BEARE, John and Arthur.—London; contemporary. Well known dealers and repairers. Arthur Beare is an excellent repairer, and a sound judge of old instruments.
BELA, Szepessy.—Contemporary. Born in Buda Pesth, and well known amongst English amateurs.
BELLOSIO, Anselmo.—Venice; eighteenth century. Said to have worked with Serafino. Tone usually good, but instruments are of unequal merit and workmanship.
BERGONZI.—A celebrated Cremona family of makers, the last of whom, Benedetto, died in 1840, and seems to have been chiefly occupied as a repairer. Carlo, an artist of the first rank, was born in or about the year 1686, and is said to have died in 1747. The date of birth was discovered by the late Signor Sacchi, who ascertained from the Registers of the suppressed Church of San Matteo in Cremona, that Carlo Bergonzi was living in 1746 in the house formerly occupied by Stradivari, and his age was stated to be sixty years. Two of his sons, Michael Angelo and Zosimo, were then living with him. He worked with and for Stradivari, and in some of his instruments copied him with great exactness. In other examples he introduces modifications of the great master’s patterns; these are chiefly noticeable in the form of the sound-holes, which are of slightly pointed form, and the corners, in which a decided droop is observable. The boss of the scroll is frequently more prominent than in Stradivari violins. The arching varies, but the declivity is generally inclined to flatness. Wood usually very handsome, and varnish of different shades, from amber to deep red. It is of beautiful quality, and apparently similar in composition to that of Stradivari. The violins are from 137/8 to 14 inches long, and, so far as writer’s experience goes, he did not exceed the latter measurement. The tone of great beauty, but distinct from that of Stradivari. His fiddles have been repeatedly relabelled and sold as the work of Guarneri, del Gesù, and genuine labels are not very plentiful; even in his own work the dates and tickets cannot always be relied on, as they have in some instances been inserted to replace forged Stradivari and Guarneri labels, attached by unscrupulous dealers and others. Some of the better judges question the existence of either violas or violoncellos of his make, but very fine examples of both forms of instrument exist which have been assigned to him by connoisseurs of the first rank. The same remark applies to a few double-basses of great merit whatever their authorship. Strange as it may seem, none of his sons would appear to have used varnish of the true Cremonese type. Carlo’s name and label may be found in many instruments, both genuinely old, and of the “modern antique” class, with the making of which he had nothing to do. Nicolò, his eldest son, is supposed to have worked until about 1782. He was a good workman, and seems to have made many instruments, but they are very inferior in style to those of his father. Wood and varnish are of second-rate quality, the latter, judging by appearances, being of a hard alcoholic nature. Michael Angelo Bergonzi, the second son, was born, according to the registers quoted from by Sacchi, in 1722, and worked until about 1765-70. The finish is very passable, but pattern generally inelegant, the corners in some examples being elongated in unsightly fashion. The third son, Zosimo, born 1725, worked until about 1780, according to dates in instruments. It is said that his violoncellos are his best instruments. The writer has not met with any, but has seen a few violins of good tone, large pattern, somewhat high arching, and outline of Amati character. The varnish, a somewhat dull dark red, of soft quality. A second Carlo, who died about 1820, and was a son of Michael Angelo, seems to have been chiefly a guitar maker, and repairer of instruments.
BERNARDEL.—A well-known family of makers and dealers who carried on business in Paris in the nineteenth century, and were associated with the equally well-known Gand family under the style of Gand and Bernardel. The founder was Auguste Sebastien Philipp, born at Mirecourt in 1802, died 1870. Worked with Lupot, and later with the elder Gand. A clever maker whose instruments are in high esteem. Other members of the family were Ernest Auguste, died Paris, 1899; Gustave Adolphe, born 1832; and Leon, born in Paris, 1853. All these have continued to follow the style and traditions of Nicholas Lupot.
BERTOLOTTI.—Brescia; sixteenth and early seventeenth centuries. The chief member of this family was the celebrated Gaspar da Salò, born at Salò (province of Brescia) in or about 1542, died in City of Brescia, April, 1609. He certainly made violins, usually of rather small form, at least a dozen of which are recognised by the best authorities as authentic; but it is by no means clear that he was the first man to make a fiddle strung with four strings and generally of the form in which the instrument is now seen. The authorship of the true violin has been assigned to others: e.g. Duiffoprugcar, a viol maker, whose claims have long since been dismissed by competent judges as unsupported by evidence of any value. Gaspar’s violins, as might be expected, are of primitive appearance and character. One of them, belonging to the late Lord Amherst of Hackney, and of unquestioned authenticity, was seen many years ago by the writer, and is the only violin by da Salò of undisputed genuineness with which he has met during a long course of years. Several violas of large size (“tenores”) still exist, but the majority have been reduced, often very unskilfully, in size. Of those seen by the writer all have been remarkable for their fine tone. A number of large bass viols (violoni) still survive. They were built to carry a number of strings, but have mostly been converted by modern repairers into three or four string double basses. A very fine and perfect example of these is in the possession of the Reverend Leigh Blake. It is said that he made violoncellos, but this is probably incorrect. Instruments of various types formerly assigned to him are now recognised as the work of his pupil and follower, Gio. Paolo Maggini. Interesting information relating to him, including the date of his death, was discovered, and published in 1891, by Cavalier Livi, who also ascertained that his father was a viol maker, and that a son Francesco, who died in 1614, assisted him. Gasparo’s genuine labels are undated.
BERTRAND, Nicholas.—Paris; circa 1685-1730. Best known as a viol maker. Writer recently saw and repaired a violin by him with manuscript label, date 1710, of good workmanship and sweet tone; arching high. Some examples are branded.
BETTS.—London. A well-known family of makers and dealers in old instruments. The founder of the business was John Edward Betts, “Old John Betts,” born Stamford, 1755, died London, March, 1823. Worked with Richard Duke, and made some instruments, but employed in his own business the best workmen of the day: Bernhard Fendt, John Carter, Vincent Panormo and his sons, together with several others. The instruments made for him generally bear his stamp under the button, and this has been forged of recent years in the most wholesale manner; it may be seen, in pawnshops and elsewhere, on instruments of the commonest class and foreign make. Betts was a first rate judge of old Italian work and many fine examples passed through his hands. A nephew, Edward, was associated with him; he was a careful workman and made some good copies; he died about 1820. Other members of the family were at one time or other connected with the business, amongst whom may be mentioned two named Arthur Betts, the first a brother of John, and the second a nephew.
BIANCHI, Niccolò.—1796-1881. Born in Genoa, died Nice. A clever workman who was employed by several makers of repute, including Bagatella, G. B. Ceruti, and Pressenda. He was for some years in Paris; his own instruments are said to be very good, but he was much employed as a repairer.
BIMBI, Bartolommeo.—Siena and Florence; second half of eighteenth century. Violins usually of rather small pattern, high built, and with very pretty red-orange varnish.