Scan 70
The violin & its story : or the history & construction of the violin, 1905
28 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 54. 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.
1LIVORNO.
3Alexander Dulfenn, whose label was "Alexander Dulfenn fecit Livorno 1699," and Antonius Garagnani, 1785. one of two readings
4ALEXANDER DULFENN, whose label was "Alexander Dulfenn fecit Livorno 1699," and ANTONIUS GARAGNANI, 1785. one of two readings
6BOLOGNA.
8Florenus Florentus; label "Johannes Florenus Quidantus fecit Bononiae anno 17," of the Amati school, 1685 to 1715, and Michael Angelo Garani, an imitator of Stradivarius, and contemporary with Florenus. one of two readings
9FLORENUS FLORENTUS; label "Johannes Florenus Quidantus fecit Bononiä anno 17," of the Amati school, 1685 to 1715, and MICHAEL ANGELO GARANI, an imitator of Stradivarius, and contemporary with Florenus. one of two readings
11ROME.
13Gaspar Assalone was a Roman maker; the best of all the Roman violin makers was a German, David Dechler, 1690 to 1735. Dechler is classed by Vuillaume amongst the copyists of Stradivarius, while "Luthomono-graphie," on the other hand, states him to have been a pupil of Stainer, and relates that after working as an able artist at his native town of Salzburg, he quitted it and betook himself to Venice, but the climate of that city, and the jealousy of the makers already located there, made his life anything but a pleasant one. Coming forth one day from a church he was threatened with a dagger, and resolved to leave Venice for ever. He went at once to Rome, where he remained to the end of his days. one of two readings
14GASPAR ASSALONE was a Roman maker; the best of all the Roman violin makers was a German, DAVID DECHLER, 1690 to 1735. Dechler is classed by Vuillaume amongst the copyists of Stradivarius, while "Luthomono-graphie," on the other hand, states him to have been a pupil of Stainer, and relates that after working as an able artist at his native town of Salzburg, he quitted it and betook himself to Venice, but the climate of that city, and the jealousy of the makers already located there, made his life anything but a pleasant one. Coming forth one day from a church he was threatened with a dagger, and resolved to leave Venice for ever. He went at once to Rome, where he remained to the end of his days. one of two readings
16FERRARA.
18Alexander Mezzadie, 1690 to 1720. Vuillaume says he was a copyist of Nicholas Amati, but his instruments appear to be imitations of Stradivarius. one of two readings
19ALEXANDER MEZZADIE, 1690 to 1720. Vuillaume says he was a copyist of Nicholas Amati, but his instruments appear to be imitations of Stradivarius. one of two readings
20Dominicelli, 1695 to 1715. one of two readings
21DOMINICELLI, 1695 to 1715. one of two readings
23BRESCIA. one of two readings
24BRESCHIA. one of two readings
26We give here a few worthy makers of the Amati school, whose productions, however, belong to a quite different category from that of Gaspar da Salo and Maggini:—John Baptist Ruggerius, 1700 to 1725; Gaëtano Pasta, 1710 to ?; Domenico Pasta, 1710 to 1730, and Tarisio. one of two readings
27We give here a few worthy makers of the Amati school, whose productions, however, belong to a quite different category from that of Gaspar da Salo and Maggini:—JOHN BAPTIST RUGGERIUS, 1700 to 1725; GAETANO PASTA, 1710 to ?; DOMENICO PASTA, 1710 to 1730, and TARISIO. one of two readings
The computer misreads some letters and numbers. Where a name matters to you, read the scan.