Part 12

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 Andreae," "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. 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.