Antonio Amati

History

Antonio Amati (Born before 1540, died 1607 or later) Antonio Amati, the elder son and pupil of Andrea Amati, was born before 1540 in Cremona, Italy. John Dilworth, in *The Brompton’s Book of Violin & Bow Makers*, states this birth year and reports his death in 1607. However, Cecie Stainer, in *A Dictionary of Violin Makers*, suggests a birth in Cremona around 1560 and mentions a label found in a violin indicating he was still living in 1648. He was already recorded as a luthier in 1559 and assisted his father with aristocratic commissions during the 1560s and 1570s (Dilworth).

After his father Andrea's death in 1577, Antonio continued working with his younger brother Hieronymus (also referred to as Girolamo). This partnership is well-documented by Dilworth, Stainer, and Willibald Leo Lütgendorff in *Die Geigen- und Lautenmacher vom Mittelalter bis zum Gegenwart*. They are often collectively known in English as ‘the Brothers Amati’ (Dilworth). Like their father, the Amati brothers built magnificently decorated violins for the French royal court (Lütgendorff). Although they mostly worked together, a very few instruments exist that are individually labelled by either brother (Dilworth).

Antonio sold his interest in the family business to Hieronymus in 1588 (Dilworth). At the time of his death in 1607 (per Dilworth), he was still officially described as ‘Antonio de li Liuti’, suggesting he may have continued in the profession, possibly as a maker of plucked instruments (Dilworth). While Dilworth indicates his death in 1607, Stainer notes instruments documented from 1589, including several violins dated from 1591 to 1619 listed in a 1791 catalogue belonging to Albinoni of Milan, which aligns with Stainer's suggestion of a later lifespan.

Craft

• Methods: Antonio Amati's instrument pattern resembled that of his father, though it was less highly arched, according to Cecie Stainer. Willibald Leo Lütgendorff confirms that the brothers' later and better violins had a less high arching compared to their initial works, which resembled their father's style. Stainer notes that the sound-holes retained the Brescian type, and the workmanship displayed a neat finish. Lütgendorff describes the varnish as initially thicker and dark (cherry brown), later becoming thinner and acquiring a beautiful orange color. While high arching provides greater elasticity and resistance to string pressure, allowing for thinner construction of plates, a flatter top yields a larger and nobler tone. Instruments labeled 'the Brothers Amati' often presented attribution challenges, leading to the presumption that their individual work could be distinguished, with the better ones frequently attributed to the more talented Hieronymus, according to Lütgendorff.

Influence

• Training and Mentorship: He was the pupil of his father, Andrea Amati (Dilworth).
• Notable Associations: The Amati brothers were highly valued in France and built instruments for the French royal court (Lütgendorff).

Legacy

• Modern Recognition: While individual instruments solely attributed to Antonio Amati are rare, the works of 'the Brothers Amati' are mostly excellently preserved. This quality can perhaps be attributed to features like their arching, which, even when less high than earlier models, still contributed to structural integrity (Lütgendorff).

Further Information

• Technical Characteristics: His instruments are generally small in size (Stainer). The tone of his instruments is described as sweet but not powerful (Stainer). Violins with a flatter top generally produce a larger and nobler tone (Lütgendorff). The Amati brothers, like their father, were famous far beyond their homeland (Lütgendorff).
• Historical Uncertainties: Sources present conflicting information regarding Antonio Amati's birth and death dates. John Dilworth states he was born before 1540 and died in 1607. Cecie Stainer suggests a birth around 1560 and that he was still living in 1648, based on a violin label. Lütgendorff's statement that he signed his works only with his own name after the death of his brother (Hieronymus I died in 1640) is difficult to reconcile with Dilworth's stated death date of 1607.

Summary

Antonio Amati, the elder son and pupil of Andrea Amati, was a significant Cremonese luthier active from at least 1559. He worked extensively with his younger brother Hieronymus, and their instruments, often referred to as 'the Brothers Amati', were highly regarded, particularly in France, where they supplied instruments to the royal court. While early works resembled his father's style, later instruments featured a less high arching and neat finish, with a sweet, though not powerful, tone. There are conflicting accounts regarding his exact birth and death dates, with sources suggesting his lifespan ended in 1607 or extended as late as 1648. He sold his business interest to Hieronymus in 1588 but may have continued making plucked instruments, and his works are noted for their excellent preservation.