A Dictionary of Music and Musicians/Guadagnini
GUADAGNINI, a numerous family of Italian violin-makers, of the Cremona school, though probably originating from Piacenza. The first generation consists of Lorenzo and John-baptist: the latter seems always to have been a family name. Their exact kinship is uncertain. They worked from about 1690 to 1740. Both claimed to be pupils of Stradivarius. The violins of JohnBaptist fully justify this claim. They are finely designed, and covered with a rich dark red varnish, easily distinguishable from the glaring scarlet varnish used by the second John-Baptist, and are in all respects worthy of the Stradivarian school. John-Baptist dated from Milan, Piacenza, and Turin: he sometimes describes himself as 'Cremonensis,' sometimes as 'Placentinus.' The violins of Lorenzo are of high sterling merit, despite their divergence from the Stradivarian model. The design is often bold to the verge of uncouthness; the corners are heavy and obtrusive; the scroll is quite unlike that of Stradivarius: the varnish, though rich and good, is less brilliant. Both of these makers are highly esteemed, and good specimens command prices varying from £40 to £80. In the second generation a marked decadence is observable. The second John-baptist (probably a son of Lorenzo) made a large number of useful violins of the commoner sort. They are mostly of the Stradivarian pattern. The second John-Baptist introduced that unpleasantly high-coloured varnish which is often supposed to be the special characteristic of a 'Guadagnini.' He used excellent wood, and his instruments are in good repute among orchestral players. He usually dates from Piacenza. To the same generation belongs Joseph (1740–1760), who usually dates from Milan, and claims to be from Cremona. He was probably a brother of the second John-Baptist. His work is massive and full of character, but distinguished by a certain rudeness, in which he probably imitated Joseph Guarnerius. His brownish-yellow varnish contrasts oddly with that of his contemporary John-Baptist and those used in the earlier generation. The third and following generations of the Guadagnini family exhibit a lamentable falling off. Now and then they did their best to imitate the work of their predecessors: more often they seem to have worked at hap-hazard. The third generation had quite lost the art of varnishing. Sometimes the varnish is a hard and cold imitation of that of John-Baptist the second: sometimes it is a thick, dull, opaque mass, resembling paint: sometimes merely a thin albuminous wash. In the make little often remains of the Cremonese character at all. They nevertheless made a certain number of useful instruments. Members of the family are believed to be still engaged in the violin trade at Turin.
[ E. J. P. ]