Giovanni Guidanti

History

Giovanni Guidanti. Sources contain conflicting information regarding his life dates: Cecie Stainer indicates he was active from about 1685 to 1728, while John Dilworth states he was born in 1687 and died in 1760 in Bologna, Italy. He was the son of Floriano Guidanti. According to John Dilworth, Giovanni Guidanti succeeded to the appointment to the Accademia Filarmonica in 1716. Records of the Accademia show that he was highly valued as a maker and repairer, an admiration also expressed by G. A. Marchi in his Manoscritto Liutario (Bologna, 1786). In 1730, Guidanti moved from the old family home in San Mamolo to apartments belonging to the Friars of San Giacomo, which, according to John Dilworth, implied a change of fortune. Willibald Leo Lütgendorff notes that much confusion surrounds this family, exacerbated by the frequent falsification of labels and the mixing of their wording even in old times. He states that because violins are often well-imitated, it is difficult to distinguish genuine from non-genuine instruments. Lütgendorff also mentions that the best connoisseurs now differentiate between father and son, while others consider the otherwise rare first name Guidante to be the family name, a notion that the labels indeed encourage. A viola d'amore, exhibited at Milan in 1881, was ornamented with a beautifully and artistically carved head representing a blindfolded Cupid. A viola da gamba by Guidanti was dated 1728.

Craft

• Workmanship: Cecie Stainer describes him as an excellent workman, noting that his instruments look well. John Dilworth praises his very fine work, describing it as well proportioned and elegant. However, Cecie Stainer states that the purfling is carelessly done, and George Hart similarly notes the purfling was badly let in. In contrast, John Dilworth describes the purfling as neat, usually made of beechwood. Willibald Leo Lütgendorff notes that the work is sometimes imprecise, but the varnish is always good.
• Model: His instruments are on a high model, according to Cecie Stainer and George Hart. John Dilworth specifies a Gagliano-like model, broad across the middle bouts.
• Sound-holes: Cecie Stainer and George Hart both describe the sound-holes as long.
• Corners: John Dilworth notes small corners.
• Head: John Dilworth describes a finely cut head with small, very concentric volutes. The viola d'amore exhibited in Milan in 1881 featured a beautifully and artistically carved head representing a blindfolded Cupid.
• Varnish: John Dilworth mentions a rich golden-coloured varnish, but quite thinly applied. Willibald Leo Lütgendorff states that the varnish is always good.
• Tone: Cecie Stainer notes that the tone is rather poor.
• Form: George Hart describes the outer form as inelegant, particularly the middle bouts.

Influence

• Mentorship: Cecie Stainer suggests that Giovanni Guidanti was possibly a pupil of Nicola Amati. Willibald Leo Lütgendorff notes that the violins attributable to the father (Floriano Guidanti) reveal the school of Amati.

Legacy

• Appointments: According to John Dilworth, Giovanni Guidanti succeeded to the appointment to the Accademia Filarmonica in 1716.
• Reputation: Records of the Accademia Filarmonica show that he was highly valued as a maker and repairer, a sentiment echoed by G. A. Marchi in his Manoscritto Liutario (Bologna, 1786), as noted by John Dilworth.

Further Information

• Workshop Location: Giovanni Guidanti worked in Bologna.
• Labels: Labels found on his instruments include "Joannes Guidantus fecit Bononiae, anno 1715" (Cecie Stainer, John Dilworth). Another label reads "Joannes Florenus Guidantus fecit Bononiae, 1724" (Cecie Stainer), though John Dilworth cites a similar label as "Joannes Florenus Guidantus / fecit Bononiae 1731".
• Instruments: Instruments attributed to him include violas d'amore, violas da gamba, and violins.