There are cheats in all trades, and in all quarters of the world, it seems; even the rude mountaineers, the simple Tyrolese, we now learn, are not guiltless of a fraud which it may be well to guard the amateur against—‘The Tyrolese makers,’ says M. Otto, ‘have carried on an extensive business, and put forth a great quantity of violins, tenors, and basses; the greater part of which have been surreptitiously palmed upon the uninitiated as genuine Cremonese or Steiners.’
The author then points out the forms and mode of construction of the violins of the most celebrated Italian makers. He says, ‘I have had under my hands about thirty Cremonese instruments, of the following makers. The oldest were made by HIERONYMUS AMATI, at the beginning of the seventeenth century. After him came ANTONIUS AMATI, about the middle of the same century. Then followed NICOLAS AMATI, towards the end of the same. To these must be added ANTONIUS STRADUARIUS, of Cremona, who flourished during the same epoch as the above, and after them JOSEPH GUARNERIUS, at the commencement of the eighteenth century. All their instruments were constructed after the simplest rules of mathematics,[74] and the six which came into my possession unspoilt, were made after the following proportions. The belly was the strongest in thickness where the bridge rests, then it diminished about a third at that part where the f holes are cut, and, where the belly rests on the sides, it was half as thick as in the middle. The same proportion is observed in the length. The thickness is equally maintained all along that part on which the bass bar was fixed; from thence to the upper and under end blocks the thickness decreases to one-half, so that the cheeks were three-fourths of the thickness of the breast, and the edges all round only one-half. These proportions are the best adapted for imparting a full, powerful, and sonorous tone.
‘The back is worked out much in the same proportion as the belly, and is generally rather stronger in wood.’
‘HIERONYMUS AMATI, of Cremona, whose violins are the oldest, used the most beautiful maple, which has a very strong full figure, and, as far as I can learn, the greater part of his backs are made in one piece only. The figure runs from the left to the right side, somewhat sloping. The form of his violin is large, and the model decreases in a very beautiful manner towards each edge.’
‘The instruments of ANTONIUS AMATI differ but little from his father’s, though he was not so nice in the choice of his figured wood; yet in beauty of tone they are in no way inferior, if not spoilt in repairing.’
‘Those of NICHOLAS AMATI are conspicuous for having a somewhat smaller form and a peculiar model; the swell rises gently near the purfling, and afterwards springs up more abruptly, so as to form a difference of an inch in height between the highest part at the centre and that at the edges. They swell more abruptly than those of either Hieronymus or Antonius, and in the centre form a sharp ridge. For the rest, his instruments are not constructed with the same care as those of Hieronymus.’