Matteo Goffriller

History

Matteo Goffriller (c.1659-1742) was born circa 1659 in Bressanone and died in 1742 in Venice, Italy. According to John Dilworth in The Brompton’s Book of Violin & Bow Makers, Goffriller arrived in Venice in 1685 to work for Martin Kaiser, whose son-in-law he subsequently became. He succeeded to the workshop in 1690, becoming the premier violin maker in the city and, as far as can be presently determined, the first specialist violin maker there. Dilworth credits him as the founder of the remarkable 18th-century Venetian school. Cecie Stainer, in A Dictionary of Violin Makers, notes his active period in Venice as from about 1690 to 1740. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, states, "Wahrscheinlich ein Tyroler aus Lajen, der wohl auch in seiner Heimath gelernt hat..." [Probably a Tyrolean from Lajen, who probably also learned in his homeland]. Labels from his work include "Mattio Goffriller / Fece in Venezia. Anno 1709" [Mattio Goffriller / Made in Venice. Year 1709] and "Matteo Goffriller / fecit Venetijis. anno 1724" [Matteo Goffriller / made in Venice. year 1724].

Craft

• Innovation: As the founder of the 18th-century Venetian school, Goffriller established a significant regional tradition (Dilworth). His work is described by Cecie Stainer as "peculiarly beautiful and original," and he established the esteemed reputation of Venetian cellos (Dilworth).
• Materials: Sources present conflicting views on Goffriller's wood selection. Cecie Stainer states that "it is the exception to find violins and violoncellos in which the wood was carefully chosen; as a rule he was careless about his material," noting that several of his violoncellos have backs made of poplar wood. Willibald Leo Lütgendorff corroborates this, stating that "in the choice of wood he is not always careful; alongside beautiful, finely-grained tops, quite unattractive ones also appear, the back is usually cut on the slab, and for his violoncellos often only made of poplar wood." In contrast, George Hart in The Violin writes that "the wood of good quality" was usually used.
• Methods: Goffriller's work encompasses a variety of styles and shows a strong influence of Cremona, with rather impressionistic copies of Stradivari and Amati (Dilworth). A consistent feature is his small, quickly cut scroll with a slight upright ovality (Dilworth). Sources also differ on his varnish: Dilworth describes a "deep red-brown varnish, sometimes applied thin but with great intensity; at other times built up to a thick, crackled texture," while Stainer notes a "golden-yellow varnish, very transparent." Lütgendorff mentions his "rother, rothbrauner oder gelbbrauner Lack" [red, reddish-brown or yellowish-brown varnish] as particularly beautiful. His pattern is described as slightly arched (Stainer), with well-cut sound-holes (Stainer) or well-formed F-holes (Lütgendorff). Lütgendorff also notes his scroll as "tief und schwungvoll gestochen" [deeply and dynamically carved]. His workmanship is consistently praised, being described as "peculiarly beautiful and original" and "accurate and skilful" by Stainer, "of a good kind" by Hart, and "musterhaft" [exemplary] by Lütgendorff. Stainer emphasizes that his work, in arching, proportions, and varnish, is "so unlike that of Stradivari."

Influence

• Training and Mentorship: Matteo Goffriller is presumed to have been the teacher of Domenico Montagnana, Francesco Gobetti, and his son Francesco (Dilworth).
• Schools/Tradition: He is credited as the founder of the remarkable 18th-century Venetian school of violin making (Dilworth). His work demonstrates a strong influence from Cremona, evident in his copies of Stradivari and Amati (Dilworth). However, Lütgendorff suggests that the arching of his violins is "mehr an die Tyroler als an die italienische Schule erinnern" [more reminiscent of the Tyrolean school than the Italian school].
• Notable Associations: He began his career in Venice working for Martin Kaiser, whose son-in-law he later became (Dilworth).

Legacy

• Famous Owners: A particularly fine example of his cellos, used by Pablo Casals, was previously attributed to Bergonzi (Dilworth).

Further Information

• Technical Characteristics: Goffriller's small, quickly cut scroll with a slight upright ovality is a constant feature (Dilworth). Several violas are known, described as of contralto size and featuring a distinct and original narrow model with a long stop (Dilworth). His cellos are particularly celebrated, having established the reputation of Venetian cellos. They are usually of large size, characterized by a low and powerful arch and broad breast. Most of these large cellos have been subsequently cut down for modern use, but several smaller cellos with a back length around 70 cm (27½”) also exist (Dilworth). His instruments are noted for their powerful and even tone (Stainer, Lütgendorff).
• Historical Uncertainties: Dilworth notes that Goffriller "is presumed to have been the teacher of Domenico Montagnana, Francesco Gobetti, and his son Francesco," which Dilworth indicates is an unconfirmed claim. Lütgendorff also uses qualifying language for Goffriller's origin, stating he was "Wahrscheinlich ein Tyroler aus Lajen, der wohl auch in seiner Heimath gelernt hat..." [Probably a Tyrolean from Lajen, who probably also learned in his homeland]. There are also conflicting accounts regarding his wood selection and varnish color, as detailed in the 'Materials' and 'Methods' sections.
• Notable Quotes: Cecie Stainer states, "His whole work, in arching, proportions, and varnish, is so unlike that of Stradivari that it is absurd to insert Stradivari labels into his instruments." Willibald Leo Lütgendorff observes that "Der Ton ist sehr edel, so dass manche Händler, die wenig Verständniss haben, Geigen von ihm für Werke von Stradivari ausgeben wollen, was bei der auffälligen Verschiedenheit des Modells kaum zu verstehen ist..." [The tone is very noble, so much so that some dealers, who have little understanding, want to pass off his violins as works of Stradivari, which is hardly understandable given the striking difference in model...].

Summary

Matteo Goffriller (c. 1659-1742) was a pivotal figure in Venetian violin making, arriving in Venice in 1685, taking over Martin Kaiser's workshop in 1690, and becoming the city's premier violin maker. He is recognized as the first specialist luthier in Venice and the founder of the remarkable 18th-century Venetian school. While sources occasionally conflict regarding his wood selection and varnish color, his instruments are consistently praised for their beautiful, original workmanship, exhibiting a strong Cremonese influence with impressionistic copies of Stradivari and Amati. A defining characteristic is his small, quickly cut scroll with slight upright ovality. His cellos are particularly celebrated, noted for their powerful and even tone, and a significant example was used by Pablo Casals. Goffriller is presumed to have mentored influential makers such as Domenico Montagnana, solidifying his lasting legacy in the world of string instrument craftsmanship.