ound-holes are set
nearer the edge than is the case in the instruments of either of the
makers named. Taken as a whole, Bergonzi's design is rich in artistic
feeling, and one which he succeeded in treating with the utmost skill.

Carlo Bergonzi furnishes us with another example of the extensive
research with which the great Cremonese makers pursued their art, and
a refutation of the common assertion that these men worked and formed
by accident rather than by judgment. The differences of the two makers
mentioned above, as regards form, are certainly too wide to be
explained away as a mere accident. It is further necessary to take
into consideration the kind of tone belonging to these instruments
respectively. If Bergonzi's instruments be compared with those of his
master, Stradivari, or of Guarneri del Gesu, the appreciable
difference to be found will amount to this, that in Bergonzi's
instruments there is a just and exact combination of the qualities of
both the other two makers named. Is it not, therefore, reasonable to
conclude that Carlo Bergonzi was fully alive to the merits of both
Stradivari and Guarneri, and deliberately set himself to construct a
model that should embrace in a measure the chief characteristics of
both of them?

The scroll is deserving of particular attention. It is quite in
keeping with the body of the instrument, and has been cut with a
decision of purpose that could only have been possessed by a master.
It is flatter than usual, if we trace it from the cheek towards the
turn, and is strikingly bold. Here, again, is the portrait of the
character of the maker. Although by a pupil of Antonio Stradivari, the
scroll is thoroughly distinct from any known production of that
maker--it lacks his fine finish and exact proportion; but, on the
other hand, it has an originality about it which is quite refreshing.
The prominent feature is the ear of the scroll, which being made to
stand forth in bold relief, gives it a broad appearance when looked at
from the front.

The work of Bergonzi, as has been the case with many of his class, has
been attributed to others. Many of his instruments are dubbed "Joseph
Guarneri," a mistake in identification which arises chiefly from the
form of the sound-hole at the upper and lower portions. There is
little else that can be considered as bearing any resemblance whatever
to the work of Guarneri, and even in this case the resemblance is very
slight. Bergonzi's outline