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Scan 161
The Hawley Collection of violins, 1904
12 lines. Read by computer on 3 September 2026. Printed page 87. See the scan on archive.org.
1ANALYSIS OF WORK OF THE FOLLOWERS OF GREAT MASTERS
3late, however, the innate tone qualities of the best Gaglianos, combined with the soaring prices for violins of the better known Cremonese, Venetian, and other makers, have brought Neapolitans much into favor among artists. In fact to-day, in Europe, no violins of the second class are more eagerly sought by performers than good specimens of the Gaglianos. In the past ten years their value has quadrupled and it is easy to see that if values are still to advance, as the result of the great demand for violins of this type, they will, in the next few years, reach still higher figures.
5It is interesting to note the peculiarities of varnish which distinguish the violins of different localities. The color and texture of the Neapolitan violins is easily distinguished from that of any other center. The first classification made by the connoisseur is that of varnish; by it he gathers at a glance the birthplace of the specimen. He recognizes immediately the soft texture and beautiful rich shades of the Cremonese and Venetian violins. Those of Milan and Florence are known by their predominating pale yellow shades, those of Rome by still another shade of yellow, and the Neapolitan by their very characteristic reddish browns and yellows, and tougher-looking varnishes. There are exceptions to the rule, however, for ever and anon beautiful shades of red are met with even where the vast majority are of the lighter colors. In the same way, makers in these different cities show differences in the kinds of woods selected and the method of applying the varnish, which, aside from its color, lends an individuality. In these latter respects, the Neapolitan violins are also unique. It is these differences which cause connoisseurs to classify the different types into schools.
7Alessandro Gagliano
9Alessandro Gagliano was the founder of the Neapolitan school. He has usually been regarded by many writers as a pupil of Stradivari, and as all things are possible, he may have been; but if so, judging from his work, he was not a consistent follower of his great master, for in his violins there is little in common with Stradivari, or the well known Cremonese traditions. On his labels he signed himself a pupil of Stradivari, and this, so far as we are aware, is the only documentary evidence there is in support of the theory of that relationship. It is said that he worked with Stradivari about thirty years, but if this were true, one might certainly hope to find an indelible reminder of that fact in his own work and that of his sons. He was born about 1640-1650, and when a young man, so the story goes, was compelled to flee from Naples because he killed his antagonist in a duel. He wandered north to Rome and thence it is said to Cremona, where he became a violin-maker's apprentice.
11His model, adopted after his pardon and return to his native city, was less Stradivarian and more Amatian than that of either of his sons. His arching is not high, but rather flat, taking a sudden dip from the purfling, like that seen in a grand pattern Nicola Amati. If, however, we may be allowed to conjecture, we should say, basing our opinion upon the similarity between his varnish, wood, etc., and that of the Milanese makers, that Milan and not Cremona was the source of his inspiration, although he may have worked a short time for Stradivari in Cremona, so that he was afterwards justified, technically, in signing himself a pupil of that master. Gagliano prided himself upon a bold, rugged style similar to that of the Milanese makers. His varnish is usually of a thin, grayish red color, varying to the yellow shades. His violins have a clear, bell-like tone,—a general characteristic of all the Gaglianos. So recently as
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