Part 9

The varnish of Bergonzi is often fully as resplendent as that of Giuseppe Guarneri or Stradivari, and shows him to have been initiated in the mysteries of its manufacture. It is sometimes seen to be extremely thick, at other times but sparingly laid on; often of a deep, rich red colour, sometimes of a pale red, and again, of rich amber, so that the variation of colour to be met with in Bergonzi's Violins is considerable. We must concede that his method of varnishing was scarcely so painstaking as that of his fellow-workers, if we judge from the clots here and there, particularly on the deep-coloured instruments; but, nevertheless, now that age has toned down the varnish, the effect is good.

Carlo Bergonzi lived next door to Stradivari, and I believe the house remained in the family until a few years since, when it was disposed of.

Lancetti remarks: "From want of information, we have forgotten in the second volume"--referring to his "Biographical Dictionary," part of which was printed in 1820--"to include an estimable maker named Carlo Bergonzi, who was pupil of Stradivari, and fellow-workman with his sons. From the list of names and dates collected by Count Cozio, it appears that Carlo Bergonzi worked by himself from 1719 to 1746. He used generally very fine foreign wood, and a varnish the quality of that of his master." In the collection of Count Cozio di Salabue, there were two Violins by Bergonzi, dated 1731 and 1733, and a Violoncello, 1746. We have in this country two remarkable Violoncellos of this maker. The perfect and unique Double Bass which Vuillaume purchased of the executors of Luigi Tarisio is now in the possession of the family of the late Mr. J. M. Sears, of Boston, U.S.

BERGONZI, Michel Angelo, Cremona, 1730-60.

Michael Angelo Bergonzi Figlio di Carlo fece in Cremona l'Anno 17--

Son of Carlo. The pattern of his instruments is somewhat varied. Many are large, and others under-sized. The varnish is hard, and distinct from that associated with Cremonese instruments.

[Illustration: _Plate VI_. J. B. GUADAGNINI. STORIONI. 1797.]

BERGONZI, Niccolo, Cremona.

Nicolaus Bergonzi Cremonensis faciebat Anno 17--

Son of the above. He made a great number of Violins of similar form to those of his father. The wood which he selected was of a close nature and hard appearance. The varnish is not equal to that of Carlo; it is thin and cold-looking. The workmanship is very good, being often highly finished, but yet wanting in character. The scroll is cramped, and scarcely of the Cremonese type. Lancetti mentions a Tenor by this maker, dated 1781.

In the correspondence which passed between the grandson of Antonio Stradivari and the agents of Count Cozio (which is given in these pages), reference is made to some of the moulds of the great maker being in the keeping of ---- Bergonzi, they having been lent to him, the writer saying that he would obtain them and put them with the other patterns, which appears to have been done. These moulds were doubtless lent to Michel Angelo Bergonzi, and were used by Niccolo as well as his father, which accounts for the form of their instruments being varied.

BERGONZI, Zosimo, Cremona. Brother of Niccolo.

BERGONZI, Carlo, Cremona, about 1780-1820. Son of Michel Angelo. He made a few Violins, large Stradivarius form, sound-holes straight and inelegant.

BERGONZI, Benedetto, Cremona, died in 1840. Tarisio learned little points of interest concerning Stradivari and his contemporaries from Benedetto Bergonzi.

BERTASSI, Ambrogio, Piadena (near Cremona), about 1730.

BERTOLOTTI, Gaspar di. _See_ Gaspar da Salo.

BIANCHI, Niccolo, Genoa and Nice. Worked until about 1875.

BIMBI, Bartolommeo, Siena, 1753-69. High-built, small pattern, orange-yellow varnish.

BODIO, G. B., Venice, about 1832. Good workmanship; oil varnish, wide purfling.

BORELLI, Andrea, Parma, about 1735. His instruments are little known; they resemble those of Giuseppe Guadagnini.

BRENSIO, Girolamo (BRENSIUS, Hieronymus), Bologna. Reference has been made to the Viols of this maker in the first section of this work.

BRESCIA, Da, Battista. A Pochette or Kit of this maker is at the Academy of Music, Bologna, signed "Baptista Bressano"; the period assigned to it is the end of the 15th century.

BROSCHI, Carlo, Parma.

Carlo Broschi in Parma, fecit 1732.

BUSSETO, Giovanni M., Cremona, 1540-80. Maker of Viols. M. Fetis mentions, in his "Biographie des Musiciens," that Busseto derived his name from _Busseto_, a borough in the Duchy of Parma, where he was born. He also mentions a Viol of this maker, dated 1580, which was found at Milan in 1792.

CALCAGNI, Bernardo, Genoa, about 1740.

Bernardus Calcanius fecit Genuae anno 17--

Neat workmanship, small scroll, flat model, well-cut sound-holes, Stradivari pattern, orange-red varnish.

CALVAROLA, Bartolommeo, Bergamo, about 1753. The work is neatly executed. These instruments are somewhat like those of Ruggeri in form. The scroll is weak, and ill-proportioned.

CAMILLI, Camillo, Mantua, 17--.

Camillus Camilli Fecit Mantua 17--

The form partakes of that of Stradivari; wood usually of excellent quality. The sound-hole is rather wide and short. The varnish resembles that of Landolfi, but is less brilliant.

CAPPA, Gioffredo, Cremona, 1644-1717.

IOFREDVS CAPPA FECIT SALVTIIS ANNO 16--

The dates of birth and death were ascertained by Dr. Orazio Roggiero, a lawyer of Saluzzo, whose researches set at rest many doubts and speculations as to this excellent maker and his period of activity. He was formerly held to be a pupil of the brothers Amati, but the assumption, having regard to the date of birth, is untenable.

The greater number of his productions consist of works of high merit. Their likeness to the instruments of the Amati is in some instances peculiarly striking, but in others there is a marked dissimilarity. Particularly is this the case in the form of the sound-hole and scroll. The sound-hole is sometimes large, and quite out of keeping with the elegant outline of Amati. The points of difference may be summed up as follows: the sound-hole is larger, and more obliquely set in the instrument; the upper portion of the body has a more contracted appearance; the head, as is the case with most makers, differs most, and, in this instance, in no way resembles Amati.

There are few specimens of Cappa that bear their original labels; most of them are counterfeit "Amatis," and hence the great confusion which has arisen concerning their parentage. Lancetti says: "Foreign professors and amateurs, and particularly the English--though connoisseurs of the good and the beautiful--in buying the instruments of Cappa thought they had acquired those of Amati, the outline and character of the varnish and the quality of the tone resembling in some measure the instruments of the Brothers Amati. It is, however, reserved to a few Italian connoisseurs to distinguish them. Those of large pattern, and even of medium size, that have not been injured by unskilful restorers, are scarce, and realise high prices." These remarks, suggested many years since, by so able a connoisseur as Count Cozio, possess a peculiar interest, and cannot fail to interest the reader. As Lancetti remarks, they are of two patterns, one larger than the other. The large one is, of course, the more valuable; it is flatter, and altogether better finished. The Violoncellos of Cappa are among the best of the second-class Italian instruments, and are well worthy the attention of the professor and amateur. The varnish is frequently of very rich quality, its colour resembling that of Amati in many instances.

CARCASSI, Francesco, Florence, about 1758.

CARCASSI, Lorenzo, about 1738.

CARCASSI, Tomaso, worked in partnership with Lorenzo, but also alone, according to labels. There were several makers of this name.

CASINI, Antonio, Modena.

Antonius Casini, fecit Mutine anno 1680.

CASTAGNERI, Andrea, Paris, about 1735.

Andrea Castagneri, nell Palazzo di Saessone, Pariggi, 17--

This Italian maker appears to have settled in Paris. I have seen a Violin by Castagneri, date 1735; flat model, bold outline, and varnish of good quality.

CASTELLANI, Pietro, Florence, died about 1820.

CASTELLANI, Luigi, Florence, died 1884.

CASTRO, Venice, 1680-1720. The wood is of good figure generally. The outline is defective; the middle bouts are too long to be proportionate. Sound-hole roughly worked. Varnish red, the quality of which is scarcely up to the Venetian standard.

CATENAR, Enrico, Turin, about 1671.

Henricus Catenar, fecit Taurini anno 167--

CELIONIATI, Gian Francesco, Turin, about 1734.

Joannes Franciscus Celoniatus, fecit Taurini, anno 17--

Appears to have copied the form of Amati. Yellow varnish, good workmanship.

CERIN, Marco Antonio, Venice, end of the eighteenth century. Signed himself as a pupil of Belosio.

Marcus Antonius Cerin, alumnus Anselmi Belosii, fecit Venetiae, 17--

CERUTI, Giovanni Battista, Cremona, 1755-1817.

Jo. Baptista Ceruti Cremonensis fecit Cremonae an 18--

Ceruti made a large number of Violins and Violoncellos of the Pattern of Amati. He appears to have been a prolific workman, his instruments numbering, it is said, about five hundred. His favourite model was the large Amati. Giovanni Ceruti succeeded to the business of Lorenzo Storioni in 1790, in the Via dei Coltellai, near the Piazza St. Domenico.

CERUTI, Giuseppe, son of Giovanni, Cremona, 1787-1860. Was a maker and restorer of instruments. He is said to have exhibited, at the Paris and other exhibitions, Violins of good quality. He died at Mantua, in 1860.

CERUTI, Enrico, son of Giuseppe, Cremona, born in 1808, died on October 30, 1883. Enrico Ceruti is the last of the long line of Cremonese Violin-makers; there is, in consequence, a peculiar interest attached to him. Independent of this, however, he is deserving of special notice from his having been the recipient of the traditional history attending the makers of Cremona, from Amati to Stradivari and Bergonzi, and from Bergonzi to Storioni and Ceruti. He was acquainted with Luigi Tarisio and with Vuillaume, to whom he gave many interesting particulars relative to the great makers of his native city. The instruments of Enrico Ceruti are much valued by Italian orchestral players. They are said to number about three hundred and sixty-five, among which are several Violoncellos. He exhibited at the London Exhibition of 1862, and at other exhibitions. The last Violin he made was shown at the Milan Exhibition, 1881.

CRISTOFORI, Bartolommeo, Padua and Florence, 1667-1731. Apprenticed to Niccolo Amati. Is best known as the inventor of the "hammer system," and, therefore, the father of the modern pianoforte. Bow instruments of his make are rare, but authentic examples are in every way excellent. A fine Double Bass, dated 1715, is in the museum of the Musical Academy in Florence. Violoncellos and other instruments are known, and it is to be regretted that so few specimens are to be met with.

CIRCAPA, Tommaso, Naples, about 1730.

COCCO, Cristoforo, Venice, 1654. A Lute-maker. The Museum of the Paris Conservatoire Nationale de Musique contains a specimen of this make, which is described in M. Gustave Chouquet's catalogue of the collection.

CONTRERAS, Joseph, Madrid, 1745-80. This being one of the few Spanish makers, his name is placed with the Italian, the number of the Spanish being insufficient for a separate list. The model of this maker is very good and the workmanship superior. He probably lived In Italy during his early life, the style being Italian. He was born in Granada, and was called the Spanish Stradivarius. He died about 1780, and is said to have been seventy years of age.

CORDANO, Jacopo Filippo, Genoa, about 1774.

Jacobus Philipus Cordanus, fecit Genuae anno sal. 1774.

CORNA, Dalla, Brescia, early maker of Viols, about 1530.

COSTA, Pietro Antonio dalla, Venice and Treviso.

Petrus Antonius a Costa, fecit ad similitudinem illorum quos fecerunt Antonius & Hieronymus Fratres Amati Cremonenses Filii Andrae. Tarvisii, 1757.

The label he used is curious. He copied the Brothers Amati with much skilfulness. The sound-holes are like those of the early instruments of the Amati; the varnish is golden in colour and excellent in quality; the scroll, as usual with all imitations, is a weak feature, but does not lack originality.

DARDELLI, Pietro, Mantua, about 1500. Is described as a maker of Lutes and Viols. M. Fetis relates, in his "Biographie des Musiciens," that the painter Richard, of Lyons, possessed about the year 1807 a beautiful Lute by this maker, which was made for the Duchess of Mantua. The instrument is described as richly inlaid with ebony, ivory, and silver, dated 1497, and having the name "Padre Dardelli." On the belly the Mantuan arms are represented. M. Fetis was unable to discover any tidings of this interesting instrument after the death of Richard. Dardelli was a Franciscan monk at Mantua, and occupied himself with making musical instruments and inlaying them. Work of any kind executed under such circumstances is rarely found to be other than artistic.

DESPINE, Alexander, Turin, nineteenth century. A very good maker; worked with Pressenda, whose labels his instruments sometimes bear.

DIEFFOPRUCHAR, Magno, Venice, 1612. Lute-maker. An instrument of this make is at the Academy of Music, Bologna. M. Engel remarks,[4] "There can be no doubt that we have here the Italianised name of the German Magnus Tieffenbrucker, who lived in Italy." There appears to be a connection between these Venetian Lute-makers of this name and Duiffoprugcar of the sixteenth century.

[Footnote 4: "Musical Myths and Facts," 1876.]

DOMINICELLI, Ferrara, said to have worked about 1700.

DUIFFOPRUGCAR, Gaspar, Bologna. This famous maker of Viols is said to have settled in Bologna in the early part of the sixteenth century. He appears to have obtained much renown as an inlayer of musical instruments, and it is stated that Francis I., upon the occasion of his visit to Italy in 1515, prevailed upon the Viol-maker to settle in France. The name of Duiffoprugcar has been made familiar to us, not so much on account of his merits as a Viol-maker, but almost wholly on account of his having been represented as the first maker of the Violin tuned in fifths, and the representation having been supported by the production of three Violins signed and dated 1511, 1517, 1519. I saw, about the year 1877, one of these, and was informed by the owner that the others were almost identical. The instrument bore distinct evidence of its being a modern French imitation, or rather an ingenious creation evolved from a myth, which in all probability had its origin in France. Duiffoprugcar was unquestionably an artist of a high order, but his abilities appear to have been chiefly directed to the art of wood-inlaying, rather than to the making of stringed instruments. He made Viols da Gamba, and he may have made smaller Viols, though I am not aware of any being in existence; but there is no evidence whatever to show that he made Violins.

FARINATO, Paolo, Venice, 1695-1725.

FICKER, Johann Christian, Cremona, middle of the 18th century. Although dating from Cremona, has nothing in common with Cremonese work.

FICKER, Johann Gottlieb, Cremona, 1788.

FIORILLO, Giovanni, Ferrara, 1780. The style is a mixture of German and Italian, the former preponderating. The sound-hole is an imitation of that of Stainer. His Violoncellos are among his best instruments.

FIORINO, Fiorenzi, Bologna, about 1685.

FREI, Hans, Bologna, 1597. Lute and Viol-maker. There is an instrument of this make at the Bologna Academy of Music. It is probable there was a family connection between Hans Frey, of Nuremberg, and this maker.

GABRIELLI, Giovanni Battista, Florence, about the middle of the 18th century.

Gio Battista Gabrielli, fece in Firenze, 17--

Johanes Baptista de Gabriellis, Florentinus fecit 1742.

The instruments of Gabrielli are now becoming better known and appreciated. They bear evident marks of having been made with extreme care. The model, unfortunately, is often not all that could be desired, being too rounded. When this is not the case, the tone is excellent. The wood is mostly very handsome, and the sides and backs evenly marked. The varnish is wanting in mellowness, but is very transparent; its colour is chiefly yellow. The Tenors and Violoncellos are superior to the Violins. The scroll is neatly cut, but weak in design. The letters G. B. G. were often branded on the instruments of Gabrielli.

GABRIELLI. Other makers of this name (Antonio, Bartolommeo, Cristoforo) appear to have dated from Florence.

GAFFINO, Giuseppe, Paris, about 1755. Pupil of Castagneri.

GAGLIANO, Alessandro, Naples, 1695-1730.

Alexandrus Gagliano Alumnus Stradivari fecit Neapoli anno 1725.

A pupil of Antonio Stradivari. The Gagliano family played no unimportant part in the art of Italian Violin-making. It commences with Alessandro, who imitated his master as regards the form which he gave to his instruments. Alessandro Gagliano, upon leaving the workshop of Stradivari, removed to Naples, a city which afforded him greater scope for the exercise of his talents than Cremona. With others, he felt that his chance of success was very small if he remained on ground occupied by the greatest luminaries of his art. His labours at Naples seem to have been so well rewarded that he caused his sons to follow his calling. There is evidence of their having enjoyed what may be termed a monopoly of the Violin manufacture in and around Naples, there being no record of another maker of importance in that locality at the same period. To these makers we are indebted for the Neapolitan School. Although in its productions we miss the lustrous varnish and handsome wood of Cremona, Naples has furnished us with many excellent instruments.

The works of Alessandro Gagliano are mostly of large pattern and flat model. If we compare them with those of his master, the resemblance is not so great as might be expected, if it be remembered that they are copies, and not original works. The sound-holes are broader and more perpendicular than those of Stradivari. The scroll is diminutive, and the turn much contracted and of a somewhat mean appearance. The workmanship of the scroll is roughly executed, and points to the conclusion that Alessandro Gagliano was not gifted with the power of head-cutting. The character of Gagliano's Violins frequently reminds us of those by Stradivari made between 1725 and 1730.[5]

[Footnote 5: Some of his Basses are of exceptionally fine workmanship.]

The wood used for the backs was generally of a tough nature; the back and sides are often marked with a broad curl. The bellies are of wide and even grain, and very resonant. The varnish is quite distinct from that of Cremona; it is very transparent, and of various shades, chiefly yellow.

GAGLIANO, Gennaro, Naples, 1720 to about 1758; finely finished.

Januarius Gagliano, filius Alexandri fecit Neap, 1732--

Well-chosen wood, and excellent form. He sometimes wrote his name in pencil on the inside of the belly.

GAGLIANO, Niccolo, Naples, son of Alessandro.

Nicolaus Gagliano filius Alexandri fecit Neap 17--

His Violins and Violoncellos were made with care, and show that he possessed some amount of originality. They are not after the pattern of his father's instruments. They are narrower, and similar to those earlier works of Stradivari which come between the true "Amatese" and the long form. The varnish is of a deeper colour than that of Alessandro, and its quality is not inferior. The scroll is, in some cases, well formed, in others somewhat grotesque. The model is high. They are sometimes seen ornamented round the purfling with ebony, diamond and lozenge shape.

GAGLIANO, Giovanni Battista, about 1730.

GAGLIANO, Ferdinando, Naples, son of Niccolo.

Ferdinandus Gagliano filius Nicolai fecit Neap 17--

His instruments are usually excellently made, and have a varnish of a warmer tint than is met with on the instruments of the Gagliano family.

GAGLIANO, Giuseppe, Naples, 1780. Son of Ferdinando.

GAGLIANO, Giovanni, GAGLIANO, Antonio, GAGLIANO, Raffaele, Naples. These makers bring the family down to a very recent date as residents in Naples. The merit belonging to them is of the slightest kind. Some of our English provincial makers have shown themselves superior.

GALBUSERA, C. A., Milan, 1832-47. This maker appears to have attracted attention in Italy. In a little volume entitled "L'Italie Economique," 1847, he is mentioned as a maker who rivals Vuillaume. I am not acquainted with his instruments. Mention is made of his having made Violins without corners, and that he applied to the wood a preparation for the purpose of extracting the resinous particles from it. The adoption of such means of forcing on maturity makes it unlikely that he made instruments worthy of notice.

GARANI, Michel Angelo, Bologna, 1681-1720. His Tenors in particular are well-made instruments.

GARANI, Niccolo, Naples. Gagliano type of instrument, usually plain wood.

GASPARO DA SALO (_see_ Salo).

GATINARI, Francesco, Turin, about 1700.

GENNARO, Giacomo. Worked at Cremona, in the shop of Niccolo Amati, about 1641. His name is mentioned in the parish registers in Cremona as being employed by Amati.

GERONI, Domenico, Ostiano (Province of Brescia), dated 1817.

GHIDINI, Carlo, Parma, about 1746.

GIBERTINI, Antonio, Parma, about 1830. Stradivari model, excellent work, deep rose-coloured varnish. This maker was at times employed by Paganini to repair or regulate his Violins.

GIORGI, Niccolo, Turin, about 1760.

GOBETTI, Francesco (sometimes called _Gobit_), Venice, 1690-1715.

Franciscus Gobetti fecit Venetiis 1705.

This is one of the little-known makers, a fact which may be attributed to the practice, common some years ago, of removing the original label of an instrument and substituting another, bearing a name more likely from its familiarity to command attention.

When we see such Violins bearing the stamp of genius upon them, and reflecting much credit on the maker, the lovers of the instrument cannot but regret that the author should have been eclipsed, and deprived of his just praise.

Had the name of Gobetti been permitted to associate itself with the instruments into which it was originally placed, they would have been as highly valued as any belonging to the Venetian school, with the single exception of Domenico Montagnana. The admirers of that finished maker, Santo Serafino, may perhaps dispute the justice of this observation; but, having carefully weighed the merits of both Serafino and Gobetti, I have no hesitation in awarding to the latter the foremost place. Gobetti's style is superior, being more Cremonese than Venetian; and further, his model is preferable.

Gobetti has been considered to have been a pupil of Antonio Stradivari, possibly with some reason, for his instruments bear a similarity to the early works of the great master. The instruments of this maker, like those of many others of his class, have passed for the works of Ruggeri, and sometimes of Amati. There is a slight likeness about the sound-hole to the work of Francesco Ruggeri; but to the skilled in such matters, no feature interchangeable with Amati can be detected.

The workmanship is uniformly neat in execution; the scroll is the least successful part, being weak in character as compared with the body. The varnish is equal to any belonging to the Venetian school, and its beauty is second only to that of Cremona; its colour is generally a pale red, of considerable transparency. The wood is most handsome. These Venetians were not a little happy in selecting beautiful wood; in fact, it is scarcely possible to discover a single Venetian instrument the wood of which is plain. The tone of Gobetti's work is round, without great power; but the quality is singularly sweet.

GOFRILLER, Matteo, Venice, about 1700-1735. The workmanship is often good, and the wood of fine quality. The style is somewhat different from that we are accustomed to associate with Italy. The tone and character of the varnish are generally excellent.

GOFRILLER, Francesco, Venice. Brother of the above, with whom he worked.

GRAGNANI, Antonio, Leghorn.

Antonius Gragnani, fecit Liburni, anno 1780.

Usually branded his initials below the tail-pin. Varnish somewhat hard; ordinary wood. The tone is often of good quality.

[Illustration: _Plate VII_. STRADIVARI. 1716. (LE MESSIE.) STRADIVARI. 1709. (LA PUCELLE.) STRADIVARI. 1686. STRDIVARI. 1710. GIUSEPPE GUARNERI. 1735. GIUSEPPE GUARNERI. Violon du Diable. NICCOLO AMATI.]