Books › the history of the violin, 1864 › scan 225
Scan 225
the history of the violin, 1864
2 lines. Read by computer on 28 September 2026. Printed page 203. See the scan on archive.org.
1cello by Andreas Amati, Cremonensis, faciebat 1572. The auctioneer (Mr. Musgrave) stated in the catalogue, "A document was given to the proprietor when he purchased this instrument, stating that it was presented by Pope Pius V. to Charles IX., King of France, for his chapel. It has been richly painted, the arms of France being on the back, and the motto 'Pietate et Justitia' on the sides. The tone of this violoncello is of extraordinary power and richness." This was evidently one of the instruments made for Charles IX. Mr. Hollander sold it to Sir William Curtis; it was put up at 500 guineas, and bought in at 280. Andreas Amati made numerous instruments; his violins were generally of small and middle pattern, the model raised towards the centre, and of proper thickness, the varnish being a clear brown; the tone sweet, but not powerful. The greater number of violoncellos of this maker that we have seen have a dark reddish brown coloured varnish, with a little tinge of yellow, the wood of the lower plate and sides plain, and the work not so highly finished as those of some of the later members of the family; but it must not be forgotten he was the first of the name, and had not arrived at the same perfection. The colour of the varnish may have been influenced by that of the old lutes, as Mace states that was "dark-black-reddish colour, though I believe it contributes nothing at all to the sound; only the best authors did use to lay on that colour, especially Laux Maller." As he progressed in his art, Andreas improved his varnish, and made it more transparent, and of a reddish yellow colour, with more body, and much more grateful to the eye. He was joined about 1568 by his brother Nicolas, who worked till 1586, Andreas, it is supposed, having died about 1580. They soon become distinguished by the skill of their workman-
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