Scan 178
The violin: its famous makers and their imitators, 1909
8 lines. Read by computer on 27 September 2026. Printed page 130. See the scan on archive.org.
1to be traced. There are also other features which will furnish matter for comment in their proper place. To return to the form given to the instruments of Guarneri, the son of Andrea: the sound-hole has a singular combination of the Amati and the Guarneri in its conception. We have here a reappearance of the pointed form which originated with the grand old Brescian master, Gasparo da Salò, and which was left by him to be revived and perfected by his followers. Andrea's son, in adopting this long-neglected form, showed much judgment. It must be admitted that he improved upon it, and left his cousin an easy task in completing and perfecting it.
3The method of this maker with regard to the setting of the sound-holes in his instruments is peculiar. In his plan they are set in a lower position than is customary. Carlo Bergonzi followed him in this particular, and also in placing the hole a trifle nearer the edge of the instrument than is seen in most instruments. How interesting is it to observe the salient points wherein each maker seems to have adopted some isolated feature from a predecessor!
5The varnish is of the richest description, and in some instances has been so plentifully used as to cause it to clot in some places; nevertheless, its rare qualities are never deadened.
7He made Violins, Tenors, and Violoncellos, the latter being very scarce. The wood used in
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