Books › Old Violins And Their Makers, 1883 › scan 61
Scan 61
Old Violins And Their Makers, 1883
9 lines. Read by computer on 30 September 2026, twice; the two readings disagreed in places. Printed page 47. See the scan on archive.org.
1its perfection, he did not greatly distinguish himself. An early critic says that he is far from sustaining worthily that honour which attaches to his name, his careless work indicating little intelligence, and placing him in the lowest rank of Cremonese masters. All his instruments, this severe French judge goes on to say, are, without exception, constructed in the most imperfect manner, bad in the wood, and of a most unfortunate form. This is hardly just. Some of his instruments show very good workmanship, and a violoncello of his in Prague is said to display not only exquisite beauty in wood and varnish, but a rare quality and fullness of
3Andreas Guarnerius fecit Cremonæ sub titulo Sanctæ Teresiae 16
5FIG. 4.—TICKET OF ANDREAS GUARNERIUS.
7tone. His work is generally very much like that of his master, but takes rank in the second order. The model is not particularly fine. The ribs are often low and the corners and purfling common, while the back frequently is rough and almost shows the marks of the working. The f holes are narrow and weak, though pretty, the lower turn having a long semi-circular sweep almost one half greater than that of the upper turn (see illustration in Frontispiece, Andreas Guarnerius). These are also, like those of Nicolas Amati, inclined slightly away from the parallel direction of the earlier makes. His varnish is sometimes reddish and sometimes yellow, and his one of two readings
8tone. His work is generally very much like that of his master, but takes rank in the second order. The model is not particularly fine. The ribs are often low and the corners and purfling common, while the back frequently is rough and almost shows the marks of the working. The \( f \) holes are narrow and weak, though pretty, the lower turn having a long semi-circular sweep almost one half greater than that of the upper turn (see illustration in Frontispiece, Andreas Guarnerius). These are also, like those of Nicolas Amati, inclined slightly away from the parallel direction of the earlier makes. His varnish is sometimes reddish and sometimes yellow, and his one of two readings
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