本資料庫收藏： Violin (1700)
Gioffredo Cappa was an important luthier in Turin during the 17th century. He continued the traditions of Catenar. His works have an obvious German influence and are all high-quality instruments which follow a very strict standard.
Cappa was born in Saluzzo, Italy in 1653. His father was a famous violinist. He lived during the prosperous reigns of both Charles Emmanuel II and Victor Amadeus II. Cappa lived Saluzzo until 1670, when he moved to Turin, where he lived until 1709. He sojourned to Mantua for a while and returned to Saluzzo in 1704, during which time he received the patronage of the Duchy of Savoy. Cappa died in Saluzzo on August 6, 1717.
Certain sources claim that he was a student of Amati. No credible evidence exists to back up such claims, but it is still apparent that he was influenced by Amati when it comes to the shape of the instruments, and he continued the technical traditions of the Amati school. Even to this day unethical merchants try to pass off Cappa’s instruments as Amati’s in order to sell them at a higher price. Cappa had already taken the Piedmont art of making violins to new heights even before Giovanni Battista Guadagnini arrived in Turin.
Cappa’s inserted the side ribs directly into the back plate in his early works in the same way as his teacher Catenar. He planned it out meticulously before doing so, and the extreme accuracy of the entire instrument-making process allowed for very few mistakes. Cappa made a great number of exquisite violins and cellos. The violins resemble the large bodies of Amati’s violins, but when compared to one another, the lower bodies of Cappa’s violins are narrower, and the F-holes are also placed slightly lower. Another distinguishing characteristic of Cappa’s instruments is how marks are left on the scroll and neck from when the instrument was made, and the purfling does not quite match up in certain places.
The timbre of Cappa’s instruments is sweet and penetrating, often comparable to those of Guadagnini. Very little was known about Cappa until a duke in the late 19th century discovered him, allowing him to become better known in the world.
It is usually said that both Spirito Sorsana and Giovanni Francesco Celoniati were Cappa’s students; however, they both differ greatly when it comes to the appearance, finishing techniques, varnish, and structures of the instruments. Cappa used yellowish brown and bright red varnishes which were of a quality on par with instruments made in Cremona during that time. Unfortunately, posterity were unable to continue his techniques in Piedmont. The number of instruments currently found with original labels on them are quite rare, and it is only possible to catch a rare glipse into his exquisite art by refering to manuscripts.
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