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Scan 192
Violin tone and violin makers, 1916
14 lines. Read by computer on 27 September 2026. Printed page 170. See the scan on archive.org.
1VIOLIN TONE
3GILKES, SAMUEL.—London. Died 1827. A maker of much ability. Worked for Forster before establishing himself on his own account. The finish of his instruments is remarkable. They are somewhat scarce, and generally of Amati character, but he also copied Stradivari. A son, WILLIAM, was well known as a double-bass maker.
5GISALBERTI, ANDREA.—Parma; eighteenth century, circa 1720 and later. Said also to have worked in Bozzolo, Rimini, and elsewhere. His existence has been doubted in some quarters, but violins by him undoubtedly exist, a few of which seen by the writer were of good tone, and not without character, albeit somewhat indifferent workmanship. Horace Petherick some years since wrote a book in which he sought to prove that Gisalberti was the instructor of Guarneri, del Gesù.
7GLÄZEL.—Markneukirchen. For over a century a large number of makers of this name have worked in Markneukirchen and elsewhere in Germany.
9GLASS.—Klingenthal. Another German family of whom much the same may be said as of the Gläzels.
11GLIER.—Markneukirchen. Another large family of makers. Eighteenth and nineteenth centuries.
13GOBETTI, FRANCESCO.—Venice; circa 1700–30. One of the finest makers of the Venetian school. There is nothing beyond tradition of a most unsatisfactory kind to prove that he was a pupil of Stradivari. His work in some cases suggests late Amati influence, both in form and style; it is frequently very beautiful in every respect, save the cutting of the scrolls. Handsome wood, beautiful red varnish, and tone of excellent
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