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Scan 246
Violin tone and violin makers, 1916
10 lines. Read by computer on 27 September 2026. Printed page 224. See the scan on archive.org.
1VIOLIN TONE
3their tone is of Italian character, and far superior to that of the French copies, and they are covered with beautiful varnish, mostly of varying shades of yellow, but more rarely red. Panormo was a consummate workman, and given the material and the opportunity he was capable of building, as few others could, any instrument of the fiddle tribe, from a superb double-bass to a violin. His violoncellos are very fine. Unfortunately he did much work for the trade, which does him little credit, although far better than one is accustomed to see in work of its class. His best fiddles are handsomer and less heavy looking than those of Lupot. His son Joseph is best known as a violoncello maker. His violins look rather heavy in style as a rule, but there are exceptions. George Louis, usually known as Louis, died in London in or before 1845. He is said to have been the second son. The octagon bows bearing his stamp are frequently very fine. He specialised as a guitar maker, but turned out a good many violins. These vary in merit, but some are decidedly handsome. He was a good scroll-cutter.
5PAQUOTTE.—Paris; nineteenth century. A Mirecourt family. The business in Paris was founded by Sebastien, who died in 1863. There were three or four makers, all good workmen.
7PARIS, CLAUDE.—Paris; late eighteenth century.
9PARKER, DANIEL.—London; eighteenth century. An excellent maker, whose work has in recent years risen rapidly in value. He seems to have worked from quite early in the century until after 1770. He shares with John Hare the merit of having turned attention to the pattern of Stradivari, and it is much
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