Chapter XXVII: Conclusion (4)

ROGERI, GIOVANNI BATTISTA.--Cremona, Brescia. Born about 1660 in Bologna. Worked until about 1730. An admirable workman, who was a pupil in Niccolò Amati’s workshop, the pupillage being invariably stated in his labels, which are often printed in red ink. Some of his work contains the genuine tickets of his master, and a good many of his instruments are very like those of Amati, the head, however, being heavier in style and the sound-holes slightly different in form. Later work shows a flatter arching, and there is more or less resemblance in the form to that of Stradivari. The general workmanship is always fine. The varnish either identical with Amati’s or a beautiful clear red. The violins were in two sizes, the large examples being very scarce. The size usually seen is about 13-7/8 inches long and the measurements are about those of an ordinary Amati fiddle. The spelling of the name in the labels varies. Sometimes it appears as “Rugerius,” but more commonly it is spelt with an “o.” The violoncellos are splendid examples of their class, and having mostly been built of convenient size, their proportions have not usually been reduced like those of the Amati family.

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

ROMBOUTS, PIETER.--Amsterdam; _circa_ 1700-30. The violins are well made. Rather high built, and with a brilliant red varnish. The purfling is whalebone. There is some resemblance to the work of Jacobs, with whom he is said to have worked. It is also said that in earlier years he was known as “Pieter--Jacobs’s pupil,” and this is supposed to be the origin of the Peeter Jacobs whose name has so frequently appeared in fiddle literature.

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

ROOK, JOSEPH.--Carlisle; _circa_ 1775-1825. The work is neat. Rather high built; and the violins seen by writer of medium size, with clear yellow-brown varnish. It is said that he was taught by Forster, presumably when the latter worked in the North of England.

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

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

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

RUB, AUGUST DE.--Viterbo; _circa_ 1760-75. His label states that he made his instruments for his personal delectation. Writer came across a violin in London recently.

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

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

RUPPERT, JOHANN HEINRICH.--Erfurt; 1719-36. Stainer outline, but arching comparatively flat; no linings or corner blocks.

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

SACCHINI, SABATTINO.--Pesaro; seventeenth century.

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

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

SALLE, LE PÈRE.--Paris; 1825-50. Chiefly known as a connoisseur and repairer. Copied Guarneri.

SALOMON, JEAN BAPTISTE DESHAYES.--Reims, Paris; _circa_ 1735-70. This maker was either an unequal workman, or the instruments bearing his name and stamp were made in different grades. The writer has seen very good violoncellos, on which the finish was above the average. Yellow varnish and well-carved scrolls. The violins generally have a brownish-yellow varnish, the arching is carried almost to the edges. Sound-holes rather wide apart, belly wood rather hard, and backs showing little figure, though now and then they are handsomer. Tone not particularly good. He used various tickets. His business was carried on by his widow for some years after his death.

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

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

SANTAGIULIANA, GIACINTO.--Venice; eighteenth and nineteenth centuries.

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

SANTO, GIOVANNI.--Naples; eighteenth century.

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

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

SAUNIER, EDMOND.--Bordeaux. Died _circa_ 1785. Good work. Not very plentiful in this country.

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

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

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

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

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

SCHEINLEIN, JOHANN MICHAEL.--Langenfeld; eighteenth century. Stainer school. Another, named Matthias Friedrich, worked in the same place.

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

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

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

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

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

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

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

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

SCHUSTER, JOSEPH ANTON.--Schönbach; eighteenth century. Good work.

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

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

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

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

SEIZ OR SEITZ.--Mittenwald; eighteenth century. There were a large number of the name. Many of the instruments are of a useful type and have a good tone.

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

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

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

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

SILVESTRE, HIPPOLYTE CHRÉTIEN.--See Chrétien.

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

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

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

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

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

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

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

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

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

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

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

SNOECK.--Brussels; eighteenth century. There appear to have been three makers of the name. EGIDIUS, _circa_ 1700-30, is the best known. Red-brown varnish. Amati pattern.

SOCQUET, LOUIS.--Paris; late eighteenth century. Mediocre work. Large label with engraved border.

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

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

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

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

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

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

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

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

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

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

STIRRAT, DAVID.--Edinburgh; early nineteenth century. Pupil of Matthew Hardie.

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

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

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

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

STRADIVARI, ANTONIO.--Cremona. Born 1644; died December, 1737. The bulk of the biographical matter concerning this, the most famous of all fiddle makers, was collected by George Hart, who published some of it in the first edition of his celebrated work on the violin, but was unable to include the whole of it until the appearance of the second edition in 1884. He was largely assisted in his researches by Signor Sacchi, a Cremonese gentleman of considerable literary ability. In 1902 appeared the well known and sumptuous volume by the Brothers Hill, republished in cheaper form in 1909, entitled “Antonio Stradivari, his Life and Work,” the most exhaustive critical survey of the subject which has yet appeared. These two books form the chief English authorities for all that is known concerning the great Cremona master. Readers may also consult the very able article contributed by the late E. J. Payne to Grove’s Dictionary of Music, and the little volume of Horace Petherick published in the Strad Library in 1900. The writer’s observations on the work done by Stradivari during the time he was employed by Niccolò Amati will be found in the notices of that maker and of his son, Hieronymus Amati II. One or two labels still survive--one of them dated in 1666--in which Stradivari describes himself as a pupil of Amati. Early works usually exhibit an outline and arching similar to those employed by his master in his ordinary 13-7/8-inch instrument. The varnish seems identical, and is of the usual yellow colour, although darker shades may be seen almost from the first. The chief points of distinction lie in the heavier edges, the cutting of the sound-holes, and the form of the scrolls. This type of violin he continued to make with certain exceptions, such as the “Hellier,” a large fiddle of the “inlaid” class, measuring 14-1/8 inches in length, until 1684. Between that year and 1690 the pattern and details are somewhat variable. According to Messrs. Hill, Stradivari first began to pick out the edges of his scrolls with black in or about the year 1688, and continued the practice, with rare exceptions, until the end of his life. In 1690 he made the remarkable violin known as the “Tuscan,” a large instrument of exceedingly handsome wood and build, and in the years 1691 and 1692 a few violins of exceptionally large proportions. The year 1690 also saw the advent of the “long Strad,” a pattern the dimensions of which have given rise to a certain amount of controversy. As a matter of fact, the lengths of these instruments vary between about 14-1/8 inches and 14-5/16, the latter being the extreme limit. About 14-3/16 inches would seem to be the more usual length. The widths are about 6-7/16 in the upper bouts, and 8 inches in the lower ones. These narrow violins were made until the year 1700, with the exception of the year 1698, from which year no examples seem to have been seen. A large number of them--something like fifty--are still in existence. During this period, however, he did not confine himself entirely to the long pattern. Some of the long Strads are of great beauty of form and material, and by the time he began to make them he had adopted a varnish of deeper colour. The maker’s best period is commonly supposed to begin about the year 1700, but some of the finest efforts are dated from 1704, in which year he made the “Betts,” a specimen in a remarkable state of preservation, and with rather long corners. In the same year he produced a violin bearing a close resemblance to the “Betts,” and which is in the possession of Colonel Glennie. The year 1709 seems to have been one of the most prolific in Stradivari’s career, and many fine examples, such as the “Ernst,” and “La Pucelle,” were made in that year. At about this period the violins having a body length of 14-1/8 inches begin to appear. In the preceding period 14 inches was the general rule. The backs of these violins are mostly made from handsome wood with a broad curl. The years 1710 to 1716 inclusive were productive of many of the finest violins ever made by Stradivari. Amongst them are the “Parke,” 1711, the “Dolphin,” 1714, the “Gillot,” now rather absurdly called the “Emperor,” the “Alard,” all made in 1715, and the famous “Messie,” remarkable for its unique state of preservation, and the magnificent “Cessol,” both of which belong to 1716. Between 1720 and 1725 the outline changes somewhat, and is squarer in the shoulders and the curves of the lower bouts. So far as tone goes some of the best toned fiddles in the world were made about this time, and it may be here added that of late years the later works of Stradivari have received much attention from concert players on account of their masculine tone. In the years immediately preceding his death the maker was in the habit of recording his age in manuscript either upon the labels or on a slip of paper just beneath them. Messrs. Hill enumerate eight examples of this practice; another from the year 1731 came under the writer’s notice in 1912. In the labels dated prior to 1730 the maker’s name is spelt “Stradiuarius,” but from that year onwards it appears as “Stradivarius.” The number of ornamented and inlaid instruments which have survived seems to be about a dozen. Messrs. Hill record ten of these; others are known to have been made, but traces of them, if still existing, have disappeared. The earliest seems to date from 1677, and the latest is the “Rode” violin made in 1722. These examples include a viola dated 1696, and a violoncello. Three of the inlaid violins are dated 1709. The violas at present known number only about a dozen. One of these, a “tenore,” dated 1690, measures 18-7/8 inches in length. The smaller examples average about 16-3/16 to 16-5/16 inches. There are about fifty violoncellos, the older specimens being over 31 inches long, and the later type about 29-1/2 inches or a little over. These include many notable instruments, such as those owned by Piatti, Duport, Servais, and other celebrated players, after whom they have been named. Notwithstanding repeated assertions to the contrary, there is no trace of any double basses made by Stradivari; specimens formerly assigned to him have long been rejected as spurious, and no patterns for such instruments are to be found amongst his drawings, moulds and other working apparatus. These last were bought from Stradivari’s son by Count Cozio di Salabue, and from him descended to the Marquis dalla Valle, who is, or was recently, still in possession of them. Stradivari’s output was enormous, even when due allowance is made for the length of time during which he was at work; and the estimate made by Messrs. Hill, which gives a total of 1116 instruments, is by no means an excessive one. No other maker, who has not degenerated into a “manufacturer,” like Vuillaume and “didier” Nicolas in the last century, can compare with him in this respect, and the marvel of it all is that his own hand is plainly visible in all his works, even to the very last. There can be no reasonable doubt that he was assisted by a considerable number of workmen, including his sons Francesco and Omobono, Carlo Bergonzi, and others whose claims to have been his pupils are more open to question; but whatever share these may have had in the earlier and rougher stages of the work the master left but little trace of it in the finished article. Since the beginning of the last century his fame in this country has steadily increased; his name has become a household word. In his own day his consummate abilities were widely recognised, and orders were sent to him from royal courts and noblemen all over the continent of Europe, as appears by contemporary evidence. To-day his violins command higher prices than ever, and although some of his earlier instruments are more or less played out by the successive generations in whose hands they have seen service, their authorship is of itself sufficient to maintain their market value at a high figure.

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

STRADIVARI, OMOBONO.--Born 1679; died 1742. Son of Antonio. The writer is acquainted with three or four violins which are assigned to him upon good authority. These are of bold pattern and bear some resemblance to the work of Antonio, but do not display any of his fine finish. The wood of the backs is with one exception of small figured native maple. The varnish thinner in texture than that of the father. The sound-holes are somewhat like those of Bergonzi, and in one case are very slightly pointed. The back and sides of the other violin referred to are of beech. The tone of all these specimens is very fine and full. Most of Omobono’s tickets seem to have been in neatly written manuscript. A favourite date, which leads one to suspect their genuineness in some cases, is 1740.

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

STRAUBE, JOHANN AUGUSTIN.--Born 1725; died 1802. Worked chiefly in Berlin. Instruments seemingly very scarce.

STRNAD, CASPAR.--Prague. Died 1823. Fine red varnish, pattern usually that of Stradivari. He used several different labels, engraved with musical instruments and other devices.

STROBL.--Eighteenth century. There were at least three makers of the name. Two named Johann worked in Hallein, and a third named Tobias in Krems.

STUMPEL, H. C.--Minden. Born 1838. A maker who produced instruments of various models, built according to a system of thicknessing of his own. He used a label bearing a diagram showing a violin belly graduated according to his method.

STURTZER, or STURZER.--Breslau. Eighteenth century. Two makers named Johann Michael Sturzer worked in Breslau.

SÜSS, JOHANN CHRISTIAN.--Markneukirchen. Died 1900. Worked for a time in Dresden. He was one of the best bowmakers Germany has produced.

SULOT, NICOLAS.--Dijon; about 1820-40. Took out a patent for a violin with a double belly.

SUTOR, JOHANN MARTIN.--Vienna. Died 1758. Examples scarce, and little known.

SUTTERLEIN, J. FRIEDRICH.--Strasburg. Died 1893 or later. Careful work. Stradivari pattern. Pretty varnish. He came under the notice of the artist Wilhelmj, who thought highly of his abilities.

SZEPESSY. See Bela.

TADOLINI, IGNAZIO.--Modena. Born 1797; died 1873. Known only as a bow-maker, in which department he excelled. A brother--Giuseppe--seems to have made a few instruments.

TANEGIA, CARLO ANTONIO.--Milan; about 1720. Grancino style. Examples scarce.

TANINGARD, GIO. GIORGIO.--Rome; about 1730-1750. Possibly worked with Tecchler. He used various labels.

TARR, WILLIAM.--Manchester. Born 1809; died 1892. This maker is chiefly known amongst English double-bass players, but made smaller instruments also. The basses are often excellent, and are in high esteem amongst Northern and Midland contrabassists.

TASSINI, BARTOLOMMEO.--Venice; latter half of eighteenth century. The backs of his violins are usually in one piece, and the wood is often handsome. Varnish a clear golden yellow.

TAYLOR, WILLIAM.--London; eighteenth and early nineteenth centuries. He was a good average workman, and made useful instruments of the Panormo class. He is said to have been taught by Panormo. The writer has met with a few good violas of his make, but he seems to have made more double-basses. Varnish yellow or yellow brown.

TECCHLER, DAVID.--Salsburg, Venice, Rome. Born 1666; died about 1745. An important and prolific maker. He seems to have had a large business in Rome, and probably employed a good many assistants. A great number of his violoncellos are in existence, and are generally of high merit. They were of large pattern, but have frequently been reduced in size. In his best work he caught something of the true Italian style, and he was evidently acquainted with Italian methods of varnishing. But like nearly all of his countrymen, he never succeeded in freeing himself entirely from German notions, traces of which are noticeable in practically all his works. They all hint of Stainer somewhere. A few fine double-basses are in existence. The violas are very scarce. Violins are pretty plentiful, and vary somewhat in finish and general merit. The writer has met with two of these, and one violoncello with the bellies cut the wrong way of the wood, or “slab-wise.” The scrolls are often well carved, and in the violins somewhat slender at the throat. The varnish on the Roman instruments, which are much more plentiful than those dating from Salsburg or Venice, is of Amati character, and generally of yellow-red or yellow-brown colour.

TEDESCO, LEOPOLDO.--Cremona, Rome. Is all but unknown as a maker, but is mentioned in the Parish Registers of Cremona as a pupil of Niccolò Amati. The name seems to be there spelt “Todesco.” He was born in 1625.

TENTZEL.--Mittenwald; eighteenth century. Kloz school of work.

TERMANINI, JOSEPH.--Modena; about 1750 and later. Appears to have been a priest who made fiddles. Work rare and of no particular merit.

TESTORE.--Milan; seventeenth and eighteenth centuries. A widely known and important family of makers whose instruments, though chiefly of second-class workmanship and inferior finish, are much sought after by players on account of their excellent tone. However rough and unattractive the specimen may appear, a Testore may almost always be relied on to possess a fine tone. Apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions, but there are violins in existence by C. G. and C. A. Testore which prove conclusively that, given the opportunity, these makers were possessed of skill and abilities of a high order. In these rare cases we meet with specimens of good form and finish, handsome wood and brilliant varnish. The average Testore is, however, an instrument which in all or most of these particulars leaves a good deal to be desired. The bellies are almost without exception of pine of the best quality acoustically, but the backs and sides are mostly of plain or small figured native wood, the heads are mean and pinched looking, sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled. CARLO GIUSEPPE TESTORE, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son, CARLO ANTONIO, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini’s favourite double-bass was an example by this maker. A son, GIOVANNI, worked with him in later years. PAOLO ANTONIO TESTORE was the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri. Varnish often palish yellow. Instruments frequently unpurfled, especially in the backs, but a good many have been purfled by later hands. He also used the eagle brand, but not invariably. Wood generally very plain.

THERESS, CHARLES.--London; about 1840-1850. Worked first with Maucotel; afterwards on his own account in Soho. Mirecourt style.

THIBOUT.--Paris; eighteenth and nineteenth centuries. A well-known family, most of whom worked in Paris. There were about six makers in all. The most celebrated was JACQUES PIERRE, born 1779, died 1856. He was one of the finest workmen of the French school, and his best copies of Stradivari are less heavy in appearance than those of Lupot and the tone is more Italian in character. The varnish on such specimens is also very handsome: red on a yellow basis. His instruments were made in at least two grades and the better ones now command very high prices. He obtained several medals, and used labels in various styles at different dates. It is much to be regretted that his best personal work is not more plentiful.

THIBOUVILLE-LAMY, LOUIS EMILE JEROME.--Mirecourt, Paris. Born 1833. Manufactures stringed and other musical instruments on a huge scale, and of all grades. He has received various medals and employs many workmen.

THIR.--Presburg, Vienna; eighteenth century. Nine or ten makers of the name. There were two Antons in Presburg, and two in Vienna. One of the best was ANDREAS, who worked in Presburg until about 1798, and copied the form of Amati well. JOHANN GEORG THIR was established in Vienna until after 1790, and made a good many instruments. Varnish dark brown or dark red. Geissenhof was for a time in partnership with him. Another good maker of the name was MATHIAS, who was a brother of J. G. Thir and worked until about 1795.

THOMASSIN, LOUIS.--Paris. Born 1855. A clever bow-maker. Voirin style.

THOMPSON.--London; late eighteenth century. There were several makers, or rather instrument dealers, in business in St. Paul’s Churchyard. Instruments vary, and the violoncellos are often better than the violins. The latter are generally a sort of mixture of the patterns of Stainer and Amati, with red or yellow varnish, and of no particular character.

THOUVENEL, HENRY.--Mirecourt; about 1850-1860. Strad pattern; yellow varnish.

THUMARDT.--Straubing, Munich; eighteenth and nineteenth centuries. Eight or more makers are named. One of them, JOHANN STEPHAN, worked in Straubing until 1817, and his work is of some value.

TIEFENBRUNNER.--Mittenwald, Munich; eighteenth and nineteenth centuries. A family who must not be confounded with the Tieffenbruckers who were viol makers. Eight or nine Tiefenbrunners have been engaged in the manufacture of stringed instruments, chiefly zithers. Amongst those who made violins JOHANN CASPAR, who died about 1769, and worked in Mittenwald, seems to be best known.

TIELKE, JOACHIM.--Hamburg. Born 1641; died 1719. Is said to have made violins, but the only instruments seen by the writer were of the lute or viol class.

TOBIN, RICHARD.--Dublin, London. A fine workman. Was for a time employed by Perry. Afterwards by Betts and other London dealers, besides working on his own account. Made some very handsome violoncellos, and violins chiefly of Stradivari pattern. He died in Shoreditch in about 1836. His scrolls are wonderful pieces of workmanship; but he was of irregular habits, and did not always do full justice to his powers.

TOLBECQUE, AUGUSTE.--Paris. Born 1830. A violoncellist, and collector of old instruments; he made a few violins which are said to be excellent copies of Italian work.

TONONI.--Bologna, Venice, Rome; seventeenth and eighteenth centuries. An important family of makers of Bolognese origin. There were two Carlos, the elder of whom dates from Bologna, and seems to have worked down to about 1717, or perhaps later. There do not seem to be many of his instruments about. The relationships between the various members of this family are uncertain, and the accounts given of them in books on the violin vary in this respect. Most of the instruments seen are evidently based upon the form of Amati, but there is a German look about them which is apparent enough on examining a specimen though not easy to explain on paper. Many of them are beautifully finished, and built of handsomely figured wood, and the tone, especially of the violoncellos, is exceptionally good. A number of the violins are of rather large size, the arching usually fairly high. Perhaps the best known of the family is CARLO ANTONIO, who worked in Venice from about 1720-1768. Most of the fiddles are rather high built, have finely figured backs, and a yellow or red-orange varnish of very good quality. Name branded above the tail pin. His second Christian name does not seem to appear upon his tickets. GIOVANNI TONONI worked in Bologna and apparently in Venice also. His instruments date from about 1689-1740. Model varies, but is chiefly of large Amati character. Good yellow or brown-red varnish of clear texture. FELICE TONONI dates from Bologna and was possibly the founder of the family, his early tickets dating from about 1670. High model, good clear varnish. Two other names are mentioned, GUIDO and PIETRO.

TOPPANI, ANGELO DE.--Rome; about 1730-45. High built fiddles. Tecchler school.

TOROSSI, CESARE.--Novara; about 1840. Little known.

TOURTE.--Paris; eighteenth and nineteenth centuries. Celebrated bow-makers. Beyond being the father of the famous François, “Tourte père,” though himself a bow-maker, did not achieve any particular distinction. He died about 1780. XAVER or SAVÈRE, his elder son, made some good bows, and some very indifferent ones. FRANCOIS TOURTE was born in 1747, and died in April, 1835. He made a very large number of bows, and continued to work until very late in life. They are unstamped, and save in about two cases, in which he inserted small engraved labels in the nuts, he used no distinguishing mark or brand to identify his work. He was admittedly the finest bowmaker who ever lived, but the work of other French makers is often quite equal in merit to all but his very best examples, and even then it is more a matter of superb finish than of practical utility. He probably was mainly instrumental in settling the correct length of the bow, but beyond this it is very questionable whether he was the actual “inventor” of the improvements with which he is credited in books.

TRAPANI, RAFFAELE.--Naples; early nineteenth century. His instruments are more remarkable for originality than beauty of appearance. Large violins. Sound-holes pointed; flat arching; varnish reddish brown. The work is fairly well finished.

TRINELLI, GIOVANNI.--Scandino; early nineteenth century. Large violins. Powerful tone. Not highly finished. Scarce.

TRUCCO, GIROLAMO.--Savona; about 1840.

TRUSKA, SIMON JOSEPH.--Strahow. Died 1809. A priest who made violins and other stringed instruments.

TUBBS.--London; nineteenth century. A well-known family of bow-makers. William Tubbs, father of the present maker, worked with Edward Dodd, and much of his work strongly resembles that of his master; he was a good workman. JAMES TUBBS was born in 1835, and is still at work. He has attained wide celebrity, and many of his bows are beautiful examples of his art.

TURNER.--London; nineteenth century. Was a well-known dealer and importer, but seems to have employed workmen. His stamp may be seen on many instruments of a common class (sometimes with lion heads) of continental make.

TYWERSUS.--Nancy; sixteenth century. It seems to be doubtful whether he made violins.

UEBEL.--Markneukirchen, Klingenthal; eighteenth and nineteenth centuries. There were several makers of the name. Some of them were at work until very recent times.

UGAR, CRESCENZIO.--Rome; late eighteenth century. Was possibly a German. Brown varnish. German style.

ULRICH, DIEDERICH.--Hamburg; eighteenth century. Yellow varnish. Brescian type of work. Some of the instruments have lion heads.

UNGARINI, RAYNALDO.--Fabriano; about 1800.

URBAN, JOSEPH.--Prague, New York, San Francisco. Died 1893.

URQUHART, THOMAS.--London; latter half of seventeenth century. High built violins. Varnish of beautiful quality.

VAILLANT, FRANCOIS.--Paris; about 1730-80. Scarce.

VAILLANT, NICHOLAS.--Bordeaux; nineteenth century. Red varnish. Well finished work. Scrolls well cut.

VALENZANO, GIOVANNI MARIA.--Valentia, Rome, Trieste. According to specimens seen by the writer the pattern varied somewhat. Work very well finished; sound-holes and scroll well cut; medium size violins with yellow or reddish yellow varnish of good quality, and resembling Neapolitan, but softer in texture. He worked in various places (chiefly Rome), and used both written and printed labels. Dates between about 1790 and 1825.

VALLENTINE, WILLIAM.--London. Died about 1877. Worked for many years for Hart. A good repairer. Chiefly known as a double-bass maker.

VANDELLI, GIOVANNI.--Fiorano (Modena). Died 1839.

VANDERLIST.--Paris; late eighteenth century. Instruments branded. Said to have copied Guadagnini.

VANGELISTI, PIER LORENZO.--Florence; about 1730. Rather indifferent work; somewhat high built. Seemingly scarce.

VAROTTI, GIOVANNI.--Bologna; late eighteenth century.

VAUCHEL, JEAN CORN.--Mayence, Wurzburg, Damm. Died 1856. Was a dealer and repairer as well as a maker. He was patronised by Paganini and Spohr. His monument describes him as one of the most famous violin makers in the world. He seems to have been a workman of ability, but his instruments are little known in this country.

VENTAPANE.--Naples; eighteenth and nineteenth centuries. Three makers of this name date from Naples. Their work belongs to the Gagliano school. Instruments of their make have been sold as genuine Gaglianos. The best known of them is LORENZO, who dates between about 1800-30. Handsome wood, good yellow-orange varnish. VINCENZO VENTAPANE worked down to about 1800, and produced some useful instruments. PASQUALE VENTAPANE was an inferior workman.

VERINI, SERAFINO.--Arceto, Cascogno (Modena). Died 1868. He was a land surveyor who made instruments for his amusement. Andrea Verini, who was perhaps a son, also made instruments.

VERMESCH.--Beaumont-sur-Oise. A priest who worked at fiddle making about 1780-1810.

VERON, ANTOINE.--Paris; about 1720-50. Pierray school of work.

VERON, PIERRE ANDRÉ.--Paris; eighteenth century.

VETRINI.--Brescia; about 1630.

VIEDENHOFER, BERNARD.--Pesth (Budapest); late eighteenth century. Brescian style of work.

VIGNERON, JOSEPH ARTHUR.--Paris; contemporary. A bow-maker of considerable ability. Worked for some years with Gand and Bernardel.

VIMERCATI, PIETRO.--Venice; about 1640-60. Said to be an imitator of Amati. There is a tradition that Stainer worked with him.

VIMERCATI, PAOLO.--Venice; seventeenth century. Amati style according to accounts.

VINACCIA.--Naples; eighteenth and nineteenth centuries. A very large Neapolitan family. Violins bearing their labels are met with, but they are noted more as mandoline makers.

VISSENAIRE, L. NICOLAS.--Lyons. Died 1890. A good workman.

VOEL, JACOB.--Mayence, Frankfort-on-the-Maine; about 1840. Well made violins; Stradivari pattern; sound-holes rather wide open; scrolls well cut.

VOGLER, JOHANN GEORG.--Wurzburg; first half of eighteenth century.

VOIGT.--Markneukirchen; eighteenth and nineteenth centuries. A veritable swarm of makers of the name are enumerated. Upwards of thirty have been engaged in the fiddle business, and one or two of them have had branches of their establishments in this country in very recent years.

VOIRIN, FRANCIS NICOLAS.--Paris. Born 1833; died 1885. A celebrated bow-maker. His pattern has been much imitated by modern French makers, such as Lamy, Sartory, and several others.

VOLLER, WILLIAM.--London. Born 1860. A most skilful imitator of old Italian work. His “facsimiles” have puzzled many by no means uninformed observers by their close resemblance to genuine Italian masterpieces, and have in some instances been productive of law suits. He imitates the appearances of wear with perhaps greater skill than any other workman who has practised the art, not even excepting Vuillaume and John Lott. Two or more brothers are, or were recently, employed in the same line of business.