Books › The Hawley Collection of violins, 1904 › scan 48
Scan 48
The Hawley Collection of violins, 1904
7 lines. Read by computer on 28 September 2026. Printed page 32. See the scan on archive.org.
1Chapter II
3Giuseppe (Joseph) Antonio Guarneri, 1683-1745
4The King Joseph and the Jarnowick
6OSEPH GUARNERI had perhaps the most interesting personality with which we have to deal in the study of violin building in Cremona. His genius was of the impulsive kind—not always having the consistency of that of his contemporary, Stradivari, but nevertheless always giving evidence of its presence, and now and then burning with a great blaze that served to show what a superb, artistic endowment, nature had bestowed upon him. Stradivari was better balanced mentally, in that the qualities of industry, persistency, and method must be remarked from even a cursory study of his life and work. Guarneri, on the other hand, does not seem to have had that serene poise which was one of Stradivari's most charming traits of character. Guarneri's temperament was in every respect artistic to a degree, and, like those who are especially gifted in any one direction, he was lacking in others. That he was of a religious nature is shown by the fact that his labels all bear the sign of the cross and the characters I. H. S. (Iesu Hominum Salvator), the use of which earned for him the appellation of Del Gesù. Fontaine said, "By the work one knows the workman," and Guarneri's work is all we have upon which to base our speculations as to his personal characteristics. While the musical quality of his instruments is invariably of the same high standard, a marked difference is observable in the workmanship. From the superb workmanship displayed in the King Joseph to that of some others of his violins, even of the best period, a great falling off is noticeable. This seems to indicate inconsistency, perhaps a result of changing moods, and that he varied his endeavors in accordance with the fee he was to receive. He was at times fired with intense ardor for his work, and again he was careless as to the manner or means of its completion. Yet he always adhered to the principles of construction that have made his name synonymous with perfection of tone. Joseph probably did not worry greatly over what the future had in store for him. Light-hearted and gay, fond of jolly fellowship and the good things of life, he worked only when and as the spirit moved him. Little is known of his early life, and the question of his apprenticeship has been one fruitful of discussion. It has been maintained by some writers that Stradivari was his master, probably because they think that no other was competent. Other authorities lean to the belief that it was in the shop of Joseph Guarneri, son of Andrea, his cousin, that he obtained his instruction, and this theory seems to us to be the correct one. What more natural than that he should be apprenticed to one of his own family standing high in the profession? While it is contended with reason that there is not much in common in the work of the two men, and therefore that the relationship of master and pupil is not likely to have existed, there are ex-
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