Scan 134
The violin, its famous makers and their imitators, 1887
14 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1Venetian instrument the wood of which is plain. The tone of Gobetti's work is round, without great power; but the quality is singularly sweet.
3GOFRILLER, Matteo, Venice, about 1700—1735. The workmanship is often of a good kind, and the wood of fine quality. The style is somewhat different to that we are accustomed to associate with Italy. The tone and character of the varnish is generally excellent.
5GOFRILLER, Francesco, Venice. Brother of the above, with whom he worked.
7GRAGNANI, Antonio, Leghorn. Usually branded his initials below the tail-pin. Varnish somewhat hard; ordinary wood. The tone is often of good quality.
9Antonius Gragnani, fecit Liburni, anno 1780
11GRANCINO, Paolo, Milan, 1665—1692. Pupil of Niccolò Amati. The Grancino family, as makers of Violins, commence with this maker, and occupy a similar position, as followers of the Amati pattern, to that of the Gagliani as imitators of Stradivari. Paolo Grancino was pupil of Niccolò Amati. His early works bear the stamp of the mere copyist; latter on the borrowed plumes are less apparent, the dictates of his own fancy are discoverable, but never to such an extent as to permit him to be classed with Stradivari, Bergonzi, and Guarneri, as striking out into entirely untrodden paths.
13His Violoncellos are particularly fine instruments; his Tenors also are worthy of notice. The wood he used was varied, but is, for the most part, plain. It is curious to observe how various centres of Violin-making ran upon different qualities of wood. In Venice the handsomest wood was used, in Milan and Naples the plainest. The com-
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