Pietro Giovanni Mantegazza

History

Pietro Giovanni Mantegazza (circa 1730-1803) was born around 1730 and died in 1803 in Milan, Italy. He lived and worked in the Contrada dell'Aquila, near the contrada Santa Margherita. According to John Dilworth, he was assisted by his sons Antonio, Francesco, and Carlo; Antonio pre-deceased him, but Francesco and Carlo continued the workshop after his death. Dilworth also notes that most sources mention his brother Domenico, with whom he is supposed to have worked up until 1775, but historical confirmation of this has not appeared. Sources contain conflicting information regarding the exact composition of the workshop, as Cecie Stainer refers to "Two brothers working in Milan about 1750 to 1800," and George Hart mentions "the Brothers Mantegazza." Willibald Leo Lütgendorff states that he was the best violin maker of his family. The family of Mantegazza, as violin-makers, dates back to about the middle of the eighteenth century. Lancetti states that "about 1800 the Brothers Mantegazza were restorers of instruments, and were often entrusted by French and Italian artists to lengthen the necks of their Violins after the Paris fashion, an example which was followed by amateurs and professors all over North Italy." This extract, cited by George Hart, indicates that short necks were dispensed with in Paris towards the close of the 18th century, with Viotti likely being a chief instigator of this change. Count Cozio was a patron of the Brothers Mantegazza and appears to have made notes relative to Italian Violins from information acquired from them.

Craft

• Model: Pietro Giovanni Mantegazza produced fine work on an Amatisé model, characterized by a full rounded arch and a somewhat open scroll.
• Varnish: According to John Dilworth, his instruments feature a rich dark red varnish of great quality and texture. However, Willibald Leo Lütgendorff notes that his varnish was too resinous and now appears very darkened. George Hart describes the varnish as brilliant, while Cecie Stainer states that the varnish, of fine quality, varies in color, sometimes appearing almost black.
• Wood: Willibald Leo Lütgendorff observed that he used beautiful wood. In contrast, John Dilworth states that the materials were of only average quality. George Hart and Cecie Stainer both describe the wood as somewhat hard or rather too hard.
• Workmanship: George Hart notes that the workmanship is good, and the modeling of the later-dated instruments is also good, though older ones are rather high.

Influence

• Stylistic Influence: Some influence of Landolphi is detectable in his work, according to John Dilworth.

Legacy

• Family Continuity: His sons Francesco and Carlo continued the workshop after his death, ensuring the family's legacy in violin making.

Further Information

• Workshop Location: He worked in Milan, specifically in the Contrada dell'Aquila, near the contrada Santa Margherita, and also in the contrada di Santa Margarita al segno dell'Angelo.
• Instrument Production: The Mantegazza family appears to have made many Tenors, as noted by George Hart, and Cecie Stainer specifically mentions that they made many good altos.
• Labels: Examples of his labels include "Petrus Ioes Fratresq / Mantegatia Mediolani / in Via S.Margarite anno / 1750," "Pietro Giov. e Fratelli Mantegazza nella / contrada di Santa Margarita in Milano / al segno dell'Angelo,1756," and "Petrus Joannes Mantegatia fecit Me- /diolani in Via S.Margaritæ 1783." Cecie Stainer also mentions similar labels dated 1757, 1760, 1763, 1770, and 1780.

Summary

Pietro Giovanni Mantegazza (circa 1730-1803) was a prominent violin maker in Milan, Italy, known for his fine work on the Amatisé model. He worked in the Contrada dell'Aquila and Santa Margherita, and his workshop was continued by his sons Francesco and Carlo. While sources mention a brother Domenico, his confirmed involvement is debated. Mantegazza's instruments are characterized by a rich dark red varnish, though its current appearance and original quality are described differently across sources. He is also noted for his good workmanship and for producing many tenors and altos. The Mantegazza family was also involved in instrument restoration, notably lengthening violin necks to the "Paris fashion" around 1800.