John Dilworth
SERAFIN, Santo Born 1699 Udine, died 1776 Venice Italy. Santo Serafin is one of the most celebrated of Venetian makers, his workmanship consistently on a very high level. However, his preference for the Stainer or Amati model and the rarity of his cellos make his instruments less common on the very front rank of the concert platform than those of Gofriller or Montagnana. Moved to Venice in 1717, possibly influenced by Francesco Gofriller, the son of Matteo, who worked in Udine from 1714. His earliest recorded label is dated 1725 and he was admitted to the musicians’ guild in 1733. In those years probably working for various established violin makers in Venice, but earliest work is nevertheless highly individual and refined. His own shop, previously the workplace of the violin maker Zuanne Curci, was established from 1733 and identified by the sign ‘alla Madonna dei Sette Dolore’. Located the Calle dei Stagneri, it was close to the premises of Montagnana, Sellas, and Sopran. In 1744 this workshop was closed but Santo appears to have remained active and continued to be referred to as an instrument maker in documents up to 1758. His work is unique amongst Venetian makers; distinguished by his highly articulate craftsmanship, careful symmetry, a burnished wood finish, and above all a consistency throughout his production. His violins are almost invariably of a medium-high arched Amati model, some showing Staineresque affectations. Varnish is in a variety of tones from pale golden-yellow to rich red-brown, but rarely show the crackled deterioration in the surface that is characteristic of other Venetian makers. The materials are uniformly of the highest quality. Although the interior work is conventional with rather large blocks and morticed linings, there are certain unprecedented aspects to his style. The long broad and elegantly shaped corners are tapered thinner than the edges; the reverse of most Italian practice in which the edge swells slightly at the corner. The scrolls are superbly cut but are not entirely concentric, with a broad first turn at the throat and an extended last turn behind the eye. This seems to be the only mannerism which links Serafin with the Montagnana workshop (which may have provided Serafin with employment before he was able to establish his own business). He was a prolific violin maker, but violas are at present unknown and cellos rare. It was obviously important to him to have his work identified; he had several well-printed and ornate labels, the lower ribs generally carry a large name brand, and the scrolls are marked with a distinctive, carefully applied u-shaped cut at the end of the pegbox mortice beneath the throat. Name brand on lower ribs. Early labels have a complex frame of foliage and shells, scroll of music manuscript on left, and inverted violin and bow on right. Later labels with straight borders of repeated arabesques. Sanctus Seraphin Utinensis / Fecit Venetijs Anno 1740 Sanctus Seraphin / Utinensis Fecit / Venetijs Ann.1729 Sanctus Seraphin / Utinensis Fecit / Venetijs Ann.17.. / Ad exemplar Hieronymi Amati / Cremonensium [Pio]
Cecie Stainer
b. at Udine. Worked in Venice about 1710-48. Some of his instruments show German characteristics, the sound-holes and scroll being similar to those of Stainer; but he generally followed the Amati pattern. His work shows great ability ; the model is much arched, the wood very handsome, of small figure ; the varnish brilliant, of very fine quality, of a rich red colour, or yellow tinged with brown, but dry and easily cracked ; the scroll is well cut, and the workmanship almost as beautifully finished as that of Stradivari; the tone is clear and strong. A beautiful violoncello was exhibited in the South Kensington Museum in 1872, its tone was very equal and sonorous; but his double-basses are especially excellent in tone. All his instruments are branded with his name above the tail-pin. Label ; ” Sanctus Seraphin Utinensis fecit Venetiis, anno 1730.”
George Hart
This maker is chiefly famed for the exquisite finish of his workmanship. The modelling of his instruments varied. There are instances, particularly in the case of his Violins, where he has entirely set aside the Stainer form, and copied Amati. These Violins are wonderfully like the work of Francesco Ruggeri. The varnish upon them, of a rich red colour, is of so exceptional a quality, that one is compelled to look twice before being satisfied as to the author. The greater number, however, of his instruments are of the German character, the sound-hole, scroll, and outline all hinting of Stainer. These Venetians were wonderfully fortunate in obtaining handsome wood, and in this respect Santo Serafino was pre-eminent, for his sides and backs are simply beautiful to perfection. His method of cutting the wood was invariably to show the grain in even stripes. The scroll is well cut in point of workmanship, but the style is poor. Santo Serafino cannot be regarded as having displayed originality in any shape, and he thus forms an exception to the great majority of Italian makers. His instruments are either copies of Amati or of Stainer ; there is, of course, a strong Italian flavour about his Stainer copies, which lifts them above the German school of imitators, and hence their higher value. Nearly all his instruments were branded with his name above the tail-pin. He used an ornamental label of large size. The Violoncello in the possession of Mr. H. B. Heath is a charming specimen of Serafino’s work, I may say unequalled.
Willibald Leo Lütgendorff
Seiner eigenen Angabe nach war er ein Schüler von Nicolaus Amati; seine älteren Instrumente lassen jedoch eher darauf schliessen, dass er bei einem Tyroler Meister gelernt hat. Er stammte aus Udine, wo er in den ersten 10 oder 20 Jahren seiner Thätigkeit nachweisbar ist. Es ist ja immerhin möglich, dass er ursprünglich bei einem Tyroler gelernt hat und dann erst zu Amati gekommen ist. In seinen reifen Werken steht er ebenso unter dem Einfluss Amati’s als Francesco Ruggeri’s. Er ist seit mindestens 1710 in Venedig ansässig gewesen und darf unbestritten als der bedeutendste venezianische Geigenmacher betrachtet werden. In Bezug auf die Sorgfalt der Ausführung wird er nur von Stradivari übertroffen. Die F-Löcher und die Schnecke machte er zeitlebens nach Stainer; auch die Wölbung, die er ziemlich hoch nimmt, hat Anklänge an Stainer’s Modelle behalten. Das Holz der Decke ist sehr schön, der Boden meist klein geflammt; von nicht minder hervorragender Beschaffenheit ist auch sein röthlicher oder gelbbrauner Lack. Wie nicht anders zu erwarten, ist der Ton wundervoll klar, gleichmässig und edel, so dass es begreiflich erscheint, wenn für seine Violinen gerne 5000 M. bezahlt werden. Ebenso trefflich und ebenso gesucht sind seine Violoncelli und seine Bässe. Auf seinen älteren, aus Udine datirten Zetteln nennt er sich einen Amati-Schüler; seine venezianer Zettel haben die nebenstehende bekannte Umrahmung. Ausserdem brannte er auch seinen Namen in seine Instrumente ein. Wenn Vidal auf einem älteren Zettel die Jahreszahl 1648 liest, so ist die Zahl entweder gefälscht oder 1678 zu lesen gewesen.
Henri Poidras
This master’s artistic work has much resemblance to that of Francesco Ruggieri or Niccolo Amati, whose pupil he was. His woods are fine and coated with a very effective orange or red varnish of the best quality. The scroll is treated in a masterly fashion. Apart from the label, he branded his instruments near the tail pin.The sound holes, well cut, in their design recall those of Stainer. Santo Seraphino at the beginning of his career also worked at Udine: but only for a short time.
Karel Jalovec
Venice. Born at Udine in 1668, died in Venice about 1748. Pupil of Nic. Amati, who worked on the latter’s model and also on the pattern of Ruggeri, while, in other respects, he relied on Stainer. In combining these influences Seraphin formed a characteristic model of his own. He came to Venice from Udine in 1710. Worked flawless wood into gracefully shaped instruments with high arching and small round sound-holes in the style of Stainer. The nicely executed edges enhance the beauty of the carefully finished purfling. He applied a most beautiful transparent red, yellow-brown or yellow-red varnish. The tone of all his instruments is sweet. Price 80-100.000 Kc.
