By Hugh Reginald Haweis
Identify: outdated Violins and Violin Lore. recognized Makers of Cremona and Brescia, and of britain, France, and Germany (with Biographical Dictionary); recognized gamers; and Chapters on Varnish, Strings and Bows writer: London, W. Reeves ebook date: 1893 topics: Violin Violin makers Notes: this is often an OCR reprint. there is typos or lacking textual content. There are not any illustrations or indexes. in case you purchase the overall Books version of this publication you get unfastened trial entry to Million-Books.com the place you could choose from greater than one million books at no cost. it's also possible to preview the e-book there.
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Additional info for Old Violins and Violin Lore. Famous Makers of Cremona and Brescia, and of England, France, and Germany (with Biographical Dictionary)
CHAPTER — IV CREMONA VIOLINS AT Cremona Amati two words making melody with their ! very syllables, and a deeper harmony still for the lover of music, from the association of ideas which they excite. With Brescia the assumed —the name of Amati and immigration of makers emergence of the is from Amati family (the not found in the Brescian archives), their final residence at —begins the Cremona classic period of the violin. strife, which, owing to its " very situation (xpi fiovof, high rock " and " alone "), Cremona, ancient city of was the battle-point of the middle ages from the days of the old Goths and Lombards down to quite modem times; Cremona, with known or stately cathedral its visited, yet possessing two of the so little finest red lions couchant, supporting portico columns of one of the noblest cathedral fa^des in Italy ; Cremona, with its antiquated back streets, its drowsy quiet life on apart from the beaten thoroughfares of truly, I Cremona town is a place to have narrated elsewhere set gliding ti'avel one dreaming my pilgrimage to the place which so ungratefully forgets almost the very tradition 42 VIOLINS AT CREMONA of the Amati, Stradivari, and Guarnerii, whose fabrics alone have given it a musical immortality, and whose names are hung up high like the stars, which no discords of the middle ages, sieges, or brawls can ever reach.
Although Maggini adhered to there it ; ai-e and at least instrument is his double purfling, specimens of his work in exhibitions without is one curiously but not carelessly made known where the purfling at the back neither double nor even inlaid, but merely drawn sharply in black A lines. very fine single-purfled formerly in the collection of Prince Caraman violin, Chimay, now in the possession of Mr. Antonietti, possesses Many an unrivalled tone of the Maggini timbre. of his violins retain the old taste for other inlaid orna- He mentation.
Nicolo the Great doubtless followed and imitated his father Geronimo, but wishing to miss nothing, and perhaps labouring under a sense of obligation or merely out of genuine affection, his labels embody an immortal acknowledgment of indebtedness to both They masters. ) Nicolo the Great's smaller patterns father's Amatus Antonij Nepos for between £dQ and ^£"100, or less. But as we watch his dates, the touch of Nicolo very soon becomes distinctive. On and uncle he found himself the death of his father in possession of a work- shop which inherited a great name, but which was destined to transmit to future generations the greatest violin names in the world.