Scan 52
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
2 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1rare, although one would not readily suppose so from the number of instruments claiming to be original specimens from his hands. He somewhat flattened the model of his father's firm, and brought the arching nearer to the margins. Indeed I have seen late specimens of his work in which the contour of the arch might almost be described as quite rounded. In work again dating forty years before his death, the arch is quite high, but all his work is, of course, fine. That goes without saying. One peculiar characteristic of his early period may be seen in the very pronounced corners. They are so fully developed that they are not unlike a dog's nose. Later, that peculiarity almost disappears. At any rate, it ceases to be so strongly in evidence. The figure of his wood, both back and ribs, is generally very full. The sound holes are narrow in early work, and in later a little wider. His varnish is a beautiful golden yellow, through brown, to golden red. The model of a Nicolas Amati of the grand pattern has a distinctly solid look about it. The width of the upper portion of the violin is much nearer that of the lower portion than in the work of his predecessors in the firm, namely, A. and H. Their violins have a more tender, less robust look, chiefly because of this difference between the width of the upper and lower portions. The sound holes—that is, the main stems of their design—in a fine specimen appear as if infinitesimally drawn toward each other at the lower half of the stems. They are, in reality almost parallel, and that delusive appearance is the will o' the wisp which leads copyists astray. Nicolas Amati was married on 23rd May, 1645, to Lucrezia Pagliari, who
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