Scan 56
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
18 lines. Read by computer on 5 October 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1or gold-yellow varnish, his instruments recall those of David Tecchler. The scroll is particularly well treated. N° 108. one of two readings
2or gold-yellow varnish, his instruments recall those of David Tecchler. The scroll is particularly well treated. No 108. one of two readings
4F
6FABRICATORE — Naples towards 1780. Valued guitars, mandolins and lutes.
8FACINI (Agostino) — Bologna circa 1740. Monk of the Order of Saint Jean de Dieu who made interesting violins. Yellow varnish. Strad model.
10FAGNOLA (Hannibal or Annibale) — Turin Contemporary. Imitator of Pressenda and J.-B. Guadagnini. Modern make with genuine qualities, which is already sought after. Well built with good woods, and amply coated with a tender red or yellow varnish, his instruments have rare tone carrying qualities. His imitations of certain violins are so thoroughly executed, that with the patina of a score of years use, they are looked upon as authentic Pressenda. This master may be considered one of the best makers of our time. This distinguished copyist is known to have had no master and his skill, so much admired, has been acquired through repeated reproduction of the works of Guadagnini and Pressenda. His work is originality itself and well finished; the varnish has a tendency to crackle. His own label is placed next to that of the maker copied and instruments bear his signature and the date of making in handwriting, to be found inside the instrument on the left rib, at the top. This can be easily checked by removing the tail pin. His first instruments are dated 1890, this being the year in which he established himself. He enjoys a world-wide reputation. N° 500. one of two readings
11FAGNOLA (Hannibal or Annibale) — Turin Contemporary. Imitator of Pressenda and J.-B. Guadagnini. Modern make with genuine qualities, which is already sought after. Well built with good woods, and amply coated with a tender red or yellow varnish, his instruments have rare tone carrying qualities. His imitations of certain violins are so thoroughly executed, that with the patina of a score of years use, they are looked upon as authentic Pressenda. This master may be considered one of the best makers of our time. This distinguished copyist is known to have had no master and his skill, so much admired, has been acquired through repeated reproduction of the works of Guadagnini and Pressenda. His work is originality itself and well finished; the varnish has a tendency to crackle. His own label is placed next to that of the maker copied and instruments bear his signature and the date of making in handwriting, to be found inside the instrument on the left rib, at the top. This can be easily checked by removing the tail pin. His first instruments are dated 1890, this being the year in which he established himself. He enjoys a world-wide reputation. No 500. one of two readings
13FALCO (Paolo) — Cremona middle of xviii th century. Pupil of Bergonzi whose workmanship he recalls. Excellent tone.
15FARINATO (Paolo) — Venice circa 1700. Santo Seraphino style. whose manner of work he also resembles. Orange varnish.
17FAUSTINO (Lucca) — Modena towards 1600. Scarcely known make
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