Bow & Bridge Violin and bow makers, as the old books printed them

Books › An Encyclopedia of the Violin, 1925 › scan 35

Scan 35

An Encyclopedia of the Violin, 1925

36 lines. Read by computer on 3 September 2026. Printed page 11. See the scan on archive.org.

1cellent bow maker. His sons, Michael and Joseph, were also notable violin makers. The label used by Albanus is reproduced on Plate 17, and one of his instruments on Plate 18.
3Alberti, Ferdinando, Milan, 1737 to 1760.
4Alberto, Pietro, Rome 1578, still living in 1598.
5Aldred, ——, London, 1600.
6Aldrich, Jean Francois, Paris, b. Mirecourt 1765, d. 1843.
7Allard, Francois, Paris, 1776 to 1789.
8Alletsee, Paul, Munich, 1698 to 1738.
9Alvani, Paolo, Cremona, 1750 to 1755.
10Amati, Andrea, Cremona, b. about 1535, d. after 1611. The founder of a famous violin-making family, but unfortunately very few of his excellent instruments are still preserved. His violins were of a small pattern, fashioned from the best of woods, and varnished either a reddish black or a dark yellow. The name "Amati" has been sadly misused, being applied to any instrument resembling an Italian maker's model. Twenty-four violins made by him for Charles IX of France were destroyed in the French Revolution.
11Amati, Antonio, Cremona, b. between 1555 and 1560, d. after 1640.
12Amati, Hieronymus (Girolamo) I, Cremona, b. about 1556, d. 1630. Antonio was eldest son of Andrea Amati, and worked jointly with his brother Hieronymus, their beautiful instruments resembling the work of their father. The best instruments known are credited to the brother Hieronymus. The varnish of their earlier violins was dark cherry brown, later they made it orange in color. After the death of his brother, Hieronymus labeled his violins only with his own name, and they became famous not only in his own country but also in France and other European countries. The label used by Antonio and Hieronymus Amati is reproduced on Plate 11, and one of their instruments on Plate 14.
13Amati, Hieronymus (Girolamo) II, Cremona, b. 1649, d. 1740. The label used by Hieronymus is reproduced on Plate 11 and one of his instruments on Plate 6.
14Amati, Nicola, Cremona, b. 1596, d. 1684. Son and pupil of the talented Hieronymus Amati, and the greatest artisan of his family up to 1625. He followed his father's model exactly for years, but upon reaching the apex of his art, he designed his own model, which he named the "Grand Amati Model," and forthwith became the greatest violin maker of his time. The woods he used were carefully selected, and the varnish a golden red. All masters of the first part of the eighteenth century were his pupils. A collection of his violins, including one made in 1673, may be found in Vienna. The label used by Amati is reproduced on Plate 11, and one of his instruments on Plate 10.
16Ambrosi (Ambrogi), Pietro, Brescia, Rome, 1712 to 1748.
17Amelot, ——, Lorient (Frankreich), 1821 to 1842.
18Anselmo (Anselmi), Pietro, Florence, Venice, 1700 to 1750.
19Antegnati, Giov. Francesco, Brescia, 1535.
20Antoniazzi, Gaetano, Cremona, b. 1823, d. Milan, 1897.
21Antony, H., 1750 to 1780.
22Askey, Samuel, London, b. 1785, d. about 1840.
23Assalone, Gasparo (Gaspero) d', Pesaro and Rome.
24Aubry, Jacques, Paris, 1840.
25Audinot, Nicolas I, Mirecourt, 1742.
26Augiere, ——, Paris, 1830.
27Bachelier, Jean Gaspard, Paris, 1777 to 1789.
28Bachmann, Karl Ludwig, Berlin, b. 1748, d. 1809.
29Bachmann, Otto, Halberstadt, 1830 to 1835.
30Bagatella, Antonio, Padua, b. 1755, d. 1829.
31Bagatella, Pietro, Padua, 1712, still living in 1760.
32Bagnini, Orazio, Florence, 1661 to 1667.
33Baines, ——, London, 1780.
34Baker, John, Oxford, 1688 to 1720.
35Balestrieri, Tommaso, Mantua, 1720 to 1788. The opinions regarding Balestrieri differ greatly, some claiming he was a pupil of Pietro Guanerius while others claim he was a pupil of Stradivarius. This seems to be more correct, as Balestrieri took part in the last works of the great artist. His model is large, with a reddish-yellow or orange-yellow varnish, suggesting the Guadagnini instruments, and have improved, probably through age, greatly in beauty of tone. The label

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