Part 7

We are indebted to Brescia for the many grand Double-basses and Tenors that were made there by Gasparo da Salo and Maggini. These instruments formed the stepping-stones to Italian Violin-making, for it is evident that they were in use long before the first era of the Violin. The Brescian Violins have not the appearance of antiquity that is noticeable in the Double-basses or Tenors, and for one Brescian Violin there are ten Double-basses, a fact which goes far to prove that the latter was the principal instrument at that time.

[Illustration: _Plate IV_. ANTONIO STRADIVARI. Date 1734. (LATE LORD AMHERST OF HACKNEY.) THE EMPEROR "STRAD." Date 1715. (LATE GEO. HADDOCK, ESQ.) GUARNERI DEL GESU. Date 1734. (LATE LORD AMHERST OF HACKNEY.)]

From Brescia came the masters who established the School of Cremona. The Amatis took the lead, their founder being Andrea Amati, after whom each one of the clan appears to have gained a march on his predecessor, until the grand masters of their art, Antonio Stradivari and Giuseppe Guarneri del Gesu, advanced far beyond the reach of their fellow-makers or followers. The pupils of the Amati, Stradivari, and Guarneri settled in Milan, Florence, and other cities previously mentioned as centres of Violin-making, and thus formed the distinct character or School belonging to each city. A close study of the various Schools shows that there is much in common among them. A visible individuality is found throughout the works of the Italian makers, which is not to be met with in anything approaching the same degree in the similar productions of other nations. Among the Italians, each artist appears to have at first implicitly obeyed the teaching of his master, afterwards, as his knowledge increased, striking out a path for himself. To such important acts of self-reliance may be traced the absolute perfection to which the Italians at last attained. Not content with the production of instruments capable of producing the best tone, they strove to give them the highest finish, and were rewarded, possibly beyond their expectation. The individuality noticed as belonging in a high degree to Italian work is in many instances very remarkable. How characteristic the scroll and the sound-hole of each several maker! The work of master and pupil differs here in about the same degree as the handwriting of father and son, and often more. Although Stradivari was a pupil of Niccolo Amati, yet how marked is the difference between the scrolls and sound-holes of these two makers; Carlo Bergonzi worked with Stradivari, yet the productions of these two are more easily known apart. A similarly well-defined originality is found, in a more or less degree, to pervade the entire series of Italian Violins, and forms a feature of much interest to the connoisseur.

In closing my remarks upon the Italian School of Violin-making, I cannot withhold from the reader the concluding sentences of the Cremonese biographer, Vincenzo Lancetti, as contained in his manuscript relative to the makers of Cremona. He says: "I cannot help but deeply deplore the loss to my native city (where for two centuries the manufacture of stringed instruments formed an active and profitable trade) of the masterpieces of its renowned Violin-makers, together with the drawings, moulds, and patterns, the value of which would be inestimable to those practising the art. Is it not possible to find a citizen to do honour to himself and his city by securing the collection of instruments, models, and forms brought together by Count Cozio di Salabue, before the treasure be lost to Italy? I have the authority of Count Cozio to grant to such a patron every facility for the purchase and transfer of the collection, conditionally that the object be to resuscitate the art of Violin-making in Cremona, which desire alone prompted the Count in forming the collection." These interesting remarks were written in the year 1823, with a view to their publication at the end of the account of Italian Violin-makers which Lancetti purposed publishing. As the work did not see the light, the appeal of the first writer on the subject of Italian Violins was never heard. Had it been, in all probability Cremona would at this moment have been in possession of the most remarkable collection of instruments and models ever brought together, and be maintaining in at least some measure the prestige belonging to its past in Violin-making.

SECTION V The Italian Varnish

A word or two must be said upon the famous varnish of the Italians, which has hitherto baffled all attempts to solve the mystery of its formation. Every instrument belonging to the school of Cremona has it, more or less, in all its marvellous beauty, and to these instruments the resolute investigator turns, promising himself the discovery of its constituent parts. The more its lustre penetrates his soul, the more determined become his efforts. As yet, however, all such praiseworthy researches have been futile, and the composition of the Cremonese varnish remains a secret lost to the world--as much so as the glorious ruby lustre of Maestro Giorgio, and the blue so coveted by connoisseurs of china. Mr. Charles Reade truly says: "No wonder, then, that many Violin-makers have tried hard to discover the secret of this varnish: many chemists have given anxious days and nights to it. More than once, even in my time, hopes have run high, but only to fall again. Some have even cried 'Eureka' to the public; but the moment others looked at their discovery and compared it with the real thing,

'Inextinguishable laughter shook the skies.'

At last despair has succeeded to all that energetic study, and the varnish of Cremona is sullenly given up as a lost art."

Declining, therefore, all speculation as to what the varnish is or what it is not, or any nostrums for its re-discovery, we will pass on at once to the description of the different Italian varnishes, which may be divided into four distinct classes, viz., the Brescian, Cremonese, Neapolitan, and Venetian. These varnishes are quite separable in one particular, which is, the depth of their colouring; and yet three of them, the Brescian, Cremonese, and Venetian, have to all appearance a common basis. This agreement may be accounted for with some show of reason by the supposition that there must have been a depot in each city where the varnish was sold in an incomplete form, and that the depth of colour used, or even the means adopted for colouring, rested with the maker of the instrument. If we examine the Brescian varnish, we find an almost complete resemblance between the material of Gasparo da Salo and that of his coadjutors, the colouring only being different. Upon turning to the Cremonese, we find that Guarneri, Stradivari, Carlo Bergonzi, and a few others, used varnish having the same characteristics, but, again, different in shade; possibly the method of laying it upon the instrument was peculiar to each maker. Similar facts are observable in the Venetian specimens. The varnish of Naples, again, is of a totally different composition, and as it was chiefly in vogue after the Cremonese was lost, we may conclude that it was probably produced by the Neapolitan makers for their own need.

If we reflect for a moment upon the extensive use which these makers made of the Cremonese varnish, it is reasonable to suppose that it was an ordinary commodity in their days, and that there was then no secret in the matter at all. To account for its sudden disappearance and total loss is, indeed, not easy. After 1760, or even at an earlier date, all trace of it is obliterated. The demand for it was certainly not so great as it had been, but quite sufficient to prevent the supply from dying out had it been possible. The problem of its sudden disappearance may, perhaps, be accounted for without overstepping the bounds of possibility, if we suppose that the varnish was composed of a particular gum quite common in those days, extensively used for other purposes besides the varnishing of Violins, and thereby caused to be a marketable article. Suddenly, we will suppose, the demand for its supply ceased, and the commercial world troubled no further about the matter. The natural consequence would be non-production. It is well known that there are numerous instances of commodities once in frequent supply and use, but now entirely obsolete and extinct.

While, however, our attention has been mainly directed to the basis of the celebrated varnish, it must not be supposed that its colouring is of no importance. In this particular each maker had the opportunity of displaying his skill and judgment, and probably it was here, if anywhere, that the secret rested. The gist of the matter, then, is simply that the varnish was common to all, but the colouring and mode of application belonged solely to the maker, and hence the varied and independent appearance of each separate instrument. With regard, however, to the general question as to what the exact composition of the gum was or was not, I shall hazard no further speculation, and am profoundly conscious of the fact that my present guesses have gained no nearer approaches to the re-discovery of the buried treasure.

A description, however, of the various Italian varnishes may not be inappropriate. The Brescian is mostly of a rich brown colour and soft texture, but not so clear as the Cremonese. The Cremonese is of various shades, the early instruments of the school being chiefly amber-coloured, afterwards deepening into a light red of charming appearance, later still into a rich brown of the Brescian type, though more transparent, and frequently broken up, while the earlier kinds are velvet-like. The Venetian is also of various shades, chiefly light red, and exceedingly transparent. The Neapolitan varnish (a generic term including that of Milan and a few other places) is very clear, and chiefly yellow in colour, but wanting the dainty softness of the Cremonese. It is quite impossible to give such a description of these varnishes as will enable the reader at once to recognise them; the eye must undergo considerable exercise before it can discriminate the various qualities; practice, however, makes it so sharp that often from a piece of varnishing the size of a shilling it will obtain evidence sufficient to decide upon the rank of the Violin.

And here, before we dismiss the subject of the varnish, another interesting question occurs: What is its effect, apart from the beauty of its appearance, upon the efficiency of the instrument? The idea that the varnish of a Violin has some influence upon its tone has often been ridiculed, and we can quite understand that it must appear absurd to those who have not viewed the question in all its bearings. Much misconception has arisen from pushing this theory about the varnish either too far or not far enough. What seems sometimes to be implied by enthusiasts is, that the form of the instrument is of little importance provided the varnish is good, which amounts to saying that a common Violin may be made good by means of varnishing it. The absurdity of such a doctrine is self-evident. On the other hand, there are rival authorities who attach no importance to varnish in relation to tone. That the varnish does influence the tone there is strong proof, and to make this plain to the reader should not be difficult. The finest varnishes are those of oil, and they require the utmost skill and patience in their use. They dry very slowly, and may be described as of a soft and yielding nature. The common varnish is known as spirit varnish; it is easily used and dries rapidly, in consideration of which qualities it is generally adopted in these days of high pressure. It may be described as precisely the reverse of the oil varnish; it is hard and unyielding. Now a Violin varnished with fine oil varnish, like all good things, takes time to mature, and will not bear forcing in any way. At first the instrument is somewhat muffled, as the pores of the wood have become impregnated with oil. This makes the instrument heavy both in weight and sound; but as time rolls on the oil dries, leaving the wood mellowed and wrapped in an elastic covering which yields to the tone of the instrument and imparts to it much of its own softness. We will now turn to spirit varnish. When this is used a diametrically opposite effect is produced. The Violin is, as it were, wrapped in glass, through which the sound passes, imbued with the characteristics of the varnish. The result is, that the resonance produced is metallic and piercing, and well calculated for common purposes; if, however, richness of tone be required, spirit-varnished instruments cannot supply it. From these remarks the reader may gather some notion of the vexed question of varnish in relation to tone, and be left to form his own opinion.

The chief features of the Italian School of Violin-makers having been noticed, it only remains to be said that the following list of makers is necessarily incomplete. This defect arises chiefly from old forgeries. Labels used as the trade marks of many deserving makers have from time to time been removed from their lawful instruments in order that others bearing a higher marketable value might be substituted. In the subjoined list will be found all the great names, and every care has been taken to render it as complete as possible. Several names given are evidently German, most of which belong to an early period, and are chiefly those in connection with the manufacture of Lutes and Viols in Italy. These are included in the Italian list, in order to show that many Germans were engaged in making stringed instruments in Italy, about the period when Tenor and Contralto Viols with four strings were manufactured there--a circumstance worthy of note in connection with the history of Viol and Violin making in Italy, bearing in mind that four-string Viols were used in Germany when Italy used those having six strings.

SECTION VI Italian Makers

ABATI, Giambattista, Modena, about 1775 to 1793.

ACEVO, Saluzzo. Reference is made in the "Biographie Universelle des Musiciens" to this maker having been a pupil of Gioffredo Cappa, and M. Fetis mentions his having seen a Viol da Gamba dated 1693 of this make, which belonged to Marin Marais, the famous performer on the Viol.[1]

[Footnote 1: There seems good reason to question the existence of such a person, at all events as a maker of Violins.--EDITORS.]

ALBANESI, Sebastiano, Cremona, 1720-1744. The pattern is bold and the model flat. Although made at Cremona, they do not properly belong to the school of that place, having the characteristics of Milanese work. The varnish is quite unlike that of Cremona.

ALBANI, Paolo, Palermo, 1650-80. Is said to have been a pupil of Niccolo Amati. The pattern is broad and the work carefully executed.

ALESSANDRO, named "Il Veneziano," 16th century.

ALETZIE, Paolo, Munich, 1720-36. He made chiefly Tenors and Violoncellos, some of which are well-finished instruments. The varnish is inferior, both as regards quality and colour. The characteristics of this maker are German, and might be classed with that school.

ALVANI, Cremona. Is said to have made instruments in imitation of those of Giuseppe Guarneri.

AMATI, Andrea, Cremona. The date of birth is unknown. It is supposed to have occurred about 1520. M. Fetis gave this date from evidence furnished by the list of instruments found in the possession of the banker Carlo Carli, which belonged to Count Cozio di Salabue. Mention is made of a Rebec, attributed to Andrea Amati, dated 1546. Upon reference to the MSS. of Lancetti, I find the following account of the Rebec: "In the collection of the said Count there exists also a Violin believed to be by Andrea Amati, with the label bearing the date 1546, which must have been strung with only three strings, and which at that epoch was called Rebec by the French. The father of Mantegazza altered the instrument into one of four strings, by changing the neck and scroll." From these remarks we gather that the authorship of this interesting Violin is doubtful. There is, however, some show of evidence to connect Andrea Amati with Rebecs and Geigen, in the notable fact that most of his Violins are small, their size being that known as three-quarter, which was, I am inclined to believe, about the size of the instruments which the four-stringed Violin succeeded. As to the time when Andrea Amati worked, I am of opinion that it was a little later than has hitherto been stated. We have evidence of his being alive in the year 1611, from an entry recently discovered in the register of the parish in which Andrea Amati lived, to the effect that his second wife died on April 10, 1611, and that Andrea was then living. The discovery of this entry (together with many important and interesting ones to which I shall have occasion to refer) we owe to the patience and industry of Monsignor Gaetano Bazzi, Canon of the Cathedral of Cremona.[2] Andrea Amati claims attention not so much on account of his instruments, as from his being regarded as the founder of the school of Cremona. There is no direct evidence as to the name of the master from whom he learnt the art of making stringed instruments. If his work be carefully examined, it will appear that the only maker to whose style it can be said to bear any resemblance is Gasparo da Salo, and it is possible that the great Brescian may have instructed him in his art. It is unfortunate that there are no data for our guidance in the matter. These men often, like their brothers in Art, the painters of olden times, began to live when they were dead, and their history thus passed without record. Andrea Amati may possibly have been self-taught, but there is much in favour of the view given above on this point. His early works are so Brescian in character as to cause them to be numbered with the productions of that school. For a general designation of the instruments of this maker the following notes may suffice. The work is carefully executed. The model is high, and, in consequence, lacks power of tone; but the Violins possess a charming sweetness. The sound-hole is inelegant, has not the decision of Gasparo da Salo, although belonging to his style, and is usually broad. His varnish may be described as deep golden, of good quality. His method of cutting his material was not uniform, but he seems to have had a preference for cutting his backs in slab form, according to the example set for the most part by the Brescian makers. The sides were also made in a similar manner, the wood used being both sycamore and that known to makers as pear-tree. The instruments of Andrea Amati are now very scarce. Among the famous instruments of this maker were twenty-four Violins (twelve large and twelve small pattern), six Tenors, and eight Basses, made for Charles IX., which were kept in the Chapel Royal, Versailles, until October, 1790, when they disappeared. These were probably the finest instruments by Andrea Amati. On the backs were painted the arms of France and other devices, with the motto, _Pietate et Justitia_. In the "Archives Curieuses de l'Histoire de France," one Nicolas Delinet, a member of the French King's band, appears to have purchased in 1572 a Cremona Violin for his Majesty, for which he paid about ten pounds--a large sum, it must be confessed, when we think of its purchasing power in the sixteenth century. Mr. Sandys, who cites this curious entry, rightly conjectures it may have included incidental expenses. No mention is made of the maker of the Violin in question; we find, however, that in the collection of instruments which belonged to Sir William Curtis there was a Violoncello having the arms of France painted on the back, together with the motto above noticed. The date of the instrument was 1572. We may therefore assume that the Violin purchased by Nicolas Delinet in the same year was the work of Andrea Amati, and belonged to the famous Charles IX. set.

[Footnote 2: The extracts were published by Signor Piccolellis at Florence in 1886.]

AMATI, Niccolo, Cremona, brother of Andrea. Very little is known of this maker or of his instruments.

AMATI, Antonio and Girolamo, sons of Andrea Amati, Cremona.

Antonius et Hieronymus Fr. Amati Cremonen Andrae fil. F.

There does not exist certain evidence as to the date of the birth and death of Antonio Amati. We have information of the dates on which his brother Girolamo died in extracts from parish registers; also the date of his marriages, which took place in the year 1576, and on May 24, 1584. By his second wife, Girolamo had a family of nine children; the fifth child was Niccolo, who became the famous Violin-maker. The mother of Niccolo died of the plague on October 27, 1630, and her husband, Girolamo, died of the same disease six days later, viz., November 2, 1630, and was buried on the same day. Girolamo is described in the register as "Misser Hieronimo Amati detto il leutaro della vic di S. Faustino" (viz., maker to the Church). Vincenzo Lancetti states that "Count Cozio kept a register of all the instruments seen by him, from which it appeared that the earliest reliable date of the brothers Amati is 1577, and that they worked together until 1628; that Antonio survived Jerome and made instruments until after the year 1648--a fine Violin bearing the last-named date having been recently seen with the name of Antonio alone." This information serves in some measure to set at rest much of the uncertainty relative to the period when these makers lived. These skilful makers produced some of the most charming specimens of artistic work. To them we are indebted for the first form of the instrument known as "Amatese." The early efforts of the brothers Amati have many of the characteristics belonging to the work of their father Andrea; their sound-hole is similar to his, and in keeping with the Brescian form, and the model which they at first adopted is higher than that of their later and better instruments.

Although these makers placed their joint names in their Violins, it must not be supposed that each bore a proportionate part of the manufacture in every case; on the contrary, there are but few instances where such association is made manifest. The style of each was distinct, and one was immeasurably superior to the other. Antonio deviated but little from the teaching of his father. The sound-holes even of his latest instruments partake of the Brescian type, and the model is the only particular in which it may be said that a step in advance is traceable; here he wisely adopted a flatter form. His work throughout, as regards finish, is excellent.

Girolamo Amati possessed in a high degree the attributes of an artist. He was richly endowed with that rare power--_originality_. It is in his instruments that we discover the form of sound-hole which Niccolo Amati improved, and, after him, the inimitable Stradivari perfected. Girolamo Amati ignored the pointed sound-hole and width in the middle portions observable in his predecessor's Violins, and designed a model of extremely elegant proportions. How graceful is the turn of the sound-hole at both the upper and lower sections! With what nicety and daintiness are the outer lines made to point to the shapely curve! Niccolo Amati certainly improved even upon Girolamo's achievements, but he did not add more grace; and the essential difference between the instruments of the two is, that there is more vigour in the sound-hole of Niccolo than that of his father Girolamo.