Scan 109
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 1 October 2026. Printed page 67. See the scan on archive.org.
1belonging to each city. A close study of the various Schools shows that there is much in common among them. A visible individuality is found throughout the works of the Italian makers, which is not to be met with in anything approaching the same degree in the similar productions of other nations. Among the Italians, each artist appears to have at first implicitly obeyed the teaching of his master, afterwards, as his knowledge increased, striking out a path for himself. To such important acts of self-reliance may be traced the absolute perfection to which the Italians at last attained. Not content with the production of instruments capable of producing the best tone, they strove to give them the highest finish, and were rewarded, possibly beyond their expectation. The individuality noticed as belonging in a high degree to Italian work is in many instances very remarkable. How characteristic the scroll and the sound-hole of each several maker! The work of master and pupil differs here in about the same degree as the handwriting of father and son, and often more. Although Stradivari was a pupil of Niccolò Amati, yet how marked is the difference between the scrolls and sound-holes of these two makers; Carlo Bergonzi worked with Stradivari, yet the productions of these two are more easily known apart. A similarly well-defined originality is found, in a more or less degree, to pervade the entire series
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