Brijohn Revisited

Such develop- ments naturally led to the Indo-Us tensions.

Brijohn Revisited by Mary Tolf (2013, Paperback)

In the light of the aforesaid persisting sources of Indo-US tensions, it is not difficult to understand the new sources of Indo-US tensions during the emergency andTts US criticisms. Thus, the US policy of balancing Pakistan with India once again queered the pitch, when in February , America decided to resume arras supply to Pakistan. Had it not been the case, the US would not have supported the authoritarian regimes elsewhere in the world. Till before the emergency the intensity of Ind 0-Japanese relations was moderate. On the part of Japan, the first reason was perhaps a tentative.

GandhVs Foreign Policy Mr Ivan respectively, Canada agreed to resume nuclear aid to India, but the Canadian parliament put off ratification of this agreement. Canada also refused to supply heavy water for Rajasthan Atomic Power Plant on non-proliferation grounds. Hence, there was no breakthrough in Indo-Canadian xelations. Indo-French relations during the emergency remained predominantly economic in content. France provided million francs as credit to India in Out of this, million francs were given for supply of heavy and light indus- trial equipment and 90 million francs were given as aid in the field of space and automic energy.

Reciprocal visits by French industrialists to India and Indian industrialists to France were also exchanged during the emergency. The Chinese press was vocal in criticising the emergency. It signed an agreement to establish diplomatic relations wilh Bangladesh on 6th October One may well ask what, were the points of this convergence? The first point which comes in our mind was that China had come out of its shell of isolation of the last ten years.

The cultural revolution was. There was a public endorsement of the five princi- ples of coexistence as the basis of international relations. As the time passed, China gradually reconciled itself to- the new situation in South Asia, where India had emerged as. It is feasible that China may have given a second look.

Restoration of internal stability due to the emergency in. This made the Chinese- face hostilities not only in its northern and western borders with the Soviet Union but also in its southern border with. Answer to this question can be found through an analysis of the convergence of various purposes, most important among them is the convergence of security stra- tegic needs of the two countries.

To combat this security-threat, India's need for the Soviet support was further accelerated during the emergency. And this was the relationship that continued during the emergency. Differences between the two countries have also occurred on the question of Rupee-Rouble ratio.

Ever since the advent of the floating rate system the Soviet Union started to revise the rate of roubles. What we are suggesting is that the Soviet supjport for the emergency was mainly conditioned by the prevailing pattern of international politics. The Hindu Madras , 8 August Shnvastava n 7 p 13 The Statesmen New. The Hindu 5 October Reported in Financial Express Bombay 13 October , pp Socialist India 13 December , pp As reported in The Statesman 19 September Socialist India 11 October p.

Members of this delegation appeared on TV and Radio programmes and in Press Conferenec where they tried to convince the US people regarding legitimacy of the Emergency Regime, see. Socialist India 8 Nov. Hindustan Times 5 July Socialist India 20 Sept , p Foreign Affairs Record October America and India The Roots of Confiicf.

This view has been expressed by many scholars.

Full text of "Internal Crisis And Mrs. Gandhis Foreign Policy"

For Instance, see, Nayar, Jha n. One of the glaring examples of such US policy may be identified in its attitude towards the Kashmir dispute. Surendra Chopra has rightly said: Uhe leaders of the western bloc reopened it whenever they felt necessary to reassure Pakistan of their continued friendship and laid it aside when they felt that India had been sufficiently embarrassed for following an independent foreign policy.

The Tribune 20 August Indian Express 1 Nov New Delhi , p. Sec Also Madhu Bhalla. Imperatives for Rapprochement InSuttndra cd , n 58 , p Sociaiist India, 8 May , Hindustan Times 9 January Kewal Singh had carried a personal message from Mrs. The Statesman 30th November , -l Kewal Singh also confirmed it. The Statesman 30 Noy C 1 Spring , p. India has been believing that its national interests would be best served by pursuing two interrelated goals in the region, viz. India has been pursuing its latter goals through the method of bilateral peaceful negotiations.

During the emergency vigorous attempts were continued by India in this context. Developments in the Subcontinent The change in Bangladesh constituted a major develop- ment in the subcontinent closely following the emergency. In addition to the aforesaid complex and intriguing dimensions of developments in Bangladesh, certain other factors contributed to the worsening of Indo-Bangla relations as well.

Notable among them were as follows: The people of Bangladesh formerly East Pakistan had. But the subsequent developments since the liberation reversed the trend. Bangladesh faced economic crisis mainly due to the mismanagement, corruption and inefficiency of the government led by Awami League. But Bangladesh people 80 per cent of whom are illiterate believed that India was responsible for their economic crisis. Perhaps the ruling elites in Bangladesh thought it useful for themselves to divert the hostility of their people from the government of Bangladesh to the government of India.

Though the Indian Government was not responsible for the economic crisis in Bangladesh yet some unscrupulous Indian traders and smugglers connot easily evade their responsibility in this context. It was alleged that greedy Indian Marwaris were supplying cheap and useless materials on higher prices to Bangladesh by bribing authorities there". Likewise, taking undue advantage of the long open Indo-Bangladesh border. In the light of the aforesaid examination of the irritants in the Indo-Bangla relations, it is relatively simple to understand the Indo-Bangla tensions during the emergency arid the failure of Indian efforts to improve the situation in this regard.

There were also reports of skirmishes and tensions on the Indo-Bangla Border. But as against Indian expectations, the thick fog of distrust, suspicion and hostility towards India did not clear In April there were renewed hostilities on the Indo-Bangladesh Borders. Hence in a letter despatched to Mrs Gandhi on 27 March , he showed his eagerness for the normalization of relations with India. It was positively replied to by Mrs Gandhi on 11 April As a result, Indo-Pak delega- tions met in Islamabad from 12 to 14 May and among other things decisions were taken regarding restoration of diplomatic as well as over flights and railroad connections between the two countries and regarding withdrawing of the cases and countercases against each other, that were pending before the International Civil Aviation Organization ICAO ''-.

The Press in India and the leaders of the world greeted this accord with enthusiasm'"'. Accordingly, on 24 July, India's ambassador designate K. This was followed by restoration of rail and air links between the two countries on 22nd and 26 July respectively. However, the significance of such new developments in Indo-Pakistan relations cannot be ' gainsaid. These problems were further complicated on the question of concluding agreement regarding Salal Hydro-Electric Project. This argument gets further credence in view of the fact that the emigre Nepali leader B.

In this background of tense Indo-Nepalse relations the proclamation of Emergency further aggravated the rituation. Another important factor which. Chavan, Dr Giri came to India on 7 April 1 Moreover, the return of the Nepali Congress Leaders like B. P Koirala and Ganeshman Singh to Kathmandu along, with some associates on 30 December , after there eight year long self-exile in India removed one of the nastiest irritants in Indo-Nepalese relations. It was hoped in respon- sible quarters in both the countries that the deck was now almost clear for the resolution of conflict in other areas.

This happened mainly because of the fact that India continued to conduct its Sri Lanka policy within the larger framework of its policy of evolving a consensus together with its counterparts in South Asia on the issues of - peace, security and stability that are vital to itself and also to its neighbouring regimes. Nevertheless, certain irritants between the two countries were fill perceptible. It received a wide and sympathetic coverage in theinpress.

An article written by A. But it was Iraq, which was forerunner among the Arabian admirers of the emergency. The Baghdad Observer commented: GandhVs Foreign Policy very period of tlie emergency. The factors responsible for such breakthrough deserve careful scrutiny. To begin with, one'of the major irritants in Indo-Iranian relations had been the remarkable divergence in their strategic links with the two super powers, i.

This was bound to create complications in their bilateral relation- ship since such a relationship cannot be divorced from the total environment in which Indo-Iranian foreign policies were shaped. But the coincidence of the emergency with the growing super power detente allowed both the countries, particularly Iran, to delink, at least to some extent, the bila- teral Indo-Iranian relations from the global policies of the cold war.

Secondly, Iran had realized the need of a stable eastern flank for achieving its ambitions in the gulf region. Since India was also interested in the stability of the region, Indo-Iranian rappro- chement was, but natural. A subsidiary point in the triangular relationship among Iran-Pakistan and India also needs to be noted, Iran was not particularly happy at the enthusiasm displayed by Pakistan about building political-economic relationship with the Arab world, because of the potential source of friction that had underlinked relatively smooth relations between Iran and Arab littoral states.

Indian capacity to provide Iran with goods was well evident when New Delhi emerged by 76 as Iran s sixth largest trading partner ahead even of France and Italy In the light of the aforesaid factors it is easy to under- stand the frequent exchanges of visits between the two coun- tries. India called for an. Political-Ideological dimensions Since Indian political ideology has traditionally been of supporting the nationalist struggles everywhere in the world,, hence during the emergency also, it continued to champion the cause of liberation movement. India attacked the white minority regime of South Africa in the Political Committee and the Decolonization Committee of the PN for its racial and colonial policies.

A function was also organized on this occasion in New Delhi on 31 August This point needs to be explained: Further, the elections were mainly contested on central issues in domestic politics, viz. The resolving of Farakka issue with Bangladesh continued. It did not make up with military rulers of Bangladesh that succeeded Sheikh Mujibur Rahman.

Towards the latter part of this emergency, however,. Koirala to go back to Nepal. This was rather an abberation resulting from the exigencies of the emergency, i. Broadly speaking, three types of patterns were emerging in this context. First was the continuance of friendly pattern of relationship, as in the case of Indo-Sri Lanka relations.

The second was'the reversal of the old pattern of harmonious relationship by the new pattern of bitter relationship as we have seen in the case of Indo-Bangladesh relations. And, the third was the reversal of old pattern of bitter relationship by the new pattern of normal relationship. Indo-Iranian friendship and cooperation was to be the axis of this new scheme. Gandhi's Foreign Policy 2. Times of India 30 August Hindustan Times 18 August Roy, n, 6 9. Indian and Foreign Review, 15 February , p.

The Statesman 31 January , The Times of India 5 December The Times London , 19 February See also, Hindustan Times 15 May Indian and Foieign Reveiw 15 October For detail, see S. Prasad, in Chopra ed , n. Wilson, Politics in Sri Lanka, See Kabul Times Afghanistan , 20 Feb. Al Thawara fraq gd July , Socialist India New Delhi 6 September , p. Indian and Foreign Review 15 March p. For detail, see, S.

C Davar, Iran and India: Throttgh the Ages Bombay, For detailed analysis, see Md. For an-hlysis of the reasons behind this divergence of Indo-Iraniam approach towards- Pakistan, see Md. From Rapprochement to Cooperation. Foreign Affairs Record July , p , Hariharan, "Confusion in Delhi Over. For detail, see C. Indian Express 27 December Foreign Affairs Record, January , p. Hindustan Times, 13 March , Also see. Dawn Karachi 14 March See for details, S. Muni, 13, 10, And also his, n. Indian Express, 12 July The Hindustan Times, 3 July Gandhis Foreign Policy tion, scarcity of food, negative growth rate in consumer indus- tries, balance of payments-crisis etc.

For the convenience of study, we can categorize it under following sub-heads: Although, owing to lack of domestic demand, following the failure in the growth front in mid si. Two important factors had worked towards this end. Other factors had also facilitated this. The regional pattern of exports during the emergency revealed that European Free Trade Area EFT A group of countries had lost their top place among the.

The fourth and fifth positions were held by Britain and Iran in , respectively. It' rose nearly up to Rs. Some experts in international Trade have indica- ted that in the process of export-led growth, the developing countries-increasingly transfer the growth of their productivity to the advanced countries in terms of cheap exports. There is,- however, some evidence to show that India has not gained from Trade.

In one of the studies, it has been shown that during the 'brief period of to , India lost as much as Rs. Moreover, in some cases the government s strategy of export-led growth. Likewise, was it appropriate to earn' Rsi 9. Sweden 54 3 Others a Loans Australia Grants 2,8 6. Government of India, Economic Survey, , pp.

GandhVi For eigk ''Policy cent as compared to the level of gross aid in This was- mainly because of the lower assistance of oil producing countries and virtual absence of 'grants under the U. The idea behind this effort has been that if the contribution of multilateral agencies is en- larged, aid can be obtained with fewer strings.

This is why, India favoured a cartelization of primary commodities by the developing countries. It gave its support ' during the emergency not only to the action taken in this regard by the Organization of Petroleum Exporting Countries OPEC , but it also actively worked for the setting up of an associatioa of iron-ore exporting countries. As such, he highlighted the need for change in the international monetary institutions, with- out which to him, these institution cannot play a vital role in ushering in a new International economic order. Hence, it deserves a separate -examination.

The adop- tion of this declaration had brought into focus the struggle initiated by the third-world countries for ensuring a just and equitable share to them in the world resources. And, internally the concern about defusing the economic crisis, led the Indian ruling elites to more vigorously endeavour towards Bringing about a NIEO. For, the economic crisis had starkly, highlighted the need for assistance of a proper international economic environment. What they needed for further growth was internatio- nal economic stability including oil prices and supplies, the flow of capital and other necessary inputs and trade liberalisa- tion.

As such, these moderates were not usually averse to accepting somewhat less radical solutions, than advocated by their hardliner collegues. It concluded various treaties and undertook joint ventures with the developing countries. Mukher- jee visited Malasiya, Philippines and Hong Kong, where he discussed with these countries regarding the programmes for mutual co-operation in economic field. His journey to Philippines was particularly significant, because at that time the debate on the advisability' of significant dependence on American and Japanese business interests was on in that country.

In previous chapters we have already referred to Mrs. Saudi Arabia offered Inaia, a big order for the implementation of an electrification project in that country. Secondly, it reflected the principle that. Last, but not the least, Indian policy in this context, has been of providing assistance to the developing countries in various forms. This is different from what it has received from others. Some examples of the assistance that India had rendered to developing countries during the emergency are as follows: It agreed to extend a hew credit of Rs.

S, at a tirne when owing to sharp divergences of views over certain issues such as the U. S, role in Bangladesh, its bases in Diego-Garcia, success of liberation struggles in some Afro-Asian countries etc ; Indo-US relations had got quite strained, notwithstanding, certain changes in U.

S, for the lime being and to go there for seeking U. Later he stated that the U. As such, it was not merely a coincidence that the U. S, policy link- -age during the emergency could not adversely affect the Indo- U. These exchanges of visits yielded many bilateral agree- ments.

Trade plan and agreement, envisaging merchant shipp- ing and cultural exchange programme were signed with Bulgaria. Three agreements regarding short and long term trade and payment arrangements were signed with Hungary and agreement compiising economic co-operation was. But most of the agreements were signed with Poland. Some of them were: The renewal and revision of the trade plans levealed that there was substantial rupee trade between India and the countries of Eastern Europe, a shift was nevertheless, discernible in the direction of hard currency. Illja Topaloski described Yugaslavia as the first among the supporters of the emergency.

The Indian eeonomy " during the emergency received an element of viability. With the accumulation of unprecedented foreign exchange reserves- in post independence era, India emerged as a strong economic power in international Held at the end of the emergency. For detailed discussion of this point, see S. Economic andPoUcai Weekly 17 April , p. Indian and Foreign Review 1 December 76, p. Foreign Affairs Record, October Gandhi's Foreign Policy Sumitra Chisti and B. See aho Ibid, 15 May 76, p. Economic and Political Weekly, 17 April , p. The Eeocomic Intelligence — Unit Ltd. Indian Left Review n.

See also, Sumitra Chisti and R. Moblltsing Economic Resources For a detailed analysis of origin and other aspects of the Paris dialogue. Reports New Delhi October , pp. For detail, See Muni, n. Foreign Affairs Record, Janury , p. Foreign Affairs Record, October , p. The Statesman 24 and 25 October Socialist' India 17 April Foreign Review, 1 February , p. Hindustan Times, 16 December Asian Recorder New Delhi February 77, p.

Foreign Affairs Record, October , pp. Foreign Affairs Record, November-December GandhVs Foreign Policy This agreement was signed during the French Prime Minister, Mr. Foreign Affairs Record 15 February 76, p. Ibid 15 April 76, p. It was, in fact, the continuation of the earler trend, because before the emergency as well, foreign ministers like M. Ford himself had justified such US activities. At a press, conference, when asked under what international law- the US had the right to destabilize constitutionally elected govern- ments, Ford responded that he was not going to quibble over whether international law permits destabilization, but that "it is a recognized fact that historically as well as p!

GandhVs Foreign Policy rule through the emergency measures arc accepted and respected abroad, hence they and the emergency proclamation should also be accepted and respected at home. Soon after the emergency-proclamation, a massive drive was launched to mobilise bilateral and multilateral external econo- mic assistance. Among other things, this drive led India to compromise some of its ideological positions, which it had refused to do before the emergency.

Secondly, in order to arrest the deteriorating trend in the balance of payments position and to boost up the growth rate, several steps were taken for export promotion. In addition to specific export promotional measures, India took a number of initiatives regarding bilateral agreements in trade, investment, etc. Thirdly, the economic CTisis highlighted the need for cut in defence expendi- ture. This led the Indian leaders to pursue the policy of good neighbourliness with a new zeal. GandhVs Foreign Policy' Disarmament Conference, non-aligned forums and other such international conferences.

On the part of those foreign countries whose relations, with India had worsened during the period, immediately preceding the emergency or during its initial phase, the resto- ration of domestic stability in India and regaining of its econo- mic confidence, led those countries move towards a position, where reconciliation with the emergency-regime in India was both desirable and necessary This has been analysed at several places in the preceding chapters.

It reflects a close relationship between. It is in this sense that the success we have- achieved at home, has naturally given certain strength ani vitality to our foreign policy. Though these efforts could not silence motivated criticism altogether, because as noted earlier, such criticisms had largely come owing to divergence in security-strategic perceptions between India and its adversaries, particularly the US, however, these eflforts went a long way towards genuine- misgivings.

Brijohn Revisited (Paperback)

As a result, some sections of the press as well as some leaders in Europe and in the US, particularly democratia senators of the US. GandhVs Foreign Policy that the changes produced by the emergency were only subtle- in nature. As such, our main assumption in this, dissertation is that views of writers like Morgenthau and Wriggins etc. Previous to his retirement, his two sons were taken into the business, and the firm became Bernardel and Sons. After his retirement in , the late Eugene Gand became a partner of the two brothers, and the firm was changed to Gand and Bernardel Bros.

He was born at Stamford Lincolnshire, in , aild died in This maker and dealer has become famous chiefly through two things, the first, being his copy of the King Andreas Amati 'Cello before referred to. This copy is certainly a fine pro- duction, which, besides showing paint in what was apparently the primitive abundance, also shows the wood, a very great advantage over the original, which is rather ancient now, and dingy-looking.

Nothing definite appears to be known about the date of 'this transaction, but it occurred probably between severity and, eighty years ago. Some person sold a violin over the counter to one of the Messrs. Betts, in their shop at the Royal Exchange — No.

The story is a striking one, but it is not without its parallel, even in recent times. John and Arthur Betts are said to have made a copy of this Stradivari. These were descendants of the original John, who does not seem to have been a prolific violin maker. Anything I have seen of the original John Betts was good, solid, square work, without any great display of taste, and with rather bad sound holes.

There was an Edward Betts, who did better work as far as concerps appearance. They were both pupils of Richard Duke, but they chiefly employed other people to make for them, and, as far as I can judge, a considerable quantity of rubbish passed through their shop along with a great deal that was good, and much that was splendid, and which will be referred to under the actual makers.

This maker was famous in his day, and many people like him yet. His model is high, and his varnish is not bad, of a reddish brown, tending to yellow. I do not think much of the tone. One of the best Ge;rman copyists in Amati and Stainer models. He was a professional musician at the Prussian court, a distinguished connoisseur of his time and the inventor of the system of screwing the double bass pegs, which led to the adoption of machine heads.

His instruments are soundly made, and covered with a kind of oil varnish. Me La Duchesse D'Angouleme a Mirecourt," so runs the ticket of this maker who seems to have worked in Mirecourt from about to , or later. The tone is not without breadth, and is, to a certain degree, sympathetic. The arching is flat, and altogether the work is by no means bad, but is what people think common-looking, no fault at all in a good violin.

A pupil of William Tarr of Manchester. Violins, violas, and basses. A fine old English maker of considerable originality. Fine wood, and pleasing, light yeUpw varnish. His sound holes are well designed, but very wide Amati-Stainer model, with remarkably good quality of tone. A maker who copied Stradivari to a certain extent, and employed good wood and fairly good varnish. This was a Piedmontese maker, about whom a good deal has been written without much foundation.

Fetis had authoritatively said that he was born in Cremona, and had been a pupil of A. An Italian connoisseur of much distinction also took some trduble to find out ai little about this maker, but failed.

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It now seems that he was at work in Saluzzo and in Turin during the first half of the seventeenth century, and this information is derived solely from tickets found in instruments claiming to be by him. Other examples equally claimant for the hopourof his parentage showed discrepancies in style, varnish, model, and everything else, which were so palpably absurd, that I think him one of those dummies in regard to whom the fiddle-fancier should be particularly cautious.

There are some very fine instruments bearing this name, whether they are by Cappa or not. He had sons who followed the business, but whose work is of little importance. Carcassi, Lorenzo and Tomasso, Florence, — I have seen a number of instruments professing to be by these makers.

A few of them were fairly good. This is a name which is, unfortunately, largely used to put into any kind of absurd rubbish which it is thought may be got rid of in a sale room. An Italian maker who settled in Paris, and whose violins appear to be remark- ably rare and of mediocre quality to boot. Paris, — This maker was a son of above, and made somewhat better instru- ments than his father. The dates given aipe those found on two of his instruments. Castro, Venice, — Castello, Paolo, Genoa, Ceruti, Giovambatista, Cremona, — -1 8 1 7. This maker is, in Italy, supposed to have been a pupil of Storioni, on what ground it is difficult to guess.

Perhaps this circumstance may have given rise to the notion, for there is very little in common between Ceruti and Storioni. The instruments of Ceruti are very good, chiefly of the Amati model, but having a tone quite French in style. The varnish is of a soft and elastic character, but not particularly spirited in appear- ance, and not very transparent.

It is frequently of a dull, cherry colour, rather scumbly. Guiseppe and Enrico were son and grandson of Giovambatista, and carried on the traditions of the house with credit. As the irresponsible talk to which that kind of information gives rise has something to do with the confusion of knowledge regarding the subject, the drying up of such a stream of gossip is not so much to be regretted as the disappearance of the firm of Ceruti itself from the contemporary annals of fiddle lore.

Born at , Mirecourt, Died at Rochefort, He was a naval engineer, and a scientist who distinguished himself greatly in the study of violin acoustics and construction. He continued to make and sell specimens of it for about seven years from They differed almost wholly from the classical shape and in their principles of construction, but are now interesting in many ways. Guitar-shaped, they had no protruding margins, no blocks ; back and front were in single pieces, sound holes parallel, bass bar in the centre, and so on. A specimen was tested by a commission of distinguished musicians, and pronounced superior to the best known ,Sttadivaris.

Brother of preceeding, was born at Mirecourt in Learnt violin-making there and went to Paris in Became one of the finest makers of his time, and worked first for his brother, then on the regular fiddle with Clement, a Paris maker. Then, in 1 82 1, with Gand for two years.

In he began on his own account, and continued until , when he retired. He was reputed the finest connoisseur in Europe, and his instruments have a very high deputa- tion; He died in January, One of the finest modern copies of Joseph Guarnerius that I have seen — as far as outward look and wood goes — was made by this latter George, who has also sons F.

He has the reputation of having been actually at Cremona under Stradivari. His work is of a very high character. The outline of his larger instruments is extremely beautiful, and bears quitfe recognisable evidence of having been guided by a Stradivari motif, but his sound holes are cut much lower than in Stradivari instruments, which is a curious circumstance in a maker who came so directly under the influence of the great Cremonese. Oddly enough, they do not detract much from the fine feeling of the ensemble.

There is not that sense of entire compactness with which a Stradivari 'cello inspires one, but that is all. A very good worker who, it is said, was a pupil of Forster. Made instruments pretty deep in the ribs. Very good style and work. Not very many specimens about. Cross, Nathaniel, London, — Somewhat large and deepsided, his violins have rather tasteless sound holes, very. They are covered with a light yellow varnish. He worked in conjunction with ' Barak Norman.

His scrolls are certainly fine. A good copier of J. The varnish on the back is a Uttle crackly sometimes, more like that of the elder Gand than of Vuillaume. His scrolls are also not unhke those of Gand pere, but not nearly so powerful looking, and not so wide at the bottom.

His varnish is a fed, slightly inclining to purple. Tone fairly good, but decidedly nasal. Duke, Richard, London, — This is a magnificent maker. His outline is very pure — Amati or Stainer. The sound holes in the Stainer models are, curiously enough, not particularly fine, but those in Amati copies are better.

The latter are cut a little narrower at the top than at the bottom turn, which gives them a slightly quaint look. His scrolls are very fine, and the tone of his instruments is of a most exquisite character. I consider that he is quite entitled to walk in line with the Italians of importance in everything except his varnish, and that chiefly excepted yvith regard to its colour, but not in regard to its pate.

It is of a beautiful soft, but dull brown, with little or no life in it;. Richard Duke violins are, it hardly need be said to experienced fanciers, very rare indeed. DoDD, Thomas, London, — This was a clever man who did not make violins himself, like sO' many others, about his time.

He employed first-class men to deliver them to him unvarnished. Among these workers were such as Bernard Fendt and John Lott, both men of the highest skill. It is a nice oil varnish, but nothing to set the temse on. This is an early lute and viol maker, who, having once ,got into books about violins, seems destined never to get out of them.

Every now and again some person starts the discussion as to whether or not he made violins. The latest fight was in May, 1 , in a Leipsic paper, where a writer took the trouble to review che whole question, because a Mr. Niderheitmann, of Aix-la-Chapelle, believes that he has discovered three vi6lins by this splendid old viol maker, although every- one to whom he has shown them, and who professes to know anything about the subj.

The whole question has been threshed out over again, and the fever of battle has spread to New York, where an esteemed correspondent of my own has taken the trouble to translate the article and reproduce it in the form of a srrlall brochure of seven or eight pages, " Was Caspar Duiffoprugcar really the First Violin Maker? A clever maker of the old style ; fine finish, but thin, poor quality of tone. High model and good quality of varnish, but somewhat dark in colour. Such work of theirs as I have seen was of a refined and decorative style.

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Born in Bohemia, was a musician, writer and violin maker who did good service to the- art in Germany by teaching Jacob Augustus Otto how to make instruments. I have not seen any by either master or pupil. Ernst , began business in Gotha. Fent, taris, — This maker has the reputation of being one of the highest class in France of his day. In all other respects his work is of the finest. His model was Stradivari. He spelt his name " Fent " in his tickets alid his calling " lutier. This maker was, it is supposed, a nephew of the Paris Fent.

He was born at Inns- bruck in and died in London in His name is spelt differently from that of his Parisian relative, who was not partidularly good at spelling either in his own or in his adopted language, as may be seen by reference to last article.

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His initruments are beautiful specihiens of his art, having a tone which is exquisite in quality and may quite truthfully be described as Cremonese in that respect. The varnish which Dodd put on, although not exactly what he professes it to be, is a very fine varnish, and might readily mislead people who have not seen examples of Cremonese. Bernhard Fendt also worked for John Betts.. Fendt, Bernard Simon, London. Born in , died 1 85 1. He was a son of the previous maker. He spells "Bernard," as will be observed, without the letter " h. Indeed, in the prime matter of tone, his earlier instruments are now almost quite in line with the best of the Italians for quality.

There is a rich roundness on all the strings which is rarely found in any -instruments other than Cremonese. His work, is of fine Italian style, haying a brilliant orange varnish, spacious margins, full and handsome sides, elegant arching, and very good and neat purfling, while his scrolls are exceedingly fine. Altogether his earlier instruments are splendid productions. He also made a number of excellent double basses and 'cellos, and in J he displayed at the great International Exhibition in London a quartet consisting of violin, viola, violoncello and double bass, which, in the opinion of almost every competent judge in the country, surpassed anything exhibited in that show.

Fendt got a prize medal, the one which he should have had — the grand council medal —went to J. Bishop, Sigismund Thalberg, W. Sterndale Bennett, Hector Berlioz, J. They were assisted by the Rev. Only one of these gentlemen could even play the violin when he was a young man, namely. The others were general musicians, pianists and organ- ists — distinguished, of course, in high degree, but who knew little more about the question of fiddles than the man in the moon.

One was a pianoforte maker, another an organ builder, a third a geologist and metallurgist, a fourth a physician, a fifth a clergyman who happened to be superintendent of the Royal Academy, and the rest were professors there, or elsewhere, of the piano and organ.

The very same gentlemen, in fact, who awarded prize medals to successful competitors in barrel organs or big drums distributed the honours for the most wonderful instrument in the world, and it is not, therefore, surprising that the object rewarded in this case- was, in the words of Sir Henry Bishop, " New modes of making violins in such a manner that they are matured and perfected immediately on the completion of the manufacture, thus avoiding the necessity of keeping them for considerable periods to.

Council medal to J. A decision like that was quite enough to take away any violin maker's breath for all time, and it is not in the least astonishing that B. Fendt died that same year! Seriously, however, that decision will remain a curious comment on the astonishing ignorance of fiddle matters which prevailed in distinguished musical circles forty or more years ago. I yield to none in my admiration of J. Fendt in his later instrurrients tried somewhat similar ways, but to accept an honour for processes of that kind, argues as much ignorance on Vuillaume's part at that time as the jury themselves displayed, or else an unusual amount of hardihood in the arts of self advertisenjent.

The instruments of almost every member of the Fendt faniily have for years back been steadily advanc- ing in public favour. The beautiful character of the tone which they possess is ' sufficient to account for this, but apart from tone, there is a style about Bernhard, Bernard Simon and Jacob, which so forcibly recalls the finest efforts of the greater Cremoriese, as to make one almost realise, in the latter's absence, what it is to have a fine Crerriona violin. The varnish on his later instruments is, occasionally a little dull.

In his tickets his name is printed " Bernard S. Born ; This maker was another son of Bernhard Fendt, and was in the employment of the Betts firm. I have not seen any instrurrients which were made by him, and it is probable that he was chiefly occupied with repairs. Another son of Bernhard Fendt. The whole conception of his instruments is generally higher than the work of other members of his family.. His wood is generally very fine and regular, while some of his backs are really, in regard to figure, most beautiful. In his Guarnerius copies, the sound holes are rather exaggerated reproductions of that great maker's, style, but in this respect he is in very good conipany, as the best copyists that ever lived have failed in exactly hitting off the striking pecuHarity of Joseph del Jesu's sound holes.

I have heard it urged that these great makers, both English and foreign, did not try to " slavishly copy " the individuality of Joseph Guarnerius, but I cannot say that I have great faith in the V9. I believe that they tried to copy him and Stradivari, as well as Nicolas Amati, in the most minute particular, and that " they simply failed to do it perfectly. When Vuillaume turned out, under stress of circum- stances, his reproductions of the old masters, and put in imitations of the old tickets — and very clever imitations too — we may be absolutely certain that he left nothing undone that he could have done, and so it is with any maker, who has set himself to copy the old masters in tha: Like Vuillaume, Jacob Fendt, in order to live.

In tone, style, and everything, a good specimen of Jacob Fendt is magnificent. This was another son of Bernhard, of whom little is known. This maker was a son of Bernard Simon, and was employed with his father. He did not make many violins, but was at work with his father in the making of double basses.

Ford, Jacob, London, A very clever maker, who imitated in a remarkable manner the great favourite of most 1 8th century workers, Jacob Stainer. His scrolls are a little stiif-looking, and in other respects, the model is not really Stainer, but borders very closely on' it. For example, Stainer's margins, which few English, or even Continental makers, have copied well, are very faithfully reproduced by Ford.

Stainer's margins, though not so large as the Italians, are much less niggardly than the great majority of his imitators would have us believe, and although there is no great credit, perhaps, in the mere reproduction- of the design of a fiddle, when we find a man doing this in a faithful manner we have reason to cherish tlie hope that he may have his heiad screwed on properly with regard to other things. The sound holes are not Stainer, nor is the archiiig, and one may well ask, " What is there about the work that is Stainer?

Varnish a deepish tinted yellow. Of interest chiefly because it is supposed that he was the , father of William Forster, who follows. It is understood that John Forster made one violin. Born — 4. He is chiefly of interest because he was the father of the next Forster. He was a spinningwheel maker, violin maker, and violinist, celebrated throughout the country side in Cumberland for his performance of Scotch reels. He also composed and published reels. He came to London in , and tried spinningwheel making in Commercial Road, East, but not successfully.

Then he manu- factured gun stocks, and occasionally a violin for the music shops. There is no trace of this Beck anywhere except in the biography of the Forsters. William Forster was successful with Beck, and asked an advance of wages, was refused, and left. In he began business on his own account in Duke's Court, St. In , he was in St. Martin's Lane, and three years later in the Strand — -No.

Royal patronage now came, arid the climax of his success was attained. This William Forster called in the trade " old Forster" died in That he made instruments of high quality goes without spying. His violoncellos are very good, and much coveted. His varnish is dull, staid, but of a refined character, if one may employ such expressions with regard to.

His wood is always fine. About he adopted the Stainer model, and worked on it for ten years, when he turned to Amati; — A. What I have said about his varnish refers to his later work, from about , or, a year or two before that. In the early work he appears to have stained the wood before varnishing. On these it is dark red with a, blackish tinge. He made only four double basses.

His commoner violins, etc. He began to make violins early, his first one being entered when he was fifteen. He only made two or three violins of any worth, and about a dozen common ones. His varnish is same as his fathier's best. He died in Made very few violins. I have not seen any. Made few instruments personally, and not of great merit, as far as I can learn. He is best known as the joint author, along with Mr. Sandys, of a " History of the Violin " which contains a deal of valuable information regarding the ' English School of Makers. That would be in all over a hundred instrunients.

I have only seen two or three claiming to be by him, and they were violins of rather poor qualityJ But I am not in a position to say that I recognised his work in these. A family of violin makers regarding the early members of which very little is known. They have been chiefly employed making for others.

The first was David, of whom nothing appears to be known. His son, Matthew, died in The last-mentioned Matthew died about , and John sometime after Christoforo, Barlolomeo, Gian-Battista, and Antonio. Gian-Battista is the best known, and has sometimes attractive looking wood in his instruriients. Of second and third rate quality, but carefully made. Yellowish varnish, and somewhat tubby model. The story has taken various shapes, the most recent being that from his youngest days he studied music, and amused himself by making mandolines" and l,utes.

That in his time the Kingdom of Naples, being under Spanish Dominion, was affected by an unusual disregard of the value of life. Alexander Gagliano, in this way, acquired consummate skill in the art of duelling while yet he was young, and one evening he had a quarrel with a Neapolitan gentle- man, a member of a family called Mayo. The friends of the murdered man were sufficiently powerful with the viceroy df the: Kingdom, and Gagliano, alarmed at the possible conse- quences of the deed, sought asylum with the brotherhood, and put himself under their protection.

The viceroy — one Count Penneranda — was vehemently opposed to the practice of duelling, and missed no opportunity of" treating offenders with the greatest rigour. This, of , course,, increased his anger, and he at length threatened to assault the convent ifj within a given date, the culprit: In the meantime, the Neapolitan Cardinal, Ascanio Filomorino, had mixed', himself up in the affair, and supported the brotherhood in their efforts to keep Gagliano safe by getting him out of the way. Gaghano, from this jioint, directed his steps northwards, and it is. Jiis thoughts turned to Cremona.

He worked, it is said, with Stradivari for about thirty years, and, having received intimation of a pardon, returned to his native place at the end of The chief point of interest in this narrative is that it places Gagliano as pupil of Stradivari at a date when that great maker was himself working with Nicolas Amati, or had, at least, just begun business OU' his own account, namely, in or Now the violins of Alessandro Gagliano are of a type totally different from those which Stradivari is supposed to have been working at during the period' intervening these two dates.

Gagliano's violins are of a fiat model, much flatter, and indeed, larger, than anything Stradivari is supposed to have made, until long after his pupil was peacefully settled in his native town. The varnish on his instru- ments is generally of a sickly-looking yellow tint, but is also of reddish brown. His wood is of a fine quality, and his general proportions are also good. The tone of his violins is very good, and of a pure and silvery quality in the upper strings, and fairly round and full in the lower. He died in Naples in He seldom used labels.

The varnish is also different, being of a darker yellow, and very transparent. The tone is altogether very beautiful in a fine example. He made a large number of violins, violas, and 'cellos, and into some of them, he, or some- body after him, put Stradivari tickets. His own tickets run " Nicolaus Gagliano filius Alexandri fecit Neap,'i' then date. He was second son of Allessandro. He was probably born about i6g6, and was the finest maker of this name. His works are very rare.

He seems to have used Stradivari tickets chiefly, and when he did use his own, he never put a date in them. They simply ran " Gennaro Gagliano fecit Neapoli, 17 — " the two figures which would have located the instrument in point of time being omitted. He had a fine varnish, and a recipe for varnish in his own hand- writing still remains with the Gagliano family, but it is very likely not for that which he used, as his, successors have never been able to reproduce it.

He employed beautiful wood, and his style is not unlike that of' his father, AlessandrOj except that his sound holes are shorter and wider. This maker was eldest son of Nicolas Gagliano, and grandson of Alessandro. His instrilments are in some respects like his father's, but more arched. The arching of the back is not so pronounced, and is more equally distributed. His outline cannot be called I graceful, but rather heavy-looking. The sound holes are well cut and very well designed, long and open.

Fine wood and well finished work. Varnish a warmish yellow, of a common-looking character. Scroll not very artistic in design, but well cut. Looking at it from front, volute spreads rapidly out at bottom turn. Altogether very good violins. Tone a little thin, but penetrating. Gagliano, Guiseppe and Antonio, Naples. Brothers of Ferdinanci, made instruments of no great importance so far as concerns violins, but made fairly good mandolines and guitars.

An early ticket of theirs is dated , and Guiseppe died in , while Antonio lived on to the end of that century.

Another brother of Ferdinand. He was rather better as a violin maker , than the previous firm, but has left nothing of importance as far as I know. Gagliano, Raffaele and Antonio, Naples. They worked in partnership, but appear to have made nothing worth remembering. Raffaele died gth December, , and Antonio 27th June, i Gagliano, Vincenzo, Naples, is the last of this numerous fiddle family. He is not a vioHn maker, but a maker of strings; His first strings have a high reputa- tiofa in Italy.

As he has neither wife nor children, I suppose the name will die out with him. This maker was the first of the famous family of this name. He was born in Mirecourt, and went to Versailles in His instru- ments are not much appreciated. He had two sons. Gand, Charles Francois, Versailles. Died loth May, He first began business in his native place in and continued there till He then removed to Paris, where he died. He was taught partly by his father, but chiefly by Lupot of whom he was an acknowledged pupil. He became Lupot's son-in-laW and succeeded him in business.

The violins of C. Gand, or, as he is called in the trade, Gand pere, have a majestic outline. They are distinctly individual. The scroll is a most powerful piece of cutting. The varnish is a strong red brown, tending to red, on a yellow ground. He was in the habit of leaving patches of yellow near the margins where the hands are supposed to catch a violin in handling it. It is a kind of family mark, which has been modified by his successor slightly, and, of course, imitated by all who wished their instruments to pass as having been made by him. It is generally left on each shoulder and also- at the bottoni on each side.

The tone of his instruments- is very fine. Born 22nd July, Died at Versailles 31st May, This maker was a brother of C. I have not seen any of them. Gand, Charles Adolphe, Paris. Born nth December, Died 24th January, This malcer was a son of C. Gand and succeeded to his father's business in , and also to the appointment of maker to the King's musicians and to the conserva- toire and later to the Emperor's Chapel.

The two first appointments had been continued to the firm since the time of Lupot, to whom they were first granted. Gand did not make many new instruments. In he took as partner his brother, Eugene Gand. Born on 5th June, Died at Boulogne sur Seine on the 5th February, While he studied violin making under his father and brother he also studied violin playing under the celebrated Baillot at the Conservatoire, and left it only at the death of that great violinist in On the death of his brother in , the two brothers Bernardel already referred to became his partners and the firm then became Gand and Bernardel Freres.

For a number of years the instruments of this firm had ceased to be personal works. Of course all violins were understood to be subjected to the supervision of the masters during their progress. A supervision quite sufficient, no doubt, to ensure that the instruments would sustain the reputation of the concern for style, finish, and tone. One gigantic order which ithe firm had was for the orchestras in the. Trocadero at the International Exhibition of My recollection of that is sufficiently vivid. This firm alone furnished 51 violins, 18 altos, 18 'cellos, and 18 double basses.

The greater number of these were bought by the Conservatoire. In the violin department of that Exhibition the jury awarded the grand gold medal to the firm. An award of this kind does 'not always mean much, but instruments of theirs which I have seen are decidedly good violins of exquisite outline, and fine Stradivari model. They are covered with a kind of traditional family red varnish, and have a powerful, ringing tone, which when it settles down will doubtless be highly appreciated.

Eugene Gand received a good many decorations. He' was an officer of the Legion of Honour, a commander of the order of Isabella the Cathohc, a chevalier of the order of Leopold of Belgium, a chevalier of Nircham — whatever that may be — president of the Association of Artiste Musicians, an officer of the French Academy, violin maker ta the Conservatoire, to the Opera, and to the Opera Comique. He was also a good judge of old violins, although his opinions occasionally required confirmation. His recent death will certainly leave a great gap in the ranks of the trade.

Gasparo da Salo, or, to give hitn what has now been discovered to be his proper name, Gasparo di BertoloUi, was a violin maker in Brescia who has hitherto had the, honour accorded to him of being the inventor or de- signer of the violin in. It, now appears that not only was his father, Francesco di BertoloUi, a violin maker before him, but that others — such as one Gio. Battista D'Oneda in — were also makers of similar instruments. The origin of these important discoveries is as follows: On the 12th of January, ' , Professor D. Angelo Berenzi , delivered a very interest- ing lecture in the Athenaeum of Brescia on the subject of the ancient Brescian violin makers, and at the conclusion of his lecture he expressed a hope that Brescia might be induced to follow the example of.

Cremona, and seek to commemorate in some permanent manner the fame of her most distinguished workers in this art industry, namely Gasparo da Sal6 and G. Professor Berenzi was unques- tionably the pioneer in these investigations. He, and no other, initiated and carried them out — cleared the jungle " in fact, and made a path through the wood, so that whoever iriight follow him would have little or nothing to do beyond verifying for themselves the discoveries which he had made, and acquainting themselves with the facts which he had already brought to light. Cavalier Livi published these particulars in August, , in the " Nuova Antalogia.

The exact dates cannot be ascertained because two pages — and — of the register in which the birth entry should have appeared are missing. There is no mention of him before , but he then appears to have acquired the title of maestro, and may have had a shop. There is some reason for supposing that Gasparo was a pupil of one Girolamo Virchi, a maker in Brescia, who was sponsor at the baptism of one of Gasparo's children — a son named Francesco.

Twenty years after that his stock had increased con- siderably. In he bought another house in Brescia in a street called St. This maker died in Brescia on the 14th April, , and was buried in Santo Joseffb. The work of Gasparo da Sal6 di Bertolotti is the work of an artist. His violins are arched rather full, but the contour of the arch is as if the instrument were blown out like a silken bag under certain specified restraints. They are not parallel in the sense of being in line wkh the long axis of the fiddle.

The corners are very shorti and the margins rather narrow. In the matter of outline, his instruments are exquisite. The purfling has, been double in those violins and violas which I have seen, and the scrolls beautifully cut. In his violins I have observed the grain of the front wood to be as wide almost as in many a 'cello, and the arching to rise from the margins almost equal to the style of Stradivari. In face of these works of this early master, it is quite surprising that the later Amati School should have departed from his , type.

His instruments are of the greatest possible rarity. His instruments are certainly original in outline, and are intended to be of Stainer model. The arching is, as usual, much exaggerated, and the groove around the contour of the instrument is very deep. The outline is flattened at top and bottom, and gives a peculiarly square look to the violin, and is accentuated by the upper portion being consider- ably nearer the dimension of the lower part than is usual.

The sound holes are rather stiff-looking in consequence of being pretty long, and cut alrhost quite parallel to the long axis of the fiddle. The upper turns are not exactly circular — as the great majority of the imitators of Stainer try to make them — nor are the bottom turns either, and although they are fairly well cut, they have not a very graceful appearance.

Tone, thin and clear. Work same in type, but the fioner. These are decidedly original to a certain extent. His model in his best, 'cellos seems to have been A. Amati, only his curves are not so flowing as we find them in instruments by this fampus Crem'onese firm. The sound holes are quite beautifully cut, and are evidently based on Stradivari instead of A. The design of the whole is, in fact, a congeries of one or two styles, tjie result of which is by no means unpleasing. The sound holes, thoiigh beautifully designed, as I have said, are a little wider than usual, and have the appeairance of being.

His varnish is a very transparent and rather deep orange, with fine golden flashes here and there. They have ,a very fine tone, and Goffriller rarely put labels in his work. When he did, it ran as follows: Brother of above and worked for him. The instruments which he made for him - self have very rarely anything in the shape of a ticket. Like his brother's, they are pure in tone and strong.

Indeed, great sonority is a distinguishing characteristic in them. He was born at Morton Pinkney, Northamptonshire, and was taught violin-making by Charles Harris, who was a relative. After leaving Harris, he was employed by Forster. In , he began business- on his own account in James Street, Buckingham Gate. A son of above maker, and a more varied worker than his father, but not so good. He chiefly made double basses. A so- called pupil of Stiradivari, in whose work, so far as I have seen, it is difficult to trace any influence of the great maker.

The outline is of the Amati type, but large in style. Short corners, deep middle bouts, and rathei;' highly arched. Tone, however, very good. Scroll cleanly cut, but somewhat monotonous looking, and of same width almost to the first turn. Sound holes much more like Amati or Rugerius than Stradivari, and slightly gaping. Varnish transparent and weak- looking red, but of fine quality.

His instruments are, undoubtedly, of a high class, and have a superior quality of tone. He may be called a. Gosselin's instruments have a splendid outline, and the design of his sound holes is good and original, based on Stradivari, and a little longer. The finish of the work is of a high class, and his scrolls very handsome. His tickets run " Fait par Gosselin, amateur, Paris, ann6e —. Coarse work, but a sympathetic and sweet tone. His initials sometimes branded on the ribs below tail pin. His tickets run " Antonius Gragnani, fecit Liburni anno —.

GranCino, Paolo, Milan, — A fine maker in many respects. Supposed to be a pupil of Nicolas Amati, whose style he has followed in most particulars except the scroll. His violoncellos are his best works, and are of high character in the matter of tone. A superior maker to his father. It is also some- times pretty wide.

Light varnish — almost colourless. The outline of his instruments is occasionally a little shaky, but the tone is good. Tickets " Giovanni Grancino in contrada largha di Milano al segno della Corona —. They are, perhaps, the best of this name. Their violon- cellos and double basses are very good. Roughish work and ordinary wood, but good tone. Transparent yellow spirit varnish. Battista and Francesco, fra. Grancino in contrada larga di Milano —. This maker worked for a number of years with Stradivari — so it is said — and returned to Piacenza about His violins are grand instruments, and, curiously enough, a goodly number of them bear Nicolas Amati labels.

They are highly finished. Their quality of tone is exceed- ingly fine, though not always equal all over. The fourth string is sometimes a little weak. His varnish is a deep yellowish red, and of very fine quality. At any rate the work is well worthy of such a master. Is Said to have been born in Cremona during his father's stay there, and to have also been a pupil of Stradivari.

His instruments are valued as highly as his father's, although they are not so powerful. He went to Piacenza after his parent, and worked there a long time, then went to Turin, where he died in His instruments are 'covered with a slightly yellowish red varnish, and his tickets run " Joannes Baptista Guadagnini Cremonensis fecit Taurini or Placentiae Alumnus Antonij Stradivari.

This maker was a brother of Lorenzo Guadagnini, and he is sometimes confounded with his nephew, the preceeding maker. Although he was not always so good a maker as his brother or nephew, he certainly made some magnificent instruments, sometimes of Stradivari type, and sometimes of Amati. Middle bouts pretty deep, fine, equally-balanced outline. Excellent wood, and finely-designed sound holes. Varnish frequently of a very deep orange red. Tickets " Joannes Baptista Guadagnini Placentinus fecit mediolani. Son pf the precceding. Was a violin maker in Milan, Como, and Parma,, and employed his father's tickets.

His instruments have a fairly good tone. There were a number of this name, subsequent to above, and settled in Turin. Almost all the Guadagnini violins have good tone. He was married on 31st December, , to Anna Maria Orcelli, and had seven children born to him. He died at Cremona on 7th December, When he was fifteen years old he was working in the shop of Nicolas Amati, and four years afterwards he- was one of the witnesses mentioned in the register as- being present at the marriage of his master.

His instruments are of beautiful workmanship, and. His varnish is of a golden yellow, bright orange, with a brownish tint, and is occasionally of a fine brown. It is sometimes thickly laid on, but is- always of the finest quality. Guarnerius, Pietro Giovanni, Cremona. Eldest son of above. Born i8th February, , and remained at home until about , when he went to Mantua. Three years before this he had rriarried Caterina Sussagni. About , he returned to Cremona, and appears to.

He varied a good deal, however, and there are examples of his which do not command the same unstinted admiration. His sound holes are often lower than usual, and their cutting parallel for a certain distance on each side of notch. They also have the appearance of being placed straight with the long axis of the fiddle. His outline also looks somewhat full, and just a little heavier than in his greater contemporaries ; but there are occasions when he sur- passes himself.

The tone of his instruments is very fine. The ribs often have very pretty figuration, and his varnish is a beautiful golden amber, occasionally passing to a rich brown. His 'cellos have a superb tone, but are often plainly wooded, and have a slightly reddened brown varnish. He also used spirit varnish of similar colours to his oil varnish. Although his baptismal name was Pietvo Giovanni Guarnieri, he always calls himself simply Petrus Guarnerius as under. Guarnerius, Guiseppe Gian Battista, Cremona. Second son of Andreas was born 25th November, i This maker is called "Joseph son of Andrew " from the inscription found in his tickets.

He was the cleverest of that family. He chose very handsome wood which, for figure, has rarely been surpassed. His margins are generally small, and his purfling sometimes close. His varnish is superb — golden red. The corners of his in- struments, when perfect, show with what extreme care he finished his work, as they come out quite pronounced and sharp. His sound holes have not the vigour of his , greater brethren. Born October i6th, Date of death unknown. This was the greatest of all the artistes called Guarnerius. He was only a very distant relative of the family, his grandfather haying been a cousin of Andreas Guarnerius.

It is not known where he learnt his business, nor where he carried it on. Many of his instru- ments are small, and do not exceed fourteen inches in length, but the peculiarity which will strike most people will be found in the sound holes. These are of an early type, and designed in a most masterly way. At the top the circle has the appearance of a miniature arch of Gothic type. That is to say, the impression made on the mind of an ordinary observer is of that character. They then slope away a little towards the margins and are fairly wide at the middle, the notch being cut at an angle of about forty-five degrees to the longer axis.

His margins are large and massive, his edges round and solid. In a good many of his violins there is a peculiarity which indicates that he possessed at one time a goodly piece of pine. It is a streak of what is called grey wood, and runs down from the top on the left of the fingerboard.

I have also seen it on the right of the fingerboard. The middle bouts are generally cut in at the top without any tendency to travel upward, and sweep out towards the lower corner in a beautiful curve which leaves the indention quite shallow by the time the curve is ended. The grain of a Guarnerius belly is usually of a fairly wide guage. He made no violon- cellos that-I know of, and I have only heard of one tenor, but never saw it.

Many of his instruments are attractive looking. He made a number of 'cellos, and employed a varnish which in some cases might be called " golden. He was a pupil of Claude Pierray. Ha,rdie, Matthew, Edinburgh, about — This maker has produced singularly fine copies of Nicolas Amati. I question if he has been surpassed in that respect by any one of our native makers. His wood is of first class quality.

His outline is a very accurate reproduction. His sound holes slightly err, where almost every maker who copies N. Amati does err, in being just the least bit knockkneed, but in his case it is so trifling as to be scarcely perceptible. He has caught the general proportions of the N. Amati model with great feUcity. His varnish is a yellow— not of the finest degree — of rather light tint, but not unpleas- ing. The tone of his instruments, when in proper.

Worked in his father's shop. Harris, Charles, London, about to This is another splendid native maker, whose work is entitled to rank with that of the best Continental copyists. The cutting of his scrolls is also most satisfactory. The sides of his violins are somewhat low, but in almost all other respects, his conceptions are of the best.

His varnish is of fine quality and of a good, yellowish brown. Hart, John Thomas, London. This is a famous name in fiddle Iqre. He was articled to Samuel GiUcfes previously mentioned, and duly learnt the art of violin making. Just at the time he started business the fever for Italians became accentuated and he turned his attention to the study of the classical instruments.

His opportunities were great, and by-and- by he became a judge of violins of quite a European reputation. Some of the finest collections of the time were formed by him, including the celebrated Goding Cabinet, and also that of Plowden. He also supplied a large number of the fine instruments for. This became the style of the preceeding firm, when the late Mr. George Hart became a partner of his father. Christie and Manson, and ntimberless other important commissions with respect to the finest instru- ments in the world were placed in his hands. He is known wherever a fiddle-fancier has his habitat, as the author of what is, perhaps, the most reliable work on the violin that has ever been written, and he is, besides, the author of a work on " The Violin and its Music," which, for interest in that branch of musical literature, can hardly be surpassed.

He was bdrn in , and died on April 25th, His son, the present Mr.