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Scan 241
Violin tone and violin makers, 1916
12 lines. Read by computer on 27 September 2026. Printed page 219. See the scan on archive.org.
1AND VIOLIN MAKERS
3staff of workmen, and degenerated into a manufacturer of coarse-sounding, common-place instruments, which, though useful enough in the orchestra, are quite unsuitable for other purposes. The type of instrument ultimately turned out has been extensively copied in France and elsewhere. The feature which at once strikes the eye is the sound-hole, the wings of which are cut off almost horizontally. His fiddles are branded with a triangular stamp "a la Ville de Cremonne." Several other Mirecourt makers adopted the "Ville de Cremonne" as a sign. A son, JOSEPH, died in 1864, and after the latter's death the business was sold to Derazey (q.v.).
5NIGGELL, SYMPERT.—Füssen; circa 1730-75.
6A maker of some repute, but not very well-known in this country. A few fiddles seen by the writer were well-finished instruments; pattern a little like that of Albani, and with dark brown varnish. He branded his work inside with his initials.
8NISBET, WILLIAM.—Prestonkirk. Born 1828. Pencilled his name inside the backs of his violins. Obtained a medal in Edinburgh in 1886.
10NORMAN, BARAK.—London; circa 1680-1740.
11Said to have been the first maker of violoncellos in this country. His work is generally double purfled, and he imitated some of the Maggini features, including the peculiarity observed in that maker's sound-holes, the lower circles of which are smaller than the upper ones. The violoncellos are large, and well made, the varnish generally a dark red-brown, but lighter shades occur. He and Nathaniel Cross, with whom he was for a time partner, seem to have made a number of ornamentally purfled viols-da-gamba. The writer has seen some of these, converted and
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