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Scan 48
A dictionary of violin makers
44 lines. Read by computer on 27 September 2026. Printed page 38. See the scan on archive.org.
1Giquelier, Cristoforo. In the Paris Conservatoire Collection is a viola bastarda with five strings dated 1712, made by him.
3Giraniani. Working in Leghorn in 1730, according to a MS. label found in a violin, fairly well made, with yellow varnish of good quality.
5Girod, Claude. A French maker of whom little is known.
7Giron. See "Villaume."
9Giuliani. A maker of viols in Cremona in 1660. He was a pupil of Nicola Amati, and made some excellent copies of his instruments.
11Gobetti. Francesco. A maker at Venice about 1705. Said to have been a pupil of Antonio Stradivari; he used splendid wood, very beautiful red varnish, rather transparent, and made on a large flat pattern, with sound-holes similar to those of Ruggeri; the purfling is not very neat, and the scroll is rather weak in character; but the workmanship throughout is carefully finished and the tone is of a rich full quality. A very beautiful violin was exhibited in Paris, 1878, with fine golden-red varnish, with label: "Franciscus Gobetti, fecit Venetiis, 1715." A similar label has been seen dated 1705. His instruments are much liked.
13Goffriller (Gofriller), Antonio. A member of the family of this name working in Venice at the beginning of the 18th century.
15Goffriller, Francesco, brother of Matteo; probably worked as his collaborator in Venice. He made few instruments, and seldom put his label into them; they were of fairly good work, with ugly yellow-brown varnish.
17Goffriller, Matteo. A maker in Venice about 1690 to 1740. He had great ability, and his work is peculiarly beautiful and original; his pattern is slightly arched, the sound-hole well cut, the golden-yellow varnish very transparent. It is the exception to find violins and violoncellos in which the wood was carefully chosen; as a rule he was careless about his material, several violoncellos have the back made of poplar tree wood; but the same accurate and skilful workmanship is always shown; the tone was powerful and even in quality. His whole work, in arching, proportions, and varnish, is so unlike that of Stradivari that it is absurd to insert Stradivari labels into his instruments. His violoncellos are especially liked, two being known, most beautifully made. Label: "Mattheus Goffriller faciebat Venetiis, anno 17—."
19Goldt, Jacob Heinrich. A maker in Hamburg, 1700-54. A lute is known of his.
21Gonnet, Pierre Jean. Was working in rue du Temple, Paris, 1775-83.
23Gosselin. An amateur maker in Paris about 1814-30, whose work is little known and little valued. He learnt a great deal from Koliker. He made violins, altos, and violoncellos of ordinary workmanship and good tone, often using for the back and sides a speckled wood, which gave them rather a peculiar look. Label: "Fait par Gosselin, amateur, Paris, année 1826," in a violin of sonorous tone; and "Fait par Gosselin, luthier, Paris, année 1830."
25Gosset. A maker at Rheims, who, in 1769, proposed to alter the frets on the various kinds of viols and guitars in such a way as to produce, instead of equal semitones, the major or minor semitone which was required.
27Gough, John. See "Dearlove, M. W."
29Gough, Walter, d. about 1830. He was not a particularly good workman.
31Gouvernari, Antonio. A maker in Cremona about 1600-10.
33Grabensee, J. A. A maker in Düsseldorf about 1850-55. Label: "Reparirt (Repaired) von J. A. Grabensee in Düsseldorf, 1854."
35Gragnani, Antonio. A maker in Leghorn about 1741-80. His work is a little rough; he used inferior wood and the varnish is poor, but the tone is sympathetic, sweet, and clear. He generally branded his instruments with his initials, "A. G." A five-stringed viol exhibited at South Kensington Museum, London, in 1872, had the label: "Antonius Gragnani, fecit anno 1741." In an inferior violin was the label: "Antonius Gragnani fecit Liburni, anno 1780"; a similar one was dated 1752.
37Gragnani, Gennaro, presumably a relation of Antonio. Was working in Leghorn, 1730.
39Gragnani, Onorato, son of Antonio Gragnani. His work was inferior to that of his father.
41Granadino. See "Contreras, Joseph."
43Grancino, Francesco and Giam Battista, sons of Giovanni and grandsons of Paolo Grancino. Worked together at Milan, 1700-46. They were the best makers of this family and made a great many instruments, using generally spirit varnish, very clear, and an ugly
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