SIMON, ---- Paris.

SMITH, HENRY, London, 1629. This may be a celebrated maker of viols, &c., mentioned by Mace, 1676, as one of the best then known.

SMITH, THOMAS, London, 1756 to 1799. This well known maker was a pupil of Peter Wamsley. His violoncellos are of the Steiner model, and some of them possess considerable power, and were formerly highly esteemed, but they are now considered to be deficient in quality and wanting in the rich fine tone of the Italian artistes. Notwithstanding, they are still favourites in the country; the editor knows two of his violoncellos which have been respectively sold for 30 and 40 within a few years.

SMITH, WILLIAM, London, 1771.

SOLOMON, ---- pupil of Bocquay, a good French artiste.

SPEILER, ---- 18th Century.

STADELMANS, DANIEL, 1744, Vienna.

STADELMANS, JOHANN JOSEPH, Vienna, 1784. Fame speaks very highly of this maker, who closely imitated Jacob Steiner and ranks next to him among the German makers.

STEINER, JACOB, of Absom in the Tyrol, born about 1620, date of death not known, but at about the age of seventy retired to a Convent.

See separate chapter on this celebrated artiste.

STOSS, FRANCIS, Bavaria.

STORIONI, LORENZO, Cremona, living in 1782, said to be the last of the great Cremona makers. Forster says his instruments resemble those of Joseph Guarnerius, and that Vieuxtemps' solo violin in 1861, was by this master, and was very much admired. His violoncellos are very powerful. The author knows a violin which an authority says is by Storioni, but which the owner considered to be by Antonius and Hieronymus Amati. The same authority says there are only two in England of this make. It possesses a splendid fine full and rich tone, beautiful wood for the belly, but the back rather plain, varnish deep yellow with reddish tinge. Workmanship not very fine. We mention those little known artistes' instruments when we have seen them, because they are now rising in value and are esteemed as likely to afford good instruments to those who cannot afford those of the three great masters.

STRADIUARIUS, ANTONIUS, Cremona, born 1644, died 1737.

See separate chapter for a fuller account of this celebrated artiste.

STRADIUARIUS, h.o.m.oBONO, Cremona, son of Antonius; made instruments under the direction of his father, which were signed "_Sub disciplina A. Stradiuarius._"

STRADIUARIUS, FRANCISCO, Cremona, another son of Antonius, and signed in the same manner as his brother.

STRAUBE, ---- Berlin, 1770. Constructed after the Italian model. His instruments are scarce and good.

STRNAD, GASPAR, Prague, 1781 to 1793. This maker bears a good reputation.

STURIONUS, LAURENTIUS. See Storioni.

SURSANO, SPIRITUS, Coni, 1764.

T.

TAYLOR, ---- London, 1770 to 1820.

TECHLER, DAVID, first established himself at Salzburg, and afterwards went to Venice, where the story goes that he was so persecuted by other makers that he fled to Rome, about 1706. He made some excellent and beautiful instruments. They have fine yellow varnish and resemble those of the Tyrolean school of Albani and others. Lindley had a violoncello by this maker which was very fine, and powerful in tone. Another was sold a few years ago by auction, for 50. We have seen a violin of this maker, with very beautiful wood and highly finished workmanship, the tone of which was very pure and polished.

TENZEL, ---- One of our catalogues contains a violin by this maker, but we have no particulars.

TEODITI, JEROME, Rome, 1750.

TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for this maker that he was the first to give the name of violino to the reduced viol.

TERRESIO, ---- An Italian who died in 1853, was a most eminent judge of instruments. His whole existence seemed to be centered in his art, and his eye became so practised that when travelling to discover old instruments, he took them all to pieces, sides, backs, heads, and all parts, forming a conglomerate ma.s.s of pieces of valuable violins. The object of so doing was to avoid the customs' dues which are of course heavy on old instruments. When he reached his destination, he would replace them without the aid of a single mark. After his death his house, or rather his hermitage, was visited by connoisseurs, who found it strewed with different parts of instruments, some being found in the most out of the way places. He had the major part of all the great instruments through his hands. Among other valuable instruments found in his house after his death, was a Gaspar di Salo double ba.s.s and a Bergonzi double ba.s.s--the latter unique. Both these instruments are now in Mr. Hart's possession. The Gaspar di Salo is very perfect and its tone is unsurpa.s.sed. The Bergonzi is quite a curiosity, from its being the only one of his make known. He visited this country during the Exhibition of 1851, and was deeply gratified upon seeing so many high cla.s.s instruments among the dilettanti here, and the taste and zest the English have in forming collections.

TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some very good instruments after the Guarnerius pattern. The wood of the backs of his violoncellos is mostly pear tree, and the bellies are of splendid wood. The tone is very powerful, but not always so smooth as might be wished. This is another rising name. The celebrated double ba.s.s player Bottesini, uses one of this maker's instruments which possesses a splendid tone, and is sufficient to stamp Testore as an excellent maker. If any of his smaller instruments possess as good and fine a tone as this double ba.s.s he must be ranked among the best Italian artistes. Use will probably wear away the want of smoothness at present complained of in some of them.

TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730.

TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have the reputation of being good makers. Of these artistes we have a note which states that their model was flat, resembling Joseph Guarnerius in shape, but the varnish very inferior and void of colour.

THOROWGOOD. HENRY, London, the 18th Century.

TOBIN, ---- London, 1800 to 1836. This maker cut most beautiful heads, and his work was neatness in the extreme, so much so indeed as to rob it of decided character.

TONINI, FELICE, Bologna.

TONINI, ANTONIO, Bologna.

TONINI, CARLO, Bologna.

TONINI, GUIDO, Bologna.

We have no special information on these makers, but they are generally ranked among the good Italian makers.

TONONI, CARLO, Venezia, 1699

TONONI, GIOVANNI, Venezia, 1699. The instruments by Tononi are worthy of the highest praise. They are however very scarce. They are of the large pattern, and flat model, with good varnish, and everything about them, including a superior tone, to ent.i.tle them to be ranked as excellent instruments.

TORING, ---- London.

TRUNCO, ---- Cremona, 1660.

U.

URQUART, THOMAS, London, 1650. An excellent old English maker. He used beautiful varnish (for English) and made many small violins which are useful to young players, being old and the price reasonable.

V.

VALLER, ---- Ma.r.s.eilles, 1683.

VERON, ---- Paris, about 1725. Highly esteemed in France.

VIARD, NICHOLAS, Versailles, about 1730.

VIBRECHT, GYSBERT, Amsterdam, 1707.

VIMERCATI, PAULO, Venezia, 1700.