Books › Old violins and violin lore, 1900 › scan 52
Scan 52
Old violins and violin lore, 1900
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLINS AT CREMONA
3Nicolo and signed the register; and by the side of Andrea Guarnerius sat a young man named Antonio Stradivari, or, as we usually call him, Stradiuarius.
5Most of the Nicolo violins before 1645 are of the smaller pattern, but after this date down to 1684, the year of his death, the eye of a connoisseur will notice an increase in size, a finish in workmanship, and a more delicate purflé (never double). The model is still somewhat high in back and belly, but with an increasing tendency to get flatter; the side-grooving is less pronounced, whilst the corners are noticeably drawn out into finer points full of character, arresting the eye, lightening as it were the model, and giving the whole physiognomy of the instrument a grace and piquancy hitherto unattempted.
7The sound-holes of Nicolo are pointed and somewhat narrow; the scroll is cut a little too flat for the later taste, but passes as the century wanes into a somewhat larger and bolder style. The wood seems to be chosen almost as much for its mottled or fine-grained beauty as for its acoustical properties.
9The early Nicolo varnish is of brownish Brescian type, but later on it glows with the rich amber tints of Cremona, and those dragon-blood stains which give to some Strads and Josephs such warm and generous tints like the sunlit dashes of mellow red on a ripe nectarine.
11Mr. Somers Cocks (1898) has a most glorious Amati violoncello, "one of the finest ever seen or heard," so said to me a distinguished connoisseur. Mr. Marshall
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