Nathaniel Cross

History

Nathaniel Cross (1686-1751) was a prominent English instrument maker based in London, UK. He entered into a partnership with Barak Norman around 1713, with a Norman viol of that date inscribed 'Nathaniel Cross wrought my back and belly'. By 1724, Cross's name appeared alongside Norman's on a violin label from the address 'St Paul's Churchyard'. From 1725, Cross began using his own label, operating from a shop at 'ye Crown in Piccadilly'. He subsequently moved to the George Inn, Aldersgate, in 1730, and then to St. James, Aldermanbury, in 1733. His final known workshop location was at the 'Bass Viol' in Bow Churchyard, Cheapside. According to John Dilworth in The Brompton's Book of Violin & Bow Makers, Cross was a prolific maker.

Craft

• Model: Nathaniel Cross generally crafted instruments on a Stainer model, though William Meredith Morris in British Violin Makers notes that his early work (1700-1720) was rather plain and tasteless, large, highly arched, with short, blunt corners, approaching a 'Stainer caricature'. Morris observes that his work improved from 1720 onwards, aligning more closely with the German model.
• Workmanship: Cecie Stainer, in A Dictionary of Violin Makers, describes his instruments as beautifully finished in all details, with acute fluting around the edge where the purfling is inlaid, and excellently cut scrolls. However, John Dilworth notes the head can be 'a little lacking in definition'. Morris also states that Cross never fully eliminated the exaggerated fluting around the edge.
• Soundholes: John Dilworth describes his soundholes as 'quite elegant'.
• Cellos: His cellos were typically of the small 27-28 inch (68.5cm-71cm) model, which was favored in England at that time. Cecie Stainer also notes his violoncellos are similar to those made during his partnership with Norman, being rather small in size.
• Materials & Varnish: Materials are generally plain, with a clear yellow varnish, according to John Dilworth. Cecie Stainer mentions a soft light-yellow varnish, while William Meredith Morris describes the varnish as soft, ranging from a light brown to a light yellow hue.
• Tone: Cecie Stainer states his instruments have a clear and penetrating tone. In contrast, William Meredith Morris suggests that due to the exaggerated fluting, the tone is consequently 'rather small and feeble'. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, describes his violins as having a noble, powerful tone and being yellow varnished.
• Branding: Instruments are often branded on the back with the initials 'N.C.' surmounted by a cross. Cecie Stainer specifies this branding is inside on the back, and Lütgendorff notes it's in the middle of the back.

Influence

• Mentorship & Training: It was once supposed that Nathaniel Cross was a pupil of Stainer, as mentioned by Cecie Stainer. However, Willibald Leo Lütgendorff explicitly states that it is 'excluded' that he learned directly from Stainer, despite having studied the Stainer model well. William Meredith Morris also dismisses this as 'mere conjecture', arguing that his instruments, particularly his early work, do not reflect training in Stainer's workshop.
• Influence on Others: His influence is observed in subsequent London makers such as Kennedy and Johnson, whom he may have taught directly, according to John Dilworth.

Legacy

• Museum Holdings: A Viola d'amore, numbered 2417, is housed in the Copenhagen Museum and bears a label: 'Nath Cross in pickdily near St. James Church London'.
• Collections: Works by Nathaniel Cross can be found in various collections, as noted by Willibald Leo Lütgendorff.

Further Information

• Specific Labels: An example label from his partnership with Barak Norman reads: 'BARAK NORMAN AND NATHANIEL CROSS, AT THE BASS VIOL IN ST. PAUL'S CHURCH YARD, LONDON, FECIT 172-'. Another label from 1731 states: 'Nathaniel Cross, maker, / the George Inn, Aldersgate Street / London 1731 Nathanaeli Crosso / Stainero, fecit'.
• Workshop Addresses: His known addresses include St Paul's Churchyard (c.1724), 'ye Crown in Piccadilly' (from 1725), the George Inn, Aldersgate (1730), St. James, Aldermanbury (1733), and the 'Bass Viol' in Bow Churchyard, Cheapside.

Summary

Nathaniel Cross (1686-1751) was a prolific English instrument maker active in London, known for his partnership with Barak Norman from around 1713 and his subsequent independent work from various addresses, including 'ye Crown in Piccadilly' and the George Inn, Aldersgate. He primarily crafted instruments on the Stainer model, though sources offer conflicting descriptions of his workmanship, with some noting beautiful finishing and excellent scrolls, while others describe early work as plain and later work with exaggerated fluting. His cellos were typically small, and his instruments often featured a clear yellow or light brown varnish. While it was once conjectured he was a pupil of Stainer, this is largely dismissed by historians. Cross's influence is noted on later London makers like Kennedy and Johnson, and his instruments are found in various collections, including a Viola d'amore in the Copenhagen Museum.