Books › The Hawley Collection of violins, 1904 › scan 158
Scan 158
The Hawley Collection of violins, 1904
39 lines. Read by computer on 3 September 2026. Printed page 84. See the scan on archive.org.
1many years. During his American tour, he used it almost exclusively. The subtle brilliancy of one of these fine instruments is peculiarly adapted to the style of certain artists. Now that the available supply of Stradivari and Guarneri violins is fully taken up, artists are turning more and more to the works of this great Venetian maker, which thus far are not so expensive. Prices of Santo Serafino's violins, however, have risen enormously in late years, a fine specimen having recently been sold in Germany for the sum of sixteen thousand marks, which is the highest sum, as far as we are aware, obtained up to the present for one of his violins. A remarkably perfect specimen, the finest we have seen, is in Chicago, in the possession of an enthusiastic amateur, Mr. Francke C. Elliott. The workmanship and style are of the most artistic description, rivaling the beauties of a fine Nicola Amati, which in point of model it resembles. The tone is extremely rich in quality, and has great power.
3Measurements of the Elliot Serafino are:
5<table>
6 <tr>
7 <th>Length</th>
8 <th>14 inches</th>
9 </tr>
10 <tr>
11 <th>Lower bout</th>
12 <th>8 inches</th>
13 </tr>
14 <tr>
15 <th>Upper bout</th>
16 <th>6 1/2 inches</th>
17 </tr>
18 <tr>
19 <th>Middle bout</th>
20 <th>4 1/4 inches</th>
21 </tr>
22 <tr>
23 <th>Sides, upper bout</th>
24 <th>15 3/8 inches</th>
25 </tr>
26 <tr>
27 <th>Sides, lower bout</th>
28 <th>16 1/2 inches</th>
29 </tr>
30</table>
32Georgio Serafino
34This maker is said to have been a nephew of Sanctus, and worked with him. His instruments are said to display the same high ideal and artistic treatment as those of his uncle. We have not a personal acquaintance with the work of this maker, although the reports of his instruments leave no doubt that he is a force to be reckoned with.
36Francesco Gobetti
38During the past twenty years, a period in which the research and study of the Italian makers has been greater and more general than in any preceding epoch, the work of this maker has risen to a very high place, while the reputation of some others, formerly idols, has correspondingly diminished. Among the Venetian makers, no other manifests a higher appreciation of true violin quality than Gobetti. It is true that as a handler of tools, Sanctus Serafino excelled him, and also that in varnish-coloring Montagnana was his superior, but taking into consideration the broad lines on which his best work is built, his modeling and arching, which are always consistent and uniform, we believe that no other of the Venetians was so loyal to the ideals of the great master of Cremona, Antonio Stradivari. We have never seen a violin by Gobetti with a German character of modeling. In this respect, he stands almost alone among Venetian workmen. Judging from certain examples of his work, he was a great admirer of Stradivari. There are features in his arching and sound holes which forcibly remind one of that master. He, like Serafino and Montagnana, was an adept in the selection of wood and varnish. Many of his instruments are surpassingly beautiful in every particular, and possess tone qualities of the rarest kind. The tones of the E string in the high positions are noticeably fine. The general character is very soft, rich and resonant, well adapted for the rendition of compositions requiring fine light and shade. His varnish is very soft and mellow,
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