Camillus Camilli

History

Camillus Camilli (circa 1704-1754) worked in Mantua, Italy, from about 1739-50, and was born circa 1704, dying in 1754. He is described by John Dilworth as a very refined and prolific maker.

Craft

• Pattern: He followed the Stradivari pattern, and his form partakes of that of Stradivari.
• Wood: He used carefully selected wood, usually of excellent quality.
• Varnish: His instruments have a beautiful tone and are varnished pale red, somewhat similar to Landolfi's instruments, though George Hart notes it is less brilliant. John Dilworth describes his distinctive varnish as a clear orange-red, slightly chippier and harder than Cremonese finishes.
• Sound-holes: The sound-holes are wide and short, and according to John Dilworth, not generally fluted.
• Head: He produced a very neatly wrought head, which is a consistently charming aspect of his work.
• Construction: His work conforms with Cremonese construction principles.
• Backs: He often used quite plain backs in one piece.

Influence

• Training: Sources contain conflicting information about his training. According to Willibald Leo Lütgendorff, he is considered a pupil of Stradivari, whom he skillfully imitated. However, John Dilworth states that he acquired a Cremonese technique from Pietro Guarneri, and possibly another contemporary Mantuan maker, Antonio Zanotti, who may have been a pupil of Girolamo Amati II.
• Style: His work is an attractive combination of Amati and Guarneri styles.

Further Information

• Labels: He used various labels, including "Camillo de Camilli / Fece in Mantova, 1734" and "Camillus Camilli / Fecit Mantuae.1739". A similar label is dated 1750.

Summary

Camillus Camilli (circa 1704-1754) was a refined and prolific Mantuan luthier who worked from approximately 1739 to 1750. He is known for following the Stradivari pattern, using high-quality wood, and applying a distinctive clear orange-red varnish. His craftsmanship includes wide, short sound-holes and neatly wrought heads, adhering to Cremonese construction principles. While his training is debated, possibly under Stradivari or influenced by Pietro Guarneri and Antonio Zanotti, his style effectively blends Amati and Guarneri characteristics.