Antonio (II) Bagatella

History

Antonio (II) Bagatella (1759-c.1829) was born in Padua, Italy, in 1759 and died around 1829. He was the son of Gaetano B. and Catarina Coppo-Scanferla, and the nephew of Antonio (I) Bagatella. Originally, he aspired to be a violinist and was presumably a student of his relative Pietro B. According to John Dilworth in The Brompton's Book of Violin & Bow Makers, Antonio (II) established his own shop in Venice from 1805, operating under the sign of S. Michele in the Merceria S. Salvador. Dilworth notes that his work is often difficult to distinguish from that of Antonio (I), leading to many published sources conflating the two makers. Willibald Leo Lütgendorff describes him as a literary and musically educated man. Cecie Stainer, in A Dictionary of Violin Makers, states that he was a very good restorer of violins and worked for many Germans, including Prince Waldestein, Laibek, Prince of Wittemberg, and Krauss of Prague. He was married to Antonia Pelizzari, had several children, and ultimately died impoverished and blind. For a period, he also collaborated with Danieli.

Craft

• Instrument Production: Antonio (II) Bagatella made both violins and violoncellos.
• Quality and Style: George Hart notes that a few of his instruments have points of merit. However, Cecie Stainer states that he made few new instruments, and they were generally "of no great merit," though she adds that "some violins and violoncellos made on the Cremona model were good." Sources contain conflicting information regarding the overall merit of his new instruments.
• Influences: He imitated Giuseppe Guarneri and is considered close to Joseph Rocca in style.
• Noteworthy Examples: A violin bearing his name, described as of good workmanship with red varnish, was reportedly purchased in England for approximately 1000 Marks. Another violin offered for sale, labeled "Antonio Bagoletto in Padua, 1782," if authentic, was also likely by Bagatella.

Influence

• Mentorship: He was presumably a student of his relative, Pietro B.

Legacy

• Literary Contributions: Antonio (II) Bagatella's primary significance lies less in his skill as a violin maker and more in his theoretical writings on violin construction.
• Prize-Winning Treatise: In 1782, he gained a prize from the Accademia di scienze, lettere ed arti di Padova for his work on the construction of the violin.
• Publication and Impact: This treatise was published by the Accademia in 1786 at their expense. Its full title was "Regole per la costruzione de' violini, viole, violoncelli e violoni. Memoria presentata all' Accademia di scienze, lettere ed arti di Padova, al concorso del premio dell' arti dell 'anno 1782. Dal Signor Ant. Bagatella, Padovano, E coronato dall' Accademia stessa. Padova, 1786."
• Content and Translations: The work focused less on innovations and more on practical methods for achieving a perfect imitation of instruments by great Italian makers, particularly Amati. It has been repeatedly published and translated into German, French, and English. For example, it was translated into German by Schaum as "Ueber den Bau der Violinen, Bratschen, Violoncells und Violons" (Leipzig, 1806).
• Influence on Later Works: From Bagatella's work, Maugin derived his method of tracing a fine violin model using only a rule and compass, which he included in his "Manuel du Luthier." A shortened version of this method can also be found at the end of Bishop's translation of Otto on the violin.
• Historical Significance: He is credited with preserving some of the few surviving traditions regarding the principles employed by the old Italian masters.
• Practical Application Debate: George Hart notes that he wrote a pamphlet in 1782 on a method of constructing violins by means of a graduated perpendicular line, similar to Wettengel's, but states that "no benefit has been derived from it."

Summary

Antonio (II) Bagatella (1759-c.1829) was an Italian violin maker, restorer, and theorist from Padua and Venice. Nephew of Antonio (I) Bagatella, he operated his own shop in Venice from 1805. While he made violins and violoncellos, often in the Cremona style and imitating Giuseppe Guarneri, his most significant contribution was his prize-winning treatise on violin construction, "Regole per la costruzione de' violini, viole, violoncelli e violoni," published in 1786. This work, which focused on the methods of old Italian masters like Amati, was widely translated and influenced later luthiers and authors such as Maugin.