Books › Old violins and violin lore, 1900 › scan 50
Scan 50
Old violins and violin lore, 1900
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLINS AT CREMONA
3with rounded bellies, powerful Dukes and piercing Stainers, which, according to the orthodox theory, had no business to sound as loud as they did. It is well known that in both these Amati makers the late Cremona flat curve is conspicuous by its absence; and whilst I do not for a moment deny that the flatness of the Stradivari model is preferable, I think the superiority of the late Cremona tone may be due to a good many other things beside that. It will always be a question whether the man who makes possible the last perfection of an art or the man who actually achieves it is really the greater genius. Pietro Perugino or Raffaello in painting; Chaucer or Shakespeare in literature; Handel or Beethoven in music; Gasparo and Maggini or Stradivari in violin-making; but popular opinion generally plucks the blossom without troubling itself much about the roots, and the prices fetched by the finest Strad and the finest Gasparo, or even Nicolo Amati, practically settle the question as regards the violin-makers. £400 is an unusual price for a fine Nicolo (£250 is nearer the mark, 1898); £1000 is not an uncommon figure for a good Strad, and his finest specimens command £2000 (1898).
5Nicolo, the great son of Geronimo, was born in 1596, and died close upon the seventeen hundreds, in 1684. Nicolo was quite aware that he resumed in himself the fine qualities of his distinguished family and improved upon them. It is true he did not trouble himself much with his grandfather Andrea, whom he probably regarded as a worthy old gentleman
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