Books › Violin tone and violin makers, 1916 › scan 285
Scan 285
Violin tone and violin makers, 1916
4 lines. Read by computer on 3 September 2026. Printed page 263. See the scan on archive.org.
1AND VIOLIN MAKERS
3sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled. CARLO GIUSEPPE TESTORE, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son, CARLO ANTONIO, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini's favourite double-bass was an example by this maker. A son, GIOVANNI, worked with him in later years. PAOLO ANTONIO TESTORE was the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri.
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