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Scan 167
The Hawley Collection of violins, 1904
14 lines. Read by computer on 3 September 2026. Printed page 93. 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.
1ANALYSIS OF WORK OF THE FOLLOWERS OF GREAT MASTERS
3of to support the view, he has with good reason been regarded as a pupil of Antonio Stradivari. Similarity of style of arching and of outline model assuredly point to this conclusion. Indeed there is far greater evidence of this view than is enjoyed by several other makers who claim the same distinction. His model follows closely that of Stradivari between 1720-1730, at that period when he produced the Earl Strad, 1722, the Rhode and Paganini Strads, and other famous specimens. It is to be regretted that Balestrieri, talented as he was, should not have given more care and study to the finish of his work. He appears to have contented himself with tone production, and it must be admitted that the tone of his instruments is broad and rich. He selected plain maple for his backs and sides, but magnificent spruce for his bellies. He used varnish of choice quality, of a dark brown color. It is very soft in appearance and at once commands admiration. It is a pity that this talented maker did not turn out a larger number of violins. He made violas and possibly violoncellos, though the writer has not had the pleasure of meeting with any.
5Camillus Camilli
7Camillus Camilli, who worked in Mantua about the same period as Balestrieri, was a maker of very much more than ordinary ability. His work is just becoming better known. From the fact of his having made many excellent copies of Stradivari and Guarneri, his own name has been lost sight of. Some of the most remarkable copies of Joseph Guarneri which have emanated from the hands of any maker came from him. In them he carried the walls well out to the edge of front and back, cut his wood in a similar manner, gave the same peculiarity to edge and corners, and in nearly every other way closely followed every feature of the well known work of Joseph Guarneri del Gesù. Had his varnish been as fine as Guarneri's the deception would be far more difficult to detect. He used wood of the choicest quality; especially are his backs beautifully figured. The tonal value of his violins is very high. They are esteemed highly in Italy. The writer met with a good specimen during the past summer in Rome, a copy of Joseph Guarneri in the possession of Professor Fredi, of the Conservatoire. The professor also possesses interesting letters from many celebrities, including Spohr, whom he knew when a boy, Dr. Joachim Sivori, Sarasati, and many others, not a few of which make mention of his beloved Camillus Camilli.
9Turin
11In Turin violin-making was carried on with great success. The Turin violins usually have plenty of tone; the fact that the industry was established there in the later years in which it flourished in Italy accounts no doubt for this fact. The Turin model is a broad, flat one.
13The Guadagnini family had much influence in establishing the art on correct lines in that city. After the death of Joannes Baptiste Guadagnini, reviewed in a previous chapter, his two sons continued in the business. Gaetano made a few violins and devoted much time to repairing old instruments. His brother Giuseppe was much more prolific. He worked after the model of Stradivari, in some respects following also the lines of his father. He employed wood of rather ordinary appearance and toughish character. His varnish is usually a brownish orange shade. He afterwards
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