Scan 55
The Fiddle Fancier's Guide: A Manual of Information Regarding Violins …, 1892
4 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1dozens of other makers who have tried it. It may indeed be said that the bulk of Stainer copies are so exaggerated as not to merit the title of Stainer copies at all. They are caricatures. Barrett's work is, however, by no means bad. His tone is of fairly good quality with a certain amount of breadth in it. His sound holes are quaint looking—the lower turn having a long sweep. Varnish a warmish yellow. Edges round; purfling not particularly good.
3Bergonzi, Carlo, Cremona, 1716—1747. This maker is one of the finest of the Cremonese artists. A member in fact, of the quartet par excellence, Amati, Stradivari, Guarnieri, Bergonzi. It is not known yet when he was born, but he began working on his own account in the year first mentioned, and died in 1747. He was a pupil of Stradivari when the latter was doing his finest work, as seems to be borne out by the grand outline of Carlo's own work, which is akin to the best of Stradivari, and of Nicolas Amati. The sound holes are very pure, and sometimes approach the style of Nicolas Amati, except that they bend slightly outwards at the lower turn. The model is grand, although his violins are sometimes small, being slightly under fourteen inches. There is that approach towards equality between the upper and lower portions of the instrument which gives that magnificent appearance to what is called the "grand" pattern of both Stradivari and Nicolas Amati. His arching is flat, and his varnish of rich quality, and exceedingly fine in colour. In many of his violins it is of a beautiful, rich, transparent brown on reddish orange, and is occasionally rather thickly laid
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