Scan 98
The violin: its famous makers and their imitators, 1875
2 lines. Read by computer on 3 September 2026. Printed page 56. See the scan on archive.org.
1victory to be seen in the scrolls of his instruments during the first period, which are masterpieces in themselves. How bold is the conception, how delicate the workmanship, what a marvel of perfection the sound-hole! But as these Violins are noticed under the head of "Stradiuarius," it is unnecessary to enter into details here. Besides Stradiuarius, many makers of less importance followed the "grand Amati" pattern, among whom may be mentioned Jacobs of Amsterdam, who takes a prominent place as a copyist. The truthfulness of these copies as regards the chief portions of the instrument is singularly striking, so much so indeed as to cause them to be frequently mistaken for the original by those who are not deeply versed in the matter. The points of failure in these imitations may be cited as the scroll and sound-hole. The former lacks ease, and seems to defy its author to hide his nationality. The scroll has ever proved the most troublesome portion of the Violin to the imitator; it is here, if anywhere, that he must drop the mask and show his individuality, and this is remarkably the case in the instance above-mentioned. A further difference between Amati and Jacobs lies in the circumstance that the latter invariably used a purfling of whalebone. Another copyist of Amati was Grancino. As the varnish which he used was of a different nature from that of his original, his power of imitation must be considered to be inferior to that of some others. Numerous German makers,
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