Italy System-Bologna School (Bologna School)

Bologna, unlike other school systems with a complete system of Violin production, the relationship between the teachers and the students were not related and no rules required in violin production, the figure was fatter comparing with others, the curvature was irregular. After 1690, Giovanni. Tonoli (ca. 1640-1713) developed a more regular and systematic system of piano models and it was brought into Venice. Giovanni passed to his son, Carlo. Tonoli (ca. 1675-1730) , and then passed to future generations, Carlo. Antonio. Giovanni (1721-1768) . 1720-1730 years later, Giovanni. Tononi left Bologna, Don. Niccolò. Amati (fc. 1725-ca. 1750) , Giovanni. Gui Da Tusi (1687-ca. 1760) followed by the time of period ,a wider radian was presented and finished products were not very precise (left and right sides is not symmetrical) .

Giovanni Tonini passed his craft on to his son Carlo Tononi (ca. 1675-1730) and later his grandson Carlo Antonio Giovanni (1721-1768) . After 1730, Giovanni Tononi left Dom Nicolo Amati (fca.1725-ca.1750) and not long after Giovanni Floreno Guidanti (1687-ca. 1760) made a name for himself as an outstanding luthier. Violins during this time had wider arches and the finished products were often not very refined, with the two sides not completely symmetrical.

Between the years 1780 and 1850, there appeared to be a gap in the Bologna school of violin making. Up to the 1850s, Raffale Fiorini (1828-1898) led Bologna into the modern violin making industry, bringing the method of external mold to Bologna’s luthier craft. By the 1920s, the Bologna school began to flourish and held a special place in Italy’s world of violin making. Both the exterior and timbre of the Bologna violins were highly praised. Luthiers who followed the model of the Bologna school later spread across various regions of Italy and also thrived prosperously.