Scan 209
The violin, its famous makers and their imitators, 1887
8 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1Stradivari 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 periods makes the reader more acquainted with the maker's style. It must be remembered, however, that he did not strictly confine himself to making instruments wholly of one pattern at any time, although he certainly did so with but few exceptions until the last period, when, as Lancetti rightly observes, he used more frequently his earlier patterns.
5The exact spot where Stradivari was buried was made known by the researches of Signor Sacchi, a Cremonese conversant with the annals of his native city.1 This was an interesting addition to the meagre information previously handed down to us touching Stradivari. It had long been known that a family grave was purchased by Stradivari in the Church of San Domenico, in the year 1729: but in the certificates from the Cathedral of Cremona it is stated that he was buried in the tomb of Francesco Villani, no mention being made of San Domenico. The exact words are, "Buried in the Chapel of the Rosary, in the parish of St. Matthew." The omission of the name of the church wherein this chapel stood has led to the belief that the precise spot where the mortal remains of Stradivari rest was unknown. Signor Sacchi finds that the historians of Cremona (but especially Panni, in his "Report on the
71 "The Orchestra" of July 15th, 1870, contains a notice relative to the circumstance, entitled "The Tomb of Stradivari."
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