Scan 269
The violin: its famous makers and their imitators, 1909
8 lines. Read by computer on 27 September 2026. Printed page 211. See the scan on archive.org.
1unbiased connoisseur if he can reconcile one of these instruments with those of Stradivari of the period named. I have no hesitation in saying that there is not a single feature in common. The work of the sons of Stradivari 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
71 "The Orchestra" of July 15, 1870, contains a notice relative to the circumstance, entitled "The Tomb of Stradivari."
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