Above left, a right-handed horn by  Ferdnando Roth and at right a similar one by  Daniel Meinl.  The design of these horns is credited to horn virtuoso Antonio Tosoroni of Florence and Joesf Riedl of Vienna dating to ca. 1842. It was featured in Tosoroni's Metodo per corno a tre pistoni (Method for horn with three valves, 1846) and the Metodo teorico-pratico per il corno a macchina da potersi insegnare anche a quelli che non suonano il detto strumento (Theoretical and practical method for the valved horn that  can teach even those who do not play on that instrument, 1855) by Francesco Paoli.  The photos below show that this model Corno a Macchina was very popular well into the twentieth century in northern Italy from Bergamo to Tolentino.

Corpo Musicale Nese Di Alzono, Lombardo (1911) 

Corpo Musicale Parrocchiale Casazza, Bergamo  (1925)

Corpo Musicale dei SS. Gervasio e Protasio, Bariano (1921). This band features an alto version of the horn and the right-handed Roth-Bottali model horn.

Corpo Filarmonico di Tolentino

In 1901, Corpo Filarmonico, (shown at right) directed by Maestro Umberto Nicoletti, took the name of Giuseppe Verdi, beginning the “golden age” of the band.  It was followed by an enthusiastic public and performed operatc pieces in the square every Saturday during the summer, and had great success in other cities where it was called upon to perform. In 1904 the Corpo Filarmonico Tolentino placed fourth in the National Competition in Rome, and also earned the endless applause of the public in the  Piazza del Popolo.
Below the band is shown as it appeared in 1905. That year the city of Tolentino hosted Pietro Mascaagni for a few days for a performance of "Amica" at the Teatro Vaccaj.  On that occasion the Corpo Filarmonico performed before the composer receiving his warm praise.