Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 78

A dictionary of violin makers, 1896

26 lines. Read by computer on 3 September 2026. Printed page 70. See the scan on archive.org.

1Riechers till 1874. Succeeded to his father's business, at 132, Kaiserstrasse, Carlsruhe. Assisted by two workmen, he makes forty to fifty instruments (violins, violas and violoncellos) a year, on the Stradivari pattern, using oil varnish, of reddish-yellow or golden-brown colour. He is especially skilful in repairing old instruments, of which a great number are sent to him from all parts of the world. Awards: gold medal and diploma, Carlsruhe, 1877; silver medal and diploma, Mannheim, 1880; gold medal and diploma of honour, Strassburg, 1895.
3Pagani, Gian Battista. A maker in Cremona in 1747. A violin is known, well made.
5Paganoni, Antonio. Was working in Venice in the middle of the 18th century.
7Pageot (Pajeot), son of Louis Simon Pageot; b. Jan. 25, 1791, Mirecourt; d. there Aug. 24, 1849. A maker of bows, he obtained a "mention honorable" in 1834 for the finish of his work. In his workshops about 8,000 dozens of bows were turned out at prices varying from 6d. to 14s.
9Palate. A maker in Liège about 1710. He followed the Italian pattern, and left some excellent instruments.
11Palma, Paolo. Worked in Lucca about 1760.
13Pamphilon, Edward. A maker in London, on London Bridge, about 1680-90. His instruments were of small pattern, very much arched, and generally of stiff, inelegant outline; the work carefully and delicately finished; the sound-holes small, sometimes finished with a drawn-out curl like the volute of a scroll, the bottom curve running out almost at right angles to the axis of the violin; the heads too small, an ordinary failing of the early English makers, but artistically shaped and often deeply scooped in the volute. The purfling is often double, and he used a very fine yellow varnish which looks extremely well; the tone is clear, pure, and penetrating. He also made tenors of small pattern but of good tone; no violoncellos of his are known, for at that time the bass-viol with the flat back was still in use. His instruments are still much liked; their similarity to those made in Brescia led to labels of "Gasparo da Salò" being placed in them, a deception all the more easily carried out as few Pamphilon labels exist. Label: "Edward Pamphilon, April the 3rd, 1685."
15Pandolfi, Antonio. A maker in Venice about 1700-20. His work is good and he used a yellow-brown varnish; a violin dated 1719 was exhibited at Milan in 1881.
17Panormo, Edward, either a son or a grandson of Vincenzo Panormo; he worked both in London and in Ireland.
19Panormo, George. A maker in London, probably a grandson of Vincenzo Panormo.
21Panormo, George Lewis, second son of Vincenzo Panormo. He was a celebrated bow maker in London, and lived first in Oxford Street, then in High Street, Saint Giles-in-the-Fields. He made very fine guitars (one was dated 1833) and some good violins on the Stradivari pattern.
23Panormo, Joseph, eldest son of Vincenzo Panormo. Was born in London, lived first in New Compton Street and then in King Street, Soho; he died in great poverty. He was a very good workman, and his violoncellos especially were excellent.
25Panormo, Vincenzo (known as "old Panormo"), b. Nov. 30, 1734, Monreale, a village near Palermo, Sicily; d. 1813, London. When only sixteen he began, without aid, to make various kinds of musical instruments. He went to Cremona for a short time and probably worked there under Bergonzi. About 1753 went to Paris; in 1772 made a short visit to England; 1783-89, was again living at 70, rue de Chartres, Paris, but soon after removed to London. He also worked in Ireland for a short time, and there converted a maple-wood billiard table into some very beautiful instruments. He was a remarkably good workman, especially in his fine copies of the Stradivari pattern; his instruments were rather small, the sound-holes and scrolls well cut, the varnish a clear yellow colour, sometimes rose; the tone is very fine. A few violoncellos made on the Stradivari pattern are generally of handsome maple-wood for the back and ribs, and have an extremely rich and powerful tone. His violins, violoncellos, and double-basses are all much liked for the pure and good quality of their tone; his guitars have a high reputation. Some of his work is poor, but he made a good many instruments for the trade, using the wood (often of bad quality) supplied by his employers, and generally had to finish these instruments within a given time. Labels: "Vincent Panormo, rue de l'Arbre-sec

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