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Scan 193
Violin tone and violin makers, 1916
12 lines. Read by computer on 27 September 2026. Printed page 171. See the scan on archive.org.
1AND VIOLIN MAKERS
3quality. His genuine labels are by no means plentiful, the tickets of Francesco Ruger, Amati, and Stradivari, having been inserted in his instruments. The writer has met with two or three violins having a decidedly German outline which were assigned to this maker by judges of repute.
5GOFRILLER.—Venice; to about 1740. A family, possibly of Tyrolese origin, whose work was until recent years little known in this country. The best maker was MATTEO, much of whose work has been masquerading under the names of other makers, such as Joseph Guarneri, son of Andrea, Carlo Bergonzi, and Montagnana. The workmanship and style are good, wood sometimes, but not frequently, handsome, and the varnish, generally dark red, is of good quality. He seems to have made a good many violoncellos. The scrolls are well cut, but can hardly be described as of Italian type. Labels vary, and in some the name is spelt with a double "f." Two other Gofrillers, Francesco and Antonio, are mentioned, but their work is almost unknown.
7GOSSELIN, JEAN.—Paris; circa 1820-30. An amateur. There are some fine violins of Stradivari pattern bearing his label. In some cases instruments made by another hand were varnished by him.
9GOULDING.—London; about 1800. There are a good many violoncellos and violins bearing the stamp "Goulding," some of English work, and others of obviously foreign make. Some of these are useful instruments, but there seems to be some doubt whether he was actually a maker.
11GRAGNANI, ANTONIO.—Leghorn; circa 1740-1800. The best of the few makers dating from
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