Scan 83
The Violin Gallery: Comprising: Section I. South Kensington Special …, 1890
24 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1cut rather flat, but very bold, though not so well proportioned and finished as that of Stradivari; the eye of the scroll being rather prominent, the whole instrument possessing a considerable individuality. His ff holes are set lower in the belly than those of his master; in form they are between those of Stradivari and Guarnerius, and are set rather near the edge of the fiddle. His varnish varies from amber, through pale, to deep red, put on sometimes thickly; sometimes thinly. His fiddles are sometimes confused with those of Guarnerius, but are more Stradiuarian in character. His ticket runs, Anno 17—Carlo Bergonzi fece in Cremona." Observe how well this example and No. 235 agree with above minute and accurate description.
3236 SANCTUS SERAPHIN. VENICE, 1735. Mrs. Geo. A. Dissmore.
4Varnish dark brown with a red shimmer. The size and style of Sanctus Seraphin's violins vary; this is his copy of Nicholas Amati that one author observe "hints of Stainer." Starche, a German author on the violin, says: "In completeness of workmanship he is surpassed only by Stradiuarius." The finish of his work certainly justifies the observation. The sides and back of this violin are undoubtedly made from the same sycamore log mentioned by Charles Reade. Sides very shallow, and notice the f hole—a form and setting entirely individual but not always observed by this maker, as those in his Cello—No. 191 are more of Stainer type.
6237 CAROLUS FERDINANDUS LANDULPHUS. MILAN, 1765.
7Geo. A. Dissmore.
8Amber varnish. One of the very few pupils of Joseph Guarnerius Del Jesu, which surely gives him a great prestige, he was no copyist, but in each of his instruments, which vary very much, are seen features characteristic of his teacher. This maker's instruments are prized on account of tone, and he is distinguished for being the last maker who used the glorious varnish of Cremona; with him it died.
10238 J. B. RUGGERI. 1671.
11Ovide Musin.
12The great violin virtuoso.
13Almost without a crack. A beautiful instrument with yellowish brown varnish. This maker was one of the best pupils of Nicholas Amati, and his works are highly prized now-a-days. This is one of three fine violins carried by M. Musin in his concert tours.
15238 1/2 Bow by DOMINIQUE PECCATE.
16Ovide Musin.
17A very beautiful specimen. Peccate was the second greatest bow maker, ranking next to Francois Tourte Jr.
19239 PAOLO MAGGINI. BRUSCIA. Mr. Bernhard Listemann, Boston.
201590–1640. High model, large pattern, and deep rich tone. We have here a style of scroll peculiar to this maker, the extra turn—which has not been much copied, but it is worth seeing and I am glad to be able to show this feature which is uncommon even in genuine Magginis.
22240 CELLO BY CARLO BERGONZI. From Geo. Hart's Book.
23241 CELLO BY DOMINICUS MONTAGNANA. From Geo. Hart's Book.
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