French Violin Makers, German Violin Makers, English Violin Makers, Antonio Stradivari
Italian Violin Makers
he, together with his family, removed to another parish, as shown by the original extract from the books of the Cathedral at Cremona, sent by Canon Manfredini to Lancetti. Girolamo Amati died in the year 1740. There appears to have been some doubt as to whether Girolamo Amati, the son of Niccolò, made Violins, according to Lancetti. He says, "Those seen with his label, dated between 1703 and 1723, were ascribed by some to Sneider, of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin for repair to the Brothers Mantegazza, dealers and restorers of musical instruments, in Milan, and upon their removing the belly they were pleased to discover, written at the base of the neck, 'Revisto e coretto da me Girolamo figlio di Niccolò Amati, Cremona, 1710.'"
In some instances the instruments of this maker do not resemble those of Niccolò Amati, or indeed those of the Amati family. The sound-holes are straight, and the space between them is somewhat narrow. In others there is merit of a high order—the pattern is large, broad between the sound-holes, and very flat in model, and resembling the form of Stradivari rather than that of Amati. These differences are accounted for by the fact made known by Lancetti, that the tools and patterns of Niccolò Amati passed into the possession of Stradivari, and are therefore included with those now in the keeping of Count Cozio's descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati shows signs of decadence; in some instances, however, we find it soft and transparent. The few which have this quality of varnish I am inclined to think were made in the time of Niccolò, since the instruments of a later date have a coating of varnish of an inferior kind. This maker—as with the Bergonzis—seems, therefore, to have been either ignorant of his parent's mode of making superior varnish, or was unable to obtain the same kind or quality of ingredients. With Girolamo closes the history of the family of the Amati as Violin-makers. Girolamo had a son, Niccolò Giuseppe, born in 1684, who removed with his father to another parish in 1736, as mentioned above, but he was not a maker of Violins.
Petrus Ambrosi fecit Brixiæ, 17—
AMBROSI, Pietro, Rome and Brescia, about 1730. Average merit. The workmanship resembles that of Balestrieri, as seen in the inferior instruments of that maker.
ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice.
ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-holes are not properly placed.
ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna.
ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at the Academy of Bologna, without date.
ASSALONE, Gasparo, Rome, 18th century. The model is high and the workmanship rough. Thin yellow varnish.
BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.
BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet in 1782 on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengel's; but no benefit has been derived from it.
BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about 1760.
Thomas Balestrieri Cremonensis
Fecit Mantuæ. Anno 17—
BALESTRIERI, Tommaso, middle of the 18th century. Said to have been a pupil of Stradivari, which is probable. The instruments of Balestrieri may be likened to those of Stradivari which were made during the last few years of his life, 1730-37. The form of both is similar, and the ruggedness observable in the latter instruments is found, but in a more marked degree, in those of Balestrieri.
Italian Violin Makers
he, together with his family, removed to another parish, as shown by the original extract from the books of the Cathedral at Cremona, sent by Canon Manfredini to Lancetti. Girolamo Amati died in the year 1740. There appears to have been some doubt as to whether Girolamo Amati, the son of Niccolò, made Violins, according to Lancetti. He says, "Those seen with his label, dated between 1703 and 1723, were ascribed by some to Sneider, of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin for repair to the Brothers Mantegazza, dealers and restorers of musical instruments, in Milan, and upon their removing the belly they were pleased to discover, written at the base of the neck, 'Revisto e coretto da me Girolamo figlio di Niccolò Amati, Cremona, 1710.'"
In some instances the instruments of this maker do not resemble those of Niccolò Amati, or indeed those of the Amati family. The sound-
AMBROSI, Pietro, Rome and Brescia, about 1730. Average merit. The workmanship resembles that of Balestrieri, as seen in the inferior instruments of that maker.
ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice.
ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-
ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna.
ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at the Academy of Bologna, without date.
ASSALONE, Gasparo, Rome, 18th century. The model is high and the workmanship rough. Thin yellow varnish.
BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.
BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet in 1782 on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengel's; but no benefit has been derived from it.
BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about 1760.
Thomas Balestrieri Cremonensis
Fecit Mantuæ. Anno 17—
BALESTRIERI, Tommaso, middle of the 18th century. Said to have been a pupil of Stradivari, which is probable. The instruments of Balestrieri may be likened to those of Stradivari which were made during the last few years of his life, 1730-