Bernardus Calcanius

History

Bernardus Calcanius (1710-1750) worked in Genoa, Italy, during the period of 1710 to 1750. According to John Dilworth in The Brompton's Book of Violin & Bow Makers, he was considered the best maker of the Genoese school. Dilworth suggests that Calcanius may have been introduced to the craft by Tyrolean makers such as Martinus Heel, C. Rittig, and P. Erhard, who are believed to have settled in Genoa around 1700. From about 1740, Calcanius formed a partnership with Antonio Pazarini. His success contributed to the establishment of several workshops in Genoa during the eighteenth century.

Craft

• Models: Sources contain conflicting information regarding the models Bernardus Calcanius employed. John Dilworth notes his use of "Narrow waisted Amati models." However, Cecie Stainer in A Dictionary of Violin Makers and George Hart in The Violin state that his instruments were made on the model of Stradivari, with Hart specifically mentioning a "flat model, Stradivari pattern." Willibald Leo Lütgendorff in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart mentions that while some experts attribute him to the Guarneri school, he increasingly adopted the flatter Stradivari model, only taking on the "hochgewölbte Modell" (highly arched model) of his partner Pazarini around 1740.
• Workmanship: His instruments are characterized by "Very attractive workmanship" according to John Dilworth, "carefully made" as noted by Cecie Stainer, and "Neat workmanship" as described by George Hart.
• Materials: John Dilworth highlights his use of "fine quality materials," a sentiment echoed by Willibald Leo Lütgendorff who states his "Holz ist schön" (wood is beautiful).
• Varnish: The varnish varied in color, described by John Dilworth as "golden-yellow to orange-red." Cecie Stainer notes "beautiful golden or orange-red varnish, a few with yellow varnish," while Willibald Leo Lütgendorff mentions "rothgelber oder Goldorange-Farbe" (red-yellow or gold-orange color), and George Hart simply states "orange-red varnish."
• Soundholes: John Dilworth describes his soundholes as "Rather upright soundholes with a distinctive axe-head shape to the lower wings." Cecie Stainer and George Hart both refer to them as "well cut sound-holes."
• Scroll: Both Cecie Stainer and George Hart note the presence of a "small scroll."
• Character: John Dilworth observes a "Strong and distinctive character in all, typical of the eighteenth century Italian school in general." He further adds that "Although lacking the extreme refinement of the Cremonese, there is always present a balance of taste and style in the model and execution."

Influence

• Mentorship: John Dilworth suggests that Bernardus Calcanius "may have been introduced to the craft by one of several Tyrolean makers, Martinus Heel, C. Rittig, and P. Erhard who seem to have settled in Genoa around 1700."
• School Affiliation: While John Dilworth identifies him as part of the "Genoese school," Willibald Leo Lütgendorff notes that "verschiedenen Kennern der Schule Guarneri's zugewiesen wird" (various connoisseurs attribute him to the Guarneri school).

Further Information

• Labels: John Dilworth cites a label reading "Bernardus Calcanius / Gennae Anno 1750." Cecie Stainer provides a similar label text: "Bernardius Calcanius, fecit Genuae, 1710" and mentions "another similar label is dated 1750."
• Workshop Locations: John Dilworth indicates that his success led to the establishment of "several workshops in Genoa."

Summary

Bernardus Calcanius (1710-1750) was a prominent luthier in Genoa, Italy, considered by John Dilworth to be the finest maker of the Genoese school. Active from 1710 to 1750, he may have been influenced by Tyrolean makers who settled in Genoa around 1700. From approximately 1740, he collaborated with Antonio Pazarini, and his success fostered the growth of several workshops in Genoa during the 18th century. His instruments are noted for their attractive and careful workmanship, fine quality materials, and distinctive golden-yellow to orange-red varnish. While sources offer conflicting views on his models, ranging from Amati and Stradivari to some attribution to the Guarneri school, his work consistently exhibits a strong and distinctive character typical of the 18th-century Italian tradition.