Bow & Bridge

Vetrini, Battista

As printed

  1. A dictionary of violin makers (1896)

    Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality.

    scan page 104, line 24See the scan

    Read the transcript line

    This is what the software read off the scan, not the page itself. The cited line is marked, and three lines either side are shown for context.

    scan page 104, line 24

    1. Vermesch, le Père. Worked at Beaumont-sur-Oise in 1781. A violin, very arched, badly proportioned, with pale yellow varnish, had the written label: "Fait par le Père Vermesch, rel. minime, à Beaumont-sur-Oise, 1781."
    2. Véron, Antoine. A maker in Paris in 1740, in the rue de la Juiverie, according to the label in a five-stringed viol in the Paris Conservatoire Collection.
    3. Véron, Pierre André. A maker in Paris about 1720-50. His violins show good work; he followed the pattern of the Italian makers.
    4. Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality.
    5. Vetter, Jean Christophe. Was working in Strasbourg in 1744, according to the following label, found in a double-bass which was repaired by Marc Snoeck: "Jean Christophe Vetter, Strasbourg, 1744."

  2. A dictionary of violin makers (n.d.)

    Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality.

    scan page 106, line 22; scan page 106, line 24See the scans: 106, 106source record

    Read the transcript line

    This is what the software read off the scan, not the page itself. The cited line is marked, and three lines either side are shown for context.

    scan page 106, line 22

    1. Vermesch, le Père. Worked at Beaumont-sur-Oise in 1781. A violin, very arched, badly proportioned, with pale yellow varnish, had the written label: "Fait par le Père Vermesch, rel. minime, à Beaumont-sur-Oise, 1781."
    2. Véron, Antoine. A maker in Paris in 1740, in the rue de la Juiverie, according to the label in a five-stringed viol in the Paris Conservatoire Collection.
    3. Véron, Pierre André. A maker in Paris about 1720-50. His violins show good work; he followed the pattern of the Italian makers.
    4. Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality.
    5. Vetter, Jean Christophe. Was working in Strassburg in 1744, according to the following label, found in a double-bass which was repaired by Marc Snoeck: "Jean Christophe Vetter, Strasbourg, 1744."

Named in 2 books, all printed 1896. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record.

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Details and sources

Record note

If you can add to this record, we want to hear from you. As it stands, one or more sources name this maker and nothing else on this site confirms it: A dictionary of violin makers (1890); A dictionary of violin makers (1890); A dictionary of violin makers (1896). Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record. No claim beyond what those sources state is invented here, so not established is the honest word for it.

What the books say

Places and dates of work
Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality. reported1
Places and dates of work
Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality. reported1
Places and dates of work
Vetrini, Battista. Worked in Brescia about 1629. His instruments are on rather a small pattern, the wood is excellent, and the yellow varnish of fine quality. reported1

How the pages were read

3 of the 3 lines here were read from machine text (software that turns a photo of a page into words), not by a person looking at the page image. 1 of them rests on a section heading above a list of names, not on a trade word printed on its own line: “A DICTIONARY OF VIOLIN MAKERS.”.

Notes

  1. Read from machine text (software that turns a photo of a page into words, or a typed transcription), not by a person looking at the page image. ↩

The books behind this record

This record draws on 2 sources. Each is listed below with how it was read, because a claim read from a photo of the page is stronger than one read from machine text.

  1. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol00stai. https://archive.org/details/dictionaryofviol00stai.machine textcited for 1 linesource record

    scan page 106, line 24

  2. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol1899stai. https://archive.org/details/dictionaryofviol1899stai.machine textcited for 1 linesource record

    scan page 106, line 22

  3. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London ; New York: Novello, Ewer, 1896). archive.org, dictionaryofviol00stai_0. https://archive.org/details/dictionaryofviol00stai_0.machine textcited for 1 linesource record

    scan page 104, line 24