Violins and Violin Makers Part 7

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.

PEMBERTON, J., London, 1580. An English maker of considerable talent.

Is supposed to have been the maker of the instrument presented by Queen Elizabeth to the Earl of Leicester.

PFRETZSCHNER, GOTTLOB, Cremona, 1749.

PFRETZSCHNER, CARL FREDERICK, Cremona.

PICHOL, ---- Paris.

PIQUE, ---- Paris. An excellent maker, and the master of Lupot. Spohr recommends Pique's instruments, and Dubourg says they were given as prizes by the French Conservatoire in the beginning of the present Century.

PIERRAY, or PIERRET, CLAUDE, Paris. A charming workman. His violins have been frequently mistaken for Italian by inexperienced judges. They are of a deep red colour and finely finished, with an excellent quality of tone.

PIETE, NOEL, Paris, about 1785, pupil of Saunier. An artiste well spoken of.

PLACK, FRANCIS, Schoenback, 1738. Considered a good maker.

POLLUSHA, ANTONIO, Rome, 1751.

PONS, ---- Gren.o.ble, France, 1787. Made large pattern violins with high model, which have no great value.

POSSEN, LAUXMIN, Bavaria, about 1540. Made rebecs, viols, and viols da gamba.

POWELL, ROYAL and THOMAS, London, 1785.

PRESTON, JOHN, York, 1789.

R.

RACCERIS, ---- Mantua, 1670, believed to have been a partner with one of the Gaglianos, and made similar instruments.

RAF, ---- Bavaria.

RAMBEAUX, ---- Paris, a pupil of Gand, and an excellent workman.

RAPHAEL, NELLA, Brescia, 18th Century. This artiste was of the school of Maggini, and his instruments are said to have the scrolls sculptured, and to have inscriptions on the sides.

RAUCH, JAQUES, Mannheim, 1730 to 1740. Considered to be a very good maker.

RAUCH, SEBASTIAN, 1742 to 1763.