Scan 70
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
11 lines. Read by computer on 2 October 2026. No printed page number was found. See the scan on archive.org.
1FF were placed lower than usual and very open. For the violins the wood was particularly well selected, with a close grain. Orange and gilt-yellow varnish, very fine and supple. He made instruments of different models, generally small and narrow in the chest. Edges curving up, narrow and long corners. No 239.
3GUARNERIUS (Pietro I) — Cremona and Mantua 1655-1728.
4Born in Cremona. Eldest son and pupil of Andrea. When he was 25, he left his father's workshops to establish himself at Mantua. He is supposed to have worked at Venice where, presumably, he died in the year 1728. His instruments, generally a little arched and adorned with a thick red or transparent brown-yellow varnish, are excellent in quality of tone, but lack in volume, the tables not always having the necessary thickness. The model is fine and large, the sound holes also being large. The scroll, broadly treated, is original. Corners gracefully elongated. Very regular purfling. Guarnerius scroll. No 241.
6GUARNERIUS (Pietro II) — Cremona and Venice 1695-1760.
7Son of Guiseppe and probably his pupil. Worked at Venice from 1725-1750. Little is known of this maker who produced some very fine instruments. often mistaken for his uncle's work. Choice material and pale red varnish of excellent quality. No 328.
9GUARNERIUS (Guiseppe-Antonio) Called del Gesù — Cremona
10Born in 1687, died in 1742. This great artist, who, with Stradivarius, shares the title of prince of violin makers, bears no likeness in his work to any of the masters preceding him, perhaps, with the exception of Gaspard da Salo in his later manner. He is an independent maker who stands alone. By whom was he initiated in the art in which he was to hold such a prominent position? No one knows and we must discard the legend that Stradivarius was his master, since nothing in his work recalls that of the great Cremonese. He was inconsistent in his production. In his first efforts he often changed his model, also the design of the sound holes and the work therefore lacks conviction. Later he created and adopted his own fine model. To this second epoch belongs the incomparable specimen of instruments which are on a par
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