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Scan 233
the history of the violin, 1864
6 lines. Read by computer on 28 September 2026. Printed page 211. See the scan on archive.org.
1CHAPTER XVI.
3In the seventeenth century we have a crowd of names of makers requiring more or less notice, including Guarnerius and Stradivarius. Some will demand nothing more than a passing notice, and of others we know scarcely anything but the name—he lived, worked, and died.
5In the early part of the century Claud Pierret, Jacques Bocquay, Veron, Antoine Despons, and Guersan were good makers at Paris, and we shall shortly refer to some other French makers. The instruments of Despons were said to be held in esteem, and to be rare; and in Britton's sale there is a violin by "Claud Pieray of Paris as good as a Cremona." Guersan was a pupil and the successor of Bocquay; his violins were of small pattern, and finely made, but are scarce. They had fine oil varnish, and some were said even to equal those of Andreas and Antonius Amati. "Luthomonographie" describes one instrument having the lower plate in two parts, and the varnish a deep yellow; also another, a viola of middle size, with the lower plate in two parts, and the varnish brownish red. We have a ticket of a maker called Valler, at Marseilles, in 1683. Giovanni Paolo Maggini, born at Brescia, was a celebrated maker from 1590 to about 1640, and is said to have been the best pupil of Gaspar di Salo. His instruments are rare, and much esteemed.
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