Scan 101
The violin: its famous makers and their imitators, 1875
10 lines. Read by computer on 28 September 2026. Printed page 59. See the scan on archive.org.
1much use there is a richness not by any means common. It is singular that these instruments are more valued in Italy than they are either in England or France. They are, however, fast rising in the estimation of competent judges in the last-mentioned countries, not so much from an artistic point of view as from their peculiarly telling qualities.
3Thomas Balestrieri made mostly Violins and Tenors; the latter are of excellent proportions, and highly valued by artistes.
5BELLOSIO, Venice, 18th century. Similar to Sanctus Seraphino in pattern, but the workmanship very inferior.
7BENTE, Matteo, Brescia, latter portion of the 16th century. Style of Gaspard di Salo.
9BERGONZI, Carlo, Cremona, 1718 to 1755. Pupil of Antonius Stradiuarius. That he was educated in Violin making by the greatest master of his art is evidenced beyond doubt. In his instruments may be clearly traced the teachings of Stradiuarius. The model, the thicknesses, and the scroll, together with the general treatment, all agree in betokening that master's influence. Joseph Guarnerius del Jesù here stands in strong contrast with Bergonzi. All writers on the subject of Violins assume that Guarnerius was instructed by Stradiuarius, a statement based upon no reasons (for none have ever been adduced), and apparently a mere repetition of some one's first
The computer misreads some letters and numbers. Where a name matters to you, read the scan.