Scan 102
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 28 September 2026. Printed page 60. See the scan on archive.org.
1guess or error. As before remarked, Carlo Bergonzi, in his work, and in the way in which he carries out his ideas, satisfactorily shows the source whence his early instructions were derived, and may be said to have inscribed the name of his great master, not in print, but in the entire body of every instrument which he made. This cannot be said of Joseph Guarnerius. On the contrary, there is not a point throughout his work that can be said to bear any resemblance to the sign manual of Stradiuarius. As this interesting subject is considered at length in the notice of Joseph Guarnerius, it is unnecessary to make further comment in this place.
3The instruments of Carlo Bergonzi are justly celebrated for both beauty of form and tone, and are rapidly gaining the appreciation of artistes and amateurs. Commercially, no instruments have risen more rapidly than those of this maker; their value has increased within the past twenty years fourfold, more particularly in England, where their merits were earliest acknowledged, a fact which certainly reflects much credit upon our connoisseurs. In France they had a good character years ago, and have been gaining rapidly upon their old reputation, and now our neighbours regard them with as much favour as we do.
5They possess tone of rare qualities, are for the most part extremely handsome, and, last and most important of all, their massive construction has helped them by fair usage and age to become
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