French Violin Makers, German Violin Makers, English Violin Makers, Antonio Stradivari
Italian Violin Makers
city. His instruments vary in form, some having a marked German style: they are high-modelled, and the sound-hole partakes of the Stainer character. These were probably made in Salzburg, to the order of his patrons. Those instruments which date from Rome are chiefly of the Italian type, and are so much superior to the others that it seems difficult to reconcile varieties so distinct as the work of the same man. They are finely formed, have splendid wood, and rich varnish of a yellow tint; the bellies are of a mottled character, similar to those so much used by Niccolò Amati. His Violoncellos are among the finest of his instruments. They are mostly of a large size.
TEDESCO, Leopoldo, pupil of Niccolò Amati. He went to Rome. I have seen a Violin of his make dated from there 1658. Workmanship a little rough, good varnish, Amati outline.
TESTORE, Carlo Giuseppe, Milan, about 1690 to 1720. The form resembles that of Guarneri. The wood is often plain in figure.
TESTORE, Carlo Antonio, Milan, about 1730 to 1764. Son of Giuseppe. Copied Guarneri and Amati. These instruments are bold and well made; their tone is excellent; wood often plain in figure.
TESTORE, Giovanni, son of Carlo Antonio.
TESTORE, Paolo Antonio, Milan, about 1740. Brother of Carlo Antonio. Copied Guarneri. The varnish is mostly yellow; frequently unpurfled.
TIEFFENBRUCKER, Leonardo, Padua, 1587. Lute-maker.
TODINI, Michele, seventeenth century, a native of Saluzzo, lived for many years at Rome. Todini was the inventor and maker of a great number of musical contrivances, in which clockwork played an important part. He occupied himself with this manufacture for several years, and turned his house into a kind of musical museum. He published in 1676 a pamphlet describing its contents. His name is associated with our subject in having adopted a new mode of stringing the Violono, or Double-Bass, by using four strings, and playing himself upon the instrument at oratorio performances in Rome. I have mentioned in Section I. that the Violono was originally used with several strings—five, six, or seven—and with frets. Todini is therefore credited with having introduced the method of stringing the Double Bass which led to the conversion of the old Violonos into Double-Basses fitted for modern requirements.
TONONI, Carlo, Bologna. At the exhibition at Milan in 1881, an inlaid Kit, of beautiful workmanship, was exhibited of this maker.
Carolo Tunonus fecit Bononiae
in Platea Castælionis Anno Domini 1698.
Carolus Tononi Bonon fecit Venetiis
sub Titulo S. Cecilæ Anno 1739.
TONONI, Carlo Antonio, Venice, born at Bologna, probably a son of the above. The model varies very much; those of the flat pattern are excellent instruments. They are large, and beautifully made. The varnish, though inferior to that of Santo Serafino, is similar. These Violins are branded above the tail-pin. His instruments date from about 1716.
TONONI, Giovanni, about 1700. Similar characteristics.
TONONI, Felice, Bologna.
TONONI, Guido, Bologna.
TOPPANI, Angelo de, Rome, about 1740. Scarce; workmanship resembles that of Tecchler.