Scan 34
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1hook, will be evident when we hear of some having proclaimed him to have been a pupil of Giovanni Paolo Maggini. A reference to the admirable representation herewith printed of a double purfled violin by Gisalberti—(see Plates I., II., and III.)—will give the reader some clue to the reasons which have induced some fanciers to fix upon Maggini as his probable teacher; it is doubtless the fact of Gisalberti inserting, on occasion, an extra line of purfling. This, to many enthusiasts in the study of the subject, would seem a positive indication, being unaware or oblivious of the fact that double purfling was a common habit among the Italian makers of different schools, and was not confined to that of Brescia.
3This peculiarity, which, with Gisalberti, may have appeared on very rare occasions, is the only one which can be said to have been common to both.
5In his general system of modelling, Gisalberti more nearly approached that of Gasparo da Salo, possibly from his naturally hasty habit rather than from any distinct idea of reintroducing the style of the Brescian master. In the drawing of the curves, there is nothing in Gisalberti (double purfled) suggestive of Maggini, nor indeed of Gasparo da Salo; but there is some touch of the Amati perceptible if we examine the waist curves; these are effected with much smoothness of contour, but there is wanting the delicate elaboration or sub-division of the curving, a branch of art in which the Amati family exhibited such amazing ability.
7There can be very little question as to Gisalberti not being an adept at the harmonizing of curves by proportion or direction; he seems to have been content to obtain his effect, upon his stiffer or straighter line above the upper corners, and below the lower ones.
9This peculiarity may be noticed right through his career; all of his instruments, so far as my knowledge extends, having this strong mannerism.
11Further on it will be found useful to refer again to this interesting and more carefully manipulated specimen of Andreas Gisalberti's better class of violin.
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