BROWN.—London; eighteenth and nineteenth centuries. Makers of the name worked principally for the dealers. The best known is James Brown, “Brown of Spitalfields,” a good workman, who died about 1830.
BRUGÈRE.—Nineteenth century. A well-known Mirecourt family who worked in Paris, Marseilles, and elsewhere. The best known is Charles, born in 1865. A careful workman; frequently uses a large ornamental ticket.
BRUNO, Carlo Colombo.—Turin; contemporary. Has obtained medals for instruments in Paris, Turin, and Marseilles.
BUCHSTETTER, Gabriel David.—Ratisbonn; second half of eighteenth century. Instruments not often seen in this country.
BUTHOD.—Mirecourt; nineteenth century. A maker of the name worked for J. B. Vuillaume. Labels may be seen in large numbers of cheap violins, etc., of the “factory class.”
CABROLY.—Toulouse; about 1740. Said to have come from Milan. Instruments seemingly scarce.
CAHUSAC.—London; eighteenth century. The label may be seen in many old fiddles which were obviously the work of different makers, but he seems to have made some himself. Writer has seen examples of Amati outline, and with very pretty varnish.
CALCAGNI (Calcanius), Bernardo.—Genoa; to about 1750. Medium size violins, slightly arched and with very pretty reddish-yellow varnish. General workmanship well finished.
CALVAROLA, Bartolommeo.—Bergamo; circa 1750-1770. Instruments scarce. Medium workmanship without much character. Yellow and yellow-red varnish. Pattern looks rather narrow. Scrolls small and of poor design.
CAMILLI, Camillo.—Mantua; to about 1760. A maker whose instruments have rapidly risen in value of late years. They are of unequal merit and workmanship. In good examples the wood and form are handsome. Sound-holes rather short and wide open. Varnish red, of varying shades and good texture. The tone usually excellent. The pattern usually seen bears some resemblance to violins of Stradivari. Labels both written and printed.