Lorenzo Storioni

STORIONI, Lorenzo Born 1744, died 1816 Cremona Italy. Early life spent in Contrada Confettoria (present-day via Robolotti) where the family were neighbours and associates of the Rugeri family including Francesco (II) and Carlo (II), sons of Vincenzo. Active as a violin maker from 1768, he is acknowledged in the diaries of Count Cozio di Salabue in 1775. A viola d’amore made to Stradivari’s designs by Storioni, labelled and branded by him, demonstrates that he had access to the Stradivari shop before the tools and relics were purchased by Cozio and removed in 1776. Between 1782 and 1786 he took on G. Rota as an apprentice and by 1787 was established in Casa Bolzesi, Contrada Coltellai. In 1790 he was joined at this address by Nicola Bergonzi, still an active maker. Storioni moved to Casa Sterlini in 1795, and in 1797 to Sant’Agostino. From 1802 he made several departures from Cremona. He was away in 1802, present the following year, and absent again1804-1809. During this period there is at least one instrument labelled from ‘Flumio’ which is taken to mean Fiume (now Rijeka, Croatia). In 1810 he returned to Cremona, settling in Contrada Sepciana (now via Anguissola), but there are no known instruments dated later than 1804. It would seem that G. B. Ceruti took advantage of his absence to establish himself as the leading maker in Cremona in the early 19th century. Storioni’s work lacks the vitality of the classical period in Cremona, in most part because his harder plain yellow varnish is not of the same quality. His early instruments are a little clumsy and scrolls are a weakness thoughout his career. But his mature work is full of interest, often taking a cue from Guarneri models as much as from the late Bergonzis. The quality of wood is inconsistent: the maple often of a wild and rooty figure and the spruce of bland and winding grain seeming to be locally sourced. The archings are sometimes a little pinched, but invariably low and very effective. Several violas extant and a few short-patterned cellos. Sometimes branded in the pegbox: ‘L.S.’ or ‘S’ Laurentius Storioni fecit / Cremonae. 1793 Laurentius Storioni Cremonensis / fecit Anno 17.. Laurentius Storioni restauravit / Cremonae 1780 Lorenzi Storioni fecit anno 1786. Cremona [Gindin]

b. 1751, Cremona; d. there, 1799. Worked at 3, Contrada Coltellai. He was one of the latest, if not the last, of the celebrated makers of Cremona, and his instruments, though of great merit, show signs of decadence in the art. They are often taken for the work of Guarneri del Gesu, whose pattern he imitated with great ability. His violins are handsome in appearance, slightly arched, the wood of the belly very fine, that of the back rather plain; the varnish is very dry, of a deep yellow colour, with a reddish tinge; the tone is full, rich, and silvery ; the sound-holes are very seldom cut in two instruments alike, the work is not finished with much delicacy ; the narrow purfling is roughly done, and the scroll has not much finish. His violins are highly thought of in Italy, and are rising in value; for many years Vieuxtemps played on a very beautiful one. He did not begin to sign them till 1776, and none are known after 1795. No tenors are known, but his violoncellos, which are rare, have a powerful tone. Labels: ” Laurentius Storioni fecit Cremonae, 1789,” and “Laurentius Storioni restauravit Cremona, 1780.’

The last of the old makers who evinced any powers of originality. Although there is an almost total absence of refinement in his works, there is much that is clever, which has already caused these instruments to be valued very highly. He appears to have made Giuseppe Guarneri del Gesu his idol. Although his instruments cannot be considered as copies, yet there is evidence of his having made use of the salient points belonging to Guarneri, which he fitted, as it were, to his own model. He had much of the disregard of mere appearance which Guarneri so often displayed, and seems to have been guided by similar fancies. His freak was to place his sound-holes in all sorts of ways, scarcely twice alike. His outline is always vigorous, but without thought of symmetrical appearance. There is not an instrument of his make that could have been made upon a mould— they were built from the blocks, and the result, as may be expected, is not graceful. M. Vieuxtemps, some years ago, possessed himself of a Storioni Violin, now belonging to Mr. Proctor, and, having carefully regulated it, succeeded in bringing forth its great powers. His hearers were so delighted that attention was speedily directed to this neglected maker. These instruments are highly thought of in Italy. The varnish is not of the Cremonese description, but partakes of the Neapolitan character. The purfling is unusually narrow, and roughly worked; the scroll is stiff, and the absence of finish is observable. The material he used was invariably good in point of acoustical properties, though not handsome. Storioni does not appear to have made many Tenors or Violoncellos— the latter are rarely met with. Storioni died in 1799. He lived at the house No. 3, Contrada Coltellai, which was afterwards occupied by G. B. Ceruti.

Er wird mit Recht als der letzte grosse Cremoneser bezeichnet, wenn man auch in seinen Werken unverkennbar den Niedergang der Schule von Cremona erkennt. Er pflegte noch die Überlieferungen seiner bedeutenderen Vorgänger hat aber sicher dadurch mit dazu beigetragen, dass das »Geheimniss des Lacks« verloren gehen konnte, dass er den rothbraunen Lack der Neapolitaner vorzugsweise anwendete. Er scheint ausserdem vielerlei Versuche angestellt zu haben. Daher ist er in der Arbeit wie in der Wahl des Holzes sehr ungleich, und die F-Löcher brachte er mitunter an den sonderbarsten Stellen an. Er bevorzugte ein grosses, an Guarneri erinnerndes Modell und erzielte fast immer einen sehr edlen Ton. Desshalb spielte z. B. auch Vieuxtemps Jahre lang auf einer »Storioni«, die er allen ihm bekannten Geigen vorzog. Geigen aus seiner Blüthezeit, die in die Jahre 1775—1795 fällt, werden jetzt bis 4000 M bewerthet. Er war recht fleissig und wohnte in der Via Coltellai No.3 beim Dominicusplatz.

Original make lacking finish. Excellent instruments of the Guarnerius del Gesu model. Yellow varnish, sometimes red, lacking softness. Narrow purfling near edges. The scroll is completely devoid of charm. On the whole the work of this maker has a certain individuality and the influence of his noted predecessors can well be traced, but he is nevertheless the starting point of the downfall of the great Cremonese School.

Cremona. Born 1751, died 1801. Working freely on Guarneri’s large model, he produced sort of ‘variations” on Guarneri del Gesu, as he experimented a great deal, e. g., with the position of the sound-holes. The wood he used is not always flawless, but the scrolls and sound-holes are beautifully cut, the edges and the purfling finished with delicate taste. The best varnish he used is the red- brown, whereas the yellow and dark brown varnishes are drier and less supple. The back is sometimes of a lighter shade than the belly. Best are the works he created in 1775 — 1795 which have often been fictitiously marked with Guarneri’s labels. Outstanding rich tone.