Page:The New International Encyclopædia 1st ed. v. 20.djvu/197

* VIOLIN. 153 VIOLIN. Aniati and began his art in Cieinona, but later removed to Brescia. (2) TiiK School of Crkmona. The masters of tliis scliuol have produced the finest instru- ments known. While Da Sah> was niakinj; vio- lins in Brescia, Andrea Aniati {c.1520-80) inde- pendently set up a shop in Cn-niona, and tiius be- came the founder of Italy's most famous school. His instruments are very graceful, with a sweet but not powerful tone. Andrea's sons, Antonio and Geronimo, worked together from 1575 to 1C25. They adopted their father's graceful model, but ini])roved the playing (jualities, so that their instruments are very sonorous. Oeronimo's mm Niceolu ( 15!IU-l(i8-l) is (he most famous rep- resentative of the Aniati family. I'p to about I(i50 NiecolO used the model of his father and uncle. But then he gradually introduced thos(^ changes which finally led to the model known as the '(irand Amali.' wliose body is fourteen inches long and strengthened througlunit. Niecolo ex- erted a most powerful and lasting infiuenee upon the art of violin-making, for among liis pujiils we find no less masters than the great Antonio Stradivari, Stainer, Albani, G'rancino, G. B. and F. Ruggeri, Guai-neri, and Testore. The greatest of all violin-makers was Antonio Stradivari (1644-1737). Being a pupil of NiccolO, it is but natural that his ('arliest violins should all be after the Amati pattern. In fact, the instruments made between 1(170 and lti85 are known as 'Amatesse Stradivaris.' 'hen Amati died in 1684 he bequeathed all bis tools, models, and large stock of the choicest wood to Stradivari. It is no wonder, then, that after 1085 a remark- able advance is noticeable in Stradivari's instru- ments. By lliOO the master had completely given up the Amati model and had established his own, which is a combination of Amati's feminine grace and his own masculine strength. Although Stradivari is not known to have possessed a tech- nical knowledge of acoustics, he attained results for which modern science has established the un- derlying principles. The period from 1700 to 1720 is known as Stradivari's 'golden period.' The later instruments show, indeed, no falling off in the quality of tone, but are not quite so beautiful in appearance. Carlo Bergonzi (1715- 47), a pupil of Stradivari, made instruments remarkable for the brilliancy and mellowness of their tone. His work has been imitated ehielly by French makers. Francesco Ruggeri (16.30- 1720), a pupil of Amati. occupies a very promi- nent place. His instruments are mostly modeled after the Amati pattern. Giuseppe Antonio Guarneri (1683-1745) is a master whose instru- ments are by many experts regarded as equal to those of Stradivari. There were several other members of the Guarneri family who made good ■ violins, but none of them ajiproached in excel- lence those of Giuseppe Antonio, or 'Guarneri del Gcsd,' as he is usually know-n, on account of his labels, which generally bear the letters I. H. S., surmounted by a cross. Vuillaume divides the work of Guarneri into four periods. The instru- ments of the second period are small and elegant, those of the third and fourth periods are larger. Lorenzo Guadagnini (1000-1742). a pupil of Stradivari, quickly rose to prominence through the excellent tone of his instruments, although their external finish is not as careful as that of other makers. His model is rather larger than tin- average. His son, Giovanni Battista (1711- 8t)), surpassed him in llie lieauty of the wood and varnish. Lorenzo Slorioni (170-1800) is gen- erally regarded as the last of the Cremonese masters. His work is not equal to the best of his predecessors, but still it shows certain char- acteristics of the schiHjl of Cremona. (3) The School of Venice. This school did not become ]uominent until after 1700. Matteo Gofriller (e.l(70-1724) seldom labeled his in- struments, which thus have often been mistaken for Cremonese workmanship. Francesco Gobetti (1680-1720) made instruments on the Stradivari pattern. They are very beautiful in appearance and possess a wonderful tone. Santo Serafino (1687-1748) rivals the best makers in the sur- jiassing beauty of design and varnish; but his instruments, though possessing a very delicate tone, lack power. The greatest of the Venetian masters is Domenico Montagnana (1690-1740). lie was a pupil of Stradivari, and from the moment when he settled in Venice occupied the foremost place. (4) The School of Naple.s. In the number of instruments made Naples eomes next to Cre- mona. Although, as a rule, all the violins have an excellent tone, they are inferior to those of the other schools in workmanship and beauty of finish. Alessandro Gagliano ( 1650-1730), a pupil of Stradivari, established himself in Naples. Most of his sons and grandsons devoted themselves to the art of violin-making. Of these Ferdinando (1706-83) is the most famous. He adopted Stradivari's last model. (5) In addition to the above-mentioned schools fine instruments were also made in Rome, Flor- ence, Milan, Bologna, Padua, and other cities. But nearly all such violins can be classed as belonging to one of the four famous schools, be- cause their makers either came from those cities or learned their craft there. David Tecchler (c.1660-?), a German, established himself at Rome. His 'cellos especially are highly esteemed. Giovanni Pressenda (1777-?), a pupil of Sto- rioni, was undoubtedly the greatest Italian mas- ter of the nineteenth century. He worked in Turin. Carlo Testore (1680-1715). a pupil of. iati, established himself at Milan. He em- jiloyed chiefly Guarneri's model. Giovanni Gran- cino (1670-1730), also of Milan, shows consider- able originality in his work. (6) The Fhencii School. In Fra'-v the art of violin-making was not practiced geueially un- til the eighteenth century. The French masters are rather skillful imitators of the Italians tlian original makers. The models imitated are those of Brescia and particularly Cremona (Stradi- vari). Many of the makers resorted to artificial means to give their instruments the "appearance of old violins. Whereas the Italian masters al- ways strove to produce only the best violins, many French makers, in order to supply the de- mand, made varying qualities of instruments. The most famous French master is Nicolas Lupot (1758-1824), who copied Stradivari almost ex- clusively. Others worthy of mention are F. Pique (17SS-1822), J. B. Vuillaume (1738- 1875), P. Silvestre (1801-50). F. Gand (1802- 45), G. Chanot (1801-83). S. Bernardel (1802- 70), .1. Germain (1822-70). At the present day the art of violin-making seems to have been driv-