Bow & Bridge Violin and bow makers, as the old books printed them

Scan 85

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, 1875

12 lines. Read by computer on 3 September 2026. Printed page 69. See the scan on archive.org.

1the 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.
3Joseph 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.
5Peter Guarnerius, the second son of Andrew, worked from 1690 to 1725. His first productions are dated Cremona; but later he settled at Mantua.
7There was another Peter Guarnerius, the son of Joseph, and grandson of Andrew. He made violins and basses at Cremona from 1725 to 1740.
9Joseph Anthony Guarnerius (called "del Jesù," on account of the initials I. H. S. which occur on the labels of his instruments) was the nephew of Andrew, and the most renowned of all those bearing his name. He was born at Cremona, June 8th, 1683, became a pupil of Ant. Stradivarius, and worked at Cremona from 1725 to 1745. His early instruments are not much esteemed, but those which followed a few years later are highly prized, especially those which are of a large model, and which are considered equal in merit to those of his celebrated master.
11In the latter part of his life, he produced instruments altogether inferior to those which have caused his name to be so highly regarded. This has been attributed to his idle and dissolute habits, and to his having been imprisoned during several years for some cause still unknown. While

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