Alessandro Gagliano

Life

Alessandro Gagliano (c. 1640-c. 1730) was the founder of the Gagliano dynasty and the Naples school of violin making., he was born around 1640 in Naples and died there around 1730. Stainer recounts that he initially studied music and made mandolines and lutes in his leisure moments. A dramatic event, specifically killing an adversary in a duel, reportedly forced him to leave Naples and go to Cremona. There, he is said to have entered Antonio Stradivari's workshop, remaining for about thirty years and demonstrating great ability, with Stainer suggesting that many of Stradivari's instruments might have been prepared by him. However, John Dilworth notes that Gagliano's claim on his labels to have been a pupil of Stradivari is made despite his work being distinctly different from his successors in Naples. Willibald Leo Lütgendorff also mentions the duel story from Jussupoff and Gagliano's claim on his labels, but finds the assertion of him being Stradivari's assistant for 30 years highly improbable. George Hart states that Alessandro Gagliano, upon leaving Stradivari's workshop, moved to Naples, believing the city offered greater scope for his talents than Cremona, where he felt his chances of success were small amidst the greatest luminaries of his art. Stainer indicates he was able to return to Naples in 1695 and established a business, quickly becoming well known. His labors in Naples were so well rewarded that he encouraged his sons to follow his calling, leading to what Hart describes as a virtual monopoly of violin manufacture in and around Naples, as no other maker of importance is recorded in that locality during the same period.

Characteristics

Working Period & Location

Alessandro Gagliano worked circa 1700-1730 in Naples, Italy.

Varnish

Sources contain conflicting information regarding Gagliano's varnish. John Dilworth describes it as a "richly coloured golden-red oil varnish." George Hart characterizes it as "very transparent, and of various shades, chiefly yellow," distinct from Cremona varnish. Willibald Leo Lütgendorff notes it as "hellgelb und durchsichtig" (light yellow and transparent) with a "Stich ins Graue" (a hint of grey). Cecie Stainer mentions a "good strong varnish, greyish-yellow colour."

Model & Outline

His work is "mostly of large pattern and flat model,". John Dilworth describes the outline as "somewhat Amatisé, well proportioned and elegant," with a "long stop length, the soundholes set low on the body, with very broad curves in the lower half." Lütgendorff states his violins are "gross und flach gewölbt" (large and flat arched), reminiscent of Stradivari's 1725-30 model. Stainer notes his instruments are "generally on a large pattern, which, in the arching, in the thicknesses, and in the carefully finished work, recall his master."

Soundholes

George Hart and Cecie Stainer both describe the soundholes as "broader and more perpendicular than those of Stradivari." Lütgendorff adds they are "sehr steil und ziemlich offen" (very steep and quite open).

Scroll & Pegbox

John Dilworth notes the pegbox is "Often lightly decorated... in slightly Germanic style and with extended corners." In contrast, George Hart describes the scroll as "diminutive, and the turn much contracted and of a somewhat mean appearance," with "roughly executed" workmanship, suggesting Gagliano "was not gifted with the power of head-cutting." Lütgendorff similarly states the scroll is "klein und manchmal nicht sehr sorgfältig geschnitzt" (small and sometimes not very carefully carved). Stainer also notes the scroll is "rather roughly cut."

Materials

John Dilworth highlights "Outstanding materials," with his most famous violins, such as the ‘Rotondo’, featuring "most beautifully figured one-piece backs." George Hart notes that the wood for the backs was "generally of a tough nature; the back and sides are often marked with a broad curl," and the bellies are "of wide and even grain, and very resonant." Stainer concurs on the "good wood," particularly the bellies being "of wide and even grain and very resonant." Lütgendorff mentions "ausgesucht schönes Holz" (exquisitely beautiful wood).

Instruments Made

Alessandro Gagliano made violins, "some cellos of original model and finely finished workmanship," and "at least one fine contralto viola is recorded,". Cecie Stainer also mentions "remarkably beautiful violoncellos" and a bass, noting that a violoncello and a bass are known that "might almost be mistaken for the work of Stradivari."

Tone

Cecie Stainer describes the tone of his instruments as "powerful."

Labels

Examples of his labels include "Alexandri Gagliano Alumnus Antonio / Stradivarius fecit anno 17.." and "Alexandri Gagliano Alumnus / Antonio Stradivarius fecit Neapoli anno 17.." as cited by John Dilworth.

Influence and legacy

• School & Tradition: Alessandro Gagliano is recognized as the founder of the Naples school of violin making.
• Early Influences: John Dilworth suggests he was "Probably introduced to instrument making by Füssen-trained lute makers already present in Naples."
• Claimed Mentorship: Gagliano claimed on his labels to be a pupil of Antonio Stradivari, a claim supported by George Hart and Cecie Stainer. However, John Dilworth notes that Gagliano's work is "distinctly different" from his successors, and Willibald Leo Lütgendorff finds the claim of him being Stradivari's assistant for 30 years "sehr unwahrscheinlich" (very improbable).
• Stylistic Affinities: Stylistically, John Dilworth observes that Gagliano's work "has more in common with the classical Venice or Bologna schools than any other Neapolitan maker."
• Dynasty Founder: Alessandro Gagliano founded the Gagliano dynasty of violin makers.
• Family Continuity: He left two sons, Nicola and Gennaro, who also became violin makers.
• Regional Dominance: George Hart suggests that the Gagliano family enjoyed what "may be termed a monopoly of the Violin manufacture in and around Naples," as there is "no record of another maker of importance in that locality at the same period."