rris and Barnes.

DAVIS, William, London. Succeeded Richard Davis in the business now
carried on by Edward Withers.

DEARLOVE, Mark, Leeds.

Dearlove and Fryer,
Musical Instrument Manufacturers,
Boar Lane, Leeds, 1828.

DELANY, John, Dublin. Used two kinds of labels, one of them very
small--

Made by John Delany,
No. 17, Britain Street, Dublin. 1808.

In the other, which is larger, he states that he made Violins that his
name might be of immortal memory.

Made by John Delany,
In order to perpetuate his memory in future ages.
Dublin. 1808.
Liberty to all the world
black and white.

DENNIS, Jesse, London, 1805.

DEVEREUX, John, Melbourne. When in England he worked with B. Simon
Fendt.

DICKINSON, Edward, London, 1750. Made instruments of average merit.
The model is high.

Edward Dickinson,
Maker, at the Harp and Crown in the Strand,
near Exeter Change,
London. 17--

DICKESON, John, 1750-80, a native of Stirling. He would seem to have
lived in various places, some instruments dating from London and some
from Cambridge. He was an excellent workman, and chiefly copied Amati.
His work much resembles that of Cappa.

DITTON, London, about 1700. Mention is made of an instrument by this
maker in Tom Britton's Catalogue.

DODD, Thomas, son of Edward Dodd, of Sheffield.

T. Dodd,
Violin, Violoncello
and Bow Maker,
New Street,
Covent Garden.

He was not a maker of Violins. Numerous instruments bear his name, but
they are the work of John Lott and Bernard Fendt. The merit of these
instruments is of the highest order, and they are justly appreciated
by both player and connoisseur. Thomas Dodd deserves to be mentioned
in terms of high praise, notwithstanding that the work was not
executed by him, for his judgment was brought to bear upon the
manufacture during its various stages, and more particularly in the
varnishing, in which he took the liveliest interest. He had a method
of mixing colours, the superior qualities of which he seems to have
fully known, if we may judge from the note on his labels, which runs
thus: "The only possessor of the recipe for preparing the original
Cremona varnish. Instruments improved and repaired." This undoubtedly
savours of presumption, and is certainly wide of the truth.
Nevertheless there is ample evidence that the varnish used by Thomas
Dodd was very excellent, and had a rich appearance rarely t