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Scan 74
A dictionary of violin makers, 1896
38 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 66. See the scan on archive.org.
1colour, which recalls that of Carlo Bergonzi; the tone is admirable. Although the influence of Stradivari is noticeable in every detail, Montagnana's strong individuality also asserts itself, and his work rivals that of Guarneri or Bergonzi. 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 "Guarnerius filius Andreae" and of "Carlo Bergonzi" are often placed in his instruments. His labels are: "Dominicus Montagnana sub signum Cremonae Venetiis, 1729," a similar one dated 1747, and "Domenicus Montagnana sub signo in ab prope Enipontum fecit, anno 1730." one of two readings
2colour, which recalls that of Carlo Bergonzi; the tone is admirable. Although the influence of Stradivari is noticeable in every detail, Montagnana's strong individuality also asserts itself, and his work rivals that of Guarneri or Bergonzi. 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 "Guarnerius filius Andreæ" and of "Carlo Bergonzi" are often placed in his instruments. His labels are: "Dominicus Montagnana sub signum Cremonæ Venetiis, 1729," a similar one dated 1747, and "Domenicus Montagnana sub signo in ab prope Ænipontum fecit, anno 1730." one of two readings
4Montechiari, Giovanni. A maker of viols and lutes in Brescia before 1533.
6Montegatia. See "Mantegazza."
8Montron. A maker in Paris, rue du Grand Hurleur, about 1780-90.
10Morella, Morglato. A maker of lutes, rebecks, 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, 1515," and "Morglato Morella fece in Venezia, 1550." one of two readings
11Morella, Morglato. A maker of lutes, rebecks, 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 Mantuæ, 1515," and "Morglato Morella fece in Venezia, 1550." one of two readings
13Morona, Antonio. A maker in Istria (Istrien) in 1731. Label in beautiful handwriting: "Presbyter Antonius Morona Insulanus ex Istria fecit, 1731."
15Morrison, John, b. about 1760; d. between 1820 and 1830. A maker in London, first lived in Princes Street, Soho, then, in 1819, in Shadwell, and finally at Little Turnstile, Holborn, where he died. Most of his instruments were made for the dealers and were of poor workmanship.
17Mottenhaver, Edward. A maker in New York, U.S.A., who has taken out a great many patents for inventions.
19Mougenot, Georges, b. June 23, 1843, Mirecourt (Vosges). Was apprenticed there to Deroux (père), then worked under N. Darche at Aix-la-Chapelle; was his head workman, 1864-67. He established himself in Liège, in the rue Pont d'Ile; but 1875 succeeded to the business of N. F. Vuillaume, for whom he had long been working, in Brussels, at 23, rue Montagne de la Cour. He employs two workmen to make new violins and violoncellos, he himself always finishing them, determining the thicknesses, doing the varnishing, &c. He follows the Stradivari and Guarneri patterns, using brown-red varnish for the former and golden-red for the latter; the tone is good. Was awarded silver medal, Paris, 1878; gold medal, Amsterdam, 1883; gold medal, Antwerp, 1885; diploma of honour, Antwerp, 1894.
21Mougnet. A maker in Lyons, who invented a lyre-guitar in 1811.
23Muelevoets, Jan. A maker of cithers in Antwerp, 1584.
25N.
27Nadotti, Giuseppe. A maker in Piacenza about 1760-70. A violin of his, exhibited in Milan, was dated 1767.
29Namy, Jean Théodore. Worked in Paris about 1755-1807. Was especially known for the clever way in which he restored old instruments, showing rare skill even in the smallest details. First worked in the business carried on by the widow of Salomon, for in one of his violins is the label: "Fait par Namy, luthier chez Madame Salomon à Paris, 1772." He lived in the place du Louvre, 1783-89.
31Naylor, Isaac. A pupil of Richard Duke. He worked at Headingly, near Leeds, about 1778-92.
33Nella. See "Raffaele."
35Nermel, J. M. A maker in Paris, living in rue St.-Germain-l'Auxerrois in 1777, rue du Pot-de-Fer in 1783, and rue du Vieux Colombier, 1788-89.
37Neuner, Ludwig, b. Aug. 21, 1840, Mittenwald (Bavaria). Grandson of Mathias Neuner, also a clever maker of violins, who worked for some time in London. First learnt in his father's workshop at Mittenwald, afterwards with Andreas Engleder in Munich and Gabriel Lemböck in Vienna; then worked for five years under J. B. Vuillaume in Paris. Left Paris for Berlin, 1867, and there established a business at 6, Kurstrasse, working there assisted by two workmen till 1883. In February that year, through
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