Scan 80
Cremona: an account of the Italian violin-makers and their instruments, 1894
20 lines. Read by computer on 3 September 2026. Printed page 58. See the scan on archive.org.
1176. SANONI, Giovanni Baptista. Verona. A high model; very few instruments by this maker are to be found.
3177. SANTI, Giovanni. Naples, 1700-1730. Model after that of Nicolas Amati; brittle varnish and insignificant workmanship. (q)
5178. SANTINO, Sanzio. Milan, 1634. Of no particular value.
7179. SANZO. Milan. Similar to Grancino.
918c. SANZZA, Santino. Milan. Similar to Sanzio Santino, and possibly identical with him.
11181. SEPINI, or Sapino. Cremona, 1640. An imitator of Cappa, of the Amati school. Many of his violins are extremely good, and have a handsome, golden-red varnish.
13182. SERAPHIN, Santo. Venice, 1730-1745. With Montagnana he is the most celebrated Venetian maker, and in the artistic execution of their instruments the best of them excelled those of Stradivarius. He often changed the model of his violins; there are some made after that of Stainer, others after that of Nicolas Amati, while still others much resemble those of Francesco Ruggeri. The varnish is handsome, brownish-red, and put on thickly on the backs, whereby it has come off in parts by use. As his models differed, so he varied in the marking of his instruments, either by his name branded on them, or by large ornamental labels or by small labels. His violoncellos are usually better than his violins. (r)
15183. SERASATI, Domenico. Naples, 1710-1750. Of mediocre merit.
17(q) Or Sante (?) This name also occurs at Pesaro and in Rome. Some confusion has occurred between the names of Santi, Sante, and Santo.
19(r) He used a large label, which he is said to have himself engraved, and which is very elaborate and handsome. Some of his violins are found with his initials in ebony let into the belly under the broad part of the tail-piece. He principally followed Nicolas Amati, and one authority cites a label to show apparently that he was his pupil.
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