Scan 36
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
22 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1AMATI (Niccolo) — Cremona 1596-1684. Fifth son and pupil of Hieronymus I., he is the most distinguished of the family. A maker of the greatest skill whose first efforts have much resemblance to his father's work, the pattern being small. It was only in 1645 or thereabouts that he created his large model, to which he owes his reputation of a great master maker. The general outline is full of grace, but the corners, usually a little too accented, detract from its charm. Model arched, mainly in the centre. The wood is very beautiful and the golden yellow varnish unequalled. Niccolo Amati was the master of Stradivarius. No 122. Pl. XVI.
3AMATI (Hieronymus II) — Cremona 1649-1740. Niccolo's third son and his successor. His work is little known and although fine at times, it is inferior to that of his father. His model is large and rather flat. The varnish is of inferior quality and the sound holes are carelessly cut. No 3.
5AMBROSI (Pietro) — Rome and Brescia circa 1712-1750. Good work and finish. Stradivarius model.
7AMBROSIO (Antonio) — Naples circa 1800. Work of no great value. More known for his mandolines.
9ANDREA (Pietro) — Venice middle of xviiith century. High model. Little known.
11ANDRES (Dominique) — Bologna 1740. Little known.
13ANSELMI (Pietro) — Cremona, Florence and Venice circa 1720. Nice instruments, Amati or Ruggieri style. Gold yellow varnish.
15ANTEGNATI (Giov.-Francesco) — Brescia circa 1530. Lutes.
17ANTONIAZZI (Gaetano) — Cremona 1823-1897. Ordinary work but not valueless. Varnish of good quality.
19ANTONIAZZI (Gregorio) — Colle circa 1740.
21ANTONIAZZI (Romeo) — Cremona, end of xixth century. Son and pupil of Gaetano Antoniazzi. Well made and excellent copies
The computer misreads some letters and numbers. Where a name matters to you, read the scan.