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.

GRAGNANI, Antonio, Leghorn.

Antonius Gragnani, fecit
Liburni, anno 1780.

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

[Illustration: _Plate VII_. STRADIVARI. 1716. (LE MESSIE.) STRADIVARI.
1709. (LA PUCELLE.) STRADIVARI. 1686. STRDIVARI. 1710. GIUSEPPE
GUARNERI. 1735. GIUSEPPE GUARNERI. Violon du Diable. NICCOLO AMATI.]

GRANCINO, Paolo, Milan, 1665-92. Pupil of Niccolo 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
Niccolo 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.

GRANCINO, Giovanni, Milan, 1694-1720.

Giovan Grancino in Contrada
larga di Milano al segno
della Corona 16--

Son of Paolo. The workmanship is smooth, and the form good. The
material of his instruments is of a better nature than that used by
his father. The model is slightly flatter. The tone is powerful.
Varnish mostly yellow.

GRANCINO, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned
above. Similar characteristics.

GRANCINO, Francesco. Son of Giovanni Battista. Here we