Bow & Bridge

Loly, Jacopo

As printed

  1. A dictionary of violin makers (1896)

    Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors.

    scan page 66, line 3See the scan

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    scan page 66, line 3

    1. good instruments about 1780; used yellow-brown varnish.
    2. Lolio, Giambattista. A maker in Bergamo in the 18th century.
    3. Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors.
    4. Longman and Broderip were not violin makers, but were instrument sellers in Cheapside, London, about 1760, and many of the instruments they sold, marked with their name, were made for the firm by Benjamin Banks, or Jay.
    5. Lorenzini, Gaspare. A maker in Piacenza in the 18th century.
    6. Lott, George Frederick, eldest son of John Frederick Lott, sen.; b. 1800, London; d. there, 1868. He was an excellent workman and was for a long time employed by Davis, of Coventry Street, London. He copied Italian instruments with great cleverness.

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

    Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors.

    scan page 68, line 4See the scans: 68, 68source record

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    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 68, line 4

    1. d. 1824; made fairly good instruments; used yellow-brown varnish.
    2. Lister, John. Leeds, 1727.
    3. Lolio, Giambattista. Bergamo, 17—.
    4. Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors.
    5. Longman and Broderip were not violin makers, but were instrument sellers in Cheapside, London, about 1760, and many of the instruments they sold, marked with their name, were made for the firm by Benjamin Banks, or Jay.
    6. Lorenzini, Gaspare. A maker in Piacenza in the 18th century.
    7. Lott, George Frederick, eldest son of John Frederick Lott, sen.; b. 1800, London; d. there, 1868. He was an excellent workman and was for a long time employed by Davis, of Coventry Street, London. He copied Italian instruments with great cleverness.

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

One or more sources name this maker, and this record states only that: 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. Beyond what is printed there, nothing on this site confirms this record and no claim has been invented — not established, and we want to hear from you if you can change it.

What the books say

Places and dates of work
Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors. reported1
Places and dates of work
Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors. reported1
Places and dates of work
Loly, Jacopo. Was working in Naples in 1627; followed the pattern of Grancino; used yellow varnish; his instruments were not arched, and the wood was of too hard a quality. He made some large-sized tenors. 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 68, line 4

  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 68, line 4

  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 66, line 3