Scan 269
The violin: its famous makers and their imitators, 1884
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1his artistic labours after passing his ninetieth year, from the number of Violins wherein, in his own handwriting, he proclaimed himself a nonagenarian. It would not be reasonable to expect to find so high a finish in the instruments made from 1700 to 1725, but even in these there is a finish distinct from that of either his sons or Bergonzi. But, beyond this, there is recognisable the splendid form, the masterly scroll, and the perfect sound-hole. To say that Omobono Stradivari, Francesco Stradivari, or Carlo Bergonzi had any share in these notable works, evidences hasty judgment, if not ignorance of the style of those makers to whom these instruments are attributed. The work of Carlo Bergonzi is now pretty well understood; in England, particularly, we have some glorious specimens. I need only ask the unbiassed connoisseur if he can reconcile one of these instruments with those of Stradivari of the period named. I have no hesitation in saying that there is not a single feature in common. The work of the sons of Stradivari is less known, but it is as characteristic as that of Bergonzi, and quite as distinct from that of their father, if not more so. The outline is rugged, the modelling distinct, the scroll a ponderous piece of carving, quite foreign to Stradivari the elder, and the varnish, though good, is totally different from the superb coats found on the father's works of late date.
3The division of the work of Stradivari into
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