TECCHLER, David.—Salsburg, Venice, Rome. Born 1666; died about 1745. An important and prolific maker. He seems to have had a large business in Rome, and probably employed a good many assistants. A great number of his violoncellos are in existence, and are generally of high merit. They were of large pattern, but have frequently been reduced in size. In his best work he caught something of the true Italian style, and he was evidently acquainted with Italian methods of varnishing. But like nearly all of his countrymen, he never succeeded in freeing himself entirely from German notions, traces of which are noticeable in practically all his works. They all hint of Stainer somewhere. A few fine double-basses are in existence. The violas are very scarce. Violins are pretty plentiful, and vary somewhat in finish and general merit. The writer has met with two of these, and one violoncello with the bellies cut the wrong way of the wood, or “slab-wise.” The scrolls are often well carved, and in the violins somewhat slender at the throat. The varnish on the Roman instruments, which are much more plentiful than those dating from Salsburg or Venice, is of Amati character, and generally of yellow-red or yellow-brown colour.
TEDESCO, Leopoldo.—Cremona, Rome. Is all but unknown as a maker, but is mentioned in the Parish Registers of Cremona as a pupil of Niccolò Amati. The name seems to be there spelt “Todesco.” He was born in 1625.
TENTZEL.—Mittenwald; eighteenth century. Kloz school of work.
TERMANINI, Joseph.—Modena; about 1750 and later. Appears to have been a priest who made fiddles. Work rare and of no particular merit.
TESTORE.—Milan; seventeenth and eighteenth centuries. A widely known and important family of makers whose instruments, though chiefly of second-class workmanship and inferior finish, are much sought after by players on account of their excellent tone. However rough and unattractive the specimen may appear, a Testore may almost always be relied on to possess a fine tone. Apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions, but there are violins in existence by C. G. and C. A. Testore which prove conclusively that, given the opportunity, these makers were possessed of skill and abilities of a high order. In these rare cases we meet with specimens of good form and finish, handsome wood and brilliant varnish. The average Testore is, however, an instrument which in all or most of these particulars leaves a good deal to be desired. The bellies are almost without exception of pine of the best quality acoustically, but the backs and sides are mostly of plain or small figured native wood, the heads are mean and pinched looking, sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled. Carlo Giuseppe Testore, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son, Carlo Antonio, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini’s favourite double-bass was an example by this maker. A son, Giovanni, worked with him in later years. Paolo Antonio Testore was the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri. Varnish often palish yellow. Instruments frequently unpurfled, especially in the backs, but a good many have been purfled by later hands. He also used the eagle brand, but not invariably. Wood generally very plain.
THERESS, Charles.—London; about 1840-1850. Worked first with Maucotel; afterwards on his own account in Soho. Mirecourt style.
THIBOUT.—Paris; eighteenth and nineteenth centuries. A well-known family, most of whom worked in Paris. There were about six makers in all. The most celebrated was Jacques Pierre, born 1779, died 1856. He was one of the finest workmen of the French school, and his best copies of Stradivari are less heavy in appearance than those of Lupot and the tone is more Italian in character. The varnish on such specimens is also very handsome: red on a yellow basis. His instruments were made in at least two grades and the better ones now command very high prices. He obtained several medals, and used labels in various styles at different dates. It is much to be regretted that his best personal work is not more plentiful.
THIBOUVILLE-LAMY, Louis Emile Jerome.—Mirecourt, Paris. Born 1833. Manufactures stringed and other musical instruments on a huge scale, and of all grades. He has received various medals and employs many workmen.
THIR.—Presburg, Vienna; eighteenth century. Nine or ten makers of the name. There were two Antons in Presburg, and two in Vienna. One of the best was Andreas, who worked in Presburg until about 1798, and copied the form of Amati well. Johann Georg Thir was established in Vienna until after 1790, and made a good many instruments. Varnish dark brown or dark red. Geissenhof was for a time in partnership with him. Another good maker of the name was Mathias, who was a brother of J. G. Thir and worked until about 1795.
THOMASSIN, Louis.—Paris. Born 1855. A clever bow-maker. Voirin style.