ged.

Vincenzo Panormo was the slave of many, manufacturing Double Basses
and other instruments from the material selected and purchased by his
temporary employer, ofttimes compelled to carry out some crotchet of
the patron much against his own wishes. The wood thus forced upon him
was often of the worst description; and, in addition, he was
frequently obliged to complete his work within a given time.
Instruments manufactured under such conditions can scarcely, it may be
supposed, add to their maker's reputation. We cannot but regret that
he should have been obliged to waste himself on such poor materials.
Fortunately, however, in some cases he found time to exercise his
skilful powers to their full extent, and has thus bequeathed to us
some of the finest specimens of the copyist's art.

His workmanship is of a lighter description than that of Lupot, and is
therefore more graceful. The sound-hole is admirably cut, and the
scroll also well carved.

PANSANI, Antonio, Rome, 1735.

PASTA, Antonio, Brescia, 1700-1730. Good work. Model a little high;
varnish of soft quality.

PASTA, Domenico, Brescia, about 1700.

PAZZINI, Gaetano, Florence, about 1630, pupil of Maggini.

PICINO, Padua, 1712. High model; dark varnish.

PLATNER, Michel, Rome, about 1750. The instruments of this maker
resemble those of Tecchler, both in workmanship and varnish.

Michael Platner fecit Romae anno 17--

POLLUSCA, Antonio, Rome, about 1751.

POSTIGLIONE, Vincenzo, Naples, contemporary.

PRESSENDA, Giovanni Francesco, Turin.

Joannes Franciscus Pressenda
q. Raphael fecit Taurini
Anno Domini 1826.

Born in the year 1777. The Violins bearing the label of Pressenda are
excellently made, and in many instances the varnish is superior to
that met with on any Violins dated from Italy in the present century.
Pressenda appears to have interested himself to some extent in the
matter of varnish. In a little book published in Italy[13] there is
the following passage: "A pale reflection of the old art
(Violin-making) is found in Piedmont, with Guadagnini." The writer
continues with the following reference to Pressenda of Turin, who, he
remarks, was in his youth at Cremona, "where he collected the
traditions of the school as regards modelling and the preparation of
the varnish, which is the chief merit of his Violins." It is almost
needless to remark that traditional information is frequently
unsatisfactory, but particularly so