Books › the history of the violin, 1864 › scan 260
Scan 260
the history of the violin, 1864
2 lines. Read by computer on 28 September 2026. Printed page 238. See the scan on archive.org.
1tickets; a Carl Frederick Pfretzschner is also mentioned at Cremona. Lorenzo Storioni, who was living there in 1782, was the last maker of any great repute of that celebrated place. His violoncellos especially are esteemed for their powerful tone. His violins resemble those of Joseph Guarnerius, and Dr. Forster speaks in high terms of them, particularly of one then in his possession of a singular shape, and of a dark reddish or nut brown colour, with a metallic or golden sound as he terms it. The celebrated performer Vieuxtemps, we are informed, used one in 1861 for his solo instrument, which was much admired. There were several makers called Tonini, at Bologna, in the early part of the century; Felice, Antonio, Carlo, and Guido; the instruments of the latter are said to have been esteemed, and sometimes to have been taken for those of Nicolas Amati. At Brescia, about the same time were Gaetano Pasta, and Domenico Pasta, and Nella Raphael of the same school, whose instruments have good volume of tone, but are not equal, and may be known by having the scroll sculptured, with inscriptions on the sides. Rome was deficient in good makers, the first who commenced making there on the principles of the school of Cremona, was Gaspard Assalone; we have already mentioned Techler, who was the best. Antonio Pollusha, 1751, and Antonio Pansani, 1785, were also two of the principal makers there. Florence did not abound in good makers, only three are mentioned of any repute, Giovanni Baptista Gabrielli, Bartolomeo Christofori, and Carlo Ferdinand Landolfi, who is also stated to have been of Milan, and there are tickets with his name as of this place, one called Quidantus, is also named, but is probably the same as Giovanni Florenus Guidantus, whose ticket is of Bologna. There were several makers at Venice of different degrees
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