It is said that he worked in the shop of Antonio Stradivari, and judging from the character of the work, together with that of the varnish, it is not unlikely that he did receive instructions from the great Cremonese maker. The varnish is very like Italian; the colour often a rich red, with much body. His instruments are inclined to roughness as regards workmanship, and therefore are not pleasing to the eye. There is a resemblance to the instruments of Stradivari after 1732 in form, though not in workmanship, and he would therefore seem to have copied those late instruments. They may be described as of large pattern, flat model, and having an abundance of wood. They are deserving of attention both from the professor and the amateur, the workmanship being skilful and the material excellent. The tone is large, and frequently possesses the richness so much admired in the works of the Italians. This quality is traceable to the soft and flexible nature of the superior varnish with which these instruments are covered. Several Violas and Violoncellos are extant which were made by De Comble. DEHOMMAIS, Paris, 1870. _See_ GERMAIN (Emile). DELANOIX, ----, Bruxelles, about 1760. DELAUNAY, ----, Paris, 1775, Viol-maker. M. Chouquet describes an instrument of this maker which is in the collection at the Conservatoire. DELEPLANQUE, Gerard, Lille, 1768. DERAZEY, Honore, Mirecourt. Many of the instruments of this maker are carefully finished. They are heavy in wood. The varnish is inclined to hardness. Died 1875. DERAZEY, J. A., Mirecourt, 1815-85. Son of Honore; purchased the business of Nicolas. Made many useful instruments. DESPONS, Antoine, Paris, 17th century, is said to have made excellent instruments of various patterns. DIEULAFAIT, ----, 1720, Viol-maker. A Viol da Gamba of this maker is at the Conservatoire, Paris. DROULOT, ----, Paris, 1788. DUCHERON, Mathurin, Paris, 1714. DU MESNIL, Jacques, Paris, about 1655. EESBROECK, Jean Van, 1585, Antwerp, Lute-maker. M. C. Chevalier de Brabure states he was the son of Josse van Eesbroeck, of Maria Kerch. He gives some interesting particulars relative to the connection of music with the guild of St. Luke at Antwerp, and speaks of the makers of Clavichords seeking for admission into the Guild in 1557, adding that it was natural these makers should desire to belong to a corporation so great and honourable as that of St. Luke, which since 1480 had its Chambers of Rhetoric "dite _de Violiren, de Violier_." FALAISE, ----. Copied the Amatis and Stradivari. The workmanship may be likened to that of Pique. Varnish yellow and thin. There is no indication of a resort to any maturing process. Wood frequently handsome. FENT, or FENDT, ----, Paris, 1780. A maker known among French connoisseurs; related to the Fendts who worked in London. FLEURY, Benoist, Paris, from about 1755 to 1788. A Viol da Gamba of this maker, from the Clapisson collection, is at the Conservatoire, Paris.