Books › Dictionary of Violin makers, 1928 › scan 55
Scan 55
Dictionary of Violin makers, 1928
18 lines. Read by computer on 27 September 2026. No printed page number was found. See the scan on archive.org.
1GIORGI (Niccolo) — Turin circa 1745. Good work. Stradivarius model. No 305.
3GIOVANETTI (Leonardo) — Lucca circa 1816-1880. Work somewhat original but of not great artistic interest.
5GIRANIANI — Livourne circa 1725. Mentioned by Vidal. There is apparently a mistake in the name.
7GISALBERTI (Andrea) — Parme circa 1720. Work of which nothing can be said either for or against.
9GIULIANI or GIULANI — Cremona and Saluzzi end of xviiith century. Pupil of Niccolo Amati. Same model. Good work.
11GOBETTI (Francesco) — Venice circa 1690-1732. Followed the first manner of his master Stradivarius. His violins are therefore often of a small pattern, but he has also a large and flat one. His work, of great finish, places him in the forefront of the Venetian school, although after Montagnana. Very fine woods. Pale red varnish. The scroll leaves a little to be desired, not being in harmony with the general outlines. No 50.
13GOFFRILLER (Matteo) — Venice 1670-1740. This master, whose work is of a high standard, has not always been very careful in his choice of woods, with are often cut too near the bark. Many of his 'cellos have their backs made of poplar. The workmanship is nevertheless fine, sound holes somewhat German in style and scrolls artistically carved. The same applies to his varnish, which is dark red or brown yellow. The quality of tone is generally free and beautiful. His brother, Francesco, a clever worker, assisted him. His finest 'cellos are often attributed to Carlo Bergonzi. No 234.
15GOUVERNANI (Antonio) — Cremona beginning of xviiith century. One of the oldest Cremonese makers whose model is large and flat. His yellow varnish is slightly tinted with green and the scroll is very well carved.
17GRAGNANI (Antonio) — Livourne 1740-1800 circa. His instruments recommend themselves more on account of their tone qualities than for their workmanship and woods, which are usually
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