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Scan 62
Old Violins And Their Makers, 1883
6 lines. Read by computer on 30 September 2026. Printed page 48. See the scan on archive.org.
1tickets run "Andreas Guarnerius Cremonæ sub titulo sanctæ Teresiæ" "Andreas Guarnerius fecit Cremonæ sub titulo sanctæ Teresiæ" "Sub disciplina Andreæ Guarnerij, in eius officina sub titulos. Teresæ Cremonæ." (See Fig. 4.)
3Joseph Guarnerius, called by connoisseurs "Joseph, son of Andrew," to distinguish him from his more celebrated cousin, is supposed to have worked in Cremona from 1690 to about 1730. His violins are much more highly appreciated than those of his father, and almost all the best of them had tickets of his great relative put inside after the fame of the latter had spread. This fraudulent custom of changing his tickets commenced about the beginning of the present century, when the great Joseph's instruments suddenly rose in the estimation of the virtuosi. Some say he first imitated Stradivari, but afterwards his own cousin. His instruments are more elegant in form than those of his father. The pattern is small, and bears, of course, a striking general resemblance to that of Nicolas Amati, the f holes having in the lower turn a long sweep similar to that of his father. They are also more inclined towards the middle of the instrument. His wood is well chosen, the ribs of a good height, and the finish of the purfling and corners clever. The colour of his varnish is a brilliant red, and one of his tickets reads, "Joseph Guarnerius, filius Andræ fecit Cremonæ, sub Titulo St. Theresiæ."
5Pietro Guarnerius, second son of Andrew, worked at Cremona and at Mantua from about 1690 to 1725. His work is not characterised by any degree of excellence. It is careless in appearance, inelegant in form, and very
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