AMATI, NICOLAS, born 1596, died 1684. He was the son of Hieronymus, and the best artist of his family. His first efforts were simply copies of the firm last mentioned. His most celebrated fiddles are known as “Grand Amati’s.” He somewhat flattened the model of his father, and continued the arching nearer the sides, where it forms a sinking in round the edges. The f holes are exquisitely cut, and the corners are long and strongly pronounced. The wood chosen for the bellies has a fine even grain, and the backs are beautifully marked. The varnish used by Nicolas was deeper and richer than that used by the other members of the family.
The following is a facsimile of an authentic ticket of this great maker.
BERGONZI, CARLO, Cremona, flourished 1718-47. This maker was the best pupil of Stradivarius. He at first copied his great master, but subsequently started a model of his own; rather broad and heavy, and flat arching. The scroll is strongly pronounced and finely cut. The f holes, which are unusually long, are placed low in the body, and very near the purfling. The wood is carefully selected and the general workmanship is of superior finish; only equalled by Nicolas Amati or Stradivarius. The varnish used by Bergonzi was reddish brown, rather thickly applied.
BERGONZI, MICHAEL ANGELO, Cremona, 1720-60, son of Carlo, made good instruments, but they certainly suffer on comparison with those of his father. This maker had two sons called respectively Nicolaus, and Zosimo, who followed the same calling from 1739-65.
CAPPA, GIOFREDO, an early maker who worked in Cremona about 1590 to 1640. He was a pupil of Hieronymus and Antonius Amati, when those brothers were in partnership. In 1640 he proceeded to Piedmont and founded the school of Saluzzio, and formed there many good pupils. Cappa succeeded best in the manufacture of violoncellos.
GAGLIANO, ALLESSANDRO, born about 1640, died at Naples in 1725. He is said to have commenced operation in Cremona, working under Stradivarius. His instruments are flat in model, rather large, and generally of fairly good tone throughout. Varnish light yellow. The badly cut scrolls tend to mar the otherwise symmetrical proportions of this maker’s instruments. Label as follows: