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Scan 97
Old Violins And Their Makers, 1883
6 lines. Read by computer on 30 September 2026. Printed page 83. See the scan on archive.org.
1He was a pupil of Stradivari. He is also said to have been at Mantua, but his best instruments date from Venice. They are large, of good wood, and with golden brown or red brown varnish. Sound holes well designed, arching slightly higher than that of Stradivari; ribs fine and beautifully figured, and purfling good. The scrolls are excellent. The majority of his violoncellos, for which he is chiefly distinguished, have been cut down, being too large, but when they are in good condition they sell at high prices. They are of magnificent workmanship.
3Lorenzo Guadagnini is the first of another family of makers. He was also a pupil of Stradivari, and established himself at Piacenza from 1700 to 1743. His wood is of fine quality. The varnish red, but dry, and powdery. The arching and ribs are ordinary, but the instruments are of good proportions. Corners and purfling heavy. His son, G. B. Guadagnini, dwelt in Piacenza, Milan, and Turin. This maker's instruments have not what is called amber varnish, but it is of fine quality, and not unlike N. Amati's. Wood finest quality. Amati sound holes. Ribs ordinary and rather high, but corners exquisite, and purfling very careful. Joseph Guadagnini, son of the latter, was at Pavia, and made a great number of instruments up to the end of the eighteenth century. The instruments of the Guadagninis are of the second order, but Lorenzo and G. B. have made violins which are highly prized.
5Spiritus Sursano, at Coni, from 1714 to 1720, was a maker of whom little is known, but his work is not in repute. Schmidt, of Cassel, was a German imitator of Stradivari. He is reported by Otto to have made fine instruments, but they were never much thought of,
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