MAUCOTEL, Charles Adolphe, Mirecourt, worked in Paris from 1839 until 1858, in which year he died. He made many excellent instruments.
Franciscus Médard fecit Parisiis 1710.

MÉDARD, François, was established in Paris about 1700. The work is excellent, and the varnish soft and transparent.

MÉDARD, Nicolas, Nancy, brother of François.

MÉDARD, Jean, Nancy, brother of Nicolas.

MENNÉGAND, Charles, born at Nancy in 1822. He is distinguished both as a maker and repairer of instruments. He entered the service of Rambaux in Paris in 1840. He has been rightly regarded as having displayed singular ability in the delicate and difficult task of "cutting" the large Italian Violoncellos and Tenors. The practice of reducing the dimensions of Cremonese instruments has happily come to be looked upon as emulative of the acts of the Goths and Vandals. It is in any case certain that numerous instruments have been operated upon with no greater skill than might have been expected at the hands of those barbarians. "These ruthless men," remarks Charles Reade, "just sawed a crescent off the top, and another off the bottom, and the result is a thing with the inner bout of a giant and the upper and lower bout of a dwarf." He rightly names this, "cutting in the statutory sense, viz., cutting and maiming," and implores the owner of an instrument in its original state to spare it, and if too large, to play on one of the value of £5, with the Cremona set before him to look at while he plays. To "cut" a Cremona, and to cut a diamond into a brilliant or a rose, are tasks equally difficult. The indifferent operator, in both cases, suffers more or less from the injury and annoyance his unskilfulness has occasioned. Borgis, 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. Mennégand 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, François (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 Ainé." 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.

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.