Scan 33
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
11 lines. Read by computer on 3 September 2026. Printed page 15. See the scan on archive.org.
1That this maker was well known at Cremona in his day, that is, at the end of the seventeenth century and the commencement of the eighteenth, will be quite obvious a little further on. He did not reside permanently at Cremona, but shifted about from one place to another. His earliest ticket that I have been able to reproduce is as follows:—
3Andreas Gisalberti Fecit Parmae
4Anno salutis 1716
6From the fact of this being a printed ticket, and for which a block must have been made in the way usual among the liutaros of the time, there is great probability that he had been working in Parma for some time. It will thus be seen that in the early years of the eighteenth century, he had, for some reason, changed his residence. In all probability there are still extant many instruments made by him during his sojourn at Cremona, and we may look forward, with some reasonable hope, that a few will be found on discovery to be still intact.
8To whom this master, hitherto unknown in this country, owed his early tuition, is a matter that must at present remain as unproven. Neither the work on the outside, nor that in the inside, afford full and satisfactory evidence on which we can form any reasonable hypothesis of his having been trained in Cremona. His patterns, of which he appears to have had many, according to the whim of the moment, are distinct ones, and as unlike anything that we are acquainted with among the Cremonese makers of the period as they are possible to be.
10That this has struck many Italian connoisseurs anxious to hang their hobbies and prejudices on some convenient
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