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{{Short description|Family of Italian violin makers}}
{{Short description|Family of Italian violin makers}}
{{other uses}}
{{other uses}}
{{External links|date=November 2024}}
⚫
[[File:Andrea Amati violin - Met Museum NY.jpg|thumb|200px|This [[Andrea Amati]] violin, now at the [[Metropolitan Museum of Art]], may have been part of a set made for the marriage of Philip II of Spain to Elisabeth of Valois in 1559, which would make it one of the earliest known violins in existence]]
{{Use dmy dates|date=June 2023}}
⚫
[[File:Andrea Amati violin - Met Museum NY.jpg|thumb|upright=0.85|This [[Andrea Amati]] violin, now at the [[Metropolitan Museum of Art]], may have been part of a set made for the marriage of Philip II of Spain to Elisabeth of Valois in 1559, which would make it one of the earliest known violins in existence]]


'''Amati''' ({{IPAc-en|ə|ˈ|m|ɑː|t|i}}, {{IPA-it|aˈmaːti|lang}}) is the last name of a family of [[Italy|Italian]] violin makers who lived at [[Cremona]] from about 1538 to 1740. Their importance is considered equal to those of the [[Carlo Bergonzi (luthier)|Bergonzi]], [[Guarneri]], and [[Stradivarius|Stradivari]] families. Today, violins created by Nicolò Amati are valued at around $600,000.<ref>[http://www.violinadvisor.com/pricehistory.htm Violin Price Histories] {{webarchive|url=https://web.archive.org/web/20110717210444/http://www.violinadvisor.com/pricehistory.htm |date=2011-07-17 }}, violinadvisor.com, accessed 18 martie 2014</ref> Because of their age and rarity, Amati instruments are mostly kept in museum or private collections and are seldom played in public.
'''Amati''' ({{IPAc-en|ə|ˈ|m|ɑː|t|i}}, {{IPA|it|aˈmaːti|lang}}) is the last name of a family of Italian [[violin makers]] who lived at [[Cremona]] from about 1538 to 1740. Their importance is considered equal to those of the [[Carlo Bergonzi (luthier)|Bergonzi]], [[Guarneri]], and [[Stradivarius|Stradivari]] families. Today, violins created by Nicolò Amati are valued at around $600,000.<ref>[http://www.violinadvisor.com/pricehistory.htm Violin Price Histories] {{webarchive|url=https://web.archive.org/web/20110717210444/http://www.violinadvisor.com/pricehistory.htm |date=17 July 2011 }}, violinadvisor.com, accessed 18 martie 2014</ref> Because of their age and rarity, Amati instruments are mostly kept in a museum or private collections and are seldom played in public.


==Family members==
==Family members==
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===Andrea Amati===
===Andrea Amati===
{{main|Andrea Amati}}
{{main|Andrea Amati}}
'''Andrea Amati''' ({{circa|1505}}{{snd}}December 20, 1577) designed and created the violin, viola and cello known as the "violin family". Based in [[Cremona, Italy]], he standardized the basic form, shape, size, materials and method of construction. Makers from nearby [[Brescia]] experimented, such as Gasparo da Salò, Micheli, Zanetto and Pellegrino, but it was Andrea Amati who gave the modern violin family their definitive profile.
'''Andrea Amati''' ({{circa|1505}}{{snd}}20 December 1577) designed and created the violin, viola and cello known as the "violin family". Based in [[Cremona, Italy]], he standardized the basic form, shape, size, materials and method of construction. Makers from nearby [[Brescia]] experimented, such as Gasparo da Salò, Micheli, Zanetto and Pellegrino, but it was Andrea Amati who gave the modern violin family their definitive profile.


A claim that Andrea Amati received the first order for a violin from Lorenzo de' Medici in 1555 is invalid as [[Lorenzo de' Medici]] died in 1492. A number of Andrea Amati's instruments survived for some time, dating between 1538 (Amati made the first Cello called "The King" in 1538) and 1574. The largest number of these are from 1560, a set for an entire orchestra of 38 ordered by [[Catherine De Medici|Catherine de Médicis]] the regent queen of France and bore hand painted royal French decorations in gold including the motto and coat of arms of her son [[Charles IX of France]]. Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos. They were in use until the French revolution of 1789 and only 14 of these instruments survived. His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design.
A claim that Andrea Amati received the first order for a violin from Lorenzo de' Medici in 1555 is invalid as [[Lorenzo de' Medici]] died in 1492. A number of Andrea Amati's instruments survived for some time, dating between 1538 (Amati made the first Cello called "The King" in 1538) and 1574. The largest number of these are from 1560, a set for an entire orchestra of 38 ordered by [[Catherine De Medici|Catherine de Médicis]] the regent queen of France and bore hand painted royal French decorations in gold including the motto and coat of arms of her son [[Charles IX of France]]. Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos. They were in use until the French revolution of 1789 and only 14 of these instruments survived. His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design.
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=== Antonio and Girolamo Amati ===
=== Antonio and Girolamo Amati ===
Andrea Amati was succeeded by his sons [[Antonio Amati]] ({{circa|1537}}–1607) and [[Girolamo Amati]] ({{circa|1551}}–1630). "The Brothers Amati", as they were known, implemented far-reaching innovations in design, including the perfection of the shape of the [[f-holes]]. They are also thought to have pioneered the modern alto format of [[viola]], in contrast to older tenor violas, but the widespread belief that they were the first ones to do so {{citation needed span|is incorrect given that [[Gasparo da Salo]] (1542 – 1609) made violas ranging from altos of 39&nbsp;cm to tenors of 44.7&nbsp;cm.|reason=This is completely unsupported boldface claim, with nothing in it excluding either Amati brother from having made a viola prior to whatever date is implied de Salo began.|date=November 2022}}{{when|When is de Salo credited with making his first, and when is either Amati brother credited with theirs?|date=November 2022}}
Andrea Amati was succeeded by his sons [[Antonio Amati]] ({{circa|1537}}–1607) and [[Girolamo Amati]] ({{circa|1551}}–1630). "The Brothers Amati", as they were known, implemented far-reaching innovations in design, including the perfection of the shape of the [[f-holes]]. They are also thought to have pioneered the modern alto format of [[viola]], in contrast to older tenor violas, but the widespread belief that they were the first ones to do so {{citation needed span|is incorrect given that [[Gasparo da Salo]] (1542–1609) made violas ranging from altos of 39&nbsp;cm to tenors of 44.7&nbsp;cm.|reason=This is completely unsupported boldface claim, with nothing in it excluding either Amati brother from having made a viola prior to whatever date is implied de Salo began.|date=November 2022}}{{when|When is de Salo credited with making his first, and when is either Amati brother credited with theirs?|date=November 2022}}


===Nicolo Amati===
===Nicolò Amati===
{{main|Nicolò Amati}}
{{main|Nicolò Amati}}
'''Nicolò Amati''' (December 3, 1596{{snd}}April 12, 1684) was the son of Girolamo Amati. He was the most eminent of the family.{{citation needed|date=November 2022}} He improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of [[timbre|tone]].<ref name="EB1911">{{EB1911|inline=y|wstitle=Amati|volume=1|page=783}}</ref> His pattern was unusually small, but he also made a wider model now known as the "Grand Amati", which have become his most sought-after violins.
'''Nicolò Amati''' (3 December 1596{{snd}}12 April 1684) was the son of Girolamo Amati. Often considered the most eminent violin maker of the family,<ref>{{Cite news |title=The sweet sound of nightingales |url=https://www.economist.com/christmas-specials/2009/12/17/the-sweet-sound-of-nightingales |access-date=2024-06-26 |newspaper=The Economist |issn=0013-0613}}</ref><ref>{{Cite web |last= |first= |title=Violin Makers of the Amati Family |url=https://www.si.edu/spotlight/violins/amati |access-date=2024-06-26 |website=Smithsonian Institution |language=en}}</ref> he improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of [[timbre|tone]].<ref name="EB1911">{{EB1911|inline=y|wstitle=Amati|volume=1|page=783}}</ref> His pattern was unusually small, but he also made a wider model now known as the "Grand Amati", which have become his most sought-after violins.


Of his pupils, the most famous were [[Antonio Stradivari]] and [[Andrea Guarneri]],<ref name="EB1911"/> the first of the Guarneri family of violin makers. (There is much controversy regarding the apprenticeship of Antonio Stradivari.{{citation needed|date=November 2022}} While the label on Stradivari's first known violin states that he was a pupil of Amati, the validity of his statement is questioned.{{citation needed|date=November 2022}}
Of his pupils, the most famous were [[Antonio Stradivari]] and [[Andrea Guarneri]],<ref name="EB1911"/> the first of the Guarneri family of violin makers. (There is much controversy regarding the apprenticeship of Antonio Stradivari.{{citation needed|date=November 2022}} While the label on Stradivari's first known violin states that he was a pupil of Amati, the validity of his statement is questioned.{{citation needed|date=November 2022}}


=== Girolamo Amati (Hieronymus II) ===
=== Girolamo Amati (Hieronymus II) ===
The last maker of the family was Nicolò's son, [[Girolamo Amati]], known as '''Hieronymus II''' (February 26, 1649{{snd}}February 21, 1740). He improved the arching of his father's instruments.{{Citation needed|reason=reliable source needed for the whole sentence|date=July 2012}}
The last maker of the family was Nicolò's son, [[Girolamo Amati]], known as '''Hieronymus II''' (26 February 1649{{snd}}21 February 1740). He improved the arching of his father's instruments.{{Citation needed|reason=reliable source needed for the whole sentence|date=July 2012}}


==Extant Amati instruments==
==Extant Amati instruments==


Amati instruments include some of the oldest extant examples of the violin family, dating to as far back as the mid-16th century. {{citation needed span|For reasons of conservation|date=November 2022}}, they are only occasionally played in public.{{why|reason=This holds no water for any Amati violin made after the oldest Stradivarius being played - at least.|date=November 2022}}
Amati instruments include some of the oldest extant examples of the violin family, dating to as far back as the mid-16th century. {{citation needed span|For reasons of conservation|date=November 2022}}, they are only occasionally played in public.{{why|reason=This holds no water for any Amati violin made after the oldest Stradivarius being played – at least.|date=November 2022}}


===United Kingdom===
===United Kingdom===
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* Amati instruments at the [[Ashmolean Museum]], Oxford.[https://web.archive.org/web/20160424053632/http://www.amati.com/magazine/107-instrument-articles/feature/]
* Amati instruments at the [[Ashmolean Museum]], Oxford.[https://web.archive.org/web/20160424053632/http://www.amati.com/magazine/107-instrument-articles/feature/]
* Andrea Amati
* Andrea Amati
** [http://www.ashmoleanprints.com/image/1056126/andrea-amati-violin-charles-ix-1564 Violin, 1564 (ex–French royal collection)]
** [http://www.ashmoleanprints.com/image/1056126/andrea-amati-violin-charles-ix-1564 Violin, 1564 (ex–French royal collection)] {{Webarchive|url=https://web.archive.org/web/20191104004832/https://www.ashmoleanprints.com/image/1056126/andrea-amati-violin-charles-ix-1564 |date=4 November 2019 }}
** Viola
** Viola
* Amati instruments at the [[Royal Academy of Music Museum]], London
* Amati instruments at the [[Royal Academy of Music Museum]], London
* Amati instrument at the [[Tullie House Museum and Art Gallery]], [[Carlisle, Cumbria|Carlisle]]
* Amati instrument at the [[Tullie House Museum and Art Gallery]], [[Carlisle, Cumbria|Carlisle]]
* Andrea Amati
* Andrea Amati
** [http://www.tulliehouse.co.uk/objects/amati-violin Violin, 1564 (ex French royal collection)]
** [http://www.tulliehouse.co.uk/objects/amati-violin Violin, 1564 (ex French royal collection)] {{Webarchive|url=https://web.archive.org/web/20160426134001/http://www.tulliehouse.co.uk/objects/amati-violin |date=26 April 2016 }}
* Nicolò Amati
* Nicolò Amati
** Double bass of 1631 played by [[Chi-chi Nwanoku]]<ref>{{cite web |title=A Double Bass Disaster! |url=https://artsandculture.google.com/story/a-double-bass-disaster-chineke/WgWhr8Z9b82Hng?hl=en |website=Google Arts and Culture |access-date=2023-03-19}}</ref>
** Double bass of 1631 played by [[Chi-chi Nwanoku]]<ref>{{cite web |title=A Double Bass Disaster! |url=https://artsandculture.google.com/story/a-double-bass-disaster-chineke/WgWhr8Z9b82Hng?hl=en |website=Google Arts and Culture |access-date=19 March 2023}}</ref>


===United States===
===United States===
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===Violas===
===Violas===


====The Stanley Solomon Tenore====
====The Stanley Solomon Tenore ca 1536====


Andrea Amati ca 1536
Andrea Amati ca 1536
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| 43.2 || 20.6 || 13.7 || 24.5
| 43.2 || 20.6 || 13.7 || 24.5
|}
|}



[http://www.archiviodellaliuteriacremonese.it/en/strumenti/viola-tenore-ridotta.aspx?f=457893 Archivio della Liuteria Cremonese]
[http://www.archiviodellaliuteriacremonese.it/en/strumenti/viola-tenore-ridotta.aspx?f=457893 Archivio della Liuteria Cremonese]
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[https://tarisio.com/cozio-archive/property/?ID=42943 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=42943 Tarisio]


====The Witten, The IX Charles, The ex Collis ====
====The Witten, The IX Charles, The ex Collis ca 1560====


Andrea Amati ca 1560
Andrea Amati ca 1560
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| 40.6 || 18.5 || 13.1 || 23.9
| 40.6 || 18.5 || 13.1 || 23.9
|}
|}



[https://finestrings.ca/andrea-amati-ix-charles-viola/ Fine Strings]
[https://finestrings.ca/andrea-amati-ix-charles-viola/ Fine Strings]
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[https://tarisio.com/cozio-archive/property/?ID=40043 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=40043 Tarisio]


====From the Charles IX Set====
====From the Charles IX Set ca 1564====


Andrea Amati ca 1564
Andrea Amati ca 1564
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| 46.9 || 22.5 || 15.1 || 26.9
| 46.9 || 22.5 || 15.1 || 26.9
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=40099 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=40099 Tarisio]
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[https://tarisio.com/cozio-archive/cozio-carteggio/andrea-amati-part-2/ Tarisio]
[https://tarisio.com/cozio-archive/cozio-carteggio/andrea-amati-part-2/ Tarisio]


====The ex Wahl====
====Held at the Ashmolean Museum Oxford====

⚫
Andrea Amati ca 1564

[https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/relevance/object/90227 Ashmolean Museum Oxford]

====The ex Wahl ca 1568====


Andrea Amati ca 1568
Andrea Amati ca 1568
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| 42.7 || 21 || 14 || 25.1
| 42.7 || 21 || 14 || 25.1
|}
|}



[https://stringsmagazine.com/violist-daniel-avshalomov-on-his-1568-amati-that-sends-a-rich-dark-tone-to-the-back-of-the-hall/ Strings Magazine]
[https://stringsmagazine.com/violist-daniel-avshalomov-on-his-1568-amati-that-sends-a-rich-dark-tone-to-the-back-of-the-hall/ Strings Magazine]
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[https://tarisio.com/cozio-archive/property/?ID=41183 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=41183 Tarisio]


====The ex Herrmann====
====The ex Herrmann ca 1620====


Antonio & Girolamo Amati ca 1620
Antonio & Girolamo Amati ca 1620
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| 40.9 || 18.6 || 13.4 || 23.2
| 40.9 || 18.6 || 13.4 || 23.2
|}
|}



[https://www.christies.com/en/lot/lot-4160097 Christie's]
[https://www.christies.com/en/lot/lot-4160097 Christie's]


Featured in {{harvnb|Riley|1980}}.
Featured in [https://openlibrary.org/works/OL3587144W/The_history_of_the_viola The History of the Viola by Maurice W. Riley], ISBN 0960315004, 0960315012


====The Violetta====
====The Violetta ca 1570====


Andrea Amati ca 1570
Andrea Amati ca 1570
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| 39.5 || 19 || 13.3 || 23.4
| 39.5 || 19 || 13.3 || 23.4
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=40634 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=40634 Tarisio]


====The Trampler====
====The Trampler ca 1580====


Antonio & Girolamo Amati ca 1580-90
Antonio & Girolamo Amati ca 1580–90


This instrument was cut down in size around 1800 from an original length of about 47 cm. The ribs are painted with the inscription: "Non AEtesin Homine sed Virtus Consideramus".
This instrument was cut down in size around 1800 from an original length of about 47&nbsp;cm. The ribs are painted with the inscription: "Non AEtesin Homine sed Virtus Consideramus".


Although the instrument comes with a certificate from Simone F. Sacconi attributing it to the Brothers Amati circa 1620, both Charles Beare and Jacques Francais believe it to be a work of Andrea Amati, possibly completed by the Brothers Amati, in which case its date would be closer to 1580c.
Although the instrument comes with a certificate from Simone F. Sacconi attributing it to the Brothers Amati circa 1620, both Charles Beare and Jacques Francais believe it to be a work of Andrea Amati, possibly completed by the Brothers Amati, in which case its date would be closer to 1580.


{| class="wikitable" style="Margin:auto"
{| class="wikitable" style="Margin:auto"
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| 44.4 || 21.6 || 15.2 || 27.6
| 44.4 || 21.6 || 15.2 || 27.6
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=44668 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=44668 Tarisio]


Featured in {{harvnb|Riley|1980}}.
Featured in [https://openlibrary.org/works/OL3587144W/The_history_of_the_viola The History of the Viola by Maurice W. Riley, ISBN 0960315004, 0960315012]


====The Henry IV====
====The Henry IV ca 1590====


Girolamo Amati ca 1590
Girolamo Amati ca 1590
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| 42.2 || 20 || 12.9 || 24.3
| 42.2 || 20 || 12.9 || 24.3
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=44670 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=44670 Tarisio]


Featured in {{harvnb|Riley|1980}}.
Featured in [https://openlibrary.org/works/OL3587144W/The_history_of_the_viola The History of the Viola by Maurice W. Riley, ISBN 0960315004, 0960315012]


====The Crocfisso, The Medecia====
====The Crocfisso, The Medecia ca 1594====


Antonio & Girolamo Amati, ca 1594
Antonio & Girolamo Amati, ca 1594


Commissioned for the Medici family, known as the 'Viola Medicea' or the 'Viola del Crocifisso' after the crucifix decoration on its back.
Commissioned for the Medici family, known as the 'Viola Medicea' or the 'Viola del Crocifisso' after the crucifix decoration on its back.


[https://www.thestrad.com/brothers-amati-viola-is-returned-to-italian-soloist-after-legal-tussle-over-ownership/1231.article The Strad]
[https://www.thestrad.com/brothers-amati-viola-is-returned-to-italian-soloist-after-legal-tussle-over-ownership/1231.article The Strad]


====The Stauffer====
====The Stauffer ca 1615====


Antonio & Girolamo Amati ca 1615
Antonio & Girolamo Amati ca 1615
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| 41.1 || 19.6 || 12.9 || 24.6
| 41.1 || 19.6 || 12.9 || 24.6
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=42170 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=42170 Tarisio]


==== The Zukerman, The Kashkashian====
====The Zukerman, The Kashkashian ca 1617====


Antonio & Girolamo Amati ca 1617
Antonio & Girolamo Amati ca 1617
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| 40.6 || 20.2 || 14.1 || 25.5
| 40.6 || 20.2 || 14.1 || 25.5
|}
|}



[https://tarisio.com/cozio-archive/property/?ID=43485 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=43485 Tarisio]


====Held by the Cincinnati Art Museum====
====Held by the Cincinnati Art Museum ca 1619====


Antonio & Girolamo Amati ca 1619
Antonio & Girolamo Amati ca 1619
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[https://www.cincinnatiartmuseum.org/art/explore-the-collection?id=11598179 Cincinnati Art Museum]
[https://www.cincinnatiartmuseum.org/art/explore-the-collection?id=11598179 Cincinnati Art Museum]


====The Medici, The Hamma====
====The Medici, The Hamma ca 1619====


Antonio & Girolamo Amati ca 1619
Antonio & Girolamo Amati ca 1619
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[https://tarisio.com/cozio-archive/property/?ID=48779 Tarizio]
[https://tarisio.com/cozio-archive/property/?ID=48779 Tarizio]


====Held by the Royal Academy of Music London====
====Held by the Royal Academy of Music London ca 1620====


Antonio & Girolamo Amati ca 1620
Antonio & Girolamo Amati ca 1620
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| 45.0 || 21.3 || 14.4 || 26.1
| 45.0 || 21.3 || 14.4 || 26.1
|}
|}



[https://collections.ram.ac.uk/IMU/#/details/ecatalogue/881 Royal Academy of Music London]
[https://collections.ram.ac.uk/IMU/#/details/ecatalogue/881 Royal Academy of Music London]
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[https://tarisio.com/cozio-archive/property/?ID=43027 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=43027 Tarisio]


====The Wittgenstein====
====The ex Wittgenstein ca 1620====


Antonio & Girolamo Amati ca 1620
Antonio & Girolamo Amati ca 1620

⚫
Two-piece back; the wax seal below the button depicts a woman's head. Top of narrow grain, widening towards the flanks. Scroll of wood similar to back. Ribs of wood similar to back. Golden-brown varnish. Labeled "Antonio & Hieronimus Fr. Amati / Cremonen Andrea F 1620."


{| class="wikitable" style="Margin:auto"
{| class="wikitable" style="Margin:auto"
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| 43.0 || 19.6 || 13.1 || 24.3
| 43.0 || 19.6 || 13.1 || 24.3
|}
|}


⚫
Two-piece back; the wax seal below the button depicts a woman’s head. Top of narrow grain, widening towards the flanks. Scroll of wood similar to back. Ribs of wood similar to back. Golden-brown varnish. Labeled "Antonio & Hieronimus Fr. Amati / Cremonen Andrea F 1620."


[https://tarisio.com/cozio-archive/property/?ID=69403 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=69403 Tarisio]


[https://ingleshayday.com/notable-sales-instrument/a-viola-by-antonio-girolamo-amati/ Ingles & Hayday]
⚫
====Held in the Galleria Estense Modena====

⚫
====Held in the Galleria Estense Modena ca 1625====


Girolamo Amati ca 1625
Girolamo Amati ca 1625
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|}
|}


The subject of [https://www.janroehrmann.de/violin-book-girolamo-amati-viola The 1625c. Girolamo Amati viola
The subject of the book [https://www.janroehrmann.de/violin-book-girolamo-amati-viola The Girolamo Amati viola in the Galleria Estense, Treasures of Italian Violin Making Vol I, 2014]
in the Galleria Estense, Treasures of Italian Violin Making Vol I, 2014]


====The ex Vieuxtemps====
====The ex Vieuxtemps====


Nicolo Amati, date unknown
Nicolò Amati, date unknown


https://tarisio.com/cozio-archive/property/?ID=44088
[https://tarisio.com/cozio-archive/property/?ID=44088 Tarisio]

====Held by the New Zealand String Quartet====

⚫
Nicolo Amati ca 1619

[https://www.nzsq.org.nz/1619-nicolo-amati-viola New Zealand String Quartet]

====The Professor Wirth====


Nicolo Amati ca 1663
Nicolo Amati ca 1663
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Two-piece spruce top of medium width grain widening to the edges, two-piece back of quarter sawn maple with faint flame of narrow width mostly horizontal, ribs and scroll of similar maple, and varnish of an orange-brown color over a golden ground. There is an original printed label inside the instrument reads "Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos Fecit. 1663"
Two-piece spruce top of medium width grain widening to the edges, two-piece back of quarter sawn maple with faint flame of narrow width mostly horizontal, ribs and scroll of similar maple, and varnish of an orange-brown color over a golden ground. There is an original printed label inside the instrument reads "Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos Fecit. 1663"


[https://americanhistory.si.edu/collections/search/object/nmah_833906 National Museum of American History"
[https://americanhistory.si.edu/collections/search/object/nmah_833906 National Museum of American History]


====The Berkitz, The Romanov====
====The Berkitz, The Romanov ca 1677====


Nicolo Amati ca 1677
Nicolò Amati ca 1677


[https://tarisio.com/cozio-archive/property/?ID=49362 Tariso]
[https://tarisio.com/cozio-archive/property/?ID=49362 Tariso]
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[https://www.thestrad.com/for-subscribers/a-massive-achievement-the-1677-romanov-nicol%c3%b2-amati-viola/9676.article The Strad Shop]
[https://www.thestrad.com/for-subscribers/a-massive-achievement-the-1677-romanov-nicol%c3%b2-amati-viola/9676.article The Strad Shop]


====The ex Waters====
====The ex Waters ca 1703====


Nicolo Amati ca 1703
Nicolò Amati ca 1703


[https://www.thestar.com/entertainment/music/2020/05/21/musical-moment-listen-to-the-tsos-principal-violist-perform-the-prelude-from-js-bachs-cello-suite-no-2-on-his-300-year-old-viola.html Toronto Symphony Orchestra]
[https://www.thestar.com/entertainment/music/2020/05/21/musical-moment-listen-to-the-tsos-principal-violist-perform-the-prelude-from-js-bachs-cello-suite-no-2-on-his-300-year-old-viola.html Toronto Symphony Orchestra]
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[https://atmaclassique.com/en/artiste/teng-li/ Toronto Symphony Orchestra]
[https://atmaclassique.com/en/artiste/teng-li/ Toronto Symphony Orchestra]


====The ex Francais====
====The ex Francais 1708====


Nicolo Amati ca 1708
Girolamo Amati II ca 1708


Two-piece back of small curl. Top of pine of well-defined and rather open grain. Scroll of less pronounced curl. Ribs of less pronounced curl. Golden-brown varnish. Labeled "Hieronymus Amatus Cremonen Nicolai figlius fecit 1708."
Two-piece back of small curl. Top of pine of well-defined and rather open grain. Scroll of less pronounced curl. Ribs of less pronounced curl. Golden-brown varnish. Labeled "Hieronymus Amatus Cremonen Nicolai figlius fecit 1708."

{| class="wikitable" style="Margin:auto"
|+ Measurements (cm)
! Length of back !! Upper Bout !! Middle Bouts !! Lower Bouts
|-
| 43.9 || 21.9 || 13.8 || 25.7
|}


[https://tarisio.com/cozio-archive/property/?ID=44226 Tarisio]
[https://tarisio.com/cozio-archive/property/?ID=44226 Tarisio]
Line 390: Line 386:
* In [[Satyajit Ray]]'s short story ''Bosepukure Khoonkharapi'', the fictional detective [[Feluda]] deduces that a character was murdered because he owned an Amati violin.
* In [[Satyajit Ray]]'s short story ''Bosepukure Khoonkharapi'', the fictional detective [[Feluda]] deduces that a character was murdered because he owned an Amati violin.
* In the [[manga]] and [[anime]] series ''[[Gunslinger Girl]]'', [[Henrietta (Gunslinger)|Henrietta]] carries an Amati violin case. It contains a [[FN P90|Fabrique Nationale P90]] when on a mission, otherwise it contains a real violin.
* In the [[manga]] and [[anime]] series ''[[Gunslinger Girl]]'', [[Henrietta (Gunslinger)|Henrietta]] carries an Amati violin case. It contains a [[FN P90|Fabrique Nationale P90]] when on a mission, otherwise it contains a real violin.
* On the radio show, ''[[Yours Truly, Johnny Dollar]]'', the January 1956 episode "The Ricardo Amerigo Matter" centered on a stolen Amati violin.<ref>{{cite web | url=https://archive.org/details/OTRR_YoursTrulyJohnnyDollar_Singles | title=Yours Truly, Johnny Dollar – Single Episodes: The Ricardo Amerigo Matter | access-date=October 31, 2017}}</ref>
* On the radio show, ''[[Yours Truly, Johnny Dollar]]'', the January 1956 episode "The Ricardo Amerigo Matter" centered on a stolen Amati violin.<ref>{{cite web | url=https://archive.org/details/OTRR_YoursTrulyJohnnyDollar_Singles | title=Yours Truly, Johnny Dollar – Single Episodes: The Ricardo Amerigo Matter | access-date=31 October 2017}}</ref>
* In the 2022 [[Cormac McCarthy]] novels, ''[[The Passenger (McCarthy novel)|The Passenger]]'' and ''[[Stella Maris (novel)|Stella Maris]]'', Alicia Western purchases an Amati violin for more than $200,000 while she is in her mid- to late teens, paying in cash from money she inherited. In ''[[Stella Maris (novel)|Stella Maris]]'', she relates this to her psychiatrist while in a psychiatric hospital, describing the details of the purchase and some history of the Amati instruments. McCarthy, C., ''[[The Passenger (McCarthy novel)|The Passenger]]'' and ''[[Stella Maris (novel)|Stella Maris]]'', New York: Knopf (2022).
* In the 2022 [[Cormac McCarthy]] novels, ''[[The Passenger (McCarthy novel)|The Passenger]]'' and ''[[Stella Maris (novel)|Stella Maris]]'', Alicia Western purchases an Amati violin for more than $200,000 while she is in her mid- to late teens, paying in cash from money she inherited. In ''[[Stella Maris (novel)|Stella Maris]]'', she relates this to her psychiatrist while in a psychiatric hospital, describing the details of the purchase and some history of the Amati instruments. McCarthy, C., ''[[The Passenger (McCarthy novel)|The Passenger]]'' and ''[[Stella Maris (novel)|Stella Maris]]'', New York: Knopf (2022).


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==References==
==References==
*Dilworth, John (1992), "The Violin and Bow-Origins and Development" in: ''The Cambridge Companion to the Violin'', ed. Robin Stowell. Cambridge: Cambridge University Press, pp.&nbsp;1–29.
* Dilworth, John (1992). "The Violin and Bow-Origins and Development", in: ''The Cambridge Companion to the Violin'', ed. Robin Stowell. Cambridge: Cambridge University Press, pp.&nbsp;1–29.
* {{cite book|last=Riley |first=Maurice W. |date=1980 |title=The history of the viola |publisher=Braun-Brumfield |url=https://archive.org/details/historyofviola00rile |url-access=registration |isbn=0-9603150-0-4 |lccn=79066348 |ol=3587144W}}


==External links==
==External links==

Latest revision as of 16:43, 24 November 2024

For other uses, see Amati (disambiguation).

This Andrea Amati violin, now at the Metropolitan Museum of Art, may have been part of a set made for the marriage of Philip II of Spain to Elisabeth of Valois in 1559, which would make it one of the earliest known violins in existence

Amati (/əˈmɑːti/, Italian: [aˈmaːti]) is the last name of a family of Italian violin makers who lived at Cremona from about 1538 to 1740. Their importance is considered equal to those of the Bergonzi, Guarneri, and Stradivari families. Today, violins created by Nicolò Amati are valued at around $600,000.[1] Because of their age and rarity, Amati instruments are mostly kept in a museum or private collections and are seldom played in public.

Family members

[edit]

Andrea Amati

[edit]
Main article: Andrea Amati

Andrea Amati (c. 1505 – 20 December 1577) designed and created the violin, viola and cello known as the "violin family". Based in Cremona, Italy, he standardized the basic form, shape, size, materials and method of construction. Makers from nearby Brescia experimented, such as Gasparo da Salò, Micheli, Zanetto and Pellegrino, but it was Andrea Amati who gave the modern violin family their definitive profile.

A claim that Andrea Amati received the first order for a violin from Lorenzo de' Medici in 1555 is invalid as Lorenzo de' Medici died in 1492. A number of Andrea Amati's instruments survived for some time, dating between 1538 (Amati made the first Cello called "The King" in 1538) and 1574. The largest number of these are from 1560, a set for an entire orchestra of 38 ordered by Catherine de Médicis the regent queen of France and bore hand painted royal French decorations in gold including the motto and coat of arms of her son Charles IX of France. Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos. They were in use until the French revolution of 1789 and only 14 of these instruments survived. His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design. [2]

Antonio and Girolamo Amati

[edit]

Andrea Amati was succeeded by his sons Antonio Amati (c. 1537–1607) and Girolamo Amati (c. 1551–1630). "The Brothers Amati", as they were known, implemented far-reaching innovations in design, including the perfection of the shape of the f-holes. They are also thought to have pioneered the modern alto format of viola, in contrast to older tenor violas, but the widespread belief that they were the first ones to do so is incorrect given that Gasparo da Salo (1542–1609) made violas ranging from altos of 39 cm to tenors of 44.7 cm.[citation needed][when?]

Nicolò Amati

[edit]
Main article: Nicolò Amati

Nicolò Amati (3 December 1596 – 12 April 1684) was the son of Girolamo Amati. Often considered the most eminent violin maker of the family,[3][4] he improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of tone.[5] His pattern was unusually small, but he also made a wider model now known as the "Grand Amati", which have become his most sought-after violins.

Of his pupils, the most famous were Antonio Stradivari and Andrea Guarneri,[5] the first of the Guarneri family of violin makers. (There is much controversy regarding the apprenticeship of Antonio Stradivari.[citation needed] While the label on Stradivari's first known violin states that he was a pupil of Amati, the validity of his statement is questioned.[citation needed]

Girolamo Amati (Hieronymus II)

[edit]

The last maker of the family was Nicolò's son, Girolamo Amati, known as Hieronymus II (26 February 1649 – 21 February 1740). He improved the arching of his father's instruments.[citation needed]

Extant Amati instruments

[edit]

Amati instruments include some of the oldest extant examples of the violin family, dating to as far back as the mid-16th century. For reasons of conservation[citation needed], they are only occasionally played in public.[why?]

United Kingdom

[edit]

Instruments in the UK include Andrea Amati violins from the set delivered to Charles IX of France in 1564.

United States

[edit]

Violas

[edit]

The Stanley Solomon Tenore ca 1536

[edit]

Andrea Amati ca 1536

Originally a tenor viola, the front is of pine of slightly wavy grain of medium width. The back is one-piece of maple, slab-cut, slightly flamed but with evident circular decorations. The little scroll is later, but it matches the instrument. The varnish is golden brown.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
43.2 20.6 13.7 24.5

Archivio della Liuteria Cremonese

Tarisio

The Witten, The IX Charles, The ex Collis ca 1560

[edit]

Andrea Amati ca 1560

This rare viola is one of the best preserved of Andrea Amati's decorated instruments. It features gilt paintings of fleurs-de-lis and trefoils on its back, surrounding the monogram identified by Italian scholar Renato Meucci to be that of Marguerite de Valois-Angoulême. The Latin motto painted in gilt around the monogram, as well as around the ribs, is identical to that found on the Museum's Amati violin made at about the same time and may relate to the court of King Philip II of Spain. The loss of some of the mottoes' text, as well as other decorative elements painted on the back, clearly reveals that this instrument was reduced in both length and width from its original, large tenor dimensions.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
40.6 18.5 13.1 23.9

Fine Strings

National Music Museum, The University of South Dakota

National Music Museum, The University of South Dakota

Tarisio

From the Charles IX Set ca 1564

[edit]

Andrea Amati ca 1564

Large tenor viola with Charles IX decoration. Two-piece back of small-figured maple, bearing the royal insignia and motto. Top of pine of varying grain. Original scroll. Golden-brown varnish. Label not original: "Andrea Amadi in Cremona M. D. L. xxiiij." (1574).

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
46.9 22.5 15.1 26.9

Tarisio

Tarisio

Held at the Ashmolean Museum Oxford

[edit]

Andrea Amati ca 1564

Ashmolean Museum Oxford

The ex Wahl ca 1568

[edit]

Andrea Amati ca 1568

Two-piece back with an ebony inlay of "Chinese-knot" design. Scroll not original. Label not original, dated 1568.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
42.7 21 14 25.1

Strings Magazine

Tarisio

The ex Herrmann ca 1620

[edit]

Antonio & Girolamo Amati ca 1620

Northern Italian viola attributed to Andrea Amati. Made, in our opinion, circa 1620 by a member of the Amati school. The head by another maker. The back is from one piece of slab cut maple with faint irregular flames. The sides are from slab cut maple similar to the back. The scroll is from quarter cut maple with faint narrow flames. The top is from two pieces of spruce with medium and narrow grain. The dimensions are somewhat reduced. The varnish has a golden brown color. Labelled "ANDREAS AMATIUS CREMONA 1567".

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
40.9 18.6 13.4 23.2

Christie's

Featured in Riley 1980.

The Violetta ca 1570

[edit]

Andrea Amati ca 1570

Two-piece back. The painted decoration is the coat of arms of the Spanish crown. Top with two small wings in the lower bouts. Scroll not original. Labeled "Niccolaus & Antonius Fratres Amati, Cremonem Fes...1649."

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
39.5 19 13.3 23.4

Tarisio

The Trampler ca 1580

[edit]

Antonio & Girolamo Amati ca 1580–90

This instrument was cut down in size around 1800 from an original length of about 47 cm. The ribs are painted with the inscription: "Non AEtesin Homine sed Virtus Consideramus".

Although the instrument comes with a certificate from Simone F. Sacconi attributing it to the Brothers Amati circa 1620, both Charles Beare and Jacques Francais believe it to be a work of Andrea Amati, possibly completed by the Brothers Amati, in which case its date would be closer to 1580.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
44.4 21.6 15.2 27.6

Tarisio

Featured in Riley 1980.

The Henry IV ca 1590

[edit]

Girolamo Amati ca 1590

One-piece back, covered with a painting of the armorial bearings of Henry IV supported on each side by an angel. Top of spruce with an open and well-defined grain. Scroll: of faint narrow curl. Ribs of wood similar to back, inscribed in gilt letters "Dvo Proteci Tvnvs". Red-brown varnish.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
42.2 20 12.9 24.3

Tarisio

Featured in Riley 1980.

The Crocfisso, The Medecia ca 1594

[edit]

Antonio & Girolamo Amati, ca 1594

Commissioned for the Medici family, known as the 'Viola Medicea' or the 'Viola del Crocifisso' after the crucifix decoration on its back.

The Strad

The Stauffer ca 1615

[edit]

Antonio & Girolamo Amati ca 1615

One-piece back of medium curl sloping from left to right. Top of distinct grain, broadening slightly towards the flanks. Scroll of wood similar to back. Ribs of wood similar to back. Golden-brown varnish. Labeled "Antonius & Hieronymus Fr. Amati Cremonen. Andreæ fil. F 1615."

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
41.1 19.6 12.9 24.6

Tarisio

The Zukerman, The Kashkashian ca 1617

[edit]

Antonio & Girolamo Amati ca 1617

Two-piece back. Dendrochronology report by Peter Ratcliff dates the youngest ring of bass and treble sides as 1613.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
40.6 20.2 14.1 25.5

Tarisio

Held by the Cincinnati Art Museum ca 1619

[edit]

Antonio & Girolamo Amati ca 1619

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
41.7 19.6 13.1 24.3

Cincinnati Art Museum

The Medici, The Hamma ca 1619

[edit]

Antonio & Girolamo Amati ca 1619

Two-piece back.

Tarizio

Held by the Royal Academy of Music London ca 1620

[edit]

Antonio & Girolamo Amati ca 1620

One of the few surviving tenors which has not been reduced in size for modern playing. The head is particularly beautiful and well proportioned. The cheeks are flat, in the style of a cello head, although not so wide as to obstruct the player's left hand. The long and elegant pegbox tapers to a wide throat beneath the perfectly carved scroll. The volutes are hollowed and gather depth from the second through to the narrow final turn. The figured quarter-sawn maple used for the back and sides of the instrument is of a type commonly used by the Amatis. The continuous slope of the flame across the centre joint (achieved by reversing one half of the back before jointing), rather than the mirror-image pattern most commonly seen, is also a feature of their work. The front is of straight and even close-grained spruce.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
45.0 21.3 14.4 26.1

Royal Academy of Music London

Tarisio

The ex Wittgenstein ca 1620

[edit]

Antonio & Girolamo Amati ca 1620

Two-piece back; the wax seal below the button depicts a woman's head. Top of narrow grain, widening towards the flanks. Scroll of wood similar to back. Ribs of wood similar to back. Golden-brown varnish. Labeled "Antonio & Hieronimus Fr. Amati / Cremonen Andrea F 1620."

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
43.0 19.6 13.1 24.3

Tarisio

Ingles & Hayday

Held in the Galleria Estense Modena ca 1625

[edit]

Girolamo Amati ca 1625

Labelled "Antonius, & Hieronymus, Fr. Amati Cremonen. Andrae fil. F.1620" (not original).

Back of maple. Top of spruce with a pronounced, rather wide grain. Ribs of the same maple as the back.

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
40.9 19.5 12.7 24.3

The subject of the book The Girolamo Amati viola in the Galleria Estense, Treasures of Italian Violin Making Vol I, 2014

The ex Vieuxtemps

[edit]

Nicolò Amati, date unknown

Tarisio

Nicolo Amati ca 1663

Two-piece spruce top of medium width grain widening to the edges, two-piece back of quarter sawn maple with faint flame of narrow width mostly horizontal, ribs and scroll of similar maple, and varnish of an orange-brown color over a golden ground. There is an original printed label inside the instrument reads "Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos Fecit. 1663"

National Museum of American History

The Berkitz, The Romanov ca 1677

[edit]

Nicolò Amati ca 1677

Tariso

The Strad Shop

The Strad Shop

The ex Waters ca 1703

[edit]

Nicolò Amati ca 1703

Toronto Symphony Orchestra

Toronto Symphony Orchestra

The ex Francais 1708

[edit]

Girolamo Amati II ca 1708

Two-piece back of small curl. Top of pine of well-defined and rather open grain. Scroll of less pronounced curl. Ribs of less pronounced curl. Golden-brown varnish. Labeled "Hieronymus Amatus Cremonen Nicolai figlius fecit 1708."

Measurements (cm)
Length of back Upper Bout Middle Bouts Lower Bouts
43.9 21.9 13.8 25.7

Tarisio

Other Amati violas in the Tarisio archive

[edit]
[edit]

See also

[edit]

Notes

[edit]
  1. ^ Violin Price Histories Archived 17 July 2011 at the Wayback Machine, violinadvisor.com, accessed 18 martie 2014
  2. ^ Dilworth, John. "The Violin and Bow-Origins and Development." The Cambridge Companion to the Violin. Ed. Robin Stowell. Cambridge: Cambridge University Press, 1992. 1–29. doi:10.1017/CCOL9780521390330.002
  3. ^ "The sweet sound of nightingales". The Economist. ISSN 0013-0613. Retrieved 26 June 2024.
  4. ^ "Violin Makers of the Amati Family". Smithsonian Institution. Retrieved 26 June 2024.
  5. ^ a b  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Amati". Encyclopædia Britannica. Vol. 1 (11th ed.). Cambridge University Press. p. 783.
  6. ^ "A Double Bass Disaster!". Google Arts and Culture. Retrieved 19 March 2023.
  7. ^ "Yours Truly, Johnny Dollar – Single Episodes: The Ricardo Amerigo Matter". Retrieved 31 October 2017.

References

[edit]
[edit]
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