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VIOLINS AND VIOLIN MAKERS.

BIOGRAPHICAL DICTIONARY OF THE

GREAT ITALIAN ARTISTES, THEIR

FOLLOWERS AND IMITATORS,

TO THE PRESENT TIME.

WITH ESSAYS ON IMPORTANT SUBJECTS CONNECTED WITH THE VIOLIN.

BY JOSEPH PEARCE, JUN.

LONDON: LONGMAN AND CO., PATERNOSTER ROW. SHEFFIELD: J. PEARCE, JUN. 1866.

CONTENTS.

PAGE.

Preface 5

Introduction 8

Violin Makers, alphabetically arranged 15

Bow Makers 88

Cremona 93

Amati Family 93

Stradiuarius 107

On the Cremona Varnish 119

Guarnerius 121

Steiner 131

Why are certain Violins of more Value than others? 140

On the Production of Good Tone in Violins 148

Great Players and their Instruments 152

General Notes 154

Repairs of Instruments 162

Addenda 167

PREFACE.

The Violin is an instrument which, though small and of trifling original cost, has yet commanded most extraordinary prices. The reason of the immense difference in the value of these instruments must therefore be a subject possessing strong claims to notice from virtuoso and amateur.

To distinguish by the outward characteristics and peculiarities of tone, that which will be of pecuniary value to the possessor, and yield the utmost delight to the hearer, is an acquirement at once difficult to obtain and very valuable when obtained. To assist the amateur and collector in this pursuit is the object of the present little work. Such a work has long been a desideratum.

Of late years, the History of the Violin and its congeners has received much attention. Elaborate and costly treatises have been published, some of which being written in Foreign tongues, are exceedingly difficult to obtain, and not accessible to many of those who desire to peruse them, on that account. Others are very imperfect and unsatisfying. Others again, are, from their high price, beyond the reach of the greater number of amateurs.

The present work is intended chiefly for the use of those who desire a handy guide to the principal characteristics both of make and tone which mark the chief builders of this most famous instrument. Many persons anxious to possess a good instrument, and led away by the very natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are tempted into purchasing Violins which are presented to them under false and delusive titles, and reject frequently good and genuine instruments of less famous makers, but still valuable because they are good and genuine. Undoubted specimens of the great masters are now very rarely to be had, unless at a very high price. Yet, when we consider that even Stradiuarius himself obtained no more than four pounds for his best instruments, which now command as many hundreds--it is evident that, in the absence of those great productions, the works of his pupils and successors are well worthy the attention of amateurs. There is no doubt, indeed, that many of these, which from being built on his principles are of first-rate quality, have been sold as those of the master himself. It cannot, therefore, be questioned that a knowledge which will lead the amateur to buy an instrument for what it really is, instead of what it professes to be, will at once save him from the unpleasantness of paying too dearly, and in real enjoyment yield all that can be desired.

The author believes he has in this work given the amateur and connoisseur information not easily attainable elsewhere, but as he is fully conscious that there may be imperfections in it still, he will be glad to receive any suggestions or information which may enable him to render it still more complete.

Sheffield, February, 1866.

INTRODUCTION.

The two most pleasing, expressive, and powerful single instruments of music are the human voice and the violin. The one, the gift of beneficent nature, has from the creation exercised its touching influence on the human soul--the other, the product of the ingenuity of man, has only within the last three centuries attained to perfection, but since that period what delight, what rapture has arisen from so simple a construction, when acted upon by the hand of genius!

While the melodious tones of Grisi and Mario have touched with sympathetic feelings the hearts and imaginations of spell bound listeners, how have the magic tones of Paganini and Ernst wrapped the souls of wondering thousands in an elysium of delight and admiration! What effect cannot be produced by the Violin, (except that of speech,) which the voice can accomplish?

The Violin in the hands of genius can draw tears or create laughter. Whoever has heard the great masters of this extraordinary instrument, has heard all the sweetness of tone, the intensity of feeling, the power of expression that the most gifted sons and daughters of song could possibly produce without the additional aid of speech. The Violin, in fact, in its power of expression far excels those singers, of whom there are too many, who while singing the notes, fail to make their hearers understand the sense of their songs. If a merry dance is produced by the agile bow, its sympathetic tones at once excite a corresponding feeling. If a plaintive air streams in delicious and heart-touching cadences from the strings, what soul is there so dead to feeling as not to respond?

The perfection of the Violin is that its master, if alive to the subtle and mysterious influences of the imagination, can elicit from it the most perfect and touching "songs without words."

It is besides the only instrument, except the voice, which is perfect. Every shade of expression, every nicety of tone can be produced on it. All other instruments sink into insignificance in comparison with the Violin, because they cannot do this. They are all more or less imperfect; and therefore fail in those subtleties of expression of which the Violin and the voice are such able exponents.

What gratitude do we owe therefore to those great masters of Cremona, more especially the Amati and Stradiuarius, who have succeeded in bringing the Violin to its present state of perfection.

Music has in all ages been a source of the purest delight. The greatest poet and dramatist the world ever knew says that whoever "has not music in his soul is fit for treasons, stratagems, and spoils." In the present age the cultivation of Music forms one of the most general and the most refined sources of amusement and pleasure. All ranks of people are now privileged to join in its delightful enjoyments.

Even the cottage of the artisan is now often elevated by the elegant practice of music, through the increased facilities for producing instruments at a cheap rate. The consequence is that in the present age there is a more general study and a finer perception of what is good and beautiful, and their elevating tendencies are doing much for the mental cultivation and refinement of all classes.

A very extraordinary feature of the musical world of the present day is the enormous orchestras which can be produced on special occasions. A chorus of several thousand voices supported by hundreds of instruments may now be heard, rendering the immortal compositions of the greatest masters of the divine Art, in the Peoples' Palace at Sydenham and elsewhere. These Orchestras are chiefly selected from the ranks of the people, of whom the artisan is the chief contributor.

The reduction of the cost of instruments and the adoption of what may be called the joint stock principle are tending still further to enlarge the boundaries of the practical musical world. At any time and for any special purpose it is now easy to secure a band and chorus sufficient in numbers and executive power to render in an efficient and powerful manner, the glorious productions of Beethoven, Mozart, Handel, and other great masters.

In all these transitions, the Violin bears a most important part. It is the leading instrument in these great performances, as it is also, after the voice, the most powerful medium of expression in solo. It is also the peoples' instrument.

The labours of many eminent violin makers who have followed in the steps of the great masters have of late so immensely improved the art, that a good instrument may now be possessed by any one. And it may safely be said that with its improvement, has arisen also the extension and wide spread practice of music generally. An ear accustomed to the fine tone of a good violin will not now tolerate a bad piano-forte.

The Piano-forte and the Violin are the most general instruments, and they have alike participated in the improvements effected, in becoming cheaper by the advance of science. Every description of machinery has within the last fifty years received the attention of able men, and the mechanical construction of the Piano-forte is one prominent proof of the advantages which can be conferred by science on even the luxuries of life.

The Violin, also, seemingly the most incapable of mechanical application to its manufacture, is said to be now made by a most persevering and enthusiastic lover and follower of the great makers, by mechanical means. Copies of these celebrated makers, are now said to be manufactured by him with an uniformity, a certainty, and a precision impossible except by the aid of scientific improvements. These instruments are therefore understood to require only the ameliorating influences of time and use to become fine in tone and satisfactory in every respect.

Every one interested in the progress of music, must rejoice at the rapid development of its resources and the general spread of its pleasures among the people. We are a profoundly commercial nation, and it is delightful to see that in our greater wealth and prosperity, rational amusements, and more especially music, go on increasing step by step with our more business-like occupations. This class of amusements must exercise a humanising and refining influence on the habits and manners of the people, and they should be, therefore, patronised and encouraged by all those whose means are large and their example powerful. There can be no doubt that their tendency is for good, and that those whose leisure hours are devoted to their practice and study, will be richly benefited by them in all those qualities which combine to make the good citizen and the estimable friend.

* * * * *

NOTE.

To prevent too much space being taken up in the alphabetical portion of this work, separate chapters are given on the four renowned Violin Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and dates of each of the members of these celebrated families are however given in their proper places, for prompt reference.

We have not in some cases been able to find any records beyond the names of certain makers. Wherever possible we have given dates, places, and style of work.

DICTIONARY OF VIOLIN MAKERS.

A.

ACEVO, --- Cremona, Pupil of Guiseppe Cappa. This artiste made very good violins in the style of the Amati.

ADDISON, WILLIAM, London, 1670.

AIRETON, EDMUND, London, 1730. A good and neat Maker.

ALDRED, --- London, Early English Lute Maker.

ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos.

ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. This artist was highly esteemed formerly, and Otto says that it is exceedingly difficult to give so exact a description of them as readily to distinguish them from those of Nicholas Amati, who was said to be his master. In the present day, opinions are very different. Nevertheless there are some fine instruments by this maker, of high model, with reddish brown varnish and bearing a great similarity to those of Steiner, of whom he was also said to be a pupil. The "Dictionary of Musicians" speaks highly of this maker. This was decidedly the best artiste of this name.

ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, about 1659.

ALBANI, --- son of the above, about 1712, was also a careful maker, and turned out some good Instruments.

AMATI FAMILY.

For fuller particulars of these eminent makers, see separate Article.

AMATI, ANDREAS, Cremona, born 1520, died 1580.

AMATI, NICHOLAS, brother of the above, celebrated for his Basses.

AMATI, NICHOLAS, son of Andreas.

AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first made together and afterwards separately.

AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the greatest maker of the family.

AMATI, ANTONIO JEROME, do. 1640 to 1670.

AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of the Amati family. A violin of his is mentioned, dated 1672.

AMELINGUE, --- Paris, 18th Century.

ANSELMO, PIETRO, Venezia, 18th Century.

ARTMANN, GOTHA. Followed Cremona pattern.

ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns.

B.

BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be one of the best makers of Germany. Otto says, the Instruments by this Maker are next in point of quality to the Cremonese. Without going so far, with our present increased knowledge of the pupils of the Cremona makers, it may still be admitted that Bachmann was an excellent maker and was very careful in his proportions, so that Amateurs have been often deceived into thinking them genuine Cremonas. They are of the flat Stradiuarius Model, made of good wood, with amber varnish, and therefore present considerable similarity to their patterns.

BAGANZI, --- see Bergonzi.

BAGATELLA, PIETRO,--Padua, 1766. Said not to be very good.

BAGATELLA, ANTONIO,--Padua, 1782. Author of a Work on the construction of Instruments, from which Bishop in his Translation of Otto, has appended a Theory for making a Violin on a very simple plan. He made some excellent Violins after Cremona patterns.

BAINES, --- London, about 1780.

BAKER, --- Oxford about 1720.

BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, and made after his model. The Author has seen an Instrument by this Artist, which is of the large flat pattern and has a magnificent and brilliant tone. The wood of the back and ribs rather plain--the belly very fine open grain, purfling not very neat--varnish reddish yellow. Pronounced by judges to be equal to a fine Stradiuarius. It is dated Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is a proof that amateurs may in future look with safety to the pupils of Stradiuarius for violins to take the place of those of the great masters, which are yearly becoming scarcer and dearer.

BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas.

BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his excellent work calls him "one of England's best manufacturers. Too much cannot be said in praise of this justly celebrated Maker. The work of all the better class of instruments is excellent, the tone good of all; but that of the Violoncellos in particular is full and sonorous." Mr. Gardiner in his "Music and Friends," says "Banks of Salisbury's Violoncellos are of the finest quality of tone--not so strong and fiery as Foster's, but in sweetness and purity excelling them." They are chiefly of the Amati pattern.--The best Instruments have brownish yellow Varnish with a tinge of red, others deep red of a blackish tinge, Varnish not brilliant.

BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820.

BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is said to have been an excellent workman in his father's style, and dates about 1805.

BARRETT, JOHN, London, about 1725. His labels state him to live at the Harp and Crown, in Picadilly. He made some good instruments, but did not purfle them. The author has seen a Violoncello by this maker which was everything that could be desired in the matter of tone. The wood and workmanship, however, were not equal to the tone, and this circumstance will probably partly account for the settled preference now given to the Italian instruments over all the old English makers.

BARTON, GEORGE, London, died 1810.

BEKMAN, SWENO, Stockholm, 1706.

BELLOSIO, --- one of the Venetian makers, 18th Century.

BENOIST, --- Paris, 18th Century.

BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a maker of merit in the style of Gaspar di Salo and Magini.

BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687.

BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to be the best pupil of Stradiuarius. He made instruments of the same beautiful and brilliant tone which has rendered the productions of his master famous throughout the world. Constructed on similar principles, and generally of well-chosen wood, there is no doubt the productions of this excellent artiste will hereafter rank very high. Like Stradiuarius himself, Carlo Bergonzi is by some considered to have been at one time a pupil of Nicholas Amati. Every amateur would, if it were possible, get a Stradiuarius, an Amati, or a Guarnerius, but as the genuine violins of these makers are very rare and valuable, they should look for the veritable instruments of their pupils, which are now beginning to be highly esteemed on account of their intrinsic excellence.

BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his father.

BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has the credit of being a pupil of Stradiuarius, though that seems rather doubtful, because the latter died in 1737, at which time, if a son of Carlo, he would not have been old enough.

BERNADEL, --- Paris, 18th Century.

BETTS, JOHN, called Old Betts, London,

and

BETTS, EDWARD, his nephew.

These two well known makers were said to be pupils of Duke, but often employed other artistes, such as Carter, Panormo, B. Fendt, and his sons, whose work, chiefly imitations of the Cremona instruments, gained them great reputation both at home and abroad. 1782 to 1823.

BINTERNAGLE, --- Gotha, 18th Century. This maker was a German imitator of the Cremona Violins, and is said to have been very successful.

BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly esteemed in France.

BODIO, --- Venezia, 18th Century.

BOLLES, --- An early English Lute and Viol Maker. Mace, 1675, says "one bass of Bolles, I have known valued at £100," equal to at least £600 of our present money.

BORELLI, ANDREAS, Parma, 1740.

BOULLAINGER, --- London. A careful maker, who first worked for others, and now on his own account.

BREMEISTER, JAN., Amsterdam, 1707.

BROSCHI, CARLO, Parma, 1744.

BRETON, Le, Paris.

BROWN, JAMES, born 1670, died 1834,

and

BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but without any speciality.

BUCHSTADTER, --- Ratisbon, 18th Century. Used the flat model. Otto says the wood is not good, and therefore, though well built, the tone is not fine; but Spohr puts his violins on his list as excellent instruments. He may, therefore, be ranked among the good German makers.

BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar di Salo.

C.

CAESTA, PIETRO ANTONIO DELLA, Trevisa, 18th Century, imitated Stradiuarius.

CAMILE, CAMILUS de, Mantua, esteemed as a pupil of Stradiuarius.

CAPPA, GIACHIMO or GIOFREDA or probably two Brothers, born at Cremona and worked under Amati. Date there about 1590 and were in Piedmont 1640. There are some good Violoncellos of this make.

CAPPA, GUISEPPE--Saluzzo--end of 16th Century.

CAPPER, --- or probably Cappa, Mantua. A Violin of this make was sold by auction in London in 1861, and said to be very good.

CARTER, JOHN, London, 1789, made some excellent instruments which were sold both under his own name and under that of John Betts for whom he had worked.

CARLO, GUISEPPE, Milan 1769.

CASSINO, ANTONIO, Modena, 17th Century.

CASTAGNERY, JEAN PAUL, Paris 1639 to 1662. This artist is considered to be one of the best of the old French Makers. One authority says they have a fine silvery tone but not powerful.

CASTAGNERI, ANDREA, Paris. 18th Century.

CHANOT, --- Mirecourt, France, a good maker, 18th Century.

CHANOT, --- London.

CHAPPUIS, (or Chappuy,) AUGUSTINE, about 1710.

CHARLES, THERESS, London.

CHEROTTE, --- Mirecourt, 18th Century.

CHEVRIER, --- Paris, 18th Century.

CHRISTA, JOSEPH PAUL, Munich, 1730.

CHRISTOPHORI, BARTOLOMEO, Florence, 18th Century.

CIRCAPA, THOMASO. Naples, 1730.

CLARK, --- London.

COLE, THOMAS, London. Forster says no instrument has been preserved of this maker, but that is a mistake. There is in the neighborhood of Sheffield, a very large Tenor with a fine deep tone and the following curious label.

Made 1690, by THOMAS COLE of London, on Holborn Hill, who selleth all sorts of Musical Instruments.

COLLINGWOOD, JOSEPH, London, 18th Century.

CORSBY, GEORGE, believed to be formerly a maker at Northampton, and now and for a long time a dealer in Violins, &c., in Princes' Street, Soho, London.

CONWAY, WILLIAM, 1745.

COLLIER, SAMUEL, 1755.

CRASK, GEORGE, of various places, has made many Violins in imitation of the Cremona Makers, some of which have been sold by unscrupulous dealers as genuine instruments, an example of which we have seen which was purchased by a professional man, since dead, of a Violinist then on a Musical Tour. It is only right here to say that we believe Mr. Crask to be entirely free from blame in this matter, as he sells these instruments as his own productions.

CROWTHER, JOHN, 1755 to 1810.

CROSS, NATHANIEL, London, about 1720. He was partner at one time with Barak Norman and used his monogram sometimes. He also stamped a Cross in the inside of his instruments as well as used it in his labels. He made some good Violins, which resemble those of Steiner. His mark in the inside of the back is here given.

+ N. C.

A violin of this make which we have seen, has the great fault of having the bass bar cut out of the solid, instead of being glued in, thus contravening the established principles of the art.

CONTRERAS, JOSEPH, Madrid, 1746. An excellent maker, who was particularly celebrated for his copies of Stradiuarius.

D.

DARDELLI, PIETRO, Mantua, about 1500. Made good rebecs, violas and viols da gamba. Fetis mentions some of them as still existing.

DECOMBRE, AMBROISE, Tournay, 1700 to 1735, was said to be one of the pupils of Stradiuarius and made some good instruments of his pattern.

DESPONS, ANTOINE, Paris,--one of the good French Makers, about 1725.

DICKENSON, EDWARD, 1754.

DICKSON, JOHN, Cambridge, 1779.

DIEHL, NICHOLAUS, Darmstadt, 17th Century.

DITTON, ---- London, about 1720.

DODD, THOMAS, Son of Edward Dodd of Sheffield, and who died in London in 1810, at the great age of 105 years (see Bow Makers). Thomas Dodd's instruments have had considerable reputation, but it is believed he was not a maker himself, but employed Bernard Fendt and John Lott, through whose excellent workmanship his name, which he put on the labels, became well known.

DODD, THOMAS. Son of the above; he was drowned in 1843.

DOMINISCELLI--Ferrara, 18th Century. A good workman.