Joan Kerlino

History

Joan Kerlino (15th century) is cited by John Dilworth in The Brompton's Book of Violin & Bow Makers as a maker from Brescia, Italy. An instrument attributed to Kerlino was cited by Laborde, formerly in the Kolliker collection, and discussed by Fétis and others, bearing the label: "Joan Kerlino, ann. 1449". Laborde originally described this instrument as a violin, leading to speculation that it was the oldest violin in existence and that Kerlino was its inventor. Laborde also speculated that the name was Breton, suggesting France as the birthplace of the violin. Fétis, however, interpreted the instrument as a converted viol or possibly a viola da braccio and identified Kerlino as Brescian. Dilworth notes that the name "Kerlino" may be a corruption of the Hebrew "kelim", meaning musical instrument or cantor, potentially indicating a Sephardic Jewish origin, though there is no documentary evidence for this interpretation. Kerlino is often identified as the unnamed Brescian maker with whom Isabella d'Este unsuccessfully negotiated the purchase of a set of instruments in 1495. Further confusion has arisen from speculative copies and straightforward fakes bearing his name, mostly made in France in the 19th century, and notably a number of violas made in London by George Chanot labelled "copy of Joan Kerlino, Brescia 1452". The presumed model for these copies is a Venetian viola da braccio in the Royal College of Music, London, which has a later inked inscription: "Joan Karlino Brescia 1452".

According to Cecie Stainer's A Dictionary of Violin Makers, Kerlino was a maker of rebecs and viols of all sorts in Brescia around 1449-93, and is considered one of the earliest known makers, possibly the founder of the Brescian School. Stainer also mentions the suggestion that he originally came from Brittany, based on family names commencing with "Ker" in that region. George Hart, in The Violin, states that while numerous violin-shaped instruments have been attributed to Kerlino, it is doubtful he made any instruments other than those of the viol type.

Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, discusses the difficulty in determining Kerlino's lifespan and homeland, asserting that he was certainly not Italian. Laborde placed his homeland in Brittany, Rühlmann argued for German ancestry, and de Piccolellis tentatively considered him Tyrolean. Lütgendorff suggests he was most likely an immigrant Fleming, given the presence of several Flemish musicians named Kerle in Italy from the 15th to 18th centuries. Documentary evidence, according to Bertolotti and Davari, confirms that the Margravine Isabella of Mantua ordered some viols from him in June 1495 and later, towards the end of that year, commissioned the lutenist Angelo Testagrossa to travel to Brescia to inspect the ordered viols. Lütgendorff recounts Fétis's description, from his book on Stradivari, of an instrument by Kerlino that Fétis saw 25 years after Laborde mentioned it, in the possession of the violin maker Koliker. Fétis described it as not a regular violin but a converted viola, with higher arching and ribs than later viols, and an ivory hook with four holes instead of an ebony tailpiece. The instrument bore the inscription "Joan. Kerlino 1449" on the back. Lütgendorff expresses skepticism, suggesting the entire instrument was likely Koliker's work, with perhaps only some parts being old, and the inscription probably inauthentic, though he dismisses James M. Fleming's idea that the name Kerlino was an invention derived from Koliker, citing the documentary proof of Kerlino's existence.

Craft

• Instrument Type: Joan Kerlino is noted as a maker of rebecs and viols of all sorts. George Hart suggests he primarily made instruments of the viol type, doubting he made violin-shaped instruments.
• Specific Instrument Description: A viol attributed to Kerlino, seen by Fétis and described by Stainer, had its neck changed (possibly by Koliker in 1804) and was mounted with four strings like a violin, but featured a piece of ivory pierced with four holes for string attachment instead of a tail-piece. This instrument was very much arched and produced a soft, muffled tone.
• Fétis's Observation: Fétis described an instrument as a converted viola, noting its higher arching and ribs compared to later viols, and an ivory hook with four holes in place of an ebony tailpiece.
• Inscriptions: Instruments attributed to Kerlino bore inscriptions such as "Joann Kerlino, ann. 1449" and a later inked inscription on a viola da braccio in the Royal College of Music reads "Joan Karlino Brescia 1452".

Influence

• School Affiliation: Cecie Stainer suggests that Joan Kerlino was probably the founder of the Brescian School of instrument making.

Legacy

• Historical Speculation: Kerlino's name became central to speculation regarding the invention of the violin, with an instrument attributed to him once considered the oldest violin in existence.
• Copies and Fakes: His name has been associated with numerous speculative copies and straightforward fakes, particularly in 19th-century France, and notably by George Chanot in London, who produced violas labelled "copy of Joan Kerlino, Brescia 1452".
• Museum Collections: A viola da braccio of Venetian origin, bearing a later inked inscription "Joan Karlino Brescia 1452", is held in the collection of the Royal College of Music, London.

Further Information

• Workshop Location: Kerlino was active in Brescia, Italy.
• Documented Commissions: In June 1495, the Margravine Isabella d'Este of Mantua ordered viols from Kerlino and later sent her lutenist, Angelo Testagrossa, to Brescia to inspect them.
• Disputed Origins: Sources contain conflicting information about Kerlino's origin; Laborde suggested Breton, Rühlmann argued for German, de Piccolellis for Tyrolean, and Lütgendorff for Flemish. There is also speculation about a Sephardic Jewish origin.

Summary

Joan Kerlino was a 15th-century instrument maker from Brescia, Italy, known for producing rebecs and viols. He is considered one of the earliest known makers and possibly the founder of the Brescian School. An instrument bearing his label, "Joan Kerlino, ann. 1449", sparked historical debate, with some initially speculating it was the oldest violin and that Kerlino was its inventor, though Fétis later identified it as a converted viol. Kerlino's name is associated with a commission from Isabella d'Este in 1495, and his legacy is complicated by numerous speculative copies and fakes, including those by George Chanot. His precise origin remains a subject of historical debate, with theories ranging from Breton to Flemish, German, Tyrolean, or even Sephardic Jewish.