Scan 199
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
20 lines. Read by computer on 3 September 2026. Printed page 131. See the scan on archive.org.
1immortals" of his art, does not in any one respect take a place side by side with the highest.
3His tickets seem to have always the sign of the house of business, and run thus, in the usual latinized fashion of the period:—
5Andreas Guarnerius Cremonæ sub
6titulo Sanctiæ Teresiae 16 . .
8This seems to have been the only kind of ticket he used. I have not seen or heard of any other being quoted.
10He had two sons, each of them, like the second and third Amatis, far more gifted than their father in their perception of good general effect, and a long way ahead of him in originality of treatment.
12The elder of these, born 1655, after being instructed by and working with his father, went to Mantua, with which place his name is associated by modern connoisseurs as a great luminary in the art of making violins, and he may also have been in his own day recognised as such.
14His younger brother, born in 1666, stayed at Cremona, carrying on his work in the same premises as his father, that is if we can go by the sign of the house as quoted on his tickets, which are worded similarly to those of his father, thus:
16Joseph Guarnerius filius Andrae fecit
17Cremonæ sub titulo S. Teresiae 16 . .
19We may gather from this that on the death of his father, which, it is said, occurred about 1698, he kept the business going, thenceforward under his own name—how long does not seem to be precisely known. We therefore can only make a rough estimate, and in doing so, will refer to the well-known dates of his son, taught by his elder brother, Peter, in Mantua. The nephew, Peter
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