Scan 165
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1followers, with the exception of Paul Maggini, departed from the path so successfully trodden by this great pioneer. But for this deviation, the works of the early Amatis and a few others would have occupied a higher position than that which they now command. They were men possessing great abilities, and might easily have carried out the designs of the great Brescian maker. They appear, however, to have arrived at a different conclusion as regards the form of their instrument from that shaped by Gaspard di Salo. Their works show an evident preference for the high model, and thus undid much that Gaspard had accomplished after long study of the subject. It is clear that Gaspard only arrived at his conclusions after painstaking labour, for he commenced with the high form, and gradually, as experience taught, lowered it. It is further remarkable that the later members of the Amati family pursued the same course as Andrea Amati (though in a less degree), after which they awoke, as it were, to the reasonableness of the example set by Gaspard, and gave us those instruments so highly thought of by the connoisseur, the form of which has much in common with that adopted by Nicholas Amati, and perfected by Antonius Stradiuarius. Anthony Amati does not appear to have been so willing to follow the path taken by his brother Jerome, in reference to modelling, long after Jerome had ceased working the high model Anthony continued to adopt it.
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