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Scan 75
A dictionary of violin makers
23 lines. Read by computer on 27 September 2026. Printed page 65. See the scan on archive.org.
1is a little guitar dated 1781. He also made five-stringed viols, and violins. Label: "J. P. Michelot, rue St.-Honoré, 'à la Mélodie,' 1790."
2Mier. A maker in London in 1786.
3Miggé, Otto, b. June 16, 1857, Coblenz. Has made about 80 violins and 14 violoncellos of good tone.
4Milani, 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.
5Milhet. Was working in Bayonne about 1820. His instruments were of ordinary workmanship. He used yellow-brown varnish.
6Mille. A maker at Aix-la-Chapelle. A small pocket violin is known that had been repaired by Remy.
7Miller. A maker in London about 1750. He worked at the sign of the "Citern," London Bridge.
8Miller, A. A maker in St. Andrew's, Scotland, in the 19th century.
9Minozzi, Matteo. Was working in Bologna in the 18th century.
10Miraucourt, Ludovic (or Joseph). A maker of viols at Verdun about 1740-50. A six-stringed viol is dated 1743.
11Miremont, Claude Augustin, son of Sébastien Miremont; b. 1827, Mirecourt; d. 1887, Pontorson (Manche). Was first a pupil of his father, then for three years of Collin-Mézin. In 1844 he went to Paris, and worked first with Lafleur, 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-Poissonnière. 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 himself alone, no workman assisting; they show good work and have excellent quality of tone. He made some excellent 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, Breveté S.G.D.G. Paris, an 1875. (Signed) A. Miremont," and "C. A. Miremont fecit Parisiis, anno Dni. 1882."
12Miremont, Sébastien. A maker at Mirecourt, b. about 1810; father of Claude Augustin Miremont.
13Modessier (Moitessier). A maker in Paris in 1810. His instruments were made on a large pattern, the wood was generally excellent.
14Moers, Jean Henri. A maker in Paris about 1771.
15Mohr, Philipp. Was working in Hamburg about 1650.
16Moinel, 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.
17Moitessier, Louis. A maker at Mirecourt 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.
18Moldonner (Maldonner). A maker in Füssen, Bavaria, about 1756-98.
19Molinari, Antonio. A maker in Venice, 1672-1703.
20Molinari, Josefo. A maker of mandolines 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."
21Montade (Montani or Montaldi), Gregorio. A maker in Cremona about 1690-1735. Was either a pupil or merely an imitator of Omobono Stradivari. His work is fairly good.
22Montagnana, 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 prominent, 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 Bergonzi; the tone is admirable. Although the influence of Stradivari is noticeable
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