Scan 97
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
16 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1TANINGARD (Giorgio) — Rome circa 1740. Dark red varnish. His instruments are a little arched. No 343.
3TASSINI (Bartolomeo) — Venice circa 1750. The instruments by this little master have a gilt yellow varnish and recall the Testore.
5TECCHLER (David) — Rome 1660-1745. The best master of the Roman School. His instruments made at Rome are very fine and bear a thorough Italian character: others, very arched, are of the German style and have much less value. This maker, who also worked at Venice, seems to have specialized in the making of 'cellos of a large pattern. He was still working in Salzburg at the beginning of the xviii th century. Both model and varnish are fine, the latter being yellow verging on red. The corners are a little long. Violins and 'cellos by this master are sought after by artists for their powerful tone. The sound holes, rather short, betray his German origin. Nos 206-495.
7TEDESCO (Leopold) — Rome circa 1660. After having worked in Amati's workshops, this maker left and established himself at Rome where he made good instruments inspired by the master's model. If his workmanship is not of the first order, his varnish is compensatingly fine.
9TERNYANINI (Pietro) — Modena circa 1760. Good make. Gilt yellow varnish.
11TERNYANINI (Giuseppe) — Modena circa 1750. Brother of above mentioned. Same work.
13TESTORE (Carlo-Giuseppe) — Milan circa 1665-1720. Pupil of Grancino. After the Guarnerius model, this make is well finished. Pale red or yellow-brown varnish. His 'cellos are particularly fine, some made of poplar or pear-tree wood. The scroll is not graceful: the sound holes elongated, but of a regular design and cut. Carlo Giuseppe Testore allievo di Gio Grancino in Contrada Larga di Milano. 16..
15TESTORE (Carlo-Antonio) — Milan circa 1680-1760. Son and
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