Scan 134
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1in some slight degree? The most diligent student will, however, fail to discover an early work of Guarnerius bearing any likeness whatever to the work of Stradiuarius. Among the instruments of the second epoch may be found a few that show some gleam of the desired similarity in respect to high finish; but it would be to the earliest efforts of Guarnerius that we should turn in our endeavour to discover the source of his first instructions. The faint gleam of similarity, then, attaching to the instruments of the second epoch, be it understood, is in no way sufficient to demonstrate that Guarnerius was a pupil of Stradiuarius. Upon turning to other makers, what will be the result if we judge them by the criterion above mentioned? Bergonzi, Guadagnini, Gagliano, and others whose names it is unnecessary to mention, leave upon their earliest efforts the indelible stamp of the master who first instructed them. To suppose that Guarnerius del Jesù formed the single exception to the likeness between the work of master and pupil is scarcely sufficient to satisfy the enquirer.
3There are three essential points of difference between Guarnerius and Stradiuarius. The first is the outline of the work, which, as the mere tyro must at once observe, is totally different in their respective instruments. The second is the sound-hole, in which, again, the two do not approach one another; that of Guarnerius is long, and a modified form of that of Gaspard di Salo. The third is, the
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