Scan 169
The violin: its famous makers and their imitators, 1875
12 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1manship, but the style is poor. Sanctus Seraphino cannot be regarded as having displayed originality in any shape, and he thus forms an exception to the great majority of Italian makers. His instruments are either copies of Amati or of Stainer; there is, of course, a strong Italian flavour about his Stainer copies which lifts them above the German school of imitators, and hence their higher value. He branded his instruments above the tail-pin, a practice common with two Venetians only, viz., Tononi and Sanctus. He used an ornamental label of large size. The Violoncello in the possession of B. Heath, Esq., is a charming specimen of Seraphino's work, I may say unequalled.
3SANCTI, Giovanni, Naples, 1700—1730. Copied Amati. Varnish very hard. Workmanship indifferent.
5SANONI, Giovanni Baptista, Verona. His instruments are seldom met with in England. High model.
7SANZO, Milan. Similar to Grancino.
9SAPINO, Cremona, 1640. A follower of Cappa, and, consequently, in the school of Amati. Many of his instruments are well made, and his varnish good.
11STORIONI, Laurentius, Cremona, 1780—1798. The last of the old makers who evinced any powers of originality. Although Laurentius Storioni Fecit there is an almost total absence of refinement in his works, there is much that is clever, which has already caused these instruments
Makers on this page
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