Scan 64
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1maker has undoubtedly high claims to acknowledgment. He has the reputation of having been actually at Cremona under Stradivari. His work is of a very high character. The outline of his larger instruments is extremely beautiful, and bears quite recognisable evidence of having been guided by a Stradivari motif, but his sound holes are cut much lower than in Stradivari instruments, which is a curious circumstance in a maker who came so directly under the influence of the great Cremonese. Oddly enough, they do not detract much from the fine feeling of the ensemble. There is not that sense of entire compactness with which a Stradivari 'cello inspires one, but that is all. De Comble's scrolls are very beautiful specimens of sculpture. Varnish a fine brownish red, pretty closely resembling Italian.
3Comins, John, London, about 1800. A very good worker who, it is said, was a pupil of Forster. Made instruments pretty deep in the ribs. Light yellow-brown varnish. Fine wood.
5Contreras, Joseph, Madrid, 1745. Very good style and work. Not very many specimens about.
7Cross, Nathaniel, London, 1700—1750. I cannot say that I greatly admire this maker's work. Somewhat large and deepsided, his violins have rather tasteless sound holes, very short corners, and common outline. They are covered with a light yellow varnish. He worked in conjunction with Barak Norman. His scrolls are certainly fine.
9Derazey, H., Mirecourt. From about 1820. A good copier of J. B. Vuillaume in outward appearance, especially in the figures of the backs of some of his
Makers on this page
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