Scan 108
The Violin: Its Famous Makers and their Imitators, 1875
7 lines. Read by computer on 3 September 2026. Printed page 66. See the scan on archive.org.
1this is the case in the form of the sound-hole and scroll. The sound-hole is sometimes large, and quite out of keeping with the elegant outline of Amati. The points of difference may be summed up as follows:—the sound-hole is larger, and more obliquely set in the instrument; the upper portion of the body has a more contracted appearance; the head, as is the case with most makers, differs most, and, in this instance, in no way resembles Amati.
3There are few specimens of Cappa that bear their original labels, most of them are counterfeit "Amatis," and hence the great confusion which has arisen, particularly among the half-informed, concerning their parentage. They are of two patterns, one larger than the other. The large one is, of course, the more valuable; it is flatter, and altogether better finished. The Violoncellos of Cappa are among the best of the second-class Italian instruments, and are well worthy the attention of the professor and amateur. The varnish is frequently of very rich quality, its colour resembling that of Amati. The wood is also similar to that used by Amati. The backs are whole or in two parts, seldom cut on the cross.
5CASSINO, Antonius, Modena.
6CASTRO, Venice, 1680—1720. The wood is of good figure generally. Outline is not good; the middle bouts are too long to be proportionate. Sound-hole roughly worked. Varnish red, the quality of which is scarcely up to the Venetian standard.
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