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Scan 264
Violin tone and violin makers, 1916
16 lines. Read by computer on 3 September 2026. Printed page 242. See the scan on archive.org.
1VIOLIN TONE
3makers of the period, said to have been cut by women. Another Saint Paul (Pierre) worked earlier and was possibly his father.
5SALLE, LE PÈRE.—Paris; 1825-50. Chiefly known as a connoisseur and repairer. Copied Guarneri.
7SALOMON, JEAN BAPTISTE DESHAYES.—Reims, Paris; circa 1735-70. This maker was either an unequal workman, or the instruments bearing his name and stamp were made in different grades. The writer has seen very good violoncellos, on which the finish was above the average. Yellow varnish and well-carved scrolls. The violins generally have a brownish-yellow varnish, the arching is carried almost to the edges. Sound-holes rather wide apart, belly wood rather hard, and backs showing little figure, though now and then they are handsomer. Tone not particularly good. He used various tickets. His business was carried on by his widow for some years after his death.
9SALZARD, FRANCOIS.—Paris, Mirecourt. Born 1808. Died 1874. Mirecourt style of work. Yellow-brown varnish. Tone powerful. Name often written or branded inside the backs. There was a D. Salzar, probably his father. A son, Ernest André, worked in Moscow and St. Petersburg where he died in 1897.
11SANDNER.—Eighteenth and nineteenth centuries. A large family originating in Schönbach. There have been nearly twenty of them working in different parts of Germany and elsewhere.
13SANTAGIULIANA, GIACINTO.—Venice; eighteenth and nineteenth centuries.
15SANTINO.—Milan; about 1700. Grancino type of work.
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