,,violin ,,tone ,,and ,,violin ,,makers ,,violin ,,tone ,,and ,,violin ,,makers ,,degeneration ,,of ,,tonal ,,status4 ,,curiosity ,,value ,,and ,,its ,,influence4 ,,types ,,and ,,standards ,,of ,,violin ,,tone4 ,,importance ,,of ,,tone ,,ideals4 ,,ancient ,,and ,,modern ,,violins ,,and ,,tone4 ,,age1 ,,varnish1 ,,and ,,tone4 ,,tone ,,and ,,the ,,violin ,,maker1 ,,dealer1 ,,expert ,,and ,,player ,,by ,,hidalgo ,,moya ,,together ,,with ,,an ,,account1 ,,biographical ,,and ,,critical1 ,,of ,,the ,,principal ,,violin ,,makers ,,of ,,the ,,various ,,schools ,,and ,,their ,,works ,,by ,,towry ,,piper1 ,,joint ,,editor ,,of ,,hart',s 8,,the ,,violin1 ,,its ,,famous ,,makers ,,and ,,their ,,imitators0 ,,london ,,chatto ,,windus #aiaf ,,printed ,,in ,,england ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited ,,london ,,and ,,beccles ,all rights reserved ,,to ,,the ,,king ,,of ,,instruments ,,and ,,his ,,faithful ,,subjects ,,in ,,all ,,countries ,,this ,,humble ,,effort ,,on ,,behalf ,,of ,,tone ,,is ,,respectfully ,,dedicated ,,by ,,the ,,author ,,introduction ,for many years those who advocate the principle that ,tone is the only thing that matters in a violin have been few in number1 but earnest in purpose1 and it would appear their efforts have not been barren of result when we find it admitted1 where one would least expect it1 that the day of the toneless old fiddle has passed for ever4 ,but this is not enough4 ,players of the violin1 and especially those who seek refinement of tone in the instrument1 still remain under the thrall of systems1 methods1 influences and errors which must also pass away before the road to tone is freely open4 ,an understanding of the relationship between tone and the instrument1 and between the instrument and the various toneless interests by which it is surrounded1 is vitally important to the player or the buyer of a violin--unless the instrument is being acquired as a curiosity1 in which case tone need not1 of course1 concern the purchaser to any marked extent4 ,but to the player these relationships matter very much indeed1 and the understanding of them is rendered difficult owing to the invisible nature of tone1 there being no material evidence to indicate its presence in one violin or its absence from another1 a fact of which full advantage is taken in certain quarters4 ,in the classifying of violins according to present methods1 tone finds no place1 having neither status nor any standard by which it may be judged2 well may the player be uncertain whether he is acquiring a musical instrument or merely an antique4 ,the very reason why the violin possesses a tone has not yet been satisfactorily explained1 present opinion on the subject being near to chaos1 some holding that it is due to the wood1 others that it lies in some secret of construction1 a few that it results from varnish1 and many that it is created by age--but none1 so far as ,i am aware1 thinking it is due to an ,ideal2 material and construction being merely the means through which it finds expression4 ,there is enough here to explain the uncertainty which surrounds the subject of tone and its connection with the violin1 a connection which ,i shall attempt to explain in these pages by dealing with the instrument and its makers1 whether ancient or modern1 and with its history1 manufacture1 sale and use1 solely from the point of view of ,tone4 ,with tone at the mercy of caprice1 and the violin in no better case1 it is not unlikely that the general uncertainty extends to its makers--especially to the old instruments and their builders--notwithstanding the number of books which catalogue their names and indicate the nature of their work4 ,some few of these books are fairly exhaustive1 authoritative and reliable1 but the point of view from which the violin is approached is that of the connoisseur and collector rather than that of the player1 whilst the rest are mainly unreliable and partial copies of the first4 ,in order to provide a sufficient account of those makers who1 for one reason or another1 are worthy of attention or likely to be the subject of inquiry from players1 the second section of the volume1 containing reliable and valuable information--much of which is now published for the first time--has been placed in the hands of ,mr4 ,towry ,piper1 whose aid ,i have been fortunate enough to secure1 and who needs no introduction to fiddle lovers4 ,to those new to matters connected with the violin1 it is sufficient to say that ,mr4 ,piper is widely known as a writer and expert1 one of the editors of ,hart's classical work on the violin1 a recognised judge of fiddles and tone1 and a capable player of the instrument4 ,h4 ,m4 ,,contents ,,chapter ,i ,,anomalous ,,position ,,of ,,the ,,violin ,,pages ,its dual status--,more of a curiosity than a musical instrument--,how the curio interest originated--,its pernicious influence--,tarisio and the formation of the ,fiddle ,cult--,exploitation of violins of small tone value--,consequences to the player #a-f ,,chapter ,,ii ,a ,,toneless ,,method ,,of ,,valuation ,how the old violin is judged--,valued without reference to tone--,bought and sold by the same method--,examples--,why the method should be abolished or modified--,a guarantee for tone-value needed--,small tone-value of many old violins--,the violin's proper position as a 8work of art0--,a toneless pariah #g-ac ,,chapter ,,iii ,,types ,,of ,,standard ,,violin ,,tone ,amatis1 ,bergonzian1 ,brescian1 8,cremonese10 ,guarnerian1 8,italian10 ,stradivarian--,other ancient makers and standard tone #ad-ah ,,chapter ,,iv ,,the ,,old ,,masters ,,as ,,violin ,,makers ,violins frequently made by workmen and 8pupils0--,finished and tone-developed by the master--,two entirely distinct arts--,tone the result of ideal--,effect of model on tone--,methods of tone development still in use--,only possible means of creating a tone to an ideal--,reasons--,why the great masters attracted pupils--,tone versus cabinet making--,why pupils succeeded and failed--,most striking tone-feature of the old masters--,construction no guarantee for tone #ai-bf ,,chapter ,v ,,the ,,decline ,,of ,,tone ,position of violin makers after #agej--;,difficulty of sustaining supreme ideals--,overshadowing influence of the great violins--,the demand for low-priced fiddles--,a few tone-builders always living--,the art abandoned by all save the few--,attempts at a revival of the 8lost0 art--,mechanical efforts of ,savart--,scientific experimenters--,scientific side of tone unknown to the old masters--,results following 8attuning0 process of ,savart--,copyists1 old wood theorists1 and varnishers #bg-cd ,,chapter ,,vi ,,relationship ,,between ,a ,,new ,,violin ,,and ,,tone ,no mystery about construction--,tonal results of mere construction--,the tone of a new fiddle likened to raw material--,its refinement and the result--,what a satisfactory relationship between violin and tone depends upon--,tonal position of the modern violin--,influences that have worked to its detriment--,its survival--,its test of merit--,idolaters of the fiddle and tone seekers #ce-db ,,chapter ,,vii ,,old ,,tone ,,and ,,new--,a ,,contest ,the ,paris competition of #aiab reported by the ,daily ,mail correspondent--,the more extended report of ,mr4 ,d4 ,i4 ,cardozo and its particular interest--,six old violins compete with six new violins--,how the competition was arranged--,the violins and their makers--,the result of the contest--,the winner's advice to violin makers--,obvious criticisms on the contest--,the result decisive--,great strides in tone since the contest--,the importance of these comparisons to the violinist--,comparison between the ancient and modern violin maker #dc-ej ,,chapter ,,viii ,a ,,double-,,barrelled ,,theory ,a consideration of some of the pitfalls besetting the tone-seeker--,the accommodating qualities of age--,the permanency of tone--,why the age theory is advanced--,sowing the seeds of suspicion--,the result #ea-eb ,,chapter ,,ix ,,the ,,expert ,,dealer ,two kinds of dealers--,the 8expert0 dealer's first consideration--,his stock-in-trade--,why he does not exploit new violins--,his one serious trouble--,his view of tone--,what he considers violins are not purchased for--,why he prospers--,the type of dealer that is opposed to him--,the genuine dealer and expert--,the reliability of famous houses--,hazards confronting the buyer and how they may be avoided #ec-eg ,,chapter ,x ,,imitation ,,old ,,masters ,ancient copyists--,genuineness of their work--,forgery thrust upon them--,the substitution of labels--,all the great makers copied--,difficulties of detection--,genuine labels of the masters in the copies--,tone of the copies--,another class of copyist--,those who imitated age--,their object in so doing--,process of ageing destructive of tone--,honesty of these 8fakes0--,another class3 the factory imitation--,deceive only the ignorant--,another class3 those intended to deceive--,their victims--,their danger to the player--,a quotation from a letter and its lesson #eh-fa ,,chapter ,,xi ,,literature ,,of ,,the ,,violin ,the authoritative histories of the old makers--,their chief value--,their status as guides to tone--,the impressions they convey--,the limitations of the authors--,their attitude towards the modern builder--,the modern builder's 8revenge0--,the one idea which the player absorbs from these histories--,the good faith of the authors--,their honesty of purpose--,their renown as connoisseurs and judges--,the wide-spread influence of their work and its effect--,books on violin making--,what they do and do not teach--,a classical work--,instructions on how to play the violin--,their service--,their neglect of tone--,the periodical literature of the fiddle--,its interest and value--,wherein it fails--,a warning--,the 8,lives0 of famous old makers--,their value #fb-fg ,,chapter ,,xii ,,wanted3 ,a ,,tone ,,guarantee ,the business of the dealer--,what he guarantees--,his attitude towards tone--,the dealer's guarantee of no tone value to the player--,the fiddle warranted but not its tone--,why the dealer should give a tone guarantee--,how it could be done--,mere statements regarding tone not enough--,an independent judge needed--,the present situation reviewed--,the perfect violin model--,the modern maker's relation thereto--,how the critics view his work--,the player without a guide to tone--,his procedure under the circumstances--,no standard of tone recognised by experts--,the resulting difficulties--,capable judges of tone--,the unsatisfactory judge #fh-gf ,,chapter ,,xiii ,,how ,,to ,,test ,a ,,violin',s ,,tone ,an infallible method--,the violin weighed in an impartial and accurate balance #gg-gi ,,chapter ,,xiv ,,effect ,,of ,,age ,,on ,,tone ,most theories held as mere beliefs--,mellowness of tone and age--,reasons why age is not responsible for mellowness--,how mellow tone is created--,the real effect of age on the instrument and its tone--,its effect purely mechanical--,an appeal to violin lovers #hj-he ,,chapter ,,xv ,,varnish ,,and ,,tone ,a controversial subject--,effect of varnish on tone--,why it is misunderstood--,why experiments fail--,the governing factor--,the effect of a fine oil varnish--,how the effect of the best varnish may be nullified #hf-hi ,,chapter ,,xvi ,,tone ,,and ,,the ,,violin ,,player ,relationship between player and violin--,the inexpert1 beginner1 amateur1 artist1 and tone--,the player's relation to tone3 an illustration--,the gulf between player and fiddle--,artist and player--,why players fail or succeed in tone #ij-id ,,chapter ,,xvii ,,the ,,ideal ,,tone ,the ideal tone--,how a famous violinist secured his ideal--,difficulties of tone selection--,what the average player seeks--,statement by a pupil of ,joachim #ie-ig ,,chapter ,,xviii ,,how ,,to ,,acquire ,,an ,,ideal ,,tone ,the appeal of technic and the appeal of tone--,importance of tone--,the development of tone-sense--,subjects for tone-study--,what the student should avoid--,the tone of technic--,tone of technic and ideals combined--,progress of the student explained--,advice to the beginner #ih-ajb ,,chapter ,,xix ,,two ,,styles ,,of ,,tone ,,production ,the artist of the bow and the artist of the brush3 a comparison--,the delicate style of playing--,its dangers--,the robust style--,how the player is handicapped--,the difficulties of judgment--,importance of the robust style #ajc-aje ,,chapter ,,xx ,,modern ,,violin ,,makers ,attractions of violin making--,makers who have discovered the 8secret0 of ,stradivari--,violin makers and tone--,modern view of art and artists--,fiddle-makers and advertising--,worth of testimonials #ajf-aaj ,,chapter ,,xxi ,,notes ,,on ,,tone ,,carrying ,,power3 ,carrying power distinct from loudness of tone--,true toned violin rarely seems loud to the player--,how such violins are abused--,what players do not always realise--,carrying power and its relation to tone explained4 ,,quantity ,,versus ,,quality3 ,a quotation very much to the point--,a warning to be remembered--,importance of good tone--,the player's limits in tone--,how the violin's tone-capacity affects the player4 ,,flexibility ,,of ,,tone3 ,the meaning of flexibility--,what the tone loses without it--,its importance to the student and artist4 ,,tone ,,failure3 ,violins which 8lose their voice0--,conditions responsible--,reasons suggested for the failure in old violins and new4 ,,fiddles ,,classified3 ,difficulties of tonal classification render results only approximately accurate--,may be roughly divided into four groups3 7#a7 ,superior tone--,the violins possessing it2 7#b7 ,excellent tone--,where it is found--,difficulties of selection--,ancient and modern fiddles--,human limits and consecutive reproduction of superior tone2 7#c7 ,good tone--,wide range for selection4 ,where this tone is usually found4 ,expert advice essential in selection2 7#d7 8,just ,fiddles0--,what they are--,their legitimate place--,those to whom they bring pleasure4 ,a ,,strange ,,belief3 ,a quotation and comments thereon--8,stradivari as a failure if living to-day60 ,,tone ,,health3 ,some habits and fallacies--,fresh air and the fiddle--,musty fiddle cases--,the carelessness of violinists--,a suggested vandalism4 ,,tonal ,,misjudgment3 ,a few instances--,a professional violinist and two violins--,the opinions of himself and those of his hearers--,a ,stradivari violin and a talented amateur--,his mistake and the result--,an artist1 an expert1 and a poor toned violin--,the result--,some great players and their tone--,where it fails--,a player of ability and a factory fiddle--,its 8suitable0 tone--,accessories and tone--,the important accessories of the violin--,the sound post--,what it may do and what the player should do--,the bridge--,how to keep it in the correct position--,strings--,some simple advice--,the bow--,a few remarks on its selection--,the fiddle doctor--,deceptive simplicity of the violin--,what to do in the case of accidents1 etc4 #aaa-abf ,,conclusion #abg ,,account ,,of ,,the ,,principal ,,violin ,,makers #abi ,,violin ,,tone ,,and ,,violin ,,makers ,,chapter ,i ,,anomalous ,,position ,,of ,,the ,,violin ,it would be difficult to present the subject of tone in a manner calculated to inspire both appreciation and confidence without first making an effort to rescue the violin from its present position of uncertainty1 and the player from influences detrimental to an impartial judgment of the instrument as a tone-producing medium4 ,this position has been forced upon the violin gradually2 has become more menacing with the passing years2 and is due to the addition of an interest which it did not originally possess1 and which has finally become so paramount that tone1 when considered at all1 actually plays second fiddle in a dual value4 ,the violin may still be the 8,king0 of instruments1 but this added interest has made it of even greater value as a curiosity4 ,thus has its position come to be extraordinary and without counterpart in the world of art4 ,this dual interest is1 of course1 well known4 ,when associated with certain special instruments it is harmless enough4 ,but what is not fully appreciated by players is the pernicious influence this world-wide curio interest exercises over all violins when the attempt is made to value them from a purely tonal point of view4 ,mr4 ,hart says in his book1 8,the ,violin1 ,famous ,makers and their ,imitators30 8,in those days when the old ,brescian and ,cremonese makers flourished1 the only consideration was the tone-producing qualities of their instruments2 the violin had not then taken its place among curiosities40 ,so1 then1 tone was once the only value considered1 presumably because the instrument was originally made to satisfy the requirements of players1 and not the curiosity-hunting instinct of collectors4 ,and the player's interest in tone has never wavered4 ,it still overshadows every other consideration1 and is the object of constant search4 ,tone being the player's elementary necessity1 the desire for tone has always eclipsed interest in the merely curious4 ,but being a curiosity1 the old violin with the finest tone is placed practically beyond the player's reach1 and this has made the pursuit of even good tone1 in all old violins1 an uncertain and financially hazardous enterprise4 ,let us now explain how this curio value originated2 how it advanced2 the mighty interests surrounding it2 how it usurped the position of tone2 and how it has come about that the old violin is valued1 bought1 and sold entirely regardless of its tonal capacity4 ,between the years #aeej and #ahge there worked in ,italy and elsewhere some seven hundred makers of violins and kindred instruments who were sufficiently well known to warrant the inclusion of their names in modern books of reference4 ,as a large number of existing old fiddles are by unknown makers2 as no amount of research will unearth all who made violins during that period1 it is safe to add as many more as would make the total nine hundred4 ,among these nine hundred makers two take the first rank1 closely followed by three or four who take second place1 and a dozen or so who occupy the third position as creators of really great tone in the violin4 ,let us say the total is twenty1 and we shall then have eight hundred and eighty violin makers of olden times who simply 8made fiddles40 ,upon the violins turned out by the twenty who rank as 8,old ,masters20 whose instruments1 and especially choice specimens of them1 were always few in number when compared with the productions of their more numerous confrres1 and are to-day almost priceless2 upon these violins was founded a cult1 pioneered by one ,luigi ,tarisio in the early years of the last century4 ,tarisio was a carpenter by trade2 never made a violin1 and could play the instrument but indifferently4 ,in due time1 however1 he began the collection and sale of violins by the famous old makers of ,italy and became the chief instrument in spreading the cult over ,france and ,england4 ,originally founded upon the great master violins1 first one and then another of the lesser known makers has been embraced1 until now all old fiddles of every country are included1 whether the maker be known or not1 and regardless of whether the instrument has anything other than age to recommend it4 ,this cult is scarcely distinguishable from any other cult1 whether of furniture1 pottery1 or stamps4 ,it differs only in the object upon which it is founded4 ,it has its experts1 dealers1 collectors1 and its host of followers4 ,it is due to the scarcity of fine old master violins that the more plentiful supply of minor old fiddles1 many of which are tonally worthless1 is so diligently exploited4 ,without them the cult could not now be kept alive for a single day4 ,among experts1 dealers and collectors--but not among players--there has always existed a tendency to deal with the old violin more as a curio than as a musical instrument1 and this tendency has brought it perilously near the status of old furniture1 the value being centred in the object rather than in any tone merit which the object may possess4 ,this view of the commoner old fiddle1 so widely held by dealers of the present day1 is due to the fact that the really fine toned old master violins1 upon which the cult was founded1 did possess some rare type of tone which1 with much confidence upon the part of everybody concerned1 could be taken for granted1 and there was no need1 even if an expert could be found capable enough1 to pass any judgment upon its tone-value4 ,in most cases the tone was there4 ,it was absent only when visible evidence in the form of cracks1 etc41 indicated otherwise4 ,it was sufficient to secure the object and tone of the right sort followed as a matter of course4 ,here1 then1 the expert acted not without reason in basing value upon what could be seen rather than upon what could be heard4 ,therefore1 when the violins of the masters were succeeded1 for the purpose of trade1 by those of lesser tonal worth1 it was but natural that this method of valuation should be extended to these fiddles4 ,it was the time-honoured custom1 and remains to this day the only system of valuation in existence4 ,it had always satisfied the collectors1 for whom it was invented1 and who collect for reasons other than tone because1 in many instances1 they could not play the violin at all4 ,the great players accepted this toneless method of valuation with some show of reason4 ,they were thoroughly competent judges of tone2 could select their ideal from the works of the masters with unerring accuracy and1 if they paid a high price for curio value1 it was to secure what was of much greater importance to them1 tone value4 ,but how about the more numerous section of tone lovers3 the aspiring young artists1 the leaders of orchestras1 the ambitious students1 and the amateur soloists8 ,to these tone is of importance1 to say the least4 ,many a promising career is jeopardised through the lack of it1 and progress in a difficult study retarded for the same reason4 ,a poor toned violin will bind the soloist to a commonplace voice1 and may even set up for the beginner a false standard as an ideal of tone4 ,it is this great body of players who are obliged1 under existing circumstances1 to place their tonal wants at the mercy of a system not intended to cater for their needs1 but to the needs of the curio-hunter4 ,let us now explain this method of valuation more fully in order that the violin player may see exactly where he stands in relation to a system under which he is1 perforce1 obliged to secure his tone4 ,,chapter ,,ii ,a ,,toneless ,,method ,,of ,,valuation ,it is the business of those who value old violins to determine the age1 maker 7if known71 country of origin1 8school10 genuineness and condition of various parts1 and1 from the result of these observations1 to place a money value upon the instrument4 ,all this is done without any reference to the tone2 without placing a bow to the strings2 without1 in fact1 there being any necessity for the expert to be able to play at all4 ,an equally reliable opinion will be given if the old violin be without strings1 finger-board1 tailpiece1 bridge1 soundpost or bassbar1 the top separated from the body1 and the neck dislocated2 that is to say1 if the fiddle be utterly unplayable4,a ,this is precisely the system of valuation under which the dealer in old violins acquires his stock1 and when that stock is put into a saleable condition1 it is the system of valuation under which it is sold4 ,whatever tone the old fiddle may or may not possess 7and as to this the buyer may satisfy himself71 the curio value remains intact4 ,it is the predominant asset1 and is unaffected save by considerations involving the object4 ,let anything connected with the object prove questionable and down goes this curio value at once4 ,here is an example3 ,a violin1 supposed to be by a famous old maker1 was well known in ,europe for years4 ,its value was a thousand pounds4 ,it carried many of the ear-marks of its supposed maker1 and contained his genuine label4 ,in due time it came into the possession of a celebrated ,london connoisseur who had doubts4 ,removing the label1 he found beneath the label of the famous maker's son4 ,the violin was then valued at five hundred pounds1 the curio value of the son's best work4 ,but the tone remained the same6 ,this example deals with the known great violins2 those of tonal repute4 ,let us see how it affects the commoner old fiddle2 those that come the way of most tone seekers4 ,a fine-looking old violin is acquired at a supposed bargain price of twenty pounds4 ,its faded and tattered label reads3 ,jacobus ,stainer in ,absam prope ,oenipontum4 #affd4 ,after possessing this instrument with much pride for a time the owner takes it to an expert to ascertain its real value1 and is told at the first glance that it is a modern imitation1 made in ,germany1 and its value is thirty shillings4 ,here again the tone remains unaltered1 but the instrument is not old4 ,as to these imitations1 most deceive only the inexperienced4 ,others1 however1 are more ambitious1 being carefully doctored by expert 8fakers10 and the old masters imitated--in everything save tone--with diabolical ingenuity4 ,we are constantly reading how paintings and other works of art1 supposed to be the product of some ancient and gifted hand1 are finally discovered to be spurious2 but not before they have succeeded in imposing upon the experts of national museums6 ,these things are judged solely by their appearance1 just as the violin is judged1 and so long as this system continues1 just so long must every one relying upon it be prepared for deception in two directions2 the imitation old master on the one hand1 and the genuine old fiddle of poor tone on the other4 ,would it not be a move in the right direction to rely upon tone alone2 upon something which1 at least1 is capable of speaking for itself8 ,it must not be supposed from the foregoing that the great expert and connoisseur knows nothing of tone4 ,he often knows very much about it--more1 perhaps1 than many who actually make violins4 ,this knowledge he has gained through a unique experience1 covering a wide range of instruments by many old masters1 and because he is often a player of the violin himself4 ,but all experts are not great1 nor are all of them players of the violin4 ,there is1 indeed1 under such a system1 no need for them to possess a knowledge of tone1 or any ability to produce it from the instrument4 ,if1 therefore1 the old violin is not judged and valued from the standpoint of its tone it is not the fault of the expert1 but the fault of the system under which he exercises his calling4 ,this system offers protection only to the collector and1 in the interest of all players 7who receive from it no tone protection whatever71 should be abolished1 or at least modified to include as binding a guarantee for tone value as1 without hesitation1 is given for curio value4 ,if the lover and seeker of tone has some experience of the matter2 if he is so fortunate as to number among his friends a candid and impartial dealer2 he is aware that the bulk of old fiddles possess but small tone value2 that it is age1 repute1 or appearance that sells them4 ,many players have purchased old violins which are genuine enough1 but practically worthless in tone2 such tonal glories as they possibly once possessed having long since departed4 ,but the maker's name remains2 the instrument is still the veritable production of an old maker4 ,in the case of paintings the ravages of time detract from a single asset1 and matter little4 ,your painting may be chequered with cracks and otherwise show that time has passed across it no gentle hand4 ,its crumbling canvas may be bolstered up from the back without any detriment to its single value as a work of art1 and it may slumber in the mansion or the museum secure from every hurt save the desiccating influence of the passing years4 ,according to the experts the violin should be similarly situated and have but a single asset3 that of an artistic object4 ,if it were not called upon to exercise the function of a musical instrument all would be well4 ,it would1 like the painting1 remain a rare work and nothing more4 ,as such it would repose in its cabinet without ever a bow being drawn across its strings4 ,as a curiosity that would be its legitimate place4 ,should any player drag it forth to fulfil another purpose1 his must be the risk4 ,should he find this purpose accomplished1 well and good4 ,if not1 he must be satisfied in the possession of a curiosity1 and accept1 with what patience he can command1 the lack of tone4 ,for a century or more the toneless pariahs among 8genuine old0 fiddles have roamed from place to place1 and from country to country4 ,like the ,wandering ,jew1 they are never at rest4 ,countless amateurs have owned them1 treasured them1 found them out1 and sent them forth again4 ,some bear the scars of fruitless operations1 for it is the fashion among the inexperienced to attribute the lack of tone in all violins to faults of adjustment4 ,in one way or another the attempt is made to accomplish what the maker of the fiddle failed to do4 ,as to this1 there is a difference between adjusting a fine-toned violin1 and trying by the same means1 or by any means whatsoever1 to create tone in a fiddle that never possessed any4 ,the many aids and improvers of tone may1 indeed1 alter for the better that which could not well be worse1 but to say that any of them will 8create the tone of a fine ,italian0 is a statement very far from fact4 ,i have now defined the position of the old violin as a musical instrument1 and as a curiosity4 ,the new violin has no status which the expert can recognise1 because it is worth nothing as a curio4 ,unlike the ancient fiddle1 it has but one asset1 tone1 and1 according to possession of this attribute1 is its value high or low4 ,being outside the calculation of the expert valuer1 tone has neither standard nor status1 nor any recognisable money value4 ,the system under which the old violin is judged1 therefore1 cannot and does not apply to the new4 ,in fact1 there is no existing method of valuing a new violin6 ,as ,i deal with the modern fiddle in another place1 let us proceed with the consideration of the old and acquaint the reader with the ,standard and ,types of that grand tone against which all violins1 whether new or old1 should be measured4 ,,chapter ,,iii ,,types ,,of ,,standard ,,violin ,,tone ,in order to distinguish the types of tone which1 at various periods1 have been looked upon as ,standard--that is to say1 representing an ideal of perfection1 and at all times have had adherents1--,i set out below five types that may be said to represent the five great groups of tone4 ,violins embraced by any one of these groups will vary in the perfection with which they present the type according to the tone-developing skill of the maker2 according to his ideals of perfection1 and according to the condition of the instrument4 ,it is unlikely that two makers1 engaged upon the development of the same tone-type1 would succeed in copying each other exactly4 ,individuality would be sure to assert itself in tone as it does in handicraft4 ,as to this individuality1 it is somewhat difficult to describe1 but may be said to be a sort of uniform peculiarity noticeable in the tone of all violins produced by a certain luthier4 ,,amatis4--,sweet1 sympathetic1 and more or less lacking in power4 ,found in the violins of the numerous ,amati family1 ,jacob ,stainer1 those of ,antonio ,stradivari prior to #affg and his smaller instruments made after that year1 and in the violins of the followers of these makers4 ,plentiful4 ,length of body #ac-c_/d to #ac-g_/h inches ,width across lower bouts #g-ac_/af to #g-ae_/af inches ,width across upper bouts #f-a_/d to #f-c_/h inches ,arching elevated4 ,,bergonzian4--,virile1 powerful1 partaking of the qualities of ,stradivari and ,joseph ,guarnerius del ,ges to some extent4 ,rare4 ,length of body #ac-g_/h to #ad inches ,width across upper bouts #f-i_/af inches ,width across lower bouts #h-c_/af inches ,arching flat to medium4 ,,brescian4--,dark1 sombre1 8brilliantly melancholy40 ,any violin possessing a tone sombre in character is said to be ,brescian1 frequently without much regard to other characteristics4 ,found in the violins of ,g4 ,p4 ,maggini1 and da ,sal1 which are rare1 and in less perfection in a number of instruments by other makers1 both ancient and modern4 7,maggini7 ,length of body #ad-i_/af inches ,width across lower bouts #h-i_/af inches ,width across upper bouts #f-ad_/af inches 8,,cremonese40--,not a type1 but a generic term1 used to designate the general superiority of tone produced by violin makers of ,cremona1 prior to about #agge1;,b over instruments produced in other centres4 ,,guarnerian4--,a tone distinguished for its remarkable qualities of clearness1 brilliancy1 virility and intensity4 ,peculiar to the violins of ,joseph ,guarnerius del ,ges4 ,rarely imitated with any degree of success4 ,rare4 7,guarneri7 ,length of body #ac-c_/d to #ac-g_/h ins4 ,width across lower bouts #h-a_/h ins4 ,width across upper bouts #f-i_/af ins4 ,arching variable but tending to flatness4 8,,italian40--,not a type1 but an expression1 used to distinguish the tone of ancient ,italian violins from those made in other countries4 ,now rather loosely applied to any instrument possessing tonal qualities above the average4 ,,stradivarian4--,rich1 mellow1 sympathetic and powerful4 ,the favourite with most players although ,guarnerian tone is preferred by some--to quote the opinion of one celebrated expert1 8,the tone of a good ,joseph beats that of the average #8,strad' into a cocked hat60 ,stradivarian tone has been said to combine the good qualities of both ,brescian and ,amatis4 ,it possesses in a marked degree that rich woody quality admired by connoisseurs4 ,to appreciate the meaning of 8woody0 quality1 one should hear an organ containing both wood and metal pipes and note the difference in tone quality between them4 ,the best organ of this kind ,i know of1 and one of the richest toned instruments it has ever been my pleasure to hear1 is located in the ,tabernacle at ,salt ,lake ,city1 ,utah1 ,u4,s4,a41 and was built by an ,englishman1 ,joseph ,h4 ,ridges 7#ahbf-aiad7 about sixty years ago4 7,antonio ,stradivari #agjj-agbd period47 ,length of body #ac-ae_/af to #ad-a_/h inches ,width across lower bouts #h-a_/d inches ,width across upper bouts #f-a_/b to #f-aa_/af inches ,arching variable but always tending to flatness4 ,of all the five types of tone ,stradivarian is the most plentiful4 ,apart from the violins of ,stradivari1 which are more numerous1,c perhaps1 than that of any other famous old maker1 the type is found in a high state of perfection in some of the instruments of his followers1 and in not a few violins by modern makers4 ,it may be thought that other great makers should be credited with the creation of a tone-type2 but ,i think their violins will1 in tone1 be found to fall into one or another of the groups named above1 varying only according to the ideals and individuality of the several makers4 ,i shall now investigate the relationship between tone and the old instruments1 and explain why a master of tone was not always a master of handicraft1 and why many excellent workmen were unsuccessful as creators of a grand tone4 ,in the next chapter1 therefore1 ,i deal with the old masters as violin makers4 ,,chapter ,,iv ,,the ,,old ,,masters ,,as ,,violin ,,makers ,there is a 8,life0 of ,stradivari,d by ,messrs4 ,hill which contains a deal of valuable and reliable information of the utmost importance to those interested in violin tone4 ,it does not1 indeed1 deal with the subject from the point which we are now about to approach1 but it makes such a fitting prelude to our theme that ,i regret my inability to quote this work extensively4 ,i therefore earnestly advise my readers to procure a copy of that work if they are not already acquainted with it1 as1 in dealing with the subject of tone from my own point of view1 ,i am prevented1 through considerations of space1 from giving much information which would add background and perspective to this discussion1 and thereby add materially to its interest and understanding4 ,with this digression ,i will now proceed4 ,the old masters divided the art1 or work1 connected with the manufacture of a violin into two parts4 ,the first was that of preparing the various pieces of wood and combining them into a more or less finished violin1 and the second consisted in so manipulating these parts as to control the tone and cause the instrument to give forth1 when finished1 exactly the quality1 intensity1 flexibility and refinement of voice which the maker intended4 ,the resulting violin would1 within human limitations1 embody the tone ideal of the master4 ,the great tone builders1 for the most part1 were surrounded by workmen and pupils whose duty it was partly1 if not wholly1 to prepare the wood and bring the instrument to a more or less rough state of completion4 ,in addition to developing the tone the master designed the moulds and determined the exact size and shape of the instrument1 this being a work having much to do with tone as1 upon the perfection of the design1 depends the type of tone which the master will produce in the instrument4 ,it is probable that some of the ,amatis were as well equipped with ideals of tone as ,stradivari1 but the model which they used prevented them attaining such good results1 although producing tone of much refinement4 ,here is seen one reason for the never-ending changes which the masters made in the shape of their instruments4 ,they were seeking the best possible base upon which to build tonal ideals1 and not endeavouring to design a violin which would1 in itself1 possess these characteristics--an impossible task1 as ,i shall presently show4 ,equipped1 therefore1 with high ideals of tone and a splendid model in which to develop and control every essential that makes for the creation of the perfect voice1 it is not difficult to understand why certain makers were able to create1 with remarkable uniformity1 a great toned instrument2 or others1 with an equally good model1 but not so gifted with ideals1 a violin inferior in tone2 while others again1 like the copyist of form1 without ideals1 or the ability or desire to apply them if he possessed any1 turned out a violin lacking in those essentials of tone which characterise the perfect instrument4 ,the violin has figured in the minds of its devotees as a curio for so long that points relating to its great asset1 tone1 cannot well be left to a mere statement of fact4 ,especially is this the case in dealing with matters forming the base of that cult to which they belong1 for their knowledge of the instrument1 its history1 and its makers is profound1 and embraces an intimate acquaintance with the many theories and experiments advanced and tried during the past hundred and fifty years to account for and unravel the mysteries of tone4 ,while the reason for tone which ,i advance in this work is not only obvious1 but actually in use at the present day1 achieving consecutive results identical with those named in this chapter1 it may not be amiss to set forth here1 for the benefit of those who may be interested1 some arguments in favour of the fact that tone in the violins of the great masters was due to their ideals of tone1 and to no other reason4 ,the process employed in developing these ideals was in no sense a secret with these masters4 ,great results in all art are due to the talents of the artist4 ,method and process1 being but means to an end1 may be imparted to another by precept and example1 but the ability to express a high ideal was never the outcome of any 8secret0 in constructing a violin1 or the preparation of canvas and pigment1 or due to any special virtue contained in mere wood1 paint1 or marble4 ,if1 therefore1 those responsible for the grand tone in the old violins did no more than make the instrument1 or supervise its manufacture by the workmen and pupils by whom they were1 in most cases1 surrounded2 if the creation1 regulation1 and control of tone were due to any set1 or even variable1 rule of design1 construction1 arrangement of parts1 manner of applying varnish1 or method of selecting wood1 then the pupils of1 say1 ,stradivari1 by following these rules1 etc41 could not fail to obtain like tonal results4 ,but tone equal to that of ,stradivari1 or of any other great tone-creator1 has never followed the copying of anything that could be discovered by the most painstaking measurement and study of their instruments4 ,again4 ,it has always been supposed the old masters attracted pupils desirous of learning from them the purely mechanical art of constructing a violin4 ,with this idea ,i entirely disagree4 ,there is nothing about the mere making of a fiddle to warrant the supposition4 ,if these pupils were attracted because they wished to acquire1 as nearly as possible1 the high tone ideals of the masters1 and become versed in the delicate method of its embodiment in a violin1 for the purpose1 in short1 that has always attracted pupil to master in all art1 the matter becomes clearer4 ,pupils of the masters frequently stated the fact on their tickets1 and it is hardly possible they did so merely to advertise the source of their cabinet-making knowledge4 ,modern builders1 more often than not1 work to satisfy connoisseurs of form rather than exponents of tone2 but1 with the earlier makers1 we are assured by an authority of the highest eminence that 8tone was the only consideration40 ,to hold any other view of tone-creation leads but to confusion4 ,if mechanical construction alone attracted pupils they would certainly acquire all necessary knowledge with the same facility as knowledge is acquired to-day in all branches of mechanical art4 ,there would be nothing connected with the matter that could not be seen with the eye and reproduced with the hand4 ,even if they failed or were at times careless in the last degree as carvers of wood1 we know by the work of ,joseph ,guarnerius del ,ges1 this is no bar to tone4 ,yet we have makers taught by the greatest masters1 heirs to their models and1 in the case of the sons of ,stradivari and ,bergonzi1 to patterns1 tools1 wood1 and even partly finished instruments1 but who still failed to produce the tone of their teachers and fathers4 ,surely no clearer evidence than this is needed to indicate that it was high ideals alone that placed the masters above others--even their own sons--as poets in tone4 ,let me repeat that this is no mere theory4 ,violins are developed to ideals to-day1 and ,i believe it has been done since the days of da ,sal by one maker or another4 ,by no other process is it possible to create1 as the masters did1 a tone characteristic of the maker4 ,no mechanical process will produce this result1 whatever else it may accomplish1 and however complicated1 8secret10 or scientific it may be4 ,i believe experts agree that the most striking characteristic of the old masters' violins is not simply the grandeur of their tone1 but the extraordinary regularity with which this tone was reproduced in successive instruments4 ,it is said that consecutive reproduction of any kind of tone is the most infrequent as well as the most difficult thing in present-day fiddle making4 ,so far as the instrument is concerned1 nothing has occurred to make this more difficult to-day than in #agbe1 when ,stradivari1 ,guarneri1 and ,carlo ,bergonzi were accomplishing their consecutive tonal marvels4 ,the fiddle itself has no secrets which can be hidden4 ,it does not defy analysis1 and to add that the mere building of a violin never has given and never will give consecutive tone results1 is but to say what is already known and has been repeatedly demonstrated for more than a hundred years4 ,lest it be supposed that any method is1 in itself1 a never-failing producer of grand tone1 let me say positively it is nothing of the sort4 ,with the highest ideals even the masters did not produce a stereotyped tonal grandeur4 ,a fine tone was1 with them1 the rule1 and a tone of lesser worth the exception--but there were such exceptions4 ,with others less gifted tone of a lower grade was the rule1 and fine tone the exception--and here1 again1 there were exceptions4 ,in both1 however1 is found the unmistakable and individual character of tone personal to the maker1 and inimitable4 ,it is for these reasons that ,i should condemn any method of tone creation which is purely mechanical2 which depends upon method rather than upon ideals1 as being entirely outside the system of tone-creation used by the great makers of old time4 ,while dealing with the old masters and tone1 we may as well continue with their immediate followers and devote a chapter to the decline of grand tone after the period of decadence was reached4 ,,chapter ,v ,,the ,,decline ,,of ,,tone ,as we have seen1 tone had an auspicious beginning about #aeej2 suffered a rather lengthy relapse1 but began to recover during the latter years of the next century2 took a new lease of life about #agjj2 and was in full maturity and vigour during the first half of the eighteenth century4 ,it then suffered a second relapse1 more extended and more serious than the first1 which all but terminated its existence4 ,a plentiful number of theories have been advanced1 all more or less ingenious1 to account for the decline of tone after about #agej4 ,the known facts are few and simple4 ,on the one hand we have the sons1 pupils1 and followers of the masters1 while on the other we have the fact that they failed to secure such consecutive tonal excellence--to put it very mildly4 ,to the many theories to account for this another may be added without any great harm4 ,as the decline was in tone1 let us look at it from that point4 ,in purely mechanical affairs progress follows experience and the passing of time4 ,that no such progress followed in this case would seem evidence enough to eliminate the mechanical1 or violin-making1 factor1 and substitute tone-ideals in its place4 ,this1 however1 by the way4 ,so great were the last three tone creators that there is some excuse for their sons1 pupils1 and followers failing to equal them4 ,between #agej and #ahjj there was1 doubtless1 little demand for fine-toned violins from the makers who were then alive1 owing to the large number of master violins handed down from the earlier half of the century4 ,the living makers might well have been forced to compete among themselves for such trade in low-priced violins as they could get4 ,with them it was probably not so much a matter of tonal art as of bread and butter--or macaroni4 ,we are aware that1 in all ages of violin making1 a demand has existed for the low-priced instrument1 numerically in excess of the demand for those of higher price and better tone4 ,overshadowed1 therefore1 by the great masters this may well have been about the only demand upon the builders of that time4 ,the question of high tone quality does not enter largely into this demand1 but the question of price is vital4 ,here1 then1 we have conditions which would appear to foster a decline in high standards of tone1 especially when we consider that the models1 as perfected by the masters1 even without any special regulation or adjustment1 produced a tone which satisfied the bulk of players of that day1 just as the same fiddles1 now ranking as 8old10 satisfy the bulk of players of the present day4 ,some few makers of that and succeeding times1 however1 did not appear content to forego ideals4 ,if they did not succeed in reaching the highest standards1 they at least kept the wavering flame from dying altogether4 ,we have1 for instance1 ,thomas ,balestrieri in #agej1 ,j4 ,b4 ,guadagnini in #aghj1 ,franois ,fent1 #aghj1 ,januarius ,gagliano1 #aggj1 ,nicholas ,lupot in #ahbj1 ,j4 ,f4 ,pressenda in #ahdj1 and ,j4 ,b4 ,vuillaume in #ahgj1 to mention some of the best known1 and not those of more recent times4 ,thus builders were always turning out fiddles1 some of which fell little short of the highest standards1 from #agej down to the present day1 for1 as will be seen in the chapters devoted to modern violins1 some of the instruments produced in these days1 regulated to ideals in the old-fashioned manner1 uphold the highest standard4 ,but if grand tone was not extinguished its creators were1 and are1 sufficiently few in number to warrant the statement that tone has suffered a serious decline4 ,especially is this realised when the few really great toned fiddles are compared with the number1 less notable from this standpoint1 produced since #agej4 ,but there is nothing to be gained by labouring this point4 ,it would appear to have been fully appreciated early in the last century1 when we find the celebrated experimenter ,felix ,savart busily engaged in demonstrating1 by mechanical methods1 the reason for tone2 and efforts at a general revival have continued ever since4 ,the fact that tone cannot be seen1 while the violin containing it is visible enough1 has stimulated curiosity to discover a supposed 8lost secret10 which in reality was the method ,i have named1 probably abandoned for the reasons and in the manner already suggested1 by all save a few4 ,and it is not difficult to imagine these few1 clearly appreciating their advantage1 keeping the method of tone regulation and control very much to themselves and1 by producing fairly consecutive tonal excellence 7while the more numerous contemporary makers were doing the reverse71 spurring the investigators to fresh efforts and the scientists to new explanations4 ,some of these theories dealt with acoustics and are extremely complicated and interesting1 but it has never occurred to me that art has anything in particular to do with science1 and ,i certainly do not believe the old masters knew overmuch1 if anything1 about the scientific side of tone4 ,if the results they achieved have since been found of a highly scientific nature1 there is good reason to believe they were unaware of it at the time4 ,we read in ,messrs4 ,hill's 8,antonio ,stradivari10 p4 #ahi3 8,that ,stradivari was guided 444 by a knowledge of science as applied to the construction of instruments1 we do not for one moment believe40 ,and to this ,i would add that neither was he so guided in his creation of tone4 ,savart1 in his efforts to unearth the 8secret0 by the use of some sort of mechanical means1 was the first to 8attune0 the plates and thus produce the best mechanical method yet devised2 a method having nothing to do with ideals1 but much to do with science4 ,its outstanding feature is that it produces with uncanny regularity a type of tone which1 like the process1 may be characterised as mechanical4 ,it is only fair to say of this method that it does1 on occasion1 result in a tone of much brilliance4 ,just why it should do so is probably a puzzle to those who employ the process4 ,if they were aware of the reason for this occasional good tone1 they could doubtless make it the rule instead of the exception4 ,the reason1 however1 lies beyond the scope of the method employed1 as we explain in the chapter devoted to varnish and tone4 ,none the less1 tone produced by 8attuning0 the plates is not by any means to be derided1 although the general results attained do not warrant the high claims made for the process4 ,among others who laboured towards a revival of tone were the copyist1 who let tone take care of itself2 the old wood theorists1 who considered that tone-quality lay in old wood1,e and the varnishers1 who believed that the 8secret0 of tone is in varnish4 ,curiously enough1 amongst those who have so laboured1 the elucidation of the problem seems never to have been approached from the standpoint of ,tone itself1 and they have not regarded tone as an expression of ideals1 but a sort of natural result following upon some peculiar or particular virtues to be found in wood and varnish1 the maker of the violin being a kind of human machine achieving tonal results by rote and rule4 ,wood1 construction1 and varnish do1 indeed1 seem to indicate the possible avenues through which investigation may be carried4 ,in them undoubtedly lies the reason for tone which1 if discovered1 would still leave the process by which it was achieved as profound a difficulty as ever4 ,we view the paint upon a pictured canvas without special interest4 ,we know it is paint and leave it at that4 ,aside from the ideals of the artist we know it possesses no virtues leading towards the creation of a work of art4 ,we have no illusions regarding a combination such as this4 ,if we desired to produce a similar picture we are quite aware that similar paints placed upon canvas of equal size would not be enough4 ,we fully appreciate the fact that colour and canvas are but the means through which ideals are rendered visible1 yet1 when we turn to the violin1 we find this truth abandoned4 ,by the token here expressed all the virtue lies in canvas and paint4 ,to achieve an artistic result is to use a cloth similar to that of1 say1 ,rembrandt 7of the same age1 if possible71 cut to the same size1 and apply thereto similar colours--carefully gauging the thickness all over with a micrometer6 ,with all this care we get a picture1 but not a ,rembrandt4 ,as everything has been done that ,rembrandt did1 and the result is not exactly what we desire1 we take refuge in the only hypothesis left1 and agree that a picture so produced must wait for perfection until it is as old as ,rembrandt's4 ,to produce a picture by any such means appears ridiculous1 yet it is exactly the means by which it is sought to produce an ideal of tone in the violin4 ,it is not considered that materials and construction are merely the means through which the tone ideal of the builder finds expression1 but through some mysterious influence 7not yet discovered67 the materials are expected to create some magnificent quality of tone at which the builder must be prepared to stand aghast4 99 99 99 99 99 ,having now become fairly well acquainted with the old violin1 and reviewed the progress of its tone through the past three hundred and sixty-six years1 we may consider we have arrived at a point where the modern violin can be admitted1 with the object of defining its position from a tonal point of view2 first making an investigation into the relationship existing between a new fiddle and tone4 ,,chapter ,,vi ,,relationship ,,between ,a ,,new ,,violin ,,and ,,tone ,fiddle-making may be either a hobby or a business4 ,sometimes it is both4 ,it is also more or less of an art1 but only the connoisseur is able to explain wherein and why4 ,to the 8man in the street0 a fiddle is just a fiddle1 as like any or all other fiddles1 as one pea is like another4 ,sometimes it is red1 sometimes yellow1 and sometimes brown4 ,therein do they differ4 ,there is nothing about the making of a violin which calls for our special notice4 ,this has been set forth in many exhaustive works1 described and illustrated at great length4 ,in a work on tone it would be useless to devote space to cabinet-making4 ,the relation between making a fiddle and tone is all that need concern us here4 ,let us see just what that relationship is4 ,in order to make the subject clear we must generalise4 ,we cannot go into the numberless and complicated details that affect the sound in one way or another--for good or evil--because it is not sound1 not the mere noise a violin will emit1 that interests the tone-lover4 ,we procure1 let us say1 suitable wood and a book on fiddle-making and set to work4 ,in due time1 with the exercise of patience and such skill as we can command1 we produce a violin--our first--built carefully to the measurements and along the lines of1 say1 the immortal ,stradivari4 ,when the varnish is dry enough we string it up1 and not until then do we know what its tone is like6 ,and what1 by the way1 is it like8 ,the answer is simple enough3 it is like the tone of any other fiddle so constructed4 ,we have accomplished tone results no greater and no less than any other copyist has achieved in the past hundred and fifty years1 because we have done no more than they have done and no more than any one can do4 ,we have made a box about fourteen inches long1 a little over an inch deep1 eight inches or so in its widest part1 and with an irregular outline4 ,we have slightly arched the top and bottom of this box1 and provided it with various fitments and strings4 ,every box so made will1 without exception1 produce a sound of some sort1 whether made by ,antonio ,stradivari in #agbj1 or ,john ,doe in #aiaf4 ,sometimes that sound is loud1 and sometimes it is weak1 often it is both1 and again it is neither1 depending upon matters which the makers may1 or may not1 appreciate and1 perhaps1 alter for the better or worse within these narrow limits4 ,this1 then1 is the relationship between the raw fiddle and tone4 ,both the violin and such tone as it will naturally1 or we might say mechanically1 possess1 is but the crude material which the tone-builder uses4 ,by means of the one he refines1 regulates1 and develops the other4 ,manifestly the result depends upon what he considers a fine and telling tone4 ,there can be no guess-work about it1 and nothing can be left to chance4 ,he must know exactly when he has reached the result he desires1 and the higher his ideals the better the tone4 ,as the raw material in the shape of unrefined tone is1 to a greater or lesser extent1 filled with flaws1 these must be eliminated2 as the violins in their undeveloped state ever present tone problems infinite in variation--no two being alike--the tone builder can follow no set rule1 and no mechanical method4 ,to achieve1 therefore1 a thoroughly artistic and satisfactory tonal relationship between the instrument and its voice depends1 first1 on high ideals and1 second1 a process elastic enough to meet1 successfully1 conditions which are always changing4 ,as to the tonal position of the modern violin1 there is no denying the fact that it has long been an object of suspicion4 ,the wonder is not that this suspicion should exist1 but that a new fiddle should have any tonal repute left at all4 ,let us review some of the causes responsible for this condition of affairs4 ,in the 8good old days0 of violin making1 say in #agbe1 when the most famous of all makers were working1 surrounded by many who1 if less famous1 were able to hold their own1 there were no fiddle factories swamping the market with machine-made trash1 belittling and depreciating the 7then7 new and less numerous hand-made instrument4 ,there were no dealers in1 say1 the violins of da ,sal1 ,maggini1 and the first ,amati1 to the exclusion of the new ones of ,stradivari1 ,bergonzi1 and ,joseph ,guarnerius del ,ges4 ,there were no collectors of the old and rare who disregarded the work and tone of the living builders4 ,there were no books on the history of the violin devoting sixteen pages to1 let us say1 ,duiffoprugcar1 who worked two hundred years previously1 and indicating the living makers thus3 8,stradivari1 ,antonio1 now living0--when mentioned at all4 ,there were no 8,journals devoted to the interests of violinists10 in which ,carlo ,bergonzi might have read an article on the work of ,antonio ,amati1 filled with fulsome praise and flattery of the old1 but containing little1 or nothing1 about what was being done there in ,cremona at the time4 ,there were no players of the violin who preferred a battered fiddle1 made by some unknown maker in #aeib1 to one made in his home town of ,cremona three years previously--in #agbb4 ,having none of these things to contend against1 their lines were truly laid in pleasant places if we compare them with the builders of #aiaf1 who have all these things1 and many more besides1 against the popularity of their instruments4 ,in passing1 it is worthy of note that1 whatever influence there is against a just consideration of the modern tone work1,f this influence does not in the least affect the sale of factory fiddles4 ,these are still sold at the rate of some hundred thousand instruments per annum to those who never read fiddle books or literature2 to whom a fiddle is just a fiddle2 who place all old fiddles in one class1 and all new fiddles in another--and this kind of buyer is far more numerous than might be supposed1 if figures did not place the matter beyond doubt4 ,but every worker who builds his violin by hand1 selecting costly materials and doing his work with loving and painstaking care1 knows what this influence means4 ,he knows there are surrounding him many influences1 all of which lead the tone-seeker in one direction1 namely1 towards the old4 ,yet the fine modern instruments still survive1 and are growing rapidly in tone repute4 ,in spite of everything they still find players whose only consideration is ,,tone1 just as ,,tone was the only consideration in the days when the old makers flourished4 ,if the new violin can1 in the face of all that is against its popularity1 still find this favour1 it must1 indeed1 have tone merit so exceptional as to be far in advance of many of those old violins whose praises are so persistently advertised4 ,everything considered1 this strikes us as a happy augury for the immediate future of the new fiddle4 ,i venture to predict that its makers will not be compelled to spend a century or so in the tomb before their good work is appreciated4 ,that these new violins are becoming a factor seriously to be reckoned with is not lost upon those whose interest it is to foster the trade in old instruments of less tonal value4 ,after all1 it is tone value that will decide the question between the old and the new1 and it is possible the day is not far distant when old violins 7outside those by the famous creators of grand tone7 will have to stand or fall upon their tone-merit1 rather than upon the claim of having been made by some obscure or unknown maker in an equally uncertain but ancient day4 ,meantime modern makers must expect new work to be ignored by all save those who have no old axe to grind2 to be condemned1 or 8damned by faint praise20 all of which it has stood and will continue to stand4 ,its claim is founded upon a tone-base too substantial to be shaken4 ,all it requires is a fair trial and comparison with the products of the old masters2 and the more famous the old master the better the test2 for it may easily prove itself superior to an ordinary old violin without being in any respect remarkable in tone4 ,in order that no question may arise as to the accuracy of this statement1 ,i give1 in the next chapter1 the results in a contest of tone between six old master violins1 and six new instruments by living makers4 ,i believe that most of us who are lovers of the fiddle began as idolaters of the instrument1 rather than of its tone4 ,of such lovers this may be said3 in our early faith we were prone to accept many strange and uncouth gods2 but1 as we grew older1 we became more particular2 we selected for our allegiance one out of many2 but as even idols cost money1 we were not always privileged to possess the one which was our heart's desire1 but worshipped it from afar1 meantime living in hope and consoling ourselves with a less potent fetish4 ,it is said of the ,chinese that1 when an idol ceases to answer requirements1 it is chopped in pieces and another purchased4 ,our progress with fiddles is not dissimilar1 only we sell our idol4 ,and thus many of us spend our lives--and money--seeking fiddles when1 in reality1 it is tone we are after4 ,that we so seldom find it is due to the fact that we make up our minds beforehand where it will abide4 ,never1 ,i believe1 has imagination played me such scurvy tricks as when it caused me1 during the years of my novitiate in tone1 to invest some ancient and tubby 8gourd0 with the dulcet voice of a 8real ,cremona40 ,i look back upon those distant days with real humiliation4 ,and ,i recall the assurance with which ,i clung to my faith6--mainly because ,i had no such illuminating guide to tone as the one presented in the next chapter4 ,,chapter ,,vii ,,old ,,tone ,,and ,,new--,a ,,contest ,on ,june #bb1 #aiab1 the ,london ,daily ,mail published the following from its ,paris correspondent3 8,a contest took place in ,paris last night which seems to vindicate the contention that modern violins are as good in tone as those of ancient make1 for which thousands are paid by enthusiasts4 ,a number of violins were played in a dark room1 and at the end of the competition a vote was taken from the numerous musical and artistic audience present1 with the result that the finest was judged to be a ,belgian instrument dated #aiab2 the second was a ,french #aiaa violin1 and not until the third came a ,stradivarius1 valued at more than #cjjj40 ,there are lacking in the above report many details which cannot fail to interest the tone-seeker4 ,i am1 therefore1 indebted to ,mr4 ,d4 ,i4 ,cardozo1 of ,amsterdam1 for a more extended communication on the subject1 which ,i print in full4 ,while this1 as well as similar contests1 are extremely interesting1 the lesson which they convey has already been learned by those who keep abreast of matters relating to tone4 ,the present contest will serve to keep this lesson before violinists1 and future competitions will spread further afield the high tone repute of the modern violin4 ,a point in this communication worthy of careful note is contained in the statement that the winning violins were both produced by a system which enabled their makers to control the tone4 ,i have dealt with this subject at considerable length in previous chapters1 but the bare statement of the fact in this communication is incomplete without adding that the maker not only controls and regulates the tone1 but creates its quality as well4 ,manifestly he could 8control0 with equal facility a poor tone1 and1 if he possessed no ideals of what a fine tone should be1 his regulation of it would still be barren of satisfactory results4 ,mr4 ,cardozo writes as follows3-- 8,are the violins of the great ,italian violin makers of the glorious time of their art--the ,stradivarii1 ,guarnerii1 ,amatis1 ,grancinos--without rivals1 and are the world's famous violin players right in paying fabulous prices for such rare instruments and to prefer them to those of modern make8 ,or have the modern makers brought their art to such perfection that the preference for the old instruments is nothing but a prejudice2 that a man with common sense must admit some makers are producing such beautiful instruments1 with such a rich tone1 that they are by no means inferior to the most beautiful old instruments known8 8,this is not a question of yesterday nor of to-day1 but the solution has come somewhat nearer since the competition held in ,paris some weeks ago4 ,continuing the competitions of #aiji and #aiaj1 when in both cases the violins and violoncellos of modern makers were awarded the first prize and the ,stradivarii were beaten1 the ,monde ,musical has opened this year a new competition4 8,twenty-seven modern violin-makers1 viz4 eighteen ,french1 two ,belgian1 two ,german1 two ,italian1 one ,dutch1 one ,english1 and one ,russian had together sent in forty-two instruments which had to struggle against six old ,italian3 one ,stradivarius 7valued at #cjjj71 one ,guarnerius del ,ges1 one ,maggini1 one ,gand1 one ,joseph ,guarnerius 7son of ,andrea71 and one ,grancino4 8,the competition was so regulated that the public1 consisting of well-known artists1 could not see what violin was being played upon at any given moment4 ,the same artist played1 behind a curtain in the dark1 the same piece on the different violins1 which were numbered1 and which numbers were acquired by casting lots4 ,between the playing of two numbers the lights were switched on for a moment to enable the audience to make their remarks and put down the points on their lists4 8,on the first night only the new violins were played1 in order to select from them the best1 and1 as a result1 twenty of the forty-two instruments were deemed worthy to compete with the old violins4 ,from this twenty the six best were again chosen1 ,no4 #a being a ,dutch violin with #aab points1 and of the five others four were ,french with #hg1 #gc1 #fg1 and #ea points respectively1 and one ,belgian with #dg points4 8,on the next night these six modern violins had to compete with the six old ones4 ,there was a large public attendance1 and a hundred and sixty-one artists were selected to do the voting4 ,two well-known violinists1 ,simonne ,filon and ,jean ten ,have1 played1 one after the other1 on the twelve violins4 ,the voting produced the following result3-- 7,new7 #a ,auguste ,falisse1 ,brussels #dbc points 7,new7 #b ,chenantais-,kaul1 ,nantes #dbb 8 7,old7 #c ,antonio ,stradivari1 ,cremona #dja 8 7,old7 #d ,paolo ,grancino1 ,milan #cfi 8 7,new7 #e ,deroux1 ,paris #cea 8 7,new7 #f ,poisson1 ,lyons #cbg 8 7,old7 #g ,joseph ,guarnerius 7del ,ges71 ,cremona points not given 7,old7 #h ,joseph ,guarnerius 7son of ,andrea71 ,cremona points not given 7,old7 #i ,francois ,gand1 ,paris 8 8 7,old7 #aj ,g4 ,p4 ,maggini1 ,brescia 8 8 7,new7 #aa ,angard1 ,paris 8 8 7,new7 #ab ,kunze1 ,the ,hague 8 8 8,the two violins which gained the first and second place1 and which received a good number of points more than the ,stradivarius1 were built according to the system of the ,french physicus1 ,dr4 ,chenantais4 ,kaul1 a pupil of the doctor1 is a friend of ,falisse1 and it was while staying in ,brussels that he explained to ,falisse the principles of ,chenantais1,g and advised him to follow them4 ,falisse took this advice and entirely succeeded4 ,the violin with which he succeeded in winning the first prize was finished on the #aeth of ,june1 the contest being held on the #bast of the same month4 8,the principle of ,dr4 ,chenantais is that the maker must not continue to copy the violins of the ,italians1 nor bother about why there is so much variation of form4,h ,the doctor does not pay much attention to the varnish4 ,the main point is the verifying 78relage0--regulation7 of the tone1 and his success shows that he is right4 ,in #aiji a violoncello on this principle of ,chenantais-,kaul was awarded the first prize1 and now again by means of two of his pupils he wins place over all new and old violins4 8,it may be that such competitions are not completely conclusive2 that the old violin may be played the best1 as the artist is more used to playing upon it4 ,in any case it is not true to say the old violin-makers cannot be improved upon in tone40 99 99 99 99 99 ,the obvious criticism of this report is1 of course1 that the world seems to have been scoured to find the six new violins1 and1 after all1 only two of them succeeded in beating all the old instruments in tone4 ,it may also be said we are given no indication of the tonal repute of the six old violins1 but are left to assume they were representative of their makers4 ,we have also no explanation of the peculiar fact that1 when the new fiddles were tested against each other1 the winner of that contest found itself among the 8also rans0 in the final--and bringing up the extreme rear1 to boot4 ,we have no doubt1 however1 the result was arrived at in a thoroughly honest and reliable manner1 capable critics having decided 7without knowing what instrument they were voting for7 that the new violins were equal1 and in some cases superior1 to the violins of the old masters4 ,since #aiab the new violin has made rapid strides1 an ever-increasing number of artists providing themselves with new violins of fine tone1 instead of old ones with questionable tone1 thereby increasing the pleasure of those who hear them play and adding to their own renown4 ,that these violins exist should be a source of gratification to all lovers of the instrument1 and especially to those who are unable to invest the large sums demanded for the great-toned violins produced by the masters of ,cremona and elsewhere4 ,to these the fact that a violin1 equally great in tone1 is actually within their means may well be accepted with incredulity4 ,this incredulity is1 under all the circumstances1 natural4 ,it is1 therefore1 accepted and respected by every maker of a great-toned new instrument4 ,not only so1 but every facility will be given for testing the new against the old1 to the end that modern tone may become better known and appreciated1 for it is only by this means that the sentimental influences which have so long worked against the new violin can be overcome4 8,are1 then1 all modern makers creators of great tone80 ,no1 they are not1 nor has this been the case in any period of violin making4 ,yet--and this may well be worthy of attention--there is scarcely a maker of to-day1 even to the copyist1 who has not his tonal counterpart among the builders of the seventeenth and eighteenth centuries4 ,his violins are as good as those produced by his more ancient prototype4 ,they may1 indeed1 be more worthy of the attention of players1 as our modern is apt to follow a model superior to those adopted by many of the older copyists4 99 99 99 99 99 ,having1 so far as the magnitude of the task and my own limitations permit1 made this effort to reinstate the modern violin in a position of which1 but for circumstance1 it would have never been deprived1 let us consider some of the pitfalls besetting the pathway of the tone-seeker--especially if he be so daring as to venture his quest towards new pastures1 leaving that pre-empted field wherein1 some would have us believe1 tone can only be found4 ,in plainer terms1 if he seeks1 or finds1 tone among new fiddles instead of old ones4 ,,chapter ,,viii ,a ,,double-,,barrelled ,,theory ,a frequent contention against the new violin1 especially when its high-tone quality is so overwhelmingly apparent as to confound even the unreasonably prejudiced1 is the statement that this fine tone will disappear in time4 ,this appears strange when we remember it comes from those who say tone is found only in the old violin6 ,according to this theory age seems a most accommodating adjunct4 ,it not only gives tone1 but takes it away also--it all depends upon whether the maker is dead or not6 ,but the seeker of tone need not be alarmed when such double-barrelled wisdom is solemnly imparted4 ,the tone of the great new violins is absolutely permanent4 ,it does not owe its origin to age1 or to anything that time can alter any further than it can alter the tone of any other great violin4 ,its continued existence is subject to the same conditions as govern the existence1 or tone-life1 of the finest old ,italian instruments4 ,if time influences it at all it is only to make it better4 ,whatever effect age may have upon a fiddle constructed of green wood1 upon the factory-made article1 or upon those unsuitably varnished1 where it is conceivable something unexpected may occur to the sound such instruments are capable of emitting1 nothing of this sort happens to violins constructed by either old or new masters of tonal art4 ,this tone-disappearing theory is not only ridiculous1 it is mean4 ,unable to deny tone as a patent and present fact in a new violin1 suspicion must be created and the possessor frightened with the bogey of its ultimate and certain loss4 ,the tone-seeker's interest must be struck in the tenderest spot4 ,even if not immediately effective1 the seed of suspicion is sown1 with the result that 7in effect7 the tone-lover sits at the bedside of his 7supposed7 ailing fiddle applying home remedies and patent nostrums without avail4 ,at last the doctor1 usually a quack1 is sent for and1 without more ado1 gives the tone its coup de grce4 ,but this need no longer be the case4 ,fortified with knowledge and fully aware of the purpose for which this entirely false theory is advanced1 the new violin possessing fine tone may be treasured with confidence in the permanency of its brilliant voice4 ,,chapter ,,ix ,,the ,,expert ,,dealer ,while there are numerous experts and dealers of great renown and unquestioned repute1 there is no denying the existence of those who would do well to drop the 8and0 from this title and thus become what they really are1 8,expert ,dealers0--experts in acquiring old fiddles 7usually of low grade71 experts in advertising their praise1 and experts in selling them4,i ,the first consideration of this type of dealer is to keep alive the interest in old fiddles--the type of old fiddle that is acquired for a few shillings and sold for as many pounds4 ,new violins1 even of the finest-tone quality1 are nothing to him4 ,they cannot be purchased cheaply1 or sold at an extravagant price4 ,the new violin has but one asset--,tone4 ,its value depends upon the quality of its tone and nothing else1 while the old1 even the very cheap old1 is lifted above tone because it is a curio as well as a fiddle1 although it may be downright flattery to say its tone is third rate4 ,this dealer has but one serious trouble1 namely1 to keep his patrons satisfied with the species of 8tone0 which1 when the glamour of owning a 8fine old violin0 has worn off1 begins to whine for attention4 ,his ability to meet this issue really justifies his claim to the title of 8expert40 ,he is full of advice regarding adjustment1 alteration of bridge1 post1 bar1 etc41 or an exchange for another fiddle if these prove unavailing4 ,whatever he may advise it will not be to try a new violin4 ,he does not realise the gulf that is fixed between himself and the purchaser of the instrument4 ,his interest is centred in the sale of a fiddle1 while those who patronise him are interested in the purchase of tone4 ,this type of fiddle merchant sometimes admit1 with cynical candour1 that 8people do not buy violins for their tone 7sic7 nowadays40 ,if so1 the fault lies with the dealer rather than with the 8people40 ,but if violins are not bought for their tone1 what are they purchased for8 ,if the dealer and his patron were in agreement that a violin has no other mission than to pose1 like a ,chippendale chair1 as a curiosity1 the tone of the instrument may well be relegated to a secondary position4 ,it can1 like the chair1 be used2 from its time-stained interior a sound may be produced which1 if it does nothing else1 at least proclaims the thing to be a fiddle4 ,and that is all it is bought for6 ,it is doubtless quite true that the majority of violins are not 8bought for their tone nowadays20 but the only one perfectly aware of the fact is the dealer himself1 and he is1 perhaps1 justified in making the statement1 for he knows what the instrument is bought for if the purchaser does not4 ,it might have been more accurate to state that violins are not sold for their tone1 but for their age or appearance4 ,it is only the dealer who buys an old fiddle simply because it is old4 ,this kind of dealer prospers because few people realise that fine tone is not to be acquired cheaply in an old violin2 that age and tone are not synonymous terms4 ,they are misled through the spell cast over all old fiddles by the masterpieces of ,cremona4 ,tone of superfine quality seldom comes their way4 ,it is rare their acquaintance with it is close enough1 or frequent enough1 for them to appreciate more than its superficial beauties4 ,age1 or its simulation1 is visible to the eye1 and tone of some rare sort is therefore considered an assured thing4 ,their ideas are stronger than their ideals and their imagination superior to both1 with the result that the progress of many talented students1 and not a few good players1 is seriously retarded through the use of some 8genuine old0 but poor-toned violin4 ,opposed to this type of dealer are the genuine dealers and experts1 men of a vastly different class4 ,it need hardly be said that1 while the first are many the last are few4 ,still1 they may be found in most great cities of the world1 the two most famous houses being located in ,london4 ,here one may find all kinds of old violins and new ones as well1 the last being1 in most cases1 produced in their own workshops4 ,through these houses have passed the most famous violins known1 and there one may be sure of finding old instruments of fine tone and undoubted pedigree and repute4 ,it is from this kind of dealer that most of the world's greatest players have purchased their instruments1 and it is here they send them for adjustment or repair4 ,as it is extremely hazardous for the ordinary buyer to rely upon his own judgment when purchasing an old violin1 he cannot do better than place his wants in the hands of one of these specialists4 ,in most cities and towns are also to be found reputable dealers and repairers4 ,their stock of old instruments is1 however1 necessarily limited4 ,,chapter ,x ,,imitation ,,old ,,masters ,when certain of the more famous old violin makers were still living1 when they had achieved through the splendour of their tone and the perfection of their model a wide-spread fame1 there came into being a class of fiddle builders who devoted their energies towards copying1 as closely as possible1 the work of the great luthiers of their time4 ,it is only fair to state that the majority of them were honest1 and without desire or intention to create what might be considered a forgery4 ,but some unknown hand has accomplished the feat for them by removing the label of the real maker and substituting the ticket of one more famous4 ,thus we have many genuine old violins sailing under colours to which they have no legitimate right1 and deceiving--not only the unwary1 but sometimes those who are very wary indeed4 ,jacob ,stainer inspired more copyists1 perhaps1 than any other builder1 although ,nicholas ,amati seems to have been a very good second1 while none of the great makers escaped altogether4 ,as these copies were manufactured when the originals were new they were not artificially aged4 ,time1 therefore1 has dealt with them just as it has dealt with the violins of any other maker of old times4 ,their ancient appearance is perfectly genuine1 and therefore the detection of fraud rendered more difficult in the close copies--especially as some contain labels which were removed from authentic old master violins4 ,as to the tone of these instruments it is sufficient to say that a select few were produced by makers who were really good regulators and developers of tone4 ,if their violins had been untampered with and allowed to sail under true colours instead of false1 their repute would have been of no mean order4 ,others1 however1 possess a tone of the meanest description1 being merely unregulated copies4 ,another class of imitator consisted of those makers of considerable reputation1 as builders of fine-toned violins1 who indulged in the habit of ageing their instruments by artificial means1 led thereto by a keen appreciation of the fact that a fiddle which has the appearance of age will sell more readily than one that is frankly new4 ,connoisseurs have always condemned this practice1 not only because it detracts from the intrinsic value of the instrument1 or because the processes employed are destructive to tone1 but because there is added to the violin that which is false1 and therefore hateful to all lovers of the fiddle1 save1 indeed1 those for whom these imitations were intended--the age-worshippers4 ,the makers did not intend these instruments to pose as old masters4 ,they were produced as honest 8fakes10 if such a thing can be imagined4 ,most contain the label of the builder1 and were artificially aged merely to hasten their sale4 ,as works of tonal art they cannot be recommended4 ,the next class of imitation is composed of those new-old1 machine-made abominations turned out literally by thousands by the ,german fiddle factories4 ,why these should be made to imitate the old is a mystery1 for they deceive nobody--unless it be those absolutely ignorant of fiddle matters4 ,they are bought by dealers and sold for just what they are2 with 8case1 bow1 instruction book and resin10 all for a sovereign6 ,these need not detain us1 nor need we mention their 8tone40 ,the last imitations to claim our notice are those intended deliberately to deceive1 and they find victims among that class of fiddle player who appears ever willing to 8take chances40 ,some of these forgeries are clever enough1 and well calculated to catch the eye of the novice4 ,no wonder the pawnshops are festooned with them6 ,from every point of view they are worthless4 ,without any pride of ancestry1 from posterity they can hope for nothing4 ,their forte1 if not their purpose1 is to retard the progress of those who struggle hopefully with a splendid but difficult art2 to lay the foundations of failure for many talented players1 and bring the most earnest effort towards tone to an untimely or unsatisfactory end4 ,it is said that a poor workman blames his tools1 but many excellent players blame themselves when it is the fiddle that is at fault4 ,these fiddles make them incapable of appreciating fine tone1 and throughout their lives they allow a worthless instrument to impose its strident voice upon them4 ,let us close this review of the imitations with the following quotation from a letter ,i received not long ago1 written by the head of a world-famous firm of dealers in old violins3 8,it is easier to sell an imitation old violin than a new one of better tone40 ,the italics are mine1 but the lesson is unmistakable1 and should be seriously considered by every seeker of tone4 ,,chapter ,,xi ,,literature ,,of ,,the ,,violin ,while the literature of the violin deals with every phase connected with the subject--its history1 manufacture1 repair1 music1 old masters1 great players1 celebrated instruments and many instructions on how to play the fiddle1 the most celebrated and authoritative works are those which contain a historical reference to all the ancient makers1 so far as known1 and their work4 ,their chief value lies in the fact that they catalogue the names of over six hundred old violin makers and give much information regarding their fiddles4 ,so far as the known old makers are concerned they are not only reliable1 but invaluable guides to all dealers in and lovers of the old instruments4 ,as guides to tone1 however1 they are hopelessly out of date4 ,the best of these books were originally published about thirty years ago1 and while their value as a list of old makers is in no way depreciated1 the passing of time has1 in some other respects1 rendered little honour4 ,from them one gains the impression that the fiddle1 and especially its tone1 belongs to an age that is past2 that its best days are gone1 never to return4 ,while tone is rarely mentioned1 we are led towards the supposition that the art of its creation is as dead as the dodo2 that it stopped short 7like grandfather's clock7 a very long time ago4 ,the idea is conveyed that1 since that time1 no maker has succeeded in producing a really worthy fiddle4 ,in fact1 all other makers are definitely stated to be imitators1 which shows their authors were entirely ignorant regarding tone creation1 however versed they were in the lore of fiddle manufacture4 ,yet there is no intentional slight cast upon the modern1 nor is he singled out for obloquy4 ,he is considered merely as a living nonentity4 ,the idea seems to prevail that1 to become famous1 the fiddle maker must die1 and the longer he is dead the more worthy he becomes of inclusion among the immortals4 ,his sin is not that he cannot make a good violin1 or even that he cannot create a tone equal to the antiques1 but that he cannot1 by any means whatever1 make an old violin4 ,some of these 8imitators0 have1 however1 revenged themselves by almost accomplishing the feat2,j at least they have succeeded so well as completely to deceive some of the age worshippers4 ,they have baked or stained their fiddles to the colour of ancient wood1 grafted the head1 counterfeited wear2 created and repaired cracks1 and even reproduced the label in facsimile--and sold the result at a fine 8old0 figure6 ,without any doubt these fiddles are treasured by more than one player to-day through absorbing from these books one conclusion over-mastering every other--the age value of a violin4 ,these histories voice sentiments which have been dear to the collectors ever since the fiddle 8took its place among curiosities40 ,and these sentiments are honestly held and expressed in good faith4 ,the authors were men of renown in the fiddle world4 ,there is no mistaking their enthusiasm for the old instrument and everything connected with it4 ,they were connoisseurs1 experts1 dealers1 and great judges of tone2 also1 in some instances1 fine players of the instrument1 and they covered the field of the old fiddle so completely that most books of a like kind which have appeared during the past twenty-five years are founded upon their efforts4 ,in absorbing the facts1 however1 these later works have also absorbed the fancies of their mentors1 and thus we have the old fallacies multiplied and spread further afield until the influence of the old instruments has come to be truly amazing4 ,consider the fabulous sums now cheerfully paid for them2 the advertisement they receive from painters1 poets1 and novelists2 their possession by the greatest players2 the interest attached to certain rare examples1 and note the effect of all this upon the more humble followers of the fiddle cult1 who have come at last to see every old instrument--even the imitation--glowing with a brilliance reflected by the beacon-lights of ,cremona6 ,these books hold an important place in violin literature1 but not as guides to tone4 ,books on violin making are of two kinds3 those that instruct and those that amuse4 ,fortunately the last are few1 but still plentiful enough to cause trouble--not because the writers were unskilled in their art1 but because the reader is told very much less than enough of some matters and too much of others4 ,the excellent work of ,mr4 ,ed4 ,heron ,allen1,k however1 does not suffer in either of these respects4 ,instructions and books on how to play the violin are almost numberless1 and the technic of the art is covered at every point4 ,with hardly an exception they are of real service1 although woefully neglecting the matter of tone--save from the necessities of technic4 ,i have endeavoured to repair this omission in ,chapter ,,xviii4 ,there are a few monthly journals1 or magazines1 devoted to the interests of those who play the violin and kindred instruments4 ,their subscription price is exceedingly moderate1 and they deal with subjects most of which the earnest student can hardly afford to miss4 ,amongst all the literature of the fiddle these journals are of most value and interest to the player4 ,their columns are1 naturally1 open to correspondents and some valuable letters appear1 while others are interesting if only to indicate the peculiar working of the speculative mind when applied to the violin and matters connected therewith4 ,the work of modern builders is occasionally reviewed1 this being faithfully and fairly done1 although not1 perhaps1 entirely dissociated from considerations binding the reviewers to other and older interests4 ,it is surprising that1 in this progressive age1 with many thousands of violin makers scattered throughout the world1 there has not appeared a periodical which1 while catering to the needs of the modern player1 would also weigh the work of the modern builder in a balance more evenly held between himself and his ancient competitor4 ,it is a simple fact that the present-day builder receives but scant encouragement from practically all fiddle literature1 while any nondescript is lavishly 7and freely7 advertised if he should happen to be ancient--which1 more often than not1 is the extent of his virtues4 ,the modern is becoming impatient of the perpetual insinuation that he is inferior1 as a creator of tone1 to the worst old fiddle-maker that ever died1 and as he forms no inconsiderable section of the fiddle community1 with an influence and patronage not to be despised1 his interest would naturally trend in the direction where he found that justice which is his due4 ,one other type of fiddle literature is of interest to the lover of violins4 ,the 8,lives0 dealing with famous makers singly4 ,in practically all cases these deal with the creators of a standard of tone4 ,these should find a place in every fiddle fancier's library1 not because everything they contain may be taken as absolute truth1 but for the light cast upon the maker's work and times4 ,,chapter ,,xii ,,wanted--,a ,,tone ,,guarantee ,it is the business of the dealer in old violins to seek out1 purchase1 restore1 advertise1 and sell old violins2 to guarantee the instrument to be made by1 or attributed to1 a certain maker 7as the case may be71 and to be made in or about1 a certain year--this last to settle the fact that it is old4 ,it is also his business to have this instrument equipped with the necessary tackle to make it playable1 otherwise it would not be saleable4 ,if he does not know who made the fiddle it is simply guaranteed as 8genuine old40 ,no dealer of repute will sell an imitation-old fiddle for other than what it really is4 ,tone1 however1 is not a part of the old violin the dealer will guarantee to be other than what it happens to be4,l ,if the instrument is by a well-known maker he may1 indeed1 say the tone is characteristic of that maker1 or better 7or worse7 than the violins of another maker1 but he will not guarantee a certain refinement or quality of tone to follow upon a certain amount of age in an old violin2 or the tone of an old instrument made1 say1 in the year #agba1 to be equal to that of any violin made in that year1 or any other year4 ,it has always seemed to me remarkable that dealers in old violins1 especially instruments ranging in price from fifty to two hundred pounds1 do not give some sort of tone guarantee2 especially when the purchaser intends to use the violin for the production of musical sounds4 ,why should the player be asked to accept a document which does not guarantee the thing for which he is making the purchase1 but something entirely different8 ,as a curio the fiddle may be genuine enough1 and as most of its value lies in the fact that it is a curio1 it is only right that this part should be fully guaranteed4 ,tone1 however1 is the thing of most value to the player1 and he should have for that equal protection against mistakes of judgment4 ,i have always1 in common with all lovers of the fiddle1 paid my ungrudging tribute to the masterpieces of past times1 but if all old violins are really better in tone than some of the new ones1 as some would have us believe1 those who hold this opinion should not only be willing1 but anxious1 to back their view4 ,if they have so much confidence in the tonal superiority of the old instrument1 a tone guarantee could be issued that would challenge comparison with any new instrument4 ,this would be more convincing than the present habit of simply saying that the tone is 8grand10 or even that it is 8magnificent10 as such expressions have no tangible value1 and are allowed to a dealer just as poetic license is allowed to a poet4 ,the dealer could remedy this state of affairs1 should he choose to do so4 ,he could1 for instance1 issue a guarantee with old violins1 other than those by the known great creators of tone1 stating that the tone of the instrument is warranted superior1 or even equal1 to any new violin at the same1 or a lower1 purchase price4 ,by some such means could the question as to whether the instrument is bought for its age or its tone be more clearly defined4 ,if this cannot be done then let the dealer clearly intimate that the old violin is sold mainly as a curiosity and as such is fully guaranteed as to value4 ,the present system by which some dealers 7not all1 be it understood7 make their sales should be discouraged4 ,mere statements regarding tone1 if not backed by a guarantee1 are too elastic when issued as a verbal opinion4 ,even dealers are not infallible1 being as prone to mistakes as the rest of us4 ,an independent expert in tone is sadly needed4 ,some of the most reputable of experts are not dealers at all2 they do not buy or sell old fiddles1 but1 for a reasonable fee1 will pass judgment upon the maker1 age1 and curio value of the instrument4 ,among them are many who are skilful performers on the violin1 and1 although tone is not the point of view from which they approach a valuation of the old violin1 they are thoroughly competent judges of tone as well as of fiddles4 ,they have a wide experience of fine old violins by the greatest makers1 and an opinion from them as to tone could be relied upon with confidence4 ,troubled owners are constantly sending their old instruments to these experts for curio valuation and judgment and receive what they ask for4 ,why cannot one of these experts let it be known he will also impartially judge tone2 that he will1 from that standpoint1 value any and all fiddles1 new as well as old8 ,i believe ,i express the wish of most tone-lovers when ,i ask for such an expert4 ,the difficulties in the way are1 of course1 considerable1 and 7as usual67 would come from those receiving the most benefit4 ,but ,i think my readers will agree that something should be done4 ,for the sake of clearness1 let me review the present situation4 ,at a rough estimate there are some fifty thousand genuine old violins in existence1,m including a large number of clever forgeries of the old masters1 most of which are also ancient4 ,of factory fiddles there is no end1 and handmade new violins are numerous enough4 ,all these instruments are accurately classified2 the old and the old forgeries 7or close copies7 according to their makers1 or1 if the makers are unknown1 according to their 8school10 country1 or age to which they belong4 ,the imitation-old 7save in the few cases where famous makers 8aged0 their violins71 and the factory-made instruments are brushed aside by the experts as unworthy of notice4 ,the hand-made new violin occupies a position so extraordinary that we may be pardoned a short digression in order to indicate more clearly the attitude assumed by experts towards the modern violin builder4 ,it is freely admitted by all makers and connoisseurs of the instrument that certain of the ancient makers developed the body of the violin to a standard of excellence beyond which no improvement is possible1 as a base upon which may be built1 regulated1 and developed a grand tone4 ,now observe4 ,if the modern maker employs any of these models he is an 8imitator40 ,this term carries with it an air of reproach1 indicating that the modern fiddle-maker is content to pose as a mere copyist and let tone take care of itself2 a supposition very far from fact4 ,on the other hand1 should he try to avoid this reproach2 should he endeavour to placate the captious1 and1 perhaps against his better judgment1 devise a model upon original lines1 he is again condemned1 this time not without reason4 ,in either case it is not tone which counts with the expert1 but fiddle4 ,so far as tone is concerned1 the player is left to his own devices4 ,he has plenty of guides to the instrument1 but none to tone4 ,he may seek the advice of some fiddling friend who1 being also without any guide or standard1 expresses merely his own opinion4 ,should he fall back upon his own resources he cannot but hesitate4 ,the new violin he views with suspicion4 ,it is an 8imitation10 so the experts have said1 and who would have an imitation when the 8genuine0 is available6 ,should the tone of this 8imitation0 happen to be of exquisite quality1 he is unconvinced4 ,he is apt to think there is a mistake somewhere1 or that his judgment is at fault4 ,he will come at last to the 8genuine0 7or to the imitation7 old instrument1 in both of which he finds something tangible1 something he can see4 ,here is something the experts have bothered themselves about2 something with an ancient name and much history2 something the mere possession of which is an inspiration6 ,when all this is wedded to a grand tone he has1 indeed1 found a prize4 ,but the tone is not always there4 ,often it is but a pale reflection of a former glory4 ,in any case he has no guide to it1 and usually accepts its visible and historical features and takes his chance on the tone4 ,with no existing ,standard of ,tone recognised by experts or dealers there is no violin1 old or new1 which the player can accept without question4 ,each1 therefore1 sets up a standard of his own1 together with endless ways and means of 8trying0 a fiddle1 in the process of which it is usually forgotten that a strange violin1 even though it be a master instrument1 will present 7ofttimes in its most desirable tone-elements7 an uncomfortable feeling when first tried1 merely because these elements are foreign to the player's idea of tone and 8touch40 ,dealers and experts are continually1 and rightly1 warning purchasers against any reliance upon their own judgment regarding the genuineness of a violin1 but no one warns them against possible mistakes in tone4 ,if they are not a judge of the one1 why should they be considered a judge of the other8 ,nine players out of ten are not a judge of either1 and are guided by the name1 fame1 or appearance of the instrument rather than by any confidence in their ability to judge tone for themselves4 ,any really good player with a wide experience of all sorts of fiddles is a good judge of tone4 ,the great soloists and those experts who are also players are excellent judges4,n ,the thoroughly competent judge is one who regularly plays upon many violins1 possessing tone of all sorts1 and is specially informed and experienced with the tone of the masters4 ,he is then equipped with what may be termed an 8,average ,standard0 and not bound to any one type4 ,the worst possible judge of tone is the player whose experience extends to one violin only4 ,whatever the tone of this instrument may be1 it certainly does not embrace all the virtues and faults of tone4 ,such as it has1 however1 it transmits to its owner1 with the result that the violin to be tested is not judged on its merits1 but according to its agreement with a preconceived notion4 ,again1 violins are rarely alike in the arrangement of their equipment4 ,the curvature of the bridge differs4 ,the strings are spaced differently4 ,the 8stop0 is not the same4 ,it may also possess important tonal elements which1 if not understood1 may be ignored1 or even condemned4 ,it is partly for these reasons that players so seldom admit a strange violin is equal to their own4 ,they are accustomed to their own violin and its tone4 ,its use has become second nature and1 without meaning to be so1 they are prejudiced in its favour4 ,in the next chapter ,i indicate a method of testing tone4 ,,chapter ,,xiii ,,how ,,to ,,test ,a ,,violin',s ,,tone ,the method of testing tone which ,i have used for many years1 with uniform success1 is this3 ,i procure a fine-toned old master violin1 a really first-class solo instrument and one possessing those qualities of voice and carrying power most desired by artists4 ,i then secure the services of a competent critic4 ,the old master and the violin to be tested are then played under two environments3 in a large hall1 and in a room1 carpeted1 furnished1 and curtained4 ,the piece to be played is selected with a view to placing upon both instruments 7which are tuned to exactly the same pitch7 a severe tonal and operative test1 and this piece is played successively upon both violins4 ,the critic is never allowed to know which fiddle is being played1 but must judge by the tone1 and decide which possesses 7#a7 the best carrying power1 7#b7 the greatest depth and richness on the lower strings1 7#c7 the most incisive and telling qualities of clearness and brilliancy in the upper register1 and 7#d7 which of the two violins conveys the best general impression of tonal refinement4 ,where the slightest doubt exists regarding the flexibility of tone1 that is to say1 the ease with which it can be produced under the bow1 ,i submit the violin to some great player4 ,this last is a very important test1 for it determines the playing possibilities of the instrument4 ,if the violin passes with honour through these trials it is a very fine-toned and satisfactory fiddle indeed4 ,should it fail to equal the old master on any tonal point1 or not prove perfectly satisfactory to the artist as a responsive instrument1 the points wherein it is at fault are clearly indicated4 ,those who wish to settle the question of a violin's tone1 therefore1 should carry out the test upon these lines1 or follow them as closely as circumstances permit4 ,thereafter the instrument may be treasured or condemned with equal confidence1 for it has been weighed in an impartial and accurate balance4 ,the violin submitted to test must1 of course1 be in proper adjustment and equipped with suitable strings4 ,if there is doubt about this1 place it in the hands of a qualified expert in such matters4 99 99 99 99 99 ,since age is so universally invoked2 since it is this element which gives to the old violin its greatest value and 7so it is said7 to tone its quality and mellowness1 let us endeavour to determine just what relationship exists between age1 the violin1 and tone4 ,,chapter ,,xiv ,,effect ,,of ,,age ,,on ,,tone ,it has always seemed to me that theories dealing with the effect of age upon the tone of the violin are lacking in conviction1 and that most of them are held as mere beliefs1 founded upon a larger experience of the old violins than of the new4 ,many celebrated players have expressed the opinion to me that age alone gives to a violin its mellowness1 or richness1 of tone2 some1 indeed1 adding that the instrument must also be much played upon4 ,as to this last1 it would appear disproved when we consider the few magnificent examples of the old masters' work which have come down to our times almost untouched1 and with the tone of which we have heard no complaint4 ,manifestly1 then1 the theory refers to the age of the violin1 that is to say1 the age of the wood of which it is constructed4 ,to accept this theory would be to say the old violin had no mellowness1 or richness1 of tone when new1 a statement impossible of proof1 as no living man has seen or heard it when fresh from the maker's hands4 ,documents exist which go to prove that the violins were quite satisfactory from a general tone point1 and were much sought after solely on that account1 even when their makers were living4 ,but if we take refuge in the hypothesis and say that age of wood is responsible for mellowness of tone1 how do we account for the failure1 in this respect1 of violins constructed from materials one to two hundred years old1 and in some cases even older8 ,everybody knows these fiddles are not one whit better in mellow1 or any other kind of tone1 than those made from new1 but thoroughly seasoned1 wood4 ,it is because of these contradictions between theory and fact that we cannot accept the idea that age is solely responsible for mellowness of tone--even were we not possessed of concrete evidence to the contrary4 ,there is no denying the lack of mellow tone in many new violins4 ,one would hardly expect it in machine-made and spirit-varnished factory fiddles with plates arched by compression between hot iron moulds1 and ,i shall presently indicate the reason why it is so seldom found in handmade instruments of a higher grade2 but to say the bulk of new fiddles have little or no mellowness of tone is1 after all1 only what may be said regarding the bulk of old violins1 and brings us no nearer a solution of the problem4 ,mellowness1 softness1 richness1 or whatever it may be termed1 appears to me as merely one of those elements which1 like purity1 adds one to the total of desirable features which we look for and expect in a violin of ,quality4 ,it may appear reasonable to assume that time might improve one or all of these features1 provided they originally existed1 or act with more potency on the quality of mellowness2 but it is against experience1 as well as reason1 to say that time is an unfailing creator of them1 else mellowness would not be absent in the tone of hundreds--not to say thousands--of hand-made violins constructed prior to #ahjj4 ,furthermore1 should we accept this theory we must be prepared to believe that the greatest makers of the olden time were not the masters of tone we have always supposed them to be4 ,again1 how does it come about that time has selected the violins of certain old makers1 and not always the best workmen either1 while the violins of others just as old1 or even older1 remain untouched by this miraculous1 mellow-producing elixir8 ,if it be said that certain conditions in the structure of the instrument are unfavourable to the action of age1 is it too much to ask that these be pointed out to us8 ,this question of age and tone is but one of the many and much-debated aspects of the violin which resolves itself when considered from the standpoint of tone-creation advanced in these pages4 ,in whatever age a violin maker 7if he be also a capable tone-builder7 may work1 he will construct his tonal edifice according to his ideals4 ,he may hold every desirable element as an ideal save mellowness1 while another may develop much of that quality and little else4 ,to hold the balance evenly between all the desirable elements of tone is1 therefore1 no easy task1 and we may well marvel at the genius of the great ones who accomplished the feat1 and even admire those who succeeded only partially4 ,we can also understand why the copyists1 those who work without tone ideals1 fail so often in the production of a mellow quality1 and1 on the occasions when they do produce it1 remain in ignorance as to how it was done4 ,i do not think many will object if ,i state that it takes a certain length of time for a newly made violin to settle down to its work2 that the fullest measure of its tonal beauties become available to the player only after the instrument becomes accustomed to the tension of its strings1 and when the varnish is settled and seasoned4 ,all this is purely mechanical4 ,there is no creative force at work4 ,it is simply an adjustment of the various parts to the work for which they are intended1 and1 after much experience1 ,i find the time required for these beneficent changes to be from three weeks to three months1 depending on the season4 ,i have even known instances where they became operative within the space of a few days4 ,after this the violin may be expected to improve slowly1 or not to improve at all1 for about a year1 depending upon the instrument1 and the amount of time required to put the final seasoning touch to the varnish1 and accomplish the last adjustment of its various parts under the strain of concert pitch and use4 ,the effect of age on tone is1 therefore1 practically nil4 ,it does not and never has created it4 ,the instrument may1 indeed1 be consumed by the rotting of its wood1 or fall to dust through the corroding influence of time1 or be totally splintered by an accident1 or even injured by fire when1 without any doubt1 its tone will disappear4 ,i have indicated wherein and why time may be of some aid to tone1 but the idea that it takes a lengthy period to 8bring out the tone0 in a finely constructed and properly tone-developed violin1 in whatever age its maker lived1 ,i characterise as sheer nonsense4 ,let me make this appeal to all lovers or owners of a violin1 old or new1 or to all who contemplate the purchase of either3 ,do not allow the inexperienced1 self-constituted expert1 who usually appears in the guise of a 8candid friend10 or one who possesses that type of knowledge which is little and dangerous1 to lead you astray on this matter of age and tone4 ,if your violin is a year old you may consider its tone has acquired from age all it is ever likely to receive4 ,if the instrument be heavily built it may be extended to eighteen months4 ,in any case1 such improvement as the tone will receive after this will be so small as to be scarcely worth considering4 ,remember that tone is not created by age1 nor has age any power 7other than that which ,i have indicated7 to destroy it4 ,in a word1 if your fiddle be well built1 its tone 7whether good or bad7 may improve slightly1 and it will not deteriorate if the instrument receives ordinary care4 ,,chapter ,,xv ,,varnish ,,and ,,tone ,among the attributes which constitute the finished violin1 varnish holds the premier position as a controversial subject4 ,for more than a century it has provided an unfailing source of argument1 speculation1 experiment1 and theory1 waged around two issues1 the material itself1 and its effect on tone4 ,the first is concerned with efforts to discover the formula,o of the 8old ,cremona0 varnish1 and the second with the effect of all varnish on tone4 ,notwithstanding the claims which appear 7and disappear7 with unfailing regularity that this 8secret0 of the old ,italian varnish has1 at last1 been found1 the world remains unconvinced1 and the subject therefore remains very much where it was4 ,and where1 for my part1 ,i am quite content to leave it4 ,the effect of varnish on tone would appear to be equally uncertain if we are to judge by the statements we see in print from time to time4 ,we are confronted with such widely divergent statements as1 on the one hand1 the effect of varnish on tone is absolutely nil2 and1 on the other1 that varnish actually creates the tone4 ,there is an indication here that investigators have not yet succeeded in convincing each other1 and1 until some closer agreement is come to1 they can hardly blame the public for its attitude of profound and uncompromising scepticism towards individual statements and theories4 ,i believe most violin makers have solved this problem to their satisfaction and in their own way4 ,those with much experience of fiddles 8in the white10 as well as instruments coated with various kinds of varnish1 are well enough aware of the effect of varnish on tone4 ,experiment in this matter is particularly ineffective1 especially when it seeks to determine a result which may be considered uniform1 for the reason that1 while the cause is well enough understood1 the effect is not4 ,the cause is varnish and the effect is its influence on tone1 and the elements of tone are never exactly the same in any two violins1 and are rarely affected by varnish in the same manner4 ,the effect of varnish on tone cannot1 therefore1 be considered in the light of exact science4 ,it is for this reason that failure so often follows the second application of a successful experiment2 or a series of failures may be punctuated with a few successes varying from partial to full4 ,if the varnish and method of application be the same1 it is fairly obvious the failures1 as well as the successes1 can only be due to the different tonal conditions presented by the instruments4 ,yet it would seem this is not appreciated1 and investigators are led astray through efforts to produce a varnish capable of meeting all these changes--an impossible task4 ,tone is the determining factor and not varnish4 ,a good1 modern oil varnish will leave unaffected all the varying conditions which tone presents1 provided the latter be carefully regulated so as to offer1 as far as it is humanly possible1 a uniform tonal combination in each violin4 ,if the tone of a violin be developed to a rich1 telling1 and vigorous quality1 with the element of vigour slightly in excess of what is required 7particularly in the lower register71 experience indicates that such a tone would be best preserved and most 7if at all7 improved by the application of a fine oil varnish4 ,the best varnish will1 however1 affect one or another of the elements of tone to its detriment if wrongly applied4 ,it is the fashion among many violin makers to aim at the production of a fine mirror-like surface4 ,while this undoubtedly adds to the appearance1 the 8rubbing down0 and polishing necessary to its achievement is bound to affect the texture of the varnish and1 under certain tonal conditions1 the voice of the violin4 ,in our opinion it is better to sacrifice this superfine surface and allow the varnish to remain as applied1 with all its natural softness undisturbed4 ,it is unlikely the old masters acted otherwise2 the fine1 flat surface which their varnish now presents1 being due to use4 ,,chapter ,,xvi ,,tone ,,and ,,the ,,violin ,,player ,let us first briefly consider the relationship between the player and the violin4 ,here we find a condition unlike that existing1 to the same degree1 in any other combination of player and instrument4 ,while it would be far from fact to say the piano1 for instance1 produces its tone-quality quite independently of the player1 it does1 none the less1 produce its tone mechanically4 ,that is to say1 one may believe that a person inexpert in playing upon the instrument and unable to execute even the simplest of airs1 capable of striking one key and producing a tone of more or less quality and refinement--depending upon the instrument4 ,this is far from the case with the violin4 ,in the hands of the inexpert even the finest-toned violin will produce only a vile1 scraping noise2 if it produces anything at all4 ,everybody is aware that the beginner draws forth a miserable and irritating noise2 the amateur will achieve anything from very bad to very good1 and the artist a tone of ethereal beauty--all from the same instrument6 ,let us look into the reasons for this4 ,the first fact to be noted is that the violin does not produce its tone mechanically2 the second1 that a really fine instrument1 although it possesses all the possibilities1 gives forth only that tone which the player is capable of demanding from it4 ,in considering this subject it is extremely difficult to cite anything in the nature of a clear illustration1 but we may be allowed to liken the tone of a good violin to the inanimate clay from which the sculptor models a figure4 ,one may suppose the perfection of this figure to depend on the sculptor's idea of perfection in form4 ,if his clay be of good1 even colour1 and of fine1 plastic quality2 if his ideals be high and his ability as an executant well seasoned by experience1 one can hardly expect anything save a satisfactory result4 ,this result1 it is true1 may be bizarre1 unusual1 grotesque2 may carry the marks of genius gone awry1 but it will not be amateurish1 or lacking in any of the elements of a profound and settled purpose4 ,the player of the violin is confronted with a somewhat similar proposition4 ,the tone of his instrument may be likened to the sculptor's clay1 yielding to nothing save ideals and the ability to express them4 ,in both technical skill is necessary1 but it is a mistake to suppose this does more than remove obstacles in the way to a free expression of ideals4 ,one more illustration4 ,it does not require a deal of technical ability to play a simple aria on the violin4 ,many amateurs are capable of giving a marvellously good rendition without doing anything which the hearer considers at all remarkable2 but a great violinist will play the same thing1 without embellishment1 and in quite the same simple manner1 and then the aria becomes remarkable6 ,here is seen that gulf which always exists between player and fiddle2 that obstacle which only the few appreciate1 many ignore1 while others are unaware of its existence4 ,it is the gulf dividing the artist from the player4 ,every devotee of the fiddle comes to it sooner or later1 and there most of them remain1 unaware that their progress towards tone has come to a dead stop4 ,a clear understanding of the nature of this obstacle and the manner in which it may be bridged will go further towards assisting the player to a grand tone than years of laborious practice4 ,indeed1 neither practice nor experience will1 of themselves1 lead a single step in that direction4 ,to continue the illustration1 let us say 7for our purpose7 both the amateur and the artist employed the same simple fingering as well as the same violin and bow in playing the aria1 and that both played in the same hall before the same audience4 ,to what1 then1 is this difference in tone to be attributed8 ,is it that one has more experience than the other8 ,is it due to some virtuosic but invisible touch of bowing or fingering8 ,or is it that one has a higher conception of tone-beauty8 ,let us see4 ,many violinists of long experience are utterly incapable of producing a really beautiful tone from any violin2 years of playing has given them a technical equipment1 but the results aimed at are not achieved4 ,furthermore1 they can play practically anything1 to say nothing of a simple aria1 and yet they remain only a degree superior to a fair amateur1 so far as tone is concerned4 ,nothing1 then1 is left to account for this difference save that it is due to ideals4 ,if one player possesses higher ideals than another it seems reasonable to say all his experience and technic will 7perhaps unconsciously7 be directed towards the expression of them4 ,thus will tone-beauty be constantly demanded from the instrument1 while those without ideals simply play the fiddle1 asking for nothing more in the way of tone than that the violin be in tune4 ,we cannot do better in closing this chapter than quote the following from ,messrs4 ,hill's 8,antonio ,stradivari10 p4 #afb3-- 8,that the sense of beauty or distinction of tone is to-day cultivated to the same extent as formerly is1 we venture to think1 more than doubtful4 ,the custom in modern orchestral scoring of sacrificing the individuality of the instrument in order to obtain effects of greater sonority1 or of technical dexterity1 and the abuse of the full-sized concert grand pianoforte in chamber music1 seems to be largely destructive of the feeling for beauty of tone40 ,,chapter ,,xvii ,,the ,,ideal ,,tone ,the ideal tone is that which satisfies the player and also 8holds the audience spell-bound40 ,it is said of a very famous violinist that he one day entered the shop of a celebrated ,london dealer and heard1 in the room above1 the tones of a violin with which he was instantly fascinated4 ,this instrument he determined to possess1 and succeeded1 after much trouble1 in finally becoming its owner at the handsome price of two thousand pounds4 ,this violinist made his choice of tone through being1 for the moment1 a spell-bound audience of one1 and not through playing upon the instrument himself4 ,it is impossible adequately to judge tone by playing upon the fiddle2 the player is too close2 he cannot tell whether the tone is 8carrying0 or not2 its beauties1 or frailties1 are1 like a picture1 only appreciated at a distance1 and the violinist can no more get away from his tone than a singer can get away from his voice4 ,but he has this advantage over the vocalist3 he can become1 so to speak1 an audience and hear the tone-quality inherent to a given instrument produced by another2 but not1 bear in mind1 as he will produce it4 ,none the less he may1 by this means1 select his voice with a measurable degree of certainty1 if he has some idea of what constitutes an ideal of violin tone4 ,there are few matters connected with the violin approached more lightly and with less understanding than this question of ideals of tone1 whether in the violin or the player4 ,as we have seen in previous chapters1 some violin makers ignore it entirely1 being content simply to make the fiddle1 just as some players ignore it1 and are content merely to play the fiddle4 ,these are continually seeking the instrument which1 through the perfection of its tone1 will turn them into virtuosi--a thing it never will do4 ,although the great artist never hears himself as others hear him--even on the gramophone6--much experience enables him to know something of the tone effect he is producing4 ,we studied this matter with a favourite pupil of the late ,dr4 ,joachim for a subject1 whose opinions on tone are interesting4 8,the most an artist can do10 he says1 8is to study the tone of his violin with painstaking care1 and1 by constant practice1 fit such tone ideals as he may possess to those of the instrument4 ,this must be done with such thoroughness that the two ideals become one1 otherwise he will be continually at conflict with his violin1 and unable to devote an undivided attention to the expression of tone and technic in a manner which experience will teach him is most impressive to the hearer4 ,this #8manner' of expression becomes in time1 and in its turn1 second nature1 and only when this final point is reached is the artist entirely unconscious of possessing either a violin or method1 and the expression of tone becomes untrammelled as the expression of thought--to which1 indeed1 it may be likened4 ,this is the only #8secret of tone1' and1 until it is accomplished1 no player can truthfully say he understands1 or is able to express1 the true tone of the violin--or even such ideals as he may possess40 ,i will now devote a short chapter to the method by which a tone ideal may be cultivated and acquired4 ,it would certainly be too much to say this method 7or any other7 is an unfailing producer of virtuosity4 ,it is but one of many guides1 and1 as such1 ,i believe it cannot fail to interest every keen student of ,tone4 ,,chapter ,,xviii ,,how ,,to ,,acquire ,,an ,,ideal ,,tone ,to give expression to an ideal tone one must possess a tone ideal4 ,if not a natural gift1 it may1 under favourable circumstances1 be acquired4 ,it is not given to all to appreciate art in its higher forms1 and the purely technical side of violin playing may be cultivated to such an extent as to appeal1 finally1 only to the few2 whilst tone1 no matter to what extent it is cultivated1 appeals invariably to the many4 ,it is that quality in violin playing which holds the attention of the major portion of the audience1 and1 whilst a sound technical training is a necessary part of every player's equipment1 it is the fault of some amateurs that they rely too much upon it4 ,so frequently is the 8show piece0 offered1 full of fiery technical gymnastics1 that violin playing has been looked upon 7by more people than is generally supposed7 as a sort of exercise in string-plucking and bow-jumping4 ,it is said of ,dr4 ,johnson that he once complained of this very thing1 and was told that the piece was extremely difficult1 to which he replied that he wished it was impossible6 ,the cultivation and building up of a tone ideal is divided into two parts4 ,first1 the development of tone-sense2 the ability to appreciate what is meant by purity1 delicacy1 grace1 tenderness1 appeal1 depth1 and power in tone--not only from the violin1 but from every source4 ,as the student cannot see his model it must1 perforce1 be carried as a memory and the mind trained to recall1 and remember with as much accuracy as possible1 the exact impression and 8aspect0 of such tone as may be the subject of study2 for it is necessary to study1 not merely to hear1 all tone4 ,the best subjects for tone-study are these3 ,a really fine organ--not one of the 8brassy0 instruments now so frequently erected4 ,the human voice1 particularly the singers of operatic music1 and most particularly the soprano singers in grand opera1 this being preferable to hearing the same singers on the concert platform1 where1 it has always appeared to me1 the singing loses much of its purpose1 and consequently something in richness and colour4 ,on the other hand1 the concert should be visited when violinists of renown appear on the programme1 for then will be heard tone to its greatest advantage4 ,the novice should1 as far as possible1 avoid hearing the violin except when played by the famous artists4 ,later he will become immune1 and the sounds produced by the most tone-deaf of fiddle players will leave his ideals unsullied--may1 indeed1 become useful lessons in what to avoid4 ,confine attention to tone1 and not the method of its production4 ,do not allow the mind to be diverted from its object4 ,much advantage may accrue by not looking at the player at all4 ,everything in the nature of tone should be carefully studied2 not only the tone of instruments1 but the sounds heard in field and forest4 ,now1 it must not be supposed the pupil should attempt to reproduce1 parrot-like1 anything he may have heard--least of all the tone of the great players4 ,the purpose of tone-study is to create original ideals1 and not to imitate the ideals of others4 ,what he should try to produce from the violin is simply the best tone he is capable of demanding from it4 ,this will be his ideal--when he begins to possess one4 ,it need hardly be said that practice should be continued1 for1 without ability to play the fiddle1 even the highest ideals could not be expressed2 but1 until these ideals of tone begin to take form1 it is as well to confine the practice solely to technic1 under a good teacher4 ,why8 ,let us endeavour to explain4 ,there is a difference between the kind of tone which the violin will yield to technic alone and the kind it will yield to technic and ideals combined4 ,the first may be likened to an outline drawing1 and the last to the same filled in with colour4 ,however perfect the former1 its appeal is small and its influence evanescent1 and it is a mistake to give such tone any consideration apart from that technic to which it owes its existence1 especially whilst engaged upon the spade work preparatory to the expression of something higher4 ,as the student progresses this technical tone naturally improves4 ,the 8drawing10 so to speak1 becomes more forceful and accurate4 ,to the enthusiastic novice it appears1 in time1 almost virtuosic1 or at least pointing the road to supreme artistry4 ,herein is found the reason for that absence of really great tone which characterises so many players who1 otherwise1 are excellent and accurate performers on the fiddle4 ,such tone as they possess is solely and purely technical in character1 good enough1 or even perfect1 as a succession of correctly phrased sounds1 but so far removed from the tonal requirements of solo playing as to make efforts in that direction almost a travesty4 ,for these reasons it is advisable that the beginner should1 when practising the violin1 confine his whole attention to technic4 ,when not thus engaged1 and when opportunity offers1 let him hear and carefully study the tone-picture presented to him by music from one or another of the sources ,i have indicated4 ,in due time he may begin to wed his ideals to his technical abilities1 selecting a simple aria1 and ,i venture the assertion that both he and those who hear him play will be highly gratified with the result4 ,,chapter ,,xix ,,two ,,styles ,,of ,,tone ,,production ,the player of the violin is an artist in tone no less than his confrre of the brush is an artist in colour1 and each has his methods of conveying the impressions which he desires to produce4 ,he of the brush may paint an exquisite picture1 fine of line and detail2 delicate in colouring1 as in a miniature1 a picture capable of bearing the closest scrutiny4 ,again he may pile the pigment upon his canvas as with a trowel1 and those who view such work at close quarters will marvel how so much seeming roughness1 lack of detail and carelessness can mean anything4 ,but when this picture is viewed at a little distance1 order comes forth from chaos2 there is unfolded a landscape of surpassing loveliness4 ,it is the same with the artist in tone4 ,the violinist1 for instance1 may produce his tone-picture as the painter does the miniature1 by the most painstaking attention to every detail of shading and expression1 giving to each individual note his idea of colouring4 ,the effect of such a tone-picture is1 like the miniature1 best appreciated at close quarters1 and1 like most delicate things1 is easily marred1 the dividing line between the tender and the 8finniky0 being very narrow4 ,it takes an artist of rare talent and sound ideals to achieve the one and avoid the other4 ,there are more failures than successes in this style1 and it is perhaps for this reason that the majority of players affect what may be called the robust style--and seldom get further than the robust2 producing a great deal of sound and very little music4 ,it takes much experience1 and judgment of a high order1 to weave a coarse fabric of tone which1 at a distance1 develops the infinite possibilities of the graceful and beautiful in music4 ,the player of the violin is always handicapped by inability to get away from his tone4 ,he cannot1 so to speak1 hear himself4 ,in the delicate style he may1 indeed1 have some excuse for thinking he is able to do so1 but in the robust style he has none4 ,he cannot1 like the painter1 step back a few paces and criticise his work4 ,he must possess the ability to know how this bold and vigorous treatment of tone will sound at1 say twenty paces1 the while he produces it at arm's length--indeed1 at a distance measured by inches6 ,a difficult thing it is to acquire1 but worthy of every effort towards attainment1 and every earnest student of the violin should make the attempt4 ,it is the only means by which1 like the plastic style in painting1 effects of the noblest and most impressive character are attained4 ,,chapter ,,xx ,,modern ,,violin ,,makers ,never have makers of the leading instrument been more numerous4 ,the mystery and romance of that wonderful tone1 enclosed within the apparently simple1 box-like affair called the violin1 has proved an irresistible attraction1 and the reward awaiting those who discover the connection and its utilisation as in past times1 has fired the zeal of honest builders1 and drawn to the art a host of amateurs1 experimenters1 and theorists4 ,never has the violin been more earnestly considered at every point2 the material for its construction selected with greater care1 or workmanship executed with more deliberate attention to tone4 ,the modern builder may justly claim the title of artist and1 but for the lingering miasma of exploded theories1 have much reason to congratulate himself4 ,but his troubles do not always come from those outside the pale4 ,within his ranks is a small section1 large by virtue of their insistent clamour1 upon whose shoulders the mantle of ,stradivari has fallen2 those who have discovered the 8secret0 of his tone and varnish6--not1 we may remark1 for the first time in fiddle history4 ,fortunately the green-eyed monster is rampant among them2 each is impatient of the claims of the other4 ,their amateurs are tarred with the same brush1 while theorists indulge their bitterness and sarcasm in letters to the fiddle ,press4 ,thus1 like the famous cats1 are they likely to destroy each other1 and bring to naught their cupidity and ability to trade upon prevailing ignorance4 ,it is the fashion to consider that the mere maker of a violin cannot1 with much authority1 tell the player anything about tone4 ,to some extent this is due to the ridiculous claims of the mountebanks2 to the wearers of the ,stradivarian mantle4 ,i admit the opinion is fairly general1 and ,i also admit the claims of the great experts and connoisseurs as unequalled judges of tone4 ,for obvious reasons they would give a fairer criticism on the tone of ,joseph ,guarnerius1 for example1 than ,joseph would have been able to render on the tone of his contemporaries4 ,but is the connoisseur capable of creating the tone which he judges with such accuracy8 ,he is not4 ,it is a feat entirely beyond his powers1 just as it is beyond his power to fashion the replica of a violin upon which is exercised his skilful criticism4 ,the creation of tone is a work belonging to the maker of the violin1 and his experience of the subject differs from that of the experts and judges4 ,his work fixes upon him a set of obligations and responsibilities with which connoisseurs and players never come in contact4 ,he has1 so to speak1 an inside knowledge1 while that possessed by others is1 in its very nature1 superficial2 that is to say1 they judge1 hear1 and use the tone of a violin1 but remain in ignorance as to the process of its creation4 ,this1 of course1 refers to the new fiddles4 ,with the old the question of tone does not arise4 ,criticism is frequently expressed upon the published claims of the modern makers1 especially upon the brazen announcements of those to whom the minds of the old masters are as an open book6 ,it has sometimes appeared to me that1 in this age of brilliant commercialism1 art is too frequently relegated to the status of a pastime devoid of serious purpose2 unworthy of exploiting for the benefit of anybody2 that the artist is also looked upon as a sort of drone within the industrial hive1 or his occupation the laborious but useless pursuit of a kind of ignis fatuus4 ,yet art survives commercially1 if only as veneer upon the surface of crude utility1 proving beyond doubt that dilettantism1 at least1 still lives6 ,thus do art and commercialism come closely in contact1 and if the artist would exist he must make his appeal after the only manner which the age understands and--advertise6 ,however it may have been in other times1 in these days patrons are too busy to make a 8beaten path0 in the wilderness4 ,if they do not demand1 they at least expect the vendor of the beautiful to announce himself4 ,with some makers the desire for favourable opinions upon tone amounts almost to a passion1 leading them to all manner of mistakes4 ,there is little objection in making public the opinions which may be expressed upon the tone of a violin1 particularly if made in the ,press1 or some authority other than the player1 but it is well to remember that the value of such opinions is thoroughly nullified by exploiting on their strength violins less worthy4 8,testimonials0 have been given for violins which1 in the bulk1 were tonally worthless4 ,an instance is recent history1 the makers profiting largely by exploiting examples which they seldom1 if ever1 duplicated--with results no less disastrous to themselves than to their credulous patrons4 8,testimonials10 therefore1 are worthless4 ,they refer to one violin only1 and not to others by the same maker2 a statement which cannot be too often repeated1 or too well remembered4 ,how obviously1 then1 is indicated the pathway to lasting success2 to the satisfaction of all patrons2 to fame built upon a solid tonal foundation4 ,,chapter ,,xxi ,,notes ,,on ,,tone ,,carrying ,,power4--,here we have that phase of tone which is most elusive4 ,a violin seemingly loud1 full and even brilliant1 to the player1 may1 at a little distance1 be thin and wailing4 ,such a violin is lacking in carrying power1 and when played with a small orchestra1 is rarely heard in the lower register by any save the player4 ,the voice of a true-toned violin is rarely loud to the player1 and1 in the hands of many1 such an instrument never has a chance to display its ability to lead the accompanying instruments4 ,those unused to such an instrument are charmed1 it may be1 with the purity of tone1 but disappointed with its supposed lack of volume which1 in their misguided efforts to produce1 is all but destroyed4 ,it is seldom such players can be brought to realise that carrying power is due to purity and not to mere loudness2 that a tone which strikes the player as loud and the hearer as weak possesses elements of a conflicting nature which1 in their efforts to dominate each other1 all but destroy the carrying ability2 that tone1 when 8pure10 is divested of these elements1 or most of them1 and is naturally less in quantity1 or loudness1 but greater in penetrative ability2 and1 finally1 that pure tone requires no forcing1 or undue pressure1 to create a carrying power entirely beyond the possibilities of most loud-toned fiddles4 ,these facts are rarely appreciated save by artists1 whether players or singers1 and it is seldom that amateurs1 or some who rank as professionals1 understand purity of tone sufficiently well to recognise what degree of carrying power it will possess4 ,in fact1 a loud-toned violin1 although lacking the finer elements1 is more suited to such players than a purer-toned instrument4 ,it is better that they possess a fiddle with the tone with which they can be satisfied than another which is belaboured with the bow in the vain effort to create what is considered an effective1 or 8big10 tone4 ,in justice to the player it must be said he is not wholly to blame4 ,wrong ideals of tone and carrying power are easily formed through the use of an unsuitable instrument4 ,and it must be remembered a player can never 8hear himself as others hear him40 ,,quantity versus ,,quality4--8,ruggeri10 writing in the ,strad for ,february1 #aiac1 says3 8,there seems so often a tendency among violinists of the present day to forget that it is not quantity1 but the #8quality' of tone that holds the audience spell-bound40 ,this warning should be remembered by all devotees of the fiddle4 ,while the possession of a beautiful toned violin does not1 ipso facto1 make a tone-poet of its owner1 it is the essential part of his equipment4 ,tone of superfine quality can only be freely and easily produced from a pure and flexible toned violin1 and the importance of such a violin to those who would express the highest ideals in a masterly manner cannot be over-estimated4 ,however sound the player's theory may be1 however high his ideals1 he is1 in practice1 bound to limits of expression which are set by the instrument4 ,long association and use of a particular violin create a feeling that the limit of the player's ability to produce quality of tone1 and the capacity of the violin for giving it forth1 are one and the same1 whereas they are entirely different2 the player's ability is constantly growing and expanding1 but the capacity of the violin remains always the same4 ,should this violin capacity be of a low order the player is bound to a dead level of tonal mediocrity1 although rarely conscious of the fact4 ,on the other hand1 a violin which is practically limitless in capacity for expressing quality of tone places no obstacle in the way of the player whose ambition is to 8hold the audience spell-bound40 ,,flexibility ,,of ,,tone4--,by flexibility is meant ease of production1 the instant tone-response to the lightest touch of the bow--not only in the first1 but in the high positions4 ,without flexibility tone loses its tenderness1 most of its qualities of appeal1 and delicate shades of expression become next to impossible4 ,its absence adds to the technical labour of the student and robs the soloist of his main source of inspiration--the command of a supple voice4 ,,tone-,,failure4--,it is sometimes remarked by players that certain violins and other bow instruments 8lose their voice0 after being played for a time under certain conditions4 ,this would appear to take place in heated and crowded rooms and halls4 ,it would further appear that it is certain old violins which are most affected1 but new instruments are not entirely exempt1 although less susceptible4 ,there is1 without doubt1 a scientific reason for this1 but ,i have not seen any explanation of the phenomenon in print4 ,i mention it only as an eccentricity of tone1 and one which would appear to present difficulty in regulating1 and it may be said that an instrument possessing this peculiarity must1 indeed1 be near to tonal collapse when heat1 humidity1 and general heaviness of the air are sufficient to produce such a fatal effect4 ,old wood is spongy in nature4 ,when too old it is dark brown in colour and almost crumbles to the touch4 ,it is not difficult to imagine old wood1 particularly if affected with some slight degree of dry rot1 absorbing moisture which1 together with heat1 would cause it to become leathery and lose the crispness it would possess under opposite conditions4 ,if the new violin is affected the cause may possibly be found in the fact that its tone is1 under the most favourable conditions1 hanging on the very brink of failure1 which the mere touch of a heavy atmosphere is sufficient to consummate4 ,if this be the reason for tone failure we should expect the old violin to become affected after some exposure to the conditions stated1 and the new instrument immediately4 ,,fiddles ,,classified4--,it is a task of extreme difficulty to classify violins according to their tonal value2 while they may be dealt with singly1 any attempt to separate them into well-defined groups1 in which certain makers are associated with certain tone characteristics1 will yield a result which1 for reasons that are well understood1 can only be considered approximately correct4 ,yet they may be roughly divided into four groups which ,i may be allowed to indicate as follows3-- 7#a7 ,superior ,tone4--,this must be sought for among the violins of the old ,italian masters2 among those produced by one or two old makers in other countries1 and among the instruments produced by the best makers of the present day4 ,the first are the most difficult to obtain1 and by far the most expensive1 due to their scarcity and to the fame of their builders4 ,owing to the ravages of time1 to the influence of damp1 wear1 accident1 much repairing 7not always skilful71 and the vandal efforts of 8improvers10 many violins by old masters have greatly depreciated in tone4 7#b7 ,excellent ,tone4--,the lesser lights of the 8,palmy ,days0 turned out an occasional great violin1 worthy to rank with the master fiddles of any age1 and the same may be said of some of the great copyists of the eighteenth and nineteenth centuries4 ,these are rare examples1 and so mixed with others of less tonal worth by the same makers as to render their discovery possible only to the expert4 ,consecutive reproduction of superior tone is such a difficult part of violin construction that only masters can accomplish the feat successfully4 ,the celebrated old makers are known to have succeeded1 and so have a select few of the living makers4 ,mr4 ,towry ,piper1 writing in the ,strad1 says of a modern builder3 8,he can build a fiddle with a certain quality and volume of tone1 and within human limits1 repeat the process ad lib40 ,it need hardly be pointed out that the old masters also laboured 8within human limits40 ,apart from the specially good examples1 the old violin makers of the second class produced in their instruments a quality of tone in every respect worthy of being termed ,excellent4 7#c7 ,good ,tone4--,within this category is a wide range of fiddles suitable for all ordinary uses1 made in all ages of the art1 but usually found among violins by old makers of the third class in ,italy1 those of the second class in ,france1 ,germany1 and ,england4 ,the tone of some of these violins deserves to rank as excellent1 but here1 again1 is found a wide difference in fiddles by the same maker4 ,in this class the inexperienced will also find difficulty in making a selection1 and the advice of an expert should be secured4 7#d7 8,just ,fiddles40--,nameless1 but 8old0 ,italian1 ,french1 ,german1 or ,english fiddles4 ,violins of all sorts1 old and new1 bearing unfamiliar names4 ,the age-baked imitations by makers with and without repute4 8,pawnshop0 fiddles1 manufactured to catch the eye of those seeking the rare but unrecognised6 ,factory-made 8copies0 of ,amati1 ,guarneri1 ,stradivari1 ,stainer1 etc4 ,numbered by thousands1 such fiddles as these are carefully avoided by the knowing seeker after tone4 ,because one or the other rarely fail to deceive the well-meaning but uninformed1 it does not follow that they lack any legitimate place in the world of fiddles4 ,when sold on their merits1 or by dealers of repute1 they are low in price4 ,on them one may 8whack out0 a lively tune of sorts and bring pleasure to the uncritical atmosphere of many homes--may1 indeed1 be a direct lead to better things4 ,the ,king of ,instruments rules over the pleasures of the great1 and the little princes of his house bring an equal happiness to those whose lives and tastes are humble4 ,thus may these instruments bring music to the forecastle and the farm1 and pleasure to those who1 by one circumstance or another1 are barred from better things4 ,a ,,strange ,,belief4--,as an illustration of the extraordinary beliefs held regarding tone and its connection with the violin1 ,i quote the following from a recent issue of an ,american journal3 8,if ,stradivarius were living to-day and was a violin-maker 444 he would be just as big a failure as our best modern makers are to-day 444 he builded better than he knew40 ,the writer of this is without first-hand knowledge1 either of ,stradivari or the 8best modern makers10 else he would cite a different explanation of failure4 ,but what are we to say of such beliefs--long since exploded--being revived in a modern journal8 ,unfortunately for the accuracy of this theory1 time has not dealt in a like manner with ,stradivari's sons4 ,they did not build 8better than they knew40 ,,tone ,,health4--,it is said a violin should always be kept in its case when not in use4 ,while small objection can be found with this advice1 ,i believe good fresh air is beneficial1 and it is my practice to make the fullest use of this reviving and antiseptic influence on suitable occasions4 ,i hang the violin away from the wall if indoors1 and in a shady place if in the open1 so arranged that it will not strike against anything should it swing about through the action of a passing breeze4 ,violinists are apt to neglect their cases1 which should also be kept well aired and dry1 together with the cloth used to cover the instrument4 ,the function of a case is to keep out damp1 not to keep it in1 but ,i have seen some cases so musty and damp that steam has risen from the covering cloth when held before the gentle warmth of a fire4 ,no wonder violinists are troubled with their tone by thus neglecting the first principles of hygiene4 ,it may be thought superfluous to add that the violin should be kept perfectly clean1 but every one experienced in these matters is aware that many players are exceedingly careless1 while others actually look upon dirt as an ornament4 ,the interior of the instrument may be cleaned by pouring a handful of rice through the soundhole1 shaking it about1 and emptying through the same orifice4 ,on the exterior use a very soft cloth or chamois leather1 and remove every trace of dust and dampness4 ,this last is deposited from the hands1 and may prove fatal to the varnish because of its saline properties4 ,where the hand touches the body of the instrument most frequently it is not uncommon to see1 particularly in the old violins1 the varnish entirely removed and the bare wood left to absorb1 not only moisture1 but grease1 which is difficult to extract without injury to the wood4 ,i am aware that1 even to mention such a thing1 is to suggest something in the nature of vandalism1 but ,i do say these bare places should be carefully cleaned and revarnished--but only where the hand touches when in the high positions1 a chin-rest will protect the other end of the violin4 ,the owner of the violin may1 however1 do as he pleases2 it is merely a question whether health in tone or wealth in fiddle is to have the most consideration4 ,,tonal ,,misjudgment4--,the violin presents many strange difficulties1 and1 in order to indicate that the judging of tone is no simple or easy matter1 ,i will cite a few cases to show how some excellent and experienced players have been deceived4 ,a professional played upon two violins at a public entertainment--his own1 an old ,italian which cost one hundred and eighty pounds1 and a modern instrument worth about thirty pounds4 ,he played the first half of a selection on the ,italian and the second half on the modern1 the change occupying but a few seconds4 ,the numerous audience were unaware of any test being made4 ,the instant he began playing the modern instrument the surprise was general1 the contrast being extraordinary1 the intensity1 richness1 and telling qualities of the new fiddle's tone completely eclipsing that of the older violin1 which1 in comparison1 seemed weak and wailing4 ,note the sequel4 ,immediately the piece was finished the player1 who was unaware of the impression created on his hearers1 observed to a friend3 8,the new fiddle is good1 but too weak4 ,i could never lead with it60 ,a ,stradivari violin1 once the property of a celebrated artist who used the instrument until his death1 playing in all the great cities in ,europe1 was borrowed by a very talented amateur for the purpose of playing a solo at his farewell concert1 as he was about to live abroad4 ,he did not use this violin1 however1 the excuse being that he did not think it would carry sufficiently well to fill the hall1 not by any means a large one4 ,he used1 instead1 another instrument1 the property of a local player1 and1 it is hardly necessary to add1 treated his hearers to a tone not only less in quantity1 but with no quality whatever4 ,it is the belief among a certain class of players 7who are not by any means always amateurs71 that an ear-splitting sound indicates a violin possessed of all the requirements of a first-class fiddle4 ,when they discover such an instrument it is treasured above pearls1 notwithstanding their progress and popularity are in no wise enhanced by its possession4 ,an artist once called upon a continental expert with an old ,french fiddle4 ,it had cost a considerable sum1 and was looked upon by its owner as perfectly ideal in tone4 ,the expert differed1 however1 but expressed his opinion as mildly as possible1 merely observing that the tone was hardly suited to the artist's talents6 ,this opinion the said artist received with some show of pique4 ,later1 this violinist began studying under a celebrated master1 who condemned the thing in language both forceful and picturesque2 and a better toned instrument was procured4 ,while most of the great violinists use instruments with which no tone fault can be found1 others are not so happy in their possession1 although1 doubtless1 quite satisfied themselves4 ,among these last are two whose names are household words1 and the fault lies in the two lower strings of their violins1 the sounds from which are scarcely audible in a fair-sized hall1 although the hearer may sit only some thirty feet distant--axioma medium6 ,there are players so accustomed to the tone of one violin that they are utterly incapable of correctly judging the tonal qualities of another4 ,i once met a player of no mean ability who owned and played upon a factory-made instrument which emitted a miserably flat and thin tone4 ,yet this fiddle had been treasured and used for twelve years6 ,no other violin 8suited0 so well6 although many excellent instruments had been tried4 ,such extreme cases of self-deception as this are1 fortunately1 rare1 but they are occasionally met with4 ,,accessories ,,and ,,tone4--,so far as the player is concerned1 the important accessories are the strings1 bridge and sound post1 and with these it is not advisable to experiment4 ,the post and the bridge are usually correctly proportioned and in their proper positions4 ,the former may fall when all the strings are loose1 and because of this it is well to keep them fairly taut always4 ,when the violin is not in use ,i consider the ,e and ,g strings may be slightly lowered1 the first to prevent unnecessary breakage and the last to prevent thinning of the core and consequent 8buzzing40 ,when a string breaks put a new one on at once4 ,if the instrument is to be restrung throughout1 change one string at a time4 ,it is well for the player to bear in mind that resetting the sound post may seem a simple matter1 but that it is not so simple as it appears4 ,not one player in a thousand can accomplish this operation properly1 or without some damage to the instrument4 ,the position of the post should be marked on the back of the violin by inserting a thin pencil through the right-hand sound hole and marking as far as possible1 and faintly1 around its lower end4 ,if the post falls1 take the instrument to the nearest repairer4 ,the bridge is almost indestructible if it receives proper attention4 ,it is important that it should lean slightly towards the tailpiece1 never be upright1 nor lean towards the finger-board4 ,watch the bridge frequently when tuning up1 or when putting on a new string4 ,the ,e string is a particular offender owing to its high tension and the frequency of its tuning and renewal4 ,it pulls the upper right-hand corner of the bridge forward4 ,pay constant attention to the bridge and keep it in the correct position4 ,this pulling forward may be somewhat overcome if the nicks wherein the strings rest are leaded1 using the sharp point of a soft pencil4 ,every player should possess a string gauge on which is marked the sizes most suitable for the violin4 ,tone is greatly influenced by the hardness1 softness1 or size of the strings1 and the player should ascertain by experiment what is most suited to the instrument and keep to that4 ,it is rare that two violins are exactly alike in their string requirements1 and they also differ in temperament3 that is to say1 one may demand a certain size and kind of string before the best results are obtained1 while another will respond very well without more than ordinary care in selection4 ,,the ,,bow4--,this important accessory should be selected with care4 ,it has an important part in the production of tone1 to say nothing of that technic which belongs to it4 ,it is said that a really good bow of correct balance1 flexibility and weight1 is more difficult to find than a good toned violin4 ,only the few can afford a bow by ,tourte1 or other famous makers1 but really fine modern bows may be obtained at reasonable prices from most of the dealers1 and especially from those who are1 in addition1 bow-makers4 ,just as one may become used to a violin of faulty tone1 so also may the player become used to a bow which adds to his tonal and technical difficulties4 ,a good 8stick0 is a treasure and should be well cared for4 ,when not in use the tension should be entirely removed4 ,the stick should be kept perfectly clean1 especially on the under side1 and the screw oiled occasionally4 ,,the ,,fiddle 8,,doctor40--,the simplicity of the fiddle is deceptive4 ,it is not only not so simple as it appears1 but of all musical instruments requires the most knowledge and skill in its repair and adjustment4 ,any player may apply the means by which tone can be preserved1 and this is best accomplished by keeping the violin in a cleanly condition and healthy surroundings2 but 8accidents will happen10 or something peculiar in the tone will indicate the need of attention1 and in either case1 it is the luthier and not the fiddle 8doctor0 who should be consulted4 ,skilful repairers are to be found in practically every city in the world1 and in their hands the ailing violin may be left with confidence4 ,,conclusion ,and now a few words regarding the process of regulating and developing the tone of a violin4 ,it would in my judgment serve no useful purpose to attempt to publish details of the means employed1 as ,i am satisfied that nothing short of practical exposition and demonstration 7coupled with experience7 will suffice to convey the knowledge which must be acquired by any one desiring to command anything like uniform success4 8,thicknessing10 as it is termed1 upon which such success is very largely dependent1 is a variable and complex operation and cannot be learned from books2 and the most that can be said is that after a violin is built its tone can be fundamentally altered1 regulated1 and developed by internal and external means to give such final results as the maker1 or operator who develops the tone1 may consider to be ideal4 ,this is well enough understood by the best makers1 but1 for reasons which are fairly self-evident1 those who practise it are very few indeed4 ,as much more is required of the student of tone development than a mere acquaintance with the means can give1 a thorough working knowledge1 leading to successful application1 is best acquired by personal instruction from one acquainted with the complicated and ever-changing tonal problems presented by the newly-made violin1 and experienced in dealing with them--just as ,i believe this art was imparted to pupils by masters in the 8golden period0 of violin-making2 the measure of success achieved depending always upon the tone ideals of both the master and pupil1 and the skill with which the process is employed to obtain his results4 ,i hope a return will be made to the methods of that period1 when tone reached its fullest perfection1 to the end that the world may become richer in instruments possessing that quality of tone which is now almost exclusively associated with the violins produced by the 8old masters40 ,,notices ,,biographical ,,and ,,critical ,,of ,,the ,,principal ,,violin ,,makers ,,of ,,the ,,various ,,schools ,,and ,,of ,,their ,,works ,by ,,towry ,,piper ,,prefatory ,,note ,in the following pages the author has endeavoured1 so far as limitations of space and other circumstances would admit1 to incorporate the results of observations made during a very long period of years4 ,since the year #ahgg he has been a more or less assiduous student of old violins and kindred instruments1 and has had perhaps exceptional opportunities of handling and examining some thousands of examples of the different schools of violin-making4 ,though the work does not1 perhaps1 come appropriately within the definition of a dictionary of the subject of which it treats1 it will be found to contain notices of a considerable number of makers who have not been dealt with in previous ,english works on the violin4 ,in deciding the somewhat difficult question as to what names should be included and what rejected1 the author1 who has for several years been a contributor to the ,strad magazine1 has found his experience of the correspondence department of that journal of frequent assistance in arriving at a conclusion1 as it has been possible in the light of such experience to form some sort of estimate of the nature of the information most likely to be of use to violin players and owners of stringed instruments generally4 ,most of the previous works of this kind will be found to contain numbers of names of old viol and lute makers who are not known to have made violins1 such as ,dardelli1 ,duiffoprugcar1 and many others2 but by omitting these1 almost in toto1 it has been possible to include a number of minor workmen whose instruments possess merit1 without unduly increasing the bulk of the book4 ,to deal in anything like detail with the huge army of makers of ,german origin is a task which no ,english writer has had the temerity to attempt1 nor would any useful purpose be served by so doing in a work intended for ,english readers4 ,those who desire more precise information on that branch of the subject than is hereinafter conveyed are recommended to refer to the two portly volumes of the ,german writer1 von ,ltgendorff1 who1 with characteristic ,teuton thoroughness1 seems to have hunted up nearly every one of his countrymen who ever made a fiddle4 ,the work in question is indeed a monument of literary industry and research4 ,a number of the more recent ,italian makers1 whose work has come into prominence during the past twenty-five years1 have been noticed in somewhat more detailed fashion than has usually been adopted in books of this kind1 and an attempt has been made to deal in the same way with a few makers of the ,french school whose names1 for some reason or other1 have previously received somewhat meagre attention4 ,stradivari1 and some of the other ,italians of the first rank1 have already been handled so fully in works which will be found mentioned in the text that the facts already published concerning them have been digested so far as possible1 to enable them to be succinctly presented1 and to make room for other matter4 ,,bexhill1 ,,august #ba1 #aiaf4 ,,absam1 ,,thomas4--,wakefield2 nineteenth century to about #ahej2 said to have been of ,tyrolese birth4 ,worked for ,pickard of ,leeds1 and on his own account4 ,,adam4--,mirecourt4 ,a family of bow-makers of whom the best was ,,jean ,,dominique1 who worked to about #ahfj4 ,,aireton1 ,,edmund4--,london4 ,died about #ahjg4 ,a maker of the style and period of ,peter ,wamsley4 ,worked for the dealers1 ,norris and ,barnes4 ,,albani4--,late seventeenth and first half of eighteenth centuries4 ,a family of violin makers originating at ,botzen in the ,tyrol4 ,the chief maker1 and the founder of the family1 was ,,matthias1 who was born in #afba1 and died at ,botzen in ,february1 #agab4 ,most authorities mention two different individuals named ,matthias1 but it seems to be established that there was but one4 ,matthias ,albani's work belongs chiefly to the school of ,stainer1 but the later and better examples show distinct traces of ,italian influence1 and are built upon lines more approximating to the ,amati school4 ,the arching is much less pronounced than that of older specimens1 in which it is often extravagantly high2 outline and sound-holes1 though never losing entirely their ,german cut1 are more ,italian-looking1 and the varnish1 usually a brilliant red-brown1 is either identical in composition with that used by ,italian workmen of the period1 or closely allied to it4 ,the tone of his better instruments is excellent4 ,the wood used is of good quality and frequently handsome4 ,examples with lion and other ornamental heads occur4 ,he made violins1 tenors1 and basses1 and the larger instruments are held in high esteem amongst players4 ,tradition has it that he worked for some time at ,cremona or elsewhere in ,italy1 but anything like tangible evidence in support of this appears to be lacking4 ,his name has been made free with by forgers and imitators1 and may be seen in all sorts of worthless fiddles1 ancient and modern4 ,spurious labels1 dated in the year #afij1 abound4 ,his ordinary label reads1 8,matthias ,albanus fecit ,bulsani in ,tiroli10 with date4 ,other makers of the family were ,,michael1 a son who worked chiefly in ,gratz1 where he died in #agcj2 ,,joseph1 a younger son1 who assisted him1 and died at ,botzen in #agbb2 and ,,joseph ,,anton1 a nephew1 who died at ,botzen in #agga4 ,,albani4--,mention is made of makers of this name working in different parts of ,italy in the seventeenth and eighteenth centuries4 ,one1 named ,,paolo1 is said to have operated in ,palermo1 ,rome1 and ,cremona4 ,,aldric4--,paris4 ,eighteenth and nineteenth centuries4 ,was living in #ahdc4 ,one of the best of the ,french makers of the ,lupot ,school4 ,he was also well-known as a dealer4 ,excellent work and material4 ,stradivari model1 and usually rather dark red varnish4 ,instruments frequently rather heavy looking in build4 ,he used chiefly printed1 but also written labels1 and worked in ,paris at various addresses4 ,his violins and other instruments have sometimes been relabelled and sold as the work of ,nicholas ,lupot4 ,,amati4--,the family name of the founders of the celebrated school of ,cremona4 ,their record as makers begins about the middle of the sixteenth century1 or perhaps a little later1 and ends in #agdj4 ,the pioneer of the family was ,,andrea1 the date of whose birth is unknown1 but there is evidence in the ,archives of ,cremona showing that he was alive in #afaa1 and buried his second wife in that year4 ,the appearance and general character of his works point to ,brescia as the school from which he derived his inspiration1 but beyond tradition there is no evidence to prove that ,bertolotti 7known as ,caspar da ,sal7 was his actual master4 ,very little of his authentic work is now in existence4 ,a few violoncellos1 and some bass and double bass viols survive1 and a very few violins of small or three-quarter pattern4 ,a wellknown example of these last was put up to auction in ,london recently4 ,the arching of the instruments is high1 the sound-holes1 of ,brescian type1 are rather wide open1 the wood and workmanship good1 the backs of the violins generally in one piece cut slab wise4 ,the labels seem to be dated in ,roman numerals4 ,it was this maker's sons1 ,,antonius and ,,hieronymus1 more especially the latter1 who produced the type of violin which will ever be associated with the name of ,amati4 ,they worked in partnership during their joint lives1 but their individual workmanship is distinct2 ,,antonius1 the elder brother's instruments retaining certain ,brescian characteristics which were wisely discarded by ,hieronymus1 who produced examples of great elegance of form1 and possessing a tone which for beautiful quality has never since been surpassed4 ,the date of ,antonius's birth has not been discovered1 nor that of his death1 but it is generally believed that the latter occurred after the year #afdj4 ,hieronymus's birth-year is also undiscovered1 but there is an entry in ,cremonese registers1 proving that he died of the plague in ,november1 #afcj4 ,the violins bearing the label of the firm vary in size1 and a considerable number still survive1 the larger and rarer specimens1 measuring about #ad inches in length of body1 being of more value than the smaller patterns4 ,the usual label of the firm is 8,antonius ,hieronymus ,fr4 ,amati ,cremonen ,andreae fil4 ,f4 #af44440 ,the brothers are credited by ,messrs4 ,hill1 of ,bond ,street1 with having been the earliest makers known to have produced violas of the smaller dimensions1 measuring about #af-a_/d inches long1 which is now accepted as the standard length for the viola4 ,their violoncellos were of large size--well over #cj inches long--but appear to have been all1 or almost all1 reduced1 to fit them for modern playing4 ,in the violins slab backs in one piece are frequently seen1 but many of them1 especially those of later date1 have jointed backs1 the wood of which is cut 8on the quarter40 ,numbers of labels exist or are cited in books1 bearing dates long after the deaths of both brothers must have occurred4 ,no very satisfactory explanation of this seems to be forthcoming unless we assume that ,niccol ,amati1 the son of ,hieronymus1 and the most celebrated maker1 continued to use the style and tickets of the firm for a long period before finally adopting his own label4 ,we may now turn to ,,niccolo ,,amati1 who was born in ,cremona on ,december #c1 #aeif1 and died there on ,april #ab1 #afhd4 ,an earlier ,niccol is mentioned as having been a brother of ,andrea1 and the name has been copied time and again by successive compilers of lists of makers4 ,nothing whatever appears to be known of such a person1 and there is no good reason for supposing that he ever existed4 ,niccol1 son of ,hieronymus1 closely followed his father's pattern and teachings for a considerable time1 and does not seem to have begun to use the ticket with his own name until about #afdj1 by which time he would be forty-four years of age4 ,he made violins of varying sizes1 the ordinary type being about #ac-g_/h inches long4 ,his sound-holes are generally similar in design to those of his father1 but in later work the opening is frequently rather wider1 and the angle at which it is set in the instrument a trifle more slanting4 ,he also extended the arching in some of his work1 carrying it nearer the sides1 and somewhat diminishing the grooves running around these4 ,the term 8,grand ,amati0 which is associated with his name was at one time well understood to apply to a type of violin #ad inches long1 with rather produced corners1 and a somewhat sudden dip beginning not far from the centre of the back and belly1 forming in fact a distinct ridge in the long axis of the instrument4 ,but the term 8grand0 appears nowadays to be loosely applied to almost any ,niccol ,amati violin of somewhat larger size than the ordinary pattern above mentioned4 ,in addition to greater length measurement1 the ,grand ,amati exhibits considerably greater width1 which is especially noticeable in the upper portion of the body4 ,on these large violins the enhanced fame of this great maker chiefly rests1 and their money value is much greater than that of the smaller forms4 ,they are very scarce1 and there is strong reason to suppose that some of the few which exist were largely1 if not altogether1 the handiwork of pupils1 amongst whom may be mentioned ,andrea ,guarneri1 although that maker in his own signed work does not very often follow that pattern4 ,it has been adopted with success by several other makers of high repute1 e4g4 ,francesco ,ruger1 ,sanctus ,seraphin of ,venice1 ,jacobs of ,amsterdam1 ,banks of ,salisbury1 ,vincenzo ,panormo 7rarely71 and hosts of other copyists4 ,stradivari does not seem to have been attracted by it1 and only in one or two minor features do any of his known works exhibit any resemblance to it4 ,niccol ,amati's varnish is generally of the yellow type associated with the works of earlier members of his family1 and the wood used for the backs and sides is of native growth and small1 though often very handsome1 figure4 ,in some later work wood with a broader curl may be seen1 but examples are rare4 ,the violoncellos were originally of large size1 but are seldom or never seen uncut4 ,niccol ,amati had numerous notable pupils and followers1 the most important being1 of course1 ,antonio ,stradivari4 ,of these there is not space to append a list1 but their names and work will be found noted in the following pages4 ,there is good reason to believe that for at least ten years prior to his death he did not take much active part in the business of his workshop4 ,,hieronymus ,,amati ,,ii41 born #afdi1 died ,february #ba1 #agdj1 was the third son of ,niccol1 and apparently the only one who was a violin-maker4 ,it is now well recognised that he was a workman of much ability1 and there is no room for doubt that numbers of the instruments made in the latter part of his father's lifetime were either wholly or partially his handiwork4 ,many violins dating from about #afgj1 and bearing genuine ,niccol ,amati labels exist1 which exhibit a very high degree of finish1 great neatness of workmanship1 and other characteristics which do not appear in examples by other workmen employed by ,niccol1 but which1 when compared with instruments admittedly made by ,hieronymus ,,ii4 after his father's death1 are sufficient to proclaim their authorship4 ,in these the cutting of the scrolls and sound-holes is clearly the work of a maker in the full maturity of his powers4 ,the varnish on some1 at least1 is of a somewhat redder hue than the typical ,amati yellow1 and the rise of the arching more gradual4 ,the instruments are not after the grand pattern in their design and proportions4 ,messrs4 ,hill suggest that ,stradivari may have been concerned in the making of some of them1 as probabilities point to that maker having continued to work for ,niccol 7besides working on his own account7 down to the time of his death4 ,hieronymus ,,ii4 continued to produce and repair instruments after his father's death1 and his label1 stating that he executed repairs1 may still be seen in a few old instruments4 ,the writer has seen more than one such4 ,when he first began to insert his own labels in his work does not seem to be clear1 but most of those cited in books1 and all seen by the writer1 have been dated after #agjj4 ,in most of his tickets he states that he was ,niccol's son4 ,for some reason--possibly because his father's death left him in easy circumstances--specimens made by him after that event are by no means plentiful1 and the information about them contained in most of the books on the violin is meagre1 unreliable1 and quite fails to do justice to his undoubted abilities4 ,a fine violin of his make1 dated #agaj1 is figured in the last edition of the work on 8,violin ,makers0 by the ,german writer1 von ,ltgendorff4 ,,amati1 ,,nicolaus4--,bologna2 about #agbj to #agdj2 commonly called 8,dom ,nicolaus ,amati20 was a priest who made violins and other instruments of moderately good workmanship and fair tone4 ,the writer has met with two or three violins and a viola of his make4 ,it is not known if he was related to the ,cremonese family4 ,,ambrosi1 ,,petrus4--,rome and ,brescia2 first half of eighteenth century4 ,according to labels the maker was a ,cremonese1 and in some the name is spelt 8,ambrogi40 ,moderate workmanship and varnish4 ,rough ,stradivari pattern4 ,the name may not unfrequently be seen in common fiddles1 such as are sold in pawnshops4 ,,anderson4--,at least three makers of the name worked in ,scotland during the nineteenth century2 one named ,,john was a pupil of ,matthew ,hardie and a prolific workman4 ,he lived chiefly in ,aberdeen1 and died there in #ahhc4 ,,antoniazzi4--,the name of several makers in ,italy in the last century4 ,,gaetano 7died #ahig in ,milan7 was a good workman1 and obtained medals for his productions2 another1 ,,romeo1 was working in ,cremona recently1 and makes instruments in various styles1 but has a model of his own4 ,,audinot4--,a ,mirecourt family of the nineteenth century who have made many useful instruments4 ,the best known is ,,nestor ,,dominique1 born in #ahdb1 who is in good repute both as a maker and repairer in ,paris4 ,,baader1 ,j4 ,a4 ,,and ,co4--,mittenwald2 contemporary4 ,a well-known firm who manufacture instruments of various classes on an extensive scale4 ,,bachmann4--,the name of several ,german makers2 the two best known1 ,,anton and ,,karl ,,ludwig1 worked in ,berlin in the eighteenth century4 ,,bagatella1 ,,antonio4--,paduna4 ,died in #ahbi4 ,instruments scarce4 ,writer has seen one or two double-basses of some merit which were assigned to him4 ,best known as the writer of a pamphlet1 published in #aghb1 on scientific violin making4 ,,bailly1 ,,paul4--,a well-known modern ,french maker1 who worked in ,mirecourt1 ,paris1 and ,london4 ,he was a pupil of ,j4 ,b4 ,vuillaume1 and died recently4 ,,bairhoff1 ,,giorgio4--,naples2 latter half eighteenth century4 ,like several other makers working in ,naples he was of ,german origin4 ,has produced useful instruments of the ,gagliano type4 ,,baldantoni1 ,,joseph4--,ancona2 #aghd-ahgc4 ,was a clever mechanic and an inventor in a small way2 he has left a number of well-made instruments of good form and tone4 ,,balestrieri1 ,,tommasso4--,mantua2 appears to have worked until after #aggj4 ,his instruments have long been appreciated amongst players on account of their tone1 which is usually of a rich sonorous quality4 ,he was an unequal workman1 some of his violins and basses exhibiting a high amount of finish1 whilst others leave a good deal to be desired in this respect4 ,on some specimens the varnish is of excellent quality1 but there are others in which it is much inferior both in appearance and texture4 ,he seems to have used a variety of labels1 from which it appears that he was a native of ,cremona4 ,spurious tickets are fairly plentiful4 ,the form of his violins bears a rough general resemblance to some of those of ,stradivari1 but he is no longer accounted a pupil of that maker1 as was formerly the case4 ,he is said to have worked in ,cremona until #ageg1 when he removed to ,mantua4 ,the writer has seen a considerable number of his instruments1 but does not recall meeting with specimens dating from ,cremona4 ,messrs4 ,hill1 in their monograph on ,stradivari1 state that he was a pupil of ,peter ,guarneri 78,peter of ,mantua074 ,some of his violoncellos are exceptionally good4 ,another ,balestrieri1 named ,,peter1 worked in ,cremona1 and in his tickets calls himself a pupil of ,stradivari4 ,,banks4--,the name of a ,salisbury family of makers1 of whom the best was ,,benjamin1 born #agbg1 died ,february1 #agie4 ,his work belongs to the school of ,wamsley4 ,copied ,amati with uncommon skill1 and instruments have sometimes been re-labelled1 and passed as the work of ,niccol4 ,he used on his best productions a very fine reddish-brown varnish1 which resembles ,italian4 ,violins and violoncellos are substantially built1 and have stood wear well4 ,the violoncellos are splendid instruments1 and the larger ones fetch high prices2 some of the violins are also excellent1 and the resemblance to ,amati work is close4 ,in the sound-holes he did not always succeed in catching the true form of the originals he copied4 ,they bear a resemblance to those of ,stainer1 and the scrolls in all his work are ,german in character and cut4 ,he stamped the blocks and interiors of many of his productions with his initials1 but some of his finest efforts are unstamped4 ,he was assisted by various workmen1 including three sons3 ,,benjamin1 who also worked in ,london1 and ,liverpool1 where he died in #ahbj2 ,,henry and ,,james1 both of whom died in ,liverpool in #ahcj and #ahca1 respectively4 ,he made instruments of inferior quality for the trade1 some of which bear the stamp of ,longman and ,broderip4 ,,barnes1 ,,robert4--,london4 ,died #agid4 ,principally known as a dealer1 and member of the firm of ,norris and ,barnes4 ,,barrett1 ,,john4--,london2 to about #agdj4 ,long-bodied1 high-built instruments1 having ink lines in place of purfling4 ,tone small1 but generally of good quality4 ,,bartl 7or ,,partl74--,vienna4 ,the name is usually spelt 8,partl0 in labels4 ,several makers of this name worked in ,vienna in the eighteenth century4 ,in some specimens the work is good4 ,,barzoni4--,the trade name of a well-known class of modern cheap instruments made on the ,continent4 ,they are well made1 and the tone is usually good4 ,,bausch4--,dresden and ,leipzig2 nineteenth century4 ,a family chiefly noted as makers of bows1 many of which are highly esteemed1 but there are many spurious specimens about4 ,,beare1 ,,john and ,,arthur4--,london2 contemporary4 ,well known dealers and repairers4 ,arthur ,beare is an excellent repairer1 and a sound judge of old instruments4 ,,bela1 ,,szepessy4--,contemporary4 ,born in ,buda ,pesth1 and well known amongst ,english amateurs4 ,,bellosio1 ,,anselmo4--,venice2 eighteenth century4 ,said to have worked with ,serafino4 ,tone usually good1 but instruments are of unequal merit and workmanship4 ,,bergonzi4--,a celebrated ,cremona family of makers1 the last of whom1 ,,benedetto1 died in #ahdj1 and seems to have been chiefly occupied as a repairer4 ,,carlo1 an artist of the first rank1 was born in or about the year #afhf1 and is said to have died in #agdg4 ,the date of birth was discovered by the late ,signor ,sacchi1 who ascertained from the ,registers of the suppressed ,church of ,san ,matteo in ,cremona1 that ,carlo ,bergonzi was living in #agdf in the house formerly occupied by ,stradivari1 and his age was stated to be sixty years4 ,two of his sons1 ,michael ,angelo and ,zosimo1 were then living with him4 ,he worked with and for ,stradivari1 and in some of his instruments copied him with great exactness4 ,in other examples he introduces modifications of the great master's patterns2 these are chiefly noticeable in the form of the sound-holes1 which are of slightly pointed form1 and the corners1 in which a decided droop is observable4 ,the boss of the scroll is frequently more prominent than in ,stradivari violins4 ,the arching varies1 but the declivity is generally inclined to flatness4 ,wood usually very handsome1 and varnish of different shades1 from amber to deep red4 ,it is of beautiful quality1 and apparently similar in composition to that of ,stradivari4 ,the violins are from #ac-g_/h to #ad inches long1 and1 so far as writer's experience goes1 he did not exceed the latter measurement4 ,the tone of great beauty1 but distinct from that of ,stradivari4 ,his fiddles have been repeatedly relabelled and sold as the work of ,guarneri1 del ,ges1 and genuine labels are not very plentiful2 even in his own work the dates and tickets cannot always be relied on1 as they have in some instances been inserted to replace forged ,stradivari and ,guarneri labels1 attached by unscrupulous dealers and others4 ,some of the better judges question the existence of either violas or violoncellos of his make1 but very fine examples of both forms of instrument exist which have been assigned to him by connoisseurs of the first rank4 ,the same remark applies to a few double-basses of great merit whatever their authorship4 ,strange as it may seem1 none of his sons would appear to have used varnish of the true ,cremonese type4 ,carlo's name and label may be found in many instruments1 both genuinely old1 and of the 8modern antique0 class1 with the making of which he had nothing to do4 ,,nicol1 his eldest son1 is supposed to have worked until about #aghb4 ,he was a good workman1 and seems to have made many instruments1 but they are very inferior in style to those of his father4 ,wood and varnish are of second-rate quality1 the latter1 judging by appearances1 being of a hard alcoholic nature4 ,,michael ,,angelo ,,bergonzi1 the second son1 was born1 according to the registers quoted from by ,sacchi1 in #agbb1 and worked until about #agfe-gj4 ,the finish is very passable1 but pattern generally inelegant1 the corners in some examples being elongated in unsightly fashion4 ,the third son1 ,,zosimo1 born #agbe1 worked until about #aghj1 according to dates in instruments4 ,it is said that his violoncellos are his best instruments4 ,the writer has not met with any1 but has seen a few violins of good tone1 large pattern1 somewhat high arching1 and outline of ,amati character4 ,the varnish1 a somewhat dull dark red1 of soft quality4 ,a second ,,carlo1 who died about #ahbj1 and was a son of ,michael ,angelo1 seems to have been chiefly a guitar maker1 and repairer of instruments4 ,,bernardel4--,a well-known family of makers and dealers who carried on business in ,paris in the nineteenth century1 and were associated with the equally well-known ,gand family under the style of ,gand and ,bernardel4 ,the founder was ,,auguste ,,sebastien ,,philipp1 born at ,mirecourt in #ahjb1 died #ahgj4 ,worked with ,lupot1 and later with the elder ,gand4 ,a clever maker whose instruments are in high esteem4 ,other members of the family were ,,ernest ,,auguste1 died ,paris1 #ahii2 ,,gustave ,,adolphe1 born #ahcb2 and ,,leon1 born in ,paris1 #ahec4 ,all these have continued to follow the style and traditions of ,nicholas ,lupot4 ,,bertolotti4--,brescia2 sixteenth and early seventeenth centuries4 ,the chief member of this family was the celebrated ,,gaspar ,,da ,,sal1 born at ,sal 7province of ,brescia7 in or about #aedb1 died in ,city of ,brescia1 ,april1 #afji4 ,he certainly made violins1 usually of rather small form1 at least a dozen of which are recognised by the best authorities as authentic2 but it is by no means clear that he was the first man to make a fiddle strung with four strings and generally of the form in which the instrument is now seen4 ,the authorship of the true violin has been assigned to others3 e4g4 ,duiffoprugcar1 a viol maker1 whose claims have long since been dismissed by competent judges as unsupported by evidence of any value4 ,gaspar's violins1 as might be expected1 are of primitive appearance and character4 ,one of them1 belonging to the late ,lord ,amherst of ,hackney1 and of unquestioned authenticity1 was seen many years ago by the writer1 and is the only violin by da ,sal of undisputed genuineness with which he has met during a long course of years4 ,several violas of large size 78tenores07 still exist1 but the majority have been reduced1 often very unskilfully1 in size4 ,of those seen by the writer all have been remarkable for their fine tone4 ,a number of large bass viols 7violoni7 still survive4 ,they were built to carry a number of strings1 but have mostly been converted by modern repairers into three or four string double basses4 ,a very fine and perfect example of these is in the possession of the ,reverend ,leigh ,blake4 ,it is said that he made violoncellos1 but this is probably incorrect4 ,instruments of various types formerly assigned to him are now recognised as the work of his pupil and follower1 ,gio4 ,paolo ,maggini4 ,interesting information relating to him1 including the date of his death1 was discovered1 and published in #ahia1 by ,cavalier ,livi1 who also ascertained that his father was a viol maker1 and that a son ,,francesco1 who died in #afad1 assisted him4 ,gasparo's genuine labels are undated4 ,,bertrand1 ,,nicholas4--,paris2 circa #afhe-agcj4 ,best known as a viol maker4 ,writer recently saw and repaired a violin by him with manuscript label1 date #agaj1 of good workmanship and sweet tone2 arching high4 ,some examples are branded4 ,,betts4--,london4 ,a well-known family of makers and dealers in old instruments4 ,the founder of the business was ,,john ,,edward ,,betts1 8,old ,john ,betts10 born ,stamford1 #agee1 died ,london1 ,march1 #ahbc4 ,worked with ,richard ,duke1 and made some instruments1 but employed in his own business the best workmen of the day3 ,bernhard ,fendt1 ,john ,carter1 ,vincent ,panormo and his sons1 together with several others4 ,the instruments made for him generally bear his stamp under the button1 and this has been forged of recent years in the most wholesale manner2 it may be seen1 in pawnshops and elsewhere1 on instruments of the commonest class and foreign make4 ,betts was a first rate judge of old ,italian work and many fine examples passed through his hands4 ,a nephew1 ,,edward1 was associated with him2 he was a careful workman and made some good copies2 he died about #ahbj4 ,other members of the family were at one time or other connected with the business1 amongst whom may be mentioned two named ,arthur ,betts1 the first a brother of ,john1 and the second a nephew4 ,,bianchi1 ,,niccol4--#agif-ahha4 ,born in ,genoa1 died ,nice4 ,a clever workman who was employed by several makers of repute1 including ,bagatella1 ,g4 ,b4 ,ceruti1 and ,pressenda4 ,he was for some years in ,paris2 his own instruments are said to be very good1 but he was much employed as a repairer4 ,,bimbi1 ,,bartolommeo4--,siena and ,florence2 second half of eighteenth century4 ,violins usually of rather small pattern1 high built1 and with very pretty red-orange varnish4 ,,bindernagel1 ,,johann ,,wilhelm4--,gotha4 ,died #ahde4 ,instruments highly valued in ,germany4 ,copied ,amati pattern chiefly1 but also ,stradivari4 ,was a pupil of ,ernst4 ,,bisiach1 ,,leandro4--,milan2 contemporary4 ,is regarded as one of the cleverest workmen and imitators of old instruments now working in ,italy4 ,his best violins and other instruments display very fine workmanship1 have generally an excellent tone1 and are already in much request amongst players4 ,,bittner1 ,,david4--,vienna2 died #ahhg4 ,a good copyist of ,italian work4 ,,blair1 ,,john4--,edinburgh2 to about #ahbj4 ,worked with ,m4 ,hardie4 ,instruments branded 8,j4 ,b40 ,,blaise1 ,,joseph4--,mirecourt and ,geneva2 died #ahhb4 ,little known1 except as instructor of ,p4 and ,n4 ,silvestre of ,lyons4 ,,blanchard1 ,,paul ,,fran,,ois4--,lyons4 ,born ,mirecourt #ahea4 ,worked formerly for ,silvestre's firm4 ,has made some excellent copies with good varnish4 ,,bodio1 ,,gio4 ,,battista4--,venice2 to about #ahcj4 ,moderate work4 ,examples scarce4 ,writer has seen a violin with belly inlaid with ebony at edges of sound holes4 ,seems to have made instruments with ornamental heads4 ,,boivin1 ,,claude4--,paris2 about #ahdj4 ,chiefly guitars and similar instruments4 ,violins rare4 ,,booth1 ,,william4--,leeds4 ,died #ahef4 ,little known4 ,said to have been a good workman4 ,,boquay1 ,,jaques4--,paris4 ,worked until about #agce-dj4 ,one of the better makers of the older ,french school4 ,violins in two sizes1 the pattern resembling ,amati4 ,good wood1 dark red-brown varnish4 ,back usually stamped with initials4 ,tone frequently very good4 ,very well cut scrolls1 but original heads are often absent1 having been transferred to old instruments by other makers4 ,,boullangier1 ,,charles4--,london4 ,born ,mirecourt1 #ahbc2 died ,london1 #ahhh4 ,a well-known and excellent maker4 ,worked in ,paris with ,vuillaume and ,gand4 ,in #ahdi employed by ,edward ,withers1 senior1 with whom he remained until #ahef4 ,copied both ,stradivari and ,guarneri with skill1 and employed red varnish of different shades4 ,,boumeester1 ,,jan4--,amsterdam2 seventeenth century4 ,one of the best of the older ,dutch makers1 but his labels are not very often seen4 ,it has been surmised that in many cases they have been removed and the tickets of ,italian makers substituted4 ,,bourgeois1 ,s,,raphin4--,geneva2 about #ahcj4 ,a few years ago a large violin by a maker named ,bourgeois was the subject of a law-suit1 certain 8experts0 having declared it to be the work of ,guarneri1 del ,ges4 ,,bovis1 ,,fran,,ois4--,nice2 contemporary4 ,maker to the orchestra at ,monte ,carlo4 ,,braglia1 ,,antonio4--,modena2 about #ahjj4 ,a good bow-maker4 ,,brandilioni1 ,,filippo4--,brescia4 ,said to have worked there in latter half of eighteenth century4 ,work is described as resembling that of ,mittenwald rather than ,italy4 ,,brandner4--,name of numerous family working in ,schnbach in the last century4 ,,brandstaetter1 ,,matth,,us ,,ignaz4--,vienna2 died #ahea4 ,maker and excellent repairer4 ,,braun4--,there were numerous ,german makers of this name in the last century4 ,,breton1 ,,le4--,mirecourt2 died #ahcj4 ,good work1 but rather commonplace in style4 ,instruments branded on back1 and stamp may be seen on many spurious examples4 ,an earlier ,breton worked in ,paris4 ,,brown4--,london2 eighteenth and nineteenth centuries4 ,makers of the name worked principally for the dealers4 ,the best known is ,,james ,,brown1 8,brown of ,spitalfields10 a good workman1 who died about #ahcj4 ,,brug,,re4--,nineteenth century4 ,a well-known ,mirecourt family who worked in ,paris1 ,marseilles1 and elsewhere4 ,the best known is ,,charles1 born in #ahfe4 ,a careful workman2 frequently uses a large ornamental ticket4 ,,bruno1 ,,carlo ,,colombo4--,turin2 contemporary4 ,has obtained medals for instruments in ,paris1 ,turin1 and ,marseilles4 ,,buchstetter1 ,,gabriel ,,david4--,ratisbonn2 second half of eighteenth century4 ,instruments not often seen in this country4 ,,buthod4--,mirecourt2 nineteenth century4 ,a maker of the name worked for ,j4 ,b4 ,vuillaume4 ,labels may be seen in large numbers of cheap violins1 etc41 of the 8factory class40 ,,cabroly4--,toulouse2 about #agdj4 ,said to have come from ,milan4 ,instruments seemingly scarce4 ,,cahusac4--,london2 eighteenth century4 ,the label may be seen in many old fiddles which were obviously the work of different makers1 but he seems to have made some himself4 ,writer has seen examples of ,amati outline1 and with very pretty varnish4 ,,calcagni 7,,calcanius71 ,,bernardo4--,genoa2 to about #agej4 ,medium size violins1 slightly arched and with very pretty reddish-yellow varnish4 ,general workmanship well finished4 ,,calvarola1 ,,bartolommeo4--,bergamo2 circa #agej-aggj4 ,instruments scarce4 ,medium workmanship without much character4 ,yellow and yellow-red varnish4 ,pattern looks rather narrow4 ,scrolls small and of poor design4 ,,camilli1 ,,camillo4--,mantua2 to about #agfj4 ,a maker whose instruments have rapidly risen in value of late years4 ,they are of unequal merit and workmanship4 ,in good examples the wood and form are handsome4 ,sound-holes rather short and wide open4 ,varnish red1 of varying shades and good texture4 ,the tone usually excellent4 ,the pattern usually seen bears some resemblance to violins of ,stradivari4 ,labels both written and printed4 ,,cappa1 ,,goffredo4--,saluzzo2 born #afdg1 died ,august1 #agag4 ,it is important to note the dates of birth and death1 as in most books on the violin these appear as having occurred fully a century too early4 ,cappa's name and work have been the subject of almost wholesale fraud1 forgery1 and misrepresentation4 ,his own genuine labels are very rarely seen1 and the frequent appearance of ,amati tickets in his instruments gives some colour to the theory1 propounded in ,hill's work on ,stradivari1 that he himself inserted them4 ,whatever may be the truth1 the resemblance to ,amati in his smaller pattern violins is very marked1 both in form and choice of material4 ,the varnish also is of similar quality and colour4 ,the sound-holes1 which are much more slanting than in ,amati fiddles1 at once betray the maker to the experienced eye2 and the heads are quite unlike the type associated with the ,amati name4 ,the violins of larger build are rare1 and those seen by the writer have differed so materially in form and build from those just described that they might easily be taken to be the work of another hand4 ,violoncellos of good form and style exist1 and generally command high prices4 ,other makers of the name and of very doubtful existence are mentioned by different writers4 ,,carcassi4--,a ,florentine family of makers of the eighteenth century1 numbering about half a dozen members4 ,of these the principal workmen were ,,lorenzo and ,,tomaso1 who worked both independently and in partnership from about #agdj onwards4 ,the pattern belongs chiefly to the school of ,amati1 though no very close resemblance exists4 ,work in some cases well finished1 arching fairly high1 pretty wood1 and varnish of good colour and texture4 ,the name is one of those which have been freely used by forgers1 and a number of spurious examples are to be met with4 ,,carter1 ,,john4--,london2 about #agij4 ,worked on his own account in ,wych ,street1 but was chiefly employed by ,betts4 ,,casini1 ,,antonio4--,modena4 ,seventeenth century1 to about #afij4 ,,castagneri1 ,,andrea4--,paris4 ,worked to about #agej4 ,he was of ,italian extraction1 and his genuine violins are ,italian in style4 ,flat arching4 ,outline of ,stradivari type4 ,tone generally powerful4 ,an earlier maker of the name is said to have been his father1 and to have worked in ,paris4 ,,castello1 ,,paolo4--,genoa2 latter half of eighteenth century4 ,well built violins of good form and tone4 ,middle bouts sometimes appear rather narrow4 ,,caussin1 ,,fran,,ois4--,neufchteau4 ,also spelt ,coussin4 ,worked between about #ahde-ha4 ,was a very clever imitator of old ,italian work and varnish1 and his instruments have frequently been sold as originals4 ,pattern varies4 ,,celoniati1 ,,gian4 ,,francesco4--,turin2 circa #agcj-ej4 ,the work somewhat resembles that of ,cappa4 ,outline generally of ,amati character4 ,varnish clear and of yellow or yellow-brown colour4 ,instruments generally well finished1 and the tone of good quality4 ,,cerin1 ,,marc ,,antonio4--,venice2 about #agij4 ,,ceruti4--,cremona2 eighteenth and nineteenth centuries4 ,a family well known to modern players4 ,,giovanni ,,battista1 the earliest of the name1 worked with ,storioni1 and succeeded to his business1 dying somewhere between #ahag and #ahbj4 ,made a large number of instruments of varying patterns1 in some of which the characteristics of more than one of the classic makers are combined4 ,the wood of the backs and sides is often of native growth and small figure1 and the varnish varies both in colour and quality4 ,tone frequently excellent4 ,he used a label with an ornamental border1 and containing a monogram within a circle4 ,his son ,,joseph died in ,mantua in #ahfj and was a clever workman4 ,he worked with his father1 whose label has been found in his earlier productions4 ,a younger son1 ,,enrico1 died in #ahhc4 ,instruments well made and of varying form4 ,he obtained exhibition medals for some of his work4 ,,chanot4--,a name famous in the annals of fiddle-making4 ,the first maker of the name was ,,joseph1 a native of ,mirecourt1 who died about #ahcj4 ,,fran,,ois1 an engineer1 was born at ,mirecourt1 #aghh1 died at ,brest1 #ahbc4 ,he experimented much upon the form and construction of the violin1 and made1 amongst other things1 guitar shaped fiddles4 ,,georges ,,chanot ,i4 born at ,mirecourt1 #ahja1 died ,courcelles1 #ahhc1 was the most celebrated maker of the family1 and worked in ,paris4 ,he was one of the best judges of old instruments of his time4 ,his best violins and basses are beautifully made and chiefly of ,stradivari and ,guarneri pattern4 ,they command at the present day good prices and are rising in value4 ,a son1 ,,georges ,,ii41 worked for many years in ,london1 and was also well known as a dealer and repairer4 ,he died in #ahic4 ,his sons1 ,,george ,,adolphus1 ,,frederick 7died #aiaa71 and ,,joseph ,,anthony1 have all become known as makers4 ,g4 ,a4 ,chanot lives in ,manchester1 and ,joseph ,anthony is established in ,wardour ,street1 ,london4 ,,chappuy1 ,,nicholas ,,augustin4--,paris1 ,mirecourt2 #agej-ij4 ,instruments of unequal merit1 some being of a very common class1 inferior varnish and finish4 ,good examples have generally a tone of good quality and considerable power4 ,what may be described as his own pattern is inelegant1 flattish model1 short corners1 and broad in the waist2 yellow and yellowish-brown varnish4 ,,chardon4--,paris2 contemporary4 ,a well-known firm4 ,,joseph ,,maria ,,chardon was a pupil of ,georges ,chanot1 whose daughter he married4 ,,charles1 ,j4--,marseilles2 about #aghj4 ,pretty work in style of ,guersan4 ,he was a nephew of that maker4 ,,cherpitel1 ,,nicholas ,,mile4--,paris2 died #ahic4 ,,chevrier4--,nineteenth century4 ,a ,mirecourt family who worked there and in ,paris4 ,,chr,,tien1 ,,hippolyte4--,lyons1 ,paris2 contemporary4 ,a good maker4 ,nephew of ,silvestre1 whose name he assumed4 ,firm ,silvestre and ,maucotel4 ,,claudot4--,nineteenth century4 ,mirecourt family numbering several makers4 ,,charles ,,claudot1 #agid-ahgf1 adopted the brand often seen on the backs of instruments1 8,marquis de l'air l'oiseau40 ,other members of the family branded their names on their work4 ,,cl,,ment1 ,,jean ,,laurent4--,paris2 about #ahjj-dh4 ,substantially made instruments with good varnish1 usually red-brown1 and handsome wood4 ,large pattern violins4 ,,collin-,,mezin1 ,,charles ,,jean ,,baptist4--,paris2 contemporary4 ,born ,mirecourt4 ,some of the instruments made about thirty years ago are esteemed and possess a good tone4 ,later specimens seem to be of the 8factory class10 and are of little account4 ,,contreras1 ,,jos4--,madrid2 eighteenth century4 ,little known in this country4 ,instruments frequently handsome1 and work ,italian in character4 ,a good many seem to have been re-labelled with the tickets of better known ,italian makers4 ,,corsby1 ,,george4--,london2 nineteenth century4 ,a well-known dealer in ,prince's ,street1 ,leicester ,square4 ,seems to have been himself a workman1 but employed others to make instruments for him4 ,another ,corsby of ,northampton made some good double-basses4 ,,couturieux1 ,n4--,toulon2 about #ahdj4 ,made useful instruments of flat pattern4 ,branded inside with initials 8,n4 ,c40 ,,craske1 ,,george4--,born #agie1 died1 ,stockport1 in #ahhh4 ,worked in ,bath1 ,leeds1 ,sheffield1 ,birmingham1 ,manchester1 and elsewhere4 ,made a huge number of instruments of varying patterns1 but readily identifiable after seeing a few examples4 ,work sometimes good1 but more frequently only passable or indifferent4 ,tone not usually of good quality4 ,,cristofori1 ,,bartolommeo4--,florence2 seventeenth and eighteenth centuries4 ,pupil of ,niccol ,amati4 ,instruments very scarce1 but some fine violoncellos1 and at least one double-bass1 are known4 ,is with some probability identified with ,cristorfori who is usually accounted the inventor of the pianoforte4 ,,cross1 ,,nathaniel4--,london2 to about #agde-ej4 ,some well-made violins and basses exist1 which exhibit a pattern and characteristics of ,german style4 ,yellow varnish4 ,he was associated with ,barak ,norman 7q4v474 ,,cuypers1 ,,jan4--,the ,hague4 ,born #agbc-bd1 died about #ahaj-ab4 ,in several violins of late date he states his age1 which in #ahjf was #hb4 ,instruments have risen rapidly in value of late years4 ,they are soundly made1 of good wood1 and with yellow varnish of good quality4 ,pattern1 shape of sound holes1 and outline vary considerably4 ,scrolls heavy and boldly cut1 but not handsome4 ,the name is met with in books on the violin with the spelling 8,koeuppers10 presumably copied from labels4 ,writer has not seen such4 ,,dalinger1 ,,sebastian4--,vienna2 latter half of eighteenth century4 ,stainer pattern1 dark varnish4 ,some examples have lion heads4 ,,dalla ,,costa1 ,,pietro ,,antonio4--,treviso2 about #agdj and later4 ,prints his name as 8a ,costa0 in some of his tickets4 ,genuine instruments not very often seen4 ,generally ,amati outline1 good red or red-brown varnish4 ,well-finished work4 ,,dall' ,,aglio1 ,,joseph4--,mantua2 nineteenth century to about #ahcj4 ,,darche4--,nineteenth century4 ,a well-known ,mirecourt family working in ,brussels and ,aix4 ,their instruments are of the style and character of ,vuillaume4 ,,davis1 ,,william4--,london2 to #ahdf4 ,was a dealer and repairer in a large way in ,coventry ,street4 ,,dearlove1 ,,mark ,,william4--,leeds2 nineteenth century4 ,the violoncellos and double-basses show good work and are in favour amongst orchestral players4 ,he was for some time in partnership with ,john ,fryer4 ,,de ,,comble1 ,,ambroise4--,tournay2 about #agce and later4 ,reputed to have worked with ,antonio ,stradivari1 which is unlikely4 ,work not usually highly finished4 ,varnish red1 of fine quality4 ,well-cut scrolls4 ,labels are written4 ,there seem to be more violoncellos than violins of his make in this country4 ,,deconet1 ,,michele4--,venice4 ,seems to have worked until after #aghj4 ,there are1 or were not long ago1 a certain number of spurious 8,deconets0 in this country2 one individual1 well known amongst ,london dealers1 is said to have 8specialised0 in such things4 ,deconet used a variety of labels1 written and printed1 and his name is frequently spelt with a small 8d40 ,his work is not unlike that of ,montagnana1 by whom he is said to have been employed4 ,good 7sometimes excellent7 varnish of the ,venetian type1 and red or red-brown colour4 ,it is said that in later life he worked in ,padua4 ,,degani1 ,,eugenio4--,venice2 contemporary4 ,a good workman who has obtained several medals for his instruments4 ,frequently uses purfling made in five strips 7three black and two white7 and works on a model of his own design4 ,,derazey1 ,,honor4--,mirecourt1 ,paris2 to about #ahge4 ,some of his copies are good sound instruments2 chiefly ,stradivari pattern4 ,his son1 ,,justin ,,derazey1 was a manufacturer on a large scale1 and bought the business of 8didier0 ,nicholas from the latter's widow4 ,,deroux4--,mirecourt1 ,paris2 nineteenth century4 ,there were two makers of the name4 ,,georges1 died #ahhi 7,reims74 ,worked for ,derazey1 and ,mougenot of ,brussels4 ,work branded1 and name sometimes pencilled in instruments4 ,his son1 ,,auguste1 born #ahdh1 worked with ,hippolyte ,silvestre1 and ,miremont4 ,is a good repairer and a medallist4 ,,despine1 ,,alexander4--,turin4 ,worked until about #ahde4 ,was employed by ,pressenda1 and made some fine violins which bear that maker's ticket4 ,occasionally copied ,guarneri1 del ,ges4 ,piatti at one time possessed a violoncello made by him4 ,,de ,,vitor1 ,,pietro ,,paolo4--,venice1 ,brescia2 about #agdj4 ,made some large fiddles of ,maggini pattern4 ,,diehl4--,a number of makers of the name worked in ,germany in the eighteenth and nineteenth centuries4 ,,dodd4--,an ,english family1 chiefly distinguished as bow-makers1 in the late eighteenth and the nineteenth centuries4 ,there were seven or eight workmen4 ,,john1 born at ,stirling1 #ageb1 died in ,richmond ,workhouse1 #ahci1 was the best-known bow-maker1 and at least two ,,edwards1 one of whom attained the age of #aje years1 were also makers4 ,,thomas ,,dodd1 who died in about #ahbj1 had a business as instrument dealer and maker in ,st4 ,martin's ,lane1 ,london4 ,he does not seem to have made instruments personally1 but discovered a fine varnish which he put upon excellent instruments made for him by ,bernhard ,fendt1 ,john ,lott1 and other workmen4 ,these instruments1 especially the violoncellos1 are of great merit and handsome appearance1 and realise good prices4 ,d,,rffell1 also ,d,,rffler4--,the name of fully a score of ,german makers working in ,klingenthal and ,markneukirchen2 eighteenth and nineteenth centuries4 ,,dollenz4--,trieste2 nineteenth century2 there were two of the name4 ,,duchesne1 ,,nicholas4--,paris2 about #agej4 ,branded instruments of no great merit4 ,,duke1 ,,richard4--,london2 circa #agej-he4 ,a celebrated ,english maker4 ,chiefly copied ,stainer1 but also ,amati1 and more rarely ,stradivari4 ,well-finished work4 ,usually red-brown varnish of rather dull hue1 but lighter shades are seen4 ,instruments commonly stamped under the button4 ,spurious and counterfeit 8,dukes10 many not in the least resembling the originals1 abound4 ,his son1 ,richard1 attained no distinction4 ,,dulfenn1 ,,alexander4--,leghorn2 about #agjj and later4 ,specimens seen by writer were of wretched material and poor workmanship4 ,,dvorak4--,prague4 ,died #ahij4 ,a good copyist1 who has left some well-made fiddles and violoncellos4 ,,dykes1 ,,harry1 ,,and ,,sons4--,london2 contemporary4 ,well-known dealers and repairers4 ,the sons1 ,george and ,arthur ,d41 are both skilful workmen4 ,,eberle4--,various makers of the name worked in ,prague and elsewhere during the eighteenth century4 ,the chief ,prague maker was ,,johannes ,,udalricus ,,eberle1 #afii-agfh1 a skilful workman who has left a good many instruments1 generally on the lines of ,stainer1 with handsome wood and well-cut scrolls4 ,varnish on many of them is excellent and of considerable brilliancy4 ,,tomaso ,,eberle worked in ,naples down to about #agij4 ,it does not appear whether he was related to the ,prague family4 ,there is little or no trace of ,german teachings in his violins1 which are of the ,gagliano class1 and often bear ,gagliano tickets4 ,he may have worked with ,niccol ,gagliano or some other member of the family4 ,the varnish is similar to that used by that family2 the work usually neat and well finished4 ,wood well-chosen and sometimes handsome4 ,,emiliani1 ,,francesco ,,de4--,rome2 eighteenth century4 ,rather high built4 ,work of the ,tecchler school4 ,he possibly assisted that maker4 ,scrolls very neatly cut4 ,,ernst1 ,,franz ,,anton4--,gotha4 ,died #ahje4 ,work little known in this country4 ,said to be of ,stradivari pattern4 ,he was also a violinist and composer4 ,,eury4--,paris2 early nineteenth century4 ,an excellent bow-maker4 ,,fabris1 ,,luigi4--,venice2 #ahfj4 ,obtained medal in #ahgb at ,treviso4 ,,fagnola1 ,,annibale4--,turin2 contemporary4 ,a maker whose instruments have lately attracted attention4 ,his imitations of ,pressenda and ,rocca's instruments are clever and not unfrequently pass as originals4 ,some are not well finished4 ,writer has recently seen a very good example made in the style of ,j4 ,b4 ,guadagnini4 ,,fendt4--,london2 late eighteenth and nineteenth centuries4 ,a gifted family of makers4 ,the first1 ,,bernhard ,,fendt1 was a native of ,innsbruck1 born circa #agge2 died1 ,london1 #ahcb4 ,an admirable workman who copied the best features of the great ,italian makers4 ,he worked much for ,thomas ,dodd 7q4v47 and in association with ,john ,lott4 ,later he worked for old ,john ,betts1 continuing to work for the house after the death of that maker4 ,work so made bears ,betts's stamp4 ,,bernhard ,,simon ,,fendt1 his eldest son1 died in ,march1 #aheb4 ,worked for ,betts and was for some time partner with one ,purdy 78,purdy ,fendt074 ,he was a wonderfully clever copyist1 and made1 amongst other types1 instruments of all sizes1 from violins to double basses1 in imitation of the ,brescian style 7,gaspar da ,sal and ,maggini74 ,these instruments have been constantly mistaken for genuine ,brescian examples--particularly the double-basses1 of which a number are in existence4 ,,jacob ,,fendt1 third son of ,bernhard ,i41 died comparatively young in or about #ahdi4 ,his abilities were also of a high order4 ,he worked for ,davis1 of ,coventry ,street1 and for ,turner1 the dealer1 producing 8modern antiques10 chiefly of ,stradivari type1 in which the appearance of wear and time are most skilfully imitated4 ,the tone of his copies is usually of excellent quality4 ,other members of the family were ,,martin1 ,,william1 and ,,francis2 all good workmen4 ,,fent1 ,,fran,,ois4--,paris2 circa #agfj-ia4 ,related to above family1 and stated to have been uncle and instructor of the first ,bernhard ,fendt4 ,in his labels he omits the 8d0 from his name4 ,said to have come from ,innsbruck4 ,his best work has never been surpassed and seldom equalled by any maker working in ,france4 ,the violins are of ,stradivari form1 and the style is ,italian throughout4 ,wood of handsome figure1 and the finish irreproachable4 ,varnish1 a beautiful red brown4 ,the tone of very fine quality even in inferior examples4 ,his instruments1 unfortunately1 were obviously made in different grades2 and the commoner types1 which frequently bear his name stamped in various places1 are of relatively little importance and money value4 ,some of his varnish is much oxydised 7almost black71 and the wood of both backs and bellies worm eaten4 ,his finest fiddles have sometimes passed as genuine ,strads1 and occasionally ,lupot's labels have been inserted2 but the work is less heavy and more graceful than that of ,lupot4 ,his ordinary label has an ornamental border1 bears no date1 and contains errors of spelling4 ,,fichtl4--,a number of ,german and ,austrian makers of this name are mentioned4 ,two named ,,martin ,,matthias worked in ,vienna in the eighteenth century and followed the ,stainer pattern4 ,,ficker4--,the name of fully a score of ,markneukirchen and other ,german makers4 ,,johann ,,gottlob1 who died in #ahcb1 is amongst the best known4 ,used a brand with his initials4 ,other ,fickers followed the same practice4 ,,fiorini4--,two makers of the name may be mentioned4 ,,raffaele worked in ,italy1 chiefly in ,bologna1 and died there in #ahih4 ,he made some well-finished instruments1 amongst them a number of violoncellos4 ,varnish varies in colour1 but is often a rather dark red4 ,he was also reputed a good judge of old ,italian work4 ,,giuseppe1 his son1 migrated to ,munich1 where he was at work recently4 ,,fischer4--,upwards of thirty ,german and ,austrian makers of the name are enumerated4 ,,floreno4--,bologna2 eighteenth century4 ,there appear to have been at least two makers who adopted the common practice of placing the surname first in their tickets4 ,the ,christian name1 ,,guidantus1 has therefore appeared as the surname in various books4 ,writer has seen a few specimens bearing the label1 with brilliant varnish4 ,high built1 and outline of ,amati character4 ,,fonclauze4--,paris4 ,died #ahfd4 ,a most skilful bow maker4 ,he worked for several others1 including ,vuillaume4 ,,forster4--,a well-known ,english family1 who came from ,brampton in ,cumberland4 ,three were named ,,william1 the second of whom died in #ahjh1 and is best known as 8,old ,forster40 ,very good work of ,stainer or ,stainer-,amati pattern4 ,oil varnish of a durable but not very clear texture4 ,his violoncellos are more valued than the violins1 though the work in the latter is often excellent4 ,he employed various assistants1 was patronised by ,royalty1 and his instruments commanded good prices in his own day4 ,his grandson1 ,,simon ,,andrew ,,forster 7died #ahgj71 was joint author with ,sandys of a well-known history of the violin4 ,a very readable1 but not conspicuously accurate compilation1 which has been humorously dubbed 8the history of the ,forster family40 ,he was himself a maker1 and some of his work is of considerable merit4 ,,fourrier1 ,,fran,,ois ,,nicolas 7known as 8,nicolas of ,paris074--,paris4 ,born in #ageh2 died #ahaf4 ,he was a first-rate maker1 but is little known amongst ,english dealers and players1 who are apt to confound him with 8didier ,nicolas10 a ,mirecourt workman1 and latterly a manufacturer on a large scale4 ,fourrier's work is handsome1 well finished1 and he was evidently well acquainted with the characteristics of the classic ,italian makers4 ,writer has met with violins1 pattern rather large2 excellent varnish of red or red-brown colour on a fine yellow ground4 ,sides sometimes rather shallow4 ,boldly cut scrolls4 ,he was 8luthier to the chapel of the ,emperor10 ,napoleon ,i4 ,,furber4--,london2 eighteenth and nineteenth centuries4 ,a numerous family1 most of whom worked chiefly for the trade4 ,the best of them was ,,john1 who died somewhere about #ahde4 ,he worked largely for ,betts1 and was a good copyist of ,amati4 ,,gabrielli4--,florence2 eighteenth century4 ,there were several makers of the name4 ,,giovanni ,,battista 7about #agdj and later7 is the best known4 ,handsome wood and good varnish of yellow or orange colour4 ,there is a resemblance to ,german work 7,stainer7 in the form of some instruments4 ,the finish is neat and careful1 arching frequently high4 ,he used both written and printed tickets1 in some of which he calls himself 8de ,gabriellis40 ,he also branded some of his work with the initials ,g4 ,b4 ,g4 ,,gaffino1 ,,joseph4--,paris2 circa #agdj-fj4 ,was of ,italian origin4 ,worked with ,castagnery1 and afterwards on his own account4 ,,gagliano4--,naples2 eighteenth and nineteenth centuries4 ,a large and important family of makers1 who have left a considerable number of valuable instruments4 ,the founder was ,,alessandro1 who died between #agbj and #agcj1 and is reputed1 upon very doubtful evidence1 to have worked with ,stradivari4 ,in this country his genuine instruments are scarce1 though numbers of ,neapolitan instruments of varying patterns have been assigned to him4 ,though nearly all the family appear to have worked on lines more or less akin to those of ,stradivari the resemblance between ,alessandro's violins and those of that maker is by no means close4 ,in a few seen by the writer the arching has been of the ridgy character associated with some ,amati instruments1 but he also made examples of flatter arching4 ,varnish varies4 ,in some it is of fine quality and soft texture1 and quite distinct from the ordinary ,neapolitan type4 ,the scrolls of this maker1 and of others of the name1 are usually of poor1 cramped style and workmanship4 ,he made some violoncellos of considerable beauty and very fine tone4 ,he seems to have used a variety of labels1 some in manuscript4 ,,niccol ,,gagliano ,i4 was the eldest son of the foregoing1 and judging by the number of works still extant1 was probably the most prolific maker of the family4 ,the dates assigned to him in most books are quite unreliable2 he seems to have worked until late in the eighteenth century1 and probably died about #aghj4 ,though his productions are of unequal merit1 he was undoubtedly a workman of much skill4 ,sometimes he employed a fine red varnish of much brilliance and soft quality2 in many cases1 however1 he used the clear yellow preparation1 characteristic of the ,neapolitan school4 ,arching generally pretty full1 and sometimes rather high4 ,wood frequently handsome1 the backs of the instruments being generally divided4 ,in the violins the scrolls are generally poor and of insignificant cut4 ,in the violoncellos they are somewhat better4 ,in the latter the back of the peg-box sometimes has an aperture cut in it1 to facilitate stringing4 ,outline based on that of ,stradivari2 sound-holes very well cut1 and frequently placed a shade high in instrument4 ,they are generally set very upright in the bellies4 ,he made a considerable number of examples inlaid with black ornamentation4 ,,niccol ,,ii4 was a son of ,giovanni ,gagliano 7,joannes71 and was a maker of no particular account4 ,he died about #ahbf4 ,,gennaro 7,jannarius71 circa #agbj-ge1 was the second son of ,alessandro1 and is now usually reckoned the best maker of the family4 ,instruments much rarer than those of ,niccol4 ,in his best work the finish is excellent2 and his varnish 7orange-yellow or red7 is almost uniformly of a superior kind4 ,the pattern more or less after that of ,stradivari4 ,the scrolls well cut and of bolder character than those of the other ,gagliani4 ,some of his fiddles and basses have contained ,stradivari tickets and have passed as originals4 ,the tone is round1 equal1 and free from the nasal character which is often observable in ,neapolitan fiddles4 ,,ferdinand1 #agbd-ha4 ,was the eldest son of ,niccol ,i4 ,a good workman4 ,pattern rather broad-looking4 ,arching moderate4 ,finish frequently somewhat careless4 ,,joseph3 worked until about #agie1 and was the second son of ,niccol ,i4 ,he was associated with a younger brother1 ,antonio1 and the instruments of the firm bear their joint label4 ,his instruments are somewhat similar in appearance to those of his father1 but usually inferior in style and finish4 ,,giovanni1 died circa #ahjf2 was a nephew of ,gennaro1 and worked with him4 ,some of his examples are of good pattern1 and well made4 ,he occasionally ornamented them after the manner of ,niccol4 ,there were several other ,gagliani3 ,,gaetano1 ,,raffaele1 and ,,antonio1 who worked together in the last century down to about #aheg2 and others4 ,,gaillard1 ,,charles4--,paris2 #ahej-ha4 ,an excellent workman of the ,paris school1 whose instruments are rising in value4 ,he worked with ,gand4 ,strad pattern2 sound-holes very well cut2 set rather upright1 and look a little wide open4 ,,gaillard-,,lajoue1 ,j4--,mirecourt and ,paris4 ,died about #ahgj4 ,brother of the above1 and also a fine workman4 ,worked with ,gand4 ,,galram1 ,,joachim ,,joseph4--,lisbon2 #agfi to #ahbe4 ,work little known in ,england4 ,,gand4--,paris1 ,versailles4 ,a famous ,french family of makers and dealers originating in ,mirecourt4 ,,charles ,,michael1 the founder1 was born there in #agdh1 and died in ,versailles #ahbj4 ,,charles ,,fran,,ois 78,gand pre07 was his eldest son4 ,worked with ,lupot1 whose daughter he married1 from #ahjb4 ,was an excellent maker1 and one of the most skilful repairers who ever lived4 ,he died in #ahde4 ,,charles ,,nicholas ,,eug,,ne1 the second son of ,charles ,franois1 died in #ahib4 ,was senior partner in the firm of ,gand and ,bernardel1 who made instruments on an extensive scale1 and held important appointments4 ,the work produced by this house is of the ,lupot class and traditions1 and is of a high order of merit4 ,there were other members of the family engaged in the violin business4 ,,gavini,s1 ,,fran,,ois4--,bordeaux1 ,paris2 eighteenth century4 ,instruments branded4 ,the better class examples well made4 ,,geissenhoff1 ,,franz4--,vienna2 #aged-ahba4 ,by far the best of the ,viennese makers1 and a close imitator of the ,stradivari pattern4 ,all the details of the work are well executed1 including the scrolls4 ,varnish usually a dark red-brown4 ,the tone is round and of very good quality4 ,he usually branded his work with his initials1 under the button4 ,the violoncellos are rare4 ,his work has risen rapidly in value and to-day commands good prices4 ,,gem,,nder1 ,,august4--,born #ahad1 ,wrtemburg2 died ,new ,york1 #ahie4 ,made numerous instruments which are in high esteem in ,america4 ,his brother ,,george1 born #ahaf1 died #ahii1 worked first with ,vuillaume in ,paris1 but went to ,new ,york in #ahdi4 ,made good copies in the ,vuillaume style4 ,,germain1 ,,joseph ,,louis4--,paris4 ,died #ahgj4 ,worked with ,gand and later with ,j4 ,b4 ,vuillaume2 afterwards on his own account4 ,he was a clever maker and one of the best of ,vuillaume's workmen4 ,his son ,,emile1 born #ahec1 is well known in ,paris1 and has made a large number of instruments4 ,,gibertini1 ,,antonio4--,parma1 ,genoa2 nineteenth century to about #ahej4 ,medallist at ,milan4 ,a neat workman4 ,a few violins seen by writer were of ,stradivari pattern1 good wood and handsome red varnish4 ,his work does not seem to be plentiful4 ,,gilkes1 ,,samuel4--,london4 ,died #ahbg4 ,a maker of much ability4 ,worked for ,forster before establishing himself on his own account4 ,the finish of his instruments is remarkable4 ,they are somewhat scarce1 and generally of ,amati character1 but he also copied ,stradivari4 ,a son1 ,,william1 was well known as a double-bass maker4 ,,gisalberti1 ,,andrea4--,parma2 eighteenth century1 circa #agbj and later4 ,said also to have worked in ,bozzolo1 ,rimini1 and elsewhere4 ,his existence has been doubted in some quarters1 but violins by him undoubtedly exist1 a few of which seen by the writer were of good tone1 and not without character1 albeit somewhat indifferent workmanship4 ,horace ,petherick some years since wrote a book in which he sought to prove that ,gisalberti was the instructor of ,guarneri1 del ,ges4 ,,gl,,zel4--,markneukirchen4 ,for over a century a large number of makers of this name have worked in ,markneukirchen and elsewhere in ,germany4 ,,glass4--,klingenthal4 ,another ,german family of whom much the same may be said as of the ,glzels4 ,,glier4--,markneukirchen4 ,another large family of makers4 ,eighteenth and nineteenth centuries4 ,,gobetti1 ,,francesco4--,venice2 circa #agjj-cj4 ,one of the finest makers of the ,venetian school4 ,there is nothing beyond tradition of a most unsatisfactory kind to prove that he was a pupil of ,stradivari4 ,his work in some cases suggests late ,amati influence1 both in form and style2 it is frequently very beautiful in every respect1 save the cutting of the scrolls4 ,handsome wood1 beautiful red varnish1 and tone of excellent quality4 ,his genuine labels are by no means plentiful1 the tickets of ,francesco ,ruger1 ,amati1 and ,stradivari1 having been inserted in his instruments4 ,the writer has met with two or three violins having a decidedly ,german outline which were assigned to this maker by judges of repute4 ,,gofriller4--,venice2 to about #agdj4 ,a family1 possibly of ,tyrolese origin1 whose work was until recent years little known in this country4 ,the best maker was ,,matteo1 much of whose work has been masquerading under the names of other makers1 such as ,joseph ,guarneri1 son of ,andrea1 ,carlo ,bergonzi1 and ,montagnana4 ,the workmanship and style are good1 wood sometimes1 but not frequently1 handsome1 and the varnish1 generally dark red1 is of good quality4 ,he seems to have made a good many violoncellos4 ,the scrolls are well cut1 but can hardly be described as of ,italian type4 ,labels vary1 and in some the name is spelt with a double 8f40 ,two other ,gofrillers1 ,francesco and ,antonio1 are mentioned1 but their work is almost unknown4 ,,gosselin1 ,,jean4--,paris2 circa #ahbj-cj4 ,an amateur4 ,there are some fine violins of ,stradivari pattern bearing his label4 ,in some cases instruments made by another hand were varnished by him4 ,,goulding4--,london2 about #ahjj4 ,there are a good many violoncellos and violins bearing the stamp 8,goulding10 some of ,english work1 and others of obviously foreign make4 ,some of these are useful instruments1 but there seems to be some doubt whether he was actually a maker4 ,,gragnani1 ,,antonio4--,leghorn2 circa #agdj-ahjj4 ,the best of the few makers dating from ,leghorn4 ,the violins bear some little likeness to the work of the ,gagliano family1 have a very good quality of tone1 and the varnish is not unfrequently of good texture and appearance1 though the colour is apt to fade4 ,the scrolls are very poor4 ,instruments branded on the button1 and sometimes in other places4 ,of late they have commanded some attention amongst players1 and their value has increased considerably4 ,there were two other makers of the name1 but of no particular account4 ,,grancino4--,milan2 late seventeenth and earlier eighteenth centuries4 ,an important family of makers of whom there seem to have been upwards of half a dozen members4 ,the earliest appears to have been ,,paolo1 who was at work until near the end of the seventeenth century4 ,the few of his instruments met with by the writer have been of ,amati pattern1 with yellow varnish1 and wood exhibiting little or no figure4 ,it is said that he was a pupil in ,amati's workshop4 ,he certainly does not seem to have used varnish which can be compared with that of his master4 ,his son ,,giovanni worked from about the end of the seventeenth century until #agcj or a little later1 and has left a good many instruments of considerable value4 ,the violoncellos perhaps take higher rank than the violins1 but the finer specimens of the latter are not unfrequently handsome1 both as to wood and varnish1 and the tone is of full and telling quality4 ,in some of his later work ,giovanni discarded some of the ,amati features seen in earlier examples4 ,the arching is flatter1 and the sound-hole assumes a somewhat pointed form1 and is set more obliquely in the instrument4 ,it has been said by writers that he imitated ,guarneri del ,ges1 a statement which is manifestly absurd having regard to dates4 ,instruments by him with the pointed sound-hole exist1 which were made long before del ,ges's admitted period of activity1 i4e4 #agbe-de4 ,of the other makers of the name very little seems to be certainly known4 ,,grand-,g,,rard4--,mirecourt2 early nineteenth century4 ,branded instruments of rather large flat pattern and commonplace character4 ,the tone is not unfrequently passable4 ,,grandjon4--,mirecourt2 nineteenth century4 ,a family of makers4 ,instruments of moderate price and better class 8factory0 style of work4 ,,groblicz1 ,,martin4--,warsaw2 eighteenth century4 ,the name is commonly printed 8,grobitz0 in books dealing with the violin4 ,examples scarce4 ,pretty work of ,stainer pattern4 ,sometimes seen with lion-heads4 ,the name is found in more modern instruments of a very common type1 and with edges flush with the sides1 instead of overlapping them4 ,,grossman1 ,,dr4 ,,max4--,born ,berlin4 ,contemporary4 ,is chiefly known as originator of a system of attuning the backs and bellies of instruments4 ,this has been applied to modern examples made in ,germany and sold under the name of the 8,new ,cremona0 violins1 etc4 ,,guadagnini4--,piacenza1 ,turin1 ,milan1 ,parma2 eighteenth and early nineteenth centuries4 ,a very celebrated family originating at either ,piacenza or ,cremona4 ,,lorenzo1 the founder1 claims in some of his tickets to have been a ,cremonese4 ,according to ,hart and other writers1 his dates run from about #afie to #agdj1 or later4 ,much has been written about him1 but in reality his genuine instruments are rarely seen in this country1 and his work is imperfectly known1 even amongst some of our better informed dealers4 ,he also claims in some labels to have worked with ,stradivari1 but the veracity of the statement has been questioned time and again4 ,the writer1 during an experience of over thirty-five years1 has seen very few authentic instruments by him4 ,they are said to be of bolder design than those of his son ,giovanni ,battista1 and the sound-holes are of varying form1 sometimes resembling those of ,guarneri del ,ges4 ,all authorities are agreed as to the tone of his violins1 which is described as large1 and of excellent quality4 ,he is supposed to have died at ,milan4 ,the most important maker of this family was ,,giovanni ,,battista ,,guadagnini1 born apparently at ,piacenza in #agaa1 died at ,turin1 ,september1 #aghf4 ,he was ,lorenzo's son1 and like him1 states in some of the labels 7those dating from ,turin7 that he was a ,cremonese1 and a pupil of ,stradivari4 ,nearly all writers1 ,british and continental1 state that there were two ,g4 ,b4 ,guadagninis1 one of whom was ,lorenzo's brother1 and of somewhat earlier date than the subject of this notice4 ,the writer has seen a large number of instruments by ,g4 ,b4 ,guadagnini of varying dates and places of origin1 and is constrained to admit that violins dating from ,milan and ,parma present points of dissimilarity both in form1 varnish1 and the cutting of the scrolls1 from those dating from ,turin from about #aggc onwards4 ,it is1 however1 the opinion of the best experts in this country1 that there was but one ,g4 ,b4 ,guadagnini1 who changed his habitat several times4 ,the facts of his life were collected by ,count ,cozio di ,salabue1 an ,italian nobleman and collector1 who died in #ahbd2 he patronised ,guadagnini and saved him in ,turin from destitution4 ,at the death of this distinguished amateur1 something like fifty of ,guadagnini's instruments1 with other valuable violins1 were amongst his effects4 ,guadagnini seems to have worked first in ,milan1 then at ,piacenza1 later at ,parma1 where he was court maker to the duke1 and lastly at ,turin1 to which city he migrated in #aggb4 ,there seems to be little doubt that he was acquainted with the composition of the celebrated ,cremonese varnish1 and used it1 though comparatively infrequently1 on some of his finest efforts4 ,some of his fiddles are models of good work1 fine wood1 and beautiful varnish1 but his average instrument may fairly be described in less glowing terms4 ,the varnish on most of those dating from ,turin is a red1 almost scarlet in some cases1 of much brilliance1 but less soft in texture than the true ,cremonese4 ,in earlier work the tints are less glaring1 perhaps partly owing to the effect of time4 ,the pattern resembles ,stradivari's4 ,the sound-holes in many cases show rather a pronounced sweep in their upper turns4 ,in a good many later examples1 one is set a trifle higher than the other4 ,the violins are generally rather under fourteen inches long1 and the violoncellos almost always measure about twenty-eight inches or a trifle over4 ,very high prices have been paid in recent years for his best examples4 ,the finest violin of his make ever seen by the writer1 was sold by ,mr4 ,hart about two years since for #hjj2 and higher figures have been reached more recently still4 ,,giuseppe ,,guadagnini 7,joseph71 circa #agcf-ahje4 ,was second son of the foregoing maker1 and worked at ,milan1 ,como1 and ,parma4 ,work heavier-looking than that of his father4 ,the violins are apparently of somewhat larger pattern4 ,the arching generally flat and the sound-holes broad in the stem4 ,seems to have made a good many instruments1 including violas and violoncellos4 ,the tone is frequently large and of good quality4 ,it is said that he in many cases used the label of his father4 ,,gaetano1 another son of ,giovanni ,battista1 worked at ,turin to about #ahca4 ,he is said to have been chiefly a repairer4 ,writer has seen some violins 7one or two of good workmanship and pattern1 and prettily figured wood7 bearing his label1 but his work is very little known4 ,other members of the family1 ,francesco1 ,carlo1 and ,antonio1 have been employed in the violin business4 ,one ,francesco was at work quite recently4 ,,guarini4--,vide ,mennesson4 ,,guarneri4--,cremona1 ,mantua1 ,venice2 seventeenth and eighteenth centuries4 ,the founder of this celebrated family was ,,andrea1 born #afbf in ,cremona2 died there in ,december1 #afih4 ,an undoubted pupil of ,niccol ,amati1 by whom he was employed as late as #afec2 he was at first a close imitator of his master4 ,later he altered the style of his work somewhat4 ,it is stated in many books that he was fellow-workman with ,stradivari1 by whose style he became influenced4 ,dates certainly do not tend to confirm the statement4 ,stradivari was not born until #afdd1 and even if he was employed by ,amati while ,andrea ,guarneri was in that maker's workshop1 there are instruments by ,andrea in existence which were made before ,stradivari could possibly be of an age to exert any influence1 and which exhibit modifications in the pattern1 form of sound-holes1 and arching1 showing clearly enough that the maker had begun to work on lines of his own4 ,occasionally1 ,andrea adopted the 8,grand pattern0 of ,amati1 and it is probable he assisted in the making of some of the violins of that type4 ,one very beautiful violin1 bearing his own label1 is known to the writer1 which might well pass for a ,grand ,amati4 ,the sides of ,andrea's heads are usually more deeply grooved than those of ,amati4 ,very few violas or violoncellos seem to be known4 ,messrs4 ,hill state that they have met with one of the latter of smaller dimensions than the usual violoncello of the period1 but that other examples had been cut down from their original size4 ,,joseph ,,guarneri1 son of ,,andrea1 was born in ,november1 #afff1 and appears to have been alive in #agch1 but the date of death has not been ascertained4 ,he worked for some time with his father4 ,the beauty of the varnish on many of his violins has not been surpassed by any other maker4 ,some of his backs show a broad curl1 others have wood of smaller figure1 but considerable beauty4 ,the pattern of his violins varies considerably1 as also the amount of arching in the plates1 which is commonly flatter in late than early specimens4 ,some examples show a long and somewhat stiff curve in the waist1 or middle bouts2 in others the curve is more pronounced1 and resembles that seen in the instruments of his celebrated relative1 ,del ,ges4 ,in the heads also a resemblance may now and then be traced1 and the peg-box is somewhat cut in at the throat4 ,the fiddles are usually about #ac-g_/h inches long4 ,the sound-holes set a trifle lower and nearer the edge of the instrument than is usual1 and in certain examples the form of the sound-holes is very slightly pointed at the ends4 ,this form is not seen in earlier specimens4 ,his violas and violoncellos are scarce4 ,a few fine examples of the latter are recognised4 ,,pietro ,,giovanni ,,guarneri 78,peter of ,mantua071 the eldest son of ,andrea1 was born in ,cremona in ,february1 #afee4 ,date of death not ascertained4 ,he also employed most beautiful varnish of a deep orange1 or red orange tint1 and has left some charming examples of his work4 ,the general style of his instruments belongs to the ,amati school4 ,arching usually somewhat full1 very fine scrolls1 and sound-holes which are set almost perpendicularly1 and very decidedly arched at their upper and lower turns4 ,the fiddles usually of medium size1 but larger examples are occasionally met with4 ,a very fine violin dated #afhf1 with ornamental purfling1 is figured by von ,ltgendorff4 ,the date when he went to ,mantua does not seem to be known1 and the writer is unable to find any satisfactory proof that he worked also in ,venice1 as has been frequently stated4 ,,pietro ,,guarneri ,,ii4 78,peter of ,venice07 was a son of ,joseph1 son of ,andrea4 ,he was born in ,cremona in ,april1 #afie1 and appears to have worked in ,venice until after #agfj4 ,in his labels1 which have an ornamental border1 he calls himself son of ,joseph4 ,he is stated to have worked for some time with his uncle1 ,peter of ,mantua1 in that city4 ,the writer is not well acquainted with his instruments4 ,,giuseppe ,,guarneri 78,joseph1 del ,ges07 was born at ,cremona in ,october1 #afhg4 ,date and place of death are unknown4 ,the latest date seen in a violin is #agde4 ,the correct birth date was ascertained by an ,italian writer 7de ,piccolellis71 and first published in #ahhf1 notwithstanding which several subsequent writers have persisted in stating that the event took place in #afhc1 the date formerly supposed to be correct 7on the authority of ,j4 ,b4 ,vuillaume74 ,according to ,hart1 whose view is generally followed by the best modern authorities1 del ,ges's probable instructor was his relative1 ,joseph1 son of ,andrea1 and there are features in some of his work which certainly support this theory4 ,the earliest date found in his admittedly genuine violins is said to be #agbc4 ,in that year he would be at least thirty-six years old1 and no very satisfactory explanation of the absence of authentic specimens of earlier date seems to be forthcoming1 unless we suppose that he did not begin to follow the art in which he was so conspicuously successful until pretty mature manhood4 ,horace ,petherick1 in #aijf1 published a book 7illustrated7 in which he claimed to have discovered that del ,ges's master was ,andrea ,gisalberti of ,parma 7q4v471 a little-known maker of no great account4 ,however1 neither ,mr4 ,petherick's arguments1 nor the examples by which he strove to support them1 were seriously accepted by most judges of the first rank1 and the difficulty may be said to be still unsolved4 ,neither violas nor violoncellos which can unhesitatingly be accepted as the work of del ,ges have come to light4 ,instruments of both types have from time to time been put forward as authentic1 but have been rejected as spurious by all the best-informed authorities4 ,much misapprehension--some at least of which may be traced to general and loosely worded descriptions in books--has existed in regard to the size of del ,ges's larger violins4 ,his more massive looking instruments give the impression of being of greater size than is found on careful measurement to be really the case4 ,the widths are full1 but the bodies measure only #ac-g_/h inches1 or a minute fraction over1 in length1 and1 so far as the writer is aware1 no properly verified exception to this rule has as yet appeared4 ,a number of his earlier works are only #ac-c_/d inches long1 but nevertheless possess a volume of tone which is astonishing1 considering the relatively small size of the instrument4 ,it has been customary to classify his works into distinct types1 varying with the period of their production4 ,though in the main a convenient system1 the dates found in his violins do not by any means always square with it4 ,two illustrations of this will suffice4 ,the 8,hart0 ,joseph1 now owned by the great artist ,kreisler1 is of the bold massive build which he is supposed to have adopted not earlier than #agdj2 but it dates1 according to the label1 from the year #agcg4 ,paganini's famous instrument 7now in the museum at ,genoa7 is dated #agdc1 and the splendid example known as the 8,le ,duc0 was made in #agde4 ,neither of these instruments exhibits the exceptional finish and elegance of form which may be seen in a few examples made between about #agcd-ch1 yet each is a remarkable work of art1 though dating from a period when his handiwork has been said to betray a lamentable falling off in design1 workmanship1 and varnish4 ,there is no doubt that del ,ges did occasionally produce instruments which in some features1 such as the form of the sound-holes1 are uncompromisingly ugly2 but1 in the writer's view1 there are not sufficient data to assign these specimens to any particular period of his working life4 ,his handsomest and most exquisitely finished violins seem to have been made approximately between the dates above stated1 #agcd-ch4 ,instruments of this class are rare1 but will in every way bear comparison with those of ,stradivari4 ,three notable fiddles of this type may be mentioned3 the ,d',egville1 dated #agce2 the 8,king0 ,joseph 7now in ,america71 and the 8,gillott10 both dated #agcg4 ,these1 with perhaps a dozen others1 are reckoned amongst connoisseurs as the most finely formed and finished specimens of this great master's work4 ,in early examples a distinct resemblance to the works of his cousin1 ,joseph1 son of ,andrea1 is traceable1 and instruments now properly assigned to that maker have pretty frequently been labelled and passed as the work of ,del ,ges4 ,the sound-holes of his violins exhibit much diversity of treatment both in the form and the angle at which they are placed1 and it is evident that in the cutting of them he rarely had recourse to patterns1 or templates4 ,it is generally supposed that he revived the 8pointed0 form associated with the school of ,brescia4 ,in many cases there is little or no suspicion of a 8point0 visible1 and in no case known to the writer is the peculiarity accentuated to the absurd extent exhibited in swarms of copies which may be met with4 ,his arching varies considerably1 but the rise of the plates from the edges to the centre is usually gradual4 ,in the outline of his more robust type of instrument there is a resemblance to the violins of ,maggini1 but that maker's large dimensions--his ordinary fiddle is about #ad-a_/d to #ad-a_/b inches long--are never approached by del ,ges4 ,his varnish is almost always of fine quality and ,cremonese type4 ,there are probably more yellow specimens to be seen than those of deeper shade1 but on the latter its colouring and texture are admirable4 ,swarms of makers of all nationalities have imitated1 or attempted to imitate1 him2 but the truth1 as shown by experience1 is that del ,ges's work is very difficult to imitate successfully2 far more so than that of ,stradivari and many other noted makers4 ,his eccentricities have been travestied to an extent which betrays the hand of the forger to all but the most inexperienced4 ,the cutting of the scroll is nearly always a stumbling block1 and perhaps ninety-nine out of every hundred copies are too big4 ,this latter observation will generally be found to apply to the wonderfully clever imitations made by ,john ,frederick ,lott in the last century1 a goodly number of which are still accepted as authentic 8,josephs0 by the uninitiated4 ,in recent years he has been imitated 7so far at least as external appearances go7 with remarkable exactness1 by a maker named ,voller1 whose skilful 8facsimiles0 of various classic makers at first puzzled numbers of observers by no means ill-acquainted with the characteristics of genuine ,italian work4 ,amongst ,french copyists1 ,j4 ,b4 ,vuillaume1 ,pierre ,silvestre1 ,remy1 and ,georges ,chanot ,i41 may be mentioned2 but their instruments1 though reproducing with more or less fidelity the form and peculiarities of del ,ges1 are in the great majority of cases of larger dimensions than the originals4 ,italy has produced a number of followers1 but1 until quite recently1 none seem to have succeeded in producing violins which by any stretch of imagination could be described as exact copies4 ,storioni and ,carlo ,bergonzi1 and occasionally ,testore1 made fiddles which for years were accepted by the multitude as genuine 8,josephs10 but nowadays few if any of them would pass as such amongst judges of any experience4 ,as may be supposed1 the number of this celebrated maker's authentic works is very much less than that of ,stradivari1 whose labels date from about #affe-f to #agcg1 the year of his death4 ,it is much to be deplored that the repeated attempts to obtain reliable details of del ,ges's life story have produced such meagre and disappointing results1 but the prospect of fresh information coming to light seems to be remote4 ,,guersan1 ,,louis4--,paris2 eighteenth century to about #aggj4 ,worked first with ,claude ,pierray4 ,there are some good violins and other instruments bearing his name4 ,his personal work1 though by no means scarce1 is not so plentiful as is sometimes supposed4 ,he came of a family of makers1 and his pattern and style were followed by other makers4 ,red or yellow varnish1 sometimes handsome and brilliant4 ,sound-holes not very wide open4 ,heads cleanly cut4 ,the arching varies a good deal4 ,pattern looks rather narrow2 probably more so than it actually is4 ,he used a variety of labels1 one having a shield bearing his name4 ,g,,tter4 ,a whole tribe of makers of this name worked in ,markneukirchen and elsewhere in the eighteenth and nineteenth centuries4 ,upwards of a score of them are mentioned by the ,german writer1 von ,ltgendorff4 ,,guggemos1 ,,marcus4--,fssen2 eighteenth century4 ,high built fiddles with brown varnish1 and ornamental labels4 ,fssen has produced makers whose style and varnish are not unlike ,italian1 but ,guggemos can hardly be reckoned amongst them4 ,,guglielmi1 ,,gio4 ,,battista4--,cremona2 eighteenth century4 ,little known4 ,,guidantus4 ,see ,floreno4 ,,gusetto1 ,,niccol4--,cremona2 eighteenth century4 ,a ,florentine of no particular merit as a maker4 ,instruments usually high built and ,german in style4 ,,gutermann1 ,,wilhelm ,,theodor4--,vienna4 ,died in #aijj4 ,a good workman4 ,made some curious shaped violins on a pattern designed by a ,dr4 ,liharzik4 ,,haase1 ,,ferdinand4--,magdeburg1 ,dessau4 ,died #ahib4 ,was a flute player who turned his attention to fiddle making1 but apparently with indifferent success1 his instruments being too thin in the plates4 ,,haensel1 ,,johann ,,anton4--,rocksburg2 about #ahjj4 ,,haff1 ,,joseph ,,anton4--,augsburg2 nineteenth century4 ,died #ahff4 ,a son of the same name died in ,stuttgart in #aijb1 and was a clever workman4 ,he worked for some time in ,munich and obtained medals4 ,,hakkert1 ,,jacob ,,wolfgang4--,rotterdam2 contemporary4 ,a workman of ability1 who makes good copies of the ,italian masters4 ,,hamberger4--,vienna1 ,presburg2 nineteenth century4 ,a family of makers who made some good violins1 chiefly of ,stradivari pattern4 ,,hamm4--,markneukirchen and ,vilingenthal2 eighteenth and nineteenth centuries4 ,there were several workmen of this name1 the best known of whom1 ,johann ,gottfried1 worked for some time in ,rome4 ,instruments of ,stainer pattern1 but broader1 and frequently with ivory edges4 ,initials branded inside4 ,he died in #ahag4 ,,hamma ,,co4--,stuttgart2 contemporary4 ,a well-known firm of dealers and repairers4 ,,hammig4--,a family originating in ,markneukirchen1 and dating back to about the middle of the eighteenth century4 ,there have been several of the name working and dealing in instruments in various parts of ,germany besides ,markneukirchen 7,leipzig1 ,dresden1 ,berlin71 and the ,berlin house1 still carried on1 is well known on the ,continent4 ,,harbour1 ,,jacob4--,london2 about #agfj-ij4 ,,hardie4--,edinburgh2 eighteenth and nineteenth centuries4 ,perhaps the best known family amongst the ,scottish makers4 ,the most celebrated member was ,,matthew1 born ,edinburgh in #agee1 died #ahbf4 ,his best work is very well finished4 ,he copied the patterns of various ,italian makers1 but chiefly ,stradivari and ,amati4 ,the tone of many of his violins is excellent4 ,his varnish1 according to examples seen by the writer1 was not of the best4 ,there were two ,james ,hardies1 of whom the second1 born #ahcf1 was the founder of the present ,edinburgh firm of ,james ,hardie and ,son4 ,he has produced an enormous number of instruments1 many of which are somewhat on the lines of ,maggini4 ,other makers of the name were ,,peter1 who died at ,dunkeld in #ahfc1 and branded his work with his name2 and ,,thomas1 a son of ,matthew1 who could turn out good work when he chose2 he died in #ahef4 ,,hare1 ,,john4--,london2 eighteenth century1 first half4 ,unquestionably one of the best of the old ,english makers4 ,he shares with a contemporary 7,daniel ,parker7 the merit of having been the earliest of the ,english school to turn serious attention to the pattern of ,stradivari4 ,his instruments are of large proportions1 flat arching1 and good finish1 the heads being the weakest feature of the design4 ,he used an excellent red varnish of considerable brilliance1 and it is to be regretted that his work is so scarce4 ,the tone also is exceptionally good and resonant in a well-preserved example4 ,opinions seem still to be divided as to whether ,,joseph ,,hare1 mentioned in most books on the violin1 was or was not identical with ,john4 ,the latter was for some time associated in business with an individual named ,freeman1 of whom nothing else seems to be known4 ,he worked near the ,royal ,exchange4 ,,harmand1 ,l4--,mirecourt2 eighteenth century4 ,medium sized fiddles1 with reddish varnish4 ,stamped 8,au ,roi ,david4 ,l4 ,harmand40 ,,harris1 ,,charles4--,oxford1 ,london4 ,worked until about #ahjj4 ,his work is rarely labelled1 and is little known1 except to a few of the dealers4 ,an excellent maker1 whose fiddles and basses 7particularly the latter7 are deservedly in high repute4 ,the pattern is generally that of ,stradivari2 ,amati copies do not so frequently occur4 ,harris is noted amongst other things for his varnish of a warm red tint4 ,a son of the same name worked in ,oxford and ,london1 and was for a time employed by ,john ,hart4 ,,hart4--,a name familiar to violinists the world over4 ,the firm of ,hart and ,son was established in ,lower ,wardour ,street 7formerly ,princes ,street1 ,leicester ,square7 by ,,john ,,thomas ,,hart1 who died in #ahgd4 ,he was apprenticed to ,samuel ,gilkes1 but made few instruments4 ,john ,hart and ,georges ,chanot ,i41 of ,paris1 were in their day the most renowned judges of fiddles in ,europe1 and the former was instrumental in forming some of the most notable collections of violins that have ever been brought together4 ,,george ,,hart ,i41 his son1 who died in #ahia1 was also a judge of the highest eminence1 but will always be remembered as the author of 8,the ,violin1 its ,famous ,makers and their ,imitators10 which is recognised as the standard ,english work of reference4 ,it passed through various editions in the author's lifetime1 and a further edition1 with certain additions and emendations by his son and the present writer1 was issued in #aiji4 ,,george ,,hart ,,ii41 son of the former1 is the present head of the firm1 and is a judge of wide experience of violins and violoncellos of the highest class4 ,,hassert1 ,,johannes ,,george ,,christian4--,eisenach and ,rudolstadt2 eighteenth century4 ,instruments rarely seen in this country1 but according to continental writers they are of good form1 ,italian style1 and moderate arching4 ,he worked until about #agge4 ,a son1 ,,johann ,,christian1 worked at ,rudolstadt1 and died there in #ahbc4 ,,haudek1 ,,carl4--,vienna2 contemporary4 ,succeeded to business of ,lembck4 ,he has obtained medals1 but appears to have made few instruments2 well known as a restorer4 ,h,,ussler1 ,,gustave4--,cracow2 contemporary4 ,a maker who has obtained medals for his instruments in ,cracow and ,lemberg4 ,stradivari pattern4 ,,havelka1 ,,johann ,,baptist4--,linz2 eighteenth century4 ,,heberlein4--,a family of makers originating in ,markneukirchen1 and ranging in date from the early eighteenth century to the present time4 ,some fifteen or sixteen makers of the name are enumerated4 ,the best known of these is ,,heinrich ,,theodore1 who died in #aiaj1 and was a first-class workman4 ,,heesom1 ,,edward4--,london2 eighteenth century4 ,work very scarce and little known4 ,stainer pattern4 ,,heinel1 ,,oskar ,,bernhard4--,markneukirchen2 contemporary4 ,a clever workman in various styles1 including 8modern antiques40 ,,hel1 ,,pierre ,,joseph4--,lille4 ,born #ahdb4 ,instruments of his workmanship are excellent in every detail4 ,form1 material1 and varnish are all most praiseworthy1 and he occupies a prominent place amongst makers of modern times4 ,he obtained several medals4 ,instruments of an inferior grade1 but not of his own workmanship1 are of the 8trade class10 and of no particular account1 although occasionally sold as genuine4 ,they bear1 or should bear1 a distinctive label4 ,the business is now carried on by a son 7,pierre71 who is well known as a dealer4 ,,held1 ,,johann ,,joseph4--,enskirchen1 ,beuel4 ,died #aijd4 ,a clever workman1 who obtained several medals1 and seems to have had some theories of his own1 one of which was impregnating the wood of his instruments4 ,he was patronised by ,ole ,bull4 ,,hellmer4--,several makers of the name worked in ,prague in the seventeenth and eighteenth century4 ,the family is supposed to have come from ,fssen4 ,in this country the best known is ,,karl ,,joseph1 who died in #ahaa1 and was a pupil of ,eberle4 ,there seem to be a good many spurious labels about containing the device used by him1 a lion holding an instrument of the lute species4 ,red-brown varnish1 careful finish1 and medium arching4 ,the general characteristics of his work belong to the ,german school4 ,his father1 ,,johann ,,georg1 who died in ,prague in #aggj1 made high-built fiddles of the ,kloz type4 ,,henocq4--,paris2 eighteenth century4 ,two makers of the name worked in ,paris4 ,,henry4--,paris2 nineteenth century4 ,a family of makers of good repute4 ,amongst them may be mentioned ,,charles1 who died in #ahei1 and was a prolific workman1 who has left many useful instruments4 ,he obtained medals4 ,a son1 ,,eugene1 also a medallist1 died in #ahib4 ,,henry1 ,j4--,paris4 ,died #ahgj4 ,an excellent bow-maker4 ,worked for some time with ,dominique ,peccatte4 ,,herzlieb1 ,,franz4--,gratz4 ,died #ahfa4 ,a clever copyist4 ,handsome wood1 yellow-brown varnish4 ,,hill4--,a well-known family of fiddle-makers and dealers1 whose connection with stringed instruments dates back to the seventeenth century4 ,some of the earlier members were makers of much ability4 ,amongst them may be mentioned ,,joseph ,,hill ,,ii41 son of another maker of the same ,christian name2 this maker died in #aghd1 and first worked with ,banks and ,peter ,wamsley4 ,his copies of ,amati violins1 though not scrupulously exact1 have frequently passed as originals1 and some are thoroughly good instruments4 ,his violoncellos are also in high esteem amongst players4 ,two other ,josephs were also makers1 and seem to have worked both on their own account1 and for the trade4 ,there were two ,,lockey ,,hills1 the second of whom1 named ,,henry ,,lockey1 was employed by ,john ,betts4 ,the writer has met with some beautiful examples of his instruments1 the style and finish of which were most praiseworthy1 and the pattern that of ,stradivari4 ,the present widely known firm of ,w4 ,e4 ,,hill ,,sons was established in ,wardour ,street by ,,william ,,ebsworth ,,hill1 and is now located in ,bond ,street1 ,london4 ,w4 ,e4 ,hill died in #ahie4 ,though a skilful workman he made few new instruments1 and devoted his attention chiefly to repairing and dealing in old violins4 ,the active members of the present firm are ,,arthur ,,frederick1 born in #ahfj1 and ,,alfred ,,ebsworth1 born in #ahfb4 ,as a judge of old fiddles and basses the latter holds a foremost place4 ,the firm has published monographs on various notable instruments1 and the work on ,antonio ,stradivari is the most exhaustive account of that maker and his work which has been published4 ,,hjorth4--,copenhagen4 ,a family of makers established in ,copenhagen since about the end of the eighteenth century4 ,the founder was ,,andrea1 who died there in #ahcd1 and copied the pattern of ,amati4 ,his instruments are branded 8,a4 ,h4 ,h40 ,,emil ,,hjorth1 born #ahdj1 and his son ,,otto carry on the business1 and have made good copies4 ,the former at one time worked with ,bernardel in ,paris4 ,h,,rlein1 ,,karl ,,adam4--,kitzingen1 ,wrzburg4 ,died #aijb4 ,pupil of ,lembck1 in ,vienna4 ,in later years imported fiddles from ,markneukirchen1 which he varnished and finished personally4 ,,hoffmann4--,numerous makers of the name worked in different parts of ,germany4 ,one of the best known is ,,martin ,,hoffmann1 who worked in ,leipzig until about #agbe4 ,a son1 ,,johann ,,christian1 was at work there until about #agej4 ,,hofmann1 ,,anton4--,vienna4 ,died #ahga4 ,carried on a large business as a maker and repairer in ,vienna1 and dealt with ,tarisio4 ,,hofmans1 ,,matthias4--,antwerp2 #agjj-ej4 ,good work1 and excellent varnish of ,italian character and appearance4 ,,homolka4--,there were nearly a dozen makers of the name in ,prague and elsewhere 7one in ,vienna74 ,the best known was ,,ferdinand ,,august ,,vincenz1 who died in #ahij1 and was a clever copyist of ,italian masters1 including ,peter ,guarneri of ,mantua4 ,others of the family are3 ,,emmanuel ,,adam1 died #ahdi in ,prague2 and ,,edward ,,emmanuel1 born #ahfj4 ,the latter is a good maker1 and judge of old instruments4 ,,hopf4--,a large number of makers of this name have operated in ,klingenthal1 ,markneukirchen1 and elsewhere in ,germany for generations4 ,some were tolerable workmen2 others most indifferent4 ,most of them used to brand their work1 and the name ,hopf may be seen branded on productions of the very commonest class1 which are hardly fit to be described as violins4 ,,hornsteiner4--,the family name of a small army of ,mittenwald fiddle-makers who have been at work for several generations4 ,several bore the same ,christian name1 and space prohibits any attempt to describe or discriminate between their works4 ,matthias ,,ii4 and ,joseph ,,ii41 who worked down to about the first decade of the nineteenth century1 are amongst the best of this numerous tribe4 ,,hoyer4--,a ,klingenthal family of makers dating from the eighteenth century to very recent times4 ,von ,ltgendrff enumerates nearly forty workmen of this name4 ,,huel1 ,,henri4--,paris2 to about #aghj4 ,little known2 used a large label4 ,,hulinzky1 ,,thomas ,,andreas4--,prague4 ,died #aghh4 ,a pupil of ,eberle1 and a careful workman4 ,used a ticket bearing a device similar to that of ,hellmer4 ,,hulskamp4--,a ,westphalian who migrated to ,new ,york4 ,he exhibited a 8freak fiddle0 with a round hole in the belly instead of the usual sound-holes in ,london in #ahfb4 ,,hunger1 ,,christoph ,,friedrich4--,leipzig4 ,died #aghg4 ,a maker whose instruments are highly thought of in ,germany4 ,his father1 who worked in ,borstendorff1 was also a violin maker4 ,,hurel1 ,,jean4--,paris4 ,court maker about the end of the eighteenth century4 ,,husson4--,nineteenth century4 ,a ,mirecourt family of makers1 one of whom1 ,charles1 worked with ,gand and ,bernardel and was noted for his bows1 some of which are stamped with his name4 ,,jacobs1 ,,hendrik4--,amsterdam2 late seventeenth century to about #agce4 ,the most important maker of the ,dutch school4 ,legend has been busy with his name1 and according to the story1 he worked with ,niccol ,amati1 and married his daughter4 ,to make matters complete he should have succeeded to the business1 but tradition stops short of this denouement4 ,there seems to be nothing like direct evidence that he had any ,italian training4 ,he frequently imitated ,amati with considerable exactness1 and employed wood resembling that used by the ,cremona maker2 he also used a fine quality of varnish1 usually red-brown in colour4 ,his violins vary in size1 but many of them are built more or less on the lines of the grand ,amati4 ,the scrolls are generally somewhat mean looking1 and narrow1 when viewed from the front2 but the writer has seen exceptions where he was more successful with this feature4 ,sound-holes vary in form1 some being of ,amatese cut1 and others hinting of the school of ,stainer4 ,his instruments are not so rare as is frequently supposed1 the fact being that many of them still figure either as the work of ,amati or of other ,italian makers4 ,one such1 in the possession of a well-known ,french professor1 recently came under the writer's notice1 and had been confidently declared to be an early example of ,stradivari4 ,jacobs used whalebone purfling1 which in some cases has been removed1 and wooden purfling inserted by other hands4 ,whether he personally inserted ,amati tickets into his instruments1 as some ,italians did1 is not clear4 ,the tone of a well-preserved example is usually excellent4 ,the name seems to have been at first 8,jacobsz10 the final 8z0 being dropped in the labels usually seen4 ,the older books speak of a ,peeter ,jacobs1 who1 if he ever existed1 apparently cannot now be traced4 ,vidal supposes that he was really identical with ,pieter ,rombouts1 another ,amsterdam maker contemporary with ,jacobs1 and supposed to have worked with him4 ,,jacot1 ,,jean ,,charles4--,metz4 ,died #ahhg4 ,made some well-made instruments2 a son was established in ,paris4 ,,jacquot4--,nineteenth century2 ,nancy1 ,paris4 ,a well-known family of makers4 ,the founder was ,,charles1 born at ,mirecourt #ahjd1 died #ahhj1 near ,paris4 ,worked with 8didier0 ,nicolas1 and later with ,breton4 ,was first established at ,nancy1 went to ,paris in #ahed and there produced his best work4 ,an excellent workman1 and a good judge of old instruments4 ,he received numerous medals4 ,,pierre ,,charles1 born #ahbh1 was his son1 and took over the business in ,nancy4 ,he died there in #ahie1 and also received medals4 ,well-finished work1 usually of ,stradivari pattern4 ,two of his sons1 ,,etienne ,,charles ,,albert1 born #ahec1 and ,,jules ,,victor1 born #ahee1 have carried on the business4 ,,jaeger4--,markneukirchen4 ,makers of the name have been at work from early in the eighteenth century down to very recent times4 ,,jais4--,mittenwald1 ,botzen2 eighteenth century4 ,there were several makers of the name4 ,some of their instruments have a fine red or yellow-brown varnish of ,italian character1 and the build and general style of the work is not unlike that of ,albani4 ,,joannes ,,jais seems to have worked in ,botzen until after #aghj4 ,good work1 label with an ornamental border4 ,,andreas ,,jais worked in ,mittenwald and ,tlz down to about #agej4 ,made a good many instruments of high build and frequently with well-carved lion-heads4 ,a son named ,johannes died in ,tlz in #agfb4 ,,anton1 apparently a grandson1 was at work until after #ahcj4 ,pretty wood and good varnish4 ,,jauch1 ,,andreas4--,dresden2 circa #agdi-hj4 ,work rarely seen in this country1 but is said to be of ,italian character4 ,the family name seems to have been 8,jauck0 and to have originated in ,gratz--other makers of the name worked there4 ,,jaura4--,vienna2 nineteenth century4 ,a family of makers4 ,the present maker1 ,,wilhelm ,,thomas1 was born in #ahfc1 and is known as a skilful copyist and repairer4 ,,jay1 ,,henry4--,london2 latter half of eighteenth century4 ,worked for ,longman and ,broderip1 for whom he made violoncellos4 ,was also a noted maker of kits4 ,,thomas ,,jay1 his father1 worked in the earlier half of the century4 ,little known4 ,,jeandel1 ,,pierre ,,napoleon4--,rouen2 #ahab-gi4 ,red fiddles of good pattern and workmanship4 ,obtained several medals4 ,,johnson1 ,,john4--,london2 circa #agej4 ,stainer pattern1 mediocre workmanship4 ,examples scarce4 ,he had a music shop in ,cheapside4 ,,jombar1 ,,paul4--,paris2 contemporary4 ,well-made fiddles of the modern ,french type4 ,he was apprenticed to ,audinot4 ,,jorio1 ,,vincenzo4--,naples2 circa #ahej4 ,ornamental label1 printed on yellow paper4 ,rather large pattern4 ,work well finished but seemingly scarce4 ,,kabingen1 ,,jacob4--,budapest2 circa #ahee4 ,seems to have been a superior workman and to have migrated to ,russia4 ,k,,mbl1 ,,johann ,,andreas4--,munich4 ,died #agha4 ,apparently a maker of repute4 ,writer is unacquainted with his work4 ,,karner1 ,,bartholom,,us4--,mittenwald2 eighteenth century4 ,fairly well made instruments4 ,brown varnish4 ,label with ornamental border4 ,,karner1 ,,johann ,,georg4--,enns2 about #ahbe4 ,instruments branded 8,i4 ,k40 in addition to bordered label4 ,mediocre work2 wood frequently worm-eaten4 ,,keffer4--,eighteenth and nineteenth centuries4 ,there appear to have been several ,german makers of the name1 working chiefly in ,goisern4 ,instruments labelled1 also branded 8,j4 ,k40 ,,kempter1 ,,andreas4--,dillingen4 ,died #aghf4 ,high built4 ,stainer pattern2 sometimes with lion heads4 ,he seems also to have made instruments of flatter arching4 ,,kennedy4--,london2 eighteenth and nineteenth centuries4 ,a well-known family of ,scottish origin4 ,,alexander1 the founder1 died in ,london in #aghe4 ,neat work4 ,stainer pattern4 ,a nephew1 ,,john1 worked chiefly for the trade and died in #ahaf4 ,the best known maker was ,,thomas1 the son of ,john1 born #aghd1 died #ahgj4 ,he also worked for the trade1 but made a very large number of instruments on his own account1 including numerous violoncellos4 ,his personal work1 when he chose to do his best1 was of good pattern1 and very neatly finished1 but he evidently made instruments of different classes1 and the poorer examples are of little worth4 ,,kessler4--,markneukirchen4 ,a very numerous family of ,german makers dating from about #agjj to the present time4 ,they came from ,markneukirchen1 but some have settled in different ,german towns4 ,the more recent members have manufactured on a considerable scale4 ,,kittel1 ,,nicholas4--,st4 ,petersburg2 to about #ahgj4 ,work scarce4 ,he is best known as a bow-maker1 and has produced excellent bows1 stamped with his name4 ,,klemm4--,markneukirchen4 ,there were several workmen of the name in the eighteenth century4 ,,kleyman1 ,,cornelis 7also spelt ,kleynman74--,amsterdam2 seventeenth century4 ,a little known copyist of ,amati4 ,,kloz4--,mittenwald2 seventeenth to nineteenth centuries4 ,a very numerous and important family of makers1 and the real founders of the enormous business in violin making which has been carried on in and around ,mittenwald since their time4 ,about a score or more of makers of the name have been enumerated1 and1 as many of them bore the same ,christian name1 there has been much confusion as to their identity4 ,about half a dozen of the number are tolerably well known and distinguished by judges in this country4 ,for the rest1 it is doubtful if even amongst their own countrymen any one is living who can claim any very exact knowledge of their individual work4 ,the earlier workmen made more or less accurate copies of the instruments of ,stainer1 and in some cases there is little doubt that they labelled and sold their work as his1 even during his lifetime4 ,some of the later ,klozs altered the pattern of their violins and evidently based their designs upon ,italian work1 but none of them really succeeded in producing specimens possessing the true ,italian style1 although some of these have passed current as ,cremonese amongst the unlearned in such matters4 ,most of them made their fiddles in two or more grades1 the better of which1 in certain cases1 are well finished and possess a yellow or red-brown varnish of considerable brilliancy1 and quality akin to that of ,italy2 but the bulk of the ,kloz fiddles and basses are covered with the poor1 meagre-looking stuff known as 8glue varnish40 ,in numbers of cases the varnish on their work has become almost black4 ,of the individual members of the family1 ,,matthias ,i4 7#afef-agdc7 made fiddles of ,stainer character and occasionally covered with varnish which gives some colour to the story that he travelled in ,italy and acquired experience of ,italian methods of varnishing4 ,,egidius ,,kloz ,i4 worked until #agaa1 and his instruments are good and fairly valuable4 ,,egidius ,,ii4 died in #ahje1 and was a neat workman1 but rarely used decent varnish4 ,his violins are fairly common in this country4 ,,johann ,,carl was one of the best of the tribe2 model fairly flat2 good red-brown varnish1 and some general resemblance to ,italian style in the work4 ,he died in #agij4 ,there were two makers named ,,george1 the second of whom died in #agig1 and produced some highly finished work with brilliant varnish1 but of ,stainer model4 ,of the three ,,josephs1 the latest1 who was alive in #agih1 seems to have adopted a type of fiddle which has since been extensively imitated and has an outline of more ,amati appearance than that of his predecessors4 ,,sebastian ,i4 was a son of the first ,matthias1 and is usually reckoned the best maker of the family2 he worked until about #agej1 and produced good-sized fiddles1 the best of which have handsome wood and flatter arching than those of his father2 but ,stainer traditions were evidently deeply implanted in him1 and he never entirely discarded them4 ,several of the family adopted lion-heads with more or less frequency4 ,those of the first ,george are very well carved4 ,kloz scrolls are not artistic1 though they are distinctive enough4 ,genuine ,kloz fiddles of one grade or another are plentiful enough1 but the celebrity at one time attaching to the name has led to numberless forgeries1 many of which figure in pawnshops1 and bear little or no resemblance to the originals4 ,,knilling4--,mittenwald2 eighteenth and nineteenth centuries4 ,there were well over a dozen makers of this name4 ,,knitl1 ,,joseph4--,mittenwald2 to about #agij4 ,stainer model4 ,another ,knitl1 named ,franz1 said to be a son1 worked in ,freising1 dying there in #agia4 ,,knopf4--,eighteenth and nineteenth centuries4 ,a ,markneukirchen family settled in various parts of ,germany and elsewhere4 ,one of them1 ,,henry ,,richard1 worked with ,bausch in ,dresden and was recently at work in ,new ,york4 ,k,,gl1 ,,hanns4--,vienna2 about #afgj4 ,said to have been born in ,fssen4 ,imitated ,brescian work4 ,,kolditz4--,there were two or three makers of the name1 one of whom1 ,,matthias ,,johann1 worked in ,munich until about #agfj4 ,,koliker1 ,,jean ,,gabriel4--,paris2 to about #ahaj4 ,chiefly known as a repairer1 but is reputed to have made certain modern antiques of nondescript appearance4 ,,kretzchmann4--,markneukirchen2 eighteenth and nineteenth centuries4 ,a very numerous family4 ,in some of their instruments the maker's initials are branded in the place usually occupied by the label4 ,,kreuzinger4--,the name of a ,schnbach family of makers in the nineteenth century4 ,,anton1 born #ahgc1 is highly spoken of as a good copyist4 ,,joseph1 born #ahga1 is reckoned a good workman1 but seems latterly to have manufactured on a large scale4 ,,krigge1 ,,heinrich4--,danzig2 circa #agej ,large fiddles1 double purfled after the manner of ,maggini4 ,,kriner4--,mittenwald2 eighteenth and nineteenth centuries4 ,a large family which includes one or two high-class workmen4 ,amongst them may be mentioned ,,simon ,,kriner1 who died in #ahba1 and was a clever copyist of ,italian work4 ,he travelled with his productions and occasionally came to ,england4 ,,kulik1 ,,johannes4--,prague4 ,died #ahgb4 ,neat work and well-cut heads4 ,used various tickets4 ,,lafleur1 ,,jacques4--,paris4 ,died #ahcb4 ,excellent bow-maker4 ,a son1 ,,joseph ,,ren1 was also a good workman4 ,died #ahgd4 ,,lagetto1 ,,louis4--,paris2 eighteenth century4 ,was an ,italian4 ,yellow-brown varnish4 ,mediocre style and appearance4 ,,lambert1 ,,jean ,,nicolas4--,paris2 eighteenth century4 ,used various labels1 some with ornamental border2 also sometimes branded his work4 ,,lamy1 ,,alfred ,,joseph4--,paris2 contemporary4 ,well-known bow-maker4 ,imitates style of ,voiriu4 ,,landolfi1 ,,carlo ,,ferdinando4--,milan2 circa #agdj-hj4 ,a maker of some importance4 ,his work is fairly plentiful1 and the best examples are well finished and exhibit much handsomer material than that employed by most of the ,milanese makers4 ,the varnish on such examples is strikingly beautiful4 ,it is of different shades varying between yellowish-red and brown-red4 ,scrolls not handsome4 ,he is sometimes cited as a follower of ,guarneri del ,ges1 but there is little or no resemblance to the work of that maker4 ,arching sometimes rather full4 ,sound-holes well cut1 but rather weak looking4 ,work generally very characteristic1 but examples are met with in which it is carelessly finished and the varnish inferior4 ,he seems to have made his instruments in different grades4 ,the violoncellos used to realise better prices than the violins4 ,they are good instruments1 but rather small in size4 ,a son named ,,pietro ,,antonio worked with him and succeeded him4 ,he seems to have lived until about the end of the century4 ,a few examples of his work seen by the writer were of inferior style and finish4 ,yellowish-red varnish of not much brilliancy4 ,sound-holes slightly pointed4 ,,lantner1 ,,ferdinand ,,martin4--,prague4 ,died #aijf4 ,he made a number of instruments1 but they seem to be scarce in this country4 ,,lanza1 ,,antonio ,,maria4--,brescia2 to about #agae4 ,genuine work scarce4 ,maggini style4 ,,lapaix1 ,j4 ,a4--,lille2 to about #aheh4 ,was an inventor or innovator whose experiments did not lead to much1 but made some useful fiddles of orthodox pattern4 ,,la ,,prevotte1 ,,etienne4--,marseilles1 ,paris4 ,died #ahef4 ,made some handsome violins1 but was chiefly a guitar maker4 ,,larcher1 ,,pierre4--,paris1 ,tours2 eighteenth century4 ,pupil of ,guersan4 ,,laske1 ,,joseph ,,anton4--,prague4 ,died #ahje4 ,said to have been a fine workman4 ,little known in this country4 ,some of the labels have an ornamental border4 ,,lavazza1 ,,antonio ,,maria4--,milan2 early eighteenth century4 ,scarce4 ,a relative named ,,santino ,,lavazza worked about the same time4 ,,le ,,blanc4--,paris2 about #ahjj4 ,brown instruments1 branded with the name4 ,,le ,,clerc1 ,j4 ,n4--,paris2 eighteenth century4 ,,leeb4--,pressburg1 ,vienna4 ,a family of makers in the eighteenth and early nineteenth centuries4 ,the best known is ,,andreas ,,carl1 a good workman4 ,chiefly ,stradivari pattern4 ,,legnani1 ,,luigi4--,naples2 circa #agfj4 ,pupil of ,zosimo ,bergonzi4 ,,leidolff4--,vienna2 seventeenth and eighteenth centuries4 ,there were several members of the family4 ,their work is of the ,stainer school4 ,,leissm,,ller1 ,,christopher and ,,martin4--,krnn1 near ,mittenwald2 eighteenth century4 ,two makers who have made useful violins of good tone4 ,,le ,,jeune4--,paris2 eighteenth and nineteenth centuries4 ,a numerous family of makers of no particular eminence4 ,,lemb,,ck1 ,,gabriel4--,budapest4 ,died #ahib4 ,a good maker and excellent repairer4 ,,lenoble1 ,,auguste4--,paris4 ,died #ahie4 ,a fine bow-maker4 ,worked first with ,franois ,peccatte4 ,,lentz1 ,,johann ,,nicholaus4--,london2 early nineteenth century4 ,a ,tyrolese4 ,instruments date from ,chelsea4 ,the work is passable1 but specimens are not often seen4 ,he was first employed as a butler1 and became friendly with ,j4 ,f4 ,lott4 ,,le ,,pileur1 ,,pierre4--,paris2 #agej4 ,l,t1 ,,simon4--,paris2 nineteenth century4 ,married the daughter of ,f4 ,pique4 ,was chiefly an organ builder1 but made passable violins4 ,j4 ,b4 ,vuillaume was in partnership with him until #ahbh4 ,,lewis1 ,,edward4--,london2 seventeenth century4 ,carefully finished work with yellow or yellow-red varnish4 ,scarce4 ,,liebich4--,breslau2 nineteenth century4 ,several of the name date from ,breslau4 ,some of their copies are very well made4 ,,lipp4--,a name frequently seen in eighteenth century fiddles1 mostly dating from ,mittenwald4 ,,lippold4--,eighteenth and nineteenth centuries4 ,a family of makers in ,markneukirchen4 ,,longman ,,broderip4--,london4 ,well-known dealers in the eighteenth century4 ,banks1 ,jay1 and several other good workmen made instruments for the firm4 ,,lorenz4--,eighteenth century4 ,there were two or three ,german makers of the name1 chiefly in ,markneukirchen4 ,no particular merit4 ,name branded on backs4 ,,lott4--,london4 ,a celebrated family of ,german origin1 dating from late eighteenth century4 ,the senior and perhaps most important member was ,,john ,,frederick ,,lott1 who died in ,london in #ahec4 ,he was first associated with ,fendt in working for ,thomas ,dodd 7q4v471 and his double basses will bear comparison for style and workmanship with anything of the kind made in this country or abroad4 ,he also made fine violoncellos1 and1 more rarely1 violins1 but was a fine workman in all departments4 ,his son ,,george ,,frederick died in #ahfh1 and worked chiefly for ,davis1 the well-known dealer in ,coventry ,street1 for whom he made many clever copies of ,italian instruments4 ,he was also celebrated as a judge of old violins4 ,,john ,,frederick ,,lott ,,ii41 who died in #ahga1 was the second son of ,j4 ,f4 ,lott1 senior1 and is perhaps the best known of the family amongst violinists4 ,his copies of del ,ges's fiddles are frequently remarkably clever imitations1 and are still frequently mistaken for originals1 though they are usually a trifle larger than the latter4 ,he was almost equally successful in imitating ,carlo ,bergonzi1 but examples of that pattern are rather scarce4 ,but it may be said that he could1 when he chose1 imitate any of the great ,cremonese masters with extraordinary fidelity4 ,he was occasionally employed by ,j4 ,b4 ,vuillaume1 to whom he is said to have imparted information 7little needed1 one would have supposed7 on the methods employed in making facsimiles of old ,italian work4 ,,louis1 ,,jean4--,geneva1 ,basle2 about #ahjj-bj4 ,,lowendall1 ,,louis4--,dresden1 ,berlin2 nineteenth century4 ,a well-known manufacturer of stringed instruments and accessories4 ,,lupot4--,eighteenth and early nineteenth centuries4 ,a celebrated ,french family of makers originating in ,mirecourt4 ,,jean1 the founder1 died there in #agdi1 and was in no way distinguished4 ,his son ,,laurent worked in various places and died in ,orleans between #agfj-gj4 ,,francois ,,lupot ,i4 was son of ,laurent1 and worked chiefly in ,orleans1 but went to ,paris in #agid and died there in #ahjd4 ,he was a good workman1 vastly superior to his predecessors4 ,his name is usually stamped on the back of his instruments in addition to the label4 ,brown or yellow-brown varnish of moderate quality4 ,arching sometimes inclined to be full4 ,sound-holes rather upright and the opening not very wide4 ,scroll mediocre4 ,he is said to have worked with ,guarneri del ,ges1 but his violins bear no likeness whatever to those of that master1 and it is difficult to understand how such a story could have gained currency4 ,his son ,,nicholas ,,lupot1 born ,stuttgart1 #ageh1 died ,paris1 #ahbd1 was a maker of the first rank1 and is usually reckoned the most important of all the makers of the ,french school4 ,he worked first with his father1 and his earlier examples date from ,orleans4 ,in #agib he made for ,pique of ,paris a number of fiddles in the white1 which were varnished by that maker1 and bore his label1 but are easily distinguished from the works of the latter4 ,the migration to ,paris took place in #agid1 and his finest efforts are dated from there1 the best period beginning about #ahjj1 or a year or two later4 ,his copies of makers other than ,stradivari are comparatively rare1 but he was unquestionably one of the best imitators of the great ,cremonese who ever lived4 ,the work throughout is scrupulously well finished2 outline exactly reproduced1 and scrolls and sound-holes cut with much vigour and accuracy4 ,notwithstanding this1 the general appearance of his instruments is a trifle massive and heavy1 and there is no doubt that in this respect certain other copyists1 such as ,franois ,fent and ,vincent ,panormo1 have excelled him4 ,his varnish is of good quality1 but varies somewhat in appearance1 texture1 and colour4 ,dark red was the favourite shade1 but lighter shades from yellow onwards are met with1 and in some examples the reds are rather glaring4 ,the tone of a fine example is excellent1 but1 like that of most ,french instruments1 seldom or never possesses the true ,italian quality4 ,some of the violoncellos are superb4 ,he was the founder of the more modern and typical ,french school of makers and had several notable pupils4 ,his younger brother1 ,,fran,,ois ,,lupot ,,ii41 died in ,paris in #ahcg4 ,such violins as he made are quite indifferent1 and his attention was almost entirely confined to bow-making4 ,his best bows are excellent in every way1 but he was an unequal workman1 and a good many are a trifle short in the stick4 ,,lutz4--,eighteenth and nineteenth century4 ,a large family of makers in ,schnbach4 ,some of them established themselves in other places 7,vienna and ,paris71 and were at work quite recently4 ,,macgeorge1 ,,george4--,edinburgh4 ,worked with ,matthew ,hardie1 and later alone until about #ahbj4 ,,macintosh1 ,,john4--,dublin4 ,died about #ahdj4 ,born in ,scotland4 ,succeeded to ,perry and ,wilkinson's business4 ,a tolerably good workman1 but resorted to practices for artificially maturing the wood of his instruments4 ,,maggini1 ,,giovanni ,,paolo4--,brescia4 ,born in ,botticino ,sera1 near ,brescia1 in ,august1 #aehj4 ,died in or before #afcb4 ,it is supposed that he fell a victim to the plague in the latter year4 ,interesting and important information about him was discovered by ,professor ,berenzi1 who lectured on the subject in ,brescia in #ahij and also wrote a pamphlet4 ,the facts thus disclosed were included in a monograph on ,maggini compiled by ,lady ,huggins1 and published in #ahib1 most of the material being derived from notes supplied by the brothers ,hill4 ,the maker was apprenticed to ,gaspar da ,sal1 and his earlier work is primitive looking and somewhat rough4 ,according to the ,huggins monograph both backs and bellies were at first cut on the slab4 ,the violins of ,gaspar da ,sal1 or such of them as have survived1 seem to be usually of small pattern2 those of ,maggini1 on the other hand1 are usually of large size and may measure from #ad-a_/d to a fraction over #ad-a_/b inches in length of body2 but according to observations made by the writer1 there is reason to believe that he now and then made examples of somewhat reduced proportions4 ,be that as it may1 the typical ,maggini fiddle is considerably larger than an ordinary full-sized instrument4 ,his practice was to double purfle his work1 but several single purfled specimens are known4 ,the sound-holes at his best period are finely cut and set somewhat slantingly in the belly1 the edges being bevelled on the under side4 ,the lower circles are somewhat smaller than the upper ones1 but it is by no means certain that this feature was either originated by or entirely peculiar to ,maggini1 as has been asserted4 ,the cutting of the scroll is peculiar1 the turns being from a quarter to half a turn shorter than the ordinary number4 ,in large numbers of continental and other forgeries1 and in the common copies of ,maggini violins1 the process has been reversed and an extra turn added to the volute4 ,the varnish is of fine quality1 brown in early work1 and golden with a tinge of red in the latest specimens4 ,the outline of the body is bold1 with short corners1 and1 in a typical example1 the waist widens rapidly to the lower corner4 ,the arching of the violins is very gradual1 rising to about half an inch in the centre of the plates4 ,there are1 however1 specimens1 supposed to date from ,maggini's middle period1 in which the build is somewhat higher1 and there is a 8pronounced raised border0 running round the edges4 ,the labels are undated1 and placed near the centre of the instrument1 instead of directly under the sound-hole4 ,the tone of his best violins is superb1 but a little deficient in brilliancy in the upper register4 ,genuine ,maggini work is scarce1 but imitations of it abound4 ,one of the cleverest imitators was ,bernhard ,fendt1 several of whose double-basses have passed as ,magginis4 ,violas of unquestioned authenticity do not exceed about a dozen in number4 ,they are more arched than the fiddles and the sound-holes set somewhat high4 ,nearly all the existing specimens have been reduced in size4 ,only two or three genuine violoncellos appear to be known4 ,of double-basses and instruments of the violone class it is difficult to speak with certainty4 ,a small chamber bass1 erroneously assigned to da ,sal1 was in the possession of ,mr4 ,t4 ,w4 ,bourne a few years ago1 and a fine example of large size is1 or was recently1 in ,stockholm4 ,much of the work of this class formerly assigned in this country to ,maggini is now recognised as ,english1 ,fendt and one or two others being the authors of it4 ,of ,maggini's two sons1 one died in infancy1 and the other1 ,pietro1 was not a violin maker4 ,the older books mention a ,pietro ,santo ,maggini1 but his existence as a maker is nowadays discredited4 ,,maire1 ,,nicholas4--,paris4 ,died #ahgh4 ,a good bow-maker4 ,,maldoner1 ,,johann ,,stephan4--,fssen2 eighteenth century4 ,mediocre work1 often worm-eaten4 ,used a label with an ornamental border4 ,,maline4--,paris2 worked to about #ahej or later4 ,a clever bow-maker4 ,worked at one time for ,vuillaume4 ,a violin-maker of the same name1 who may have been his son1 also worked in ,paris4 ,,mandelli1 ,,camillo4--,late nineteenth century4 ,apparently dates from ,cremona1 with which city he was intimately acquainted4 ,work not known to writer4 ,,mann1 ,,john ,,alexander4--,glasgow4 ,died #ahhi4 ,a good workman4 ,usually copied ,stradivari4 ,dark yellow varnish4 ,he was one of the best ,scottish makers of the last century1 and was intimate with ,j4 ,b4 ,vuillaume4 ,some of his tickets are in ,french wording4 ,,mansuy1 or ,,mansue4--,paris2 circa #ahdj4 ,instruments seemingly scarce4 ,,mantegazza--,milan2 eighteenth and early nineteenth centuries4 ,there were three or four members of the family4 ,,pietro ,,giovanni seems to have worked in partnership with two brothers4 ,they were well-known dealers and repairers4 ,good work1 varnish often very dark in colour4 ,their violas are highly spoken of4 ,the form of their instruments resembles that of ,amati4 ,,marchetti1 ,,enrico4--,turin2 late nineteenth century4 ,obtained a medal for his work at ,antwerp in #ahhe4 ,,marchi1 ,,gian ,,antonio4--,bologna2 seventeenth and eighteenth centuries4 ,golden yellow or red-brown varnish of good quality4 ,wood handsome4 ,scrolls very well cut4 ,appears to have made some fine violoncellos4 ,,marconcini1 ,,aloysius4--,bologna1 ,ferrara2 circa #agfj-ij4 ,said to have been a pupil of ,omobono ,stradivari4 ,a son named ,,giuseppe died in #ahda4 ,he worked in ,cremona as a pupil of ,storioni4 ,,marengo-,,rinaldi1 ,,romano4--,turin4 ,born #ahff4 ,succeeded the well-known dealer1 ,gioffredo ,rinaldi4 ,work is after the style of ,pressenda1 whose recipe for varnish he is said to possess4 ,he has obtained medals at ,turin and ,paris4 ,,mariani1 ,,antonio4--,pesaro2 circa #afce-ie4 ,this maker has shared the fate of ,cappa1 his working period having been antedated by about a century in the older books on the violin4 ,he was at work until very near the end of the seventeenth century4 ,all sorts of double purfled instruments1 some of them in no way like his1 have been attributed to him4 ,he is said to have been a pupil of ,maggini1 which is certainly very doubtful4 ,the resemblance to the work of that maker is very trifling4 ,the fiddles are generally rather large1 and in most cases double purfled2 but in other respects they differ materially from those of ,maggini4 ,the pattern is primitive and inelegant2 the corners long2 the sound-holes usually set very upright2 in some the wings are absent1 and the sound-hole is of the type known as 8,brescian40 ,the waist is long and stiff looking1 and quite unlike that of ,maggini4 ,the scroll a rough piece of carving4 ,varnish of good quality1 and usually brown or yellow-brown4 ,wood generally of very plain appearance4 ,a fine violin with an excellent tone1 having a single line of purfling1 is in the possession of the well-known artist1 ,philip ,cathie4 ,another ,mariani1 named ,,fabio1 is said by ,valdrighi to have worked in ,pesaro in the latter part of the seventeenth century1 and was probably a son4 ,,marino1 ,,bernardino4--,rome2 eighteenth century and early nineteenth4 ,roughish work of ,tecchler style4 ,varnish red-brown4 ,,marquis ,,de ,l',,air4 ,see ,,claudot4 ,,marshall1 ,,john4--,london2 eighteenth century4 ,wamsley school of work4 ,stainer pattern4 ,labels usually in ,latin4 ,in some of his tickets there is a mild attempt at humour1 8,good beef a penny a pound1 but trades all very bad40 ,,martin4--,eighteenth and nineteenth centuries4 ,a pretty numerous family working chiefly in ,markneukirchen1 several of whom bore the ,christian names 8,john ,adam40 ,,martin4--,paris2 nineteenth century4 ,there were several of the name4 ,they were principally dealers and repairers4 ,,mast4--,eighteenth and nineteenth centuries4 ,a ,mirecourt family4 ,,jean ,,laurent worked in ,paris in the latter part of the eighteenth century4 ,instruments branded4 ,,joseph ,,laurent1 a neat workman1 settled in ,toulouse4 ,rather high model4 ,pretty wood4 ,yellow or red varnish4 ,he was a skilful repairer4 ,,maucotel4--,mirecourt1 ,paris1 ,london2 nineteenth century4 ,a well-known family of good workmen4 ,,charles1 born ,mirecourt1 #ahjg1 worked in ,paris under ,gand4 ,came to ,london in #ahdd1 and after working for ,davis established himself in ,rupert ,street4 ,retired to ,france in #ahfj4 ,chiefly copied ,stradivari4 ,red varnish4 ,,charles ,,adolphe1 his brother1 worked in ,paris for ,vuillaume until #ahdd1 and then set up for himself4 ,made a considerable number of copies of excellent workmanship and tone4 ,obtained various medals1 and died in #aheh4 ,,ernst ,,maucotel1 born in ,mirecourt in #ahfg2 assisted ,hippolyte ,chrtien-,silvestre1 with whom he became partner in #aijj4 ,,maurizi1 ,,francesco4--,appignano2 eighteenth century4 ,used sometimes a large oval ticket with ornamental border4 ,varnish brown4 ,,maussiell1 ,,leonhard4--,nuremberg4 ,born #afhe1 died after #agfj4 ,a careful maker4 ,usually copied ,stainer4 ,some of the fiddles have lion-heads4 ,varnish yellow1 or yellow-brown4 ,,mayr4--,eighteenth and nineteenth centuries4 ,three or four of the name worked in different parts of ,germany 7,salzburg1 ,munich1 ,schnbach74 ,the best known is ,,andreas ,,ferdinand1 a careful workman1 who copied ,stainer1 and worked in ,salzburg until about #agej4 ,,mayson1 ,,walter ,h4--,manchester4 ,born #ahce1 died #ai--4 ,has made a great number of violins and other instruments of excellent finish1 some of which are elaborately carved4 ,he wrote a book on violin making1 which was published in the 8,strad ,library40 ,m,,dard4--,a numerous family of makers established in ,nancy and ,paris in the seventeenth and early eighteenth centuries4 ,there were upwards of a dozen of them4 ,the best known is ,franois1 son of ,claude ,mdard4 ,born at ,nancy1 he worked chiefly in ,paris1 where he flourished until about #agae1 or later4 ,the work is very pretty1 and the wood frequently handsome4 ,light red varnish of very clear texture4 ,arching rather flat4 ,,meer1 ,,karel ,,van ,,der4--,amsterdam2 contemporary4 ,a clever workman4 ,maker to the ,conservatoire in ,amsterdam4 ,,meiberi1 ,,francesco4--,leghorn2 eighteenth century4 ,one of the few makers dating from ,leghorn4 ,work little known4 ,,meinel4--,upwards of a score of makers of the name date from ,klingenthal and ,markneukirchen1 in the eighteenth and nineteenth centuries4 ,the work of some of them is very passable4 ,instruments frequently branded with maker's initials4 ,,meisel4--,another very large tribe of ,german makers1 dating1 chiefly from ,klingenthal1 down to very recent times4 ,,meisner1 ,,johann ,,friedrich4--,lbeck4 ,died #aggj4 ,a professional musician who made violins1 specimens of which are occasionally seen in this country4 ,dark brown varnish4 ,,melegari1 ,,enrico ,,clodovio4--,turin2 nineteenth century4 ,,meloni1 ,,antonio4--,milan2 late seventeenth century4 ,pretty work4 ,yellow varnish4 ,,menn,,gand1 ,,charles4--,died #ahhe4 ,worked in various places1 including ,amsterdam1 but chiefly in ,paris4 ,a very clever workman and repairer4 ,has left numerous instruments1 a number of which are violoncellos4 ,usually worked on ,stradivari lines4 ,,menneson1 ,,jean ,,emile 7pseudonym 8,guarini074--,rheims4 ,born #ahdb4 ,a clever workman1 who has obtained several medals4 ,has produced a great number of instruments with the assistance of workmen1 and had formerly a factory at ,mirecourt4 ,many of his violins are copies of the 8,messie0 ,stradivari4 ,his sons succeeded to his business4 ,,mercier1 ,a4--,paris2 nineteenth century4 ,mirecourt class of work4 ,name stamped inside instruments4 ,varnish yellowish red4 ,m,,riotte1 ,,charles4--,lyons2 middle eighteenth century4 ,stradivari pattern4 ,,messori1 ,,pietro4--,modena2 contemporary4 ,manufactures various kinds of instruments1 and has received several medals4 ,violins are said to be well made and amber varnish1 but work is not known to the writer4 ,,methfessel1 ,,gustav4--,berne4 ,born #ahci4 ,worked first in ,vienna4 ,,meyer1 ,,magnus ,,andreas4--,hamburg2 eighteenth century4 ,work said to resemble that of ,tielke4 ,yellow varnish4 ,sometimes inlaid4 ,written labels4 ,,mezzadri1 ,,alessandro4--,ferrara2 circa #agbj and later4 ,amati style4 ,fairly good work4 ,another ,mezzadri named ,,francesco worked in ,milan to about #agej4 ,writer has seen two or three violins of fairly neat workmanship and ,amati outline4 ,reddish varnish4 ,,michelis4--,see ,,zanetto4 ,,migge1 ,,otto ,,koblenz4--,london4 ,born #aheg4 ,has written a book claiming to have discovered the secrets of the ,italian masters4 ,violins by him seen by the writer certainly did not justify the claim4 ,,miremont1 ,,claude ,,augustin4--,new ,york1 ,paris4 ,born #ahbg1 ,mirecourt1 died #ahhg4 ,has left many useful instruments1 chiefly of ,stradivari pattern1 which are rising in value4 ,sides sometimes appear rather deep4 ,he made some excellent violoncellos4 ,m,,ckel4--,nineteenth century4 ,a ,berlin family established in ,berlin1 ,dresden1 and elsewhere4 ,one of them1 ,,otto1 used a label with his portrait upon it4 ,,moinel1 ,,charles4--,paris4 ,born #ahff4 ,succeeded ,cherpitel4 ,,moitessier1 ,,louis4--,mirecourt4 ,worked to about #ahbe and made many instruments4 ,examples seen by writer were of mediocre workmanship4 ,m,,nnig4--,markneukirchen4 ,a family of nineteenth century makers4 ,about half a dozen of them are mentioned4 ,,montade1 ,,gregorio4--,cremona2 to about #agcj4 ,the work is after the pattern of ,stradivari1 but is little known amongst connoisseurs4 ,,montagnana1 ,,domenico4--,venice2 to about #agde or later4 ,a maker of very high rank1 about whom very little is certainly known4 ,he was probably born in ,venice1 and the stories that he worked under either ,stradivari or ,amati may be dismissed as being unsupported by any evidence worthy of the name4 ,the earliest date seen by the writer in an authentic ticket is #agae1 and appears in a fine violin of rather small size1 photographs of which appeared in the ,strad magazine in ,june1 #aiab4 ,whoever was his instructor1 he seems to have asserted his individuality from the outset4 ,in a few of the violins there is more than a suspicion of a leaning towards the ,german form of outline2 and in the treatment of the sound-holes the same thing may be observed4 ,this is not surprising when it is remembered that the majority of the old ,venetian makers exhibit traces1 more or less marked1 of the influence of ,stainer4 ,in his finest examples no trace of anything of the kind is discernible4 ,he was an admirable workman with great knowledge of wood1 and a fine eye for form4 ,much of his material is very handsome1 particularly in the violoncellos1 in the making of which instruments he was second to no maker1 except ,stradivari4 ,a few double-basses are known4 ,violas are very rarely seen1 but the few recognised as genuine are admirable instruments and possess a very fine tone4 ,his varnish has long excited the admiration of connoisseurs4 ,it is very lustrous1 and of varying shades of red1 the texture being much clearer than that usually seen on work of the ,venetian school4 ,the violins are of two sizes1 the larger and more valuable being a small fraction under #ad inches long1 and the general dimensions corresponding pretty nearly with the larger examples of ,guarneri del ,ges4 ,in the finer examples the sound-holes are not unlike some of those of ,carlo ,bergonzi4 ,the arching is of medium height as a rule1 but now and then a little fuller4 ,his fiddles are certainly very rare1 but their number is not so phenomenally limited as has been asserted by some writers4 ,tricks have been freely played with his labels in the past4 ,these in some examples date from the sign 8,cremona02 but there are genuine tickets which contain no reference to it4 ,the heads are always splendid pieces of carving and of bold contour4 ,one of the handsomest of his violoncellos has long been in the possession of ,mr4 ,george ,gudgeon4 ,a woodcut of it appears in ,hart's book on the violin4 ,,morlet1 ,,nicholas4--,france1 probably ,mirecourt2 nineteenth century4 ,large violins after the stereotyped pattern of 8didier0 ,nicolas4 ,,morrison1 ,,john4--,london2 nineteenth century1 first half4 ,worked in ,soho1 chiefly for the trade4 ,instruments little known4 ,,mougenot4--,rouen2 circa #agfj4 ,,mougenot1 ,,georges4--,brussels4 ,born #ahdc4 ,a well-known dealer and maker4 ,he worked with ,n4 ,f4 ,vuillaume1 whose business in ,brussels he acquired4 ,his copies of ,stradivari and ,guarneri are very well made4 ,work usually signed in addition to printed label4 ,,mougenot-,,gauch4--,contemporary4 ,a manufacturer of violins on a considerable scale4 ,his best grade fiddles are useful instruments and mostly after the pattern of the 8,messie0 ,stradivari4 ,,mucchi1 ,,antonio4--,modena4 ,died #ahhc4 ,his violins and violoncellos are fair examples of modern ,italian work4 ,varnish generally yellow or yellow-brown4 ,m,,ller4--,several ,german makers of this name are known4 ,some worked in ,markneukirchen in the last century4 ,others in ,schnbach4 ,,nadotti1 ,,joseph4--,piacenza2 eighteenth century1 latter half4 ,,nancy1 ,,jean ,,th,,odore4--,paris2 to about #ahjj4 ,chiefly known as a clever repairer4 ,,nemess,,nyi1 ,,samuel ,,felix4--,budapest2 circa #ahej-ge4 ,work little known in this country1 but he was an exceptionally clever copyist of ,guarneri del ,ges and used good varnish4 ,,neum,,rker4--,nineteenth century4 ,several makers of the name worked in ,schneck4 ,,neuner4--,mittenwald2 eighteenth and nineteenth centuries4 ,a very numerous family of makers1 several of whom bore the ,christian name ,,matthias4 ,the second of that name died about #ahcj1 and in #ahab founded the well-known firm of ,,neuner ,,and ,,hornstainer1 one of the largest manufacturing houses in ,germany4 ,,ludwig ,,neuner1 born #ahdj1 and a member of the firm1 worked for a time with ,j4 ,b4 ,vuillaume in ,paris4 ,a clever workman1 he1 in #ahgi1 gained a medal in ,berlin4 ,,neveu1 ,,charles4--,paris4 ,born #ahfc4 ,a skilful copyist4 ,chiefly ,stradivari pattern4 ,,newton1 ,,isaac4--,london4 ,died #ahbe4 ,worked for ,betts4 ,,nicolas4--,paris4 ,see ,,fourrier4 ,,nicolas4--,mirecourt2 eighteenth and nineteenth centuries4 ,a well-known family1 the principal member of which is known the world over as 8didier0 ,nicolas4 ,he was born in #ageg and died in #ahcc4 ,his early personal work is good and well finished4 ,the violins are built somewhat upon ,stradivari lines1 but cannot be described as copies of that maker4 ,they are generally of rather large pattern and but slightly arched4 ,tone powerful1 and the varnishes1 a reddish-yellow or yellow-brown1 of good quality4 ,some of the violoncellos are exceptionally good4 ,there is no doubt that these earlier examples possess considerable merit1 but in later years ,nicolas employed a very large staff of workmen1 and degenerated into a manufacturer of coarse-sounding1 common-place instruments1 which1 though useful enough in the orchestra1 are quite unsuitable for other purposes4 ,the type of instrument ultimately turned out has been extensively copied in ,france and elsewhere4 ,the feature which at once strikes the eye is the sound-hole1 the wings of which are cut off almost horizontally4 ,his fiddles are branded with a triangular stamp 8a la ,ville de ,cremonne40 ,several other ,mirecourt makers adopted the 8,ville de ,cremonne0 as a sign4 ,a son1 ,,joseph1 died in #ahfd1 and after the latter's death the business was sold to ,derazey 7q4v474 ,,niggell1 ,,sympert4--,fssen2 circa #agcj-ge4 ,a maker of some repute1 but not very well-known in this country4 ,a few fiddles seen by the writer were well-finished instruments2 pattern a little like that of ,albani1 and with dark brown varnish4 ,he branded his work inside with his initials4 ,,nisbet1 ,,william4--,prestonkirk4 ,born #ahbh4 ,pencilled his name inside the backs of his violins4 ,obtained a medal in ,edinburgh in #ahhf4 ,,norman1 ,,barak4--,london2 circa #afhj-agdj4 ,said to have been the first maker of violoncellos in this country4 ,his work is generally double purfled1 and he imitated some of the ,maggini features1 including the peculiarity observed in that maker's sound-holes1 the lower circles of which are smaller than the upper ones4 ,the violoncellos are large1 and well made1 the varnish generally a dark red-brown1 but lighter shades occur4 ,he and ,nathaniel ,cross1 with whom he was for a time partner1 seem to have made a number of ornamentally purfled viols-da-gamba4 ,the writer has seen some of these1 converted and strung as violoncellos4 ,violins by ,barak ,norman exist1 although this has been denied by some writers4 ,his monogram in purfling appears under the finger-boards1 and sometimes on the backs4 ,some large tenors of high build are in existence4 ,,norris1 ,,john4--,london4 ,died #ahah4 ,founded the well-known business of ,norris and ,barnes1 for many years carried on in ,coventry ,street4 ,he learned fiddle-making with ,thomas ,smith1 but very little seems to be known of him as a workman4 ,,novello4--,venice2 eighteenth century4 ,three makers of the name are mentioned4 ,the only examples of violins seen by the writer were by ,,pietro ,,valentino1 who was at work in the closing years of the century1 and describes himself in his tickets as a pupil of ,bellosio4 ,n,,rnberger4--,markneukirchen2 eighteenth and nineteenth centuries4 ,a large family of workmen1 two or three of whom have turned their attention to bow-making4 ,some of their work in this department is excellent1 and will bear comparison for style and finish with that of the best living ,french bow-makers4 ,,obb1 ,,marco4--,naples2 earlier part of eighteenth century4 ,little known4 ,his full name does not seem to be known1 but the final ,o in his label has the abbreviation mark 7as above7 over it4 ,flattish fiddles4 ,yellow1 or yellow-brown varnish4 ,,obici1 ,,bartolomeo4--,verona2 seventeenth and eighteenth centuries4 ,large violins4 ,yellow varnish4 ,brescian style of work4 ,,oddone1 ,,carlo ,,giuseppe4--,turin4 ,born #ahff4 ,a clever maker1 who was for a time in ,england1 but has been established in ,turin since #aija4 ,,odoardi1 ,,giuseppe4--,ascoli4 ,born #agdf2 date of death not ascertained4 ,one ,italian writer says he died at the age of #bh1 but this seems to be incorrect4 ,he seems to have experimented with different kinds of wood4 ,writer has not met with examples of his work4 ,,hberg1 ,,johannes4--,stockholm2 circa #agfj-ij4 ,,olry1 ,j4--,amiens2 to about #ahej4 ,stradivari pattern2 good work4 ,dark-red varnish4 ,he worked with ,georges ,chanot ,i4 ,,omond1 ,,james4--,stromness4 ,born #ahcc4 ,a ,scottish maker of more than average ability4 ,has made a large number of instruments4 ,,ortega1 ,,asensio4--,madrid4 ,died about #ahce4 ,a maker and repairer1 who has earned unenviable notoriety by tinkering with the famous violoncello made by ,stradivari for the ,spanish ,court4 ,,ostler1 ,,andreas4--,breslau2 eighteenth century4 ,pretty work and handsome wood4 ,yellow or yellow-brown varnish4 ,stainer pattern4 ,,otto4--,makers of this name worked all over ,germany and elsewhere4 ,about twenty of them are mentioned by von ,ltgendorff1 who devotes several pages to them4 ,the only member of the family of much interest to ,english readers is ,,jakob ,,august1 who died in #ahbi1 and was the author of the wellknown book on the violin4 ,,ouvrard1 ,,jean4--,paris2 eighteenth century4 ,pupil of ,pierray1 whom he imitated to some extent4 ,work seldom seen4 ,,pacherele1 ,,michel4--,paris2 late eighteenth century4 ,scarce4 ,stamped his name on the backs of his instruments4 ,yellow varnish4 ,,pacherele1 ,,pierre4--,paris1 ,nice1 ,genoa1 ,turin4 ,died in ,nice #ahga4 ,a fine workman1 but a 8roving blade40 ,he did much work as a repairer4 ,worked with ,pressenda for several years1 and made instruments which closely resemble and are equal to those of that maker4 ,his ordinary instruments are of ,stradivari pattern4 ,,pacquet4--,marseilles2 late eighteenth century4 ,common-place instruments4 ,frequently worm-eaten4 ,,padewet4--,nineteenth century4 ,four or more makers of the name are known4 ,the family seems to have sprung from ,vienna4 ,three of them worked in ,karlsruhe4 ,,johann ,i4 died #ahgb4 ,a skilful maker who obtained several medals4 ,,johann ,,ii41 who died in #aijb1 copied ,stradivari1 and seems to have made a large number of instruments4 ,he received various medals1 and was a well-known repairer4 ,,pageot4--,mirecourt4 ,died #ahdi4 ,name also spelt ,pajeot4 ,bow-maker4 ,personally a skilful workman1 but employed workmen who turned out bows wholesale1 the prices beginning at sixpence each4 ,,pajot4--,jenzat2 nineteenth century4 ,a family of makers1 probably originating in ,mirecourt4 ,chiefly makers of hurdy-gurdies4 ,,pallota1 ,,pietro4--,perugia4 ,died about #ahbj4 ,little known4 ,,pamphilon1 ,,edward4--,london2 about #afha4 ,he used a beautiful varnish of yellow colour1 sometimes with a tinge of red4 ,the fiddles are squarish1 and stiff looking in outline4 ,scrolls small4 ,the bottom of the shell is finished in a peculiar way4 ,some of the sound-holes are more curious than beautiful1 the lower turns having a very wide sweep4 ,double-purfling was generally1 but not always1 employed4 ,writer has seen a few specimens containing ,maggini labels4 ,his own tickets are very scarce1 and contain the day of the month when instrument was finished1 in addition to the year4 ,,pandolfi1 ,,antonio4--,venice2 eighteenth century4 ,the work and tone are highly spoken of1 but the writer has not seen examples4 ,,panormo4--,london1 ,paris2 eighteenth and nineteenth centuries4 ,the last survivor of this celebrated family died in ,brighton in #ahia4 ,the most important member of it was ,,vincenzo ,,trusiano ,,panormo1 or as appears in many of his labels1 8,vincent10 from whose son1 ,francis1 were obtained the dates of his birth and death4 ,he was born at ,monreale1 near ,palermo1 according to the story1 in #agcd1 and died in ,london in #ahac4 ,owing to the wide range of dates seen in labels 7genuine or otherwise7 it has been surmised that there were two ,vincents1 and one enthusiast claims to have discovered three4 ,various traditions are current as to his early life and training4 ,according to one of them he worked with ,carlo ,bergonzi in ,cremona4 ,nothing1 however1 seems to be definitely known except that in certain years he worked in ,paris1 that most of his life was spent in ,london1 and that he was also for a time in ,ireland4 ,a large number of his works survive1 the best of them being magnificent copies of the different types of ,stradivari4 ,as copies these specimens have never been surpassed1 and but rarely equalled by any other maker2 their tone is of ,italian character1 and far superior to that of the ,french copies1 and they are covered with beautiful varnish1 mostly of varying shades of yellow1 but more rarely red4 ,panormo was a consummate workman1 and given the material and the opportunity he was capable of building1 as few others could1 any instrument of the fiddle tribe1 from a superb double-bass to a violin4 ,his violoncellos are very fine4 ,unfortunately he did much work for the trade1 which does him little credit1 although far better than one is accustomed to see in work of its class4 ,his best fiddles are handsomer and less heavy looking than those of ,lupot4 ,his son ,,joseph is best known as a violoncello maker4 ,his violins look rather heavy in style as a rule1 but there are exceptions4 ,,george ,,louis1 usually known as ,louis1 died in ,london in or before #ahde4 ,he is said to have been the second son4 ,the octagon bows bearing his stamp are frequently very fine4 ,he specialised as a guitar maker1 but turned out a good many violins4 ,these vary in merit1 but some are decidedly handsome4 ,he was a good scroll-cutter4 ,,paquotte4--,paris2 nineteenth century4 ,a ,mirecourt family4 ,the business in ,paris was founded by ,,sebastien1 who died in #ahfc4 ,there were three or four makers1 all good workmen4 ,,paris1 ,,claude4--,paris2 late eighteenth century4 ,,parker1 ,,daniel4--,london2 eighteenth century4 ,an excellent maker1 whose work has in recent years risen rapidly in value4 ,he seems to have worked from quite early in the century until after #aggj4 ,he shares with ,john ,hare the merit of having turned attention to the pattern of ,stradivari1 and it is much to be regretted that other ,british makers of the period did not do the like4 ,some of his fiddles are upon lines more or less like those of ,amati1 but his reputation chiefly rests on those which are evidently in imitation of the 8long ,pattern0 of ,stradivari4 ,they are not exact copies1 but in design and dimensions are very similar to ,stradivari fiddles of that type4 ,varnish red1 of good quality1 wood frequently handsome1 and tone large and brilliant4 ,a good example was not long ago in the possession of ,m4 ,kreisler4 ,it is said that ,parker worked much for the trade4 ,writer has seen one or two labels in manuscript4 ,,pasta4--,brescia2 late seventeenth and eighteenth centuries4 ,a ,milanese family1 two or three of whom worked in ,brescia1 and the founder1 ,,bartolomeo1 in ,milan4 ,in his labels he calls himself pupil of ,niccol ,amati4 ,,gaetano ,,pasta1 who was in ,brescia until about the middle of the eighteenth century1 calls himself a pupil 8dell ,amati10 and is supposed to have worked with ,hieronymus ,amati ,,ii4 ,instruments are said to have a fine tone1 and to be rather flat1 with outline resembling ,g4 ,b4 ,rogeri4 ,,pathan1 ,,vincenz4--,vienna4 ,died #ahid4 ,worked some time with ,zach4 ,made good copies of various ,italian makers1 particularly ,maggini4 ,,patzelt4--,nineteenth century4 ,makers of the name date from ,dresden1 ,vienna1 and ,berlin4 ,,pauli4--,tachau2 eighteenth century4 ,three or more makers of this name4 ,,paulus4--,markneukirchen2 nineteenth century4 ,a numerous family1 members of which have worked in the principal ,german cities 7,berlin1 ,dresden1 ,leipzig7 and elsewhere4 ,one of the best of them1 ,,august1 is1 or was1 a member of the ,dresden firm1 8,richard ,weichold40 ,another1 ,,albin ,,ludwig1 of ,markneukirchen1 has made a large number of copies of the 8trade class10 the better qualities are well-made useful instruments4 ,,pazzini1 ,,giovan ,,gaetano4--,florence2 #afcj-gj4 ,calls himself a pupil of ,maggini4 ,high built4 ,dark varnish4 ,work scarce4 ,,peccatte4--,mirecourt1 ,paris4 ,a celebrated nineteenth century family of bow-makers4 ,,dominique1 the best known1 was born in #ahaj1 and died in #ahgd4 ,some of his finest bows are unstamped4 ,he worked for several years for ,j4 ,b4 ,vuillaume4 ,,fran,,ois1 his younger brother1 born #ahbj1 died ,paris #ahee1 was1 when he chose1 almost1 if not quite1 as good a workman as ,dominique4 ,he also worked with ,vuillaume for three years1 having previously worked on his own account in ,mirecourt for ten years4 ,latterly he again worked for himself1 but in ,paris4 ,much confusion has existed in distinguishing the bows of the two brothers4 ,franois bows are frequently stamped 8,peccatte0 in a similar way to those of ,dominique1 and attempts have been made to distinguish their respective stamps--a very uncertain test4 ,the best means of identification is in the heads3 the bows of ,dominique have a sharper appearance towards the peak than those of 8,peccatte jeune40 ,,charles ,,peccatte1 son of ,franois1 was at work in ,paris in quite recent years1 and is a maker of very fair ability4 ,,pedrinelli1 ,,antonio4--,crespano4 ,died #ahed4 ,began life as an undertaker4 ,studied acoustics1 and became a copyist of more than average capacity4 ,orange-red varnish4 ,,pellizon1 ,g,,rz4--,eighteenth and nineteenth centuries4 ,a family who have been at work until very recent years4 ,instruments not frequently seen in ,england4 ,the best known is ,,antonio1 the founder1 who died in #ahej4 ,,pemberton1 ,,edward4--,london2 seventeenth century4 ,name appears in most books on the violin4 ,varnish said to be good4 ,work indifferent4 ,,penze1 ,,ignatio4--,schnbach2 circa #agfj4 ,appears to have been a ,german named ,penzl4 ,the name is spelt in different ways1 and occasionally is quoted as ,ponze or ,ponzel4 ,according to labels to which writer's attention has been drawn1 the violins are dated from ,cremona4 ,they have little or nothing in common with ,cremonese work4 ,the tone is described as of good quality4 ,yellowish red varnish4 ,,peregrino1 or ,,pelegrino4 ,see ,,zanetto4 ,p,,ron1 ,,nicolas4--,paris2 latter half of eighteenth century4 ,yellow-brown fiddles4 ,fairly good average work4 ,,perrin4--,mirecourt2 middle nineteenth century4 ,useful instruments4 ,dated from ,paris4 ,,perry1 ,,thos4--,dublin4 ,died #ahah4 ,the violins bearing his stamp vary enormously1 some being very fine works of art1 and others quite indifferent4 ,a considerable number were made after his death4 ,wilkinson1 his son-in-law and partner1 was a poor workman1 and continued the business for several years1 so that the stamp appears on fiddles dated well into the 8thirties0 of the last century4 ,perry's earliest examples date from about #agfj or a little later4 ,the best specimens of his violins are somewhat after the ,amati style1 and the varnish on them is clear and of fine quality4 ,what is known as his own model is far from handsome1 and the sound-holes are frequently placed too high in the belly4 ,the tone of a decently preserved specimen is generally very good4 ,his instruments have lately attracted considerable attention4 ,the colour varies from dark brown to amber1 the darker shades occurring chiefly on his earlier work4 ,he made a number of viols4 ,the violoncellos are generally good4 ,he is said to have learnt his business in ,london with ,duke4 ,the original name was 8,pierray10 and he seems to have been a relative of ,claude ,pierray1 a well-known ,paris maker 7q4v474 ,two other ,perrys worked in ,ireland4 ,one dates from ,kilkenny1 and is said to have been a cousin of ,thomas4 ,another was named ,joseph1 but the relationship 7if any7 does not seem to be ascertained4 ,,persois4--,paris2 to about #ahej4 ,the name is usually spelt 8,persoit40 ,a clever bow-maker4 ,worked for ,vuillaume and on his own account4 ,bows stamped ,p4,r4,s4 ,,petz4--,there were several makers of the name4 ,one named ,,jacob dates from ,vienna about #ahcj4 ,labels bear the two-headed eagle4 ,an earlier maker in ,vienna1 ,,marianus ,,petz1 died in #agha4 ,two others1 ,,franz and ,,jacob1 date from ,vils in the ,tyrol4 ,the former died in #aggb1 the latter in #ahbd4 ,,pezzardi4--,brescia2 #affj-ij4 ,there seems to be some confusion as to this maker's dates4 ,like ,mariani1 his working period has been antedated about #ajj years4 ,double purfled instruments4 ,,pfab1 ,,friedrich ,,august4--,hamburg4 ,died #aijd4 ,received a gold medal in ,hamburg in #ahhi4 ,another in ,vienna1 #ahgc4 ,,pfretzchner4--,markneukirchen2 eighteenth and nineteenth centuries4 ,another huge family of workmen4 ,twenty-two or more are enumerated4 ,in very recent years one or two of them have become well known as bow-makers4 ,two of them1 ,,johann ,,gottlob and ,,carl ,,friedrich1 who worked in the eighteenth century1 date their labels from ,cremona4 ,the style of the work is poor1 and gives no countenance to the claim4 ,,piattellini1 ,,gaspero4--,florence2 eighteenth century4 ,instruments said to resemble those of ,gabbrielli4 ,,pichon4--,lyons2 nineteenth century4 ,,piegendorfer1 ,,georg4--,augsburg4 ,died #aijf4 ,,pierrard1 ,,louis4--,brussels2 contemporary4 ,worked with ,mougenot4 ,violin maker to the ,ghent ,conservatoire4 ,a clever workman4 ,published a book in #aijb on 8,the ,violin3 ,its ,history and ,origin40 ,,pierray1 ,,claude4--,paris2 late seventeenth century to about #agbf4 ,whether or not this excellent maker worked in ,italy1 as has been surmised1 the varnish seen on his instruments is of excellent quality4 ,the colour a light red or deep yellow4 ,there is a look of ,amati about the pattern1 but they are not exact copies of ,amati4 ,the sound-holes have an appearance at their upper turns which is difficult to describe without the assistance of specimens4 ,the work is neat and the tone of fine quality4 ,the fiddles1 like those of ,boquay1 were made in two sizes4 ,wood varies1 but is sometimes handsomely marked4 ,he seems to have made many instruments1 but in this country they are by no means common4 ,,pi,,te1 ,,no,l4--,paris2 eighteenth and early nineteenth centuries4 ,,pilat1 ,,paul4--,budapest4 ,born #ahfj4 ,worked with ,zach4 ,has received several medals4 ,instruments branded inside with initials within a circle4 ,,pillement1 ,f4--,paris2 eighteenth and nineteenth centuries4 ,a very unequal workman4 ,instruments branded4 ,,pique1 ,,fran,,ois ,,louis4--,paris4 ,born near ,mirecourt1 #ageh4 ,died #ahbb4 ,one of the best known ,paris makers1 he early acquired a good reputation1 and has left a great many instruments of varying merit4 ,the best violins are large examples of ,stradivari pattern4 ,their general appearance is massive1 and the scrolls1 though well cut1 are inferior to those of ,lupot1 who made a number of instruments for him4 ,the quality of the varnish is unequal1 and he appears to have made two or more grades1 presumably according to the price he was to receive4 ,the wood of the backs is often in one piece1 and of handsome figure4 ,sound-holes very well cut4 ,colour of varnish commonly1 but not always1 a deep red or red-brown4 ,labels commonly written1 but he also used an engraved ticket4 ,he retired from business in #ahaf4 ,,pirot1 ,,claude4--,paris2 about #ahjj-cj4 ,an exceptionally good workman4 ,the instruments are of ,stradivari character1 but less stereotyped and more ,italian looking than the average ,french violin of the period4 ,varnish red or red-brown4 ,he used a small label with a neatly engraved border4 ,writer has seen examples branded under the tail pin4 ,some of his work has been ascribed to ,pressenda4 ,,pizzurno1 ,,david4--,genoa2 circa #agej-fe4 ,specimens scarce4 ,mediocre work4 ,,placht4--,schnbach2 eighteenth and nineteenth centuries4 ,well over a score of makers of this name are enumerated4 ,,plani1 ,,agostino ,,de4--,genoa2 second half of eighteenth century4 ,very commonplace work4 ,,platner1 ,,michael4--,rome2 #agce-ej4 ,his was probably of ,german origin4 ,his work belongs to the school of ,tecchler1 and it is not unlikely he worked for that maker4 ,he used pretty red and golden yellow varnish1 and was a good scroll cutter4 ,the arching of his violins is rather full1 and the general appearance of the instruments is of ,german character4 ,,plumerel1 ,,charles4--,angers2 nineteenth century2 first half4 ,a clever workman4 ,instruments somewhat resemble those of ,j4 ,b4 ,vuillaume in style and finish4 ,,poirson1 ,,elophe4--,lyons4 ,born #ahdj4 ,began as an amateur maker4 ,he invented a varnish which is supposed to impart an improved quality of tone4 ,uses a label with his portrait upon it4 ,the workmanship of his instruments is well finished4 ,,poison1 ,,justin4--,paris4 ,born #ahea4 ,a wellknown bow-maker4 ,,poller1 ,,anton4--,vienna2 contemporary4 ,stradivari pattern4 ,reddish yellow varnish4 ,,poller4--,mittenwald2 eighteenth century4 ,a family of makers4 ,in the labels the name is usually spelt 8,boller40 ,,pollusca1 ,,antonio4--,eighteenth century4 ,tecchler school of work4 ,,posch 7,,bosch71 ,,antony4--,vienna2 #afgg-agdb4 ,a son1 also named ,,anthony1 died in #agdi4 ,violins generally high built4 ,both makers exhibit the ,austrian double eagle on their labels4 ,,postacchini1 ,,andreas4--,fermo4 ,two makers of this name dated from ,fermo4 ,the earlier died between #ahbj-cj4 ,the instruments are somewhat of ,gagliano type and appearance1 and are rising in value4 ,the second ,andreas died about #aheg4 ,,postiglione1 ,,vincenzo4--,naples4 ,born #ahce4 ,a very neat workman4 ,has made some handsome and well-finished violins of ,guarneri del ,ges pattern4 ,,pressenda1 ,,giovanni ,,francesco4--,turin1 ,alba1 ,carmagnola4 ,born #aggg4 ,died #ahed4 ,one of the most important ,italian makers of the nineteenth century4 ,his violins date chiefly from ,turin1 but he also worked in ,alba and ,carmagnola1 and possibly for a short period in ,marseilles4 ,a well-known repairer told the writer that three instruments by ,pressenda dating from the last-named place had passed through his hands4 ,he learned his business in ,cremona with ,storioni1 and went to ,turin about #ahbj4 ,early specimens of his work are more or less after the pattern of ,stradivari1 but later he designed a pattern of his own in which he somewhat changed the character of the sound-holes and the style of the arching4 ,the wood of his instruments is nearly always handsome1 the majority of the backs in one piece1 cut on the quarter4 ,the varnish is lustrous and varies in tint1 some of the finest being of a deep mahogany red4 ,a large number of his violins and those of ,rocca and other followers were imported into this country by ,gioffredo ,rinaldi1 who wrote a brochure on ,pressenda1 and violin making in ,piedmont4 ,this maker has had a number of clever imitators besides ,rocca1 who rivals or surpasses him in popularity amongst modern players4 ,amongst them may be mentioned ,fagnola 7q4v474 ,,psenner1 ,,johann ,,george4--,eighteenth century4 ,two makers of this name1 both of whom were fair workmen1 date from ,innsbruck4 ,,pupunat1 ,,fran,,ois ,,marie4--,lausanne2 circa #ahcj-fj4 ,originally a cabinet maker he became a neat workman4 ,a violin of his make is in the ,paris ,conservatoire4 ,,rambaux1 ,,claude ,,victor4--,paris4 ,born #ahjf4 ,died #ahga4 ,worked with ,moitessier and later with ,thibout and ,gand4 ,began business on his own account in #ahch1 and was a most skilful repairer of old instruments4 ,his violins and other instruments are finely finished and generally of ,stradivari pattern1 but he does not seem to have been a very prolific maker4 ,he was the recipient of several medals4 ,,ramftler1 ,,franz4--,munich2 nineteenth century4 ,chiefly a dealer4 ,,rastelli4--,genoa2 nineteenth century4 ,,rau1 ,,august4--,markneukirchen2 contemporary4 ,a good bow-maker4 ,worked for a time with ,weichold of ,dresden4 ,,rauch4--,chiefly eighteenth century4 ,some fourteen or fifteen makers of the name worked in ,komotau 7,bohemia71 and in different ,german towns4 ,,jacob ,,rauch worked in ,mannheim1 and it is said that his instruments are high built and clumsy looking but possess a good tone4 ,,raut1 ,,jean4--,rennes2 eighteenth century4 ,,rawlins4--,london2 eighteenth century4 ,practically unknown1 but the name appears in most books on the violin4 ,,rayman1 ,,jacob4--,london2 #afbj-eg4 ,a ,tyrolese4 ,german looking fiddles4 ,the varnish is the best feature about them4 ,,reichel4--,as there were about fifty or more makers of this name1 principally in ,markneukirchen1 detailed notice of their work is out of the question4 ,,remy4--,paris and ,london2 eighteenth and nineteenth centuries4 ,there were five or more members of this family engaged in fiddle making4 ,,mathurin ,,fran,,ois1 the founder1 worked circa #agfj-ahjj4 ,guersan style of work4 ,yellow varnish4 ,,jean ,,mathurin1 his son1 died in #ahed1 and is reputed a better workman4 ,two of the latter's sons1 ,,hippolyte and ,,jules1 died in #ahgf and #ahfi4 ,a maker of the name better known in this country was the ,,remy who worked in ,london about the middle of the last century4 ,hart says that he spoilt his fiddles by artificially maturing the wood4 ,however that may be he was a clever imitator of ,italian work4 ,the writer has seen examples which were much above the average of such things2 in particular one or two copies of ,guarneri del ,ges4 ,he also copied ,maggini with success4 ,his relationship to the ,paris family is not stated4 ,,renaudin1 ,,leopold4--,paris4 ,born ,mirecourt #agdi4 ,guillotined during the ,french ,revolution #agie4 ,he used various labels2 one of large size with an engraving representing a musical performance4 ,he is best known as a double-bass maker1 but his work generally is not plentiful4 ,the violins high built and clumsy looking4 ,yellowish varnish1 some of which is much oxydised4 ,,renault1 ,,sebastien ,b4--,paris2 circa #agee-ahaa4 ,firm ,renault and ,chatelain4 ,they were musical instrument makers1 and the violins are not often seen4 ,r,,suche1 ,,charles4--,lyon1 ,bordeaux4 ,born #aheh4 ,worked with ,gand and ,bernardel4 ,a good copyist of ,italian instruments4 ,,richter1 ,,christopher ,,adam4--,markneukirchen2 eighteenth century4 ,,riechers1 ,,august4--,hanover1 ,berlin4 ,died ,berlin #ahic4 ,moved about a great deal1 but settled in ,berlin in #ahgb4 ,he was a clever workman1 and made a large number of instruments of various patterns4 ,writer has seen violins by him resembling those of 8didier0 ,nicolas4 ,published a book on violin making4 ,he was also a noted repairer and patronised by ,joachim4 ,,riedel1 ,,joseph ,,alexander4--,meseritz1 ,danzig4 ,died #ahff4 ,,rief4--,eighteenth and nineteenth centuries4 ,vils4 ,seven or eight makers of the name4 ,,rieger4--,mittenwald4 ,from seventeenth century to present time4 ,at least a dozen names are mentioned4 ,,riess1 ,,andreas4--,bamberg4 ,died #aggg4 ,high built4 ,he was also a professional musician and organ builder4 ,another ,riess named ,,joseph also worked in ,bamberg4 ,,rinaldi1 ,,gioffredo ,,benedetto4--,turin2 #ahej-hh4 ,worked with ,pressenda1 but is best known as a dealer and importer into this country of ,italian fiddles1 chiefly by ,pressenda and ,rocca1 with other makers of that school and period4 ,,rivolta1 ,,giacomo4--,milan2 circa #ahbj-ce4 ,one of the better makers in ,italy in the last century4 ,the violoncellos and violas are well made1 and in appearance and varnish somewhat resemble work of the ,neapolitan school4 ,varnish golden yellow4 ,he received a gold medal1 and on some of his tickets states that it was awarded 8for having revived the celebrated school of ,stradivari40 ,,rocca4--,turin2 nineteenth century4 ,a maker named ,joannes is mentioned as having been at work about #ahji1 but it is not unlikely that he is identical with ,joannes ,rotta1 the ticket cited being a written one4 ,,giuseppe ,,antonio ,,rocca was born1 probably in ,turin1 about #ahjj1 and died in ,genoa1 according to the story1 in #ahfg or #ahfh1 his body being recovered from a drain or cesspool4 ,his labels date from about #ahcj or a year or two earlier4 ,he was employed for some time by ,pressenda1 whose instruments he imitated so closely that they have frequently passed as that maker's work4 ,his initials were frequently stamped upon the blocks and elsewhere in his instruments1 and this has sometimes led to their identification in cases where ,pressenda labels have been found in them4 ,but ,rocca did not confine himself to imitating ,pressenda1 and made numbers of fine fiddles of other patterns4 ,his best copies of ,stradivari are very valuable1 and he was also successful with the del ,ges model4 ,the varnish on early work is sometimes rather thin1 and hard looking1 but in this detail he seems to have improved as time went on4 ,the colour varies a good deal1 from a rich dark red of mahogany hue1 to yellow of different shades4 ,double purfled instruments are sometimes seen1 and he occasionally used mahogany for his backs4 ,the ,stradivari copies are generally1 but not always1 similar in pattern to the violin known as the 8,messie40 ,his work is sought after by concert performers1 and the prices paid for good specimens have in recent years been very high4 ,he obtained several medals1 and has been cleverly imitated by ,fagnola and other makers4 ,a good many counterfeit ,roccas have found their way into the market4 ,,enrico ,,rocca1 a son1 worked in ,genoa and ,turin1 and died in ,may1 #aiae4 ,,roger1 ,g4--,montpellier2 nineteenth century4 ,nicolas type of work4 ,,rogeri1 ,,giovanni ,,battista4--,cremona1 ,brescia4 ,born about #affj in ,bologna4 ,worked until about #agcj4 ,an admirable workman1 who was a pupil in ,niccol ,amati's workshop1 the pupillage being invariably stated in his labels1 which are often printed in red ink4 ,some of his work contains the genuine tickets of his master1 and a good many of his instruments are very like those of ,amati1 the head1 however1 being heavier in style and the sound-holes slightly different in form4 ,later work shows a flatter arching1 and there is more or less resemblance in the form to that of ,stradivari4 ,the general workmanship is always fine4 ,the varnish either identical with ,amati's or a beautiful clear red4 ,the violins were in two sizes1 the large examples being very scarce4 ,the size usually seen is about #ac-g_/h inches long and the measurements are about those of an ordinary ,amati fiddle4 ,the spelling of the name in the labels varies4 ,sometimes it appears as 8,rugerius10 but more commonly it is spelt with an 8o40 ,the violoncellos are splendid examples of their class1 and having mostly been built of convenient size1 their proportions have not usually been reduced like those of the ,amati family4 ,,rogeri1 ,,pietro ,,giacomo4--,cremona and ,brescia4 ,seems to have worked from about #afij until after #agcj4 ,his relationship to ,g4 ,b4 ,rogeri is not known1 but if he worked1 as some of the tickets state1 with ,niccol ,amati1 he could not have been a son1 as has often been alleged4 ,messrs4 ,hill suppose1 and it is extremely probable1 that the two ,rogeri were associated in their work1 though there do not seem to be labels containing their joint names4 ,pietro ,giacomo's work is almost1 if not quite1 equal to that of his relative4 ,violins bearing his label are very scarce1 but strongly resemble those of the latter4 ,the corners droop somewhat more1 but the scrolls in one or two specimens seen by the writer are so alike that they might be the work of the same man4 ,a beautiful violin with fine red varnish is in the possession of ,mr4 ,w4 ,sachse1 the well-known professor2 and ,piatti for many years possessed a fine violoncello of ,pietro's make4 ,some of his labels date from ,cremona1 and his name is also sometimes seen spelt with a 8u0 instead of an 8o40 ,,rombouts1 ,,pieter4--,amsterdam2 circa #agjj-cj4 ,the violins are well made4 ,rather high built1 and with a brilliant red varnish4 ,the purfling is whalebone4 ,there is some resemblance to the work of ,jacobs1 with whom he is said to have worked4 ,it is also said that in earlier years he was known as 8,pieter--,jacobs's pupil10 and this is supposed to be the origin of the ,peeter ,jacobs whose name has so frequently appeared in fiddle literature4 ,,romer1 ,,adolf4--,freibourg4 ,born #ahfc4 ,a maker who seems to possess considerable scientific knowledge1 and has made some very handsome copies of the ,italian masters4 ,he has received various medals4 ,,rook1 ,,joseph4--,carlisle2 circa #agge-ahbe4 ,the work is neat4 ,rather high built2 and the violins seen by writer of medium size1 with clear yellow-brown varnish4 ,it is said that he was taught by ,forster1 presumably when the latter worked in the ,north of ,england4 ,,rossi4--,nineteenth century4 ,several makers of this name have lived in ,italy1 chiefly in ,padua and ,milan4 ,one named ,,enrico is a good workman who1 with his son1 has a business in ,padua1 and obtained a medal in #ahgg4 ,,rotta1 ,,giovanni4--,cremona2 early nineteenth century4 ,the name in labels seen by the writer was spelt with a single 8t10 but it is said that a good many doubtful or spurious ones exist4 ,work not highly finished4 ,reddish-yellow varnish4 ,writer has seen the label in at least two violins which were certainly of ,mittenwald origin4 ,,roze4--,orleans2 eighteenth century4 ,rather neat work and good pattern4 ,yellow varnish4 ,,rub1 ,,august ,,de4--,viterbo2 circa #agfj-ge4 ,his label states that he made his instruments for his personal delectation4 ,writer came across a violin in ,london recently4 ,,ruddiman1 ,,joseph4--,aberdeen4 ,born #agcc4 ,died #ahaj4 ,said to have been a pupil of ,matthew ,hardie4 ,,rugeri4--,cremona2 seventeenth and eighteenth centuries4 ,a celebrated family of makers4 ,the name is seen spelt in a variety of ways1 e4g4 8,ruggieri10 8,rugieri10 etc4 ,the founder was ,,francesco1 who worked in the latter half of the seventeenth century1 and adopted the distinctive title 8il ,per0 on his label1 possibly to prevent confusing his work with that of the ,rogeri who also worked with ,amati but came from ,bologna4 ,in this practice he was followed by his sons4 ,he was a splendid workman and one of the best of ,amati's followers4 ,he copied ,niccol's instruments with much fidelity and was very successful with the 8grand pattern40 ,amati labels1 mostly badly latinised and incorrect1 seem to have been found in his violins from an early period1 but it does not seem to be certainly established that he himself inserted them4 ,such work of his as was made in the master's workshop would obviously bear correct labels4 ,most of his violins have handsome backs1 some of larger figure than that usually employed by ,amati4 ,his varnish is most beautiful1 and1 in the finest specimens1 of a brilliant red colour4 ,in other works it is identical with the yellow seen on the majority of ,amati's instruments4 ,in later works he somewhat altered the form of the sound-hole1 but his work1 of whatever date1 is almost always full of grace4 ,the heads are excellent4 ,a large number of his violoncellos survive4 ,they were mostly1 but not invariably1 of large size1 and have been reduced1 not always too well4 ,the backs are frequently of plain wood4 ,,giacinto ,,gio4 ,,battista ,,rugeri1 a son1 seems to have dropped the 8,gio4 ,battista0 from his later labels4 ,he worked down to about the end of the seventeenth century1 but probably assisted his father largely1 and his own signed work is comparatively scarce4 ,it is said that he made good tenors and a number of useful violoncellos4 ,one or two violins seen by the writer were less graceful than those of ,francesco1 and the varnish brown4 ,,vincenzo ,,rugeri1 a younger son of ,francesco1 seems to have been the last of the family1 and was at work until #agce or later4 ,writer has seen violas and violoncellos1 but only one violin of his make4 ,the work is of ,amati character1 and the finish good1 but not remarkably so4 ,some1 if not all1 of his tickets have an ornamental border4 ,,ruppert1 ,,johann ,,heinrich4--,erfurt2 #agai-cf4 ,stainer outline1 but arching comparatively flat2 no linings or corner blocks4 ,,ruprecht1 ,,wilhelm4--,vienna4 ,died #ahfb4 ,a clever maker4 ,many of his copies are double purfled1 and it is said that some have been sold as genuine ,brescian work4 ,he was awarded a medal in #ahci4 ,,sacchini1 ,,sabattino4--,pesaro2 seventeenth century4 ,,sacquin4--,paris2 nineteenth century1 to about #ahfj4 ,backs of instruments branded inside4 ,chiefly ,stradivari pattern4 ,,saint ,,paul1 ,,antoine4--,paris2 #agfh-hi4 ,guersan style of work4 ,heads like those of other makers of the period1 said to have been cut by women4 ,another ,saint ,paul 7,pierre7 worked earlier and was possibly his father4 ,,salle1 ,,le ,p,,re4--,paris2 #ahbe-ej4 ,chiefly known as a connoisseur and repairer4 ,copied ,guarneri4 ,,salomon1 ,,jean ,,baptiste ,,deshayes4--,reims1 ,paris2 circa #agce-gj4 ,this maker was either an unequal workman1 or the instruments bearing his name and stamp were made in different grades4 ,the writer has seen very good violoncellos1 on which the finish was above the average4 ,yellow varnish and well-carved scrolls4 ,the violins generally have a brownish-yellow varnish1 the arching is carried almost to the edges4 ,sound-holes rather wide apart1 belly wood rather hard1 and backs showing little figure1 though now and then they are handsomer4 ,tone not particularly good4 ,he used various tickets4 ,his business was carried on by his widow for some years after his death4 ,,salzard1 ,,francois4--,paris1 ,mirecourt4 ,born #ahjh4 ,died #ahgd4 ,mirecourt style of work4 ,yellow-brown varnish4 ,tone powerful4 ,name often written or branded inside the backs4 ,there was a ,d4 ,salzar1 probably his father4 ,a son1 ,ernest ,andr1 worked in ,moscow and ,st4 ,petersburg where he died in #ahig4 ,,sandner4--,eighteenth and nineteenth centuries4 ,a large family originating in ,schnbach4 ,there have been nearly twenty of them working in different parts of ,germany and elsewhere4 ,,santagiuliana1 ,,giacinto4--,venice2 eighteenth and nineteenth centuries4 ,,santino4--,milan2 about #agjj4 ,grancino type of work4 ,,santo1 ,,giovanni4--,naples2 eighteenth century4 ,,sardini1 ,,carlo4--,madrid2 eighteenth century4 ,said to have been a ,neapolitan4 ,large flat instruments4 ,yellow-orange varnish4 ,,sartory1 ,,eugene4--,paris4 ,born #ahga4 ,well-known bow-maker4 ,imitates ,voirin4 ,,saunier1 ,,edmond4--,bordeaux4 ,died circa #aghe4 ,good work4 ,not very plentiful in this country4 ,,savart1 ,,felix4--,paris4 ,died #ahda4 ,well-known acoustician4 ,made fiddles of guitar outline4 ,,sawicki1 ,,carl ,,nicolas4--,vienna4 ,died #ahej4 ,generally copied ,stradivari1 but also the pattern of del ,ges4 ,a very finished workman4 ,scrolls and wood very handsome4 ,tone excellent4 ,,scarampella4--,brescia1 ,paris1 ,mantua1 ,florence2 nineteenth century4 ,a family originating in ,brescia4 ,the founder1 ,,paolo1 died in #ahgj4 ,a son1 ,,giuseppe1 worked in ,paris and ,florence4 ,died about #ahhf or later4 ,neat work4 ,red varnish4 ,another son1 ,,stefano1 born #ahdc1 dates from ,mantua and ,brescia4 ,good work4 ,has obtained a silver medal4 ,,schaller4--,markneukirchen1 ,schnbach4 ,a large family of nineteenth-century workmen4 ,,sch,,ndl4--,mittenwald2 eighteenth century4 ,there were three or four of the name4 ,the best known are ,,michael and ,,anton4 ,well-made violins of the ,stainer-,kloz type4 ,,scheinlein1 ,,johann ,,michael4--,langenfeld2 eighteenth century4 ,stainer school4 ,another1 named ,matthias ,friedrich1 worked in the same place4 ,,schetelig4--,markneukirchen2 eighteenth and nineteenth centuries4 ,about a dozen makers of the name4 ,,schlick4--,w4 ,dresden2 nineteenth century4 ,one of the innumerable 8discoverers0 of the 8secret of the ,italian varnishes40 ,has received medals4 ,,schlosser4--,klingenthal2 eighteenth and nineteenth centuries4 ,another numerous tribe4 ,one1 named ,johann ,george ,schlosser1 branded his work inside1 8,i4 ,g4 ,s40 ,,schmidt4--,about twenty-five ,german makers are enumerated by von ,ltgendorff4 ,,sch,,nfelder4--,markneukirchen2 nineteenth century4 ,another tribe1 running well into a score of names4 ,,schonger4--,eighteenth and nineteenth centuries4 ,erfurt1 ,cassel4 ,,schreck1 ,,rudolph4--,berlin2 eighteenth century4 ,said to be one of the oldest ,berlin makers4 ,his name1 appropriately enough1 means 8fright60 ,,schuster4--,markneukirchen4 ,another horde of makers4 ,they manufacture very cheap trade instruments4 ,,schuster1 ,,joseph ,,anton4--,schnbach2 eighteenth century4 ,good work4 ,,schwartz4--,strasburg2 nineteenth century4 ,four or more of the name were instrument makers4 ,one1 named ,george ,friederich1 was a good bow-maker4 ,,schweitzer1 ,,johann ,,baptist4--,budapest4 ,died #ahfe4 ,an excellent copyist of ,italian work4 ,he was a pupil of ,geissenhof of ,vienna4 ,red-brown varnish4 ,innumerable instruments purporting to be his work and labelled to that effect have been made in ,markneukirchen4 ,these instruments are of a common class1 and examples of them are constantly met with in this country4 ,,seelos4--,innsbruck2 seventeenth century4 ,stainer school4 ,work not often seen4 ,georg ,seelos used a label printed in gold lettering4 ,,seifert1 ,,otto4--,berlin4 ,born ,markneukirchen1 #ahff4 ,maker of the much-advertised 8,new ,cremona0 violins1 the plates of which are attuned according to a system devised by ,dr4 ,grossmann4 ,these instruments are well finished4 ,,seiz ,,or ,,seitz4--,mittenwald2 eighteenth century4 ,there were a large number of the name4 ,many of the instruments are of a useful type and have a good tone4 ,,seraphin1 ,,santo4--,venice4 ,born at ,udine about #afge-hj1 worked1 according to labels1 until about #agdh or later4 ,no neater workman ever lived4 ,his copies of ,niccol ,amati's 8grand0 pattern are very handsome1 and1 as ,hart remarks1 are often very like the instruments of ,francesco ,rugeri4 ,varnish a very fine red1 but now and then the colour is lighter4 ,unfortunately the greater number of his works are of ,german character1 so far as outline1 modelling1 and sound holes are concerned4 ,apparently ,venetian patrons admired the ,stainer form1 as numbers of the violin-makers in ,venice designed their work more or less closely upon it4 ,the scrolls are very well cut but generally rather weak looking4 ,some magnificent violoncellos are known1 and he is said to have excelled in double basses4 ,the tone of ,seraphin's violins is sometimes disappointing4 ,some specimens handled by the writer1 however1 have left little to complain of on that score4 ,he branded his work under the tail pin1 and used large ornamentally engraved labels4 ,a nephew named ,,george ,,seraphin1 who also branded his instruments1 seems to have worked at about the same time4 ,,serdet1 ,,paul4--,paris4 ,born ,mirecourt1 #aheh4 ,a well-known dealer and judge of old instruments and a fine workman4 ,was a pupil of the excellent maker ,gaillard4 ,,silvestre1 ,,pierre4--,lyons4 ,born #ahja4 ,died #ahei4 ,his work is distinguished by superb finish1 and the tone of the instruments is of excellent quality4 ,in this country they now command high prices4 ,most of them are of ,stradivari build1 but occasionally ,amati or ,guarneri copies are met with4 ,the varnish on many of them is a fine red of much brilliance and excellent quality4 ,the widths of his ,strad copies are a trifle greater than those of the originals4 ,the purfling1 generally rather narrow1 is inserted with unsurpassable neatness4 ,moreover1 he did not 8mature0 his wood by artificial means as did ,j4 ,b4 ,vuillaume for a considerable period4 ,after leaving his instructor 7,blaise of ,mirecourt1 q4v47 he worked for a time with ,lupot1 and with ,gand1 his successor4 ,he began business in ,lyons in #ahbi1 and from #ahca to #ahdh was in partnership with his younger brother1 ,hippolyte4 ,the instruments bearing the joint labels of the brothers are well made1 but by no means up to the standard of those made by ,pierre alone4 ,their appearance is more that of a first-class factory instrument1 and they are consequently of minor value and importance4 ,,silvestre1 ,,hippolyte4--,lyons4 ,born #ahjh4 ,died #ahgi4 ,after ,pierre's death he took over the business and continued in it until #ahfe4 ,he was taught by ,blaise1 and was also for a time with ,j4 ,b4 ,vuillaume4 ,he was unquestionably a skilful workman1 but the abilities of his brother ,pierre were so manifestly superior that his work suffers somewhat by comparison4 ,,silvestre1 ,,hippolyte ,,chr,,tien4--,see ,chrtien4 ,,simon1 ,,franz4--,salzburg4 ,born ,mittenwald1 #ageg4 ,died about #ahjc4 ,he came of a ,mittenwald family of makers named ,simman4 ,the work is of ,german 7,kloz7 type4 ,,simon1 ,p4--,paris4 ,born #ahjh4 ,mirecourt4 ,died ,paris1 #ahhb4 ,an excellent bow-maker4 ,worked with ,d4 ,peccatte and with ,vuillaume4 ,was also in partnership 7#ahdh-ea7 with ,henry4 ,work stamped with his name4 ,,simon1 ,,ren4--,auch 7,france74 ,born #ahdd4 ,a fine workman4 ,worked with ,n4 ,vuillaume and several other makers4 ,,simonin1 ,,charles4--,mirecourt1 ,geneva1 ,toulouse2 nineteenth century4 ,worked for some time for ,j4 ,b4 ,vuillaume4 ,he died in or about the year #ahge4 ,an excellent workman and amongst the best of the many employed by ,vuillaume4 ,,simoutre1 ,,nicholas4--,mirecourt1 ,metz4 ,died #ahgj4 ,a prolific workman4 ,he was a pupil of ,lupot1 but his instruments though well made are not of very high rank4 ,,simoutre1 ,,nicolas ,,eugene4--,basle1 ,paris4 ,born #ahci4 ,son of the above4 ,he experimented to some extent and wrote pamphlets on the improvement of violin tone1 but does not seem to have accomplished much in that direction4 ,,simpson1 ,,james1 ,,and ,,son4--,london2 late eighteenth century4 ,they appear to have been dealers4 ,it does not seem to be clear whether they were actual makers1 but instruments bearing their label are not of great merit4 ,,sirjean4--,paris4 ,early nineteenth century4 ,bow-maker4 ,,sitt1 ,,anton4--,prague4 ,born #ahai4 ,died #ahgh4 ,worked with ,schweitzer1 and copied various makers4 ,his labels usually state the name of the maker from whom they are copied4 ,good sound work1 but rather solid looking4 ,,smith1 ,,thos4--,london2 eighteenth century4 ,he worked with and succeeded ,wamsley4 ,made many violoncellos of merit4 ,instruments of ,stainer build4 ,they are very like the work of ,wamsley and are not unfrequently sold as his4 ,,sneider1 ,,joseph4--,padua2 early eighteenth century4 ,he was in ,niccol ,amati's workshop1 but was probably of ,german birth4 ,instruments relatively scarce4 ,pretty work of ,amati character2 yellow varnish4 ,,snoeck4--,brussels2 eighteenth century4 ,there appear to have been three makers of the name4 ,,egidius1 circa #agjj-cj1 is the best known4 ,red-brown varnish4 ,amati pattern4 ,,socquet1 ,,louis4--,paris2 late eighteenth century4 ,mediocre work4 ,large label with engraved border4 ,,soliani1 ,,angelo4 ,mantua1 ,modena2 late eighteenth century4 ,useful instruments4 ,tone generally powerful4 ,yellow or reddish-yellow varnish4 ,his labels bear the sign of the ,sun4 ,work generally branded4 ,,sorsana1 ,,spirito4--,coni2 early eighteenth century4 ,scarce4 ,the name also appears with the spelling 8,sursano40 ,,spidlen1 ,,franz4--,moscow1 ,prague2 contemporary4 ,a good copyist4 ,has obtained some medals 7,paris1 #aijj74 ,brown varnish4 ,name branded on backs4 ,,sprenger4--,nineteenth century4 ,a ,mittenwald family1 three or more of whom worked in ,nuremburg4 ,,stadlman4--,vienna2 eighteenth century4 ,there were several of the name4 ,instruments seen by the writer were of good workmanship and ,stainer pattern4 ,,michael ,,ignatius1 who died in #ahac1 is perhaps the best known4 ,he seems to have made most of his instruments on ,stradivari lines4 ,labels bear the double-headed eagle4 ,,stainer1 ,,jacob4--,absam 7,tyrol74 ,born #afba4 ,died #afhc4 ,the most celebrated of all the ,german school of makers4 ,he is the subject of much tradition and has a small literature devoted to him4 ,the main facts of his life have now been made public for a good many years1 and much legendary rubbish has been swept away4 ,the ,stainer model has been imitated by fiddle-makers all over ,europe1 both during his lifetime and since4 ,amongst the first to copy him were the ,kloz family1 and in ,rome1 ,florence1 and ,venice his imitators have been numerous4 ,in this country his influence was almost paramount for upwards of a century1 and only by slow degrees was it ousted by the superior form of instrument designed by the ,amati family and perfected later by ,stradivari4 ,whether he ever worked in ,cremona is at least open to doubt1 and the evidence which has been adduced in support of the tradition is not sufficiently strong to justify its unconditional acceptance4 ,he employed a varnish which proves to demonstration that he was conversant with the composition of that in use by the ,amati1 but it is clear from the work of other makers that there was no particular mystery attaching to the ingredients of ,cremonese varnish1 and his use of a preparation which is not distinguishable from it does not afford any unequivocal proof of his ever having been to ,cremona4 ,the general appearance of ,stainer's instruments is familiar to all who take more than a merely passing interest in a violin2 not because of the number of genuine specimens to be met with1 but from the number of other makers who have copied him4 ,as a workman he was of the first rank1 but whether he worked in ,italy or not1 there is not a fiddle of his in existence which has the true ,italian cut4 ,the violins are usually about the size of the ordinary ,amati instruments1 but some of them are rather larger1 and measure a full fourteen inches or a shade over in length4 ,the varnish ranges in colour from yellow to brown2 the red specimens are not often seen1 but a few very handsome rose-coloured violins1 of most beautiful workmanship1 have survived4 ,the wood of the backs generally shows some figure1 and is often finely marked2 for some of the bellies he used the fine-grained wood frequently employed by ,tyrolese makers1 but in his finest examples the pine is of broader grain4 ,a good many of the instruments have lion heads1 the carving of which is well executed4 ,the scrolls are well cut1 but lack the grace seen in those of better ,italian work4 ,it seems to be doubtful if ,stainer himself used printed tickets1 but there is no doubt that other makers1 some of whom were contemporaries1 and possibly workmen of his1 inserted printed ,stainer labels into their work4 ,stainer's arching has been the subject of so much exaggeration on the part of copyists of all nationalities that many people have an altogether false idea of its true proportions4 ,in a good specimen of ,stainer's violins the swell of the form is not really higher than that of an average ,amati2 now and then he did exceed this limit1 but it was not his general practice4 ,violas are rarely seen1 and violoncellos are by no means common4 ,forster and numerous other ,english makers have left numerous copies of the last-mentioned instruments1 some of which are in every way excellent4 ,the tone of a fine ,stainer violin is of beautiful quality1 and in examples met with by the writer1 its timbre resembled that of ,amati4 ,it is almost needless to say that forgeries are innumerable1 and are not unfrequently somewhat difficult to detect1 not only on account of their intrinsic merit1 but from the fact that his manuscript tickets have been cleverly imitated4 ,,stainer1 ,,marcus4--,absam1 ,kuefstein1 ,laufen 7,austria72 seventeenth century4 ,a brother of the above1 he worked in a variety of places1 and is reputed to have forged the labels of the more celebrated ,jacob4 ,the few examples seen by the writer resembled those of ,jacob in form1 and had dark red-brown varnish4 ,one of these was a viola1 of good workmanship and tone4 ,he also used lion and other carved heads4 ,he seems to have been alive until after #afhj4 ,,staudinger1 ,,mathaeus ,,wenceslaus4--,wurzburg2 eighteenth century4 ,in some of the labels the name is spelt ,stautinger4 ,the violins are very scarce1 but are of fine workmanship4 ,,steiner1 ,,joseph4--,lengberg4 ,died #aijh4 ,seems to have been a merry blade1 and a man of varied accomplishments4 ,experimented with varnishes4 ,the violins are well made and of good form1 but not often seen4 ,the number of the instrument appears on the label4 ,,steininger4--,eighteenth and nineteenth centuries4 ,a family of makers said to have sprung from ,fssen4 ,the most important of them was ,franois ,xaver1 born in #aggh1 died about #ahej4 ,he changed his abode many times and worked in ,darmstadt1 ,frankfort on the ,maine1 ,paris1 and ,st4 ,petersburg4 ,his work is careful1 and ,french in character4 ,,stirrat1 ,,david4--,edinburgh2 early nineteenth century4 ,pupil of ,matthew ,hardie4 ,,stohr1 ,,jacob4--,st4 ,polten2 about #agij-ahcj4 ,examples scarce4 ,stradivari outline1 higher arching1 light brown varnish1 backs usually in one piece4 ,there were other makers of the name2 probably sons4 ,,storck4--,strasburg1 ,augsburg2 eighteenth century4 ,about half a dozen makers4 ,,storioni1 ,,lorenzo4--,cremona4 ,born #agea2 died #ahja4 ,this maker is usually instanced as the last of the old ,cremonese school4 ,he was a prolific workman1 and a considerable number of his instruments are in existence4 ,his varnish is1 however1 of a different nature1 and resembles that of the ,neapolitan school4 ,his pattern varies a good deal4 ,now and then his outline and arching are after the style of ,amati1 but in most cases there is more or less resemblance both in general appearance and the cut of the sound-holes to the work of ,guarneri del ,ges4 ,it has been said that violas by him are unknown2 but this is incorrect4 ,some very fine examples are in existence1 and in more than one instance they have been sold as the work of del ,ges4 ,the colour of his varnish is usually a red-brown of varying shades4 ,as a general rule the finish of his violins is rough1 and the purfling carelessly worked1 but occasionally he took more pains1 and produced handsome fiddles with prettily figured wood4 ,the scrolls are of bold1 masculine cut1 and very characteristic4 ,the backs commonly have plain or small figured wood of native growth4 ,bellies of very fine material4 ,the tone of his instruments is rich and full4 ,violoncellos are comparatively scarce1 but are very fine in tone and in high repute amongst players4 ,g4 ,b4 ,ceruti took over his business1 and is said to have been employed by him4 ,,stoss4--,eighteenth and nineteenth centuries4 ,this was a large family of makers1 numbering fourteen or more members1 and originating in ,fssen4 ,most of them worked in ,vienna1 and one or two of them made instruments of more than average merit4 ,many of their tickets are of the ornamental kind1 exhibiting various devices and engraved borders4 ,,johann ,,baptist ,,stoss worked in ,prague1 and died there in #ahej4 ,the best known amongst them was ,,martin1 who died in ,vienna in #ahch4 ,he used various tickets1 and is best represented by his violoncellos1 which frequently show handsome wood and are carefully made4 ,,stradivari1 ,,antonio4--,cremona4 ,born #afdd2 died ,december1 #agcg4 ,the bulk of the biographical matter concerning this1 the most famous of all fiddle makers1 was collected by ,george ,hart1 who published some of it in the first edition of his celebrated work on the violin1 but was unable to include the whole of it until the appearance of the second edition in #ahhd4 ,he was largely assisted in his researches by ,signor ,sacchi1 a ,cremonese gentleman of considerable literary ability4 ,in #aijb appeared the well known and sumptuous volume by the ,brothers ,hill1 republished in cheaper form in #aiji1 entitled 8,antonio ,stradivari1 his ,life and ,work10 the most exhaustive critical survey of the subject which has yet appeared4 ,these two books form the chief ,english authorities for all that is known concerning the great ,cremona master4 ,readers may also consult the very able article contributed by the late ,e4 ,j4 ,payne to ,grove's ,dictionary of ,music1 and the little volume of ,horace ,petherick published in the ,strad ,library in #aijj4 ,the writer's observations on the work done by ,stradivari during the time he was employed by ,niccol ,amati will be found in the notices of that maker and of his son1 ,hieronymus ,amati ,,ii4 ,one or two labels still survive--one of them dated in #afff--;in which ,stradivari describes himself as a pupil of ,amati4 ,early works usually exhibit an outline and arching similar to those employed by his master in his ordinary #ac-g_/h-;inch instrument4 ,the varnish seems identical1 and is of the usual yellow colour1 although darker shades may be seen almost from the first4 ,the chief points of distinction lie in the heavier edges1 the cutting of the sound-holes1 and the form of the scrolls4 ,this type of violin he continued to make with certain exceptions1 such as the 8,hellier10 a large fiddle of the 8inlaid0 class1 measuring #ad-a_/h inches in length1 until #afhd4 ,between that year and #afij the pattern and details are somewhat variable4 ,according to ,messrs4 ,hill1 ,stradivari first began to pick out the edges of his scrolls with black in or about the year #afhh1 and continued the practice1 with rare exceptions1 until the end of his life4 ,in #afij he made the remarkable violin known as the 8,tuscan10 a large instrument of exceedingly handsome wood and build1 and in the years #afia and #afib a few violins of exceptionally large proportions4 ,the year #afij also saw the advent of the 8long ,strad10 a pattern the dimensions of which have given rise to a certain amount of controversy4 ,as a matter of fact1 the lengths of these instruments vary between about #ad-a_/h inches and #ad-e_/af1 the latter being the extreme limit4 ,about #ad-c_/af inches would seem to be the more usual length4 ,the widths are about #f-g_/af in the upper bouts1 and #h inches in the lower ones4 ,these narrow violins were made until the year #agjj1 with the exception of the year #afih1 from which year no examples seem to have been seen4 ,a large number of them--something like fifty--are still in existence4 ,during this period1 however1 he did not confine himself entirely to the long pattern4 ,some of the long ,strads are of great beauty of form and material1 and by the time he began to make them he had adopted a varnish of deeper colour4 ,the maker's best period is commonly supposed to begin about the year #agjj1 but some of the finest efforts are dated from #agjd1 in which year he made the 8,betts10 a specimen in a remarkable state of preservation1 and with rather long corners4 ,in the same year he produced a violin bearing a close resemblance to the 8,betts10 and which is in the possession of ,colonel ,glennie4 ,the year #agji seems to have been one of the most prolific in ,stradivari's career1 and many fine examples1 such as the 8,ernst10 and 8,la ,pucelle10 were made in that year4 ,at about this period the violins having a body length of #ad-a_/h inches begin to appear4 ,in the preceding period #ad inches was the general rule4 ,the backs of these violins are mostly made from handsome wood with a broad curl4 ,the years #agaj to #agaf inclusive were productive of many of the finest violins ever made by ,stradivari4 ,amongst them are the 8,parke10 #agaa1 the 8,dolphin10 #agad1 the 8,gillot10 now rather absurdly called the 8,emperor10 the 8,alard10 all made in #agae1 and the famous 8,messie10 remarkable for its unique state of preservation1 and the magnificent 8,cessol10 both of which belong to #agaf4 ,between #agbj and #agbe the outline changes somewhat1 and is squarer in the shoulders and the curves of the lower bouts4 ,so far as tone goes some of the best toned fiddles in the world were made about this time1 and it may be here added that of late years the later works of ,stradivari have received much attention from concert players on account of their masculine tone4 ,in the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them4 ,messrs4 ,hill enumerate eight examples of this practice2 another from the year #agca came under the writer's notice in #aiab4 ,in the labels dated prior to #agcj the maker's name is spelt 8,stradiuarius10 but from that year onwards it appears as 8,stradivarius40 ,the number of ornamented and inlaid instruments which have survived seems to be about a dozen4 ,messrs4 ,hill record ten of these2 others are known to have been made1 but traces of them1 if still existing1 have disappeared4 ,the earliest seems to date from #afgg1 and the latest is the 8,rode0 violin made in #agbb4 ,these examples include a viola dated #afif1 and a violoncello4 ,three of the inlaid violins are dated #agji4 ,the violas at present known number only about a dozen4 ,one of these1 a 8tenore10 dated #afij1 measures #ah-g_/h inches in length4 ,the smaller examples average about #af-c_/af to #af-e_/af inches4 ,there are about fifty violoncellos1 the older specimens being over #ca inches long1 and the later type about #bi-a_/b inches or a little over4 ,these include many notable instruments1 such as those owned by ,piatti1 ,duport1 ,servais1 and other celebrated players1 after whom they have been named4 ,notwithstanding repeated assertions to the contrary1 there is no trace of any double basses made by ,stradivari2 specimens formerly assigned to him have long been rejected as spurious1 and no patterns for such instruments are to be found amongst his drawings1 moulds and other working apparatus4 ,these last were bought from ,stradivari's son by ,count ,cozio di ,salabue1 and from him descended to the ,marquis dalla ,valle1 who is1 or was recently1 still in possession of them4 ,stradivari's output was enormous1 even when due allowance is made for the length of time during which he was at work2 and the estimate made by ,messrs4 ,hill1 which gives a total of #aaaf instruments1 is by no means an excessive one4 ,no other maker1 who has not degenerated into a 8manufacturer10 like ,vuillaume and 8didier0 ,nicolas in the last century1 can compare with him in this respect1 and the marvel of it all is that his own hand is plainly visible in all his works1 even to the very last4 ,there can be no reasonable doubt that he was assisted by a considerable number of workmen1 including his sons ,francesco and ,omobono1 ,carlo ,bergonzi1 and others whose claims to have been his pupils are more open to question2 but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article4 ,since the beginning of the last century his fame in this country has steadily increased2 his name has become a household word4 ,in his own day his consummate abilities were widely recognised1 and orders were sent to him from royal courts and noblemen all over the continent of ,europe1 as appears by contemporary evidence4 ,to-day his violins command higher prices than ever1 and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service1 their authorship is of itself sufficient to maintain their market value at a high figure4 ,,stradivari1 ,,francesco4--,cremona4 ,born #afga2 died #agdc4 ,the elder of the two sons of ,antonio who followed his calling4 ,a good many violins of considerable intrinsic merit but dubious authenticity are assigned to him1 but several which were formerly accepted as genuine have failed to obtain a favourable verdict amongst some of the later judges1 and it is difficult to speak with any certainty about them4 ,one magnificent violoncello1 the proportions of which have been slightly reduced1 is known to the writer1 and its authorship appears to be unquestioned4 ,this instrument is covered with very fine varnish of golden-red colour1 and considerably more substance than that seen on violins supposed to be of his make4 ,,stradivari1 ,,omobono4--,born #afgi2 died #agdb4 ,son of ,antonio4 ,the writer is acquainted with three or four violins which are assigned to him upon good authority4 ,these are of bold pattern and bear some resemblance to the work of ,antonio1 but do not display any of his fine finish4 ,the wood of the backs is with one exception of small figured native maple4 ,the varnish thinner in texture than that of the father4 ,the sound-holes are somewhat like those of ,bergonzi1 and in one case are very slightly pointed4 ,the back and sides of the other violin referred to are of beech4 ,the tone of all these specimens is very fine and full4 ,most of ,omobono's tickets seem to have been in neatly written manuscript4 ,a favourite date1 which leads one to suspect their genuineness in some cases1 is #agdj4 ,,straub4--,chiefly eighteenth century4 ,about a dozen workmen of the name are enumerated4 ,,straube1 ,,johann ,,augustin4--,born #agbe2 died #ahjb4 ,worked chiefly in ,berlin4 ,instruments seemingly very scarce4 ,,strnad1 ,,caspar4--,prague4 ,died #ahbc4 ,fine red varnish1 pattern usually that of ,stradivari4 ,he used several different labels1 engraved with musical instruments and other devices4 ,,strobl4--,eighteenth century4 ,there were at least three makers of the name4 ,two named ,johann worked in ,hallein1 and a third named ,tobias in ,krems4 ,,stumpel1 ,h4 ,c4--,minden4 ,born #ahch4 ,a maker who produced instruments of various models1 built according to a system of thicknessing of his own4 ,he used a label bearing a diagram showing a violin belly graduated according to his method4 ,,sturtzer1 or ,,sturzer4--,breslau4 ,eighteenth century4 ,two makers named ,johann ,michael ,sturzer worked in ,breslau4 ,s,,ss1 ,,johann ,,christian4--,markneukirchen4 ,died #aijj4 ,worked for a time in ,dresden4 ,he was one of the best bowmakers ,germany has produced4 ,,sulot1 ,,nicolas4--,dijon2 about #ahbj-dj4 ,took out a patent for a violin with a double belly4 ,,sutor1 ,,johann ,,martin4--,vienna4 ,died #ageh4 ,examples scarce1 and little known4 ,,sutterlein1 ,j4 ,,friedrich4--,strasburg4 ,died #ahic or later4 ,careful work4 ,stradivari pattern4 ,pretty varnish4 ,he came under the notice of the artist ,wilhelmj1 who thought highly of his abilities4 ,,szepessy4 ,see ,bela4 ,,tadolini1 ,,ignazio4--,modena4 ,born #agig2 died #ahgc4 ,known only as a bow-maker1 in which department he excelled4 ,a brother--,giuseppe--seems to have made a few instruments4 ,,tanegia1 ,,carlo ,,antonio4--,milan2 about #agbj4 ,grancino style4 ,examples scarce4 ,,taningard1 ,,gio4 ,,giorgio4--,rome2 about #agcj-agej4 ,possibly worked with ,tecchler4 ,he used various labels4 ,,tarr1 ,,william4--,manchester4 ,born #ahji2 died #ahib4 ,this maker is chiefly known amongst ,english double-bass players1 but made smaller instruments also4 ,the basses are often excellent1 and are in high esteem amongst ,northern and ,midland contrabassists4 ,,tassini1 ,,bartolommeo4--,venice2 latter half of eighteenth century4 ,the backs of his violins are usually in one piece1 and the wood is often handsome4 ,varnish a clear golden yellow4 ,,taylor1 ,,william4--,london2 eighteenth and early nineteenth centuries4 ,he was a good average workman1 and made useful instruments of the ,panormo class4 ,he is said to have been taught by ,panormo4 ,the writer has met with a few good violas of his make1 but he seems to have made more double-basses4 ,varnish yellow or yellow brown4 ,,tecchler1 ,,david4--,salsburg1 ,venice1 ,rome4 ,born #afff2 died about #agde4 ,an important and prolific maker4 ,he seems to have had a large business in ,rome1 and probably employed a good many assistants4 ,a great number of his violoncellos are in existence1 and are generally of high merit4 ,they were of large pattern1 but have frequently been reduced in size4 ,in his best work he caught something of the true ,italian style1 and he was evidently acquainted with ,italian methods of varnishing4 ,but like nearly all of his countrymen1 he never succeeded in freeing himself entirely from ,german notions1 traces of which are noticeable in practically all his works4 ,they all hint of ,stainer somewhere4 ,a few fine double-basses are in existence4 ,the violas are very scarce4 ,violins are pretty plentiful1 and vary somewhat in finish and general merit4 ,the writer has met with two of these1 and one violoncello with the bellies cut the wrong way of the wood1 or 8slab-wise40 ,the scrolls are often well carved1 and in the violins somewhat slender at the throat4 ,the varnish on the ,roman instruments1 which are much more plentiful than those dating from ,salsburg or ,venice1 is of ,amati character1 and generally of yellow-red or yellow-brown colour4 ,,tedesco1 ,,leopoldo4--,cremona1 ,rome4 ,is all but unknown as a maker1 but is mentioned in the ,parish ,registers of ,cremona as a pupil of ,niccol ,amati4 ,the name seems to be there spelt 8,todesco40 ,he was born in #afbe4 ,,tentzel4--,mittenwald2 eighteenth century4 ,kloz school of work4 ,,termanini1 ,,joseph4--,modena2 about #agej and later4 ,appears to have been a priest who made fiddles4 ,work rare and of no particular merit4 ,,testore4--,milan2 seventeenth and eighteenth centuries4 ,a widely known and important family of makers whose instruments1 though chiefly of second-class workmanship and inferior finish1 are much sought after by players on account of their excellent tone4 ,however rough and unattractive the specimen may appear1 a ,testore may almost always be relied on to possess a fine tone4 ,apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions1 but there are violins in existence by ,c4 ,g4 and ,c4 ,a4 ,testore which prove conclusively that1 given the opportunity1 these makers were possessed of skill and abilities of a high order4 ,in these rare cases we meet with specimens of good form and finish1 handsome wood and brilliant varnish4 ,the average ,testore is1 however1 an instrument which in all or most of these particulars leaves a good deal to be desired4 ,the bellies are almost without exception of pine of the best quality acoustically1 but the backs and sides are mostly of plain or small figured native wood1 the heads are mean and pinched looking1 sound-holes carelessly cut1 varnish a dull yellow or dirty brown1 and many of them are 7or rather were7 unpurfled4 ,,carlo ,,giuseppe ,,testore1 the first of the name1 worked between about #afhj and #agaj4 ,he was a pupil of ,giovanni ,grancino1 whose label has been found in violins and violoncellos of his make1 his own label being discovered by repairers underneath4 ,this happened in the case of a violoncello owned by ,robert ,lindley4 ,his model varies1 but it is absurd1 having regard to dates1 to class him as an imitator of ,guarneri del ,ges1 whose earliest fiddles date from about #agbe or a year or two earlier4 ,such resemblance as may exist between the violins of the two makers is very trifling1 and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes4 ,the varnish is usually brown or brownish yellow4 ,in some1 but not all1 of the instruments a brand mark1 representing an eagle1 is met with1 but the use of the brand is more frequently observed in the work of his son1 ,carlo ,antonio4 ,carlo ,giuseppe made some violoncellos of much merit1 the wood of the backs being mostly pear tree or plain material4 ,he is also in repute as a double-bass maker4 ,his elder son1 ,,carlo ,,antonio1 seems to have worked until after #agfj1 and apparently made more violins than his father4 ,the pattern varies a good deal and it is difficult to say that he imitated any other maker in particular4 ,most of his instruments are branded inside with the double eagle1 sometimes in two or more places4 ,the work is often roughly finished4 ,bottesini's favourite double-bass was an example by this maker4 ,a son1 ,,giovanni1 worked with him in later years4 ,,paolo ,,antonio ,,testore was the younger son of ,carlo ,giuseppe4 ,he was at work until after #agfj4 ,his violins bear some resemblance to those of ,guarneri4 ,varnish often palish yellow4 ,instruments frequently unpurfled1 especially in the backs1 but a good many have been purfled by later hands4 ,he also used the eagle brand1 but not invariably4 ,wood generally very plain4 ,,theress1 ,,charles4--,london2 about #ahdj-ahej4 ,worked first with ,maucotel2 afterwards on his own account in ,soho4 ,mirecourt style4 ,,thibout4--,paris2 eighteenth and nineteenth centuries4 ,a well-known family1 most of whom worked in ,paris4 ,there were about six makers in all4 ,the most celebrated was ,,jacques ,,pierre1 born #aggi1 died #ahef4 ,he was one of the finest workmen of the ,french school1 and his best copies of ,stradivari are less heavy in appearance than those of ,lupot and the tone is more ,italian in character4 ,the varnish on such specimens is also very handsome3 red on a yellow basis4 ,his instruments were made in at least two grades and the better ones now command very high prices4 ,he obtained several medals1 and used labels in various styles at different dates4 ,it is much to be regretted that his best personal work is not more plentiful4 ,,thibouville-,,lamy1 ,,louis ,,emile ,,jerome4--,mirecourt1 ,paris4 ,born #ahcc4 ,manufactures stringed and other musical instruments on a huge scale1 and of all grades4 ,he has received various medals and employs many workmen4 ,,thir4--,presburg1 ,vienna2 eighteenth century4 ,nine or ten makers of the name4 ,there were two ,antons in ,presburg1 and two in ,vienna4 ,one of the best was ,,andreas1 who worked in ,presburg until about #agih1 and copied the form of ,amati well4 ,,johann ,,georg ,,thir was established in ,vienna until after #agij1 and made a good many instruments4 ,varnish dark brown or dark red4 ,geissenhof was for a time in partnership with him4 ,another good maker of the name was ,,mathias1 who was a brother of ,j4 ,g4 ,thir and worked until about #agie4 ,,thomassin1 ,,louis4--,paris4 ,born #ahee4 ,a clever bow-maker4 ,voirin style4 ,,thompson4--,london2 late eighteenth century4 ,there were several makers1 or rather instrument dealers1 in business in ,st4 ,paul's ,churchyard4 ,instruments vary1 and the violoncellos are often better than the violins4 ,the latter are generally a sort of mixture of the patterns of ,stainer and ,amati1 with red or yellow varnish1 and of no particular character4 ,,thouvenel1 ,,henry4--,mirecourt2 about #ahej-ahfj4 ,strad pattern2 yellow varnish4 ,,thumardt4--,straubing1 ,munich2 eighteenth and nineteenth centuries4 ,eight or more makers are named4 ,one of them1 ,,johann ,,stephan1 worked in ,straubing until #ahag1 and his work is of some value4 ,,tiefenbrunner4--,mittenwald1 ,munich2 eighteenth and nineteenth centuries4 ,a family who must not be confounded with the ,tieffenbruckers who were viol makers4 ,eight or nine ,tiefenbrunners have been engaged in the manufacture of stringed instruments1 chiefly zithers4 ,amongst those who made violins ,,johann ,,caspar1 who died about #agfi1 and worked in ,mittenwald1 seems to be best known4 ,,tielke1 ,,joachim4--,hamburg4 ,born #afda2 died #agai4 ,is said to have made violins1 but the only instruments seen by the writer were of the lute or viol class4 ,,tobin1 ,,richard4--,dublin1 ,london4 ,a fine workman4 ,was for a time employed by ,perry4 ,afterwards by ,betts and other ,london dealers1 besides working on his own account4 ,made some very handsome violoncellos1 and violins chiefly of ,stradivari pattern4 ,he died in ,shoreditch in about #ahcf4 ,his scrolls are wonderful pieces of workmanship2 but he was of irregular habits1 and did not always do full justice to his powers4 ,,tolbecque1 ,,auguste4--,paris4 ,born #ahcj4 ,a violoncellist1 and collector of old instruments2 he made a few violins which are said to be excellent copies of ,italian work4 ,,tononi4--,bologna1 ,venice1 ,rome2 seventeenth and eighteenth centuries4 ,an important family of makers of ,bolognese origin4 ,there were two ,carlos1 the elder of whom dates from ,bologna1 and seems to have worked down to about #agag1 or perhaps later4 ,there do not seem to be many of his instruments about4 ,the relationships between the various members of this family are uncertain1 and the accounts given of them in books on the violin vary in this respect4 ,most of the instruments seen are evidently based upon the form of ,amati1 but there is a ,german look about them which is apparent enough on examining a specimen though not easy to explain on paper4 ,many of them are beautifully finished1 and built of handsomely figured wood1 and the tone1 especially of the violoncellos1 is exceptionally good4 ,a number of the violins are of rather large size1 the arching usually fairly high4 ,perhaps the best known of the family is ,,carlo ,,antonio1 who worked in ,venice from about #agbj-agfh4 ,most of the fiddles are rather high built1 have finely figured backs1 and a yellow or red-orange varnish of very good quality4 ,name branded above the tail pin4 ,his second ,christian name does not seem to appear upon his tickets4 ,,giovanni ,,tononi worked in ,bologna and apparently in ,venice also4 ,his instruments date from about #afhi-agdj4 ,model varies1 but is chiefly of large ,amati character4 ,good yellow or brown-red varnish of clear texture4 ,,felice ,,tononi dates from ,bologna and was possibly the founder of the family1 his early tickets dating from about #afgj4 ,high model1 good clear varnish4 ,two other names are mentioned1 ,,guido and ,,pietro4 ,,toppani1 ,,angelo ,,de4--,rome2 about #agcj-de4 ,high built fiddles4 ,tecchler school4 ,,torossi1 ,,cesare4--,novara2 about #ahdj4 ,little known4 ,,tourte4--,paris2 eighteenth and nineteenth centuries4 ,celebrated bow-makers4 ,beyond being the father of the famous ,franois1 8,tourte pre10 though himself a bow-maker1 did not achieve any particular distinction4 ,he died about #aghj4 ,,xaver or ,,sav,,re1 his elder son1 made some good bows1 and some very indifferent ones4 ,,francois ,,tourte was born in #agdg1 and died in ,april1 #ahce4 ,he made a very large number of bows1 and continued to work until very late in life4 ,they are unstamped1 and save in about two cases1 in which he inserted small engraved labels in the nuts1 he used no distinguishing mark or brand to identify his work4 ,he was admittedly the finest bowmaker who ever lived1 but the work of other ,french makers is often quite equal in merit to all but his very best examples1 and even then it is more a matter of superb finish than of practical utility4 ,he probably was mainly instrumental in settling the correct length of the bow1 but beyond this it is very questionable whether he was the actual 8inventor0 of the improvements with which he is credited in books4 ,,trapani1 ,,raffaele4--,naples2 early nineteenth century4 ,his instruments are more remarkable for originality than beauty of appearance4 ,large violins4 ,sound-holes pointed2 flat arching2 varnish reddish brown4 ,the work is fairly well finished4 ,,trinelli1 ,,giovanni4--,scandino2 early nineteenth century4 ,large violins4 ,powerful tone4 ,not highly finished4 ,scarce4 ,,trucco1 ,,girolamo4--,savona2 about #ahdj4 ,,truska1 ,,simon ,,joseph4--,strahow4 ,died #ahji4 ,a priest who made violins and other stringed instruments4 ,,tubbs4--,london2 nineteenth century4 ,a well-known family of bow-makers4 ,william ,tubbs1 father of the present maker1 worked with ,edward ,dodd1 and much of his work strongly resembles that of his master2 he was a good workman4 ,,james ,,tubbs was born in #ahce1 and is still at work4 ,he has attained wide celebrity1 and many of his bows are beautiful examples of his art4 ,,turner4--,london2 nineteenth century4 ,was a well-known dealer and importer1 but seems to have employed workmen4 ,his stamp may be seen on many instruments of a common class 7sometimes with lion heads7 of continental make4 ,,tywersus4--,nancy2 sixteenth century4 ,it seems to be doubtful whether he made violins4 ,,uebel4--,markneukirchen1 ,klingenthal2 eighteenth and nineteenth centuries4 ,there were several makers of the name4 ,some of them were at work until very recent times4 ,,ugar1 ,,crescenzio4--,rome2 late eighteenth century4 ,was possibly a ,german4 ,brown varnish4 ,german style4 ,,ulrich1 ,,diederich4--,hamburg2 eighteenth century4 ,yellow varnish4 ,brescian type of work4 ,some of the instruments have lion heads4 ,,ungarini1 ,,raynaldo4--,fabriano2 about #ahjj4 ,,urban1 ,,joseph4--,prague1 ,new ,york1 ,san ,francisco4 ,died #ahic4 ,,urquhart1 ,,thomas4--,london2 latter half of seventeenth century4 ,high built violins4 ,varnish of beautiful quality4 ,,vaillant1 ,,francois4--,paris2 about #agcj-hj4 ,scarce4 ,,vaillant1 ,,nicholas4--,bordeaux2 nineteenth century4 ,red varnish4 ,well finished work4 ,scrolls well cut4 ,,valenzano1 ,,giovanni ,,maria4--,valentia1 ,rome1 ,trieste4 ,according to specimens seen by the writer the pattern varied somewhat4 ,work very well finished2 sound-holes and scroll well cut2 medium size violins with yellow or reddish yellow varnish of good quality1 and resembling ,neapolitan1 but softer in texture4 ,he worked in various places 7chiefly ,rome71 and used both written and printed labels4 ,dates between about #agij and #ahbe4 ,,vallentine1 ,,william4--,london4 ,died about #ahgg4 ,worked for many years for ,hart4 ,a good repairer4 ,chiefly known as a double-bass maker4 ,,vandelli1 ,,giovanni4--,fiorano 7,modena74 ,died #ahci4 ,,vanderlist4--,paris2 late eighteenth century4 ,instruments branded4 ,said to have copied ,guadagnini4 ,,vangelisti1 ,,pier ,,lorenzo4--,florence2 about #agcj4 ,rather indifferent work2 somewhat high built4 ,seemingly scarce4 ,,varotti1 ,,giovanni4--,bologna2 late eighteenth century4 ,,vauchel1 ,,jean ,,corn4--,mayence1 ,wurzburg1 ,damm4 ,died #ahef4 ,was a dealer and repairer as well as a maker4 ,he was patronised by ,paganini and ,spohr4 ,his monument describes him as one of the most famous violin makers in the world4 ,he seems to have been a workman of ability1 but his instruments are little known in this country4 ,,ventapane4--,naples2 eighteenth and nineteenth centuries4 ,three makers of this name date from ,naples4 ,their work belongs to the ,gagliano school4 ,instruments of their make have been sold as genuine ,gaglianos4 ,the best known of them is ,,lorenzo1 who dates between about #ahjj-cj4 ,handsome wood1 good yellow-orange varnish4 ,,vincenzo ,,ventapane worked down to about #ahjj1 and produced some useful instruments4 ,,pasquale ,,ventapane was an inferior workman4 ,,verini1 ,,serafino4--,arceto1 ,cascogno 7,modena74 ,died #ahfh4 ,he was a land surveyor who made instruments for his amusement4 ,andrea ,verini1 who was perhaps a son1 also made instruments4 ,,vermesch4--,beaumont-sur-,oise4 ,a priest who worked at fiddle making about #aghj-ahaj4 ,,veron1 ,,antoine4--,paris2 about #agbj-ej4 ,pierray school of work4 ,,veron1 ,,pierre ,,andr4--,paris2 eighteenth century4 ,,vetrini4--,brescia2 about #afcj4 ,,viedenhofer1 ,,bernard4--,pesth 7,budapest72 late eighteenth century4 ,brescian style of work4 ,,vigneron1 ,,joseph ,,arthur4--,paris2 contemporary4 ,a bow-maker of considerable ability4 ,worked for some years with ,gand and ,bernardel4 ,,vimercati1 ,,pietro4--,venice2 about #afdj-fj4 ,said to be an imitator of ,amati4 ,there is a tradition that ,stainer worked with him4 ,,vimercati1 ,,paolo4--,venice2 seventeenth century4 ,amati style according to accounts4 ,,vinaccia4--,naples2 eighteenth and nineteenth centuries4 ,a very large ,neapolitan family4 ,violins bearing their labels are met with1 but they are noted more as mandoline makers4 ,,vissenaire1 ,l4 ,,nicolas4--,lyons4 ,died #ahij4 ,a good workman4 ,,voel1 ,,jacob4--,mayence1 ,frankfort-on-the-,maine2 about #ahdj4 ,well made violins2 ,stradivari pattern2 sound-holes rather wide open2 scrolls well cut4 ,,vogler1 ,,johann ,,georg4--,wurzburg2 first half of eighteenth century4 ,,voigt4--,markneukirchen2 eighteenth and nineteenth centuries4 ,a veritable swarm of makers of the name are enumerated4 ,upwards of thirty have been engaged in the fiddle business1 and one or two of them have had branches of their establishments in this country in very recent years4 ,,voirin1 ,,francis ,,nicolas4--,paris4 ,born #ahcc2 died #ahhe4 ,a celebrated bow-maker4 ,his pattern has been much imitated by modern ,french makers1 such as ,lamy1 ,sartory1 and several others4 ,,voller1 ,,william4--,london4 ,born #ahfj4 ,a most skilful imitator of old ,italian work4 ,his 8facsimiles0 have puzzled many by no means uninformed observers by their close resemblance to genuine ,italian masterpieces1 and have in some instances been productive of law suits4 ,he imitates the appearances of wear with perhaps greater skill than any other workman who has practised the art1 not even excepting ,vuillaume and ,john ,lott4 ,two or more brothers are1 or were recently1 employed in the same line of business4 ,,vuillaume4--,mirecourt1 ,paris1 ,brussels2 eighteenth and nineteenth centuries4 ,the name is probably known wherever the violin is in use owing to the wide celebrity attained by the principal maker of the family1 which was of ,mirecourt origin4 ,about ten ,vuillaumes have been engaged in fiddle making4 ,four named ,claude or ,claude ,francis operated in ,mirecourt from about #afbe-ahfe4 ,claude ,vuillaume ,,ii4 died in ,mirecourt in #ahcd4 ,instruments of his make are branded on the backs 8,au roi ,david10 ,paris4 ,,jean ,,baptiste ,,vuillaume1 who made the name famous1 was born in ,mirecourt in #agih1 and was a son of ,claude ,vuillaume ,,ii4 ,he died in ,paris in #ahge1 and at the time of his death his workshops had turned out upwards of three thousand instruments4 ,this fact speaks for itself1 and though he was personally a workman of consummate skill and employed assistants of much ability1 there can be no question that the world would have been richer in really first-class examples of the copyist's art had he been content to limit his output to more modest dimensions4 ,but ,vuillaume was a keen business man1 and knew well enough that extensive production was the one and only way to amass a fortune in the manufacture of new fiddles4 ,the story of his life has been told time and again in books on the violin1 and there is no need here to repeat it4 ,he has left some of the finest copies of ,stradivari that were ever made1 and many that1 from a tone point of view1 are of little or no account4 ,the instruments made from artificially matured wood1 of which many exist1 are disastrous failures1 and it is fortunate that he desisted after some time from producing such things4 ,his violoncellos are useful instruments1 and generally possess a fine tone4 ,he was a fine judge of old ,italian work1 and many notable violins and basses passed through his hands4 ,,nicolas ,,vuillaume1 his brother1 worked in ,mirecourt1 and died there in #ahga4 ,his work is fair1 but of the trade class4 ,he was the maker of the so-called 8,stentor0 violins4 ,,nicolas ,,francis ,,vuillaume1 another brother--born #ahjb1 died #ahgf--worked for a time with ,j4 ,b4 ,vuillaume1 and afterwards went to ,brussels1 where he was for many years in business4 ,he was maker to the ,conservatoire there1 and received medals4 ,he was a very fair workman1 but much inferior to his brother in ability4 ,,sebastien ,,vuillaume1 a nephew1 died in #ahgf1 and was not particularly distinguished4 ,he also worked in ,paris4 ,,wagner4--,eighteenth and nineteenth centuries4 ,nine or more makers are mentioned bearing the name4 ,they worked in different parts of ,germany4 ,benedict ,wagner1 ,elwangen1 was at work in that place between about #agbj and #agij4 ,pattern varies1 but they are usually high built4 ,yellow-brown varnish4 ,he branded his name on the backs4 ,another ,wagner1 named ,joseph1 worked in ,constance in the eighteenth century4 ,,wamsley1 ,,peter4--,london2 first half of eighteenth century4 ,he was the founder of a school of makers1 and several workmen1 such as ,thomas ,smith1 ,joseph ,hill1 and others1 worked with1 or imitated him4 ,his instruments are of ,stainer pattern1 and he generally used prettily marked wood for his backs4 ,varnish varies in colour1 but is chiefly dark red or red-brown4 ,he made a number of violoncellos4 ,work often unpurfled4 ,,warnecke1 ,l4 ,,georges4--,nancy2 about #ahbj-cj4 ,he branded his violins with a curious monogram under the bridge4 ,,wassermann1 ,,joseph4--,znaim2 late eighteenth century4 ,examples scarce4 ,well-made instruments with orange-brown varnish4 ,,weber1 ,,michael4--,prague4 ,died #ahdd4 ,,weichold1 ,,richard4--,dresden4 ,a well-known manufacturer of stringed instruments and accessories4 ,many of the bows bearing his stamp are excellent4 ,he died in #aijb4 ,,weller4--,markneukirchen2 nineteenth century4 ,several makers of the name are mentioned1 but amongst the various ,christian names that of 8,samuel0 does not occur4 ,,wenger1 ,,gregori ,,ferdinand4--,augsburg2 eighteenth century4 ,stainer character of work4 ,varnish red or dark brown4 ,,werner4--,nineteenth century4 ,a numerous family originating in ,schnbach4 ,a maker named ,,franz ,,werner worked in ,vienna until about #ahbe and was a pupil of ,geissenhof4 ,careful work4 ,stradivari pattern4 ,,wettengel4--,markneukirchen2 nineteenth century4 ,a family of instrument makers4 ,one of them 7,gustav ,adolf7 wrote a book on violin making4 ,,whitaker4--,london2 about #ahaj-bi4 ,button and ,whitaker were instrument dealers4 ,the name may be seen on violins and violoncellos of mediocre workmanship4 ,,widhalm4--,nuremburg2 eighteenth and nineteenth centuries4 ,a fairly numerous family of makers1 the chief of whom was ,,leopold ,,widhalm1 who was born in #agbb and died in #aggf4 ,he was a prolific workman and a good many of his fiddles are in this country4 ,he copied ,stainer with much ability1 but generally overdid the arching4 ,his varnish is usually red1 and of very good quality4 ,there is a good deal of sameness about his work4 ,he made some fine violas4 ,his initials are generally seen stamped under the labels4 ,several sons were also makers4 ,the second of them1 ,,gallus ,,ignatius1 died in #ahbb4 ,,wilfer4--,nineteenth century4 ,there have been several ,german makers of this name4 ,,willems4--,ghent2 seventeenth and eighteenth centuries4 ,three makers of the name are known4 ,good work of the ,amati school4 ,,willer4--,prague2 eighteenth and nineteenth centuries4 ,three makers known4 ,johann ,michael ,wilier died in #ahbf1 and was a tolerably good workman4 ,,wise1 ,,christopher4--,london2 middle of seventeenth century4 ,a violoncello attributed to this maker was seen by the writer in ,london recently1 but was not a very interesting specimen4 ,the violins are occasionally met with and have very good varnish4 ,size rather small4 ,,withers4--,london2 nineteenth century and contemporary4 ,well-known firms of ,london dealers and repairers4 ,the founder of the business was ,,edward ,,withers1 who died about #ahgj4 ,he was a maker of decided ability and made some instruments of high-class finish and workmanship4 ,he also employed some excellent workmen1 amongst them ,boullangier 7q4v474 ,a son of the same name was a pupil of ,lott and carried on business in ,wardour ,street4 ,he died in #aiae1 and the business is continued by his sons4 ,,george ,,withers1 another son of the first ,edward1 established a successful business on his own account1 and retired some years ago4 ,the firm is now 8,george ,withers and ,sons10 the partners being two of his sons1 ,,guarneri and ,,walter1 both of whom underwent a course of training in ,mirecourt4 ,,wolff1 ,,brothers4--,kreuznach2 contemporary4 ,well-known manufacturers of instruments of the 8factory0 class4 ,,worle ,,and ,,wornle4--,makers bearing these names worked in various parts of ,germany and in ,vienna4 ,seventeenth and eighteenth centuries4 ,,wunderlich4--,markneukirchen2 nineteenth century4 ,several of the name4 ,,zach1 ,,thomas4--,budapest1 ,vienna4 ,born #ahab2 died #ahib4 ,he was a very fine workman4 ,his copies of ,stradivari and ,guarneri are beautifully made and take high rank amongst modern productions4 ,the varnish on many of them is of excellent quality4 ,a son1 ,,carl ,,zach1 invented a process for impregnating the wood of his instruments to improve the tone4 ,judging by examples seen by the writer it did not have the desired effect4 ,,zacher1 ,,franz4--,ingoldstadt2 early eighteenth century4 ,high built instruments4 ,careful work and handsome wood4 ,specimens scarce4 ,,zanetto4--,brescia2 late sixteenth and early seventeenth centuries4 ,his name appears to have been ,peregrino1 or ,pelegrino1 ,michelis di ,zanetto1 but he is usually referred to as 8,zanetto40 ,he certainly made violas of the large1 or 8,tenore0 class1 but as to what other instruments of a type now in use he really made there seems to be some doubt4 ,messrs ,george ,withers and ,sons possess a viola of his make4 ,,zanfi1 ,,giacomo4--,modena4 ,born #agef2 died about #ahbb4 ,according to labels was a music teacher who made violins and larger instruments4 ,,zanoli1 ,,gio4 ,,battista4--,verona2 #agcj-eg ,seemingly a mediocre maker4 ,,zanoli1 ,,giacomo4--,venice1 ,padua1 ,verona2 about #agdj-fj4 ,,zanotti1 ,,antonio4--,mantua2 eighteenth century4 ,,zanti1 ,,alessandro4--,late eighteenth and early nineteenth centuries4 ,worked in ,mantua4 ,work well finished4 ,chiefly ,stradivari pattern4 ,,zwerger4--,mittenwald2 eighteenth and nineteenth centuries4 ,a family of makers of ,mittenwald origin4 ,several of them worked in ,neuberg4 ,,addendum ,,amati1 ,,hieronymus ,,ii4--,since the notice of this maker was written 7vide page #aci7 the writer has met with two violins labelled prior to the year #agjj4 ,one of these is dated #afhi4 ,,printed ,,in ,,england ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited1 ,,london ,,and ,,beccles4 ,illustration ,,footnotes3 ,a ,neither the pegs1 finger-board1 neck1 bridge1 tailpiece1 saddle nor tailpin1 on the exterior1 or the soundpost1 bassbar1 corner blocks1 end blocks or linings1 inside the instrument1 add any particular value to the violin if original4 ,most of these items are1 in a well-fitted old violin1 modern4 ,the vital parts for curio valuation are the head1 top1 back1 and ribs4 ,b ,the violins produced in any part of modern ,italy as a rule possess repute no higher than those made in other countries4 ,so long ago as the latter years of the eighteenth century it became necessary for the ,italian workmen to seek information in the art from ,paris and other cities of ,france4 ,as for ,cremona of the present day1 it may almost be said that1 as a violin centre1 it is not seriously considered at all4 ,i believe some effort has recently been made to revive its ancient glories1 but the success of the venture is still very much in doubt4 ,c ,it has been variously estimated that ,stradivari constructed during his lifetime between #ajjj and #aejj instruments4 ,d ,antonio ,stradivari is the best known of all violin makers of past times1 and it is solely for this reason that we use his name so frequently when referring to the old makers1 rather than that of another less familiar4 ,e 8,we unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of ,stradivari4444 ,we may here add a word as to the delusion that material taken from buildings1 such as for instance ,swiss chlets--in some cases centuries old--is preferable to that cut and seasoned during a lesser1 but still a sufficient1 number of years4 ,we have tried both kinds 444 and we fail to find that the former has any real advantage over the latter2 in fact1 our opinion is rather in favour of the more youthful wood40--,messrs4 ,hill1 8,antonio ,stradivari10 p4 #agc4 ,f ,a potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon--and look upon themselves--as mere carvers of wood1 and are judged almost entirely from that standpoint4 ,perfection of workmanship and such artistry as each maker may achieve1 rather than the tone-merit his instruments may possess1 seems the only existing method of indicating his status as a violin maker4 ,aside from other considerations1 this renders his position difficult in the extreme1 the violin offering little scope 7as in the plastic and kindred arts7 for originality2 and any departure from convention is apt to be characterised as freakish1 whilst all possible refinement of detail seems long since anticipated4 ,g ,these principles1 as we have endeavoured to explain1 are as old as the violin itself4 ,h ,it has long been considered by many who seek to duplicate the tone of the old master violins that the more perfectly size1 outline1 arching1 thickness--or model--is copied1 the more chance of securing the desired tone4 ,notwithstanding the lack of success attending such efforts1 copying is still extensively practised and relied upon for tone production4 ,i ,many violins of little tonal worth1 but by a more or less famous ancient maker1 are advertised in a manner calculated to fire the imagination of the reader and effect a sale through an appeal to romantic sentiment4 ,it is for this reason that so much is said about the maker1 his times1 master1 family1 etc41 and so little about the tone of the particular instrument4 ,j 8,the copies of ,stradivari by ,jacob ,fendt are among his best efforts4 ,the work is well done2 the dicoloration of the wood cleverly managed1 and the effect of wear counterfeited with greater skill than has ever been done before or since1 and finally1 an amount of style is thrown into the work which transcends the ingenuity of any other copyist40--8,the ,violin10 ,g4 ,hart1 page #big4 ,k 8,violin ,making as it ,was and ,is10 ,ed4 ,heron ,allen1 ,london1 #ahhe4 ,l ,a rather popular belief is that all old violins by a certain celebrated maker1 or new ones by a modern maker1 are alike in tonal worth4 ,this is not the case1 and the fact should be carefully remembered4 ,the variation is not due so much to the vicissitudes of a long and strenuous existence on the part of the instrument as to those human limitations which render it impossible for a master in any art to copy himself with unfailing regularity and success4 ,m ,this number may appear large1 but we believe it is under1 rather than over1 the mark4 ,some of the makers of later times1 now1 however1 ranking as 8old10 turned out from their shops as many as #b1ejj instruments4 ,if the #ijj makers produced an average of #ajj violins each during their lifetime1 the total would amount to #ij1jjj4 ,n ,while most of the great dealers throughout the world are either good judges of tone themselves1 or employ those who are1 they cannot1 as vendors1 be considered impartial4 ,it is only fair to say they recognise this1 and prefer that the prospective buyer form his own opinion4 ,o ,in the ,correspondence ,department of ,the ,strad for ,may1 #aiaf1 we find the following3 8,i think his 7,stradivari's7 varnish was purely and simply got by a visit to his fowl-shed1 and the selection of half a dozen brown-shelled eggs therefrom1 simply breaking in a dish1 beating the contents well together1 removing the froth1 and applying the residuum at once to his finished violins4444 ,i believe this is the long-sought solution of the means employed by ,strad to finish off his violins40 ,typographical errors corrected by the etext transcriber3 succed in tone succeed in tone pg xv approximateiy accurate approximately accurate pg xvii be more worthy the be more worthy of the pg #ej ridiculous claims or ridiculous claims of pg #ajg ,,glass4--,klingeuthal ,,glass4--,klingenthal pg #agj ,,ha,,ssler1 ,,gustave ,h,,ussler1 ,,gustave pg #ahg enumerated by von ,lutgendrff enumerated by von ,ltgendorff pg #bdd ,,egiduis1 circa #agjj-cj ,,egidius1 circa #agjj-cj pg #bdi ,moscrow1 ,prague ,moscow1 ,prague pg #bdi