acture in every case; on the contrary, there are but few
instances where such association is made manifest. The style of each
was distinct, and one was immeasurably superior to the other. Antonio
deviated but little from the teaching of his father. The sound-holes
even of his latest instruments partake of the Brescian type, and the
model is the only particular in which it may be said that a step in
advance is traceable; here he wisely adopted a flatter form. His work
throughout, as regards finish, is excellent.

Girolamo Amati possessed in a high degree the attributes of an artist.
He was richly endowed with that rare power--_originality_. It is in
his instruments that we discover the form of sound-hole which Niccolo
Amati improved, and, after him, the inimitable Stradivari perfected.
Girolamo Amati ignored the pointed sound-hole and width in the middle
portions observable in his predecessor's Violins, and designed a model
of extremely elegant proportions. How graceful is the turn of the
sound-hole at both the upper and lower sections! With what nicety and
daintiness are the outer lines made to point to the shapely curve!
Niccolo Amati certainly improved even upon Girolamo's achievements,
but he did not add more grace; and the essential difference between
the instruments of the two is, that there is more vigour in the
sound-hole of Niccolo than that of his father Girolamo.

The purfling of the brothers Amati is very beautifully executed. The
scrolls differ very much, and in the earlier instruments of these
makers are of a type anterior to that of the bodies. Further, the
varnish on the earlier specimens is deeper in colour than that found
on the later ones, which have varnish of a beautiful orange tint,
sparingly laid on, and throwing up the markings of the wood with much
distinctness. The material used by these makers and the mode of
cutting it also varies considerably. In some specimens we find that
they used backs of the slab form; in others, backs worked whole; in
others, backs divided into two segments. The belly-wood is in every
case of the finest description. The tone is far more powerful than
that of the instruments of Andrea, and this increase of sound is
obtained without any sacrifice of the richness of the quality.

[Illustration: _Plate V_. CARLO BERGONZI. _Grand Pattern_. (GEO.
GUDGEON, ESQ.)]

AMATI, Niccolo, Cremona, born December 3, 1596, died April 12, 1684.

Nicolaus Amatus Cremonen, Hieronymi