Books › Violin tone and violin makers, 1916 › scan 215
Scan 215
Violin tone and violin makers, 1916
8 lines. Read by computer on 27 September 2026. Printed page 193. See the scan on archive.org.
1AND VIOLIN MAKERS
3the front; but the writer has seen exceptions where he was more successful with this feature. Sound-holes vary in form, some being of Amatese cut, and others hinting of the school of Stainer. His instruments are not so rare as is frequently supposed, the fact being that many of them still figure either as the work of Amati or of other Italian makers. One such, in the possession of a well-known French professor, recently came under the writer's notice, and had been confidently declared to be an early example of Stradivari. Jacobs used whalebone purfling, which in some cases has been removed, and wooden purfling inserted by other hands. Whether he personally inserted Amati tickets into his instruments, as some Italians did, is not clear. The tone of a well-preserved example is usually excellent. The name seems to have been at first "Jacobsz," the final "z" being dropped in the labels usually seen. The older books speak of a Peeter Jacobs, who, if he ever existed, apparently cannot now be traced. Vidal supposes that he was really identical with Pieter Rombouts, another Amsterdam maker contemporary with Jacobs, and supposed to have worked with him.
5JACOT, JEAN CHARLES.—Metz. Died 1887. Made some well-made instruments; a son was established in Paris.
7JACQUOT.—Nineteenth century; Nancy, Paris. A well-known family of makers. The founder was CHARLES, born at Mirecourt 1804, died 1880, near Paris. Worked with "didier" Nicolas, and later with Breton. Was first established at Nancy, went to Paris in 1854 and there produced his best work. An excellent workman, and a good judge of old instruments. He received numerous medals.
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