“Angelus de Toppanis fecit Romae Anno Dñi 1736”

• Maker and School: The inscription attributes the instrument to the workshop of the renowned Italian luthier Angelo de Toppani. The violin fully conforms to the canons of the Roman violin-making school of the first half of the 18th century and was crafted under the significant influence of the works of the school’s leader, David Tecchler.
• Label Characteristics: The first three digits of the year (“173…”) are printed typographically on the paper, while the final digit “6” was added by hand using period-correct ink, which was a standard practice among Italian masters upon completing an instrument. The paper shows natural signs of age-darkening, dust, and rosin patina.

• Original Baroque Scroll: The violin head features the massive, deep manual carving characteristic of the Baroque period. A professional historical modernization has been performed — a meticulous neck graft onto a new, modern neck made of highly flamed maple.
• Architecture and Size: The instrument features a noticeably enlarged body (Large pattern) typical of Italian masters of that era, along with a high Baroque arching of the plates. This creates a large air chamber inside the body, providing exceptional resonance.
• Materials and Fittings: The top plate is made of choice, fine-grained resonant spruce; the back plate and ribs feature highly flamed maple with a pronounced wavy texture. The upper nut is fitted with an authentic ivory insert to protect the wood from being cut by the steel E-string. The varnish is oil-based, of a deep golden-brown hue with a magnificent aged patina.

1. There is an old, well-healed crack (fracture) on the top plate running from the left f-hole down to the tailpiece. This damage was expertly repaired in the past; the wood is currently completely stable, the seam is dry, and this nuance in no way affects the structural integrity or acoustic properties of the instrument.
2. The body shows natural signs of long-term use, specifically a worn edge (purfling) on the left side near the chinrest area, which is entirely normal for an instrument of this venerable age and testifies to its active musical life.