1659.

ALBANI, —- son of the above, about 1712, was also a careful maker, and turned out some good Instruments.

AMATI FAMILY.

For fuller particulars of these eminent makers, see separate Article.

AMATI, ANDREAS, Cremona, born 1520, died 1580.

AMATI, NICHOLAS, brother of the above, celebrated for his Basses.

AMATI, NICHOLAS, son of Andreas.

AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first made together and afterwards separately.

AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the greatest maker of the family.

AMATI, ANTONIO JEROME, do. 1640 to 1670.

AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of the Amati family. A violin of his is mentioned, dated 1672.

AMELINGUE, —- Paris, 18th Century.

ANSELMO, PIETRO, Venezia, 18th Century.

ARTMANN, GOTHA. Followed Cremona pattern.

ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns.

B.

BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be one of the best makers of Germany. Otto says, the Instruments by this Maker are next in point of quality to the Cremonese. Without going so far, with our present increased knowledge of the pupils of the Cremona makers, it may still be admitted that Bachmann was an excellent maker and was very careful in his proportions, so that Amateurs have been often deceived into thinking them genuine Cremonas. They are of the flat Stradiuarius Model, made of good wood, with amber varnish, and therefore present considerable similarity to their patterns.

BAGANZI, —- see Bergonzi.

BAGATELLA, PIETRO,—Padua, 1766. Said not to be very good.

BAGATELLA, ANTONIO,—Padua, 1782. Author of a Work on the construction of Instruments, from which Bishop in his Translation of Otto, has appended a Theory for making a Violin on a very simple plan. He made some excellent Violins after Cremona patterns.

BAINES, —- London, about 1780.

BAKER, —- Oxford about 1720.

BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, and made after his model. The Author has seen an Instrument by this Artist, which is of the large flat pattern and has a magnificent and brilliant tone. The wood of the back and ribs rather plain—the belly very fine open grain, purfling not very neat—varnish reddish yellow. Pronounced by judges to be equal to a fine Stradiuarius. It is dated Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is a proof that amateurs may in future look with safety to the pupils of Stradiuarius for violins to take the place of those of the great masters, which are yearly becoming scarcer and dearer.

BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas.

BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his excellent work calls him "one of England's best manufacturers. Too much cannot be said in praise of this justly celebrated Maker. The work of all the better class of instruments is excellent, the tone good of all; but that of the Violoncellos in particular is full and sonorous." Mr. Gardiner in his "Music and Friends," says "Banks of Salisbury's Violoncellos are of the finest quality of tone—not so strong and fiery as Foster's, but in sweetness and purity excelling them." They are chiefly of the Amati pattern.—The best Instruments have brownish yellow Varnish with a tinge of red, others deep red of a blackish tinge, Varnish not brilliant.

BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820.

BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is said to have been an excellent workman in his father's style, and dates about 1805.

BARRETT, JOHN, London, about 1725. His labels state him to live at the Harp and Crown, in Picadilly. He made some good instruments, but did not purfle them. The author has seen a Violoncello by this maker which was everything that could be desired in the matter of tone. The wood and workmanship, however, were not equal to the tone, and this circumstance will probably partly account for the settled preference now given to the Italian instruments over all the old English makers.

BARTON, GEORGE, London, died 1810.

BEKMAN, SWENO, Stockholm, 1706.

BELLOSIO, —- one of the Venetian makers, 18th Century.

BENOIST, —- Paris, 18th Century.

BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a maker of merit in the style of Gaspar di Salo and Magini.

BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687.

BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to be the best pupil of Stradiuarius. He made instruments of the same beautiful and brilliant tone which has rendered the productions of his master famous throughout the world. Constructed on similar principles, and generally of well-chosen wood, there is no doubt the productions of this excellent artiste will hereafter rank very high. Like Stradiuarius himself, Carlo Bergonzi is by some considered to have been at one time a pupil of Nicholas Amati. Every amateur would, if it were possible, get a Stradiuarius, an Amati, or a Guarnerius, but as the genuine violins of these makers are very rare and valuable, they should look for the veritable instruments of their pupils, which are now beginning to be highly esteemed on account of their intrinsic excellence.

BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his father.

BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has the credit of being a pupil of Stradiuarius, though that seems rather doubtful, because the latter died in 1737, at which time, if a son of Carlo, he would not have been old enough.

BERNADEL, —- Paris, 18th Century.

BETTS, JOHN, called Old Betts, London,

and

BETTS, EDWARD, his nephew.

These two well known makers were said to be pupils of Duke, but often employed other artistes, such as Carter, Panormo, B. Fendt, and his sons, whose work, chiefly imitations of the Cremona instruments, gained them great reputation both at home and abroad. 1782 to 1823.

BINTERNAGLE, —- Gotha, 18th Century. This maker was a German imitator of the Cremona Violins, and is said to have been very successful.

BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly esteemed in France.

BODIO, —- Venezia, 18th Century.

BOLLES, —- An early English Lute and Viol Maker. Mace, 1675, says "one bass of Bolles, I have known valued at £100," equal to at least £600 of our present money.

BORELLI, ANDREAS, Parma, 1740.

BOULLAINGER, —- London. A careful maker, who first worked for others, and now on his own account.

BREMEISTER, JAN., Amsterdam, 1707.

BROSCHI, CARLO, Parma, 1744.

BRETON, Le, Paris.

BROWN, JAMES, born 1670, died 1834,

and

BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but without any speciality.

BUCHSTADTER, —- Ratisbon, 18th Century. Used the flat model. Otto says the wood is not good, and therefore, though well built, the tone is not fine; but Spohr puts his violins on his list as excellent instruments. He may, therefore, be ranked among the good German makers.

BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar di Salo.