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Scan 166
The Hawley Collection of violins, 1904
24 lines. Read by computer on 3 September 2026. Printed page 92. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1THE HAWLEY COLLECTION OF VIOLINS
3century. They employed varnish of excellent quality, which in color ranges from a reddish brown to a deep shade of red. Their wood, in common with other Milanese makers, is of a toughish nature, but often is handsomer than that of some of their contemporaries. The wood of the tops is usually of very fine tone-producing quality. The model they used in their early work follows Amati lines, while in their later efforts it is broader and flatter. A very choice specimen of the work of the brothers Montagazza is owned by Mr. Joseph Bichl. The tone of this violin is of charming quality and at the same time possesses sonority and volume.
5Francesco Mezadri
7Francesco Mezadri worked in Milan in the fore part of the eighteenth century. He employed a broad pattern, and wood and varnish of excellent quality. The latter is of a pale brownish yellow color.
9Mantua
11Mantua is but a short distance to the east from Cremona. Like other Italian cities it has a checkered history. At the time violin-making was flourishing, warlike sounds were omnipresent, as it was a place of some importance from a strategical standpoint. During the greater part of the eighteenth century it belonged to Austria, but in 1797 was captured by the French, though passing once more under the rule of Austria, by the peace of Villafranca. In 1866 Austria was forced to cede it to Italy. The violins of the Mantuan makers more closely resemble the Cremonese in varnish and wood than those of any other center.
13Pietro Guarneri, 1655-1730
15Of all the violin-builders who flourished in Mantua the greatest no doubt was Pietro Guarneri, 1655-1730, whose work has been considered in connection with that of his brother Joseph, son of Andrea. He was, next to the great Joseph and his brother, the foremost of that great family of makers. He worked in both Cremona and Mantua, removing to the latter city from Cremona, afterwards going to Venice, where he died. His wood and varnish are of the richest description, and his best violins have a magnificence of tone difficult to surpass. His model is higher and more rounded than his father's, his cousin's, or that of any other member of his family. In his wood selection he was not excelled, judging from his best work, by any of the Guarneris.
17Pietro Guarneri, Son of Joseph
19Pietro Guarneri, son of Joseph, who was son of Andrea, and nephew to the preceding Pietro, also was the maker of many fine instruments. While in some respects they resemble the work of his uncle, from whom he very likely acquired his training, yet his model is flatter, his varnish not so rich in color, and he was not so choice in his selection of wood. Pietro occasionally used bird's-eye maple in his backs and sides. He was careful to employ too much rather than too little wood in graduating his thickness, which is a very praiseworthy fault in any maker of violins. His tone is full of life and vigor.
21Tomaso Balestrieri
23Tomaso Balestrieri flourished in Mantua during the fore and middle parts of the eighteenth century. Although there is no documentary evidence that we are aware
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