"From this formula the numbers given in the last column of the following table were calculated."

+--------------------------------------------+-------------+ | _Distance from Head of Bow in Inches_. | Diameter | +--------------+--------------+--------------+ in parts of | | Violin | Viola | Violoncello | an inch. | +--------------+--------------+--------------+-------------+ | 0 | | | .210 | | 2 | 0 | | .230 | | 4 | 1-1/2 | 0 | .247 | | 6 | 3 | 1 | .262 | | 9 | 5 | 3 | .280 | | 13 | 8 | 5-1/2 | .300 | | 18 | 11-1/2 | 9 | .318 | | 23 | 15 | 12 | .333 | | | 19 | 16 | .348 | | | 23 | 20 | .360 | | | | 24 | .370 | +--------------+--------------+--------------+-------------+

These measurements, of course, only extend to the commencement of the cylindrical portion.

Woolhouse made a small gauge of ivory, based on the above measurements, which proved of great practical value in examining bows. The measurements he obtained by the above calculation apply to wood of medium density. He says, "For close and dense wood the dimensions should be somewhat diminished, or, what amounts practically to the same thing, the distance from the head should, for dense wood, be increased by half an inch, or an inch, as the case may be, before applying the gauge." He then gives a table of inclusive weights of violin, viola and violoncello bows.

+---------------------------------------------------+ | _Weight of Bow for_ | | +-------------+-------------+-------------+ | | Violin | Viola | Violoncello | | +-------------+-------------+-------------+ | | grains | grains | grains | | Light | 850 | 1,000 | 1,150 | | Medium | 900 | 1,050 | 1,200 | | Heavy | 950 | 1,100 | 1,250 | +---------+-------------+-------------+-------------+

In speaking of the adjustment of the spring or _cambre_, Woolhouse gives a means of obtaining the exact curve that does not strike me as being sufficiently reliable for the purpose. He suggests that "an auxiliary bow be made of the proper dimensions, but so as to be quite straight; then, on being haired and screwed up in the ordinary way, it will show, in an inverted position, the exact curve to which other bows should be set." But "screwed up in the ordinary way" appears to me to admit of too much lat.i.tude of application: it is not possible to divine to what extent this auxiliary bow _is_ to be screwed, and if _this_ is left to the judgment of the maker, why not set the _cambre_ by judgment and save the trouble of the straight auxiliary bow?

I will now proceed to give an alphabetical list of bow makers which I trust is as complete as possible. I have endeavoured to leave out all purely factory makers in favour of those who are personally engaged in the manufacture of bows. There are some in the list who are not actual makers, but who carefully supervise all the bows issued under their name. Such work is always distinctive and differs greatly from that issued by firms who order bows by the gross from foreign factories, and then stamp their own name on the stick. This is a cla.s.s of bow that usually looks very pretty and tempting to the young lady amateur, but is sadly lacking in balance and spring; what little there may be of the latter at first soon disappears, for it is quite impossible for any firm to turn out thoroughly efficient bows at the extraordinarily low prices one sees quoted. One must remember that for a bow to be of any real utility, the material, the workmanship, and the fittings must be of the very best possible description.

CHAPTER VIII.

A LIST OF BOW MAKERS.

A noticeable feature in the following list is the great preponderance of French makers. Curiously enough the list of bow makers commences with:

ADAM, JEAN DOMINIQUE. He was born at Mirecourt in 1795, and died at the age of sixty-nine. He is said by some to have been the son of one Jean Adams, a bow maker of the eighteenth century. How far this may be true is impossible to say. The difference in the spelling of the name may not be a great matter, but there is no explanation forthcoming. The majority of his bows are very commonplace, but occasionally he "made an effort" and produced something out of his ordinary run, and these he invariably stamped ADAM. Of these the octagonal sticks are most highly prized.

ALLEN, SAMUEL. Born in Cornwall in 1858; was originally intended for a schoolmaster. Worked at several mechanical trades and being musical, he naturally turned his attention to fiddles, and ultimately, bows. Messrs. W. E. Hill and Sons employed him as a bow maker for several years. Although he held a high position in their workshop his independent nature was not satisfied until 1891, when he set up in business on his own account as a violin and bow maker and repairer.

BAROUX, Paris. Early half of the present century. Occasionally made some very excellent bows, but the general average of his work is only moderate.

BAUSCH AND SON, Leipsic. Middle of present century. The bows issued by this firm are valued highly in Germany. They are well made and, as a rule, strong.

BAZIN, GUSTAVE, Mirecourt. A very capable workman, some of his 'cello bows are excellent.

BETTS. Born 1755, died 1823. Worked in London as a violin maker and dealer. The bows bearing his name were made by Edward Dodd and W.

Tubbs.

BRAGLIA, ANTONIO, Modena. Beginning of this century. I have not seen any of this maker's work.

BROWN, JAMES (Junior), London. Born 1786, died 1860. A clever maker, worked much for the trade, but turned out some good sticks, stamped with his name.

CHANOT, ADOLPH, Paris. Brother of the late Georges Chanot of Wardour Street. Born about 1828. Worked with Henry of Paris and has turned out some magnificent sticks. His death, which took place suddenly, at the age of twenty-nine, was due to an aneurism. Had he lived he would undoubtedly have taken a high position in the esteem of bow wielders.

DARBEY, GEORGE, Bristol. Died March, 1921.

DODD, EDWARD, London and Sheffield. Born 1705, died 1810. One seldom finds a bow bearing his name as he was mostly employed by others, such as Betts, Forster, Norris, etc.

DODD, JAMES. Worked in London in 1864; it is doubtful if any of his work can be identified as he almost invariably worked for others.

DODD, JOHN. Born in 1752, died in 1839. This was _the_ English bow-maker _par excellence_. For fuller details of his life and work see Chapter VI.

DODD, THOMAS, London, 1786-1823. He differed from the others of this name inasmuch as he did not make for others but employed others to make for him.

EURY, Paris. Early part of the present century. His bows are universally esteemed, some of them being exceptionally fine. He did not always stamp his bows, but when he did it was generally under the "lapping" or, as some say, the "whipping."

FONCLAUSE, JOSEPH. Born in 1800, died in 1865. He was an excellent maker. He first learnt the art of bow-making from Pajeot at Mirecourt, and ultimately worked for J. B. Vuillaume at Paris. Later on he started on his own account. His bows from this period are usually marked with his own name.

FORSTER, WILLIAM. A noted English violin maker who was born near the middle of the last century. One now and then meets with a bow bearing his name. These are all the work of E. Dodd, W. Tubbs, or some other skilled workmen in his employ.

GAND AND BERNARDEL, Paris. A modern firm whose staff make some remarkably fine bows. They are mostly stamped with the name of the firm; but as they make bows to the order of various other firms there are many examples of their work either unstamped or bearing fict.i.tious names.

HARMAND. Worked in Mirecourt about 1835. Made some fairly good bows.

HENRY. Born in 1812 at Mirecourt where he first learnt his craft. He worked there till his twenty-fifth year, when he went to Paris. Here he was employed by Chanot first, and later, by Peccatte. When Peccatte left Paris, Henry entered into partnership with Simon, another workman in Peccatte's employ who had succeeded to the latter's Paris shop. This partnership lasted till 1851. He then worked alone. He was a magnificent workman and has produced some splendid bows. I have in mind a 'cello bow of his shown me by J.

Chanot that is a marvel of strength and elasticity. He died in 1870.

Sometimes his bows are stamped "Henry, Paris."

HILL, W. E., AND SONS, London. Contemporary. This firm issue some very fine bows which are made in their own workshops by expert workmen trained under the personal supervision of Mr. A. Hill.

JOSEPHS. American, contemporary. A very clever maker and repairer of violins and bows. I have seen some of his work that was excellent.

KITTEL, St. Petersburg. Modern. I have never come across a specimen of this maker's work. Fleming states that they "are about as nearly equal to Tourte's as those of any maker that has lived since his day." It is a pity they are not more plentiful if this is the case.

KNOPF, HEINRICH, and KNOPF, LUDWIG, Berlin, contemporary. Fairly good bows made chiefly to the order of other firms.

LAFLEUR, JACQUES. Born at Nancy in 1760, died in Paris 1832. One of the best of the old makers. Some continental authorities place him on a par with Tourte. Those of his make that I have handled are certainly very fine indeed.

LAFLEUR, JOSEPH RENe, Paris. Born in 1812, died in 1874. He was the son of Jacques Lafleur and inherited much of his father's skill.

LAMY, ALFRED JOSEPH. Born in 1850 at Mirecourt. He was an excellent maker. An interesting feature is that he learnt his craft at a remarkably early age. He worked first with Gautrot at Chateau-Fleurry. He went, like the rest, to Paris in 1877, and worked for Voirin for some eight years. At Voirin's death he started in business for himself.

LUPOT, FRANcOIS. Born at Orleans 1774, died at Paris in 1837. For fuller particulars of this maker see Chapter VII.

MAIRE, NICOLAS, Mirecourt and Paris. Was a pupil of Jacques Lafleur but never did any work of great distinction.

MIQUEL, EMILE. A contemporary Mirecourt maker.

NuRNBERGER, KARL ALBERT, Markneukirchen. Contemporary. A most finished workman and a clever imitator of the styles of various well-known makers. Has worked much for the trade. His best examples are frequently stamped with his name, and amongst these will be found bows which are fit to rank with some of the finest productions of the French school. There are other makers of the same family engaged in bow making.

PAJEOT. Worked in Mirecourt in the early part of the present century.

An excellent maker. He taught Joseph Fonclause who is known to have made some of the finest bows bearing Vuillaume's stamp.

PANORMO. The quaint faceted bows of which I have given an example in Plate VIII. were made, as far as I have been able to ascertain, by George Louis Panormo, in the early part of this century. Details concerning this family are neither plentiful nor clear, but it is fairly certain that this bow maker was a son of Vincent Panormo of Palermo, Paris, Ireland, etc., who first made the name famous in the fiddle world. A description of the characteristics of his work will be found in Chapter VII.

Fleming mentions a George Louis Panormo as a _modern_ maker in London, but I do not know of such a maker. I am informed on excellent authority that all the Panormo bows were made in Paris.

PECCATTE, DOMINIQUE. Born in 1810 and died in 1874 at Mirecourt.

Details of his life and work are given in Chapter VII.