Books › A treatise on the structure and preservation of the violin and all other bow-instruments; together with an account of the most celebrated makers, and of the genuine characteristics of their instruments;, 1860 › scan 91
Scan 91
A treatise on the structure and preservation of the violin and all other bow-instruments; together with an account of the most celebrated makers, and of the genuine characteristics of their instruments;, 1860
18 lines. Read by computer on 3 September 2026. Printed page 69. See the scan on archive.org.
1Among the foreigners to Italy who worked under Ant. Stradivari, we remark—
3Medard, who made violins, first at Paris and afterwards at Nancy, from 1680 to 1720.
5Ambrose Decombre, of Tournay, who, in returning to his country, worked from 1700 to 1735, and whose basses are much esteemed.
7Francis Lupot, of Stutgard, who worked there from 1725 to 1750. He was the father of him of the same name who established himself in Paris in the second half of the eighteenth century.
9John Vuillaume, of Mirecourt, who made good instruments from 1700 to 1740.
11We now come to mention the family of Guarneri or Guarnerius, which furnished several distinguished makers of violins. The head of the family was:—
13Andrew Guarnerius, born at Cremona in the first part of the seventeenth century. He was one of the first pupils of Nicholas Amati, and worked from 1650 to about 1695. His instruments rank in commerce among those of the second class.
15Joseph Guarnerius is generally considered the eldest son of Andrew, and is said to have been brought up under his father. He worked from 1690 to 1730. He did not follow Andrew's model; but first imitated Stradivarius, and afterwards his cousin, who was named Joseph, like himself. His instruments are of good quality, and esteemed.
17Peter Guarnerius, the second son of Andrew, worked from 1690 to 1725. His first productions are dated Cremona; but later he settled at Mantua.
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