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Scan 161
Old Violins And Their Makers, 1883
4 lines. Read by computer on 30 September 2026. Printed page 147. See the scan on archive.org.
1jocularly said of him that he only produced a single good work in his lifetime, to wit, his son Pierre Gaviniès, one of the most splendid representative violinists of the French school. Another master of the guild was Pierre Louvet, whose year of office was 1742, and this appears to have been his sole distinction. The Conservatoire of Paris has a viol by this maker, dated 1747.
3It would be tedious to the reader to refer individually to the thirty or forty violin makers whose names have been handed down, and who were actively engaged in the pursuit of their profession between the years 1740 and 1760. Many of them were comparatively poor representatives of the art, and some derive their claim to notice—if it is one—almost solely from their connection with the corporation already referred to. A general list will sufficiently recall their names to the reader. One or two examples of this period may, however, be selected, such as André Castagneri, an Italian, who arrived about this time in Paris, and made good instruments, both in regard to workmanship and quality of tone. They had a yellow varnish, and do not appear to be very common. One Vanderlist, at Paris, made very accurate imitations of the Guadagninis, it is said, about 1750—a statement which is somewhat surprising when it is remembered that the Guadagninis were at that time busy at their work in Italy. It at any rate indicates that the name had early acquired some renown, and perhaps Vanderlist went direct from their workshop to the French capital. He burnt his name on his instruments, besides placing a ticket in the interior. The violins of Pierre André Veron, another master of the guild, were at one time in fashion. He
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