Books › A dictionary of violin makers, 1896 › scan 99
Scan 99
A dictionary of violin makers, 1896
16 lines. Read by computer on 27 September 2026. Printed page 91. See the scan on archive.org.
1Tachinardi. A maker in Cremona in 1690.
2Tadolini. A maker in Modena in the 19th century. See "Fiorini Raffaele."
3Tanegia, Carlo Antonio. Was working in Milan about 1725-30. Label: "Carolus Antonius Tanegia fecit in Via Lata, Mediolani, anno 1730."
4Tanigardi (Taningard), Georgio. Was working in Rome about 1735. Labels: "Georgius Tanigardus fecit Romae, anno 1735," and "Georgio Tanigardi fecit Romae, 17—."
5Targhetta. A maker of guitars and other instruments in Brescia towards the close of the 16th century.
6Tarr, William. A maker in Manchester, said to have made very good double-basses about 1829-55, when he gave up violin making to become a photographer.
7Tassini, Bartolommeo. A maker in Venice in 1754. His instruments, similar to those of Testore, show fairly good work. Label: "Opus Bartholomei Tassini Venetia, 1754."
8Taylor, b. about 1750. Worked in London, in Princes Street, Drury Lane; was said to be a pupil of Panormo. He made good instruments, principally double-basses, and was clever at repairing old instruments.
9Techler (Tecchler), David, b. 1666. Lived first at Salzburg, then went to Venice, but owing to the ill-treatment he received from the makers there, left Venice and finally settled in Rome about 1705; he is said to have stopped at Cremona on his way there. Some of his work is very German in character, but instruments dated from Rome are generally of fine workmanship, and follow the Italian pattern very closely. His violoncellos are especially good; made of excellent wood, on a large pattern, much arched, but the thicknesses are often inaccurate; the sound-holes are large, they vary, sometimes being widely opened, sometimes not; the varnish, of good quality, is generally reddish-yellow, sometimes yellow-brown in colour; the tone is very powerful, the work beautifully finished; one was sold at an auction for £50. His double-basses also show good work and have a sonorous tone. A violin of highly finished workmanship was made of beautiful wood and had a very pure and sweet tone. Labels: "David Tecchler Liutaro fecit Romae, anno 1703," a similar one is dated 1706: "David Tecchler fecit Romae, 1733," and "David Techler fecit, an. Dni. 1743, ætatis suæ, 77."
10Tedesco (Todesco), Leopoldo, b. 1625. Was a pupil of Nicola Amati in Cremona, 1653-54. Afterwards worked in Rome; a violin dated from there in 1658 is made on the Amati pattern, and has good varnish, but the work is not highly finished.
11Teoditi (Teoditti), Giovanni. A maker in Rome in the 17th century.
12Ternyanini, Pietro. Working in Modena, 1755.
13Testator, "Il Vecchio." Is said to have lived in Milan about 1520, and to have been one of the first to modify the viol into the violin shape; but there is absolutely no evidence of this.
14Testore, Carlo Antonio, eldest son of Carlo Giuseppe Testore, from whom he learnt his trade. Worked in Milan, in the Contrada Larga, at the sign of the Eagle (dell' aquila), about 1735-65; according to one label was associated with his son Giovanni in 1764. His violins are made on the Guarneri pattern, of excellent wood, though not finely figured; the varnish is golden-yellow in colour, the workmanship is good. His violoncellos and altos are especially fine instruments; the varnish, rather thick, is generally brown in colour. Labels: "Carlo Antonio Testore figlio maggiore del fù Carlo Giuseppe in Contrada larga al segno dell' aquila, Milano, 1741"; another label is dated 1736: "Carlo Antonio e Giovanni padre e figlio Testori, il qual Carlo e figlio maggiore del fù Carlo Giuseppe Testore, abitanti in Contrada larga al segno dell' aquila, Milano, 1764.
15Testore, Carlo Giuseppe, b. at Novara; settled at Milan about 1687, and worked there till about 1720. He was a pupil of Giovanni Grancino, for whose work his instruments are often mistaken. He was the best workman in this family, but did not make many instruments. His violins, of excellent wood, show good strong work, but not highly finished, and are plain in appearance. The pattern varies; it is moderately
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