Pier (Pietro) Lorenzo Vangelisti (Evangelisti)

History

Pier (Pietro) Lorenzo VANGELISTI (EVANGELISTI) worked in Florence, Italy, from approximately 1700 to 1746, with Karel Jalovec specifying 1700-1745 and John Dilworth noting circa 1700-1746. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, describes him as a "Geigenmacher dritten Ranges" (a third-rank violin maker), though acknowledging the existence of some good basses. Lütgendorff also observes that Vangelisti used various labels, suggesting prolific output, yet his instruments are now quite rare. This rarity leads Lütgendorff to speculate that his works either suffered rapid decay or were re-labeled by dealers with more famous names.

Craft

• Model: He worked on a medium-sized high-arched model, similar to that of Gabrielli, as noted by Karel Jalovec in Italian violin makers. John Dilworth, in The Brompton’s Book of Violin & Bow Makers, further describes the arching as of medium height, but full and box-like with a deep and narrow edge flute.
• F-holes & Soundholes: Willibald Leo Lütgendorff highlights his sharply bent F-holes in the upper part as distinctive. Karel Jalovec describes his sound-holes as gracefully shaped. John Dilworth identifies a Stradivari influence in both the scroll and soundholes.
• Edges & Purfling: Karel Jalovec notes that his instruments have rather broad edges. John Dilworth specifies broad purfling.
• Materials: Karel Jalovec states that the wood he used is nearly always of fine quality. Conversely, John Dilworth notes that the materials were fairly plain.
• Varnish: Karel Jalovec describes a good yellow or light yellow varnish. Henri Poidras, in his Critical & Documentary Dictionary Of Violin Makers Old & Modern, also mentions yellow varnish. However, John Dilworth characterizes it as a plain brown spirit varnish, though transparent and attractive.
• Workmanship: Willibald Leo Lütgendorff assesses him as a "Geigenmacher dritten Ranges" (a third-rank violin maker). Henri Poidras, however, describes his work as a "Good make." John Dilworth offers a perspective that the work overall was a little unrefined.
• Instruments: Lütgendorff mentions some good basses. Karel Jalovec specifically praises his ‘cellos and contrabasses as very good.
• Labels: He used various labels, according to Lütgendorff. John Dilworth provides examples of his manuscript labels, such as "Pierre Lorenzo Vangelisti / Fecit F: Ao. 1726," "Pier Lorenzo Vangelisti / L’anno 1750 in Firenza," and "Pier Lorenzo Vangelisti / fece l’Anno 1739 in Firenza."

Influence

• School & Style: John Dilworth places him in the school of Gabrielli.
• Influences: John Dilworth also notes some Stradivari influence in the scroll and soundholes of his instruments.

Legacy

• Museum Holdings: A violin made by him is preserved in the Museum Kraus in Florence, as documented by Willibald Leo Lütgendorff.

Further Information

• Working Location: He worked in Florence, Italy.
• Working Period: His active period is noted as approximately 1700-1745 by Karel Jalovec and circa 1700-1746 by John Dilworth.

Summary

Pier (Pietro) Lorenzo Vangelisti (Evangelisti) was a luthier active in Florence, Italy, from approximately 1700 to 1746. While some sources, like Lütgendorff, categorized him as a "third-rank violin maker," others, such as Henri Poidras, considered his work to be of "Good make," particularly noting the quality of his basses, cellos, and contrabasses. His instruments, which are now quite rare, often featured a medium-sized, high-arched model influenced by Gabrielli, with some Stradivari influence evident in the scroll and soundholes. Vangelisti used various labels, and a violin made by him is preserved in the Museum Kraus in Florence.