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Scan 63
Old Violins And Their Makers, 1883
6 lines. Read by computer on 3 September 2026. Printed page 49. See the scan on archive.org.
1flat, having the borders strongly projecting. The tone is full enough, but his instruments are not very highly esteemed. The varnish which he employed was a dark brown. He is said to have died in Mantua, but at what date is not known. He made a large number of instruments at the latter place, which are, curiously enough, described as being too highly arched, though still distinguished by the defective and incomplete workmanship of his Cremona days. He appears to have left off the flat model of his earlier work with no greater success. His tickets run, "Petrus Guarnerius, Cremonensis, fecit Mantuae, sub tit. Sanctae Teresiae." Another, in manuscript, reads, "Revisto e corretto da me Pietro Guarneri Cremonese in Mantoua, 1697."
3A second Peter Guarnerius, son of the last-mentioned Joseph, and grandson of Andrew, worked at Cremona and Venice from about 1730 to 1755. He is also said to have been at the former town from 1725 to 1740, and to have then gone to Venice, where he laboured until about 1760. His work is praised by some, and by others disparaged in consequence of its want of completeness. It resembles that of his father, who taught him, and it is generally highly esteemed when it is believed to be recognised.
5It was said at one time that there was a Catherine Guarnerius who worked with her brothers and displayed a very decided taste for violin making; but no authentic information about her has come down to the present day, and she is no longer thought to have had anything to do with the art. There was a Catherine Stradivari, a daughter of the great violin maker of that name, and it is possible that, in the confusion and
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