Giovanni Battista Ceruti

Life

Giovanni Battista Ceruti (1756–1817) was born in Sesto Cremonese and died in Cremona, Italy., and Willibald Leo Lütgendorff, Ceruti succeeded Lorenzo Storioni's business in the Via dei Coltellai, near Piazza San Domenico, in 1790. However, John Dilworth states that he "probably took over the business in via de Caltellai when Storioni ceased work in 1802," presenting conflicting dates for the succession. Ceruti was a successful maker who continually refined his style and finish, and, he played a significant role in sustaining the otherwise declining school of violin making in Cremona at the turn of the nineteenth century. Due to illness, he had to hand over his workshop to his son even before his death. He made a large number of instruments, estimated at approximately 500 violins and violoncellos, and Stainer.

Characteristics

Innovation

Giovanni Battista Ceruti continually refined his style and finish, a hallmark of his successful career.

Materials

His choice of materials was variable, often comprising local wood of utilitarian rather than prime quality.

Methods

Ceruti's work shows influences from both the Bergonzi brothers and Lorenzo Storioni. His instruments frequently feature a scroll with a characteristically extended last turn behind the eye. Lütgendorff states that he modeled instruments after Guarneri, less often after Stradivari, but predominantly after the large Amati model, a preference also noted by Hart and Stainer. Cecie Stainer records that he adhered to his master's principles, producing very good instruments with carefully finished work. However, John Dilworth describes his execution as "often rather crude," noting "a little ragged" surfaces and "purfling unevenly inlaid," which presents a clear contradiction in historical assessments of his finish quality. His varnish is described variably: John Dilworth characterizes it as dark, slightly hard, but very evenly applied, while Cecie Stainer mentions yellow varnish, sometimes with a reddish tinge. Willibald Leo Lütgendorff provides a broader range, stating that his varnish varied from light amber yellow to the deepest red.

Influence and legacy

• Training and Mentorship: Accounts regarding Ceruti's training vary. Count Cozio di Salabue, as cited by John Dilworth, suggests Ceruti was a pupil of Count Luigi Maggi in Cremona, although no trace of Maggi’s work has survived. Dilworth also posits that he "may have learned his craft from Nicola and Carlo (II) Bergonzi." Conversely, both Willibald Leo Lütgendorff and Cecie Stainer identify him as a pupil of Lorenzo Storioni. John Dilworth further notes Ceruti's close association with Lorenzo Storioni.
• Schools/Tradition: Ceruti is recognized for his role in sustaining the otherwise declining school of violin making in Cremona at the turn of the nineteenth century. Lütgendorff adds that while he was 'only a weak imitator of his great predecessors,' the 'traditions of the school from which he emerged' are still recognizable in his works.
• Modern Recognition: Ceruti's instruments were highly sought after for their superior tone. Willibald Leo Lütgendorff further adds that 'the tone is noble and has naturally gained much with age.'

Further Information

• Technical Characteristics: Giovanni Battista Ceruti's instruments frequently feature a scroll with a characteristically extended last turn behind the eye. His labels are sometimes found with the inscription 'Jo: Baptista Ceruti Cremonensis / fecit Cremonæ An. 1801.'
• Historical Uncertainties: Accounts conflict regarding Giovanni Battista Ceruti's primary teacher, with some sources suggesting Count Luigi Maggi or the Bergonzi brothers, while others name Lorenzo Storioni. There is also a discrepancy in the date he took over Storioni's business, with sources citing both 1790 and 1802. Furthermore, historical descriptions of his varnish color and the overall finish quality of his instruments present contradictions.