Scan 177
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.
1ment is characteristic of its author. Its varnish is soft-looking and rich, though paler than usual. The finger-board is inlaid, and is made of a light description of wood. The head is carved and painted, and is a very choice piece of Italian work.
3SANONI, Giovanni Battista, Verona. His instruments are seldom met with in England. High model.
5SANTO, Giovanni, Naples, 1700—1730. Copied Amati. Varnish very hard, and workmanship indifferent.
7SANZO, Milan. Similar to Grancino.
9SAPINO, ——, is mentioned by Fétis as a pupil of Cappa.
11SARDI, ——, Venice, 1649. A broken Violin bearing this name was at the Milan Exhibition, 1881.
13SEGHER, Girolamo. Worked in the shop of Niccolò Amati from 1680 to 1682.
15SELLAS, Matteo, Lute-maker. M. Chouquet, in his "Catalogue Raisonné" of the instruments at the Paris Conservatoire, mentions two Arch-Lutes made by this maker.
17SERAFINO, Santo, Udine—Venice, 1710—1748. This maker is chiefly famed for the exquisite finish of his workmanship. The modelling of his instruments varied. There are instances, particularly in the case of his Violins, where he has entirely set aside the Stainer form, and copied Amati. These Violins are wonderfully like the work of Francesco Ruggeri. The varnish upon them, of a rich red colour, is of so exceptional a quality, that one is compelled to look twice before being satisfied as to the author. The greater number, however, of his instruments are of the German character, the sound-hole, scroll, and outline all hinting of Stainer. These Venetians were
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