Evans, Instrument maker,
in the year 17—

FENDT, Bernard, born at Innsbruck, in the Tyrol, 1756, died 1832. He was evidently a born Fiddle-maker, genius being stamped, in a greater or less degree, upon all his works. To Thomas Dodd belongs the credit of bringing his talent into play. Dodd obtained the services of Fendt upon his arrival in England, which the latter reached at an early age. He remained with Dodd many years, frequently making instruments with John Frederick Lott. The instruments so made bear the label of Thomas Dodd. Lott being also a German, reciprocity of feeling sprung up between him and Fendt, which induced Lott to exchange the business to which he was brought up for that which his fellow countryman Fendt had adopted, and henceforth to make Violins instead of cabinets. By securing the services of these admirable workmen, Dodd reaped a rich harvest. He found in them men capable of carrying out his instructions with an exactness that could not be surpassed. Dodd was unable to use the tools himself; but in Fendt and Lott he had men who were consummate masters of them. When the instruments were finished, as far as construction was concerned, they were clothed in coats of the master's livery—"Dodd's varnish," the secret of making which he kept carefully to himself. With these coats of varnish upon them the work was doubly effective, and every point of excellence was made to shine with the happiest effect. Upon leaving the workshop of Thomas Dodd, Bernard Fendt worked for John Betts, making many of those copies of Amati which are associated with the name of Betts, and which have so high a value.

Although Fendt was German by birth, his style of work cannot be considered as German in character. Having early quitted his post of trade in Paris for England, and having in this country placed himself under the guidance of Dodd, who steadfastly kept before his workmen the originals of the great Italian masters for models, his work acquired a distinctive stamp of its own, and in its turn gave rise to a new and independent class of makers.

FENDT, Bernard Simon, London, born in 1800, died in 1852. Son of the above. He was an excellent workman. It is to be regretted that he did not follow the excellent example set by his father, and let time do its work, without interruption, upon his instruments. Had he done so they would, in many instances, have been equal to those of his parent; but, unfortunately, he worked when the mania for obtaining supposed maturity by artificial means was at its height, and shared the general infatuation, and, in consequence, very frequently destroyed all the stamina of his instruments. Subsequently he became a partner of George Purdy, and carried on a joint business at Finch Lane, in the City of London, from whence most of his best instruments date. Purdy and Fendt had also a shop in the West End about 1843. He was a most assiduous worker. The number of Violins, Tenors, Violoncellos, and Double-Basses that he made was very great; indeed, his reputation would have been greater had he been content to have made fewer instruments and to have exercised more general care. His copies of Guarneri are most numerous, numbering some hundreds. They are mostly varnished with a glaring red colour, of a hard nature. He made many good Double-Basses of the Gasparo da Salò form, the varnish on which is superior to that on his Violins. He made also an excellent quartette of instruments—Violin, Viola, Violoncello, and Double-Bass—for the Exhibition of 1851. They were certainly the best contemporary instruments exhibited, but he failed to obtain the prize medal.

FENDT, Martin, London, born 1812, died 1845. Brother of the above. Worked for Betts.

FENDT, Jacob, London, born 1815, died 1849. Third son of Bernard Fendt. The best maker among the sons of Bernard. His instruments are beautifully finished, and free from the stereotyped character belonging to those of his brother Bernard. As specimens of the imitator's art they are unsurpassed. One cannot but regret that such a consummate workman should have been obliged to waste his energies in making new work resemble that of a hundred years before. The patronage that he obtained was not of much value, but had he brought his work into the market in its natural condition he could not have lived by his trade. He was, therefore, compelled to foster that which he no doubt felt to be degrading. The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the discoloration of the wood cleverly managed, the effects of wear counterfeited with greater skill than had ever been done before, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist. Had he been allowed to copy the form of the old masters, as Lupot did, without imitating the actual wear of the instrument, we should have had a valuable addition to our present stock of instruments of the Panormo class.

FENDT, Francis, London. Fourth son of Bernard; also worked in Liverpool about 1856.

FENDT, William, London, born 1833, died 1852. Son of Bernard Simon Fendt. Was an excellent workman, and assisted his father in the manufacture of several of his Double-Basses.