The form of the violin varied with the epoch in which it was used. The
lifetime of Tartini (born A. D. 1692, died A. D. 1770) marks the period
during which the powers of the violin in all varieties and styles were
completely developed. The violin–makers had to adapt their instruments
to the wants of the performers. The efforts of Stradivarius and
Guarnerius contributed in a marked degree to assist Tartini in creating
a new era for the violin. The best epoch of Stradivarius was from 1700
to 1720 or 1725. It was during Tartini’s lifetime that considerable rise
in the pitch took place. This, in the violin, necessitated a new
arrangement to withstand the greater strain. The instrument kept pace
with the new demands made upon it. In consequence of the increased
powers of the general orchestra, the old delicate sweetness of the
Amatis ceased to be the chief desideratum, a more masculine and heroic
tone gaining the preference. This quality of tone reached its climax in
Joseph Guarnerius.
When Francis I. was in Rome and heard the choir of the Vatican Chapel,
he was so charmed with the violin, that he induced the lutier Gaspar
Duiffoprugcar, also, as I believe, called Da Salo[28] after his native
town on Lake Garda, to accompany him to Paris, there to make violins,
violas, and contrabasses for his court. It is known of Gaspar’s history
that he was quite unable to endure the climate of Paris, and therefore
removed to Lyons; so that his instruments date from three
places,—Brescia, Paris, and Lyons.
[28] Ole Bull was almost convinced that Duiffoprugcar and Da Salo were
names of one man, and thought the Brescian labels bearing the late date
of 1610 spurious. This doubtful point, which he could not wholly clear
up, is given because he accepted although he could not prove it.
His instruments, at least those made during his life in Italy, are for
the most part roughly constructed. His varnish is of a brownish yellow
color, exceedingly fine and soft. The thickness of wood in the top and
back is so adjusted as to give to the tone quality, power, and solidity,
and great variety of color. Da Salo violins of any of his periods are
very rare.
The viol in Raphael’s “Parnassus,” where Apollo is represented as
playing it, was introduced in honor of the then admired _improvisatore_
and violist Giacomo Sansecondo, who had inspired in Raphael so great an
admiration for the viol that he considered it worthy of being placed in
the hands of the god of song. In Giacomo Sansecondo’s time the violin
had been already introduced, and he was doubtless able to play that
instrument. As Gaspar da Salo was then living, it is probable that the
viol in the picture was drawn from a model supplied by him. In the first
changes from the form of the viol to that of the violin, the new
offshoot retained many of the peculiarities of its older kindred,
notably in the broad, full oval of the back and top, and the pointed _f_
holes.
The violins of Gaspar da Salo and Joseph Guarnerius have the sound of a
trumpet, horn, or flute; those of Stradivarius have the sound of the
oboe and clarinet; and those of the Amati family, of the English horn
and the human voice. The Steiner violins have the greatest diversity of
color between the upper and lower strings, and resemble a sharp oboe.
The violins of Maggini are grand but somewhat hollow in tone, inclining
to the viola; this quality is due to their curves and large proportions.
Andrew Amati, the earliest of the Cremonese makers, is supposed to have
learned the principles of his art in the Brescian school. He made
violins for the courts of France, Italy, and Spain; and these
instruments were often ornamented by gilding or painting—covered with
devices in gold, Latin adages, and in some instances the coats of arms
of the different courts for which they were made. His violins are all of
high model. His workmanship in all the details of outline, swells, _f_
holes, scroll, etc. is exceedingly fine. They have enough wood at the
centre of the top and back, but are rather thin at the extremities. The
tone is sweet and vocal, but sometimes inferior on the G and D strings.
He discarded the serious cathedral style of Da Salo and Maggini,
together with the broad, thick, and strong extremities of their
instruments; and it must be said that his narrow, hollow, rounded, thin
violins were admirably adapted to their purpose; the sweet and subdued
tone harmonizing with that of the _viol d’amour_ and its kindred in the
interpretation of the ballad music of the royal chambers.
Antonius and Hieronymus Amati, the two sons of Andrew, at first worked
together in the style of their father, but later they adopted a model
somewhat flatter at the edges. These violins combine great beauty of
form with superior wood, and have a fine and brilliant though delicate
tone. After some years the brothers ceased working together.
I have seen several violins of Antonius Amati. They were all of rather
high model. The wood of the back and sides was frequently of pear–tree,
but they were made quite strong in wood, and therefore possessed a
rather strong tone, particularly on the G string.
The violins of Hieronymus Amati are of larger pattern and flatter model
than those of his brother, but are not so finely finished. Their tone,
however, is much finer.
Nicholas Amati, son of Hieronymus, was the most celebrated maker of the
family. In his large instruments he flattened the model somewhat,
carving it sometimes, however, rather abruptly to a ridge in the centre,
and making the curve an inch from the edges all around slightly concave.
His workmanship was always most careful, and his finish exquisite. In
these respects, he has never been excelled by any of the Italian makers.
The tone, while often sufficiently powerful, lacks the breadth of the
Gaspar da Salo, or Joseph Guarnerius. The varnish is generally yellow,
and somewhat thin in body. Of all the Amati family, Andrew had the best
varnish, it being more intense and rich in color and having greater body
than that used by his sons.
Antonius Stradivarius was a pupil of the Amatis. His life has been
divided into three periods,—his pupilage, his emancipation from the old
rules, or artistic period, and his old age. He made a great many
violins. He originated a new outline, flattened the model, did away with
the excessive gutter or hollowing out at the edges, and selected his
wood with regard to beauty as well as quality. His violins of the second
period are marvels of neat, attentive workmanship. The varnish has a
beautiful warmth of color, and great flexibility. But although the tone
is wonderfully even and full, it is tinctured with a peculiar nasal
quality. For this reason, though I have owned several fine specimens of
this maker, among them one of a quartette made for the court of Spain, I
have never played on them in public.
Of the Guarnerius family, I shall only mention Joseph, the nephew of
Andrew. Rejecting the new form of Stradivarius and the older traditions
of the Amatis, he seems to have chosen Gaspar da Salo and Maggini for
his models; but his violins, while combining the peculiarities of these
two makers, preserve the stamp of his own genius. The salient points of
the Brescian school are noticed in the pointed _f_ holes, the sweep of
the outline, and the curve of the back. His violins are generally flat
in model. The workmanship in its minute details is not always careful.
The purfling is irregular, the edges not well finished, the outline
awry, the _f_ holes irregular, and the scrolls show the marks of the
chisel; but all is thoroughly characteristic. The varnish is of every
color,—yellow, red, and brown, and generally of fine intensity of color
and great body. The tone, like that of Da Salo, is full and masculine.
Those instruments which were produced during one not very long period of
his life are by far his best; those made at other times are inferior,
and in some cases almost unrecognizable as his productions. Possessing
more genius than Stradivarius, he wasted his abilities, and rumor
asserts that he led a life of idleness and dissipation, broken only,
under pressure of want, by fitful periods of industry.