Bow & Bridge

Alvani, Paolo

As printed

  1. Dictionary of Violin makers (1928)

    ALVANI (Paolo) — Cremona circa 1750. Has made several good copies of Guarnerius. Yellow varnish.

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    2. ALESSANDRO — Venice middle of xvi\textsuperscript{th} century. Lute maker.
    4. ALVANI (Paolo) — Cremona circa 1750. Has made several good copies of Guarnerius. Yellow varnish.
    6. AMATI (Andrea) — Cremona. Born circa 1530. died circa 1611. Together with Duiffoproucart and Gaspard da Salo, this violin maker is looked upon as the inventor of the violin. His works are fine and genuine masterpieces of violin making and although it cannot with certainty be said with whom he learnt his art, everything tends to pronounce him a pupil of Gaspard da Salo, great analogy being found in their respective modes of work. This statement is, however, hypothetical. His reddish varnish and often yellow, varying from light to brown in his last instruments, is rather thick, but this does not interfere with the tone, which is clear and open. The pattern is generally small. Instruments by this maker are very scarce. No 279.

  2. An encyclopedia of the violin (1925)

    ALVANI, PAOLO, Cremona, 1750 to 1755.

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    scan page 33, line 9

    1. ALDRICH, JEAN FRANCOIS, Paris, b. Mirecourt 1765, d. 1843.
    2. ALLARD, FRANCOIS, Paris, 1776 to 1789.
    3. ALLETSEE, PAUL, Munich, 1698 to 1738.
    4. ALVANI, PAOLO, Cremona, 1750 to 1755.
    5. AMATI, ANDREA, Cremona, b. about 1535, d. after 1611. The founder of a famous violin-making family, but unfortunately very few of his excellent instruments are still preserved. His violins were of a small pattern, fashioned from the best of woods, and varnished either a reddish black or a dark yellow. The name "Amati" has been sadly misused, being applied to any instrument resembling an Italian maker's model. Twenty-four violins made by him for Charles IX of France were destroyed in the French Revolution.
    7. AMATI, ANTONIO, Cremona, b. between 1555 and 1560, d. after 1640.

  3. An encyclopedia of the violin (n.d.)

    Alvani, Paolo, Cremona, 1750 to 1755.

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    1. Aldrich, Jean Francois, Paris, b. Mirecourt 1765, d. 1843.
    2. Allard, Francois, Paris, 1776 to 1789.
    3. Alletsee, Paul, Munich, 1698 to 1738.
    4. Alvani, Paolo, Cremona, 1750 to 1755.
    5. Amati, Andrea, Cremona, b. about 1535, d. after 1611. The founder of a famous violin-making family, but unfortunately very few of his excellent instruments are still preserved. His violins were of a small pattern, fashioned from the best of woods, and varnished either a reddish black or a dark yellow. The name "Amati" has been sadly misused, being applied to any instrument resembling an Italian maker's model. Twenty-four violins made by him for Charles IX of France were destroyed in the French Revolution.
    6. Amati, Antonio, Cremona, b. between 1555 and 1560, d. after 1640.
    7. Amati, Hieronymus (Girolamo) I, Cremona, b. about 1556, d. 1630. Antonio was eldest son of Andrea Amati, and worked jointly with his brother Hieronymus, their beautiful instruments resembling the work of their father. The best instruments known are credited to the brother Hieronymus. The varnish of their earlier violins was dark cherry brown, later they made it orange in color. After the death of his brother, Hieronymus labeled his violins only with his own name, and they became famous not only in his own country but also in France and other European countries. The label used by Antonio and Hieronymus Amati is reproduced on Plate 11, and one of their instruments on Plate 14.
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  1. Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart (1922)

    Alvani, Paolo. — Cremona. 1750. 1755

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    1. Altrichter, J. — Frankfurt a. O.
    2. Eine Fabriksfirma, die hauptsächlich Blechinstrumente herstellt, aber auch Geigenmacher beschäftigt und Reparaturen ausführt.
    4. Alvani, Paolo. — Cremona. 1750. 1755
    5. Wahrscheinlich Sohn oder Enkel von Paolo Albani. Einige wenige aber gute Violinen, deren Modell an Guarneri erinnert, tragen diesen Namen. Holz und Lack sind von lobenswerter Beschaffenheit.
    7. Amaglioni. 1839

Named in 4 books printed between 1922 and 1928. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 4 books stand under this name, and the software judged them likely 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: An encyclopedia of the violin (1925); An encyclopedia of the violin (1925); An Encyclopedia of the Violin (1926); Dictionary of Violin makers (1928); Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart (1922). Entries from 4 books stand under this name, and the software judged them likely 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
ALVANI, PAOLO, Cremona, 1750 to 1755. reported1
Places and dates of work
Alvani, Paolo, Cremona, 1750 to 1755. reported1
Places and dates of work
Alvani, Paolo, Cremona, 1750 to 1755. reported1
Places and dates of work
ALVANI (Paolo) — Cremona circa 1750. Has made several good copies of Guarnerius. Yellow varnish. reported1
Places and dates of work
Alvani, Paolo. — Cremona. 1750. 1755 reported1

How the pages were read

5 of the 5 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: “VIOLIN MAKERS IN EUROPE”.

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 4 sources, all read from machine text. The count weighs how well each source was read, not just how many are cited. A stack of half-read sources does not outweigh one page read properly.

  1. Alberto Bachmann, An encyclopedia of the violin (1925). archive.org, encyclopediaofvi0000albe_h3k7. https://archive.org/details/encyclopediaofvi0000albe_h3k7.machine textcited for 1 linesource record

    scan page 33, line 9

  2. Bachmann, Alberto and Ysaye, Eugene, An encyclopedia of the violin (New York, Da Capo Press, n.d.). archive.org, encyclopediaofvi0000bach_r6r5. https://archive.org/details/encyclopediaofvi0000bach_r6r5.machine textcited for 1 linesource record

    scan page 37, line 9

  3. Alberto Bachmann, An Encyclopedia of the Violin (1925). archive.org, encyclopediaofvi0000albe_u1d5. https://archive.org/details/encyclopediaofvi0000albe_u1d5.machine textcited for 1 linesource record

    scan page 35, line 9

  4. Arnold Sewell, Dictionary of Violin makers (1928). archive.org, dictionaryofviol0000arno. https://archive.org/details/dictionaryofviol0000arno.machine textcited for 1 linesource record

    scan page 28, line 5

  5. Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart (1922). archive.org, diegeigenundlaut02lt. https://archive.org/details/diegeigenundlaut02lt.machine textcited for 1 linesource record

    scan page 18, line 19