Amati


Amati is the surname 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. Because of their age and rarity, Amati instruments are mostly kept in museums or private collections and are seldom played in public.

Family members

Andrea Amati

Andrea Amati 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.
An assertion 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 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.

Antonio and Girolamo Amati

Andrea Amati was succeeded by his sons Antonio Amati and Girolamo Amati. "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

Nicolò Amati

Nicolò Amati was the son of Girolamo Amati. Often considered the most eminent violin maker of the family, he improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of tone. 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, the first of the Guarneri family of violin makers. (There is much controversy regarding the apprenticeship of Antonio Stradivari. While the label on Stradivari's first known violin states that he was a pupil of Amati, the validity of his statement is questioned.

Girolamo Amati (Hieronymus II)

The last maker of the family was Nicolò's son, Girolamo Amati, known as Hieronymus II. He improved the arching of his father's 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., they are only occasionally played in public.

United Kingdom

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

The Stanley Solomon Tenore ca 1536

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.
Length of backUpper BoutMiddle BoutsLower Bouts
43.220.613.724.5

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

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.
Length of backUpper BoutMiddle BoutsLower Bouts
40.618.513.123.9

From the Charles IX Set ca 1564

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.".
Length of backUpper BoutMiddle BoutsLower Bouts
46.922.515.126.9

Held at the Ashmolean Museum Oxford

Andrea Amati ca 1564

The ex Wahl ca 1568

Andrea Amati ca 1568
Two-piece back with an ebony inlay of "Chinese-knot" design. Scroll not original. Label not original, dated 1568.
Length of backUpper BoutMiddle BoutsLower Bouts
42.7211425.1

The ex Herrmann ca 1620

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".
Length of backUpper BoutMiddle BoutsLower Bouts
40.918.613.423.2

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The Violetta ca 1570

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."
Length of backUpper BoutMiddle BoutsLower Bouts
39.51913.323.4

The Trampler ca 1580

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.
Length of backUpper BoutMiddle BoutsLower Bouts
44.421.615.227.6

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The Henry IV ca 1590

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.
Length of backUpper BoutMiddle BoutsLower Bouts
42.22012.924.3

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The Crocfisso, The Medecia 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.

The Stauffer ca 1615

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."
Length of backUpper BoutMiddle BoutsLower Bouts
41.119.612.924.6

The Zukerman, The Kashkashian ca 1617

Antonio & Girolamo Amati ca 1617
Two-piece back. Dendrochronology report by Peter Ratcliff dates the youngest ring of bass and treble sides as 1613.
Length of backUpper BoutMiddle BoutsLower Bouts
40.620.214.125.5