Books › Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864 › scan 74
Scan 74
Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864
8 lines. Read by computer on 3 September 2026. Printed page 52. See the scan on archive.org.
1and guitars—all these instruments, which were used in their public and private concerts (for, indeed, they had no others)—all these, we repeat, had but little power. What was demanded of a maker at that period, was, that his instruments should possess a sweet and mellow tone. Now, in justice to the head of the Amati family, it must be admitted that his violins, viols, and basses leave nothing to desire in this respect.
3Andrew Amati made many instruments; but time has impaired and accidents have destroyed a great number of them. Before the first French revolution (1789), there existed among the valuable properties belonging to the Chapel Royal, a collection of violins and viols which had been made by Andrew Amati by order of Charles the Ninth, an enthusiastic amateur of music. After the days of the 5th and 6th of October, 1790, all these instruments disappeared from Versailles. Cartier (see this name in the Biographie universelle des Musiciens) discovered two of the violins many years after these events. Their sonority lacked brilliance; but the quality of their tone was charming, and the workmanship remarkable for its finish.
5The violins of Andrew Amati are of small and medium pattern, and their swell or arching is very decided towards the centre. The wood of the back is cut on the layers (sur couche); the bellies, of a good quality, are sufficiently thick; and the varnish is substantial, and of a light brown colour. As before observed, their intensity of sound is relative to the period when they were made.
7The date of Andrew Amati's death is unknown; but
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