Scan 214
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 27 September 2026. Printed page 162. See the scan on archive.org.
1tion of their varnish than can be discovered in their works. The instruments of Pressenda present a singular contrast with others of Italian make belonging to this century, most of which evidence what may be termed the throes of a dying manufacture. With Pressenda we appear to have a new departure, in which there is some show of attention having been paid to the work accomplished in the best workshops of Paris. The then condition of Violin-making in Italy made it necessary for any Italian maker—no matter how great his ability—to seek information elsewhere, if desirous of excelling in his art. Pressenda appears to have sought to emulate and even surpass many Parisian makers by associating his name for the most part with good and unsophisticated work. The results of his labours reflect no little credit on his skill and judgment. Pressenda may be styled a born maker of Violins. From an account published by Signor Rinaldi, of Turin, in 1873, we learn that Pressenda was the son of poor parents, who lived in Lequio-Berria, a hamlet in the vicinity of Alba, in Piedmont. His father Raffaele was a strolling fiddler, and gained his precarious livelihood by playing at village fairs and other rejoicings. On these occasions he was accompanied by his son Giovanni, who followed the occupation of his father, playing the Violin with some degree of skill. It was at this period that he appears to have manifested a
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