Most authorities agree in dividing his working career into four periods. His first attempts were not marked by any characteristic sign of originality, except in the indifferent choice of material, form and in the varnish. In the second period, his instruments are found to be made with care; the wood used for the sides and back being of excellent quality, and cut on the quarter (_sur maille_); the deal of the belly has been well chosen; the varnish of fine complexion and elastic quality. The pattern is small, but of beautiful outline. The arching is slightly elevated and falls off towards the purfling in a graceful curve. M. Fétis in his criticism of these instruments, points out an obvious defect, namely, the too great thickness of the wood, especially in the backs, which tends to impede the freedom of vibration, and consequently the brilliance of sound. In the third or grand period of his career, Joseph Guarnerius, says the same authority, presents a still more surprising variety in the forms of his instruments. During this period he produced instruments of large pattern, made of excellent wood cut (_sur maille_); and conformably to the best conditions possible, in respect to arching and degrees of thickness. A beautiful varnish of a lovely orange shade, remarkable for its fineness and elasticity, protect these excellent instruments, which are considered equal to the most beautiful productions of Anthony Stradivarius. We now arrive at the fourth period, which, it is sad to observe, forms a striking contrast to the glorious third. Here we have evidence of a lamentable falling off. The master seems to have worked carelessly, the wood is poor, as is the varnish. Reports have been handed down to account for this apparent degeneration of talent, but as it is impossible to verify the same, it can serve no good purpose to here relate them. It only remains to be said, concerning this great master, that he has built up a reputation that is not likely to suffer by mere rumour. Paganini possessed one of the finest examples of a del Jesù, which was presented to him by a M. Livron, a French merchant of Leghorn. At his death, 27th May, 1840, Paganini bequeathed it to his native town, Genoa, where it is preserved in a glass case in the museum. [Illustration: Joseph Guarnerius fecit {trademark: cross IHS} Cremonæ anno 17__] GUARNERIUS, PIETRO, Cremona, eldest son of Andreas, born 1655, and lived to an advanced age. His first productions, which are of flat model, are dated from Cremona, but later on he established himself at Mantua, where he manufactured a great quantity of instruments of undoubted merit, but have the fault of too high an arching, and some there are wanting in brilliancy of tone. His tickets usually run: [Illustration: Petrus Guarnerius Cremonensis fecit Mantuæ sub. tit. Sanctæ Teresiæ 1693]