\u30ed\u30ec\u30f3\u30c4\u30a9\u30fb\u30f4\u30a7\u30f3\u30bf\u30d1\u30fc\u30cd<\/p>\n\n\n\n
Worked at Naples, 1790-1843. Early productions sometimes follow Amati traits. Best specimens belong to the Gagliano style, though the flatness and breadth of upper part are occasionally exaggerated. Also copied the Stradivarian model less successfully. Some of the scrolls may be criticised for severity of pose. Sound-holes interestingly drawn. Purfling variable, sometimes careless as well as very steady. Went deeply into the internal organisation, where everything seems to have been critically analysed. Thicknesses of plates discriminately attended to, and generally unsparing in the use of material. One and two-piece backs always prettily marked. Belly wood of narrow fibre, occasionally of one piece. Orange yellow shade of varnish, with a slight brownish tint, of fine elasticity and consistency; also a few examples with a more reddish varnish. Tonal quality responsively brilliant, not of great volume but delightfully penetrative and fascinatingly clear. This applies to the Gagliano and Stradivarian types. Amati models much less valuable on account of smallness of tone though mellow. Several of his finest productions sold as genuine Gaglianos. Best period, 1800-1830. Later years were forced into the calculating commercial race and the struggle fettered his genius. Built a few fine toned \u2019cellos highly prized by connoisseurs and players. Modern makers would unquestionably benefit by studiously examining the splendid proportions. Some instruments ante-dated fifty years. \u00a3300, 1960.<\/p>\n\n\n\n
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Lorenzo Ventapane.
\nFabbricante di Strumenti armonici
\nStrada Donnaregina No. 35<\/p>\n\n\n\n
Napoli 1809<\/p>\n\n\n\n
Lorenzo Ventapane<\/p>\n\n\n\n
Napoli 1760<\/p>\n\n\n\n
(possibly not genuine)<\/p>\n\n\n\n
Lorenzo Ventapane
\nFabbricante di Strumenti da Corde<\/p>\n\n\n\n
Abita Calata Borgo di Loreto No 23<\/p>\n","protected":false},"excerpt":{"rendered":"
\u30ed\u30ec\u30f3\u30c4\u30a9\u30fb\u30f4\u30a7\u30f3\u30bf\u30d1\u30fc\u30cd Worked at N…<\/p>\n","protected":false},"author":1,"featured_media":2183,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[13],"tags":[],"class_list":["post-1831","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-makers"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts\/1831","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/comments?post=1831"}],"version-history":[{"count":0,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts\/1831\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/media?parent=1831"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/categories?post=1831"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/tags?post=1831"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}