Scan 115
The violin, its famous makers and their imitators, 1887
9 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1were evidently selected with judgment, and have the necessary qualities for the production of good tone. The varnish seems to have been of two kinds, one resembling that of Guadagnini, the other, softer and richer in colour. The tone may be described as large and very telling, and when the instrument has had much use there is a richness by no means common. It is singular that these instruments are more valued in Italy than they are either in England or France.
3BALESTRIERI, Pietro, Cremona, about 1725.
4BASSIANO, Rome. Lute maker. 1666.
5BENEDETTI. See Rinaldi.
6BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo Serafino in pattern, but the workmanship is inferior; neat purfling; rather opaque varnish.
7BENTE, Matteo, Brescia, latter part of the 16th century. M. Fétis mentions, in his "Biographie Universelle des Musiciens," a Lute by this maker, richly ornamented.
8BERGONZI, Carlo, Cremona, 1716—1747. Pupil of Antonio Stradivari. 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 Stradivari. The model, the thicknesses, and the scroll, together with the general treatment, all agree in betokening that master's influence. Giuseppe Guarneri del Gesù here stands in strong contrast with Bergonzi. All writers on the subject of Violins assume that Guarneri was instructed by Stradivari, a statement based upon no reasons (for none have ever been adduced), and apparently a mere repetition of some one's first guess or error. As before remarked, Carlo Bergonzi,
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