Part 1

Produced by Ron Swanson

[_Frontispiece_: PAGANINI'S GIUSEPPE GUARNERI. Date 1743. (IN THE MUNICIPAL PALACE, GENOA.)]

THE VIOLIN ITS FAMOUS MAKERS AND THEIR IMITATORS

BY GEORGE HART

WITH _NUMEROUS WOOD ENGRAVINGS FROM PHOTOGRAPHS OF THE WORKS OF STRADIVARI, GUARNERI, AMATI, AND OTHERS, AND ADDITIONS AND EMENDATIONS BY THE AUTHOR'S SON AND TOWRY PIPER_

"To perfect that wonder of travel--the locomotive--has perhaps not required the expenditure of more mental strength and application, than to perfect that wonder of music--the Violin." W. E. GLADSTONE.

LONDON DULAU AND CO., LIMITED, 37, SOHO SQUARE, W. SCHOTT AND CO., 159, REGENT STREET. 1909

[_All rights reserved._]

PREFACE TO THE ENLARGED AND REVISED EDITION

The favourable reception accorded to the previous editions of this work has not only added greatly to the pleasure attending the preparation of a new and revised edition, but has encouraged me to spare no effort within my power to render the volume as interesting and complete as possible. In making these endeavours, the bulk of the book has been necessarily increased by additional information, spread over all the sections of the work, but chiefly on those which treat of the Early History of the leading instrument, and the Italian branches of the subject.

It is in connection with the Italian divisions of the book that the reader will discover, I venture to hope, information which he will regard as interesting in its character, besides being of some historical value. The greater part of this new matter has been obtained from original MSS. belonging to the trustees of the Civic Museum at Cremona, which Institution is located in the palace bequeathed to the citizens, together with its contents, by the Marchese Ponzoni. In the year 1872, Dr. F. Robolotti, the learned historiographer of the town, and a distinguished physician, and the Marchese Senatore Araldi Erizzo, presented to the Institution referred to an important collection of rare books and documents illustrative of the history of the City of Cremona. Among these are two sets of MSS., numbered respectively 729 and 431, the contents of which shed much light on the Italian sections of our subject, and constitute the source of the principal portion of the additional information contained in the following pages. The first-named MS. is the work of Don Desiderio Arisi, a monk of the order of St. Jerome, who in the quiet of his cell in the Convent of St. Sigismondo set himself the task of writing brief notices of Cremonese worthies. The MS. is dated 1720, and includes a most interesting account of the patronage enjoyed by Antonio Stradivari, together with several items of information of more or less worth, relative to the famous Violin-maker. In passing, it may be mentioned that Don Desiderio Arisi was intimate with Stradivari, and gained his knowledge of the facts he recorded from the artist himself. The second-named MSS., from which extracts have been made, are dated 1823. These contain references to the principal makers of Cremona, combined with critical remarks on their works from the pen of Vincenzo Lancetti, a Cremonese poet and biographer. The information contained in these MSS. was chiefly received from Count Cozio di Salabue in the course of correspondence between him and Lancetti.

Nearly the whole of the extracts to which the reader's attention has been directed were given to me as far back as the year 1875, when the original edition of this work was in the press. Finding it impossible to make adequate use of them, in consequence of the volume being partly printed, I decided to insert a few items at the end of the notice of Antonio Stradivari, and to hold over the remainder in order to distribute the information among the notices of the several makers in a future edition.

I am indebted for the knowledge of the existence of the Arisi and Lancetti MSS., and for their contents, to my friend Signor Federico Sacchi,[1] who during his researches among the Robolotti collection had free access to all the original documents, and whose family has long lived near the house occupied by Stradivari. With these advantages, it is almost needless to remark that my friend possessed ample means of aiding me in my endeavours to learn much concerning the makers of his native city. Taking as he does a deep and enthusiastic interest in the past history of Cremonese art, he spared no effort to obtain for me all the information possible. To him I am also indebted for the contents of the correspondence relative to the purchase, by Count Cozio di Salabue, of the tools used by Antonio Stradivari, and for the same having been placed at my disposal by the Marquis dalla Valle. In making these acknowledgments, I desire to tender Signor Sacchi my warmest thanks for the interest he has taken in my undertaking.[2]

[Footnote 1: Signor Sacchi is the author of--

1. "Cenni sulla vita e le opere di Agostino Aglio pittor Cremonese." Cremona, 1868. 8vo.

2. "Notizie pittoriche Cremonesi." Cremona, 1872. 4to.

3. "I Tipografi Ebrei di Soncino." Cremona, 1877. 4to.

4. "Annali Tipografici della Cittae provincia di Cremona,"

and many other memoirs on Cremonese printers and painters.]

[Footnote 2: Signor Sacchi died in 1902.--ED.]

The Section containing the Anecdotes has been recruited by additional Miscellanea, including "Hudibras and the Champion Crowdero." In placing this piece of wit and humour before my readers, I have endeavoured to do so in a form as connected as possible, by the selection of passages likely to conduce to that end, without trespassing too much on space, and on the reader's patience.

I am indebted to Mr. G. D. Bishopp for the table containing the amount of tension of Violin strings, and their downward pressure. The information therein contained will doubtless be acceptable to many of my readers.

I owe to M. le Chevalier Kraus, of Florence, the pleasure of including among the engravings those of the instruments made by Antonio Stradivari for the Grand Duke of Florence, he having obtained for me the necessary photographs.

In conclusion, I have to thank my young friend Mr. Allan Fea for the two illustrations forming the head and tail pieces to "Hudibras and the Champion Crowdero."

28, _Wardour Street, London_, 1884.

PREFATORY NOTE BY THE EDITORS

Pending the completion of a more costly revised version of the late Mr. Hart's work, the editors, in compliance with what seems to be a widespread public desire, have decided to reprint the volume, as issued in popular form and finally corrected by the author in 1887, but with additions and certain emendations desirable in order to bring it into accord with the present state of knowledge, and to enhance its value as a work of reference. To this end the names of a considerable number of makers, either unknown at the time, or not deemed of sufficient prominence for insertion in the edition of 1887, have been incorporated in the text, together with particulars of the distinctive features of their work; and the notices relating to others have, where needful, been modified or recast. In other respects the book remains substantially as the author left it.

28 _Wardour Street_ _November_, 1909.

CONTENTS

SECTION I.--THE EARLY HISTORY OF THE VIOLIN. PAGE 1.--General observations--Early History involved in obscurity and vague conjecture--Jubal, Orpheus, and Apollo--Views of Early Historians of Music, as to Asiatic and Scandinavian origin respectively--Ravanon, King of Ceylon, and the "Ravanastron"--Researches of Sanscrit Scholars--Suggested Arabian origin of the Ribeca, or Rebec, and the Rehab of the Moors--Early Egyptian instruments--Moorish musical influence in Spain--The Troubadours and Trouveres in Northern France, and the Gigeours of Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-11

2.--Early evidence of Bowed Instruments in the north of Europe--Presumed Scandinavian origin of the German Geige--The Hon. Roger North's "Memoirs of Music"--Martinus Gerbertus, his "De Cantu et Musica Sacra"--Paul Lacroix' "Arts of the Middle Ages"--Earliest known representations of Bowed Instruments, sixth to ninth century--The Manuscript of St. Blasius--The Cheli or Chelys--Saxon Fiddle in the Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"--The early Saxons' love of Music--The Saxon Fithele in the time of the Norman Conquest--The Geige in France, and the Jongleurs, "dancers, jugglers, and buffoons"--Domestic Music in Germany and the Low Countries in the sixteenth century--The Viol and the Madrigal--Music in Italy--Adrian Willaert, "The Father of the Madrigal"--Northern Musicians attracted to Italian Courts--Development of the Madrigal in Italy--High standard of early Italian work, but under German teaching--The Viols of Brensius of Bologna--Silvestro Ganassi, his work on the Viol--Duiffoprugcar and Gasparo da Salo and the development of the Violin--The Fretted Finger-board--The Violono or Bass Viol--Five-stringed Viols--The three-stringed Fiddle, or Geige, attributed to Andrea Amati, altered by the Brothers Mantegazza to a four-stringed Violin--Advent of the four-stringed Violin ascribed to Gasparo da Salo . . . . . . . . . . . . . . . . . . . . . . . . 12-26

SECTION II.--THE CONSTRUCTION OF THE VIOLIN.

The present form of the Violin the result of much research and experiment, but perfected by the great Cremonese makers--Hogarth's "Line of Beauty" exemplified in the Violin--The requisites necessary to the due appreciation of the grace and properties of the Violin, and its exquisite power of expression--Its acoustical properties--Varieties of woods used in its construction--Methods adopted, and choice of material, by the great Brescian and Cremonese makers--The "whole-back" and "slab-back"--The constituent parts of the Violin--System of placing the sound-bar--Properties and position of the sound-post, and of the bridge; the neck; the finger-board; purfling, &c., &c.--The sound-holes of different makers--Needed cautions as to repairing good instruments . . . . . . . . . . . 27-42

SECTION III.--ITALIAN AND OTHER STRINGS.

Importance of the Strings in the economy of the Violin--Adrien Le Roy's instructions "How to know Strings"--Thomas Mace and "Venetian Catlins"--Character of the different manufactures of Strings--Superiority of the Italian--The raw material not supplied by the feline race--Rules to be observed in choosing Strings--Modern improvements in Stringing--The Strings of Lindley and Dragonetti--Covered Strings--Experiments on the strain and pressure of Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43-56

SECTION IV.--THE ITALIAN SCHOOL.

A glance at the rise, culmination, and decadence of Art in Italy, and the Violin as connected therewith--The Italians far in advance of other nations in the manufacture--The five Schools of Italian makers--Roger North on the demand for Italian Violins--Brescia the cradle of the manufacture . . . . . . . . . . . . . . . . . . . 57-69

SECTION V.--THE ITALIAN VARNISH.

The formation of the Italian Varnish a secret lost to the world--Lustrous character of that of Cremona--Characteristics of the four classes of Italian Varnish--Conjecture as to the loss of the secret--Influence of the different Varnishes on the tone of the Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-76

SECTION VI.--ITALIAN MAKERS.

Acevo--Albanesi--Albani--Aletzie--Alvani--AMATI, ANDREA; evidence as to date of birth; his Violins small; founded the School of Cremona; probably a pupil of Gasparo da Salo; his model high, and sound-hole inelegant; his varnish deep golden; his "Charles IX. Set" of twenty-four Violins, six Tenors and eight Basses--Amati, Niccolo--AMATI, the Brothers ANTONIO and GIROLAMO; probable date of birth; comparison of the respective work, material, and tone of the two brothers--AMATI, NICCOLO, son of Girolamo; date of birth and death; the greatest of his illustrious family; gradual change in style; the "Grand Amati," followed by his great pupil, Stradivari; its exquisite proportions and character; singular beauty of his material, and elegance of design; differences between Niccolo Amati and his several copyists, Italian, German, and English--AMATI, GIROLAMO; date of birth; his work ascribed to other makers; character of his instruments and his varnish; the last of the Amatis--Ambrosi, Pietro--Anselmo, Pietro--Antoniazzi, Gaetano--Antonio of Bologna--Antonio, Ciciliano--Assalone, Gasparo . . . . . . . . . 77-94

Bagatella, Antonio--Bagatella, Pietro--BALESTRIERI, TOMMASO; probably a pupil of Stradivari; his work rough, but vigorous, tone and varnish good; his instruments rising in value--Bassiano, Lute-maker, Rome--Bellosio, Anselmo--Bente, Matteo--BERGONZI, CARLO; pupil of Antonio Stradivari; his work closely resembling that of his great master, and of the highest class; increasing appreciation; comparison of his instruments with those of Stradivari and Giuseppe Guarneri; character of his varnish, &c.; Violoncellos and Double-Basses of this maker--Bergonzi, Michel Angelo--BERGONZI, NICCOLO; character of his work--Bergonzi, Zosimo--Bergonzi, Carlo--Bergonzi, Benedetto--Bertassi, Ambrogio--Bertolotti (see Salo)--Bimbi, B.--Borelli, Andrea--Brensio, Girolamo--Brescia, da, Battista--Broschi, Carlo--Busseto, Giovanni . . . . . . . . . . 95-104

Calcagni, Bernardo--Calvarola, Bartolommeo--Camilli, Camillo--CAPPA, GIOFFREDO; pupil of the Brothers Amati; character of his work, in Violins and Violoncellos--Casini, Antonio--Castro--Catenar, Enrico--Celioniati, Gian Francesco--Cerin, Marco Antonio--Ceruti, Giovanni Battista; a prolific workman--Ceruti, Giuseppe--Ceruti, Enrico, son of Giuseppe; his work much valued by Italian players; exhibited in London and Milan Exhibitions--Cristofori, Bartolommeo--Circapa, Tommaso--Cocco, Cristoforo--Contreras, Joseph--Cordano, Jacopo Filippo--Costa, Pietro Antonio dalla; skilful copier of Amati . . . . . . . . . . . . . . . . . . . . . . . 104-110

Dardelli, Pietro; a Franciscan Monk; his Viols and Lutes--Despine, A.--Dieffoprugcar, Magno (Magnus Tieffenbrucker)--Dominicelli, Ferrara--DUIFFOPRUGCAR, GASPAR; high character of his Viols . 110-112

Farinato, Paolo--Ficker, Johann Christian--Ficker, Johann Gottlieb--Fiorillo, Giovanni--Frei, Hans; Lute and Viol-maker 112-113

GABRIELLI, GIOVANNI BATTISTA; his Violoncellos and Violins of high character--Gaffino, Giuseppe--GAGLIANO, ALESSANDRO; pupil of Antonio Stradivari; character of his work--Gagliano, Gennaro--Gagliano, Niccolo--Gagliano, Ferdinando--Gagliano, Giuseppe--Gagliano, Giovanni, Antonio, and Raffaele--Galbusera, C. A.--Garani, Michel Angelo--Garani, Niccolo--Gaspara da Salo (see Salo)--Gatinari, Francesco--Geroni, Domenico Ostiano--Gibertini, Antonio--GOBETTI (_Gobit_) FRANCESCO; comparisons of his work with those of Montagnana, Santo Serafino, and Ruggeri--Gofriller, Matteo--Gofriller, Francesco--Gragnani, Antonio--GRANCINO, PAOLO; pupil of Niccolo Amati; a true artist; classed with Stradivari, Bergonzi, Amati, and Guarneri; his Violas and Violoncellos--Grancino, Giovanni--Grancino, Giovanni Battista--Grancino, Francesco--Grulli, Pietro--GUADAGNINI, LORENZO, and Giovanni Battista; high character of their work--Guadagnini, Gaetano--Guadagnini, Giuseppe--Guadagnini, Carlo--Guadagnini, Antonio--GUARNERI, ANDREA; the pioneer of his family; worked with Stradivari and Niccolo Amati--GUARNERI, GIUSEPPE, son of Andrea; his Violins, Violas, and Violoncellos--GUARNERI, PIETRO, brother of Andrea--GUARNERI, PIETRO, grandson of Andrea--GUARNERI, GIUSEPPE (del Gesu); his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salo; his "three epochs;" lustrous quality of his varnish; different characters of his wood; the tradition of his "Prison Fiddles"; a "Prison Joseph"--Guidanti, Giovanni--Guillami . . 113-147

Harton, Michael . . . . . . . . . . . . . . . . . . . . . . . . . 147

Kerlino, Joan . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally good quality of his work--Lanza, Antonio Maria--Lavazza, Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo . 147-148

MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salo; other makers' productions frequently attributed to him; comparison of his work with that of Da Salo--MALER (Lutinist); termed the "Stradivari of Lutes;" Thomas Mace on the art of judging Lutes and Viols--MANTEGAZZA, PIETRO GIOVANNI; eminent as a restorer--Maratti--Mariani, Antonio--Meiberi, Francesco--Mezadri, Alessandro--Mezadri, Francesco--MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid specimens of his art still extant; his cognomen, "The Mighty Venetian;" rising value of his instruments; comparison with Stradivari and Bergonzi; superior character of his varnish--Montaldi, Gregorio--Morella . . . . . . . . . . . . . . . . . . . . . . 149-158

Nadotti, Giuseppe--Nella, Raffaele . . . . . . . . . . . . . . . . 158

Ortega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Pandolfi, Antonio--PANORMO, VINCENZO; follower of Antonio Stradivari; residence in London and in Ireland; his struggles with adversity; light and graceful character of his work--Pansani, Antonio--Pasta, Antonio--Pasta, Domenico--Picino--Platner, Michel--Pollusca, Antonio--PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his models, Stradivari and Amati . . . . . . . . . . . . . . . . . 158-163

Racceris--Rinaldi, Gioffredo--Rocca, J. A.--Rodiani--Rota, Giovanni--Rovetta--ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or settled in Bologna); his instruments of large Amati pattern--ROGERI, PIETRO GIACOMO--RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolo Amati and worthy of him; brilliancy of his varnish--RUGGERI, GIACINTO--RUGGERI, VINCENZO--RUGGERI, GIAMBATTISTA . . . . . . . . . . . . . . . 163-167

SACCHINI--SALO GASPARO DA ("The Great Brescian,"); his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salo of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice--Sanoni, Giovanni Battista--Santo, Giovanni--Sanzo--Sardi--Sellas, Matteo--SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer--Sneider, Josefo--Socchi, Vincenzo--Sorsana--Stregner, Magno--Storioni; follower of Guarneri del Gesu; his freak as to placing the sound-holes; creditable character of his work in several respects--STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolo Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the "Long Strad"; instruments for the Spanish Court; letter from the Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's "golden period," 1700; description of his instruments of this date; the "Betts Strad;" guiding principles as to differences of construction and quality of material; the "Dolphin Strad," its exquisite beauty; tranquil character of Stradivari's life; war in Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to Italy, and entry into Cremona; set of instruments for Charles III. of Spain, and for Archduke Charles of Austria; letter from Lorenzo Giustiniani; set of Violins for Augustus, King of Poland; Veracini, the Solo-Violinist, and Stradivari; last epoch of the great maker; quality of his instruments at this period; comparison with those of contemporaries; place of his burial, in the Chapel of the Rosary, with diagram; Polledro's description of the personality of Stradivari; singular apathy of the Cremonese as to their great deceased citizen--STRADIVARI, FRANCESCO and OMOBONO, sons and successors of Antonio; character of their work; correspondence between his son and grandson, Paolo and Antonio, and the agents of Count Cozio di Salabue, relative to the purchase of the models, tools, and drawings of the Maestro--Sursano, Spirito . . . . . . . . . . . . . . . . . . 168-219

Tanegia, Carlo Antonio--Taningard, Giorgio--TECCHLER, DAVID; his instruments of German and Italian styles, finely formed, and of good quality; his Violoncellos of large size--Testore, Carlo Giuseppe--Testore, Carlo Antonio--Testore, Paolo Antonio--Tieffenbrucker, Leonardo--Todini, Michele; his method of stringing the Violono--Tononi, Carlo--Tononi, Carlo Antonio--Tononi, Giovanni--Tononi, Felice--Tononi, Guido--Trapani, Raffaele . . 219-222

Valenzano, G.--Vetrini, Battista--Vimercati . . . . . . . . . . . 222

Wenger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Zannetto, Pellegrino--Zanola, Giovanni Battista--Zanotti, Antonio--Zanti, Alessandro--Zanure, Pietro--Zenatto, Pietro . 222-223

SECTION VII.--THE FRENCH SCHOOL.

Origin of the French School in the 17th century; followers of the Brescian and Cremonese types; mediocre character of their earlier efforts, with a few exceptions--De Comble and the second French School; Pique, Lupot, and Francois Gand; Silvestre, of Lyons--Introduction of the practice of Fiddle-baking; its failure--The copyist, and the Mirecourt factory, the "Manchester of Fiddle-making;" its destructive influence on the interests of true art . . . . 224-230

SECTION VIII.--FRENCH MAKERS.

Aldric--Allar--Amelot--Aubry--Augiere . . . . . . . . . . . . . . 231

Bachelier--Bassot--Bernardel, Sebastien Philippe--Bertrand, Nicolas--Boivin, Claude--Boquay, Jacques; follower of Girolamo Amati--Borlon, Artus, or Arnould--Borlon (or Porlon), Pierre, Viol-maker--Borlon, Joannes--Borlon, Francois--Boullangier, C.--Boumeester--Bourdet, Sebastien--Bourdet, Jacques--Boussu, Eterbeck--Breton, Le--Brugere . . . . . . . . . . . . . . . . 231-234

CALOT--Castagnery, Andrea--Castagnery, Jean Paul--Champion, Rene--Chanot, Francois--CHANOT, GEORGES; an indefatigable worker, and close copier of Stradivari and Guarneri--Chanot, Georges, fils--Chanot, F.--Chanot, G. A.--Chappuy, Nicolas-Augustin--Chardon, Joseph--Charotte--Chevrier, Andre-Augustin--Claudot, Charles--Claudot, Augustin--Clement--Cliquot, Henri--Cliquot, Louis Alexandre--Cunault--Cuypers--Cuny . . . . . . . . . . . . . . 234-237

Daniel--Darche--David--DE COMBLE, AMBROISE; said to have worked with Stradivari; a skilful worker; good material and varnish--Dehommais--Delanoix--Delaunay--Deleplanque, Gerard--Derazey--Despons, Antoine--Dieulafait--Droulot--Ducheron, Mathurin--Du Mesnil, Jacques . . . . . . . . . . . . . . . . . 237-238

Eesbroek, Jean Van, Lute-maker . . . . . . . . . . . . . . . . 238-239

Falaise--Fendt, or Fent--Fleury, Benoist--Fourrier, Nicolas . . . 239

GAILLARD--GAND, FRANCOIS; pupil and successor of Nicolas Lupot; an excellent maker and repairer--Gand, Adolphe--Gand, Eugene--Gavinies, Francois--Germain, Joseph Louis--Germain, Emile--Gosselin--Grand-Gerard--Grandson Fils--Grosset, Paul Francois--Guersan, Louis . . . . . . . . . . . . . . . . . . . 239-242

Hel--Henry, Jean Baptiste Felix--Henry, Charles--Henry, Octave--Henry, Eugene--Hofmans, Mathias . . . . . . . . . . . . . . . . . . . . . 242

Jacobs, Hendrik; his work often mistaken for that of Niccolo Amati--Jacobs--Jacquot, Charles (_pere_)--Jacquot, Charles (_fils_)--Jeandel, P. N. . . . . . . . . . . . . . . . . . . . 242-243

Koliker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Lambert, Jean Nicolas--Lapaix--Laprevotte, Etienne--Leclerc--Lecomte--Leduc, Pierre--Lefebvre--Le Jeune, Francois--Le Pileur, Pierre--Lesclop, Francois Henry--Louis--Louvet, Jean--Lupot, Jean--Lupot, Laurent--Lupot, Francois--LUPOT, NICOLAS; maker to the Conservatoire; an excellent workman, and named "The French Stradivari," and "The king of modern makers;" characteristics of his work . . . . . . . . . . . . . . . . . . . . . . . . . 243-247

Marquis de Lair--Mast, Jean Laurent--Mast--Maucotel, Charles--Maucotel, Charles Adolphe--Medard, Francois--Medard, Nicolas--Medard, Jean--Mennegand, Charles; distinguished as a maker and repairer, and also as a "cutter"--Miremont, Claude Augustin--Modessier--Mougenot . . . . . . . . . . . . . . . . 247-250

Namy--Nezot--Nicolas, Francois--Nicolas, Fourrier--Nicolas, Didier--Nicolas, Joseph . . . . . . . . . . . . . . . . . . . . . 250

Ouvrard, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . 250