Books › Old violins and violin lore, 1900 › scan 93
Scan 93
Old violins and violin lore, 1900
8 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1able an occupation as the attempts to divide the work of individual makers into distinct periods—one period runs into another, and one school runs into another.
3Roughly speaking, you find but two influences—the Cremona, i.e. the Nicolo, the great Giuseppe and greater Antonio influence with its flat form, gentle curves, and red and yellow varnish; and the German, i.e. the Stainer model, of which I shall presently speak, with its elongated form, arched belly, deep side-grooves, and brown-yellow varnish.
5Some fine Venetian and Milanese makers like Montagnana and Serafino inclined to Stainer, whilst the Roman and Neapolitan adhered more to the Cremona type; but Stainer himself learnt at Cremona, and all the best men like Tecchler (Rome) and Gagliano (Naples) who went South copied either Stradivari or Giuseppe Guarnerius. The Milanese school, on account of the great importance of the capital, naturally attracted good makers like Grancino, Testore (pupil of Grancino), and Pietro Giovanni Mantegazza (1687–1720).
7Venice, Florence, and Bologna can also boast of a few respectable names, but I prefer, for the sake of completeness, to treat them later more in catalogue style, for the guidance of the student, and not to mix them up with the great central figures which have formed the subject, and I hope absorbed the attention, of the reader of this section.
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