Davidson, Hay—Davis, Richard—Davis, William—Dearlove, Mark—Delany, John; his peculiar label—Dennis, Jesse—Devereux, John—Dickinson, Edward—Dickeson, John; excellent copyist of Amati—Ditton—DODD, THOMAS; not a maker, but an employer of makers of highest class, and especially famous for the high character of his varnish—Dodd, Thomas (2)—Dorant, William—DUKE, RICHARD; his name a "household word" with English Violinists; high character of his real work, but frequently and badly counterfeited; his models both Amatese and Stainer—Duke, Richard (2)—Duncan
300–305
Eglington—Evans, Richard
305
FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F. Lott; his instruments copies of Amati, bearing the labels of Thomas Dodd or John Betts, and highly valued—FENDT, BERNARD SIMON; good work, but sometimes artificially "matured;" his Violins, Tenors, Violoncellos, and Double-Basses; follower of the Guarneri and Gasparo da Salò models; his quartett of instruments in the London Exhibition of 1851—Fendt, Martin—Fendt, Jacob; his work finely finished; skilful copies of Stradivari, but artificially and cleverly "aged"—Fendt, Francis—Fendt, William—Ferguson, Donald—Firth—Forster, W.—Forster, William (i.); spinning-wheel and Violin-maker—FORSTER, WILLIAM (ii.); also a maker of spinning-wheels and Violins, and amateur Fiddler; an excellent copyist of Stainer and of the Amati models; high character of his work and varnish; his Double-Basses for the Band of George the Third; his instruments highly valued by Robert Lindley—FORSTER, WILLIAM (iii.); excellent work—Forster, William (iv.)—Forster, Simon Andrew—Frankland—Furber, John—Furber, Henry John
305–313
Gibbs, James—GILKES, SAMUEL; a thorough artist, and pupil of William Forster—Gilkes, William—Gough, Walter
313–314
Harbour—Hardie, Matthew; Scotland's best maker—Hardie, Thomas—Hare, John—Hare, Joseph—HARRIS, CHARLES; genuine character of work, of Amati and Stradivari type; exquisite finish and good varnish—Harris, Charles (2)—HART, JOHN THOMAS; pupil of Samuel Gilkes; specially known as connoisseur, collector, and dealer—Heesom, Edward—Hill, Joseph—Hill, William—Hill, Joseph—Hill, Lockey—Hill, William Ebsworth—Holloway, J.—Hume, Richard
314–318
Jay, Henry; Viol-maker—Jay, Thomas—Jay, Henry; maker of Kits—Johnson, John; music-seller and dealer; referred to by Dibdin in his Autobiography
318–320
Kennedy, Alexander—Kennedy, John—Kennedy, Thomas
320
Lentz, Johann Nicolaus—Lewis, Edward—Longman and Broderip; music-sellers and publishers—LOTT, JOHN FREDERICK; a finished workman, employed by Thomas Dodd; splendid character of his work; the "King of English Double-Bass makers"—Lott, George Frederick—Lott, John Frederick; his chequered career, and Charles Reade's novel thereon
320–322
Macintosh—Marshall, John—Martin—Mayson, W.—Meares, Richard—Mier—Morrison, John
322–323
Naylor, Isaac—Norborn, John—NORMAN, BARAK; probably a pupil of Urquhart; follower of Maggini; excellent quality of his Violoncellos and Tenors; his partnership with Nathaniel Cross—Norris, John
323–325
Pamphilon, Edward—Panormo, Vincent—Panormo, Joseph; excellent character of work—Panormo, George Lewis—Panormo, Louis—Parker, Daniel—Pearce, James—Pemberton, Edward—Perry and Wilkinson—Powell—Preston, John
325–327
Rawlins, Henry—Rayman, Jacob; founder of Violin-making in England—Richards, Edwin—Rook, Joseph—Rosse (or Ross), John—Ross, John (2); good character of work and varnish
327–328
Shaw—Simpson—Smith, Henry—Smith, Thomas—Smith, William
