Part 21

He was articled to Samuel Gilkes in May, 1820, of whom he learned the mechanical branch of his profession. He afterwards centred his attention upon the peculiar characteristics of the Cremonese and Italian Violin-makers generally, and in a comparatively brief space of time obtained an extensive acquaintance in that direction. His unerring eye and powerful memory of instruments once brought under his notice secured for him the highest position among the connoisseurs of his time. Commencing business at a period when the desire to possess instruments by the famous Italian makers was becoming general among amateurs, and being peculiarly fortunate in securing an early reputation as a judge of them, he became the channel through which the greater part of the rare Italian works passed into England, and it has frequently been said that there are very few distinguished instruments in Europe with which he was unacquainted. Among the remarkable collections that he brought together may be mentioned that of the late Mr. James Goding, the remnant of which was dispersed by Messrs. Christie and Manson in 1857; the small but exquisite collection of Mr. Charles Plowden, consisting of four Violins of Stradivari and four of Guarneri, with other instruments of less merit, the whole of which again passed into Mr. Hart's possession upon the death of their owner; and, lastly, a large portion of the well-known collection of the late Mr. Joseph Gillot, sold by Christie and Manson shortly after the famous sale of pictures belonging to the same collector.

HAYNES, Jacob, London, 1746. Copied Stainer. The style resembles that of Barrett.

HEESOM, Edward, London, 1748. Copied Stainer.

HILL, Joseph, London, 1715-84. Pupil of Peter Wamsley. His Violoncellos and Tenors are well-made instruments.

Joseph Hill, Maker, at the Harp and Flute, in the Hay Market. London.

HILL, William, London, 1741. Son of the above. Very good work.

William Hill, Maker, in Poland Street, near Broad Street, 17--

HILL, Joseph, London, 1800-40. Son of the above.

HILL, Lockey, London, 1800-35. Brother of the above. Made many excellent instruments.

HILL, William Ebsworth, London, 1817-95. Son of Lockey Hill. Made several instruments in his younger days, but, like the rest of our English makers, he long since discovered that new work was unremunerative, and turned his attention to repairing and dealing in old instruments, and became the founder of the well-known firm of W. E. Hill and Sons, of Bond Street. He exhibited at the Exhibition of 1862 a Violin and Tenor, thus showing that Violin-making was not quite extinguished in England.

HOLLOWAY, J., London, 1794.

HUME, Richard, Edinburgh, 16th century. A maker of Lutes, &c.

JAY, Henry, London, 17th century. Maker of Viols, which are capital specimens of the work of the period. The varnish is excellent.

JAY, Thomas, London. Related to the above. Excellent work.

JAY, Henry, London, about 1744-77.

Made by Henry Jay, in Long Acre, London. 1746.

A maker of Kits chiefly. At this period these juvenile Violins were in much demand by dancing-masters. A few years ago a very choice collection of these instruments was made by an Irish gentleman residing at Paris, who obtained specimens from all parts of Europe. Henry Jay also made Violoncellos, some of which have the names of Longman and Broderip on the back.

JOHNSON, John, London, 1750.

Made and sold by John Johnson, at the Harp and Crown, in Cheapside, 17 London. 53

The Violins bearing his label are dated from Cheapside. Johnson was a music and musical instrument seller. In "The Professional Life of Dibdin," written by himself, we have the following reference to this City music-seller: "My brother introduced me to old Johnson, who at that time kept a capital music-shop in Cheapside.[1] I soon, however, grew tired of an attendance on him. He set me down to tune Harpsichords, a mere mechanical employment, not at all to my taste." "I saw plainly that I might have screwed up Harpsichords in old Johnson's shop to all eternity, without advancing my fortune; and as to the songs and sonatas that I brought him for sale, they had not been performed at the theatres nor Vauxhall, nor any other place, and Johnson would not print them." "The Thompsons, however, of St. Paul's Churchyard, published six ballads for me, which sold at three-halfpence a-piece, and for the copyright of which they generously gave me three guineas." Though we may not feel disposed to apply the term "generous" to a payment of half-a-guinea for a Dibdin ballad, yet in all probability we are indebted to the Thompsons for this particular recognition of merit. Happily true genius, when in straits, generally finds relief. Were it otherwise, and had the Thompsons been as deaf to Dibdin as John Johnson appears to have been, "Tom Bowling," "Poor Jack," and many other compositions of sterling merit, might never have been written.[2]

[Footnote 1: Dibdin's brother was captain of a merchant vessel, and was intimate with Johnson the music-seller. On the death of Captain Dibdin his brother composed "Tom Bowling," the music and words of which bespeak the fraternal love of the composer.]

[Footnote 2: Dibdin was evidently discouraged in consequence of Johnson's refusal to publish his songs: he says, "After I had broken off with Johnson, I had some idea of turning my thoughts to merchants' accounts--the very last thing upon earth for which I was calculated."]

KENNEDY, Alexander, London, 1700-86. Was a native of Scotland. He was the first maker of Violins in his family, which was connected with the manufacture for nearly two centuries.

Alexander Kennedy, Musical Instrument Maker, living in Market Street, in Oxford Road, London, 17--

KENNEDY, John, London, born 1730; died 1816. Nephew of Alexander Kennedy. Made Violins and Tenors.

KENNEDY, Thomas, London, born 1784; died about 1870. Son of the above. Probably made more instruments than any English maker, with the exception of Crask.

LENTZ, Johann Nicolaus, London, 1803. He used mostly one kind of wood, viz., close-grained maple. Varnish nearly opaque.

Johann Nicolaus Lentz, fecit near the Church, Chelsea. 1803.

LEWIS, Edward, London, 1700. The work is well executed throughout, and the varnish superior.

LISTER, George, 18th century.

LONGMAN AND BRODERIP, Cheapside, London, about 1760. They were music-publishers and instrument-sellers, and were not Violin-makers. Benjamin Banks, Jay, and others, made many of the instruments upon which the name of Longman is stamped. Muzio Clementi was at one time a partner in the firm. The business ultimately passed to Collard and Collard.

LOTT, John Frederick, 1775-1853. Was a German by birth. He was engaged in the cabinet business early in life. He was induced by Fendt to turn his attention to making Violins, and ultimately obtained employment under Thomas Dodd, making many of the Violoncellos and Double-Basses that carry the label of Dodd within them. His work was of a most finished description. His Double-Basses are splendid instruments, and will bear comparison with Italian work. His varnish was far from equal to his finish. The time he spent in making these instruments was double that which any other English maker expended over similar work. There is not a single portion of any of his Double-Basses that has been carelessly made; the interior is as beautifully finished as the exterior. The machines on many of his Basses were made by himself--a very unusual circumstance. The scrolls are finely cut. He was certainly the king of the English Double-Bass makers.

LOTT, George Frederick, London, born 1800; died 1868. Son of the above. Many years with Davis, of Coventry Street. Was an excellent judge of Italian instruments, and a clever imitator.

LOTT, John Frederick, London, younger brother of the above, died about 1871. Was articled to Davis. Has made many clever imitations. He was also an ardent lover of Cremonese instruments, and thoroughly understood their characteristics. His career was both chequered and curious, sufficiently so, indeed, to cause our eminent novelist, Charles Reade, to make it the subject of "Jack of all Trades: a Matter-of-Fact Romance." Jack Lott (as he was familiarly styled) therefore shares with Jacob Stainer the honour of having supplied subject-matter for writers of fiction. It must, however, be said that whilst Dr. Schuler's "Jacob Stainer" is mainly pure fiction, "Jack of all Trades" is rightly entitled "a matter-of-fact romance." I have many times heard John Lott relate the chief incidents so graphically described by Charles Reade.

MACINTOSH, Dublin. Succeeded Perry and Wilkinson. Died about 1840.

MARSHALL, John, London, 1750.

MARTIN, ----, London, about 1790.

MAYSON, Walter H., Manchester, 1835-1904. A prolific maker. His later work is highly spoken of.

MEARES, Richard, about 1677. Maker of Viols.

Richard Meares, without Bishopsgate, near to Sir Paul Pinder's, London. Fecit 1677.

MIER, ----, London, about 1786.

MORRISON, John, London, about 1780-1803.

NAYLOR, Isaac, Headingly, near Leeds, about 1778-92.

NICHOLS, Edward, 18th century.

Edwardus Nichols, Fecit ad exemplar Antoni Straduarii Cremonensis, 1763.

NORBORN, John, London, about 1723.

NORMAN, Barak, London, 1688-1740.

Barak Norman and Nathaniel Cross, at the Bass Viol in St. Paul's Church Yard, London. Fecit 172--

The instruments of this maker are among the best of the Old English school. His instructor in the art of Viol and Violin-making is unknown, but judging from the character of his work it is very probable he learned from Thomas Urquhart. This opinion is strengthened upon examining his earliest instruments. We there find the same peculiarities which mark the individuality of Urquhart. Later in life he leaned much to the model of Maggini.

During his early years he was much esteemed as a maker of Viols, many of which have all the marks of careful work upon them. On all of these instruments will be found his name, surrounded with a design in purfling, under the finger-board, or his monogram executed in purfling. The same trade token will be found in his Violoncellos. All endeavours to discover any existing English Violoncello, or record of one, anterior to Barak Norman, have failed, and, consequently, it may be assumed that he was the first maker of that instrument in England. Here, again, is evidence of his partiality for the form of Maggini, as he copied this maker in nearly all his Violoncellos. All the Violoncellos of Barak Norman have bellies of good quality; the modelling is executed skilfully, due care having been observed in leaving sufficient wood. His Tenors are fine instruments. Many of these were made years before he began the Violoncellos--a fact which satisfactorily accounts for the marked difference in form peculiar to them. The build is higher, and the sound-hole German in character; the varnish is very dark. About the year 1715 Barak Norman entered into partnership with Nathaniel Cross, carrying on the joint business at the sign of the Bass Viol, St. Paul's Churchyard. In a Viol da Gamba which belonged to Walter Brooksbank, Esq., of Windermere, is a label in the handwriting of Nathaniel Cross, in which he adds the power of speech to the qualities of the quaint Gamba; the words are, "Nathaniel Cross wrought my back and belly," the sides and scroll being the work of his partner.

NORRIS, John, London, born 1739; died 1818.

Made by Norris and Barnes, Violin, Violoncello, and Bow Makers, To their Majesties, Coventry Street, London.

Articled to Thomas Smith, the successor of Peter Wamsley. Similar work to that of Thomas Smith. He became a partner of Robert Barnes.

PAMPHILON, Edward, London, 17th century.

Edward Pamphilon, April the 3rd, 1685.

The Violins of this maker were formerly much prized. The model is very high, and the appearance somewhat grotesque. It is to be regretted that the splendid varnish often found on these instruments was not put upon better work.

PANORMO, Vincent. (_See_ Italian School.)

PANORMO, Joseph, London. Son of Vincent Panormo. His work was excellent. His Violoncellos are decidedly superior to his Violins.

PANORMO, George Lewis, London. Brother of the above. Made Violins of the Stradivari pattern.

PANORMO, Louis, London. Made Guitars chiefly.

PARKER, Daniel, London, 18th century. This is another maker of the English school, who was possessed of exceptional talent, and whose instruments are well worthy of attention from those in search of good Violins at a moderate cost. To Parker belongs, in conjunction with Benjamin Banks, the merit of breaking through the prejudice so long in favour of preference for the Stainer model.

The dates of his instruments extend from the year 1740 to 1785. He left his Violins thick in wood, which has certainly enhanced their value now that time has ripened them. He used excellent material, which is often very handsome. The varnish is of a mellow quality, and fairly transparent. A large number of these Violins have been passing under other makers' names, and have been but little noticed.

PEARCE, James, London, 18th century.

PEARCE, W., London, contemporary.

PEMBERTON, Edward, London, 1660. This maker has been often mentioned as the author of a Violin said to have been presented to the Earl of Leicester by Queen Elizabeth, and to suit this legend Pemberton's era has been put back a century. The date given above will be found in the Violins of this maker.

PERRY AND WILKINSON, Dublin, 17-- to 1830. The instruments bearing the labels of these makers are frequently excellent in tone, material, and finish.

POWELL, Thomas, London, 18th century.

Made by Thomas Powell, No. 18, Clemens Lane, Clare Market. 1793.

PRESTON, London, about 1724. Appears to have used his trade label in the instruments he sold, made by makers he employed.

PRESTON, John, York, 18th century.

John Preston, York, 1791. Fecit.

RAWLINS, Henry, London, about 1781.

Restauratus Henricus Rawlins Auspicio Giardini Londini 1781.

He appears to have been patronised by Giardini, the Violinist, according to the label here given. Gi