Scan 60
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1ment. The tone is not without breadth, and is, to a certain degree, sympathetic. The arching is flat, and altogether the work is by no means bad, but is what people think common-looking, no fault at all in a good violin.
3Briggs, James W., Leeds. Contemporary. A pupil of William Tarr of Manchester. Violins, violas, and basses.
5Collingwood, Joseph, London, 1760. A fine old English maker of considerable originality. Fine wood, and pleasing, light yellow varnish. His sound holes are well designed, but very wide Amati-Stainer model, with remarkably good quality of tone.
7Camillus, Camilli, Mantua, about 1740. A maker who copied Stradivari to a certain extent, and employed good wood and fairly good varnish.
9Cappa, Joffridus, Saluzzo. This was a Piedmontese maker, about whom a good deal has been written without much foundation. Fetis had authoritatively said that he was born in Cremona, and had been a pupil of A. and H. Amati, giving other apparently well ascertained particulars regarding him which very naturally led people to suppose that he had acquired them in some specifically authentic fashion. An Italian connoisseur of much distinction also took some trouble to find out a little about this maker, but failed. Conjecture appears to have been very busy with him and his work. It now seems that he was at work in Saluzzo and in Turin during the first half of the seventeenth century, and this information is derived solely from tickets found in instruments claiming to be by him. Anything that I
Makers on this page
The computer misreads some letters and numbers. Where a name matters to you, read the scan.