell their name " Fiscer," and both spellings are found on tickets, namely, " Guiseppe e Carlo fratelli Ficher fabbricatori di strumenti in Milano vicino alia Balla," and " Guiseppe, Carlo fratelli Fiscer fabbri- catori d'instrumenti in Milano Vicino alia balla." They were German by origin, and it is possible that they may have liibdified the spelling to suit Italian pronunciation. Their work is well made, with varnish of fine, amber' tint, having a light tinge of red, FicHT, J. U., Mittenwald, i8feh century. FicHTL, Martin, Vienna, about 1750. A good maker. FiCHTHOLD, HAi^s, about 1612. A lute mak&r. Ficker, Johann Christian, Neukirchen, about 1722. Highly arched violin, somewhat ordinary looking. M l62 THE FIDDLE FANCIER'S GUIDE. FicKER, JoHANN GoTLiEB, probably also Neukirchen, About 1789. FiLANO, DoNATO, Naples. AJ^ut 1782. A general maker of violin?, mandolines, and guitars of very .refined taste and skill in decorative work. FiLANO, LuiGi, Naples. About 1859! Similar work, but chiefly guitars. FiLLE, La, a French maker of the 18th century, whose scrolls are cut into shapes of animal's heads. and human faces. !Filippi, Filippo, Rome, 19th century. FiNDLAY, J., Padanaram, 19th century. Finer, Fratelli (Finer Brothers), Milan, 1764.- ■ FiORi, Amilcare, Casinalbo, 19th century. FiORi, Antonio, Modena, 19th century. Fiori, Gaetano, Modenk, 19th century. FioRiLLO, Geo., Ferrara. About 1780. This maker's instruments are highly arcjied, and a little after the style of Stainer. His basses are good. FiORiNi, Raffaello. Born in Pianoro. This maker, .is somewhat interesting.' When a child, a friend of the family named Jadolini, who had a brother a violin maker, used to make little fiddles for the boy. This excited his attention, and he began to make them him- self. As time passed; the interest in the subject increased, and by and by (1867) he went to Bologna, and worked and studied there for some years, and finally opened a shop there. His son is FiORiNi, Guiseppe, born in 1867. He showed the same instincts as his father, but the latter gave him a fairly good education first, and then,' when the lad was CLASSICAL AND POST-CLASSICAL MAKERS. 163 about sixteen, he put him in the shop, and taught him all he knew. They now enjoy a good repute, and gained prizes at the exhibitions of Milan and Turin. Firth, G., Leeds, 1836. Fischer, J., Landshut, 1722: The solitary relic of this, maker appears to be a specimen of the one-stringed instrument called the marine trumpet. It is in the museum of the Society of the Friends • of Music in Vienna, and bears above date. Fischer, Zacharie, Wurtzburg, 1730 — 1812. Not so much a violin maker as he was a violin baker, from a mistaken notion that it matured the wood. Flette, Benoist, Paris, 1763. Dean of the Paris Guild of Violin Makers for this year. Fleury, Benoist, Paris, 1755. Dean of the Violin Makers' Guild for this year. There is a bass viol of his of the same year in the museum of the Paris Conservatoire. Florentius, Fiorino, Bologna, 1685 — 1715. Florenus, Guidantus, Bologna, 1716. Florenus, Antonio, Bologna. Florenus, Guidantus Giovanni, Bologna, 1685 — 1740. There is considerable confusion with regard to these four Bolognese makers. The inscriptions on tickets vary in the most distracting, and, at the same time, the most amusing manner. Sometimes it is " Florentus Florinus," " Florentius Fiorino," " Florenus Florentus," " Fiorino Fiorenzo," and so on. The horticultural variations are very suggestive, and although they may all be variants of the same name, it will be as well if I confine M2 164 THE FIDDLE FANCIER'S GUIDE. myself to the description of one specimen of work. I Eave no doubt, however, that there were three makers of this name in Bologna. The specimen I refer to is. a viola da gamba of beautiful wood and beautiful carving, and shows transparent golden varnish, and the. most exquisite workmanship. There may be violins by one or other of these makers. I cannot say that I have seen any at all approaching the style or intelligence of the work visible on the viols bearing the name. FoNTANELLi, Gio. GuisEppE, Bologna, 173,9; — 72. A. lute maker of exquisite taste in decoration. FoRADORi, Giovanni, Verona, 1855. Violin maker. FouRRiER, Francis Nicolas, Miirecourt, 1784 — i8i5- Violins. Franck, Ghent, 1800 — 1830. This maker was a sculptor, and a clever repairer of violins, but made few> if any, new instruments. ■ - Francois, Paris, 1755. A viol maker. Frankland, London, 1785. Franz, Jacob, Havelberg, 1748. Frebrunet, Jean, Paris. About 1760. Well made instruments. Reddish varnish of fairly good, appearance. Fredi, Fabio, Todi, 1878. Frey, (or Frei), Hans, Nuremberg, About 1450. A lute and viol maker. He was also a splendid performer on the lute, aiid was married to a daughter of the famous Albrecht Diirer. His last will and testament is in San Sebaldo. It is said that he alsO'wbrked in Bologna. Fritz, Hans; Nuremberg. A mere. name. . ' FritsChe, Leipsic. End of i8th century, A. CLASSICAL AND POST-CLASSICAL MAKERS. 165 reputedly clever maker, who was a pupil of C. F. Hunger of the same place. Fryer, C, London and Leeds. Died about 1840. Fux, JoHANN Joseph, Vienna, 17th century. Maker to the Austrian Court. Fux, Matthias, Vienna. A late maker. Gaffino, Joseph, Paris, 1755. _ An ; Italian maker settled in Paris. He was dean of the makers' guild in 1766, and made instruments after the style of Castagnery. The firm was in existence as late as 1789, but was then carried on by the widow. Gaillard-LajouE, Mirecourt. About 1855, in which year he received a medal at Paris exhibition. Galbani, Jacopo, Florence. About 1600. An old ■viol maker. Galbani, Piero, Florence, 1640. Son of preceding. Galbicellis, G. B., Florence, 1757.. GAlbusera, Carlo Antonio, Milan. About 1S32. He was a retired military officer who attempted some improvements — as they were then called^— on the existing shape of the violin. It is said that he had no knowledge of violin construction at all, biit started his notion in conversation with some friends, and meeting, .probably, with opposition. to his views, set abput iiiaking a fiddle on the lines which he projected. It turned out to be nothing new: — an instrument with the corners rpunded off, and somewhat after the style of the guitare. He thought it. was more elegant, stronger and lighter than* the Stradivari model, etc. This kind of experiment had been carried out before — fifty years 1 66 THE FIDDLE FANCIER'S GUIDE. before — and had been found sCb idle one so far as concerned any improvement in either "'Sfeaj)e or tone. Nevertheless, just as in the case of previous eiPpedments — and as will likely be the case in many future OTies — there was a commitee of professors and connoisseurs to pronounce a laudatory judgment on the result of Galbusera's efforts, and the instrument was exhibited in the town hall of Brera. The Milan Academy of Science awarded him a silver medal for the invention, arid the Leipsic Musical Gazette published the usual gushing article filled with amazement that it had taken centuries to give this perfect form to the violin. , In due time the amazement and the violin subsided, and Galbusera proceeded to construct others of a different model and heavier make, and he appears to have succeeded in improving the quality of tone of his own fiddle — which was, without doubt, a highly meritorious 'act, as they gave him^ another medal. I fancy I should have myself condoned an award like that. But Stradivari was still untouched, and perhaps Galbusera's conscience told him so, for in spite of his medals — he had in all three — he began experiments with chemicals for the purpose of extracting the gummy substance from the wood. Facilis est descensus Averni, and from this point we hear no moire of him. He made violas and 'cellos — a few — on the same system, and, if he made them himself, hei was no doubt, a handy man, but perhaps he merely " invented " them — as his fellow professionals some- times invent " flying machines " — and got other people to make them for him. He died in 1846. Galerzeno, Piedmont, 1790. CLASSICAL AND POST-CLASSICAL MAKERS. 167 Galland, Jean, Paris, 1744. A dean of the Paris Violin Makers of this year. Galliard, C, Paris. About 1850. Good style. Red varnish. Galtani, Rocco, Florence. 17th century. Galram, Joachim Josef, Lisbon, 1769. Ganzerla, Luigi, San Felice, 1861. Violin maker.. Garani, M. a., Bologna, 1685 — 1715. A good maker. Garani, N., Naples. Also a good maker of a later date. Yellow varnish. Somewhat refined style with, light edges, but rather deeply built. Gaspan. An early viol maker of whom nothing is- known but the name and nationality — Italian. Gattanani, Piedmbnt. Another mere name. Gattinara, Enrico, Turin, 1670. Violin maker (?) Gattinara, Francesco, Turin. About 1704. Early Guarnerius model generally. Well made instruments but too highly arched. Warm brown varnish. Gaulard, Troyes. About 1835. Gautrot, Mirecourt. Gavinies, Francois, Bordeaux. Some time in the early part of the i8th century. He removed to Paris in 1741. He was dean of the Paris Makers' Guild for the year 1762, although he never made other than common instruments. His son became one of the finest of French violinists and is well known among" amateurs for his studies for thei instrument. Gazzola, Prosdocimo, Crespano. About 1822. A maker of double basses, and a good repairer. Geiffenhaff, Franz, Vienna, 1812. Good work. Copied Stradivari. Branded F.G. on back. l68 THE FIDDLE FANCIER'S GUIDE. Gemunder Senr., George, Astoria, New York. Contempory. Born at Ingelfingen in Wurtemburg in 1816. It appears that he learnt violin makipg early and had a great desire to work in Vuillaume's shop in Paris. Aftet knocking about for a while-in Presburg, Vienna, and Munich, he turned his steps towards Paris and, on' the way, got employment in Strasburg, but on going to the establishment found the man was a maker of brass instruments. Gemtinder-had not brass enough for that, and was for a time a little upset, but one day while lying asleep in the, English Park, he heard a voice saying to him " Cheer up Sam " — or words to that effect^and he cheered up. On the third day after this dream he received information -from a friend who had written to Vuillaume on Gemiinder's behalf to the. eifect that he was to go to Paris and see the great maker. This he did, and etitered his employment, ■ staying with him for four years, during -which time he says he distinguished . himself considerably. He then went to America where he has since remained. Some of his copies of the old masters are quite surprising in external appearance, and recall the work of Vuillaume himself at certain times when he imitated every little rift and scratch with such marvellous ' and questionable fidelity. Gemunder's two brothers were in America before him. GemundeRj August and Sons, New York. Contem- pory. Another large establishment of violin makers whose instruments have been highly praised. Gemunder, George, Junr. A son of George, Senr. Gentile, Michele, Lucca;, 1883. Violins. CLASSICAL AND POST-CLASSICAL MAKERS. 169 Gepans, p., Cremona, 1614. Geranie, Turin. About ly^o. , Gerles, . Nuremberg. Old lute makers. 15th and 1 6th century. Geroni, DoMENico, Ostia, 1817. Germain, Joseph Louis, Paris. 5orn in Mirecourt 1822. Learnt business there. Went to Paris 1840, where he worked, for Gand pfere'. At his ' death went to Vuillaurrie whom he left in 1850, and returned to the Gands, where he remained unt^l i86i2,.when he started for himself. He returned to Mirecourt in 1870 and died there same year. It is needless to say that he was a fine maker and that much 'of his work is to be found in Gand's and VuiUaume's. .. Germain, Emile. Son of preceding. Borii 1853, and sent in 1865 to Mirecourt to learn. He .returned to Paris in 1867 to . his father. At the death of the latter he became a partner with a M. Dehommais, an arrangerhent which ceased in 1882. Since this date in business alone. Gherardi, Giacomo, Bologna, 1677. A maker of double basses of early style. GiAMBERiN,i Giovanni, Florence. About 1700. Guitars. GiAMB^RiNi, Alessandro, Florence. Son of preced- ing. A maker of violins and guitars. GiANNOTTi, AcHiLLE, Sarganza, 1872. A repairer. GianOlli^ Antonio, Milan, 1731. _ GiBBS, James, London. A maker who worked for others, such as Gilkes, etc. GiBERTiNi, Antonio,, Parma and Genoa, 1830 — 1845, lyo THE FIDDLE FANCIER S GUIDE. or later. Good maker, who copied Stradivari, and employed a red varnish of fine, quality. GiBERXONi, GuisEPPE (called Paninino), Modena, 19th century. GiGLi, Julius C/ESAr, Rome> 1700 — 61. Gilbert, N. L., Metz. About 1761. Viol maker. Gilbert, Simon, Metz. About 1737. V;iol maker. Gioffreda, B., Turin. About i860. Giordane, a., Cremona, 1735 — 40. GioRGi, Nicola, Xurin, T745. ■Gtra-niani, Leghorn, 1730. Good maker. Fine yellow varnish, thin. GiovANNETTi, L., Lucca, 1855. Violins. Giquelier, Cristoforo, Paris, 1712. Viol maker. It is said that this maker had his instruments varnished in Japan. GiRON, Girolamo, Troyes,, 1790. Violins. GiNGLiANi. A 'cello maker of the 17th century. Giuliani, 1660. An old viol maker — Amati school. Gottardi, Antonio, Treviso, 1878. Gouffe, Paris., A maker of double basses. ' Grabensee, J. T. Dusseldorf. About 1854. Gragnant, a. a Tyrolese maker. About 1780. Gramulo. Italian, about end of 17th century. This maker's name was first discovered in a novel by Dumas ! It was communicated to Count Valdrighi, who wrote to the late Gustave Chouquet, and asked if he ever heard of him. M. Chouquet set up inquiries, and a friend of his assured him that he had the actual instrument alluded to in the novel ! The great French writer makes his character say that Gramulo was highly CLASSICAL AND. POST-CLASSICAL MAKERS. 171 esteemed by Tartini, and on these circumstances is based the supposition that there was a maker of this name. Grand-Gerard. An ordinary French (Mirecourt) maker, of end of last century. Grandson fils, Mirecourt. A maker who obtained a medal in 1855. G'RAN^iNi, Verona, 1620 — .25. Viol maker. Gray, J., Fochabers. About 1870. Greffts, Johann, Fiissen. About -ifiaa. Gregorj, Bologna, 1793. Violins. Gregorio, Antoniazzi, CoUe. About 1738. Grenadino, Madrid, i8th century. Violins. Griesser, Mathias, Inspruck. About 1727. A viol maker. Grimm, Carl, Berlin, 1792 — 1855. This firni originally, declined to make more than thirty violins per annum. Grimm, Louis and Helmich. Same business, later. Grimaldi, Carlo, Messina, 1681. Said to be Cremonese in style. 'Griseri, Filippo, Florence. About 1650. Grobitz, a., Warsaw, i8th century. An imitator of Stainer. Grobliez, Cracow, i6og. A maker of 'cellos, it is said. Groll, M., Meran, 1800. Grosset, p. F., Paris. About 1757. This maker is described as a pupil of Claude Pierray, and to be an ordinary workman, using a bad model with very high arching, bad thicknesses, etc., and a common orange spirit varnish. He made 'cellos also. .172 THE FIDDLE FANCIER S GUIDE. Grossi, Guiseppe, Bolognk. About 1803. Grulli, Pietro, Cremona. Modern. GoARMANDi, FiLippo, Bologna, 1795. GuASANT, F., French. About 1790. GuDis, Hieronimo, Cremona, 1727. A viol maker of ^exquisite taste in decorative -work. Varnish light golden orange. Beautiful wood. Guerra,. GiACOMO, Modena, 1810. Violins, reddish l)rown varnish. Guerra. A family of this name settled in Cadiz as :guitar makers. GUGEMOS, Fiissen, iSth century. This, maker's name "is spelled in several ways, Guggemos, Gugemmos, and as I have given it. His work is poor. GuGLiELMi, G. B., Cremona, 1747. GuiDANTUs, Joannes Florentus, Bologna. See "' Florentis Florentus,"etc. GuiDANTi, Giovanni, Bologna. About 1740. I do not know anything about this maker. .He appears to have been a maker of viols also, and his violins are said to be very tubby, and inartistic in several points. GusETTO, NicoLA, Florence, iSth century. This maker's instruments are very careful imitations of Stradivari. H.ENSEL, JoHANN Anton, Rochsburg. About iSii. At this date he invented a violin which he said he had invented before, nameily, ill iSdi. ^I'e was a musician in the Duke of .Schoenburg's band. . He wrote ain article in thq^ Leipsic Musical Gazette about his violin, but does aiot appear to have mad&any more of them. Haff, Augsburg, 17 — . CLASSJCAL AND POST-CLASSICAL MAKERS. IfJ, . Hamberger, Joseph, Presburg, 1845. ■ Hamm, Johann Gottfried, Rome, I'Sth century.. His instruments are of the decorated sort. Ivory- borders, etc. Harbour, London, 1785 — 6. Hare, John, London, 1700 — 20. Neat, artistic work.. Somewhat prim-looking sound holes, and fine varnish. Hare, Joseph, London. About 1720. Similarly go6d work. Harham, London, 1765^85. Harton, Michele, Padua, 1602. A lute maker. Hartmann, Weimar, 18th ceiitury. One of the^ pupils of Ernst in Gotha. Poor work. . Hassalwander, Johann, Munich. About 1855. H& made lutes, violins, zithers and guitars. Hassert, Eisenach, i8th century. Common work, . HasseIit, Rudolstadt, 1 8th century, Common work. Hayden, Johann, Nuremberg, 1610. A sort. of. dealer. Haynes, Foucher and Co., London. This busitiesg- hats been in existence for many years, being first established by W. Haynes in the north of London, about the year 1859, They produce high class instruments at exceedingly moderate prices. Their chief model in violins, violas, and 'cellos is Stradivari, but they have^ also Amati,.Guarnerius, and Maggini ;nodels as well. I have seen a large, number pi their instruments, and. I can say that they deserved the highest praise in regard to tone, style of work, and> finish. _.Haynj;s, Jacob, London. Abolat 11752. An old. 174 "^"^ FIDDLE fancier's GUIDE, English West End maker, who used the Stainer model. One of his instruments was highly prized by the late Samuel Summerhayes, of Taunton. "Jacob Haynes, in Swallow Street, St. James', London, Fecit — " is the tenor of his ticket. Heaps, J. K., Leeds, 1855. A maker of 'cellos chiefly. Heesom, E., London. About 1748. Highly arched vioUns on the usually exaggerated lines, which were supposed to be Stainer's. Heidegger, Passau. Held, Beule, near Bonn. Modern. Heldahl, Andrew, Bergen, 1851. Violins. Hel, Ferdinand, Vienna. Modern. Helmer, C, Prague; 1740 — 51. Good: instruments. Varnish a brownish colour, of a warm tint. He was a pupil of Eberle. Helmer, Garl, Prague. About 1773. Son of pre- ceding. He also made lutes and mandolines. Helmer, Carl, Prague. Later. Son of preceding. Hemsch, Jean Henri, Paris, 1747. Dean of the Viohn Maker's Guild for this year. Hemsch, Guillaume, Paris, 1761. Dean of the Violin Makers' Guild for this year. Henderson, D., Aberdeen. Modern. Very poor work. Common spirit varnish of a cold character, like an ordinary maple stain. Henoc, Jean, Paris, 1773. Dean of the Paris Violin Makers' Guild for this year. He also made zithers. Hesen, -Giacomo, Venice. About 1506. [ A lute maker. Hesketh, T. E., Manchester. Contemporary; A CLASSICAL AND POST-CLASSICAL- MAKERS. 175 pupil of Chanot of Manchester. Violins, violas, and basses. Hetel, G., Rome. About 1763. Lutes and guitars. Henry Eugene, Paris, 1855. Violins. HiLDEBRAND, M., Hamburg, 1765 — 1800. Violins, violas, 'cellos,- and double basses. HiLDEBRANDT, M. C, Hamburg, 1800. A repairer. HiLTZ, Paul, Nuremberg, 1656. A viol maker. HiRcuTT, London. About 1600. HocHA, Gasparo. Dall', Ferrara, 1568. A repairer. HocHBRucKER, Donawcrth. About 1699. Besides making some good violins he inveiited the pedals for harps. HocHBRucKER, Douawerth, 1732 — 70. He was a nephew of the preceding, was a violin maker and also continued to improve the harp. in the direction initiated by his uncle. Hoffmann, Martin, Leipsic, 1680 — 1725. A lute and viol maker who has become famous not only for his own special work, but also because he was the first to make the violapomposa suggested by John Sebastian Bach. This was a five-stringed 'cello tuned to C, G, D, A, E. It did not succeed, although Bach w'rote. music for it. Hoffmann, Johan Christian, Leipsic. Son of preceding. A lute maker. Hoffmann, Ignazio, Wulfelsdorf. About 1748. A violin, lute, and harp maker. Hoffmann, Martin, Leipsic. Another lute and viol maker, probably some relative, about same date as previously mentioned Martin. HoFMANS, Mathys, Antwerp, 1720 — 50. This 1730 to present, time. 1.76 THE PIDDLE FaNCIEr'S. GUIDE. maker was very clever in imitating the' Cremoijesg varnish.' His instruments are also very well made, and covered sometimes with a fine golden varnish, and at other times with a dark, red — very transparent. The tone of such violins of his as I have seen,- does not, however,, come altogether up to one's expectations. HOhne, Dresden. Modern. Hollow AY, J., London, 1794. ttoMOLKA, F., Kuttenburg. Modern. HoRiL, GiACOMO, Rome. About 1742. Horenstainer, Andrew. Horenstainer, Joseph Horenstainer, Matthias Horenstainer, Martin This is a trade firm in Mittenwald, Bavaria. For more than 150 years, there has been a representative, apparently, in existencfe. The instruments are in many cases fairly good. HosBORN, Th. Alf., London. About 1629. An old viol maker, a specimen of whose work was in the Paris Exhibition of 1.878. Huber, Johann George, Vienna, 1767. Viol maker. HuLiNski, Prague, 1760. Good maker. Warm brown varnish. . ' ■ Hul'ler, August, Shceneck, 1775. Hume, Richard, , Edinburgh, 1535. The earliest known viol maker in Great Britain. HuMEL, Christian, Nuremberg, 1709. Hunger, C. F., Leipsic. Born in Dresden ,1718. Died in Leipsic' 1787. A fine maker. He was a pupil CLASSICAL AND POST-CLASSICAL MAKERS. 177 of Jauch of Dresden and a worthy one of a worthy naaster. His instruments are Italian in style. Instrumenti, Marco, Dagli^ Ferrar'a, 1541. A yioL maker. Indelami, MatTeo. a lute maker. Unknown either when or where. jACOBii Meissen. i8th century. Violins. Jacobz, Heindrik, Antwerp, 1693 — ^704- Janck, Johann, 1735. An old viol maker. Jaspers, Jahn, Antwerp, 1568. A lute maker. Jais, Anton, Botzen. About 1760. Jais, Johann, Botzen. About 1776. Jauch, Dresden. 18th century. A fine maker in the Italian style. Jauch, Johann, Gratz, 1740. A lute maker.. JoRi, Leander, Sesso. About 1819. JoRio, ViNCENZo, Naples. 19th century. Joseph, J.,' Vienna, 1764. JuLiANO, Francesco, Rome. 18th century — about the beginning of it. JuLLiEN, Louis, Antoine, 1813^60. This was the great bandmaster, who, although not a violin maker, was one of those whp invent fiddles. His idea was a violin tuned afourth above the usual pitch. It never came to anything. It was to be the same size as the ordinary violin, w;hich, probably, made, it difficult to invent the strings. Kaiser, Martin, Venice. About 1609. A lute maker. Kamblj Johann Andrew, Munich, ^635 — 40. ^ Kanigowski, Warsaw. About .1841. Besides being a violin maker, he also made bows. ^ ' N 178 THE FIDDLE FANCIER's GUIDE. Karb, Konigsberg. A viol maker. Kembter, Dibnigen, 1725. Violins of highly arched model. Kessel, Anton, Breitenfeld. Contempoirary. Violins. KiRCHHOFF, A. W., I^openaja, 1855. Violin maker. KiRSCHSCHLAG. A Tyrolese maker. About 1^80. KiTTEL, St. Petersburg, 19th century. A fine repairer, and also an exquisite bow maker. Klein, A., Rouen. Modern. This establishment is under the management of M. Antoine Rubach of Mirecourt. Klei;simann, Cornelius, Amsterdam, 1671. Violin maker. ^ Kloss, E., Bernstadt, 1855. Violin maker. Knittle, Joseph, Mittenwald, 1791. Knitting, P., Mittenwald, 1760. Knoop, W., Meiningen. Modern. Kohl, Johann, Munich. About 1599. A lute maker to the Bavarian court. Kceuppers, Johann. The Hague, 1760 — 80. Has the reputation of being the finest of the Dutch. Thick varnish, but well made violins. KoLB, Hans, Ingolstadt, 1666. A viol maker. KoLDiTz, Jacob, Ruhmburg. Died 1796. The work of this, maker is highly appreciated in Germany. KoLDiTZ, Mathias Johann, Munich. Kolliker, H., Paris, 1789 — 1820. A repairer of great ability. Kramer, H., Vienna. About 1717. A viol maker. Kriner, J., Mittenwald, 1786 — 91. Kugler, Max, Munich. A violin maker. CLASSICAL AND POST-CLASSICAL MAKERS; 179 KiJNTZEL, Berlin. Modern. Lapleur and Son, London. Contemporary. Lagetto, Luigi, Paris. About 1753. Laine, Paris. About 1773. Lambert, Jean Nicolas, Paris, 1745. Dean of the Paris Violin Makers' Guild for this year. The business was carried on for a considerable time by his widow for about half a century after above date. . Lambert made also viols, one of which is in the museum of the Paris Conservatoire. He branded his name on the side of this instrument, and used a ticket in his violins which runs, " J. N. Lambert, rue Michel-le-Comte Paris," surrounded with arabesque decoration, supported by a violin and lute- Lambert, Nancy. About 1750. Lambert, J. A., Berlin. About 1760. Lambin, Ghent, 1800 — 30. Violin maker and repairer. Lamy, J. Thibouville, Mirecourt and London. Contemporary. ' Lancellqtti, Ottavio, Barigazio. Modern. A maker of double basses. Lancillotto, Jacopino, Modena, 1507 — 51. One of the oldest known of makers and " dealers in viols and other musical instruments. . Landi, Pietro, Siena, 1774. Violins. Lanza,, Antonio Maria, Brescia, 1650 — 1715. He was a contemporary of Stradivari, but copied Maggini, and other Brescian makers in what has been called a " slavish " manner. His instruments have not a good tone. He also made viols. Lapaix, Lille. Mpdern. Violin maker and medallist. N2 l8o THE FIDDLE FANCIER'S GUIDE. Laprevotte, Paris,, 1825 — 1850. . He was an ordinary Mirecourt maker, and subsequently in Paris. Died in 1856. Larne, p. M., Paris, 1767. Dean of tha Makers' Guild for this year. , Laska, Joseph, Ruhmburg. Born 1738'. Died 1805,.. ,He worked with Kolditz in Prague, but chiefly made: mandolines and viols. Laurentius detto PApiensis, Pavia, This, was a distinguished old maker of the fifteenth and sixteenths centuries. He was a maker' of all sorts, but his lutes and viols were highly-decorated musical instru- ments. He was patronised by Isabella D'Este, ^nd carried on some correspondence with her in regard to> different instruments, between the years 1496: — iSJS- Lavazza, Antonio Maria, Milan, 169/5 — 1708.. Lavazza Santino, Milan, 1718. Leb, Presburg, i8th century. Leblai^c, Paris. . About 1772. Leclerc, Paris, i8th century (i77i)> He was chiefly a repairer. LecompTe, Paris. About 1788. Leduc, Pierre, Paris. One of the most ancient Parisian makers. About 1646. Le Dhuy. About 1806. A Frencii maker of th& bowed lyre. Lefebvre, Amsterdam, 1720 — 40- His model was ,Amati. Lefebvre, Paris. About 17S8. Lei, Domenico, Formigine. About 1848. This was. an am.ateur repairer of some sMlL CLASSIQAL AND POST-CLASSICAL MAKERS. lOI Le Jeune, Francois, Paris, 1764. Dean of the Makers' Guild for this year. There is a vjpl by him in the Museum of the Paris Conservatoire, and the name was in the trade until 1870, I believe, when it became extinct. Lemme, Brunswick, i8th century. A maker, or dealer, who invei^ted things for the fiddle. Among these was an improvement in working the upper table or belly, which does not appear to have been of any use. He also invented a mute. J know nothing about either.- Lembock, G., Vienna, About 1875. . He was a repairer. L'Empereur, Jean Baptiste. Dean of the Makers' Guild for 1750. ■ . Lt LiiiVRE, Paris, about 1754. Made fairly good instruments. Yellowish orange varnish. Leoi»i, Ferdinando, Parma, 1816. Leper, Dominilo, Rome. 19th century. Le Pileur, Piero, Faris. About 1754. Lesclop, Francois Henri, Paris, 1746. Dean of the Paris Makers' Guild for this year. Lessellier, Paris, 1640 — 60. A lute maker of whora Gustave Ghouquet has a good word to say. Levien-Mordaunt, Paris, 1825. • Lewis, Edward, London, About 1700. Good work good wood and varnish. Liebich, Johan, ' Breslau, i8th century. A viol maker. Liebich, Ernest, .Breslauj 1796 — 1862. Violins, harps, and gmtars. Liebich, Geoffrey, Breslau, i8th century^ Violins'. l82 THE FIDDLE FANCIER's GUIDE. Light, Edward, London. About 1798. A lute and harp maker. LiGNAMARO, PiETRO, Mantua (San Martino). Died 1569. Lutes and zithers. LiGNOu, Andrea, Florence. About 1681. Vidlins. LiEDOLF, GuiSEPPE Ferdinando, Vienna, 18th century. LiNAROLO, Ventura, Venice, 1514 — 20. An old lute and viol maker. Lipp, Mittenwald. About 1761. Violins. LipPETA, J. G., Neukirchen, 1771. LivoRNO, ViNCENZO Da, Leghom, i86i. Violins. LocicERO, Luciano, Naples. About 1830. Chiefly ■ guitars. LoLio, Giambattista, Voltezza, i8th century. Violins. LoLY, Jacopo, Naples. About 1727. Ordinary maker. Light yellow varnish. LoRENzi, G. B. DE, Vicenza. About 1878. Violins, and also organs. Lorenzini, Gasparo, Piacenza, i8th century. Violins. LouvET,. Jean, Paris. Dean of the Makers' Guild for 1759. One of his viols is in the Paris Conservatoire Museum. LouvET, Pierre, Paris. Dean of the Makers' Guild' for 1742. One of his viols is also in the Paris Con- servatoire Museum. LovERi, Naples. Modern. Lucarini (or Lucatini), Faenza. About 1803. A repairer. CLASSICAL AND POST-CLASSICAL MAkERS. .183 LuDGE, Geronimo Pietro De, Conegliano, 1709. A repairer. This maker is also called " Ludici." He was an amateur, it is supposed, from the ticket he used, a manuscript one. It runs, " Hieronymus Petrus de Ludice animi causa faeciebat Conegliani, A.D." The inscription does not in any way justify such a conclusion. LuGLONi, Guiesppe, Venice. About 1777. An imitator of the Cremonese style. Lupo, Peter, Antwerp. About 1559. Violins. Luppi, Giovanni, Mantua, 19th century. Macintosh, Dublin. Said to be a pupil of Thomas Perry, Dublin. Macintosh published a work on the construction of the violin, and of this book it seems impossible to obtain a copy. It was issued some- where about the year 1837. Macintosh is supposed to have died between that date and 1840. McGeorge, Edinburgh. About 1800. Maffeotto, Guiseppe, Roveredo, i8th century. Maffei, Lorenzo. An Italian repairer about end of 1 8th century. Magno, Ferrara. a lute maker, middle of i6th century. Maier, a. F., Salzburg. 1746^50. Malagoli, Fulgenzio, Modena, 1856. Maldonner, Fussen. About 1650. ^ maker of double basses. Maller, Laux (or Luca), Bologna, 1415 — 1475. A famous old German maker of lutes., Maller, Sigismund, Bologna and Venice, 1460 — 1526. Another lute maker, also of German origin — judging, of course, only by the name. 1-84 THE FIDDLE FANCIER'S GUIDE. Mann (or Man), Hans, Naples, 1 8th century.- Mandoti, Guiseppe, Piacenza, 1713. Violins. Manni, Pjetro, Modena. About 1827; Guitars, «tc. Mansiell, L., Nuremburg. About 1728. Mansiedl, L,, Wurzburg. About 1724. Mantegazza, Carlo,' Milan, i8th century; Mantegazza, FrancescOj Milan, .1760. Mantegazza, Pietro and Giovanni, Milan, 1737 — 800. This family of violin rhakers and repairers were ■distinguished in their day— chiefly, hOweveir, as repairers and irestorers. There is a quartet of instruments by the "brothers P. and G., which appear to be the only speci- mens of new instruments known to one or two writers, and the varnish on them is black. They, however, ifeed all kinds of varnishj and when they did make fiddles they copied Amati, Stradivairi, and Guarnerius — indeed, all sorts-^even Stainer arching was not rejected. They werfe so famoiis in their day that all sorts of rubbishy, dirty fiddles have got ticketed accordingly. ■MantoVani, Parma, 1850 — 83. A violin rep'stirer. Maratti, Verona. About 1700. Marcelli (or Marcello), Giovanni, Cremona, about 1696. A maker of double basses. Large pattern and of powerful tone. A decorative maker who used inlay and carving. Inlay on sides sometimes. Marchetti, Enrico, Turin, igth century. Violins Marchi, Giannantonio, Bologna. About 1806, Violins. Highly arched. Beautiful wood. Varnish of a golden orange. Marco, Antonio, Venice. About 1700. CLASSICAL AND POST-CLASSICAL MAKERS. 185 Marconcini, Gaetano, Ferrara. i8th century. Marconcini, Guiseppe, Ferrira. i8th century. Marconcini, Luigi, Ferrara and Bologna. It is said that this maker was a pupil of Omobono Stradivari, ■Gaetono and Guiseppe were his sons, and Guiseppe is reported to have been a pupil of Storioni. .The instruments of the latter have a fair reputation but I am not in a position to speak of any of them. Marconi, Antonio, Conegliano; About 1878. Marcus, Johannes, Busseto, 1540—80; A viol maker. Maria, GiuESPPE de, Naples. About 1779. Chiefly a maker of mandolines, etc: Mariani, Antonio, Pesaro; 1570 — 1646. School of Maggini. Marino, Bernardino, Rome, -1805. Violins. Maris, Ferenzuola. Violins. Marquis, de LaiRj Mirecburt. A igth century :maker of comparatively small interest. He inade very big fiddles, and out' of proportion. His sound holes are not so bad in the matter of design, but they are poorly cut and far apart. His margins are usually large, but vulgar. Edges round. Ribs good height and figure. Scroll tastelessi Varnish of a brown colour with a -slight dull orange greenish tint about it here and there. ' " Marquis de Laiir d'Qiseau " branded across the ' back , just, under the button. r Marshall, John, London, 1750 — 60. A good maker who used the Stainer niodel, and also made flatter instruments. He inscribed on one of his tickets " Good Beef id. A pound But trades all very Bid." He seems l86 THE FIDDLE FANCIER's GUIDE. to have been an observer of the times with a fancy for big, big B's. Martani, Antonio, Reggio-Emil, 1804 — 66. A violin repairer. Martin, London, 1790 — ^4. Martinelli (dettp il Gobbo — called the hunchback), Modena, 19th century. A maker of double basses. Martinez, Alonzo. A Spanish violin maker. Martino. An Italian maker — chiefly of 'cellos.. Masenger, Giovanni de, Brussels. Violins and pochettes; Mast, Jean Laurent, Paris. 18th century. A fairly good maker. Thick, dark spirit varnish. ^' J. L. Mast, Paris" branded at the top of the back and in the inside where the ticket is generally seen. Mast Fils, Toulouse. Son of above. Worked with Nicolas ain6 at Mirecourt and subsequently went to Toulouse. Branded his violins " Mast fils Toulouse (date) " in the same places. His instruments are rather highly archedj and have an orange and a red orange varnish. They are fairly good violins. Maucotel, Charles Adolphe. Born in Mirecourt in 1820 where he learnt violin making. He went to Vuillaume in 1839, and five years afterwards began business on his own account. He committed suicide in 1858. He was a fine maker, and turned out some high- class instruments of all sizes except double basses. Maucotel, Charles. Born in Mirecourt in 1807. He also learnt in Mirecourt and went to C. F. Gand in Paris, 183^. Ten years afterwards he came to London and was employed by R. and W. Davis of Coventry CLASSICAL AND POST-CLASSICAL MAKERS. l8f ' Street (now Withers).- In a few years he started for himself and continued in Rupert Street till he went back to France in i860. His instruments are also good and have a fine style about them I do not know whether he was related to the previous maker or not. It is said that he was a brother and I suppose that is correct. He was the first employer of Mr. George Chanotj the elder (of London). Mansseil, Leonard, Nuremberg. , About 1745. A' good maker of Stainer copies. Light yellow varnish. Mayerhoff, Andrew Ferdinand, Salzburg, 1740 — 6-.. Mayr, Adam, Munich. i8th century. A viol makers Mayr, Andrew Ferdinand, Salzburg, 1726 — 77. A violoncello maker. He was maker to the court in Salzburg. Mayson,' Walter, H. Contempory. Violins, violas and basses. His better class instruments are excellent. Meares, Richard, London. About 1677. A viol maker. Meiberi, Francesco, Livorno. About 1750. Melegari, Enrico Clodoveo, Turin, i860. Violinsi Melegari, Pietro, Turin. About same date as previous maker of same name. Metelli, Luigi, Ferrara. 19th century. A pupil of Marconcini, and, consequently, of a good school by descent and according to report. Mellini, Giovanni, Guastalla. About 1768. Meloni, Antonio, Milan, 1694. Menichetti, Luigi, Faenza. About 1851. This, maker was an inventor of a new kind of violin. It was a combination of wood and metal and was thought to be l88 THE FIDDLE FANCIER's GUIDE. suitable for military bands. The belly was of brass, and the tone, although of an abominably diverse, character on the different strings, had a, certain amount of strength. It was exhibited in 1851 at Bologna, but I don't think it has ever been heard of since. . Mennegand, Charles. . Born at JJancy in 1822. Like so many othet fine makers, he was taught his art in Mirecourt, and in 1840 went to. Paris. There he worked for Rambaux for five years, and became a first- class repairer of old instruments. He was a year with Maucotel, and thfenwent to Amsterdam. In five years lie returned to Paris, and died in 1885. He made good instruments, but his chief distinction was gained in the repair of old ones. Mennesson, Emile, Rheims. About 1878. This paker started a business in: a kind , of trade instrument which he called the Gwawm violin. I suppose it was a trade mark. He made violins, . tenors, 'cello's, and ■double basses. They have a red, transparent varnish. Mensidler, JohanN', Nuremberg, 1550. A viol inaker, ; Merighi, Antonio, Milan, 1800.' Meriotte, Lyons. About 1755. A faiirly good maker, Up to 1770, his tickets are written " M6riotte, Juthier, sur le pont, presle change, a tyon," but after that date the inscription, is Latinised and printed. His instruments are, at the .same time, of improved quality. Merlin, Joseph, London, ■ About ^780, His instru- ments are highly b'uilt. . - ; .. -Merosi, Guiseppe, Firenzupla.. About 1846. . Methfessel,Gustave, Berne.; About 1883. CLASSICAL AND POST-CLASSICAL MAKERS. 189. Mette, Father, Rouen, i85'5. Mezadri, Alessandro, Ferrara, 1690 — 1720. A. maker of some little merit, but poor Amati model. Mezadri, Francesco, Milan, 1700 — 1720. A fairly good maker. Nice golden varnish with a reddish tinge,, transparent and thin. MicHAUD, Paris. About 1788. Michelot, Paris. About 1788. MicHiELS, GiLLES, Brussels, 1779. Milani, Francesco, Milan, 1742. This mdker was a pupil of Lorenzo Guadagnini, and an accurate imitator of Stradivari. MiER, London. About 1786. MiLLE. A maker at Aixin the Benches du Rhone in -the 1 8th century. Violins. Miller, London, 1750. MiNELLi, GiovAN>fi, Bologna. About i8o8^-9> Violins. MiNozzi, Matteo, Bologna, i8th century,! MiQUEi,, Emile, Mirecourt., Contemporary. Miremont, Claude Augustin. Born at Mirecourt in 1827.,, He learnt under his father Sebastian, whO" was a maker in Mirecourt, and afterwards worked for three years with C. N. CoUin-Mezin. Miremont went to Paris in 1844, and was first with Joseph Ren6 Lafleur, who was a bow maker, chiefly. Miremont soon left him. . and engaged with Bernard'el Pere, with whom he remained until 1852. He then went to New York for ten years, and returned to Paris in 1861. He retired from business in 1884, and died in 1887. He was a fins maker, and received several medals. -igO THE FIDDLE FANCIER S GUIDE. MiRANcouRT, Joseph, Verdun. About 1749. A viol maker. MoiTESsiER, Louis. About 1781. Made some good violins. One was a very curious instrument, having a .belly of maple the same as the back. It is described as- .being well made, and of good tone. MoERS, Jean Henri, Paris, 1771. Dean for this year of the Paris VioUn Makers' Guild. MoHR, P., Hamburg. About 1650. A viol maker. MoLDONNER, Fussen, 1756 — 98. MoLiNARi, Antonio, Venice, 1672 — 1703. MoLiNARi, Guiseppe, Venice. He made various : stringed instruments, such as mandolines, etc. He also •jaiade violins. There are two of the former ' in the ;Tnuseum of the Paris Conservatoire, and bearing dates 1762 and 1763. Mollenhaver, London, About 1881. This is an, ; inventor, who proposed to make violins, violas, 'cellos, ..and double basses with two bellies, one under the other, .■dividing the interior of the instrument into two compart- ments. He claimed for his suggestion that it would Jargely increase the volume and roundness of the tone of the violin tribe, without altering its quality. The principles of the invention are explained in Musical Opinion of ist November, 1881. , MoLZA, Nicola, Modena, 1620. A repairer. MoNCHi, P. de, Lyons, 1633. -A- viol maker. Mongenot, Rouen. About 1763. Montade, Gregorio, Cremona, 1720^ — 35. A maker who copied Stradivari. Montaldi, Gregorio, Cifemona. About 1730. This CLASSICAL AND POST-CLASSICAL MAKERS. 191 maker, is said tp have used the safne model as the preceding, to have Uved in the same place at the same time, and he has .the ..same -Christian name. ' On the whole, it may be reasonably supposed that there has been some error in reading his surname. But a conclusion of that kind, for the reasons already stated, should only be of a tentative character. We have Smith, Smyth, and Smythe ; Brown, Broun, and Browne. These might all be called John, they might all be anywhere in this country at the same time, and any two of each group might be drapers or grocers. MoNTANi, Gregorio, Cremona, i8th century. This name may also be another " variant "of " Mpntade " — but then again, as Uncle Remus would say, it mightn't. In the meantime, they are merely names. MoNTicHiARO, Zanetto, Brescia, 1533. A lute and viol maker. MoNTRON, Paris. About 1788. MoNTURRi, Guiseppe, Piuniazzo. About 1840. Violins. MoNziNO, Antonio, Milan, 19th century. Violins and violas. MoRELLO, MoRGLATO, Mantua, 1540. Lutes and viols. Morella-Odani, Guiseppe, Naples, 1738. Made good viohris, having a very dai;k-coloured varnish. MoRETTi, Antonio, Milan. About 1730. Chiefly mandolines. Mori-Costa, Felice, Parma. About 1812. Violins. Morona, Antonip, Isola. About 1731. Morrison, J., London, 1780 — 1823. 192 THE FIDDLE FANCIER S GUIDE. MouDoiT. A maker of viols in the i6th century. He is said to have reduced the nunaber of the strings. . MuccHi, Antonio (called Bastia,), Modena, 1800. Died ,1883. He was a magnificent restorer of old • violins. He was a pupil of a Modenese maker named' Soliani, and his instruments have, something of the style of Guadagnini. Varnish golden amber. Murdoch, A., Aberdeen. Modern. MusAN, DoMENicb, Venice, 1756. A maker of double basses. MUZZARELLI, OSPITALETTO, 1880. VioliuS. Nadermann, Jean Henri, Paris; 1774. Dean of the Paris Violin Makers' Gi4ild for this year. He was not a violin maker, but one of a farnily of harp makers. Nadotti, Guiseppe, Piacenza. About 1767, Violins. ' Naldi, Antonio, Florence. About 1550. He was a musician, and is said to have invented the theorbo. Namy, Paris, 1772 — 1806. A famous repair6r regard- ing whose talent in this direction the Abbe Sibire went into raptures, stating that he could tell at a glance when- ever he saw a violin repaired by Namy, just as he could tell at a glance whenever he saw a Cremona violin. This is a speciinen of corinoisseurship " unconditioned "■ as philosophers would say, and now-a-days is charac- teristic only of those whose self-confidence has surmounted the level of their experience. Had the Abbe just qualified his statement with " sometime," " often," ; " very frequently;" or even " nearly always," one would have had less inclination to discount his enthusiasm. Naylor, Isaac, Leeds, 1778 — 92. CLASSICAL AND POST-CLASSICAL MAKERS. igj Nella, Raffaello, Brescia. About 1740. A fine maker who practised the art of decorating his instru- ments with inlay after the manner of Maggini and the earUer Brescian school. On the backs and round the sides of his instruments he used the legend, " Viva fui in sylvis : sum dura occisa- securi : dum vixi, tacqui, mortua, dulce cano." DuifFoprugcar had used it before him. Neuner, Luigi, Berlin. 19th century. Neuner, Mathias, Mittenwald. About 1817. Like Hornstamr, the name of Neuner occurs frequently in Bavarian work and the members of the two families have been in one firm. Newsiedler, Giovanni, Nuremberg. Died 1563. Lutes and viols. Newton, Isaac, London, 1775 — 1825. NezoT, Paris. About 1735. There is a six stringed viol by this maker in the museum of the Paris Conservatoire. Nigetti, Francesco, Florence. About 1645. A viol maker. NiGGEL, SiMPERTius, Fussen, 167a — 1755. He made violins on the Stainer model, and employed a dark coloured varnish. Instruments of a fiat model are also noted as having been seen with N. S. branded inside. Norborn, John, London. About 1723. NoiiRis, John. Born 1739. Died 1818. Trained in the Wamsley school, having been a pupil of Thomas Smith. The firm became Norris and Barnes. NovELLO, Marcantonio, Venice. i8th century. NovELLO, Valentino, Venice. i8th century, o 194 "^^^ FIDDLE fancier's GUIDE. NovEBci, CosiMO, Florence. About 1662. A lute rriaker. NovERSi, CosiMO, Florence. 17th century. Looks very like the same name as preceding written down from a foreign pronunciation. Obbo, Marco, Naples. About 1712. A dealer some- what after the style of Dodd and others, who had the instruments made for him and placed his own manur script tickets inside. Ordinary work. Obici, Bartolomeo, Verona. About 1684. Obici, pROSPERO, Marano. 19th century. A repairer. Odoardi, Guiseppe, Ascoli. Died 1695. He was only twenty-eight years old when he died. He was a young man of considerable genius, and is said to have made upwards of two hundred instruments of exceed- ingly great merit, into which subsequent dealers have put Cremonese and Brescian tickets. , A writer named Galeazzi says that he rivalled the finer Cremonese makers. Ohberg, JoHANN, Stockholm. About 1773. A good maker.. Chiefly yellow varnish. Oliveri, Felice,, Turin, 1883. Violins. Olivola, Francesco De, Rome (Sarzana), 1667. Violins. Ongaro, Ignazio, Venice, 1783. Violins. Orlandelli, Paolo, Codogna. 17th century. A dealer of the same type as Obbo. Orzero, Tommasso, Turin, 19th century. Violins. Ostler, Andrew, Breslau. About 1730. A viol maker. Yellow orange varnish. Common work. Ott, Johann, Nuremberg. About 1463. A lute maker. CLASSICAL AND POST-CLASSICAL MAKERS, 1 95 Otto, Jacob, Augustus. Born at Gotha,. 1762. Died in 183b. He was a pupil of Ernst, and wrote the work which is popularly known iii this country under the title of " Otto on the VioUn." It is, to this day, very useful. I have never seen aliy of his own work, nor that of his numerous sons, who were settled in various parts of the continent. George August, in Jena. Christian, in Halle. Heinrich, in Berlin. Carl, in Mecklenburg. C. U. v., in Stockholm, Ludwig, son of George August, in Cologne. Louis, son of Carl, in Diisseldorf. Hermann, son of Ludwig, in St. Petersburg. Thus five sons and three grandsons all went into the fiddle business, and judiciously chose to settle in different towns. Some of them are now dead. OuMiR, Khosro, Punjab, India. About the end of 15th century. duvRARD, Jean, Paris, 1743. Dean for this year of Violin Makers' Guild. Style of Pierray. Pacherele, Michel, Paris. About 1779. An ordinary maker, orange varnish, style of Louis Guersan. Narrie branded at the top of back. Pacherele, Pierre. Born at Mirecourt 1803. Died at Nice 1871. He was first at Nice in 1830. He also worked at Genoa and Turin. At the latter place with Pressenda. In 1839, he returned to Nice and settled there. He was a good maker, and a fine repairer, but employed a thick-looking style of varnish. Pacquet, Marseilles. About 1785. He was born in Aix, and was, besides a violin maker, an inventor of a harp guitar. 02 196 THE FIDDLE FANCIER'S GUIDE. Padevvet, J., Carlsruhe, 1855. Violins, guitars, etc. Padewet, Carlo, Munich, 1855. Violins, Stradivari pattern. Pagani, J. B,, Cremona, 1747. A fairly good maker. Pagani, PiETRO, San Martino, 1836.. Paganini, Luigi, Faenza, 19th century. Paganoni, Antonio, Venice, 1712 — 50. Palate, Liege, i8th century. A fair maker who copied the Italian style. 1 Pallotta, Pietro, Perugia, 1821. Violins. PalmA, p., Lucca, i8th century. Paltrinieri, Giovanni. An Italian maker of 'cellos, about the year 1840. Pamphilon, Edward, London, 17th century. Very high model, but magnificent varnish. Pandolfi, Antonio, Venice. About 1719. Pansani,' Antonio, Rome, 1735. Panza, Antonio, Finale-EmiHa, 1873. Violins. Paquotte Fr^res, Paris. A firm of violin makers founded in 1830. Pardi, Paris. About 1788. Pardini, Bastiano, Florence. Parlt, Michael Andrew, Vienna. About 1764. A viol maker. Parth, a. N., Vienna, i8th century. Pasciuti, Ferdinando, Bologna, 1882. A rnaker and repairer. Pasenali, Giacomo. An Italian maker of mandolines chiefly, i8th century. Pasta, Venice. About 1661. Pasta, Domenico, Bresda. .About 1718. CLASSICAL AND POST-CLASSICAL MAKERS. 19.7 Pasta, Gaetano, Brescia, 1700 — 1730. High model. Good instruments, and nice looking varnish. Patzelt, J. F., Vienna. Modern. Pazzini, Giovanni, Gaetano, Florence, 1640 — 60. This maker, in one of his tickets, calls himself a pupil of Maggini. Pearce, G., London, 1834 — 5^- Pearce, J., London, i8th century. Pearce, J. and T., London. About 1780. • Peccenini, Alessandro, Bologna. About 1595. A lute maker. Pedrazzi, Fra Pietro, Bologna. About 1784. Another maker among the ranks of the Dominican fraternity. Pedrinelli, Antoni'i, Crespano. Born 1781. Died 1854. This maker -wa, s originally a carpenter and undertaker. He was a most wholly deaf, and took to copying violins of the fine makers, such as Maggini, Stradivarius, and Guarnerius. He was successful in selling them in Russia. He made the backs of very old beech from fragments of oars, the remains of the old oars used in the Venetian galleys. These, it is said, -he procured, by means of some patron's influence, from the Venetian arsenal. To some firms he sold his instru- ments in the white, and he made all sorts, violins, tenors, 'cellos, and double basses. In 1854, ^^ exhibited some specimens of his work at the Industrial Exhibition in Venice, and had a medal awarded to him, but he was then dpng, and never knew of his success. Pelignino, Zanetto, Brescia, 1547 — 50. An old viol maker. IgS THE FIDDLE FANCIER'S GUIDE. Pemberton, Edward, London. About 1660. 1 Peron, Paris, 1755 — 881 A court maker, namely, to the Duchess of Orleans. He appears to have made few violins, and to have been chiefly engaged in fabricating other kinds of string instruments, such as zithers, etc. Petroni, Antonio, Rome, 19th century; Petz, Fiissen. About 1770. Pezard, Brescia, 1560 — 80. A follower of Maggini. Pfub, Hamburg. Modern. Pfretyschner, Neukircken. Common work, Pfretzschner, J. G., Cremona. 1750 — 94. Common work. Pianassi, Domenico, Ginglia, 1770 — 80. A viol maker. Piane, Delle, Genoa, 1800. Violins. Piccaiti, Ippolito, Persiceto, 1850 — 56. Violins and double basses. Piccinetti, Giovanni, 1677. An Italian viol maker. PicHOL, Paris. Picino, Padua, 1712. PicTE, Natale, Paris, 1760 — 1810. Violins and double basses. PiERi, Costantino, 1865, An Italian repairer. Pierret, Paris, i6th and 17th centuries. Pierrot, Lyons. Piete, N., Paris, 1760 — 80. PiETRi, Pietro, Venice, 1690. PiETRO, Alberto, Rome. About 1581. A lute maker. PiLLEMENTi, F., Paris. About 1760. His name is CLASSICAL AND POST-CLASSICAL MAKERS. I99 branded on the inside. Not particularly good 'work. He made tenors and 'cellos also. PiLOSio, Francesco, Gorizia. i8th century. About 1748. PiNGRiER, Paris, 1882. A inaker and repairer. PiNi, Bartolomeo, Florence. About 1664. A maker and dealer. PiNi, l!.uiGi, Florence. 19th century. A repairer. PiROT, Claude, Paris, 1803 — 13. A maker wh6 employed a thick brown varnish having a red tint. His instruments are fairly good. Arching somewhat high, but otherwise well designed. PiTET, Paris. About 1675. A maker of the decora- tive sort who inscribed on the sides of the instruments his name, etc. PivA, Giovanni, Modena. 19th century. Violins, violas, 'cellos, and basses. PiVA, Giovanni, Piacenza. About 1883. Possibly the same maker as the preceding. PizzoRNO, Davide, Genoa, 1770. Violins and basses. Plach, Francesco, Schcenbach, 1781. Violins. Placht, Vienna. About 1873. Instruments of a trade character. Plani, Agostinox)e, Genoa. About 1778. Ordinary kind of instrument. Platner, Michele, Rome. About 1747. A maker whose instruments resemble those of Tecchler. Plumerel, Paris. About 1740. A maker of basses. Not particularly good work. Orange varnish. PoGGi, Francesco, Florence, 1634. Various kinds of instruments. 200 THE FIDDLE FANCIER S GUIDE. PoLi, Giovanni, Milan, 1850^82. Violins. Tenors and 'cellos. PoLis, LucA De, Cremona, 1751. Instruments in the style of Andreas Amati. PoLLASTRi, Antonio, Modena, 1765. A viol maker. PoLLASTRi, GuisEPPE, Modena, 1783. Viols and guitars. PoLLASHA (or Pollusca), Antonio, Rome, 1751. Violins and 'cellos. Pons, Cesare, Grenoble, 1750 — 60. An old hurdy- gurdy maker. Pons, Paris, 1827 — 51. Chiefly a guitar maker. PoNTiGGio, v., Como, 1853. Violins, tenors, and basses. PoPELLA. An Italian 'cello maker of the 17th century. PoRLON, Peter, Antwerp, 1647. There is in existence a bass by this maker, bearing above date. PoscH, Anthony, Vienna. About 1753. Violins, etc. Highly arched, common fiddles, with very dark varnish. PossEN, Laux, Schevengau. About 1564. A maker of lutes and viols. PosTACCHiNi, Andrea, Fermo. About 1824. Violin of a somewhat ordinary character, of flat arching, and reddish-brown varnish. PosTiGLioNE, VincenzO, Naples, 1881. Violins, etc. Powell, R., London, 1785. Powell, Thomas, London, 1793. PozziNi, Gaetano, Brescia, 1671 — 90. Instruments in the style of Maggini. CLASSICAL AND POST-CI,ASSICAL MAKERS. 201 PozziNi, Gasparo, Brescia, 1691 — 99. A maker of the same school. Prediger, Anspach, 1694 — 9^- Violins and tenors. Preston, John, York. About 179 1. Pr-essenda, Giovanni Francesco, Turin. This maker was one of the finest of the post-classical period. He was born on the 6th January, 1777, in Lequio- Berria, a small village in the neighbourhood of Alba in Piedmont. His father was^ a locaLl violinist of some skill. Young Pressenda as a child, played the violin, and frequently astonished those who heard him. He apparently, however, liked the idea of making violins better than playing them, for when he was barely ten years old, he determined to learn the art of constructing them in the famous city of Cremona. It was rather a long tramp for a lad of his years, but he took his fiddle with him and played for a living from place to place, until he entered within the renowned walls. At this time, all the the great ones he had heard of had passed over to the majority except the l^st and least, Storioni. He got employment with him, and so pleased that fag end of the Cremonese school that the boy at the termination of his engagement returned home with two fine Violin moulds which his master gave, him as a mark of his satisfaction. He played his way back, as he had forward, and remained at home until he was thirty-seven years old. In 18 14 he went to Alba, and began fiddle making there without great results. In 181 7 he went to Carmagnola, and was not more successful. At last he thought of Turin, and went there in 1820. He was now forty-three, but he triumphed. Four years later, the 202 THE FIDDLE fcPANCIERS GUIDE. great violinist', Polledro, settled in Turin, and recognised the excellence of Pressenda's work. This recognition, ->not being a mere advertisement, was the making of him, and from that time his instruments' have surely though slowly risen in the estimation of fiddle-fanciers, and now deservedly occupy a high place in the esteem of really good judges. He died in Turiii on the 4th December, 1854. The style of his work is large and massive, and possesses a vigour not unlike that which charactises much of Lupdt's later and best eiforts. In Pressenda's later specimens, the figure of his backs is often of an unusually bold marking, whether the backs are two pieced or whole. This trait is indeed so prominent that many people imagine he never used any other kind of wood, quite a mistake, of course. His arch is broad, long, and flat, can hardly, indeed, be called an arch, but his sides are fine and fujl. His varnish is a good quality of spirit — colour from darkish mahogany to a light amber brown. The tone of his violins is generally very fine, having much of the clear a:nd firm timbre which distinguishes many of Lupot's best efforts. Prevot, Paris. About 1788. PuppATi, Francesco, Udine, 1883. PuPUNAT, M., Lausanne, 1855. Violins and bows. Another member of a religious confraternity who has devoted himself to fiddle making for some reason. Pyne, Georg-e, London. Contemporary. A clever maker who has done some good work. QuERCi, Vincenzo, Florence, 1634. A maker of and dealer in violins and various musical instruments. CLASSICAL AND POST-CLASSICAL MAKERS. 203, QuiNOT, Jacques, Paris. About 1670. There is, in existence a pochette by this maker, and it is of a decorative character. Orange varnish. His name is- branded on the back of it. Racceris, Mantua. About 1670. Railich, Giovanni, Padua. , Rambaux, Claude Victor. . Born at Darney in 1806^ his parents removed to Mirecourt, where, like so many fine makers before and after him, he was taught his art. He was fourteen . years old when he was apprenticed to Moitessier, and afterwards worked for him as journeyman^ In 1824 he went to Thibout, at Caen, and in 1827 to Gand pere in Paris. By this time he had attained unrivalled fame as a restorer and repairer. He was eleven years with Gand, and then began for himsel opposite the Conservatoire. He retired to Mirecourt in 1857, where he still employed himself at his favourite; pursuit until he died in 1871. Ramftler, Francesco, Munich, 1882. Modern. Ranta, Pietro, Brescia, 1733. Raoul, J. M., PariS) 19th century. Raphael, Brescia, About 1840. Violins, violas, and basses. Rastelli, Genoa, 19th century. Violins, violas, and basses. Rasura, Vincenzo, 1/Ugo. About 1785. Rau, J. F., Nuremberg. Modern. Rauch, Hans von Schratt. An old German viol- maker. Rauch, JohanN, Breslau, 1 6th and 17th centuries. Rauch, Jacob, Manheim. About 1747. High model.. 204 THE FIDDLE FANCIER'S GUIDE. Rauch, Wurzburg. This maker was a brpfher of iixe preceding, and made instruments of similar type. Rauch, Sebastien, Lietmente, Bohemia, 1742 — 1763. Work somewhat coarse. Model, the highly built style. Raut, Giovanni, Rennes, 1790. Violins after the style of Guarnerius del Jesu. Rautmann, Brunswick. Modern. Ravenna, G. B., Lavagna, igth century. Violins, violas, and basses. Ravilio, G. B., Ferrara, i5fh century. A maker of various string instruments. Raenzo, C, Barcelona, 17th century. Razzoli, Felice, Villa Minozzo, 19th century. A repairer. .Reali, Cosimo, Parma, 1667. A maker of pochettes. Rechardini, Giovanni, Venice, 1605. Violins, violas, basses. Reggiani, Francesco, San Martino.' About 1836. A maker of violins and guitars. , Reichel, Johann Gottfried, Absam. About the end of the 17th century. He was a pupil of Stainer, accord- ing to his own account, but the arching of his instru- ments is, like that of a great many imitators of this master, absurdly high. Reichel, Johann Conrad. About 1779. A kind of trade maker in Neukirchen. . Reichers, August, Berlin. Contemporary. A pupil •of Bausch of Leipsic, it is said. He is chiefly a repairer of considerable reputation from a German point of view. Reina, Giacomo. About 1708. An Italian maker of 'cellos. 'CLASSICAL AND POST-CLASSICAL MAKERS. 205 Remi, or Remy, Cremona, i8th century. It has been said there was a maker of this name in Cremona, who made ordinary violins so far as concerns quaHty. He branded his name on them, and carved heads of monsters, etc., on the scrolls. Dark coloured varnish. I have not seen any. Another maker of this name was in- London about fifty years ago, who doctored the wood of his instruments. He came from Paris. In Paris there were established — '■ Remy, Nicolas, Paris. About 1760. He made yiolins, violas, and basses after the style of the earlier French makers, such as Louis Guersan. Remy, Jean, Mathurin, Paris. Born 1770. Died 1854. Son of preceding. Somewhat of the same kind of work. Remy, Jules, Paris. Born 1813. This maker was in business until recently, and was a son of Jean Mathurin Remy. Renaudin, Leopold, 1788 — ^95. A maker of double basses which are sought after in France. He' made himself busy in the excesses of the French Revolution, and was one of those political splutterers who, untrained in the art of agitation, blunder intO' murder, and then whimper when they are them- selves condemned to death. That is the most charit- able view of his character, but if history is accurate in its details, he was one of those sanguinary creatures whose birth in the ranks of the human specie appears to be quite inexplicable. He was beheaded in 1795- Renaudin, Ghent, 1 78 1. A repairer. ^06 THE FIDDLE FANCIER'S GUIDE. Renault, Nicolas, Nancy. About the end of the 1 6th century. Said to have been a pupil of Twersus. Renault, Jacques, Paris. First half of 17th century. Renault, S. B., Paris. There is a curious instrument, a kind of lyre,,by this maker in the Paris Conservatoire, but nothing more is known of him. Renault and Chatelain, Paris, i8th century. This firm state in their tickets that they " make, sell, hire, Tauy, and repair all kinds of mUsical instruments." Reynaud, Andreas, Tarascon. About 1766, Requeno, Y., Vivez Vincenzo, Calatrato. About 1743. Violin repairers. RicEVATi, AuRELio, Florence, About 1650. Richard, Robert, Paris, 1756. Dean of the Paris Violin Makers' Guild for this year. i RicoLAZi, LuDovico, Cremona. About 1729. RicozALi, LuDOVico, Cremona. About 1729. These makers, one might almost be certain, are one and the same. They made violins. RiESS, Bamberg, 1740 — 60. A very good imitator of Stainer. The name is som^tirnes spelt " Ries." RiGHi, Antonio, Modena, 1817. A maker of double basses. He was a painter also. His fiddle work is not of a high character. RiNALDi, Celeste, Modena, 19th century. Violins, violas, and basses. RiNALDi, GiOFFREDO, Turin. Contemporary. Chiefly a dealer. Risueno, Tommaso, Madrid. About 1783. ; Got their new instruments made,- probably, in Mirecourt. RiTTiG, Cristoforo, Genoa, 1692. A maker of 'cellos. CLASSICAL AND POST-CLASSICAL MAKERS. 207 RivoLTA, GiAcopo, MilSti, 1800^22. , A fairly good maker, who was one of that class of egotists who keep US in a constant condition of pleasant excitement by threatening to revive the glorious epoch of Stradivari, either by rediscovering the varnish or reproducing the iftiagnificent tone. Rivolta's work is not very refined, but his tone i^ good. RizzoTTi, Nicola, Novellara, igth century. Violins, violfis, and 'cellos. Rocca, Joseph Antonio. About 1840 — 1865. Violins, violas, and basses. He was a pupil of Pressenda, and a maker of undoubted ability. Rocca, Enrico, Genoa, . 19th century. Chiefly mandolines. Rodiani, Giovita, Brescia, i6th century. This is the maker whose name is usually given as " Javietta Budiani." The error has probably arisen through partial illegibility in the ticket of some rare specimen of his work. His work is in the style of Gasparo da Sal6 and Maggini, having golden amber-coloured varnish, finely tinted with red. His tickets are "GiouiTA Rodiani in Brescia." Roddli, Luigi, Nancy, 1511. An early viol maker, who was patronised by the then Duke of Lorraine. RoiSMANN, JoHANN, Breslau, 1630 — 80. A fancy fiddle maker. Porcelain fiddles, and such like. RoL, Paris, 1753. A violin maker. RoLiNi, GiAMBATTisTA, Pesaro, 1471. A very ancient maker, it is said, of violins ! Romano, Pietro, Pa via, i8th century. RoMANiNi, Antonio, Cremona, i8th century. 208 , THE FIDPLE FANCIER's GUIDE. RoMARiNi, Antonio, Cremona, i8th century. These two appear to be one and the same. A ticket of the latter runs, " Antonio Romarini fecit Cremonse anno 17 — ." RoNCHiNi, Raffaello, Fano, 19th century. A maker of violins and bows. Rook, Joseph, Carlisle. About 1777. RoPiQUET, Paris. About 1815. This maker was a player in the opera band, and made several violins. An amateur, in fact. RosiERO, Rocco, Cremona. About 1700. Violins, ■violas, and 'cellos. RosMANN, JoHANN, Breslau. 17th century. Ross, John, London, 1562 — 1598. A viol maker. Ross, John, London. About 1596. A son of pre- ceding. Also a viol maker. The name is occasionally spelt Rosse. RossELLi, GiAMBATTiSTA, Sassuolo. i8th century. Violins and violas. Rossi, Enrico, Pavia, 1883. Violins. Rossi, Ferdinando, Modena. 19th century. A repairer. • Rossi, Gaetano, Milan. 19th century. A maker of double basses. Rossi, Giovanni, Perugia, 1820. Violins. Rota, Giovanni, Cremona, 1705. Violins, violas and basses. Roth, Johann, Darmstadt. About 1675. A German maker. Roth, Christian, Augsburg. About 1675. Rotta, Carlo, Lecco. An Italian maker — violins. Ct.AS5ICAt AND POST-CLASSICAL MAKERS. 209 RoTTEMBQURG, Albert, Brussels. Died 1764. Violins, violas and basses. ROTTEMBQURG, FRANCESCO, BtUSSels. . About 1771. RoTTEMBOURG.G. G., Brussels. Born 1672. Died 1756. RoTTEMBOuRG, G. A., Brussels, 1758 — 73. RoTTEMBouRG, G. A., Brussels. Born 1705. Died 1783. Son of G. G. RoTTEMBOURG, G. A. G., Brussels. Born 1642. Died 1720. ROTTEMBROUCK, BruSScls, 170O— 7-25. Several of the members of the Rottembourg family seem to have copied the Amati model. Some of instruments have a warm btown varnish. RovELLi. An Italian maker about 1744. RovETTO, Bergamo, 1840 — 70. RozE, Orleans. About 1757. A fairly good maker. Yellowish varnish. Wide sound holes and solid looking scroll. RozET, Paris. About 1691. A court maker of the period. Rub, Augusto Da, Viterbo, 1771. Violins. RuBATi, Milan. About 1700. A maker of porcelain fiddles. RuBiNi, Bologna, 19th century. Chiefly guitars. RuBRECHT, Vienna, 19th century. A repairer. RuDET, P., Warsaw, 19th century. Violins, violas. RuELLE, Pierre,' Paris. Dean of the Paris Violin. Makers' Guild for this year. RuF, Hall, 1780 — 1877. A maker chiefly interesting for the labour and care with which he collected informa- tion regarding Jacob Stainer. 210 THE FIDDLE FANCIER'S GUIDE. RuFFiNO. An Italian maker of pochettes or kits. RupPERT, Erfurt, i8th century. A maker of violins, violas and 'cellos. He neither purfled his instruments, nor put corner blocks in them. They are all of flat model, and have a dark brown, amber varnish, according to Otto. . Sacchni, Sabatino, Pesaro, 1686. A violin maker who copied Maggini, but was also familiar with the Cremonese models of that tinie, and who succeeded in combining the two styles by giving to the back some-' thing of the Amati arching while he retained elsewhere many points of Maggini's habit. One of hjs known specimens is of small size. Sacquin, Paris, 1830^ — 60. A fine maker, who has produced some excellent double basses, as well as good violins and violas. Sainpra, Jacques, Berlin, 17th . century. A viol maker. ' Saint-Paul, Pierre^ Paris. About 1741. - An ordinary maker of violins, violas, and basses. Poor, dull, yellow' varnish. Saint-Paul, Antoine, Paris. Dean of the Violin Makers' Guild for the year 1768. He succeeded Louis Guersari, and eiilployed an orange varnish. Saint-Cecile Des Thermes, Paris. About 1855. A maker of 'cellos. Sajot, Paris. About 1734. Salzar, Paris. A mere name. "Salle, Paris,' 1 825 — 1850. A very fine repairer, and a great authority on old instruments, even among Paris dealers. ^ CLASSICAL AND POST-CLASSICAL MAKERS. 211 Salomon, Jean Baptiste Deshayes, Paris. Dean of the Paris y.M. Guild in the year 1760. He made some fine-looking basses. Tone not so fine. Hard varnish. He died before 1772. Salomon, Rheims. About 1747. A maker of the school or style of Louis Guersan. Yellow varnish, and plenty of wood, but poor workmanship. Salomon, B., Paris, i6th and 17th century. Violins and basses after the style of Boquay. Saltinari, Giacomo, Marano, 19th century. A repairer. Salvador!, Guiseppe, Pistoia, 1861. Violins. Sanoni, G. B., Verona. i8th century. ' Santagiuliana, Giacinto, Vicenza. About 1770. Sante, Pisaro, 1670. Violins, violas, and basses. Sante, Guiseppe, Rome, 1775. Violins. Santi, Guiseppe, Rome, 1778. Violins, violas, and basses. Santo, Giovanni, Naples, 1730. Violins, violas, and '. basses. Sanzo^ Santino, Milan, i8th century. Violins. ' Saracini, Domenico, Florence, 1655. Violins, violas, and basses. Sardj, Venice, 1649. Violins and violas. Sassi, Alessio. About 1784. An Italian 'cello maker. Saunier, Paris. A French provincial maker who started in' Paris about 1770. His violins are fairly well ' appreciated in France, and he is said to have been the instructor of f . L. Pique. Saunier, Bordeaux. About 1754. P2 212 THE FIDDLE FANCIERS GUIDE. Savani, Guiseppe, Carpi. About 1809. A maker of double basses. Savitzky, Vienna, i8th century. Sawicki, Vienna. About 1830. ScARAMPJELLA, GuiSEPPE, Florence, 19th century. Born in Brescia in 1838. His father was a carpenter, and also made violins, but after learning the elernents of his business in Brescia, Guiseppe went to Paris, where at that time a countryman of his, Nicolo Bianchi, was famous as a judge and repairer. Scarampella soon made himself expert under Bianchi's guidance, and returned to Italy, where in 1866 he started on his own account in Florence. There he has been entrusted with work of very considerable importance, not only from private amateurs, but also from the Florentine- Royal Musical Institute, for whom he restored the famous viola and violoncellb made by Stradavari in i6go for the Grand Duke Ferdinand, son of Cosmo III., of Medici. In 1884 he was appointed Conservator of their Museum — an office which, I believe, he still holds. ScH.ENDL, Anton, Mittenwald. About 1753. ScHEiNLEiN, Joseph Michel, Langenfeld. Born , 1751- ScHEiNLEiN, Mathias Friederich, Langenfeld, 1710 — 71. This maker was also a musician. His instru- ments are well made, but of a high model, and too thin in the wood. Dark coloured varnish. The preceding Joseph Michel was his son. Schell, Sebastian, Nuremberg. About 1727. A lute maker. One of his instruments is in the Conser- vatoire Museum at Paris. CLASSICAL AND POST-CLASSICAL MAKERS. 213 SCHENFELDER (or ScHCENFELDER), JoHANN AdaM, Neukirchen. About 1743. ScHLick, Leipsic. Schleget, Elia, Altemburg, 1730. Violins and other string instruments, such as- harps and lutes. Schmidt, Cassel, 1800 — 1825. Not a particularly fine maker. Stradivari model. Schmidt, Carlo, Coeten, i8th century. Invented a keyed violin. Schmidt, C. F., Vienna, 1873. Violins, violas and basses. • Schnceck, Brussels, 1700 — 30. Violins, violas and 'cellos. Amati model. Schonger, Franz, Erfurt, i8th century. His instru- ments are of large size, and good looking, but of poor tone. Schonger, Georg, Erfurt. He was a son of pre- ceding maker, and a fine repairer, chiefly. ScHORN, Johann, Inspruck. About 1680 — 99. Violins and viols. His violins are tubby. Good varnish. Also at Salzburg. ScHORN, JoHANN Paul, Salzburg, 1699 — 1716. Violins and viols. He was patronized by the Court. ScHLOssER, Hermann, Ehrlbach. Contemporary. Violins, violas, basses. ScHOTT, Martin, Prague, i8th century. A lute maker. ScHOTT, Mayence. About 1780. Various instru- ments. Chiefly a dealer. ScHROT, Jacob, Inspruck, 1838. A repairer. ScHULz, Peter, Ratisbon, 1855. Violins and guitars. 214 '^^^ FIDDLE FANCIER S GUIDE. Schuster, Michel, Markneukirchen. About 1873. Schwartz, Bernard, Strasbourg. Died 1822. Schwartz, George Frederick, Strasbourg. Born 1785. Died 1849. Son of preceding. Schwartz, Theophile Guillaume, Strasbourg. Born 1787. Died 1861. Also a son of Bernard Schwarz, who trained his two sons,' and they succeeded to the business under the style of " FrSres Schwartz." George Frederick made bows, his brother Theophile violins, etc. The first violin of this firm is dated 1824, and down to 1852 they turned out 80 violins and 30 'cellos. In that year succeeded to the business Schwartz, Theophile Guillaume. Born 1821. Son of the pi^evious Theophile Guillaume. Schewitzer, Pesth. About 1800. Violins and violas. Good work, flat model. ScoTTO, Verona, 1511. Viols and violins. He was also a musician — a lute player. Secco, Del, Venice, 19th century. Violins, violas and basses. Segizo, Girolamo Maria, Modena. Died 1553. Violins, violas, basses, viols and, lutes. Sellas, Matteo, Venice. About 1639. Chiefly mandolines and guitars. Seni, Francesco, Florence, 1634. Violins and violas. Senta, Fabrizio, Turin, i8th, century. Basses. Serafin, Georgio, Venice. About 1747. Violins violas and basses. Probably some relative of Sante Serafin (Sanctus Seraphin) already mentioned. Seresati, D., Naples, i8th century. Violins, violas and basses. CLASSICAL AND POST-CLASSICAL MAKERS. 215 Sgarbi, GuisEPPE, Finale Emilie, 1841 — 75. Violins, violas and bas~ses. ' Shaw, J., London, 1656 — 98. Viols aiid violins. Siciliano, Antonio, Venice, 1600. Varnish of a dark red, very thickly coated. The terminal squares in the sound holes very small. The tops smaller than the lower, ones, the main stem having no notches. SiGNORiNi, Serafino, Florence, 1877. A repaiirer. Simon, Paris. About 1788. Violins and basses. Simon, iSalzburg, 1731. Violins, violas and basses. SiMONiN, Charles. Born at Mirecourt, he was sent to'Paris and apprenticed to J. B. Vuillaume, and-gradu- ated with him a high-class workman. He returned to Mirecourt for a time, and moved to Geneva in 1841, and eight years afterwards to Toulouse. He has gained several medals. , Simpson, John, London, 1785 — 90. A city maker at the back of the Royal Exchange. Simpson, J. and J., London. Later. Sirjean, Paris, 1818. Violins, violas, and basses. SiROTTi, Nicola, Spilamberto, 19th century. A repairer. SiTT, A., Prague. Modern. Slagh-Meulen, Vander, Antwerp. About 1672., An old maker of good traditions. Varnish dull brown. Decorative sort of work. A curious specimen of his 'cellos was in the 1878 Paris exhibition. The head was open at the back, and the volute terminated in a carved head with a crown. One singular feature was seen on the inside of back, namely, purfling and gilding. Smith, Henry, London, 1629 — 33. A viol maker. 1 2l6 THE FIDDLE FANCIER'S GUIDE. Smith, Thomas, London, 1756 — 99. A pupil of Peter Wamsley. Chiefly 'cellos. SkiTH, W., London, 1770 — 86. ; Sneider, Guiseppe, Pa via. About 1703. Violins, violas and basses. Amati arching. Snceck, Egidius, Brussels, 1731. Copied Amati. Snceck, Henri Augusts, Brussels, 1672. Same kind of work as preceding. Snueck, Mark, Brussels, i 8th century. A repairer. SoccHi, ViNCENzo, Bologna, 1661. Pochettes. There is one of this date in the Paris Conservatoire Museum. SocoL, Pio, Genoa, 19th century. Violins, violas, 'cellos. SocQUET, Paris, i6th century. A maker of very common violins. , SoLiANi, Angelo, Modena, 1752 — 1810. A fine maker, whose instruments have an exquisite silvery tone and considerable power. A golden, amber-coloured varnish. SoMER, Nicolas, Paris, 1749. Dean of the Maker's Guild for this year. SoNciNi, LuiGi,'San Martino, 1831. Violins. • Sarsana, Spirito, Cuneo, 17 14 — 34. SouzA, Gio Guiseppe De, Lisbon. 17th century. SovERiNi, Bologna, 1883. Violins, violas and basses. Stanguellini, C, Modena, 1883. A repairer. Speiler. a Tyrolese maker. Statelmann, D., -Vienna,- 1730 — 50. Copied Stainer ■ excellently. Varnish yellowish. Statelmann, J. J., Vienna. About 1759. Also a fine copier of Stainer. CLASSICAL AND POST-CLASSICAL MAKERS. 217 Stautinger, M. W., Wurzburg, 1671. A viol maker. Staube, Berlin, 1775. A repairer. Stecher, Carl, 1880. Violins and basses. Steffanini, Carlo, Mantua. Chiefly mandolines. 1 8th century (1790). Steininger, Francois, Paris, 1827. A good maker of 'cellos. Stephannis, Cremona, 1507. Violins, violas and basses. Sterningre, Jacob, Mayence, 17015. A repairer. Stirrat, Edinburgh. About 1815. Statwolf. a German maker of double basses. Stauffer, Vienna. i8th century. Stoff, Francesco, Fiissen, 1750 — 98. Violins, violas and basses. Stoss, F., Fiissen, 1750 — 98. These two names Stoss and Stoff appear to represent the same person. Stoss, Prague. i8th century. Stoss, Bernard and Martin, Vienna. End of last and beginning of Ihe present century. Good model. Not the high tubby models of so many German makers. The work is also good. Straus, J., Neustadt. About 1745. Strauss, 'Michele, Venice, 1680. Pochettes. Straut, Michele, Venice, 1686. Violins and violas. Stregner, Magno, Venice, 17th century. A lute maker. Strobl, Johann, Hallein, i8th century. Strong, John, Somerset, 17th century. A viol maker. 2l8 THE FIDDLE FANCIER's GUIDE. Struad, Gasper, Prague. About 1789. Viol maker. Also made 'cellos. Sturdza, Vienna, 1873. Violins, violas and basses. Sturge, H., Bristol and Huddersfield. 1811 — 53. SuLOT, Nicolas, Dijon, 1829 — 39. A violin maker who took out patents for original notions, with regard to violins and basses. One of these was for a second belly in the interior of the violin and which was put in com- munication with the upper belly for the purpose of reinforcing the tone. This notion, propounded in 1839, seems to be almost the same as that proposed by Mollenhaver some fifty years later. Sulot called his instrument a "violon a double echo." The patent is dated 5th May, 1839, and,' fifty years hence, it may again be resuscitated, with a few additioijs or alterations in detail, and with probably similar success. Suover, Giovanni, Florence, 1637. A lute maker. ' Tachinardi, Cremona, 1689. A maker who copied the Amati style. Tadolini, Guiseppe, Modena, 19th century. Origin- ally of Bologna. " Settled in Modena as a repairer of old and a maker of new instruments and bows. Tanegia, Carlantonio, Milan, i8th century. A ticket of his runs, " Carolus Antonius Tanegia fecit .in via Lata Mediolani anni 1730." Taningardo, Georgio, Rome. About 1735. Tantino, Sesto, Modena, 1461 — 90. A maker to the Court of Ferrara. Tardieu, Tarascon, i8th century. An old French writer, Laborde, stated that the bearer of this name invented the violoncello. He was an ecclesiastic, and CLASSICAL AND POST-CLASSICAL MAKERS. 219 his brother was a chapel niaster, but as the 'cello was known in Italy a hundred and fifty years before Father Tardieu's day, this little romance has not had very extended belief. He is still, however, in some quarters, supposed to have been a maker of 'cellosj and I cannot well exclude his name. Tarr, Manchester. About 1855. Tartaglia, Francesco, Stroppiana, 1883. Violins. Tassini, Bartolomeo, Venice, 1750 — 54. A some- what common maker. His tickets run, " Opus Bartholomsei Tassini Veneti." Taylor, London, 1780—- 1820. Made very good violins, but they are not, very numerous. Teoditti, Giovanni, Rome, 17th century. , Violins, violas and basses. Terapatini, Sant Agata Lugo, 1879. A maker of 'cellos. Termanini, Guiseppe, Modena, 1755. Violins. Teslar, Giovanni, Ancona, 1622,. A viol maker. Testator, II Vecchio, Milan, 15th and i6th centuries. This is the maker who, in the irresponsible days of fiddle history,, had assigned to him the credit of inventing the violin. The notion is, at present, quite discarded, nothing whatever being known regarding this ancient. TheRess, C, London. Aboijt 1850. Thibouville-Lamy, London, Paris, and Mirecourt. Contemporaryi Thierriot, Prudent, Paris, 1772. Dean of the Paris Makers' Guild for this year. Thin, M. and G., Vienna, i8th century. 220 THE FIDDtE FANCIER's GUIDE. Thiphanon, Paris. About 1780—88. Tickets *' Tiphanon, rue St. Thomas-du-Louvre, a Paris." Thir, Johann George, Vienna. About 1791. Chiefly mandolines. Thomassin, Paris. From about 1825 — 1845. Previous to 1825, he worked with Clement. He was a good maker. Thorowgood, H., London, i8th century. ■Thumhardt, Munich, i8th century. Thumhardt, Strasburg, i8th century. TiELKE, Joachim, Hamburg, 1539 — 1686. In the way of decorated instruments of the antique class, this maker may, perhaps, be justifiably called a peerless artist in his particular style. The business was carried on for' nearly a century and a half, and any one who has seen the beJiutiful Kensington lute by this maker will not fail to realise the great interest which his work arouses in the bosoms of antiquaries and' lovers pf artistic bric-a-brac. TiLLEY, T., London. About 1774. Tirler,, Carlo, Bologna, i8th century. A decorative maker, chiefly of guitars. His " ticket " sometimes took the form of inlay, and would then run as follows, " Carlo Tirler, Leutar in Bologna face." TivoLi, AuGUSTO, Trieste, 1873 — 83. Violins. Tolbecque, Auguste. Born at Paris 1830. Son of a clever Belgian musician, he became a 'cellist of considerable distinction. He began to make instruments under the guidance of" Claude Victor Rambaux, whose shop opposite the Conservatiore used to be frequented by numbers of intelligent amateurs, and professionals. CLASSICAL AND POST-CLASSICAL MAKERS. 221 Tolbecque had taken first prize at the Conservatoire for 'cello playing, and one can realize how eminently qualified he was in that direction, to begin with. After he made some new instruments he turned his attention to the reproduction of old ones, and became extremely clever at it. His ticket, in manuscript, runs " Ate. Tolbecque fils fecit, Parigi, anno." He also made organs, and acquired considerable fame by reconstructing perfectly Winkel's Componium, referred to by Fetis. This instrument had been piurchased by an amateur of some little mechanical skill, and in his -efForts to repair it he occupied himself for twenty-five years to no purpose. At the end of that time he had pretty nearly destroyed its identity, for there was hardly a single piece, that did not defy recognition. After his death the case was bought by one, and the mechanism by another organ builder. The latter sold the mechanism to Tolbecque, who, in eighteen months, completely restored the instrument which took its previous owner a quarter of a century to almost ruin. It is now in the collection at the Brussels Conservatoire. Tolbecque's. violin work is not often seen. ToMASi, Carlo Gaspare, Modena, 17th century. A viol maker chiefly. Fine varnish. Toppani, Angelo de, Rome. About 1740. Highly arched instruments with a golden yellow varpish. Style- of Tecdhler. ToRELLi, Verona, 1625. Violas and 'cellos. ToRRANUS, Turin, 1700. Violins, violas and basses, ToRRESAN, Antonio, Crespano. Bom 1802. Died. 1872. Instruments of a common type. 222 THE FIDDLE FANCIER S GUIDE. ToRRiNG, London. ToRTOBELLo, Rome, 1680. Violins, violas and basses. TouLY, Jean, Nancy. About 1747. Trapani, Raffaele, Naples. Beginning of 19th century. Made instruments of a large size, and of rather curious style, the top and bottom portions of the soiind holes not being cut through. Thick reddish brown varnish. Model flat, and coarse purfling. Trevillot, Claude, Mirecourt.' About 1698. An old violin maker. Trinelli, Giovanni, Villalunga, iSth and 19th centuries. Viols and 'cellos. Troiani, Francesco, Rome, 19th century. Violins, violas and basses. Trunco, Cremona, 1660. ' Trusk, S. J. About 1734. Turner, William, London. About 165Q. A very fine viol makef who had his place of business in Gravel Lane, E.G. An instrument by this maker is described , as superb. It is jn the collection of A. Gautier of Nice. The' ticket of this highly creditable representative of English work runs as follows, " William Turner, at ye hand and crown in gravelle lane neere aldgate, i London, 1650." There was another Turner who stamped his name under the button of his violins and who was of a much later date. His work is in no wa:y to. be compared with that of William Turner of " gravelle lane." Tywersus,' Mirecourt, i6th century. This was a court maker in LorraiRe, some of whose Princes are CLASSICAL AND POST-CLASSICAL MAKERS. 223 said to have been his patrons. That traldition appears to be all. that remains of him. = ,Udene, Natale da, Udine. , Violiiis, violas, and basses. Ugar, Crescenzio, Rome, 1790. A viol maker. Ugar, Pietro, Arezzo. About 1802. . A repairer. Ulrich-Fichtle, Johann, Mittenwald, i8th century. Violins and basses. Ungarini, Antonio, Fabriano, 1762. A viol maker. Unverdorben, Marx, Venice, 1415. An old lute maker. Vaillot. a French maker of 17th century. ■ Valentine, W., London. Died* about 1877. An excellent maker of double bass.es. Valenzano, Naples. A violin maker. Valdastri, Modena. About 1805. Pochettes. ValleRj Marseilles, 1683. Vandelli, Giovanni, Fiorano Modena. Born 1796. Died 1839. Violins and basses. Vanderlist, Paris, i8th century. This maker was apparently an excellent workman, judging by a copy of the Guadagnini School which he made. He marked his instruments under the button by branding his name, and placing inside a ticket, " Vanderlist, Luthier, rue des Vieux Augustins, pres de I'egout de la rue Mont- martre, Paris." Vanvaelbeck, Louis, Valbeke, 1294 — 1312. A maker of rebecs and viols. This maker is within measurable distance of being the oldest known. He is supposed to have been the inventor of the mechanisrn for organ pedals. 224 "^^^ FIDDLE FANCIER S GUIDE. Varotti, Giovanni, Bologna, 1813. Violins and basses. Vauchel, Damm. Modern. Vantrim. a French maker of double basses of the igth century. Vecchi, Orazio, Modena, 19th century. A maker of small-sized double basses. Venere, Undelio, Padua. About 1534. A lute maker. Ventura, Anibale, Viadana, i8th century. Violins. Venzi, Andrea, Florence, 1636. Violins and basses. Verbeeck, Gisbert, Amsterdam,' 1671. Violins. Verini, Serafino, Arceto. Born 1799,. Died 1868. A sort of amateur maker of 'cellos and double basses, not much above the common class of work.' He ultimately became a bee farmer. He was a bee fancier all his life. Veele, Francesco, Padua, 17th century. Violins. Vermesch, Beaumont sur Oise. About 1781. This maker was called, and calle^ himself, le pfere Vermesch. He was an ecclesiastical amateur fiddle maker, and not very skilled. > Veron, Pierre Andr6, Paris, i8th ceiitury. A maker of the times of Boquay. Veronesi, Camillo, Bologna, 19th century. Violins. Verrebrugen, Theodore, Antwerp, 1641. A maker of double basses. Vetter, Johann Christopher, Strasburg, 1744. A maker of 'cellos and other basses. Vettrini, Brescia. Viard, Nicolas,, Versailles. About 1760. CLASSICAL AND POST-CLASSICAL MAKERS. 225 ViBRECHT, GiSBERT, Amsterdam, 1700 — 10. This may be the same maker as " Verbeeck." ViGONi, A., Pavia, 19th century. VioHns. ViLLAUME and Giron, Troyes. Beginning of i8th century. Work fairly good. ViMERCATi, PiETRO, Brescia. About 1660. Vi MERC ATI, Gasparo, Milan. A maker of mandolines, probably also viotins. Ticket runs, " Gaspare Vimercati nella contrada della Dogana di Milano." ViNACciA, Naples, 1736 to 19th century. A family of four in succession. Antonio, Mariano, Pasqualino, and a son of the latter. All chiefly lutes and guitars. ViNCENZi, ,LuiGi, Carpi. Born 1765. Died 1881. Violins and double- basses. Well made instruments. Varnish of a light amber colour. Tickets " Aloysius Vincenzi Carpensis." ViNZER, GrIsgory Ferdinand, Augusta. About 1737. Violins, violas and basses. ViR, HiERONiMO DI, Brcscia. VivoLi, Giovanni, Florence. About 1642. Violins. Voboam, Paris, 1682 — 1693. A famous luthier but chiefly decorative. In the. museum of the Paris Conser- vatoire, there is a beautiful guitar by him made of tortoiseshell. VoEL, E., Maintz. About 1840. A fine maker. Good Stradivari model and varnish. VoGEL, Wolfgang, Nuremberg. Died 1650. VoGLER, J. G., Wurtzbur'g, 1750. VoLPE, Marco, Spilamberto. Died 1839. He made viols, violins and double basses. VoiGT, Martin, Hamburg. About 1726. Viols and Q 226 THE FIDDLE FANCIER's GUIDE. lutes. , Same beautiful class of work as that of the Tielke firm. Wachfer, Anthony, Fiissen. About 1772. Violins. Wafple, Conrad, Mittenwald, 17th century. Wagner, C. S., Medingen, 1786 — 1800. Violins, violas, basses, etc. Wagner, Benedict, Estwangen. About 1769. He calls himself in his tickets a court maker. ■ His instru- ments are very highly arched and of common work. Wagner, j., Constance. About 1773. , Waldaner, Fiissen, i8th century. Walker, A., Aberdeenshire. Modern. Walther, Jean Baptist, The Hague, 1727. Violins. .Weaver, S., London, i8th century. Weber, Prague,' i8th century. Weigert, J. B., ■ Dinz. About 1721. A small viol by this maker is in the collection of the Musical Society, Vienna. Weiss, Jacob, Salzburg. About 1733. Weisz, Jacob, Salzburg. About 1733 — 1777. These two are evidently the same. A ticket with above date, 1733, runs, "Jacob Weisz, lauthen und Geigenmacher in Salzburgh." Wettengel, G. a., Neukirchen. About 1828. He is. a maker who published a book about repairing and making, but his own instrument-s are not Anuch, if at all, known. Wenger, G. F., Salzburg, 1761. Violins. Werner, Frankfort, 1855. Chiefly a lute maker. Wey, H., Besancon. 19th century. An amateur vjolin maker., CLASSICAL AND POST-CLASSICAL MAKERS. 227 Wyemann^ Cornelius, Amsterdam. 17th and i8th century. WiGHTMAN, London, 1761. Wilde, John, St. Petersburg. i8th century. This niaker distinguished himself by making an iron fiddle. Willems, Antwerp, 1730 — 60. A violin maker who ' followed the Italian school. . Willer, Prague. i8th century. Woldemar, Michel. Born in Orleans in 1750. Died at Clermont-Ferrand 1816. He invented a violin with five strings, or, at any rate, suggested the notion w;hich was never, probably, carried into practice. It was the reverse of JuUien's five stringed fiddle, being intended to have a C string (below G), instead of one above E, as was Jullien's idea. Woldemar was a violinist. WoLTERS, J. N., Paris. About 1749. A decorative viol maker. Wood, G. F., London. Contemporary. A decidedly careful maker, who has caught, very felicitously, many of the characteristics of the finer kinds of modern French work. WoRNFE, George, Mittenwald, 1786.1 Violins. WoRNUM, London, 1794. Wright, Daniel, London, 1743. Young, J., Aberdeen. Modern. YouNGE, John, London. About 1728. This maker was famous in his day. He had a son who was a violinist, and both have been made, in a sense, immortal by the English composer, Purcell, who has put them Q2 228 THE FIDDLE FANCIER'S GUIDE. into one of his catches. It is quoted by Mr. Hart in his valuable work on the violin. Zabel, GeoIffry, Tausermunde, 1792 — 1803. Violins, etc. Zach, Vienna. Contemporary. A very clever maker and restorer. Zanabon. An Italian maker. Zanfi, Giacomo, Modena. Born 1756 — 1822. A maker of considerable inerit. He made violins, tenors and basses, and generally emplayed a clear yellow varnish. He was one of those handy men who manage to combine one or two separate professions. For , example Zanfi was a government -servant, and he was a music teacher. His instruments are in the style of Casini — another Modenese already mentioned — and how he succeeded in teaching music, making double basses, 'cellos, violas and violins, while, at the same time not neglecting his official duties, it is hardly worth while now to enquire. One ticket runs "Jacobus Zanfi, musica; professor fecit Mutinoe, i8og." Zani, Francesco, ReggiOrEmilio,i765. Violins. Zanoli, Giacomo, Verona, 1730. Viols and 'cellos. Zanoli, Guiseppe, Verona, 1730. Violas and 'cellos. These two are probably the same. Zanoli, Giambattista, Padua, 1740. Zanotti, Antonio, Lodi and Mantua. About 1727.' Zanotti, Guiseppe, Piacenza, i8th century. Zanti, Alessandro, Mantua. About 1765 — 70. An imitator of P. Guarnerius. Zanure, Pietro, Brescia, 1509. A viol by this maker, and exhibited in London in 1872, bore this date. CLASSICAL AND POST-CLASSICAL MAKERS. 229 Zeitter, ,Fr., Brunswick, 1835. This maker — if he was a maker — combined pianos. with violins. Zenatto, PiETRO, Treviso. About 1634. A ticket bears this date. ZiNBELMANN, FiLippo, Florence, 1661. A viol maker. ZoLFANELLi, GuisEPPE, Flofence, 1690 — 97. ZwERGER, Anthony, Mittenwald, 1750 — 60. A fairly good maker. Varnish of a coldj weak-looking brown, but in other respects, nice violins of their type. CHAPTER VII. Molxn §o\a MuIizxb. VIOLIN bow making has come to be such a delicate kind of work that it is now quite a special industry. Ever since the days of the Tourtes the importance of a fine bow has been increasingly recog- nized, until, in the present day the better Tourtes are quite beyond the readh of ordinary players. The two finest Tourtes in the world are now in America, and cost, together, about a hundred and forty pounds. That may seem a somewhat bold and startling statement to make, but it is quite correct. One of these two bows I have been , acquainted with for a considerable time, having frequently played with it, and I confess I experienced a slight feeling of regret when it was sent across the Atlantic. It was not that I grudged it to our kinsmen, but I had become familiar with the lovely thing in its exquisite furniture of Oriental pearls, sapphire, and all the rest of it in the shape of jewellery. These were merely tasteful bagatelles, having, of course, their decorative value,' but the stick was so superb a specimen pf Tourte's skill and judgment, and was in such splendid condition, that I felt I should probably never see it, or its like again, unless I happened to be visiting the States, and had an opportunity of seeing it' there. When once our American friends get hold of these VIOLIN BOW MAKERS. 23I perfect things, they usually keep them steadily. The . other grand Totirte stick was made for Larochefoucauld, and is also in America. Th^re are many very fine ones in this country, and on the Continent, and their prices, according to style and condition, run as high as forty pounds. Under twenty pounds they are not worth having. A great deal of nonsense is written . about Tourte and Lupot sticks, in regard to which the connoisseur amateur should be oh his guard. It comes chiefly from the pens of those who have not seen any Tburtes, and are not acquainted with their current value, their information being drawn from published sources, ten, fifteen, t^yenty, and perhaps fifty years old. One result' of this writing is, that when an amateur finds he is offered a genuine Tourte at ten or twelve pounds, it does not strike him that there is anything abno;rmally low in the figure, ,and he expects to have a first-class stick for the money. Two or three years ago a very good Tourte niight have been had for twenty*- five ppunds, but not now;. It will be a very ordinary stick indeed which that money will, at present, buy, and in a year or two more they will be almost, as our neighbours say, introuvaUe. The other good makers will be referred to in their places, biit I would like to say here that although the difference between a fine Tourte and the finest of modern bows is quite measurable, it is not a difference which need alarm any but the very highest class of artistes. Even among them there are individuals who manage to exist without a Tourte, aiid many who, by preference, play with a modern bow. Fiddle fanciers, and bow 232 THE FIDDLE FANCIER S GUIDE. fanciers, should do their best to keep level-headed, and not allow themselves to be driven from the exercise of their own judgments. If they are not in a position to , form a decision, let them go to one who knows. Some- times a. fashion is set by a leading player — quite uninten- tionally on his part. He may have dropped some remark, either in public or private, which is immediately seized, and made the basis of almost a revolution. He may be trying together two Tourtes — one a round stick, the other an octagon. He prefers the round, as it happens. Inimediately all the owners of Tourtes ^vithin the circle of his influence seek to exchange their octagons for rounds. Then is the opportunity for the bargain hunter, and a beginning of the season of regrets. It so happens that a fashion has set in for the round stick, ..but the lovely Tourte to which I have already referred is an octagon.' Almost all modem bows are round, they are much more easily made, and a fine -round stick can be got for much less money than an octagon, but the latter, when well worked, is a delightful bow to use. Finally, let me say that unless you can get a good example of the older makers, leave them for the cabinets of collectors — -that is, if your object is a bow to play with. Adams, Jean, Mirecourt, i8th century. Adam, Jean Dominque. Born Mirecourt 1795. Died 1864. Son of preceding. His father taught him his business. A great many of his bows are very ordinary, but those marked with his name, Adam, are sometimes good, and his octagon sticks are the best. Baroux, Paris. About 1830. A fairly good maker. VIOLIN BOW MAKERS. 233 Bausch and Son, Leipsic or Dessau. About 1840. ?airly good bows. They are highly esteemed in jerraany. Braglia, Antonio, Modena. About .1800. DoDD, E., Sheffield and London, 1705 — 1810. Not nany of this maker of great importance. DoDD, James, London. About 1864. I do not know hese bows. DoDD, John, Kew; Born 1752. Died 1839. This vas the. greatest of English bow makers. He passed lis hfe in. struggles, and died in Richmond Workhouse. Dr. Selle, of Richmond,, was very kind to him many a ime, and so was Mr. Richard Piatt, of that place. A perfect " John Dodd " bow is an exquisite piece of rork, but of proper length, and in good condition, they .re by no means common. The great majority of them re either worn out at the nu-t, or otherwise destroyed, 'eople seem to have experimented with not a few of hem by thinning down the stick. I suppose their riginally graceful proportions had awakened in some lersons what they recognized as their artistic sense, and bey proceeded to make them still more slender. Of ourse these are quite destroyed, and not worth buying t all, except as all that remains of the " English " 'ourte. They are generally quite dark in colour, and ave his name "DODD" stamped on the stick, and also n the side of the nut. All the good sticks, however, r many of them, have been re-mounted in various ways, D that the name may only be seen on the stick. They re usually slender, and very light'. Many of them are lort, and that is a decided disadvantage. 234 THE FIDDLE FANCIER'S GUIDE. DoDD, Thomas, London, 1786^1823. He was a bow maker only in the sense in which he was a violin maker. He employed other people to make for him. EuRY, Paris. About 1820. A very fine maker. Some •of his bows are exceptional in quality. He stamped his name under the whipping, or thread covering above the nut — but not always. FoNCLousE, Joseph, Paris. Born 1800. Died 1865. He learned bowmaking with Pajeot in Mirecourt, and -afterwards went to Paris, where he was employed by J.. B. Vuillaume. He afterwards started for himselfj and usually marked his name on his bows. He was a fine maker. Gand and Bernardel, Paris. Contemporary. This firm stamp their name on their bows, which are of fine ■quality. Harmand, Mirecourt, 1830 — 40. Henry, Mirecourt. Born 1812. After learning in his native town, and working there for some time, he went to ' Paris when he was twenty-five years of age. He was -employed first by Chanot, then by Peccate, and latterly was partner with Simon. The laSt arrangement endured from 1848 to '51. He then commenced to work alone, and died in 1870. He was also a fine workman, and sometirries marked his bows " Henry, Paris." Kittel, St. Petersburg, 19th century. This maker's bows are about as nearly equal to Tourte's as those of any maker that has lived sijice his day. There are not many of them to be found here. Knopf, HeiNrich, Berlin, 1882. Knopf, Ludwig, Berlin, 1882. VIOLIN BOW MAKERS. 235 Lafleur, Jacques. Born at Nancy 1760. Died in Paris 1832. This inaker's bows have the reputation on the continent of being quite equal to Tourtes, which may be quite justified in some cases. Lafleur, Joseph Rene, Paris. Born 1812. Died 1874. Son of preceding, and a very good maker. Lamy, Alfred Joseph. Born at Mirecourt 1850. He learnt when very young— between thirteen and fourteen — and worked with the firm of Gautrot at Chateau- Fleurry. In 1877 he went to Paris to F. N. Voirin, and remained with him for feight years. Voirin then died, arid Lamy started on his own account. He is also a good maker. LuPOT, Francois. Born at Orleans in 1774. Died in Paris 1837. This maker, in his finest efforts, stands next to Francois Tourte. He was the brother of the famous Nicolas Lupot, but did not make anything but bows. He made a great improvement in the mechanism of the nut, being the inventor of the rnetal groove which is cemented to the ebony where it slides over the slot in the stick. This prevents the wear of the ebony. There is considerable diversity in the quality of Lupot's bows, some being very fine indeed, while others are quite ordinary. A great many of them are stamped " Lupot," but whether he did that himself or not I cannot say. I am inclined 'to think it has, been done for him by dealers afterwards. It is by no means an easy matter to make absolutely sure in every case when a bow is by Lupot. It is sometimes rnuch easier to tell a Tourte. . At any rate, whenever there is any doubt about the quality of the stick, as a stick, it is safe to 236 THE FIDDLE FANCIER'S GXJIDE. reject it. They are generally strong, dark coloured sticks, and not quite so light as Tpurtes, but I have seen them in grey wood also. Maire, Nicolas. Born in Mirecourt; A pupil of Jacques Lafleur, afterwards went to Paris. MiQUEL, Emile, Mirecourt. Contemporary. Pajeot. Mirecourt, 1830 — 40. This maker taught Joseph Fonclouse, who became one of Vuillaume's best men. Panormo, George Louis, London. Modern. Made some very gcTod bows, more especially double bass sticks. Peccate, Dominique. Born at Mirecourt 1810. Son of a barber, he forsook his father's calling for that of fiddle and bow making. In the latter he became expert, and in 1826 J, B. Vuillaume heard of him as a clever apprentice oh the look out for a master. Vuillaume employed him and he soon justified his choice. He remained there eleven years, and then took over the business of Franfois Lupot who had just died. In 1847 he went back to Mirecourt, but continued his connection. He died in 1874. He was a splendid maker. Peccate, Jeune, Paris. A brother of Dominique. He also worked for Vuillaume. He died about 1856. His work is finely finished and the wood good, but the sticks are heavy, and lack balance. Pellegri, Parma. 19th century. ■ Persoit, Paris, 1823- — 41. One of thpse skilled workmen whom J. B. Vuillaume succeeded in securing; Those which he made for the great luthier were of course marked Vuillaume, but those he sold for himself were marked P. E. S. VIOLIN BOW MAKERS. 237 PupiNAT, Padre, Lausanne, 1855. Rakowsch, a., Paris, 1834. RoNCHiNi, Rafaello, Pano, igth century. Schwartz, George Friedrich, Strasburg. Born 1785. Died 1849. A good maker. Marked' his work " Schwartz, Strasbourg." Simon. Born at Mirecourt, 1808. Went to Dominique Peccate in Paris for a short time in 1838, then to Vuillaume for seven years. In 1845, he began for himself, and two years later succeeded to Peccate's Paris shop, and entered into partnership with Henry for three years. In 1851, he was again alone. I know little of thfs maker's work, having only seen one or two specimens. These were fairly good sticks. Sirjean, Paris. About 1818. Tadolini, Ignazio, Modena, 19th century. He made violin and violoncello bows, and originally hailed from Bologna. He and his brother Guiseppe were established in Modena as instruitient makers, the latter being as well a distinguished double bass and 'cello pla.yer at the Modenese Court. Ignatius, the bow maker, was born in 1797, and died in 1873. TouRNATORis, 'Paris, i8th century. Died 1813. TouRTE, Sav^re (called " Tourte-l'aine," the elder) Paris. TotJRTE, Francois (called " Tourte jeuiie," the younger), Paris. Born 1747. Died 1835. The latter of these two artistes is universally recog- nised as the finest bow maker that ever lived. I think this must be admitted. One or two of his own com- patriots, and according to report, such a maker as 238 THE FIDDLE FANCIER'S GUIDE. Kittel, of St. Petersburg, run him now and again very close indeed, while John Dodd of Kew, in the matters of slender elegance, and lightness of stick, occasionally actually surpasses him. But elegant slenderness and lightness are not the only things, wanted in a bow, they are not even the chief things,. When I was quite a ]^d a very artistic cabinet maker whom I knew, wishing to do me a service, offered to improve my own bow, which, he pointed out, was not elegantly finished. I consented with pleasure, arid when I had it returned, it certainly was elegant and light beyond conception. It was like a feather in my hand, but it was also like a feather on my strings, and besides, its back was gone, as flexible almost as the top of a fishing rod. Thinness and lightness are only tolerable when they are accompanied by strength and balance. Strength, elasticity and balance are really the main points in a bow. The strength of a stick is determined by the regular manner in which, and the limit to which, its tapering is produced. Of course, the wood must be of proper quality to begin with, but there should be no weak place, none unduly weak, in the whole length. In some bows of ordinary make, the strength in the back is obtained by keeping a certain thickness after a time, well on towards the end, and then suddenly dropping thin to finish with. A stick like that will be strong enough probably, and will riot yield where its maker knew it would be tested, but it will not be a properly balanced , bow. A certain addition is made to the strength of. the stick by the camhre, that is, the bending backwards. If this camhre is properly done, the line of pull will almost coincide with a symetrical axis. That VIOLIN BOW MAKERS. 239* is, of course, an exaggeration, but it may indicate how the cambre aids the strength of a stick. The balance of a stick is that equipoise which is secured by the regular grada,tions in its thinning, so that when the player holds it lightly by the thicker end in his hand, there does not— so to speak^appear to be quite sufficient weight at the thin end to cause it ta fall. That is a rough' way of trying a bow so far as concerns balance, but its success will largely depend; on the player's sense of weight. One way of testing the- strength and cambre of a bow is to screw it up a turn or two until the hair is straightened out, and is just free of the stick. Then press the thumb on the hair at the. nut as far down as it will - go, watching in the mean- time the movement of the stick from beyond the middle to the end. If it loses the curve very much, or goes out to either side, it is not likely to be a good bow. This, however, is a pretty severe test, and any stick will yield to it if the hair is sufficiently tightened. Another way is to screw the hair up until the stick has lost its backward curve, and watch if it gives to either side.. This is the fairer way to judge an ordinary bow. The best bows will, however, all stand the former test., Besides the ordinary backward curve, a maker who knows his business gives a little side as well. That is, he slightly 'cambres the stick to the left, looking from the nut outwards, so as to resist the tendancy to the right, which proper bowing always' gives. In examining^ finely tempered bows, this should be remembered, otherwise a very knowing person might fancy a stick was just a little off the straight. The next point is. 240 THE FIDDLE FANCIER S GUIDE. elasticity. Too much of that is a nuisance, and makes a very good bow in other respects, powerless. But there must be some, and the quality of the wood is responsible for it. It is not the flexibility of a piece of cane which is required, but the firm, yet responsive elas- ticity, which, to a certain extent, guarantees a pure and even tone. All these points were splendidly illustrated by Fran9ois Tourte, and, in some slight degree, by his brother; I have never seen a bow by Tourte pere, and I am beginning to think there was no such person employed in this business. The name was first published by Fetis— I suppose, on the . authority of Vuillaume — but I do not know of any other source frorn whence the information comes. The bows of Tourte ain6have rather quaint-looking, small heads, not.unUke the profile of the bell of a trumpet, but having ' the top line of the head a little shorter than the under line. The head of a Fr^ngois Tourte has a much fuller outline of the same kind, but infinitely more graceful and artistic. Some of the finest Tourtes are of a lightish coloured wood called grey Pernambuco, which is very rich looking. - The majority are darker. The Tourtes never marked any of their sticks, but in two instances, Franfois Tourte is said to have glued into the slot a very diminutive little ticket containing an inscription to the effect that he made the article. From one of these inscriptions the date of his birth has been deduced. It runs, , " Get archet a ete fait par Tourte en 1824, kge de soixante-dix-sept-ans." (This bow was made by Tourte in 1824, aged seventy-seven years). F. Tourte invented the ferrule for keeping the hair flat. VIOLIN BOW MAKERS. 24I and applied the tortoiseshell slip to the nut for keeping it concealed at that part. Tubes, London. A well known family of bow makers, much of whose work is of excellent quality. ViGNERON, A., Paris. Contempory. A fine maker. VoiRiN, Nicolas Francois, Paris. Born at Mire- court 1833. Died in Paris 1885. He was taught his business in his native town, and afterwards went to Vuillaume in 1855, where he remained for fifteen years, during which time he made probably the great majority of the finest bows which bear Vuillaume'suame. In Vuillaume's show case in the Paris Exhibition of 1,867, Voirin's name appeared as a workman in bows, and he received honourable mention on that occasion. Three years afterwards he started on his own account. Almost all his work is of a very high character, and deserves all the praise it has got. ' Some of his sticks — both violin and 'cello — are really quite beautiful works of art, technically and decoratively, and, of course, there are a flood of sticks in the market, bearing the stamp " N. F. Voirin a Paris," and which have all been made since his death. His own heads are strong and beautifully finished. He was stricken down by apoplexy on the 4th June, 1885, while he was carrying a bow home to an amateur. The occurrence happened as he was passing along the Faubourg Moritmartre, and the. bystanders seeing " N, F. Voirin. Bouloi 3 " on the paper case in which the, bow was, concluded to take him there. So he was carried home dying to his wife. He did not rally from 242 THE FIDDLE FaNCIER'S GUIDE. the stroke and died the same evening between nine and ten. His widow carried on the business. VuiLLAUME, J. B., Paris. If this distinguished crafts- man was not himself a bow maker — except in the sense that he could make, and may have made a few, in his day — he certainly was instrumental in keeping before others the grand qualities of Fran9dis Tourte. This was a great service. He knew Tourte well, and, on his own admission, frequently watched him at his work. During all his business career, however, he^ never was withdut one or more, competent bow makers in his employment, and it will be safe to say that almost every one of those beautiful sticks for which in his time he was famous, was made by one or other of the clever bow hands already referred to. From the earliest date of his own period, when he was a kind of managing man to L6te, down to the time , of his death he was always well supplied in that respect. Persoit, Fonclouse, Peccate, Simon and Voirin, themselyes cover the whole time. He invented a steel tubular bow which he induced some artistes to employ, and he also invented the fixed nut — which was to secure that a player will also always have the same length of hair to use. It was a curious over- sight to suppose that because the nut changes position in tightening or relaxing, the length of hair available was, in consequence, variable. Its chief advantage was that the hand could always hold the bow in exactly the same place. However, both of these inventions were discontinued. Vuillaume stamped his name on all the bows which he sold as his own make, and, of course, there are thousands of bows so stamped VIOLIN BOW MAKERS. 24J at present, which are not genuine. He was not par- ticularly well liked among the " trade " in Paris, but almost all his workmen remained with him for many- years, whicht is fairly good evidence that he was a considerate employer. CHAPTER VIII. As the face of the heavens on a clear night seems crowded with stars, so the vista of musical history appears filled with the more or less lustrous presences ofindividual artistes whose combined radiance lights up the past for those who have a deep interest in the record of their achievements. They are quite as numerous as the fixed stars, but, like them, hot all of equal magnitude. I shall include in these brief bio- graphical notices the more important of the performers known from early times, and it will be more interesting to do this in chronological order than it would be to do it alphabetically. ' There were, no doubt, performers on the violin who played pieces " all by themselves " long before the time of the publication of the first known solo for the instru- ment, but nothing definite can be said about them as yet, and I will therefore begin with the author of' that remarkable " piece." BIAGIO MARINI. This artiste was born in Brescia about the end of the sixteenth century. Date information of that kind is provokingly vague, but nothing more precise with regard to him can be given. It might have been in any year between 1560 and 1600, and there may come a time when, if more definite information is not available, some VIOLINISTS. . 245 irresponsible writer will feel disposed to say he was borri in 1580. That time has not yet arrived, and we only know one or two incidents of his career, and that he died in 1660 at Padua. He was chapel master first in Brescia, then in Vincenza, and subsequently seems to have had some kind of appointment either in Venice or the neighbourhood. He was a distinguished violinist, without doubt, and issued three separate musical pubhcations which are at present known. Other two he appears to have printed and published, but they are not known. The violin solo alluded to is called La Romanesca, and is quite an attractive and original piece of music which is still played at odd moments. Marini enjoyed court- favour, visited Germany, and was made a Knight. GIAMBATTISTA FONTANA. This player seems to have been also a native of Brescia, although that is not an ascertained fact. He was the inventor — or, is at least, the earliest known writer — of -the violin sonata form. He appears to have died in Padua, and his works were collected and published for the first time in 1641. He is described by contemporary eulogium as a distinguished player and composer. TOMASO-ANTONIO VITALI. This distinguished player was, according to report, born in Bologna in the middle of the seventeenth century. He certainly was alive and active on the 19th October, 1685, for on that date he signed a petition to his patron, begging him to send someone to overhaul 246 THE FIDDLE FANCIER'S GUIDE. two swindlers who had sold him a " Franceco Rugerius '' violin, as a " Nicolas Amati." " Other times," as the French say, but — the same ways. The beautiful Chaconne which has made Vitali's name famous, is still often played. He was patonised by the Court of Modena. ' HEINRICH, J. F., VOii BJBER. I suppose this great artiste should be called a Bohemian. At any rate, he was born on the Bohemian frontier, Wartenburg, somewhere between 1638 and 1650. It has not been found possible to specify the time of his birth within closer limits. He was a famous player in his day, a favourite composer, and one who had his share in modelling the sonata. The date of his death has not been ascertained with certainty. Fetis gives it as in 1698, which is' wrong, a document bearing Biber's , signature, and of date 1704, having been discovered; Another positive statement makes his death occur in 1710, but no authentic record of it, or other specific indication has been seen. He was much favoured by several courts, having been ennobled by Leopold I. at Vienna, treated with distinction by two Dukes of Bavaria, and appointed by the Bishop of Salzburg to an important office. He travelled through Italy, France, and Germany, arousing great enthusiasm wherever he went. He piibUshed two or three sets of violin music. First, a set of six sonatas, second, g. set of twelve, third, a set of pieces with seven real parts, called Harmonica Avtificiosa, and two other works in Salzburg. His music, some of it,' is decidedly of a VIOLINISTS. 247 most refined character, and of a Very advanced type for his day. GIOVANNI BATTISTA LULLI. This distinguished violinist was born in Florence about 1633. His parentage is not clear, but he was taught the guitar by an old Franciscan. When he was very young^quite a child — a member of the French royal family who happened to be travelling in Italy heard him play, and as he had a commission from his sister. Mile, de Montpensier, to get her a page boy irom Italy, he selected this gifted lad and took him to France. Lulli's youthful soul had not been assigned a very suit- able shrine for the antechamber of a princess and when she saw him — a. little imp twelve years old — she jrelegated him to the kitchen. Lulli's love of music was not, however, to be extinguished by the noise of pots and pans or quenched by a flood of dripping, so he .bought a cheap fiddle and by-and-by was the delight of the kitchen, and indeed, of the whole livery.. One day while he was playing, he was overheard by a person of some importance, who communicated with his mistress, and the result was that she procured a teacher for him under whose instruction he made amazing progress. The age was not a delicate one, and he was silly enough to be misled into the perform- ance of a coarse jest which brought about his dismissal. After some little trouble he was admitted to the King's band, and considerably astonished them there, pleased the King, and was promoted to the leadership of a junior band which very speedily surpassed the senior 248 THE FIDDLE FANCIER's GUIDE. one. From this point his fame is derived from his operas and ballets, etc., etc., and the violinist merges in the composer. He entirely reformed, and considerably advanced the character of French music and holds a highly -honoured place in the roll of her great composers. He died in the greatest favour with Louis XIV., who had covered him with honours and rewards. He was made director of the King's music, was made a noble, one of the King's secretaries, etc. His death was caused by an accident. After the recovery of the King from an illness LuUy composed a Te Deum and was conducting it when he smashed his toe with the cane he used in directing his orchestra. An abscess formed arid in spite of varied treatment he succumbed a few months afterwards, viz., 22nd March, 1687. GIOVANNI BATTISTA BASSANI. This player was born in Padua about 1657, and- was chapel master of the Cathedral in Bologna. He was not only a violin virtuoso, but he was also a highly appreciated composer and orchestral conductor of his day. He went to Ferrara about 1685 and became chapel master there, while he had other distinctions of a more honorary character conferred upon him. He is known chiefly in violin literature as the supposed teacher of Corelli. It is merely a statement which has passed current without having any particular verification. He was four years younger than CorelH. He died in 1716 at Ferrara. COREI.IJ, VIOLINISTS. 249 ARCANGELO CORELU. This great player was born at Fusignano on i6th February, 1653. His father's name was also Arcangelo, Corelli and his mother was Santa Raffini who died just before her child saw the light. He was not intended for the musical profession and was sent to Faenza to school. While there, however, he acquired the rudi- ments of music and kept up the study at Lugo, and subsequently at Bologna, where he practised the violin in regular fashion for four years. This is probably the circumstance which has given rise to the ancient suggestion that Corelli was a pupil of Bassani. The suggestion is, I think, an absurd one. In 1680 COrelli was seen at the' Court of the Duke of Bavaria as a famous performer who had been travelling about Ger- many. In 1 68 1 there is a vague reference to him as being in Rome, and in 1683 his first work was published there, and in 1685, his second. In 1686 he was playing the violin in the Opera band, and was chosen that year to lead the orchestra at the fete given to Lcwrd Castlemain in Rome by Christina, ex-Queen of Sweden. Here Cardinal Ottoboni saw him and took to him. From this time Corelli played at the Cardinal's Monday concerts, and looked after the music. Here it was where the famous interview between Corelli' and Handel took place, when the latter rudely caught the fiddle out of the Italian's hand in order to show him how to play something of Handel's own which happened to be on the desks. I have no great faith in the accuracy of the tale, which is, I imagine, one of those growths on the free of history caused by the puncture of some 250 THE FIDDLE FANCIER S GUIDE. biographical insect. Corelli's fourth work wa-s pubUshed in 1694, and his fifth in 1700. People flocked to these concerts in Rome from all parts of the civilised world, and it must have been a dreadful experience to the great player when,, a few years later, he visited Naples and found Scarlatti's orchestra so perfect that he probably- felt as if he were little more than a npieno in it, instead of a great solo player. It must, however, be' borne in mind that these stories of his failure in Naples are entirely on the authority of Geminiani, who was himself a pupil of Correlli's and became leader of this very Neapolitan orchestra, but was dismissed .from the post because he could not keep correct time, and that not long previous to the period when he says Corelli failed. There is a great deal of confusion about these stories, and when they are put together they involve such improbabilities as to render them almost incredible. This visit to Naples appears to have been made a few years before his death, for, when he returned to Rome,, a young violinist named Josefo Valentino had become the popular favourite — so it is said- — and that the circumstance so weighed on Corelli's sensitive nature as to seriously affect his health. This last conjecture — for it is nothing more — rests on as slight a foundation as the previous stories. Among the traits of personal character which have been noted are mentioned " sweetness of disposition," " parsimoniousness of habits " — a quite exceptiona,Ily curious combination of qualities, not, of course, absolutely paradoxical or impossible, but, at the least, distinctly interesting. His dress was plain and unassuming, and his ways were simple. On VIOLINISTS. 251 this circumstance, combined with Handel's remark that Corelli liked to see pictures without paying for them — a merely passing epigrammatic touch probably — seems to be raised the theory of parsimoniousness. These conjectures appear to be more like penny-a-liner reminiscences than anything approaching the dignity of historical facts. He was the greatest and ■ rnost honoured musician of his day, and' lived a simple life, apparently in the midst of considerable pomp. He composed and published some ■ of the most noble and beautiful music for violin and orchestra that is in existence, and he 'died full of honours on the i8th of January, 171 3. There is a monument to him in the Pantheon in the form of a marble statue, bearing the following inscription, "Corelli princeps Musicorum " — " Corelli first (greatest) of Musicians." The portrait of him is from a good print in my possession. FRANCESCO GEMINIANI. This very clever violinist was born at Lucca about 1680. He was reckoned to be the best of all Corelli's pupils, but he had the advantage of previously passing through very good hands. He began his musical studies with Alessandro Scarlatti, and was taught the violin by a very able man, C. A. Lu'nati, whose bodily deformity interfered with his success as a public per- former. After this preliminary training, Qeminiani went to Corelli, where he developed fine tone and style. He first went to Naples, where Scarlatti had, at this period, gone for the second time, and who gave him the appointment of leader in the orchestra there. 252" THE FIDDLE FANCIER'S GUIDE. Geminiani's nature as a player' was so uncontrollable that he could not keep time himself, and was, therefore, useless as a leader. This would be between 1709 and 17^4, when Geminiani came to England. Here he met with the greatest success professionally, and published all his works, besides editing some of his master's. In addition, he published various theoretical books on music and musical style, as well as a work on memory. He made plenty of money, but spent it as rapidly as he made it — and more rapidly sometimes — in bujring pictures, etc. His .nature was a restless one — ke could not keep time — but he was, according to all contemporg.ry testimony, a glorious player. His great work from a. violinist's point of view is his " Art of Playing on the Violin." He moved about a little, and went to Paris in 1750, remaining there for about five years. Coming back, he rfesumed his career with similar success, and visited Ireland in 1761. His- pupil, Dubourg, was then master of the King's band, in Dublin. He and the old man were very fond of each other, and a curious accident happened to the latter during this visit. He was not without his enemies, and a conspiracy seems to have been got up to rob him of the manuscript of a Treatise on Music which he had been working on for many years. Such a heartless piece of blackguardism against a 'man of eighty-two years appears hardly credible. But Dubourg's son duly authenticates the story. A domestic servatit was recommended to him by the thieves, who were among his so-called friends and acquaintances, and she stole the manuscript frpm his bedroom, and handed it over to his enemies, who, pre- VIOLINISTS. 253 sumably, destroyed it, as it was never afterwards seen. This cut the old man up terribly, broke his spirit, and he died the same year, namely, on the 17th September, 1762. PIETRO LOqATELLI. J This great violinist was born in Bergamo in 1693. He was also a pupil of Corelli, and distinguished himself in a manner which, as appears to us, should have astonished his master. But , the truth is, people have judged Corelh's technique far too exclusively by the standard of his published music. It may all be described as of the most dignified and excellent character, but, at the same time, of comparatively great ' simplicity. It gives no indication whatever of his technique. He turned out far too many masters of the highest character to justify us in supposing that he knew no more than he published. Locatelli established him self in Arhsterdam, and published his fanlpus works called "The Labyrinth," and "The New Art of Modulation," which set Paganini to compose his celebrated "Twenty- Four Studies." He also published various other things, among them being one called " Harmonic Contrasts," which establishes his reputa- tion as a musical scholar. He remained in Amsterdam till his death in 1764. ANTONIO VIVALDI. A- distinguished performer, born in Venice about 1660. His father was a musician in the Chapel of St. Mark. Antonio travelled about a little, and went into the 254 THE FIDDLE FANCIER'S GUIDE. service of the Court of Hesse-Darmstadt, but returned to Venice in 171 3, where he died in 1743. He was a voluminous composer for his instrument, and also ot vocal and other instrumental music. He is the putative author of the well-known " Cuckoo Solo," and was called in Venice the " red priest." FRANCESCO MARIA VERACINI. This artiste was born in Florence about 1685. He was a pupil of Antonio Veracini, his uncle. He did not play in public until he was about . thirty years old. In 1 714 he played in Venice,, and at once took his position as a virtuoso. In the same year he came to London, and led the Italian Opera Band here. In 1716 he went back to Venice, where he was engaged by the Elector of Saxony for his chapel in Dresden. Here he remained for five .years, when, in. August, 1722, he; in a moment of mental aberration, threw himself from his bedroom window, and was lamed for life. When he recpvered he left Dresden, and went to Count de Kinsky in Prague. There he stayed for some years, returning to London, about 1736. For ten years he remained here> composing operas and pla3dng, and in 1747 retired to a small property he had at Pisa, where he died in 1750. He is credited with being the possessor of two violins^ one or both of which were said to be by Jadob Stainer, and that he lost these in a storm while crossing from here to the Continent. GUlSEPPE TARTINI. It would, perhaps, be difficult to select a vioHnist whose memory is entitled to greater respect than that GUISErrE TARTINI. VIOI^INISTS. 255 of Tartini. As a musician and virtuoso combined, I doubt if anyone has surpassed him. He is a colossus of refinement and grace, as Corelli was one of strength and simplicity. He was born at Pirano in Istria on the 8th April, 1692. He received the elements of a good education in the College of the Padri Delle Scuole. He may, in fact, be said to have been very well educated^ as matters of that kind went in those days. About the beginning of 1709, he was sent to Padua to study law. In the monastic schools in Pirano he had been taught, along with other things, music and the violin, and although, while in Padua, he took to fencing very seriously, with, apparently, a little swashbucklering thrown in — he still kept up his violin playing. It has not been hinted, in any source of information with which I am acquainted, that Tartini ever heard Corelli play, and there has not even been a suggestion of such a thing. But it is not a very unlikely circumstance. We have very little information as to Corelli's travels in the early part of his career, but we know that he was in Germany, in Bavaria, in fact, and as the most direct and cheapest route to that district was through the north of Italy, and over the Brenner pass, it would almost appear certain that he took the chief towns of Northern Italy on the way. Padua would, in such a case, be directly in his route. The only weighty objection to this would be that when Corelli was seen in Bavaria, Tartini was not born. But during the years 1701 and 1710 we have exceedingly little informa- tion regarding Corelli's movements. We know he was absent from Rome, and that by the time he got back, he 256 THE FIDDLE FANCIER'S GUIDE. had, we are told, fallen somewhat out of public favour. That leaves plenty of time for an artistic tour , or two in Italy, and also, in Germany, and if he were anywhere near Padua, we may be pretty certain Tartini went to hear him. In 1708 or 1709, Tartini was there, and four years after that' date he was a magnificent violinist. It is a curious coincidence that in the very year Corelli died, 1713, Tartini had his celebrated Dream that the Devil came to his bedside aad played to him the " Trillo del Diavolo." This famous and most beautiful piece of music is familiar, no doubt, to all violinists, and if not, it should be. He was then twenty-one, and earning his bread by music and fencing. About this tinjie he secretly married the daughter of Cardinal Cornaro, which created a great uproar, and placed him in consider- able danger. He fled disguised as a pilgrim, and after wanderirig towards Rome, found refuge in a religious establishment in Assisi. He remained con- cealed here for a short time, and carried on his musical studies with the help of an organist in the fraternity named Boemo, and astonished the neighbourhood by his violin playing in the services. He was one day recog- nised here by an old acquaintance, -vvho told him that matters were mending in his favour, and by-and-by he became reconciled to his distinguished relative by marriage, and returned to Padua. How long he was absent in this' way from his home is uncertain. It is sometimes definitely stated as two years, but com- parison of dates do not support this conclusion. Shortly after this, he and his wife went to Venice, where the lady had relatives, and while there he VIOLINISTS. 25 met Veracini, and heard him play. This is generall supposed to be about 1714, I presume because Veracir was playing in Venice in that year. But I think tha date is wrong. It seems to, have been forgotten tha Veracini was also playing in Venice in 17,16, after hi return to Italy from London, and I think it more likel to be the date of this meeting, as the former date crowd a great deal of incident into the life of Tartini during very brief period of time. When he heard the grea Florentine player, who was only seven years his senior, h determined to renew his studies, arid for this purpose retired to Ancona. He there made that • famou discovery of his which has been called the Tartini tone: a phenomenon which has, puzzled the most celebrate acousticians for a hundred and fifty years. Only a recently as, 1862 was the cause of them found out b Professor Helmholz. Tartini's splendid ear enabled hir to tabulate them all correctly, with the exception of on or two, which he fixed an octave higher than they real! are. The discovery was of the following nature. Whei any two notes were played together, ■ he detected a thir, sound in the harmony which no one has left any record c having discovered before. He found this phenomenoi constant, and made Exhaustive studies of it, tryinj to make it the basis of a system of harmony which h published in 1754, entitled a "Treatise on Music accord ing to the True Science of Harmony." Any player whi is not already acquainted with it may test the thing fo himself. These Tartini tones are best heard when th player takes truly stopped major thirds and sixths, bu they are present when any two notes are played, whethe 258 THE FIDDLK FANCIER's GUIDE. 1 concordant or discordant. They are not so clearly discriminated when one note is stopped, and the other an open string note^ Tartini had indicated the pitch of a great many of them, and that was, of course, a valuable lead to a scientific investigator, who knew that all musical sounds had fixed vibration numbers. Still, Professor Helmholz has the credit of having, settled the matter. He found that the third sound was due to the difference between the vibration numbers of the two notes played. The reader who may not be acquainted with this side of musical study will understand when it is explained that every musical sound is the result of a fixed number of beats on the air, from some body. In . the case of the fiddle these beats are produced by the friction of the bow on the string in the first place. The string throbs and communicates this throbbing to the bridge, which transmits it to the upper table or belly. From that it passes by way of sound post and ribs to the back, and the whole fiddle throbs on the air inside, and so the original weak sound of the string is reinforced and strengthened until it comes out through the sound holes of the loudness which we hear. All the throbbing is at the same rate so long as one note is played. Each note has its own rate of throbbing. Lpt us take any two notes, such as treble C, and the major third above it, E. To make the pitch of treble C, 5.12 throbs in a second are required, and to make the pitch of E. above that, -640 throbs in a second are required. Now when these two notes are truly played together, a • third sound is heard along with the other two notes. It is the same, in this case, as the C, but two octaves lower. Helmholz VIOLINISTS. 25< discovered that this low C was produced by 128 throbs and the difference between 512 and 646 is 128 Throughout the whole scale of musical sounds whenevei two notes are played together they seem to generate i third sound, very weak, of course, but which is always that which the difference of the vibration numbers would naturally produce. From this circurtistance thesf tones are now called by scientists the " difference tones,' but they have always hitherto been knoXvn as th( " Tartini tones." They are sometimes called harmonics but that is not correct. A harmonic is generated by om string, while these third sounds are generated by, thf simultaneous vibrations of two strings. When Tartini was twenty-nine he became director o an orchestra in Padua, and when he was thirty-one h( went to Prague, and remained there for over three years. He made a great impression among people o: distinction, and considerable pressure was tried in ordei to keep him with them, but he was in bad health, anc was dreadfully troubled by family worries in connectior with his brother and his children. He stayed with b friend named Antonio Vandini, a 'cellist, while on this visit to Prague, and returned with him to Padua in 1726 He soon began to recover health, but the family troubles continued to worry him for many years. He was a mar of great patience, and very high character, and bpre himself throughout them all, during a period of, ovei twenty years, in the most exemplary fashion. His first work was published in Amsterdam in 1734, and another in Rome in 1745. These published works are not numerous, but he left a great many in manuscript. His S2 26o THE FIDDLE FANCIER's GUIDE. theoretical works comprise the already mentioned " Treatise on Music," a pamphlet replying to some strictures on it he published in Venice in 1767. In the same year " A Dissertation on the Principles of Har- mony " saw the light in Padua, and a " Treatise on Musical Embellishments" was issued in Paris in 1782. The famous letter of instructions on violin playing has been frequently printed, and besides this he left a manuscript treatise which has never been printed. It was called " Practical Lessons on the Violin." This great master of the violin died on the 26th February, 1770, after a period of great suffering. He never was a robust man. His eager face, full of nervous apprecia- tion bf his surroundings, shows a very highly strung, nature, and he appears to have lived a self-sacrificing life. When he died it may be said that Padua went into mourning. He was buried in the Church of St. Catherine, where an imposing funeral service was per- formed, and it has been said that his demise was considered in the light of a public calamity. Although his fame had spread all over Europe, and, indeed, to all parts of the civilized world, he does not' appear to have left Italy after his professional journey to Prague, where he managed the music for the coronation of the Emperor, Charles VI. He was pressed to go to Germany and France, and Lords Walpple and Middlesex did their best to get him over here, but failed. He wrote a very nice letter regarding a proposed visit to London, and in it referred in cornplimentary terms to the judg^ ment of English musicians and scientists in regard to his discovery of the third sound. His most famous VIOLINISTS. 26 pupils were Pugnani, Nardini, Pagin, Ferrari, an( Lahoussaye. GIAMBATTISTA SOMIS. This master was born in Piedmont in 1676. He was quite evidently from contemporary testimony, a playe of broad and fine style, but the chief interest attaching to him lies in the circumstance that he has always beei considered one of the finest pupils of Corelli, and know] to have been the teacher, or one of the teachers, Pugnani, thus forming a Hnk in the direct chain whic] binds our finest modern players to the 'earlier gran( Italian Schobls. I confess I am not quite satisfied tha he was a pupil of Corelli. He was, undoubtedly, ' 1 great admirer of the latter, and, in the days of his youth included Rome in his travels, the object of which was t( hear the best executants and composers of his time But I have not found in the course of my reading an; definite information in regard to his connection wit-1 Corelli, while his visit to Venice on the other han< resulted in an acquaintance with Vivaldi, which appear to have had ^ most lasting effect on his style. He, ii fact, took Vivaldi as his model, and carried along witl him to Turin, where he settled, the traditions of th< great Venetian performer. The King of Sardinia' appointed him to the post director of the music in the Chapel Royal, as also of th^ Court music, and he enjoyed an extended reputatioi throughout Italy. In the spring of 1733, he went t( Paris, and performed there at the " Concerts Spirituels, where his success was of a marked character for th purity of his tone, and the brilliancy of his technique He died in Turin in 1763, leaving the traditions of his school in the hands of Pijgnani, who is, perhaps, the most important of his pupils, seeing that he combined ir his own style the results of the tuition received not onl} from Somis, but also, according to report, from Tartini Somis had a brother named Lorenzo, who was also e violinist, and, to some extent, imitated the style OJ Corelli. G. B,. Somis published in Paris, six sets o: sonatas for the violin and bass. GAETANO' PUGNANI. This magnificent player who, it is generally supposed, had the advantage as explained in the previous article, of tuition both, from Somis and Tartini, was born either in the Canavese in 1727, or in Turin, in 1728. Both dktes are given. He succeeded Somis as principal violinist at the King of Sardinia's Court, and as director of the music. He was also a great operatic conductor, and succeeded in a marvellous way in bring- ing the various elements in such representations into the most complete harmony. He visited Paris in 1754 ; had a great success, and made the European tour. He also came to London more than once, and on one occasion stayed for a year or two. He had, of course, resigned his appointment in Turin to enable him to make these lengthened absences j but when in 1770 he left London for good, and returned to Turin, he was at once reappointed music director. The story about his tuition from Tartini is a curious one, and wears such a VIOLINISTS. 263 pleasantly simple look that it may be worth recounting. When Pugnani was in Paris he heard much about Tartini, and, determining to see him, went to Padua, and called on his distinguished countryman, by wh6m he was asked to play something. When Pugnani had got over a few bars, Tartini caught him by the arm — I suppose the bow arm — and said, " Too loud, my friend, too loud." When Pugnani tried again, Tartini repeated the interruption at the same point, and said : " Too soft, my friend, too Soft." Thereupon Pugnani desired Tartini to take him as a pupil. This patheti- cally concise description of the manner in which one famous and accomplished performer listens to another distinguished artiste's playing only suggests to my mind one comment, which might reasonably be addressed to the author of the story : " Too thick, my friend, too thick." It is related of Pugnani that he snubbed Voltaire about his verses on one occasion when that brilliant genius is said to have shown a little under-breeding by talking loudly during oi^e of the former's violin solos. One or two triflings gossipy anecdotes of this kind, if true, indicate that the great Piedmontese violinist was of a slightly irritable and impressionable nature. He was a prolific composer of secular, as well as sacred music, and those of his violin pieces which have been published display a fine sense of melody. He had a violin school in Turin, and trained a number of fine players, among whom was Viotti. The circumstance th^t Pugnani was the teacher of this father of modern violin playing is alone sufficient to stamp him as an artiste of the 264 ' THE FIDDLE FANCIER's GUIDE. highest grade. He died in Turin in 1803 — an old man. His works include four grand operas, two or three comic operas, and ballets, aad cantatas, some nine concertos for the violin, and a lot of sonatas, duets, trios, quartets, quintets, symphonies, etc. yery few have been published. FELICE GIAJBBInI. This was another disfinguished pupil of G. B. Somis of Turin. , He was born there in. 1716, but was sent to Milan while quite a child to learn music and was one of the choir boys in the Cathedral there. He received instruction in singing from Paladini, but having shown a decided inclination for the violin, his father sent him back to Turin and placed him with Somis, with, whom he remained for a number of years. Giardini's first attempt on his own account was in Rome, where he was not successful, and repaired without delay to Naples. There he was more fortunate and got employment in the orchestra of the theatre. He was a somewhat florid perforrner who was in the habit of adding decorations of his own to the music of the composer, and that not only in leading parts but also in ordinary accompaniments. The public were not accustomed to this, but they took to it, and used to applaud him. How he ■frould have relished this sort of thing done to his own music by any other man, we do not know, but we learn what Jomelli thought of it. One evening when Giardini was playing in the orchestra while an opera of Jomelli's was on, that composer sat down beside him. He had, very likely, . VIOLINISTS. 265: either heard, or heard of, Giardini's style of doing things. At any rate, when, as usual the latter began to'decorate his part in the approved manner, Jomelli suddenly gave him a smack in the face with his open hand, which brought the florid embelHshments to an end. Giardini was very young, and it is to his credit that the rude lesson appears to have been learnt — even in a story book. When he was twenty-eight years old he appeared in London and stayed there for a year or two. In 1748 he went to Paris and became very popular. In eighteen months he returned to London and had increased success in every way. He was a favourite in Court circles and made large sums of money both by teaching and playing. In an evil hour in 1756, he undertook Italian opera and in a very short time lost every penny he had made. In 1763 he began again teaching and giving concerts, but, in a year or two the tide of fortune turned, and another violinist divided with him the public favour. He left this country in 1784, and returned to Naples as poor as he had come. Sir William Hamilton was of service to him there and he spent a few years in the place of his earlier triumphs. He then went to Russia and died in Moscow in 1796. He composed a good deal, and almost all his work was published in London. He composed the operetta " Love in a Village " and one or two grand operas, the oratorio of " Ruth," and a number of Italian songs, duets, catches, etc., and a good deal of violin music in the shape of solos, duets, trios, quartets, quintets, and also several concertos. 266 THE FIDDLE FANCIER's GUIDE. GIOVANNI BATTISTA VIOTTI. This player was by far the greatest performer of his -day, and many a day previous to his appearance. He,! Tartini, and Corelli, share the highest honours of virtuosity awarded down to Viotti's time and the last', named is very justly called, as already noted, the father! of modern violin playing. He was born in Fontanettoj in Piedmont in 1753. His father was in a comfortable position in life, and being a good amateur musician gave his son some elementary instruction in music. He had his first cheap fiddle when he was eight years old and when he was eleven he had a year's tuition in, music from a guitar player, who was an excellent' musician and also played the violin. For two years after this he had no personal supervision but studied from books. In 1766, he was noticed by an ecclesi- astic who afterwards became Archbishop of Turin, and who had him sent there for tuition. In several tests to which young Viotti was submitted the lad acquitted himself in quite an amazing manner, and showed himselfi possessed of a musical memory which was absolutely astounding. He was at once placed under Pugnani as| soon as that artiste opened his famous school, which was shortly after Viotti's arrival in Turin. Altogether the cost of Viotti's education was about ;^iooo, and this was borne by the Prince of Cisterna in the most! munificent and kindly manner. So for as concerns patronage and encouragement I do not know that any other viohnist has had the opportunities with which' Viotti was favoured in his youth. He bore himselfi throughout in a manner which has done honour to his VIOLINISTS. 267 i profession. When his studies under Pugnani were drawing to a close that master personally introduced him to all the musical centres of Europe, finally parting company in Paris where they arrived in 1782. Viotti had, in the French capital, an overwhelming reception ■pn his first appearance, and he was soon taken up by the court. But his popularity in France continued only for about two years. For some unexplained reason he was very coldly received by a small audience ^t one of the Concerts Spirituels, while at the very next f the same series an inferior performer had quite an vation. This was towards the end of 1783. Whether Viotti read between the lines or not one cannot say but the circumstance galled him so much that he resolved never to play publicly in Paris again, and only once> twenty years afterwards, did he do so. He continued to play at Court, however, and in private circles. In this year (1783) he paid a hurried visit to his native place, and bought some property there, returning to aris in the following year, where he enjoyed honours nd emoluments — having been appointed to the post, mong other offices, of musical director of the Italian Opera — until the period of the French Revolution, when (1792) he came to London in an almost ruined con- dition pecuniarily. In this country he at once succeeded professionally, but the government fancied he had better not remain — goodness only knows why. Probably ; some panic-notion that it would be as well not to give unnecessary offence to the revolutionary party. At any- rate he went to the neighbourhood of Hamburg and 'remained there until 1794, when he was at liberty to 268 THE FIDDLE FANCIER's GUIDE. return to London. He made his home here and is supposed to be one of the founders of the Philharmonic Society. He revisited Paris twice. Qnce in 1802, and again in 1819, when he stayed two years directing the opera.' He came back to London in 1822. He had started a wine business in London which was not very profitable, and this, and his wantof success in the opera management, appears , to have, greatly depressed him. His brother died at this time and the intelligence of his deniise weighed him down still farther. He died in London on the I oth March, 1824. Viotti's works are too well known to require special mention. They consist of concertos, sonatas, duets, trios, quartets,' symphonies, etc., almost all of which are still played. PIERRE MARIE FRANCOIS DE SALES , BAILLOT. This distinguished French violinist was born at Eassy. in 1 771. He began to play the violin when he Was about seven years old. His family had moved about a little and, when the lad's father died, they were in Corsica. The Governor offered to have Pierre educated along with his own children,' and he was sent with them to Rome, where he was placed with a violinist named PoUani, who had been a pupil of Nardini. He returned to Corsica in 1785, and then relinquished the violin as a profession for that of secretary to the Governor. In this office he remained until 1791, when he went to Paris. The revolution was just about to burst, but they still had the play and " Baillot got employment as second violin in the Theatre Feydeau, where he became acquainted with Rode. He remained' in this orchestra VIOLINISTS. 269 only for a few months, until he obtained an appointment at the Treasury. He was at the Treasury for ten years, and laid aside the fiddle except as an amateur. That does not, however, mean that he relinquished practice. He merely did not play professionally. After that period he went into the army and served for nearly two years, , but returned to Paris in 1795. ' From the last named ' date until he died in 1842, he was exclusively devoted to his instrument, became professor in the newly-founded Conservatoire and added one more name to the illus- trious roll of French violinists. But it is a mistake to say that he was a pupil of Viotti's. That he never was. Viotti was driven out of Paris a ruined man just as Baillot entered it. Baillot published a quantity of music • for the violin, besides being one of the joint authors of the fine violin school which is known under the name of " Rode, Baillot and Kreutzer." JAMES PETER JOSEPH RODE. This artiste was the most distinguished of the splendid band of performers who owed their training to G. B. Viotti. He was born in the Rue du Loup, Bordeaux, . on the 1 6th February, 1774, died at Damazan' on the 26th Novernber, 1830, and was buried at Bordeaux. He played the violin as a boy in his father's shop, and used to be heard and adrnired by the .nfeighbours and passers by. His first . teacher was A. J. Fauvel, whp was himself a pupil of Gervais. When Rode was twelve years old he was known in Bordeaux. as a young virtuoso, and as he had been with Fauvel for six years it will be seen that he began young. He went with his 270 THE FIDDLE FANCIER S GUIDE. teacher to Paris when he was fourteen, and had an introduction to Viotti, who was so struck with the boy's ability that he received him as a pupil. In three years time (1790) he made his first appearance with his master's sixth concerto and gained a distinct success. He th^n entered the band in the Theatre Feydeau, and was soon promoted from the sixth desk in the first to the second desk in the second violins. In the same year (1791) Baillot joined the second violins and these two became fast friends. Next year he met Kreutzer, and the three joined to produce the famous violin school referred to in the notice of Baillot. From 1793 to 1797, there is a large amount of confusion in the biographical accounts of this artiste. Some say he became a soldier, or rather, played the clarionet in a regimental band at Angers. Others that he sailed for Hamburg, but was driven towards the English coast, and took the people of this country by storm. We catch sight of him again in Paris in 1797, where he entered the opera as solo violin, and the Conservatoire as professor. Two years later he went to Spain and was splendidly received there. In 1803 he made a progress towards Russia,- where he arrived in 1804- and remained until 1808, when he reappears in Paris. He was still a young man — only thirty-four — but he now began to fail, and from this point onwards, his career was rather a downward one. He started a new tour in 1811, and married a wealthy lady in Berlin — a widow named Madame Galliari. He stayed there for some years but did not play much in public. About 1820 he returned to Bordeaux and worked at his compositions. Eight years afterwards he VIOLINISTS. 271 thought he would like to play again in Paris, but the. reception which he had when he did it so thoroughly broke his spirit, that he went back to Bordeaux really a dying man. His wife took him to a country seat she. had bought at Damazan, but he lingered on in the same condition till the 15th November, when a stroke of paralysis brought the end of this melodious soul near, 9.nd, as already stated, he died on the 26th of the same month. Every violinist knows " Rode's Air in G," his. " Martial Air in A," his Concertos and Caprices — the last named being really indispensible to every player. He composed altogether between forty and fifty pieces - for violin and voice, in addition to his share in the. famous Conservatoire " School " already mentioned. RODOLPHE KREUTZER. The third member of the famous trio who made up the magnificent violin school: for the then recently founded Conservatoire, this artiste claims, and receives, a high place among the ranks of great violin players- He was born in Versailles in 1766. His father was a musician in the king's chapel there, and so was young Rodolphe's teacher, Anton Stamitz, the second son of the founder of the Mannheim School. Kreutzer began early, for it is said that he played a Concerto of his own composition when he was thirteen. He had, of course, almost lived in an- atmosphere of music, but so have other distinguished composers, such as Haydn, Mozart, Beethoven, and I think the statement that Kreutzer's musical nature was so gifted that he composed by instinct, and without having received a single lesson in -272 THE FIDDLE FANCIER'S GUIDE. harmony is one which need hardly be pressed. He is sufficiently famous without its aid. When he was sixteen his father died, and Marie Antoinette, who. had taken an interest in him, had him promoted to the desk of first violin, vacant through his father's decease. In 1782, he heard Viotti in Paris, and then set himself to developing his own talent until he became one of the greatest exponents of the fiddle fingerboard of his day. In 1790 he was admitted as first violin in the opera, and he began then to compose dramatic music. ■ He travelled Germany and Italy, a short time, and then returned to Paris. The Conservatoire had just been founded during the revolution, and he was appointed professor. He held a great many appointments in his time, and "whatsoever King did reign," he was there. Solo violin at the opera, member of the music in the' First Consul's Chapel, solo violin of the Emperor's private band. Chapel Master tt) Louis Philippe, and Conductor at the opera. Throughout all these changes, ranging from 1792, when he was in Louis XVI. 's band, till 1827, he was professor at the Conservatoire. In the last named year he ceded the chair to his brother Auguste, another fine performer. He had to relinquish public performing through an accident to his left shoulder, sustained by a fall from his carriage, or rather, his carriage was upset, and he was thrown out. The dislocation was never properly adjusted, and his health greatly deteriorated in conse- quence. He had several strokes of apoplexy, and died at Geneva in June, 1831. Every violin player, it may .again be said, is familiar with " Kreutzer'S Studies," VIOLINISTS. 273 an absolutely colossal work, without which it would be difficult ' to imagine how violin classes could now-a-days get on, although we all know that they got on very well indeed for perhaps a century and a half before they were written. Still, such is the force of habit, if they dis- appeared from our curriculum, it would be like dropping a book from the canon of scripture. CHARLES PHILLIPPE LAFONT. This great representative of an earlier French school was born in Paris in 1781. His mother was a good player, and she gave him his early lessons. His ' mother's ■ brother was Isidore Berthaume, quite a distinguished performer of the pre-revolution school, and he afterwards took the child in hand, and by the time Lafont was eleven years of age, he was playing solos at concerts in Germany — his uncle was settled in Olden- burg. Somewhat later Lafont became a pupil of Rode, and afterwards travelled over all the con,tinent, receiving the most enthusiastic plaudits everywhere. He challenged Pagaiiihi to a contest, and although the latter considered it extremely injudicious for two public performers to engage in such a warfare, and he was qiiite right, the affair came off, and Paganini is reported to have courteously, admitted that Lafont " probably excelled him in tone." In 1808, Lafont was at St. Petersburg, and remained there for six years, occupying the post of first solo violin player to the Emperor. On his return to France, he was appointed first violin of the King's private band, and filled other appointments. After 1815, Lafont went on the Continent again, and also T ' 274 THE FIDDLE FANCIER S GUIDE. travelled about France. In the year 1839, an accident, similar to Kreutzer's befell him, but with more immediately fatal results. He was on toujr with the pianist Herz, and was sitting outside the diligence, when it was overturned between Bagneres de Bigorre and Tarbes. Lafont was killed oii the spot. NICOLO PAGANINI. There can be very little doubt as to the position which this wonderful man occupied in his day, and there need be as little doubt regarding the place he holds in the ranks of violinists dowij to the present. An easy first he still remains as a violin player. The most striking testimony to his matchless skill is the almost unimpeachable unanimity of judgment in his favour displayed by the artistes in his own profession. And what astounded them, subdued theim, and, in one or two cases one might almost say, appalled them, was not his manual dexterity^-that was chiefly what astonished his general public, and was wonderful enough, appar- ently, in all conscience — but that seemingly superhuman power of intense expression which drew the majority of artistes to his shrine, and those who were without envy — to speak freely — to his feet. We can surely in some measure realise what it must have been to hear him when we find men of all nationalities unij:ing in rapturous plaudits of this man's genius. It was the daily practice of these men to use, in their profession, the highest possible means, within their capacity, of emotional expression in their music, and when, as I have said, we find them almost unanimous in looking on Paganini as NICOLO PAGANINI. VIOLINISTS. 275 the " despair of their art " — to use an expression which is not particularly happy, but, judging from its frequent employment, seems intelligible enough — ^we may well risk still placing him at the head of all violinists. Hfe was born in Genoa on the i^th February, 1784. His father Antonio Paganini was a musician of some skill, and taught him the guitar, an instrument on which our hero became a magnificent performer. It is, indeed, reported by those who heard him, that his ability was as distinguished on that instrument as it was on the violin. His mother's maiden name was Teresa Bocciardi. She was also a musician, and she must have held the art in very high esteem indeed, when she felt that the wish nearest her heart was that her son should become the greatest violinist in the world. It was undoubtedly a curious dream which Paganini used to say she had. An angel appeared to her — people would now say a spirit — and desired her to name her dearest wish and she named it as above. His first instruments were the mandoline and, probably, the guitar, but soon he took up the violin under the instruction of a player named Servetto. When he really commenced to play, the violin is not known, but it is said that he was about five when he began the mandoline. He must have made great progress, because about this time Kreutzeir was in Genoa, and Paganini was brought in to play to him, and the child actually played some of Kreutzer's difficult music, as " difficult " was then understood, at sight. It is recorded that the great French player was " amazed," and from that day the fame of little Nicolo increased so rapidly, that by the T2 276 THE FIDDLE FANCIER'S GUIDE. time when he was seven years old, he was quite famous. It would be impossible to embody in a brief notice like this anything approaching to detail in recounting his career. His success was so marvellous, and the exhibition of his exceptional powers on his instirument so entrancing and inexplicable that people who cannot live happily unless they are in a position to explain every- thing in a natural or a supernatural way, people to whom a cpnfession of ignorance is a shameful humiliation, and the expression of wonder an utter impossibility — the more ignorant portion, in short, of his public — began to cast about for reasons which might appease their, hunger and thirst after explanations. The devil was, of course, the inevitable resource of these people — they never dreamt of falling back on the mother's angel. Perhaps they did not know the story of the dream — one may almost say certainly not. Still, it never struck them to try the angel. The man himself was, apparently, now and again a little reckless in his way of living, and, of course, angels never trouble themselves about people of that sort. All history, religious and profane, had made that quite clear. They therefore fixed on the devil, and saw him at Paganini's elbow, and they saw his cloven hoof also. His Satanic majesty must be a sublime idiot after all, to walk about all these centuries with cloven hoofs. But, seriously, stories of this kind were circulated about ■ wherever he went. By-and-by, they found out that he had murdered his sweetheart, had been imprisoned for many years, and, during his imprisonnient, had done nothing but practise the violin, etc., etc. We can look at all this now as extraordinary foolery, but these horrible VIOLINISTS. 277 stories followed this man to every town, and upset the comfort of his life. On one occasionj he appealed to the Italian Ambassador when he was in Vienna, and that gentleman published a declaration in the newspapers to the effect that he had known Paganini as a respectable man for twenty years. This quieted the ridiculous tales in that city for a time, but wherever he went they were revived. Even in enlightened Paris he was made the subject of all kinds of -lampoons, and virulent attacks, having not a shadow of truth , about them, \yhen in London if he ventured to Walk, pfeople followed him in the street, ran in front, and Stared at him, while others had the temerity to touch him, handle his clothes, etc., I suppose, in order to ascertain if he -really was flesh and blood. The man's life must have been made a complete misery to him. , He had been before the public since he was fourteen, constantly giving concerts, and he had held, at sixteen, the post of leader and director of music at the Court of Lucca, and yet there were actually people at that time who asserted and promulgated publicly the story about murdering his sweetheart or his rival, and that he had been eight years in prison for it. They did not stop to calculate that this made him a murderer at the advanced age of six years, with a sweetheart and a rival to operate on. We laugh at the absurd stories. They were not laughing matters to Paganini. They worried the man to a degree of which we have no conception. They caused people in these days to shun him who might have had his life brightened by their society. Even during his latest visit to Paris, he had to get Fetis to draw 278 THE FIDDLE FANCIER'S GUIDE. up a declaration embodying the truth about the malevolence of these tales which were revived against him at that time, not only concerning the murder and imprisonment, but all sorts of horrible crimes which were imputed to him. I do not in the least wonder that the man became soured in nature. The mother of his son was, apparently, a violent tempered woman who moved about the household, threatening to smash his iiddles,and so on. Altogether, to put it mildly,he seems to have had his fair share of troubles. His affection for his son was of a deep and tender l^ind. He was always thinking about him when absent, sending his love to him, begging the friends to whoin he was writing to be sure and give the rhessages, emphasising them every other sentence, and beseeching them to let him know about his Achilles — his' son's name. In his lodgings he used to have sham fights with him, when the little chap, with his woodeni swOrd, would drive his long lean parent up against the . bedstead, and threaten him with the direst consequences unless he consented to die, which he always had to do. Paganini tried to teach him ■the violin, but he did not take to it. This greatest of all violinists died ' at Nice on 27th May, 1840. CAMILLO SIVORI. This artiste is the only known pupil of Paganini, He was born on 6th June, 1817, in Genoa, and is still alive. Paganini's art of teaching was a peculiar one. When Siyori went for his lesson it consisted often of a good deal of scolding and interruptions, ending by Paganini playing the exercise, or whatever it was, and telling Dk. LOUIS SPOHR. VIOLINISTS. - 279 Sivori not to coine back until lie could do it in .the sanie style. Since 1836, Sivori has travelled a great deal in Europe, and America in 1846 to 1848. He was highly appreciated in this country and is at present living in Genoa. LOUIS SPOHR. This great violin master and musician occupies a very high place — if not indeed the very highest— among German artistes. It inay be pointed out, by the way, that he never calls himself " Ludwig " but always " Louis," in his Autobiography, as has been indicated by the author of the article in Grove's Dictionary, I may add to this, from documents in my own possession, that he also signed his name "Louis" and not "Ludwig," not only in his correspondence, but also if he had to sign a jiiece of his own music. Sometimes he also signed — in what may seem a rather imposing manner — " Dr. Louis Spohr." He was born at Brunswick, in 1784. When he was two years old, his father, who was a doptor, moved to the small town of Seesen, and Spohr spent there the early years of his childhood. Both his father and mother were musicians of some culture, and when he was five they bought him a little violin on ' which he found out the notes for himself — and played over, to his mother's piano accom- paniment, the music they were in the habit of singing or playing. The rector of the place, whose name was Rieraen Schneider, gave him his first lessons. They were necessarily of an amateur kind, and so were those of his second instructor, but he was a more advanced 28o THE FIDDLE fancier's GUIDE. player, named Dufour. At the latter's instance young Spohr was sent to Brunswick — to the grammar school there — and at the same tinie began the serious study of the violin under a player named Kunisch, who was in the Duke of Brunswick's^band. He was also taught counterpoint by Hartung, an organist, and never received any other instruction in musical composition. He had further instruction in violin playing from the leader of thp band, Mancourt, and when he was fourteen, or rather younger, he played- a concefto of his own at a school concert. He then tried a tour and went to Hamburg, but could not get up a concert. Returned to Brunswick sorely depressed and without money, or very little. He wrote to the Duke asking for means to con- tinue his studies. The Duke heard, and gave hirri an appointment in his band, and by-and-by arranged for him to receive further violin instruction from Franz Eck. They were to travel together, and in 1802 meant to go to Russia but made a prolonged wait at Hamburg and Strelitz. By-and-by theyarrived in St. Petersburg, and after remaining through the winter there Spohr returned to Brunswick the following summer, where he heard Pierre Rode play. This made a great impression on Spohr. He then gave a concert himself and started to go to Paris, but had his Guarnerius stolen from him, and had to return to Brunswick in order to arrange for another instrument. He next went to several German tow:ns and in 1805 became leader of the Duke of Gotha's band. In the following year he married Dorette Scheidler, a harp-player, and began to write •arge instrumental and other works. Between 1805 and VIOLINISTS. 281 1813 he toured through Germany, accompanied by his wife, and in the last named year accepted the appoint- ment of conductor at the Theatre-an-der-Wien, Vienna. In 1815 or 1816, the two went to Italy on a concert tour with great success and returned to Germany in the follow- ing year. In 1818 he was conductor of the opera at Frankfort where he produced his Faust. In 1820 the Philharmonic Society invited him to London, and he paid his first visit to this country. From that date his career was one continuous triumph till a few years before his death. He was immensely pleased with the Philharmonic, admitting that he had never heard such splendid performances. He frequently came here after he accepted the life appointment of music director at Cassel in 1822. The last time he was over was in 1853, and shortly after that his health began to give way. He lost his wife in 1834 ^^^ married again in 1836. In 1857 ^^ broke his arm, and had to give up the violin, and his last public appeiarance of importance was in 1858, when he conducted the jubilee celebration at the Prague Conservatoire. He died in Cassel on October i6th, 1859. These facts are almost wholly taken from his Autobiography, which is one of the most interesting musical works of a personal character published during the present century. CHARLES AUGUST DE BERIOT. This artiste is, perhaps, the best known representa- tive of the Belgian school of the past. He was born in Louvain in 1802, and although he attended the .Conservatoire in Paris for a- few months under the 282 THE FIDDLE FANCIER's GUIDE. guidance of Baillot, he really derived no assistance in the development of his powers from that school. Before he went to Paris in 1821, he was an artiste of the highest ■class, and. when he consulted Viotti ,, on reaching the French Capital, the latter strongly advised him to follow his own bent, seeing he had nothing to learn which he could not teach himself. He was a magnificent per- former for brilliancy and delicacy of touch, with a fine, melodic sense. The latter quality is strongly rnarked in much of his music, and especially in his " Airs Vari6s." He is one of those examples of the developing power of individual genius, of which we have instances in Paganini, Ole Bull, and one or two others, for although, like them, he received instructions from a resident teacher, a violinist in Louvain named Tiby, he was not burdened with the traditions of any school, although his style is classicEtl enough for all that. He met with successes wherever he played, and, beginning with Paris, he travelled all •over Europe except Russia. His fifst appearance in this country was in 1826, and he was very often here after that. He married the celebrated singer, Madame Malibran, but I am' sorry I am not in a position to say when with any sense of exactitude. The event occurred before I was born, and I have not yet had an opportunity of examining into the matter at first hand, so I give a selection of the various dates given by various authorities. One important biograpical work gives the date as 1830. Another says 1832. One of the finest and most authorita- tive works in existence, and which is also the most recent, states that they were married in 1835, and in another place of the same work that the date was 1836. If it is any OLE BULL. VIOLINISTS. 283 satisfaction to the reader, I may say that I lean to the opinion that they were married on the 26th March, 1836. She died in Manchester a few days less than six months after that date, and JDe Beiiot went oiF s.t once to Brussels' to look after the propeirty. But they had known each other for some years, and had given many concerts together. After his wife's death, De Beriot remained in Brussels for four years, and his first appearance afterwards was in Germany. He was appointed chief of the violin school at the Brussels Conservatoire in 1843, and remained in the thair for nine years. He became blind in 1852, and retired. He died at his native place in 1870. One important publication gives the year of his birth as 1770. This is an error. His music, as every violinist knows, has been, and is yet, very popular. Some of his melodies are exceedingly beautiful. He also wrote a great many duets, soriie books of studies, seven concertos, and a " school." OLE BORNEMANN BULL. This great Norse magican was born in Bergen on February 5 th, 1810. His father and mother were musical, but an " Uncle Jens " used |to have quartets on Tuesday evenings, and to these Ole Bull cbuld probably have traced his earliest musical longing^. Even as a , baby he would be found under the table or sofa listening to the quartets of Hadyn, Mozart, and Beethoven. His uncle, who played the 'cello, would put him inside the case and play to him, while he bribed him with sweet- meats not to move'. This was when he was about three 2S4 THE FIDDLE FANCIER-'S GUIDE. years old. When he was five, his uncle bought him a violin, and his widow relates that when the child played his first tune on it he felt as if he had ascended to the clouds. All young children are delighted when they accomplish something which they see done by their elders, but the after career of this magnificent man places beyond a doubt that the joy he felt was more than the ordinary glee of childish satisfaction. The whole life of Ole Bull was a poem, and one of the most elevating kind. He had the highest possible appreciation of the power of executive art, and he employed that power in the rtoblest manner. His first teacher was a Dane — a Mr. Paulsen — but the little fellow really played the violin tolerably well almost from the first moment he handled it, although he had to stand at his mother's knee while she screwed the pegs for him — his baby fingers not being strong enough for the duty. This Mr. Paulsen probably exhausted his own knowledge in the teaching of Ole, for on one of the Tuesday evenings when Paulsen should have led the quartet, he was so drunk as to be useless. Ole's uncle called out to him, " Come my boy, do -your best and you shall have a stick of candy." Ole Bull at this time was eight years old. He took up his violin, and, to the amazement of all, played through a qualrtet of Pleyel's which he had frequently heard, atid played all the movements accurately. After this Paulsen's lessons were given more regularly, but be soon suddenly left Bergen, and the boy had no regular instruction from the time he was nine until he reached the age of twelve. Then a Swedish player named Lundholm took up his abode in the town, and tDle was VIOLINISTS. 285 sent to him. WJien he was fourteen his grandmother got him, at his earnest request, Paganini's Studies, and he actually mastered these in a very short time, and nonplussed his teacher. By-and-by he was sent to the University at Christiania to study for the church and was duly plucked — and little wonder, seeing that he played the violin all night previous to the day of his examination, and as far on as seven in the morning;-' while his " exam." came on at nine ! The professor remarked, to him, " It is the best thing that could have happened to you,"' and had him appointed Director of the Philharmonic and Dramatic Societies o!f Christiania. From this point his artistic career may be said to begin, and it was, with two notably exceptional periods, a triumphal progress through the whole civilised universe. The first exception was on the occasion of his visit to Paris in 1831. He had gone there to take his place in the world of art, having in his pocket the proceeds of some concerts he had given just before leaving Norway, He met with no encouragement, could not even get heard — and to crown all, an old rascal who stayed in the same hotel in which he lodged, robbed him of all his money and belongings, leaving him nothing but an old suit of clothes. Absolute want stored him in the face, but he happened to meet an accquaintance who introduced him to his own landlady, and became security for him to the extent of sixty francs per month until he could hear from his friends in Norway. This is the time when that singular stroke of luck befell him at play, and which is so often referred to in a vague and inaccurate manner. The circumstances are as follow : His landlaldy and his 286 THE FIDDLE FANCIER'S GUIDE. friend ^were beginning to look askance at him when, one morning, a stranger of somewhat odd appearance was at the breakfast table, and Ole Bull's friend remarked that he was a detective. The former replied that he suspected as much, and these comments being overheard, , the' visitor became very angry, but on Ole Bull respon,ding in a quiet, gentlemanly manner, his mood changed, and he presently began to take an interest: in the Norwegian. He appeared to divine Ole Bull's position, and requested him to go with him to a small public house in the vicinity, as he had Something to tell him. When they arrived there the stranger said to Bull, " I know you are in want. Follow my advice. You must try your luck at play.'' "But I have no money." ''You must get five fr'ancs .; then go to-night, between ten and eleven o'clock, not earlier, to Frascati's, in the Boulevard Moritmartre. Mount the stairs, ring the bell, and give your hat boldly to the liveried servant in attendance ; enter the hall, go straight to the table, jiut your five francs on the red, and let them remain there." Ole Bull did -as he was told, exactly, and when he found himself at the table in puttin'g his money on the red he did it awkwardly, and -it rolled over to the black and was lost. He almost lost consciousness, but at the next coup he heard the cry, " Play, Gentlemen," and he called out, cinque francs but his Norwegian accent made it soun4 like cent francs, and a hundred francs were passed over to him. He placed these on the red and won, again, and won, and again, and again, until eight hundred francs were lying beside him. Suddenly a small diamond- decorated hand shd over the table and covered his pile. VIOLINISTS. .287 He seized it, and there was a scream and an uproar. -Immediately a clear and comjnanding voice said, " Madame, leave this gold alone," and, to 6le Bull, " Take your money. Sir, if you please." When th& violinist turned to look at the speaker, he found him to be his friend of the morning, and afterward learned that he was Vi(Jocq, the chief of the police. The. other ' exceptional period of his life was when he found himself utterly ruined, after pa3dng the price of an American estate on which to settle a Norwegian colony, and having to restore the land to the rightful owner — ^the company from whom he bought it having no title whatever. H& was a man of marvellous energy, or he could never have recovered from that shock, but he started again with his vioUn and bow, and righted himself completely. Another interesting episode in this artiste's career is. ' his meeting with his first wife. The cholera was raging in Paris shortly after the time of the Vidocq incident, and a house to which he removed was invaded by it. He could find no employment, and night after night h& used to wander about the street in positive want — ^for his eight hundred francs, after paying his debts, did not last very long. One day, while roaming through th& streets, he saw a little ticket in the window of, a house in the rue des Mart3rrs, " Furnished rooms to let." He ascended the stairs, and when he rang the bell and the- door was opened, a young lady cried, "Look at him, Grandmama." Grandmama put on her glasses, looked at him, and the tears welled up in her eyes. He was ' the picture of a son she had just lost, and was told tO' come back next day. It was high time. He had 288 THE FIDDLE FANCIER's GUIDE. stopped opposite that house because he felt as if he could go no farther from sheer exhaustion, and he was no sooner in it than he was attacked by brain fever. When consciousness returned, the old lady was sitting by his bedside nursing him as if she had been his own mother, and the young lady was Alexandrine Felici6 Villeminot, his future wife. Sometimes his irrepressible sense of humour proved an impediment in his path. Shortly after, his recovery from fever he applied for an appointment in the Opera Comique band. Competitors for the place were tested in playing at sight, and when he went forward to the desk the music placed for him was so extraordinarily simple, that on the spur of the moment he asked at which end he was to begin. The examiner did not see the fun of it, but, without replying, rejected him without a hearing. He had another very laughable experience with fiddle varnish. A gentleman named Lacour had made the discovery — like so many others — that by the use of his particular varnish an ordinary fiddle could be made equal to a Cremonese instrument. Ole Bull was then a little over twenty-one, and a good old chest- nut like this was quite a novelty to him, so he arranged with Lacour to play on a fiddle varnished by his pro- cess. It was to be at a Soiree given by the Duke of Riario, the Italian minister at Paris, and^was a splendid opportunity for the young man, so, armed with the precious instrument, he determined to make it, if possible, the turning point in his career. The heat of the apartment, filled with a brilliant company, was so intense that the varnish on the fiddle began to smell in VIOXINISTS. 289 a most oSensive degree. Assafoetida entered largely into the composition of the varnish, and it was com- p^iratively new. At first it merely annoyed him slightly, but g,s he played on and the heat of his chin and neck worked up the varnish at the tail piece, the smell was dreadful just under his nose, and when he realised that the horrible odour must be permeating the room in his immediate: neighbourhood, he became quite excited.- The warmth of the contact between fiddle and chin increased, the heat of the room increased, and the odour seemed to treble in pungency. He was a player who could turn his head round a good bit, but he could not remove the fiddle, and the agony became almost unendurable. Furiously he played on, the hideous odour growing worse and worse, until he quite expected to be saluted with smiles and laughter amid a general stampede from his vicinity. When he had finished, the smiles were his, but they were smiles of congratulation from all sides, no one seemingly haying observed what was so painfully near his own olfactories. It was an awful experience, however, which probably made him duly cautious in similar circumstances for the whole term of his natural life. From this time onward his evil fortune passed away and almost every important town in the civilised world had a visit from him, and many of them more than one. His first appearance in this country was on May 21st, 1836, a feat which he succeeded in achieving after the most extraordinary, tricky "intrigue against him on the part of that curiously envious' violinist, Nicolas Mori. After this, his successes were of an altogether exceptional v 290. THE FIDDLK FANCIER S GUIDE. character, and for about eighteen months, he . alrnost wore himself out giving concerts. The Duke of Devon- shire had him down at Chatsworth for rest and quiet, and forbade him to play, but on one occasion, he played there till midnight, with results which caused the Duke to make the prohibition absolute, and take means to see that it was enforced. In this year he was married in Paris to the young lady whose grandmother had been so kind to him, and they returned to London. Shortly after, he at;ranged for a tour in the United States, and subse- quently passed many years of his life in Arnerica, where he evolved that scheme for Norwegian settlers, which ended so disastrously, but so honourably. All the circumstances of his life are delightfully told by his widow in her memoir of her distinguished husband, and the above details are taken froqi that work. When I was a young man, I had the honour to receive some slight personal directions in violin playing from him, and I have a very vivid recollection of the extreme kindness of his manner, and the dignity of his bearing. He was an exceedingly tall, and exceptionally handsome man. He was a very enthusiastic student of old violins, and was fond of carrying out, and seeing carried out, experiments in the direction tending to reveal the supposed mysteries of their manufacture.- He possessed, at different tjmes, many fine instruments, and the one which he called his " Gasparo da Salo," has become quite famous. He is, I fancy, the only violinist who ever played a solo on the top of the pyramid of Cheops, a curious feat which he accomplished on his sixty-sixth birthday, completely enthralling the Bedouins about VIOLINISTS. 291 him until he had finished, when they sprang tq their feet on the summit of the old world structure, as if suddenly charged with electricity, and shouted the name of " Allah ! Allah ! " In the month of July, 1880, Ole Bull was taken ill in Liverpool after landing from his last trip from America. When the symptoms grew violent, he insisted on sailing to his home in the island of Lysoe, where he had built him-, self a beautiful house. Dr. Moore, of Liverpool, accom- panied him and attended him to the last. When the melancholy home' coming was ended,' and the great man was laid in his music room overlooking the waters of the Bjorne Fjord, after a short period of fitful hopes and fears, there he died, regretted by the whole world of music-loving people high and low. He. is buried in the centre of the old Bergen Cemetery, and the finest of all tributes paid to his memory was- when after aU the funeral orations had been delivered, and the wreaths put on his grave, and the regular mourners had departed, poor peasants from all . parts of the country around Bergen slipped up to the grave, and in hundreds, placed their green boughs, ferns, and flowers on the last resting place of their great friend. ■ WILLIAM BERNHARD MOLIQUE. This master was born in Nuremberg in 1802. He had his first tuition from his father, who filled some civic post as musician. King Maximilian L of Bavaria, noticed young Molique's talent, and had him sent to Mimich to be trained by Pietro Rovelli. Two years later, MoUque accepted a position in the Court Chapel V2 2g2 THE FIDDLE FANCIER'S GUIDE. in Vienna, and a year after that Rovelli died, and the young violinist was recalled to Munich to fill Rovelli's place. Spohr is understood to have given him some suggestions both in regard to violin playing and composition. Molique made his first tour in 1822. In 1826, he went to an important appointment in Stuttgart, aijd from there he made annual tours throughout Europe during his vacation, and until 1849, when he almost per- manently settled here in London. He remained twenty years in this country, and wrote concertos, quartets, trios, and grand sonatas. Some of his melodies are extremely pathetic, and of an exceedingly refined character. He tried Paris in 1836, but did not please the taste there. In 1861 he was appointed professor of composition at the Royal Academy of Music, and retired five years later. He went back to Germany, and died at Cann- stadt on loth May, 1869. He was a distinguished orchestral conductor. HEINRICH WILHELM ERNST. This exceptionally fine German master was born at Briin in 1814. He was trained at the Vienna Conserva- toire under Joseph Boehm, who was, himself, a pupil of Rode's, and a player of great eminence. It is said that Ernst also had instruction from Mayseder, another German master of distinction. He was, besides, a close student of Paganini, who probably influenced his style largely. Ernst was touring when he was sixteen, and two years later he went to Paris, and remained there for six years. He never appears to have enjoyed robust health, even when travelling. HENRY VIEUXTEMPS. VIOLINISTS. 293 which he did for about sixteen years, visiting all the chief towns "in Europe. His first appearance in this country was in 1844, but he ultimately resided perma- nently in London. In the course of time he had to relinquish violin playing altogether in consequence of the nervous trouble to which he eventually succumbed at Nice on 8th October, 1865. No one who has heard him play his exquisite " Elegie," will readily forget the remarkably beautiful character of tone which he succeeded in drawing from his fine " Stradavari." In addition to above " Elegie " he is author of a number of high class works for the instrument — some of them being exceptionally difficult. HKNRI VIEUXTEMPS. This great Belgian player was born at Verviers in 1820. He displayed a very early likmg for the violin, and his father, through the kindness of an amateur friend, had him placed with a loca:l teacher, arid his progress was so rapid that when he was six years old he played one of Rode's concertos in public. Then the touring began. In Brussels, De Beriot heard him, and took him in charge for a few months, ultimately exhibit- ing him in Paris successfully. The boy returned homcj but with no doubt as to his future career. In 1833, he started with his father on his first professional tour on his own account, and for forty years after that date, the whole civilised world became familiar with his splendid ability. His first visit to this country was in 1834, ^^^ seven years later he came again, a young man of twenty- one. He had a magnificent tone and style, apd received S94 THE FIDDLE FANCIER'S GUIDE. a very flattering reception. He visitfed America once or twice, where the same enthusiasm — perhaps greater — greeted him. He settled in Russia for six years, but resumed his journeyings over the face of the earth, and continued them until he settled down in Brussels in 1 87 1, to fill the place of De Beriot at the Conservatoire. A few years afterwards a stroke of paralysis disabled the whole of his left side, and ended his violin playing. The terrible nature of the deprivation could only be realised by the artiste himself. He bore it, however, very nobly, and was able to compose for his instrument afterwards. He died in Algiers in 1881, and has left a large number of compositions of various kinds, among them being six concertos. EDOUARD REM^NYI. This artiste is one of ' that distinguished band of Hungarian violinists, which has emanated from the Vienna Conservatoire. He was born in 1830, and was for three years under Boehm. Soon after he left the Conservatoire, he joined the insurrection and had to change his domicile. He went to America, where he resumed his art, and in 1853 returned to Europe. In 1854 he came to London, and in i860 went home to Hungary. In 1865 he was in Paris, and in 1877 in London again, and, since then, he has been, in America, all over Europe and, indeed, in most parts of the world. In 1.89 1 he visited once more the British metropolis, but he was not heard in public. In my opinion, he is an artiste of the highest grade, who should be more frequently en evidence than he has VIOLINISTS. 295 been during the last twenty years. Apart from his splendid technique, I carinot recall the name of any player who has with greater delicacy, grace, and feeling, interpreted the' national airs of whatever country he might fix on for purposes of musical exposition. When he came here in 1854, he was made "solo violinist to the Queen," and when he returned to Hungary in i860, he received an appointment of equal importance at the Austrian Court. JOSEPH JOACHIM. This artiste is almost universally acknowledged to be the first of living violinists, and it appears to be certain that when Time once more lets his curtairi descend on a great" violin epoch; the doctor's name will be found in line with those of Corelli, Tartini, Viotti, Paganini, and ' Ole Bull. He was born at Kitse, in Hungary, on June 28th, ,1831, and began to play the violin at five years of age. His first instructor was the leader of the Pesth Orchestra, and when he was ten, he was, sent tp the Conservatoire a.t Vienna, where Joseph Boehm had still charge of the violin classes. Two years later he went to Leipsic, to Ferdinand David, where Mendelssohn, who was head of the Conservatoire, took special interest in him. He had, before this, played in public, though not, perhaps, under such distinguished auspices for, on the occasion of his first appearance in Leipsic, Mendelssohn himself accompanied him on the piano. From that period his career has been one of uninterrupted success and ever increasing distinction. The first occasion on which he played in this country was when Mendelssohn 296 ' THE FIDDLE FANCIEr'S GUIDE. came to conduct the Philharmonic season in 1844, when he appeared at a concert at Drury Lane, and again on May 27th, at the Philharmonic. He was then only thirteen years of age, but already a master, and for more than fifty years, season after season, he has maintained his high position. It must be the wish of every true lover of art that Dr. Joachim may long remain with us. He has received a large number of decorations from the various fountains of earthly honour, and he -tvould be a very pretty sight indeed if he wore them all. The most appreciative mark of affection and esteem which he ever had, may not be the beautiful Stradivari violin pre- sented to him on his Jubilee, by friends and admirers in this country,' but it will not come very far behind it. LUDWIG STRAUSS. This fine performer is another pupil of Boehm's. He was born at Pressburg in 1835, and early distinguished himself, becoming a colleague of Mayseder's in concerted music. He has occupied several high posts on the Continent, and has gone through the usual touring curriculum with Signor Piatti, and other important players. He first came here in i860, and then per- manently in 1864, and is a solo player of great distinction. JOHN TIPLADY CARRODUS. This great English violinist was born at Keighley in 1836. He started very early, and was a public performer before he was twelve years old. At that age he came to London to study under Molique, who was here a;t the time, and he. accompanied that artiste to JOHN TIPLADY CARRODUS (President of the College of Violinists). VIOLINISTS. 297 Stuttgart, where he remained until he was about eighteen; He then returned, and filled an appointment in Glasgow. Soon after this, he attracted the attention of Sir Michael Costa, whose judgment recognised - in the young violinist those qualities which ultimately brought him to the very front. Costa invited him to join the Royal Itallian Opera, and soon after he passed to '' Her Majesty's " as leader, and finally, back to the R.I.O- in the same distinguished capacity. His master, Molique, was a magnificent leader, and his mantle has fallen on Mr. Carrodus, who, at present, leads the most important orchestras in this country. He has published a number of original compositions for the violin and piano, as well as educational works for his instrument, and as a solo player, he is immensely popular. Lady Halle (nee Neruda). This lady is one of the most distinguished players of the age. She was a very little girl indeed when she first appeared here at a Philharmonic Concert, but the magnificently incisive tone which now responds to the stroke of her bow, is not surpassed by that of any performer who visits these shores. For nearly, twenty- five years there has been no more popular artiste in this country. She was a pupil of J ansa, before he came to London, but the art of violin playing runs in her blood. For nearly two hundred years the members of her family have been violinists, and, if ther^ is anything in the influence of heredity, one need hardly be surprised that her splendid style and technique should make many 298 THE FIDDLE FANCIER'S GUIDE. a fine male performer quail. A few years ago, she was married to Sir Charles Hall6, the distinguished conductor and pianist. MARTIN MELITON SARASATE. This favourite violinist was born in Pampeluna, in Navarre, on loth March, 1844. He is sometimes called Pablo de Sarasate, and is said to have been born in Saragossa, in 1846. Why there should be such diversity of information regarding a great modern artiste such as he is, may be explained as follows. In 1879 a writer named Hans Hoffman published a farce in which the hero, a certaii; famous violinist called Nicotini, is toririented by two silly women who are his passionate admirers, and who get themselves and others into trouble by their stupid conduct. Nicotini is desirous of travelling incognito, but these curious dames find him out to be Sarasate, and the naine of the farce is " Pablo de Sarasate." I suppose the distinguished man has, in this way, come to be' baptised in this name. I/also fancy that Saragossa has been given as his birthplace through some phonetic confusion between its name, and the first sounds of " Sarasate." It is not very farfrom Pampeluna, certainly, but it is in the province of Aragon, and a man cannot be born, in an earthly sense, in two places. The discrepancy in the dates I do not attempt to explain. Senor Sarasate was quite young when he was taken to Paris, and entered the Conservatoire in 1856, but previous to that he had appeared at public concerts in Spain, it is said as early as 1851, and, had received substantial tokens of approval from very exalted quarters. •"^ i' m f^t ^si^ ' ^iiimm s fmi^ — '^^^r^'^'H^'W^'wr^" ""-"fwr^ MARTIN MELITON SARASATE, Known as PABLO SARASATE. VIOLINISTS. 299 one of these tokebs being in the form of a violin worth £^1,006. There is probably some exaggeration in this statement. Forty years ago there were no violins valued at such a sum, at- least none which could be alienated from their surroundings. But it is a clear enough indica- tion of the esteem in which this wonderful vioUnist was held at even that early age, and there can be little doubt that the instrument wiU be worth that sum now, and probably more. Delphin Alard, the then head of the violin classes in the Conservatoire, and himself a virtuoso of the very highest rank, recognised the genius of his pupil, "and young Sarasate gained the first prize in two subjects, violin and solfeggio, in 18^7. Two years later he had another success in the harmony classi, but did not then follow it up. He was preparing for those, great triumphs which he had not long, to wait for. In Paris, all over France, Spain,' Portugal, Germany, Scandinavia, Russia, Italy, India, America, and last, though, probably, not least in his estimation, in this country, the rapturous enthusiasm which his graceful, accurate, sympathetic, and altogether superb styld of playing has aroused has rarely, if ever, been surpassed. His first visit to London was in -1874, and his second in 1877. He carne again in the following year. Recently he has not missed a season, to the great delight of music- loving people, and devotees of his instrument. The amount of work which he will go through on one platform, and without a note before him, is something astounding, and might well fill one with a sense of deep humiliation at the cruel exactions which his greedy audiences sometimes make upon him. But with unfailing courtesy, he always 300 THE FIDDLE FANCIER S GUIDE. " comes up smiling," and destroys their chances of learning to be considerate by playing some lovely thing which simply enlarges their appetites. EMILE SAURET. This artiste, who at present directs the violin classes at the Royal Academy of Music, won his spurs in this country nearly a quarter of a century ago. He was born in 1852 in Dun le Roi, and received his earliest musical tuition at home. Shortly afterwards he was sent to the Paris Conservatoire, and later to that of Brussels, and became a conspicuous representative of of the French and Belgian Schools. His first visit to this country was in i856. In the three years following he toured through France and Italy. From 1870 to 1874 ^6 "^^^ ^^ America. In 1877 he returned to Europe and is now the distinguished successor to the late Professor Sainton. CHAPTER IX. Masses anb ifiass Pagers. THE origin of the violoncello and the double bass must be sought in the same direction as that of the violin, but there is no specific date at which it can be said that either of them sprang into existence any- more than a similar statement can be made in regard to the smallest of the tribe. There is plenty of more or- less ingehldus speculation on the point, and some par- ticularly dogmatic conclusions, which, however, owe their apparent finality entirely to the peculiarly positive individualism of the writers. The double bass — or, as it is called in Italy-^the contrabasso, is supposed to represent the Violone, which probably existed there as early a-s the fifteenth century, and the 'cello is merely a smaller bass. Their names will be better understood if it is explained that viola was the generic term for all the members of the tribel Violone means a " large viol," and violon'cello (for. violonecello) means a " lesser large viol " and the names of the most celebrated makers of them from Gasparo da S*16 (Bfertolottis) onward to Panormb will be found in the two lists already given. There is no trace of .either of these instruments having been used for solo purposes until long after the violin, but that is no proof that they were not so employed. It merely suggests that the interest which the basses evoked was of a character too evanescent to 302 THE FIDDLE FANCIER S GUIDE. justify recording the achievements of their exponents. One of the earliest performers on the 'cello was JACOPO BASSEVI. This player was born in Italy in 1682. He was first heard of in England in 1728, when he became a member of the Drury Lane band in that year. He- was known by the name of Cervetto, a nickname which signifies a "little stag." He afterwards became manager of the Theatre and made a handsome fortune for those days. He died in 1783, leaving his money — a,bout ;^2o,ooo^to his son James, who was .also a 'cello player, but who retired after his father's death. ANTONIO VANDINI. This player was held in high esteem by the famous violinist Tartini, and the two travelled about a little together, Hardly anything is known of Vandini apart from his connection with Tartini. They were in Prague together and both were in the orchestra of St. Anthony of Padua. Vandini ^as alive in 1770, and was then an old man. 1 GIORPIO ANTONIOTTI^ This 'cellist was born in the vicinity df Milan in 1692, and lived for a time in Holland, where he published some music. He was also in London for many years and died in Milan in 1776. FRANCISCELLO. A great player of whom nothing is certainly known. No music of his has been discovered'; and no trace of BASS]?S AND BASS PLAYERS. 303 hjs birth or death is accessible. The only references to him are three or four in number, but these are by such eminent musicians, and are generally couched in such enthusiastic terms that one must conclude that hei was a violoncello plAyeTpar excellence. Quantz, the great flute player, heard him in Naples in 1725. Benda, a German violinist, heard him in Vienna in 1730, and speaks of him as a marvel. One or two other references complete the sources of information, and they yield little but praise. JOHN CROSDILL Was a very distinguished 'cello player, and was born , in London in 1751. He was musically educated at .Westminster in the choir, but became a professional 'cellist, appearing at Gloucester for some years as principal bass at the festivals. He was also appointed to the leading desk at the Concert of Ancient Music, when that institution was started in 1776. In addition he held an appointment in the Chapel Royal, and was a meniber of the King's Band, as well a.s chamber musician to Queen Charlotte, and 'cello tutor to George • IV. He rnarried a wealthy lady^ in 1788, and retired from ordinary professional' work, but continued to hold his official appointments until his death which occurred in Yorkshire, in 1825. He was a member of the Royal Society of Musicians, and left them ;^i,ooo. LUICr BOCCHERINI. This Italian'master was born at Lucca in 1740. He was a magnificent performer on the 'cello, although he 304 THE FIDDLE FANCIER S GUIDE. is, probably, better known as a composer. He went to Paris in 1768, but there were two or three very dis- tinguished players in the French metropolis at that time, and his performances, on that account, were not so highly appreciated. He ultimately settled in Madrid, where he died in 1805. J. BAPTISTE-AIME JOSEPH JANSON. This artiste was borh at Valenciennes in 1742. His first appearance in Paris was ■ made when he was about fourteen. He then travelled a good deal, and when the Paris Conservatoire was established, he was appointed professor of the 'cello. He died in Paris in 1803. He is said to have given lessons to John Crosdill, when the latter was in Paris, which appears to be a mistake. JEAN PIERRE DUPORT. , A great 'cellist, who was born at Paris in 1741, and died in Berlin in 1818. His first appearance was made at the Concert Spirituel when he was twenty years old. He came to this country in 1769, and in 1771, went to Spain. In 1773 he went to Berlin, where he remained the recipient of various court favours and appointments. JEAN LOUIS DUPORT. A brother of the preceding, was born in Paris in 1749. His brother had the chief duty of training him, and soon made him a splendid player. He made his first appear- ance in 1768. He went to Berlin, to his brother, after the revolution, and there he was treated with similar appreciation. Returning to Paris in 1806, he astonished BASSES AND BASS PLAYERS. 305 his audience by the^ purity 4rid vigour of his style, and maintained his supremacy until within a year or so of his death, which occurred in 1819. BERNHARD ROMBERG. This great artiste was born at Dinklage, in Germany, in 1767-. He was one of a family of most talented musicians^ nearly all of whom played diiferent instru- ments. Bernhard's first important appearance was at the Concert Spirituel in Paris, when he was eighteen, and from that date gradually acquired the distinction of being the head of the German School of 'cellists, if not the leading player in the world 'of his day. He travelled all over the European Continent, making short engage- irients here and there, and this country seems to have bSen the only one in which he did not play. He was one of the professqrs in the Conservatoire at Paris for a short time, and died at Hamburg in 1841; JUSTUS JOHANN FRIEDRICH DOTZAUER. This famous 'cellist was the son of a Protestant clergyman at Hoesselrieth, near Hildburghausen, and was born in 1783. He began the study of the instru-' ment early, and was put under Kriegek at Meiningen in 1799. He was with him for a year, and was then appointed a musician at the Court of the Duke of Coburg, a place he held for four years. In 1805, he went to Leipsic, and in 181 1 to Dresden, to the Chapel Royal there, a connection which he retained until his' death. He is author of a splendid " School " for the 'cello, and a number of -other works. ^ w 306 THE FIDDLE FANCIER's GUIDE. ROBERT LINDLEY. A distinguished native player, was born at Rotherham in 1776. His father taught him the violin and the 'cello, and when he was about sixteen, he became a pupil of James "Cervetto," s6n of the previously named Jacopo Bassevi. When Lindiieiy was eighteen he was principal 'cellist at the opera, and, until 1851, when he retired, ho one succeeded in unseating him from the various distinguished positions which he occupied. He was a beautiful player in every sense of the word. He -died in 1855. ALFREDO PIATTI. This great Italian artiste is now, and has been, for nearly half a century, the acknowledged King of 'cellists. He, was born in Bergamo, in 1822, and was trained by his grand uncle Zanetti, and, on his death, at the Milan Conservatoire under Merighi. He made .his first piiblic appearance when he. was fifteen, and, seven years afterwards, came to this country. He is -one of those artistes whom Mendelssohn loved, and is a truly golden link connecting us with that great musical epoch. Year after year, since 1844, t^e London musical public have been charmed by the functioning of those splendid qualities which have placed him' in almost solitary greatness among his confreres, and during that time of active work with the fingerboard he has contrived to form, besides, a well-nigh perfect school of playing through the media of published pieces, both original .and transcribed. , BASSES AND, BASS PLAYERS. 307 EDWARD HOWELL, A son of the famous double bass player, is one of our fine native artistes. He was selected as principal 'celi<> at the Royal Italian Opera, and his popularity on the concert platform is familiar to all lovers of chamber music. The exquisite sweetness and purity of his tone once heard is not easily forgotten, DOMINICJO DRAGONETTI. Almost everyone has heard of this great coiitra-bassist^ Who may be called the first to acquire a European reputation for his performance on the large bass.. He was born in Venice in 1755, and was, like almost all the great artistes on any instrument, early distinguished for the musical ability which he displayed. He first of all played the guitar and violin, and when he took to the double bass. His teacher, Berini, had speedily to relinquish the attempt to teach him anything, and also relinquished the place which he occupied in the ofchestra of St. Mark, in order that Dragonetti might be in it. He was then eighteen, and played on his big fiddle as if it were a 'cello, a tenor, or even a small violin, and no difficulties of that day were difficulties to him. A story is current that in his very early days he used to accom- pany the famous singer, Brigitta Banti, when she sang in the streets and cafes of Venice. It seems to lack confirmation. He came to London in 1794, and made his first appearance at the King's Theatre. His success was instantaneous, and it does not appear that he went back to Italy, except when on tour. In the same year Robert Lindley had been appointed principle 'cellist^ W2 308 THE FIDDLE FANCIER'S GUIDE. , and Dragonetti and he remained in the orchestra for over half a century, playing at the same desk. When he was ninety years old he led the basses at the Beethoven festival at Bonn. This was in 1845, and eight months afterwards, he died at his home in Leicester Square (1846), He is buried in St. Mary, Moorfields. GUIESEPPI ANDREOLI, A famous double bass player who was born in 1757 in Milan and became professor at the Conservatoire there. There is not much known regarding him. He was in the orchestra of the great Milan opera house, La Scala, and died in 1832. JAMES HOWELL. This fine double bass player was born at Plymouth. He was a precocious musician, singing in public when he was ten years old. He was also a versatile genius, as he played the clarionet and the piano besides the double bass, but the last named was the instrunient on which he excelled. He became its professor at the Royal Academy of Music, where he had been a pupil since the time he came to London ■ (1824), and after Dragoiietti died in 1846, Howell became the most im- portant of the double bass players in this country. After. Dragonetti — perhaps quite on a'leviel with him — the world has honoured GIOVANNI BOTTESINI. He was born at Crema in Lombardy in, 1823. His first instrument was the violin, but when he was thirteen years old he went to Milan, and studied the BASSES AND BASS PLAYERS. 309 double bass in the Conservatoire there'. His master was Louis Rossi, another great player, of whom little is known. Bottesini was seventeen when he began his niusicai tours throughout Italy. These lasted, about six years, when he went to Havanna as leader of the theatre there, and shortly after became musical director. He was five years in Havanna, and during that time composed his opera " CriStoval Colon " (Christopher Columbus). He also visited the United States when occasion offered, and made a great name. He came back to Europe in 1851, and returned to the States with Jullien in 1853. A year later he went to Mexico, and then returned to Europe. He made a great sensation in this country, and was called the " Paganini " of double bass players. During a stay in Paris of two years he produced his " Siege of Florence," and started once more on his travels through France, Belgium, England, Holland, and Germany, and finished up with Italy in 1859. .Another opera, " II Diavolo della Notte," there saw, the light, and from that date until his recent lamented decease (1890) he was constantly before the public, composing operas, playing solos, or founding societies. No one who has heard him will readily forget the amazing beauty of his tone, the wonderful vioUn like rapidity of his' execution, or the exquisite sweetness of his music. He was, all over the wbrld, enthusiasti- cally admired, whether as head of the opera at Cairo, or producing his " Ali Baba " in London, but I think I shall never forget one bright afternoon, when the great artiste came before what should have been an overflow- ing house of his own countrymen. The veteran was 310 THE FIDDLE FANCIER's GUIDE. Hearing his three-score and ten, and he played as divinely as ever I heard him play. He and th^ artistes who rallied round him made the few who were present 'immensely happy, and those who were absent, and might have been there, have one delightful memory the less. Advertisement. ^yCK,. JAS. M. FLEMING, The Author of this Book, and Well-known Violin Expert, writes thus at page 122 in "OLD VIOLINS and THEIR MAKERS." " It is much wiser to purchase a soundly-constructed instrument of modern manufacture, which may be had from many good and respectable makers, than to seek after a genuine Old Master at the risk of losing much money and helping to keep up their present ridiculous' prices.'*— And see Ijjs" remarks at page 173 in this work, " THE FIDDLE FANCIER'S GUIDE." Messrs. HAYNES, TOUGHER & Go., 14, GRAY'S INN ROAD, LONDON, SUPPLY SPECIAL VIOLINS of various descriptions, all of which fulfil every requirement of the Violinist, and may be entirely relied upon. The most important are : TSE CABItODUS VIOLINS, TMB FOVCIIEIt VIOLINS, THE SCHLOSSER VIOLINS. Full particulars of these most beautiful instruments will be sent on application. On January 13th, 1881, Mr. Fleming wrote us as follows : — Dear Sirs,, — I am very much pleased with the "Carrodus" Violin you were good enough to show me. I consider it to be quite a remarkable instrument for the money. Yours faithfully, J, M: FLEMING. Author of " Old Violins and their Makers," and " The Fiddle Fancier's Guide." This judgment of Mr. Fleming has been fully endorsed by public opinion, and no modern Violins stand so high in the estima- tion of Violinists. Advertisement.' VIOLIN MUSIC. PROFESSORS, AMATEURS, and the TRADE will find a most useful variety of New and Select Music for the Violin in "EDITION CHANOT," Comprising Solos, Duets, Trios, and Quartets tvith or without JPia/no Accompaniment. Two Hundred New Original Pieces for Violin and Piano in the "First , Position." Each No, Separate. PAPINI'S VIOLIN SCHOOL (Dedicated by special permission to H.R.H. the Duke of Edinburgh) Is the most modern and complete work for the Violin. The Ninth and Enlarged Edition contains over TWO HUNDRED FULL-SIZED ENGRAVED PLATES. In Four Parts, each part 4s. net, complete los. 6d. net. Bound in Boards, 12s. net, CATALOGUE POST FBEE OJ!^ APPLICATION. FREDERICK W. CHANOT, DEALER IN CREMONESE VIOLINS, BOWS, CASES, STRINGS (a Speciality), RESIN, ETC., ETC, ADDRESS- SEDITION CHANOT," 73, BERNERS STREET, LONDON, W. (Facing Messrs. NOVELLO, EWER & CO.) Ici on parle Fransais. — ^ P. O. O., F. W.'Chanot, London. Advertisement. VIOLINS BY HERMANN SCHLOSSER OF EHRLBACH \ These Violins, which were first introduced in 1890, have already at- tained to the very highest position amongst contemporary German violins, and lovers of that school will find none more worthy their attention, as well for artistic beauty as for fine pure tone. The large and small «ize violins, violas and oellos by Mr. Schlosser ire characterised by a lemarkable similarity of ippearanee. As one of our- customers expressed itj " They all appear to be made from the same tree." Also made in Ladies' and Three-quarter Size FULL PARTICULARS, ALSO OF THE SCHLOSSER VIOLAS AND SCHLOSSER 'CELLOS FROMl Haynes, Foucher & Co.i 14, Gray's Inn Rd., London Price £5 5s. Advertisement. HART & SON Dealers in Cremona& other Instrumentsi, MANUFACTURERS OF Guaranteed Englisli-made Violins, Artistically Finished, Kichly Oil Varnished 12 gs., 15 gs., 20 gs., 25 gs. Importers of the finest qualities of Italian Strings.. Tested strings prepared expressly for HART & SON. Good Violins from Two Guineas each. Violins for Beginners. Bows, Cas^s, Guitars, Italian Mandolines. LISTS ON APPLICATION. Repairs of all kinds carefully executed by experienedd workmen on the Premises. Have an unique Collection of Violias, Violas, Violoncellos and Bows, by the Old Masters. Violin, Viola, ViolonceUoi Guitar, MandoKne, and Zither Methods. Music for Violin, Viola, and Violoncello. 28, WARDOUR STREET, LONDON, W. Advertisement. THE VIOLINS OF H. J. C. FOUCHER, (OIF I'^E.IS), Which have the high honour of a Testimonial from ■ 9 V^,^^ and for which we are the only authorised agents, are very fine instruments in every respect. It is well known that Old Violins readily sell for prices far in excess of their intrinsic value, and we woidd suggest that it would be. greatly to the advantage of the Professor or Amateur to invest in Pine New Instru- ments of this description, which are perfectly ready for immediate use and which will rapidly mature and increase in value. Model W. Model B. Model G. Model Y. Model R. £8:8:0 6:6:0 4:74:6 3:18:6 2:12:6 Special Grand Model 20 guineas, Magnifique). ' . [ '- ; HAYNES, FOUCHER & CO., 14, GJRAY'S imf BOAD, LONDOJST, W.C. Advertisement. G. H. BUCKMAN, Violin, Viola, and Violoncello Maker, % piiii¥ &ii¥i. lifii. Instruments entirely HAND MADE from choice old seasoned wood and coated with Cremona Amber OIL Varnish. Editor of " The Strad " for August 189I, says : — " The Instru ment submitted o us was exceedingly well made, had a free and easy tone, and was Varnished with Whitelaw's Varnish." All kinds of Bow Instruments Artistically Mepai/red or Reva/rnished. ANTON KESSEL, Violin, Viola, Violoncello, and Bow Maker, llllfllllll. Yiolins of Krsi Quality - - - 4 4 d. Violas „ „ - - 4 14 6 Violoncellos - . - 8 Tlie above are all well made, handsome Instruments, Constructed entirely by Hand from Good Old Wood. SOLE AGENTS SAYJSTES, FOUCHBR & Co., 14, Gray's Inn Boad, London, W.C. Advertisement. THE LARGEST ENGLISH CATALOGUE OF VIOLIN MUSIC IS THAT PUBLISHED BY EDWIN ASHDOWN, LIMITED, NEW YORK. LONDON. TORONTO. It will be sent Post Eree on Application to any Part of the World. GUEST'S EASY STRING BAND MUSIG. A list of Marches, Selections, &c., from Modern and Ancient Composers, most effectiyely and easily arranged. Post Free. '' '■*. '■ J, GUEST, 7, Paternoster A uenue, E,C. Advertisement. BONN'S r ~^ FOR ALL PATENT L©2S(aJ BOWED BRIDGE ^m^ Instruments. Musical sounds, on all stringed instruments, are produced by the strings being made to vibrate. ' The vibrations produced are then communicated to the body of the instrument by the Bridge, and it is well known that the strings directly over the two feet are always the most brilliant ; in other word, that the two inner strings, which cross the Bridge at points where there is , no bearing on the belly of the instrument, lack a great deal of brilliancy, and are never so powerful' as the outer ones. In fact, they are vpry much weaker. Bonn's New Bridge is the result of many years' study and experiment, and possesses these advantages : — The Inner strings obtain their full power of sound, and are as brilliant as the outer ones. Outer strings improved in sonority. Full, clear, ringing tone in all positions. Clearer pizzicato notes oh all' strings. Harshness in ppp tremolo passages on the third string removed. The instrument acquires greater carrying power. Wolf or false notes improved and made playable musical sounds. Notes in the higher positions rendered more mellow and clear. Prospectus Post Free. Sample Violim fridge is. id., Post Free. Boot "^^^mM" Vioif ^¥l(iK^^. The production of the " Premier " Strings is the result of a series of chemical experiments conducted by J. Edwin Bonn, M.S.C.L, M.S. A., L.Mus. In their preparation they are subjected to chemical treatment which renders them comparatively unaffected by moisture and heat of the hand, at the same time giving them a more briiliant volume of tone, greater durability, and such strength, that the " E " will bear pulling up to " A," thus standing a greater strain than any other string ever produced. Each is subjected to a test before leaving the hands of the inventor. ' Prospectus and Price List post free. Sample Packets, is. id., is. jd., 2s., 2s. 6d., or 5s. post free. TECHNICAL NOTES on the Choice of Keeping and VIOLIN STRINGS. By J. Edwin Bonn, M.S.C.I., M.S.A., F.C.V. Seven stamps. Every Violinist should read it. J. EDWIN BONN, Brading, Isle of Wight. Advertisement. The Largest Sale amongst Violinists of any Paper in the World. THE STRAD PRICE TWOPENCE.] [Annual Subscription, 2s. 6d A Monthly Journal for Professionals, and Amateurs of All Stringed Instruments Played with the Bow. THE STRAD. Every number contains beautifully engraved portraits on plate paper of leading artists. Amongst those that have already appeared are — Dr. Joseph Joachim, Pablo de Sarasate, Jean Gerardy, Miss Rose Lynton, Edgar Haddock, J. T. Carrodus, the Hann Family, Paganini, Carl Fuchs, Eugene Ysaye, Bottesini, Guido Papini, Dr. Louis Spohr, Mdlle. Marguerite Baude, Walter H. Mayson, Bromley Booth, Niedzielski, and Ole Bull, THE STRAD contains articles of special interest to Violinists by the best authorities, amongst which are the following : — A revised edition of " Technics of Violin Playing," by Courvdrsier, " How to make a Violin " (with illustrations), " German Violin Makers," " The Pawnbroker's Fiddle," " Sketches of Celebrated Violinists," " Some Accounts of a Fiddler's Haunt," " The Origin of Ernst's Elegie," " Old Violin Frauds," "A Strad found in China," "Violin Makers and their Earnings," " Opinion of Experts," &c. THE STRAD contains Reports of all the important Fiddle, disputes. Our Report of the celebrated Glasgow Fiddle case occupied 30 columns. THE STRAD contains reviews of all new music published for strings, and indicates the degree of difficulty. THE STRAD contains a series of exhaustive articles on " The Chief Schools of Violin Making,'*' with photo reproductions of genuine labels. THE STRAD chronicles the performances and movements of Violinists under headings "Violinists at Home,'.' and "Violinists Abroad." THE STRAD is the best mediuni for advertisers for anything connected with the Violin. The charge is 5s. per inch, column measure. SPECIMEN COPY, POST FREE 2Jd. ^V Subscriptions should be addressed to the Editor, The Strad, 38, Warwick Road, Earl's Court, London. Wholesale Agents: — ■ Haynes, Foucher & Co. Advertisement. Special Tools and Materials FOR VIOLIN M AKERS AND REPAIRERS Sound Post Setters — Peg Hole Cutters^ Peg Tapering Machines — Planes — ^Violin Makers' Knives — Bending Irons and all other Tools WOOD FOR BACKS, BELLIES AND RIBS SPLICES OR GRAFTS BEST FRENCH PURFLING I ill iWIiS Pill (Bois de Chalet) at various Prices Wood for Guitar Making and Repairing Guitar Frets SELECTED WOOD OF THE eiiiiiii ▼i©£ii ftiAiiii Detailed Price Lists of all Requisites on Application to HAYNES, FOUCHER & CO. 14, GRAY'S INN RD., LONDON, W.C. Advertisement. 1>|(4 ''|(ttjjj[i4llt" Wiiflm. Our- justly celebrated "CARRODUS" Violins were in- troduced for the purpose of supplying Artists, Professors, and Advanced Students with a Perfect Instrument of high finish and at a very low price ; but it has been represented to us by many dealers, and also by Professors of Eminence, that there is a large and increasing number of Violin Students who require a really good and well-made Instrument at a still lower price than the " CARRODUS " can be produced at. In order to supply this want we have made arrangements with one of the best Luthiers in France for a supply of really excellent reliable Violins, which we can recommend as being suitable for Educational purposes, and also well adapted to Orchestral and Solo Work. These Violins wecallthe "RUGGIELLI." They are built upon the lines and thicknesses of a fine Italian Violin of great beauty and fine tone, which has been faithfully copied in every detail. , The wood is mature and naturally seasoned, the tables having a good straight even grain. The backs are of good curled maple well matched by the ribs. The necks and scrolls are well carved and the / holes characteristic. The Varnish is thoroughly good, and they are finished either in new style or imitation old. Every Instrument of this class is adjusted and made ready for the player under our own supervision. From the care with which they are made they may be relied on to have a delicate, powerful, and " traveUing " quality of tone. Being oiriginally good they will with care and use rapidly increase in value, and we ask attention to them as being the very best and cheapest Medium Class Instruments before the Public. £3: 3: RUGGIELLI VIOLAS - RUGGIELLI VIOLONCELLOS £4 8 £9 HAYNES, FOUCHBR & CO., , H^ Gray's Inn Road, London, W.C. Advertisement. SPECIALITY! THE "ARNENTERON" VIOLIN STRINGS. Registered " R'NENTRON." These Strings — which, are manufactured by a scientific PROCESS and with the greatest care, from the finest gut, are warranted to be of the very best quality — are perfectly true, stand well up to pitch, are accuratetly guaged, very durable, and give an EXCEPTIONALLY FINE AND PURE TONE. We recommended them to Professors as thoroughly reliable strings. tS" We have numerous Professional and Trade Testimonials as to the Quality of these Strings, and shall be pleased to forward copies of them on application. Bundle Half Quarter of Bundle of Bundle of Single 30 Rings. 15 Rings. 7 Rings. Strings. First Strings, E, 3 full lengths (60in. long) . . IB/6 8/0 4/0 9d. Second „ A, 2 lengths 15/6 8/0 4/0 9d. Third „ D, 2 „ 16/6 8/6 4/6 9d. Fourth „ G, I „ perdoz. — — 6/0 8d. Fourth ,, G, I „ .. sterling silver covered, each 2/0 The G strings are spun upon fine Arnenteron Gut while at a tension of over 2olbs., being about double the tension requirled for Concert Pitch. For the convenience of Artistes WE SUPPLY THESE STRINGS IN SETS— cpnsisting of three lengths of Firsts, two Seconds, two Thirds, and one Fourth — carefully packed to protect them from atmospheric influences. Price, 2/6 per Set. All the Sets are gauged to perfect fifths, and may be had in , either light or heavy gauges. In the light gauge, the tension of the strings at Concert Pitch is such as to carry a weight of 55'2o lbs. ; or separately, the E ig'22 lbs., A I4'89., D I2'i6 ,lbs., G 9*93 lbs. With heavy gauge strings the tension is considerably more. Full particulars of the celebrated Arnenteron Strings for Violin, Viola, Violoncello, and Banjo, on application, to MAYNE8, FOTJCHBB & Co., 14, Grey's Ihn Road, London, W. Advertisement. COLLEGE OF VIOLINISTS (Limited)i, Instituted 1890. Incorporated lS91r PATRON : SENOR PABLO SARASATE. PRESIDENT : JOHN TIPLADY CARRODUS, Esq., Principal Vtolin,- Royal Italian Opera ; Professor of the Violin, Trinity Celkget, London, etc., etc. VICE-PRESIDENTS : Erskine Allon, Esq. Basil Althaus, Esq., F.C.V. A. Coward-Klee, Esq. Theo. Bonheur, Esq. L. F. Bentayoux, Esq., F.C.V. Member of the Paris Conservatoire. Officier de VAcademie. Sinclair Dunn, Esq. Jas. M. Fleming, Esq., Author of "■ The Fiddle Fancier's Guide" " Old Violins and their Makers,'' etc. Rev. Fred. K. Harford, M.A., Minor Canpn.of Westmnster, R. O'Reilly, Esq., Professor Royal Irish Acadimy of Music. Percy M. Hewitt, Esq. Ed. Heron-Ali-en, Esq., Author of " Violin Making" " De Fidi- culis Bibliographia," etc. ■ ■ ' ■ W. H. Longhurst, Esq., Mus. Doc, F.C.O., Organist of Canterbury Cathedral. CarL Schneider, Esq. Wm. Spark, Esq., Mus. Doc, F.C.O., Organist to the Corporation of Leeds. Rev. a. H. Stevens, M.A., Mus. Bac. Berthold Tours, Esq. W. J. Westbrook, Esq., Mus. Bac, Cantab, For Full Particulars of next Examination, List of Provincial Centres, ^ Syllabus, Entry Forms, &t., apply to Mr. G. FOUCHER, Hon. Sec. 14, Gray's Inn Road, London, W.C. Advertisement. REALLY GOOD VIOLIN BOWS. Miquel's "Archet Economique.", The Cheapest Bow ever introduced to the public bearing the name of the actual maker. Best wood, German silver mounted, well balanced, and thoroughly reliable, each lOs. The "Carrodus" Bows. Exact Copies of a genuine Tourte, full-mounted with sterling silver, £1 lOs. The "Corelli" Bows. The graceful and beautifully worked heads of these bows are very much admired. They are great favourites with Lady Violinists. Plain Ebony and Silver mounts, £1 lOs. Emile Miquel.Bows. Prices, £2 2s., £3 3s., £4 4s., £5 5s. The H. F. Special Gold Mounted Violin Bows. The Cheapest Gold Mounted Bows in the Trade, £2 lOs. Full Particulars of the above Bows on application to SATJV^ES, FOJ7CHEB. & Co., 14, Gray's Inn BoacL, London, W.C. NEW MUSIC. List of Selected Studies and Pieces for Stringed Instruments. Music for Contra Bass (Double Bass). Adagio in C for Double Bass, with pianoforte accompanimen t. By J. P. Waud, 4s. Andantino in A for Double Bass, with pianoforte accompani- ment. By J. P. Waud, 4s. Music for Violoncello. Une larme d'Amour — Reverie Nocturne — for Violoncello with pianoforte accompaniment. By Bentayoux, 5s. This beautiful Nocturne may be Performed in Public without Fee or Licence. Music for Violin. Six Petits Duos, with pianoforte accompaniment. By Bentayoux, each 3s. (On the Official List of the College of Violinists.). PUBLISHED BY HAYWES, FOUCHEB <& Co., 14, Gray's Inn Boad, London, W. C. Advertisement. Win probably be completed in Ten Parts. Nos. I., 11., III., IV., V., VI., and VII. Small qUarto. Price 2s. 6d. net. Now Ready. DE FIDICULIS BIBLIOGRAPHIA ; BEING THE BASIS OF A BIBLIOGRAPHY OF THE VIOLIN, And all other Instruments Played on with a Bow in Ancient and Modern Times. CATALOGUE RAISONNE Of all Bod&s, Pamphlets, Magazine and Newspaper Articles, Book and Dictionary Extracts, Dramas, Romances, Poems, Methods, Instruction Books, and Theoretical and Scientific Works relating to Instruments of ¥S3E[, VIOI