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Scan 262
the history of the violin, 1864
6 lines. Read by computer on 28 September 2026. Printed page 240. See the scan on archive.org.
1ments from which Maugin, in his "Manuel du Luthier," took his method of tracing a fine model of a violin with only a rule and compass, which may also be seen, somewhat shortened at the end of Bishop's translation of Otto on the violin.
3Other Italian makers of this period are Paulo Aletsie, at Monaco, about 1726, skilful in making bass instruments; Antonio Gragnarius, Tomasso Eberti, Giacomo Horil, Rovelli, Gattanani, Speiler, and Guiseppe Odoardi; who, although a peasant, and self-taught, made several excellent instruments, but died at the early age of 28; Carlo Broschi, of Parma, 1744; and J. Andreas Borelli, 1741. Joseph Contreras is mentioned as a good maker at Madrid about 1746, making fine copies of Stradiuarius, which were often sold for genuine instruments. Galerzena, a Piedmontese, is named, 1790; Nicholas of Geneva, 1790; and Joseph Wagner of Constance, 1773.
5There are several good and well-known makers at Paris during this century. One of the earliest was Augustine Chappuy, about 1711, whose instruments were much esteemed in France; another of the same name is mentioned in 1794; Pichol, Amelingue, who, however, principally made clarionets; Pique and Andrea Castagneri are other names. Saunier, who was born in Lorraine about 1740, and established in Paris about 1770, was a favourite maker, and was the master of Noel Piete, born about 1760, who was esteemed as a maker of violins and basses. Saunier was the pupil of Lambert of Nancy, nicknamed the Lute carpenter, who made a vast number of instruments, but not of high merit. Finth, or Fendt, a German maker, lived in Paris from 1765 to 1780, and took Stradiuarius for his model; his instruments were good and well finished, and said to have been
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