Alessandro Gagliano

History

Alessandro Gagliano (c.1640-c.1730) worked in Naples, Italy, from approximately 1695 to 1730. He is recognized as the founder of the Gagliano dynasty and the Neapolitan school of violin making (Dilworth, Lütgendorff). According to Cécile Stainer, he was born around 1640 in Naples and died there about 1730. His earliest known instruments date from 1695 (Lütgendorff). The Gagliano family played a significant role in Italian violin making. Legend suggests Alessandro moved to Naples after purportedly leaving Stradivari's workshop, finding the city offered greater scope for his talents than Cremona. He reportedly believed his chance of success would be limited if he remained in Cremona, a city dominated by the greatest masters of his art (Hart). His success in Naples encouraged his sons to follow his calling, and they enjoyed what could be termed a monopoly of violin manufacture in and around Naples, with no other important maker recorded in that locality at the same period (Hart). He had two sons, Nicola and Gennaro, who also became violin makers (Stainer, Lütgendorff). Willibald Leo Lütgendorff mentions Jussupoff's romantic story of a duel, claiming Gagliano, descended from a noble family, was forced to flee Naples. Cécile Stainer also references this legendary duel as a reason for his supposed departure from Cremona.

Craft

• Materials: Alessandro Gagliano used outstanding materials, with his most famous violins, such as the ‘Rotondo’, featuring beautifully figured one-piece backs (Dilworth). His earliest instruments from 1695 were immediately distinguished by exquisitely beautiful wood (Lütgendorff). The wood used for backs was generally of a dense nature, often marked with a broad curl. Soundboards were of wide and even grain and very resonant (Hart, Stainer).
• Methods: His work is distinctly different from that of his successors in Naples, characterized by a well-proportioned and elegant outline (Dilworth). The workmanship, while generally carefully finished and recalling his master (Stainer), also featured a scroll that was often roughly executed, suggesting he was not highly skilled in carving heads (Hart, Stainer), and sometimes not very carefully carved (Lütgendorff).

Influence

• Training and Mentorship: Alessandro Gagliano claimed on his labels to have been a pupil of Antonio Stradivari (Dilworth, Hart, Lütgendorff, Stainer). George Hart states he was a pupil of Stradivari who imitated his master's form, and Cécile Stainer says he entered Stradivari's workshop after a duel and remained about thirty years. However, John Dilworth notes that this claim is made despite his work showing distinct stylistic differences from Stradivari's and the Cremonese tradition. Willibald Leo Lütgendorff notes that while Gagliano himself claims this on his labels, it appears very unlikely that he was Stradivari's assistant for 30 years as is claimed.
• Schools/Tradition: He is credited as the founder of the Gagliano dynasty and the Neapolitan school of violin making (Dilworth, Lütgendorff). George Hart notes that to these makers (the Gagliano family) "we are indebted for the Neapolitan School." Stylistically, his work has more in common with the classical Venice or Bologna schools than any other Neapolitan maker (Dilworth).

Further Information

• Technical Characteristics: Gagliano's work is distinctly different from that of his successors in Naples (Dilworth). His instruments are mostly of large pattern and flat model (Hart, Lütgendorff), recalling the Stradivari model of 1725-30 in form (Hart, Lütgendorff). The outline is somewhat Amatisé, well proportioned and elegant (Dilworth). He often lightly decorated the pegbox in a slightly Germanic style and with extended corners (Dilworth). His instruments typically feature a long stop length, with the soundholes set low on the body and having very broad curves in the lower half (Dilworth). The soundholes are also described as broader and more perpendicular than those of Stradivari (Hart, Stainer), and very steep and quite open (Lütgendorff). The scroll is diminutive, much contracted, and of a somewhat plain appearance (Hart), and rather roughly cut (Stainer, Lütgendorff). The varnish is richly coloured golden-red oil (Dilworth), very transparent and of various shades, chiefly yellow (Hart), light yellow and transparent with a grayish tinge, easily distinguishable from Cremonese varnish (Lütgendorff), or a good strong varnish of greyish-yellow colour (Stainer). The tone is powerful (Stainer). He made some cellos of original model and finely finished workmanship, and at least one fine contralto viola is recorded (Dilworth). Some remarkably beautiful violoncellos are known, including a violoncello and a bass that might almost be mistaken for Stradivari's work (Stainer).
• Historical Uncertainties: Alessandro Gagliano's claim on his labels to have been a pupil of Antonio Stradivari is contradicted by John Dilworth, who notes his work shows distinct stylistic differences from Stradivari's and the Cremonese school, and Willibald Leo Lütgendorff, who states it appears very unlikely he was Stradivari's assistant for 30 years. The romantic story of a duel, mentioned by Jussupoff and cited by Lütgendorff and Stainer, is often linked to the unverified biographical details of Gagliano's life, including his alleged connection to Stradivari.
• Notable Quotes: On his labels, Alessandro Gagliano used inscriptions such as "Alexandri Gagliano Alumnus Antonio / Stradivarius fecit anno 17.." and "Alexandri Gagliano Alumnus / Antonio Stradivarius fecit Neapoli anno 17.." [Alessandro Gagliano, pupil of Antonio Stradivari, made in the year 17..; Alessandro Gagliano, pupil of Antonio Stradivari, made in Naples in the year 17..] (Dilworth, Stainer).

Summary

Alessandro Gagliano (c.1640-c.1730) was a pivotal figure in Italian violin making, recognized as the founder of the Gagliano dynasty and the Neapolitan school of violin making, working in Naples from at least 1695 to around 1730. While he claimed on his labels to be a pupil of Antonio Stradivari, this claim is widely considered unlikely by scholars due to stylistic differences and lack of corroborating evidence. His instruments are characterized by a large pattern, flat model, and an Amatisé outline, often featuring a long stop length and distinctive soundholes that are broader and more perpendicular than Stradivari's. Gagliano used outstanding materials, including beautifully figured one-piece backs, and a range of varnishes described as golden-red, various shades of yellow, and greyish-yellow. Despite some roughly executed elements like the scroll, his work is known for its elegance and powerful tone. He is also noted for making fine cellos and a contralto viola. His influence established a distinct Neapolitan tradition that distinguished itself from Cremonese practices, forming the basis for subsequent generations of the Gagliano family.