Scan 58
Cremona: an account of the Italian violin-makers and their instruments, 1894
16 lines. Read by computer on 3 September 2026. Printed page 36. See the scan on archive.org.
191. GOUVERNARI, Antonius. Cremona, 1601. A long, elegant pattern, with moderately high archings. The varnish is thin, and is of an olive-yellow colour.
3Antonius Gouvernari Cremonensis faciebat Anno 16—
5The tone is not great, but extremely noble and sympathetic. The F holes resemble those of Nicolo Amati, but are rather longer and finer, with more curve; and the scroll is very graceful, with sharp edges.
792. GRAGNANI, Antonius. Livorno, 1780. Instruments of the second rank. (t)
9Antonius Gragnani fecit Liburni Anno 17—
1193. GRANCINO, Paolo. Milan, 1665-1690. A pupil of Nicolas Amati. The family of Grancino begins with this maker, and takes much the same position with respect to Amati as that of Gagliano does to Stradivarius. His first instruments are simple copies of those of his master; he gradually takes his own path, but never really attains to an original type of instrument. He excelled especially in tenors and in violoncellos. The latter instruments surpass those of his master in volume of tone, but are inferior to them in quality. The greater number of his instruments are to be found with Amati labels. The distinction is only to be found in the scroll, which shows a different character in a somewhat lengthened form.
1394. GRANCINO, Giovanni Baptista, 1690-1700. At first at Milan, later at Ferrara. His materials are generally better chosen than are those of his father, Paolo. The model is rather flatter, and the workmanship is neat. The instruments have a powerful tone, and are generally varnished a deep yellow colour.
15(t) Vidal gives the name of Gennaro Gragnani, who worked at Livorno about 1730. Antonio had a son, Onorato, whose work was inferior to that of his father. Antonio Gragnani was wont to append the sign of a globe and a cross to his label.
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