Instruments
Pietro inherited from his father basics of the Amati form and concept of the violin, but his style quickly developed as distinctly his own. His workmanship was much finer and more controlled than his father's, and his instruments demonstrate a harmony of elements rarely equaled by his father, which indicates a superior eye for form. The earliest instrument that exhibits Pietro's personal label is dated 1685, and was made in Mantua. This instrument's curves are slightly stiffened and elongated in a Stradivarian style. In general Pietro's instruments were the standard 14 inches long, and tended to be of a narrow pattern with rather elongated bouts. The corners and edgework were light, delicate and deeply fluted. His f-holes were based on an Amati template, but the top and bottom holes were larger than any Amati's, and the nicks more deeply cut.
Even before he left his father's workshop, Pietro experimented with ornamentation on his instruments, possibly to increase their value. He sometimes added fleur-de-lis at the corners and at times added a second line of purfling. However his attempts at embellishment always fell short those he was probably copying: Nicolò Amati and Antonio Stradivari.
From 1700 onward, he abandoned the Amati-like delicacy of his earlier work and adopted a larger, more masculine style. His model remained basically the same, though with increased width, enlarged edges, corners and f-holes. His massive scrolls are especially distinctive in this period, with the intermediate turn of the volute being left so high that the eyes appear dwarfed.
Throughout his career Pietro Guarneri was fastidious in his choice of wood. He accepted no compromises, and his maple is often of foreign growth and exceptional appearance. His varnish, likewise, was first quality, ranging in colour from golden-brown to orange to a brilliant red.
Read more about this topic: Pietro Giovanni Guarneri
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