Scan 47
Cremona: an account of the Italian violin-makers and their instruments, 1894
27 lines. Read by computer on 3 September 2026. Printed page 25. See the scan on archive.org.
121. BALESTRIERI, Pietro. Cremona, 1735. His work is finished in the exterior with more accuracy, but is inferior in tone to that of the last.
322. BARBIERI. Mantua, 1750. He worked on the model of Stradivari. (j)
523. BARZELLINI, Aegidius. Cremona, 1684. His violin model is that of Hieronymus Amati, with golden-brown varnish. The F holes are widely cut and lie rather obliquely.
7Aegidius Barzellini fecit
8Ecolle Amatius Cremonen, 16—
1024. BELLOSIO, Anselmo. Venice, 1760. He resembled Sanctus Seraphin, but in workmanship rather than in tone. (k)
1225. BENEDICTI, Donate de. Cremona, 1674. But little known.
1426. BENTE, Matteo Brescia, 1580. His instruments are of a broad angular model, and are of interest to collectors only. (l)
1627. BERGONZI, Francisco. Cremona, 1687. His principal merit was that he was the father of—
1828. BERGONZI, Carlo. Cremona, 1712-1750. (m) He was a direct and the best pupil of Stradivarius, whose influence is to be seen in all his work. He must, however, have been also an admirer of Joseph Guarnerius del Gesù, for many traces of that maker's style are to be found in Bergonzi's work. At first he adhered to the flat model and to the outlines
20(j) There was also Francesco Barbieri, of Verona, 1695, of whom violins of the pattern of Andrea Guarnieri are known. (Vidal, "La Lutherie.")
22(k) or Bellosio. He worked until 1780. Good violoncellos of his are known. He was a pupil of Sanctus Seraphin, and the master of Marc Antonio Cerin, of Venice. His label runs, "Anselmij Belosij fecit Venetiis 17—."
24(l) He is known as a maker of lutes, specimens of which instrument by him are known to exist.
26(m) One form of the name is Baganzi.
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