Nicolo Amati

History

Nicolo Amati (1596-1684) was born on December 3, 1596, in Cremona, Italy, and died on April 12, 1684, at the age of 88, according to the registers of Cremona Cathedral (Stainer). He was the son, pupil, and successor of Hieronymus Amati, and grandson of Andrea Amati (Lütgendorff). Nicolo assisted his father from around 1610, with his hand detectable in work bearing the ‘Brothers Amati’ label from 1620.

He is considered the most celebrated maker of the Amati family (Stainer), and Willibald Leo Lütgendorff describes him as "the greatest artist from his family." Nicolo Amati fortunately survived the plague that decimated Cremona in the early 1630s. His workshop took some time to recover but was in full production by the 1640s.

He married Lucrezia Pagliari (born 1619, died November 25, 1703) on May 23, 1645. Andrea Guarneri, his pupil, was present at the ceremony and signed the register (Stainer, Lütgendorff). Of their nine children, only one, Girolamo II, became a violin maker (Stainer, Lütgendorff).

Craft

• Innovation: Nicolo Amati significantly developed the Amati model, introducing higher, more dramatically sculpted archings. He also innovated the scroll's flutings by extending the central ridge to the throat, maintaining two separate flutes along the full depth of the volute's face. His most significant innovation was the ‘Grand Amati’ model, which enlarged his predecessors' patterns by increasing the overall width. This model, described by Lütgendorff as the "Grossen Amati-Modell" [Grand Amati model], became the standard for subsequent Cremonese makers and was widely adopted. Lütgendorff notes that his archings and wood thickness were "better conceived and more finely calculated" than those of his predecessors. Stainer adds that the arching drops somewhat suddenly from the bridge to the edges, featuring a slight groove at the purfling, characteristics said to contribute to the noted sweetness of tone.
• Materials: He meticulously selected his wood, which Lütgendorff describes as "magnificently chosen." The 'Grand Amati' models frequently feature beautiful wood, with maple for the back and often spruce for the belly (Stainer).
• Methods: Until about 1625 or 1645, his instruments resembled his father's model, after which they steadily improved (Lütgendorff, Stainer). His forms became nobler, and the format more graceful, with external ornamentation omitted in favor of special attention to wood and varnish selection (Lütgendorff). He produced violins, violas, and cellos, including large-sized violas and cellos which are comparatively rare (Lütgendorff). He also made "three-quarter" violins and some double-basses (Stainer). An instrument by him featuring double purfling is considered a remarkable piece of work (Stainer).
• Varnish: Nicolo Amati's varnish is characterized as elastic and fiery, ranging in color from yellow-brown to red-gold (Lütgendorff). Stainer describes it as having a deep, rich color and being of fine quality, varying from amber to red.

Influence

• Training and Mentorship: To aid his workshop's recovery in the 1640s, Nicolo Amati began taking in apprentices. Andrea Guarneri was his first and most important apprentice, and was a witness at Amati's marriage (Stainer, Lütgendorff). Other documented apprentices included Christofori, Gennaro, Pasta, Rogeri, and several German craftsmen. By around 1660, his son, Girolamo II, also assisted him. Stainer lists "the Guarneri, the Ruggeri of Cremona, Montagnana of Venice, the Rogeri and Tononi of Bologna, and, greatest of all, Antonio Stradivari" as his celebrated pupils. However, John Dilworth in The Brompton’s Book of Violin & Bow Makers notes that while earlier writers often associated eminent makers such as Stradivari, Rugeri, Jacob Stainer, and Cappa with the Amati workshop, no documentary evidence has been found to support these claims.
• Schools/Tradition: Nicolo Amati played a pivotal role in securing Cremona's status as the preeminent center for violin making. His 'Grand Amati' model became the standard for subsequent Cremonese makers and was widely adopted. Lütgendorff states that he had a determining influence on the entire Cremonese school, and nearly all masters of the first rank from the early 18th century were either direct or indirect pupils of his. He integrated the best elements from the Brescian makers and his predecessors (Lütgendorff).

Legacy

• Museum Collections: Nicolo Amati's masterpiece, the ‘Alard’ violin, is housed in the collection of the Ashmolean Museum, Oxford (Brompton's).
• Modern Recognition: His instruments held the undisputed first place in demand until the beginning of the 19th century (Lütgendorff). Lütgendorff asserts that Nicolo Amati's tireless striving secured his name "undying fame" in the history of violin making, even if the works of his great pupils are now sometimes preferred for modern requirements. He is widely considered the most celebrated maker of the Amati family (Stainer).

Further Information

• Technical Characteristics: His violins are regarded as perfected works of art; their tone is described as more lovely than powerful, perfectly suiting the demands of his era (Lütgendorff). Stainer notes that the tone of his instruments is clear, sweet, and powerful. A small violin dated 1668 is cited as showing some of his finest work, with a wonderfully sweet and clear tone (Stainer). Stainer also mentions that if the diminishing thickness of the belly from the center to the sides is exaggerated, it can cause the second string to have a nasal tone.
• Historical Uncertainties: Willibald Leo Lütgendorff mentions some basses carrying Nicolo Amati's name and dates ranging from 1580 to 1586. However, he suggests these are likely works by Amati with falsified dates, as he was born in 1596. As previously noted, while Stainer includes Antonio Stradivari among Amati's celebrated pupils, John Dilworth states that there is no documentation to support the traditional claim of Stradivari studying in the Amati workshop.

Summary

Nicolo Amati (1596-1684) stands as a pivotal figure in Cremonese violin making, renowned for his artistic mastery and significant innovations. Surviving the plague that devastated Cremona, he revitalized his family's workshop, establishing Cremona as the epicenter of violin craftsmanship. His key innovation, the 'Grand Amati' model—characterized by its increased width and sculpted archings—became a foundational standard for future makers. Nicolo Amati's influence extended through his extensive apprenticeship program, most notably with Andrea Guarneri, who later became a key figure in the Cremonese tradition. While some sources claim Antonio Stradivari as a pupil, this lacks documentary evidence. Amati's instruments, praised for their clear, sweet, and powerful tone and fine varnish, held preeminence until the early 19th century, with masterpieces like the ‘Alard’ violin preserved in museum collections.