above all others. It may be remarked of all the Cremona violins of the
best period, whether Amati, Stradiuarius, Guarnerius, or Steiner,
that they are marked no less by their perfect beauty and delicacy of
workmanship than by their charm of tone. These zealous artisans were not
content to imprison the soul of Ariel in other form than the lines
and curves of ideal grace, exquisitely marked woods, and varnish as of
liquid gold. This external beauty is uniformly characteristic of the
Cremona violins, though shape varies in some degree with each maker.
Of the Stradiuarius violins it may be said, before quitting the
consideration of this maker, that they have fetched in latter years
from one thousand to five thousand dollars. The sons and grandsons of
Antonius were also violin-makers of high repute, though inferior to the
chief of the family.

The name of Joseph Guarnerius del Jesû is only less in estimation than
that of Antonius Stradiuarius, of whom it is believed by many he was a
pupil or apprentice, though of this there is no proof. Both his uncle
Andreas and his cousin Joseph were distinguished violin-makers, but the
Guarnerius patronymic has now its chiefest glory from that member known
as "del Jesû." This great artist in fiddle-making was born at Cremona in
the year 1683, and died in 1745. He worked in his native place till
the day of his death, but in his latter years Joseph del Jesû became
dissipated, and his instruments fell off somewhat in excellence of
quality and workmanship. But his _chef d'oeuvres_ yield only to those
of the great Stradiuarius in the estimation of connoisseurs. Many of the
Guarnerius violins, it is said, were made in prison, where the artist
was confined for debt, with inferior tools and material surreptitiously
obtained for him by the jailer's daughter, who was in love with the
handsome captive. These fruits of his skill were less beautiful in
workmanship, though marked by wonderful sweetness and power of tone.