Scan 73
Cremona: an account of the Italian violin-makers and their instruments, 1894
13 lines. Read by computer on 3 September 2026. Printed page 51. See the scan on archive.org.
1142. MONTAGNANA, Domenico. Venice, 1700-1750.
2A pupil of Stradivarius.
3After leaving the workshop of his famous master he established himself at Cremona, from which some of his violins are dated. Later he went to Venice, and there soon made a great reputation, as his instruments excelled those of all others in Venice. When they are observed critically, the influence of Stradivari may be observed throughout, but in the details substantial differences appear. The outlines are hard and less pleasing. The archings are flatter lengthwise, but across are more expanded. The F holes incline to the design of Joseph Guarnerius. The scroll is large and boldly curved.
4The varnish of Montagnana excites the admiration of all connoisseurs; it is golden brown and of velvet-like appearance, full of life and fire. He made violins, violas, and violoncellos, the violins in two sizes. (y)
5In the latter years of his life he retired to the Tyrol.
6143. MONTEGRATIA, Pietrus Johannes. Milan, 1780. Workmanship in the style of J. Bapt. Guadagnini, with a handsome model and careful execution. His violas are valued more highly than his violins.
7144. MORELLA, Morglata. Venice, 1550. His violas are famous. No violins by him are known. (z)
8145. NOVELLO, Marco Antonio. Venice; and
9146. NOVELLO, Pietro Valentino. Venice. They
11(y) Mr. Edward Howell possesses a fine violoncello of 1747 by this maker. Signor Dragonetti had an excellent basso di camera by him of about 1725; this he bequeathed to H.R.H. Prince Albert; it is now in the Royal collection. Jean Gerardy plays upon a good instrument by Montagnana of a small size; it was presented to him in 1890 by some English friends. The violoncello which belonged to General Oliver was subsequently acquired by M. Gallay.
12(z) He is said to have worked also at Mantua and Brescia.
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