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Scan 78
The Hawley Collection of violins, 1904
10 lines. Read by computer on 28 September 2026. Printed page 48. See the scan on archive.org.
1THE HAWLEY COLLECTION OF VIOLINS
3indicate at a single glance, even to a novice, the hand of the master maker. The back is formed by a single piece of maple, which for beauty leaves nothing to be desired. The belly is also of a single piece instead of the usual two. The grain is wide and very straight, and is mottled here and there with those peculiar flashes which are often found in Amati's and Stradivari's tops. Amati appears to have had a supply of this spruce on hand which he employed in some of his finest instruments. Its tone is as beautiful in quality as the best of Stradivari's work and approaches them in power. A violoncello of the same period, exhibiting a belly evidently cut from the same piece, is in the possession of the eminent 'cellist, Mr. Bruno Steindel.
5The Goding Amati is covered with a coating of magnificent varnish of a golden brown color, the texture of which is soft; and the evenness and skill of its application invokes the admiration of the connoisseur at a glance. It formed a part of the famous James Goding collection, to which the King Joseph Guarneri also belonged. Both passed into the possession of Mr. James Plowdon at the death of Mr. Goding. Mr. Goding had it from M. Vuillaume, of Paris, who in turn had it from Tarisio. The sale of the Goding collection took place at Messrs. Christie & Manson, St. James Square, on Friday, February 20, 1857, at two o'clock. At the death of Mr. Plowdon, it passed into the possession of Mr. Wm. Cramer, an enthusiastic collector, and was sold by him to Mr. Stephenson. It next passed into the possession of Mr. Geo. Hart, and was by him sold to Mr. John P. Waters, of Brooklyn, who also bought the "King" Joseph afterwards. He resold the Amati to Hart & Sons, London, who on September 20, 1876, sold it to Mr. Hawley. The dimensions of the Goding Amati will be found in the table of measurements.
7Of the grand pattern Amatis, but few exceed 14 inches. The Irish Amati, belonging to Mr. D. J. Partello, a very fine specimen, measures 14 1-16 inches in length, 8 5-16 across the lower bouts, 6 3-4 upper. All others we have seen are 14 inches. It is safe to say that to Nicola Amati must be given the credit for establishing the standard which exists to-day. The work of Amati from 1645 to 1675 possesses a marked robustness of character, which is not found to the same extent in his violins which come after that period, where it is tempered by a rounding off, as it were, of corners and edges. The Spagnolletti Amati, 1682, belonging also to Mr. Partello, is a splendid representative of the last period. The length is 14 inches scant, width of lower bout 8 1-4, and upper 6 3-4. Another charming example of the last period of Amati is in the possession of Mrs. E. K. Smoot. Length, 13 15-16; width lower bouts, 8; width upper, 6 1-2. In these latter violins of Nicola Amati, which were made after he had reached his eightieth year, there is a diminution of that breadth of style which characterizes his work of the preceding period. The outline has not the same ruggedness, the bold sweep of the edges below the corners is less marked, the scroll is smaller, the entire instrument being more feminine in character, so that it may be said to occupy in this respect a place between the small violins of his earliest period and those of the grand pattern. The hand of Stradivari is in evidence during this latest epoch, in the rounding corners, altered arching and outline, and the style of the sound holes and scrolls. The varnish is more thickly laid on and in color ranges from a golden brown to pale brown.
9Nicola Amati was married May 23, 1645, to Lucrezia Pagliari, he being then
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