C. (Cecie) Stainer.

A dictionary of violin makers online

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and a more beautiful form. The purfl-
ing is distinct and finely done ; the
sound-holes are well cut and carefully
finished ; the arching is not so great,
and the edges are lighter, which gives
the instruments a more graceful
appearance. The curves of the scroll
are quite symmetrical, while the fluting
at the back of the head is not so
hollowed and is beautifully done.
Stronger corner-blocks and.linings are
also used for the interior, and the
thicknesses are more accurately cal-
culated. The varnish is always of
remarkably fine quality, but varies in
colour ; he usually used varnish of a
clear brown colour, similar to that on
Gasparo's work ; but by degrees it
became more brilliant, of a trans-
parent golden colour. Nearly all his
instruments are double-purfled, but
three violins and one viola are known
with only one line of purfling ; and



MAGGINI— MANTEGAZZA



6i



also a very fine violin, which though
double-purfled on the belly, has only
imitated purfling on the back, the
double line being drawn in with pencil
or ink. The large size of his violins
makes the sides appear low, but at the
neck-end their height is almost identical
with that of Amati violins and some of
Stradivari, though at the tail-pin end
they are about one-sixteenth of an inch
lower. The great length and breadth
necessitated relatively low sides, and
Maggini obtained exactly the right
proportions for producing that great
volume of tone, so full and mellow, for
which his violins are famed ; their size
prevented their general use, but De
Beriot, the great violinist, played con-
stantly on a magnificent specimen,
which eventually was sold for ;^6oo,
and is now in the Collection of Prince
de Caraman-Chimay, as well as a viola
and a violoncello made by Maggini.
As a rule Maggini violins are worth
about ;^ioo. His violas are of very
hij^h model, the arching rises from the
inner line of purfling, for the latter is,
as usual," double ; the border is high,
and the sides are set close to the edges
of the back and belly, leaving but little
margin; the corners are short ; the sound-
holes, placed higher than in the violins,
are short, wide, very upright, and under-
cut on the inner edge. The wood is
most excellent, the varnish of very fine
quality and a rich golden-brown colour ;
the tone is very fine. His violoncellos
are made on exactly the same pattern,
the sound-holes placed rather high, the
sides made rather low. Stradivari
learnt much from him, both in
the making of violins and of violon-
cellos ; the latter have almost the
same proportions. Giuseppe Guarneri
was another maker on whom his
work exercised a strong influence.
The amount -of work done by
Maggini was comparatively small,
probably about fifty of his instru-
ments are now existing; only seven
or eight violas, two violoncellos,
and one double-bass are known,
the latter of very small size and of
poor workmanship. He probably
made some viols as well. In England
only twelve violins, six or seven violas,
and one violoncello are known. The
label used is; " Gio : Paolo Maggini in
Brescia." It is never dated, a fact
which often helps to expose a forgery.
Maggini married Maddalena Anna
Foresto on Tan 20, 1615, and lived in
the Contrada del Palazzo Vecchio del



Podesta ; by 1626 he had also a house
and shop in Contrada delle Bombasarie.
His only surviving son .Carlo Francesco,
became a silk merchant, and his son
Pietro died in his infancy, so that
there seems to be absolutely no ground
for the statement that his son, Pietro,
or Pietro Santo, was also a violin
maker, especially as no violin, viola,
or violoncello is known made by any
other Maggini than the great Gio :
Paolo.

Maire, Nicolas. A violin bow maker in
Paris; b. Dec. 28, i8oo, in Mirecourt ;
d. July 17, 1878. Paris. Was apprenticed
to Jacques Lafleur in Paris, and con-
tinued to work there in rue Mont-
martre. He made excellent bows.

Maldonner (Moldonner). A maker
in Fiissen, Bavaria, about 1760.

Maler (Mailer), Laux. A maker of
lutes in Bologna about 1415, mentioned
by Mace in " Musick's Monument"
(London, 1676). He says, "There are
diversities of Men's Names in lutes ;
but the Chief Name we most esteem
is Laux Mailer, ever written with
Text Letters : Two of which Lutes I
have seen (pittifull Old, Batter'd,
Crack'd Things) valued at ;^ioo a piece.
Mr. Gootiere. the famous Lutenist in
His Time, shewed me One of Them,
which the King paid ;^ioo for. And
Mr. Edw. Jones (on-e of Mr. Gootiere's
scholars) had the other, which He so
valued ; and made a Bargain with a
Merchant, who desired to have it with
him in His Travels, (for his Experience) ;
And if he lik'd It when he returned
was to give Mr. Jones ;^ioo for it ; but
if he Refus'd it at the Price set, he
was to return the Lute safe, and to
pay ;£'20 for His Experience and Use
of It, for that Journey. I have often
seen Lutes of three or four pounds, far
more Illustrious and Taking to a
common Eye observe the

Colour ; which is the Dark-black-
reddish-colour ; though I believe it
contributes nothing at all to the sound ;
only the Best Authors did use to lay
on That Colour, especially Laux
Mailer."

Maler, Sigismond. A maker of lutes in
Venice in 1526.

Mann, Hans. A maker in Naples
about 1720-50. His instruments are
rare. He followed the Stradivari and
Guarneri patterns

Mansiedl. See " Maussiell."

Mantegazza (or Montegatia), Pietro and
Giovanni. Two brothers working in
Milan about 1750 to 180c. They



62



MANTOVANI— MAST.



made many good altos; the varnish, of
fine quahty, varies in colour, some-
times is almost black, the wood is
rather too hard. Labels : " Petrus
Joes. Fratresq. Mantegatia Mediolani in
Via S. Margaritae, anno 1757" ; similar
labels are dated 1760, 1763, and 1780 ;
^'Pietro, Gio. e fratelli Mantegazza
nella contrada di Santa Margharita in
Milano al segno dell' Angelo, 1756" ; a
similar label is dated 1 770 ; and ' ' Petrus
Joannes Mantegatia fecit Mediolani in
Via S. Margarita, 1790."

Mantovani. Was working in Parma in
the i8th century.

Maratti, Giambattista. A maker in
Verona about 1690-1700. His violins
are of fair workmanship and have a
good tone.

Marcelli, Giovanni. A maker in Cre-
mona in 1696. Label : " Joannes
Marcelh fecit Cremonae, MDCXCVI."

Marchal (Marechal). A maker in Paris
about 1790, A viola d'amore and a
lyre-guitar of his are known. In a
theorbo was found the inscription :
" Marchal a Paris."

Marchetti, Enrico. A maker of good
instruments in Turin in the 19th
century.

March! , Giovanni Antonio. A maker in
Bologna about 1740-95. His violon-
cellos and violins are good instruments ;
the latter are of high model, with very
beautiful maple-wood used for the
back and sides, and varnish of a golden-
yellow colour. Label : " Joannes
Antonius Marchi fecit Bononiae, anno
1774" ; similar labels are dated 1760
and 1792.

Marco, Antonio. A maker in Venice in
1700.

Marconcini, Giuseppe, son of Luigi
Marconcini. Was a pupil of Storioni ;
then settled in Ferrara, where he died
at a great age on Jan. 17, 1841, His
violins varied in workmanship, some
equalled those of his master ; they
are well made, slightly arched, with
brilliant red varnish.

Marconcini, Luigi. A pupil of Omobono
Stradivari, who worked both in Ferrara
and Bologna. His instruments are of
good workmanship, with pale red
varnish. Labels: "Luigi Marconcini
f. Bologna," and " Luigi Marconcini
in Ferrara, 1767."

Maria, Giuseppe de. A maker of man-
dolines at Naples, 1779. Label :
" Joseph di Maria di Napoli in Strada
S. Pietro a Majella f. Nin apoli, a.d.

^779-" , . _

Mariani, Antonio. A maker in Pesaro



about 1640 to 1700. His instruments
are not of much value ; the work
suggests Maggini, but is very rough ;
the purfling is generally double.
Labels: "Antonio Mariani Pesaro,
1646," found in an alto, and " Antonio
Mariani fecit, anno 1694."

Marino, Bernardino. A maker in Rome
who worked up to 1805.

Marins. A small pocket violin of ivory
and coloured woods was inscribed
" Marins," and was probably made
about 1610.

Marquis de Lair. A maker in Mire-
court about 1800. He made violins
and violoncellos, and followed the
Stradivari pattern ; but his work is
very poor, the wood is not good, and
the varnish, an ugly yellow-brown
colour, lacks transparency ; the tone is
of bad quality. He branded his in-
struments on the back, " Marquis de
Lair d'Oiseau."

Marshall, John. A maker in London
about 1750-60. A mandoline of his
was dated 1758. He followed the
Stainer pattern, and his work was
good. Labels: "Johannes Marshall
Londini. Fecit 1750"; "Johannes
Marshall (in vico novo juxta Coventam
hortum) Londini, fecit 1757"; and
"Marshall: London, 1759."

Martin. A family of makers in Paris,
who chiefly dealt in and repaired old
instruments. Guillaume Martin suc-
ceeded to the business of Lejeune in
1822, and was in his turn succeeded by
a nephew, Charles Martin. Alexandre
Martin, son of Charles, took the
business in 1890.

Martin, Jules. A maker in Germigny,
Vosges, in the 19th century.

Martin. A maker in London in 1790-95,
who lived at Hermitage Bridge,
Wapping.

Mast, Jean Laurent. A maker in Paris
about 1750. His instruments are very
well made, the spirit varnish is thick,
a dark brown colour, which has be-
come almost black. He branded his
violins with "J. L. Mast, Paris," both
inside and outside.

Mast, Joseph Laurent, son of Jean
Laurent Mast. Was born at Mire-
court and was still there in 1820. He
was apprenticed to Nicolas there at
the sign of "A la ville de Cremone,"
and then settled in Toulouse. Several
of his violins are known, and are said
to be of better workmanship than
those of his father. They are arched,
the sound-holes are not well cut, and
he used two varnishes, one yellow-



MAUCOTEL— MELLING.



63



brown and the other reddish colour.
He branded his instruments with
" Mast fils Toulouse, 1825." There is
a violin in the Paris Conservatoire
Collection which has the label :
" Josephus Laurentius Mast fecit
Apollini Deo Harmonise 1816, repare
chez Schubert Epinal, 1831."

Maucotel, Charles, biother of Charles
Adolphe Maucotel; b. Nov. i, 1807,
Mirecourt. Was first apprenticed to
Bloise Mast ; in 1834 went to Paris
and worked under Gand ; in Dec, 1844,
moved to London, where at first he
was employed by W. Davis, of 34,
Coventry Street, but then started his
own business in 8, Rupert Street,
Hay market ; 1851-58, Georges Chanot
worked with him. He retired from
business in Aug., i860, and returned
to France. He made some excellent
instruments, the work, varnish and
tone were all good. Label : " Carolus
Maucotelus fecit Londini, 185 — ,
C. + M."

Maucotel, Charles Adolphe, brother of
Charles ; b. 1820 at Mirecourt ; d. Feb.
6, 1858, at Paris. Apprenticed in
Mirecourt ; then went to Paris and
worked for five years (1839-44) under
J. B. Vuillaume. In 1844 he started
his business in Galerie Vivienne, but
later moved first to rueCroix-des-petits-
Champs and then to rue Princesse ; it
was there he committed suicide in
1858, by cutting his throat during an
attack of brain-fever. He made excel-
lent copies of the works of Stradivari
and Giuseppe Guarneri, and his
numerous violins, altos, and violon-
cellos show good work and have a
fine tone. In 1844 he was awarded a
bronze medal for an alto placed in the
2nd class, and in 1855 a medal of the
and class.

Maussiell (or Mansiedl), Leonhardt. A
maker in Nuremberg, 1720-50. He
copied the Stainer pattern, and made
good instruments, carefully finished,
with yellow or brown varnish.

Mayr (Maier), Andreas Ferdinand. A
maker in Salzburg about 1740-80. Is
said to have made the small violin on
which Mozart learnt to play. In a
lute was the label : ' ' Andreas Ferdinand
Mayr Hof Lauten und Geigenmacher
in Salzburg, 1741 " ; a similar label,
printed in German characters, was
dated 1777.

May son, Walter H. A maker in Man-
chester 1875, who began as an amateur,
but adopted violin making as a pro-
fession. His instruments are excellent,



and the workmanship beautifully
finished.

Meares, Richard. A maker of lutes
and viols in London in 1677. In 1872
was exhibited in London a viola da
gamba with the label : " Richard
Meares, without Bishopsgate, near to
Sir Paul Finders, London. Fecit
1677." His son, Richard, also learnt
the trade but soon abandoned it for
other work.

Medard, Antoine, b. 1621 (baptised
Oct. 28, 1621), son of Henri Medard
and his wife, Anne. A maker at Nancy.
A little pocket violin is known, very
carefully made, \vith the carved head
of a woman instead of a scroll, and
red -brown varnish of fine quality.
Inside is the label : " Anto'.n^. Medard
a Nancy, 1666."

Medard, Frangois, son of Claude
Medard. A maker in Paris about
1690 to 17 15. Is said to have been a
pupil of Stradivari at Cremona. His
instruments are on rather a small
pattern, slightly arched, the sound-
holes are well cut. the pretty rose-
coloured varnish is very transparent,
and the work is carefully finished.
He was commanded to make the instru-
ments for the orchestra of Louis XIV.
Label : " Franciscus Medard fecit
Parisiis, 16 — " : a similar label is
dated 1710.

Medard, Henri, son of Claude Medard,
also a maker. A maker at Nancy and
Paris about 1620-30, there • being a
record of his marriage to Anne Pier-
esson, of Poiresson, on Oct. 2'3, 1620.
Was generally considered to be a pupil
of Nicola Amati. His work was
extremely good. In a violoncello was
the label: "Henry Medart a Nancy,
1627."

Medard, Jean, son of Claude Medard
Worked at Nancy.

Medard, Nicolas, son of Claude Medard ;
b. about 1598, was living in Nancy in
1658. He followed the Amati pattern,
his instruments are small, and the
tone, though soft and silvery, lacks
power ; the varnish is very beautiful.
Labels are known dated 1615, 1655
and 1660.

Medard, Sebastien, b. about 1576; d.
1636 ; probably another son of Claude
Medard. A maker, first at Nancy
then at Paris, about 1600-36.

Meiberi, Francesco. A maker at Leghorn
about 1745-50.

Melling. A maker in Paris, in the rue
Fromonteau, place du Louvre, in 1753.
at the sign of " A la belle Vielleuse " ;



64



MELLINI— MICHELOT.



but in 1771 was in rue des Orties, aux
galeries du Louvre.

Mellini, Giovanni. Was working in
Guastalla, Itajy, in 1768.

Meloni, Antonio. A maker in Milan
about 1670-95. Followed the Amati
pattern ; his instruments are small,
with well cut sound-holes and yellow
varnish ; they have a good tone. Label :
" Antonius Meloni Mediolani fecit
A.D. 1690."

Mennegand, Charles, b. June 19, 1822,
at Nancy; d. Jan. 9, 1885, at Villers-
Cotterets. Was apprenticed at Mire-
court ; in 1840 went to Paris and
worked with Rambaux for five years
and there gained the experience which
rendered him such a clever repairer
of old instruments. 1851-52 worked
with Maucotel, and in 1852 left France
for Amsterdam. Returned to Paris
1857 ^^^ settled at 26, rue de Trevise.
He made a large number of good
violins, altos, and violoncellos in
Amsterdam ; but after his return to
Paris principally made violoncellos,
which rank among the best work of
the time. He was awarded a medal of
the 2nd class, Paris, 1855, and bronze
medals in 1867 and 1878. Labels :
" Mennegand, luthier, 26 rue de
Trevise, Paris, 1867," and "C. Menne-
gand, luthier, 26 rue de Trevise,
Paris, 1877. (Signed) C. Mennegand."
Some of his labels .have " eleve de
Rambaux " on them.

Mennesson, Emile, b. March 15, 1842,
Rheims. Lives there at 10, rue
Carnot. Worked with Mennegand
and Deroux. Had large workshop
at Mirecourt, 1876-81. Has made
2,380 violins, following the pattern
of Stradivari's "Messiah" violin;
varnish, first red, later yellow-red with
amber ground. Exhibited at Paris
(1875-78-94), Philadelphia (1876),
Rheims (1876-89-95), Rome (1884),
Epernay (1884 , Charleville (1894),
and was awarded gold and silver
medals and numerous " diplomes
d'honneur."

Merighi, Pietro. A maker of mando-
lines in P'arm§. in 1770. Label :
" Petrus Merighi fecit Parmae, anno
1770."

Meriotte, Charles. A maker at Lyons
about 1730-60. Several of his violins
are known, made on the Stradivari
pattern, with yellow-brown varnish,
and of good workmanship. Label :
" Meriotte, luthier, sur le pont, pres le
change, a Lyon, 1755." A later label
was printed in Latin.



Merlin, Joseph. A maker in London,
Princes Street, Hanover Square, in
1770-80. His violins and his mechani-
cal pegs for violins and violoncellos
were at one time very fashionable.
He followed the high Stainer model,
his instruments were well made, but the
tone was not good. Label: " Josephus
Merlin Cremonae emulus. No 104.
Londini, 1779. Improved. 66, Queen
Ann Street East, Portland Chapel."

Messeguer. A Spanish maker working
about 1646.

Mettal. A maker in Freiberg. In a
lyre-guitar of six strings was the
label: "Mettal, Instrumentenmacher
in Freyberg."

Mette, Fran9ois. A maker in the South
of France, who sent instruments to the
Paris Exhibition in 1855.

Meusidler (Hans Neusiedler), Johann.
A maker of viols of all sorts in Nurem-
berg about 1540-50".

Mezadri (Mezzadie),Alessandro. A maker
in Ferrara, 1690- 1720. He followed the
principles of the Amati school, but the
pattern of his instruments is not
graceful, the sound-holes are placed
too close, and the workmanship is
poor. Label : " Alessandro Mezadri
fece in Ferrara, anno 1713."

M ezadri (Mezzadie) , Francesco. A maker
at Milan about 1700-20. In an alto of
small pattern, with pinkish - yellow
varnish, very light and transparent,
the back made of poplar- wood, is the
label : " Franciscus Mezadri, Milano,
anno 1712."

Mezin. See " CoUin-Mezin."

Mialfi, Joannes. A Spanish maker
about 1769. His instruments are of
average merit.

Michaud. A maker in Paris about 1788,
rue Guerin Boisseau au coin de la rue
Saint-Denis.

Michelis, Pelegrino (or Peregrino) di
Zanetto, son of Zanetto de Michelis ;
b. 1520. A maker of viols and lutes
and other instruments in Brescia. A
tenor of his was exhibited in London,
in 1885, which is described as "essen-
tially modern in model and detail,
though with remaining touches of
archaism." A splendid six-stringed
bass-viol is in the Paris Conservatoire
Collection, dated Brescia, 1547

Michelis, Zanetto de, b. 1495. Probably
a native of Montechiaro, a village near
Brescia. Was a maker of cithers.

Michelot, Jacques Pierre. A maker in
Paris about 1780-95, at the sign of
"A la Melodie," 255, rue St.-Honore.
In the Paris Conservatoire Collection



MIER— MONTAGNANA.



65



is a little guitar dated 1781. He also
made five-stringed viols, and violins.
Label : " J . P. Michelot, rue St.-Honore,
' a la Melodie,' 179c."

Mier. A maker in London in 1786.

Migge, Otto, b. June 16, 1857, Coblenz.
Has made about 80 violins and 14
violoncellos of good tone.

Milani, Francesco. A maker in Milan
about 1740-60. Said to have been
a pupil of Lorenzo Guadagnini, he
followed a similar pattern in his work.

Milhet. Was working in Bayonne about
1820. His instruments were of ordinary
workmanship. He used yellow-brown
varnish.

Mille. A maker at Aix-la-Chapelle. A
small pocket violin is known that had
been repaired by Remy.

Miller. A maker in London about 1750.
He worked at the sign of the " Citern,"
London Bridge.

Miller, A. A maker in St. Andrew's,
Scotland, in the 19th century.

Minozzi, Matteo. Was working in
Bologna in the i8th century.

Miraucourt, Ludovic (or Joseph). A
maker of viols at Verdun about 1740-
50. A six-stringed viol is dated 1743.

Miremont, Claude Augustin, son of
Sebastien Miremont ; b. 1827, Mire-
court ; d. 1887, Pontorson (Manche).
Was first a pupil of his father, then for
three years of Collin-Mezin. In 1844
he went to Paris, and worked first with
Lafieur, then with Bernardel until

- 1852, when he left France for America,
and settled in New York. In 1861 he
returned to Paris and established
himself in rue Faubourg-Poissonniere.
He retired from business on July 15,
1884, and went to live first in Belleville,
then at Pontorson, where he died.
He made a great many instruments,
chiefly violoncellos ; they were all
made with extreme accuracy by him-
self alone, no workman assisting ; they
show good work and have excellent
quality of tone. He made some excel-
lent copies of Stradivari and Guarneri,
and also several instruments of excellent
tone on the Klotz pattern. Awards at
Exhibitions : medal of first class, New
York, 1853, and Paris, 1855; prize medal,
London, 1862 ; and silver medal in
1867 and 1878. Labels : " Expositions
universelles de 1853-55-62-67, quatre
premiers prix. C. A. Miremont,
Brevete S.G.D.G. Paris, an 1875.
(Signed) A. Miremont," and " C. A.
Miremont fecit Parisiis, anno Dni.
1882."

Miremont, Sebastien. A maker at



Mirecourt, b. about 1810; father of
Claude Augustin Miremont.

Modessier (Moitessier). A maker in
Paris in 1810. His instruments were
made on a large pattern, the wood
was generally excellent.

Moers, Jean Henri. A maker in Paris
about 1 77 1.

Mohr, Philipp. Was working in Ham-
burg about 1650.

Moinel, Charles, nephew of N. E.
Cherpitel. A maker in Paris. On the
death of Cherpitel, in 1893, he assisted
the widow to continue the business.

Moitessier, Louis. A maker at Mire-
court about 1780 to 1825. He made a
large number of instruments, mostly
violins, of ordinary workmanship with
brown varnish. One violin, fairly
well made, was peculiar in having the
belly as well as the back and sides of
maple- wood ; the tone was good. In
it was the label : " Ludovicus Moitessier
fecit, anno Domini 1781." Rambaux
was a pupil of his for four years.

Moldonner (Maldonner). A maker in
Fiissen, Bavaria, about 1756-98.

Molinari, Antonio. A maker in Venice,
1672-1703.

Molinari, Josefo. A maker of man-
dolines and theorbos in Venice about
1735-65. In the Paris Conservatoire
Collection are two mandolines dated
1762 and 1763 respectively. Label :
"Joseph Molinari, Venetus, anno 1737."

Montade (Montani or Montaldi), Gre-
gorio. A maker in Cremona about 1690-
1735- Was either a'pupil or merely an
imitator of Omobono Stradivari. His
work is fairly good.

Montagnana, Domenico. A celebrated
maker in Venice about 1720-50. One
of the most able pupils of Antonio
Stradivari at Cremona ; it is said that
he worked with him for twenty years,
then went to Venice and settled there,
at the sign of " Cremona." Labels
dated Venice, 1725, are known. His
work is admirable, and shows great
knowledge of the qualities of wood and
of the necessary thicknesses to be
obtained ; he made on a large pattern,
rather arched, with the corners promi-
nent, the sound-holes gracefully cut,
rather like those of Guarneri ; the scroll
showing a great deal of character, and
both purfling and corners carefully
finished ; he used most carefully chosen
wood, beautifully figured, and very
transparent varnish of a rich golden-red
colour, which recalls that of Carlo Ber-
gonzi ; the tone is admirable. Although
the influence of Stradivari is noticeable



66



MONTECHIARI— NEUNER



in every detail, Montagnana's strong
individuality also asserts itself, and his
work rivals that of Guarneri or Ber-
gonzi. His violoncellos are especially
liked, they are most excellent for solo
playing ; they are nearly all to be found
in England or Germany, only three or
four are in France. He made few
instruments ; about twelve violins and
five or six violas are known — the latter
are mentioned as having a peculiarly
solemn and penetrating tone. In 1875
a double-bass of his was sold for /82.
It is said that spurious labels of " Guar-
nerius filius Andrese " and of " Carlo
Bergonzi " are often placed in his
instruments. His labels are : "Domini-
cus Montagnana sub signum Cremonae
Venetiis, 1729," a similar one dated
1747, and " Domenicus Montagnana
sub signo in ab prope CEnipontum fecit,
anno 1730."

Montechiari, Giovanni. A maker of
viols and lutes in Brescia before 1533.

Montegatia. See " Mantegazza."

Montron. A maker in Paris, rue du
Grand Hurleur, about 1780-90.

Morella, Morglato. A maker of lutes,
rebecs, and viols about 1510-50, who
worked first in Mantua, then in Venice.
Very few of his instruments remain
intact, as his viols were often utilised
for making up altos or violoncellos of
small size. Labels : ' ' Morglato Morella
Mantuae, 15 15," and " Morglato Morella
fece in Venezia, 1550."

Morona, Antonio. A maker in Istria
(Istrien) in 1731. Label in beautiful
handwriting : " Presbyter Antonius


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Online LibraryC. (Cecie) StainerA dictionary of violin makers → online text (page 12 of 19)