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・ Leopoldo Conti
・ Leopoldo Costoli
・ Leopoldo de Bulhões
・ Leopoldo de Gregorio, Marquis of Esquilache
・ Leopoldo de' Medici
・ Leopoldo Eleuteri
・ Leopoldo Elia
・ Leopoldo Faretra
・ Leopoldo Federico
・ Leopoldo Felíz Severa
・ Leopoldo Fernández
・ Leopoldo Fernández (Tres Patines)
・ Leopoldo Figueroa
・ Leopoldo Flores
・ Leopoldo Franchetti
Leopoldo Franciolini
・ Leopoldo Fregoli
・ Leopoldo Galtieri
・ Leopoldo García-Colín
・ Leopoldo Girelli
・ Leopoldo Gout
・ Leopoldo Jaucian
・ Leopoldo Jiménez
・ Leopoldo Laborde
・ Leopoldo Lugones
・ Leopoldo Luque
・ Leopoldo López
・ Leopoldo López Escobar
・ Leopoldo Marco Antonio Caldani
・ Leopoldo Marechal


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Leopoldo Franciolini : ウィキペディア英語版
Leopoldo Franciolini
Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments. To this day his work is a barrier to the scholarly study of instruments of the past.
==Career==

Little is known about Franciolini's life. According to census records he was born 1 March 1844, was married in 1879, and had six children of whom one died before reaching adulthood.〔Ripin p. xii〕 The census listed his occupation as organist as well as antiquary.〔 It is possible that he founded his workshop in 1879, a date listed on his catalogs. The workshop was at various locations in Florence; during part of its existence his business was housed in more than one location.
Franciolini repeatedly sold fake instruments or instruments that were modified in his workshop to make them more appealing to naïve buyers. For instance, he added various forms of decoration, or even entire extra keyboards to harpsichords. He also attached dates to instruments to make them seem older and gave them false signatures of builders. His modifications damaged the musical value of the instruments and especially their scholarly value, making them less useful in service of modern builders, who rely on historical instruments for their design.〔Kottick (2003:405)〕
As Ripin notes, it will not suffice for modern scholars or buyers simply to ignore all instruments that were once in Franciolini's possession, because a great number of valuable authentic instruments passed through his shop as well. These were sometimes modified to look more like the fraudulent instruments, thus giving the latter more credibility.〔Ripin, p. ix〕

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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