Scan 74
Chats to violin students on how to study the violin, 1895
8 lines. Read by computer on 3 September 2026. Printed page 60. See the scan on archive.org.
1varius, whose style he copied, although his scrolls are generally roughly finished. He rarely used labels for his violins. He was one of a large family, all more or less celebrated fiddle makers.
3The family of Guadagnini are also justly celebrated as makers, and were for a number of years associated with Stradivari. They came from Milan about the end of the seventeenth century. The head of the family—Lorenzo, his son, brother, etc., have all left magnificent instruments, and the tone of the Guadagnini violin is almost always very good.
5The popularity of Montagnana (a pupil of Stradivarius) was very great. He flourished about 1700 to 1745, and did most of his work in Cremona and Venice. His violins are very original and may rank with those of Bergonzi. Unfortunately he has not made many instruments—not being a copyist he tried to put individuality into each specimen. His varnish and tone are most remarkable.
7Fransecus Ruggierus, who lived about 1668 to 1730, is one of a large family of leading violin makers. One of his sons is said to have been a pupil of N. Amati, whose instruments all the examples of the Ruggieri much resemble, and they are very valuable instruments. Vicenzo Panormo was a most faithful copyist of Strad, Guarnerius, and Amati, but especially the former. He lived and flourished about 1740 to 1810 and wandered about, never settling down in one place, being of so restless a nature that he never gave himself a chance of getting an established reputation.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.