Scan 178
The violin, its famous makers and their imitators, 1887
15 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1wonderfully fortunate in obtaining handsome wood, and in this respect Santo Serafino was pre-eminent, for his sides and backs are simply beautiful to perfection. His method of cutting the wood was invariably to show the grain in even stripes. The scroll is well cut in point of workmanship, but the style is poor. Santo Serafino 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. Nearly all his instruments were branded with his name above the tail-pin. He used an ornamental label of large size. The Violoncello in the possession of Mr. H. B. Heath is a charming specimen of Serafino's work, I may say unequalled.
3SNEIDER, Josefo, Pavia. Lancetti remarks that many of the Violins by Girolamo Amati, son of Niccolò, were attributed to this maker.
5Joseph Sneider Papiæ
6Alumnus Nicolai Amati Cremonae
7fecit Anno 17—
9SOCCHI, Vincenzo, 1661, Bologna. In the Catalogue of M. Chouquet mention is made of a Kit or Pochette by this maker in the Paris Conservatoire.
11STATLEE, Anderl, Genoa, about 1714. Signed himself as a pupil of Hieronymus Amati (son of Niccolò). Not unlike the work of Urquhart.
13STREGNER, Magno, Venice, Lute-maker.
14STORIONI, Lorenzo, Cremona, about 1769 to 1799. The
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