Scan 51
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
4 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1of this firm's wood of a nice open grain, but it is usually close. Many of their two-piece backs are beautifully matched, and have a clearly defined figure. The sound holes are graceful, and well placed, and have a slightly peculiar look which has given rise to certain extremely odd effects in the imitations. The inner side of each sound hole being, to a certain extent, on the rise of the long and graceful arch, these have a slightly misleading appearance given to them, as if they were in fact, just a little knockkneed, so to speak. The result of this misapprehension is that in so cutting them in many of even the best imitations, the grossly exaggerated arch of the copies gives to these sound holes quite a ludicrous appearance in the eyes of a connoisseur, although it might not be so easily observed by anyone not acquainted with the originals. Some of their work, like that of Andreas Amati, was painted and gilded, and otherwise decorated—or abused—as many might not think it unseemly to say. The tone of the A. and H. Amati violins is generally exceedingly rich and sweet, although it is not usually very powerful.
3Amati, Nicolas, Cremona. This maker was the great artist of the family. He was a son of the Hieronymus Amati previously mentioned, by his second wife, Madonna Laura Lazzarini, who died of the plague some six days before her husband, on the 27th October, 1630. Nicolas was the fifth child of the second union, his brothers and sisters by the two marriages numbering in all thirteen. He was born on the 3rd December, 1596, and died on the 12th April, 1684, being buried in the Carmelite Church of Saint Imerio. His work is very
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