Books › the history of the violin, 1864 › scan 237
Scan 237
the history of the violin, 1864
4 lines. Read by computer on 28 September 2026. Printed page 215. See the scan on archive.org.
1In "Luthomonographie" a ticket is given of Carlo Giuseppe Testore, showing that he worked at Cremona, "Carlo Testore me fecit Cremona del Anno 16…" He made good violins, after the Amati pattern, and the small double-bass played on by Bottesini, with such extraordinary execution, is of his make; Dr. Forster mentions three makers of the name, calling them the founders of the Milanese school.
3Giaochino, or Giofreda Cappa, a pupil of the Amatis, was born at Cremona 1590, established himself in Piedmont 1640, and founded the school at Saluzzo. His violoncellos were his best instruments; he had two pupils, Acevo and Sapino, whose instruments were formerly esteemed. There was also a Giuseppe Cappa at Saluzzo, at the end of the century. Jean Paul Castagnery was a maker at Paris from about 1639 to 1662; his violins were esteemed for their silvery tone, but had not much power. About the same time St. Paul and Salomon, a pupil of Bocquay, were good makers at Paris; the latter made his instruments after the pattern of Guersan, and his bass-viols are said to have been good. Medard, who is supposed to have been a pupil of the Amatis, was afterwards, it is said, at Paris, and subsequently at Nancy, became the founder of the school of Lorraine in the early part of this century; he took the small pattern of the Amatis for his model, and his instruments, which were silvery and mellow, though not powerful, were sometimes mistaken for theirs. A ticket that we have seen in a violoncello belonging to Lord Stafford, is "Henry Medart a Nancy 1627." Lagetto was another Parisian maker, a little later; his instruments were also after the Amati pattern, with spirit varnish. Sympertus Niggel is another name mentioned. Joachim Tielke was a celebrated maker at Hamburg, in the latter part
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