Scan 409
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 27 September 2026. Printed page 337. See the scan on archive.org.
1school which he so much loved, but met with little encouragement in the beginning, so strong was the prejudice in favour of the high model. However, he triumphed in the end, and completely revolutionised the taste in England, till our Fiddle-fanciers became total ab-Stainers! Then commenced the taste for instruments of flat form. Where were they to be found? If the few by the early English makers be excepted, there were none but those of the Italians to be had, and perhaps a few old French specimens. Attention was thus directed to the works of the Cremonese, and the year 1800 or thereabouts may be put down as the time when the tide of Italian Violins had fairly set in towards France and England. The instruments by the Amati were those chiefly sought after; the amount of attention they commanded at this period was probably about equal to that bestowed upon the works of Stradivari and Guarneri at the present time. Violins of Amati and other makers were, up to this time, obtainable at nominal prices. The number in Italy was far in excess of her requirements, the demand made upon them for choir purposes in former days had ceased, and the number of Violins was thus quite out of proportion to the players. The value of an Amati in England in 1799 and 1804 may be gathered from the following extracts from the day-book of the second William Forster, who was a dealer as well as maker—"20th April, 1799. A Violoncello by
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