MALINE.—Paris; worked to about 1850 or later. A clever bow-maker. Worked at one time for Vuillaume. A violin-maker of the same name, who may have been his son, also worked in Paris.
MANDELLI, Camillo.—Late nineteenth century. Apparently dates from Cremona, with which city he was intimately acquainted. Work not known to writer.
MANN, John Alexander.—Glasgow. Died 1889. A good workman. Usually copied Stradivari. Dark yellow varnish. He was one of the best Scottish makers of the last century, and was intimate with J. B. Vuillaume. Some of his tickets are in French wording.
MANSUY, or Mansue.—Paris; circa 1840. Instruments seemingly scarce.
MANTEGAZZA—Milan; eighteenth and early nineteenth centuries. There were three or four members of the family. Pietro Giovanni seems to have worked in partnership with two brothers. They were well-known dealers and repairers. Good work, varnish often very dark in colour. Their violas are highly spoken of. The form of their instruments resembles that of Amati.
MARCHETTI, Enrico.—Turin; late nineteenth century. Obtained a medal for his work at Antwerp in 1885.
MARCHI, Gian Antonio.—Bologna; seventeenth and eighteenth centuries. Golden yellow or red-brown varnish of good quality. Wood handsome. Scrolls very well cut. Appears to have made some fine violoncellos.
MARCONCINI, Aloysius.—Bologna, Ferrara; circa 1760-90. Said to have been a pupil of Omobono Stradivari. A son named Giuseppe died in 1841. He worked in Cremona as a pupil of Storioni.
MARENGO-RINALDI, Romano.—Turin. Born 1866. Succeeded the well-known dealer, Gioffredo Rinaldi. Work is after the style of Pressenda, whose recipe for varnish he is said to possess. He has obtained medals at Turin and Paris.
MARIANI, Antonio.—Pesaro; circa 1635-95. This maker has shared the fate of Cappa, his working period having been antedated by about a century in the older books on the violin. He was at work until very near the end of the seventeenth century. All sorts of double purfled instruments, some of them in no way like his, have been attributed to him. He is said to have been a pupil of Maggini, which is certainly very doubtful. The resemblance to the work of that maker is very trifling. The fiddles are generally rather large, and in most cases double purfled; but in other respects they differ materially from those of Maggini. The pattern is primitive and inelegant; the corners long; the sound-holes usually set very upright; in some the wings are absent, and the sound-hole is of the type known as “Brescian.” The waist is long and stiff looking, and quite unlike that of Maggini. The scroll a rough piece of carving. Varnish of good quality, and usually brown or yellow-brown. Wood generally of very plain appearance. A fine violin with an excellent tone, having a single line of purfling, is in the possession of the well-known artist, Philip Cathie. Another Mariani, named Fabio, is said by Valdrighi to have worked in Pesaro in the latter part of the seventeenth century, and was probably a son.