This famous maker of Violins was born at Cremona in the year 1687, and died in or about 1745. The house of Giuseppe Guarneri is said to have been No. 5, Piazza S. Domenico, now called Piazza Roma.
An extract from the register proves that Giuseppe Antonio Guarneri, legitimate son of Giovanni Battista Guarneri and Angela Maria Locadelli, was born at Cremona on June 8, 1683, and was baptized on the 11th of the same month, in the parish of San Donato, at the chapel-of-ease of the cathedral.
This extract which was supposed to refer to the subject of this notice relates to a child who died in infancy, and it is now satisfactorily settled that Joseph del Gesù first saw the light on October 16, 1687. The date of death is merely conjectural, and unsupported by definite evidence.
The father of Guarneri del Gesù, namely Gio. Battista, was the son of Bernardo, a cousin of Andrea Guarneri. He does not appear to have had any knowledge of the manufacture of stringed instruments, and was thus an exception to the majority of a family which numbered many prominent makers within it. It has been asserted on all sides that Giuseppe Guarneri del Gesù was a pupil of Antonio Stradivari, but in every case this statement has been made without a shadow of proof, either from recorded fact or analogy. That this bare assertion should have so long remained unchallenged is a matter of some surprise to the writer of these pages, who fails to see anything in common between the two makers, with the exception of the varnish, and perhaps the high finish, as apparent in the works of the second epoch of Guarneri. The following remarks on this point are the result of the most careful consideration of the subject, and may serve to assist the reader in forming an opinion.
Had Giuseppe Guarneri received his early instructions from Stradivari, should we not expect his instruments to bear the character of the master in some slight degree? The most diligent student will, however, fail to discover an early work of Guarneri bearing any likeness whatever to the work of Stradivari. Among the instruments of the second epoch may be found a few that show some gleam of the desired similarity in respect of high finish; but it would be to the earliest efforts of Guarneri that we should turn in our endeavour to discover the source of his first instructions. The faint gleam of similarity, then, attaching to the instruments of the second epoch, be it understood, is in no way sufficient to demonstrate that Guarneri was a pupil of Stradivari. Upon turning to other makers, what will be the result if we judge them by the criterion above mentioned? Bergonzi, Guadagnini, Gagliano, and others, whose names it is unnecessary to mention, leave upon their earliest efforts the indelible stamp of the master who first instructed them. To suppose that Guarneri del Gesù formed the single exception to the likeness between the work of master and pupil, is scarcely sufficient to satisfy the inquiry.
There are three essential points of difference between Guarneri and Stradivari. The first is the outline of the work, which, as the mere tyro must at once observe, is totally different in their respective instruments. The second is the sound-hole, in which, again, the two do not approach one another; that of Guarneri is long, and a modified form of that of Gasparo da Salò. The third is the scroll, in which Guarneri is as distinct from Stradivari as it is possible to be.
It may be asked, then, if not from Stradivari, from whom did Guarneri receive instruction?10 To disagree with what is popularly accepted, and yet to withhold one's own counter-theory, may perhaps tend to weaken one's case. There can be but one method to be pursued if, in the absence of any historical data, we set about the investigation of the question, viz., that of analogy. Starting upon this ground, the first step to be taken is to endeavour to discover the maker whose work and style bear some degree of similarity to those of Giuseppe del Gesù. If we carefully review the works of the Cremonese makers, it will be found that Giuseppe Guarneri, son of Andrea, and a relative of Guarneri del Gesù, is the only maker in whose productions we can find the strong similarity needed. Analogy, therefore, would point to him as the instructor of his kinsman. Giuseppe Guarneri, son of Andrea, was del Gesù's senior by many years, and it is far more reasonable to conclude that it was in his workshop that del Gesù was first instructed, than that he was the pupil of a maker whose work he never copied, and whose style has nothing in common with his own. Enough has been said on this question to enable the reader to judge for himself, and this may the more readily be conceded when it is also admitted that, after all, it is of little importance to determine where the early training of this kingly maker was passed, as he so soon displayed that rare originality which separated him from his brethren for ever.
10 The evidence—if indeed it is to be characterised as such—upon which it has been recently asserted that del Gesù was a pupil of Andreas Gisalberti is so trivial and altogether unconvincing that it seems unsuitable for discussion or analysis in a serious work of reference.—EDITORS.
| Guarneri Violin |
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GIUSEPPE GUARNERI. Date 1742. (LATE H. B. HEATH, ESQ.) |
| Stradivari Violin |
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ANTONIO STRADIVARI. Date 1711. (LATE R. D. HAWLEY, ESQ.) |
| Stradivari Violin |
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ANTONIO STRADIVARI. Date 1703. (J. S. COOKE, ESQ.) Plate VIII.
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We will now inquire into the character of Guarneri del Gesù's model. In forming this, he seems to have turned to Gasparo da Salò as the maker whose lead he wished to follow; and if each point be critically considered, an impression is left that, after well weighing the merits and demerits of Gasparo's model, he resolved to commence where Gasparo ceased, and carry out the plan left incomplete by the great Brescian maker. To commence with that all-important element the sound-hole, it will be seen that Guarneri del Gesù retained its pointed form. Next comes the outline of the body, where, again, there is much affinity to the type of Gasparo da Salò, particularly in the middle bouts. Lastly, the quality of wood selected for the bellies is in both makers similar. In continuing the path trodden by Gasparo, Guarneri proved himself an artist possessed of no little discernment. His chief desire was evidently to make instruments capable of producing a quality of tone hitherto unknown, and that he succeeded is universally acknowledged. Workmanship, as evidenced by the instruments of his first and last epoch, was with him a purely secondary consideration. In the second epoch, his work shows him to have been not unmindful of it. That he brought much judgment to bear upon his work, the vast number of instruments that he has left and the great variety of their construction are sufficient to prove. The extent of his researches is surprising, and there is no ground for the assertion frequently made that he worked without plan or reason. The idea that such a maker as Guarneri groped in the dark savours of the ridiculous; moreover, there is direct evidence, on the contrary, of his marvellous fertility of design. At one period his instruments are extremely flat, without any perceptible rise; at another, the form is raised in a marked manner and the purfling sunk into a groove; a parallel of this type of instrument is to be found in the works of Pietro Guarneri and Montagnana. At one time his sound-holes were cut nearly perpendicularly (a freak which, by the way, has some show of reason, for though it sacrifices beauty, it also prevents the breaking up of the fibres), at another shortened and slanting, and some, again, are occasionally seen immoderately long. These hastily-marshalled instances are quite sufficient to show the extent of his experiments, and the many resources which he adopted in order to produce exceptional qualities of tone.
In order that the reader may better understand the subject, before going farther into the peculiar features belonging to the instruments of Guarneri, we will classify his work. M. Fétis, doubtless under the guidance of M. Vuillaume, has divided the career of Guarneri into three periods—an excellent arrangement, and one that cannot be improved upon. It only remains to point out certain peculiarities omitted in the description of these three stages which M. Fétis gives us. In the first epoch we find instruments of various patterns, the character of the sound-holes being very changeable. At one time there is a strange mixture of grace and boldness; at another the whole is singularly deformed, and the purfling roughly executed, as though the maker had no time to finish his work properly. It seems as if he had hastily finished off a set of Violins that he had already tested, eager to lay the stocks for another fresh venture. The second epoch has given us some of the finest specimens of the art of Violin-making. In these culminate the most exquisite finish, a thoroughly artistic and original form, and the most handsome material. In some cases the lustre of the wood of the backs, set in its casing of deep amber, that unrivalled varnish, may be likened to the effect produced by the setting summer sun on cloud and wave. The reader may pardon a somewhat novel application of the loveliest description of the glow of evening to be found in the compass of the English language, which paints the heavens' colours as—
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"Melted to one vast iris of the west, Where the day joins the past eternity. ... All its hues, From the rich sunset to the rising star, Their magical variety diffuse. And now they change; a paler shadow strews Its mantle o'er the mountains; parting day Dies like the dolphin, whom each pang imbues With a new colour as it gasps away, The last still loveliest, till—'tis gone—and all is grey." |
The effect of this beautiful coruscation upon the backs of Violins is obtained by cutting the wood upon the cross, or, as the French term it, sur maille. It is seen, though rarely, on backs divided, when the wood is particularly handsome in curl. The varnish on such instruments is of a rich golden hue, highly transparent; it is lightly laid on. The size of these works varies; they are sometimes a trifle smaller than the other specimens of Guarneri. In the last epoch we find Violins of an altogether bolder conception, dating from about 1740 and a little later. They are massively constructed, and have in them material of the finest acoustic properties. The sound-hole loses the pointed form so much associated with Guarneri: the purfling is embedded, the edges heavy, the corners somewhat grotesque, the scroll has a mixture of vigour, comicality, and majesty, which may force a smile and then a frown from the connoisseur. The comparison may seem a little forced, but the head of a thoroughbred English mastiff, if carved, might give some idea of the appearance sought to be described. Mr. Reade says of these instruments with much truth, "Such is the force of genius, that I believe in our secret hearts we love these impudent Fiddles best, they are so full of chic." Among the Violins of this period may be mentioned Paganini's, and M. Alard's, both rare specimens. These splendid chefs-d'oeuvre are strangely mixed with those commonly known as the "prison Fiddles"—a sorry title. The name arose from the story current in Italy that Guarneri made some Fiddles whilst undergoing imprisonment, and that the gaoler's daughter procured him the necessary materials, which were of the coarsest kind. M. Fétis refers to the story, and mentions that Benedetto Bergonzi, who died in 1840, used to relate it. Allusion is also made to it by Vincenzo Lancetti, to whom it was doubtless communicated by Count Cozio di Salabue. These references lead to the belief that the tradition has some foundation in fact, though not to the extent that he ended his days in durance vile. Lancetti refers to the offence as an encounter with some person in which his antagonist lost his life.11 A deplorable circumstance of this kind may have occurred without the accused having been criminally at fault, though he may have suffered the penalty of being so. His reported love of wine and pleasure, his idleness and irregularity, in all probability were statements added by successive narrators of the prison story. A recent search made by Canon Bazzi in the obituary registers of the cathedral at Cremona, discovers the fact that one Giacomo Guarneri died in prison on October 8, 1715. Bearing in mind how frequently we find fact and fiction jumbled together in historical pursuits, the prison story in connection with the name of Giuseppe Guarneri may have no other foundation than a story, long current, that a person named Guarneri was imprisoned, and wholly regardless of identity.
11 Alexander Gagliano is the subject of a similar story.
I have referred to the three periods of this remarkable man's life in relation to his art, and it remains to point out some other features in his work and material. His selection of wood, when he had the opportunity of exercising his own judgment, was all that could be desired, and the belly wood in particular was of the choicest description. He seems to have obtained a piece of pine, of considerable size, possessing extraordinary acoustic properties, from which he made nearly the whole of his bellies. The bellies made from this wood have a singular stain, running parallel with the finger-board on either side, and unmistakable, though frequently seen but faintly. If we may judge from the constant use he made of this material, it would seem that he regarded it as a mine of wealth. The care he bestowed, when working it, that none should be lost, affords clear evidence of the value that he set upon this precious piece of wood. I have met with three Violins by Carlo Bergonzi, having bellies evidently cut from the same piece of pine, and these instruments passed as the work of Guarneri for a long period. The sycamore that he used was varied both in appearance and quality; it is chiefly of a broad description of grain, the whole-backs being impressively marked like a tiger's skin. There are a few instances where, in his jointed-backs, the markings of the wood are turned upwards.
Upon examining the works of Guarneri with respect to their graduation, it is found that he varied very much as to the quantity of wood left in the several instruments. Notwithstanding these differences, however, it will be found, upon closer comparison of the thickness, that there is every reason to be sure that he had a guiding principle in their management. They vary with the quality of the wood; and hard material was treated as needing a slighter solidity than wood of a softer nature.
His workmanship in numerous instances is, without doubt, careless; but, even in the instruments where this negligence is most observed, there is an appearance which at once excites the admiration of the beholder, and forces from the most exacting the admission that, after every deduction on account of want of finish, there remains a style defying all imitation. Who can fail to recognise the quaint head, into which he seems to have thrown such singular character by the mere turn of his chisel, and which, when imitated, always partakes of the ludicrous, and betrays the unhappy copyist who is unable to compass that necessary turn! In matters of the highest art it is always so; the possessor of genius is constantly showing some last resort, as it were, impregnable to imitation.
The sound-hole, also, of Guarneri always preserves its distinctive character, and a grotesque humour which at once pleases the eye, though it is found to vary considerably with the three periods of his life. Again, the button—that portion of the back against which the heel of the neck rests, which forms a prominent mark in all Violins, and an evidence of style, has a remarkably pronounced development in the Violins of Guarneri, and, in fact, may be said to give a vitality to the whole work. There are many instances where excellent and original specimens of workmanship have been, speaking artistically, ruined for want of skill in handling that simple factor of the Violin.
Having endeavoured to point out the chief features in the work and style of this remarkable maker, I have only to add that his imitators would far exceed in number all the Violin-makers that the city of Cremona ever sheltered. There has ever been a diversity of purpose with these Guarneri imitators, distinct from those of Stradivari and others. They may be divided into three orders, viz., the bonâ fide copyist, the subtle copyist, and the wholesale copyist. The first sets about making his instrument resemble the original as closely as possible, and when completed, sends it forth as a copy, and nothing else. Among these legitimate imitators were Lupot, Gand, Vuillaume, and others. The subtle copyist takes advantage of the disturbed styles belonging to Guarneri, coupled with his misfortunes, manufactures and translates at will. He "spots" a back on an old fiddle, in which he sees Guarneri in embryo; he secures it. In his possession is a belly which, with a little skilful manoeuvring of sound-holes and corners, may be accommodated to the back. The sides need well matching in point of colour; workmanship is purely secondary. The scroll he sets himself to carve, giving it a hideous, burglar-like appearance. The inevitable label is inserted, and the Violin leaves the translator's hand a "Prison Joseph." Now comes the difficulty. How is this "Joseph," unaccustomed to elbow his legitimate namesakes in the world of Fiddles, to maintain the character he has assumed? The subtle copyist puzzles his brain without arriving at anything very satisfactory. He resolves to slip it into a sale of household effects. It is described in the catalogue, in glowing terms, as having been in the possession of Geminiani (he not being alive to dispute the assertion). Previous to the sale the instrument is viewed. The knowing ones pass it by with contempt. The half-informed turn it over and over, puzzled, and replace it in its case disconsolate. The thoroughly ignorant looks inside; "Joseph Guarnerius Cremonensis faciebat 1724," in old type, stares him in the face; he puts the bow on the strings and demands the maker's name—his thoughts are echoed back in gentle sounds: "Joseph Guarnerius." He returns it to its case, shuts the lid, and exultingly sallies forth, congratulating himself again upon his good fortune in having at last the opportunity of securing the real thing at the price of "a mere song." The time of sale arrives. The beauties of the instrument are dwelt upon by the auctioneer; he begs to be permitted to say two hundred guineas to commence with. Silence around. "Well, gentlemen, shall I say one hundred and fifty guineas?" Dogged silence. "Come, come, gentlemen, this is mere trifling. A 'Joseph Guarnerius' for one hundred and fifty guineas! Shall I say one hundred guineas?" The customary witty frequenter of sale-rooms, unable to restrain himself longer, cries out, "I'll give yer a pound!" The auctioneer sees the whole thing; it is a copy that he is selling, and not the original. The pound bid is capped by another from our friend, who fondly fancies himself behind the scenes. The subtle copyist, seeing his eagerness, bids on his bid, and the "Joseph Guarnerius del Gesù" falls with the hammer to the anxious buyer for ten pounds. He demands possession of it at once, in case another may be substituted, and retires, perfectly satisfied with his day's work. The wholesale copyists are those who manufacture Violins in Bavaria and France in large factories, where the Violins undergo all kinds of processes to make them modern antiques. The wood is put into ovens and baked until it assumes the required brownness, or steeped in strong acids until it becomes more like a piece of charred wood than anything else; the sharp edges are removed by the file; the wear of years is effected in a few moments by rubbing down those parts subject to friction; it is ticketed and dated, regardless alike of orthography and chronology, the date being generally before or after the original's existence. These imitations are so barefaced as to render them comparatively harmless.
GUIDANTI, Giovanni, Bologna, about 1740. High model; sound-hole long; purfling badly let in; the outer form inelegant, particularly the middle bouts. At the Exhibition at Milan, 1881, a Viola d'Amore was exhibited, signed "Joannes Guidantus, fecit Bononiæ, anno 1715," ornamented with a beautiful head artistically carved, representing a blindfolded Cupid.
GUILLAMI, Spanish family of Violin-makers, about 1680-1780.
HARTON, Michael, Padua, 1600. Lute-maker.
KERLINO, Joan, 1449. Maker of Viols. Numerous instruments of the Violin shape have been attributed to this maker, particularly those of quaint appearance, but it is doubtful whether he made any instruments but those of the Viol type.
LAGETTO, Luigi, Paris, about 1753.
| Carolus Ferdinandus Landulphus, fecit Mediolani in Via S. Margaritæ anno 17— |
LANDOLFI, Carlo Ferdinando, Milan, 1750. Though he belonged to the latest of the Italian makers, his merits were of no ordinary kind. His instruments vary very much, and hence, probably, a confusion has arisen as to there being two makers of this name, which is not the case. Those instruments which have the bright red varnish are certainly the best. The varnish is very transparent, and, the wood being strikingly handsome, the effect is most pleasing. The pattern is not a copy of Guarneri, as often stated, but thoroughly original. His sound-hole cannot be considered an effective one, and is not in keeping with the work. The outer edge is generally grooved. The scroll is weak. His Violoncellos are mostly of small size. Some of this maker's instruments are very unfinished, many not being purfled, and having only a single coat of varnish.
LANZA, Antonio Maria, 1674. Copied the Brescian makers.
LAVAZZA, Santino, Milan, about 1700.
LAVAZZA, Antonio, Milan.
LINAROLLI, Venturo, Venice, 1520. A maker of Viols.
LOLY, Jacopo, Naples, 17th century. Of the Grancino type. Scroll diminutive. Yellow varnish. Material very hard. Flat model. He made a few large tenors.
| Gio Paolo Maggini in Brescia. |
MAGGINI, Giovanni Paolo, Brescia, 1590. This famous maker followed Gasparo da Salò, and was his pupil. It is surmised that he may have died of the plague in or about the year 1632. No Italian maker is more frequently mistaken than Maggini. Any instrument having ornamentations on the back in the shape of purfled scroll-work is at once said to be by Paolo Maggini. Barak Norman, the old English maker, thus comes in for a large share of Maggini's patronage, as also a vast number of early German makers, who adopted similar devices; to the real connoisseur, however, there is no difficulty in distinguishing the work. A more pardonable error is the confusion of Gasparo da Salò and Maggini, which is of frequent occurrence. The Double Basses of these two makers have much in common to the eye of the not deeply versed examiner. Maggini, however, was not so successful as his compeer in the selection of the form of his instruments. In them we miss the harmony of outline belonging to those of Gasparo, particularly as relates to his Double Basses. Gasparo's Violins are less harmonious in design, and evince his unsettled views as to the form they should take; a perfectly natural circumstance when the infantile state of the Violin in his day is considered. The outline of Maggini is broad, but lacks the classic symmetry of the rare old Brescian maker. The form is flat, and the means which he adopted in order to obtain a full and telling tone were very complete. The sides are frequently shallow, and in accordance with the outline. With others who followed him, he evidently recognised the necessity of reducing the height of the sides in proportion to the dimensions of the instrument. The sound-hole is long and pointed, and admirably set in the instrument. The scroll is primitive, but boldly cut, and clearly marks an onward step from the somewhat crude production of Gasparo, the back of which is not grooved, or but slightly. Maggini's varnish is of brown or yellow colour, and of good quality. The instruments covered with the brown varnish are often without any device on their backs, and seldom have two rows of purfling. De Bériot, the famous Belgian Violinist, used one of Maggini's Violins, and, in consequence, their value was much increased.12
12 The genuine labels are undated, as in the case of his master, Gasparo da Salò.
MALER, Laux, Bologna, about 1450. Maker of Lutes. Maler appears to have been regarded by Lutinists as the Stradivari of Lutes. Thomas Mace informs us in his "Musick's Monument," 1676, they were sold for as much as one hundred pounds each, though often "pittiful, old, batter'd, crack'd things." He tells us he has "often seen Lutes of three or four pounds price far more illustrious and taking to a common eye." History repeats itself at every turn. The uneducated eye of to-day is equally apt to regard a Mirecourt or Bavarian copy with as much favour as a genuine Cremona. Mace proceeds to instruct the "common eye." "First, know that an old Lute is better than a new one." Thus also with Viols: "We chiefly value old instruments before new; for by experience they are found to be far the best." "The pores of the wood have a more and free liberty to move, stir, or secretly vibrate, by which means the air—which is the life of all things, both animate and inanimate—has a more free and easie recourse to pass and repass." This explanation accounts, in part at least, for the superiority of old over new instruments, and in language delightfully quaint and simple.
| Pietro Giov Fratelli Mantegazza nella Contrada di Santa Margarita in Milano al Segno dell' Angelo 17— Petrus Joes. Fratresq Mantegatia Mediolani in Via S. Margarite anno 1760. Petrus Joannes Mantegatia, fecit Mediolani in Via S. Margaritæ 1784. |
MANTEGAZZA, Pietro Giovanni, Milan. Vincenzo Lancetti states that "about 1800 the Brothers Mantegazza were restorers of instruments, and were often entrusted by French and Italian artistes to lengthen the necks of their Violins after the Paris fashion, an example which was followed by amateurs and professors all over North Italy." This extract shows that the short necks were dispensed with in Paris towards the close of the last century, and doubtless Viotti was the chief instigator with regard to the change. The family of Mantegazza, as Violin-makers, date back to about the middle of the eighteenth century. They appear to have made many Tenors. The workmanship is good, and also the modelling of the later-dated instruments. The older ones are rather high, but the varnish is brilliant. The wood is somewhat hard. Count Cozio was a patron of the Brothers Mantegazza, and he appears to have increased his knowledge of Italian Violins from information acquired from them.
MARATTI, Verona, about 1700.
MARCHETTI, Enrico, Turin, contemporary.
MARIANI, Antonio, Pesaro, from about 1580 to 1619. Long middle bouts and corners; style and work very primitive, mostly double purfled.
MEIBERI, Francesco, Leghorn, 1750.
MESSEGUER, Spanish, about 1646.
MEZADRI, Alessandro, Ferrara, 1690-1722. The pattern is inelegant, and the sound-holes too close.
MEZADRI, Francesco, Milan, about 1712.
MIALFI, Joannes, 1769. The label is in Spanish. Ordinary character of work.
| Guarneri Violin |
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GIUSEPPE GUARNERI DEL GESÙ. 1737. (LATE H. O. HAVEMEYER, ESQ.) Plate IX.
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| Dominicus Montagnana Sub Signo Cremonæ Venetiis 17— |
MONTAGNANA, Domenico, Cremona and Venice, 1700-1740. Pupil of Antonio Stradivari. After leaving the workshop of his famous master, he followed his art in Cremona. He afterwards removed to Venice, where Violin manufacture was in the most flourishing condition, and adopted the name of "Cremona" as the sign of his house. In days when houses were unnumbered, tradesmen were found by their sign, and they were often puzzled to select one both distinctive and effective. The Violin-makers of Italy, having exhausted the calendar of its Saints emblematic of Harmony, left it to the Venetian to honour the name of himself and the city which was the seat of the greatest Violin manufacture the world had witnessed. In Venice he soon attained great popularity, and made the splendid specimens of his art with which we are familiar. The instructions which he had received at Cremona enabled him to surpass all in Venice. He gained great knowledge of the qualities of material, and of the thicknesses to be observed; and, moreover, he carried with him the superior form of the Cremonese school, and the glorious varnish. Mr. Reade names him "the mighty Venetian," an appellation not a whit too high-sounding, though it may appear so to those not acquainted with his finest works. The truth is, that Montagnana is less known than any of the great makers. For years his works have been roaming about, bearing the magic labels of "Guarnerius filius Andreæ," "Carlo Bergonzi," and sometimes of "Pietro Guarneri," although there is barely a particle of resemblance between the works of our author and the makers named, whose labels have been used as floats.
Montagnana was in every way original, but the fraud that has foisted his works upon makers who were better known has prevented his name from being associated with many of his choicest instruments, and deprived him of the place which he would long since have held in the estimation of the true connoisseur. This injustice, however, is fast passing away; as ever, genius comes forth triumphant.
The time is near when the "mighty Venetian" and Carlo Bergonzi will occupy positions little less considerable than that of the two great masters. Already the merits of these makers are daily more appreciated, and when the scarcity of their genuine works is considered, it becomes a matter of certainty that their rank must be raised to the point indicated.
It is much to be regretted that both Montagnana and Bergonzi did not leave more numerous specimens behind them. Would that each had been as prolific as their common master! We should then have inherited a store from which our coming Violinists and Violoncellists could have possessed themselves of splendid instruments, when those of Guarneri and Stradivari were placed far beyond reach.
In these times, when the love of music is rapidly developing itself among all classes, the question of supply must attract notice. The prime question with respect to Violins of the highest character is not now as to price, but as to the supply of limited and daily decreasing material; and the doubtful point is, not whether purchasers are to be found who may not be unwilling to pay the increased cost consequent upon scarcity, but whether the instruments required will be available in sufficient numbers to satisfy the demands of those quite prepared to gratify their wishes for the possession of an instrument of the first rank. A single glance is sufficient to remind us that the list of makers of the highest class, and particularly of original artists, is scanty indeed. There are a few copyists, it is true, notably Lupot and Panormo, whose instruments must take a considerable position, but on the whole the demand will far exceed the supply. The difficulty here noticed is intensified from the fact of the Violin being sought after as it is, unlike any other musical instrument, for the cabinets of the collector as well as for actual use—a state of things perfectly natural when its artistic beauties are considered. Violinists possibly consider they smart under a sense of wrong at the hands of collectors who thus indulge their taste; but, on the other hand, we have reason to be grateful to the lovers of art for having stayed the hand of Time in demolishing these treasures.
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. Fétis, 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.
POLLUSCA, Antonio, Rome, about 1751.
POSTIGLIONE, Vincenzo, Naples, contemporary.
| Joannes Franciscus Pressenda q. Raphael fecit Taurini Anno Domini 1826. |
PRESSENDA, Giovanni Francesco, Turin. 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 Italy13 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.
13 "L'Italie économique," 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.