Girolamo (Hieronymus) (II) Amati

History

Girolamo (Hieronymus) (II) Amati (February 26, 1649 – February 21, 1740) was the third son, pupil, and successor of Nicolò Amati, born on February 26, 1649, and died on February 21, 1740, being buried in San Tommaso, Cremona. His workmanship became apparent after approximately 1670. He was likely the presiding craftsman in the family workshop when foreign apprentices, such as Segher, were present around 1680-1682. His career faced significant challenges due to the rise of Antonio Stradivari to dominance in Cremona during his lifetime. Despite this, he was clearly aware of Stradivari's innovations and incorporated them into his own work. Girolamo (II) married Angiola Carettoni in 1678, who passed away in 1685. They had three children who died early; his son Giuseppe, born in 1684, did not pursue violin making. The Amati shop in San Faustino experienced stagnation in the face of competition from Stradivari, Guarneri, and Rugeri, leading him to leave Cremona in 1697. He remained active, with a few instruments dated from Piacenza. He returned to Cremona in 1715 and continued making instruments in his native city, albeit somewhat fitfully, until a great age. In an old Amati violin repaired by Bros. Mantegazza of Milan in 1806, a note was found at the base of the neck stating: "Revisto e corretto da me Girolamo, figlio di Niccolo Amati, Cremona, 1710."

Craft

• Workmanship: While generally considered a lesser maker than other members of his family, his work possesses considerable merits. Sources contain conflicting information regarding the quality of his instruments; John Dilworth notes that his violins are excellent playing instruments, combining the virtues of Nicolò Amati and Stradivari to good effect, whereas Cecie Stainer states his instruments are poor compared to those made by Nicola, following an inferior pattern.
• Models: He lowered the high recurved archings favored by Nicolò Amati and created flatter, more Stradivarian models. Cecie Stainer notes that the instruments made on a large flat pattern are considered his best.
• Varnish: In his middle period, he utilized a deep red shade of varnish, comparable to that of Stradivari's best period, which differed in nature from the traditional Amati golden-yellow. Cecie Stainer, however, mentions that while his varnish was sometimes soft and transparent, it was generally of bad quality.
• Sound-holes: Sources contain conflicting descriptions of his sound-holes; Cecie Stainer describes them as straight and placed too close to each other in some instruments, while Willibald Leo Lütgendorff notes that only the F-holes sometimes betray the old Amati school's swing but are carelessly cut.
• Instrument Types: He made several cellos, a few violas (including at least one of excellent contralto size), and one superb double bass.
• Labels: He used various labels, including "Hieronimus Amatus / fecit Cremonæ, 1670" and "Hieronymus Amatus / Cremonen. Nicolai fil.17.."
• Attribution: Instruments bearing his label dated between 1703 and 1723 were believed to have been made either by Sneider of Pavia or G. B. Rogeri of Brescia. Several instruments dated 1729 are known to exist.

Influence

• Training: He was the son and pupil of Nicolò Amati.
• Mentorship: He was likely the presiding craftsman in the workshop when foreign apprentices, such as Segher, were present around 1680-1682.

Legacy

• Family Continuity: His son Giuseppe, born in 1684, did not become a violin maker, marking the end of the direct luthier lineage for this branch of the Amati family.

Further Information

• Workshop Locations: He initially worked in the Amati shop in San Faustino, Cremona. After leaving Cremona in 1697, he worked for a period in Piacenza before returning to Cremona in 1715.

Summary

Girolamo (Hieronymus) (II) Amati (1649-1740) was the son, pupil, and successor of Nicolò Amati, active in Cremona and briefly in Piacenza. Despite being considered a lesser maker than his family's predecessors, his work shows considerable merit, particularly in his later period where he incorporated Stradivarian elements like flatter models and a deep red varnish. His career was significantly impacted by the rise of Antonio Stradivari. He produced violins, cellos, violas, and a double bass, with his violins noted for combining the virtues of both Nicolò Amati and Stradivari. His son did not continue the family's violin-making tradition.