Part 8
The purfling of the brothers Amati is very beautifully executed. The scrolls differ very much, and in the earlier instruments of these makers are of a type anterior to that of the bodies. Further, the varnish on the earlier specimens is deeper in colour than that found on the later ones, which have varnish of a beautiful orange tint, sparingly laid on, and throwing up the markings of the wood with much distinctness. The material used by these makers and the mode of cutting it also varies considerably. In some specimens we find that they used backs of the slab form; in others, backs worked whole; in others, backs divided into two segments. The belly-wood is in every case of the finest description. The tone is far more powerful than that of the instruments of Andrea, and this increase of sound is obtained without any sacrifice of the richness of the quality.
[Illustration: _Plate V_. CARLO BERGONZI. _Grand Pattern_. (GEO. GUDGEON, ESQ.)]
AMATI, Niccolo, Cremona, born December 3, 1596, died April 12, 1684.
Nicolaus Amatus Cremonen, Hieronymi Fil. ac Antonij Nepos Fecit. 16--
Son of Girolamo Amati. It is gratifying in the notice of this famous Violin-maker to be able to supply dates of his birth, marriage, and death. Niccolo was christened on December 6, 1596. His marriage took place on May 23, 1645, and it is interesting to record that his pupil Andrea Guarneri witnessed the ceremony, and signed the register. The information recently supplied by Canon Bazzi of Cremona, relative to the pupils and workmen of Niccolo Amati, who were duly registered in the books of the parish of SS. Faustino and Giovita, is fraught with interest. It seems to carry us within the precincts, if not into the workshop, of the master. Andrea Guarneri heads the list in the year 1653, age twenty-seven, and married; next comes Leopoldo Todesca, age twenty-eight; and Francesco Mola, age twelve. In the following year Leopoldo Todesca appears to have been the only name registered as working with Amati. In the year 1666 we have the name Giorgio Fraiser, age eighteen. In 1668 no names of workmen seem to have been registered. In 1680 the name of Girolamo Segher appears, age thirty-four, and Bartolommeo Cristofori, age thirteen. In 1681 another name occurs, namely Giuseppe Stanza, a Venetian, age eighteen. In the following year the only name entered was that of Girolamo Segher, age thirty-six. Niccolo Amati was the greatest maker in his illustrious family, and the finest of his instruments are second only to those of his great pupil, Antonio Stradivari. His early efforts have all the marks of genius upon them, and clearly show that he had imbibed much of the taste of his father Girolamo. He continued for some time to follow the traditional pattern of the instruments, with the label of Antonius and Hieronymus Amati, and produced many Violins of small size, of which a large number are still extant. He appears to have laboured assiduously during these early years, with the view of making himself thoroughly acquainted with every portion of his art. We find several instances in which he has changed the chief principles in construction (particularly such as relate to the arching and thicknesses), and thereby shown the intention which he had from the first of framing a new model entirely according to the dictates of his own fancy. The experienced eye may trace the successive steps taken in this direction by carefully examining the instruments dating from about 1645 downwards. Prior to this period, there is a peculiarly striking similarity in his work and model to that of his father, but after this date we can watch the gradual change of form and outline which culminated in the production of those exquisite works of the art of Violin-making known as "grand Amatis"--a name which designates the grand proportions of the instruments of this later date. It may be said that the maker gained his great reputation from these famous productions. They may be described as having an outline of extreme elegance, in the details of which the most artistic treatment is visible. The corners are drawn out to points of singular fineness, and this gives them an appearance of prominence which serves to throw beauty into the entire work. The model is raised somewhat towards the centre, dipping rather suddenly from the feet of the bridge towards the outer edge, and forming a slight groove where the purfling is reached, but not the exaggerated scoop which is commonly seen in the instruments of the many copyists. This portion of the design has formed the subject of considerable discussion among the learned in the Violin world, the debatable points being the appearance of this peculiarity and its acoustic effect. As regards the former question, the writer of these pages feels convinced that the apparent irregularity is in perfect harmony with the general outline of the great Amati's instrument; and it pleases the eye. From the acoustical point of view, it may be conceded that it does not tend to increase of power; but, on the other hand, probably, the sweetness of tone so common to the instruments of Niccolo Amati must be set to its credit; for, in proportion as the form is departed from, the sweetness is found to decrease. The sound-hole has all the character of those of the preceding Amati, together with increased boldness; in fact, it is a repetition of that of Girolamo, with this exception. The sides are a shade deeper than those of the brothers Amati. The scroll is exquisitely cut. Its outline is perhaps a trifle contracted, and thus is robbed of the vigour which it would otherwise possess. From this circumstance it differs from the general tenor of the body, which is certainly of broad conception. The maker would seem to have been aware of this defect, if we may judge from the difference of form given to his earlier scrolls, as compared with those of a later date, in which he seems to have attempted to secure increased boldness, as more in keeping with the character of the body of the instrument. It must be acknowledged, however, that these efforts did not carry him far enough. The surface of the scroll is usually inclined to flatness. The wood used by Niccolo Amati for his grand instruments is of splendid quality, both as regards acoustical requirements and beauty of appearance. The grain of some of his backs has a wave-like form of much beauty, others have markings of great regularity, giving to the instrument a highly finished appearance. The bellies are of a soft silken nature, and usually of even grain. A few of them are of singular beauty, their grain being of a mottled character, which, within its transparent coat of varnish, flashes light here and there with singular force. The colour of the varnish varies in point of depth; sometimes it is of a rich amber colour, at others reddish-brown, and in a few instances light golden-red.
These, then, are the instruments which are so highly esteemed, and which form one of the chief links in the Violin family. The highest praise must be conceded to the originator of a design which combines extreme elegance with utility; and, simple as the result may appear, the successful construction of so graceful a whole must have been attended with rare ingenuity and persevering labour.
Here, again, is evidence of the master mind, never resting, ever seeking to improve--evidence, too, that mere elaboration of work was not the sole aim of the Cremonese makers. They designed and created as they worked, and their success, which no succeeding age has aspired to rival, entitles them to rank with the chief artists of the world.
On the form of the instrument known as the "grand Amati" Stradivari exerted all the power of his early years; and the fruits of his labours are, in point of finish, unsurpassed by any of his later works. Where Niccolo Amati failed, Stradivari conquered; and particularly is this victory to be seen in the scrolls of his instruments during the first period, which are masterpieces in themselves. How bold is the conception, how delicate the workmanship, what a marvel of perfection the sound-hole! But as these Violins are noticed under the head of "Stradivari," it is unnecessary to enter into details here. Beside Stradivari, many makers of less importance followed the "grand Amati" pattern, among whom may be mentioned Jacobs, of Amsterdam, who takes a prominent place as a copyist. The truthfulness of these copies, as regards the chief portions of the instrument, is singularly striking, so much so, indeed, as to cause them to be frequently mistaken for originals by those who are not deeply versed in the matter. The points of failure in these imitations may be cited as the scroll and sound-hole. The former lacks ease, and seems to defy its author to hide his nationality. The scroll has ever proved the most troublesome portion of the Violin to the imitator. It is here, if anywhere, that he must drop the mask and show his individuality, and this is remarkably the case in the instance above mentioned. A further difference between Amati and Jacobs lies in the circumstance that the latter invariably used a purfling of whalebone. Another copyist of Amati was Grancino. As the varnish which he used was of a different nature from that of his original, his power of imitation must be considered to be inferior to that of some others. Numerous German makers, whose names will be found under the "German School," were also liege subjects of Amati, and copied him with much exactness; so also, last, but not least, our own countrymen, Forster, Banks, and Samuel Gilkes.
Lancetti, writing of Niccolo Amati in 1823, says: "Some masterpieces by him still remain in Italy, among which is the Violin dated 1668, in the collection of Count Cozio. It is in perfect preservation, and for workmanship, quality, and power of tone far surpasses the instruments of his predecessors." The same writer remarks that "Niccolo Amati put his own name to his instruments about 1640." It was upon a Violoncello of this make that Signor Piatti played when he first appeared at the concert of the Philharmonic Society, on June 24, 1844. The instrument had been presented to him by Liszt, and is now in the possession of the Rev. Canon Hudson. In an entry in the Cathedral Register at Cremona, the name of the wife of Niccolo Amati is given as Lucrezia Paliari. The meagreness of accounts of a documentary character in relation to the famous makers of Cremona naturally renders every contribution of the kind of some value. The following extract, taken from the State documents in connection with the Court of Modena, serves to indicate the degree of esteem in which the instruments of Niccolo Amati were held during his lifetime, in comparison with those of his contemporary and pupil, Francesco Ruggieri. Tomaso Antonio Vitali, the famous Violinist, who was the director of the Duke of Modena's Orchestra, addressed his patron to this effect: "Please your most Serene Highness, Tomaso Antonio Vitali, your highness's most humble servant, bought of Francesco Capilupi, through the agency of the Rev. Ignazio Paltrineri, for the price of twelve doublons, a Violin, and paid such price on account of its having the name inside of Niccolo Amati, a maker of great repute in his profession. The petitioner has since found that this Violin has been wrongly named, as underneath the label is the signature of Francesco Ruggieri detto il Pero, a maker of less credit, whose Violins do not scarcely attain the price of three doublons."[3] Vitali closes his letter with an appeal to the Duke for assistance to obtain redress.
[Footnote 3: "Luigi F. Valdrighi Nomocheliurgografia," Modena, 1884.]
AMATI, Girolamo, Cremona, born 1649, third son of Niccolo. The labels which I have seen in a Violin and a Tenor bear the name "Hieronymus Amati," and describe the maker as the son of Niccolo. He was born on February 26, 1649, married in 1678. In 1736 he, together with his family, removed to another parish, as shown by the original extract from the books of the Cathedral at Cremona, sent by Canon Manfredini to Lancetti. Girolamo Amati died in the year 1740. There appears to have been some doubt as to whether Girolamo Amati, the son of Niccolo, made Violins, according to Lancetti. He says, "Those seen with his label, dated between 1703 and 1723, were ascribed by some to Sneider, of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin for repair to the Brothers Mantegazza, dealers and restorers of musical instruments, in Milan, and upon their removing the belly they were pleased to discover, written at the base of the neck, 'Revisto e coretto da me Girolamo figlio di Niccolo Amati, Cremona, 1710.'"
In some instances the instruments of this maker do not resemble those of Niccolo Amati, or indeed those of the Amati family. The sound-holes are straight, and the space between them is somewhat narrow. In others there is merit of a high order--the pattern is large, broad between the sound-holes, and very flat in model, and resembling the form of Stradivari rather than that of Amati. These differences are accounted for by the fact made known by Lancetti, that the tools and patterns of Niccolo Amati passed into the possession of Stradivari, and are therefore included with those now in the keeping of Count Cozio's descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati shows signs of decadence; in some instances, however, we find it soft and transparent. The few which have this quality of varnish I am inclined to think were made in the time of Niccolo, since the instruments of a later date have a coating of varnish of an inferior kind. This maker--as with the Bergonzis--seems, therefore, to have been either ignorant of his parent's mode of making superior varnish, or was unable to obtain the same kind or quality of ingredients. With Girolamo closes the history of the family of the Amati as Violin-makers. Girolamo had a son, Niccolo Giuseppe, born in 1684, who removed with his father to another parish in 1736, as mentioned above, but he was not a maker of Violins.
AMBROSI, Pietro, Rome and Brescia, about 1730.
Petrus Ambrosi fecit Brixiae, 17--
Average merit. The workmanship resembles that of Balestrieri, as seen in the inferior instruments of that maker.
ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice.
ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-holes are not properly placed.
ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna.
ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at the Academy of Bologna, without date.
ASSALONE, Gasparo, Rome, 18th century. The model is high and the workmanship rough. Thin yellow varnish.
BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.
BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet in 1782 on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengel's; but no benefit has been derived from it.
BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about 1760.
BALESTRIERI, Tommaso, middle of the 18th century.
Thomas Balestrieri Cremonensis Fecit Mantuae. Anno 17--
Said to have been a pupil of Stradivari, which is probable. The instruments of Balestrieri may be likened to those of Stradivari which were made during the last few years of his life, 1730-37. The form of both is similar, and the ruggedness observable in the latter instruments is found, but in a more marked degree, in those of Balestrieri. These remarks, however, must not be considered to suggest that comparison can fairly be made between these two makers in point of merit, but merely to point out a general rough resemblance in the character of their works. The absence of finish in the instruments of Tommaso Balestrieri is in a measure compensated by the presence of a style full of vigour. The wood which he used varies very much. A few Violins are handsome, but the majority are decidedly plain. The bellies were evidently selected with judgment, and have the necessary qualities for the production of good tone. The varnish seems to have been of two kinds, one resembling that of Guadagnini, the other softer and richer in colour. The tone may be described as large and very telling, and when the instrument has had much use there is a richness by no means common. It is singular that these instruments are more valued in Italy than they are either in England or France.
BALESTRIERI, Pietro, Cremona, about 1725.
BASSIANO, Rome. Lute-maker. 1666.
BENEDETTI. _See_ Rinaldi.
BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo Serafino in pattern, but the workmanship is inferior; neat purfling; rather opaque varnish.
BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis mentions, in his "Biographie Universelle des Musiciens," a Lute by this maker, richly ornamented.
BERGONZI, Carlo, Cremona, 1716-47.
Anno 17-- Carlo Bergonzi, fece in Cremona.
Pupil of Antonio Stradivari. That he was educated in Violin-making by the greatest master of his art is evidenced beyond doubt. In his instruments may be clearly traced the teachings of Stradivari. The model, the thicknesses, and the scroll, together with the general treatment, all agree in betokening that master's influence. Giuseppe Guarneri del Gesu here stands in strong contrast with Bergonzi. All writers on the subject of Violins assume that Guarneri was instructed by Stradivari, a statement based upon no reasons (for none have ever been adduced), and apparently a mere repetition of some one's first guess or error. As before remarked, Carlo Bergonzi, in his work, and in the way in which he carries out his ideas, satisfactorily shows the source whence his early instructions were derived, and may be said to have inscribed the name of his great master, not in print, but in the entire body of every instrument which he made. This cannot be said of Giuseppe Guarneri. On the contrary, there is not a point throughout his work that can be said to bear any resemblance to the sign manual of Stradivari. As this interesting subject is considered at length in the notice of Giuseppe Guarneri, it is unnecessary to make further comment in this place.
The instruments of Carlo Bergonzi are justly celebrated both for beauty of form and tone, and are rapidly gaining the appreciation of artistes and amateurs. Commercially, no instruments have risen more rapidly than those of this maker; their value has continuously increased within recent years, more particularly in England, where their merits were earliest acknowledged--a fact which certainly reflects much credit upon our connoisseurs. In France they had a good character years ago, and have been gaining rapidly upon their old reputation, and now our neighbours regard them with as much favour as we do.
They possess tone of rare quality, are for the most part extremely handsome, and, last and most important of all, their massive construction has helped them, by fair usage and age, to become instruments of the first order. The model of Bergonzi's Violins is generally flat, and the outline of his early efforts is of the Stradivari type; but later in life, he, in common with other great Italian makers, marked out a pattern for himself from which to construct. The essential difference between these two forms lies in the angularity of the latter. It would be very difficult to describe accurately the several points of deviation unless the reader could handle the specimens for himself and have ocular demonstration; the upper portion from the curve of the centre bouts is increased, and, in consequence, the sound-holes are placed slightly lower than in the Stradivari model. Bergonzi was peculiar in this arrangement, and he seldom deviated from it. Again, increased breadth is given to the lower portion of the instrument, and in consequence the centre bouts are set at a greater angle than is customary. The sound-hole may be described as an adaptation of the characteristics of both Stradivari and Guarneri, inclining certainly more to those of the former. As a further peculiarity, it is to be noticed that the sound-holes are set nearer the edge than is the case in the instruments of either of the makers named. Taken as a whole, Bergonzi's design is rich in artistic feeling, and one which he succeeded in treating with the utmost skill.
Carlo Bergonzi furnishes us with another example of the extensive research with which the great Cremonese makers pursued their art, and a refutation of the common assertion that these men worked and formed by accident rather than by judgment. The differences of the two makers mentioned above, as regards form, are certainly too wide to be explained away as a mere accident. It is further necessary to take into consideration the kind of tone belonging to these instruments respectively. If Bergonzi's instruments be compared with those of his master, Stradivari, or of Guarneri del Gesu, the appreciable difference to be found will amount to this, that in Bergonzi's instruments there is a just and exact combination of the qualities of both the other two makers named. Is it not, therefore, reasonable to conclude that Carlo Bergonzi was fully alive to the merits of both Stradivari and Guarneri, and deliberately set himself to construct a model that should embrace in a measure the chief characteristics of both of them?
The scroll is deserving of particular attention. It is quite in keeping with the body of the instrument, and has been cut with a decision of purpose that could only have been possessed by a master. It is flatter than usual, if we trace it from the cheek towards the turn, and is strikingly bold. Here, again, is the portrait of the character of the maker. Although by a pupil of Antonio Stradivari, the scroll is thoroughly distinct from any known production of that maker--it lacks his fine finish and exact proportion; but, on the other hand, it has an originality about it which is quite refreshing. The prominent feature is the ear of the scroll, which being made to stand forth in bold relief, gives it a broad appearance when looked at from the front.
The work of Bergonzi, as has been the case with many of his class, has been attributed to others. Many of his instruments are dubbed "Joseph Guarneri," a mistake in identification which arises chiefly from the form of the sound-hole at the upper and lower portions. There is little else that can be considered as bearing any resemblance whatever to the work of Guarneri, and even in this case the resemblance is very slight. Bergonzi's outline is totally different from that of Guarneri, and is so distinct and telling that it is sure to impress the eye of the experienced connoisseur when first seen.