Lorenzo Storioni

History

Lorenzo Storioni (1744-1816), though sources contain conflicting information regarding his life dates, with some stating 1751-1801 or 1751-1799, was born in Cremona, Italy. His early life was spent in Contrada Confettoria, now via Robolotti, where his family were neighbors and associates of the Rugeri family, including Francesco (II) and Carlo (II), sons of Vincenzo. He became active as a violin maker from 1768 and was acknowledged in the diaries of Count Cozio di Salabue in 1775. A viola d'amore made to Stradivari's designs, labeled and branded by Storioni, indicates he had access to the Stradivari shop before its tools and relics were purchased by Cozio and removed in 1776. Between 1782 and 1786, he took on G. Rota as an apprentice. By 1787, Storioni was established in Casa Bolzesi, Contrada Coltellai, where Nicola Bergonzi joined him in 1790. He moved to Casa Sterlini in 1795 and to Sant'Agostino in 1797. From 1802, Storioni made several departures from Cremona, being absent in 1802 and again from 1804 to 1809. During this period, at least one instrument is labeled from 'Flumio,' understood to mean Fiume (now Rijeka, Croatia). He returned to Cremona in 1810, settling in Contrada Sepciana (now via Anguissola), but no known instruments are dated later than 1804, according to John Dilworth, or 1795, according to Cecie Stainer. G. B. Ceruti reportedly took advantage of Storioni's absence to establish himself as the leading maker in Cremona in the early 19th century. Willibald Leo Lütgendorff rightly refers to him as the last great Cremonese maker, though his works also show the undeniable decline of the Cremona school.

Craft

• Models: Lorenzo Storioni often worked freely on a large model, producing variations on Guarneri del Gesu, and his mature work frequently took cues from Guarneri models as much as from the late Bergonzis.
• Varnish: Sources describe his varnish inconsistently; John Dilworth notes a harder plain yellow varnish that lacked the quality of the classical Cremonese period. Karel Jalovec states his best varnish was red-brown, while yellow and dark brown varnishes were drier and less supple. Henri Poidras mentions yellow varnish, sometimes red, lacking softness. George Hart describes it as not of the Cremonese description but partaking of the Neapolitan character. Cecie Stainer notes it as very dry, of a deep yellow color with a reddish tinge.
• Wood: The quality of wood used by Storioni was inconsistent; the maple often displayed a wild and rooty figure, and the spruce had a bland and winding grain, seeming to be locally sourced. Despite this, George Hart notes that the material he used was invariably good in terms of acoustical properties, though not handsome.
• Archings: His archings are sometimes described as a little pinched but invariably low and very effective.
• Scrolls: John Dilworth notes scrolls as a weakness throughout Storioni's career. Henri Poidras states the scroll is "completely devoid of charm," George Hart describes it as stiff, and Cecie Stainer notes it "has not much finish." However, Karel Jalovec states that the scrolls are "beautifully cut."
• Sound-holes: Storioni experimented a great deal with the position of the sound-holes, placing them in all sorts of ways, scarcely twice alike, and sometimes in very odd places. Karel Jalovec describes them as "beautifully cut."
• Edges & Purfling: Karel Jalovec notes the edges and purfling were finished with delicate taste. Henri Poidras describes narrow purfling near the edges. George Hart states the purfling is unusually narrow and roughly worked, a sentiment echoed by Cecie Stainer, who calls it "roughly done."
• Workmanship: John Dilworth notes that Storioni's work lacks the vitality of the classical Cremonese period, with his early instruments being a little clumsy. Henri Poidras describes his make as original but lacking finish. George Hart observes an almost total absence of refinement, a vigorous outline without thought of symmetrical appearance, and notes that his instruments were built from the blocks rather than on a mould, resulting in a less graceful appearance. Cecie Stainer adds that the work is not finished with much delicacy.
• Branding & Labels: Storioni sometimes branded his instruments in the pegbox with 'L.S.' or 'S.' Examples of his labels include "Laurentius Storioni fecit / Cremonae. 1793," "Laurentius Storioni Cremonensis / fecit Anno 17..," "Laurentius Storioni restauravit / Cremonae 1780," and "Lorenzi Storioni fecit anno 1786. Cremona." Cecie Stainer notes he did not begin to sign them until 1776.
• Instruments: He made several violas and a few short-patterned cellos. George Hart notes he did not appear to have made many tenors or violoncellos, with the latter being rarely met with. Cecie Stainer states no tenors are known.
• Tone: His instruments are noted for their outstanding rich tone, described as very noble, and possessing great powers. Cecie Stainer characterizes the tone as full, rich, and silvery.

Influence

• Mentorship: Lorenzo Storioni took on G. Rota as an apprentice between 1782 and 1786.
• Tradition: He maintained the traditions of his more significant predecessors, but Willibald Leo Lütgendorff suggests he also contributed to the potential loss of the "secret of the varnish" by primarily using the red-brown varnish of the Neapolitans.
• Models: Storioni was heavily influenced by Guarneri models, particularly Guarneri del Gesu, and also by the late Bergonzis. George Hart notes that Storioni made Giuseppe Guarneri del Gesu his idol, incorporating salient points of Guarneri's work into his own models.

Legacy

• Reputation: Lorenzo Storioni is considered the last great Cremonese maker, though his works also show the decline of the Cremona school. His instruments are highly valued, particularly in Italy, and are rising in value.
• Notable Users: The renowned violinist M. Vieuxtemps played on a Storioni violin for many years, preferring it to all other violins he knew. This instrument now belongs to Mr. Proctor.
• Valuation: Violins from his prime period, which falls between 1775 and 1795, were valued up to 4000 Marks.

Further Information

• Workshop Locations: Storioni's addresses in Cremona included Contrada Confettoria (present-day via Robolotti), Casa Bolzesi in Contrada Coltellai (also referred to as Via Coltellai No.3, near Dominicusplatz), Casa Sterlini, Sant'Agostino, and Contrada Sepciana (now via Anguissola).
• Prime Period: His best works were created between 1775 and 1795.
• Instrument Types: Storioni produced violins, violas, and cellos, though cellos are rare and no tenors are known.