connection with Niccolo Amati after the year
1653. Andrea was married, December 31, 1652, and had seven children.
Two of his sons, namely Pietro Giovanni and Giuseppe Giovan Battista,
became Violin-makers. Andrea died on December 7, 1698, and we learn
from the register that he was buried on the following day near the
remains of his wife, in the Church of St. Domenico, in the same chapel
where the body of Antonio Stradivari was laid forty years later.

Andrea Guarneri for some years worked upon the model of his master,
though he afterwards changed the character of the sound-hole.[9] At
the same time the form of the instrument became flatter, and the
scroll showed signs of originality. The varnish is much varied, but is
generally of a light orange colour of beautiful hue; it sometimes has
considerable body, but when so, lacks the transparency of
light-coloured varnishes. The Violoncellos are of two sizes. The wood
in the Violoncellos is often very plain, but possesses singular
tone-producing qualities. The Violins of this maker are among his
finest efforts; the workmanship is excellent, but has not the fine
finish of Amati.

[Footnote 9: Lancetti, in his MS., mentions 1670 as about the period
of his change of style.]

GUARNERI, Giuseppe Giovan Battista, second son of Andrea, born
November 25, 1666.

Joseph Guarnerius filius Andreae fecit
Cremonae sub titulo S. Teresiae 16--

This maker possessed a greater amount of originality than Andrea. His
earliest works evidence that power of thinking for himself which,
later, led him to construct instruments entirely distinct from those
produced by his father. The outline is particularly striking. The
waist of the instrument is narrowed, rapidly widening, however, from
the centre. The result is a curve of much elegance, one of the points
which Giuseppe Guarneri del Gesu appears to have admired, as he
adopted and perfected it. It is here, more particularly, that a
resemblance between this maker and his famous kinsman is to be traced.
There are also other features which will furnish matter for comment in
their proper place. To return to the form given to the instruments of
Guarneri, the son of Andrea: the sound-hole has a singular combination
of the Amati and the Guarneri in its conception. We have here a
reappearance of the pointed form which originated with the grand old
Brescian master, Gasparo da Salo, and which was left by him to be
revived and perfected by his fol