Collection "Great Italian Violinmaking" inside San Vidal Church
From “Il Museo della Musica” by Artemio Versari
He learned from his father Domenico the art of organ making and violin making. But his talent blossomed in Venice. Starting from an elongated Stradivari model, he created his own. Full arching, but not high, very accentuated edgings of the belly and bevelling of the scrolls, and scooped f-hole wings are all clear signs of his clean, highly individual workmanship, for which he used the best materials. Often, especially in the early years, he used five-layered purflings instead of three. Aside from a few experiments with varnishes too, from yellowish orange to red, he proved he had a good hand. Tonally his instruments are highly appreciated.
From “La grande Liuteria Italiana” by Artemio Versari
Before crossing the Po River to reach Emilia Romagna, the two most representative makers of Veneto should be noted. Eugenio and Giulio Degani. Son and student of Domenico, Eugenio Degani was born in Merlara di Montagnana (Padua) in 1842. He began in the field of pipe organs, but in 1867 he had already opened his first workshop in Montagnana. After his father's death, he moved to Venice, where he lived until his death in 1901. He is considered the founder of the modern Venetian school as he trained makers such as Giovanni Schwarz, Ettore Siega, Gerolamo Benozzati, as well as his son Giulio. His production was not abundant and mostly sold abroad. He received recognition in exhibition in Treviso in 1872, Naples and Milan in 1881, Turin in 1884, Paris in 1885, Arezzo and Bologna in 1888, and London and Milan in 1894. In his early years in Montagnana, he mainly made copies and new instruments using rather large models. In his Venetian period, however, he made instruments with more standard dimensions.