THE VIOLIN. ITS FAMOUS MAKERS AND THEIR IMITATORS

 

SECTION IV

The French School

 

The French have long occupied a foremost place in the production of articles needing delicate workmanship, and it is therefore not surprising that they should at an early period have turned their attention to the art of Violin-making, which requires in a high degree both skilful workmanship and artistic treatment. The French manufacture of Violins appears to have commenced about the same period as the English, viz., in the early part of the 17th century, François Médard and Tywersus being among the French makers, and Rayman and Wise their fellows in England. The primitive French makers, like their English brethren, copied the instruments made at Brescia and Cremona, to which course they adhered down to the days of Barak Norman, when the two nations parted company, as regards having a common type, the French continuing the path they had hitherto taken, and copying the Italians, with scarcely any deviation, to the present time. The English left the Italian form for the German one of Jacob Stainer, which they adopted, with but few exceptions, for nearly a century, recovering the Italian about the middle of the 18th century. It is remarkable that French makers should have restrained themselves from following the pattern of the famous German maker when his name was at its height and his instruments were in such demand. That in not adopting the then popular form they were rightly guided, experience has clearly demonstrated. When we scan the older works the French have left us, and consider the advantage they had in keeping to the Italian form, we cannot but feel disappointed in finding so few meritorious instruments among them. There appear to have been many makers who were quite unconcerned whether their instruments possessed merit becoming the productions of a true artist; their chief aim would seem to have been to make in dozens—in other words, quantity in place of quality. If the early French makers are carefully studied, it will be seen that Boquay, Pierray, and one or two of their pupils are the only makers deserving of praise. It must be admitted that the shortcomings of the makers of the first period were adequately supplied by those of the second period, which includes the king of French artists, Nicolas Lupot. The old French school, originating with Tywersus and Médard, includes the following makers: Nicolas Renault, of Nancy, Médard, also of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gaviniés, Chappuy, Ouvrard, Paul Grosset, Despont, Saint-Paul, Salomon, Véron, with others of less importance. Many of these makers had a fair amount of ideas, which, had they been well directed, might have led to fame. Others contented themselves with copying, without giving any place to their fancy. It will be found that many of the instruments by Boquay, Pierray, and a few others, have varnish upon them closely resembling that of the Venetian school; it is full-bodied, very transparent, and rich in colour. Many of their works are covered with a very inferior quality of varnish, which has caused some confusion respecting the merit due to them as varnishers, they being frequently judged by their inferior instruments, without reference to their good ones. It is evident that they made two qualities of varnish, in accordance with the price they were to obtain, as was commonly done in England by the Forsters, Banks, and Wamsley, where similar confusion exists. The Italians happily avoided this objectionable practice. Their works are of one uniform quality in point of varnish. This divergence may possibly be accounted for by the difference of climate. In Italy, oil varnish, judiciously used, would dry rapidly, whereas in France or England the reverse would be the case; hence its more sparing use.

We will now glance at the second French School of makers, commencing with De Comble. Learning his art in Italy, and, it is said, under Stradivari, he brought to bear a knowledge superior to that possessed by the makers mentioned above. The form he introduced was seen to be in advance of that hitherto met with among the French and Belgian makers, and led to its being chiefly followed. The next maker was Pique, who made Violins and Violas that were excellent in point of workmanship, and had he been equally successful in varnishing he would probably have been held in the same estimation as Nicolas Lupot. From these makers sprang quite a little school of its own, comprising François Gand, in Paris, who succeeded to the business of Lupot, and Bernardel, with several others less known. Mention must not be omitted of another excellent copyist—Silvestre, of Lyons. He has left some charming specimens of his art. They are lighter in character than the works of Nicolas Lupot, and resemble the work of Stradivari from 1680 to 1710. Every portion of the work evidences the skill and judgment of the maker. The wood, with scarcely an exception, has not been manipulated in order to darken it, consequently the instruments become of increasing merit as age acts upon them.

The practice of preparing the wood for Violin-making, either by baking it or by the application of acids, may be traced, in the first instance, to a desire to obtain artificially those results which are brought about by the hand of time. In obtaining lightness and dryness in new wood, it was imagined that the object in view would be reached without the aid of Dame Nature. Experience, however, has shown that Fiddles, like all things intended to pass into green old age, mature gradually, and are not to be benefited by any kind of forcing process. The earliest account I have met with of Fiddle-baking occurred in England about 150 years since. One Jeacocke, a baker by trade, and a lover of music by nature, used to bake his Fiddles in sawdust for a week whenever their tones showed symptoms of not being up to his standard of quality. In France the practice may be said to have been introduced about eighty years ago, with a view of facilitating the creation of such mysteries as Duiffoprugcar and Morella Violins, baked and browned until they had something of a fifteenth-century hue. The same means were adopted in the production of instruments intended as copies of the works of Stradivari and Guarneri. The brown hue of the originals, and the worn and broken condition of the varnish which comes of age alone, were imitated with more or less ingenuity. Happily the error is recognised, as far as the best workmanship is concerned, in France. The legitimate imitator's art no longer includes that of depicting wear and brownness, rendering abortive so much excellent work.

It only remains now to mention Salle, Vuillaume, Chanot, Gand, Germain, Mennégand, Gaillard, and Miremont, all copyists of more or less note, who may be said to complete the modern French school. These makers are or were the chief manufacturers of Violins in France of a better class. Those made by thousands yearly at Mirecourt are not Violins in the eyes of the connoisseur. They are made, as common cabinet work is produced in England, by several workmen, each taking a portion, one making the backs, another the sides, another the bellies, and so on with the other parts of the instrument, the whole being finally arranged by a finisher. Such work must necessarily be void of any artistic nature; they are like instruments made in a mould, not on a mould, so painfully are they alike. This Manchester of Fiddle-making has doubtless been called into being by the great demand for cheap instruments, and has answered thus far its purpose, but it has certainly helped to destroy the gallant little bands of makers who were once common in France, Germany, and England, among whom were men who were guided by reverential feelings for the art, irrespective of the gains they reaped by their labours. The number of instruments yearly made in Mirecourt and Saxony amounts to many thousands, and is yearly increasing. They send forth repeated copies of Amati, Maggini, Guarneri, and Stradivari, all duly labelled and dated, to all parts of the world, frequently disappointing their simple-minded purchasers, who fondly fancy they have thus become possessed of the real article at the trifling cost of a few pounds. They produce various kinds of modern antiques in Violins, some of which display an amount of ingenuity worthy of being exercised in a better cause; but usually the whole thing is overdone, and the results, in point of tone, are far more disastrous than in the common French copies. The following list of French, Belgian, and Dutch makers contains many names not included in the first edition of this book. The works wherein several of these names occur are M. J. Gallay's, "Les Luthiers Italiens aux 17^ième et 18^ième Siècles," 1869; M. Fétis, "Biographie Universelle des Musiciens;" M. Vidal, "Les Instruments à Archet," 1876; the "Catalogue Raisonné," of the instruments at the Conservatoire, by Gustave Chouquet, Paris, 1875; "Recherches sur les facteurs de Clavecins," by M. le Chevalier de Burbure, Antwerp, 1863; Pougin's "Supplement to the Dictionary of Fétis;" and Mendel's "Musikalisches Conversations-Lexikon," 1880.

French Makers

 

ALDRIC, Paris, 1790-1844. Copied Stradivari with great skill. He was also well known as a dealer in Cremonese instruments. He was one of the earliest French makers who dealt with Luigi Tarisio, the famous Italian connoisseur. He generally used a red varnish of good quality.

ALLAR, ——, Paris, 1788.

AMELOT, ——, Lorient; worked early in the present century. He used a highly ornamented label.

AUBRY, ——, Paris, 1840. Succeeded his uncle Aldric, mentioned above.

AUGIÈRE, ——, Paris, about 1830, was established in the Rue Saint Eustache, in partnership with Calot, and made some good instruments. Augière formerly worked in the shop of Clement of Paris.

BACHELIER, ——, Paris, 1788.

BASSOT, ——, Paris, 1788.

BERNARDEL, Auguste Sébastien Philippe, born at Mirecourt in 1802, was in the workshop of Lupot, in Paris. The instruments of this maker are excellently made, and the wood judiciously selected. He took his sons into partnership in 1859 and retired from business in 1866. He died in 1870. His sons, Ernst Auguste and Gustave Adolphe, were in partnership with Eugène Gand, and the firm was known as "Gand et Bernardel frères."

BERTRAND, Nicolas, Paris, about 1700 to 1735, used varnish of a superior kind. He made many of the Viols of the type common in Paris, for some time after the Violin had been introduced; they were named Dessus-de-Viole, Pardessus, Quinton, and Viole-haut-contre. His name is often seen branded on the backs of his instruments, inside.

BOIVIN, Claude, about 1749, Paris. M. Chouquet, in his "Catalogue Raisonné" of the instruments at the Paris Conservatoire, described a Guitar by this maker, made for a daughter of Louis XV.

 

BOQUAY, Jacques, Paris, 1700-1730. One of the first of the old French school. He, with a few of his contemporaries, inherited a good amount of the Italian character of workmanship, introduced probably into France by Nicolas Renault. Boquay, with others whose names are mentioned in this list of French makers, used varnish closely allied to that of Cremona; its colour is a warm brown, very transparent, and of a soft nature. He made many instruments of small size. The model is often that of Girolamo Amati, but slightly more arched; the sound-hole is more rounded and less striking. The scroll can scarcely be considered a copy of Girolamo Amati's; it is well cut, but lacks the peculiar grace of the Italian. The tone is sweet, without much power.

BORLON, Artus or Arnould, about 1579, Antwerp, maker of stringed instruments (mentioned in the pamphlet by M. le Chevalier de Burbure).

BORLON, or PORLON, Pierre, Antwerp, about 1647, of whom M. de Burbure says: "Pierre Borlon, or Porlon, made in the year 1647 a Double-Bass for the orchestra of the Cathedral (Antwerp). The instrument is in existence, and inside is the name 'Peeter Porlon tot, Antwerpen f. 1647.'" The same author mentions another early Double-Bass made in 1636 by Maître Daniel for a chapel in Antwerp, and remarks, in passing, that in other countries the Double-Bass was not used until about half a century later. The question of priority in this matter is important and interesting; but in order to arrive at a satisfactory conclusion, it is necessary to be certain that these Belgian Basses are not, together with the Brescian and others, converted Viols.

BORLON, Joannes, Antwerp, also a maker of Viols.

BORLON, François, Antwerp, Viol-maker.

BOULLANGIER, C., 1823-1888. Worked in Paris, and for the late Mr. Withers. Was in business for many years in Frith Street, Soho, and has made many excellent instruments.

BOUMEESTER, Amsterdam, about 1650.

BOURDET, Sébastien, Mirecourt, one of the earliest Violin-makers in Mirecourt.

BOURDET, Jacques, Paris, 1751.

BOUSSU, Eterbeck, le Bruxelles, about 1750.

BRETON, 1777. This name is met with branded on the backs, "Breton à Paris." A little heavy in character, but fairly made; dark brown colour.

BRETON, Le, Mirecourt, 1812-30. Commonplace instruments. Large pattern, usually stamped with name inside.

BRUGÈRE, the name of several contemporary French makers, dating from Mirecourt and elsewhere. Some show good workmanship and varnish.

CALOT, ——, about 1830. He was in the workshop of Clément prior to date given.

CASTAGNERY, Jean Paul. M. Fétis mentions this maker as having worked in Paris, 1638-62.

CHAMPION, René, Paris, about 1735. His instruments are well made, and the varnish is of good quality.

CHANOT, François, born at Mirecourt in 1788. An engineer by profession. Becoming interested in the construction of Violins, he designed one having sides like those of the guitar. M. Chouquet describes a Violin of this maker, made for Viotti, and remarks that the experiment of François Chanot opened the way to those of Savart. The date of Chanot's patent is 1818. The paper of Savart on the construction of bow instruments was read at the French Academy in the following year.

CHANOT, Georges, Paris. Brother of the above-named; born at Mirecourt, 1801. Throughout life was a most indefatigable worker. He has made a very large number of copies of Stradivari and Guarneri, chiefly of the former, which are also the best. They are well constructed instruments, and the wood is of an excellent description. He was long known as a dealer in Cremonese instruments, and many notable rarities passed into his possession. The instruments of this maker will, at no distant date, be valued higher than they are at the present time. He died in 1883.

CHANOT, Georges, London. Son of Georges Chanot, Paris. Assisted Charles Maucotel, and a short time afterwards started in business on his own behalf. He died in 1893.

CHANOT, F. Son of Georges Chanot.

CHANOT, G. A. Brother of the above-named.

CHAPPUY, Nicolas-Augustin, about 1765. His instruments are chiefly of large pattern; nearly all are branded on the button, in a similar manner to those of the Testore family. Chappuy differed greatly in his work. When he used plenty of wood we have instruments of a good kind and worthy of attention. There are many, however, having his brand that are scarcely fit to be called Violins, so inferior is the work and wood.

The Violin M. Habeneck used during thirty-seven years, when instructing his class at the Conservatoire, Paris, was made by Chappuy, and is preserved at that institution.

CHARDON, Joseph, Paris, son-in-law and pupil of Georges Chanot, Paris, to whose business he succeeded in the year 1872.

CHAROTTE, ——, born at Mirecourt, settled at Rouen. Died in 1836.

CHATERAIN, Paris, about 1759. Good workmanship.

CHEVRIER, André-Augustin, about 1838. Born at Mirecourt, worked in Paris and Brussels.

CLAUDOT, Charles, Paris, possibly came from Mirecourt. The workmanship is heavy; varnish mostly yellow. His instruments are good for orchestral purposes. His name is generally found stamped on the back, inside.

CLAUDOT, Augustin, Paris, "Strad" pattern, yellow varnish, good wood.

CLEMENT, ——, Paris, 1815-40.

CLIQUOT, Henri, Paris, about 1765.

CLIQUOT, Louis Alexandre, about 1765.

COUSINEAU, Paris, about the end of the 18th century. Well made, name often branded on button.

CUNAULT, Georges, Paris, contemporary; worked with Miremont, and afterwards alone; a careful maker.

CUNY, ——, Paris. 18th century.

CUYPERS, Johannes, 1755-18—. Worked at the Hague; varnish often yellow in colour. Well finished instruments, which are rising in value.

DANIEL, ——, 1656, is described as having made a Double-Bass for the orchestra of one of the chapels at Antwerp Cathedral.

DARCHE, Nicholas, Aix la Chapelle, died 1873. Made many useful instruments on the lines of the Cremonese Masters. Other makers of this name worked in Brussels and Mirecourt in the 19th century.

DAVID, ——. Maker to the court of Louis XVI.

DE COMBLE, Ambroise, Tournay, about 1760. It is said that he worked in the shop of Antonio Stradivari, and judging from the character of the work, together with that of the varnish, it is not unlikely that he did receive instructions from the great Cremonese maker. The varnish is very like Italian; the colour often a rich red, with much body. His instruments are inclined to roughness as regards workmanship, and therefore are not pleasing to the eye. There is a resemblance to the instruments of Stradivari after 1732 in form, though not in workmanship, and he would therefore seem to have copied those late instruments. They may be described as of large pattern, flat model, and having an abundance of wood. They are deserving of attention both from the professor and the amateur, the workmanship being skilful and the material excellent. The tone is large, and frequently possesses the richness so much admired in the works of the Italians. This quality is traceable to the soft and flexible nature of the superior varnish with which these instruments are covered. Several Violas and Violoncellos are extant which were made by De Comble.

DELANOIX, ——, Bruxelles, about 1760.

DELAUNAY, ——, Paris, 1775, Viol-maker. M. Chouquet describes an instrument of this maker which is in the collection at the Conservatoire.

DELEPLANQUE, Gérard, Lille, 1768.

DERAZEY, Honoré, Mirecourt. Many of the instruments of this maker are carefully finished. They are heavy in wood. The varnish is inclined to hardness. Died 1875.

DERAZEY, J. A., Mirecourt, 1815-85. Son of Honoré; purchased the business of Nicolas. Made many useful instruments.

DESPONS, Antoine, Paris, 17th century, is said to have made excellent instruments of various patterns.

DIEULAFAIT, ——, 1720, Viol-maker. A Viol da Gamba of this maker is at the Conservatoire, Paris.

DROULOT, ——, Paris, 1788.

DUCHERON, Mathurin, Paris, 1714.

DU MESNIL, Jacques, Paris, about 1655.

EESBROECK, Jean Van, 1585, Antwerp, Lute-maker. M. C. Chevalier de Brabure states he was the son of Josse van Eesbroeck, of Maria Kerch. He gives some interesting particulars relative to the connection of music with the guild of St. Luke at Antwerp, and speaks of the makers of Clavichords seeking for admission into the Guild in 1557, adding that it was natural these makers should desire to belong to a corporation so great and honourable as that of St. Luke, which since 1480 had its Chambers of Rhetoric "dite de Violiren, de Violier."

FALAISE, ——. Copied the Amatis and Stradivari. The workmanship may be likened to that of Pique. Varnish yellow and thin. There is no indication of a resort to any maturing process. Wood frequently handsome.

FENT, or FENDT, ——, Paris, 1780. A maker known among French connoisseurs; related to the Fendts who worked in London.

FLEURY, Benoist, Paris, from about 1755 to 1788. A Viol da Gamba of this maker, from the Clapisson collection, is at the Conservatoire, Paris.

GAILLARD, Charles, Paris, about 1850-81. Born at Mirecourt. Worked in Paris with C. A. Gand, and later on his own account. He was one of the best modern French makers, and his instruments already take high rank and command good prices.

GAILLARD-LAJOUE, J. B., Mirecourt, brother of the above. Apprenticed to Gand, for whom he worked until about 1852. Much of his work is of a high order, and his best instruments are yearly increasing in value. He died about 1870.

GAND, Charles François, Paris. He became a pupil of Nicolas Lupot in the year 1802. During his apprenticeship he proved himself an excellent maker, and was much valued by his famous instructor. He married the daughter of Lupot, and succeeded him in the Rue Croix des Petits Champs in the year 1824. The career of François Gand was one of much activity. As a repairer of the works of the great masters he early obtained a high reputation, and perhaps restored more valuable instruments than any repairer of his time. The care that he took and the judgment which he exercised in endeavouring to bring together the various broken parts of an imperfect instrument, that the original appearance might be maintained as closely as possible, cannot be too highly praised. He often accomplished seeming impossibilities. Splintered cracks were by his ingenuity closed as though no fibre had been severed, while at other times pieces were inserted so deftly that the most experienced eyes might fail to detect their presence. It was with him a labour of love, and he did not scruple to spend days over work on which others would only spend hours. He made many Violins, several of which were given as prizes at the Paris Conservatoire. They are well-made instruments, though heavy in appearance. They are good serviceable instruments, and, the wood not having been browned by baking or other injurious process, age mellows them greatly. He died in the year 1845.

GAND, Charles Adolphe, son of Charles François Gand, was instructed by his father, and succeeded, together with his brother, to the old-established house founded by his grandfather. He died in 1866.

GAND, Charles Nicholas Eugène, Paris, brother of C. Adolphe Gand, was a connoisseur of much experience and reputation. Upon the death of his brother C. Adolphe he entered into partnership with Bernardel Brothers. The firm employed many workmen, and turned out large numbers of useful, well-made instruments, with red varnish. They were the recipients of numerous medals and decorations. C. N. E. Gand died in 1892.

GAVINIÉS, François, Paris, about 1734. Father of Pierre Gaviniés, the Violinist. Old French school. The wood is often of excellent quality, and the varnish also. Many of these old French makers, like our good English ones, made instruments of two qualities, and Gaviniés was one of them.

GERMAIN, Joseph Louis, born at Mirecourt in 1822. In Paris he was employed by François Gand, and afterwards worked for Vuillaume, for whom he made several choice instruments. It is to be regretted that his exceptional abilities were not allowed to add lustre to his name, he having made for the trade. He died in 1870.

GERMAIN, Emile, Paris. Son of the above; established in Paris as a maker and restorer of Violins. He was, until 1882, in partnership with a maker named Dehommais.

GOSSELIN, ——, Paris, 1814-40.

GRAND-GERARD, Paris, about 1800. Commonplace work branded occasionally with his name.

GRANDSON, Fils, Mirecourt, about 1850.

GROSSET, Paul François, Paris, about 1750. Pupil of Claude Pierray.

GUERSAN, Louis, succeeded Paul Pierray.

HEL, Pierre Joseph, Lille, contemporary. Well-made instruments.

HENRY, Jean Baptiste. Born 1757, near Mirecourt. Worked in Paris.

HENRY, Jean Baptiste Felix, son of the above. Established in Paris 1817.

HENRY, Charles, brother of the above, born 1803. Made several excellent instruments.

HENRY, Octave, nephew of Charles.

HENRY, Eugène, son of Charles, born in 1843.

HOFMANS, Mathias, Antwerp, 1700-25. A Kit of this maker was exhibited at Milan in 1870.

JACOBS, Hendrik, Amsterdam, 1690-17—. A close imitator of Niccolò Amati. Few makers have been more mistaken than Jacobs; so exact was he in following the model of Amati, that numbers of his Violins are passed by the inexperienced as original. He mostly selected the grand pattern of Amati for his model, which gave him full scope for the exercise of his powers. He selected wood as nearly as possible resembling that found in the works of Niccolò Amati. The backs are mostly of even grain, and compact; the modelling can only be found fault with near the purfling, where its sharpness at once catches the attention of the critic in these matters, and divulges the true author. The varnish, though good, is not equal to that of Amati. The scroll is inferior to the body in merit. The purfling is of whalebone, like that of most of the Dutch makers.

JACOBS, ——, Amsterdam, probably a son of the above. Excellent varnish, of a deep red, very transparent; full of character, but wanting in finish. Purfling embedded.

JACQUOT, Charles, born at Mirecourt in 1804. Worked in Paris. He obtained prizes for his instruments at the Paris and other exhibitions.

JACQUOT, Pierre Charles, Nancy, son of the above.

JEANDEL, P. N., born in 1812. Worked for some years in Paris, and received prizes at the Paris and other exhibitions. He died in 1879.

KOLIKER, ——, Paris, 1789-1820.

LAMBERT, Jean Nicolas, Paris, about 1745.

LAPAIX, ——, Lille, about 1855.

LAPREVOTTE, Etienne, Paris, 1825-56.

LECLERC, ——, Paris, about 1775.

LECOMTE, ——, Paris, 1788.

LEDUC, Pierre, Paris, 1646.

LEFEBVRE, ——, Amsterdam, about 1730.

LEFEBVRE, ——, Paris, 1788.

LE JEUNE, François, Paris, 175-.

LE PILEUR, Pierre, about 1754.

LESCLOP, François Henry, Paris, 1746.

LOUIS, ——, Geneva.

LOUVET, Jean, Paris, 1750.

LUPOT, Jean, Mirecourt.

LUPOT, Laurent, Mirecourt, born 1696. Son of Jean Lupot, removed to Plombières, afterwards to Luneville, and again to Orleans.

LUPOT, François, born 1736. Son of Laurent. Born at Plombières. In the year 1758 he removed to Stuttgart, and was appointed maker to the Duke of Wurtemberg. François removed with his son Nicolas to Orleans in 1770. He died in Paris in 1804. The workmanship and style are similar to those seen in the instruments of Chappuy and other makers of that period. Scroll rather rough, varnish dark brown, broad pattern.

LUPOT, Nicolas, son of François, born at Stuttgart in 1758, removed with his father to Orleans in 1770. He established himself in Paris in 1794, his fame having reached that city some time before. The attention which he soon received from the musical world of Paris proved to him that his removal was advantageous. He had not long been in Paris before he was honoured with the patronage of the Conservatoire of Music, an honour which is attended with many benefits, the chief of which is the making of a Violin annually, to be awarded as a prize to the most successful student among the Violinists. By this arrangement the maker has an opportunity of exercising to the best advantage all the skill of which he is capable, as he is at once aware that the attention of the public is directed to the constructor of the prize, as well as to the receiver, and that an immediate road to popularity is thus opened. Lupot's appointment as maker to the Conservatoire was enjoyed by his successor, François Gand, and was retained by the latter's son, in conjunction with Bernardel. Nicolas Lupot may be justly termed the French Stradivari. He was an artist in every sense of the word. He regarded the works of Stradivari with the utmost veneration. While, however, he laboured unceasingly to imitate him, he scorned all those mischievous maturing processes common to so many French copyists; he never desired that his copy should pass with the unwary as the original; it left his hands wholly unsophisticated. There is not an instance in which he did not varnish the copy all over, leaving time to do its work of wear, although by so doing he doubtless sacrificed much in his own time, inasmuch as all new Violins, so varnished, have a crude appearance, notwithstanding any amount of high finish expended upon them. What, however, Lupot lost in his own day has been awarded to his name a hundredfold since. He seldom occupied himself in copying Guarneri or Amati, although there are a few beautiful examples met with now and again in which he adopted these forms. Stradivari was his idol, and from the fact already mentioned, that he is very rarely found to have followed any other model than that of Stradivari, he would seem to have been aware of his own peculiar fitness for the great master's design. Every feature of Lupot's instruments was clearly a matter of study with him. It cannot be said of him, as of most other makers, that certain points are good, while others are weak. Every portion of his work contributes to the harmonious whole. The outline is perfect; the sound-hole is executed in a masterly manner; the model, purfling, and scroll of equal merit. He was untouched in his own day, and his productions have never been approached since. The varnish of Lupot is peculiar to him. Its qualities are good, being free from hardness. Though it is not of the Italian type, neither is it of the kind usually met with on the Violins of his contemporaries: it may be described as a quality of varnish coming between the Italian and the French. Its colour varies between light and dark red. Age has assisted in heightening its lustre, and although it will never rank with the varnish of Cremona, yet it will hold its own among the varnishes of modern times. It is said that many instruments having the name of Pique in them are the work of Lupot, and this misnomer is accounted for by the story that Pique purchased them in an unvarnished state, and varnished them with his preparation. Be this as it may, it is certain that the varnish of Pique could not serve to benefit such instruments; on the contrary, it would reduce their value. The tone of Lupot's instruments improves yearly. The quality is round and telling, and free from roughness. He died in Paris in 1824, aged 66, and was succeeded in his business by his son-in-law, François Gand.

MARQUIS DE LAIR, Mirecourt, about 1800. The name is generally branded on the back. The wood is chiefly of a plain description, and varnish wanting in transparency.

MAST, Jean Laurent, Paris, about 1750.

MAST, Joseph Laurent, Mirecourt and Toulouse. Son of Jean Laurent. A Violin dated 1816 is in the Museum of the Paris Conservatoire.

MAUCOTEL, Charles, born at Mirecourt, in 1807. In 1834 he entered the workshop of Gand in Paris. In 1844 he was employed by Davis, of Coventry Street, London, and ultimately commenced business in Rupert Street, from which he retired in 1860, and returned to France. He made several instruments, all of which have good qualities in workmanship and tone. They are strong in wood and carefully modelled.

MAUCOTEL, Charles Adolphe, Mirecourt, worked in Paris from 1839 until 1858, in which year he died. He made many excellent instruments.

MÉDARD, François, was established in Paris about 1700. The work is excellent, and the varnish soft and transparent.

MÉDARD, Nicolas, Nancy, brother of François.

MÉDARD, Jean, Nancy, brother of Nicolas.

MENNÉGAND, Charles, born at Nancy in 1822. He is distinguished both as a maker and repairer of instruments. He entered the service of Rambaux in Paris in 1840. He has been rightly regarded as having displayed singular ability in the delicate and difficult task of "cutting" the large Italian Violoncellos and Tenors. The practice of reducing the dimensions of Cremonese instruments has happily come to be looked upon as emulative of the acts of the Goths and Vandals. It is in any case certain that numerous instruments have been operated upon with no greater skill than might have been expected at the hands of those barbarians. "These ruthless men," remarks Charles Reade, "just sawed a crescent off the top, and another off the bottom, and the result is a thing with the inner bout of a giant and the upper and lower bout of a dwarf." He rightly names this, "cutting in the statutory sense, viz., cutting and maiming," and implores the owner of an instrument in its original state to spare it, and if too large, to play on one of the value of £5, with the Cremona set before him to look at while he plays. To "cut" a Cremona, and to cut a diamond into a brilliant or a rose, are tasks equally difficult. The indifferent operator, in both cases, suffers more or less from the injury and annoyance his unskilfulness has occasioned. Borgis, a Venetian diamond-cutter, was employed by Shah Jehan to cut the Koh-i-nor, and in place of a reward was fined ten thousand ducats for his imperfect performance. Had it happened that some possessors of Cremonese gems had inflicted monetary or other punishment on incapable instrument cutters, the world would have been richer in Cremonas. Mennégand was at Amsterdam for a few years, and returned to Paris in 1857. He died in 1885.

MIREMONT, Claude Augustin, Paris. Born at Mirecourt in 1827, removed to Paris in 1844. Miremont has made several excellent Violins, copies of Stradivari and Guarneri. He was for some years in New York, but returned to Paris and died at Pontorson in 1887.

MODESSIER, ——, Paris, 1810. Made several instruments of large pattern, excellent for orchestral purposes. Wood of good quality.

MOUGENOT, Georges, Brussels, contemporary.

NAMY, ——, Paris, 1780 to 1806.

NEZOT, ——, about 1750, maker of Viols.

NICOLAS, François (Nicolas Fourrier), went from Mirecourt to Paris, where he is said to have worked from about 1784 to 1816.

NICOLAS, Didier, Mirecourt, 1757-1833. The instruments of this maker are chiefly of large size, the outline being after that of Stradivari. They are mostly stamped on the back, inside, "A la ville de Cremonne, D. Nicolas Ainé." Colour, yellow; tone very powerful, and admirably adapted for the orchestra.

NICOLAS, Joseph, son of Didier, born 1796, died 1864.

OUVRARD, Jean, pupil of Claude Pierray.

PACHERELE, Michel, Paris, about 1779.

PACHEREL, Pierre, Nice, died 1871, probably related to Michel Pacherele. Good workmanship; made several copies of Stradivari.

PAUL, Saint, Paris, 17th century. Chiefly copied Amati. In the style of Boquay.

PIERRAY, Claude, Paris, from about 1700 to 1725. Was an excellent workman, and many of his productions partake of the Italian character to a considerable extent. They are of two patterns, the majority being large. Amati would seem to have been his model, but his instruments can scarcely be considered copies of that maker, the outline only being retained, while the other features are dissimilar. The wood is rarely handsome, but its quality is good; the thicknesses are variable. The work is of average merit. Varnish is of a pale red colour, of good quality. It is interesting to learn that these instruments were appreciated in England at the beginning of the eighteenth century. Tom Britton had in his collection of books and instruments at Clerkenwell a "Claude Pierray," which is described in the sale catalogue as "a very beautiful Violin, and as good as a Cremona."

PIÈTE, N., Paris, about 1780.

PILLEMENT, F., Paris, 1790-1820. Work branded inside.

PIQUE, F. L., Paris, about 1788-1822. As a copyist of Stradivari, this maker approached, perhaps, nearest to Nicolas Lupot. It has been supposed that some Violins bearing the name of Pique were made by Lupot, and varnished by Pique. There are several specimens of Pique's instruments upon which have been lavished care and skill of a very high order. Each feature is brought out, while, at the same time, exaggeration, that common error of the copyist, is avoided. The scrolls are well executed, both in point of finish and style; the sound-hole also is cut with precision. Many of his instruments have whole backs, of well-chosen material; the bellies are of a fine quality of wood. The instruments of Pique have long been esteemed, and will grow in reputation.

PIROT, Claude, Paris, about 1800. Pressenda style and appearance.

PONS, César, Grenoble, about 1775.

PONS, ——, Paris, chiefly known as a maker of Guitars.

RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt, and afterwards in Paris. He was a clever repairer, and gifted with excellent judgment in his treatment of the works of the old masters. He was at one time in the workshop of Gand. He died in 1871.

RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled, flat model.

RAUT, Jean, worked at Rennes about 1760.

REMY, ——, Paris, about 1760.

REMY, Jean Mathurin, Paris, 1770-1854.

REMY, Jules, Paris, 1813-76.

REMY, ——, London, 1840. Originally from Paris. Copied the old masters with average ability, but unfortunately adopted the pernicious practice of preparing the wood, making his instruments prematurely old without the qualities of healthy age.

RENAUDIN, Léopold, Paris, about 1788.

RENAULT, Nicolas, an early maker, contemporary with Tywersus.

ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century. High model, varnish of much brilliancy, but flaky.

ROZE, ——, Orleans, about 1760. Average workmanship, yellow varnish, heavy scroll.

SACQUIN, ——, Paris, 1830-60, made several excellent instruments; oil varnish of good quality, neat work, "Strad" pattern, name branded on back, inside.

SALLE, ——, Paris, about 1825-50. Made several copies of Guarneri, many of which are excellent. He was also a clever restorer of old instruments, and had a critical eye for the works of the old Italian masters, in which he dealt to some extent.

SALOMON, Jean Baptiste Deshayes, Paris, about 1750.

SAUNIER, ——, about 1740-70.

SCHNOECK, Egidius, Brussels, 1700-30.

SILVESTRE, Pierre, Lyons. A maker of rare abilities. The finish of his instruments is of the highest order; indeed, it would be difficult to find any maker within the range of the modern French school who has surpassed him in delicate workmanship. It may be said of him, as of many others, that extreme fineness of work is obtained often at the expense of character; to develop both qualities needs the mind of a Stradivari. Silvestre was fortunate in procuring wood of beautiful quality; there is scarcely an instrument of his which is not handsome. He chiefly copied Stradivari. It is to be regretted that so few of his works are to be met with. Pierre Silvestre was born at Sommerwiller in 1801, and died at Lyons in 1859. In Paris he worked in the workshop of Lupot, and in that of his successor, François Gand.

SILVESTRE, Hippolyte, born 1808, brother of Pierre, with whom he worked in partnership at Lyons from 1831-48. Hippolyte worked in the shop of Vuillaume. He retired from business in 1865.

SILVESTRE, Hippolyte Chrétien, Lyons, succeeded to the business of his uncles, Pierre and Hippolyte, which he transferred in 1884 to Paris.

SIMON, Claude, Paris, about 1788.

SIMONIN, Charles, Paris and Toulouse, pupil of J. B. Vuillaume.

SOCQUET, Louis, Paris, about 1760-1800.

THERESS, Charles, London.

THIBOUT, Jacques Pierre, Paris, born 1777, died 1856. A well-known dealer in rare Italian instruments. To him belongs the merit of having encouraged Luigi Tarisio to bring to Paris his Cremonese gems. When Tarisio paid his first visit to Paris, the reception that he met with was not of such a nature as to warrant his returning; but having ultimately decided upon once more visiting the French capital, he met with Thibout, who, by earnest solicitation, prevailed on him to remove his rich wares to Paris. Jacques Pierre Thibout was an excellent workman, and his instruments are highly esteemed.

THOMASSIN, ——, Paris, about 1845.

TYWERSUS, ——, Nancy, 16th century.

VAILLANT, François, Paris, about 1750.

VÉRON, Pierre André, 1720-50.

VIBRECHT, Gysbert, Amsterdam, about 1700.

VUILLAUME, Jean, Mirecourt, 1700-40.

VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this family; made commonplace instruments branded with his name.

VUILLAUME, J. B., Paris, born 1798, died in 1875. There are upwards of 2,500 Violins which bear his name. Many of these he made throughout. The early ones are much appreciated, and having been wisely varnished over at first, now begin to show the good results of such handling. The career of Vuillaume was singularly eventful. Commencing life from the first stage of the ladder, he gradually mounted to the highest, by the help of the usual nurses of fortune, skill and perseverance. He was a great lover of Cremonese instruments, and was intimately associated with Tarisio. At the death of the celebrated Italian connoisseur, he purchased the whole of his collection. He employed a number of skilful workmen, some of whom have achieved independent and individual reputations, and will be found noticed in their proper places in this work.

VUILLAUME, N. F., Brussels. Brother of the above. Was well known both as a maker and connoisseur. Born in 1802; died 1876.

VUILLAUME, Claude François, born 1807.

VUILLAUME, Sébastien, Paris, nephew of J. B. Vuillaume, made a few excellent instruments. He died in the same year, 1875.

CONTENTS

SECTION III.—THE ITALIAN SCHOOL. THE ITALIAN VARNISH. THE ITALIAN MAKERS .

SECTION IV.—THE FRENCH SCHOOL AND MAKERS.

SECTION V.—THE GERMAN SCHOOL AND MAKERS