Scan 176
The violin, its famous makers and their imitators, 1887
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1ment, it is seen to be in perfect harmony with the primitive outline. With this sound-hole commences the pointed form to which Giuseppe Guarneri, nearly a century and a half later, gave such perfection. The material used for the larger instruments is mostly pear-wood, or wood of that description, the quality of which is particularly fine. In the selection of this wood he showed a still minuter discrimination, using it generally for Accordos and Violonos, and not for Violins or Violas; few specimens of the latter have backs of pear-wood. His work was bold, but not highly finished.; no other result could be looked for at so early a date. The grain of the bellies is usually very even and well defined. Signor Dragonetti, the late eminent Double-Bass player, possessed three or four Double-Basses by this maker, of various sizes. The most celebrated of these instruments was presented to him by the monks of the monastery of St. Mark's, Venice, about the year 1776, and was returned to the Canons of that Church (the monks and the monastery having been suppressed since the French occupation of Venice in 1805 or 1809) after Dragonetti's death, in 1846. Another was bequeathed by Dragonetti to the late Duke of Leinster. A third is in the possession of the Rev. George Leigh Blake. Among his chamber Double-Basses the one belonging to Mr. Bennett is regarded as a singularly perfect example. It was numbered with the rarities of Luigi Tarisio's collection, and highly valued by him as a specimen of the maker. Among his Violins, the instrument owned by Mr. W. A. Tyssen Amherst is unique; the infancy of the Violin at this period is better seen here than any specimen with which I am acquainted. The Violin of this make which belonged to Ole Bull, and with which I am familiar, is another well-known example. This instru-
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