Scan 48
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1If this be conceded, there are several other matters in the work of Mariani and Gisalberti that harmonise most satisfactorily. The soundholes of the first, in a specimen that once came under my attention, and of which an illustration is here inserted, will be seen to be very interesting. Next, they were both in possession of the method of compounding most beautiful varnish.
3The violin of Mariani's has a striking resemblance to Gisalberti in one of his humours, which will be evident at a glance.
5Further, as Antonio Mariani made a distinct departure in the matter of tone calibre after leaving his (I believe) master Maggini, there is nothing surprising in the fact of Gisalberti choosing that of the Amati as the best for presenting himself before the public with an idea of obtaining reputation.
7Assuming, then, the connection between the two makers to have been not only possible, but probable, we have the young Gisalberti starting for the famous city of Cremona, where his powers and energies would find full scope.
9He took with him, perhaps not a store of wood of proper or suitable acoustic qualities, but the knowledge of where to obtain that which he felt sure would give the tone that would attract attention.
11The quality of tone which he brought before the Cremonese world was, although of the Amati calibre, distinct, clear, more voluminous, spreading, refined and soft.
13Assuming that he continued working for some years at Cremona, he had, in the year 1716, removed to Parma, where the tickets as before illustrated were issued. We will now leave Andreas Gisalberti at Parma, where he may, or may not, have met with a different measure of success from that achieved at Cremona. Whatever the facts, there can be no doubt of his having exercised considerable influence.
15Another name will now engage our attention for a moment or two, more for continuity than from direct necessity.
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