Scan 52
Cremona: an account of the Italian violin-makers and their instruments, 1894
19 lines. Read by computer on 3 September 2026. Printed page 30. See the scan on archive.org.
1be found in collections. As he was a monk, it is possible he may not have practised his art as a trade. (a)
357. DOMINICELLI. Ferrara, 1695-1715. Some good basses and violoncellos by him are known.
558. DOMINICHINO, Giuseppe. Verona, 1709.
6Giuseppe Dominichino
7Veronensis faciebat anno 17—
8After the style of the older Amati violins.
1059. DOMENICUS, Joannes Cesarum, 1510. A very old violin with this inscription is in the Niederheitmann Collection at Aix-la-Chapelle; it is small, has archings modelled on the design of Andreas Amati, the F holes are made with a similar curve, equally long and wide from top to bottom. It is made of good wood and has a handsome brown varnish. The purfling on the back runs upward and downwards in a flourish. The tone is excellent. Though nowhere any information is to be found as to this name, this instrument, which is unmistakably Italian, shows all the signs, together with its label, of great antiquity, and we are confronted by an enigma of the year mentioned, namely 1510. Can this violin be of the same period as the oldest known Duiffopruggar violin of 1510?
1260. DUIFFOPRUGGAR, Gaspard. Bologna, 1510-1530. The inventor of the violin—see the Introduction. (b)
1461. DULFENN, Alexander. Livorno, 1699. His work is but seldom to be found.
16(a) Fétis mentions a famous lute, dated 1497, made by him for the Duchess of Mantua. In 1807 this instrument was in the possession of Richard, the painter, of Lyons. The violas and violins ascribed to Dardelli are of doubtful origin.
18(b) See p. xi. The label in the instrument described, belonging to Mr. Georges Chanot, is in black letter type, with large bold letters. The authenticity of these printed labels, like many others, is very doubtful, to say the least.
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