Gasparo’s pupil, Giovanni Paolo Maggini (1581-1631), improved the principles of violin-building, and gave the world the modern viola and violoncello.  A rich viola-like quality characterizes the Maggini violin.  De Beriot used one in his concerts, and its plaintive tone was thought well suited to his style.  He refused to part with it for 20,000 francs when Wieniawski, in 1859, wished to buy it.  To-day it would command a far higher price.  It is stated on authority that not more than fifty instruments of its make now exist, although a large number of French imitations claim recognition.

While Gasparo was founding the so-called Brescian school, Andrea Amati (1520-1580), a viol and rebec maker of picturesque Cremona, began to make violins, doubtless to fill the orders of his patrons.  He must have believed the pinnacle of fame reached when King Charles IX. of France, in 1566, commissioned him to construct twenty-four violins, twelve large and twelve small pattern.  They were kept in the Chapel Royal, Versailles, until 1790, when they were seized by the mob in the French Revolution, and but one of them is known to have escaped destruction.  Heron-Allen, in his work on violin making, gives a picture of it, obtained through the courtesy of its owner, George Somers, an English gentleman.  Its tone is described as mellow and extremely beautiful, but lacking in brilliancy.

As the Amati brothers, Antonio and Geronimo (Hieronymous) Amati continued their father’s trade, producing instruments similar to his.  The family reached its flower in Nicolo Amati (1596-1684), son of Geronimo.  He originated the “Grand Amatis,” and attained a purer, more resonant tone than his predecessors, although not always adapted to modern concert use.  One of his violins was the favorite instrument of the French virtuoso Delphine Jean Alard (1815-1888), long violin professor at the Paris Conservatoire.  It has been described as sounding like the melodious voice of a child heard beside the rising tide.  Another fine specimen was exhibited by Mr. J. D. Partello, in 1893, at the World’s Fair, in Chicago.

Nicolo Amati’s influence was felt in his famous pupils.  Foremost among these was Antonio Stradivarius (1644-1737), whose praises have been sung by poets, and whose life was one of unwavering service.  His first attempts were mere copies, but after he was equipped with his master’s splendid legacy of tools and wood, his originality asserted itself.  His “Golden” period was from 1700 to 1725, but he accomplished good work until death overtook him.  From his bench were sent out some seven thousand instruments, including tenors and violoncellos.  Of these perhaps two thousand were violins.