Bow & Bridge Violin and bow makers, as the old books printed them

Books › Violin tone and violin makers, 1916 › scan 200

Scan 200

Violin tone and violin makers, 1916

2 lines. Read by computer on 27 September 2026. Printed page 178. See the scan on archive.org.

1ascertained. He also employed most beautiful varnish of a deep orange, or red orange tint, and has left some charming examples of his work. The general style of his instruments belongs to the Amati school. Arching usually somewhat full, very fine scrolls, and sound-holes which are set almost perpendicularly, and very decidedly arched at their upper and lower turns. The fiddles usually of medium size, but larger examples are occasionally met with. A very fine violin dated 1686, with ornamental purfling, is figured by von Lütgendorff. The date when he went to Mantua does not seem to be known, and the writer is unable to find any satisfactory proof that he worked also in Venice, as has been frequently stated. Pietro Guarneri II. ("Peter of Venice") was a son of Joseph, son of Andrea. He was born in Cremona in April, 1695, and appears to have worked in Venice until after 1760. In his labels, which have an ornamental border, he calls himself son of Joseph. He is stated to have worked for some time with his uncle, Peter of Mantua, in that city. The writer is not well acquainted with his instruments. Giuseppe Guarneri ("Joseph, del Gesù") was born at Cremona in October, 1687. Date and place of death are unknown. The latest date seen in a violin is 1745. The correct birth date was ascertained by an Italian writer (de Piccolellis), and first published in 1886, notwithstanding which several subsequent writers have persisted in stating that the event took place in 1683, the date formerly supposed to be correct (on the authority of J. B. Vuillaume). According to Hart, whose view is generally followed by the best modern authorities, del Gesù's probable instructor was his relative, Joseph, son of Andrea, and there are features in some of his work which certainly

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