Antonio Mariani

History

Antonio Mariani (circa 1635-1695) was a violin maker active in Pesaro, Italy, with his working period generally cited as circa 1635-1695 by John Dilworth in The Brompton’s Book of Violin & Bow Makers, and about 1640 to 1700 by Cecie Stainer in A Dictionary of Violin Makers. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, notes that his period is often assumed to be nearly 100 years too early, refuting claims by Vidal, Valdrighi, and others who placed him around 1570. Lütgendorff suggests that a label date of 1619 might be a misreading of 1649. Dilworth highlights that Mariani's production is somewhat confusing, as many of his instruments have been converted into ‘faux Brescians,’ and others remain unidentified and inconsistent. Furthermore, very few of his instruments retain authentic labels, and the name 'Antonio Mariani' was also utilized for 19th-century factory instruments.

Craft

• Stylistic Comparisons: Mariani's work is often compared to Brescian instruments, frequently featuring double purfling and decorative purfling designs, though John Dilworth notes no direct connection can be made. Cecie Stainer observes that his work suggests Maggini, albeit in a very rough manner, a sentiment echoed by George Hart in The Violin, who states Mariani "Worked after the manner of Maggini." Willibald Leo Lütgendorff also points out that his violins are often passed off as works by Gaspar da Salò, despite their double purfling being more reminiscent of Maggini's style.
• Decorative Elements: The decorative inlays found on his instruments are described by Dilworth as rather crude and unimaginative.
• Scroll Characteristics: Dilworth details that Mariani's scrolls exhibit unconventional flutings and volutes, with the central ridge broadening out to a flat triangular form at the front. Lütgendorff characterizes the scroll as "ziemlich plump" (rather clumsy).
• Model and Form: The overall model is considered neat but unsophisticated, featuring narrow corners and similarly small wings to the soundholes, according to Dilworth.
• Material Quality: Materials used were generally very plain, as noted by Dilworth. Lütgendorff describes the wood as "unschön und gewöhnlich" (unattractive and common).
• F-Holes: Willibald Leo Lütgendorff observes that the F-holes are roughly cut with a knife ("roh mit dem Messer ausgeschnitten").
• Varnish: His instruments typically feature a dark oxidised brown varnish, which Dilworth assesses as of good quality but not comparable to contemporary Cremonese or Brescian recipes.
• Overall Craftsmanship: Cecie Stainer states his instruments are "not of much value" and "very rough." Lütgendorff describes his work as "recht mittelmässig" (rather mediocre).

Further Information

• Known Labels: Willibald Leo Lütgendorff confirms that Mariani used various labels. Authentic labels from Antonio Mariani include:
  • "Antonius de Marianis / fecit Pisauri anno 1638"
  • "Antonius Marianus / fece in Pesaro Anno 1680"
  • "Antonio Mariani / in Pesaro 1673"
  • "Antonio Mariani / Pesaro, 1646" (found in an alto, according to Stainer)
  • "Antonio Mariani / fecit anno 1694"
• Production Challenges: John Dilworth notes that many of Mariani's instruments have been converted into ‘faux Brescians,’ and others remain unidentified and inconsistent. Few retain authentic labels. The name 'Antonio Mariani' was also used for 19th-century factory instruments. Lütgendorff adds that his violins are often mistakenly attributed to Gaspar da Salò.

Summary

Antonio Mariani was an Italian violin maker active in Pesaro from the mid to late 17th century. His instruments are frequently compared to Brescian and Maggini styles, often featuring double purfling, but are generally characterized by a rough and unsophisticated craftsmanship, including crude inlays, unconventional scrolls, and plain materials. His production is complicated by the conversion of many instruments into 'faux Brescians,' inconsistent identification, and the use of his name on 19th-century factory instruments, with few authentic labels remaining.