British Violin Maker

BRITISH VIOLIN-MAKERS
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BRITISH
VIOLIN -MAKERS
CLASSICAL AND MODERN
Being a Biographical and Critica! Dictionary of British

Makers of the Violin from the Foundation of
the Classical School to the End of
the ineteenth Century
WITH !NTRODUCTORY CHAPTERS, AND NUMEROUS

PORTRAITS AND ILLUSTRATIONS
BY THE
REV. WM . MEREDITH MORRJS, B.A.
LO DON
CHATTO & WI DUS
UNIVERSITY OF .TORONTO
2~ ;J0J7
EDWARD JOHNSON
MUSIC LIBRARY
Printed by BALLANTYN~, HANSON & Co.
At the Ballantyne Press
PREFACE
THE following pages are the fruit of many years
patient labour. The author has spent nearly all the
spare moments of his life in the active service of the
King of Instruments, and the effort embodied herein
is homage paid by a loyal subject to a worthy monarch.
No doubt the work will be found to contain many
imperfections-all things human do-but it at least
claims the merit of independent research. The in-
formation given is invariably based upon personal
observation, except in a few cases where it was
impossible to get at particulars first- hand. The
modern school of violin-making, it will be observed,
is for the first time treated with the amplitude and
the respect which its importante demands . . During
the last seven years the writer has examined over a
thousand new instruments, the majority of which were
well made, and not a few of them as fine examples
of the luthier's art as the world has ever produced.
An important feature of the work is the reproduction
of a large number of labels in exact facsímile, and
it is matter of sincere regret to the author that he
has not been able to extend the feature throughout.
Perhaps the courtesy of violin-makers will enable him
to do so in a second edition should such edition be
fortunately called for. It is possible that the names
of sorne present-day makers may be found wanting
. .¡¡
viii PREFACE
in the biographical dictionary ; if so, it happens
because the makers in question did not reply to the
circular sent out asking for information.
The portien of the work dealing with the classical
school contains, it is believed, a great deal that is
interesting and not a little that is new. Particular
attention has been paid to accuracy in the matter of
dates--a point in which writers on the subject have
not always been as scrupulous as they should be.
Sincere thanks are due to all who have contributed
biographical particulars, or who have otherwise helped
to make the work a success.
W. MEREDITH MORRIS.
GARTH PARSONAGE,
MABSTEG, s. w ALES,
January I, J 904.
CONTENT S
PAGK
PREFACE. YÜ
PART I
INTRODUCTOR Y
l. THE CLASSICAL SCHOOL-
.A. THt Monl!L 3
B. THE MATERIAL 10
C. T1u1 VARNrsH • JI
D. THE WoR.KMAIISHIP 14
E. TH& TONE 17
II. THE MODERN SCHOOL-
.A. TH11 REvrvAL or V10L1N-MAK1NG :n
B. THB CHAucna1sncs or THE Woo1>, WouMAM•
SHIP, &C, 23
III. BRIDGES: CLASSICAL AND MODERN 34
IV. THEORIES ABOUT STRADIVARI'S TONE-
.A. TH11 Arll MASS THEORY •
B. THa RELAT1va PrTCH oF T HE Puna
c. RaLATIVI DaNSITY •
D. QuALITY OF W 00D •
E. Pun TE11s1011 •
F. ÜUTL1n, A1cH1NG, AND TH1CINEss
G. HuMONIC P10PORT1011
PART II
ADICTIONARYOF VIOLIN AND BOWMAKERS:
CLASSICAL AND MODERN 53
INDEX.
LIST OF ILLUSTRAT IONS
REv. W. MEREDITH MoR1us • • Frontispitct

W ILLIAM ATKINSON To fact pagt 65
VlOLIN BY WILLIAM ATKINSON ,, ,, 67
V10LONCl!LLO BY BENJAMIN BANKS, 1785
(BELLY) ,, ,, 72
VtOLONCl!.LLO BY BENJAMlN BANKS, 1785
(Sro11. ; BAcK) • ,,
J. w. BRIGGS, GLASGOW . »
VERY FINE VIOLA BY RICHARD DUKI! ,, ,, IIO
F1N11.-ToNED 'C11.LLO BY "ÜLD" FoRSTER ,, ,, I 19
J. J. G1LBl!R.T • ,, 124
V10LIN BY }l!FFl!.RY J. GILBERT, PETERBOROUGH ',, ,, 126
JAS. ffARDlll • ,,
"
1
37
FaoNT AND BAcK oF MAGGINl CoPY BY
J. HARDlll ,, ,, 138
FINE•TONl!D VIOLJN l!Y MATTHEW HARDII! ,, ,, 140
CHA'RI.l!S HARRJS VIOLA • ,, ,, 145
G110. HART ,, ,, 146
Al.FRl!D V.,ALTER HEAPS • " 150
WILLIAM HEATON •
",, ,, 152
THll "CHATS., ' C ELLO BY W. HEATON ,, 156
THos. E. Hl!SUTH •
" 1 57
,,."
"
WALTER H. MAYSON ,, 172
11
MEREDITH MoRRIS " VIOLIN BY MAYSON ,, ,, 1 74
THE " CoaoNATION EDWAIW VII." BY MAYSON,, ,, 1 75
•i
xu LIST OF ILLUSTRATIONS
JoHN WILLIAM ÜWEN To /act page 189
VIOLIN BY JoHN W. ÜWEN ,, 190
DANIEL PARKER VIOLIN •· ,," )) 1 93
VIOLIN BY DANIEL PARKER ,, ,, 193
H. J. SHROSBRl!l! 205
FINE VroLIN BY H. J. SHROSBREE, 1899 .
",, ",, 206
ALEX. SMILLIE ,, 208
JOHN SMITH ,, ",, 212
]AMES WHITl!LAW ,, 227
E. WITHERS
" ,, 236
"
EDWARD WITHl!RS )l )) 237
PART I
INTRODUCTORY
A
I.-THE CLASSICAL SCHOOL

T HE classical period of British violin-making is almost
conterminous with the eighteenth century, and embraces
the work of Parker, Duke, Banks, Forster, and other
men of less note. lt is advantageous to review its
remains from the point of view of model, material,
varnish, workmanship, and tone.
A.-THE MODEL
In contemplating the model adopted by our old
makers, two features alone seem to stand out sufficiently
prominent to arrest the attention of the connoisseur, viz.
the absence of originality and the inferiority of the type
adopted. The manifest poverty of idea is very extra-
ordinary when we consider that the English excelled as
makers of the lute and viol. There can be no doubt
that viols of British manufacture were facile prínceps
among instruments of that type. We gather as
much from a work by Jean Rousseau entitled Traité
de la Viole, which was published in Paris in 1687;
from numerous statements on the subject in Mace's
" M usick's Monument," and from other works dealing
with the history of music. So extraordinary are the
4 BRITISH VIOLIN-MAKERS
above features considered to be that most writers on
the subject have thought it necessary to endeavour to
account for them. Hart, in his standard work, "The
Violin: _lts Famous Makers and their Imitators," offers
the following explanation: "It may be that Continental
connoisseurs have credited themselves with the works
of our best makers, and expatriated them, while they
have inexorably allowed bad English fiddles to retain
their nationality." This is possible, but hardly prob-
able. Connoisseurs are blessed with an open mind and
an easy conscience, we know, but we doubt whether,
apart from their tonal qualities, there be sufficient merit
in our classical instruments to tempt dealers to practise
the black art. lnstruments that are intended to take
their role in a masquerade are such as are meant to be
purchased by the eye and not by the ear. If lack of
originality had been the only defect of the work of our
classical school, the explanation wou)d be plausible,
but there is beyond that the choice of an inferior
model. The British copied, and in many instances
exaggerated, the high arch of Stainer. Doubtless there
are reasons, and cogent reasons. W e are not for a
moment to conclude that British artists have at all
times been unequal to the higher füghts of art. They
have their seasons of artistic drought and barrenness
like most artists of other nations (and this has some-
what to do, perhaps, with the present subject), but they
have also their seasons of early and later rain and
plenteous aftermath. I hazard the following explana-
tion. There was--
( I) An absence of stimulus.-During the greater part
of the classical period the world passed through the
chill cloud of universal inactivity. If British makers
THE CLASSICAL SCHOOL 5
were possessed of the necessary talent, the means
were wanting which ought to have called it forth.
Healthy environment is as much a condition of Iife as
is healthy organism. The glories of the Elizabethan
age were past and gone. Reaction-that principie
which runs like an undercurrent through the waters
of universal history-was already in motion. The
force was even now at work which culminated in Lati-
tudinarianism in the Church, in Deism in matters of
belief, in pam phleteering in literature, in artificiality in
poetry, in Epicureanism in morals, and in mechanical
servility in art. Ennui was in the air, and the nation
from Parnassus down to Bedlam caught it. There
were sporadic efforts, and the efforts show sorne amount
of concentration of energy ; but the mere conflux of
sudden gushes are not identical with the gentle and
ceaseless flow of the stream of genius. Moreover, the
remains of our classical period betray ejfort. Now,
one of the leading characteristics of the fruit of genius
is its freedom from effort. Carlyle was never more
in error than when he described genius as an infinite
capacity for taking pains. Genius cannot be expressed
in terms of resistance, nor its product as the multipli-
cation of labour. lt is not hinted that we had no
geniuses amongst our old makers. All that is asserted
is that the conditions of manifestation were absent.
Genius is a plant which, in the absence of sunlight,
grows etiolated and sickly. Many and many a beauti-
ful :Bower has "bloomed to blush unseen." lt gave
its blushes to the sun and its scent to the brceze be-
cause no one took the trouble to pluck it. The fruits
of talent are often lost because no one gathers them ;
nay, the talent itself is destroyed because it has to be
6 BRITISH VIOLIN-M AKERS
buried in the ground. The reader will remember, and
may apply in this connection, the lines of Gray:
" Perhaps in this neglected spot is laid

Sorne heart once pregnant with celestial fire ;
Hands that tbe rod of empire might have awayed
Or waked to ee1tasy the living lyn,."
( 2) Musical Conseruatism was a poten/ F actor.-The

viol enjoyed a monopoly, and the upstart violín in its
battle for the possession of the British music world
had to contest every inch of the ground. This is
painfully if amusingly evídent from the vituperations
of old Thomas Mace. His remarks have been quoted
by so many writers on the violín that it is unnecessary
to give them here. The vio! held its sway more or
less firmly down till about 1650, and for the next
fifty years, like a worthy veteran of many battles, it
bravely held on. In spite of Court and other influ-
ences, the "French fashion" was looked upon by the
public as a giddy and pertinacious intruder. Even
when supplemented by the " l talian fashion " it found
its path strewn with many thorns. Very timely was
the arrival of Thomas Balzar in 1656, and of Nicola
Matteis in 1672. Their wielding of the magic wand
it was that proved the principal means in undoing the
conservative spell. By the time the strife had fully
ended the eighteenth century had dawned. The art
of violin making in Italy was then at its zenith, and
Cremona stood unrivalled in the production of the
king of instruments. Age and use had done much
for the Brescian, early Cremonese, and Tyrolese instru-
ments, and those which found their way into this
country were incomparably superior to the raw material
produced by the native makers. E ven as the demand
on the Continent a hundred years previously had been
far the splendidly-made and well-matured English
viol, so now in England (that had at length awaked
to the superiority of the violin) the demand was far
the unrivalled instruments of l talian and especially of
T yrolese manufacture.
O wing to a constitutional abhorrence of innovation
we started a hundred years late, and we of necessity
lost the race.
(3) Puritan Fanaticism.-The furious bigotry of
Anabaptists, Levellers, and ·Fifth-monarchy-men had
placed music under a han, ~and the gentle voice of
melody had been drowned in the hoarse battle-cry of
the "saints." In the fanatical days of "Praise-God-
Barebones" many and many a precious old viol shared
the fate of the stained glass and carved work of our
cathedrals. Puritan England was the P atmos of art.
N early a century elapsed befare the muses ventured
farth to fan art into a Hame out of the embers of its
dead self.
So much far the absence of originality. As to the
other characteristic-the inferiority of the type-1 fear
that no explanation or apology can be o.ffered. l t
shows lack of discrimination. The old makers adopted
the model of Stainer, and fallowed it with but few
departures far the greater part of a hundred years.
In fallowing those who had gone before, they un-
wittingly showed a predilection for the least worthy.
Something may be said for the copyist who, conscious
of his deficiency in the power of originality, assidu-
ously sets about to copy that which is best and noblest
in art, but apology becomes difficult in the case of the
man who imitates the inferior and less worthy. The
British in their choice of type showed inability to
differentiate between tone nuances, and also lack of
artistic feeling in the matter of form and propor-
tion. That they sinned without excuse is perfectly
certain. They were acquainted with Brescian and
early Cremonese instruments as well as with those
of Jacob Stainer. They were in the position to make
a choice, and their choice fell upon the inferior model.
I am aware that the truth of the last statement has been
denied by certain authorities, and it will be well perhaps
to bring forward the evidence upon which it rests : -
{I) There were numerous ltalian instruments
brought into this country by collectors. William
Corbett, who resided for sorne years in Italy, brought
back a rare collection--a " Gallery of Cremonys and
Stainers." These were bequeathed to Gresham College,
and handed over to the authorities on the death of the
collector in 1748, with the proviso that they were to
remain open for inspection. Soon after the death of
the donor the college authorities disposed of the
"gallery" by auction (it is supposed), and the in-
struments became the property of dealers and other
collectors. The Duke of Hamilton, the Duke of
Cambridge, the Earl of Falmouth, and others, also
formed collections of I talian instruments.
( 2) That ltalian models were known in this
country is proved by the fact that they were occa-
sionally copied.
(a) Richard Meares ( 1 6 So) adopted the Brescian
model, and made excellent violins in the
lines of Maggini. This old maker probably
made the first English violoncello.
(/J) Barak Norman (1683-1744) ornamented his
instruments in the Maggini style, and used
labels which are reminiscent of those used by
Del Gesu.
('Y) An undoubtedly genuine violin by Christopher
Wise (1656) is made on the Maggini lines.
(J) Peter Wamsley (1715-51) is admitted by
most writers to have made severa! copies of
Stradivari, and to have followed the master
closely except in the matter of graduating
the thicknesses. He spoilt his work in at-
tempting to produce the ltalian tone by
over-thinning the plates.
(e) Cuthbert (1700). An admittedly genuine
example of this maker is in the Maggini
lines.
(t) Matthew Hardie made many violins in the
Stradivari model towards the end of the
eighteenth century, and that at a time when
the Amati model was the vogue.
(3) There is further the fact that severa! eminent
ltalian 'VÍrtuosi visited this country from time to time.
The playing of these must have drawn attention to
the ltalian instruments upon which they played, and
ought to have enlightened the understanding of our
makers as well as of the music world.
(a) Francesco Geminiani carne to England between
1709-14, and met with a great success.
Here he remained and published his works,
making a few artistic tours to the Continent
and again returning.
(fJ) Veracini carne to London in 1714 and led the
ltalian Opera Band there.
10 BRJTISH VIOLIN-MAKERS
(,y) Gaetano Pugnani (1727-1803) visited London
more than once, and stayed there on one of
these visits for nearly two years.
(8) Giardini carne to London in 1744 and remained
there for two years.
(4) Somewhere about 1686, the banker, Michele
Monzi, of Venice, sent a set of Stradivari violins,
altos, and violoncellos, as a present to King James of
England. In this connection it may be worth while
to mention Forster's assertion that a consignment of
new Stradivari instruments sent here on approval could
not be disposed of.
Thus there is not the shadow of doubt that ltalian
models were known in this country early in the
eighteenth century, and there is not the shadow of
doubt that they were deliberately set aside 'in favour
of an inferior type.
B.-THE MATERIAL
The wood used by our classical makers is for the
most part maple and pine of the orthodox kind, but
various other woods were occasionally used, either by
way of experiment, or on account of a scarcity of
the right sort. Benjamin Banks used plain English
sycamore for the back of sorne of his violins, and red
pine for the front table of a few of bis violas. He
once (by special request it is true) used cedarwood
for both back and belly of a violoncello. " Old"
Forster used common deal for the table of many of
his second-class instruments. Richard 1;.)uke and
Daniel Parker were usually very particular about their
wood, and the latter ranks with the most careful of
our old makers in this respect. W ould that we had

more examples of his art left us ! Duke's backs are
mostly plain, but the wood is as good acoustically as
anything short of ltalian gems of the first water.
Henry Whiteside, a rnaker hardly known to any
writer on violin rnatters, used beech for the back of
many of his fiddles. One of these, in good condition,
is in the possession of the author. Matthew Hardie
used anything that carne to hand for his inferior
instruments, though he used excellent wood for bis
Stradivari copies. Those who have read "Scottish
Violin Makers: Past and Present," by W. C. Honey-
rnan, will remernber the tale of the "hidden violin."
Benjarnin Williams, a Welsh maker, tried ash and
birch for the back. Edward Withers, whose instru-
ments are nsmg in value, was very careful in the
selection of bis material. The wood in the instruments
bearing the !abe! of John Betts is usually good, but
rnost!y plain. These are isolated examples, and the
departures frorn the traditional rule are neither very
numerous nor very important. One thing to be noted
in particular about the pine used is that it shows a
general preference on the part of the makers for wood
with a mediurn "reed" or grain. Very few instances
there are of either close or wide grained wood. Sorne
of the best examples of "old" Forster are an exception
to the rule, but these have cornmon English deal, and
not Swiss pine.
C.-THE V ARNISH
The varnish is excellent as regards elasticity and
adhesiveness. The oil varnish of our classical schoo!
will probably wear better than that of any other school.
I have seen many a badly cracked and battered old
Duke and Forster with the varnish still plentiful and
"defiant." Of but few Italian instruments can this
be said. The majority of the best of them are quite
bare. Nothing short of a smart blow wiU damage the
English varnish. I have seen a Dodd's 'cello varnished
with the celebrated "original Cremona varnish," which
hada hole knocked in one of the bouts, and the var-
nish around the scraggy edges had parted " clean,"
There was not a suspicion of " chip " or transversal
cracks. In this respect the classical varnish contrasts
favourably with sorne of the best varnishes of the
modern school. One drawback, e.g., of the famous
varnish of Mr. James Whitelaw is that it is brittle,
and that it "chips" in a most provoking manner. In
other respects, the modern varnish is far superior to
that of the classical school. The varnish of even the
bcst of the old makers lacks colour and brilliancy.
On the finest of Duke's instruments, for instance, it is
elastic, tough, and withal soft, but dull and lifeless.
Sorne of the deepcr-hued varnishes of Forster may be
said to possess colour, but it is colour devoid of fire
and translucency. The bcst work of Banks, much of
which has received high praise, is frequcntly open to
the samc criticism.
But colour and transparency, I admit, are not so
important as elasticity and adhesivcness, In its bearing
upon tone, elasticity is the most important of ali the
known factors. I say "known," bccause it is highly
probable that the varnish has a subtlc influence upon
the colour of the tone, the nature of which is not yet
precisely understood. I am inclined to think with the
Messrs. Hill (vide their Lifc of Stradivari) that the
varnish plays a much more important pa.rt in the cvolu-
tion of tone nuance than is usually admitted.
lt is remarkable that so fcw authentic recipes of
old varnishes have becn handed down to us. This
is a fact which militates against thc view that the
nature of the ingredients and the method of making
them into a varnish were rcgarded as a trade secret.
Secrets were generally confided to black and white,
paradoxical as it might sound. The secret of many a
long-lost art consists in thc fact that at the time it
was practised it was no secret at all. 1f the art of
embalming had been regarded in ancient Egypt as a
mystery, we should probably know more about it to-
day. At one time everybody knew in the land of the
Pharaohs how the mighty Cheops was built, and how
the stones wcrc quarried and conveyed, and the fact
that everybody knew then is the . main reason why
nobody knows now. The masters of painting had no
dark chambers wherein they mixed their pigments : it
would be bctter for modcrn artists if they had.
On the other hand, make a mystery of an art, and
you thereby secure for it a niche in one of the safest
recesses of Walhalla. The art of the necromancer in
the days of Aaron was a secret, but the pundits of India
practise it to-day. Archimedes enshrouded with a veil
of mystery tbe principie which he discovercd, and which
is named after him, and, thanks to thc fact, the world
has not had to rediscover the law of specific gravity.
Innumerable instances might be quoted in support
of my statement, but sufficient have been given to
illustrate the point.
The inference is this : the varnish of Stradivari,
Guarneri, and other Cremonese, was no trade secret,
otherwise we should be familiar with its composition
to-day. Dodd guarded his mixture with a jealous
eye, but his varnish has been reproduced many and
many a time since he laid his brush to rest.
Our classical makers used both oil and spirit var-
nishes. The gums, resins, &c., which entered into
their composition are perfectly familiar to us. One
thing alone is doubtful, viz., whether or not in these
sinful days we get the pure and unadulterated article.
A list of thcse substances is given in an appendix to
the valuable work of Mr. Edward Heron-Allen,
"Violin Making, as it Was and Is," and the reader
who wishes for foil information on the subject is
referrcd to that work.
I do not think our great makers varnished as the
moderns do, and as the Italian masters undoubtedly
did. The varnish appears to be perfectly homo-
geneous, that is to say, there is no sizing of colourless
varnish of one kind with subseq\lent coats of colour
varnish. There is no foil of golden sheen, which
would etherealise the fire of the varnish. All that
was probably done in the majority of instances was the
mere rubbing of a little oil into the wood, followed by
the application of varnish in the usual way. A few
instruments, it must be admitted, show evidence of
sorne such sizing as that of gamboge, notably amongst
the examples of Daniel Parker and Forstcr - the
Forster-but this is the exception, not the rule.
D.-THE WORKMANSHIP
Thc distinguishing feature of the workmanship is
solidity. A few of Duke's finest efforts may be con-
sidered graceful and refined; sorne of Parker's free
and flowing in style, &c. Still "solidity" is the
characteristic. A typical maker would be Daniel
Parker. Here we have plenty of timber, an absence
of regard for the finer details, and a sense of uncon-
cerned self-reliance and determination. If there is no
general refinement, there is also no vulgarity. The
makers followed in the wake of their Continental
progenitors, and wc feel that, although they did not
cut out a path of their own, they were all the more ·
sure of the road. W e may miss the impress of genius,
but we have the compensating balance of common
sense. Another notable feature of the workmanship
is uniformity. The great names did not stand far
apart. In the commercial workaday parlance of
dealers, the best instrument will not give the worst
a margin of more than [,30. I am speaking here of
the productions of the best makers. lt is not so with
the work of any of the Continental schools. Sorne of
Stradivari's gems are offered to-day (1903) for [,2500,
and one instrument, the Salabue Strad, sold a few years
since for f.2000; whereas a fine example of Storioni
was sold a couple of months back for [,40. The
noble army of British artists walks abreast. There
may be a first maker, but the second is like unto him ;
in fact, they are all very much alike.
Many of our second-class and inferior instruments
were evidently built without a mould. So were a
large number of the ltalian ones; but there is this
difference in the result: the latter are invariably crude
and irregular; the former are, at the worst, only quaint
and rugged. Our average British luthier may not be
highly artistic, but he never is truly barbarous.
The interior of all classical work is slightly rough,
the marks of the chisel and gouge being mostly dis-
cernible. Especially is this the case with the end
blocks, which are rounded olf in a more or less
haphazard fashion with the chisel. In the larger
instruments the blocks are often shaped by about a
dozen applications of the chisel. I do not think our
old makers troubled themselves much about glass-
paper and its uses, either in the finishing of the
exterior or the interior. They handled their scraper
very nattily, and were content with the result. This
is not at ali to be deprecated, as sandpaper is an
enemy of "character." Nor were they at ali times
over particular about matching their wood. I have
seen fine examples of Duke and Forster with an odd
rib, cut the wrong way of the grain to match the
other ribs. Mr. Richard Hilton, of Matlock Bridge,
possesses a genuine Daniel Parker, date 1712, with
the right upper rib cut dilferently from the rest.
There is, or was, in the possession of H. Seymour
Allen, Esq., of Cresselly House, Pembroke, a beauti-
ful Duke fiddle with a joint back, the wood of the
left half being of a broad curl, and that of the other
of a narrow, regular curl. A Mr. O'Connor, residing
in Waterford, has a Benjamín Banks tenor in excellent
preservation, the ribs of which have been cut from
three different pieces of timber varying in width of
curl. Many specimens of Matthew Hardie show three
different kinds of figure in scroll, ribs, and back.
These are isolated cases, but instances might be multi-
plied indefinitely. The English scrolls show much
strength and decision. Curiously enough those of
Benjamín Banks, our recognised chief, are somewhat
weak in design and execution. Richard Tobin cut
scrolls which vie with the best work of Stradivari,
but the poor man has been robbed of his due by an
unscrupulous posterity. Dealers, perceiving the aristo-
cratic bearing of the heads, have ruthlessly decapitated
them in most instances and put them on democratic
shoulders. I am glad, however, to be able to give
an illustration of an undoubtedly genuine Tobin scroll
(vide "Tobin," Part ll.).
The sound-holes do not cal1 for any general re-
marks, as they are dealt with individually under the
names of the respective makers. There is one point
more in the general character of the workmanship
which calls for criticism, and that is, the absence of
purfling in a 1arge number of the mediocre instru•
ments, and in not a few of the better class. lnk-
lines, however carefully drawn, are but an eyesore
and a sham, and, what is still worse, they aff'ord no
protection to the exposed edges.
E.-THE TONE
A most remarkable fact connected with British
instruments of the classical period, and one which
has escaped the notice of all writers on the subject,
is, that their tone is the very antipode of that
of Stainer's instruments, which our luthiers copied
so slavishly for three - quarters of a century. Our
artists followed Stainer's lines, but they gave us a
tone approximating to that of Amati. The tone is
not so thickly crusted with sugar as that of Nicolo,
it is true, but the coating is sugar, nevertheless, and
not absinth. The best description of the Stainer
B
tone that I am acquainted with is that given by the
Rev. H. R. Haweis in his " Old Violins " (pp.
98, 99); well, that description cannot be applied to
the tone of any English instrument of the eighteenth
century. This phenomenon has its post - classical
counterpart. Makers from I 800 to I 860 have copied
Stradivari in the main, and they have given us the
Stainer tone ! There were hundreds of Stainer copies
produced in the eighteenth century, sorne of them
very exact in the matters of outline, arching, thick-
nessing, &c., but I have never come across a single
instrument of that period the tone of which could be
said to bear the slightest resemblance to the tone of
the great German. Our classical tone is rather small,
but bright and silvery. Why is it they failed to reach
their ideal ? And why is it that the majority of
modern copyists also fail ? I do not care to volunteer
even a surmise: the violin world is already too full
of surmises. Suffice it to point out the fact. This
much is pretty certain, however-namely, that those
who are in quest of the "Excalibur" of Antonio
had better go further afield than the air mass, gradua-
tion of thicknesses, theories, and such like, the pursuit
of which is as fruitless as the search for the holy
Gandiva in "the far Lauchityan sea." Time and
use do a great deal for tone, no doubt, but they do
not alter its inherent qualities. No length of time
nor any amount of use will transform the fairy-bell
tone of Duke, Banks, Forster, &c., into the roaring,
razor tone of Stainer.
I fully agree with those who assert that the
qualities of our classical tone have been much under-
estimated. Duke in his best work rivals N. Amati.
Daniel Parker has a charming tone-" bashfully sweet"
would be an apt description. T he violoncellos of
Benjamin Banks are magnificent-the vox humana
complexion of their tone is quite remarkablc.
T he classical tone may not fil! our Jarge music
halls, but it will penetrate to every part of them,
and ought to win, where it fails to conquer, by its
fascinating sweetness. It would be well if present-day
makers realised that loudness is not the chief element
of musical sound. Purity and sweetness are befare ali
other qualities. These are the days of "Joud" things,
and even music in arder to appeal to vulgar taste has
to conform to the type a la mode. The ad vice is given
by a writer of eminence that violin-makers who would
be the Stradivaris of the future must Jook forward
and contrive means that will ensure an immense tone.
What the writer probably means is this: that makers
should try to put the soul of an organ into the body
of a fiddle. But I prefer the fiddle with its own soul
in its own body.
N. Amati has never been surpassed for thrilling,
silvery sweetness, and 1, for one, much prefer his quiet
company in a chamber to that of any loud aspirant to
future greatness in a large hall.
In conclusion, I submit that in the supremely im-
portant matter of tone production, the British classical
school takes rank next to that of the Italian. There
are one or two French makers who are superior to our
best artists, perhaps, but only one or two. The rank
and nle of French Juthiers are not fit to hold a rush-
light to our old makers. Stainer is, of course, in spite
of his pepper and vinegar, head and shoulders above
us ; but one man does not constitute a school. H e
may create a school, but he is a solus unus, and not the
Jolus.
Let possessors of genuine Dukes, Parkers, Banks,
Forsters, &c., take care of their treasures. The time
will come when they, or their children, will know how
to value them at their true worth. First-class Italian
instruments are becoming rarer every year. The in-
struments of Lupot, Pique, and one or two other
Frenchmen, are also becoming rarer. Third-class
Italian and other French work is not superior to our
classical remains-nay, it is not even equal to it in the
paramount quality-ToNE.
11.-THE MODERN SCHOOL
A.-THE REVIVAL OF VIOLIN-MAKING
loNORANCE and prejudice unite in disputing the exist-

ence of a modern British school of violin-making, and
sorne writers calmly assert that the art of violin-making
is dead in Great Britain since the year I 850 ! I can
understand sorne irresponsible people making rash
statements of this sort for trade or similar reasons, but
I cannot comprehend the man who sits down to
deliberately write, and then unblushingly publish them
to mislead the thousands. The glorious art was never
more ali;ve in this country than it is to-day. There
are at least thirty professional luthiers of the present
day, and about five times that numbcr of amateurs
and occasional makers. This number is exclusive of
dealers in factory fiddles, Anglo-French makers, &c.,
all of which classes have no claim to consideration in a
work dealing purely with British violin-making. Since
the year 1850 the British school has been born again-
born to a higher and a nobler life, I believe. We have
now working with us Mayson, Withers, Gilbert, Atkin-
son, Hesketh, Owen, Hardie, &c., much of whose
work will be considered classics a hundred and fifty
years hence. Sorne of these have struck out a path
for themselves, and the British school shows unmistak-
able signs of originality for the first time. Material,
..
varnish, workmanship, and tone place them in line
with the ltalians. Their originality, breadth of concep-
tion, and artistic feeling show that the best of them
are worthy contestants for the laurel with Stradivari,
Guarneri, Bergonzi, Amati, and Maggini. Of course,
people who have an interest in the trade in old
instruments cannot be expected to admit all this.
Dealers are sometimes worshippers at the shrine of
Minerva, but they are oftener grovellers before the
image of Plutus.
Thirty years ago, violin-making in this country was
con:fined to a handful of men, such as Tarr, Cole,
Hardie, Mayson, Withers, and a few more. The
famous names of H ill and Hart can hardly be in-
cluded, far one was a repairer more than anything,
and the other chiefly an expert and author. For
twenty-five years the growth in the number of luthiers
and the quality of work has been steady, and if we
persevere we bid well to eclipse the noonday glory of
Cremona. To-day the output, both as regards quantity
and quality, is very considerable. About a hundred
and fifty high-class instruments were made last year
( I 902) in Great Britain, and nearly five hundred more
of the second and third class, both small and great.
The renewed interest in the art is ·due in part to the
marvellous activity in the world of art (in general)
and letters during the last three decades of the Vic-
torian era. Such books as "Violín Making, as it Was
and Is" (Heron-Allen), "The Violin: its Famous
Makers and their lmitators" (Hart), "Old Violíns
and their Makers" (Fleming), and others, have also
helped to foster the ]ove of the king of instruments.
Greater than al! is the Ímpetus communicated to
the minds of those with an artistic bias by the infiux
THE MODERN SCHOOL 23
into this country of classical gems and by thc play-
ing of virtuosi, who have thrilled our music-loving
public.
It is worthy of special note that the art is making
progress by leaps and bounds in Scotland. There are
about sixty Scottish makers of the present day, pro-
fessional and amateur, and on the average two hundred
instruments or more have been turned out annually in
the land of " banks and braes" for the last ten years.
Scottish players are less addicted to the factory fiddle,
to their credit be it said, than are we of England and
Wales. This is due in a large measure to the com-
parative cheapness in Scotland of the home-made
instrument. The leading English makers charge an
exorbitant price for their work. As much as 1,65
is asked by sorne for their high-class fiddles. This
is unreasonable. lt is a rare occurrence, indeed, to
find a new violin which is intrinsically worth the
money. Hardie, Smith, Smillie, Omond, and other
good Scottish makers charge from J;3 to J;10 for
instruments that are well made and acoustically ex-
cellent.
B.-THE CHARACTERISTICS OF THE

WORKMANSHIP, WOOD, &c.
The salient features of modern work demand close
attention. The models most affected are those of
Stradivari and Guarneri- English makers giving the
preference to the former and Scottish makers to the
latter. Maggini, Gasparo da Salo, Amati, Bergonzi,
and others are also copied, but not so often. Mayson,
of Manchester; Atkinson, of Tottenham; Gilbert, of
Peterborough ; and Owen, of Leeds, work on original
lines, and their work is superb. The woods used by
the leading makers are imported from the Cantons of
Schwytz and Lucerne. Our amateurs are not always
so careful about the quality of their wood as they
might be. The idea has got abroad that old wood
is the best, and very often the wood used by them has
been almost pulverised by age. The instrument made
of such timber cannot live long. I would here raise a
note of warning. It is possible to ride a hobby-horse
to death; that is, being interpreted, it is possible to
make too much of the old wood theory. The right
sort of timber, cut at the right time of the year, and
naturally seasoned in blocks for about twenty years, is
what is required. Sorne makers ransack the land, hole
and comer, for wood which is two or three hundred
years old. The result does not reward the labour.
The tone obtained is not an iota better than that got
by using good wood seasoned for a reasonable number
of years ; and in fifty or a hundred years hence, when
fiddles made from fresh and properly seasoned wood
will be beginning to live, those made from very old,
lifeless wood will be ready to die. It is feared by
sorne that instruments made from wood of only
twenty years' seasoning will shrink. But what about
the instruments of the old masters ? These, if they
have shrunk at all, have not done so to any appreciable
extent, and they were made from wood seasoned by
them in their own lifetime.
My readers will remember that most Continental
authorities agree with me on this point. August
Riechers in " The Violin and its Construction "
( p. I I) says : " The age of the wood I consider of
THE MODER SCHOOL 25
only very small importance ; if it has been lying by for
five years, ready cut or split, as the case may be, far
the construction of a violin, it will then be sufficiently
dry, and will need no further preparation. I have
exactly ascertained the weight of wood which had
been laid by for drying for five years, and then,
having weighed it again at the end of twenty years,
have fou nd it had not become perceptibly lighter."
I have not come across one German, French, or ltalian
writer on the subject who advocates the use of very
old wood. In this country, the great advocate of old
wood is Mr. W . C. Honeyman, the author of several
popular works on the violin. The majority of Scottish
makers are converts to his teaching, and use nothing
but timber which is at Jeast a hundred years old. I
had a fiddle down from Scotland for inspection a short
time since which was made from wood at least three
hundred years old, so the maker averred. I can well
believe it was made from timber that was six- hundred
years old, for it seemed as brittle as a mummy and
ready to crumble at the slightest touch. One trembled
to draw the bow across the strings lest it should vibrate
into dust. In reference to shrinkage in bulk and
weight, I wish to record here an interesting· observa-
tion which has been made by me. Eleven years ago, I
hada sycamore tree anda Scotch pine cut down (Ficus
,ycomoruJ and Pinus sylvestris), and had a small block
sawn out of each of the following dimensions :
1 2" x 611 x ¾". T he blocks were carefully planed and
afterwards put to season in a cool, dry place. At
t he end of every year I have taken measurements
and weights, and the following table gives the exact
result :-
Dimensions of Dimensions o( Weigbt oí Weight oí

Sycamore. Pine. Sycamore. Pine.
Inches. Inches. O.. Drm. o.. Drm.

1891 12 x6 xf 12 x6 xf 18 8 15 14
1892 11Ux5ttx!f 11tfx 5! xn 15 6 11 8
1893 11ttx5¡ xtt 11¼ x5f xf 13 8 9 2
1894 11¼ x5¼ xtt X fir 12 l 8 8
1895 snxtt " 5if-
sH 11 3 8 4
18<¡6 " sttxn " ,, " 10 10 8 o
1897 " sttxtt " ,, " 10 6
1898 " 5ttxn " ,, " 10 4 " "
1899 ",, ,, " ",, 10 3 " ",,
1900 " ",, ",, " .,
1901 " ",, ",, ,, " " ",, " ,,
1902 " ",, ,, ",, " "
" " " " " " "
If sorne one were to make careful and correct
obscrvations upon different pieces of maple and pine
(Swiss and ltalian) and to tabulate the result, it would
be edifying as well as interesting. Riechers did so,
but he does not gives us figures. An ounce of fact is
worth a ton of theory. Different results would be
obtained with wood varying in density, sap, &c., and
climatic conditions would have much to do with the
seasoning.
And just a word with regard to seasoning. It
is much more difficult nowadays to get a block of
naturally seasoned wood than is usually supposed. If
our modern makers were to exercise the same care in
procuring timber naturally seasoned that they now
do in obtaining old wood, they would render great
service to the cause they espouse. When they seek
old wood in dilapidatcd buildings, cMlets, &c., they
forget that the method universally adopted in season-
ing timber hundreds of years ago was that of sub-
mersion under water for an extended period, followed
THE MODE RN SCHOOL 27
by desiccation in dry air. T he newly-sawn planks
were sunk in deep water far two years or so, and
afterwards dried in open sheds. M y father (a Pem-
brokeshire yeoman), who was an authority on timber,
always seasoned his oak, ash, beech, elm, and syca-
more in this way, and he assured me from a wide
knowledge of the subject that the above method had
been in vague in this country since the days of the
Romans. The timber used in the construction of our
cathedrals and ancient churches was all seasoned in
this manner, so he maintained.
H e explained that the submersion caused the per-
manent tissue of the wood to "pack," on account of
the distension which took place in the cells of the
meristem, and that the active cells themselvcs were
made more susceptible to desiccation. Thus there
was secured a minimum of meristem and a maximum
of density in the permanent tissue. He said that the
permanent tissues were the bones of the timber, and
the meristem the flesh. The bones would last, but
the flesh began to decay the moment the tree was
cut, and the important point in seasoning was to
overrule the process of decay so that it should do
the least possible harm to the bone.
[Query.-Have we historical evidence of the exact
method adopted by the Cremoncse in seasoning
their wood ?]
The workmanship of our leading professional
makers is excellent. Attention is paid to every de-
tail of the work. This is a feature worthy of com-
mendation, as the British have in the past been
somewhat impatient of detail. Even such seemingly
unimportant trifles as the notches of the sound-holes
are now treated artistically. And what a difference
attention to minutire makes in the tout ensemble!
Each instrument becomes as much a poem as it does
a mechanical unity.
English makers somewhat lower down in the rank
have yet a little to learn in the matter of purfling, the
proportion of widths, the treatment of the button, &c.,
and many Scottish makers are open to the charge of
exaggerating the peculiarities of Del Gesu, more especi-
ally in the outline and sound-holes. A large number
of amateurs pay no attention to the proper length of
the stop, and the majority ought to be more careful
in working the neck. A thick, clumsy neck at the
shoulder is a severe tria! to the patience of the player,
for it impedes shifting. Many otherwise fine instru-
ments of the ltalian school were a great deal too bulky
about the shoulders, but they have been refitted with
a new neck in accordance with modern requirements.
In the calculation and working out of form and pro-
portion, art and utility must go hand in hand and
contrive to give us that which is both elegant and
serviceable.
Modern varnishes claim a paragraph or two, both
on account of their quality and diversity, as well as
on account of the time which has been given to their
perfection during the last fifty years. Curious con-
noisseurs and anxious luthiers have devoted years of
their life to the fascinations of the chemistry of gums,
resins, &c. Experiments innumerable have been con-
ducted, and hundreds, nay thousands of pounds sacri-
ficed in the effort to restore the lost art of the
Cremonese varnish. The belief obtains among con-
temporary chemists who are interested in the subject
TH;E MODERN SCHOOL 29
that the base of the Italian varnish was fossil amber.
Mr. J . Whitelaw, of Glasgow; Dr. lnglis Clark,
and Dr. George Dickson, of Edinburgh; the Messrs.
Caffyn, of London, and many others, are its chief
exponents. Sorne amateurs and professional makers
also hold the same opinion, and use amber oíl varnish
of thcir own make; but it is doubtful whether the
base in the majority of these instances is real fossil
gum amber. I have tested a few of them, and could
find no trace of the actual gum, but simply a little
oleum succinis, commonly called "oil of amber," and
the gums entering into their éomposition were much
softer and less durable in quality than fossil gum
amber. It needs a knowledge of chemistry to fose
amber successfully, and especially to develop the fine
colours of the above-named varnish makers. Mr.
Whitelaw has issued a pamphlet advocating the claims
of the amber theory, but I doubt whether experts yet
give the theory more than a passing thought or
remark, and a credulous shrug of the shoulder.
However, the theory is gaining ground, and a large
number of makers, alive to the many good qualities
of the amber varnish, use it regularly. Our leading
makers alone stand aloof, preferring to follow the
traditional paths. The present period may not
inaptly be termed "the amber varnish period," and
the qualitics of the varnishes must therefore be
described.
(1) The varnish of Mr. James Whitelaw, which
has been on the market for severa] years, is a beautiful
production. It is soft, elastic, transparent, and ful]
of firc. Its one failing is its brittleness. A slight
blow or a pressure of the thumb-nail will bring it
off clean from the wood. Mr. Honeyman maintains
that if it be put on carefully, each coat being allowed
about a month and the final one six months to dry,
it will not chip. I regret that experience compels
me to disagree with Mr. Honeyman. These instruc-
tions have been carried out faithfully both in this
country and in ltaly, where the climatic conditions
are ali that can be desired, still it chips. But
"chipping" is not considered a drawback by sorne
people, because that is also a characteristic of the
I talian varnish.
(2) Dr. Inglis Clark's varnish possesses ali the
qualities of Mr. Whitelaw's, and, in addition, a
deeper hue. But it is not produced in so many
colours, nor does it set so well. It takes months
to dry, and never hardens sufficiently to resist the
impression of the warm chin or hand. The ruby
varnish of Dr. Clark is wondrous to behold, but
fearful to handle. lt does not chip, simply because
it cannot.
(3) Caffyn's varnish-the patent of which has now
been disposed of by the Messrs. Caff'yn-is neither so
lustrous nor so tender as either of the above. It sets
hard and does not chip. It has more affinity with the
varnishes of sorne of our classical makers than any
other modern varnish has that I am acquainted with.
(4) Dr. Dickson's varnish is a magnificent produc-
tion, but it is not for sale. The doctor is only a
gentleman amateur, and is not even anxious that his
varnish should be known beyond his circle of acquaint-
ances. It is a thousand pities that he does not patent
his discovery for the benefit of art.
This list is only typical, not exhaustive. Ali that
is good in the amber theory, however, is to be obtained
in the fruit of the labours of these scientists. More--
over, the varnishes just named are the productions of
men who are thoroughly conversant with the mysteries
of the laboratory, and not the mere haphazard mixtures
of would-be varnish-makers. It would be well for ali
who do not possess the necessary knowledge and skill
to make their own varnish if they used the beautiful
varnish of Mr. Whitelaw. This, if laid on patiently
and carefully, has a most beneficia! effect upon the
tone. The effect a varnish has upon the tone is a
matter of supreme importance. Seores of well-made
instruments are spoilt annually by the use of a varnish
which has a deleterious effect on the tone. If an instru-
ment covered with Whitelaw's varnish be examined
under a strong lens about six months after polishing,
it will be observed that the thin, translucent pellicle
resembles the skin of the human body: it is porous.
Any one who has gone into the matter carefully knows
that the Italian varnish is also porous. In saying this
I am not to be understood to hint that Mr. Whitclaw
has rediscovered the lost art. But it will be readily
understood by all that porousness is an important
factor in relation to tone. Sorne makers close up the
pores of the wood before varnishing by the application
of albumen, gamboge, &c. This is a serious mistake,
as the varnish cannot penetrate the wood. With the
varnish under consideration no sizing should be used,
but it must be allowed to soak into the wood. All
the violins of the Cremonese masters may be regarded
as embalmed bodies, the varnish having permeated the
whole fabric; so that what we really have is neither
wood nor varnish, but a sort of compound of .both.
Every fraction of a drop of the varnish which these
instruments have absorbed has entered into eternal
relationship with the molecules of the wood. So that
the nude classical gods have suffered no injury by being
deprived of their outer garment, "the blood thereof,
which is the life thereof," is still there. The Nessus
robe, in this instance, has eaten' its way into the flesh,
but only to become part of the flesh. No Lernaean
poison has robbed the flesh of its vitality and freshness.
Ali our leading professional makers use varnishes of
their own make, but nothing need be said about them
here beyond a general remark or two. One thing is
very noticeable, and that is, the marked dissimilarity
between the varnishes of Mayson, Withers, Gilbert,
Hesketh, Atkinson, Owen, and Hardie. Apparently
they all use different gums, ora different combination
of gums. One could easily pick out strips of wood
varnished by, e.g., Mayson, Gilbert, and Atkinson from
among a thousand similar strips. The varnish of all
of these is very fine, and that of sorne of them quite
equal to the best the world has ever produced, at least
in the opinion of those who retain sufficient control
over their judgment to divide their devotions justly
between classical and post-classical divinities.
Little can be said about the modern tone, because
its true character, unlike that of the model, workman-
ship, and varnish, can only become fully known in the
future. The workmanship and the varnish are at the
summit of their glory when the instrument leaves
the maker's hands. Sorne writers, I am aware, have
gone into ecstasies over what they term the picturesque
wear of the varnish,-the finger-marks of the hand of
time. All this is very well in poetry, but when it
comes to purchasing an old gem, undamaged work
and unscratched varnish fetch the cash. As regards
tone, however, age and legitimate use have a beneficial
effect. To speak in general terms, there is too muc.h
of the piercing loudness of Stainer about the tone of
the rank and file of modern fiddles. As for the tone
of the superior instruments of the best makers, it is
pregnant with golden promise• .
e
III.-BRIDGES: CLASSICAL
AND MODERN
BRIDGE manufacture in our days is a distinct branch
of industry ; and even as there is a factory fiddle, so
also there is a factory bridge, the one lacking in indivi-
duality and acoustic merit as much and as often as <loes
the other. Very few Juthiers make their own accessories
nowadays. A gross of bridges can be purchased at
less than the cost of making a dozen artistic ones.
Accessories were not imported wholesale in the days of
old, when every maker of violins was also a maker of
fittings. The importance of the bridge cannot be
exaggerated, as a bad one will inevitably spoil the tone
of an instrument, however good the latter may be. It
has ever been a matter of surprise to me that so many
of our good makers overlook this self-evident truth. lt
is the exception, not the rule, to find a good bridge,
and the fine qualities of many an instrument succumb
to the perversity of the little indispensable. Factory
fiddles are imported by the ton, one would say, and
thcir only quality, to use an aphorism, is thcir quantity.
The tailpiece, which is of slight acoustic importance,
is often carefully made and elaborately inlaid, whereas
the cheapest bridge made of green wood or baked
wood, high and thick, is clamped on the defenceless
fiddle. This is great injustice to the fiddle, and to the
maker of the fiddle, for neither gets the chance to live
34
BRIDGES: CLASSICAL ANO MODERN 35
and speak. A good instrument is very exacting in its
demands upon the bridge, and the finer are its qualities
the finer also must be those of the bridge. Another
fact to be remembered is that fiddle and bridge, once
properly mated, should never, if it can be avoided, be
divorced. They ought to fight their life's battles, for
better, for worse, in indissoluble unity. There is a
psychic bond between thern which cannot be broken
without at the same time precipitating their united
charm into the gulf beneath. If a bridge which has
been on an instrument for a length of time, and which
is found to suit it, should by chance get damaged, it
ought to be carefully repaired and not thrown away as
a worthless trifle. I believe there are one or two
artists sornewhere in the country who make a speciality
of this class of repair.
The present form of bridge originated with Stradi-
vari, but it was as slow in
asserting its superiority
here as was the Strad
model. Our early
makers must have been
acquainted with it, but
they made quasi-viol and
divers other forms of
bridge well on towards Fm. 1.-{Daniel Parlcer.)
the end of the eighteenth
century. I have seen few, and very few, English
bridges of the elect pattern of the classical period.
Fig. I is an illustration of a bridge probably cut
by Daniel Parker ( I 700-40 ), both fiddle and bridge
having remained in the possession of the same
family for upwards of a century, as is attested by
documentary evidence. This bridge is fairly charac-
teristic of the period, and shows work which is neither
geometrically precise nor highly finished. Fig. z
represents a bridge cut by Henry Whiteside at the
close of the same century.
The bridge is an authenti-
cated specimen, and fairly
A well made. The bridge
~ of all time advanced its
claims chiefiy through the
instrumentality of the late
William Ebsworth Hill.
He made hundreds, if not
FIG. 2.-(H. Wbiteside.) thousands, of bridges,
often varying the pattern,
but usually keeping to the best. These are as
extremely artistic as the tools with which he made
them were extremely simple. It is to be feared
that time and the carelessness of players have consider-
ably reduced the original
number of Hill bridges.
In the present day the
Messrs. Hart, of Wardour
Street, make a high-class
bridge, which is as good
as anything ever pro-
duced. They also make
a special study of the Fm. 3.-(Bonn.)
correct adjustment of the
bridge, and the possessor of an old instrument with-
out an old bridge cannot do better than send them
his treasure to have a bridge fixed on which is in true
acoustic unity with the instrument. Many innovations
BRIDGES: CLASSICAL AND MODERN 37
-"improvements" as they are called-have been intro-
duced within recent years, and the market is deluged
with these persistent rivals. Only the most import-
ant can be noticed
here. Mr. J. Edwin
Bonn, of Brading, Isle
of Wight, is the maker
of the four - footed
bridge for violín, viola,
and violoncello. He
believes that four feet
ensure a more ener- FIG. 4--(Balfour.}
getic and regular com-
munica tion of vibrations to the front table. The
wood is carefully selected and the design pretty (see
Fig. 3).
The Messrs. Balfour, the well-known violin ex-
perts, have patented a design which they style the
F1c. 5.-(E. Davies.) llaclc.
"sound-holes bridge." I have never seen the raison

d'hre of this invention explained, but great merits
are claimed for it. The illustration will be familiar
to readers of advertisements.
Mr. Edward Davies, of Cheltenham, has invented
a very curious bridge. It is made of two pieces of
pine cut so that the grain runs at an angle of 45° to
the perpendicular axis of the bridge. These are glued
together with two narrow strips of wood between
them, fixed almost in thc shape -of V, except that the
ends forming the angle do not quite touch. The
inclination of the grain of the two pieces of pine is
FIG. 6.-(E. Davies,) Front.
towards the base, as shown in the illustration (Fig. 5).

Each piece, or half, of the bridge has a protruding
wing which reaches nearly leve! with the sound-holes.
The inventor claims that this peculiar and inelegant
bridge, in view of the nearly vertical direction of the
grain of the wood, ensures a freer and fullet trans-
mission of the vibrations.
There have been sundry other innovations, which
have "had their day and ceased to be," and which
have made their exodus "unwept, unhonour'd, and
unsung."
I V.-THEORIES ABOUT STRADIVARI'S
T ONE
A MODERATE-SIZED volume might be written on
the history of theories anent the Stradivari tone.
Bofh before and since the cxperiments of M. le
Doctor Savart, the violin world has been thrown
into agitation alm0st yearly by the seismic advcnt of
sorne new theorist.
Theories have invariably had a twofold effect
upon the world, which are of a diametrically opposite
tendency. The first is " Hegelian" in character, and
may be described as the development of concepts by
the antagonism of environment. One man has an
idea, and this idea is strengthened by the presentation
to bis mind of another idea differing in connotation
or denotation. For instance, the greater the number
of ethical systems contemplated by the altruist, the
more convinced does he become of the truth of bis
own that the chief good líes in self-abnegation. And
one effect of new theories relative to the Stradivari
tone has been that one class of luthiers becomes more
convinced of the wisdom of the traditional ]ore and of
the folly of the new teaching.
The second effect of a new theory is that of pro-
gress by i-eaction. Certain minds advance by a sort
of pendulum movement. They hold one particular
notion to-day, and when a new idea is presented to
39
40 BRITISH VIOUN-MAKERS
them to-morrow, they discard the former and accept
the latter. They "reel to and fro" and ever stumble
on the new. ·
lt is for the benefit of the class which is thus
affected by the ubiquitous theorist that the present
chapter is written. 1t is not penned with the inten-
tion of discouraging research or scientific experiment,
but with a view to demonstrating the utter futility of
theorising for theorising's sake, and of frittering away
precious moments in the pursuit of fable. Each of
the theories dealt with below has its adherents in
Britain to-day, sorne holding one, sorne another. Not
a few luthiers give forth that they work on the method ·
of combination, uniting in their work the good and
the true of all and sundry hypotheses.
The criticism undertaken is avowedly destructive.
I do not think the time has arrived when we can by
any constructive process build up one safe super-
structure based upon posii:ive knowledge. The day
may not be far distant when all hypotheses as to the _
Stradivari tone will merge into one truth, but it is not
yet. If the maestro had a secret, it is certain that the
key which opens the chamber thereof has not been so
far discovered. Furthermore, to say that Stradivari
produced the differentiating quality of his tone by
the united help of the principies embodied in these
theories is as wide the mark as it is to say that he
worked subject to the limitations of any one of them.
Vuillaume, and others since his time, may be con-
sidered to have made instruments on " correct'. 'J prin-
cipies. They assuredly were as competent to work
on scientific lines as Stradivari was. The exact ·cubic
capacity has been repeated, the relative pitch of the
THEORIES ABOUT STRADIVARI'S TONE ,p
plates, model, outline, thicknesses, &c. ; but the tone
-where is it? There may be (and no doubt there is)
tone which is quite as round, penetrating, rich, and
bell-like, but it is not the tone of the grcat Italian.
I would urge upon our present day makers thc im-
perative duty of accepting new theories only with
the greatest caution. "Try the spirits of what sort
they are " before you take them for guides. The
majority of theorists are blind leaders of the blind.
They are ignorant of even the alphabet of science ;
and that they should attempt the Herculean task of
arriving at elaborate scientific deduction is unpardon-
ably Quixotic. Knowledge may not be the monopoly of
the few, but it never is the commonwealth of ol ,ro>J.ol.
A statement of the principal theories and criticism
thereof in tractile form will now be attempted.
A.-THE AIR MASS THEORY

The gist of this theory may be stated thus: The
cubic capacity of Stradivari's instruments is such as
secures the exact mass of air required by the acoustic
basis of construction. I object that-
( I) It is well-nigh impossible mathematically to
secure the required exact mass. The mass of air
present in a chamber of the description and character
of the violín is not exactly identical at any two
rnoments. Air is highly elastic, and its density at
any particular rnornent depends upon atmospheric
prcssure ·and temperature. A mere tyro at hydro-
statics would know this. And the quantity of rein-
forcernent of vibration by a volume of air depends
upon the density of the air at the time.
42. BRITISH VIOLIN-MAKERS
(2.) The present cubic capacity of Stradivar.i's in-
struments is not what it was when the instruments left
his workshop. Nearly all of them have been refitted
with a stronger bass bar and end blocks, which means
a slight decrease in the cubic capacity. A large num-
ber of them have been opened severa! times, with the
result that the ribs are not always quite as deep as
they originally were. Others are indented here and
there, especially around the bridge.
B.-THE RELATIVE PITCH OF THE PLATES

This theory was broached by M. Savart. lt is
almost incredible that a man · of science should have
lent his name to a theory based upon what is no
better than a famine of data. The theory is, in thc
words of Fetis, that "the maple plate, or the back
of the violín, should be a tone lower than the <leal
plate [or bellyJ in order to obtain the finest sonority
possiblc when they are united."-" Notice of Stradi-
varius," p. 8 3.
( I) The theory is arrived at by the logical fallacy
of non-obscrvation. Savart does not tell us that he
examined one back or belly intact-as it had left the
hands of Stradivari ; but he constructed a fiddle, or
sorne sort of musical box, the plates of which had
been graduated to produce the said tonal di.lference,
and the result was, in the estimation of Savart, a
Stradivari tone. He had previously prepared six
rods, three of maple and three of pine, obtained from
three shipwrecked Strads, and he found that those of
maple when thrown into vibration each produced
A#, and those of pine each F. Armed with this
THEORIES ABOUT STRADIVARl'S TONE 43
discovery, he launches out into the sea of acoustics,
·and casually touching the peninsula of relative density,
he triumphantly arrives at the haven of relative pitch.
But mark. He does not examine a single whole back
or whole belly in its original condition; indeed, we
are left in the dark as to whether he examined a com-
plete back or belly in any condition. How then does
he arrive at the theory of an arbitrary and uniform
relative pitch between the plates? The answer must
be, I am afraid-By a mere a posteriori guess.
( 2) I submit that never have a Stradivari back and
belly, in their origina/ ,ondition, been examined with a
view of determining their tonal pitch, and J throw
out the challenge to the world to bring forward
historical facts (not irresponsible statements) to the
contrary.
(3) I submit further that there is not one known
Stradivari instrument in existente with its plates in
their original condition. The strengthening of the
bass bar must of necessity alter the pitch of the table.
The use of glue in repairing is another item which
must be · considered. A rod of glue would give a
very different note from a rod of pine, and although
the quantity of glue used in rcpairing is exceedingly
small, still it is a fraction which must be taken into
account. A large percentage of Strad backs and
bellies have sorne little glue in their flesh by now.
(4) It seemingly has never entered into any one's
mind that varnished plates give a different note from
the same plates in the white. There is a difference of
thickness to take into account, but more important is
the alteration in density. Oil vamishes penetrate the
wood and increase the speciñc gravity of the plates,
especially that of the front table, which absorbs more
of the varnish. Presuming that the unvarnished plates
of Stradivari were worked to give the required tonal
difference, there is no reason to suppose that the said
difference would be maintained after varnishing. The
rods which Savart tested were charged with varnish,
and no correct deduction could be arrived at as to
what their pitch if tested in the white would be.
But we must give Savart his due: he did :not for
a moment suggest that his discovery accounted for
the whole of the truth as to Stradivari's secret.
Others less endowed with sagacity have done that
since bis days.
C.-RELATIVE DENSITY
Different 1pieces of timber differ in density. The
maestro knew what densities would give the necessary
acoustic accord, or "psychic" unity. The supporters
of this view are very numerous. Sorne of our chief
writers have lent it their support. The Rev. H. R.
Haweis in "Old Violins," p. 230, says: "Charles
Reade was napping when he expressed a hope that
a certain Stradivari back, mated with a new belly,
might sorne day be united to so1JU Stradivari back
[sic: 'belly' he means] of which he knew; but
unless it happened to be 1he belly Strad had selected
for that particular back, what reason is there to sup-
pose that the result would be satisfactory? "
To this theory I urge the following objections :-
( 1) The only method of determining the density
of timber is by use of the hydrostatic balance, and
to credit Stradivari with a knowledge of the law of
THEORIES ABOUT STRADIVARI'S TONE 45
specific gravity and its application is to demand too
much upon our credulity. The great luthier might
have been a keen observer of natural laws, but of
exact science he knew nothing. I have seen it asserted
that Stradivari was familiar with the principies of
acoustics and hydrostatics, but no one acquainted with
the history of ltaly, much less with the biography of
Antonio, could have made such a rash statement.
l talian peasants and the average ltalian artisan are
notoriously ignorant of and supremely indifferent to
the intricacies of book learning even to-day, and what
must they have been two hundred years ago ? Any
one who has travelled in ltaly can better imagine the
ignorante that prevails than it can be described. The
old luthiers had received at most only the barest of a
bare elementary education.
( 2) The specific gravity or density of difFerent
pieces of pine and maple of the same cubic capacity
varíes infinitely. For instance, a hundred pieces of
pine of exactly the same dimensions, cut from the
same log, and from the same side of it, if you like,
would be found, if accurately tested, to givc a hundred
difFerent results in specific gravity. I have conductcd
an immense number of experiments in this way with
the hydrostatic balance, and can testify that it is a rare
occurrence to find two piecee of either maple or pine
that are perfectly identical in density.
(3) By the mathematical theory of chance, the
possibility of Stradivari hitting upon a uniform ratio
of specific gravity between the plates in sorne two
thousand instruments is as infinity to zero against
him.
(4) lf there were anything in this theory, the
slightest divergence from the correct ratio would
mean an acoustic disturbance. Now, since it is mathe-
matically impossible to repeat the necessary ratio in so
many instances, how is it possible to repeat the result ?
The " Stradivari tone " is not the property of one
particular Stradivari instrument, but of all of these
in common.
D,-QUALITY OF WOOD
This theory holds that the peculiar timbre of the
tone is due to sorne particular quality of the wood,
and that Stradivari had intuitively arrived at a know-
ledge of the said quality.
I reply that Stradivari had no doubt attained a
high degree of wisdom in the choice of his material,
but that his wood differed from that of ali others is
highly improbable. There is evety reason to believe
that Cario Bergonzi, who was his pupil, used the same
kind of wood. The sons, as a matter of course, used
their father's timber, and after the old man's death
they used up ali the spare material. But neither Carlo
Bergonzi nor the sons prod uced the Stradivari tone.
E.-PLATE TENSION
This theory has been broached by an ingenious
American, a Mr. Louis Hastings Hall, of Hartford,
Conn. lt differs very little in principle from another
theory elaborated by Mr. Otto Migge, which has been
termed the "Natural Varnishing" theory. They both
adopt tension or elasticity as the pivot of their argu-
ments. The only difference between the two appa-
rently is that the former says the violín is not a
..
vibrating body, whereas the latter asserts that the
increased tension or elasticity secures the augmented
and regular vibration necessary to produce the Stra-
divari tone.
These theories, for they are both one for ali prac-
tica! purposes, shall be stated in the words of Mr.
Hall himself, as they appeared in a letter published in
the January number of The Strad (1903) by Dr. T.
Lamb Phipson : -
" Y ou know how the tension in a drum head im-
proves a drum, well, it makes just as much improve-
ment in a violin; that is, with the top and back sprung
on to the violin rib, the tone is made to improve just
as much as the maker has skill. I have gained such
control over the working of the tension that I can
make any possible power or quality which could be
desired. The maih principie is quite simple, but has
many variations.
"I cut the top up in an arch (about ¼inch) and
spring it down along the side margins on to the ribs.
I cut the back so that it touches the inner bouts, and
springs down at each end. This throws the tone
outside the instrument, and gives it great power and
brilliancy.
"Now, to prove this, I cut the back up in an arch
and sprang it down the same on the top ; the tone is
entirely drawn inside, so that the bow slides over the
strings, and cannot bring out a particle of tone. The
arching of the tension can be changed so as to alter
the balance of the strain, and each alteration makes a
change in the tone. Even the bridge is built so that
where the springs exert a pressure, it is filled with
tension, and therefore transmits the tone. When the
...
mute is put on it interrupts this tension and deadens
thc tone.
" I have found that a violin, instead of being a
vibrating body, is just the opposite; namely, a body
of tension and resistance. I found out, through a
London maker, that Stradivari graded two square
spots, about i inch inside of the upper corners, on
the top ; instantly I realised why he did that.
" When a top is sprung on, the greatest strain
comes between these two corners, and if the wood is
not thinned out here, sorne of the tones are screcchy,
and right hcre líes Stradivari's secret for producing an
evcn scale. I could go along down thc line and cite
a hundred cases wherc the tension theory will answer
cvcry question."
( 1) It i,s hardly necessary to rnake a serious effort
to refute these pseudo-scientific observations. To say
that the violín is not a vibrating body is an unpardon-
able subversion of truth, and shows gross ignorance of
the elements of acoustics. Every schoolboy, to use
Macaulay's famous phrase, knows that where thcre is
no vibration there can be no sound, musical or other-
wise. From a letter which I received from the dis-
coverer of this remarkable acoustic phenomenon, I
infer that the writer maintains that the violín itsclf
does not vibrate, but only the strings and the air
inside. Now, how the strings can communicate their
vibration to the air inside the violín without material
transmission, i.e. without the help of an intermediate
agent, is a problem altogether too subtle for me, and
I will attempt no solution.
( 2.) The bent plates do not retain their tension.
Six months will suffice to minimise any tension they
may originally have had. A piece of board, say, 1 yard
x 2 11 x ¼", bent to a semicircle, tied, and exposed to
the elements, will be found after the lapse of a fcw
months to have lost nearly all its tension. In two or
three years there will be absolutely no resistance left.
F.-OUTLINE, ARCHING, AND THICKNESS

This theory holds that the timbre of the Stradivari
tone is due to the definite relation between the above
three great unities of violín construction; these unities
entering into a mystical trinity of art and producing
the one perfect unity of sound.
Whilst admitting the importance of outline, arch-
ing, and thicknesses in their relation to tone, I submit
that this so-called " trinity in unity" in the art of
violin construction does not account for the distinctive
qualities of the tone in question, for the following
reasons:-
( r) The outline, arching, and thickness of Stradi-
vari have been copied to the nth, as mathematicians
would say, but without obtaining the desired result.
( 2) Man y of the finest Strads have had their thick-
nesses "rectified" by the Goths and Vandals of the art
of rcpairing. This was in the days of another theory,
to wit, when it was believed that to scrape away the
plates on the inside would give an in crease · of tone.
These scraped plates have had to be patched. But in
spite of thinning and patching the tone has still
the distinctive Stradivari timbre, as is evidenced by
comparison with more fortunate Strads.
If there were an original subtle relation between the
"unities," it has been disturbed by the irreverent hand
D
of time, and, according to the theory, the peculiar
quality of tone ought also to have disappeared.
G.-HARMONIC PROPORTION
This is a theory recently broached by a German,
Carl Schulze, in a work entitled Stradivaris Geheimniss
-Ein ausfuhrliches Lehrbuch des Geigenbanes (Berlin,
1901). It holds that the proportions existing between
certain dimensions of Stradivari's model correspond
exactly with the ratios of sorne of the musical intervals,
and that the interior volume of Stradivari's model is an
accurately determined acoustic space. "The first law
with the old masters was to design the model in such
a manner that the vibrations of the parts should not
interrupt the vibrations of the whole; and in order to
secure this it is necessary that the partial proportions
should be inter-related, and also in definite ratio to the
total dimensions. The interior length of the body of
the violín is 346. 5 millimetres, which is divided by the
bridge into two parts in the ratio of t = the ratio of a
minor third, and again by the sound-post into parts in
the ratio of ¼= perfect fourth. A straight line drawn
to join the corners of the upper bouts would divide
the body of the instrument into two parts in the ratio
of f=an octave," &c. &c.
This theory can claim no further merit to dis-
tinction than that it is very ingenious and highly
diverting. Two considerations alone need be urged
against it : -
( 1) The proportions of Stradivari have been copied
with the utmost exactitude ten thousand times, but
without the result sought for.
THEORIES ABOUT STRADIVARI'S TONE 51
( 2) " Definite harmonic proportion" is a purely
imaginary notion, unsupported by fact.
In conclusion, I would add that whilst submitting

these theories to rigorous destructive criticism, it is
not thereby sought to disparage the importance of
wood, model, thicknesses, &c. Each of these has its
modifying infiuence upon tone. What is implied, and
emphatically asserted, is that not one of them, nor all
combined, can account for the peculiar quality or
timbre of the Stradivari tone.
PART 11
A DICTIONARY OF VIOLIN AND

BOW MAKERS
CLASSICAL AND MODERN
A DICTIONARY OF VIOLIN AND
BOW MAKERS
A
ABSAM, T HOMAS, Wakeficld: 1810- 49. I have seen
two instruments of his malee, both violins, one on the Stradi-
vari mode~ and the other on that of N. Amati. T he work-
manship is of average merit, and the varnish a spirit one, hard
and lifeless. He made chicffy for Pickard, a dealer in L eeds,
Label : -
MADE BY
THOMAS ABSAM,
WAKEFIELD, FEB, 14, 1838
A CTON, WILLIAM J OHN, London, contemporary.
H e works at Gipsey Lane, Forest G ate, E. He was born in
St. Mary Street, W oolwich, on December 12, 1848, and is the
only son of bis father, A. W. Acton. H e was educated at
R ectory Place Academy, H e was trained by bis father, and
carried on business at Woolwich till 1898, when he removed to
his prescnt address. He made bis first instrument in 1868, and
up to date he has completed II O violins, 12 violas, 19 violon-
cellos, and 10 double basses. He also makes bows. His wood
is good, rather plain, but well chosen for acoustical qualities.
H is varnish is an amber oil one, of his own malee. Colours :
amber, ruby, and brown.
His model is original, approJ<imating to that of Stradivari.
T he measurements are :-
L ength of body 14 inche1.
Width of upper bouta
,,
6* ,,
lower bouta
55 ª* ..
Width of inntt bouta 4¡ inchee.
Length of inner bouta from coroer to
corner • 3ft ,,
Length of sound-holes 2j n
Width bctwecn sound-hole1 at top t¾ "
,, ,, " bottom
Height of aidca at lower bouta 1¾ ",,
5
,, ., upper bouta x"h ,,
,, arching
TT
• "
The.ffholes are original, and are quite in keeping with the
contour of the instrument. The scroll is very good, and shows
much force of character. The purfling too! is handled almost
without a tremor1 and the purJle is inlaid with taste. The in-
finitesimal chips and gaps so often observable in the purfle of
sorne makers is conspicuous by its entire absence. Of course,
this is a very small matter, and it in no way affects the acoustic
qualities of the instrument, but it is well that it is not ignored
at the same time.
The tone of the instruments which I have seen by this
maker was powerful and penctrating. Onc instrument I
cxamined had a particularly fine G string. The tone has
nothing of thc Amati sweetncss about it, and nothing of thc
bell-lilre clearness of Stradivari, but it is a good tone, neverthe-
lcss, and ought to develop further good qualities.
Herc is a facsimilc of his label : -
He sells his instruments at prices ranging from [,6 for thc

violins up to Í,35 for the double basses. His bows are strong
and well-balanced, but not highly artistic.
VIOLIN AND BOW MAKERS 57
ADAMS, CATHUNE, Garmouth, Scotland. From about
1775 till about 1805. He madc kits, violins, and violoncellos.
Model, N, Amati. The workmanship is fairly good, but tbe
varnish is very inferior, hard, and of an ugly ycllow colour.
The tone is much better than the appearance of the instru-
mcnts would lead onc to expect, Ali bis labels are handwritten
on white papcr : -
ADAMS, MA,
GARMO UT H,
1790.
\
ADDISON, WILLIAM, London. Period unknown, but

about 1650-75. It is not certain whether or not he made
violins, but he made viols. Label ~-
WILLIAM ADOISON,
IN LONG ALLEY,
OVER A8AINST MOORFIELDS, 1670
AIRETON, EDMUND, London. Pcriod, 1730-1807.

His best instrumcnts are on the Amati model. He also made
many violins on the Stainer model, and afew, ofinferior make,
on the Stradivari model- a fact which proves that the model
of the great Italian was little apprcciated in England and not
thought worthy of the best elfort at the time. The workman-
ship is good, and the tone of a fair quality. Thc varnish is a
spirit one, of a lustreless yellow. It has been surmised that a
workman of the same name, who was working with Peter
Wamsley in 1735, was his father.
AIRTH, WILLIAM, Edinburgh. From about 1860 till

1881. He emigrated in that year to Australia, where he has
remained sincc, only occasionally making violins. His instru-
mcnts are on tbc lines of Stradivari, but considerably modified.
Fair workmanship and average tone.
ALDRED, - - . A rnaker of viols. Period, somewhere

about tbc middlc of the sixteenth century. His instruments
were very celebrated in the seventeenth century, and much in
demand. They were classed with those of Jay, Smith, and
Bolles, by Mace in bis "Musick's Monument."
ALLEN, EDWARD HERON-, London, contemporary.

He resides at 3 Northwick Terrace, N.W. He claims a very
warm place ali to himself in a dictionary of this sort, not only
because he has made one or two fiddles, but also bccausc he
is the author of the very popular work, " Violín Making, as it
Was and Is,"-a book which has done more realservice to the
art in this country than ali other books combined. Mr. Heron-
Allen was born in London on the 17th December 1861, and
was educated at Harrow. When he left bis olmo moter in
1878, and became an articled clerk in the firm ofwhich he is
now the senior partner, he was already vcry keen on the violin,
having studied under Otto Peiniger at school. He then began
with bis allowance of pocket-money to collect books on music,
but having soon discovered that this was too wide an under-
taking, he determined to devote bis attention exclusively to
books on the violín. The nucleus of bis collection were John
Bishop's edition of Otto's Treatise, Sandy's and Forster's
"History," and a battered copy of Dubourg's book. Then
followed Fetis's Stradivari, and the common biography of
Paganini. This was a small, but a sure beginning, and
to-day bis fiddle bookcase is ten feet high by six, and
full to overJlowing. As long ago as I 893 he refused an
offer of l,2000 for bis library, made by Mr. P. W. Pickup,
the enthusiastic amateur violinist and colliery owner of
Blackburn.
Mr. Heron-Allen soon found, however, that though there
were plen ty of theoretical books, histories, and biographies
bearing on the violin, the information concerning how to
mal, a fiddle was so meagre as to be practically represented by
the symbol x. His office being in Sobo (where it has been a
good deal over a century), and the articled clerk of a solicitor's
office being a proverbially idle creature, he had plenty of time
in which to make friends with the fiddle-makers, and the shops
of the Hills, old Boulangier, the elder Tubbs, the elder Hart,
the elder Chanot, and the Withers Brothcrs, became bis habitual
lounges. He determined, if possible, to supply the lack of a
practical book on fiddle-making. But though he collected a
quantity of disjointed information (many, many, the cigars they
smoked together, old Chanot-God rest bis soul 1-and he, in
the former's back shop), he did not think, even though he was
young enough to have implicit and unlimited confidcnce in
himsclf, that he knew cnough to warrant him in writing a
book on the subject. On the 4th and 5th of May 1882,
Carl Engel's library was sold, and at bis sale he got a few more
books on the violín, but most of thcm were bought over bis
head by Bernard Quaritch. This necessitated bis calling
upon Mr. Quaritch and negotiating the re-sale to him of
the books he wanted. lt was then Mr. Hcron-Allen and
Mr. Quaritch formed the friendship which still exists bctween
them. This seems irrelevant, but it is not. Quaritch seeing
that Heron-Allcn was so full of youthful enthusiasm about
the fiddle, Jet him have bis coveted books at practically the
prices he had given for them, and furthermorc enjoincd him
to writc a treatise on the violin and delivcr it, as his guest, at
a meeting of the then recently (1878) founded "Sette of Odd
Volumes."
This lecture he delivered on Friday, June 2, 1882, and
he made the acquaintance on that occasion of Captain Sir
Richard Burton and Commander Cameron, with the former
of whom he remained most intimate until his (Sir Richard
Burton's) death. lt was Sir Richard that encouraged him still
further to collect the literature of the violin and complete bis
studies of the instrument itself. The lecturc was printed for
the author by Mitchell & Hughes in Wardour Street, and
hecamc No. I of bis series of pamphlets on the violin called
De Fidi,u/ir Opuscu/a ; it afterwards formed part of the in-
troduction to "Violin Making." This launched him upon
the sea of violín literature on bis own account, and after
making furthcr investigations in Wardour Strcet, he decided to
get taken on as a casual apprentice in a workshop, and really
learn, step by step, thc art and mystery of violin-making. The
final "push-off " was given by the publishers, Messrs. Ward,
Lock & Co., who just at that time projected their monthly
magazine called Amateur Work, and he undertook to supply
them witb a series of articles on practical fiddle-making for
amateurs, at what then struck him as the magnificent re-
muneration of 7s. 6d. per page, the copyright and ali rights of
reprinting the articles in book form to be the absolute property
of the publishers, without further payment. Mr. Heron-Allen
was most pleasantly young then ! It need hardly be said that
Messrs. Ward, Lock have never made him any payment in
respect of the many editions they have issued since 1884.
lndeed, a few years ago, when the author offered to revise the
book for a small fee, they stated that they did not feel justified
in incurring the expense !
Mr. Heron-Allen at last made arrangements with old Mr.
Chanot that the latter should supply him with wood, at a price,
and that he should work at his fiddle whenever he could, paying
the sum of 10s. 6d. for every hour he worked in tbe shop.
Chanot made a violín step by step with his pupil, and so did
his son Joseph (the first he had made). So it may be said that
J. A. Chanot and the subject of this sketch were apprenticed
together. Mr. Heron-Allen began bis first fiddle, a Strad
model on the hollow or "inside" mould, on April 20, 1882,
and he took two fiddles, made exactly as described in bis book,
away finished on September 15, 1883, made, of course, entirely
with bis own hands. Meanwhile he described every step in
his articles in Amateur Work, from notes made in the workshop
at the time. It is improbable that it ever occurred to Georges
Cbanot that he was a "chiel" taking notes for publication.
If it had, it is not likely that he would have learnt as much as
he did of the mysteries of a fiddle-maker's workshop. The
two fiddles were made from the best materials procurable.
The measurements are those given in "Violin Making, as it
Was and Is." They are varnished with fifteen coatsof a tender
amber-coloured varnish, with a glint of rose in it. This is laid
on a coat of bright yellow satfron stain, which gives a speck
of fire wherever the oil varnish has chipped or worn, Not
that it has chipped much, for even now it is perfectly tender
and elastic. The composition of bis varnish is as (or nearly as)
described in the above-named book. Mr. Heron-Allen is of
opinion, howcver, that no one can givc a perfect recipe for
varnish ; it is, he says, just like making claret-cup or punch,
one begins with a rough formula, and tastes and adds this and
that as it seems required, until it is ali right. No varnish worth
the name, he further maintains, can be made on a set-fast for-
mula-varnishes so composed vary at various seasons and in
various climates, It is interesting to note that the Rev. H. R.
Haweis appears to hold an identical opinion (see "Old Violins,"
p, 149). Mr. Heron-Allen's fiddles have matured very rapidly,
considering that they are left very thick in wood. The tone
is reported to be large and mellow, and of great equality on ali
the strings. Joachim, Wilhelmj, Johannes Wollf, Simonetti,
and a host of other great violinists have played upon the Joseph
copy (Mr. Heron-Allen's favourite instrument), and have ex-
pressed sorne astonishment and a great deal of kind admiration
at it.
Mr. Heron-Allen has ceased to make fiddles, but is keener
tban ever on Fiddle Lore. Since 1885 he has continued to
amass books on the subject, and be is proud to possess a good
many works which are not represented in the British Museum,
the Bibliothéque Nationale, nor in the Bibliothéque Royale in
Brussels. He published a catalogue of them in 1891-94, in
two volumes, quarto, under the title of De Fidiculil Bihlio-
graphio, comprising about 1400 iterns, For bis first book he
was sent by the Commissioners of the lnventions and Music
Exbibition of 1885 to collect ancient musical instruments, and
he rcceived a certificate of merit and a silver meda!; for bis
Bibliography he was clected Socio Onorario e Benemerito of the
Academia di Santa Cecilia in Rome. His further publications
have been "Hodges v. Chanot-thc History of a Cclebrated
Case," "Fidiculana," and a book of essays on the violin,
"The Letters of de Beriot," "The Sea! of Roger Wade,"
a curious early document u pon the W elsh Crwth, and "The
Arts and Crafts Book of the Worshipful Guild of Markneu-
kirchen Violín Makers." Mr. Heron-Allen is also the posses-
sor of the largest collection of unpublished autograph letters of
celebrated violinists in England. He was fortunate enough to
secure nearly all the letters written by violinists to Louis Spohr
at bis sale some ·years ago,
Mr. Heron-Allen's labels are drawn in pen and ink, and
each one differently. The instruments he has rnade are at his
own and at bis father's residence. They were not made for
sale, and no price is put u pon them; in fact, he would not
part with them for any consideration.
A LLEN, SAMUEL, London, contemporary. He is

principally a bow-maker. He was for severa! years in the
employ of the Messrs. Hill, ánd was held in high esteem by
t hem as a fi rst-class workman. In l 891 he startcd business
on bis own account as a violin and bow maker and repairer,
but he devotes his time principally to bow-making. His
workmanship is excellent, and his bows have a graceful and
durable ,amhr,, which, together with a nice balance, gives thern
a place in the front rank of modern bows. Allen was born
in C ornwall in 1858, and was educated for the scholastic
profession.
ANDERSON, HENRY, Edinburgh,contemporary. He

was born in Auchtermuchty in May 1839, He has rnade
about 120 violins, and repaired extensively, Model: Joseph
Guarnerius. I have not scen any of his work, but it is said
to be of good average merit. He reccived a diploma and
bronze meda! at tbe Glasgow East End Exhibition, 1890, for
a case of violins,
ANDERSON, JOHN, Aberdeen. He was bom in

1829, and died ¡in 1883, He said that he made about a
thousand instruments of every description. His model ap-
proximated to that of Stradivari, early period, The varnish is
an oil one of an indiffercnt quality, in various colours, The
VIOLIN ANO BOW MAKERS 63
tone is moderately powerful, but rather harsh in the two or
three specimens seen by me. Label : -
MADE BY
JOHN ANDERSON,
ABERDEEN
ANDERSON, JOHN, Glasgow, contemporary. He
is the son of tbe preceding John Anderson, and was born
December 25, 1856, at Aberdeen. He has made a large
number of violins on a modilied Strad model. They are
fairly well made, and suitable for orchestral purposes. The
only instrument of bis malee seen by me was varnished in
golden red, unpolished, with rather weak sound-holes, and
somewhat ungainly corners.
ANYON, THOMAS, Manchester, contemporary. A

gentleman amateur, who produces excellent work. He was
born in Preston, June 8, 1854, and educatcd at the Normal
School there. Throughout life he has always been fond of
studious pursuits, particularly of painting, music, modclling,
science, &c., with ever the fiddle as bis constant friend. It
was tbe perusal of "Violín Making, as it Was and Is," by
E. Heron-Allen, which first gave him the incentive to construct
a violín. Before so doing he studied the mathematics of the
instrument for many months, experimenting with volumes of
air acting upon resonating plates of different media, and con-
structing a sound-box in order to obtain reliable data as to
thicknesses and air volumes. The results justifying further
research, he made bis first instrument in 1892, and is now
constructing bis fifty-third. During the year I 895 he employed
for eight months two assistants to help in the rough work
only, but was obliged to dispense with their help, finding from
beginning to end that the task of getting anything like thc
violin art and finish out of cabinet-workers' labour was a
hopeless one. His model is original, of foil proportions, and
very artistic. The varnish is an oil one of different shadcs.
On the instruments examincd by me it was a dcep goldcn red
perfectly transparent and fiery. The workmanship is magni-
ficent, and the tone large, rich, and free. The maker's mono-
gram is carved on the back of the scrol~ at the base near the
scollop. Mr. Anyon tells me that he has sold severa! of bis
instnunents privately at priccs ranging from thirty to fifty
guineas. Label : -
ARNOT, DAVID. Worked in Glasgow, and was born

at Crieff in the year 1831. He made many violins on the
Amati, Stradivari, and Guarneri models, and produccd very
good work. In 1888 he opencd a shop in Stockwell Strect,
Glasgow, from which time till bis death in 1897 he was
mostly engaged in repairing. The !abe! is handwritten : -
DAVID ARNOT,
GLASGOW, 1890
ASKEW, JOHN, Stanhope, nineteenth century. Said to
be a good maker. He won a gold meda! at the Inventions
Exhibition, London, 1885, for an exhibit of instruments.
ASKEY, SAMUEL. Worked in London; period about

1800-40. Originally a tinman, he became a pupil of John
Morrison, and worked for sorne time for Gcorge Corsby.
Thc work varics in character ; sorne of bis Amati copies
·showing very intelligent work, but the tone is rather weak
and harsh. No !abe! of bis is known.
ASPINALL, JAMES, Bolsterstone, contemporary. An

amateur who produces very commendable work. He was
born in the parish of Penistone, Yorks, October u, 1855.
He is of a mechanical and inventive turn · of mind, and has
built an organ, on which he was engaged for three years. He
made bis first violin aftcr reading Mr. Heron-Allen's book,
and since then he has madc about thirty violins and a few
violas. He worlts on thc Strad model, adopting the drawings
and dimcnsions of Riechers, except for the thickncsscs. The
workma.nship is good all over, and the tone moderately
powerful, clcar, and responsive. Varnish : Whitelaw's. Label
(printed in copying ink from a rubbcr stamp) : -
JAMES ASPINALL.
VIOLtN MAKER 4 REPAIR EA ,
BOLSTERSTON E.
NR. SH'EFFIELD.
ATKINSQN, WILLIAM, Tottenham, contemporary.

He was born at Stepney, on October 23, 1851, and is the
son of James and Hannah Atkinson. He works at Holt
House, High Road, Tottenham, and is one of the best
makers of modern times. His full name is William Thomas
Reed Atlcinson, but he always signs bis name simply "William
Atkinson." He was educated at Lukeing's Grammar School,
Mile End Road, Stepney. At the age of fourteen he re-
moved with his parents to Liverpool, where he had to serve
behind the bar for some time at his uncle's public-house, the
"Shrewsbury Arms," Oxton, ncar Birlcenhead. This was
much against the boy's inclination, but necessity knows no
choice.
After that he served as second steward on board severa)
steamships belonging to Messrs. Bibby, such as the ltalian,
the Arahian, &c.,-the captain, a Mr, Urquhart, taking him
with him from one vessel to the other.
During bis seafaring career his parents removed back to
London, and when he had got tired of" ploughing the blue"
he joined them there, and apprenticed himself to a Mr. Hume,
a joiner. He was married on October 6, 1880, to Miss Mary
Elizabeth Camper, at Bromley-by-Bow Church. He has two
sons, viz., William Camper, and John Benjamín Camper.
His first instrument dates back to 1869, and was made
E
whilst serving bis time as a joiner. Since he has taken up the
gougc as a profcssional violin-makcr, he has made 130 violins,
numbered consccutively, and many more unnumbcred. The
majority of the latter he has destroyed, because they did not come
up to his standard of excellence, He works on two original
models. The measurements of model No. 1 are as follows : -
Length of body
Width across upper bouts
.
.,
., middle bouta
,. lower boulll
Depth of ribs at bottom •
,, ,, top 1-.},,
Length of souad-holes ,
Distance between sound-holes at top
3t¾f* ,,
Elevation from ½inch to i ,,
A fine instrument made on this model is shown in the
accompanying íllustration.
The measurements of model No. 2 are the same, except
that at the top, middle, and bottom bouts, it is -1,. inches
narrower.
Mr. Atkinson's wood is excellent. T he figure of his
maple is, as a rule, of medium width. His pine, which is
from Berne, is simply perfect, having a "reed" rather under
medium width, perfectly straight and well-defined. His
outline is in the best Italian style. lt is gracefulness
incarnate. A very strong expression, but a true one. As
the form of the gazelle is to that of the ordinary antelope,
so is the outline of Atkinson to that of the ordinary fiddle.
The scroll is a masterly conception and of Pheidian beauty.
The following measurements carefully taken will give a
correct idea of its proportions : -
Length from scollop to apex of volute 4¼ inches.
W idth from boss-edge to boss-edge 1f ,,
of volute close to scollop
,, ,, at apex •
Depth of peg-box clase to scollop
.
. at throat .,"
Fh"f,, . . I. é.,.,. e;. Taylor
VIOL!N BV \\' 11,LIAM ATKINSON

(F,ciJ 1903)
Width of peg-box ineide t inchee.
{ Diminiahing to • • i
Depth of fir,t curl of volute •
., 111ecood curl of Tolute
½ a "
l
Tbicltnees of ridee of peg-box ¼ ,,
The first turn parts suddcnly from thc boss, as in the bcst
examples of Stradivari. The edges are softened down gently,
with black lines to emphasise the extreme outline.
The button is nearly semicircular, with toned-down edgc,
and is in perfect kceping with the contour. The margin is
one-fifth wide. The edges are strong and rounded ; but the
"rounding" is not over-pronounced. The elevation of the
cdge above the purfle-bed is almost imperceptible. The
margin and edges prescnt a dclicatcly refined appearancc.
In fact, cverything about the Atkinson violins betokens
aristocratic rcfincment. The purfling is onc-sixtccnth wide,
thc inner strip having a width which is slightly greatcr than
that of the outer ones combined.
The varnish is beautiful, ranging in colour from palc straw
to light ruby, and of the most delicate tints. On a spccimen
rcccntly sccn by me, and which had been examined and most
llatteringly commented upon by the late Dul<e of Saxe-Coburg-
Gotha, the varnish was straw-coloured and of the richest and
tenderest hue. It is perfectly transparent and elastic, and soft
as velvet to the touch. lt is laid on in vcry thin coats and
dricd in the open air. Sometimes as many as twenty coats
are given, but thc final thickness of varnish is scarcely more
than one-sixty-fourth of an inch.
Mr. Atkinson's tone is quite remarkable. lt i not cxactly
lilte the tone of any other maker, classical or post-classical, that
I am acquaintcd with. The size of the instrument would lead
one to expect a tone of small volume, but such is not the case.
The tone is strong without being loud, pcnetrating without
being piercing. One need not go to Atkinson for mere loud-
ness. His is a mellow tone with a silver ring. lts echo in
a large hall is like the sound of an anvil struck at a distant
smithy and borne by the breeze. It is the te ne of the dulcimer
magnified, clarified, beatified. It is a delicious tone! For
this reason the Atkinson fiddles are pre-eminently solo in-
struments. For a similar reason it would not be wise to
furnish thc same orchestra with them throughout. That the
gods rain honey on llowers is a kind provision ; if they did it
on grass they would spoil the world.
Mr. Atkinson obtained a bronze meda! at París, 1889, and
a silver meda! at E din burgh, 1890. Since 1890, he has de-
veloped bis ideas considerably, and has frecd himself entirely
from the trammels of the French school.
His price is fixed at a uniform figure, [,15. He makes
violins only, and ali thc work is personal.
As a man, the subject of this sketch is highly interesting.
He is possessed of a persistent personality. He is unique
without being eccentric. His whole character is cast into a
mould, and the fiddlc is the pivot of bis life. He has no spare
moments save for one thing-religion. He is busy, but not
anxious ; modest, but not suspicious. He is consummately
skilful as a mechanic-nothing proving too difficult for bis
gouge. Facsimilc label : -
llf"llz'am ttÁlkinson
-lnTollenhanzJ903.
The label is varnished over with the same colour varnish
as that used on the fiddle, to prevent the ink from fading or
running. The maker's monogram is also_inlaid on the back
under the button.
B
BAINES,--, London; about 1780. Nothing is known
of him beyond the fact that he worked for Matthew Furber
for sorne little time, whose pupil he was.
VIOLIN AND BOW MAKE RS 69
BAKE R, F RANCIS, London. An old viol-maker. A
bass vio! bearing the following label was seen by somebody
somewhere about eighty years ago : -
FRAN CIS BAKER,

IN PAUL'S GHURGH YARD,
1696, LONDON
BAKE R, J OHN, Oxford, 1680-1720. He made viols
chieAy, but towards the end of his life is supposed to have
turned his attention to violins. No one, howcver, has scen
any of these. Tom Britten had a fine viol of his make in his
collection. A four-stringed viola da gamba was among the
exhibits at thc South Kensington Special Exhibition, 1872,
bearing the following label : -
MAD E BY
JOHN BAKER,
IN OXFOR O,
ANNO 1688
BALLANTINE, - - , Edinburgh and Glasgow. No-
thing known of him. Somewhere about 1850.
BANKS, BENJAMIN, Salisbury. He was born on

J uly 14, 1727, and died on February 18, 1795. He was
the second son and the third child of George and Barbarah
Banks, of the parish of St. Thomas, Salisbury. From Grove's
" Dictionary of Music and Musicians," vol. ii. p. 164 (1890),
it appears that Banks was not a native of Salisbury, but early
migrated there. This can hardly be correct, as it would in-
volve the removal of the parents to London and their return
to Salisbury within a short period of time. George and
Barbarah Banks were living in Salisbury in l 72 5 and in I 730,
and it is not likely that, in those days, they would havc made
a move to, and a return from a distant town within five years.
But nothing can be stated with certainty, as the old registers
of thc parish of St. Thomas are lost, and the transcripts in the
Diocesan Registry are irregular. The following are the only
entries contained in the transcripts with reference to the
Banks family : -
" Baptisms
21 March 1722, George, son of George and Barbarah Banks.
8 July 1725 1 Elizabeth, daughter of George and Barbarah
Banks.
1 s August 1730, William, son of George and Barbarah Banks.
20 Junc 1732, Mary, daughter of George and Barbarah Banks."
The transcripts are very incomplete, and there are none from
the year 1740 to 1778, nor are there any for the year 1727-
the year of Benjamin's birth and baptism. Strange to relate,
the burial entries are also missing for the year 1795 1 as if Fate
were resolved to cheat the future biographers of Banks of
every scrap of information respecting bis birth, baptism, and-
death ! Banks has been styled "the English Amati," a title
which he no doubt fully deserves. It must be admitted, how-
ever, that only in bis finest efforts does he soar above Duke,
Forster, and one or two others. I have seen sorne examples
of Duke which were quite equal as regards workmanship and
tone to the best of Banks' cfforts, but the varnish of the latter,
when he exercised care in the application of it, gives him the
advantage. Duke's varnish is refined but cold; the varnish ot
Banks is rich and fiery. As Hart very justly remarks : "It
has ali the characteristics of fine Italian varnish." The work
of Banks may be divided into two classes: (1) the Stainer
copies, and (2) the Amati copies. Banks, when left to bis
own choice, copied no one but Amati, but bis patrons and the
trade frequently demanded that he should, in accordance with
the taste of the times, supply Stainer copies. No one is
responsible for this inference but myself, and it is thercfore
necessary that I should attempt to justify it. The majority of
the instruments made by him for Longman & Broderip, and
which bear that firm's stamp on the back, are Stainer copies,
and show work which is inferior to that seen in bis Amati
copies. Other instruments of the same model, made, perhaps,
to the arder of private patrons, are also lacking in finish,
carelessly varnished, and altogether weak in individuality. It
is as though the good man were impatient of his model, and in
a hurry to get the instrument out of the way. Patient labour,
loving care, and luscious varnish were re erved for the model
of his heart's choice. Only when the material happened to
be poor or plain is there evidence of impatience in the finish
of the Amati copies. I throw out this suggestion tentativcly.
I have seen a goodly number of Banks' instruments, and can-
not recall a single exception to this rule, but I do not wish to
be dogmatic ; I only hope t hat there is some truth in my
contention, bccause I would fain believe that there was one
at least of our classical malcers who was entirely out of
sympathy with the Stainer cult. lt is absolutely certain that
the best work of Banks is to be seen in bis bettcr model, and
it is universally true that a man is at his best in the subject he
most !oves. Lupot was i11 at case except when tracing the
lines of Stradivari, or when moulding those faithful copies
which he gave to the world of bis beloved ideal.
( 1) The Stainer copies, as airead y stated, show comparatively
inferior work. The model is long, from 14¼ to 14/.-, with a
perceptible narrowing of the upper third of thc instrument.
The arching is slightly exaggerated, having the ridge quaintly
accentuated between the sound-holes. lt is as though tbc
copyist bad caught tht salient feature, par t,rcelltntt, of thc
original, and thinking it sheer waste of time to attempt an
extended analysis, resolved that it would be sufficient in-
dulgence to cxisting wickedness if he reproduccd the said
feature, Gtrmano mort, as Haweis puts it. There is not one
Banks instrument in cxistence which can be described as a
faithful Stainer copy. The lines of the model are treated with
a degree of freedom and developed according to the copyist's
own conception. These are the copies which have got poor
Banks into disrepute with regard to the varnishing. The
varnish has "killed thc grain" of the front tables. "It has
been allowed to clog the fibre " is the explanation given by
some authorities, as though, forsooth, every oil varnish did not
clog the fibre. All oil varnishes penetratc the wood, especially
the pine of the belly. What is technically termed "killing
71. BRITISH VIOLIN-MAKERS
the grain" is brought about by one of two things, viz. (a)
by the action of one or more of the ingredients of the varnish
upon the interfascicular cambium of the wood. The cellulose
of the cell wall (C6 H 10OJ8 is in the pine tree converted into
lignin during the growth of the tree-a substance which is
stained dark yellow when treated with acids. The cell
contents also react in a similar manner. Especially is this the
case with wood that is not thoroughly desic,cated, or cut at the
right season ; (h) the grain is often "killed" by the application
of colour varnish throughout, i.t. without a first coat of sizing
or pale varnish. The sizing (oil) gives life to the wood, which
bursts forth through the coloured varnish like the light in a
cathedral window on a dark night.
Banks often used wood in these Stainer copies which was
not thoroughly- seasoned, and he varnished them hurriedly to
meet the demands of bis patrons. I do not think the wood
he used in many_instances could have been cut for more
than two years. There is evidence of shrinkage. I have
gone over a few very carefully with the calipers, and the
result justifies me in saying that it is impossible the maker
should have worked them so thin. Here are the thicknesses
of a violín now in the possession of H. Allen, Esq., ex-M.P.
for Pembrokeshire-an instrument which has never been in
the hands of the repairer, and which is in perfect preservation :
Back, /-/ at centre, gradually tapering to rather under -n at .
edges; belly, h tapering to -n at edges.
The tone of the Stainer copies, especially of the violon-
cellos which have sufficient timber in them, is much finer than
is warrantcd by the appearance.
(2) The Amati copies. On the construction of these magni-
ñcent instruments our maker concentratcd the en tire energy of
bis heart and mind. Wood (except in a few instances), work-
manship, and varnish are almost faultless. The only part of
the work which gave him any trouble was the scroll, which
frequently shows that his strong mind was reluctant to bend
altogether to another man's idea. I am perfectly convinced that
if Banks had asserted bis latent individuality and strud: out on
(81:1.L\')
VIOLONCELLO BY BENJAMIN BANKS

(Fui/ 1785)
(Sllll-.) ¡llACK/
VJOl,OXCELLO BY JlENJAMJ:-; BANKS

(F,:,·it 1785)
new lincs, we should havc sorne gems of our classical school
. which would vie with the vcry hcst of ltalian work. The
varnish, I am awarc, does not at any time reach heights which
are encirclcd by the divine halo of Cremonese glory, but it is
far up thc mystic mount. As copies, the finest efforts of Banks
are sufficiently correct to pass muster as originals, and in sorne
cases at least thcy havc done so. I will instance onc. The
widow of a deccased W elsh violiníst and celebrated choirmaster
asked me sorne years ago to value her deceascd husband's
collcction-a small one containing a Stradivari tenor, a Lupot,
a Duke, and a " Nicola Amati" violin. The last-named in-
strumcn t was the pride of the collection, both on account of
its intrinsic value and because it had been presented to the dis-
tinguished man by thc members of a choir which he had
successfully led at various N ational Eist,ddfodau. The instru-
ment had been bought ofa certain London ñrm for J:180 (this
was back in thc carly sixties), with the usual guarantee. I am
absolutely certain the violin was not fashioned by the hands of
old Nicola, and morally certain it first saw thc light of day
somewhere in the vicinity of Catherine Street, in Sarum. The
scroll is Bcnjamin's, the varnish is his, everything is his, except
the piece which has been cunningly !et in undcr the bottom
whcre the B.B. is usually stamped. Thc label is rathcr largc,
in the correct type, but too fresh and-fatal oversight, under a
strong electric ray it reveals with the help of a strong lens what
I belicve to be part of an English watermark. lt is time this
pseudo-Amati should have its false ticket extractcd and Banks
receive his due. The tone has a thrilling, silvery ring-is clear,
pcnctrating, and dclicately sweet. Thc wood is fine, the back
bcing cut on thc quartcr with a curl of mediurn and regular
width, slanting ata rather acute angle in the direction of the
button. Banks' tcnors, and especially his violonccllos, are
magnificent. Thc latter are of two sizes, and the larger ones
are givcn thc prcference. The smaller violonccllos, however,
are as excellcnt in quality of tone as the larger ones, and
perhaps more so. But in these days loudness takes the preced-
ence of every other abstract, and the tone that drivts is placed
beforc the tone that dr-aw,. One of the fincst Banks violon-
cellos for tone that I have ever seen was sorne years ago owned
by a gentleman amateur in Tenby. It was of the smaller
pattern, of rather plain wood, and varnished red. It was in
perfect condition, and in chamber music it sang mellifluously
like a velvet-throated baritone. I took dimensions of this
instrument, which I append here : -
Lcngth of body 28½ iochc,.
Width acrou thc upper bouts 13
,, middlc bouta to¼ ",,
,, " lowcr bouta 16 ,,
"
Depth of ribe at bottom • 4¾ ,,
,, ,, top 4¾ ,,
Width ofC's 6½ ,,
Length ofF'• 6 ,,
Diatance between F's at upper turn •
Le11gth 11f stop
3¼
26 .,,
I obtained photographs of this fine instrument, which are
reproduccd herc.
Genuine Banks instruments are much rarer than would
naturally be expected. I do not think: that there are more than
from fifty to sixty violins, eighty to ninety tenors, and about one
hundred violoncellos of his in cxistcnce. The peruser of cata-
logues of old instruments is lcd to believe that an inexhaustible
supplyexists. Perhaps the following extraordinarycircumstance,
recorded here asan object-lesson, will help to undeceive him. In
the year 1890, impelled by curiosity, I wrote to a large number
of firms for their catalogues of old instruments. In about three
months I had a pile of catalogues on my table from the leading
houses in this country, and from those in France, Germany,
Italy, America, and Australia, sorne eighty-two in number. To
my utter amazement, I found that there were then two
hundred and eighty-six Strads olfered for sale at a sum total
of [,78,936, ali made by the grand old man between the years
I 700 and I 720, and ali as a mattcr of course guaranteed to be
genuine I Nearly three hundred Strads for sale in the same
year, and almost within the same month of the year ! ! Ye
gods I Surely ye have added one more] wonder to the seven
wonders of the world. Thc case is much the same as regards
Banks. If catalogues, sale advcrtisements, &c., are to be relied
on, then I compute that there have been sold in this country
during the last fifty years over two thousand examples of his
art.
Banks stamped his instruments in all sorts of places, below
the button, under the finger-board, under the tailpiece, &c.,
and he used various labels, such as : -
" Made by Benjamin Banks, Catherine Street, Salisbury,
1770" ; "Benjamin Banks, Musical lnstrument Maker, In
Catherine Street, Salisbury, I 780" ; "Benjamin Banks, fecit,
Salisbury " ; " B. Banks, Sarum."
Banks was buried in St. Thomas's Churchyard, Salisbury.
His tombstone, which is near the south door, on the right-
hand side, has the following inscription : -
RESTORED 1863
ANN,
W•FE O'F MR. BENJAMIN BANKS
di,d 14 S,p•
1785
AGED 57 Yuu
MR. BENJAMIN BANKS
DaPARTED Tl<IS L1n
18,. .F,/,~ 1795
AGIID 67 YuRs
IN MEMORY O'F
THB MoST EMINENT ENGLtsH MAua
OF STRIHGZD Mus1CAL l11sTRUMRNTs
BANKS, BENJAMIN, Salisbury, London, and Liverpool.

He was the second son of the great Benjamín Banks, and was
born on Sept. 13, 1754, at Salisbury. He died in Hawk
Street, Livcrpool, where he last worked, on Jan. 221 1820.
He worked with his fathcr for about ten years, but in 1780 he
moved to 30 Sherrard Strcet, Goldcn Square, London. He
did not remain long there, probably because he failcd to com-
mand any attention. Very little of his work is known, and
what there is does not entitle the maker to anything beyond
a passing noticc.
BANKS, JAMES AND HENRY,SalisburyandLondon.

They continued their father's business till 18n, when they
sold up and went to Church Street, and later to Bold Street,
Liverpool. Both were born in Salisbury; James about 1756,
and Henry about 1770. The former died on }une 15, 1831,
and the latter on Oct. 16, 1830. Henry was a pianoforte
tuner and repairer, and James a violin-maker. James was a
very good workman, and ought to have done better than he
did. He followed his father's model, and occasionally suc-
cecdcd in producing rnuch the sarne varnish. The tone cannot
for a mornent be compared with that of thc old man. There
is a metallic harshness about it which offends the car. I arn
not sure that he did not bake his wood in sorne cases. I cannot
otherwisc account for thc infcriority of the tone. The brothers
lcft a number of unfinished instrurnents in the cellar of their
Liverpool house, which were sold as they were, mostly to the
trade. Labels : -
JAMES ANO HENRY BANKS,
MUSICAL INSTRUMENT MAKERS ANO MUSICSELLERS,
SALISBURY, 1800
JAMES ANO HENRY BANKS,
SALISBURY, 1805
One of their violoncellos, made by both jointly in 1797,
was arnongst the exhibits in the South Kensington Museum,
1872. lt was the property of Mr. C . J. Read, of Salisbury.
lt was said to be a well-finished instrument, with a modcrately
powcrful tone of very good quality. Nothing that I havc seen
by any one of the sons could be said to possess a tone of any
distinction. I have heard bettcr rnany times in an ordinary
trade fiddle. The father's mantle fell, not on the sons, but
into the river, and was borne away by the Aood.
BARNES, ROBERT, London. He was a pupil oí
Thomas Smith at the "Harp and Hautboy," in Piccadilly.
Afterwards he bccame a partner with John Norris, with
whom also he was a íellow apprentice at Smith's. Norris
and Barnes started business together in 1765. Ali the instru-
ments which bear tbeir label were probably made by others.
Label:-
MAOE BY NORRIS ANO BARNES,
VIOUN, VIOLONGELLO, ANO BOW MAKERS
TO THEIR MAJESTIES,
COVENTRY STREET, LONOON
BARRETT, JOHN, London. Period about 1714-30.
He copied Stainer, and very often exaggerated bis arching.
He also workcd on a modified Stainer pattern, which was
long, narrow, grooved, and highly arched. The workmanship
is fair, but the tone is very small and muffied. As a rule, he
used ink-lines instead of purlle. Tbe varnish is yellow and
hungry looking, and helps to give a cheap look to the instru-
ment. Somebody rcports having scen a violoncello oí bis make
somewhcre, which had a beautiful tone. It is possible that he
did malee good work, but it has not been the fortune of any oí
it to come down to our days. He was a contemporary of Barak
Norman and Nathan iel Cross. Labels : -
JOHN BARRETT,
AT THE HARP ANO GROW N
IN PIGGADILLY, 1720.
MAOE BY JOHN BARRETT,
Al YE HARP & CROWN IN PIGGADILLY,
LONOON, 1730
BARTON, G EORGE, London. Period about 1780-
1810. He worked in Elliot Court, O ld Bailey. He made
mostly for the trade, and little or nothing is lcnown oí bis work.
BELOE, W. L., Coldstream. He was born in 1819 and

died in 1897. He followed the lines oí Stradivari, but it cannot
be said that he made one copy of the matJtro. There is a sort
of general resemblance to the Strad outlíne and archíng, and
that is all. The worlananship ís fairly good, and the tone of
mediocre quality. Label, handwrítten : -
MADE BY
W. L. BELDE,
COLDSTREAM, 1880
BERTRAM, ALEXANDER, Peeblesshire; nineteenth

century. He worked at Eddlestone. He made hundreds of
instrumcnts of a very inferior quality.
BERTRAM, WILLIAM, Stobo Castle. He was game-

keeper to Sir James Montgomery, and made violins as a
hobby, sellíng them when he could to the vísítors to the
Castle. His work is said to be very good, but I have not
seen any of it.
BETTS, JOHN, London. He was born at Stamford,

Lincolnshire, in 1755, and died in March 1823. He was
universally known as" Old John Betts," and was well respected
and patronised. He was a pupil of Richard Duke, and, in the
few instruments made by hímself, showed that he had imbibed
much of Duke's !ore. The workmanship and varnish have
much the same characteristics--the latter being, as a rule, of a
tint which is a shade warmer than the varnish of Duke. He
did not make man y instruments himself, but employed excellent
worlanen, such as the Panormos, John Carter, Edward Betts,
Bernhard Feudt, &c. The work is excellent, but poor instru-
ments were occasionally sold by hím, bearíng hís !abe!. My
great-grandfather ordered a víoloncello of Betts ín the year
1780, to be made by Betts himself. This ínstrument ís now
in my possession, and ín excellent condition, having been
recently repaired by Mr. J. W. Owen of Leeds. It is of the
Amati model, plain wood, golden-brown varnish, with rather
wide sound-holes. The tone is moderately powerful, and very
VIOLI AND BOW MAKERS 79
sweet and mellow. The workmanship is solid and sober,
without being refined and artistic like the work of Betts'
master. Betts was one of the first in this country to do
extensive business in Italian instruments, and a large number
of fine violins found their way into this country in his time.
He used two or three different labels. The one inscrted into
the violoncello just referred to reads : -
JOHN BETTS, NO. 2, NORTH PIAZZA.

ROYAL EXGHANGE, LONDINI, FEGIT,
JANUARY 9, 1782
tbe last line being written. The words "Jo. Betts, No. 2
North Piazza, Londini," are also written across the back on
the inside, near tbe top, and an inscription, which is not
decipberable, is writtcn across thc bclly ncar the left sound-
hole.
BETTS, EDWARD, London. He was the nephew of

the above, and worked a great deal for him. Like bis uncle,
he was a pupil of Richard Duke, and produced work which has
many of the characteristics of the master. The date of birth
is unknown, but he died in 1817--six years before bis uncle.
His workmanship is excellent. Its only fault is that it lacks
in individuality, and is over-mechanical in its general appear-
ance. He adhered to the Amati model throughout, and copied
it with an exactness whicb has not becn surpassed in Britain.
Had he been so successful in reproducing Amati's tone as
Banks and the other copyists had been, he would rank much
higher in tbe estimation of posterity. But the tone is not
bad ; it is round, sweet, and moderatcly powcrful. It did not
strikc me as being sufficiently clear to carry far, and there was
something rather viola-like about it. That might be due in
part to long d isusc.
I have never scen a !abe! of bis.
BEVERIDGE, WILLIAM, Aberdecn. He was born

in 1821, and died in 1893. He made many violins, on no
particular model, but which are quite artistic in appearance.
The tone is never so good as the workmanship. Label : -
W, BE VERI DCE,
FEGIT,
TOUGH, 1870
BLACKBURN, J . H., Colne, contemporary. An
amateur who has made a few instruments, but is mostly
engaged in repairing.
BLAIR, JOHN, Edinburgh: 1790-1820. He worked
on the Stradivari model, and turned out excellent instruments
as regards appearance, but not so excellent in tone. Mr.
Honeyman is of opinion that he was tbe teacher of Matthew
Hardie, and there is certainly a close resemblance between
their work. Wood mostly good and handsome; spirit varnish
rather poor in quality, No !abe!, but he usually wrote bis
name across the belly on the inside.
BLAIR, WILLIAM, Crathie: 1793-1884. He made

severa! instruments on various models. The workmanship is
fairly good, but the tone is very indifferent. He baked bis
wood, and used a hard spirit varnish. He was a noted
character, well-known in the North as "The Queen's
Fiddler." The fiddle of his own make upon which he
played for many years at Balmoral is now in the possession
of the author. I have given full biographical particulars in
my sketch of this worthy in another volume.
BLYTH, WILLIAMSON, Edinburgh: 1821-97. A
most prolific maker of wretched nondescripts shaped like a
violin, but without any of the usual qualities of that instru-
ment. It is said that he could turn out fairly decent work
when he had the inclination, but he very rarely got into that
mood.
BOLLES, - - , London, early seventeenth century. A
celebrated maker of lutes and viols, and the most celebrated,
judging from a statement in Mace's « Musick's Monument,"
which convcys the information that the writer had seen a bass
of his valued at f.100,
BONE, PHILIP J., Luton, contemporary. A maker of

mandolines and violins. He made his first violin in 1886, and
since then has finished several on the Stradivari and Guarneri
models. Varnish : amber, in pale yellow colour. I have not
seen any of bis work, and cannot pronounce an opinion upon it.
Facsímile label : -
MU
M
t=
(OPPOSITE
_Jf. (J_+tt.
~ EDJ
LUTO .
Co.
E HOUS·E,
. !fff
BONN, J. EDWIN, Isle of Wight, contemporary. He
was born on March 28, 1861, at Fermoy, Ireland. He was
educated at the Ledbury Grammar School, and was intended
for the medica! profession, but he abandoned medicine and
practised for sorne time as analytical and consulting chemist.
Latterly he entered the violin trade, and is now established at
Brading as dealer and maker. He works on the Stradivari
model, and also on an original one. He has made personally
forty•ninc violins, and about a hundred havc been made by his
worltmen. The workmanship is good, and thc tone clear and
powerful.
The wood is excellent, especially the pine of the front
table, The grain, as a rule, is close, straight, and well.defined.
The varnish is Mr. Bonn's own composition. In 1897 he
discovered a new and more simple method of dissolving arnber,
which gives great elasticity anda good range of colours. The
method gives absolutely fast colours, and the varnish does not
chip. Mr, Bonn does not care to divulge his secrets, but he
states that he does not use in the process drying oil prepared
with lead salts. Lead, he maintains, injures the colours. The
IF
varnish dries well within the compass of a season, and when
dry it does not soften under the heat of the hand. lt is, more-
ovcr, perfectly elastic and tough. The colours are yellow,
red, goldcn orange, orange red, and orangc brown.
Mr. Bonn varnishes ali his instruments in orangc brown,
unlcss any other colour is spccilied.
The prices of his violins are : class A, ten guineas ; class
B, twelve guineas; and class C, [,16.
Mr, Bonn has severa! chemical preparations for violín
strings, pegs, for cleaning the violín, &c. He is the discoverer
also of a chemical method of preparing strings, and it is due to
him to say tbat bis strings are very fine. Another invention
of his is the four-footed bridge, He makes bows, which are
of the regulation length, of full and medium weight respec-
tively, and perfect as to balance and elasticity. The thick-
nesses wcre mathcmatically regulated throughout, the cambre
following the line of Dodd, These, with silver mounts, are
priced at two guineas each. Facsímile !abe! : -
J ED'VQ'":X:N :SONN.
BRADINC. ISlE Of WICHT. /i9j.
BOOTH, WILLIAM, Leeds: 1779-1858. He began
to make violins in 1809, and continued to make and repair
till 1856. He followed the Arnati model chiefly, but I havc
seen onc violín of his mak.e wbich was somewhat after thc
long Strad pattern. Fairly good work and tone, Label : -
WM. 800TH,
MAKER,
LEEOS, 1820
BOOTH, WILLIAM, Lecds: 1816-56. He was the
son of the above, and an excellent workman. He died on
June 1, 1856, and was buried at Burmantofts Cemeti:ry.
1 have seen only one of his instruments, which was on a
modilied Strad pattern, rather highly archcd, golden brown
varnish ; tone somewhat small but sweet,
VIOLI AND BOW MAKERS
BOTHWELL, WILLIAM, Aberdeen, contemporary.
He worked at violin-making from 1870 till 1885, and turned
out many instruments on no particular modcl and of an
indifferent quality.
BOUCHER, - - , London: 1764. Nothing known of

him.
BOWLER, ARTHUR, London, contemporary. ·He

works at 18 Milner Square, Islington, and was born July 12,
1867, at Thame, Oxfordshire. He is a nephew on his mother's
side to the late Georges ChaJtOt. He worked with Mr. J. A.
Chanot for sorne time, wherc he got on so well that he
became principal workman to that firm. In 1899 he started
business on his own account, and he turns out excellent instru-
ments, on the Stradivari model. The . wood and varnish are
beautiful, and tbe tone is firm, round, and clear. The work
of tbis maker is bound to come to tbe front in the near future.
Facsimile label : -
~ltttt Suñulu19 AA
LONDON, FECIT ""T/
Q
~
BRECKINBRIDGE, JOHN, Glasgow: 1790 1840.
An amateur maker who made severa! excellent violins on the
Amati model. The wood is of splendid quality, nicely
figured, and the varnish pale brown or yellow. The tone
is round, clear, and swcet. Label, handwritten : -
JOH N BRECKINBRIDCE,
MAKER,
PARKHEAD, 1830
BRIGGS, JOHN WILLIAM, Glasgow, contemporary.
He works at 122 Sauchiehall Street, Glasgow, and was born
at Wakeficld on July 9, 1855. He received clementary
cducation at the Friends' School, Rawdon. His father, who
is a worthy old Quaker, gave the son a sound grounding in
various subjccts on commercial lines. Mr. Briggs has supple-
mented bis early training with wide and varied reading in
after life.
He is a pupil of the late William Tarr, of Manchester,
the famous double-bass malter.
Up to the end of J anuary 1899 he had made eighty-four
violins, eleven violas, eleven 'cellos, and nine double-basses.
Ali the work is personal, with the C}<Ccption of the scrolls
of the last ten instruments, which have been carved by bis
son Harry.
He works on the Stradivari and Guarneri modcl, and also
on an original one. The measurements of the original model
are as follows : -
Length of body 14/-e- inchcs.
Width across uppcr bouta • 6¾ ,,
middlc boutl 3-ft "
,, ,, lower bouts 8¼
Length of C'a 3¼ ,,
,, eouod-holes 3ft ,,
Dcpth of lowcr rib • •¼ ,,
., uppcr rib .
Distance betwcen sound- holcs
J* .,
1fi JJ
The outline is bold and assertive, and the arching is

moderately pronounced. The scroll, although original, is
much in the manner of Joseph (Del Gesu). The button is
wcll designed, but a triffe more circular than that of Strad's.
The corners are fu\l and piquant, and when vícwed in con-
junction with the widcncd waist, they give the instrument
a brcadth of conceptíon. The sound-holcs also are original ;
thcy are beautifully cut wíth a firm hand, and are a sort of
compromise betwccn those of Strad and Joscph.
The vamish is an oil onc, of the maker's own com-
position. C olour : golden amber with a rose llush. The tone
is strong, bright, and bell-like.
When Mr. Briggs works as a copyist1 he may be said to be
J. W . BRIGGS, GLASGOW
VIOLIN AND -BOW MAKERS 85
a mcmber of tbe Vuillaume school, exccpt in the matter of
artificially seasoning the wood. His copies of sorne of the
classical violins are, indeed, very fine and correct-too .correct,
perhaps. lt is questionable whether tbe time spent in copy-
ing every little scratch and patch .be time profitably spent.
A facsimile copy, likc that of Mr. Briggs' Paganini-Joseph,
requires immense sk:ill and patience, and it also requires a
length of time. To exercise the greatest skill and patience
is cornmcnd&ble, but to consume over-much valuable time is
against the interests of the art, The :fiddle world cannot
afford to allow a born artíst to dally with scratches and
patches.
Mr. Bríggs had the largest cxhíbit of instruments at the
Glasgow Exhibítion, and in many respects the finest. The
wood of thc back:s and ribs was exhibítcd as timber at the
Paris Exhíbition of 1880, and also at Vienna in 1890, where
it was awarded a gold meda!. The bellies were made from
wood three hundred years old, tak:en from an old church in
Warsaw, Poland.
As an original worker, Mr. Briggs is rernarkably free from
conventionality, and allows his genius unlimited liberty. At
one moment he worships at the shrine of old Antonio, and at
the next he is an uncompromising iconoclast. Gcnius ever was
a mystcry. Facsímile label : -
BRISCOE, D., Channel Islands, contemporary. An

amateur who has made many instrumcnts, but of whose
work: I can say nothing, as I have nevcr seen any of it.
BROOKFIELD, EDW ARD, & SO , Southport. He
worked from 1872 till 1898, in which year, on ov. 25, he
died. The work: is now carried on by the son. He made
violins and bow and repaired very extensivcly. Thc worlt
of both father and son is said to be very good, but I have not
seen any of it. The son worlcs on the modcl of Guarnerius,
with Stradivari sound-holes. Labe!, handwritten : -
E. BROOKFIELO,
MAKER,
SOUTHPORT
BROWN, ALEXANDER, Glasgow: 1855-60. Stradi-
vari model. Good work and tone. Labe!, handwritten : -
ALEX. BROWN, MAKER,

GLASGOW, 1855
BROWN, ANTHONY, London and Australia: 1850-75.
Pupil of John Morrison. He did not mak:e many violins,
but he was celebrated for bis guitars, of which he made a large
number both in this country and in Australia. He worked in
Rosamond Street, Clerkenwell, and also in Adelaide.
BROWN, JAMES, Spitalñelds: 1755-1834. Started

violin-mak:ing in 1804, under Thomas Kennedy. Ordinary
work; tone fairly good for orchcstral purposes.
BROWN, JAMES, Norton Folgate: 1786-1860. Son

and pupil of the previous James Brown. He made very many
bows, and also instruments after his father's death. The work
has much the same characteristics as that of the father.
BROWN, JAMES, London: 1813-34. Son and pupil

of the preceding. Made only a few instruments.
BROWNE, JOHN, London: 1730-45. He worked at

the sign of the "Black Lion," in Cornhill. He copied Stainer
and Amati, and turned out fairly good work as regards appear-
ance, but the tone is hard and metallic.
BUCKMAN, GEORGE HATTON, Dover, contempo-

rary. He was born in Snargate Street, Dover, on Oct. 23, 1845,
and be works m omot,ur at Kearsney. He was educated ata
privatc school in bis native town, called the "Dover Collegium,"
which was then under the tutorsbip of ene Herr Hawkerkamp.
He has rnade very rnany instrument on tbe Stradivari and
Guarneri rnodels. Sorne of the Guarneri copies have becn
made after a fine Joseph which is in tbe possession of C. M.
Gann, Esq., of Canterbury, and they are in every way excellent
instruments. The Strad copies are of rather ful! dirncnsions,
sorne bcing 14¼ in. long. In thc lattcr the greatest width
across the upper bouts is 6t in., and that across thc lower
bouts Si in. full. The height of the sides in a specirnen I
examined was 1¼ in., diminishing to 1-,h in., but in tbc majority
it is maintained at 1¼ in. tbroughout.
Thc C openings are 3 in. frorn comer to comer, and the
sound-holes 2¾ in. from wing•angle to wing-anglc. These
latter, togethcr with thc scroll, form thc ,,.,,,, of the irnitator's
art. They form also the two abutments of the asscs' bridge
in fiddle-making. Suffice it to say that Mr. Buckman has
crosscd tbis bridge in a chariot drawn by a strong contingent
of the Naiadian nymphs. He stoops to irnitate, but stoops to
conqucr at tbe same time. His is not thc servile imitation
so frcquently observed even in high-dass wori: of the modern
Frencb school. It is the imitation which produces the salient
points and which also bcars the irnpress of originality. In bis
sound-holes (I spcai: now of those in bis Josepb copies), Buci:•
man has succeeded in crtating through and in spite of irnitation.
The Gotbic quaintness of the master is there, but it is
gently tened down by thc graccful sweep of the outer line,
Thc s:une might be said of tbe scroll. Joseph's scrolls are
sometimcs described as being of thc "bull-dog" type. Buck-
man's copies bave the "bull-dog" face also, but minus a great
dcal of the usual ferocity.
Sorne years ago, a MS. of the Federal Constitution of the
U nited $tates was so written that, when held at a distance,
the shading of thc letters and their arrangemcnt showed the
countenancc of George Washington, but close at hand it looked
like a copy of the fundamental law of the United $tates-
88 BRITTSH VIOLIN-MAKERS
that is, the facc of the Fathcr of his country and thc laws
of thc great Constitution wcre rcpresented by one and thc
samc thing. So in Mr. Buckman's work. View it broadly,
and you see the sign-manual of the living artist ; vii:w
it closely, and you discover the dicta of the great classical
cpoch.
Severa! of this maker's instrumenn; are made with a slab
back. In one of these the archings are rather flatter than usual,
owing to the wedge from which the back was cut being some-
what thin, but the "correct" cubic capacity is rnaintained,
and the tone is both large and brilliant. In nearly ali the
instruments with a slab baclc, the curl of the maple runs at an
angle of forty-five degrecs to the longitudinal axis, giving a
very pretty cffect to the whole.
_Mr. Buckman has played the violin from his youth, but he
now sulfers from nerve-deafness, and loses during its rccurring
attacks ali perception of melody. Facsimile label : -
GEO. H. BUCKMAN,
DOVER, 18ff·
e
CAHUSAC, - - . Nothing known of him except that
he was associated with thc sons of Benjamin Banks for sorne
little time.
CALOW, WILLIAM, Nottingham, contemporary. He

was born on June 6, 1847, at Tansley, near Matlock, Dcrby-
shire, and is thc son of Thomas Calow, who was also an
occasional violin-maker. He makes violins, violas, and double-
basses on thc Guarnerius model, and repairs extensively. He
is assisted by his son Thomas, but the greater part of the work
is personal. He uses oil and spirit varnishes. Colours: orange
VlOLIN AND BOW MAKERS 89
and nut-brown. His double-basses are well made, and po ess
a large and fine tone. Facsimile !abe! : -
CANNON, JAMES, Dumfries: 1855. He was born at

Plascow, Kirkcudbrightshire, and is still working asan amateur.
He works on the Stradivari model and turns out nice instru-
ments. I have seen only one, which was well made, and
varnished with Whitelaw's amber varnish. The tone is of
average merit. Labc~ handwritten in Gothic letters : -
J. GANNON,
DUMFRIES, 1889
CARR, JOH , Falkirk, contemporary. He was born
at Berwick-on-Twe(:d, May 14, 1839. He is a pupil of
Robert Harvie and James Thompson, He has made about
sixty violins and one violoncello, ali of excellent workmanship
and tone. He is established in Falkirk as a maker, musicseller,
and teacher of the violín. Varnish : Whitelaw's red. Label:-
JO HN GARR,
MAKER,
FALKIRK, 1898
CARROLL, JAMES, & SON, Manchcster,contemporary.
He has worked at various places, but is now settlcd at 103
Great J ackson Street, Hulme, Manchestcr, and is assisted by
his son Jobn, and one workman. He has made about five
hundred instruments of various sizes, and on various models.
I have seen only one violín bearíng Carroll's own label, but I
have seen severa! of his make bearing forged labels of second
and third-rate Italian makers. Who inserted the forged labels
into bis instruments I cannot say. The violín which I saw
was well made, having a brownish-red varnish of fairly good
quality and appearance. The wood was good, and the tone
round, firm, and free. Facsimile label : -
James Carroll, Maker,

Manchester, Anno 18)~..
CARTER, JOHN, London: 1780-90. He worked
mostly for John Betts, and only occasionally on his own
account. He was an cxcellent maker, and helpcd considcrably
to swell thc fame of Betts. I havc seen one violin of his make,
which was on the Amati model, having a beautiful tone.
Varnish : golden brown, thinly laid on. Label : -
J, CARTER,
VIOLIN, TENOR, ANO BASS MAKER,
WYCH STREET, DRURY LANE,
LONDON, 1785
CARTWRIGHT, W. J., Yeadon, Leeds, contemporary.
I have not seen any of his work, and cannot say whether he
is an amateur or a professional maker.
CARY, ALPHONSE, London, contcmporary. I know

nothing of him,
0
CHALLONER, THOMAS, London; cighteenth cen-

tury.
CHANNON, FREDERICK WILLIAM, Plymouth.
He works at Portland House, Portland Place, and was born at
Totnes in 1862. He was apprenticed early in life to the cabinet-
making trade, and made such rapid progress that, at the age of
twenty, he became foreman of one of the largest cabinet shops
in Dcvonport, whcrc he had about thirty mcn and apprentices
under him. At the age of twenty-five he commenced business
on his own account, and he was appointed at thc same time
technical instructor for two classes in carpcntry and carving in
a local district.
About 1887 he formed the acquaintance ofthe wcll-ltnown
connoisseur, the late Mr. Francis Codd, and a warm friendship
sprung up bctwccn them. This resulted in a mutual desire to
fashion a fiddle, so Codd imparted to Channon the !ore of the
art, and Channon initiated Codd into the mysteries of lceen-
edged tools. Good results were bound to follow genuine
enthusiasm of this sort. Channon from a hoy had a strong
predilection for art and craft. In his carly days he exhibited
severa! specimens of fine art cabi net worlc, and he ncver failed
to sccure the highest award.
He has made severa! violins and a fcw violas, but unfor-
tunately his time is mostly taken up with repairs. His outline
is almost identical with that of the Tuscan Strad, and his
arching combines the lines ofStrad and Joseph. The principal
measurements are:-
Lcngth 14¡ inche1.
Width acrost upper bouu S¾ ,,
,, ,, middle bout1 4} ,.
,. ,. lowcr bout1 8¼ ,,
Length of aound-holea • 3-fl" ,,
,. e·, 3¼ ,,
Dq,th of riba at bottom J1 .,
tt ,, top l~ ,,
The thickness of the baclc is -h, diminishing to ¼, and the

belly is an ¼ali over. The ensemble shows breadth of intel-
lcctual view. Thc scroll is beautifully carvcd, and may be
described as" correct and compact." Perhaps th c boss of thc
volutc is not brought out to the same piquant prominencc as in
thc work of Stradivari. The corncn are swcct and sober-
totally different from the average modern copy, which affects
lfmatisi protrusivencss, without possessing lfmatisl compensating
curves. There was mucb solidity of fccling, and withal gracc-
fulness of expression in the quaint and quiet corners of old
Maggini. When Stradivari waked Maggini's corners from
their slumber, he did ali that true art dare do. Many of his
imitators have added two pairs of miniature wings to their pro-
ductions, and their instruments look like flying odonatas.
Herein lies the difference between the artist and the copyist.
The artist takes hold of any crucial point and is able to modify
without "mythifying" it. The mere copyist is the "myth-
maker "-a would-bc reconciler of contradictories.
Mr. Channon's sound-holes are beautiful conceptions and
show the luthier-poet in every line. The margins are full and
the edges strong. The latter are not so rounded as is usual
in the best work of the modern British school, but they are,
nevertheless, very pretty, The wood is of the orthodox kind,
and of excellent quality.
The tone is grand and grave, and has something of the
inimitable tone of Maggini about it. Nothing can be more
divine than thc broad, drcamy, wceping, and withal sweet tones
of thc Brescian matstro, The notes drop off the strings like
tears trickling down the bcard of a weeping god. No virtue
ought to be more commendcd in a modern maker than the
passion for combining the sweetness of Ama.ti with the plain-
tiveness of Maggini. Facsímile !abe! : -
~
-,~/'AR~ IIY'
MEDAt.S 1••3
::::~
tri',
fred: • ·· ·e HAN NON,
PL.YMOUTM .
~ - J.Jl.. •
CHRISTIE, JAMES, Dundee, contemporary. H e
was born December 1, 1857, at Arbroath. He makes on
the models of Stradivari and Guarneri, considerably modified
according to his own conception. The workmanship and
varnishing are excellent, and the tone is Iarge and brilliant.
The plates are lcft very thick, but carefully graduated.
VIOLIN AND BOW MAK.ERS 93
Christie's instruments will improve in quality with age and
use. Labcl : -
1892,
JAMES CHRISTIE,
VIOLIN-MAKER, DUNDEE
The date is handwritten.
CHRISTIE, JOHN, K incardin~n-Forth. He died

about 1859. He made a large number of instruments on thc
Amati and Stradivari lines. I have seen sorne two or three
of them, and the wood, workmanship, and tone wcrc excellent.
The varnish was a spirit one, but was so thinly laid on that it
did not do vcry material harm. If he had used oil varnish oí a
good quality, his violins would compare very favourably with
the best work of the early nineteenth ccntury. No !abe!; but
one of thc violins had the words "J. Christie, maker, 1850"
written across the back.
CLARK, JAMES, London: 1770-95. He was a pupil

of Matthew Furber, and worked in Turmill Street, Clerken-
well. Average work and tone. No !abe! known.
COLE, JAMES, Manchester; nineteenth century. He

was a pupil of William Tarr, and worked afterwards with
George Craske. I have not seen any of bis work, and cannot
pronounce an opinion ; but old Tarr did not entertain a very
high opinion of his abilities. He used a !abe! in his carly
work, but later stamped "S. Cole" inside on the back.
COLE, THOMAS, London: 1670-<)o. He made lutes

and viols chieAy, and it is not certain that he made any
violins. One or two tenors of bis have been seen, the tone oí
which was reported to be large and telling. Various labcls.
COLLIER, SAMUEL, London: 1740-60. He workcd

at " Corelli's Hcad," London Bridge. I havc secn one violin
of his makc, on thc Stainer model, varnished dari: yellow, with
a small, husky tone,
COLLIER, THOMAS, London; about 1775.
COLLINGWOOD, JOSEPH, London: 1750-70. He

workcd at the " Golden Spectacles," London Bridge, and
rnade rnany instruments on the Staincr, and a few on the
Arnati modcl. The worlcmanship is fairly good, and the tone
of average merit. Label : -
J OS EPH COLLINGWOOD,
LONOINI, 1758
COLLINS, WILLIAM HENRY, London, contem-
porary. He works at 21 Poland Strect, W,, and was born
in the parish of Marylebone in 1860, being the second son
of Daniel J oseph and Merina Collins. He was educated at
the Portland British Schools, studied music from 1879 to
1881, and cntered the Polytechnic Institute in 1882 as a
student in painting and drawing. In 1885 he was awarded
the Queen's prize ánd certificate in these subjects by the
Kensington Sciencc and Art Departrnent. He was brought
up to his father's calling-that of surgical instrument maker, ·
and bccame a skilled workman in pcar~ ivory, tortoiseshell,
silver, gold, and other matcrials. In 1890 he was possessed
with the desire to make violins, and he dcvouttd ali the books
that were obtainable on the subject of the construction of the
king of instruments, and he also carefully examined and
rneasured very rnany fine fiddles. In 1897 he was married to
Jessie Emrna, youngest daughtcr of George and Sarah Searles.
In 1900, after an extended study of about ten years on the
subject, he put into practice his theory of violin-making.
Since then he has made seven instruments.
He works on the Strad model, but the measurements are
in a few instances slightly modificd, as will be seen from the
following ligures : -
Length. 14¼ inchea.
Width acro1s upper bouta 6y9Tí "
"
,. middle bouta 4t "
"
,, lower bouta s¡ "
VIOLIN AND BOW MAKERS 9S
Lengtb of C', 3¼ inchea.
,, 1ound-holea 2f¾ ,,
Depth of rib1 at bottom I¼ "
,, ,, top 1t ,,
Distance between aound-hol'" at top 1t "
In one specimen examined by me the Strad outline was
considerably modified in the inner bouts. The arching is
flatter, especiaUy in the front table. The scroU is excellently
carved and in the spirit of the maestro, but the sound-holes are
a sort of compromise between those of Anthony and Joseph
(Del Gesu). The purfling is beautifully inlaid, but is rather
too near the cdge in sorne examples, where it is just a trille
under one-eighth. The edge is ful! and nicely rounded. On
the whole, the workmanship is excellent and in splendid taste,
The varnish is an oil one of Mr. Collins' own composition-
the result of numberless experiments. It has for basis fossil
amber. It is very elastic and transparent, and it does not
soften, chip, or crack. lt is made in one colour, orange red,
which is quite permanent,
The wood is of the orthodox kind and very good in quality.
The tone is powerful and penetrating.
Mr. Collins has repaired a great number of instruments,
hence the slow production of new ones. He has obtained
two certificates of merit and three prize medals. He malees
only violins, and bis price is fifteen guineas. Facsimile label : -
WILLIAM HENRY COLLINS~
LONDON .<Z&.) ~
COLVILLE, DAVID, Cupar: 1845-85. He made

excellcnt instruments on the models of Amati and Stradivari.
I saw and tried one of his Amati copies sorne years ago. The
wood was beautifully figured, and the tone sweet and silvery.
He was a born artist, and had he led a less chequcred career
he would have turned out still better work, He visited New
Zcaland, Canada, and Australia by turns, and never seemed to
scttle down in one place or at one thing long. No label, but
written in pencil across back :-
DAVID GOLVILLI:,
1857
COLVIN, GA VIN, Sunderland, contemporary. He
was born in Lerwick, Shetland, in 1841. About fifteen years
ago he was fortunate enough to have a genuine Stradivari
violin brought to him for repairs, and ali his ínstruments from
that time on are copies of this violin. Previous to that he had
made many instruments on an original model, with a rather
pronounced arching. The workmanship is good, and the
tone is moderately powerful and of a good quality. He uses
both spirit and oil varnishes. Label, handwritten : -
GAVIN GOLVIN,
MAKER,
SUNDERLAND, A.O, 18-
CONWAY, WILLIAM, London: 1745- 50.
COOPER, HUGH WILLIAM, Glasgow, contemporary.
He was born Aug. 30, 1848, and is the son of William and
Margaret Cooper. He manifcsted a great intercst in the
manufacture of musical instruments at an early age. At
sixteen he made a small harmonium, and sorne years later he
built a two manual pipe organ with pedals.
His first violin was made seven years ago, and for the last
five years he has been engaged professionally as a violin-maker.
He has made, up to the present, fifty-four violins, on thc
models of the "Sainton," Strad, and Joseph (Del Gesu), from
drawings published by Mr. William C. Honeyman.
In sorne instruments the measurements of the "Sainton"
copies are slightly modified, as will be seen from thc following
figures:-
Length of body . 14} inches.
Width acroos upP"r bouta 6¾½ ,,
., middle boute 4¼½ ..
"
Width acrou Jower bouu , 81inchea
Length of C' 1 3t .,
Length of 1ound-holc1 • 3-ls "
Di■tance between aound- holes at top 1f¾ ,,
Depth of rib, at bottom • t¼ tt
., top tl-, "
"
Mr. Coopcr uses excellent wood, which is well-seasoned. He
cuts bis back on the various methods, according to the nature
of the wood. H e has a decidcd preferente for close-grained
pine. In sorne instances the "reed" is of uniform distribution,
and about one thirty-second in width.
The worlcmanship is cxcdlent. The scroll is thrown
with a firm, florid hand. In matter of detail, it is strictly
conventional, e:xcept that the first turn starts from a point
opposite the ape:x of the volute and )caves the boss very
suddcnly. In effect, the scroll is novel and picturesque.
The button is feminine-perhaps a trille too much so,
because cverythin g else about the Cooper fiddlc is of a
masculinc conception. lt forms exactly three-fourths of a
circle, and is rather under medium sizc. The sound-holes are
original in outline and position. Near the upper turns they
are perceptibly drawn towards the inner bouts. This gives
thc portion of thc table between them a sense of solidity and
boldncss. They are set nearer the edge than was customary
with Strad. Thcir position is a sort of a compromise between
thc Strad and thc Bcrgonzi sound-holes.
Thc purRing is cvidencc of Mr. Cooper's thorough mastery
of thc tools of the craft. And here, in the fine finish of mattcrs
of detail, one is reminded tbat the maker is a trained jeweller
and watchmaker, as well as a violin-maker.
Thc margin is one-eighth wide, and the edges nicely
rounded. The latter are not so substantial as is usually the
case in modern British work. A strong, rounded edgc is the
sign-manual of the modern British school, and when one
occasionally comes across another method, the result is ali the
more noticeable. T hc varnish is Whitelaw's light, and dark
G
98 BRITISH VIOLIN-MA.KERS
brown, well laid on, and beautifully polished. Thc tone is
firm, bright, and penetrating. Facsímile label : -
HUGH W . COOPER,
ffl ■ lltt,
75, DUMAS STREET,
GLASGOW,
CORSBY, GEORGE, London; eighteenth century.

Principally · a dealer, but made a few instruments on the
Amati model of average merit.
CORSBY, - - , Northampton : 1780. Double-basses.
CRAIG, JOHN, Edinburgh, contemporary. He was

born Nov. 17, 1860, at Myreside, Kirkinch, Forfarshire,
He was apprenticed at an early age to the wheelwright trade.
In 1890 he carne to Edinburgh, where he works as a joiner.
Although only an amateur violin-maker, his work is excellent
W ood, workmanship, and tone give him a place in the front
rank of modern Scottish makers. H is model is original,
approximating to that of Stradivari. The scroll is beautifully
carved, and the plates are thick in wood. Varnish : Wh ite-
law's "Amati " colour, laid on in thin coats and perfectly
polishcd. lt is a pity Craig docs not turn out more instru-
ments, as they are certainly of sufficient merit to justify his
doing so. Facsímile label : -
JOHN CRAIG,
MAKER,
EDINBURGH.
A.IJ...... ./f A.fJ
CRAMOND, CHARLES, Aberdeen: 1800-33. A
prolific maker, much of whose work is of considerable merit.
H e worked on an original model, with plates rather highly
arched. The wood is usually of good quality, though sorne-
times poor and plain in figure. The varnish is a spirit one,
hard and dry, but thinly laid on. Colour : dark yellow to dark
brown. The tone is not over strong, but it is clear, sweet, and
penetrating. H e left man y ofhis instruments too thin in wood,
and these have not improved with age and use. Labcl : -
CHAS. CRAMOND,
MAKER,
ABEROEEN, 1815
CRASKE, GEORGE, Bath, Birmingham, Stockport,
and elsewbere; about 1791-1889. Craske, although his
father was a forcigner, was of Englisb extraction, so he once
told my grandfatber, who was a fiddle enthusiast. He said
tbat an ancestor of bis named Cross had scttled in Russia, and
afterwards in Germany, and the present form of the name was
due to tbesc migrations. Mr. Gcorge Crompton, who was
intimately acquainted with this wonderful man, does not say
anytbing about the matter in his sketch of him in tbe June
number of Th, Strad, 1893. However, on the strength of
this statement, I venture to include him here as a British
maker of British blood. He was not an Anglo-German or
French, but a thorough Britisher in character and sentiment.
And so is his work. Out of the three thousand odd instru•
mcnts that he is said to have made, I have seen only about a
doun-that is to say, only about a do1:en that I ltnew to be
his work. But very many of bis instruments havc a forged
label in them, and as he made very fair imitations of Joseph
Guarnerius and other Italians, his work is not always recog-
nised. I cannot say that there is anytbing about Craske's
work to excite ecstatic utterance. However clever the work-
manship may be-and in much of his work we may concede
that it is clever-the tone will never givc him a seat amongst
the mighty : it is too hard and metallic. I have carefully
tried the specimcns which from time to time have been
brought to my notice, and I must honestly say that I have
always been disappointed with the tone. lt is a large, round,
and piercing tone, but it lacks unction. lt is stronger than
the tone of any of our classical makers, but will not for a
moment bear comparison as regards mellowness and sweetness.
Craske's instruments are splendidly adapted for orchestral
purposes, but as solo instrumcnts they are nevcr likely to be
in great demand. In sorne catalogues of old instruments
issued recently I find that there are specimens of bis work
offered at [,30. This sum is more than double the intrinsic
value of anything I have seen by him. The workmanship,
however, is honest and solid, and we must give Craske his
due that he never attempted to sell his clever imitations as
originals.
Craske was a pupil of "old Forster," and he made many
instruments for Clementi and for Dodd, the bow-maker.
Besides copying Guarnerius, he made severa! copies of Amati
and Stradivari, from templets and measurements taken from a
Strad and an Amati in the possession of Sir Patrick Blake, of
Langlam Hall, Suffolk. Whilst in Birmingham, he is reported
to have been once engaged by Paganini to do sorne repairs to
his vfolin, which had met with an accident.
Craske lived in Salford, amongst other places, where he
workcd for about twenty years, leading the lifc of a recluse;
allowing no one to enter bis workshop except Mr . .George
Crompton, his friend and successor in business. He lived a
retircd life for sorne years before he died, at Bath, in affiuent
circumstances. He died in November 1889, at the advanced
age of ninety-eight. He was a man of striking appearance
and personaHty. " His head was exactly the same shape and
measure as Shakespeare's, and bis memory one of the most
remarkable that ever was known" ; such are thc concluding
words of Mr. Crompton's biographical sketch.
CROSS,NATHANIEL,London: 1700-51. Somcsup-

pose that he was a pupil of Stainer, but this is a mere
conjecture. His instruments, although made on the Stainer
model, are a sufficient proof that he had never received a
day's training in the great workshop at Absam. From 1700

to 1720, when he entered into partnership with Barak Norman,
they are rather plain and tasteless, large and highly arched,
with short, blunt corners-in fact, his work is in dangerous
proximity to the Stainer caricature. From 1720 on the work
improves and approaches more nearly to the lines of the
German model. This is contrary to the rule. If he had
been a pupil of Stainer, we should naturally have expected to
see the more correct copies dating from the early years of his
career, and work showing departures or originality dating later.
He never got rid of the exaggerated fluting round the edge,
and the tone is consequently rather small and feeble. His
fine cutting of the scroll shows what he was capable of if
he had had a better ideal. The varnish is soft, and of a light
brown to light yellow hue. He marked his instruments on
the baclr.: inside with his initials, with a .¡. above. After he
entered into partnership with Norman the label runs : -
BARAK NORMAN AND NATHANIEL GROSS,

AT THE BASS VIOL IN ST. PAUL'S GHURGH YARD,
LONDON, FEGIT 172-
C ROWTHER, JOHN, London : 1750-1810. He
worked in Haughton Street, Ciare Market, and occasionally
for John Kennedy. He followed the Stainer and Amati
models. The workmanship is of average merit, but the tone
is fairly good. Varnisb: dark amber, which is now turned
almost black. Label : -
JO HN GROWTHER,
FEGIT, LONDON, 1786
CU M MING, ANDREW, Portpatrick, contemporary.
Fifth-ratc work.
CUTHBERT, - - , London: seventeenth century. A

makcr of viols and violins. I do not know his work.
102 BRITI6H VIOLIN-MAKERS
D
DALGARNO, T HOMAS, Aberdeen: 1860-70. Work-
manship of good average merit, and the tone fairly good. The
instruments are left rather thin in wood, and the tone will not
therefore continue to improve. Label, handwritten : -
TH OMAS DALCARNO,
ABERDEEN, 1865
D AVIDSON, HAY, Huntly: 1860-75. Rather poor
work, with a loud, harsh tone.
DAVI DSON, PETER, Forres: 1834-86. He was born

at Speysidc, and he lives now at Londsville, White County,
Georgia, U.S.A. He was only an amateur maker, but made
very fair instruments. He published "The Violín : Its Con-
struction Theoretically and Practically Treatcd," a very
interesting but wholly unreliable work. Davidson was an
excise officer, and a bookworm.
DA VIDSON, WILLI AM, Edinburgh, contemporary.

He was born at Muckhart, Perthshire, in 1827. He follows
the model of Stradivari, and his work is of good average merit.
He received a second-class diploma at the G lasgow East End
Exhibition, 1890, for a case of violins.
Label, bandwritten : -
WILLIAM DAVIDSON,
EDINBURGH, 1896
D AVIS, RICHARD, London: 1775-1836. He was
for sorne time in the employ of Norris & Barnes, and in 1816,
at the death of Norris, he succeeded to the business. He did
not make many instruments himself, but employed others to
work for him. He carried on a very considerable trade in old
instruments. The few violins he made are not on any par-
ticular modcl-they perhaps resemble thc Stradivari model
more than anything else-are indifferently made, and have a

piercing, Stainer-like tone. Varnish : spirit, of a darle brown
colour. He retired towards thc end of his life, and left the
business to William Davis. He died in Bussage in 1836, and
was buried in the Bisley churchyard.
DAVIS, WILLIAM, London: about 1790-1850. Cousin

and successor to the preceding Richard Davis. D id not malee
many instruments. I have not seen any of his worlc. He
cmployed Charles Maucotel and others to work for him. He
sold the business in 1846 to Edward W ithers, and retired to
Buss:ige.
DAY, JOHN, London : eighteenth century. He copied

the ltalian instruments closely, and succeeded in producing a
good tone.
DEARLOVE, MARK, Lceds: 1810-20. He made

one or two nice copies of a Stradivari violin, but thc tone was
indiffercnt.
DEARLOVE, MARK WILLIAM, & CHARLES

FRYER, Leeds: 1828- 65. Dcarlove cmployed others to
work for him, such as Gough, Absam, Fryer, &c. The last
named he cventually toolc into partnership with him, and the
instrumcnts which bear their joint-label are fairly wcll madc,
on various modcls, but mostly on the Strad, with a round,
stinging tone. One instrument of theirs which I tried sorne
years ago had a clear and penetrating tone, with much of thc
cbaracteristics of the Staincr tone about it, Labcl : -
DEARLOVE AND FRYER,

MUSICAL INSTRUMENT MANUFAGTURERS,
BOAR LANE, LEEOS, 1836
DELANY, JOHN, Dublin: 1795- 1810. Followed the
Amati modcl, and was very successful in producing a good
tone, I saw one of bis violins many years ago in W aterford,
which was wcll made, rather small, and had a clear and sweet
tone. The back was cut on thc slab of plain wood, and
unpurfled. The sound-holes were rather short and wide, and
the corners a little blunt. The varnish, which was originally
dark yellow no doubt, had turned nearly black. He used two
labels : -
(1) MADE BY JOHN DELANY,

NO. 17, BRITAIN STREET, DUBLIN, 1808
(:il MADE BY JOHN DELANY,

IN ORDER TO PERPETUATE HIS MEMORY IN FUTURE AGES,
DUBLI N, 1808.
LIBERTY TO ALL THE WORLD, BUGK ANO WHITE
DENNIS, JESSE, London: 1795~1860. Pupil of John

Crowther, and for sorne time workman to Mattliew Furber.
I do not know bis work, and have never seen it described.
DEVEREUX, JOHN, Melbourne. Before he emigrated

he worked for sorne time with B. Simon Fendt.
DEVONEY, FRANK, Blackpool and Canada, contem-

porary. He is an ingenious man, and was originally a tailor.
He makes on an original model. The only instrument of his
make whicb I have seen was not finely made, but it was
strongly built, and had a rough sort of character. It was
covered with a reddish amber oil varnish of his own makc.
The tone was large, but rather shrill. He was born about
forty-eight years ago, and is a native of Perth, Scotland.
He has lost one limb, but he wcars another of bis own
manufacture.
DEWARS, WILLIAM, Brechin, contemporary. He

was born at Brechin, September 10, 1878. He is a young
maker of great promise, and already makes good instruments
on the Gaarneri and Stradivari modcls. He uses good wood,
of a pretty figure, and varnishes with Hardie's or Whitelaw's
varnish. T he tone is large and responsive. Facsímile
label : -
\"YM, ÜE\'YAl{S,
MAl(E.~.
Brechin Jan ll., 1902.-
DICKENSON, EDWARD, London: 1750-90. He

worked at the "Harp and Crown" in the Strand. Inferior
work on the Stainer model.
DICKESON, JOHN, London and Cambridge: 1750-80.

An instrument of his make on the Amati modcl was owned
by a Mr. Jenner, in Bath, a few years ago. lt had very
pretty wood, light brown varnish, and a swcet, silvery tone.
It was rather weak on the fourth string, but clear and re-
sponsive on the two upper strings. Label :-
JOHN DICKESO N
FEC IT IN CAMBRIDGE, 1778
DICKIE, MATTHEW, Rotherharn, contemporary.
He has madc many instruments, sorne of which are of good
workmanship and tone. His varnish is rather soft and inclined
to " cake" and crack.
DICKSON, JOHN, London: 1725- 60 (1). Probably the

same as the John Dickeson noticed above.
DICKSO N, GEORGE, Edinburgh, contemporary. A

doctor, :md a clever amateur, who is also the discoverer of
" Dickson's varnish,"
DITTON, - - , London: about 1700. Mention is
made of a violín by him in the list of Tom Britton's collection
of musical instruments.
DODD, EDWARD, Sheffield and London: 1705-18rn.

He died in London at the extreme old age of rn5. He lived
in Salisbury Court, Flect Street, and was buried in St. Bride's
Churchyard. He made much improvement upon the form of
bow in use in this country before his time.
DODD, JOHN, London: r752-1839. He was born in

Stirling, died in Richmond workhouse, and was buricd at
Kew. He is styled "The English Tourte," and much of his
work justifies the title. Had he lived a more virtuous life,
he probably would have turned out work of uniform excellence.
Many of his bows were evidently made in haste, and sold for
a fcw shillings, to meet the exigencies of an empty cupboard
and a parching thirst. His intemperate habit was the cause
of many troubles to himself, and to others who interested
themselves on his behalf, and he carne nigh tbe last stage of
starvation many a time. Had it not been for the kindly
offices of Dr. Sellé and Mr. Richard Platt, of Richmond, he
would have ended bis days on the roadside ; as it was, he
ended them in the workhouse. ·
He was the pupil of his father, the Edward Dodd previously
noticed, and he improved so much u pon the work of his father,
and upon everything else in the whole of tbc violín world
{excepting the work of bis greater contemporary, Fran~ois
Tourte), that his bows have maintained an undiminished
celebrity down to our own days. His method of cutting bis
bows was primitive, and it has not been adopted by any great
maker since bis time. He cut the bow in the curved form
out of the block, and dispensed with the ordinary plan of
cutting it straight and bending by heat. I have seen a large
number of Dodd bows, and I am convinced from a close
examination of them that they have ali been cut in this
manner. One of the finest specimens which I have seen is now
in the possession of the Rev. J. Rhys J ones, Priest-in-charge,
VIOLI ANO BOW MAKERS 107
Maesteg, Glamorganshire. lt is a fine stick, with a graceful

cambrt and good balance. lts length is cx.actly 28¼ in., and
the length of the hair 25¼ in. lt is of medium weight, and
very dark in colour. The face of the heel is decorated with
mother-of-pearl, and the ferrules are of thick silver. Dodd's
name was stamped on all sorts of wretched nondescripts in the
rniddle of last century, and bis fame sufíered considerably in
consequence. But bis work has suffered more than his farne,
for there are hundrcds of mongrel "Dodds" about, sorne with
genuine heels, others with genuine heads, and not a few
patched up in divers manners. The owner of a genuine
Dodd, of rcgulation length, or anything near it, and rnade in
bis best style, has a treasure that he can well be proud of.
DODD, THOMAS, London: 1786-1823. He was thc

son of Edward Dodd of Sheffield, previously noticed. He did
not malee many instruments himsclf, but he employed very
clever workmen to do so for him. He was first of all a bow-
rnaker in Blue Bell Alley, Mint Strect, Southwark, and in
1798 he became a violin-maker and dealcr, opening a shop in
New Street, Covent Garden, and moving in 1809 to St. Mar-
tin's Lane, Charing Cross. Later on he added another sail to
his craft, and became a harp and pianoforte maker. The
instrumcnts which bear bis !abe! are mostly thc work of John
Lott and Bernard Fcndt, two excellent workmen. Dodd's
genius, bowcvcr, brooded over them whilst fasbioning these
magnificent instruments, like a mighty spirit brooding over
tbe formless void. He was an enthusiastic connoisscur, with
a beart and mind stceped in ltalian !ore, and he brougbt bis
knowlcdge to bear upon the work at every turn. lt is im-
possible to say bow much of the work beyond the varnisbing
was bis own-probably no more than tbe determining of tbe
tbicknesses, With two such clever men to carry out bis
instructions, tbere was no occasion for bim to handle the
gouge and chiscl. Wben the instruments were ready "in the
wbite," Dodd overhauled them carefully and then varnished
them with bis own hands. His varnish is excellent-quite
equal to that of Benjamín Banks-and he applied it most
skilfully. It ranges in colour from golden amber to deep
golden red, and it is rich _and transparent. He regarded it as
a secret, and was very careful to !et no one see him mix or
apply it. The ingredients, however, were only the well-
known principal gums of the day, mixed in better proportions
and more correctly than was customary then. Indeed, most
of the varnishes of the early part of last century were hard,
ínelastic spirit varnishes, and Dodd's oil mixture showed to
great advantage by contrast with tl1em. Instruments bearing
Dodd's labcl are of various models: Stradivari, Guameri,
Amati, Stainer, &c., and are of uniform excellence as regards
workmanship and tone. I tried one of them quite recently,
which was on the grand Strad pattern, with a beautiful scroll,
but with sound-holes which were a sort of compromise between
those of Strad and Joseph. The back was cut on the slab,
and the maple had a broad "llame," which seemed to curl and
bum up the varnísh with every movement, as if fanned by a
breeze inside the ínstrument. The tone was not so large as
one would naturally expect from the dimensions of the violin,
but it was firm, free, and mellow.
Dodd has been severely criticised by sorne wríters respecting
his rather exuberant confidence in his varnish. But what
maker is there that has not overweening confidence in bis
own varnish I I have not yet come across one maker, be he
a first• or fifth-rate, who does not think his varnish the best.
Dodd had the courage of his convictions, and that is about
ali that he is guilty of. Hart says that Dodd gained such
reputation in his lifetime that he was able to command from
[,40 to [,so for a violoncello. This is remarkable, and the
more so when we consider that they do not fetch much more
in our own times. Dodd 'cellos have been knocked down at
public auction for [,32, Í,34 10s., and [,35 as recently as
I 897. His violins, when in fine condition, realise pro•
portionately high prices. Labels : -
(x) T. DODD,
VIOLIN, VIO LONGELLO, AND BOW MAKER,
NEW STREEt COVENT CARDE~
(2) DODD, MAKER,
92, ST. MARTIN'S LANE
Perfect copies of Stradivari, Amati, Stainer, &c.
Nok,-The only possessor of the recipe for preparing the
original Crcmona oil varnish.
DODD, EDWARD & THOMAS, London: 1830-43.

Pupils of Bernhard Fendt. Thomas died early, and Edward
was accidentally drowned, April 29, 1843. Had Thomas
Dodd livcd he would in ali probability have become an
excellent maker.
DORANT, WILLIAM, London: 1800-20. He worked

at 63 Winfield Street, Brick Lane, Spitalfields. Average
work and tone.
DUFF, WILLIAM, Dunkeld: 1810-82. A game-

keeper on the Athole estate, and an amateur maker. In-
different work, poor varnish, but fair tone. Label : -
MAOE BY WM. DUFF,
PULNEY COTTAGE,
OUNKELO, 1866
DUKE, RICHARD, London: 1750-80. Unfortunately
there are no biographical particulars of this great man, and
no evidence as to bis character and personality other than
that furnished by his remains. He worked on the Stainer
and Amati models. Miss Stainer, in her "Dictionary of
Violin-Makers,'' says that he also made copies of Stradivari,
but I have never seen any of these copies, nor heard of
undoubtedly genuine ones. Counterfeit Strad modelled
Dukes thcre are, I have not the least doubt, as there are
counterfeit "nobody" Dukes by the hundred. It has been
said that "imitation is thc sincerest form of flattery," if so,
Duke is the most sincerely llattercd maker of the British
classical school. His fame was greater in the eighteenth century
than was that of even Banks. The reason for this is not far
to seek ; he made the best copies of Stainer that were ever
produced in this country, and as Staincr was the rulirig ido!,
the instrumcnts which most truly approached his lines would
naturally have the pre-eminencc. In this way Duke got his
laurels. And once a name is made it requires but the exer-
cise of a little discretion to keep it up. The Duke cult was
in its heyday when Banks and Forster were turning out
their best Amati copies. Richard's bias was towards the
German model, and he did not copy the ltalian model as
often nor as felicitously as he might have done. The sound-
holes are faithful to the original in the Stainer copies, and
they are strongly reminiscent of the same prototype in the
Amati copies. Not that he put inferior work into the lattcr,
as Banks was doing wheli copying Stainer ; on the other
hand, his workmanship is always fine, whether copying Amati
or Stainer; but he drank more decply of the German spirit
than he did of the ltalian. In the opinion of connoisseurs of
to-day the Amati copies may be the more valuable, but there
is not the slightest doubt that Duke and his patrons did not
share the same view. His patrons were mostly rich people'and
county families. I am familiar with seventeen Duke violins and
tenors which are now in the possession of English and W elsh
county families, and have at different times cxamined and
tried severa! of them. The pedigree of the majority of these
can be traced back to the time of purchase. One of the most
noted of them is the " Cresselly Duke," a beautiful violín on
the Stainer model. It was the property of the late S. P.
Allen, Esq., of Cresselly, who carne into the possession of it
through his wife, the daughter of the fourth Earl of Ports-
mouth. The fiddle had bcen in the Portsmouth family since
the days of the second Earl, who purchased it himself of Duke
in the year 1768. Mr. Fleming expresses the belief that
genuine Duke instruments are extrcmely rare. I am strongly
of the opinion that there are more genuine "Dukes" in
existencc than there are "Banks" and "Forsters" put to-
gether, but they are not to be found in dealers' shops. They
are fossilizing in dust heaps in the garrets of county mansions.
There were hundreds of fine amateur players amongst the
\'ERV Ft:-;E VIOLA BY RlCMARD DL'KE
(F,cit 17f8)
VIOLI AND BOW MAKERS I 11
gentlefolk of those days, when the facilities for attending

music-halls, opera-houses, &c., were so few and far between.
The finest specimens of Duke are nota whit inferior to those
of Banks, except as regards modcl and varnish, and in one
particular, at least, thcy are even superior, viz. in the carving
of the scroll, but this remark applies only to the very finest oí
them. Duke was a busy man, and he did not always have
the time at his command to do bis best. Banks and Forster
worked more at leisure, and the former of the two was help·
ing to create the taste for better things, which always has a
modifying effect upon the relation between supply and demand.
I do not understand how it has come to be said that Dulce's
Stainer copies are not quite so good as his Amati copies.
I submit that they are as good p,r u, and better as copitr.
Duke was too thoroughly imbued with Stainer ideas to admit
of his malcing instruments in the true Italian spirit. There
is no perceptible differcncc in thc tone, be the work I talian
or German in character, It is a round, ringing, ravishing
tone in either case. It has not the rcmotest affinity with
the tone of Stainer, nor is it lilce the tone of Banks, which
is more subdued, mellow, and sweet. The tone oí Duke as
compared with that of Banlcs is brighter and has more vibra to
in it. Tone nuances are very hard to analyse in words, but
easily differentiated by the cultivated car.
Duke's varnish is elastic, soft, and transparent, but it
laclcs unction. There is an air of aristocratic refinement
about it which is quite unmistalcable, but we long for one
sweet blush of the emotions. I f I were aslccd to give an
imaginary pen picture of Duke, I should describe him as a
well-built man, broad-browed, keen-eyed, dignified and re-
served in bearing, with a very correct but cold taste in
mattcrs artistic. That is the sort oí_man I see in my mind's
eye hard at work beside thc bench shaping thosc chaste, sober,
broad-chestcd tenors. Fine specimens of Dulce rarely come
into the markct ; when they do, they fetch a fair price. · One
of the fincst violins which I have seen of his malee was sold
by thc Mcssrs. Hart in thc year 1898 for ¿35. It had choice
1 12 BRITISH VIOLIN-MAKERS
wood, light mellow-brown varnish, and a beautiful tone.
Thc instrumcnt was in perfcct preservation, and, as prices go,
worth double the money. Photographs of this violin are
reproduced herc. As lar as is known Duke had only three
pupils, bis son Richard, John Betts, and Edward Betts. His
violoncellos werc never in such demand as bis violins and
tenors, and they are seldom to be secn nowadays. He oftcn
branded his instruments under thc button "Duke, London."
Labels : -
(r) RICHARD DUKE,
LONDINI, FECIT 1760
(2l RICHARD DUKE,
MAKER,
HOLBORN, LONDON,
ANNO 1768
Both of these were usually written in ink. H is printed
label ran : -
(3) . RICHARD DUKE,
MAKER,
NEAR OPPOSITE GREAT TURN·STILE,
HOLBORN, LONDON
DUKE, RICHARD, London: about 1770-85. Son and
pupil of the preceding. The few instruments of bis make
which remain show that he was inferior to bis futher as a
workman. He branded his violins similarly to bis father, and
usually left them unlabellcd.
DUNCAN,---, Aberdeen: about 1762.
DUNCAN, GEORGE, Glasgow: 1855-92. He was
born Jan. 17, 1855, and emigrated to Amcrica in 1892. His
instruments from about 1883 on are magnificent. They
are on the model of Stradivari and Guarneri, varnished with a
beautiful oil varnish usually of a golden orange red tint. The
wood in sorne specimens is of a bread figure in the baclc, and
of a medium grain in the front table. The tone is large, rich,
and free. He was aNarded the gold medal for an cxhibit of
VIOLIN AND BOW MAKERS 1 13
two violins at the London Exhibition of Inventions and Music
in 1885. These two violins were of a beautiful appearance,
though I did not have the pleasure to try their tone. Duncan
is a born artist, and his work will improve with age and
become valuable. It is to be hoped that his talents will be
appreciated on the other side of the Atlantic to the extent
they deserve. Label : -
NO. 37
MADE BY
GEORGE DUNGAN,
GLASGOW, 1884
DYKES, GEORGE LANGDON, Leeds, contem-
porary. He is the son of Mr. Harry Dykes, the well-known
violin cxpert and dealcr. He was born on October J r,
1884, and is probably, as will be seen from the date, the
youngest fiddle-maker in Britain. He has rcceived a good
educatiQn, and can speak French and German fluently. He
commenced violin-making when he was twelve and a half
years of agc, and he has finished up to date seventeen violins.
Ali the work is personal ; purfling, sound-holes, scroll and ali.
He is che pupil of his father and of Mons. Paul Bailly. His
work is full of promise, and more will be heard of him, no
doubt, in years to come. Facsimile label : -
MAOE BY
GEORGE L. DYKESr
LEEDS, PUPlL or ~
, l' r
~ '!!•
P.A.VL ::e.a..:XLX..
L. c..,..,.,..,..,_•.,.,.,,""" 1~'
No. / ,,- U. · . ,0'1. \ n
E
EGLINGTON, - - : about 1800.
EV ANS, RICHARD, Anglesey and London : 1730-50.
I have seen two violins supposed to be by him, in North Walcs .
.ti
I have never seen the instrument by him which is reputed to
have the following !abe! in it : -
MAID IN THE PARIS OF ANIRHENGEL

BY RICHARD EVANS, INSTRUMENT
MAKER, IN THE YEAR 1742
For "Anirhcngel" Hart reads "Lanirhengel." I do not
think either of the two readings is correct. Probably the true
reading would be "Llanfihangel." Richard Evans was no
doubt illiterate, but we will give him credit for a smattering
of bis native tongue. English people will mangle W elsh place
names, and create difficulties where none exist. "Aber-
gwynfi," the romantic little W elsh village where the aut.hor
lives, is plain and musical enough, but I have often been
puzzled to know where I really live when I receive letters
from my monoglot Saxon friends with thc name spelt in one of
the following barbarous ways :-" Abergoynfi," "Abergynfi,"
"Abergwnfi," "Abergwynff," &c.
EWAN, DA VID, Cowdenbeath, contemporary. He was

born March 4, 1838, at Stoneyhill, near Mussclburgh. His
work is of good average merit. Stradivari model, and oil
varnish of his own composition. The plates are left thick in
wood, and the tone is firm and strong without being very
refined. Hard playing will no doubt rub off much of the
harshness. Facsímile label : -
F
FENWICK, - -, Leith. A tenor by this maker was sold
at a sale beld by Messrs. Patrick & Simpson on May 22, 1901,
for ;64, 10s. It was said to bave a nice tone.
FERGUSON, DONALD, Huntly, A berdeensbire.
FERGUSSON, WILLIAM, Edinburgh : 1790-1820.

Very good work and tone. I bave not seen any of it, and do
not know whether he used a label.
FERRIER, WILLIAM, D undee, contemporary. Very

good work, but plates in sorne of bis instruments are left too
t bin, and tbe tone must consequently deteriorate with age.
Label : -
W. FERR IER,
DUNDEE,
ND.- 19-
FIND LAY, J AMES, Padanaram: 18 15-96. He was
born at a farm near Brecbin, in Forfarsbire. He made about
five bundred instruments, mostly violins on tbe Guarneri
model. I bave seen only tbree of bis violins, which were on
tbe Stradivari model, one being well-made, of good wood, with
a large tone. He made severa! copies of a very old violin
in tbe possession of Mr. J. Micbie, Brechin, and these are
said to be bis bcst, botb in workmansbip and tone. T he said
old fiddlc is on an original model, something betwecn the
modcls of Strad and Joscpb, and has a sweet and mellow tone.
It is ncarly black through oxidation, and is vcry correcdy
cbristened "Black M eg," as it is a fiddle with a character, and
dcscrves a name. l t was down berc for inspection sorne two
years ago, and both its nationality and parentage are still a
puzzle to me. Tbere is a characteristic quaintness about the
work of Findlay, as may be inferred from the fact tbat he
copied an unconventional instrumen t of tbe type of the old
fiddle just named. His wood is mostly plain, and t hc varnisb
usually a spirit one. He had two or three lahels ; the one in
the instruments examined by me ran : -
JAMES FINDLAY,
PADANARAM,
1870
This was handwritten ; others are printed.
FINGLAND, S., - - , contemporary. I know nothing

ofhim.
FIRTH, G ., Leeds: 1830-40. I have not seen his

work.
FLEMING, J.,--, contemporary.

FORD, JACOB, London: 1780-95. He worked on a
model which very closely resembles that of Stainer. He evi-
dently had Stainer in bis mind, but he had also seen and
handled so many Amati copies, or perhaps a few original
"Amatis," that he had become unsettled in bis ideals. The
workmanship is excellent, and the wood very carefully chosen.
The varnish is an oíl one, in ligh t ar deep amber colour, His
margins are wider than is usual in Stainer copies, and the edges
are nicely rounded and solid looking. The tone is not a large
one, but is almost equal, in one or two instances which have
come under my observation, to that of Duke. Altogether
Ford was a superior maker, and the few examples of bis art
which remain to-day should be more highly valued than they
are. Label : -
JACO B FO RO,
MAKER,
LONDON, 1792
FORSTER, JOHN, Brampton: 1688-1781. The first
of this celebrated family to make fiddles. He made only an
occasional instrument, on thc Staincr model, and thc work
is rough and unfinishcd,
VIOLIN A 1 D BOW MAKERS 117
FORSTER, SIMON A DREW, London: 1801-1870.
He was the son of William Forster (1764-1824), born May 13,
1801, died Feb, 2, 1870. He workcd at Frith Strect, and
also at Macclesfield Street, Soho. He is more farnous as the
collaborator with William Sandys of "The History of thc
Violín" (London, 1864), than as a violin-maker. Ali his
work that I have seen reRects little or no credit upon him.
He was a pupil of his father, of bis brother, and of Samuel
Gilkes. He worked sometimes on the Stradivari model, sorne-
times on the Staincr, but always arched his instruments in
a grotcsque manner. I arn not sure that he did not sometimes
bake his wood, as thc tone of sorne of thern is of a wretched
character. Label : -
S. A. FORSTER,
VIOLIN, TENOR, ANO VIOLONCELLO MAKER,
NO.- LONDON
FORSTER, WILLIAM, Brarnpton: 1714-1801 . He
was the son of John Forster, and, like his father, made and
repaired an occasional fiddle. The workmanship is a little
better than his father's, but the tone is about the same. His
instruments are unpurRed, and spirit varnished.
FORSTER, WILLIAM, Brampton and London: 1739-

1808. He is known as "Old Forster," and is the greatest
maker of thc family. He was born May 1739, and died
Dec. 14, 1808. "Old Forstcr" may be described as the
British typc of which Vuillaumc was the French antitype,
although they wcre not separated by a grcat span of years.
He was thc exact counterpart of the great Frenchman-
shrewd, versatilc, and worldly-wise. When French players
wantcd a Stradivari or a Guarncri fiddle, Vuillaumc met their
demands and sold them those ncw-old instruments which set
thc Scine on tire. Similarly, when the British public wantcd
Stainer copies, or Amati copies, or any other copies, Forster
was equal to the occasion, and supplied them with their require-
ments. The only difference between the two men, apparently,
was that the Britisher posscssed in addition to the artistic scnsc
118 BRlTISH VIOUN-MAKERS
another and sometimes inconvenient sense callcd "conscience."
In ali other respects Forster and Vuillaume were similar. Had
Forster livcd amongst wiser people, that would dcmand Stradi-
vari copies, bis instruments would rank beside those of Vuil-
laume. Forster was a " J ack of ali trades" and master of
more than one. By turns a spinning-wheel maker, gun-stock
maker, cattle driver, publisher, fiddler-he could managc to
eke out an existence at any one of them. As a luthier he
rose from being a humble Cumberland repairer to thc rank
of instrument maker to the Court. He ought to have been
thc greatest maker of ali England, and would have been but
for bis many-sidedness and the indiscrimination of bis country-
men. His artistic work at Brampton was confined to the
repairing of old instruments, and the making of an occasional
fiddle on the Stainer model. In 1759 he carne to London,
and aftcr meeting with sorne reverses, entered thc shop of one
Beck, of Tower Hill, where he remained for about two ycars
making fiddles. In 1762 he set up at Duke's Court, whencc
he removed to St. Martin's Lane. From this place he again
removed to 348 Strand, wherc he remained for the rest of bis
days. He followed three models: (a) Stainer, (b) A. & H.
Ama.ti, (e) N. Amati.
He appears to have followed Stainer exclusivcly from 1762
to 1772, but at the latter date he put aside that model never to
take it up again. From 1 760 to 1790 the influcncc of Banks
was felt far and near, and British players were awakening to
the superior merits of Amati. Forster was still a young man
of only thirty-three, and had the better and longer half of bis
life befare him. When he turned bis back on the German he
was in possession of bis full strength and able to swim fast
with the flowing tide. lt was not so with Duke, who had
less than a third of bis life to live when the star of Amati
appeared on the borizon. Now was Forster's chance.
"There is a tide in the affain of men,
Which, tak.en at the flood, leada on to fortune."
Forster might have reached the broad sea of artistic fame
had he not paused by the way. He dallied with the form of
FIN E-TO:S-ED 'CELLO BY "OLD" FORSTER
(Ftcil 1772)
VIOLIN AND BOW MAKERS u9
A. & H. Amati, and gave up much time to musical enter-
prise, which, although profitable both to him and to the public,
kept him from looking steadily on. "Beware of the man of one
book" is an adage which, slightly modified, is applicable in man y
ways. lf Forster had been a man of one ideal, posteri ty would
have rewarded him by conferring upon him the title which has
been given to Banks. As matters stand he must rest content
with perhaps a third place on the list. H is Stainer cdpies are
vcry good, but do not compare for finish and tone with, e.g.,
the instruments of Dukc. Thc Amati copies are much bcttcr,
being solid and well finished. When copying A . & H. Amati
he was at his best as regards workmanship, and the result shows
what he was capable of when at his best. But the tone of
these copies is rather small and glassy. One beautiful specimen
I have seen and tried : it was made of fine wood, with maple
of narrow, regular, and well-defined curl, very pretty to look
at, and varnished in dark, golden amber. lts principal dimen-
sions were :-
Length of body • 13H iochca.

Width acrea, upper bouts 6}½ "
,, middle bout1 -1-ñ"
,. ,, lower bouta 11½ "
Width of C', . 3~ "
Leogth off', • 2j, H
Depth oí ribs at bottom 1l H
tt ,. top 1-.A ,,
His N. Amati copies are very faithful to the original, but are
never likcly to lend themselves to the wiles of the forger.
The same remark applies to thc tenors. The violoncellos stand
on an altogether higher platform. Here, dclicacy of detail is
not so absolutely necessary as in the smaller worlc, and solidity
and rugged grandeur show to better advantage. His larger
work is of modcrately ful) proportions, not usually so large as thc
larger-sized violonccllos of Banks. But he varied his model a
great dcal, sometimes widening the waist, sometimes Rattening
the uppcr bouts, and somctimes narrowing thc width ali over
and lengthening the body. The tone of the violoncellos is
excellent, and was greatly appreciated in England previous to
the advent of Italian instruments. lt will be appreciated still
more when we think it worth our while to coax the old
veterans out of the sullen silence into which they have been
obliged to retire. The world is tolerably free of fraudulent
Forster 'cellos. I have not seen any, but have heard of one or
two. No doubt there are many genuine "Forsters" still in exist-
ence, but quite a host of thcm disappeared during thc latter half
of the nineteenth century. Thc average catalogue price for the
violoncellos from 1890 to 1900 is [.23. They will command
a higher figure in the near future. Those varnished dark
amber were preferred in the eighteenth century, but the red
ones are more in favour to-day. Thc amber ones which I
have seen were not so well stocked with wood as the red ones.
Probably the greater thickness of the latter placed them at a
slight disadvantage when new, which is the very reason why
they are the better sort to-day. I do not know that it was a
rule with Forstcr to makc uniformly in chis manner, and to
indicatc the ditference in thickness by a ditference in the colour
of the varnish. I only point out that so far as my observation
goes it was his invariable practice. He is said to have used
fossil amber for the basis of his varnish towards the end of bis
life, in the solution of which he was assisted by Delaporte, a
chemist. Therc is a close resemblance between the said varnish
and that manufactured until recently by the Messrs. Caffyn of
London. Forster made only four double-basses, three of which
were for the private hand of George III. Labels ;_'..
txJ WILLIAM FORSTER,
VIOL IN MAKER,
IN ST MARTIN'S LANE, LONOON, 17-
(il WIL LI AM FORSTER,
VIOLIN, VIOLONGELLO, TENOR, AND BOW MAKER
N.B.-The abovc instruments are made in tbc best manner and
:finishcd with the original varnish; and a copy of cvery
capital instrument in EnglBDd muy be had.
FORSTER, WILLIAM, London: 1764-1824- "Young

Forster," as he has been called, was the son of the great Forster.
He was born Jan. 7, 1764, and dicd July 24, 1824. He
maintained to sorne extent the traditions and reputation of his
father, but he failed (or did not try) to maintain the same
standard of excellence throughout. His work varies a great
deal ; sorne of it is no better than the cheapest of the modern
factory noise boxes, and some is fully as good as the best of
bis father's.
Haweis says there was an erratic vein in the Forstcr
family, which in "old '' Forster took the shape of "amazing
versatility," but in the younger members degenerated into
"speculative eccentricity." I prefer to think of "old" Forster
as a genius, and of the sons and grandsons as the offspring
thereof. And it is a well-nigh universal rule that the offspring
of genius are the shipwreck of genius. Genius, as I conceive
it, is the abnormal development of sorne particular gift or
faculty, with the other faculties also sufliciently strong to give
it support. Thc offspring of a genius often show the samc
gift developed in the same abnormal degree, but they have not
the other powers of the mind in the necessary state of health
and strcngth to give it equilibrium ; i.,. in other words, they
have not suflicient ballast. Genius without the accompanying
staying powers of the mind is like a vessel without a helm.
W e have the children of a dozen geniuses living amongst
us to-day, nearly ali of whom may be recognised as the
sons of their fathers, but they are more or less rudderless
sails in a stormy sea. It has been often said that the sons
of great men elect to walk the quieter paths of mediocre
distinction out of consideration for their fathers, but this is
said more in charity than in sincerity. No man puts his
candle under a bushel without at the same time extin-
guishing it, and suicide is not sacrifice. I have seen one
or two violins by "young " Forster, which were excellent
as regards finish and tone, and they had his father's amber
oil varnish, thinly laid on and well polished. He made a
number of inferior instrumcnts, sorne unpurlled, and with
122 BRITISH VlOLIN-MAKERS
two or three coatings of a hard spirit varnish, which he !et
out on hire. Labels : -
<1 > WI LLIAM FORSTER, JUN.,

VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER
1815
(2) WILLIAM FDRSTER,
VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER
TO THEIR ROYAL HIGHNESSES THE PRINGE OF WALES AND
DUKE OF GUMBERLAND, LONDON
The numbcr of the instrument, the date, and the abbrevia-
tion "jun." were added in handwriting.
FORSTER, WILLIAM, London: 1788-1824. He was

born D ec. 14, 1788, and died Oct. 8, 1824. He was a
pupil of his father and also of his grandfather, and his work
has much the samc characteristics as that of the former.
He made only about twenty instruments bearing his own !abe!,
the others were made for dealers.
FRANKLAND, - - , London: 1780-90. He was pro-

bably a pupil of one ofthe Forsters, and he was employed by
"young" Forster for sorne time. Ordinary work and tone.
No !abe! lrnown.
FRYER, CHARLES, London and Leeds: 1820-40.

He was for sorne time partncr with W. M. Dcarlove, of
Leeds. I have not seen any of his work.
FURBER, DAVID, London. He was a pupil of John

Johnson, and made similar instruments on the Stainer pattern.
He was the first member of this numerous ramily to make
violins.
FURBER, HENRY JOHN, London: nineteenth century.

Pupil of his father, John Furber. He has made many instru-
ments, severa! of which I have seen and tried. I cannot say
that I admire either the tone or the workmanship very much.
His work has been much praiscd in some quarters, and Hart
says that he has made sorne exccllent instruments. Some
modern mak:ers are much addicted to what may be termcd
" class work" ; i.,., they turn out instruments of various
qualitics, which thcy arrangc according to mcrit into class
A, B, C, &c. I thinlc th1s is much to be deprccatcd. Every
artist ought always to be at bis bcst, and, so far as bis mate-
rial will allow, should turn out work of uniform exccllence.
Perhaps it has been my fortune to see only thc third-rate
work of this Furber.
FURBER, JAMES, London. Eldcst son of the elder

Matthew Furber. I have never seen any of bis work, and am
not sure that he was an actual maker.
FURBER, JOHN, London: about 1810--45. He was

the third son of Matthew Furber, sen., and a pupil of bis
father and John Betts. He made a large number of instru-
ments on the grand Amati pattern, and sorne copies of thc
" Bctts" Stradivari, when that famous masterpiece was in the
possession of Bctts. His worlc is cxcellent in cvery respect. I
quite recently saw one of these copies, and I must say that I
considercd it a superb example of the copyist's art. The wood
of thc bacl, was of a broad "llame," with the curl slanting
nearly at right angles to thc longitudinal axis in the direction
of the lower end of the instrument. The varnish was goldcn
red, mellow, tender, and not too thickly laid on . The tone
was clear and penetrating, and very fine on the two inner
strings. The only part of the work which might be considcrcd
to be laclcing in depth of feel ing was the scroll, which was not
quite in the spirit of the master, being somewhat stilf and
over masculíne. His Amati copies are considerably modificd
in man y instances, and some of them are rather dceply grooved
and highly archcd, but the tone is almost invariably clear and
penctrating. His best violins realise as much as J;20 to-day,
and thcy will sell at a still highcr figure in years to come.
Furber workcd for J. Bctts at thc Royal Exchange, and man y
of the fine instruments which bear Betts' !abe]. His own !abe!
is:-
JOHN FURBER, MAKER,
13 ST. JOHN'S ROW, TOP OF BRIGK"LANE,
OLD ST., SAINT LUKE, 1839
FURBER, MATTHEW, London: 1730--90. -Hewas
the son and pupil oí-David Furber. Very little of his work is
known. He died in 1790, and was buricd in Cle_rkenwell
Churchyard,
FURBER, MATTHEW, London: 1780-1831-. Son

and pupíl of the preceding. His violins are oftcn advertised
in catalogues of old instruments, but I do not remember having
evcn seen any of them. He was buried in the same church-
yard as bis father.
G
GARDEN, JAMES, Edinburgh, contemporary. An
amateur, who has only madc a few violins.
GIBBS," JAMES, London: 1800-45. It is not certain

that he made any instruments on bis own account, but he
worked for J. Morrison, G .·Corsby, and S. Gilkes.
GILBERT, JEFFERY JAMES, Peterborough, con-

temporary. He is the son of Jeffery and Eleanor Langley
Gilbert, and was born in New Romney on Aug. 16, 1850.
He is the direct representative of an old Kcntish family, one of
the most notable members of which, in recent times, was Sir
J effery Gilbert, whom thc learned in the law described as" thc
accomplished exchequer baron." He reccived prívate tuition
till he was about twelve years of age, after which he spent sorne
years at the Crockley Green Grammar School, which was then
under the mastership of Mr. Thomas Dalby. Mr. Gilbert is
one of the leading makers of modero times, and his worlrman-
ship, varnish, and tone givc him a place amongst the very
select few of the innermost circle of present day makers.
1
VIOLIN ANO BOW MAKERS 12 S
Although he has always been of an artistic and musical

t urn of mind, he was more than twenty years of age before
he had any lcindly feelings for the violin in particular.
Having once caught the infection he was soon in the firrn
grip of the fiddle "disease." His father in his own early days
was an cnthusiastic amateur player and malcer, and from him
he seems to have inherited the practica! side of his character.
He commenced his early studies quite unaided, as his father
did ali he could to discourage the budding "Stradivari,"
intending him for another career; and, living as he was in
a small isolated town, there were no opportunities of gaining
any knowledge whatever upon the subject.
The purely mechanical part of the work nevcr prescnted
any great difficulty to bis hand and eye, but he was not long
in recognising the fact that it rcquired something more than
an expert use of carving tools to create a masterpiece in tone,
and especially was the difficulty of an approximate repro-
duction of the fine old varnishes realised by him. About
this time he made the acquaintance of severa! connoisseurs in
London, notably that of the late Charles Reade, the late
George Hart, Mr. Horace Petherick, Dr. John Day, and
George Withers, ali of whom took a kindly interest in his
work, and from time to time gave him useful hints. Mr.
Reade was especially intereMed in his varnish studies, and on
the eve of his last departure for the Continem, a short time
before bis death, had a long chat with him on the "mysteries"
of old Cremona. It was at th is final parting that Reade
spolce to him the cheery words, "Go on, Mr. Gilbert, do not
get discouraged, I am sure you will succecd in the cnd."
This was in allusion to the varnish problem.
In 1876, Mr. Gilbert was married to Miss Lily White,
in St. John's Church, Peterborough. He has six children,
namcd Jefiery Francis White, Charles Clement, Catharine
Eleanor, Leslie Baker, Kate Julia, and F redericlr. William.
Up to date, Mr. Gilbert has made 166 instruments,
comprising six 'ccllos, thirty violas and viola altas, and the
rcmainder violins. His aim has always been quality, and not
126 BRITISH VIOLIN-MAKE RS
quanrity, and he carefully studies each instrument during its
construction.
H is models have varied from time to time, and are
original, without being vagaries on the one hand or slavish
copies on the other.
The measurements of the two violin models, of distinctly
different outline, from which he is at present working, are
as follows : -
(a) Length of body. 14 inchea.
Width of uppcr boutl • 6½ .,
,, middle boutl 4¼ "
,. lower boulll • 8 ..
Width of ñbs at bottom • 1! "
{ Gradually dimioiahing at top to
I /¡. '
( b) Length of body , 14 "
Width of uppcr bouts • 61 "
,, middle bouts . 4½ ,,
,, lower bouta • 8¼ "
Ribs aame a• above.
Model (a) is shown in the accompanying illustration.
The sound-holes are the same in both models, and are
3-nin. long.
T he measurements of the viola model are : -
Length of body • • 16 inches.
Width of upper bou11 . 7i ,,
., middle bouts •· si ,,
., , lower bouta 9 .,
Ribs at bottom • :r l ,,
" top 1¾ "
and those of the viola alta :-
Length of body. r¡ inches.
Width of upper boutl • 8} "
middle boñts si ,,
",, lower bouta • 9t
D epth of ribs n- in. more ali over than in those of viola.
T he length of sound-holes is identical in both violas and
viola alt.as, and is 3-fi- in.
l'lt,,t,, . .-1. F. /ti-,,l.7
VIOLl:-J BY JEFTER\' J. GILBERT, PETERIJOROUGH

l~·, lt 1903)
His 'cello mooel is also an original one, and the measure-
ments are:-
Length of body 29f inchra.
Width ofup~r bouta. , 13f .,
., middle bouts 9f "
,. lower bouta , r 7! .,
Depth of riba . 4~ "
Length of aound-hole, 51 ¼ ,,
The outline of Mr. Gilbert's instruments is vcry beautiful, .
and thc curves are as graceful as it is possihle for curves to he.
The violin scroll is in the hest Italian style. The width
from boss-cdgc to hoss-edge is In in. The dcpth of the
peg-box at the deepest part is H- in., diminishing to H- at
t hc throat.
The scollop is nicely rounded, and projccts sufficiently to
produce piquancy of expression. The curves of thc volutc
are most delicately scooped at the base, and the llutcs at the
back of the hox give the correct balance in lines of suhdued
boldncss. Thc button is nearly semi-circular, strong, and in
kceping with the contour. The cdgcs are fairly fuJI, not
cxactly rounded nor yet raised, but turned in a manner that
emphasises the extreme outline of the fiddle. The margin
was cxactly ¼ in. widc in the specimens examined by me,
and the purRing, which was inlaid bcautifully, -h in. widc.
The sound-holcs are a masterly conception. In outline they
are ali but identical with those of Strad ; but not in inclina-
tion. The notch is a most interesting detail-I have never
seen it made so artisticaJly by any other luthier, whcther
classical or post-classical. The hoJlowing out of the lower
lip (or wing) is also a noticeable fcature, and is in the best
Stradivarian style,
The varnish is luscious, hrilliant, and transparent. Colours :
amher, dark amher, light hrown, very dark hrown, light red,
and deep rich red. In the last-mcntioncd colour the varnish
is of surpassing heauty and excellence. lt is heautiful in ali
the colours, hut in describing the deep red, " beautiful" and
such-like adjectives are not quite gooo cnougb. The varnish
is, of course, an oil one---not "linseed or any other heavy oil,
which destroy ali that is good in colour, delicacy, and bril-
liancy "-so Mr. G ilbert informs me. The wood is always
acoustically perfect and very handsome. lt is mostly cut
sur mai/1,, though I have seen one spccimen in which both
tables were whole.
The tone is large, clear, and bell-lilce, and with age and
careful use will develop, no doubt, qualities that may be con-
sidered in their sum total as a just combination of the sweetness
of Amati and the power of Guarneri.
Ali the work is personal, and the instruments are numbered
consecutively as they are finished, both upon the base of the
neck (under the finger-board) and inside on the face of the top
block. They have also in addition to the !abe! the artist's
autograph on the back.
The prices are :-
Violin• • 25 guineas.
Violaa
'Cellos from 4S "
Mr. Gilbert's instruments have gained the following
awards :-" lnternational Exhibition," Crystal Palace, 1884,
Sil ver Meda! (highest award); "lntcrnational lnventions
Exhibition," London, 1885, Silver Meda!; "lnternational
Exhibition," Edinburgh, 1890, Gold Meda!.
Jeffer.7J.Gilbert.Peterborough
Fe cit. Anno Mocccxcix.
The label is printed on cartridge papcr from an engraved
block.
GILCHRIST, JAMES, Glasgow : 1832-94. An amateur

maker, who was by trade a philosophical instrument maker.
He made eighty-six stringed instruments of every description.
The worlananship is very fair, but the worlc as a whole !acles

individuality, and the tone is of a poor quality. Label : -
JAMES GILGHR IST,

GLASGDW, 1892
GILKES, SAMUEL, London: 1787-1827. He was
born at Morton Pinkney, Northamptonshire, and died Nov.
1827. His work has been greatly praised by competent
judges, and fully deserves to be. He died a comparativcly
young man, just as he was beginning to give the world the first-
fruit of ripened talent. He started worlc on his own account
in 1810, and for the ncxt ten years he followed the lines of
Charles Harris. The chief fault of his model of this period is
that it is a copy of a copy. Many modern makers commit
the same error, and we have to-day in the worlc of sorne
amateurs copies that are removed from the original to the fifth
or sixth degree. This is much to be deplored, as something
is lost at cach remove, and the result in the long run becomes
a caricature. Originality pure and simple is quite a different
thing, as in such a case the powers of the mind are unfettered
and allowed free display. From 1820 on his work shows
improvement in style, and bis Amati and Stradivari copies of
this period are exccllent. He had probably had opportunity
about the year 1820 of seeing and closely cxamining genuine
Amati and Stradivari (grand) violins. The characteristics of
his early Amati work are : a rather pronounced arching,
narrow margins, a somewhat top-heavy scroll, and a very
wealc button ; and of the early Strad copies, rather gaping
sound-holes, narrow margins, with a leaning towards the
Amati arching, especially between the inner bout5, where
there is also a decided groove between the sound-holes and
the edge. Thcse defects are nearly altogether climinatcd in
bis latest and bcst work. The scroll of a Stradivari copy
which I saw quite recently was thoroughly ltalian in character,
and the sound-holes bcautifully cut and not too wide. The
outline was pure and the arching vcry graceful. The wood
of the baclc was cut on the quarter, with a curl of regular
1
and medium width, and the pine was of dose grain. The
varnish was golden brown in colour, of a good quality and per-
fectly transparent. The tone was clear, bright, and mellow. lt
is a great pity Gilkes díd not live another twenty years, because
it is quite evident that he had just begun on a period of activity
in production and accuracy of model. He was the pupil of
his relative Charles Harris, and he worked for a fcw years
with William Forster. Label : -
GILKES,
FROM FORSTER'S,
VIOUN AND V.IOLONCELLO MAKER,
34 JAMES STREEt BUCKINGHAM GAT~
WESTMINSTER
GILKES, WILLIAM, London : 1811-75, He was a

pupil of his father, and succeeded to his business in James
Street, which he later removed to Dartmouth Street. He
made many doubl~basses and other instruments, which are of
ordinary workmanship and tone.
GINTON, R., Cork, contemporary. An amateur malcer,

who has made a few violins of good workmanship and
tone.
GIRVAN, THOMAS, Edinburgh, contemporary. He

was born in 1849, and commenced to make violins about thirty
years ago. Average work and tone. Label : -
THOMAS GIRVAN,
EDINBURGH,
1870
GLENDAY, JAMES, Padanaram : nim:teenth century.
V ery indilfcrent work.
GLENISTER, WILLIAM, London, contemporary.

He was born on May 16, 1850, at Chenies, Bucles, and
VIOLJ A D BOW MAKERS 131
resides now at 23 Beak Street, Regent Street, W. The

early ycars of his life were spent at Watford, Herts, the family
having removed there when he was three years of age. His
father was a gardener by occupation, and young Glen ister
also became a gardener on bis lcaving school, which was ata
very carly age. He remained among the "flowers, fruits, and
trees" till he was twenty-two, when an opening occurred and
was olfered him in the corn trade. He availed himself of the
opportunity, and he has followcd that trade ever since, he
being now manager of thc firm into which he carne twcnty-
sevcn years ago as apprenticc.
It will thus be seen that Mr. Glenister belongs to that
class of makcrs which is tcrmed "amateur " ; but he is an
amateur in the best and in the original sense of thc term.
The hobby is to him in very truth a labour of lovc. The
born artist is visible in every line and curve of his bcautiful
productions. And here it may be remarlted that thc man
whom nature has meant for an artist is certain to exert the
force of bis personality, be he habited in the guise of an
amateur or in that of a professional. The difference betwecn
the two clas es is not always one of ltind, nor of degree, but
of sentiment. There is a certain coterie of writers in our
midst to-day, who cver pronounces its anathema upon
anything by an amateur; it crics--" profcssional 1" and
profcssional must the worlt be, or nothing. The cry is much
on a par with that of old, "Áut Cesar, out 11ullur."
Not very long after he entercd thc corn trade, i.,.on July
3, 1875, Mr. Glenister was married to Jane, daughter of Mr.
J. E. Chambers, of Stanstead, Kcnt, at Willesden Parish
Chu,ch, Middlesex. In business, he is dcscribed as a gentle-
man actuatcd by the highest principies; and in thc home, as
the embodimcnt of amiability and gentlcncss.
Mr. Glenister worlts on the lincs of Strad, Guarnerius,
and N. Amati, but his "divinity" is the grcatest of thesc
thrce, and his prototypc the grcat "Tuscan." His first
fiddle was made in 1888, and was thc result of a carcful study
of the masterly work of Mr. Ed. Heron-Allen. Sincc that
date he has produced sixty violins and one 'cella. Ali these,
with the exception of the first three or four, are fine in-
struments. The mere mechanical part af the work never
offered much trouble to Mr. Glenister, for he ever had an
aptitude for making little articles in waod.
The outline of the Strad copies is exactly that of the
"Tuscan," and the measurements are the ma,stro's to the
nth. The madel is a trille flatter and more extended tawards
the margins, after the style of Maggini. The scroll is bold
and. masculine. The buttan is rounded, graceful, and lies
evenly with the plane ·of the instrnment. The sound-holes
are a slight modificatian af those af Strad, and placed a shade
nearer the edge. They are in perfect keeping, however, with
the outline, and the effect, arising from their position and
inclination in the subdued arching, is highly artistic. The
purfling is inlaid perfectly and withaut a tremar. The back
of one specimen examined by me was whole, the curl running
at an angle of thirty degrees to the long axis, i.e. in the lower
alterna.te angle af the left side. The "flame" was vivid and
fairly broad. In another it was cut sur maille, with the curl
running "buttanwise." The pine was of clase, even grain,
and of excellent tonal qualities. Sorne af Mr. Glenister's best
pine has been obtained fram an old house in Beak Street, and
althaugh it is ald and well past the age at which shrinking
may be supposed to cease, still he !caves his plates thick and
solid.
Mr. Glenister used Whitelaw's varnish on his first efforts,
and also Calfyn's; but now he uses a varnish made by Mr.
Urquhart, of Derby Street, Mayfair. This varnish gives
highly satisfactary results. lt is brilliant, transparent, and
lasting. lt does not chip, and it is tough and elastic. lt has
that undefinable, unctuous som,thing about it, which is nat
seen every day in varnish except when you are in the goodly
fellowship of the holy Cremonese. lt is an oil amber ane,
and made in ali the usual colours. Mr. Glenister uses,
almost without exception, the golden brown, and the galden
red.
The tone is not a large one, but it has splendid qualities;
it is delicate, scnsitive, and sweet. Facsimile label : -
GLOAG, JOHN, Galston, contemporary. He was born

Oct. 24, 1853, in the parish of R iccarton, Ayrshire. His
father removed from thcre to Ashby-de-la-Zouch, in Leicester-
shire, and Gloag was cducated at the Ashby Grammar School.
Later, the family removed to Galston, where he was apprenticed
to a joiner, and he is now employed as estate joiner on the
Loudoun estate. Ali his spare time is devoted to his beloved
hobby-violin-making-and he turns out splendid work, both
as regards finish and tone. H e follows thc Stradivari model
as shown and described in" Violin-making, as it Was and Is,"
and he has latterly made severa! instruments on an original
model. He uses Whitelaw's varnish; colour, dark-amber
yellow. He obtained thc first prize for a case of violins at
an industrial exhibition held at Darvcl, Price of violins, [,5.
GOODMAN, JAMES, Brentford, contemporary. I have

not seen any of his work, and do not know wbether he works
as a professional or as an amateur maker.
GORRIE, J., --, contemporary. I know nothing of

him or of hi work.
GOU G H, JOHN, Leeds: about 1820. He worked for
Mark William Dearlove.
GOUGH, W ALTER, Leeds: about 1800-30. lndif-

ferent work and tone.
GOULDING, - -, London: about 1790.
GRAY, JOHN, Fochabers: 1860-75. He did not make

many instruments.
GREGSON, ROBERT, Blackburn, contemporary. He

was born at Whiteberk, near Blackburn, on June 3, 1871.
He commenced work as a professional maker in 1898, and bis
first instruments were very indifferent in workmanship and
tone, but he has improved very rapidly, and ought to reach
a fair standard of excellence. His one mistake is that he does
not copy anybody. If a violin-maker is not endowed with the
powers of originality in a high degree, he should not attempt
to cut out a path for himself, and even when he feels conscious
of rare gifts within, he should devote sorne years to the exact
and careful copying of sorne old master. Talents must be fed
and pruned like fruit-trees in an orchard. G regson is impatient
of detail. The more conspicuous parts of the instrument are
carefully handled, but there is a disregard for purity of outline
and clean inlaying of the purAe, &c. H owever, Gregson is a
beginner, and may with severe application rectify these errors
and become an excellent workman. The tone of the last
violin which he made is very good. Facsimile label :-
.. Jlrtt tt Cabort.''
ROBERT GB.EGSON,
~U:CKBURN.
ANNO 1898,
H
HALL, WILLIAM H., Oldham, contemporary. He
works at 78 Morris Street, Glodwick, Oldham. He is a good
maker, who uses splendid material and varnish. He follows
the Stradivari, Guarneri, and Amati models. The tone is not
large, but it is bright, responsive, and sweet.
HAMBLETON, JOSEPH, Salford, 1854. I have not

seen any of his work, but it is said to be of average
merit.
HAMILTON, WILLIAM, Uddingston, contemporary.

An amateur maker who has made some first-class instruments.
He was born at Anderston, Glasgow, May 5, 1861, and is by
profession a consulting engineer. He spent sorne time in a
pattern shop, where he was trained in the use of wood-working
tools.
A copy of Gasparo da Salo by him is ene of the finest
cxamples of the copyist's art that I have seen-certainly it is
the finest Gasparo copy that I have ever examined. The
wood in the back of this instrument is superb ; the curl being
of medium width and of rnathematical regularity. The varnish
is an oil one; colour, golden orange, The tone is excccdingly
powerful, rich, and free.
Another instrument by him was on an original modcl,
which rather cxaggerated the proportions of the Brescian
model, and was altogether too large, thc length being 14¡ in. ;
width across upper bouts 6t in,, and across lower bouts 8f in.
The tone was not correspondingly large; on the other hand,
it was of a nasal, viola-like quality, and did not carry. Thc
workmanship is faultless, and careful attention is paid to the
minutcst detail. The maker should confine his attention to
thc Gasparo model, as he is evidently in sincere and deep
sympathy with it, and shows a better hand at it than any
maker does that I am acquainted with. He uses no label, but
has written across the back his autograph, name of town, and
date. The following is a facsimile of thc inscription : -
HAMILTON, W. R. T., Edinburgh, contemporary.

I know nothing of his work.
HANDLEY, HENRY, Worcester, contemporary. He

was born in 1839. He began to make professionally in 1886,
and up to the present he has made about eighty violins, violas,
and violoncellos. He follows the model of a Guarnerius
violin of the date o.f 171 S, and the workrnanship is good and
careful ali over. The wood is carefully selected, and the
varnish is Whitelaw's "Amati" colour. The tone has none
of the Joseph characteristics; it is moderately powerful and
fairly clear and responsive. The plates are left thickly
wooded, and the tone will probably be much better when
age and use have done their work. Facsímile label : -
HARBOUR, - - , London: 1780--<)0, Inferior work.

He lived at Duke Street, Lincoln's lnn, and later at South-
ampton Buildings, Holborn.
HARDIE, ALEXANDER, Maxwelltown: 1797-1855.

He díd not make very many violins, but the few that are
left show that he was skilful, and that he could have excelled
if he had devoted all his time to the art.
HARDIE, ALEXANDER, Galashiels: 18u-90. Many
violins on his father's model-the Hardie previously men-
tioned-which is a sort of compromise between the models
of Amati and Stainer. Both worlcmanship and tone are of
mediocre quality.
HARDIE, JAMES, Edinburgh: 1800-56. This Hardic

was not related to any of the other Hardies, or to the maker
of that name now living. His models resemble those of
Matt. H ardie, i.~. they are on the lines of N. Amati and
Stradivari, but they can hardly be termed copies. The work-
manship and tone are excellent. Label : -
JAMES HARDIE, FEGIT,

EDINBURGH, 1841
HARDIE, JAMES (and Son), Edinburgh, contemporary.
He was born at Aquhedley, in the Parish of Ellon, Aberdeen-
shire, on Jan. 1, 1836--not in 1837, as stated in sorne bio-
graphical dictionarics. He is the son of William and Mary
Hardie, and is one of thirteen children-seven sons and six
daughters. His mother's maiden name was Strachan, and she
belonged to Drumnagarrow, Aberdeenshire. She is still alive,
and considerably over nin ety years of age. Hardie received
his education at the Methlic Public School, and in the
Normal Collegc, Edinburgh.
H e commenced his first instrument, a violoncello, when
nine years old; it was a copy of an instrument belonging to
his father, and he made it throughout, exccpt the pegs. This
was an exceptionally early age at which to take up the gouge
and calipers; but the real period of work commcnced when
he was fifteen, at which agc he began to work under his
grandfather's instructions at Dunkeld.
On January 23, 1862, he was marricd to Miss Elsie
Milne Davidson, at Methlic. From this union t here has
sprung a progcny of thirteen, named in order as follows : -
Elsie, James, Elsie, William, Mary, Isabella, Mary, William,
Alfred, Charles, Isabella, Evelyn, and Maud. Of these, six
dicd in infancy. This accounts for severa! of the names
being the same.
The eldest son, James, who was an excellcnt violin
playcr, and a lcadcr in the Theatre Royal, Edinburgh, died
on April 6, 1898. From the age of fifteen down to the
present, Hardie has been constantly at work. He is a prolific
maker, and has, according to the strictest account, produced
well over two thousand fiddles. He has made himself a
goodly number of violoncellos and double--basses. Ali the
work is personal. His sons assist him in minor matters, such
as regulating, stringing up, &c., but not in actual making.
Mr. William Hardie, however, has made one violin. Out of
the two thousand and odd violins made by Hardie, a propor-
tion of about twenty per cent., i,e. something like two hundred,
are superior instruments, and reach a high standard of excel-
lence, Many of these, it may be stated without cxaggeration,
are simply bcautiful, and will certainly add lustre to the fame
of Scotland's makers. The material used in them is of the
finest quality--chosen more for its acoustic properties than
for its artistic appearance. The varnish is very fine, having
for its basis fossil amber. It varies in colour from rich golden
yellow to red and ru by, but is more successful in the gol den
yellow than in the othcr tints.
He commenced to use amber oíl varnish in 1869-just
ninc ycars after the first experiments of Dr. George Dickson,
whatever may be the significance of the fact. I borrow the
statement from Mr. W. C. Honeyman that Mr. Hardic is
largely indcbted to the Doctor for his initiation into the µ.vrr-
-r~p1.a of the method of dissolving amber. Certain it is, how-
ever, that Hard ie makes, and always has made, his own varnish.
Hardie follows the Stradivari, Guarneri, and Maggini
models, but has a decided preference for the last named.
His measurements are those of the great Brescian, but he
varíes in the thicknesses according to the density of his wood.
Ali his instruments on the Maggini model are double purf!ed.
This fact will help the average connoisseur to detect forgeries.
It is curious that two series of forgeries of a diametricalJy
opposite character have bcen perpetrated in connection with
l'RONT AND llACK üF ~IAU(ilNI COl'Y llY J. HARDIE
VIOLI ANO BOW MAKERS 139
Hardie's name. One is recorded by Mr. Honeyman in his
sketches in the Ptoplls Frimd. It is this : severa! of Hardie's
cheaper instruments--" pot-boilers" in fac t-were purchased
sorne years ago by a certain individual and labclled " Panormo "
and "Fendt," and then sold in auction rooms.
The other is srill more Aattering to Hardie. A certain
maker (personally known to the author), of mediocre attain-
ments, possessed a fine H ardie fiddle (Maggini model) and
made a number of copies of it. He varnished them with a
poor oil varnish in glaring yellow, fitted them up, inserted a
forged Hardie t icket, and got rid oí them at the pawnbrokers.
Sorne oí these were sold aftcrwards for considerable sums. I
know the !t1Co!1 of three of these counterfeit "Hardies" at thc
present moment. It has often amused me to watch their r6lc
in the little masquerade they carry on. One changed hands
recen ti y for [, 12. These "Hardie-Maggini " forgeries are, it
should be noted,single purfled. Ali~uondo bonus dormito/ Homtn1s.
Hardie's wood is excellent, and bis tone is large, rich, and
telling. He succeeds well in producing the Maggini tone,
and, no doubt, when his violins have been well used, the tone
will have the copious " tears" of the Brescian motstro. H is
prices range from [.3 to [,20.
He has exhibited on severa! occasions. At the Edinburgh
International Exhibition in 1886 he gained a bronze meda!;
at the Glasgow Exhibition in 1886-87 an honourable mention;
and at the lnternational Exhibition, Edinburgh, in 1890, a
gold meda). An Exhibition prizc violin is shown in the
illustration. Facsímile !abe):-
IIA.OC: 11r
3nmcs bati>le & Sollll,

VIOLIN MAKERS,
~tnburob.
IG98'·
HARDIE, MAT T HEW, Edinburgb: 1755-1826. He
was born in Edinburgb in the year 1755, died in St.
Cutbbert's Poorbouse, Aug. 30, 1826, and was buried in
G reyfriars' Cburcbyard, His work is excellent, and deserves
much more attention tban has been given it by Englisb CQn-
noisseurs and writers. Ali English writers on the violín assert
that Hardie copied N. Amati, a fact wbich is denied by M r.
Honeyman, wbo says tbat he copied Stradivari. D ogma
should he hased on truth, Thcre is such a thing as a logical
principie of contradiction-a thing cannot both he and not be
at the same time. The truth is, Matthew Hardie copied
hoth Amati and Stradivari, and it is so self-evident that I am
astounded tbat any one who undertakes to write on tbe sub-
ject should be ignorant of it. I bave botb secn and handled
genuine examples of bis art, sorne of which were on the
Amati and sorne on tbe Stradivari model. So far as my
experience goes, Hardie made about as many copies of the one
as he did of tbe other. Except as regards varnish, bis Amati
copies will compare very favourably with the best work of
Benjamin Banks. His tone is decidedly larger than that of
Banks, but what •it gains in quantity it often loses in quality.
He was a prolific maker, and his fame must havc spread far and
near in his own day, since there were numerous instruments
of bis make to be found in the south of England, and sorne
even in South Wales and the west ·of lreland, so long ago as
tbe early part of last century. One beautiful violin on the
Amati model was for over fifty years in th_e possession of the
Barham family, Trecwn, in far-away Pembrokeshire. The
old squire of Trecwn bought it somewbere about 1830 of
one of his tenants, a Mr. Campbell, who hailed from Scotland.
In 1880 the last member of the Barham family died, and the
beautiful old "Hardie" disappeared. I played on this fiddle
more than once, and have a vivid recollection of its clear,
responsive Maggini-like tone. The Hardies have a sort of
traditional bias towards the Maggini tone. In my time, in
t he capacity of expert, I have examined about thirty of the
violins of this :maker, the majority of which, so far as my
Fl:-IE-TON~;D VIOLI N BY MATTHFW ll.\RDIE
¡ J-~·n'I 18o.31
recollcction gocs, wcre on the grand Amati model. What

particularly struck me was the indisputable evidence produced
in cach case as to the pedigree of the instrument, showing
that the purchase was made by a deccased member of the
family of the owncr, either from the malcer himself, or from
sorne one else during the lifetime of the maker. lt proved, as
already stated, that Hardie's fame had reached to the far limits
of the British lsles before he had laid down his tools. I doubt
whether the fame of Banks, Forster, or Duke had spread so
far in their own lifetime, It is not just, thcrefore, on thc
part of English authors to ignore this remarkable man's work.
Hart, Haweis, and one or two more anirnadvert rathcr severcly
on the sins of ornission of continental writers, forgetful of the
fact that they thernselves do scant justice to Scottish rnak.ers
of renown. Scotland has produced quite an arrny of fiddle-
mak.ers, sorne of whorn have left us exarnplcs of their art that
will in many respects vie with our classical ,htjs d' a-uvrt.
Had the early Hardies, M'Gcorge, Stirrat, &c., been more
fortunate in the production of varnish, much of their work
would be equal to the best work of English mak.ers.
Matthew Hardie made no attempt at originality : he did
his best to · copy faithfully, but he was original in spite of
himself. The principal measurements are generally in strict
keeping with the original, but the stringency of figures does
not imprison the pcrsonality of the man. When there is a
strict watch set over self in the definition of the outline,
individuality bursts the bonds in sunder and runs up the sides
of the arch, only to sit down there and laugh at the man with
the gouge. The sound-holes of the Amati copies are note-
worthy. Here the truth of thc forcgoing rernarks will become
evident to any one who mak.es a close examination of the
work. The sound-holes of N. Amati are artistic and quiet;
they are always so cut and set in the table as not to call
· attention to thernselvcs. Hardie's sound-holes are artistic
enough, but they arrest one's attention, and speak to the eye
with a sort of mute humour,
I had always irnagined old Matt, Hardie to be a strange
mixture of veneration and irony even before I had read a line
about him. His life is written in his work. Look at his
Strad copies ! The strong plates, the correct outline, and the
graceful arching are evidence of a mind that was prostrate at
the feet of the gods, but the saucy corners, and the up-tossed
head betray something very akin to cynicism.
We have a parallel in the world of letters, Shelley, the
poet, was an iconoclast in bis calmer moments, but he prayed
earnestly to the Deity in an Alpine thunderstorm. The only
differcnce is that thc proportion of veneration and cynicism is
reverscd. l t is said that Hardie made many cheap instruments
of poor wood, with imitation purffing, in his early days. lt is
quite possible, though I have never seen any poor instruments
of bis make. Most great makers have turncd out indifferent
work at one period or another of their life. Art is very much
tbe creature of circumstances, and bears her dignity according
as these smile or frown. There are artists living among us
to-day who are capable of great things, but who are too poor
to buy timber for the fashioning of their idols. They may
see the god in the tree, as Michael Angelo saw his " David"
in the rough slab of marble, but neither the right trec nor the
right stone is always to be had for the asking. Hardie was
evidently badly off for timber at more than one period of his
life, if the story of the nail-marked wood be true. There is
nothing very artistic about nail-holes, and little of value about
weather-beaten, half-rotten paling slabs to make them desirable
for fiddle-wood. Many, perhaps the majority, of Hardie's
backs are very plain, but I have secn a few with exceedingly
handsome and well-marked wood, cut so that the curl ran at
a moderate inclination (vidt illustration). The button is
usually rather longer and more oval than the buttons
of Amati or Stradivari, The sqund-holes in the Stradivari
copies are a triffe short ; the exact length in a specimen
recently examined by me being 2H in. The boles also did
not recline so much, and the distance bctween them at the
uppcr turns was about If in. His margins are moderately
full, but the edges are not always so strong as they should be.
T he modern taste has improved upon the classical practice in
respect to the edges. N owadays, in high-class work, the
edges are left stronger and withal dclicately rounded-a
custom which is much to be commended from the point of
view of utility, and not to be deprecated artistically. Hardie's
varnish is a spirit one, thinly laid on ; the colour is yellow-
dark ycllow to yellowish-brown. The basis is probably nothing
more than gambogc, or gamboge and alocs, which in process of
time is oxidiscd almost black, according to the nature of the
menstrua and rhe merhod of application. Hardie's tone is
good, cvcn in his inferior instrumcnts, and beautifu! in his
best. Thc inncr strings are full and mellow, and thc ñrst
string is sweet and silvery. The tone has a lingering echo
which is pathctic and appealing.
Hardic was an cnthusiast in bis art, and his enthusiasm
was of the contagious sort. Quite a coterie of cultured men
gathered around him, who became infected with the ñddle-
making fever. Among them werc Peter Hardie, of Dunkeld,
bis cousin and a student at the Edinburgh University, David
Stirrar, John Blair, George M•George, Alcxander Yoole the
solicitor, and others. Matthcw Hardie was himself an
cducated man, and bis society was sought by these men as
much on account of his reñned wit as on account of his nddlc
!ore. Many a congenia! hour did these men of likc passions
pass togerher in the attlitr in Low Calton. What a pity the
sympatheric brush of Sir Joshua was not there to trace on
canvas those faces radiant with thc joy of thc ñddle, or the
faithful pen of a Boswcll to givc postcrity word-picturcs of
thosc unique pcrsonalities ! Labels : -
( 1) MADE BY
MATT. HARDIE & SON, EDINBURCH,
1797
(2) MADE BY
MATTHEW HARDIE, EDINBURCH,
1810
(3) MATTHEW HARDIE, EDINBURGH
1809
The last two figures in the date are handwrittcn.
HARDIE, PETER, Dunkeld: 1775-1863. He was the
son of Dr. Hardie, an army surgeon, and was bom in 1775,
probably abroad. He died in Nov. 1863, and was buried
in Dowally churchyard, Perthshire. He is known as "High-
llmd Hardie," and was a man of unique personality and great
physique. His model is a compromise between that of Amati
and Stainer. He sometimes followed the lines of his cousin,
Matt. Hardie, but he generally exaggerated his arch. The
tone is usually excellent. No !abe!, but simply stamped under
the button : -
P. HARDIE
HARDIE, THOMAS, Edinburgh: 1800-58. He was
t he son of the great Matt. Hardie, and possessed many of the
fine qualities of his father. I have seen only three of his
violins, in which the workmanship was beautiful, but the tone
very inferior. There is not the slightest doubt that he
artificially seasoned his wood, hence the immense disparity
between the workmanship and the tone. His work has
received high praise from no less an authority than the late
Charles Reade, but I cannot endorse any of the sentiments
of the great connoisseur as regards Thomas Hardie's tone.
I have heard better in many a common factory fiddle. The
workmanship may be faultless, but if the "vital spark " -
the tone-be vite, the instrument deserves any name but that
of "violin." Hardie had man y rare gifts, but self-restraint
does not appear amongst them. He met with his death
through an accident, Jan. 19, 1858, whilst in a state of intoxi-
cation. Label : -
TH OMAS HARD IE,
FECIT, ED INBURGH, ANNO 1850
H ARE, JOHN, London: about 1700. Work resembles
that of U rquhart. Label : -
HA RE ,4 FREEMAN,
NEAR THE ROYAL EXGHANGE,
CORNHILL, LONDON
HARE, JOSEPH, London: 1700-40. H e made sorne
CHAR I,ES H ARR IS VIOLA
(In the Collection of Mr. C." Cwsr,, Dagmar Lodge)
splendid instruments on the lines of Stradivari, the varnish
being of excellent quality. Label : -
JOSE PH HARE, AT Y• VIOL AN O FLUTE,

NEAR THE ROYAL EXCHANCE, IN CORNH ILL.
LONOO N, 1728
HARKHAM, - - , London: 1765- 85.
HARRIS, CHARLES, London and Adderbury: 1780--

1800. He worked in Cannon Street Road, Ratclilfe High-
way. I have seen one undoubtedly genuine Stradivari copy of
bis make, which had a golden-rcd varnish of excellcnt quality,
and bore bis label. The workmanship and tone were beau-
tiful, justifying his bcing placed, in my estimation, very high
in the foremost rank of British makcrs. He foolishly sold bis
birthright for a mess of meat, i.e. he sold his instruments
unlabelled to the trade, and thus robbed himself of the credit
which he ought to have got for excellent work:. His violon-
cellos were highly prized and eagerly bought in his lifetime.
The Stradivari copy which I saw was of full proportions,
with a whole hade, and the curl inclining to thc right. The
pine was as fine as any I havc ever secn, with a "reed" of
narrow and regular width. The scroll was carvcd with a
masterly hand, and the sound-holes beautifully designed, but
just a triAe widc, perhaps. The margin was full, and the
edges strong and nicely rounded, with a moderately pro-
nounced ridgc midway betwccn the purAing and the extreme
cdge. The tone was round and mcllow. The magnificcnt
viola illustratcd here is the property of C. Close, Esq., Dagmar
Lodge, Leeds, and shows work which is thoroughly Italian in
feeling. Thc varnish on this instrument is of a dark amber
colour, very fine in quality. Labels : -
11 ) CHARLES HARRIS,
FECIT, IN CANNON STREET,
LONOON, 1791
K
(2) MADE BY CHARLES HARRII
ADDERBURY, OXON, 1826
HARRIS, CHARLES, London: 1795-1820. Son and
apprcntice of his father, Charles Harris, sen. He worked for
John Hart for sorne time. Very good work, but it is not to
be compared witb that of his father,
HART, JOHN THOMAS, London: 1805- 74. He

was bom on Dec, 17, 1805, and died Jan. 1, 1874. He
became a pupil of Samuel Gilkes in 1820. He did not malee
many instruments, but attained great reputation as a repairer
and connoisseur, He brought together many rcmarkable
collections of Italian instruments, such as the Goding, thc
Plowden, and a large part of the Gillot, &c. I have ncvcr
seen an instrument of his make, and cannot say whethcr he
followed the lines of his master, or more closely those of
Amati or Stradivari. Label : -
JOHN HART,
MAKER,
14 PRINCES STREET, LEIGESTER SQUARE,
LONDON, 18-
HART, GEORGE & SON, London, contemporary.
Mr. ·George Hart, of 28 Wardour Strect, London, W ., was
born near Warwick on January 4, 1860. He is the son of
the late Mr. George Hart, the expert of European reputation,
and author of works on the violín, &c., and whose portrait we
are able (through the courtesy of the subject of this sketch) to
reproduce in the present work, Mr. Hart was educated at
Grave House, Highgate, under the tutorship of the Rev. Mr.
Tough, This same Mr. Tough was a pupil of the great
Dr. Chalmers, of D isruption fame. Having gane the usual
round at Highgate, young Hart was sent to Paris to finish bis
studies. Afterwards he entered the establishment at Wardour
Street, where he has since remained worthily maintaining the
supreme dignity of the house,
On Junc 17, 1882, he was married, at Highgatc, to Miss
Katherinc Jepson de Bctham, daughtcr of John de Betham,
by whom he has had two daughters, named Katharine and
I rene, and one son named Frank. H e employs a large number
of experienccd English and French workmen, and the firm
turns out annually a considerable number of instruments.
Sorne of the instruments, in point of tone, workmanship, and
varnish, are chefs d' a,uvr,, and will worthily replace the old
classical instruments when Cremona is no longer known save
in thc dusty pages of history.
The personal supcrvision and genius of Mr. Hart is evident
in evcry branch of the work. In nothing is this more evident
than in thc choice of wood.
The late Charles Reade, 1 think it was, who said that
thc giants of the forests whence the ma,stros had their wood
are ali gane. l doubt the truth of this very much. Sorne
of tbe wood obtained to-day (and it is not ali, or nearly
ali, obtained frorn the old Swiss chalets) is equal to that
used two centuries ago. One need only examine and try
sorne of Mr. Hart's fincr fiddles to prove the accuracy of
my contcntion.
In saying this I do not depreciate Hero Worship. What
1 would like to cry down is the narrow cult which would
bind a Nessus robe around rnodern gods, and forb id freedom
savc to a handful of Cremonese deities. 1 know that I am
talking heresy, and the school to which Mr. Hart belongs will
be the first to give my effusions a cosy little comer in their indtx
,xpurgatorius. Be it so! My a'trOM'fW is thc instruments to
wbich I rcfer.
Mr. Hart malees a feature of facsimilc rcproductions of
classical gcms. 1 recently examined one of these, which
was an exact copy of the famous Joseph Guarneri, lmown
as "Thc D'Egville Joseph," owncd by Mr. Hart. This
copy is so clase an imitation that it is almost impossible
to distinguish it from the original. The imitation, it is
plcasing to note, is not mcrely superficial, the tone also
approximates to that of Guarneri in a degrec that is bound
to astonish the most exacting ear. T he label put into this
instrument is as follows : -
EXACT COPY Of""T.HE o· EGVI LLE "

GUARNER 1 . DATE 1736 .
HART & SON .
- • ~ MAKERS. -
211 .Wardour Street . W
I& LON DON ~~ -
T his is a facsímile of Mr. Hart's ordinary label :-
T he varnish is remarkably like that on t he original, both

in colour and in p8tt. The author pointed this out to Mr,
Hart, and endeavoured to pro be his "inner consciousness" on
the varnish question, but our subjcct could not be "drawn."
H e is remarkably reticcnt, as he is remarkably unostentatious.
This is exemplified by the fact that he has never exhibited any
of his instruments, and he has never permitted his portrait to
be published, though he has been hard pressed to do so by keen
admirers and hungry editors. It is beatific in this highly con-
ventional age t o come across a genuinely unostentatious person,
far even genius has learnt latterly how to wed itself to cant.
The high-class instruments of Hart's own make (" H art
and Son's special make ") are sold-violins at twenty-five
guineas, violas at thirty guineas, and 'cellas at fifty guineas.
T hese are of the finest material procurable. O thers, whicb
VIOLI r AND BOW MAKERS 149
are oí a different class in material, but not in work, are sold at
various prices (vid, catalogue). "Tone determines the pricc"
is Mr. Hart's rule.
Messrs. Hart have made a great feature of case work in
recent years. Many of the cases they have made are of
exceptional beauty, sorne of satin wood, inlaid and exquisitely
painted with various designs; others are richly carved, with
silver mountings. The makers themselves have spent as much
as [,70 and [.80 on a single case. Case work has been elevated
by Mr. Hart to a fine art. W e heard an eminent connoisseur
say the other day that it was about as wise to spend a lot
of money on grand cases as it was to spend it on grand coffins.
We think, bowever, that it is quite proper that the aristocracy
in fiddle life should dwell in fitting mansions.
lt is pretty gcnerally lrnown, I think, that the subjcct
of our sketch is a fiddle expert of the highest prestige. His
opportunities, though not quite of thc Brobdingnagian pro-
portions of those of Tarisio, havc been immense. Nearly ali
thc famous instrurnents of tbe world bave passed through bis
hands--needless to mention, thc "Dolphin," "Betts," "Em-
pcror," "Paganini," Stradivaris, &c. ; the "Leduc," "Vieux-
temps," Guarneris, &c., &c. Mr. Hart's present collection is
a very largc one, consisting of severa! fine specimens of ali thc
chief makers. In addition to bis vast lmowledge gained from
personal connoisseurship, he has reaped thc benefit of superior
wisdom at the start, when, for severa) years, he was closely
associated with his fathcr in evcry branch of tite work.
Mr. Hart has in preparation a new, enlarged, and revised
edition of his father's well-known work on the violín. He
also contcmplates issuing a work containing coloured plates oí
the most famous specimens of Stradivari and Guarncri in cxist-
cnce. He recently published a life oí Count Cozio di Salabue
by Federico Sacchi, edited by his great friend, A. Towry
Piper. In this most interesting work, tbe editor and publisber
bavc comrnitted the fatal blundcr of giving an untranslated
appendix (which appcndix, by the way, is considcrably longcr
than the body of the work), and thus giving what is to ali
intents and purposes a sealed book to English readers. For,
although seventy or eighty per cent. of thosc interested in
fiddle literature can probably read any work with tolerable
case in French or German, we doubt if ten per cent. can
manage to wade through the ltalian. W e hope Mr. Hart will
take the hint and give us another edition of Count Cozio.
HARVIE, ROBERT, contemporary.
HAWKES, - - , Coventry : eightecnth century.
HAYNES & CO., London, contemporary. Chielly

dealers.
HAYNES, JACOB, London: ,. 1750. He made fairly

good copies of Stainer. Label ; -
JAGOB HAYN ES.

IN SWALLOW STREET, ST. JAMES',
LONDON, FEGI T -
HEAPS, A LFRED WALTER, Sydney, N.S.W. He
is the son of the late John Knowles Heaps, of Leeds, and was
born in January 1854. He commenced to study the violin at
an early age, under Mr. Whittaker, of Leeds, and later he
continued bis studies under the late George Haddock. He
made rapid progress and gave fair promise to become one
of the leading English violinists, but the love of violin con-
struction very early outgrew the !ove of violin music. H e
was apprenticed to Handel Pickard, Leeds, in 1869, with
whom he remained until the end of 1874, after which time he
was for over two years in bis father's workshop. In I 87 5, he,
along with his father, exhibited a quartette of instruments at
the Leeds Exhibition, for which a prize meda! and certificate
were awarded. During the time he was with bis father he
made severa! instruments which were of cxcellent workman-
ship.
Shortly after this period Mr. Heaps accepted an appointment
in Sydncy as manager of the musical department of a wholesale
ALFRED WALTER HEAPS
house. After rernaining with this firrn for a time his business
as a violin•maker and repairer increased to such an extent that
he found it necessary to dcvote the wholc of his time to the
profession. During thc latter part of bis apprcnticcship with
Pick:ard, and previous to leaving Leeds to go to Sydney, he
had many vcry valuable instruments cntrusted to him for
repairs, and bis neat workmanship soon gained him a re•
putation in this particular branch of the profession. Since he
went to Sydney his skill as a repairer has become favourably
known throughout the whole of Australia and New Zealand,
although he nevcr advertises.
During the past fourteen Ór fifteen years he has rnade
many violins, which have been sold for [,20 to [,25 each,
violoncellos from [,35 to [,42. One of the latter was made to
tbe arder of the late Mr. Edgar $traus in 1891, and was used
by him as bis solo instrument during the whole of the time he
was rcsident in Sydney. Mr. Heaps cxecuted sorne irnportant
repairs for Ovid Musm when the latter was on an artistic
tour in Sydney sorne few years ago.
In the manufacture of ali his instruments he uses only the
bcst material. He has in bis possession a fine stock of syca-
more, sorne of which has been preserved since about 1828.
Of pine for bellies he also possesses a large stock, including a
quantity which was exhibited as music wood at the great
Exhibition in London, and purchased from Messrs. Beinhardt
and Son, ofBohcmia. (See Official Catalogue, Class x. No. 510.)
He also keeps portions of ali the material used by his father in
the manufacture of instruments made during bis life-which
embraces various tcxtures of wood--so that whatever in-
strument comes to him for renovation, he has no difficulty in
matching the material. Mr. Heaps boasts of possessing a
stock of wood largc enough to suffice him for making violins
as long as he lives, but he still continucs to purchase as
opportunity offers, to keep up his stock:, so that at his dcmisc
he may be able to bequeath to his son (who is intended to
follow the profcssion) whatcver may be thcn unused.
He follows his father's model, reduced to 14 incbes. He
keeps a record of the dimensions and thicknesses of ali in-
struments made by bis father or himself, and also of an y
valuable ones which pass through bis hands for repairs, so that
he is able to produce, when requested, new instruments after
any model. His varnish is an oil one, of various colours.
His instruments, both as regards tone and w.orkmanship, ranlc
in the first class.
U p to the time of writing, a copy of bis label has not come
to hand.
HEAPS,JOHN KNOWLES, Leeds: nineteenth century.

Father of the above. He made excellent instruments, which
will be more valued as time goes on.
HEATON, WILLIAM, Gomersal, contemporary. He

was born October 6, 1827, at Hill Top, Gomersal. He is the
son of James and Hannah Heaton, of Gome_rsal, and was
brought up by bis grandparents, Joseph and Sarah Lister, till
he was about nine years of age, at a little out-wíng of his
native village called humorously the W orld's End, on account
of its outlandishness. He received elementary education till
he was about eleven, at which early age he commenced work
with bis father as a joiner and cabinet-maker. Both bis father
and grandfather were excellent work:men, and especially the
latter, who was very deft at turning out small and curious
articles of cabinet work. Joseph Lister also made one 'cello,
of the Stainer model, and a vcry fair instrument it is. This
instrument it was that first fired the imagination of young
Heaton, and induced him to make bis first instrument in
bis fifteenth year : . it was a fiddle of no particular outline
or model, but a pardonable effort. Shortly after he made a
'cello, which was a greater success. His next instrument was
not made till he was forty-five years of age. This was a fiddle
having its back, ribs, neck, and scroll carved out of a solid
piece of sycamore. Since 1892 Heaton has been constantly
at work as a regular maker. Up to the present he has
made I 56 violins, two violas, and eight 'cellos. He is a
slow, patient worker, and turns out only about six instruments
WILLIAM HEATON
VIOLIN A D BOW MAKERS 153
in the year. Thesc-more especially those of his later period
-are of the highest artistic merit, and for tonal qualities
not easily surpassed.
He works on various lines, but chielly on those of Strad.
Thc worlc is not, howcver, a slavish imitation : it has un-
mistakablc marks of originality about it. He has brcatbcd
Strad's breath of life into thc copies, but the body is not
exactly that of Antonio. Thc measurements of thc violins
of bis best period are as follows : -
Length of body 14¡ inchca.

Width acrou upper bouta . 6}¾ ,,
., ., middle bouts 4la- "
., ., lower bouta • 8,h ,,
Depth of riba at bottom 1¼ "
,, ,, top 1fi ,,
Length of ,ound-hole, 3 ..
Di■tance between sound-holes at top 1-ñ ,,
H igheat clevatioo above symmetrical plane-
back ,.
Higheat elention above symmetrical plane-
belly ..
TS
'!'T
u
,,
T he outline is pure, bold, and of masculine rather than

feminine qualities. lt is grand and awe-inspiring rather than
pretty and captivating. The arching is of extended equality,
after the stylc of Maggini. The scroll is a fine piece of work,
and is fairly large and well-proportioned. The distance between
boss-edge and boss-edge is 1tt,in. Thc grooving at the last
turn of the volutc is more protracted and terminates nearer
the centre of thc axis than is usual in copies of ltalian work.
This is a vcry noticeable and picturesque feature of the side
of many of Heaton's scrolls. The peg-box is wide and strong
in wood-a very wise provision. The button is of full
proportions, and could never be bctter made. The sound-
holes are after Stradivari, except that thc curve describing
the upper and lower wings is not so pronounccd as in those
of Strad's goldcn period. The inlaying of the purRc is
perfection. The margin is of mcdium width, and the edges
strong, rounded, and raised. In bis early work Heaton
raised the edges nearly an eighth, but in bis best work there
is no exaggeration. In a specimen now before me the edges
are raised a sixteenth, nicely rounded, thawing with a smile
into the gentle bed of the purlling,
The wood is of excellent quality. The pine of a speci-
men reccntly examined by me was equal to the best I have
seen. The curl of the maple in ali thc Heaton fiddles
which I have seen was of medium width and very regular.
lt would appear as though ali these backs had been cut from
thc same piece of maple-some on the quarter, and sorne
w hole. The hades of the last six fiddles have been taken from
a maplc plank which was seasoned in the Gomersal Church
Bell tower, and the instruments have been " christened" the
"Tower" fiddles. Mr. Heaton has made one fiddle which
he calls the "Gouge." I t derives its name from the fact
that it has been finished entirely, both inside and outside, with
the gouge ; neither sand-paper nor thc file having touched
the wood. Another, on the Guarnerius model, is called the
"Patchwork," and is made of various kinds of violin wood.
Ali the Heaton instrumcnts are well stockcd with wood.
The last fiddle, made a short time since, turned the scales
at eighteeen ounces and a half in the "white."
Mr. Heaton's violoncellos are spoken of very highly. No
less an authority than Mr. Arthur Broadley considers them
to be among the very best work of modern times. A violon-
cello made to bis order, and named the "Chats" in compli-
ment to the popular work on 'cello playing, is said to possess
a remarkable tone. The following rather lengthy quotation
is from a letter of Mr. Broadley's to me anent this instrument,
"The instrument is of original model, and although one
looks to the grcat ltalian masters for perfection of outline and
model, yet the 'cello under notice does not suff'er through
comparison with classical instruments.
"Perhaps the maker more than any which the model
suggests is Banks, tlÍe great English maker, and I think I am
right in asscrting that thc earlier 'cello of Mr. Heaton's malr::c
were copies of this maker, but the 'Chats' 'cello is no copy
of any instrument or any makcr, but the child of Mr. Hcaton's
own fancy. The outlinc is bold yet artistic, and the model
is what one would describe as compact; there does not seem
to be any waste places-everything has been niccly calculated
and the whole effect is very fine. T he purfling, which is
placed rather further away from thc cdge than usual, assists in
giving a boldness to the outlinc which is very satisfying ; but
if one must loolt for originality, pray look at the curves of the
inner bouts, the relative width of the waist, and the cut and
placing of the f boles. Of the latter, the straight-cut, broad
wings are a feature-Guarnerius magnified. So beautifully
balanced are the f 's that this extreme width of thc wings is
not at the first glance observable, but one loolts and wonders
how an old man long past the prime of life has had thc skill
to cut such clcarly defined lines. Purpm-that should have
been the name of the 'cello, not ' Chats.'
"The wholc design of the instrument is characteristic of
a man who has lived his life among the breezy freshness of the
Y orkshire bilis.
" The wood is very fine, well chosen, old, and wcll-seasoned.
The belly is made of rather open-grained pine, of fine tone-
producing qualities ; thc back and ribs are of cxtremely
beautifully-figured sycamore. Thc baclt is in the whole
piece and is made from wood cut on the slab. In this case
the effcct is very beautiful. The figure i best described as
being like moiré sillt. The grain, which is very peculiar,
shows up like the 'watcr-marlts' in the said material, and thc
flames seem to 'shimmer' from every part of the surface.
"Thc tone of the instrument is cxccedingly fine, very
brilliant and plentiful. One great feature of the instrument
is the fine quality of the A string, which to a soloist is of the
utmost importance, and the higher up the string one pla~
the more brilliant does the tone bccome. This is so differcnt
from the usual run of modcrn 'ccllos, which are gencrally thin
in the higher positions of thc A string. The tone of tbe
instrumcnt at every part of its registcr is very cvcn, and it is
thc opinion of severa! professional friends who have seen and
heard the 'Chats' 'cello, that a finer instrument could nat he
produced. It is varnished a brilliant arange brawn."
The value af the 'cella as it stands is placed by Mr. Broad-
lcy at [,50, althaugh Mr. Heatan generally charges fram [,20
to [,30 for 'cellas.
The 'cello, besides bearing the maker's label, has the
follawing inscriptian : -
~ º CHA TS." ~--

BuUt to the order of
MR. ARTHUR 8ROADLEY

PIWFESSOR e/ fl,e VIOLONCELLO,
,t&" ""·
by_Wm. HEATON, Gomeraal 1900.
The dimensians are as follows : -
Width acrocs top 13i inche1.
,, ,, middle ,,
., ,, bottom ,,
Width of ribs, top • ,,
,, ,, bottom ,, (good)
Length oí f'• ,,
Width betwecn f'a at top. ,,
Length ofbody .• ,,
,, ,, ,-ibraúng 1tring •
"
A frant view af this fine 'cella is shawn in the illustratian.
The fo!lowing is a facsimile of the label usually used : -
WILLIAM HEATON,
MAXER,
HILL TOP, GOMERSAL.
Nr. Leed11.
TIIE "CHATS" 'CELLO DV HEATO:-1
(F,ci/ 1900)
VIOLI A D BOW MAKERS 157
HEESOM, EDWARD, London, contemporary: 1745-55.
Stainer mO<lel ; indifferent worlc. Label : -
EOWARD HEESOM,
LONDINI, FEGIT 1745
HENDERSON, DAVID, Aberdecn: nincteenth century.
V ery poor work and tone.
HESKETH, THOMAS EARLE, Manchester, contem-

porary. He is the son of William and Amelia Hastings Heslceth,
and was born in Manchester on August 14, 1866. H is worlt-
shop is at 23 Lower Mosley Street. H is motber's maiden
name was H ilton, and both bis parents were descendants ot
old Lancashire families. He was educated in thc Board and
Higber Grade Schools of his native city. He was apprenticed
to Mr. G. A . Chanot, and the indentures were drawn up on
April 6, I 88 5. He remained as apprentice for five years and
as journeyman for one year. In 1891 he commenced business
on bis own account, and be has remaíned since at the above
addrcss. He was married on Nov. 2, 1889, at St. James'
Church, Moss Side, to Miss Sarah Grace Yates. Thc oflspring
of their union are: Ross Grace, Tom, Florencc Gertrude,
Lillian Jane, and Dorothy Y ates.
He worlcs on each of the following models: Strad, Joseph,
Amati, Ruggeri, Stainer, and Maggini, but copies the two
first principally. He at one time worlced also on two original
models, which he has now discarded, as thcy were on the small
side. A third original model of bis, of fuller proportions, is
succcssful and gives splendid results. lts dimensions are : -
Length of body 14 incb9,
Width acrON uppcr bouu • 6H ..
., middle bouta 41.;. ..
"., ,, lower bouu • 8~\- ..
Length of inner bouta from corncr to corner S--h "
Length of 10und-holc1 3lr "
Distance bctween ■ound-holca at uppcr turna 1t
Hcight of ribs 1 ¼inchca, dimini1hing to 1.¡. ,,
158 BRIT ISH VIOLIN-MAKERS
Two noticeable features of this model are the .ff-holes and
the button. The former are a slíght modification of the
Brescian type, and the Iatter is not of the usual form, but
four-sided.
M r. H esketh has made severa! magnificent copies of an
A . and H . Amati viola. O ne of these which I examined
recently was made to the order of Mr. Rawdon Briggs, of
Hallé's, the Brodsky, and other quartettes. It is of large size,
and considered by its owner a superb instrument. Its dimen-
sions are : -
Leogth • 16ft inchea.

Width, top 7t
,, centre . 5¼ "
., bottom 9f ,,
D epth of bottom rib1 • Iñ h
t
{ Dimioiahed by iocb at top.
Besides the violas on the A. and H. Amati model, he has

made one on the Strad model, 15f in., one Ruggeri, 16¼ in.,
and one Maggini, 15f in. H e has made only two 'cellos,
Strad model. The total number of instruments made up to
date is fifty-five, exclusive of a number of three-quarter size
fiddles, made to order.
M r. Hesketh's wood is of excellent quality. He possesses
a considerable quantity which was formerly the property of
Craske. This latter malcer is said to have bought bis wood at
F orster's sale. The maple of two fiddles examined by me
was somewhat plain in figure, but magnificent for its tonal
properties. In one viola the curl was of medium width and
of mathematical regularity. In another fiddle the wood had
a broad "flame " of unsurpassable beauty. The pine is of
straight grain, moderately narrow in " reed," and acoustically
perfect. The baclcs in the Amati copies are usually cut on
the slab, and those in the Strad and J oseph copies are, as a
rule, either whole or joined.
The workmanship, varnish, and tone of Hesketh combine
to give his instruments a place among the élite of modern pro-
VIOLI A D BOW MAKERS 1 59
ductions, and a high seat even arnongst the mighty. A brief

description oí a typical exarnple of bis work will suffice. This
is a Vuillaurne-Strad copy. The outline is very pure, and the
modelling beautiful. Thc lines of the back are graccfulness
itselí. Thc gentle slope of the arching, as it melts into the
margins, is like the swell of thc well-chiselled breast oí a
goddcss. The margins are moderately wide, and thc edges
full and rounded. The corners are full and piquant. The
scroll and sound-holes both show thc master mind and thc
cunning hand. Thc former is in the true Stradivarian spirit,
although, perhaps, to be scvercly correct, the slope of the
volutc in its dcparture from the boss is not oí thc sarnc angle,
and the boss itself is in greatcr relief. Thc purfling is laid in
without the suspicion of a tremor. The varnish is a rich,
soft, darle, goldcn arnber. It lights up the "llame" of the
wood, which appears likc watcred silk sccn through a film of
stained glass. Thc tone is largc, rich, and responsivc. Hcs-
keth uses both oil and spirit varnishes, of his own composition,
and in ali thc usual colours.
The work is nearly ali personal. Onc journcyman, narned
Robert Elliot Kccn, is employcd. Kccn has been with H cs-
kcth six years (five ycars as apprentice), and is an cxccllcnt and
stcady workman. He hails from Brompton, the birthplace of
the Forstcrs. Another workman, named Georges Boulangeot,
of Mirecourt, was cmploycd for about two years, but he left
in 1898. Mr. Hesketh rcpairs vcry extcnsively. So many
old instruments come to him for repair that he is prevented
from producing many new ones.
! His prices are:-
Violín, ¡;u, 12.1. and ¡;15, 1 51.

Violu ¡;15, 151.
•~u,,. • 2 5 guinc:11.
M r. Hcsketh plays wcll on both the violin and viola. He

has reccntly organised a series of quartette concerts, at which
thc Rawdon Briggs and other quartettes are thc cxecutants.
These quartettes are supplied with instruments madc by him,
160 BRITISH VIOUN-MAKERS
and one of the objects of the concerts is to test and to demon-
strate the worth of instruments of the modern British school.
Thomas Earfe Heskelh ~

Manchester Fecit 1900. ~
HIGSON, DANIEL, Ashton-on-Ribble, contemporary.
He was born at Droylsden, near Manchester, August 13,
1849. He is the eldest son of John and Elizabeth Caroline
Higson. His father was an antiquarian of considerable repute,
and stained glass windows are erected to his memory at St.
Mary's Church, Droylsden, and at St. Thomas's Church,
Lcesfield, Higson has made severa! instruments on an
original model. The workmanship is rather rough, but it is
not without character, and the tone of one violin which I tried
was very fair, Higson has travelled a great deal, and he is a
well-read man. He is an ardent sportsman, and an authority
on wild fowl. He has published a book entitled "Sea-fowl
Shooting Sketches," which is of high merit and excecdingly
interesting. He builds bis own canees, makes gun-stocks, &c.
In short, he is so many-sided that he can never hope to excel
in the exacting art of violin-making. Facsímile !abe!:-
HILL, HENRY LOCKEY, London: 1774-1835. He

was the son of Lockey Hill, the grandson of Joseph Hill, and
the father of the world-renowned William Ebsworth Hill.
He was a pupil of his fathcr, and he worked for sorne time
with J ohn Betts. Later he bccamc partner with his brothers
in his father's firm, and contributed large!y by his excellent
worlc to malee the name of " Hill " one of the greatest fiddle
names in all Britain. The workmanship and tone are mag-
nificent-sufficiently so to furnish the forger with an excuse
to extract the label (if there were one) and inserting another
bearing a more favoured name. I havc seen more than one
Loclcey Hill violonccllo in this country carrying an ltalian
"passport." A renowned 'ccllo player uses at thc prescnt
momcnt a Henry Lockey Hill instrumcnt with a Stradivari
label. lt is of the same measurements as the Strad 'ccllo sent
by Friedrich Wilhelm 111. of Prussia to John Betts in 1810,
to be sold in this country. In ali respccts it is a perfcct copy,
except as regards the varnish and thc purRing. The varnish,
although of excellent quality, and a close imitation, is not to
be compared with that of Stradivari. The purRing is care•
fully inlaid, but not in the manner of the original. Any one
examining the mitring at the corners will perccive the differ-
ence. Careful analysis and comparison of this specimcn with
other Henry Lockey Hill violoncellos revea! the identity of
style. Sorne years ago I saw a violín by this maker, made on
the Amati modcl, with a slab baclc of beautiful figure, which
had a dulcct tone. The colour of the varnish resembled the
brownish-purple tint of the bark of the birch tree in autumn.
Hill frequcntly uscd a light-coloured varnish, which is pcr-
fcctly transparent and very elastic. I have seen only onc oí
bis violas, which was on a modified Amati mO<lel, with a
widened waist, and not over-pronounccd arching. The
tone was • large and deep on the lower strings, and clear
and incisive on the uppcr ones. The scroll was in thc
ltalian style, free and easy, and the sound-holes "clean" and
graceful. The varnish on this instrumcnt was of a pinkish
tint, laid on thinly and niccly polishcd. Altogether t he worlc
of Hill is cxcccdingly fine, and it is a great pity therc is not
more of it.
HILL, JOSEPH, London: 1715-84. He worlred at

" Ye Harp and Hautboy," in Piccadilly, London, under
Pctcr Wamsley, wherc he was a fellow-apprentice with
Benjamín Banks. He worked also in various other places,
L
16:i BRITISH VIOLIN-MAKERS
· and was assisted by bis sons, William, Joseph, Lockcy, and
Benjamin. I have not seen any of bis instruments, but bis
violoncellos and double--basses are highly praised. Mr. Arthur
Broadley uses a small-sized Joseph Hill vio\oncdlo in bis solo
playing at present,
HILL, WILLIAM, London : 17 40--80. I have not, to

my Jcnowledge, seen any of bis work.
HILL, WILLIAM EBSWORTH, London: 1817-95,

One of the greatest names in fiddle !ore. Full justice has
been done to his lifc and work in the very able sketch by the
late Rev. H . R. Haweis, in "Old Violins," to which the
reader is referred.
HILL & SONS, London, contemporary. The prescnt

members of the firm are the four sons of the great Wil-
liam Ebsworth, viz.: William Henry, born June 3, 1857;
Arthur Frederick, born Jan. 25, 1860; Alfred Ebsworth,
born Feb. 1862; and Walter Edgar, born Nov. 4, 1871.
The reputation of the firm is world-wide, and the severa! works
published by tbe Messrs. Hill, including their life of Stradivari,
are too well-lcnown to call for any comment here.
HIRCUT, - - , London: 1600.
HOLLOWAY, JOHN, London: 1775-95. He worlced

at 31 Gerard Street, Sobo. Indifferent work.
HOPKINS, ---, Worcester: nineteenth century. A

fair workman, but he artificially seasoned bis wood, and thus
robbed himself of all future credit.
HOSBORN, THOMAS ALFRED, London: 1630.

A maker of lutes and viols.
HUDSON, GEORGE, Skegncss, contemporary. He

is the son of Richard Hudson, better Jcnown in Lancashire as
"Dick o' New-laith," a famous fiddler, and was born at
VIOLIN AND BOW MAKERS 163'
Goodshawfold, Ros endale Valley, on Feb. 27, 1859. He
has receivcd a good elementary cducation, and has talcen up
chemistry latterly as a hobby. He has madc up to date about
one hundred violins, and a few violoncellos and doublc-basses.
He follows various models, and the workmanship is good and
carefuJ,
HUME, CHARLES DAVID, Hawthorn, M elbourne,

contcmporary. He is a native of Liverpool, and emigrated
to Australia about ten years ago, where he follows the musical
profcssion, and makes violins as a hobby. He obtained a
Diploma of Merit for a case of violins at the Bendigo Exhibi-
tion held last ycar. I have not secn any of his work, and
thcrcfore cannot give further particulars.
HUME, RICHARD, Edinburgh : c. 1530-35. A famous

vio! and lute makcr.
I
IRESON, FRANK HERBERT, Bishop Auclcland,
contcmporary. He was born at Croydon, on Oct. 26, 1868.
He is a pianofortc:--tuner and repairer by trade, and malees
violins during spare momcnts. He follows the model and
dimensions of W alter H. Mayson, and turns out a nice
instrument. The tone is of a bright, plcasing quality.
J
JAMIESON, THOMAS, Aberdeen: 1830-45. Good
worlc and tone.
JANSON, EDWARD POPPLEWELL, Manchestcr:

1840-60, Pupil of William Booth, jun. Average work and
tone.
JAY, HENRY, London: c. 1615-67. A maker of

viols. His work is considered excellent, but I am not ac-
quainted with it and cannot therefore olfer any rcmarks.
JAY, HENRY, London: 1746-68. Amaker of"Kits"
chiefly. The workmanship is very neat, and the varnish of
good quality. The tone of one of these "Kits" which I saw
a few years since was clear and sweet. Jay is said to have
received [.5 for each "Kit" that he sold-a sum which is
equivalent to nearly [.10 to-day. This is hardly credihle,
seeing that Banks and Duke got only f.6 for thcir hest
violins.
Jay made many violoncellos for Longman and Broderip.
The lahel in the "Kit" which I saw and tried read : -
MADE BY HENRY JAY,

INSTRUMENT MAKER,
IN LONG AGRE, LONDON, 1750
JAY, THOMAS, London: c. 1690. Made a few
excellent violins.
JOHNSON, JOHN, London: 1750-60. Average work,

on the Stainer model. Thc tone, although not large, is clear
and penetrating. A very high-arched violin, with thin, dry,
yellow varnish hore the following lahel : -
MADE BY JOHN JOHNSON,

GHEAPSIDE,
17 LONDON 55
JONES, - - , Barnstaple, contemporary. I have not
scen any of bis worlc.
JONES, JOHN, Port Dinorwic, contemporary, He was

horn in Carnarvon, on Feh, 17, 1833. He is a plasterer by
trade, and makcs fiddles en amateur. The workmanship is
very fair, considering that he only took up the gouge very late
in life. The wood is plain, hut the tone is of a good quality.
Jones is a "Cymro" of the old stamp, and a vcry genuine
"character." He has played the violoncello for many years in
the Parish Church; Llanfairisgaer, and thc author hopes to
give a fuller sketch oí his life as a "famous fiddler" in another
volume.
K
KELMAN, JAMES, Abercbirder : nineteentb century.
Commonplace work and tone.
KENDAL, GEORGE, - - , contemporary.
KENNEDY, ALEXANDER, London: 1695-1785.

V ery fair work on the Staincr modd. Label : -
AL EXA NDE R KENNEDt

MUSICAL INSTRUMENT MAKER, LIVING IN MARKET STREET,
IN OXFORD ROAD, LONDON, 1740
KENNEDY, JOHN, London: 1730-1816. A nepbew
of Alexander Kennedy. Indilferent work.
KENNEDY, THOMAS, London: 1784-1870. He

w:is a prolific maker, and turned out at least two thousand
instruments of ali sizes, The workmanship is good ali over,
but the tone is not of equal merit, being often harsh and
metallic. A violín with a birch back and ycllow varnish had
tbe following !abe! : - '
THOS. KENNEDY,
LONDINI, 1860
L
LAUGHER, WILLIAM, Redditch, contcmporary.
He was born at Studley, in W arwickshire, in the ycar 1830.
He is a manufacturer of stecl and plated pins by tradc, and
makes violins as a hobby. His work is neat and well-ñnishcd,
and the tone, although not large, is of a good quality. He
follows various models, and uses oil varnish of dilfcrent colours.
He has made about fifty violins and a few violas. The wood
is carefully selected for i~ acoustic properties. Facsimile
label : -
LEWIS, EDWARD, London: 1695-1730. A mag-

nificent maker, whose work is very rare. In the course of
twenty-five years' connoisseurship I have seen only one of his
violins, which was on a model approximating to that of
Maggini. In this instrument, wood, workmanship, and tone
combined to give the maker a high position in the front rank
of our early makers, The varnish was an oil one, of a rich
golden-red colour, perfectly transparent, and soft as velvet to
the touch. The tone on the higher strings was beautifully
clear and brilliant. I have never heard of a violin of his on
the Stainer model, and I do not think: he copied that maker at
all. Judging from the single instance referred to, I do not
think his taste would allow him to imitate the German high
arch.
No labcl of bis is known,
LIGHT, EDWARD, London: 1780-1805. A lute

and harp maker, He made a few violins also. One o! these,
indifferently made, had the following !abe! : -
EDWARD LI GHT,
MAKER,
LONDON, 1797
LINDSAY, - - , Newcastle-on-Tyne, contemporary.
I know nothing of him.
LINDSA Y, DAVID, Brechin, conternporary. · He is

reported to be a good maker, but I have not seen any of hi s
work. He follows the Maggini model,
VIOLIN' AND BOW MAKERS 167
LINDSAY, MICHAEL H., Stockton-on-Tees, con-
temporary. He was born in lreland on April 12, 1837. He
has been a professional violin-maker for nearly forty ycars.
He follows the Stradivarius model, using handsome wood and
a fine varnish. I have seen on !y one of bis instruments,
which was well made and had a rather small but very sweet
tone. M . Polonask:i has tried sorne of this maker's violins,
and reports very favourably on their tonal qualities. The
Messrs. Balfour, the violín experts, say with regard to bis
varnish that it "should rank among the highest of the
varnishes now in use, being Cremona-lik:e in style." Whilst
unable to endorse all that these experts say in this matter, I
unhesitatingly add that the varnish is of an cxcellent quality.
But it is impossible to form just conclusions either as to work-
manship or tone from the examination of a single specimen.
Mr. Lindsay had a paralytic seizure sorne two ycars ago, and
he is unable now to make new instrumcnts, but has to con-
fine himsclf to repairs. He won a medal for an exhibit of
violins at the Liverpool Exhibition. He has madc a large
number of violins, violas, violoncellos, and double-bass
Facsímile label :-
Miehael L indsay.
Mak.er,
S toc)it on• on-Tee s .
LISTER, JOHN, Leeds: 1720-30. Very ordinary

Stainer copies,
LOGA , JOHN, Biggar, N.B., contemporary. He

is an excellent amateur maker who has made and restored a
large number of instruments. He follows the Joseph, Strad,
and Maggini models. One violin which I examincd was
made on thc Strad model with plates graduated aftcr a
Maggini instrument. Thc tone was large, rich, and free,
He uses the Rev. Gordon Palmer's varnish, whicb he believes
to be the best in tbe mad::et. Label :-
MADE BY
JOHN LOGAN,
ABINGTON, N.B., 1895
LOMAX, JACOB, Bolton, contemporary. He was
born in Bolton in I 850, and he mak:es and sells violins
professionally at I 1 Durham Street, in conjunction witb bis
other and chief business, pawnbroking. He uses bis own.
varnish, and turns out work which, in point of workmanship
and tone, is of average merit. Facsímile label : -
LONGMAN & BRODERIP, London: 1750-73. They

were instrument sellcrs, and not actually makers. Sorne of
our cbief classical mak:ers disposed of their second-rate instru-
ments to them, into which were inserted the firm's trade
label.
NI
M'GEORGE, GEORGE, Edinburgh: 1796-1820. A
pupil and follower of Matthew Hardie, wbo turned out
excellent work. He followed the model of Stradivari chielly,
but Amati copies have been met with. He used a spirit
varnish, whicb is of a slightly bctter quality tban tbat of bis
master. Tbc only undoubtedly genuine example of bis work
that I have seen bore no label.
MAGHIE, JOHN FISHER, Dalston, contemporary,

He was born on Nov. 1855, at Dalston. He received a good
elementary education at the grammar school in bis native
place. H e works on various models, and uses varnish · of a
red or brownish yellow colour. Facsímile label : -
DALSTON ,
!llr
CUMBERLANO
M'GILL, JAMES CAMPBELL, Arran, contemporary.

H e was born in Loudoun, Ayrshire, in 1836. His instru-
ments are well madc, and possess a good round tone. Label : -
J. C. M'GILL,
MAKER,
ARRAN, 1896
M •INT OS H, JAMES, Blairgowrie: 1801-73, lt ap-
pears that he made good instruments, but I have not seen
any of them and cannot say anything about bis work,
M ACINTOSH, JOHN, Galston, N.B., contemporary.

H e was born where he now livcs, at Strath Cottagc, midway
betwecn Galston and Newmilnes-places now become famous
as the centres of the lace curtain industry of Scotland-in
the year 1853. With an inborn predilection for the fine
arts in general, and for music in particular, his attention
became at a very early age centred on the violin, and he
learned first to !ove its rich and melodious tones by hearing
it performed upon by a relative, who was a good playcr of
Scottish reels and strathspeys. Mr. Macintosh is a gentleman
amateur, and makes only from !ove of thc instrument. He
has made severa! violins of the orthodox type, but he also has
cxperimented largcly with the view of discovering the relation
bctween form and sound. Some of his violins are decorated
on the back with portraits of celcbrities and landscapc sccncries
in oil colours. One of thcse is made throughout of oak which
was taken from the roof of the old castlc at Mauchline, said
to be the house whcrcin Robert Burns was married to his
"Bonnie Jean." When the Burns Memorial Museum at
Mauchline was opened, the violin was presented to the pro-
motcrs and gladly aeceptcd by them as a relic worthy of a
place in an institution founded in honour of the immortal
poet Another bears the portrait of Sir W alter Scott, and
has the following ditty inscribed on the back inside : -
" Hey diddle, diddle,

Who made thia liddle ?
I know, I know,
Hey diddle, diddle, here ia the ridclle-
Where did the wood of thie liddle grow ? "
"Sir Lewis Morris," a decorated violín, made on original

lines, has a large, round, and Ruid tone. He uses Whitelaw's
varnish, mostly in dark amber colour. In addition to violin-
making, Mr. Macintosh writes much on antiquity and kindred
subjects, and he has published one or two volumes of poetry.
M'INTOSH, WILLIAM, Dundee, contemporary. He

was born at Abernethy, in 1852. He follows the Stradivari
model almost exclusively, and turns out excellent work both
as regards tone and workmanship. The plates are left thick
in wood, and the arching and edgesºare gracefully finished,
YYYtYYYY
M'KENZIE, MALCOLM, Dumbarton, N.B., contem-

porary. H e was born at Bumtisland, Fife, on Feb. 22, 1828.
He made his first violin at the age of sixteen, since which
time he has made continuously, and has turned out rnany
violins and onc violoncello, The worlananship and tone are

of good average mcrit. Facsimile )abe) : -
MALCOLM M 'J<ENZli;;
0UMBARTON .
M'LA Y, WILLIAM, Kincardine-on-Forth: 1815- -.

W orle and tone vcry indiffcrent.
M'NEILL, JOHN, Edinburgh, contemporary. He is

rcported to havc made severa) beautiful instruments, but I
have not seen any of bis work.
M'NEILL, WILLIAM, Edinburgh, contemporary.

Average work and tone.
M'NICOLL, ALEXANDER, Padanaram: nineteenth

century. Indilfcrent.
McSWAN, JOH , Partid:, contemporary. An amateur

who has madc about twenty violins of about average merit.
MALLAS, ALEXANDER, Leith: 1826-91. He was

a nativc of Aberdeenshire, and a trained millwright by trade.
His instruments are well-finished, and possess a firm and ring-
ing tone,
MANN, JOHN ALEXANDER, Glasgow: 1810- 89.

He was born at Forfar, May 13, 18rn, and died at Glasgow,
April 30, 1889. Mann was a remarkable pcrson in many
respects, and in sorne unique, He was never more at home
than when amongst curious machines, nor more at ease than
when evolving mechanical intricacies. He was for many
years the right-hand man of the conjurer, J. H. Anderson-
" The Wizard of the North." His mystical proclivitics and
)ove of the occult followed him to the ot,/úr, if we are to
bclieve the apocryphal revelations of a well-known author.
I regret that carcful investigation has lcd me to doubt thc
correctncss of many of the tales anent the intercoul'$C between
him and Vuillaume, and I prefer to !cave these, howcver idyllic
their character, severely alone.
Thc few instruments attributed to Mann which I havc had
the fortune to see were not calculated to rousc the connoisseur
into ecstatic utterance. They wcre beautifully made, but
timid and tame. They reminded one of Sir Joshua Reynolds'
criticism of a picture. The great painter was standing befare
a painting by another celebrated artist one day, and on being
asked his opinion of the work, replied : "lt wants--it wants
-d--n me I it wants that." Nothing aggravates the con-
noisseur like frigid monotony. No genius in the poetical world
· ever reached the summit of Parnassus by a path previously
made, and no two great violin-makers ever walk exactly the
same road.
MARNIE, JOHN, Padanaram : nineteen·t h century.

lndifferent.
MARSHALL, JOHN, Aberdeen, contemporary. An

excellent workman, who is famous throughout Scotland as a
neat repairer. He has made a large number of instruments,
mostly on the Stradivari modcl. Label : -
JOH N MARSHALL,
VIOLIN-MAKER,
ABERDEEN, 1887,
J. M.
MARSHALL, JOHN, London: 1750--60. Fairly good
work on the Stainer model, with sometimes exaggerated arch-
ings. He varied his labcls.
MARTIN, - -, London. Little or nothing is lcnown

of hilJl, •
MAYSON, W ALTER H., Manchester, contcmporary.

He was born at Chcetwood, Manchester, on Noy. 8, 1835.
He is a son of Mark Mayson, who was born at Keswick, and
of Elizabeth, eldcst daughter of the celebrated William Green,
/'lu,t". A Rnto11, Stnf/drd
WALTER H . MAYSON
painter in oíls and water-colours. His fathcr was a landed
proprietor in Keswick, and a descendant of an ancient Cum-
berland family. Green, the mak:cr's grandfather on his mother's
sidc, was contcmporary and intimate with Coleridgc, father and
son; Professor Wilson, who wrotc a memoir of him in Blacl-
wood's Magazín, at bis death, and the poet Wordsworth, who
composcd the epitaph now over his grave, in Grasmcrc Church-
yard, closc to where the said W ordsworth lies. He was
educatcd by Thomas W alley, at Cheetham Hill, Manchester.
He was married when twenty-eight years of age, at Eccles
old Church, to Catherine Mary, eldest daughter of John
Ellwood, bandmaster, whom he lost in five months in pre-
mature childbirth. Later he married the widow of Franlc
King, of Manchestcr, by whom he has five childrcn living,
viz.: Sarab Elizabeth; Walter Henry, professor of thc violin
and composer; Stansfield, ditto; Florence Gertrude; and
Leonora Beatrice, His second wife's maiden name was
Hutchinson, and her native place Lcicester,
During his childhood Mayson manifested a strong natural
bcnt for the use of fine edge tools. He made at an early
pcriod severa! articles of cabinet work, and also a number
of JEolian harps. He invented an ingenious contrivance for
this primitivc instrument whereby the usual volume of sound
was more than quadrupled. He showed an carly leaning also
towards literature, He had scarcely attaincd bis majority when
he published a volume of dramatic poetry, which evinced a
considerable wealth of thought and mastery of verse,
He receivcd no training whatever in the art of violin-
mak:ing; he is absolutely self-taught, His first fiddle was
made at "Thc Polygon," Lowcr Broughton, and begun on
Oct. 16, 1873. A few more violins were made at the same
housc. He then removed to a workshop in Burton Arcade,
Dcansgatc, Manchester, wherc he remained for sorne time and
made many instruments.
At this period Mayson sulfered a grcat deal of persecution
from his brother artists (if any one can be called an artist
whose soul is stained with prejudicc). Certain of thc fraternity
sought to put his light under a bushel by dubbing his work
as "amateurish," "unclassical," &c. The inanity of these
epithéts soon became apparent when men of note began to
recognise in Mayson a genius of the highest order.
He ncxt removed to Croft House, Ncwby Bridge, at the
foot of Windcrmere, whcre he remained for six years, and
made many fine instruments. From therc he wcnt back to
Manchcster to open a shop at 62, Oxford Street, whcrc he has
carried on business for severa) years. In September I 899, he
opencd a workshop at 2,56 High Holborn, London, which he
had to el ose shortly after through lack of patronage. · It has ever
been the fate of genius to be recognised by only the few during
its life day. The blinding light of thc sun forbids us to look
at the source of day straight in the face.
Mr. Mayson has made up to the present 733 instruments,
including violins, violas, and violoncellos. He makcs on thc
classical lincs, and also on an original model, but he is no
copyist of any one. His wood is of the choicest 11:1aple and
pine. In both the back :md front tables of bis high-class
instruments it is not a whit inferior to that used by Stradivari
in his finest examples. One spccimen may be mentioned, viz.,
"Cordelia," in which the wood of the back is artistically finer
than anything I have ever seen, classical or post-classical. His
varnish is his own composition, of various colours, and of a:very
elastic oil, perfectly transparcnt and free from any thought of
cracking. In the softer shades it is surpassingly beautiful,
defying the power of description as it defies the possibility of
imitation.
His original model is shown in the annexed plate. As to
íts merit there can be but one opinion: it is the conception of a
lofty mind-the creation of genius. The sound-holes are the
classical conception idealised, and the scroll the quintcssence of
gracefulness and strength. The entire work is the product
of a master mind. Such specimens as "Cordelia," "Eudocia,"
"Hallé-Mayson," "In Memoriam,"" Isidor," "Bianca d'Opia,"
&c., are poems-poems that sing their own poetry in streams
of velvet sounds.
"MEREDITII MORRIS" V!OLIN BY MA\'so:,;
( Ftcit 1903)
THE "CORONATIQ::-;r EDWARD Vll." BY l\1AYS0:S
(Fecil 1902)
The dimensions of his original model are : -
Length oí body 14,/1 i11chea.
Width acro11 upper bouta 6¡ "
,, ,, middle bouta 4¼ ,,
,. ,. lower bouu 8½ ..
Depth of rib at )o,rer bouU I¼ >t
,. ,, upper bouu ,,
Length of aound-hole• •
Diatutce between aound- bole, at upper turn ",.
The arching is moderately pronounced-a triRe more than
that of the flat Strads.
Mr. Mayson is now mostly engaged in carvcd-back: instru-
ments, cboosing rocky landscapes, chielly from the Lake
district, flowers, &c., which are carved most bcauti fully in
low relief.
The illustration facing this page will give some idea of
this beautiful work. The relief is only one-fortieth of an
inch, and the effect is marvellous in so slight a cutting.
The following is a list of Mayson's carved-hack fiddles
down to date : -" Rosa Bonheur," "Moliere," both in scroll
work ; "Anemone," carved in this Rower with a girl dancing
over a shell in the centre ; " Portinscale," a group of youths
at the top engaged in plucking and eating grapes, and anothcr
group at the lower part holding a carouse on the fermented
liquor of the same fruit; "I will arise," Christ ascending
among clouds; "Lord Cavendish" and "Thomas Haviland
Burke," both in scroll worlt ; " Anemone " (No. 2), same as
befare; ce Old Windsor," her Majesty Queen Victoria in centre
of hade, rich drooping Rowers down the sides; "Convolvulus,"
"Thirlmere," "Blea Tarn," "Wastdale" (viola)-scencs from
the Lake di trict; "Ivy," and "King Edward VII."
The fame of Mayson two hundred ycars hence will be
due more especially to his ordinary haclc, original model
fiddlcs, however exalted as works of art the above may be.
Many experts have expressed the opinion that fiddlcs of the
"Hallé-Mayson" class will worthily rcplace the chtfs-d' a:uvrt
of Cremona, when thc latter have become food for wonns.
176 BRIT ISH VJOLIN-MAKERS
A grander fiddle than "Cordelia," e.g., has ncver been made,
never can be made. Another remarkable specimen is "Ele-
phanta," which has only just been completed in London.
This, in the opinion of two experts of eminence, is calculated
to throw lustre evcn on Mayson's fame, though it is difficult
to imagine how it can surpass his previous accomplishments.
The tone of these instruments is most remarka ble. In saying
this it is not assumed that it is now equal in mellowness
to that of the perfect Strads and Josephs left us, but it is
maintained that it runs theirs very closely ·in quality, and
most certainly excels that of most of them in power and
breadth. lt needs but age and careful use to devclop the
tonal qualities of these instruments to put many of the all-
but-deified S trads entirely out of court.
Mr. Mayson names each instrumcnt as he makes it, and in
doing so he has followed a wise plan, seeing that it malc.es
fraud more difficult. There are, in addition, numerous prívate
marks hcre and there in the instrument. A clue as to the
maker's method of inserting prívate marks may be found in
his interesting book "The Stolen Fiddle."
The Mayson violins gained medals at Cork (1883),
l nvcntions (1885), and Melbournc (1888). In the two
former awards an originality in edging was specially men-
tioned as adding to the gracefulness of the work. T his was
a Grecian ogee between tbe purfling and thc rims. His
prices range from [.10 to [.6o.
Thc label is a different onc for each instru!Ilent. The
following is a facsimile of one put in a fine violín.
Mr. Mayson is the author of " Col:izzi," "The Heir of
Dalton," "The Stolen Fiddle," "Violin-Making," and other
works.
MEARES, RICHARD, London : 166o-80. A malter

of lutes and viols.
MEARES, RICHARD, London: 1675-80(?). Son of

the preceding. He made a few violins, but Jeft the trade
soon after his father's death,
• MEEK, WILLIAM, Carlisle, contemporary. A gen-

tleman amateur, who has made severa! beautifully-finished
instrumen ts.
MEIKLE, ROBERT, Lesmahagow: 1817-97. Average

work.
MENTIPLY, ANDREW ADAM, Ladybank, Fife,

contemporary. He was born at Burnside, Boarhills, ncar
St. Andrews, Nov. 1, 1859. He is an amateur makcr who
displays so considerable an amount of ability and originality
as to justify more than a passing notice of bis work. He has
made over fifty violins, a few of which are on the Stradivari
and a few on the Guarneri models, but the majority of them
are on an original model. Thc outline and arching of this
original model are strongly rcminiscent of thosc of Joseph,
but the outlinc is more rounded, especially in the inncr bouts
or C's, and the lower or broad end is more extended. The
scroll and sound-holcs also diffcr materially from thosc of the
grcat classics, thc former being quaint and plcasing in cffect,
but the latter ovcrdonc and bordering on a caricature. Mr,
Mcntiply's intcllectual orchard is exuberant in growth, but it
wants pruning. The classics are not to be depreciated as a
means of cducation, and much less as objects of worship.
The workmanship and tone are cxccllcnt, but the varnish is
very inditfercnt. If this maker cxercised a little self-restriction
and used better varnishes, he would turn out work that would
M
rank besidc thc best produccd in Scotland to-day. Facsimilc
!abe! : -
MENZIES, JOHN, Falkirk: 1820-31. I havc not

sccn any of bis worlc, but it is said to be very good.
MERLIN, JOSEPH, London: 1765-80. Stainer model,

fairly wcll made, but posse&1ing a poor tone. The varnish
is mostly dirty yellow or brown of an inferior quality.
His mcchanical pegs for violins and violoncellos wcre at onc
time in considerable use. Label : -
JOSEPHUS MERLIN CREMONAE EMULUS.

NO. l04. LONOINI, 1779. IMPROVED.
66 QUEEN ANN STREET EAST, PORTLAND CHAPEL
MIER, - - , London: e, 1780.
MILLER, - - , London: c. 1750.
MILLER, ALEXANDER, St. Andrcws: 1813-77. A
pupil of Thomas Hardie. I have seen only two of his violins,
which were wcll-madc instruments, possessing a ñrm but
somewhat metallic tone. At bis death Miller possessed a
large quantity of excellcnt violin wood, which was securcd by
Mr. John Logan of Biggar.
MILLER, JOHN, Dundce, contemporary. He was

born in the Orkneys, Sept. 18, 1861. His work is cxccllent,
but thcre is so little of it that he cannot claim more than a
passing notice.
MILNE, PATRICK J., Aberdeen, contemporary. He
was born at Aberdeen, on Jan. 30, 1873. He follows the
usual models, and has made about thirty violins, besidcs repair-
ing a large number. He uses both oil and spirit varnishes;
colours : orange, light and dark brown, and dark red. The
workmanship is much above average, and the tone fairly
good. He repairs very neatly, and has done considerable work
now and again for sorne of the London houses. Facsímile
Jabel :-
PATRICK G. MILNE,
~~
MINER, D. BROWN, Dunfermline, contemporary. I
havc not sccn any of bis work.
MITCHELL, GEORGE, Edzell: 1823-97. I have

not seen any of bis work.
MITCHELL, JOHN, Dunfermline, contemporary.
MOFFATT, W. J.
MONK, JOHN KING, Lewisham, contemporary. He
was born Jan. 22, 1846, and is a direct descendant of
General Monk, of Commonwealth fame. He works on thc
Stradivari model, but he has slightly modified the outline,
making the corners fuller and more prominent. Thc sound-
holcs are considerably modified, and although they have much
force of character and a piquancy ali their own, yet one is
constrained to wish that the makcr had rcst content with his
classical prototype. In thc matter of workmanship, this malcer
is capable of doing better than he sometimes does.
He has used sundry sorts of wood, ali of good quality. He
1 So BRITISH VJOLIN-MAKERS
fomged Shoreditch cabinet-ma.kers' stores sorne years ago for
material, and stumbled across severa! slabs of rnaple and one of
sycarnore, which had lain by for generations tíll it had got
very dark. Sorne portions of this were very handsome when
cut up. The pine which he has used up to the present was
taken from an old warehouse at the foot of London Bridge,
built in 1830. This sarne warehouse was removed to another
part in 1860, and in 1886-87 was taken down, when Mr.
Monk took advantage of the opportunity of securing the wood
that suited bis purpose. He has used ali this pine with the
exception of sorne odd pieces, and two small blocks sufficient
for two bellies.
His varnish is oil, and of various colours, ranging from decp
red to golden yellow. It is perfectly transparent and fairly
brilliant.
He is the inventor of the triple bar systern, which he
applies to worn-out old and to cheap modern factory fiddles.
The system consists in the use of threc bass bars instead of the
usual one.
He has made up to date ninety violins and a few violas.
MAK@R,
-···-·-··-··· . ....199f'
MOORE, ANTHONY JOHN, Sunderland, contem-
porary, was born in Monkwearmouth, in the year 1852. He
is the eldest son of the late Captain Thomas Moore, at onc
time well known in the lndian and China trades. He was
educated at the academy of the Rev. William Parles, in
Ravensworth Terrace, Monkwearmouth, and also at the
schools of Mr. James Cameron, in North Bridge Street, and
of Mr. J ohn Cameron, in Blandford Street, of the same place,
He is an artist by profession-a paintcr of the sea ahd

tidal rivers. About fifteen years ago he first saw the work of
Hart on thc violín, and he was so much impressed with its
many illustrations that he became enamoured with thc king of
instruments. In the year 1886 he made his first violín, and
since thcn he has rnade a considerable number. He spends
most of bis leisure time in experimenting and in working out
the geometrical construction of the instrument, with the vicw
of by-1md-by turning out fiddles that will be reprcsentative of
ali that is excellent in the modero school.
The one instrument of bis make which I examincd was
beautifully made, and had a large and telling tone. Its out-
line and arching were on the Joseph model slightly modified.
The wood of the front table was an cxtraordinary piece of
timber, and seemed fresh, considering its great age. The
scroll was nicely carved, but possessed more of the feminine
characteristics than is perhaps allowable in copies of Joseph.
The button was prim and prop. The margin was oí medium
width, and the edges gently rounded. The sound-holes were
piquant and expressive. The varnish was an oil one oí
Mr. Moore's own composition; colour: golden yellow. I
was particularly pleased with the tone of this instrument. It
was perfectly clear and responsive in ali the positions, and the
harmonics were as crispas the jingle of frozen rush blown by
the breath of winter. I have no knowledge whether Mr.
Moore is always equally successful in producing a good tone.
Facsímile label :-
ANTHONY JOHN MOORE.

SUNOERLAND Fé()IT A ~ /lf'?
TABLE MA.OEOFWOOO 200 YEARS OLO .
@ NO//
MORGAN, JAMES, Edinburgh, contemporary. He
was boro in Kincardine-on-Forth, in the year 1839. He was
apprenticed at the age of fourteen to a cabinet-maker, who was
a first-class workman, and an occasiof!al maker of ali sorts of
musical instruments made of wood, including violins. During
apprenticcship he made about a dozen violins and one violon-
cello. Leaving Kincardine, he settled down in Edinburgh,
where he made severa! violins of such excellent workmanship
and tone that brought him quickly to the notice of sorne of che
musicians of the town, At this period, however, he passed
through a religious crisis, and viol in-making and playing were
cast aside for twenty-eight years. When he next took up the
art he was considerably past the meridian of life, and had
reached the age at which it is usual for men to céase from the
harder activities of life, This does not imply that he does not
now turn out instruments of a high order, bue that they are
few and far between. It is a pity that Margan cver laid by
bis gouge, and especially so when it is considered that religious
scruples were the cause. It was never intended that rcligion
should rob art of its fruit.
He works on the Stradivari model, using very choice
materials, and Whitelaw's vamish. The tone is large and
mellow. Facsimile inscription :-
MORRISON, ARCHIBALD, Glasgow : 1820- 95. He

worked in Great Hamilton Street, wherc he hada violín shop,
and where he made a large number of instruments, sorne fairly
good, but most of rather under average merit. The little of
bis work that I have sccn was of a very indilferent charactcr.
Morrison appcars to have been a far better player than maker,
and his shop was thc rendczvous of fiddle enthusiasts and
players, who were known in Glasgow as "Morrison's Band,"
Label:-
ARGHIBALD MDRRISON,
MAKER,
GLASGOW, 1875
MORRISON, JAMES, Dunfennline, contemporary.
An amateur makcr of average attainments.
MORRISON, JOHN, London: 1760-1827. He workcd

in Princes Street, Sobo, in Shadwell, and at Little Turnstile,
Holborn. I have ncver secn any instruments bcaring his )abe).
I think he must havc worked exclusively for the dealcrs.
MURDOCH, ALEXANDER, Aberdcen : 1815-91.
MURRAY, DANIEL, Edinburgh, contemporary.

Ordinary work.
MURRA Y, DAVID, Gorcbridge, contcmporary. He

was born at Greeburn, Linlithgowshire, Dec. 30, 1850.
He is an amateur maker of far more than average ability, and
did circumstanccs but allow him to procure good material, he
would turn out work which would be in every way excellent.
As matters stand, Murray has often to rest content with any
sort of timbcr he can piclc up. When he docs sccure a piecc
of good wood, he spends rnonths in fondly shaping it, and in
tracing out of the inert block lines of living bcauty. He
works on an original model, or perhaps it would be more
correct to say models, seeing that no two of his instruments
are exactly alike. Each violin has an individuality of its own,
and yet "David Murray" is writ large on the face of every
one of them. The workmanship is faultlcss, and thc tone
has a peculiar crisp yet swcet quality which is novel and
pleasing. He has made about sixty violins. Labcl :-
DAVID MURRAY,
MAKER,
GOREBRIDGE, 189-.
MURRAY, JAMES, Dumfries, contemporaiy. He was
born at Lockerbie, July 11, 1857. An amateur maker of
.average ability.
MURRAY, JOHN BROWN, Clarebrand, contcm-

porary. He was born at Ringanwhey, Kirkcudbrightsbíre,
May 21, 1849. He has made several excellent violins on the
Stradivari model. The work is beautifully finished, and tbe
tone is bright and penetrating. Facsimile la bel ..:._-
N
NAYLOR, ISAAC, Headingly, Leeds: 1775- 90. A
pupil of Richard Duke ; and he has reproduced many of the
salient features of the master in his work.
NEWTON, ISAAC, London: 1775- 1825. He made

mostly for the trade, particularly for Betts. Both work:man-
ship and tone are of good average merit.
NICOL, THOMAS, Glasterlaw, contemporary. He

was born in tbe parish of K irkden, Forfarshire, June 10,
1840. He h~ made about sixty violins on the models of
Stradivari and Guarneri. On his firsts elforts he used a spirit
varnish, but he now uses Whitelaw's. The work is carefully
done, and the tone is free and powerful. Label :-
T, NICOL,
18 MAKER 97
NISBET, WILLIAM, Lint Mill, Prestonkirk: 1828-
~902. He was born at Stenton, Jan. S, 1828, and died at
Lint Mill in 1902. He reccived no school cducation in early
life, his fathcr, who was a labouring man, giving him what
home teaching he could. He was, however, possessed of wide
information upon a variety of subjects, and distinguished in
mechanical knowledgc and skill. The R~v. G . Marjoribanks,
vicar of Stcnton, thus concludes his account of Nisbet's life
and work in the Hoddington Couritr: "lt is not too much to
say that, in whatever direction be has turned bis energics, he
has always cxcellcd. Few, indeed, would supposc that the
modest-looking yct trim little cottage which stands near thc
picturesquc ruins of the old mili, was occupied by a man
posscssed not only of rare technical skill, but of such accurate
and extensivc information, gathcrcd mainly from personal obscr-
vation and study in the fields of natural history and sciencc,
whcthcr as a photographcr, wood-carver, carpen ter, basli:ct-maker,
violin-malcer, or in more reccnt years as a mark:et-gardener,
thc productions of bis genius and labour havc been equally
admired and appreciated, and this none the Jess becausc ac-
companied by a singular modesty of character and dcmcanour,
and without bis having had the benefit of any special training
and education. In short, if the well-ltnown author of 'Self-
Help • wishes to find solid material for a new biographical
sketch, he could hardly do bettcr than select for bis theme tbe
subjcct of this littlc notice."
Nisbet made 120 violins. The earlier oncs are on the
modcl of Maggini, and the later ones are said to be on
the model of Ama ti, "with a broadencd waist to give more
tone." Thosc examined by me were not on the Amati
model at ali, thc differences being so marked a.nd numcrous as
to justify one in describing the model as original. Tbe
following measurements, taken from an instrument made in
1891, will bcar out the last statcment : -
Lcngth of bodf 13H iacbet.
Width acroH uppcr bouts 6¼ ,,
,, ., middlc bouta •t ,,
., ., lowcr bouta 8! ..
Diaumce bctwccn cornera 3ft "
Length of souod-hole1 , 2{ incbes.
Distaoce betweeo souod-holes at top . Jt ,,
Depth of ribl at top and bottom 1¼ "
The workmanship is excellent, and the tone large and
telling. The only faulty part of the work is the varnish,
which is a spirit one of a dull, lifeless colour. He was awarded
two bronze medals for an exhibit of violins at the Edinburgh
lnternational Exhibition in 1886.
Nisbet used no label, but inscribed with a hard lead pencil
on the back in the place where the label usually stands the
folJowing : -
\y~ Ni.sl,~1::
Li11.l: .Mill.
/MI
NOBLE, HUGH, Dundee, contemporary. An amateur
of good average ability.
NORBORN, JOHN, London : c. 1720,
NORMAN, BARAK, London: 1688-1740. A pupil

of Thomas U rquhart, who worked in Bíshopsgate and aftcr-
wards in St. Paul's Churchyard. I havc not seen any violins
of his makc, but I have seen two violoncellos. U nfortunately,
the notes of these instrumcnts which I made at the time have
been lost, and I cannot say anything about them from memory,
but I have a distinct recollection that one had a most plcasing
tone. The biographical particulars are familiar to ali who are
interested in violin literature, and need not be repeated here,
seeing that I have nothing new to write about this makcr.
NORRIS, JOHN, London: 1739-1818. A pupil of

Thomas Smith, and for sorne time (1765-80) partner with
Barnes.
o
OMOND, JAMES, Stromness, contemporary. He was
born in Halkness, South Walls, June 23, 1833, and works as a
professional maker at Kirbuster, Stromness, in the Orkneys.
He received elementary education at a public school in his
native place, and also at the parish school. At the age of
sixteen he took charge of a small school in an adjacent island
containing only seven families. Soon after he took charge of
this school he found that he needed to be better equipped for
the profession of a schoolmaster, so he attended the Stromness
school at intervals, and also learned navigation. He finally
equipped himself for his work at the Edinburgh Training
College. After bis college career he was appointed master
of the society school in the parish of Stromness, where, through
pressure of work, his health gave way. He completcly lost bis
voice for eight years, and, after the passing of the Education Act
of 1872, he was invalided on a limited pension, He now had
to turn his attention to sorne other means of livelihood, and he
picked up watchmaking and repairing. This was not con-
genia! to his tastcs, so he decided upon violin-malring. To
this art he has devoted bis time and energies since the year
1873. That he wisely deliberated in his final cboice of a
calling i amply borne out by the succcss of his gougc. He
succeeded almost from the first, for the mechanical part of the
work gave him little or no difficulty. He had learned how to
handle edged-tools at the workshop of his father, uncle, and
brother, who were general carpenters and boat-builders, and he
set about diligently to obtain knowledge of the science of violin
construction by corresponding with such authorities as Mr.
Horace Petherick, Mr. George Hart, &c. From the former
of these gentlemen he got very valuable hints, and to him he
is largcly indebted for his succcss.
Mr. Omond was married in 1860 to Jane Groat, of South
Walls. He has four sons and one daughter-James, John,
Jane, William, and David. He is a genial old gentleman,
with a face beaming with Orcadian humour and a heart
alfectionately attached to the kirie of his forefathers.
He spends bis time in the company of the great Antony
and Joseph, with an occasional excursion to the lonely, weeping
Gio. Paolo. He is not a slavish copy_ist; on the other hand,
he sometimes modifies the lines and vaulting of the masters,
and he not infrequently develops the scroll and sound-holes in
a manner quite original. The outline measurements are nearly
always identical with those of the archetypes, but thc thickness
of the plates is uniformly grcater.
One noticeable feature about the sound-holes is the acut~
ness of the inner angle of the lower wing. This, in a large
majority of cases, is developed into a fine point, somewhat after
the manner of Otto.
Up to the present he has made two hundred instruments,
including violins, violas, and violoncellos.
The workmanship and finish are perfect-the greatest care
being manifest even down to the minutest detail.
Mr. Omond's wood is excellent in quality and very often
fine in appearance. The grain of the pine is moderatcly wide,
and the "reed" well-defined and straight, showing a healthy
growth. He often manages, in spite of bis living at so great a
distance from a good market, to hit upon a very good piece of
sycamore or pine, which he knows well how to use.
Mr. Omond has never atternpted to malee bis own varnish.
Like a certain king we read of in olden times, he is blest with
a sense which is rare amongst men, viz., the sense to know
what cannot, as well as what can, be done. He has no know-
ledge of chemistry, and knows that it would be a waste of time
for him to dabble at varnish-making. He uses Calfyn's, or
sorne other good varnish, mostly in amber or orange. He lays
it on very carefully, first preparing the surface of the wood to
a fine polish, and then with a clean rag dipped in the pale
varnish he puts on the first coat in a thin film, so as to prevent
it soaking into the wood. The coloured varnish is also put on
thin, and each coat allowed good time to dry.
Omond's instruments have gained the following awards : -
Diplomas of merit at Central International Exhibition, Me!-
JOHN WILLIAM OWEN
bourne, 1888 ; International Exhibition, Edinburgh, 1890 ¡
East End Industrial Exhibition, Glasgow, 1891 ; National
Trades and Industrial Exhibition, Glasgow, 1895~6. With
the last he got a bronze medal, the highcst award they gave.
lt may also be mentioned that at the Fisheries Exhibition,
Edinburgh, he obtained a silver medal and [,5 for an essay on
ñshing-boats and a model of an improved boat.
He sells bis instruments at a very moderate figure, ranging
from [.3 to [,io. He plays well on the fiddle, though with
him playing is subsidiary to making, and only taken up com-
paratively late in life for the purpose of testing his work.
Mr. Omond, it may fairly be asserted, is in the front rank
of modern Scottish makers. His work is downright honest,
unsophisticated, solid British work, and his devotion to the art
will materially help to sustain the fame of Scottish violin-
makers. Facsimile label : -
OWEN, JOHN WILLIAM, Leeds, contemporary. He

was born in Leeds, May 281 1852, and works at Amati House,
Merrion Place, New Brig~te. He is the only child of
William and Hannah Owen, the father being a native of
Congleton, and the mother of Chester. The latter, whose
maiden name was Rimmer, was of a highly artistic turn of
mind, and without a rival as a designer in fancy work. Owen
received his early education at an elementary school in his
native town, but it was discontinued at a stage which made
it necessary for him to supplement it by attendance at scientific
classes in the evenings later on in life.
He was apprenticed to thc engincering trade, but the work
proved too heavy for him and his health gave way. He was
an invalid for about three years, and was obliged to get
constant medica! attendance, On recovering, his doctor
advised him to give up ali business except that of violin-
making, which he had taken up as a hobby previous to his
illness. He acted upon this advice, and as he gained in
strength he took up the art of making and repairing more
thoroughly. He spared no elfort in gleaning information on
the subject from every available source. He acquired both
theoretical and practica) lmowledge from expert workmen,
and he went to France, visiting one ate/ier after another, with
the same object in view.
It sometimes happens that good comes out of evil. It is so
in this instance : the ill-health of Mr. Owen is responsible
for one more splendid addition to the roll of British fiddle-
makers. We do not regret his severe illness provided that it
has not shortened bis thread of life, and that it will not,
Phrenix-like, rise again from its own ashes,
He commenced violin-making in 1884, but the business
at the start was not continuous. Since his recovery it has
been carried on without intermission. Up till now he has
made about a hundred new instruments, including violins,
violas, and 'cellos, He has also made a large number of new
backs and bellies for instruments belonging chieffy to dealers.
He has repaired very extensivcly. He keeps a record of every
instrument tbat passes through his hands, and the list stands
now at 3721. He works on the Stradivari, G uarneri, and his
own models, The fiddle submitted to me was original in
outline and modelling. Its dimensions are:-
Length of body 14¼ inchea.

Width of upper bouts
6t "
lower bouta 8¼ ,.
." middle bouta
Length of inner bouta from comer to comer
4i n
3 "
Length off holea
3 "
Height of riba • l inchct, diminiahing to •
llT "
\ ' 101.IN DY JOHN w. mn::-i
( Fui/ 1903)
Thc outlinc of this fiddlc is very pure and graceful, and

every individual part is in perfect keeping with the whole.
The margins are full and the edges strong, slightly raiscd, and
beautifully rounded. The scroll is an exquisite piece of work;
it is thrown with a masterly hand, and is full of refined
strength. The interior is finished as carefully as the exterior.
The blocks and lining are faultless, showing not thc slightest
trace of glue. The mitres of the fiddle cxamincd by me were
geometrically perfect, having facets of nearly a millimetre in
width. This style, it must be conceded, is more in kecping
with thc outlinc than thc "knife-edgc" facet. The wood is
cxccllent. The curl of the maple is of narrow width and
very regular, and running at an angle of thirty degrees to the
long axis of the fiddle. The front table has been cut from a
slab that obtained a pri2e for excellence at the I 851 Exhibi-
tion, and it has a "reed " of medium w idth. Mr. Owen was
fortunate in being able to purchase a considerable quantity of
Exhibition wood, and is thus enabled to put superior material
in his higher class instruments. The varnish is an oíl one, of
the maker1s own composition ; colours : yellow to deep red.
In the spccimen cxamined by me it was a rich red with a
golden tinge, very brilliant and transparent. The chief
characteristics of this maker's tone are breadth and brilliancy.
It is a tone which, when time has mellowcd it, will subdue by
reason of its grandiose timbre. The awc-inspiring and the
grand are required in the realm of sound as in that of form.
Perhaps Mr. Owen claims attention evcn more on account
of his violoncellos than his liddles. In Mr. Arthur Broadley's
opinion, these stand alone of thcir kind in the midst of modern
productions. He says : " The latest 'cello is beyond every-
thing. In workmanship it is perfect ; in tone nothing bctter
could be desircd-big, brilliant, and of good carrying powcr,
casy to play on at every part of thc instrument." Thc 'cella
to which Mr. Broadlcy refers is of fine proportions, and slightly
higher in model than the earlier ones. Mr. Owen made about
two years ago a 'ccllo for Mr. David Dixon, 'cellist at the
Thcatre Royal, Bradford. Thc instrumcnt was vcry reccntly
secn by Mr. Van Bicne, and said to be worth at prcscnt .!150.
19:2 BRITISH VIOLIN-MAKERS
Mr. Owen malees bows, violins, violas, violonccllos, and
double-basses. Ali the work is personal. He employs no
workmen, but he is assisted in the workroom by his daughter,
Ivy. His prices are a trifle more moderate than is usual in
these days of high figures. They are : -
For violins. from¡;u
For viola • " ¡;15
For 'celloa . ,, ¡;20
He was married to Miss Jane E. Beresford in December
1879, in York. Their offspring are :-Leonora Bercsford,
Jenny Stella, Ivy Rimmer, Adelina, and Paulina. In private
life he is amiable and blameless, In bis art he is an enthusiast,
To the outsider he may seem to be crazy on the subject
of violin-making. He has a firm belief in his own powers,
and has the conviction that he has found bis vocation in the
making of stringed instruments. This gentle egotism is not
to be condemned ; it is a psychical state in which the mind
of every born luthier is bound to find itself. And herein lies
the test betwccn thc born artist and the artist that is madc.
Mr. Owen has played the violin from childhood, and has
also studied harmony and composition from an early age.
He gave violin lessons at one time, and enjoyed a con-
siderable reputation as a teacher. He for sorne time also acted
as deputy leader at the local theatres when occasion rc;quired.
Facsimile !abe! : -
A fine violin, made on an original model, is shown here.

DAN!EJ. PARKER VIQLI:-,.
(In the Collcction oí Mr. C. CLOSF., Dagmar Lodge)
VIOLIN BY DANIEL PARKER
(/·",,,.;, 17 1-i)
(Kow in t hc posscssion of Mr. RICHARD H1LTON, Matlock Bridge)

The labcl is not dated, but the date is inscribed on the
bare wood aftcr the makcr's autograph.
p
PAMPHILON, EDWARD, London: 1670-90. Thc
instruments of this old maker are a sort of cross-brecd between
tbose of Brescia and Absam. He had evidently seen and
handled instruments of both schools, and becamc conscquently
unscttled in his mind as to what coursc to pursue. The
outline, scroll, and double purff.ing are Brescian, but the
arching is distinctly Tyrolese. The workmanship considered
p,r st is exccllent, but it is devoid of taste, and in a fcw matters
of dctail, to wit, the tcrminals of the sound-holes, it sceds into
ecccntnc1ty. His tcnors, likc bis violins, are of a small
pattern, but thcir tone is swect and pcnetrating. He uscd
ambcr ycllow varnish of good quality, which in many cases
looks wcll and almost frcsh to-day. I douht whethcr therc
are any Pamphilon instruments in existencc bearing original
labcls.
PARKER, DANIEL, London: 1700-45. Thc infor-

mation which is usually given rcspecting this rnaker is mis-
lcading, and most writcrs contcnt thcmselvcs with rcpeating
carly errors in almost the same words. Hart, Hawcis, and
Miss Stainer givc hi period as bcing 1740-85, and Fleming
as 1715- 8 5. As a mattcr of fact they are ali wrong. There
are undouhtedly genuinc examples of bis work bearing thc
dates 1712, 1719, 1726, and 1732 still in existcncc. Thc
carliest which I havc seen is dated 1712, a specimen which
has bcen pronounced genuinc by thc Mcssrs. Hart, and also
by the Mcssrs. Hill. lt is on the long Strad modcl, slightly
modified, and with a rather doubtful scroll. Mr. Richard
Hilton, of Dcrby House, Matlock Bridge, is tbc owncr of this
intcresting instrument, and for the illustrations (scc opposite) of
this carliest known example oí Parker I have to tender him my
sincere thanks. It has been surmised tbat Parker was thc
N
194 BRIT ISH VIOLIN-MAKERS
pupil of Pamphilon, or of U rquhart, or of both, but on what
ground it is difficult to understand, as there is not the remotest
resemblance between his work and that of either of these.
I t is not necessary to suppose that he was a pupil of anybody,
for he was a born artist, and endowed with natural mechanical
skill. Given an artistic mind and an aptitude for tools, and a
man may by hard work and perseverance develop into a first-
class luthier without undergoing the usual routine of long
apprenticeship. Parker's instruments are typical examples of
British work of the classical period. They embody the
strong points of those who may be considered to be above
him, as well as sorne of the weak points of those who wcre
below him. He was a good maker, but only a moderately
good copyist. His fiddles will never pass as ltalians, because
they are too thoroughly British in charactcr. Strongly built,
honest, and unpretending in demeanour, they should prove to
be objects of uncommon interest to the connoisseur. Parker
copied (or tried to copy) Stainer, Stradivari, and N. Amati.
The workmanship is much the samc throughout ; free, firm,
and rugged, with little or no feminine gracefulness smiling from
its lines. The varnish is of exccllent quality, tender, and of
various reddish shades, somctimcs a little thick and dull. His
tone has much the same characteristics as that of Banks.
Comparatively few of this maker's instruments bear his label.
H e was a man who lived in thc future, and ,-ho sacrificed
immediate reputation as much as the exigencies of time and
tide would allow him. He evidently did not worry about
fame, and was content to dispose of his ware to thc trade.
Had he worked his plates thinner, and thought it worth his
while to copy the reigning god (Stainer) more closely, he
doubtless would have attracted universal patronage. But
D aniel was of a philosophical turn of mind, and gave to the
world the milk of wisdom rather than the sweets of fancy.
What is considered to be the finest Parker violin in existence
is owned by Clarkson Close, Esq,, of Dagmar Lodge, Leeds.
This is also on the long Strad lines (see illustration), with red
amber oíl varnish, and a magnificent scroll.
This example is considered by the Messrs. Hill to belong
to the year 1700, or thereabouts. I would urge that in point
of detail and general eflcct it resembles much more the instru-
mcnts madc in 1726 than it does those made in 1712 and 1715,
Parker made his best instruments from about 1720 to 1727.
The tone of this instrument is bright, clear, and powerful.
PATERSON, JAMES, Edinburgh: 1834----98. A

cabinet-makcr by trade. He made copies of Guarnerius,
and also very good ones of the "Count Cessol" Stradivari
in thc posscssion of Mr. W. Croall. He uscd Dr. Inglis
Clark's varnish. He obtained a bronze meda! for a case of
violins at the Edinburgh Exhibition, 1890.
P ATRICK, WILLIAM, St. Andrews, contemporary.

He was born at St. Monance, Fife, in 187 2. A beginner
who promiscs to turn out good work by-and-by. He handles
his tools well, but has severa! mistakes to rectify in matters of
style, &c. Facsimile label, : -
PA YNE, R., South Shields, contemporary.
PEARCE, GEORGE, London: 1820-56. Worked

with S, A. Forster,
PEARCE, JAMES & THOMAS, London : 1780-

1810. Brothcrs. Thcy worked in Peter Strect, Saffron
Hill, Indifferent work.
PEARCE, WILLIAM, London : nineteenth century.
Average work.
PEMBERTON, EDWARD, London: c. 1660. I
have not seen or heard of anybody living who professes to
have seen violins by Pernberton, Sorne have written as
though they had seen nurnerous eJ<amples of Pernberton's art,
but I have inquired diligently far the last twenty years far
definite particulars, and none are farthcorning. The legend
of thc " Earl of Leicester " violin has been laid to rest
long ago.
PERRY & WILKINSON, Dublin: 178o----1830. Sorne

of their instrurnents are eJ<cellent as regards workmanship and
tone, and ought to be diligently sought and carefully kept, I
saw one years ago at Fishguard, which was on the grand
Stradivari rnodel, with golden red varnish, and a swcct, liquid
tone. No doubt it has found its way to sorne dust heap
long ago.
PICKARD, HANDEL, Lecds: nineteenth century.

I can give no particulars of his lifc or worlt,
PINE, - - , London : nineteenth century.
PLANE, WAL TER, Glasgow: 1804-79. Stradivari

model. The workrnanship is good, but the varnish is a hard
spirit one, and the tone loud and piercing. Label : -
WALTER PLANE,
GLASGOW,
1860
POWELL, ROYAL & THOMAS, London: 1770-
1800. Two brothers who did most of their work far William
Forster and his son. Careful worltmanship, but rather weak
tone.
PRESTON, - -, London : , . 1720.
PRESTON, JOHN, York: 1780-1800. He was capable

of turning out very good work, but most of his remains show
carelessness. T he line is not at ali bad. Labels (there were
several, of which the following is one) ; -
JOH N PRESTON,
FEGIT, YORK. 1789
PRIESTLEY, A. W ., Leeds, contemporary.
PRIESTNALL, JO H N, Rochdale: 1819-99. He was

born at Saddleworth, near O!dham, in Nov. 1819, and died
at Rochdale, Jan. 18, 1899. He was originally a JOtner
and pattern-maker, and noted as an ingenious workman,
and the discoverer of severa! improvements in wood-working
machines. He worlced occasionally at violin-making in early
life, but in 1870 he began to devote the whole of his time to
it, and the remaining years of his life was spent as a pro-
fcssional maker. At the time of his death he had completed
three hundred violins, thirty violas, six 'cellos, and eight double-
basses. H is instruments are well finished, and possess con-
siderable originality. H is wood is mostly regular in figure,
cut on the quarter, with the curl running at right angles to
the long axis. The sound-holes are quaint, but pleasing.
The scroll is thrown with a decided hand. The edges
are full and rounded, and the purRing nicely inlaid. The
varnish is an oil one ; colour, deep golden ambcr, lt is
t ransparent, elastic, and tender- rather too tender, seeing that
a fiddle which was made in 1884 is not yet quite hard-dry in
1902. One suspects that a varnish wbich does not thoroughly
set in eighteen years will never set at ali. Apart from this
one defect, thc varnish is very heautiful. l t is laid on in about
half-a-dozen coats, and nicely polished. The tone is large
and telling, and possesses much of the ltalian oiliness, but it is
rather viola-lilce on the lower strings. I am told this is a
characteristic of ali his instrumen ts. evertheless it is a
highly rcspectahle tone, and stamps Priestnall as a malcer of no
ordinary ability. H ad he been more conversant with ltalian
work of the first rank, no doubt sorne of the three hundred odd
examples of bis art which he left behind him would be eagerly
sought after to-day by orchestral players.
As a repairer Priestnall was justly famed. Instruments
carne to him from ali parts, and he repaired hundreds of ali
descriptions, mostly of the English and French schools. He
had a fertile brain, and his genius was very assertive in invent-
ihg contrivanccs when working at an awkward repair. Not
only was repairing to him a fine art, but the method of work-
ing was also regarded by him as an art. He studied mtons as
well as tnds.
Old Mr. Hill, of Wardour Street, is reported to have said
that a good maker ou3ht L be able to make a fiddle with a
knife and fork, albeit he himse1c used the finest tools in his
repairing, made from the best metal.
Priestnall did not believe in "knife and fork " repairing.
He would patiently spend hours over a contrivance that would
methodically ensure an artistic finish to a joh. There is ample
room to-day far more men of his stamp. Artistic repairers
are few and far between. There are not ahove half-a-dozen
scientific repairers in Great Britain at the present time, whereas
there are at least two hundred makers, professional and amateur,
exclusive of manufacturers of the ordinary trade fiddle.
Priestnall was a very genial and generous man. He had
the sense of humour 'also if the following tale be true. lt is
rclated that he once "faked " an ltalian fiddle in arder to test
the powers of a well-known London expert. He carefully
prepared bis " bait," clapped a Storioni ticket into it, and sent
it up for opinion. The instrument carne back with a certificate
duly attesting that the :fiddle was genuine as labelled.
Priestnall was much amused over the credulity of the "big
gun," as he called him. The incident is not impossible. I
know a maker of " Old ltalian " instruments residing at
present not one hundred miles from Manchester, who by
his cunning and deftness continually practiscs his black
art upan the experts. He recently turned out a splendid
Panormo and a Grancino which completely deceived a high
priest of the art. Quis judiut ipm criticos ?
Priestnall was an old-fashioned player on the violin, and in
bis young days was much in request at country weddings,
fairs, &c. H e sold bis instruments at [4, but some of them
have bcen recently sold at double the price.
His instruments bear no label, but the malter's name is
stamped on the wood with a cold punch in severa! places,
and the number of the instrument is stamped on thc button.
R
RAE, JOHN, Battersea, contemporary. H e was born in
Duff Street, Macduff, N.B., Oct. 31, 1847. He is the eldest
son of James Rae, and the cldest grandson of John Rae, of
F9rglen, Turriff, well-lrnown throughout the northern parts
of Scotland as a famous maker of bagpipes. This last-named
J ohn Rae died in 1857, aged ninety.
Soon after the birth of young Rae the family removed to
Turriff, and resided there until bis father became tenant of the
Carpenter's Croft, Netherdale. This was in 1856. The hoy
Rae was for sorne time a pupil of a Mr. Ingram, at a prívate
school in Turriff, and got on well there till the fates decreed
bis removal. From Netherdale he attended the school of
Inverkeithny, and subsequently Aberchirder and Marnoch
schools, but only for a short time. When he was about
eleven years of age a misfortune happened to the family,
which, no doubt, changed the whole course of bis life. They
were burned out of hearth and home. The father was from
home at the time on business, and in the twilight of an
autumn day a gleam of light was seen in an outhouse where
sorne sheaves of corn, the last of the crop, had been taken in
the previous night. Disaster was sudden. The father re•
turned just in time to see the last of the premises, which were
in a sheet of ftame-corn stacks, workshop, wood-rack, tools,
and furniture, all but precious life was lost. Mr. Rae, who
was not by any mcans a rich man befare, was left now a very
poor man indeed, with a family of si,c to maintain. The
inevitable followed. Y oung Rae was taken from school and
put to serve an apprenticeship as a joiner, At the age of
twenty he wcnt to Edinburgh, and worked thcre at bis
trade, and attended evcning classes for mathematics and
drawing. In 1869 he returned to Ncthcrdale owing to
failing health. It was soon after this that he essayed to
malee his ñrst violin-a project carried out for the purpose
of experiment, under the impetus of a thcory then recently
broached of a certain relation between proportionate form
and musical sounds.
In 1873 he regained health and carne to London, hoping
to find employment as a violin-maker. He found to bis
dismay that violin-making as a trade was 11011 est in the metro-
polis, but to soothe his feelings he attended lectures on
acoustics at the South Kensington Museum, and did consider-
able experimenting on the tonal qualities of different woods,
In 1883 he got an appointment in the British Museum
(Natural History), which relieved him of the drudgery of the
bcnch. In 1884 he was married, and his wife sympathising
with bim in bis weakncss for fiddle-making, the passion for
caliper and gouge broke out afresh. From 1884 to 1890 he
studied the construction of tbe fiddle, and made moulds,
models, templets, &c. Since I 890 all bis sparc moments have
been givcn to bis hobby, and up to the prescnt he has made
fifty-onc violins and four violas. He is a slow, paticnt, and
extrcmcly carcful worker, turning out only two or tbree
instruments in the year. He is an artist in the highest sense
of the word, and spcnds days ovcr that which most makers
spend only hours or minutes. H is outline and modcl are
original and highly artistic, The curves are pronounced, yet
nervously delicate. His wood is magnificent. Far severa! of
his front tables he has used fine grained pine, without joint,
cut from a gigantic tree grown in California. This was a tree
of the species known as SeqUf/Ía Gigantea. It was 276 feet in
height, and the annual rings provcd it to be I 335 years old
when cut down in 1872. lt is very unconventional to use
this wood, but the rcsults show that conventionalism is sorne-
times on the erring path.
The outline is grand and elegant. A very noticeable
featurc is the balance between the upper and lower portions
of the instrumen t, The outline is considerably fuller at the

upper bouts than is ordinarily the case. The C's are less
angular and more sweetly extended and rounded than in
any but thc best Italian work.
The scroll is original in design and bcautiful in cxecution.
It is prim and poised. Its swell and bent are lik:e the neck: of
a proud swan, and it is worthy of the hand of a Stradivari.
The button is of medium size, rather too long to be
described as "rounded." The corners are full and fine,
as befits the outline.
The purffing is inlaid without a trcmor. In sorne speci-
mens it is of the usual description; in others the middle strip
is narrow-so narrow that it is hardly perceptible at the dis-
tance of a few feet from the instrument, The arrangcment
is well calculated to emphasise the beautiful outline of the
fiddle. The mak:er is carcful, howcvcr, to varnish the instru-
ment in one of the lighter shades when he purffes in this way.
The conception of the whole build is grand and simple.
Majesty intoxicated with the wine of the Graces ! The tone
is large, rich, and free. The instrumen ts with bellies of the
Californian giant have a distinct timbre, and their tone may
be described as rich and ringing. Perhaps it has not the
oiliness of thc tone of Italian wood, but it has something elsc
which is equally necessary to the harmony of sounds,
Mr. Rae sclls bis instruments at /)o. This sum is no
indication of the artistic merits of the instruments, for they
are in the front rank: of modcrn work, It is a pity he does
not mak:e faster, On that matter, howevcr, he has a word
to say :-" I hope to live to swell the number considerably,
but I may say, as the bank:er-poet Rogers is reported to have
said, 'I would rather go down to posterity as a diamond than
as a ton of coals.' " F acsimile !abe! : -
No. 0.
JOHN RAE, Maker,
LONDON. A ó/.
RAEBURN, ALEXANDER, Leven, Fife, contem-
porary. I have not seen any of his work, but it is said that
his instruments are very good. Facsimile !abe! : -
RAEBURN, GEORGE R., West Calder, contem-

porary. He was born at Largoward, near St. Andrews,
April 4, 1846. He works on the Stradivari and Guarneri
models, using excellen t wood and a good oil varnish of his
own compos1t1on. The workmanship is beautiful, and the
tone very good. Mr. Raeburn was one of the favoured few
who were invited sorne years ago by Mr. Crawford, of
Edinburgh, to see the "Messie" Strad, and a vivid impression
of the glories of the prince of fiddles are among thc most
treasured of his recollections. U p to the present he has
made about fifty instruments, charging from Í,4 to [,4, 1os.
for work that is honestly worth double the money, as prices
go. Facsimile !abe! : -
GEORG E R, RAEBURN.; /ecü,

Weat Calder. A..D. 18
RAEBURN, JOHN, Largoward, contemporary. He
was born in the Parish of Carnbee, Feb. 19, 1833, and is
the eldest brother of the Alexander and George Raeburn
previously mentioned. He has made about one hundred
violins on the usual models, and also repaired a large number
of instruments. The workmanship is of good average merit,
and the tone good. He uses his brother's varhish, which is of
a golden orange colour.
VIOLIN ANO BOW MAKE RS 203
RAMSAY, W ILLIAM, Biggar, contemporary. An

amateur who has made a few instruments on the Stradivari
model.
RAW LINS, - -, London : , . 177<Hlo.
REED, B., D urham, contemporary. I have not seen any

of bis work.
RICHARDS, E D W IN, London: nineteenth century.
RILEY, H ENRY, Liverpool, contemporary. He works

at 8 Edge Grove, Fairfield, and produces good instruments
both as regards workmanship and tone.
RITCHIE, ARCHIBALD, Dundee: 1833-1902. He

was born at W oodend, Banchory, Aberdeenshire, Oct. 3,
1833, and died in Dundee in 1902, of blood-poisoning. He
madc over one hundred and fifty violins of excellent work-
manship and tone on the model of a large Joseph Guarnerius.
The work is thoroughly British in character-sober and solid.
In sorne instances he slightly exaggerated the proportions of
Del Gesu, but the result is never displeasing, the artistic sense
bcing too highly dcveloped in Ritchie to tolerate anything
bordcring on the grotesque, He used Whitelaw's varnish,
mostly of a red, or golden red colour. He was in the front
rank of modern Scottish malee~ and bis beautiful work will
be highly valued in the futurc.
[N.B.-A further analysis of this malcer's work will be
given in the next edition. U nfortunately the notes containing
full particulars of bis life and work have been mislaid.]
ROOK, JOSEPH, London: 1775-1830. He made

fairly good copies of Stainer and Amati, on the Forster lines.
T he tone in sorne instances was very good.
ROSS, DQ ALD, Edinburgh, contemporary. He was

born in Ederton, Ross-shire, Feb. 1, 1817. He has made
about fifty violins on the M aggini model. The workmanship
and tone in his best worlc are of average merit. Ross clairns
to have repaired ovcr a thousand instruments in bis time,
although he does not work professionally. He is a kind old
gentleman, of very modest demeanour.
ROSS, JOHN, London: c. 1560-1600. A maker of

lutes and viols.
RUDDIMAN, JOSEPH, Aberdeen: 1760-1800. I

regret that I have never succeeded in coming across a single
specimen of this maker's work. lt would be easy, but not to
the purpose, to rewrite what others have written about him,
s
SAUNDERS, S., Twickenham, contemporary. He was
born at Winterbourne, Dauntsey, on April 27, 1840, He
was educated at the village National School, and rcmained
at his native place till he was twenty years of age. He then
entered the service of the South-Western Railway Company
at Nine Elms, and, after shifting about to various places,
eventually scttled at Twickenham. He made his first violín
in 1883, since which time he has been constan tiy engaged
with the gouge and calipcrs, producing severa! really good
instrumcnts, although he still ranks himself as an amateur.
He makes on three different models, two of Strad and one of
Joseph. Many years ago he was fortunate in procuring the
friendship of Dr. Selle of Richmond, through whose in-
strumentality he was enabled to see and examine severa!
Italian instruments. Dr. Selle was hirnsclf the owner of a
fine long Strad, which was always at the scrvice of Mr.
Saunders, and the severa! copies which he has made of this
fiddle are bighly crcditablc,
Mr. Saunders cxhibited four violins at the Surhiton Indus-
trial Exhibition, held in 1889, and was awardcd the silver
meda!. The judge, M. L. de Edgvil, bought one of thesc
instruments lLt Í,5, 10s. He uses no label, but stamps bis
VIOLIN AND BOW MAKERS zo5
n:unc in Roman characters on the bare wood of the back
outside under tbe button.
SHAW, JOHN, London: ,. 1650.
SHAW, J ., Manchester, contemporary.
SHA W, THOMAS, Covc, contemporary. An amateur

of good average ability.
SHEPHERD, H. G., Brighton, contemporary.
SHEPLEY, GEORGE, Bristol: nineteenth century.
SHERDON, DANIEL, Gloucestcr: nineteenth century.

Indilferent.
SHROSBREE, HENRY JAMES, Adelaide, S. Australia,

contemporary. In the opinion of Australian experts, this
malc:er produces work which is of quite an exceptional character.
I am not in a position to either endorse or dispute that claim,
and I therefore reproduce here an article written in the April
number of Music (an Adclaide monthly), 1897, giving an
account of the life and work of this maker :-
ce Mr. H. J. Shrosbree, of Adelaide, known as a malcer and
repairer of violins of exceptional ability, was born in London
in December 1858. From 187:2 till the end of 1880 he
followed a seafaring life, voyaging to Adelaide for the sccond
time in the latter year, when he entered the service of Sir
E. T. Smith, and remained with him till his retirement from
busines • Mr. Shrosbree does not claim to belong to a family
of violin-makers, as his father was a taxidermist, in whosc art
the subject of tbis notice also duly qualified. On leaving Sir
Edwin Smith's employ, Mr. Shrosbree entered that of Mr.
Lawrcnce, the well-known Adelaidc taxidermist, who says of
him that he undcrstands ali branches of this work. Ample
proof of this was seen in 1891, when he w:is awarded first
prize and certilicate of merit for a very fine exhibit at the
Adelaidc Exhibition of Art and lndustry. But the violin1
Mr. Shrosbree's favourite musical instrument, has had a great
charm for him through life, and ali his spare time for years
was spent in the study of music and the mechanism of the
violín, He has made sorne exccllent specimens, which were
awarded first prize and certificate of merit for workmanship,
model, and tone at the 1895 Exhibition of Art and lndustry
in Adelaide. That year's competition in violins was the
largcst yet held in Australia, Mr. Shrosbree is a practical
musician and good violinist, and as an expert on model and
tone is able to tell at a glance the method to adopt for restoring
an old instrument. The profession recognise him both as a
skilful repairer and a maker unrivalled in Australia, and as a
self-taught man he is to be congratulated on his success. His
instruments produce a fine rich I talian tone.
"He has invented a 'relieving bar system ' for repairing
violins, by which the bars must be located with mathematical
accuracy. After years of labour and considerable cost Mr.
Shrosbree has discovered the varnish which he uses on his
violins, and which is pronounced by experts to be second to
none. Besides a valuable testimonial signed by many of the
leading musicians of Adelaide, in which Mr. Shrosbree is
recognised as a practica) musician and first-class violin-maker,
he holds others from a number of cminent artists and well-
known members of the profession."
An eminent critic writes of one of Shrosbree's violins as
follows: "A sevcre tria) of Mr. Shrosbree's latest violin. re-
veals the fact that a more perfect or finely-fin ished instrument
it would seem almost impossible to possess. It is fuller in
model than any of his previous ones, giving to it that sonorous
tone-quality which is all the more surprising when on playing
in the different positions (even to the highest of them) it does
not affect that gentle refinement of tone when any delicacy is
required. This important fcature is not generally the case
with new violins. The archings are most beautifully worked
out, pronouncing it by its appearance a product of art. In
quality of tone the lower strings resemblc thc rich qualities of
thc clarinet in all its power and endurance, while the notes
:.,;,.:
7.
:,_
throughout the A and E strings are particularly clear and

brilliant. In fact, it seems difficult to believe when playing
upon it that the tones produced are not those from a well-
matured instrument. The art of purfling has always been a
time of anxiety to a maker whcn finishin g bis worlr:, But in
this Mr. Shrosbree is remarlcably clever, laying it in so finely
as to make it almost impossible to believe that such delicate
work can be accomplished by hand, The wood is of the
finest, specially imported for Mr, Shrosbree by Messrs. S.
Marshall & Sons, and when varnished should look very
handsome,"
The editor of Musfr, referring to Mr. Shrosbree's succcss at
the Adelaide Exhibition, 190 0, spoke of the award as follows :-
" The commcndatory references we ha.ve from time to
time madc to Mr. H. J. Shrosbree's skill as a luthier, have
bccn vcry amply confirmcd by the judgcs for musical instru-
ments, &e,, at the Century Exhibition (Mcssrs. Hermann
Schrader, A. C. Quin, and Thos. Grigg). Mr. Shrosbrcc's
exhibit comprised his Nos. 7 and 8 violins, his recently con-
structed viola, and sorne assorted bridgcs. With their brilliant
coatings of oil amber varnish the instruments certainly make a
splendid show, and thc awards given Mr. Shrosbree are as
follow : F irst for violins, first for viola, first for musical
applianccs (bridges), and a special prize for the best exhibit in
its group."
Mr. Shrosbree charges, and, it would appear, reccives
readily, the high price of [.50 for a violin. He malees a
speciality of bridges, made of very old wood. I use one of
thcse, and I like it very much. Facsimile label : -
ltutJ! ' ames .Syr.asbm. facitbat ··

w'\/
~b.daibe. S. ~ttstnllia, ~nn.o 18
SIMPSON, JAMES & SON, London: 1780-1800. I
cannot discover that they were actual makers, but only dcalcrs
who cmploycd others to make for thcm.
SIMPSON, THOMAS, Handsworth, contemporary. He
was born at Burnley, Dec. 28, 1866, and works at 55 Thorn-
hill Road, Handsworth. His model is original. The work-
manship is good, and the tone bright and clear. I do not
care for bis varnish. His wood is excellent both in appearance
and tonal qualities. Facsímile label : -
fóomaf Jlinpyon.
fecit J}ei glortie
HANDSWORTH: No. /9IJ.z
SINCLAIR, WILLIAM, New Pitsligo, contemporary.

An amateur who turns out excellent work as regards tone.
His one fault is that he exaggerates the salient features of
Guarnerius in bis copies of that ma,stro. This is a common
fault with many Scottish makers.
SKEFFINGTON, WILLIAM KIR KLAND, Glasgow,

contemporary. Average merit.
SMILLIE, ALEXANDER, Glasgow, contcmporary.

He was born at Hallside, Cambuslang, Jan. 25, 1847. His
workshops are at 130 Shamrock Strect, and 514 Victoria
Street, Glasgow, where also he carries on extensive business
as a repairer and dealer. He is the son of John and Margaret
Smillie. He was married April 27, 1876, to Janet Andrews,
at Cordonald, near Paisley. He has six children-three sons
and three daughters--viz., John, Andrew, Alexander, Margaret,
Nellie, and Bessie.
The second son, Andrcw, has started work with him since
the rccent opening of the new premises in the W est cnd.
Mr. Smillie received elemcntary education at thc Cambuslang
Parish School, hut he received no carly training in the art of
violin-making. His fi!'St instrument was not made till 1889,
but since then he has been prctty busy, seeing that he has
turned out I 60 violins, 1 S violas, and 13 violoncellos. Thesc
instruments show excellent work, and they place Smillie in the
front rank of modern makers.
He works on the Stradivarius and Guarnerius lines, but he
is not a mere copyist.
The measurements of the outline and model after whicb
he most frequently works are as follows : -
Length of body 14! iochea.
Width acroH upper bouta • 64 "
,. middle bouts . 4½ "
",, ,, lower bouts • 8¼ ,,
Length of C' s • s ,,
» ,. souod-holea, from wing aogle to
wiog angle 2M, u
Deptb of riba at bottom Ji "
,, ,, top . 1¿ .,
Elevatioo of baclc aod belly-from ½in. to • "
nr
Diatancc betweeo aouod-holea at top • 1¾{ ,,
Mr. Smillie cuts his backs on the various methods, accord-
ing to the nature of the wood he happens to be using. In two
of the instruments examined by me it was cut on the slab,
and it is difficult to imagine anything more beautiful than the
efíect produced. When the fiddle is held horizontally, the eye
is dazzled by cloud-like coruscations of golden sheen ; and when
it is tilted to an angle of forty-five degrees, the clouds are meta-
morphosed into a hundred "milky ways." Given a picce of
suitable wood, of amplc width, a back cut on the slab is second
to none in artistic merits.
This maker uses old wood, especially for the front tables,
and, as he is able to test it acoustically, it is invariably of
exccllent quality. The grain of sorne of thc pine is very wide.
In an example now beforc me, it is exactly t of an inch widc
towards the margins-straight, and well-dcfined. On cither
sidc of thc finger-board, and running into the long axis of thc
sound-holes, is a narrow line of light-brown stain, extending
right along the instrument. The stain was probably produced
o
by an unusual colouring of the cambium cells during growth.
As severa! of Mr. Smillic's instruments show traces, more or
less pronounced, of this stain, their tables must have been cut
from the same piece of timber.
The outlinc combines the graceful and the bold. Thc
waist is full, and rapidly extending in width as it approaches
the lowcr bouts. This gives a sense of solidity to the build as
it also adds to the firmness and roundness of tone. The arching
is moderately ful! and extended. The upper bouts are more
rounded than is usual with Strad, but a nice balance is thus ob-
tained between the upper and middle parts of the instrument.
The scroll is magnificently sculptured. The coulisses or
grooves round the back and head are deep, and the lines very
sharp. The lines of the volute are also sharp and cut with
mathematical precision. The throat is as carefully finished as
the head. The peg-box is strong, with sides about ¼ of
an inch thick. The scollop projccts a trille more than it
usually does in Italian instruments, but it befits the scroll. The
button is of medium size and in the best classical style. The
sound-holes are simply beautíful. They are moderately wide,
and just a shade shorter than the grand period boles of Strad.
The upper turas are also rather smaller, but very pretty.
They are set farther away from the edge than is usual with
Strad, and about ,h (or more) of an inch lower down,
and thcy do not incline so much-the angle of inclination
being about eighty degrees. The sound-holes ar set in with
a true artistic feeling, and the effect produced on the mind in
viewing the general appearance of the front table is that of
repose and frcedom.
The purfling is inlaid with accuracy. The margins are of
medium width, and the edges strong and rounded. The depth
of the edge is y\ of an inch, and it is raised about ñ, culmi-
nating midway between the outer line and the purfling in a
very pretty and gentle ridge. The corners are in the stylc of
Riechers, with the "wasp's sting" of the purfling reaching
very nearly to the inner anglcs.
Mr. Smillie's 'cellas are considcred to be equal to, if not
VIOLIN AND BOW MAKERS z 11
better than, his violins. Their tone is grand and mellow, and
remarkably free and ful! on ali tbe positions.
Mr. Smillic has ncver exhibitcd any of bis instrumcnts.
He is a patient, unassuming worker, and the spirit of rivalry is
forcign to bis naturc. H is rare humour and genial manner
have made him numerous fricnds in the great fiddle world.
Facsimile label : -
SMITH, A. E ., Maldon, contemporary. A young beginner

whose work is full of cxcellent promisc. Facsimile label : -
SMITH, A LEXANDER HOWLAND, Edinburgh,

contemporary. Stradivari and Guarneri modcls. Good tone.
Label : -
ALEXANDER HOWLAND SMITH,
EDINENSIS,
HDG FEG IT, 1898
SMITH, HENRY, London: ,. 1630. A makcr of viols.
SMITH, JOHN, Glasgow, contemporary. He was born

at Fauldhousc, Linlithgowshire, April 26, 1859, and he works
now at 40 Garthland Drive, Dennistoun, Glasgow. He
workcd for ten years at 28 Cockburn Street, Falkirk, where
he rnadc about fifty violins and a few violas and violoncellos.
He is a pupil of John Carr, music teachcr and violin-maker, of
Falkirlt, Mr. Smith is amongst the three or four who form
the vanguard of the army of modern Scottisb makers. He
works on various models, but chieRy on one of his own adop-
tion, the measurements of which are as follows : -
Lcngth of body 14¼ incbea.
Width across upper bouts • 6½¼ ,,
,, ., middle bout1 . 4½ "
., ,, lower bouts 81'\r,,
Length of aound-hole1 3-i\-,,
,, ,, C', . 3ft ,,
Dcpth of lower rib • 1¼ .,
,, ,, upper rib • If\r ,,
The arching is a triRe more pronounced than in the works
of Strad and Joseph, and is almost in the manner of Gasparo
da Sal6. Thcre is also a strong Brescian feeling about the
sound-holes, only they are of a typc distinctly more advanced
than those of the olp school. The angle of inclination of
the sound-holes, and their quasi-Gothic upper arch, lend this
part of the work freshncss and vigour which catch the eye
of the expert.
The work is beautifully finished, and the varnish carefully
laid on and highly polished. A feature worthy of special
notice is the shoulder, or base of neck, which is finished in a
manner that enables the player to shift with comfort and ease.
T oo much attention cannot be paid to violin construction
from the player's point of view, with due regard, of course, to
the harmony of form and proportion. Mr. Smith's scroll is a
magnificent piece of carving, and reveals strength of mind
and mastery of the gouge. The tone is large and incisive,
and when time and use have mellowed it down, it wil4 no
doubt, be rich and sonorous. Facsímile label :-
M AD E B Y
JOHN SMITH,
F ALKIJ:J.iK•
No ... ~.Á'/# 7'C ll 1ao'9
The colour of the label paper is dark yellow.
JOHN SMITH
VIOLIN ANO BOW MAKERS 2.13
SMITH, JOHN HEY, Burnley, contcmporary. I have
not secn any of bis work.
SMITH, NATHANIEL, Bristol, contemporary. · In-

diffcrent.
SMITH, PYE, Hcreford, contemporary. Fairly good

work, but poor tone.
SMITH, THOMAS, London : 1745-90. He was a

pupil and successor of Peter Wamslcy. Sorne writers have
bcstowcd grcat praise on his violoncellos, but I am in-
clincd to think that they have nevcr drawn a bow across
their strings. Those which I tried had a hard, rasping tone
that set one's tceth on edge, The worlcmanship is not bad,
although the varnish is rather poor sruff, of a dirty amber, or
brownish-yellow colour. He used various labels.
SMITH, W. F., Edinburgh, contemporary. Average

work.
SMITH, WILLIAM, Hedon : 1780-1805. Average

work.
SMITH, WILLIAM, Leeds, contcmporary. lndiffercnl.
SPIERS, STEWART, Ayr: 1805-70. Good work and

tone,
SPICER, JOHN, London: ,. 1667. That he was a

maker of stringed instruments is a mere conjccrure.
SPICER, WILLIAM, London : nineteenth cenrury.
STANLEY, ROBERT A., Manchester, contemporary.

He was born in Manchester, Nov. 14, 1860, and works
at present at 87 City Road. He is a pupil of James Barrow,
of Salford, and of James Cole, of Manchester. He has made
two hundred violins, and a few violoncellos and double-basses
on an original model. He uses very good wood, and an oil
varnish of bis own make. Facsimilc !abe] : -
ROBERT A. STANLEY,
lDioltn & i3ow ffiaker,
mancbester. .1..900.
STIRRAT, DAVID, Edinburgh: 1810-20. I have
never had the good fortune to see an example of this mak:er's
work. He died at an early age, and there are probably but
few specimens remaining of what were according to reliable
accounts genuine works of art.
STREETS, JAMES, Sunderland, contemporary. An

amateur who has made severa! violins and one or two violas
of excellent workmanship and tone. A viola made by him in
the year 1901 would do credit to a professional makcr of long
standing. It is a pity he cannot afford to turn his attention
altogether to the art, for although the profession is already
overcrowded, still there is always room for the born artist.
STRONG, JOHN, Somersetshire: ,. 1650. An old

viol•maker.
STRONG, MATTHEW, Huddersfield, contemporary.

Average merit.
STURGE, H., Bristol and Huddersfield : 18oo-60. A

repairer.
T
T ARR, WILLIAM, Maochester : 1808-91. He was
born at Manchester, Feb. 21, 1808, and baptized a few days
later at St. Mary's Church, of the same city. He was
apprenticed by his father (a fustian cutter, who had himself
made several instrumen~ including violins, 'cellas, and basses)
to a cabinet carver, and he became so expert a workman that

at the age of eighteen he purchased his indentures from his
master for [,100, and he at once commenced work as a
journeyman. At this age his parents became dependent upon
him, and he maintained them for the rest of their lives.
Having studied music, and desiring to play the double~bass, he
set about making one for bis own use. Two of bis friends
becoming aware of thc fact persuaded him to make one for
each of them also. So soon as these were complcted, the one
which ne had made for himself was so eagerly coveted by
another friend that he must necds let it go. And so it
happened with nine others-all made in sets of thrce, with
corners like a violín-he was not able to keep one of them for
himself. Thus, although he had made twelve basses, he was
still without a bass for bis own use. Previous to the time
when Tarr took up the gouge, there was not a single privately
owned bass in Manchester, the only ones in use being the
property of churches and theatres. A curious circumstance
illustrating this fact is that a man who played the bass in the
Old Theatre Royal for forty-nine years never had a bass in
his own house. The instrument he played upon is now the
property of Mr. W. H. Stcwart, principal bass of the Crystal
Palace. This instrument it was that created in Tarr a first
lon ging to make and play one, and he was often seen in the
gallery Ji tcning to its tones.
H is business, subsequently, gradually resolved itself into that
of violín- and bass-making, chieRy the latter, with that of
rcpairing. He worked till he was about eighty years of age,
and turned out two hundred and six hasses, besides a number
of violins, violas, and 'cellos. His eldest son was with him in
the business till his eighteenth year, whcn he left home.
Another son, Joseph, was also a violin-maker, and is now, I
bclieve, in America. His youngest son, Shelley, is in business
in Manchester, Tarr also built a number of organs and
pianofortes, and took out severa! patents for his invcntions in
this line. At this time he had James Cole as pupil and
assistant.
On the occasion of a great festival in Dublin, where Tarr
was playing, each of the nine basses used were of his mak:e.
He was an excellent musician, and was for twelve years one
of the bassists of the Gentlemen's Concerts orchestra, which
was the nucleus from which Sir Charles Hallé formed bis.
He was twice married, and had eleven children of each
wife, in ali eleven sons and eleven daughters, and in 1884
there were eleven of them living. He travelled a great deal
in bis lifetime, principally in the U nited States. Whilst in
New Orleans be played in the theatre orchestra along with
one of the sons ofWilliam Foster.
He was also for sorne time organist of one of the churches
there. Tarr was during the latter and greater part of his life
a prominent secularist, socialist, and anti-vaccinator. Still he
numbered amongtt his fricnds many priests and ministers, who
alike valued his friendship and upright character. He was a
fair Latín scholar, and was proud to speak of his father as onc
of the best Latin scholars in the city in his day. It may be
cited here as an instance of the esteem in which he was hcld
that a gentleman for whom he had done work, gave him a
small annuity for the last ten or twelve years of his life. He
adhered faithfully to his principies in the face of many dif!i-
culties. At the age of sixty he went seven days to prison
rather than have his youngest child vaccinated, and would not
allow any one to pay the fine, although many of bis friends
were anxious to do so.
He was a conscientious and a dilígent worker. For the
long stretch of sixty years he handled his gouge and turned
out sorne really fine basses. These instruments are scattered
all over the country ; sorne are abroad, and not a few now
bear forged labels and pass as Italian instrurnents.
Writers on thc violin have done hirn scant justice, or no
justice at ali, and he felt it very keenly. W riting under date
of Sept n, 1884, to his pupil and friend Mr. J. W. Briggs,
of Glasgow, he says : "Hart has published another edition of
bis work, but my name is still not to be seen in it And yet
Cole rny pupil has a line ! It is sornewhat strange."
VIOLIN AND BOW MAKERS 2. 17
Towards the end oí 1886 he began to feel the weight

of the heavy hand of adversity. He writes : "There will be
a change very soon, as I cannot pay the rent • • • are still on
my hands, and they keep me very poor . . . says he will
enlist if something does not tum up in a day or two. I wisb
he would, much as I despise the army."
On laying down bis tools he writes : "I have had a
desperate struggle to give up the idea of working [May 1886],
but it is ali over now. I am totally incapable, and am more
reconciled (ntmsitas non habtt ltgm,); so farewell work, my
greatest joy ! Farewell, my valued tools-we have cut our
way together so long, but now we must part-a severe
parting ! " How simple and pathetic 1
The following, written shortly after the above, shows bis
continued passion for his beloved art. "To-morrow I shall
have another double-bass here, made out of the same wood
(back and ribs) as yours. I made it for Father O'Toole, a
Roman Catholic priest, in 1854, who has presented it to
another priest, Father Callagham. Father Callagham says the
bass is worth f,40. The instrument will remain here till
Saturday morning, and I should like you (i.,. Briggs) to see
it•.•• Joe is making another violin for the Exhibition, and
Shclley has bought wood for a 'cello ! Joe feels determined
- - shall not filch away the gold meda) as he did at - - for
worlc which was not bis own."
When at death's door, leaning on the arm of bis first )ove
-the fiddle-he says: "My dear fricnd Briggs, I shall not
be able to visit you again, I am so feeble, ••. I am sorry to
say my daughter Eleanor dicd on the 23rd, and was buried on
the 27th, of last month. My eldest daughter bccame a widow
on the 1st of May last .•.• Lcaving thcse sorrows, let us
come back to the tenor. I have sufficient confidence in your
lrnowledge of construction to leave it entirely in your bands.
When finished, send your bill and I shall be glad to pay."
Sorrows wcre to him but passing clouds on the bright
ñrmament of violin-malcing.
He possessed a rcmarkable memory for fiddles. It was as
218 BRJTISH VIOLIN-MAKERS
infallible as that of William Ebsworth Hill. On one occasion
his friend Briggs toolt him to see another friend of theirs in
Wakefield, who, unknown to either, possesscd a Tarr bass,
and as soon as they entered the room Tarr exclaimcd, "I
remember that bass well. There is a flash in the base of the
neck, and I had a devil of a job to keep it from springing
out." He had not seen that bass for forty years !
He died on July 10, 1891, and was buried with secular
rights in the Southern Cemetery, Manchester, on St. Swithin's
day.
TAYLOR, B., London: c. 1750. Good work.
TENNANT, JAMES, Lesmahagow: nineteenth cen-

tury. lndifferent.
THOMAS, WATKIN, Swansca, contemporary.
THOMPSON, CHARLES & SAMUEL, London:

c. 1780. They were the sons of Robert Thompson, and
succeeded him in business. It is not certain that they made
many instruments themselves ; they were chieRy dealers.
THOMPSON, ROBERT, London: 1749-64. He

worked at the sign of the "Bass-violin," in St. Paul's Church-
yard. Good average work on the Stainer model.
THORNLEY, - - , Oldham : ninetecnth century.
THORNE, W. H., Tottenham, contemporary. An

amateur who has made only a few violins. Onc of these had
most peculiar sound-holes, but a good tone.
TIFFIN, MILLER, Carlisle, contemporary.
TILLEY, THOMAS, London: c. 1770.
TOBIN, RICHARD, Dublin and London: 1787-1841.

According to his own account he was born a few miles out
of Dublin. His !ove for the fiddle dated back to early child-
VIOLI AND BOW MAKERS
hood, whcn he often heard its strains at mcrry-makings, wakes,
&c. As a lad he was fond
of maldng fiddles out of ali
sorts of hoxes, &c. At the
agc of fourtcen he made a
fairly good instrument out
of a willow bloclc, This
he sold to a ncighhouring
fiddler, who shortly after
brought it to Perry and
Wilkinson. Old Pcrry
was truclc with tbc work-
mansbip of the embryo
fiddle-maker, and sent word
that he would teach him
violin-maldng íf he came
to him. Needless to say,
young Tobin accepted the
invitation. This was about
o
1802, and Tobin rcmained
with the Dublin firm eleven
year • He soon bccame a
vcry clcver orlcman, and
o
he made thc majority of
these magnificcnt instru-
mcnts wbicb brought famc
o
and money to thc hou e of
Perry Willtinson. In
1813 b came to London,
and found bis way to thc
worlcshop of "old " Bctts,
who wa quick to discovcr
his abiliti ll!ld cmployed
him till bis (Betts') death in
N
1823. Tobin was cccentric aXACT OUTLINB OV SCII.OLL IIY TOIIIN,
(Actual siu. )
:md intemperate, and often
tried thc tempcr of Bctts to thc brcaking point, When he had
saved upa little money and kept sober for perhaps three months
ata stretch, the mania for drink would break out afresh, and he
would go off on a fortnight or three weeks' carouse, till he had
spent ali his savings. When at work he was busy and of a most
incommunicative turn of mind. He worked very fast, and
would finish a scroll inside of two hours. The few instru-
ments which bear bis label are exceedingly handsome copies of
Stradivari or Guarnerius, and they have a rich and mellow
·tone. The best instruments of the Dublin firm were made
by him, as were a1so many of the choicest violins which bear
the label of Betts. I do not think there are a dozen violins in
existence which bear the label of Tobin himself, and I havc
not secn more than two. His scrolls are superb; ncver did
Antonio Stradivari cut better, as the accompanying illustration
will testify.
TORRING, L., London: 1800-10. He repaired chielly.
TRIMNELL, JOSEPH HENRY, Birmingham, con-

temporary. Indifferent.
TUBBS, JAMES & SON, London, contemporary. A

bow-maker. He works at 94 Wardour Street, and is the
pupil of his father. His bows are considered to be superior to
the best that are made to-day.
TURNER, WILLIAM, London: ,. 1650. A viol-

maker.
TUSON, ROBERT, Gravestown, contemporary
TWEEDY, J., Acklington, contemporary.
u
URQUHART, ALEXANDER, Invergordon, con-
temporary. He was born at Balblair,in the parish ofResolis,
near Invergordon, Oct. 7, 1867. He is an amateur of anistic
tastcs who turns out an occasional fiddle of excellent work-

manship and tone. He follows the usual models, and also
worlcs on original lines.
Facsimile inscription (on bare wood) : -
~·~
er r ,-y"~
U RQU HA RT , D O NALD, T ain, N.B., contemporary.

H e was born at Ba!blair, near lnvergordon, on Aug. 17,
1859, and educated at Jaminaville Free Church school, in thc
parísh of Resolis, H e has rcceived no training in violin-
making, but his highly dcveloped sense of the beautiful, and
masterly deftness in the handling of keen-edged tools, havc
enabled him to overcome the dif:liculties of the art. He
commenced to malee fiddles fifteen years ago, and also to
cxperiment in varnish. Since then the varnish question has
occupied a great deal of bis attcntion, and it must be said that
he has succeeded in producing an oil varnish of great beauty
and lustre. This is made in three shades, dark yellow, light
orange, and deep orange red. The colour is absolutely
permancnt in the strongest sunlight. During the varnishing
the instrumcnts are exposed to the ful) blaze of the sun from
April to Septcmber in a conservatory window, where the
thermometer on sunny days registers 125 degrees (Fahr.).
T he colour is not alfected in the least-if anything, it be-
comes more lustrous after this fiery ordeal. The one draw-
back of the varnish is that, being so tough and elastic, it is
exceedingly difficult to polish, and takcs months to dry even
in the strongest sunlight, but M r. Urquhan succeeds in giving
it a perfectly polished surface.
T he outline and arching are those of a full-sized Strad.
T he sound-holcs are modified. The scroll is altogether
original and a most graceful piece of work. lts chief
differentiating charncteristic is thc deep scooping of the volute
and the consequent boldness of its axis. In no other mak:er
have I observed this peculiarity turned to advantage, The
wood of the back is of the usual description and of good
quality, whilst that of thc belly is really fine. Thc "reed"
of the pine in the two specimens I examined is fully one-
seventh of an inch wide, and is even throughout,
The cdges are strong, and thc margin full. Thc thick-
nesses are carefully graduated and the instruments are left
strong in wood. The inside is finished so finely that the
wood has a polish, and therc is not a suspicion of the presence
of g\ue Iines.
The tone, although not powerful, is sweet and mellow.
On the D and A strings it is fine. The first octave on the
third string has the juicy richness of the Chalumeau in the
clarionet. Had Urquhart succceded in getting power along
with this characteristic, he would have created something
new in vioíin tone, which is about as possible, perhaps, as
the existencc of a pair of contradictories which are com•
patible with rcgard to both truth and falsehood, Facsimile
label : -
URQUHART, THOMAS, London: 1650-80. The

best part of the work is the varnish, which very closely
resembles the Italian varnish. I have seen only one genuine
violin of his make, which was much arched, and had a swect
but very small tone.
V
V AUGHAN, DA VID ROBERT, Chester, contem-
porary. He was born at Mold, Aug, 6, 1860. He follows
the Stradivari model, and makes instruments of good average

mcrit as regards workmanship and tone,
VICKERS, RICHARD, Bath: nineteenth ccntury.
VOYLE, BENJAMIN, Gower: 1860-87. Average

ability.
w
WADE, JOSEPH, Leeds : ninctecnth century.
WADE, WILLIAM, Leeds : nineteenth century.
WALKER, H. J ., Whitby, contcmporary. His instru-

ments are said to be very good.
W ALKER, HECTOR M., Liverpool, contemporary.

He has made a few violins cxperimentally.
W ALTON, WILLIAM, Prcston, contcmporary. He

was born at Longton, Aug. 7, 1860, and he now livcs at
Howick Station, Longton, near Preston. He is thc son of
Henry and Jane Walton, and is the eldest child of a family of
ten. He was educated at the national school of bis native
village: In the ycar 1871 he was sen t to work in a cotton-mill,
where he remained till he was twenty. In 1880 he joined
the railway scrvice, where he steadily worked himself up
through the various grades til~ in 1889, he was appointed
stationmastcr of Howick, a rapidly growing district. He
was married on October 18, 1884, at Saul Street Chapel,
Presten, to Alice, daughter of Lawrence Hunt, of Hoole.
He has three children, named Jane, John, and Alice Hunt.
He commcnccd violin-making m omotmr in 1887, and
since then he has turned out one or two instruments every
year, besidcs repairing a great number. In 1893 he became
intcrcsted in the varnish question, and was soon decp in
experiment. With the help of a friendly chemist he at bst
:2:24 BRITISH VIOLIN-MAKERS
succeeded in producing an amher oil varnish of excellent p/Jtt
and lustre. This splendid solution is elastic, tough, and
bcautifully transparcnt. It consists of pure amber in solution
in oíl, with thc colour developed (not added) during thc
process.
Mr. Walton uses hcautiful wood of excellent properties.
In one instance he has used Oregon pinc for the belly, and
the result compares very favourably with that of more orthodox
material. He works on the Joseph lines from drawings puh-
Jished by Mr. Honeyman, on the Strad lines after the outlines
of Riechers, and also on an original outline and model. The
measurements of the last are as follows : -
Length of body td-inche1.

Width acro11 upper boutl
middlc bouta.
6f
4H-
.
" lower bouta • S¼ "
" "
Length of aound-holes zu
1:-e'
"
Di1tance betwccn sound- holes 1½¼ .,"
Length of C'1 . 3
Dcpth of ribe at bottom 1¼ ""
"
top. It'\r
" at bridge ",,
"
model
2*
Mr. Walton is a born artist, and bis workmanship is
magnificent. Thcre is a breadth of conception couplcd with
tenderness of expression about the work which gives it tlie
air of dignified art. The scroll is thrown with vigour, and
the mind is free from suggestions of tffort in following the
graceful lines of the volute. The same easy llow is observed
in the upper and lower turns of the sound-holes. The curve
of the model along the longitudinal axes (back and helly)
reminds one of the gentle, natural arch of a cord in vibration.
The purlling is wide and bold, the margins a little narrow,
and the edges round and strong. The corners of the Strad
copies have not the Riechers characteristics, being a shade
longer, and cut cleanly and squarc. The hutton is full, and is
pcrhaps thc vcry tinicst bit too long in proportion to its width
-in fact, if it were gently toned down about one thirty-second

ali round, it would be more in keeping with the highly graceful
lines of the original model. The work: of this mak:er mcrits
criticism only from thc highest standpoint. In worl::s of the
third or even second ordcr, a sixteenth of an inch in any one
part, more or less, is immaterial to the physiognomy of the
fiddle. Not so in worl:: of the kind under our consideration.
The most scrupulous care should be paid to the smallest
matter of detail. Nature is particular to the 11th, and so must
art be if it would be natural.
The tone of the two instruments submitted for my in-
spection is very similar in both cases, and has fulness, equality,
sympathy, and carrying power, Facsimile label :-
WILLIAM W ALTON,
•-11- MAKER, __,
LONGTON. PRESTON,
A.O., 190 I ,_,.,,_,..,_ No. /1/-
. • ·f!'.tl•f-r-t- cr-N~#A#llf'f'H/l#l#'#IA
W AMSLEY, PETER, London : 171S- 51. The par-

ticulars given respecting this old mak:er in other books are,
unfortunately, ali that can be pick:ed up from the dust of the
past. I have nothing ncw to add, and thcrefore had bcttcr
not s:ay anything.
W ARD, - - , Dublin : nincteenth century.
W ARDLA W, RICHARD, Cardiff, contcmporary. An

amateur of average attainmcnts.
W ARRICK, A., Lecds, contemporary. He was born at

Rcading, Oct. 9, 1863, and has his workshops at 61 Wood-
house Lanc, Leeds, and at 24 Church Bank, Bradford. He
served a six-years' apprenticeship, from 1884 to 1890, with
G. A. Chanot of Manchester. He works on various models,
p
22.6 BR°ITISH VIOLIN-MAKERS
but chiefly on those of Stradivari and Guarneri. He does not
attempt to work on original Jines, or to modify the model in
any way; he is a close copyist, and concentrates ali bis
energy upon the exact reproduction of outline, arching, depth,
thicknesses, &c., of the originals. He uses exccllent wood,
and the work is beautifully finished throughout. The varnish
is his own composition, made in four colours, golden yellow,
reddish yellow, brown red, and ruby. It has much the same
characteristics as the varnish traditionally associated with the
house of Chanot. Warriclc has made a large number of
instruments, big and small, and he also repairs extensively.
He was awarded the solc gold meda! at the Leeds International
Exhibition, I 895, for an exhibit of violins.
His price for violins is twclve and fifteen guineas, and for
violoncellos twenty. Facsímile !abe! : -
ll 'ililanich.
EI.ii:VE DE CHANO'I',
LEEOS. 18
WARWICK, REGINALD, Northampton, contempo-

rary. Average ability.
WATSON, FRANK, Rochdale, conternporary. He

was born at Rochdale, Aug. 20, 1866. He is a pupil of
the late J. Priestnall, When about thirteen years of age he
had the misfortune to become alfected with hip-joint disease,
which invalided him for a long number of years, and it was
during his convalescence that he got acquainted with Mr.
Priestnall, and, becoming enamoured with the art of violin-
making, was taught by him the method of construction. He
ultimately started worlc on bis own account, and up to date
he has built seventy-three violins, one viola, and two 'cellos.
He has also repaired a great number of instruments. He
works chiefly on the Strad and Joseph outlines, and occa-
sionally on an original model, The worlcmanship is good,
~... > $ ~ ~~
-./~ w~~
a nd the tone large and telling. Watson is a skillcd repairer.

F acsímile label :-
franlt llUlatson,
IIIAKER.
~ ROOHDALE, l.ANCASHIRE.
No.#.......... 19Pfl.......
WATSON, JOHN (Rev.), Lerwick, Shetland, con-

temporary. A Presbyterian minister who has made several
violins of excellent workmanship and tone. I cannot say that
I like his model, but no fault can be found with any other
part of the work. I have seen only onc of his instrumcnts
-the library walls of South Yell manse are lined with them-
which had a peculiar outline, but a very sweet and moderately
powerful tone.
WATT, ALEXANDER STOCKS, Invcrkeithing, con•

temporary. He was born in Edinburgh, Aug. 17, 1859. A
gentleman amateur whose work is as beautiful as it is rare.
A copy of the "Count Cessol" Stradivari made by him was
amongst the finest far delicate workmanship that I have ever
seen. He spends two, and sometimes thrce years ovcr a
single violin, but when it is finishcd it is an artistic gem.
The tone is swcct and mcllow. Facsímile label : -
WEAVER,SAMUEL,London: 1780--1800. Ordinary

worlc.
WHITELAW, JAMES, Glasgow, contcmporary. He
was born at J ohnstone, in 18 52, and he carrics on business as
a chemist at 496 St. George's Road, Glasgow. He is nota
violin-maker, but he is the discoverer and manufacturer of the
finest violin varnish on the market to-day, and as such he
claims an honourable place in any dictionary of violin-makers.
As in the case of Mr. Edward Heron-Allen, so in the present
onc, although Mr. Whitelaw does not make violins himself,
still he has made it possible for others to make them, There
are many amateur, and not a few professional, makers to-day
who would never be able to finish their instruments as they
do were it not for the diligcnt research and hard labour of
this chemist. It is within my knowledge that many have
been induced to take up the gouge mainly because there was
within their reach a beautiful varnish at a moderate cost. I
am not going to discuss the merits of the varnish here, as I
have airead y done so, but it is necessary to give a short account
of its discovery. I cannot do better than give the words of the
discoverer himself, as quoted by Mr. William C. Honcyman
in his "Scottish Violin-Makers," p. 98. He says :-
" I was lying in bed on the last Sunday morning of
February 1886, about five o'clock, I think. Whether I was
asleep or awake I could never be certain. Suddenly my bed-
r_oom seemcd transformed into an old-fashioned-looking kitchen,
in which was a large dresser with a lighted candle at one end.
Above the dresser, instead of crockery and household odds and
ends, there were rows of fiddles hanging on the wall. While
I was looking at this display of fiddles, a very tal! and maj estic
man carne into the kitchen. He had on a little round white
cap and a white leather apron, his hair was nearly white, and
in little crisp curls. He had beautiful grey eyes, and a very
pleasant expression. He spoke to me, and I asked him about
the violins on the wall. He said they had ali been made in
Cremona, and among other things told me about the varnish
being a secrct.
" He now took down a violin from the wall, and, having
removed the candle to the middle of the dresser, he held the
violin up behind the llame at an angle of about forty-five
degrees, and, moving it from side to side, he asked me if I could
see the beautiful satin-like glint which followed the candle

llame. I said-' Y es.' 'W ell ! ' he said, 'that is a peculiarity
of the varnish.' After sorne further conversation I asked him
if ambcr was used in making the varnish. He said-' lt is
amber varnish, and thc solvents are lead and lime.' Just at
that moment the vision disappeared, and I awakened and
found that during the awakening 'lead and lime,' by sorne
mysterious process, had in rny mind become converted into
two quite different substances. Impelled by curiosity I got
up at once, and hurried to rny shop. It was now 7 A.M. I
hastily fitted together sorne odd pieccs of apparatus sufficient
for the experiment, and before 8.30 I had the satisfaction
of lmowing that I could dissolve amber w ithout chcmical
disintcgration.
"From thc foregoing it can be seen that I had really very
little to do witb tbe discovery, and I cannot claim much
credit on that point ; but, as I found out aftcrwards, it is
one thing to dissolve amber but quite another matter to
malee it into a working varnish. It was fully a year before
I h:ul varnish to try on a violin, and nearly three years
before I had a bottle ready for sale, so that the discovery
was not completed without a considerable amount of trouble
and anxiety."
Mr. Whitelaw makes his varnish in nine different colours,
viz. pale amber yellow, darle arnber yellow, darle ruddy brown,
orange, orange red, dark orange red, "Amati," pale ruby, and
darlt ruby. lt is cqually lustrous and transparent in ali the
colours, and it is difficult to conceive how a more beautiful
varnish can ever be made. Mr. Whitclaw is a gentleman of
high artistic tastes, and an art critic of recognised authority.
WHITESIDE, HENRY, Liverpool and Solva: 1749-

1824. He made many violins in Fontenoy Street, Liverpool,
and aftcrwards at Solva, Pembroleeshire. He was the famous
builder of the Smalls lighthouse, and he established for himself
a widc reputation in W est Pembroleeshire a century ago as an
engineer, musical instrument maker, and Merlín rtdivivus.
The following particulars are culled from the Ptmbrokt County
Guardian for Nov. 18, 1899, from an article written sorne
forty years previously : -
" ••• When the wishes of Mr. Phillips (the projector
of the Smalls lighthouse) were made public, a great many
persons sent in designs for a suitable erection to the com-
mittee appointed by him to carry out his intentions, but pre-
ference was given to the plans of a young man, a musical
instrument maker, who was also engaged as its builder.
"Mr. Henry Whiteside was a native of Liverpool ; he was
born, it is believed, in Fontenoy Street, in the year 1746,
where his parents possessed sorne houses, and which afterwards
became his property. He possessed atan early age a mechanical
taste, and was allowed to follow the bent of his inclination at
the carpenter's bench. He soon gave his attention-from a
!ove and knowledge of music-to the construction of violins,
sorne of which are now in Pembrokeshire, and considered of
great value; afterwards he turned his skill to the building of
spinets and upright harpsichords, in which he excelled, as
the ones now extant prove. Mr. Whiteside had a brother
named Gilbert, who was blind from bis birth, and who
possessed extraordinary powers as a musician. The desire
of Mr. Gilbert Whiteside to alleviate the sufferings of those
deprived of sight like himself was so great that he would even
seek for, and wait upan them, week after week, and month
after month, until he had made them masters of sorne musical
instrument, either as a source of amusement or of income for
themselves.
"At the time Henry Whiteside came to Pembrokeshire to
construct the lighthouse, in the summer of 1772, he was a very
young man, scarcely twenty-six, and probably-though a
resident of such a considerable shipping port as Liverpool was
even then-a novice in nautical matters, with which he would
eventually have much to do. His undertaking was a sudden
transition from the sweet and harmonious sounds of his own
musical instruments, to the rough surging of the Atlantic wave,
and the discordant howling of a maddened hurricanc; and
from the fastening of a delicatcly formcd fiddle, to the fixing

of giant oakcn-pillars in a rock as hard as adamant l
"Tradition has it that Whiteside possesscd a most inter-
esting pcrsonality, Many tales are related of ~im, Here is a
characteristic one :
"' He once lcd a party of volunteers from Solva to opposc
the French at Strumble Head. He rode a horse belonging to
Mr. Barsey, of Lecha. While he fearcd nothing for himself,
he feared much that the French aggressors would kili Mr.
Barsey's mare.'
"His clevcrness and persistent pcrsonality great!y impressed
the simple-minded peasantry. He was, as a matter of course,
said to be in !cague with bis Satanic majesty, as ali cleverness
was believed by the people of Dyved to emanate from thc
nether regions. The lighthouse, although a device made to
baflle the powers of darkness, was regarded asan extraordinarily
successful picce of jugglery,
"A story is told of a young woman, a M iss Rees, the only
daughter of a farmer living near Llandruidion, who on paying
the lighthousc a visit with severa! others, during its temporary
erection, and viewing herself in the angular reRectors of the
light-room, exclaimed, 'Peoplc say that Georgy Rees has only
one daughter, let them come here and they'll sec that he has
many, I am quite beside myself with the beauty of my
sisters.'
"It is said that he often went out to the cliffs during a
storm and tuned bis fiddle to the wail of thc wind. It is also
said that he spent ali his spare moments, whcn not occupicd in
constructing the lighthouse (or, after it was completed, in
acting as agent to the establishment), in making harpsichords,
spincts, and fiddles.
" On bis arrival in Solva, he lodged in the (Old) Ship Inn,
at that time one of the two public-houses in Lowcr Salva, and
indeed one of the four or five straw-thatched dwellings that
then constituted the now important and improving place,
The Old Ship stood where the establishment of the Messrs,
Davies-the Marincrs' Inn-now stands. lt was kept by
one William Bevan, whose youngest daughter, Martha, Mr.
Whiteside married at Whitchurch, September 16, 1780.
"On the 5th day of July, 1824, at the advanced age of
78, and after a long illness, Mr. Whiteside died at his residence
-the Harbour House-in Lower Solva. He was buried at
Whitchurch, where the remains of his wife were also de-
posited in 1832. Two plain tombstones are erected to their
memories."
I have seen only one of his violins, which was a beautifully
made copy of the grand Strad model, with somewhat Stainer-
like sound-holes. The varnish was an oil one, of dark nut-
brown colour, and of excellent quality. The tone was mellow
and moderately powerful. It is s;iid that well-nigh every farm-
house in the Solva neighbourhood at one time possessed a
Whiteside fiddle or harpsichord, but they are gone the way of
ali things perishable.
WHITMARSH, EMMANUEL, London, contempo-

rary. I cannot give any biographical particulars, but I have
seen a great deal of bis work. Nor am I certain that the
present Emmanuel Whitmarsh is the same that turned out
excellent instruments some twenty-five or thirty years ago.
The work: does not seem to me to have the same charac-
teristics. The present maker of that name mak:es princi-
pally for the wholesale houses. The Messrs. Dawkins, of
I 7 Charterhouse Street, Holborn Circus, havc been his agents
for sorne years past. The work: is very carefully finished, and
the tone usually clear, firm, and sweet.
WHITTAKER, BUTTON &, Lceds: 1805-30.
WIGAN, DAVID, Shrewsbury, contemporary. Average

work.
WIGHTMAN, GEORGE, London: ,. 1760.
WILKS, ALFRED, Manchester, contemporary. An

amateur.
VIOLIN AND BOW MAKERS i33
WILLIAMS, ALFRED, Cheltenham, contemporary.
He was born at Redditch, June 28, 1840, and he work:s at
8 Great Western Road, Cheltenham. He has made a good
number of instruments, which are of rather above average
merit as regards workmanship, and very good as regards tone.
He works on the two leading modcls, and inserts a differently
worded label into each copy. Facsimile of one of the
labels : -
WILLIAMS, BENJAMIN, Aberavon: 1768-1839. lt

is very remarkable that Wales, the land of song (" M~r o g¼n
yw Cymru gyd "), has produced so few violin-makers. This
is probably due to the fact that she has cultivated vocal at the
entire expense of instrumental music, The orcbestra is ali
but non tst in W ales. But then, the W elsh people have ceased
to be an artistic people. Even their bards to-day lmow no
other art than that of cynghantdd, and it is even doubtful if a
quasi-esoteric use of numbers be a sufficiently important art to
command the bomage of the best talent. And where the
orchestra is an unlrnown quantity, the art of fiddle-making
may be denoted by zero.
The only Welsh fiddle-maker (barring a few who made
sporadic and amateurish efforts) was Benjamin Williams of
Aberavon, a joiner by trade. This maker was born in 1768,
and died in 1839, He was buricd in Michaelston-super-
avan Churchyard, but there is no tombstone to marlt his
rcsting-place, His grandson, John Davies, now living at
Ystrad, Rhondda Valley, who is seventy-five ycars of age,
and who can remember his grandfather very well, says that
Benjamín Williams was a tall, wiry, broad-browed man,
with a patriarchal crop of snow-white hair and bcard. He
hahitually wore a leathern apron and a skull-cap (Had he
heard of old Antonio 1), and was much addicted to tohacco-
chewing. He is said to have made ahout eighty fiddles and a
few W elsh harps during lcisure moments, when joinery work
happened to be slack.
Severa! of these fiddles are said to he in existence to-day,
but I know of only three, one of which is in my possession.
The following is a brief description of this last.
The outline and model approximate to those of N. Amati.
Probably the maker had a Duke fiddle as model, since the
measurcments are identic,¡I with those of a genuine Dulce of
the date 1768. The back is cut sur couche, and the wood is
sycamorc of rather plain figure. The pine of the belly is
very fine and even-grained. The sound-holes are somewhat
after the Stainer pattern. The scroll is much worn at the lcft
boss of the volute, but it is thrown with a firm hand and full
of decision and meaning. The varnish is a pale, straw-
coloured one, elastic and transparent. The tone is not large,
but it is sweet, round, and free.
The instrument is the work of a man who knew how to
handle bis gouge and calipers.
Williams obtained his pine from altroad, but he cut his
sycamore in the Margam woods. He rubbed linseed oil and
turpentine into his fiddles, and then hung them up for a long
season to dry befare varnishing them. The varnish is a spirit
one, laid on in three or four thin coats. Williams was known
locally as "Benny'r fiddler," as he was a player ~ well as a
maker of fiddles. It is said that he played beautifully on onc of
his own make instruments, and that his services were frequently
requisitioned at local weddings, dances, &c. He also, as needs
would have it, wielded the magic wand, and a story is told of
his laying a ghost at Penhydd by playing a certain tune on his
fiddle at the haunted spot on three successive mghts.
The fiddle on which he then played was made specially for
the occasion, and had its back of mountain-ash, and a drop of
dragon's blood was mixed with the varnish. Trad ition docs
not say whence he obtained this drop of blood. It was not the
gum known by that name, for he did not use it, and this had
no affinity to the methods of magic. Williams could writc a
beautiful hand, and no doubt his smattering of English and
lmowledge of about a dozen Latin words magnilied him to
Merlin-like proportions in the estímate of his fcllows.
Two local country-side fiddlers, Ianto'r Garth and Deio
Llantrisant, played upon fiddles of his make. Another noted
village-green fiddler, Levi Gibbon, of Fishguard, played upon
a Williams fiddle, and people who rcmembcr this really fine
player (albeit humblc) said bis instrumcnt had a tone likc that
of a finte. It is said that Williams won bis spouse by thc
cunning of bis bow. Ann Davies was a young woman of
beauty, and the daughter of a well-to-do local farmer. Thc
fiddle-maker wooed her, and wooed not in vain, though the
young woman's parents resented the match. The fiddler's
playing appealed to the heart of Ann, and, hclped by the
dignilied bearing of his princely figure, was complctely success-
ful in making captive the maiden's heart. He would play in
the wood opposite her dwelling, and the pathetic pleading
of the notes borne on the wings of thc breeze reached the ears
of Ann, and brought her out to thc sylvan rctreats. During
one of these ramblcs the vow was made, when both sworc
eternal lov·e to the music of the fiddle.
WILLIAMS, O. R., Manchester, contemporary. I havc

not seen any of bis instruments.
WILSON, JAMES L., Grcenock, contemporary. He

was born in Galston, April 13, 1847, and he works at 20 Octa-
via Cottages, Greenock:. He is not a professional mak:er,
albeit his work: has not a trace of the amateur about it.
Nothing can be more true to the original than bis copies of
Gasparo da Sal6, nor more beautifully finishcd than bis last
half-a-dozen instruments. He got a few lessons in violin-
making from the late Jobo A. Mano, and being of an artistic
turn of mind, he soon made progress. He can paint very
fairly in oil and water-colours, and he generally draws a bust
of himself with indelible ink: on the back of the violin under
2.36 BRITISH VIOLIN-MAKERS
the button. His work as an amateur violin-maker is of great
merit, and will bring him considerable fame by-and-by if he
perseveres with it. He won the gold meda! for an exhibit
of violins at the Greenock Exhibition, 1893. Facsímile
inscription (no label) : -
WILTON, JAMES, Whitby, contemporary. He worked

for H. J. Walker, of Whitby, for sorne time, but he now
makes and repairs on his own account. Good average worlc
and tone.
WISE, CHRISTOPHER, London: c. 1656. He was

cbieSy a maker of viols, and made but few violins.
WITHERS, EDWARD, London: 1808-75. He was

born in London, Dec. 23, 1808, and died there Dec. 19, 1875.
He was the son of Edward and Mary Ann Withers. He was
not trained in the usual way, but he bought the business of
R. & W. Davis, 31 Coventry Street, Haymarket, in the year
1843, and thus started what preved to be a bright career in
violin-making He followed the Strad and Guarnerius models
exclusively, and made a large number of instruments, sorne of
which, ia point of workmanship and tone, will compare
favourably with the best work of our classical school. He
is the maker of the famous W ithers' Quartet-said to be
the finest English quartet of instruments in exístence, made
previous to the year 1870.
These instruments, from their importance, demand a brief
notice. They were made between fifty and sixty years ago
at the old premises, 31 Coventry Street. Somewhere near
the period mentioned, the roof of the shop underwent repairs,
and the builder's workmen had occasion to lay down a plank
along the attic !loor to walk upon. lt chanced at the comple-
tion of the repairs that the workmen forgot to remove this
samc plank, and one day old Mr. Withers finding his way
into the attic, discovered it. H e saw that it was maplc, and
as perfcct a specimen of its kind as eyes could ever gaze upon.
T hc story is soon told. T he plank was transformed into
[backs of] a quartet-now tht English quartet, par txctlltn<t,
The instruments are beautifully coated in amber varnish.
O ne of the fiddles has been sold and re-sold twicc, realising
each time [,50. lts purchaser on one occasion was Mr. L.
d'Egville, who presented it to W ilhelmj. The companion
violín was sold at first for [,30, but it realiscd later [,120.
T he tenor was sold for {,40, and the violoncello for [, 150.
The present owner of the quartet is Mr. Edward Withers,
of 22 Wardour Street, a son, and the representative of thc
firm . He says that the treasure shall never leave the family,
but will be handed down the stages of time as a valued
heirloom, Edward Withers had eight children-four sons
and four daughters-two of whom are in the trade, and one
of them, Mr. Edward Withers, noticed below, is an actual
maker. He dicd at the age of sixty-seven, and was buried in
Brompton Cemetery. Facsímile label : -
WITHERS, EDWARD, London, contemporary. He

was born in London, Oct. 22, 1844, and is thc eldest son of
the above Edward Withers.
He rcceived his early education_at Fulham. He is the
only pupil of bis fatber and of Jobn Lott, the well-known
violin-maker. He commenced business at 31 Coventry
Street, London, in 1856, and moved later to 22 Wardour
Street. He worked with bis father for a period of over
twenty-five years, and during that time made many new
instruments, and also executed nearly ali the principal repairs
that were entrusted to the firm. Mr. Withers copies exclu-
sively the Stradivarius and Guarnerius models, using very old
and carefully selected wood. His varnish is entirely oil, and
varies in colour from ambcr to brown and red or golden red.
His method of varnishing is unique. He always puts ambcr
varnish on the wood and then hangs the fiddle up to dry for
sorne years before putting the colour on. Thc colour is also
oil.
He has made a large number of instruments, including
violins, tenors, and violoncellos. He turns out on an average
about twelve instruments per year. Ali these reach a high
standard of excellence, and are characterised as much for thcir
beautiful tone as for their exquisite appearance. His prices
are: violins and tenors from f.rn to [.65; violoncellos from
[.20 to {,150.
On June 1, 1893, he was appointed by Royal Warrant
violin-maker to H.R.H. the Duke ofEdinburgh.
Three sons now assist him in the business. These are :
Edward Sidney Munns, born Aug. 3, 1870; Sidney Bernard,
born Oct. 2.2, 1873; and Douglas Sidney, born Aug. IO,
1879.
In Nov. 1896 Mr. Withers invented the new sound-post,
now universally known as "E. Withers' Patent Prepared
Hollow Sound-Post."
Mr. Withers is one of those who believe in oíl varnish.
He expresses a strong belief that the varnish affects the quality
of the tone to an extent not allowed by the majority of
writers on the subject. Acting on this belief he was led early
in life to pay a clase attention to tbe varnish question, and to
conduct a series of experiments with the view of wringing the
secret out of the great Ghost of Cremona. It is this belief
VIOLIN AND BOW MAKERS 2.39
also which prompts him now to spend such time over the
varnishing process. Certain it is that bis varnish is exceed-
ingly good and well laid on. It is rich, "juicy," and withal
perfectly transparent.
Mr. Withers plays the violín, tenor and 'cello, and has
frequent quartet and symphony parties at his private house,
Elmwood, Atkins Road, Clapham Park.
His label, it will be observed from the following facsímile,
is not dated. It is almost identical with that used by bis
father, only having in addition the name of the street and
number of the house. Facsímile labcl : -
WOOD, G. F., London, contemporary. Very good

work and tone.
WOODNEY, H., Manchester: nineteenth century.
WORDEN, JAMES, Presten, contemporary. H e was

born at Leyland, Aug, 25, 1839, and is the son of George
and Ann W orden,
The father was a desccndant of the Wordcns of old
W orden Hall, and the mother a descendant of the Plessing-
tons, of the Dimples, an old Lancashire family. The
mother's family gave the Roman Catholics their last British
martyr, to wit thc Rev. J. Plessington, who was executed in
thc ye.ar I 678.
Mr. Worden reccived a liberal clementary education at
the school of the Christian Brothers, at Prestan.
z40 BRITISH VIOLIN-MAKERS
He was married in the year 1868, to Miss Mary Anne
Stirzaker, at the church of St. Joseph, Prestan,
He served an apprenticeship at the trade of cabinet-
making. In the year 1870 he went to Mr. Francis Booth, of
Wakefield, to learn the trade of organ building, and later to
the firm of Messrs. Gray & Davidson. He is a practica]
pianoforte-maker and organ builder, as well as violin-maker,
and bis workshop at 83 Friargate Gate, is well jmown in and
around Preston.
He has made up to date fifty violins, one tenor, one 'cello,
and one guitar. He makes on different models, mostly on
that of Stradivari, but sometimes on an adopted model of his
own, based on the lines of Maggini.
The workmanship is excellent, The wood is well chosen
for its acoustic properties, and is generally handsome in
appearance. The sound-holes in thc instruments, made on
original lines, are a hybrid between those of Strad and Joseph.
Thc scroll is beautifully carved and exceedingly graceful p,r " •
but when viewed as a part of the whole, it impresses the mind
with a sense of longing after the bold and the massive. It is
too slender for this giant model.
The button is not of the usual modern British type, but is
somewhat smaller and more elongated.
One of Mr. Worden's instruments has a Panormo baclc
cut from a partly worked block, which was discarded by the
noted Vincenzo owing to a few worm-holes.
There is ample evidence that it is a block out of the famous
billiard table. It is magnificent wood, with beautiful cloud-
like coruscations, and a broad, vivid Aame. This fiddle is on
the Strad lines, well-made and full of character.
Mr. W orden uses Whitelaw's varnish in the various colours,
and also W _alton's. The tone is beautifully sweet and velvet-
like. The Panormo back fiddle has a round, clear, and pene-
trating tone.
This maker has leda very active musical career. In 1883
he founded the Prestan Harmonic Society, which society
still exists and is conducted by its founder. In 1884 he was
appointed conductor of the Prestan Orpheonic Male Voice

Choir, and he led them at the Liverpool Eisteddfod in that
year; at the lnventions, London, in 1885, where they took
the second prize ; and at the Liverpool Exhibition in 1886.
He has also, up to within a recent date, been associated
with ali the work of the Preston Chora! Society, and looks
back with much pleasure to bis association with its wholly
admirable conductor, Signor Luigi Resegari. Facsímile
!abe!:-
J,rmes W orden, maher,

Pres1:0n. 10 (/()
SUB TITULO, ST Ca,u.t,;,.tV
The Paschal Lamb, w ith the motto Prinups Pacis, is the

coat of arms of the Borough of Preston.
Each instrument as it is finished is dedicated to, and put
under the protection of, some well-known saint.
WRIGHT, DANIEL, London : ,. 1745. Nothing is

known of him.
WRIGHT, EBENEZER, South Shields, contemporary.

Average ability,
y
YATES, RICHARD, Manchester, contemporary. A
beginner whose work evinces exceptional talent. !f circum•
stances will but allow him to devote his time to the art, he
will latcr on turn out worlc that will place him in the front
rank of modern luthiers.
YEATS, HENRY, London, contemporary. A gentle-

man amateur whose work is said to be excellcnt. I regrct,
Q
tbercfore, tbat I am not acquainted witb bim, and tbat I bave
not seen any of bis instrumcnts. He resides at 17 Pendennis
Road, Streatbam, S.W., and owns a fine collection of I talian
instruments.
YOOLE, WILLIAM, St. Andrews: 1806-68. I bave

never secn any of bis work.
YOUNG, JAMES, Edinburgh, contcmporary.
YOUNG, JOHN, London: ,. 1700. No instruments of

his are known, but we learn from thc curious verses of Purcell
tbat he was a mak:er.
YOUNGMAN, M., Halifax, contemporary. He was

born at Stanton, Nov. 28, 1860. His work is carefully finished,
and the tone is large and brilliant. He works mostly on an
original model, which, although by no means graceful, shows
sorne strength and insight. He uses Whitelaw's varnish,
or sometimes Wbitelaw's mixed with Caffyn's. He won the
silver meda) in the amateur class for a case of violins at the
Yorkshire and W est Riding Exhibition, 1893 ; and the gold
meda! at the same Exhibition in 1895.
INDEX
ABSAM, THOMAS, SS Betts, Ed ward, 79
Acton, William Jobn, SS - - , John, 78
Adams, Cathune, 57 Beveridge, William, 79
Addison, William, 57 Blackbum, J. H., So
Aireton, Edmund, S7 Blair, John, So
Air mass tbeory of Stradivari - -, William, 80
tone, 41 Blyth, Wil!iam, So
Airth, William, 57 Bolles, So
Aldred, 57 Bone, Philip J., 81
Allen, Edward Heron, 14, 22, 58 Bono, J. Edwin, 81
Allen, Samuel, 62 Booth, William, 82
Anderson, Henry, 62 - -, Wil!iam, jun., 82
--,John,62 Bothwell, William, 83
--,John,63 Boucher, 83
Anyon, Thomas, 63 Bowler, Arthur, 83
Arnot, David, 64 Breckinbridge, John, 83
Art, absence of stimulus, 4 Bridges, 34, 35, 36
Askew, John, 64 Bridge vagaries, 37, 38
Askey, Samuel, 64 Briggs, John William, 83
Aspinall, James, 64 Briscoe, D., 8 5
Atkinson, William, 21, 32, 65 Brookfield, Edward, 85
Brown, Alexander, 86
BAlNES, 68 - - , Anthony, 86
Baker, Francis, 6g - - , James, 86
-,Jobo, 6g - - , James, jun., 86
Ballantine, 6g Browne, John, 86
Balzar, Thomas, 6 Buckman, George Hatton, 86
Banks, Benjamín, 3, JO, n , 16,
19, 6g CAHUSAC, 88
Banks, James and Henry, 76 Calow, William, 88
Bames, Robert, 77 Cannon, James, 89
Barrett, John, 77 Carr, John, 89
Barton, George, 17 Carroll, James, & Son, 89
Beloe, W . L., 77 Carter, John, 90
Bertram, Alexander, 78 Cartwright, W. J., 90
- - , Willian1, 78 Cary, Alpbonse, 90
2 44 INDEX
Challoner, Thomas, 90 Devereux, J ohn, 104
Channon, Frederick WiUiam, 90 Devoney, Frank, 104
Christie, James, 92 Dewars, William, 104
--,John,93 Dickenson, Edward, 105
Clark, Dr. Inglis, 30 Dickeson, John, 10s
Clark, James, 93 Dickie, Matthew, 105
Classical material, the, 10 Dickson, Dr. George, 29, 30
Classical model, the, 3 Dickson, John, 10s
Classical school, the, 3 Ditton, 1o6
Classical tone, the, 17, 18 Dodd, Edward, 1o6
Classical varnish, the, 11 Dodd, the varnish of, 12
Cole, James, 93 - - Edward and Thomas, 109
-- · , Thomas, 93 --John, 1o6
Collier, Samuel, 93 - - Thornas, 107
- - , Thomas, 94 Dorant, William, 1O<)
Collingwood, J oseph, 94 Duff, William, 109
Collins, William Henry, 94 Duke, Richard, 3, u, 12, 14, 16,
Colville, David, 9S 18, 10<)
Colvin, Gavin, <)6 - - , Richard, jun., IC>9
Conservatism, musical, 6 Duncan, u:z
Conway, William, <)6 - - George, 112
Cooper, Hugh William, <)6 Dykes, George, 113
Corbett, William, 8
EAlU,Y makerswho copied Italian
Corsby, George, 98
instruments, 9
Craig, John, 98
Eglington, 113
Cramond, Charles, 98
Evans, Richard, II 3
Craske, Georgc, 99
Ewan, David, 114
Cross, Nathaniel, 100
Crowthe½John, 101 FANATICISM, Puritan, 7
Cumming, Andrew, 101 Fenwick, 115
Cuthbert, 9, 101 F erguson, David, II 5
- -·, William, II S
DALGARNO, THOMAS, 102 Ferrier, William, 115
Davidson, Hay, 102 Findlay, James, 11 s
- - , Peter, 102 Fingland, S., 116
- - , William, 102 Firth, G., 116
Davis, Richard, 102 Fleming, J., u6
- - , William, 103 Ford, Jacob, u6
Day, John, 103 Forster, John,- 116
Dearlove, Mark, 103 - - , "Old" William, 117
- - & Fryer, 103 - - , Simon Andrew, 117
Delany, John, 103 - - , William, 117
Dennis, Jessc, 104 - - , William, 122
Detail, importance of, 26 , - - , "Young• William, 121
INDEX
Frankland, 122 H are, J oseph, 144
Fryer, Charles, 122 Harkham, 145
Furber, David, 122 Harmonic proportion, theory of, 50
- - , Henry John, 122 Harris, Charles, 145
- - , James, 123 - - , Charles, jun., 146
- - , John, 123 Hart, Georgc, 4
- - , Matthew, 124 - - , George, & Son, 146
- - , Matthew,jun., 124 - - , John Thomas, 146
Harvie, Robcrt, 1 50
GARDBN, ]AMF.S, 124 Haweis, Rev. H. R., 18
Geminiani, Francesco, 9 Hawkcs, 150
Giardini, 10 Haynes & Co., 150
Gibbs, James, 124 --,Jacob, 150
Gilbert, J. J., 21, 32 Heaps, Alfred Walter, 150
Gilchrist, James, 128 - -, John Knowles, 152
Gilkes, Samuel, 129 Hcaton, William, 152
- - , William, 130 Heesom, Edward, 157
Ginton, R ., 130 Henderson, David, 157
Girvan, Thomas, 130 Hesketh, T. E., 21 1 157
Glenday,James, 130 Higson, Daniel, 16o
Glenister, William, ¡30 Hill, Henry Lockey, 16o
Gloag, John, 133 - - , Joseph, 161
Goodman, James, 133 - - , William, 162
Gonie, J., 133 - -, William Ebswortb, 162
Gough, John, 134 - - & Sons, 162
- - , Walter, 134 Hircut, 162
Goulding, 134 Holloway, John, 162
Gray, John, 134 Honeyman, W. C., u, 25
Gregson, Robcrt, 134 Hopkins, 162
Hosbom, Tbomas Alfred, 162
HALL, WILLIAM, 135 Hudson, George, 162
Hambleton, Joseph, 135 Hume, Charles David, 163
Hamilton, William, 135 Hume, Richard, 163
--, W. R. T., 136
Handley, Henry, 136 IRESON, FRAN!t, 163
Harbour, 136 Italian instruments, Englisb col-
Hardie, Alexander, 136 lections of, 8
- - , Alexandcr, jun., 137
- - , James, u, 23 ]AMll!SON, THOMAS, 163
- - , James (and Son), 137 Janson, Edward Popplewell, 163
- - , Ma1thew, 9 Jay, Henry, t63
- - , Peter, 144 Jay, Henry, 164
- - , Thomas, 144 Jay, Thomas, 164
Hare, John, 144 Johnson,John, 164
INDEX
Jones, - - , 164 Mentiply, Andrew Adam, 177
J ones, J ohn, 164 Menzies, John, 178
Merlín, Joseph, 178
KELMAN, JAMES, 165 Mier, 178
Kendal, George, 165 Miller, 178
Kennedy, Alexander, 165 Miller, Alexander, 178
Kennedy,John, 165 Miller, John, 178
1
Kennedy, Thomas, 165 Milne, Patrick G., 179
Miner, D. Brown, 179
LAUGHER, WILLIAM, 165 Mitchell, George, 179
Lewis, Edward, 166 Mitchell, John, 179
Light, Edward, 166 Modern tone, the, 32
Lindsay, - - , 166 ?vlodem vamish, tbe, 28
Lindsay, David, 166 Moffatt, W. G., 179
Lindsay, Michael H., 167 Monk, John King, 179
Lister, Jahn, 167 Monzi, the banker, 10
Logan,John, 167 Moore, Anthony John, 18o
Loma.x, Jncob, 168 Morgan, James, 181
Longman & Broderip, 168 Morrison, Archibald, 182
Morrison, James, 183
MACE, Musick's monument, 3, 6 Morrison, John, 183
M'George, George, 168 Murdoch, Alexander, 183
Maghie, John Fisher, 168 Murray, Daniel, 183
M'Gill, James Campbell, 169 Murray, David, 183
M'lntosh, James, 169 Murray, James, 184
Macintosh, J ohn, 169 Murray, John Brown, 184
M'Intosh, William, 170
M'Kenzie, Malcolm, 170 N AYLOR, ISAAC, 184
M'Lay, William, 171 Newton, Isaac, 184
M'Neill, John, 171 Nícol, Thomas, 184
M'Neill, William, 171 Nisbet, William, 184
M'Nicoll, Alexander, 171 Noble, Hugh, 186
McSwan, John, 171 Norbom, John, 186
Mallas, Alexander, 171 N orman, Barak, 9, 186
Mann, John Alexander, 171 Norris, John, 186
Marnie, J ohn, 172
Marshall, John (London), 172 ÜMOND, }AMES, 187
Martin, 172 Outline, arching, and thickness
Matteis, Nicola, 6 theory, 49
Mayson, Walter H., 22, 32, 172 Owen, John William, 21, 32, 189
Meares, Richard, 8, 177
Meares, Richard, jun., 177 PAMPHILON, EDWARD, 193
Meek, William, 177 Parker, Daniel, 3, 15, 16, 19, 193
Meikle, Robert, 177 Paterson, James, 195
INDEX
Patrick, William, 195 Shepherd, H. G., 205
Payne, R., 195 Shepley, George, 205
Pearce, George, 195 Sherdon, Daniel, 205
Pearce, James & Thomas, 195 Shrinkage of wood, 25
Pearce, William, 195 Shrinkage table, 26
Pemberton, Edward, 196 Shrosbree, Henry James, 205
Ferry & Wilkinson, 196 Simpson, James, & Son, 207
Pickard, Handel, 196 Simpson, Thomas, 2o8
Pine, 196 Sinclair, William, 2o8
Plane, Walter, 196 Skeffington,William Kirkland, 208
Plate tension theory, 46 Smillie, Alexander, 2o8
Powell, Royal & Tbomas, 196 Smith, A. E., 2II
Preston, 196 Smith, Alexander Howland, 211
Preston, John, 196 Smitb, Henry, 211
Priestley, A. W., 197 Smith, J ohn, 211
Priestnall, J ohn, 197 Smith1 John Hey, 213
Pugnani, Gaetano, 10 Smith, Nathaniel, 213
Smith, Pye, 213
QUAL1TV of wood theory, 46 Smith, Thomas, 213
Smith, W. F., 213
RAF., JOHN, 199 Smith, William, 213
Raebum, Alexander, 202 Smith, William (Leeds), 213
Raebum, George, 202 Spicer, John, 213
Raebum, J ohn, 202 Spicer, William, 213
Ramsay, William, 203 Spiers, Stewart, 213
Rawlins, 203 Stanley, Robert A., 213
Reed, B., 203 1 Stirrat, David, 214
Relativedensity ofwood theory,44 Stradivari's tone,theories about, 39

Relative pitcb of plates theory, 42 Streets, James, 214
Reviva! of violin-making, 21 Strong, John, 214
Richards, Edwin, 203 Strong, Matthew, 214
Riechers on age oí wood, 24 Sturge, H., 2, 4
Riley, Henry, 203
Ritchie, Archibald, 203 TARR, WILLIAM, 214
Rook, J oseph, 203 Taylor, B., 218
Ross, Donald, 203 Tennant, James, 218
Ross, John, 204 Thomas, \Vatkin, 218
Ruddiman, J oseph, 204 Thompson, Charles & Samuel, 218
Thome, W. H., 218
SALADUE Strad, the, 15 Thomley, 218
Saunders, S., 204 Tiffin, Miller, 218
Shaw, John, 205 Tilley, Thomas, 218
Shaw,J., 205 Tobin, Richard, 17,218
Shaw, Thomas, 205 Tone, Joud, 19
INDEX
Torring, L , 220 Watt, Alexander Stocks, 227
T rimnell, Joseph Henry, 220 Weaver, Samuel, 227
Tubbs, James, & Son, 220 Whitelaw, James, 12, 29, 31,
Turner, William, 220 227
Tuson, Roben, 220 Whiteside, Henry, 11, 36,229
Tweedy, J., 220 Whitmarsh, Emmanuel, 232
Whittaker, Button &, 232
U RQUHART, ALEXANDER, 220 Wigan, David, 232
U rquhart, Donald, 221 Wightman, George, 232
Urquhart, Thomas, 222 Wilks, Alfred, 232
Williams, Alfred, 233
VARNISH, a lost art, why? 13 Williams, Benjamín, 233
Vaughan, David Robert, 222 Williams, O. R., 235
Veracini, 9 Wilson, James L, 235
Vickers, Richard, 223 Wilton, James, 236
Virtuosi in England, 9 Wise, Christopher, 9, 236
Voyle, Benjamín, 223 Withers, Edward, 236
Withers, Edward, jun., 237
WADE,JOSEPH,223 Wood, G. F., 239
Wade, William, 223 Woodncy, H., 239
Walker, H. J., 223 Worden, James, 239
Walker, Hector M., 223 Wright, Daniel, 241
Walton, William, 223 Wright, Ebene2:er, 241
Wamsley, Peter, 9, 225
Ward,225 YATES, RICHARD, 241
Wardlaw, Richard, 225 Yeats, Henry, 241
Warrick, A., 225 Yoole, William, 242
Warwick, Reginald, 226 Young, James, 242
Watson, Frank, 226 Young, John, 242
Watson, Rev. John, 227 Youugman, M., 242
THE END
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ML Morris, W. Meredith
404 British violin- makers
M67
1904
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BRITISH VIOLIN-MAKERS

Being a Biographical and Critica! Dictionary of British

WITH !NTRODUCTORY CHAPTERS, AND NUMEROUS

REV. WM . MEREDITH MORRJS, B.A.

REv. W. MEREDITH MoR1us • • Frontispitct

I.-THE CLASSICAL SCHOOL

" Perhaps in this neglected spot is laid

( 2) Musical Conseruatism was a poten/ F actor.-The

our old makers in this respect. W ould that we had

loNORANCE and prejudice unite in disputing the exist-

B.-THE CHARACTERISTICS OF THE

Dimensions of Dimensions o( Weigbt oí Weight oí

Inches. Inches. O.. Drm. o.. Drm.

F1c. 5.-(E. Davies.) llaclc.

"sound-holes bridge." I have never seen the raison

FIG. 6.-(E. Davies,) Front.

towards the base, as shown in the illustration (Fig. 5).

A.-THE AIR MASS THEORY

B.-THE RELATIVE PITCH OF THE PLATES

F.-OUTLINE, ARCHING, AND THICKNESS

In conclusion, I would add that whilst submitting

A DICTIONARY OF VIOLIN AND

He sells his instruments at prices ranging from [,6 for thc

ADDISON, WILLIAM, London. Period unknown, but

AIRETON, EDMUND, London. Pcriod, 1730-1807.

AIRTH, WILLIAM, Edinburgh. From about 1860 till

ALDRED, - - . A rnaker of viols. Period, somewhere

ALLEN, EDWARD HERON-, London, contemporary.

A LLEN, SAMUEL, London, contemporary. He is

ANDERSON, HENRY, Edinburgh,contemporary. He

ANDERSON, JOHN, Aberdeen. He was bom in

ANYON, THOMAS, Manchester, contemporary. A

ARNOT, DAVID. Worked in Glasgow, and was born

ASKEY, SAMUEL. Worked in London; period about

ASPINALL, JAMES, Bolsterstone, contemporary. An

ATKINSQN, WILLIAM, Tottenham, contemporary.

VIOL!N BV \\' 11,LIAM ATKINSON

FRAN CIS BAKER,

BANKS, BENJAMIN, Salisbury. He was born on

VIOLONCELLO BY BENJAMIN BANKS

VJOl,OXCELLO BY JlENJAMJ:-; BANKS

BANKS, BENJAMIN, Salisbury, London, and Liverpool.

BANKS, JAMES AND HENRY,SalisburyandLondon.

BELOE, W. L., Coldstream. He was born in 1819 and

BERTRAM, ALEXANDER, Peeblesshire; nineteenth

BERTRAM, WILLIAM, Stobo Castle. He was game-

BETTS, JOHN, London. He was born at Stamford,

JOHN BETTS, NO. 2, NORTH PIAZZA.

BETTS, EDWARD, London. He was the nephew of

BEVERIDGE, WILLIAM, Aberdecn. He was born

BLAIR, WILLIAM, Crathie: 1793-1884. He made

BONE, PHILIP J., Luton, contemporary. A maker of

BOUCHER, - - , London: 1764. Nothing known of

BOWLER, ARTHUR, London, contemporary. ·He

The outline is bold and assertive, and the arching is

BRISCOE, D., Channel Islands, contemporary. An

ALEX. BROWN, MAKER,

BROWN, JAMES, Spitalñelds: 1755-1834. Started

BROWN, JAMES, Norton Folgate: 1786-1860. Son

BROWN, JAMES, London: 1813-34. Son and pupil