BANKS, Benjamin, son of the above, born in September, 1754; died January, 1820. Worked many years with his father at Salisbury, afterwards removed to London, and lived at 30, Sherrard Street, Golden Square.

BANKS, James.

James and Henry Banks, Musical Instrument Makers and Music Sellers, 18 Salisbury. 02

Brother of the above. For some years carried on the business of his father at Salisbury, in conjunction with his brother Henry. They ultimately sold the business and removed to Liverpool. The instruments of James and Henry Banks are of average merit.

BARNES, Robert, 1710. Worked with Thomas Smith at the "Harp and Hautboy" in Piccadilly. Afterwards partner with John Norris.

BARRETT, John, 1714.

John Barrett, at the Harp and Crown in Pickadilly, 17—

Made by John Barrett at ye Harp & Crown in Pickadilly, London, 17—

An average workman, who followed the model of Stainer. His shop bore the sign of the "Harp and Crown." Barrett was one of the earliest copyists of Stainer, and in the chain of English makers is linked with Barak Norman and Nathaniel Cross. The wood is generally of a very good quality, the varnish yellow.

BARTON, George, Old Bailey, London, about 1780-1810.

BETTS, John, born 1755, at Stamford, Lincolnshire, died in 1823.

Jo. Betts, No. 2, near Northgate the Royal Exchange, London, 17—

Became a pupil of Richard Duke. He commenced business in one of the shops of the Royal Exchange, where he soon enjoyed considerable patronage. John Betts does not appear to have made a great number of instruments, but employed many workmen, into whose instruments he inserted his trade label. He was, perhaps, the earliest London dealer in Italian instruments. His quaintly-worded business card runs:—

"John Betts, Real Musical Instrument Maker, at the Violin and German Flute, No. 2, under the North Piazza of the Royal Exchange, makes in the neatest manner, Violins the patterns of Antonius Stradivarius, Hieronymus Amati, Jacobus Stainer, and Tyrols. Equal for the fine, full, mellow tone to those made in Cremona. Tenors, Violoncellos, Pentachords, &c., &c., &c."

The sound-holes of Betts' instruments are rather wide; broad purfling; scroll well cut.

BETTS, Edward, nephew of John Betts; was a pupil of Richard Duke, whose work he copied with considerable skill. Of course, in trying to imitate Duke he was copying Amati, Richard Duke having spent his life in working after the Amati pattern, without attempting to model for himself. The care bestowed by Edward Betts on his instruments was of no ordinary kind. The workmanship throughout is of the most delicate description; indeed, it may be said that neatness is gained at the expense of individuality in many of his works. Each part is faultless in finish, but when viewed as a whole the result is too mechanical, giving as it does the notion of its having been turned out of a mould. Nevertheless, this maker takes rank with the foremost of the English copyists, and in his instruments we have as good specimens of undisguised work as can be readily found. They will be yearly more valued.



BOLLES, ——, An early maker of Lutes and Viols.

BOOTH, William, 1779 to about 1858, Leeds.

BOOTH, ——, son of the above, Leeds, died 1856.

BOUCHER, ——, London, 1764.

BROWN, James, London, born 1770, died 1834. Worked with Thomas Kennedy.

BROWN, James, London, son of the above, born 1786, died 1860.

BROWNE, John, London, about 1743. Worked at the sign of the "Black Lion," Cornhill. Good work. Amati pattern. Scroll well cut; hard varnish.

CAHUSAC, ——, London, 1788. Associated with the sons of Banks.

CARTER, John, London, 1789, worked with John Betts, and afterwards at Drury Lane on his own account.

CHALLONER, Thomas, London. Similar to Wamsley.

COLE, Thomas, London, 1690.

Thomas Cole, near Fetter Lane In Holborn, 16—

COLE, James, Manchester, 19th century.

COLLIER, Samuel, 1750.

COLLIER, Thomas, 1775.

COLLINGWOOD, Joseph, London, 1760.

CONWAY, William, 1750.

CORSBY, ——, Northampton, 1780. Chiefly made Double-Basses.

CORSBY, George. Lived upwards of half a century in Princes Street, Leicester Square, where he worked and dealt in old instruments.

CRAMOND, Charles, Aberdeen, 19th century.

CRASK, George, Manchester. He made a large number of instruments, chiefly imitations.

CROSS, Nathaniel, London, about 1700-50. Worked with Barak Norman. He made several good Violins. Purfling narrow; excellent scroll.

CROWTHER, John, 1760-1810.

CUTHBERT, London, 17th century. Maker of Viols and Violins. Many of the latter have merit. Model flat, and wood of good quality. Very dark varnish.

DAVIDSON, Hay, Huntley, 1870.

DAVIS, Richard. Worked with Norris and Barnes.

DAVIS, William, London. Succeeded Richard Davis in the business now carried on by Edward Withers.

DEARLOVE, Mark, Leeds.

Dearlove and Fryer, Musical Instrument Manufacturers, Boar Lane, Leeds, 1828.

DELANY, John, Dublin. Used two kinds of labels, one of them very small—

Made by John Delany, No. 17, Britain Street, Dublin. 1808.

In the other, which is larger, he states that he made Violins that his name might be of immortal memory.

Made by John Delany, In order to perpetuate his memory in future ages. Dublin. 1808. Liberty to all the world black and white.

DENNIS, Jesse, London, 1805.

DEVEREUX, John, Melbourne. When in England he worked with B. Simon Fendt.

DICKINSON, Edward, London, 1750. Made instruments of average merit. The model is high.

Edward Dickinson, Maker, at the Harp and Crown in the Strand, near Exeter Change, London. 17—

DICKESON, John, 1750-80, a native of Stirling. He would seem to have lived in various places, some instruments dating from London and some from Cambridge. He was an excellent workman, and chiefly copied Amati. His work much resembles that of Cappa.

DITTON, London, about 1700. Mention is made of an instrument by this maker in Tom Britton's Catalogue.

DODD, Thomas, son of Edward Dodd, of Sheffield.

T. Dodd, Violin, Violoncello and Bow Maker, New Street, Covent Garden.

He was not a maker of Violins. Numerous instruments bear his name, but they are the work of John Lott and Bernard Fendt. The merit of these instruments is of the highest order, and they are justly appreciated by both player and connoisseur. Thomas Dodd deserves to be mentioned in terms of high praise, notwithstanding that the work was not executed by him, for his judgment was brought to bear upon the manufacture during its various stages, and more particularly in the varnishing, in which he took the liveliest interest. He had a method of mixing colours, the superior qualities of which he seems to have fully known, if we may judge from the note on his labels, which runs thus: "The only possessor of the recipe for preparing the original Cremona varnish. Instruments improved and repaired." This undoubtedly savours of presumption, and is certainly wide of the truth. Nevertheless there is ample evidence that the varnish used by Thomas Dodd was very excellent, and had a rich appearance rarely to be met with in instruments of the English school. Dodd was encouraged in the art of varnish-making by persons of taste, who readily admitted the superior qualities of his composition, and paid him a handsome price for his instruments. He was thus enabled to gratify his taste in his productions by sparing no means to improve them. He ultimately attained such a reputation for his instruments as to command no less a sum than 40 or 50 pounds for a Violoncello. Commanding such prices, it is evident that he spared no expense, or, what was to him a matter of still greater importance, no time. He was most particular in receiving the instruments in that incomplete stage known in the trade as "in the white," i.e., without varnish. He would then carefully varnish them with his own hands, guarding most warily the treasured secret of the composition of his varnish. That he never departed from this practice may be inferred from the fact that the varnish made by the workmen in his employ, apart from the establishment, for their own instruments, is of an entirely different stamp, and evidently shows that they were not in their master's secrets.

The instruments bearing the Dodd label are not valued to the extent of their deserts, and there can be but little doubt that in the course of time they will be valued according to their true merits. They were made by men of exceptional talent, who were neither restricted in price nor material. Under such favourable conditions the results could not fail to be good.

DODD, Thomas, London. Son of Thomas Dodd, musical instrument dealer, of St. Martin's Lane. The father, although not a maker of Violins, possessed excellent judgment, both as regards work and makers, which enabled his son to profit considerably during his early years whilst working with Fendt and Lott.

DORANT, William, London, 1814.

DUKE, Richard, worked from 1750-80.

Richd. Duke, Londoni fecit 17—

Richard Duke, Maker, Holborn, London. Ann. 17—

The name of this maker has long been a household word with English Violinists both amateur and professional. Who has not got a friend who is the fortunate owner of a veritable "Duke"? The fame of His Majesty Antonio Stradivari himself is not greater than that of Richard Duke in the eyes of many a Fiddle fancier. From his earliest fiddling days the name of Duke became familiar to him; he has heard more of him than of Stradivari, whom he somehow confuses with Cremona. He fondly imagines that Cremona was a celebrated maker, and Stradivari something else; inquires, and becomes more confused, and returns again to "Duke," with whom he is thoroughly at home.

Many excellent judges have wondered how it came to pass that Richard Duke should have been so highly valued, there being, in their estimation, so little amongst his remains worthy of the reputation he gained. The truth is that no maker, with the exception of the great Cremonese artists, has been so persistently counterfeited. The name of Duke has been stamped upon every wretched nondescript, until judges who had not the opportunity of seeing the genuine article mistook the copies for the original, and hence the confusion. When, however, a really fine specimen of Duke is once seen, it is not likely to be forgotten. As copies of Amati such instruments are scarcely surpassed, varnish, work, and material being of the best description. The copies of Stainer were not so successful.

DUKE, Richard, London. Son of the above.

DUNCAN, ——, Aberdeen, 1762.

DUNCAN, George, Glasgow, contemporary.

EGLINGTON, ——, London, 1800.

EVANS, Richard, London, 1750. His label is a curiosity—

Maid in the Paris of Lanirhengel, by Richard Evans, Instrument maker, in the year 17—

FENDT, Bernard, born at Innsbruck, in the Tyrol, 1756, died 1832. He was evidently a born Fiddle-maker, genius being stamped, in a greater or less degree, upon all his works. To Thomas Dodd belongs the credit of bringing his talent into play. Dodd obtained the services of Fendt upon his arrival in England, which the latter reached at an early age. He remained with Dodd many years, frequently making instruments with John Frederick Lott. The instruments so made bear the label of Thomas Dodd. Lott being also a German, reciprocity of feeling sprung up between him and Fendt, which induced Lott to exchange the business to which he was brought up for that which his fellow countryman Fendt had adopted, and henceforth to make Violins instead of cabinets. By securing the services of these admirable workmen, Dodd reaped a rich harvest. He found in them men capable of carrying out his instructions with an exactness that could not be surpassed. Dodd was unable to use the tools himself; but in Fendt and Lott he had men who were consummate masters of them. When the instruments were finished, as far as construction was concerned, they were clothed in coats of the master's livery—"Dodd's varnish," the secret of making which he kept carefully to himself. With these coats of varnish upon them the work was doubly effective, and every point of excellence was made to shine with the happiest effect. Upon leaving the workshop of Thomas Dodd, Bernard Fendt worked for John Betts, making many of those copies of Amati which are associated with the name of Betts, and which have so high a value.

Although Fendt was German by birth, his style of work cannot be considered as German in character. Having early quitted his post of trade in Paris for England, and having in this country placed himself under the guidance of Dodd, who steadfastly kept before his workmen the originals of the great Italian masters for models, his work acquired a distinctive stamp of its own, and in its turn gave rise to a new and independent class of makers.

FENDT, Bernard Simon, London, born in 1800, died in 1852. Son of the above. He was an excellent workman. It is to be regretted that he did not follow the excellent example set by his father, and let time do its work, without interruption, upon his instruments. Had he done so they would, in many instances, have been equal to those of his parent; but, unfortunately, he worked when the mania for obtaining supposed maturity by artificial means was at its height, and shared the general infatuation, and, in consequence, very frequently destroyed all the stamina of his instruments. Subsequently he became a partner of George Purdy, and carried on a joint business at Finch Lane, in the City of London, from whence most of his best instruments date. Purdy and Fendt had also a shop in the West End about 1843. He was a most assiduous worker. The number of Violins, Tenors, Violoncellos, and Double-Basses that he made was very great; indeed, his reputation would have been greater had he been content to have made fewer instruments and to have exercised more general care. His copies of Guarneri are most numerous, numbering some hundreds. They are mostly varnished with a glaring red colour, of a hard nature. He made many good Double-Basses of the Gasparo da Salo form, the varnish on which is superior to that on his Violins. He made also an excellent quartette of instruments—Violin, Viola, Violoncello, and Double-Bass—for the Exhibition of 1851. They were certainly the best contemporary instruments exhibited, but he failed to obtain the prize medal.

FENDT, Martin, London, born 1812, died 1845. Brother of the above. Worked for Betts.

FENDT, Jacob, London, born 1815, died 1849. Third son of Bernard Fendt. The best maker among the sons of Bernard. His instruments are beautifully finished, and free from the stereotyped character belonging to those of his brother Bernard. As specimens of the imitator's art they are unsurpassed. One cannot but regret that such a consummate workman should have been obliged to waste his energies in making new work resemble that of a hundred years before. The patronage that he obtained was not of much value, but had he brought his work into the market in its natural condition he could not have lived by his trade. He was, therefore, compelled to foster that which he no doubt felt to be degrading. The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the discoloration of the wood cleverly managed, the effects of wear counterfeited with greater skill than had ever been done before, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist. Had he been allowed to copy the form of the old masters, as Lupot did, without imitating the actual wear of the instrument, we should have had a valuable addition to our present stock of instruments of the Panormo class.

FENDT, Francis, London. Fourth son of Bernard; also worked in Liverpool about 1856.

FENDT, William, London, born 1833, died 1852. Son of Bernard Simon Fendt. Was an excellent workman, and assisted his father in the manufacture of several of his Double-Basses.

FERGUSON, Donald, Huntley, Aberdeenshire.

FIRTH, G., Leeds, 1836.

FORSTER, William, born in 1713, died 1801.

William Forster, Violin Maker, in Brampton.

The family of the Forsters have played no unimportant part in the history of Violins. The attention they commanded as makers, both from artists and amateurs, has probably never been equalled in England. Their instruments claimed attention from the moment they left their makers' hands, their construction being excellent in every way. William Forster was a native of Brampton, in Cumberland, where he followed the trade of a spinning-wheel maker, occupying his spare time in the making and repairing of Violins and musical instruments generally. His labours, as far as they relate to Violin-making, appear to have been of a very unpretending nature, but they served to impart a taste for the art to his son William, who was the best maker of the family.

FORSTER, William, London, born 1739, died 1807.

William Forster, Violin Maker, in St. Martin's Lane, London, 17—

Son of William Forster mentioned above. Worked with his father at Brampton in Cumberland, making spinning-wheels and Violins—two singularly diverse occupations. It was, however, to the latter industry he gave the most attention, and he soon became the great maker of the neighbourhood. He afterwards added another string to his bow, viz., that of playing country-dances at the village festivities. Thus armed with three occupations, he must have been well employed. He seems to have early discovered that his abilities required a larger field in which to show themselves to advantage, and accordingly took the usual course in such circumstances—came to the Metropolis, in which he settled about the year 1759. He soon obtained employment at a musical instrument seller's on Tower Hill, and gave up, then and for ever, the making of spinning-wheels, while by throwing all his soul into the manufacture of Violins he soon gave his master's patrons the highest satisfaction. He ultimately commenced business on his own behalf in the neighbourhood of Duke's Court, St. Martin's Lane, where his abilities attracted considerable attention, and secured him the patronage of the dilettanti in the musical world. For several years he followed the path trodden by the makers of the period, and copied Stainer. His instruments of this date are very excellent both in workmanship and material, but are not equal to those of the Amati pattern, which he commenced to make about the year 1770. These are beautiful works, and have a great charm from their being so varied. Some are copies of Antonio and Girolamo Amati, variously modelled; others are copies of Niccolo Amati. The wood and varnish also vary very much, but the high standard of goodness is well maintained throughout. His varnish was, during the last twenty years of his life, very fine in quality, and in the manufacture of it he is said to have been assisted by a friend who was an excellent chemist. He made only four Double-Basses, three of which were executed for the private band of George III. Forster's instruments were the favourite equipment of Robert Lindley, and their value in his day was relatively far higher than at the present moment. When Lindley died attention was turned to Italian Violoncellos, and a vast number having been brought to England, the value of Forster's productions was very considerably depreciated; now, however, that the cultivation of stringed instrument music has been so much extended, they are rapidly rising again to their former level, Italian instruments being a luxury not obtainable by every one, and age having so benefited the tone of Forster's Violoncellos as to render them excellent substitutes.

FORSTER, William, London, born in 1764, died 1824.

William Forster, Junr., Violin, Violoncello, Tenor & Bow Maker, 18— Also Music Seller No 43 to their Royal Highnesses the Prince of Wales and the Duke of Cumberland.

Son of William Forster, the second of the family. Although this maker did not attain to the celebrity of his father, his instruments are often fully as good. The workmanship is very neat, and the modelling excellent, the varnish being equal to that on his father's instruments.

FORSTER, William, London, born in 1788, died 1824. Son of William Forster, mentioned above. He was a very good workman: he made but few instruments.

FORSTER, Simon Andrew, London, born in 1801, died about 1870. Brother of William, mentioned above. He learned his business from his father and Samuel Gilkes, who worked for William Forster. He made several instruments between the years 1828 and 1840, which are of average merit. Best known as joint author with W. Sandys of a "History of the Violin" (London, 1864).

FRANKLAND, ——, London, about 1785.

FURBER, ——, London.

John Furber, Maker, 13, John's Row, top of Brick Lane, Old St., Saint Luke. 1813.

There were several makers of this family, some of whom worked for Betts, of the Royal Exchange. Many of their instruments are excellent, and should unquestionably be more valued than they are. John Furber made several Violins of the grand Amati pattern, and also copied with much ability the "Betts" Stradivari, when the instrument belonged to Messrs. Betts in the Royal Exchange, for whom he worked.

FURBER, Henry John, son of John Furber, London. He has made several excellent instruments, and maintained the character for good workmanship which has been associated with the name of Furber for upwards of a century.

GIBBS, James, 1800-45. Worked for Samuel Gilkes and others.

GILKES, Samuel, London, born in 1787, died in 1827.

Gilkes. From Forster's, Violin and Violoncello Maker, 34, James Street, Buckingham Gate, Westminster.

Was born at Morton Pinkney, in Northamptonshire. He became an apprentice of Charles Harris, whose style he followed to some extent. Upon leaving Harris he engaged himself to William Forster, making many instruments for him, retaining, however, all the features of the style of Harris. In the year 1810 he left the workshop of Forster, and commenced business on his own account in James Street, Buckingham Gate, where the few instruments bearing his name were made. Too much cannot be said in praise of much of the work of this excellent maker. The exquisite finish of many of his instruments evidences that the making of them was to him a labour of love. Amati was his favourite model.

GILKES, William, London, born 1811, died 1875. Son of Samuel Gilkes. Has made a great number of instruments of various patterns, chiefly Double-Basses.

GOUGH, Walter. An indifferent workman.

HARBOUR, ——, London, about 1785.

HARDIE, Matthew, Edinburgh, date from about 1800. He was the best maker Scotland has had. The model is that of Amati; the work throughout excellent. The linings are mostly of cedar. He died about 1825-26.

HARDIE, Thomas, Edinburgh. Worked with his father, Matthew Hardie. He was born in 1804, died 1856.

HARE, John, London. About 1700. His label shows that he was in partnership, his name being joined to that of Freeman, and the address is given as "Near the Royal Exchange, Cornhill, London." Much resembles the work and style of Urquhart. Varnish of fine quality.

HARE, Joseph, London, probably a son of John Hare, above-mentioned. Varnish of excellent quality.

Joseph Hare, at ye Viol and Flute, near the Royal Exchange, in Cornhill, London. 172—

HARRIS, Charles, London, 1800. This maker is known only to a few dealers, as he made chiefly for the wholesale merchants of his day. His name was rarely affixed to his instruments, but those thoroughly acquainted with his work agree in giving him a foremost place among the makers of this country. He was, like many other makers of that period, engaged in two occupations differing very much from each other, being at the same time a Custom-house officer and a maker of Violins. The former circumstance brought him into contact with mercantile men, and enabled him to obtain commissions to make Violins for the export trade. His business in this direction so increased that he obtained the services of his relative, Samuel Gilkes, as his assistant. He never aimed at producing a counterpart of the instrument that he copied by resorting to the use of deleterious means to indicate upon the surface of an instrument the ravages of time. He faithfully copied the form, and thus did what Lupot was doing at the same period. The finish of these instruments is excellent, and as they are covered with a good quality of varnish, they have every recommendation of appearance.

HARRIS, Charles. Son of the above. Neat workmanship. Well-cut scroll. Sound-holes not well formed. Yellow varnish. Worked for a short time for John Hart.



HART, John Thomas, born December 17, 1805, died January 1, 1874.

John Hart, Maker, 14, Princes Street, Leicester Square, London. Anno 18—

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

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

HEESOM, Edward, London, 1748. Copied Stainer.

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

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

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

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

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

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

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

HOLLOWAY, J., London, 1794.

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

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

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

JAY, Henry, London, about 1744-77.

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

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

JOHNSON, John, London, 1750.

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

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

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

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

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

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

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

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

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

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

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

LISTER, George, 18th century.

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

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

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

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

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

MARSHALL, John, London, 1750.

MARTIN, ——, London, about 1790.

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

MEARES, Richard, about 1677. Maker of Viols.

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

MIER, ——, London, about 1786.

MORRISON, John, London, about 1780-1803.

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

NICHOLS, Edward, 18th century.

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

NORBORN, John, London, about 1723.

NORMAN, Barak, London, 1688-1740.

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

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

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

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

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

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

PAMPHILON, Edward, London, 17th century.

Edward Pamphilon, April the 3rd, 1685.

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

PANORMO, Vincent. (See Italian School.)

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

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

PANORMO, Louis, London. Made Guitars chiefly.

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

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

PEARCE, James, London, 18th century.

PEARCE, W., London, contemporary.

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

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

POWELL, Thomas, London, 18th century.

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

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

PRESTON, John, York, 18th century.

John Preston, York, 1791. Fecit.

RAWLINS, Henry, London, about 1781.

Restauratus Henricus Rawlins Auspicio Giardini Londini 1781.

He appears to have been patronised by Giardini, the Violinist, according to the label here given. Giardini held the post of leader at the Italian Opera at this period.

RAYMAN, Jacob, London, 17th century.

Jacob Rayman dwelling in Blackman Street, Long—Southwark. 1641.

Jacob Rayman, at ye Bell Yard in Southwark, London, 1648.

The subject of this notice was probably a German, from the Tyrol, who settled in England about 1620, and may be considered as the founder of Violin-making in this country, there being no trace of any British Violin-maker previous to that time. His work is quite different from that of the old English Viol-makers. The instruments of Rayman are of a somewhat rough exterior, but full of character. The form is flat, considering the general style of the work. The sound-holes are striking, although not graceful in any way. The scroll is diminutive, but well cut. The varnish is very fine. In the catalogue of the effects of Tom Britton, mention is made of "an extraordinary Rayman."

RICHARDS, Edwin, London, contemporary. Maker and repairer.

ROOK, Joseph, Carlisle, about 1800.

ROSSE (or Ross), John, Bridewell, London, about 1562. Made Viols and Bandoras.

ROSS, John, London, about 1596. Son of the above. Maker of Viols. The varnish is excellent in quality.

SHAW, London, 1655. Viol maker.

SIMPSON, London, 1785.

John Simpson, Musical Instrument Maker, At the Bass Viol and Flute, In Sweeting's Alley, Opposite the East door of the Royal Exchange, London.

SMITH, Henry, London, 1629. Maker of Viols.

SMITH, Thomas, London. Pupil of Peter Wamsley, and his successor at the Harp and Hautboy.

Made by Thos. Smith, at the Harp and Hautboy, in Pickadilly, London. 1756.

SMITH, William, London, about 1770.

TARR, William, Manchester. Made many Double-Basses from about 1829.

TAYLOR, London, about 1800. A maker of much merit. Instruments of the character of Panormo.

THOMPSON, London, 1749.

THOROWGOOD, Henry, London. Little known.

TILLEY, Thomas, London, about 1774.

TOBIN, Richard, London, 1800. Pupil of Perry, of Dublin. His instruments are much appreciated by the best judges. In cutting a scroll he was unequalled amongst English makers.

TOBIN, London. Son of the above.

URQUHART, London, 17th century. Nothing is known concerning the history of this excellent maker. The style may be considered as resembling that of Jacob Rayman, and it is possible he worked with him. His varnish is equal to that on many Italian instruments.

VALENTINE, William, London, died about 1877. Made many Double-Basses for Mr. Hart, which are highly valued.

WAMSLEY, Peter, London, 18th century. One of the best English makers. His copies of Stainer are very superior.

Made by Peter Wamsley, At ye Golden Harp, in Piccadilly, London. 17—

WISE, Christopher, London, about 1650. Yellow varnish, neat workmanship, flat model, small pattern.

WITHERS, Edward, Coventry Street. Succeeded William Davis.

WITHERS, Edward. Son of the above. Wardour Street, Soho. Was instructed by John Lott.

YOUNG, London, about 1728. Lived in St. Paul's Churchyard. Purcell has immortalised father and son in the first volume of his Catches.

"You scrapers who want a good Fiddle well strung, You must go to the man that is old while he's Young; But if this same Fiddle you fain would play bold, You must go to his son, who'll be Young when he's old. There's old Young and young Young, both men of renown, Old sells, and young plays, the best Fiddles in town; Young and old live together, and may they live long, Young, to play an old Fiddle; old, to sell a new song."



SECTION XIII The Violin and its Votaries

Sterne (himself a votary of the Fiddle) has well said, "Have not the wisest of men in all ages, not excepting Solomon himself, had their hobby-horses—their running-horses, their coins and their cockle-shells, their drums and their trumpets, their Fiddles, their pallets, their maggots and their butterflies? And so long as a man rides his hobby-horse peaceably and quietly along the king's highway, and neither compels you nor me to get up behind him,—pray, sir, what have either you or I to do with it?" He further tell us, "There is no disputing against hobby-horses;" and adds, "I seldom do: nor could I, with any sort of grace, had I been an enemy to them at the bottom; happening at certain intervals and changes of the moon, to be both Fiddler and painter."



The leading instrument is singularly favoured. It may be said to have a double existence. In addition to its manifold capabilities, it has its life of activity on the one hand, and inactivity on the other. At one time it is cherished for its powers of giving pleasure to the ear, at another for the gratification it affords to the eye. Sometimes it is happily called upon to perform its double part—giving delight to both senses. When this is so, its existence is indeed a happy one. The Violin thus occupies a different position from all other musical instruments. Far more than any other musical instrument it enters into the life of the player. It may almost be said to live and move about with him; the treasure-house of his tenderest and deepest emotions, the symbol of his own better self. Moreover, the Violin is a curiosity as well as a mechanical contrivance. Thus it is cherished, perhaps for its old associations—it may have been the companion of a valued friend, or it may be prized as a piece of artistic work, or it may be valued, independently of other associations, for the simple purpose for which it was made, viz., to answer the will of the player when touched with the bow. The singular powers centred in the Violin have been beautifully expressed by Oliver Wendell Holmes, who says: "Violins, too. The sweet old Amati! the divine Stradivari! played on by ancient maestros until the bow hand lost its power, and the flying fingers stiffened. Bequeathed to the passionate young enthusiast, who made it whisper his hidden love, and cry his inarticulate longings, and scream his untold agonies, and wail his monotonous despair. Passed from his dying hand to the cold virtuoso, who let it slumber in its case for a generation, till, when his hoard was broken up, it came forth once more, and rode the stormy symphonies of royal orchestras, beneath the rushing bow of their lord and leader. Into lonely prisons with improvident artistes; into convents from which arose, day and night, the holy hymns with which its tones were blended; and back again to orgies, in which it learned to howl and laugh as if a legion of devils were shut up in it; then, again, to the gentle dilettante, who calmed it down with easy melodies until it answered him softly as in the days of the old maestros; and so given into our hands, its pores all full of music, stained, like the meerschaum, through and through with the concentrated hue and sweetness of all the harmonies which have kindled and faded on its strings." The gifted author of "The Autocrat of the Breakfast-Table" has evidently made himself acquainted with the various life-phases of a Violin.

The fancy for the Violin as a curiosity has been a matter of slow growth, and has reached its present proportions solely from the intrinsic merits of its object. The Violin has not come suddenly to occupy the attention of the curious, like many things that might be named, which have served to satisfy a taste for the collection of what is rare or whimsical, and to which an artificial value has been imparted. In those days when the old Brescian and Cremonese makers flourished, the only consideration was the tone-producing quality of their instruments; the Violin had not then taken its place among curiosities. The instruments possessing the desired qualities were sought out until their scarcity made them legitimate food for the curious. Beauties, hitherto passed over, began to be appreciated, the various artistic points throughout the work of each valued maker were noted, and in due time Violins had their connoisseurs as well as their players.

Besides Italy, England, France, and Germany have had their great men in the Fiddle world, whose instruments have ever been classed as objects of virtu. Mace, in his "Musick's Monument," published in 1676, gives, perhaps, the earliest instance of curiosity prices in England. "Your best provision (and most compleat) will be a good chest of Viols; six in number, viz., two Basses, two Tenors, and two Trebles, all truly and proportionally suited; of such there are no better in the world than those of Aldred, Jay, Smith; (yet the highest in esteem are) Bolles and Ross (one Bass of Bolles I have known valued at 100 pounds). These were old." From the above curious extract we glean that the Fiddle family was receiving some attention. The makers in England whose instruments seem to have reached curiosity prices are Bolles, Jay, Barak Norman, Duke, Wamsley, Banks, and Forster: the value attached at different periods to the works of these men has nearly approached the prices of Cremonese work. Of course, the high value set upon the instruments of the makers above named was confined to England.

Turning to France, we find that many of the old French makers' instruments brought prices greatly in excess of their original cost. The favourite French makers were Medard, Boquay, Pierray, of the old school, and Lupot and Pique of the modern.

In Germany there have been makers whose works have brought very high prices. Stainer, Albani, Widhalm, Scheinlein, are names that will serve to associate high values with German work. In the case of Jacob Stainer, the celebrity of his instruments was not confined to Germany; they were highly prized by the English and French, and at one period were more valued than the best Amatis. It was not until the vast superiority of Italian Violins over all others was thoroughly recognised, that the love of the instrument as a curiosity reached its present climax. In Italy, the value set upon the chief Cremonese works, though great, was comparatively insignificant, as far as the Italians themselves are concerned, and when France and England came into competition with them for the possession of their Violins by Amati, Stradivari, Guarneri, and the gems of other makers, they at once yielded the contest.

The introduction of Italian instruments into Great Britain was a matter of slow growth, and did not assume any proportions worthy of notice until the commencement of the present century, when London and Paris became the chief marts from whence the rare works of the old Italians were distributed over Europe. By this time the taste of the Fiddle world had undergone a considerable change. The instruments in use among the dilettanti in France and England had hitherto been those built on the German model of the school of Jacob Stainer. The great German maker was copied with but little intermission for upwards of a century, dating from about 1700 to 1800, a period of such considerable extent as to evidence the popularity of the model. Among the Germans who were following in the footsteps of Stainer were the family of Kloz, Widhalm, Statelmann, and others of less repute. In England there was quite an army of Stainer-worshippers. There were Peter Wamsley, Barrett, Benjamin Banks, the Forsters, Richard Duke, and a whole host of little men. Among the makers mentioned there are three, viz., Banks, Forster, and Richard Duke, who did not copy Stainer steadfastly. Their early instruments are of the German form, but later they made many copies of the Cremonese. To Benjamin Banks we are indebted for having led the English makers to adopt the pattern of Amati. He had long laboured to popularise the school which he so much loved, but met with little encouragement in the beginning, so strong was the prejudice in favour of the high model. However, he triumphed in the end, and completely revolutionised the taste in England, till our Fiddle-fanciers became total ab-Stainers! Then commenced the taste for instruments of flat form. Where were they to be found? If the few by the early English makers be excepted, there were none but those of the Italians to be had, and perhaps a few old French specimens. Attention was thus directed to the works of the Cremonese, and the year 1800 or thereabouts may be put down as the time when the tide of Italian Violins had fairly set in towards France and England. The instruments by the Amati were those chiefly sought after; the amount of attention they commanded at this period was probably about equal to that bestowed upon the works of Stradivari and Guarneri at the present time. Violins of Amati and other makers were, up to this time, obtainable at nominal prices. The number in Italy was far in excess of her requirements, the demand made upon them for choir purposes in former days had ceased, and the number of Violins was thus quite out of proportion to the players. The value of an Amati in England in 1799 and 1804 may be gathered from the following extracts from the day-book of the second William Forster, who was a dealer as well as maker—"20th April, 1799. A Violoncello by Nicholas Amati, with case and bow, 17 pounds 17s. 0d.;" and further on—"5th July, 1804, an Amati Violin 31 pounds 10s. 0d." These prices were probably less than those which William Forster received for many instruments of his own make. It is certain that these low prices did not long continue; the price increased in due proportion to the vanishing properties of the supply. The call for Violins by the Amati was so clamorous as speedily to effect this result; the prices for them were doubled, trebled, and often quadrupled, until they no longer found a home in their native land. The value set on them by the French and English so far exceeded that which the Italians themselves could afford, even though inclined to indulge in such things, that the sellers were as eager to sell as the buyers to buy. During the time of this scramble for instruments of Cremona, the theory of the flat model was fast gaining ground. The circulation of the works of Cremona among the players of France and England led to a comparison of the various forms, and it was found that the elevated model was inferior in every way when tested by the works of the great Italian makers. Hitherto no distinction had been drawn as regards value among the productions of the several members of the Amati family. Andrea had been looked upon as equivalent to Girolamo, Antonio, or Niccolo; but attention now began to be directed towards the works of the brothers, and to those of Niccolo in particular, as the flat model gained in the appreciation of the Fiddling world. Grand Amatis became the coveted Fiddles; they were put up frequently at twice the value of the smaller patterns—a position they still maintain. The taste for the flat form having thus been developed, the works of Antonio Stradivari came to the front, slowly but surely; their beauties now became known outside the circle in which they had hitherto been moving: a circle made up chiefly of royal orchestras (where they were used at wide intervals), convent choirs, and private holders, who possessed them without being in the least aware of their merits. They were now eagerly sought by soloists in all parts of Europe, who spread their fame far and wide. Their exquisite form and finish captivating the dilettanti, the demand increased to an extent far beyond that commanded by the works of the Amati at the height of their popularity.

There were a few Stradivari instruments in England when Amati was the favourite maker, and their value at that period may be estimated, if it be true that Cervetto, the father of the famous Violoncellist, was unable to dispose of a Stradivari Violoncello for five pounds—a circumstance which shows how blind our forefathers were to the merits of the greatest maker the world has had. Among the artists of the early part of the present century who used the instruments of Stradivari were Boccherini, Viotti, Rode, Kreutzer, Habeneck, Mazas, Lafont, and Baillot.

About the year 1820 the fame of Giuseppe Guarneri as a great maker was published beyond Italy, chiefly through the instrumentality of Paganini. That wonderful player came to possess a splendid specimen of Guarneri del Gesu, dated 1743, now sleeping in the Museum at Genoa, which Paganini used in his tour through France and England. He became the owner of this world-famed Violin in the following curious manner. A French merchant (M. Livron) lent him the instrument to play upon at a concert at Leghorn. When the concert had concluded, Paganini brought it back to its owner, when M. Livron exclaimed, "Never will I profane strings which your fingers have touched; that instrument is yours." A more fitting present or higher compliment could not have been offered. The names of Amati and Stradivari became familiar to the musical world gradually, but Guarneri, in the hands of a Paganini, came forth at a bound. This illustrious Violin was often credited with the charm which belonged to the performer; the magical effects and sublime strains that he drew forth from it must, it was thought, rest in the Violin. Every would-be Violinist, whose means permitted him to indulge in the luxury, endeavoured to secure an instrument by the great Guarneri. The demand thus raised brought forth those gems of the Violin-maker's art, now in the possession of wealthy amateurs and a few professors. When the various works of the gifted Guarneri were brought to light, much surprise was felt that such treasures should have been known to such a handful of obscure players, chiefly in the churches of Italy. The Violin used by Paganini belongs to the last period of the great maker, and consequently, is one of those bold and massive instruments of his grandest conception, but lacks the beautiful finish of the middle period. The connoisseurs of those days had associated Giuseppe Guarneri with Violins of the type of Paganini's only; their surprise was great when it was discovered that there were three distinct styles in the works of Guarneri, one evidencing an artistic grandeur, together with a high finish, but little inferior to those of Antonio Stradivari. The marked difference between these epochs of Guarneri's manufacture has led to a great amount of misconception. Fifty years since, the world possessed little information on the subject, and the connoisseur of those times could not believe it possible that these varied styles emanated from one mind. The opportunities given to the connoisseur of later days of comparing the various instruments of the several epochs of Guarneri have set at rest all doubts concerning them. They no longer require dates or labels; they are as easily distinguished and classed as the works of Amati or Stradivari.

Attention was claimed for the works of Maggini by the charming Belgian Violinist, Charles de Beriot, who, early admiring the large proportions and powerful tone of Maggini's instruments, decided to use one for public playing. That an artist so refined as De Beriot, and one who attached so much importance to that sympathy between the Violin and player which should make it the vehicle for presenting its master's inward feelings, should have selected a Violin of large size, and adapted for giving forth a great volume of tone, was a matter of surprise to a great many of his contemporaries. Those who judged only from his school of playing anticipated that he would have selected Amati as embodying the qualities he so passionately admired. It is certain, however, that he succeeded in bringing the penetrating power of his Maggini thoroughly under his control. In the instruments of Maggini, De Beriot doubtless recognised the presence of vast power, together with no inconsiderable amount of purity of tone, and to bring forth these qualities to the best advantage was with him a labour of love. The popularity of Maggini's Violins rapidly raised their value. Instruments that, before De Beriot made them widely known, might have been purchased for ten pounds, realised one hundred. The Violin known as "De Beriot's Maggini" remained in his possession till within a short time of his death, when it was disposed of to his friend and patron, the Prince de Chimay, it is said, for the enormous sum of six hundred pounds—a price far in excess of the average value of Maggini's instruments. In this instance, the association of De Beriot with the instrument is sufficient, perhaps, to account for the rare price set upon it.

We now reach the time when Carlo Bergonzi began to be regarded as a maker of the first class. As a Cremonese maker, he was one of the latest to receive the attention to which his exceptional merits fairly entitled him. To English connoisseurs belongs the credit of appreciating this great maker.

The recognised merits of the makers already named naturally caused a demand for Italian instruments generally. If the masters could not be had, the pupils must be found; hence a whole host of Italian makers, quite unknown in England fifty years since, became familiar to the connoisseur. The works of Guadagnini, Gagliano, Grancino, Santo Serafino, Montagnana, and others whose names it is unnecessary to give, passed from Italy into France and England, until the various schools of Italian Violin manufacture were completely exhausted. When we look back, it is surprising that so much has been achieved in such a brief space of time. The knowledge of Italian works in 1800 was of the slenderest kind, both in France and England; in less than three-quarters of a century those countries contrived to possess themselves of the finest specimens of Cremonese instruments, together with those of other Italian schools. We here have an example of the energy and skill that is brought to bear upon particular branches of industry when once a demand sets in. Men of enterprise rise with it unnoticed, and lead the way to the desired end. In the case of Italian Violins it was Luigi Tarisio who acted as pioneer—a being of singular habits, whose position in the history of the Violin, considered as a curiosity, is an important one. This remarkable man was born of humble parents, wholly unconnected with the musical art. In due time he chose the trade of a carpenter, which vocation he followed with assiduity, if not with love. He amused himself during his leisure hours in acquiring a knowledge of playing on the Violin—an accomplishment that was destined to exercise an influence on his future life, far greater than was ever contemplated by the young carpenter. That his playing was not of a high order may be readily imagined: it was confined chiefly to dance-music, with which he amused his friends, Fiddling to their dancing. His first Violin was a very common instrument, but it served to engender within him that which afterwards became the ruling passion of his life. His study of this little instrument was the seed from which grew his vast knowledge of Italian works. So much was his attention absorbed by the form of the instrument that any skill in playing upon it became quite a secondary consideration. He endeavoured to see all the Violins within his reach, and to observe their several points of difference. The passion for old Violins, thus awakened, caused him to relinquish his former employment entirely, and to devote the whole of his attention to the art which he so loved. He soon became aware of the growing demand for Italian works, and felt that, possessed with a varied and proficient knowledge of the different styles of workmanship belonging to the Italian schools of Violin-making, he could turn his present acquirements to a profitable as well as pleasurable use. He resolved to journey in search of hidden Cremonas. His means were, indeed, very limited. His stock-in-trade consisted only of a few old Violins of no particular value. With these he commenced his labours, journeying in the garb of a pedlar, on foot, through Italian cities and villages, and often playing his Violin in order to procure the bare means of existence. Upon entering a village he endeavoured to ingratiate himself with the villagers, and thus obtain information of the whereabouts of any inhabitants who were possessed of any member of the Fiddle family, his object being to examine and secure, if possible, such instruments as were possessed of any merit. It can readily be conceived that at the commencement of the present century, numbers of valuable Cremonese and other instruments were in the hands of very humble people. Luigi Tarisio knew that such must be the case, and made the most of his good fortune in being the first connoisseur to visit them. His usual method of trading was to exchange with the simple-minded villagers, giving them a Violin in perfect playing order for their shabby old instrument that lacked all the accessories. It was indeed the case of Aladdin's Lamp, and as potent were these Fiddles as the wonderful lamp or ring itself. In the possession of Luigi Tarisio they drew forth from the purses of the wealthy gold that would have enabled the humble villagers to have ceased labour. It is an axiom, however, that everything on this earth is only of value providing it is in its proper place, and these rare old instruments, in the keeping of the poor peasants, could scarcely be considered to be in their proper element; their ignorant possessors were alike unable to appreciate their sterling worth, as works of art, or their powers of sound. Luigi Tarisio, after gathering together a number of old rarities, made for his home, and busied himself in examining the qualities of his stock, selecting the best works, which he laid aside. With the residuum of those instruments he would again set out, using them as his capital wherewith to form the basis of future transactions among the peasantry and others. He visited the numerous monasteries throughout Italy that he might see the valuable specimens belonging to the chapel orchestras. He found them often in a condition ill becoming their value, and tendered his services to regulate and put them into decent order—services gladly accepted and faithfully performed by the ardent connoisseur. By the handling of these buried treasures, his knowledge and experience were greatly extended. Makers hitherto unknown to him became familiar. When he met with instruments apparently beyond the repairer's skill, he would make tempting offers of purchase, which were often accepted. Having accumulated many instruments of a high order during these journeys, he began to consider the best means of disposing of them. He decided upon visiting Paris. He took with him the Violins he valued least, resolving to make himself acquainted with the Parisian Fiddle market before bringing forth his treasures. It is said that he undertook his journey on foot, depriving himself often of the common necessaries of life, that he might have more money to buy up his country's Fiddles. His first visit to Paris was in 1827, an eventful year in the history of Italian Violins, as far as relates to Paris. Upon arriving in the French capital, he directed his steps to the nearest luthier, one Aldric, to whom he had been recommended as a purchaser of old instruments of high value. Upon arriving at the shop of M. Aldric, Tarisio hesitated before entering, feeling suddenly that his appearance was scarcely in keeping with his wares, his clothes being of the shabbiest description, his boots nearly soleless, and his complexion, naturally inclined to blackness, further darkened by the need of ordinary ablutions. However, he set aside these thoughts, and introduced himself to the luthier as having some Cremona Violins for sale. Aldric regarded him half-contemptuously, and with a silent intent to convey to Tarisio that he heard what he said, but did not believe it. The Italian, to the astonishment of the luthier, was not long in verifying his statement; he opened his bag and brought forth a beautiful Niccolo Amati, of the small pattern, in fine preservation, but having neither finger-board, strings, nor fittings of any kind. The countenance of the luthier brightened when he beheld this unexpected specimen of the Italian's wares. He carefully examined it, and did his best to disguise the pleasurable feelings he experienced. He demanded the price. The value set on it was far in excess of that he had anticipated; he erroneously arrived at the probable cost from an estimate of the shabby appearance of the man. He had been comforting himself that the Italian was unaware of the value put upon such instruments. He decided to see further the contents of the bag before expressing an opinion as to the price demanded for the Amati. Violins by Maggini, Ruggeri, and others, were produced—six in number. Tarisio was asked to name his price for the six. After much giving and taking they became the property of the luthier. This business was not regarded as satisfactory by Tarisio; he had overestimated the value of his goods in the Paris market; he had not learned that it was he himself who was to create the demand for high-class Italian instruments by spreading them far and wide, so that their incomparable qualities might be observed. He returned to Italy with his ardour somewhat cooled; the ready sale at the prices he had put upon his stock was not likely to be realised, he began to think. However, with the proceeds of his Paris transaction he again started in search of more Cremonas, with about the same satisfactory results. He resolved to visit Paris again, taking with him some of his choicest specimens. He reached the French capital with a splendid collection—one that in these days would create a complete furore throughout the world of Fiddles. He extended his acquaintance with the Parisian luthiers, among whom were MM. Vuillaume, Thibout, and Chanot senior. They were all delighted with the gems that Tarisio had brought, and encouraged him to bring to France as many more as he could procure, and at regular intervals. He did so, and obtained at each visit better prices.



This remarkable man may be said to have lived for nought else but his Fiddles. Mr. Charles Reade, who knew him well, says:[1] "The man's whole soul was in Fiddles. He was a great dealer, but a greater amateur; he had gems by him no money would buy from him." It is related of him that he was in Paris upon one occasion, walking along the Boulevards with a friend, when a handsome equipage belonging to a French magnate passed, the beauty of which was the talk of the city. Tarisio's attention being directed to it by his friend, he calmly answered him that "he would sooner possess one 'Stradivari' than twenty such equipages." There is a very characteristic anecdote of Tarisio, which is also related by Mr. Reade in his article on Cremona Violins, entitled the "Romance of Fiddle-dealing":

"Well, one day Georges Chanot, senior, made an excursion to Spain, to see if he could find anything there. He found mighty little, but coming to the shop of a Fiddle-maker, one Ortega, he saw the belly of an old Bass hung up with other things. Chanot rubbed his eyes, and asked himself was he dreaming? the belly of a Stradivari Bass roasting in a shop window! He went in, and very soon bought it for about forty francs. He then ascertained that the Bass belonged to a lady of rank. The belly was full of cracks; so, not to make two bites of a cherry, Ortega had made a nice new one. Chanot carried this precious fragment home and hung it up in his shop, but not in the window, for he was too good a judge not to know that the sun will take all the colour out of that maker's varnish. Tarisio came in from Italy, and his eye lighted instantly on the Stradivari belly. He pestered Chanot till the latter sold it him for a thousand francs, and told him where the rest was. Tarisio no sooner knew this than he flew to Madrid. He learned from Ortega where the lady lived, and called on her to see it. 'Sir,' says the lady, 'it is at your disposition.' That does not mean much in Spain. When he offered to buy it, she coquetted with him, said it had been long in her family; money could not replace a thing of that kind, and, in short, she put on the screw, as she thought, and sold it him for about four thousand francs. What he did with the Ortega belly is not known; perhaps sold it to some person in the toothpick trade. He sailed exultant for Paris with the Spanish Bass in a case. He never let it go out of his sight. The pair were caught by a storm in the Bay of Biscay; the ship rolled; Tarisio clasped his Bass tightly and trembled. It was a terrible gale, and for one whole day they were in real danger. Tarisio spoke of it to me with a shudder. I will give you his real words, for they struck me at the time, and I have often thought of them since. 'Ah, my poor Mr. Reade, the Bass of Spain was all but lost!'

"Was not this a true connoisseur—a genuine enthusiast? Observe, there was also an ephemeral insect called Luigi Tarisio, who would have gone down with the Bass; but that made no impression on his mind. De minimis non curat Ludovicus!

"He got it safe to Paris. A certain high-priest in these mysteries, called Vuillaume, with the help of a sacred vessel, called the glue-pot, soon re-wedded the back and sides to the belly, and the Bass now is just what it was when the ruffian Ortega put his finger in the pie. It was sold for 20,000 fr. (800 pounds). I saw the Spanish Bass in Paris twenty-five years ago, and you can see it any day this month you like, for it is the identical Violoncello now on show at Kensington numbered 188. Who would divine its separate adventures, to see it all reposing so calm and uniform in that case?—Post tot naufragia tutus."

[Footnote 1: "Cremona Violins," Pall Mall Gazette, August, 1872.]

The love of Tarisio for the masterpieces of the great makers was so intense, that often when he had parted with the works he so admired, he never lost sight of them, and waited a favourable opportunity for again making himself their owner.

It is related of him that upon one occasion he disposed of a beautiful Stradivari, in perfect preservation, to a Paris dealer. After having done so he hungered for it again. For years he never visited Paris without inquiring after his old favourite, and the possibility of its again being offered for sale, that he might regain possession of it. At last his perseverance was rewarded, inasmuch as he heard that it was to be bought. He instructed his informant to obtain for him a sight of it. The instrument was fetched, and Tarisio had scarcely patience enough to wait the opening of the case, so anxious was he to see his old companion. He eagerly took up the Violin, and turned it over and over, apparently lost to all about him, when suddenly his keen eye rested upon a damage it had received, which was hidden by new varnish. His heart sank within him; he was overcome by this piece of vandalism. In mingled words of passion and remorse he gave vent to his feelings. He placed it in its case, remarking sadly that it had no longer any charm for him.

In the year 1851 Tarisio visited England, when Mr. John Hart, being anxious that he should see the chief collections of Cremonese instruments in this country, accompanied him to the collection, amongst others, of the late Mr. James Goding, which was then the finest in Europe. The instruments were arranged on shelves at the end of a long room, and far removed from them sat the genuine enthusiast, patiently awaiting the promised exhibition. Upon Mr. Goding taking out his treasures he was inexpressibly astonished to hear his visitor calling out the maker of each instrument before he had had time to advance two paces towards him, at the same time giving his host to understand that he thoroughly knew the instruments, the greater number having been in his possession. Mr. Goding whispered to a friend standing by, "Why, the man must certainly smell them, he has not had time to look." Many instruments in this collection Tarisio seemed never tired of admiring. He took them up again and again, completely lost to all around—in a word, spell-bound. There was the "King" Guarneri—the Guarneri known as Lafont's—the beautiful Bergonzi Violin—the Viola known as Lord Macdonald's—General Kidd's Stradivari Violoncello—the Marquis de la Rosa's Amati—Ole Bull's Guarneri—the Santo Serafino 'Cello—and other remarkable instruments too numerous to mention. Who can say what old associations these Cremona gems brought to his memory? For the moment, these Fiddles resolved themselves into a diorama, in which he saw the chief events of his life played over again. With far greater truthfulness than that which his unaided memory could have supplied, each Fiddle had its tale to relate. His thoughts were carried back to the successful energies of his past.

Tarisio may be said to have lived the life of a hermit to the time of his death. He had no pleasures apart from his Fiddles; they were his all in this world. Into his lodgings, in the Via Legnano, near the Porta Tenaglia, in Milan, no living being but himself was ever permitted to enter.[2] His nearest neighbours had not the least knowledge of his occupation. He mounted to his attic without exchanging a word with any one, and left it securely fastened to start on his journeys in the same taciturn manner. He was consequently regarded as a mysterious individual, whose doings were unfathomable. The time, however, has arrived when the veil hiding the inner life of this remarkable man should be lifted, and here I am indebted for particulars to Signor Sacchi, of Cremona, who received them from a reliable source. Tarisio had been seen by his ever-watchful neighbours to enter his abode, but none had noticed him quit it for several days. The door was tried and found locked; no answer was returned to the sundry knockings. That Tarisio was there the neighbours were convinced. The facts were at once brought under the notice of the municipal authorities, who gave instructions that an entry should be made by force into the mysterious man's apartment. The scene witnessed was indeed a painful one. On a miserable couch rested the lifeless body of Luigi Tarisio; around, everything was in the utmost disorder. The furniture of the apartment consisted mainly of a chair, table, and the couch upon which lay the corpse. A pile of old Fiddle-boxes here and there, Fiddles hung around the walls, others dangling from the ceiling, Fiddle-backs, Fiddle-heads, and bellies in pigeon-holes; three Double-Basses tied to the wall, covered with sacking. This was the sight that met the gaze of the authorities. Little did they imagine they were surrounded with gems no money would have bought from their late eccentric owner. Here were some half-dozen Stradivari Violins, Tenors, and Violoncellos, the chamber Gasparo da Salo Double-Bass now in the possession of Mr. Bennett, and the Ruggeri now belonging to Mr. J. R. Bridson, besides upwards of one hundred Italian instruments of various makers, and others of different nationalities. All these were passed over by the visitors as so much rubbish in their search for something more marketable. At last they alighted on a packet of valuable securities together with a considerable amount of gold. A seal was placed upon the apartment, pending inquiries as to the whereabouts of the dead man's relatives. In due time, some nephews came forth and laid claim to the goods and chattels of the Italian Fiddle connoisseur.

[Footnote 2: The house is now turned, with those adjoining, into a manufactory. When Luigi Tarisio lived there it was a small restaurant, similar to those seen in the side streets of Soho.]

Luigi Tarisio died in October, 1854. Three months later, upon the news being communicated to M. Vuillaume, of Paris, he soon set out for Milan, and had the good fortune to secure the whole of the collection, at a price which left him a handsome profit upon the transaction, besides the pleasurable feeling of becoming the possessor of such a varied and remarkable number of instruments.

Having given the reader all the information I have been able to collect concerning Tarisio, I will only add that he had advantages over all other connoisseurs, inasmuch as he found the instruments mostly in their primitive condition, and free from any tampering as regards the labels within them. He was thus enabled to learn the characteristics of each without fear of confusion. The days of taking out the labels of unmarketable names and substituting marketable counterfeits had not arrived.

The principal buyers of Italian instruments on the Continent, when dealing in this class of property was in its infancy, were Aldric, MM. Chanot senior, Thibout, Gand, Vuillaume of Paris, and Vuillaume of Brussels. In London, among others, were Davis, Betts, Corsby, and John Hart. There is yet another, the omission of whose name would be a blemish in any notice of the Violin and its connoisseurs. I refer to Mr. Charles Reade, the novelist, who in early life took the highest interest in old Italian Violins. We are indebted to him in a great measure for bringing into this country many of the most beautiful specimens we possess. Impressed with the charms of the subject, he visited the Continent for the pleasure it afforded him of bringing together choice specimens, and thus opened up the intercourse between England and the Continent for the interchange of old Violins which continues to this day. It would be difficult to find an instance where the intricacies of the subject were so quickly mastered as in his case. Without assistance, but solely from his own observation, he gained a knowledge which enabled him to place himself beside the Chief Continental connoisseurs, and compete for the ownership of Cremonese masterpieces. These were the men who laid bare the treasures of Cremona's workshops, and spread far and wide love and admiration for the fine old works. Connoisseurship such as theirs is rare. To a keen eye was united intense love of the art, patience, energy, and memory of no ordinary kind, all of them attributes requisite to make a successful judge of Violins.

Charles Lamb, on being asked how he distinguished his "ragged veterans" in their tattered and unlettered bindings, answered, "How does a shepherd know his sheep?" It has been observed that, "Touch becomes infinitely more exquisite in men whose employment requires them to examine the polish of bodies than it is in others. In music only the simplest and plainest compositions are relished at first; use and practice extend our pleasure—teach us to relish finer melody, and by degrees enable us to enter into the intricate and compounded pleasure of harmony." Thus it is with connoisseurship in Violins. Custom and observation, springing from a natural disposition, make prominent features and minute points of difference before unseen, resulting in a knowledge of style of which it has been well said "Every man has his own, like his own nose."

As an ardent votary of the Violin, regarded from a point of view at once artistic and curious, Count Cozio di Salabue takes precedence of all others. He was born about the time when the art of Italian Violin-making began to show signs of decadence, and having cultivated a taste for Cremonese instruments, he resolved to gratify his passion by bringing together a collection of Violins which should be representative of the work and character of each maker, and serve as models to those seeking to tread the path of the makers who made Cremona eminent as a seat of Violin manufacture. Virtuosity emanating from a spirit of beneficence is somewhat rare. When, however, utility occupies a prominent place in the thoughts of the virtuoso, he becomes a benefactor. The virtuosity of Count Cozio was of this character. His love for Cremonese instruments was neither whimsical nor transient. From the time when he secured the contents of the shop of Stradivari to the end of his life—a period of about fifty years—he appears to have exerted himself to obtain as much information as possible relative to the art, and to collect masterpieces that they might in some measure be the means of recovering a lost art. When in the year 1775 he secured ten instruments out of ninety-one which Stradivari left in his shop at the time of his death, he must surely have considered himself singularly fortunate, and the happiest of collectors.[3] That such good fortune prompted him to make fresh overtures of purchase cannot be wondered at. We learn from the correspondence of Paolo Stradivari that the Count had caused two letters to be sent by the firm of Anselmi di Briata to Paolo inquiring if he was willing to part with the tools and patterns used by his father Antonio, and that Paolo replied on May 4, 1776: "I have already told you that I have no objection to sell all those patterns, measures, and tools which I happen to have in my possession, provided that they do not remain in Cremona, and you will recollect that I have shown you all the tools I have, and also the box containing the patterns.... I place all at your disposal, and as it is simply a friendly matter" (Paolo Stradivari appears to have had large dealings in cloth and other goods with the firm of Anselmi di Briata, of Casale, a small city on the Po), "I will give you everything for twenty-eight giliati."[4] It does not appear that Paolo's correspondents were moved in their answer by any feelings of sentimentality or of friendship: on the contrary, the tone of the letter was clearly commercial, they having made an offer of twenty-three giliati less than demanded. Paolo Stradivari in his reply, dated June 4, 1776, says: "Putting ceremony aside, I write in a mercantile style. I see from your favour of the 13th ultimo (which I only received by the last courier), that you offer me five giliati for all the patterns and moulds which I happen to possess, as well as for those lent to Bergonzi, and also for the tools of the trade of my late father; but this is too little; however, to show you the desire I have to please you, and in order that not a single thing belonging to my father be left in Cremona, I will part with them for six giliati, providing that you pay them at once into the hands of Domenico Dupuy & Sons, silk stocking manufacturers. I will send you the things above-mentioned, conditionally that I keep the five giliati and use the other one to defray expenses for the case, the packing, and the custom-house duty, which will be necessary to send them, and I shall let you have back through Messrs. Dupuy, residing under the Market Arcades in Turin, any balance that should remain, or (if you like) you may pay the said Messrs. Dupuy seven giliati, and I shall then defray all the expenses, and send also the two snake-wood bows which I possess.—(Signed) PAOLO STRADIVARI."

[Footnote 3: These instruments and the tools appear to have been in the possession of Paolo from the year 1743, when Francesco died, and Paolo opened the shop in the Piazza S. Domenico as a cloth warehouse. He therefore seems to have only decided to dispose of his father's tools when he was in a feeble state of health, he having died, as already noticed, before the purchase was settled, aged 68.]

[Footnote 4: A giliati was a Tuscan gold coin bearing the arms of Florence, the value of which was 9s. 6-1/2d. Its present purchasing power would probably be three times as much, and therefore the sum asked by Paolo Stradivari would be equal to 38 pounds 12s. 10-1/2d.]

In reply to this interesting letter, Messrs. Anselmi di Briata appear to have written accepting the terms offered by Paolo Stradivari, and to have explained to him that they had been in treaty with a certain Signor Boroni, relative to the purchase of a Violin, and having come to terms they wished the instrument to be packed with the tools and moulds. Paolo, in acknowledging this communication, June 25, 1776, says: "In reply to your favour of the 10th instant, Signor Boroni will hand me over the Violin upon hearing that the money has been paid to Messrs. Dupuy. I shall then have no objection to place it in the same case together with the patterns and implements left by my father." From this and subsequent correspondence we learn that Messrs. Anselmi di Briata, being wholesale traders, were in a suitable position to act as intermediaries in the purchase of Violins on behalf of Count Cozio. Their business necessitated their visiting Cremona, and thus they appear to have seen the Violin of Signor Boroni, and also another belonging to a monk or friar named Father Ravizza, both of which were subsequently bought, as seen by the following extracts from a letter of Paolo Stradivari:—

"Cremona, July 10, 1776. We learn from Messrs. Dupuy of the receipt of the seven giliati, which you have paid on our account.... As we have already prepared everything, we shall therefore inform Father Ravizza and Signor Boroni; I have, however, to mention that I did not think I possessed so many things as I have found. It being according to what has been promised, it cannot be discussed over again.... It will be a very heavy case, on account of the quantity of patterns and tools, and consequently it will be dangerous to put the Violins in the same package." The writer refers to the two instruments before mentioned: "I fear without care they will let it fall in unloading it, and the Violins will be damaged; I inform you therefore of the fact.... You must let me know how I have to send the case. If by land, through the firm of Tabarini, of Piacenza, or to take the opportunity of sending by the Po." In passing, it may be remarked that the distance between Cremona and Casale by the river Po is about sixty miles. The later correspondence makes known the fact of the precious freight having been consigned to the firm of Anselmi di Briata by way of the Po, and that it was entrusted to the care and charge of a barge-master named Gobbi.

It is by no means uncommon to discover the memories of men kept green in our minds from causes strangely curious and unexpected. Many seek to render their names immortal by some act the nature of which would seem to be imperishable, and chiefly fail of their object; whilst others, obscure and unthought of, live on by accident. Imagine the paints and brushes, the pencils and palettes, the easel and the sketches of Raffaele having been given over to a Po barge-master, and that chance had divulged his name. Would he not in these days of microscopic biography have furnished work for the genealogist, and been made the subject of numberless pictures? Hence it is that the admirers of Stradivari cannot fail to remember the name of honest Gobbi, who carried the chest wherein were the tools with which the Raffaele of Violin-making wrought the instruments which have served to render his memory immortal.

Soon after the date of Paolo's last letter, he became seriously ill, dying on the 9th of October, 1776. The correspondence was then taken up by his son Antonio. He says in his letter dated November 21, 1776: "I shall send you the case with the patterns and tools of my late grandfather Antonio, which was packed and closed before my father was bedridden. You will find it well-arranged, with mark on it, and with red tape and seal as on the Violins already sent to you." He next refers to other patterns which he found locked up in a chest and which he believes were unknown or forgotten by his father, and offers to dispose of them, with a Viola, and concludes by promising to send the receipts, the copies of which show that the remnants of the tools and patterns were bought for three giliati.

It is unnecessary in this place to make further reference to Count Cozio as a collector, the chief information concerning him being spread over the section of Italian makers. The facsimile of one of the Count's letters here given will serve both as an interesting remembrance of him and as evidence of his keen interest in all relating to the art of which he was so distinguished a votary.



Probably the earliest collector of Italian Violins in England was William Corbett. He was a member of the King's orchestra, and having obtained permission to go abroad, went to Italy in 1710, and resided at Rome many years, where he is said to have made a rare collection of music and musical instruments. How he managed to gratify his desire in this direction seems not to have been understood by his friends, his means, in their estimation, not being equal to such an expenditure. Hence arose a report that he was employed by the Government to watch the Pretender. Corbett died at an advanced age in 1748, and bequeathed his "Gallery of Cremonys and Stainers" to the authorities of Gresham College, with a view that they should remain for inspection under certain conditions, leaving ten pounds per annum to an attendant to show the instruments. Whether the wishes of the testator were carried out in any way there is no information, but the instruments are said to have been disposed of by auction a short time after his decease.

The principal early collectors in this country were the Duke of Hamilton, the Duke of Cambridge, the Earl of Falmouth, the Duke of Marlborough, Lord Macdonald, and a few others. Later, Mr. Andrew Fountaine, of Narford Hall, Norfolk, became the owner of several fine Italian instruments, and made himself better acquainted with the subject, perhaps, than any amateur of his time. Among the Stradivari Violins which Mr. Fountaine possessed was that which he purchased from M. Habeneck, the famous professor at the Paris Conservatoire in the early part of the nineteenth century. Another very fine specimen of the late period, 1734, was also owned by him, a Violin of grand proportions in a high state of preservation, and of the richest varnish. The Guarneri Violins that he possessed were of a very high class. Among these may be mentioned a very small Violin by Giuseppe Guarneri, probably unique, which instrument was exhibited among the Cremonese Violins at the South Kensington Museum in 1872, together with another of the same size by Stradivari, and a third by the brothers Amati.

The number of rarities brought together by the late Mr. James Goding was in every respect remarkable. At one period he owned twelve Stradivari Violins, and nearly the same number by Giuseppe Guarneri, all high-class instruments. It would take up too much time and space to name the particular instruments which were comprised in this collection. The remnant of this group of Cremonese Fiddles was dispersed by Messrs. Christie and Manson in 1857. Mr. Plowden's collection was another remarkable one, consisting of eight instruments of the highest class.

The late Joseph Gillott was a collector, who, in point of number, exceeded all others. He did not confine himself solely to the works of the greatest makers, but added specimens of every age and clime; and at one time he must have had upwards of 500 instruments, the chief part of which belonged to the Italian School. When it is remembered that the vast multitude of stringed instruments disposed of by Messrs. Christie and Manson in 1872 did not amount to one-half the number originally owned by Mr. Gillott, some idea of the extent of his collection may be gained. Among the many curious instances of the love of collecting Violins, which sometimes possesses those unable to use them, perhaps that of Mr. Gillott is the most singular.

Notable collections, be they of Fiddles, medals, pottery, or pictures, have sometimes had their rise in accidents of a curious kind. Lord Northwick dated his passion for coins to a bag of brass ones, which he purchased in sport for eight pounds. His lordship ended by purchasing, in conjunction with