iod, there is a peculiarly
striking similarity in his work and model to that of his father, but
after this date we can watch the gradual change of form and outline
which culminated in the production of those exquisite works of the art
of Violin-making known as "grand Amatis"--a name which designates the
grand proportions of the instruments of this later date. It may be
said that the maker gained his great reputation from these famous
productions. They may be described as having an outline of extreme
elegance, in the details of which the most artistic treatment is
visible. The corners are drawn out to points of singular fineness, and
this gives them an appearance of prominence which serves to throw
beauty into the entire work. The model is raised somewhat towards the
centre, dipping rather suddenly from the feet of the bridge towards
the outer edge, and forming a slight groove where the purfling is
reached, but not the exaggerated scoop which is commonly seen in the
instruments of the many copyists. This portion of the design has
formed the subject of considerable discussion among the learned in the
Violin world, the debatable points being the appearance of this
peculiarity and its acoustic effect. As regards the former question,
the writer of these pages feels convinced that the apparent
irregularity is in perfect harmony with the general outline of the
great Amati's instrument; and it pleases the eye. From the acoustical
point of view, it may be conceded that it does not tend to increase of
power; but, on the other hand, probably, the sweetness of tone so
common to the instruments of Niccolo Amati must be set to its credit;
for, in proportion as the form is departed from, the sweetness is
found to decrease. The sound-hole has all the character of those of
the preceding Amati, together with increased boldness; in fact, it is
a repetition of that of Girolamo, with this exception. The sides are a
shade deeper than those of the brothers Amati. The scroll is
exquisitely cut. Its outline is perhaps a trifle contracted, and thus
is robbed of the vigour which it would otherwise possess. From this
circumstance it differs from the general tenor of the body, which is
certainly of broad conception. The maker would seem to have been aware
of this defect, if we may judge from the difference of form given to
his earlier scrolls, as compared with those of a later date, in which
he seems to have attempted to secure increased boldness, a