Scan 93
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 28 September 2026. Printed page 53. See the scan on archive.org.
1The experienced eye may trace the successive steps taken in this direction by carefully examining the instruments dating from about 1625 downwards. Prior to 1625 there is a peculiarly striking similarity in his work and model to that of his father, but after this date we can watch the gradual change of form and outline which culminated in the production of those exquisite works of the art of Violin making known as "grand Amatis" (a name which designates the grand proportions of the instruments of this later date). It may be said that the maker gained his great reputation from these famous productions. They may be described as having an outline of extreme elegance, in the detail of which the most artistic treatment is visible. The corners are drawn out to points of singular fineness, and this gives them an appearance of prominence which serves to throw beauty into the entire work. The model is raised somewhat towards the centre, dipping rather suddenly from the feet of the bridge towards the outer edge, and forming a slight groove where the purfling is reached, but not the exaggerated scoop which is commonly seen in the instruments of the many copyists. This portion of the design has formed the subject of considerable discussion among the learned in the Violin world, the debateable points being the appearance of this peculiarity and its acoustic effect. As regards the former question, the writer of these pages feels convinced that the apparent irregularity is in perfect harmony with the
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