本資料庫收藏： Violin (c. 1780)
Nicola Bergonzi (1754-1832), Carlo’s grandson and Zosimo’s eldest son, is the third generation of the Bergonzi family. Nicola’s marvelous craftsmanship reproduced his grandfather Carlo’s style in his works. The tools used or the treatment of the wood all followed the classical tradition of the Cremonese violin making. Only the best quality of wood is used for the back, such as the beautifully-flamed maple or the local Oppio wood. Nicola’s preference for yellowish orange or orange main varnish is similar to that of the late works of his uncle Michele Angelo. The texture and color of his varnish, however, are inferior to his predecessors. In addition, the violins by Nicola seem constricted in the outlines and less delicate in details.
Nicola and his younger brother, Carlo II Bergonzi (1757-1836) are both influenced by the Stradivari family and the later works of Guarneri del Gesù. Nicola sometimes combined the features of both masters; for example, the body is of a larger Stradivari pattern with F holes of del Gesù’s style but reduced in size. Besides violins, Nicola also made violas and double basses that are fairly proportioned. Nevertheless, it remains unknown whether he had made cellos. Nicola is not a prolific violin maker. His production is small compared with his contemporaries such as Lorenzo Storioni (1744-1816). After 1804, Nicola switched to fabric business, which had caused a great loss to the world of violin making.
Nicola’s F holes are usually rather vertical and asymmetric, and are placed near the edges. His violins are more masculine and square, and less curved in the outline. The C-bouts are square and nearly parallel to each other. The corners are short and coarse. The fronts are broad, and the arch structure is more flat. Nicola’s violins demonstrate his unique features in the proportions of the body.
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