PARIS, Claude.—Paris; late eighteenth century.
PARKER, Daniel.—London; eighteenth century. An excellent maker, whose work has in recent years risen rapidly in value. He seems to have worked from quite early in the century until after 1770. He shares with John Hare the merit of having turned attention to the pattern of Stradivari, and it is much to be regretted that other British makers of the period did not do the like. Some of his fiddles are upon lines more or less like those of Amati, but his reputation chiefly rests on those which are evidently in imitation of the “long Pattern” of Stradivari. They are not exact copies, but in design and dimensions are very similar to Stradivari fiddles of that type. Varnish red, of good quality, wood frequently handsome, and tone large and brilliant. A good example was not long ago in the possession of M. Kreisler. It is said that Parker worked much for the trade. Writer has seen one or two labels in manuscript.
PASTA.—Brescia; late seventeenth and eighteenth centuries. A Milanese family, two or three of whom worked in Brescia, and the founder, Bartolomeo, in Milan. In his labels he calls himself pupil of Niccolò Amati. Gaetano Pasta, who was in Brescia until about the middle of the eighteenth century, calls himself a pupil “dell Amati,” and is supposed to have worked with Hieronymus Amati II. Instruments are said to have a fine tone, and to be rather flat, with outline resembling G. B. Rogeri.
PATHAN, Vincenz.—Vienna. Died 1894. Worked some time with Zach. Made good copies of various Italian makers, particularly Maggini.
PATZELT.—Nineteenth century. Makers of the name date from Dresden, Vienna, and Berlin.
PAULI.—Tachau; eighteenth century. Three or more makers of this name.
PAULUS.—Markneukirchen; nineteenth century. A numerous family, members of which have worked in the principal German cities (Berlin, Dresden, Leipzig) and elsewhere. One of the best of them, August, is, or was, a member of the Dresden firm, “Richard Weichold.” Another, Albin Ludwig, of Markneukirchen, has made a large number of copies of the “trade class,” the better qualities are well-made useful instruments.
PAZZINI, Giovan Gaetano.—Florence; 1630-70. Calls himself a pupil of Maggini. High built. Dark varnish. Work scarce.
PECCATTE.—Mirecourt, Paris. A celebrated nineteenth century family of bow-makers. Dominique, the best known, was born in 1810, and died in 1874. Some of his finest bows are unstamped. He worked for several years for J. B. Vuillaume. François, his younger brother, born 1820, died Paris 1855, was, when he chose, almost, if not quite, as good a workman as Dominique. He also worked with Vuillaume for three years, having previously worked on his own account in Mirecourt for ten years. Latterly he again worked for himself, but in Paris. Much confusion has existed in distinguishing the bows of the two brothers. François bows are frequently stamped “Peccatte” in a similar way to those of Dominique, and attempts have been made to distinguish their respective stamps—a very uncertain test. The best means of identification is in the heads: the bows of Dominique have a sharper appearance towards the peak than those of “Peccatte jeune.” Charles Peccatte, son of François, was at work in Paris in quite recent years, and is a maker of very fair ability.
PEDRINELLI, Antonio.—Crespano. Died 1854. Began life as an undertaker. Studied acoustics, and became a copyist of more than average capacity. Orange-red varnish.