Books › The Hawley Collection of violins, 1904 › scan 159
Scan 159
The Hawley Collection of violins, 1904
37 lines. Read by computer on 3 September 2026. Printed page 85. See the scan on archive.org.
1ANALYSIS OF WORK OF THE FOLLOWERS OF GREAT MASTERS
3and in color ranges from a light orange to a rich red. He was a careful, conscientious artist, giving heed not alone to the first beauty of his work, but having also in mind the future. There can be no doubt that he sought to perpetuate his name by giving to the world violins which in merit might approach very closely to those of the great Cremonese masters. For many years this fact was employed to his great disadvantage, for the reason that his violins were sold under better known names and therefore brought larger prices, and in this wise Gobetti, though in a measure "born to blush unseen," though not "wasting his sweetness on the desert air," added unwittingly in no small measure to the fame of the renowned Cremonese. Even had he secured full credit, however, the number of his violins would not be large, for all his work appeared within twenty-five years, say from 1690 to 1720. And during these years it is probable that most of his time was taken up with repairs and the other minor work that naturally fell to a man in his position. Most Cremonese in character of any of the Venetians, possessing the stamp of greatness in his work, his great ability is at last fully recognized, and in Europe fine examples of his work command fancy prices. Mr. Partello in his remarkable collection has a fine specimen dated 1718, the measurements of which are:
5<table>
6 <tr>
7 <th>Length of body</th>
8 <th>13 7/8 inches full</th>
9 </tr>
10 <tr>
11 <th>Width across lower bout</th>
12 <th>8 inches full</th>
13 </tr>
14 <tr>
15 <th>Width across upper bout</th>
16 <th>6 1/2 inches full</th>
17 </tr>
18 <tr>
19 <th>Height of sides at bottom</th>
20 <th>1 5/32 inches full</th>
21 </tr>
22 <tr>
23 <th>Height of sides at top</th>
24 <th>1 3/16 inches full</th>
25 </tr>
26</table>
28A good example also is in the possession of Mr. Frederick H. Widmayer, of Scranton, Pa.
30Pietro Antonio Della Costa
32This maker worked in Venice and Treviso, a small city a few miles north, and flourished during the middle of the eighteenth century. He, like most Venetians, employed both a high and a low model. The former is built on the lines of the brothers Amati, the latter are large, robust, flat violins of sterling merit. A splendid example of the large flat type of his work is owned by Mrs. L. Berg, of St. Louis. It is built on the best lines, and it is a source of sincere regret that this maker did not produce a number of the same type. His wood as a rule is handsome, but not so uniformly so as that of his more celebrated Venetian predecessors. His varnish ranges from a pale red to a deep rich red, and is of good quality. His workmanship, while not technically elegant in finish, is very satisfactory. His tone is broad and noble.
34Matteo Gofriller
36This maker worked in Venice from about 1695 to 1735, and displayed marked originality in many respects. Both his violins and violoncellos are highly prized for their sonority and quality. He employed good wood and had an excellent quality of varnish, which in color is usually found in the shades ranging from a pale brownish yellow to an orange red. Like most Venetians, he followed the lines of the Amatis, but more closely those of the brothers than of Nicola Amati. He rarely used a label on his instruments, but did so occasionally. His violins are not often met with. In America there are but two of which we have record. His 'cellos and violas are highly
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