Scan 278
The violin: its famous makers and their imitators, 1909
16 lines. Read by computer on 27 September 2026. Printed page 220. See the scan on archive.org.
1the Italian type, and are so much superior to the others that it seems difficult to reconcile varieties so distinct as the work of the same man. They are finely formed, have splendid wood, and rich varnish of a yellow tint; the bellies are of a mottled character, similar to those so much used by Niccolò Amati. His Violoncellos are among the finest of his instruments. They are mostly of a large size.
3Tedesco, Leopoldo, pupil of Niccolò Amati. He went to Rome. I have seen a Violin of his make dated from there 1658. Workmanship a little rough, good varnish, Amati outline.
5Testore, Carlo Giuseppe, Milan, about 1690 to 1720. The form resembles that of Guarneri. The wood is often plain in figure.
7Testore, Carlo Antonio, Milan, about 1730 to 1764. Son of Giuseppe. Copied Guarneri and Amati. These instruments are bold and well made; their tone is excellent; wood often plain in figure.
9Testore, Giovanni, son of Carlo Antonio.
11Testore, Paolo Antonio, Milan, about 1740. Brother of Carlo Antonio. Copied Guarneri. The varnish is mostly yellow; frequently unpurfled.
13Tieffenbrucker, Leonardo, Padua, 1587. Lutemaker.
15Todini, Michele, seventeenth century, a native of Saluzzo, lived for many years at Rome. Todini was the inventor and maker of a great number of musical contrivances, in which clockwork played an important part. He occupied
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