Identifier: violinmakingasit1885hero (find matches)
Title: Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional
Year: 1885 (1880s)
Authors: Heron-Allen, Edward, 1861-1943
Subjects: Violin Violin
Publisher: London : Ward, Lock
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ore powerful thanthat of Stradivari. His varnish is superb, and deservedly rankedamong the best. Ticket, Domenicus Montagnana, Sub SignumCremonae, Venetiis, 17—. Santo Seraphino (Venice), 1710—1748, to my mind theneatest and most careful maker of the Italians. It is a pity hedid not strike out and apply his care to a model of his own, so VIOLIN-MAKING : AS IT WAS AND IS. instead of following a rather ugly German one, a cross betweenthose of Stainer and Amati. (Gratior et pulchro veniens incorpore virtus.) His ff holes (Fig. 46) and scroll well cut, butof a poor model ; brilliant red varnish of a perfect quality, which,being sometimes too thick, gives his instruments an opaqueappearance. His instruments are unmistakably like one anotherin style, though his model varied, the wood always showing thegrain in clear even stripes. He branded his instruments withhis initials S. S., in various places, particularly under the tail-piece. He used a very large, well-engraved, highly ornamented
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F;g. 46.—/hole of Sanc-fcus Seraphino. (1740.) Fig. 47.—/hole of CarloBergonzi. (1733.) Fig. 48.—/hole of Joseph Guarr.eriusdel Gesu. (1730.) Sainton. label, worded, Sanctus Seraphin, Utinensis, Fecit Venetijs,Anno. 17—. Charles Bergonzi (Cremona), 1718—1755, the best pupil ofAnthony Stradivari. At first copied his great master closelyand well, and subsequently started a model of his own of finesize and good thickness of wood, flat and even, the wood hand-some, and the work excellent. The lower bouts being ratherbroad, the inner bouts set rather at an angle, the upper boutslarger than those of Stradivari, the scroll cut rather flat, butvery bold, though not so well proportioned and finished asthat of Stradivari; the eye of the scroll being rather pro- blOGRAPHlCAL. 81 minent, the whole instrument possessing a considerable indi-viduality. His ff holes (Fig. 47) are set lower in the bellythan those of his master; in form they are between those ofStradivari and Guarnerius, and

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