Books › Violins and violin makers. Biographical dictionary of the great Italian artistes, their followers and imitators, to the present time. With essays on important subjects connected with the violin, 1866 › scan 80
Scan 80
Violins and violin makers. Biographical dictionary of the great Italian artistes, their followers and imitators, to the present time. With essays on important subjects connected with the violin, 1866
2 lines. Read by computer on 29 August 2026. Printed page 72. See the scan on archive.org.
1Cremonese and Brescian Schools built, is however totally different. Those of Gaspar are large, massive, double purfled, and with large sound holes. Andrew is noted for a small pattern, and if he studied in the Brescian workshop, he discarded the style he found there (varnish excepted) and aimed at altogether a different object in his own productions. Those of Gaspar di Salo are constructed with capacity and strength to produce a considerable volume of tone. The Cremonese Artiste on the other hand, made instruments which, both in their proportions and adjustment, were especially adapted for the production of a sweet but not powerful tone. Gaspar's instruments seem to foreshadow in their tone and power, those of Stadiuarius and Joseph Guarnerius, while the Amatis seem generally to have been contented with producing a tone of surpassing sweetness. Gaspar also succeeded in giving to his productions that fine tone which seems to have been especially aimed at by the early makers, but as he also from the size and strength of his
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