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

Italian Violin Makers

Venetiis 1705.

GOBETTI, Francesco (sometimes called Gobit), Venice, 1690-1715. 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.
Antonius Gragnani, fecit
Liburni, anno 1780.

GRAGNANI, Antonio, Leghorn. Usually branded his initials below the tail-pin. Varnish somewhat hard; ordinary wood. The tone is often of good quality.

GRANCINO, Paolo, Milan, 1665-92. Pupil of Niccolò 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 Niccolò 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.
Giovan Grancino in Contrada