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Scan 55
Old Violins And Their Makers, 1883
8 lines. Read by computer on 3 September 2026. Printed page 41. See the scan on archive.org.
1earlier writers, and altogether there is quite as much uncertainty about the quality of his work as there is about the period of his actual existence.
3Acevo and Sapino are names given in the first place by Fetis, and after him by everybody else, in precisely the same terms, as those of two of the good pupils formed by Cappa in this school of Saluzzo. M. Fetis even goes so far as to describe their work as being much esteemed, although not quite equal to that of the Amatis, and mentions having seen one instrument dated 1693, claiming to have come from the hands of the first of these makers. Nothing more, however, is known or conjectured about their names except that acevo may a corruption of acero, which in Italian means "maple," and that sapino may be an Italianised form of sapin, which in French means "pine." Maple and pine being the woods chiefly used in the manufacture of the violin, it is quite possible that the distinguished pupils of Cappa had no other existence than in these forms. If ever they lived in the flesh, the first named is supposed to have been born at Saluzzo about 1630, and to have worked there from 1650 to 1695, and the second to have worked at the same place from 1650 to 1680.
5I have an old note of a Guiseppe Cappa at Saluzzo about the end of the seventeenth century, but it is simply a name. It may, however, account for the startling re-appearance of this surname in 1712 at Turin, before alluded to.
7An old author mentions a Guiliani as an immediate pupil of Nicolas Amati, and says he worked about 1660, but does not say where. I can find no trace of him or his work except the statement that he made very
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