Scan 133
the violin its famous makers and their imitators, 1909
4 lines. Read by computer on 3 September 2026. Printed page 83. See the scan on archive.org.
1in their Violins, it must not be supposed that each bore a proportionate part of the manufacture in every case; on the contrary, there are but few instances where such association is made manifest. The style of each was distinct, and one was immeasurably superior to the other. Antonio deviated but little from the teaching of his father. The sound-holes even of his latest instruments partake of the Brescian type, and the model is the only particular in which it may be said that a step in advance is traceable; here he wisely adopted a flatter form. His work throughout, as regards finish, is excellent.
3Girolamo Amati possessed in a high degree the attributes of an artist. He was richly endowed with that rare power—originality. It is in his instruments that we discover the form of sound-hole which Niccolò Amati improved, and, after him, the inimitable Stradivari perfected. Girolamo Amati ignored the pointed sound-hole and width in the middle portions observable in his predecessor's Violins, and designed a model of extremely elegant proportions. How graceful is the turn of the sound-hole at both the upper and lower sections! With what nicety and daintiness are the outer lines made to point to the shapely curve! Niccolò Amati certainly improved even upon Girolamo's achievements, but he did not add more grace; and the essential difference between the instruments of the two is, that there
The computer misreads some letters and numbers. Where a name matters to you, read the scan.