Scan 58
The violin & its story : or the history & construction of the violin, 1905
8 lines. Read by computer on 3 September 2026. Printed page 42. See the scan on archive.org.
1beautiful appearance than that of his predecessors; the proportions of his thickness of wood to his height of arching are more accurate than those of Andreas, Antonio, and Hieronymus. It thus comes about that his tone possesses not merely the pleasing quality which characterises theirs, but is also much fuller and more powerful. A few of Nicholas's violins, upon which he seems to have bestowed more than his usual loving care, are truly masterpieces of the art. Those of his instruments once contained in the collection of Count Cozio de Salabue, at Milan, and which were acquired by him in the year 1686, are looked on as marvels because of their perfection of detail and the purity and fulness of their tone. Not less famous were the violins of this master in the possession of Count Castell Barco; while the Nicholas Amati used by the virtuoso Alard was one of the finest which ever came from that maker's hands.
3Nicholas Amati left two sons, Hieronymus and John Baptist. The last named was born in 1657, became a priest, and died in 1706; the former was born on the 26th of February, 1649, and learnt his father's business. He adopted a larger form than the other Amati, but bestowed much less care on his workmanship, and stands in a lower rank than his father. He made but few violins, and one of his, bearing the date 1672, was his last work. Hieronymus the son of Nicholas was the last violin maker of his name.
5The pupils trained by Nicholas Amati were:—Hieronymus, his son; Andreas Guarnerius; Paolo Grancino; and Antonio Stradivari. In addition to these there are numerous other makers who may be said to belong to the Amati School, and we shall deal with them in their proper places.
7We have before remarked on the great results achieved by the two schools of Brescia and of the Amati. In the works produced by these two schools constant progress is manifest, although the highest point of excellence was not reached. The instruments of Gaspar da Salo possess a grand and noble power of sound, a majestic and
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