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Scan 70
A dictionary of violin makers, 1896
42 lines. Read by computer on 27 September 2026. Printed page 62. See the scan on archive.org.
1made many good altos; the varnish, of fine quality, varies in colour, sometimes 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 1770; and "Petrus Joannes Mantegatia fecit Mediolani in Via S. Margarita, 1790."
3Mantovani. Was working in Parma in the 18th century.
5Maratti, Giambattista. A maker in Verona about 1690-1700. His violins are of fair workmanship and have a good tone.
7Marcelli, Giovanni. A maker in Cremona in 1696. Label: "Joannes Marcelli fecit Cremonae, MDCXCVI."
9Marchal (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 à Paris."
11Marchetti, Enrico. A maker of good instruments in Turin in the 19th century.
13Marchi, Giovanni Antonio. A maker in Bologna about 1740-95. His violoncellos 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.
15Marco, Antonio. A maker in Venice in 1700.
17Marconcini, 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.
19Marconcini, 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."
21Maria, Giuseppe de. A maker of mandolines at Naples, 1779. Label: "Joseph di Maria di Napoli in Strada S. Pietro a Majella f. in Napoli, A.D. 1779."
23Mariani, 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."
25Marino, Bernardino. A maker in Rome who worked up to 1805.
27Marins. A small pocket violin of ivory and coloured woods was inscribed "Marins," and was probably made about 1610.
29Marquis de Lair. A maker in Mirecourt 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 instruments on the back, "Marquis de Lair d'Oiseau."
31Marshall, 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 Covensam hortum) Londini, fecit 1757"; and "Marshall: London, 1759."
33Martin. A family of makers in Paris, who chiefly dealt in and repaired old instruments. Guillaume Martin succeeded 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.
35Martin, Jules. A maker in Germigny, Vosges. See "Guarini."
37Martin. A maker in London in 1790-95, who lived at Hermitage Bridge, Wapping.
39Mast, 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 become almost black. He branded his violins with "J. L. Mast, Paris," both inside and outside.
41Mast, Josephus Laurent, son of Jean Laurent Mast. Was born at Mirecourt and was still there in 1820. He was apprenticed to Nicolas there at the sign of "A la ville de Crémone," 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-
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