Books › The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880 › scan 66
Scan 66
The violin: its famous makers and their imitators. : With several wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1880
12 lines. Read by computer on 29 August 2026. Printed page 50. See the scan on archive.org.
1Numerous German makers, whose names will be found under the "German School," were also liege subjects of Amati, and copied him with much exactness; so also, last, but not least, our own countrymen, Forster, Banks, and Samuel Gilkes.
3AMATI, Hieronymus, Cremona, 1650 to 1673. Son of Nicholas. His instruments are scarce, and do not resemble those of Nicholas, or, indeed, of the Amati family, except in the sound-hole. The head is quite distinct from the Amati type, being larger, and wanting in grace. The length of these instruments is generally lessened in the lower portion. The varnish is inferior, and shows unmistakable signs of decadence. With this maker closes the great family of Amatis as Violin makers, dating from 1520 to about 1673.
5AMBROGI, Pietro, Rome, 1730. Average merit. Somewhat resembles Balestrieri. The head leans to the German character.
7ANSELMO, Cremona, 1701. The instruments of this maker partake of the Rugerius type. The varnish is very rich in colour and possesses considerable body. Scarce. There are two very excellent Violoncellos by Anselmo in England.
9ASSALONE, Gaspard, Rome. The model is high and the workmanship rough; the varnish yellow, without much body.
11BAGATELLA, Padua, 18th century. Made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengels; but no benefit has been derived from it.
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