Chapter 6

NEUMÄRKER.—Nineteenth century. Several makers of the name worked in Schöneck.NEUNER.—Mittenwald; eighteenth and nineteenth centuries. A very numerous family of makers, several of whom bore the Christian nameMatthias. The second of that name died about 1830, and in 1812 founded the well-known firm ofNeuner and Hornstainer, one of the largest manufacturing houses in Germany.Ludwig Neuner, born 1840, and a member of the firm, worked for a time with J. B. Vuillaume in Paris. A clever workman, he, in 1879, gained a medal in Berlin.NEVEU,Charles.—Paris. Born 1863. A skilful copyist. Chiefly Stradivari pattern.NEWTON,Isaac.—London. Died 1825. Worked for Betts.NICOLAS.—Paris.SeeFourrier.NICOLAS.—Mirecourt; eighteenth and nineteenth centuries. A well-known family, the principal member of which is known the world over as “didier” Nicolas. He was born in 1757 and died in 1833. His early personal work is good and well finished. The violins are built somewhat upon Stradivari lines, but cannot be described as copies of that maker. They are generally of rather large pattern and but slightly arched. Tone powerful, and the varnishes, a reddish-yellow or yellow-brown, of good quality. Some of the violoncellos are exceptionally good. There is no doubt that these earlier examples possess considerable merit, but in later years Nicolas employed a very largestaff of workmen, and degenerated into a manufacturer of coarse-sounding, common-place instruments, which, though useful enough in the orchestra, are quite unsuitable for other purposes. The type of instrument ultimately turned out has been extensively copied in France and elsewhere. The feature which at once strikes the eye is the sound-hole, the wings of which are cut off almost horizontally. His fiddles are branded with a triangular stamp “a la Ville de Cremonne.” Several other Mirecourt makers adopted the “Ville de Cremonne” as a sign. A son,Joseph, died in 1864, and after the latter’s death the business was sold to Derazey (q.v.).NIGGELL,Sympert.—Füssen;circa1730-75. A maker of some repute, but not very well-known in this country. A few fiddles seen by the writer were well-finished instruments; pattern a little like that of Albani, and with dark brown varnish. He branded his work inside with his initials.NISBET,William.—Prestonkirk. Born 1828. Pencilled his name inside the backs of his violins. Obtained a medal in Edinburgh in 1886.NORMAN,Barak.—London;circa1680-1740. Said to have been the first maker of violoncellos in this country. His work is generally double purfled, and he imitated some of the Maggini features, including the peculiarity observed in that maker’s sound-holes, the lower circles of which are smaller than the upper ones. The violoncellos are large, and well made, the varnish generally a dark red-brown, but lighter shades occur. He and Nathaniel Cross, with whom he was for a time partner, seem to have made a number of ornamentally purfled viols-da-gamba. The writer has seen some of these, converted andstrung as violoncellos. Violins by Barak Norman exist, although this has been denied by some writers. His monogram in purfling appears under the finger-boards, and sometimes on the backs. Some large tenors of high build are in existence.NORRIS,John.—London. Died 1818. Founded the well-known business of Norris and Barnes, for many years carried on in Coventry Street. He learned fiddle-making with Thomas Smith, but very little seems to be known of him as a workman.NOVELLO.—Venice; eighteenth century. Three makers of the name are mentioned. The only examples of violins seen by the writer were byPietro Valentino, who was at work in the closing years of the century, and describes himself in his tickets as a pupil of Bellosio.NÜRNBERGER.—Markneukirchen; eighteenth and nineteenth centuries. A large family of workmen, two or three of whom have turned their attention to bow-making. Some of their work in this department is excellent, and will bear comparison for style and finish with that of the best living French bow-makers.OBBÕ,Marco.—Naples; earlier part of eighteenth century. Little known. His full name does not seem to be known, but the final O in his label has the abbreviation mark (as above) over it. Flattish fiddles. Yellow, or yellow-brown varnish.OBICI,Bartolomeo.—Verona; seventeenth and eighteenth centuries. Large violins. Yellow varnish. Brescian style of work.ODDONE,Carlo Giuseppe.—Turin. Born 1866. A clever maker, who was for a time in England, but has been established in Turin since 1901.ODOARDI,Giuseppe.—Ascoli. Born 1746; date of death not ascertained. One Italian writer says he died at the age of 28, but this seems to be incorrect. He seems to have experimented with different kinds of wood. Writer has not met with examples of his work.ÖHBERG,Johannes.—Stockholm;circa1760-90.OLRY, J.—Amiens; to about 1850. Stradivari pattern; good work. Dark-red varnish. He worked with Georges Chanot I.OMOND,James.—Stromness. Born 1833. A Scottish maker of more than average ability. Has made a large number of instruments.ORTEGA,Asensio.—Madrid. Died about 1835. A maker and repairer, who has earned unenviable notoriety by tinkering with the famous violoncello made by Stradivari for the Spanish Court.OSTLER,Andreas.—Breslau; eighteenth century. Pretty work and handsome wood. Yellow or yellow-brown varnish. Stainer pattern.OTTO.—Makers of this name worked all over Germany and elsewhere. About twenty of them are mentioned by von Lütgendorff, who devotes several pages to them. The only member of the family of much interest to English readers isJakob August, who died in 1829, and was the author of the wellknown book on the violin.OUVRARD,Jean.—Paris; eighteenth century. Pupil of Pierray, whom he imitated to some extent. Work seldom seen.PACHERELE,Michel.—Paris; late eighteenthcentury. Scarce. Stamped his name on the backs of his instruments. Yellow varnish.PACHERELE,Pierre.—Paris, Nice, Genoa, Turin. Died in Nice 1871. A fine workman, but a “roving blade.” He did much work as a repairer. Worked with Pressenda for several years, and made instruments which closely resemble and are equal to those of that maker. His ordinary instruments are of Stradivari pattern.PACQUET.—Marseilles; late eighteenth century. Common-place instruments. Frequently worm-eaten.PADEWET.—Nineteenth century. Four or more makers of the name are known. The family seems to have sprung from Vienna. Three of them worked in Karlsruhe.Johann I.died 1872. A skilful maker who obtained several medals.Johann II., who died in 1902, copied Stradivari, and seems to have made a large number of instruments. He received various medals, and was a well-known repairer.PAGEOT.—Mirecourt. Died 1849. Name also spelt Pajeot. Bow-maker. Personally a skilful workman, but employed workmen who turned out bows wholesale, the prices beginning at sixpence each.PAJOT.—Jenzat; nineteenth century. A family of makers, probably originating in Mirecourt. Chiefly makers of hurdy-gurdies.PALLOTA,Pietro.—Perugia. Died about 1820. Little known.PAMPHILON,Edward.—London; about 1681. He used a beautiful varnish of yellow colour, sometimes with a tinge of red. The fiddles are squarish,and stiff looking in outline. Scrolls small. The bottom of the shell is finished in a peculiar way. Some of the sound-holes are more curious than beautiful, the lower turns having a very wide sweep. Double-purfling was generally, but not always, employed. Writer has seen a few specimens containing Maggini labels. His own tickets are very scarce, and contain the day of the month when instrument was finished, in addition to the year.PANDOLFI,Antonio.—Venice; eighteenth century. The work and tone are highly spoken of, but the writer has not seen examples.PANORMO.—London, Paris; eighteenth and nineteenth centuries. The last survivor of this celebrated family died in Brighton in 1891. The most important member of it wasVincenzo Trusiano Panormo, or as appears in many of his labels, “Vincent,” from whose son, Francis, were obtained the dates of his birth and death. He was born at Monreale, near Palermo, according to the story, in 1734, and died in London in 1813. Owing to the wide range of dates seen in labels (genuine or otherwise) it has been surmised that there were two Vincents, and one enthusiast claims to have discovered three. Various traditions are current as to his early life and training. According to one of them he worked with Carlo Bergonzi in Cremona. Nothing, however, seems to be definitely known except that in certain years he worked in Paris, that most of his life was spent in London, and that he was also for a time in Ireland. A large number of his works survive, the best of them being magnificent copies of the different types of Stradivari. As copies these specimens have never been surpassed, and but rarely equalled by any other maker;their tone is of Italian character, and far superior to that of the French copies, and they are covered with beautiful varnish, mostly of varying shades of yellow, but more rarely red. Panormo was a consummate workman, and given the material and the opportunity he was capable of building, as few others could, any instrument of the fiddle tribe, from a superb double-bass to a violin. His violoncellos are very fine. Unfortunately he did much work for the trade, which does him little credit, although far better than one is accustomed to see in work of its class. His best fiddles are handsomer and less heavy looking than those of Lupot. His sonJosephis best known as a violoncello maker. His violins look rather heavy in style as a rule, but there are exceptions.George Louis, usually known as Louis, died in London in or before 1845. He is said to have been the second son. The octagon bows bearing his stamp are frequently very fine. He specialised as a guitar maker, but turned out a good many violins. These vary in merit, but some are decidedly handsome. He was a good scroll-cutter.PAQUOTTE.—Paris; nineteenth century. A Mirecourt family. The business in Paris was founded bySebastien, who died in 1863. There were three or four makers, all good workmen.PARIS,Claude.—Paris; late eighteenth century.PARKER,Daniel.—London; eighteenth century. An excellent maker, whose work has in recent years risen rapidly in value. He seems to have worked from quite early in the century until after 1770. He shares with John Hare the merit of having turned attention to the pattern of Stradivari, and it is muchto be regretted that other British makers of the period did not do the like. Some of his fiddles are upon lines more or less like those of Amati, but his reputation chiefly rests on those which are evidently in imitation of the “long Pattern” of Stradivari. They are not exact copies, but in design and dimensions are very similar to Stradivari fiddles of that type. Varnish red, of good quality, wood frequently handsome, and tone large and brilliant. A good example was not long ago in the possession of M. Kreisler. It is said that Parker worked much for the trade. Writer has seen one or two labels in manuscript.PASTA.—Brescia; late seventeenth and eighteenth centuries. A Milanese family, two or three of whom worked in Brescia, and the founder,Bartolomeo, in Milan. In his labels he calls himself pupil of Niccolò Amati.Gaetano Pasta, who was in Brescia until about the middle of the eighteenth century, calls himself a pupil “dell Amati,” and is supposed to have worked with Hieronymus Amati II. Instruments are said to have a fine tone, and to be rather flat, with outline resembling G. B. Rogeri.PATHAN,Vincenz.—Vienna. Died 1894. Worked some time with Zach. Made good copies of various Italian makers, particularly Maggini.PATZELT.—Nineteenth century. Makers of the name date from Dresden, Vienna, and Berlin.PAULI.—Tachau; eighteenth century. Three or more makers of this name.PAULUS.—Markneukirchen; nineteenth century. A numerous family, members of which have worked in the principal German cities (Berlin, Dresden, Leipzig) and elsewhere. One of the best of them,August, is, or was, a member of the Dresden firm, “Richard Weichold.” Another,Albin Ludwig, of Markneukirchen, has made a large number of copies of the “trade class,” the better qualities are well-made useful instruments.PAZZINI,Giovan Gaetano.—Florence; 1630-70. Calls himself a pupil of Maggini. High built. Dark varnish. Work scarce.PECCATTE.—Mirecourt, Paris. A celebrated nineteenth century family of bow-makers.Dominique, the best known, was born in 1810, and died in 1874. Some of his finest bows are unstamped. He worked for several years for J. B. Vuillaume.François, his younger brother, born 1820, died Paris 1855, was, when he chose, almost, if not quite, as good a workman as Dominique. He also worked with Vuillaume for three years, having previously worked on his own account in Mirecourt for ten years. Latterly he again worked for himself, but in Paris. Much confusion has existed in distinguishing the bows of the two brothers. François bows are frequently stamped “Peccatte” in a similar way to those of Dominique, and attempts have been made to distinguish their respective stamps—a very uncertain test. The best means of identification is in the heads: the bows of Dominique have a sharper appearance towards the peak than those of “Peccatte jeune.”Charles Peccatte, son of François, was at work in Paris in quite recent years, and is a maker of very fair ability.PEDRINELLI,Antonio.—Crespano. Died 1854. Began life as an undertaker. Studied acoustics, and became a copyist of more than average capacity. Orange-red varnish.PELLIZON,Görz.—Eighteenth and nineteenth centuries. A family who have been at work until very recent years. Instruments not frequently seen in England. The best known isAntonio, the founder, who died in 1850.PEMBERTON,Edward.—London; seventeenth century. Name appears in most books on the violin. Varnish said to be good. Work indifferent.PENZE,Ignatio.—Schönbach;circa1760. Appears to have been a German named Penzl. The name is spelt in different ways, and occasionally is quoted as Ponze or Ponzel. According to labels to which writer’s attention has been drawn, the violins are dated from Cremona. They have little or nothing in common with Cremonese work. The tone is described as of good quality. Yellowish red varnish.PEREGRINO, orPelegrino.SeeZanetto.PÉRON,Nicolas.—Paris; latter half of eighteenth century. Yellow-brown fiddles. Fairly good average work.PERRIN.—Mirecourt; middle nineteenth century. Useful instruments. Dated from Paris.PERRY,Thos.—Dublin. Died 1818. The violins bearing his stamp vary enormously, some being very fine works of art, and others quite indifferent. A considerable number were made after his death. Wilkinson, his son-in-law and partner, was a poor workman, and continued the business for several years, so that the stamp appears on fiddles dated well into the “thirties” of the last century. Perry’s earliest examples date from about 1760 or a little later. Thebest specimens of his violins are somewhat after the Amati style, and the varnish on them is clear and of fine quality. What is known as his own model is far from handsome, and the sound-holes are frequently placed too high in the belly. The tone of a decently preserved specimen is generally very good. His instruments have lately attracted considerable attention. The colour varies from dark brown to amber, the darker shades occurring chiefly on his earlier work. He made a number of viols. The violoncellos are generally good. He is said to have learnt his business in London with Duke. The original name was “Pierray,” and he seems to have been a relative of Claude Pierray, a well-known Paris maker (q.v.). Two other Perrys worked in Ireland. One dates from Kilkenny, and is said to have been a cousin of Thomas. Another was named Joseph, but the relationship (if any) does not seem to be ascertained.PERSOIS.—Paris; to about 1850. The name is usually spelt “Persoit.” A clever bow-maker. Worked for Vuillaume and on his own account. Bows stamped P.R.S.PETZ.—There were several makers of the name. One namedJacobdates from Vienna about 1830. Labels bear the two-headed eagle. An earlier maker in Vienna,Marianus Petz, died in 1781. Two others,FranzandJacob, date from Vils in the Tyrol. The former died in 1772, the latter in 1824.PEZZARDI.—Brescia; 1660-90. There seems to be some confusion as to this maker’s dates. Like Mariani, his working period has been antedated about 100 years. Double purfled instruments.PFAB,Friedrich August.—Hamburg. Died1904. Received a gold medal in Hamburg in 1889. Another in Vienna, 1873.PFRETZCHNER.—Markneukirchen; eighteenth and nineteenth centuries. Another huge family of workmen. Twenty-two or more are enumerated. In very recent years one or two of them have become well known as bow-makers. Two of them,Johann GottlobandCarl Friedrich, who worked in the eighteenth century, date their labels from Cremona. The style of the work is poor, and gives no countenance to the claim.PIATTELLINI,Gaspero.—Florence; eighteenth century. Instruments said to resemble those of Gabbrielli.PICHON.—Lyons; nineteenth century.PIEGENDORFER,Georg.—Augsburg. Died 1906.PIERRARD,Louis.—Brussels; contemporary. Worked with Mougenot. Violin maker to the Ghent Conservatoire. A clever workman. Published a book in 1902 on “The Violin: Its History and Origin.”PIERRAY,Claude.—Paris; late seventeenth century to about 1726. Whether or not this excellent maker worked in Italy, as has been surmised, the varnish seen on his instruments is of excellent quality. The colour a light red or deep yellow. There is a look of Amati about the pattern, but they are not exact copies of Amati. The sound-holes have an appearance at their upper turns which is difficult to describe without the assistance of specimens. The work is neat and the tone of fine quality. The fiddles, like those of Boquay, were made in two sizes. Woodvaries, but is sometimes handsomely marked. He seems to have made many instruments, but in this country they are by no means common.PIÈTE,Noël.—Paris; eighteenth and early nineteenth centuries.PILAT,Paul.—Budapest. Born 1860. Worked with Zach. Has received several medals. Instruments branded inside with initials within a circle.PILLEMENT, F.—Paris; eighteenth and nineteenth centuries. A very unequal workman. Instruments branded.PIQUE,François Louis.—Paris. Born near Mirecourt, 1758. Died 1822. One of the best known Paris makers, he early acquired a good reputation, and has left a great many instruments of varying merit. The best violins are large examples of Stradivari pattern. Their general appearance is massive, and the scrolls, though well cut, are inferior to those of Lupot, who made a number of instruments for him. The quality of the varnish is unequal, and he appears to have made two or more grades, presumably according to the price he was to receive. The wood of the backs is often in one piece, and of handsome figure. Sound-holes very well cut. Colour of varnish commonly, but not always, a deep red or red-brown. Labels commonly written, but he also used an engraved ticket. He retired from business in 1816.PIROT,Claude.—Paris; about 1800-30. An exceptionally good workman. The instruments are of Stradivari character, but less stereotyped and more Italian looking than the average French violin of the period. Varnish red or red-brown. He used a smalllabel with a neatly engraved border. Writer has seen examples branded under the tail pin. Some of his work has been ascribed to Pressenda.PIZZURNO,David.—Genoa;circa1750-65. Specimens scarce. Mediocre work.PLACHT.—Schönbach; eighteenth and nineteenth centuries. Well over a score of makers of this name are enumerated.PLANI,Agostino de.—Genoa; second half of eighteenth century. Very commonplace work.PLATNER,Michael.—Rome; 1735-50. His was probably of German origin. His work belongs to the school of Tecchler, and it is not unlikely he worked for that maker. He used pretty red and golden yellow varnish, and was a good scroll cutter. The arching of his violins is rather full, and the general appearance of the instruments is of German character.PLUMEREL,Charles.—Angers; nineteenth century; first half. A clever workman. Instruments somewhat resemble those of J. B. Vuillaume in style and finish.POIRSON,Elophe.—Lyons. Born 1840. Began as an amateur maker. He invented a varnish which is supposed to impart an improved quality of tone. Uses a label with his portrait upon it. The workmanship of his instruments is well finished.POISON,Justin.—Paris. Born 1851. A wellknown bow-maker.POLLER,Anton.—Vienna; contemporary. Stradivari pattern. Reddish yellow varnish.POLLER.—Mittenwald; eighteenth century. A family of makers. In the labels the name is usually spelt “Boller.”POLLUSCA,Antonio.—Eighteenth century. Tecchler school of work.POSCH (Bosch),Antony.—Vienna; 1677-1742. A son, also namedAnthony, died in 1749. Violins generally high built. Both makers exhibit the Austrian double eagle on their labels.POSTACCHINI,Andreas.—Fermo. Two makers of this name dated from Fermo. The earlier died between 1820-30. The instruments are somewhat of Gagliano type and appearance, and are rising in value. The second Andreas died about 1857.POSTIGLIONE,Vincenzo.—Naples. Born 1835. A very neat workman. Has made some handsome and well-finished violins of Guarneri del Gesù pattern.PRESSENDA,Giovanni Francesco.—Turin, Alba, Carmagnola. Born 1777. Died 1854. One of the most important Italian makers of the nineteenth century. His violins date chiefly from Turin, but he also worked in Alba and Carmagnola, and possibly for a short period in Marseilles. A well-known repairer told the writer that three instruments by Pressenda dating from the last-named place had passed through his hands. He learned his business in Cremona with Storioni, and went to Turin about 1820. Early specimens of his work are more or less after the pattern of Stradivari, but later he designed a pattern of his own in which he somewhat changed the character of the sound-holes and the style of the arching. The wood of his instruments is nearly always handsome, themajority of the backs in one piece, cut on the quarter. The varnish is lustrous and varies in tint, some of the finest being of a deep mahogany red. A large number of his violins and those of Rocca and other followers were imported into this country by Gioffredo Rinaldi, who wrote a brochure on Pressenda, and violin making in Piedmont. This maker has had a number of clever imitators besides Rocca, who rivals or surpasses him in popularity amongst modern players. Amongst them may be mentioned Fagnola (q.v.).PSENNER,Johann George.—Eighteenth century. Two makers of this name, both of whom were fair workmen, date from Innsbruck.PUPUNAT,François Marie.—Lausanne;circa1830-60. Originally a cabinet maker he became a neat workman. A violin of his make is in the Paris Conservatoire.RAMBAUX,Claude Victor.—Paris. Born 1806. Died 1871. Worked with Moitessier and later with Thibout and Gand. Began business on his own account in 1838, and was a most skilful repairer of old instruments. His violins and other instruments are finely finished and generally of Stradivari pattern, but he does not seem to have been a very prolific maker. He was the recipient of several medals.RAMFTLER,Franz.—Munich; nineteenth century. Chiefly a dealer.RASTELLI.—Genoa; nineteenth century.RAU,August.—Markneukirchen; contemporary. A good bow-maker. Worked for a time with Weichold of Dresden.RAUCH.—Chiefly eighteenth century. Somefourteen or fifteen makers of the name worked in Komotau (Bohemia), and in different German towns.Jacob Rauchworked in Mannheim, and it is said that his instruments are high built and clumsy looking but possess a good tone.RAUT,Jean.—Rennes; eighteenth century.RAWLINS.—London; eighteenth century. Practically unknown, but the name appears in most books on the violin.RAYMAN,Jacob.—London; 1620-57. A Tyrolese. German looking fiddles. The varnish is the best feature about them.REICHEL.—As there were about fifty or more makers of this name, principally in Markneukirchen, detailed notice of their work is out of the question.REMY.—Paris and London; eighteenth and nineteenth centuries. There were five or more members of this family engaged in fiddle making.Mathurin François, the founder, workedcirca1760-1800. Guersan style of work. Yellow varnish.Jean Mathurin, his son, died in 1854, and is reputed a better workman. Two of the latter’s sons,HippolyteandJules, died in 1876 and 1869. A maker of the name better known in this country was theRemywho worked in London about the middle of the last century. Hart says that he spoilt his fiddles by artificially maturing the wood. However that may be he was a clever imitator of Italian work. The writer has seen examples which were much above the average of such things; in particular one or two copies of Guarneri del Gesù. He also copied Maggini with success. His relationship to the Paris family is not stated.RENAUDIN,Leopold.—Paris. Born Mirecourt 1749. Guillotined during the French Revolution 1795. He used various labels; one of large size with an engraving representing a musical performance. He is best known as a double-bass maker, but his work generally is not plentiful. The violins high built and clumsy looking. Yellowish varnish, some of which is much oxydised.RENAULT,Sebastien B.—Paris;circa1755-1811. Firm Renault and Chatelain. They were musical instrument makers, and the violins are not often seen.RÉSUCHE,Charles.—Lyon, Bordeaux. Born 1858. Worked with Gand and Bernardel. A good copyist of Italian instruments.RICHTER,Christopher Adam.—Markneukirchen; eighteenth century.RIECHERS,August.—Hanover, Berlin. Died Berlin 1893. Moved about a great deal, but settled in Berlin in 1872. He was a clever workman, and made a large number of instruments of various patterns. Writer has seen violins by him resembling those of “didier” Nicolas. Published a book on violin making. He was also a noted repairer and patronised by Joachim.RIEDEL,Joseph Alexander.—Meseritz, Danzig. Died 1866.RIEF.—Eighteenth and nineteenth centuries. Vils. Seven or eight makers of the name.RIEGER.—Mittenwald. From seventeenth century to present time. At least a dozen names are mentioned.RIESS,Andreas.—Bamberg. Died 1777. High built. He was also a professional musician and organ builder. Another Riess namedJosephalso worked in Bamberg.RINALDI,Gioffredo Benedetto.—Turin; 1850-88. Worked with Pressenda, but is best known as a dealer and importer into this country of Italian fiddles, chiefly by Pressenda and Rocca, with other makers of that school and period.RIVOLTA,Giacomo.—Milan;circa1820-35. One of the better makers in Italy in the last century. The violoncellos and violas are well made, and in appearance and varnish somewhat resemble work of the Neapolitan school. Varnish golden yellow. He received a gold medal, and on some of his tickets states that it was awarded “for having revived the celebrated school of Stradivari.”ROCCA.—Turin; nineteenth century. A maker named Joannes is mentioned as having been at work about 1809, but it is not unlikely that he is identical with Joannes Rotta, the ticket cited being a written one.Giuseppe Antonio Roccawas born, probably in Turin, about 1800, and died in Genoa, according to the story, in 1867 or 1868, his body being recovered from a drain or cesspool. His labels date from about 1830 or a year or two earlier. He was employed for some time by Pressenda, whose instruments he imitated so closely that they have frequently passed as that maker’s work. His initials were frequently stamped upon the blocks and elsewhere in his instruments, and this has sometimes led to their identification in cases where Pressenda labels have been found in them. But Rocca did not confine himself to imitating Pressenda, and made numbers of fine fiddlesof other patterns. His best copies of Stradivari are very valuable, and he was also successful with the del Gesù model. The varnish on early work is sometimes rather thin, and hard looking, but in this detail he seems to have improved as time went on. The colour varies a good deal, from a rich dark red of mahogany hue, to yellow of different shades. Double purfled instruments are sometimes seen, and he occasionally used mahogany for his backs. The Stradivari copies are generally, but not always, similar in pattern to the violin known as the “Messie.” His work is sought after by concert performers, and the prices paid for good specimens have in recent years been very high. He obtained several medals, and has been cleverly imitated by Fagnola and other makers. A good many counterfeit Roccas have found their way into the market.Enrico Rocca, a son, worked in Genoa and Turin, and died in May, 1915.ROGER, G.—Montpellier; nineteenth century. Nicolas type of work.ROGERI,Giovanni Battista.—Cremona, Brescia. Born about 1660 in Bologna. Worked until about 1730. An admirable workman, who was a pupil in Niccolò Amati’s workshop, the pupillage being invariably stated in his labels, which are often printed in red ink. Some of his work contains the genuine tickets of his master, and a good many of his instruments are very like those of Amati, the head, however, being heavier in style and the sound-holes slightly different in form. Later work shows a flatter arching, and there is more or less resemblance in the form to that of Stradivari. The general workmanship is always fine. The varnish either identical with Amati’s or a beautiful clear red. The violins werein two sizes, the large examples being very scarce. The size usually seen is about 137/8inches long and the measurements are about those of an ordinary Amati fiddle. The spelling of the name in the labels varies. Sometimes it appears as “Rugerius,” but more commonly it is spelt with an “o.” The violoncellos are splendid examples of their class, and having mostly been built of convenient size, their proportions have not usually been reduced like those of the Amati family.ROGERI,Pietro Giacomo.—Cremona and Brescia. Seems to have worked from about 1690 until after 1730. His relationship to G. B. Rogeri is not known, but if he worked, as some of the tickets state, with Niccolò Amati, he could not have been a son, as has often been alleged. Messrs. Hill suppose, and it is extremely probable, that the two Rogeri were associated in their work, though there do not seem to be labels containing their joint names. Pietro Giacomo’s work is almost, if not quite, equal to that of his relative. Violins bearing his label are very scarce, but strongly resemble those of the latter. The corners droop somewhat more, but the scrolls in one or two specimens seen by the writer are so alike that they might be the work of the same man. A beautiful violin with fine red varnish is in the possession of Mr. W. Sachse, the well-known professor; and Piatti for many years possessed a fine violoncello of Pietro’s make. Some of his labels date from Cremona, and his name is also sometimes seen spelt with a “u” instead of an “o.”ROMBOUTS,Pieter.—Amsterdam;circa1700-30. The violins are well made. Rather high built, and with a brilliant red varnish. The purfling iswhalebone. There is some resemblance to the work of Jacobs, with whom he is said to have worked. It is also said that in earlier years he was known as “Pieter—Jacobs’s pupil,” and this is supposed to be the origin of the Peeter Jacobs whose name has so frequently appeared in fiddle literature.ROMER,Adolf.—Freibourg. Born 1863. A maker who seems to possess considerable scientific knowledge, and has made some very handsome copies of the Italian masters. He has received various medals.ROOK,Joseph.—Carlisle;circa1775-1825. The work is neat. Rather high built; and the violins seen by writer of medium size, with clear yellow-brown varnish. It is said that he was taught by Forster, presumably when the latter worked in the North of England.ROSSI.—Nineteenth century. Several makers of this name have lived in Italy, chiefly in Padua and Milan. One namedEnricois a good workman who, with his son, has a business in Padua, and obtained a medal in 1877.ROTTA,Giovanni.—Cremona; early nineteenth century. The name in labels seen by the writer was spelt with a single “t,” but it is said that a good many doubtful or spurious ones exist. Work not highly finished. Reddish-yellow varnish. Writer has seen the label in at least two violins which were certainly of Mittenwald origin.ROZE.—Orleans; eighteenth century. Rather neat work and good pattern. Yellow varnish.RUB,August de.—Viterbo;circa1760-75. His label states that he made his instruments for hispersonal delectation. Writer came across a violin in London recently.RUDDIMAN,Joseph.—Aberdeen. Born 1733. Died 1810. Said to have been a pupil of Matthew Hardie.RUGERI.—Cremona; seventeenth and eighteenth centuries. A celebrated family of makers. The name is seen spelt in a variety of ways,e.g.“Ruggieri,” “Rugieri,” etc. The founder wasFrancesco, who worked in the latter half of the seventeenth century, and adopted the distinctive title “il Per” on his label, possibly to prevent confusing his work with that of the Rogeri who also worked with Amati but came from Bologna. In this practice he was followed by his sons. He was a splendid workman and one of the best of Amati’s followers. He copied Niccolò’s instruments with much fidelity and was very successful with the “grand pattern.” Amati labels,mostly badly latinised and incorrect, seem to have been found in his violins from an early period, but it does not seem to be certainly established that he himself inserted them. Such work of his as was made in the master’s workshop would obviously bear correct labels. Most of his violins have handsome backs, some of larger figure than that usually employed by Amati. His varnish is most beautiful, and, in the finest specimens, of a brilliant red colour. In other works it is identical with the yellow seen on the majority of Amati’s instruments. In later works he somewhat altered the form of the sound-hole, but his work, of whatever date, is almost always full of grace. The heads are excellent. A large number of his violoncellos survive. They were mostly, but not invariably, of large size, and have been reduced, notalways too well. The backs are frequently of plain wood.Giacinto Gio. Battista Rugeri, a son, seems to have dropped the “Gio. Battista” from his later labels. He worked down to about the end of the seventeenth century, but probably assisted his father largely, and his own signed work is comparatively scarce. It is said that he made good tenors and a number of useful violoncellos. One or two violins seen by the writer were less graceful than those of Francesco, and the varnish brown.Vincenzo Rugeri, a younger son of Francesco, seems to have been the last of the family, and was at work until 1735 or later. Writer has seen violas and violoncellos, but only one violin of his make. The work is of Amati character, and the finish good, but not remarkably so. Some, if not all, of his tickets have an ornamental border.RUPPERT,Johann Heinrich.—Erfurt; 1719-36. Stainer outline, but arching comparatively flat; no linings or corner blocks.RUPRECHT,Wilhelm.—Vienna. Died 1862. A clever maker. Many of his copies are double purfled, and it is said that some have been sold as genuine Brescian work. He was awarded a medal in 1839.SACCHINI,Sabattino.—Pesaro; seventeenth century.SACQUIN.—Paris; nineteenth century, to about 1860. Backs of instruments branded inside. Chiefly Stradivari pattern.SAINT PAUL,Antoine.—Paris; 1768-89. Guersan style of work. Heads like those of othermakers of the period, said to have been cut by women. Another Saint Paul (Pierre) worked earlier and was possibly his father.SALLE,Le Père.—Paris; 1825-50. Chiefly known as a connoisseur and repairer. Copied Guarneri.SALOMON,Jean Baptiste Deshayes.—Reims, Paris;circa1735-70. This maker was either an unequal workman, or the instruments bearing his name and stamp were made in different grades. The writer has seen very good violoncellos, on which the finish was above the average. Yellow varnish and well-carved scrolls. The violins generally have a brownish-yellow varnish, the arching is carried almost to the edges. Sound-holes rather wide apart, belly wood rather hard, and backs showing little figure, though now and then they are handsomer. Tone not particularly good. He used various tickets. His business was carried on by his widow for some years after his death.SALZARD,Francois.—Paris, Mirecourt. Born 1808. Died 1874. Mirecourt style of work. Yellow-brown varnish. Tone powerful. Name often written or branded inside the backs. There was a D. Salzar, probably his father. A son, Ernest André, worked in Moscow and St. Petersburg where he died in 1897.SANDNER.—Eighteenth and nineteenth centuries. A large family originating in Schönbach. There have been nearly twenty of them working in different parts of Germany and elsewhere.SANTAGIULIANA,Giacinto.—Venice; eighteenth and nineteenth centuries.SANTINO.—Milan; about 1700. Grancino type of work.SANTO,Giovanni.—Naples; eighteenth century.SARDINI,Carlo.—Madrid; eighteenth century. Said to have been a Neapolitan. Large flat instruments. Yellow-orange varnish.SARTORY,Eugene.—Paris. Born 1871. Well-known bow-maker. Imitates Voirin.SAUNIER,Edmond.—Bordeaux. Diedcirca1785. Good work. Not very plentiful in this country.SAVART,Felix.—Paris. Died 1841. Well-known acoustician. Made fiddles of guitar outline.SAWICKI,Carl Nicolas.—Vienna. Died 1850. Generally copied Stradivari, but also the pattern of del Gesù. A very finished workman. Scrolls and wood very handsome. Tone excellent.SCARAMPELLA.—Brescia, Paris, Mantua, Florence; nineteenth century. A family originating in Brescia. The founder,Paolo, died in 1870. A son,Giuseppe, worked in Paris and Florence. Died about 1886 or later. Neat work. Red varnish. Another son,Stefano, born 1843, dates from Mantua and Brescia. Good work. Has obtained a silver medal.SCHALLER.—Markneukirchen, Schönbach. A large family of nineteenth-century workmen.SCHÄNDL.—Mittenwald; eighteenth century. There were three or four of the name. The best known areMichaelandAnton. Well-made violins of the Stainer-Kloz type.SCHEINLEIN,Johann Michael.—Langenfeld;eighteenth century. Stainer school. Another, named Matthias Friedrich, worked in the same place.SCHETELIG.—Markneukirchen; eighteenth and nineteenth centuries. About a dozen makers of the name.SCHLICK.—W. Dresden; nineteenth century. One of the innumerable “discoverers” of the “secret of the Italian varnishes.” Has received medals.SCHLOSSER.—Klingenthal; eighteenth and nineteenth centuries. Another numerous tribe. One, named Johann George Schlosser, branded his work inside, “I. G. S.”SCHMIDT.—About twenty-five German makers are enumerated by von Lütgendorff.SCHÖNFELDER.—Markneukirchen; nineteenth century. Another tribe, running well into a score of names.SCHONGER.—Eighteenth and nineteenth centuries. Erfurt, Cassel.SCHRECK,Rudolph.—Berlin; eighteenth century. Said to be one of the oldest Berlin makers. His name, appropriately enough, means “fright!”SCHUSTER.—Markneukirchen. Another horde of makers. They manufacture very cheap trade instruments.SCHUSTER,Joseph Anton.—Schönbach; eighteenth century. Good work.SCHWARTZ.—Strasburg; nineteenth century. Four or more of the name were instrument makers. One, named George Friederich, was a good bow-maker.SCHWEITZER,Johann Baptist.—Budapest. Died 1865. An excellent copyist of Italian work. He was a pupil of Geissenhof of Vienna. Red-brown varnish. Innumerable instruments purporting to be his work and labelled to that effect have been made in Markneukirchen. These instruments are of a common class, and examples of them are constantly met with in this country.SEELOS.—Innsbruck; seventeenth century. Stainer school. Work not often seen. Georg Seelos used a label printed in gold lettering.SEIFERT,Otto.—Berlin. Born Markneukirchen, 1866. Maker of the much-advertised “New Cremona” violins, the plates of which are attuned according to a system devised by Dr. Grossmann. These instruments are well finished.SEIZORSEITZ.—Mittenwald; eighteenth century. There were a large number of the name. Many of the instruments are of a useful type and have a good tone.SERAPHIN,Santo.—Venice. Born at Udine about 1675-80, worked, according to labels, until about 1748 or later. No neater workman ever lived. His copies of Niccolò Amati’s “grand” pattern are very handsome, and, as Hart remarks, are often very like the instruments of Francesco Rugeri. Varnish a very fine red, but now and then the colour is lighter. Unfortunately the greater number of his works are of German character, so far as outline, modelling, and sound holes are concerned. Apparently Venetian patrons admired the Stainer form, as numbers of the violin-makers in Venice designed their work more or less closely upon it. The scrolls are very well cutbut generally rather weak looking. Some magnificent violoncellos are known, and he is said to have excelled in double basses. The tone of Seraphin’s violins is sometimes disappointing. Some specimens handled by the writer, however, have left little to complain of on that score. He branded his work under the tail pin, and used large ornamentally engraved labels. A nephew namedGeorge Seraphin, who also branded his instruments, seems to have worked at about the same time.SERDET,Paul.—Paris. Born Mirecourt, 1858. A well-known dealer and judge of old instruments and a fine workman. Was a pupil of the excellent maker Gaillard.SILVESTRE,Pierre.—Lyons. Born 1801. Died 1859. His work is distinguished by superb finish, and the tone of the instruments is of excellent quality. In this country they now command high prices. Most of them are of Stradivari build, but occasionally Amati or Guarneri copies are met with. The varnish on many of them is a fine red of much brilliance and excellent quality. The widths of his Strad copies are a trifle greater than those of the originals. The purfling, generally rather narrow, is inserted with unsurpassable neatness. Moreover, he did not “mature” his wood by artificial means as did J. B. Vuillaume for a considerable period. After leaving his instructor (Blaise of Mirecourt,q.v.) he worked for a time with Lupot, and with Gand, his successor. He began business in Lyons in 1829, and from 1831 to 1848 was in partnership with his younger brother, Hippolyte. The instruments bearing the joint labels of the brothers are well made, but by no means up to the standard of those made by Pierre alone. Theirappearance is more that of a first-class factory instrument, and they are consequently of minor value and importance.SILVESTRE,Hippolyte.—Lyons. Born 1808. Died 1879. After Pierre’s death he took over the business and continued in it until 1865. He was taught by Blaise, and was also for a time with J. B. Vuillaume. He was unquestionably a skilful workman, but the abilities of his brother Pierre were so manifestly superior that his work suffers somewhat by comparison.SILVESTRE,Hippolyte Chrétien.—See Chrétien.SIMON,Franz.—Salzburg. Born Mittenwald, 1757. Died about 1803. He came of a Mittenwald family of makers named Simman. The work is of German (Kloz) type.SIMON, P.—Paris. Born 1808. Mirecourt. Died Paris, 1882. An excellent bow-maker. Worked with D. Peccatte and with Vuillaume. Was also in partnership (1848-51) with Henry. Work stamped with his name.SIMON,René.—Auch (France). Born 1844. A fine workman. Worked with N. Vuillaume and several other makers.SIMONIN,Charles.—Mirecourt, Geneva, Toulouse; nineteenth century. Worked for some time for J. B. Vuillaume. He died in or about the year 1875. An excellent workman and amongst the best of the many employed by Vuillaume.SIMOUTRE,Nicholas.—Mirecourt, Metz. Died 1870. A prolific workman. He was a pupil ofLupot, but his instruments though well made are not of very high rank.SIMOUTRE,Nicolas Eugene.—Basle, Paris. Born 1839. Son of the above. He experimented to some extent and wrote pamphlets on the improvement of violin tone, but does not seem to have accomplished much in that direction.SIMPSON,James, and Son.—London; late eighteenth century. They appear to have been dealers. It does not seem to be clear whether they were actual makers, but instruments bearing their label are not of great merit.SIRJEAN.—Paris. Early nineteenth century. Bow-maker.SITT,Anton.—Prague. Born 1819. Died 1878. Worked with Schweitzer, and copied various makers. His labels usually state the name of the maker from whom they are copied. Good sound work, but rather solid looking.SMITH,Thos.—London; eighteenth century. He worked with and succeeded Wamsley. Made many violoncellos of merit. Instruments of Stainer build. They are very like the work of Wamsley and are not unfrequently sold as his.SNEIDER,Joseph.—Padua; early eighteenth century. He was in Niccolò Amati’s workshop, but was probably of German birth. Instruments relatively scarce. Pretty work of Amati character; yellow varnish.SNOECK.—Brussels; eighteenth century. There appear to have been three makers of the name.Egidius,circa1700-30, is the best known. Red-brown varnish. Amati pattern.SOCQUET,Louis.—Paris; late eighteenth century. Mediocre work. Large label with engraved border.SOLIANI,Angelo. Mantua, Modena; late eighteenth century. Useful instruments. Tone generally powerful. Yellow or reddish-yellow varnish. His labels bear the sign of the Sun. Work generally branded.SORSANA,Spirito.—Coni; early eighteenth century. Scarce. The name also appears with the spelling “Sursano.”SPIDLEN,Franz.—Moscow, Prague; contemporary. A good copyist. Has obtained some medals (Paris, 1900). Brown varnish. Name branded on backs.SPRENGER.—Nineteenth century. A Mittenwald family, three or more of whom worked in Nuremburg.STADLMAN.—Vienna; eighteenth century. There were several of the name. Instruments seen by the writer were of good workmanship and Stainer pattern.Michael Ignatius, who died in 1813, is perhaps the best known. He seems to have made most of his instruments on Stradivari lines. Labels bear the double-headed eagle.STAINER,Jacob.—Absam (Tyrol). Born 1621. Died 1683. The most celebrated of all the German school of makers. He is the subject of much tradition and has a small literature devoted to him. The main facts of his life have now been made public for a good many years, and much legendary rubbish has beenswept away. The Stainer model has been imitated by fiddle-makers all over Europe, both during his lifetime and since. Amongst the first to copy him were the Kloz family, and in Rome, Florence, and Venice his imitators have been numerous. In this country his influence was almost paramount for upwards of a century, and only by slow degrees was it ousted by the superior form of instrument designed by the Amati family and perfected later by Stradivari. Whether he ever worked in Cremona is at least open to doubt, and the evidence which has been adduced in support of the tradition is not sufficiently strong to justify its unconditional acceptance. He employed a varnish which proves to demonstration that he was conversant with the composition of that in use by the Amati, but it is clear from the work of other makers that there was no particular mystery attaching to the ingredients of Cremonese varnish, and his use of a preparation which is not distinguishable from it does not afford any unequivocal proof of his ever having been to Cremona. The general appearance of Stainer’s instruments is familiar to all who take more than a merely passing interest in a violin; not because of the number of genuine specimens to be met with, but from the number of other makers who have copied him. As a workman he was of the first rank, but whether he worked in Italy or not, there is not a fiddle of his in existence which has the true Italian cut. The violins are usually about the size of the ordinary Amati instruments, but some of them are rather larger, and measure a full fourteen inches or a shade over in length. The varnish ranges in colour from yellow to brown; the red specimens are not often seen, but a few very handsome rose-coloured violins, of most beautiful workmanship, have survived. The wood of the backs generallyshows some figure, and is often finely marked; for some of the bellies he used the fine-grained wood frequently employed by Tyrolese makers, but in his finest examples the pine is of broader grain. A good many of the instruments have lion heads, the carving of which is well executed. The scrolls are well cut, but lack the grace seen in those of better Italian work. It seems to be doubtful if Stainer himself used printed tickets, but there is no doubt that other makers, some of whom were contemporaries, and possibly workmen of his, inserted printed Stainer labels into their work. Stainer’s arching has been the subject of so much exaggeration on the part of copyists of all nationalities that many people have an altogether false idea of its true proportions. In a good specimen of Stainer’s violins the swell of the form is not really higher than that of an average Amati; now and then he did exceed this limit, but it was not his general practice. Violas are rarely seen, and violoncellos are by no means common. Forster and numerous other English makers have left numerous copies of the last-mentioned instruments, some of which are in every way excellent. The tone of a fine Stainer violin is of beautiful quality, and in examples met with by the writer, its timbre resembled that of Amati. It is almost needless to say that forgeries are innumerable, and are not unfrequently somewhat difficult to detect, not only on account of their intrinsic merit, but from the fact that his manuscript tickets have been cleverly imitated.STAINER,Marcus.—Absam, Kuefstein, Laufen (Austria); seventeenth century. A brother of the above, he worked in a variety of places, and is reputed to have forged the labels of the more celebrated Jacob. The few examples seen by the writer resembled thoseof Jacob in form, and had dark red-brown varnish. One of these was a viola, of good workmanship and tone. He also used lion and other carved heads. He seems to have been alive until after 1680.STAUDINGER,Mathaeus Wenceslaus.—Wurzburg; eighteenth century. In some of the labels the name is spelt Stautinger. The violins are very scarce, but are of fine workmanship.STEINER,Joseph.—Lengberg. Died 1908. Seems to have been a merry blade, and a man of varied accomplishments. Experimented with varnishes. The violins are well made and of good form, but not often seen. The number of the instrument appears on the label.STEININGER.—Eighteenth and nineteenth centuries. A family of makers said to have sprung from Füssen. The most important of them was François Xaver, born in 1778, died about 1850. He changed his abode many times and worked in Darmstadt, Frankfort on the Maine, Paris, and St. Petersburg. His work is careful, and French in character.STIRRAT,David.—Edinburgh; early nineteenth century. Pupil of Matthew Hardie.STOHR,Jacob.—St. Polten; about 1790-1830. Examples scarce. Stradivari outline, higher arching, light brown varnish, backs usually in one piece. There were other makers of the name; probably sons.STORCK.—Strasburg, Augsburg; eighteenth century. About half a dozen makers.STORIONI,Lorenzo.—Cremona. Born 1751; died 1801. This maker is usually instanced as the last of the old Cremonese school. He was a prolificworkman, and a considerable number of his instruments are in existence. His varnish is, however, of a different nature, and resembles that of the Neapolitan school. His pattern varies a good deal. Now and then his outline and arching are after the style of Amati, but in most cases there is more or less resemblance both in general appearance and the cut of the sound-holes to the work of Guarneri del Gesù. It has been said that violas by him are unknown; but this is incorrect. Some very fine examples are in existence, and in more than one instance they have been sold as the work of del Gesù. The colour of his varnish is usually a red-brown of varying shades. As a general rule the finish of his violins is rough, and the purfling carelessly worked, but occasionally he took more pains, and produced handsome fiddles with prettily figured wood. The scrolls are of bold, masculine cut, and very characteristic. The backs commonly have plain or small figured wood of native growth. Bellies of very fine material. The tone of his instruments is rich and full. Violoncellos are comparatively scarce, but are very fine in tone and in high repute amongst players. G. B. Ceruti took over his business, and is said to have been employed by him.STOSS.—Eighteenth and nineteenth centuries. This was a large family of makers, numbering fourteen or more members, and originating in Füssen. Most of them worked in Vienna, and one or two of them made instruments of more than average merit. Many of their tickets are of the ornamental kind, exhibiting various devices and engraved borders.Johann Baptist Stossworked in Prague, and died there in 1850. The best known amongst them wasMartin, who died in Vienna in 1838. He used various tickets, and is bestrepresented by his violoncellos, which frequently show handsome wood and are carefully made.STRADIVARI,Antonio.—Cremona. Born 1644; died December, 1737. The bulk of the biographical matter concerning this, the most famous of all fiddle makers, was collected by George Hart, who published some of it in the first edition of his celebrated work on the violin, but was unable to include the whole of it until the appearance of the second edition in 1884. He was largely assisted in his researches by Signor Sacchi, a Cremonese gentleman of considerable literary ability. In 1902 appeared the well known and sumptuous volume by the Brothers Hill, republished in cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,” the most exhaustive critical survey of the subject which has yet appeared. These two books form the chief English authorities for all that is known concerning the great Cremona master. Readers may also consult the very able article contributed by the late E. J. Payne to Grove’s Dictionary of Music, and the little volume of Horace Petherick published in the Strad Library in 1900. The writer’s observations on the work done by Stradivari during the time he was employed by Niccolò Amati will be found in the notices of that maker and of his son, Hieronymus Amati II. One or two labels still survive—one of them dated in 1666—in which Stradivari describes himself as a pupil of Amati. Early works usually exhibit an outline and arching similar to those employed by his master in his ordinary 137/8-inch instrument. The varnish seems identical, and is of the usual yellow colour, although darker shades may be seen almost from the first. The chief points of distinction lie in the heavier edges, the cutting of thesound-holes, and the form of the scrolls. This type of violin he continued to make with certain exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class, measuring 141/8inches in length, until 1684. Between that year and 1690 the pattern and details are somewhat variable. According to Messrs. Hill, Stradivari first began to pick out the edges of his scrolls with black in or about the year 1688, and continued the practice, with rare exceptions, until the end of his life. In 1690 he made the remarkable violin known as the “Tuscan,” a large instrument of exceedingly handsome wood and build, and in the years 1691 and 1692 a few violins of exceptionally large proportions. The year 1690 also saw the advent of the “long Strad,” a pattern the dimensions of which have given rise to a certain amount of controversy. As a matter of fact, the lengths of these instruments vary between about 141/8inches and 145/16, the latter being the extreme limit. About 143/16inches would seem to be the more usual length. The widths are about 67/16in the upper bouts, and 8 inches in the lower ones. These narrow violins were made until the year 1700, with the exception of the year 1698, from which year no examples seem to have been seen. A large number of them—something like fifty—are still in existence. During this period, however, he did not confine himself entirely to the long pattern. Some of the long Strads are of great beauty of form and material, and by the time he began to make them he had adopted a varnish of deeper colour. The maker’s best period is commonly supposed to begin about the year 1700, but some of the finest efforts are dated from 1704, in which year he made the “Betts,” a specimen in a remarkable state of preservation, and with rather long corners. In the same year heproduced a violin bearing a close resemblance to the “Betts,” and which is in the possession of Colonel Glennie. The year 1709 seems to have been one of the most prolific in Stradivari’s career, and many fine examples, such as the “Ernst,” and “La Pucelle,” were made in that year. At about this period the violins having a body length of 141/8inches begin to appear. In the preceding period 14 inches was the general rule. The backs of these violins are mostly made from handsome wood with a broad curl. The years 1710 to 1716 inclusive were productive of many of the finest violins ever made by Stradivari. Amongst them are the “Parke,” 1711, the “Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,” the “Alard,” all made in 1715, and the famous “Messie,” remarkable for its unique state of preservation, and the magnificent “Cessol,” both of which belong to 1716. Between 1720 and 1725 the outline changes somewhat, and is squarer in the shoulders and the curves of the lower bouts. So far as tone goes some of the best toned fiddles in the world were made about this time, and it may be here added that of late years the later works of Stradivari have received much attention from concert players on account of their masculine tone. In the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them. Messrs. Hill enumerate eight examples of this practice; another from the year 1731 came under the writer’s notice in 1912. In the labels dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from that year onwards it appears as “Stradivarius.” The number of ornamented and inlaid instruments which have survived seems to be about a dozen. Messrs. Hillrecord ten of these; others are known to have been made, but traces of them, if still existing, have disappeared. The earliest seems to date from 1677, and the latest is the “Rode” violin made in 1722. These examples include a viola dated 1696, and a violoncello. Three of the inlaid violins are dated 1709. The violas at present known number only about a dozen. One of these, a “tenore,” dated 1690, measures 187/8inches in length. The smaller examples average about 163/16to 165/16inches. There are about fifty violoncellos, the older specimens being over 31 inches long, and the later type about 29½ inches or a little over. These include many notable instruments, such as those owned by Piatti, Duport, Servais, and other celebrated players, after whom they have been named. Notwithstanding repeated assertions to the contrary, there is no trace of any double basses made by Stradivari; specimens formerly assigned to him have long been rejected as spurious, and no patterns for such instruments are to be found amongst his drawings, moulds and other working apparatus. These last were bought from Stradivari’s son by Count Cozio di Salabue, and from him descended to the Marquis dalla Valle, who is, or was recently, still in possession of them. Stradivari’s output was enormous, even when due allowance is made for the length of time during which he was at work; and the estimate made by Messrs. Hill, which gives a total of 1116 instruments, is by no means an excessive one. No other maker, who has not degenerated into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last century, can compare with him in this respect, and the marvel of it all is that his own hand is plainly visible in all his works, even to the very last. There can be no reasonable doubt that he was assisted by a considerablenumber of workmen, including his sons Francesco and Omobono, Carlo Bergonzi, and others whose claims to have been his pupils are more open to question; but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article. Since the beginning of the last century his fame in this country has steadily increased; his name has become a household word. In his own day his consummate abilities were widely recognised, and orders were sent to him from royal courts and noblemen all over the continent of Europe, as appears by contemporary evidence. To-day his violins command higher prices than ever, and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service, their authorship is of itself sufficient to maintain their market value at a high figure.STRADIVARI,Francesco.—Cremona. Born 1671; died 1743. The elder of the two sons of Antonio who followed his calling. A good many violins of considerable intrinsic merit but dubious authenticity are assigned to him, but several which were formerly accepted as genuine have failed to obtain a favourable verdict amongst some of the later judges, and it is difficult to speak with any certainty about them. One magnificent violoncello, the proportions of which have been slightly reduced, is known to the writer, and its authorship appears to be unquestioned. This instrument is covered with very fine varnish of golden-red colour, and considerably more substance than that seen on violins supposed to be of his make.STRADIVARI,Omobono.—Born 1679; died1742. Son of Antonio. The writer is acquainted with three or four violins which are assigned to him upon good authority. These are of bold pattern and bear some resemblance to the work of Antonio, but do not display any of his fine finish. The wood of the backs is with one exception of small figured native maple. The varnish thinner in texture than that of the father. The sound-holes are somewhat like those of Bergonzi, and in one case are very slightly pointed. The back and sides of the other violin referred to are of beech. The tone of all these specimens is very fine and full. Most of Omobono’s tickets seem to have been in neatly written manuscript. A favourite date, which leads one to suspect their genuineness in some cases, is 1740.STRAUB.—Chiefly eighteenth century. About a dozen workmen of the name are enumerated.STRAUBE,Johann Augustin.—Born 1725; died 1802. Worked chiefly in Berlin. Instruments seemingly very scarce.

NEUMÄRKER.—Nineteenth century. Several makers of the name worked in Schöneck.

NEUNER.—Mittenwald; eighteenth and nineteenth centuries. A very numerous family of makers, several of whom bore the Christian nameMatthias. The second of that name died about 1830, and in 1812 founded the well-known firm ofNeuner and Hornstainer, one of the largest manufacturing houses in Germany.Ludwig Neuner, born 1840, and a member of the firm, worked for a time with J. B. Vuillaume in Paris. A clever workman, he, in 1879, gained a medal in Berlin.

NEVEU,Charles.—Paris. Born 1863. A skilful copyist. Chiefly Stradivari pattern.

NEWTON,Isaac.—London. Died 1825. Worked for Betts.

NICOLAS.—Paris.SeeFourrier.

NICOLAS.—Mirecourt; eighteenth and nineteenth centuries. A well-known family, the principal member of which is known the world over as “didier” Nicolas. He was born in 1757 and died in 1833. His early personal work is good and well finished. The violins are built somewhat upon Stradivari lines, but cannot be described as copies of that maker. They are generally of rather large pattern and but slightly arched. Tone powerful, and the varnishes, a reddish-yellow or yellow-brown, of good quality. Some of the violoncellos are exceptionally good. There is no doubt that these earlier examples possess considerable merit, but in later years Nicolas employed a very largestaff of workmen, and degenerated into a manufacturer of coarse-sounding, common-place instruments, which, though useful enough in the orchestra, are quite unsuitable for other purposes. The type of instrument ultimately turned out has been extensively copied in France and elsewhere. The feature which at once strikes the eye is the sound-hole, the wings of which are cut off almost horizontally. His fiddles are branded with a triangular stamp “a la Ville de Cremonne.” Several other Mirecourt makers adopted the “Ville de Cremonne” as a sign. A son,Joseph, died in 1864, and after the latter’s death the business was sold to Derazey (q.v.).

NIGGELL,Sympert.—Füssen;circa1730-75. A maker of some repute, but not very well-known in this country. A few fiddles seen by the writer were well-finished instruments; pattern a little like that of Albani, and with dark brown varnish. He branded his work inside with his initials.

NISBET,William.—Prestonkirk. Born 1828. Pencilled his name inside the backs of his violins. Obtained a medal in Edinburgh in 1886.

NORMAN,Barak.—London;circa1680-1740. Said to have been the first maker of violoncellos in this country. His work is generally double purfled, and he imitated some of the Maggini features, including the peculiarity observed in that maker’s sound-holes, the lower circles of which are smaller than the upper ones. The violoncellos are large, and well made, the varnish generally a dark red-brown, but lighter shades occur. He and Nathaniel Cross, with whom he was for a time partner, seem to have made a number of ornamentally purfled viols-da-gamba. The writer has seen some of these, converted andstrung as violoncellos. Violins by Barak Norman exist, although this has been denied by some writers. His monogram in purfling appears under the finger-boards, and sometimes on the backs. Some large tenors of high build are in existence.

NORRIS,John.—London. Died 1818. Founded the well-known business of Norris and Barnes, for many years carried on in Coventry Street. He learned fiddle-making with Thomas Smith, but very little seems to be known of him as a workman.

NOVELLO.—Venice; eighteenth century. Three makers of the name are mentioned. The only examples of violins seen by the writer were byPietro Valentino, who was at work in the closing years of the century, and describes himself in his tickets as a pupil of Bellosio.

NÜRNBERGER.—Markneukirchen; eighteenth and nineteenth centuries. A large family of workmen, two or three of whom have turned their attention to bow-making. Some of their work in this department is excellent, and will bear comparison for style and finish with that of the best living French bow-makers.

OBBÕ,Marco.—Naples; earlier part of eighteenth century. Little known. His full name does not seem to be known, but the final O in his label has the abbreviation mark (as above) over it. Flattish fiddles. Yellow, or yellow-brown varnish.

OBICI,Bartolomeo.—Verona; seventeenth and eighteenth centuries. Large violins. Yellow varnish. Brescian style of work.

ODDONE,Carlo Giuseppe.—Turin. Born 1866. A clever maker, who was for a time in England, but has been established in Turin since 1901.

ODOARDI,Giuseppe.—Ascoli. Born 1746; date of death not ascertained. One Italian writer says he died at the age of 28, but this seems to be incorrect. He seems to have experimented with different kinds of wood. Writer has not met with examples of his work.

ÖHBERG,Johannes.—Stockholm;circa1760-90.

OLRY, J.—Amiens; to about 1850. Stradivari pattern; good work. Dark-red varnish. He worked with Georges Chanot I.

OMOND,James.—Stromness. Born 1833. A Scottish maker of more than average ability. Has made a large number of instruments.

ORTEGA,Asensio.—Madrid. Died about 1835. A maker and repairer, who has earned unenviable notoriety by tinkering with the famous violoncello made by Stradivari for the Spanish Court.

OSTLER,Andreas.—Breslau; eighteenth century. Pretty work and handsome wood. Yellow or yellow-brown varnish. Stainer pattern.

OTTO.—Makers of this name worked all over Germany and elsewhere. About twenty of them are mentioned by von Lütgendorff, who devotes several pages to them. The only member of the family of much interest to English readers isJakob August, who died in 1829, and was the author of the wellknown book on the violin.

OUVRARD,Jean.—Paris; eighteenth century. Pupil of Pierray, whom he imitated to some extent. Work seldom seen.

PACHERELE,Michel.—Paris; late eighteenthcentury. Scarce. Stamped his name on the backs of his instruments. Yellow varnish.

PACHERELE,Pierre.—Paris, Nice, Genoa, Turin. Died in Nice 1871. A fine workman, but a “roving blade.” He did much work as a repairer. Worked with Pressenda for several years, and made instruments which closely resemble and are equal to those of that maker. His ordinary instruments are of Stradivari pattern.

PACQUET.—Marseilles; late eighteenth century. Common-place instruments. Frequently worm-eaten.

PADEWET.—Nineteenth century. Four or more makers of the name are known. The family seems to have sprung from Vienna. Three of them worked in Karlsruhe.Johann I.died 1872. A skilful maker who obtained several medals.Johann II., who died in 1902, copied Stradivari, and seems to have made a large number of instruments. He received various medals, and was a well-known repairer.

PAGEOT.—Mirecourt. Died 1849. Name also spelt Pajeot. Bow-maker. Personally a skilful workman, but employed workmen who turned out bows wholesale, the prices beginning at sixpence each.

PAJOT.—Jenzat; nineteenth century. A family of makers, probably originating in Mirecourt. Chiefly makers of hurdy-gurdies.

PALLOTA,Pietro.—Perugia. Died about 1820. Little known.

PAMPHILON,Edward.—London; about 1681. He used a beautiful varnish of yellow colour, sometimes with a tinge of red. The fiddles are squarish,and stiff looking in outline. Scrolls small. The bottom of the shell is finished in a peculiar way. Some of the sound-holes are more curious than beautiful, the lower turns having a very wide sweep. Double-purfling was generally, but not always, employed. Writer has seen a few specimens containing Maggini labels. His own tickets are very scarce, and contain the day of the month when instrument was finished, in addition to the year.

PANDOLFI,Antonio.—Venice; eighteenth century. The work and tone are highly spoken of, but the writer has not seen examples.

PANORMO.—London, Paris; eighteenth and nineteenth centuries. The last survivor of this celebrated family died in Brighton in 1891. The most important member of it wasVincenzo Trusiano Panormo, or as appears in many of his labels, “Vincent,” from whose son, Francis, were obtained the dates of his birth and death. He was born at Monreale, near Palermo, according to the story, in 1734, and died in London in 1813. Owing to the wide range of dates seen in labels (genuine or otherwise) it has been surmised that there were two Vincents, and one enthusiast claims to have discovered three. Various traditions are current as to his early life and training. According to one of them he worked with Carlo Bergonzi in Cremona. Nothing, however, seems to be definitely known except that in certain years he worked in Paris, that most of his life was spent in London, and that he was also for a time in Ireland. A large number of his works survive, the best of them being magnificent copies of the different types of Stradivari. As copies these specimens have never been surpassed, and but rarely equalled by any other maker;their tone is of Italian character, and far superior to that of the French copies, and they are covered with beautiful varnish, mostly of varying shades of yellow, but more rarely red. Panormo was a consummate workman, and given the material and the opportunity he was capable of building, as few others could, any instrument of the fiddle tribe, from a superb double-bass to a violin. His violoncellos are very fine. Unfortunately he did much work for the trade, which does him little credit, although far better than one is accustomed to see in work of its class. His best fiddles are handsomer and less heavy looking than those of Lupot. His sonJosephis best known as a violoncello maker. His violins look rather heavy in style as a rule, but there are exceptions.George Louis, usually known as Louis, died in London in or before 1845. He is said to have been the second son. The octagon bows bearing his stamp are frequently very fine. He specialised as a guitar maker, but turned out a good many violins. These vary in merit, but some are decidedly handsome. He was a good scroll-cutter.

PAQUOTTE.—Paris; nineteenth century. A Mirecourt family. The business in Paris was founded bySebastien, who died in 1863. There were three or four makers, all good workmen.

PARIS,Claude.—Paris; late eighteenth century.

PARKER,Daniel.—London; eighteenth century. An excellent maker, whose work has in recent years risen rapidly in value. He seems to have worked from quite early in the century until after 1770. He shares with John Hare the merit of having turned attention to the pattern of Stradivari, and it is muchto be regretted that other British makers of the period did not do the like. Some of his fiddles are upon lines more or less like those of Amati, but his reputation chiefly rests on those which are evidently in imitation of the “long Pattern” of Stradivari. They are not exact copies, but in design and dimensions are very similar to Stradivari fiddles of that type. Varnish red, of good quality, wood frequently handsome, and tone large and brilliant. A good example was not long ago in the possession of M. Kreisler. It is said that Parker worked much for the trade. Writer has seen one or two labels in manuscript.

PASTA.—Brescia; late seventeenth and eighteenth centuries. A Milanese family, two or three of whom worked in Brescia, and the founder,Bartolomeo, in Milan. In his labels he calls himself pupil of Niccolò Amati.Gaetano Pasta, who was in Brescia until about the middle of the eighteenth century, calls himself a pupil “dell Amati,” and is supposed to have worked with Hieronymus Amati II. Instruments are said to have a fine tone, and to be rather flat, with outline resembling G. B. Rogeri.

PATHAN,Vincenz.—Vienna. Died 1894. Worked some time with Zach. Made good copies of various Italian makers, particularly Maggini.

PATZELT.—Nineteenth century. Makers of the name date from Dresden, Vienna, and Berlin.

PAULI.—Tachau; eighteenth century. Three or more makers of this name.

PAULUS.—Markneukirchen; nineteenth century. A numerous family, members of which have worked in the principal German cities (Berlin, Dresden, Leipzig) and elsewhere. One of the best of them,August, is, or was, a member of the Dresden firm, “Richard Weichold.” Another,Albin Ludwig, of Markneukirchen, has made a large number of copies of the “trade class,” the better qualities are well-made useful instruments.

PAZZINI,Giovan Gaetano.—Florence; 1630-70. Calls himself a pupil of Maggini. High built. Dark varnish. Work scarce.

PECCATTE.—Mirecourt, Paris. A celebrated nineteenth century family of bow-makers.Dominique, the best known, was born in 1810, and died in 1874. Some of his finest bows are unstamped. He worked for several years for J. B. Vuillaume.François, his younger brother, born 1820, died Paris 1855, was, when he chose, almost, if not quite, as good a workman as Dominique. He also worked with Vuillaume for three years, having previously worked on his own account in Mirecourt for ten years. Latterly he again worked for himself, but in Paris. Much confusion has existed in distinguishing the bows of the two brothers. François bows are frequently stamped “Peccatte” in a similar way to those of Dominique, and attempts have been made to distinguish their respective stamps—a very uncertain test. The best means of identification is in the heads: the bows of Dominique have a sharper appearance towards the peak than those of “Peccatte jeune.”Charles Peccatte, son of François, was at work in Paris in quite recent years, and is a maker of very fair ability.

PEDRINELLI,Antonio.—Crespano. Died 1854. Began life as an undertaker. Studied acoustics, and became a copyist of more than average capacity. Orange-red varnish.

PELLIZON,Görz.—Eighteenth and nineteenth centuries. A family who have been at work until very recent years. Instruments not frequently seen in England. The best known isAntonio, the founder, who died in 1850.

PEMBERTON,Edward.—London; seventeenth century. Name appears in most books on the violin. Varnish said to be good. Work indifferent.

PENZE,Ignatio.—Schönbach;circa1760. Appears to have been a German named Penzl. The name is spelt in different ways, and occasionally is quoted as Ponze or Ponzel. According to labels to which writer’s attention has been drawn, the violins are dated from Cremona. They have little or nothing in common with Cremonese work. The tone is described as of good quality. Yellowish red varnish.

PEREGRINO, orPelegrino.SeeZanetto.

PÉRON,Nicolas.—Paris; latter half of eighteenth century. Yellow-brown fiddles. Fairly good average work.

PERRIN.—Mirecourt; middle nineteenth century. Useful instruments. Dated from Paris.

PERRY,Thos.—Dublin. Died 1818. The violins bearing his stamp vary enormously, some being very fine works of art, and others quite indifferent. A considerable number were made after his death. Wilkinson, his son-in-law and partner, was a poor workman, and continued the business for several years, so that the stamp appears on fiddles dated well into the “thirties” of the last century. Perry’s earliest examples date from about 1760 or a little later. Thebest specimens of his violins are somewhat after the Amati style, and the varnish on them is clear and of fine quality. What is known as his own model is far from handsome, and the sound-holes are frequently placed too high in the belly. The tone of a decently preserved specimen is generally very good. His instruments have lately attracted considerable attention. The colour varies from dark brown to amber, the darker shades occurring chiefly on his earlier work. He made a number of viols. The violoncellos are generally good. He is said to have learnt his business in London with Duke. The original name was “Pierray,” and he seems to have been a relative of Claude Pierray, a well-known Paris maker (q.v.). Two other Perrys worked in Ireland. One dates from Kilkenny, and is said to have been a cousin of Thomas. Another was named Joseph, but the relationship (if any) does not seem to be ascertained.

PERSOIS.—Paris; to about 1850. The name is usually spelt “Persoit.” A clever bow-maker. Worked for Vuillaume and on his own account. Bows stamped P.R.S.

PETZ.—There were several makers of the name. One namedJacobdates from Vienna about 1830. Labels bear the two-headed eagle. An earlier maker in Vienna,Marianus Petz, died in 1781. Two others,FranzandJacob, date from Vils in the Tyrol. The former died in 1772, the latter in 1824.

PEZZARDI.—Brescia; 1660-90. There seems to be some confusion as to this maker’s dates. Like Mariani, his working period has been antedated about 100 years. Double purfled instruments.

PFAB,Friedrich August.—Hamburg. Died1904. Received a gold medal in Hamburg in 1889. Another in Vienna, 1873.

PFRETZCHNER.—Markneukirchen; eighteenth and nineteenth centuries. Another huge family of workmen. Twenty-two or more are enumerated. In very recent years one or two of them have become well known as bow-makers. Two of them,Johann GottlobandCarl Friedrich, who worked in the eighteenth century, date their labels from Cremona. The style of the work is poor, and gives no countenance to the claim.

PIATTELLINI,Gaspero.—Florence; eighteenth century. Instruments said to resemble those of Gabbrielli.

PICHON.—Lyons; nineteenth century.

PIEGENDORFER,Georg.—Augsburg. Died 1906.

PIERRARD,Louis.—Brussels; contemporary. Worked with Mougenot. Violin maker to the Ghent Conservatoire. A clever workman. Published a book in 1902 on “The Violin: Its History and Origin.”

PIERRAY,Claude.—Paris; late seventeenth century to about 1726. Whether or not this excellent maker worked in Italy, as has been surmised, the varnish seen on his instruments is of excellent quality. The colour a light red or deep yellow. There is a look of Amati about the pattern, but they are not exact copies of Amati. The sound-holes have an appearance at their upper turns which is difficult to describe without the assistance of specimens. The work is neat and the tone of fine quality. The fiddles, like those of Boquay, were made in two sizes. Woodvaries, but is sometimes handsomely marked. He seems to have made many instruments, but in this country they are by no means common.

PIÈTE,Noël.—Paris; eighteenth and early nineteenth centuries.

PILAT,Paul.—Budapest. Born 1860. Worked with Zach. Has received several medals. Instruments branded inside with initials within a circle.

PILLEMENT, F.—Paris; eighteenth and nineteenth centuries. A very unequal workman. Instruments branded.

PIQUE,François Louis.—Paris. Born near Mirecourt, 1758. Died 1822. One of the best known Paris makers, he early acquired a good reputation, and has left a great many instruments of varying merit. The best violins are large examples of Stradivari pattern. Their general appearance is massive, and the scrolls, though well cut, are inferior to those of Lupot, who made a number of instruments for him. The quality of the varnish is unequal, and he appears to have made two or more grades, presumably according to the price he was to receive. The wood of the backs is often in one piece, and of handsome figure. Sound-holes very well cut. Colour of varnish commonly, but not always, a deep red or red-brown. Labels commonly written, but he also used an engraved ticket. He retired from business in 1816.

PIROT,Claude.—Paris; about 1800-30. An exceptionally good workman. The instruments are of Stradivari character, but less stereotyped and more Italian looking than the average French violin of the period. Varnish red or red-brown. He used a smalllabel with a neatly engraved border. Writer has seen examples branded under the tail pin. Some of his work has been ascribed to Pressenda.

PIZZURNO,David.—Genoa;circa1750-65. Specimens scarce. Mediocre work.

PLACHT.—Schönbach; eighteenth and nineteenth centuries. Well over a score of makers of this name are enumerated.

PLANI,Agostino de.—Genoa; second half of eighteenth century. Very commonplace work.

PLATNER,Michael.—Rome; 1735-50. His was probably of German origin. His work belongs to the school of Tecchler, and it is not unlikely he worked for that maker. He used pretty red and golden yellow varnish, and was a good scroll cutter. The arching of his violins is rather full, and the general appearance of the instruments is of German character.

PLUMEREL,Charles.—Angers; nineteenth century; first half. A clever workman. Instruments somewhat resemble those of J. B. Vuillaume in style and finish.

POIRSON,Elophe.—Lyons. Born 1840. Began as an amateur maker. He invented a varnish which is supposed to impart an improved quality of tone. Uses a label with his portrait upon it. The workmanship of his instruments is well finished.

POISON,Justin.—Paris. Born 1851. A wellknown bow-maker.

POLLER,Anton.—Vienna; contemporary. Stradivari pattern. Reddish yellow varnish.

POLLER.—Mittenwald; eighteenth century. A family of makers. In the labels the name is usually spelt “Boller.”

POLLUSCA,Antonio.—Eighteenth century. Tecchler school of work.

POSCH (Bosch),Antony.—Vienna; 1677-1742. A son, also namedAnthony, died in 1749. Violins generally high built. Both makers exhibit the Austrian double eagle on their labels.

POSTACCHINI,Andreas.—Fermo. Two makers of this name dated from Fermo. The earlier died between 1820-30. The instruments are somewhat of Gagliano type and appearance, and are rising in value. The second Andreas died about 1857.

POSTIGLIONE,Vincenzo.—Naples. Born 1835. A very neat workman. Has made some handsome and well-finished violins of Guarneri del Gesù pattern.

PRESSENDA,Giovanni Francesco.—Turin, Alba, Carmagnola. Born 1777. Died 1854. One of the most important Italian makers of the nineteenth century. His violins date chiefly from Turin, but he also worked in Alba and Carmagnola, and possibly for a short period in Marseilles. A well-known repairer told the writer that three instruments by Pressenda dating from the last-named place had passed through his hands. He learned his business in Cremona with Storioni, and went to Turin about 1820. Early specimens of his work are more or less after the pattern of Stradivari, but later he designed a pattern of his own in which he somewhat changed the character of the sound-holes and the style of the arching. The wood of his instruments is nearly always handsome, themajority of the backs in one piece, cut on the quarter. The varnish is lustrous and varies in tint, some of the finest being of a deep mahogany red. A large number of his violins and those of Rocca and other followers were imported into this country by Gioffredo Rinaldi, who wrote a brochure on Pressenda, and violin making in Piedmont. This maker has had a number of clever imitators besides Rocca, who rivals or surpasses him in popularity amongst modern players. Amongst them may be mentioned Fagnola (q.v.).

PSENNER,Johann George.—Eighteenth century. Two makers of this name, both of whom were fair workmen, date from Innsbruck.

PUPUNAT,François Marie.—Lausanne;circa1830-60. Originally a cabinet maker he became a neat workman. A violin of his make is in the Paris Conservatoire.

RAMBAUX,Claude Victor.—Paris. Born 1806. Died 1871. Worked with Moitessier and later with Thibout and Gand. Began business on his own account in 1838, and was a most skilful repairer of old instruments. His violins and other instruments are finely finished and generally of Stradivari pattern, but he does not seem to have been a very prolific maker. He was the recipient of several medals.

RAMFTLER,Franz.—Munich; nineteenth century. Chiefly a dealer.

RASTELLI.—Genoa; nineteenth century.

RAU,August.—Markneukirchen; contemporary. A good bow-maker. Worked for a time with Weichold of Dresden.

RAUCH.—Chiefly eighteenth century. Somefourteen or fifteen makers of the name worked in Komotau (Bohemia), and in different German towns.Jacob Rauchworked in Mannheim, and it is said that his instruments are high built and clumsy looking but possess a good tone.

RAUT,Jean.—Rennes; eighteenth century.

RAWLINS.—London; eighteenth century. Practically unknown, but the name appears in most books on the violin.

RAYMAN,Jacob.—London; 1620-57. A Tyrolese. German looking fiddles. The varnish is the best feature about them.

REICHEL.—As there were about fifty or more makers of this name, principally in Markneukirchen, detailed notice of their work is out of the question.

REMY.—Paris and London; eighteenth and nineteenth centuries. There were five or more members of this family engaged in fiddle making.Mathurin François, the founder, workedcirca1760-1800. Guersan style of work. Yellow varnish.Jean Mathurin, his son, died in 1854, and is reputed a better workman. Two of the latter’s sons,HippolyteandJules, died in 1876 and 1869. A maker of the name better known in this country was theRemywho worked in London about the middle of the last century. Hart says that he spoilt his fiddles by artificially maturing the wood. However that may be he was a clever imitator of Italian work. The writer has seen examples which were much above the average of such things; in particular one or two copies of Guarneri del Gesù. He also copied Maggini with success. His relationship to the Paris family is not stated.

RENAUDIN,Leopold.—Paris. Born Mirecourt 1749. Guillotined during the French Revolution 1795. He used various labels; one of large size with an engraving representing a musical performance. He is best known as a double-bass maker, but his work generally is not plentiful. The violins high built and clumsy looking. Yellowish varnish, some of which is much oxydised.

RENAULT,Sebastien B.—Paris;circa1755-1811. Firm Renault and Chatelain. They were musical instrument makers, and the violins are not often seen.

RÉSUCHE,Charles.—Lyon, Bordeaux. Born 1858. Worked with Gand and Bernardel. A good copyist of Italian instruments.

RICHTER,Christopher Adam.—Markneukirchen; eighteenth century.

RIECHERS,August.—Hanover, Berlin. Died Berlin 1893. Moved about a great deal, but settled in Berlin in 1872. He was a clever workman, and made a large number of instruments of various patterns. Writer has seen violins by him resembling those of “didier” Nicolas. Published a book on violin making. He was also a noted repairer and patronised by Joachim.

RIEDEL,Joseph Alexander.—Meseritz, Danzig. Died 1866.

RIEF.—Eighteenth and nineteenth centuries. Vils. Seven or eight makers of the name.

RIEGER.—Mittenwald. From seventeenth century to present time. At least a dozen names are mentioned.

RIESS,Andreas.—Bamberg. Died 1777. High built. He was also a professional musician and organ builder. Another Riess namedJosephalso worked in Bamberg.

RINALDI,Gioffredo Benedetto.—Turin; 1850-88. Worked with Pressenda, but is best known as a dealer and importer into this country of Italian fiddles, chiefly by Pressenda and Rocca, with other makers of that school and period.

RIVOLTA,Giacomo.—Milan;circa1820-35. One of the better makers in Italy in the last century. The violoncellos and violas are well made, and in appearance and varnish somewhat resemble work of the Neapolitan school. Varnish golden yellow. He received a gold medal, and on some of his tickets states that it was awarded “for having revived the celebrated school of Stradivari.”

ROCCA.—Turin; nineteenth century. A maker named Joannes is mentioned as having been at work about 1809, but it is not unlikely that he is identical with Joannes Rotta, the ticket cited being a written one.Giuseppe Antonio Roccawas born, probably in Turin, about 1800, and died in Genoa, according to the story, in 1867 or 1868, his body being recovered from a drain or cesspool. His labels date from about 1830 or a year or two earlier. He was employed for some time by Pressenda, whose instruments he imitated so closely that they have frequently passed as that maker’s work. His initials were frequently stamped upon the blocks and elsewhere in his instruments, and this has sometimes led to their identification in cases where Pressenda labels have been found in them. But Rocca did not confine himself to imitating Pressenda, and made numbers of fine fiddlesof other patterns. His best copies of Stradivari are very valuable, and he was also successful with the del Gesù model. The varnish on early work is sometimes rather thin, and hard looking, but in this detail he seems to have improved as time went on. The colour varies a good deal, from a rich dark red of mahogany hue, to yellow of different shades. Double purfled instruments are sometimes seen, and he occasionally used mahogany for his backs. The Stradivari copies are generally, but not always, similar in pattern to the violin known as the “Messie.” His work is sought after by concert performers, and the prices paid for good specimens have in recent years been very high. He obtained several medals, and has been cleverly imitated by Fagnola and other makers. A good many counterfeit Roccas have found their way into the market.Enrico Rocca, a son, worked in Genoa and Turin, and died in May, 1915.

ROGER, G.—Montpellier; nineteenth century. Nicolas type of work.

ROGERI,Giovanni Battista.—Cremona, Brescia. Born about 1660 in Bologna. Worked until about 1730. An admirable workman, who was a pupil in Niccolò Amati’s workshop, the pupillage being invariably stated in his labels, which are often printed in red ink. Some of his work contains the genuine tickets of his master, and a good many of his instruments are very like those of Amati, the head, however, being heavier in style and the sound-holes slightly different in form. Later work shows a flatter arching, and there is more or less resemblance in the form to that of Stradivari. The general workmanship is always fine. The varnish either identical with Amati’s or a beautiful clear red. The violins werein two sizes, the large examples being very scarce. The size usually seen is about 137/8inches long and the measurements are about those of an ordinary Amati fiddle. The spelling of the name in the labels varies. Sometimes it appears as “Rugerius,” but more commonly it is spelt with an “o.” The violoncellos are splendid examples of their class, and having mostly been built of convenient size, their proportions have not usually been reduced like those of the Amati family.

ROGERI,Pietro Giacomo.—Cremona and Brescia. Seems to have worked from about 1690 until after 1730. His relationship to G. B. Rogeri is not known, but if he worked, as some of the tickets state, with Niccolò Amati, he could not have been a son, as has often been alleged. Messrs. Hill suppose, and it is extremely probable, that the two Rogeri were associated in their work, though there do not seem to be labels containing their joint names. Pietro Giacomo’s work is almost, if not quite, equal to that of his relative. Violins bearing his label are very scarce, but strongly resemble those of the latter. The corners droop somewhat more, but the scrolls in one or two specimens seen by the writer are so alike that they might be the work of the same man. A beautiful violin with fine red varnish is in the possession of Mr. W. Sachse, the well-known professor; and Piatti for many years possessed a fine violoncello of Pietro’s make. Some of his labels date from Cremona, and his name is also sometimes seen spelt with a “u” instead of an “o.”

ROMBOUTS,Pieter.—Amsterdam;circa1700-30. The violins are well made. Rather high built, and with a brilliant red varnish. The purfling iswhalebone. There is some resemblance to the work of Jacobs, with whom he is said to have worked. It is also said that in earlier years he was known as “Pieter—Jacobs’s pupil,” and this is supposed to be the origin of the Peeter Jacobs whose name has so frequently appeared in fiddle literature.

ROMER,Adolf.—Freibourg. Born 1863. A maker who seems to possess considerable scientific knowledge, and has made some very handsome copies of the Italian masters. He has received various medals.

ROOK,Joseph.—Carlisle;circa1775-1825. The work is neat. Rather high built; and the violins seen by writer of medium size, with clear yellow-brown varnish. It is said that he was taught by Forster, presumably when the latter worked in the North of England.

ROSSI.—Nineteenth century. Several makers of this name have lived in Italy, chiefly in Padua and Milan. One namedEnricois a good workman who, with his son, has a business in Padua, and obtained a medal in 1877.

ROTTA,Giovanni.—Cremona; early nineteenth century. The name in labels seen by the writer was spelt with a single “t,” but it is said that a good many doubtful or spurious ones exist. Work not highly finished. Reddish-yellow varnish. Writer has seen the label in at least two violins which were certainly of Mittenwald origin.

ROZE.—Orleans; eighteenth century. Rather neat work and good pattern. Yellow varnish.

RUB,August de.—Viterbo;circa1760-75. His label states that he made his instruments for hispersonal delectation. Writer came across a violin in London recently.

RUDDIMAN,Joseph.—Aberdeen. Born 1733. Died 1810. Said to have been a pupil of Matthew Hardie.

RUGERI.—Cremona; seventeenth and eighteenth centuries. A celebrated family of makers. The name is seen spelt in a variety of ways,e.g.“Ruggieri,” “Rugieri,” etc. The founder wasFrancesco, who worked in the latter half of the seventeenth century, and adopted the distinctive title “il Per” on his label, possibly to prevent confusing his work with that of the Rogeri who also worked with Amati but came from Bologna. In this practice he was followed by his sons. He was a splendid workman and one of the best of Amati’s followers. He copied Niccolò’s instruments with much fidelity and was very successful with the “grand pattern.” Amati labels,mostly badly latinised and incorrect, seem to have been found in his violins from an early period, but it does not seem to be certainly established that he himself inserted them. Such work of his as was made in the master’s workshop would obviously bear correct labels. Most of his violins have handsome backs, some of larger figure than that usually employed by Amati. His varnish is most beautiful, and, in the finest specimens, of a brilliant red colour. In other works it is identical with the yellow seen on the majority of Amati’s instruments. In later works he somewhat altered the form of the sound-hole, but his work, of whatever date, is almost always full of grace. The heads are excellent. A large number of his violoncellos survive. They were mostly, but not invariably, of large size, and have been reduced, notalways too well. The backs are frequently of plain wood.Giacinto Gio. Battista Rugeri, a son, seems to have dropped the “Gio. Battista” from his later labels. He worked down to about the end of the seventeenth century, but probably assisted his father largely, and his own signed work is comparatively scarce. It is said that he made good tenors and a number of useful violoncellos. One or two violins seen by the writer were less graceful than those of Francesco, and the varnish brown.Vincenzo Rugeri, a younger son of Francesco, seems to have been the last of the family, and was at work until 1735 or later. Writer has seen violas and violoncellos, but only one violin of his make. The work is of Amati character, and the finish good, but not remarkably so. Some, if not all, of his tickets have an ornamental border.

RUPPERT,Johann Heinrich.—Erfurt; 1719-36. Stainer outline, but arching comparatively flat; no linings or corner blocks.

RUPRECHT,Wilhelm.—Vienna. Died 1862. A clever maker. Many of his copies are double purfled, and it is said that some have been sold as genuine Brescian work. He was awarded a medal in 1839.

SACCHINI,Sabattino.—Pesaro; seventeenth century.

SACQUIN.—Paris; nineteenth century, to about 1860. Backs of instruments branded inside. Chiefly Stradivari pattern.

SAINT PAUL,Antoine.—Paris; 1768-89. Guersan style of work. Heads like those of othermakers of the period, said to have been cut by women. Another Saint Paul (Pierre) worked earlier and was possibly his father.

SALLE,Le Père.—Paris; 1825-50. Chiefly known as a connoisseur and repairer. Copied Guarneri.

SALOMON,Jean Baptiste Deshayes.—Reims, Paris;circa1735-70. This maker was either an unequal workman, or the instruments bearing his name and stamp were made in different grades. The writer has seen very good violoncellos, on which the finish was above the average. Yellow varnish and well-carved scrolls. The violins generally have a brownish-yellow varnish, the arching is carried almost to the edges. Sound-holes rather wide apart, belly wood rather hard, and backs showing little figure, though now and then they are handsomer. Tone not particularly good. He used various tickets. His business was carried on by his widow for some years after his death.

SALZARD,Francois.—Paris, Mirecourt. Born 1808. Died 1874. Mirecourt style of work. Yellow-brown varnish. Tone powerful. Name often written or branded inside the backs. There was a D. Salzar, probably his father. A son, Ernest André, worked in Moscow and St. Petersburg where he died in 1897.

SANDNER.—Eighteenth and nineteenth centuries. A large family originating in Schönbach. There have been nearly twenty of them working in different parts of Germany and elsewhere.

SANTAGIULIANA,Giacinto.—Venice; eighteenth and nineteenth centuries.

SANTINO.—Milan; about 1700. Grancino type of work.

SANTO,Giovanni.—Naples; eighteenth century.

SARDINI,Carlo.—Madrid; eighteenth century. Said to have been a Neapolitan. Large flat instruments. Yellow-orange varnish.

SARTORY,Eugene.—Paris. Born 1871. Well-known bow-maker. Imitates Voirin.

SAUNIER,Edmond.—Bordeaux. Diedcirca1785. Good work. Not very plentiful in this country.

SAVART,Felix.—Paris. Died 1841. Well-known acoustician. Made fiddles of guitar outline.

SAWICKI,Carl Nicolas.—Vienna. Died 1850. Generally copied Stradivari, but also the pattern of del Gesù. A very finished workman. Scrolls and wood very handsome. Tone excellent.

SCARAMPELLA.—Brescia, Paris, Mantua, Florence; nineteenth century. A family originating in Brescia. The founder,Paolo, died in 1870. A son,Giuseppe, worked in Paris and Florence. Died about 1886 or later. Neat work. Red varnish. Another son,Stefano, born 1843, dates from Mantua and Brescia. Good work. Has obtained a silver medal.

SCHALLER.—Markneukirchen, Schönbach. A large family of nineteenth-century workmen.

SCHÄNDL.—Mittenwald; eighteenth century. There were three or four of the name. The best known areMichaelandAnton. Well-made violins of the Stainer-Kloz type.

SCHEINLEIN,Johann Michael.—Langenfeld;eighteenth century. Stainer school. Another, named Matthias Friedrich, worked in the same place.

SCHETELIG.—Markneukirchen; eighteenth and nineteenth centuries. About a dozen makers of the name.

SCHLICK.—W. Dresden; nineteenth century. One of the innumerable “discoverers” of the “secret of the Italian varnishes.” Has received medals.

SCHLOSSER.—Klingenthal; eighteenth and nineteenth centuries. Another numerous tribe. One, named Johann George Schlosser, branded his work inside, “I. G. S.”

SCHMIDT.—About twenty-five German makers are enumerated by von Lütgendorff.

SCHÖNFELDER.—Markneukirchen; nineteenth century. Another tribe, running well into a score of names.

SCHONGER.—Eighteenth and nineteenth centuries. Erfurt, Cassel.

SCHRECK,Rudolph.—Berlin; eighteenth century. Said to be one of the oldest Berlin makers. His name, appropriately enough, means “fright!”

SCHUSTER.—Markneukirchen. Another horde of makers. They manufacture very cheap trade instruments.

SCHUSTER,Joseph Anton.—Schönbach; eighteenth century. Good work.

SCHWARTZ.—Strasburg; nineteenth century. Four or more of the name were instrument makers. One, named George Friederich, was a good bow-maker.

SCHWEITZER,Johann Baptist.—Budapest. Died 1865. An excellent copyist of Italian work. He was a pupil of Geissenhof of Vienna. Red-brown varnish. Innumerable instruments purporting to be his work and labelled to that effect have been made in Markneukirchen. These instruments are of a common class, and examples of them are constantly met with in this country.

SEELOS.—Innsbruck; seventeenth century. Stainer school. Work not often seen. Georg Seelos used a label printed in gold lettering.

SEIFERT,Otto.—Berlin. Born Markneukirchen, 1866. Maker of the much-advertised “New Cremona” violins, the plates of which are attuned according to a system devised by Dr. Grossmann. These instruments are well finished.

SEIZORSEITZ.—Mittenwald; eighteenth century. There were a large number of the name. Many of the instruments are of a useful type and have a good tone.

SERAPHIN,Santo.—Venice. Born at Udine about 1675-80, worked, according to labels, until about 1748 or later. No neater workman ever lived. His copies of Niccolò Amati’s “grand” pattern are very handsome, and, as Hart remarks, are often very like the instruments of Francesco Rugeri. Varnish a very fine red, but now and then the colour is lighter. Unfortunately the greater number of his works are of German character, so far as outline, modelling, and sound holes are concerned. Apparently Venetian patrons admired the Stainer form, as numbers of the violin-makers in Venice designed their work more or less closely upon it. The scrolls are very well cutbut generally rather weak looking. Some magnificent violoncellos are known, and he is said to have excelled in double basses. The tone of Seraphin’s violins is sometimes disappointing. Some specimens handled by the writer, however, have left little to complain of on that score. He branded his work under the tail pin, and used large ornamentally engraved labels. A nephew namedGeorge Seraphin, who also branded his instruments, seems to have worked at about the same time.

SERDET,Paul.—Paris. Born Mirecourt, 1858. A well-known dealer and judge of old instruments and a fine workman. Was a pupil of the excellent maker Gaillard.

SILVESTRE,Pierre.—Lyons. Born 1801. Died 1859. His work is distinguished by superb finish, and the tone of the instruments is of excellent quality. In this country they now command high prices. Most of them are of Stradivari build, but occasionally Amati or Guarneri copies are met with. The varnish on many of them is a fine red of much brilliance and excellent quality. The widths of his Strad copies are a trifle greater than those of the originals. The purfling, generally rather narrow, is inserted with unsurpassable neatness. Moreover, he did not “mature” his wood by artificial means as did J. B. Vuillaume for a considerable period. After leaving his instructor (Blaise of Mirecourt,q.v.) he worked for a time with Lupot, and with Gand, his successor. He began business in Lyons in 1829, and from 1831 to 1848 was in partnership with his younger brother, Hippolyte. The instruments bearing the joint labels of the brothers are well made, but by no means up to the standard of those made by Pierre alone. Theirappearance is more that of a first-class factory instrument, and they are consequently of minor value and importance.

SILVESTRE,Hippolyte.—Lyons. Born 1808. Died 1879. After Pierre’s death he took over the business and continued in it until 1865. He was taught by Blaise, and was also for a time with J. B. Vuillaume. He was unquestionably a skilful workman, but the abilities of his brother Pierre were so manifestly superior that his work suffers somewhat by comparison.

SILVESTRE,Hippolyte Chrétien.—See Chrétien.

SIMON,Franz.—Salzburg. Born Mittenwald, 1757. Died about 1803. He came of a Mittenwald family of makers named Simman. The work is of German (Kloz) type.

SIMON, P.—Paris. Born 1808. Mirecourt. Died Paris, 1882. An excellent bow-maker. Worked with D. Peccatte and with Vuillaume. Was also in partnership (1848-51) with Henry. Work stamped with his name.

SIMON,René.—Auch (France). Born 1844. A fine workman. Worked with N. Vuillaume and several other makers.

SIMONIN,Charles.—Mirecourt, Geneva, Toulouse; nineteenth century. Worked for some time for J. B. Vuillaume. He died in or about the year 1875. An excellent workman and amongst the best of the many employed by Vuillaume.

SIMOUTRE,Nicholas.—Mirecourt, Metz. Died 1870. A prolific workman. He was a pupil ofLupot, but his instruments though well made are not of very high rank.

SIMOUTRE,Nicolas Eugene.—Basle, Paris. Born 1839. Son of the above. He experimented to some extent and wrote pamphlets on the improvement of violin tone, but does not seem to have accomplished much in that direction.

SIMPSON,James, and Son.—London; late eighteenth century. They appear to have been dealers. It does not seem to be clear whether they were actual makers, but instruments bearing their label are not of great merit.

SIRJEAN.—Paris. Early nineteenth century. Bow-maker.

SITT,Anton.—Prague. Born 1819. Died 1878. Worked with Schweitzer, and copied various makers. His labels usually state the name of the maker from whom they are copied. Good sound work, but rather solid looking.

SMITH,Thos.—London; eighteenth century. He worked with and succeeded Wamsley. Made many violoncellos of merit. Instruments of Stainer build. They are very like the work of Wamsley and are not unfrequently sold as his.

SNEIDER,Joseph.—Padua; early eighteenth century. He was in Niccolò Amati’s workshop, but was probably of German birth. Instruments relatively scarce. Pretty work of Amati character; yellow varnish.

SNOECK.—Brussels; eighteenth century. There appear to have been three makers of the name.Egidius,circa1700-30, is the best known. Red-brown varnish. Amati pattern.

SOCQUET,Louis.—Paris; late eighteenth century. Mediocre work. Large label with engraved border.

SOLIANI,Angelo. Mantua, Modena; late eighteenth century. Useful instruments. Tone generally powerful. Yellow or reddish-yellow varnish. His labels bear the sign of the Sun. Work generally branded.

SORSANA,Spirito.—Coni; early eighteenth century. Scarce. The name also appears with the spelling “Sursano.”

SPIDLEN,Franz.—Moscow, Prague; contemporary. A good copyist. Has obtained some medals (Paris, 1900). Brown varnish. Name branded on backs.

SPRENGER.—Nineteenth century. A Mittenwald family, three or more of whom worked in Nuremburg.

STADLMAN.—Vienna; eighteenth century. There were several of the name. Instruments seen by the writer were of good workmanship and Stainer pattern.Michael Ignatius, who died in 1813, is perhaps the best known. He seems to have made most of his instruments on Stradivari lines. Labels bear the double-headed eagle.

STAINER,Jacob.—Absam (Tyrol). Born 1621. Died 1683. The most celebrated of all the German school of makers. He is the subject of much tradition and has a small literature devoted to him. The main facts of his life have now been made public for a good many years, and much legendary rubbish has beenswept away. The Stainer model has been imitated by fiddle-makers all over Europe, both during his lifetime and since. Amongst the first to copy him were the Kloz family, and in Rome, Florence, and Venice his imitators have been numerous. In this country his influence was almost paramount for upwards of a century, and only by slow degrees was it ousted by the superior form of instrument designed by the Amati family and perfected later by Stradivari. Whether he ever worked in Cremona is at least open to doubt, and the evidence which has been adduced in support of the tradition is not sufficiently strong to justify its unconditional acceptance. He employed a varnish which proves to demonstration that he was conversant with the composition of that in use by the Amati, but it is clear from the work of other makers that there was no particular mystery attaching to the ingredients of Cremonese varnish, and his use of a preparation which is not distinguishable from it does not afford any unequivocal proof of his ever having been to Cremona. The general appearance of Stainer’s instruments is familiar to all who take more than a merely passing interest in a violin; not because of the number of genuine specimens to be met with, but from the number of other makers who have copied him. As a workman he was of the first rank, but whether he worked in Italy or not, there is not a fiddle of his in existence which has the true Italian cut. The violins are usually about the size of the ordinary Amati instruments, but some of them are rather larger, and measure a full fourteen inches or a shade over in length. The varnish ranges in colour from yellow to brown; the red specimens are not often seen, but a few very handsome rose-coloured violins, of most beautiful workmanship, have survived. The wood of the backs generallyshows some figure, and is often finely marked; for some of the bellies he used the fine-grained wood frequently employed by Tyrolese makers, but in his finest examples the pine is of broader grain. A good many of the instruments have lion heads, the carving of which is well executed. The scrolls are well cut, but lack the grace seen in those of better Italian work. It seems to be doubtful if Stainer himself used printed tickets, but there is no doubt that other makers, some of whom were contemporaries, and possibly workmen of his, inserted printed Stainer labels into their work. Stainer’s arching has been the subject of so much exaggeration on the part of copyists of all nationalities that many people have an altogether false idea of its true proportions. In a good specimen of Stainer’s violins the swell of the form is not really higher than that of an average Amati; now and then he did exceed this limit, but it was not his general practice. Violas are rarely seen, and violoncellos are by no means common. Forster and numerous other English makers have left numerous copies of the last-mentioned instruments, some of which are in every way excellent. The tone of a fine Stainer violin is of beautiful quality, and in examples met with by the writer, its timbre resembled that of Amati. It is almost needless to say that forgeries are innumerable, and are not unfrequently somewhat difficult to detect, not only on account of their intrinsic merit, but from the fact that his manuscript tickets have been cleverly imitated.

STAINER,Marcus.—Absam, Kuefstein, Laufen (Austria); seventeenth century. A brother of the above, he worked in a variety of places, and is reputed to have forged the labels of the more celebrated Jacob. The few examples seen by the writer resembled thoseof Jacob in form, and had dark red-brown varnish. One of these was a viola, of good workmanship and tone. He also used lion and other carved heads. He seems to have been alive until after 1680.

STAUDINGER,Mathaeus Wenceslaus.—Wurzburg; eighteenth century. In some of the labels the name is spelt Stautinger. The violins are very scarce, but are of fine workmanship.

STEINER,Joseph.—Lengberg. Died 1908. Seems to have been a merry blade, and a man of varied accomplishments. Experimented with varnishes. The violins are well made and of good form, but not often seen. The number of the instrument appears on the label.

STEININGER.—Eighteenth and nineteenth centuries. A family of makers said to have sprung from Füssen. The most important of them was François Xaver, born in 1778, died about 1850. He changed his abode many times and worked in Darmstadt, Frankfort on the Maine, Paris, and St. Petersburg. His work is careful, and French in character.

STIRRAT,David.—Edinburgh; early nineteenth century. Pupil of Matthew Hardie.

STOHR,Jacob.—St. Polten; about 1790-1830. Examples scarce. Stradivari outline, higher arching, light brown varnish, backs usually in one piece. There were other makers of the name; probably sons.

STORCK.—Strasburg, Augsburg; eighteenth century. About half a dozen makers.

STORIONI,Lorenzo.—Cremona. Born 1751; died 1801. This maker is usually instanced as the last of the old Cremonese school. He was a prolificworkman, and a considerable number of his instruments are in existence. His varnish is, however, of a different nature, and resembles that of the Neapolitan school. His pattern varies a good deal. Now and then his outline and arching are after the style of Amati, but in most cases there is more or less resemblance both in general appearance and the cut of the sound-holes to the work of Guarneri del Gesù. It has been said that violas by him are unknown; but this is incorrect. Some very fine examples are in existence, and in more than one instance they have been sold as the work of del Gesù. The colour of his varnish is usually a red-brown of varying shades. As a general rule the finish of his violins is rough, and the purfling carelessly worked, but occasionally he took more pains, and produced handsome fiddles with prettily figured wood. The scrolls are of bold, masculine cut, and very characteristic. The backs commonly have plain or small figured wood of native growth. Bellies of very fine material. The tone of his instruments is rich and full. Violoncellos are comparatively scarce, but are very fine in tone and in high repute amongst players. G. B. Ceruti took over his business, and is said to have been employed by him.

STOSS.—Eighteenth and nineteenth centuries. This was a large family of makers, numbering fourteen or more members, and originating in Füssen. Most of them worked in Vienna, and one or two of them made instruments of more than average merit. Many of their tickets are of the ornamental kind, exhibiting various devices and engraved borders.Johann Baptist Stossworked in Prague, and died there in 1850. The best known amongst them wasMartin, who died in Vienna in 1838. He used various tickets, and is bestrepresented by his violoncellos, which frequently show handsome wood and are carefully made.

STRADIVARI,Antonio.—Cremona. Born 1644; died December, 1737. The bulk of the biographical matter concerning this, the most famous of all fiddle makers, was collected by George Hart, who published some of it in the first edition of his celebrated work on the violin, but was unable to include the whole of it until the appearance of the second edition in 1884. He was largely assisted in his researches by Signor Sacchi, a Cremonese gentleman of considerable literary ability. In 1902 appeared the well known and sumptuous volume by the Brothers Hill, republished in cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,” the most exhaustive critical survey of the subject which has yet appeared. These two books form the chief English authorities for all that is known concerning the great Cremona master. Readers may also consult the very able article contributed by the late E. J. Payne to Grove’s Dictionary of Music, and the little volume of Horace Petherick published in the Strad Library in 1900. The writer’s observations on the work done by Stradivari during the time he was employed by Niccolò Amati will be found in the notices of that maker and of his son, Hieronymus Amati II. One or two labels still survive—one of them dated in 1666—in which Stradivari describes himself as a pupil of Amati. Early works usually exhibit an outline and arching similar to those employed by his master in his ordinary 137/8-inch instrument. The varnish seems identical, and is of the usual yellow colour, although darker shades may be seen almost from the first. The chief points of distinction lie in the heavier edges, the cutting of thesound-holes, and the form of the scrolls. This type of violin he continued to make with certain exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class, measuring 141/8inches in length, until 1684. Between that year and 1690 the pattern and details are somewhat variable. According to Messrs. Hill, Stradivari first began to pick out the edges of his scrolls with black in or about the year 1688, and continued the practice, with rare exceptions, until the end of his life. In 1690 he made the remarkable violin known as the “Tuscan,” a large instrument of exceedingly handsome wood and build, and in the years 1691 and 1692 a few violins of exceptionally large proportions. The year 1690 also saw the advent of the “long Strad,” a pattern the dimensions of which have given rise to a certain amount of controversy. As a matter of fact, the lengths of these instruments vary between about 141/8inches and 145/16, the latter being the extreme limit. About 143/16inches would seem to be the more usual length. The widths are about 67/16in the upper bouts, and 8 inches in the lower ones. These narrow violins were made until the year 1700, with the exception of the year 1698, from which year no examples seem to have been seen. A large number of them—something like fifty—are still in existence. During this period, however, he did not confine himself entirely to the long pattern. Some of the long Strads are of great beauty of form and material, and by the time he began to make them he had adopted a varnish of deeper colour. The maker’s best period is commonly supposed to begin about the year 1700, but some of the finest efforts are dated from 1704, in which year he made the “Betts,” a specimen in a remarkable state of preservation, and with rather long corners. In the same year heproduced a violin bearing a close resemblance to the “Betts,” and which is in the possession of Colonel Glennie. The year 1709 seems to have been one of the most prolific in Stradivari’s career, and many fine examples, such as the “Ernst,” and “La Pucelle,” were made in that year. At about this period the violins having a body length of 141/8inches begin to appear. In the preceding period 14 inches was the general rule. The backs of these violins are mostly made from handsome wood with a broad curl. The years 1710 to 1716 inclusive were productive of many of the finest violins ever made by Stradivari. Amongst them are the “Parke,” 1711, the “Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,” the “Alard,” all made in 1715, and the famous “Messie,” remarkable for its unique state of preservation, and the magnificent “Cessol,” both of which belong to 1716. Between 1720 and 1725 the outline changes somewhat, and is squarer in the shoulders and the curves of the lower bouts. So far as tone goes some of the best toned fiddles in the world were made about this time, and it may be here added that of late years the later works of Stradivari have received much attention from concert players on account of their masculine tone. In the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them. Messrs. Hill enumerate eight examples of this practice; another from the year 1731 came under the writer’s notice in 1912. In the labels dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from that year onwards it appears as “Stradivarius.” The number of ornamented and inlaid instruments which have survived seems to be about a dozen. Messrs. Hillrecord ten of these; others are known to have been made, but traces of them, if still existing, have disappeared. The earliest seems to date from 1677, and the latest is the “Rode” violin made in 1722. These examples include a viola dated 1696, and a violoncello. Three of the inlaid violins are dated 1709. The violas at present known number only about a dozen. One of these, a “tenore,” dated 1690, measures 187/8inches in length. The smaller examples average about 163/16to 165/16inches. There are about fifty violoncellos, the older specimens being over 31 inches long, and the later type about 29½ inches or a little over. These include many notable instruments, such as those owned by Piatti, Duport, Servais, and other celebrated players, after whom they have been named. Notwithstanding repeated assertions to the contrary, there is no trace of any double basses made by Stradivari; specimens formerly assigned to him have long been rejected as spurious, and no patterns for such instruments are to be found amongst his drawings, moulds and other working apparatus. These last were bought from Stradivari’s son by Count Cozio di Salabue, and from him descended to the Marquis dalla Valle, who is, or was recently, still in possession of them. Stradivari’s output was enormous, even when due allowance is made for the length of time during which he was at work; and the estimate made by Messrs. Hill, which gives a total of 1116 instruments, is by no means an excessive one. No other maker, who has not degenerated into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last century, can compare with him in this respect, and the marvel of it all is that his own hand is plainly visible in all his works, even to the very last. There can be no reasonable doubt that he was assisted by a considerablenumber of workmen, including his sons Francesco and Omobono, Carlo Bergonzi, and others whose claims to have been his pupils are more open to question; but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article. Since the beginning of the last century his fame in this country has steadily increased; his name has become a household word. In his own day his consummate abilities were widely recognised, and orders were sent to him from royal courts and noblemen all over the continent of Europe, as appears by contemporary evidence. To-day his violins command higher prices than ever, and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service, their authorship is of itself sufficient to maintain their market value at a high figure.

STRADIVARI,Francesco.—Cremona. Born 1671; died 1743. The elder of the two sons of Antonio who followed his calling. A good many violins of considerable intrinsic merit but dubious authenticity are assigned to him, but several which were formerly accepted as genuine have failed to obtain a favourable verdict amongst some of the later judges, and it is difficult to speak with any certainty about them. One magnificent violoncello, the proportions of which have been slightly reduced, is known to the writer, and its authorship appears to be unquestioned. This instrument is covered with very fine varnish of golden-red colour, and considerably more substance than that seen on violins supposed to be of his make.

STRADIVARI,Omobono.—Born 1679; died1742. Son of Antonio. The writer is acquainted with three or four violins which are assigned to him upon good authority. These are of bold pattern and bear some resemblance to the work of Antonio, but do not display any of his fine finish. The wood of the backs is with one exception of small figured native maple. The varnish thinner in texture than that of the father. The sound-holes are somewhat like those of Bergonzi, and in one case are very slightly pointed. The back and sides of the other violin referred to are of beech. The tone of all these specimens is very fine and full. Most of Omobono’s tickets seem to have been in neatly written manuscript. A favourite date, which leads one to suspect their genuineness in some cases, is 1740.

STRAUB.—Chiefly eighteenth century. About a dozen workmen of the name are enumerated.

STRAUBE,Johann Augustin.—Born 1725; died 1802. Worked chiefly in Berlin. Instruments seemingly very scarce.

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