Scan 93
Cremona: an account of the Italian violin-makers and their instruments, 1894
24 lines. Read by computer on 3 September 2026. Printed page 71. See the scan on archive.org.
1197. TESTORE, Carlo Giuseppe. Cremona, 1690-1710. He was probably a pupil of Joseph Guarnerius, whom he copied well, and his instruments take a high place in the opinion of connoisseurs, as well as in price. The workmanship is good as a rule. Bottesini possessed an excellent contra-bass by him. (j)
3198. TESTORE, Carlo Antonio. Milan, 1700-1730. He copied Nicolas and Joseph Guarnerius; he worked very well, and one of his violins is known to be excellent. (k)
5199. TESTORE, Paolo Antonio. Milan, 1710-1745. Brother of the last maker: he worked after the model of Joseph Guarnerius. His instruments are generally without purfling; he used a yellow varnish. (l)
7200. TONONI, Carlo Antonio. Venice, 1700; and
9201. TONONI, Giovanni. Venice, 1709-1740. They worked after various models; the flat-modelled violins are good; the varnish is a clear brownish-red. (m)
11202. TONONI, Joannes. Rome, 1710. Of no special merit.
13203. TONONI, Felice. Bologna and Rome, 1730. Rather a high model. The varnish is a bright yellow, and is very good.
15204. TONONI, Guido. Bologna and Rome, 1750.
17(j) The small contra-bass often used by Bottesini for solo-playing was by this maker. Carlo Giuseppe was a pupil of Cappa, it is considered: he worked also at Milan.
19(k) He had a son Giovanni, who worked at the business: of him little is known.
21(l) He made a certain number of violins of an inferior order; he also made fine cithers. He worked to 1759. His label is, "Paolo Antonio Testore Milano 17—."
23(m) Much confusion exists as to the relationships between the members of the Tononi family. There was a Carlo Antonio Tononi who worked at Venice until about 1768. Giovanni used a label, "Joannes Tunonus fecit Bononiae in platea Pavaglionis anno 1690."
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