Books › The Violinist's Guide (1916), 1916 › scan 16
Scan 16
The Violinist's Guide (1916), 1916
34 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1THE VIOLINIST'S GUIDE
3Storioni, Cremona. Cremona, 1760-1800. Denoted last of great galaxy of Cremona makers, because work of succeeding builders lacks distinguishing something of Cremonese school. Tone, good, solid quality, resonant and carrying.
5Laurentius Storioni fecit.
6Cremonae 1793.
8Sneider, Giuseppe, 1680-1725. Pupil of Nicolo Amati. Pavia. Tone sweet.
9Sebastino, Albanesi, 1700-1740. Pupil of Carlo Bergonzi. Violins good; tone, strong; model, usually flat; varnish, yellowish brown; wood, good quality.
10Bergonzi, Nicolas, 1760-1795. Son of M. A. B. and grandson of Carlo B. Model of best work, flatter than father's and more after Carlo's style. Tone, brilliant, with good carrying quality.
11Bergonzi, Zosimo. Brother of above. Violins higher, more like father's. Tone, beautiful.
12Bergonzi, Benedetto. Cremona, 1800-1840. Made few instruments, chiefly restorer.
13Colonardi, Marco. Cremona, 1630-1670.
14Gattano, Antoniazzi. Working in Cremona, middle of last century. Good work.
15Marcelli, Giovanni. Cremona. Last part of 17th century.
16Operti, Antonio. Cremona, 1740-1780. Work and wood fairly good.
18HENDRIK JACOBS ME FECIT
19IN AMSTERDAM 1704
21Jacobs, Heinrich. Cremona and Amsterdam, 1640-1715. Pupil of Nicolas Amati. Technically speaking, regarded as one of best makers. Made many violins in Cremona, mostly copies of Amati. Best work done in Amsterdam.
23The Venetian School of Violin Makers.
25Montagnana, Dominico. Cremona and Venice, 1690-1740. Pupil of A. Stradivari during latter's best period.
26Seraphino, Santo. Born Udine, about 1687. Flourished as maker, 1710-1748. Exquisite artist. Tone, delicate quality, but lacking breadth. Violins very rare.
27Gobetti, Francisco. Venice, 1680-1720. Said to have been pupil of Stradivari.
28Belosio, Anselmo. Venice, about 1715-1780. Probably pupil of Santo Seraphino. Tone, brilliant and effective.
29Odoardi, Guiseppe. Flourished, 1685-1750. Probably pupil of Montagnana. Usual model not large. Tone, brilliant, strong and far carrying. Work frequently mistaken for Montagnana's.
30Deconet, Michele. Worked about 1740-1790. Probably pupil of Santo Serafino. Prolific workman. Tartini used one of his instruments.
31Stanza, Guiseppe. Pupil of N. Amati; returned to Venice about 1630.
32Goffriller, Matteo. About 1670-1742. Instruments, usually not labeled, often mistaken for Cremonese masterpieces. Tone solid, round and clear. Made many violas and 'cellos.
33Bornia, Fidele. Venice, 1710-1770. Obscure maker who did some good work. Sweet tone.
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