Books › The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892 › scan 112
Scan 112
The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892
6 lines. Read by computer on 29 August 2026. Printed page 98. See the scan on archive.org.
1have been copied, and reproduced in the imitations more or less accurately. Some of his violins have only a single line of purfling, like ordinary instruments. It is supposed that he never dated his tickets.
3MEDARD, NICOLAS, Nancy and Paris, about 1655. One of the finest of French copyists of Amati—so far as appearance goes. Beautiful wood, and fine, rich, golden red varnish. The reproductions by this maker are really as faithful as one could wish. The sound holes are finely imitated, and the choice of wood quite of a high class. There were a number of makers of this name from early in 1600. Toussaint-Medard, Antoine Medard, François, and Nicolas. Their instruments are very rare.
5MONTAGNANA, DOMENICO, Cremona and Venice. This maker is supposed to have been a fellow pupil or workman in Nicolas Amati's shop, along with Stradivari. There is no doubt about the quality of his work. It stands in line with the finest. The outlines of his violins are almost identical with those of Nicolas Amati's best model, except that at the upper and lower bouts they are slightly fuller, while the inclination of his sound holes is distinctly outward towards the lower corners. The middle bouts are also deeper and longer, and the corners fine and full. The arching is of the Amati type. There are very few specimens known to exist. His 'cellos are really grand, the outline sometimes—in contrast to that of his violins—appearing to droop somewhat from the shoulders, and in other instances, being fuller and finer. There is a certain feeling of parsimoniousness in the outline of his bigger instruments, with
The computer misreads some letters and numbers. Where a name matters to you, read the scan.