Part 2

DUKE, RICHARD, London, 1767 to 1777. This Artist was very celebrated in his day and his instruments commanded very good prices. He frequently stamped his name on the back, but as far as we have seen, only on inferior productions. Very good instruments may now occasionally be met with at low prices in consequence of the great prejudice in favour of the Italian and other foreign makers.

DURFEL, ---- Altenburg, made good double Basses. His violins are also said by one authority to be excellent in point of tone.

DUIFFOPRUGCAR, GASPARD, born in the Tyrol, established in Bologna in 1510, and went to Paris at the invitation of Francis 1st. He afterwards removed to Lyons. This appears to be the first maker of the genuine Violin we have on record, and some instruments still exist to attest the excellence to which he had reached. M. Vuillaume, possesses a Bass Viol, and other Parisian Collectors possess instruments by this ancient artiste.

E.

EBERLE, JEAN ULRIC, Prague, 1749. Otto says this is one of the most celebrated German Makers and his instruments have been frequently taken by experienced connoisseurs for Italian; the difference being that they "have a sharper or rather not so round and full a tone." Connoisseurs could not be very experienced at that time, if they could mistake for Cremonese, instruments possessing this characteristic, which is exactly what distinguishes the inferior instruments from the genuine.

EBERTI, TOMMASO, about 1730.

EDLINGER, THOMAS, Prague 1715.

EDLINGER, JOSEPH JOACHIM, Prague, son of Thomas. Visited Italy, and afterwards built some excellent instruments; died in 1748.

ERNST, FRANCOIS ANTOINE, born in Bohemia in 1745. This artiste made some excellent instruments which are said almost to reach the Cremonas in tone. He was also the Author of a Treatise on Instruments. The celebrated Violinist Spohr, author of "the Violin School," is said to have at one time used one of this maker's instruments.

EVANS, RICHARD London, 1742.

F.

FARINATO, PAUL, Venezia, about 1700.

FENDT, or FINTH, Paris, 1763-80. Made good instruments after the Stradiuarius model, some of which followed his style so carefully as to have been taken for those of that master.

FENDT, BERNHARD, born 1775, died 1825. Nephew of the above. He worked first for Dodd and afterwards for old John Betts. He was a capital workman and made many fine imitations of the Cremonese instruments.

FENDT, BERNARD SIMON, Son of the above, born 1800, died 1852, became partner with Purdy in the well known firm of Purdy and Fendt.

FENDT, MARTIN, brother of the above, born 1812, died 1845.

FENDT, JACOB, born 1815, died 1849.

FENDT, FRANCIS.

FENDT, WILLIAM, Son of Bernard Simon, born 1833, died 1852.

All the Fendts have the reputation of being excellent workmen.

FICHTOLD, HANS, 1612, is said to have made good instruments.

FICKER, JOHANN CHRISTIAN, Cremona 1722.

FICKER, JOHANN GOTLIEB, Cremona 1788.

FLEURY, BENOIST, Paris, about 1720.

FLORENTUS, FLORINUS, Bologna, 1690. Followed the Amati patterns, and has a good reputation in that style.

FORSTER, WILLIAM. The first Violin maker of this now celebrated name, born 1713, died 1801.

FORSTER, WILLIAM, born 1739, died 1808. This maker was very celebrated for his Violas and Violoncellos. He appears to have followed the Steiner pattern in 1762, and the Amati pattern in 1772. His common instruments were not purfled, second class purfled but still much inferior to the third class, "in which," says an authority, "everything was embodied to conduce to excellence and beautiful appearance and to the finest tone;" and again, "his instruments are second to none in merit and the best Europe has ever known, especially his amber coloured Violoncellos, which are renowned for mellowness, volume, and power of tone, equalled by few, surpassed by none." We need scarcely say that this opinion is rather strongly expressed, and may be considered partial. Without at all detracting from the real excellence of Wm. Forster's instruments, which is very great, we may confidently assert that the great Cremona Makers have had no rivals. Whether in power, purity, and sweetness of tone--or beauty of wood and workmanship--the best instruments of Nicholas Amati, Antonius Stradiuarius, and Joseph Guarnerius have never yet been equalled. Wm. Forster's Violoncellos have, however, (in England at any rate,) been held in high esteem both by players and amateurs, and have realised good prices.

FORSTER, WILLIAM, the third of the name born 1764, died 1824, known as young Forster. His instruments are not so good as those of his father, but still excellent productions.

FORSTER, WILLIAM, the fourth of the name, born 1788, died 1824. A good workman, but not equal to the second William Forster.

FORSTER, SIMON ANDREW, son of the above, born 1801, author, in conjunction with William Sandys, F.S.A., of a most elaborate and excellent work from which these particulars are taken, entitled "History of the Violin and other Instruments played on with the Bow, from the remotest times to the present." He is also like the rest of the family, a maker and bears a good reputation.

FORSTER.--Of this noted family Dubourg in his amusing and interesting book, "The Violin," speaks in complimentary terms. He says, "The Forsters, old and young, grandfather and grandson, have, in their department of art, a name that lives."

FOURRIER, NICHOLAS, born at Mirecourt. Settled in Paris, died 1816; good maker, after the Cremona school.

FRITZCHE, SAMUEL, Leipsic, 1787, pupil of Hunger, and made similar instruments. They are of the Italian model and have amber varnish.

FRITZ, BERTHOLD, Leipsic, 1757.

FRANKLAND, ---- London, 1785.

FREY, HANS, Nuremberg, lute maker, 15th Century.

FURBER, DAVID, about 1700.

FURBER, MATTHEW, son of David, 1740.

FURBER, JOHN, grandson of David, 1759.

FURBER, MATTHEW, son of the above, died 1840.

FURBER, JOHN, son of Matthew, 1840.

G.

GABRIELLE, GIOVANNI, BAPTISTA, Florence, 18th Century, considered to be a good Maker.

GAGLIANO, or GALIANO, ALESSANDRO, Naples, about 1710, is generally reckoned as one of the pupils of Stradiuarius, but was more probably only one of his imitators. He made some good instruments of the Stradiuarius model, which possess a bright and sparkling tone; they are, however, generally characterised by less power of tone, Stradiuarius having in this particular the advantage over nearly all his imitators, some of his personal pupils being perhaps the only exceptions.

NOTE.--M. Fetis commences the line of the Gaglianos with Nicolo, 1700, ten years earlier than Alessandro, whom he also calls Gennaro, and ranks him as a maker formed under one of the immediate pupils of Stradiuarius.

GAGLIANO, JANUARIUS, Naples, 1740. Son of Alessandro.

GAGLIANO, NICHOLAUS, Naples. Another son of Alessandro.

GAGLIANO, FERDINANDO, Naples, made to 1790.

GAGLIANO, GUISEPPE, Naples, 1790.

GAGLIANO, GIOVANNI, Naples.

GAGLIANO, ANTONIO, Naples.

GAGLIANO, RAPHAEL, Naples, son of Giovanni.

GAGLIANO, ANTONIO, Naples, son of Giovanni.

GAGLIANO FAMILY.

Most of the instruments made by the Gagliano family possess a good quality of tone, and Amateurs who have no necessity for that great power which Stradiuarius and Guarnerius conferred on their best productions, will do well to secure any genuine Gagliano which they may meet with, rather than risk the chance of getting less merit, under a more pretentious name.

GALERZENA, ---- Piedmont, 1790.

GAND, ---- Paris. A first-rate maker. He was son-in-law to Lupot.

GARANA, MICHAEL ANGELO, Bologna. An excellent maker, about 1700, considered by Fetis to be a pupil of one of those celebrated makers formed in the Cremona schools.

GATTANANI, ---- Piedmont, 1790.

GAVINIES, ---- Paris, 18th Century.

GEDLER, JOHANN ANTONY, Fissen, Bavaria, 18th Century.

GEDLER, JOHANN BENEDICT, same place and same date.

GERANS, PAUL, Cremona, about 1615.

GERLE, JEAN, Nuremberg, about 1540. Made Lutes, Viols da Gamba, &c.

GILKES, SAMUEL, London, 1787 to 1827. Pupil of the Second William Forster. An excellent maker. His work was most highly finished and his varnish of a rich quality.

GILKES, WILLIAM, born 1811. Not equal as a maker to Samuel.

GIORDANE, ALBERTO, Cremona, 1735.

GOBETTI, FRANCISCO, Venezia, about 1700. A pupil of Stradiuarius, and an excellent artiste.

GOFILLER, MATTEO, Venezia, about 1725. A good maker after Cremona patterns.

GOFILLER, FRANCISCO, Venezia. Brother to Matteo, similar, same date.

GRAGNARIUS, ANTONIO, early part of 18th Century.

GRANCINO, GIOVANNI, Milan, middle of 17th Century.

GRANCINO, PAOLO, do. do.

GRANCINO, GIOVANNI BAPTISTA, Milan, son of first named.

GRANCINO, GIOVANNI BAPTISTA, Milan, early in 18th Century.

GRANCINO, FRANCISCO, son of Giovanni Baptista. This artiste made to about 1760, or rather later.

GRANCINO FAMILY.

These makers produced some very good but not handsome instruments. Lindley is said to have had a Violoncello by one of the Grancinos, the tone of which was very fine and powerful, with light yellow varnish darkened by age; the wood of back and sides very plain, but the belly very fine.

GROBITZ, ---- Warsaw, about 1750. Made some good instruments of the Steiner model.

GUERSAN, ---- Paris. An excellent maker, small model, careful finish, and fine tone; about 1730.

GUGEMMOS, ---- Fissen, Bavaria.

GUIDANTUS, GIOVANNI FLORENUS, Bologna, about 1750. An excellent maker.

GULETTO, NICHOLAS, Cremona, about 1790.

GUADAGNINI, LORENZO, Cremona, 1690 to 1720. Pupil of Stradiuarius and highly esteemed as a maker. Followed the style of his celebrated teacher.

Guadagnini is one of the makers especially recommended by Spohr when one of the three great masters cannot be procured. A good specimen of his work will always command a good price.

GUADAGNINI, LORENZO, Placentia and Milan, 1742. Made instruments generally of the smaller model. Was a careful workman and finished his instruments well, and used good varnish.

GUADAGNINI, BAPTISTA. Same places and about same dates, and made similar instruments.

GUADAGNINI, GUISEPPE, Turin, 1751.

GUADAGNINI, GUISEPPE, Parma, 1793.

GUARNERIUS FAMILY.

A more extended account of these great masters will be found in a separate chapter.

GUARNERIUS, ANDREAS, Cremona, horn 1630, dates to 1680. Pupil of Hieronymus Amati.

GUARNERIUS, GUISEPPE, son of Andreas, Cremona, dates from 1690 to 1730.

GUARNERIUS, PIETRO, another son of Andreas. Removed in the latter part of his life from Cremona to Mantua.

GUARNERIUS, JOSEPH, nephew of Andreas. Known as Joseph to distinguish him from his cousin of the same name, but who is generally known as Guiseppe. Joseph was the great maker of the family, born 1683, died 1745, at Cremona.

H.

HARBOUR, ---- London, 1785.

HARDIE, MATTHEW, Edinburgh, about 1820. Made some good instruments which occasionally possessed great power, but not always very neat finish.

HARDIE, THOMAS. Son of Matthew, Edinburgh, was also a good workman--died in 1856, from accidentally falling down stairs.

HARE, JOSEPH, London, 1720, is said to have been the first in England to introduce the flat model, all the makers before him and for some time after, following the elevated model of Steiner. He also introduced a varnish of greater transparency than was generally used at that time in England.

HARRIS, CHARLES, London, about 1815.

HARRIS, CHARLES. Son of the above.

HART, JOHN, of Princes Street, Leicester Square, London, pupil of Samuel Gilkes, is a maker; and restorer of instruments, in which latter capacity we have pleasure in stating him to be worthy of the extensive reputation he has acquired. He is also a great connoisseur in old instruments, and has the honour of having formed most of the fine collections in this country. The largest price ever given for a Violin was for one imported by him and which from its beauty, model, varnish and perfection of condition is known by the name of the King Joseph Guarnerius. This instrument is considered quite unique and was sold for 700 guineas. The celebrated collection of Charles Plowden, Esq., which embraces four fine instruments of Stradiuarius and four of Joseph Guarnerius, and which is acknowledged to be the finest collection in the world, was also formed by Mr. Hart. Mr. Plowden's taste being highly cultivated, he rejects any instrument which is not of the very highest order, and therefore it reflects great credit on Mr. Hart's judgment to have succeeded in placing so many fine instruments in the collection of so critical a connoisseur. We shall have occasion to mention other celebrated instruments in the Chapters on the Great Masters of the Art.

HASSERT, ---- Rudolstadt, 18th Century. Made instruments of a high model, which though he used good wood and finished them carefully, did not possess very good tone. Very few makers have succeeded in imparting superior tone to high built instruments.

HASSERT, ----, Eisenach, 18th Century, brother of the above--adopted a different system, and followed the flatter model of the Cremona School with considerable success. His instruments are remarkable for beautiful wood, and Otto speaks very highly of them, saying that many of them can only be distinguished from the genuine Italians by experienced judges. In the present day we think Otto was partial to his own countrymen's work, and that there are very few German instruments which can be taken for Italian by judges.

HEESOM, EDWARD, London, 1750.

HELMER, CHARLES, Prague, 1740. This artiste was a pupil of Eberle, and is considered a careful workman, but used too light a bass bar, which, unless a stronger one be substituted, depreciates the character of his instruments.

HILDEBRANT, MICHAEL CHRISTOPHER, Hamburg, 1765. Esteemed as a good maker.

HILL, WILLIAM, London, 1740. Made some good instruments, but they are said to be deficient in quality in consequence of being built on a wrong principle, the centres having too little wood.

HILL, JOSEPH, London, 1770, brother of the above. Reckoned a superior maker to his brother, and produced some very excellent Violoncellos which obtained him a good reputation, and caused him to be classed high among English makers, but like the others, he is now depreciated in value below his real merits.

HIRCUTT, ---- English maker, about 1600.

HOFFMAN, MARTIN, Leipsic, is said to be chiefly known as a skilful lute maker. His Tenors are considered good, and Otto says his violins have an excellent quality of tone when unspoiled, but are not esteemed on account of their ungraceful appearance.

HOLLOWAY, J., London, 1794.

HORIL, ---- (Italian) about 1720.

HULLER, AUGUSTINE, Shoeneck, 1775.

HUME, RICHARD, Edinburgh. An early English lute maker; about 1530.

HUNGER, CHRISTOPHER FREDERICK, Leipsic, 1787. A good maker who followed the Italian style, used good wood and amber varnish. This maker is classed among the superior German artistes, and his instruments are said to be beautiful.

J.

JACOBS, ---- Amsterdam, 18th Century. This maker imitated the Amatis and produced some good instruments after their Models which also partook of their sweet tone but had little power. One authority we have consulted calls this maker a pupil of Amati, and states that he used whalebone purfling.

JAYE, HENRY, London, 1615. Of this maker we have not been able to find any account unless it be to him that Mace (1676,) refers when he says, speaking of the makers of Viols, "Of such there are no better in the world, than those of Aldred, Jay, Smith" &c. He was certainly an excellent maker judging from an instrument we have seen which has been converted into a small Violoncello with four strings. It is handsomely finished, with ornamental purfling and good varnish and a well carved head. As a small violoncello the tone is also very good. Dated "in Southwarke," 1615.

JAY, THOMAS, London, about 1700.

JAY, HENRY, London, 1750. It appears that this artiste was best known as a maker of Kits, which were very well made and for which he obtained the extraordinary price in those days of five pounds each. When we remember that four pounds was the price that Stradiuarius got for his best violins in his life time, and from an anecdote told by Mr. Forster, that Cervetto could not even get that price for some he got direct from the maker, we see one of those extraordinary freaks of fashion for which, to use the expression of my Lord Dundreary, no fellow can account.

JAUCH, ---- Dresden, about 1765, is said to have made good instruments on Cremona models, and is generally placed among the good German makers.

JOHNSON, JOHN, London, 1753.

JULIANO, FRANCISCO, Rome, 1700.

K.

KAMBL, JOHANN, CORNELIUS, 1635.

KENNEDY, ALEXANDER, London, died 1785, and considered to be about 90 years of age. This artiste obtained considerable reputation for good and neat work. He followed the Steiner model, and used yellow varnish. It is not known that he made any other instruments than violins.

KENNEDY, JOHN, London, died in 1816, and considered to be 86 years of age. Made violins and tenors of the Steiner model.

KENNEDY, THOMAS, son of John, London, bears the reputation of a good and neat artiste, and is said to have made at least 300 violoncellos and other instruments in proportion.

KEKLIN, JOAN, Brescia, about 1450. This artiste is believed by some inquirers to be the earliest maker of the violin proper, but Fetis says that the only instrument of his that is known, and which was in the possession of Koliker of Paris, and dated 1449, was not really a violin, but a viol with changed neck and mounted with four strings. It would appear, therefore, that the merit of the actual introduction of the real violin belongs properly to Gaspar di Salo.

KIAPOSSE, SAWES, Petersburg, 1748.

KLOTZ, MATTHIAS, Tyrolese, about 1675, considered by Fetis to have been a pupil of Steiner, and the first violin maker of this well known name. He made some instruments, which established his reputation as a careful artiste.

KLOTZ, EGITIA. This maker, who appears to have been a son of Matthias, is often considered to be the best maker of this Family. He is commonly called the pupil of Steiner, but that must be doubtful. More probably he followed the Steiner traditions as exemplified by his father. He used amber varnish, good wood, and his instruments are well made and have his own name upon them.

KLOTZ, GEORGE, brother of Egitia.

KLOTZ, SEBASTIAN, another brother. We believe this artiste to be the best maker of the Klotz family. He built large sized violins, which possess a fine tone and have excellent varnish.

KLOTZ, MICHAEL,--1771.

KLOTZ, JOSEPH, son of Egitia, Mittenwald an der Iser, 1774. Otto says this artiste built after his father's system--but was better acquainted with the qualities of wood, and his instruments are therefore superior in tone, but are badly varnished in their original state.

THE KLOTZ FAMILY.

Spohr enumerates Klotz among the makers whose instruments are worthy of attention, but does not indicate which of them in particular. We have before expressed our opinion that Sebastian ranks highest in merit, which is corroborated by the most experienced connoisseur of the present day. Some violins of this name have achieved a high reputation. Parkes, in his "Musical Memoirs," mentions a Klotz Violin belonging to Mr. Hay, the Leader of the King's Band, for which a Noble Lord offered £300 and an annuity of £100. This seems a most extraordinary offer, for any instrument, unless it were a very fine Stradiuarius or Guarnerius.

KOHL, JEAN, Munich, Luthier to the Court, about 1570. Fetis states that from some old accounts he finds he was paid two florins for a lute, a strange discrepancy in value from the statement of Mace a century later.--(See Bolles.)

KOLDITZ, MATTHIAS JOHANN, Munich, 1722.

KOLDITZ, JAQUES, Rumbourg, in Bohemia, 1790; said to be very good.

KOLIKER, ---- Paris, a noted maker and collector, about 1750.

KNITTING, PHILIP, Mittenwald, 1760.

KNITL, JOSEPH, Mittenwald, 1790.

KRINER, JOSEPH, Mittenwald, 1785.

L.

LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa.

LAGETTO, Paris, about 1650. Followed the Amati patterns.

LAMBERT, JOHANN HENRY, Berlin, 1760.

LAMBERT, ---- Nancy, 1760. A prolific but not very careful maker, which gained him the name of the Lute Carpenter.

LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the Cremona patterns with considerable success.

LANDOLPHI, FERDINAND, Milan, about same date.

There appears to be some doubt whether there was more than one Landolphi, his name being Carlo Ferdinand, but being mentioned as of both Florence and Milan, and the Christian names given separately, there may have been two. Fetis only mentions Carlo, and locates him at Milan.

LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di Salo's instruments, but is said not to have succeeded in rivalling them in tone.

LAUTTEN, L. W. No particulars of this maker; but we find a violin by him in a Catalogue, described as "fine and handsome."

LECLERC, ---- Paris, 18th Century.

LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman.

LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood, fine varnish, chiefly of a yellow colour, and was notable for his excellent finish.

LINELLI, or LINAROLLA, ---- Venezia, about 1520. A maker of rebecs, viols, and viols da gamba.

LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent workman, who made many instruments for Thomas Dodd. He is also very generally known as a first-rate double bass maker.

LOTT, GEORGE FREDERICK, son of the above, was also an excellent workman, and is said to have been chiefly employed by dealers.

LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker of violins.

LUPOT, FRANCOIS, Stuttgard, about 1770.

LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the title of the King of the French makers. He followed the model of Stradiuarius, used excellent wood and good varnish, much in the style of that master. His violins are very fine in tone and resemble the Italian more than any other maker's. Tolbecque, the violinist has two very fine specimens. His instruments have been frequently selected by the French Conservatoire as prizes for their pupils. They now fetch high prices. Dubourg calls him "a studious artist, whose instruments are in request when a good Cremona is unattainable." He also says, "sixty guineas have been refused for one of his best violins." Spohr in his "Violin School," also recommends his instruments. This artiste published a work on the construction of violins, called "La Chelonomie, on le parfait Luthier."

M.

MAGGINI, GIOVANNI PAOLO, Brescia, 1590 to 1640. This celebrated artiste was a pupil of Gaspar di Salo. His instruments are highly esteemed, and are both rare and valuable. They are generally of a large pattern, with elevated model, reaching almost to the edges; narrow ribs, double purfling, frequently ending on the top and bottom of the back with an ornament in the shape of a leaf--and fine yellowish brown or golden coloured varnish, of good quality. Some few are said to have deep brown varnish. They possess a tone of a peculiar character--deep, solemn, and somewhat plaintive. Dubourg describes it as "less soft than that of a Stradiuarius, and less potent than a Guarnerius, approaching that of a viol, and has in it a touch of melancholy." From their size these instruments had not been in great favour with violinists until the celebrated DeBeriot introduced one, which from its splendid tone brought them at once into esteem, and for which he has been offered almost fabulous sums.

MAGGINI, PIETRO SANTO, Brescia, son of Giovanni Paolo, 1630 to 1680. Followed the same style as his father, but was more particularly famous for his double basses, which the Italians consider to be the best ever made, after those of Gaspar di Salo.