The Violin | Page 4

Violoncellos--GUARNERI, PIETRO, brother of Andrea--GUARNERI, PIETRO, grandson of Andrea--GUARNERI, GIUSEPPE (del Gesu); his monogram and cypher; evidence of his birth; sketch of his life, and characteristics of his work; comparison with Stradivari and Gasparo da Salo; his "three epochs;" lustrous quality of his varnish; different characters of his wood; the tradition of his "Prison Fiddles"; a "Prison Joseph"--Guidanti, Giovanni--Guillami . . 113-147
Harton, Michael . . . . . . . . . . . . . . . . . . . . . . . . . 147
Kerlino, Joan . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally good quality of his work--Lanza, Antonio Maria--Lavazza, Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo . 147-148
MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salo; other makers' productions frequently attributed to him; comparison of his work with that of Da Salo--MALER (Lutinist); termed the "Stradivari of Lutes;" Thomas Mace on the art of judging Lutes and Viols--MANTEGAZZA, PIETRO GIOVANNI; eminent as a restorer--Maratti--Mariani, Antonio--Meiberi, Francesco--Mezadri, Alessandro--Mezadri, Francesco--MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid specimens of his art still extant; his cognomen, "The Mighty Venetian;" rising value of his instruments; comparison with Stradivari and Bergonzi; superior character of his varnish--Montaldi, Gregorio--Morella . . . . . . . . . . . . . . . . . . . . . . 149-158
Nadotti, Giuseppe--Nella, Raffaele . . . . . . . . . . . . . . . . 158
Ortega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Pandolfi, Antonio--PANORMO, VINCENZO; follower of Antonio Stradivari; residence in London and in Ireland; his struggles with adversity; light and graceful character of his work--Pansani, Antonio--Pasta, Antonio--Pasta, Domenico--Picino--Platner, Michel--Pollusca, Antonio--PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish studied in Cremona; contrast with contemporary workers; humble origin; his connection with Storioni, and with Polledro, the Violinist; his models, Stradivari and Amati . . . . . . . . . . . . . . . . . 158-163
Racceris--Rinaldi, Gioffredo--Rocca, J. A.--Rodiani--Rota, Giovanni--Rovetta--ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or settled in Bologna); his instruments of large Amati pattern--ROGERI, PIETRO GIACOMO--RUGGERI, FRANCESCO ("Il Per"); early artistic genius; foremost position of his family in Cremona; pupil of Niccolo Amati and worthy of him; brilliancy of his varnish--RUGGERI, GIACINTO--RUGGERI, VINCENZO--RUGGERI, GIAMBATTISTA . . . . . . . . . . . . . . . 163-167
SACCHINI--SALO GASPARO DA ("The Great Brescian,"); his real name Bertolotti; essentially a maker of Viols; primitive character of his instruments; evidence as to date of his work; Ganassi's work on the Art of Playing the Viol; six-stringed and four-stringed Viols; Martin Agricola and his "Musica Instrumentalis;" Quatuor of instruments, Decantus, Altus, Tenor, and Bassus; foundation by Da Salo of Italian Violin-making; gradual and tentative development of his system; high value of his labours as a pioneer; chief characteristics of his work; his nice discrimination in choice of material; Signor Dragonetti's four Double-Basses of this maker, and his presentation of one of them to the Monastery St. Mark's, Venice--Sanoni, Giovanni Battista--Santo, Giovanni--Sanzo--Sardi--Sellas, Matteo--SERAFINO, SANTO; exquisite finish of his work; variation of model; high character of varnish and work; his method of cutting; copied Amati and Stainer--Sneider, Josefo--Socchi, Vincenzo--Sorsana--Stregner, Magno--Storioni; follower of Guarneri del Gesu; his freak as to placing the sound-holes; creditable character of his work in several respects--STRADIVARI, ANTONIO; his renown beyond that of all others; researches as to records of his life; evidence as to date of birth, marriage, and death; Genealogical Table of his family; the inventory of his work remaining at his death; similarity of his early work to that of his master, Niccolo Amati; evidences as to later changes of style; his inheritance of his aged master's tools and models; his purchase of his house in Cremona; contemporary appreciation of his merits; his set of Violins, Altos, and Violoncellos for King James of England; valuable evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's purchase of Stradivari's models, tools, and drawings, and their present possession by the Marquis Dalla Valle; instruments made for the Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the "Long Strad"; instruments for the Spanish Court; letter from the Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's "golden period," 1700; description of his instruments of this date; the "Betts Strad;" guiding principles as to differences of construction and quality of material; the "Dolphin Strad," its exquisite beauty; tranquil character of Stradivari's life; war in Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to Italy, and entry into Cremona; set of instruments for