Books › Old violins and violin lore, 1900 › scan 90
Scan 90
Old violins and violin lore, 1900
12 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLINS AT CREMONA
3each town too hot for him, but his neighbours said that his frequent migrations were due to his own hot temper. There were seven Guadagninis who made violins between 1695 and 1881, but of these the first two, father and son, alone need be taken account of.
5It has been the fashion to separate the Italian makers into schools according to the place at which they happened to live—the Milanese, the Venetian, the Neapolitan, the Bolognese, &c.; but it is much more important to notice the influences under which the chief makers worked than to identify them with special towns.
7A Cremonese who works at Venice but carries the Cremonese traditions with him is still a Cremonese, and belongs to the Cremona school.
9Thus, the "mighty Montagnana," as the novelist Charles Reade called him, made Cremona violins and violoncellos at Venice. He worked between 1700–40 as a pupil of Stradivari, and survived his master only three years. But he came to him when the Cremona art was already perfected, and studied the finest models, assisting in all probability at the very manufacture of the most wonderful instruments in the world. With such a training, on his arrival at Venice he easily took the lead and kept it, and to this day his instruments, especially his matchless violoncellos—alas! too few in number—are little if at all inferior to the best of Antonio.
11Montagnana's outline is by no means a servile copy
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