. Joseph Guarnerius, his work and his master [Andreas Gisalberti] . Plate XL Violin, Joseph Guarnerius, with Ticket, ^ by Mr. H. Violin, Joseph Guarnerius, with Ticket, by Mr. H. Petherick. HIS WORK AND HIS MASTER. 49 Taking this view, we may claim as collateral criticsthose who have so strenuously maintained the necessaryconnection of style or mannerism of the pupil andmaster. It might be added that in the. majority ofinstances, the tinge of the master is indelible. In the greater number of the well known Italianliutaros this is very plainly evident. Magginis
. Joseph Guarnerius, his work and his master [Andreas Gisalberti] . Plate XL Violin, Joseph Guarnerius, with Ticket, ^ by Mr. H. Violin, Joseph Guarnerius, with Ticket, by Mr. H. Petherick. HIS WORK AND HIS MASTER. 49 Taking this view, we may claim as collateral criticsthose who have so strenuously maintained the necessaryconnection of style or mannerism of the pupil andmaster. It might be added that in the. majority ofinstances, the tinge of the master is indelible. In the greater number of the well known Italianliutaros this is very plainly evident. Magginis early work is so like that of his teacher,Gasparo da Salo, that many connoisseurs might call itidentical until the smaller differences of detail are per-ceived. It is so like, that dealers have often disposedof the work of one as being that of the other. AndreasGuarnerius is another whose early style is so akin tothat of his master, Nicolas Amati, that the instrumentsof the former have been and continue to be sold over andover again as those of the latter. Francesco Ruggieri hasbeen similarly treated; the Gaglianos in like mannerfollowed one an
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