GRANCINO, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned above. Similar characteristics.
GRANCINO, Francesco. Son of Giovanni Battista. Here we have the same falling off as in the case of the Gagliani, a family beginning with artists, and ending with common workmen.
GRULLI, Pietro, Cremona. Contemporary.
| Laurentius Guadagnini Cremonæ Alumnus Stradivari fecit Anno Domini 17— |
GUADAGNINI, Lorenzo, Cremona, 1695 to about 1740. No matter to which of the Guadagnini the instrument may owe its origin, if it bears the name, importance is attached to it, often without due regard to the merits of the particular specimen. The later members of the family have thus received attention measured by the excellence of the work of their forefathers. That this should be so, to a certain extent, can scarcely excite surprise, nor is it singular in the Italian branch of the art. The great makers of the Guadagnini family were Lorenzo and Giovanni Battista. The former has been considered the chief maker; but if the merits of each be duly weighed, they will be found to be nearly equal. It is probable that Lorenzo has been looked upon as the principal maker from the association of his name with that of Antonio Stradivari, a fact which, it must be granted, lends to it a certain degree of importance.
The instruments of Lorenzo are exceedingly bold in design, and differ in this respect from those of Giovanni Battista, which retain much of the delicate form of Stradivari. Lorenzo frequently changed the form of his sound-hole, giving it the pointed character of Giuseppe Guarneri in some instances, and in others retaining the type of sound-hole perfected by his master. The model is inclined to flatness, the declivity being of the gentlest kind: the breadth of the design commands admiration. The scroll is certainly not an imitation of that of Stradivari; it has considerable originality, and is more attractive on that account than for its beauty. The varnish is not so brilliant as that of Giovanni Battista, but possesses a mellowness foreign to the other members of the family. The tone is powerful, tempered with a rich quality.
Lorenzo Guadagnini was born at Piacenza, and upon leaving the workshop of his master returned to his native town, where he remained until about the year 1695, at which period he is said to have removed to Milan. In the last mentioned city he continued to work until about the year 1740.6
6 This and other information relative to the Guadagnini family I have obtained from its descendants at Turin.
| Joannes Baptista Guadagnini Placentinus fecit Mediolani 17— Joannes Baptista Guadagnini Cremonensis fecit Taurini 1776. |
GUADAGNINI, Giovanni Battista, Piacenza, 1711-86. 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.