. Joseph Guarnerius, his work and his master [Andreas Gisalberti] . ty browrn common to most of thewood used by other makers of the time and variouslocalities. On close examination, the apparently lightcolour still pervading it after such a lapse of time, isfound to be caused chiefly by the brightness or glitter ofthe interstices or pores, and only by trying the woodunder different unreflected lights, will the actual localcolour be clearly discernible. From the exactness with which the sycamore of Gisal-berti agrees in all respects with that of his pupil JosephGuarnerius, we may fairly draw ou
. Joseph Guarnerius, his work and his master [Andreas Gisalberti] . ty browrn common to most of thewood used by other makers of the time and variouslocalities. On close examination, the apparently lightcolour still pervading it after such a lapse of time, isfound to be caused chiefly by the brightness or glitter ofthe interstices or pores, and only by trying the woodunder different unreflected lights, will the actual localcolour be clearly discernible. From the exactness with which the sycamore of Gisal-berti agrees in all respects with that of his pupil JosephGuarnerius, we may fairly draw our conclusions, that notonly was the wood of both selected from the samedistrict, but the first in all probability informed the otherof the means or whereabouts for obtaining it. Thatboth used identically the same kind of tree, appreciatingits great virtues, is a fact full of interest to the con-noisseur and modern maker, and if a trifle more informa-tion of the same kind could be obtained it might be themeans of opening up very important clues in ANDREAS GISALBERTI, BOZZOLO, I717. 92 JOSEPH GUARNERIUS, The violin on the preceding page has the back in onepiece, with bold curls running straight across; the sidesor ribs are of the same wood. The front is of very openthreaded pine, particularly at the outside, and it is intwo parts. The varnish is of his usual light modelling has a very slight rise, and but littlechannelling. The tone is of great excellence. Andreas Gisalberti did not confine himself to themaking of violins, as it has been popularly supposed hispupil did; he made violas of full size, good workcovered with his fine varnish, and emitting a beautifultone of great volume; he also made violoncellos, as wasproved by one turning up which had been travelling overmany countries as a solo instrument, and carrying anincreasing reputation as it went for its tone qualities. As a matter of course —it might almost be said—thenames given to it by va
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