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The oval-shaped soundhole of the guitar Aguado is playing in his famous lithograph is clearly a Laprvotte design, while another drawing looks like an early Guadagnini guitar.

Jimmy Westbrook's book shows actual photos of Aguado's later guitars: these are nearly as large as modern concert guitars and are surprising to see in a French design.

I asked musicologist Matanya Ophee, and he is also not aware of any sources which reveal Carcassi's guitar, other than the following: "The only reference to this I know, was an article in Cadenza magazine in the late 1890s, where an American claims to have bought a guitar from Carcassi and bring it to the US.

There is a fairly good description of the instrument, but no name attached to it." Prior to arriving in Paris, Carcassi undoubtedly played Italian guitars similar to Fabricatore.

My best guess is that Giuliani switched from Fabricatore to Stauffer while in Vienna.

Depictions of Huerta from his own time clearly show Huerta playing a Panormo guitar.

Legnani also played an 8-string Stauffer and wrote compositions (notably op 201,202,203) for it. Prior to arriving in Paris, Legnani undoubtedly played Italian guitars similar to Fabricatore. by Reis, mention Legnani on the label, but it is not clear whether this was a collaboration, or simply copying the Stauffer style.

Legnani also collaborated with Ries and possibly others which also have the Legnani label.

Fernando Sor mentions several builders in his "Method for the Spanish Guitar" English Translation of 1836, published by Tecla Editions: "Mr. Panormo made some guitars under my direction, as well as Mr. In the goodness of the body or box, the Neapolitan guitars in general long surpassed, in my opinion, those of France and Germany; but that is not the case at present, and if I wanted an instrument, I would procure it from M. Lacote, a French maker, the only person who, besides his talents, has proved to me that he possesses the quality of not being inflexible to reasoning...

The guitars which I have always given the preference are those of Alonzo of Madrid, Pages and Benediz of Cadiz, Joseph and Manuel Martinez of Malaga, or Rada, successor and scholar of the latter, and those of M. I do not say that others do not exist; but never having tried them, I cannot decide on that of which I have no knowledge." More links to 19th century builder information can be found on this page: More Information and Links Here is a chart showing what instruments were played by the most famous guitar composers of the early 19th century.

This information is based on some surviving written accounts, luthier information, surviving ownership and instruments.

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