highly esteemed maker of lutes. Mace in his curious and very interesting book, "Music's Monument," mentions him as one of the best authors, i.e. makers. He also says he has "seen two of his lutes ('pittiful, battered, cracked Things,') valued at £100 apiece." Mace's book was published in 1676. Think of £100 for a lute two hundred years ago, when the value of money was at least six times less than it is now! This would make the comparative value of a "battered" old lute about £600, a sum (with the exception of the King Joseph Guarnerius, mentioned elsewhere) exceeding the highest price we have heard of in modern times. Even the most splendid and perfect violins of Stradiuarius have never realised as much as this "pittiful battered lute!" In the face of this fact (as we suppose it is) we cannot be surprised that enthusiastic amateurs should in the present day give such large prices for the splendid productions of the great Cremona Makers.

MARIANI, ANTONIO, Pesaro, 1570 to 1620. An imitator of Gaspar di Salo.

MARATTI, —— Verona, 1690. Made good toned violins, but the workmanship has little character.

MARQUIS DE LAIR, —— A French maker about 1800.

MARSHALL, JOHN, London, 1760.

MARTIN, —— London, 1790.

MAUCOTEL, CHARLES, London. An excellent workman, who has produced some beautiful instruments.

MAUSIELL, LEONARD, Nuremburg, 1725. A capital imitator of Steiner, whose style he followed so closely as to render it (as it is stated) difficult to distinguish the one from the other. This is one of the makers praised by Spohr in his "Violin School," as worthy attention when a good Cremona cannot be got.

MAYRHOF, ANDREA FERDINAND, Salzburg, 1740.

MEDARD, HENRY, Paris and Nancy. A French maker, who is generally considered to have been a pupil of Nicholas Amati, and was esteemed nearly equal to his master; but Fetis includes him in his list of the personal pupils of Antonius Stradiuarius.

MERLIN, JOSEPH, London, about 1780. A very ingenious person, who obtained the honour of being mentioned in Madame D'Arblay's "Diary and Letters." His violins were after the Steiner pattern, and well made, but did not approach the Steiner tone.

MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da gamba, &c.

MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the Amati style, and is reckoned by Fetis as one of that school.

MIER, —— London, 1786.

MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and followed his style,—about 1760.

MILLER, —— London, about 1750.

MOHR, PHILIP, Hamburg, 1650.

MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of Stradiuarius, but more probably an imitator.

MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made instruments generally of a large size, and used wood of a large and beautiful figure. The varnish exceedingly brilliant and of a rich yellow or yellow red colour, and the tone everything that can be desired. Mr. Perkins had a violoncello of this make, which was originally sold as a Joseph Guarnerius, and was said in the catalogue to be uncommonly fine and handsome. This is another of those careful artistes, whose productions are now in high esteem when one of the three great masters cannot be obtained, and which will very probably hereafter rank with them and become very famous.

MORRISON, JOHN, London, 1780 to 1819.

MORELLA, MORGLATO, Mantua, about 1550. Famous for rebecs, viols, and viols da gamba.

N.

NAMY, —— Paris, about 1800.

NAYLOR, ISAAC, Leeds, 1788.

NEWTON, ISAAC, 1780.

NICHOLAS, —— Geneva, 1790.

NIGGEL, SYMPERTUS, Paris, about 1650.

NORMAN, BARAK, London, 1690 to 1740. He generally used a monogram formed of the letters NB. interlaced. This artiste has long been a favourite, and he certainly made some good instruments, which in the present day are depreciated below their real worth, as is the case also with other English makers, whose productions have had to give way before the prevailing preference for Italian instruments. He was partner at one time with Nathaniel Cross, and the instruments then made bear their joint names on the labels.

NORRIS AND BARNES, pupils of Thomas Smith, 1785 to 1818.

NOVELLO, VALENTINO, Venezia, about the middle of 18th Century.

NOVELLO, MARCO ANTONIO, Venezia, same date. Both these makers are in good esteem.

O.

OBUE, BARTOLOMEO, Verona.

ODOARDI, GUISEPPE, early 18th Century.

OTT, JEAN, Nuremberg. Lute maker, 15th Century.

OTTO, JACOB AUGUSTUS, born at Gotha, 1762, died 1830. Author of the celebrated Book on the Construction of the Violin. He made some good instruments which, in his book he says he "proved" by a machine which played them in thirds, fourths, and fifths for a continued period, thus mellowing and perfecting the tone. We do not believe in this doctrine. From all past experience, there can be no doubt that whatever pains or trouble a maker may take to bring his instruments, while new, to bear the character of old, his labour is quite useless. There is no instance of an instrument becoming famous for its fine tone till it had attained a good old age. Some modern makers use chemical means to mature their violins; but this process is utterly destructive to them, as they become quite rotten through the action of the acid after a lapse of years. Time alone can ripen and mellow all musical instruments made of wood, the violin and the organ especially.

P.

PANORMO, VINCENZIO, born near Palermo, 1734. He appears to have left his native place, and after a temporary sojourn in several towns came to England about 1772, and died in 1813. He was an excellent artiste. His instruments are carefully constructed on Cremona models, and possess a fine tone. He made a few violoncellos which are highly prized, their tone being extremely rich and powerful. They are of the Stradiuarius pattern, mostly of handsome maple for the back and ribs. All his instruments are of a good Italian quality of tone, and are among those which are rising in value as the great masters become rarer and dearer.

PANORMO, JOSEPH, son of Vincenzio, also a good workman.

PANORMO, GEORGE LEWIS, another son of Vincenzio, a celebrated bow maker.

PANORMO, Edward.

PANORMO, GEORGE, probably grandson of Vincenzio.

PAMPHILON, EDWARD, London, 1685. A very clever artiste. Made violins of rather small model, somewhat high built, rich yellow varnish, and sometimes double purfled. The Editor has known one of his instruments, which was in the hands of a rich amateur, in whose house he has heard it played and very much approved.

PANSANI, ANTONIO, Rome, 1785.

PARKER, DANIEL, London, 1714, is considered one of the good old English makers. His instruments have a clear and powerful tone. A first-rate authority calls him an excellent workman; another says though he was otherwise good he used a bad brick red varnish.

PASTA, GAETANO, Brescia, early in 18th Century.

PASTA, DOMINICO, Brescia, same date. Said to have followed the Amati patterns, and deserted the Brescian standard of Gaspar di Salo and Maggini.

PEARCE, JAMES and THOMAS, London, 1780.