Points of note in the old Italian violins.
Maggini violins. These instruments are of large outline. The upper table is highly arched and the arching rises somewhat suddenly from the edges. The wood of the upper table is thick and very good. The back, compared to the upper table is less thick. The wood of the back is taken slab-wise (the trunk of the tree being cut in layers across the whole breadth).[2] The sides are shallow. The varnish is thin, transparent, and of a clear brown colour. The purfling is frequently doubled; and spread over the back in arabesques. The tone of the Maggini violins is full and heavy, resembling the viola quality. The ticket is as follows:—
Andreas Amati. These are mostly of small model. The upper table is of good, fairly thick wood, and very highly arched towards the middle. The back is cut on the slab. The varnish is brown and transparent. The tone is delicate and not powerful.
Antonius and Hieronymus Amati. The violins issued as the work of the two brothers in partnership are much esteemed. More instruments of small than of large size were, however, produced by them. The upper table is highly curved, and has towards the edges a groove or furrow. The wood of the back and of the ribs cut slab-wise. The varnish resembles that of Andreas Amati’s violins. The tone is also small. The label runs:—
Nicolas Amati. These instruments are distinguished from those of the other Amati violins by a grander appearance, better and thicker varnish, and a more brilliant and penetrating tone. The scroll is somewhat small in proportion to the body. Label:—
Stradivarius. In the career of Stradivarius three periods may be traced, and the violins proceeding from each, of these distinct periods themselves vary more or less. The instruments of the first period differ but little from Amati violins, and are classified as being of the school of Nicolas Amati. The instruments of the second period are already quite different from the first. The whole model is larger, the arching finer, the wood of the upper table and also of the back is stronger, and the varnish redder in colour. From the third period proceeded the finest violins that are in existence. The model is again somewhat larger, the upper table is flatter, the wood of the back and of the ribs instead of being cut on the layers in slab form (sur couche), is taken on the quarter (sur maille). The varnish is still more brilliant, yet soft looking, and so transparent that the beauty of the wood underneath it is fully brought out. The f holes are wonderfully cut, and the entire work is finely finished in every detail. The tone fulfils every possible requirement, it is of great power and body, sparkling, noble, and yet sympathetic and sweet. The violins made in the last years of Stradivarius reveal the weakness pertaining to old age. The tone is still fine, but the workmanship is altogether inferior. From this time forward, when the arching is more prominent, and the varnish darker, the beauty of the tone is diminished. Label:—
Labels of various other Italian makers:—
