Scan 35
Cremona: an account of the Italian violin-makers and their instruments, 1894
16 lines. Read by computer on 3 September 2026. Printed page 13. See the scan on archive.org.
1use the same inscriptions and the same labels. Such variations are by no means proof of the inauthenticity of such instruments. For instance, these are genuine labels:—
3(1) Gasparo di Salo fecit Bresciae Anno 16—
4 and also—
5(2) Caspar Dasalo Fecit Bresciae Anno 16—
7Nicolas Amati has three kinds of labels:—
9(1) Nicolaus Amati Cremonen, Hieronymi filius Antonii nepos fecit Anno 16—
10(2) Nicolaus Amatus Cremonen Hieronymi filius antonii nepos fecit 16—
11(3) Nicholas Amatus Cremonen Hieronymi Fil. ac Antonij Nepos fecit 16—
13It must also be assumed that Nicolas Amati, who attained the age of eighty-eight years, did not always use the first series of labels which he had printed. The labels are partly in Latin and partly in Italian, which made the violin-makers often come into forcible conflict with orthography. Consequently, as the inscriptions in the sixth section of this book are given exactly as they are in the originals, no one but the violin-makers must be held responsible for the orthography.
15At one time the opinion prevailed generally that the bellies contained too much wood, and were too thick. It was easy to remove this mistake—some wood was scooped out of the inner side and the bellies made thinner. For this system "ausschachteln" was the technical expression. The instruments now sounded more clearly, but they lost their power and fulness of tone. By the carrying out of this unfortunate idea many a splendid instrument has been ruined for ever.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.