Girolamo (Hieronymus) (I) Amati

History

Girolamo (Hieronymus) (I) Amati (b. 1561/1562, d. 1630/1631) Girolamo Amati, also known as Hieronymus (I), was born in 1561 according to John Dilworth in "The Brompton’s Book of Violin & Bow Makers," or about 1562 as stated by Cecie Stainer in "A Dictionary of Violin Makers." He died in 1631, according to Dilworth, though Stainer specifies November 2, 1630, and Willibald Leo Lütgendorff in "Die Geigen- und Lautenmacher vom Mittelalter bis zum Gegenwart" also indicates 1630 as his year of death. He was the younger (Dilworth, Lütgendorff) or second (Stainer) son of Andrea Amati, based in Cremona, Italy. Girolamo first married Ippolita Zucchielli around 1576, with whom he had five daughters. Sources conflict on Ippolita's death year, with Stainer indicating 1583, while Lütgendorff states October 27, 1630. Lütgendorff's latter date is inconsistent with Girolamo's remarriage in 1584. On May 24, 1584, Girolamo married Laura Lazzarini, and they had nine children; their fifth child, Nicola Amati, would become the most celebrated maker in the family. According to Lütgendorff, Hieronymus was "significantly more talented and original than his brother and, like him, more important than their father."

Girolamo worked with his brother Antonio; however, sources provide conflicting accounts regarding the duration of their collaboration. Dilworth notes that Hieronymus continued to use the ‘brothers’ formula ‘Fr.[atelli] Amati’ on his labels even after Antonio's departure in 1588. Lütgendorff suggests it is "not probable" that the brothers separated in their last years, citing the existence of violins with joint labels from 1630. In contrast, Stainer states they worked together until 1628, though she also indicates Girolamo worked independently from as early as 1624, presenting a discrepancy in the timeline. From about 1610, Girolamo was assisted by his son Nicola. Production at the Amati shop increased markedly during this period, and the city of Cremona became widely recognized for its violins, as the Amati shop was the sole source in the city. Girolamo was a victim of the plague that swept northern Italy in 1630.

Craft

• Innovation: From 1615, Girolamo Amati began creating a small number of contralto violas with radically reduced dimensions compared to the large tenors of the previous century, thus anticipating the modern viola design. He and his brother also initiated the process of raising the arch and broadening the lower wing of the soundholes. According to Lütgendorff, they introduced the hollowing of the top on both sides of the bridge, which made the sound "sweeter and more lovely." Stainer notes that the brothers produced instruments in what became known as the “Amati style.”
• Materials: The wood used for their instruments was generally maple for backs and sides, and spruce or fir for the tops. A distinctive feature of their two-piece backs is that one side was often reversed, creating the illusion of continuous flame across the joint rather than a mirrored reflection. A historically significant 1595 violin for Henri IV. of France featured tortoiseshell purfling.
• Methods: Instruments made by Girolamo, either alone or with his brother, are generally few in number but are often found in good preservation. They typically feature a small size (with the back often in one piece), accurate proportions, a slight arch towards the middle, and strongly marked grooves at the sides. Their scrolls varied, often being richly worked, and the corners and purfling were carefully executed, with the edges just overlapping the sides. The varnish on earlier instruments was deeper in color (possibly due to age), while later examples featured an orange color, thinly applied, which distinctly highlighted the wood grain. A 1595 violin is described as having brilliant amber oil varnish. When Girolamo worked alone after 1624, his finest instruments were large violins, characterized by a significant arch, broad purfling, a well-crafted scroll, and a yellow-brown varnish; however, the fourth string on these instruments was sometimes noted as not being equal to the others. The distinctive form of fluting at the front face of the scroll, first used by Andrea Amati, continued in Girolamo's work.

Influence

• Training and Mentorship: Girolamo was assisted by his son Nicola from about 1610. His fifth child, Nicola Amati, became the most celebrated maker in the Amati family.
• Schools/Tradition: During Girolamo Amati's active period, the Amati shop was the exclusive source of violins in Cremona, leading the city to become synonymous with the instrument throughout Europe. The works of Antonio and Hieronymus are often considered together, representing a visible advancement over their predecessors.
• Notable Associations: A violin signed by Antonio and Hieronymus Fr. Amati and dated 1595 holds historical value as it belonged to Henri IV. of France.

Legacy

• Famous Owners: Among his historically significant instruments, a violin signed by the brothers and dated 1595 is known to have been owned by Henri IV. of France.

Further Information

• Technical Characteristics: Cellos bearing the brothers’ label are consistently of a large size, although many have been reduced in later years. The tone of instruments made by Girolamo and his brother was considerably more powerful than those by Andrea Amati. Their labels often included phrases such as "Antonius et Hieronymus Fr. Amati / Cremonen Andrea fil F.15.." and "Antonius et Hieronymus Amatus, Cremonen, Andreae fil. F. 1592."
• Historical Uncertainties: Sources present conflicting information regarding Girolamo Amati's death year, with John Dilworth stating 1631, while Cecie Stainer and Willibald Leo Lütgendorff both indicate 1630. There is also disagreement concerning the duration of his collaboration with his brother Antonio; Dilworth suggests Hieronymus continued to use joint labels after Antonio's 1588 departure, and Lütgendorff deems a separation unlikely given joint labels from 1630, whereas Stainer states they worked together until 1628, with Girolamo working alone after 1624. Furthermore, the death year of his first wife, Ippolita Zucchielli, is contested, with Lütgendorff reporting October 27, 1630, and Stainer 1583; Lütgendorff's date is likely erroneous given Girolamo's remarriage in 1584. Lütgendorff identifies a label with the name "Hieronimus (sic) Amati" and the year 1640, published by Grillet, as a forgery.

Summary

Girolamo (Hieronymus) (I) Amati (born 1561/1562, died 1630/1631) was a significant figure in the Cremonese violin-making tradition, being the younger son of Andrea Amati and the father of the celebrated Nicola Amati. Based in Cremona, he played a crucial role in establishing the city's reputation as a center for violin making during a period when the Amati shop was the sole source of instruments there. Girolamo collaborated with his brother Antonio, and their joint work marked a notable evolution in instrument design, introducing features such as raised arches, broadened soundhole wings, and the hollowing of the top to achieve a sweeter tone. Girolamo is also credited with pioneering the design of contralto violas with reduced dimensions, foreshadowing modern viola forms. His instruments, whether crafted individually or jointly with his brother, are recognized for their powerful tone, meticulous craftsmanship, and characteristic varnish applications and wood preparation, including two-piece backs with reversed flame patterns. While historical accounts present some conflicting dates regarding his death, the end of his collaboration with Antonio, and his first wife's passing, his legacy as an innovator and master luthier, whose instruments included a violin for Henri IV. of France, is firmly established.