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BRITISH VIOLIN-MAKERS 
 
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BRITISH uroiu 
 VIOLIN-MAKERS 
 
 CLASSICAL AND MODERN 
 
 Being a Biographical and Critical Dictionary of British 
 
 Makers of the Violin from the Foundation of 
 
 the Classical School to the End of 
 
 the Nineteenth Century 
 
 WITH INTRODUCTORY CHAPTERS, AND NUMEROUS 
 PORTRAITS AND ILLUSTRATIONS 
 
 BY THE 
 
 REV. V^M. MEREDITH MORRIS, B.A. 
 
 LONDON 
 
 CHAT TO cff W INDUS 
 1904 
 

 MUSIC LIBRARY 
 
 UNIVERSITY 
 
 OF CALIFORNIA 
 
 BERKELEY 
 
 A 
 
 iC-pl''H ^ i/W(^ / 
 
 
 Printed by Bai.lantynk, Hanson &= Co. 
 At the Ballantyne Press 
 
PREFACE 
 
 The following pages are the fruit of many years 
 patient labour. The author has spent nearly all the 
 spare moments of his life in the active service of the 
 King of Instruments, and the effort embodied herein 
 is homage paid by a loyal subject to a worthy monarch. 
 No doubt the work will be found to contain many 
 imperfections — all things human do — but it at least 
 claims the merit of independent research. The in- 
 formation given is invariably based upon personal 
 observation, except in a few cases where it was 
 impossible to get at particulars first-hand. The 
 modern school of violin-making, it will be observed, 
 is for the first time treated with the amplitude and 
 the respect which its importance demands. During 
 the last seven years the writer has examined over a 
 thousand new instruments, the majority of which were 
 well made, and not a few of them as fine examples 
 of the luthier's art as the world has ever produced. 
 An important feature of the work is the reproduction 
 of a large number of labels in exact facsimile, and 
 it is matter of sincere regret to the author that he 
 has not been able to extend the feature throughout. 
 Perhaps the courtesy of violin-makers will enable him 
 to do so in a second edition should such edition be 
 fortunately called for. It is possible that the names 
 of some present-day makers may be found wanting 
 
 ;>4 
 
viii PREFACE 
 
 in the biographical dictionary ; if so, it happens 
 because the makers in question did not reply to the 
 circular sent out asking for information. 
 
 The portion of the work dealing with the classical 
 school contains, it is believed, a great deal that is 
 interesting and not a little that is new. Particular 
 attention has been paid to accuracy in the matter of 
 dates — a point in which writers on the subject have 
 not always been as scrupulous as they should be. 
 
 Sincere thanks are due to all who have contributed 
 biographical particulars, or who have otherwise helped 
 to make the work a success. 
 
 W. MEREDITH MORRIS. 
 
 Garth Parsonage, 
 
 Maesteg, S. Wales, 
 
 January i, 1 904. 
 
CONTENTS 
 
 PAGE 
 
 PREFACE vii 
 
 PART I 
 
 INTRODUCTORY 
 
 I. THE CLASSICAL SCHOOL— 
 
 A. The Model 3 
 
 B. The Material lo 
 
 C. The Varnish ii 
 
 D. The Workmanship ...... 14 
 
 E. The Tone 17 
 
 II. THE MODERN SCHOOL— 
 
 yl. The Revival of Violin-Making . . .21 
 B. The Characteristics of the Wood, Workman- 
 ship, &c 23 
 
 III. BRIDGES: CLASSICAL AND MODERN . 34 
 
 IV. THEORIES ABOUT STRADIVARI'S TONE— 
 
 j4. The Air Mass Theory 41 
 
 B. The Relative Pitch of the Plates . 42 
 
 C. Relative Density ...... 44 
 
 D. Quality of Wood 46 
 
 E. Plate Tension 46 
 
 F. Outline, Arching, and Thickness . . 49 
 
 G. Harmonic Proportion 50 
 
 PART II 
 A DICTIONARY OF VIOLIN AND BOW MAKERS : 
 
 CLASSICAL AND MODERN .... 53 
 
 INDEX 243 
 
LIST OF ILLUSTRATIONS 
 
 Rev. W. Meredith Morris . . . . 
 William Atkinson . . . .To 
 
 Violin by William Atkinson 
 Violoncello by Benjamin Banks, 1785 
 
 (Belly) 
 
 Violoncello by Benjamin Banks, 1785 
 
 (Side ; Back) 
 
 J. W. Briggs, Glasgow .... 
 Very Fine Viola by Richard Duke 
 Fine-Toned 'Cello by " Old " Forster 
 
 J. J. Gilbert 
 
 Violin by Jeffery J. Gilbert, Peterborough 
 
 Jas. Hardie 
 
 Front and Back of Maggini Copy by 
 
 J. Hardie 
 
 Fine-Toned Violin by Matthew Hardie 
 Charles Harris Viola .... 
 
 Geo. Hart 
 
 Alfred Walter Heaps .... 
 
 William Heaton 
 
 The "Chats" 'Cello by W. Heaton . 
 
 Thos. E. Hesketh 
 
 Walter H. Mayson .... 
 "Meredith Morris" Violin by Mayson 
 The " Coronation Edward VH." by Mayson 
 
 Frontispiece 
 face page 65 
 67 
 
 72 
 
 72 
 
 84 
 
 IIO 
 
 119 
 
 124 
 126 
 137 
 
 138 
 
 140 
 
 145 
 
 146 
 
 150 
 152 
 156 
 
 157 
 
 172 
 
 174 
 175 
 
LIST OF ILLUSTRATIONS 
 
 John William Owen 
 
 
 To face page 189 
 
 Violin by John W. Owen . 
 
 
 „ ,> 190 
 
 Daniel Parker Violin . 
 
 
 „ 193 
 
 Violin by Daniel Parker 
 
 
 „ 193 
 
 H. J. Shrosbree 
 
 
 „ 205 
 
 Fine Violin by H. J, Shrosbree, 
 
 1899 
 
 „ 206 
 
 Alex. Smillie 
 
 
 „ „ 208 
 
 John Smith .... 
 
 
 „ 212 
 
 James Whitelaw . 
 
 
 » 227 
 
 E. Withers .... 
 
 
 „ 236 
 
 Edward Withers . 
 
 
 V 237 
 
PART I 
 
 INTRODUCTORY 
 
BRITISH VIOLIN-MAKERS 
 
 I.— THE CLASSICAL SCHOOL 
 
 The classical period of British violin-making is almost 
 conterminous with the eighteenth century, and embraces 
 the work of Parker, Duke, Banks, Forster, and other 
 men of less note. It is advantageous to review its 
 remains from the point of view of model, material, 
 varnish, workmanship, and tone. 
 
 y/.— THE MODEL 
 
 In contemplating the model adopted by our old 
 makers, two features alone seem to stand out sufficiently 
 prominent to arrest the attention of the connoisseur, viz. 
 the absence of originality and the inferiority of the type 
 adopted. The manifest poverty of idea is very extra- 
 ordinary when we consider that the English excelled as 
 makers of the lute and viol. There can be no doubt 
 that viols of British manufacture were facile princeps 
 among instruments of that type. We gather as 
 much from a work by Jean Rousseau entitled TraitS 
 de la Viole, which was published in Paris in 1687; 
 from numerous statements on the subject in Mace's 
 " Musick's Monument," and from other works dealing 
 with the history of music. So extraordinary are the 
 
4 BRITISH VIOLIN-MAKERS 
 
 above features considered to be that most writers on 
 the subject have thought it necessary to endeavour to 
 account for them. Hart, in his standard work, "The 
 Violin : Its Famous Makers and their Imitators," offers 
 the following explanation : " It may be that Continental 
 connoisseurs have credited themselves with the works 
 of our best makers, and expatriated them, while they 
 have inexorably allowed bad English fiddles to retain 
 their nationality." This is possible, but hardly prob- 
 able. Connoisseurs are blessed with an open mind and 
 an easy conscience, we know, but we doubt whether, 
 apart from their tonal qualities, there be sufficient merit 
 in our classical instruments to tempt dealers to practise 
 the black art. Instruments that are intended to take 
 their role in a masquerade are such as are meant to be 
 purchased by the eye and not by the ear. If lack of 
 originality had been the only defect of the work of our 
 classical school, the explanation would be plausible, 
 but there is beyond that the choice of an inferior 
 model. The British copied, and in many instances 
 exaggerated, the high arch of Stainer. Doubtless there 
 are reasons, and cogent reasons. We are not for a 
 moment to conclude that British artists have at all 
 times been unequal to the higher flights of art. They 
 have their seasons of artistic drought and barrenness 
 like most artists of other nations (and this has some- 
 what to do, perhaps, with the present subject), but they 
 have also their seasons of early and later rain and 
 plenteous aftermath. I hazard the following explana- 
 tion. There was — 
 
 ( I ) y/« absence of stimulus. — During the greater part 
 of the classical period the world passed through the 
 chill cloud of universal inactivity. If British makers 
 
THE CLASSICAL SCHOOL 5 
 
 were possessed of the necessary talent, the means 
 were wanting which ought to have called it forth. 
 Healthy environment is as much a condition of life as 
 is healthy organism. The glories of the Elizabethan 
 age were past and gone. Reaction — that principle 
 which runs like an undercurrent through the waters 
 of universal history — was already in m.otion. The 
 force was even now at work which culminated in Lati- 
 tudinarianism in the Church, in Deism in matters of 
 belief, in pamphleteering in literature, in artificiality in 
 poetry, in Epicureanism in morals, and in mechanical 
 servility in art. Ennui was in the air, and the nation 
 from Parnassus down to Bedlam caught it. There 
 were sporadic efforts, and the efforts show some amount 
 of concentration of energy ; but the mere conflux of 
 sudden gushes are not identical with the gentle and 
 ceaseless flow of the stream of genius. Moreover, the 
 remains of our classical period betray effort. Now, 
 one of the leading characteristics of the fruit of genius 
 is its freedom from effort. Carlyle was never more 
 in error than when he described genius as an infinite 
 capacity for taking pains. Genius cannot be expressed 
 in terms of resistance, nor its product as the multipli- 
 cation of labour. It is not hinted that we had no 
 geniuses amongst our old makers. All that is asserted 
 is that the conditions of manifestation were absent. 
 Genius is a plant which, in the absence of sunlight, 
 grows etiolated and sickly. Many and many a beauti- 
 ful flower has " bloomed to blush unseen." It gave 
 its blushes to the sun and its scent to the breeze be- 
 cause no one took the trouble to pluck it. The fruits 
 of talent are often lost because no one gathers them ; 
 nay, the talent itself is destroyed because it has to be 
 
6 BRITISH VIOLIN-MAKERS 
 
 buried in the ground. The reader will remember, and 
 may apply in this connection, the lines of Gray : 
 
 " Perhaps in this neglected spot is laid 
 
 Some heart once pregnant with celestial fire ; 
 Hands that the rod of empire might have swayed 
 Or waked to ecstasy the living lyre." 
 
 (2) Musical Conservatism was a potent Factor. — The 
 viol enjoyed a monopoly, and the upstart violin in its 
 battle for the possession of the British music world 
 had to contest every inch of the ground. This is 
 painfully if amusingly evident from the vituperations 
 of old Thomas Mace. His remarks have been quoted 
 by so many writers on the violin that it is unnecessary 
 to give them here. The viol held its sway more or 
 less firmly down till about 1650, and for the next 
 fifty years, like a worthy veteran of many battles, it 
 bravely held on. In spite of Court and other influ- 
 ences, the " French fashion " was looked upon by the 
 public as a giddy and pertinacious intruder. Even 
 when supplemented by the " Italian fashion " it found 
 its path strewn with many thorns. Very timely was 
 the arrival of Thomas Balzar in 1656, and of Nicola 
 Matteis in 1672. Their wielding of the magic wand 
 it was that proved the principal means in undoing the 
 conservative spell. By the time the strife had fully 
 ended the eighteenth century had dawned. The art 
 of violin making in Italy was then at its zenith, and 
 Cremona stood unrivalled in the production of the 
 king of instruments. Age and use had done much 
 for the Brescian, early Cremonese, and Tyrolese instru- 
 ments, and those which found their way into this 
 country were incomparably superior to the raw material 
 
THE CLASSICAL SCHOOL 7 
 
 produced by the native makers. Even as the demand 
 on the Continent a hundred years previously had been 
 for the splendidly-made and well-matured English 
 viol, so now in England (that had at length awaked 
 to the superiority of the violin) the demand was for 
 the unrivalled instruments of Italian and especially of 
 Tyrolese manufacture. 
 
 Owing to a constitutional abhorrence of innovation 
 we started a hundred years late, and we of necessity 
 lost the race. 
 
 (3) Puritan Fanaticism. — The furious bigotry of 
 Anabaptists, Levellers, and Fifth-monarchy-men had 
 placed music under a ban, and the gentle voice of 
 melody had been drowned in the hoarse battle-cry of 
 the " saints." In the fanatical days of " Praise-God- 
 Barebones " many and many a precious old viol shared 
 the fate of the stained glass and carved work of our 
 cathedrals. Puritan England was the Patmos of art. 
 Nearly a century elapsed before the muses ventured 
 forth to fan art into a flame out of the embers of its 
 dead self. 
 
 So much for the absence of originality. As to the 
 other characteristic — the inferiority of the type — I fear 
 that no explanation or apology can be offered. It 
 shows lack of discrimination. The old makers adopted 
 the model of Stainer, and followed it with but few 
 departures for the greater part of a hundred years. 
 In following those who had gone before, they un- 
 wittingly showed a predilection for the least worthy. 
 Something may be said for the copyist who, conscious 
 of his deficiency in the power of originality, assidu- 
 ously sets about to copy that which is best and noblest 
 in art, but apology becomes difficult in the case of the 
 
8 BRITISH VIOLIN-MAKERS 
 
 man who imitates the inferior and less worthy. The 
 British in their choice of type showed inability to 
 differentiate between tone nuances, and also lack of 
 artistic feeling in the matter of form and propor- 
 tion. That they sinned without excuse is perfectly 
 certain. They were acquainted with Brescian and 
 early Cremonese instruments as well as with those 
 of Jacob Stainer. They were in the position to make 
 a choice, and their choice fell upon the inferior model. 
 I am aware that the truth of the last statement has been 
 denied by certain authorities, and it will be well perhaps 
 to bring forward the evidence upon which it rests : — 
 
 (i) There were numerous Italian instruments 
 brought into this country by collectors. William 
 Corbett, who resided for some years in Italy, brought 
 back a rare collection — a " Gallery of Cremonys and 
 Stainers." These were bequeathed to Gresham College, 
 and handed over to the authorities on the death of the 
 collector in 1748, with the proviso that they were to 
 remain open for inspection. Soon after the death of 
 the donor the college authorities disposed of the 
 "gallery" by auction (it is supposed), and the in- 
 struments became the property of dealers and other 
 collectors. The Duke of Hamilton, the Duke of 
 Cambridge, the Earl of Falmouth, and others, also 
 formed collections of Italian instruments. 
 
 (2) That Italian models were known in this 
 country is proved by the fact that they were occa- 
 sionally copied. 
 
 (a) Richard Meares (1680) adopted the Brescian 
 model, and made excellent violins in the 
 lines of Maggini. This old maker probably 
 made the first English violoncello. 
 
THE CLASSICAL SCHOOL 9 
 
 ()8) Barak Norman (i 683-1744) ornamented his 
 
 instruments in the Maggini style, and used 
 
 labels which are reminiscent of those used by 
 
 Del Gesu. 
 
 (7) An undoubtedly genuine violin by Christopher 
 
 Wise (1656) is made on the Maggini lines. 
 (S) Peter Wamsley (17 15-51) is admitted by 
 most writers to have made several copies of 
 Stradivari, and to have followed the master 
 closely except in the matter of graduating 
 the thicknesses. He spoilt his work in at- 
 tempting to produce the Italian tone by 
 over-thinning the plates, 
 (e) Cuthbert (1700). An admittedly genuine 
 example of this maker is in the Maggini 
 lines. 
 (^) Matthew Hardie made many violins in the 
 Stradivari model towards the end of the 
 eighteenth century, and that at a time when 
 the Amati model was the vogue. 
 (3) There is further the fact that several eminent 
 Italian virtuosi visited this country from time to time. 
 The playing of these must have drawn attention to 
 the Italian instruments upon which they played, and 
 ought to have enlightened the understanding of our 
 makers as well as of the music world. 
 
 (a) Francesco Geminiani came to England between 
 1709-14, and met with a great success. 
 Here he remained and published his works, 
 making a few artistic tours to the Continent 
 and again returning. 
 (/5) Veracini came to London in 17 14 and led the 
 Italian Opera Band there. 
 
lo BRITISH VIOLIN-MAKERS 
 
 (7) Gaetano Pugnani (i 727-1 803) visited London 
 more than once, and stayed there on one of 
 these visits for nearly two years. 
 
 (^) Giardini came to London in 1744 and remained 
 there for two years. 
 
 (4) Somewhere about 1686, the banker, Michele 
 Monzi, of Venice, sent a set of Stradivari violins, 
 altos, and violoncellos, as a present to King James of 
 England. In this connection it may be worth while 
 to mention Forster's assertion that a consignment of 
 new Stradivari instruments sent here on approval could 
 not be disposed of. 
 
 Thus there is not the shadow of doubt that Italian 
 models were known in this country early in the 
 eighteenth century, and there is not the shadow of 
 doubt that they were deliberately set aside in favour 
 of an inferior type. 
 
 5.— THE MATERIAL 
 
 The wood used by our classical makers is for the 
 most part maple and pine of the orthodox kind, but 
 various other woods were occasionally used, either by 
 way of experiment, or on account of a scarcity of 
 the right sort. Benjamin Banks used plain English 
 sycamore for the back of some of his violins, and red 
 pine for the front table of a few of his violas. He 
 once (by special request it is true) used cedarwood 
 for both back and belly of a violoncello. " Old " 
 Forster used common deal for the table of many of 
 his second-class instruments. Richard Duke and 
 Daniel Parker were usually very particular about their 
 wood, and the latter ranks with the most careful of 
 
THE CLASSICAL SCHOOL ii 
 
 our old makers in this respect. Would that we had 
 more examples of his art left us ! Duke's backs are 
 mostly plain, but the wood is as good acoustically as 
 anything short of Italian gems of the first water. 
 Henry Whiteside, a maker hardly known to any 
 writer on violin matters, used beech for the back of 
 many of his fiddles. One of these, in good condition, 
 is in the possession of the author. Matthew Hardie 
 used anything that came to hand for his inferior 
 instruments, though he used excellent wood for his 
 Stradivari copies. Those who have read " Scottish 
 Violin Makers : Past and Present," by W. C. Honey- 
 man, will remember the tale of the " hidden violin." 
 Benjamin Williams, a Welsh maker, tried ash and 
 birch for the back. Edward Withers, whose instru- 
 ments are rising in value, was very careful in the 
 selection of his material. The wood in the instruments 
 bearing the label of John Betts is usually good, but 
 mostly plain. These are isolated examples, and the 
 departures from the traditional rule are neither very 
 numerous nor very important. One thing to be noted 
 in particular about the pine used is that it shows a 
 general preference on the part of the makers for wood 
 with a medium "reed" or grain. Very few instances 
 there are of either close or wide grained wood. Some 
 of the best examples of " old " Forster are an exception 
 to the rule, but these have common English deal, and 
 not Swiss pine. 
 
 C— THE VARNISH 
 
 The varnish is excellent as regards elasticity and 
 adhesiveness. The oil varnish of our classical school 
 will probably wear better than that of any other school. 
 
12 BRITISH VIOLIN-MAKERS 
 
 I have seen many a badly cracked and battered old 
 Duke and Forster with the varnish still plentiful and 
 " defiant." Of but few Italian instruments can this 
 be said. The majority of the best of them are quite 
 bare. Nothing short of a smart blow will damage the 
 English varnish. I have seen a Dodd's 'cello varnished 
 with the celebrated " original Cremona varnish," which 
 had a hole knocked in one of the bouts, and the var- 
 nish around the scraggy edges had parted " clean." 
 There was not a suspicion of " chip " or transversal 
 cracks. In this respect the classical varnish contrasts 
 favourably with some of the best varnishes of the 
 modern school. One drawback, e.g.^ of the famous 
 varnish of Mr. James Whitelaw is that it is brittle, 
 and that it " chips " in a most provoking manner. In 
 other respects, the modern varnish is far superior to 
 that of the classical school. The varnish of even the 
 best of the old makers lacks colour and brilliancy. 
 On the finest of Duke's instruments, for instance, it is 
 elastic, tough, and withal soft, but dull and lifeless. 
 Some of the deeper-hued varnishes of Forster may be 
 said to possess colour, but it is colour devoid of fire 
 and translucency. The best work of Banks, much of 
 which has received high praise, is frequently open to 
 the same criticism. 
 
 But colour and transparency, I admit, are not so 
 important as elasticity and adhesiveness. In its bearing 
 upon tone, elasticity is the most important of all the 
 known factors. I say " known," because it is highly 
 probable that the varnish has a subtle influence upon 
 the colour of the tone, the nature of which is not yet 
 precisely understood. I am inclined to think with the 
 Messrs. Hill {vide their Life of Stradivari) that the 
 
THE CLASSICAL SCHOOL 13 
 
 varnish plays a much more important part in the evolu- 
 tion of tone nuance than is usually admitted. 
 
 It is remarkable that so few authentic recipes of 
 old varnishes have been handed down to us. This 
 is a fact which militates against the view that the 
 nature of the ingredients and the method of making 
 them into a varnish were regarded as a trade secret. 
 Secrets were generally confided to black and white, 
 paradoxical as it might sound. The secret of many a 
 long-lost art consists in the fact that at the time it 
 was practised it was no secret at all. If the art of 
 embalming had been regarded in ancient Egypt as a 
 mystery, we should probably know more about it to- 
 day. At one time everybody knew in the land of the 
 Pharaohs how the mighty Cheops was built, and how 
 the stones were quarried and conveyed, and the fact 
 that everybody knew then is the main reason why 
 nobody knows now. The masters of painting had no 
 dark chambers wherein they mixed their pigments : it 
 would be better for modern artists if they had. 
 
 On the other hand, make a mystery of an art, and 
 you thereby secure for it a niche in one of the safest 
 recesses of Walhalla. The art of the necromancer in 
 the days of Aaron was a secret, but the pundits of India 
 practise it to-day. Archimedes enshrouded with a veil 
 of mystery the principle which he discovered, and which 
 is named after him, and, thanks to the fact, the world 
 has not had to rediscover the law of specific gravity. 
 
 Innumerable instances might be quoted in support 
 of my statement, but sufficient have been given to 
 illustrate the point. 
 
 The inference is this : the varnish of Stradivari, 
 Guarneri, and other Cremonese, was no trade secret. 
 
14 BRITISH VIOLIN-MAKERS 
 
 otherwise we should be familiar with its composition 
 to-day. Dodd guarded his mixture with a jealous 
 eye, but his varnish has been reproduced many and 
 many a time since he laid his brush to rest. 
 
 Our classical makers used both oil and spirit var- 
 nishes. The gums, resins, &c., which entered into 
 their composition are perfectly familiar to us. One 
 thing alone is doubtful, viz., whether or not in these 
 sinful days we get the pure and unadulterated article. 
 A list of these substances is given in an appendix to 
 the valuable work of Mr. Edward Heron-Allen, 
 " Violin Making, as it Was and Is," and the reader 
 who wishes for full information on the subject is 
 referred to that work. 
 
 I do not think our great makers varnished as the 
 moderns do, and as the Italian masters undoubtedly 
 did. The varnish appears to be perfectly homo- 
 geneous, that is to say, there is no sizing of colourless 
 varnish of one kind with subsequent coats of colour 
 varnish. There is no foil of golden sheen, which 
 would etherealise the fire of the varnish. All that 
 was probably done in the majority of instances was the 
 mere rubbing of a little oil into the wood, followed by 
 the application of varnish in the usual way. A few 
 instruments, it must be admitted, show evidence of 
 some such sizing as that of gamboge, notably amongst 
 the examples of Daniel Parker and Forster — the 
 Forster — but this is the exception, not the rule. 
 
 i).— THE WORKMANSHIP 
 
 The distinguishing feature of the workmanship is 
 solidity. A few of Duke's finest efforts may be con- 
 
THE CLASSICAL SCHOOL 15 
 
 sidered graceful and refined ; some of Parker's free 
 and flowing in style, &c. Still " solidity " is the 
 characteristic. A typical maker would be Daniel 
 Parker. Here we have plenty of timber, an absence 
 of regard for the finer details, and a sense of uncon- 
 cerned self-reliance and determination. If there is no 
 general refinement, there is also no vulgarity. The 
 makers followed in the wake of their Continental 
 progenitors, and we feel that, although they did not 
 cut out a path of their own, they were all the more 
 sure of the road. We may miss the impress of genius, 
 but we have the compensating balance of common 
 sense. Another notable feature of the workmanship 
 is uniformity. The great names did not stand far 
 apart. In the commercial workaday parlance of 
 dealers, the best instrument will not give the worst 
 a margin of more than £20. I am speaking here of 
 the productions of the best makers. It is not so with 
 the work of any of the Continental schools. Some of 
 Stradivari's gems are ofi^ered to-day (1903) for ;^2 500, 
 and one instrument, the Salabue Strad, sold a few years 
 since for ;^2000 ; whereas a fine example of Storioni 
 was sold a couple of months back for £4.0. The 
 noble army of British artists walks abreast. There 
 may be a first maker, but the second is like unto him ; 
 in fact, they are all very much alike. 
 
 Many of our second-class and inferior instruments 
 were evidently built without a mould. So were a 
 large number of the Italian ones ; but there is this 
 difference in the result : the latter are invariably crude 
 and irregular ; the former are, at the worst, only quaint 
 and rugged. Our average British luthier may not be 
 highly artistic, but he never is truly barbarous. 
 
1 6 BRITISH VIOLIN-MAKERS 
 
 The interior of all classical work is slightly rough, 
 the marks of the chisel and gouge being mostly dis- 
 cernible. Especially is this the case with the end 
 blocks, which are rounded off in a more or less 
 haphazard fashion with the chisel. In the larger 
 instruments the blocks are often shaped by about a 
 dozen applications of the chisel. I do not think our 
 old makers troubled themselves much about glass- 
 paper and its uses, either in the finishing of the 
 exterior or the interior. They handled their scraper 
 very nattily, and were content with the result. This 
 is not at all to be deprecated, as sandpaper is an 
 enemy of " character." Nor were they at all times 
 over particular about matching their wood. I have 
 seen fine examples of Duke and Forster with an odd 
 rib, cut the wrong way of the grain to match the 
 other ribs. Mr. Richard Hilton, of Matlock Bridge, 
 possesses a genuine Daniel Parker, date 17 12, with 
 the right upper rib cut differently from the rest. 
 There is, or was, in the possession of H. Seymour 
 Allen, Esq., of Cresselly House, Pembroke, a beauti- 
 ful Duke fiddle with a joint back, the wood of the 
 left half being of a broad curl, and that of the other 
 of a narrow, regular curl. A Mr. O'Connor, residing 
 in Waterford, has a Benjamin Banks tenor in excellent 
 preservation, the ribs of which have been cut from 
 three different pieces of timber varying in width of 
 curl. Many specimens of Matthew Hardie show three 
 different kinds of figure in scroll, ribs, and back. 
 These are isolated cases, but instances might be multi- 
 plied indefinitely. The English scrolls show much 
 strength and decision. Curiously enough those of 
 Benjamin Banks, our recognised chief, are somewhat 
 
THE CLASSICAL SCHOOL 17 
 
 weak in design and execution. Richard Tobin cut 
 scrolls which vie with the best work of Stradivari, 
 but the poor man has been robbed of his due by an 
 unscrupulous posterity. Dealers, perceiving the aristo- 
 cratic bearing of the heads, have ruthlessly decapitated 
 them in most instances and put them on democratic 
 shoulders. I am glad, however, to be able to give 
 an illustration of an undoubtedly genuine Tobin scroll 
 {vide "Tobin," Part II.). 
 
 The sound-holes do not call for any general re- 
 marks, as they are dealt with individually under the 
 names of the respective makers. There is one point 
 more in the general character of the workmanship 
 which calls for criticism, and that is, the absence of 
 purfling in a large number of the mediocre instru- 
 ments, and in not a few of the better class. Ink- 
 lines, however carefully drawn, are but an eyesore 
 and a sham, and, what is still worse, they afford no 
 protection to the exposed edges. 
 
 £.— THE TONE 
 
 A most remarkable fact connected with British 
 instruments of the classical period, and one which 
 has escaped the notice of all writers on the subject, 
 is, that their tone is the very antipode of that 
 of Stainer's instruments, which our luthiers copied 
 so slavishly for three-quarters of a century. Our 
 artists followed Stainer's lines, but they gave us a 
 tone approximating to that of Amati. The tone is 
 not so thickly crusted with sugar as that of Nicolo, 
 it is true, but the coating is sugar, nevertheless, and 
 not absinth. The best description of the Stainer 
 
1 8 BRITISH VIOLIN-MAKERS 
 
 tone that I am acquainted with is that given by the 
 Rev. H. R. Haweis in his "Old Violins" (pp. 
 98, 99); well, that description cannot be applied to 
 the tone of any English instrument of the eighteenth 
 century. This phenomenon has its post - classical 
 counterpart. Makers from 1800 to i860 have copied 
 Stradivari in the main, and they have given us the 
 Stainer tone ! There were hundreds of Stainer copies 
 produced in the eighteenth century, some of them 
 very exact in the matters of outline, arching, thick- 
 nessing, &c., but I have never come across a single 
 instrument of that period the tone of which could be 
 said to bear the slightest resemblance to the tone of 
 the great German. Our classical tone is rather small, 
 but bright and silvery. Why is it they failed to reach 
 their ideal ? And why is it that the majority of 
 modern copyists also fail ,? I do not care to volunteer 
 even a surmise : the violin world is already too full 
 of surmises. Suffice it to point out the fact. This 
 much is pretty certain, however — namely, that those 
 who are in quest of the " Excalibur " of Antonio 
 had better go further afield than the air mass, gradua- 
 tion of thicknesses, theories, and such like, the pursuit 
 of which is as fruitless as the search for the holy 
 Gandiva in " the far Lauchityan sea." Time and 
 use do a great deal for tone, no doubt, but they do 
 not alter its inherent qualities. No length of time 
 nor any amount of use will transform the fairy-bell 
 tone of Duke, Banks, Forster, &c., into the roaring, 
 razor tone of Stainer. 
 
 I fully agree with those who assert that the 
 qualities of our classical tone have been much under- 
 estimated. Duke in his best work rivals N. Amati. 
 
THE CLASSICAL SCHOOL 19 
 
 Daniel Parker has a charming tone — " bashfully sweet " 
 would be an apt description. The violoncellos of 
 Benjamin Banks are magnificent — the vox humana 
 complexion of their tone is quite remarkable. 
 
 The classical tone may not fill our large music 
 halls, but it will penetrate to every part of them, 
 and ought to win, where it fails to conquer, by its 
 fascinating sweetness. It would be well if present-day 
 makers realised that loudness is not the chief element 
 of musical sound. Purity and sweetness are before all 
 other qualities. These are the days of " loud " things, 
 and even music in order to appeal to vulgar taste has 
 to conform to the type a la mode. The advice is given 
 by a writer of eminence that violin-makers who would 
 be the Stradivaris of the future must look forward 
 and contrive means that will ensure an immense tone. 
 What the writer probably means is this : that makers 
 should try to put the soul of an organ into the body 
 of a fiddle. But I prefer the fiddle with its own soul 
 in its own body. 
 
 N. Amati has never been surpassed for thrilling, 
 silvery sweetness, and I, for one, much prefer his quiet 
 company in a chamber to that of any loud aspirant to 
 future greatness in a large hall. 
 
 In conclusion, I submit that in the supremely im- 
 portant matter of tone production, the British classical 
 school takes rank next to that of the Italian. There 
 are one or two French makers who are superior to our 
 best artists, perhaps, but only one or two. The rank 
 and file of French luthiers are not fit to hold a rush- 
 light to our old makers. Stainer is, of course, in spite 
 of his pepper and vinegar, head and shoulders above 
 us ; but one man does not constitute a school. He 
 
20 BRITISH VIOLIN-MAKERS 
 
 may create a school, but he is a solus unus, and not the 
 totus. 
 
 Let possessors of genuine Dukes, Parkers, Banks, 
 Forsters, &c., take care of their treasures. The time 
 will come when they, or their children, will know how 
 to value them at their true worth. First-class Italian 
 instruments are becoming rarer every year. The in- 
 struments of Lupot, Pique, and one or two other 
 Frenchmen, are also becoming rarer. Third-class 
 Italian and other French work is not superior to our 
 classical remains — nay, it is not even equal to it in the 
 paramount quality — Tone. 
 
II._THE MODERN SCHOOL 
 
 ^.— THE REVIVAL OF VIOLIN-MAKING 
 
 Ignorance and prejudice unite in disputing the exist- 
 ence of a modern British school of violin-making, and 
 some writers calmly assert that the art of violin-making 
 is dead in Great Britain since the year 1850! I can 
 understand some irresponsible people making rash 
 statements of this sort for trade or similar reasons, but 
 I cannot comprehend the man who sits down to 
 deliberately write, and then unblushingly publish them 
 to mislead the thousands. The glorious art was never 
 more alive in this country than it is to-day. There 
 are at least thirty professional luthiers of the present 
 day, and about five times that number of amateurs 
 and occasional makers. This number is exclusive of 
 dealers in factory fiddles, Anglo-French makers, &c., 
 all of which classes have no claim to consideration in a 
 work dealing purely with British vioHn-making. Since 
 the year 1850 the British school has been born again — 
 born to a higher and a nobler life, I believe. We have 
 now working with us Mayson, Withers, Gilbert, Atkin- 
 son, Hesketh, Owen, Hardie, &c., much of whose 
 work will be considered classics a hundred and fifty 
 years hence. Some of these have struck out a path 
 for themselves, and the British school shows unmistak- 
 able signs of originality for the first time. Material, 
 varnish, workmanship, and tone place them in line 
 
22 BRITISH VIOLIN-MAKERS 
 
 with the Italians. Their originality, breadth of concep- 
 tion, and artistic feeling show that the best of them 
 are worthy contestants for the laurel with Stradivari, 
 Guarneri, Bergonzi, Amati, and Maggini. Of course, 
 people who have an interest in the trade in old 
 instruments cannot be expected to admit all this. 
 Dealers are sometimes worshippers at the shrine of 
 Minerva, but they are oftener grovellers before the 
 image of Plutus. 
 
 Thirty years ago, violin-making in this country was 
 confined to a handful of men, such as Tarr, Cole, 
 Hardie, Mayson, Withers, and a few more. The 
 famous names of Hill and Hart can hardly be in- 
 cluded, for one was a repairer more than anything, 
 and the other chiefly an expert and author. For 
 twenty-five years the growth in the number of luthiers 
 and the quality of work has been steady, and if we 
 persevere we bid well to eclipse the noonday glory of 
 Cremona, To-day the output, both as regards quantity 
 and quality, is very considerable. About a hundred 
 and fifty high-class instruments were made last year 
 (1902) in Great Britain, and nearly five hundred more 
 of the second and third class, both small and great. 
 The renewed interest in the art is due in part to the 
 marvellous activity in the world of art (in general) 
 and letters during the last three decades of the Vic- 
 torian era. Such books as " Violin Making, as it Was 
 and Is " (Heron-Allen), " The Violin : its Famous 
 Makers and their Imitators" (Hart), "Old Violins 
 and their Makers" (Fleming), and others, have also 
 helped to foster the love of the king of instruments. 
 Greater than all is the impetus communicated to 
 the minds of those with an artistic bias by the influx 
 
THE MODERN SCHOOL 23 
 
 into this country of classical gems and by the play- 
 ing of virtuosi, who have thrilled our music-loving 
 public. 
 
 It is worthy of special note that the art is making 
 progress by leaps and bounds in Scotland. There are 
 about sixty Scottish makers of the present day, pro- 
 fessional and amateur, and on the average two hundred 
 instruments or more have been turned out annually in 
 the land of " banks and braes" for the last ten years. 
 Scottish players are less addicted to the factory fiddle, 
 to their credit be it said, than are we of England and 
 Wales. This is due in a large measure to the com- 
 parative cheapness in Scotland of the home-made 
 instrument. The leading English makers charge an 
 exorbitant price for their work. As much as £6:^ 
 is asked by some for their high-class fiddles. This 
 is unreasonable. It is a rare occurrence, indeed, to 
 find a new violin which is intrinsically worth the 
 money. Hardie, Smith, Smillie, Omond, and other 
 good Scottish makers charge from £^ to £10 for 
 instruments that are well made and acoustically ex- 
 cellent. 
 
 5.— THE CHARACTERISTICS OF THE 
 WORKMANSHIP, WOOD, &c. 
 
 The salient features of modern work demand close 
 attention. The models most affected are those of 
 Stradivari and Guarneri — English makers giving the 
 preference to the former and Scottish makers to the 
 latter. Maggini, Gasparo da Salo, Amati, Bergonzi, 
 and others are also copied, but not so often. Mayson, 
 of Manchester ; Atkinson, of Tottenham ; Gilbert, of 
 
24 BRITISH VIOLIN-MAKERS 
 
 Peterborough ; and Owen, of Leeds, work on original 
 lines, and their work is superb. The woods used by 
 the leading makers are imported from the Cantons of 
 Schwytz and Lucerne. Our amateurs are not always 
 so careful about the quality of their wood as they 
 might be. The idea has got abroad that old wood 
 is the best, and very often the wood used by them has 
 been almost pulverised by age. The instrument made 
 of such timber cannot live long. I would here raise a 
 note of warning. It is possible to ride a hobby-horse 
 to death; that is, being interpreted, it is possible to 
 make too much of the old wood theory. The right 
 sort of timber, cut at the right time of the year, and 
 naturally seasoned in blocks for about twenty years, is 
 what is required. Some makers ransack the land, hole 
 and corner, for wood which is two or three hundred 
 years old. The result does not reward the labour. 
 The tone obtained is not an iota better than that got 
 by using good wood seasoned for a reasonable number 
 of years ; and in fifty or a hundred years hence, when 
 fiddles made from fresh and properly seasoned wood 
 will be beginning to live, those made from very old, 
 lifeless wood will be ready to die. It is feared by 
 some that instruments made from wood of only 
 twenty years' seasoning will shrink. But what about 
 the instruments of the old masters } These, if they 
 have shrunk at all, have not done so to any appreciable 
 extent, and they were made from wood seasoned by 
 them in their own lifetime. 
 
 My readers will remember that most Continental 
 authorities agree with me on this point. August 
 Riechers in "The Violin and its Construction" 
 (p. 1 1 ) says : " The age of the wood I consider of 
 
THE MODERN SCHOOL 25 
 
 only very small importance ; if it has been lying by for 
 five years, ready cut or split, as the case may be, for 
 the construction of a violin, it will then be sufficiently 
 dry, and will need no further preparation. I have 
 exactly ascertained the weight of wood which had 
 been laid by for drying for five years, and then, 
 having weighed it again at the end of twenty years, 
 have found it had not become perceptibly lighter." 
 I have not come across one German, French, or Italian 
 writer on the subject who advocates the use of very 
 old wood. In this country, the great advocate of old 
 wood is Mr. W. C. Honeyman, the author of several 
 popular works on the violin. The majority of Scottish 
 makers are converts to his teaching, and use nothing 
 but timber which is at least a hundred years old. I 
 had a fiddle down from Scotland for inspection a short 
 time since which was made from wood at least three 
 hundred years old, so the maker averred. I can well 
 believe it was made from timber that was six hundred 
 years old, for it seemed as brittle as a mummy and 
 ready to crumble at the slightest touch. One trembled 
 to draw the bow across the strings lest it should vibrate 
 into dust. In reference to shrinkage in bulk and 
 weight, I wish to record here an interesting observa- 
 tion which has been made by me. Eleven years ago, I 
 had a sycamore tree and a Scotch pine cut down {Ficus 
 sycomorus and Pinus sylvestris)^ and had a small block 
 sawn out of each of the following dimensions : 
 \i" y. d" Y. ^' . The blocks were carefully planed and 
 afterwards put to season in a cool, dry place. At 
 the end of every year I have taken measurements 
 and weights, and the following table gives the exact 
 result : — 
 
26 
 
 BRITISH VIOLIN-MAKERS 
 
 
 Dimensions of 
 
 Dimensions of 
 
 Weight of 
 
 Weight of 
 
 
 Sycamore. 
 
 Pine. 
 
 Sycamore. 
 
 Pine. 
 
 
 Inches. 
 
 Inches. 
 
 Oz. Drm. 
 
 Oz. Drm. 
 
 I89I 
 
 12 x6 x| 
 
 12 x6 x| 
 
 18 8 
 
 15 14 
 
 1892 
 
 iiMxsMxM 
 
 nUx5§ x|| 
 
 15 6 
 
 II 8 
 
 1893 
 
 ii||x5^ xii 
 
 ii§ X5| xf 
 
 13 8 
 
 9 2 
 
 ■ 1894 
 
 ii| X5§ x\} 
 
 » SMxfV 
 
 12 I 
 
 8 8 
 
 1895 
 
 „ SffxiJ 
 
 » 5M » 
 
 II 3 
 
 8 4 
 
 1896 
 
 » Sfixfl 
 
 „ „ „ 
 
 10 10 
 
 8 
 
 1897 
 
 „ SMxH 
 
 „ „ „ 
 
 10 6 
 
 55 55 
 
 1898 
 
 „ sexe 
 
 „ „ „ 
 
 10 4 
 
 55 55 
 
 1899 
 
 » » )5 
 
 „ 
 
 10 3 
 
 » 55 
 
 1900 
 
 » )> 5) 
 
 )> 55 » 
 
 55 55 
 
 » 55 
 
 1 901 
 
 )> ;> »' 
 
 ,5 «) 55 
 
 55 55 
 
 55 » 
 
 1902 
 
 )> » » 
 
 55 55 5> 
 
 55 „ 
 
 55 55 
 
 If some one were to make careful and correct 
 observations upon different pieces of maple and pine 
 (Swiss and Italian) and to tabulate the result, it would 
 be edifying as well as interesting. Riechers did so, 
 but he does not gives us figures. An ounce of fact is 
 worth a ton of theory. Different results would be 
 obtained with wood varying in density, sap, &c., and 
 climatic conditions would have much to do with the 
 seasoning. 
 
 And just a word with regard to seasoning. It 
 is much more difficult nowadays to get a block of 
 naturally seasoned wood than is usually supposed. If 
 our modern makers were to exercise the same care in 
 procuring timber naturally seasoned that they now 
 do in obtaining old wood, they would render great 
 service to the cause they espouse. When they seek 
 old wood in dilapidated buildings, chalets, &c., they 
 forget that the method universally adopted in season- 
 ing timber hundreds of years ago was that of sub- 
 mersion under water for an extended period, followed 
 
THE MODERN SCHOOL 27 
 
 by desiccation in dry air. The newly-sawn planks 
 were sunk in deep water for two years or so, and 
 afterwards dried in open sheds. My father (a Pem- 
 brokeshire yeoman), who was an authority on timber, 
 always seasoned his oak, ash, beech, elm, and syca- 
 more in this way, and he assured me from a wide 
 knowledge of the subject that the above method had 
 been in vogue in this country since the days of the 
 Romans. The timber used in the construction of our 
 cathedrals and ancient churches was all seasoned in 
 this manner, so he maintained. 
 
 He explained that the submersion caused the per- 
 manent tissue of the wood to " pack," on account of 
 the distension which took place in the cells of the 
 meristem, and that the active cells themselves were 
 made more susceptible to desiccation. Thus there 
 was secured a minimum of meristem and a maximum 
 of density in the permanent tissue. He said that the 
 permanent tissues were the bones of the timber, and 
 the meristem the flesh. The bones would last, but 
 the flesh began to decay the moment the tree was 
 cut, and the important point in seasoning was to 
 overrule the process of decay so that it should do 
 the least possible harm to the bone. 
 
 \_Q,uery. — Have we historical evidence of the exact 
 
 method adopted by the Cremonese in seasoning 
 
 their wood i*] 
 The workmanship of our leading professional 
 makers is excellent. Attention is paid to every de- 
 tail of the work. This is a feature worthy of com- 
 mendation, as the British have in the past been 
 somewhat impatient of detail. Even such seemingly 
 unimportant trifles as the notches of the sound-holes 
 
2 8 BRITISH VIOLIN-MAKERS 
 
 are now treated artistically. And what a difference 
 attention to minutiae makes in the tout ensemble ! 
 Each instrument becomes as much a poem as it does 
 a mechanical unity. 
 
 English makers somewhat lower down in the rank 
 have yet a little to learn in the matter of purfling, the 
 proportion of widths, the treatment of the button, &c., 
 and many Scottish makers are open to the charge of 
 exaggerating the peculiarities of Del Gesu, more especi- 
 ally in the outline and sound-holes. A large number 
 of amateurs pay no attention to the proper length of 
 the stop, and the majority ought to be more careful 
 in working the neck. A thick, clumsy neck at the 
 shoulder is a severe trial to the patience of the player, 
 for it impedes shifting. Many otherwise fine instru- 
 ments of the Italian school were a great deal too bulky 
 about the shoulders, but they have been refitted with 
 a new neck in accordance with modern requirements. 
 In the calculation and working out of form and pro- 
 portion, art and utility must go hand in hand and 
 contrive to give us that which is both elegant and 
 serviceable. 
 
 Modern varnishes claim a paragraph or two, both 
 on account of their quality and diversity, as well as 
 on account of the time which has been given to their 
 perfection during the last fifty years. Curious con- 
 noisseurs and anxious luthiers have devoted years of 
 their life to the fascinations of the chemistry of gums, 
 resins, &c. Experiments innumerable have been con- 
 ducted, and hundreds, nay thousands of pounds sacri- 
 ficed in the effort to restore the lost art of the 
 Cremonese varnish. The belief obtains among con- 
 temporary chemists who are interested in the subject 
 
THE MODERN SCHOOL 29 
 
 that the base of the Italian varnish was fossil amber. 
 Mr. J. Whitelaw, of Glasgow ; Dr. Inglis Clark, 
 and Dr. George Dickson, of Edinburgh ; the Messrs. 
 Caffyn, of London, and many others, are its chief 
 exponents. Some amateurs and professional makers 
 also hold the same opinion, and use amber oil varnish 
 of their own make; but it is doubtful whether the 
 base in the majority of these instances is real fossil 
 gum amber. I have tested a few of them, and could 
 find no trace of the actual gum, but simply a little 
 oleum succinis^ commonly called " oil of amber," and 
 the gums entering into their composition were much 
 softer and less durable in quality than fossil gum 
 amber. It needs a knowledge of chemistry to fuse 
 amber successfully, and especially to develop the fine 
 colours of the above-named varnish makers. Mr. 
 Whitelaw has issued a pamphlet advocating the claims 
 of the amber theory, but I doubt whether experts yet 
 give the theory more than a passing thought or 
 remark, and a credulous shrug of the shoulder. 
 However, the theory is gaining ground, and a large 
 number of makers, alive to the many good qualities 
 of the amber varnish, use it regularly. Our leading 
 makers alone stand aloof, preferring to follow the 
 traditional paths. The present period may not 
 inaptly be termed " the amber varnish period," and 
 the qualities of the varnishes must therefore be 
 described. 
 
 (i) The varnish of Mr. James Whitelaw, which 
 has been on the market for several years, is a beautiful 
 production. It is soft, elastic, transparent, and full 
 of fire. Its one failing is its brittleness. A slight 
 blow or a pressure of the thumb-nail will bring it 
 
30 BRITISH VIOLIN-MAKERS 
 
 off clean from the wood. Mr. Honeyman maintains 
 that if it be put on carefully, each coat being allowed 
 about a month and the final one six months to dry, 
 it will not chip. I regret that experience compels 
 me to disagree with Mr. Honeyman. These instruc- 
 tions have been carried out faithfully both in this 
 country and in Italy, where the climatic conditions 
 are all that can be desired, still it chips. But 
 " chipping " is not considered a drawback by some 
 people, because that is also a characteristic of the 
 Italian varnish. 
 
 (2) Dr. Inglis Clark's varnish possesses all the 
 qualities of Mr. Whitelaw's, and, in addition, a 
 deeper hue. But it is not produced in so many 
 colours, nor does it set so well. It takes months 
 to dry, and never hardens sufficiently to resist the 
 impression of the warm chin or hand. The ruby 
 varnish of Dr. Clark is wondrous to behold, but 
 fearful to handle. It does not chip, simply because 
 it cannot. 
 
 (3) Caffyn's varnish — the patent of which has now 
 been disposed of by the Messrs. Caffyn — is neither so 
 lustrous nor so tender as either of the above. It sets 
 hard and does not chip. It has more affinity with the 
 varnishes of some of our classical makers than any 
 other modern varnish has that I am acquainted with. 
 
 (4) Dr. Dickson's varnish is a magnificent produc- 
 tion, but it is not for sale. The doctor is only a 
 gentleman amateur, and is not even anxious that his 
 varnish should be known beyond his circle of acquaint- 
 ances. It is a thousand pities that he does not patent 
 his discovery for the benefit of art. 
 
 This list is only typical, not exhaustive. All that 
 
THE MODERN SCHOOL 31 
 
 is good in the amber theory, however, is to be obtained 
 in the fruit of the labours of these scientists. More- 
 over, the varnishes just named are the productions of 
 men who are thoroughly conversant with the mysteries 
 of the laboratory, and not the mere haphazard mixtures 
 of would-be varnish-makers. It would be well for all 
 who do not possess the necessary knowledge and skill 
 to make their own varnish if they used the beautiful 
 varnish of Mr. Whitelaw. This, if laid on patiently 
 and carefully, has a most beneficial effect upon the 
 tone. The effect a varnish has upon the tone is a 
 matter of supreme importance. Scores of well-made 
 instruments are spoilt annually by the use of a varnish 
 which has a deleterious effect on the tone. If an instru- 
 ment covered with Whitelaw's varnish be examined 
 under a strong lens about six months after polishing, 
 it will be observed that the thin, translucent pellicle 
 resembles the skin of the human body: it is porous. 
 Any one who has gone into the matter carefully knows 
 that the Italian varnish is also porous. In saying this 
 I am not to be understood to hint that Mr. Whitelaw 
 has rediscovered the lost art. But it will be readily 
 understood by all that porousness is an important 
 factor in relation to tone. Some makers close up the 
 pores of the wood before varnishing by the application 
 of albumen, gamboge, &c. This is a serious mistake, 
 as the varnish cannot penetrate the wood. With the 
 varnish under consideration no sizing should be used, 
 but it must be allowed to soak into the wood. All 
 the violins of the Cremonese masters may be regarded 
 as embalmed bodies, the varnish having permeated the 
 whole fabric ; so that what we really have is neither 
 wood nor varnish, but a sort of compound of both. 
 
32 BRITISH VIOLIN-MAKERS 
 
 Every fraction of a drop of the varnish which these 
 instruments have absorbed has entered into eternal 
 relationship with the molecules of the wood. So that 
 the nude classical gods have suffered no injury by being 
 deprived of their outer garment, " the blood thereof, 
 which is the life thereof," is still there. The Nessus 
 robe, in this instance, has eaten' its way into the flesh, 
 but only to become part of the flesh. No Lernaean 
 poison has robbed the flesh of its vitality and freshness. 
 All our leading professional makers use varnishes of 
 their own make, but nothing need be said about them 
 here beyond a general remark or two. One thing is 
 very noticeable, and that is, the marked dissimilarity 
 between the varnishes of Mayson, Withers, Gilbert, 
 Hesketh, Atkinson, Owen, and Hardie. Apparently 
 they all use different gums, or a different combination 
 of gums. One could easily pick out strips of wood 
 varnished by, e.g., Mayson, Gilbert, and Atkinson from 
 among a thousand similar strips. The varnish of all 
 of these is very fine, and that of some of them quite 
 equal to the best the world has ever produced, at least 
 in the opinion of those who retain sufficient control 
 over their judgment to divide their devotions justly 
 between classical and post-classical divinities. 
 
 Little can be said about the modern tone, because 
 its true character, unlike that of the model, workman- 
 ship, and varnish, can only become fully known in the 
 future. The workmanship and the varnish are at the 
 summit of their glory when the instrument leaves 
 the maker's hands. Some writers, I am aware, have 
 gone into ecstasies over what they term the picturesque 
 wear of the varnish — the finger-marks of the hand of 
 time. All this is very well in poetry, but when it 
 
THE MODERN SCHOOL 33 
 
 comes to purchasing an old gem, undamaged work 
 and unscratched varnish fetch the cash. As regards 
 tone, however, age and legitimate use have a beneficial 
 effect. To speak in general terms, there is too much 
 of the piercing loudness of Stainer about the tone of 
 the rank and file of modern fiddles. As for the tone 
 of the superior instruments of the best makers, it is 
 pregnant with golden promise. 
 
III.— BRIDGES: CLASSICAL 
 AND MODERN 
 
 Bridge manufacture in our days is a distinct branch 
 of industry ; and even as there is a factory fiddle, so 
 also there is a factory bridge, the one lacking in indivi- 
 duality and acoustic merit as much and as often as does 
 the other. Very few luthiers make their own accessories 
 nowadays. A gross of bridges can be purchased at 
 less than the cost of making a dozen artistic ones. 
 Accessories were not imported wholesale in the days of 
 old, when every maker of violins was also a maker of 
 fittings. The importance of the bridge cannot be 
 exaggerated, as a bad one will inevitably spoil the tone 
 of an instrument, however good the latter may be. It 
 has ever been a matter of surprise to me that so many 
 of our good makers overlook this self-evident truth. It 
 is the exception, not the rule, to find a good bridge, 
 and the fine qualities of many an instrument succumb 
 to the perversity of the little indispensable. Factory 
 fiddles are imported by the ton, one would say, and 
 their only quality, to use an aphorism, is their quantity. 
 The tailpiece, which is of slight acoustic importance, 
 is often carefully made and elaborately inlaid, whereas 
 the cheapest bridge made of green wood or baked 
 wood, high and thick, is clamped on the defenceless 
 fiddle. This is great injustice to the fiddle, and to the 
 maker of the fiddle, for neither gets the chance to live 
 
BRIDGES: CLASSICAL AND MODERN 35 
 
 and speak. A good instrument is very exacting in its 
 demands upon the bridge, and the finer are its qualities 
 the finer also must be those of the bridge. Another 
 fact to be remembered is that fiddle and bridge, once 
 properly mated, should never, if it can be avoided, be 
 divorced. They ought to fight their life's battles, for 
 better, for worse, in indissoluble unity. There is a 
 psychic bond between them which cannot be broken 
 without at the same time precipitating their united 
 charm into the gulf beneath. If a bridge which has 
 been on an instrument for a length of time, and which 
 is found to suit it, should by chance get damaged, it 
 ought to be carefully repaired and not thrown away as 
 a worthless trifle. I believe there are one or two 
 artists somewhere in the country who make a speciality 
 of this class of repair. 
 
 The present form of bridge originated with Stradi- 
 vari, but it was as slow in 
 asserting its superiority 
 here as was the Strad 
 model. Our early 
 makers must have been 
 acquainted with it, but 
 they made quasi-viol and 
 divers other forms of 
 bridge well on towards „ ,t^ ■ ^ -n , . 
 
 ° . Fig. I.— (Daniel Parker.) 
 
 the end of the eighteenth 
 
 century. I have seen few, and very few, English 
 bridges of the elect pattern of the classical period. 
 Fig. I is an illustration of a bridge probably cut 
 by Daniel Parker (1700-40), both fiddle and bridge 
 having remained in the possession of the same 
 family for upwards of a century, as is attested by 
 
36 
 
 BRITISH VIOLIN-MAKERS 
 
 Fig. 2.— (H. Whiteside. 
 
 documentary evidence. This bridge is fairly charac- 
 teristic of the period, and shows work which is neither 
 geometrically precise nor highly finished. Fig. 2 
 represents a bridge cut by Henry Whiteside at the 
 
 close of the same century. 
 The bridge is an authenti- 
 cated specimen, and fairly 
 well made. The bridge 
 of all time advanced its 
 claims chiefly through the 
 instrumentality of the late 
 William Ebsworth Hill. 
 He made hundreds, if not 
 thousands, of bridges, 
 often varying the pattern^ 
 but usually keeping to the best. These are as 
 extremely artistic as the tools with which he made 
 them were extremely simple. It is to be feared 
 that time and the carelessness of players have consider- 
 ably reduced the original 
 number of Hill bridges. 
 In the present day the 
 Messrs. Hart, of Wardour 
 Street, make a high-class 
 bridge, which is as good 
 as anything ever pro- 
 duced. They also make 
 a special study of the 
 correct adjustment of the 
 bridge, and the possessor of an old instrument with- 
 out an old bridge cannot do better than send them 
 his treasure to have a bridge fixed on which is in true 
 acoustic unity with the instrument. Many innovations 
 
 Fig. 3.— (Bonn.) 
 
BRIDGES: CLASSICAL AND MODERN 37 
 
 — "improvements" as they are called — have been intro- 
 duced within recent years, and the market is deluged 
 with these persistent rivals. Only the most import- 
 ant can be noticed 
 here. Mr. J. Edwin 
 Bonn, of Brading, Isle 
 of Wight, is the maker 
 of the four - footed 
 bridge for violin, viola, 
 and violoncello. He 
 believes that four feet 
 ensure a more ener- 
 getic and regular com- 
 munication of vibrations to the front table. The 
 wood is carefully selected and the design pretty (see 
 
 Fig- 3)- 
 
 The Messrs. Balfour, the well-known violin ex- 
 perts, have patented a design which they style the 
 
 Fig. 4.— (Balfour.) 
 
 Fig. 5.— (E. Davies.) Back. 
 
 "sound-holes bridge." I have never seen the raison 
 d'etre of this invention explained, but great merits 
 are claimed for it. The illustration will be familiar 
 to readers of advertisements. 
 
38 BRITISH VIOLIN-MAKERS 
 
 Mr. Edward Davies, of Cheltenham, has invented 
 a very curious bridge. It is made of two pieces of 
 pine cut so that the grain runs at an angle of 45° to 
 the perpendicular axis of the bridge. These are glued 
 together with two narrow strips of wood between 
 them, fixed almost in the shape of V, except that the 
 ends forming the angle do not quite touch. The 
 inclination of the grain of the two pieces of pine is 
 
 Fig, 6.— (E. Davies.) Front. 
 
 towards the base, as shown in the illustration (Fig. 5). 
 Each piece, or half, of the bridge has a protruding 
 wing which reaches nearly level with the sound-holes. 
 The inventor claims that this peculiar and inelegant 
 bridge, in view of the nearly vertical direction of the 
 grain of the wood, ensures a freer and fuller trans- 
 mission of the vibrations. 
 
 There have been sundry other innovations, which 
 have "had their day and ceased to be," and which 
 have made their exodus " unwept, unhonour'd, and 
 unsung.*' 
 
IV.— THEORIES ABOUT STRADIVARI'S 
 TONE 
 
 A MODERATE-SIZED volume might be written on 
 the history of theories anent the Stradivari tone. 
 Both before and since the experiments of M. le 
 Doctor Savart, the violin world has been thrown 
 into agitation almost yearly by the seismic advent of 
 some new theorist. 
 
 Theories have invariably had a twofold effect 
 upon the world, which are of a diametrically opposite 
 tendency. The first is " Hegelian " in character, and 
 may be described as the development of concepts by 
 the antagonism of environment. One man has an 
 idea, and this idea is strengthened by the presentation 
 to his mind of another idea differing in connotation 
 or denotation. For instance, the greater the number 
 of ethical systems contemplated by the altruist, the 
 more convinced does he become of the truth of his 
 own that the chief good lies in self-abnegation. And 
 one effect of new theories relative to the Stradivari 
 tone has been that one class of luthiers becomes more 
 convinced of the wisdom of the traditional lore and of 
 the folly of the new teaching. 
 
 The second effect of a new theory is that of pro- 
 gress by reaction. Certain minds advance by a sort 
 of pendulum movement. They hold one particular 
 notion to-day, and when a new idea is presented to 
 
40 BRITISH VIOLIN-MAKERS 
 
 them to-morrow, they discard the former and accept 
 the latter. They " reel to and fro " and ever stumble 
 on the new. 
 
 It is for the benefit of the class which is thus 
 affected by the ubiquitous theorist that the present 
 chapter is written. It is not penned with the inten- 
 tion of discouraging research or scientific experiment, 
 but with a view to demonstrating the utter futility of 
 theorising for theorising's sake, and of frittering away 
 precious moments in the pursuit of fable. Each of 
 the theories dealt with below has its adherents in 
 Britain to-day, some holding one, some another. Not 
 a few luthiers give forth that they work on the method 
 of combination, uniting in their work the good and 
 the true of all and sundry hypotheses. 
 
 The criticism undertaken is avowedly destructive. 
 I do not think the time has arrived when we can by 
 any constructive process build up one safe super- 
 structure based upon positive knowledge. The day 
 may not be far distant when all hypotheses as to the 
 Stradivari tone will merge into one truth, but it is not 
 yet. If the maestro had a secret, it is certain that the 
 key which opens the chamber thereof has not been so 
 far discovered. Furthermore, to say that Stradivari 
 produced the differentiating quality of his tone by 
 the united help of the principles embodied in these 
 theories is as wide the mark as it is to say that he 
 worked subject to the limitations of any one of them. 
 
 Vuillaume, and others since his time, may be con- 
 sidered to have made instruments on " correct " prin- 
 ciples. They assuredly were as competent to work 
 on scientific lines as Stradivari was. The exact cubic 
 capacity has been repeated, the relative pitch of the 
 
THEORIES ABOUT STRADIVARI'S TONE 41 
 
 plates, model, outline, thicknesses, &c. ; but the tone 
 — where is it ? There may be (and no doubt there is) 
 tone which is quite as round, penetrating, rich, and 
 bell-like, but it is not the tone of the great Italian. 
 I would urge upon our present day makers the im- 
 perative duty of accepting new theories only with 
 the greatest caution. " Try the spirits of what sort 
 they are " before you take them for guides. The 
 majority of theorists are blind leaders of the blind. 
 They are ignorant of even the alphabet of science ; 
 and that they should attempt the Herculean task of 
 arriving at elaborate scientific deduction is unpardon- 
 ably Quixotic. Knowledge may not be the monopoly of 
 the few, but it never is the commonwealth of ol iroWoi 
 A statement of the principal theories and criticism 
 thereof in tractile form will now be attempted. 
 
 J.— THE AIR MASS THEORY 
 
 The gist of this theory may be stated thus : The 
 cubic capacity of Stradivari's instruments is such as 
 secures the exact mass of air required by the acoustic 
 basis of construction. I object that — 
 
 (i) It is well-nigh impossible mathematically to 
 secure the required exact mass. The mass of air 
 present in a chamber of the description and character 
 of the violin is not exactly identical at any two 
 moments. Air is highly elastic, and its density at 
 any particular moment depends upon atmospheric 
 pressure and temperature, A mere tyro at hydro- 
 statics would know this. And the quantity of rein- 
 forcement of vibration by a volume of air depends 
 upon the density of the air at the time. 
 
42 BRITISH VIOLIN-MAKERS 
 
 (2) The present cubic capacity of Stradivari's in- 
 struments is not what it was when the instruments left 
 his workshop. Nearly all of them have been refitted 
 with a stronger bass bar and end blocks, which means 
 a slight decrease in the cubic capacity. A large num- 
 ber of them have been opened several times, with the 
 result that the ribs are not always quite as deep as 
 they originally were. Others are indented here and 
 there, especially around the bridge. 
 
 5.— THE RELATIVE PITCH OF THE PLATES 
 
 This theory was broached by M. Savart. It is 
 almost incredible that a man of science should have 
 lent his name to a theory based upon what is no 
 better than a famine of data. The theory is, in the 
 words of Fetis, that " the maple plate, or the back 
 of the violin, should be a tone lower than the deal 
 plate [or belly] in order to obtain the finest sonority 
 possible when they are united." — "Notice of Stradi- 
 varius," p. 83. 
 
 (i) The theory is arrived at by the logical fallacy 
 of non-observation. Savart does not tell us that he 
 examined one back or belly intact — as it had left the 
 hands of Stradivari ; but he constructed a fiddle, or 
 some sort of musical box, the plates of which had 
 been graduated to produce the said tonal difference, 
 and the result was, in the estimation of Savart, a 
 Stradivari tone. He had previously prepared six 
 rods, three of maple and three of pine, obtained from 
 three shipwrecked Strads, and he found that those of 
 maple when thrown into vibration each produced 
 Att, and those of pine each F. Armed with this 
 
THEORIES ABOUT STRADIVARI'S TONE 43 
 
 discovery, he launches out into the sea of acoustics, 
 and casually touching the peninsula of relative density, 
 he triumphantly arrives at the haven of relative pitch. 
 But mark. He does not examine a single whole back 
 or whole belly in its original condition ; indeed, we 
 are left in the dark as to whether he examined a com- 
 plete back or belly in any condition. How then does 
 he arrive at the theory of an arbitrary and uniform 
 relative pitch between the plates ? The answer must 
 be, I am afraid — By a mere a posteriori guess. 
 
 (2) I submit that never have a Stradivari back and 
 belly, in their original condition, been examined with a 
 view of determining their tonal pitch, and I throw 
 out the challenge to the world to bring forward 
 historical facts (not irresponsible statements) to the 
 contrary. 
 
 (3) I submit further that there is not one known 
 Stradivari instrument in existence with its plates in 
 their original condition. The strengthening of the 
 bass bar must of necessity alter the pitch of the table. 
 The use of glue in repairing is another item which 
 must be considered. A rod of glue would give a 
 very different note from a rod of pine, and although 
 the quantity of glue used in repairing is exceedingly 
 small, still it is a fraction which must be taken into 
 account. A large percentage of Strad backs and 
 bellies have some little glue in their flesh by now. 
 
 (4) It seemingly has never entered into any one's 
 mind that varnished plates give a different note from 
 the same plates in the white. There is a difference of 
 thickness to take into account, but more important is 
 the alteration in density. Oil varnishes penetrate the 
 wood and increase the specific gravity of the plates, 
 
44 BRITISH VIOLIN-MAKERS 
 
 especially that of the front table, which absorbs more 
 of the varnish. Presuming that the unvarnished plates 
 of Stradivari were worked to give the required tonal 
 difference, there is no reason to suppose that the said 
 difference would be maintained after varnishing. The 
 rods which Savart tested were charged with varnish, 
 and no correct deduction could be arrived at as to 
 what their pitch if tested in the white would be. 
 
 But we must give Savart his due : he did not for 
 a moment suggest that his discovery accounted for 
 the whole of the truth as to Stradivari's secret. 
 Others less endowed with sagacity have done that 
 since his days. 
 
 C— RELATIVE DENSITY 
 
 Different ; pieces of timber differ in density. The 
 maestro knew what densities would give the necessary 
 acoustic accord, or " psychic " unity. The supporters 
 of this view are very numerous. Some of our chief 
 writers have lent it their support. The Rev. H. R. 
 Haweis in "Old Violins," p. 230, says: "Charles 
 Reade was napping when he expressed a hope that 
 a certain Stradivari back, mated with a new belly, 
 might some day be united to some Stradivari back 
 [sic: 'belly' he means] of which he knew; but 
 unless it happened to be the belly Strad had selected 
 for that particular back, what reason is there to sup- 
 pose that the result would be satisfactory .? " 
 
 To this theory I urge the following objections : — 
 
 (i) The only method of determining the density 
 
 of timber is by use of the hydrostatic balance, and 
 
 to credit Stradivari with a knowledge of the law of 
 
THEORIES ABOUT STRADIVARI'S TONE 45 
 
 specific gravity and its application is to demand too 
 much upon our credulity. The great luthier might 
 have been a keen observer of natural laws, but of 
 exact science he knew nothing. I have seen it asserted 
 that Stradivari was familiar with the principles of 
 acoustics and hydrostatics, but no one acquainted with 
 the history of Italy, much less with the biography of 
 Antonio, could have made such a rash statement. 
 Italian peasants and the average Italian artisan are 
 notoriously ignorant of and supremely indifferent to 
 the intricacies of book learning even to-day, and what 
 must they have been two hundred years ago ? Any 
 one who has travelled in Italy can better imagine the 
 ignorance that prevails than it can be described. The 
 old luthiers had received at most only the barest of a 
 bare elementary education. 
 
 (2) The specific gravity or density of different 
 pieces of pine and maple of the same cubic capacity 
 varies infinitely. For instance, a hundred pieces of 
 pine of exactly the same dimensions, cut from the 
 same log, and from the same side of it, if you like, 
 would be found, if accurately tested, to give a hundred 
 different results in specific gravity. I have conducted 
 an immense number of experiments in this way with 
 the hydrostatic balance, and can testify that it is a rare 
 occurrence to find two piecee of either maple or pine 
 that are perfectly identical in density. 
 
 (3) By the mathematical theory of chance, the 
 possibility of Stradivari hitting upon a uniform ratio 
 of specific gravity between the plates in some two 
 thousand instruments is as infinity to zero against 
 him. 
 
 (4) If there were anything in this theory, the 
 
46 BRITISH VIOLIN-MAKERS 
 
 slightest divergence from the correct ratio would 
 mean an acoustic disturbance. Now, since it is mathe- 
 matically impossible to repeat the necessary ratio in so 
 many instances, how is it possible to repeat the result ? 
 The "Stradivari tone" is not the property of one 
 particular Stradivari instrument, but of all of these 
 in common. 
 
 A— QUALITY OF WOOD 
 
 This theory holds that the peculiar timbre of the 
 tone is due to some particular quality of the wood, 
 and that Stradivari had intuitively arrived at a know- 
 ledge of the said quality. 
 
 I reply that Stradivari had no doubt attained a 
 high degree of wisdom in the choice of his material, 
 but that his wood differed from that of all others is 
 highly improbable. There is every reason to believe 
 that Carlo Bergonzi, who was his pupil, used the same 
 kind of wood. The sons, as a matter of course, used 
 their father's timber, and after the old man's death 
 they used up all the spare material. But neither Carlo 
 Bergonzi nor the sons produced the Stradivari tone. 
 
 £.— PLATE TENSION 
 
 This theory has been broached by an ingenious 
 American, a Mr. Louis Hastings Hall, of Hartford, 
 Conn. It differs very little in principle from another 
 theory elaborated by Mr. Otto Migge, which has been 
 termed the "Natural Varnishing" theory. They both 
 adopt tension or elasticity as the pivot of their argu- 
 ments. The only difference between the two appa- 
 rently is that the former says the violin is not a 
 
THEORIES ABOUT STRADIVARI'S TONE 47 
 
 vibrating body, whereas the latter asserts that the 
 increased tension or elasticity secures the augmented 
 and regular vibration necessary to produce the Stra- 
 divari tone. 
 
 These theories, for they are both one for all prac- 
 tical purposes, shall be stated in the words of Mr. 
 Hall himself, as they appeared in a letter published in 
 the January number of The Strad (1903) by Dr. T. 
 Lamb Phipson : — 
 
 " You know how the tension in a drum head im- 
 proves a drum, well, it makes just as much improve- 
 ment in a violin ; that is, with the top and back sprung 
 on to the violin rib, the tone is made to improve just 
 as much as the maker has skill. I have gained such 
 control over the working of the tension that I can 
 make any possible power or quality which could be 
 desired. The main principle is quite simple, but has 
 many variations. 
 
 " I cut the top up in an arch (about \ inch) and 
 spring it down along the side margins on to the ribs. 
 I cut the back so that it touches the inner bouts, and 
 springs down at each end. This throws the tone 
 outside the instrument, and gives it great power and 
 brilliancy. 
 
 " Now, to prove this, I cut the back up in an arch 
 and sprang it down the same on the top ; the tone is 
 entirely drawn inside, so that the bow slides over the 
 strings, and cannot bring out a particle of tone. The 
 arching of the tension can be changed so as to alter 
 the balance of the strain, and each alteration makes a 
 change in the tone. Even the bridge is built so that 
 where the springs exert a pressure, it is filled with 
 tension, and therefore transmits the tone. When the 
 
48 BRITISH VIOLIN-MAKERS 
 
 mute is put on it interrupts this tension and deadens 
 the tone. 
 
 " I have found that a violin, instead of being a 
 vibrating body, is just the opposite ; namely, a body 
 of tension and resistance. I found out, through a 
 London maker, that Stradivari graded two square 
 spots, about f inch inside of the upper corners, on 
 the top ; instantly I realised why he did that. 
 
 " When a top is sprung on, the greatest strain 
 comes between these two corners, and if the wood is 
 not thinned out here, some of the tones are screechy, 
 and right here lies Stradivari's secret for producing an 
 even scale. I could go along down the line and cite 
 a hundred cases where the tension theory will answer 
 every question." 
 
 (i) It is hardly necessary to make a serious effort 
 to refute these pseudo-scientific observations. To say 
 that the violin is not a vibrating body is an unpardon- 
 able subversion of truth, and shows gross ignorance of 
 the elements of acoustics. Every schoolboy, to use 
 Macaulay's famous phrase, knows that where there is 
 no vibration there can be no sound, musical or other- 
 wise. From a letter which I received from the dis- 
 coverer of this remarkable acoustic phenomenon, I 
 infer that the writer maintains that the violin itself 
 does not vibrate, but only the strings and the air 
 inside. Now, how the strings can communicate their 
 vibration to the air inside the violin without material 
 transmission, i.e. without the help of an intermediate 
 agent, is a problem altogether too subtle for me, and 
 I will attempt no solution. 
 
 (2) The bent plates do not retain their tension. 
 Six months will suffice to minimise any tension they 
 
THEORIES ABOUT STRADIVARI'S TONE 49 
 
 may originally have had. A piece of board, say, i yard 
 X i" X ^\ bent to a semicircle, tied, and exposed to 
 the elements, will be found after the lapse of a few 
 months to have lost nearly all its tension. In two or 
 three years there will be absolutely no resistance left. 
 
 /'.—OUTLINE, ARCHING, AND THICKNESS 
 
 This theory holds that the timbre of the Stradivari 
 tone is due to the definite relation between the above 
 three great unities of violin construction ; these unities 
 entering into a mystical trinity of art and producing 
 the one perfect unity of sound. 
 
 Whilst admitting the importance of outline, arch- 
 ing, and thicknesses in their relation to tone, I submit 
 that this so-called "trinity in unity" in the art of 
 violin construction does not account for the distinctive 
 qualities of the tone in question, for the following 
 reasons : — 
 
 (i) The outline, arching, and thickness of Stradi- 
 vari have been copied to the »th, as mathematicians 
 would say, but without obtaining the desired result. 
 
 (2) Many of the finest Strads have had their thick- 
 nesses " rectified " by the Goths and Vandals of the art 
 of repairing. This was in the days of another theory, 
 to wit, when it was believed that to scrape away the 
 plates on the inside would give an increase of tone. 
 These scraped plates have had to be patched. But in 
 spite of thinning and patching the tone has still 
 the distinctive Stradivari timbre, as is evidenced by 
 comparison with more fortunate Strads. 
 
 If there were an original subtle relation between the 
 " unities," it has been disturbed by the irreverent hand 
 
 D 
 
50 BRITISH VIOLIN-MAKERS 
 
 of time, and, according to the theory, the peculiar 
 quality of tone ought also to have disappeared. 
 
 G.— HARMONIC PROPORTION 
 
 This is a theory recently broached by a German, 
 Carl Schulze, in a work entitled Stradivaris Geheimniss 
 — Ein ausfuhrliches Lehrbuch des Geigenhanes (Berlin, 
 1 901). It holds that the proportions existing between 
 certain dimensions of Stradivari's model correspond 
 exactly with the ratios of some of the musical intervals, 
 and that the interior volume of Stradivari's model is an 
 accurately determined acoustic space. " The first law 
 with the old masters was to design the model in such 
 a manner that the vibrations of the parts should not 
 interrupt the vibrations of the whole ; and in order to 
 secure this it is necessary that the partial proportions 
 should be inter-related, and also in definite ratio to the 
 total dimensions. The interior length of the body of 
 the violin is 346.5 millimetres, which is divided by the 
 bridge into two parts in the ratio of t = the ratio of a 
 minor third, and again by the sound-post into parts in 
 the ratio of i = perfect fourth. A straight line drawn 
 to join the corners of the upper bouts would divide 
 the body of the instrument into two parts in the ratio 
 of f = an octave," &c. &c. 
 
 This theory can claim no further merit to dis- 
 tinction than that it is very ingenious and highly 
 diverting. Two considerations alone need be urged 
 against it : — 
 
 (i) The proportions of Stradivari have been copied 
 with the utmost exactitude ten thousand times, but 
 without the result sought for. 
 
THEORIES ABOUT STRADIVARI'S TONE 51 
 
 (2) "Definite harmonic proportion" is a purely 
 imaginary notion, unsupported by fact. 
 
 In conclusion, I would add that whilst submitting 
 these theories to rigorous destructive criticism, it is 
 not thereby sought to disparage the importance of 
 wood, model, thicknesses, &c. Each of these has its 
 modifying influence upon tone. What is implied, and 
 emphatically asserted, is that not one of them, nor all 
 combined, can account for the peculiar quality or 
 timbre of the Stradivari tone. 
 
PART II 
 
 A DICTIONARY OF VIOLIN AND 
 BOW MAKERS 
 
 CLASSICAL AND MODERN 
 
A DICTIONARY OF VIOLIN AND 
 BOW MAKERS 
 
 ABSAM, THOMAS, Wakefield : 1810-49. I have seen 
 two instruments of his make, both violins, one on the Stradi- 
 vari model, and the other on that of N. Amati. The work- 
 manship is of average merit, and the varnish a spirit one, hard 
 and lifeless. He made chiefly for Pickard, a dealer in Leeds. 
 
 Label :— 
 
 MADE BY 
 
 THOMAS ABSAM, 
 
 WAKEFIELD, FEB. U, 1833 
 
 ACTON, WILLIAM JOHN, London, contemporary. 
 He works at Gipsey Lane, Forest Gate, E. He was born in 
 St. Mary Street, Woolwich, on December 12, 1848, and is the 
 only son of his father, A. W. Acton. He was educated at 
 Rectory Place Academy. He was trained by his father, and 
 carried on business at Woolwich till 1898, when he removed to 
 his present address. He made his first instrument in 1868, and 
 up to date he has completed no violins, 12 violas, 19 violon- 
 cellos, and 10 double basses. He also makes bows. His wood 
 is good, rather plain, but well chosen for acoustical qualities. 
 His varnish is an amber oil one, of his own make. Colours : 
 amber, ruby, and brown. 
 
 His model is original, approximating to that of Stradivari. 
 The measurements are : — 
 
 Length of body .... 14 Inches. 
 
 Width of upper bouts .... 6^^ „ 
 
 ,, lower bouts .... 8 ^^5- „ 
 
56 BRITISH VIOLIN-MAKERS 
 
 Width of inner bouts . . . . 4f inches. 
 
 Length of inner bouts from corner to 
 
 corner 3yV 
 
 Length of sound-holes . . . . 2f 
 
 Width between sound-holes at top . . if 
 
 „ „ „ bottom . 5 
 
 Height of sides at lower bouts . . 1} 
 
 „ „ upper bouts . . ij\ 
 
 „ arching .... ^ 
 
 The^holes are original, and are quite in keeping with the 
 contour of the instrument. The scroll is very good, and shows 
 much force of character. The purfling tool is handled almost 
 without a tremor, and the purfle is inlaid with taste. The in- 
 finitesimal chips and gaps so often observable in the purfle of 
 some makers is conspicuous by its entire absence. Of course, 
 this is a very small matter, and it in no way affects the acoustic 
 qualities of the instrument, but it is well that it is not ignored 
 at the same time. 
 
 The tone of the instruments which I have seen by this 
 maker was powerful and penetrating. One instrument I 
 examined had a particularly fine G string. The tone has 
 nothing of the Amati sweetness about it, and nothing of the 
 bell-like clearness of Stradivari, but it is a good tone, neverthe- 
 less, and ought to develop further good qualities. 
 
 Here is a facsimile of his label : — 
 
 
 He sells his instruments at prices ranging from 0> for the 
 violins up to ^^35 for the double basses. His bows are strong 
 and well-balanced, but not highly artistic. 
 
VIOLIN AND BOW MAKERS 57 
 
 ADAMS, CATHUNE, Garmouth, Scotland. From about 
 1775 till about 1805. He made kits, violins, and violoncellos. 
 Model, N. Amati. The workmanship is fairly good, but the 
 varnish is very inferior, hard, and of an ugly yellow colour. 
 The tone is much better than the appearance of the instru- 
 ments would lead one to expect. All his labels are handwritten 
 on white paper : — 
 
 ADAMS, MA, 
 
 GARMOUTH, 
 
 1790. 
 
 ADDISON, WILLIAM, London. Period unknown, but 
 about 1650-75. It is not certain whether or not he made 
 violins, but he made viols. Label : — 
 
 WILLIAM ADDISON, 
 
 IN LONG ALLEY, 
 
 OVER AGAINST MOORFIELDS, 1670 
 
 AIRETON, EDMUND, London. Period, 1 730-1 807. 
 His best instruments are on the Amati model. He also made 
 many violins on the Stainer model, and a few, of inferior make, 
 on the Stradivari model — a fact which proves that the model 
 of the great Italian was little appreciated in England and not 
 thought worthy of the best effort at the time. The workman- 
 ship is good, and the tone of a fair quality. The varnish is a 
 spirit one, of a lustreless yellow. It has been surmised that a 
 workman of the same name, who was working with Peter 
 Wamsley in 1735, was his father. 
 
 AIRTH, WILLIAM, Edinburgh. From about i860 till 
 1 88 1. He emigrated in that year to Australia, where he has 
 remained since, only occasionally making violins. His instru- 
 ments are on the lines of Stradivari, but considerably modified. 
 Fair workmanship and average tone. 
 
 ALDRED, . A maker of viols. Period, somewhere 
 
 about the middle of the sixteenth century. His instruments 
 
58 BRITISH VIOLIN-MAKERS 
 
 were very celebrated in the seventeenth century, and much in 
 demand. They w^ere classed with those of Jay, Smith, and 
 Belles, by Mace in his " Musick's Monument." 
 
 ALLEN, EDWARD HERON-, London, contemporary. 
 He resides at 3 Northwick Terrace, N.W. He claims a very 
 warm place all to himself in a dictionary of this sort, not only 
 because he has made one or two fiddles, but also because he 
 is the author of the very popular work, " Violin Making, as it 
 Was and Is," — a book which has done more real service to the 
 art in this country than all other books combined. Mr. Heron- 
 Allen was born in London on the 17th December 1861, and 
 was educated at Harrow. When he left his alma mater in 
 1878, and became an articled clerk in the firm of which he is 
 now the senior partner, he was already very keen on the violin, 
 having studied under Otto Peiniger at school. He then began 
 with his allowance of pocket-money to collect books on music, 
 but having soon discovered that this was too wide an under- 
 taking, he determined to devote his attention exclusively to 
 books on the violin. The nucleus of his collection were John 
 Bishop's edition of Otto's Treatise, Sandy's and Forster's 
 " History," and a battered copy of Dubourg's book. Then 
 followed Fetis's Stradivari, and the common biography of 
 Paganini. This was a small, but a sure beginning, and 
 to-day his fiddle bookcase is ten feet high by six, and 
 full to overflowing. As long ago as 1893 he refused an 
 offer of {j2.0Q>o for his library, made by Mr. P. W. Pickup, 
 the enthusiastic amateur violinist and colliery owner of 
 Blackburn. 
 
 Mr, Heron-Allen soon found, however, that though there 
 were plenty of theoretical books, histories, and biographies 
 bearing on the violin, the information concerning how to 
 make a fiddle was so meagre as to be practically represented by 
 the symbol x. His office being in Soho (where it has been a 
 good deal over a century), and the articled clerk of a solicitor's 
 office being a proverbially idle creature, he had plenty of time 
 in which to make friends with the fiddle-makers, and the shops 
 
VIOLIN AND BOW MAKERS 59 
 
 of the Hills, old Boulangier, the elder Tubbs, the elder Hart, 
 the elder Chanot, and the Withers Brothers, became his habitual 
 lounges. He determined, if possible, to supply the lack of a 
 practical book on fiddle-making. But though he collected a 
 quantity of disjointed information (many, many, the cigars they 
 smoked together, old Chanot — God rest his soul ! — and he, in 
 the former's back shop), he did not think, even though he was 
 young enough to have implicit and unlimited confidence in 
 himself, that he knew enough to warrant him in writing a 
 book on the subject. On the 4th and 5th of May 1882, 
 Carl Engel's library was sold, and at his sale he got a few more 
 books on the violin, but most of them were bought over his 
 head by Bernard Quaritch. This necessitated his calling 
 upon Mr. Quaritch and negotiating the re-sale to him of 
 the books he wanted. It was then Mr. Heron-Allen and 
 Mr. Quaritch formed the friendship which still exists between 
 them. This seems irrelevant, but it is not. Quaritch seeing 
 that Heron-Allen was so full of youthful enthusiasm about 
 the fiddle, let him have his coveted books at practically the 
 prices he had given for them, and furthermore enjoined him 
 to write a treatise on the violin and deliver it, as his guest, at 
 a meeting of the then recently (1878) founded " Sette of Odd 
 Volumes." 
 
 This lecture he delivered on Friday, June 2, 1882, and 
 he made the acquaintance on that occasion of Captain Sir 
 Richard Burton and Commander Cameron, with the former 
 of whom he remained most intimate until his (Sir Richard 
 Burton's) death. It was Sir Richard that encouraged him still 
 further to collect the literature of the violin and complete his 
 studies of the instrument itself. The lecture was printed for 
 the author by Mitchell & Hughes in Wardour Street, and 
 became No. i of his series of pamphlets on the violin called 
 De Fidiculis Opuscula ; it afterwards formed part of the in- 
 troduction to "Violin Making." This launched him upon 
 the sea of violin literature on his own account, and after 
 making further investigations in Wardour Street, he decided to 
 get taken on as a casual apprentice in a workshop, and really 
 
6o BRITISH VIOLIN-MAKERS 
 
 learn, step by step, the art and mystery of violin-making. The 
 final " push-off " was given by the publishers, Messrs. Ward, 
 Lock & Co., who just at that time projected their monthly 
 magazine called Amateur JVork^ and he undertook to supply 
 them with a series of articles on practical fiddle-making for 
 amateurs, at what then struck him as the magnificent re- 
 muneration of 7s. 6d. per page, the copyright and all rights of 
 reprinting the articles in book form to be the absolute property 
 of the publishers, without further payment. Mr. Heron- Allen 
 was most pleasantly young then ! It need hardly be said that 
 Messrs. Ward, Lock have never made him any payment in 
 respect of the many editions they have issued since 1884. 
 Indeed, a few years ago, when the author offered to revise the 
 book for a small fee, they stated that they did not feel justified 
 in incurring the expense ! 
 
 Mr. Heron-Allen at last made arrangements with old Mr. 
 Chanot that the latter should supply him with wood, at a price, 
 and that he should work at his fiddle whenever he could, paying 
 the sum of los. 6d. for every hour he worked in the shop. 
 Chanot made a violin step by step with his pupil, and so did 
 his son Joseph (the first he had made). So it may be said that 
 J. A. Chanot and the subject of this sketch were apprenticed 
 together. Mr. Heron-Allen began his first fiddle, a Strad 
 model on the hollow or "inside" mould, on April 20, 1882, 
 and he took two fiddles, made exactly as described in his book, 
 away finished on September 15, 1883, made, of course, entirely 
 with his own hands. Meanwhile he described every step in 
 his articles in Amateur JVork^ from notes made in the workshop 
 at the time. It is improbable that it ever occurred to Georges 
 Chanot that he was a " chiel " taking notes for publication. 
 If it had, it is not likely that he would have learnt as much as 
 he did of the mysteries of a fiddle-maker's workshop. The 
 two fiddles were made from the best materials procurable. 
 The measurements are those given in " Violin Making, as it 
 Was and Is." They are varnished with fifteen coats of a tender 
 amber-coloured varnish, with a glint of rose in it. This is laid 
 on a coat of bright yellow saffron stain, which gives a speck 
 
VIOLIN AND BOW MAKERS 6i 
 
 of fire wherever the oil varnish has chipped or vi^orn. Not 
 that it has chipped much, for even now^ it is perfectly tender 
 and elastic. The composition of his varnish is as (or nearly as) 
 described in the above-named book. Mr. Heron-Allen is of 
 opinion, however, that no one can give a perfect recipe for 
 varnish ; it is, he says, just like making claret-cup or punch, 
 one begins with a rough formula, and tastes and adds this and 
 that as it seems required, until it is all right. No varnish worth 
 the name, he further maintains, can be made on a set-fast for- 
 mula — varnishes so composed vary at various seasons and in 
 various climates. It is interesting to note that the Rev. H. R. 
 Haweis appears to hold an identical opinion (see "Old Violins," 
 p. 149). Mr. Heron- Allen's fiddles have matured very rapidly, 
 considering that they are left very thick in wood. The tone 
 is reported to be large and mellow, and of great equality on all 
 the strings. Joachim, Wilhelmj, Johannes WolfF, Simonetti, 
 and a host of other great violinists have played upon the Joseph 
 copy (Mr. Heron-Allen's favourite instrument), and have ex- 
 pressed some astonishment and a great deal of kind admiration 
 at it. 
 
 Mr. Heron-Allen has ceased to make fiddles, but is keener 
 than ever on Fiddle Lore. Since 1885 he has continued to 
 amass books on the subject, and he is proud to possess a good 
 many works which are not represented in the British Museum, 
 the Bibliotheque Nationale, nor in the Bibliotheque Royale in 
 Brussels. He published a catalogue of them in 1891-94, in 
 two volumes, quarto, under the title of De Fidiculis Bihl'io- 
 graphia^ comprising about 1400 items. For his first book he 
 was sent by the Commissioners of the Inventions and Music 
 Exhibition of 1885 to collect ancient musical instruments, and 
 he received a certificate of merit and a silver medal ; for his 
 Bibliography he was elected Socio Onorario e Benemerito of the 
 Academia di Santa Cecilia in Rome. His further publications 
 have been " Hodges v. Chanot — the History of a Celebrated 
 Case," " Fidiculana," and a book of essays on the violin, 
 "The Letters of de Beriot," "The Seal of Roger Wade," 
 a curious early document upon the Welsh Crwth, and " The 
 
62 BRITISH VIOLIN-MAKERS 
 
 Arts and Crafts Book of the Worshipful Guild of Markneu- 
 kirchen Violin Makers." Mr. Heron-Allen is also the posses- 
 sor of the largest collection of unpublished autograph letters of 
 celebrated violinists in England. He was fortunate enough to 
 secure nearly all the letters written by violinists to Louis Spohr 
 at his sale some years ago. 
 
 Mr. Heron-Allen's labels are drawn in pen and ink, and 
 each one differently. The instruments he has made are at his 
 own and at his father's residence. They were not made for 
 sale, and no price is put upon them ; in fact, he would not 
 part with them for any consideration. 
 
 ALLEN, SAMUEL, London, contemporary. He is 
 principally a bow-maker. He was for several years in the 
 employ of the Messrs. Hill, and was held in high esteem by 
 them as a first-class workman. In 1891 he started business 
 on his own account as a violin and bow maker and repairer, 
 but he devotes his time principally to bow-making. His 
 workmanship is excellent, and his bows have a graceful and 
 durable camhre^ which, together with a nice balance, gives them 
 a place in the front rank of modern bows. Allen was born 
 in Cornwall in 1858, and was educated for the scholastic 
 profession. 
 
 ANDERSON, HENRY, Edinburgh, contemporary. He 
 was born in Auchtermuchty in May 1839. He has made 
 about 120 violins, and repaired extensively. Model : Joseph 
 Guarnerius. I have not seen any of his work, but it is said 
 to be of good average merit. He received a diploma and 
 bronze medal at the Glasgow East End Exhibition, 1890, for 
 a case of violins. 
 
 ANDERSON, JOHN, Aberdeen. He was born in 
 1829, and died ^^in 1883. He said that he made about a 
 thousand instruments of every description. His model ap- 
 proximated to that of Stradivari, early period. The varnish is 
 an oil one of an indifferent quality, in various colours. The 
 
VIOLIN AND BOW MAKERS 63 
 
 tone is moderately powerful, but rather harsh in the two or 
 three specimens seen by me. Label : — 
 
 MADE BY 
 
 JOHN ANDERSON, 
 
 ABERDEEN 
 
 ANDERSON, JOHN, Glasgow, contemporary. He 
 is the son of the preceding John Anderson, and was born 
 December 25, 1856, at Aberdeen. He has made a large 
 number of violins on a modified Strad model. They are 
 fairly well made, and suitable for orchestral purposes. The 
 only instrument of his make seen by me was varnished in 
 golden red, unpolished, with rather weak sound-holes, and 
 somewhat ungainly corners. 
 
 ANYON, THOMAS, Manchester, contemporary. A 
 gentleman amateur, who produces excellent work. He was 
 born in Preston, June 8, 1854, and educated at the Normal 
 School there. Throughout life he has always been fond of 
 studious pursuits, particularly of painting, music, modelling, 
 science, &:c., with ever the fiddle as his constant friend. It 
 was the perusal of " Violin Making, as it Was and Is," by 
 E. Heron- Allen, which first gave him the incentive to construct 
 a violin. Before so doing he studied the mathematics of the 
 instrument for many months, experimenting with volumes of 
 air acting upon resonating plates of different media, and con- 
 structing a sound-box in order to obtain reliable data as to 
 thicknesses and air volumes. The results justifying further 
 research, he made his first instrument in 1892, and is now 
 constructing his fifty-third. During the year 1895 he employed 
 for eight months two assistants to help in the rough work 
 only, but was obliged to dispense with their help, finding from 
 beginning to end that the task of getting anything like the 
 violin art and finish out of cabinet-workers' labour was a 
 hopeless one. His model is original, of full proportions, and 
 very artistic. The varnish is an oil one of different shades. 
 On the instruments examined by me it was a deep golden red 
 
BRITISH VIOLIN-MAKERS 
 
 perfectly transparent and fiery. The workmanship is magni- 
 ficent, and the tone large, rich, and free. The maker's mono- 
 gram is carved on the back of the scroll, at the base near the 
 scollop. Mr. Anyon tells me that he has sold several of his 
 instruments privately at prices ranging from thirty to fifty 
 guineas. Label : — 
 
 Jl 
 
 -^:7r^tA.<:^-^ 
 
 ^^^'^L-^^:c.oc<.X^^^ 
 
 /V^ 
 
 ARNOT, DAVID. Worked in Glasgow, and was born 
 at CriefF in the year 1831. He made many violins on the 
 Amati, Stradivari, and Guarneri models, and produced very 
 good work. In 1888 he opened a shop in Stockwell Street, 
 Glasgow, from which time till his death in 1897 he was 
 mostly engaged in repairing. The label is handwritten : — 
 
 DAVID ARNOT, 
 GLASGOW, 1890 
 
 ASKEW, JOHN, Stanhope, nineteenth century. Said to 
 be a good maker. He won a gold medal at the Inventions 
 Exhibition, London, 1885, for an exhibit of instruments. 
 
 ASKEY, SAMUEL. Worked in London ; period about 
 1800-40. Originally a tinman, he became a pupil of John 
 Morrison, and worked for some time for George Corsby. 
 The work varies in character ; some of his Amati copies 
 showing very intelligent work, but the tone is rather weak 
 and harsh. No label of his is known. 
 
 ASPINALL, JAMES, Bolsterstone, contemporary. An 
 amateur who produces very commendable work. He was 
 born in the parish of Penistone, Yorks, October 11, 1855. 
 He is of a mechanical and inventive turn of mind, and has 
 
*fl>u^ ^-e^uj-a^-J-ijvJe^t.^ '(^aJ^ 
 
VIOLIN AND BOW MAKERS 65 
 
 built an organ, on which he was engaged for three years. He 
 made his first violin after reading Mr. Heron-Allen's book, 
 and since then he has made about thirty violins and a few 
 violas. He works on the Strad model, adopting the drawings 
 and dimensions of Riechers, except for the thicknesses. The 
 workmanship is good all over, and the tone moderately 
 powerful, clear, and responsive. Varnish : Whitelaw's. Label 
 (printed in copying ink from a rubber stamp) : — 
 
 / JAMES ASPINALL, N 
 
 I VIOUN MAKER & REPAIRER. I 
 
 BOLSTERSTONE. | 
 
 V. NR. SHEFFIELD. J 
 
 ATKINSON, WILLIAM, Tottenham, contemporary. 
 He was born at Stepney, on October 23, 185 1, and is the 
 son of James and Hannah Atkinson. He works at Holt 
 House, High Road, Tottenham, and is one of the best 
 makers of modern times. His full name is William Thomas 
 Reed Atkinson, but he always signs his name simply " William 
 Atkinson." He was educated at Lukeing's Grammar School, 
 Mile End Road, Stepney. At the age of fourteen he re- 
 moved with his parents to Liverpool, where he had to serve 
 behind the bar for some time at his uncle's public-house, the 
 "Shrewsbury Arms," Oxton, near Birkenhead. This was 
 much against the boy's inclination, but necessity knows no 
 choice. 
 
 After that he served as second steward on board several 
 steamships belonging to Messrs. Bibby, such as the Italian^ 
 the Arabian.^ &c., — the captain, a Mr. Urquhart, taking him 
 with him from one vessel to the other. 
 
 During his seafaring career his parents removed back to 
 London, and when he had got tired of " ploughing the blue " 
 he joined them there, and apprenticed himself to a Mr. Hume, 
 a joiner. He was married on October 6, 1880, to Miss Mary 
 Elizabeth Camper, at Bromley-by-Bow Church. He has two 
 sons, viz., William Camper, and John Benjamin Camper. 
 
 His first instrument dates back to 1869, and was made 
 
 E 
 
66 
 
 BRITISH VIOLIN-MAKERS 
 
 whilst serving his time as a joiner. Since he has taken up the 
 gouge as a professional violin-maker, he has made 130 violins, 
 numbered consecutively, and many more unnumbered. The 
 majority of the latter he has destroyed, because they did not come 
 up to his standard of excellence. He vv^orks on two original 
 models. The measurements of model No. i are as follows : — 
 
 nii 
 
 inches. 
 
 61 
 4f 
 
 I 
 
 Length of body 
 
 Width across upper bouts 
 
 „ ,, middle bouts 
 
 „ „ lower bouts 
 
 Depth of ribs at bottom . 
 
 „ „ top 
 
 Length of sound-holes . 
 Distance between sound-holes at top 
 Elevation from | inch to 
 
 A fine instrument made on this model is shown in the 
 accompanying illustration. 
 
 The measurements of model No. 2 are the same, except 
 that at the top, middle, and bottom bouts, it is -^ inches 
 narrower. 
 
 Mr. Atkinson's wood is excellent. The figure of his 
 maple is, as a rule, of medium width. His pine, which is 
 from Berne, is simply perfect, having a " reed " rather under 
 medium width, perfectly straight and well-defined. His 
 outline is in the best Italian style. It is gracefulness 
 incarnate. A very strong expression, but a true one. As 
 the form of the gazelle is to that of the ordinary antelope, 
 so is the outline of Atkinson to that of the ordinary fiddle. 
 The scroll is a masterly conception and of Pheidian beauty. 
 
 The following measurements carefully taken will give a 
 correct idea of its proportions : — 
 
 Length from scollop to apex of volute . 4^ inches. 
 
 Width from boss-edge to boss-edge 
 
 „ of volute close to scollop 
 
 „ „ at apex . 
 
 Depth of peg-box close to scollop 
 
 „ „ at throat 
 
VIOLIN P,V WILLIAM ATKIXSOX 
 (Fa- it 1903) 
 
VIOLIN AND BOW MAKERS 67 
 
 Width of peg- box inside 
 
 Diminishing to . 
 
 Depth of first curl of volute . 
 
 „ second curl of volute 
 
 Thickness of sides of peg-box 
 
 iches. 
 
 \ 
 3 
 
 ITT 
 
 1 
 T 
 
 The first turn parts suddenly from the boss, as in the best 
 examples of Stradivari. The edges are softened down gently, 
 with black lines to emphasise the extreme outline. 
 
 The button is nearly semicircular, with toned-down edge, 
 and is in perfect keeping with the contour. The margin is 
 one-fifth wide. The edges are strong and rounded ; but the 
 "rounding" is not over-pronounced. The elevation of the 
 edge above the purfle-bed is almost imperceptible. The 
 margin and edges present a delicately refined appearance. 
 In fact, everything about the Atkinson violins betokens 
 aristocratic refinement. The purfling is one-sixteenth wide, 
 the inner strip having a width which is slightly greater than 
 that of the outer ones combined. 
 
 The varnish is beautiful, ranging in colour from pale straw 
 to light ruby, and of the most delicate tints. On a specimen 
 recently seen by me, and which had been examined and most 
 flatteringly commented upon by the late Duke of Saxe-Coburg- 
 Gotha, the varnish was straw-coloured and of the richest and 
 tenderest hue. It is perfectly transparent and elastic, and soft 
 as velvet to the touch. It is laid on in very thin coats and 
 dried in the open air. Sometimes as many as twenty coats 
 are given, but the final thickness of varnish is scarcely more 
 than one-sixty-fourth of an inch. 
 
 Mr. Atkinson's tone is quite remarkable. It is not exactly 
 like the tone of any other maker, classical or post-classical, that 
 I am acquainted with. The size of the instrument would lead 
 one to expect a tone of small volume, but such is not the case. 
 The tone is strong without being loud, penetrating without 
 being piercing. One need not go to Atkinson for mere loud- 
 ness. His is a mellow tone with a silver ring. Its echo in 
 a large hall is like the sound of an anvil struck at a distant 
 smithy and borne by the breeze. It is the tone of the dulcimer 
 
68 BRITISH VIOLIN-MAKERS 
 
 magnified, clarified, beatified. It is a delicious tone ! For 
 this reason the Atkinson fiddles are pre-eminently solo in- 
 struments. For a similar reason it would not be wise to 
 furnish the same orchestra with them throughout. That the 
 gods rain honey on flowers is a kind provision ; if they did it 
 on grass they would spoil the world. 
 
 Mr. Atkinson obtained a bronze medal at Paris, 1889, and 
 a silver medal at Edinburgh, 1890. Since 1890, he has de- 
 veloped his ideas considerably, and has freed himself entirely 
 from the trammels of the French school. 
 
 His price is fixed at a uniform figure, ;^i5. He makes 
 violins only, and all the work is personal. 
 
 As a man, the subject of this sketch is highly interesting. 
 He is possessed of a persistent personality. He is unique 
 without being eccentric. His whole character is cast into a 
 mould, and the fiddle is the pivot of his life. He has no spare 
 moments save for one thing — religion. He is busy, but not 
 anxious ; modest, but not suspicious. He is consummately 
 skilful as a mechanic — nothing proving too difficult for his 
 gouge. Facsimile label : — 
 
 irt ToitenAaTU 2903. 
 
 The label is varnished over with the same colour varnish 
 as that used on the fiddle, to prevent the ink from fading or 
 running. The maker's monogram is also inlaid on the back 
 under the button. 
 
 B 
 
 BAINES, , London ; about 1780. Nothing is known 
 
 of him beyond the fact that he worked for Matthew Furber 
 for some little time, whose pupil he was. 
 
VIOLIN AND BOW MAKERS 69 
 
 BAKER, FRANCIS, London, An old viol-maker. A 
 bass viol bearing the follov^^ing label w^as seen by somebody 
 somew^here about eighty years ago : — 
 
 FRANCIS BAKER, 
 
 IN PAUL'S CHURCH YARD, 
 
 1696, LONDON 
 
 BAKER, JOHN, Oxford, 1 680-1 720. He made viols 
 chiefly, but towards the end of his life is supposed to have 
 turned his attention to violins. No one, how^ever, has seen 
 any of these. Tom Britten had a fine viol of his make in his 
 collection. A four-stringed viola da gamba was among the 
 exhibits at the South Kensington Special Exhibition, 1872, 
 bearing the following label : — 
 
 MADE BY 
 
 JOHN BAKER, 
 
 IN OXFORD, 
 
 ANNO 1688 
 
 BALLANTINE, , Edinburgh and Glasgow. No- 
 thing known of him. Somewhere about 1850. 
 
 BANKS, BENJAMIN, Salisbury. He was born on 
 July 14, 1727, and died on February 18, 1795. He was 
 the second son and the third child of George and Barbarah 
 Banks, of the parish of St. Thomas, Salisbury. From Grove's 
 "Dictionary of Music and Musicians," vol. ii. p. 164 (1890), 
 it appears that Banks was not a native of Salisbury, but early 
 migrated there. This can hardly be correct, as it would in- 
 volve the removal of the parents to London and their return 
 to Salisbury within a short period of time. George and 
 Barbarah Banks were living in Salisbury in 1725 and in 1730, 
 and it is not likely that, in those days, they would have made 
 a move to, and a return from a distant town within five years. 
 But nothing can be stated with certainty, as the old registers 
 of the parish of St. Thomas are lost, and the transcripts in the 
 Diocesan Registry are irregular. The following are the only 
 
70 BRITISH VIOLIN-MAKERS 
 
 entries contained in the transcripts with reference to the 
 
 Banks family : — 
 
 " Baptisms 
 21 March 1722, George, son of George and Barbarah Banks. 
 8 July 1725, Elizabeth, daughter of George and Barbarah 
 
 Banks. 
 15 August 1730, William, son of George and Barbarah Banks. 
 20 June 1732, Mary, daughter of George and Barbarah Banks." 
 
 The transcripts are very incomplete, and there are none from 
 the year 1740 to 1778, nor are there any for the year 1727 — 
 the year of Benjamin's birth and baptism. Strange to relate, 
 the burial entries are also missing for the year 1795, as if Fate 
 were resolved to cheat the future biographers of Banks of 
 every scrap of information respecting his birth, baptism, and 
 death ! Banks has been styled " the English Amati," a title 
 which he no doubt fully deserves. It must be admitted, how- 
 ever, that only in his finest efforts does he soar above Duke, 
 Forster, and one or two others. I have seen some examples 
 of Duke which were quite equal as regards workmanship and 
 tone to the best of Banks' efforts, but the varnish of the latter, 
 when he exercised care in the application of it, gives him the 
 advantage. Duke's varnish is refined but cold ; the varnish of 
 Banks is rich and fiery. As Hart very justly remarks : " It 
 has all the characteristics of fine Italian varnish." The work 
 of Banks may be divided into two classes: (i) the Stainer 
 copies, and (2) the Amati copies. Banks, when left to his 
 own choice, copied no one but Amati, but his patrons and the 
 trade frequently demanded that he should, in accordance with 
 the taste of the times, supply Stainer copies. No one is 
 responsible for this inference but myself, and it is therefore 
 necessary that I should attempt to justify it. The majority of 
 the instruments made by him for Longman & Broderip, and 
 which bear that firm's stamp on the back, are Stainer copies, 
 and show work which is inferior to that seen in his Amati 
 copies. Other instruments of the same model, made, perhaps, 
 to the order of private patrons, are also lacking in finish, 
 carelessly varnished, and altogether weak in individuality. It 
 
VIOLIN AND BOW MAKERS 71 
 
 is as though the good man were impatient of his model, and in 
 a hurry to get the instrument out of the way. Patient labour, 
 loving care, and luscious varnish were reserved for the model 
 of his heart's choice. Only when the material happened to 
 be poor or plain is there evidence of impatience in the finish 
 of the Amati copies. I throw out this suggestion tentatively. 
 I have seen a goodly number of Banks' instruments, and can- 
 not recall a single exception to this rule, but I do not wish to 
 be dogmatic ; I only hope that there is some truth in my 
 contention, because I would fain believe that there was one 
 at least of our classical makers who was entirely out of 
 sympathy with the Stainer cult. It is absolutely certain that 
 the best work of Banks is to be seen in his better model, and 
 it is universally true that a man is at his best in the subject he 
 most loves. Lupot was ill at ease except when tracing the 
 lines of Stradivari, or when moulding those faithful copies 
 which he gave to the world of his beloved ideal. 
 
 (i) The Stainer copies, as already stated, show comparatively 
 inferior work. The model is long, from 14^ to i4fV, with a 
 perceptible narrowing of the upper third of the instrument. 
 The arching is slightly exaggerated, having the ridge quaintly 
 accentuated between the sound-holes. It is as though the 
 copyist had caught the salient feature, par excellence^ of the 
 original, and thinking it sheer waste of time to attempt an 
 extended analysis, resolved that it would be sufficient in- 
 dulgence to existing wickedness if he reproduced the said 
 feature, Germano more^ as Haweis puts it. There is not one 
 Banks instrument in existence which can be described as a 
 faithful Stainer copy. The lines of the model are treated with 
 a degree of freedom and developed according to the copyist's 
 own conception. These are the copies which have got poor 
 Banks into disrepute with regard to the varnishing. The 
 varnish has " killed the grain " of the front tables. " It has 
 been allowed to clog the fibre " is the explanation given by 
 some authorities, as though, forsooth, every oil varnish did not 
 clog the fibre. All oil varnishes penetrate the wood, especially 
 the pine of the belly. What is technically termed "killing 
 
72 BRITISH VIOLIN-MAKERS 
 
 the grain" is brought about by one of two things, viz. {a) 
 by the action of one or more of the ingredients of the varnish 
 upon the interfascicular cambium of the wood. The cellulose 
 of the cell wall (CqU^qO^Y is in the pine tree converted into 
 lignin during the growth of the tree — a substance which is 
 stained dark yellow when treated with acids. The cell 
 contents also react in a similar manner. Especially is this the 
 case with wood that is not thoroughly desiccated, or cut at the 
 right season ; {b) the grain is often " killed " by the application 
 of colour varnish throughout, i.e. without a first coat of sizing 
 or pale varnish. The sizing (oil) gives life to the wood, which 
 bursts forth through the coloured varnish like the light in a 
 cathedral window on a dark night. 
 
 Banks often used wood in these Stainer copies which was 
 not thoroughly seasoned, and he varnished them hurriedly to 
 meet the demands of his patrons. I do not think the wood 
 he used in many instances could have been cut for more 
 than two years. There is evidence of shrinkage. I have 
 gone over a few very carefully with the calipers, and the 
 result justifies me in saying that it is impossible the maker 
 should have worked them so thin. Here are the thicknesses 
 of a violin now in the possession of H. Allen, Esq., ex-M.P. 
 for Pembrokeshire — an instrument which has never been in 
 the hands of the repairer, and which is in perfect preservation : 
 Back, ^" at centre, gradually tapering to rather under Jg- at 
 edges ; belly, /^ tapering to yV at edges. 
 
 The tone of the Stainer copies, especially of the violon- 
 cellos which have sufficient timber in them, is much finer than 
 is warranted by the appearance. 
 
 (2) The Amati copies. On the construction of these magni- 
 ficent instruments our maker concentrated the entire energy of 
 his heart and mind. Wood (except in a few instances), work- 
 manship, and varnish are almost faultless. The only part of 
 the work which gave him any trouble was the scroll, which 
 frequently shows that his strong mind was reluctant to bend 
 altogether to another man's idea. I am perfectly convinced that 
 if Banks had asserted his latent individuality and struck out on 
 
VIOLONCELLO 15V B1-:NJ.\MIN liA^■K^ 
 {Fecit 1785) 
 
(Back) 
 VIOLONCELLO BY BENJAMIN BANKS 
 [Fecit 1785) 
 
VIOLIN AND BOW MAKERS 73 
 
 new lines, we should have some gems of our classical school 
 which would vie with the very best of Italian work. The 
 varnish, I am aware, does not at any time reach heights which 
 are encircled by the divine halo of Cremonese glory, but it is 
 far up the mystic mount. As copies, the finest efforts of Banks 
 are sufficiently correct to pass muster as originals, and in some 
 cases at least they have done so. I will instance one. The 
 widow of a deceased Welsh violinist and celebrated choirmaster 
 asked me some years ago to value her deceased husband's 
 collection — a small one containing a Stradivari tenor, a Lupot, 
 a Duke, and a " Nicola Amati " violin. The last-named in- 
 strument was the pride of the collection, both on account of 
 its intrinsic value and because it had been presented to the dis- 
 tinguished man by the members of a choir which he had 
 successfully led at various National Ehteddfodau. The instru- 
 ment had been bought of a certain London firm for ;^i8o (this 
 was back in the early sixties), with the usual guarantee. I am 
 absolutely certain the violin was not fashioned by the hands of 
 old Nicola, and morally certain it first saw the light of day 
 somewhere in the vicinity of Catherine Street, in Sarum. The 
 scroll is Benjamin's, the varnish is his, everything is his, except 
 the piece which has been cunningly let in under the bottom 
 where the B.B. is usually stamped. The label is rather large, 
 in the correct type, but too fresh and — fatal oversight, under a 
 strong electric ray it reveals with the help of a strong lens what 
 I believe to be part of an English watermark. It is time this 
 pseudo-Amati should have its false ticket extracted and Banks 
 receive his due. The tone has a thrilling, silvery ring — is clear, 
 penetrating, and delicately sweet. The wood is fine, the back 
 being cut on the quarter with a curl of medium and regular 
 width, slanting at a rather acute angle in the direction of the 
 button. Banks' tenors, and especially his violoncellos, are 
 magnificent. The latter are of two sizes, and the larger ones 
 are given the preference. The smaller violoncellos, however, 
 are as excellent in quality of tone as the larger ones, and 
 perhaps more so. But in these days loudness takes the preced- 
 ence of every other abstract, and the tone that driva is placed 
 
74 BRITISH VIOLIN-MAKERS 
 
 before the tone that draws. One of the finest Banks violon- 
 cellos for tone that I have ever seen was some years ago owned 
 by a gentleman amateur in Tenby. It was of the smaller 
 pattern, of rather plain wood, and varnished red. It was in 
 perfect condition, and in chamber music it sang mellifluously 
 like a velvet-throated baritone. I took dimensions of this 
 instrument, which I append here : — 
 
 Length of body ..... 28| inches. 
 
 Width across the upper bouts . .13 „ 
 
 „ „ middle bouts . .10^ „ 
 
 „ „ lower bouts . . .16 „ 
 
 Depth of ribs at bottom . . . . 4f „ 
 
 » „ top ... . 4I „ 
 
 Width of C's 6\ 
 
 Length of F's ..... 6 „ 
 
 Distance between F's at upper turn • • Sf >» 
 
 Length of stop ..... 26 „ 
 
 I obtained photographs of this fine instrument, which are 
 reproduced here. 
 
 Genuine Banks instruments are much rarer than would 
 naturally be expected. I do not think that there are more than 
 from fifty to sixty violins, eighty to ninety tenors, and about one 
 hundred violoncellos of his in existence. The peruser of cata- 
 logues of old instruments is led to believe that an inexhaustible 
 supply exists. Perhaps the following extraordinary circumstance, 
 recorded here as an object-lesson, will help to undeceive him. In 
 the year 1890, impelled by curiosity, I wrote to a large number 
 of firms for their catalogues of old instruments. In about three 
 months I had a pile of catalogues on my table from the leading 
 houses in this country, and from those in France, Germany, 
 Italy, America, and Australia, some eighty-two in number. To 
 my utter amazement, I found that there were then two 
 hundred and eighty-six Strads offered for sale at a sum total 
 of j/^78,936, all made by the grand old man between the years 
 1700 and 1720, and all as a matter of course guaranteed to be 
 genuine ! Nearly three hundred Strads for sale in the same 
 year, and almost within the same month of the year ! ! Ye 
 
VIOLIN AND BOW MAKERS 75 
 
 gods ! Surely ye have added one more wonder to the seven 
 wonders of the world. The case is much the same as regards 
 Banks. If catalogues, sale advertisements, &:c., are to be relied 
 on, then I compute that there have been sold in this country 
 during the last fifty years over two thousand examples of his 
 art. 
 
 Banks stamped his instruments in all sorts of places, below 
 the button, under the finger-board, under the tailpiece, &c., 
 and he used various labels, such as : — 
 
 "Made by Benjamin Banks, Catherine Street, Salisbury, 
 1770""; "Benjamin Banks, Musical Instrument Maker, In 
 Catherine Street, Salisbury, 1780"; "Benjamin Banks, fecit, 
 Salisbury " ; " B. Banks, Sarum." 
 
 Banks was buried in St. Thomas's Churchyard, Salisbury. 
 His tombstone, which is near the south door, on the right- 
 hand side, has the following inscription : — 
 
 RESTORED 1863 
 
 ANN, 
 
 Wife of Mr. Benjamin Banks 
 
 died 14 Sep^ 
 
 1785 
 
 Aged 57 Years 
 
 MR. BENJAMIN BANKS 
 Departed this Life 
 
 i^'" Feb'-^ 1795 
 
 Aged 67 Years 
 
 In Memory of 
 
 The Most Eminent English Maker 
 
 OF Stringed Musical Instruments 
 
 BANKS, BENJAMIN, Salisbury, London, and Liverpool. 
 He was the second son of the great Benjamin Banks, and was 
 born on Sept. 13, 1754, at Salisbury. He died in Hawk 
 Street, Liverpool, where he last worked, on Jan. 22, 1820. 
 He worked with his father for about ten years, but in 1780 he 
 moved to 30 Sherrard Street, Golden Square, London. He 
 
76 BRITISH VIOLIN-MAKERS 
 
 did not remain long there, probably because he failed to com- 
 mand any attention. Very little of his work is known, and 
 what there is does not entitle the maker to anything beyond 
 a passing notice. 
 
 BANKS, JAMES AND HENRY, Salisbury and London. 
 They continued their father's business till i8ii, when they 
 sold up and went to Church Street, and later to Bold Street, 
 Liverpool. Both were born in Salisbury; James about 1756, 
 and Henry about 1770. The former died on June 15, 1831, 
 and the latter on Oct. 16, 1830. Henry was a pianoforte 
 tuner and repairer, and James a violin-maker. James was a 
 very good workman, and ought to have done better than he 
 did. He followed his father's model, and occasionally suc- 
 ceeded in producing much the same varnish. The tone cannot 
 for a moment be compared with that of the old man. There 
 is a metallic harshness about it which offends the ear, I am 
 not sure that he did not bake his wood in some cases. I cannot 
 otherwise account for the inferiority of the tone. The brothers 
 left a number of unfinished instruments in the cellar of their 
 Liverpool house, which were sold as they were, mostly to the 
 trade. Labels : — 
 
 JAMES AND HENRY BANKS, 
 
 MUSICAL INSTRUMENT MAKERS AND MUSICSELLERS, 
 
 SALISBURY, 1800 
 
 JAMES AND HENRY BANKS, 
 SALISBURY, 1805 
 
 One of their violoncellos, made by both jointly in 1797, 
 was amongst the exhibits in the South Kensington Museum, 
 1872. It was the property of Mr. C. J. Read, of Salisbury. 
 It was said to be a well-finished instrument, with a moderately 
 powerful tone of very good quality. Nothing that I have seen 
 by any one of the sons could be said to possess a tone of any 
 distinction. I have heard better many times in an ordinary 
 trade fiddle. The father's mantle fell, not on the sons, but 
 into the river, and was borne away by the flood. 
 
VIOLIN AND BOW MAKERS 77 
 
 BARNES, ROBERT, London. He was a pupil of 
 Thomas Smith at the " Harp and Hautboy," in Piccadilly. 
 Afterwards he became a partner with John Norris, with 
 whom also he was a fellow apprentice at Smith's. Norris 
 and Barnes started business together in 1765. All the instru- 
 ments which bear their label were probably made by others. 
 Label :— 
 
 MADE BY MORRIS AND BARNES, 
 
 VIOLIN, VIOLONCELLO, AND BOW/ MAKERS 
 
 TO THEIR MAJESTIES, 
 
 COVENTRY STREET, LONDON 
 
 BARRETT, JOHN, London. Period about 1714-30. 
 He copied Stainer, and very often exaggerated his arching. 
 He also worked on a modified Stainer pattern, which was 
 long, narrow, grooved, and highly arched. The workmanship 
 is fair, but the tone is very small and muffled. As a rule, he 
 used ink-lines instead of purfle. The varnish is yellow and 
 hungry looking, and helps to give a cheap look to the instru- 
 ment. Somebody reports having seen a violoncello of his make 
 somewhere, which had a beautiful tone. It is possible that he 
 did make good work, but it has not been the fortune of any of 
 it to come down to our days. He was a contemporary of Barak 
 Norman and Nathaniel Cross. Labels : — 
 
 JOHN BARRETT, 
 
 AT THE HARP AND CROWN 
 
 IN PICCADILLY, 1720. 
 
 MADE BY JOHN BARRETT, 
 AT YE HARP & CROWN IN PICCADILLY, 
 LONDON, 1730 
 
 BARTON, GEORGE, London. Period about 1780- 
 18 10. He worked in Elliot Court, Old Bailey. He made 
 mostly for the trade, and little or nothing is known of his work. 
 
 BELOE, W. L., Coldstream. He was born in 1819 and 
 died in 1897. He followed the lines of Stradivari, but it cannot 
 
78 BRITISH VIOLIN-MAKERS 
 
 be said that he made one copy of the ?nacstro. There is a sort 
 of general resemblance to the Strad outline and arching, and 
 that is all. The workmanship is fairly good, and the tone of 
 mediocre quality. Label, handwritten : — 
 
 MADE BY 
 
 W. L BELOE, 
 
 COLDSTREAM, 1880 
 
 BERTRAM, ALEXANDER, Peeblesshire; nineteenth 
 century. He worked at Eddlestone. He made hundreds of 
 instruments of a very inferior quality. 
 
 BERTRAM, WILLIAM, Stobo Castle. He was game- 
 keeper to Sir James Montgomery, and made violins as a 
 hobby, selling them when he could to the visitors to the 
 Castle. His work is said to be very good, but I have not 
 seen any of it. 
 
 BETTS, JOHN, London. He was born at Stamford, 
 Lincolnshire, in 1755, and died in March 1823. He was 
 universally known as " Old John Betts," and was well respected 
 and patronised. He was a pupil of Richard Duke, and, in the 
 few instruments made by himself, showed that he had imbibed 
 much of Duke's lore. The workmanship and varnish have 
 much the same characteristics — the latter being, as a rule, of a 
 tint which is a shade warmer than the varnish of Duke. He 
 did not make many instruments himself, but employed excellent 
 workmen, such as the Panormos, John Carter, Edward Betts, 
 Bernhard Feudt, &c. The work is excellent, but poor instru- 
 ments were occasionally sold by him, bearing his label. My 
 great-grandfather ordered a violoncello of Betts in the year 
 1780, to be made by Betts himself. This instrument is now 
 in my possession, and in excellent condition, having been 
 recently repaired by Mr. J. W. Owen of Leeds. It is of the 
 Amati model, plain wood, golden-brown varnish, with rather 
 wide sound-holes. The tone is moderately powerful, and very 
 
VIOLIN AND BOW MAKERS 79 
 
 sweet and mellow. The workmanship is solid and sober, 
 without being refined and artistic like the work of Betts' 
 master. Betts was one of the first in this country to do 
 extensive business in Italian instruments, and a large number 
 of fine violins found their way into this country in his time. 
 He used two or three different labels. The one inserted into 
 the violoncello just referred to reads : — 
 
 JOHN BETTS, NO, 2, NORTH PIAZZA, 
 
 ROYAL EXCHANGE, LONDINI, FECIT, 
 
 JANUARY 9, 1782 
 
 the last line being written. The words "Jo. Betts, No. 2 
 North Piazza, Londini," are also written across the back on 
 the inside, near the top, and an inscription, which is not 
 decipherable, is written across the belly near the left sound- 
 hole. 
 
 BETTS, EDWARD, London. He was the nephew of 
 the above, and worked a great deal for him. Like his uncle, 
 he was a pupil of Richard Duke, and produced work which has 
 many of the characteristics of the master. The date of birth 
 is unknown, but he died in 18 17 — six years before his uncle. 
 His workmanship is excellent. Its only fault is that it lacks 
 in individuality, and is over-mechanical in its general appear- 
 ance. He adhered to the Amati model throughout, and copied 
 it with an exactness which has not been surpassed in Britain. 
 Had he been so successful in reproducing Amati's tone as 
 Banks and the other copyists had been, he would rank much 
 higher in the estimation of posterity. But the tone is not 
 bad ; it is round, sweet, and moderately powerful. It did not 
 strike me as being sufficiently clear to carry far, and there was 
 something rather viola-like about it. That might be due in 
 part to long disuse. 
 
 I have never seen a label of his. 
 
 BEVERIDGE, WILLIAM, Aberdeen. He was born 
 in 1821, and died in 1893. He made many violins, on no 
 
8o BRITISH VIOLIN-MAKERS 
 
 particular model, but which are quite artistic in appearance. 
 The tone is never so good as the workmanship. Label : — 
 
 W. BEVERIDGE, 
 
 FECIT, 
 
 TOUCH, 1870 
 
 BLACKBURN, J. H., Colne, contemporary. An 
 amateur who has made a few instruments, but is mostly 
 engaged in repairing. 
 
 BLAIR, JOHN, Edinburgh: 1 790-1 820. He worked 
 on the Stradivari model, and turned out excellent instruments 
 as regards appearance, but not so excellent in tone. Mr. 
 Honeyman is of opinion that he was the teacher of Matthew 
 Hardie, and there is certainly a close resemblance between 
 their work. Wood mostly good and handsome ; spirit varnish 
 rather poor in quality. No label, but he usually wrote his 
 name across the belly on the inside. 
 
 BLAIR, WILLIAM, Crathie : 1793-1884. He made 
 several instruments on various models. The workmanship is 
 fairly good, but the tone is very indifferent. He baked his 
 wood, and used a hard spirit varnish. He was a noted 
 character, well-known in the North as " The Queen's 
 Fiddler." The fiddle of his own make upon which he 
 played for many years at Balmoral is now in the possession 
 of the author. I have given full biographical particulars in 
 my sketch of this worthy in another volume. 
 
 BLYTH, WILLIAMSON, Edinburgh : 1821-97. A 
 most prolific maker of wretched nondescripts shaped like a 
 violin, but without any of the usual qualities of that instru- 
 ment. It is said that he could turn out fairly decent work 
 when he had the inclination, but he very rarely got into that 
 mood. 
 
 BOLLES, , London, early seventeenth century. A 
 
 celebrated maker of lutes and viols, and the most celebrated, 
 judging from a statement in Mace's " Musick's Monument," 
 
VIOLIN AND BOW MAKERS 8i 
 
 which conveys the information that the writer had seen a bass 
 of his valued at ;^I00. 
 
 BONE, PHILIP J., Luton, contemporary. A maker of 
 mandolines and violins. He made his first violin in 1886, and 
 since then has finished several on the Stradivari and Guarneri 
 models. Varnish : amber, in pale yellow colour. I have not 
 seen any of his work, and cannot pronounce an opinion upon it. 
 
 Facsimile label : — 
 
 'E & Co. 
 M USrCFCifi^^E H O USE, 
 
 v^^^ 
 
 MANC 
 
 (OPPOSITE 
 
 ■Mc LUTO 
 
 BONN, J. EDWIN, Isle of Wight, contemporary. He 
 was born on March 28, 1 861, at Fermoy, Ireland. He was 
 educated at the Ledbury Grammar School, and was intended 
 for the medical profession, but he abandoned medicine and 
 practised for some time as analytical and consulting chemist. 
 Latterly he entered the violin trade, and is now established at 
 Brading as dealer and maker. He works on the Stradivari 
 model, and also on an original one. He has made personally 
 forty-nine violins, and about a hundred have been made by his 
 workmen. The workmanship is good, and the tone clear and 
 powerful. 
 
 The wood is excellent, especially the pine of the front 
 table. The grain, as a rule, is close, straight, and well-defined. 
 
 The varnish is Mr. Bonn's own composition. In 1897 he 
 discovered a new and more simple method of dissolving amber, 
 which gives great elasticity and a good range of colours. The 
 method gives absolutely fast colours, and the varnish does not 
 chip. Mr. Bonn does not care to divulge his secrets, but he 
 states that he does not use in the process drying oil prepared 
 with lead salts. Lead, he maintains, injures the colours. The 
 
 r 
 
82 BRITISH VIOLIN-MAKERS 
 
 varnish dries well within the compass of a season, and when 
 dry it does not soften under the heat of the hand. It is, more- 
 over, perfectly elastic and tough. The colours are yellow, 
 red, golden orange, orange red, and orange brown. 
 
 Mr. Bonn varnishes all his instruments in orange brown, 
 unless any other colour is specified. 
 
 The prices of his violins are : class A, ten guineas ; class 
 B, twelve guineas ; and class C, ;^i6. 
 
 Mr. Bonn has several chemical preparations for violin 
 strings, pegs, for cleaning the violin, &c. He is the discoverer 
 also of a chemical method of preparing strings, and it is due to 
 him to say that his strings are very fine. Another invention 
 of his is the four-footed bridge. He makes bows, which are 
 of the regulation length, of full and medium weight respec- 
 tively, and perfect as to balance and elasticity. The thick- 
 nesses were mathematically regulated throughout, the camhre 
 following the line of Dodd. These, with silver mounts, are 
 priced at two guineas each. Facsimile label : — 
 
 J EID-VT-IiDvT BOKTISr. 
 
 BRADINC. I SLE OF WIGHT. 1%^^ . 
 
 BOOTH, WILLIAM, Leeds: 1779-1858. He began 
 to make violins in 1809, and continued to make and repair 
 till 1856. He followed the Amati model chiefly, but I have 
 seen one violin of his make which was somewhat after the 
 long Strad pattern. Fairly good work and tone. Label : — 
 
 WM. BOOTH, 
 
 MAKER, 
 LEEDS, 1820 
 
 BOOTH, WILLIAM, Leeds: 1816-56. He was the 
 son of the above, and an excellent workman. He died on 
 June I, 1856, and was buried at Burmantofts Cemetery. 
 I have seen only one of his instruments, which was on a 
 modified Strad pattern, rather highly arched, golden brown 
 varnish j tone somewhat small but sweet. 
 
VIOLIN AND BOW MAKERS 
 
 83 
 
 BOTHWELL, WILLIAM, Aberdeen, contemporary. 
 He worked at violin-making from 1870 till 1885, and turned 
 out many instruments on no particular model and of an 
 indiiFerent quality. 
 
 BOUCHER, 
 
 him. 
 
 -, London : 1764. Nothing known of 
 
 BOWLER, ARTHUR, London, contemporary. He 
 works at 18 Milner Square, Islington, and was born July 12, 
 1867, at Thame, Oxfordshire. He is a nephew on his mother's 
 side to the late Georges Chanot. He worked with Mr. J. A. 
 Chanot for some time, where he got on so well that he 
 became principal workman to that firm. In 1899 he started 
 business on his own account, and he turns out excellent instru- 
 ments, on the Stradivari model. The wood and varnish are 
 beautiful, and the tone is firm, round, and clear. The work 
 of this maker is bound to come to the front in the near future. 
 Facsimile label : — 
 
 Arthur $l0h)ler 
 
 LONDON, FECIT 19/J? 
 
 BRECKINBRIDGE, JOHN, Glasgow: 1790 1840. 
 An amateur maker who made several excellent violins on the 
 Amati model. The wood is of splendid quality, nicely 
 figured, and the varnish pale brown or yellow. The tone 
 is round, clear, and sweet. Label, handwritten : — 
 
 JOHN BRECKINBRIDGE, 
 
 MAKER, 
 
 PARKHEAD, 1830 
 
 BRIGGS, JOHN WILLIAM, Glasgow, contemporary. 
 He works at 122 Sauchiehall Street, Glasgow, and was born 
 at Wakefield on July 9, 1855. He received elementary 
 
84 
 
 BRITISH VIOLIN-MAKERS 
 
 education at the Friends"' School, Rawdon. His father, who 
 is a worthy old Quaker, gave the son a sound grounding in 
 various subjects on commercial lines. Mr. Briggs has supple- 
 mented his early training with wide and varied reading in 
 after life. 
 
 He is a pupil of the late William Tarr, of Manchester, 
 the famous double-bass maker. 
 
 Up to the end of January 1899 he had made eighty-four 
 violins, eleven violas, eleven 'cellos, and nine double-basses. 
 All the work is personal, with the exception of the scrolls 
 of the last ten instruments, which have been carved by his 
 son Harry. 
 
 He works on the Stradivari and Guarneri model, and also 
 on an original one. The measurements of the original model 
 are as follows : — 
 
 Length of body 
 Width across upper bouts . 
 „ „ middle bouts 
 
 „ „ lower bouts 
 Length of C's 
 
 „ sound-holes 
 
 Depth of lower rib . 
 ,, upper rib . 
 Distance between sound-holes 
 
 The outline is bold and assertive, and 
 moderately pronounced. The scroll, altho 
 much in the manner of Joseph (Del Gesu). The button is 
 well designed, but a trifle more circular than that of Strad's. 
 The corners are full and piquant, and when viewed in con- 
 junction with the widened waist, they give the instrument 
 a breadth of conception. The sound-holes also are original ; 
 they are beautifully cut with a firm hand, and are a sort of 
 compromise between those of Strad and Joseph. 
 
 The varnish is an oil one, of the maker's own com- 
 position. Colour : golden amber with a rose flush. The tone 
 is strong, bright, and bell-like. 
 
 When Mr. Briggs works as a copyist, he may be said to be 
 
 mA 
 
 inches. 
 
 6f 
 
 )» 
 
 3tV 
 
 »> 
 
 H 
 
 j> 
 
 3l 
 
 » 
 
 3A 
 
 >j 
 
 ij 
 
 » 
 
 lyV 
 
 » 
 
 ItV 
 
 » 
 
 the 
 
 arching is 
 
 gh original, is 
 
J. W. BRIGGS, GLASGOW 
 
VIOLIN AND BOW MAKERS 85 
 
 a member of the Vuillaume school, except in the matter of 
 artificially seasoning the wood. His copies of some of the 
 classical violins are, indeed, very fine and correct — too correct, 
 perhaps. It is questionable vi^hether the time spent in copy- 
 ing every little scratch and patch be time profitably spent. 
 A facsimile copy, like that of Mr. Briggs' Paganini-Joseph, 
 requires immense skill and patience, and it also requires a 
 length of time. To exercise the greatest skill and patience 
 is commendable, but to consume over-much valuable time is 
 against the interests of the art. The fiddle world cannot 
 afford to allow a born artist to dally with scratches and 
 patches. 
 
 Mr. Briggs had the largest exhibit of instruments at the 
 Glasgow Exhibition, and in many respects the finest. The 
 wood of the backs and ribs was exhibited as timber at the 
 Paris Exhibition of 1880, and also at Vienna in 1890, where 
 it was awarded a gold medal. The bellies were made from 
 wood three hundred years old, taken from an old church in 
 Warsaw, Poland, 
 
 As an original worker, Mr. Briggs is remarkably free from 
 conventionality, and allows his genius unlimited liberty. At 
 one moment he worships at the shrine of old Antonio, and at 
 the next he is an uncompromising iconoclast. Genius ever was 
 a mystery. Facsimile label : — 
 
 BRISCOE, D., Channel Islands, contemporary. An 
 amateur who has made many instruments, but of whose 
 work I can say nothing, as I have never seen any of it. 
 
 BROOKFIELD, EDWARD, & SON, Southport. He 
 worked from 1872 till 1898, in which year, on Nov. 25, he 
 died. The work is now carried on by the son. He made 
 violins and bows, and repaired very extensively. The work 
 
86" BRITISH VIOLIN-MAKERS 
 
 of both father and son is said to be very good, but I have not 
 seen any of it. The son works on the model of Guarnerius, 
 w^ith Stradivari sound-holes. Label, handv^^ritten : — 
 
 E. BROOKFIELD, 
 
 MAKER, 
 
 SOUTHPORT 
 
 BROWN, ALEXANDER, Glasgow: 1855-60. Stradi- 
 vari model. Good work and tone. Label, handwritten : — 
 
 ALEX. BROWN, MAKER, 
 GLASGOW, 1855 
 
 BROWN, ANTHONY, London and Australia: 1850-75. 
 Pupil of John Morrison. He did not make many violins, 
 but he was celebrated for his guitars, of which he made a large 
 number both in this country and in Australia. He worked in 
 Rosamond Street, Clerkenwell, and also in Adelaide. 
 
 BROWN, JAMES, Spitalfields : 1755-1834. Started 
 violin-making in 1804, under Thomas Kennedy. Ordinary 
 work ; tone fairly good for orchestral purposes. 
 
 BROWN, JAMES, Norton Folgate : 1786-1860. Son 
 and pupil of the previous James Brown. He made very many 
 bows, and also instruments after his father's death. The work 
 has much the same characteristics as that of the father. 
 
 BROWN, JAMES, London: 1813-34. Son and pupil 
 of the preceding. Made only a few instruments. 
 
 BROWNE, JOHN, London : 1730-45. He worked at 
 the sign of the " Black Lion," in Cornhill. He copied Stainer 
 and Amati, and turned out fairly good work as regards appear- 
 ance, but the tone is hard and metallic. 
 
 BUCKMAN, GEORGE HATTON, Dover, contempo- 
 rary. He was born in Snargate Street, Dover, on Oct. 23, 1 845, 
 
VIOLIN AND BOW MAKERS 87 
 
 and he works en amateur at Kearsney. He was educated at a 
 private school in his native town, called the "Dover Collegium," 
 which was then under the tutorship of one Herr Hawkerkamp. 
 He has made very many instruments on the Stradivari and 
 Guarneri models. Some of the Guarneri copies have been 
 made after a fine Joseph which is in the possession of C. M. 
 Gann, Esq., of Canterbury, and they are in every way excellent 
 instruments. The Strad copies are of rather full dimensions, 
 some being 14^ in. long. In the latter the greatest width 
 across the upper bouts is 6f in., and that across the lower 
 bouts 8f in. full. The height of the sides in a specimen I 
 examined was i\ in., diminishing to ly^ in., but in the majority 
 it is maintained at i^ in. throughout. 
 
 The C openings are 3 in. from corner to corner, and the 
 sound-holes 2f in. from wing-angle to wing-angle. These 
 latter, together with the scroll, form the crux of the imitator's 
 art. They form also the two abutments of the asses' bridge 
 in fiddle-making. Suffice it to say that Mr. Buckman has 
 crossed this bridge in a chariot drawn by a strong contingent 
 of the Naiadian nymphs. He stoops to imitate, but stoops to 
 conquer at the same time. His is not the servile imitation 
 so frequently observed even in high-class work of the modern 
 French school. It is the imitation which produces the salient 
 points and which also bears the impress of originality. In his 
 sound-holes (I speak now of those in his Joseph copies), Buck- 
 man has succeeded in creating through and in spite of imitation. 
 
 The Gothic quaintness of the master is there, but it is 
 gently toned down by the graceful sweep of the outer line. 
 The same might be said of the scroll. Joseph's scrolls are 
 sometimes described as being of the "bull-dog" type. Buck- 
 man's copies have the " bull-dog " face also, but minus a great 
 deal of the usual ferocity. 
 
 Some years ago, a MS. of the Federal Constitution of the 
 United States was so written that, when held at a distance, 
 the shading of the letters and their arrangement showed the 
 countenance of George Washington, but close at hand it looked 
 like a copy of the fundamental law of the United Statt 
 
88 BRITISH VIOLIN-MAKERS 
 
 that is, the face of the Father of his country and the laws 
 of the great Constitution were represented by one and the 
 same thing. So in Mr. Buckman's work. View it broadly, 
 and you see the sign-manual of the living artist ; view 
 it closely, and you discover the dicta of the great classical 
 epoch. 
 
 Several of this maker's instruments are made with a slab 
 back. In one of these the archings are rather flatter than usual, 
 owing to the wedge from which the back was cut being some- 
 what thin, but the "correct" cubic capacity is maintained, 
 and the tone is both large and brilliant. In nearly all the 
 instruments with a slab back, the curl of the maple runs at an 
 angle of forty-five degrees to the longitudinal axis, giving a 
 very pretty effect to the whole. 
 
 Mr. Buckman has played the violin from his youth, but he 
 now suffers from nerve-deafness, and loses during its recurring 
 attacks all perception of melody. Facsimile label : — 
 
 GEO. H. BUCKMAN, 
 DOVER, /8jf. 
 
 CAHUSAC, . Nothing known of him except that 
 
 he was associated with the sons of Benjamin Banks for some 
 little time. 
 
 CALOW, WILLIAM, Nottingham, contemporary. He 
 was born on June 6, 1847, at Tansley, near Matlock, Derby- 
 shire, and is the son of Thomas Calow, who was also an 
 occasional violin-maker. He makes violins, violas, and double- 
 basses on the Guarnerius model, and repairs extensively. He 
 is assisted by his son Thomas, but the greater part of the work 
 is personal. He uses oil and spirit varnishes. Colours : orange 
 
VIOLIN AND BOW MAKERS 89 
 
 and nut-brown. His double-basses are well made, and possess 
 a large and fine tone. Facsimile label : — 
 
 CANNON, JAMES, Dumfries : 1855, He was born at 
 Plascow, Kirkcudbrightshire, and is still working as an amateur. 
 He works on the Stradivari model and turns out nice instru- 
 ments. I have seen only one, which was well made, and 
 varnished with Whitelaw's amber varnish. The tone is of 
 average merit. Label, handwritten in Gothic letters : — 
 
 J. CANNON, 
 DUMFRIES, 1889 
 CARR, JOHN, Falkirk, contemporary. He was born 
 at Berwick-on-Tweed, May 14, 1839. ^^ ^^ ^ pupil of 
 Robert Harvie and James Thompson. He has made about 
 sixty violins and one violoncello, all of excellent workmanship 
 and tone. He is established in Falkirk as a maker, musicseller, 
 and teacher of the violin. Varnish : Whitelaw's red. Label: — 
 
 JOHN CARR, 
 
 MAKER, 
 
 FALKIRK, 1898 
 
 CARROLL, JAMES, & SON, Manchester, contemporary. 
 He has worked at various places, but is now settled at 103 
 Great Jackson Street, Hulme, Manchester, and is assisted by 
 his son John, and one workman. He has made about five 
 
90 BRITISH VIOLIN-MAKERS 
 
 hundred instruments of various sizes, and on various models. 
 I have seen only one violin bearing Carroll's own label, but I 
 have seen several of his make bearing forged labels of second 
 and third-rate Italian makers. Who inserted the forged labels 
 into his instruments I cannot say. The violin w^hich I sav^^ 
 was well made, having a brownish-red varnish of fairly good 
 quality and appearance. The wood was good, and the tone 
 round, firm, and free. Facsimile label : — 
 
 James Carroll, Maker, 
 
 Manchester, Anno iSy^"" 
 
 CARTER, JOHN, London : 1780-90. He worked 
 mostly for John Betts, and only occasionally on his own 
 account. He was an excellent maker, and helped considerably 
 to swell the fame of Betts. I have seen one violin of his make, 
 which was on the Amati model, having a beautiful tone. 
 Varnish : golden brown, thinly laid on. Label : — 
 
 J. GARTER, 
 
 VIOLIN, TENOR, AND BASS MAKER, 
 
 WYCH STREET, DRURY LANE, 
 
 LONDON. 1785 
 
 CARTWRIGHT, W. J., Yeadon, Leeds, contemporary. 
 I have not seen any of his work, and cannot say whether he 
 is an amateur or a professional maker. 
 
 CARY, ALPHONSE, London, contemporary. I know 
 nothing of him. 
 
 CHALLONER, THOMAS, London ; eighteenth cen- 
 tury. 
 
 CHANNON, FREDERICK WILLIAM, Plymouth. 
 He works at Portland House, Portland Place, and was born at 
 Totnes in 1 862. He was apprenticed early in life to the cabinet- 
 making trade, and made such rapid progress that, at the age of 
 twenty, he became foreman of one of the largest cabinet shops 
 
VIOLIN AND BOW MAKERS 91 
 
 in Devonport, where he had about thirty men and apprentices 
 under him. At the age of twenty-five he commenced business 
 on his own account, and he was appointed at the same time 
 technical instructor for two classes in carpentry and carving in 
 a local district. 
 
 About 1887 he formed the acquaintance of the well-known 
 connoisseur, the late Mr. Francis Codd, and a warm friendship 
 sprung up between them. This resulted in a mutual desire to 
 fashion a fiddle, so Codd imparted to Channon the lore of the 
 art, and Channon initiated Codd into the mysteries of keen- 
 edged tools. Good results were bound to follow genuine 
 enthusiasm of this sort. Channon from a boy had a strong 
 predilection for art and craft. In his early days he exhibited 
 several specimens of fine art cabinet work, and he never failed 
 to secure the highest award. 
 
 He has made several violins and a few violas, but unfor- 
 tunately his time is mostly taken up with repairs. His outline 
 is almost identical with that of the Tuscan Strad, and his 
 arching combines the lines of Strad and Joseph. The principal 
 measurements are : — 
 
 Length .... 
 
 Width across upper bouts 
 
 „ „ middle bouts 
 
 „ „ lower bouts 
 
 Length of sound-holes . 
 
 „ C's . . . 
 Depth of ribs at bottom 
 
 „ „ top 
 
 The thickness of the back is -j^, dimini 
 belly is an i all over. The ensemble shows breadth of intel- 
 lectual view. The scroll is beautifully carved, and may be 
 described as " correct and compact." Perhaps the boss of the 
 volute is not brought out to the same piquant prominence as in 
 the work of Stradivari. The corners are sweet and sober — 
 totally different from the average modern copy, which affects 
 Amatisi protrusiveness, without possessing Amathe compensating 
 curves. There was much solidity of feeling, and withal grace- 
 
 14^ inches. 
 
 51 
 
 „ 
 
 4| 
 
 » 
 
 8i 
 
 »» 
 
 3tV 
 
 >» 
 
 3l 
 
 >> 
 
 \\ 
 
 >» 
 
 T 3 
 
 
 I TIT 
 
 »» 
 
 ing to 
 
 ^, and the 
 
92 
 
 BRITISH VIOLIN-MAKERS 
 
 fulness of expression in the quaint and quiet corners of old 
 Maggini. When Stradivari waked Maggini's corners from 
 their slumber, he did all that true art dare do. Many of his 
 imitators have added two pairs of miniature wings to their pro- 
 ductions, and their instruments look like flying odonatas. 
 
 Herein lies the difference between the artist and the copyist. 
 The artist takes hold of any crucial point and is able to modify 
 without "mythifying" it. The mere copyist is the "myth- 
 maker " — a would-be reconciler of contradictories. 
 
 Mr. Channon's sound-holes are beautiful conceptions and 
 show the luthier-poet in every line. The margins are full and 
 the edges strong. The latter are not so rounded as is usual 
 in the best work of the modern British school, but they are, 
 nevertheless, very pretty. The wood is of the orthodox kind, 
 and of excellent quality. 
 
 The tone is grand and grave, and has something of the 
 inimitable tone of Maggini about it. Nothing can be more 
 divine than the broad, dreamy, weeping, and withal sweet tones 
 of the Brescian maestro. The notes drop off the strings like 
 tears trickling down the beard of a weeping god. No virtue 
 ought to be more commended in a modern maker than the 
 passion for combining the sweetness of Amati with the plain- 
 tiveness of Maggini. Facsimile label : — 
 
 r 
 
 .jjfxBeC my 
 
 fped: f.f hanno'n 
 
 1-8 S3 
 
 
 PLYM OUT H. 
 
 ^ 
 
 JV* 
 
 /X 
 
 CHRISTIE, JAMES, Dundee, contemporary. He 
 was born December i, 1857, at Arbroath. He makes on 
 the models of Stradivari and Guarneri, considerably modified 
 according to his own conception. The workmanship and 
 varnishing are excellent, and the tone is large and brilliant. 
 The plates are left very thick, but carefully graduated. 
 
VIOLIN AND BOW MAKERS 93 
 
 Christie's instruments will improve in quality with age and 
 
 use. Label : — 
 
 1892, 
 
 JAMES CHRISTIE, 
 
 VIOLIN-MAKER, DUNDEE 
 
 The date is handwritten. 
 
 CHRISTIE, JOHN, Kincardine-on-Forth. He died 
 about 1859. ^^ made a large number of instruments on the 
 Amati and Stradivari lines. I have seen some two or three 
 of them, and the wood, workmanship, and tone were excellent. 
 The varnish was a spirit one, but was so thinly laid on that it 
 did not do very material harm. If he had used oil varnish of a 
 good quality, his violins would compare very favourably with 
 the best work of the early nineteenth century. No label ; but 
 one of the violins had the words "J. Christie, maker, 1850" 
 written across the back. 
 
 CLARK, JAMES, London : 1770-95. He was a pupil 
 of Matthew Furber, and worked in Turmill Street, Clerken- 
 well. Average work and tone. No label known. 
 
 COLE, JAMES, Manchester ; nineteenth century. He 
 was a pupil of William Tarr, and worked afterwards with 
 George Craske. I have not seen any of his work, and cannot 
 pronounce an opinion ; but old Tarr did not entertain a very 
 high opinion of his abilities. He used a label in his early 
 work, but later stamped " S. Cole " inside on the back. 
 
 COLE, THOMAS, London : 1670-90. He made lutes 
 and viols chiefly, and it is not certain that he made any 
 violins. One or two tenors of his have been seen, the tone of 
 which was reported to be large and telling. Various labels. 
 
 COLLIER, SAMUEL, London : 1740-60. He worked 
 at " Corelli's Head," London Bridge. I have seen one violin 
 of his make, on the Stainer model, varnished dark yellow, with 
 a small, husky tone. 
 
94 BRITISH VIOLIN-MAKERS 
 
 COLLIER, THOMAS, London ; about 1775. 
 
 COLLINGWOOD, JOSEPH, London : 1750-70. He 
 worked at the " Golden Spectacles," London Bridge, and 
 made many instruments on the Stainer, and a few on the 
 Amati model. The workmanship is fairly good, and the tone 
 of average merit. Label : — 
 
 JOSEPH COLLINGWOOD, 
 LOWDINI, 1758 
 
 COLLINS, WILLIAM HENRY, London, contem- 
 porary. He works at 21 Poland Street, W., and was born 
 in the parish of Marylebone in i860, being the second son 
 of Daniel Joseph and Merina Collins. He was educated at 
 the Portland British Schools, studied music from 1879 to 
 1 88 1, and entered the Polytechnic Institute in 1882 as a 
 student in painting and drawing. In 1885 he was awarded 
 the Queen's prize and certificate in these subjects by the 
 Kensington Science and Art Department. He was brought 
 up to his father's calling — that of surgical instrument maker, 
 and became a skilled workman in pearl, ivory, tortoiseshell, 
 silver, gold, and other materials. In 1890 he was possessed 
 with the desire to make violins, and he devoured all the books 
 that were obtainable on the subject of the construction of the 
 king of instruments, and he also carefully examined and 
 measured very many fine fiddles. In 1897 he was married to 
 Jessie Emma, youngest daughter of George and Sarah Searles. 
 In 1900, after an extended study of about ten years on the 
 subject, he put into practice his theory of violin-making. 
 Since then he has made seven instruments. 
 
 He works on the Strad model, but the measurements are 
 in a few instances slightly modified, as will be seen from the 
 following figures : — 
 
 Length I4i inches. 
 
 Width across upper bouts . . . 6 ^^^ „ 
 
 ,, ,, middle bouts . . . 4^ „ 
 
 „ „ lower bouts , , . 8^ „ 
 
VIOLIN AND BOW MAKERS 
 
 95 
 
 Length of C's 
 
 „ sound-holes 
 Depth of ribs at bottom . 
 
 „ „ top 
 
 Distance between sound-holes at top 
 
 3i inches. 
 
 In one specimen examined by me the Strad outline was 
 considerably modified in the inner bouts. The arching is 
 flatter, especially in the front table. The scroll is excellently 
 carved and in the spirit of the maestro^ but the sound-holes are 
 a sort of compromise between those of Anthony and Joseph 
 (Del Gesu). The purfling is beautifully inlaid, but is rather 
 too near the edge in some examples, where it is just a trifle 
 under one-eighth. The edge is full and nicely rounded. On 
 the whole, the workmanship is excellent and in splendid taste. 
 The varnish is an oil one of Mr. Collins' own composition — 
 the result of numberless experiments. It has for basis fossil 
 amber. It is very elastic and transparent, and it does not 
 soften, chip, or crack. It is made in one colour, orange red, 
 which is quite permanent. 
 
 The wood is of the orthodox kind and very good in quality. 
 The tone is powerful and penetrating. 
 
 Mr. Collins has repaired a great number of instruments, 
 hence the slow production of new ones. He has obtained 
 two certificates of merit and three prize medals. He makes 
 only violins, and his price is fifteen guineas. Facsimile label : — 
 
 WILLIAM HENRY COLLINS. 
 
 COLVILLE, DAVID, Cupar: 1845-85. He made 
 excellent instruments on the models of Amati and Stradivari. 
 I saw and tried one of his Amati copies some years ago. The 
 wood was beautifully figured, and the tone sweet and silvery. 
 He was a born artist, and had he led a less chequered career 
 he would have turned out still better work. He visited New 
 
96 BRITISH VIOLIN-MAKERS 
 
 Zealand, Canada, and Australia by turns, and never seemed to 
 settle down in one place or at one thing long. No label, but 
 written in pencil across back: — 
 
 DAVID COLVILLE, 
 1857 
 
 COLVIN, GAVIN, Sunderland, contemporary. He 
 was born in Lerwick, Shetland, in 1841. About fifteen years 
 ago he was fortunate enough to have a genuine Stradivari 
 violin brought to him for repairs, and all his instruments from 
 that time on are copies of this violin. Previous to that he had 
 made many instruments on an original model, with a rather 
 pronounced arching. The workmanship is good, and the 
 tone is moderately powerful and of a good quality. He uses 
 both spirit and oil varnishes. Label, handwritten : — 
 
 GAVIN COLVIN, 
 
 MAKER, 
 
 SUNDERLAND, A,D. 18- 
 
 CONWAY, WILLIAM, London : 1745-50. 
 
 COOPER, HUGH WILLIAM, Glasgow, contemporary. 
 He was born Aug. 30, 1848, and is the son of William and 
 Margaret Cooper. He manifested a great interest in the 
 manufacture of musical instruments at an early age. At 
 sixteen he made a small harmonium, and some years later he 
 built a two manual pipe organ with pedals. 
 
 His first violin was made seven years ago, and for the last 
 five years he has been engaged professionally as a violin-maker. 
 
 He has made, up to the present, fifty-four violins, on the 
 models of the " Sainton,"" Strad, and Joseph (Del Gesu), from 
 drawings published by Mr. William C. Honeyman. 
 
 In some instruments the measurements of the " Sainton " 
 copies are slightly modified, as will be seen from the following 
 figures : — 
 
 Length of body 1 4I Inches. 
 
 Width across upper bouts .... 6§i „ 
 
 „ „ middle bouts . , , 4-1^ m 
 
VIOLIN AND BOW MAKERS 97 
 
 Width across lower bouts 
 Length of C's . 
 Length of sound-holes . 
 Distance between sound-holes at top 
 Depth of ribs at bottom 
 ,y „ top . 
 
 inches 
 
 3i 
 
 3t5^ 
 
 TV " 
 
 li 
 
 It 
 
 IF " 
 
 Mr. Cooper uses excellent wood, which is well-seasoned. He 
 cuts his back on the various methods, according to the nature 
 of the wood. He has a decided preference for close-grained 
 pine. In some instances the " reed " is of uniform distribution, 
 and about one thirty-second in width. 
 
 The workmanship is excellent. The scroll is thrown 
 with a firm, florid hand. In matter of detail, it is strictly- 
 conventional, except that the first turn starts from a point 
 opposite the apex of the volute and leaves the boss very 
 suddenly. In effect, the scroll is novel and picturesque. 
 
 The button is feminine — perhaps a trifle too much so, 
 because everything else about the Cooper fiddle is of a 
 masculine conception. It forms exactly three-fourths of a 
 circle, and is rather under medium size. The sound-holes are 
 original in outline and position. Near the upper turns they 
 are perceptibly drawn towards the inner bouts. This gives 
 the portion of the table between them a sense of solidity and 
 boldness. They are set nearer the edge than was customary 
 with Strad. Their position is a sort of a compromise between 
 the Strad and the Bergonzi sound-holes. 
 
 The purfling is evidence of Mr. Cooper's thorough mastery 
 of the tools of the craft. And here, in the fine finish of matters 
 of detail, one is reminded that the maker is a trained jeweller 
 and watchmaker, as well as a violin-maker. 
 
 The margin is one-eighth wide, and the edges nicely 
 rounded. The latter are not so substantial as is usually the 
 case in modern British work. A strong, rounded edge is the 
 sign-manual of the modern British school, and when one 
 occasionally comes across another method, the result is all the 
 more noticeable. The varnish is Whitelaw's light, and dark 
 
 G 
 
98 
 
 BRITISH VIOLIN-MAKERS 
 
 brown, well laid on, and beautifully polished. The tone is 
 firm, bright, and penetrating. Facsimile label : — 
 
 HUGH W. COOPER, 
 
 fEaftrr, 
 
 75, DUMAS STREET, 
 
 GLASGOW. 
 
 CORSBY, GEORGE, London; eighteenth century. 
 Principally a dealer, but made a few instruments on the 
 Amati model of average merit. 
 
 CORSBY, , Northampton : 1780. Double-basses. 
 
 CRAIG, JOHN, Edinburgh, contemporary. He was 
 born Nov. 17, i860, at Myreside, Kirkinch, Forfarshire. 
 He was apprenticed at an early age to the wheelwright trade. 
 In 1890 he came to Edinburgh, where he works as a joiner. 
 Although only an amateur violin-maker, his work is excellent. 
 Wood, workmanship, and tone give him a place in the front 
 rank of modern Scottish makers. His model is original, 
 approximating to that of Stradivari. The scroll is beautifully 
 carved, and the plates are thick in wood. Varnish : White- 
 law's " Amati " colour, laid on in thin coats and perfectly 
 polished. It is a pity Craig does not turn out more instru- 
 ments, as they are certainly of sufficient merit to justify his 
 doing so. Facsimile label : — 
 
 JOHN CRAIG, 
 
 MAKER. 
 
 EDINBURGH. 
 
 A.D /fC.O 
 
 CRAMOND, CHARLES, Aberdeen: 1800-33. A 
 prolific maker, much of whose work is of considerable merit. 
 
VIOLIN AND BOW MAKERS 99 
 
 He worked on an original model, with plates rather highly 
 arched. The wood is usually of good quality, though some- 
 times poor and plain in figure. The varnish is a spirit one, 
 hard and dry, but thinly laid on. Colour : dark yellow to dark 
 brown. The tone is not over strong, but it is clear, sweet, and 
 penetrating. He left many of his instruments too thin in wood, 
 and these have not improved with age and use. Label : — 
 
 CHAS. CRAMOND, 
 
 MAKER, 
 ABERDEEN, 1815 
 
 CRASKE, GEORGE, Bath, Birmingham, Stockport, 
 and elsewhere; about 1791-1889. Craske, although his 
 father was a foreigner, was of English extraction, so he once 
 told my grandfather, who was a fiddle enthusiast. He said 
 that an ancestor of his named Cross had settled in Russia, and 
 afterwards in Germany, and the present form of the name was 
 due to these migrations. Mr. George Crompton, who was 
 intimately acquainted with this wonderful man, does not say 
 anything about the matter in his sketch of him in the June 
 number of The Strad, 1893. However, on the strength of 
 this statement, I venture to include him here as a British 
 maker of British blood. He was not an Anglo-German or 
 French, but a thorough Britisher in character and sentiment. 
 And so is his work. Out of the three thousand odd instru- 
 ments that he is said to have made, I have seen only about a 
 dozen — that is to say, only about a dozen that I knew to be 
 his work. But very many of his instruments have a forged 
 label in them, and as he made very fair imitations of Joseph 
 Guarnerius and other Italians, his work is not always recog- 
 nised. I cannot say that there is anything about Craske's 
 work to excite ecstatic utterance. However clever the work- 
 manship may be — and in much of his work we may concede 
 that it is clever — the tone will never give him a seat amongst 
 the mighty : it is too hard and metallic. I have carefully 
 tried the specimens which from time to time have been 
 brought to my notice, and I must honestly say that I have 
 
loo BRITISH VIOLIN-MAKERS 
 
 always been disappointed with the tone. It is a large, round, 
 and piercing tone, but it lacks unction. It is stronger than 
 the tone of any of our classical makers, but will not for a 
 moment bear comparison as regards mellowness and sweetness. 
 Craske's instruments are splendidly adapted for orchestral 
 purposes, but as solo instruments they are never likely to be 
 in great demand. In some catalogues of old instruments 
 issued recently I find that there are specimens of his work 
 offered at ^^30. This sum is more than double the intrinsic 
 value of anything I have seen by him. The workmanship, 
 however, is honest and solid, and we must give Craske his 
 due that he never attempted to sell his clever imitations as 
 originals. 
 
 Craske was a pupil of " old Forster," and he made many 
 instruments for Clementi and for Dodd, the bow-maker. 
 Besides copying Guarnerius, he made several copies of Amati 
 and Stradivari, from templets and measurements taken from a 
 Strad and an Amati in the possession of Sir Patrick Blake, of 
 Langlam Hall, SuflFolk. Whilst in Birmingham, he is reported 
 to have been once engaged by Paganini to do some repairs to 
 his violin, which had met with an accident. 
 
 Craske lived in Salford, amongst other places, where he 
 worked for about twenty years, leading the life of a recluse, 
 allowing no one to enter his workshop except Mr. George 
 Crompton, his friend and successor in business. He lived a 
 retired life for some years before he died, at Bath, in affluent 
 circumstances. He died in November 1889, at the advanced 
 age of ninety-eight. He was a man of striking appearance 
 and personality. " His head was exactly the same shape and 
 measure as Shakespeare's, and his memory one of the most 
 remarkable that ever was known " ; such are the concluding 
 words of Mr. Crompton's biographical sketch. 
 
 CROSS, NATHANIEL, London : 1 700-5 1 . Some sup- 
 pose that he was a pupil of Stainer, but this is a mere 
 conjecture. His instruments, although made on the Stainer 
 model, are a sufficient proof that he had never received a 
 
• VIOLIN AND BOW MAKERS loi 
 
 day's training in the great workshop at Absam. From 1700 
 to 1720, when he entered into partnership with Barak Norman, 
 they are rather plain and tasteless, large and highly arched, 
 with short, blunt corners — in fact, his work is in dangerous 
 proximity to the Stainer caricature. From 1 720 on the work 
 improves and approaches more nearly to the lines of the 
 German model. This is contrary to the rule. If he had 
 been a pupil of Stainer, we should naturally have expected to 
 see the more correct copies dating from the early years of his 
 career, and work showing departures or originality dating later. 
 He never got rid of the exaggerated fluting round the edge, 
 and the tone is consequently rather small and feeble. His 
 fine cutting of the scroll shows what he was capable of if 
 he had had a better ideal. The varnish is soft, and of a light 
 brown to light yellow hue. He marked his instruments on 
 the back inside with his initials, with a ►J^ above. After he 
 entered into partnership with Norman the label runs : — 
 
 BARAK NORMAN AND NATHANIEL CROSS, 
 
 AT THE BASS VIOL IN ST. PAUL'S CHURCH YARD, 
 
 LONDON, FECIT 172- 
 
 CROWTHER, JOHN, London: 1750-1810. He 
 worked in Haughton Street, Clare Market, and occasionally 
 for John Kennedy. He followed the Stainer and Amati 
 models. The workmanship is of average merit, but the tone 
 is fairly good. Varnish : dark amber, which is now turned 
 almost black. Label : — 
 
 JOHN GROWTHER. 
 FECIT, LONDON, 1786 
 
 GUMMING, ANDREW, Portpatrick, contemporary. 
 Fifth-rate work. 
 
 CUTHBERT, , London : seventeenth century. A 
 
 maker of viols and violins. I do not know his work. 
 
I02 BRITISH VIOLIN-MAKERS 
 
 DALGARNO, THOMAS, Aberdeen : 1860-70. Work- 
 manship of good average merit, and the tone fairly good. The 
 instruments are left rather thin in wood, and the tone will not 
 therefore continue to improve. Label, handwritten : — 
 
 THOMAS DALGARNO, 
 ABERDEEW, 1865 
 
 DAVIDSON, HAY, Huntly : 1860-75. Rather poor 
 work, with a loud, harsh tone. 
 
 DAVIDSON, PETER, Forres : 1834-86. He was born 
 at Speyside, and he lives now at Londsville, White County, 
 Georgia, U.S.A. He was only an amateur maker, but made 
 very fair instruments. He published "The Violin : Its Con- 
 struction Theoretically and Practically Treated," a very 
 interesting but wholly unreliable work. Davidson was an 
 excise officer, and a bookworm. 
 
 DAVIDSON, WILLIAM, Edinburgh, contemporary. 
 He was born at Muckhart, Perthshire, in 1827. He follows 
 the model of Stradivari, and his work is of good average merit. 
 He received a second-class diploma at the Glasgow East End 
 Exhibition, 1890, for a case of violins. 
 
 Label, handwritten : — 
 
 WILLIAM DAVIDSON, 
 EDINBURGH, 1896 
 
 DAVIS, RICHARD, London : 1775-1836. He was 
 for some time in the employ of Norris & Barnes, and in 18 16, 
 at the death of Norris, he succeeded to the business. He did 
 not make many instruments himself, but employed others to 
 work for him. He carried on a very considerable trade in old 
 instruments. The few violins he made are not on any par- 
 ticular model — they perhaps resemble the Stradivari model 
 
VIOLIN AND BOW MAKERS 103 
 
 more than anything else — are indifferently made, and have a 
 piercing, Stainer-like tone. Varnish : spirit, of a dark brown 
 colour. He retired towards the end of his life, and left the 
 business to William Davis. He died in Bussage in 1836, and 
 was buried in the Bisley churchyard. 
 
 DAVIS, WILLIAM, London : about 1 790-1 850. Cousin 
 and successor to the preceding Richard Davis. Did not make 
 many instruments. I have not seen any of his work. He 
 employed Charles Maucotel and others to work for him. He 
 sold the business in 1846 to Edward Withers, and retired to 
 Bussage. 
 
 DAY, JOHN, London : eighteenth century. He copied 
 the Italian instruments closely, and succeeded in producing a 
 good tone. 
 
 DEARLOVE, MARK, Leeds: 1810-20. He made 
 one or two nice copies of a Stradivari violin, but the tone was 
 indifferent. 
 
 DEARLOVE, MARK WILLIAM, & CHARLES 
 FRYER, Leeds : 1828-65. Dearlove employed others to 
 work for him, such as Gough, Absam, Fryer, &c. The last 
 named he eventually took into partnership with him, and the 
 instruments which bear their joint-label are fairly well made, 
 on various models, but mostly on the Strad, with a round, 
 stinging tone. One instrument of theirs which I tried some 
 years ago had a clear and penetrating tone, with much of the 
 characteristics of the Stainer tone about it. Label : — 
 
 DEARLOVE AND FRYER, 
 MUSICAL INSTRUMENT MANUFACTURERS, 
 BOAR LANE, LEEDS, 1836 
 
 DELANY, JOHN, Dublin : 1795-18 10. Followed the 
 Amati model, and was very successful in producing a good 
 tone. I saw one of his violins many years ago in Waterford, 
 which was well made, rather small, and had a clear and sweet 
 
I04 BRITISH VIOLIN-MAKERS 
 
 tone. The back was cut on the slab of plain wood, and 
 unpurfled. The sound-holes were rather short and wide, and 
 the corners a little blunt. The varnish, which was originally 
 dark yellow no doubt, had turned nearly black. He used two 
 labels : — 
 
 (1) MADE BY JOHN DELANY, 
 
 NO. 17, BRITAIN STREET, DUBLIN, 1808 
 
 (2) 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: 1 795-1860. Pupil of John 
 Crowther, and for some time workman to Matthew Furber. 
 I do not know his work, and have never seen it described. 
 
 DEVEREUX, JOHN, Melbourne. Before he emigrated 
 he worked for some time with B. Simon Fendt. 
 
 DEVONEY, FRANK, Blackpool and Canada, contem- 
 porary. He is an ingenious man, and was originally a tailor. 
 He makes on an original model. The only instrument of his 
 make which I have seen was not finely made, but it was 
 strongly built, and had a rough sort of character. It was 
 covered with a reddish amber oil varnish of his own make. 
 The tone was large, but rather shrill. He was born about 
 forty-eight years ago, and is a native of Perth, Scotland. 
 He has lost one limb, but he wears another of his own 
 manufacture. 
 
 DEWARS, WILLIAM, Brechin, contemporary. He 
 was born at Brechin, September 10, 1878. He is a young 
 maker of great promise, and already makes good instruments 
 on the Guarneri and Stradivari models. He uses good wood, 
 of a pretty figure, and varnishes with Hardie's or Whitelaw's 
 
VIOLIN AND BOW MAKERS 105 
 
 varnish. The tone is large and responsive. Facsimile 
 label :— 
 
 V7m. Dtvy/4/^s, 
 
 DICKENSON, EDWARD, London : 1750-90. He 
 w^orked at the " Harp and Crown " in the Strand. Inferior 
 work on the Stainer model. 
 
 DICKESON, JOHN, London and Cambridge: 1750-80. 
 An instrument of his make on the Amati model was owned 
 by a Mr. Jenner, in Bath, a few years ago. It had very 
 pretty wood, light brown varnish, and a sweet, silvery tone. 
 It was rather weak on the fourth string, but clear and re- 
 sponsive on the two upper strings. Label : — 
 
 JOHN DICKESON 
 FECIT IN CAMBRIDGE, 1778 
 
 DICKIE, MATTHEW, Rotherham, contemporary. 
 He has made many instruments, some of which are of good 
 workmanship and tone. His varnish is rather soft and inclined 
 to " cake " and crack. 
 
 DICKSON, JOHN, London : 1 725-60 (?). Probably the 
 same as the John Dickeson noticed above. 
 
 DICKSON, GEORGE, Edinburgh, contemporary. A 
 doctor, and a clever amateur, who is also the discoverer of 
 " Dickson's varnish." 
 
io6 BRITISH VIOLIN-MAKERS 
 
 DITTON, , London : about 1700. Mention is 
 
 made of a violin by him in the list of Tom Britton's collection 
 of musical instruments. 
 
 DODD, EDWARD, Sheffield and London : 1705-1810. 
 He died in London at the extreme old age of 105. He lived 
 in Salisbury Court, Fleet Street, and vi^as buried in St. Bride's 
 Churchyard. He made much improvement upon the form of 
 bovsr in use in this country before his time. 
 
 DODD, JOHN, London : 1 752-1 839. He v/as born in 
 Stirling, died in Richmond workhouse, and was buried at 
 Kew. He is styled " The English Tourte," and much of his 
 work justifies the title. Had he lived a more virtuous life, 
 he probably would have turned out work of uniform excellence. 
 Many of his bows were evidently made in haste, and sold for 
 a few shillings, to meet the exigencies of an empty cupboard 
 and a parching thirst. His intemperate habit was the cause 
 of many troubles to himself, and to others who interested 
 themselves on his behalf, and he came nigh the last stage of 
 starvation many a time. Had it not been for the kindly 
 offices of Dr. Sell^ and Mr. Richard Piatt, of Richmond, he 
 would have ended his days on the roadside ; as it was, he 
 ended them in the workhouse. 
 
 He was the pupil of his father, the Edward Dodd previously 
 noticed, and he improved so much upon the work of his father, 
 and upon everything else in the whole of the violin world 
 (excepting the work of his greater contemporary, Francois 
 Tourte), that his bows have maintained an undiminished 
 celebrity down to our own days. His method of cutting his 
 bows was primitive, and it has not been adopted by any great 
 maker since his time. He cut the bow in the curved form 
 out of the block, and dispensed with the ordinary plan of 
 cutting it straight and bending by heat. I have seen a large 
 number of Dodd bows, and I am convinced from a close 
 examination of them that they have all been cut in this 
 manner. One of the finest specimens which I have seen is now 
 in the possession of the Rev. J. Rhys Jones, Priest-in-charge, 
 
VIOLIN AND BOW MAKERS 107 
 
 Maesteg, Glamorganshire. It is a fine stick, with a graceful 
 camhre and good balance. Its length is exactly 28 J in., and 
 the length of the hair 25^ in. It is of medium weight, and 
 very dark in colour. The face of the heel is decorated with 
 mother-of-pearl, and the ferrules are of thick silver. Dodd's 
 name was stamped on all sorts of wretched nondescripts in the 
 middle of last century, and his fame suffered considerably in 
 consequence. But his work has suffered more than his fame, 
 for there are hundreds of mongrel "Dodds"" about, some with 
 genuine heels, others with genuine heads, and not a few 
 patched up in divers manners. The owner of a genuine 
 Dodd, of regulation length, or anything near it, and made in 
 his best style, has a treasure that he can well be proud of. 
 
 DODD, THOMAS, London : 1 786-1 823. He was the 
 son of Edward Dodd of Sheffield, previously noticed. He did 
 not make many instruments himself, but he employed very 
 clever workmen to do so for him. He was first of all a bow- 
 maker in Blue Bell Alley, Mint Street, Southwark, and in 
 1798 he became a violin-maker and dealer, opening a shop in 
 New Street, Covent Garden, and moving in 1809 to St. Mar- 
 tin's Lane, Charing Cross. Later on he added another sail to 
 his craft, and became a harp and pianoforte maker. The 
 instruments which bear his label are mostly the work of John 
 Lott and Bernard Fendt, two excellent workmen. Dodd's 
 genius, however, brooded over them whilst fashioning these 
 magnificent instruments, like a mighty spirit brooding over 
 the formless void. He was an enthusiastic connoisseur, with 
 a heart and mind steeped in Italian lore, and he brought his 
 knowledge to bear upon the work at every turn. It is im- 
 possible to say how much of the work beyond the varnishing 
 was his own — probably no more than the determining of the 
 thicknesses. With two such clever men to carry out his 
 instructions, there was no occasion for him to handle the 
 gouge and chisel. When the instruments were ready " in the 
 white," Dodd overhauled them carefully and then varnished 
 them with his own hands. His varnish is excellent — quite 
 equal to that of Benjamin Banks — and he applied it most 
 
io8 BRITISH VIOLIN-MAKERS 
 
 skilfully. It ranges in colour from golden amber to deep 
 golden red, and it is rich and transparent. He regarded it as 
 a secret, and was very careful to let no one see him mix or 
 apply it. The ingredients, however, were only the well- 
 known principal gums of the day, mixed in better proportions 
 and more correctly than was customary then. Indeed, most 
 of the varnishes of the early part of last century were hard, 
 inelastic spirit varnishes, and Dodd's oil mixture showed to 
 great advantage by contrast with them. Instruments bearing 
 Dodd's label are of various models : Stradivari, Guarneri, 
 Amati, Stainer, &c., and are of uniform excellence as regards 
 workmanship and tone. I tried one of them quite recently, 
 which was on the grand Strad pattern, with a beautiful scroll, 
 but with sound-holes which were a sort of compromise between 
 those of Strad and Joseph, The back was cut on the slab, 
 and the maple had a broad " flame," which seemed to curl and 
 burn up the varnish with every movement, as if fanned by a 
 breeze inside the instrument. The tone was not so large as 
 one would naturally expect from the dimensions of the violin, 
 but it was firm, free, and mellow. 
 
 Dodd has been severely criticised by some writers respecting 
 his rather exuberant confidence in his varnish. But what 
 maker is there that has not overweening confidence in his 
 own varnish ? I have not yet come across one maker, be he 
 a first- or fifth-rate, who does not think his varnish the best. 
 Dodd had the courage of his convictions, and that is about 
 all that he is guilty of. Hart says that Dodd gained such 
 reputation in his lifetime that he was able to command from 
 £^0 to ;^50 for a violoncello. This is remarkable, and the 
 more so when we consider that they do not fetch much more 
 in our own times. Dodd 'cellos have been knocked down at 
 public auction for ^^32, ^^34 los., and ^^35 as recently as 
 1897. His violins, when in fine condition, realise pro- 
 portionately high prices. Labels : — 
 
 (I) T. DODD, 
 
 VIOLIN, VIOLONCELLO. AND BOW MAKER, 
 NEW STREET, COVENT GARDEN 
 
VIOLIN AND BOW MAKERS 109 
 
 (2) DODO, MAKER, 
 
 92, ST. MARTIN'S LANE 
 
 Perfect copies of Stradivari, Amati, Stainer, &c. 
 
 Note, — The only possessor of the recipe for preparing the 
 
 original Cremona oil varnish. 
 
 DODD, EDWARD & THOMAS, London: 1830-43. 
 Pupils of Bernhard Fendt. Thomas died early, and Edward 
 was accidentally drowned, April 29, 1843. ^^^ Thomas 
 Dodd lived he would in all probability have become an 
 excellent maker. 
 
 DORANT, WILLIAM, London : 1800-20. He worked 
 at 63 Winfield Street, Brick Lane, Spitalfields. Average 
 work and tone. 
 
 DUFF, WILLIAM, Dunkeld : 1810-82. A game- 
 keeper on the Athole estate, and an amateur maker. In- 
 different work, poor varnish, but fair tone. Label : — 
 
 MADE BY WM. DUFF, 
 
 PULNEY COTTAGE, 
 
 DUNKELD, 1866 
 
 DUKE, RICHARD, London : 1750-80. Unfortunately 
 there are no biographical particulars of this great man, and 
 no evidence as to his character and personality other than 
 that furnished by his remains. He worked on the Stainer 
 and Amati models. Miss Stainer, in her "Dictionary of 
 Violin-Makers," says that he also made copies of Stradivari, 
 but I have never seen any of these copies, nor heard of 
 undoubtedly genuine ones. Counterfeit Strad modelled 
 Dukes there are, I have not the least doubt, as there are 
 counterfeit "nobody" Dukes by the hundred. It has been 
 said that " imitation is the sincerest form of flattery," if so, 
 Duke is the most sincerely flattered maker of the British 
 classical school. His fame was greater in the eighteenth century 
 than was that of even Banks. The reason for this is not far 
 to seek ; he made the best copies of Stainer that were ever 
 
no BRITISH VIOLIN-MAKERS 
 
 produced in this country, and as Stainer was the ruling idol, 
 the instruments which most truly approached his lines would 
 naturally have the pre-eminence. In this way Duke got his 
 laurels. And once a name is made it requires but the exer- 
 cise of a little discretion to keep it up. The Duke cult was 
 in its heyday when Banks and Forster were turning out 
 their best Amati copies. Richard's bias was towards the 
 German model, and he did not copy the Italian model as 
 often nor as felicitously as he might have done. The sound- 
 holes are faithful to the original in the Stainer copies, and 
 they are strongly reminiscent of the same prototype in the 
 Amati copies. Not that he put inferior work into the latter, 
 as Banks was doing when copying Stainer ; on the other 
 hand, his workmanship is always fine, whether copying Amati 
 or Stainer ; but he drank more deeply of the German spirit 
 than he did of the Italian. In the opinion of connoisseurs of 
 to-day the Amati copies may be the more valuable, but there 
 is not the slightest doubt that Duke and his patrons did not 
 share the same view. His patrons were mostly rich people and 
 county families. I am familiar with seventeen Duke violins and 
 tenors which are now in the possession of English and Welsh 
 county families, and have at different times examined and 
 tried several of them. The pedigree of the majority of these 
 can be traced back to the time of purchase. One of the most 
 noted of them is the " Cresselly Duke," a beautiful violin on 
 the Stainer model. It was the property of the late S. P. 
 Allen, Esq., of Cresselly, who came into the possession of it 
 through his wife, the daughter of the fourth Earl of Ports- 
 mouth. The fiddle had been in the Portsmouth family since 
 the days of the second Earl, who purchased it himself of Duke 
 in the year 1768. Mr. Fleming expresses the belief that 
 genuine Duke instruments are extremely rare. I am strongly 
 of the opinion that there are more genuine " Dukes " in 
 existence than there are "Banks" and "Forsters" put to- 
 gether, but they are not to be found in dealers' shops. They 
 are fossilizing in dust heaps in the garrets of county mansions. 
 There were hundreds of fine amateur players amongst the 
 
\K\<\ V\SE VIOLA P.Y KICHAKD 1'^' 
 
VIOLIN AND BOW MAKERS in 
 
 gentlefolk of those days, when the facilities for attending 
 music-halls, opera-houses, &:c., were so few and far between. 
 The finest specimens of Duke are not a whit inferior to those 
 of Banks, except as regards model and varnish, and in one 
 particular, at least, they are even superior, viz. in the carving 
 of the scroll, but this remark applies only to the very finest of 
 them, Duke was a busy man, and he did not always have 
 the time at his command to do his best. Banks and Forster 
 worked more at leisure, and the former of the two was help- 
 ing to create the taste for better things, which always has a 
 modifying effect upon the relation between supply and demand. 
 I do not understand how it has come to be said that Duke's 
 Stainer copies are not quite so good as his Amati copies. 
 I submit that they are as good per se, and better as copies. 
 Duke was too thoroughly imbued with Stainer ideas to admit 
 of his making instruments in the true Italian spirit. There 
 is no perceptible difference in the tone, be the work Italian 
 or German in character. It is a round, ringing, ravishing 
 tone in either case. It has not the remotest affinity with 
 the tone of Stainer, nor is it like the tone of Banks, which 
 is more subdued, mellow, and sweet. The tone of Duke as 
 compared with that of Banks is brighter and has more vibrato 
 in it. Tone nuances are very hard to analyse in words, but 
 easily differentiated by the cultivated ear. 
 
 Duke's varnish is elastic, soft, and transparent, but it 
 lacks unction. There is an air of aristocratic refinement 
 about it which is quite unmistakable, but we long for one 
 sweet blush of the emotions. If I were asked to give an 
 imaginary pen picture of Duke, I should describe him as a 
 well-built man, broad-browed, keen-eyed, dignified and re- 
 served in bearing, with a very correct but cold taste in 
 matters artistic. That is the sort of man I see in my mind's 
 eye hard at work beside the bench shaping those chaste, sober, 
 broad-chested tenors. Fine specimens of Duke rarely come 
 into the market ; when they do, they fetch a fair price. One 
 of the finest violins which I have seen of his make was sold 
 by the Messrs. Hart in the year 1898 for ^^35. It had choice 
 
112 BRITISH VIOLIN-MAKERS 
 
 wood, light mellow-brown varnish, and a beautiful tone. 
 The instrument was in perfect preservation, and, as prices go, 
 worth double the money. Photographs of this violin are 
 reproduced here. As far as is known Duke had only three 
 pupils, his son Richard, John Betts, and Edward Betts. His 
 violoncellos were never in such demand as his violins and 
 tenors, and they are seldom to be seen nowadays. He often 
 branded his instruments under the button " Duke, London." 
 Labels : — 
 
 (1) RICHARD DUKE, 
 LONDINI, FECIT 1760 
 
 (2) RICHARD DUKE, 
 
 MAKER, 
 
 HOLBORN, LOMDON, 
 
 ANNO 1768 
 
 Both of these were usually written in ink. His printed 
 label ran : — 
 
 (3) RICHARD DUKE, 
 
 MAKER, 
 
 NEAR OPPOSITE GREAT TURN-STILE, 
 
 HOLBORN, LONDON 
 
 DUKE, RICHARD, London : about 1770-85. Son and 
 pupil of the preceding. The few instruments of his make 
 which remain show that he was inferior to his father as a 
 workman. He branded his violins similarly to his father, and 
 usually left them unlabelled. 
 
 DUNCAN, , Aberdeen : about 1762. 
 
 DUNCAN, GEORGE, Glasgow: 1855-92. He was 
 born Jan. 17, 1855, and emigrated to America in 1892. His 
 instruments from about 1883 on are magnificent. They 
 are on the model of Stradivari and Guarneri, varnished with a 
 beautiful oil varnish usually of a golden orange red tint. The 
 wood in some specimens is of a broad figure in the back, and 
 of a medium grain in the front table. The tone is large, rich, 
 and free. He was awarded the gold medal for an exhibit of 
 
VIOLIN AND BOW MAKERS 113 
 
 two violins at the London Exhibition of Inventions and Music 
 in 1885. These two violins were of a beautiful appearance, 
 though I did not have the pleasure to try their tone. Duncan 
 is a born artist, and his work will improve with age and 
 become valuable. It is to be hoped that his talents will be 
 appreciated on the other side of the Atlantic to the extent 
 they deserve. Label : — 
 
 NO, 37 
 
 MADE BY 
 GEORGE DUNCAN, 
 GLASGOW, 1884 
 
 DYKES, GEORGE LANGDON, Leeds, contem- 
 porary. He is the son of Mr. Harry Dykes, the well-known 
 violin expert and dealer. He was born on October 11, 
 1884, and is probably, as will be seen from the date, the 
 youngest fiddle-maker in Britain. He has received a good 
 education, and can speak French and German fluently. He 
 commenced violin-making when he was twelve and a half 
 years of age, and he has finished up to date seventeen violins. 
 All the work is personal ; purfling, sound-holes, scroll and all. 
 He is the pupil of his father and of Mons. Paul Bailly. His 
 work is full of promise, and more will be heard of him, no 
 doubt, in years to come. Facsimile label : — 
 
 1 MADE BY 
 
 ■==^1 
 
 OSOI^OE: L. DYKESft^ 
 
 LEEDS, PUPIL OF 
 
 4] 
 
 - <(>UPI'. OF JEAH eAPIlSie VOlLt*Y«E.\J 
 
 E 
 
 EGLINGTON, : about 1800. 
 
 EVANS, RICHARD, Anglesey and London: 1730-50. 
 I have seen two violins supposed to be by him, in North Wales. 
 
 H 
 
114 
 
 BRITISH VIOLIN-MAKERS 
 
 I have never seen the instrument by him which is reputed to 
 have the following label in it : — 
 
 MAID IN THE PARIS OF ANIRHENCEL 
 
 BY RICHARD EVANS, INSTRUMENT 
 
 MAKER, IN THE YEAR 1742 
 
 For " Anirhengel " Hart reads " Lanirhengel." I do not 
 think either of the two readings is correct. Probably the true 
 reading would be " Llanfihangel." Richard Evans was no 
 doubt illiterate, but we will give him credit for a smattering 
 of his native tongue. English people will mangle Welsh place 
 names, and create difficulties where none exist. " Aber- 
 gwynfi," the romantic little Welsh village where the author 
 lives, is plain and musical enough, but I have often been 
 puzzled to know where I really live when I receive letters 
 from my monoglot Saxon friends with the name spelt in one of 
 the following barbarous ways : — " Abergoynfi," " Abergynfi,"" 
 " Abergwnfi," " AbergwynfF," &c. 
 
 EWAN, DAVID, Cowdenbeath, contemporary. He was 
 born March 4, 1838, at Stoneyhill, near Musselburgh. His 
 work is of good average merit. Stradivari model, and oil 
 varnish of his own composition. The plates are left thick in 
 wood, and the tone is firm and strong without being very 
 refined. Hard playing will no doubt rub off much of the 
 harshness. Facsimile label : — 
 
VIOLIN AND BOW MAKERS 115 
 
 FENWICK, , Leith. A tenor by this maker was sold 
 
 at a sale held by Messrs. Patrick & Simpson on May 22, 1901, 
 for £^, I OS. It was said to have a nice tone. 
 
 FERGUSON, DONALD, Huntly, Aberdeenshire. 
 
 FERGUSSON, WILLIAM, Edinburgh: 1 790-1820. 
 Very good work and tone. I have not seen any of it, and do 
 not know whether he used a label. 
 
 FERRIER, WILLIAM, Dundee, contemporary. Very 
 good work, but plates in some of his instruments are left too 
 thin, and the tone must consequently deteriorate with age. 
 Label :— 
 
 W. FERRIER, 
 
 DUWDEE. 
 NO.- 19- 
 
 FINDLAY, JAMES, Padanaram : 1815-96. He was 
 born at a farm near Brechin, in Forfarshire. He made about 
 five hundred instruments, mostly violins on the Guarneri 
 model. I have seen only three of his violins, which were on 
 the Stradivari model, one being well-made, of good wood, with 
 a large tone. He made several copies of a very old violin 
 in the possession of Mr. J. Michie, Brechin, and these are 
 said to be his best, both in workmanship and tone. The said 
 old fiddle is on an original model, something between the 
 models of Strad and Joseph, and has a sweet and mellow tone. 
 It is nearly black through oxidation, and is very correctly 
 christened " Black Meg," as it is a fiddle with a character, and 
 deserves a name. It was down here for inspection some two 
 years ago, and both its nationality and parentage are still a 
 puzzle to me. There is a characteristic quaintness about the 
 work of Findlay, as may be inferred from the fact that he 
 copied an unconventional instrument of the type of the old 
 fiddle just named. His wood is mostly plain, and the varnish 
 
ii6 BRITISH VIOLIN-MAKERS 
 
 usually a spirit one. He had two or three labels ; the one in 
 the instruments examined by me ran : — 
 
 JAMES FII\IDLAY, 
 
 PADANARAM, 
 
 1870 
 
 This was handwritten ; others are printed. 
 
 FINGLAND, S., , contemporary. I know nothing 
 
 of him. 
 
 FIRTH, G., Leeds : 1830-40. I have not seen his 
 work. 
 
 FLEMING, J., , contemporary. 
 
 FORD, JACOB, London: 1780-95. He worked on a 
 model which very closely resembles that of Stainer. He evi- 
 dently had Stainer in his mind, but he had also seen and 
 handled so many Amati copies, or perhaps a few original 
 " Amatis," that he had become unsettled in his ideals. The 
 workmanship is excellent, and the wood very carefully chosen. 
 The varnish is an oil one, in light or deep amber colour. His 
 margins are wider than is usual in Stainer copies, and the edges 
 are nicely rounded and solid looking. The tone is not a large 
 one, but is almost equal, in one or two instances which have 
 come under my observation, to that of Duke. Altogether 
 Ford was a superior maker, and the few examples of his art 
 which remain to-day should be more highly valued than they 
 are. Label : — 
 
 JACOB FORD, 
 
 MAKER, 
 LONDON, 1792 
 
 FORSTER, JOHN, Brampton : 1688-1781. The first 
 of this celebrated family to make fiddles. He made only an 
 occasional instrument, on the Stainer model, and the work 
 is rough and unfinished. 
 
VIOLIN AND BOW MAKERS 117 
 
 FORSTER, SIMON ANDREW, London: 1801-1870. 
 He was the son of William Forster (i 764-1 824), born May 13, 
 1 801, died Feb. 2, 1870. He worked at Frith Street, and 
 also at Macclesfield Street, Soho. He is more famous as the 
 collaborator with William Sandys of "The History of the 
 Violin" (London, 1864), than as a violin-maker. All his 
 work that I have seen reflects little or no credit upon him. 
 He was a pupil of his father, of his brother, and of Samuel 
 Gilkes. He worked sometimes on the Stradivari model, some- 
 times on the Stainer, but always arched his instruments in 
 a grotesque manner. I am not sure that he did not sometimes 
 bake his wood, as the tone of some of them is of a wretched 
 character. Label : — 
 
 S. A, FORSTER, 
 
 VIOLIN, TENOR, AND VIOLONCELLO MAKER, 
 
 NO.- LONDON 
 
 FORSTER, WILLIAM, Brampton : 1714-1801. He 
 was the son of John Forster, and, like his father, made and 
 repaired an occasional fiddle. The workmanship is a little 
 better than his father's, but the tone is about the same. His 
 instruments are unpurfled, and spirit varnished. 
 
 FORSTER, WILLIAM, Brampton and London: 1739- 
 1808. He is known as "Old Forster," and is the greatest 
 maker of the family. He was born May 1739, and died 
 Dec. 14, 1808. "Old Forster" may be described as the 
 British type of which Vuillaume was the French antitype, 
 although they were not separated by a great span of years. 
 He was the exact counterpart of the great Frenchman — 
 shrewd, versatile, and worldly-wise. When French players 
 wanted a Stradivari or a Guarneri fiddle, Vuillaume met their 
 demands and sold them those new-old instruments which set 
 the Seine on fire. Similarly, when the British public wanted 
 Stainer copies, or Amati copies, or any other copies, Forster 
 was equal to the occasion, and supplied them with their require- 
 ments. The only difference between the two men, apparently, 
 was that the Britisher possessed in addition to the artistic sense 
 
ii8 BRITISH VIOLIN-MAKERS 
 
 another and sometimes inconvenient sense called "conscience." 
 In all other respects Forster and Vuillaume were similar. Had 
 Forster lived amongst wiser people, that would demand Stradi- 
 vari copies, his instruments would rank beside those of Vuil- 
 laume. Forster was a "Jack of all trades" and master of 
 more than one. By turns a spinning-wheel maker, gun-stock 
 maker, cattle driver, publisher, fiddler — he could manage to 
 eke out an existence at any one of them. As a luthier he 
 rose from being a humble Cumberland repairer to the rank 
 of instrument maker to the Court. He ought to have been 
 the greatest maker of all England, and would have been but 
 for his many-sidedness and the indiscrimination of his country- 
 men. His artistic work at Brampton was confined to the 
 repairing of old instruments, and the making of an occasional 
 fiddle on the Stainer model. In 1759 he came to London, 
 and after meeting with some reverses, entered the shop of one 
 Beck, of Tower Hill, where he remained for about two years 
 making fiddles. In 1762 he set up at Duke's Court, whence 
 he removed to St. Martin's Lane. From this place he again 
 removed to 348 Strand, where he remained for the rest of his 
 days. He followed three models : (a) Stainer, {b) A. & H. 
 Amati, [c] N. Amati. 
 
 He appears to have followed Stainer exclusively from 1762 
 to 1772, but at the latter date he put aside that model never to 
 take it up again. From 1760 to 1790 the influence of Banks 
 was felt far and near, and British players were awakening to 
 the superior merits of Amati. Forster was still a young man 
 of only thirty-three, and had the better and longer half of his 
 life before him. When he turned his back on the German he 
 was in possession of his full strength and able to swim fast 
 with the flowing tide. It was not so with Duke, who had 
 less than a third of his life to live when the star of Amati 
 appeared on the horizon. Now was Forster's chance. 
 
 " There is a tide in the affairs of men, 
 Which, taken at the flood, leads on to fortune." 
 
 Forster might have reached the broad sea of artistic fame 
 had he not paused by the way. He dallied with the form of 
 
VIOLIN AND BOW MAKERS 
 
 119 
 
 A. & H. Amati, and gave up much time to musical enter- 
 prise, which, although profitable both to him and to the public, 
 kept him from looking steadily on. " Beware of the man of one 
 book " is an adage which, slightly modified, is applicable in many 
 ways. If Forster had been a man of one ideal, posterity would 
 have rewarded him by conferring upon him the title which has 
 been given to Banks. As matters stand he must rest content 
 with perhaps a third place on the list. His Stainer copies are 
 very good, but do not compare for finish and tone with, e.g., 
 the instruments of Duke. The Amati copies are much better, 
 being solid and well finished. When copying A. & H. Amati 
 he was at his best as regards workmanship, and the result shows 
 what he was capable of when at his best. But the tone of 
 these copies is rather small and glassy. One beautiful specimen 
 I have seen and tried : it was made of fine wood, with maple 
 of narrow, regular, and well-defined curl, very pretty to look 
 at, and varnished in dark, golden amber. Its principal dimen- 
 sions were : — 
 
 Length of body 
 
 Width across upper bouts . 
 „ „ middle bouts 
 „ „ lower bouts . 
 
 
 
 iSlf inc 
 
 . 5 
 4t^ » 
 
 711 . 
 
 Width of C's . 
 
 
 
 3tV ' 
 
 Length of/'s . 
 Depth of ribs at bottom 
 
 
 
 4 » 
 '1 ' 
 
 top 
 
 
 
 't\ . 
 
 His N. Amati copies are very faithful to the original, but are 
 never likely to lend themselves to the wiles of the forger. 
 The same remark applies to the tenors. The violoncellos stand 
 on an altogether higher platform. Here, delicacy of detail is 
 not so absolutely necessary as in the smaller work, and solidity 
 and rugged grandeur show to better advantage. His larger 
 work is of moderately full proportions, not usually so large as the 
 larger-sized violoncellos of Banks. But he varied his model a 
 great deal, sometimes widening the waist, sometimes flattening 
 the upper bouts, and sometimes narrowing the width all over 
 
I20 BRITISH VIOLIN-MAKERS 
 
 and lengthening the body. The tone of the violoncellos is 
 excellent, and was greatly appreciated in England previous to 
 the advent of Italian instruments. It will be appreciated still 
 more when we think it worth our while to coax the old 
 veterans out of the sullen silence into which they have been 
 obliged to retire. The world is tolerably free of fraudulent 
 Forster 'cellos. I have not seen any, but have heard of one or 
 two. No doubt there are many genuine "Forsters" still in exist- 
 ence, but quite a host of them disappeared during the latter half 
 of the nineteenth century. The average catalogue price for the 
 violoncellos from 1890 to 1900 is ^23. They will command 
 a higher figure in the near future. Those varnished dark 
 amber were preferred in the eighteenth century, but the red 
 ones are more in favour to-day. The amber ones which I 
 have seen were not so well stocked with wood as the red ones. 
 Probably the greater thickness of the latter placed them at a 
 slight disadvantage when new, which is the very reason why 
 they are the better sort to-day. I do not know that it was a 
 rule with Forster to make uniformly in this manner, and to 
 indicate the difference in thickness by a difference in the colour 
 of the varnish. I only point out that so far as my observation 
 goes it was his invariable practice. He is said to have used 
 fossil amber for the basis of his varnish towards the end of his 
 life, in the solution of which he was assisted by Delaporte, a 
 chemist. There is a close resemblance between the said varnish 
 and that manufactured until recently by the Messrs. CafiTyn of 
 London. Forster made only four double-basses, three of which 
 were for the private band of George III. Labels : — 
 
 (1) WILLIAM FORSTER, 
 
 VIOLIN MAKER, 
 IN ST MARTIN'S LANE, LONDON, 17- 
 
 (2) WILLIAM FORSTER, 
 
 VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER 
 
 I^.B. — The above instruments are made in the best manner and 
 
 finished with the original varnish ; and a copy of every 
 
 capital instrument in England may be had. 
 
VIOLIN AND BOW MAKERS 121 
 
 FORSTER, WILLIAM, London : 1 764-1 824. "Young 
 Forster," as he has been called, was the son of the great Forster. 
 He was born Jan. 7, 1764, and died July 24, 1824. H^ 
 maintained to some extent the traditions and reputation of his 
 father, but he failed (or did not try) to maintain the same 
 standard of excellence throughout. His work varies a great 
 deal ; some of it is no better than the cheapest of the modern 
 factory noise boxes, and some is fully as good as the best of 
 his father's. 
 
 Haweis says there was an erratic vein in the Forster 
 family, which in "old" Forster took the shape of "amazing 
 versatility," but in the younger members degenerated into 
 " speculative eccentricity." I prefer to think of " old " Forster 
 as a genius, and of the sons and grandsons as the offspring 
 thereof. And it is a well-nigh universal rule that the offspring 
 of genius are the shipwreck of genius. Genius, as I conceive 
 it, is the abnormal development of some particular gift or 
 faculty, with the other faculties also sufficiently strong to give 
 it support. The offspring of a genius often show the same 
 gift developed in the same abnormal degree, but they have not 
 the other powers of the mind in the necessary state of health 
 and strength to give it equilibrium ; i.e. in other words, they 
 have not sufficient ballast. Genius without the accompanying 
 staying powers of the mind is like a vessel without a helm. 
 We have the children of a dozen geniuses living amongst 
 us to-day, nearly all of whom may be recognised as the 
 sons of their fathers, but they are more or less rudderless 
 sails in a stormy sea. It has been often said that the sons 
 of great men elect to walk the quieter paths of mediocre 
 distinction out of consideration for their fathers, but this is 
 said more in charity than in sincerity. No man puts his 
 candle under a bushel without at the same time extin- 
 guishing it, and suicide is not sacrifice. I have seen one 
 or two violins by "young" Forster, which were excellent 
 as regards finish and tone, and they had his father's amber 
 oil varnish, thinly laid on and well polished. He made a 
 number of inferior instruments, some unpurfled, and with 
 
122 BRITISH VIOLIN-MAKERS 
 
 two or three coatings of a hard spirit varnish, which he let 
 out on hire. Labels : — 
 
 (1) WILLIAM FORSTER, JUN., 
 VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER 
 
 1815 
 
 (2) WILLIAM FORSTER, 
 
 VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER 
 
 TO THEIR ROYAL RICHNESSES THE PRINCE OF WALES AND 
 
 DUKE OF CUMBERLAND, LONDON 
 
 The number of the instrument, the date, and the abbrevia- 
 tion " jun." were added in handwriting. 
 
 FORSTER, WILLIAM, London: 1788-1824. He was 
 born Dec. 14, 1788, and died Oct. 8, 1824. He was a 
 pupil of his father and also of his grandfather, and his work 
 has much the same characteristics as that of the former. 
 He made only about twenty instruments bearing his own label, 
 the others were made for dealers, 
 
 FRANKLAND, , London: 1780-90. He was pro- 
 bably a pupil of one of the Forsters, and he was employed by 
 " young " Forster for some time. Ordinary work and tone. 
 No label known. 
 
 FRYER, CHARLES, London and Leeds: 1820-40. 
 He was for some time partner with W. M. Dearlove, of 
 Leeds. I have not seen any of his work. 
 
 FURBER, DAVID, London. He was a pupil of John 
 Johnson, and made similar instruments on the Stainer pattern. 
 He was the first member of this numerous family to make 
 violins. 
 
 FURBER, HENRY JOHN, London : nineteenth century. 
 Pupil of his father, John Furber. He has made many instru- 
 ments, several of which I have seen and tried. I cannot say 
 
VIOLIN AND BOW MAKERS 123 
 
 that I admire either the tone or the workmanship very much. 
 His work has been much praised in some quarters, and Hart 
 says that he has made some excellent instruments. Some 
 modern makers are much addicted to what may be termed 
 " class work " ; i.e., they turn out instruments of various 
 qualities, which they arrange according to merit into class 
 A, B, C, &:c. I think this is much to be deprecated. Every 
 artist ought always to be at his best, and, so far as his mate- 
 rial will allow, should turn out work of uniform excellence. 
 Perhaps it has been my fortune to see only the third-rate 
 work of this Furber. 
 
 FURBER, JAMES, London. Eldest son of the elder 
 Matthew Furber. I have never seen any of his work, and am 
 not sure that he was an actual maker. 
 
 FURBER, JOHN, London: about 1810-45. He was 
 the third son of Matthew Furber, sen., and a pupil of his 
 father and John Betts. He made a large number of instru- 
 ments on the grand Amati pattern, and some copies of the 
 " Betts " Stradivari, when that famous masterpiece was in the 
 possession of Betts. His work is excellent in every respect. I 
 quite recently saw one of these copies, and I must say that I 
 considered it a superb example of the copyist's art. The wood 
 of the back was of a broad " flame," with the curl slanting 
 nearly at right angles to the longitudinal axis in the direction 
 of the lower end of the instrument. The varnish was golden 
 red, mellow, tender, and not too thickly laid on. The tone 
 was clear and penetrating, and very fine on the two inner 
 strings. The only part of the work which might be considered 
 to be lacking in depth of feeling was the scroll, which was not 
 quite in the spirit of the master, being somewhat stiff and 
 over masculine. His Amati copies are considerably modified 
 in many instances, and some of them are rather deeply grooved 
 and highly arched, but the tone is almost invariably clear and 
 penetrating. His best violins realise as much as ^^"20 to-day, 
 and they will sell at a still higher figure in years to come. 
 Furber worked for J. Betts at the Royal Exchange, and many 
 
124 BRITISH VIOLIN-MAKERS 
 
 of the fine instruments which bear Betts' label. His own label 
 
 JOHN FURBER, MAKER, 
 
 13 ST. JOHN'S ROW, TOP OF BRICK LANE, 
 
 OLD ST., SAINT LUKE, 1839 
 
 FURBER, MATTHEW, London: 1730-90. He was 
 the son and pupil of David Furber. Very little of his work is 
 known. He died in 1790, and was buried in Clerkenwell 
 Churchyard. 
 
 FURBER, MATTHEW, London: 1 780-1 831. Son 
 and pupil of the preceding. His violins are often advertised 
 in catalogues of old instruments, but I do not remember having 
 even seen any of them. He was buried in the same church- 
 yard as his father. 
 
 GARDEN, JAMES, Edinburgh, contemporary. An 
 amateur, who has only made a few violins. 
 
 GIBBS, JAMES, London: 1800-45. It is not certain 
 that he made any instruments on his own account, but he 
 worked for J. Morrison, G. Corsby, and S. Gilkes. 
 
 GILBERT, JEFFERY JAMES, Peterborough, con- 
 temporary. He is the son of JefiFery and Eleanor Langley 
 Gilbert, and was born in New Romney on Aug. 16, 1850. 
 He is the direct representative of an old Kentish family, one of 
 the most notable members of which, in recent times, was Sir 
 JefFery Gilbert, whom the learned in the law described as " the 
 accomplished exchequer baron." He received private tuition 
 till he was about twelve years of age, after which he spent some 
 years at the Crockley Green Grammar School, which was then 
 under the mastership of Mr. Thomas Dalby. Mr. Gilbert is 
 one of the leading makers of modern times, and his workman- 
 ship, varnish, and tone give him a place amongst the very 
 select few of the innermost circle of present day makers. 
 
^^ ^^ ^Q 
 
 4 
 
 L 
 
 ■^. 
 
 1 
 
VIOLIN AND BOW MAKERS 125 
 
 Although he has always been of an artistic and musical 
 turn of mind, he was more than twenty years of age before 
 he had any kindly feelings for the violin in particular. 
 Having once caught the infection he was soon in the firm 
 grip of the fiddle " disease." His father in his own early days 
 was an enthusiastic amateur player and maker, and from him 
 he seems to have inherited the practical side of his character. 
 He commenced his early studies quite unaided, as his father 
 did all he could to discourage the budding "Stradivari," 
 intending him for another career ; and, living as he was in 
 a small isolated town, there were no opportunities of gaining 
 any knowledge whatever upon the subject. 
 
 The purely mechanical part of the work never presented 
 any great difficulty to his hand and eye, but he was not long 
 in recognising the fact that it required something more than 
 an expert use of carving tools to create a masterpiece in tone, 
 and especially was the difficulty of an approximate repro- 
 duction of the fine old varnishes realised by him. About 
 this time he made the acquaintance of several connoisseurs in 
 London, notably that of the late Charles Reade, the late 
 George Hart, Mr. Horace Petherick, Dr. John Day, and 
 George Withers, all of whom took a kindly interest in his 
 work, and from time to time gave him useful hints. Mr. 
 Reade was especially interested in his varnish studies, and on 
 the eve of his last departure for the Continent, a short time 
 before his death, had a long chat with him on the " mysteries " 
 of old Cremona. It was at this final parting that Reade 
 spoke to him the cheery words, " Go on, Mr. Gilbert, do not 
 get discouraged, I am sure you will succeed in the end." 
 This was in allusion to the varnish problem. 
 
 In 1876, Mr. Gilbert was married to Miss Lily White, 
 in St. John's Church, Peterborough. He has six children, 
 named Jeffery Francis White, Charles Clement, Catharine 
 Eleanor, Leslie Baker, Kate Julia, and Frederick William. 
 
 Up to date, Mr. Gilbert has made 166 instruments, 
 comprising six 'cellos, thirty violas and viola altas, and the 
 remainder violins. His aim has always been quality, and not 
 
126 
 
 BRITISH VIOLIN-MAKERS 
 
 quantity, and he carefully studies each instrument during its 
 construction. 
 
 His models have varied from time to time, and are 
 original, w^ithout being vagaries on the one hand or slavish 
 copies on the other. 
 
 The measurements of the two violin models, of distinctly 
 different outline, from w^hich he is at present working, are 
 as follows : — 
 
 (a) Length of body .... 
 
 . 14 inc 
 
 les. 
 
 Width of upper bouts . 
 
 . 6| 
 
 
 „ middle bouts 
 
 . . 4l 
 
 
 „ lower bouts . 
 
 . 8 
 
 
 rWidth of ribs at bottom 
 
 \ Gradually diminishing at top to 
 
 ■ ^l 
 
 
 • ItV 
 
 
 (b) Length of body . 
 
 . 14 
 
 
 Width of upper bouts . 
 
 . 6| 
 
 
 „ middle bouts . 
 
 • 4i 
 
 
 „ lower bouts . 
 
 . Si 
 
 
 Ribs same as above. 
 
 
 Model {a) is shown in the accompanying illustration. 
 
 The sound-holes are the same in both models. 
 
 and are 
 
 Sxff in. long. 
 
 
 The measurements of the viola model are : — 
 
 
 Length of body i6 inches. 
 
 Width of upper bouts . 
 
 • . 7t 
 
 
 „ middle bouts 
 
 . . 5i 
 
 
 ,, lower bouts 
 
 . 9 
 
 
 Ribs at bottom .... 
 
 . li 
 
 
 „ top . 
 
 . . If 
 
 
 and those of the viola alta : — 
 
 
 Length of body 17 inches. 
 
 Width of upper bouts 8| 
 
 )> 
 
 „ middle bouts . . . . 5^ 
 
 »> 
 
 „ lower bouts . 
 
 . . 9* 
 
 >' 
 
 Depth of ribs J^ in. more all over than in those of viola. 
 The length of sound-holes is identical in both violas and 
 viola altas, and is 3^ in. 
 
VIOLIN BV JKFFERV j. GILBERT, PETERBOROUGH 
 
 {Fecit 1903) 
 
VIOLIN AND BOW MAKERS 127 
 
 His 'cello model is also an original one, and the measure- 
 ments are : — 
 
 Length of body . . . . 
 
 . 29! inches 
 
 Width of upper bouts . 
 
 • 13! » 
 
 „ middle bouts 
 
 . 9l » 
 
 „ lower bouts . 
 
 . . 17I ., 
 
 Depth of ribs .... 
 
 4T(y " 
 
 Length of sound-holes 
 
 • SU " 
 
 The outline of Mr. Gilbert's instruments is very beautiful, 
 and the curves are as graceful as it is possible for curves to be. 
 The violin scroll is in the best Italian style. The w^idth 
 from boss-edge to boss-edge is i^ in. The depth of the 
 peg-box at the deepest part is if in., diminishing to \^ at 
 the throat. 
 
 The scollop is nicely rounded, and projects sufficiently to 
 produce piquancy of expression. The curves of the volute 
 are most delicately scooped at the base, and the flutes at the 
 back of the box give the correct balance in lines of subdued 
 boldness. The button is nearly semi-circular, strong, and in 
 keeping with the contour. The edges are fairly full, not 
 exactly rounded nor yet raised, but turned in a manner that 
 emphasises the extreme outline of the fiddle. The margin 
 was exactly ^ in. wide in the specimens examined by me, 
 and the purfling, which was inlaid beautifully, -^ in. wide. 
 The sound-holes are a masterly conception. In outline they 
 are all but identical with those of Strad ; but not in inclina- 
 tion. The notch is a most interesting detail — I have never 
 seen it made so artistically by any other luthier, whether 
 classical or post-classical. The hollowing out of the lower 
 lip (or wing) is also a noticeable feature, and is in the best 
 Stradivarian style. 
 
 The varnish is luscious, brilliant, and transparent. Colours : 
 amber, dark amber, light brown, very dark brown, light red, 
 and deep rich red. In the last-mentioned colour the varnish 
 is of surpassing beauty and excellence. It is beautiful in all 
 the colours, but in describing the deep red, " beautiful " and 
 such-like adjectives are not quite good enough. The varnish 
 
128 BRITISH VIOLIN-MAKERS 
 
 is, of course, an oil one — not " linseed or any other heavy oil, 
 which destroy all that is good in colour, delicacy, and bril- 
 liancy " — so Mr. Gilbert informs me. The wood is always 
 acoustically perfect and very handsome. It is mostly cut 
 sur maille^ though I have seen one specimen in which both 
 tables were whole. 
 
 The tone is large, clear, and bell-like, and with age and 
 careful use will develop, no doubt, qualities that may be con- 
 sidered in their sum total as a just combination of the sweetness 
 of Amati and the power of Guarneri. 
 
 All the work is personal, and the instruments are numbered 
 consecutively as they are finished, both upon the base of the 
 neck (under the finger-board) and inside on the face of the top 
 block. They have also in addition to the label the artist's 
 autograph on the back. 
 
 The prices are : — 
 
 Violins 25 guineas. 
 
 Violas ....... „ 
 
 'Cellos from . . . . . . 45 „ 
 
 Mr. Gilbert's instruments have gained the following 
 awards: — "International Exhibition," Crystal Palace, 1884, 
 Silver Medal (highest award) ; " International Inventions 
 Exhibition," London, 1885, Silver Medal; "International 
 Exhibition," Edinburgh, 1890, Gold Medal. 
 
 Facsimile label : — 
 
 Jelfer/J.GilbertPeterborougK 
 Fecit- Anno mdcccxcix. 
 
 The label is printed on cartridge paper from an engraved 
 block. 
 
 GILCHRIST, JAMES, Glasgow : 1832-94. An amateur 
 maker, who was by trade a philosophical instrument maker. 
 He made eighty-six stringed instruments of every description. 
 
VIOLIN AND BOW MAKERS 129 
 
 The workmanship is very fair, but the work as a whole lacks 
 individuality, and the tone is of a poor quality. Label : — 
 
 JAMES GILCHRIST, 
 GLASGOW, 1892 
 
 GILKES, SAMUEL, London: 1787-1827. He was 
 born at Morton Pinkney, Northamptonshire, and died Nov. 
 1827. His work has been greatly praised by competent 
 judges, and fully deserves to be. He died a comparatively 
 young man, just as he was beginning to give the world the first- 
 fruit of ripened talent. He started work on his own account 
 in 18 10, and for the next ten years he followed the lines of 
 Charles Harris. The chief fault of his model of this period is 
 that it is a copy of a copy. Many modern makers commit 
 the same error, and we have to-day in the work of some 
 amateurs copies that are removed from the original to the fifth 
 or sixth degree. This is much to be deplored, as something 
 is lost at each remove, and the result in the long run becomes 
 a caricature. Originality pure and simple is quite a different 
 thing, as in such a case the powers of the mind are unfettered 
 and allowed free display. From 1820 on his work shows 
 improvement in style, and his Amati and Stradivari copies of 
 this period are excellent. He had probably had opportunity 
 about the year 1 820 of seeing and closely examining genuine 
 Amati and Stradivari (grand) violins. The characteristics of 
 his early Amati work are : a rather pronounced arching, 
 narrow margins, a somewhat top-heavy scroll, and a very 
 weak button ; and of the early Strad copies, rather gaping 
 sound-holes, narrow margins, with a leaning towards the 
 Amati arching, especially between the inner bouts, where 
 there is also a decided groove between the sound-holes and 
 the edge. These defects are nearly altogether eliminated in 
 his latest and best work. The scroll of a Stradivari copy 
 which I saw quite recently was thoroughly Italian in character, 
 and the sound-holes beautifully cut and not too wide. The 
 outline was pure and the arching very graceful. The wood 
 of the back was cut on the quarter, with a curl of regular 
 
130 BRITISH VIOLIN-MAKERS 
 
 and medium width, and the pine was of close grain. The 
 varnish was golden brown in colour, of a good quality and per- 
 fectly transparent. The tone was clear, bright, and mellow. It 
 is a great pity Gilkes did not live another twenty years, because 
 it is quite evident that he had just begun on a period of activity 
 in production and accuracy of model. He was the pupil of 
 his relative Charles Harris, and he worked for a few years 
 with William Forster. Label : — 
 
 GILKES, 
 
 FROM FORSTER'S, 
 
 VIOLIN AMD VIOLOMCELLO MAKER, 
 
 34 JAMES STREET, BUCKINGHAM GATE, 
 
 WESTMINSTER 
 
 GILKES, WILLIAM, London: 1811-75. He was a 
 pupil of his father, and succeeded to his business in James 
 Street, which he later removed to Dartmouth Street. He 
 made many double-basses and other instruments, which are of 
 ordinary workmanship and tone. 
 
 GINTON, R., Cork, contemporary. An amateur maker, 
 who has made a few violins of good workmanship and 
 tone. 
 
 GIRVAN, THOMAS, Edinburgh, contemporary. He 
 was born in 1849, and commenced to make violins about thirty 
 years ago. Average work and tone. Label : — 
 
 THOMAS GIRVAN, 
 
 EDINBURGH, 
 
 1870 
 
 GLENDAY, JAMES, Padanaram : nineteenth century. 
 Very indifferent work. 
 
 GLENISTER, WILLIAM, London, contemporary. 
 He was born on May 16, 1850, at Chenies, Bucks, and 
 
VIOLIN AND BOW MAKERS 131 
 
 resides now at 23 Beak Street, Regent Street, W. The 
 early years of his life were spent at Watford, Herts, the family 
 having removed there when he was three years of age. His 
 father was a gardener by occupation, and young Glenister 
 also became a gardener on his leaving school, which was at a 
 very early age. He remained among the " flowers, fruits, and 
 trees " till he was twenty-two, when an opening occurred and 
 was offered him in the corn trade. He availed himself of the 
 opportunity, and he has followed that trade ever since, he 
 being now manager of the firm into which he came twenty- 
 seven years ago as apprentice. 
 
 It will thus be seen that Mr. Glenister belongs to that 
 class of makers which is termed "amateur"; but he is an 
 amateur in the best and in the original sense of the term. 
 The hobby is to him in very truth a labour of love. The 
 born artist is visible in every line and curve of his beautiful 
 productions. And here it may be remarked that the man 
 whom nature has meant for an artist is certain to exert the 
 force of his personality, be he habited in the guise of an 
 amateur or in that of a professional. The difference between 
 the two classes is not always one of kind, nor of degree, but 
 of sentiment. There is a certain coterie of writers in our 
 midst to-day, who ever pronounces its anathema upon 
 anything by an amateur ; it cries — " professional ! " and 
 professional must the work be, or nothing. The cry is much 
 on a par with that of old, " Aut Casar^ out nullu$r 
 
 Not very long after he entered the corn trade, i.e. on July 
 3, 1875, Mr. Glenister was married to Jane, daughter of Mr. 
 J. E. Chambers, of Stanstead, Kent, at Willesden Parish 
 Church, Middlesex. In business, he is described as a gentle- 
 man actuated by the highest principles ; and in the home, as 
 the embodiment of amiability and gentleness. 
 
 Mr. Glenister works on the lines of Strad, Guarnerius, 
 and N. Amati, but his "divinity" is the greatest of these 
 three, and his prototype the great "Tuscan." His first 
 fiddle was made in 1888, and was the result of a careful study 
 of the masterly work of Mr. Ed. Heron-Allen. Since that 
 
132 BRITISH VIOLIN-MAKERS 
 
 date he has produced sixty violins and one 'cello. All these, 
 with the exception of the first three or four, are fine in- 
 struments. The mere mechanical part of the work never 
 offered much trouble to Mr. Glenister, for he ever had an 
 aptitude for making little articles in wood. 
 
 The outline of the Strad copies is exactly that of the 
 "Tuscan," and the measurements are the maestro' s to the 
 «th. The model is a trifle flatter and more extended towards 
 the margins, after the style of Maggini. The scroll is bold 
 and masculine. The button is rounded, graceful, and lies 
 evenly with the plane of the instrument. The sound-holes 
 are a slight modification of those of Strad, and placed a shade 
 nearer the edge. They are in perfect keeping, however, with 
 the outline, and the effect, arising from their position and 
 inclination in the subdued arching, is highly artistic. The 
 purfling is inlaid perfectly and without a tremor. The back 
 of one specimen examined by me was whole, the curl running 
 at an angle of thirty degrees to the long axis, i.e. in the lower 
 alternate angle of the left side. The " flame " was vivid and 
 fairly broad. In another it was cut sur maille^ with the curl 
 running " buttonwise." The pine was of close, even grain, 
 and of excellent tonal qualities. Some of Mr. Glenister''s best 
 pine has been obtained from an old house in Beak Street, and 
 although it is old and well past the age at which shrinking 
 may be supposed to cease, still he leaves his plates thick and 
 solid. 
 
 Mr. Glenister used Whitelaw's varnish on his first efforts, 
 and also Caffyn's ; but now he uses a varnish made by Mr. 
 Urquhart, of Derby Street, Mayfair. This varnish gives 
 highly satisfactory results. It is brilliant, transparent, and 
 lasting. It does not chip, and it is tough and elastic. It has 
 that undefinable, unctuous something about it, which is not 
 seen every day in varnish except when you are in the goodly 
 fellowship of the holy Cremonese. It is an oil amber one, 
 and made in all the usual colours. Mr. Glenister uses, 
 almost without exception, the golden brown, and the golden 
 red. 
 
VIOLIN AND BOW MAKERS 133 
 
 The tone is not a large one, but it has splendid qualities ; 
 it is delicate, sensitive, and sweet. Facsimile label : — 
 
 ir-^<^ 
 
 /Sff 
 
 
 GLOAG, JOHN, Galston, contemporary. He was born 
 Oct. 24, 1853, in the parish of Riccarton, Ayrshire. His 
 father removed from there to Ashby-de-la-Zouch, in Leicester- 
 shire, and Gloag was educated at the Ashby Grammar School. 
 Later, the family removed to Galston, where he was apprenticed 
 to a joiner, and he is now employed as estate joiner on the 
 Loudoun estate. All his spare time is devoted to his beloved 
 hobby — violin-making — and he turns out splendid work, both 
 as regards finish and tone. He follows the Stradivari model 
 as shown and described in " Violin-making, as it Was and Is," 
 and he has latterly made several instruments on an original 
 model. He uses Whitelaw's varnish; colour, dark-amber 
 yellow. He obtained the first prize for a case of violins at 
 an industrial exhibition held at Darvel. Price of violins, ^^5. 
 Facsimile label : — 
 
 GOODMAN, JAMES, Brentford, contemporary. I have 
 not seen any of his work, and do not know whether he works 
 as a professional or as an amateur maker. 
 
 GORRIE, J., , contemporary. I know nothing of 
 
 him or of his work. 
 
134 BRITISH VIOLIN-MAKERS 
 
 GOUGH, JOHN, Leeds : about 1820. He worked for 
 Mark William Dearlove. 
 
 GOUGH, WALTER, Leeds: about 1800-30. Indif- 
 ferent work and tone. 
 
 GOULDING, , London : about 1790. 
 
 GRAY, JOHN, Fochabers : 1860-75. He did not make 
 many instruments. 
 
 GREGSON, ROBERT, Blackburn, contemporary. He 
 was born at Whiteberk, near Blackburn, on June 3, 1871. 
 He commenced work as a professional maker in 1898, and his 
 first instruments were very indifferent in workmanship and 
 tone, but he has improved very rapidly, and ought to reach 
 a fair standard of excellence. His one mistake is that he does 
 not copy anybody. If a violin-maker is not endowed with the 
 powers of originality in a high degree, he should not attempt 
 to cut out a path for himself, and even when he feels conscious 
 of rare gifts within, he should devote some years to the exact 
 and careful copying of some old master. Talents must be fed 
 and pruned like fruit-trees in an orchard. Gregson is impatient 
 of detail. The more conspicuous parts cf the instrument are 
 carefully handled, but there is a disregard for purity of outline 
 and clean inlaying of the purfle. Sec. However, Gregson is a 
 beginner, and may with severe application rectify these errors 
 and become an excellent workman. The tone of the last 
 violin which he made is very good. Facsimile label : — 
 
 EOBKRT GHKGSOK, 
 
 BLACKBURN. 
 ANNO /qJO* 
 
VIOLIN AND BOW MAKERS 135 
 
 H 
 
 HALL, WILLIAM H., Oldham, contemporary. He 
 works at 78 Morris Street, Glodwick, Oldham. He is a good 
 maker, who uses splendid material and varnish. He follows 
 the Stradivari, Guarneri, and Amati models. The tone is not 
 large, but it is bright, responsive, and sweet. 
 
 HAMBLETON, JOSEPH, Salford, 1854. I have not 
 seen any of his work, but it is said to be of average 
 
 HAMILTON, WILLIAM, Uddingston, contemporary. 
 An amateur maker who has made some first-class instruments. 
 He was born at Anderston, Glasgow, May 5, 1861, and is by 
 profession a consulting engineer. He spent some time in a 
 pattern shop, where he was trained in the use of wood-working 
 tools. 
 
 A copy of Gasparo da Salo by him is one of the finest 
 examples of the copyist's art that I have seen — certainly it is 
 the finest Gasparo copy that I have ever examined. The 
 wood in the back of this instrument is superb ; the curl being 
 of medium width and of mathematical regularity. The varnish 
 is an oil one; colour, golden orange. The tone is exceedingly 
 powerful, rich, and free. 
 
 Another instrument by him was on an original model, 
 which rather exaggerated the proportions of the Brescian 
 model, and was altogether too large, the length being 14I in. ; 
 width across upper bouts 6| in., and across lower bouts 8f in. 
 The tone was not correspondingly large ; on the other hand, 
 it was of a nasal, viola-like quality, and did not carry. The 
 workmanship is faultless, and careful attention is paid to the 
 minutest detail. The maker should confine his attention to 
 the Gasparo model, as he is evidently in sincere and deep 
 sympathy with it, and shows a better hand at it than any 
 maker does that I am acquainted with. He uses no label, but 
 
136 BRITISH VIOLIN-MAKERS 
 
 has written across the back his autograph, name of town, and 
 date. The following is a facsimile of the inscription : — 
 
 HAMILTON, W. R. T., Edinburgh, contemporary. 
 I know nothing of his work. 
 
 HANDLEY, HENRY, Worcester, contemporary. He 
 was born in 1839. He began to make professionally in 1886, 
 and up to the present he has made about eighty violins, violas, 
 and violoncellos. He follows the model of a Guarnerius 
 violin of the date of 17 15, and the workmanship is good and 
 careful all over. The wood is carefully selected, and the 
 varnish is Whitelaw's " Amati " colour. The tone has none 
 of the Joseph characteristics ; it is moderately powerful and 
 fairly clear and responsive. The plates are left thickly 
 wooded, and the tone will probably be much better when 
 age and use have done their work. Facsimile label : — 
 
 HARBOUR, , London: 1780-90. Inferior work. 
 
 He lived at Duke Street, Lincoln's Inn, and later at South- 
 ampton Buildings, Holborn. 
 
 HARDIE, ALEXANDER, Maxwelltown : 1797-1855. 
 He did not make very many violins, but the few that are 
 left show that he was skilful, and that he could have excelled 
 if he had devoted all his time to the art. 
 
VIOLIN AND BOW MAKERS 137 
 
 HARDIE, ALEXANDER, Galashiels : 181 1-90. Many 
 violins on his father's model— the Hardie previously men- 
 tioned — which is a sort of compromise betw^een the models 
 of Amati and Stainer. Both workmanship and tone are of 
 mediocre quality. 
 
 HARDIE, JAMES, Edinburgh : 1800-56. This Hardie 
 was not related to any of the other Hardies, or to the maker 
 of that name now living. His models resemble those of 
 Matt. Hardie, i.e. they are on the lines of N. Amati and 
 Stradivari, but they can hardly be termed copies. The work- 
 manship and tone are excellent. Label : — 
 
 JAMES HARDIE, FECIT, 
 EDINBURGH, 1841 
 
 HARDIE, JAMES (and Son), Edinburgh, contemporary. 
 He was born at Aquhedley, in the Parish of Ellon, Aberdeen- 
 shire, on Jan. i, 1836 — not in 1837, as stated in some bio- 
 graphical dictionaries. He is the son of William and Mary 
 Hardie, and is one of thirteen children — seven sons and six 
 daughters. His mother's maiden name was Strachan, and she 
 belonged to Drumnagarrow, Aberdeenshire. She is still alive, 
 and considerably over ninety years of age. Hardie received 
 his education at the Methlic Public School, and in the 
 Normal College, Edinburgh. 
 
 He commenced his first instrument, a violoncello, when 
 nine years old ; it was a copy of an instrument belonging to 
 his father, and he made it throughout, except the pegs. This 
 was an exceptionally early age at which to take up the gouge 
 and calipers ; but the real period of work commenced when 
 he was fifteen, at which age he began to work under his 
 grandfather's instructions at Dunkeld. 
 
 On January 23, 1862, he was married to Miss Elsie 
 Milne Davidson, at Methlic. From this union there has 
 sprung a progeny of thirteen, named in order as follows : — 
 Elsie, James, Elsie, William, Mary, Isabella, Mary, William, 
 Alfred, Charles, Isabella, Evelyn, and Maud. Of these, six 
 
138 BRITISH VIOLIN-MAKERS 
 
 died in infancy. This accounts for several of the names 
 being the same. 
 
 The eldest son, James, who was an excellent violin 
 player, and a leader in the Theatre Royal, Edinburgh, died 
 on April 6, 1898. From the age of fifteen down to the 
 present, Hardie has been constantly at work. He is a prolific 
 maker, and has, according to the strictest account, produced 
 well over two thousand fiddles. He has made himself a 
 goodly number of violoncellos and double-basses. All the 
 work is personal. His sons assist him in minor matters, such 
 as regulating, stringing up, &c., but not in actual making. 
 Mr. William Hardie, however, has made one violin. Out of 
 the two thousand and odd violins made by Hardie, a propor- 
 tion of about twenty per cent., i.e. something like two hundred, 
 are superior instruments, and reach a high standard of excel- 
 lence. Many of these, it may be stated without exaggeration, 
 are simply beautiful, and will certainly add lustre to the fame 
 of Scotland's makers. The material used in them is of the 
 finest quality — chosen more for its acoustic properties than 
 for its artistic appearance. The varnish is very fine, having 
 for its basis fossil amber. It varies in colour from rich golden 
 yellow to red and ruby, but is more successful in the golden 
 yellow than in the other tints. 
 
 He commenced to use amber oil varnish in 1869 — ^just 
 nine years after the first experiments of Dr. George Dickson, 
 whatever may be the significance of the fact. I borrow the 
 statement from Mr. W. C. Honeyman that Mr. Hardie is 
 largely indebted to the Doctor for his initiation into the jxvcr- 
 rr^pia of the method of dissolving amber. Certain it is, how- 
 ever, that Hardie makes, and always has made, his own varnish, 
 Hardie follows the Stradivari, Guarneri, and Maggini 
 models, but has a decided preference for the last named. 
 His measurements are those of the great Brescian, but he 
 varies in the thicknesses according to the density of his wood. 
 All his instruments on the Maggini model are double purfled. 
 This fact will help the average connoisseur to detect forgeries. 
 It is curious that two series of forgeries of a diametrically 
 opposite character have been perpetrated in connection with 
 
VIOLIN AND BOW MAKERS 
 
 139 
 
 Hardie's name. One is recorded by Mr. Honeyman in his 
 sketches in the People's Friend. It is this : several of Hardie's 
 cheaper instruments — "pot-boilers" in fact — were purchased 
 some years ago by a certain individual and labelled " Panormo " 
 and " Fendt," and then sold in auction rooms. 
 
 The other is still more flattering to Hardie. A certain 
 maker (personally known to the author), of mediocre attain- 
 ments, possessed a fine Hardie fiddle (Maggini model) and 
 made a number of copies of it. He varnished them with a 
 poor oil varnish in glaring yellow, fitted them up, inserted a 
 forged Hardie ticket, and got rid of them at the pawnbrokers. 
 Some of these were sold afterwards for considerable sums. I 
 know the locale of three of these counterfeit " Hardies " at the 
 present moment. It has often amused me to watch their role 
 in the little masquerade they carry on. One changed hands 
 recently for_^i2. These " Hardie-Maggini " forgeries are, it 
 should be noted, single purfled. Aliquando bonus dormitat Homerus. 
 
 Hardie's wood is excellent, and his tone is large, rich, and 
 telling. He succeeds well in producing the Maggini tone, 
 and, no doubt, when his violins have been well used, the tone 
 will have the copious " tears " of the Brescian maestro. His 
 prices range from ^^3 to ;^20. 
 
 He has exhibited on several occasions. At the Edinburgh 
 International Exhibition in 1886 he gained a bronze medal; 
 at the Glasgow Exhibition in 1886-87 an honourable mention ; 
 and at the International Exhibition, Edinburgh, in 1890, a 
 gold medal. An Exhibition prize violin is shown in the 
 illustration. Facsimile label : — 
 
 James 1bart)ie 6^ Sons, 
 
 VIOLIN MAKERS. 
 
 lEOlnburob. 
 
I40 BRITISH VIOLIN-MAKERS 
 
 HARDIE, MATTHEW, Edinburgh : 1 755-1 826. He 
 was born in Edinburgh in the year 1755, died in St. 
 Cuthbert's Poorhouse, Aug. 30, 1826, and was buried in 
 Greyfriars' Churchyard. His work is excellent, and deserves 
 much more attention than has been given it by English con- 
 noisseurs and writers. All English writers on the violin assert 
 that Hardie copied N. Amati, a fact which is denied by Mr. 
 Honeyman, who says that he copied Stradivari. Dogma 
 should be based on truth. There is such a thing as a logical 
 principle of contradiction — a thing cannot both be and not be 
 at the same time. The truth is, Matthew Hardie copied 
 both Amati and Stradivari, and it is so self-evident that I am 
 astounded that any one who undertakes to write on the sub- 
 ject should be ignorant of it. I have both seen and handled 
 genuine examples of his art, some of which were on the 
 Amati and some on the Stradivari model. So far as my 
 experience goes, Hardie made about as many copies of the one 
 as he did of the other. Except as regards varnish, his Amati 
 copies will compare very favourably with the best work of 
 Benjamin Banks. His tone is decidedly larger than that of 
 Banks, but what it gains in quantity it often loses in quality. 
 He was a prolific maker, and his fame must have spread far and 
 near in his own day, since there were numerous instruments 
 of his make to be found in the south of England, and some 
 even in South Wales and the west of Ireland, so long ago as 
 the early part of last century. One beautiful violin on the 
 Amati model was for over fifty years in the possession of the 
 Barham family, Trecwn, in far-away Pembrokeshire. The 
 old squire of Trecwn bought it somewhere about 1830 of 
 one of his tenants, a Mr. Campbell, who hailed from Scotland. 
 In 1880 the last member of the Barham family died, and the 
 beautiful old " Hardie " disappeared. I played on this fiddle 
 more than once, and have a vivid recollection of its clear, 
 responsive Maggini-like tone. The Hardies have a sort of 
 traditional bias towards the Maggini tone. In my time, in 
 the capacity of expert, I have examined about thirty of the 
 violins of this maker, the majority of which, so far as my 
 
.\i-.-r()Xi:u \-ioLiN liv ma-j-iiii:w iiaruie 
 
 (/•■<r/7 18031 
 
VIOLIN AND BOW MAKERS 141 
 
 recollection goes, were on the grand Amati model. What 
 particularly struck me was the indisputable evidence produced 
 in each case as to the pedigree of the instrument, showing 
 that the purchase was made by a deceased member of the 
 family of the owner, either from the maker himself, or from 
 some one else during the lifetime of the maker. It proved, as 
 already stated, that Hardie's fame had reached to the far limits 
 of the British Isles before he had laid down his tools. I doubt 
 whether the fame of Banks, Forster, or Duke had spread so 
 far in their own lifetime. It is not just, therefore, on the 
 part of English authors to ignore this remarkable man's work. 
 Hart, Haweis, and one or two more animadvert rather severely 
 on the sins of omission of continental writers, forgetful of the 
 fact that they themselves do scant justice to Scottish makers 
 of renown. Scotland has produced quite an army of fiddle- 
 makers, some of whom have left us examples of their art that 
 will in many respects vie with our classical chefs cfoeuvre. 
 Had the early Hardies, M'George, Stirrat, &c., been more 
 fortunate in the production of varnish, much of their work 
 would be equal to the best work of English makers. 
 
 Matthew Hardie made no attempt at originality : he did 
 his best to copy faithfully, but he was original in spite of 
 himself. The principal measurements are generally in strict 
 keeping with the original, but the stringency of figures does 
 not imprison the personality of the man. When there is a 
 strict watch set over self in the definition of the outline, 
 individuality bursts the bonds in sunder and runs up the sides 
 of the arch, only to sit down there and laugh at the man with 
 the gouge. The sound-holes of the Amati copies are note- 
 worthy. Here the truth of the foregoing remarks will become 
 evident to any one who makes a close examination of the 
 work. The sound-holes of N. Amati are artistic and quiet ; 
 they are always so cut and set in the table as not to call 
 attention to themselves. Hardie's sound-holes are artistic 
 enough, but they arrest one's attention, and speak to the eye 
 with a sort of mute humour. 
 
 I had always imagined old Matt. Hardie to be a strange 
 mixture of veneration and irony even before I had read a line 
 
142 BRITISH VIOLIN-MAKERS 
 
 about him. His life is written in his work. Look at his 
 Strad copies ! The strong plates, the correct outline, and the 
 graceful arching are evidence of a mind that was prostrate at 
 the feet of the gods, but the saucy corners, and the up-tossed 
 head betray something very akin to cynicism. 
 
 We have a parallel in the world of letters. Shelley, the 
 poet, was an iconoclast in his calmer moments, but he prayed 
 earnestly to the Deity in an Alpine thunderstorm. The only 
 difference is that the proportion of veneration and cynicism is 
 reversed. It is said that Hardie made many cheap instruments 
 of poor wood, with imitation purfling, in his early days. It is 
 quite possible, though I have never seen any poor instruments 
 of his make. Most great makers have turned out indifferent 
 work at one period or another of their life. Art is very much 
 the creature of circumstances, and bears her dignity according 
 as these smile or frown. There are artists living among us 
 to-day who are capable of great things, but who are too poor 
 to buy timber for the fashioning of their idols. They may 
 see the god in the tree, as Michael Angelo saw his " David " 
 in the rough slab of marble, but neither the right tree nor the 
 right stone is always to be had for the asking. Hardie was 
 evidently badly off for timber at more than one period of his 
 life, if the story of the nail-marked wood be true. There is 
 nothing very artistic about nail-holes, and little of value about 
 weather-beaten, half-rotten paling slabs to make them desirable 
 for fiddle-wood. Many, perhaps the majority, of Hardie's 
 backs are very plain, but I have seen a few with exceedingly 
 handsome and well-marked wood, cut so that the curl ran at 
 a moderate inclination [vide illustration). The button is 
 usually rather longer and more oval than the buttons 
 of Amati or Stradivari. The sound-holes in the Stradivari 
 copies are a trifle short ; the exact length in a specimen 
 recently examined by me being 2\l in. The holes also did 
 not recline so much, and the distance between them at the 
 upper turns was about if in. His margins are moderately 
 full, but the edges are not always so strong as they should be. 
 The modern taste has improved upon the classical practice in 
 respect to the edges. Nowadays, in high-class work, the 
 
VIOLIN AND BOW MAKERS 143 
 
 edges are left stronger and withal delicately rounded — a 
 custom which is much to be commended from the point of 
 view of utility, and not to be deprecated artistically. Hardie's 
 varnish is a spirit one, thinly laid on ; the colour is yellow — 
 dark yellow to yellowish-brown. The basis is probably nothing 
 more than gamboge, or gamboge and aloes, which in process of 
 time is oxidised almost black, according to the nature of the 
 menstrua and the method of application. Hardie's tone is 
 good, even in his inferior instruments, and beautiful in his 
 best. The inner strings are full and mellow, and the first 
 string is sweet and silvery. The tone has a lingering echo 
 which is pathetic and appealing. 
 
 Hardie was an enthusiast in his art, and his enthusiasm 
 was of the contagious sort. Quite a coterie of cultured men 
 gathered around him, who became infected with the fiddle- 
 making fever. Among them were Peter Hardie, of Dunkeld, 
 his cousin and a student at the Edinburgh University, David 
 Stirrat, John Blair, George M'George, Alexander Yoole the 
 solicitor, and others. Matthew Hardie was himself an 
 educated man, and his society was sought by these men as 
 much on account of his refined wit as on account of his fiddle 
 lore. Many a congenial hour did these men of like passions 
 pass together in the atelier in Low Calton. What a pity the 
 sympathetic brush of Sir Joshua was not there to trace on 
 canvas those faces radiant with the joy of the fiddle, or the 
 faithful pen of a Boswell to give posterity word-pictures of 
 those unique personalities ! Labels : — 
 
 (O MADE BY 
 
 MATT. HARDIE & SOW, EDiWBURGH, 
 1797 
 
 (2) MADE BY 
 MATTHEW HARDIE, EDINBURGH, 
 
 1810 
 
 (3) MATTHEW HARDIE, EDINBURGH 
 
 1809 
 The last two figures in the date are handwritten. 
 
144 BRITISH VIOLIN-MAKERS 
 
 HARDIE, PETER, Dunkeld : 1 775-1863. He was the 
 son of Dr. Hardie, an army surgeon, and was born in 1775, 
 probably abroad. He died in Nov. 1863, and was buried 
 in Dowally churchyard, Perthshire. He is known as " High- 
 land Hardie," and was a man of unique personality and great 
 physique. His model is a compromise between that of Amati 
 and Stainer. He sometimes followed the lines of his cousin, 
 Matt. Hardie, but he generally exaggerated his arch. The 
 tone is usually excellent. No label, but simply stamped under 
 the button : — 
 
 P. HARDIE 
 
 HARDIE, THOMAS, Edinburgh: 1800-58. He was 
 the son of the great Matt. Hardie, and possessed many of the 
 fine qualities of his father. I have seen only three of his 
 violins, in which the workmanship was beautiful, but the tone 
 very inferior. There is not the slightest doubt that he 
 artificially seasoned his wood, hence the immense disparity 
 between the workmanship and the tone. His work has 
 received high praise from no less an authority than the late 
 Charles Reade, but I cannot endorse any of the sentiments 
 of the great connoisseur as regards Thomas Hardie's tone. 
 I have heard better in many a common factory fiddle. The 
 workmanship may be faultless, but if the "vital spark" — 
 the tone — be vile, the instrument deserves any name but that 
 of " violin." Hardie had many rare gifts, but self-restraint 
 does not appear amongst them. He met with his death 
 through an accident, Jan. 19, 1858, whilst in a state of intoxi- 
 cation. Label : — 
 
 THOMAS HARDIE, 
 FECIT, EDINBURGH, ANNO 1850 
 
 HARE, JOHN, London : about 1700. Work resembles 
 that of Urquhart. Label : — 
 
 HARE & FREEMAN, 
 NEAR THE ROYAL EXCHANGE, 
 CORNHILL, LONDON 
 HARE, JOSEPH, London: 1700-40. He made some 
 
('n.\RLi:S HARRIS \-IOLA 
 (In the Collection of Mr. C. Closk, Dagniar Lodge) 
 
VIOLIN AND BOW MAKERS 145 
 
 splendid instruments on the lines of Stradivari, the varnish 
 being of excellent quality. Label : — 
 
 JOSEPH HARE, AT Y''^ VIOL AND FLUTE, 
 
 NEAR THE ROYAL EXCHANGE, IN CORNHILL, 
 
 LONDON, 1728 
 
 HARKHAM, , London : 1765-85. 
 
 HARRIS, CHARLES, London and Adderbury : 1780- 
 1800. He w^orked in Cannon Street Road, Ratcliffe High- 
 w^ay. I have seen one undoubtedly genuine Stradivari copy of 
 his make, vv^hich had a golden-red varnish of excellent quality, 
 and bore his label. The workmanship and tone were beau- 
 tiful, justifying his being placed, in my estimation, very high 
 in the foremost rank of British makers. He foolishly sold his 
 birthright for a mess of meat, i.e. he sold his instruments 
 unlabelled to the trade, and thus robbed himself of the credit 
 which he ought to have got for excellent work. His violon- 
 cellos were highly prized and eagerly bought in his lifetime. 
 The Stradivari copy which I saw was of full proportions, 
 with a whole back, and the curl inclining to the right. The 
 pine was as fine as any I have ever seen, with a " reed " of 
 narrow and regular width. The scroll was carved with a 
 masterly hand, and the sound-holes beautifully designed, but 
 just a trifle wide, perhaps. The margin was full, and the 
 edges strong and nicely rounded, with a moderately pro- 
 nounced ridge midway between the purfling and the extreme 
 edge. The tone was round and mellow. The magnificent 
 viola illustrated here is the property of C. Close, Esq., Dagmar 
 Lodge, Leeds, and shows work which is thoroughly Italian in 
 feeling. The varnish on this instrument is of a dark amber 
 colour, very fine in quality. Labels : — 
 
 (O CHARLES HARRIS, 
 
 FECIT, IN CANNON STREET, 
 LONDON, 1791 
 
146 BRITISH VIOLIN-MAKERS 
 
 (2) MADE BY CHARLES HARRIS, 
 
 ADDERBURY, OXON, 1826 
 
 HARRIS, CHARLES, London: 1 795-1 820. Son and 
 apprentice of his father, Charles Harris, sen. He worked for 
 John Hart for some time. Very good work, but it is not to 
 be compared with that of his father. 
 
 HART, JOHN THOMAS, London : 1805-74. He 
 was born on Dec. 17, 1805, and died Jan. i, 1874. He 
 became a pupil of Samuel Gilkes in 1820. He did not make 
 many instruments, but attained great reputation as a repairer 
 and connoisseur. He brought together many remarkable 
 collections of Italian instruments, such as the Goding, the 
 Plowden, and a large part of the Gillot, &c. I have never 
 seen an instrument of his make, and cannot say whether he 
 followed the lines of his master, or more closely those of 
 Amati or Stradivari. Label : — 
 
 JOHN HART, 
 
 MAKER, 
 
 14 PRINCES STREET, LEICESTER SQUARE, 
 
 LONDON, 18- 
 
 HART, GEORGE & SON, London, contemporary. 
 Mr. George Hart, of 28 Wardour Street, London, W., was 
 born near Warwick on January 4, i860. He is the son of 
 the late Mr. George Hart, the expert of European reputation, 
 and author of works on the violin, &:c., and whose portrait we 
 are able (through the courtesy of the subject of this sketch) to 
 reproduce in the present work. Mr. Hart was educated at 
 Grove House, Highgate, under the tutorship of the Rev. Mr. 
 Tough. This same Mr. Tough was a pupil of the great 
 Dr. Chalmers, of Disruption fame. Having gone the usual 
 round at Highgate, young Hart was sent to Paris to finish his 
 studies. Afterwards he entered the establishment at Wardour 
 Street, where he has since remained worthily maintaining the 
 supreme dignity of the house. 
 
VIOLIN AND BOW MAKERS 147 
 
 On June 17, 1882, he was married, at Highgate, to Miss 
 Katherine Jepson de Betham, daughter of John de Betham, 
 by whom he has had two daughters, named Katharine and 
 Irene, and one son named Frank, He employs a large number 
 of experienced English and French workmen, and the firm 
 turns out annually a considerable number of instruments. 
 Some of the instruments, in point of tone, workmanship, and 
 varnish, are chefs (Tceuvre^ and will worthily replace the old 
 classical instruments when Cremona is no longer known save 
 in the dusty pages of history. 
 
 The personal supervision and genius of Mr. Hart is evident 
 in every branch of the work. In nothing is this more evident 
 than in the choice of wood. 
 
 The late Charles Reade, I think it was, who said that 
 the giants of the forests whence the maestros had their wood 
 are all gone. I doubt the truth of this very much. Some 
 of the wood obtained to-day (and it is not all, or nearly 
 all, obtained from the old Swiss chalets) is equal to that 
 used two centuries ago. One need only examine and try 
 some of Mr. Hart's finer fiddles to prove the accuracy of 
 my contention. 
 
 In saying this I do not depreciate Hero Worship. What 
 I would like to cry down is the narrow cult which would 
 bind a Nessus robe around modern gods, and forbid freedom 
 save to a handful of Cremonese deities. I know that I am 
 talking heresy, and the school to which Mr. Hart belongs will 
 be the first to give my effusions a cosy little corner in their hidex 
 expurgatorius. Be it so ! My airoXoyla is the instruments to 
 which I refer. 
 
 Mr. Hart makes a feature of facsimile reproductions of 
 classical gems. I recently examined one of these, which 
 was an exact copy of the famous Joseph Guarneri, known 
 as "The D'Egville Joseph," owned by Mr. Hart. This 
 copy is so close an imitation that it is almost impossible 
 to distinguish it from the original. The imitation, it is 
 pleasing to note, is not merely superficial, the tone also 
 approximates to that of Guarneri in a degree that is bound 
 
148 BRITISH VIOLIN-MAKERS 
 
 to astonish the most exacting ear. The label put into this 
 instrument is as follows : — 
 
 EXACT COPY OF'THE DECVILLE' 
 CUARNERI . DATE 1735 
 
 HART & SON. 
 
 ■o ■ -o ^^ MAKERS. ^ ' C= : C^ - 
 
 28 Wardour Street. W 
 15 LONDON <5V 
 
 This is a facsimile of Mr. Hart's ordinary label 
 
 iMi^:iMig)^ffl:®sMi:@:DMii^MiMi^ 
 
 e<5^HART & SON.^ 
 
 --r3^^-s3-M A.K E R S .-en^-©^ 
 
 25 Wardour Street. W 
 15 LONDON • <vS 
 
 The varnish is remarkably like that on the original, both 
 in colour and in pate. The author pointed this out to Mr. 
 Hart, and endeavoured to probe his " inner consciousness " on 
 the varnish question, but our subject could not be " draw^n." 
 He is remarkably reticent, as he is remarkably unostentatious. 
 This is exemplified by the fact that he has never exhibited any 
 of his instruments, and he has never permitted his portrait to 
 be published, though he has been hard pressed to do so by keen 
 admirers and hungry editors. It is beatific in this highly con- 
 ventional age to come across a genuinely unostentatious person, 
 for even genius has learnt latterly how to wed itself to cant. 
 
 The high-class instruments of Hart's own make (" Hart 
 and Son's special make") are sold — violins at twenty-five 
 guineas, violas at thirty guineas, and 'cellos at fifty guineas. 
 These are of the finest material procurable. Others, which 
 
VIOLIN AND BOW MAKERS 149 
 
 are of a different class in material, but not in work, are sold at 
 various prices {vide catalogue). "Tone determines the price" 
 is Mr. Hart's rule. 
 
 Messrs. Hart have made a great feature of case work in 
 recent years. Many of the cases they have made are of 
 exceptional beauty, some of satin wood, inlaid and exquisitely 
 painted with various designs ; others are richly carved, with 
 silver mountings. The makers themselves have spent as much 
 as jTyo and ^^80 on a single case. Case work has been elevated 
 by Mr. Hart to a fine art. We heard an eminent connoisseur 
 say the other day that it was about as wise to spend a lot 
 of money on grand cases as it was to spend it on grand coffins. 
 We think, however, that it is quite proper that the aristocracy 
 in fiddle life should dwell in fitting mansions. 
 
 It is pretty generally known, I think, that the subject 
 of our sketch is a fiddle expert of the highest prestige. His 
 opportunities, though not quite of the Brobdingnagian pro- 
 portions of those of Tarisio, have been immense. Nearly all 
 the famous instruments of the world have passed through his 
 hands — needless to mention, the " Dolphin," " Betts," " Em- 
 peror," "Paganini," Stradivaris, he. ; the " Leduc," " Vieux- 
 temps," Guarneris, &c., &c. Mr. Hart's present collection is 
 a very large one, consisting of several fine specimens of all the 
 chief makers. In addition to his vast knowledge gained from 
 personal connoisseurship, he has reaped the benefit of superior 
 wisdom at the start, when, for several years, he was closely 
 associated with his father in every branch of the work. 
 
 Mr. Hart has in preparation a new, enlarged, and revised 
 edition of his father's well-known work on the violin. He 
 also contemplates issuing a work containing coloured plates of 
 the most famous specimens of Stradivari and Guarneri in exist- 
 ence. He recently published a life of Count Cozio di Salabue 
 by Federico Sacchi, edited by his great friend, A. Towry 
 Piper. In this most interesting work, the editor and publisher 
 have committed the fatal blunder of giving an untranslated 
 appendix (which appendix, by the way, is considerably longer 
 than the body of the work), and thus giving what is to all 
 
I50 BRITISH VIOLIN-MAKERS 
 
 intents and purposes a sealed book to English readers. For, 
 although seventy or eighty per cent, of those interested in 
 fiddle literature can probably read any work with tolerable 
 ease in French or German, we doubt if ten per cent, can 
 manage to wade through the Italian. We hope Mr. Hart will 
 take the hint and give us another edition of Count Cozio. 
 
 HARVIE, ROBERT, contemporary. 
 
 HAWKES, , Coventry : eighteenth century. 
 
 HAYNES & CO., London, contemporary. Chiefly 
 dealers. 
 
 HAYNES, JACOB, London : c. 1750. He made fairly 
 good copies of Stainer. Label : — 
 
 JACOB HAYNES, 
 
 IN SWALLOW STREET. ST. JAMES', 
 
 LONDON, FECIT — 
 
 HEAPS, ALFRED WALTER, Sydney, N.S.W. He 
 is the son of the late John Knowles Heaps, of Leeds, and was 
 born in January 1854. He commenced to study the violin at 
 an early age, under Mr. Whittaker, of Leeds, and later he 
 continued his studies under the late George Haddock. He 
 made rapid progress and gave fair promise to become one 
 of the leading English violinists, but the love of violin con- 
 struction very early outgrew the love of violin music. He 
 was apprenticed to Handel Pickard, Leeds, in 1869, with 
 whom he remained until the end of 1874, after which time he 
 was for over two years in his father's workshop. In 1875, he, 
 along with his father, exhibited a quartette of instruments at 
 the Leeds Exhibition, for which a prize medal and certificate 
 were awarded. During the time he was with his father he 
 made several instruments which were of excellent workman- 
 ship. 
 
 Shortly after this period Mr. Heaps accepted an appointment 
 in Sydney as manager of the musical department of a wholesale 
 
\ 
 
 / 
 
 ALFRED WALTER HEAPS 
 
VIOLIN AND BOW MAKERS 151 
 
 house. After remaining with this firm for a time his business 
 as a viohn-maker and repairer increased to such an extent that 
 he found it necessary to devote the whole of his time to the 
 profession. During the latter part of his apprenticeship with 
 Pickard, and previous to leaving Leeds to go to Sydney, he 
 had many very valuable instruments entrusted to him for 
 repairs, and his neat workmanship soon gained him a re- 
 putation in this particular branch of the profession. Since he 
 went to Sydney his skill as a repairer has become favourably 
 known throughout the whole of Australia and New Zealand, 
 although he never advertises. 
 
 During the past fourteen or fifteen years he has made 
 many violins, which have been sold for ^10 to £p.^ each, 
 violoncellos from _^35 to ;^42. One of the latter was made to 
 the order of the late Mr. Edgar Straus in 1891, and was used 
 by him as his solo instrument during the whole of the time he 
 was resident in Sydney. Mr. Heaps executed some important 
 repairs for Ovid Musm when the latter was on an artistic 
 tour in Sydney some few years ago. 
 
 In the manufacture of all his instruments he uses only the 
 best material. He has in his possession a fine stock of syca- 
 more, some of which has been preserved since about 1828, 
 Of pine for bellies he also possesses a large stock, including a 
 quantity which was exhibited as music wood at the great 
 Exhibition in London, and purchased from Messrs. Beinhardt 
 and Son, of Bohemia. (See Official Catalogue, Class x. No. 510.) 
 He also keeps portions of all the material used by his father in 
 the manufacture of instruments made during his life — which 
 embraces various textures of wood — so that whatever in- 
 strument comes to him for renovation, he has no difficulty in 
 matching the material. Mr. Heaps boasts of possessing a 
 stock of wood large enough to suffice him for making violins 
 as long as he lives, but he still continues to purchase as 
 opportunity offers, to keep up his stock, so that at his demise 
 he may be able to bequeath to his son (who is intended to 
 follow the profession) whatever may be then unused. 
 
 He follows his father's model, reduced to 14 inches. He 
 
152 BRITISH VIOLIN-MAKERS 
 
 keeps a record of the dimensions and thicknesses of all in- 
 struments made by his father or himself, and also of any 
 valuable ones which pass through his hands for repairs, so that 
 he is able to produce, when requested, new instruments after 
 any model. His varnish is an oil one, of various colours. 
 His instruments, both as regards tone and workmanship, rank 
 in the first class. 
 
 Up to the time of writing, a copy of his label has not come 
 to hand. 
 
 HEAPS, JOHN KNOWLES, Leeds: nineteenth century. 
 Father of the above. He made excellent instruments, which 
 will be more valued as time goes on. 
 
 HEATON, WILLIAM, Gomersal, contemporary. He 
 was born October 6, 1827, at Hill Top, Gomersal. He is the 
 son of James and Hannah Heaton, of Gomersal, and was 
 brought up by his grandparents, Joseph and Sarah Lister, till 
 he was about nine years of age, at a little out-wing of his 
 native village called humorously the World's End, on account 
 of its outlandishness. He received elementary education till 
 he was about eleven, at which early age he commenced work 
 with his father as a joiner and cabinet-maker. Both his father 
 and grandfather were excellent workmen, and especially the 
 latter, who was very deft at turning out small and curious 
 articles of cabinet work. Joseph Lister also made one 'cello, 
 of the Stainer model, and a very fair instrument it is. This 
 instrument it was that first fired the imagination of young 
 Heaton, and induced him to make his first instrument in 
 his fifteenth year : it was a fiddle of no particular outline 
 or model, but a pardonable effort. Shortly after he made a 
 'cello, which was a greater success. His next instrument was 
 not made till he was forty-five years of age. This was a fiddle 
 having its back, ribs, neck, and scroll carved out of a solid 
 piece of sycamore. Since 1892 Heaton has been constantly 
 at work as a regular maker. Up to the present he has 
 made 156 violins, two violas, and eight 'cellos. He is a 
 slow, patient worker, and turns out only about six instruments 
 
WILLIAM HEATON 
 
VIOLIN AND BOW MAKERS 
 
 153 
 
 in the year. These — more especially those of his later period 
 — are of the highest artistic merit, and for tonal qualities 
 not easily surpassed. 
 
 He works on various lines, but chiefly on those of Strad. 
 The work is not, however, a slavish imitation : it has un- 
 mistakable marks of originality about it. He has breathed 
 Strad's breath of life into the copies, but the body is not 
 exactly that of Antonio. The measurements of the violins 
 of his best period are as follows : — 
 
 inches. 
 
 Length of body .... 
 
 I4i 
 
 Width across upper bouts . 
 
 6il 
 
 „ „ middle bouts 
 
 4^ 
 
 „ „ lower bouts . 
 
 8tV 
 
 Depth of ribs at bottom . 
 
 xi 
 
 top ... 
 
 lA 
 
 Length of sound-holes 
 
 3 
 
 Distance between sound-holes at top . 
 
 xA 
 
 Highest elevation above symmetrical plane — 
 
 
 back 
 
 • li 
 
 Highest elevation above symmetrical plane- 
 
 
 belly 
 
 15 
 
 The outline is pure, bold, and of masculine rather than 
 feminine qualities. It is grand and awe-inspiring rather than 
 pretty and captivating. The arching is of extended equality, 
 after the style of Maggini. The scroll is a fine piece of work, 
 and is fairly large and well-proportioned. The distance between 
 boss-edge and boss-edge is i^i'm. The grooving at the last 
 turn of the volute is more protracted and terminates nearer 
 the centre of the axis than is usual in copies of Italian work. 
 This is a very noticeable and picturesque feature of the side 
 of many of Heaton's scrolls. The peg-box is wide and strong 
 in wood — a very wise provision. The button is of full 
 proportions, and could never be better made. The sound- 
 holes are after Stradivari, except that the curve describing 
 the upper and lower wings is not so pronounced as in those 
 of Strad's golden period. The inlaying of the purfle is 
 
154 BRITISH VIOLIN-MAKERS 
 
 perfection. The margin is of medium width, and the edges 
 strong, rounded, and raised. In his early work Heaton 
 raised the edges nearly an eighth, but in his best work there 
 is no exaggeration. In a specimen now before me the edges 
 are raised a sixteenth, nicely rounded, thawing with a smile 
 into the gentle bed of the purfling. 
 
 The wood is of excellent quality. The pine of a speci- 
 men recently examined by me was equal to the best I have 
 seen. The curl of the maple in all the Heaton fiddles 
 which I have seen was of medium width and very regular. 
 It would appear as though all these backs had been cut from 
 the same piece of maple — some on the quarter, and some 
 whole. The backs of the last six fiddles have been taken from 
 a maple plank which was seasoned in the Gomersal Church 
 Bell tower, and the instruments have been " christened " the 
 "Tower" fiddles. Mr. Heaton has made one fiddle which 
 he calls the "Gouge." It derives its name from the fact 
 that it has been finished entirely, both inside and outside, with 
 the gouge ; neither sand-paper nor the file having touched 
 the wood. Another, on the Guarnerius model, is called the 
 " Patchwork," and is made of various kinds of violin wood. 
 All the Heaton instruments are well stocked with wood. 
 The last fiddle, made a short time since, turned the scales 
 at eighteeen ounces and a half in the " white." 
 
 Mr. Heaton's violoncellos are spoken of very highly. No 
 less an authority than Mr. Arthur Broadley considers them 
 to be among the very best work of modern times. A violon- 
 cello made to his order, and named the " Chats " in compli- 
 ment to the popular work on 'cello playing, is said to possess 
 a remarkable tone. The following rather lengthy quotation 
 is from a letter of Mr. Broadley's to me anent this instrument. 
 " The instrument is of original model, and although one 
 looks to the great Italian masters for perfection of outline and 
 model, yet the 'cello under notice does not suffer through 
 comparison with classical instruments. 
 
 "Perhaps the maker more than any which the model 
 suggests is Banks, the great English maker, and I think I am 
 
VIOLIN AND BOW MAKERS 155 
 
 right in asserting that the earlier 'cello of Mr. Heaton's make 
 were copies of this maker, but the ' Chats ' 'cello is no copy 
 of any instrument or any maker, but the child of Mr. Heaton's 
 own fancy. The outline is bold yet artistic, and the model 
 is what one would describe as compact ; there does not seem 
 to be any waste places — everything has been nicely calculated 
 and the whole effect is very fine. The purfling, which is 
 placed rather further away from the edge than usual, assists in 
 giving a boldness to the outline which is very satisfying ; but 
 if one must look for originality, pray look at the curves of the 
 inner bouts, the relative width of the waist, and the cut and 
 placing of the / holes. Of the latter, the straight-cut, broad 
 wings are a feature — Guarnerius magnified. So beautifully 
 balanced are the/'s that this extreme width of the wings is 
 not at the first glance observable, but one looks and wonders 
 how an old man long past the prime of life has had the skill 
 to cut such clearly defined lines. Purpose — that should have 
 been the name of the 'cello, not ' Chats.' 
 
 " The whole design of the instrument is characteristic of 
 a man who has lived his life among the breezy freshness of the 
 Yorkshire hills. 
 
 " The wood is very fine, well chosen, old, and well-seasoned. 
 The belly is made of rather open-grained pine, of fine tone- 
 producing qualities ; the back and ribs are of extremely 
 beautifully-figured sycamore. The back is in the whole 
 piece and is made from wood cut on the slab. In this case 
 the effect is very beautiful. The figure is best described as 
 being like moire silk. The grain, which is very peculiar, 
 shows up like the * water-marks ' in the said material, and the 
 flames seem to * shimmer ' from every part of the surface. 
 
 "The tone of the instrument is exceedingly fine, very 
 brilliant and plentiful. One great feature of the instrument 
 is the fine quality of the A string, which to a soloist is of the 
 utmost importance, and the higher up the string one plays, 
 the more brilliant does the tone become. This is so different 
 from the usual run of modern 'cellos, which are generally thin 
 in the higher positions of the A string. The tone of the 
 
156 
 
 BRITISH VIOLIN-MAKERS 
 
 instrument at every part of its register is very even, and it is 
 the opinion of several professional friends who have seen and 
 heard the ' Chats ' 'cello, that a finer instrument could not be 
 produced. It is varnished a brilliant orange brown." 
 
 The value of the 'cello as it stands is placed by Mr. Broad- 
 ley at ^50, although Mr. Heaton generally charges from ^{^20 
 to ;^30 for 'cellos. 
 
 The 'cello, besides bearing the maker's label, has the 
 following inscription : — 
 
 -^ ** CHATS." -se- 
 
 Built to the order of 
 
 Mr. Arthur Broadley 
 
 PROFESSOR of the VIOLONCELLO, 
 
 etc., etc. 
 
 by Wm. HEATON, Gomersal 1900. 
 
 The dimensions are as follows : — 
 
 Width across top 
 
 „ „ middle 
 
 „ „ bottom 
 
 Width of ribs, top . 
 
 „ ,, bottom 
 
 Length of f's 
 Width between f's at top 
 Length of body 
 
 „ „ vibrating string 
 
 A front view of this fine 'cello is shown in the illustration. 
 The following is a facsimile of the label usually used : — 
 
 
 13! inches. 
 
 
 9i » 
 
 
 17* » 
 
 
 4f » 
 
 
 4f „{g 
 
 
 Si .. 
 
 
 4i » 
 
 
 29^ » 
 
 
 26f „ 
 
 WILLIAM HEATON, 
 
 MAKER, 
 
 HILL TOP, GOMERSAL. 
 
 Nr. X,eeds. 
 
THI': ■■CHATS- CHLLO liV Hl'LATON 
 [Ftrit 1900) 
 

VIOLIN AND BOW MAKERS 157 
 
 HEESOM, EDWARD, London, contemporary: 1745-55- 
 Stainer model ; indifferent work. Label : — 
 
 EDWARD HEESOM, 
 LONDIWI, FECIT 1745 
 
 HENDERSON, DAVID, Aberdeen: nineteenth century. 
 Very poor work and tone. 
 
 HESKETH, THOMAS EARLE, Manchester, contem- 
 porary. He is the son of William and Amelia Hastings Hesketh, 
 and was born in Manchester on August 14, 1866. His work- 
 shop is at 23 Lower Mosley Street. His mother's maiden 
 name was Hilton, and both his parents were descendants ot 
 old Lancashire families. He was educated in the Board and 
 Higher Grade Schools of his native city. He was apprenticed 
 to Mr. G. A. Chanot, and the indentures were drawn up on 
 April 6, 1885. He remained as apprentice for five years and 
 as journeyman for one year. In 189 1 he commenced business 
 on his own account, and he has remained since at the above 
 address. He was married on Nov. 2, 1889, at St. James' 
 Church, Moss Side, to Miss Sarah Grace Yates. The ofiFspring 
 of their union are : Ross Grace, Tom, Florence Gertrude, 
 Lillian Jane, and Dorothy Yates. 
 
 He works on each of the following models : Strad, Joseph, 
 Amati, Ruggeri, Stainer, and Maggini, but copies the two 
 first principally. He at one time worked also on two original 
 models, which he has now discarded, as they were on the small 
 side. A third original model of his, of fuller proportions, is 
 successful and gives splendid results. Its dimensions are : — 
 
 Length of body 14 inches. 
 
 Width across upper bouts .... 6|i „ 
 
 „ „ middle bouts . . . 4|f » 
 
 „ „ lower bouts .... 8^'^ „ 
 
 Length of inner bouts from corner to corner 5/^ „ 
 
 Length of sound-holes .... 3/0- „ 
 
 Distance between sound-holes at upper turns if „ 
 
 Height of ribs i\ inches, diminishing to . i/ij „ 
 
158 BRITISH VIOLIN-MAKERS 
 
 Two noticeable features of this model are the ^holes and 
 the button. The former are a slight modification of the 
 Brescian type, and the latter is not of the usual form, but 
 four-sided. 
 
 Mr. Hesketh has made several magnificent copies of an 
 A. and H. Amati viola. One of these which I examined 
 recently was made to the order of Mr. Rawdon Briggs, of 
 Halle's, the Brodsky, and other quartettes. It is of large size, 
 and considered by its owner a superb instrument. Its dimen- 
 sions are : — 
 
 inches. 
 
 Length . 
 
 . 
 
 . i6i 
 
 Width, top 
 
 . 
 
 • 7| 
 
 „ centre . 
 
 
 . Si 
 
 „ bottom 
 
 . 
 
 • 9| 
 
 Depth of bottom 
 
 ribs 
 
 • ^^ 
 
 Diminished by 1 
 
 inch at top. 
 
 
 Besides the violas on the A. and H. Amati model, he has 
 made one on the Strad model, I5f in., one Ruggeri, 16^ in., 
 and one Maggini, 15!^ in. He has made only two 'cellos, 
 Strad model. The total number of instruments made up to 
 date is fifty-five, exclusive of a number of three-quarter size 
 fiddles, made to order. 
 
 Mr. Hesketh's wood is of excellent quality. He possesses 
 a considerable quantity which was formerly the property of 
 Craske. This latter maker is said to have bought his wood at 
 Forster's sale. The maple of two fiddles examined by me 
 was somewhat plain in figure, but magnificent for its tonal 
 properties. In one viola the curl was of medium width and 
 of mathematical regularity. In another fiddle the wood had 
 a broad " flame " of unsurpassable beauty. The pine is of 
 straight grain, moderately narrow in " reed," and acoustically 
 perfect. The backs in the Amati copies are usually cut on 
 the slab, and those in the Strad and Joseph copies are, as a 
 rule, either whole or joined. 
 
 The workmanship, varnish, and tone of Hesketh combine 
 to give his instruments a place among the e/iie of modern pro- 
 
VIOLIN AND BOW MAKERS 159 
 
 ductions, and a high seat even amongst the mighty. A brief 
 description of a typical example of his work will suffice. This 
 is a Vuillaume-Strad copy. The outline is very pure, and the 
 modelling beautiful. The lines of the back are gracefulness 
 itself. The gentle slope of the arching, as it melts into the 
 margins, is like the swell of the well-chiselled breast of a 
 goddess. The margins are moderately wide, and the edges 
 full and rounded. The corners are full and piquant. The 
 scroll and sound-holes both show the master mind and the 
 cunning hand. The former is in the true Stradivarian spirit, 
 although, perhaps, to be severely correct, the slope of the 
 volute in its departure from the boss is not of the same angle, 
 and the boss itself is in greater relief. The purfling is laid in 
 without the suspicion of a tremor. The varnish is a rich, 
 soft, dark, golden amber. It lights up the " flame " of the 
 wood, which appears like watered silk seen through a film of 
 stained glass. The tone is large, rich, and responsive. Hes- 
 keth uses both oil and spirit varnishes, of his own composition, 
 and in all the usual colours. 
 
 The work is nearly all personal. One journeyman, named 
 Robert Elliot Keen, is employed. Keen has been with Hes- 
 keth six years (five years as apprentice), and is an excellent and 
 steady workman. He hails from Brompton, the birthplace of 
 the Forsters. Another workman, named Georges Boulangeot, 
 of Mirecourt, was employed for about two years, but he left 
 in 1898. Mr. Hesketh repairs very extensively. So many 
 old instruments come to him for repair that he is prevented 
 from producing many new ones. 
 
 His prices are : — 
 
 Violins .... ^12, 1 2s. and ^15, 15s. 
 
 Violas ^15, 15s. 
 
 'Cellos 25 guineas. 
 
 Mr. Hesketh plays well on both the violin and viola. He 
 has recently organised a series of quartette concerts, at which 
 the Rawdon Briggs and other quartettes are the executants. 
 These quartettes are supplied with instruments made by him. 
 
i6o BRITISH VIOLIN- MAKERS 
 
 and one of the objects of the concerts is to test and to demon- 
 strate the worth of instruments of the modern British school. 
 Facsimile label : — 
 
 Thomas Earfe Heskeiti 
 Maachester Fecit 19001 
 
 HIGSON, DANIEL, Ashton-on-Ribble, contemporary. 
 He was born at Droylsden, near Manchester, August 13, 
 1849. He is the eldest son of John and Elizabeth Caroline 
 Higson. His father was an antiquarian of considerable repute, 
 and stained glass windows are erected to his memory at St. 
 Mary's Church, Droylsden, and at St. Thomas's Church, 
 Leesfield. Higson has made several instruments on an 
 original model. The workmanship is rather rough, but it is 
 not without character, and the tone of one violin which I tried 
 was very fair. Higson has travelled a great deal, and he is a 
 well-read man. He is an ardent sportsman, and an authority 
 on wild fowl. He has published a book entitled " Sea-fowl 
 Shooting Sketches," which is of high merit and exceedingly 
 interesting. He builds his own canoes, makes gun-stocks, &c. 
 In short, he is so many-sided that he can never hope to excel 
 in the exacting art of violin-making. Facsimile label : — 
 
 HILL, HENRY LOCKEY, London : 1774-1835. He 
 was the son of Lockey Hill, the grandson of Joseph Hill, and 
 the father of the world-renowned William Ebsworth Hill. 
 He was a pupil of his father, and he worked for some time 
 with John Betts. Later he became partner with his brothers 
 in his father's firm, and contributed largely by his excellent 
 
VIOLIN AND BOW MAKERS i6i 
 
 work to make the name of " Hill " one of the greatest fiddle 
 names in all Britain. The workmanship and tone are mag- 
 nificent — sufficiently so to furnish the forger with an excuse 
 to extract the label (if there were one) and inserting another 
 bearing a more favoured name. I have seen more than one 
 Lockey Hill violoncello in this country carrying an Italian 
 ** passport." A renowned 'cello player uses at the present 
 moment a Henry Lockey Hill instrument with a Stradivari 
 label. It is of the same measurements as the Strad 'cello sent 
 by Friedrich Wilhelm III. of Prussia to John Betts in 1810, 
 to be sold in this country. In all respects it is a perfect copy, 
 except as regards the varnish and the purfling. The varnish, 
 although of excellent quality, and a close imitation, is not to 
 be compared with that of Stradivari. The purfling is care- 
 fully inlaid, but not in the manner of the original. Any one 
 examining the mitring at the corners will perceive the differ- 
 ence. Careful analysis and comparison of this specimen with 
 other Henry Lockey Hill violoncellos reveal the identity of 
 style. Some years ago I saw a violin by this maker, made on 
 the Amati model, with a slab back of beautiful figure, which 
 had a dulcet tone. The colour of the varnish resembled the 
 brownish-purple tint of the bark of the birch tree in autumn. 
 Hill frequently used a light-coloured varnish, which is per- 
 fectly transparent and very elastic. I have seen only one of 
 his violas, which was on a modified Amati model, with a 
 widened waist, and not over-pronounced arching. The 
 tone was large and deep on the lower strings, and clear 
 and incisive on the upper ones. The scroll was in the 
 Italian style, free and easy, and the sound-holes " clean " and 
 graceful. The varnish on this instrument was of a pinkish 
 tint, laid on thinly and nicely polished. Altogether the work 
 of Hill is exceedingly fine, and it is a great pity there is not 
 more of it. 
 
 HILL, JOSEPH, London: 1715-84. He worked at 
 "Ye Harp and Hautboy," in Piccadilly, London, under 
 Peter Wamsley, where he was a fellow-apprentice with 
 Benjamin Banks. He worked also in various other places, 
 
 L 
 
1 62 BRITISH VIOLIN-MAKERS 
 
 and was assisted by his sons, William, Joseph, Lockey, and 
 Benjamin. I have not seen any of his instruments, but his 
 violoncellos and double-basses are highly praised. Mr. Arthur 
 Broadley uses a small-sized Joseph Hill violoncello in his solo 
 playing at present. 
 
 HILL, WILLIAM, London : 1740-80. I have not, to 
 my knovi^ledge, seen any of his work. 
 
 HILL, WILLIAM EBSWORTH, London: 1817-95. 
 One of the greatest names in fiddle lore. Full justice has 
 been done to his life and work in the very able sketch by the 
 late Rev. H. R. Haweis, in "Old Violins," to which the 
 reader is referred. 
 
 HILL & SONS, London, contemporary. The present 
 members of the firm are the four sons of the great Wil- 
 liam Ebsworth, viz.: William Henry, born June 3, 1857; 
 Arthur Frederick, born Jan. 25, i860; Alfred Ebsworth, 
 born Feb. 1862; and Walter Edgar, born Nov. 4, 1871. 
 The reputation of the firm is world-wide, and the several works 
 published by the Messrs. Hill, including their life of Stradivari, 
 are too well-known to call for any comment here. 
 
 HIRCUT, , London : 1600. 
 
 HOLLO WAY, JOHN, London : 1775-95- He worked 
 at 31 Gerard Street, Soho. Indifferent work. 
 
 HOPKINS, , Worcester : nineteenth century. A 
 
 fair workman, but he artificially seasoned his wood, and thus 
 robbed himself of all future credit. 
 
 HOSBORN, THOMAS ALFRED, London: 1630. 
 A maker of lutes and viols. 
 
 HUDSON, GEORGE, Skegness, contemporary. He 
 is the son of Richard Hudson, better known in Lancashire as 
 "Dick o' New-laith," a famous fiddler, and was born at 
 
VIOLIN AND BOW MAKERS 163 
 
 Goodshawfold, Rossendale Valley, on Feb. 27, 1859. He 
 has received a good elementary education, and has taken up 
 chemistry latterly as a hobby. He has made up to date about 
 one hundred violins, and a few violoncellos and double-basses. 
 He follows various models, and the workmanship is good and 
 careful. 
 
 HUME, CHARLES DAVID, Hawthorn, Melbourne, 
 contemporary. He is a native of Liverpool, and emigrated 
 to Australia about ten years ago, where he follows the musical 
 profession, and makes violins as a hobby. He obtained a 
 Diploma of Merit for a case of violins at the Bendigo Exhibi- 
 tion held last year. I have not seen any of his work, and 
 therefore cannot give further particulars. 
 
 HUME, RICHARD, Edinburgh : c. 1530-35. A famous 
 viol and lute maker. 
 
 I 
 
 IRESON, FRANK HERBERT, Bishop Auckland, 
 contemporary. He was born at Croydon, on Oct. 26, 1868. 
 He is a pianoforte-tuner and repairer by trade, and makes 
 violins during spare moments. He follows the model and 
 dimensions of Walter H. Mayson, and turns out a nice 
 instrument. The tone is of a bright, pleasing quality. 
 
 JAMIESON, THOMAS, Aberdeen: 1830-45. Good 
 work and tone. 
 
 JANSON, EDWARD POPPLEWELL, Manchester: 
 1840-60. Pupil of William Booth, jun. Average work and 
 tone. 
 
 JAY, HENRY, London: c. 1615-67. A maker of 
 viols. His work is considered excellent, but I am not ac- 
 quainted with it and cannot therefore offer any remarks. 
 
1 64 BRITISH VIOLIN-MAKERS 
 
 J AY, HENRY, London : 1 746-68. A maker of « Kits " 
 chiefly. The workmanship is very neat, and the varnish of 
 good quality. The tone of one of these " Kits" which I saw 
 a few years since was clear and sweet. Jay is said to have 
 received £$ for each " Kit " that he sold — a sum which is 
 equivalent to nearly ^^lO to-day. This is hardly credible, 
 seeing that Banks and Duke got only £6 for their best 
 violins. 
 
 Jay made many violoncellos for Longman and Broderip. 
 
 The label in the " Kit " which I saw and tried read : — 
 
 MADE BY HENRY JAY, 
 
 INSTRUMENT MAKER, 
 
 IN LONG ACRE, LONDON, 1750 
 
 JAY, THOMAS, London: c. 1690. Made a few 
 excellent violins. 
 
 JOHNSON, JOHN, London : 1750-60. Average work, 
 on the Stainer model. The tone, although not large, is clear 
 and penetrating. A very high-arched violin, with thin, dry, 
 yellow varnish bore the following label : — 
 
 MADE BY JOHN JOHNSON. 
 
 CHEAPSIDE, 
 
 17 LONDON 55 
 
 JONES, , Barnstaple, contemporary. I have not 
 
 seen any of his work. 
 
 JONES, JOHN, Port Dinorwic, contemporary. He was 
 born in Carnarvon, on Feb. 17, 1833. He is a plasterer by 
 trade, and makes fiddles en amateur. The workmanship is 
 very fair, considering that he only took up the gouge very late 
 in life. The wood is plain, but the tone is of a good quality. 
 Jones is a " Cymro " of the old stamp, and a very genuine 
 " character." He has played the violoncello for many years in 
 the Parish Church, Llanfairisgaer, and the author hopes to 
 
VIOLIN AND BOW MAKERS 165 
 
 give a fuller sketch of his life as a " famous fiddler " in another 
 volume. 
 
 K 
 
 KELMAN, JAMES, Aberchirder : nineteenth century. 
 Commonplace work and tone. 
 
 KENDAL, GEORGE, , contemporary. 
 
 KENNEDY, ALEXANDER, London: 1695-1785. 
 Very fair work on the Stainer model. Label : — 
 
 ALEXAWDER KENNEDY, 
 
 MUSICAL INSTRUMENT MAKER, LIVING IN MARKET STREET, 
 
 IN OXFORD ROAD, LONDON, 1740 
 
 KENNEDY, JOHN, London : 1730-1816. A nephew 
 of Alexander Kennedy. Indifferent work. 
 
 KENNEDY, THOMAS, London: 1 784-1 870. He 
 was a prolific maker, and turned out at least two thousand 
 instruments of all sizes. The workmanship is good all over, 
 but the tone is not of equal merit, being often harsh and 
 metallic. A violin with a birch back and yellow varnish had 
 the following label : — 
 
 THOS. KENNEDY, 
 LONDINI, 1860 
 
 LAUGHER, WILLIAM, Redditch, contemporary. 
 He was born at Studley, in Warwickshire, in the year 1830. 
 He is a manufacturer of steel and plated pins by trade, and 
 makes violins as a hobby. His work is neat and well-finished, 
 and the tone, although not large, is of a good quality. He 
 follows various models, and uses oil varnish of different colours. 
 He has made about fifty violins and a few violas. The wood 
 
i66 
 
 BRITISH VIOLIN-MAKERS 
 
 is carefully selected for its acoustic properties, 
 label :— 
 
 Facsimile 
 
 
 LEWIS, EDWARD, London: 1695-1730. A mag- 
 nificent maker, whose work is very rare. In the course of 
 twenty-five years' connoisseurship I have seen only one of his 
 violins, which was on a model approximating to that of 
 Maggini. In this instrument, wood, workmanship, and tone 
 combined to give the maker a high position in the front rank 
 of our early makers. The varnish was an oil one, of a rich 
 golden-red colour, perfectly transparent, and soft as velvet to 
 the touch. The tone on the higher strings was beautifully 
 clear and brilliant. I have never heard of a violin of his on 
 the Stainer model, and I do not think he copied that maker at 
 all. Judging from the single instance referred to, I do not 
 think his taste would allow him to imitate the German high 
 arch. 
 
 No label of his is known. 
 
 LIGHT, EDWARD, London: 1780-1805. A lute 
 and harp maker. He made a few violins also. One of these, 
 indifferently made, had the following label : — 
 
 EDWARD LIGHT, 
 
 MAKER, 
 LONDON, 1797 
 
 LINDSAY, 
 
 I know nothinc 
 
 Newcastle-on-Tyne, contemporary. 
 
 of him. 
 
 LINDSAY, DAVID, Brechin, contemporary. He is 
 reported to be a good maker, but I have not seen any of his 
 work. He follows the Maggini model. 
 
VIOLIN AND BOW MAKERS 167 
 
 LINDSAY, MICHAEL H., Stockton-on-Tees, con- 
 temporary. He was born in Ireland on April 12, 1837. He 
 has been a professional violin-maker for nearly forty years. 
 He follows the Stradivarius model, using handsome wood and 
 a fine varnish. I have seen only one of his instruments, 
 which was well made and had a rather small but very sweet 
 tone. M. Polonaski has tried some of this maker's violins, 
 and reports very favourably on their tonal qualities. The 
 Messrs. Balfour, the violin experts, say with regard to his 
 varnish that it "should rank among the highest of the 
 varnishes now in use, being Cremona-like in style." Whilst 
 unable to endorse all that these experts say in this matter, I 
 unhesitatingly add that the varnish is of an excellent quality. 
 But it is impossible to form just conclusions either as to work- 
 manship or tone from the examination of a single specimen. 
 Mr. Lindsay had a paralytic seizure some two years ago, and 
 he is unable now to make new instruments, but has to con- 
 fine himself to repairs. He won a medal for an exhibit of 
 violins at the Liverpool Exhibition. He has made a large 
 number of violins, violas, violoncellos, and double-basses. 
 
 Facsimile label : — 
 
 Michael Lindsay. ^^^ 
 
 Maker. ^ ((VTC, 
 
 S t PC k t on" on -Te e s .fSff ^ ^ ^ 
 
 LISTER, JOHN, Leeds: 1720-30. Very ordinary 
 Stainer copies. 
 
 LOGAN, JOHN, Biggar, N.B., contemporary. He 
 is an excellent amateur maker who has made and restored a 
 large number of instruments. He follows the Joseph, Strad, 
 and Maggini models. One violin which I examined was 
 made on the Strad model with plates graduated after a 
 Maggini instrument. The tone was large, rich, and free. 
 
1 68 BRITISH VIOLIN-MAKERS 
 
 He uses the Rev. Gordon Palmer's varnish, w^hich he believes 
 to be the best in the market. Label : — 
 
 MADE BY 
 
 JOHN LOGAN, 
 
 ABINGTON, N.B., 1895 
 
 LOMAX, JACOB, Bolton, contemporary. He was 
 born in Bolton in 1850, and he makes and sells violins 
 professionally at 1 1 Durham Street, in conjunction with his 
 other and chief business, pawnbroking. He uses his own 
 varnish, and turns out work which, in point of workmanship 
 and tone, is of average merit. Facsimile label : — 
 
 LONGMAN & BRODERIP, London : 1750-73. They 
 were instrument sellers, and not actually makers. Some of 
 our chief classical makers disposed of their second-rate instru- 
 ments to them, into which were inserted the firm's trade 
 label. 
 
 M 
 
 M'GEORGE, GEORGE, Edinburgh: 1796-1820. A 
 pupil and follower of Matthew Hardie, who turned out 
 excellent work. He followed the model of Stradivari chiefly, 
 but Amati copies have been met with. He used a spirit 
 varnish, which is of a slightly better quality than that of his 
 master. The only undoubtedly genuine example of his work 
 that I have seen bore no label. 
 
 MAGHIE, JOHN FISHER, Dalston, contemporary. 
 He was born on Nov. 1855, at Dalston. He received a good 
 elementary education at the grammar school in his native 
 
VIOLIN AND BOW MAKERS 169 
 
 place. He works on various models, and uses varnish of a 
 red or brownish yellow colour. Facsimile label : — 
 
 John Jieher Jflnghie, 
 
 AT 
 
 DALSTON. 
 
 IN 
 
 CUMBERLAND 
 
 M'GILL, JAMES CAMPBELL, Arran, contemporary. 
 He was born in Loudoun, Ayrshire, in 1836. His instru- 
 ments are well made, and possess a good round tone. Label : — 
 
 J. C. M'CILL, 
 
 MAKER, 
 ARRAN, 1896 
 
 MCINTOSH, JAMES, Blairgowrie: 1801-73. It ap- 
 pears that he made good instruments, but I have not seen 
 any of them and cannot say anything about his work. 
 
 MACINTOSH, JOHN, Galston, N.B., contemporary. 
 He was born where he now lives, at Strath Cottage, midway 
 between Galston and Newmilnes — places now become famous 
 as the centres of the lace curtain industry of Scotland — in 
 the year 1853. With an inborn predilection for the fine 
 arts in general, and for music in particular, his attention 
 became at a very early age centred on the violin, and he 
 learned first to love its rich and melodious tones by hearing 
 it performed upon by a relative, who was a good player of 
 Scottish reels and strathspeys. Mr. Macintosh is a gentleman 
 amateur, and makes only from love of the instrument. He 
 has made several violins of the orthodox type, but he also has 
 experimented largely with the view of discovering the relation 
 between form and sound. Some of his violins are decorated 
 on the back with portraits of celebrities and landscape sceneries 
 in oil colours. One of these is made throughout of oak which 
 was taken from ,the roof of the old castle at Mauchline, said 
 
170 
 
 BRITISH VIOLIN-MAKERS 
 
 to be the house wherein Robert Burns was married to his 
 " Bonnie Jean." When the Burns Memorial Museum at 
 Mauchline was opened, the violin was presented to the pro- 
 moters and gladly aecepted by them as a relic worthy of a 
 place in an institution founded in honour of the immortal 
 poet. Another bears the portrait of Sir Walter Scott, and 
 has the following ditty inscribed on the back inside : — 
 
 « Hey diddle, diddle, 
 Who made this fiddle ? 
 I know, I know, 
 
 Hey diddle, diddle, here is the riddle — 
 Where did the wood of this fiddle grow ? " 
 
 "Sir Lewis Morris," a decorated violin, made on original 
 lines, has a large, round, and fluid tone. He uses Whitelaw's 
 varnish, mostly in dark amber colour. In addition to violin- 
 making, Mr. Macintosh writes much on antiquity and kindred 
 subjects, and he has published one or two volumes of poetry. 
 
 M'INTOSH, WILLIAM, Dundee, contemporary. He 
 was born at Abernethy, in 1852. He follows the Stradivari 
 model almost exclusively, and turns out excellent work both 
 as regards tone and workmanship. The plates are left thick 
 in wood, and the arching and edges 'are gracefully finished. 
 Facsimile label : — 
 
 WILLIAM MTNTOSH 
 W Lorimer Street, Duadee. 
 
 Date. 
 
 M£>lP^ 
 
 ? V V V V V V V T- V V k 
 
 %-? — 7- 
 
 M'KENZIE, MALCOLM, Dumbarton, N.B., contem- 
 porary. He was born at Burntisland, Fife, on Feb. 22, 1828. 
 He made his first violin at the age of sixteen, since which 
 time he has made continuously, and has turned out many 
 
VIOLIN AND BOW MAKERS 171 
 
 violins and one violoncello. The workmanship and tone are 
 of good average merit. Facsimile label : — 
 
 Malcolm M'Kenzie 
 Dumbarton. 
 
 M'LAY, WILLIAM, Kincardine-on-Forth : 1815 . 
 
 Work and tone very indifferent. 
 
 M'NEILL, JOHN, Edinburgh, contemporary. He is 
 reported to have made several beautiful instruments, but I 
 have not seen any of his w^ork. 
 
 M'NEILL, WILLIAM, Edinburgh, contemporary. 
 Average vv^ork and tone, 
 
 M'NICOLL, ALEXANDER, Padanaram : nineteenth 
 century. Indifferent. 
 
 McSWAN, JOHN, Partick, contemporary. An amateur 
 w^ho has made about twenty violins of about average merit. 
 
 MALLAS, ALEXANDER, Leith : 1826-91. He was 
 a native of Aberdeenshire, and a trained millwright by trade. 
 His instruments are well-finished, and possess a firm and ring- 
 ing tone. 
 
 MANN, JOHN ALEXANDER, Glasgow: 1810-89. 
 He was born at Forfar, May 13, 18 10, and died at Glasgow, 
 April 30, 1889. Mann was a remarkable person in many 
 respects, and in some unique. He was never more at home 
 than when amongst curious machines, nor more at ease than 
 when evolving mechanical intricacies. He was for many 
 years the right-hand man of the conjurer, J. H. Anderson — 
 "The Wizard of the North." His mystical proclivities and 
 love of the occult followed him to the atelier^ if we are to 
 believe the apocryphal revelations of a well-known author. 
 I regret that careful investigation has led me to doubt the 
 correctness of many of the tales anent the intercourse between 
 
172 BRITISH VIOLIN-MAKERS 
 
 him and Vuillaume, and I prefer to leave these, however idyllic 
 their character, severely alone. 
 
 The fewr instruments attributed to Mann which I have had 
 the fortune to see were not calculated to rouse the connoisseur 
 into ecstatic utterance. They were beautifully made, but 
 timid and tame. They reminded one of Sir Joshua Reynolds' 
 criticism of a picture. The great painter was standing before 
 a painting by another celebrated artist one day, and on being 
 asked his opinion of the work, replied : " It wants — it wants 
 — d n me ! it wants that." Nothing aggravates the con- 
 noisseur like frigid monotony. No genius in the poetical world 
 ever reached the summit of Parnassus by a path previously 
 made, and no two great violin-makers ever walk exactly the 
 same road. 
 
 MARNIE, JOHN, Padanaram : nineteenth century. 
 Indifferent. 
 
 MARSHALL, JOHN, Aberdeen, contemporary. An 
 excellent workman, who is famous throughout Scotland as a 
 neat repairer. He has made a large number of instruments, 
 mostly on the Stradivari model. Label : — 
 
 JOHN MARSHALL, 
 
 VIOLIN-MAKER, 
 
 ABERDEEN, 1887, 
 
 J. M. 
 
 MARSHALL, JOHN, London : 1750-60. Fairly good 
 work on the Stainer model, with sometimes exaggerated arch- 
 ings. He varied his labels. 
 
 MARTIN, , London. Little or nothing is known 
 
 of him. 
 
 MAYSON, WALTER H., Manchester, contemporary. 
 He was born at Cheetwood, Manchester, on Nov. 8, 1835. 
 He is a son of Mark Mayson, who was born at Keswick, and 
 of Elizabeth, eldest daughter of the celebrated William Green, 
 
m 
 
 
 K^ ' ■ ---^r^B 
 
 ^^F$ 
 
 
 
 Fr 
 
 
 
 ^^^^^K Jm 
 
 ■ 
 
 ^^^^^^^^9 
 
 yV/,./,.. .1 A\,vA>«, Stret/o,;i 
 
 WALTKR H. MAVSON" 
 
VIOLIN AND BOW MAKERS 173 
 
 painter in oils and water-colours. His father was a landed 
 proprietor in Keswick, and a descendant of an ancient Cum- 
 berland family. Green, the maker's grandfather on his mother's 
 side, was contemporary and intimate with Coleridge, father and 
 son ; Professor Wilson, who wrote a memoir of him in Black- 
 wood's Magazine at his death, and the poet Wordsworth, who 
 composed the epitaph now over his grave, in Grasmere Church- 
 yard, close to where the said Wordsworth lies. He was 
 educated by Thomas Walley, at Cheetham Hill, Manchester. 
 He was married when twenty-eight years of age, at Eccles 
 old Church, to Catherine Mary, eldest daughter of John 
 Ellwood, bandmaster, whom he lost in five months in pre- 
 mature childbirth. Later he married the widow of Frank 
 King, of Manchester, by whom he has five children living, 
 viz. : Sarah Elizabeth ; Walter Henry, professor of the violin 
 and composer ; Stansfield, ditto ; Florence Gertrude ; and 
 Leonora Beatrice. His second wife's maiden name was 
 Hutchinson, and her native place Leicester. 
 
 During his childhood Mayson manifested a strong natural 
 bent for the use of fine edge tools. He made at an early 
 period several articles of cabinet work, and also a number 
 of i^^olian harps. He invented an ingenious contrivance for 
 this primitive instrument whereby the usual volume of sound 
 was more than quadrupled. He showed an early leaning also 
 towards literature. He had scarcely attained his majority when 
 he published a volume of dramatic poetry, which evinced a 
 considerable wealth of thought and mastery of verse. 
 
 He received no training whatever in the art of violin- 
 making ; he is absolutely self-taught. His first fiddle was 
 made at "The Polygon," Lower Broughton, and begun on 
 Oct. 16, 1873. A few more violins were made at the same 
 house. He then removed to a workshop in Burton Arcade, 
 Deansgate, Manchester, where he remained for some time and 
 made many instruments. 
 
 At this period Mayson suffered a great deal of persecution 
 from his brother artists (if any one can be called an artist 
 whose soul is stained with prejudice). Certain of the fraternity 
 
174 BRITISH VIOLIN-MAKERS 
 
 sought to put his light under a bushel by dubbing his work 
 as "amateurish," " unclassical," &c. The inanity of these 
 epithets soon became apparent when men of note began to 
 recognise in Mayson a genius of the highest order. 
 
 He next removed to Croft House, Newby Bridge, at the 
 foot of Windermere, where he remained for six years, and 
 made many fine instruments. From there he went back to 
 Manchester to open a shop at 62 Oxford Street, where he has 
 carried on business for several years. In September 1899, he 
 opened a workshop at 256 High Holborn, London, which he 
 had to close shortly after through lack of patronage. It has ever 
 been the fate of genius to be recognised by only the few during 
 its life day. The blinding light of the sun forbids us to look 
 at the source of day straight in the face. 
 
 Mr. Mayson has made up to the present 733 instruments, 
 including violins, violas, and violoncellos. He makes on the 
 classical lines, and also on an original model, but he is no 
 copyist of any one. His wood is of the choicest maple and 
 pine. In both the back and front tables of his high-class 
 instruments it is not a whit inferior to that used by Stradivari 
 in his finest examples. One specimen may be mentioned, viz., 
 " Cordelia," in which the wood of the back is artistically finer 
 than anything I have ever seen, classical or post-classical. His 
 varnish is his own composition, of various colours, and of a'very 
 elastic oil, perfectly transparent and free from any thought of 
 cracking. In the softer shades it is surpassingly beautiful, 
 defying the power of description as it defies the possibility of 
 imitation. 
 
 His original model is shown in the annexed plate. As to 
 its merit there can be but one opinion: it is the conception of a 
 lofty mind — the creation of genius. The sound-holes are the 
 classical conception idealised, and the scroll the quintessence of 
 gracefulness and strength. The entire work is the product 
 of a master mind. Such specimens as " Cordelia," " Eudocia," 
 " Halle-Mayson," "In Memoriam," " Isidor," "Bianca d'Opia," 
 &c., are poems — poems that sing their own poetry in streams 
 of velvet sounds. 
 
ki. 1)11 II MORRIS" VIOLIN BY MAYSON 
 (Feci/ 1903) 
 
THE ■' CORONATION' EUWARU Vll." BY MAYSON 
 {Fecit 1902) 
 
VIOLIN AND BOW MAKERS 175 
 
 The dimensions of his original model are : — 
 
 Length of body 
 
 I4t5 
 
 Width across upper bouts 
 
 6^ 
 
 „ „ middle bouts 
 
 4| 
 
 „ „ lower bouts 
 
 H 
 
 Depth of rib at lower bouts 
 
 li 
 
 „ „ upper bouts 
 
 i^ 
 
 Length of sound-holes 
 
 3 
 
 Distance between sound-holes at upper turn 
 
 If 
 
 inches. 
 
 The arching is moderately pronounced — a trifle more than 
 that of the flat Strads. 
 
 Mr. Mayson is now mostly engaged in carved-back instru- 
 ments, choosing rocky landscapes, chiefly from the Lake 
 district, flowers, &c., which are carved most beautifully in 
 low relief. 
 
 The illustration facing this page will give some idea of 
 this beautiful work. The relief is only one-fortieth of an 
 inch, and the effect is marvellous in so slight a cutting. 
 The following is a list of Mayson's carved-back fiddles 
 down to date : — " Rosa Bonheur," " Moliere," both in scroll 
 work ; "Anemone," carved in this flower with a girl dancing 
 over a shell in the centre ; " Portinscale," a group of youths 
 at the top engaged in plucking and eating grapes, and another 
 group at the lower part holding a carouse on the fermented 
 liquor of the same fruit ; " I will arise," Christ ascending 
 among clouds ; " Lord Cavendish " and " Thomas Haviland 
 Burke," both in scroll work; "Anemone" (No. 2), same as 
 before; " Old Windsor," her Majesty Queen Victoria in centre 
 of back, rich drooping flowers down the sides; "Convolvulus," 
 "Thirlmere," "Blea Tarn," "Wastdale" (viola)— scenes from 
 the Lake district ; "Ivy," and " King Edward VII." 
 
 The fame of Mayson two hundred years hence will be 
 due more especially to his ordinary back, original model 
 fiddles, however exalted as works of art the above may be. 
 Many experts have expressed the opinion that fiddles of the 
 " Hallc-Mayson " class will worthily replace the chefs-d'' ceuvre 
 of Cremona, when the latter have become food for worms. 
 
176 BRITISH VIOLIN-MAKERS 
 
 A grander fiddle than " Cordelia," e.g.^ has never been made, 
 never can be made. Another remarkable specimen is "Ele- 
 phanta," which has only just been completed in London. 
 This, in the opinion of tv^^o experts of eminence, is calculated 
 to throw lustre even on Mayson's fame, though it is difficult 
 to imagine how it can surpass his previous accomplishments. 
 The tone of these instruments is most remarkable. In saying 
 this it is not assumed that it is now equal in mellowness 
 to that of the perfect Strads and Josephs left us, but it is 
 maintained that it runs theirs very closely in quality, and 
 most certainly excels that of most of them in power and 
 breadth. It needs but age and careful use to develop the 
 tonal qualities of these instruments to put many of the all- 
 but-deified Strads entirely out of court. 
 
 Mr. Mayson names each instrument as he makes it, and in 
 doing so he has followed a wise plan, seeing that it makes 
 fraud more difficult. There are, in addition, numerous private 
 marks here and there in the instrument. A clue as to the 
 maker's method of inserting private marks may be found in 
 his interesting book " The Stolen Fiddle." 
 
 The Mayson violins gained medals at Cork (1883), 
 Inventions (1885), and Melbourne (1888). In the two 
 former awards an originality in edging was specially men- 
 tioned as adding to the gracefulness of the work. This was 
 a Grecian ogee between the purfling and the rims. His 
 prices range from ^^lo to ;;^6o. 
 
 The label is a different one for each instrument. The 
 following is a facsimile of one put in a fine violin. 
 
VIOLIN AND BOW MAKERS 177 
 
 Mr. Mayson is the author of " Colazzi," « The Heir of 
 Dalton," « The Stolen Fiddle," « Violin-Making," and other 
 works. 
 
 ME ARES, RICHARD, London: 1660-80. A maker 
 of lutes and viols. 
 
 MEARES, RICHARD, London: 1675-80 (?). Son of 
 the preceding. He made a few violins, but left the trade 
 soon after his father's death. 
 
 MEEK, WILLIAM, Carlisle, contemporary. A gen- 
 tleman amateur, who has made several beautifully-finished 
 instruments. 
 
 MEIKLE, ROBERT, Lesmahagow : 1817-97. Average 
 work. 
 
 MENTIPLY, ANDREW ADAM, Ladybank, Fife, 
 contemporary. He was born at Burnside, Boarhills, near 
 St. Andrews, Nov. i, 1859. ^^ ^^ ^" amateur maker who 
 displays so considerable an amount of ability and originality 
 as to justify more than a passing notice of his work. He has 
 made over fifty violins, a few of which are on the Stradivari 
 and a few on the Guarneri models, but the majority of them 
 are on an original model. The outline and arching of this 
 original model are strongly reminiscent of those of Joseph, 
 but the outline is more rounded, especially in the inner bouts 
 or C's, and the lower or broad end is more extended. The 
 scroll and sound-holes also differ materially from those of the 
 great classics, the former being quaint and pleasing in effect, 
 but the latter overdone and bordering on a caricature. Mr. 
 Mentiply's intellectual orchard is exuberant in growth, but it 
 wants pruning. The classics are not to be depreciated as a 
 means of education, and much less as objects of worship. 
 The workmanship and tone are excellent, but the varnish is 
 very indifiTerent. If this maker exercised a little self-restriction 
 and used better varnishes, he would turn out work that would 
 
 M 
 
178 
 
 BRITISH VIOLIN-MAKERS 
 
 rank beside the best produced in Scotland to-day. Facsimile 
 label :— 
 
 
 MENZIES, JOHN, Falkirk: 1820-31. I have not 
 seen any of his work, but it is said to be very good. 
 
 MERLIN, JOSEPH, London : 1765-80. Stainer model, 
 fairly well made, but^ possessing a poor tone. The varnish 
 is mostly dirty yellow or brown of an inferior quality. 
 His mechanical pegs for violins and violoncellos were at one 
 time in considerable use. Label : — 
 
 JOSEPHUS MERLIN CREMONAE EMULUS. 
 
 NO. 104. LONDINI, 1779. IMPROVED. 
 
 66 QUEEN ANN STREET EAST, PORTLAND CHAPEL 
 
 MIER, 
 
 London : c. 1780. 
 
 MILLER, , London : c. 1750. 
 
 MILLER, ALEXANDER, St. Andrews : 1813-77. A 
 pupil of Thomas Hardie. I have seen only two of his violins, 
 which were well-made instruments, possessing a firm but 
 somewhat metallic tone. At his death Miller possessed a 
 large quantity of excellent violin wood, which was secured by 
 Mr. John Logan of Biggar. 
 
 MILLER, JOHN, Dundee, contemporary. He was 
 born in the Orkneys, Sept. 18, 1 861. His work is excellent, 
 but there is so little of it that he cannot claim more than a 
 passing notice. 
 
VIOLIN AND BOW MAKERS 179 
 
 MILNE, PATRICK J., Aberdeen, contemporary. He 
 was born at Aberdeen, on Jan. 30, 1873. He follows the 
 usual models, and has made about thirty violins, besides repair- 
 ing a large number. He uses both oil and spirit varnishes ; 
 colours : orange, light and dark brown, and dark red. The 
 workmanship is much above average, and the tone fairly 
 good. He repairs very neatly, and has done considerable work 
 now and again for some of the London houses. Facsimile 
 label :— 
 
 PATRICK CL MILNE, | 
 
 MAKER, Q 
 
 ABERDEEN. I 
 
 MINER, D. BROWN, Dunfermline, contemporary. I 
 have not seen any of his work. 
 
 MITCHELL, GEORGE, Edzell : 1823-97. I have 
 not seen any of his work. 
 
 MITCHELL, JOHN, Dunfermline, contemporary. 
 
 MOFFATT, W. J. 
 
 MONK, JOHN KING, Lewisham, contemporary. He 
 was born Jan. 22, 1846, and is a direct descendant of 
 General Monk, of Commonwealth fame. He works on the 
 Stradivari model, but he has slightly modified the outline, 
 making the corners fuller and more prominent. The sound- 
 holes are considerably modified, and although they have much 
 force of character and a piquancy all their own, yet one is 
 constrained to wish that the maker had rest content with his 
 classical prototype. In the matter of workmanship, this maker 
 is capable of doing better than he sometimes does. 
 
 He has used sundry sorts of wood, all of good quality. He 
 
i8o 
 
 BRITISH VIOLIN-MAKERS 
 
 foraged Shoreditch cabinet-makers' stores some years ago for 
 material, and stumbled across several slabs of maple and one of 
 sycamore, which had lain by for generations till it had got 
 very dark. Some portions of this were very handsome when 
 cut up. The pine which he has used up to the present was 
 taken from an old warehouse at the foot of London Bridge, 
 built in 1830. This same warehouse was removed to another 
 part in i860, and in 1886-87 was taken down, when Mr. 
 Monk took advantage of the opportunity of securing the wood 
 that suited his purpose. He has used all this pine with the 
 exception of some odd pieces, and two small blocks sufficient 
 for two bellies. 
 
 His varnish is oil, and of various colours, ranging from deep 
 red to golden yellow. It is perfectly transparent and fairly 
 brilliant. 
 
 He is the inventor of the triple bar system, which he 
 applies to worn-out old and to cheap modern factory fiddles. 
 The system consists in the use of three bass bars instead of the 
 usual one. 
 
 He has made up to date ninety violins and a few violas. 
 Facsimile label : — 
 
 E. If. Moa<C, 
 
 
 MAKER, 
 
 
 MeoTON. SURRBV. 8.W 
 
 
 ../^. 
 
 .e»^ 
 
 MOORE, ANTHONY JOHN, Sunderland, contem- 
 porary, was born in Monkwearmouth, in the year 1852. He 
 is the eldest son of the late Captain Thomas Moore, at one 
 time well known in the Indian and China trades. He was 
 educated at the academy of the Rev. William Parks, in 
 Ravensworth Terrace, Monkwearmouth, and also at the 
 schools of Mr. James Cameron, in North Bridge Street, and 
 of Mr. John Cameron, in Blandford Street, of the same place. 
 
VIOLIN AND BOW MAKERS i8i 
 
 He is an artist by profession — a painter of the sea and 
 tidal rivers. About fifteen years ago he first saw the work of 
 Hart on the viohn, and he was so much impressed with its 
 many illustrations that he became enamoured with the king of 
 instruments. In the year 1886 he made his first violin, and 
 since then he has made a considerable number. He spends 
 most of his leisure time in experimenting and in working out 
 the geometrical construction of the instrument, with the view 
 of by-and-by turning out fiddles that will be representative of 
 all that is excellent in the modern school. 
 
 The one instrument of his make which I examined was 
 beautifully made, and had a large and telling tone. Its out- 
 line and arching were on the Joseph model slightly modified. 
 The wood of the front table was an extraordinary piece of 
 timber, and seemed fresh, considering its great age. The 
 scroll was nicely carved, but possessed more of the feminine 
 characteristics than is perhaps allowable in copies of Joseph. 
 The button was prim and prop. The margin was of medium 
 width, and the edges gently rounded. The sound-holes were 
 piquant and expressive. The varnish was an oil one of 
 Mr. Moore's own composition ; colour : golden yellow. I 
 was particularly pleased with the tone of this instrument. It 
 was perfectly clear and responsive in all the positions, and the 
 harmonics were as crisp as the jingle of frozen rush blown by 
 the breath of winter. I have no knowledge whether Mr. 
 Moore is always equally successful in producing a good tone. 
 Facsimile label : — 
 
 ANTHONY JOHN NJDORE . 
 
 SUNDERLAND fecit ^nno ^Sfc7 
 
 TABLE MADE or WOOD ^00 YEARS OLD 
 
 ® NO // 
 
 MORGAN, JAMES, Edinburgh, contemporary. He 
 was born in Kincardine-on-Forth, in the year 1839. He was 
 
1 82 BRITISH VIOLIN-MAKERS 
 
 apprenticed at the age of fourteen to a cabinet-maker, who was 
 a first-class workman, and an occasional maker of all sorts of 
 musical mstruments made of wood, including violins. During 
 apprenticeship he made about a dozen violins and one violon- 
 cello. Leaving Kincardine, he settled down in Edinburgh, 
 where he made several violins of such excellent workmanship 
 and tone that brought him quickly to the notice of some of the 
 musicians of the town. At this period, however, he passed 
 through a religious crisis, and violin-making and playing were 
 cast aside for twenty-eight years. When he next took up the 
 art he was considerably past the meridian of life, and had 
 reached the age at which it is usual for men to cease from the 
 harder activities of life. This does not imply that he does not 
 now turn out instruments of a high order, but that they are 
 few and far between. It is a pity that Morgan ever laid by 
 his gouge, and especially so when it is considered that religious 
 scruples were the cause. It was never intended that religion 
 should rob art of its fruit. 
 
 He works on the Stradivari model, using very choice 
 materials, and Whitelaw's varnish. The tone is large and 
 mellow. Facsimile inscription : — 
 
 
 MORRISON, ARCHIBALD, Glasgow : 1820-95. He 
 worked in Great Hamilton Street, where he had a violin shop, 
 and where he made a large number of instruments, some fairly 
 good, but most of rather under average merit. The little of 
 his work that I have seen was of a very indifferent character. 
 Morrison appears to have been a far better player than maker, 
 and his shop was the rendezvous of fiddle enthusiasts and 
 
VIOLIN AND BOW MAKERS 183 
 
 players, who were known in Glasgow as " Morrison's Band." 
 Label :— 
 
 ARCHIBALD MORRISON, 
 
 MAKER, 
 
 GLASGOW, 1875 
 
 MORRISON, JAMES, Dunfermline, contemporary. 
 An amateur maker of average attainments. 
 
 MORRISON, JOHN, London: 1760-1827. Reworked 
 in Princes Street, Soho, in Shadwell, and at Little Turnstile, 
 Holborn. I have never seen any instruments bearing his label. 
 I think he must have worked exclusively for the dealers. 
 
 MURDOCH, ALEXANDER, Aberdeen : 181 5-91. 
 
 MURRAY, DANIEL, Edinburgh, contemporary. 
 Ordinary work. 
 
 MURRAY, DAVID, Gorebridge, contemporary. He 
 was born at Greeburn, Linlithgowshire, Dec. 30, 1850. 
 He is an amateur maker of far more than average ability, and 
 did circumstances but allow him to procure good material, he 
 would turn out work which would be in every way excellent. 
 As matters stand, Murray has often to rest content with any 
 sort of timber he can pick up. When he does secure a piece 
 of good wood, he spends months in fondly shaping it, and in 
 tracing out of the inert block lines of living beauty. He 
 works on an original model, or perhaps it would be more 
 correct to say models, seeing that no two of his instruments 
 are exactly alike. Each violin has an individuality of its own, 
 and yet " David Murray " is writ large on the face of every 
 one of them. The workmanship is faultless, and the tone 
 has a peculiar crisp yet sweet quality which is novel and 
 pleasing. He has made about- sixty violins. Label : — 
 
 DAVID MURRAY, 
 
 MAKER, 
 
 GOREBRIDGE, 189- 
 
1 84 BRITISH VIOLIN-MAKERS 
 
 MURRAY, JAMES, Dumfries, contemporary. He was 
 born at Lockerbie, July ii, 1857. An amateur maker of 
 average ability. 
 
 MURRAY, JOHN BROWN, Clarebrand, contem- 
 porary. He was born at Ringanwhey, Kirkcudbrightshire, 
 May 21, 1849. He has made several excellent violins on the 
 Stradivari model. The work is beautifully finished, and the 
 tone is bright and penetrating. Facsimile label : — 
 
 A^. 
 
 
 N 
 
 NAYLOR, ISAAC, Headingly, Leeds: 1775-90. A 
 pupil of Richard Duke ; and he has reproduced many of the 
 salient features of the master in his work. 
 
 NEWTON, ISAAC, London: 1775-1825. He made 
 mostly for the trade, particularly for Betts. Both workman- 
 ship and tone are of good average merit. 
 
 NICOL, THOMAS, Glasterlaw, contemporary. He 
 was born in the parish of Kirkden, Forfarshire, June 10, 
 1840. He has made about sixty violins on the models of 
 Stradivari and Guarneri. On his firsts efforts he used a spirit 
 varnish, but he now uses Whitelaw's. The work is carefully 
 done, and the tone is free and powerful. Label : — 
 
 T. NIGOL, 
 18 MAKER 97 
 NISBET, WILLIAM, Lint Mill, Prestonkirk : 1828- 
 1902. He was born at Stenton, Jan. 5, 1828, and died at 
 
VIOLIN AND BOW MAKERS 185 
 
 Lint Mill in 1902. He received no school education in early- 
 life, his father, who was a labouring man, giving him what 
 home teaching he could. He was, however, possessed of wide 
 information upon a variety of subjects, and distinguished in 
 mechanical knowledge and skill. The Rev. G. Marjoribanks, 
 vicar of Stenton, thus concludes his account of Nisbet's life 
 and work in the Haddington Courier : " It is not too much to 
 say that, in whatever direction he has turned his energies, he 
 has always excelled. Few, indeed, would suppose that the 
 modest-looking yet trim little cottage which stands near the 
 picturesque ruins of the old mill, was occupied by a man 
 possessed not only of rare technical skill, but of such accurate 
 and extensive information, gathered mainly from personal obser- 
 vation and study in the fields of natural history and science, 
 whether as a photographer, wood-carver, carpenter, basket-maker, 
 violin-maker, or in more recent years as a market-gardener, 
 the productions of his genius and labour have been equally 
 admired and appreciated, and this none the less because ac- 
 companied by a singular modesty of character and demeanour, 
 and without his having had the benefit of any special training 
 and education. In short, if the well-known author of ' Self- 
 Help' wishes to find solid material for a new biographical 
 sketch, he could hardly do better than select for his theme the 
 subject of this little notice."" 
 
 Nisbet made 120 violins. The earlier ones are on the 
 model of Maggini, and the later ones are said to be on 
 the model of Amati, "with a broadened waist to give more 
 tone." Those examined by me were not on the Amati 
 model at all, the differences being so marked and numerous as 
 to justify one in describing the model as original. The 
 following measurements, taken from an instrument made in 
 1 89 1, will bear out the last statement : — 
 
 Length of body 
 
 1 3||. inches 
 
 Width across upper bouts 
 
 • 6| „ 
 
 „ „ middle bouts 
 
 . 4 » 
 
 „ „ lower bouts 
 
 • H » 
 
 Distance between corners 
 
 3fV .» 
 
1 86 BRITISH VIOLIN-MAKERS 
 
 Length of sound-holes . . . . 2| inches. 
 
 Distance between sound-holes at top . . if » 
 
 Depth of ribs at top and bottom . . i-^ »» 
 
 The workmanship is excellent, and the tone large and 
 telling. The only faulty part of the work is the varnish, 
 which is a spirit one of a dull, lifeless colour. He was awarded 
 two bronze medals for an exhibit of violins at the Edinburgh 
 International Exhibition in 1886. 
 
 Nisbet used no label, but inscribed with a hard lead pencil 
 on the back in the place where the label usually stands the 
 following : — 
 
 LiiU-MUl 
 
 NOBLE, HUGH, Dundee, contemporary. An amateur 
 of good average ability. 
 
 NORBORN, JOHN, London: c. 1720. 
 
 NORMAN, BARAK, London: 1688-1740. A pupil 
 of Thomas Urquhart, who worked in Bishopsgate and after- 
 wards in St. Paul's Churchyard. I have not seen any violins 
 of his make, but I have seen two violoncellos. Unfortunately, 
 the notes of these instruments which I made at the time have 
 been lost, and I cannot say anything about them from memory, 
 but I have a distinct recollection that one had a most pleasing 
 tone. The biographical particulars are familiar to all who are 
 interested in violin literature, and need not be repeated here, 
 seeing that I have nothing new to write about this maker. 
 
 NORRIS, JOHN, London: 1739-1818. A pupil of 
 Thomas Smith, and for some time (1765-80) partner with 
 Barnes. 
 
VIOLIN AND BOW MAKERS 187 
 
 OMOND, JAMES, Stromness, contemporary. He was 
 born in Halkness, South Walls, June 23, 1833, and works as a 
 professional maker at Kirbuster, Stromness, in the Orkneys. 
 He received elementary education at a public school in his 
 native place, and also at the parish school. At the age of 
 sixteen he took charge of a small school in an adjacent island 
 containing only seven families. Soon after he took charge of 
 this school he found that he needed to be better equipped for 
 the profession of a schoolmaster, so he attended the Stromness 
 school at intervals, and also learned navigation. He finally 
 equipped himself for his work at the Edinburgh Training 
 College. After his college career he was appointed master 
 of the society school in the parish of Stromness, where, through 
 pressure of work, his health gave way. He completely lost his 
 voice for eight years, and, after the passing of the Education Act 
 of 1872, he was invalided on a limited pension. He now had 
 to turn his attention to some other means of livelihood, and he 
 picked up watchmaking and repairing. This was not con- 
 genial to his tastes, so he decided upon violin-making. To 
 this art he has devoted his time and energies since the year 
 1873. That he wisely deliberated in his final choice of a 
 calling is amply borne out by the success of his gouge. He 
 succeeded almost from the first, for the mechanical part of the 
 work gave him little or no difficulty. He had learned how to 
 handle edged-tools at the workshop of his father, uncle, and 
 brother, who were general carpenters and boat-builders, and he 
 set about diligently to obtain knowledge of the science of violin 
 construction by corresponding with such authorities as Mr. 
 Horace Petherick, Mr. George Hart, Sec. From the former 
 of these gentlemen he got very valuable hints, and to him he 
 is largely indebted for his success. 
 
 Mr. Omond was married in i860 to Jane Groat, of South 
 Walls. He has four sons and one daughter — James, John, 
 Jane, William, and David. He is a genial old gentleman, 
 
1 88 BRITISH VIOLIN-MAKERS 
 
 with a face beaming with Orcadian humour and a heart 
 affectionately attached to the kirk of his forefathers. 
 
 He spends his time in the company of the great Antony 
 and Joseph, with an occasional excursion to the lonely, weeping 
 Gio. Paolo. He is not a slavish copyist ; on the other hand, 
 he sometimes modifies the lines and vaulting of the masters, 
 and he not infrequently develops the scroll and sound-holes in 
 a manner quite original. The outline measurements are nearly 
 always identical with those of the archetypes, but the thickness 
 of the plates is uniformly greater. 
 
 One noticeable feature about the sound-holes is the acute- 
 ness of the inner angle of the lower wing. This, in a large 
 majority of cases, is developed into a fine point, somewhat after 
 the manner of Otto. 
 
 Up to the present he has made two hundred instruments, 
 including violins, violas, and violoncellos. 
 
 The workmanship and finish are perfect — the greatest care 
 being manifest even down to the minutest detail. 
 
 Mr. Omond's wood is excellent in quality and very often 
 fine in appearance. The grain of the pine is moderately wide, 
 and the " reed " well-defined and straight, showing a healthy 
 growth. He often manages, in spite of his living at so great a 
 distance from a good market, to hit upon a very good piece of 
 sycamore or pine, which he knows well how to use. 
 
 Mr. Omond has never attempted to make his own varnish. 
 Like a certain king we read of in olden times, he is blest with 
 a sense which is rare amongst men, viz., the sense to know 
 what cannot, as well as what can, be done. He has no know- 
 ledge of chemistry, and knows that it would be a waste of time 
 for him to dabble at varnish-making. He uses Caffyn's, or 
 some other good varnish, mostly in amber or orange. He lays 
 it on very carefully, first preparing the surface of the wood to 
 a fine polish, and then with a clean rag dipped in the pale 
 varnish he puts on the first coat in a thin film, so as to prevent 
 it soaking into the wood. The coloured varnish is also put on 
 thin, and each coat allowed good time to dry. 
 
 Omond's instruments have gained the following awards : — 
 Diplomas of merit at Central International Exhibition, Mel- 
 
lOHN WILLIAM OWEX 
 
VIOLIN AND BOW MAKERS 189 
 
 bourne, 1888; International Exhibition, Edinburgh, 1890 ; 
 East End Industrial Exhibition, Glasgow, 1891 ; National 
 Trades and Industrial Exhibition, Glasgow, 1895-96. With 
 the last he got a bronze medal, the highest award they gave. 
 
 It may also be mentioned that at the Fisheries Exhibition, 
 Edinburgh, he obtained a silver medal and ^^5 for an essay on 
 fishing-boats and a model of an improved boat. 
 
 He sells his instruments at a very moderate figure, ranging 
 from ^3 to ;/^iO. He plays well on the fiddle, though with 
 him playing is subsidiary to making, and only taken up com- 
 paratively late in life for the purpose of testing his work. 
 
 Mr. Omond, it may fairly be asserted, is in the front rank 
 of modern Scottish makers. His work is downright honest, 
 unsophisticated, solid British work, and his devotion to the art 
 will materially help to sustain the fame of Scottish violin- 
 makers. Facsimile label : — 
 
 
 '^Jl^d-^^^J.eL^. 
 
 AD loao 
 
 T 
 
 ^J ZZ " '^ -^ ^^ 
 
 OWEN, JOHN WILLIAM, Leeds, contemporary. He 
 was born in Leeds, May 28, 1852, and works at Amati House, 
 Merrion Place, New Briggate. He is the only child of 
 William and Hannah Owen, the father being a native of 
 Congleton, and the mother of Chester. The latter, whose 
 maiden name was Rimmer, was of a highly artistic turn of 
 mind, and without a rival as a designer in fancy work. Owen 
 received his early education at an elementary school in his 
 native town, but it was discontinued at a stage which made 
 it necessary for him to supplement it by attendance at scientific 
 classes in the evenings later on in life. 
 
I90 BRITISH VIOLIN-MAKERS 
 
 He was apprenticed to the engineering trade, but the work 
 proved too heavy for him and his health gave way. He was 
 an invalid for about three years, and was obliged to get 
 constant medical attendance. On recovering, his doctor 
 advised him to give up all business except that of violin- 
 making, which he had taken up as a hobby previous to his 
 illness. He acted upon this advice, and as he gained in 
 strength he took up the art of making and repairing more 
 thoroughly. He spared no effort in gleaning information on 
 the subject from every available source. He acquired both 
 theoretical and practical knowledge from expert workmen, 
 and he went to France, visiting one atelier after another, with 
 the same object in view. 
 
 It sometimes happens that good comes out of evil. It is so 
 in this instance : the ill-health of Mr. Owen is responsible 
 for one more splendid addition to the roll of British fiddle- 
 makers. We do not regret his severe illness provided that it 
 has not shortened his thread of life, and that it will not. 
 Phoenix-like, rise again from its own ashes. 
 
 He commenced violin-making in 1884, but the business 
 at the start was not continuous. Since his recovery it has 
 been carried on without intermission. Up till now he has 
 made about a hundred new instruments, including violins, 
 violas, and 'cellos. He has also made a large number of new 
 backs and bellies for instruments belonging chiefly to dealers. 
 He has repaired very extensively. He keeps a record of every 
 instrument that passes through his hands, and the list stands 
 now at 3721. He works on the Stradivari, Guarneri, and his 
 own models. The fiddle submitted to me was original in 
 outline and modelling. Its dimensions are : — 
 
 Length of body 
 
 . 
 
 14!^ inches 
 
 Width of upper bouts 
 
 . 
 
 61 „ 
 
 „ lower bouts 
 
 . 
 
 H „ 
 
 „ middle bouts 
 
 . 
 
 4| ,, 
 
 Length of inner bouts from 
 
 corner to corner 
 
 3 
 
 Length of ^ holes 
 
 . 
 
 3 
 
 Height of ribs i \ inches, diminishing to . 
 
 5 
 ■5-2 '» 
 
VIOLIN BY JOHN W. OWKX 
 
 {Fecit 1903 1 
 
VIOLIN AND BOW MAKERS 191 
 
 The outline of this fiddle is very pure and graceful, and 
 every individual part is in perfect keeping w^ith the whole. 
 The margins are full and the edges strong, slightly raised, and 
 beautifully rounded. The scroll is an exquisite piece of work; 
 it is thrown with a masterly hand, and is full of refined 
 strength. The interior is finished as carefully as the exterior. 
 The blocks and lining are faultless, showing not the slightest 
 trace of glue. The mitres of the fiddle examined by me were 
 geometrically perfect, having facets of nearly a millimetre in 
 width. This style, it must be conceded, is more in keeping 
 with the outline than the " knife-edge " facet. The wood is 
 excellent. The curl of the maple is of narrow width and 
 very regular, and running at an angle of thirty degrees to the 
 long axis of the fiddle. The front table has been cut from a 
 slab that obtained a prize for excellence at the 1851 Exhibi- 
 tion, and it has a " reed " of medium width. Mr, Owen was 
 fortunate in being able to purchase a considerable quantity of 
 Exhibition wood, and is thus enabled to put superior material 
 in his higher class instruments. The varnish is an oil one, of 
 the maker's own composition ; colours : yellow to deep red. 
 In the specimen examined by me it was a rich red with a 
 golden tinge, very brilliant and transparent. The chief 
 characteristics of this maker's tone are breadth and brilliancy. 
 It is a tone which, when time has mellowed it, will subdue by 
 reason of its grandiose timbre. The awe-inspiring and the 
 grand are required in the realm of sound as in that of form. 
 
 Perhaps Mr. Owen claims attention even more on account 
 of his violoncellos than his fiddles. In Mr. Arthur Broadley's 
 opinion, these stand alone of their kind in the midst of modern 
 productions. He says : " The latest 'cello is beyond every- 
 thing. In workmanship it is perfect ; in tone nothing better 
 could be desired — big, brilliant, and of good carrying power, 
 easy to play on at every part of the instrument." The 'cello 
 to which Mr. Broadley refers is of fine proportions, and slightly 
 higher in model than the earlier ones. Mr. Owen made about 
 two years ago a 'cello for Mr. David Dixon, 'cellist at the 
 Theatre Royal, Bradford. The instrument was very recently 
 seen by Mr. Van Biene, and said to be worth at present ;^i50. 
 
192 BRITISH VIOLIN-MAKERS 
 
 Mr. Owen makes bows, violins, violas, violoncellos, and 
 double-basses. All the work is personal. He employs no 
 workmen, but he is assisted in the workroom by his daughter. 
 Ivy. His prices are a trifle more moderate than is usual in 
 these days of high figures. They are : — 
 
 For violins fronij^ia 
 
 For violas ........ £^ $ 
 
 For 'cellos ,, £20 
 
 He was married to Miss Jane E. Beresford in December 
 1879, ^" York. Their offspring are : — Leonora Beresford, 
 Jenny Stella, Ivy Rimmer, Adelina, and Paulina. In private 
 life he is amiable and blameless. In his art he is an enthusiast. 
 To the outsider he may seem to be crazy on the subject 
 of violin-making. He has a firm belief in his own powers, 
 and has the conviction that he has found his vocation in the 
 making of stringed instruments. This gentle egotism is not 
 to be condemned ; it is a psychical state in which the mind 
 of every born luthier is bound to find itself. And herein lies 
 the test between the born artist and the artist that is made. 
 
 Mr. Owen has played the violin from childhood, and has 
 also studied harmony and composition from an early age. 
 
 He gave violin lessons at one time, and enjoyed a con- 
 siderable reputation as a teacher. He for some time also acted 
 as deputy leader at the local theatres when occasion required. 
 Facsimile label : — 
 
 A fine violin, made on an original model, is shown here. 
 
dax]i:l park]-:k violin 
 
 (In the Collection of Mr. C. Close, Dagmar Lodge) 
 
VIOLIN BY DAXIEL PARKER 
 
 (Fci-if 17T2) 
 
 (Now in the possession of Mr. Richard Hilton, Matlock Bridge) 
 
VIOLIN AND BOW MAKERS 193 
 
 The label is not dated, but the date is inscribed on the 
 bare wood after the maker's autograph. 
 
 PAMPHILON, EDWARD, London : 1670-90. The 
 instruments of this old maker are a sort of cross-breed between 
 those of Brescia and Absam. He had evidently seen and 
 handled instruments of both schools, and became consequently- 
 unsettled in his mind as to what course to pursue. The 
 outline, scroll, and double purfling are Brescian, but the 
 arching is distinctly Tyrolese. The workmanship considered 
 per se is excellent, but it is devoid of taste, and in a few matters 
 of detail, to wit, the terminals of the sound-holes, it seeds into 
 eccentricity. His tenors, like his violins, are of a small 
 pattern, but their tone is sweet and penetrating. He used 
 amber yellow varnish of good quality, which in many cases 
 looks well and almost fresh to-day. I doubt whether there 
 are any Pamphilon instruments in existence bearing original 
 labels. 
 
 PARKER, DANIEL, London : 1700-45. The infor- 
 mation which is usually given respecting this maker is mis- 
 leading, and most writers content themselves with repeating 
 early errors in almost the same words. Hart, Haweis, and 
 Miss Stainer give his period as being 1740-85, and Fleming 
 as 1715-85. As a matter of fact they are all wrong. There 
 are- undoubtedly genuine examples of his work bearing the 
 dates 1 7 12, 1 7 19, 1726, and 1732 still in existence. The 
 earliest which I have seen is dated 17 12, a specimen which 
 has been pronounced genuine by the Messrs. Hart, and also 
 by the Messrs. Hill. It is on the long Strad model, slightly 
 modified, and with a rather doubtful scroll. Mr. Richard 
 Hilton, of Derby House, Matlock Bridge, is the owner of this 
 interesting instrument, and for the illustrations (see opposite) of 
 this earliest known example of Parker I have to tender him my 
 sincere thanks. It has been surmised that Parker was the 
 
 N 
 
194 BRITISH VIOLIN-MAKERS 
 
 pupil of Pamphilon, or of Urquhart, or of both, but on what 
 ground it is difficult to understand, as there is not the remotest 
 resemblance between his work and that of either of these. 
 It is not necessary to suppose that he was a pupil of anybody, 
 for he was a born artist, and endowed with natural mechanical 
 skill. Given an artistic mind and an aptitude for tools, and a 
 man may by hard work and perseverance develop into a first- 
 class luthier without undergoing the usual routine of long 
 apprenticeship. Parker's instruments are typical examples of 
 British work of the classical period. They embody the 
 strong points of those who may be considered to be above 
 him, as well as some of the weak points of those who were 
 below him. He was a good maker, but only a moderately 
 good copyist. His fiddles will never pass as Italians, because 
 they are too thoroughly British in character. Strongly built, 
 honest, and unpretending in demeanour, they should prove to 
 be objects of uncommon interest to the connoisseur. Parker 
 copied (or tried to copy) Stainer, Stradivari, and N. Amati. 
 The workmanship is much the same throughout ; free, firm, 
 and rugged, with little or no feminine gracefulness smiling from 
 its lines. The varnish is of excellent quality, tender, and of 
 various reddish shades, sometimes a little thick and dull. His 
 tone has much the same characteristics as that of Banks. 
 Comparatively few of this maker's instruments bear his label. 
 He was a man who lived in the future, and who sacrificed 
 immediate reputation as much as the exigencies of time and 
 tide would allow him. He evidently did not worry about 
 fame, and was content to dispose of his ware to the trade. 
 Had he worked his plates thinner, and thought it worth his 
 while to copy the reigning god (Stainer) more closely, he 
 doubtless would have attracted universal patronage. But 
 Daniel was of a philosophical turn of mind, and gave to the 
 world the milk of wisdom rather than the sweets of fancy. 
 What is considered to be the finest Parker violin in existence 
 is owned by Clarkson Close, Esq., of Dagmar Lodge, Leeds. 
 This is also on the long Strad lines (see illustration), with red 
 amber oil varnish, and a magnificent scroll. 
 
VIOLIN AND BOW MAKERS 195 
 
 This example is considered by the Messrs. Hill to belong 
 to the year 1700, or thereabouts. I would urge that in point 
 of detail and general effect it resembles much more the instru- 
 ments made in 1726 than it does those made in 17 12 and 1715. 
 Parker made his best instruments from about 1720 to 1727. 
 The tone of this instrument is bright, clear, and powerful. 
 
 PATERSON, JAMES, Edinburgh : 1834-98. A 
 cabinet-maker by trade. He made copies of Guarnerius, 
 and also very good ones of the " Count Cessol " Stradivari 
 in the possession of Mr. W. Croall. He used Dr. Inglis 
 Clark's varnish. He obtained a bronze medal for a case of 
 violins at the Edinburgh Exhibition, 1890. 
 
 PATRICK, WILLIAM, St. Andrews, contemporary. 
 He was born at St. Monance, Fife, in 1872. A beginner 
 who promises to turn out good work by-and-by. He handles 
 his tools well, but has several mistakes to rectify in matters of 
 style, &c. Facsimile label : — 
 
 ~^asA<^, 
 
 
 PAYNE, R., South Shields, contemporary. 
 
 PEARCE, GEORGE, London : 1820-56. Worked 
 with S. A. Forster. 
 
 PEARCE, JAMES & THOMAS, London: 1780- 
 18 10. Brothers. They worked in Peter Street, Saffron 
 Hill. Indifferent work. 
 
 PEARCE, WILLIAM, London : nineteenth century. 
 Average work. 
 
196 BRITISH VIOLIN-MAKERS 
 
 PEMBERTON, EDWARD, London: c. 1660. I 
 have not seen or heard of anybody living w^ho professes to 
 have seen vioHns by Pemberton. Some have written as 
 though they had seen numerous examples of Pemberton's art, 
 but I have inquired diligently for the last tw^enty years for 
 definite particulars, and none are forthcoming. The legend 
 of the " Earl of Leicester " violin has been laid to rest 
 long ago. 
 
 PERRY & WILKINSON, Dublin : 1 780-1830. Some 
 of their instruments are excellent as regards workmanship and 
 tone, and ought to be diligently sought and carefully kept. I 
 saw one years ago at Fishguard, which was on the grand 
 Stradivari model, with golden red varnish, and a sweet, liquid 
 tone. No doubt it has found its way to some dust heap 
 long ago. 
 
 PICKARD, HANDEL, Leeds: nineteenth century. 
 I can give no particulars of his life or work. 
 
 PINE, , London : nineteenth century. 
 
 PLANE, WALTER, Glasgow : 1804-79. Stradivari 
 model. The workmanship is good, but the varnish is a hard 
 spirit one, and the tone loud and piercing. Label : — 
 
 WALTER PLANE, 
 
 GLASGOW, 
 
 1860 
 
 POWELL, ROYAL & THOMAS, London : 1770- 
 1800. Two brothers who did most of their work for William 
 Forster and his son. Careful workmanship, but rather weak 
 tone. 
 
 PRESTON, , London : c. 1720. 
 
 PRESTON, JOHN, York: 1 780-1 800. He was capable 
 of turning out very good work, but most of his remains show 
 
VIOLIN AND BOW MAKERS 197 
 
 carelessness. The line is not at all bad. Labels (there were 
 several, of which the following is one) : — 
 
 JOHN PRESTON, 
 FECIT, YORK, 1789 
 PRIESTLEY, A. W., Leeds, contemporary. 
 
 PRIESTNALL, JOHN, Rochdale: 1819-99. He was 
 born at Saddleworth, near Oldham, in Nov. 1819, and died 
 at Rochdale, Jan. 18, 1899. He was originally a joiner 
 and pattern-maker, and noted as an ingenious workman, 
 and the discoverer of several improvements in wood-working 
 machines. He worked occasionally at violin-making in early 
 life, but in 1870 he began to devote the whole of his time to 
 it, and the remaining years of his life was spent as a pro- 
 fessional maker. At the time of his death he had completed 
 three hundred violins, thirty violas, six 'cellos, and eight double- 
 basses. His instruments are well finished, and possess con- 
 siderable originality. His wood is mostly regular in figure, 
 cut on the quarter, with the curl running at right angles to 
 the long axis. The sound-holes are quaint, but pleasing. 
 
 The scroll is thrown with a decided hand. The edges 
 are full and rounded, and the purfling nicely inlaid. The 
 varnish is an oil one ; colour, deep golden amber. It is 
 transparent, elastic, and tender — rather too tender, seeing that 
 a fiddle which was made in 1884 is not yet quite hard-dry in 
 1902. One suspects that a varnish which does not thoroughly 
 set in eighteen years will never set at all. Apart from this 
 one defect, the varnish is very beautiful. It is laid on in about 
 half-a-dozen coats, and nicely polished. The tone is large 
 and telling, and possesses much of the Italian oiliness, but it is 
 rather viola-like on the lower strings. I am told this is a 
 characteristic of all his instruments. Nevertheless it is a 
 highly respectable tone, and stamps Priestnall as a maker of no 
 ordinary ability. Had he been more conversant with Italian 
 work of the first rank, no doubt some of the three hundred odd 
 examples of his art which he left behind him would be eagerly 
 sought after to-day by orchestral players. 
 
198 BRITISH VIOLIN-MAKERS 
 
 As a repairer Priestnall was justly famed. Instruments 
 came to him from all parts, and he repaired hundreds of all 
 descriptions, mostly of the English and French schools. He 
 had a fertile brain, and his genius was very assertive in invent- 
 ing contrivances when working at an awkward repair. Not 
 only was repairing to him a fine art, but the method of work- 
 ing was also regarded by him as an art. He studied means as 
 well as ends. 
 
 Old Mr. Hill, of Wardour Street, is reported to have said 
 that a good maker ought to be able to make a fiddle with a 
 knife and fork, albeit he himself used the finest tools in his 
 repairing, made from the best metal. 
 
 Priestnall did not believe in " knife and fork " repairing. 
 He would patiently spend hours over a contrivance that would 
 methodically ensure an artistic finish to a job. There is ample 
 room to-day for more men of his stamp. Artistic repairers 
 are few and far between. There are not above half-a-dozen 
 scientific repairers in Great Britain at the present time, whereas 
 there are at least two hundred makers, professional and amateur, 
 exclusive of manufacturers of the ordinary trade fiddle. 
 
 Priestnall was a very genial and generous man. He had 
 the sense of humour also if the following tale be true. It is 
 related that he once " faked " an Italian fiddle in order to test 
 the powers of a well-known London expert. He carefully 
 prepared his " bait," clapped a Storioni ticket into it, and sent 
 it up for opinion. The instrument came back with a certificate 
 duly attesting that the fiddle was genuine as labelled. 
 
 Priestnall was much amused over the credulity of the " big 
 gun," as he called him. The incident is not impossible. I 
 know a maker of " Old Italian " instruments residing at 
 present not one hundred miles from Manchester, who by 
 his cunning and deftness continually practises his black 
 art upon the experts. He recently turned out a splendid 
 Panormo and a Grancino which completely deceived a high 
 priest of the art. Quis judicet ipsos criticos ? 
 
 Priestnall was an old-fashioned player on the violin, and in 
 his young days was much in request at country weddings, 
 
VIOLIN AND BOW MAKERS 199 
 
 fairs, &c. He sold his instruments at ^4, but some of them 
 have been recently sold at double the price. 
 
 His instruments bear no label, but the maker's name is 
 stamped on the wood with a cold punch in several places, 
 and the number of the instrument is stamped on the button. 
 
 RAE, JOHN, Battersea, contemporary. He was born in 
 Duff Street, Macduff, N.B., Oct. 31, 1847. He is the eldest 
 son of James Rae, and the eldest grandson of John Rae, of 
 Forglen, Turriff, well-known throughout the northern parts 
 of Scotland as a famous maker of bagpipes. This last-named 
 John Rae died in 1857, ^g^d ninety. 
 
 Soon after the birth of young Rae the family removed to 
 Turriff, and resided there until his father became tenant of the 
 Carpenter's Croft, Netherdale. This was in 1856. The boy 
 Rae was for some time a pupil of a Mr. Ingram, at a private 
 school in Turriff, and got on well there till the fates decreed 
 his removal. From Netherdale he attended the school of 
 Inverkeithny, and subsequently Aberchirder and Marnoch 
 schools, but only for a short time. When he was about 
 eleven years of age a misfortune happened to the family, 
 which, no doubt, changed the whole course of his life. They 
 were burned out of hearth and home. The father was from 
 home at the time on business, and in the twilight of an 
 autumn day a gleam of light was seen in an outhouse where 
 some sheaves of corn, the last of the crop, had been taken in 
 the previous night. Disaster was sudden. The father re- 
 turned just in time to see the last of the premises, which were 
 in a sheet of flame — corn stacks, workshop, wood-rack, tools, 
 and furniture, all but precious life was lost. Mr. Rae, who 
 was not by any means a rich man before, was left now a very 
 poor man indeed, with a family of six to maintain. The 
 inevitable followed. Young Rae was taken from school and 
 put to serve an apprenticeship as a joiner. At the age of 
 twenty he went to Edinburgh, and worked there at his 
 
200 BRITISH VIOLIN-MAKERS 
 
 trade, and attended evening classes for mathematics and 
 drawing. In 1869 he returned to Netherdale owing to 
 failing health. It was soon after this that he essayed to 
 make his first violin — a project carried out for the purpose 
 of experiment, under the impetus of a theory then recently 
 broached of a certain relation between proportionate form 
 and musical sounds. 
 
 In 1873 he regained health and came to London, hoping 
 to find employment as a violin-maker. He found to his 
 dismay that violin-making as a trade was tion est in the metro- 
 polis, but to soothe his feelings he attended lectures on 
 acoustics at the South Kensington Museum, and did consider- 
 able experimenting on the tonal qualities of different woods. 
 
 In 1883 he got an appointment in the British Museum 
 (Natural History), which relieved him of the drudgery of the 
 bench. In 1884 he was married, and his wife sympathising 
 with him in his weakness for fiddle-making, the passion for 
 caliper and gouge broke out afresh. From 1884 to 1890 he 
 studied the construction of the fiddle, and made moulds, 
 models, templets, &c. Since 1890 all his spare moments have 
 been given to his hobby, and up to the present he has made 
 fifty-one violins and four violas. He is a slow, patient, and 
 extremely careful worker, turning out only two or three 
 instruments in the year. He is an artist in the highest sense 
 of the word, and spends days over that which most makers 
 spend only hours or minutes. His outline and model are 
 original and highly artistic. The curves are pronounced, yet 
 nervously delicate. His wood is magnificent. For several of 
 his front tables he has used fine grained pine, without joint, 
 cut from a gigantic tree grown in California. This was a tree 
 of the species known as Sequoia Gigantea. It was 276 feet in 
 height, and the annual rings proved it to be 1335 years old 
 when cut down in 1872. It is very unconventional to use 
 this wood, but the results show that conventionalism is some- 
 times on the erring path. 
 
 The outline is grand and elegant. A very noticeable 
 feature is the balance between the upper and lower portions 
 
VIOLIN AND BOW MAKERS 201 
 
 of the instrument. The outline is considerably fuller at the 
 upper bouts than is ordinarily the case. The C's are less 
 angular and more sweetly extended and rounded than in 
 any but the best Italian work. 
 
 The scroll is original in design and beautiful in execution. 
 It is prim and poised. Its swell and bent are like the neck of 
 a proud swan, and it is worthy of the hand of a Stradivari. 
 
 The button is of medium size, rather too long to be 
 described as "rounded." The corners are full and fine, 
 as befits the outline. 
 
 The purfling is inlaid without a tremor. In some speci- 
 mens it is of the usual description ; in others the middle strip 
 is narrow — so narrow that it is hardly perceptible at the dis- 
 tance of a few feet from the instrument. The arrangement 
 is well calculated to emphasise the beautiful outline of the 
 fiddle. The maker is careful, however, to varnish the instru- 
 ment in one of the lighter shades when he purfles in this way. 
 
 The conception of the whole build is grand and simple. 
 Majesty intoxicated with the wine of the Graces ! The tone 
 is large, rich, and free. The instruments with bellies of the 
 Californian giant have a distinct timbre, and their tone may 
 be described as rich and ringing. Perhaps it has not the 
 oiliness of the tone of Italian wood, but it has something else 
 which is equally necessary to the harmony of sounds. 
 
 Mr. Rae sells his instruments at j^io. This sum is no 
 indication of the artistic merits of the instruments, for they 
 are in the front rank of modern work. It is a pity he does 
 not make faster. On that matter, however, he has a word 
 to say : — " I hope to live to swell the number considerably, 
 but I may say, as the banker-poet Rogers is reported to have 
 said, ' I would rather go down to posterity as a diamond than 
 as a ton of coals.' " Facsimile label : — 
 
 H„SO. 
 
 JOHN RAE, Maker, 
 
 LONDON, 
 
 /fO/. 
 
202 BRITISH VIOLIN-MAKERS 
 
 RAEBURN, ALEXANDER, Leven, Fife, contem- 
 porary. I have not seen any of his work, but it is said that 
 his instruments are very good. Facsimile label : — 
 
 RAEBURN, GEORGE R., West Calder, contem- 
 porary. He was born at Largoward, near St. Andrews, 
 April 4, 1846. He works on the Stradivari and Guarneri 
 models, using excellent wood and a good oil varnish of his 
 own composition. The workmanship is beautiful, and the 
 tone very good. Mr. Raeburn was one of the favoured few 
 who were invited some years ago by Mr. Crawford, of 
 Edinburgh, to see the "Messie" Strad, and a vivid impression 
 of the glories of the prince of fiddles are among the most 
 treasured of his recollections. Up to the present he has 
 made about fifty instruments, charging from ^4 to ^^4, lOS. 
 for work that is honestly worth double the money, as prices 
 go. Facsimile label : — 
 
 GEORGE R. RAEBURN, /(!«/, 
 West Calder. A.I), 18 
 
 RAEBURN, JOHN, Largoward, contemporary. He 
 was born in the Parish of Carnbee, Feb. 19, 1833, and is 
 the eldest brother of the Alexander and George Raeburn 
 previously mentioned. He has made about one hundred 
 violins on the usual models, and also repaired a large number 
 of instruments. The workmanship is of good average merit, 
 and the tone good. He uses his brother's varnish, which is of 
 a golden orange colour. 
 
VIOLIN AND BOW MAKERS 203 
 
 RAMSAY, WILLIAM, Biggar, contemporary. An 
 amateur who has made a few instruments on the Stradivari 
 model. 
 
 RAWLINS, , London : c. 1770-80. 
 
 REED, B., Durham, contemporary. I have not seen any 
 of his work. 
 
 RICHARDS, EDWIN, London : nineteenth century. 
 
 RILEY, HENRY, Liverpool, contemporary. He works 
 at 8 Edge Grove, Fairfield, and produces good instruments 
 both as regards workmanship and tone. 
 
 RITCHIE, ARCHIBALD, Dundee : 1833-1902. He 
 was born at Woodend, Banchory, Aberdeenshire, Oct. 3, 
 1833, and died in Dundee in 1902, of blood-poisoning. He 
 made over one hundred and fifty violins of excellent work- 
 manship and tone on the model of a large Joseph Guarnerius. 
 The work is thoroughly British in character — sober and solid. 
 In some instances he slightly exaggerated the proportions of 
 Del Gesu, but the result is never displeasing, the artistic sense 
 being too highly developed in Ritchie to tolerate anything 
 bordering on the grotesque. He used Whitelaw's varnish, 
 mostly of a red, or golden red colour. He was in the front 
 rank of modern Scottish makers, and his beautiful work will 
 be highly valued in the future. 
 
 [N.B. — A further analysis of this maker's work will be 
 given in the next edition. Unfortunately the notes containing 
 full particulars of his life and work have been mislaid.] 
 
 ROOK, JOSEPH, London: 1775-1830. He made 
 fairly good copies of Stainer and Amati, on the Forster lines. 
 The tone in some instances was very good. 
 
 ROSS, DONALD, Edinburgh, contemporary. He was 
 born in Ederton, Ross-shire, Feb. i, 1817. He has made 
 about fifty violins on the Maggini model. The workmanship 
 
204 BRITISH VIOLIN-MAKERS 
 
 and tone in his best work are of average merit. Ross claims 
 to have repaired over a thousand instruments in his time, 
 although he does not work professionally. He is a kind old 
 gentleman, of very modest demeanour. 
 
 ROSS, JOHN, London: c. 1560-1600. A maker of 
 lutes and viols. 
 
 RUDDIMAN, JOSEPH, Aberdeen: 1760-1800. I 
 regret that I have never succeeded in coming across a single 
 specimen of this maker's work. It would be easy, but not to 
 the purpose, to rewrite what others have written about him. 
 
 SAUNDERS, S., Twickenham, contemporary. He was 
 born at Winterbourne, Dauntsey, on April 27, 1840. He 
 was educated at the village National School, and remained 
 at his native place till he was twenty years of age. He then 
 entered the service of the South- Western Railway Company 
 at Nine Elms, and, after shifting about to various places, 
 eventually settled at Twickenham. He made his first violin 
 in 1883, since which time he has been constantly engaged 
 with the gouge and calipers, producing several really good 
 instruments, although he still ranks himself as an amateur. 
 He makes on three different models, two of Strad and one of 
 Joseph. Many years ago he was fortunate in procuring the 
 friendship of Dr. Selle of Richmond, through whose in- 
 strumentality he was enabled to see and examine several 
 Italian instruments. Dr. Selle was himself the owner of a 
 fine long Strad, which was always at the service of Mr. 
 Saunders, and the several copies which he has made of this 
 fiddle are highly creditable. 
 
 Mr. Saunders exhibited four violins at the Surbiton Indus- 
 trial Exhibition, held in 1889, and was awarded the silver 
 medal. The judge, M. L. de Edgvil, bought one of these 
 instruments at ^5, los. He uses no label, but stamps his 
 
VIOLIN AND BOW MAKERS 205 
 
 name in Roman characters on the bare wood of the back 
 outside under the button. 
 
 SHAW, JOHN, London : c. 1650. 
 
 SHAW, J., Manchester, contemporary. 
 
 SHAW, THOMAS, Cove, contemporary. An amateur 
 of good average ability. 
 
 SHEPHERD, H. G., Brighton, contemporary. 
 
 SHEPLEY, GEORGE, Bristol : nineteenth century. 
 
 SHERDON, DANIEL, Gloucester : nineteenth century. 
 Indifferent. 
 
 SHROSBREE, HENRY JAMES, Adelaide, S. Australia, 
 contemporary. In the opinion of Australian experts, this 
 maker produces vv^ork vi^hich is of quite an exceptional character. 
 I am not in a position to either endorse or dispute that claim, 
 and I therefore reproduce here an article written in the April 
 number of Music (an Adelaide monthly), 1897, giving an 
 account of the life and work of this maker : — 
 
 " Mr. H. J. Shrosbree, of Adelaide, known as a maker and 
 repairer of violins of exceptional ability, was born in London 
 in December 1858. From 1872 till the end of 1880 he 
 followed a seafaring life, voyaging to Adelaide for the second 
 time in the latter year, when he entered the service of Sir 
 E. T. Smith, and remained with him till his retirement from 
 business. Mr. Shrosbree does not claim to belong to a family 
 of violin-makers, as his father was a taxidermist, in whose art 
 the subject of this notice also duly qualified. On leaving Sir 
 Edwin Smith's employ, Mr. Shrosbree entered that of Mr. 
 Lawrence, the well-known Adelaide taxidermist, who says of 
 him that he understands all branches of this work. Ample 
 proof of this was seen in 1891, when he was awarded first 
 prize and certificate of merit for a very fine exhibit at the 
 Adelaide Exhibition of Art and Industry. But the violin, 
 
2o6 BRITISH VIOLIN-MAKERS 
 
 Mr. Shrosbree's favourite musical instrument, has had a great 
 charm for him through life, and all his spare time for years 
 was spent in the study of music and the mechanism of the 
 violin. He has made some excellent specimens, which were 
 awarded first prize and certificate of merit for workmanship, 
 model, and tone at the 1895 Exhibition of Art and Industry 
 in Adelaide. That year's competition in violins was the 
 largest yet held in Australia. Mr. Shrosbree is a practical 
 musician and good violinist, and as an expert on model and 
 tone is able to tell at a glance the method to adopt for restoring 
 an old instrument. The profession recognise him both as a 
 skilful repairer and a maker unrivalled in Australia, and as a 
 self-taught man he is to be congratulated on his success. His 
 instruments produce a fine rich Italian tone. 
 
 " He has invented a ' relieving bar system ' for repairing 
 violins, by which the bars must be located with mathematical 
 accuracy. After years of labour and considerable cost Mr. 
 Shrosbree has discovered the varnish which he uses on his 
 violins, and which is pronounced by experts to be second to 
 none. Besides a valuable testimonial signed by many of the 
 leading musicians of Adelaide, in which Mr. Shrosbree is 
 recognised as a practical musician and first-class violin-maker, 
 he holds others from a number of eminent artists and well- 
 known members of the profession." 
 
 An eminent critic writes of one of Shrosbree's violins as 
 follows: "A severe trial of Mr. Shrosbree's latest violin re- 
 veals the fact that a more perfect or finely-finished instrument 
 it would seem almost impossible to possess. It is fuller in 
 model than any of his previous ones, giving to it that sonorous 
 tone-quality which is all the more surprising when on playing 
 in the different positions (even to the highest of them) it does 
 not affect that gentle refinement of tone when any delicacy is 
 required. This important feature is not generally the case 
 with new violins. The archings are most beautifully worked 
 out, pronouncing it by its appearance a product of art. In 
 quality of tone the lower strings resemble the rich qualities of 
 the clarinet in all its power and endurance, while the notes 
 
VIOLIN AND BOW MAKERS 207 
 
 throughout the A and E strings are particularly clear and 
 brilliant. In fact, it seems difficult to believe when playing 
 upon it that the tones produced are not those from a well- 
 matured instrument. The art of purfling has always been a 
 time of anxiety to a maker when finishing his work. But in 
 this Mr. Shrosbree is remarkably clever, laying it in so finely 
 as to make it almost impossible to believe that such delicate 
 work can be accomplished by hand. The wood is of the 
 finest, specially imported for Mr. Shrosbree by Messrs. S. 
 Marshall & Sons, and when varnished should look very 
 handsome." 
 
 The editor of Music, referring to Mr. Shrosbree's success at 
 the Adelaide Exhibition, 1900, spoke of the award as follows : — 
 
 " The commendatory references we have from time to 
 time made to Mr. H. J. Shrosbree's skill as a luthier, have 
 been very amply confirmed by the judges for musical instru- 
 ments, &c., at the Century Exhibition (Messrs. Hermann 
 Schrader, A. C. Quin, and Thos. Grigg). Mr. Shrosbree's 
 exhibit comprised his Nos. 7 and 8 violins, his recently con- 
 structed viola, and some assorted bridges. With their brilliant 
 coatings of oil amber varnish the instruments certainly make a 
 splendid show, and the awards given Mr. Shrosbree are as 
 follow : First for violins, first for viola, first for musical 
 appliances (bridges), and a special prize for the best exhibit in 
 its group." 
 
 Mr. Shrosbree charges, and, it would appear, receives 
 readily, the high price of ^^50 for a violin. He makes a 
 speciality of bridges, made of very old wood. I use one of 
 these, and I like it very much. Facsimile label : — 
 
 geurj) ^Htttcs .^l^ruskw. fadcbat 
 
 SIMPSON, JAMES & SON, London : 1 780-1 800. I 
 cannot discover that they were actual makers, but only dealers 
 who employed others to make for them. 
 
2o8 BRITISH VIOLIN-MAKERS 
 
 SIMPSON, THOMAS, Handsworth, contemporary. He 
 was born at Burnley, Dec. 28, 1866, and works at 55 Thorn- 
 hill Road, Handsworth. His model is original. The work- 
 manship is good, and the tone bright and clear. I do not 
 care for his varnish. His wood is excellent both in appearance 
 and tonal qualities. Facsimile label : — 
 
 fecit Dei glorise V. 
 
 HANDSWORTH: No. /p^^ i 
 
 SINCLAIR, WILLIAM, New Pitsligo, contemporary. 
 An amateur who turns out excellent work as regards tone. 
 His one fault is that he exaggerates the salient features of 
 Guarnerius in his copies of that maestro. This is a common 
 fault with many Scottish makers. 
 
 SKEFFINGTON, WILLIAM KIRKLAND, Glasgow, 
 contemporary. Average merit. 
 
 SMILLIE, ALEXANDER, Glasgow, contemporary. 
 He was born at Hallside, Cambuslang, Jan. 25, 1847. His 
 workshops are at 130 Shamrock Street, and 514 Victoria 
 Street, Glasgow, where also he carries on extensive business 
 as a repairer and dealer. He is the son of John and Margaret 
 Smillie. He was married April 27, 1876, to Janet Andrews, 
 at Cordonald, near Paisley. He has six children — three sons 
 and three daughters — viz., John, Andrew, Alexander, Margaret, 
 Nellie, and Bessie. 
 
 The second son, Andrew, has started work with him since 
 the recent opening of the new premises in the West end, 
 Mr. Smillie received elementary education at the Cambuslang 
 Parish School, but he received no early training in the art of 
 violin-making. His first instrument was not made till 1889, 
 
..^^^. '«i£;.j^C 
 
VIOLIN AND BOW MAKERS 
 
 209 
 
 41 inches. 
 
 61 
 
 >» 
 
 4i 
 
 „ 
 
 H 
 
 j> 
 
 3 
 
 » 
 
 2if 
 
 ,, 
 
 ^i 
 
 »> 
 
 i/^ 
 
 » 
 
 9 
 
 
 T-g- 
 
 » 
 
 but since then he has been pretty busy, seeing that he has 
 turned out 160 violins, 15 violas, and 13 violoncellos. These 
 instruments show excellent w^ork, and they place Smillie in the 
 front rank of modern makers. 
 
 He vv^orks on the Stradivarius and Guarnerius lines, but he 
 is not a mere copyist. 
 
 The measurements of the outline and model after which 
 he most frequently works are as follows : — 
 
 Length of body 
 
 Width across upper bouts . 
 
 ,, „ middle bouts . 
 
 „ „ lower bouts . 
 Length of C's . 
 
 „ „ sound-holes, from wing angle to 
 wing angle 
 Depth of ribs at bottom 
 
 „ „ top . 
 
 Elevation of back and belly — from 1 in. to 
 Distance between sound-holes at top . 
 
 Mr. Smillie cuts his backs on the various methods, accord- 
 ing to the nature of the wood he happens to be using. In two 
 of the instruments examined by me it was cut on the slab, 
 and it is difficult to imagine anything more beautiful than the 
 effect produced. When the fiddle is held horizontally, the eye 
 is dazzled by cloud-like coruscations of golden sheen ; and when 
 it is tilted to an angle of forty-five degrees, the clouds are meta- 
 morphosed into a hundred " milky ways." Given a piece of 
 suitable wood, of ample width, a back cut on the slab is second 
 to none in artistic merits. 
 
 This maker uses old wood, especially for the front tables, 
 and, as he is able to test it acoustically, it is invariably of 
 excellent quality. The grain of some of the pine is very wide. 
 In an example now before me, it is exactly -f of an inch wide 
 towards the margins — straight, and well-defined. On either 
 side of the finger-board, and running into the long axis of the 
 sound-holes, is a narrow line of light-brown stain, extending 
 right along the instrument. The stain was probably produced 
 
 o 
 
2IO BRITISH VIOLIN-MAKERS 
 
 by an unusual colouring of the cambium cells during growth. 
 As several of Mr. Smillie's instruments show traces, more or 
 less pronounced, of this stain, their tables must have been cut 
 from the same piece of timber. 
 
 The outline combines the graceful and the bold. The 
 waist is full, and rapidly extending in width as it approaches 
 the lower bouts. This gives a sense of solidity to the build as 
 it also adds to the firmness and roundness of tone. The arching 
 is moderately full and extended. The upper bouts are more 
 rounded than is usual with Strad, but a nice balance is thus ob- 
 tained between the upper and middle parts of the instrument. 
 
 The scroll is magnificently sculptured. The coulisses or 
 grooves round the back and head are deep, and the lines very 
 sharp. The lines of the volute are also sharp and cut with 
 mathematical precision. The throat is as carefully finished as 
 the head. The peg-box is strong, with sides about ^ of 
 an inch thick. The scollop projects a trifle more than it 
 usually does in Italian instruments, but it befits the scroll. The 
 button is of medium size and in the best classical style. The 
 sound-holes are simply beautiful. They are moderately wide, 
 and just a shade shorter than the grand period holes of Strad. 
 The upper turns are also rather smaller, but very pretty. 
 They are set farther away from the edge than is usual with 
 Strad, and about y^ (or more) of an inch lower down, 
 and they do not incline so much — the angle of inclination 
 being about eighty degrees. The sound-holes are set in with 
 a true artistic feeling, and the effect produced on the mind in 
 viewing the general appearance of the front table is that of 
 repose and freedom. 
 
 The purfling is inlaid with accuracy. The margins are of 
 medium width, and the edges strong and rounded. The depth 
 of the edge is -^\ of an inch, and it is raised about y^j culmi- 
 nating midway between the outer line and the purfling in a 
 very pretty and gentle ridge. The corners are in the style of 
 Riechers, with the "wasp's sting" of the purfling reaching 
 very nearly to the inner angles. 
 
 Mr. Smillie's 'cellos are considered to be equal to, if not 
 
VIOLIN AND BOW MAKERS 211 
 
 better than, his violins. Their tone is grand and mellow, and 
 remarkably free and full on all the positions. 
 
 Mr. Smillie has never exhibited any of his instruments. 
 He is a patient, unassuming w^orker, and the spirit of rivalry is 
 foreign to his nature. His rare humour and genial manner 
 have made him numerous friends in the great fiddle w^orld. 
 Facsimile label : — 
 
 
 
 SMITH, A. E., Maldon, contemporary. A young beginner 
 whose work is full of excellent promise. Facsimile label : — 
 
 jThalcicrn) 
 
 I 
 
 ICjO 
 
 SMITH, ALEXANDER HOWLAND, Edinburgh, 
 contemporary. Stradivari and Guarneri models. Good tone. 
 Label :— 
 
 ALEXANDER HOWLAND SMITH, 
 
 EDINENSIS, 
 
 HOC FECIT, 1898 
 
 SMITH, HENRY, London : c. 1630. A maker of viols. 
 
 SMITH, JOHN, Glasgow, contemporary. He was born 
 at Fauldhouse, Linlithgowshire, April 26, 1859, ^""^ ^^ works 
 now at 40 Garthland Drive, Dennistoun, Glasgow. He 
 worked for ten years at 28 Cockburn Street, Falkirk, where 
 he made about fifty violins and a few violas and violoncellos. 
 He is a pupil of John Carr, music teacher and violin-maker, of 
 Falkirk. Mr. Smith is amongst the three or four who form 
 the vanguard of the army of modern Scottish makers. He 
 
212 
 
 BRITISH VIOLIN-MAKERS 
 
 works on various models, but chiefly on one of his own adop- 
 tion, the measurements of which are as follows : — 
 
 Length of body 
 
 
 
 1^^ inches 
 
 Width across upper bouts . 
 
 
 
 6ii . 
 
 „ „ middle bouts . 
 
 
 
 4j » 
 
 „ „ lower bouts . 
 
 
 
 8A » 
 
 Length of sound-holes 
 
 
 
 • 3t5- » 
 
 „ » C's . . . 
 
 
 
 3r8r " 
 
 Depth of lower rib . 
 
 
 
 . li „ 
 
 „ „ upper rib . 
 
 
 
 T 3 
 
 The arching is a trifle more pronounced than in the works 
 of Strad and Joseph, and is almost in the manner of Gasparo 
 da Salo. There is also a strong Brescian feeling about the 
 sound-holes, only they are of a type distinctly more advanced 
 than those of the old school. The angle of inclination of 
 the sound-holes, and their quasi-Gothic upper arch, lend this 
 part of the work freshness and vigour which catch the eye 
 of the expert. 
 
 The work is beautifully finished, and the varnish carefully 
 laid on and highly polished. A feature worthy of special 
 notice is the shoulder, or base of neck, which is finished in a 
 manner that enables the player to shift with comfort and ease. 
 Too much attention cannot be paid to violin construction 
 from the player's point of view, with due regard, of course, to 
 the harmony of form and proportion. Mr. Smith's scroll is a 
 magnificent piece of carving, and reveals strength of mind 
 and mastery of the gouge. The tone is large and incisive, 
 and when time and use have mellowed it down, it will, no 
 doubt, be rich and sonorous. Facsimile label : — 
 
 MADE BY 
 
 JOHN SMITH, 
 
 F A LKI I^nK. 
 
 The colour of the label paper is dark yellow. 
 
JOHN SMITH 
 
VIOLIN AND BOW MAKERS 213 
 
 SMITH, JOHN HEY, Burnley, contemporary. I have 
 not seen any of his work. 
 
 SMITH, NATHANIEL, Bristol, contemporary. In- 
 different. 
 
 SMITH, PYE, Hereford, contemporary. Fairly good 
 work, but poor tone. 
 
 SMITH, THOMAS, London: 1745-90. He was a 
 pupil and successor of Peter Wamsley. Some writers have 
 bestowed great praise on his violoncellos, but I am in- 
 clined to think that they have never drawn a bow across 
 their strings. Those which I tried had a hard, rasping tone 
 that set one's teeth on edge. The workmanship is not bad, 
 although the varnish is rather poor stuff, of a dirty amber, or 
 brownish-yellow colour. He used various labels. 
 
 SMITH, W. F., Edinburgh, contemporary. Average 
 work. 
 
 SMITH, WILLIAM, Hedon : 1780-1805. Average 
 work. 
 
 SMITH, WILLIAM, Leeds, contemporary. Indifferent. 
 
 SPIERS, STEWART, Ayr : 1805-70. Good work and 
 tone. 
 
 SPICER, JOHN, London : c. 1667. That he was a 
 maker of stringed instruments is a mere conjecture. 
 
 SPICER, WILLIAM, London : nineteenth century. 
 
 STANLEY, ROBERT A., Manchester, contemporary. 
 He was born in Manchester, Nov. 14, i860, and works 
 at present at 87 City Road. He is a pupil of James Barrow, 
 of Salford, and of James Cole, of Manchester. He has made 
 two hundred violins, and a few violoncellos and double-basses 
 
214 BRITISH VIOLIN-MAKERS 
 
 on an original model. He uses very good wood, and an oil 
 varnish of his own make. Facsimile label : — 
 
 ROBERT A. STANLEY, 
 IDlolln d Bow flDaf^cr, 
 
 mancbestet, l^OO^ 
 
 STIRRAT, DAVID, Edinburgh: 1810-20. I have 
 never had the good fortune to see an example of this maker's 
 work. He died at an early age, and there are probably but 
 few specimens remaining of what were according to reliable 
 accounts genuine works of art. 
 
 STREETS, JAMES, Sunderland, contemporary. An 
 amateur who has made several violins and one or two violas 
 of excellent workmanship and tone. A viola made by him in 
 the year 1901 would do credit to a professional maker of long 
 standing. It is a pity he cannot afford to turn his attention 
 altogether to the art, for although the profession is already 
 overcrowded, still there is always room for the born artist. 
 
 STRONG, JOHN, Somersetshire: c. 1650. An old 
 viol-maker. 
 
 STRONG, MATTHEW, Huddersfield, contemporary. 
 Average merit. 
 
 STURGE, H., Bristol and Huddersfield : 1800-60. A 
 repairer. 
 
 TARR, WILLIAM, Manchester: 1808-91. He was 
 born at Manchester, Feb. 21, 1808, and baptized a few days 
 later at St. Mary's Church, of the same city. He was 
 apprenticed by his father (a fustian cutter, who had himself 
 made several instruments, including violins, 'cellos, and basses) 
 
VIOLIN AND BOW MAKERS 215 
 
 to a cabinet carver, and he became so expert a workman that 
 at the age of eighteen he purchased his indentures from his 
 master for ^^loo, and he at once commenced work as a 
 journeyman. At this age his parents became dependent upon 
 him, and he maintained them for the rest of their lives. 
 Having studied music, and desiring to play the double-bass, he 
 set about making one for his own use. Two of his friends 
 becoming aware of the fact persuaded him to make one for 
 each of them also. So soon as these were completed, the one 
 which he had made for himself was so eagerly coveted by 
 another friend that he must needs let it go. And so it 
 happened with nine others — all made in sets of three, with 
 corners like a violin — he was not able to keep one of them for 
 himself. Thus, although he had made twelve basses, he was 
 still without a bass for his own use. Previous to the time 
 when Tarr took up the gouge, there was not a single privately 
 owned bass in Manchester, the only ones in use being the 
 property of churches and theatres. A curious circumstance 
 illustrating this fact is that a man who played the bass in the 
 Old Theatre Royal for forty-nine years never had a bass in 
 his own house. The instrument he played upon is now the 
 property of Mr. W. H. Stewart, principal bass of the Crystal 
 Palace. This instrument it was that created in Tarr a first 
 longing to make and play one, and he was often seen in the 
 gallery listening to its tones. 
 
 His business, subsequently, gradually resolved itself into that 
 of violin- and bass-making, chiefly the latter, with that of 
 repairing. He worked till he was about eighty years of age, 
 and turned out two hundred and six basses, besides a number 
 of violins, violas, and 'cellos. His eldest son was with him in 
 the business till his eighteenth year, when he left home. 
 Another son, Joseph, was also a violin-maker, and is now, I 
 believe, in America. His youngest son, Shelley, is in business 
 in Manchester. Tarr also built a number of organs and 
 pianofortes, and took out several patents for his inventions in 
 this line. At this time he had James Cole as pupil and 
 assistant. 
 
2i6 BRITISH VIOLIN-MAKERS 
 
 On the occasion of a great festival in Dublin, where Tarr 
 was playing, each of the nine basses used were of his make. 
 He was an excellent musician, and was for twelve years one 
 of the bassists of the Gentlemen's Concerts orchestra, which 
 was the nucleus from which Sir Charles Halle formed his. 
 
 He was twice married, and had eleven children of each 
 wife, in all eleven sons and eleven daughters, and in 1884 
 there were eleven of them living. He travelled a great deal 
 in his lifetime, principally in the United States. Whilst in 
 New Orleans he played in the theatre orchestra along with 
 one of the sons of William Foster. 
 
 He was also for some time organist of one of the churches 
 there. Tarr was during the latter and greater part of his life 
 a prominent secularist, socialist, and anti-vaccinator. Still he 
 numbered amongst his friends many priests and ministers, who 
 alike valued his friendship and upright character. He was a 
 fair Latin scholar, and was proud to speak of his father as one 
 of the best Latin scholars in the city in his day. It may be 
 cited here as an instance of the esteem in which he was held 
 that a gentleman for whom he had done work, gave him a 
 small annuity for the last ten or twelve years of his life. He 
 adhered faithfully to his principles in the face of many diffi- 
 culties. At the age of sixty he went seven days to prison 
 rather than have his youngest child vaccinated, and would not 
 allow any one to pay the fine, although many of his friends 
 were anxious to do so. 
 
 He was a conscientious and a diligent worker. For the 
 long stretch of sixty years he handled his gouge and turned 
 out some really fine basses. These instruments are scattered 
 all over the country ; some are abroad, and not a few now 
 bear forged labels and pass as Italian instruments. 
 
 Writers on the violin have done him scant justice, or no 
 justice at all, and he felt it very keenly. Writing under date 
 of Sept. II, 1884, to his pupil and friend Mr. J. W. Briggs, 
 of Glasgow, he says : " Hart has published another edition of 
 his work, but my name is still not to be seen in it. And yet 
 Cole my pupil has a line ! It is somewhat strange." 
 
VIOLIN AND BOW MAKERS 217 
 
 Towards the end of 1886 he began to feel the weight 
 of the heavy hand of adversity. He writes : " There will be 
 a change very soon, as I cannot pay the rent ... are still on 
 my hands, and they keep me very poor . . . says he will 
 enlist if something does not turn up in a day or two. I wish 
 he would, much as I despise the army." 
 
 On laying down his tools he writes : " I have had a 
 desperate struggle to give up the idea of working [May 1886], 
 but it is all over now. I am totally incapable, and am more 
 reconciled [necessitas non habet legem) ; so farewell work, my 
 greatest joy ! Farewell, my valued tools — we have cut our 
 way together so long, but now we must part — a severe 
 parting ! " How simple and pathetic ! 
 
 The following, written shortly after the above, shows his 
 continued passion for his beloved art, "To-morrow I shall 
 have another double-bass here, made out of the same wood 
 (back and ribs) as yours. I made it for Father O'Toole, a 
 Roman Catholic priest, in 1854, who has presented it to 
 another priest. Father Callagham. Father Callagham says the 
 bass is worth £^0. The instrument will remain here till 
 Saturday morning, and I should like you [i.e. Briggs) to see 
 it. . . . Joe is making another violin for the Exhibition, and 
 Shelley has bought wood for a 'cello ! Joe feels determined 
 
 shall not filch away the gold medal as he did at for 
 
 work which was not his own." 
 
 When at death's door, leaning on the arm of his first love 
 — the fiddle — he says : " My dear friend Briggs, I shall not 
 be able to visit you again, I am so feeble. ... I am sorry to 
 say my daughter Eleanor died on the 23rd, and was buried on 
 the 27th, of last month. My eldest daughter became a widow 
 on the ist of May last. . . . Leaving these sorrows, let us 
 come back to the tenor. I have sufficient confidence in your 
 knowledge of construction to leave it entirely in your hands. 
 When finished, send your bill and I shall be glad to pay." 
 
 Sorrows were to him but passing clouds on the bright 
 firmament of violin-making. 
 
 He possessed a remarkable memory for fiddles. It was as 
 
21 8 BRITISH VIOLIN-MAKERS 
 
 infallible as that of William Ebsworth Hill. On one occasion 
 his friend Briggs took him to see another friend of theirs in 
 Wakefield, who, unknown to either, possessed a Tarr bass, 
 and as soon as they entered the room Tarr exclaimed, "I 
 remember that bass well. There is a flash in the base of the 
 neck, and I had a devil of a job to keep it from springing 
 out." He had not seen that bass for forty years ! 
 
 He died on July lo, 1891, and was buried with secular 
 rights in the Southern Cemetery, Manchester, on St. Swithin''s 
 day. 
 
 TAYLOR, B., London : c. 1750. Good work. 
 
 TENNANT, JAMES, Lesmahagow : nineteenth cen- 
 tury. Indifferent. 
 
 THOMAS, WATKIN, Swansea, contemporary. 
 
 THOMPSON, CHARLES & SAMUEL, London: 
 c. 1780. They were the sons of Robert Thompson, and 
 succeeded him in business. It is not certain that they made 
 many instruments themselves ; they were chiefly dealers. 
 
 THOMPSON, ROBERT, London: 1749-64. He 
 worked at the sign of the " Bass-violin," in St. Paul's Church- 
 yard. Good average work on the Stainer model. 
 
 THORNLEY, , Oldham : nineteenth century. 
 
 THORNE, W. H., Tottenham, contemporary. An 
 amateur who has made only a few violins. One of these had 
 most peculiar sound-holes, but a good tone. 
 
 TIFFIN, MILLER, Carlisle, contemporary. 
 
 TILLEY, THOMAS, London : c. 1770. 
 
 TOBIN, RICHARD, Dublin and London: 1787-1841. 
 According to his own account he was born a few miles out 
 of Dublin. His love for the fiddle dated back to early child- 
 
VIOLIN AND BOW MAKERS 
 
 219 
 
 hood, when he often heard its strains at merry-makings, wakes, 
 he. As a lad he was fond 
 of making fiddles out of all 
 sorts of boxes, &c. At the 
 age of fourteen he made a 
 fairly good instrument out 
 of a willow block. This 
 he sold to a neighbouring 
 fiddler, who shortly after 
 brought it to Perry and 
 Wilkinson. Old Perry 
 was struck with the work- 
 manship of the embryo 
 fiddle-maker, and sent word 
 that he would teach him 
 violin-making if he came 
 to him. Needless to say, 
 young Tobin accepted the 
 invitation. This was about 
 1802, and Tobin remained 
 with the Dublin firm eleven 
 years. He soon became a 
 very clever workman, and 
 he made the majority of 
 these magnificent instru- 
 ments which brought fame ^^ 
 and money to the house of L„ 
 Perry & Wilkinson. In 
 1 8 13 he came to London, 
 and found his way to the 
 workshop of "old" Betts, 
 who was quick to discover 
 his abilities, and employed 
 him till his (Betts') death in 
 1823. Tobin was eccentric 
 and intemperate, and often 
 tried the temper of Betts to the breaking point. When he had 
 
 v/\A/ 
 
 EXACT OUTLINE OF SCROLL BY TOBIN. 
 (Actual size.) 
 
220 BRITISH VIOLIN-MAKERS 
 
 saved up a little money and kept sober for perhaps three months 
 at a stretch, the mania for drink would break out afresh, and he 
 would go off on a fortnight or three weeks' carouse, till he had 
 spent all his savings. When at work he was busy and of a most 
 incommunicative turn of mind. He worked very fast, and 
 would finish a scroll inside of two hours. The few instru- 
 ments which bear his label are exceedingly handsome copies of 
 Stradivari or Guarnerius, and they have a rich and mellow 
 tone. The best instruments of the Dublin firm were made 
 by him, as were also many of the choicest violins which bear 
 the label of Betts. I do not think there are a dozen violins in 
 existence which bear the label of Tobin himself, and I have 
 not seen more than two. His scrolls are superb ; never did 
 Antonio Stradivari cut better, as the accompanying illustration 
 will testify. 
 
 TORRING, L., London : 1 800-10. He repaired chiefly. 
 
 TRIMNELL, JOSEPH HENRY, Birmingham, con- 
 temporary. Indifferent. 
 
 TUBES, JAMES & SON, London, contemporary. A 
 bow-maker. He works at 94 Wardour Street, and is the 
 pupil of his father. His bows are considered to be superior to 
 the best that are made to-day. 
 
 TURNER, WILLIAM, London: c. 1650. A viol- 
 maker. 
 
 TUSON, ROBERT, Gravestown, contemporary 
 
 TWEEDY, J., Acklington, contemporary. 
 
 u 
 
 URQUHART, ALEXANDER, Invergordon, con- 
 temporary. He was born at Balblair, in the parish of Resolis, 
 near Invergordon, Oct. 7, 1867. He is an amateur of artistic 
 
VIOLIN AND BOW MAKERS 221 
 
 tastes who turns out an occasional fiddle of excellent work- 
 manship and tone. He follows the usual models, and also 
 works on original lines. 
 
 Facsimile inscription (on bare wood) : — 
 
 URQUHART, DONALD, Tain, N.B., contemporary. 
 He was born at Balblair, near Invergordon, on Aug. 17, 
 1859, and educated at Jaminaville Free Church school, in the 
 parish of Resolis. He has received no training in violin- 
 making, but his highly developed sense of the beautiful, and 
 masterly deftness in the handling of keen-edged tools, have 
 enabled him to overcome the difficulties of the art. He 
 commenced to make fiddles fifteen years ago, and also to 
 experiment in varnish. Since then the varnish question has 
 occupied a great deal of his attention, and it must be said that 
 he has succeeded in producing an oil varnish of great beauty 
 and lustre. This is made in three shades, dark yellow, light 
 orange, and deep orange red. The colour is absolutely 
 permanent in the strongest sunlight. During the varnishing 
 the instruments are exposed to the full blaze of the sun from 
 April to September in a conservatory window, where the 
 thermometer on sunny days registers 125 degrees (Fahr.). 
 The colour is not affected in the least — if anything, it be- 
 comes more lustrous after this fiery ordeal. The one draw- 
 back of the varnish is that, being so tough and elastic, it is 
 exceedingly difficult to polish, and takes months to dry even 
 in the strongest sunlight, but Mr. Urquhart succeeds in giving 
 it a perfectly polished surface. 
 
 The outline and arching are those of a full-sized Strad. 
 The sound-holes are modified. The scroll is altogether 
 original and a most graceful piece of work. Its chief 
 differentiating characteristic is the deep scooping of the volute 
 
222 BRITISH VIOLIN-MAKERS 
 
 and the consequent boldness of its axis. In no other maker 
 have I observed this peculiarity turned to advantage. The 
 wood of the back is of the usual description and of good 
 quality, whilst that of the belly is really fine. The " reed " 
 of the pine in the two specimens I examined is fully one- 
 seventh of an inch wide, and is even throughout. 
 
 The edges are strong, and the margin full. The thick- 
 nesses are carefully graduated and the instruments are left 
 strong in wood. The inside is finished so finely that the 
 wood has a polish, and there is not a suspicion of the presence 
 of glue lines. 
 
 The tone, although not powerful, is sweet and mellow. 
 On the D and A strings it is fine. The first octave on the 
 third string has the juicy richness of the Chalumeau in the 
 clarionet. Had CJrquhart succeeded in getting power along 
 with this characteristic, he would have created something 
 new in violin tone, which is about as possible, perhaps, as 
 the existence of a pair of contradictories which are com- 
 patible with regard to both truth and falsehood. Facsimile 
 label :— 
 
 
 URQUHART, THOMAS, London : 1650-80. The 
 best part of the work is the varnish, which very closely 
 resembles the Italian varnish. I have seen only one genuine 
 violin of his make, which was much arched, and had a sweet 
 but very small tone. 
 
 VAUGHAN, DAVID ROBERT, Chester, contem- 
 porary. He was born at Mold, Aug. 6, i860. He follows 
 
VIOLIN AND BOW MAKERS 223 
 
 the Stradivari model, and makes instruments of good average 
 merit as regards w^orkmanship and tone. 
 
 VICKERS, RICHARD, Bath : nineteenth century. 
 
 VOYLE, BENJAMIN, Gower : 1860-87. Average 
 ability. 
 
 w 
 
 WADE, JOSEPH, Leeds : nineteenth century. 
 
 WADE, WILLIAM, Leeds : nineteenth century. 
 
 WALKER, H. J., Whitby, contemporary. His instru- 
 ments are said to be very good. 
 
 WALKER, HECTOR M., Liverpool, contemporary. 
 He has made a few violins experimentally. 
 
 WALTON, WILLIAM, Preston, contemporary. He 
 was born at Longton, Aug. 7, i860, and he now lives at 
 Howick Station, Longton, near Preston. He is the son of 
 Henry and Jane Walton, and is the eldest child of a family of 
 ten. He was educated at the national school of his native 
 village. In the year 1871 he was sent to work in a cotton-mill, 
 where he remained till he was twenty. In 1880 he joined 
 the railway service, where he steadily worked himself up 
 through the various grades till, in 1889, he was appointed 
 stationmaster of Howick, a rapidly growing district. He 
 was married on October 18, 1884, at Saul Street Chapel, 
 Preston, to Alice, daughter of Lawrence Hunt, of Hoole. 
 He has three children, named Jane, John, and Alice Hunt. 
 
 He commenced violin-making en amateur in 1887, and 
 since then he has turned out one or two instruments every 
 year, besides repairing a great number. In 1893 he became 
 interested in the varnish question, and was soon deep in 
 experiment. With the help of a friendly chemist he at last 
 
224 
 
 BRITISH VIOLIN-MAKERS 
 
 succeeded in producing an amber oil varnish of excellent pate 
 and lustre. This splendid solution is elastic, tough, and 
 beautifully transparent. It consists of pure amber in solution 
 in oil, with the colour developed (not added) during the 
 process. 
 
 Mr. Walton uses beautiful w^ood of excellent properties. 
 In one instance he has used Oregon pine for the belly, and 
 the result compares very favourably vi^ith that of more orthodox 
 material. He works on the Joseph lines from drawings pub- 
 lished by Mr. Honeyman, on the Strad lines after the outlines 
 of Riechers, and also on an original outline and model. The 
 measurements of the last are as follows : — 
 
 Length of body 
 
 Width across upper bouts 
 
 „ „ middle bouts 
 
 „ „ lower bouts 
 
 Length of sound-holes 
 Distance between sound-holes 
 Length of C's . 
 Depth of ribs at bottom 
 
 „ „ top. 
 
 „ model at bridge 
 
 4|i 
 
 nches 
 
 6f 
 
 
 4M 
 
 
 H 
 
 
 2^1 
 
 
 
 in 
 
 
 »i 
 
 Mr. Walton is a born artist, and his workmanship is 
 magnificent. There is a breadth of conception coupled with 
 tenderness of expression about the work which gives it the 
 air of dignified art. The scroll is thrown with vigour, and 
 the mind is free from suggestions of effort in following the 
 graceful lines of the volute. The same easy flow is observed 
 in the upper and lower turns of the sound-holes. The curve 
 of the model along the longitudinal axes (back and belly) 
 reminds one of the gentle, natural arch of a cord in vibration. 
 The purfling is wide and bold, the margins a little narrow, 
 and the edges round and strong. The corners of the Strad 
 copies have not the Riechers characteristics, being a shade 
 longer, and cut cleanly and square. The button is full, and is 
 perhaps the very tiniest bit too long in proportion to its width 
 
VIOLIN AND BOW MAKERS 225 
 
 — in fact, if it were gently toned down about one thirty-second 
 all round, it would be more in keeping with the highly graceful 
 lines of the original model. The work of this maker merits 
 criticism only from the highest standpoint. In works of the 
 third or even second order, a sixteenth of an inch in any one 
 part, more or less, is immaterial to the physiognomy of the 
 fiddle. Not so in work of the kind under our consideration. 
 
 The most scrupulous care should be paid to the smallest 
 matter of detail. Nature is particular to the «th, and so must 
 art be if it would be natural. 
 
 The tone of the two instruments submitted for my in- 
 spection is very similar in both cases, and has fulness, equality, 
 sympathy, and carrying power. Facsimile label : — 
 
 f WILLIAM WALTON. 
 
 ^ .-^^ MAKER, ift/w^-' 
 
 i LONGTON. PRESTON. 
 
 1 A.D., \QQI No./¥' 
 
 WAMSLEY, PETER, London: 17 15-51. The par- 
 ticulars given respecting this old maker in other books are, 
 unfortunately, all that can be picked up from the dust of the 
 past. I have nothing new to add, and therefore lad better 
 not say anything. 
 
 WARD, , Dublin : nineteenth century. ' 
 
 WARDLAW, RICHARD, Cardiff, contemporary. An 
 amateur of average attainments. 
 
 WARRICK, A., Leeds, contemporary. He was born at 
 Reading, Oct. 9, 1863, and has his workshops at 61 Wood- 
 house Lane, Leeds, and at 24 Church Bank, Bradford. He 
 served a six-years' apprenticeship, from 1884 to 1890, with 
 G. A. Chanot of Manchester. He works on various models, 
 
 P 
 
226 BRITISH VIOLIN-MAKERS 
 
 but chiefly on those of Stradivari and Guarneri. He does not 
 attempt to work on original lines, or to modify the model in 
 any way ; he is a close copyist, and concentrates all his 
 energy upon the exact reproduction of outline, arching, depth, 
 thicknesses, &c., of the originals. He uses excellent wood, 
 and the work is beautifully finished throughout. The varnish 
 is his own composition, made in four colours, golden yellow, 
 reddish yellow, brown red, and ruby. It has much the same 
 characteristics as the varnish traditionally associated with the 
 house of Chanot. Warrick has made a large number of 
 instruments, big and small, and he also repairs extensively. 
 He was awarded the sole gold medal at the Leeds International 
 Exhibition, 1895, for an exhibit of violins. 
 
 His price for violins is twelve and fifteen guineas, and for 
 violoncellos twenty. Facsimile label : — 
 
 ^. Marridi. 
 
 eleve de Chanot, . 
 
 NocSA LEEDS. r8<^'' 
 
 WARWICK, REGINALD, Northampton, contempo- 
 rary. Average ability. 
 
 WATSON, FRANK, Rochdale, contemporary. He 
 was born at Rochdale, Aug. 20, 1866. He is a pupil of 
 the late J. Priestnall. When about thirteen years of age he 
 had the misfortune to become affected with hip-joint disease, 
 which invalided him for a long number of years, and it was 
 during his convalescence that he got acquainted with Mr. 
 Priestnall, and, becoming enamoured with the art of violin- 
 making, was taught by him the method of construction. He 
 ultimately started work on his own account, and up to date 
 he has built seventy-three violins, one viola, and two 'cellos. 
 He has also repaired a great number of instruments. He 
 works chiefly on the Strad and Joseph outlines, and occa- 
 sionally on an original model. The workmanship is good. 
 

VIOLIN AND BOW MAKERS 227 
 
 and the tone large and telling. Watson is a skilled repairer. 
 Facsimile label : — 
 
 Ifranft Matson, 
 
 MAKER. 
 ROCHDALE, LANCASHIRE. 
 
 No. 
 
 ^ ROCHDALE, LANCASHIRE. 
 
 Jz 19/:^... 
 
 WATSON, JOHN (Rev.), Lerwick, Shetland, con- 
 temporary. A Presbyterian minister who has made several 
 violins of excellent workmanship and tone. I cannot say that 
 I like his model, but no fault can be found with any other 
 part of the work. I have seen only one of his instruments 
 — the library walls of South Yell manse are lined with them — 
 which had a peculiar outline, but a very sweet and moderately 
 powerful tone. 
 
 WATT, ALEXANDER STOCKS, Inverkeithing, con- 
 temporary. He was born in Edinburgh, Aug. 17, 1859. A 
 gentleman amateur whose work is as beautiful as it is rare. 
 A copy of the " Count Cessol " Stradivari made by him was 
 amongst the finest for delicate workmanship that I have ever 
 seen. He spends two, and sometimes three years over a 
 single violin, but when it is finished it is an artistic gem. 
 The tone is sweet and mellow. Facsimile label : — 
 
 
 WEAVER, SAMUEL, London : 1 780-1800. Ordinary 
 work. 
 
 WHITELAW, JAMES, Glasgow, contemporary. He 
 was born at Johnstone, in 1852, and he carries on business as 
 
228 BRITISH VIOLIN-MAKERS 
 
 a chemist at 496 St. George's Road, Glasgow. He is not a 
 violin-maker, but he is the discoverer and manufacturer of the 
 finest violin varnish on the market to-day, and as such he 
 claims an honourable place in any dictionary of violin-makers. 
 As in the case of Mr. Edw^ard Heron- Allen, so in the present 
 one, although Mr. Whitelaw^ does not make violins himself, 
 still he has made it possible for others to make them. There 
 are many amateur, and not a few professional, makers to-day 
 who would never be able to finish their instruments as they 
 do were it not for the diligent research and hard labour of 
 this chemist. It is within my knowledge that many have 
 been induced to take up the gouge mainly because there was 
 within their reach a beautiful varnish at a moderate cost. I 
 am not going to discuss the merits of the varnish here, as I 
 have already done so, but it is necessary to give a short account 
 of its discovery. I cannot do better than give the words of the 
 discoverer himself, as quoted by Mr. William C. Honeyman 
 in his " Scottish Violin-Makers," p. 98. He says : — 
 
 "I was lying in bed on the last Sunday morning of 
 February 1886, about five o'clock, I think. Whether I was 
 asleep or awake I could never be certain. Suddenly my bed- 
 room seemed transformed into an old-fashioned-looking kitchen, 
 in which was a large dresser with a lighted candle at one end. 
 Above the dresser, instead of crockery and household odds and 
 ends, there were rows of fiddles hanging on the wall. While 
 I was looking at this display of fiddles, a very tall and majestic 
 man came into the kitchen. He had on a little round white 
 cap and a white leather apron, his hair was nearly white, and 
 in little crisp curls. He had beautiful grey eyes, and a very 
 pleasant expression. He spoke to me, and I asked him about 
 the violins on the wall. He said they had all been made in 
 Cremona, and among other things told me about the varnish 
 being a secret. 
 
 " He now took down a violin from the wall, and, having 
 removed the candle to the middle of the dresser, he held the 
 violin up behind the flame at an angle of about forty-five 
 degrees, and, moving it from side to side, he asked me if I could 
 
VIOLIN AND BOW MAKERS 229 
 
 see the beautiful satin-like glint which followed the candle 
 flame. I said — ' Yes.' ' Well ! ' he said, ' that is a peculiarity 
 of the varnish.' After some further conversation I asked him 
 if amber was used in making the varnish. He said — 'It is 
 amber varnish, and the solvents are lead and lime.' Just at 
 that moment the vision disappeared, and I awakened and 
 found that during the awakening ' lead and lime,' by some 
 mysterious process, had in my mind become converted into 
 two quite different substances. Impelled by curiosity I got 
 up at once, and hurried to my shop. It was now 7 a.m. I 
 hastily fitted together some odd pieces of apparatus sufficient 
 for the experiment, and before 8.30 I had the satisfaction 
 of knowing that I could dissolve amber without chemical 
 disintegration. 
 
 " From the foregoing it can be seen that I had really very 
 little to do with the discovery, and I cannot claim much 
 credit on that point ; but, as I found out afterwards, it is 
 one thing to dissolve amber but quite another matter to 
 make it into a working varnish. It was fully a year before 
 I had varnish to try on a violin, and nearly three years 
 before I had a bottle ready for sale, so that the discovery 
 was not completed without a considerable amount of trouble 
 and anxiety." 
 
 Mr. Whitelaw makes his varnish in nine different colours, 
 viz. pale amber yellow, dark amber yellow, dark ruddy brown, 
 orange, orange red, dark orange red, " Amati," pale ruby, and 
 dark ruby. It is equally lustrous and transparent in all the 
 colours, and it is difficult to conceive how a more beautiful 
 varnish can ever be made. Mr. Whitelaw is a gentleman of 
 high artistic tastes, and an art critic of recognised authority. 
 
 WHITESIDE, HENRY, Liverpool and Solva : 1749- 
 1824. H^ made many violins in Fontenoy Street, Liverpool, 
 and afterwards at Solva, Pembrokeshire. He was the famous 
 builder of the Smalls lighthouse, and he established for himself 
 a wide reputation in West Pembrokeshire a century ago as an 
 engineer, musical instrument maker, and Merlin redivivus. 
 
230 BRITISH VIOLIN-MAKERS 
 
 The following particulars are culled from the Pembroke County 
 Guardian for Nov. i8, 1899, from an article written some 
 forty years previously : — 
 
 "... When the wishes of Mr. Phillips (the projector 
 of the Smalls lighthouse) were made public, a great many 
 persons sent in designs for a suitable erection to the com- 
 mittee appointed by him to carry out his intentions, but pre- 
 ference was given to the plans of a young man, a musical 
 instrument maker, who was also engaged as its builder. 
 
 "Mr. Henry Whiteside was a native of Liverpool ; he was 
 born, it is believed, in Fontenoy Street, in the year 1746, 
 where his parents possessed some houses, and which afterwards 
 became his property. He possessed at an early age a mechanical 
 taste, and was allowed to follow the bent of his inclination at 
 the carpenter's bench. He soon gave his attention — from a 
 love and knowledge of music — to the construction of violins, 
 some of which are now in Pembrokeshire, and considered of 
 great value ; afterwards he turned his skill to the building of 
 spinets and upright harpsichords, in which he excelled, as 
 the ones now extant prove. Mr. Whiteside had a brother 
 named Gilbert, who was blind from his birth, and who 
 possessed extraordinary powers as a musician. The desire 
 of Mr. Gilbert Whiteside to alleviate the sufferings of those 
 deprived of sight like himself was so great that he would even 
 seek for, and wait upon them, week after week, and month 
 after month, until he had made them masters of some musical 
 instrument, either as a source of amusement or of income for 
 themselves. 
 
 " At the time Henry Whiteside came to Pembrokeshire to 
 construct the lighthouse, in the summer of 1772, he was a very 
 young man, scarcely twenty-six, and probably — though a 
 resident of such a considerable shipping port as Liverpool was 
 even then — a novice in nautical matters, with which he would 
 eventually have much to do. His undertaking was a sudden 
 transition from the sweet and harmonious sounds of his own 
 musical instruments, to the rough surging of the Atlantic wave, 
 and the discordant howling of a maddened hurricane ; and 
 
VIOLIN AND BOW MAKERS 231 
 
 from the fastening of a delicately formed fiddle, to the fixing 
 of giant oaken-pillars in a rock as hard as adamant ! 
 
 "Tradition has it that Whiteside possessed a most inter- 
 esting personality. Many tales are related of him. Here is a 
 characteristic one : 
 
 " ' He once led a party of volunteers from Solva to oppose 
 the French at Strumble Head. He rode a horse belonging to 
 Mr. Barsey, of Lecha. While he feared nothing for himself, 
 he feared much that the French aggressors would kill Mr. 
 Barsey 's mare.' 
 
 " His cleverness and persistent personality greatly impressed 
 the simple-minded peasantry. He was, as a matter of course, 
 said to be in league with his Satanic majesty, as all cleverness 
 was believed by the people of Dyved to emanate from the 
 nether regions. The lighthouse, although a device made to 
 baffle the powers of darkness, was regarded as an extraordinarily 
 successful piece of jugglery. 
 
 " A story is told of a young woman, a Miss Rees, the only 
 daughter of a farmer living near Llandruidion, who on paying 
 the lighthouse a visit with several others, during its temporary 
 erection, and viewing herself in the angular reflectors of the 
 light-room, exclaimed, * People say that Georgy Rees has only 
 one daughter, let them come here and they'll see that he has 
 many. I am quite beside myself with the beauty of my 
 sisters.' 
 
 " It is said that he often went out to the cliffs during a 
 storm and tuned his fiddle to the wail of the wind. It is also 
 said that he spent all his spare moments, when not occupied in 
 constructing the lighthouse (or, after it was completed, in 
 acting as agent to the establishment), in making harpsichords, 
 spinets, and fiddles. 
 
 " On his arrival in Solva, he lodged in the (Old) Ship Inn, 
 at that time one of the two public-houses in Lower Solva, and 
 indeed one of the four or five straw-thatched dwellings that 
 then constituted the now important and improving place. 
 The Old Ship stood where the establishment of the Messrs. 
 Davies — the Mariners' Inn — now stands. It was kept by 
 
232 BRITISH VIOLIN-MAKERS 
 
 one William Bevan, whose youngest daughter, Martha, Mr. 
 Whiteside married at Whitchurch, September i6, 1780. 
 
 "On the 5th day of July, 1824, ^t the advanced age of 
 78, and after a long illness, Mr. Whiteside died at his residence 
 — the Harbour House — in Lower Solva. He was buried at 
 Whitchurch, where the remains of his wife were also de- 
 posited in 1832. Two plain tombstones are erected to their 
 memories." 
 
 I have seen only one of his violins, which was a beautifully 
 made copy of the grand Strad model, with somewhat Stainer- 
 like sound-holes. The varnish was an oil one, of dark nut- 
 brown colour, and of excellent quality. The tone was mellow 
 and moderately powerful. It is said that well-nigh every farm- 
 house in the Solva neighbourhood at one time possessed a 
 Whiteside fiddle or harpsichord, but they are gone the way of 
 all things perishable. 
 
 WHITMARSH, EMMANUEL, London, contempo- 
 rary. I cannot give any biographical particulars, but I have 
 seen a great deal of his work. Nor am I certain that the 
 present Emmanuel Whitmarsh is the same that turned out 
 excellent instruments some twenty-five or thirty years ago. 
 The work does not seem to me to have the same charac- 
 teristics. The present maker of that name makes princi- 
 pally for the wholesale houses. The Messrs. Dawkins, of 
 17 Charterhouse Street, Holborn Circus, have been his agents 
 for some years past. The work is very carefully finished, and 
 the tone usually clear, firm, and sweet. 
 
 WHITTAKER, BUTTON &, Leeds: 1805-30. 
 
 WIGAN, DAVID, Shrewsbury, contemporary. Average 
 work. 
 
 WIGHTMAN, GEORGE, London : c. 1760. 
 
 WILKS, ALFRED, Manchester, contemporary. An 
 amateur. 
 
VIOLIN AND BOW MAKERS 233 
 
 WILLIAMS, ALFRED, Cheltenham, contemporary. 
 He was born at Redditch, June 28, 1840, and he works at 
 8 Great Western Road, Cheltenham. He has made a good 
 number of instruments, which are of rather above average 
 merit as regards workmanship, and very good as regards tone. 
 He works on the two leading models, and inserts a differently 
 worded label into each copy. Facsimile of one of the 
 labels : — 
 
 WILLIAMS, BENJAMIN, Aberavon : 1768-1839. It 
 is very remarkable that Wales, the land of song (" Mor o gan 
 yw Cymru gyd "), has produced so few violin-makers. This 
 is probably due to the fact that she has cultivated vocal at the 
 entire expense of instrumental music. The orchestra is all 
 but non est in Wales. But then, the Welsh people have ceased 
 to be an artistic people. Even their bards to-day know no 
 other art than that of cynghanedd^ and it is even doubtful if a 
 quasi-esoteric use of numbers be a sufficiently important art to 
 command the homage of the best talent. And where the 
 orchestra is an unknown quantity, the art of fiddle-making 
 may be denoted by zero. 
 
 The only Welsh fiddle-maker (barring a few who made 
 sporadic and amateurish eflForts) was Benjamin Williams of 
 Aberavon, a joiner by trade. This maker was born in 1768, 
 and died in 1839. ^^ ^^^ buried in Michaelston-super- 
 avan Churchyard, but there is no tombstone to mark his 
 resting-place. His grandson, John Davies, now living at 
 Ystrad, Rhondda Valley, who is seventy-five years of age, 
 and who can remember his grandfather very well, says that 
 Benjamin Williams was a tall, wiry, broad-browed man, 
 with a patriarchal crop of snow-white hair and beard. He 
 
234 BRITISH VIOLIN-MAKERS 
 
 habitually wore a leathern apron and a skull-cap (Had he 
 heard of old Antonio ?), and was much addicted to tobacco- 
 chewing. He is said to have made about eighty fiddles and a 
 few Welsh harps during leisure moments, when joinery work 
 happened to be slack. 
 
 Several of these fiddles are said to be in existence to-day, 
 but I know of only three, one of which is in my possession. 
 The following is a brief description of this last. 
 
 The outline and model approximate to those of N. Amati. 
 Probably the maker had a Duke fiddle as model, since the 
 measurements are identical with those of a genuine Duke of 
 the date 1768. The back is cut sur couche, znd the wood is 
 sycamore of rather plain figure. The pine of the belly is 
 very fine and even-grained. The sound-holes are somewhat 
 after the Stainer pattern. The scroll is much worn at the left 
 boss of the volute, but it is thrown with a firm hand and full 
 of decision and meaning. The varnish is a pale, straw- 
 coloured one, elastic and transparent. The tone is not large, 
 but it is sweet, round, and free. 
 
 The instrument is the work of a man who knew how to 
 handle his gouge and calipers. 
 
 Williams obtained his pine from abroad, but he cut his 
 sycamore in the Margam woods. He rubbed linseed oil and 
 turpentine into his fiddles, and then hung them up for a long 
 season to dry before varnishing them. The varnish is a spirit 
 one, laid on in three or four thin coats. Williams was known 
 locally as " Benny'r fiddler," as he was a player as well as a 
 maker of fiddles. It is said that he played beautifully on one of 
 his own make instruments, and that his services were frequently 
 requisitioned at local weddings, dances, &c. He also, as needs 
 would have it, wielded the magic wand, and a story is told of 
 his laying a ghost at Penhydd by playing a certain tune on his 
 fiddle at the haunted spot on three successive nights. 
 
 The fiddle on which he then played was made specially for 
 the occasion, and had its back of mountain-ash, and a drop of 
 dragon's blood was mixed with the varnish. Tradition does 
 not say whence he obtained this drop of blood. It was not the 
 
VIOLIN AND BOW MAKERS 235 
 
 gum known by that name, for he did not use it, and this had 
 no affinity to the methods of magic. Wilh'ams could write a 
 beautiful hand, and no doubt his smattering of English and 
 knowledge of about a dozen Latin words magnified him to 
 Merlin-like proportions in the estimate of his fellows. 
 
 Two local country-side fiddlers, lanto'r Garth and Deio 
 Llantrisant, played upon fiddles of his make. Another noted 
 village-green fiddler, Levi Gibbon, of Fishguard, played upon 
 a Williams fiddle, and people who remember this really fine 
 player (albeit humble) said his instrument had a tone like that 
 of a flute. It is said that Williams won his spouse by the 
 cunning of his bow. Ann Davies was a young woman of 
 beauty, and the daughter of a well-to-do local farmer. The 
 fiddle-maker wooed her, and wooed not in vain, though the 
 young woman's parents resented the match. The fiddler's 
 playing appealed to the heart of Ann, and, helped by the 
 dignified bearing of his princely figure, was completely success- 
 ful in making captive the maiden's heart. He would play in 
 the wood opposite her dwelling, and the pathetic pleading 
 of the notes borne on the wings of the breeze reached the ears 
 of Ann, and brought her out to the sylvan retreats. During 
 one of these rambles the vow was made, when both swore 
 eternal love to the music of the fiddle. 
 
 WILLIAMS, O. R., Manchester, contemporary. I have 
 not seen any of his instruments. 
 
 WILSON, JAMES L., Greenock, contemporary. He 
 was born in Galston, April 13, 1847, and he works at 20 Octa- 
 via Cottages, Greenock. He is not a professional maker, 
 albeit his work has not a trace of the amateur about it. 
 Nothing can be more true to the original than his copies of 
 Gasparo da Salo, nor more beautifully finished than his last 
 half-a-dozen instruments. He got a few lessons in violin- 
 making from the late John A. Mann, and being of an artistic 
 turn of mind, he soon made progress. He can paint very 
 fairly in oil and water-colours, and he generally draws a bust 
 of himself with indelible ink on the back of the violin under 
 
236 BRITISH VIOLIN-MAKERS 
 
 the button. His work as an amateur violin-maker is of great 
 merit, and will bring him considerable fame by-and-by if he 
 perseveres with it. He won the gold medal for an exhibit 
 of violins at the Greenock Exhibition, 1893. Facsimile 
 inscription (no label) : — 
 
 WILTON, JAMES, Whitby, contemporary. He worked 
 for H. J. Walker, of Whitby, for some time, but he now 
 makes and repairs on his own account. Good average work 
 and tone. 
 
 WISE, CHRISTOPHER, London : c. 1656. He was 
 chiefly a maker of viols, and made but few violins. 
 
 WITHERS, EDWARD, London : 1808-75. He was 
 born in London, Dec. 23, 1808, and died there Dec. 19, 1875. 
 He was the son of Edward and Mary Ann Withers. He was 
 not trained in the usual way, but he bought the business of 
 R. & W. Davis, 31 Coventry Street, Haymarket, in the year 
 1843, ^"<^ th^s started what proved to be a bright career in 
 violin-making He followed the Strad and Guarnerius models 
 exclusively, and made a large number of instruments, some of 
 which, in point of workmanship and tone, will compare 
 favourably with the best work of our classical school. He 
 is the maker of the famous Withers' Quartet — said to be 
 the finest English quartet of instruments in existence, made 
 previous to the year 1870. 
 
 These instruments, from their importance, demand a brief 
 notice. They were made between fifty and sixty years ago 
 at the old premises, 31 Coventry Street. Somewhere near 
 the period mentioned, the roof of the shop underwent repairs, 
 
^fy^^if^^ 
 
/:i^aJi^ 
 
VIOLIN AND BOW MAKERS 237 
 
 and the builder's workmen had occasion to lay down a plank 
 along the attic floor to walk upon. It chanced at the comple- 
 tion of the repairs that the workmen forgot to remove this 
 same plank, and one day old Mr. Withers finding his way 
 into the attic, discovered it. He saw that it was maple, and 
 as perfect a specimen of its kind as eyes could ever gaze upon. 
 The story is soon told. The plank was transformed into 
 [backs of] a quartet — now the English quartet, par excellence. 
 The instruments are beautifully coated in amber varnish. 
 One of the fiddles has been sold and re-sold twice, realising 
 each time £$0. Its purchaser on one occasion was Mr. L. 
 d'Egville, who presented it to Wilhelmj. The companion 
 violin was sold at first for ^^30, but it realised later ;^I20. 
 The tenor was sold for ^40, and the violoncello for £iS'^- 
 
 The present owner of the quartet is Mr. Edward Withers, 
 of 22 Wardour Street, a son, and the representative of the 
 firm. He says that the treasure shall never leave the family, 
 but will be handed down the stages of time as a valued 
 heirloom. Edward Withers had eight children — four sons 
 and four daughters — two of whom are in the trade, and one 
 of them, Mr. Edward Withers, noticed below, is an actual 
 maker. He died at the age of sixty-seven, and was buried in 
 Brompton Cemetery. Facsimile label : — 
 
 WITHERS, EDWARD, London, contemporary. He 
 was born in London, Oct. 22, 1844, and is the eldest son of 
 the above Edward Withers. 
 
 He received his early education at Fulham. He is the 
 
238 BRITISH VIOLIN-MAKERS 
 
 only pupil of his father and of John Lott, the well-known 
 violin-maker. He commenced business at 31 Coventry 
 Street, London, in 1856, and moved later to 22 Wardour 
 Street. He worked with his father for a period of over 
 twenty-five years, and during that time made many new 
 instruments, and also executed nearly all the principal repairs 
 that were entrusted to the firm. Mr. Withers copies exclu- 
 sively the Stradivarius and Guarnerius models, using very old 
 and carefully selected wood. His varnish is entirely oil, and 
 varies in colour from amber to brown and red or golden red. 
 His method of varnishing is unique. He always puts amber 
 varnish on the wood and then hangs the fiddle up to dry for 
 some years before putting the colour on. The colour is also 
 oil. 
 
 He has made a large number of instruments, including 
 violins, tenors, and violoncellos. He turns out on an average 
 about twelve instruments per year. All these reach a high 
 standard of excellence, and are characterised as much for their 
 beautiful tone as for their exquisite appearance. His prices 
 art : violins and tenors from ^10 to ^65 ; violoncellos from 
 ^20 to ^150. 
 
 On June i, 1893, he was appointed by Royal Warrant 
 violin-maker to H.R.H. the Duke of Edinburgh. 
 
 Three sons now assist him in the business. These are : 
 Edward Sidney Munns, born Aug. 3, 1870 ; Sidney Bernard, 
 born Oct. 22, 1873 ; and Douglas Sidney, born Aug. 10, 
 1879. 
 
 In Nov. 1896 Mr. Withers invented the new sound-post, 
 now universally known as "E. Withers' Patent Prepared 
 Hollow Sound-Post." 
 
 Mr. Withers is one of those who believe in oil varnish. 
 He expresses a strong belief that the varnish affects the quality 
 of the tone to an extent not allowed by the majority of 
 writers on the subject. Acting on this belief he was led early 
 in life to pay a close attention to the varnish question, and to 
 conduct a series of experiments with the view of wringing the 
 secret out of the great Ghost of Cremona. It is this belief 
 
VIOLIN AND BOW MAKERS 239 
 
 also which prompts him now to spend such time over the 
 varnishing process. Certain it is that his varnish is exceed- 
 ingly good and well laid on. It is rich, "juicy," and withal 
 perfectly transparent. 
 
 Mr. Withers plays the violin, tenor and 'cello, and has 
 frequent quartet and symphony parties at his private house, 
 Elmwood, Atkins Road, Clapham Park. 
 
 His label, it will be observed from the following facsimile, 
 is not dated. It is almost identical with that used by his 
 father, only having in addition the name of the street and 
 number of the house. Facsimile label : — 
 
 WOOD, G. F., London, contemporary. Very good 
 work and tone. 
 
 WOODNEY, H., Manchester : nineteenth century. 
 
 WORDEN, JAMES, Preston, contemporary. He was 
 born at Leyland, Aug. 25, 1839, and is the son of George 
 and Ann Worden. 
 
 The father was a descendant of the Wordens of old 
 Worden Hall, and the mother a descendant of the Plessing- 
 tons, of the Dimples, an old Lancashire family. The 
 mother's family gave the Roman Catholics their last British 
 martyr, to wit the Rev, J. Plessington, who was executed in 
 the year 1678. 
 
 Mr. Worden received a liberal elementary education at 
 the school of the Christian Brothers, at Preston. 
 
240 BRITISH VIOLIN-MAKERS 
 
 He was married in the year 1868, to Miss Mary Anne 
 Stirzaker, at the church of St. Joseph, Preston. 
 
 He served an apprenticeship at the trade of cabinet- 
 making. In the year 1870 he went to Mr, Francis Booth, of 
 Wakefield, to learn the trade of organ building, and later to 
 the firm of Messrs. Gray & Davidson. He is a practical 
 pianoforte-maker and organ builder, as well as violin-maker, 
 and his workshop at 83 Friargate Gate, is well known in and 
 around Preston. 
 
 He has made up to date fifty violins, one tenor, one 'cello, 
 and one guitar. He makes on different models, mostly on 
 that of Stradivari, but sometimes on an adopted model of his 
 own, based on the lines of Maggini. 
 
 The workmanship is excellent. The wood is well chosen 
 for its acoustic properties, and is generally handsome in 
 appearance. The sound-holes in the instruments, made on 
 original lines, are a hybrid between those of Strad and Joseph. 
 The scroll is beautifully carved and exceedingly graceful per se^ 
 but when viewed as a part of the whole, it impresses the mind 
 with a sense of longing after the bold and the massive. It is 
 too slender for this giant model. 
 
 The button is not of the usual modern British type, but is 
 somewhat smaller and more elongated. 
 
 One of Mr. Worden's instruments has a Panormo back 
 cut from a partly worked block, which was discarded by the 
 noted Vincenzo owing to a few worm-holes. 
 
 There is ample evidence that it is a block out of the famous 
 billiard table. It is magnificent wood, with beautiful cloud- 
 like coruscations, and a broad, vivid flame. This fiddle is on 
 the Strad lines, well-made and full of character. 
 
 Mr. Worden uses Whitelaw's varnish in the various colours, 
 and also Walton's. The tone is beautifully sweet and velvet- 
 like. The Panormo back fiddle has a round, clear, and pene- 
 trating tone. 
 
 This maker has led a very active musical career. In 1883 
 he founded the Preston Harmonic Society, which society 
 still exists and is conducted by its founder. In 1884 he was 
 
VIOLIN AND BOW MAKERS 
 
 241 
 
 appointed conductor of the Preston Orpheonic Male Voice 
 Choir, and he led them at the Liverpool Eisteddfod in that 
 year; at the Inventions, London, in 1885, where they took 
 the second prize ; and at the Liverpool Exhibition in 1886. 
 
 He has also, up to w^ithin a recent date, been associated 
 with all the work of the Preston Choral Society, and looks 
 back with much pleasure to his association with its wholly 
 admirable conductor, Signor Luigi Resegari. Facsimile 
 label :— 
 
 Jivnes Warden, flDBkCt? 
 ST C^e,c^^^ 
 
 The Paschal Lamb, with the motto Princeps Pads, is the 
 coat of arms of the Borough of Preston, 
 
 Each instrument as it is finished is dedicated to, and put 
 under the protection of, some well-known saint. 
 
 WRIGHT, DANIEL, London : c. 1745. Nothing is 
 known of him. 
 
 WRIGHT, EBENEZER, South Shields, 
 Average ability. 
 
 contemporary. 
 
 YATES, RICHARD, Manchester, contemporary. A 
 beginner whose work evinces exceptional talent. If circum- 
 stances will but allow him to devote his time to the art, he 
 will later on turn out work that will place him in the front 
 rank of modern luthiers. 
 
 YEATS, HENRY, London, contemporary. A 
 man amateur whose work is said to be excellent. I 
 
 gentle- 
 regret. 
 
242 BRITISH VIOLIN-MAKERS 
 
 therefore, that I am not acquainted with him, and that I have 
 not seen any of his instruments. He resides at 17 Pendennis 
 Road, Streatham, S.W., and owns a fine collection of Italian 
 instruments. 
 
 YOOLE, WILLIAM, St. Andrews : 1806-68. I have 
 never seen any of his work. 
 
 YOUNG, JAMES, Edinburgh, contemporary. 
 
 YOUNG, JOHN, London : c. 1700. No instruments of 
 his are known, but we learn from the curious verses of Purcell 
 that he was a maker. 
 
 YOUNGMAN, M., Halifax, contemporary. He was 
 born at Stanton, Nov. 28, i860. His work is carefully finished, 
 and the tone is large and brilliant. He works mostly on an 
 original model, which, although by no means graceful, shows 
 some strength and insight. He uses Whitelaw's varnish, 
 or sometimes Whitelaw's mixed with Caffyn's. He won the 
 silver medal in the amateur class for a case of violins at the 
 Yorkshire and West Riding Exhibition, 1893; and the gold 
 medal at the same Exhibition in 1895. 
 
INDEX 
 
 Absam, Thomas, 55 
 
 Acton, William John, 55 
 
 Adams, Cathune, 57 
 
 Addison, William, 57 
 
 Aireton, Edmund, 57 
 
 Air mass theory of Stradivari 
 
 tone, 41 
 Airth, William, 57 
 Aldred, 57 
 
 Allen, Edward Heron, 14, 22, 58 
 Allen, Samuel, 62 
 Anderson, Henry, 62 
 
 , John, 62 
 
 , John, 63 
 
 Anyon, Thomas, 63 
 
 Arnot, David, 64 
 
 Art, absence of stimulus, 4 
 
 Askew, John, 64 
 
 Askey, Samuel, 64 
 
 Aspinall, James, 64 
 
 Atkinson, William, 21, 32, 65 
 
 Baines, 68 
 Baker, Francis, 69 
 
 , John, 69 
 
 Ballantine, 69 
 
 Balzar, Thomas, 6 
 
 Banks, Benjamin, 3, 10, 12, 16, 
 
 19, 69 
 Banks, James and Henry, 76 
 Barnes, Robert, 77 
 Barrett, John, -]"] 
 Barton, George, 77 
 Beloe, W. L., -j-j 
 Bertram, Alexander, 78 
 , William, 78 
 
 Betts, Edward, 79 
 
 , John, 78 
 
 Beveridge, William, 79 
 Blackburn, J. H., 80 
 Blair, John, 80 
 
 , William, 80 
 
 BIyth, William, 80 
 Bolles, 80 
 Bone, Philip J., 81 
 Bonn, J. Edwin, 81 
 Booth, William, 82 
 
 , William, jun., 82 
 
 Bothwell, William, 83 
 Boucher, 83 
 Bowler, Arthur, 83 
 Breckinbridge, John, 83 
 Bridges, 34, 35, 36 
 Bridge vagaries, 37, 38 
 Briggs, John William, 83 
 Briscoe, D., 85 
 Brookfield, Edward, 85 
 Brown, Alexander, 86 
 
 , Anthony, 86 
 
 , James, 86 
 
 , James, jun., 86 
 
 Browne, John, 86 
 
 Buckman, George Hatton, 86 
 
 Cahusac, 88 
 Calow, William, 88 
 Cannon, James, 89 
 Carr, John, 89 
 Carroll, James, & Son, 89 
 Carter, John, 90 
 Cartwright, W. J., 90 
 Cary, Alphonse, 90 
 
244 
 
 INDEX 
 
 Challoner, Thomas, 90 
 Channon, Frederick William, 90 
 Christie, James, 92 
 
 , John, 93 
 
 Clark, Dr. Inglis, 30 
 Clark, James, 93 
 Classical material, the, 10 
 Classical model, the, 3 
 Classical school, the, 3 
 Classical tone, the, 17, 18 
 Classical varnish, the, 1 1 
 Cole, James, 93 
 
 , Thomas, 93 
 
 Collier, Samuel, 93 
 
 , Thomas, 94 
 
 Collingvvood, Joseph, 94 
 Collins, WiUiam Henry, 94 
 Colville, David, 95 
 Colvin, Gavin, 96 
 Conservatism, musical, 6 
 Conway, William, 96 
 Cooper, Hugh William, 96 
 Corbett, William, 8 
 Corsby, George, 98 
 Craig, John, 98 
 Cramond, Charles, 98 
 Craske, George, 99 
 Cross, Nathaniel, 100 
 Crowther, John, loi 
 Gumming, Andrew, loi 
 Cuthbert, 9, loi 
 
 Dalgarno, Thomas, 102 
 Davidson, Hay, 102 
 
 , Peter, 102 
 
 , William, 102 
 
 Davis, Richard, 102 
 
 , William, 103 
 
 Day, John, 103 
 Dearlove, Mark, 103 
 
 & Fryer, 103 
 
 Delany, John, 103 
 Dennis, Jesse, 104 
 Detail, importance of, 28 
 
 Devereux, John, 104 
 Devoney, Frank, 104 
 Dewars, William, 104 
 Dickenson, Edward, 105 
 Dickeson, John, 105 
 Dickie, Matthew^ 105 
 Dickson, Dr. George, 29, 30 
 Dickson, John, 105 
 Ditton, 106 
 Dodd, Edward, 106 
 Dodd, the varnish of, 12 
 
 Edward and Thomas, 109 
 
 John, 106 
 
 Thomas, 107 
 
 Dorant, William, 109 
 Duff, William, 109 
 Duke, Richard, 3, 11, 12, 14, 16, 
 18, 109 
 
 , Richard, jun., 109 
 
 Duncan, 112 
 
 George, 112 
 
 Dykes, George, 113 
 
 Early makers who copied Italian 
 
 instruments, 9 
 Eglington, 113 
 Evans, Richard, 113 
 Ewan, David, 114 
 
 Fanaticism, Puritan, 7 
 Fenwick, 115 
 Ferguson, David, 115 
 
 , William, 1 1 5 
 
 Ferrier, William, 1 1 5 
 Findlay, James, 1 1 5 
 Fingland, S., 116 
 Firth, G., 116 
 Fleming, J., 116 
 Ford, Jacob, 116 
 Forster, John, 116 
 
 ," Old " William, 117 
 
 , Simon Andrew, 117 
 
 , William, 117 
 
 , William, 122 
 
 , " Young " William, 121 
 
INDEX 
 
 245 
 
 Frankland, 122 
 Fryer, Charles, 122 
 Furber, David, 122 
 
 , Henry John, 122 
 
 , James, 123 
 
 , John, 123 
 
 , Matthew, 124 
 
 , Matthew, jun., 124 
 
 Garden, James, 124 
 Geminiani, Francesco, 9 
 Giardini, 10 
 Gibbs, James, 124 
 Gilbert, J. J., 21, 32 
 Gilchrist, James, 12S 
 Gilkes, Samuel, 129 
 
 , William, 130 
 
 Ginton, R., 130 
 Girvan, Thomas, 130 
 Glenday, James, 130 
 Glenister, William, 130 
 Gloag, John, 133 
 Goodman, James, 133 
 Gorrie, J., 133 
 Gough, John, 134 
 
 , Walter, 134 
 
 Goulding, 134 
 Gray, John, 134 
 Gregson, Robert, 134 
 
 Hall, William, 135 
 Hambleton, Joseph, 135 
 Hamilton, William, 135 
 
 , W. R. T., 136 
 
 Handley, Henry, 136 
 
 Harbour, 136 
 
 Hardie, Alexander, 136 
 
 , Alexander, jun., 137 
 
 , James, 21, 23 
 
 , James (and Son), 137 
 
 , Matthew, 9 
 
 , Peter, 144 
 
 , Thomas, 144 
 
 Hare, John, 144 
 
 Hare, Joseph, 144 
 
 Harkham, 145 
 
 Harmonic proportion, theoryof, 50 
 
 Harris, Charles, 145 
 
 , Charles, jun., 146 
 
 Hart, George, 4 
 
 , George, & Son, 146 
 
 , John Thomas, 146 
 
 Harvie, Robert, 150 
 Haweis, Rev. H. R., 18 
 Hawkes, 150 
 Haynes & Co., 150 
 
 , Jacob, 150 
 
 Heaps, Alfred Walter, 150 
 
 , John Knowles, 152 
 
 Heaton, William, 152 
 Heesom, Edward, 157 
 Henderson, David, 157 
 Hesketh, T. E., 21, 157 
 Higson, Daniel, 160 
 Hill, Henry Lockey, 160 
 
 , Joseph, 161 
 
 , William, 162 
 
 , William Ebsworth, 162 
 
 & Sons, 162 
 
 Hircut, 162 
 HoUoway, John, 162 
 Honeyman, W. C, 11, 25 
 Hopkins, 162 
 
 Hosborn, Thomas Alfred, 162 
 Hudson, George, 162 
 Hume, Charles David, 163 
 Hume, Richard, 163 
 
 Ireson, Frank, 163 
 Italian instruments, English col- 
 lections of, 8 
 
 Jamieson, Thomas, 163 
 Janson, Edward Popplewell, 163 
 Jay, Henry, 163 
 Jay, Henry, 164 
 Jay, Thomas, 164 
 Johnson, John, 164 
 
246 
 
 INDEX 
 
 Jones, , 164 
 
 Jones, John, 164 
 
 Kelman, James, 165 
 Kendal, George, 165 
 Kennedy, Alexander, 165 
 Kennedy, John, 165 
 Kennedy, Thomas, 165 
 
 Laugher, William, 165 
 Lewis, Edward, 166 
 Light, Edward, 166 
 
 Lindsay, , 166 
 
 Lindsay, David, 166 
 Lindsay, Michael H., 167 
 Lister, John, 167 
 Logan, John, 167 
 Lomax, Jacob, 168 
 Longman & Broderip, 168 
 
 Mace, Musick's monument, 3, 6 
 M'George, George, 168 
 Maghie, John Fisher, 168 
 M'Gill, James Campbell, 169 
 M'Intosh, James, 169 
 Macintosh, John, 169 
 M'Intosh, William, 170 
 M'Kenzie, Malcolm, 170 
 M'Lay, William, 171 
 M'Neill, John, 171 
 M'Neill, William, 171 
 M'Nicoll, Alexander, 171 
 McSwan, John, 171 
 Mallas, Alexander, 171 
 Mann, John Alexander, 171 
 Marnie, John, 172 
 Marshall, John (London), 172 
 Martin, 172 
 Matteis, Nicola, 6 
 Mayson, Walter H., 22, 32, 172 
 Meares, Richard, 8, 177 
 Meares, Richard, jun., 177 
 Meek, William, 177 
 Meikle, Robert, 177 
 
 Mentiply, Andrew Adam, 177 
 Menzies, John, 178 
 Merlin, Joseph, 178 
 Mier, 178 
 Miller, 178 
 
 Miller, Alexander, 178 
 Miller, John, 178 
 Milne, Patrick G., 179 
 Miner, D. Brown, 179 
 Mitchell, George, 179 
 Mitchell, John, 179 
 Modern tone, the, 32 
 Modern varnish, the, 28 
 Moffatt, W. G., 179 
 Monk, John King, 179 
 Monzi, the banker, 10 
 Moore, Anthony John, 180 
 Morgan, James, 181 
 Morrison, Archibald, 182 
 Morrison, James, 183 
 Morrison, John, 183 
 Murdoch, Alexander, 183 
 Murray, Daniel, 183 
 Murray, David, 183 
 Murray, James, 184 
 Murray, John Brown, 184 
 
 Naylor, Isaac, 184 
 
 Newton, Isaac, 184 
 
 Nicol, Thomas, 184 
 
 Nisbet, William, 184 
 i Noble, Hugh, 186 
 j Norborn, John, 186 
 : Norman, Barak, 9, 186 
 j Norris, John, 186 
 
 i 
 
 Omond, James, 187 
 
 Outline, arching, and thickness 
 theory, 49 
 i Owen, John William, 21, 32, 189 
 i 
 
 I Pamphilon, Edward, 193 
 i Parker, Daniel, 3, 15, 16, 19, 193 
 I Paterson, James, 195 
 
INDEX 
 
 247 
 
 Patrick, William, 195 
 Payne, R., 195 
 Pearce, George, 195 
 Pearce, James & Thomas, 195 
 Pearce, William, 195 
 Pemberton, Edward, 196 
 Perry & Wilkinson, 196 
 Pickard, Handel, 196 
 Pine, 196 
 
 Plane, Walter, 196 
 Plate tension theory, 46 
 Powell, Royal & Thomas, 196 
 Preston, 196 
 Preston, John, 196 
 Priestley, A. W., 197 
 Priestnall, John, 197 
 Pugnani, Gaetano, 10 
 
 Quality of wood theory, 46 
 
 Rae, John, 199 
 
 Raeburn, Alexander, 202 
 
 Raeburn, George, 202 
 
 Raeburn, John, 202 
 
 Ramsay, William, 203 
 
 Rawlins, 203 
 
 Reed, B., 203 
 
 Relative density of wood theory, 44 
 
 Relative pitch of plates theory, 42 
 
 Revival of violin-making, 21 
 
 Richards, Edwin, 203 
 
 Riechers on age of wood, 24 
 
 Riley, Henry, 203 
 
 Ritchie, Archibald, 203 
 
 Rook, Joseph, 203 
 
 Ross, Donald, 203 
 
 Ross, John, 204 
 
 Ruddiman, Joseph, 204 
 
 Salabue Strad, the, 15 
 Saunders, S., 204 
 Shaw, John, 205 
 Shaw, J., 205 
 Shaw, Thomas, 205 
 
 Shepherd, H. G., 205 
 Shepley, George, 205 
 Sherdon, Daniel, 205 
 Shrinkage of wood, 25 
 Shrinkage table, 26 
 Shrosbree, Henry James, 205 
 Simpson, James, & Son, 207 
 Simpson, Thomas, 208 
 Sinclair, William, 208 
 SkefTfington,William Kirkland, 208 
 Smillie, Alexander, 208 
 Smith, A. E., 211 
 Smith, Alexander Howland, 2H 
 Smith, Henry, 211 
 Smith, John, 211 
 Smith, John Hey, 213 
 Smith, Nathaniel, 213 
 Smith, Pye, 213 
 I Smith, Thomas, 213 
 Smith, W. F., 213 
 Smith, William, 213 
 Smith, William (Leeds), 213 
 Spicer, John, 213 
 Spicer, William, 213 
 Spiers, Stewart, 213 
 Stanley, Robert A., 213 
 Stirrat, David, 214 
 Stradivari's tone, theories about, 39 
 Streets, James, 214 
 Strong, John, 214 
 Strong, Matthew, 214 
 Sturge, H., 214 
 
 Tarr, William, 214 
 
 Taylor, B., 218 
 
 Tennant, James, 218 
 
 Thomas, Watkin, 218 
 
 Thompson, Charles & Samuel, 218 
 
 Thorne, W. H., 218 
 
 Thornley, 218 
 
 Tiffin, Miller, 218 
 
 Tilley, Thomas, 218 
 
 Tobin, Richard, 17,218 
 
 Tone, loud, 19 
 
248 
 
 INDEX 
 
 Torring, L., 220 
 Trimnell, Joseph Henry, 220 
 Tubbs, James, & Son, 220 
 Turner, William, 220 
 Tuson, Robert, 220 
 Tweedy, J., 220 
 
 Urquhart, Alexander, 220 
 Urquhart, Donald, 221 
 Urquhart, Thomas, 222 
 
 Varnish, a lost art, why? 13 
 Vaughan, David Robert, 222 
 Veracini, 9 
 Vickers, Richard, 223 
 Virtuosi in England, 9 
 Voyle, Benjamin, 223 
 
 Wade, Joseph, 223 
 Wade, William, 223 
 Walker, H. J., 223 
 Walker, Hector M., 223 
 Walton, William, 223 
 Wamsley, Peter, 9, 225 
 Ward, 225 
 
 Wardlaw, Richard, 225 
 Warrick, A., 225 
 Warwick, Reginald, 226 
 Watson, Frank, 226 
 Watson, Rev. John, 227 
 
 Watt, Alexander Stocks, 227 
 
 Weaver, Samuel, 227 
 
 Whitelaw, James, 12, 29, 31, 
 
 227 
 Whiteside, Henry, 11, 36, 229 
 Whitmarsh, Emmanuel, 232 
 Whittaker, Button &, 232 
 Wigan, David, 232 
 Wightman, George, 232 
 Wilks, Alfred, 232 
 WiUiams, Alfred, 233 
 Williams, Benjamin, 233 
 Williams, O. R., 235 
 Wilson^ James L., 235 
 Wilton, James, 236 
 Wise, Christopher, 9, 236 
 Withers, Edward, 236 
 Withers, Edward, jun., 237 
 Wood, G. F., 239 
 Woodney, H., 239 
 Worden, James, 239 
 Wright, Daniel, 241 
 Wright, Ebenezer, 241 
 
 Yates, Richard, 241 
 Yeats, Henry, 241 
 Yoole, William, 242 
 Young, James, 242 
 Young, John, 242 
 Youngman, M., 242 
 
 Printed by Ballantyne, Hanson &' Co. 
 Edinburgh &' London 
 
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 Herr P.<ulus. 
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 Interference. 
 
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 Beyond the Pale 
 
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 Lady Kilpatrick. 
 
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 Man rom Manchester. I Tales of Terror. 
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 Woman Worth Winning. 
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 Running Amok. 
 
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 Of High Degree, Queen of the Meadow. 
 
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 The Fate of Herbert Wayne. 
 
 By ALFRED A. GRACE 
 
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 Susy. I Sally Dows. 
 
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 Tales of Trail and Town. 
 
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 Devil's Ford. 
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 Gabriel Conroy. 
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 Love— or a Name, 
 
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 Madame Sans-Gi'Ue. 
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 Sowing the Wind 
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 Dulcie Everton. 
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 "1/ JUSTIN MCCARTHY. 
 
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 Heather and Snow. 
 
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 Coals of Fire. 
 
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 By the Gate of the Sea. 
 
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 Cynic Fortune. 
 
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 Mount Desoair. 
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 His Own Ghost. 
 Church of Humanity. 
 Despair's Last Journey. 
 
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 Saint Ann's. | Billv Bellew. 
 
 Miss Wentworth's Idea. 
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 Folle-Farine 
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 Tv.o Offenders. 
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 A Rainy Jt 
 
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 Gentle and Simple. 
 
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 Mystery of Mirbridge. 
 
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 Christina Chard. | Nulma. | Madame Izan. 
 
 ' As a Watch in the Night.' 
 
 By E. C. PRICB.-Valentina. 
 
 By RICHARD PRYCE. 
 
 Miss Maxwell's Affections. 
 
 By Mrs. J. H. RIDDELL. 
 Weird Stories. | A Rich Man's Daughter. 
 
Ill ST. MARTIN'S LANE, LONDON, W.C. 
 
 29 
 
 The Piccadilly (3/6) Novels— co«/iHM<ii. 
 By CHARLES READE. 
 
 Peg Wofliiiaton ; and ( GriiVitli (jriuiit. 
 
 Lhriitiejolmstone. i 1-ove LUtle, Love Long 
 
 Hard Cash. | — _ 
 
 Cloister and the Hearth. 
 Never Too Late to Mend, 
 The Course of True 
 
 Love ; and Singleheart 
 
 and Doultleface. 
 
 Autobiography 
 Thief: jack 
 
 The Double Marriage, 
 
 Foul Play. 
 
 Put Yourself in His Place. 
 
 A Terrible Temptation. 
 
 A Simpleton. 
 
 A Woman-Hater. 
 
 The Jilt, & other Stories ; 
 & Good Stories of Man. 
 
 A Perilous Secret, 
 a Martyr; and The Readiana ; and Bible 
 V.'anriermg Heir. ! Characters. 
 
 By FRANK RICHARDSON. 
 an Who Lost H.s Past. 1 The Baysw.-iter Mystery. 
 
 By F. W. ROBINSON. 
 
 The H.inds of Justice. | Woman in the Dark. 
 
 By ALBERT ROSS.-A Sugar Princess. 
 
 By J. RUNCIMAW.-Skippers and Shellbacks 
 
 By W. CLARK RUSSELL. 
 
 By R. L. STEYENSON.-The Suicide Club. 
 By FRANK STOCKTON. 
 
 The Youn? Master of Hyson Hall. 
 
 By SUNDOWNER.-Tald by the TafTrail. 
 
 By SWEET and KNOX. 
 
 Me 
 
 Mus 
 
 By ANNIE THOMAS.-The Sii 
 
 Web. 
 
 Round the G.illey Hire. 
 In the Middle Watch. 
 On the Fo'k'sle Head. 
 A Vcypge to the Cape. 
 Book for the Hammock 
 Mystery of ' Ocean Star 
 
 Harlowe, 
 An Ocean Tragedy 
 A Tale of Two Tunnels. 
 
 My Shipmati 
 
 Alone on Wide Wide Sea. 
 The Phantom Death. 
 Is He the Man ? 
 Good Ship ' Mohock. 
 The Convict Ship. 
 Heart of Oak. 
 The Tale of the Ten 
 The Last Entry. 
 The Death Ship. 
 By DORA RUSSELL.-Driftof Fate. 
 By HERBERT RU8SELL.-Tr.ie Blue. 
 By BAYLE ST. JOHN.-A Levantine Family. 
 
 By ADELINE SERGEANT. 
 3r.Ei;dicott's Experiment | Under False Pretences. 
 
 By M. P. SHIEL.-The Purple Cloud. 
 By GEORGE R. SIBI3. 
 
 Dagonet Abroad. i In London's Heart. 
 
 OnceuponChristmasTime.l Mary Jane's Memoirs. 
 Without the Limelight [ Mary Jane Married. 
 Kogues and Vagabonds. The Small-part Lady. 
 Biographs o( Babylon. I A Blind Marriage. 
 
 By UPTON ai.NCLAIR.-PrinceHagen. 
 By J. MOYR SMITH.-The Prince of Argolis. 
 
 By T. W. SPEIGHT. 
 The Grey Monk. I As it was Written. 
 
 TheMasternfTrenance. I Her Ladyship. 
 The Web of Fate. I The Strange Experiences 
 
 Secret of Wyvern Towers. | of Mr. Verschoyle. 
 The Doom of Siva. 
 By ALAN ST. AUBYN. 
 
 The Tremlett Diamonds. 
 The Woouig of May. 
 A Tragic Honeymoon. 
 A Proctor's Wooing. 
 Fortune's Gate. 
 
 A Fellow of Ti 
 The Junior Dean. 
 Master of St. Benedic 
 To his Own Master. 
 Gallantay Bower. 
 In Face of the World. 
 Orchard Damerel. 
 
 Mrs. Dunbar's S'ecret. 
 
 By JOHN STAFFORD.-Dorisandl. 
 
 By R. STEPHEHS.-The Cruciform Mark. 
 
 R. NEILSON STEPHENS.-Philip Winwood. 
 
 By R. A. STERNDALE.— The Afghan Knife 
 
 Life on the Mississippi. 
 Huckleberry Finn. 
 A Yankee at Court. 
 Stolen White Elephant. 
 ;£ i.ooo.ooo Bank-note. 
 A Double-barrelled Detec- 
 tive Story. 
 
 By FRANCES E. TROLLOPS. 
 
 Like Ships Upon Sea. | Anne Furne>s. 
 Mabel's Progress. 
 By ANTHONY TROLLOPE. 
 The Way we Live Now. I Marion Fay. 
 Frau Frohmann. Scarborough's Family 
 
 The Land- Leaguers. 
 By MARK TWAIN. 
 Choice Works. Pudri'nhead Wilson. 
 
 Library of Humour. , The Gilded Age. 
 
 Tlie Innocents Abroad. ■ Prince and the Pauper. 
 
 Roughing It; and The ' ' .^- >.:-.-. 
 
 Innocents at Home. 
 A Trajnp Abroad. 
 The American Claimant. 
 Adventures Tom Sawyer. 
 Tom Sawyer Abroad. 
 Tom Sawyer. Detective. 
 
 C. C. PRASER-TYTLER.-Mistress JuJith. 
 By SARAH TYTLER. 
 What She Came Through. Mrs. Carmichael's Go 
 Buried Diamonds. I desses. 
 
 The Blackball Ghosts. | Rachel Langton. 
 The Maidonald Lass. i A Honeymoon's Eclipse 
 
 Witch Wife. I Sapphira. ' A Young Dragon. 
 ALLEN UPWARD.— The Queen against Owen. 
 By ALBERT 0. VANDAM.-A Court Trai-edy 
 
 By E. A. YIZETELLY. 
 The Scorpion. ] Mie Lover's Progre>s. 
 
 By LEW. WALLACE. -BenHur. 
 By FLORENCE WARDEN. 
 Joan, the Curate. | A Fight to a Finish. 
 
 By CY WARMAN.-^-xpress Messenger. 
 By A. WERHER.-Chapenga's White Maa 
 By V/ILLIAM W^ESTALL. 
 For Honour and Li'e i Red Ryvington. 
 
 A Woman 'Teirpted Him. Ralph Norbreck's Trust 
 
 Trust-money. 
 
 Sons of Belial. 
 
 Roy of Roy's Court. 
 
 With the Red Eagle. 
 
 A Red Bridal. 
 ! Strange Crmies. 
 I Her Ladyship's Secret. 
 
 Her Two Millions. 
 
 Two Pinches of Snuff. 
 
 Nigel Fortescue. 
 
 Birch Dene. | Ben Clouyh 
 
 The Phantom City. 
 
 A Queer Race. 
 
 The Old Factory. 
 
 As Luck \ 
 By ATHA WESfBORY. 
 Tile .Shaduw of Hilton Fernbrook. 
 By FRED WHISHAW. 
 A Forbidden Name | Many Ways of Lovf 
 
 By C. J. WILLS.-An Easy-going Fello 
 By JOHN STRANGE WINTER. 
 Cavalry Lile : and Regimental Legends. 
 By LOUIS ZANGWILL. 
 A Nineteenth Century Miracle. 
 By EMILE ZOLA. 
 The Honour of tne Array. | His Masterpi 
 Germinal. I The Dream. 
 
 Abbe Mouret's Trans- 
 gression. I Money. 
 The Con ,uest of Plassans. 
 Dram-Shop. I Downfall. 
 
 The Fat and the Thin. 
 Dr. Pascal. | Joy of Lile 
 Fortune of the Kougons. 
 Lourdes. [ Fruit!'ulness. 
 R. mi 
 Paris 
 
 I Fruitful! 
 
 CHBAP EDITIONS OF POPULAR NOYBLS. 
 
 Post 8v.), illustrated boards, 2s. each 
 
 By Mrs. ALEXANDER. 
 
 Blind FhIc. I A Life Interest, 
 
 Valerie's Fate. I Mono's Choice. 
 
 By Woman's Wit. 
 2y E. LESTER ARNOLD. 
 Phra the Phccnician 
 
 ARTEMUS WARDS WORKS, Complete. 
 
 Philis 
 
 Strange Stories. 
 For Matmie's Sake. 
 In all Shades. 
 The B.cVoning Hand. 
 The Devil's Die. 
 The Tents of Shem. 
 The Great Taboo. 
 
 By GRANT ALLEN. 
 
 Babylon. ^ Duniaresq'sDaughtei 
 
 Duchess of Powsyland. 
 Blood Royal. 
 IvanGreet's Masterpiece. 
 The Scallywag. 
 This Mortal CoiL 
 At .Market Value. 
 Under Sealed Orders. 
 
30 
 
 CHATTO & WINDUS, PUBLISHERS, 
 
 Two-Shilling Novels— continued. 
 
 By Rev. S. BARING-COUI.D. 
 
 Red Spider. | Eve. 
 
 By FRANK BARRETT. 
 
 A Prodigal's Progress. 
 
 Found Gbilty. 
 
 A Recoiling Vengeance 
 
 For Love and Honour. 
 
 John Ford. &c. 
 
 Woman of Iron Bracelets. 
 
 The Harding Scandal. 
 
 Fettered for Life, 
 Little Lady Linton. 
 Between Life and Death. 
 Sin of Olga Zassoulich. 
 Folly Morrison. 
 Lieut. Barnabas. 
 Honest Davie. 
 
 A Missing Wit 
 By Sir W. BBSANT and J. RICE. 
 Ready-Money Mortiboy. i By Celia's Arbour. 
 J?,y J-;',"'^ ^'"h ^ Chaplain of the Fleet. 
 
 With Harp and Crown. The Seamy Side. 
 
 This Son of Vulcan. The Case of Mr. Lucraft 
 
 The Golden Butterfly. In Trafalgar's Bay. 
 
 The Monks of Thelema. | The Ten Years' Tenant. 
 By Sir WALTER BESANT 
 
 By M. J. COLQUHO UN .-Every Inch a Soldier. 
 By C. EGBERT CRADDOCK. 
 
 The Prophet of the Great Smoky Mountains. 
 
 By H. N. CRELLIN.-Tales of the Caliph. 
 
 MATT CRIM.-The Adventures of a Fair Rebe. 
 
 iy B. m. CROKER. 
 
 vilie. 
 
 All Sorts and Cond 
 The Captains' Room. 
 All in a Garden Fair. 
 Dorothy Forster. 
 Uncle Jack. [Then. 
 
 The World Went Very Well 
 Children of Gibeon. 
 Herr Paulus. 
 For Faith and Freedom. 
 To Call Her Mine. 
 The Master Craftsman. 
 AMBROSE BIERCE 
 
 The Bell of St. Paul's. 
 The Holy Rose. 
 Armorel of Lyonesse. 
 St. Katherine'sby Tower. 
 Verbena Camellia Stepha- 
 The Ivory Gate. [notis. 
 The Rebel Queen. 
 Beyond Dreams Avarice. 
 The Revolt of Man. 
 In Deacon's Orders. 
 The City of Reluge. 
 .—In the Midst of Life. 
 
 Pretty Miss Ne 
 Diana Barringt^ 
 A Bird of Passage. 
 Proper Pride. | ' To Let, 
 A Family Likeness. 
 A Third Person. 
 
 Village Tales and Jungle 
 Tragedies. | Mr.Jervis. 
 Two Masters. 
 The Real Lady Hilda. 
 Married or Single? 
 Interference. 
 
 By JAMES DE MILLE 
 
 A Strange Manuscript 
 By DICK DONOVAN. 
 
 Michael Danevitch. 
 In the Grip of the Law. 
 From Information Re- 
 ceived. 
 Tracked to Doom 
 Link by Link. 
 Suspicion Aroused. 
 Riddles Read. 
 
 By FREDERICK BOYLE. 
 
 Camp Notes. I Chronicles of No-man'' 
 
 Savage Life. | Land. 
 
 . By BRET HARTE. 
 
 Californian Stories. j Flip. I Maruja 
 
 Gabriel Conroy. A Phyllis of the Sierras 
 
 Luck of Roaring Camp. A Waif of the Plains 
 An Heiress of Red Dog. | Ward of Golden Gate 
 By ROBERT BUCHANAN. 
 
 The Martyrdom of Ma- 
 deline. 
 
 The New Abelard. 
 
 TheHeirofLinne. 
 
 Woman and the Man. 
 
 Rachel Dene. | Matt. 
 
 Lady Kilpatrick. 
 
 Shadow of the Sword. 
 A Child of Nature. 
 God and the Man. 
 Love Me for Ever. 
 Foxglove Manor. 
 The Master of the Mine. 
 Annan Water. 
 
 BUCHANAN and MURRAY.-The Charlatan 
 By HALIi CAINE. 
 
 A Son of Hagar. | The Deemster 
 
 The Shadow of a Crime. 
 
 By Commander CAMERON. 
 
 The Cruise of the ' Black Prince.' 
 
 By HAYDEN CARRUTH. 
 
 The Adventures of Jones. 
 
 By AUSTIN CLARE.— For the Love of a Lass. 
 
 By Mrs. ARCHER CLIYB. 
 Paul FerroU. | Why Paul Ferroll Killed his Wife 
 
 By MACLAREN COBBAN. 
 The Cure ot Souls. | The Red Sultan. 
 
 By C. ALLSTON COLLINS.- The Bar Siniste 
 
 By MORT. and FRANCES COLLINS. 
 Sweet Anne Page. I Sweet and Twenty 
 
 Transmigration. The Village Comedy 
 
 From Midnight to Mid- You Play .Me False 
 i^c^^'; -...ir- Blacksmith and Scholar, 
 
 A Fight with Fortune. I Frances. 
 
 By WILKIE COLLINS. 
 
 Armadale. | After Dark. ■ The Wo 
 
 No Name. | Antonina 
 
 Basil. I Hide and Seek 
 
 The Dead Secret. 
 
 Queen of Hearts. 
 
 Miss or Mrs.? 
 
 The New Magdalen. 
 
 The Frozen Deep. 
 
 The Law and the Lady. 
 
 The Two Destinies. 
 
 The Haunted Hotel. 
 
 A Rogue's Life. 
 
 My Miscellanies. 
 
 The Man-H 
 
 Tracked and Taken. 
 Caught at Last I 
 '"ho Poisoned Hetty 
 Duncan? | Wanted! 
 an from Manchester. 
 A Detective's Triumphs. 
 Mystery Jamaica Terrace. 
 , ^ By Mrs. ANNIE EDWARDES. 
 A Point of Honmir. | Archie Lovell. 
 
 By EDWARD EGGLESTON.-Roxy. 
 By G. MANVILLE FENN. 
 I The Tiger Lily. 
 I The White Virgin. 
 By PERCY FITZGERALD. 
 Bella Donna. | Fatal Zero. | Seventy - five Brooke 
 Never Forgotten. | Polly. Street. 
 Second Mrs. Tillotson. | The Lady of Brantome. 
 By PERCY FITZGERALD and others. 
 Strange Secrets. 
 By R. E. FRANCILLON. 
 Olynipia. , King or Knave? 
 
 One by One. Romances of the Law. 
 
 A Real Queen. Ropes of Sand. 
 
 Queen Cophetua. | A Dog and his Shadow. 
 
 ^ . By HAROLD FREDERIC. 
 
 Seth s Brother's Wife. | The Lawton Girl. 
 
 ARI 
 adurang Ha 
 By CHARLES GIBBON. 
 
 Robin Gray. 
 
 Fancy Free. 
 
 For Lack of Gold. 
 
 What wiU the World Say ? 
 
 In Love and War. 
 
 For the King. 
 
 In Pastures Green. 
 
 Queen of the Meadow. 
 
 A Heart's Problem. 
 
 The Dead Heart. 
 
 In Honour Bound. 
 Flower of the Forest. 
 The Braes of Yarrow. 
 The Golden Shaft. 
 Of High Degree. 
 By Mead and Stream. 
 Loving a Dream. 
 A Hard Knot. 
 Heart's Delight. 
 Blood-Money. 
 
 -- White. 
 The Moonstone. 
 Man and Wife 
 Poor Miss Finch. 
 The Fallen Leaves. 
 Jezebels Daughter. 
 The Black Robe. 
 Heart and Science. 
 ■ I bay No I ' 
 The Evil Genius. 
 
 By WILLIAM GILBERT.-James Duke. 
 By ERNEST GLANYILLE. 
 
 The Lost Heiress. | The Fossicker. 
 
 A Fair Colonist. 
 ANDREW HALLIDAY.-Every day Papers. 
 
 By THOMAS HARDY. 
 Under the Greenwood Tree. 
 
 By JULIAN HAWTHORNE. 
 EUice Quentin. | Garth. I Love— or a Name 
 Fortune's Fool. David Poindexter s Dis- 
 
 Miss Cadogna. | Dust. appearance. [Camera 
 
 Beatrix Randolph. | The Spectre of the 
 
 By Sir ARTHUR HBLPS.-Ivan de Biron. 
 
 By G. A. HENTY.—Rujub the Juggler. 
 
 By HE A DON HILL.-Zambra the Detective. 
 
 By JOHN HILL.— Treason-Felony. 
 
 By Mrs. HUNGERFORD. 
 
 Lady Vemer's Flight. 
 
 A Maiden all Forloi 
 
 Vile. 
 
 I Peter's Wife. 
 A Mental Struggle. 
 A Modern Circe. 
 April's Lady. 
 
 The Red-House Mystery. 
 The Three Graces. 
 UnsatUifactory Lover. 
 Lady Patty. J Nora Crelna 
 Professor's Experiment. 
 
Ill ST. MARTIN'S LANE, LONDON, W.C. 
 
 31 
 
 Two-Shilling HovEis—a^niinutd. 
 
 By Mrs. CASHEL HOEY.-The Lovers Creed 
 
 Mrs. GEORGE HOOPER.— The House of Raby 
 
 Self-Condemned. 
 By HARK KERSHAW. 
 Colonial Facts and Fictions. 
 
 By R. ASHE KING. 
 A Drawn Game. [Green.' I Passions Slave. 
 • The Wearinjr of the | Bell Barry. 
 
 By EDMOND LEPELLETIER. 
 Madame Sans-Gi-ne. 
 
 By JOHN LEYS.-The Lindsays. 
 By E. LYNN LINTON. 
 
 Patricia Kemhall. 
 The World WeU Lost. 
 Under which Lord? 
 Paston Carew. 
 ■ My Love ! ' | lone. 
 With a Silken Thread. 
 
 By HENRY W. LUCY.-Gideon Fleyce. 
 By JUSTIN MCCARTHY. 
 Dear Lady Disdain. 1 Donna Ouixute. 
 
 erdale Neighbours. 
 
 Atonement of Learn 
 Dundas. 
 Rebel of the Family. 
 Sowinjj the Wind. 
 The One Too Many. 
 Dulcie Everton. 
 
 Mi: 
 
 Misanthrope. 
 
 Maid of Athens. 
 
 The Comet of a Season. 
 
 The Dictator. 
 
 Red Diamonds. 
 
 The Riddle Ring. 
 
 By HUGH MACCOLI,. 
 
 Mr. Stranger's Sealed Packet. 
 
 GEORGE MACDON ALD.-Heather and Snow. 
 
 By AGNES MACDONELL.-Quaker Cousins. 
 
 By W. H. MALLOCK.-The New RepubUc. 
 
 By BRANDER MATTHEWS. 
 
 A Secret of the Sea. 
 
 By Ii. T, MEADE.— A Soldier of Fortune. 
 
 By LEONARD MERRICK. 
 
 The Man who was Good. 
 
 By Mrs. MOLESWORTH. 
 Hathercourt Rectorj-. 
 
 By J. E. MUDDOCK. 
 
 Dead Man's Secret. | From Bosom of the Deep. 
 
 Stories Weird and Wonderful. 
 
 By D. CHRISTIE MURRAY. 
 
 A Bit of Human Nature. 
 First Person Singular. 
 Bob Martin's Little GirL 
 Time s Revenges. 
 A Wasted Crime, 
 In Direst Peril. 
 Mount Despair. 
 A Capful o' Nails. 
 
 Joseph's Coat. 
 
 Coals of Fire. 
 
 Val Strani;e. | Hearts. 
 
 Old Blazer's Hero. 
 
 The Way of the World. 
 
 Cynic Fortune. 
 
 A Life's Atonement. 
 
 By the Gate of the Sea, 
 
 By MURRAY and HERMAN. 
 
 One Traveller Returns. | The Bishops' Bible. 
 
 Paul Jones's Alias. 
 
 By HUME NISBET. 
 
 'BaUUp!' I Dr. Bernard St. Vincent. 
 
 By W. E. NORRIS. 
 Saint Ann's. | Billy BeUew. 
 
 By GEORGES OHNET. 
 
 Dr. Rameau. | A Weird Gift. 
 
 A Last Love. 
 By Mrs. OLIPHANT. 
 ■Whiteladies. I The Greatest Heiress i 
 
 The Primrose Path. | England. 
 
 Held in Bondage. 
 Strathmore. t Chandos. 
 Idalia. I Tricotrin. 
 
 Under Two Flags. 
 Cecil Casdemaine's Gage. 
 Puck. I PascarcL 
 
 FoUe-Farine. 
 A Dog of Flanders. 
 Si|:na. I Ariadne. 
 
 Princess Napraxine. 
 In a Winter City. 
 Friendship. 
 
 Two Little Wooden Shoes 
 Moths. I Bimbi. 
 
 Pipistrello 
 
 A Village Commune. 
 Wanda. Otl 
 
 Frescoes. | Gui 
 In Maremma. 
 Ruffino. I Syrlin. 
 Santa Barbara. 
 Two Offenders. 
 Ouida's Wisdom, Wit, 
 and Pathos 
 
 jilderoy. 
 
 Bentinck's Tutor 
 
 Murphy's Master. 
 
 A County Family. 
 
 At Her Mercy. 1 Kit. 
 
 Cecils Tryst. | Halves, 
 
 TheClyffardsofClyfTe. 
 
 The Foster Brothers. 
 
 Found Dead. 
 
 The Best of Husbands. 
 
 Walter's Word. 
 
 Fallen Fortunes. 
 
 Humorous Stones. 
 
 ;^2oo Reward. 
 
 A Marine Residence. 
 
 Mirk Abbey. | High Spirits 
 
 Under One Roof. 
 
 Carlyon's "Vear. 
 
 For Cash Only. 
 
 The Canon's Ward. 
 
 The Talk of the Town. 
 
 Holiday Tasks. 
 
 By JAMES PAYN. 
 
 A Perfect Treasure. 
 What He Cost Her. 
 A Confidenti;J Agent. 
 Glow-worm Tales. 
 The Burnt Million. 
 Sunny Stories. 
 Lost Sir Massingberd. 
 A Woman's Vengeance. 
 The Family Scapegrace. 
 Gwendoline's Harvest. 
 Like Father, Like Son. 
 Married Beneath Him. 
 Not Wooed, but Won. 
 Less Black than We're 
 
 Painted. | By Proxy. 
 Some Private Views. 
 A Grape from a Thorn. 
 The Mystery of Mir. 
 
 bridge. | From Exile. 
 The Word and the Will. 
 A Prince of the Blood. 
 
 By Mrs. CAMPBELL PRAED. 
 
 The Romance of a Station I Christina Chard. 
 Outlaw and Lawmaker. | Mrs. Tregaskiss 
 The Soul of Countess Adrian. 
 
 By CHARLES READE. 
 
 is Never Too Late 
 Mend. | The JUt. 
 Christie Johnstone. 
 
 Love Little, Love I-ong. 
 Cloister and the Hearth. 
 Course of True Love. 
 
 Foul Play. [ Hard Cash. 
 
 The Wandering Heir. 
 
 Singleheart, Doubleface. 
 
 Good Stories of Man, &c. 
 
 Peg Woffington. 
 
 Griffith Gaunt. 
 
 A Perilous Secret. 
 
 A Simpleton. 
 
 Readiana. 
 
 A Woman-Hater. 
 
 By Mrs. J H. RIDDELL. 
 
 The Uninhabited House. 
 The Mystery in Palace 
 
 Idle Tales.' 
 
 Weird Stories 
 Fairy Water. 
 Her Mother's Darling. 
 The Prince of Wales s 
 Garden Party. 
 
 By F. W. ROBINSON. 
 
 Women are Strange. | The Woman in the Dark. 
 
 The Hands of Justice. 
 
 On the Fo'k'sle Head 
 n the Middle Watch 
 A Voyage to the Cape. 
 Book for the Hammock. 
 The Mystery of the 
 Ocean Star.' 
 
 Good Ship 'Mohock,' 
 The Phantom Death. 
 Is He the Man! 
 Heart of Oak. 
 The Convict Ship. 
 The Tale of the Ten. 
 The Last Entry. 
 
 By GEORGE R. SIMS, 
 
 Ring o' Bells. 
 Mary lane's Memoirs. 
 Mary Jane Married. 
 Tales of To-day. 
 Dramas of Liie. 
 kletop's Crime. 
 
 Zeph. I My Two Wives. 
 Memoirs of a Landlady. 
 Scenes from the Show 
 Ten Commandments. 
 D.igonet Abroad. 
 Rogues and Vagabonds. 
 
 ARTHUR SKETCHLE Y.-A Match in the Dark. 
 By R. A. STERNDALE.-The Afghan Knife. 
 
 By T. W. 
 
 The Mysteries of Heron 
 
 Dyke. 
 The Golden Hoop. 
 Hoodwinked. 
 By Devious Ways. 
 
 SPEIGHT. 
 
 1 Back to Life. 
 
 The Loudwater Tragedy 
 
 Burgo's Romance. 
 
 Quittance in FuU 
 I A Husband from the Sea. 
 
32 
 
 CHATTO & WINDUS, PUBLISHERS. 
 
 Two-Shilling Novevs— continued. 
 
 By AliAN ST. AUBYN. 
 
 A FeUow of Trinity. 1 Orcliard Damerel. 
 
 The Junior Dean. In the Face of the World. 
 
 Master of St. Benedict's. | The Tremlett Diamonds. 
 
 To His Own Master. 
 
 By R. liOUIS STEVENSON. 
 
 Ne 
 
 Arabi! 
 
 By ROBERT SURTEES.-Handley Cross. 
 By WALTER THORNBURY. 
 
 Tales for the Marines. 
 
 By T. ADOLPHUS TROLLOPE. 
 
 Diamond Cut Diamond. 
 
 By ANTHONY TROLLOPS. 
 
 Frau Frohmann. I The Land-Leaguers. 
 
 Marion Fay. The American Senator. 
 
 Kept in the Dark. Scarborough's Family. 
 
 The Way We Live Now. | Golden Lion of Granpere. 
 
 By F. ELEANOR TROLLOPS. 
 Like Ships upon the Sea. | Anne Furness. 
 Mabel's Progress. 
 
 By MARK TWAIN. 
 
 A Pleasure Trip. I Stolen White Elephant. 
 
 The Gilded Aee. Life on the Mississippi. 
 
 Huckleberry Finn. ;£^i, 000,000 Bank-Note. 
 
 Tom Sawyer. 1 Skett lies. 
 
 By C. C.FRASER-TYTLBR.-Mistress Judith. 
 : TYTLER. 
 The Huguenot Family. 
 Buried Diamonds.' I The Blackball Ghosts. 
 
 St. Mungo's City. What She Came Through. 
 
 Noblesse Oblige. | Beauty and the Beast. 
 
 Disappeared. 
 
 By ALLEN UPWARD.-Queen against Owen. 
 
 By WM. WESTALL.— Trust-Money. 
 
 By Mrs. WILLIAMSON.-A ChUd Widow 
 
 By JOHN STRANGE WINTER. 
 
 Cavalry Life. I Regimental Legends. 
 
 By H. F. WOOD. 
 The Passenger from Scot- I The Englishman of the 
 land Yard. | Rue Cain. 
 
 By MARO. WYNMAN.-My Flirtations. 
 
 THE NEW SERIES OF TWO-SHILLING NOVELS. 
 
 Bound in picture cloth, flat backs. 
 By EDY/IN LESTER ARNOLD. 
 
 The Constable of St. Nicholas. 
 By Sir WALTER BESANT. 
 St. Katherine s by Tower. | The Rebel Queen. 
 By H. BINDLOSS.-Ainslie's Ju-ju. 
 By McD. BODKIN. K.C. 
 Dora Myrl, the Lady Detective. 
 By DICK DONOVAN. 
 Man from Manches-ter. I The Man-Hunter. 
 Wanted ! The Mystery of Jamaica 
 
 Dark Deeds. Terrace. 
 
 Tales of Terror. | Vincent Trill, Detective. 
 
 By G. M. FENN.— .'V. Crimson Crime. 
 By PAUL GAULOT.— The Red Shirts. 
 By Major ARTHUR GRIFFITHS. 
 
 No. 99 : and Blue Blood. 
 
 By OWEN HALL.— Track of a Storm. 
 
 By BRET HARTE. 
 
 Luck Roaring Camp, &c. I Col. Starbottle s Client. 
 
 In a Hollow 01 the HiU^. Protegee of Jack Hamlm's 
 
 Sappho 01 Green Springs. | Sally Dows. 
 
 By HEADON HILL.— Zambra. the Detective. 
 By FERGUS HUME.— The Lady from Nowhere 
 
 By EDMUND MITCHELL. 
 
 Plotters ol Paris. I The Temple of Death. 
 
 Towards the Eternal Snows. 
 
 By CHRISTIE MURRAY.-His Own Ghost 
 
 By JA3. PAYN.-Modem Dick Whittington. 
 By DORA RUSSELL. 
 
 A Country Sweetheart. | The Drift of Fate. 
 By GEORGE R. SIMS. 
 
 In London's Heart. 1 Rogues and Vagabonds. 
 
 By SUNDOWNER.-Tale of the Serpent. 
 
 Ey SARAH TYTLER.-Citoyenne Jacquelin 
 
 ALLEN U PWAKD.— Queen against Owen. 
 
 By F. WARDEN. Joan, the Curate. 
 BYRON WEBBER.-Sport and Spangles. 
 
 SIXPENNY COPYRIGHT NOVELS. 
 
 By GRANT ALLBN.-The Tents of Sheni. 
 
 By Fi< ANK BARRETT.-Fettered fur Li.e. 
 
 By ARNOLD BENNETT. 
 
 The Grand Babylon Hotel. 
 By WALTER BESANT. 
 ChUdren of Gibeon. I AUSortsandConditionsol 
 
 For Faith and Freedom. Men. 
 
 Dorothy Forster. I The Orange Girl. 
 
 By BESANT and BICE. 
 The Golden Butterfly. I Ready-Money Mortiboy 
 The Monks of Thelema- The Chaplain of the Fleet 
 
 Ey ROBERT BUCHANAN. 
 The Shaduiv of the Sword. | God and the Man. 
 
 By S. BARING-GOULD. 
 Red Spider, ^y RALl' ^AINE. 
 A Son of Hagar. | The Deemster. 
 
 The Shadow of a Crime 
 By WILKIE COLLINS. 
 Armadale. | No Name. I Man and Wife. 
 Tlie Moonstone. The Dead Secret. 
 
 The Woman in White. The New Magdalen. 
 
 By B. M. CROKER. 
 Diana Barrington, I Pretty Miss NeviUe. 
 
 A Bird of Passaije. | Beyond the Pale. 
 
 By E. LEPELLETIER.— Madame Sans-Gcne. 
 By E. LYNN LINTON.— Patricia Kemball. 
 
 By D. CHRISTIE MURRAY.-Joseph's Coat. 
 
 ByHUMENlSBET.-Bail Up! 
 
 By OUIDA. 
 
 Puck. I Moths I Strathmore. | Tricotri.i. 
 
 Held in Bondage. | Under Two Flags. | Chandos. 
 
 Ihe Massarenes. | Friendship. | Ariadne. 
 
 By CHARLES READE. 
 
 Griffith Gaunt. | Put Yourself in His Place. 
 
 Foul Play. | Hard Cash. The Cl.)ister and the 
 Peg WofEngton ; and Hearth. 
 
 Christie Johnstone. Never Too Late to Mend . 
 
 A Terrible Temptation. | The Double Marriage. 
 By W. CLARK RUSSBLL.-The Convict Ship. 
 By GEORGE R. SIMS.-Mary Jane's Memoirs. 
 
 By V/ILLIAM WESTALL.-The Old Factory. 
 By EMILE ZOLA. 
 
 The Downfall I The Dram-Shop. 
 Lourdes. | Rome. I Paris. 
 
 Unwin Brothers, Ltd., Printers, 27, Pilgrim Street, Ludgate Hill, London, E.C. 
 
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