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Scan 13
A dictionary of violin makers
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1with a slight tinge of yellow, a colour probably copied from that of the old lutes which Mace, in his "Musick's Monument," says was of a "dark-black-reddish colour . . . the best authors did use to lay on that colour." He gradually improved it, giving it more body, making it more transparent, of a reddish-yellow colour. A violoncello of full, rich tone, was dated 1572. Tenors and basses are rare, are on a large pattern, with beautifully finished work, and of sweet tone. The earliest date, 1546, was found in a violin believed to be by him, in the collection of Count Cozio de Salabue. It is said that it was originally a "rebec" with only three strings, but the father of Mantegazza altered it into an instrument of four strings, by changing the neck and scroll. A viola bastarda is dated 1551. There seems to be no evidence in support of the tradition that he made twenty-four violins, twelve large and twelve small pattern, six tenors and eight basses, elaborately decorated on the back with the royal arms, &c., and the motto "Pietate et Justitia," for Charles IX. of France, or that he went to Paris with them and finished working at some of them there. There is nothing on the instruments themselves to show that they were his work. Andrea was twice married and had two sons by his first wife, Antonio and Girolamo, both violin makers.
3Amati, Antonio, elder son of Andrea Amati, b. Cremona about 1560; was still living in 1648, according to a label found in a violin. Was in partnership with his brother Girolamo. His instruments date from 1589, and are generally small size; several violins dated from 1591 till 1619 were in a catalogue, published 1791, of the instruments of Albinoni of Milan. The pattern resembles that of his father, but is not so arched, the sound-holes retain the Brescian type, the work shows neat finish, the tone is sweet but not powerful.
5Amati, Girolamo, second son of Andrea Amati, b. about 1562; d. Nov. 2, 1630. Worked with his brother Antonio till 1628. The earliest reliable date in connection with them is 1577. They produced the first form of the instrument known as "Amatise." The pattern first followed, similar to that of Andrea, was more arched than that used later. Their instruments are few in number, but in good preservation, generally small size (the back often in one piece), of accurate proportions, slightly arched towards the middle, with strongly marked grooves at the sides; the scrolls vary, often richly worked, the corners and the purfling are carefully done, the edges just overlap the sides; the wood generally maple or deal; the varnish, deeper in colour on the earlier instruments (possibly owing to old age), is later of an orange colour, thinly laid on, and throws up the grain of the wood very distinctly. The tone is far more powerful than in Andrea's instruments. A violin signed by them and dated 1595, which belonged to Henri IV. of France, is of historical value. It is made on a large pattern, the oil varnish a brilliant amber colour, the purfling of tortoiseshell, and on the back are painted the royal arms of France and Navarre, &c. Labels: "Antonius et Hieronymus Fr. Amatus, Cremonen, Andreæ fil. F. 1590"; a similar one in a viola dated 1620: "Antonius et Hieronymus Amatus, Cremonen, Andreæ fil. F. 1592"; a similar one dated 1624. After 1624, Girolamo worked alone, making both large and small violins; the former were the finest instruments, much arched, with broad purfling, good scroll, and varnish yellow-brown colour; beautiful tone, but the fourth string was not equal to the others. Girolamo married first Ippolita Zucchinielli (d. 1583), then Laura Lazzarini on May 24, 1584; she had nine children, the fifth child being Nicola, who became the most celebrated maker in the family.
7Amati, Girolamo, third son and successor of Nicola Amati, b. Feb. 26, 1649; d. Feb. 21, 1740; buried in San Tommaso. His instruments are poor compared to those made by Nicola; he follows an inferior pattern, the sound-holes being straight and placed too close to each other. The instruments made on a large flat pattern are the best, the sound-holes being wider apart; but the varnish, though sometimes soft and transparent, is generally of bad quality. Labels: "Hieronimus Amatus, fecit Cremonæ, 1670"; "Hieronimus Amatus Cremonensis, fecit anno salutis, 1697"; "Hieronimus Amatus, Cremonen, Nicolai fil., 17—"; "Hieronimus Amatus, Cremonensis, an. 1700"; "Hieronimus Amati, figlio di Niccolò Amati, Cremona, 17—." Instruments with his label dated
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