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Scan 12
A dictionary of violin makers, 1896
28 lines. Read by computer on 3 September 2026. Printed page 4. See the scan on archive.org.
11703-23, were supposed to have been made either by Sneider of Pavia or G. B. Rogeri of Brescia; several instruments dated 1729 are known. In an old Amati violin repaired by Bros. Mantegazza of Milan, in 1806, was found written at the base of the neck, "Revisto e corretto da me Girolamo, figlio di Niccolò Amati, Cremona, 1710." Girolamo married Angiola Carettoni, 1678; his son Giuseppe, born 1684, did not become a violin maker.
3Amati, Guiseppe. Said to have lived in Bologna first part of 17th century, he used oil varnish for his violins and basses, the tone was clear and sweet.
5Amati, Nicola, younger brother of Andrea Amati, is said to have worked with him, 1568-80, then by himself till 1586. His basses are best known, slightly arched back and front, with oil varnish, the tone excellent, only the fourth string often weak owing to the instrument being too narrow and short in proportion to its thickness. Two basses are dated respectively 1568 and 1586.
7Amati, Nicola, son of Girolamo Amati, b. Dec. 3, 1596; d. April 12, 1684, aged 88, according to the registers of Cremona Cathedral. Is the most celebrated maker of the Amati family. His instruments resemble those of his father till about 1645, then steadily improve. The pattern is graceful, the thicknesses and arching accurately determined, the varnish a deep, rich colour, the tone clear, sweet and powerful. The "Grand Amati" violins are scarce and are worth £300 to £400; they are made on a large pattern, of beautiful wood, the back of maple, and the belly generally of deal, of which the thickness diminishes from the centre to the sides (this, when exaggerated, makes the second string nasal in tone); the arching drops somewhat suddenly from the bridge to the edges, with a slight groove where the purfling comes, this is said to give the noted sweetness of tone; the sound-holes are beautifully cut, the varnish is of fine quality and varies from amber to red colour. An instrument with double purfling is a remarkable piece of work. He made numbers of tenors and violoncellos, several "three-quarter" violins, and perhaps three or four double-basses. Many of the small violins still exist, one dated 1668 shows some of his finest work, and the tone is wonderfully sweet and clear. Labels: "Nicolaus Amatus Cremonae Hieronymus Fil., ac Antonius nepos fecit, 1630"; "Nicolaus Amatus Cremonensis faciebat, anno 1650" (in a large bass-viol); "Nicolaus Amatus Cremonae Hieronymus et Antonius nepos, fecit anno 1664." Violins are known dated 1647, 1655, 1661, and 1662, and two violoncellos dated 1669 and 1670 respectively. Among Nicola's celebrated pupils were the Guarneri, the Ruggeri of Cremona, Montagnana of Venice, the Rogeri and Tononi of Bologna, and, greatest of all, Antonio Stradivari. He married May 23, 1645, Lucrezia Pagliari (d. Nov. 25, 1703); Andrea Guarneri, his pupil, was present at the ceremony and signed the register. Of nine children, only one, Girolamo, became a violin maker.
9Ambrogi, Pietro. Worked first in Cremona, then in Rome. Label: "Petrus Ambrogi, Crem. fecit Romae, an. 17—."
11Ambrosi, Pietro. A maker in Brescia in 1712. His instruments are inferior, and the varnish is of poor quality. Label: "Petrus Ambrosi, fecit Brixiae, 1712."
13Ambrosio, Antonio d'. A maker in Naples about 1820.
15Amelot. A maker in Lorient (France) about 1812-29. His instruments are poor, the varnish is yellow colour. Label: "Amelot, luthier, Lorient, 1829."
17Anciaume. "Bernard Anciaume" was found branded on a violin.
19Andreas, Johannes. A maker in Verona about 1500-15. In the Museum Modena of Vienna is a lira da braccio with the written label: "Joannes Andreas, Veronesis, à di 12 Auosto, 1511."
21Angelis. See "Vitus."
23Anselmo, Pietro. Worked in Cremona (about 1700) and Venice. His violins are made on a small pattern, slightly arched, with golden-coloured varnish of rich quality. His violoncellos are also well made.
25Antegnati, Gian Francesco. Is mentioned by Lanfranco in his work, "Scintille ossia regole di musica che mostrano a leggere il canto fermo" (Brescia, Ludovicus Britannicus, 1533). He is there spoken of as one of the earliest lute makers in Brescia.
27Antoniazzi, Gregorio. A maker in Colle (Bergamo) in 1738. Label: "Gregorio Antoniazzi, in Colle, 1738."
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