This is another glorious name in the annals of Cremona. Many of the
first connoisseurs, now hesitate whether to apply the epithet greatest
to Guarnerius or to Stradiuarius. The palm is therefore divided between
them. Certain it is however that inasmuch as money rules the world, if
we resort to that test, Guarnerius is the brightest gem, for it is
recorded that he has sold for L700 and Stradiuarius for only L600. Most
of the rich connoisseurs therefore desire to possess both. The great
players, to whom money is more an object, divide their affections
between them, and are satisfied with either one or the other, as chance
or opportunity may decide.
The first of this celebrated family was Andreas, who was born in 1630
and died about 1695. He appears to have been a pupil of Nicholas Amati,
and shows much of his teacher's careful finish. His instruments are
generally beautifully made, of good and handsome wood, with excellent
varnish, principally of amber colour like that of the Amatis. He also
occasionally, but much more seldom, used red coloured varnish. This
artiste is not famous for producing a great tone in his instruments,
and he is therefore not elevated to the first class, but he made very
good violins which are well worthy the attention of the amateur. We
have seen a very fine specimen in the hands of A. Bright, Esq., of
Sheffield, which was purchased of Mr. Hart, and which is decidedly the
best instrument we have seen of this master. It is remarkably handsome,
of a beautiful yellow colour, the back of one piece with rather small
figure, the ribs similar, the head most carefully and accurately formed
and the belly of fine wood. The tone is also more powerful than
Andrew's violins generally are, and it is altogether a very fine
example of his work.
GUISEPPE GUARNERIUS is considered to be the son of Andrew, and his
instruments are generally signed as filius Andrae, very probably to
distinguish him from his more celebrated cousin and namesake, who is
besides generally known by the name of Joseph del Gesu. Guiseppe's
instruments are very similar to his cousin's in quality--but less
powerful and probably not so round in tone. They have however, a firm
well defined kind of sound, which is always pleasing both to the player
and the hearer, the former never feeling that the tone will give way
under his bow. There are a great number with "slab" backs. The varnish
is of first quality, and his violins are yearly becoming more valuable
and of greater importance. We have seen a violoncello by this master,
which is very fine. The back, ribs and head of very beautiful small
figured wood. The belly of very fine grained wood, the bate looking
like fine threads of silk stretched at regular intervals the whole
width and length of the instrument, and with an exceedingly rich red
varnish. It possesses also a fine quality of tone, and is dated 1713.
PIETRO, another son of Andreas, dates from 1690 to 1720. In the latter
part of his life, he appears to have removed from Cremona to Mantua,
his labels bearing date from thence. He was a pupil of his father, but
is said not to have equalled him in careful finish. His instruments,
however, command considerable respect and fetch a good price, a
violoncello of his being recorded to have sold a few years ago for
L120.
JOSEPH, nephew of Andreas, born in 1683, and died in 1745, is the last
and best of the race of violin makers of this name. He was distinguished
by the title of Joseph del Gesu, through his using on his labels, the
monogram I.H.S., with a cross over or through the H. His career appears
to have been of a very chequered complexion. From all the accounts that
have come down to us, he seems to have been a man of irregular habits
and eccentric genius. In consequence of these peculiarities, his
instruments differ greatly in their characteristics. Neither the model,
the wood, nor the varnish possesses much verisimilitude at different
periods of his career. They are all, however, marked by the stamp of
genius, and give but little trouble to a well informed connoisseur.
Even under the most distressing circumstances, when on some account, he
was confined in prison, and was obliged to be indebted to his gaoler's
daughter for the materials with which he worked, they still bear the
characteristics and originality of a great master. The finish, however,
of those which he made at this period was inferior to the others, being
rather coarse and slovenly, and the work altogether little indicating
externally the signs of that real excellence which they possess. At his
best period, however, his instruments are of rare beauty and merit, and
equal or perhaps excel those of Stradiuarius. The wood he then used was
of fine quality, and the varnish rich and lustrous and very often of
similar lovely tints as those of that master. Many of his instruments
are of rather small pattern, but in his best period, he produced some
of large size and of extraordinary power and grandeur of tone. Among
them was the famous favourite violin of Paganini, the renown of which,
says M. Vuillaume, "was equal to that of its master." This was the
instrument on which, the most celebrated of all violin players the
world ever saw, produced those extraordinary effects which astonished
the whole musical world, and which will never be forgotten by those who
heard them, nor perhaps excelled by any other. These instruments are
however unfortunately very rare, and as rich connoisseurs will have
them if possible, the value of them has come to be very great. We have
elsewhere mentioned the magnificent violin known by the name of the
King Joseph Guarnerius, for which Mr. Hart received the enormous sum of
L700, which is the largest amount ever obtained for a violin on record.
This splendid violin is of large pattern, with beautiful rich orange
yellow varnish and splendid wood. It was imported into this country by
Mr. Hart, and has been in the hands of those enthusiastic and judicious
collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears
to have endeavoured to produce the grandest tone, combining majesty and
refinement. Many people think he did so without thought or design, but
we think otherwise. In the first place he seems to have fixed on Gaspar
di Salo and Magini as his models, for if a comparison be made we shall
find there are many points which resemble these instruments, for
example, the peculiar shaped sound holes, the manner in which they are
placed and the flat model, all of which tend to produce power, while he
obtained the quality from the wonderful ingenuity he exercised in
leaving the thicknesses of the wood in evidently the correct places,
which was the necessary step in advance. He certainly made many rough
instruments which are ascribed to his imprisonment, and which are now
called the Prison Guarnerii, but the varnish on these even is not
surpassed. He made many of a rich yellow colour, and others of red, the
latter of which are matchless instruments. His heads are not finely
cut, but the character he gave them has never been excelled.
In the first rank of Joseph Guarnerius instruments we must no doubt
place that belonging to Paganini, which would, if it could be obtained,
command an extraordinary price, and there are also many other noble
productions of his skill extant. The King Joseph Guarnerius we have
before mentioned. Mr. Plowden has four very valuable violins by this
master. One was formerly the property of Mr. Goding, and was esteemed
by him the finest in his collection. Another is quite equal, more
highly finished and has his splendid red varnish. The third was
formerly the property of Ole Bull, and is considered of the finest
model of the master in his more unfinished and larger sized
instruments, dated 1714. The fourth, less well known, but perhaps more
perfect, certainly in tone, 1742. These four instruments are considered
by most of the virtuosi, to be probably the finest examples extant of
this great master. Certainly there are few collectors who can boast of
having so many fine violins as these four by Guarnerius, and the four
by Stradiuarius previously described. Mr. Plowden has always gone on
the principle of getting the very best instruments of each master, and
his taste and judgment are well evidenced in his collection. The late
Earl of Falmouth possessed some very valuable instruments such as the
Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after
their owners, and also a fine Magini Tenor, all of which were purchased
by Mr. Hart. The late lamented Prince Consort had a very fine tenor by
Joseph Guarnerius, which was highly finished and had belonged to
Dragonetti. There are many other fine specimens of Guarnerius in this
country. English collectors, with that splendid contempt for cost which
distinguishes them, allow no fine instruments to leave the country if
they know it, and the consequence is that in the present day, and for
some time back, England ranks first in the number and value of the
Cremona Violins she possesses. Next comes France, who has some able
connoisseurs; then Russia and Germany. Italy, strange to say, has
suffered them all to leave her, and though the native country of
Stradiuarius and Guarnerius, it is doubtful whether other nations have
not attracted all the finest instruments out of her own possession. The
great rise in the value of these extraordinary instruments is no doubt
due to the fact that they were built very strong in wood, the effect of
which would be to depreciate the tone when they were built, but which,
now time has ameliorated them and the wood has become capable of free
vibration, has refined the quality and increased the tone. Fifty years
ago, a Guarnerius of the best time might have been bought for L50 that
will now command L500. Neither does it appear that they have yet
reached their climax, for they are yearly increasing in value as the
examples we have mentioned clearly show.