Scan 74
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
22 lines. Read by computer on 2 October 2026. No printed page number was found. See the scan on archive.org.
1brown-red varnished instruments have caused him to be classified as a maker, otherwise he would have remained unknown; some of his instruments are very ordinary, not even purfled and scarcely varnished. Fortunately their tone qualities often compensate for their poor appearance. His mode of work recalling that of J. Guarnerius, he has often been looked upon as his pupil. The backs and bellies are thick in wood, the scroll is original and broadly treated, the sound holes are carefully cut. Among his best instruments may be classed his 'cellos, usually of small pattern and medium height resembling Pietro Guarneri's model. No 144 – 137.
3LANDOLFI (Pietro-Antonio) — Milan circa 1780. Son, pupil and successor of the above mentioned. Same work. On the whole of less value as instruments. The sound holes are well cut and straight.
5LAUZA (Antonio-Maria) — Brescia beginning of xviii th century Brown red varnish, good workmanship. No 325.
7LAVAZZA (Antonio-Maria) — Milan circa 1700. Nice make medium arching, pale red varnish thickly coated.
9LAVAZZA (Santino) — Milan circa 1760. Probably the son of Antonio-Maria. Good make. No 313.
11LEONI (Ferdinando) — Parma 1815. Follower of Amati. Ordinary.
13LEONI (Carlo) — Treviso 1860. Violins and guitars. Medium class work.
15LEORIPORRI (Giovanni-Francesco) — Milan 1760. His style is in no way Italian. Brown-yellow varnish, the sound holes after the German fashion. No 314.
17LIAINER (Alberto) — Rome circa 1760. Medium class work. No 326.
19LOLIO (Giov-Battista) — Valterre circa 1740. No 329.
21LOLY (Jacopo) — Naples circa 1725. Flat model. Yellow varnish. Very hard woods. Grancino manner.
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