as to cause them to be frequently mistaken for originals by those who are not deeply versed in the matter. The points of failure in these imitations may be cited as the scroll and sound-hole. The former lacks ease, and seems to defy its author to hide his nationality. Thescroll has ever proved the most troublesome portion of the Violin to the imitator. It is here, if anywhere, that he must drop the mask and show his individuality, and this is remarkably the case in the instance above mentioned. A further difference between Amati
and Jacobs lies in the circumstance that the latter invariably used a purfling of whalebone. Another copyist of Amati was Grancino. As the varnish which he used was of a different nature from that of his original, his power of imitation must be considered to be inferior to that of some others. Numerous 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.
Lancetti, writing of Niccolo Amati in 1823, says: "Some masterpieces by him still remain in Italy, among which is the Violin dated
1668, in the collection of Count Cozio. It is in perfect preservation, and for workmanship, quality, and power of tone far surpasses the instruments of his predecessors." The same writer remarks that "Niccolo Amati put his own name to his instruments about
1640." It was upon a Violoncello of this make that Signor Piatti played when he first appeared at the concert of the Philharmonic Society, on June 24, 1844. The instrument had been presented to him by Liszt, and is now in the possession of the Rev. Canon Hudson. In an entry in the Cathedral Register at Cremona, the name of the wife of Niccolo Amati is given as Lucrezia Paliari. The meagreness of accounts of a documentary character in relation to the famous makers of Cremona naturally renders every contribution of the kind of some value. The following extract, taken from the State documents in connection with the Court of Modena, serves to indicate the degree of esteem in which the instruments of Niccolo Amati were held during his lifetime, in comparison with those of his contemporary and pupil, Francesco Ruggieri. Tomaso Antonio Vitali, the famous Violinist, who was the director of the Duke of Modena's Orchestra, addressed his patron to this effect: "Please your most Serene Highness, Tomaso Antonio Vitali, your highness's most humble servant, bought of Francesco Capilupi, through the agency of the Rev. Ignazio Paltrineri, for the price of twelve doublons, a Violin, and paid such price on account of its having the name inside of Niccolo Amati, a maker of great repute
in his profession. The petitioner has since found that this Violin has been wrongly named, as underneath the label is the signature
of Francesco Ruggieri detto il Pero, a maker of less credit, whose Violins do not scarcely attain the price of three doublons."3 Vitali closes his letter with an appeal to the Duke for assistance to obtain redress.
3 "Luigi F. Valdrighi Nomocheliurgografia," Modena, 1884.
AMATI, Girolamo, Cremona, born 1649, third son of Niccolo. The labels which I have seen in a Violin and a Tenor bear the
name "Hieronymus Amati," and describe the maker as the son of Niccolo. He was born on February 26, 1649, married in 1678. In
1736 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 Niccolo, 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 Niccolo Amati, Cremona,
1710.'"
In some instances the instruments of this maker do not resemble those of Niccolo 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 Niccolo 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 Niccolo, 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, Niccolo 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 Brixiae, 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.
33
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 Mantuae. 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. These remarks, however, must not be considered to suggest that comparison can fairly be made between these two makers in point
of merit, but merely to point out a general rough resemblance in the character of their works. The absence of finish in the instruments of Tommaso Balestrieri is in a measure compensated by the presence of a style full of vigour. The wood which he used varies very much. A few Violins are handsome, but the majority are
