John Dilworth
GAGLIANO, Alessandro Worked circa. 1700-1730 Naples Italy. The founder of the Gagliano dynasty and the Naples school of violin making. Probably introduced to instrument making by Füssen-trained lute makers already present in Naples, despite the claim on his label to have been a pupil of Stradivari. His work is distinctly different from that of his successors in Naples, with a richly coloured golden-red oil varnish and generally a long stop length, the soundholes set low on the body, with very broad curves in the lower half. Outline somewhat Amatisé, well proportioned and elegant. Often lightly decorated on the pegbox in slightly Germanic style and with extended corners. Outstanding materials, his most famous violins, such as the ‘Rotondo’, featuring the most beautifully figured one-piece backs. Stylistically his work has more in common with the classical Venice or Bologna schools than any other Neapolitan maker. Some cellos of original model and finely finished workmanship; also at least one fine contralto viola is recorded. Alexandri Gagliano Alumnus Antonio / Stradivarius fecit anno 17.. Alexandri Gagliano Alumnus / Antonio Stradivarius fecit Neapoli anno 17..
George Hart
A pupil of Antonio Stradivari. The Gagliano family played no un-important part in the art of Italian Violinmaking. It commences with Alessandro, who imitated his master as regards the form which he gave to his instruments. Alessandro Gagliano upon leaving the workshop of Stradivari removed to Naples, a city which afforded him greater scope for the” exercise of his talents than Cremona. With others, he felt that his chance of success was very small if he remained on ground occupied by the greatest luminaries of his art. His labours at Naples seem to have been so well rewarded that he caused his sons to follow his calling. There is evidence of their having enjoyed what may be termed a monopoly of the Violin manufacture in and around Naples, there being no record of another maker of importance in that locality at the same period. To these makers we are indebted for the Neapolitan School. Although in its productions we miss the lustrous varnish and handsome wood of Cremona, Naples has furnished us with many excellent instruments. The works of Alessandro Gagliano are mostly of large pattern and flat model. If we compare them with those of his master, the resemblance is not so great as might be expected, if it be remembered that they are copies, and not original works. The sound-holes are broader and more perpendicular than those of Stradivari. The scroll is diminutive, and the turn much contracted and of a somewhat mean appearance. The workmanship of this item is roughly executed, and points to the conclusion that Alessandro Gagliano was not gifted with the power of head-cutting. The character of Gagliano’s Violins reminds us of those by Stradivari made between 1725 and 1730; and doubtless it was those instruments which this artist chiefly copied. The wood used for the backs was generally of a tough nature; the back and sides are often marked with a broad curl. The bellies are of wide and even grain, and very resonant. The varnish is quite distinct from that of Cremona ; it is very transparent, and of various shades, chiefly yellow.
Cecie Stainer
b. about 1640, at Naples; d. there about 1730. At first studied music, in leisure moments making a few mandolines and lutes. Having killed his adversary in a duel, he was obliged to leave Naples, and went to Cremona, and there entered Ant. Stradivari’s workshop. He remained about thirty years and showed great ability.
It is possible that many of Stradivari’s instruments were prepared by him. He was able to return to Naples in 1695, and started a business there; he soon became well known. He made a number of instruments, generally on a large pattern, which, in the arching, in the thicknesses, and in the carefully finished work, recall his master. He used a good strong varnish, greyish-yellow colour, and good wood, that of the bellies being of wide and even grain and very resonant; the scroll is rather roughly cut, the sound-holes are wider and more perpendicular than those of Stradivari, the tone is powerful. He made some remarkably beautiful violoncellos; a violoncello and a bass are known which might almost be mistaken for the work of Stradivari.
and “Alexander Gaglianus, fecit Neap., 17—.”
He had two sons, both makers—Nicola and Gennaro.
Willibald Leo Lütgendorff
Jussupoff erzählt eine romantische Geschichte von einem Duell, das der
einer vornehmen Familie entsprossene Gagliano gehabt haben soll und das ihn
nöthigte, aus Neapel zu fliehen. Er sei dann nach Cremona gekommen und
Schüler von Stradivari geworden. Das Letztere behauptet G. selbst auf seinen
Zetteln, dagegen erscheint es sehr unwahrscheinlich , dass er, wie behauptet
wird, 30 Jahre lang Stradivari’s Gehilfe gewesen sein soll. Die ältesten Instrumente
von Alessandro sind allerdings erst von 1695 datirt und zeichnen sich
gleich durch ausgesucht schönes Holz und schöne Arbeit aus. Die F-Löcher
sind sehr steil und ziemlich offen, die Schnecke klein und manchmal nicht sehr
sorgfältig geschnitzt. Der Lack hellgelb und durchsichtig und leicht vom
Cremoneser zu unterscheiden, da er einem Stich ins Graue hat, in der Form erinnern
seine Geigen an das Stradivari-Modell von 1725-30, sie sind gross und
flach gewölbt. Er ist der Gründer der Neapolitanischen Schule und das Haupt
der bis auf unsere Tage bestehenden Familie. Er hinterliess zwei Söhne, die
gleichfalls Geigenmacher wurden.
