Chapter XV: Violin Dealers, Collectors, and Amateurs (3)

SCHWARTZ, Bernard. French maker who settled at Strasburg,
1795-1822; two sons, both makers.

SCHWARTZ, Georges Frédéric; 1785-1849; and Théophile Guillaume,
1787; Strasburg, 1861, sons of Bernard Schwartz. Pupils of
their father, and at his death succeeded to his business, which
became “Frères Schwartz.” Théophile was chiefly concerned in the
instrument-making, Georges gave his time to making bows; he gained
a well-merited reputation. His bows are generally marked near the
nut with “Schwartz, Strasbourg.”

SCHWARTZ, Théophile Guillaume, son of Théophile Guillaume Schwartz;
b. Sept. 3, 1821. In 1852 he succeeded to the business in Strasburg
at 2 Place Saint-Thomas; chiefly repairer.

SCHWEIZER, Johann Baptist. Budapest, 1798-1875; pupil of Geisenhof
in Vienna; his violins not arched; work neat.

SEGHER, Girolamo; b. 1646. Was a pupil of Nicola Amati, and was
working under him, 1680-82.

SENI, Francesco. Florence in 1634.

SERASATI, Domenico. Naples, 1710-50; fair.

SICILIANO (Ciciliano), Antonio. Venice about 1600. A tenor and a
bass viola da gamba in the Modena Museum, Vienna.

SICILIANO, Gioacchino, son of Antonio Siciliano. Venice about 1680.

SILVESTRE, Hippolyte; 1808, Saint-Nicolas-du-Port (Meurthe); 1879,
Sommerviller, near Nancy. Was first a pupil of Blaise at Mirecourt,
then of J. B. Vuillaume at Paris.

SILVESTRE, Pierre, brother of Hippolyte; b. Aug. 9, 1801, at
Sommerviller, near Nancy; d. 1859, Lyons. Was also a pupil of
Blaise at Mirecourt, then went to Paris; worked with Lupot;
excellent violins; made about 350 instruments, bearing his label:
“Pierre Silvestre à Lyon, 185--.” When working with his brother,
the label used was: “Petrus et Hippolytus Silvestre fratres
fecerunt Lugdun.”

SIMON. Salzburg, 1722.

SIMON, Claude. Paris, 1733-88.

SIMON, P.; b. 1808, Mirecourt. Went to Paris in 1838, where he
worked for some months under D. Peccate; then to J. B. Vuillaume;
made most excellent bows, and generally marked them with “Simon,
Paris,” near the nut.

SIMONIN, Charles. Mirecourt. Was apprenticed to J. B. Vuillaume at
Paris, and became one of his most able workmen. In 1841 he settled
in Geneva, then went to Toulouse; excellent maker.

SIMOUTRE, Nicolas. 1788, Mirecourt; d. 1870, at Metz. His son,
Nicolas Eugène, was also a maker.

SIMOUTRE, Nicolas Eugène, son of Nicolas Simoutre. 1834-89,
Mirecourt. Was first a pupil of his father, then of Darche in
1852 at Paris; then of Ch. Roth in 1856 at Strasburg; worked in
Strasburg, Mulhausen, Basle, and Paris; a prolific writer on his
art.

SIMPSON, James, and Son. Were musical instrument makers in London
in 1794.

SIRJEAN. Maker of bows in Paris, 1818.

SITT, A. Prague, 1854. Stradivari pattern, which improve with age.

SLAGHMEULEN, Jan Baptist van der. Antwerp, 1672. The varnish a pale
brown.

SMITH, Thomas. London, 1740-90. Pupil and successor of Peter
Wamsley; fine violoncellos; Stainer pattern; rising in price. John
Norris was a pupil of his. Label: “Made by Thos. Smith at the harp
and hautboy in Pickadilly. London, 1756;” similar labels were used
until 1766.

SMITH, William. Hedon, Yorkshire, in 1786.

SNEIDER, Giuseppe. Pavia, 1700-25. A pupil of Nicola Amati. Violins
slightly arched; varnish is a rich yellow colour; instruments made
by Girolamo, son of Nicola Amati, have often been attributed to
Sneider.

SNOECK (Schnoeck), Egidius. Brussels, 1731. Amati pattern; dark
reddish varnish.

SNOECK, Marc. Brussels, 1744. Clever repairer.

SOCCHI, Vincenzo. Bologna, 1661.

SOCQUET, Louis. Paris, 1750-80. Not good.

SOLIANI, Angelo. Modena, 1752-1810.

SOMER, Nicolas. Paris, 1725-50.

SPEILER. A German maker, 18th century.

SPRENGER, Anton. 1834, Mittenwald. Makes violins and violoncellos
on the Stradivari and Guarneri patterns; oil varnish of good
quality.

STADELMANN (Statelmann), Daniel Achatius. 1680-1744, Vienna, who
showed great ability in imitating the Stainer pattern; he used thin
varnish of a deep amber colour; the work is well finished.

STADELMANN (Statelmann), Johann Joseph, son of Daniel A.
Stadelmann; good copyist of Stainer, 1764.

STADL, Michael Ignatius. Vienna in 1770. Fair.

STAINER, Andreas. Was working in Absam about 1660; made few violins.

STAINER, Jacob, son of Martin Stainer and Sabina Grafinger. (_See_
p. 93.)

STAINER, Marcus, brother and pupil of Jacob Stainer; he worked in
Laufen, Austria.

STANZA, Giuseppe, b. 1663 in Venice. Pupil of Nicola Amati at
Cremona.

STATLEE, Anderl. Genoa, 1714. Pupil of Girolamo, son of Nicola
Amati.

STEININGER, François. Paris, 1827. Excellent maker.

STEININGER, Jacob. Frankfort, 1775. Nicholas Diehl was a pupil of
his.

STIRBAT (Stirrat), David. Edinburgh, 1810-15; good.

STORIONI, Lorenzo. 1751-80, Cremona. Worked at 3 Contrada
Coltellai; he was one of the latest, if not the last of the
celebrated makers of Cremona, and his instruments, though of great
merit, show signs of decadence in the art. (_See_ p. 88.)

STOSS, Bernard and Martin. Fussen, Bavaria; worked in Vienna; fair
makers.

STOSS, Franz. Fussen, Bavaria, 1750-98.

STRADIVARI (Stradiuarius), Antonio, son of Alessandro Stradivari
and Anna Moroni. (_See_ p. 61.)

STRADIVARI, Francesco, son of Antonio Stradivari. 1671-1743.

STRADIVARI, Omobono, son of Antonio. 1679-1742.

STRAUBE (Staube). Berlin about 1770-75. Few known, but good;
excellent repairer.

STRAUS, Joseph. Neustadt, 1745-50.

STRNAD, Caspar. 1750. He settled in Prague and worked there,
1781-95; good maker.

STROBL, Johann. Hallein in 18th century.

STURGE, H. 1811-53, Bristol; repairer, Huddersfield.

SULOT, Nicolas. Dijon, 1825-40. Eccentric maker.

SURSANO (Sorsano), Spiritus. Cuneo, 1714-35; inferior.

TACHINARDI. Cremona, 1690.

TADOLINI. Modena, 19th century.

TANEGIA, Carlo Antonio. Milan, 1725-30.

TANIGARDI (Taningard), Georgio. Rome, 1735.

TARR, William. Manchester, 1829-55; made some fair double-basses.

TASSINI, Bartolommeo. Venice, 1754; followed Testore.

TAYLOR, 1750, London; supposed pupil of Panormo; good instruments,
principally double-basses, and clever at repairing old ones.

TECHLER (Tecchler), David; 1666-1743. (_See_ p. 102.)

TEDESCO (Todesco), Leopoldo, 1625-58; pupil of Nicola Amati in
Cremona, 1653-54.

TEODITI (Teoditti), Giovanni. Rome, 17th century.

TERNYANINI, Pietro. Modena, 1755.

TESTATOR, “Il Vecchio.” Milan, 1520; reputed transition maker from
viol to violin.

TESTORE, Carlo Antonio, eldest son of Carlo Giuseppe Testore.
Milan, 1735-65; followed the Guarneri model; violoncellos and
tenors very good; varnish golden-yellow.

TESTORE, Carlo Giuseppe; b. at Novarra; settled at Milan about
1687, and worked there till about 1720; pupil of Giovanni Grancino,
for whose work his instruments are often mistaken; best workman in
this family, but made few instruments. When the well-known Lindley
“Grancino” violoncello was repaired in 1884, the removal of the
Cremona label exposed the original label in good preservation,
as follows: “Carlo Giuseppe Testore allievo di Gio. Grancino in
Contrada Larga di Milano, 1690.” A double-bass of his was played on
by the celebrated Bottesini at concerts; it had a splendid tone.
Label: “Carlo Giuseppe Testore in Contrada larga di Milano al segno
dell aquila, 1700.” He had two sons, Carlo Antonio and Paolo
Antonio, both violin-makers.

TESTORE, Giovanni, son of Carlo Testore, _q.v._

TESTORE, Paolo Antonio, second son of Carlo Giuseppe Testore and
the last maker of this name.

THÉRIOT, J. B. Paris, 1783.

THIBOUT, Aimé Justin. 1808-62, Caen.

THIBOUT, Albert, son of Gabriel Adolphe Thibout. 1839-65, Paris;
succeeded his uncle, Gabriel Eugène, as “luthier de l’Opéra,” and
was succeeded in his turn by the brothers Gand.

THIBOUT, Gabriel Adolphe, son of Jacques Pierre Thibout, 1804;
Paris, 1858; not as good as his father.

THIBOUT, Gabriel Eugène, son of Jacques Pierre Thibout. 1825 at
Paris; succeeded his brother, Gabriel Adolphe, as “luthier de
l’Opéra” in Paris; 1861, Boulogne-sur-Mer.

THIBOUT, Jacques Pierre. 1777-1856, Caen. First worked at
Caen, then under Koliker at Paris; fine maker; excellent tone;
workmanship rivals best Cremona style; varnish red on amber ground.
Advt.: “Nouveau procédé approuvé par l’Institut. Thibout, luthier
du roi, rue Rameau, no. 8, à Paris, 1825.”

THIBOUVILLE-LAMY, Jérôme. A little before 1867 he became sole
proprietor of the various factories at Mirecourt; he gradually
substituted mechanical for manual labour, and while increasing the
number of instruments made, at the same time reduced their price,
so that at last he was able to exhibit at Vienna in 1873 his famous
violins at 4s., 8s., and 16s. each. By 1887, 35,000 instruments had
been made by this firm. He was awarded a medal, Vienna, 1873; medal
of honour, Santiago, 1875; prize medal, Philadelphia, 1876; and
gold medal, London, 1885. He was made Chevalier of the Legion of
Honour, April 10, 1877, and Officer, Jan. 15, 1892.

THIN, Mathias and Georg. Vienna, 18th century; good.

THIR, Johann Georg. Vienna, 1791.

THOMASSIN. Worked under Clément at Paris, 1825-45; good.

THOMPSON (Thomson), Robert. London, at the sign of the
“Bass-Violin,” in St. Paul’s Churchyard, 1749-64; Stainer pattern.
He was succeeded by his sons, Charles and Samuel, who worked about
1775-85.

THOROWGOOD, Henry. London, 18th century. Label: “Made and sold by
Henry Thorowgood at the Violin and Guitar under the North Piazza of
the Royal Exchange, 17--, London.”

THUMHARDT, Munich and Straubing in the 18th century; German style.

TIELKE, Joachim. One of a family of makers. Hamburg, 1539-1701. He
was celebrated for the lutes, theorbos, guitars, and especially the
viols of all kinds which he made, of very fine tone, ornamented
with the richest and most varied inlaid work; one violin of his is
also mentioned.

TILLEY, Thomas. London, 1774.

TIPHANON (Thiphanon), Jean François. Paris, 1775-1800.

TIRLER, Carlo. Bologna, 18th century.

TOBIN, Richard. London, 1790-1840; pupil of Perry, Dublin; worked
for John Betts; followed the Stradivari or Guarneri patterns; good
maker. A son of his was also a maker.

TODINI, Michele, 1625. Lived in Rome; made a few violins.

TOLBECQUE, Auguste, son of Auguste Joseph Tolbecque; 1830-51,
Paris. He was a violoncellist; also worked at violin-making under
Rambaux in Paris; made a small number of new instruments; extremely
clever at restoring old ones.

TONONI, Antonio. Bologna, 17th century.

TONONI, Carlo, son of Felice. First worked, 1698-1739, Bologna;
settled in Venice. His instruments vary; they are generally of
a large pattern, not so highly arched as those of his brother
Giovanni; varnish similar to that of Santo Serafino; yellow-brown
colour. He often branded his monogram near the button of the
tailpiece.

TONONI, Felice. Bologna, 1670-90. He worked with his son Giovanni;
their violoncellos have a great reputation in Italy.

TONONI, Giovanni, son of Felice. Worked in Bologna till about 1705;
few instruments of his are to be found.

TOPPANI, Angelo de. Rome, 1720-40. His instruments are rarely
seen, are similar to those of Techler, but more arched; varnish
golden-yellow; sound-holes are cut large.

TORELLI. Verona, 1625.

TORING (Torring). Maker and repairer of violins; London, 1800.

TORTOBELLO, Francesco. Rome, 1680; Maggini pattern.

TOULY, Jean. Nancy, 1730-47. Label: “Fait par moy Jean Touly à
Nancy, 1747.”

TOURTE, François (“le jeune”); b. 1747, Paris; d. there, April
1835. Was a younger brother of Xaver Tourte. (_See_ p. 163.)

TOURTE, le Père. Settled in Paris about 1740.

TOURTE, Xaver (l’aîné), eldest son of Tourte père.

TRAPANI, Raffaele. Naples, 1810; workmanship is good; violins large
patterns, with prominent edges and heavy purfling; the scroll
Brescian type; varnish thick and of a red-brown colour.

TRÉVILLOT, Claude. Mirecourt, 1698.

TRINELLI, Giovanni. Italian.

TRUNCO. Cremona, 1660.

TRUSKA, Simon Joseph, 1734-1809, Raudnitz, Bohemia. Entered Strahow
Monastery, Dec. 8, 1758, taking the vows, Jan. 1, 1761. Became
proficient as a musician and composer, and then began to construct
instruments, making violins, altos, violas d’amore, and bass-viols.

TUBBS, James. A maker of excellent bows, Wardour Street, London.

TURNER, William. London in 1650; splendid wood. Label: “William
Turner, at ye hand and crown in gravelle lane neere Aldgate,
London, 1650.”

TYWERSUS. Instruments are similar to those of Andrea Amati. Nicolas
Renault was a pupil of his. (_See_ p. 187.)

UGAR, Crescenzio. Rome in 1790; work is German in character; brown
varnish.

UNGARINI, Antonio. Fabriano, 1762.

URQUHART, Thomas. A maker in London about 1650-80; he was probably
a Scotchman. His work resembles that of Jacob Rayman, with whom
he may have worked, and shows great merit. His violins are of two
sizes, some on a small, others on a large pattern, very arched, the
corners not very prominent, the purfling narrow and placed close to
the edge; the oil varnish, of a yellowish-brown or sometimes red
colour, is of excellent quality, and is similar to Italian varnish;
the tone is clear and silvery. His violins and violas are rare, and
no violoncello of his has been seen. Urquhart is sure to rise in
value, and some of his work is splendid in finish.

VAILLANT (Vaillot or Vaillaut), François. Paris, 1736-83; good
workmanship; varnish poor.

VALENTINE, William. London, died about 1877; made good
double-basses.

VALLER. Marseilles, 1683.

VANDELLI, Giovanni. Modena, 1796-1839; fair work.

VANDERLIST. Paris, 1788-89. Guadagnini pattern and varnish. He
branded his name on his instruments. Label: “Luthier, rue des
Vieux-Augustins, près de l’égout de la rue Montmartre, Paris.”

VAROTTI, Giovanni. Bologna, 1813.

VARQUAIN. Paris, 1742.

VAUCHEL, Joseph. Damm about 1840. He exhibited two violins at
Munich in 1854, which had a fine tone, and was awarded the medal of
honour. Hörlein was a pupil of his.

VENZI, Andrea. Florence, 1636.

VERBRUGGEN, Theodor. Is known as one of the makers in Antwerp in
1641 by a double-bass which he made for use in the Cathedral.

VERINI, Andrea. 1884.

VERLE, Francesco. Padua about 1590. Label: “In Padova Francesco
Verle.”

VERMESCH, le Père. Beaumont-sur-Oise in 1781.

VÉRON, Pierre André. Paris about 1720-50; good work; pattern
Italian.

VETRINI, Battista. Brescia about 1629; small pattern; wood is
excellent; good yellow varnish.

VETTER, Jeane Christophe. Strasburg in 1744.

VIARD, Nicolas. Versailles, 1790.

VIBERT, J. B. Paris, 1775.

VIBRECHT, Gysbert. Amsterdam, 1700-10.

VILLAUME ET GIRON. In a violin of fairly good workmanship was the
printed label: “Villaume et Giron, Troyes, 170--.”

VIMERCATI, Pietro. Do not confound with Gaspar, a lute-maker. A
maker in Brescia in the 17th century; is thought to have been
a pupil of Carlo Tononi in Venice; instruments arched; Maggini
pattern.

VINACCIA, Antonio. The head of a family of makers; worked in
Naples, 1766-74; pattern of Gagliano. Two sons, Gennaro and
Gaetano, were also makers, but chiefly of mandolines.

VINACCIA, Pasquale, son of Gaetano, 1806-81.

VINCENZI, Luigi. Carpi in 1775.

VIORILLO, Giovanni. Ferrara, 1780; followed Stainer pattern.

VIR, Hieronimo di. Bresa, Silesia.

VITOR, de. A maker in Brescia in 1740; instruments similar in
appearance to those of Maggini; large pattern; fine workmanship.

VITUS DE ANGELIS. Bologna, 1609.

VIVOLI, Giovanni. Florence, 1642.

VOEL, E. Mayence, 1840; his instruments follow the Stradivari more
than the German pattern; general workmanship good.

VOGEL, Wolfgang; d. Feb. 17, 1650, Nuremberg; instruments much
liked.

VOGLER, Johan Georg. Würzburg in 1749. Label: “Johann Georg Vogler,
Lauten und Geigenmacher in Würzburg, 17--.” His son was the
celebrated Abbé Georg Joseph Vogler.

VOGT. Good instruments, Vienna, in the Speigel-Gasse.

VOIGT, Martin. Hamburg, 1726. His work is similar to that of
Tielke. A bass-viol, the back inlaid in ivory, having Apollo,
Venus, Mercury, and Diana represented, was dated Hamburg, 1726, and
was exhibited at the South Kensington Museum, London, 1872.

VOIRIN, François Nicolas. 1833, at Mirecourt; 1885, Paris. After
working at Mirecourt, he went to Paris in 1855, and for fifteen
years made bows for J. B. Vuillaume; he obtained as “collaborateur”
a “mention honourable” at the 1867 Paris Exhibition; gold and
silver medalist, Paris, 1867 and 1878; followed the Tourte pattern,
but made the head of his bow less square; his workmanship shows
wonderful finish and elegance. He was awarded a silver medal at
the Paris Exhibition in 1878, the only prize given to bow-making;
and some of his bows exhibited after his death at the Antwerp
Exhibition were awarded a gold medal. He branded his bows with “F.
N. Voirin, à Paris”; to this was added, on those bows exhibited at
Paris, 1878, “Exposition, 1878.”

VUILLAUME, Claude; b. 1772, Mirecourt; d. 1834. He is the first
member known of this family of violin-makers.

VUILLAUME, Claude François, fourth son of Claude Vuillaume; b.
March 1807, Mirecourt. His son, Sébastien, was also a maker.

VUILLAUME, Jean; b. 1700; d. 1740. A maker in Mirecourt; is said to
have been a pupil of Stradivari, but his work shows no sign of it.

VUILLAUME, Jean Baptiste, eldest son of Claude Vuillaume. 1798,
Mirecourt; 1875, at Paris. (_See_ p. 110.)

VUILLAUME, Nicolas, second son of Claude Vuillaume. 1800-71,
Mirecourt. Worked with Jean Baptiste, his elder brother, for ten
years at Paris.

VUILLAUME, Nicolas François, third son of Claude Vuillaume.
1802, Mirecourt; 1876, Brabant. He worked with his brother, Jean
Baptiste, Paris; made fair instruments, and was a fine copyist of
Stradivari.

VUILLAUME, Sébastien, son of Claude François Vuillaume; b. 1835; d.
1875, Paris. He was the last maker of this family, and continued to
make bows on the same pattern as Jean Baptiste Vuillaume, having
in his possession the machine for cutting bows which J. B. V. had
invented shortly before his death. Bronze and silver medals: Paris,
1867; Havre, 1868.

WAGNER, Benedict. A maker of lutes and violins in Estwangen in 1769.

WAGNER, Joseph. Constance, 18th century.

WALDANER. Fussen, 1770.

WALTER, Jean. Paris, 1775-1800.

WAMSLEY, Peter. A maker in London about 1715-51. He had at one time
a great reputation, especially for his violoncellos. He copied the
Stainer pattern very closely, and also made a few imitations of
Stradivari instruments; but in his attempts to obtain an Italian
quality of tone he thinned the wood too much, making the tone sound
hollow. His violoncellos with thicker wood have a fine tone, so
have his double-basses; the latter are rare, and generally have red
varnish.

WEAVER, Samuel. London; known by his printed label, “All sorts of
musical instruments made and sold by Saml. Weaver on London Bridge.”

WEICKERT. Halle, 1800.

WEIGERT, Johann Blasius. Linz, 1721; a viola d’amore known,
labelled: “Joann Blasius Weigert Lauten und Geigenmacher in Linz,
1721.”

WEISZ (Weiss), Jacob. Salzburg, 1733-61.

WENGER, Gregor Ferdinand. Salzburg, 1750-60.

WENGER. Padua, 1622.

WETTENENGEL, Gustav Adolph. Neukirchen, Saxony, 1828. He wrote an
excellent practical treatise on violin-making.

WEYMANN, Cornelius. Amsterdam, 1682.

WIDHALM (Withalm), Leopold. Nuremberg, about 1750-80; imitated
Stainer; wood carefully chosen, sometimes too thin; the varnish red
colour, good quality. Several of his violins have double purfling,
and are branded with his initials inside.

WIGHTMAN, George. Only known by his label: “George Wightman, Wood
Street, London, 1761.”

WILLEMS, Hendrick. Ghent, Belgium, 1650-1700. An alto of large
pattern has remarkably fine wood used for the belly; the corners
are prominent and squared at the end; Brescian model; the neck ends
in a lion’s head; the outline and the beautiful finish could almost
be mistaken for Italian work, but the varnish is too dry. Nearly
all his instruments have beautiful wood for the belly, but walnut,
lime-tree, or plane-tree wood is frequently used for the back and
the sides, especially in the case of the basses.

WILLEMS, Hendrick. Ghent; some time after the previous Hendrick
already mentioned. He made a violoncello or bass with five strings,
labelled: “Heyndrick Willems tot Ghendt, 1717.” A violin, dated
1743, had the belly made of carefully selected pine, the back of
walnut, and the sides (very exceptional) of maple.

WILLEMS, Jooris. Ghent, 1630-65; a cornet-player, 1634-71. The
first mention of him is in August 1634; used lime-wood and
finely-figured maple; Italian style.

WILLER. Prague, 18th century.

WISE, Christopher. Transition maker of viols and violins in London,
1656; small pattern, not much arched; yellow varnish, good quality;
careful work. Label: “Christopher Wise, in Half-Moon Alley, without
Bishops-Gate, London, 1656.”

WITHERS, Edward. He succeeded to William Davis’s business at 31
Coventry Street, London, in December 1846. Both Charles Maucotel
and Boullangier worked under him at one time.

WITHERS, Edward, eldest son of Edward Withers, b. Oct. 22, 1844.
Pupil of his father and John Lott. Commenced business at 31
Coventry Street, London, in 1856; makes about twelve instruments
per year, on the Stradivari and Guarneri patterns, using good oil
varnish, amber colour.

WITTING, Johann Georg. Mittenwald, about 1775; his instruments are
well made; dark varnish.

WORNUM, Robert, 1742-1815. A music-seller in Glasshouse Street,
also a violin and violoncello maker.

WORTE, Matthias. Augsburg, 1639.

WRIGHT, Daniel. London, 1745. Label: “Made by Daniel Wright in
Holborn, London.”

ZACH. Vienna; makes good instruments.

ZANFI, Giacomo. Modena, 1756-1822.

ZANOLI, Giacomo. Padua, 1740.

ZANOLI, Giambattista. Verona, 1730; rough work; German style.

ZANOTTI, Antonio. Lodi and Mantua, 1734.

ZANOTTI, Giuseppe. Piacenza, 18th century.

ZANTI, Alessandro. Mantua, 1770; Stradivari pattern; poor varnish.

ZENATTO, Pietro. Treviso, 1634.

ZIMBELMANN, Filippo. Florence, 1661.

ZIVERGER (Zwerger), Anton. Mittenwald, 1750; good wood; dark
varnish; fair finish.

BIBLIOGRAPHY

It is very difficult to define my obligations to previous writers and advisers when I owe almost everything to them; but I am bound to state specially, that without Messrs Hill & Sons’ assistance and counsel, and the works of Fétis, Vidal, George Hart, Heron-Allen, and Mr Fleming, I could not have written this book at all. The preceding list of makers has been largely adopted from Miss Stainer’s elaborate Music Primer, “Violin Makers,” published by Novello.

ENGLISH.

HAMILTON, J. A. Hamilton’s “Catechism for the Violin.” London, 1848. R. Cocks & Co. Fifteenth Edition, 1883, contains Preface by John Bishop.

FÉTIS, FRANÇOIS JOSEPH. “Biographical Notice of Nicolo Paganini.” Includes a sketch of the history of the violin. Schott & Co. 8vo.

JOUSSE, J. “Theory and Practice of the Violin.” London, 1811.

MACDONALD, JOHN. “Practice and Theory of the Violoncello” (printed for Author). London, 1811. Appendix, 1815. Also “A Treatise on the Harmonic System, Divisions of Strings, &c. &c.” London, 1822.

OTTO, JACOB AUGUSTUS. “Treatise on the Construction, Preservation, and Repairs of the Violin.” London: Longmans, 1833.

DUBOURG, GEORGE. “The Violin.” H. Colburn. London, 1836. Small octavo, fifth edition. Enlarged by John Bishop, of Cheltenham, 1878. R. Cocks.

MACKINTOSH. “Remarks on the Construction and Materials employed in the Manufacture of the Violin.” Dublin, 1837. 8vo pamphlet.

PAINE, JOHN. “A Treatise on the Violin.” Printed for the Author, 1850.

PURDY, GEORGE. “A Few Words on the Violin.” W. G. Goulburn, 1858.

SANDYS, WILLIAM, and FORSTER, SIMON ANDREW. “The History of the Violin.” London, 1864. J. R. Smith, Addison, & Lucas. Large 8vo.

FÉTIS, FRANÇOIS, JOSEPH. “Notice of Anthony Stradivari.” R. Cocks. Large 8vo. 1864.

PEARCE, JOSEPH, jun. “Violins and Violin-makers.” Longmans, 1866.

ADZE, WILLET. “Musical Notes,” including “Violinists” and “The Violin and its History.” London, 1869. R. Bentley.

DAVIDSON, PETER. “The Violin.” Pitman: Edinburgh, Aberdeen, 1871. Small octavo. Fourth edition, 1881.

READE, CHARLES. “A Lost Art Revived.” Gloucester, 1873. John Bellowes. Large 8vo.

GOFFRIE, CHARLES. “The Violin.” Philadelphia, U.S.A., 1876. G. André & Co. 8vo pamphlet.

SMITH, H. P. “The Construction of the Violin.” Syracuse, U.S.A., n.d. (1877). Roblee & Co.

SCHEBEK, DR EDMUND. “The Violin Manufacture in Italy and its German Origin.” London, 1877. W. Reeves. Large 8vo pamphlet.

BROADHOUSE, JOHN. “Facts about Fiddles.” London, n.d. (1879). W. Reeves.

PORTER, THOMAS. “How to Choose a Violin.” London, n.d. (1879). F. Pitman. 8vo.

NICHOLSON, J. “Designs and Plans for the Construction and New Model of Violin, and Arrangement of the New Model Violin.” London, 1880. Printed by H. K. Lewis. Large folio.

HART, GEORGE. “The Violin, its Famous Makers.” London, 1875, 1884, 1880. Dulan & Schott. Large post 4to and small 8vo.

HART, GEORGE. “The Violin and its Music.” London, 1881. Dulan & Schott.

GEMÜNDER, GEORGE. George Gemünder’s “Progress in Violin-making.” Astoria, New York, 1881. Published by the Author.

READE, CHARLES. “Jack of All Trades.” London, 1882. Chatto & Windus.

HERON-ALLEN, EDWARD. “Opuscula Fidicularum.” London, 1882. Mitchell & Hughes.

HERON-ALLEN, EDWARD. “De Fidiculis Opusculum” II. London, 1883. Mitchell & Hughes.

HERON-ALLEN. “Markneukirchen Arts and Crafts Book” (translated).

HILL & SONS. (1) “The Messie,” (2) “The Tuscan,” (3) “Gio. Paolo Maggini.” Novello, Ewer & Co.

CHANOT, GEORGES. “Hodges _v._ Chanot.” London, 1882. Mitchell & Hughes. Large 8vo pamphlet.

ENGEL, CARL. “Researches into the Early History of the Violin Family.” London, 1883.

ITALIAN.

ZANNETI, GASPARO. “Il Scolaro.” Milan, 1645.

TARTINI, GIUSEPPE. A Letter from the late Signor Tartini to Signora Maddalena Lombardini, translated by Dr Burney. London, 1771. R. Bremner.

BAGATELLA, ANTONIO. “Regole per la Costruzione de’ Violini, Viole, Violoncelli, et Violoni.” Padova, 1786. A spese dell’ Accademia.

PANCALDI, CARLO. “Progresso Italiano nella Costruzione del Violino operato da Antonio Gibertini da Parma.” Palermo, 1845. Tipografia Maddalena. Small 8vo.

REGLI, FRANCESCO. “Storia del Violino in Piemonte.” Turin, 1863. Enrico Dalmazzo. Large 8vo.

LOMBARDINI, PAOLO. “Cenni sulla celebre scuola Cremonese degli stromenti ad arco.” Cremona, 1872. Tipografia dalla Noce. Large 8vo.

RINALDI, BENEDETTO-GIOFFREDO. “Classica Fabbricazione di Violini.” Turin, 1873. Rinaldi. Large 8vo pamphlet.

VALDRIGHI, LUIGI FRANCESCO. “Liuteria Modenese antica e moderna.” Modena, 1878. Toschi. 8vo.

---- Musurgiana No. 9. “Strumenti ad arco Rinforzati.” Modena, 1881. G. T. Vincenzi e Nep. Large 8vo pamphlet.

FRENCH.

ROUSSEAU, JEAN. “Traité de la Viole.” Paris, 1687. Ch. Ballard. 8vo.

LEBLANC, HUBERT. “Défense de la basse de Viole contre les Entreprises du Violon et les pretensions du Violoncelle.” Amsterdam, 1740. P. Mortier. 16mo.

JACQUOT, A. “Music in Lorraine.”

TERRASSON, A. “Sur la Vielle.” Paris, 1741.

LECLAIR, JEAN MARIE. “Tablature idéale du Violon.” Paris, 1766. 8vo.

SIBIRE, L’ABBÉ. “La Chelonomie.” Paris, 1806. Brussels, chez l’Aullur et Millet. Second Edition, 1823. Weissenbruch. 8vo.

CHANOT, FRANÇOIS. “Rapport fait à l’Académie des Beaux Arts 3 Avril 1819.” Paris, 1819. 4to.

CONTANGER (LE DR HENRI). Gaspard Duiffoprugcar et les Luthiers lyonnais du xvi^e Siecle. Paris, 1893. Fischbacher.

SAVART, FÉLIX. “Mémoire sur la Construction des Instruments à Cordes et à Archet.” Paris, n.d. (1819). Roret. 8vo.

MAUGIN, J. C. “Manuel du Luthier.” Paris, 1834. Roret 12mo.

MAUGIN, J. C., et MAIGNE, W. “Nouveau Manuel Complet du Luthier.” Paris, 1869. Roret.

DESMARAIS, CYPRIEN. “Archéologie du Violon.” Paris, 1836. Dentu et Sapia. Large 8vo pamphlet.

FOURGEAUD, ALEXANDRE. “Les Violons de Dalayrac.” Paris, 1856. Leclerc. Large 8vo pamphlet.

[YOUSSOUPOW, PRINCE.] “Luthomonographie Historique et Raisonnée.” Frankfort S/M., 1856. Ch. Fugel. Large 8vo.

GALLAY, JULES. “Les Instruments à Archet à l’Exposition Universelle de 1867.” Juanst. 8vo.

GRIVEL, VICTOR. “Vernis des Anciens Luthiers.” Grenoble, 1867. F. Allier. 8vo.

GALLAY, JULES. “Les Luthiers Italiens.” Nouvelle édition du Parfait Luthier de l’Abbé Sibire. Paris, 1869. Académie des Bibliophiles.

PLASSIARD, J. A. “Des Cordes du Violon.” Lille, 1876. Danet.

VIDAL, ANTOINE. “Les Instruments à Archet, les Faiseurs, les Joueurs d’Instruments, leur Histoire sur le Continent Européen.” Suivi d’un Catalogue générale de la Musique de Chambre. Orné de planches gravées à l’eau forte par Frédéric Hillemacher. Paris, 1876: J. Claye. 3 vols. 4to. Edition-de-luxe.

COPPÉE, FRANÇOIS. “Le Luthier de Cremone.” London, 1880. Dulan & Co. 12mo.

SIMOUTRE, N. E. “Aux Amateurs du Violon.” Bâle, 1883. G. A. Bonfantini.

GERMAN.

REICHARDT, JOHANN FRIEDRICH. “Ueber die Pflichten des Ripien-Violinisten.” Berlin und Leipzig, 1776. G. J. Decker.

BAGATELLA, ANTONIO. “Ueber den Bau der Violine.” Leipzig, n.d. (1806). Kuhnel. 8vo.

WETTENGEL, GUSTAV ADOLPH. “Neuer Schauplatz der Künste und Handwerke.” Ilmenda, 1828. B. F. Voigt.

BACHMANN, OTTO. “Theoretisch-praktisches Handbuch des Geigenbaues.” Leipzig, 1835. G. Basse.

BAADER, J. “Chronik des Marktes.” Mittenwald.

ABELE, HYACINTH. “Die Violine.” Neuberg A/D., 1864. A. Zrechter. Small 8vo.

SCHUBERT, F. L. “Die Violine.” Leipzig, 1865. Merzeburger.

DIEHL, NICOLAUS LOUIS. “Die Geigenmacher der Alten Italienischen Schule.” Hamburg, 1866, 1877. J. F. Richter.

WETTENGEL, GUSTAV ADOLPH. “G. A. W.’s weil Violin-bogenmachers zu Markneukirchen.” Weimar, 1869. B. F. Voigt.

WASIELEWSKI, JOSEPH WILHELM VON. “Die Violine im XVII. Jahrhundert.” Bonn, 1874. M. Cohen.

RITTER, HERMANN. “Die Viola Alta.” Heidelberg, 1876. G. Weiss. 4to.

NIEDERHEITMANN, FRIEDRICH. “Die Meister der Geigenbaukunst in Italien und Tyrol.” Hamburg, 1876. Aug. Cranz, 1876.

---- Cremona. “Eine Charakteristik der Italienischen Geigenbauer.” Leipzig, 1877. Carl Merzeburger. 8vo.

DESCRIPTION OF PLATES

PLATE I (_to face page 18_)

A Duiffoprugcar viol da Gamba, owned by Mr George Donaldson. This matchless antique is doubtless one of many, but most of the rest have perished; it stands almost alone as a poetic specimen of the phantasy of the old viol makers. It is elaborately decorated on the back, after the taste of the period, with an excess of ornament, which the fine instinct of the subsequent makers of violins rejected as prejudicial to tone. The habit of adopting a creature’s head, or a face, for a scroll long lingered, and is not unknown in the work of Stradivarius. In England numerous copies of Duke that have been palmed off as original have lion heads. These instruments were usually “made in Germany,” and it appears to have been a favourite practice there to use such carved scrolls.

PLATE II (_to face page 38_)

A Maggini violin (the “De Beriot”) owned by Mr Antonietti. The Maggini here given is an admirably preserved specimen of the great Brescian master, who, next to Stradiuarius, did more than any one man to inspire and define the ideal shape, from which even the Amati at first departed, but which Strad had the genius to restore and perfect. The corners, however, have been rubbed, and not in every case renewed, otherwise it is in as perfect a condition as can be expected in so old a fiddle. The scroll is cut with a care and an advanced finish which reminds us of the bolder Strad period, 1700-30. Maggini, oddly enough, was little honoured in the first quarter of this century, but De Beriot had the insight to discern his merits; and from the time he adopted him for his masterly and full-toned performances, the Magginis rose, and have been continuing to rise, in public estimation.

PLATE III (_to face page 50_)

Her late Majesty’s Amati tenor is in beautiful condition; it is elaborately ornamented, in lieu of the usual purfling. It was, doubtless, originally made to order for some great prelate; and it bears on its back a noble coat of arms hardly decipherable, and the image of John Baptist carrying a lamb (“Behold the Lamb of God!” John i. 36). The instrument was used in Her late Majesty’s private band by Mr Hann (1898). Like many old viols it has been somewhat reduced in size. For the loan of this instrument I am indebted to the good offices of Sir Walter Parratt, director of the late Queen’s private band.

PLATE IV (_to face page 58_)

Paganini’s Joseph Guarnerius. This is a fine and very characteristic specimen of the mighty Del Gesù. It is in his most powerful and massive style (the head almost brutal in its bull-dog strength), with full rich colour thickly laid on to match. Seldom, indeed, do we find so much varnish left on the back of so old a violin. The instrument has been very carefully dealt with. The story of how it passed into Paganini’s hands is well known. An Italian amateur, who evidently knew its value, lent it to the great maestro, and, after hearing its marvellous qualities, as drawn forth by the Magician of the Violin, declared that no other hand should henceforth set its chords in vibration. Paganini left it to his native town of Genoa, and there it may still be seen in the Town Hall. It was his favourite instrument; and the giant Joseph Guarnerius was well matched with the giant Nicolo Paganini.

PLATE V (_to face page 66_)

The Rode and Spanish violins and the Spanish tenor, it will be observed, are all inlaid. Strad was no bigot, and although we may confidently assert that he disapproved of all inlaying or decoration on the bellies or backs, and confined it to its narrowest limits when resorted to in lieu of the usual strip of purfling, he probably judged that if it did not encroach upon the vibratory surfaces much beyond a common purfle, it was comparatively harmless. It is likely that the Rode Strad, whose history I am unable to record, was made for Royalty or some great Prince Cardinal of the Church, the extra decoration being considered due to the high rank of the patron, or wrought in obedience to a special request. We have many evidences that Strad was not above pleasing the individual whims of his clients. He was himself an expert carver, and could inlay with the best of them when he chose. The Rode Strad was sold to Messrs Hill by M. Lamoureux, the eminent French conductor, and by them to Dr Oldham of Brighton. The Strad ’cello is a good specimen of Strad’s improved bass model. The size is brought down characteristically, and the comparative smallness of the upper, contrasting with the ample development of the lower part, gives the instrument an appearance of lightness and grace; whilst the delicate and somewhat narrow head, with its sufficiently massive and finely cut out scroll, admirably balances the whole to the eye with a certain “chic” quite _a la Strad_.

PLATE VI (_to face page 68_)

This plate contains profiles of the three Strads shown in Plate V., and is interesting as displaying the variety exhibited in Strad’s scroll carving. The Spanish Strad has quite an Amatisé scroll, long, light, and very restrained, and undeveloped at the lower extremity. Notice the greater freedom of the Rode scroll, quite in Strad’s best manner. The Rode model is also flatter in the back, but the bellies are all flat in the approved style, after the earlier Amati groove had almost entirely disappeared from the Cremona model.

PLATE VII (_to face page 82_)

A Panoramic View of Cremona, taken outside Porto Po from the banks of the river, and engraved about 1830 by Caporali. Names of buildings, counting from the right of the print: 1. Church of S. Pietro; 2. Tower of the old prisons near the Town Hall; 3. Battisterio; 4. Cathedral; 5. Town Hall Tower; 6. Torrazzo, the Cathedral Tower, the highest in Italy; 7. Church of S. Marcellino; 8. Church of S. Domenico; 9. Church of S. Agostino; 10. Church of S. Lucca; 11. Church of S. Omobono, patron of the town; 12. Church of S. Agata; 13. Church of S. Ilario; 14. Church of S. Luca. Signor Sacchi, a native of Cremona, has kindly identified all the above for me.

PLATES VIII AND IX (_to face pages 106, 110_)

These portraits of Tourte, Lupot, Vuillaume, and Ebsworth Hill being fully dwelt on in the text, need no further comment.

PLATE X (_to face page 162_)

This plate of backs, bellies, and bows, has been fully explained in the text.

PLATE XI (_to face page 182_)

Portraits of Paganini abound. Landseer sketched a series, which, however, are slightly of the nature of caricatures. It was difficult to do otherwise. The Maestro’s features were so marked, his long hair so weird, the tall forehead, the wide sensitive mouth, the dark eyes, the ungainly and gaunt, almost dislocated attitudes of the man lent themselves freely to a lively and not always sympathetic or respectful pencil. The portrait, a rare one, here produced, hits the happy mean. The finest representation of him is, however, Danton’s small bust (admirably reproduced by Mrs Haweis’ pencil in “My Musical Life,” where see my biographical study of Paganini).

PLATE XII (_to face page 238_)

For a fuller list of labels, the “Collector” had better consult Mr Vidal’s most valuable book referred to in our Bibliography, from which our seven specimens are reproduced. I may observe that a forged fiddle may often have what purports to be a genuine label. A reference, therefore, to these facsimiles may be useful.

Buyers should also beware of labels bearing dates _posterior_ to the death of the alleged makers. I have seen Stainer’s so decorated. Stainer labels in two different sorts of type, _i.e._, the name in a running type and the rest in print, are never genuine. Duke copies of Stainer, often very good ones, sometimes present this peculiarity. Notice that Gasparo and Gio Paolo Maggini never _dated_ their instruments. There exist numerous dated copies of Maggini--generally recent copies--De Beriot having brought the great Gio into notice. These are all frauds.

Stradiuarius changed his labels late in life, using a _v_ instead of _u_, and spelling Stradivari or Stradivarius. This is called the cursive _v_. Some Stradivarius-labelled violins have all the figures of the date _printed_, _e.g._, 1712. These are forgeries. The last two figures in the real labels being always filled up in ink, which has much faded. It does not, however, follow that all thus filled in are genuine--indeed, most are frauds. A particularly favourite date for forged Stradivari labels is 1721.

INDEX

Albani, 102

Aldric, Paris dealer, 174

Aireton, 124

Amateurs, their opinions, 225

Amati, the, 43, 44, 47

Americans, their wood, 233

Artôt’s Strad, 75

Balzar, great violinist, 122

Band, Charles II.’s, 121

Banks, English maker, 130

Barak Norman, English maker, 125

Bernadel, French maker, 109, 189

Betts, English maker, 133

Bisexual violin nature, 22

Boquay, French maker, 105

Bows, _see_ Chap. XI.

Buying fiddles, 235

Carlo Bergonzi, 83;
supremacy, 230;
gems, 173;
influence, 94

Charles II.’s court, influence on music, 121

Charles Reade, 180, 217

Children, their fiddles, 68

Collecting mania, 12

Completeness of violin, 7

Control of violin, 9

Convalescent fiddles, 200

Cracked fiddles, 198

Cremona city, 42

Cremona gems, discovery of, 173

Cremona influence, 94

Cross, English maker, 125

Dealers, _see_ Chap. XV.

Dodd, bow-maker, 133, 166

“Dolphin,” a celebrated Strad, 74

Duiffoprugcar, old maker, 12;
his viol da Gamba, 19

Duke, English maker, 132

Elector fiddles by Stainer, 97

English makers, _see_ Chap. VIII.

“False” strings, 156

Fendt, Bernard, 132

Fiddles and umbrellas, 214

Fiddle flukes, 220

Fiddle frauds, 223

Fiddle judges, 224

Fiddles, new and old, secret of, 227, 233

Fingerboard, 207

“Finish” of old makers, 26

Foster, the family of, 126-127, &c.

France, violins in, _see_ Chap. VII.

François Tourte, bow-maker, 164

Gagliano, 89

Gand, French maker, 109, 189

Gasparo da Salo, 30

Genesis of violin, _see_ Chap. I.

German strings, 158

Germany, fiddle-makers, _see_ Chap. VI.

Geronimo Amati, 44

Gillott’s Mr, collection, 217

Giuseppe or Joseph Guarnerius, 53

Goding’s, Mr, collection, 178

Golden Strad period, 73

Guadagnini, 86

Guarneri family, 51

Guild of Markneukirchen, 194-197.

Hart, John, dealer, 180

Hill, William Ebsworth, 133

Holmes, Oliver Wendell, 226

Horses, fiddles and umbrellas, 214

Ignorance and neglect, 215

Jaques, French maker, 105

Jay, English maker, 124

Jean and Nicolas Medard, 187

Joseph or Giuseppe Guarnerius, 53

Kennedys, the English, 1872 and 1885, 218;
makers, 124

Klotz family, 101, 191

Landolpho, Italian, 216

Lott, John, English, 219

Luigi Tarisio, rediscoverer of Cremonas, 179, 181;
_see_ Chap. XIV.

Lupôt, French maker, 106, 168-188

Maggini, early Brescian maker, 32-40

Mantegazza, Venetian maker, 90

Manufacture of strings process, 155

Markneukirchen, early home of violin manufacture, 186, 193

“Master” Reiter, Mittenwald maker, 192

Maucotel, French, 188

Medard, early Tyrol maker, 187;
_see_ Chap. XIII.

Menegand, French, 188

“Messie,” a great Strad violin, 77

Mirecourt, early home of violin manufacture, 189

Mittenwald violin manufacture, 186

Montagnana, Venetian maker, 87

Mutes or sordini to deaden sounds, 159

Neglect of English makers, 118

Neglect of violins, 215

New fiddles, 227, 233

Nicolas Lupôt, _see_ Lupôt.

Nicolo Amati, the best of the family, 47

Norman, _see_ Barak Norman.

Oliver Wendell Holmes, a letter, 226

Ouri, the violinist, 170

Over-restoration, 203

Paduan strings, 158

Paganini, 9-56, 182

Pamphilon, English maker, 124

Panormo, maker of guitars and fiddles, 124

Paris, Vuillaume and Tarisio at, 176-178

Parker, English maker, 124

Peccate, Italian maker, 169

Pernambuco wood for bows, 161

Personal fascination in violin-playing, secret of it, 11

Pieray, 105

Pique, French maker, 108

Prelude and postlude, 7, 237

“Pucelle,” a celebrated Strad, 78

Reade, _see_ Charles Reade.

Reiter, _see_ “Master.”

Remenyi, violinist, 170, 224

Restoration, 203

Revarder, Mirecourt maker, 188

Rosin, treatment and use of, 202

Rugerius, Italian maker, 50

Salo, early violin centre, 30

Savart’s experiments, 25

Scale of prices, 236

Secret or old violins, 228

Sound qualities of old and new violins, 227

South Kensington Collections, _see_ Kensington.

Stainer, _see_ Chap. VI.

Stainer, Miss, “Violin Manual,” 189

Stradivarius, _see_ Chap. V.

Strange finds, 77

String gauge, 154

Strings, violin, _see_ Chap. X.

Story of the Markneukirchen Guild, 194-197

Subdivision of labour a cause of decline, 231

Tarisio, _see_ Luigi, 179, and Chap. XIV.

Techler, German school, 102

Thibouville-Lamy, French maker, 189

Tourte, bow-maker, 164

Treatment of violin, _see_ Chap. XIV.

Tubbs, bow-maker, 169

“Tuscan,” the celebrated Strad, 69

Urquhart, English maker, 124

Varnish, _see_ Chap. IX.

Violin constitution, _see_ Chap. II.

Violin dealing and collecting, _see_ Chap. XV.

Violin progress, _see_ Chap. I.

Violin rise, _see_ Chap. I.

Violin treatment, _see_ Chap. XIV.

Viols, _see_ Chap. I.;
English, 119

Vision of Stradivari, 79

Vuillaume, 110, 168

Walmesley, English maker, 125

PRINTED BY OLIVER AND BOYD, EDINBURGH

_Uniform with this Volume_

Fine Prints

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With 12 Plates. 7s. 6d. net

Illustrations by Examples after Mantegna, Marc Antonio, Schöngauer,
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Chardin, Reynolds, and Turner.

CONTENTS: Introduction--The Task of the Collector--Claude, Vandyke, Ostade, Hollar--Rembrandt (Illustrations)--French Revival of Etching (Illustrations)--Whistler and Haden--Later English Etchers--Dürer: The “Little Masters” (Illustrations)--Italian Line Engravers (Illustrations)--French Eighteenth Century Prints (Illustrations)--Turner Prints (Illustrations)--Mezzotints (Illustrations)--Lithographs--Appendix: Certain Woodcuts--Postscript--Bibliography--Index.

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_New and Revised Edition_

Illustrated with 12 full-page Plates depicting 129 Rare Pieces

_Pub. 7s. 6d. net_

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Introductory--Collectors and Collections--Value of Coins--Unique or Remarkable Coins--Greek Coins--Rome--Continent of Europe--United Kingdom--The Coin Market--Terminology--Bibliography--Description of Plates--Index.

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The Book Collector

By W. Carew Hazlitt

A General Survey of the Pursuit, and of those who have engaged in
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_Pub. 7s. 6d. net_

“As Mr Hazlitt shows, his field of choice is wide enough. Ancient typography fascinates some, but here a long purse is needed. Bibles and Testaments, Liturgies, Books of Hours, or similar devotional works appeal to others. The British Museum Library, for instance, is singularly rich in editions in all languages of the ‘Imitatio Christi.’ Books of travel, of voyages, and on topography, such as county and town histories, have all their devotees, and of late years the search for Alpine literature has become so much keener that some books, printed barely forty years ago, have quite doubled their published price. Yet even the systematic collector, as Mr Hazlitt tells us, often runs risks. Here, as among all things human, fashions and whims exist, and a particular class of literature may have ‘booms’ and ‘slumps,’ like certain ‘stocks’ of a questionable character. The books, for instance, in William Morris’s library were ‘below mediocrity in state,’ and of little intrinsic value, yet they excited keen competition, and went for sums ‘which were simply absurd.’”--_Standard._

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FOOTNOTES:

[1] An unique set of instruments by the Amati family worthy of mention is the quintett, composed of three violins, a viola, and a violoncello, now (1898) in the possession of Miss Willmott.

[2] This Fent is no relation, as far as is known, to the family working in England, whose name is spelt Fendt.

[3] A popular comedy (1898).

TRANSCRIBER’S NOTE

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Some hyphens in words have been silently removed, some added, when a predominant preference was found in the original book.

Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

p61-> ‘the boy Giuseppe Gaurneri’ amended to ‘the boy Giuseppe Guarneri’
p105-> ‘Jaques Boquay’ amended to ‘Jacques Boquay’
p278-> ‘he branded’ amended to ‘He branded’