French Violin Makers, German Violin Makers, English Violin Makers, Antonio Stradivari

Italian Violin Makers

Ruggeri in form. The scroll is weak, and ill-proportioned.
Camillus Camilli Fecit Mantua 17—

CAMILLI, Camillo, 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.
IOFREDVS CAPPA FECIT
SALVTIIS ANNO 16—

CAPPA, Gioffredo, Cremona, 1644-1717. 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.

Andrea Castagneri, nell Palazzo
di Sæssone, Pariggi, 17—

CASTAGNERI, Andrea, Paris, about 1735. 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.