Part 13

[Illustration: _Plate X_. DOMENICO MONTAGNANA. (GEO. GUDGEON, ESQ.)]

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.

[Illustration: _Plate XI_. ANTONIO STRADIVARI. _Tenor_. Date 1690. (Made for the Grand Duke of Florence.) ANTONIO STRADIVARI. 1734. (LATE GEO. AMES, ESQ.)]

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.