Scan 68
The violin & its story : or, the history & construction of the violin, 1905
20 lines. Read by computer on 3 September 2026. Printed page 52. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
11665 to 1690; his sons, John Baptist, 1690 to 1700, and John, 1696 to 1720; as well as Francesco Grancino, grandson of Paolo, 1710 to 1746, were all clever violin makers who worked at Milan on the principles of the Amati.
3Of the Stradivarius school, the following masters worked in Milan:—Carlo Giuseppe Testore, 1690 to 1700; Carlo Antonio Testore, 1700 to 1730; Paolo Antonio Testore, 1710 to 1745: and Carlo Landolfi, 1750 to 1760. Beside the above, may be mentioned Antonio Maria Lucasso; Santina Sauzza; and Franz Milani.
5Piacenza.
7John Baptist Guadagnini, 1755 to 1785, who in his early days worked at Cremona, was the pupil (and probably the son) of the above named Lorenzo Guadagnini: he occasionally worked here and there for the violin makers of Piacenza, and it is conjectured that in his later years he settled there.
9Mantua.
11Beside the before mentioned Peter Guarnerius, Tomaso Baliestere, 1720 to 1750, Camilus de Camile (1715?), and Alessandro Zanti (1770?) were all of the Stradivarius school.
13Venice.
15The decline of the art of violin-making in Italy begins with the Venetian makers. Although some of the Venetian masters made some good and well-built instruments, yet these seldom possess the valued qualities of the Cremona school. Of those who were distinguished amongst their contemporaries, the following may be mentioned:—
17Franciscus Gobettus, a pupil of Stradivarius, 1690 to 1720.
19Peter Vimercati, (1640 to 1660?). He arched his.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.