at of Cremona; its colour is
a warm brown, very transparent, and of a soft nature. He made many
instruments of small size. The model is often that of Girolamo Amati,
but slightly more arched; the sound-hole is more rounded and less
striking. The scroll can scarcely be considered a copy of Girolamo
Amati's; it is well cut, but lacks the peculiar grace of the Italian.
The tone is sweet, without much power.

BORLON, Artus or Arnold, about 1579, Antwerp, maker of stringed
instruments (mentioned in the pamphlet by M. le Chevalier de Burbure).

BORLON, or PORLON, Pierre, Antwerp, about 1647, of whom M. de Burbure
says: "Pierre Borlon, or Porlon, made in the year 1647 a Double-Bass
for the orchestra of the Cathedral (Antwerp). The instrument is in
existence, and inside is the name 'Peeter Porlon tot, Antwerpen f.
1647.'" The same author mentions another early Double-Bass made in
1636 by Maitre Daniel for a chapel in Antwerp, and remarks, in
passing, that in other countries the Double-Bass was not used until
about half a century later. The question of priority in this matter is
important and interesting; but in order to arrive at a satisfactory
conclusion, it is necessary to be certain that these Belgian Basses
are not, together with the Brescian and others, converted Viols.

BORLON, Joannes, Antwerp, also a maker of Viols.

BORLON, Francois, Antwerp, Viol-maker.

BOULLANGIER, C., 1823-1888. Worked in Paris, and for the late Mr.
Withers. Was in business for many years in Frith Street, Soho, and has
made many excellent instruments.

BOUMEESTER, Amsterdam, about 1650.

BOURDET, Sebastien, Mirecourt, one of the earliest Violin-makers in
Mirecourt.

BOURDET, Jacques, Paris, 1751.

BOUSSU, Eterbeck, le Bruxelles, about 1750.

BRETON, 1777. This name is met with branded on the backs, "Breton a
Paris." A little heavy in character, but fairly made; dark brown
colour.

BRETON, Le, Mirecourt, 1812-30. Commonplace instruments. Large
pattern, usually stamped with name inside.

BRUGERE, the name of several contemporary French makers, dating from
Mirecourt and elsewhere. Some show good workmanship and varnish.

CALOT, ----, about 1830. He was in the workshop of Clement prior to
date given. _See_ AUGIERE.

CASTAGNERY, Andrea. _See_ Italian list.

CASTAGNERY, Jean Paul. M. Fetis mentions this maker as having worked
in Paris, 1638-62.

CHAMPION, Rene, Paris, about 1735. His instruments are well made, and
the varnish is of