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 to be met with in instruments of the English school. Dodd was encouraged in the art of varnish-making by persons of taste, who readily admitted the superior qualities of his composition, and paid him a handsome price for his instruments. He was thus enabled to gratify his taste in his productions by sparing no means to improve them. He ultimately attained such a reputation for his instruments as to command no less a sum than 40 or 50 pounds for a Violoncello. Commanding such prices, it is evident that he spared no expense, or, what was to him a matter of still greater importance, no time. He was most particular in receiving the instruments in that incomplete stage known in the trade as "in the white," _i.e._, without varnish. He would then carefully varnish them with his own hands, guarding most warily the treasured secret of the composition of his varnish. That he never departed from this practice