Books › British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904 › scan 135
Scan 135
British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904
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1Maesteg, Glamorganshire. It is a fine stick, with a graceful cambre and good balance. Its length is exactly 28 1/4 in., and the length of the hair 25 1/8 in. It is of medium weight, and very dark in colour. The face of the heel is decorated with mother-of-pearl, and the ferrules are of thick silver. Dodd's name was stamped on all sorts of wretched nondescripts in the middle of last century, and his fame suffered considerably in consequence. But his work has suffered more than his fame, for there are hundreds of mongrel "Dodds" about, some with genuine heels, others with genuine heads, and not a few patched up in divers manners. The owner of a genuine Dodd, of regulation length, or anything near it, and made in his best style, has a treasure that he can well be proud of.
3DODD, THOMAS, London: 1786-1823. He was the son of Edward Dodd of Sheffield, previously noticed. He did not make many instruments himself, but he employed very clever workmen to do so for him. He was first of all a bow-maker in Blue Bell Alley, Mint Street, Southwark, and in 1798 he became a violin-maker and dealer, opening a shop in New Street, Covent Garden, and moving in 1809 to St. Martin's Lane, Charing Cross. Later on he added another sail to his craft, and became a harp and pianoforte maker. The instruments which bear his label are mostly the work of John Lott and Bernard Fendt, two excellent workmen. Dodd's genius, however, brooded over them whilst fashioning these magnificent instruments, like a mighty spirit brooding over the formless void. He was an enthusiastic connoisseur, with a heart and mind steeped in Italian lore, and he brought his knowledge to bear upon the work at every turn. It is impossible to say how much of the work beyond the varnishing was his own—probably no more than the determining of the thicknesses. With two such clever men to carry out his instructions, there was no occasion for him to handle the gouge and chisel. When the instruments were ready "in the white," Dodd overhauled them carefully and then varnished them with his own hands. His varnish is excellent—quite equal to that of Benjamin Banks—and he applied it most
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