Andrea Amati (Italian, Cremona ca. 1505–1578 Cremona)
Spruce, maple, ebony, paint, gilding
Height: 22 5/8 in. (57.4 cm)
Width: 7 15/16 in. (20.2 cm)
Purchase, Robert Alonzo Lehman Bequest, 1999
Not on view
Amati, earliest of the great Cremonese luthiers, has been credited with defining the violin's elegant form and setting the standard of superb craftsmanship that likewise characterizes the work of his followers, who included two of his sons and his distinguished grandson Nicolò, as well as Antonio Stradivari. The Museum's collections include several violins by Nicolò Amati and Stradivari, but this much older and rarer instrument beautifully illustrates the Renaissance origin of the violin's familiar form.
The maple back and sides are decorated with the Latin couplet "Quo unico propugnaculo stat stabiq[ue] religio" (By this bulwark alone religion stands and will stand). The back of the instrument is decorated with fleurs-de-lis in the corners, a geometric design with floral ornamentation between the upper bouts, and a few traces in the middle of the back where there is presumed to have been a coat of arms. Similarities between the decoration on the Museum's violin and that on a violetta by Andrea Amati in the collection of the Musée de la Musique in Paris has led to speculation that the violin was part of a set of instruments presented upon the marriage of Philip II of Spain to Elisabeth of Valois in 1559. The decoration found on the violetta in Paris has a more clearly defined coat of arms for the Spanish king, who took the daughter of Catherine de' Medici as his third wife.
Marking: 1. (stamped on front edge of fingerboard, dealer's inventory number) 3272 2. the internal paper label is a modern facsimile
[ Vintage Instruments 1998-1999] ; Arvad Kurtz (New York, 1941-1998) ; Robert L. Dennison (until 1941) ; [ Harry Wahl ] ; Dr. Steiner-Schweitzer ; Emil Herrmann (after 1924) ; [ Rembert Wurlitzer 1923-–1924; sold to Herrmann] ; Miss Hilda Barry (1896–1923; sold to W. E. Hill & Sons) ; [ W. E. Hill & Sons until 1896; sold to Miss Hilda Barry; 1923–1924] ; Sidney Courtald (after 1890) ; Edward Heron-Allen (until 1890) ; George Soames (until ca. 1885) ; Michael Longridge (1873; sold to Edward Withers Sr.) ; [ Edward Withers Sr. 1873; sold to Michael Longridge and back to Withers] ; Sir Louis Mallet (until 1873; sold to Edward Withers Sr.) ; Oliphant and Pellew (until 1870) ; Phillip II of Spain (before 1870)
Jayson Kerr Dobney, Bradley Strauchen-Scherer. Musical Instruments: Highlights of the Metropolitan Museum of Art. First Printing. @2015 by the Metropolitan Museum of Art, New York. New York, 2015, pp. 52-53, ill.
"Guitar Heroes: Legendary Craftsmen from Italy to New York." The Metropolitan Museum of Art Bulletin (2011), pg. 8,10, ill.
Ed. James R. Houghton. Philippe de Montebello and The Metropolitan Museum of Art, 1977-2008. The Metropolitan Museum of Art
The Metropolitan Museum of Art. New York, 2009, pg. 76-77, fig. 90-91, ill.
Fausto Cacciatori, inAndrea Amati Opera Omnia: Les Violons du Roi. Exhibition catalogue., Consorzio Liutai Antonio Stradivari Cremona. 2007, pg. 214-223, ill.
"Recent Acquisitions: A Selection 1998-1999." The Metropolitan Museum of Art Bulletin (1999), pg. 28, ill.