Scan 82
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
22 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1nesses and arching also have much resemblance. We are inclined to believe that Montagnana learnt first with Niccolo Amati and then went to Stradivarius, as his standard model, a large pattern, comes in between those of Amati and Stradivarius. Instruments by this maker are scarce despite the fact that his production was great. For a long time unrecognised, his fate was that of many makers whose works were sealed as those of others more in vogue. His workmanship is minute and his varnish, one of the most beautiful known for its softness, its warm red colour and the generous nature of its composition. Sound holes and scrolls are spontaneously achieved. The quality of tone is one of the finest of the Italian school. No 160.
3MONTALDI or MONTADA (Gregorio) — Cremona circa 1750. Good make. Yellow varnish. This excellent maker worked with Stradivarius (Omobono) and cleverly reproduced his model.
5MONTANARO (Giuseppe) — Padua circa 1815.
7MORELLA (Morgiato) — Mantua and Venice circa 1850. Viols and lutes. Very scarce. Brown-red varnish. No 208.
9MUCCHI (Antonio) — Modena circa 1800-1880. Stradivarius model. Tender yellow varnish. No 346.
11N
13NADOTTI (Giuseppe) — Piacenza circa 1750. The work of this little master is not devoid of interest. He had several models. His workmanship is good, also his pale red or yellow varnish.
15NELLA — Brescia circa 1700. Maggini style. See Ravanelli.
17NOVELLI (Pietro-Valentino) — Venice circa 1780. Pupil o A. Belosio as shown on his label. On the whole, interesting make. Good tone. No 347.
19O
21OBICI (Bartolamio) — Verona circa 1670. Judging from its style, nature and large model, this make seems to belong to the
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