Nathaniel Cross

Some suppose that he was a pupil of Stainer, but this is a mere conjecture. His instruments, although made on the Stainer model, are a sufficient proof that he had never received a day's training in the great workshop at Absam. From 1700 to 1720, when he entered into partnership with Barak Norman, they are rather plain and tasteless, large and highly arched, with short, blunt corners — in fact, his work is in dangerous proximity to the Stainer caricature. From 1720 on the work improves and approaches more nearly to the lines of the German model. This is contrary to the rule. If he had been a pupil of Stainer, we should naturally have expected to see the more correct copies dating from the early years of his career, and work showing departures or originality dating later. He never got rid of the exaggerated fluting round the edge, and the tone is consequently rather small and feeble. His fine cutting of the scroll shows what he was capable of if he had had a better ideal. The varnish is soft, and of a light brown to light yellow hue. He marked his instruments on the back inside with his initials, with a [maltese cross] above. After he entered into partnership with Norman the label runs : — BARAK NORMAN AND NATHANIEL CROSS, AT THE BASS VIOL IN ST. PAUL'S CHURCH YARD, LONDON, FECIT 172-