Scan 49
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
24 lines. Read by computer on 2 October 2026. No printed page number was found. See the scan on archive.org.
1Modern make with qualities. This maker followed Cerutti and his varnish is of good composition.
3CELIONATI (Giovanni-Francesco) — Turin circa 1730. Fine make. Amati model. Very rich yellow varnish. No 400.
5CERIN (Marco-Antonio) — Venice circa 1790. Pupil of Bellosio (Anselmo) according to his label. Pale yellow or brown-red varnish. Stradivarius model. Interesting instruments. No 104.
7CERUTTI (Giovanni-Batista) — Cremona 1755-1817. Niccolo Amati style. Large production. Successor and pupil of Storioni. Fine make often after the Guarnerius model. The whole scale of colours has been used by this master when varnishing.
9CERUTTI (Guiseppe) — Cremona circa 1787-1860. Son and successor of the above-mentioned. Good make, not quite equal to that of his father. Orange varnish. Used to brand G. C. apart from his label. The weak point of his instruments is considered to be the scroll, which lacks gracefulness.
11CERUTTI (Enrico) — Cremona 1808-1882. Like his grand-father, Giov. Batista, this maker has produced much. Yellow-orange varnish. Amati model but less arched. His 'cellos are among his best instruments.
13CHIAVELLATI (Dominico) — Lonigo circa 1790. Ordinary work.
15CHIOCCHI (Antonio) — Venice circa 1770. Work of no great interest.
17CHIOCCHI (Gaetano) — Padua 1814-1880. Good class modern make.
19CIRCAPA (Thomaso) — Naples 1730. Interesting work but inconsistent. Has made many valued mandolines.
21COMPOSTANO (Antonio) — Milan circa 1710. Grancino style. Fine tone. Yellow-brown-varnish. Large pattern. No 321.
23CORARA (Giacomo) — Venice circa 1770. Nice work rarely met with. No 193.
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