TAYLOR, ---- London, 1770 to 1820.
TECHLER, DAVID, first established himself at Salzburg, and afterwards
went to Venice, where the story goes that he was so persecuted by other
makers that he fled to Rome, about 1706. He made some excellent and
beautiful instruments. They have fine yellow varnish and resemble those
of the Tyrolean school of Albani and others. Lindley had a violoncello
by this maker which was very fine, and powerful in tone. Another was
sold a few years ago by auction, for L50. We have seen a violin of this
maker, with very beautiful wood and highly finished workmanship, the
tone of which was very pure and polished.
TENZEL, ---- One of our catalogues contains a violin by this maker, but
we have no particulars.
TEODITI, JEROME, Rome, 1750.
TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for
this maker that he was the first to give the name of violino to the
reduced viol.
TERRESIO, ---- An Italian who died in 1853, was a most eminent judge of
instruments. His whole existence seemed to be centered in his art, and
his eye became so practised that when travelling to discover old
instruments, he took them all to pieces, sides, backs, heads, and all
parts, forming a conglomerate mass of pieces of valuable violins. The
object of so doing was to avoid the customs' dues which are of course
heavy on old instruments. When he reached his destination, he would
replace them without the aid of a single mark. After his death his
house, or rather his hermitage, was visited by connoisseurs, who found
it strewed with different parts of instruments, some being found in the
most out of the way places. He had the major part of all the great
instruments through his hands. Among other valuable instruments found
in his house after his death, was a Gaspar di Salo double bass and a
Bergonzi double bass--the latter unique. Both these instruments are now
in Mr. Hart's possession. The Gaspar di Salo is very perfect and its
tone is unsurpassed. The Bergonzi is quite a curiosity, from its being
the only one of his make known. He visited this country during the
Exhibition of 1851, and was deeply gratified upon seeing so many high
class instruments among the dilettanti here, and the taste and zest the
English have in forming collections.
TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some
very good instruments after the Guarnerius pattern. The wood of the
backs of his violoncellos is mostly pear tree, and the bellies are of
splendid wood. The tone is very powerful, but not always so smooth as
might be wished. This is another rising name. The celebrated double
bass player Bottesini, uses one of this maker's instruments which
possesses a splendid tone, and is sufficient to stamp Testore as an
excellent maker. If any of his smaller instruments possess as good and
fine a tone as this double bass he must be ranked among the best
Italian artistes. Use will probably wear away the want of smoothness at
present complained of in some of them.
TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730.
TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have
the reputation of being good makers. Of these artistes we have a note
which states that their model was flat, resembling Joseph Guarnerius in
shape, but the varnish very inferior and void of colour.
THOROWGOOD. HENRY, London, the 18th Century.
TOBIN, ---- London, 1800 to 1836. This maker cut most beautiful heads,
and his work was neatness in the extreme, so much so indeed as to rob
it of decided character.
TONINI, FELICE, Bologna.
TONINI, ANTONIO, Bologna.
TONINI, CARLO, Bologna.
TONINI, GUIDO, Bologna.
We have no special information on these makers, but they are generally
ranked among the good Italian makers.