MEDARD, HENRY, Paris and Nancy. A French maker, who is generally considered to have been a pupil of Nicholas Amati, and was esteemed nearly equal to his master; but Fetis includes him in his list of the personal pupils of Antonius Stradiuarius.
MERLIN, JOSEPH, London, about 1780. A very ingenious person, who obtained the honour of being mentioned in Madame D'Arblay's "Diary and Letters." His violins were after the Steiner pattern, and well made, but did not approach the Steiner tone.
MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da gamba, &c.
MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the Amati style, and is reckoned by Fetis as one of that school.
MIER, —— London, 1786.
MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and followed his style,—about 1760.
MILLER, —— London, about 1750.
MOHR, PHILIP, Hamburg, 1650.
MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of Stradiuarius, but more probably an imitator.
MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made instruments generally of a large size, and used wood of a large and beautiful figure. The varnish exceedingly brilliant and of a rich yellow or yellow red colour, and the tone everything that can be desired. Mr. Perkins had a violoncello of this make, which was originally sold as a Joseph Guarnerius, and was said in the catalogue to be uncommonly fine and handsome. This is another of those careful artistes, whose productions are now in high esteem when one of the three great masters cannot be obtained, and which will very probably hereafter rank with them and become very famous.