Scan 23
The violin: its famous makers and their imitators, 1909
4 lines. Read by computer on 1 October 2026. No printed page number was found. See the scan on archive.org.
1with adversity; light and graceful character of his work—Pansani, Antonio—Pasta, Antonio—Pasta, Domenico—Picino—Platner, Michel—Pollusca, Antonio—PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his models, Stradivari and Amati … … … 158–163
2Racceris—Rinaldi, Gioffredo—Rocca, J. A.—Rota, Giovanni—Rodiani—Rovetta—RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolò Amati and worthy of him; brilliancy of his varnish—RUGGERI, GIACINTO—RUGGERI, VINCENZO—ROGERI, Pietro Giacomo—RUGGERI, GIAMBATTISTA—ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or settled in Bologna); his instruments of large Amati pattern … 163–167
3SACCHINI, SALÒ GASPARO DA ("The Great Brescian,") his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salò of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice—Sanoni, Giovanni Battista—Santo, Giovanni—Sanzo—Sardi—Sellas, Matteo—SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer—Sneider, Josefo—Socchi, Vincenzo—Sorsana, Stregner Magno—Storioni; follower of Guarneri del Gesù; his freak as to placing the sound-holes; creditable character of his work in several respects—STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolò Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona,
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