Vincenzo Trusiano Panormo

History

Vincenzo Trusiano Panormo (circa 1734-1813) was born in Monreale, Sicily, Italy, and died in London, UK. According to John Dilworth, he is thought to be the son of Gaspare Trusiano, who was known as a musical instrument maker with at least one extant double bass. Vincenzo adopted the name Panormo after leaving Sicily, deriving it from the Latin name of Palermo, his original place of work. Sources contain conflicting information about his birth year; while John Dilworth states circa 1734, Cecie Stainer provides November 30, 1734, and Willibald Leo Lütgendorff notes that earlier misreadings led to a belief of 1705. He began making various kinds of musical instruments at the age of sixteen without aid. Panormo travelled widely throughout his career; his first son, François, was born in Rome in 1763, and his second son, Joseph, was born in Naples in 1767. A business named Panormo e Figli existed in Naples up to the 19th century. He worked in Marseilles before arriving in Paris before 1781. He may also have worked briefly in London and Dublin in the 1770s. By 1789, he was established in Dublin, possibly employed by Thomas Perry, and by 1791, he was in London, where he remained as an assistant to John Betts. George Hart describes Panormo as having a restless temperament, which led to continual self-imposed changes and prevented his reputation from growing steadily in one place. He often moved from city to city, hoping to find patronage, a course that Hart suggests may have robbed his work of the attention an undisturbed mind could bestow. His life was a continuous battle with adversity, often forcing him to work for bare sustenance and to satisfy daily wants by slaving at tasks that brought him little credit. He was frequently obliged to manufacture instruments for employers using materials they selected, which were often of poor quality, and to complete work within given timeframes, sometimes against his own wishes.

Craft

• Initial Craft: Vincenzo Trusiano Panormo was originally a maker of woodwinds and stringed instruments in general, with several extant woodwind instruments bearing his brand. An early double bass also exists with his manuscript label 'Vincenzo Trusiano'.
• Model Evolution: He was a hugely important figure in English violin making, transforming the habits of London makers from a loyalty to the Stainer model to a focus on Cremonese work, particularly that of Stradivari. While he had his own model, he preferred to imitate Stradivari, Guarneri, and Amati, especially the larger models.
• Workmanship: His work is described as very refined, with a particularly delicate head, a low-arched model, and finely detailed yet subtle characteristics. His workmanship is considered lighter and more graceful than that of Lupot. The sound-holes are admirably cut, and the scroll is well carved. However, his work is also varied; his Paris work reflects local influences, being slightly heavier and 'Mirecourtian', while in London, he was likely encouraged by Betts to make closer copies of Stradivari and Amati. He sometimes omitted the hollow groove, simply rounding the edge.
• Materials: Materials were inconsistent; sometimes very plain wood was used, and various types of purfling. Generally, he used good wood, but when working for the trade, he often had to use wood of bad quality supplied by his employers. He famously converted an old maple billiard table found in Ireland into a number of beautiful instruments.
• Varnish: The varnish is always fine, though of different shades and textures. It is often golden-yellow, sometimes reddish, and described as a clear yellow colour.
• Instrument Specialization: His cellos are much sought after but relatively rare. His basses are particularly prized and recognized as among the most desirable of any but the Brescians, featuring very fine modelling and arched backs. His violins, violoncellos, and double-basses are all much liked for the pure and good quality of their tone. His guitars also have a high reputation.

Influence

• Family Tradition: His father, Gaspare Trusiano, was a known musical instrument maker, indicating a family tradition in the craft.
• Mentorship: He is believed to have worked for a short time in Cremona, possibly under Bergonzi, whom he sometimes approached in style.
• Impact on London Makers: Panormo's experience was instrumental in transforming the habits of London makers, shifting their focus from the Stainer model to Cremonese work in general, and Stradivari in particular.
• Descendants: He had several sons who also became violin makers.

Legacy

• Artistic Recognition: Vincenzo Trusiano Panormo is considered one of the most successful followers of Antonio Stradivari, sharing acclaim with Lupot as a copyist of the great Cremonese master. His natural gifts possessed a vitality that could not be entirely suppressed, and he bequeathed some of the finest specimens of the copyist's art.
• Market Value: His violins now achieve high prices due to their almost consistently large and noble tone. His instruments are highly regarded for their pure and good quality of tone.
• Collections: A violin made by him, dated Paris 1810, is part of the Snoeck collection.

Further Information

• Labels: His own labels are relatively rare, as much of his work was done for employers. Examples include manuscript labels like 'Vincenzo Trusiano' on an early double bass, and printed labels such as 'Vincenzo Panormo/ London 1797', 'Vincenzo Trusiano Panormo fecit Parisiis, anno 17..', 'Vincent Panormo, rue de l'Arbre-sec à Paris, 17..', 'Vincenzo Panormo me fece Marsiglia', 'Vincenzo Panormo London 1791', 'Vincenzo Panormo di Palermo fecit anno 17..', and 'Vincenzo Panormo dit Palermo Fecit Anno 17..'. He also sometimes used the coat of arms of Palermo on his labels.
• Branding: Some instruments are branded beneath the saddle on the lower rib with 'V.P.'. He also used a brand stamp at times.
• Workshop Locations: In Paris, he resided at 70, rue de Chartres from 1783-1789, and his workshop was also located in the Rue de l'Arbre-Sec both before and after this period.

Summary

Vincenzo Trusiano Panormo (circa 1734-1813) was an influential Italian luthier, born in Monreale, Sicily, who became a pivotal figure in English violin making. The son of instrument maker Gaspare Trusiano, he adopted the name Panormo from Palermo, his original place of work. Panormo's career was marked by extensive travel, with periods spent in Rome, Naples, Marseilles, Paris, Dublin, and London, where he worked for figures like John Betts. Despite a restless temperament and often challenging working conditions, including using employer-supplied materials of varying quality, he was instrumental in shifting London makers' focus from the Stainer model to Cremonese masters like Stradivari. His craftsmanship is noted for its refinement, delicate heads, low-arched models, and well-cut sound-holes and scrolls, with a preference for golden-yellow varnish. His instruments, particularly his prized basses and sought-after cellos, are highly valued for their pure and noble tone, solidifying his legacy as one of the most successful copyists of the great Cremonese tradition.