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"GAGLIANO, JOSEPH - Second son of Niccolo (1). Born 1726. Died 1793. Broad Stradivarian outline, well conceived. Sometimes attractively arched and rather perfectly graduated, but occasionally he gave the deck part a kind of table-land on each side of the ) diapason. Workmanship never particularly impressive. Sound-holes not endowed with graceful features, being generally too large to be absolutely consonant with futh,ne, also too straight, with sweeping (unnecessarily exaggerated) upper and lower curves. Scroll insignificant, albeit ugly. Something altogether out of the order of the natural. Not wide enough for its length. Looks like an emaciated mast head, a head dropping towards the neck as though wishing to be hidden, which gives inartistic width at upper part of the volute, between the outer side Sound-holes cut with great accuracy, generally inclined to be more upright than those of an Amati or Stradivarius frequently placed a shade higher than customary with those makers, and often quite narrow. Scrolls vary considerably. some showing all the "eloquence" of artistry, others only passably graceful, even a few wholly insignificant in the matter of roundness, and one or two rather ugly round the boss. Sometimes used beech wood. His most pronounced and characteristic form is rather contracted from the front to the back of the upper part, emphasised by a seemingly long peg-box, and fairly broad right down the back of it upper part, though looking a bit cramped, nevertheless nicely rounded, but generally the scroll seems too small in proportion to the body of the instrument. The arrangement of the peg-holes shows that he had some consideration for the player. These holes being placed closer together than usual, and the rather wide peg-box all reduces the stress of irritability sometimes occasioned when hurriedly putting on strings. Top wood always of fine material. Backs generally of small figure maple. Sometimes used this pretty wood for the upper and middle ribs, whilst the lower rib (of one piece) is of plainer material. Master hand at purfling, some of which he inlaid with an ornamentation of diamond and lozenge-shaped pieces of ebony. Others have the well-known Maggini design beautifully set out on the back. Varnish mostly golden yellow of grand transparency, others of a brownish yellow hue, and some of a light and deep orange red shade, all of rich quality. Occasionally applied a harder varnish, a gummy gamboge resinous affair which undoubtedly gives that nasal quality of tone sometimes associated with his name. On the whole, the tone is rather full and rich, very responsive. very penetrating, reasonably brilliant, and of persuasive sweetness. Two and three thousand dollars quoted by American dealers (1930) is quite general in that country, European prices hover around £200. Cellos, flat modelled, show everything analogous to grandeur of design. Enriched with the rich quality varnish previously mentioned, and tonal quality particularly fine in clarity. More uniform dignity about the scrolls than those of the violins. Also produced three-quarter size cellos. Violas (quite a goodish number), do not in any degree weaken the enconium given to his work. Double-basses especially magnificent in appear- ance and tone. At Puttick's sale rooms in 1912, one gorgeous specimen was honoured with a £360 bid. Sometimes a portion of the peg-box is cut away to facilitate stringing..."
-William Henley, The Universal Dictionary of Violin and Bowmakers
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"GAGLIANO, ANTONIO (I) - Third son of Niccolo (I). Born 1728. Died 1805. Worked at Naples. Associated with brother Giuseppe (Joseph). Rather well-made violins of good contour. True offspring of a talented maker. Managed to appropriate not merely the form of father's instruments, but also their tonal spirit, that vitalising germ which kindred spirit alone can seize. Used a pretty reddish varnish. Handsomely figured maple, and nearly always of one piece. Also produced mandolines and guitars..."
-William Henley, The Universal Dictionary of Violin and Bowmakers