Scan 126
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1we could only ascertain them! We know as a fact that in early years Andreas Guarnerius was working at the side of Stradiuarius in the shop of his master, Nicholas Amati. With what delight would any record, or even anecdote, of those golden days in the history of the Violin be received by the lovers of the instrument. The bare idea that these three men, unapproachable in their art, were living in daily close converse is sufficient to awaken interest of a lively nature in the mind of the lover of fiddles. Unhappily, however, no chronicler was at hand to dot down events, of small value when passing, but of great consequence to after time.
3Andreas Guarnerius for some years worked upon the model of his master, though he afterwards changed the character of the sound-hole. At the same time the form of the instrument became flatter, and the scroll showed signs of originality. The varnish is much varied, but is generally of a light orange colour of beautiful hue; it sometimes has a considerable body, but when so lacks the transparency of light-coloured varnishes. The Violoncellos are of two sizes, a common arrangement of the Cremonese makers. The wood in the Violoncellos is mostly very plain, but possesses singular tone-producing qualities. The Violins are of average size, and are among the finest efforts of this maker. The Violins are chiefly of the same size as those of Nicholas Amati. The workmanship is excellent, but has not the fine finish of Amati.
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