Piacenza, 1711-86.

Joannes Baptista Guadagnini
Placentinus fecit Mediolani 17--

Joannes Baptista Guadagnini
Cremonensis fecit Taurini 1776.

Son of Lorenzo Guadagnini. He was born, according to Count Cozio di
Salabue, at Cremona, and Lancetti states that he worked with his
father in Milan. Later he worked at Piacenza, then at Parma, where he
became instrument-maker to the Duke. Upon the pensions to the artists
of the Duke's Court being discontinued in 1772, he went to Turin,
where he died.[7] Count Cozio di Salabue communicated to Lancetti the
following particulars relative to Giovanni Battista Guadagnini. He
says: "He imitated Stradivari, but avoided close imitation of all
detail, and prided himself on not being a mere copyist." He is said to
have excited the jealousy of other makers, which caused him to move so
frequently, but most likely he offended chiefly with his hasty temper.
Many of his instruments made in Turin between 1773 and 1776 have wood
of the handsomest kind. Count Cozio ordered from him several
instruments which he added to his collection, among them two Tenors
and two Violoncellos. The interest Count Cozio manifested with regard
to this maker is shown in his having obtained from the parish
registers the date of his birth and death. He states that he was born
in Cremona in 1711, and died in Turin, September 18, 1786. This
last-named date is in conformity with that of 1785, given to me by the
representatives of the family at Turin, as the last year in which he
made instruments. Lorenzo has been regarded as the only pupil of
Stradivari in the Guadagnini family; but if their respective works be
closely examined, it will be found that those of Giovanni Battista
more closely resemble the instruments of Stradivari than even those of
Lorenzo, which is suggestive of his having, in some way, been brought
early under the great master's influence.[8] It is singular that his
early labels contain no reference to Cremona, whilst on the late ones
there is mention of the famous town, which evidences the correctness
of the statement of Count Cozio relative to his birthplace. It is
quite evident that he considered the model of Stradivari as that to be
followed, and he does not appear to have changed his views on this
point at any time, all his works being in accordance with the
teachings of the great master.

[Footnote 7: The present representative of the family mentions
Piacenza as the place of b