christies string instruments catalogue

8/19/2019 Christies String instruments catalogue

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音樂只是數學莊嚴地掉進

水裡的聲音。

— Gavin Bantock


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But music is only mathematics falling into water majestically

— Gavin Bantock


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Christie’s Private Sales provides a tailored

service for seasoned collectors, occasional

buyers and those looking to acquire

their first piece of art.

In addition to finding buyers and sellers

for every kind of artwork, Private Sales

allows you to buy art or objects quickly

and at a fixed price. Each aspect of

the sale is handled with the utmost

discretion and is subject to the samerigorous standards that we apply to

every aspect of our business. So if there is

a work of art you are looking to buy, or a

piece you would like to sell, please do not

hesitate to contact one of our specialists.

CHRISTIE’SPRIVATE SALES

佳士得私人洽購

佳士得私人洽購部致力爲資深藏

家、藝術愛好者及入門收藏人士服

務，無論何種藝術或收藏品，佳士得

皆能爲客戶覓得最理想的買家或賣

家，洽購過程靈活而審慎，貫徹佳

士得的嚴謹服務承諾。如閣下有意

搜尋特定物品，或希望出售珍藏，請

即與佳士得專家聯絡。


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請與佳士得聯絡，

查詢各項珍品詳情。

上海

Ronald Kiwitt

業務經理

[email protected]

+86 21 2226 1532

香港

石俊生Jonathan Stone

亞洲藝術部主席暨國際主管 [email protected]

+852 2978 9989

馮凱玲

業務拓展主任

[email protected]

+852 2978 6785

一般查詢

[email protected]

上海

+86 (0) 21 6279 8773

香港

+852 2760 1766

倫敦

+44 (0) 20 7839 9060

紐約

+1 212 636 2000

christies.com/artofmusic

拍賣主管

Paul Cutts

裝飾藝術部國際執行董事[email protected]

+44 (0) 20 7389 2966

樂器部專家

Kerry Keane

佳士得顧問

[email protected]

+1 917 603 2480

ShanghaiRonald Kiwitt

Business Manager

[email protected]

+86 21 2226 1532

Hong KongJonathan Stone

Chairman and International

Head of Asian Art

[email protected]

+852 2978 9989

Helen Fung

Business Development

[email protected]

+852 2978 6785

General Enquiries

[email protected]

Shanghai

+86 (0) 21 6279 8773

Hong Kong

+852 2760 1766

London

+44 (0) 20 7839 9060

New York

+1 212 636 2000

christies.com/artofmusic

Head of Sale

Paul Cutts

Global Managing Director

Decorative Arts

[email protected]

+44 (0) 20 7389 2966

Musical Instrument Specialist

Kerry Keane

Christie’s Consultant

[email protected]+1 917 603 2480

CONTACT查詢

Please do not hesitate to contact us for more

information on these unique pieces.


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目錄

The Art of Music—珍貴意

大利樂器私人珍藏

小提琴的早期歷史

克雷莫納的製琴師及製琴技術：

斯特拉迪瓦利與瓜奈利

小提琴與視覺藝術

1673年，斯特拉迪瓦利，

「Du Pré, Harrell」大提琴


「Kochanski, Rosenheim」小提琴


「Muir-Mackenzie」小提琴

1705年，斯特拉迪瓦利，「Baron Von Der Leyen, Klaveness」小提琴


「Titian」小提琴


「Piatti」小提琴

1728年，朱塞佩•瓜奈利，

「Kubelík, von Vecsey」小提琴


「Parlow, Viotti」小提琴


「Lafont」小提琴

1500至1750年藝術及音樂大事年表

鳴謝

供稿

CONTENTS

The Art of Music: Outstanding Italian Instruments

from an Important Private Collection

The Violin: An Early History

Makers and Making in Cremona:

Stradivari and Guarneri in Context

The Violin in Visual Art

1673 Stradivari,

the Du Pré, Harrell violoncello

1686 Stradivari,

the Kochanski, Rosenheim violin

1694 Stradivari,

the Muir-Mackenzie violin

1705 Stradivari, the Baron Von Der Leyen, Klaveness violin

1715 Stradivari,

the Titian violin

1717 Stradivari,

the Piatti violin

1728 Guarneri Del Gesù,

the Kubelík, von Vecsey violin


the Parlow, Viotti violin


the Lafont violin

Art and Music 1500—1750

Acknowledgements

Contributors

10

12

26

40

60

70

80

90

98

102

112

122

132

141

143

146


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音樂的藝術私人收藏珍罕意大利樂器

來自克雷莫納的樂器大師安東尼奧·斯特拉迪瓦利 (Antonio Stradivari)，已成

為頂級樂器的代名詞。今年10月及11月，佳士得將於上海及香港舉行私人洽

購展覽，展出斯特拉迪瓦利製作的罕有樂器，以及同代製琴家朱塞佩·瓜奈

利 (Giuseppe Bartolomeo Guarneri) 的作品。

「音樂的藝術」的展品均來自同一歐洲私人珍藏，讓藏家有機會購藏由私

人收藏的珍貴小提琴及大提琴。所有樂器均製作於1670至1730年代，當時

正值意大利製琴工藝的黃金時代，因此每件樂器皆音色優美，工藝出眾，

難得一見。

展覽重現十七至十八世紀初小提琴工藝的歷史，透過當時的文化及藝術發

展，認識斯特拉迪瓦利及瓜奈利的作品，同時介紹兩位大師的創新設計及

製作過程，並解釋為何這些音色絕佳的樂器能在三個世紀以來，繼續為無

數畫家、音樂家、雕塑家、攝影師、藏家及音樂愛好者帶來無限啟發。

為隆重其事，佳士得有幸借來斯特拉迪瓦利製作的著名「Titian」小提琴展

出。這個小提琴採用鮮豔的紅色亮漆，因此以喜愛使用紅色的畫家提香

(Titian) 命名，更被譽為現時全球私人珍藏中最精美的小提琴之一。這件珍

品與其他展出的樂器互相輝映，當中不乏阿佛雷多·卡羅·皮亞堤 (Alfredo

Carlo Piatti) 及杜普蕾 (Jacqueline du Pré) 等著名音樂家用過的樂器。

精雕細琢的非凡樂器不但能奏出悅耳的樂章，更是賞心悅目的藝術品。佳

士得誠邀閣下參與將於上海及香港舉行的「音樂的藝術」展覽，領略這些

珍品之美。


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The name Antonio Stradivari is synonymous with the greatest musical instruments

ever produced. This October and November, Christie’s is proud to present a landmark

exhibition in Shanghai and Hong Kong of instruments for private sale, comprising

outstanding examples by the Cremonese master and his contemporary Giuseppe

Bartolomeo Guarneri, known as ‘del Gesù’.

Drawn from a single important European collection, The Art of Music represents the

most significant opportunity in a lifetime to acquire some of the greatest violins and

cellos still in private hands. Dating from the 1670s to the 1730s, the golden age of

Italian making, each piece is exquisite aurally and aesthetically.

The exhibition traces the history of violin making through the 17th and early 18th

centuries, contextualising Stradivari and Guarneri’s work in the broader cultural and

artistic developments of the time. It explores the novel design and manufacturing

processes employed by the two innovators and explains why these instruments –

with their unrivalled sonic qualities – have continued to inspire painters, musicians,

sculptors, photographers, collectors and music-loving audiences over five centuries.

To complement the exhibition, Christie’s is honoured to have been loaned the prized

‘Titian’ Stradivari. Named after the eponymous painter due to its gloriously rich

red varnish, the ‘Titian’ is widely regarded as one of the most beautiful violins still

in private ownership. Its presence is tacit recognition of the quality of the other

instruments being displayed, many of them associated with some of the world’s

leading musicians – from Paweł Kochański to Jacqueline du Pré.

It is a reminder that outstanding musical instruments – in addition to delighting the

ear – delight the eye as masterpieces of fine art. We look forward to welcoming you

to Shanghai and Hong Kong to experience The Art of Music.

THE ART OF MUSICOutstanding Italian Instruments from an Important Private Collection


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11THE ART OF MUSIC


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12

THE VIOLIN

AN EARLY HISTORY

小提琴的早期歷史


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13THE ART OF MUSIC

小提琴：追本溯源 By Andrew Dipper

小提琴的起源目前尚未能確認，但可追溯至意大利文藝復興時期初印刷書

籍的插圖。在1490至1520年間，學者開始將有關音樂的希臘文及阿拉伯文

著作翻譯成希伯來文及拉丁文，其中最早期的文獻為波伊提斯(Boethius) 在

1492年出版 1 的《Arithmetica Geometria et Musica》。這些著作首次就音樂與

數學的關係提出基本的規則，造就了類似小提琴的首批拉弦樂器。最早期

插圖所描繪且形狀酷似小提琴的樂器為用於歐洲宮廷詩歌演奏的里拉琴，

而據伊曼努爾·溫特尼茲 (Emmanuel Winternitz) 指出，達芬奇正是當時推廣里

拉琴最力的人之一 2。

意大利文中「violino」意指小型的六弦提琴，一般認為小提琴的出現是由於

文藝復興時期的意大利社會需要製作尺寸比古中提琴小的樂器，以配合新

興的舞蹈。這可能是推動小提琴發展的原因之一，但一眾克雷莫納製琴大

師的影響卻更為深遠，包括先驅安德烈·阿瑪蒂 (Andrea Amati) 3，以及將小

提琴製作工藝帶到頂峰的安東尼奧·斯特拉迪瓦利與瓜奈利家族。

阿瑪蒂是公認的小提琴發明者，但他的主要成就是孕育了弦樂團的雛型，

造就了現代的交響樂團。他發明小提琴的目的並非只將里拉琴的尺寸縮小，

變成更易攜帶的樂器，更想提出一種嶄新的構念，創立一組完整而可獨立

演奏的樂器，雖然尺寸各異，但卻能和諧共奏。

小提琴的製作過程需要很多材料 (包括高級鋼製工具)，而阿瑪蒂製作的樂

器更包含他對聲音本質的透徹了解，以及對各種材料優點和各部份之間關

係的認識，確保創新的結構能平衡弦線的張力。以中世紀時期的技術水平

而言，這一點根本難以實現。

3 Carlo Bonetti 的研究指安德烈·阿瑪蒂

生於1505年前，但學術界一般認為其在

世年份為1505至1577年

（前頁）

NMM 3351「The King」大提琴，安德烈•瑪

蒂製，克雷莫納，十六世紀中期

(previous) NMM 3351. Violoncello, The King

by Andrea Amati, Cremona, mid-16th century

Witten-Rawlins Collection, 1984

National Music Museum

（右）

〈A Musician〉，摘自波愛修斯（480–524）

著《De Musica》（羊皮紙），意大利學派

（十四世紀）

(right)

A Musician, from De Musica by Boethius

(480–524) (vellum), Italian School, (14th century)

Biblioteca Nazionale, Naples, Italy

Bridgeman Images

1 By Joannem et Gregorium

de Gregoriis著

2 伊曼努爾·溫特尼茲著，

《Leonardo da Vinci as a Musician》，

耶魯大學出版社，1982年，XV，241頁


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14


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15THE ART OF MUSIC


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16

The origin of the violin is obscure but can be traced in illustrations found in the printed

books of the early Italian Renaissance. Between 1490 and 1520 serious studies were

begun to translate Greek and Arabic works on music into Hebrew and thence Latin. One

of the first of these was Arithmetica Geometria et Musica by Boethius, published in 1492. 1

In these books, ground rules for the relationship between music and mathematics

were first propounded and it is with these rules that the first bowed instruments

resembling violins emerge. It is significant that the very first book illustrations of

violin-like instruments are of the lira da braccio, an instrument used at European

courts for the performance of poetry – and of which, according to Emmanuel

Winternitz, Leonardo was a leading exponent. 2

The name ‘violino’ in Italian implies a small viol and it is thought that the invention of

the violin was driven by the need to produce an instrument smaller than the viola

da braccia for use in the new dance styles of the Italian Renaissance. This may

have been one leg of its development but the genius of the Cremona makers –

spearheaded by Andrea Amati (1505–1577) 3 and reaching its zenith in the work

of both Antonio Stradivari and the Guarneri family – surpassed this.

Although recognised as the inventor of the violin, Andrea Amati’s greater achievement

was the invention of the string ensemble that underlies the development of the

modern symphony orchestra. This consisted not merely in the downsizing of the

previously existing lira da braccio into a more portable object but the novel concept

of creating a complete self-sustaining family of instruments of varied sizes whose

tones would meld to make an orchestra of sound.

THE VIOLINAN EARLY HISTORY

By Andrew Dipper

1 By Joannem et Gregorium de Gregoriis

3 The research of Carlo Bonetti showsfairly convincingly that Andrea Amati

must have been living before 1505

but his generally accepted dates

are 1505–1577

2 Emmanuel Winternitz, Leonardo daVinci as a Musician, Yale University Press,

1982, xv, 241 pp.

里拉琴

Michael Praetorius著《Syntagma Musicum》

Lira da braccio

Syntagma Musicum by Michael Praetorius


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17THE ART OF MUSIC

阿瑪蒂的過人之處在於懂得以大規模生產的方式製作樂器。在1530年代以

前，這種嶄新的生產模式主要見於生產槍械的歐洲城市，包括布雷西亞的

大型工廠。事實上，戰爭也是阿瑪蒂能成功製造樂器的原因之一。意大利人

迎戰奧圖曼帝國時，發現敵軍製造的弓箭強而有力，秘訣在於一種以動物

筋腱製成的強勁黏合物──Colle de Nerf。來自克雷莫納的阿瑪蒂借助這種

黏合物及創新物料，製成可靈活調整比例的幾何結構，品質遠勝布雷西亞

及德國弦琴工匠的出品。

在1537年至1595年期間，阿瑪蒂家族利用這些技術製造大量優質樂器，供應

予歐洲的王室。首批樂器中的其中一個小提琴，現在更與「The King」大提

琴一併於南達科他大學的國家音樂博物館 (National Music Museum) 展出 4。阿

瑪蒂受託製造的首批樂器包括完整的各式小提琴，大部分都以一組樂器的

形式製作，也有六弦提琴及琉特琴。大部分宮廷樂器均綴以繪畫、徽章、紋

章及箴言，代表法國國王統治時期的重大歷史事件。

小提琴可能是在亨利二世時期傳入法國，及至1600年已成為歐洲王室常

用的樂器。這種樂器的興起與法國王后兼歐洲時尚先嘉芙蓮·德·美第奇

(Catherine de Medici) 不無關係。1551年，查爾斯·德·科斯 (Charles de Cossé) 被

派往法國佔領的皮埃蒙特出任總督，他挑選當地的音樂人才組成小提琴樂

隊，並於1559年返回巴黎時引薦予王室，其後獲嘉芙蓮王后任命為宮廷芭

蕾舞及娛樂表演伴奏，令小提琴的地位逐漸超越傳統的吹奏、撥弦及弓弦

樂器。1555年，王后邀請來自意大利的龐比奧·迪亞波諾 (Pompeo Diabono)

及包喬尤 (Balthazar Beaujoyleux) 負責管理宮廷的芭蕾舞及假面劇演出，後者

更被時人公認為基督教世界中最出色的小提琴家。兩位音樂大師皆對瓦盧

4 NMM 3351 「The King」大提琴，約

於1536至1559年由安德烈·阿瑪蒂製。

低音部分琴側飾以「PIETATE」(「虔誠」

的拉丁文)字樣，中央側板的「K」字代表

「Karolus」(法國國王查理九世)，而高

音部分的琴側有「IVSTICIA」(「公義」

的拉丁文)字樣，中央側板的「K」字代表

「Karolus」(法國國王查理九世)。「The

King」是目前已知歷史最悠久的低音提

琴，大概可追溯至1538年，原本只有三

弦。約於1560年時，安德烈·阿瑪蒂為大

提琴上色，組成一套38件的著色鎏金弦

樂器，成為法國國王查理九世(1574年卒)

的御用樂器。

NMM 3351 ，「The King」大提琴，安德烈•瑪

蒂製，克雷莫納，十六世紀中期

Witten-Rawlins珍藏，1984年

美國國家音樂博物館

NMM 3351. Violoncello, The King





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19THE ART OF MUSIC

瓦王朝的精彩娛樂表演貢獻良多，最著名的作品當數 1581年10月15日演出的

《皇后喜劇芭蕾》，管弦樂團共使用38個阿瑪蒂製作的小提琴、中提琴及小

低音提琴。法國王子查理九世後來亦創立包括小提琴家的音樂學院 5。

自此，阿瑪蒂家族便成為歐洲首屈一指的製琴工匠，只有奧地利製琴師雅

各·史泰納 (Jacob Stainer；約1617-1683) 可望其項背。阿瑪蒂製造的琴用料

上乘、手工精細，琥珀色清漆柔和晶瑩，琴身設計完美體現聲學與幾何原

則。其後，阿瑪蒂的兒子安東尼奧 (Antonio；約1537–1607) 及西埃羅尼穆斯

(Hieronymus；約1551–1630) 繼承家業。其時，由於表演空間擴大，阿瑪蒂兄弟便

大幅修改小提琴的設計。西埃羅尼穆斯的兒子尼可羅 (Nicolò；1596–1684) 進一

步改良樂器所用的材料和亮漆，令製成品展現優質木材及閃亮光漆的獨持美

態，而琴邊、卷形琴頭及音孔的雕刻工藝亦更加精緻。家族最後一位製琴師

西埃羅尼穆斯二世 (Hieronymus II；1649–1740) 製造的樂器亦有不少獨特優點。

布雷西亞的製琴師早期與克雷莫納的同業競爭激烈，但兩者的製造技

術卻截然不同。布雷西亞製琴師通常按照客戶的委託訂造樂器，製作技

巧源於中世紀德國菲森的琉特琴製造技術，加斯帕洛·達薩羅 (Gasparo

Bertolotti；1542–1609) 所製的樂器就是箇中典範。他採用本地木材，而早年

所用的聲學設計並非為小提琴而設，而是傾向提升中提琴更豐富低沉的

音色。達薩羅的同輩兼好友基羅拉摩·維爾基 (Girolamo Virchi) 則以色彩繽

紛的琴身裝飾及雕刻而聞名。然而，1600年代的瘟疫帶走了布雷西亞的製

5 其私人管弦樂團的部分樂器仍存

於世上，包括著名的「King」大提琴

(NMM3351，1564年前製造，後來飾以查

爾斯九世的英雄紋章)及1566年製造的

「Berger」大提琴。

包喬尤

《皇后喜劇芭蕾》

1581年（雕刻），法國學派（十六世紀）

Balthazar de Beaujoyeulx

Ballet comique de la reine

1581 (engraving), French School, (16th century)

Bibliothèque de l'Opéra Garnier, Paris, France

Bridgeman Images

據考由弗朗索瓦•克盧埃（約1510–72）所作

《嘉芙蓮·德·美第奇（1519–89

）肖像》

Attributed to Francois Clouet (c. 1510–72)

Portrait of Catherine de Medici (1519–89)

Musée de la Ville de Paris, Musée Carnavalet,

Paris, France / Bridgeman Images


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20

The meteoric rise in popularity of the violin – from its probable introduction in France

during the reign of Henry II to its wholesale use by 1600 at various European courts

– is largely due to Catherine de Medici, Henry’s queen and the fashion maven of

the period whose tastes influenced the entire continent. In 1551, Charles de Cossé

(the Maréchal de Brissac) was sent as governor to French-occupied Piedmont,

where he formed his own violin band from local talent and, on his return to Paris

in 1559, introduced it to the court. Its subsequent adoption by Catherine for court

ballets and entertainments paved the way for the violin’s dominance over the

common wind, plucked and bowed instruments of the day. By 1555, Catherine’s

own court ballets and masques were overseen by Italians Pompeo Diabono and

Balthazar Beaujoyeulx, the latter named by his contemporaries as the best violinist

in all of Christendom. Both these masters of music aided in the magnificent

entertainments of the Valois dynasty including the famous Ballet Comique de la

Reine held on 15 October 1581, where a complete orchestra of 38 Amati violins,

violas and small bass were used. Catherine’s son, Charles IX of France, also

established his own academy of music that included violinists. 5

From this time on, the Amati family of Cremona held the primary position as

instrument makers in Europe; an exception was the notably successful Austrian

Jacob Stainer (c. 1617–83). Andrea Amati’s work is marked by selection of the finest

materials, great elegance in execution, soft clear amber, translucent varnish and an

in-depth use of acoustic and geometrical principles in design. He was succeeded

by his sons Antonio (c. 1537–1607) and Hieronymus (c. 1551–1630). ‘The Brothers

Amati’, as they were known, instituted numerous design changes in the violin that

were needed because of the increased size of performance spaces then in use.

They were followed by Hieronymus’ son Nicolò (1596–1684), who further refined

the choice of materials and varnish, to produce instruments with fabulous wood,

exquisite beauty and radiance of varnish, and superb sculpting of edge work,

scrolls and sound holes. The last of the dynasty was Hieronymus II (1649–1740),

who produced instruments of considerable merit.

THE VIOLIN: AN EARLY HISTORY

NMM 3351，「 The King」大提琴，安德烈•

瑪蒂製，克雷莫納，十六世紀中期

Witten-Rawlins珍藏，1984年

美國國家音樂博物館

NMM 3351. Violoncello, The King




5 Several instruments from his privateorchestra still exist, including the

famous ‘King’ cello (NMM33 51, dated

before 1564 that was decorated later

with Charles IX Achievements) and

the 'Berger' cello dated 1566.


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21THE ART OF MUSIC

琴大師，令克雷莫納的製琴師及尼可羅·阿瑪蒂得以雄霸一方。尼可羅更培

育出不少優秀的製琴師，包括斯特拉迪瓦利、瓜奈利及盧傑利 (Ruggieri) 家

族。雖然沒有確實的證據，但普遍認為尼可羅是安東尼奧·斯特拉迪瓦利

(1644–1737)的老師。斯特拉迪瓦利早年的出品與尼可羅所製者擁有相同的

特點，但提琴的鑲線及音孔造工略有不同。斯特拉迪瓦利的小提琴設計精

美，於1700年 (斯特拉迪瓦利「黃金時期」的開始)前一直沿用阿瑪蒂的設

計。早期的小提琴均為本地客戶而製作，及至1680年代，斯特拉迪瓦利的工

作室的出品包括琉特琴、結他、豎琴及小提琴。

斯特拉迪瓦利不斷試驗各類提琴的形態與尺寸，尤其為大提琴。其首批改

動是將阿瑪蒂小提琴的下方收窄，造就「長型」小提琴，但於1690年後被更

大、更穩固的設計取代。斯特拉迪瓦利亦擴大琴身的體積，其後推出的「G

型」小提琴更突破小提琴的結構與聲學界限。1680年，斯特拉迪瓦利憑藉出

色的技巧獲得多位尊貴客戶的青睞，包括樞機伯鐸·方濟·奧熙尼 (Cardinal

Pietro Francesco Orsini；1724年5月29日獲選為教宗) 及多個歐洲王室。其工

作室的成就，加上兒子法蘭西斯科 (Francesco) 及歐姆波諾 (Omobono) 繼

承父業，令斯特拉迪瓦利家族於 1700年至斯特拉迪瓦利於1737年逝世期間

一直在業內舉足輕重。

1000 1200–1300 1300

音孔的演變


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22

The city of Brescia was an early competitor to Cremonese makers but Brescian

instruments were built using very different techniques, usually as single bespoke

models whose construction echoed the medieval techniques of the lute makers

of Füssen, Germany. Brescian work is exemplified in the instruments of Gasparo

Bertolotti (1542–1609), commonly called Gasparo da Salò. He used locally sourced wood

and acoustic design that, in the first years, tended to favour a better sound for the richer,

lower-pitched viola than the violin. The work of Girolamo Virchi (a contemporary and

friend of da Salò) is noteworthy for its polychrome decoration and carving.

The plagues of the 1600s decimated the principal makers of the Brescian school, leaving

the Cremonese and Nicolò Amati as leaders in the field. Nicolò became the teacher

of the next generation of violin makers that included the Stradivari, the Guarneri and

Ruggieri families. It is believed that Nicolò taught Antonio Stradivari (1644–1737) but, as

yet, no definitive evidence has been put forward. Early Stradivari instruments do share

characteristics with those of Nicolò though with subtle differences in the purfling inlay

and finishing of the f-holes. Antonio’s violins were beautifully designed and, until

1700 (the start of what is called Stradivari’s ‘Golden Period’), followed the Amati

model. The early violins were made for local consumption and, by the 1680s, Stradivari’s

atelier was producing lutes, guitars and harps as well as violins.

Stradivari’s experimentation with the form and size of all the instruments of the violin

family is notable, especially in the cellos. One of his first experiments on the Amati

model was to narrow the lower bouts of the violin, which led to the so-called ‘ long

pattern’ instruments – but these were abandoned after 1690 in favour of larger and

more robust models. Stradivari increased the volume of the sound-box during his

working life and the later ‘G form’ violins push the limits of the instrument’s structural

and acoustic capabilities. His skill was recognised by and reflected in the status of his

clients, who by the 1680s included Cardinal Pietro Francesco Orsini (elected Pope

on 29 May 1724) and the heads of numerous European royal houses. The success of

the Stradivari workshop and the involvement of his sons Francesco and Omobono

ensured its dominance from 1700 until Stradivari’s death in 1737.

1500–1600 1600–1700 1600–1800

Evolution of the f-holes



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24

After 1727, when the Stradivaris’ production declined because of Antonio’s age, the

void was filled by the instruments of Bartolomeo Giuseppe Guarneri ‘del Gesù’

(1698–1744). Del Gesù succeeded in bringing the violin to a completely different

level of acoustic power. His construction method was really a spin-off from the Amati

school: the instruments are small and lower in the rib than Stradivari, which gives

them a sound that has been described by performers as ‘dry as an almond’. His broad

arching of the plates and longer f-holes give them more powerful and stellar possibility

in performance, particularly when they are teamed up with strong artists and the best

of the French bows by archetiers such as F. Tourte and E. Sartory.

After these Cremonese masters died, violin making in Italy declined as the maincentres of production shifted to Vienna, London and Paris. Here the instrument

underwent various small modifications until the 1760s, when the fashion for canting

the necks backwards and the adoption of full ebony fittings and better strings gave

them more power. Until the French Revolution there were many choices of violin styles

in Europe – from the German models of the Mittenwald and Nuremberg schools to

the robust models of the Viennese and the clever work of the English copyists.

By 1800, the French school of François Pique (1758–1822) and Nicolas Lupot

(1758–1824) had redefined the model of the violin into the copyist frame that we

see today. This process was followed by European manufactories that churned out

violins by the hundreds of thousands in the late 1800s and early 1900s – a modelthat, in the 21st century, has seen China become a significant mass producer and

exporter of the instrument.

What remains extraordinary however, when looking back over its history, is how little

the violin has altered in basic architecture during its near-500 years of development.

It is this that points to a quality of perfection in the original Cremonese concept – one

that, in a modern world of continual change and redesign on the electronic frontiers

of culture, remains unsurpassed.

What remains extraordinaryis how little the violin has altered inbasic architecture during its near-500

years of development



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25THE ART OF MUSIC


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MAKERS AND MAKING

IN CREMONA

STRADIVARI AND GUARNERI IN CONTEXT

克雷莫納的製琴師及

製琴技術

斯特拉迪瓦利與瓜奈利


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27THE ART OF MUSIC

克雷莫納的製琴師及製琴工藝斯特拉迪瓦利與瓜奈利

By Stewart Pollens

克雷莫納早在中世紀已出現行業公會，但令這個意大利北部城市成為文化

重鎮的小提琴製造業卻並非由公會控制，而是掌握在幾個關係密切的家族

手中。目前已知最早開始製琴的是安德烈·阿瑪蒂 (Andrea Amati；約 1505–

1577) 的家族，他任職製琴師的時期，與史上首個小提琴的圖像紀錄* 出現

時間吻合。其父戈塔多 (Gottardo) 大師同樣是一位工匠，可能專門製作琉特

琴、六弦提琴及里拉琴 (被視為小提琴的前身)。佛羅倫斯美第奇王室 6 的樂

器收藏紀錄，便包括一部由阿瑪蒂製作的小提琴，其後他的兒子安東尼奧

(Antonio；約1535–1607) 及基羅拉摩一世 (Girolamo I; 1561–1630) 亦繼承父業。

1596年，基羅拉摩與第二任妻子羅拉的兒子尼可羅 (Nicolò) 出生。長壽的尼

可羅 (1684年離世) 一生成就斐然，他其中一名兒子基羅拉摩二世 (Girolamo

II；1649年生) 亦傳承了家族的傳統手藝。然而，倫巴第在1630年爆發瘟疫，

基羅拉摩一世不幸病逝，尼可羅似乎是唯一倖存的克雷莫納製琴大師，令

當地的小提琴製造技術不至失傳。

克雷莫納每個教區的人口統計冊不只註明每間房屋的家庭成員，亦記錄其

他同住的人，包括學徒 (被歸類為「garzone」或店舖助理) 及女僕 (一般稱為

「gevana」)。尼可羅在1641至1686年間共聘請了15名員工，包括學徒和工人，

他們不少人都擁有德國姓氏，例如Giacomo Railich、Giorgio Staiber及Girolamo

Segher。人口統計報告顯示Segher來自意大利城市帕多瓦，但相信其他人則

來自奧地利提洛邦，尤其為不少樂器與木雕工匠學藝及工作的菲森一帶。

（右）

加布里•梅茲(1629–1667)

《桌前的女人與調琴師》，

約1657–1658年

(right)

Gabriel Metsu (1629–1667)

A Woman seated at a Table

and a Man tuning a Violin, c. 1657–1658

National Gallery, London

culture-images/Lebrecht

* 參考Emma Capron論文《The Violinin Visual Art》(第40頁)。

6 Vinicio Gai著，《Gli strumenti musicali

della Corte Medicea e il Museo del

Conservatorio ‘Luigi Cherubini’ di

Firenze》(佛羅倫斯，1969年)，第19頁。

（前頁）

重繪斯特拉迪瓦利音孔設計的幾

何草圖

(previous) Reproduction of original drawing

illustrating the geometry of Stradivari's

sound-hole design


29/150

28


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29THE ART OF MUSIC


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30

Though there were trade guilds in Cremona dating back to the Middle Ages, violin

making – the art which has earned the northern Italian city its indelible place in cultural

history – was controlled by a few tightly knit families rather than by a guild. The earliest

whose work has come down to us was the family of Andrea Amati (c. 1505–1577),

whose professional life coincides with the first pictorial representations of the violin *.

His father, called Master Gottardo, was also an artisan and probably a maker of

lutes, viols and lire da braccio (considered to be the immediate predecessor of the

violin); one by Andrea Amati is listed in an inventory of musical instruments owned

by the Medici court in Florence. 6 Amati’s sons Antonio (c. 1535–1607) and Girolamo I

(1561–1630) followed in their father’s footsteps.

In 1596, Girolamo and his second wife, Laura, gave birth to a son, Nicolò. Nicolò lived

a long and productive life (he died in 1684) and one of his sons, Girolamo II (b. 1649),

continued the family craft. But in 1630 plague swept through Lombardy, taking the

elder Girolamo. Nicolò appears to have been the only master violin maker in Cremona

to survive that outbreak; were it not for this, it is possible that the craft of violin making

in Cremona would have come to an end.

The census books for every parish in Cremona list not only the family members

in each house but also the other occupants, including apprentices (under the

designation garzone, or shop boy) and female servants (often termed gevana). We

know that between 1641 and 1686 Nicolò Amati housed a total of 15 employees,

including apprentices and workers from outside the family. These assistants often had

German surnames, such as Giacomo Railich, Giorgio Staiber and Girolamo Segher.

Though Segher is listed in the census books as hailing from Padua, it is possible that

the others emigrated from the Tyrol, particularly from the region around Füssen,

where many instrument makers and woodcarvers were trained and worked.

MAKERS AND MAKINGIN CREMONASTRADIVARI AND GUARNERI IN CONTEXT

By Stewart Pollens

* See Emma Capron’s essay onThe Violin in Visual Art on p. 40

6 Vinicio Gai, Gli strumenti musicali della Corte Medicea e il Museo del

Conservatorio ‘Luigi Cherubini’ di

Firenze (Florence, 1969), p. 19.

Jacques Joseph Lecurieux (1801–1867)

《意大利製琴師尼可羅•阿瑪蒂

(1596–1684)》

Jacques Joseph Lecurieux (1801–1867)

Italian luthier Nicolò Amati (1596–1684)

Music Division, The New York Public Library

for the Performing Arts, Astor

Lenox and Tilden Foundations


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31THE ART OF MUSIC

尼可羅的徒弟全為出色的製琴師，1641年阿瑪蒂家族的人口普查表首次出現

安德烈·瓜奈利及賈科莫·詹納羅 (Giacomo Gennaro) 的名字。瓜奈利 (1623–

1698) 在克雷莫納15公里外的小鎮Casalbuttano出生，後來更建立克雷莫納最

舉足輕重的小提琴家族 7。他在1641至1647年間為阿瑪蒂工作，其後於1650年

起又為他工作三年。

瓜奈利的後人包括兒子彼得(Pietro；曼圖阿的彼得) 及被稱為「安德烈之子約

瑟」(Joseph filius Andreæ) 的朱塞佩·基奥瓦尼·巴提斯塔 (Giuseppe Giovanni

Battista)，還有孫兒彼得 (威尼斯的彼得)，以及瓜奈利家族中最出色的成員

朱塞佩·瓜奈利 (1698–1744)。由於他製作的小提琴標籤上印有十字架圖案及

「IHS」，因此亦有「耶穌·瓜奈利」(del Gesù) 的稱號。詹納羅 (亦稱Jacobus

Januarius；生卒年份不詳) 在1641至1646年間為尼可羅工作，其後自立門戶，

成為大師級工匠。喬瓦尼·巴蒂斯塔·羅傑利 (Giovanni Battista Rogeri；約1642

年生，1705年後卒) 由博洛尼亞移居克雷莫納，於1661至1663年間為尼可羅

工作，後來於布雷西亞定居並成為著名小提琴工匠。同樣活躍於克雷莫納

的盧傑利 (Ruggieri) 家族與阿瑪蒂家族沒有明顯的關係，法蘭西斯科·盧傑

利 (Francesco Ruggieri; 1620–1698) 由貝納多南部小鎮搬居克雷莫納，並先在

Sabastiano南部教區的舊城牆外定居。

阿瑪蒂家族的人口普查紀錄沒有記載安東尼奧·斯特拉迪瓦利 (約1644–

1737) 的名字，事實上，在克雷莫納最高有關他的文獻紀錄為1667年有關其結

婚公告的教會書信。斯特拉迪瓦利的人口普查紀錄及其他文件顯示他沒有

聘請非家族成員擔任店舖助理或學徒，但獲兒子法蘭西斯科及莫柏諾協助

經營生意。根據人口普查紀錄，斯特拉迪瓦利的第一任妻子於1698年離世

後 8，他的家中才有幾位並非家族成員的年輕女僕偶爾為他工作。

7 Battesimi S. Giorgio教區卡薩爾布塔

諾，第2冊，1622–1654年。Carlo Chiesa

及Duane Rosengard撰，〈Guarneri del

Gesù: A Biographical History〉，摘自

《Giuseppe Guarneri del Gesù》

第2冊（倫敦，1998年），第7頁

8 S. Agata教區克雷莫納Diocesano歷史檔案館，1660–80年；

S. Matteo教區，1680–1737年

安東尼奧•斯特拉迪瓦利—

製琴師標籤, 1716 年

Image of original

Stradivari label, 1716


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32

Nicolò Amati’s apprentices are a roll-call of great makers. In 1641, Andrea Guarneri and

Giacomo Gennaro first appear in Amati’s census returns. Guarneri (1623–1698) was

born about 15km from Cremona in the small town of Casalbuttano and was to sire

Cremona’s next great violin-making dynasty. 7 He worked for Amati between 1641 and

1647, returning in 1650 for another three years.

Guarneri’s offspring included his sons Pietro (Peter of Mantua) and Giuseppe Giovanni

Battista, later known as Joseph filius Andreæ (Joseph, son of Andrea), as well as

grandsons Pietro (Peter of Venice) and Bartolomeo Giuseppe (1698–1744). The greatest

of all the Guarneri, he was known as Giuseppe Guarneri, or simply as ‘del Gesù’, due to

the figure of the cross and the initials IHS printed on his labels. Giacomo Gennaro (alsoknown as Jacobus Januarius, dates unknown) worked for Nicolò Amati between 1641

and 1646 and went on to become a master in his own right. Giovanni Battista Rogeri

(c. 1662 – after 1705), who came to Cremona from Bologna and worked for Nicolò

Amati between 1661 and 1663, subsequently settled in Brescia, where he became a

prominent violin maker. The Ruggieri were a prominent family of violin makers active

in Cremona that had no apparent tie with the Amati. Francesco Ruggieri (1620–1698),

from the small town of S. Bernado, moved to Cremona and initially settled in the parish

of S. Sabastiano, just outside the old city walls.

Antonio Stradivari (c. 1644–1737) is not listed as an apprentice of Amati in the census

returns. In fact the earliest record of him in Cremona is church correspondenceconcerning the posting of his marriage banns in 1667. Antonio’s own census returns

and other documents indicate that he did not employ non-family members as shop

assistants or apprentices, though his sons Francesco and Omobono are known to

have assisted him. According to the census records, the only non-family members to

live in his household were a number of young female domestic servants who served

intermittently beginning in 1698, the year Stradivari’s first wife died. 8

7 Casalbuttano, Parish of S. Giorgio,

Battesimi , vol. 2, 1622–1654. Carlo

Chiesa and Duane Rosengard,

‘Guarneri del Gesù: A Biographical

History’, Giuseppe Guarneri del Gesù

vol. 2 (London, 1998), p. 7.

8 Archivio Storico Diocesano,

Cremona, parish of S. Agata, 1660–80;parish of S. Matteo, 1680–1737.

MAKERS AND MAKING IN CREMONA: STRADIVARI AND GUARNERI IN CONTEXT

瓜奈利家族—製琴師

標籤, 1735年

Image of original

Guarneri label, 1735


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33THE ART OF MUSIC

「音樂為宇宙賦予靈魂，為心靈添上翅膀，

讓想像飛翔，為萬物帶來生命。」

— 柏拉圖

在十七世紀末，斯特拉迪瓦利已平步青雲，或許正因如此，阿瑪蒂、盧傑利

及瓜奈利家族才逐漸衰落，陷入財困，並於十八世紀初陸續倒閉。早在1670

年代，阿瑪蒂已開始變賣財產或借貸，更於1698年以家族大宅作為抵押品

借貸3,000里拉，其後因未能支付利息而被迫放棄部分業權。當基羅拉摩二

世的多筆貸款到期，並因欠款而被法院追討時，他便逃離克雷莫納，直至

1715年才回去9。

文欽佐·盧傑利 (Vincenzo Ruggieri) 於1719年立下遺囑，為未嫁的女兒留下微

薄的嫁妝，並於附錄中提到「艱難時期」，相信是指重稅及前文所述的財

困情況 10。另外，瓜奈利家族亦債務纏身，於1737年被迫出售部分大宅以償

還貸款，同年芭芭拉·法蘭芝 (Barbara Franchi；「安德烈之子約瑟」之妻)離

世，瓜奈利家族更要借貸支付殮葬費用 11。

反觀斯特拉迪瓦利的財富卻與日俱增，他以過人才華叱吒製琴業多年，令

他能為社區提供大筆貸款，亦為幼子收購利潤可觀的合營生意，更為其他

子孫留下豐厚的嫁妝、年金及遺產。

斯特拉迪瓦利製造的樂器結構優美，旋即獲得歐洲權貴垂青，包括西班

牙、波蘭及英國國王、佛羅倫斯的美第奇家族及其他名門望族。及至十九

世紀初，朱塞佩·瓜奈利的小提琴獲大師級小提琴家尼可羅·帕格尼尼

(Nicolò Paganini) 賞識，令他們聲名大噪。兩大製琴家族的小提琴在音色方

面各走極端，斯特拉迪瓦利的小提琴以細膩嘹亮的音色見稱，而瓜奈利的

作品則較深沉雄厚。

9 Philip Kass撰，〈Nicolò Amati: His life

and Times〉，美國製琴協會期刊，第15

冊，第2卷（1997年），第158頁。Philip

Kass撰，〈Crowded Out〉，《The Strad》

，第110冊，第1314卷（1999年10月），

第1047頁

10 Chiesa及Rosengard著，《Guarneridel Gesù》，第2冊，第10頁

11 同上，第19頁


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Despite, or perhaps because of Antonio Stradivari’s meteoric rise, by the end of the

17th century the old, established violin houses of the Amati, Ruggieri and Guarneri

families were in decline and experiencing financial difficulties, and by the early years

of the 18th century were in virtual ruin. As early as the 1670s, the Amati were selling

or taking out loans against their property. In 1698 they borrowed 3,000 lire using the

family home as collateral and were later forced to forfeit part of the house after failing

to make interest payments on the loan. When several of Girolamo II’s loans came

due and a judgment was brought against him for non-payment, he apparently fled

Cremona and did not return until 1715. 9

Vincenzo Ruggieri’s will, written in 1719, provides meagre dowries for his unmarried

daughters, and a codicil refers to ‘difficult times’, perhaps an allusion to the

burdensome taxation and general economic decline described above. 10 The Guarneri

family also fell into debt and in 1737 was forced to sell part of the family house in order

to repay a loan. The same year, Barbara Franchi (wife of Joseph filius Andreæ) died

and the Guarneri family had to borrow money to pay her funeral expenses. 11

This is in sharp contrast to Antonio Stradivari’s financial state. In the course of a long

career his talents and industry put him in a position to make substantial loans to

members of the community, to purchase a lucrative business partnership for his

youngest son and to provide dowries, annuities and bequests for his other offspring.

Because of their elegant construction, Stradivari’s instruments were immediately

sought by European nobility including the kings of Spain, Poland and England, the

Medici in Florence and other titled individuals. In the early 19th century, del Gesù’s

violins came to prominence primarily due to their association with virtuoso violinist

Nicolò Paganini. The violins of these two makers have come to represent opposite

poles of the tonal spectrum: Stradivari’s are characterised by refinement and brilliance,

while the typical Guarneri violin has a darker, earthier sound.

9 Philip Kass, ‘Nicolò Amati: His life and

Times’, Journal of the Violin Society of

America, vol. 15, no. 2 (1997), p. 158. Philip

Kass, ‘Crowded Out’, The Strad, vol. 110,

no. 1314 (October, 1999), p. 1047.

10 Chiesa and Rosengard, Guarneridel Gesù, vol. 2, p. 10.

1 1 Ibid., p. 19.


Music gives a soul to the universe,

wings to the mind, flight to the imaginationand life to everything...

— Plato


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35THE ART OF MUSIC

埃德•邦迪(1862–1922)

《安東尼奧•斯特拉迪瓦利》，1893年作

Edgar Bundy (1862–1922)

Antonio Stradivari , 1893

Private Collection

Bridgeman Images

無可否認，這些描述或偏於概括，因為斯特拉迪瓦利的小提琴音色已有多

種變化。事實上，兩個家族製作的大部分小提琴都擁大獨特鮮明的個性，

樂手要細心摸索才能駕馭。部分著名演奏家只會選用其中一間家族的小提

琴，但亦有不少人有幸能同時擁有兩大家族的珍貴樂器。由十八世紀中起，

製琴師只會模仿斯特拉迪瓦利及朱塞佩·瓜奈利的設計。

克雷莫納的傳統製琴工藝相當嚴謹，樂器的尺寸、形狀、琴弦長度及音孔位

置也有硬性規定，但斯特拉迪瓦利及朱塞佩·瓜奈利卻致力求變。雖然他們

保留了部分組件比例 (例如琴頸到琴身的比例為2:3；琴身到琴馬的比例則為

5:4)，但琴身長度及每截琴身尺寸均可調校，弧面、琴邊及琴頭雕工皆有相當

的自由度。斯特拉迪瓦利及瓜奈利都使用可重用的木材結構，不只有助準

確控制尺寸及形狀，亦令每把小提琴保持一致。

雖然克雷莫納的小提琴工藝源於阿瑪蒂家族，斯特拉迪瓦利及朱塞佩·瓜

奈利的作品卻成為演奏名家的首選，至今仍是人所渴求的樂器。斯特拉迪

瓦利製作的琴型尺寸及比例多變(克雷莫納的斯特拉迪瓦利提琴博物館收

藏了他製造的12把小提琴)，包括早期採用的阿瑪蒂琴型、1690年代較狹長的

「長型琴」，以及其事業黃金時期及晚年使用、琴板較寬的「大型琴」。

雖然克雷莫納的小提琴工藝源於阿瑪蒂家族，斯特拉迪瓦利及朱塞佩·瓜

奈利的作品卻成為演奏名家的首選，至今仍是人所渴求的樂器。斯特拉迪

瓦利製作的琴型尺寸及比例多變 (克雷莫納的斯特拉迪瓦利提琴博物館收

藏了他製造的12把小提琴)，包括早期採用的阿瑪蒂琴型、1690年代較狹長的

「長型琴」，以及其事業黃金時期及晚年使用、琴板較寬的「大型琴」。


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37THE ART OF MUSIC

安東尼奧•斯特拉迪瓦利(1644–1737）

「Kochanski, Rosenheim」小提琴，

克雷莫納，1686年製，附有「Antonius

Stradivarius Cremonensis / Faciebat Anno 1686

」標籤及目錄編號「P-606」

背板長度：14吋（35.6公分）

Antonio Stradivari (1644–1737)

A Violin, Known as the Kochanski,

Rosenheim, Cremona, 1686

Labelled Antonius Stradivarius Cremonensis /

Faciebat Anno 1686 and bearing

the catalogue number P-606

Length of back 14 in., 35.6 cm.

一般認為朱塞佩·瓜奈利製作了一大一小的兩種琴型 (兩者的琴身長度只差

幾毫米)，但由於大多擁有相同的側板結構，故顯然使用同一琴型，而尺寸

的差異僅來自面板及背板突出部分的長度。他後期的作品嘗試改動音孔，

變得更長更闊，從而降低小提琴的空氣共振，令音色更深沉。

斯特拉迪瓦利的小提琴普遍被公認為較精雕細琢，惟年近90歲的他於1730

年代的作品則略見粗糙，此時朱塞佩·瓜奈利的作品卻更加精細。瓜奈利離

世前數年的成品亦變得粗糙，但卻被奉為他最出色的作品。形態獨特音孔及精心琢磨的琴頭，大膽打破克雷莫納傳統工藝的界限。


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top and back plates. In his late instruments, Guarneri del Gesù experimented with

longer and more open f-holes, which lowered the air resonance of his violins and

produced the darker sound for which those violins are noted.

Stradivari’s violins are generally considered to be the more finely crafted of the

two makers though in the 1730s, as he approached his nineties, Stradivari’s work

became a little coarse while the Guarneri del Gesùs of the period are highly

refined. It is only in the last few years of del Gesù’s life that his work roughens and

yet those instruments are considered among his greatest achievements – highly

prized for the uniquely shaped f-holes and heavily worked scrolls that boldly

trespass the staid boundaries of the Cremonese school.


朱塞佩•瓜奈利(1698–1744)

「Lafont, Brodsky」小提琴，克雷莫納，約

1736年製，附有「Joseph Guarnerius fecit /

Cremone anno 1736」標籤

背板長度：13 ¾吋（35公分）

Giuseppe Bartolomeo Guarneri,

del Gesù (1698–1744)

A Violin, Known as the Lafont,

Brodsky , Cremona c. 1736

Labelled Joseph Guarnerius fecit /

Cremone anno 1736

Length of back: 13 ¾ in. (35 cm.)


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小提琴與視覺藝術

THE VIOLIN

IN VISUAL ART


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41THE ART OF MUSIC

視覺藝術中的小提琴By Emma Capron

五個世紀以來，小提琴是為西方畫家帶來最多創作靈感的樂器。斯特拉迪

瓦利 (Stradivari) 及瓜奈利(Guarneri) 兩大製琴師將相關工藝變成藝術，亦為

小提琴賦予獨一無二的美態。優美蜿蜒的曲線、對稱的外型、飽滿嘹亮的音

色與光滑的表面，使小提琴不但是一件樂器，更是值得欣賞的藝術題材。從

文藝復興的全盛時期至現代，不少藝術家都曾彈奏小提琴，例如著名雕塑

家及金匠本韋努托·切利尼 (Benvenuto Cellini) 成為教宗的雕塑家前，曾擔任

教宗克勉七世的小提琴手；安格爾 (Ingres)、德拉克羅瓦 (Delacroix) 及馬蒂斯

(Matisse) 亦是業餘的小提琴手；抽象畫大師保羅·克利 (Paul Klee) 更是出色

的小提琴手，但最後放棄音樂事業，選擇成為畫家。

由巴洛克音樂以至爵士樂，小提琴也是歐洲視覺藝術文化的重要元素。藝

術家透過描繪小提琴的不同形態，刻意呼應及再次掀起自古以來有關藝術

地位的爭論，比較音樂與繪畫、視覺與聽覺的重要性。畫家亦希望通過畫作

指出小提琴在社會中的模糊定位，它既是街頭表演者、波希米亞人及狂歡

者的工具，也是優雅聚會及貴族廳堂的首選樂器。小提琴將這種源自中世

紀的矛盾思維帶到現代：小提琴既是神聖的樂器，能以美妙琴音讚美上帝，

又有邪惡的一面，能勾起慾望，荼毒人心。世紀以來，藝術家皆以作品描述

小提琴的各種面貌，並將自己的情感融入當中。

意大利北部地區久以木工技藝聞名，在十六世紀上半葉，克雷莫納、米蘭、布

雷西亞及威尼斯的製琴師發明了小提琴。有關小提琴的首份文獻紀載為1523

年的薩伏依公國紀錄：「來自韋爾切利的小號及小提琴」，而首幅小提琴圖像

則於三年後出現。1529年，高登齊奧·法拉利 (Gaudenzio Ferrari) 為韋爾切利聖

克里斯托福羅教堂祭壇繪畫的《橙樹的聖母》，於聖母寶座下坐著兩個奏樂

（右）

高登齊奧•法拉利（約1475–1546）

《聖母與聖徒》或《橙樹的聖母》

1529年作

(right)

Gaudenzio Ferrari (c. 1475–1546)

Madonna with Saints or

Madonna of the Oranges, 1529

Church of San Cristoforo,

Vercelli, Italy | Ghigo Roli

Bridgeman Images

（前頁）

雲達華治（1647–1721）

《掛在門上的小提琴和琴弓》

(previous)

Jan van der Vaardt (1647–1721)

Violin and bow hanging on a door

Chatsworth House, Derbyshire, UK

© Devonshire Collection, ChatsworthReproduced by permission of Chatsworth

Settlement Trustees | Bridgeman Images


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43THE ART OF MUSIC


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For five centuries, the violin has captured the imagination of painters like no

other instrument in the history of Western art. A feat of craftsmanship that, with

Stradivari and Guarneri, reached the status of a work of art in itself, the violin is an

object of unrivalled visual appeal: its sinuous curves, balanced shapes, serpentine

lines, rich tonalities, smooth surface and reflective finish have made it an instrument

not only to be played but also to be seen and depicted. From the high Renaissance to

the modern era, artists have played the violin and played with it: the famed sculptor

and goldsmith Benvenuto Cellini entered the service of Pope Clement VII as a violin

player before becoming papal sculptor; Ingres, Delacroix and Matisse were all noted

amateurs; an accomplished violin player, the abstract master Paul Klee hesitated to

embrace the career of professional musician before opting for painting instead.

Ubiquitous in musical styles from the baroque to jazz, the violin also became an

omnipresent feature of European visual culture. Through their varied depictions of

the violin, artists consciously referenced, fuelled and renewed the age-old debate

on the paragone: the competition between the arts of music and painting, as

well as between the senses of sight and hearing. Painters also sought to evoke

the ambiguous social nature of the instrument: it is both the companion of street

performers, bohemians and revellers as well as the item of choice in elegant

gatherings and aristocratic salons. This ambivalence echoed a medieval concern

with music that followed the violin into the early modern era: an instrument at once

celestial (graced with the acoustic abilities to praise God) but also potentially devilish,

leading to lust and intoxication. It is this rich, multifaceted image of the violin that

artists have rendered throughout the centuries, each stamping the instrument with

their own personal sensibilities.

The violin was invented during the first half of the 16th century by luthiers active

in Cremona, Milan, Brescia and Venice in northern Italy, a region renowned for its

mastery of woodworking techniques. The first textual mention of the instrument

appears in the accounts of the duchy of Savoy in 1523: ‘for trumpets and violins

THE VIOLIN

IN VISUAL ARTBy Emma Capron

喬治•德•拉•圖爾(1593–1652)

《乞丐的爭吵》，約1625–1630年

Georges de la Tour, (1 593–1652)

The Beggars’ Brawl , c. 1625–1630

J. Paul Getty Museum, Los Angeles USA |

Bridgeman Images


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45THE ART OF MUSIC

高登齊奧•法拉利（約1475–1546）

《天使奏樂》

Gaudenzio Ferrari (c. 1475–1546)

Angels Playing Music

Photo Scala, Florence

的天使 (常見於當時「神聖對話」的主題中)，其中一名天使手持早期的小提

琴。1535年，法拉利為米蘭附近的薩龍諾大教堂圓頂天花繪畫的壁畫，描繪了

一班演奏不同弦樂器的天使，當中包括各類提琴。

儘管小提琴於法拉利的宗教畫作中出現，但最初並非用作神聖的宗教樂器，

而是農村歌舞及酒館常用的庸俗樂器。由於小提琴小巧便攜，迅速成為街

頭藝人及乞丐賴以為生的工具。音樂家尚德費 (Philibert Jambe de Fer) 於1556

年發表的《音樂節錄》批評：「小提琴與中提琴截然不同。中提琴是供紳士、

商人及其他有涵養的人消磨時間的(樂器)，而小提琴一般只為放蕩不羈的歌

舞伴奏。」十七世紀的不少畫作 (特別是阿爾卑斯山以北地區的畫作) 皆證

實當時小提琴的低微地位。喬治·德·拉·圖爾 (George de la Tour) 名作《音樂

家的爭吵》(約1625–1630年作；洛杉磯蓋蒂博物館藏) 中，一名衣冠不整的小提

琴手露齒而笑，眼神散渙，旁觀眼前蓄勢待發的好戲。凡·賀斯特 (Gerrit Van

Honthorst) 的《愉快的提琴手》(1623年作；阿姆斯特丹國家博物館藏) 描繪

一名醉醺醺、打扮誇張的音樂家，手持小提琴和酒杯，作狀地探頭到窗外，

希望群眾與他一同狂歡。而莫勒那爾 (Jan Miense Molenaer) 的《奏樂的兩男一

女》(1629年作；倫敦國家美術館藏)，則描繪小孩使用小提琴和其他隨意拼

湊的樂器，一起愉快地合奏。


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from Vercelli’. The first visual record of the violin occurs a few years later, in 1529,

in an altarpiece for the church of San Cristoforo in the same town of Vercelli:

The Madonna of the Oranges painted by Gaudenzio Ferrari. Beneath the Virgin’s

throne are seated two music-making angels (a customary feature in sacre

conversazioni of the time), one of them holding an early example of the violin. In

1535, Ferrari frescoed the cupola of the cathedral of Saronno near Milan with an

entire concert of angels, featuring a vast array of stringed instruments including all

the members of the violin family.

Despite its original inclusion in Ferrari’s religious scenes, the violin at its inception

was hardly considered a heavenly instrument. Favoured as an accompaniment to

village dances and popular in taverns, its extractions are lowly. Small and portable,

it swiftly became the characteristic instrument of street performers and beggars.

In his treatise titled Epitomé musical from 1556, the musician Philibert Jambe de

Fer condemned it: ‘The violin is very different from the viola. We call viola [the

instrument] used by gentlemen, merchants and other men of virtue to pass time.

The other kind is called violin and it is the one commonly used for unruly dances’.

A number of 17th-century visual accounts of the instrument, especially from

North of the Alps, testify to this reviled status. To the right of George de la Tour’s

remarkably expressive The Beggars’ Brawl (c. 1625–1630; Los Angeles, Getty

Museum), a dishevelled violin player offers his toothy grin and unfocused gaze to

the viewer, visibly enjoying the fight unfolding next to him. In The Merry Fiddler by

Gerard van Honthorst (1623; Amsterdam, Rijksmuseum), an inebriated, extravagantly

dressed musician holding a violin and a glass of wine theatrically peers out of a

window and engages the viewer to partake in his revelry. In Jan Miense Molenaer’s

Two Boys and a Girl Making Music (1629; London, National Gallery), the violin, along

with other makeshift instruments, contributes to the children’s joyful cacophony.

宏賀斯特（1592–1656）

《愉快的提琴手》，1623年

Gerard van Honthorst (1592–1656)

The Merry Fiddler, 1623

Photo © Fine Art/Alamy

莫勒那爾（1610–1668）

《奏樂的兩男一女》，1629年

Jan Miense Molenaer (1610–1668)

Two Boys and a Girl making Music, 1629

Photo Art Media/Heritage Images,

Scala, Florence

THE VIOLIN IN VISUAL ART


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47THE ART OF MUSIC

「若音樂是愛的食糧，請奏下去，讓我飽腹，直至我嚥不下，繼而死去。」

— 莎士比亞

米開朗基羅·梅里西·達·卡拉瓦喬 (1571–1610)

《音樂家》，約1595年作

Michelangelo Merisi da Caravaggio (1571–1610)

The Musicians, c. 1595

The Metropolitan Museum

of Art | Art Resource | Scala, Florence

然而，步入十七世紀，巴洛克音樂的興起令小提琴開始進入上流社會，當時

的人發現小提琴是歌唱的理想伴奏樂器。1607年，蒙台威爾第 (Monteverdi)

於歌劇《奧菲歐》中指明要使用小提琴；1636年，法國音樂理論家馬蘭·梅森

(Marin Mersenne) 更於著作《宇宙和諧》中稱小提琴為「樂器之王」。當時的

畫作亦反映人們品味的轉變。在這方面，卡拉瓦喬 (Caravaggio)早期有關音樂

的畫作，例如《音樂家》(約1595年作；紐約大都會藝術博物館藏) 及《琉特琴

手》(1595–1596年作；聖彼得堡冬宮博物館藏)，均於前景重點描繪縮短的意

大利小提琴，畫作不但是西方藝術的鉅作，更反映小提琴漸受上流社會顧客

及音樂鑑賞先驅歡迎，例如羅馬樞機蒙特 (Francesco Maria del Monte) 及貴族

文生·尤定納尼 (Vincenzo Giustiniani)。卡拉瓦喬採用意大利北部畫派常用的

自然手法，準確突顯當代樂器的精湛工藝。

當代藝術家也跟隨卡拉瓦喬的手法，致力探索小提琴作為繪畫題材及象徵

性物件的特質。於用色明亮的《年輕女人與小提琴》(約1612年作)中；描繪一

位女提琴手凝望天上，希望得到神的啟示，重現音樂家的守護神聖塞西利

亞 (Saint Cecilia) 的形象。貝加莫藝術家、牧師巴西利斯 (Evaristo Baschenis) 的

手法更為激進──完全去除任何人物，以樂器作為靜物畫的主角 (約1660

年作；貝加莫卡拉拉學院及私人珍藏)，描繪細膩的小提琴、琉特琴及鋼琴

往往滿佈灰塵，安靜地躺在精緻的東方地毯上。巴西利斯摒棄樂器的華麗特質，將小提琴變成純粹的視覺享受，獨特的現代手法更獲著名藝術史學

家維特考爾 (Rudolph Wittkover) 讚賞：「吸引 (巴西利斯) 的是拋光木材的溫

暖色調及複雜的立體幾何形狀。透過近乎攝影般寫實的沉實手法，他創造了


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However, at the turn of the 17th century, the violin began moving away from these

humble beginnings and entered more elevated cenacles. The rise of baroque music

was key to that development. Especially, the violin grew to be considered the ideal

accompaniment to singing. In 1607, Monteverdi prescribed its use in his opera

Orfeo and, by 1636, the French theoretician Marin Mersenne had consecrated

the violin the ‘king of instruments’ in his treatise Harmonie Universelle. Images

in turn reflected that change in taste. In this respect, Caravaggio’s early musical

paintings such as The Musicians (c. 1595; New York, Metropolitan Museum) and

The Lute Player (1595–1596; Saint-Petersburg, Hermitage Museum) – both of which

include dramatically foreshortened Italian violins in the foreground – are not only

masterpieces of Western art but also epitomise the violin’s rise in favour among

the sophisticated patrons and vanguard musical connoisseurs who commissioned

these works: Roman cardinal Francesco Maria del Monte and nobleman Vincenzo

Giustiniani. Caravaggio’s acute naturalism, typical of the Northern Italian school,

was also particularly well suited to emphasise the remarkable craftsmanship of

contemporary musical instruments.

Following Caravaggio’s lead, a generation of artists sought to explore further the

aesthetic and formal qualities of the violin as a pictorial and symbolic object. In his

dramatically lit Young Woman with a Violin (c. 1612; Detroit, Detroit Institute of Art),

depicting a rapt player looking upwards for divine inspiration, Orazio Gentileschi

renewed the iconography of Saint Cecilia, patron saint of musicians. The Bergamo

artist and priest Evaristo Baschenis took a more radical turn by removing the

human figure altogether: his beautifully composed still lifes are genuine ‘portraits’ of

musical instruments (c. 1660; Bergamo, Accademia Carrara; and private collection).

Meticulously rendered violins, lutes and keyboards rest in silence, still and discarded,

often under a layer of dust, on elaborate Oriental rugs. By denying the instruments

their sonorous qualities, Baschenis presented the violin as an object of pure visual

delectation, prompting art historian Rudolph Wittkover to praise his uncanny

modernity: ‘What attracted [Baschenis] was the warm tonality of the polished

If music be the food of love, play on,

Give me excess of it; that surfeiting,The appetite may sicken, and so die.

— William Shakespeare


奧拉齊奧·真蒂萊斯基 (1565–1647)

《年輕女人與小提琴》，約1612年作

Orazio Gentileschi (1565–1647)

Young Woman with a Violin, c. 1612

Detroit Institute of Arts, USA | Gift of Mrs Edsel

B. Ford | Bridgeman Images


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wood as much as the complex stereometry of shapes. By means of a dry, almost

photographic realism, he thus produced abstract-cubist designs in which highly

sophisticated space definitions are supported by the contrast and superimposition

of flat, bulging, smooth, broken or meandering forms.’

In Northern Europe too the violin frequently appeared in still lifes as a ‘vanitas’ motif,

conveying a moralising commentary on the briefness of worldly pleasures such as

music. Dutch Golden Age artists and patrons were especially keen on the instrument,

as testified by Pieter Claesz’s masterful Vanitas with Violin and Glass Ball (c. 1628;

Germanisches Nationalmuseum, Nuremberg). From the still life tradition stemmed the

taste for trompe l’oeil painting, of which the most remarkable example is probably Jan

van der Vaart’s incredibly deceptive Violin Door at Chatsworth House: the instrument

hangs on a feigned door leading to the music room, as a self-confident assertion on the

part of the artist of the superiority of painting over music.

The rise of symphonic music in the 18th century solidified the violin’s place in

the canon of both music and painting, as the instrument became the nucleus

and the keystone of the modern orchestra. From grand public events such as

Francesco Guardi’s Venetian Gala Concert (Munich, Alte Pinakothek) to the intimate

atmosphere of elegant salons, such as Pietro Longhi’s The Concert (1741; Venice,

Galleria dell’Accademia), it is the social dimension of the violin as the aristocratic

instrument par excellence that dominates in painting from the period.

By contrast, the 19th century saw the violin return to its earlier associations with

the lowly world of vagabonds and bohemians. The figure of the bohemian outcast

had by then merged with that of the misunderstood creative genius, and the violin

was the instrument best suited to express the romantic artist’s inner sorrow, the

mal du siècle: ‘The violin quivers like a tormented heart / Melancholy waltz and

languid vertigo!’ wrote Charles Baudelaire in his poem Evening Harmony . When

Baudelaire’s favourite painter, Edouard Manet, depicted the Parisian bohemian life

佛蘭契斯科·瓜爾迪 (1712–1793)

《威尼斯演奏會》

Francesco Guardi (1712–1793)

Venetian Gala Concert

Scala, Florence/bpk, Bildagentur

fuer Kunst, Kultur und Geschichte, Berlin



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with The Old Musician (1862; Washington DC, National Gallery of Art), he placed an

ageing, obsolete violin player at the heart of the picture as the archetypal marginal

figure and the painter’s alter ego. Portrayals of Niccolò Paganini, arguably the

greatest virtuoso of all time, also testify to this new view of the artist. Paganini was

reputed to have sold his soul to the devil in return for his astonishing skills. While the

neoclassical painter Jean-Dominique Auguste Ingres attempted to tame Paganini’s

impetuosity in his fine and polished portrait drawing (1819; Paris, Musée du Louvre),

his romantic counterpart Eugène Delacroix exploited to its fullest the Faustian

legend surrounding the virtuoso, depicting the musician’s thin, sepulchral and

entranced silhouette emerging from threatening darkness (1831; Washington, Phillips

Collection). Delacroix’s swift brushstrokes seems to echo the glissandi, pizzicati ,

double stops and harmonic effects that were characteristic of the player. The

bohemian violinist later found another incarnation in the figure of the wandering

Jew, poetically depicted by Marc Chagall in the oneiric Green Violinist (1923–1924;

New York, Guggenheim Museum).

In the modernist age, the violin became for the avant-garde a privileged vehicle

for all sorts of formal explorations. The instrument’s distinctive shape was a

haunting leitmotif in Braque and Picasso’s cubist compositions: dismantled

and deconstructed, the evocative power of the violin’s familiar lines resisted

complete abstraction. Incidentally, in Violins: Mozart Kubelick from 1912 (New York,

Metropolitan Museum), Braque paid tribute to the Czech violinist Jan Kubelík, the

former owner of the 1728 Kubelík, von Vecsey violin in the present catalogue

(page 112). Fascinated by kinetic photography and optical effects, the futurist artist

Giacomo Balla chose the violin as a privileged subject to explore the possibilities

of rendering motion through paint, in his hypnotic The Hand of the Violinist

(1912; London, Estorick collection). Exploiting the anthropomorphic qualities of

the instrument, the surrealist artist Man Ray projected his erotic fantasies onto

the violin’s voluptuous curves with his iconic photograph from 1924, Le Violon

d’Ingres, in which he painted the f-holes of the stringed instrument on the back


喬治·布拉克 (1882–1963)

《莫扎特、庫貝利克》，1912年作

Georges Braque (1882–1963)

Mozart Kubelick, 1912

Private Collection | Bridgeman Images

© ADAGP, Paris and DACS, London 2015

阿曼(1928–2005)《憤怒的小提琴》，1962年作

Arman (Armand Fernandez, 1928–2005)

Colère de violins, 1962

Royal Museums of Fine Arts of Belgium

photo: J. Geleyns

© ADAGP, Paris and DACS, London 2015


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曼·雷 (1890–1976)

《安格爾的小提琴》，1924年作

Man Ray (1890–1976)

Le Violin d’Ingres, 1924

BI, ADAGP, Paris/Scala, Florence

© Man Ray Trust/ADAGP,

Paris and DACS, London 2015

覺雙關語建立一種辯證的關係，一方面物化女性的胴體，同時為小提琴注

入生命，而小提琴的不同部分亦以人體部位命名，例如頸、腰、腹、肋及靈

魂。超現實主義藝術家薩爾瓦多·達利 (Salvador Dalí) 的理念亦相近，他在

《黃昏的長腿叔叔……希望！》(1939年作；達拉斯藝術博物館藏) 中，以正

在融化的小提琴比喻戰爭及性無能。後來，普普藝術雕塑家阿曼 (Arman) 在

《憤怒的小提琴》(1962年作；布魯塞爾比利時皇家美術博物館藏) 中把小提

琴徹底粉碎，藉此顛覆傳統。這種創造性的破壞可能反映阿曼嘗試擺脫過

去五個世紀令藝術家深感著迷的小提琴。


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1673 STRADIVARITHE ‘DU PRE, HARRELL’

VIOLONCELLO

1673年製

斯特拉迪瓦利「DU PRE, HARRELL」

大提琴


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Antonio Stradivari (1644–1737)

A Violoncello, Known as the du Pré, Harrell , Cremona, 1673

Labelled Antonius Stradivarius Cremonensis / Faciebat Anno 1673

Length of back: 30 ¼ in. (76.9 cm.)


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1673 STRADIVARI

THE ‘DU PRE, HARRELL’VIOLONCELLO

Documents

William E. Hill and Sons,

London, February 15, 1961

Jacques Français,

New York, 13 July 1983

ProvenanceW.E. Hill & Sons

Jacqueline du Pré

Sara Pacey (loaned to) 1965

Lynn Harrell

Nina Kotova

Current owner

Of the surviving instruments made by Antonio

Stradivari there exist fewer than 65 violoncellos

compared with his large output of violins. Of

these 65, only 27 cellos remain that are dated

before 1700. This may be explained by the small

demand for cellos in the 17th century due to

the limited performance repertoire for theinstrument. It may also be that the market

was well saturated with works by Domenico

Montagnana (1686–1750), Francesco Goffriller

(1692–1750), G.B. Grancino (1637–1709) or the

German-born Roman David Tecchler (1666–1748),

who all excelled at making violoncellos.

The 1673 Stradivari is typical of all early Stradivari

cellos in that originally it was constructed on a

much larger outline than we are accustomed

to today. With body lengths averaging between

76 cm. and 81 cm. and broader across the

bouts, they have all been reduced in size toaccommodate ease of playing. The du Pré,

Harrell shares many attributes with these

early Stradivari in its Rubenesque and sensuous

outline. It should be noted that Stradivari used

a local poplar (populus nigra) sourced in the Po

Valley region for the du Pré. In examining the

1697 Castelbarco, the 1698 De Kermadec Bläss

and 1698 Magg cellos, Stradivari undoubtedly

had sourced a stock of poplar cut from the

same tree, as evidenced by the similar grain

pattern these instruments share. The earliest

reference to the 1673 du Pré cello was the

sale in 1961 to the then 16-year-old Jacqueline

du Pré via London dealers William E. Hill

and Sons. Purchased with funds supplied

by the Courtauld Trust and her godmother

Isména Holland, the young du Pré used thisinstrument for her recital debut at Wigmore

Hall in 1961 and her concerto premiere with

the BBC Symphony Orchestra at the Royal

Festival Hall on 21 March 1962. The success

of these concerts catapulted her short and

celebrated career. Within three years du Pré’s

artisty had outgrown the instrument and

by 1965 she had loaned the instrument to

a friend, British cellist Sara Pacey, though it

remained in du Pré’s ownership.

Prior to du Pré’s tragic death, the cello was

sold via New York dealer Jacques Françaisin 1983. The new owner was American cellist

Lynn Harrell, who performed with the Stradivari

as well as a 1720 Montagnana. In 2006 the

cello changed hands again, this time passing

to Russian cellist Nina Kotova. Her primary

performance instrument, it can be heard on

her Warner Classics recording of Bach Suites

for Unaccompanied Cello. Since being acquired

by the current owner, the cello has continued to

be made accessible to Ms Kotova.


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杜普蕾 (1945–1987)

杜普蕾是二十世紀下半葉的著名英國大提琴演奏家，從小跟隨母親學習大

提琴，其母是英國皇家音樂學院的鋼琴家。杜普蕾其後入讀倫敦大提琴學

校及市政廳音樂學院，並師承大提琴大師威廉·普利斯 (William Pleeth)。杜普

蕾年幼時已於不少音樂比賽中奪魁，並經常與姐姐希拉里合奏。她於 16歲時

在倫敦威格摩爾音樂廳舉辦首場演奏會，翌年入讀巴黎音樂學院。杜普蕾

與倫敦交響樂團及指揮家約翰·巴比羅利爵士(Sir John Barbirolli) 共同為百代

唱片錄製艾爾加大提琴協奏曲，及後更與鋼琴家兼指揮家丹尼爾·巴倫邦

(Daniel Barenboim) 高調成婚，令她成為舉世矚目的演奏家。杜普蕾獲教母及

Courtauld Trust送贈 1673年由斯特拉迪瓦利製作的大提琴，成為她由1961年

到1964年期間演奏用的樂器。1971年，杜普蕾的手指及身體各處開始失去知

覺，確診患上多發性硬化症。1973年，她舉行最後一場公開演奏，最終於1987

年在倫敦病逝。她的大提琴後來售予大提琴家林恩·賀萊爾，並命名為「du

Pré Stradivari」以作紀念。

林恩·賀萊爾 (1944年生)

大提琴演奏家林恩·賀萊爾1944年生於紐約市，父親是男中音歌手，母親則

是小提琴家。他在12歲時移居達拉斯，跟隨LevAronson學藝，其後入讀紐約

茱莉亞學院及位於費城的柯蒂斯音樂學院。1961年，他夥拍紐約愛樂交響樂

團在卡內基音樂廳首次登台演出，並在1971年舉行首場個人演奏會。其後他

於世界各地演出，包括曾為教宗若望保祿二世演奏，亦在洛杉磯愛樂學院

(Los Angeles Philharmonic Institute) 及倫敦皇家音樂學院擔任要職。杜普蕾

Jacqueline du Pré

G.MacDomnic/Lebrecht Music & Arts


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1686 STRADIVARITHE ‘KOCHANSKI,

ROSENHEIM’ VIOLIN

1686年製

斯特拉迪瓦利「KOCHANSKI, ROSENHEIM」

小提琴


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71THE ART OF MUSIC

1686年製

斯特拉迪瓦利「KOCHANSKI, ROSENHEIM」

「Ex-Kochański , Rosenheim」小提琴製於

1686年，當時為斯特拉迪瓦利的「阿瑪蒂

風格時期」。不過，斯特拉迪瓦利1690年

前製造的作品並非完全受阿瑪蒂玲瓏小

巧的琴型影響，背板長 35.6公分，琴身三

段分別闊16.9公分、11.6公分及20.9公分，與

其「黃金時期」作品的尺寸及特質相同，

但細看之下便會發現仍然帶有尼可羅寇

恆斯基阿瑪蒂的影子，特別是極為細膩的

工藝，以及斜度更小的拱形面板，令傳音

的琴身更闊更淺，琴邊亦比阿瑪蒂的作品

更結實。剛陽的結構使音色宏亮，令人眼

前一亮，來自同一塊優質厚楓木、採用單

背板設計的1679年製「Hellier」、1685年製

「Guyot」及1686年製「Rosgonyl」小提琴便

是最佳例子。「Ex-Kochański, Rosenheim

」

小提琴亦附有最早期的斯特拉迪瓦利標

籤，引起學者及收藏家的興趣。這些用於

1660年代的標籤皆將年份最後的數字留

空，而為節省資源，斯特拉迪瓦利將「166_

Stradivari」預印標籤的第三個數字「6」以

人手改為「8」，以正確顯示小提琴的製造

年份為「1686」年。

首位有文獻記載的小提琴收藏家為Willy

Rosenheim，據說他在演奏生涯早期將小

提琴借予波蘭小提琴家兼作曲家保羅·

寇恆斯基 (Paul Kochański)。二十世紀初，

小提琴輾轉落入美國愛因斯坦家族的手

中，其後售予紐約的小提琴家柏恩斯坦

(Bornstein)。1967年，Sylvia Cleaver買下小提

琴，成為現時珍藏的一部分。

文件：倫敦William E. Hill and Sons 證書，

1898年11月15日

紐約 Rembert Wurlitzer Inc.，

1967年11月28日

倫敦John and Arthur Beare Ltd，

1967年12月15日倫敦Charles Beare信件，

1967年11月13日

文獻：H.K. Goodkind著，《Icono