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Scan 98
The Hawley Collection of violins, 1904
4 lines. Read by computer on 28 September 2026. Printed page 58. See the scan on archive.org.
1ceeded in a measure is generally conceded, but we are of the opinion that this is true of only part of his work, particularly of the flat model. The greater number of Bergonzi's violins that we have seen seem to be an attempt to reproduce Stradivari's tone in a smaller instrument. This small model must have been in demand by some players of the day. Then his great rival, Guarneri, had achieved success with a smaller-sized instrument, and why should not he? Both made their violins under the 14-inch standard of Stradivari, Bergonzi going a step farther than Guarneri by reducing the width across the upper and lower bouts. His instruments appear, however, smaller than they really are by his custom of reducing the projecting edges so that they extend but a trifle beyond the sides. This plan followed by Joseph Guarneri was a radical departure in that direction from the works of Stradivari or Amati. Bergonzi's work is exceedingly handsome in some specimens, but not always so, being influenced no doubt by the prices he received. The maple of many of his backs bears a striking resemblance to that seen in the work of J. B. Guadagnini. This similarity is particularly noticeable in the specimen of the Hawley collection. In his earlier instruments, it is very much the same as that used by Stradivari. He, like Guarneri, possessed a splendid supply of woods. The similarity of the markings in many of his violins indicates that the wood came from the same block. His backs are usually in one piece, and the figure, usually roughly marked, sometimes extends slightly upward from left to right and again slightly downward. The walls sometimes match the back, and in other cases are made of differently figured maple. Bergonzi's scroll is one of the distinguishing features of his work and its style is distinctly original. It has an appearance of elegance surpassed by few and is of generous size, which, if anything, leans to heaviness. The chief individuality, however, lies in the prominence given the boss or center of the volute, generally known as the "ear." It is noticeably longer than that of any other maker in certain specimens of his production (estimated at one half). The arching of Bergonzi's violins, especially those of his earlier period and as late possibly as 1738, is very flat. To compensate for this and also for their decreased breadth, he increased the height of the sides. His method of placing his sound holes low and well to the edges is also original with him. The upper curve of the middle bout has a very marked inward sweep after leaving the upper corners, which gives them an appearance of length, which is accentuated by the low position of the sound holes. The purfling is set well in from the edge, the latter being beautifully finished and having an appearance of strength and solidity, which, in fact, pervades the entire instrument. The color of the Bergonzi varnish varies from a deep reddish brown to a rich shade of orange and, in a very few, rich red. It is of exquisite quality, but differs widely in the manner of application. At times it is beautifully laid on, at others, being too thick and hurriedly applied, it has checked in places. This fault, however, rather adds to its attractiveness.
3In his last period, Bergonzi's arching becomes more raised and the sides consequently lower, and he abandons the Stradivari outline for one distinctly his own. A slight angularity marks these instruments, which is charming, and adds immensely to his repute. The conditions existing in Cremona must have been such as to have made it difficult for one to obtain the favor and patronage of violinists and dilettanti. They had, by close association with fine instruments, become epicures, as it were, of violin tone. To produce some new quality of tone to offer to them, or to
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