Giuseppe Guarneri del Gesù

Bartolomeo Giuseppe Antonio Guarneri, del Gesù (Italian pronunciation: [dʒuˈzɛppe ɡwarˈnɛːri]; 21 August 1698 – 17 October 1744) was an Italian luthier from the Guarneri family of Cremona. He rivals Antonio Stradivari (1644–1737) with regard to the respect and reverence accorded his instruments, and for many prominent players and collectors his instruments are the most coveted of all. Instruments made by Guarneri are often referred to as Del Gesùs.

Guarneri is known as del Gesù (literally "of Jesus") because his labels after 1731 incorporated the nomina sacra, I.H.S. (iota-eta-sigma) and a Roman cross. His instruments diverged significantly from family tradition, becoming uniquely his own style. They are considered equal in quality to those of Stradivari, and claimed by some to be superior. Guarneri's violins often have a darker, more robust, more sonorous tone than Stradivari's. Fewer than 200 of Guarneri's instruments survive. They are all violins, although one cello bearing his father's label, dated 1731, seems to have been completed by del Gesù. The quality and scarcity of his instruments have resulted in sale prices in excess of $10 million USD.

An asteroid has been named 19185 Guarneri in his honour.

The most illustrious member of the house of Guarneri, Bartolomeo was the son of Giuseppe Giovanni Battista, thus the grandson of Andrea Guarneri, both noted violin makers themselves. Andrea learned his trade as an apprentice of Nicolò Amati, to whom Stradivari was also apprenticed. Undoubtedly, del Gesù learned the craft of violinmaking in his father's shop.

Del Gesù's unique style has been widely copied by luthiers since the 19th century. Guarneri's career is a great contrast to that of Stradivari, who was stylistically consistent, very careful about craftsmanship and finish, and evolved the design of his instruments in a deliberate way over seven decades. Guarneri's career was short, from the late 1720s until his death in 1744. Initially he was thought to be a man of restless creativity, judging by his constant experimentation with f-holes, arching, thicknesses of the top and back and other design details. However, what has become clear is that, like other members of his family, he was so commercially overshadowed by his illustrious and business-savvy neighbor, Antonio Stradivari, that he was unable to command prices commensurate with his rival, needed to make more instruments and work hastily. Indeed, two of the five violin makers of the Guarneri family, the two Pietros—of different generations—left Cremona, the first for Mantua, the second for Venice, apparently because business prospects in Cremona were so stunted by the presence of Stradivari. From the 1720s until about 1737, Guarneri's work is quick and accurate, although he was not obsessed with quality of finish. However, from the late 1730s until his death, his work shows increasing haste and lack of patience with the time needed to achieve a high quality finish. Some of his late violins from circa 1742 to 1744 have scrolls that can be crudely carved, the purfling hastily inserted, the f-holes unsymmetrical and jagged.

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