Chapter XXV: Conclusion (2)

FOURRIER, FRANÇOIS NICOLAS (known as “Nicolas of Paris”).--Paris. Born in 1758; died 1816. He was a first-rate maker, but is little known amongst English dealers and players, who are apt to confound him with “didier Nicolas,” a Mirecourt workman, and latterly a manufacturer on a large scale. Fourrier’s work is handsome, well finished, and he was evidently well acquainted with the characteristics of the classic Italian makers. Writer has met with violins, pattern rather large; excellent varnish of red or red-brown colour on a fine yellow ground. Sides sometimes rather shallow. Boldly cut scrolls. He was “luthier to the chapel of the Emperor,” Napoleon I.

FURBER.--London; eighteenth and nineteenth centuries. A numerous family, most of whom worked chiefly for the trade. The best of them was JOHN, who died somewhere about 1845. He worked largely for Betts, and was a good copyist of Amati.

GABRIELLI.--Florence; eighteenth century. There were several makers of the name. GIOVANNI BATTISTA (about 1740 and later) is the best known. Handsome wood and good varnish of yellow or orange colour. There is a resemblance to German work (Stainer) in the form of some instruments. The finish is neat and careful, arching frequently high. He used both written and printed tickets, in some of which he calls himself “de Gabriellis.” He also branded some of his work with the initials G. B. G.

GAFFINO, JOSEPH.--Paris; _circa_ 1740-60. Was of Italian origin. Worked with Castagnery, and afterwards on his own account.

GAGLIANO.--Naples; eighteenth and nineteenth centuries. A large and important family of makers, who have left a considerable number of valuable instruments. The founder was ALESSANDRO, who died between 1720 and 1730, and is reputed, upon very doubtful evidence, to have worked with Stradivari. In this country his genuine instruments are scarce, though numbers of Neapolitan instruments of varying patterns have been assigned to him. Though nearly all the family appear to have worked on lines more or less akin to those of Stradivari the resemblance between Alessandro’s violins and those of that maker is by no means close. In a few seen by the writer the arching has been of the ridgy character associated with some Amati instruments, but he also made examples of flatter arching. Varnish varies. In some it is of fine quality and soft texture, and quite distinct from the ordinary Neapolitan type. The scrolls of this maker, and of others of the name, are usually of poor, cramped style and workmanship. He made some violoncellos of considerable beauty and very fine tone. He seems to have used a variety of labels, some in manuscript. NICCOLÒ GAGLIANO I. was the eldest son of the foregoing, and judging by the number of works still extant, was probably the most prolific maker of the family. The dates assigned to him in most books are quite unreliable; he seems to have worked until late in the eighteenth century, and probably died about 1780. Though his productions are of unequal merit, he was undoubtedly a workman of much skill. Sometimes he employed a fine red varnish of much brilliance and soft quality; in many cases, however, he used the clear yellow preparation, characteristic of the Neapolitan school. Arching generally pretty full, and sometimes rather high. Wood frequently handsome, the backs of the instruments being generally divided. In the violins the scrolls are generally poor and of insignificant cut. In the violoncellos they are somewhat better. In the latter the back of the peg-box sometimes has an aperture cut in it, to facilitate stringing. Outline based on that of Stradivari; sound-holes very well cut, and frequently placed a shade high in instrument. They are generally set very upright in the bellies. He made a considerable number of examples inlaid with black ornamentation. NICCOLÒ II. was a son of Giovanni Gagliano (Joannes), and was a maker of no particular account. He died about 1826. GENNARO (Jannarius), _circa_ 1720-75, was the second son of Alessandro, and is now usually reckoned the best maker of the family. Instruments much rarer than those of Niccolò. In his best work the finish is excellent; and his varnish (orange-yellow or red) is almost uniformly of a superior kind. The pattern more or less after that of Stradivari. The scrolls well cut and of bolder character than those of the other Gagliani. Some of his fiddles and basses have contained Stradivari tickets and have passed as originals. The tone is round, equal, and free from the nasal character which is often observable in Neapolitan fiddles. FERDINAND, 1724-81. Was the eldest son of Niccolò I. A good workman. Pattern rather broad-looking. Arching moderate. Finish frequently somewhat careless. JOSEPH: worked until about 1795, and was the second son of Niccolò I. He was associated with a younger brother, Antonio, and the instruments of the firm bear their joint label. His instruments are somewhat similar in appearance to those of his father, but usually inferior in style and finish. GIOVANNI, died _circa_ 1806; was a nephew of Gennaro, and worked with him. Some of his examples are of good pattern, and well made. He occasionally ornamented them after the manner of Niccolò. There were several other Gagliani: GAETANO, RAFFAELE, and ANTONIO, who worked together in the last century down to about 1857; and others.

GAILLARD, CHARLES.--Paris; 1850-81. An excellent workman of the Paris school, whose instruments are rising in value. He worked with Gand. Strad pattern; sound-holes very well cut; set rather upright, and look a little wide open.

GAILLARD-LAJOUE, J.--Mirecourt and Paris. Died about 1870. Brother of the above, and also a fine workman. Worked with Gand.

GALRAM, JOACHIM JOSEPH.--Lisbon; 1769 to 1825. Work little known in England.

GAND.--Paris, Versailles. A famous French family of makers and dealers originating in Mirecourt. CHARLES MICHAEL, the founder, was born there in 1748, and died in Versailles 1820. CHARLES FRANÇOIS (“Gand père”) was his eldest son. Worked with Lupot, whose daughter he married, from 1802. Was an excellent maker, and one of the most skilful repairers who ever lived. He died in 1845. CHARLES NICHOLAS EUGÈNE, the second son of Charles François, died in 1892. Was senior partner in the firm of Gand and Bernardel, who made instruments on an extensive scale, and held important appointments. The work produced by this house is of the Lupot class and traditions, and is of a high order of merit. There were other members of the family engaged in the violin business.

GAVINIÉS, FRANÇOIS.--Bordeaux, Paris; eighteenth century. Instruments branded. The better class examples well made.

GEISSENHOFF, FRANZ.--Vienna; 1754-1821. By far the best of the Viennese makers, and a close imitator of the Stradivari pattern. All the details of the work are well executed, including the scrolls. Varnish usually a dark red-brown. The tone is round and of very good quality. He usually branded his work with his initials, under the button. The violoncellos are rare. His work has risen rapidly in value and to-day commands good prices.

GEMÜNDER, AUGUST.--Born 1814, Würtemburg; died New York, 1895. Made numerous instruments which are in high esteem in America. His brother GEORGE, born 1816, died 1899, worked first with Vuillaume in Paris, but went to New York in 1849. Made good copies in the Vuillaume style.

GERMAIN, JOSEPH LOUIS.--Paris. Died 1870. Worked with Gand and later with J. B. Vuillaume; afterwards on his own account. He was a clever maker and one of the best of Vuillaume’s workmen. His son EMILE, born 1853, is well known in Paris, and has made a large number of instruments.

GIBERTINI, ANTONIO.--Parma, Genoa; nineteenth century to about 1850. Medallist at Milan. A neat workman. A few violins seen by writer were of Stradivari pattern, good wood and handsome red varnish. His work does not seem to be plentiful.

GILKES, SAMUEL.--London. Died 1827. A maker of much ability. Worked for Forster before establishing himself on his own account. The finish of his instruments is remarkable. They are somewhat scarce, and generally of Amati character, but he also copied Stradivari. A son, WILLIAM, was well known as a double-bass maker.

GISALBERTI, ANDREA.--Parma; eighteenth century, _circa_ 1720 and later. Said also to have worked in Bozzolo, Rimini, and elsewhere. His existence has been doubted in some quarters, but violins by him undoubtedly exist, a few of which seen by the writer were of good tone, and not without character, albeit somewhat indifferent workmanship. Horace Petherick some years since wrote a book in which he sought to prove that Gisalberti was the instructor of Guarneri, del Gesù.

GLÄZEL.--Markneukirchen. For over a century a large number of makers of this name have worked in Markneukirchen and elsewhere in Germany.

GLASS.--Klingenthal. Another German family of whom much the same may be said as of the Gläzels.

GLIER.--Markneukirchen. Another large family of makers. Eighteenth and nineteenth centuries.

GOBETTI, FRANCESCO.--Venice; _circa_ 1700-30. One of the finest makers of the Venetian school. There is nothing beyond tradition of a most unsatisfactory kind to prove that he was a pupil of Stradivari. His work in some cases suggests late Amati influence, both in form and style; it is frequently very beautiful in every respect, save the cutting of the scrolls. Handsome wood, beautiful red varnish, and tone of excellent quality. His genuine labels are by no means plentiful, the tickets of Francesco Ruger, Amati, and Stradivari, having been inserted in his instruments. The writer has met with two or three violins having a decidedly German outline which were assigned to this maker by judges of repute.

GOFRILLER.--Venice; to about 1740. A family, possibly of Tyrolese origin, whose work was until recent years little known in this country. The best maker was MATTEO, much of whose work has been masquerading under the names of other makers, such as Joseph Guarneri, son of Andrea, Carlo Bergonzi, and Montagnana. The workmanship and style are good, wood sometimes, but not frequently, handsome, and the varnish, generally dark red, is of good quality. He seems to have made a good many violoncellos. The scrolls are well cut, but can hardly be described as of Italian type. Labels vary, and in some the name is spelt with a double “f.” Two other Gofrillers, Francesco and Antonio, are mentioned, but their work is almost unknown.

GOSSELIN, JEAN.--Paris; _circa_ 1820-30. An amateur. There are some fine violins of Stradivari pattern bearing his label. In some cases instruments made by another hand were varnished by him.

GOULDING.--London; about 1800. There are a good many violoncellos and violins bearing the stamp “Goulding,” some of English work, and others of obviously foreign make. Some of these are useful instruments, but there seems to be some doubt whether he was actually a maker.

GRAGNANI, ANTONIO.--Leghorn; _circa_ 1740-1800. The best of the few makers dating from Leghorn. The violins bear some little likeness to the work of the Gagliano family, have a very good quality of tone, and the varnish is not unfrequently of good texture and appearance, though the colour is apt to fade. The scrolls are very poor. Instruments branded on the button, and sometimes in other places. Of late they have commanded some attention amongst players, and their value has increased considerably. There were two other makers of the name, but of no particular account.

GRANCINO.--Milan; late seventeenth and earlier eighteenth centuries. An important family of makers of whom there seem to have been upwards of half a dozen members. The earliest appears to have been PAOLO, who was at work until near the end of the seventeenth century. The few of his instruments met with by the writer have been of Amati pattern, with yellow varnish, and wood exhibiting little or no figure. It is said that he was a pupil in Amati’s workshop. He certainly does not seem to have used varnish which can be compared with that of his master. His son GIOVANNI worked from about the end of the seventeenth century until 1730 or a little later, and has left a good many instruments of considerable value. The violoncellos perhaps take higher rank than the violins, but the finer specimens of the latter are not unfrequently handsome, both as to wood and varnish, and the tone is of full and telling quality. In some of his later work Giovanni discarded some of the Amati features seen in earlier examples. The arching is flatter, and the sound-hole assumes a somewhat pointed form, and is set more obliquely in the instrument. It has been said by writers that he imitated Guarneri del Gesù, a statement which is manifestly absurd having regard to dates. Instruments by him with the pointed sound-hole exist, which were made long before del Gesù’s admitted period of activity, _i.e._ 1725-45. Of the other makers of the name very little seems to be certainly known.

GRAND-GÉRARD.--Mirecourt; early nineteenth century. Branded instruments of rather large flat pattern and commonplace character. The tone is not unfrequently passable.

GRANDJON.--Mirecourt; nineteenth century. A family of makers. Instruments of moderate price and better class “factory” style of work.

GROBLICZ, MARTIN.--Warsaw; eighteenth century. The name is commonly printed “Grobitz” in books dealing with the violin. Examples scarce. Pretty work of Stainer pattern. Sometimes seen with lion-heads. The name is found in more modern instruments of a very common type, and with edges flush with the sides, instead of overlapping them.

GROSSMAN, DR. MAX.--Born Berlin. Contemporary. Is chiefly known as originator of a system of attuning the backs and bellies of instruments. This has been applied to modern examples made in Germany and sold under the name of the “New Cremona” violins, etc.

GUADAGNINI.--Piacenza, Turin, Milan, Parma; eighteenth and early nineteenth centuries. A very celebrated family originating at either Piacenza or Cremona. LORENZO, the founder, claims in some of his tickets to have been a Cremonese. According to Hart and other writers, his dates run from about 1695 to 1740, or later. Much has been written about him, but in reality his genuine instruments are rarely seen in this country, and his work is imperfectly known, even amongst some of our better informed dealers. He also claims in some labels to have worked with Stradivari, but the veracity of the statement has been questioned time and again. The writer, during an experience of over thirty-five years, has seen very few authentic instruments by him. They are said to be of bolder design than those of his son Giovanni Battista, and the sound-holes are of varying form, sometimes resembling those of Guarneri del Gesù. All authorities are agreed as to the tone of his violins, which is described as large, and of excellent quality. He is supposed to have died at Milan. The most important maker of this family was GIOVANNI BATTISTA GUADAGNINI, born apparently at Piacenza in 1711, died at Turin, September, 1786. He was Lorenzo’s son, and like him, states in some of the labels (those dating from Turin) that he was a Cremonese, and a pupil of Stradivari. Nearly all writers, British and continental, state that there were two G. B. Guadagninis, one of whom was Lorenzo’s brother, and of somewhat earlier date than the subject of this notice. The writer has seen a large number of instruments by G. B. Guadagnini of varying dates and places of origin, and is constrained to admit that violins dating from Milan and Parma present points of dissimilarity both in form, varnish, and the cutting of the scrolls, from those dating from Turin from about 1773 onwards. It is, however, the opinion of the best experts in this country, that there was but one G. B. Guadagnini, who changed his habitat several times. The facts of his life were collected by Count Cozio di Salabue, an Italian nobleman and collector, who died in 1824; he patronised Guadagnini and saved him in Turin from destitution. At the death of this distinguished amateur, something like fifty of Guadagnini’s instruments, with other valuable violins, were amongst his effects. Guadagnini seems to have worked first in Milan, then at Piacenza, later at Parma, where he was court maker to the duke, and lastly at Turin, to which city he migrated in 1772. There seems to be little doubt that he was acquainted with the composition of the celebrated Cremonese varnish, and used it, though comparatively infrequently, on some of his finest efforts. Some of his fiddles are models of good work, fine wood, and beautiful varnish, but his average instrument may fairly be described in less glowing terms. The varnish on most of those dating from Turin is a red, almost scarlet in some cases, of much brilliance, but less soft in texture than the true Cremonese. In earlier work the tints are less glaring, perhaps partly owing to the effect of time. The pattern resembles Stradivari’s. The sound-holes in many cases show rather a pronounced sweep in their upper turns. In a good many later examples, one is set a trifle higher than the other. The violins are generally rather under fourteen inches long, and the violoncellos almost always measure about twenty-eight inches or a trifle over. Very high prices have been paid in recent years for his best examples. The finest violin of his make ever seen by the writer, was sold by Mr. Hart about two years since for £800; and higher figures have been reached more recently still. GIUSEPPE GUADAGNINI (Joseph), _circa_ 1736-1805. Was second son of the foregoing maker, and worked at Milan, Como, and Parma. Work heavier-looking than that of his father. The violins are apparently of somewhat larger pattern. The arching generally flat and the sound-holes broad in the stem. Seems to have made a good many instruments, including violas and violoncellos. The tone is frequently large and of good quality. It is said that he in many cases used the label of his father. GAETANO, another son of Giovanni Battista, worked at Turin to about 1831. He is said to have been chiefly a repairer. Writer has seen some violins (one or two of good workmanship and pattern, and prettily figured wood) bearing his label, but his work is very little known. Other members of the family, Francesco, Carlo, and Antonio, have been employed in the violin business. One Francesco was at work quite recently.

GUARINI.--_Vide_ Mennesson.

GUARNERI.--Cremona, Mantua, Venice; seventeenth and eighteenth centuries. The founder of this celebrated family was ANDREA, born 1626 in Cremona; died there in December, 1698. An undoubted pupil of Niccolò Amati, by whom he was employed as late as 1653; he was at first a close imitator of his master. Later he altered the style of his work somewhat. It is stated in many books that he was fellow-workman with Stradivari, by whose style he became influenced. Dates certainly do not tend to confirm the statement. Stradivari was not born until 1644, and even if he was employed by Amati while Andrea Guarneri was in that maker’s workshop, there are instruments by Andrea in existence which were made before Stradivari could possibly be of an age to exert any influence, and which exhibit modifications in the pattern, form of sound-holes, and arching, showing clearly enough that the maker had begun to work on lines of his own. Occasionally, Andrea adopted the “Grand pattern” of Amati, and it is probable he assisted in the making of some of the violins of that type. One very beautiful violin, bearing his own label, is known to the writer, which might well pass for a Grand Amati. The sides of Andrea’s heads are usually more deeply grooved than those of Amati. Very few violas or violoncellos seem to be known. Messrs. Hill state that they have met with one of the latter of smaller dimensions than the usual violoncello of the period, but that other examples had been cut down from their original size. JOSEPH GUARNERI, son of ANDREA, was born in November, 1666, and appears to have been alive in 1738, but the date of death has not been ascertained. He worked for some time with his father. The beauty of the varnish on many of his violins has not been surpassed by any other maker. Some of his backs show a broad curl, others have wood of smaller figure, but considerable beauty. The pattern of his violins varies considerably, as also the amount of arching in the plates, which is commonly flatter in late than early specimens. Some examples show a long and somewhat stiff curve in the waist, or middle bouts; in others the curve is more pronounced, and resembles that seen in the instruments of his celebrated relative, Del Gesù. In the heads also a resemblance may now and then be traced, and the peg-box is somewhat cut in at the throat. The fiddles are usually about 13-7/8 inches long. The sound-holes set a trifle lower and nearer the edge of the instrument than is usual, and in certain examples the form of the sound-holes is very slightly pointed at the ends. This form is not seen in earlier specimens. His violas and violoncellos are scarce. A few fine examples of the latter are recognised. PIETRO GIOVANNI GUARNERI (“Peter of Mantua”), the eldest son of Andrea, was born in Cremona in February, 1655. Date of death not ascertained. He also employed most beautiful varnish of a deep orange, or red orange tint, and has left some charming examples of his work. The general style of his instruments belongs to the Amati school. Arching usually somewhat full, very fine scrolls, and sound-holes which are set almost perpendicularly, and very decidedly arched at their upper and lower turns. The fiddles usually of medium size, but larger examples are occasionally met with. A very fine violin dated 1686, with ornamental purfling, is figured by von Lütgendorff. The date when he went to Mantua does not seem to be known, and the writer is unable to find any satisfactory proof that he worked also in Venice, as has been frequently stated. PIETRO GUARNERI II. (“Peter of Venice”) was a son of Joseph, son of Andrea. He was born in Cremona in April, 1695, and appears to have worked in Venice until after 1760. In his labels, which have an ornamental border, he calls himself son of Joseph. He is stated to have worked for some time with his uncle, Peter of Mantua, in that city. The writer is not well acquainted with his instruments. GIUSEPPE GUARNERI (“Joseph, del Gesù”) was born at Cremona in October, 1687. Date and place of death are unknown. The latest date seen in a violin is 1745. The correct birth date was ascertained by an Italian writer (de Piccolellis), and first published in 1886, notwithstanding which several subsequent writers have persisted in stating that the event took place in 1683, the date formerly supposed to be correct (on the authority of J. B. Vuillaume). According to Hart, whose view is generally followed by the best modern authorities, del Gesù’s probable instructor was his relative, Joseph, son of Andrea, and there are features in some of his work which certainly support this theory. The earliest date found in his admittedly genuine violins is said to be 1723. In that year he would be at least thirty-six years old, and no very satisfactory explanation of the absence of authentic specimens of earlier date seems to be forthcoming, unless we suppose that he did not begin to follow the art in which he was so conspicuously successful until pretty mature manhood. Horace Petherick, in 1906, published a book (illustrated) in which he claimed to have discovered that del Gesù’s master was Andrea Gisalberti of Parma (_q.v._), a little-known maker of no great account. However, neither Mr. Petherick’s arguments, nor the examples by which he strove to support them, were seriously accepted by most judges of the first rank, and the difficulty may be said to be still unsolved. Neither violas nor violoncellos which can unhesitatingly be accepted as the work of del Gesù have come to light. Instruments of both types have from time to time been put forward as authentic, but have been rejected as spurious by all the best-informed authorities.

Much misapprehension--some at least of which may be traced to general and loosely worded descriptions in books--has existed in regard to the size of del Gesù’s larger violins. His more massive looking instruments give the impression of being of greater size than is found on careful measurement to be really the case. The widths are full, but the bodies measure only 13-7/8 inches, or a minute fraction over, in length, and, so far as the writer is aware, no properly verified exception to this rule has as yet appeared. A number of his earlier works are only 13-3/4 inches long, but nevertheless possess a volume of tone which is astonishing, considering the relatively small size of the instrument. It has been customary to classify his works into distinct types, varying with the period of their production. Though in the main a convenient system, the dates found in his violins do not by any means always square with it. Two illustrations of this will suffice. The “Hart” Joseph, now owned by the great artist Kreisler, is of the bold massive build which he is supposed to have adopted not earlier than 1740; but it dates, according to the label, from the year 1737. Paganini’s famous instrument (now in the museum at Genoa) is dated 1743, and the splendid example known as the “Le Duc” was made in 1745. Neither of these instruments exhibits the exceptional finish and elegance of form which may be seen in a few examples made between about 1734-38, yet each is a remarkable work of art, though dating from a period when his handiwork has been said to betray a lamentable falling off in design, workmanship, and varnish. There is no doubt that del Gesù did occasionally produce instruments which in some features, such as the form of the sound-holes, are uncompromisingly ugly; but, in the writer’s view, there are not sufficient data to assign these specimens to any particular period of his working life. His handsomest and most exquisitely finished violins seem to have been made approximately between the dates above stated, 1734-38. Instruments of this class are rare, but will in every way bear comparison with those of Stradivari. Three notable fiddles of this type may be mentioned: the D’Egville, dated 1735; the “King” Joseph (now in America), and the “Gillott,” both dated 1737. These, with perhaps a dozen others, are reckoned amongst connoisseurs as the most finely formed and finished specimens of this great master’s work. In early examples a distinct resemblance to the works of his cousin, Joseph, son of Andrea, is traceable, and instruments now properly assigned to that maker have pretty frequently been labelled and passed as the work of Del Gesù. The sound-holes of his violins exhibit much diversity of treatment both in the form and the angle at which they are placed, and it is evident that in the cutting of them he rarely had recourse to patterns, or templates. It is generally supposed that he revived the “pointed” form associated with the school of Brescia. In many cases there is little or no suspicion of a “point” visible, and in no case known to the writer is the peculiarity accentuated to the absurd extent exhibited in swarms of copies which may be met with. His arching varies considerably, but the rise of the plates from the edges to the centre is usually gradual. In the outline of his more robust type of instrument there is a resemblance to the violins of Maggini, but that maker’s large dimensions--his ordinary fiddle is about 14-1/4 to 14-1/2 inches long--are never approached by del Gesù. His varnish is almost always of fine quality and Cremonese type. There are probably more yellow specimens to be seen than those of deeper shade, but on the latter its colouring and texture are admirable. Swarms of makers of all nationalities have imitated, or attempted to imitate, him; but the truth, as shown by experience, is that del Gesù’s work is very difficult to imitate successfully; far more so than that of Stradivari and many other noted makers. His eccentricities have been travestied to an extent which betrays the hand of the forger to all but the most inexperienced. The cutting of the scroll is nearly always a stumbling block, and perhaps ninety-nine out of every hundred copies are too big. This latter observation will generally be found to apply to the wonderfully clever imitations made by John Frederick Lott in the last century, a goodly number of which are still accepted as authentic “Josephs” by the uninitiated. In recent years he has been imitated (so far at least as external appearances go) with remarkable exactness, by a maker named Voller, whose skilful “facsimiles” of various classic makers at first puzzled numbers of observers by no means ill-acquainted with the characteristics of genuine Italian work. Amongst French copyists, J. B. Vuillaume, Pierre Silvestre, Remy, and Georges Chanot I., may be mentioned; but their instruments, though reproducing with more or less fidelity the form and peculiarities of del Gesù, are in the great majority of cases of larger dimensions than the originals. Italy has produced a number of followers, but, until quite recently, none seem to have succeeded in producing violins which by any stretch of imagination could be described as exact copies. Storioni and Carlo Bergonzi, and occasionally Testore, made fiddles which for years were accepted by the multitude as genuine “Josephs,” but nowadays few if any of them would pass as such amongst judges of any experience. As may be supposed, the number of this celebrated maker’s authentic works is very much less than that of Stradivari, whose labels date from about 1665-6 to 1737, the year of his death. It is much to be deplored that the repeated attempts to obtain reliable details of del Gesù’s life story have produced such meagre and disappointing results, but the prospect of fresh information coming to light seems to be remote.

GUERSAN, LOUIS.--Paris; eighteenth century to about 1770. Worked first with Claude Pierray. There are some good violins and other instruments bearing his name. His personal work, though by no means scarce, is not so plentiful as is sometimes supposed. He came of a family of makers, and his pattern and style were followed by other makers. Red or yellow varnish, sometimes handsome and brilliant. Sound-holes not very wide open. Heads cleanly cut. The arching varies a good deal. Pattern looks rather narrow; probably more so than it actually is. He used a variety of labels, one having a shield bearing his name.

GÜTTER. A whole tribe of makers of this name worked in Markneukirchen and elsewhere in the eighteenth and nineteenth centuries. Upwards of a score of them are mentioned by the German writer, von Lütgendorff.

GUGGEMOS, MARCUS.--Füssen; eighteenth century. High built fiddles with brown varnish, and ornamental labels. Füssen has produced makers whose style and varnish are not unlike Italian, but Guggemos can hardly be reckoned amongst them.

GUGLIELMI, GIO. BATTISTA.--Cremona; eighteenth century. Little known.

GUIDANTUS. _See_ Floreno.

GUSETTO, NICCOLÒ.--Cremona; eighteenth century. A Florentine of no particular merit as a maker. Instruments usually high built and German in style.

GUTERMANN, WILHELM THEODOR.--Vienna. Died in 1900. A good workman. Made some curious shaped violins on a pattern designed by a Dr. Liharzik.

HAASE, FERDINAND.--Magdeburg, Dessau. Died 1892. Was a flute player who turned his attention to fiddle making, but apparently with indifferent success, his instruments being too thin in the plates.

HAENSEL, JOHANN ANTON.--Rocksburg; about 1800.

HAFF, JOSEPH ANTON.--Augsburg; nineteenth century. Died 1866. A son of the same name died in Stuttgart in 1902, and was a clever workman. He worked for some time in Munich and obtained medals.

HAKKERT, JACOB WOLFGANG.--Rotterdam; contemporary. A workman of ability, who makes good copies of the Italian masters.

HAMBERGER.--Vienna, Presburg; nineteenth century. A family of makers who made some good violins, chiefly of Stradivari pattern.

HAMM.--Markneukirchen and Vilingenthal; eighteenth and nineteenth centuries. There were several workmen of this name, the best known of whom, Johann Gottfried, worked for some time in Rome. Instruments of Stainer pattern, but broader, and frequently with ivory edges. Initials branded inside. He died in 1817.

HAMMA & CO.--Stuttgart; contemporary. A well-known firm of dealers and repairers.

HAMMIG.--A family originating in Markneukirchen, and dating back to about the middle of the eighteenth century. There have been several of the name working and dealing in instruments in various parts of Germany besides Markneukirchen (Leipzig, Dresden, Berlin), and the Berlin house, still carried on, is well known on the Continent. HARBOUR, JACOB.--London; about 1760-90.

HARDIE.--Edinburgh; eighteenth and nineteenth centuries. Perhaps the best known family amongst the Scottish makers. The most celebrated member was MATTHEW, born Edinburgh in 1755, died 1826. His best work is very well finished. He copied the patterns of various Italian makers, but chiefly Stradivari and Amati. The tone of many of his violins is excellent. His varnish, according to examples seen by the writer, was not of the best. There were two James Hardies, of whom the second, born 1836, was the founder of the present Edinburgh firm of James Hardie and Son. He has produced an enormous number of instruments, many of which are somewhat on the lines of Maggini. Other makers of the name were PETER, who died at Dunkeld in 1863, and branded his work with his name; and THOMAS, a son of Matthew, who could turn out good work when he chose; he died in 1856.

HARE, JOHN.--London; eighteenth century, first half. Unquestionably one of the best of the old English makers. He shares with a contemporary (Daniel Parker) the merit of having been the earliest of the English school to turn serious attention to the pattern of Stradivari. His instruments are of large proportions, flat arching, and good finish, the heads being the weakest feature of the design. He used an excellent red varnish of considerable brilliance, and it is to be regretted that his work is so scarce. The tone also is exceptionally good and resonant in a well-preserved example. Opinions seem still to be divided as to whether JOSEPH HARE, mentioned in most books on the violin, was or was not identical with John. The latter was for some time associated in business with an individual named Freeman, of whom nothing else seems to be known. He worked near the Royal Exchange.

HARMAND, L.--Mirecourt; eighteenth century. Medium sized fiddles, with reddish varnish. Stamped “Au Roi David. L. Harmand.”

HARRIS, CHARLES.--Oxford, London. Worked until about 1800. His work is rarely labelled, and is little known, except to a few of the dealers. An excellent maker, whose fiddles and basses (particularly the latter) are deservedly in high repute. The pattern is generally that of Stradivari; Amati copies do not so frequently occur. Harris is noted amongst other things for his varnish of a warm red tint. A son of the same name worked in Oxford and London, and was for a time employed by John Hart.

HART.--A name familiar to violinists the world over. The firm of Hart and Son was established in Lower Wardour Street (formerly Princes Street, Leicester Square) by JOHN THOMAS HART, who died in 1874. He was apprenticed to Samuel Gilkes, but made few instruments. John Hart and Georges Chanot I., of Paris, were in their day the most renowned judges of fiddles in Europe, and the former was instrumental in forming some of the most notable collections of violins that have ever been brought together. GEORGE HART I., his son, who died in 1891, was also a judge of the highest eminence, but will always be remembered as the author of “The Violin, its Famous Makers and their Imitators,” which is recognised as the standard English work of reference. It passed through various editions in the author’s lifetime, and a further edition, with certain additions and emendations by his son and the present writer, was issued in 1909. GEORGE HART II., son of the former, is the present head of the firm, and is a judge of wide experience of violins and violoncellos of the highest class.

HASSERT, JOHANNES GEORGE CHRISTIAN.--Eisenach and Rudolstadt; eighteenth century. Instruments rarely seen in this country, but according to continental writers they are of good form, Italian style, and moderate arching. He worked until about 1775. A son, JOHANN CHRISTIAN, worked at Rudolstadt, and died there in 1823.

HAUDEK, CARL.--Vienna; contemporary. Succeeded to business of Lemböck. He has obtained medals, but appears to have made few instruments; well known as a restorer.

HÄUSSLER, GUSTAVE.--Cracow; contemporary. A maker who has obtained medals for his instruments in Cracow and Lemberg. Stradivari pattern.

HAVELKA, JOHANN BAPTIST.--Linz; eighteenth century.

HEBERLEIN.--A family of makers originating in Markneukirchen, and ranging in date from the early eighteenth century to the present time. Some fifteen or sixteen makers of the name are enumerated. The best known of these is HEINRICH THEODORE, who died in 1910, and was a first-class workman.

HEESOM, EDWARD.--London; eighteenth century. Work very scarce and little known. Stainer pattern.

HEINEL, OSKAR BERNHARD.--Markneukirchen; contemporary. A clever workman in various styles, including “modern antiques.”

HEL, PIERRE JOSEPH.--Lille. Born 1842. Instruments of his workmanship are excellent in every detail. Form, material, and varnish are all most praiseworthy, and he occupies a prominent place amongst makers of modern times. He obtained several medals. Instruments of an inferior grade, but not of his own workmanship, are of the “trade class,” and of no particular account, although occasionally sold as genuine. They bear, or should bear, a distinctive label. The business is now carried on by a son (Pierre), who is well known as a dealer.

HELD, JOHANN JOSEPH.--Enskirchen, Beuel. Died 1904. A clever workman, who obtained several medals, and seems to have had some theories of his own, one of which was impregnating the wood of his instruments. He was patronised by Ole Bull.

HELLMER.--Several makers of the name worked in Prague in the seventeenth and eighteenth century. The family is supposed to have come from Füssen. In this country the best known is KARL JOSEPH, who died in 1811, and was a pupil of Eberle. There seem to be a good many spurious labels about containing the device used by him, a lion holding an instrument of the lute species. Red-brown varnish, careful finish, and medium arching. The general characteristics of his work belong to the German school. His father, JOHANN GEORG, who died in Prague in 1770, made high-built fiddles of the Kloz type.

HENOCQ.--Paris; eighteenth century. Two makers of the name worked in Paris. HENRY.--Paris; nineteenth century. A family of makers of good repute. Amongst them may be mentioned CHARLES, who died in 1859, and was a prolific workman, who has left many useful instruments. He obtained medals. A son, EUGENE, also a medallist, died in 1892.

HENRY, J.--Paris. Died 1870. An excellent bow-maker. Worked for some time with Dominique Peccatte.

HERZLIEB, FRANZ.--Gratz. Died 1861. A clever copyist. Handsome wood, yellow-brown varnish.

HILL.--A well-known family of fiddle-makers and dealers, whose connection with stringed instruments dates back to the seventeenth century. Some of the earlier members were makers of much ability. Amongst them may be mentioned JOSEPH HILL II., son of another maker of the same Christian name; this maker died in 1784, and first worked with Banks and Peter Wamsley. His copies of Amati violins, though not scrupulously exact, have frequently passed as originals, and some are thoroughly good instruments. His violoncellos are also in high esteem amongst players. Two other Josephs were also makers, and seem to have worked both on their own account, and for the trade. There were two LOCKEY HILLS, the second of whom, named HENRY LOCKEY, was employed by John Betts. The writer has met with some beautiful examples of his instruments, the style and finish of which were most praiseworthy, and the pattern that of Stradivari. The present widely known firm of W. E. HILL & SONS was established in Wardour Street by WILLIAM EBSWORTH HILL, and is now located in Bond Street, London. W. E. Hill died in 1895. Though a skilful workman he made few new instruments, and devoted his attention chiefly to repairing and dealing in old violins. The active members of the present firm are ARTHUR FREDERICK, born in 1860, and ALFRED EBSWORTH, born in 1862. As a judge of old fiddles and basses the latter holds a foremost place. The firm has published monographs on various notable instruments, and the work on Antonio Stradivari is the most exhaustive account of that maker and his work which has been published.

HJORTH.--Copenhagen. A family of makers established in Copenhagen since about the end of the eighteenth century. The founder was ANDREA, who died there in 1834, and copied the pattern of Amati. His instruments are branded “A. H. H.” EMIL HJORTH, born 1840, and his son OTTO carry on the business, and have made good copies. The former at one time worked with Bernardel in Paris.

HÖRLEIN, KARL ADAM.--Kitzingen, Würzburg. Died 1902. Pupil of Lemböck, in Vienna. In later years imported fiddles from Markneukirchen, which he varnished and finished personally.

HOFFMANN.--Numerous makers of the name worked in different parts of Germany. One of the best known is MARTIN HOFFMANN, who worked in Leipzig until about 1725. A son, JOHANN CHRISTIAN, was at work there until about 1750.

HOFMANN, ANTON.--Vienna. Died 1871. Carried on a large business as a maker and repairer in Vienna, and dealt with Tarisio.

HOFMANS, MATTHIAS.--Antwerp; 1700-50. Good work, and excellent varnish of Italian character and appearance. HOMOLKA.--There were nearly a dozen makers of the name in Prague and elsewhere (one in Vienna). The best known was FERDINAND AUGUST VINCENZ, who died in 1890, and was a clever copyist of Italian masters, including Peter Guarneri of Mantua. Others of the family are: EMMANUEL ADAM, died 1849 in Prague; and EDWARD EMMANUEL, born 1860. The latter is a good maker, and judge of old instruments.

HOPF.--A large number of makers of this name have operated in Klingenthal, Markneukirchen, and elsewhere in Germany for generations. Some were tolerable workmen; others most indifferent. Most of them used to brand their work, and the name Hopf may be seen branded on productions of the very commonest class, which are hardly fit to be described as violins.

HORNSTEINER.--The family name of a small army of Mittenwald fiddle-makers who have been at work for several generations. Several bore the same Christian name, and space prohibits any attempt to describe or discriminate between their works. Matthias II. and Joseph II., who worked down to about the first decade of the nineteenth century, are amongst the best of this numerous tribe.

HOYER.--A Klingenthal family of makers dating from the eighteenth century to very recent times. Von Lütgendörff enumerates nearly forty workmen of this name.

HUEL, HENRI.--Paris; to about 1780. Little known; used a large label.

HULINZKY, THOMAS ANDREAS.--Prague. Died 1788. A pupil of Eberle, and a careful workman. Used a ticket bearing a device similar to that of Hellmer.

HULSKAMP.--A Westphalian who migrated to New York. He exhibited a “freak fiddle” with a round hole in the belly instead of the usual sound-holes in London in 1862.

HUNGER, CHRISTOPH FRIEDRICH.--Leipzig. Died 1787. A maker whose instruments are highly thought of in Germany. His father, who worked in Borstendorff, was also a violin maker.

HUREL, JEAN.--Paris. Court maker about the end of the eighteenth century.

HUSSON.--Nineteenth century. A Mirecourt family of makers, one of whom, Charles, worked with Gand and Bernardel and was noted for his bows, some of which are stamped with his name.

JACOBS, HENDRIK.--Amsterdam; late seventeenth century to about 1735. The most important maker of the Dutch school. Legend has been busy with his name, and according to the story, he worked with Niccolò Amati, and married his daughter. To make matters complete he should have succeeded to the business, but tradition stops short of this denouement. There seems to be nothing like direct evidence that he had any Italian training. He frequently imitated Amati with considerable exactness, and employed wood resembling that used by the Cremona maker; he also used a fine quality of varnish, usually red-brown in colour. His violins vary in size, but many of them are built more or less on the lines of the grand Amati. The scrolls are generally somewhat mean looking, and narrow, when viewed from the front; but the writer has seen exceptions where he was more successful with this feature. Sound-holes vary in form, some being of Amatese cut, and others hinting of the school of Stainer. His instruments are not so rare as is frequently supposed, the fact being that many of them still figure either as the work of Amati or of other Italian makers. One such, in the possession of a well-known French professor, recently came under the writer’s notice, and had been confidently declared to be an early example of Stradivari. Jacobs used whalebone purfling, which in some cases has been removed, and wooden purfling inserted by other hands. Whether he personally inserted Amati tickets into his instruments, as some Italians did, is not clear. The tone of a well-preserved example is usually excellent. The name seems to have been at first “Jacobsz,” the final “z” being dropped in the labels usually seen. The older books speak of a Peeter Jacobs, who, if he ever existed, apparently cannot now be traced. Vidal supposes that he was really identical with Pieter Rombouts, another Amsterdam maker contemporary with Jacobs, and supposed to have worked with him.

JACOT, JEAN CHARLES.--Metz. Died 1887. Made some well-made instruments; a son was established in Paris.

JACQUOT.--Nineteenth century; Nancy, Paris. A well-known family of makers. The founder was CHARLES, born at Mirecourt 1804, died 1880, near Paris. Worked with “didier” Nicolas, and later with Breton. Was first established at Nancy, went to Paris in 1854 and there produced his best work. An excellent workman, and a good judge of old instruments. He received numerous medals. PIERRE CHARLES, born 1828, was his son, and took over the business in Nancy. He died there in 1895, and also received medals. Well-finished work, usually of Stradivari pattern. Two of his sons, ETIENNE CHARLES ALBERT, born 1853, and JULES VICTOR, born 1855, have carried on the business.

JAEGER.--Markneukirchen. Makers of the name have been at work from early in the eighteenth century down to very recent times.

JAIS.--Mittenwald, Botzen; eighteenth century. There were several makers of the name. Some of their instruments have a fine red or yellow-brown varnish of Italian character, and the build and general style of the work is not unlike that of Albani. JOANNES JAIS seems to have worked in Botzen until after 1780. Good work, label with an ornamental border. ANDREAS JAIS worked in Mittenwald and Tölz down to about 1750. Made a good many instruments of high build and frequently with well-carved lion-heads. A son named Johannes died in Tölz in 1762. ANTON, apparently a grandson, was at work until after 1830. Pretty wood and good varnish.

JAUCH, ANDREAS.--Dresden; _circa_ 1749-80. Work rarely seen in this country, but is said to be of Italian character. The family name seems to have been “Jauck” and to have originated in Gratz--other makers of the name worked there.

JAURA.--Vienna; nineteenth century. A family of makers. The present maker, WILHELM THOMAS, was born in 1863, and is known as a skilful copyist and repairer.

JAY, HENRY.--London; latter half of eighteenth century. Worked for Longman and Broderip, for whom he made violoncellos. Was also a noted maker of kits. THOMAS JAY, his father, worked in the earlier half of the century. Little known.

JEANDEL, PIERRE NAPOLEON.--Rouen; 1812-79. Red fiddles of good pattern and workmanship. Obtained several medals.

JOHNSON, JOHN.--London; _circa_ 1750. Stainer pattern, mediocre workmanship. Examples scarce. He had a music shop in Cheapside.

JOMBAR, PAUL.--Paris; contemporary. Well-made fiddles of the modern French type. He was apprenticed to Audinot.

JORIO, VINCENZO.--Naples; _circa_ 1850. Ornamental label, printed on yellow paper. Rather large pattern. Work well finished but seemingly scarce.

KABINGEN, JACOB.--Budapest; _circa_ 1855. Seems to have been a superior workman and to have migrated to Russia.

KÄMBL, JOHANN ANDREAS.--Munich. Died 1781. Apparently a maker of repute. Writer is unacquainted with his work.

KARNER, BARTHOLOMÄUS.--Mittenwald; eighteenth century. Fairly well made instruments. Brown varnish. Label with ornamental border.

KARNER, JOHANN GEORG.--Enns; about 1825. Instruments branded “I. K.” in addition to bordered label. Mediocre work; wood frequently worm-eaten.

KEFFER.--Eighteenth and nineteenth centuries. There appear to have been several German makers of the name, working chiefly in Goisern. Instruments labelled, also branded “J. K.”

KEMPTER, ANDREAS.--Dillingen. Died 1786. High built. Stainer pattern; sometimes with lion heads. He seems also to have made instruments of flatter arching.

KENNEDY.--London; eighteenth and nineteenth centuries. A well-known family of Scottish origin. ALEXANDER, the founder, died in London in 1785. Neat work. Stainer pattern. A nephew, JOHN, worked chiefly for the trade and died in 1816. The best known maker was THOMAS, the son of John, born 1784, died 1870. He also worked for the trade, but made a very large number of instruments on his own account, including numerous violoncellos. His personal work, when he chose to do his best, was of good pattern, and very neatly finished, but he evidently made instruments of different classes, and the poorer examples are of little worth.

KESSLER.--Markneukirchen. A very numerous family of German makers dating from about 1700 to the present time. They came from Markneukirchen, but some have settled in different German towns. The more recent members have manufactured on a considerable scale.

KITTEL, NICHOLAS.--St. Petersburg; to about 1870. Work scarce. He is best known as a bow-maker, and has produced excellent bows, stamped with his name.

KLEMM.--Markneukirchen. There were several workmen of the name in the eighteenth century.

KLEYMAN, CORNELIS (also spelt Kleynman).--Amsterdam; seventeenth century. A little known copyist of Amati.

KLOZ.--Mittenwald; seventeenth to nineteenth centuries. A very numerous and important family of makers, and the real founders of the enormous business in violin making which has been carried on in and around Mittenwald since their time. About a score or more of makers of the name have been enumerated, and, as many of them bore the same Christian name, there has been much confusion as to their identity. About half a dozen of the number are tolerably well known and distinguished by judges in this country. For the rest, it is doubtful if even amongst their own countrymen any one is living who can claim any very exact knowledge of their individual work. The earlier workmen made more or less accurate copies of the instruments of Stainer, and in some cases there is little doubt that they labelled and sold their work as his, even during his lifetime. Some of the later Klozs altered the pattern of their violins and evidently based their designs upon Italian work, but none of them really succeeded in producing specimens possessing the true Italian style, although some of these have passed current as Cremonese amongst the unlearned in such matters. Most of them made their fiddles in two or more grades, the better of which, in certain cases, are well finished and possess a yellow or red-brown varnish of considerable brilliancy, and quality akin to that of Italy; but the bulk of the Kloz fiddles and basses are covered with the poor, meagre-looking stuff known as “glue varnish.” In numbers of cases the varnish on their work has become almost black. Of the individual members of the family, MATTHIAS I. (1656-1743) made fiddles of Stainer character and occasionally covered with varnish which gives some colour to the story that he travelled in Italy and acquired experience of Italian methods of varnishing. EGIDIUS KLOZ I. worked until 1711, and his instruments are good and fairly valuable. EGIDIUS II. died in 1805, and was a neat workman, but rarely used decent varnish. His violins are fairly common in this country. JOHANN CARL was one of the best of the tribe; model fairly flat; good red-brown varnish, and some general resemblance to Italian style in the work. He died in 1790. There were two makers named GEORGE, the second of whom died in 1797, and produced some highly finished work with brilliant varnish, but of Stainer model. Of the three JOSEPHS, the latest, who was alive in 1798, seems to have adopted a type of fiddle which has since been extensively imitated and has an outline of more Amati appearance than that of his predecessors. SEBASTIAN I. was a son of the first Matthias, and is usually reckoned the best maker of the family; he worked until about 1750, and produced good-sized fiddles, the best of which have handsome wood and flatter arching than those of his father; but Stainer traditions were evidently deeply implanted in him, and he never entirely discarded them. Several of the family adopted lion-heads with more or less frequency. Those of the first George are very well carved. Kloz scrolls are not artistic, though they are distinctive enough. Genuine Kloz fiddles of one grade or another are plentiful enough, but the celebrity at one time attaching to the name has led to numberless forgeries, many of which figure in pawnshops, and bear little or no resemblance to the originals.

KNILLING.--Mittenwald; eighteenth and nineteenth centuries. There were well over a dozen makers of this name.

KNITL, JOSEPH.--Mittenwald; to about 1790. Stainer model. Another Knitl, named Franz, said to be a son, worked in Freising, dying there in 1791.

KNOPF.--Eighteenth and nineteenth centuries. A Markneukirchen family settled in various parts of Germany and elsewhere. One of them, HENRY RICHARD, worked with Bausch in Dresden and was recently at work in New York.

KÖGL, HANNS.--Vienna; about 1670. Said to have been born in Füssen. Imitated Brescian work.

KOLDITZ.--There were two or three makers of the name, one of whom, MATTHIAS JOHANN, worked in Munich until about 1760.

KOLIKER, JEAN GABRIEL.--Paris; to about 1810. Chiefly known as a repairer, but is reputed to have made certain modern antiques of nondescript appearance.