lowers. Andrea's son, in adopting this
long-neglected form, showed much judgment. It must be admitted that he
improved upon it, and left his cousin an easy task in completing and
perfecting it.

The method of this maker with regard to the setting of the sound-holes
in his instruments is peculiar. In his plan they are set in a lower
position than is customary. Carlo Bergonzi followed him in this
particular, and also in placing the hole a trifle nearer the edge of
the instrument than is seen in most instruments. How interesting is it
to observe the salient points wherein each maker seems to have adopted
some isolated feature from a predecessor!

The varnish is of the richest description, and in some instances has
been so plentifully used as to cause it to clot in some places;
nevertheless, its rare qualities are never deadened.

He made Violins, Tenors, and Violoncellos, the latter being very
scarce. The wood used in his Violins and Tenors varies, but may be
pronounced as generally handsome; that of his Violoncellos is, on the
contrary, chiefly plain, and the workmanship somewhat careless, but
the tone is always fine in quality. Guarneri, Joseph, son of Andrea,
according to the parish register, was married on January 4, 1690, and
had six children.

GUARNERI, Pietro Giovanni, Cremona and Mantua, son of Andrea, born
February 18, 1655.

Petrus Guarnerius Cremonensis fecit
Mantuae sub-tit. Sanctae Teresiae 16--

In this maker, again, there is much originality, his work, together
with his model, differing entirely from that of his brother, and in
outline from that of his father Andrea. There is increased breadth
between the sound-holes; the sound-hole is rounded and more
perpendicular; the middle bouts are more contracted, and the model is
more raised. The scroll abounds in individuality of design. The ear is
brought out with much effect; the purfling is splendidly executed, the
corners being worked up to that extreme point of delicacy which is
characteristic of the works of Niccolo Amati. The purfling is embedded
after the manner of Amati in his "grand" instruments, but to a greater
extent. The varnish is superb; its quality is of the richest
description, and its transparency unsurpassed. Its colour varies; it
is sometimes of a golden tint, sometimes of a pale red, on which the
light plays with delightful variety. Pietro Guarneri used some of the
finest wood. The bellies are invariably wide in grain and very e