Scan 113
The violin, its famous makers and their imitators, 1887
10 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1of Stradivari rather than that of Amati. These differences are accounted for by the fact made known by Lancetti, that the tools and patterns of Niccolò Amati passed into the possession of Stradivari, and are therefore included with those now in the keeping of Count Cozio's descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati shows signs of decadence; in some instances, however, we find it soft and transparent. The few which have this quality of varnish I am inclined to think were made in the time of Niccolò, since the instruments of a later date have a coating of varnish of an inferior kind. This maker—as with the Bergonzis—seems, therefore, to have been either ignorant of his parent's mode of making superior varnish, or was unable to obtain the same kind or quality of ingredients. With Girolamo closes the history of the family of the Amatis as Violin-makers. Girolamo had a son, Niccolò Giuseppe, born in 1684, who removed with his father to another parish in 1736, as mentioned above, but he was not a maker of Violins.
3AMBROSI, Pietro, Rome and Brescia, about 1730. Average merit. The workmanship resembles that of Balestrieri, as seen in the inferior instruments of that maker.
5ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice.
7ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-holes are not properly placed.
9ANTONIO OF BOLOGNA (Antonius Bononiensis). There
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