Scan 108
The violin, its famous makers and their imitators, 1887
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1this 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 debatable 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 general outline of the great Amati's instrument, and that it pleases the eye. From the acoustical point of view, it may be conceded that it does not tend to increase of power; but, on the other hand, probably the sweetness of tone so common to the instruments of Niccolò Amati must be set to its credit; for, in proportion as the form is departed from, the sweetness is found to decrease. The sound-hole has all the character of those of the preceding Amatis, together with increased boldness; in fact, it is a repetition of that of Girolamo, with this exception. The sides are a shade deeper than those of the brothers Amati. The scroll is exquisitely cut. Its outline is perhaps a trifle contracted, and thus is robbed of the vigour which it would otherwise possess. From this circumstance it differs from the general tenor of the body, which is certainly of broad conception. The maker would seem to have been aware of this defect, if we may judge from the difference of form given to his earlier scrolls, as compared with those of a later date, in which he seems to have attempted to secure increased boldness, as more in keeping
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