Chapter XVII: Section VI: Italian Makers (3)

To return to the subject of this present notice: it is evident that when Montagnana left the workshop of Stradivari, he gave full scope to his creative powers. He at once began to construct upon principles of his own, and thus followed the example of his fellow-worker, Carlo Bergonzi. If comparison be made between the work of Stradivari and that of Domenico Montagnana, with regard to detail, the two makers will not be found to have much in common. It is when Montagnana's instrument is viewed as a whole that the teaching of Stradivari is evidenced. A similar assertion may, in a lesser degree, be made in the case of Carlo Bergonzi. To dissect the several points of difference is a simple matter. If we begin with the outline, that of Montagnana has not the smoothness and grace of the Stradivarian type; the upper and lower curves are flattened, while those of the centre are extended. The sound-hole partakes more of the character of Guarneri; the scroll is larger, and the turns bolder than in the Stradivari form. These, then, may be considered to be the chief points wherein, if viewed as separate items, Montagnana seems to have varied from his master: and hence we may obtain some idea of the amount of originality belonging to this maker--an amount, indeed, not inferior to that of any Cremonese artist that can be cited. The increasing popularity of Montagnana's instruments is sufficient proof that his design was fraught with much that is valuable. In departing from the form of Antonio Stradivari, Carlo Bergonzi and Montagnana doubtless intended to bring out in a stronger degree certain particular qualities of tone: at the same time we may be sure that they had no idea of attempting to improve upon Stradivari in his own field of work, for they must have well known the Herculean character of such a task. On the other hand, had these remarkable makers been mere copyists, they would certainly have handed down to us more instruments moulded in exact accord with the style of their great teacher; while, at the same time, we should have lost many variations, which are at present not only an evidence of their fertility of resource, but also in themselves most pleasing objects. If, in the sister art, Tintoretto had made it his sole business to copy Titian, the world would have been rich in copies of Titian, but poor in Tintorettos.

The varnish of Montagnana has long excited the admiration of connoisseurs throughout Europe. The extreme richness and velvet-like softness which are its characteristics constitute it a fitting countersign of the workmanship of this great maker, an artist of the first magnitude. He made Violins, Tenors, and Violoncellos. His Violins are of two sizes.

MONTALDI, Gregorio, Cremona, 1730. Copied Stradivari.

MORELLA, ----, Mantua, about 1550. M. Fetis, in his "Biographie Universelle des Musiciens," states that he was famous for his Viols and Lutes. S. Ang. Maffei, in his "Annali di Mantova" (fol. 147), highly praises the instruments made by Morella.

NADOTTI, Giuseppe, Piacenza. A Violin by this maker was in 1881 exhibited at the Milan Exhibition, dated 1767.

NELLA, Raffaele, Brescia, copied Maggini.

ORTEGA, ----, Madrid, about 1840. Maker and restorer of instruments.

PANDOLFI, Antonio, Venice. A Violin of this make, dated 1719, was among the instruments exhibited at the Milan Exhibition in 1881.

PANORMO, Vincenzo, Palermo, born about 1740, died 1813. This maker was one of the most successful followers of Antonio Stradivari. Panormo and Lupot share the palm as copyists of the great Cremonese master. Neither appears to have attempted to create a model of his own; their sole aim was to imitate to the utmost the various patterns of Stradivari, Guarneri, and Amati, but they principally confined themselves to Stradivari.

Vincenzo Panormo left Italy in early life, and settled for a short time in Paris, from which city a few of his instruments are dated. From Paris he removed to London, where he remained many years. He also visited Ireland, where he made, it is said, several beautiful instruments from an old maple billiard-table, with which he was fortunate enough to meet. He was of a restless temperament, which showed itself in continual self-imposed changes. He would not, or could not, permit his reputation to grow steadily, by residing long in one place, but as soon as fame was within his grasp, he sacrificed the work of years by removing to an entirely new field of labour.

Panormo furnishes us with another example of the certain appreciation, sooner or later, of exceptional talents. No matter how trifling the circumstances under which gifted men have laboured, some time or other their genius is discovered, and acknowledged with its due award, if not of fortune, at least of fame. The peculiar circumstances under which Panormo lived would have been sufficient in the case of most men to dwarf all efforts. Unable to obtain readily that patronage to which his abilities justly entitled him, he removed from city to city, hoping to discover a resting-place, in which favour might attend his art. No doubt this was a mistaken course, and one which robbed his work of the attention which a mind undisturbed by the care of existence can bestow; nevertheless his natural gifts had a vitality that could not entirely be suppressed. He worked and toiled for his art and for bare sustenance alternately. His life, like that of many others in the paths of literature and science, was a continued battle with adversity. Such persons are forced to satisfy daily wants by slaving at work which brings them but little credit in after time, and becomes a standard by which they are too often erroneously judged.

Vincenzo Panormo was the slave of many, manufacturing Double Basses and other instruments from the material selected and purchased by his temporary employer, ofttimes compelled to carry out some crotchet of the patron much against his own wishes. The wood thus forced upon him was often of the worst description; and, in addition, he was frequently obliged to complete his work within a given time. Instruments manufactured under such conditions can scarcely, it may be supposed, add to their maker's reputation. We cannot but regret that he should have been obliged to waste himself on such poor materials. Fortunately, however, in some cases he found time to exercise his skilful powers to their full extent, and has thus bequeathed to us some of the finest specimens of the copyist's art.

His workmanship is of a lighter description than that of Lupot, and is therefore more graceful. The sound-hole is admirably cut, and the scroll also well carved.

PANSANI, Antonio, Rome, 1735.

PASTA, Antonio, Brescia, 1700-1730. Good work. Model a little high; varnish of soft quality.

PASTA, Domenico, Brescia, about 1700.

PAZZINI, Gaetano, Florence, about 1630, pupil of Maggini.

PICINO, Padua, 1712. High model; dark varnish.

PLATNER, Michel, Rome, about 1750. The instruments of this maker resemble those of Tecchler, both in workmanship and varnish.

Michael Platner fecit Romae anno 17--

POLLUSCA, Antonio, Rome, about 1751.

POSTIGLIONE, Vincenzo, Naples, contemporary.

PRESSENDA, Giovanni Francesco, Turin.

Joannes Franciscus Pressenda
q. Raphael fecit Taurini
Anno Domini 1826.

Born in the year 1777. The Violins bearing the label of Pressenda are excellently made, and in many instances the varnish is superior to that met with on any Violins dated from Italy in the present century. Pressenda appears to have interested himself to some extent in the matter of varnish. In a little book published in Italy[13] there is the following passage: "A pale reflection of the old art (Violin-making) is found in Piedmont, with Guadagnini." The writer continues with the following reference to Pressenda of Turin, who, he remarks, was in his youth at Cremona, "where he collected the traditions of the school as regards modelling and the preparation of the varnish, which is the chief merit of his Violins." It is almost needless to remark that traditional information is frequently unsatisfactory, but particularly so in connection with Cremonese Violin-making and varnishing, near the middle of the last century. In short, the great makers left no other record of the steps they took both in manufacture and in the preparation of their varnish than can be discovered in their works. The instruments of Pressenda present a singular contrast with others of Italian make belonging to this century, most of which evidence what may be termed the throes of a dying manufacture. With Pressenda we appear to have a new departure, in which there is some show of attention having been paid to the work accomplished in the best workshops of Paris. The then condition of Violin-making in Italy made it necessary for any Italian maker--no matter how great his ability--to seek information elsewhere, if desirous of excelling in his art. Pressenda appears to have sought to emulate and even surpass many Parisian makers by associating his name for the most part with good and unsophisticated work. The results of his labours reflect no little credit on his skill and judgment. Pressenda may be styled a born maker of Violins. From an account published by Signor Rinaldi, of Turin, in 1873, we learn that Pressenda was the son of poor parents, who lived in Lequio-Berria, a hamlet in the vicinity of Alba, in Piedmont. His father Raffaele was a strolling fiddler, and gained his precarious livelihood by playing at village fairs and other rejoicings. On these occasions he was accompanied by his son Giovanni, who followed the occupation of his father, playing the Violin with some degree of skill. It was at this period that he appears to have manifested a desire to know something of Violin manufacture, and frequently asked for information from his parent, who, however, was rarely able to satisfy his curiosity. Learning that Cremona was in some way associated with good Violins, he resolved to fiddle his way to that city. There he found Storioni, from whom he obtained some rudimentary knowledge of the manufacture he was so much interested in. Later he removed to Piedmont, and established himself in Alba in 1814, as a maker of Violins. The patronage he gained was, however, insufficient to maintain him, and he combined the business of cabinet-making with his favourite pursuit. After removing to Carmagnola, he went in the year 1820 to Turin, where his abilities were recognised and rewarded. He was encouraged in his manufacture by Giovanni Battista Polledro, the famous Violinist, who, in 1824, became Musical Director of the Royal Orchestra at Turin. Pressenda died in the year 1854 at Turin. His Violins are chiefly of the model of Stradivari. The sound-holes are well cut. The thicknesses of his best instruments are well arranged, and the wood appears to have been selected with good judgment. The scrolls, whilst having much character, are somewhat roughly cut. The Violins belonging to his early period are chiefly of the Amatese character.

[Footnote 13: "L'Italie economique," 1847.]

RACCERIS,----, Mantua, about 1670.

RINALDI, Gioffredo, Turin. (Benedetti, Gioffredo.) Chiefly known as a dealer in Violins. He exhibited a few Violins by Giovanni F. Pressenda at the Vienna Exhibition, 1873, and published a short notice of that maker, which he inscribed to the Archduke Rannieri.

RIVOLTA, Giacomo, Milan, about 1822. Excellent work; scroll well cut. One of the best Italian makers of the nineteenth century.

ROCCA, Joseph Antonio, Piedmont, 1837-1863. Chiefly followed the pattern of Stradivarius. Neat workmanship, varnish rather thin, well-cut scroll. He worked for some time with Pressenda.

RODIANI, Giovita, sometimes called Budiani; Brescia, about 1580-1620. His instruments resemble those of Maggini. Dragonetti is said to have had a Double Bass of this make.

ROTA, Giovanni, Cremona. Yellow varnish, plain wood, heavy work, rough purfling.

Joannes Rota fecit Cremonese Anno 1808.

ROVETTA, Bergamo, 1840-70.

ROGERI, Giovanni Battista, Cremona and Brescia.

Io: Bapt. Rogerius Bon: Nicolai
Amati de Cremona Alumnus
Brixiae fecit Anno Domini 1705.

The word Bon after his name refers to his having been a citizen of Bologna. Vincenzo Lancetti speaks of its being certain that he called himself _Bononiensis_. The instruments of this maker are of a different pattern from those of Francesco Ruggeri. They are higher modelled, the sound-holes less elegant, and the scroll heavier. They possess, however, high merits, and command prices nearly equivalent to those of the instruments of Francesco. The labels of this maker are sometimes met with printed in red ink. The instruments he made of large Amati pattern are highly valued. He appears to have worked from about the close of the seventeenth century. Count Cozio di Salabue and Lancetti speak of G. B. Rogeri having worked down to 1723, and possibly later, and state that he lived for many years in Brescia. There are some instruments bearing original Amati labels of this make, made, doubtless, when he was in the shop of Amati.

ROGERI, Pietro Giacomo, Brescia, describes himself on his label as a pupil of Niccolo Amati. Lancetti refers to a Violoncello by Pietro Rogeri as having belonged to Count Cozio, and remarks that he was a "nearly unknown member of the Rogeri family." The date of the instrument is given as 1714. He cannot now be looked upon as almost unknown, since Signor Piatti played for many years upon a famous Violoncello of his make. The pattern is a little narrower than that of G. B. Rogeri. Varnish of beautiful quality; sound-hole resembles that of Francesco Ruggeri.

RUGGERI, Francesco, Cremona, 1668-1720.

Francesco Ruggeri detto
il Per Cremona 16--

Surnamed "Il Per." The family of Ruggeri long occupied a foremost place in the city of Cremona as makers of Violins, Tenors, and Violoncellos. Their position must have been but little inferior to that of the Amati family. Francesco, in his earliest works, gives evidence of exceptional artistic feeling, and the sequel of his career, as evidenced by his productions, is a genuine development of the first impulses of his genius. His work belongs to the school of Amati, but though the list of instruments which he has bequeathed to us be a long one, there is no sign of his ever having been a mere copyist. He evidently thought for himself. His sound-hole is a beautiful piece of workmanship, and may be said to come between that of Niccolo Amati and Stradivari, being of the most delicate execution. The outline of his work is very graceful, and the arching admirable. The scroll has quite an equal merit with the body. He was very successful in selecting his material, much of which is handsome. His varnish, thoroughly Cremonese in character, and of a most beautiful hue, may be equalled, but never surpassed. This maker also knew how to use his varnish. There is no instance in which it has been laid on in clumsy patches; the surface is always true and even, and, in consequence, the brilliancy of its appearance is perfect. Lancetti remarks, "Francesco Ruggeri was a pupil of Niccolo Amati, and perhaps a more exact imitator of his instruments than G. B. Rogeri, and made several instruments, beautifully finished, and which are not easily distinguished from those of his master." Count Cozio possessed a fine Violin by Francesco, dated 1684, and the Marquis Castiglioni also possessed one made in the same year. Francesco Ruggeri died at the house No. 7, Contrada Coltellai, Cremona.

RUGGERI, Giacinto detto Il Per, Cremona. Son of Francesco Ruggeri. A Violoncello bearing this label is in the possession of Mr. G. Foster Cooke:

Giacinto filio di
Francesco Ruggeri detto il Per
1696.

RUGGERI, Vincenzo, Cremona, also uses the name "Il Per." Worked from about 1700 to 1730. He appears to have made many Violoncellos.

Vincenzo Ruger detto il Per
in Cremona 17--

RUGGERI, Giambattista, Cremona. About 1693. Also called himself Il Per. Lancetti suggests that this maker was a relative of Francesco. He made several Violoncellos of large size and deep sides, the wood of which is often plain. The varnish is of good quality and dark brown colour. He also made Violins and Tenors, the latter being excellent instruments.

SACCHINI, Sebastiano.

Sebastino Sacchni da Pesaro l'anno 1686.

SALO, Gasparo da.

Gasparo da Salo Brescia.

His real name was Gasparo dei Bertolotti. The researches of Cavalliere Livi, keeper of the Brescian Archives, have brought to light much valuable information as to this famous maker. He was born in the town of Salo (Province of Brescia) in or about the year 1542, died there on the 14th of April, 1609, and was buried in the church of San Joseffo. A son (Francesco) appears to have worked with him and to have died in 1614. Several Viols of Gasparo's workmanship, of different sizes, are still extant. The Violins are very rare. A few large Violas exist, the tone of which is magnificent. His genuine labels bear no date. Gio Paolo Maggini was apprenticed to him, and is believed to have purchased the business, after Gasparo's death, from his son Francesco.

To Gasparo da Salo belongs the credit of having laid the foundation of the Italian style of Violin-making. In his works may be traced the gradual development of the system upon which his followers built their reputation, viz., a well-defined model, excellent materials, and choice varnish. It is to be regretted that his immediate followers, with the exception of Paolo Maggini, departed from the path so successfully trodden by this great pioneer. But for this deviation, the works of the early Amati and a few others would have occupied a higher position than that which they now command. They were men possessing great abilities, and might easily have carried out the designs of the great Brescian maker. They appear, however, to have arrived at a different conclusion, as regards the form of their instrument, from that shaped by Gasparo da Salo. Their works show an evident preference for the high model, and thus undid much that Gasparo had accomplished. It is clear that Gasparo only arrived at his conclusions after painstaking labour, for he commenced with the high form, and gradually, as experience taught, lowered it. It is, further, remarkable that the latter members of the Amati family pursued the same course as Andrea Amati (though in a less degree), after which they awoke, as it were, to the reasonableness of the example set by Gasparo, and gave us those instruments so highly thought of by the connoisseur, the form of which has much in common with that adopted by Niccolo Amati and perfected by Antonio Stradivari.

It has been before remarked that Gasparo da Salo did not arrive at his conclusions without mature consideration. In fact, a long and deliberate process of experiment may be traced in his instruments. We find that at times his Violins and Violas were treated differently from the Accordos and Violonos. The Violins are found to be high in model, while the above-named instruments, evidently of the same date, are flat. He would seem to have been desirous of testing the powers of either model, and it is possible that he fostered the idea of varying the construction of each of the four species in the family of stringed instruments according to the part which should be allotted to it. To treat each part of the stringed quartette in a different way is certainly an error, for they are to be looked upon as gradations of one and the same instrument; nevertheless, the attempt of Gasparo, although mistaken, offers but another instance of his prolific ingenuity and unwearied diligence. An praise is due to the great Brescian maker for having opened up, as a pioneer, so wide a field of research. The Cremonese artists followed up his clue, and brought the Violin to the highest state of excellence.

The chief characteristics of the works of Gasparo da Salo are the sound-holes, shortened centre-bouts, scroll, and peculiar choice of material. The length of the sound-hole at first strikes one as somewhat crude, but as the eye becomes more acquainted with the general form of the instrument, it is seen to be in perfect harmony with the primitive outline. With this sound-hole commences the pointed form to which Giuseppe Guarneri, nearly a century and a half later, gave such perfection. The material used for the larger instruments is mostly pear-wood, or wood of that description, the quality of which is particularly fine. In the selection of this wood he showed a still minuter discrimination, using it generally for Accordos and Violonos, and not for Violins or Violas; few specimens of the latter have backs of pear-wood. His work was bold, but not highly finished; no other result could be looked for at so early a date. The grain of the bellies is usually very even and well defined. Signor Dragonetti, the late eminent Double-Bass player, possessed three or four Double-Basses by this maker of various sizes. The most celebrated of these instruments was presented to him by the monks of the monastery of St. Mark's, Venice, about the year 1776, and was returned to the Canons of that Church (the monks and the monastery having been suppressed since the French occupation of Venice in 1805 or 1809) after Dragonetti's death, in 1846. Another was bequeathed by Dragonetti to the late Duke of Leinster. A third is in the possession of the Rev. George Leigh Blake. Among his chamber Double-Basses the one formerly belonging to Mr. Bennett is regarded as a singularly perfect example. It was numbered with the rarities of Luigi Tarisio's collection, and highly valued by him as a specimen of the maker. Among his Violins, the instrument formerly owned by Lord Amherst, of Hackney, is unique; the infancy of the Violin at this period is better seen here than any specimen with which I am acquainted. The Violin of this make which belonged to Ole Bull, and with which I am familiar, is another well-known example. This instrument is characteristic of its author. Its varnish is soft-looking and rich, though paler than usual. The finger-board is inlaid, and is made of a light description of wood. The head is carved and painted, and is a very choice piece of Italian work.

SANONI, Giovanni Battista, Verona. About 1740. His instruments are seldom met with in England. High model.

SANTO, Giovanni, Naples, 1700-30. Copied Amati. Varnish very hard, and workmanship indifferent.

SANZO, Milan. Middle and early eighteenth century. Similar to Grancino.

SARDI, ----, Venice, 1649. A broken Violin bearing this name was at the Milan Exhibition, 1881.

SEIGHER, Girolamo. Worked in the shop of Niccolo Amati from 1680 to 1682.

SELLAS, Matteo, Lute-maker. M. Chouquet, in his "Catalogue Raisonne" of the instruments at the Paris Conservatoire, mentions two Arch-Lutes made by this maker.

SERAFINO, Santo, Udine--Venice, 1710-48.

Sanctus Seraphin
utinensis Fecit
Venetijs Ann. 17--

This maker is chiefly famed for the exquisite finish of his workmanship. The modelling of his instruments varied. There are instances, particularly in the case of his Violins, where he has entirely set aside the Stainer form, and copied Amati. These Violins are wonderfully like the work of Francesco Ruggeri. The varnish upon them, of a rich red colour, is of so exceptional a quality, that one is compelled to look twice before being satisfied as to the author. The greater number, however, of his instruments are of the German character, the sound-hole, scroll, and outline all hinting of Stainer. These Venetians were wonderfully fortunate in obtaining handsome wood, and in this respect Santo Serafino was pre-eminent, for his sides and backs are simply beautiful to perfection. His method of cutting the wood was invariably to show the grain in even stripes. The scroll is well cut in point of workmanship, but the style is poor. Santo Serafino cannot be regarded as having displayed originality in any shape, and he thus forms an exception to the great majority of Italian makers. His instruments are either copies of Amati or of Stainer; there is, of course, a strong Italian flavour about his Stainer copies, which lifts them above the German school of imitators, and hence their higher value. Nearly all his instruments were branded with his name above the tail-pin. He used an ornamental label of large size. The Violoncello in the possession of Mr. M. J. Astle is a charming specimen of Serafino's work, I may say unequalled.

SNEIDER, Josefo, Pavia. Lancetti remarks that many of the Violins by Girolamo Amati, son of Niccolo, were attributed to this maker.

Joseph Sneider Papiae
Alumnus Nicolai Amati Cremonae
fecit Anno 17--

SOCCHI, Vincenzo, 1661, Bologna. In the Catalogue of M. Chouquet mention is made of a Kit or Pochette by this maker in the Paris Conservatoire.

SORSANA, Giuseppe, 1700-1750. Said to have been a pupil of Stradivari. Highly finished work, varnish of beautiful quality.

Joseph Sorsana fecit
Cremone sub discip. Ant.
Stradivarii 1737.

STATLEE, Anderl, Genoa, about 1714. Signed himself as a pupil of Hieronymus Amati (son of Niccolo). Not unlike the work of Urquhart.

STREGNER, Magno, Venice, Lute-maker.

STORIONI, Lorenzo, Cremona, about 1769 to 1799.

Laurentius Storioni Fecit
Cremonae 17--

The last of the old makers who evinced any marked degree of originality. Although there is an almost total absence of refinement in his works, there is much that is clever, which has gradually caused these instruments to be valued very highly. He appears to have made Giuseppe Guarneri del Gesu his idol. Although his instruments cannot be considered as copies, yet there is evidence of his having made use of the salient points belonging to Guarneri, which he fitted, as it were, to his own model. He had much of the disregard of mere appearance which Guarneri so often displayed, and seems to have been guided by similar fancies. His freak was to place his sound-holes in all sorts of ways, scarcely twice alike. His outline is always vigorous, but without thought of symmetrical appearance. There is not an instrument of his make that could have been made upon a mould--they were built from the blocks, and the result, as may be expected, is not graceful. M. Vieuxtemps, some years ago, possessed himself of a Storioni Violin, now belonging to Mr. Proctor, and, having carefully regulated it, succeeded in bringing forth its great powers. His hearers were so delighted that attention was speedily directed to this neglected maker. These instruments are highly thought of in Italy. The varnish is not of the Cremonese description, but partakes of the Neapolitan character. The purfling is unusually narrow, and roughly worked; the scroll is stiff, and the absence of finish is observable. The material he used was generally good in point of acoustical properties, though not handsome. Storioni does not appear to have made many Tenors or Violoncellos--the latter are rarely met with.

Storioni died in 1799. He lived at the house No. 3, Contrada Coltellai, which was afterwards occupied by G. B. Ceruti.

STRADIVARI, Antonio, Cremona.

"The instrument on which he played
Was in Cremona's workshops made,
By a great master of the past,
Ere yet was lost the art divine;
Fashioned of maple and of pine,
That in Tyrolian forests vast
Had rocked and wrestled with the blast;
Exquisite was it in design,
A marvel of the lutist's art,
Perfect in each minutest part;
And in its hollow chamber, thus,
The maker from whose hands it came
Had written his unrivalled name--
'Antonius Stradivarius.'"--LONGFELLOW.

Antonius Stradiuarius Cremonensis
Faciebat Anno 17--

The renown of this remarkable maker of Violins is beyond that of all others; his praise has been sung alike by poet, artist, and musician. His magic name is ever rising to the lips in the presence of the "king of instruments"; its sound is as familiar to the humble player as to the finished artist. He has received the undisputed homage of two centuries, and time seems but to add to the number and devotion of his liege subjects: to-day he is as little likely to be dethroned as Shakespeare.

Although many interesting particulars concerning Antonio Stradivari have been obtained from time to time, there is wanting that which alone can fully satisfy his admirers, viz., connected records of the chief events of his life. Every endeavour has been made to supply, in some way, this deficiency, by consulting documents relating to the city of Cremona during the 17th and 18th centuries. The results of these inquiries are of much value, and the reader will be made acquainted with them in the following pages.

With a patience worthy of reward, the late librarian at Cremona, Professor Peter Fecit, searched for the will of Stradivari, but as no proper register appears to have been kept until long after the famous maker died, his efforts were unsuccessful. Although the contents of the will might throw but a faint light upon the doings of the testator, there might be found particulars that would link together much of the information we already possess.

The date of birth of Antonio Stradivari was made known to M. Fetis in 1856,[14] upon evidence contained in an inventory of instruments which belonged to Count Cozio di Salabue. The inventory was made upon the occasion of the instruments being deposited with Carlo Carli, a Milanese banker. Among the Violins there appears to have been one by Antonio Stradivari, bearing a label upon which, in the handwriting of its maker, was stated his age, namely, ninety-two years, and the date 1736; thus making the year of birth 1644.

"That plain white-aproned man who stood at work,
Patient and accurate, full _fourscore_ years,
Cherished his sight and touch by temperance;
And, since keen sense is love of perfectness,
Made perfect Violins, the needed paths
For inspiration and high mastery."
_Stradivari_, by GEORGE ELIOT.

[Footnote 14: "Antoine Stradivari, luthier celebre," par F. I. Fetis. Paris, 1856.]

Previous to the publication of this evidence by M. Fetis, the date of birth was given as 1664, and it has been stated as 1644 or 1650. Don Paolo Lombardini, in his pamphlet on Stradivari published at Cremona in 1872, gives an interesting genealogical account of the great Cremonese maker and his family. The author follows the date of birth as stated by M. Fetis. This is succeeded by information of his own discovery, namely, the date of the marriage of Stradivari, July 4, 1667.

He appears to have married a widow named Capra, whose maiden name was Ferraboschi, her age being twenty-seven, and that of Stradivari twenty-three, according to the date given by Lombardini.

GENEALOGICAL TABLE OF THE FAMILY OF STRADIVARI, EXTRACTED FROM THE PAMPHLET OF PAOLO LOMBARDINI.

STRADIVARI, ALESSANDRO = MORONI, ANNA
STRADIVARI, GIUSEPPE J., born March 20, 1623.
STRADIVARI, ANTONIO, born 1644;
died Dec. 18, 1737.
= Married, July 4, 1667
= FERRABOSCHI, FRANCESCA, born Oct. 7, 1640;
died May 25, 1698.
(1) GIULIO, born Dec. 23, 1667;
married, 1688;
died Aug. 7, 1707.
(2) FRANCESCO, born Feb. 6, 1670;
died Feb. 12, 1670.
(3) FRANCESCO, born Feb. 1, 1671;
died May 11, 1743.
(4) CATTERINA, born Feb. 18, 1674;
died Aug. 3, 1748.
(5) ALESSANDRO, born May 25, 1677;
died Jan. 26, 1732.
(6) OMOBONO, born Nov. 14, 1679;
died June 9, 1742.
= Married, second time, Aug. 24, 1699.
= ZAMBELLI, ANTONIA, born June 11, 1664
died March 3, 1737.
(7) FRANCESCA, born Sept. 19, 1700;
died Feb. 11, 1720.
(8) G. B. GIUSEPPE, born Nov. 6, 1701;
died June 7, 1702.
(9) G. B. MARTINO, born Nov. 11, 1703;
died Nov. 1, 1727.
(10) GIUSEPPE, born Oct. 27, 1704; (Priest)
died Nov. 29, 1781.
(11) PAOLO, born Jan. 26, 1708; (Cloth Merchant)
died Oct. 19, 1776.
= TEMPLARI, ELENA, born 1705;
died 1776.
ANTONIO II., born 1738;
| died 1789.
| = DALLA NOCE, MARGARITA, born 1739;
| died 1787.
| GIUSEPPE, born 1763.
| LUIGIA, born 1765.
| FRANCESCA, born 1767.
| GIACOMO, born 1769;
| | died 1828.
| | = Married, 1797.
| | = CORNIERI, GIUSEPPA, died Jan. 25, 1803.
| | CESARE, born 1798 (Physician).
| | | = Married, 1838.
| | | = MAINI, LAVINIA, born 1808;
| | | died 1862.
| | | LIBERO, born Jan. 29, 1840 (Barrister).
| | | = Married, 1867.
| | | = PODESTA, GIOVANNA, born 184-.
| | | CLELIA, born 1868.
| | | ANNITA, born 1871.
| | | ITALO, born 187-.
| | PIETRO, born 1800;
| | died 1869.
| | GIUSEPPE, born 1802.
| | = Married, 1836.
| | = CRISTINI, MARIA, born 1807.
| | FANNY.
| | EUFEMIA.
| | ENRICO.
| | = Married, second time, 1821.
| | = BONAZZI, ROSALINDA, born 1792.
| | GIACOMA 2nd, born 1822; (of Milan).
| | = Married, 1861.
| | = ROSSI, FANNY, born 1835.
| | ELENA.
| | SILVIA.
| | PIERINA.
| | FAUSTO.
| ANTONIA, born 1771;
| died 1816.
FRANCESCA, born 1739;
died 1809 (Nun).
CARLO, born Dec. 4, 1741;
died 1808.
FRANCESCO, born 1744;
died 1746.
PAOLO, born 1746;
died 1792.

It is interesting to find evidence of some importance relative to the question of the age of Stradivari from the pen of Lancetti. He says, "Antonio having worked to the age of ninety-three years, died in Cremona in the year 1738, at the age of ninety-four years." Though this is obviously incorrect (the register showing that he died in 1737), the extract serves to support the date of birth, resting upon the evidence of the inventory, inasmuch as it satisfactorily shows the age Stradivari was considered to be by his own family, since Count Cozio communicated the information to Lancetti from correspondence with Paolo Stradivari, son of Antonio. In passing, it may be observed that Stradivari died December 18, 1737, and therefore the year mentioned by his son Paolo was only incorrect by thirteen days. He was equally as near the truth in saying his father was ninety-four when he should have said he was in his ninety-fourth year.

Having referred to the manuscript inventory, upon which rests the date of birth as given by Fetis--which document, taken by itself, it must be said is unsatisfactory--and having noticed the age of Stradivari as represented by his son, I will turn to other evidence in support of the inventory. The late Mr. Muntz, of Birmingham, possessed a Violin by Stradivari, dated 1736, and, in writing, the age of the maker is given as ninety-two. Another Violin by Stradivari, made in the same year, and similarly labelled, was bequeathed by the late Mrs. Lewis Hill to the Royal Academy of Music. This Violin has been regarded as one of the instruments found in the maker's shop when he died. It originally belonged to Habeneck, the well-known professor, and was taken to Paris between the years 1824 and 1830. Luigi Tarisio became possessed of some of the instruments mentioned in the inventory found among the papers of Carlo Carli, the banker, and one of these Violins in all probability furnished the evidence of the date of birth referred to by M. Fetis, and both instruments were probably purchased by Tarisio, together with the Violin dated 1716, named by Vuillaume "le Messie."[15] The last instrument necessary to notice in confirmation of the date, hitherto resting alone on the inventory, was in the possession of the late M. H. de St. Sennoch, of Paris. It is dated 1737, and in the handwriting of Stradivari is his age, ninety-three years, which decides the correctness of the statement made by Lancetti (upon the authority of Count Cozio di Salabue, who received the information from Paolo Stradivari in 1775) that "Antonio worked up to the age of ninety-three years."

[Footnote 15: The information which M. Fetis gives of this Violin was based on the inventory of Carlo Carli. It is also mentioned in the correspondence between Count Cozio and Lancetti.]

In the absence of direct information concerning the life of Stradivari, we must turn to his instruments for such evidence as we require; and these, happily, give us a greater insight into his career than would be readily imagined. I am not aware that any Violin of Stradivari is known in which it is stated that he was a pupil of Niccolo Amati, or that the assumption has been maintained on any other grounds than the indisputable evidence furnished by the early instruments of this great maker.[16] Never has affinity in the art of Violin manufacture been more marked than that between Stradivari and Niccolo Amati during the early life of the former. I have, in another place, remarked upon the almost invariable similarity occurring between the works of master and pupil, and have used this canon in refutation of the doctrine that Giuseppe Guarneri del Gesu was ever a pupil of Antonio Stradivari. Lancetti states that the instruments of Stradivari made in 1665, and others in 1666, bear the label of Niccolo Amati, and instances one that was in the collection of Count Cozio, to which Stradivari made a new belly, many years later, in his best style. It is certain that instruments as described by Lancetti have been recognised by intelligent connoisseurs as wholly the work of Stradivari (in which case, as may be imagined, they have no longer been allowed to sail under false colours, but have had their proper certificate of birth attached to them). In other instances the beautiful scroll of Stradivari has been recognised on the body of an Amati, or the sound-hole has shown that it was cut by the hand of Stradivari.

[Footnote 16: Upon reference to Lancetti's MSS., I find that he states Stradivari used a label with the words "Nicolai Amati Alumnus," about 1666.]

Having met with a Violin by Stradivari (since the publication of the first edition of this work) dated 1666, it would appear that he left the workshop of his master at that time, or not later than the year of his marriage in 1667. The extracts obtained by Canon Bazzi from the parish registers, relative to the pupils of Niccolo Amati, help to establish the correctness of this view. Stradivari must have been in the workshop of his master between the years 1658 and 1666. We have no information of the pupils of Amati from 1654 to 1665. In 1666 the name of Giorgio Fraiser is given; consequently Stradivari must have left previous to 1666 or early in that year, and prior to the registration. Between the years 1666 and 1672 there is observable a marked change in style, and the workmanship is better. The instruments he made about this period have wood for the most part singularly plain, and different in kind from what his master used. His use of this material I am disposed to attribute to the want of means rather than choice. The purfling of these early instruments is very narrow, and many of the backs are cut slab-form. Previous to about the year 1672, we find that his whole work is in accordance with the plans of Amati (not as seen in the latter's _grand_ pattern, but in his ordinary full-sized instrument); the arching is identical, the corners are treated similarly, the sound-hole is quite Amati-like in form, yet easily distinguished by its extreme delicacy, the scroll a thorough imitation of Amati, and presenting a singular contrast to the vigorous individuality which Stradivari displayed in this portion of his work a few years later. Enough has been said to enable the reader to recognise the connection which must have existed between Amati and Stradivari, to admit of such marked resemblances. Taking the instruments of Stradivari as beacons throwing light upon many curious and interesting points of the maker's manufacture, the number and character of his Violins and Violoncellos made during the decade following 1674 is indicative of his having increased both his reputation and his patronage. The last year of this period, namely 1684, was that in which his master, Niccolo Amati, died, at the age of eighty-eight. We have already seen, in the notice of Amati, that Niccolo was the last member of the family who maintained unbroken the long chain of associations connected with the house of Amati, extending over a period of a century and a half. The circumstance of all the tools, patterns, and models of Niccolo Amati having passed into the possession of his pupil Stradivari, and not into that of his son Girolamo (who was then thirty-five years of age), clearly shows that the son did not succeed to his father's business. We are thus led to believe that during the ten years above referred to, Niccolo Amati had been gradually lessening his activity, and that the patronage so long enjoyed by the Amati family fell for the most part to his gifted pupil, Antonio Stradivari. Among the interesting items of information supplied by the efforts of Paolo Lombardini, relative to Stradivari, is that of the purchase of the house, in 1680, of the Brothers Picenardi for seven thousand imperial lire, equivalent to above 800 pounds in present English money. This purchase, made about fourteen years after Stradivari began to manufacture on his own account, well marks the progress he made. I have, however, further proof of his fame and prosperity at this period in the valuable extracts from the manuscript of Desiderio Arisi, at Cremona.

The knowledge Arisi had of Stradivari is shown by the following remarks written by him in the year 1720. He says, "In Cremona is also living my intimate friend Antonio Stradivari, an excellent maker of all kinds of musical instruments.[17] It will not be out of place to make special mention of his merits. His fame is unequalled as a maker of instruments of the finest qualities, and he has made many of extraordinary beauty, which are richly ornamented with small figures, flowers, fruits, arabesques, and graceful interlaying of fanciful ornaments, all in perfect drawing, which he sometimes paints in black or inlays with ebony and ivory, all of which is executed with the greatest skill, rendering them worthy of the exalted personages to whom they are intended to be presented. I have thought proper, therefore, to mention some works of this great master, in testimony of the high esteem and universal admiration which he enjoys." These prefatory remarks of Arisi are followed by several important statements, which I have arranged in accordance with the different periods it will be necessary to refer to in the course of this notice.

[Footnote 17: Mention is made by Lancetti that in the year 1820 the Marquis Carlo dal Negro, of Genoa, possessed a Harp bearing the name of Stradivari. Mandolines and other stringed instruments have been seen with his name attached.]

"In the year 1682, on the 8th of September, the banker Michele Monzi, of Venice, sent him an order for the whole set of Violins, Altos, and Violoncellos which that gentleman sent as a present to King James of England."[18] The interesting remarks of Arisi with regard to the inlaid instruments of Stradivari are those we should expect from an admirer of delicate artistic work, who possessed no special knowledge of Violins as instruments of music. The existence of some of the instruments to which he refers, together with the tracings of the actual designs and the tools with which the work was accomplished, render his observations, read at this distance of time, peculiarly pleasing. The possessor of the models, tools, labels, and drawings used by Stradivari is the Marquis Dalla Valle, of Casale, to whom they passed by inheritance from his great-uncle, Count Cozio, who purchased them in 1775.

[Footnote 18: These instruments were probably sent to England in 1685, or later.]

Vincenzo Lancetti, referring to the collection, after mention of Stradivari having been buried in the Church of S. Domenico, continues, "As appears from the correspondence held in 1775, by the said Count Cozio with Antonio's son Paolo Stradivari, cloth merchant, when the former bought of the latter all the remaining Violins, the forms, the patterns, moulds, and drawings of the said celebrated Antonio, as well as those of the Amati, with which he enriched his collection." In an article published in the "Gazzetta Piedmontese," October, 1881, upon the occasion of the exhibition, at Milan, of the relics of the shop of Stradivari, the writer gives the following account of the negotiations: "Count Cozio, a great patron, intimate with the greatest artists of the period, especially with Rolla, purchased, through the instrumentality of the firm of merchants, Anselmi di Briata, from Paolo and Antonio junior, respectively son and nephew of Antonio Stradivari, in 1776, all the tools, drawings, labels, &c., which had been used by the celebrated Violin-maker, and his heirs, who were desirous that nothing belonging to him should remain in his native town, as it is inferred, from a curious document, hastened to conclude the sale."[19] It is certain, however, that Lancetti received his information from the Count himself, and negotiations were certainly carried on between Paolo and the Count, either directly or through his agents, Anselmi di Briata.

[Footnote 19: Upon reference to the copy of this document (the correspondence is given in the fourth edition of this work), I find the words used by Paolo Stradivari to his correspondents Anselmi di Briata run, after commenting upon the price offered, "However, to show my desire to please you, and in order that not a single thing belonging to my father be left in Cremona, &c.," having reference, possibly, to some supposed feeling of indifference on the part of the municipal authorities towards the memory of Antonio Stradivari, they not having secured the moulds, patterns, &c.]

The contents of the letters of Paolo and Antonio Stradivari junior, which the Marquis Dalla Valle has placed at my disposal, serve to explain the two different accounts above given. We find that the Count had two distinct transactions, directly or indirectly, with the family of Stradivari. In 1775 he purchased the ten instruments made by Antonio which remained out of ninety-one (complete and partly finished) left by the maker at the time of his death in 1737. The payment in connection with this transaction was arranged by the banker Carlo Carli, which gave rise to the inventory upon which M. Fetis based his statement as to the age of Stradivari. In the month of May, 1776, negotiations were entered upon with Paolo Stradivari, relative to the tools, which led to their being sold. During their progress Paolo died, October, 1776, and the business was left for his son Antonio to complete in December, 1776. The copies of the letters written by Paolo and Antonio Stradivari are given in the fourth edition of this work, and the chief part of the matter therein is referred to in the Section, "The Violin and its Votaries."

The next period to be noticed relative to the work of Stradivari is that dating from 1686 to 1694. We here observe a marked advance in every particular. The form is flatter, the arching differently treated. The sound-hole, which is a masterpiece of gracefulness, reclines more. The curves of the middle bouts are more extended than in this maker's later instruments. The corners are brought out, though not prominently so. Here, too, we notice the change in the formation of the scroll. He suddenly leaves the form that he had hitherto imitated, and follows the dictates of his own fancy. The result is bold and striking, and foreshadows much of the character belonging to the bodies of the instruments of his latter period, and though it may seem daring and presumptuous criticism, I have often been impressed with the idea that these scrolls would have been more in harmony with his later works than those to which they belong. The varnish on the instruments belonging to the period under consideration is very varied. Sometimes it is of a rich golden colour, deliciously soft and transparent; in other instances he has used varnish of a deeper hue, which might be described as light red, the quality of which is also very beautiful. The purfling is a trifle wider, but narrower than that afterwards used.

From the, Arisi MSS. we have the following interesting information relative to this period:--

"In the year 1685, on the 12th of March, Cardinal Orsini, Archbishop of Benevento,[20] ordered a Violoncello and two Violins, which were sent as a present to the Duke of Natalona, in Spain. The Cardinal, besides paying liberally for the work, wrote an appreciative acknowledgment of their merits, and appointed the artist to the place of one of his private attendants." It may be remarked that the honour conferred upon Stradivari was equivalent to appointing him maker to the Archbishop.

[Footnote 20: Vincenzo Maria Orsini (of the illustrious family of the Orsinis, Dukes of Gravina), born 1648, in the Neapolitan province of Bari, was a learned professor of theology, and visited, between 1668 and 1672, several cities and towns, among others Naples, Bologna, Venice, Brescia, and most likely Cremona, where he held conferences, which were largely attended. He was created a Cardinal by Clement X., in 1672, Archbishop in 1675 in Manfredonia, in 1680 to Cesena, in 1686 to Benevento and Porto. In 1724 he was elected Pope, under the name of Benedict XIII., and remained on the Pontifical throne until February, 1730, when he died, aged eighty-one.]

"In the same year, on the 12th of September, Bartolomeo Grandi, called Il Fassina, leader of the Court Orchestra of His Royal Highness the Duke of Savoy,[21] ordered of Stradivari a whole set of instruments for the Court Orchestra."

[Footnote 21: Victor Amadeus II., Duke of Savoy and King of Sardinia, was the Prince for whom Bartolomeo Grandi ordered the concerto of instruments.]

"In the year 1686, on the 5th of April, His Serene Highness the Duke of Modena (Francesco II. D'Este was then twenty-six years of age) ordered a Violoncello, which, by special invitation, Stradivari was requested to take to the Duke himself, who told him how pleased he was to make his personal acquaintance, praised greatly his work, and beyond the sum agreed paid him thirty pistoles (golden Spanish) as a present."

On the 22nd of August, 1686, Marquis Michele Rodeschini ordered a Viol da Gamba to be sent to King James II. of England.

In the year 1687 he made the set of instruments for the Spanish Court, inlaid with ivory, and having a beautiful scroll work running round the sides and scroll. Arisi evidently refers to this event in the following extract: "On the 19th of January, 1687, the Marquis Niccolo Rota ordered a Violoncello for the King of Spain." One of the Violins of this set was purchased in Madrid about thirty years since by Ole Bull. The Tenor belonging to this quatuor has lost its ivory work, a blemish which is to be regretted. He also made, about this period, some very small Violins with similar designs, instruments evidently made to order.

"On the 7th of August of the same year, 1687, the nobleman Don Agostino Daria, General-in-Chief of the Spanish Cavalry in Lombardy, while he was residing in Cremona, obtained from him a Violoncello."

We now reach the year 1690, in connection with which Arisi has supplied information of singular interest. He says: "On the 19th of September, 1690, Stradivari received the following letter from the Marquis Bartolommeo Ariberti,[22] a Cremonese nobleman--'The other day I made a present of the two Violins and the Violoncello which you made for me to His Highness the Prince of Tuscany;[23] and I assure you, to my great satisfaction, he has accepted them with such pleasure that more I could not expect. The members of his orchestra--and he possesses a select number--were unanimous in expressing their great appreciation, declaring the instruments quite perfect, and, above all, exclaiming with one voice that they had never heard a Violoncello with such an agreeable tone. For the highly flattering reception with which my present has been received by His Highness, and which I cannot sufficiently describe, I am principally indebted to the care which you have used in the manufacture of the instruments. At the same time I hope to have by this present shown you my appreciation, and of having acquired the merit of practically bringing to the knowledge of such a personage the truth of your great skill, which will procure you, undoubtedly, many orders from this exalted house. To prove this, I have now to request you to begin at once two Tenors, one _Tenor_ and the other _Contralto_, which are wanted to complete the concerto.'"[24]

[Footnote 22: The Marquis of Ariberti was born in 1666, and died 1724. He was an elegant writer, and a member of several literary academies. He was for some time in Tuscany. Upon returning to Cremona, where he settled, he built in 1687, at his own expense, a theatre called after his own name, Ariberti. He, being a passionate lover of music, was anxious to have in his own establishment (the theatre adjoining his palace) a place of amusement for himself and his family. About the year 1710 he gave up the building to a religious brotherhood, and a church was built on the site, and used until 1798, when the brotherhood was suppressed, and, by a singular coincidence, the building was bought in 1801 by a society of dramatic authors, and again opened as a theatre, which still exists, and is called Teatro Filodrammatico. The Marquis Ariberti was appointed by Joseph I., Emperor of Austria, to the title of Lieutenant-Marshal; he was a member of the High Council of State in Milan. He was buried in the church, which, as above mentioned, was afterwards used as a theatre. (_See_ Lancetti, "Biografia Cremonese," I vol., Milano, 1819.)]

[Footnote 23: Cosimo III. de Medici.]