estrieri may be likened to those of Stradivari which
were made during the last few years of his life, 1730-37. The form of
both is similar, and the ruggedness observable in the latter
instruments is found, but in a more marked degree, in those of
Balestrieri. These remarks, however, must not be considered to suggest
that comparison can fairly be made between these two makers in point
of merit, but merely to point out a general rough resemblance in the
character of their works. The absence of finish in the instruments of
Tommaso Balestrieri is in a measure compensated by the presence of a
style full of vigour. The wood which he used varies very much. A few
Violins are handsome, but the majority are decidedly plain. The
bellies were evidently selected with judgment, and have the necessary
qualities for the production of good tone. The varnish seems to have
been of two kinds, one resembling that of Guadagnini, the other softer
and richer in colour. The tone may be described as large and very
telling, and when the instrument has had much use there is a richness
by no means common. It is singular that these instruments are more
valued in Italy than they are either in England or France.

BALESTRIERI, Pietro, Cremona, about 1725.

BASSIANO, Rome. Lute-maker. 1666.

BENEDETTI. _See_ Rinaldi.

BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo
Serafino in pattern, but the workmanship is inferior; neat purfling;
rather opaque varnish.

BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis
mentions, in his "Biographie Universelle des Musiciens," a Lute by
this maker, richly ornamented.

BERGONZI, Carlo, Cremona, 1716-47.

Anno 17-- Carlo Bergonzi, fece
in Cremona.

Pupil of Antonio Stradivari. That he was educated in Violin-making by
the greatest master of his art is evidenced beyond doubt. In his
instruments may be clearly traced the teachings of Stradivari. The
model, the thicknesses, and the scroll, together with the general
treatment, all agree in betokening that master's influence. Giuseppe
Guarneri del Gesu here stands in strong contrast with Bergonzi. All
writers on the subject of Violins assume that Guarneri was instructed
by Stradivari, a statement based upon no reasons (for none have ever
been adduced), and apparently a mere repetition of some one's first
guess or error. As before remarked, Carlo Bergonzi, in his work, and
in the way in which he carries out his ideas, sat