Scan 135
The violin, its famous makers and their imitators, 1887
18 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1mercial importance of Venice would, of course, draw to it the largest selection of wood, and thus permit the second and third-rate maker to use it, and at the same rate, probably, that a less handsome material would cost in cities farther removed. The scroll of Paolo Grancino has a very decisive character; it is quite distinct from that of the Amatis. From the ear of the scroll the turn is rapidly made, and has an elongated appearance.
3Grancino, Giovanni, Milan, 1694—1720. Son of Paolo. The workmanship is smooth and the form good. The material of his instruments is of a better nature than that used by his father. The model is slightly flatter. The tone is powerful. Varnish mostly yellow.
5Grancino, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned above. Similar characteristics.
7Grancino, Francesco. Son of Giovanni Battista. Here we have the same falling off as in the case of the Gagliani, a family beginning with artists and ending with common workmen.
9Grulli, Pietro, Cremona. Now living.
11Guadagnini, Lorenzo, Cremona, 1695 to about 1740.
13Laurentius Guadagnini
14Cremonae Alumnus Stradivari
15fecit Anno Domini 17
17No matter to which of the Guadagnini the instrument may owe its origin; if it bears the name, importance is attached to it, often without due regard to the merits of the particular specimen. The later members of the family have thus received attention measured by the excellence of the works of their forefathers. That this should be so to a certain extent can scarcely excite surprise, nor
Makers on this page
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