Books › the history of the violin, 1864 › scan 254
Scan 254
the history of the violin, 1864
7 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 232. See the scan on archive.org.
1hard, and are generally of small pattern, with a brilliant reddish varnish. The instruments of Pietro have a full tone, but want brilliancy, and the form is not elegant; the varnish of a brownish hue. The two brothers worked from about 1690 to 1720; and in the latter part of his life Pietro removed to Mantua. There was a very fine violoncello by this maker in Sir William Curtis's sale, bought in for 125 guineas. A son of Giuseppe's is mentioned, called Pietro, who worked at Cremona from 1725 to 1740, and followed his father's models, but with less finish.
3The great artist of this family was Giuseppe, or Giuseppe Antonius Guarnerius, commonly known as Joseph, the nephew of Andreas, often called del Jesu, in consequence of many of his tickets having I.H.S. marked on them, and frequently a cross. His father, Giovanni Baptista Guarnerius, the brother of Andreas, was not a maker himself. Joseph was born at Cremona on the 8th of June, 1683, and became a pupil of Stradiuarius; but he was not a mere imitator, and was guided by positive principles. He worked at Cremona until the year of his death, 1745; but, unfortunately, in his latter years, he became careless and dissipated, and addicted to drink; his instruments became inferior in make, and the wood and varnish also deteriorated. one of two readings
4The great artist of this family was Giuseppe, or Giuseppe Antonius Guarnerius, commonly known as Joseph, the nephew of Andreas, often called del Jesu, in consequence of many of his tickets having I.H.S. marked on them, and frequently a cross. His father, Giovanni Battista Guarnerius, the brother of Andreas, was not a maker himself. Joseph was born at Cremona on the 8th of June, 1683, and became a pupil of Stradiuarius; but he was not a mere imitator, and was guided by positive principles. He worked at Cremona until the year of his death, 1745; but, unfortunately, in his latter years, he became careless and dissipated, and addicted to drink; his instruments became inferior in make, and the wood and varnish also deteriorated. one of two readings
6It is stated that he was confined in prison for a considerable time; and Fetis relates that while he was there the gaoler's daughter procured some inferior tools and wood, and assisted him in his work, and then took the instruments out for sale in order to obtain some comforts for him in his reduced circumstances. She bought the varnish, as required, from different makers, which accounts for the variety of tints on his later instruments. At the commencement of his career his instruments
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