Francesco Gobetti

History

Francesco Gobetti (1675-1723) was born in Udine and later died in Venice, Italy. He is recorded as a shoemaker upon his first appearance in Venice around 1690, residing in the same parish as Matteo Gofriller. His own labelled work is documented from 1710 to 1722, a period during which he produced remarkable instruments. However, sources contain conflicting information regarding his working period; Willibald Leo Lütgendorff suggests a timeframe of 1690 to 1725, but notes that he has not encountered instruments dated before the 18th century, while also mentioning a violin in St. Florian, Upper Austria, bearing the date 1761, with a caveat about the legibility of the '6' as a '0'. George Hart notes that Gobetti is one of the little-known makers, attributing this to the historical practice of replacing original labels with those of more familiar makers. Hart argues that had Gobetti's name remained on his instruments, they would be as highly valued as any from the Venetian school, with the exception of Domenico Montagnana. A very beautiful violin by Gobetti, featuring fine golden-red varnish, was exhibited in Paris in 1878, bearing the label "Franciscus Gobetti, fecit Venetiis, 1715", with a similar label dated 1705 also noted by Cecie Stainer.

Craft

• Models: Within his working period, Francesco Gobetti produced remarkable copies of Stradivari, among the first to appear, and also worked on Amatisé and Stainer models, according to John Dilworth. Some of his late Stainer models exhibit very full arching, while others show refined workmanship with exaggerated Stainer mannerisms. His violins, characterized by a broad, flat pattern, recall early works of Stradivari and strike a balance between the Stradivari and Amati models, yet distinctly bear his personal stamp.
• Varnish: Dilworth describes his varnish as rich golden-yellow on some instruments, and a complex dark wine-red laid over a typically Venetian vivid golden ground on his Stradivari types. Cecie Stainer notes his use of very beautiful red varnish, which is rather transparent. Willibald Leo Lütgendorff states that his varnish, originally quite red, now appears as a clear, pale red color. George Hart describes the varnish as equal to any from the Venetian school, second only to Cremona, generally being a pale red of considerable transparency.
• Workmanship: His workmanship is described as very fine and versatile by John Dilworth, with some pieces showing very refined execution. Cecie Stainer highlights the careful finish throughout his work. Willibald Leo Lütgendorff notes his careful craftsmanship. George Hart praises the uniformly neat execution of his work.
• Archings: Some of his late Stainer models feature very full arching, while his Stradivari types show only a slight tendency towards a pinched arch, as detailed by John Dilworth. His violins are generally of a broad, flat pattern.
• Soundholes: The Stradivari types exhibit slightly close-set soundholes, according to John Dilworth. Cecie Stainer and Willibald Leo Lütgendorff note that his F-holes are similar to those of Ruggeri. George Hart also observes a slight likeness in the soundhole to the work of Francesco Ruggeri.
• Scrolls: John Dilworth states that his scrolls are very well carved, accurately concentric, and feature a very even, well-regulated chamfer, making them more precise than those of most other Venetian makers. In contrast, Cecie Stainer describes the scroll as rather weak in character. Willibald Leo Lütgendorff considers the curve of the scroll less successful, and George Hart also finds the scroll to be the least successful part, being weak in character compared to the body.
• Purfling: Cecie Stainer notes that the purfling on his instruments is not very neat.
• Wood: He used splendid wood, according to Cecie Stainer, and very beautiful wood, as mentioned by Willibald Leo Lütgendorff. George Hart emphasizes that the wood used is most handsome, noting that Venetian makers were adept at selecting beautiful wood, making it rare to find a Venetian instrument with plain wood.
• Tone: Cecie Stainer describes the tone as having a rich full quality. George Hart characterizes the tone of Gobetti's works as round, without great power, but possessing a singularly sweet quality.

Influence

• Mentorship: John Dilworth records that Francesco Gobetti lived in the same parish as Matteo Gofriller and was probably a pupil of his, alongside Domenico Montagnana. However, Cecie Stainer, Willibald Leo Lütgendorff, and George Hart all state that he is considered to have been a pupil of Antonio Stradivari, with Hart adding that this is "possibly with some reason" due to the similarity of his instruments to the great master's early works.
• School: According to Willibald Leo Lütgendorff, his work places him within the Cremonese school. George Hart also notes that Gobetti's style is superior, being more Cremonese than Venetian.

Legacy

• Reputation: His instruments are much liked, as noted by Cecie Stainer. George Hart places Gobetti in a prominent position within the Venetian school, stating that his style is superior and his model preferable when compared to Santo Serafino.
• Collections & Exhibitions: A very beautiful violin by Gobetti was exhibited in Paris in 1878. Willibald Leo Lütgendorff mentions that a particularly beautiful violin by him was part of the Wilmotte collection in Antwerp.

Further Information

• Labels: Known labels include "Franciscus Gobetti / fecit Venetiis, 1722" and "Franciscus Gobetti, fecit Venetiis, 1715", with a similar label dated 1705 also observed.
• Location: He was active in Venice, Italy, from around 1690 until his death in 1723.
• Workshop Location: He lived in the same parish as Matteo Gofriller in Venice.

Summary

Francesco Gobetti (1675-1723) was a highly regarded Venetian luthier, initially recorded as a shoemaker, who became active in Venice around 1690. He is believed to have been a pupil of Matteo Gofriller, and possibly Antonio Stradivari, with his work often showing Cremonese influences. His instruments, produced primarily between 1710 and 1722, are noted for their remarkable copies of Stradivari, Amatisé, and Stainer models, often featuring rich, transparent varnishes in golden-yellow or dark wine-red hues. While his scrolls sometimes exhibit a weaker character, his overall workmanship is praised for its refinement and neat execution, and his selection of beautiful wood is consistently highlighted. Gobetti's violins are much liked for their rich, sweet tone and are considered among the finest of the Venetian school.