ADDENDUM
AMATI, Hieronymus II.—Since the notice of this maker was written (vide page 139) the writer has met with two violins labelled prior to the year 1700. One of these is dated 1689.
PRINTED IN ENGLAND BY WILLIAM CLOWES AND SONS, LIMITED,
LONDON AND BECCLES.
FOOTNOTES:
[A] Neither the pegs, finger-board, neck, bridge, tailpiece, saddle nor tailpin, on the exterior, or the soundpost, bassbar, corner blocks, end blocks or linings, inside the instrument, add any particular value to the violin if original. Most of these items are, in a well-fitted old violin, modern. The vital parts for curio valuation are the head, top, back, and ribs.
[B] The violins produced in any part of modern Italy as a rule possess repute no higher than those made in other countries. So long ago as the latter years of the eighteenth century it became necessary for the Italian workmen to seek information in the art from Paris and other cities of France. As for Cremona of the present day, it may almost be said that, as a violin centre, it is not seriously considered at all. I believe some effort has recently been made to revive its ancient glories, but the success of the venture is still very much in doubt.
[C] It has been variously estimated that Stradivari constructed during his lifetime between 1000 and 1500 instruments.
[D] Antonio Stradivari is the best known of all violin makers of past times, and it is solely for this reason that we use his name so frequently when referring to the old makers, rather than that of another less familiar.
[E] “We unhesitatingly assert that modern violin-makers have a choice of material equal in every respect to that which existed at the time of Stradivari.... We may here add a word as to the delusion that material taken from buildings, such as for instance Swiss châlets—in some cases centuries old—is preferable to that cut and seasoned during a lesser, but still a sufficient, number of years. We have tried both kinds ... and we fail to find that the former has any real advantage over the latter; in fact, our opinion is rather in favour of the more youthful wood.”—Messrs. Hill, “Antonio Stradivari,” p. 173.