(Giovanni) Francesco. Stradivari

History

(Giovanni) Francesco. Stradivari (1671-1743) was born on February 1, 1671, in Cremona, Italy, and died on May 11, 1743. He was the eldest son of Antonio Stradivari, and presumably apprenticed to his father from approximately 1685, being his chosen successor according to Antonio's will, as noted by John Dilworth in The Brompton's Book of Violin & Bow Makers. After his father's death, he continued to run the shop in company with his brother Omobono, as stated by Karel Jalovec in Italian violin makers. Willibald Leo Lütgendorff in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart also confirms that he worked with his brother Omobono for a time after his father's death. According to Cecie Stainer in A Dictionary of Violin Makers, he worked in his father's workshop until Antonio's death and then continued with his brother. He began to affix labels with his own name to his works only after his father's death, as mentioned by Lütgendorff. John Dilworth notes that Francesco himself was already 71 when he made the very fine 'ex-Salabue' violin of 1742, and he died the following year, having outlived his father by only six years. George Hart, in The Violin, states that Lancetti recorded Francesco's death at the end of 1742, the same year Omobono died, though Hart clarifies that the actual date was May 11, 1743, aged 72 years, noting that Lancetti's date was incorrect by some months but showed care in rendering information.

Craft

• Workmanship: His workmanship is difficult to distinguish from that of his father, Antonio Stradivari, but it is generally considered less careful and not perfectly imitating his father's work, as noted by Karel Jalovec and Cecie Stainer. George Hart states that his work is altogether less finished but still shows the hand of the master, with a bold and original design. Henri Poidras, in Critical & Documentary Dictionary Of Violin Makers Old & Modern, also notes that his workmanship, design, and cut of the soundholes were inferior to his father's.
• Soundholes: John Dilworth detected several distinct soundhole settings on his instruments, including sloping, widely disposed soundholes with narrow wings. Karel Jalovec describes them as upright and rather open after the Amati brothers' fashion, with the right sound-hole in a more inclined position. George Hart notes that the sound-hole is quite unlike that of Antonio.
• Purfling: His purfling is described as not so handsome by Karel Jalovec, and John Dilworth notes rather mis-managed purfling mitres.
• Scrolls: The scrolls of his instruments are beautifully carved according to Karel Jalovec and Henri Poidras. However, John Dilworth notes a slightly cramped and crudely finished terminus to the volutes of the scroll on the 'ex-Salabue' violin. Cecie Stainer describes the scroll as heavy.
• Varnish: The varnish is rich and fully up to the best work of Antonio, according to John Dilworth, though the materials are decidedly plain. Karel Jalovec states he applied orange-yellow varnish of fairly good quality, but it falls short of that used by Antonio. Willibald Leo Lütgendorff describes the lacquer as brownish-orange-yellow. Cecie Stainer notes the varnish is very beautiful, though quite different from Antonio's, and of a brownish hue. Henri Poidras mentions a dark orange-yellow varnish.
• Materials & Edges: The materials used were decidedly plain, as observed by John Dilworth. Karel Jalovec notes that violins by Francesco have broad edges.
• Models: He made several violins and violas, often imitating the large violin model of his father from 1708, as stated by Karel Jalovec and Cecie Stainer.
• Tone: His instruments have a very good, powerful tone, according to Karel Jalovec. George Hart notes that the tone of Francesco's instruments is invariably very rich and telling. Henri Poidras highlights the exceptional tone qualities of his instruments as their best recommendation.
• Labels: Some instruments bear the label (or signs of a label) stating 'sotto la Disciplina d'Antonio Stradiuari', though these are rare, as per John Dilworth. Cecie Stainer provides an example: 'Franciscus Stradivarius Cremonensis filius Antonii faciebat, anno 1742.' Other labels include 'Francesco Stradivarius Cremonensis / Filius Antonii faciebat Anno 1742' and 'Franciscus Stradivarius sub disciplina / A. Stradivarii 1700', as cited by Rosengard & Chiesa in Dilworth's text.
• Specific Instruments: The 'ex-Salabue' violin of 1742 is considered a reliable example of his work, according to John Dilworth.

Influence

• Mentorship: He was the son and pupil of Antonio Stradivari, as stated by Karel Jalovec, Willibald Leo Lütgendorff, Cecie Stainer, and Henri Poidras.
• Apprenticeship: He was presumably apprenticed to his father from approximately 1685 and worked in his father's workshop until Antonio's death, according to John Dilworth and Cecie Stainer.
• Collaboration: After his father's death, he continued to run the shop in company with his brother Omobono, as noted by Karel Jalovec, Willibald Leo Lütgendorff, and Cecie Stainer. George Hart also mentions he worked with his brother Omobono for several years.
• Schooling: His work shows the excellent school in which he had been trained, as observed by Cecie Stainer.

Legacy

• Value: Karel Jalovec states that his instruments had a price of 160,000 Kc, with some fetching as much as 320,000 Kc. George Hart notes that instruments made in 1740 and 1742 were sold at the same price as his father's, as mentioned in correspondence between Count Cozio and Paolo.
• Notable Owners: A violin from 1735 by Francesco Stradivari was owned by Karl Prill in Leipzig, according to Willibald Leo Lütgendorff.
• Archival Holdings: His handwriting has been tentatively identified on some of the later Stradivari paper patterns stored in the Museo Stradivariano, including details of the 'Picola B' cello, as noted by John Dilworth.

Further Information

• Workshop Location: He was born and died in Cremona, Italy.
• Archival Evidence: His handwriting has been tentatively identified on some of the later Stradivari paper patterns stored in the Museo Stradivariano, including details of the 'Picola B' cello, suggesting he achieved some independence within the workshop, as per John Dilworth.
• Labels: Examples of labels include 'Franciscus Stradivarius Cremonensis filius Antonii faciebat, anno 1742' and 'Francesco Stradivarius Cremonensis / Filius Antonii faciebat Anno 1742' or 'Franciscus Stradivarius sub disciplina / A. Stradivarii 1700'.

Summary

(Giovanni) Francesco. Stradivari (1671-1743) was the eldest son and pupil of the renowned Antonio Stradivari, born in Cremona, Italy. He was apprenticed to his father from around 1685 and was considered his chosen successor. After Antonio's death, Francesco continued the workshop, often in collaboration with his brother Omobono. While his instruments, such as the 'ex-Salabue' violin of 1742, are noted for their powerful and rich tone and beautiful varnish, their overall finish and certain design elements like soundholes and purfling mitres are often considered less refined than his father's work. His handwriting has been identified on some later Stradivari paper patterns in the Museo Stradivariano, indicating his independent contributions. Despite not fully matching his father's meticulousness, his instruments achieved significant value, sometimes selling for prices comparable to Antonio's.