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_
^om
JAMES
M. FLEMING.
THE
AND BOWS
OF
JAMES
M.
FLEMING
their
Makers, ^-c,
cS-c.
SECOND EDITION
ILLUSTRATED
With Facsimiles of
Violin Tickets
Honbon
HAYNES. FOUCHER & CO., 14. GRAY'S INN ROAD
1892
PKINTED BY
E.
SHORE AND
3,
CO.,
TYPE-MUSIC
Music
Library
PREFACE.
The Reader who may
Guide
some value
not for
me
will, I
him
to
how much,
to say.
if
is
number
or about
of the
whom,
detail
large
may, without
think, however, I
is
manner calculated
identification.
Everything
in the
to
employ a common
duty to
my
The Fiddle
have, in
writing
known
to
me,
think
may
whose assistance
have drawn,
names
will
M.
182S557
FLEMING.
be
CONTENTS.
CHAPTER
PAGE
I.
CHAPTER
The Bow and Cruth
(continued)
..
CHAPTER
The Cruth and
and
..
..
..
New
18
Violins
CHAPTER
IV.
.
CHAPTER
25
V.
..
..
..
CHAPTER
Bow Makers
. .
CHAPTER
Violinists
. .
. .
CHAPTER
Basses and Bass Players
. .
30
VI.
Violin
12
III.
Viols
CHAPTER
On Old
II.
135
VII.
.
. .
. .
230
. .
. .
244
VIII.
. .
IX.
. .
. .
301
LIST OF PLATES.
PAGE
Corelli
249
Tartini
254
Viotti
266
Nicolo Paganini
274
Louis Spohr
279
OleBull
283.
Henri Vieuxtemps
293;
296
298-
THE
I.
THE
lucidity
both virtues
of
this
sincere
them
my
may be found
manual, but
by beginning
at
shall
the
once
make,
at
presence
the
any
of
may
trust
method
rate,
one
consideration
a
of
of
subject.
Eleven
years
ago,
then, in
my
when
writing
work on
the
by referring to what
view, the more important factor in
was
secure
to
effort
illustrated in the
it
began
GUIDE.
one.
which
thorough as to justify
to that
led
its
Greeks and
about the
offered
Romans probably
likely practically
From subsequent
uses.
me
did
know something
acquainted with
investigations,
confess
its
it
is
tion the
figures
of
it,
instruments
and
that
or
no use to them
which the
implement
in
bow has
violin
from
to us.
offered
an
like
placed
across
so close
hair,
to
bow was
and that
it
if it
placed
had no
twang the
or
strike
to
if
strings.
said
reported to
is
would be no
difficulty in
came
their strings
to be used.
a highly probable
that
had the
depict
who
artist
have shown
position in
it
bow,
is,
is
I
now admitted
may here em-
the strings,
striking
he would
The
which
this
implement
across
it
may
by a similar
plectrum for
it
explanation.
Italy, there
it
in
in
my
found across
is
the
means
do not
of continuous
see
friction
how evidence
over
strings.
Indeed
more
of instruments
which
were
in
established
use.
actually
exist.
They were
not
permitted
to
make
special
B2
made
mention of ".musical
in the
law of which
-j.
GUIDE.
one on
whom
they flank,
on similar
rightly,
the
same
to yield their
direction.
Whether
it
quotum
lines,
think
of evidence in
will ever
be possible to
fulfil-
say, but I
sure
it
may not be at
am very hopeful
the present
it
will
come
all
the
moment easy
of such a solution,
and
to
am
mildest
and
at every hazard.
instances of the
results
As one
of
of the very
unconscious
\olume
bias
a few lines
in
my
purpose.
"
bow, a
girdle,
a bridge
its
price a pound.
Now
comment on
writer
that
is
frame."
"it
is
in
which the
instrument,
supposed
passes
my
to.
but
how
the
fourth
comprehension.
confess
If literary
it
seems
bow as
writer
to
me
as
could well be
may
reject
could be
line
as well
world.
am
almost
comment
There
is
no mistake
in the translation,
it
bwa
a gwregis,
etc."
THE FIDDLE
It
FAN'CIER S GUIDE.
would
might have
of fiddle, said
it
not a right
it is
may
it
be.
by the natives
a curious sort
have been
to
in use
with
relic,
antiquity
especially
it admired by foreigners and learned antiSo much for the claim of poor Wales. Just
previously the same distinguished writer had given an
illustration of a Burmese " Thro," which happens to be a
if
they find
quaries."
Ava
in
the year
The
1795).
adduced in support of the conjecture that this instrument is of Burmese invention, or, at least, not a repro-
is
it
to
who was
is
person
it is
of the
This simple
" is
sarva,
said to be a deriva-
number
of
"
Indian
is
ancient
and indigenous
to the country in
is
to
be
which a member of a
existence
" people
it,
poem minutely
then in existence
describing an instrument
is
no reason whatever^unless
for
always say
be that
it
when they
these things
possess
considered an
element
evidence pointing to
sufficiently
weighty to make
Oriental origin,
its
why
should
manner
to the
or " engraved
but suppose
"
It
do so
merely to show
how
easy
it
who had
their letters
chelys
Romans
the
same
{x^Xi<i)
called
it
creature,
an arched
back
shell of a tortoise.
if
cut
The
and
The Greeks,
their
name
testudo,
and
for
which
is
a tortoise,
the Latin
and the
name
for
any stringed
Now,
is of an arched character.
how is it that the Anglo-Saxons and the Welsh, alone
among all occidental peoples, retained the original Hebrew
instrument whose body
THE
F1DDI.I-:
FANCIKR
GUIDE.
hrotte,
thence to
with
rotte,
crotta,
crowd, until
these,
its
Cornish kroud.
Provincial
Words
" cyond
and
crouth are
make
is
found as nouns
a grating noise."
It
is
Hebrew
almost identical
in phonetic
is
It
Suppose we go a
little further and point out that long before the Greeks
and Romans knew anything about the British Isles, the
Canaanites (Phenician) had colonised a considerable
portion of the mainland, and were busy working its
mining resources.
The Cassiterides islands were no
doubt known to the later Greeks by name, but Diodorus
He had
early
reasons which
cogent have
relinquished
scholars
were.
for
Although some
do not appear
the
notion
modern
to be very
that
the
itself,
and
all
the
(.)
They
designations
are
day.
baptised
streams
the
all
Te
the
of
letter
final
Hebrew alphabet
ancient
the
There
or boundary.
limit,
is
the
it
We
a river.
Tavoy,
Tay, which,
boundry
Southern
in the
line
in the
modifications of "
all
visits
the steady
manner
Southend,
in
still
title
has
now
thousand years.
carrying the "
the matter of
as
borne,
It is
for,
it
may
" melting
still
be,
away
" the
have
said,
and
the
teems with
words
does
all
this point
to
In
the
these ancient
Phenician
the
four
land
dialect
What
it
three or
Hebrew
is
may
stream
Heme Bay or
estuary
country,
Yevi,"'
it
in
of the
or
Canaanitish
and nothing
in the matter.
Of
less
if
etymology
is
to
have
its
say
musical instrument's
name
is
to be
found throughout
THK
lO
is
the
Hebrew
Irish,
French.
Caroth, old
Hebrew word
Scottish
is
word
Chrotta, Crotta
The
Cruth
form.
and
sound of the
initial
loch,
ox in the
G er\m.n
hoch.
By
variety
rotel, roet,
which are
rotteh, rote,
But
in
iriote, rott,
whatever forms
this
That
is,
as
it
and
in a
With regard
bowed
manuscripts
centuries
dating
which
sculptures of
rote,
dating a century or
it
is
and on
two
later
a mistake to
suppose that the dates of these manuscripts and sculptures indicate in even the vaguest
or
people
This
is,
II
could in those old times become conventionalized decorati\e adjuncts of architectural structures
they must
people's
for
life
immemorial
ages
especially when
purposes of religious
one
might say,
a phrase to which
some
if
of us object for
no
particular
Although
accurate.
strictly
for
respectful
on that
terror
look
with a kind of
magnificent
hyperbole
of
to'
in
somewhat
of the
same
spirit,
but in
these
twelfth,
and
less beautiful
and thirteenth
fiddles
of
all
sorts 'and
sizes,
indicate
that the
way to
schools
and
chroniclers
builders
monuments
of their
They
in
their
appearance
results of selection
the
matter of
are
almost
merely
existence,
The changes
found
are
certainly the
in
probably
CHAPTER
II.
THE
is
known
earliest
the
and which
Poitou,
now
is
called
French province
Vienne.
fancier's
point of view
of
the department of
was born
from
in
fiddle
two
lines,
which have
for
many
The
" Venantii
follows
"
Romanusque
in
a volume in
Poemata."
Fortunati
lyra plaudat
They
161 7,
are as
Barbarus harpa,
tibi,
translated
in
is,
several
meantime,
ways
w^e
to
may
" Let the Roman praise thee on the lyre, the Barbarian on the harp,
The Greek on the Achilhaca, and let the Britan Crouth sing."
What
It
is
That
the Achilliaca
was
is
not
certainly
known.
however, of
little
importance to us at present.
as
What we
a passing matter.
concerned with
is
1 3:
are
context,
its
l>ritish
dispute.
Why
chiefly
me
That
this
that
the
means
to be quite
beyond
the bishop
Welsh commentators
as
complimentary allusion
to
performers,
Avhat appeared to
about
it
a soupgon of egotism.
it
appears to
\ery natural
one
me
for
was a
to draw,
is
although
do not think
ance or
employ,
He
effect.
or
did
compound,
not
scruple, for
term
the
example, to
" Achilliaca,"
it
to
there
such as
Cithera or Chelys.
instrument
on
that
But
term "chelys
made
account
it
" to
new name
although
is
be
for
such
like
THE
14
would
I'ANCIER S GUIDE.
1-IUDLIi
undoubtedly seek
to
discredit
be a corrupt form of
sidered
to
deavour
to restore
it
the
That
not the
is
first
literature,
Achilliaca "
**
to sing."
any one
Now
it
and of which
At any
materialisation.
its
*'
know anything
rate,
means
numerous commentators on
of the
whatever
that canere
this precious
bishop
is,
singing.
In
words,
other
think the
am
an
supported in
Romans
extol thee
on the
lyre," etc.,
indeed very
much concerned
enough had
his
laudare,
wanted
be accurate.
He
He
purpose
He
to
in
and therefore he
" Let
plaiidaye.
Romans
the
(applaud)
praise
by
He
and
Achilliaca,"
"
the
let
British Cruth
clap,
to
signifies
secondarily,
beat,
applaud
to
to strike,
that
in
sing.''
Plandare
stamp, and,
to
and
fashion,
this
words
to describe the
marked
distinction
original.
la
harpe
et
crouth breton,
Why
clearly
come
suppose that
out.
it
hope
it
is
not
to
it
uncharitable to
seem
to
Le Romain
cithare, le
This
la harpe, et le
English, would be
"The Roman
literally
thus
Barbare avec
in,
it
crouth Breton."
with the Cithara, the Barbarian with the harpe, and the Breton
crouth."
l6
M. Fetis'
M. Vidal's.
translation
which runs
We
quite
is
as
unsatisfactory as
froni
Herr Abele
" Der Romer lobt dich auf der Leier, der Barbar singt dir mit der
Harpe, der Grieche mit der Cyther, der Britannier mit der crouth."
" The Roman praises thee on the lyre, the Barbarian sings to thee
with the harp, the Greek with the Cyther, the Briton with the crouth."
Then we have
of Fortunatus
" Let the
in
Romans applaud
confess
original.
made without
ha\ e been
let
They
appear to
all
lation which,
imagine,
is
more
words,
faithful to the
To
thee the
Roman
At the
like
to point out
meaning
that
the
literal
and
who
fully
should
extended
died just
when
is
The Roman
Greek
and
(to thee)
And now
for
it
certainly
this
valuable couplet
bowed form
when we reahse
lence of forms
are
long prior
found
themselves
to
representation
the
of
is
that these
the
when they
periods
the witness
in
box,
the real
enormously enhanced.
crouth
or
trithant,
three
was found in
a manuscript of the eleventh century in the abbey of
Saint Martial of Limoges. That manuscript would not
be a register of new inventions any more than the
bishop's reference to harps and lyres indicated new
stringed
crouth,
instruments.
It
played with a
is,
bow,
existed during
later period.
all
that time
The Welsh
and down
to a
much
He was
alive in 1776.
have
previous work,
indicated
that
bow
in
also,
awarded
king of Cambria
first,
who
to musicians
by Howell Dda, a
The
recognised
in
these,
bagpipe.
representatives
have thought
of
for
the
various
purposes of
CHAPTER
^hc
AFTER
the
literature
III.
early
and the
Cruth
period
Fortunatus,
of
hundred
years,
But
it
contrary,
was
it
quite as
much an item
On
the
in the life of
it
had been
and found
to
be
manuscript as
it
fitting to
adorn a
illuminated work of
the
was
poet's
line.
In
the
Latin
but which
is
now
in the
trithant, is
and having no neck nor fingerboard, but a somewhat large oblong opening on each side of the strings, so
as to permit the hand to pass through from the back in
other,
Coeval with
we
find
this
cruth trithant of
perhaps on
appear to many
different origin.
classification as of distinctly
VIOLS.
I9
for
like
modern
saying
with
myself
here
cruth
the
that
medium
of those opinions.
detailed expression
conviction
is
hardly a suitable
violin, are
progenitor of the
that
the
and that
violin,
content
harbour
still
through
more
for
will
viols
is
the
the
have found no
this belief,
confirm
it.
fairly dealt
have shown,
seeing
a bow,
and there
everyone
almost
that
ment.
notice
And now
the
fact
my
want
that
very
is
room
agreed
is
for
that
a similar instru-
is
readers particularly to
period
for
little
of
hundred
five
ence
to,
or
artistic
reminiscence
of,
instrument
this
between the two dates over the whole area of the then
civilised world.
am
asking an interest in
enquiring
to
if
be chary
it
am
merely
drawing
conclusions.
Should
it
not
innnature classification
certainly think
it
should.
existing through a
it
02
monument
artistic
two dates
We may
20
when we
well pause
GUIDE.
known
at
in
all,
merely because
literary or artistic
remains.
shall
of
line
classification
will
in
show
kinship to the
monarch
their
viols.
to prove
their direct
although
it
we now understand
post,
certainly
it
is,
in
my view, sufficient
that term,
had one
in
in
through the
the
left
long,
left
The
although
the rebab.
is
may
it
It,
however, had no
ancestor of
sides,
and
as the
passed over.
Its
it
am
back
must be
far
word
It
and
is
sounds."
name rebab
quoted
I
as
supposed to
meaning
be an Arabic
" emitting
is
melancholy
mistake.
The
being interchangable.
and
if
VIOLS.
21
signifies
the heart,
it
we may
further,
The
earliest
known
illustration of a viol
me
to
The
First
Book
the
instru-
of Songs,"
and printed
at
Verona
in
and apparently
strings
of the
Welsh Cruth
fingerboard.
early viol
is
on the
this
very
it
in
this,
find in
instrument, there
to
we
\-iolin
form
position of the
is
in
known
illustration of
such an
sound holes
of the
in
22
There
holes.
GUIDE.
is
as
many
In addition there
is
in this
feature,
board
quite a long
is
attached.
still
The
finger-
frets.
to violin form,
in
49 1
work published
in a
in
Italy
all
by
like the
ment
It
is
modern
violin
bow
violin
is
the drawing of a
in principle
and
in
bow
little
longer than
mechanism shown on
the instrument
and has a
is
The
original
in
as
measure-
straight.
In view of
all
this, in
and
it
stringing with
appears to
me
known forms
difficult to
Book
of
Songs
" of
was
my
came from
and
VIOLS.
in these are
come
entitled "
to
and
23
Roman
The
Musurgia Universalis."
of
press in 1650,
illustrations
of viols in this
book represent
present day.
to
our- present
violin
and
outline
large and
He
model.
They
form as
small
having
it is
calls
at the
them
are four-stringed
The
is
much
the
The design
*of
Kircher, in describing
was commonly
called violone,
he
at
calls a
the
most four
board than
is
is
strings,
one can
which
it
has
ascend as far as
shown
remarkably accurate in
its
its
general features.
The
24
is
placed.
With us
it
occupies
flat
or
There they
slightest importance.
head
to tail,
and
nearer
felicitous
outlines,
fingerboards.
are, vioHn
forms from
to
little
the
What,
and
if
volutes,
in-
holes,
will
here
it
this violin
this
form
book, but
through
to the
also
actually
printed.
existed
long before
Kircher's book
was
CHAPTER
IV.
BRESCIA
and Cremona
centres
fancier
it
that
of
is,
should be
interest
are,
for
the
intelligent
so,
for,
If
fiddle
not so,
it is
many
other
instruments of
knew what
much
to look for,
the
same
class
and where
still
if
producing
people only
to look for
it
but
of
It is,
among
pro-
Now,
may
that opinion
is,
bulk
new
violins
of the
trade
class
possess.
Curiously
26
am
speaking
and
thirty
now
principally of
pounds downward
from twenty-five
iolins
and
way
bad
to
good
instru-
ments.
began
to take
bad
"
here
an interest
to
time than
much
that
apparently fixed
the
people to have an
want a
they
in violins,
me more
determination of
hazards.
beautiful
old
It
is
violin,
not so
or
an
its
Few notions
Age guarantees
its
wood
a fracture or
side, or
guarantees
nothing
with
regard
good
violin,
excellence
to
If the
instrument has
of
quality in
scientific or unscientific
has
27
great
many
tone
through
and
treatment
kindly
the
beneficent
explanations are
researches into,
have nothing to
tone,
but
concern
his efforts of
daresay
were
himself involved in
it
will
be accomplished in a trustworthy
existing
or
about subjecting to
set
do not think
as
production
it
investigate
and
of
conditions of
its
were to
scientist
practical analysis
verities,
of,
phenomena which
do with the question of improvement of
only
If a
quality.
mechanism
the
a box,
in
technical terminology
and more or
is
together,
less taste
sheet of paper
To shake
limitations.
one
and
skill,
way
of explaining this
curious
for his
in
deadly earnest
own
preservation,
worker
little
store of
placed
some
patient
28
Lucubrations of
of the country.
this
who
only
Many
dence
in
them.
or innumerable
of
this
is
it
in a
may rest
There
after.
is
assured that
marked degree
now
modern work,
be well looked
will
coming
not
now determined by
thousand
another.
pounds.
com-
in
characterise
price "
few
And under
much
that
for
one
violin,
moderate
Forty
and two
price
for
finish,
and down
to
five
pounds,
if
unhesitatingly,
which one
violin
say this
The
difficulty is in
29
there are hardly two vioHns aHke, and one does not meet
many
a great
It
people
and
like
for
Many grocers'
good substitute.
a
who
tell you
hand on a small
assistants could
fairly
be a very
to
scanning the
roll
of the
leaf,
No man
by
any day.
the late
J.
was about
to say not
any
have been
made
in a great
ently
He
many
although he
professed to
know
differences
sound,
know appar-
the
new instrument
twenty, or even
is to
purchase a
same money
chance which
is
not
And if they have no knowledge themwhat a violin tone should be, let them seek
the services of someone who does know.
likely to occur.
selves of
CHAPTER
Classkal anb
Jpost-dassical
THEarrangement
reader will
turn
to
following
found
name
alphabetical
will
of the maker,
possible
it
to
There
differentiate.
is
be able
and
I
find
have
very
little
He
iltakcrs.
^there
large
the
find
Violin
easy of reference.
once to the
at
V.
this
list,
and given
all
have ex-
time,
am
Such names
are
etc.
have seen
To me
when they
names
these
all
suggested in the
appear
to
following fashion.
repaired a violin,
be
concoctions
Italian
makers,
in a
handwriting, but
da
rtie,"
now and
by me."
which is,
this
This means
I
I
have seen a
by me,"
ticket of Carlo
think, reproduced
expression,
literally,
" Revisto
da
somewhere
me
" revised
Bergonzi's
containing
Carlo
Bergonzi."
and
not,
perhaps, acquainted
hand.
become
in their turn,
partially illegible,
have
At any rate
Renisto.
this is
my
change
it
n,
am
quite open
world.
ha\'e
the
regard
to
"
Acevo
and
have
Sapino
fabricated names,
and
long
been
suspected
as
either.
of
which a
mystery
violin is generally
work
in
addition
made.
names,
attached to Acevo
is
an
and
air
in
of
Sapino
32
ground
GUIDE.
for
dispelled,
actual makers.
Acton,
W.
vi^ho
made
for
good
very good
Peter
Good
17271807.
maker.
of our
Violins.
maker
One
Contemporary.
J.
native makers.
1673.
An
old Tyrolese
quality, but
1712.
Son
of preceeding
maker.
father.
In some cases
it is
for
Cremonese work.
know nothing
He
of this maker.
is
1670.
supposed to
of this maker.
I
know nothing
made instruments
of that
1792
Paris,
1840.
Some
the
of
work
of
praise.
He made
model and
this
maker
arching, but in
is
highest
for the
calls
in
getting the
sometimes very
it
spiritless
is
and common-
The
The
irregular in width,
which
in
some
is
sometimes
tells
a different
tale.
His arching
pot-bellied.
full
His
height.
finest
is
much by
and
\'ery fine,
varnish
is
33
many
his ribs of a
of a dark
this
reddish
maker's work
the comparison.
1735.
A very artistic
in
proud
of.
generally in
macher
mostly.
Tickets
Alletsee Geigen-
in Miinchen."
known.
It is
The date
of his birth
is
this
not
first
is
have
One was
which,
Charles IX.
it
is said,
It is
''
to
34
S GUIDE.
is
The
its
purfling certainly
of exquisite quality,
is
but there does not appear to have been the same care in
selection of wood
The second was another
the
as
makers displayed
of the
same
me
suite,
later on.
but a violin,
as being particu-
Instruments by this
There
is
an Antonius mentioned
in the
documents of
The
They
wood
selected
is
brown with
and
a tinge of red.
The
and the
sizes
The arching is
of the instruments are generally small.
somewhat high, but finely and gracefully carried
of course, nothing of the grotesque
out, and has,
All
and tubby character displayed in imitations.
the work is of a refined and delicate nature, and
harmonises well with the choice of wood, which
described as
fine,
and
delicate too.
may
be
of this firm's
close.
wood
Many
35
usually-
it is
The sound
odd
The
to a certain extent,
on the
rise
of the
if
knockkneed, so to speak.
little
apprehension
they were in
The
that in so cutting
is
fact, just a
of this mis-
result
them
many
in
of even
to
ludicrous
it
Some
unseemly
or
abused
to say.
as
The
gilded,
many might
not
think
it
H. Amati
and sweet, although
of
and otherwise
Amati,
great
Nicolas, Cremona.
artist
of
the
family.
He
w^as
son
of
the
36
rare, although
number
Indeed
margins.
in
have seen
as quite rounded.
late
is
One
of course, fine.
They
corners.
may
be seen
are so fully
peculiarity
At any
almost disappears.
The
generally very
ribs, is
His varnish
wider.
brown,
through
to
is
Later,
rate,
it
figure of his
work
all his
The
full.
in
later a
golden
The model
red.
of
it.
much
The width
H.
The sound
appear as
if
robust look,
in
holes
that
a fine specimen
infinitesimally
less
is
the will
o'
the
who
was
of
children,
Among
his junior
whom
the pupils
as
is
37
by thirteen years.
who
may be
fifteen
years old.
not mentioned.
Then,
in
is
is
February, 1740.
member
father's calling.
He
who
followed the
name
are
all
to
made by
one man.
Ambrosi,
p., Brescia,
Rome,
1730.
Reputedly some-
Very
little
AuDiNOT,
skill
or fame.
Nicolas,
Paris.
An
excellent
French
of great merit.
THE FIDDLE
38
AuGiERE.
FAN'CIER's GUIDE.
about 1830.
Chiefly
vioHns which
known
of great
is
markably
except
in
almost
points,
all
finish.
Brother of preceeding.
Poor work.
Barnia, Fidele, Venice, 1760.
in
Milanese trained
Venice.
Fairly good,
Banks,
1795.
Quite equal in
of
His margins
His
and of true Nicolas Amati early style. His
'arching is exquisite, and the tone of his violins fine and
ringing.
The grain of the wood is generally remarkably
His varnish is decidedly
equal, and of medium width.
are
His edges
One
style, finish,
splendid.
corners
beautifully
rounded.
full,
rich, of a
beautiful purplish
transparent.
and grand
in tone.
1780.
pupil of
Dull, thicker
Barrett,
J.
London,
1714
1725.
much
copyist
of
exaggerated, like
who have
tried
They
all.
are
title
caricatures.
work is,
good
breadth in it. His
of
the
Varnish
round
is
of fairly
a warmish yellow.
Edges
Bergonzi,
maker
copies are so
Barrett's
may
of Stainer copies
His tone
amount
It
it.
39
is
A member
1747.
This
the Cremonese
artists.
Cremona,
Carlo,
one of the
finest of
1716
par
excellence^
Amati
known
when he was born, but he began working
on his own account in the year first mentioned, and died
in 1747.
He was a pupil of Stradivari when the latter
was doin^ his finest work, as seems to be borne out by
the grand outline of Carlo's own work, which is akin to
The
the best of Stradivari, and of Nicolas Amati.
Stradivari,
Guarnieri,
Bergonzi.
It
is
not
yet
The model
is
grand,
There
is
is
40
In some instruments
on.
unlike the
it
has crackled
famous
of the
There
marked
the
boss of
itself
last
His
scroll
is
More properly
called.
volute,
on some
very
fine.
peculiarity
sometimes
is
it
the
is
over, not
all
Vernis Martin
old
as
manner
GUIDE.
it
would be
or
at the last
This
turn.
previous turn
is
The
instruments
is
generally splendidly
full,
of'
tone of his
broad, smooth,
was a son
His work
of Carlo.
1760.
This maker
not equal, by
is
but that
is
many
not saying a
very great deal against him, for his father, as has been
said,
was one
the
of
greatest
many
perhaps
him on
in
back and
front,
is
Cremonese.
and plenty of
the
fastidious judges
of
is,
it.
His work
artistically finished,
is
solid
but there
character.
fair
His outline
is
there
is
is
good
of
much
a sense of strength
all
that
his
4I
ments than
his father,
do not
like
them
so well.
for a Bergonzi,
me
it
ordinary.
Bernardel, Sebastien
He
Mirecourt in 1802.
went
to Paris,
Phillipe, Paris.
Born
Nicolas Lupot at
first,
He
many
is
of his
Bernardel indeed
was
to
He
retired
like
be expected.
at
much
those of
They
are
appreciated
became
Eugene Gand
brothers, and the
late
Bernardel Bros.
42
GUIDE.
Lincolnshire, in
at
Stamford
This maker
showing
which, besides
apparently the
is
primitive
paint in
what was
original,
which
is
The second
as
it
might be named
in
Strad," one of
Nothing
definite
it
Some
years ago.
Exchange
twenty
or
shillings,
Bank
of England.
The
its
selling
it,
not having, of
value.
knew what
ever,
him
Royal
for years,
much
as five
it
is
not without
its
parallel,
even in
recent times.
wood
violin
who
maker.
in the back, as
it
in order to
match
its original,
43
little
Anything
topheavy.
who
pupils
of
chiefly
make
for
them, and, as
far as I
that
was
splendid,
and which
will
BoQUAY,
famous
model
Paris,
J.,
in his day,
is
high,
and
1705
One
of the best
models.
L.,
him
maker was
yet.
His
Berlin.
German
He was
This
like
Bachmann, C.
1735.
Born
copyists in
1716.
Died 1800.
professional
musician
at
the
oil
varnish.
light
to look at,
though of rather
common
type,
and such as
44
The
ment.
tone
is
GUIDE.
The arching is
by no means bad, but
altogether the
work
is
and
what
a good
is
in
all
to a
is,
flat,
violin.
Contemporary.
pupil
and
Violins, violas,
basses.
1760.
and pleasing,
fine old
Fine wood,
who
maker
fairly
good varnish.
This was a Piedmontese
maker, about
much
Fetis had
was born in Cremona, and had been a pupil of A. and
H. Amati, giving other apparently well ascertained
particulars regarding him which very naturally led
people to suppose that he had acquired them in some
foundation.
An
of
much
little
to
Italian connoisseur
some trouble
failed.
Conjecture appears
first
information
is
at
work
in
to find out a
his work.
It
now
tickets
and
this
found
Anything that
in
I
have
sound
tasteless
for the
style, varnish,
cautious.
this
good
style,
his
fairly
holes.
honour of
else,
little
who
which were so
dummies
sons
supposed to
is
showed poor
generally tubby look, and rather
although of
lived,
45
not.
He had
is
of
importance.
may
it is
thought
An
and whose
violins
Italian
maker who
appear to be remark-
was
a son of above,
ments than
1741.
This maker
his father.
The
instru-
Poor work.
maker
is,
of Storioni,
in
Italy,
on what ground
it
is
difficult to guess.
This
pupil
He
46
removed
the
into
premises
1790, or, at
in
least,
occupied
previously
by
Saint Domenic.
Perhaps
this
circumstance
very
Ceruti
The
cherry colour,
dull,
may have
common
little in
The instruments of
elastic character,
is
It
is
frequently of a
Guiseppe and
scumbly.
rather
on the
carried
of
traditions
the
house
wdth credit.
1883
i860
in
line
last
severed, as Giovambatista
Storioni, of
much
greatest of the
talk to
was the
depository, through
Cremonese School.
As
the irresponsible
something
to
do with
confusion
the
of
rise
has
knowledge
is
not so
much
at
Chanot, Francis.
Born
Rochefort, 1828.
He was
scientist
of
who
violin
at Mirecourt, 1788.
Died
acoustics
and
construction.
He
invented
new
although
He
violin
it
which
made
did
succeed
not
47
permanently,
continued to
make and
specimens of
sell
They
it
for
almost
differed
now
interesting in
many ways.
protruding
margins, no
sound
single pieces,
in
and so
on.
known
Chanot, George.
at
Mirecourt in 1801.
went
to Paris in 1819.
of his time,
Became one
and worked
first
makers
of the finest
then on
his
82 1, with
own
retired.
Gand
for
two years.
when he
He was
reputed
the
Then
In 1823 he began on
finest
connoisseur in
He died in
January, 1883.
came
for
and afterwards
who has
have seen
was made
name and
and G.
by
as
this latter
A.),
reputation in
and Manchester.
CoMBLE, Ambroise de, Toumay, 1720
far as
worthily
London
1755.
This
48
He
ment.
at
acknowledg-
to
high character.
extremely
and
beautiful,
bears
recognisable
quite
who came
much
lower than
that sense of
but that
De Comble's
is all.
maker
a curious circumstance in a
so directly under
Cremonese.
from the
is
imtif,
in Stradivari
it
is
said,
was a
Varnish a
Italian.
worker who,
scrolls
very good
Made
pupil of Forster.
ribs.
Light yellow-brown
Fine wood.
varnish.
common
sound
holes, very
They
worked
conjunction
in
outline.
He
Barak Norman.
with
His
J.
B.
Vuillaume
From about
in
1820.
outward
good
appearance,
some
of his
The
violins.
sometimes, more
His
Vuillaume.
is
like
His varnish
Tone
purple.
fairly good,
crackly
than of
is
The sound
curiously enough,
1754
His outline
magnificent maker.
Gand
little
Gand
49
is
1780.
This
very pure
is
Amati or
not
particularly
The
better.
but those in
fine,
latter
are
cut
little
character.
in line
consider that he
is
are,
it
little
or
It
no
is
life
of a
in
it.
to.
man who
make
did not
1823.
This was
a,
men
of the
highest
instruments himself.
to
set
least as
vioHn
the temse on
fire.
Dodd
skill.
It is
a nice
The
oil
varnished the
instruments,
such at
Dodd
professed
to
be
" the
only
50
GUIDE.
Cremona
varnish."
may
and
tickets,
DuiFFOPRUGCAR,
1510
1540.
Gaspar,
This
is
Bologna,
Lyons,
Paris,
violins,
seems destined
made
The
violins.
latest fight
was
May,
in
891, in a
by
violins
one to
whom
the sense
Vuillaume's
fac-similes as
The whole
New
that
him that
modern
is,
J.
suppose
of
battle
has
spread
own has
B.
they
professes to
that
clever
should be called.
who
my
reproduce
it
First Violin
in
or eight pages,
"Was
Maker
"
Gaspar Duiffoprugcar
I
really the
great Bolognese.
clever
(juality
of
varnish, but
About
1750
fine finish,
1759.
tone.
there were
5I
of his day.
his violins
to
understand
why
worms has
told against
down
work
He
is
of
of the
spelt his
name
" Fent " in his tickets and his calling " lutier."
is
spelt differently
relative,
as
may
Bernhard learnt
be seen by
violin
making
52
Thomas
ment with
Dodd
GUIDE.
tone which
The
varnish which
what he professes
might
Dodd
it
quality
in
to be,
mislead
readily
having
art,
Cremonese
exquisite
is
truthfully be described as
His
mentioned.
already
is
who have
people
Bernhard Fendt
examples of Cremonese.
seen
not
worked
also
John Betts.
Fendt, Bernard Simon, London. Born in 1800,
He
died 1 85 1. He was a son of the previous maker.
for
spells
" Bernard,"
as will
letter "
now
There
roundness on
all
is
having a
margins,
and handsome
full
and
very good
exceedingly
neat
fine.
brilliant
excellent
displayed
London
the
while
Altogether his
great
His work
is
He
any
of fine
a rich
purfling,
is
rarely found in
also
his
earlier
made
'cellos,
and
International
scrolls
and
are
instruments
a
number
of
1851
he
Exhibition
in
in
in
the
show.
in the opinion of
country,
almost every
surpassed anything
sion,
and although B.
S.
went
to J. B. Vuillaume, of Paris.
Bishop,
Hector
The
jury on the
Sigismund Thalberg,
Berlioz,
53
J.
W.
Black,
R.
Sterndale Bennett,
Neukomm,
Chevalier
Henry Wylde.
They were
Smart and
W.
Cazalet,
by the
James Stewart and William Telford.
Only one
of these
Professor
Rev.
assisted
violin
fifth
a clergyman
who happened
rest
and organ.
awarded
in fact,
who
and it
surprising that the object rewarded
in the world,
for
the
is
not,
in this
the
necessity of
That
is
54
Council medal to
was
breath for
that
B.
J.
enough
quite
S.
Vuillaume.
it
away any
take
to
and
time,
all
GUIDE.
maker's
violin
is
year
Seriously,
will
which
fiddle matters
more
years ago.
none
yield to
in
Fendt
my
admiration of
know
also
somewhat
much
for
J.
B.
that B. S.
similar
processes of that
amount
unusual
of
hardihood
in
almost
every
the
arts
of
self
of
the
advertisement.
The instruments
Fendt family have
of
The
is
member
for years
beautiful
character of the
sufficient to
is
account for
this,
almost
a
fine
Cremona
instruments
his
name
is
is
violin.
absence, what
The
occasionally a
varnish
little dull.
it
is
on
to
his
have
later
In his tickets
Born
Died 1849.
1815.
members
other
His wood
of his family.
55
is
work of
generally
\ery fine and regular, while some of his backs are really,
in regard to figure,
most
sound
the
copies,
In his Guarnerius
beautiful.
holes
exaggerated
rather
are
he
respect
in
is
as
the
this
best
have great
him and
Stradivari, as
and
that
his
imitations
he
left
done, and so
to
do
to
failed
reproductions
imitations
in
clever
simply
it
perfectly.
stances,
put
they
that
When
of
too
we
nothing
it is
of
the
thei
old
may
old
masters, and
tickets
and
very
be absolutely certain
undone that
who
he
could
have
With the
wood
by
artificial
breaking up
barring, perhaps, the
"
of varnish makers could not do better than " slavishly
appearance
artistic
in order to live.
56
was constrained
to turn out
is
the
visible in
could do the latter thing, and at the same time turn out
make many
father in the
making
violins,
He
his father.
of double basses.
His
scrolls
model
and
little stiff-looking,
it.
by
reproduced
faithfully
not
so large
Ford.
the
as
Stainer's
Italians,
are
margins,
much
less
is
no great
credit,
things.
The sound
is
may
well ask,
Stainer
"
"
What
is
the
is
about
there
is
great,
and
57
chiefly
of
follows.
It is
understood that
He was
violinist,
celebrated throughout
spinningwheel
Born about
maker, violin
1738.
maker, and
the country
side
in
own account
in
Duke's Court,
St. Martin's
Lane.
and
between
last
date
and
1782,
he
added music
was
in St. Martin's
Strand
No. 348.
In 1781, he
Haydn
label.
He
negotiated with
works, and
among
his
THE FIDDLE
58
no
FAN'CIER's GUIDE.
famous
litterateur,
1807.
That he
died
in
made instruments
good, and
much
admire the
confess
course, judging
violoncellos
coveted.
of high
do not altogether
and
violins
that
is,
to
me
of
his
to be very
His varnish
refined character,
if
W'ith
dull,
is
but of a
staid,
may employ
such expressions
The
much
one
regard to varnish.
is
colour of
of
it is
like
entire
absence of polish on
air
its
eminent respectability,
piece
of dull
always
fine.
an
of
well-worn
two before
that.
On
these
it is
He made
His commoner
violins, etc.,
had no purfling.
Labels, William Forster, Violin
Maker, in St. Martin's Lane, London.
Forster, William, London.
Born 1764.
Son of
above. He began to make violins early, his first one
being entered
is
His work
is
generally
nnd
is inferior to
ones.
His varnish
died in
labels,
Duke
"
and
of
same
is
Music
made two
dozen common
only
and about a
Added "Junior"
1824.
He
59
He
name in "his
Prince of Wales and
to
Seller to the
his
Cumberland."
Born
Died 1824.
have not seen'
1788.
violins.
any.
FoRSTER,
Died 1869.
of great
Violin "
which
contains
He
work
states in this
that he
made
instruments, of
would be
in all
and
and that he
of an
all classes,
deal
of
valuable
School of Makers,
violins, four
fifteen
five
also
double basses,
made
other forty
That
inferior quality.
have
FuRBER, London.
the early
members
But
am
not in a
of
which very
little
is
for
known.
others.
They
The
Stradivari,
i60
will
equal.
service
all
time
Gabrielli.
last
century.
Christoforo,
Gian-Battista
wood
in
quality,
his
but
Of second and
instruments.
carefully
made.
Yellowish
The
third
rate
varnish,
and
Born about
1640.
to the
is
said
to
manufacture of
violins.
The
that
is
quite correct
in order
learnt
fencing,
man, a member
of a family called
Mayo.
They had no
6ll
swords,
crossed
New
square of
little
Franciscan's, which
of
man were
sufficiently powerful
Kingdom, and Gagliano, alarmed at the possible consequences of the deed, sought asylum with the brotherhood,
and put himself under
one
The
their protection.
Count Penneranda
was
viceroy
vehemently opposed
to
intimate
with
offenders
man
murdered
the
greatest
was, in this
and
friends,
case,
naturally,
one
The
rigour.
of
his
most
resentment
his
was-
considerably accentuated.
made determined
efforts to
more
than
once,
shown
however,
themselves
to
at
to
last,
increased
his
retire
repulsed.
anger, and he at
if,
This,
length
of
course^
threatened to
himself up in the
affair,
in their efforts to
of the
way.
He
arranged
all
by night
and accompanied by
him to Mignamillo, in one of his districts, from whence
Gagliano, from this point,
he sent him off to Rome.
directed his steps northwards, and it is not unlikely that
a well-armed escort, he dispatched
62
travelled from
came
town
know
to
town
to
Stradivari,
He
shop as a pupil.
for
At any
turned to Cremona.
his thoughts
until
and arranged
worked,
it
rate,
he
is said,
enter his
to
with Stradivari
The
1695.
that
it
when
is
that great
Amati, or had, at
Now
the \uolins of
the
during
is
period
flat
model,
have made,
until
is
supposed to
is
ments
two dates.
flatter, and
these
much
The
His wood
is
tint,
but
is
of a fine quality,
The
large
figure
kind
corners careful.
and
and
of a pure
fairly
The
and
round and
full
in
the lower.
is
very good,
upper
strings,
He
died in
was
rather a finer
workman than
his father,
and had a
63
an altogether
The
and
outline,
varnish
is
different
The tone
example. He made
very transparent.
is
in a fine
a large
body
after
He
then date.
filius
Alexandri
He was
He was
was the
maker
finest
seems
to
" the
second son of
two
"
figures
Gennaro
Gagliano
writing
still
and a recipe
fecit
He had
chiefly,
Neapoli, 17
Neap,"
of this name.
fecit
died in 1740.
Allessandro.
He
of violins,
'cellos,
rare.
number
and into some of them, he, or somehim, put Stradivari tickets. His own tickets
and
violas,
for varnish in
own hand-
his
it is
and
to reproduce
and wider.
He
it.
He
employed
that of his
died in 1750.
Born
1706,
Died
is
at
and
rises
somewhat
64
away
it
appears
The arching
of the
more equally
distributed.
back
wood and
well
is
Varnish a warmish
work.
finished
artistic
front,
spreads
volute
rapidly
out
at
from
it
bottom
at
Tone a
Looking
little
turn.
thin, but
penetrating.
so
far
made instruments
concerns
as
made
but
violins,
An
Brothers
of no great importance
good
fairly
is
Gagliano,
Giovanni,
He
Ferdinand.
know.
He
brother of
better as a violin
Another
Naples.
was rather
left
died in 1806.
maker
nothing of importance
They worked
in
Sons of
Vincenzo,
Naples,
is
the
last
of
this
with him.
Gand, Michel,
Versailles.
He was
He
780.
65
first
born in
His
instru-
Charles
Gand,
business in his
He
August, 1787.
till
1810.
He was
They
The
Viewed
any other
The varnish
at least not to
is
He was
near
the
supposed to catch a
of
mark,
family
is
It is
where
violin in handling
which
generally
bottom on each
very
work of
margins
has
been
has
the
it.
left
patches
hands
It is
modified
are
a kind
by
his
who
having been made
by him.
it
yellow ground.
of yellow
a most
scroll is
at the back,
all
side.
The
fine.
Gand, Guillaume,
Paris.
66
became successor
well
to his father.
appreciated in France.
them.
A.
C.
Gand
did
not
instruments.
Eugene Gand.
Gand, Eugene,
Paris.
1825.
Died
at
with C. A.
Gand
has
While he
and brother he
studied violin
also
making under
studied
Baillot
at
the
violin
his father
playing
Conservatoire,
under
and
the
left
On
it
celebrated
only at the
the death of
personal works.
supposed to have
carried
out with
their
own
Of course
hands.
subjected
be
to
the
supervision
no
doubt,
finish,
One
and tone.
had was
the
the
of
instruments
for
would
style,
for
vivid.
sufficiently
is
to
masters
the
concern
My
understood
of
that
reputation
the
sustain
ensure
to
were
violins
all
67
recollection of
The
18 'cellos,
18 altos,
51 violins,
number
greater
decidedly good
violins
Stradivari model.
these
of
of exquisite
They
outline,
and
fine
traditional
be highly appreciated.
chevalier
of
Nircham
whatever
may
that
be
of the
French Academy,
maker
violin
to the
He was
also a
opinions
recent
occasionally
required
violins,
although his
confirmation.
His
He was
man
of culture
and
68
at
least,
almost
Gasparo da Salo,
all
all
or, to
give
was a
violin
maker
in Brescia
who has
Bertolotti,
hitherto
had the
was
present form.
It
violin
Gio.
its
D'Oneda
Battista
similar
instruments.
discoveries
is
now appears
1529
in
The
as follows
were
origin
On
of
such
as one
makers
also
these
of
important
ancient
conclusion
Brescian violin
his
of
lecture
makers,
and
at
the
and
for the
dis-
would be
all
it
He
at once set
few months
laid before
69
These were
many
and which
them out
be noted
will
Professor Berenzi
in fact,
to
Having accomplished
who
Cavalier Livi,
in Brescia
gations,
is
this
Maggini,
for
entered the
his
friend,
now
his investi-
in
on
path
cleared
his
own
da
Salo.
in the discovery of
concerning this
some very
whom
maker, of
interesting particulars
so
little
was previously
known.
in
to
substance as follows
Gasparo
di Bertolotti
Francesco
di
was
the
known
son
of
there in 1542.
The
pages 224
70
declares that he
is
There
in the second.
GUIDE.
is
the
of
title
at
son
Twenty years
siderably.
He
^"200.
In
in a street
Calvagese
in
near
Salo.
1609,
work
of an artist.
His
like
restraints.
There
sound
That
holes,
is
is
as
if
silken
is
large
fine
feeling
to say,
their
width
is
specified
about
his
parallel throughout.
They
the
blown out
is
same
circles.
The
red, passing
rich
brown
in
through brown,
toast
brown.
7I
The
many
'cello,
wood
have observed
be as wide almost as in
to
In his violins
to rise
Stradivari.
it is
the later
type.
In
face
Gedler,
J.
model.
his
rarity.
1757.
of
His instruments
and are intended to be
The arching
as usual,
is,
much
instrument
is
very deep.
The
outline
is
flattened at top
is
to the violin,
The sound
The upper
is
usual.
consequence
parallel to the
either,
although they are fairly well cut, they have not a very
graceful appearance.
and clear.
Gedler, J. B.,
Tone
thin
96.
Work same
Probably a
in type, but
commoner.
GoFFRiLLER, Mattheus, Vcnice, 1700
1740.
This
THE FIDDLE
72
I-ANCIER S GUIDE.
very long
an appearance
quite
beautifully
cut,
and
is,
The sound
'cello.
The
H. Amati.
in fact, a congeries of
which
one or two
on
design of
styles, the
The sound
by no means unpleasing.
is
holes are
based
evidently
are
have
said, are a
of the instrument.
His varnish
is
a very transparent
and
rather deep orange, with fine golden flashes here and there.
It is
sometimes cracklied
and
it
Goffiriller rarely
all
It is
not yet
They have
When
GofFriller, faciebat
born, nor
he did,
anno
when he
."
died.
in the
shape of a
ticket.
Like his brother's, they are pure in tone and strong. Indeed,
great sonority
is
He was
Born
1787.
73
Died 1827.
is
exceedingly
fine,
not
some
scrolls.
wide.
little
Very hand-
Born
1811.
Die'd 1875.
basses.
These are
so good.
He
chiefly
made double
excellent.
1690
1720.
so-
rather
highly
arched.
Tone, however,
very
somewhat monotonous
good.
looking,
Sound
same width almost to the first turn.
like Amati or Rugerius than Stradivari,
and slightly gaping. Varnish transparent and weakand
holes
of
much more
looking
GossELiN, Paris.
An amateur
74
maker
so-called who
His instruments
are,
His choice
was
original
running
in
GUIDE.
and
felicitous,
the figure
of
in
backs
his
The
belly
wood
wood
in
the
of exquisite
a pupil of KoUiker,
good and
The
original,
finish of the
very handsome.
work
."
1741
1785.
fine
ribs
wood.
below
His
tail
initials
pin.
anno
His
."
work.
whose
Coarse
Poor quality
inferior
is
longer.
little
to
i6go.
A fine
maker in
is
often distinguished
Light varnish
75
also
It is
almost
some-
colourless.
is
good.
1710 1750.
."
Grancino, Giambattista
They
Francesco,
name.
Their violon-
spirit varnish.
fra.
Grancino
in
1695 1760.
."
This
GuADAGNiNi, Lorenzo, Piacenza,
maker worked for a number of years with Stradivari so
and returned to Piacenza about 1730. His
it is said
violins are
They
is
sometimes a
little
weak.
all
tius
Guadganini Pater
Placentiae
anno
et
."
exceed-
The
His varnish
fecit
over.
is
is
fourth
a deep
is
probably the
is
^6
Son
GuADAGNiNi, GiAMBATTiSTA.
to have been born in
there,
and
to
of abovc.
Cremona during
Is Said
his father's
stay
His
He went
to
Piacenza after
1780.
to
Guadagnini Cremonensis
Guadagnini, and he
is
he
certainly
made
some
his
magnificent
nephew,
or
instruments,
wood,
and
fine,
equally-balanced outline.
finely-designed
sound
Joannes
mediolani."
and
his
Baptista
Guadagnini
His arching
sound holes a
little
is
of a
holes.
Tickets
Placentinus
rather
flat
fecit
character
77
fairly
good
tone.
GuADAGNiM.
this
name,
Almost
all
Anna Maria
He
born to him.
When
1698.
violins
Orcelli,
Cremona on
died at
7th December,
was one
being
present
the marriage of
at
many
Amati model
in
his master.
His varnish
cases,
brown.
always of the
It
is
his
master.
His
is
tint,
and
is
sometimes thickly
later style
of
yellow, bright
occasionally of a
laid
on,
but
is
finest quality.
Eldest
Guarnerius, Pietro Giovanni, Cremona.
Born i8th February, 1655, and remained
at home until about 1680, when he went to Mantua.
son of above.
this
y8
and
style,
They
also
full,
contemporaries
and
;
passes himself.
The
is
somewhat
their cutting-
ribs often
fiddle.
The tone
when he
of his instruments
is
very
surfine.
his varnish
brown.
His
'cellos
plainly wooded,
He
varnish.
to his
oil
and have a
slightly
reddened brown
varnish.
Although
his baptismal
he always
name was
calls himself
simply
made some
fiddles
This maker
is
and put
He was
He
name in them.
Andrew " from the
his brother's
of that family.
the cleverest
for figure,
79.
varnish
superb
is
when
struments,
golden
perfect,
The
red.
His
and sharp.
greater brethren.
Andreae
filius
Teresiae
his
fecit
sub
Sanctae
titulo
."
Guarnerius, Joseph
October i6th,
1687.
Cremona.
Born
This
known where he
not
he carried
there
is
it
on.
where
1725,
The
after 1702.
and the
latest
earliest
about 1745.
were called
genuine.
in prison
" prison
Joseph's "
man was an
is
now
and
sold
as
The
and never made
exploded.
flat,
the
His
8o
dutline
is
Many
restful.
of his instru-
ments are
type,
small,
and designed
in a
At the top
That
Gothic type.
the
mind
of
They then
is
slope
away
made on
an ordinary observer
a
little
is
of that character.
an angle of about
at
His margins are large and massive, his edges round and
His ribs are about i^ at the top, ly^ at the
solid.
corners,
and about
In a good
what
on the
called grey
is
a streak
It is
of the fingerboard.
left
many
it
on the
varnish.
This grey
The backs
down
less,
It
wood under
is
about an
figure,
His tone
and complex.
and
if
there
is
is
a difference between
in that respect
it
is,
His varnish
is
and
by any other
maker.
8l
leaves
curve
is
The
ended.
He made
that
know
of,
saw
GuERSAN, Louis,
and
in style, but
number
is
no violon-
it.
Paris,
1735
1766.
the
Many
They vary
of his
consider-
He made
could
to
do
so.
This
maker
produced singularly
has
Nicolas Amati.
question
if
copies
of
in
fine
wood
of
is
He
it is
The
condition,
tone
is
His varnish
felicity.
of rather
of
his
is
light tint,
instruments,
a yellow
not
when
in
proper
Son
of above.
Worked
in
He
has
82
am
not in a
is
This
entitled to
His out,
and the design of his
beautiful,
The cutting
The sides of his
scrolls is also
are
in almost
1874.
articled
is
a famous
all
His varnish
name
of his
violins
is
Born
of fine quality
Died
1805.
in fiddle lore.
He was
to
became accentuated
instruments.
number
collection
the
of the
also supplied a
fine
largest
He
ever
made
by
one
private
style
of the
individual.
firm,
became a partner
became the
This
when
of
the
his
late
father.
Mr. George
Hart
many
beautiful
collections,
and
known instrument
of importance.
He was
83
entrusted
it
when
it
Christie
known wherever
what
author
of
on the
violin
is,
work
reliable
is,
its
1839,
in the
vocabulary of fiddle-fanciers.
Hel, Pierre-Joseph,
near Mirecourt in 1842.
in thorough fashion,
he worked with
Lille.
He
at Aix-la-Chapelle with
to Paris,
He
where
also
was
own
Sebastien Vuillaume.
He
is
also the
inventor of a
tuning
is
to
system
existing
violin
easily.
Henry.
The work
is
good
in
and
name has
fifty
years.
G2
84
died in
1803,
1858,
and one of
Hill.
has existed
in
family of
London
Paris,
for
1793,
and
of the last-
a good restorer.
is
The
first
of the
name appears
to have been
Wamsley. The
maker which I have seen were
a tenor and a 'cello. The tenor was in the exhibition of
1885, and deserved, in my opinion, high commendation
The
for its finish and the appearance of the varnish.
sound holes might have been more artistically designed,
but the style of the instrument, and the brilliancy of its
varnish, as it hung in its case, really seemed to be
Hill, Joseph.
pupil of Peter
article.
A violin by this
maker was exhibited at the same exhibition, and had,
I remember, a very beautiful back.
Hill, Joseph and Son. 1770. This firm was represented at the same show by a very clever-looking
and I have seen a fine 'cello by them of
violin,
Ruggerius model, with ornamental purfling, and of
excellent tone, especially on the two lower strings.
Hill, Lockey. About 1810. There must have been
two Lockey Hills, I should think, if the dates in two
Hill, Lockey, London, about 1720.
The 1720
violin
was a very
little
gem,
in a plain
85
varnish,
The sound
ing,
fine
and
Of the subsequent
full.
He
and Alfred
is
assisted
his
monographs on
by
fine violins in
results of the
most recent
research.
1740.
This maker
every point.
wood
even, he sought
name
of the
recognisied
easily
whalebone
He
Cremonese master.
by the
is
very successful
His work
purfiing.
He
is,
however,
always used
and
where the varnish has been worn off the purfling, a little
rubbing will bring up on the whalebone a most glassy
surface
if
It glistens in
way unknown
Jacobs, Amsterdam.
maker,
in
any other
case.
His
this
S6
He was
when
When
quite a child.
began
in
own
Nancy on
1853, when he went
his
remained
was
good character.
but
of a
Tone
orange type.
instruments
improve
His workmanship
Varnish of a
of the
where he
Paris,
to
1880.
in
In 1827, he
there until
on
he was
twangy,
common
nasal
red
kind,
His instruments
Born
Vaudmont
Charotte.
in
181 2,
He went
at Courcelles sous
he was taught at
to
Rouen
in 1835,
Mirecourt by
where he worked
Mirecourt master.
His employer
These
partners
carried
any extended
separated,
ultimately
him
He
scale.
and
to relinquish active
fell
Jeandel
1878.
work on
months
violins,
after
in 1879,
He made
exhibition juries.
His work
is
some
very good
different
Jay,
Made a number
1777.
among which are some good
87
'cellos.
The edges
are
flat,
or rather
Frequently
Altogether,
that date.
Kiaposse,
maker's
Fairly well
size
S.,
St.
instruments
made and
but perhaps a
Petersburg.
are
of
the
This
1748 50.
" odd " character.
little
thin in the
wood.
The back
88
and
worked
front are
ribs
Everything
thickness.
That
sides.
The
are wanting.
is
is,
sides
The
is
of a
is
are of considerable
" rounded " off. The sound
or
The varnish
margins, and
general result
mistake
is
not
technically.
The
commonplace character.
tone
Klotz,
Edgidius,
Absam and
Mittenwald,
1675.
When
About
good when
genuine
in
Landolfi, C.
Italian
maker,
The
condition.
size.
Another
1754.
F,, Milan.
1760.
large
Also
number
1735
1775.
very good
is
'cellos of
a fine
small
is
This
giving a
in,
somewhat
seems
and cause
His
really is.
it
His varnishes, as
some are a
brilliant
red,
and
others
dark
red,
Much
of
his work certainly does not look very pretty, but the
tone
He
means
bad.
N., London.
1803
by no
is
has
SQ
often
narrow
have
httle to
margins.
Lenz,
J.
was
his
1807.
and he was a
fine
maker
believe, only
two
violins,
have seen of
and unequal.
Lenz, Jacob, London. I suppose
son of the preceeding. His work was
maker was a
this
of a superior kind,
He
of double basses.
one of which
is
Anything
is,
in
made,
have seen.
many ways,
It
very clever copy, except that the sound holes are far too
wide.
instrument
LoTT, G.
F.,
scroll,
he has
The wood
in
is fine.
London.
Born
1800.
Died 1868.
Was
He
90
in the
in
S GUIDE.
some
may have
for
tions, scratchings,
He was
man
of
many
air of
He
and then
in
Paris,
where he died
in
1804.
The
last
in
work
went
until
to Paris,
died in 1824.
The violins of
this
There
in 1794, and
maker are undoubtedly
is
hardly recognise,
which he made
if
in
This
is chiefly,
but
same masterly,
great
many
solid style
about
all his
is
instruments.
9I
Some
most exquisitely.
Stradivari
But
in
margins are
even
in the
full,
and there
when
a nice specimen
was
out-
exceptional.
is
"
all
was
and
His
style.
and the
is
en-
really entrancing
father, Fran9ois,
fitting instructor of
his son.
LupoT, Francois.
other distinguished
maker, and
is
in
return of the
92
year
"
son, Carlo
1632, his
quondam Johannis
Giovanni Paolo. As already
GUIDE.
Maggini,
Pauli,"
filius
spoken of
is
son of
the
as
late
month
in Brescia in the
of January, 1890,
on distinguished
conclusion,
its
it
was
known about
once, and, as
was able
these great
early artistes.
I
have already
said, in
a few months he
in October, 1890.
and observaThere was not a scrap of documentary evidence known to exist, either regarding him or
the other great maker, Gasparo da Salo, of whom he was
tradition
if
conjectured to be a pupil.
All
have alluded.
have now
Maggini.
In a
little
of Professor Berenzi,
in
Brescia in 1890, he
in a separate form,
although
they
communication
same
year.
"II
Bibliofilo "
in
in
his
October
first
half of
Botticino
first
of the
West
West
of
Botticino,
and of Brescia.
And
in those
later, in
93
other
All this
He
name of
West
or
1568, and the other, 1588. The first relates to the father of
G. P. Maggini, and begins " Boticino de Sera. Poliza
de mi Zovan q Bertolino di Magini," etc., and gives
particulars of the ages of himself, his wife, son, and
The second
beginning
'*
Giovanni
f.
Brescia,
q.
300,
Ser
p Johannis Polizza de mi
Magini, cittadino et
Bertolino
of
wife
his
(dated 1588)
erroneously
own
apparently
age,
and
and
then
by the mention of " Gio Paolo, mio figliolo, d'eta d'anni 7."
This is the first official documentary reference found in
Brescia having regard to the existence of G. P. Maggini.
later search
Book
of Leaseholds, or
Rent Book of
the entries
it,
In the
Agatha
in
St.
bought
at Botticino
the
(or,
le cetere,'"
as
we would
as proprietor of the
94
Agatha
annum
said house
began
to
pay
He
particulars
and gives his age as thirty-six, his wife's age as twentytwo, and his son, Gio Pietro's, as one year. The return
finishes up after giving particulars referred to with the
following estimate of his stock in hand at that date.
" Item mi ritrovo in mercantia di
cordi di essi violini
have stock
lire
cento
in violins,. furnishings,
time, Maggini
was
If
we
in debt
violini,
100."
pi.
and
strike
to the
lignami et
Item.
a balance at
extent of
2^
this
5s.
tells
and a
months.
95
Professor Berenzi
Maggini's children
Berenzi
ten with
made
Continuing
out a
list
of
and
made by
The
to.
November
namely,
24th,
1651,
maker
Maggini.
whom we
and
called "
II
were published
in detail
Bibliofilo."
purpose of bringing to
birth.
light, if possible,
the place
La
pamphlet
entitled,
"
Maggini,"
in 1891.
The
first to
last,
and almost
Patria
di
in a little
it
Giovanni
PaolO'
verbatim
et
from
belongs to
literatim,
as the
services
of Messrs. A. Coen,
and D. L.
Corbolani.
The instruments by G.
P. Maggini which
have seen
96
were
all
most striking
peculiarities
their corners,
and
in contrast
The
their arching.
highest point of
fifteen thirty-seconds of
Maggini's arching
tain,
The
style.
make
and
as far as
is,
an inch above the upper plane of the sides that is, above
what is called the symmetrical plane. If my readers will
suppose that, instead of the upper table, a
glass
is
flat
sheet of
the lower surface of the glass will represent the symmetrical plane,
would
it.
Doubtless no one
who has
why
It
But so
to
make
it
name
people curious
is
not
history of fiddle-making,
and
is
more
closely associated
when
in his
tools,
and
it
would
be,
beyond
than the
or
more majestic
his
work.
The
by
gf
him a
Another peculiarity
feeHng.
that
two
They
each opening,
edges, would,
if
parallel to,
and lower
circles of the
The
They
are
and sometimes
his
it
is
oil
a brownish red.
The
great
many
of
great
number
like part
is slightly
elongated.
Of course
trefoil
gives place
these decorations
^8
Some
or less accurately.
in the imitations
of his
more
have only a
violins
It is
One
about
Paris,
of the finest of
as appearance goes.
1655.
so
far
rich,
very rare.
MoNTAGNANA,
This maker
workman
is
DoMENico,
Cremona
and
Venice.
in Nicolas
The
his work.
It
stands
is
fuller,
distinctly
'cellos
are
and
The arching is of
very few specimens known
There are
full.
really
grand,
to
sometimes
appearing to droop some-
the
and the
Amati type.
exist.
His
longer,
the
outline
in
99
something to do.
His varnish
is
and
finest,
His wood
is
so
unobtainable except at
The
1757,
Varnish
fine,
He
slightly red.
lively,
born in Mirecourt,
this time.
He
copied Stradivari.
brown,
yellowish
number
of instruments are
is
la ville
his
mark,
His brand,
for
that a very
branded with
sometimes
purfling.
at
in 1833.
by
best of a family of
He was
is
formed
D. N. and a
He was
violins
"J. Nicolas
fils,"
and the
and the
lOO
S GUIDE.
1683
NoRMAK, Barak, London.
A highly
1740maker of viols, violas, violoncellos, and violins.
His work is often of a very refined character, with
The style
fruity decorations of a tasteful description.
of his violins deserves the highest commendation except
artistic
sound
holes,
But
in other respects,
His varnish
fine.
is
really
nowhere by
good quality.
this
time in point of
He was
a partner of
Nathaniel Cross, already mentioned, at " The Bass ^'iolcolour, but
it
is
of
known
instruments.
another, he
few
it
was only
is
said,
a few years in
from
it.
He
Paris,
visited
and only a
Ireland also,
there from an
old
which he bought.
lOI
At any
rate,
He made
mouth.
to
magni-
ficent
But
The appearance
times
varnish
his
his
workmanship
is
is
splendid
always
much.
amber, almost
rich
at other times, as
work
is
splendid
very
he had
if
fine.
Some-
The
it.
margins
full
one
full.
and Amati as
is
well.
As
deal.
is
it
have
found
and
to
crown
all, it is
a number of Panormos
after
him
and guitars.
months ago,
The
last
George Louis
sons,
and second
also for
Panormos died
of the
bows
few
1785.
and
three
first
in his varnish
His tone
is
This
is
one
the pate.
It is
show very
full
is
His
violins
a characteristic of the
I02
and
GUIDE.
his
in a
judgment and a
shops,
and
to
is
of a dull red,
many good
1800.
violins
very
Workmanship
fine.
clear.
In some,
fine
The
is
sweet and
Scrolls
quality,
but, like
about ten or
fifteen years.
1730.
Well made,
maker.
Tone
Red
1822.
A fine
maker, whose
style.
His favourite
Tone very
fine.
are beautifully
full,
and
his
gummy "
The wood
is all
excel-
have seen.
His margins
corners and sound holes
The
in appearance, is often
of
I03
fair
who
work, and
or later.
could, with a
was
1860
who turned
Scotch maker
who never
but
skill,
wood.
RoMBOUTS,
that
good
Amsterdam, 1720
P.,
in its
way.
It
much
it
cannot say
may be called
1740.
of his work,
have
but in what
not,
fine,'^
however,
cannot say so
pretty enough in
as
have seen
is
much
some
his violins.
for
They
are
very poor, as
is
holes.
what he
rank of an
which he uses
to be seen.
really
artiste in his
show
it
attained.
Fortu-
beyond a possibility
could do, and raise him to the
calling, while some of the wood
in this large
us,
work
is
as fine as anything
104
RoGERi,
GUIDE.
(commonly
GiAMBATTiSTA,
G.
called
not
it is
B.
known
fine,
it is
have the
said that
finest
wood, and
many
of the in-
Amati, of exceedingly
all
The
done.
'
fine
is
in
carelessly
if
distance before
round
it
His varnish
His
'cellos
fine
is
and not
are magnificent
is
not always so
whose
His work
is
basses.
said to be very
am
little, if
at
and double
all,
inferior
it.
school
He was
namely that
His
self trained.
and H. Amati
in
not always
crept
or a
away from
before,
little
make
and pure
find
But he
and gradually
tone.
his master,
like
we
we
above
violins
type,
relative of the
did
Bolognese family.
IO5
him leaving
it
get on to 1690,
almost entirely
Then
holes.
later
goes in his
His
His outline
is
scrolls
not quite so
and
pupil,
his
Many
on the
brown.
slab.
His varnish
is
somewhat
of a
Cremona."
Rugier, Vincenzo, Cremona.
in
He
distinguish
his
Rogerius family.
is
dull golden
Per
Son
il
all
Per
il
preceding.
of
it is
His work
thought.
displayed a most
judgment
wood.
in the selection of
is
called
unworthy
in
of even the
Io6
finest
who was
his
father's
Ruggeri,
who
il
two families
in
consequence of
Saunier, Paris.
known because he
is
is
chiefly
of F. L. Pique.
1748.
Santo Sera-
For
rich
and
brilliant
golden brown
it is
if
difficult to
who
does.
His
margins
and
corners
are
exquisitely
finished
and, altogether, he
lOJ
the
makes
bright
what
rare,
and
tickets
his
He was
town
Italy,
and
far
Where he
learnt
his
went
Udine
to
from
business
is
not
his models.
known.
Venice.
He
Seraphin
born in Udine,
He
means
Born
went
1801.
Died 1859.
He was taught
He afterwards
to Paris,
He
is
His outlines
work
beyond reproach. The fluting of his heads is bounded
at the bottom by a quaint line which slightly squares off
the corners.
and
The
perfect, his
of his
full
of his instruments
is
He
lo8
Lyons
in 1829.
When
his
Silvestre a Lyon."
Pierre
" Pierre
native tongue,
made
number
a goodly
of
now somewhat
The
rare.
firm's
Stainer, Jacobus,
Absam
This great
near Inspruck.
to
It
said
is
that
Stainer's constitution
We
life is
at
Absam
work
incident
in
in
it
is
doubters
their conclusions
his
all.
This
is
fine,
not
an unlikely
genuine Stainer
violin is
if
People
now
about instrutools.
am
violins,
who
IO9
over the
all
sometimes
Italian,
some-
been
one family
in
for
and even
is
London
not the
if it
were,
dealer,
for
varnish
in
the
Stainer's
life
only been
known
to
us a
had
"
instrument handed
however,
it
is
away
earlier,
kind of
fairs,
etc.,
we might have
to us as the
"
Market
down
little
attended
this
Stainer
who
hiding
the details of
was
for the
it
much
Though
a finely-finished
of all sorts.
It
has
little
or no resem-
no
little
to Stainer's,
makes people
imagine that Stainers are by no means uncommon, and
which clearly proves to them the absence of Italian
and
is, I
influence in his
work
It
is
be greatly surprised
Cremona
business in
fact.
It
seems a
more than
the old
if
me
should not
that
tradition
it is
market
to market,
and
traflic
from
to fair,
fair
really little
London would be
to us.
he did
at
far cry
appears to
Schonberg,
Brixen, Klausen,
Sterzing,
lots
Botzen, Neu-
of opportunities for
The
own
himself
Trent
or not.
half
when
there,
one
is
the
the
was
Tyroi.
has,
lively,
in
all
way
Many a
bit of fine
Tyrol wood
post road,
across the
Brenner.
Absam
In
some such
with Cremona
but
it is
way
There
finest
as
not,
is
is
of exactly the
same character
The
is
Ill
for
violins
" Stainer's,
because
each of the
German
The
woven
story about
them
is
They
vioHns.
are
But there
really
is
grand,
Width
inches
i4|-
across the
The edges
are circular.
The
is
many an
There
that.
is
The
is
for all
The
inferior
front.
the
it
seems
full,
to
The
double basses.
He was
tone
is
of a lovely
He made
magni-
112
to
1645,
children.
and
debt,
S GUIDE.
He was
fell
His label
who
is
1798.
is
fine,
A Cremonese
maker
His
is
was
written.
spirit
into
His house
1683.
He
tone.
is
very
employed a
Many
is
almost shapeless.
Many
His
work.
model
is
He made
Joseph Guarnerius.
some
and
the
tickets
This maker
is,
as
The year
of his
the
name
in old registers in
finding, presumably,
Up
how
have taken
Cremona
far
to
hunting up
for the
purpose of
it.
name bearing
a likeness
In a practical work
like
to
lucubration
this,
the
statement
Stradivari
have
of
may
kind
that
that
bearers
honourable
occupied
be
limited
name
oi
positions
in
the
of
II5
own work.
Indeed, those
brief
The
Stradivari
six children
born to them.
On
Domenic and
it
remained
and
when
in
becoming the
St..
it
1801
was
sold to some:
changed hands,
property of a Signer
Bono.
it
The shop
floor
114
door
violin
The upper
the other.
at
windows.
In
these
years, having on
for
Five
born of
second union, of
this
nearly fifty-eight
the 24th
whom
children were
ist
July, 1671,
was
and
December, 1737,
the family tomb he had prepared for
not in
himself,
is
in
St.
Domenic.
Amati.
His
any
in
the case
is
his.
But
made
violins
began
name.
If
we
these tickets
placed,
are thrown
attempting to
work.
and
if
in the violins in
we
as early as
own
possible to decide
remained
is
to put in his
we
it is
im-
have
into
development
in his
could be deduced
the
for so long a
time prevailed.
When
work
in a great
that.
It is, of
was
while he
many
It
cases, but
he was
if
employment of Nicolas
as Nicolas Amati liked them to
after the
he discovered something
and
now
is
authorities on the
two
who do
not
and
subject,
yet
employer he would
his
left
unless, or until,
It is
discussion,
more than
is
probably continue to
better.
never
it
in the
style,
to be,
is
same
II5
is
those
to
What
it.
chiefly concerns
that Stradivari
life
on his own
account, he began, interrupted, renewed, or finally discontinued, the use of any one of them
person can
What
is
now
the
is
amatise
This model he
supposed
That
called
length
is
his
an instrument
somewhat
characteristic of Amati
is
after.
model having a
total length
somewhat
less,
or so
From about
generally
is,
to
is,
which
is
if
That
model.
style.
him
is
tell.
These
THE FIDDLE
Il6
FAN'CIER's GUIDE.
known
as his
is
quite as great
rarity.
and
in the "
grand
"
pattern
it is
very
difficult to
have,
it
again, seen
of the
wood
in the
medium
generally of a
is
upper
is
now and
there
3 in.
The grain
width, but
it is
violins.
it
as wide as
Throughout
all
is
found in
these styles
solidity of construction,
them
characteristic of
all.
finish is
In the
appear to almost
the violin before
turns down.
of
how
somewhat
of the appearance of
an
Stradivari reverted to
style, the
1716, or thereabout,
may be found in
pattern
upper portion of
In the " grand " pattern
it
is fuller
The
of,
say
instruments of 1690,
outline of a "
grand
"
a greater approach
what
it
II7
really has
dimension between
to equality of
The
top
curve of a " grand " does not droop so quickly from the
level of its start at the
though constantly
falling,
The
its start.
bit,
so to
result of this is
The varnish
of Stradivari
work
brown, golden yellow, and
of his so-called early
The
much
red.
That
of various colours.
is
is
often of a beautiful'golden
the
same range
The
of tint in golden
have
brown
and golden
to golden
All
red.
brown,
these are
soft
to the
"
period, while
have also
is
The
Sometimes
it
is
of a dull,
almost always
observed
it
of this appearance,
is
to
There
On many
is
also
some
dis-
some variety
instruments
it
is
Il8
thin, soft,
and gleaming, on
like a
treated
by Stradivari himself
appearance of age,
instruments
it
In one of the
to
luscious,
and
others, thick
On
have been
in almost all
Fourteen years
all.
cases, a sine
later,
they grew
They
are generally of a
is
The
of construction.
artistic contour,
full
and most
peg
now
many
instances.
for
the
worn down.
many
great
of
to
to
volute against
in
manner,
scrolls
it
is
vary a
quite a
little
in
right thing to
do.
is
well
artistic
Stradivari
II9
but
their
From
at
back
the
to
apex
the
which
is
on each
the
of
The
about if inches.
is
side.
It
the volute,
of
sometimes called
is
be just as rational to
volute,
protuberant terminal
the
sticks out
would
it
mouth."
The width
inch,
volute, measuring, as
it
is
Width
same
^%
^
in.
in.
Depth
Width
withpegbox
of sculpture of
of
in.
and
first
in
about
direction,
curl, at boss,
Jg- in.
about
at its junction
Width of fluting
Depth
pegbox
Depth from
of side of
i
in.
about
about
^ of
an
above the
is
is
it
is
flush
hollow from
peghole.
The
about g% of an inch.
120
GUIDE.
an unvarying standard.
scroll looks
comes
is
it
slightly out to
in a
most
graceful manner.
carelessly done,
away on
thinned
is
where the
joint has
often destroy in
a distressing
fine
Stradivari, Francesco,
manner the
it
and
will
beautiful
even there.
Cremona.
Born the
ist
February, 1671.
a son of
As
who
exactly the
may be
not,
was heavier
same quality
father's instruments.
level.
What
in style,
of varnish as
is
have seen
but
it
had
found on his
as the
fancier
knows,
lessen
the
interest
in
His margins
like
and his
His arching
very sweetly.
is
The
that.
all
121
little
of the
cutting in of his
and longer
which
His varnish
what
in
"long"
called the
is
have seen
of a
is
pattern.
reddish,
not so brilliant.
cut than his father's, and have their terminal wings not
They
so square or broad.
The
lower.
His
pointed.
are
also
placed
little
scrolls
He made
top.
tickets
run
Filius.
Stradivarius
rare.
very
His
Cremonensis
ber,
am
have been
is
"
I
chiefly
a ticket which,
Omobonus
employed
it is
said,
Stradiuarius
should very
donkey, or at
making
He
appears to
repairs.
There
figlij
much doubt
least,
in
that
122
The
twice.
GUIDE.
patrons of the
clerical
who
if
tickets
I
we may
was born
have seen of
Salzburg in 1666.
in
work was
his
made
Anything that
on
and
however, that he
when
was in
was in
Rome when he was about thirty years old, and his work
was Italian in character then. It displays finely and
massively moulded corners and margins, and altogether
a noble and grand appearance. The wood is of the
finest kind and beautifully figured, back and sides.
His
arched
highly
Salzburg, which
is
instruments
very
He
likely.
he
certainly
His varnish
long he lasted
until
cannot say.
about 1742 or
It is
generally supposed
he worked in
3.
is
How
who
to
Rome.
am
his
Roman
Well
finished
work.
1715.
He made
Brown
1745.
varnish.
Eldest son of
Good
pate.
tone.
Varnish of a some-
He made
fine
'cellos
and
tenors.
preceding.
1759.
Similar work
Thibout,
Born
Paris.
J. p.,
who
ship
is
corners,
fine,
Died
Caen, 1777.
at
very
I23
and
1807.
distinctive in
many
in
the
fall
His sound
His arching
is
and
flat,
mahogany,
His
French or
curve in
profile.
volute.
His
tone
and good.
French, powerful,
is
and
Thompson.
and
is
restrained, strong,
and
artistic,
makers
of a
of the
London violin
and Samuel Thompson
number
in St. Paul's
None
Name
of
Samuel being
sound
Everything about
indeed,
holes.
mean.
Thin
and weak,
tone,
it,
more
or less,
Their
inartistic scroll.
about
maple
1720
stain tint.
48.
Thompson, 1753
front,
is
of a
9,
and thereabout.
R.
Thompson
"
124
about 1749, Thompson and Son (S. and P.) about 1764.
Some of the work of these firms is rather better than the
founders', but none of
far as
have known
it
mention so
it.
36.
This was a
fairly
Betts.
He
His
ToDiNi,
Rome.
who used
MicHELE,
native of Saluzzo,
John
instru-
He was
for
His
known
in
very good.
About 1620
1676.
to
They made
168"
Giovanni, Bologna.
Son of Felice.
A
maker than preceding firm.
He made large
and tenors, which are very fine, and of Nicolas
ToNONi,
better
'cellos
Amati model.
fecit
His
tickets run
Tononi,
ceding.
His
1768.
Son
of pre-
the quaint,
1648
1666.
This
all
points,
from
I25.
named
About
lines of
1738.
fine
instruments on the
His outline
is
Vuillaume,
J.
B.,
Paris,
1798
maker
1875.
is
In
some
In other respects he
is
He
not.
certainly
points,
or
all
his
father,
violin
maker
there.
to
Vidal.
It
father
was
to
In 1874,
when
What came
tO'
order to
of these
Chapel Master
to
the King
when M. F.
of the Belgians,
J.
Fetis,
and Director
126
graph
Antonio
on
was compiling
work
mono-
material
we find incorporated in
was a Jean Vuillaume,
his
who
J.
to
the
in
describes
it
as a very
common
piece of work,
and
in
find
the
slightest
When
two
found.
It is
families could be
However
may
that
reported
father, Claude,
who
is
his
and
Claude Fran9ois.
It
him when
he
way
published
to
it
M. Vidal was
in
the
verified
by
year
following
am
beginning
failed to
whom
comprehend
he
their
late
is
addition of a grandfather,
mention,
is
I27
whom
others with
all
the
in
first
known member
of the family
that he trained
who continued
under his
it
etc.,
etc.,
alive
in
remember the
who
old
could confirm
Assuming,
man
present
quite well
this, I
daresay,
if
it
who
time
he died
in 1834
will
^^^
were necessary.
light the
circumstance
between an
and
the
glorious
old
undoubtedly talented personality,
shop in Cremona. It is very unpleasant to have one's
confidence in the accuracy of biographical detail shaken
connection
if
in this fashion,
even only
'a
and although
nominal one
it
THE FIDDLE
128
FAN'CIER'S GUIDE.
much
graver aspect
If the late J.
B. Vuillaume
who
was a
violin
maker,
further,
if
he,
supplied
that,
Vuillaume
" violin
and
with
its
the
And
of a century before
story
of
the
" Jean
it
and
maker
dealer.
Whether his father was a violin maker or not, he himwas one, and a great one, without any doubt what-
self
ever,
to very reprehensible
aid in deception, he
would have
Chanot,
who was
Remaining there
organ-builder
named
who
to
an
I29
Vuillaume
acousticien.
made
is
instruments
when
made new
to explain that
carefully
sell
all
he was capable
He
for old
sham
and produced
and found
tickets in them,
his customers.
In order
He
is
and
his
had
excuse
maker
is
to live."
the
All
case,
quite
valid.
In
1825,
for
him a
In 1826, he
'cellos,
his
he had
much
to
complain
of,
them
to satisfy the
demand
put
it
130
GUIDE.
by imitations
" is simple
new vioHns
secret
Vuillaume was
clever
hurry to
in a
These instruments he
have
11
sold at
Many
He may
of
it
is
fortune.
his
the violinsand
the
me
to
a legitimate
nevertheless
whom we
know
al
than
many
man
to
the people
we
is.
true
sell
about that
It
origin
manner.
not
He
10.
The
probably that
is
were the
'cellos at
productions
who
Had
he limited his
skill
to external imitation
which
wood
many
inside
is
acid, has
the thinning
away
in parts
In 1834 he had
I3I
much ignorance on
was
distinction
Although
it
the part
very
have quoted
this
the
of
that
jury,
the
questionable
one
award already
in the article
indeed.
as
violins in
"
all
the
air of a
served
has
It
one.
Vuillaume
Fortunately,
These had
made
also
not by any
all
to
be
instruments of
makers.
made
copies of
all
the great
phrase.
If
in
may
the highest
it
is
one and
significance
all
be
of the
is
it
should be able to do
are superb.
so.
In
all
Every point
of his
work
is
he
of
might be
an
artistic
132
S GUIDE.
made 3000
he personally made
but
so,
violins.
all.
In
imagine
working
by
for
spirit
later,
varnish nor
now-a-days.
oil
It
varnish, as
is
sort
is
of
nondescript
at
of a
kind of
paint.
His sound
the terms
production
all.
At
this
brown, appears
neither spirit
we understand
It
has the
holes
in
the
round
in the
The
model
With
is
They
are too
fine
and
Vuillaume
His
in Paris for
brother
Nicholas worked
with
Mirecourt and
the
Nicolas-Fran9ois,
also
to
making
worked
I33
cheap instruments.
of
with
brother
his
in
when he went to
own account there, and was
and started on
He
a good maker.
his
died in 1876.
fourth brother,
case
fiddle
Vuillaume called
Sebastien
began business
in
son
of Claude's
who
same year as
his uncle.
some
made
The wood
is,
however,
copies of Stainer of a
whose work
of
left far
of a
He
too thin.
somewhat tubby
is
His
style.
tasteful,
and
those
1650
56.
his
in
This
and
way,
height.
He was
of the best
in
His
an East
makers of
ribs or sides
End London
his time
and
are
of a
good
some
His place was
artist like
after.
maker, who
copied
exaggerated fashion.
of fine
varnish.
quality
and
Stainer
well,
but,
His instruments
finish.
A
as
very good
usual,
in
are, nevertheless,
134
"^"^ FIDDLE
FANCIERS GUIDE.
This was a
Withers, Edward, London.
maker, whose instruments are gradually rising in
capital
value.
about the
Square.
CHAPTER
VI.
^ost-Classical
itakers.
given.
Where none
is
found
it
is
to be understood
been known.
very day.
A
Modena, 1775 1793.
maker of double basses and other large instruments.
He was trained in the establishment of Antonio Casini,
another Modenese maker or, at least, followed his
style.
His model is good, his work careful, capital
wood and brown varnish.
Adams, C, Garmouth, Scotland, about 1800.
Addison, William, London, 1670.
Adler, Paris. A Swiss maker who settled in Paris
Abbati,
Gianbattista,
fine
1840.
136
of
the
18th
century.
Said to be
pupil
of
Carlo
Bergonzi.
Alessandro
violin of this
Turin
80.
in 1880.
Alvani, Cremona.
Guarnerius.
Allegretti, Massimiliano,
his instruments.
Soliera, 1870.
1751.
Artmann, Weimar.
Good work.
18th
Golden varnish.
century.
Good
Amati
fairly
finish
model.
About 1825
I37
40.
Said to
be good work.
Aldric,
1630.
1782.
igth century.
Paris,
is
F.,
tone.
88.
Another old
viol
maker.
Balcaini.
An
Italian
Amati.
19th century.
About 1850.
Compara-
Bandl, Joseph,
Oiffern.
1765.
About
1730.
Fairly good
work.
Made
Barbey,
Guillaume,
Paris.
i8th
of no great
century.
Viol
maker.
Barnes,
Robert,
London.
About
1780
1823.
138
Became
W.
Davies and
is
now
Withers.
VioHns.
'Cellos.
19th century.
Violins.
Andreas Guarnerius.
Bassi,
maker
a.,
Scandiano.
19th
century.
Chiefly
of 'cellos.
and
Chiefly
guitars,
Antonio,
Battani,
Baud,
i8th century.
Versailles, 1796
19th
Frassinoro.
makes
century.
violins.
1810.
1810.
This maker
Had
business.
1723
50.
Chiefly
viols.
Bellon,
The one
J. F.,
Paris, 1832.
was adjusted by
a pedal.
Bellone,
maker.
Pierantonio,
Milan,
1690.
Old
viol
I39
Violins.
unsuccessfully.
Violins very
well made.
1600.
Lutes and
guitars chiefly.
Bendini, G. B.,
Benecke,
S.,
Violins.
Italian, 1668.
Beratti, Imola.
19th century.
Violins
Violins.
i8th century.
19th century.
Chiefly repairs,
Paris.
in
Died
Weimar.
new
Associated with
also
Ordinary workman.
Bittner, David.
fairly
but
in Nice.
J.,
Edinburgh, 1820.
About
1770.
Employed
Stradivari model.
140
GUIDE.
Blanchard, p.
where he learnt
F.,
Silvestres in Lyons.
Red
oil
Born
Lyons.
his caUing.
at
Mirecourt, 1851,
Began on
his
own account
1876.
Not
to be
BocQUAY, Lyons.
who
Barcelona.
S.,
copied
J.
About
1720.
was Dean
Good maker
Guarnerius.
52,
BoLELLi, Bologna,
BoLLES, London.
igth century.
An
i6th or 17th
century (1675).
17th century.
Phillip,
Spilamberto,
1790.
Chiefly a
repairer.
1857.
Booth, W., Junr., Leeds, 1838 1856.
73.
Yellow varnish.
Borelli, Andrea, Parma, 1746.
Violins,
Guadagnini
style.
BoRTOLOTTi,
modern
'
BoTTE, D.
Careful,
I4I
or 1820.
I.
Good
Good maker.
Yellow varnish,
Bourbon,
Caspar,
Brussels,
1601
1692.
Chiefly
repairs.
good maker.
BouRGARD,
Nancy.
maker
the
after
style
of
Medard.
BouRLiER, Laurent, Mirecourt. Born 1737. Died 1780.
Braglia, Antonio, Modena, i8th
century.
Violins
and bows.
Brandiglioni, Brescia, i8th century.
Brandl,
K., Pesth.
Modern.
Viol
maker.
good work.
About
1708.
Not
particu-
142
End
GUIDE.
of i8th, beginning of
(1744..)
Born
1770.
Died
1834.
Style of Kennedy.
Son
of preceding.
Born
1786.
Ordinary work.
copies,
fine.
and viols.
BuoNFiGLiNOLi, P. F.
Lutes
1583.
Viols
About
1747.
Common
work.
17th century.
Calot.
who worked
Mirecourt,
native of
I43
in
He was
a finished
Torre
Baldone
workman.
Calvarola,
Bartolommeo,
of
Small
scrolls.
work
His
marked with a
is
Carcanius, Cremona.
His
i6th century.
tickets are
printed on parchment.
19th century.
i8th
century.
An
old
m^ker.
Carlo,
J.,
Milan, 1769.
Caron,
Versailles, 1777
in the reign of
ill-starred
Marie Antoinette.
one to suppose
lady's
the
85.
so.
Royale,
a court maker,
least, his
in the
He held
Rue
tickets lead
to the throne,
Versailles,
when he was
At
Three years
husband succeeded
Rue
He was
and
he
Caron was
calls
in
himself
Satory.
we
144
Caron was
Brown
maker.
GUIDE.
^ood
a.
varnish.
CARYi^ALPHONSE, London.
Modern.
considerable importance,
who
dull,
'cellos
in
Cremona, and
cherry brown.
1690.
maker
of
is
his varnish
He made
His model
is
of a
a very large
somewhat
number of
Italy,
commoner work.
The
to
is a'
is
have been
wood
quality of the
and
His inlay
brilliant
is
full.
good maker.
fecit
of the
Probably
maker
" or "
Mutinae"
Modena."
Died 1820.
restorer.
It is
Pietro, Florence.
good maker
not
known
of violins
that he
made
any, but he
made
I45
Cappa.
Cattenaro, Pavia.
and
About
1639.
maker
of basses
viols.
igth century.
igth century.
Caussin,
i860
Neuchatel.
Fi,
Viol maker
19th century.
81.
Violins
of
Italian style.
Cellini,
was
testimony
making
making
finest that
in
regarding
string
character.
of
Giovanni, Florence.
He
his
15th century.
parent's
instruments
This
of
skill
in
the art of
very conclusive
violas
of rare
Giovanni
He was
th6
Cellini died
also a musician of
He was
and
it
a professional maker.
He
is
146
yellow varnish.
His
school of Cappa.
ticket runs,
"Joannes Franciscus
Anno 1732,"
fecit Taxirini.
known inscription of this maker. It
he was a son of the preceding.
Celoniatus
only
is
that
not unlikely
pupil of Bellosio in
anoo 1793."
fecit Venetiae
Cervella, Giovanni,
Italian.
i8th century.
in
many
cases,
the maker's
name.
Some
Her
inscription, luthier to
Montpensier."
mostly
He
employed a yellowish
spirit
varnish
of poor quality.
Chardon-Chanot.
The
firm
is
known
as
Charotte.
I47
who worked
native of Mirecourt,
in
to 1836.
84 1.
He became
in Paris in 1850,
His
account.
left in
Born
in
Mire-
tickets run
'
Nicolas-Emile Cherpitel, in
Lupot's best
style,
but heavier.
The
corners are
full,
and the sound holes well designed. The scrolls are also
good. Indeed, if the tone were equal to the general
work they would be excellent instruments.
The wood
chosen is of fine quality, and nothing seems to be
wanting but fine tone. His varnish is a red orange,
sometimes webbed
all
99.
player,
An
old lute
to such
an
A viol maker.
good maker
and repairer.
Christa, Joseph Paul, Munich, 1730
of
whom
Christofori,
claims him.
hold
in
L2
40.
maker
Cremona or Padua
the Amati houseand was then thirteen
Bartolommeo,
He was
Cremona
in
living
1680,
in
148
This information
years old.
and
conclusive
is
birth,
namely,
Florence, there
In
1667.
is
is
regard
with
the date
to
musical
of
his.
museum
in
a double bass
violin kind.
It,
seems
to
me
to
is
not
instru-
be
in the
is
not a
generally supposed,
It is
that this
all
the^
is said, for
It
1687,
and induced
III., visited
Cristofori then,
Padua
or shortly after,
Cristofori
In Italy
it is
spelt
do
not appear to
know anything
I49
CiNTi,
1856.
1735.
Another of the
GuiSEPPE, Bologna,
maker and
restorer, or repairer.
CiRCAPA,
same
ToMAsso, Naples,
of no particular distinction.
Clark, London.
mere name.
An
Claudot, Augustin.
stamped or branded
his
The work
of his violins.
old
name on
somewhat common
of a
is
He was
Claudot,
earlier date
also a
Charles.
than
the
maker
of English guitars,
maker
Mirecourt
an
-of
characteristics.
Louis-Alexandre,
and
etc.
Two
Henri.
who were
successively
It
distinction.
88.
An
old viol
maker.
Clusolis, Antonio De, Clausen, 1784.
fine
This was a
worked
in
Roveredo.
He was
who
probably a native of
it
150
make
GUIDE.
hands across
The wonder
open windows.
is
through their
it
or that, having
made
one, he ever
was able
to get
it
out
of the street.
down
its
magnificent
Roman
to Roveredo,
Although he
numerals.
Tyrolese
of the
is
is
his
style
a corroboration
Stradivari,
the
first
as
of
have
this,
if
there
elsewhere
were no other.
pointed
out,
we have Antonio
Cremona,
in
of
Clausen
Antonio
copying
was
Here
of
in greater as well.
and
viol
About
1654.
An
old
maker.
1693.
-^^
old
French
maker.
The
Died
in
1865.
in
Mirecourt in
1840.
preceding maker.
Was taught by
He went to Paris
his
in
15!
father,
made
the
There
1868.
number
favourably.
to see
and
try,
artistically
class.
made instruments
of
CoNTURiER.
Yellow
varnish.
1774."
CoRNELLi,
Cremona.
Carlo,
His
ticket
runs,
fecit
CoRSBY, Northampton.
basses.
chiefly.
19th century.
17th century.
and varnish
Costa,
He
of A.
Imitated the
and H. Amati.
Pierantonio
Dalla,
Treviso
and Venice.
Costa,
This member of
Pietro Dalla, Treviso.
Amati brothers, using, like the
of fine quality.
152
GUIDE.
over
Mr. Crompton,
2,000
20 double basses.
to
have no
doubt,
stated
is
my
my
many
and
'cellos,
good fortune
knowledge,
have seen
made
he
that
250
tenors,
It
one of these to
see
it
250
violins,
of
although,
them
in
my
ignorance.
1810.
CuNAULT, Georges,
Born
Paris.
1856.
Learnt his
and afterwards
CuNY,
*
Paris.
for himself,
i8th
century.
Common
work.
Good wood,
CuppiN,
An
Giovanni.
old
Italian
viol
maker,
yellow varnish.
Daniel, Antwerp.
basses.
habitat, style
and date
Darche, Aix-la-Chapelle.
Copies
the
of
153
classical
masters.
Darche, C.
Modern.
F., Brussels.
1497, and
member
The latter
Convent, Mantua.
an
of the Franciscan
named Richard
decorated
lute.
appeared, and
founded upon
it.
in
It
was
a highly
all
was known
dis-
was
document
Dardelli
of
dated 1493 was found to contain a reference to a magnificent quartet of larger instruments, which excited the
utmost enthusiasm
Some
in the writer.
of these largo
museums, and in
some cases, they show rather coarse work, which is
accounted for by the supposition that just then there
was a kind of renaissance in this tribe of musical instruments, and a new departure taken to a certain extent.
He also made rebecs, lutes, and viols, which are lovely
are in public and private
viols, etc.,
works of
in
gold,
silver,
enamel,
ivory,
Ordinary work.
Richard.
Davis,
A workman
with
Norris
and
Davis,
R. and
W.
and Co.
Dearlove and Fryer, Leeds.
About
1840.
'^^^
154
FIDDLE FANCIER
GUIDE.
An
De Canus Nunzio.
Modern.
wood
last
heard
and
of,
newspaper
of 7th
was
at
now and
who
has.
again be seen.
Of
am
not acquainted
may
..
I55;
Liberty to
1808.
all
memory
in future ages.
Dublin,.
Born in Mirecourt,
and taught his.
who afterwards worked with Silvestre in Lyons for
1848.
son,
there,
156
three years.
He became a
this
remained
own
In
His
account.
GeofFroy-Marie,
the date.
is
Desrousseau, Verdun.
Devereux, John, Melbourne.
Contemporary. This
the only maker in Australia whose name I have seen.
He
He
certainly
had
a splendid guide.
not
has
many
undoubtedly an
artist,
and
his
model was
He was
chiefly
Amati.
London.
DicKixsox, Edward, London, 1750. An ordinary
maker on Stainer lines, exaggerated as usual.
DiEL. The name of a family of violin makers, the
different members of which date from about 1690 down
to the present day.
Jacob. These
all spell
the
name
" Diel."
Then Nicolaus,
They
it
severally date
Frankfort,
" Diehl."
viol
maker.
I57-
maker
of
DiTTON, London.
may
fiddle
by Ditton,
Possessed by
Is
Tom
Britton,
maker
of
double basses.
DoLLENZ, Giovanni,
Trieste, 1841.
1850.
1715.
Amati models.
A maker
66.
and repairer.
DoNATO, Serafino, Venice, 141 1.
DoNi, Rocco, Florence, i6co
who worked
priest,
1660.
at instrument
Florentine
Gian Battista
Rocco Doni made lutes and
Doni,
who
violins,
died in 1669.
and
his son,
lira
Barberina.
taught
married.
Martin
Diel,
and whose
-158
1814.
19th century.
18th century.
1788.
A maker
Paris.
in
the
Duiffoprugcar
About 1607 12.
(or Tieffenbrucher),
lute
and
viol
Magnus, Venice.
This name
maker.
There
is
DiefFenbrucker of Padua,
Tieifen-
about 1612.
Dulfenn,
DuLiG, M.
fairly well
Du
a.,
Leghorn ) 1699.
Geman maker who copied
Livorno
Mesnil,
Jacques,
exceedingly artistic
About
Paris.
maker
Stainer
last century,
the
of
1655.
An
decorative class.
'Cherry-red varnish.
Duncan, Aberdeen,
DuRAND, Mirecourt.
DiJRFEL,
1762.
19th century.
Altenburg.
i8th
century.
maker of
Edlinger,
.'His
17th century.
About 1750.
T., Prague.
About
1715.
fine
maker.
I59
a slightly red
tinge.
An
Eglinton, London.
Ehlers,
EsLER,
About
old lute
1800.
Vienna, 1825.
J.,
J. J,,
good
oM
viol
maker.
Emiliani,
1
8th
light
Francesco
Highly
century.
orange varnish.
de,
Rome.
arched
Very
Beginning
of
having
violins,
fine
wood,
and
good
finish.
Engleder,
Engleder,
Engleder,
L.,
good
work,
high,
orange
spirit varnish.
42.
This maker
was a monk of the order of St. John of God in Bologna,
and made several violins of good character, with a fine
quality of varnish, Stradivari sound holes, and very
excellent outline.
Falaise, a
l6o
Stradivari,
but where or
when
is
not known.
Good
varnish.
so-called
pupil
A fairly good
wood and
in
varnish.
to-
precise date of
Magnus
evidence.
great
preferred to leave
them
in the list
present comment.
Ferati,
common
Pietro,
Siena.
About
1764.
Somewhat
Feret, Paris.
About
1708.
According to
his
own
Felici, 1869.
He
l6r
About
Calrpi.
1738.
maker
of double basses.
About
Violins.
1740.
Violins
and
guitars.
51.
Fevrot, Lyons.
About
1788.
well
designed,
and
the
corners
elegant.
sometimes
spell their
name
These makers
fratelli
Balla," and
catori d'instrumenti in
were German by
origin,
and
Their work
is
having a
FicHT,
J.
FicHTL,
well
it is
alia
Fiscer fabbri-
fratelli
Milano Vicino
tint,
Carlo
alia balla."
They
may
fine,
amber
good
Martin, Vienna,
about
1750.
maker.
maker.
lute
Highly arched
violin,
somewhat ordinary
looking.
l62
About
1789.
DoNATO, Naples.
FiLANO,
maker
taste
of violins, mandolines,
and
skill in
decorative work.
About
Similar work,
1859.
human
faces.
FiNDLAY,
About
of Stainer.
This maker's
1780.
little
This maker
FiORiNi, Raffaello.
is
somewhat
family
When
interesting.
named
Jadolini,
who had
little
brother
violin
This
His son
is
He showed
same
fairly
good education
first,
the
gave him a
63
he knew.
and gained
a good repute,
Fischer,
this
J.,
The
Landshut, 1722.
maker appears
to be a
solitary relic of
museum
of
the
It
is
the
in
Friends of Music
Society of the
in
much
1730
1812.
Not
it
Dean
of the Paris
Dean
for
this
There
year.
same year
in the
of the Violin
a
is
museum
bass viol
of the Paris
Conservatoire.
1715-
1685
1740.
Sometimes
it is
" Florentus
and so
on.
The
horticultural
will
M2
it
be as well
if I
all
confine
164
have
gamba
of beautiful
wood and
beautiful
carving,
and
on the
viols
maker
72.
Violin maker.
1816^
Violins.
Franck,
sculptor,
if
any,
new
instruments.
viol
maker.
lute
and
Sebaldo.
(or Frei),
viol
maker.
It is
Fritsche,
Leipsic.
End
worked in Bologna.
mere name.
of
i8th
century.
who was
165
a pupil of C. F.
Hunger
Died
about
Fryer,
C,
London
and
Leeds.
1840.
lute
An
settled in Paris.
He was
maker.
1766,
maker
Italian
style
in
of
as late as 1789,
About
Gaillard-Lajoue, Mirecourt.
which
1855, in
About
An
1600.
old
maker.
viol
Son
of preceding,
He was
improvements
as
they
were
then
called
on
said that he
It is
1832.
About
at
all,
the
had no
friends,
and meeting,
fiddle
to
rounded
He
on the
lines
be nothing new
off,
thought
than
the
which he projected.
an
It
turned out
it
Stradivari
model,
etc.
out
This
before
kind
fifty
of
years
l66
before
and
in
idle
either
one so far as
shape
or
tone.
and as
there was
will likely
be the case
in
many
future ones
to
Galbusera's
efforts,
awarded him a
Leipsic
Musical
silver
medal
Gazette
published
the
in
of Science
usual
and the
gushing
proceeded to construct
it
others of
a
to
different
model
have succeeded
like that.
the
no more of him.
167
Violin
Galliard, C, Paris.
About
Good
1850.
Red
style.
varnish.
Somewhat
Yellow varnish.
date.
1715.
good maker,
An
Gaspan.
known but
the
early
maker
viol
name and
Gattanani, Piedmont.
of
whom
Italian.
nationality
nothing
is-
Warm
Some time
1 741.
the
He was
He removed
made
common
finest
of
amateurs
instruments.
French
the
for
other than
violinists
and
is
well
known among
maker
in
to Paris
of double basses,
and a good
About
1822.
repairer.
work.
l68
Gemunder
Contempory.
1816.
It
Senr.,
Born
George,
New
Astoria,
Ingelfingen in
at
York.
Wurtemburg
in
desire to
work
shop
in Vuillaume's
in
Paris.
and was
for a
man was
Gemunder had
time a
little
maker
day
to that
effect
written
to
effect that
maker.
to
the
went
to
He
then
Some
when he
work
of Vuillaume
imitated
ev- ery
little
fidelity.
before him.
Contem-
makers
whose instruments have been highly praised.
Gemunder, George, Junr. A son of George, Senr.
Gentile, Michele, Lucca, 1883. Violins.
pory.
violin
169
15th and
6th century.
where he worked
Vuillaume
to
for
whom
Gand
he
left in
pere.
1850,
until
Born
Went
in
Mirecourt
Paris 1840,
to
1862,
when he
started
himself.
died there
in
1882.
business alone.
Giovanni,
Florence.
maker
About
of
1700.
Guitars.
maker
of violins
and
Son
of preced-
guitars.
repairer.
for
GiBERTiNi, Antonio,
1845,
170
or later.
GUIDE.
copied
Stradivari,
and
fine quality.
GuiSEPPE
(called
Paninino),
Modena,
19th century.
61.
About 1701.
About 1737.
About i860.
Viol maker.
Viol maker.
40.
Good
maker.
Fine
Violins.
in
maker had
Viol maker.
Japan.
GiRON, GiROLAMo, Troyes, 1790.
Violins.
GiNGLiANi. A 'cello maker of the 17th century.
Giuliani, 1660.
An
old viol
maker
Amati
school.
I7I
is
name.
An
Grand-Gerard,
maker, of end of
Grandson
medal
fils,
last century.
Mirecourt.
in 1855.
Gray,
J,,
25.
About
Fochabers.
Viol maker.
1870.
About
1727.
viol
maker.
Grimm,
Carl,
Berlin,
1792
1855.
This
firm
Grimaldi,
Cremonese
Carlo,
Messina,
Said
1681.
be
to
in style.
About
1650.
An
imitator of
Stainer.
Grosset, p.
F., Paris.
A maker of 'cellos,
About
1757.
it is
said.
This maker
is
He made
'cellos also.
common
orange
ITl
About
viol
Varnish
maker
light
of
golden
Beautiful wood.
-orange.
brown
1803.
Modern.
VioHns, reddish
varnish.
GuERRA.
family of this
name
settled in
Cadiz as
guitar makers.
GuGEMOS,
is
**
this
About 1740.
maker.
He
do
appears to
have been a maker of viols also, and his violins are said
to be very tubby, and inartistic in several points.
GusETTO, Nicola, Florence, i8th century.
This
maker's
instruments
are
very careful
imitations
of
Stradivari.
Haff, Augsburg, 17
i8th
I73
century.
Ivory
sort.
borders, etc.
good work.
made lutes,
work.
Johann, Nuremberg,
Hayden,
1610.
of
sort
dealer.
by
existence
for
many
'cellos
is
of
being
first
London, about
class instruments at
years,
have
I
I
Haynes, Jacob,
and
finish.
London.
About
1752.
An
old
174
English West
One
Heaps,
Heesom,
violins
E.,
A maker of 'cellos
Leeds, 1855.
J. K.,
London.
About
1748.
chiefly.
Highly arched
lines,
which were
supposed to be Stainer's.
Heidegger, Passau.
Held, Beule, near Bonn. Modern.
Heldahl, Andrew, Bergen, 1851. Violins.
Hel, Ferdinand, Vienna. Modern.
Helmer, C, Prague, 1740 51. Good instruments.
warm
He was
tint.
pupil of Eberle.
Helmer, Carl, Prague. About 1773. Son of preHe also made lutes and mandolines.
Helmer, Carl, Prague. Later. Son of preceding.
Hemsch, Jean Henri, Paris, 1747. Dean of the
ceding.
Hemsch, Guillaume,
Paris,
1761.
Dean
of
the
Henderson,
work.
D.,
Common
spirit
an ordinary maple
Henoc, Jean,
Makers' Guild
Hesen,
Aberdeen.
Modern.
Very poor
stain.
Paris, 1773.
Giacomo,
Venice.
Dean
He
of the Paris
also
made
About
VioHn
zithers.
1506.
lute
maker.
Hesketh,
T.
E.,
Manchester.
Contemporary.
pupil of
Chanot of Manchester.
75
and
Violins, violas,
basses.
Hetel,
G.,
Rome.
Henry Eugene,
HiLDEBRAND,
About
1763.
Paris, 1855.
Violins.
M., Hamburg,
1765
1800.
Violins,
violas, 'cellos,
by his uncle.
Hoffmann, Martin, Leipsic, 1680 1725. A lute
and viol maker who has become famous not only for his
own special work, but also because he was the first to
make the viola pomposa suggested by John Sebastian Bach.
'cello
Hoffmann,
preceding.
Johan
lute
tuned to C, G, D, A, E.
Christian,
Leipsic.
for
it.
Son
of
maker.
Hofmans,
Mathys,
Antwerp,
1720
50.
This
176
The
tone
does
not,
of
such
dark
violins
however,
red
of
come
very
his
as
altogether
transparent.
have seen,
up
to
one's
expectations.
is
150
years,
there
apparently, in existence.
has
been
For more
representative,
The instruments
are in
many
of
77
Jauch of Dresden and a worthy one of a worthyHis instruments are Italian in style.
master.
viol
maker.
Indelami, Matteo.
when
Unknown
maker.
lute
either
or where.
Jacobi, Meissen.
i8th century.
Violins.
An
Johann, 1735.
Anton, Botzen.
Jais,
Johann, Botzen.
Dresden.
Jauch,
About
About
i8th
1704lute
maker.
1760.
1776.
century.
maker
fine
Leander, Sesso.
Joseph,
J.,
maker.
lute
About" i8ig.
19th century.
Vienna, 1764.
JuLiANO, Francesco,
the beginning of
Rome.
century
i8th
about
it.
i8i2
6o.
was one
of those
who
invent fiddles.
violin
came
to anything.
It
was
to
It
never
made
it
difficult
to
made bows.
178
Karb, Konigsberg.
Kembter, Dibnigen,
viol
maker.
Violins of highly arched
1725.
model.
and
About
also an exquisite
the
1780.
A fine repairer,
bow maker.
under
Violin maker.
Modern.
management
of
This establishment
M.
Antoine
Rubach
is
of
Mirecourt.
Violin
1671.
maker.
Knitting,
P.,
Mittenwald, 1760.
made
About 1599.
Modern.
lute
80.
Has the
of the Dutch.
finest
maker
Thick
violins.
viol
maker.
Died 1796.
The work
of this
1789
1820.
repairer
great ability.
of
KiJNTZEL, Berlin.
79
Modern.
which
Conservatoire.
He
this
is
the
in
branded
his
Paris,"
and
lute.
Contemporary.
Lancellotti,
maker
Modern.
Ottavio, Barigazio.
of double basses.
51.
the oldest
in
One
viols
of
and
Violins.
1715.
He
He
also
made
Lapaix, Lille.
N2
Modern.
Violin
maker and
medallist.
l8o
Mirecourt
in 1856.
Dean
of the
Makers'
He worked
Born
1738.
Died 1805.
mandolines and
made
viols.
different instruments,
I5i5>
1708.
(1771).
He was
chiefly a repairer.
Amati.
This was
Le Jeune,
Francois, Paris,
Makers' Guild
the
was
Museum
Dean
1764.
There
is
1870,
believe,
the
of
a viol by him in
l8l
when
extinct.
to
Lembock, G.,
He
About
Vienna,
1873.
either.
He was
repairer.
Dean
of the Makers'
for 1750.
Le Lievre,
instruments.
about
Paris,
Made
1754.
fairly
good
Dean
of the
19th century.
Le
About 1754.
60.
Levien-Mordaunt,
lute
maker
of
whom
to say.
Paris, 1825.
About
1700.
Good work
Johan, Breslau,
i8th
century.
viol
maker.
LiEBicH,
Ernest,
Breslau,
1796
1862.
Violins,
Violins.
102
GUIDE.
About
1798.
and
lute
harp maker.
Died
1569.
About
1681.
Ferdinando,
GuiSEPPE
LiEDOLF,
VioHns.
Vienna,
18th
century.
and
Lipp,
An
20.
old lute
maker.
viol
Mittenwald.
LipPETA,
J.
About
1761.
Violins.
About
Violins.
1830.
Chiefly
guitars,
GiAMBATTiSTA,
LoLio,
Voltczza,
About
1727.
8th
century.
Violins.
LoLY,
maker.
Naples.
Jacopo,
and
Ordinary
About
1878.
Violins,
also organs.
Gasparo,
LoRENZiNi,
Piaccnza,
i8th
century.
Violins.
LouvET, Jean,
One
Museum.
1759.
Dean
Paris.
of his viols
is in
1742.
servatoire
One of his
Museum.
Loveri, Naples.
Lucarini
repairer.
(or
Dean
Con-
Modern.
Lucatini),
Faenza.
About
1803.
183
an amateur,
it
is
manuscript one.
1709.
He was
repairer.
faeciebat
The
Conegliani, A.D."
LuGLONi,
imitator of the
Cremonese
style.
Perry, Dublin.
It
it
was issued
is
seems
some-
supposed to
8th century.
Magno, Ferrara.
lute
maker, middle of
i6th
century.
Maier, a.
F., Salzburg.
1746
50.
Maldonner, Fussen.
About
1650.
maker of
double basses.
Maller, Laux
(or
1475-
184
About 1728.
About 1724.
even
Stainer arching
were so famous
in
their
was not
day that
all
indeed,
rejected.
all
They
sorts of rubbishy,
of
Violins.
Highly arched.
Beautiful wood.
a golden orange.
Marco, Antonio, Venice.
About
1700.
Varnish of
i8th century.
i8th century.
of
185
Bologna.
Omobono
It
is
Stradivari.
maker.
Maria, Giuesppe de, Naples.
.a
maker
About
1779.
Chiefly
of mandolines, etc.
1570
1646.
School of
Maggini.
Marquis,
maker
de
Lair,
Violins.
Violins.
Mirecourt.
19th
century
He made
very
vulgar.
who used
instruments.
Beef
id.
He inscribed
l86
to
for
Martani,
Antonio,
Reggio-Emil,
1804
66.
violin repairer.
Martinez, Alonzo.
An
Martino.
Masencer,
Italian
maker
Giovanni
de,
chiefly of
Brussels.
'cellos.
and
Violins
pochettes.
fairly
L. Mast, Paris
in the inside
Mast
"
branded
where the
century.
"J.
back and
Fils, Toulouse.
Nicolas aine at
18th
spirit varnish.
Son
of above.
Worked
with
Toulouse.
Withers).
iSj
France
have a
in i860.
fine style
He was
first
suppose that
said
It is
correct.
is
i8th century.
6..
maker.
viol
violoncello
A
in
Salzburg.
About
1750.
Violins.
date
as
19th century.
pupil of
school by
About 1768.
About
new kind
This
1851.
It
was
to
be
l88
The
and the
tone,
although
an
of
belly
was
of brass,
abominably
diverse
It
don't think
it
was exhibited
in 1851 at
Bologna, but
Mennegand, Charles.
Like so many other
fine
Nancy in 1822.
makers, he was taught his art
Born
at
There he
and became a firstclass repairer of old instruments.
He was a year with
Maucotel, and then went to Amsterdam. In five years
he returned to Paris, and died in 1885. He made good
instruments, but his chief distinction was gained in the
in
worked
for
Rambaux
He made
trade mark.
double basses.
Mensidler,
violins,
They have
tenors,
Nuremberg,
Johann,
'cellos,
and
viol
maker.
Meriotte, Lyons.
maker.
Up
About
1755.
fairly
good
Lyon," but
after
His
is
About
1780.
His
About
About
1846.
1883.
instru-
1855.
Alessandro,
Mezadri,
189-
Ferrara,
1690
1720.
of
fairly
good maker.
of Stradivari.
About 1786.
maker at Aix in the Bouches du Rhone
Mier, London.
MiLLE.
the
8th century.
in
Violins.
About
1808
9.
Violins.
Contemporary.
was
He
maker
learnt
in
under
his
Born
father
at
Mirecourt
Sebastien,
who
Miremont went
and was first with Joseph Rene Lafleur,
who was a bow maker, chiefly. Miremont soon left him
and engaged with Bernardel Pere, with whom he
remained until 1852. He then went to New York for
three years with C. N. Collin-Mezin.
to Paris in 1844,
ten years,
and returned
from business
in
1884,
to Paris in
and died
1861.
in 1887.
He retired
He was a fine
190
S GUIDE.
About
1749.
viol
maker.
About
Moitessier, Louis.
One was
violins.
belly of
1781.
It is
described as
MoERS, Jean
Dean
this
for
GuiSEPPE,
viol
maker.
1703.
He made
Venice.
are two of
the
various
He
also
in
the
former
MoLLENHAVER, Loudou.
who proposed
inventor,
to
About
make
bellies,
He
an
two compart-
it would
volume and roundness of the tone of
is
ments.
This
88 1.
of
the invention
its
The
quality.
are explained
in
Musical
November, 1881.
MoLZA, Nicola, Modena, 1620. A repairer.
MoNCHi, P. de, Lyons, 1633. A viol maker.
MoNGENOT, Rouen. About 1763.
MoNTADE, Gregorio, Cremoua, 1720 35. A maker
Opinion of ist
About
1730.
This
maker
said to have
is
IQI
whole,
it
may be
his
this
name may
Remus would
This
Montade
say,
"
mightii't.
it
lute
and
viol
About
1840.
Violins.
MoRGLATo,
Mantua, 1540.
Violins
Lutes and
viols.
Morella-Odani,
Guiseppe, Naples,
1738.
Made
About 1812.
MoRi-CosTA, Felice, Parma.
MoRONA, Antonio, Isola. About 1731.
Morrison, J., London, 1780 1823.
Violins.
192
MouDOiT.
He
maker
GUIDE.
is
number
century.
of the strings.
of Guadagnini.
of double
basses.
ViolinS.
Dean
Paris, 1774.
of the
He was not
violin
Nadotti,
Guiseppe,
About
Piacenza.
1767.
Violins.
Namy,
is
About
Paris, 1772
1806.
This
is
tell at
He was
1550.
tell
Abbe
Sibire
at a glance
Namy,
just as
went
when-
he could
only
surmounted the
of
those
is
charac-
whose self-confidence
has
have had
92.
enthusiasm.
manner
On
sum dura
occisa
fine
of Maggini
and the
1740.
after the
About
I93
securi
dum
Viva
fui in
tacqui,
vixi,
it
before
him.
in
one firm.
Newsiedler,
Lutes and
Giovanni,
Nuremberg.
Died
1563.
viols.
Newton,
Isaac,
London, 1775
1825.
About 1645.
viol
maker.
violins
coloured varnish.
Instruments of a
flat
model are
also-
Norris, John.
the
Trained in
pupil of
Thomas
Barnes.
194
About
1662.
lute
maker.
name
17th
Looks
century.
down
preceding written
as
About 1712. A dealer somewhat after the style of Dodd and others, who had the
instruments made for him and placed his own manuObbo, Marco, Naples.
Ordinary work.
About
1684.
19th century.
A repairer.
Died 1695.
^^ was
only twenty-eight years old when he died. He was a
young man of considerable genius, and is said to have
Odoardi, Guiseppe, Ascoli.
made upwards
of
named
writer
About
1773.
good
Olivola,
Francesco
De,
Violins.
Rome
(Sarzana),
1667.
Violins.
Common
About
work.
1463.
lute
Otto,
Died
work which
the
title
He was
is
Born
popularly
known
in this
sons,
in Halle.
August, in Cologne.
Hermann, son
business,
of
that
Christian,
in Jena.
Carl, in Mecklenburg.
son
George
of
Ludwig, in
grandsons
three
day, very
Ludwig,
Stockholm.
1762.
Heinrich, in Berlin.
C. U. v., in
sons and
who were
his
George August,
of the continent.
Gotha,
It is, to this
numerous
at
a pupil of Ernst,
useful.
of his
Augustus.
Jacob,
in 1830.
I95
Thus
St. Petersburg.
went
all
to
into
five
the fiddle
settle in
different
towns.
15th century.
OuvRARD, Jean,
Paris, 1743.
Pacherele,
Michel,
Dean
for this
year of
Style of Pierray.
Paris.
About
varnish, style of
An
1779.
Louis Guersan.
Name
Nice and
and a
In
Pressenda.
with
settled
fine
repairer,
1839,
He was
there.
but
employed
he
a
a
returned
good
to
maker,
thick-looking
style of varnish.
Pacquet, Marseilles.
About
1785.
He was
born in
harp guitar.
02
196
pattern.
Pagani,
J. B.,
A fairly good
Cremona, 1747.
maker.
50.
fair
maker who
Palma,
p.,
Violins.
An
Paltrinieri, Giovanni.
Italian
maker
of 'cellos,
Very
About
1719.
founded
in 1830.
Pardi, Paris.
About
1788.
Parlt,
viol
About
1764.
maker.
maker and
repairer.
Pasenali, Giacomo.
An
Italian
maker
of mandolines
Pasta, Venice.
About
1661.
About 1718.
Good
1730.
I97
High model.
Patzelt,
J. F.,
Pazzini,
Giovanni,
This maker,
in
Modern.
Gaetano, Florence,
Vienna.
one of his
1640
60,
Maggini.
J.
and
T.,
London.
About
1780.
About
1595.
lute maker.
Pedrazzi,
Fra Pietro, Bologna.
About 1784.
Another maker among the ranks of the Dominican
fraternity.
This
undertaker.
Born
Died
1781.
maker was originally a carpenter and
He was almost wholly deaf, and took to
them
He was successful in
He made the backs of very old
Guarnerius.
in Russia.
These,
it
is
said,
he
Venetian arsenal.
ments
'cellos,
in the white,
instru-
tenors,
knew
of his success.
maker.
was
50.
An
old
igS
About 1770.
Pfub, Hamburg.
80.
follower of Maggini.
Modern.
Pfretzschner,
work.
Pianassi, Domenico,
Ginglia,
1770
80.
viol
maker.
PiANE, Delle, Genoa, 1800.
Violins.
56.
Violins and
double basses.
An
Italian viol
maker.
PicHOL, Paris.
'
Picte,
Natale,
Paris,
1760
1810.
Violins
and
double basses.
PiERi, Costantino, 1865.
PiERRET, Paris,
An
Italian repairer.
Pierrot, Lyons.
PiETE, N., Paris, 1760
80.
PiETRo,
Alberto,
Rome.
About
1581.
lute
maker.
About
1760.
His name
is
branded on the
He made
Not
inside.
I99
About
i8th century.
1748.
and
dealer.
19th century.
repairer.
maker who
employed a thick brown varnish having a red tint. His
instruments are fairly good. Arching somewhat high,
Pirot, Claude,
Paris,
1803
13.
PiTET, Paris.
tive sort
his
who
name,
PivA,
PivA,
1675.
maker
of the decora-
etc.
Giovanni,
violas, 'cellos,
the
About
Modena.
19th
century.
Violins,
and basses.
Giovanni, Piacenza.
same maker
About
1883.
Possibly
as the preceding.
Placht, Vienna.
About
1873.
Violins.
Instruments of a
trade character.
About
1778.
Ordinary
kind of instrument.
About 1747.
makeir
THE FIDDLE
200
KAN'CIKR S GUIDE.
and
82.
Tenors
Violins.
'cellos.
PoLis,
style of
PoLLASTRi,
GuisEPPE, Modcna,
Viols and
1783.
guitars.
PoLLASHA (or
and 'cellos.
Pollusca),
Rome,
Antonio,
1751.
Violins
60.
An
hurdy-
old
gurdy maker.
51.
Como,
1853.
Italian
'cello
Violins,
tenors,
and
basses.
PoPELLA.
An
maker
of
17th
the
century.
There
is in
existence
About 1753.
fiddles,
Violins,
varnish.
About
1564.
maker
About
1824,
Violin
of flat arching,
and
reddish-brown varnish.
Violins, etc.
Instruments
in the style of
Maggini.
90.
same
the
1691
99.
20I
A maker
of
school.
Piedmont.
Young Pressenda
as
astonished
frequently
some
local violinist of
child,
those
skill.
who heard
him.
He
making violins
when he was barely ten
them
in the
famous
city of
Cremona.
It
was rather a
long tramp for a lad of his years, but he took his fiddle
time,
At
this
He
moulds which
his satisfaction.
He
played his
years old.
his
way
back, as he had
202
S GUIDE.
This recognition,
of him,
his instruments
now
He
good judges.
December, 1854.
feally
The
style of
possesses
much
his
work
died in Turin
is
on the 4th
large
of Lupot's later
and best
efforts.
In Pressenda's
are two
This
pieced or whole.
many
trait is
His arch
and
long,
his
flat,
quality of spirit
very
and
His varnish
full.
colour
fine,
About
good
clear
and firm
Prevot, Paris.
is
The tone of
having much of the
amber brown.
.
broad,
is
light
an
timbre
efforts.
1788.
1855.
Violins
and bows.
About
pochette by this
There
1670.
maker, and
Orange varnish.
decorative character.
203.
is
in
of
His name
is
it
is
it.
About 1670.
where he
still
He
retired to Mirecourt in
employed himself
at his favourite
About
1840.
Modern.
Violins, violas,
and
Violins, violas,
and
basses.
About
1785.
Nuremberg. Modern.
An old German
Rauch, Hans von Schratt.
Rau,
J. F.,
viol
maker.
centuries.
High modeL
204
Rauch, Wurzburg.
the preceding, and
GUIDE.
made instruments
of similar type.
VioUns,
century.
A maker
15th century.
of
19th century.
repairer.
Rechardini,
Giovanni,
maker
Venice,
of pochettes.
Violins,
1605.
violas, basses.
maker
of violins
and
He was
ing to his
own
ments
like that of
is,
About
1836.
guitars.
great
many
imitators of this
maker
in
About 1779.
it is
Contemporary.
said.
Reina, Giacomo.
'cellos.
kind of
Neukirchen.
About 1708.
He
is
German
An
A pupil
chiefly a repairer
point of view.
Italian
maker
of
made
was
maker
name
of this
in
205
It has been
Cremona, who
He
branded his
violins, violas,
of work.
Remy, Jules,
business
in
Born
Paris.
recently,
until
Mathurin Remy.
Renaudin, Leopold, 1788
95.
maker
of double
He made
France.
and
was one
untrained
in
those
of
the
art
political
of
blunder
whose
birth
history
if
who,
splutterers
agitation,
into
themcharit-
accurate
is
the
ranks
of
the
in 1795.
human
He was
repairer.
specie
beheaded
2o6
all
This
" make,
hire,
sell,
About
Violin repairers.
About
1650.
Dean
of the Paris
About 1729.
About 1729.
Stainer.
The name
is
sometimes
He was
a painter also.
His
maker
fiddle
of double
work
is
not
of a high character.
Violins,
and basses.
RiNALDi, Gioffredo, Turiu. Contemporary.
violas,
3.
Chiefly
dealer.
About
1783.
Got
their
probably, in Mirecourt.
A maker of 'cellos-
22.
10']
good
fairly
who keep
US in a
magnificent tone.
is
good.
and
violas,
Violins,
'cellos.
RoccA,
Violins, violas,
century.
Chiefly
mandolines.
This
whose name
maker
Budiani."
The
error
has
probably
His work
is
as
is
the
" Javietta
through
arisen
given
usually
is
in the style of
An
who was
RoiSMANN, JoHANN,
fiddle
maker.
Duke
Breslau,
1630
it is
80.
said, of violins
fancy
like.
Avery
ancient
2o8
to
Romarini
ticket
fecit
Cremonae
A maker
anno 17
of violins
."
and bows.
An
amateur, in
violins.
fact.
About
Violins,
1700.
and
RosMANN, JoHANN, Breslau. 17th century.
Ross, John, London, 1562 1598. A viol maker.
Ross, John, London. About 1596. A son of pre-
violas,
'cellos.
ceding.
The name
is
occasionally
spelt Rosse.
i8th
century.
Ferdinando,
Violins.
Modena.
19th
century.
repairer.
19th century.
maker
of
double basses.
Rossi, Giovanni, Perugia, 1820.
Violins.
Violins, violas
and
basses.
About 1675.
A German
maker.
violins.
209
RoTTEMBouRG, Albert,
Brussels.
Died
1764.
Violins, violas and basses.
RoTTEMBOURG, FRANCESCO, Brussels. About 1771.
RoTTEMBOURG, G. G., Brussels. Born 1672. Died 1756.
RoTTEMBouRG, G. A., Brussels, 1758 73.
RoTTEMBOURG, G. A., Brussels. Born 1705. Died
Son of G. G.
1783.
RoTTEMBOURG, G. A. G., Brussels. Born 1642.
Died 1720.
ROTTEMBROUCK, BrUSSCls, I7OO 25.
Several of the members of the Rottembour^ familyseem to have copied the Amati model. Some of
instruments have a warm brown varnish.
RovELLi. An Italian maker about 1744.
RovETTO, Bergamo, 1840 70.
RozE, Orleans. About 1757. A fairly good maker.
Yellowish varnish.
Wide sound
scroll.
RozET, Paris.
About
1691.
court
maker
of the
period.
Chiefly guitars.
RuF, Hall, 1780 1877. A maker chiefly interestingfor the labour and care with which he collected information regarding
Jacob Stainer.
2IO
An
RuFFiNO.
RuppERT,
violins,
They
of flat model,
are
according to Otto.
who
i686.
maker
violin
many
One
specimens
is
known
of his
of small size.
60.
fine
and
Sainpra,
violas.
Jacques,
Berlin,
17th
century.
viol
maker.
Saint-Paul,
Pierre,
Paris.
About 1741.
An
and basses. Poor,
yellow varnish.
for the
year 1768.
Dean
He
of
the Violin
succeeded Louis
maker of
About
'cellos.
Sajot, Paris.
Salzar, Paris.
About 1734.
A mere name.
1850.
and a
among
Paris
1855.
211
of the Paris
some
fine-looking
varnish.
He
Tone not
basses.
so
fine.
Hard
Violins,
i8th century.
Violins, violas,
About 1770.
and basses.
Violins.
Violins, violas,
and
Violins, violas,
and
basses.
Violins.
Violins, violas,
and basses.
Sardi, Venice, 1649.
Sassi,
Alessio.
About
1784.
An
Italian
'cello
maker.
Saunier,
Paris.
His
is
instructor of F. L. Pique.
Saunier, Bordeaux.
P2
About
1754.
212
GUIDE.
About i8og.
maker
of
double basses.
Savitzky, Vienna, i8th century.
About
Sawicki, Vienna.
Scarampella,
1830.
Guiseppe,
Florence,
century.
19th
own
Musical Institute,
for
whom
made
Grand Duke Ferdinand, son of Cosmo III., of Medici.
In 1884 he was appointed Conservator of their Museum
viola
and
an
office
violoncello
which,
believe, he
still
ScHEiNLEiN,
Joseph
Michel,
holds.
About
1753.
Langenfeld.
Born
1751-
Scheinlein,
1
710
71.
Mathias
Friederich,
Langenfeld,
His
instru-
ments are well made, but of a high model, and too thin
in the wood.
Dark coloured varnish. The precedingJoseph Michel was his son.
Schell, Sebastian,
lute maker.
vatoire
One
Museum
Nuremberg.
of his instruments
at Paris.
About
is in
1727.
the Conser-
SCHENFELDER (or
About
Neukirchen.
ScHCENFELDER),
213
AdAM,
JoHANN
1743.
ScHLicK, Leipsic.
ScHLEGET,
Elia,
Altemburg,
Violins
1730.
and
1825.
Not a
particularly
Invented a
fine
maker.
keyed
Stradivari model.
violin.
Schmidt, C.
F., Vienna,
1873.
Violins, violas
and
Violins, violas
and
basses.
ScHNCECK,
Brussels, 1700
30.
Amati model.
ScHONGER, Franz, Erfurt, i8th century. His instruments are of large size, and good looking, but of poor
'cellos.
tone.
He was
a son
of pre-
and
ScHOTT,
Martin,
Prague,
century.
i8th
lute
maker.
ScHOTT,
ments.
Mayence.
About
1780.
Various instru-
Chiefly a dealer.
repairer.
214
who
Frederick
The
made bows,
first violin
his brother
of this firm
is
Theophile
violins, etc.
to the
George
down
to
In that
'cellos.
Born
1821.
Son
Violins
and
Schewitzer,
violas.
flat
About
Pesth.
Good work,
1800.
model.
1.
He was
a lute player.
Violins, violas
and basses.
Segizo,
Girolamo
Maria, Modena.
Sellas,
and
Matteo, Venice.
Died
1553.
lutes.
About
Chiefly
1639.
Violins
and basses.
About
and
violas.
Basses.
1747.
Violins
and basses.
Violins, violas
and basses.
Shaw, J., London, 1656 98.
Siciliano, Antonio, Venice,
75.
215
Violins,
violas
Varnish of a dark
1600.
About
repairer.
and basses.
Simon, Salzburg, 1731. Violins, violas and basses.
SiMONiN, Charles. Born at Mirecourt, he was sent
to Paris and apprenticed to J. B. Vuillaume, and graduated with him a high-class workman.
He returned to
Mirecourt for a time, and moved to Geneva in 1841, and
Simon, Paris.
Violins
1788.
to
He
Toulouse.
has gained
several medals.
90.
city
maker
at
Simpson,
J.
and
J.,
London.
Nicola,
Later.
Violins, violas,
Spilamberto,
and basses.
19th
century.
repairer.
Modern.
About 1672.
Slagh-Meulen, Vander, Antwerp.
An old maker of good traditions. Varnish dull brown.
Decorative sort of work.
'cellos
was
open
at
the
One
singular feature
was
33.
viol
maker.
2l6
Thomas,
Smith,
Peter Wamsley.
London, 1756
About
and basses.
Henri Auguste,
kind of work as preceding.
Snceck,
Copied Amati.
Brussels,
Vincenzo,
one of
is
this
Bologna,
Same
1672.
There
Violins,
1703.
Amati arching.
Socchi,
pupil of
86.
99.
Chiefly 'cellos.
1661.
repairer.
Pochettes.
Museum.
SocoL, Pio, Genoa, 19th century.
Violins, violas,
'cellos.
Socquet,
common
i6th
Paris,
century.
maker
of very
violins.
considerable power.
Dean
Violins.
34.
17th century.
Violins, violas
of the Maker's
A
50.
and basses.
repairer.
Copied Stainer
Varnish yellowish.
Statelmann,
J.
J.,
Vienna.
About
1759.
Also a
M.
Stautinger,
W.,
Wurzburg,
217
1671.
viol
maker.
repairer.
Mantua.
Steffanini, Carlo,
Chiefly mandolines.
good maker
of 'cellos.
Stephannis,
Cremona,
violas
Violins,
1507.
and
basses.
Statwolf.
a German
Stauffer, Vienna.
of double basses.
i8th century.
Francesco,
Stoff,
violas
maker
repairer.
1750
Flissen,
98.
Violins,
and basses.
Stoss,
F.,
Fiissen,
1750
98.
These two
names
Stoss, Prague.
Stoss,
i8th century.
End of last
Good model.
many German makers.
and beginning
of the
present
J.,
Neustadt.
century.
of so
About
1745.
Pochettes.
Violins
and
violas.
lute
viol
maker.
Strong,
maker.
John,
Somerset,
17th
century.
THE
2l8
made
About
Viol maker.
1789.
'cellos.
who
maker
violin
violins
One
and basses.
of these
seems to be almost
MoUenhaver some
instrument a
was
for a
second belly
is
39.
belly for
com-
in
the purpose of
the
fifty
years later.
Sulot
The
echo."
fifty
called
his
patent
years hence,
it
may
Amati
style.
Bologna.
Settled in
Modena
Origin-
as a repairer of
Tanegia,
A
in
to the
Court of Ferrara.
An
He was
an
old
French
this
name
ecclesiastic,
and
was
his brother
khown
in Italy a
hundred and
extended
219
He
belief.
little
fifty
was
is still,
and
'cellos,
cannot
About
Tarr, Manchester.
1855.
common
what
1750
His
maker.
tickets
Violins.
54.
some"
run,
Opus
Taylor,
violins,
London,
1780
1820.
Made
very
good
and basses.
maker
of
'cellos.
Testator,
centuries.
Vecchio,
II
This
is
Milan,
maker who,
had assigned
the
The
notion
15th
and
i6th
in the irresponsible
to
him the
is,
at present, quite
credit of
known regarding
this
ancient.
1772.
Dean
of
the
220
GUIDE.
Thiphanon,
Paris.
About 1780 88.
Tickets
" Tiphanon, rue St. Thomas-du-Louvre, a Paris."
Thir,
Johann
George,
About
Vienna,
1791.
Chiefly mandolines.
to
1845.
Previous
He was
a good
maker.
way
the
for nearly a
a peerless
justifiably called
on
In
century and a
The
business
half,
was
carried
fail
to realise
arouses in the
work
and lovers of
bosoms
of
antiquaries
artistic bric-a-brac.
About
1774.
His "
decorative
sometimes took
then
run as follows,
and would
ToLBECQUE, AuGUSTE.
a
ticket "
clever
Born
Belgian musician, he
considerable distinction.
83.
Violins.
at Paris 1830.
became a
Son
'cellist
of
of
by numbers
of intelligent
first
the Conservatoire
prize at
221
how eminently
realize
clever at
His
it.
Tolbecque
fils
ticket, in
Parigi,
fecit,
He
anno."
made
also
by
to
Fetis.
some
it
he
mechanical
little
occupied
skill,
and
himself for
purpose.
At the end
destroyed
organ
builder.
there
eighteen
months,
It is
work
is
completely
previous owner
its
violin
now
in the
Tolbecque's
maker
no
one,
who,
Tolbecque,
to
of that time he
was bought by
repair
in his efforts to
twenty-five years
chiefly.
Fine varnish.
About
1740.
Highly
Style
of Tecchler.
1872.
Instruments of a
common
type.
222
GUIDE.
ToRRiNG, London.
Rome,
ToRTOBELLO,
violas
Violins,
1680.
and
basses.
Made
century.
About
1747.
Naples.
Beginning
instruments of a large
of
size,
19th
and of
Thick reddish
through.
brown
varnish.
An
Giovanni,
Trinelli,
Viols and
centuries.
Villalunga,
i8th
and
19th
'cellos.
19th century.
Violins,
and basses.
Trunco, Cremona, 1660.
violas
About 1734.
S. J.
Turner, William, London. About 1650. A very
fine viol maker who had his place of business in Gravel
Lane, E.C. An instrument by this maker is described
Trusk,
as superb.
The
It is in
English work
ye hand and
crown
ticket of this
London,
in
gravelle lane
was
neere aldgate,
Turner who
name under the button of his violins
and who was of a much later date.
His work is in no
way to be compared with that of William Turner of
stamped
1650."
There
another
his
"gravelle lane."
This was a
That
all
223
tradition appears
Udene, Natale
da,
Udine.
Violins, violas,
and
basses.
and basses.
Ungarini, Antonio, Fabriano, 1762.
Unverdorben, Marx, Venice, 1415.
Violins
viol
An
maker.
old
lute
1877.
An
maker.
Vaillot.
French maker
Valentine, W.,
London.
of 17th century.
Died
about
martre, Paris."
of rebecs
pedals.
224
and
Violins
1813.
basses.
Vauchel,
Vantrim.
Damm.
Modern.
19th century.
maker
of
About 1534.
lute
maker.
much above
ultimately
became
the
common
a bee farmer.
class
He
work.
of
He was
a bee fancier
Vermesch,
Beaumont sur
Vermesch.
called,
He was
Oise.
and called
Violins.
About
himself,
1781.
le
pere
skilled.
1641.
maker
Violins.
maker
of double basses.
About
1760.
1744.
ViBRECHT,
may
be the
225
10.
This
Violins.
Beginning of i8th
century.
Work
fairly good.
About 1660.
A maker
Dogana
di Milano."
family of
four in succession.
and guitars.
Died 1881.
Born 1765.
Well made instruments.
Varnish of a
of mandolines,
light
amber
colour.
Vincenzi Carpensis."
About 1737.
and basses.
ViR, HiERONiMO Di, Brescia.
Violins, violas
VoBOAM,
Paris, 1682
chiefly decorative.
vatoire, there
is
1693.
In the
-^
museum
a beautiful
guitar
by him made
of
tortoiseshell.
VoEL,
Good
E.,
Maintz.
About
1840.
fine
maker.
Died 1650.
VoGLER, J. G., Wurtzburg, 1750.
Volpe, Marco, Spilamberto. Died 1839. He made
viols, violins and double basses.
VoiGT, Martin, Hamburg. About 1726. Viols and
226
Same
lutes.
beautiful
class of
work as
that
of
the
Tielke firm.
Violins.
Violins,
About
court maker.
.1769.
His
.He
instru-
Weber, Prague,
Violins.
i8th century.
About 1733.
About 1733
1733, runs,
Geigenmacher
in
1777.
A
ticket with
Salzburgh."
maker.
227
and 18th
17th
century.
This
i8th century.
making
by
himself
distinguished
an
iron
fiddle.
60.
violin
maker who
WiLLER, Prague.
18th century.
Woldemar, Michel.
Died
at
with
Born
in
Clermont-Ferrand 1816.
any
rate,
Orleans
He
in
1750.
invented a violin
was
It
intended to have a
above E, as was
Jullien's
Woldemar was
idea.
violinist.
WoLTERS,
viol
J.
About 1749.
N., Paris.
decorative
maker.
Wood, G.
F.,
careful maker,
London.
who has
of the characteristics
Contemporary.
decidedly
of
the
kinds of
finer
many
modern
French work.
WoRNUM, London,
1786.
1794.
Violins.
1728.
son
This maker
who was
in a sense,
immortal
228
Zabel,
VioHns,
in
1803.
etc.
Zach, Vienna.
and
It is
restorer.
Zanabon.
An
maker.
Italian
Giacomo, Modena.
neglecting his
now
to
official
enquire.
One
duties,
ticket
it is
runs
"Jacobus
Zanfi,
Violins.
imitator of P. Guarnerius.
229
if
he
ticket
ZwERGER,
fairly
Anthony,
good maker.
Mittenwald,
viol
maker.
97.
1750 60.
CHAPTER
VIOLIN
kind
industry.
importance of a
fine
the
of
make, but
special
the
increasingly recog-
now
in
The two
America, and
cost, together,
may seem
Tourtes
finest
a delicate
quite
Vll.
That
One
quite correct.
for
with
of these
two bows
considerable
and
it,
confess
when
it
time,
I
was sent
kinsmen, but
pearls, sapphire,
Tourte's
skill
it,
felt
in
such
or
its like
the States,
When
was
VIOLIN
BOW MAKERS.
and
also in America.
is
was made
23I
them
Larochefoucauld,
for
in this country,
The
steadily.
fine
ones
their prices,
pounds.
having.
great deal of
Lupot
Tourte and
nonsense
regard
in
sticks,
not
worth
written
about
are
is
which the
to
Tourtes,
value,
comes
current
their
their
and perhaps
One
It
is,
that
fifty
years old.
when an amateur
pounds,
it
is
anything
five
stick indeed
in
figure,
a year or
neighbours say,
The
difference
is
will
be a very ordinary
will, at present,
will
buy, and
be almost,
as
our
introuvable.
places, but
bows
It
would
between a
like to
fine
quite measurable,
it
is
finest of
a Tourte, and
modern
many
artistes.
who manage
to
by preference,
Fiddle fanciers, and bow
w^ho,
232
do
fanciers, should
their best to
S GUIDE.
own judgments.
their
If
them go to one who knows. Someby a leading player quite unintenHe may have dropped some
tionally on his part.
remark, either in pubHc or private, which is immediately
He
seized, and made the basis of almost a revolution.
round
stick,
Tourtes
one
a
may be trying together two
form' a decision,
times
di
let
fashion is set
He
Immediately
happens.
the circle
of
his
all
seek
influence
prefers the
round, as
it
Then
is
to
exchange
their
stick,
referred
is
an octagon.
Almost
all
stick
can be got
octagon, but
bow
have already
round
to use.
that
is,
if
your object
is
bow
to play with.
About
1830.
fairly
good maker.
BOW MAKERS.
VIOLIN
233
About
Leipsic or Dessau.
1840.
these bows.
Dodd
"
bow
is
an exquisite piece of
are either
at
except as
all,
Tourte.
have
his
all
that remains of
many
of them,
so that the
All the
good
name may
and that
is
in colour,
and
and
also
stick,
sticks,
however,
in various
"
the " English
Many
a decided disadvantage.
of
ways,
They
them are
234
He
About 1820.
bows are exceptional in
EuRY, Paris.
of his
name under
nut
A very fine
quality.
maker.
Some
He stamped
his
but not
always.
FoNCLOusE, Joseph,
He
for him.
Born
Paris.
1800.
Died 1865.
B. Vuillaume.
usually
marked
He
his
J.
He was
a fine
Paris.
Contemporary.
This
their
fine
name on
his
bows.
maker.
This maker's
BOW MAKERS.
VIOLIN
Lafleur, Jacques.
Born
at
255
Nancy
Died
1760.
in
Paris 1832.
may be
some
quite justified in
cases.
Died
and
in Paris 1837.
He was
He made
the
which
nut,
is
a great
is
to the
ebony where
it
groove
quite ordinary.
" Lupot,"
cannot say.
fine indeed,
great
many
of
am
inclined to think
It is
rate,
it
in
every case
whenever
by no means an easy
It is
mechanism
bow
in the
cemented
There
improvement
there
any doubt
is
stick, as a stick,
when
to tell a
it
is
safe to
236
reject
it.
They
are generally
strong,
dark coloured
them
in
grey wood
have seen
also.
Maire, Nicolas.
Born
in
Mirecourt.
pupil of
40.
Mirecourt, 1830
Joseph Fonclouse,
best
men.
Modern. Made
Panormo, George Louis, London.
some very good bows, more especially double bass sticks.
Peccate, Dominique. Born at Mirecourt 1810. Son
justified
Vuillaume
his choice.
He
He
^^ was
died in 1874.
a splendid maker.
Pellegri, Parma.
Persoit,
Paris,
workmen whom
J.
19th century.
1823
41.
One
of
those
skilled
BOW MAKERS.
VIOLIN
237
Rakowsch,
1785.
Born
Simon.
Peccate
in
Vuillaume
himself,
at Mirecourt, 1808.
Went
seven years.
later
to
Dominique
1838,
In 1845,
then to
he began for
In 1851, he
was again
alone.
These were
fairly
good
sticks.
About 1818.
Tadolini, Ignazio, Modena, 19th century. He made
violin and violoncello bows, and originally hailed from
Bologna. He and his brother Guiseppe were established
in Modena as instrument makers, the latter being as
well a distinguished double bass and 'cello player at
the Modenese Court.
Ignatius, the bow maker, was
Sirjean, Paris.
Tourte,
Francois
(called
" Tourte
jeune,"
the
this
must be admitted. One or two of his own comand according to report, such a maker as
patriots,
238
run him
now and
again very
do
me
he'
a service,
light
a feather in
my hand,
my
and besides,
strings,
but
was
it
its
consented
had it returned,
beyond conception.
I
it
certainly
It
was
like
flexible
must be
knew
it
would be
balanced bow.
will not
tested, but
certain
it
yield
will not
addition
backwards.
If this cambre is
will
where
be strong
its
maker
be a properly
is
is,
made
to
the
the bending
That
BOW MAKERS.
VIOLIN
is,
23^:
may
it
which
gradations in
holds
it
does
there
not
so
weight
sufficient
That
fall.
by the
the
at
end
thin
the player
in
appear
his
hand,
be
quite
to
cause
to
bow
to
it
so
far
its
One way
two
end
is
to
when
that
thicker
speak
how
balance of
is
thinning, so
its
lightly
indicate
The
bow
to screw
is
and
of testing the
it
up a turn or
is
just free of
to the end.
If
to either side,
however,
yield to
it
is
if
is
it
not likely to
pretty severe
the hair
is
bows
best
will,
way
test,
and any
stick
however,
all
knows
will
Another
sufficiently tightened.
way
This
it
left,
test.
who
That
The
is,
which proper
finely
bowing always
tempered
bows, this
gives.
should
In
examining
be remembered,
was
just a little
off the
straight.
The next
point
is
240
Too much
elasticity.
bow
a very good
responsible for
cane which
is
is
It is
it.
makes
But
the wood is
a nuisance, and
powerless.
respects,
there must
ticity,
of that
in other
am
by
degree,
slight
his
employed
published by Fetis
Vuillaume
but
business.
this
in
on
suppose,
first
the authority of
The bows
of Tourte
head a
little
same
Some
wood
of the finest
called
looking.
The
The
fuller outline
of
artistic.
is
very rich
is
little
made
the article.
From
It runs,
made by Tourte
in
1824, aged
(This
bow was
seventy-seven years).
flat.
VIOLIN
BOW MAKERS.
24I
keeping
it
London.
TuBBS,
much
makers,
known family
well
work
whose
of
is
of
of
bow
excellent
quality.
Vuillaume
in 1855,
where he remained
made probably
In
name appeared
Voirin's
as a
workman
in bows,
years afterwards
Almost
all his
deserves
sticks
all
work
the
both violin
works of
art,
he
on
started
is
of a very high
praise
and
his
it
'cello
technically
has got.
are
and
own
and he
Three
account.
character,
Some
of
and
his
decoratively,
and,
of
all
242
ten.
VuiLLAUME,
man was
J.
B., Paris.
not himself a
that he could
day
GUIDE.
he
certainly
was instrumental
in
keeping before
This was
a great service.
He knew
Tourte
well, and,
on his own
and
it
will
bow makers
or
to.
when he was
to
his time he
From
Simon and
a kind of
was always
well
which was
was famous,
clever
artistes to
employment,
bow hands
own
managing man to Lete,
other of the
He
in his
down
During
It
was a curious
over-
of hair available
chief
Its
advantage
VIOLIN
at present,
almost
years,
all his
which
among
243
He was
in
fairly
considerate employer.*
R2
BOW MAKERS.
not par-
Paris, but
for
many
CHAPTER
VIII,
WioiinxBiB.
As crowded
with stars, so
the vista
of
musical
up the past
for those
them, not
all
of
known from
to
it
do
early times,
and
it
will
be more interesting
than
it
would be
to
do
alphabetically.
first
known
and
will therefore
in Brescia
Date information
of that kind
is
VIOLINISTS.
245
was
to say he
only
know one
or
The
n6t known.
and
music which
violin
solo
alluded to
quite an attractive
Romanesca,
is
of
is still
is
and
called
La
original piece
Marini
made
a Knight.
GIAMBATTISTA FONTANA.
This player seems to have been
Brescia, although that
is
writer
at
died
in
or,
Padua, and
first
a native
also
is
his
least,
the earliest
He
works
known
appears to have
were
time in 1641.
of
He
collected
He
is
and
described
TOMASO-ANTONIO VITALI.
This distinguished player was, according to report,
born
in
century.
Bologna
He
in
certainly
the middle
was
alive
of
the
seventeenth
246
"
a " Franceco Rugerius
violin,
French
say,
but
the
played.
The beautiful
name famous, is still
same ways.
made
He was
him
sold
Vitali's
by the
patonised
Court of
Modena.
HEINRICH,
suppose
F.,
J.
this great
VON BIBER.
should be
artiste
called
Bohemian.
frontier,
1650.
It
He was
a famous
had
his share in
his
Fetis gives
it
been
ascertained
as in 1698, which
is
date of
with certainty.
wrong, a document
been discovered.
The
who
1704,
having
no authentic record of
it,
or
He was much
Leopold
Dukes
at Vienna,
I.
of Bavaria,
Salzburg to an important
Italy,
office.
He
travelled through
wherever he went.
violin music.
He
second, a set
Salzburg.
and two
it,
is
other works in
decidedly of a
VIOLINISTS.
247
was born
violinist
His parentage
about 1633.
Florence
in
was
is
Franciscan.
When
he
who happened
to
be travelling
in Italy
Italy,
she
relegated
twelve
years
Lulli's love of
old
she
music was
by the noise
suit-
when
of pots
of dripping, so he
and indeed,
One
mistress,
teacher
for
ance of a coarse
After
some
little
jest
trouble he
was admitted
his dismissal.
to the King's
King,
junior
248
From
one.
this
point
his
fame
is
honoured place
highly
composers.
He
in
the
roll
of her
holds
great
An
He
It
is
was
at Ferrara.
He
He
died in 1716
CORELLI.
VIOLINISTS.
249
ARCANGELO CORELLI.
This great player was born at Fusignano on
His
February, 1653.
Corelli
and
school.
name was
i6th
Arcangelo
also
his
father's
While
there,
at
Lugo, and
This
which
circumstance
has
given rise
is
to
probably the
ancient
the
suggestion
was seen
is, I
The
In 1680 Corelli
Duke
of Bavaria as a
many.
In
68 1 there
is
vague reference
From
first
Monday
Here it was
concerts, and looked after the music.
where the famous interview between Corelli and Handel
took place,
when
of the Italian's
hand
in order to
to play
free
which
have no great
is, I
of history
faith in the
accuracy of the
caused
by
the
puncture
of
some
250
Corelli's fourth
biographical insect.
in
1694, and
concerts in
and
it
1700.
his fifth in
Rome
GUIDE.
from
all
to
the
and
found
probably
it,
orchestra
Scarlatti's
felt
as
if
he were
little
borne in
mind
perfect
so
It
he
that
more than a
ripieno in
must, however, be
who was
became leader of this
very Neapolitan orchestra, but was dismissed from the
post because he could not keep correct time, and that
not long previous to the period when he says Corelli
are entirely on the authority of Geminiani,
failed.
There
stories,
is
This
visit to
a young
violinist
popular favourite
the
for,
named
when he returned
to
Rome,
so
it
is
said
and
that
the
it is
nothing more
This
last conjecture
Among
the traits
of
personal
which
character
of course,
absolutely
plain
qualities,
paradoxical or impossible,
his
On
VIOLINISTS.
251
this circumstance,
Corelli liked to
a merely passing
to be
seems
These
appear
conjectures
more
be
to
penny-a-liner
like
He was
facts.
honoured musician of
the
his day,
and
greatest
and
most
lived a simple
life,
He
considerable pomp.
and he died
existence,
January,
There
17 13.
Pantheon
in
on the i8th of
full
of honours
monument
is
to
him
in
Musicorum
" Corelli
The
him
is
first
the
(greatest) of Musicians."
in
my
"
portrait of
possession.
FRANCESCO GEMINIANI.
This very clever
He was
1680.
pupils, but
violinist
was born
at
Lucca about
all
Corelli's
hands.
He
began
his
musical
After
this
preliminary
training,
Geminiani
went
to Corelli,
appointment
of
leader
in
the
orchestra
there.
252
GUIDE.
useless as a leader.
1714,
addition, he
published
He made
made
it
some
and
as rapidly as he
he was, according to
violinist's point of
view
He moved
contemporary
is
about a
remaining there
all
buying
he could
Violin."
it
but
for
In
books on
work on memory.
style, as well as a
pictures, etc.
in 1750,
of his master's.
various theoretical
little,
about
and went
on the
to Paris
five years.
Coming
His
pupil,
He and
the old
man were
and
curious
very fond of
each other,
visit.
He
many
years.
against
his enemies,
Such
man
of
eighty-two
VIOLINISTS.
suniably, destroyed
it,
as
it
man up
253
terribly,
broke his
seen.
and
spirit,
PIETRO LOCATELLI.
This great
He was
a
in
was born
violinist
manner which,
as appears
in
1693.
described
of
his
as
is,
have
people have
Corelli's
standard
us, should
to
judged
Bergamo
in
of
published
the
music.
most
same
It
dignified
may
and
all
the
be
excellent
no
simplicity.
It
gives
technique.
He
indication
whatever of his
in
He
remained
in
Amsterdam
ANTONIO VIVALDI.
in the
little,
Chapel of
St. Mark.
and went into the
254
to Venice in 1713,
where he died
voluminous composer
in
He was
1743.
and
also ot
was a
artiste
was born
in
He
He did
not
In
he
left
Prague.
There he stayed
London about
1736.
for
Count de Kinsky
some years, returning
in
to
in 1747 retired to a
small property he had at Pisa, where he died in 1750.
He
is
lost
GUISEPPE TARTINI.
It
would, perhaps, be
whose memory
is
difficult
to select
a vioUnist
GUISEFPE TARTINI.
VIOLINISTS.
of Tartini.
doubt
if
255
He
is
a colossus
He
may,
in fact, be said to
He
was sent
to
Padua
About
to study
law.
thrown
not
in
with,
he
in
apparently,
still
little
swashbucklering
It
has
which
am
case,
be directly
in
his
route.
256
had,
we
somewhat out
of public favour.
is
had
came
Devil
to
not,
his
it
is
his celebrated
no doubt,
About
daughter of
the
this
He
danger.
wandering
time he
Cardinal Cornaro,
and
to all violinists,
able
that the
familiar,
should be.
secretly married
Dream
bedside aad
his
in consider-
and
disguised as a pilgrim,
fled
He
refuge in
remained con-
He was
matters
acquaintance,
were mending
in
he became reconciled to
marriage, and returned to
absent in this
sometimes
parison
definitely
dates
of
Shortly after
where
the
way from
this,
lady
him that
and by-and-by
his distinguished relative by
Padua.
How long he was
his
his
favour,
home
stated as
do not
he and
had
who
is
relatives,
It is
support
his
uncertain.
this
wife went
conclusion.
to
Venice,
he
VIOLINISTS.
257
This
play.
is
generally
is
wrong.
It
seems
to
think
it
more
likely
Florentine player,
of Tartini during a
life
When
to
Ancona.
He
there
made
that
famous
tones,
When
make
it
of
it,
trying
harmony which he
True Science
of
Harmony."
may
it
himself.
258
They
concordant or discordant.
discriminated
many
a great
to
not
so
clearly
is
are
of them,
who knew
investigator,
scientific
that
all
notes played.
not be acquainted
fixed
number
it
the result of a
is
In
bow on
string throbs
and communicates
bridge,
which transmits
From that
passes by
it
to the
this
it
way
of
first
place.
The
throbbing to the
upper table or
belly.
ribs
to
the back, and the whole fiddle throbs on the air inside,
at the
note has
same
its
own
hear.
rate of throbbing.
To make
we
played.
Each
third
above
it,
E.
E above
Now when
a third sound
make
the pitch of
It
is
that,
these
is
the same,
Helmholz
VIOLINISTS.
259
to generate a
which
is
always
numbers
would naturally produce. From this circumstance these
tones are now called by scientists the " difference tones,"
but they have always hitherto been known as the
that
They
but that
is
not correct.
of the vibration
A harmonic
is
generated by one
by the
When
went
years.
Tartini
an orchestra
in
director of
to
He made
distinction,
a great impression
among
people of
tried in order
He
of great patience,
Rome
in
numerous, but he
S2
in
1745.
left
a great
many
in manuscript.
His
26o
works
theoretical
comprise
mentioned
already
the
" Treatise on
strictures on
he published in Venice
it
in 1767.
In the
same year " A Dissertation on the Principles of Harmony " saw the light in Padua, and a " Treatise on
Musical Embellishments" was issued in Paris in 1782.
The famous letter of instructions on violin playing has
been frequently printed, and besides this he left a
manuscript treatise which has never been printed.
was
It
This
He
robust man.
His eager
face,
nature,
life.
and he appears
When
he died
it
to
never was a
of nervous apprecia-
may
He was
into mourning.
full
formed, and
it
demise was
Although
indeed, to
his
all
appear to have
all
He was
pressed to go to
a very nice
He wrote
London,
and in it referred in compHmentary terms to the judgment of English musicians and scientists in regard to
letter
his discovery of
regarding a proposed
visit to
VIOLINISTS.
pupils
were
Pugnani,
Nardini,
261
Pagin,
Ferrari,
and
He
was,
Lahoussaye.
GIAMBATTISTA SOMIS.
This master was born in Piedmont in
1676,.
him
and
lies in
fine style,
known
to
confess
included
Rome in
which was to
But
in the course of
while his
visit
to
my
reading any
to
effect
on his
style.'
He,
in
fact,
him
to Turin,
where he
of the
The King
of Sardinia appointed
him
to the post of
In the spring of
1733,
he went to
262
He
who
own
perhaps, the
is,
combined
in
also,
it is
generally supposed,
also
came
to
once,
He
and on one
had, of course,
London
for good,
and returned
from Tartini
is
when
to
1770 he
Turin, he
The
a curious one,
in
make
was
left
at
VIOLINISTS.
When
Pugnani was
it
263
Paris he heard
in
and called on
went
Padua,
to
countryman, by
his distinguished
whom
When
Pugnani had
bars,
Tartini
caught
over
a
few
him
got
by the arm
suppose the bow arm and said, " Too loud, my friend,
When Pugnani tried again, Tartini
too loud."
Too
soft,
my
him as a
of the
Thereupon Pugnani
This patheti-
pupil.
manner
in
which one
another
listens to
my mind
thick."
It
is
related of
said to have
is
shown
little
brilliant
under-breeding by
One
or
two
trifling,
Piedmontese
if
violinist was of
He was
and those
He had
a violin school
is
and trained
artiste
of the
THE IIDDLE
264
He
highest grade.
I-ANCIER's GUIDE.
an old
man.
quartets,
quintets,
lot
duets,
of sonatas,
symphonies,
etc.
Very few
FELICE GIARDINI.
He was
of Turin.
was one
He
received
shown
him
whom
for
number
his
Giardini's
of years.
in
first
performer
his
own
who was
He was
in the habit of
to
it,
in
florid
adding decorations of
to the
The
somewhat
accompaniments.
and used
to applaud him.
How
other man,
thought of
it.
composer
he would have
sat
down
Jomelli
playing
beside him.
He
265
VIOLINISTS.
heard,
either
or
At any
things.
heard
rate,
of doing
Giardini's style
of,
latter
began
which
hand,
an end.
that
credit
learnt
brought
the
the
rude
embellishments
florid
young, and
appears
to
it
is
to
to his
have been
and
penny
he had made.
and another
favour.
returned to
He
violinist
left
this
Naples as poor
country
as
in
1784,
and
he
Love
in a Village "
.266
day, and
many
Tartini,
and
virtuosity
named
is
He,
Corelli,
share
awarded down
the
highest
to Viotti's time
honours
and the
of
last
was about
Cisterna
of
Altogether the
;^iooo,
So
for
in
and
the
this
most
as concerns
was favoured
in
his youth.
He
bore himself
G. n. VIOTTI.
VIOLINISTS.
When
profession.
drawing
him
to a
company
Pugnani were
under
studies
his
267
Europe,
in Paris
introduced
finally parting
in
1782.
Viotti
on his
the
first
But
court.
only
two
about
for
popularity
his
France continued
in
some unexplained
For
years.
of the
same
series
an
had quite an
inferior performer
Whether
ovation.
Viotti read
between the
lines or not
him
so
much
that he resolved
he paid a hurried
place,
He
so.
continued
visit
there,
his
In
native
returning to
and emoluments
among
Opera
having
until
the
period
of the
French
Revolution,
when
(1792) he came to London in an almost ruined condition pecuniarily. In this country he at once succeeded
not
remain
goodness
only
it
knows
why.
went
to
remained there
the neighbourhood of
until
Probably
1794,
to give
At any-
Hamburg and
when he was
at liberty to
l68
He made
return to London.
supposed
Society.
to
his
home
here and
is
He
again in 181 9,
opera.
started
too
well
known
require
to
consist of concertos,
symphonies,
etc.,
special
sonatas,
almost
all
of
mention.
trios,
They
which are
still
quartets,
duets,
played.
771.
He
began
violinist
old.
and,
to Corsica in 1785,
violin as a
The
In this
VIOLINISTS.
269
He was
at the Treasury.
at the
Treasury
mean
He
That
he went into the army and served for nearly two years,
From
named
the last
his instrument,
became professor
in the
trious roll of
French
violinists.
But
newly-founded
name
it
is
to the illus-
a mistake to
man
just as
it.
music
is
known under
the
name
of
band
of performers
He was
Viotti.
on the
who owed
their training to
G. B.
Damazan on
the
He
His
was himself a
first
pupil
will
teacher was A.
of
known
in
J.
Fauvel,
who
Gervais.
Bordeaux as a young
He went
with his
270
teacher to Paris
GUIDE.
introduction to Viotti,
him as a
time (1790) he
made
his
In three years
pupil.
appearance
first
and gained a
with his
distinct success.
became
fast friends.
From
there
is
1793 to 1797,
accounts of this
artiste.
a soldier,
Angers.
band
at
country by storm.
We catch
sight of
him again
in
in
1804 and
reappears in Paris.
thirty-four
but
he
remained
He was
until
still
now began
to
1808,
when he
VIOLINISTS.
271
broke his
that he
spirit,
condition
the
till
13th
of
same
knows " Rode's Air in G," his
A," his Concertos and Caprices the
Every
month.
violinist
named being
He composed
fifty
pieces
RODOLPHE KREUTZER.
The
the
third
member
magnificent
violin
founded Conservatoire,
a high place
He was
among
school
for
who made up
the then
recently
and
receives,
it is
composition
Mannheim
School.
Kreutzer began
when he was
thirteen.
He
own
had, of course,
Beethoven, and
musical
instinct,
Haydn, Mozart,
single lesson in
272
harmony
GUIDE.
is
sufficiently
sixteen his
had taken an
interest
in
the desk
of first violin,
decease.
own
developing his
set himself to
talent until he
his day.
became
fiddle fingerboard of
first violin in
the
He
returned to Paris.
been
just
He
professor.
time,
and
King did
member
many appointments
held a great
" whatsoever
reign," he
of the
private
was
music
the
in his
there.
in the
Emperor's
Conductor
Throughout
at the opera.
all
these changes,
was professor at
named year he ceded
1827, he
till
last
the Conservatoire.
In the
He had
to relinquish
accident to his
left
by a fall from
was upset, and he
was never properly
shoulder, sustained
was thrown
out.
The
dislocation
quence.
at
Geneva
He had
in
June, 1831.
again be said,
is
familiar
Every
with
and died
violin player,
" Kreutzer's
it
may
Studies,"
VIOLINISTS.
273
would be
it
we
all
know
such
Still,
is
if
they dis-
like
dropping
it
would be
Germany his uncle was settled in OldenSomewhat later Lafont became a pupil of Rode,
concerts in
burg.
extremely injudicious
for
to
France,
he
was
appointed
first
and
other
filled
On
his return
violin
of
the
appointments.
274
similar
Kreutzer's
to
immediately
fatal
befell
him,
He was
results.
with
but
more
pianist Herz,
it
NICOLO PAGANINI.
this
there need be as
little
man
wonderful
little
An
easy
first
he
still
down
to the present.
The
his matchless
skill
is
the
own
profession.
two cases one might almost say, appalled them, was not
that was chiefly what astonished
his manual dexterity
his general public, and was wonderful enough, apparently, in all conscience
but that seemingly superhuman
power of intense expression which drew the majority of
artistes to his shrine, and those who were without envy
We can surely in some
to speak freely
to his feet.
measure realise what it must have been to hear him
when we
find
men of all
men
possible
means, within
It
was the
their
capacity,
daily practice
in looking
of
emotional
have
said,
we
on Paganini as
NICOLO PAGANINI.
VIOLINISTS.
275
to use an
expression which
employment, seems
risk
still
intelligible
its
frequent
enough we may
well
all violinists.
indeed,
ability
people would
name her
first
now
say a
An
spirit
angel appeared to
and desired
named
it
her to
as above.
His
guitar,
instruction of a player
named
the
violin
Servetto.
under
When
the
he really
at
sight.
It
is
French player was " amazed," and from that day the
rapidly, that
by the
276
would be impossible
old,
embody
to
in a
brief notice
like this
his career.
who cannot
live
happily unless they are in a position to explain everything in a natural or a supernatural way, people to
a confession of ignorance
is
whom
the more
began to cast
The
not
know
certainly not.
The man
Still, it
way
one
may
almost say
reckless in his
trouble
dream
now and
again a
little
themselves
about
people of
that sort.
All
seriously,
stories
wherever he went.
had murdered
many
his
of this
kind were
now
about
at all this
circulated
We
can look
VIOLINISTS.
277
the
comfort of his
the
Italian
life.
man
for
subject of
all
newspapers to
as a respectable
Even
known Paganini
twenty years.
revived.
in
in the
in enlightened
When
in
in
London
if
made the
and blood.
The man's
life
was
if
he really was
flesh
promulgated
sweetheart or his
in prison for
this
it.
made him
rival,
his
They
a murderer at the
and a
advanced age of
six
We
matters to Paganini.
stories.
278
up
embodying
declaration
malevolence
of
these
the
about
truth
which
tales
were
the
revived
whom
he was
to do.
it.
This greatest of
CAMILLO SIVORI.
This
known
181 7, in
pupil of Paganini.
Genoa, and
was a
it
is
still
peculiar one.
He
alive.
When
it
Dk.
LOUIS SPOHR.
VIOLINISTS.
Sivori not to
come back
until
279
he could do
it
same
in the
style.
He was
is
at
highly
present living in
Genoa.
LOUIS SPOHR.
Gernian
that
**
if
not.
very
the
It
may be
calls
himself
artistes.
he never
indeed
highest
among
always
add
that
to this,
he
from documents in
also
signed
his
name
Dictionary.
my own
may
possession,
and
not
" Dr.
own
music.
if
Sometimes
manner
violin
little
in
Louis
himself
for
or playing.
place,
his
first
lessons.
They
THK
2So
player
latter's
instance young
there
Duke
He was
of Brunswick's band.
counterpoint
received any
by
Hartung,
an
other instruction in
in
also taught
and
organist,
never
musical composition.
He
He
school concert.
own
at a
Returned to
and
Brunswick sorely depressed
without money, or very
little.
He
appointment
him
Duke asking for mea;is to conThe Duke heard, and gave him an
wrote to the
his band,
to receive further
violin
for
Franz
1802 meant to
instruction from
and
after
Spohr
on Spohr.
to
He
and had
to return to
Brunswick
in order to
another instrument.
He
towns and
became leader
Gotha's
in
band.
1805
In
the
arrange for
the
German
Duke of
he
married
following
of
year
VIOLINISTS.
281
81 3 he
wife,
and
ment
in the last
the appoint-
In
181 8
In 1820 the
first
visit to this
From
country.
he accepted the
life
1853,
and shortly
way.
1836.
violin,
He
The
Cassel in 1822.
last
time
wife in
lost his
he
in
and
in 1858,
when he conducted
artiste
is,
known
representa-
He was
born
in Louvain
1802, and although he attended the
Conservatoire in Paris for a few months under the
in
282
guidance of
Baillot,
Before he
own
bent, seeing he
had nothing
He was
former
for brilliancy
The
melodic sense.
much
and delicacy
to learn
which he
a magnificent per-
marked
in
violinist
was
after that.
He
Malibran, but
in
1826,
His
first
am
sorry
all
appearance in
am
Madame
first
One important
biograpical
hand, so
by various
give a
authorities.
Another says 1832. One of the finest and most authoritative works in existence, and which is also the most recent,
states that they
OLE BULL.
VIOLINISTS.
may
283
say that
lean to the
She died
after
in
that
date,
Brussels to look
known each
other for
in
the
after
concerts together.
remained
less
some
off at
years,
Brussels
four years,
for
was
appearance afterwards
once to
property.
De
and
Germany.
in
Beriot
his
first
He was
He became
nine years.
died at his
native
place
in
an
error.
and
is
yet,
exceedingly beautiful.
duets,
some books
of
He
violinist
Some
He
One important
1870.
This
is
of his
melodies are
a great
many
and a
also wrote
" school."
His father
and
mother
were
to these
Even as a
baby he would be found under the table or sofa listening
His
to the quartets of Hadyn, Mozart, and Beethoven.
'cello,
him
inside
uncle, who played the
would put
the
case and play to him, while he bribed him with sweetmeats not to move. This was when he was about three
have traced his
284
When
years old.
violin,
and
his
he was
widow
it
he
felt
five, his
relates that
as
if
when
All
magnificent
man
places
felt
Mr. Paulsen
but the
little
first
moment he handled
his
Ole, for
baby
fingers
not
own knowledge
in the teaching
when
my
boy,
candy."
this
shall
have a
"
all,
Come
stick of
He
played
all
the
VIOLINISTS.
sent to him.
When
285
to the
and
all
little
wonder, seeing
that he
The professor
while his "exam." came on at nine!
remarked to him, " It is the best thing that could have
happened
to you,''
From
and
it
may
be said to begin,
notably exceptional
periods, a
The
first
Paris in 1831.
He had
having
286
friend
were beginning
to look
and Ole
was
that he
suspected as
Bull's friend
remarked
manner,
his
He
him
to
vicinity, as
at play."
"But
five francs
o'clock,
my
Follow
in want.
ad%dce.
not
to
earlier,
Montmartre.
Mount
Frascati's, in
the Boulevard
did as he
was
let
told, exactly,
him.
He
slid
until eight
hundred francs
pile.
VIOLINISTS.
He
seized
it,
Immediately
"
"
287
to Ole Bull,
When
the
violinist
police.
The other
was when he found himself
utterly ruined, after paying the price of an American
estate on which to settle a Norwegian colony, and having
the company
to restore the land to the rightful owner
life
from
was
whom he bought it
man of marvellous
recovered
from
that
having no
title
He
whatever.
shock,
but
he
started
again
meeting
The
cholera
and a house
He
was raging
Vidocq incident,
to
could find
hundred
very long.
streets,
he saw a
for
One
little
window
of a house
Furnished rooms to
let."
He
ascended the
stairs,
Grandmama."
Grandmama
288
GUIDfi.
he could
go no farther from sheer exhaustion, and he was no
sooner in it than he was attacked by brain fever.
When
by
as
felt
if
him as
if
own
Sometimes
an impediment
in his path.
for
humour proved
an appointment
in the Opera
Comique band.
He had
a hearing.
the discovery
made
for
like
so
many
others
that by the
was thqn a
little
Ole Bull
by the Duke of
Riario, the Italian minister at Paris, and was a splendid
opportunity for the young man, so, armed with the
cess.
It
precious
was
to be at a Soiree given
instrument,
he determined
to
the apartment,
filled
make it,
The heat
if
of
VIOLINISTS.
289
paratively new.
At
first it
and
it
was com-
slightly,
when he
was
realised that
room in his
became quite excited.
The warmth of the contact between fiddle and chin
increased, the heat of the room increased, and the
He was a
odour seemed to treble in pungency.
immediate
player
neighbourhood,
who
could
but he could
not
he
remove the
fiddle,
bit,
congratulation
were
from
all
his vicinity.
his,
When
he
sides,
no
one seemingly
It
probably
and many
His
first
of
appearance in
1836, a feat
this
country was on
which he succeeded
visit
from
May
21st,
one.
in
of that
290
character,
and
GUIDE.
for
The Duke of Devonhad him down at Chatsworth for rest and quiet,
and forbade him to play, but on one occasion he played
there till midnight, with results which caused the Duke
to make the prohibition absolute, and take means to see
wore himself out giving concerts.
shire
it
to the
quently passed
many
years of his
for
ended
but
so disastrously,
circumstances of his
widow
in her
memoir
life
America, where
in
Norwegian
so
All
young man,
the
by
his
and
life
When
was
which
settlers,
honourably.
to receive
some
slight
and
of the
extreme
many
He
is,
He
possessed,
fine instruments,
fancy,
the
only violinist
who
Bedouins about
VIOLINISTS.
him
until
291
electricity,
and
shouted
feet
suddenly
if
name
the
of
"Allah! Allah!"
In the
month
was taken
ill
in
When
to his
self a beautiful
house.
When
last.
was
laid in his
the
man
fitful
hopes and
He
is
and the
when
after all
memory was
paid to his
his
grave, and
Bergen slipped up
in
green
the
regular
all
parts of
to the grave,
and
had
his first
tuition
in
1802.
filled
He
some
noticed
later,
in the
Court Chapel
^92
in
place.
composition.
1826, he
first
tour in
1822.
In
in Stuttgart,
861 he
was appointed
professor of composition at
the
later.
stadt
He
tried Paris in
In
trios,
are extremely
He
retired five
years
to
orchestral conductor.
fine
He was
at
who
German master
close
his
of distinction.
student of
style
sixteen,
largely.
remained there
He
was, besides, a
Paganini,
for
six
later
years.
health,
He
even
never appears to
when
travelling,
HENRY VIEUXTEMPS.
VIOLINISTS.
which he did
295
for
His
first
appearance
all
the
in this
country was in 1844, but he ultimately resided permanently in London. In the course of time he had to
relinquish violin playing altogether in consequence of the
exquisite
remarkably
being exceptionally
is
he
In
author of a number of
instrument
some
of
them
difficult.
HENRI VIEUXTEMPS.
This great Belgian player was born at Verviers in
He
1820.
and
his father,
friend,
In Brussels,
De
Then
tke
took him in charge for a few months, ultimately exhibiting him in Paris successfully.
The boy
returned home,
own
whole
His
first visit
He had
was in
a young man
to this country
In 1833, he
professional tour on
civilised
ability.
first
style,
1834,
and
of twenty-
and received
fl94
''"HE
greeted him.
resumed
He
He
visited
same enthusiasm
Russia
871, to
greater
but
and
settled in
America once
perhaps
fill
the place of
De
down
in
Brussels in
The
and ended
left side,
realised
by the
artiste himself.
He
could only be
bore
it,
however,
He
afterwards.
large
number
them being
left
among
six concertos.
EDOUARD REMENYI.
This artiste is one of that distinguished band of
Hungarian violinists which has emanated from the
Vienna Conservatoire. He was born in 1830, and was
for three years under Boehm.
Soon after he left the
Conservatoire, he joined the insurrection and had to
change his domicile. He went to America, where he
resumed his art, and in 1853 returned to Europe. In
1854 he came to London, and in
to
Hungary.
in
London
in
America,
i860 went
home
all
over Europe
and, indeed,
most
in
in public.
In
my
opinion,
who
he
is
an
artiste
of the highest
grade,
VIOLINISTS.
cannot
player
twenty years.
last
technique,
295
Apart from
his
name
any
recall the
and
of
feeling,
interpreted
might
for
fix
on
When
JOSEPH JOACHIM.
This
the
artiste is
first
that
and
it
appears to be certain
lets his
curtain descend on a
of living violinists,
will
28th,
He was
His
was
when he was
instructor
first
Orchestra, and
was
ten, he
was head
him.
be found in
Ole Bull.
age.
name
He
Two
sent to the
Boehm had
still
first
appearance
himself accompanied
in Leipsic,
for,
on the
Mendelssohn
From
that
distinction.
in this
The
first
occasion on
296
came
when
May
He was
than
for
more
fifty
It
He
then only
and
of every true
us.
had,
may
mark
all.
The most
and esteem which he ever
he wore them
if
of affection
it
will not
come very
far
behind
it.
LUDWIG STRAUSS.
This fine performer
was born
at
music.
He
is
He
Continent,
He
players.
manently
first
in 1864,
came here
and is a
in
other important
i860,
and then
per-
1836.
He
started
violinist
very
early,
VIOLINISTS.
Stuttgart,
He
where he remained
Soon
after this,
filled
until
297
he was about eighteen.
an appointment in Glasgow.
Lady Halle
This lady
of the age.
first
is
[nee
Neruda).
little girl
performer
five
indeed
when she
who
is
now responds
to the
artiste in this
country.
if
there
is
anything in
298
and
pianist.
*
.
This favourite
was born
violinist
^^
in
said to
is
Why
1846.
Pampeluna,
in
writer
may be
is,
such
modern
artiste
In 1879 a
explained as follows.
a farce in which
in
be
there should
such as he
in
sometimes called
^^
is
admirers, and
in this
man
name.
has, in this
also fancy
it is
It is
its
Aragon, and a
in the province of
first
in
two
do not attempt
places.
man
The
to explain.
in
1856, but
it is
said as
early as
1851,
as
PABLO SARASATE.
VIOLINISTS.
There
1,000.
in the
form of a
sum,
violin
at least
violins valued
But
which
it is
this
a clear
enough indica-
wonderful
violinist
violin
classes
little
was
doubt
probably more.
worth
statement.
at such a
is
299
the
Conservatoire, and
himself a
of his pupil,
in
it
up.
He was
preparing for
all
over France,
Spain, Portugal,
India, America,
Germany,
and last,
His
if
ever,
been surpassed.
first visit to
1877.
he has not missed a season, to the great delight of musicloving people, and devotees ofhis instrument.
The amount
might well
fill
is
300
GUIDE.
chances of
some
lovely thing
artiste,
who
born in 1852
in
Dun
le
He was
Brussels,
of the
this
Europe and
is
America.
now
In
Italy.
From
1877 he
1870 to
returned to
CHAPTER
IX.
THEmust be sought
origin of the
the violin,
but there
|31ai)crs.
violoncello
in the
is
no
same
direction as that of
specific date at
which
it
can
more than
made
in regard to
There
ticularly
is
plenty of more or
called in Italy
the
contrabasso, is
or,
as
it
supposed to represent
and the
'cello is
was
the tribe.
(for
names
of the
is
and
violon'cello
viol "
and the
no trace of either of
but that
employed.
It
of
explained
members
lesser large
the
means
means a "
Violone
violonecello)
if it is
all
to
these
Panormo
will
instruments
302
One of
was
JACOPO BASSEVI.
in
Italy
He was
1682.
in
member
of the
was known by
"
the
name
signifies
manager
of the Theatre
about ;^20,ooo
He
player, but
to
who
that year.
He.
nickname which
He afterwards became
and made a handsome fortune
stag."
little
in
of Cervetto, a
money
who was
James,
also a 'cello
ANTONIO VANDINI.
This player was held
Tartini,
violinist
together.
They were
of Padua.
in 1770,
Prague
Anthony
in
old man.
GIORGIO ANTONIOTTI.
A
No
great player of
music of
his
whom
nothing
is
certainly
known.
death
The
accessible.
is
303
only references to
was
that
in
such
one
flute player,
Benda, a
1730, and
two other references
complete the sources of information, and they yield little
One
or
but praise.
JOHN CROSDILL
Was
in
London
Westminster
'cellist,
in the
appearing
musically educated at
choir, but
became a professional
for some years as
He was also appointed
at
Gloucester
when
that institution
was born
He was
in 1751.
was
started in 1776.
addition
member
of the
King's Band,
He
chamber
George
and retired
as well as
'cello
tutor to
in Yorkshire, in 1825.
He was
left
member
of the Royal
them ^1,000.
LUIGI BOCCHERINI.
was
304
is,
probably, better
known
GUIDE.
as a composer.
He
went
to
Paris in 1768, but there were two or three very distinguished players in the French metropolis at that time,
and
his performances,
He
highly appreciated.
where he died
J.
in 1805.
first
fourteen.
He
'cello.
He
was
in Paris,
John
the
was appointed
latter
when
Crosdill,
when
He
the
great
'cellist,
His
He came
at Paris in
first
1741,
and
old.
His brother had the chief duty of training him, and soon
made him
a splendid player.
ance in 1768.
He
went
He made
305
BERNHARD ROMBERG.
This great
was born
artiste
He was
in 1767.
musicians, nearly
whom
of
all
Bernhard's
ments.
Germany,
at Dinklage, in
first
German School
of 'cellists,
He
if
not the
travelled all
there,
and
this
He was
and died
at
Hamburg
for a
in 1841,
famous
This
'cellist
of a
Protestant
ment
early,
1799.
He was
appointed a
for
in 181
four years.
to
In
He
'cello,
is
until his
and a number
of
1805, he
Duke
of other works,
306
ROBERT LINDLEY.
was born
at
Rotherham
in
pupil of
When
Jacopo Bassevi.
of the previously
named
when he
retired,
He
He
was
died in 1855.
ALFREDO
This great Italian artiste
half
nearly
'cellists.
century,
He was
is
the
PIATTI.
for
King of
1822, and was
acknowledged
born in Bergamo, in
He made
whom
and,
fifteen,
He
is
is
epoch.
Year
London musical
school of playing
307
EDWARD HOWELL,
at the
He was
The
music.
once heard
is
is
familiar
one of our
concert platform
is
his
popularity on the
chamber
to all lovers of
exquisite sweetness
and purity
of his tone
DOMINICO DRAGONETTI.
who may be
reputation
for
his
performance
He was
double
He
first
when he took
of all
to the
bass.
Mark,
He was
it
in order that
were a
'cello,
a tenor, or even a
difficulties of that
is
Dragonetti might be in
day were
it.
if
difficulties to
him.
story
W2
'cellist^
308
in
When
he
led the
basses
at
the
festival at Bonn.
This was in 1845, and
months afterwards, he died at his home in Leicester
Beethoven
eight
Square (1846).
He
is
GUIESEPPI ANDREOLI.
is
not
much known
regarding him.
and died
He was
La
in
Scala,
in 1832.
JAMES HOWELL.
This
fine
He was
old.
He was
when
which
last
he excelled.
named was
He became
the instrument on
professor at the
its
time he came to
London
(1824),
and
after
Dragonetti died in 1846, Howell became the most important of the double bass players in this country.
After Dragonetti perhaps quite on a level
the world has honoured
with him
GIOVANNI BOTTESINI.
He was
first
instrument was
the
went
violin,
to
but
His
when he was
309
His master
when he went
Italy.
to
Havanna
as leader of the
Columbus).
made
"
(Christopher
a great name.
He came
He made
a great sensation
there
saw the
II
No
who
one
of his tone,
of his music.
He
was,
all
sweetness
cally admired,
shall
artiste
came
before
3IO
GUIDH.
three-score
divinely as ever
the
less.
heard
Advertisement.
3yi:i2<.
FLEMING,
JAS. M.
The Author
writes
thus
of
at
this
page
Book,
122
and
Well-known
Expert,
Violin
"OLD VIOLINS
in
and
THEIR
THE
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of various descriptions, all of
Violinist,
and may be
which
fulfil
are
On
Dear
show me.
consider
Yours
"
to be quite
a remarkable instrument
faithfully,
J.
Author of
it
M.
FLEMING.
ul)lic
on of Violinists.
Advertisement,
VIOLIN MUSIC.
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DEALER
IN
(a Speciality),
ADDRESS
" EDITION CHANOT,"
73, BERNERS STREET, LONDON,
(Facing Messrs.
Ici
on parle Fran9ais.
CO.)
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Wd
So named by permission of
J.
T.
CARRODUS,
ESQ.,
The attention
of Connoisseurs,
including
T.
J.
ikS>.
M.
FLEMING,
ESQ.
BROADHOUSE, ESQ.
J.
E.
Price
Fui'l
make a
POLONASKI, ESQ.
Editor of The Strad."
8s.
and
'Oelios
ll-,
of the Violas
CO.
Inn
Road,
London,
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W.C.
to
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To all Students of Violin Literature, all Public Librarians,
and
all Booksellers
my
am
and Agents.
named below.
my
Baligmann,
The
un discorso morale e
politico intorno
Paris, 1763.
violon.
4to.
M.
J.
B. Viotti.
4to.
Muzzi, S.
Monti.
Al modesto
Tumulo
di
Guiseppe
Manetti.
Bologna,
1858.
8vo.
Poiko, E.
Nicolo Paganini
dal Tedesco per L. Ravasini. Milan, 1876.
i2mo.
Otto, J. A. Ueber den Bau und die Erhaltung der Geige und aller Bogeninstrumente. Halle und Leipzig, 1817.
Paine, J. A Treatise on the Violin, &c. London, n.d.
Purdy, G. A Few Words on the Violin. London, 1858. Svo.
Tagliapetra, G. Guiseppe Tartini-Cantica. Trieste, 1853. Weis. i2mo.
Taglini, 0.
Lettere scientifiche sopra varii dilettevoli argomenti di Fisica.
;
Treves.
F'lorence, 1747.
Tartini, G.
Tartini, G.
Second
edition.
Sibire, I'Abbe.
Simpson, C.
1665.
La Chelonomie, ou
le parfait
Folio.
Terrasson, A.
Paris, 174 1.
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