作者書籍:Andrea Amati and the birth of the violin_Violin－Maker介紹_專業書籍_提琴專家-音樂家樂器｜最貼心的提琴購物網

書名：Andrea Amati and the birth of the violin
( Un corpo alla ricerca dell'anima Andrea Amati e la nascita del violino )

第二冊則是雜文。
目錄本里有一篇關于意大利小提琴起源的文章，這篇文章遵照了Andrea Amati 的歷史筆錄。本冊展示了琴各個角度的彩色照片。
這些琴包括：Violino piccolo, ca. 1570, Violino Tullie House, ca. 1566, Violino carol IX 1566, Viola, ca. 1560, and violoncello The King, post 1538.
雜文部分包括以下文章：16世紀的克里默那文化，16世紀克里默那的音樂，關于16世紀提琴制作起源的重新思考等...。
第一冊書本為183頁，第二冊160頁。書本為軟封面。

Page 1

THE exact attendant circumstances of this notable nativity we shall probably never know— that is apiece of unwritten history. But my studies have led me to the firm belief that Andrea Amati was thefirst maker of the violin as we know it today. In a previous article I gave some of the data whichpoint irresistibly to that conclusion, and I have now the pleasure of presenting further facts,together with a slight recapitulation of some of the earlier evidence.Before definite dates were known for the lives of Gasparo and Maggini, our grandfathers werejustified to a considerable degree in granting the genetic attribution to the Brescians, in view of theprimitive character of their work. In our day, however, a comparison of dates, facts andinstruments seems to me to banish the Bertolotti claim to the limbo of discredited opinions.Baconians consistently contend that, as regards the authoriship of the Shakespearian writings,there is a lack of conformity between the known facts and the popular belief, but how much morewe can claim that in the Gasparo question, there is a hopeless and irreconcilable divergencebetween the old creed and our present-day knowledge.Since writing my first article on this subject, I have succeeded in ascertaining the ownership of theAndrea Amati violin of I564, and I should like to emphasize the significance of the existance of thisinstrument. In the year of its construction, Gasparo had reached the limited maturity of twenty-twoyears of age, and the old acceptation would ask us to believe that Bertolotti had invented the violin,and won a sufficiently widespread reputation to obtain a follower from another city, who in turn hadstarted on the path of violin production himself. All of which fantasy, I submit, warrants theapplication of the oftquoted conclusions of Euclid.An extraordinary contrast is provided by Gasparo's financial plight in 1588, long after the violin hadmade its appearance, and his temporary thought of leaving his native country, with Andea Amati'sremarkable position, the latter master enjoying the patronage of Pope and King. A most potentargument is connected with the few violins attributed to Gasparo—the utmost doubt and uncertaintyexists with regard to some of them, and respecting the remainder, one is able to now say clearlythat they could not possibly have been made by him.In our illustration this month, we see an instrument by Andea Amati, which is perhaps unique, - itbeing tbe only large violin by that maker that is known to rne. The extent of the undiscoveredantiquarian riches of the world is indeed something which no man knoweth, and it would be unwiseto state that no other full-sized specimen exists, but I have simply to say that I have never seenanother, and have not been able to trace one.It is recorded that Andrea supplied twelve largepattern violins, together with a similar number ofsmaller-sized ones, for the private orchestra of Charles IX of France, but it is curious that writerson the violin seem to generally only know of the survival of small-form examples. The charminginstrument depicted in this issue has a body length of 13 15/16 inches, this being the identicalmeasurement which I have found on the larger violins of Antonio and Girolamo Amati, which I haveexamined.The width of the lower bouts of the Andrea is 7 7/8 inches and the upper extreme width is about 67/16. These proportions compare well with those of later Italian violins, as it must be rememberedthat the majestic amplitude of the grand pattern of Stradivari was not generally followed by themajority of the Italian liutaros.