Giovanni Battista 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. 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 in not being a mere copyist." He is said to have excited the jealousy of other makers, which caused him to remove 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 dates of his birth and death. He states that he was born in Cremona in 1711, and died in Turin, September 18th, 1786. This last-named date is in conformity with that of 1785, recently 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. 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. Giovanni Battista was particularly happy in the selection of his wood, it being invariably of the handsomest kind. The backs of his instruments are generally found to be divided, the markings of the wood being very regular; the bellies are of wood well chosen for tone, the varnish very transparent, and of a brilliant colour. The scroll may be described as a rough imitation of that of Stradivari, and to partake generally of the character of the Stradivarian scroll from the date of 1728. The English possess some of the finest specimens of this maker, and were probably the first to recognise their sterling merits. In the correspondence which passed between Count Cozio di Salabue and Vincenzo Lancetti, in the year 1823, the Count says, " The instruments of G. B. Guadagnini were highly esteemed by connoisseurs and professional men in Holland and Germany."