Part 16

The model varies very much; those of the flat pattern are excellent instruments. They are large, and beautifully made. The varnish, though inferior to that of Santo Serafino, is similar. These Violins are branded above the tail-pin. His instruments date from about 1716.

TONONI, Giovanni, about 1700. Similar characteristics.

TONONI, Felice, Bologna.

TONONI, Guido, Bologna.

TOPPANI, Angelo de, Rome, about 1740. Scarce; workmanship resembles that of Tecchler.

TORTOBELLO, Francesco, Rome, 16--. Maggini characteristics.

TRAPANI, Raffaele, Naples, about 1800. Large pattern; flat model; purfling deeply laid; edges sharp; scroll heavy.

VALENZANO, Gio. Maria, Rome, 1771 to about 1830. Neapolitan character; neat work; varnish excellent in some specimens, being soft and transparent.

VETRINI, Battista, Brescia, about 1629. Yellow varnish of good quality; handsome wood; rather small.

VIMERCATI, Paolo, Venice, about 1700. Similar to Tononi. Jacob Stainer is said to have worked in the shop of Vimercati.

WENGER, Padua, Lute-maker, 1622.

ZANNETTO, Pellegrino, Brescia, 1547. M. Chouquet in his "Catalogue Raisonne" of the instruments at the Conservatoire in Paris, describes a six-string Viol da Gamba of this make.

ZANOLA, Giovanni Battista. Flat model; rough workmanship; German character.

Joannes Baptista Zanola, Verona, 17--

ZANOLI, Giacomo, 1740-80. Verona. Worked in Venice, Padua, and Verona. Venetian character.

ZANOTTI, Antonio, Mantua, about 1734.

Antonius Zanotus, fecit Mantuae, anno 1734.

ZANTI, Alessandro, Mantua, 1765. He copied Pietro Guarneri, but had little knowledge of varnishing, if we are to judge from the few instruments of this maker extant.

ZANURE, Pietro, Brescia, 1509. A maker of Viols.

ZENATTO, Pietro, Treviso, about 1634.

Pietro Zenatto fece in Treviso Anno 1634.

SECTION VII 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, Francois Medard 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 Medard, includes the following makers: Nicolas Renault, of Nancy, Medard, also of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gavinies, Chappuy, Ouvrard, Paul Grosset, Despont, Saint-Paul, Salomon, Veron, 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 Francois 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, Mennegand, 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[1] 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 17ieme et 18ieme Siecles," 1869; M. Fetis, "Biographie Universelle des Musiciens;" M. Vidal, "Les Instruments a Archet," 1876; the "Catalogue Raisonne," 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 Fetis;" and Mendel's "Musikalisches Conversations-Lexikon," 1880.

[Footnote 1: Germany's yearly output of such instruments is enormous, the principal seats of manufacture being Mark-Neukirchen (Saxony) and Mittenwald (Bavaria).]

SECTION VIII 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.

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

BACHELIER, ----, Paris, 1788.

BASSOT, ----, Paris, 1788.

BERNARDEL, Auguste Sebastien 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 Eugene Gand, and the firm was known as "Gand et Bernardel freres."

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 Raisonne" of the instruments at the Paris Conservatoire, described a Guitar by this maker, made for a daughter of Louis XV.

[Illustration: _Plate XIII_. ANTONIO STRADIVARI. 1702. ANTONIO STRADIVARI. 1722. ANTONIO STRADIVARI. 1703.]

BOQUAY, Jacques, Paris, 1700-1730.

Jacques Boquay, rue d'Argenteuil, a Paris, 1723.

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 Arnold, 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 Maitre 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, Francois, 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, Sebastien, 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 a 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.

BRUGERE, 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 Clement prior to date given. _See_ AUGIERE.

CASTAGNERY, Andrea. _See_ Italian list.

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

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

CHANOT, Francois, 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 Francois 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, Andre-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.

Fait a Tournay par Ambroise de Comble, 1750.

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.

DEHOMMAIS, Paris, 1870. _See_ GERMAIN (Emile).

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, Gerard, Lille, 1768.

DERAZEY, Honore, 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 Honore; 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.

FOURRIER, Nicolas, Mirecourt. _See_ NICOLAS.

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 Francois, 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 Francois 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 Francois 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 Eugene, 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.