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

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Scan 55

An encyclopedia of the violin

50 lines. Read by computer on 3 September 2026. Printed page 29. See the scan on archive.org.

1instruments on the Stradivarius model, but always used the flat pattern, with a golden yellow transparent varnish. Still, with all the beauty of his finish, it cannot compare with Lorenzo, for it lacks the same purity. Nor in tone do his violins equal Lorenzo, although he did his best work in the latter part of his life. His instruments are highly esteemed and bring very high prices. The label used by Guadagnini is reproduced on Plate 5, and one of his instruments on Plate 14.
3GUADAGNINI, GIUSEPPE, Brescia, 1697.
5GUADAGNINI, LORENZO I, Cremona, Piacenza, b. about 1695, d. 1760. A pupil of Stradivarius who worked for his old master a very long time. In 1730 he started in business for himself, using a pattern of medium size and only the best wood. His reddish gold varnish is wonderful and is not surpassed by any of the Guadagnini's. The prices for his violins increase continually with the demand. The label used by Guadagnini is reproduced on Plate 11, and one of his instruments on Plate 12.
7GUADAGNINI, LORENZO II, Turin, 1790.
9GUARNERIUS, ANDREAS, Cremona, b. about 1626, d. 1698. Son of Bartolommeo, Andrea was the head of the entire violin-making family of that name. His violins are larger than those of his teachers. Besides making full-sized violins, he also made "half-size" instruments, one of which is still preserved in Berlin. The label used by Guarnerius is reproduced on Plate 8, and one of his instruments on Plate 13.
11GUARNERIUS, ANTONIO, Cremona.
13GUARNERIUS, GIUSEPPE (JOSEPH DEL GESU), Cremona, b. 1687, d. after 1742. The greatest master of the family of Guarneri and the son of Giambattista, but it cannot be proved that he was a pupil of Stradivarius. He often changed his models, but always used exclusively acorn wood. His work is faultless, the varnish transparent and the tone beautiful. In the latter part of his life, Giuseppe worked too fast, and instruments of that period have not the value of the former. At the present time (1924) his violins bring prices comparable with those of Stradivarius. The term "del Gesu" originates from his label, on which he always used the characters J. H. S. (Jesu Homini num Salvator) and a Roman cross. The label used by Guarnerius is reproduced on Plate 8, and one of his instruments on Plate 10.
15GUARNERIUS, GIUSEPPE GIAN BATTISTA (JOSEPH GUARNERIUS), Cremona, b. 1666, d. after 1738.
17GUARNERIUS, PIETRO I GIOVANNI, Cremona, Mantua, b. Cremona, 1655, d. after 1728. First son of Andreas Guarnerius. Came to Mantua in 1680 and returned to Cremona in 1698. He was a pupil of the Amati, but his father was his principal teacher. He was a gifted violin maker. In form his violins differ greatly from those of his father and brothers. He made several attempts to create some new models, but failed in every instance. Generally speaking, his model is a composite of Amati and Stradivarius, and the tone often lacks volume. The wood is of good quality and the varnish is light red or brownish yellow.
19GUARNERIUS, PIETRO II, Venice, b. Cremona, 1695, d. Venice, after 1760. The label used by Guarnerius is reproduced on Plate 8, and one of his instruments on Plate 6.
21GUDI, HIERONIMO, Cremona, 1726 to 1727.
23GUERRA, GIACOMO, Modena, 1810.
25GUERSAN, LOUIS, Paris, b. about 1713, d. about 1781.
27GUGLIELMI, GIO. BATTISTA, Cremona, 1747.
29GUSETTO, NICOLA, Cremona, 1785 to 1828.
31HAMBERGER, JOSEPH I, Pressburg, b. Vienna, 1808, d. 1864.
33HAMM, JOHANN GOTTFRIED, (Mark-) Neukirchen, b. 1744, d. 1817.
35HARBOUR (HARBUR), W., London, 1785 to 1786.
37HARDIE, MATTHEW, Edinburgh, b. Edinburgh, 1755, d. 1826.
39HARDIE, THOMAS, Edinburgh, b. 1804, d. 1856.
41HARE, JOHN, London, beginning of 18th century.
43HARE, JOSEPH, London (Cornhill), 1720 to 1726.
45HARRIS (HARRYS), CHARLES I, Oxford, London, 1780 to 1800.
47HARRIS, CHARLES II, Oxford, London, 1818 to 1830.
49HART, GEORGE I, London, b. 1839, d. 1891. He was an excellent violinist and the successor to his father's business. Although he did not make any instruments himself, he was one of the best connoisseurs of his time and was also the author of two valuable books, The Violin, Its Famous Mak-

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