A Brief Historical Sketch

The Violin
Let us examine a fine "Strad."  See the exquisite scroll from which the violin rolls down and unfolds itself in graceful
and continuous arabesques--the soft swell and modeling of the top and back the inspired curves of the F-holes--the
brilliant amber colored varnish deepening into a rich luscious golden-orange or red towards the center where the
sound vibrates strongest.  No wonder soloists, amateurs and collectors love a violin and yearn and themselves for it;
for with each touch of the bow every fiber of its delicate body sings a ravishing melody of millions of tones which, for
nearly 400 years. Have issued from it to delight the soul of man.

But is that all?  Imagine this frail body which weighs about 13 to 15 ounces supported by marvelous adjustment of its
58 parts, a tension lengthwise of about 88 pounds and a vertical pressure of about 26 pounds or altogether a weight
of over 100 pounds on its top, by which, resistance and elasticity of structure are held in prefect equilibrium.

At all events, it demonstrates simplicity of construction, the perfection of which has ever filled the thoughtful mind with
awe and admiration.  Yet simplicity is here the evolution of the most complex labor of invention. Alter one item and the
whole is marred, if not destroyed.  As in the human body, every part is related to the whole, and the whole to the parts.

Finally, we get in the tone of a violin, viola, violoncello, and string bass, the sum of all conditions and activities which
have their origin and being in this grand simplicity besides fulfilling the need for enormous strength and durability.  It is
this simplicity of materials and superlative skill of construction, which has also made cheapness possible and has
made these instruments available to the humble and great, to the rich and poor.

The Violin still stands today where it stood over 300 years ago.  Every attempt at altering its form or any smallest part
of it has ended in dismal failure.


Historical Makers
The first real violin made its appearance about the middle of the 16th century.  Its gradual evolution from inferior forms
of bowed instruments has been traced back for centuries with the help of representations of such ancient forms in
paintings, bas-reliefs, wood-carvings, miniatures, and occasional allusions in contemporary literature; all collected by
the untiring zeal of antiquarians and archeologists.

Who was the first maker to introduce the form of the modern violin?  This question has not yet been definitely
answered, although it is generally accepted that it was an Italian, Gasparo Da Salo, (1542-1609) as Da Salo’s violins
are among the first of which there is absolute evidence.  Another name frequently brought into prominence is that of
Gaspar Duiffopruger or Tieffenbrucker (1514-1571) as the “inventor” of the violin, bu researchers to-date show that
violins labeled with his name are not authentic but merely early 19th century “antiques” made to deceive the unwary.

Gasparo Da Salo took his name from a tiny city on Lake Garda named Salo.  His real name was Gasparo Bertolotti.  
He came to Brescia as a youth and was already established for himself before 1565.  His outstanding talent and ability
soo found widespread recognition and to him goes the honor of having founded the classical Brescian school.  Few of
his instruments have survived.  His violas are particularly magnificent, with their enormous carrying power and
sonority, and are extremely rare.

His equally famous pupil, Giovanni Paolo Maggini (1581-1632) studied and worked with Da Salo until he became of
age.  After establishing himself. Maggini worked in the style of his master.  Later he experimented and arched his
instruments rather highly.  During his third and last period he finally found his ideal.  This final period expressed the
utmost of his genius and his model reflected the highest evolution of the Brescian school.  His instruments at present
are closely held and seldom offered for sale.

With the celebrated Amati Family the classical Cremona school of master violinmakers begins.  Andrea, its founder,
(Cremona circa 1535-1580) seems to have received his early training in the art in his native city.  His violins differ
materially in appearance and workmanship from those of Da Salo and Maggini and mark a great advance on the
productions of the Brescian School.  It can be safely said that the instruments of the Amatis are the link between the
Brescian school and those masters who brought the art of violinmaking to its greatest perfection--Stradavari and
Guarneri del Gesu.  A few superb violas and cellos by Andrea Amati have fortunately survived and his violins are
eagerl sought after by collectors.

Antonio Amati (circa 1555-1630) and Girolamo (circa 1556-1630) were sons of Andrea and worked together for many
years, until the death of Girolamo, who was a victim of the black plague, which then ravaged Italy and which, a few
years later, almost depopulated London.

They developed a broader, flatter and more beautiful model that their father’s.  For exquisite workmanship and finish
they have never been excelled.  Their varnish is of finest texture, varies in color from a chestnut-cherry brown to a rich
orange-yellow shade.  Their violas were generally of large size as were their violocellos, much too large for comfort in
playing, so that, in the last century, they have been reduced in many instances to a size more readily playable.  For
pure tonal beauty it is difficult to imagine anything finer that that of their instruments.  Consequently, they were always
in demand.

Nicolo Amati (159-1684), son of Girolamo, was the most outstanding master of this highly gifted family.  Although he
did not materially alter the pattern of his father, he improved it in many resects.  His instruments enjoyed a great
reputation even during his lifetime.  Exceptionally fine are his large violins--the “Grand Amati’s”  His violas and cellos
are especially beautiful and in great demand.  To Nicolo Amati goes the proud honor of having been the master of the
greatest genius in the whole field of violin making from its beginning to the present time--Antoino Stradivari.  Many
other famous makers were likewise his pupils;-- included in the memorable list were that of his son, Girolama,
Gioffredo Cappa, Andrea Guarneri, G.B. Rogeri and Francesco Ruggeri.

By the middle of the 17th century the violin was already popular not alone in Ital, but in Germany, France, England
and the Netherlands.  To supply the ever-increasing demand for instruments, the best violin-making talent was
attracted to Cremona to serve apprenticeship, chiefly in the workshop of Nicolo Amati.  Soon there was hardly a large-
sized city in north and Central Italy, which did not have a violinmaker who did not directly or indirectly benefit from the
Cremona influence.

Like the Amati, the Guarneri family of Cremona gave illustrious names to posterity.  Similarly, the talent of the father
goes downt to the sons through several generations at an increased ratio of excellence.  Its founder, Andrea
Guarneri, (1626-1698) was, like Stradivari a pupil of Nicolo Amati.  Andrea’s early examples are similar in some details
to his master, but display many original touches.  His two sons, Pietro Guarneri (1655-1720, Peter of Mantua) and
Giuseppe (1666-1740, Joseph filius Andrea) brilliantly carried on his noble traditions with Joseph surpassing both his
father and older brother.  The instruments of these three masters rank among the finest of the classical Cremona
School.

It is impossible to treat even superficially the incomparable art of Antonio Stradivari (1644-1737) and Giuseppe
Guarneri (1698-1745), named “del Gesu.”  An enormous amount of data has been collected regarding the history, life,
pupils and followers of these two immortal masters who so completely dominated all succeeding generations of violin
makers.