Scan 168
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
8 lines. Read by computer on 3 September 2026. Printed page 100. See the scan on archive.org.
1not appear to have been a dearth, although as before mentioned, the exact quality desired by each maker was precious and valuable.
3Considering the amount of unavoidable waste, or wood cut away in chips and cast aside during the construction of violins day after day during the year or season, the quantity used from the same tree must have been very large. Busy with continuous work, such as without doubt the upper classes of the Italian liutaros were engaged in, they would, in a comparatively short time, perhaps a few months, dispose of quite a beam of timber. On comparing the violins turned out from the establishments of the Amatis, Stradivaris, Guarneris, and other equally prolific workers, one cannot help being struck with the recurrence, in connection with each name, of the same grain of pine, not all in one period, but at irregular intervals. From this we might infer that the different makers were anxious to retain for special occasions particular logs of pine, with the exact tone-giving qualities of which they were, without doubt, thoroughly acquainted.
5With this view of the selection of materials for their work, we can understand how the young Joseph Guarnerius's violins (we are at present supposing he confined his energies to these alone) have so close a resemblance to those of his teacher. For some years he must have been content with following the footsteps of his teacher, both in the selection of materials and the use of them, with but little indication of the independence that was soon to be declared.
7Of this early type, Mr. George Rollit's violin, about 1710 (See Plates XXIII., XXIV., and XXV.) affords some intimation of what was likely to follow, as there is more of a distinct departure from the ways of his mentor than in the 1706 specimen illustrated in these pages. It will be perceptible at once where the modification has been effected, that is, at the waist curve, or C, the whole of which is somewhat enlarged, more particularly the lower part, which causes the corners there
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