Edward Pamphilon

Life

Edward Pamphilon (circa 1646-after 1685) was a significant early English instrument maker. Sources contain conflicting information regarding his primary workshop location. in The Brompton's Book of Violin & Bow Makers, Pamphilon was born circa 1646, died after 1685, and worked in Clavering, Essex, UK. He was recorded in parish archives as a 'fiddle maker' from 1680 to 1685. Dilworth notes that Pamphilon was part of an extensive and active family of instrument makers in the area of Clavering, Widdington, and Little Hadham, although only Edward's work has been identified. Conversely, Cecie Stainer in A Dictionary of Violin Makers and Willibald Leo Lütgendorff in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart state that he was a maker in London, on London Bridge, about 1680-1690. George Hart, in The Violin, mentions that his violins were formerly much prized.

Characteristics

Modelling & Construction

Instruments produced by Edward Pamphilon are characterized by several distinctive features., his work exhibits Brescian modelling and a crude rustic approach, with the ribs set into grooves cut into the inner edge of the front and back.

Scroll & Head

The scroll is described as slender, featuring a large volute extended up behind a widely-projecting eye. Characteristic markings include a small triangular incision in the tip of the chin and deep regular prickmarks around the base of the volute. Cecie Stainer notes that the heads were often too small, a common failing of early English makers, but were artistically shaped and often deeply scooped in the volute. Willibald Leo Lütgendorff also mentions a deeply scooped scroll.

Outline & Arching

Stainer states his instruments were of a small pattern, very much arched, and generally possessed a stiff, inelegant outline, though the work was carefully and delicately finished. George Hart notes that the model is very high and the appearance somewhat grotesque. William Meredith Morris, in British Violin Makers, describes the outline as Brescian, while the arching is distinctly Tyrolese.

Sound-holes

The sound-holes were small, sometimes finished with a drawn-out curl, with the bottom curve running out almost at right-angles to the axis of the violin. Lütgendorff adds that the F-holes are too curved at the ends.

Purfling

The purfling is often double. Morris also identifies double purfling as a Brescian characteristic in Pamphilon's work.

Varnish

Pamphilon used a fine varnish, usually pale golden brown in colour (Dilworth), or a very fine yellow varnish (Stainer) which looks extremely well. Morris describes it as amber yellow varnish of good quality. George Hart mentions the splendid varnish often found on these instruments.

Tone

The tone is described as clear, pure, and penetrating by Stainer. Morris notes that his tenors, like his violins, are of a small pattern but have a sweet and penetrating tone.

Instrument Types

He made violins and tenors of small pattern. No violoncellos of his are known, as the bass-viol with the flat back was still in use during his time.

Influence and legacy

• Mentorship: Willibald Leo Lütgendorff suggests that Edward Pamphilon is assumed to have emerged from Urquhart's school.
• Stylistic Influences: William Meredith Morris states that Pamphilon had evidently seen and handled instruments of both the Brescia and Absam schools, leading to a 'cross-breed' style. Lütgendorff also notes that Pamphilon's small, highly arched violins justify the assumption that he knew and intended to imitate Brescian work.
• Authenticity Challenges: Instruments identified as Pamphilon's are not uncommon, but they were seldom labelled; those known are in manuscript. Cecie Stainer notes that few Pamphilon labels exist. William Meredith Morris doubts whether any Pamphilon instruments in existence bear original labels.
• Misattribution: Due to their distinctive characteristics and similarity to Brescian work, many of Pamphilon's instruments have had their readily identifiable heads replaced and were subsequently labelled as Brescian or other Italian work, or specifically as 'Gasparo da Salo', a deception made easier by the scarcity of original Pamphilon labels.