CAPPA, Goffredo.—Saluzzo; born 1647, died August, 1717. It is important to note the dates of birth and death, as in most books on the violin these appear as having occurred fully a century too early. Cappa’s name and work have been the subject of almost wholesale fraud, forgery, and misrepresentation. His own genuine labels are very rarely seen, and the frequent appearance of Amati tickets in his instruments gives some colour to the theory, propounded in Hill’s work on Stradivari, that he himself inserted them. Whatever may be the truth, the resemblance to Amati in his smaller pattern violins is very marked, both in form and choice of material. The varnish also is of similar quality and colour. The sound-holes, which are much more slanting than in Amati fiddles, at once betray the maker to the experienced eye; and the heads are quite unlike the type associated with the Amati name. The violins of larger build are rare, and those seen by the writer have differed so materially in form and build from those just described that they might easily be taken to be the work of another hand. Violoncellos of good form and style exist, and generally command high prices. Other makers of the name and of very doubtful existence are mentioned by different writers.
CARCASSI.—A Florentine family of makers of the eighteenth century, numbering about half a dozen members. Of these the principal workmen were Lorenzo and Tomaso, who worked both independently and in partnership from about 1740 onwards. The pattern belongs chiefly to the school of Amati, though no very close resemblance exists. Work in some cases well finished, arching fairly high, pretty wood, and varnish of good colour and texture. The name is one of those which have been freely used by forgers, and a number of spurious examples are to be met with.
CARTER, John.—London; about 1790. Worked on his own account in Wych Street, but was chiefly employed by Betts.
CASINI, Antonio.—Modena. Seventeenth century, to about 1690.
CASTAGNERI, Andrea.—Paris. Worked to about 1750. He was of Italian extraction, and his genuine violins are Italian in style. Flat arching. Outline of Stradivari type. Tone generally powerful. An earlier maker of the name is said to have been his father, and to have worked in Paris.
CASTELLO, Paolo.—Genoa; latter half of eighteenth century. Well built violins of good form and tone. Middle bouts sometimes appear rather narrow.
CAUSSIN, François.—Neufchâteau. Also spelt Coussin. Worked between about 1845-81. Was a very clever imitator of old Italian work and varnish, and his instruments have frequently been sold as originals. Pattern varies.
CELONIATI, Gian. Francesco.—Turin; circa 1730-50. The work somewhat resembles that of Cappa. Outline generally of Amati character. Varnish clear and of yellow or yellow-brown colour. Instruments generally well finished, and the tone of good quality.
CERIN, Marc Antonio.—Venice; about 1790.
CERUTI.—Cremona; eighteenth and nineteenth centuries. A family well known to modern players. Giovanni Battista, the earliest of the name, worked with Storioni, and succeeded to his business, dying somewhere between 1817 and 1820. Made a large number of instruments of varying patterns, in some of which the characteristics of more than one of the classic makers are combined. The wood of the backs and sides is often of native growth and small figure, and the varnish varies both in colour and quality. Tone frequently excellent. He used a label with an ornamental border, and containing a monogram within a circle. His son Joseph died in Mantua in 1860 and was a clever workman. He worked with his father, whose label has been found in his earlier productions. A younger son, Enrico, died in 1883. Instruments well made and of varying form. He obtained exhibition medals for some of his work.