s, a Venetian diamond-cutter, was
employed by Shah Jehan to cut the Koh-i-nor, and in place of a reward
was fined ten thousand ducats for his imperfect performance. Had it
happened that some possessors of Cremonese gems had inflicted monetary
or other punishment on incapable instrument cutters, the world would
have been richer in Cremonas. Mennegand was at Amsterdam for a few
years, and returned to Paris in 1857. He died in 1885.

MIREMONT, Claude Augustin, Paris. Born at Mirecourt in 1827, removed
to Paris in 1844. Miremont has made several excellent Violins, copies
of Stradivari and Guarneri. He was for some years in New York, but
returned to Paris and died at Pontorson in 1887.

MODESSIER, ----, Paris, 1810. Made several instruments of large
pattern, excellent for orchestral purposes. Wood of good quality.

MOUGENOT, Georges, Brussels, contemporary.

NAMY, ----, Paris, 1780 to 1806.

NEZOT, ----, about 1750, maker of Viols.

NICOLAS, Francois (Nicolas Fourrier), went from Mirecourt to Paris,
where he is said to have worked from about 1784 to 1816.

NICOLAS, Didier, Mirecourt, 1757-1833. The instruments of this maker
are chiefly of large size, the outline being after that of Stradivari.
They are mostly stamped on the back, inside, "A la ville de Cremonne,
D. Nicolas Aine." Colour, yellow; tone very powerful, and admirably
adapted for the orchestra.

NICOLAS, Joseph, son of Didier, born 1796, died 1864.

OUVRARD, Jean, pupil of Claude Pierray.

[Illustration: _Plate XIV_. ANTONIO STRADIVARI.]

PACHERELE, Michel, Paris, about 1779.

PACHEREL, Pierre, Nice, died 1871, probably related to Michel
Pacherele. Good workmanship; made several copies of Stradivari.

PAUL, Saint, Paris, 17th century. Chiefly copied Amati. In the style
of Boquay.

PIERRAY, Claude, Paris, from about 1700 to 1725.

Claude Pierray, proche la Comedie
a Paris, 1725.

Was an excellent workman, and many of his productions partake of the
Italian character to a considerable extent. They are of two patterns,
the majority being large. Amati would seem to have been his model, but
his instruments can scarcely be considered copies of that maker, the
outline only being retained, while the other features are dissimilar.
The wood is rarely handsome, but its quality is good; the thicknesses
are variable. The work is of average merit. Varnish is of a pale red
colour, of good quality. It is interesting to learn that these
instruments were