in his profession. The petitioner has since found that this Violin has been wrongly named, as underneath the label is the signature
of Francesco Ruggieri detto il Pero, a maker of less credit, whose Violins do not scarcely attain the price of three doublons."3 Vitali closes his letter with an appeal to the Duke for assistance to obtain redress.
3 "Luigi F. Valdrighi Nomocheliurgografia," Modena, 1884.
AMATI, Girolamo, Cremona, born 1649, third son of Niccolo. The labels which I have seen in a Violin and a Tenor bear the
name "Hieronymus Amati," and describe the maker as the son of Niccolo. He was born on February 26, 1649, married in 1678. In
1736 he, together with his family, removed to another parish, as shown by the original extract from the books of the Cathedral at
Cremona, sent by Canon Manfredini to Lancetti. Girolamo Amati died in the year 1740. There appears to have been some doubt
as to whether Girolamo Amati, the son of Niccolo, made Violins, according to Lancetti. He says, "Those seen with his label, dated between 1703 and 1723, were ascribed by some to Sneider, of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin
for repair to the Brothers Mantegazza, dealers and restorers of musical instruments, in Milan, and upon their removing the belly
they were pleased to discover, written at the base of the neck, 'Revisto e coretto da me Girolamo figlio di Niccolo Amati, Cremona,
1710.'"
In some instances the instruments of this maker do not resemble those of Niccolo Amati, or indeed those of the Amati family. The sound-holes are straight, and the space between them is somewhat narrow. In others there is merit of a high order--the pattern is large, broad between the sound-holes, and very flat in model, and resembling the form of Stradivari rather than that of Amati. These differences are accounted for by the fact made known by Lancetti, that the tools and patterns of Niccolo Amati passed into the possession of Stradivari, and are therefore included with those now in the keeping of Count Cozio's descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati shows signs of decadence; in some instances, however, we find it soft and transparent. The few which have this quality of varnish I am inclined to think were made in the time of Niccolo, since the instruments of a later date have a coating of varnish of an inferior kind. This maker--as with the Bergonzis--seems, therefore, to have been either ignorant of his parent's mode of making superior varnish, or was unable to obtain the same kind or quality of ingredients. With Girolamo closes the history of the family of the Amati as Violin-makers. Girolamo had a son, Niccolo Giuseppe, born in 1684, who removed with
his father to another parish in 1736, as mentioned above, but he was not a maker of Violins.
Petrus Ambrosi fecit Brixiae, 17--
AMBROSI, Pietro, Rome and Brescia, about 1730. Average merit. The workmanship resembles that of Balestrieri, as seen in the inferior instruments of that maker.
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ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice.
ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-holes are not properly placed. ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna. ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at the Academy of Bologna, without date.
ASSALONE, Gasparo, Rome, 18th century. The model is high and the workmanship rough. Thin yellow varnish. BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.
BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet in
1782 on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengel's; but no benefit has been
derived from it.
BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about 1760. Thomas Balestrieri Cremonensis
Fecit Mantuae. Anno 17--
BALESTRIERI, Tommaso, middle of the 18th century. Said to have been a pupil of Stradivari, which is probable. The instruments of Balestrieri may be likened to those of Stradivari which were made during the last few years of his life, 1730-37. The form of both is similar, and the ruggedness observable in the latter instruments is found, but in a more marked degree, in those of Balestrieri. These remarks, however, must not be considered to suggest that comparison can fairly be made between these two makers in point
of merit, but merely to point out a general rough resemblance in the character of their works. The absence of finish in the instruments of Tommaso Balestrieri is in a measure compensated by the presence of a style full of vigour. The wood which he used varies very much. A few Violins are handsome, but the majority are decidedly plain. The bellies were evidently selected with judgment, and have the necessary qualities for the production of good tone. The varnish seems to have been of two kinds, one resembling that of Guadagnini, the other softer and richer in colour. The tone may be described as large and very telling, and when the instrument has had much use there is a richness by no means common. It is singular that these instruments are more valued in Italy than they are either in England or France.
BALESTRIERI, Pietro, Cremona, about 1725. BASSIANO, Rome. Lute-maker. 1666. BENEDETTI. See Rinaldi.
BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo Serafino in pattern, but the workmanship is inferior; neat purfling; rather opaque varnish.
BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis mentions, in his "Biographie Universelle des Musiciens," a Lute by this maker, richly ornamented.
Anno 17-- Carlo Bergonzi, fece in Cremona.
BERGONZI, Carlo, Cremona, 1716-47. Pupil of Antonio Stradivari. That he was educated in Violin-making by the greatest master of his art is evidenced beyond doubt. In his instruments may be clearly traced the teachings of Stradivari. The model, the thicknesses, and the scroll, together with the general treatment, all agree in betokening that master's influence. Giuseppe Guarneri del Gesu here stands in strong contrast with Bergonzi. All writers on the subject of Violins assume that Guarneri was instructed by Stradivari, a statement based upon no reasons (for none have ever been adduced), and apparently a mere repetition of some one's first guess
or error. As before remarked, Carlo Bergonzi, in his work, and in the way in which he carries out his ideas, satisfactorily shows the source whence his early instructions were derived, and may be said to have inscribed the name of his great master, not in print, but in the entire body of every instrument which he made. This cannot be said of Giuseppe Guarneri. On the contrary, there is not a point throughout his work that can be said to bear any resemblance to the sign manual of Stradivari. As this interesting subject is
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considered at length in the notice of Giuseppe Guarneri, it is unnecessary to make further comment in this place.
The instruments of Carlo Bergonzi are justly celebrated both for beauty of form and tone, and are rapidly gaining the appreciation
of artistes and amateurs. Commercially, no instruments have risen more rapidly than those of this maker; their value has continuous-ly increased within recent years, more particularly in England, where their merits were earliest acknowledged--a fact which certainly reflects much credit upon our connoisseurs. In France they had a good character years ago, and have been gaining rapidly upon their old reputation, and now our neighbours regard them with as much favour as we do.
They possess tone of rare quality, are for the most part extremely handsome, and, last and most important of all, their massive construction has helped them, by fair usage and age, to become instruments of the first order. The model of Bergonzi's Violins is generally flat, and the outline of his early efforts is