On the form of the instrument known as the "grand Amati" Stradivari

exerted all the power of his early years; and the fruits of his

labours are, in point of finish, unsurpassed by any of his later

works. Where Niccolo Amati failed, Stradivari conquered; and

particularly is this victory to be seen in the scrolls of his

instruments during the first period, which are masterpieces in

themselves. How bold is the conception, how delicate the workmanship,

what a marvel of perfection the sound-hole! But as these Violins are

noticed under the head of "Stradivari," it is unnecessary to enter

into details here. Beside Stradivari, many makers of less importance

followed the "grand Amati" pattern, among whom may be mentioned

Jacobs, of Amsterdam, who takes a prominent place as a copyist. The

truthfulness of these copies, as regards the chief portions of the

instrument, is singularly striking, so much so, indeed, as to cause

them to be frequently mistaken for originals by those who are not

deeply versed in the matter. The points of failure in these imitations

may be cited as the scroll and sound-hole. The former lacks ease, and

seems to defy its author to hide his nationality. The scroll has ever

proved the most troublesome portion of the Violin to the imitator. It

is here, if anywhere, that he must drop the mask and show his

individuality, and this is remarkably the case in the instance above

mentioned. A further difference between Amati and Jacobs lies in the

circumstance that the latter invariably used a purfling of whalebone.

Another copyist of Amati was Grancino. As the varnish which he used

was of a different nature from that of his original, his power of

imitation must be considered to be inferior to that of some others.

Numerous German makers, whose names will be found under the "German

School," were also liege subjects of Amati, and copied him with much

exactness; so also, last, but not least, our own countrymen, Forster,

Banks, and Samuel Gilkes.

Lancetti, writing of Niccolo Amati in 1823, says: "Some masterpieces

by him still remain in Italy, among which is the Violin dated 1668, in

the collection of Count Cozio. It is in perfect preservation, and for

workmanship, quality, and power of tone far surpasses the instruments

of his predecessors." The same writer remarks that "Niccolo Amati put

his own name to his instruments about 1640." It was upon a Violoncello

of this make that Signor Piatti played when he first appeared at the

concert of the Philharmonic Society, on June 24, 1844. The instrument

had been presented to him by Liszt, and is now in the possession of

the Rev. Canon Hudson. In an entry in the Cathedral Register at

Cremona, the name of the wife of Niccolo Amati is given as Lucrezia

Paliari. The meagreness of accounts of a documentary character in

relation to the famous makers of Cremona naturally renders every

contribution of the kind of some value. The following extract, taken

from the State documents in connection with the Court of Modena,

serves to indicate the degree of esteem in which the instruments of

Niccolo Amati were held during his lifetime, in comparison with those

of his contemporary and pupil, Francesco Ruggieri. Tomaso Antonio

Vitali, the famous Violinist, who was the director of the Duke of

Modena's Orchestra, addressed his patron to this effect: "Please your

most Serene Highness, Tomaso Antonio Vitali, your highness's most

humble servant, bought of Francesco Capilupi, through the agency of

the Rev. Ignazio Paltrineri, for the price of twelve doublons, a

Violin, and paid such price on account of its having the name inside

of Niccolo Amati, a maker of great repute in his profession. The

petitioner has since found that this Violin has been wrongly named, as

underneath the label is the signature of Francesco Ruggieri detto il

Pero, a maker of less credit, whose Violins do not scarcely attain the

price of three doublons."[3] Vitali closes his letter with an appeal

to the Duke for assistance to obtain redress.

[Footnote 3: "Luigi F. Valdrighi Nomocheliurgografia," Modena, 1884.]

AMATI, Girolamo, Cremona, born 1649, third son of Niccolo. The labels

which I have seen in a Violin and a Tenor bear the name "Hieronymus

Amati," and describe the maker as the son of Niccolo. He was born on

February 26, 1649, married in 1678. In 1736 he, together with his

family, removed to another parish, as shown by the original extract

from the books of the Cathedral at Cremona, sent by Canon Manfredini

to Lancetti. Girolamo Amati died in the year 1740. There appears to

have been some doubt as to whether Girolamo Amati, the son of Niccolo,

made Violins, according to Lancetti. He says, "Those seen with his

label, dated between 1703 and 1723, were ascribed by some to Sneider,

of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of

Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states

that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin for

repair to the Brothers Mantegazza, dealers and restorers of musical

instruments, in Milan, and upon their removing the belly they were

pleased to discover, written at the base of the neck, 'Revisto e

coretto da me Girolamo figlio di Niccolo Amati, Cremona, 1710.'"

In some instances the instruments of this maker do not resemble those

of Niccolo Amati, or indeed those of the Amati family. The sound-holes

are straight, and the space between them is somewhat narrow. In others

there is merit of a high order--the pattern is large, broad between

the sound-holes, and very flat in model, and resembling the form of

Stradivari rather than that of Amati. These differences are accounted

for by the fact made known by Lancetti, that the tools and patterns of

Niccolo Amati passed into the possession of Stradivari, and are

therefore included with those now in the keeping of Count Cozio's

descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati

shows signs of decadence; in some instances, however, we find it soft

and transparent. The few which have this quality of varnish I am

inclined to think were made in the time of Niccolo, since the

instruments of a later date have a coating of varnish of an inferior

kind. This maker--as with the Bergonzis--seems, therefore, to have

been either ignorant of his parent's mode of making superior varnish,

or was unable to obtain the same kind or quality of ingredients. With

Girolamo closes the history of the family of the Amati as

Violin-makers. Girolamo had a son, Niccolo Giuseppe, born in 1684, who

removed with his father to another parish in 1736, as mentioned above,

but he was not a maker of Violins.

AMBROSI, Pietro, Rome and Brescia, about 1730.

Petrus Ambrosi fecit Brixiae, 17--

Average merit. The workmanship resembles that of Balestrieri, as seen

in the inferior instruments of that maker.

ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake

of the Ruggeri character. The varnish is rich in colour and of

considerable body. Scarce. I have met with two excellent Violoncellos

by this maker. Anselmo is said to have worked also in Venice.

ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form

faulty. The sound-holes are not properly placed.

ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by

this maker at the Academy of Music, Bologna.

ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at

the Academy of Bologna, without date.

ASSALONE, Gasparo, Rome, 18th century. The model is high and the

workmanship rough. Thin yellow varnish.

BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.

BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few

of which have points of merit. He wrote a pamphlet in 1782 on a method

of constructing Violins by means of a graduated perpendicular line

similar to Wettengel's; but no benefit has been derived from it.

BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about

1760.

BALESTRIERI, Tommaso, middle of the 18th century.

Thomas Balestrieri Cremonensis

Fecit Mantuae. Anno 17--

Said to have been a pupil of Stradivari, which is probable. The

instruments of Balestrieri may be likened to those of Stradivari which

were made during the last few years of his life, 1730-37. The form of

both is similar, and the ruggedness observable in the latter

instruments is found, but in a more marked degree, in those of

Balestrieri. These remarks, however, must not be considered to suggest

that comparison can fairly be made between these two makers in point

of merit, but merely to point out a general rough resemblance in the

character of their works. The absence of finish in the instruments of

Tommaso Balestrieri is in a measure compensated by the presence of a

style full of vigour. The wood which he used varies very much. A few

Violins are handsome, but the majority are decidedly plain. The

bellies were evidently selected with judgment, and have the necessary

qualities for the production of good tone. The varnish seems to have

been of two kinds, one resembling that of Guadagnini, the other softer

and richer in colour. The tone may be described as large and very

telling, and when the instrument has had much use there is a richness

by no means common. It is singular that these instruments are more

valued in Italy than they are either in England or France.

BALESTRIERI, Pietro, Cremona, about 1725.

BASSIANO, Rome. Lute-maker. 1666.

BENEDETTI. _See_ Rinaldi.

BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo

Serafino in pattern, but the workmanship is inferior; neat purfling;

rather opaque varnish.

BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis

mentions, in his "Biographie Universelle des Musiciens," a Lute by

this maker, richly ornamented.

BERGONZI, Carlo, Cremona, 1716-47.

Anno 17-- Carlo Bergonzi, fece

in Cremona.

Pupil of Antonio Stradivari. That he was educated in Violin-making by

the greatest master of his art is evidenced beyond doubt. In his

instruments may be clearly traced the teachings of Stradivari. The

model, the thicknesses, and the scroll, together with the general

treatment, all agree in betokening that master's influence. Giuseppe

Guarneri del Gesu here stands in strong contrast with Bergonzi. All

writers on the subject of Violins assume that Guarneri was instructed

by Stradivari, a statement based upon no reasons (for none have ever

been adduced), and apparently a mere repetition of some one's first

guess or error. As before remarked, Carlo Bergonzi, in his work, and

in the way in which he carries out his ideas, satisfactorily shows the

source whence his early instructions were derived, and may be said to

have inscribed the name of his great master, not in print, but in the

entire body of every instrument which he made. This cannot be said of

Giuseppe Guarneri. On the contrary, there is not a point throughout

his work that can be said to bear any resemblance to the sign manual

of Stradivari. As this interesting subject is considered at length in

the notice of Giuseppe Guarneri, it is unnecessary to make further

comment in this place.

The instruments of Carlo Bergonzi are justly celebrated both for

beauty of form and tone, and are rapidly gaining the appreciation of

artistes and amateurs. Commercially, no instruments have risen more

rapidly than those of this maker; their value has continuously

increased within recent years, more particularly in England, where

their merits were earliest acknowledged--a fact which certainly

reflects much credit upon our connoisseurs. In France they had a good

character years ago, and have been gaining rapidly upon their old

reputation, and now our neighbours regard them with as much favour as

we do.

They possess tone of rare quality, are for the most part extremely

handsome, and, last and most important of all, their massive

construction has helped them, by fair usage and age, to become

instruments of the first order. The model of Bergonzi's Violins is

generally flat, and the outline of his early efforts is of the

Stradivari type; but later in life, he, in common with other great

Italian makers, marked out a pattern for himself from which to

construct. The essential difference between these two forms lies in

the angularity of the latter. It would be very difficult to describe

accurately the several points of deviation unless the reader could

handle the specimens for himself and have ocular demonstration; the

upper portion from the curve of the centre bouts is increased, and, in

consequence, the sound-holes are placed slightly lower than in the

Stradivari model. Bergonzi was peculiar in this arrangement, and he

seldom deviated from it. Again, increased breadth is given to the

lower portion of the instrument, and in consequence the centre bouts

are set at a greater angle than is customary. The sound-hole may be

described as an adaptation of the characteristics of both Stradivari

and Guarneri, inclining certainly more to those of the former. As a

further peculiarity, it is to be noticed that the sound-holes are set

nearer the edge than is the case in the instruments of either of the

makers named. Taken as a whole, Bergonzi's design is rich in artistic

feeling, and one which he succeeded in treating with the utmost skill.

Carlo Bergonzi furnishes us with another example of the extensive

research with which the great Cremonese makers pursued their art, and

a refutation of the common assertion that these men worked and formed

by accident rather than by judgment. The differences of the two makers

mentioned above, as regards form, are certainly too wide to be

explained away as a mere accident. It is further necessary to take

into consideration the kind of tone belonging to these instruments

respectively. If Bergonzi's instruments be compared with those of his

master, Stradivari, or of Guarneri del Gesu, the appreciable

difference to be found will amount to this, that in Bergonzi's

instruments there is a just and exact combination of the qualities of

both the other two makers named. Is it not, therefore, reasonable to

conclude that Carlo Bergonzi was fully alive to the merits of both

Stradivari and Guarneri, and deliberately set himself to construct a

model that should embrace in a measure the chief characteristics of

both of them?

The scroll is deserving of particular attention. It is quite in

keeping with the body of the instrument, and has been cut with a

decision of purpose that could only have been possessed by a master.

It is flatter than usual, if we trace it from the cheek towards the

turn, and is strikingly bold. Here, again, is the portrait of the

character of the maker. Although by a pupil of Antonio Stradivari, the

scroll is thoroughly distinct from any known production of that

maker--it lacks his fine finish and exact proportion; but, on the

other hand, it has an originality about it which is quite refreshing.

The prominent feature is the ear of the scroll, which being made to

stand forth in bold relief, gives it a broad appearance when looked at

from the front.

The work of Bergonzi, as has been the case with many of his class, has

been attributed to others. Many of his instruments are dubbed "Joseph

Guarneri," a mistake in identification which arises chiefly from the

form of the sound-hole at the upper and lower portions. There is

little else that can be considered as bearing any resemblance whatever

to the work of Guarneri, and even in this case the resemblance is very

slight. Bergonzi's outline is totally different from that of Guarneri,

and is so distinct and telling that it is sure to impress the eye of

the experienced connoisseur when first seen.

The varnish of Bergonzi is often fully as resplendent as that of

Giuseppe Guarneri or Stradivari, and shows him to have been initiated

in the mysteries of its manufacture. It is sometimes seen to be

extremely thick, at other times but sparingly laid on; often of a

deep, rich red colour, sometimes of a pale red, and again, of rich

amber, so that the variation of colour to be met with in Bergonzi's

Violins is considerable. We must concede that his method of varnishing

was scarcely so painstaking as that of his fellow-workers, if we judge

from the clots here and there, particularly on the deep-coloured

instruments; but, nevertheless, now that age has toned down the

varnish, the effect is good.

Carlo Bergonzi lived next door to Stradivari, and I believe the house

remained in the family until a few years since, when it was disposed

of.

Lancetti remarks: "From want of information, we have forgotten in the

second volume"--referring to his "Biographical Dictionary," part of

which was printed in 1820--"to include an estimable maker named Carlo

Bergonzi, who was pupil of Stradivari, and fellow-workman with his

sons. From the list of names and dates collected by Count Cozio, it

appears that Carlo Bergonzi worked by himself from 1719 to 1746. He

used generally very fine foreign wood, and a varnish the quality of

that of his master." In the collection of Count Cozio di Salabue,

there were two Violins by Bergonzi, dated 1731 and 1733, and a

Violoncello, 1746. We have in this country two remarkable Violoncellos

of this maker. The perfect and unique Double Bass which Vuillaume

purchased of the executors of Luigi Tarisio is now in the possession

of the family of the late Mr. J. M. Sears, of Boston, U.S.

BERGONZI, Michel Angelo, Cremona, 1730-60.

Michael Angelo Bergonzi Figlio di

Carlo fece in Cremona l'Anno 17--

Son of Carlo. The pattern of his instruments is somewhat varied. Many

are large, and others under-sized. The varnish is hard, and distinct

from that associated with Cremonese instruments.

[Illustration: _Plate VI_. J. B. GUADAGNINI. STORIONI. 1797.]

BERGONZI, Niccolo, Cremona.

Nicolaus Bergonzi Cremonensis

faciebat Anno 17--

Son of the above. He made a great number of Violins of similar form to

those of his father. The wood which he selected was of a close nature

and hard appearance. The varnish is not equal to that of Carlo; it is

thin and cold-looking. The workmanship is very good, being often

highly finished, but yet wanting in character. The scroll is cramped,

and scarcely of the Cremonese type. Lancetti mentions a Tenor by this

maker, dated 1781.

In the correspondence which passed between the grandson of Antonio

Stradivari and the agents of Count Cozio (which is given in these

pages), reference is made to some of the moulds of the great maker

being in the keeping of ---- Bergonzi, they having been lent to him,

the writer saying that he would obtain them and put them with the

other patterns, which appears to have been done. These moulds were

doubtless lent to Michel Angelo Bergonzi, and were used by Niccolo as

well as his father, which accounts for the form of their instruments

being varied.

BERGONZI, Zosimo, Cremona. Brother of Niccolo.

BERGONZI, Carlo, Cremona, about 1780-1820. Son of Michel Angelo. He

made a few Violins, large Stradivarius form, sound-holes straight and

inelegant.

BERGONZI, Benedetto, Cremona, died in 1840. Tarisio learned little

points of interest concerning Stradivari and his contemporaries from

Benedetto Bergonzi.

BERTASSI, Ambrogio, Piadena (near Cremona), about 1730.

BERTOLOTTI, Gaspar di. _See_ Gaspar da Salo.

BIANCHI, Niccolo, Genoa and Nice. Worked until about 1875.

BIMBI, Bartolommeo, Siena, 1753-69. High-built, small pattern,

orange-yellow varnish.

BODIO, G. B., Venice, about 1832. Good workmanship; oil varnish, wide

purfling.

BORELLI, Andrea, Parma, about 1735. His instruments are little known;

they resemble those of Giuseppe Guadagnini.

BRENSIO, Girolamo (BRENSIUS, Hieronymus), Bologna. Reference has been

made to the Viols of this maker in the first section of this work.

BRESCIA, Da, Battista. A Pochette or Kit of this maker is at the

Academy of Music, Bologna, signed "Baptista Bressano"; the period

assigned to it is the end of the 15th century.

BROSCHI, Carlo, Parma.

Carlo Broschi in Parma, fecit 1732.

BUSSETO, Giovanni M., Cremona, 1540-80. Maker of Viols. M. Fetis

mentions, in his "Biographie des Musiciens," that Busseto derived his

name from _Busseto_, a borough in the Duchy of Parma, where he was

born. He also mentions a Viol of this maker, dated 1580, which was

found at Milan in 1792.

CALCAGNI, Bernardo, Genoa, about 1740.

Bernardus Calcanius fecit Genuae

anno 17--

Neat workmanship, small scroll, flat model, well-cut sound-holes,

Stradivari pattern, orange-red varnish.

CALVAROLA, Bartolommeo, Bergamo, about 1753. The work is neatly

executed. These instruments are somewhat like those of Ruggeri in

form. The scroll is weak, and ill-proportioned.

CAMILLI, Camillo, Mantua, 17--.

Camillus Camilli Fecit Mantua 17--

The form partakes of that of Stradivari; wood usually of excellent

quality. The sound-hole is rather wide and short. The varnish

resembles that of Landolfi, but is less brilliant.

CAPPA, Gioffredo, Cremona, 1644-1717.

IOFREDVS CAPPA FECIT

SALVTIIS ANNO 16--

The dates of birth and death were ascertained by Dr. Orazio Roggiero,

a lawyer of Saluzzo, whose researches set at rest many doubts and

speculations as to this excellent maker and his period of activity. He

was formerly held to be a pupil of the brothers Amati, but the

assumption, having regard to the date of birth, is untenable.

The greater number of his productions consist of works of high merit.

Their likeness to the instruments of the Amati is in some instances

peculiarly striking, but in others there is a marked dissimilarity.

Particularly is this the case in the form of the sound-hole and

scroll. The sound-hole is sometimes large, and quite out of keeping

with the elegant outline of Amati. The points of difference may be

summed up as follows: the sound-hole is larger, and more obliquely set

in the instrument; the upper portion of the body has a more contracted

appearance; the head, as is the case with most makers, differs most,

and, in this instance, in no way resembles Amati.

There are few specimens of Cappa that bear their original labels; most

of them are counterfeit "Amatis," and hence the great confusion which

has arisen concerning their parentage. Lancetti says: "Foreign

professors and amateurs, and particularly the English--though

connoisseurs of the good and the beautiful--in buying the instruments

of Cappa thought they had acquired those of Amati, the outline and

character of the varnish and the quality of the tone resembling in

some measure the instruments of the Brothers Amati. It is, however,

reserved to a few Italian connoisseurs to distinguish them. Those of

large pattern, and even of medium size, that have not been injured by

unskilful restorers, are scarce, and realise high prices." These

remarks, suggested many years since, by so able a connoisseur as Count

Cozio, possess a peculiar interest, and cannot fail to interest the

reader. As Lancetti remarks, they are of two patterns, one larger than

the other. The large one is, of course, the more valuable; it is

flatter, and altogether better finished. The Violoncellos of Cappa are

among the best of the second-class Italian instruments, and are well

worthy the attention of the professor and amateur. The varnish is

frequently of very rich quality, its colour resembling that of Amati

in many instances.

CARCASSI, Francesco, Florence, about 1758.

CARCASSI, Lorenzo, about 1738.

CARCASSI, Tomaso, worked in partnership with Lorenzo, but also alone,

according to labels. There were several makers of this name.

CASINI, Antonio, Modena.

Antonius Casini, fecit Mutine anno 1680.

CASTAGNERI, Andrea, Paris, about 1735.

Andrea Castagneri, nell Palazzo

di Saessone, Pariggi, 17--

This Italian maker appears to have settled in Paris. I have seen a

Violin by Castagneri, date 1735; flat model, bold outline, and varnish

of good quality.

CASTELLANI, Pietro, Florence, died about 1820.

CASTELLANI, Luigi, Florence, died 1884.

CASTRO, Venice, 1680-1720. The wood is of good figure generally. The

outline is defective; the middle bouts are too long to be

proportionate. Sound-hole roughly worked. Varnish red, the quality of

which is scarcely up to the Venetian standard.

CATENAR, Enrico, Turin, about 1671.

Henricus Catenar, fecit Taurini anno 167--

CELIONIATI, Gian Francesco, Turin, about 1734.

Joannes Franciscus Celoniatus,

fecit Taurini, anno 17--

Appears to have copied the form of Amati. Yellow varnish, good

workmanship.

CERIN, Marco Antonio, Venice, end of the eighteenth century. Signed

himself as a pupil of Belosio.

Marcus Antonius Cerin, alumnus Anselmi Belosii,

fecit Venetiae, 17--

CERUTI, Giovanni Battista, Cremona, 1755-1817.

Jo. Baptista Ceruti Cremonensis

fecit Cremonae an 18--

Ceruti made a large number of Violins and Violoncellos of the Pattern

of Amati. He appears to have been a prolific workman, his instruments

numbering, it is said, about five hundred. His favourite model was the

large Amati. Giovanni Ceruti succeeded to the business of Lorenzo

Storioni in 1790, in the Via dei Coltellai, near the Piazza St.

Domenico.

CERUTI, Giuseppe, son of Giovanni, Cremona, 1787-1860. Was a maker and

restorer of instruments. He is said to have exhibited, at the Paris

and other exhibitions, Violins of good quality. He died at Mantua, in

1860.

CERUTI, Enrico, son of Giuseppe, Cremona, born in 1808, died on

October 30, 1883. Enrico Ceruti is the last of the long line of

Cremonese Violin-makers; there is, in consequence, a peculiar interest

attached to him. Independent of this, however, he is deserving of

special notice from his having been the recipient of the traditional

history attending the makers of Cremona, from Amati to Stradivari and

Bergonzi, and from Bergonzi to Storioni and Ceruti. He was acquainted

with Luigi Tarisio and with Vuillaume, to whom he gave many

interesting particulars relative to the great makers of his native

city. The instruments of Enrico Ceruti are much valued by Italian

orchestral players. They are said to number about three hundred and

sixty-five, among which are several Violoncellos. He exhibited at the

London Exhibition of 1862, and at other exhibitions. The last Violin

he made was shown at the Milan Exhibition, 1881.

CRISTOFORI, Bartolommeo, Padua and Florence, 1667-1731. Apprenticed to

Niccolo Amati. Is best known as the inventor of the "hammer system,"

and, therefore, the father of the modern pianoforte. Bow instruments

of his make are rare, but authentic examples are in every way

excellent. A fine Double Bass, dated 1715, is in the museum of the

Musical Academy in Florence. Violoncellos and other instruments are

known, and it is to be regretted that so few specimens are to be met

with.

CIRCAPA, Tommaso, Naples, about 1730.

COCCO, Cristoforo, Venice, 1654. A Lute-maker. The Museum of the Paris

Conservatoire Nationale de Musique contains a specimen of this make,

which is described in M. Gustave Chouquet's catalogue of the

collection.

CONTRERAS, Joseph, Madrid, 1745-80. This being one of the few Spanish

makers, his name is placed with the Italian, the number of the Spanish

being insufficient for a separate list. The model of this maker is

very good and the workmanship superior. He probably lived In Italy

during his early life, the style being Italian. He was born in

Granada, and was called the Spanish Stradivarius. He died about 1780,

and is said to have been seventy years of age.

CORDANO, Jacopo Filippo, Genoa, about 1774.

Jacobus Philipus Cordanus, fecit Genuae anno sal. 1774.

CORNA, Dalla, Brescia, early maker of Viols, about 1530.

COSTA, Pietro Antonio dalla, Venice and Treviso.

Petrus Antonius a Costa, fecit

ad similitudinem illorum quos

fecerunt Antonius & Hieronymus

Fratres Amati Cremonenses Filii

Andrae. Tarvisii, 1757.

The label he used is curious. He copied the Brothers Amati with much

skilfulness. The sound-holes are like those of the early instruments

of the Amati; the varnish is golden in colour and excellent in

quality; the scroll, as usual with all imitations, is a weak feature,

but does not lack originality.

DARDELLI, Pietro, Mantua, about 1500. Is described as a maker of Lutes

and Viols. M. Fetis relates, in his "Biographie des Musiciens," that

the painter Richard, of Lyons, possessed about the year 1807 a

beautiful Lute by this maker, which was made for the Duchess of

Mantua. The instrument is described as richly inlaid with ebony,

ivory, and silver, dated 1497, and having the name "Padre Dardelli."

On the belly the Mantuan arms are represented. M. Fetis was unable to

discover any tidings of this interesting instrument after the death of

Richard. Dardelli was a Franciscan monk at Mantua, and occupied

himself with making musical instruments and inlaying them. Work of any

kind executed under such circumstances is rarely found to be other

than artistic.

DESPINE, Alexander, Turin, nineteenth century. A very good maker;

worked with Pressenda, whose labels his instruments sometimes bear.

DIEFFOPRUCHAR, Magno, Venice, 1612. Lute-maker. An instrument of this

make is at the Academy of Music, Bologna. M. Engel remarks,[4] "There

can be no doubt that we have here the Italianised name of the German

Magnus Tieffenbrucker, who lived in Italy." There appears to be a

connection between these Venetian Lute-makers of this name and

Duiffoprugcar of the sixteenth century.

[Footnote 4: "Musical Myths and Facts," 1876.]

DOMINICELLI, Ferrara, said to have worked about 1700.

DUIFFOPRUGCAR, Gaspar, Bologna. This famous maker of Viols is said to

have settled in Bologna in the early part of the sixteenth century. He

appears to have obtained much renown as an inlayer of musical

instruments, and it is stated that Francis I., upon the occasion of

his visit to Italy in 1515, prevailed upon the Viol-maker to settle in

France. The name of Duiffoprugcar has been made familiar to us, not so

much on account of his merits as a Viol-maker, but almost wholly on

account of his having been represented as the first maker of the

Violin tuned in fifths, and the representation having been supported

by the production of three Violins signed and dated 1511, 1517, 1519.

I saw, about the year 1877, one of these, and was informed by the

owner that the others were almost identical. The instrument bore

distinct evidence of its being a modern French imitation, or rather an

ingenious creation evolved from a myth, which in all probability had

its origin in France. Duiffoprugcar was unquestionably an artist of a

high order, but his abilities appear to have been chiefly directed to

the art of wood-inlaying, rather than to the making of stringed

instruments. He made Viols da Gamba, and he may have made smaller

Viols, though I am not aware of any being in existence; but there is

no evidence whatever to show that he made Violins.

FARINATO, Paolo, Venice, 1695-1725.

FICKER, Johann Christian, Cremona, middle of the 18th century.

Although dating from Cremona, has nothing in common with Cremonese

work.

FICKER, Johann Gottlieb, Cremona, 1788.

FIORILLO, Giovanni, Ferrara, 1780. The style is a mixture of German

and Italian, the former preponderating. The sound-hole is an imitation

of that of Stainer. His Violoncellos are among his best instruments.

FIORINO, Fiorenzi, Bologna, about 1685.

FREI, Hans, Bologna, 1597. Lute and Viol-maker. There is an instrument

of this make at the Bologna Academy of Music. It is probable there was

a family connection between Hans Frey, of Nuremberg, and this maker.

GABRIELLI, Giovanni Battista, Florence, about the middle of the 18th

century.

Gio Battista Gabrielli, fece in

Firenze, 17--

Johanes Baptista de Gabriellis,

Florentinus fecit 1742.

The instruments of Gabrielli are now becoming better known and

appreciated. They bear evident marks of having been made with extreme

care. The model, unfortunately, is often not all that could be

desired, being too rounded. When this is not the case, the tone is

excellent. The wood is mostly very handsome, and the sides and backs

evenly marked. The varnish is wanting in mellowness, but is very

transparent; its colour is chiefly yellow. The Tenors and Violoncellos

are superior to the Violins. The scroll is neatly cut, but weak in

design. The letters G. B. G. were often branded on the instruments of

Gabrielli.

GABRIELLI. Other makers of this name (Antonio, Bartolommeo,

Cristoforo) appear to have dated from Florence.

GAFFINO, Giuseppe, Paris, about 1755. Pupil of Castagneri.

GAGLIANO, Alessandro, Naples, 1695-1730.

Alexandrus Gagliano Alumnus

Stradivari fecit Neapoli anno 1725.

A pupil of Antonio Stradivari. The Gagliano family played no

unimportant part in the art of Italian Violin-making. It commences

with Alessandro, who imitated his master as regards the form which he

gave to his instruments. Alessandro Gagliano, upon leaving the

workshop of Stradivari, removed to Naples, a city which afforded him

greater scope for the exercise of his talents than Cremona. With

others, he felt that his chance of success was very small if he

remained on ground occupied by the greatest luminaries of his art. His

labours at Naples seem to have been so well rewarded that he caused

his sons to follow his calling. There is evidence of their having

enjoyed what may be termed a monopoly of the Violin manufacture in and

around Naples, there being no record of another maker of importance in

that locality at the same period. To these makers we are indebted for

the Neapolitan School. Although in its productions we miss the

lustrous varnish and handsome wood of Cremona, Naples has furnished us

with many excellent instruments.

The works of Alessandro Gagliano are mostly of large pattern and flat

model. If we compare them with those of his master, the resemblance is

not so great as might be expected, if it be remembered that they are

copies, and not original works. The sound-holes are broader and more

perpendicular than those of Stradivari. The scroll is diminutive, and

the turn much contracted and of a somewhat mean appearance. The

workmanship of the scroll is roughly executed, and points to the

conclusion that Alessandro Gagliano was not gifted with the power of

head-cutting. The character of Gagliano's Violins frequently reminds

us of those by Stradivari made between 1725 and 1730.[5]

[Footnote 5: Some of his Basses are of exceptionally fine

workmanship.]

The wood used for the backs was generally of a tough nature; the back

and sides are often marked with a broad curl. The bellies are of wide

and even grain, and very resonant. The varnish is quite distinct from

that of Cremona; it is very transparent, and of various shades,

chiefly yellow.

GAGLIANO, Gennaro, Naples, 1720 to about 1758; finely finished.

Januarius Gagliano, filius Alexandri

fecit Neap, 1732--

Well-chosen wood, and excellent form. He sometimes wrote his name in

pencil on the inside of the belly.

GAGLIANO, Niccolo, Naples, son of Alessandro.

Nicolaus Gagliano filius Alexandri

fecit Neap 17--

His Violins and Violoncellos were made with care, and show that he

possessed some amount of originality. They are not after the pattern

of his father's instruments. They are narrower, and similar to those

earlier works of Stradivari which come between the true "Amatese" and

the long form. The varnish is of a deeper colour than that of

Alessandro, and its quality is not inferior. The scroll is, in some

cases, well formed, in others somewhat grotesque. The model is high.

They are sometimes seen ornamented round the purfling with ebony,

diamond and lozenge shape.

GAGLIANO, Giovanni Battista, about 1730.

GAGLIANO, Ferdinando, Naples, son of Niccolo.

Ferdinandus Gagliano filius Nicolai

fecit Neap 17--

His instruments are usually excellently made, and have a varnish of a

warmer tint than is met with on the instruments of the Gagliano

family.

GAGLIANO, Giuseppe, Naples, 1780. Son of Ferdinando.

GAGLIANO, Giovanni,

GAGLIANO, Antonio,

GAGLIANO, Raffaele, Naples. These makers bring the family down to a

very recent date as residents in Naples. The merit belonging to them

is of the slightest kind. Some of our English provincial makers have

shown themselves superior.

GALBUSERA, C. A., Milan, 1832-47. This maker appears to have attracted

attention in Italy. In a little volume entitled "L'Italie Economique,"

1847, he is mentioned as a maker who rivals Vuillaume. I am not

acquainted with his instruments. Mention is made of his having made

Violins without corners, and that he applied to the wood a preparation

for the purpose of extracting the resinous particles from it. The

adoption of such means of forcing on maturity makes it unlikely that

he made instruments worthy of notice.

GARANI, Michel Angelo, Bologna, 1681-1720. His Tenors in particular

are well-made instruments.

GARANI, Niccolo, Naples. Gagliano type of instrument, usually plain

wood.

GASPARO DA SALO (_see_ Salo).

GATINARI, Francesco, Turin, about 1700.

GENNARO, Giacomo. Worked at Cremona, in the shop of Niccolo Amati,

about 1641. His name is mentioned in the parish registers in Cremona

as being employed by Amati.

GERONI, Domenico, Ostiano (Province of Brescia), dated 1817.

GHIDINI, Carlo, Parma, about 1746.

GIBERTINI, Antonio, Parma, about 1830. Stradivari model, excellent

work, deep rose-coloured varnish. This maker was at times employed by

Paganini to repair or regulate his Violins.

GIORGI, Niccolo, Turin, about 1760.

GOBETTI, Francesco (sometimes called _Gobit_), Venice, 1690-1715.

Franciscus Gobetti fecit

Venetiis 1705.

This is one of the little-known makers, a fact which may be attributed

to the practice, common some years ago, of removing the original label

of an instrument and substituting another, bearing a name more likely

from its familiarity to command attention.

When we see such Violins bearing the stamp of genius upon them, and

reflecting much credit on the maker, the lovers of the instrument

cannot but regret that the author should have been eclipsed, and

deprived of his just praise.

Had the name of Gobetti been permitted to associate itself with the

instruments into which it was originally placed, they would have been

as highly valued as any belonging to the Venetian school, with the

single exception of Domenico Montagnana. The admirers of that finished

maker, Santo Serafino, may perhaps dispute the justice of this

observation; but, having carefully weighed the merits of both Serafino

and Gobetti, I have no hesitation in awarding to the latter the

foremost place. Gobetti's style is superior, being more Cremonese than

Venetian; and further, his model is preferable.

Gobetti has been considered to have been a pupil of Antonio

Stradivari, possibly with some reason, for his instruments bear a

similarity to the early works of the great master. The instruments of

this maker, like those of many others of his class, have passed for

the works of Ruggeri, and sometimes of Amati. There is a slight

likeness about the sound-hole to the work of Francesco Ruggeri; but to

the skilled in such matters, no feature interchangeable with Amati can

be detected.

The workmanship is uniformly neat in execution; the scroll is the

least successful part, being weak in character as compared with the

body. The varnish is equal to any belonging to the Venetian school,

and its beauty is second only to that of Cremona; its colour is

generally a pale red, of considerable transparency. The wood is most

handsome. These Venetians were not a little happy in selecting

beautiful wood; in fact, it is scarcely possible to discover a single

Venetian instrument the wood of which is plain. The tone of Gobetti's

work is round, without great power; but the quality is singularly

sweet.

GOFRILLER, Matteo, Venice, about 1700-1735. The workmanship is often

good, and the wood of fine quality. The style is somewhat different

from that we are accustomed to associate with Italy. The tone and

character of the varnish are generally excellent.

GOFRILLER, Francesco, Venice. Brother of the above, with whom he

worked.

GRAGNANI, Antonio, Leghorn.

Antonius Gragnani, fecit

Liburni, anno 1780.

Usually branded his initials below the tail-pin. Varnish somewhat

hard; ordinary wood. The tone is often of good quality.

[Illustration: _Plate VII_. STRADIVARI. 1716. (LE MESSIE.) STRADIVARI.

1709. (LA PUCELLE.) STRADIVARI. 1686. STRDIVARI. 1710. GIUSEPPE

GUARNERI. 1735. GIUSEPPE GUARNERI. Violon du Diable. NICCOLO AMATI.]

GRANCINO, Paolo, Milan, 1665-92. Pupil of Niccolo Amati. The Grancino

family, as makers of Violins, commence with this maker, and occupy a

similar position, as followers of the Amati pattern, to that of the

Gagliani as imitators of Stradivari. Paolo Grancino was pupil of

Niccolo Amati. His early works bear the stamp of the mere copyist;

later on the borrowed plumes are less apparent, the dictates of his

own fancy are discoverable, but never to such an extent as to permit

him to be classed with Stradivari, Bergonzi, and Guarneri, as striking

out into entirely untrodden paths.

His Violoncellos are particularly fine instruments; his Tenors also

are worthy of notice. The wood he used was varied, but is, for the

most part, plain. It is curious to observe how various centres of

Violin-making ran upon different qualities of wood. In Venice the

handsomest wood was used, in Milan and Naples the plainest. The

commercial importance of Venice would, of course, draw to it the

largest selection of wood, and thus permit the second and third rate

maker to use it, and at the same rate, probably, as a less handsome

material would cost in cities farther removed. The scroll of Paolo

Grancino has a very decisive character; it is quite distinct from that

of the Amati. From the ear of the scroll the turn is rapidly made, and

has an elongated appearance.

GRANCINO, Giovanni, Milan, 1694-1720.

Giovan Grancino in Contrada

larga di Milano al segno

della Corona 16--

Son of Paolo. The workmanship is smooth, and the form good. The

material of his instruments is of a better nature than that used by

his father. The model is slightly flatter. The tone is powerful.

Varnish mostly yellow.

GRANCINO, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned

above. Similar characteristics.

GRANCINO, Francesco. Son of Giovanni Battista. Here we have the same

falling off as in the case of the Gagliani, a family beginning with

artists, and ending with common workmen.

GRULLI, Pietro, Cremona. Contemporary.

GUADAGNINI, Lorenzo, Cremona, 1695 to about 1740.

Laurentius Guadagnini

Cremonae Alumnus Stradivari

fecit Anno Domini 17--

No matter to which of the Guadagnini the instrument may owe its

origin, if it bears the name, importance is attached to it, often

without due regard to the merits of the particular specimen. The later

members of the family have thus received attention measured by the

excellence of the work of their forefathers. That this should be so,

to a certain extent, can scarcely excite surprise, nor is it singular

in the Italian branch of the art. The great makers of the Guadagnini

family were Lorenzo and Giovanni Battista. The former has been

considered the chief maker; but if the merits of each be duly weighed,

they will be found to be nearly equal. It is probable that Lorenzo has

been looked upon as the principal maker from the association of his

name with that of Antonio Stradivari, a fact which, it must be

granted, lends to it a certain degree of importance.

The instruments of Lorenzo are exceedingly bold in design, and differ

in this respect from those of Giovanni Battista, which retain much of

the delicate form of Stradivari. Lorenzo frequently changed the form

of his sound-hole, giving it the pointed character of Giuseppe

Guarneri in some instances, and in others retaining the type of

sound-hole perfected by his master. The model is inclined to flatness,

the declivity being of the gentlest kind: the breadth of the design

commands admiration. The scroll is certainly not an imitation of that

of Stradivari; it has considerable originality, and is more attractive

on that account than for its beauty. The varnish is not so brilliant

as that of Giovanni Battista, but possesses a mellowness foreign to

the other members of the family. The tone is powerful, tempered with a

rich quality.

Lorenzo Guadagnini was born at Piacenza, and upon leaving the workshop

of his master returned to his native town, where he remained until

about the year 1695, at which period he is said to have removed to

Milan. In the last mentioned city he continued to work until about the

year 1740.[6]

[Footnote 6: This and other information relative to the Guadagnini

family I have obtained from its descendants at Turin.]

GUADAGNINI, Giovanni Battista, Piacenza, 1711-86.

Joannes Baptista Guadagnini

Placentinus fecit Mediolani 17--

Joannes Baptista Guadagnini

Cremonensis fecit Taurini 1776.

Son of Lorenzo Guadagnini. He was born, according to Count Cozio di

Salabue, at Cremona, and Lancetti states that he worked with his

father in Milan. Later he worked at Piacenza, then at Parma, where he

became instrument-maker to the Duke. Upon the pensions to the artists

of the Duke's Court being discontinued in 1772, he went to Turin,

where he died.[7] Count Cozio di Salabue communicated to Lancetti the

following particulars relative to Giovanni Battista Guadagnini. He

says: "He imitated Stradivari, but avoided close imitation of all

detail, and prided himself on not being a mere copyist." He is said to

have excited the jealousy of other makers, which caused him to move so

frequently, but most likely he offended chiefly with his hasty temper.

Many of his instruments made in Turin between 1773 and 1776 have wood

of the handsomest kind. Count Cozio ordered from him several

instruments which he added to his collection, among them two Tenors

and two Violoncellos. The interest Count Cozio manifested with regard

to this maker is shown in his having obtained from the parish

registers the date of his birth and death. He states that he was born

in Cremona in 1711, and died in Turin, September 18, 1786. This

last-named date is in conformity with that of 1785, given to me by the

representatives of the family at Turin, as the last year in which he

made instruments. Lorenzo has been regarded as the only pupil of

Stradivari in the Guadagnini family; but if their respective works be

closely examined, it will be found that those of Giovanni Battista

more closely resemble the instruments of Stradivari than even those of

Lorenzo, which is suggestive of his having, in some way, been brought

early under the great master's influence.[8] It is singular that his

early labels contain no reference to Cremona, whilst on the late ones

there is mention of the famous town, which evidences the correctness

of the statement of Count Cozio relative to his birthplace. It is

quite evident that he considered the model of Stradivari as that to be

followed, and he does not appear to have changed his views on this

point at any time, all his works being in accordance with the

teachings of the great master.

[Footnote 7: The present representative of the family mentions

Piacenza as the place of birth.]

[Footnote 8: The labels in many of the later instruments dating from

Turin contain the words "alumnus Antoni Stradivari."]

Giovanni Battista was particularly happy in the selection of his wood,

it being generally of the handsomest kind. The backs of his

instruments are mostly found to be divided, the markings of the wood

being very regular; the bellies are of wood well chosen for tone, the

varnish very transparent and of a brilliant colour. The scroll may be

described as a rough imitation of that of Stradivari, and to partake

generally of the character of the Stradivarian scroll from the date of

1728. The English possess some of the finest specimens of this maker,

and were probably the first to recognise their sterling merits. In the

correspondence which passed between Count Cozio di Salabue and

Vincenzo Lancetti, in the year 1823, the Count says: "The instruments

of G. B. Guadagnini are highly esteemed by connoisseurs and

professional men in Holland and Germany."

GUADAGNINI, Gaetano, Turin. Son of Giovanni Battista. Was both a maker

and a repairer of Violins; it was, however, in the latter capacity

that his abilities were mainly exercised.

GUADAGNINI, Giuseppe. Second son of Giovanni Battista. Worked with his

father for some time at Turin. He ultimately went to Lombardy, and

settled in Pavia, where he made a great number of instruments. The

work and character belonging to these instruments are varied. The

model is that of Stradivari. In some instances the sound-holes partake

of the character of Giuseppe Guarneri. The varnish is inferior to that

of his predecessors, and the wood often hard and plain. Some of his

Violins bear the labels of his father, and were doubtless made when

they were living together.

GUADAGNINI, Carlo, Turin. Son of Gaetano Guadagnini. This maker is

chiefly known as a maker of Guitars. Carlo left three sons, Gaetano,

Giuseppe, and Felice. These are said to have been all makers of

Violins, though they appear to have accomplished but little in that

direction, with the exception of Felice.

GUADAGNINI, Felice (or Felix), about 1835, Turin. Son of Carlo.

Excellent work, varnish rather hard, well-cut scroll.

GUADAGNINI, Antonio. Son of Gaetano and grandson of Carlo, born 1831,

died 1881. Worked with much diligence, and produced a great number of

instruments. His sons Francesco and Giuseppe, the representatives of a

long line of Italian Violin-makers, learned at Turin the art so long

associated with the family name, with a view to their following in the

footsteps of their father Antonio.

GUARNERI, Andrea, Cremona, born about 1626, died 1698.

Andreas Guarnerius fecit Cremonae

sub titulo Sanctae Teresiae 16--

The name of "Guarnerius" is probably known to every possessor of a

Violin throughout the world. The familiar style is attached to scores

of copies and non-copies every week, and despatched to the four

quarters of the globe. Little did Andrea imagine that he was destined

to be the means of lifting his patronymic of Guarneri to such a giddy

height!

Andrea Guarneri, like Andrea Amati, was the pioneer of the family: but

for his influence we might never have had the extraordinary works of

his nephew, Giuseppe. How full of interest would the smallest events

of Andrea's workshop life prove if we could only ascertain them! We

know that in early years he was working in the shop of Niccolo Amati.

With what delight would any record, or even anecdote, of those golden

days in the history of the Violin be received by the lovers of the

instrument! The bare idea that these men were living in daily close

converse is sufficient to awaken interest of a lively nature in the

mind of a lover of Fiddles. Unhappily, however, no Boswell was at hand

to dot down events, of small value when passing, but of great

consequence to after-time. The want of that direct biographical

information which is handed down to us from recorded personal

knowledge leads to the opening of many a mouldy, worm-eaten, and

half-forgotten parish register, wherein we read, in language stiff and

statutory, accounts of departed parishioners having duly performed and

executed divers acts and deeds. These entries often shed much

unexpected light on subjects previously dark or obscured. The pages of

the Cremonese parish register, to which allusion has been made in the

notices of the members of the Amati family, have served this purpose

in some measure. From the same source we have a few interesting facts

concerning Andrea Guarneri. It appears that Niccolo Amati entered, in

the year 1641, the age of his pupil Andrea Guarneri in the parish

rate-book as being fifteen years, thus supplying the hitherto unknown

date of his birth. Again we learn that Andrea Guarneri does not appear

to have been with Niccolo Amati in 1646, but was so in the year 1653,

the register showing that he was at that date married. There is no

further reference to his connection with Niccolo Amati after the year

1653. Andrea was married, December 31, 1652, and had seven children.

Two of his sons, namely Pietro Giovanni and Giuseppe Giovan Battista,

became Violin-makers. Andrea died on December 7, 1698, and we learn

from the register that he was buried on the following day near the

remains of his wife, in the Church of St. Domenico, in the same chapel

where the body of Antonio Stradivari was laid forty years later.

Andrea Guarneri for some years worked upon the model of his master,

though he afterwards changed the character of the sound-hole.[9] At

the same time the form of the instrument became flatter, and the

scroll showed signs of originality. The varnish is much varied, but is

generally of a light orange colour of beautiful hue; it sometimes has

considerable body, but when so, lacks the transparency of

light-coloured varnishes. The Violoncellos are of two sizes. The wood

in the Violoncellos is often very plain, but possesses singular

tone-producing qualities. The Violins of this maker are among his

finest efforts; the workmanship is excellent, but has not the fine

finish of Amati.

[Footnote 9: Lancetti, in his MS., mentions 1670 as about the period

of his change of style.]

GUARNERI, Giuseppe Giovan Battista, second son of Andrea, born

November 25, 1666.

Joseph Guarnerius filius Andreae fecit

Cremonae sub titulo S. Teresiae 16--

This maker possessed a greater amount of originality than Andrea. His

earliest works evidence that power of thinking for himself which,

later, led him to construct instruments entirely distinct from those

produced by his father. The outline is particularly striking. The

waist of the instrument is narrowed, rapidly widening, however, from

the centre. The result is a curve of much elegance, one of the points

which Giuseppe Guarneri del Gesu appears to have admired, as he

adopted and perfected it. It is here, more particularly, that a

resemblance between this maker and his famous kinsman is to be traced.

There are also other features which will furnish matter for comment in

their proper place. To return to the form given to the instruments of

Guarneri, the son of Andrea: the sound-hole has a singular combination

of the Amati and the Guarneri in its conception. We have here a

reappearance of the pointed form which originated with the grand old

Brescian master, Gasparo da Salo, and which was left by him to be

revived and perfected by his followers. Andrea's son, in adopting this

long-neglected form, showed much judgment. It must be admitted that he

improved upon it, and left his cousin an easy task in completing and

perfecting it.

The method of this maker with regard to the setting of the sound-holes

in his instruments is peculiar. In his plan they are set in a lower

position than is customary. Carlo Bergonzi followed him in this

particular, and also in placing the hole a trifle nearer the edge of

the instrument than is seen in most instruments. How interesting is it

to observe the salient points wherein each maker seems to have adopted

some isolated feature from a predecessor!

The varnish is of the richest description, and in some instances has

been so plentifully used as to cause it to clot in some places;

nevertheless, its rare qualities are never deadened.

He made Violins, Tenors, and Violoncellos, the latter being very

scarce. The wood used in his Violins and Tenors varies, but may be

pronounced as generally handsome; that of his Violoncellos is, on the

contrary, chiefly plain, and the workmanship somewhat careless, but

the tone is always fine in quality. Guarneri, Joseph, son of Andrea,

according to the parish register, was married on January 4, 1690, and

had six children.

GUARNERI, Pietro Giovanni, Cremona and Mantua, son of Andrea, born

February 18, 1655.

Petrus Guarnerius Cremonensis fecit

Mantuae sub-tit. Sanctae Teresiae 16--

In this maker, again, there is much originality, his work, together

with his model, differing entirely from that of his brother, and in

outline from that of his father Andrea. There is increased breadth

between the sound-holes; the sound-hole is rounded and more

perpendicular; the middle bouts are more contracted, and the model is

more raised. The scroll abounds in individuality of design. The ear is

brought out with much effect; the purfling is splendidly executed, the

corners being worked up to that extreme point of delicacy which is

characteristic of the works of Niccolo Amati. The purfling is embedded

after the manner of Amati in his "grand" instruments, but to a greater

extent. The varnish is superb; its quality is of the richest

description, and its transparency unsurpassed. Its colour varies; it

is sometimes of a golden tint, sometimes of a pale red, on which the

light plays with delightful variety. Pietro Guarneri used some of the

finest wood. The bellies are invariably wide in grain and very even.

The parish register supplies the information that Pietro was married

in the year 1677. He appears to have left Cremona for Mantua soon

after the year 1698. He visited Cremona about the period when his

father died; in which year he appears to have acted as god-father at

the christening of his brother Joseph's son Bartolommeo. Pietro

returned to Mantua, and later went to Venice, where he is said to have

died at an advanced age.

GUARNERI, Pietro, Mantua, born 1695. Son of Giuseppe filius Andrea. He

followed to some extent the form of the instruments of his uncle

Pietro, from whom, while in Mantua, he probably learnt his art. The

work is very good, and his productions are well worthy of the

Guarnerian name. The varnish is rich, but not so transparent nor so

well laid on as to come up to the full standard. The scroll is rather

weak.

GUARNERI, Giuseppe, Cremona.

Joseph Guarnerius fecit

Cremone Anno 17-- IHS

Better known as Giuseppe del Gesu, his labels having the cypher IHS

upon them. It is not known why he adopted this monogram, which is that

of the Jesuits. It is possible that he belonged to a fraternity in

Cremona, common at that period among Italian tradesmen, who banded

themselves together in various societies bearing religious titles.

This famous maker of Violins was born at Cremona in the year 1687, and

died in or about 1745. The house of Giuseppe Guarneri is said to have

been No. 5, Piazza S. Domenico, now called Piazza Roma.

An extract from the register proves that Giuseppe Antonio Guarneri,

legitimate son of Giovanni Battista Guarneri and Angela Maria

Locadelli, was born at Cremona on June 8, 1683, and was baptized on

the 11th of the same month, in the parish of San Donato, at the

chapel-of-ease of the cathedral.

This extract which was supposed to refer to the subject of this notice

relates to a child who died in infancy, and it is now satisfactorily

settled that Joseph del Gesu first saw the light on October 16, 1687.

The date of death is merely conjectural, and unsupported by definite

evidence.

The father of Guarneri del Gesu, namely Gio. Battista, was the son of

Bernardo, a cousin of Andrea Guarneri. He does not appear to have had

any knowledge of the manufacture of stringed instruments, and was thus

an exception to the majority of a family which numbered many prominent

makers within it. It has been asserted on all sides that Giuseppe

Guarneri del Gesu was a pupil of Antonio Stradivari, but in every case

this statement has been made without a shadow of proof, either from

recorded fact or analogy. That this bare assertion should have so long

remained unchallenged is a matter of some surprise to the writer of

these pages, who fails to see anything in common between the two

makers, with the exception of the varnish, and perhaps the high

finish, as apparent in the works of the second epoch of Guarneri. The

following remarks on this point are the result of the most careful

consideration of the subject, and may serve to assist the reader in

forming an opinion.

Had Giuseppe Guarneri received his early instructions from Stradivari,

should we not expect his instruments to bear the character of the

master in some slight degree? The most diligent student will, however,

fail to discover an early work of Guarneri bearing any likeness

whatever to the work of Stradivari. Among the instruments of the

second epoch may be found a few that show some gleam of the desired

similarity in respect of high finish; but it would be to the earliest

efforts of Guarneri that we should turn in our endeavour to discover

the source of his first instructions. The faint gleam of similarity,

then, attaching to the instruments of the second epoch, be it

understood, is in no way sufficient to demonstrate that Guarneri was a

pupil of Stradivari. Upon turning to other makers, what will be the

result if we judge them by the criterion above mentioned? Bergonzi,

Guadagnini, Gagliano, and others, whose names it is unnecessary to

mention, leave upon their earliest efforts the indelible stamp of the

master who first instructed them. To suppose that Guarneri del Gesu

formed the single exception to the likeness between the work of master

and pupil, is scarcely sufficient to satisfy the inquiry.

There are three essential points of difference between Guarneri and

Stradivari. The first is the outline of the work, which, as the mere

tyro must at once observe, is totally different in their respective

instruments. The second is the sound-hole, in which, again, the two do

not approach one another; that of Guarneri is long, and a modified

form of that of Gasparo da Salo. The third is the scroll, in which

Guarneri is as distinct from Stradivari as it is possible to be.

It may be asked, then, if not from Stradivari, from whom did Guarneri

receive instruction?[10] To disagree with what is popularly accepted,

and yet to withhold one's own counter-theory, may perhaps tend to

weaken one's case. There can be but one method to be pursued if, in

the absence of any historical data, we set about the investigation of

the question, viz., that of analogy. Starting upon this ground, the

first step to be taken is to endeavour to discover the maker whose

work and style bear some degree of similarity to those of Giuseppe del

Gesu. If we carefully review the works of the Cremonese makers, it

will be found that Giuseppe Guarneri, son of Andrea, and a relative of

Guarneri del Gesu, is the only maker in whose productions we can find

the strong similarity needed. Analogy, therefore, would point to him

as the instructor of his kinsman. Giuseppe Guarneri, son of Andrea,

was del Gesu's senior by many years, and it is far more reasonable to

conclude that it was in his workshop that del Gesu was first

instructed, than that he was the pupil of a maker whose work he never

copied, and whose style has nothing in common with his own. Enough has

been said on this question to enable the reader to judge for himself,

and this may the more readily be conceded when it is also admitted

that, after all, it is of little importance to determine where the

early training of this kingly maker was passed, as he so soon

displayed that rare originality which separated him from his brethren

for ever.

[Footnote 10: The _evidence_--if indeed it is to be characterised as

such--upon which it has been recently asserted that del Gesu was a

pupil of Andreas Gisalberti is so trivial and altogether unconvincing

that it seems unsuitable for discussion or analysis in a serious work

of reference.--EDITORS.]

[Illustration: _Plate VIII_. GIUSEPPE GUARNERI. Date 1742. (LATE H. B.

HEATH, ESQ.) ANTONIO STRADIVARI. Date 1711. (LATE R. D. HAWLEY, ESQ.)

ANTONIO STRADIVARI. Date 1703. (J. S. COOKE, ESQ.)]

We will now inquire into the character of Guarneri del Gesu's model.

In forming this, he seems to have turned to Gasparo da Salo as the

maker whose lead he wished to follow; and if each point be critically

considered, an impression is left that, after well weighing the merits

and demerits of Gasparo's model, he resolved to commence where Gasparo

ceased, and carry out the plan left incomplete by the great Brescian

maker. To commence with that all-important element the sound-hole, it

will be seen that Guarneri del Gesu retained its pointed form. Next

comes the outline of the body, where, again, there is much affinity to

the type of Gasparo da Salo, particularly in the middle bouts. Lastly,

the quality of wood selected for the bellies is in both makers

similar. In continuing the path trodden by Gasparo, Guarneri proved

himself an artist possessed of no little discernment. His chief desire

was evidently to make instruments capable of producing a quality of

tone hitherto unknown, and that he succeeded is universally

acknowledged. Workmanship, as evidenced by the instruments of his

first and last epoch, was with him a purely secondary consideration.

In the second epoch, his work shows him to have been not unmindful of

it. That he brought much judgment to bear upon his work, the vast

number of instruments that he has left and the great variety of their

construction are sufficient to prove. The extent of his researches is

surprising, and there is no ground for the assertion frequently made

that he worked without plan or reason. The idea that such a maker as

Guarneri groped in the dark savours of the ridiculous; moreover, there

is direct evidence, on the contrary, of his marvellous fertility of

design. At one period his instruments are extremely flat, without any

perceptible rise; at another, the form is raised in a marked manner

and the purfling sunk into a groove; a parallel of this type of

instrument is to be found in the works of Pietro Guarneri and

Montagnana. At one time his sound-holes were cut nearly

perpendicularly (a freak which, by the way, has some show of reason,

for though it sacrifices beauty, it also prevents the breaking up of

the fibres), at another shortened and slanting, and some, again, are

occasionally seen immoderately long. These hastily-marshalled

instances are quite sufficient to show the extent of his experiments,

and the many resources which he adopted in order to produce

exceptional qualities of tone.

In order that the reader may better understand the subject, before

going farther into the peculiar features belonging to the instruments

of Guarneri, we will classify his work. M. Fetis, doubtless under the

guidance of M. Vuillaume, has divided the career of Guarneri into

three periods--an excellent arrangement, and one that cannot be

improved upon. It only remains to point out certain peculiarities

omitted in the description of these three stages which M. Fetis gives

us. In the first epoch we find instruments of various patterns, the

character of the sound-holes being very changeable. At one time there

is a strange mixture of grace and boldness; at another the whole is

singularly deformed, and the purfling roughly executed, as though the

maker had no time to finish his work properly. It seems as if he had

hastily finished off a set of Violins that he had already tested,

eager to lay the stocks for another fresh venture. The second epoch

has given us some of the finest specimens of the art of Violin-making.

In these culminate the most exquisite finish, a thoroughly artistic

and original form, and the most handsome material. In some cases the

lustre of the wood of the backs, set in its casing of deep amber, that

unrivalled varnish, may be likened to the effect produced by the

setting summer sun on cloud and wave. The reader may pardon a somewhat

novel application of the loveliest description of the glow of evening

to be found in the compass of the English language, which paints the

heavens' colours as--

"Melted to one vast iris of the west,

Where the day joins the past eternity.

... All its hues,

From the rich sunset to the rising star,

Their magical variety diffuse.

And now they change; a paler shadow strews

Its mantle o'er the mountains; parting day

Dies like the dolphin, whom each pang imbues

With a new colour as it gasps away,

The last still loveliest, till--'tis gone--and all is grey."

The effect of this beautiful coruscation upon the backs of Violins is

obtained by cutting the wood upon the cross, or, as the French term

it, _sur maille_. It is seen, though rarely, on backs divided, when

the wood is particularly handsome in curl. The varnish on such

instruments is of a rich golden hue, highly transparent; it is lightly

laid on. The size of these works varies; they are sometimes a trifle

smaller than the other specimens of Guarneri. In the last epoch we

find Violins of an altogether bolder conception, dating from about

1740 and a little later. They are massively constructed, and have in

them material of the finest acoustic properties. The sound-hole loses

the pointed form so much associated with Guarneri: the purfling is

embedded, the edges heavy, the corners somewhat grotesque, the scroll

has a mixture of vigour, comicality, and majesty, which may force a

smile and then a frown from the connoisseur. The comparison may seem a

little forced, but the head of a thoroughbred English mastiff, if

carved, might give some idea of the appearance sought to be described.

Mr. Reade says of these instruments with much truth, "Such is the

force of genius, that I believe in our secret hearts we love these

impudent Fiddles best, they are so full of _chic_." Among the Violins

of this period may be mentioned Paganini's, and M. Alard's, both rare

specimens. These splendid _chefs-d'oeuvre_ are strangely mixed with

those commonly known as the "_prison Fiddles_"--a sorry title. The

name arose from the story current in Italy that Guarneri made some

Fiddles whilst undergoing imprisonment, and that the gaoler's daughter

procured him the necessary materials, which were of the coarsest kind.

M. Fetis refers to the story, and mentions that Benedetto Bergonzi,

who died in 1840, used to relate it. Allusion is also made to it by

Vincenzo Lancetti, to whom it was doubtless communicated by Count

Cozio di Salabue. These references lead to the belief that the

tradition has some foundation in fact, though not to the extent that

he ended his days _in durance vile_. Lancetti refers to the offence as

an encounter with some person in which his antagonist lost his

life.[11] A deplorable circumstance of this kind may have occurred

without the accused having been criminally at fault, though he may

have suffered the penalty of being so. His reported love of wine and

pleasure, his idleness and irregularity, in all probability were

statements added by successive narrators of the prison story. A recent

search made by Canon Bazzi in the obituary registers of the cathedral

at Cremona, discovers the fact that one Giacomo Guarneri died in

prison on October 8, 1715. Bearing in mind how frequently we find fact

and fiction jumbled together in historical pursuits, the prison story

in connection with the name of Giuseppe Guarneri may have no other

foundation than a story, long current, that a person named Guarneri

was imprisoned, and wholly regardless of identity.

[Footnote 11: Alexander Gagliano is the subject of a similar story.]

I have referred to the three periods of this remarkable man's life in

relation to his art, and it remains to point out some other features

in his work and material. His selection of wood, when he had the

opportunity of exercising his own judgment, was all that could be

desired, and the belly wood in particular was of the choicest

description. He seems to have obtained a piece of pine, of

considerable size, possessing extraordinary acoustic properties, from

which he made nearly the whole of his bellies. The bellies made from

this wood have a singular stain, running parallel with the

finger-board on either side, and unmistakable, though frequently seen

but faintly. If we may judge from the constant use he made of this

material, it would seem that he regarded it as a mine of wealth. The

care he bestowed, when working it, that none should be lost, affords

clear evidence of the value that he set upon this precious piece of

wood. I have met with three Violins by Carlo Bergonzi, having bellies

evidently cut from the same piece of pine, and these instruments

passed as the work of Guarneri for a long period. The sycamore that he

used was varied both in appearance and quality; it is chiefly of a

broad description of grain, the whole-backs being impressively marked

like a tiger's skin. There are a few instances where, in his

jointed-backs, the markings of the wood are turned upwards.

Upon examining the works of Guarneri with respect to their graduation,

it is found that he varied very much as to the quantity of wood left

in the several instruments. Notwithstanding these differences,

however, it will be found, upon closer comparison of the thickness,

that there is every reason to be sure that he had a guiding principle

in their management. They vary with the quality of the wood; and hard

material was treated as needing a slighter solidity than wood of a

softer nature.

His workmanship in numerous instances is, without doubt, careless;

but, even in the instruments where this negligence is most observed,

there is an appearance which at once excites the admiration of the

beholder, and forces from the most exacting the admission that, after

every deduction on account of want of finish, there remains a style

defying all imitation. Who can fail to recognise the quaint head, into

which he seems to have thrown such singular character by the mere turn

of his chisel, and which, when imitated, always partakes of the

ludicrous, and betrays the unhappy copyist who is unable to compass

that necessary turn! In matters of the highest art it is always so;

the possessor of genius is constantly showing some last resort, as it

were, impregnable to imitation.

The sound-hole, also, of Guarneri always preserves its distinctive

character, and a grotesque humour which at once pleases the eye,

though it is found to vary considerably with the three periods of his

life. Again, the button--that portion of the back against which the

heel of the neck rests, which forms a prominent mark in all Violins,

and an evidence of style, has a remarkably pronounced development in

the Violins of Guarneri, and, in fact, may be said to give a vitality

to the whole work. There are many instances where excellent and

original specimens of workmanship have been, speaking artistically,

ruined for want of skill in handling that simple factor of the Violin.

Having endeavoured to point out the chief features in the work and

style of this remarkable maker, I have only to add that his imitators

would far exceed in number all the Violin-makers that the city of

Cremona ever sheltered. There has ever been a diversity of purpose

with these Guarneri imitators, distinct from those of Stradivari and

others. They may be divided into three orders, viz., the _bona fide_

copyist, the subtle copyist, and the wholesale copyist. The first sets

about making his instrument resemble the original as closely as

possible, and when completed, sends it forth as a copy, and nothing

else. Among these legitimate imitators were Lupot, Gand, Vuillaume,

and others. The subtle copyist takes advantage of the disturbed styles

belonging to Guarneri, coupled with his misfortunes, manufactures and

translates at will. He "spots" a back on an old fiddle, in which he

sees Guarneri in embryo; he secures it. In his possession is a belly

which, with a little skilful manoeuvring of sound-holes and corners,

may be accommodated to the back. The sides need well matching in point

of colour; workmanship is purely secondary. The scroll he sets

_himself_ to carve, giving it a hideous, burglar-like appearance. The

inevitable label is inserted, and the Violin leaves the translator's

hand a "Prison Joseph." Now comes the difficulty. How is this

"Joseph," unaccustomed to elbow his legitimate namesakes in the world

of Fiddles, to maintain the character he has assumed? The subtle

copyist puzzles his brain without arriving at anything very

satisfactory. He resolves to slip it into a sale of household effects.

It is described in the catalogue, in glowing terms, as having been in

the possession of Geminiani (he not being alive to dispute the

assertion). Previous to the sale the instrument is viewed. The knowing

ones pass it by with contempt. The _half_-informed turn it over and

over, puzzled, and replace it in its case disconsolate. The thoroughly

ignorant looks inside; "Joseph Guarnerius Cremonensis faciebat 1724,"

in old type, stares him in the face; he puts the bow on the strings

and demands the maker's name--his thoughts are echoed back in gentle

sounds: "Joseph Guarnerius." He returns it to its case, shuts the lid,

and exultingly sallies forth, congratulating himself again upon his

good fortune in having at last the opportunity of securing the real

thing at the price of "a mere song." The time of sale arrives. The

beauties of the instrument are dwelt upon by the auctioneer; he begs

to be permitted to say two hundred guineas to commence with. Silence

around. "Well, gentlemen, shall I say one hundred and fifty guineas?"

Dogged silence. "Come, come, gentlemen, this is mere trifling. A

'Joseph Guarnerius' for one hundred and fifty guineas! Shall I say one

hundred guineas?" The customary witty frequenter of sale-rooms, unable

to restrain himself longer, cries out, "I'll give yer a pound!" The

auctioneer sees the whole thing; it is a copy that he is selling, and

not the original. The pound bid is capped by another from our friend,

who fondly fancies himself behind the scenes. The subtle copyist,

seeing his eagerness, bids on his bid, and the "Joseph Guarnerius del

Gesu" falls with the hammer to the anxious buyer for ten pounds. He

demands possession of it at once, in case another may be substituted,

and retires, perfectly satisfied with his day's work. The wholesale

copyists are those who manufacture Violins in Bavaria and France in

large factories, where the Violins undergo all kinds of processes to

make them modern antiques. The wood is put into ovens and baked until

it assumes the required brownness, or steeped in strong acids until it

becomes more like a piece of charred wood than anything else; the

sharp edges are removed by the file; the wear of years is effected in

a few moments by rubbing down those parts subject to friction; it is

ticketed and dated, regardless alike of orthography and chronology,

the date being generally before or after the original's existence.

These imitations are so barefaced as to render them comparatively

harmless.

GUIDANTI, Giovanni, Bologna, about 1740. High model; sound-hole long;

purfling badly let in; the outer form inelegant, particularly the

middle bouts. At the Exhibition at Milan, 1881, a Viola d'Amore was

exhibited, signed "Joannes Guidantus, fecit Bononiae, anno 1715,"

ornamented with a beautiful head artistically carved, representing a

blindfolded Cupid.

GUILLAMI, Spanish family of Violin-makers, about 1680-1780.

HARTON, Michael, Padua, 1600. Lute-maker.

KERLINO, Joan, 1449. Maker of Viols. Numerous instruments of the

Violin shape have been attributed to this maker, particularly those of

quaint appearance, but it is doubtful whether he made any instruments

but those of the Viol type.

LAGETTO, Luigi, Paris, about 1753.

LANDOLFI, Carlo Ferdinando, Milan, 1750.

Carolus Ferdinandus Landulphus,

fecit Mediolani in Via S. Margaritae

anno 17--

Though he belonged to the latest of the Italian makers, his merits

were of no ordinary kind. His instruments vary very much, and hence,

probably, a confusion has arisen as to there being two makers of this

name, which is not the case. Those instruments which have the bright

red varnish are certainly the best. The varnish is very transparent,

and, the wood being strikingly handsome, the effect is most pleasing.

The pattern is not a copy of Guarneri, as often stated, but thoroughly

original. His sound-hole cannot be considered an effective one, and is

not in keeping with the work. The outer edge is generally grooved. The

scroll is weak. His Violoncellos are mostly of small size. Some of

this maker's instruments are very unfinished, many not being purfled,

and having only a single coat of varnish.

LANZA, Antonio Maria, 1674. Copied the Brescian makers.

LAVAZZA, Santino, Milan, about 1700.

Santino Lavazza fece in Milano in Contrada larga 17--

LAVAZZA, Antonio, Milan.

Lavazza Antonio Maria fece in Milano in Contrada larga 17--

LINAROLLI, Venturo, Venice, 1520. A maker of Viols.

LOLY, Jacopo, Naples, 17th century. Of the Grancino type. Scroll

diminutive. Yellow varnish. Material very hard. Flat model. He made a

few large tenors.

MAGGINI, Giovanni Paolo, Brescia, 1590.

Gio Paolo Maggini in Brescia.

This famous maker followed Gasparo da Salo, and was his pupil. It is

surmised that he may have died of the plague in or about the year

1632. No Italian maker is more frequently mistaken than Maggini. Any

instrument having ornamentations on the back in the shape of purfled

scroll-work is at once said to be by Paolo Maggini. Barak Norman, the

old English maker, thus comes in for a large share of Maggini's

patronage, as also a vast number of early German makers, who adopted

similar devices; to the real connoisseur, however, there is no

difficulty in distinguishing the work. A more pardonable error is the

confusion of Gasparo da Salo and Maggini, which is of frequent

occurrence. The Double Basses of these two makers have much in common

to the eye of the not deeply versed examiner. Maggini, however, was

not so successful as his compeer in the selection of the _form_ of his

instruments. In them we miss the harmony of outline belonging to those

of Gasparo, particularly as relates to his Double Basses. Gasparo's

Violins are less harmonious in design, and evince his unsettled views

as to the form they should take; a perfectly natural circumstance when

the infantile state of the Violin in his day is considered. The

outline of Maggini is broad, but lacks the classic symmetry of the

rare old Brescian maker. The form is flat, and the means which he

adopted in order to obtain a full and telling tone were very complete.

The sides are frequently shallow, and in accordance with the outline.

With others who followed him, he evidently recognised the necessity of

reducing the height of the sides in proportion to the dimensions of

the instrument. The sound-hole is long and pointed, and admirably set

in the instrument. The scroll is primitive, but boldly cut, and

clearly marks an onward step from the somewhat crude production of

Gasparo, the back of which is not grooved, or but slightly. Maggini's

varnish is of brown or yellow colour, and of good quality. The

instruments covered with the brown varnish are often without any

device on their backs, and seldom have two rows of purfling. De

Beriot, the famous Belgian Violinist, used one of Maggini's Violins,

and, in consequence, their value was much increased.[12]

[Footnote 12: The genuine labels are undated, as in the case of his

master, Gasparo da Salo.]

MALER, Laux, Bologna, about 1450. Maker of Lutes. Maler appears to

have been regarded by Lutinists as the Stradivari of Lutes. Thomas

Mace informs us in his "Musick's Monument," 1676, they were sold for

as much as one hundred pounds each, though often "pittiful, old,

batter'd, crack'd things." He tells us he has "often seen Lutes of

three or four pounds price far more illustrious and taking to a common

eye." History repeats itself at every turn. The uneducated eye of

to-day is equally apt to regard a Mirecourt or Bavarian copy with as

much favour as a genuine Cremona. Mace proceeds to instruct the

"common eye." "First, know that an old Lute is better than a new one."

Thus also with Viols: "We chiefly value old instruments before new;

for by experience they are found to be far the best." "The pores of

the wood have a more and free liberty to move, stir, or secretly

vibrate, by which means the air--which is the life of all things, both

animate and inanimate--has a more free and easie recourse to pass and

repass." This explanation accounts, in part at least, for the

superiority of old over new instruments, and in language delightfully

quaint and simple.

MANTEGAZZA, Pietro Giovanni, Milan.

Pietro Giov Fratelli Mantegazza nella

Contrada di Santa Margarita in

Milano al Segno dell' Angelo 17--

Petrus Joes. Fratresq Mantegatia

Mediolani in Via S. Margarite

anno 1760.

Petrus Joannes Mantegatia, fecit

Mediolani in Via S. Margaritae 1784.

Vincenzo Lancetti states that "about 1800 the Brothers Mantegazza were

restorers of instruments, and were often entrusted by French and

Italian artistes to lengthen the necks of their Violins after the

Paris fashion, an example which was followed by amateurs and

professors all over North Italy." This extract shows that the short

necks were dispensed with in Paris towards the close of the last

century, and doubtless Viotti was the chief instigator with regard to

the change. The family of Mantegazza, as Violin-makers, date back to

about the middle of the eighteenth century. They appear to have made

many Tenors. The workmanship is good, and also the modelling of the

later-dated instruments. The older ones are rather high, but the

varnish is brilliant. The wood is somewhat hard. Count Cozio was a

patron of the Brothers Mantegazza, and he appears to have increased

his knowledge of Italian Violins from information acquired from them.

MARATTI, Verona, about 1700.

MARCHETTI, Enrico, Turin, contemporary.

MARIANI, Antonio, Pesaro, from about 1580 to 1619. Long middle bouts

and corners; style and work very primitive, mostly double purfled.

MEIBERI, Francesco, Leghorn, 1750.

MESSEGUER, Spanish, about 1646.

MEZADRI, Alessandro, Ferrara, 1690-1722. The pattern is inelegant, and

the sound-holes too close.

MEZADRI, Francesco, Milan, about 1712.

MIALFI, Joannes, 1769. The label is in Spanish. Ordinary character of

work.

[Illustration: _Plate IX_. GIUSEPPE GUARNERI DEL GESU. 1737. (LATE H.

O. HAVEMEYER, ESQ.)]

MONTAGNANA, Domenico, Cremona and Venice, 1700-1740.

Dominicus Montagnana Sub Signo

Cremonae Venetiis 17--

Pupil of Antonio Stradivari. After leaving the workshop of his famous

master, he followed his art in Cremona. He afterwards removed to

Venice, where Violin manufacture was in the most flourishing

condition, and adopted the name of "Cremona" as the sign of his house.

In days when houses were unnumbered, tradesmen were found by their

sign, and they were often puzzled to select one both distinctive and

effective. The Violin-makers of Italy, having exhausted the calendar

of its Saints emblematic of Harmony, left it to the Venetian to honour

the name of himself and the city which was the seat of the greatest

Violin manufacture the world had witnessed. In Venice he soon attained

great popularity, and made the splendid specimens of his art with

which we are familiar. The instructions which he had received at

Cremona enabled him to surpass all in Venice. He gained great

knowledge of the qualities of material, and of the thicknesses to be

observed; and, moreover, he carried with him the superior form of the

Cremonese school, and the glorious varnish. Mr. Reade names him "the

mighty Venetian," an appellation not a whit too high-sounding, though

it may appear so to those not acquainted with his finest works. The

truth is, that Montagnana is less known than any of the great makers.

For years his works have been roaming about, bearing the magic labels

of "Guarnerius filius Andreae," "Carlo Bergonzi," and sometimes of

"Pietro Guarneri," although there is barely a particle of resemblance

between the works of our author and the makers named, whose labels

have been used as floats.

Montagnana was in every way original, but the fraud that has foisted

his works upon makers who were better known has prevented his name

from being associated with many of his choicest instruments, and

deprived him of the place which he would long since have held in the

estimation of the true connoisseur. This injustice, however, is fast

passing away; as ever, genius comes forth triumphant.

The time is near when the "mighty Venetian" and Carlo Bergonzi will

occupy positions little less considerable than that of the two great

masters. Already the merits of these makers are daily more

appreciated, and when the scarcity of their genuine works is

considered, it becomes a matter of certainty that their rank must be

raised to the point indicated.

It is much to be regretted that both Montagnana and Bergonzi did not

leave more numerous specimens behind them. Would that each had been as

prolific as their common master! We should then have inherited a store

from which our coming Violinists and Violoncellists could have

possessed themselves of splendid instruments, when those of Guarneri

and Stradivari were placed far beyond reach.

In these times, when the love of music is rapidly developing itself

among all classes, the question of supply must attract notice. The

prime question with respect to Violins of the highest character is not

now as to price, but as to the supply of limited and daily decreasing

material; and the doubtful point is, not whether purchasers are to be

found who may not be unwilling to pay the increased cost consequent

upon scarcity, but whether the instruments required will be available

in sufficient numbers to satisfy the demands of those quite prepared

to gratify their wishes for the possession of an instrument of the

first rank. A single glance is sufficient to remind us that the list

of makers of the highest class, and particularly of original artists,

is scanty indeed. There are a few copyists, it is true, notably Lupot

and Panormo, whose instruments must take a considerable position, but

on the whole the demand will far exceed the supply. The difficulty

here noticed is intensified from the fact of the Violin being sought

after as it is, unlike any other musical instrument, for the cabinets

of the collector as well as for actual use--a state of things

perfectly natural when its artistic beauties are considered.

Violinists possibly consider they smart under a sense of wrong at the

hands of collectors who thus indulge their taste; but, on the other

hand, we have reason to be grateful to the lovers of art for having

stayed the hand of Time in demolishing these treasures.

To return to the subject of this present notice: it is evident that

when Montagnana left the workshop of Stradivari, he gave full scope to

his creative powers. He at once began to construct upon principles of

his own, and thus followed the example of his fellow-worker, Carlo

Bergonzi. If comparison be made between the work of Stradivari and

that of Domenico Montagnana, with regard to detail, the two makers

will not be found to have much in common. It is when Montagnana's

instrument is viewed as a whole that the teaching of Stradivari is

evidenced. A similar assertion may, in a lesser degree, be made in the

case of Carlo Bergonzi. To dissect the several points of difference is

a simple matter. If we begin with the outline, that of Montagnana has

not the smoothness and grace of the Stradivarian type; the upper and

lower curves are flattened, while those of the centre are extended.

The sound-hole partakes more of the character of Guarneri; the scroll

is larger, and the turns bolder than in the Stradivari form. These,

then, may be considered to be the chief points wherein, if viewed as

separate items, Montagnana seems to have varied from his master: and

hence we may obtain some idea of the amount of originality belonging

to this maker--an amount, indeed, not inferior to that of any

Cremonese artist that can be cited. The increasing popularity of

Montagnana's instruments is sufficient proof that his design was

fraught with much that is valuable. In departing from the form of

Antonio Stradivari, Carlo Bergonzi and Montagnana doubtless intended

to bring out in a stronger degree certain particular qualities of

tone: at the same time we may be sure that they had no idea of

attempting to improve upon Stradivari in his own field of work, for

they must have well known the Herculean character of such a task. On

the other hand, had these remarkable makers been mere copyists, they

would certainly have handed down to us more instruments moulded in

exact accord with the style of their great teacher; while, at the same

time, we should have lost many variations, which are at present not

only an evidence of their fertility of resource, but also in

themselves most pleasing objects. If, in the sister art, Tintoretto

had made it his sole business to copy Titian, the world would have

been rich in copies of Titian, but poor in Tintorettos.

The varnish of Montagnana has long excited the admiration of

connoisseurs throughout Europe. The extreme richness and velvet-like

softness which are its characteristics constitute it a fitting

countersign of the workmanship of this great maker, an artist of the

first magnitude. He made Violins, Tenors, and Violoncellos. His

Violins are of two sizes.

MONTALDI, Gregorio, Cremona, 1730. Copied Stradivari.

MORELLA, ----, Mantua, about 1550. M. Fetis, in his "Biographie

Universelle des Musiciens," states that he was famous for his Viols

and Lutes. S. Ang. Maffei, in his "Annali di Mantova" (fol. 147),

highly praises the instruments made by Morella.

NADOTTI, Giuseppe, Piacenza. A Violin by this maker was in 1881

exhibited at the Milan Exhibition, dated 1767.

NELLA, Raffaele, Brescia, copied Maggini.

ORTEGA, ----, Madrid, about 1840. Maker and restorer of instruments.

PANDOLFI, Antonio, Venice. A Violin of this make, dated 1719, was

among the instruments exhibited at the Milan Exhibition in 1881.

PANORMO, Vincenzo, Palermo, born about 1740, died 1813. This maker was

one of the most successful followers of Antonio Stradivari. Panormo

and Lupot share the palm as copyists of the great Cremonese master.

Neither appears to have attempted to create a model of his own; their

sole aim was to imitate to the utmost the various patterns of

Stradivari, Guarneri, and Amati, but they principally confined

themselves to Stradivari.

Vincenzo Panormo left Italy in early life, and settled for a short

time in Paris, from which city a few of his instruments are dated.

From Paris he removed to London, where he remained many years. He also

visited Ireland, where he made, it is said, several beautiful

instruments from an old maple billiard-table, with which he was

fortunate enough to meet. He was of a restless temperament, which

showed itself in continual self-imposed changes. He would not, or

could not, permit his reputation to grow steadily, by residing long in

one place, but as soon as fame was within his grasp, he sacrificed the

work of years by removing to an entirely new field of labour.

Panormo furnishes us with another example of the certain appreciation,

sooner or later, of exceptional talents. No matter how trifling the

circumstances under which gifted men have laboured, some time or other

their genius is discovered, and acknowledged with its due award, if

not of fortune, at least of fame. The peculiar circumstances under

which Panormo lived would have been sufficient in the case of most men

to dwarf all efforts. Unable to obtain readily that patronage to which

his abilities justly entitled him, he removed from city to city,

hoping to discover a resting-place, in which favour might attend his

art. No doubt this was a mistaken course, and one which robbed his

work of the attention which a mind undisturbed by the care of

existence can bestow; nevertheless his natural gifts had a vitality

that could not entirely be suppressed. He worked and toiled for his

art and for bare sustenance alternately. His life, like that of many

others in the paths of literature and science, was a continued battle

with adversity. Such persons are forced to satisfy daily wants by

slaving at work which brings them but little credit in after time, and

becomes a standard by which they are too often erroneously judged.

Vincenzo Panormo was the slave of many, manufacturing Double Basses

and other instruments from the material selected and purchased by his

temporary employer, ofttimes compelled to carry out some crotchet of

the patron much against his own wishes. The wood thus forced upon him

was often of the worst description; and, in addition, he was

frequently obliged to complete his work within a given time.

Instruments manufactured under such conditions can scarcely, it may be

supposed, add to their maker's reputation. We cannot but regret that

he should have been obliged to waste himself on such poor materials.

Fortunately, however, in some cases he found time to exercise his

skilful powers to their full extent, and has thus bequeathed to us

some of the finest specimens of the copyist's art.

His workmanship is of a lighter description than that of Lupot, and is

therefore more graceful. The sound-hole is admirably cut, and the

scroll also well carved.

PANSANI, Antonio, Rome, 1735.

PASTA, Antonio, Brescia, 1700-1730. Good work. Model a little high;

varnish of soft quality.

PASTA, Domenico, Brescia, about 1700.

PAZZINI, Gaetano, Florence, about 1630, pupil of Maggini.

PICINO, Padua, 1712. High model; dark varnish.

PLATNER, Michel, Rome, about 1750. The instruments of this maker

resemble those of Tecchler, both in workmanship and varnish.

Michael Platner fecit Romae anno 17--

POLLUSCA, Antonio, Rome, about 1751.

POSTIGLIONE, Vincenzo, Naples, contemporary.

PRESSENDA, Giovanni Francesco, Turin.

Joannes Franciscus Pressenda

q. Raphael fecit Taurini

Anno Domini 1826.

Born in the year 1777. The Violins bearing the label of Pressenda are

excellently made, and in many instances the varnish is superior to

that met with on any Violins dated from Italy in the present century.

Pressenda appears to have interested himself to some extent in the

matter of varnish. In a little book published in Italy[13] there is

the following passage: "A pale reflection of the old art

(Violin-making) is found in Piedmont, with Guadagnini." The writer

continues with the following reference to Pressenda of Turin, who, he

remarks, was in his youth at Cremona, "where he collected the

traditions of the school as regards modelling and the preparation of

the varnish, which is the chief merit of his Violins." It is almost

needless to remark that traditional information is frequently

unsatisfactory, but particularly so in connection with Cremonese

Violin-making and varnishing, near the middle of the last century. In

short, the great makers left no other record of the steps they took

both in manufacture and in the preparation of their varnish than can

be discovered in their works. The instruments of Pressenda present a

singular contrast with others of Italian make belonging to this

century, most of which evidence what may be termed the throes of a

dying manufacture. With Pressenda we appear to have a new departure,

in which there is some show of attention having been paid to the work

accomplished in the best workshops of Paris. The then condition of

Violin-making in Italy made it necessary for any Italian maker--no

matter how great his ability--to seek information elsewhere, if

desirous of excelling in his art. Pressenda appears to have sought to

emulate and even surpass many Parisian makers by associating his name

for the most part with good and unsophisticated work. The results of

his labours reflect no little credit on his skill and judgment.

Pressenda may be styled a born maker of Violins. From an account

published by Signor Rinaldi, of Turin, in 1873, we learn that

Pressenda was the son of poor parents, who lived in Lequio-Berria, a

hamlet in the vicinity of Alba, in Piedmont. His father Raffaele was a

strolling fiddler, and gained his precarious livelihood by playing at

village fairs and other rejoicings. On these occasions he was

accompanied by his son Giovanni, who followed the occupation of his

father, playing the Violin with some degree of skill. It was at this

period that he appears to have manifested a desire to know something

of Violin manufacture, and frequently asked for information from his

parent, who, however, was rarely able to satisfy his curiosity.

Learning that Cremona was in some way associated with good Violins, he

resolved to fiddle his way to that city. There he found Storioni, from

whom he obtained some rudimentary knowledge of the manufacture he was

so much interested in. Later he removed to Piedmont, and established

himself in Alba in 1814, as a maker of Violins. The patronage he

gained was, however, insufficient to maintain him, and he combined the

business of cabinet-making with his favourite pursuit. After removing

to Carmagnola, he went in the year 1820 to Turin, where his abilities

were recognised and rewarded. He was encouraged in his manufacture by

Giovanni Battista Polledro, the famous Violinist, who, in 1824, became

Musical Director of the Royal Orchestra at Turin. Pressenda died in

the year 1854 at Turin. His Violins are chiefly of the model of

Stradivari. The sound-holes are well cut. The thicknesses of his best

instruments are well arranged, and the wood appears to have been

selected with good judgment. The scrolls, whilst having much

character, are somewhat roughly cut. The Violins belonging to his

early period are chiefly of the Amatese character.

[Footnote 13: "L'Italie economique," 1847.]

RACCERIS,----, Mantua, about 1670.

RINALDI, Gioffredo, Turin. (Benedetti, Gioffredo.) Chiefly known as a

dealer in Violins. He exhibited a few Violins by Giovanni F. Pressenda

at the Vienna Exhibition, 1873, and published a short notice of that

maker, which he inscribed to the Archduke Rannieri.

RIVOLTA, Giacomo, Milan, about 1822. Excellent work; scroll well cut.

One of the best Italian makers of the nineteenth century.

ROCCA, Joseph Antonio, Piedmont, 1837-1863. Chiefly followed the

pattern of Stradivarius. Neat workmanship, varnish rather thin,

well-cut scroll. He worked for some time with Pressenda.

RODIANI, Giovita, sometimes called Budiani; Brescia, about 1580-1620.

His instruments resemble those of Maggini. Dragonetti is said to have

had a Double Bass of this make.

ROTA, Giovanni, Cremona. Yellow varnish, plain wood, heavy work, rough

purfling.

Joannes Rota fecit Cremonese Anno 1808.

ROVETTA, Bergamo, 1840-70.

ROGERI, Giovanni Battista, Cremona and Brescia.

Io: Bapt. Rogerius Bon: Nicolai

Amati de Cremona Alumnus

Brixiae fecit Anno Domini 1705.

The word Bon after his name refers to his having been a citizen of

Bologna. Vincenzo Lancetti speaks of its being certain that he called

himself _Bononiensis_. The instruments of this maker are of a

different pattern from those of Francesco Ruggeri. They are higher

modelled, the sound-holes less elegant, and the scroll heavier. They

possess, however, high merits, and command prices nearly equivalent to

those of the instruments of Francesco. The labels of this maker are

sometimes met with printed in red ink. The instruments he made of

large Amati pattern are highly valued. He appears to have worked from

about the close of the seventeenth century. Count Cozio di Salabue and

Lancetti speak of G. B. Rogeri having worked down to 1723, and

possibly later, and state that he lived for many years in Brescia.

There are some instruments bearing original Amati labels of this make,

made, doubtless, when he was in the shop of Amati.

ROGERI, Pietro Giacomo, Brescia, describes himself on his label as a

pupil of Niccolo Amati. Lancetti refers to a Violoncello by Pietro

Rogeri as having belonged to Count Cozio, and remarks that he was a

"nearly unknown member of the Rogeri family." The date of the

instrument is given as 1714. He cannot now be looked upon as almost

unknown, since Signor Piatti played for many years upon a famous

Violoncello of his make. The pattern is a little narrower than that of

G. B. Rogeri. Varnish of beautiful quality; sound-hole resembles that

of Francesco Ruggeri.

RUGGERI, Francesco, Cremona, 1668-1720.

Francesco Ruggeri detto

il Per Cremona 16--

Surnamed "Il Per." The family of Ruggeri long occupied a foremost

place in the city of Cremona as makers of Violins, Tenors, and

Violoncellos. Their position must have been but little inferior to

that of the Amati family. Francesco, in his earliest works, gives

evidence of exceptional artistic feeling, and the sequel of his

career, as evidenced by his productions, is a genuine development of

the first impulses of his genius. His work belongs to the school of

Amati, but though the list of instruments which he has bequeathed to

us be a long one, there is no sign of his ever having been a mere

copyist. He evidently thought for himself. His sound-hole is a

beautiful piece of workmanship, and may be said to come between that

of Niccolo Amati and Stradivari, being of the most delicate execution.

The outline of his work is very graceful, and the arching admirable.

The scroll has quite an equal merit with the body. He was very

successful in selecting his material, much of which is handsome. His

varnish, thoroughly Cremonese in character, and of a most beautiful

hue, may be equalled, but never surpassed. This maker also knew how to

use his varnish. There is no instance in which it has been laid on in

clumsy patches; the surface is always true and even, and, in

consequence, the brilliancy of its appearance is perfect. Lancetti

remarks, "Francesco Ruggeri was a pupil of Niccolo Amati, and perhaps

a more exact imitator of his instruments than G. B. Rogeri, and made

several instruments, beautifully finished, and which are not easily

distinguished from those of his master." Count Cozio possessed a fine

Violin by Francesco, dated 1684, and the Marquis Castiglioni also

possessed one made in the same year. Francesco Ruggeri died at the

house No. 7, Contrada Coltellai, Cremona.

RUGGERI, Giacinto detto Il Per, Cremona. Son of Francesco Ruggeri. A

Violoncello bearing this label is in the possession of Mr. G. Foster

Cooke:

Giacinto filio di

Francesco Ruggeri detto il Per

1696.

RUGGERI, Vincenzo, Cremona, also uses the name "Il Per." Worked from

about 1700 to 1730. He appears to have made many Violoncellos.

Vincenzo Ruger detto il Per

in Cremona 17--

RUGGERI, Giambattista, Cremona. About 1693. Also called himself Il

Per. Lancetti suggests that this maker was a relative of Francesco. He

made several Violoncellos of large size and deep sides, the wood of

which is often plain. The varnish is of good quality and dark brown

colour. He also made Violins and Tenors, the latter being excellent

instruments.

SACCHINI, Sebastiano.

Sebastino Sacchni da Pesaro l'anno 1686.

SALO, Gasparo da.

Gasparo da Salo Brescia.

His real name was Gasparo dei Bertolotti. The researches of Cavalliere

Livi, keeper of the Brescian Archives, have brought to light much

valuable information as to this famous maker. He was born in the town

of Salo (Province of Brescia) in or about the year 1542, died there on

the 14th of April, 1609, and was buried in the church of San Joseffo.

A son (Francesco) appears to have worked with him and to have died in

1614. Several Viols of Gasparo's workmanship, of different sizes, are

still extant. The Violins are very rare. A few large Violas exist, the

tone of which is magnificent. His genuine labels bear no date. Gio

Paolo Maggini was apprenticed to him, and is believed to have

purchased the business, after Gasparo's death, from his son Francesco.

To Gasparo da Salo belongs the credit of having laid the foundation of

the Italian style of Violin-making. In his works may be traced the

gradual development of the system upon which his followers built their

reputation, viz., a well-defined model, excellent materials, and

choice varnish. It is to be regretted that his immediate followers,

with the exception of Paolo Maggini, departed from the path so

successfully trodden by this great pioneer. But for this deviation,

the works of the early Amati and a few others would have occupied a

higher position than that which they now command. They were men

possessing great abilities, and might easily have carried out the

designs of the great Brescian maker. They appear, however, to have

arrived at a different conclusion, as regards the form of their

instrument, from that shaped by Gasparo da Salo. Their works show an

evident preference for the high model, and thus undid much that

Gasparo had accomplished. It is clear that Gasparo only arrived at his

conclusions after painstaking labour, for he commenced with the high

form, and gradually, as experience taught, lowered it. It is, further,

remarkable that the latter members of the Amati family pursued the

same course as Andrea Amati (though in a less degree), after which

they awoke, as it were, to the reasonableness of the example set by

Gasparo, and gave us those instruments so highly thought of by the

connoisseur, the form of which has much in common with that adopted by

Niccolo Amati and perfected by Antonio Stradivari.

It has been before remarked that Gasparo da Salo did not arrive at his

conclusions without mature consideration. In fact, a long and

deliberate process of experiment may be traced in his instruments. We

find that at times his Violins and Violas were treated differently

from the Accordos and Violonos. The Violins are found to be high in

model, while the above-named instruments, evidently of the same date,

are flat. He would seem to have been desirous of testing the powers of

either model, and it is possible that he fostered the idea of varying

the construction of each of the four species in the family of stringed

instruments according to the part which should be allotted to it. To

treat each part of the stringed quartette in a different way is

certainly an error, for they are to be looked upon as gradations of

one and the same instrument; nevertheless, the attempt of Gasparo,

although mistaken, offers but another instance of his prolific

ingenuity and unwearied diligence. An praise is due to the great

Brescian maker for having opened up, as a pioneer, so wide a field of

research. The Cremonese artists followed up his clue, and brought the

Violin to the highest state of excellence.

[Illustration: _Plate X_. DOMENICO MONTAGNANA. (GEO. GUDGEON, ESQ.)]

The chief characteristics of the works of Gasparo da Salo are the

sound-holes, shortened centre-bouts, scroll, and peculiar choice of

material. The length of the sound-hole at first strikes one as

somewhat crude, but as the eye becomes more acquainted with the

general form of the instrument, it is seen to be in perfect harmony

with the primitive outline. With this sound-hole commences the pointed

form to which Giuseppe Guarneri, nearly a century and a half later,

gave such perfection. The material used for the larger instruments is

mostly pear-wood, or wood of that description, the quality of which is

particularly fine. In the selection of this wood he showed a still

minuter discrimination, using it generally for Accordos and Violonos,

and not for Violins or Violas; few specimens of the latter have backs

of pear-wood. His work was bold, but not highly finished; no other

result could be looked for at so early a date. The grain of the

bellies is usually very even and well defined. Signor Dragonetti, the

late eminent Double-Bass player, possessed three or four Double-Basses

by this maker of various sizes. The most celebrated of these

instruments was presented to him by the monks of the monastery of St.

Mark's, Venice, about the year 1776, and was returned to the Canons of

that Church (the monks and the monastery having been suppressed since

the French occupation of Venice in 1805 or 1809) after Dragonetti's

death, in 1846. Another was bequeathed by Dragonetti to the late Duke

of Leinster. A third is in the possession of the Rev. George Leigh

Blake. Among his chamber Double-Basses the one formerly belonging to

Mr. Bennett is regarded as a singularly perfect example. It was

numbered with the rarities of Luigi Tarisio's collection, and highly

valued by him as a specimen of the maker. Among his Violins, the

instrument formerly owned by Lord Amherst, of Hackney, is unique; the

infancy of the Violin at this period is better seen here than any

specimen with which I am acquainted. The Violin of this make which

belonged to Ole Bull, and with which I am familiar, is another

well-known example. This instrument is characteristic of its author.

Its varnish is soft-looking and rich, though paler than usual. The

finger-board is inlaid, and is made of a light description of wood.

The head is carved and painted, and is a very choice piece of Italian

work.

SANONI, Giovanni Battista, Verona. About 1740. His instruments are

seldom met with in England. High model.

SANTO, Giovanni, Naples, 1700-30. Copied Amati. Varnish very hard, and

workmanship indifferent.

SANZO, Milan. Middle and early eighteenth century. Similar to

Grancino.

SARDI, ----, Venice, 1649. A broken Violin bearing this name was at

the Milan Exhibition, 1881.

SEIGHER, Girolamo. Worked in the shop of Niccolo Amati from 1680 to

1682.

SELLAS, Matteo, Lute-maker. M. Chouquet, in his "Catalogue Raisonne"

of the instruments at the Paris Conservatoire, mentions two Arch-Lutes

made by this maker.

SERAFINO, Santo, Udine--Venice, 1710-48.

Sanctus Seraphin

utinensis Fecit

Venetijs Ann. 17--