Fil. ac Antonij Nepos Fecit. 16--

Son of Girolamo Amati. It is gratifying in the notice of this famous
Violin-maker to be able to supply dates of his birth, marriage, and
death. Niccolo was christened on December 6, 1596. His marriage took
place on May 23, 1645, and it is interesting to record that his pupil
Andrea Guarneri witnessed the ceremony, and signed the register. The
information recently supplied by Canon Bazzi of Cremona, relative to
the pupils and workmen of Niccolo Amati, who were duly registered in
the books of the parish of SS. Faustino and Giovita, is fraught with
interest. It seems to carry us within the precincts, if not into the
workshop, of the master. Andrea Guarneri heads the list in the year
1653, age twenty-seven, and married; next comes Leopoldo Todesca, age
twenty-eight; and Francesco Mola, age twelve. In the following year
Leopoldo Todesca appears to have been the only name registered as
working with Amati. In the year 1666 we have the name Giorgio Fraiser,
age eighteen. In 1668 no names of workmen seem to have been
registered. In 1680 the name of Girolamo Segher appears, age
thirty-four, and Bartolommeo Cristofori, age thirteen. In 1681 another
name occurs, namely Giuseppe Stanza, a Venetian, age eighteen. In the
following year the only name entered was that of Girolamo Segher, age
thirty-six. Niccolo Amati was the greatest maker in his illustrious
family, and the finest of his instruments are second only to those of
his great pupil, Antonio Stradivari. His early efforts have all the
marks of genius upon them, and clearly show that he had imbibed much
of the taste of his father Girolamo. He continued for some time to
follow the traditional pattern of the instruments, with the label of
Antonius and Hieronymus Amati, and produced many Violins of small
size, of which a large number are still extant. He appears to have
laboured assiduously during these early years, with the view of making
himself thoroughly acquainted with every portion of his art. We find
several instances in which he has changed the chief principles in
construction (particularly such as relate to the arching and
thicknesses), and thereby shown the intention which he had from the
first of framing a new model entirely according to the dictates of his
own fancy. The experienced eye may trace the successive steps taken in
this direction by carefully examining the instruments dating from
about 1645 downwards. Prior to this per