Books › the history of the violin, 1864 › scan 253
Scan 253
the history of the violin, 1864
4 lines. Read by computer on 28 September 2026. Printed page 231. See the scan on archive.org.
1with much gesticulation, considerable inflection of voice, and great emphasis, but, in fact, without pronouncing any sentences intelligibly; the only words striking the ear being such as, car—enfin—mais—si—donc—Messieurs, &c. When he had finished, the congregation was delighted: such energy, such learning, such eloquence. To be sure they all agreed that they could not hear very well, or connect the parts of the discourse, but attributed this to having been badly placed: either too near, or too far off, or in an awkward corner, and determined to choose better places next time, in order not to lose the advantage of such a talented preacher.
3We have now arrived at another great name—Guarnerius—of which family there were several; the first being Pietro Andreas, or, as he is generally called, Andreas. He was born at Cremona in 1630, and is considered to have been a pupil of Hieronymus Amati, after whose model, with some little distinction, his instruments were made, and principally of large pattern. The tone is good, but, in general, not strong; and they frequently have a fine shape and good varnish. In Sir William Curtis's sale there were a violoncello and a tenor by this maker, each put up at 100 guineas, and bought in for seventy-nine. Andreas worked from about 1650 to 1680, or, perhaps, later. The following is a copy of a ticket in our possession, or, more correctly, in the possession of one of us, which is the case with all the tickets or labels so referred to:—"Andreas Guarnerius Fecit Cremonae sub titulo Sanctae Teresiæ 1675." He had two sons, Giuseppe and Pietro, of whom Giuseppe was the best, and rather followed the model and imitated the varnish of Stradiuarius, and afterwards that of his celebrated cousin and namesake. His instruments are esteemed, though the fourth string is sometimes dry and
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