A MYSTERY UNVEILED

While scholars have scrutinised the making traditions of various Italian cities, the luthiers of Ferrara have been largely neglected – until now. Florian Leonhard presents the results of recent archival research into Alessandro Mezzadri and the Marconcini family, along with notes on their making styles

A 1773 depiction by Andrea Bolsoni of the church and Archbishop’s palace in Ferrara, with the piazza of S. Crespino

The English brothers Albert and Alfred Hill, known as luthiers and dealers, financed several research projects in their lifetime. These projects were instrumental in unravelling many mysteries crucial to understanding the history of Italian violin making. Yet, among these discoveries, one enigma remained unsolved: the connection between the city of Ferrara and its luthiers of the 18th and 19th centuries. In 1910 their leading researcher in Italy, Giovanni Livi, was unable to uncover significant information on Ferrara’s main luthiers of that period, despite conducting research in the city. It is noteworthy that during this time, Livi was investigating the Guarneri family between Mantua and Cremona. The Hill brothers drew on these investigations to compile their seminal 1931 monograph on the Guarneri family.

Not much has changed since then; even today, very little is known about this school. That is why, in collaboration with organologist Maria da Gloria Leitao Venceslau, I have been conducting in-depth research on Ferrara’s violin making tradition for some years. As an important cultural centre of Italy, Ferrara still holds mysteries, particularly concerning its violin making school during the 18th and 19th centuries. Thus my project to produce a book on violin making in Ferrara presents an opportunity to shed light on lutherie in that city. Although the historical period under examination spans from the 17th century to the early 20th, the focus lies on a few key figures from the 18th and 19th centuries. In this article I share some biographical insights we have uncovered about three prominent luthiers: Alessandro Mezzadri and Luigi and Giuseppe Marconcini.

ALESSANDRO MEZZADRI

The Ferrara where Alessandro Mezzadri lived was no longer the capital of the Este family, home to one of the finest courts

during the Italian Renaissance. Instead, the city had returned to being under the rule of the Papal States. Although the grand ceremonies and events in which music played a central role had diminished since its illustrious past, Ferrara still boasted a thriving musical scene in the 17th century thanks to its academies and their competitive spirit. Behind the musical rivalries lay the patronage of noble families, which were willing to spend fortunes to host renowned musicians and singers. Members of these same families were also the main clientele of the luthiers active in Ferrara during the 17th and 18th centuries.

They include Alessandro Mezzadri, who was described by Ferrarese author Luigi Napoleone Cittadella in 1864 as a suonatore di violino mediocre, ma eccellente in fabbricarli (‘a mediocre violin player, but excellent at making them’). Alessandro Mezzadri is also recognised as both a skilled luthier and violinist in the primary dictionaries of the field. Through our research we traced Alessandro, who was born around 1653 and died in Ferrara in 1729 at the age of 76. As we will also see with the Marconcinis, variations on the Mezzadri surname are evident in the sources. Indeed, in the parish documentation we consulted, including his death certificate, the surname is spelt ‘Mezadri’. However, in other archival documents consulted in Ferrara, the surname is consistently spelled Mezzadri.

Mezzadri lived with his wife, Anna Amadori, in the parish of San Salvatore in Ferrara until his death in 1729. Records from the parish census, known as the Status Animarum, indicate his presence on Strada di San Francesco from around 1719 to 1727. In 1728 he lived in the same neighbourhood, in a house owned by Marquis Onofrio Bevilaqua. Before this he probably lived in the San Gregorio area, where there are records of a certain Francesco Mezzadri, presumably Alessandro’s son, who died in 1705. Leading dictionaries of violin making, such as those by René Vannes and Karel Jalovec, mention a Francesco Mezzadri, a violin maker associated with Milan.

These few but essential insights allow us to outline the life of Alessandro Mezzadri. As the Hills claimed in their diaries from 1910, there exist a few violins made by Mezzadri, yet they remain largely unrecognised, having been marketed under more renowned labels. I can confirm the same still more than a hundred years later; lately I had to examine a Mezzadri violin that was labelled and attributed to Giuseppe Guarneri. This complicates the identification of his work, which deserves special attention for its remarkable quality. It is no coincidence that Mezzadri’s career flourished during Cremona’s golden era, a period dominated by legendary masters such as Guarneri, Stradivari and Rugeri. Mezzadri’s style appears to diverge from theirs and he was not formally associated with the Cremonese school. Nevertheless, his work exhibited a unique style that rivalled that of these eminent masters. Examining Mezzadri’s instruments I detect a slight resemblance to the Amati school, albeit with distinctive features. The models have squarer bouts and pointed corners, with a deep V-shaped channel at the corner, a trait also typical of the Marconcinis’ work and that of the following generations of makers in Ferrara.

Extract from the 1728 Status Animarum (parish census) of San Salvatore in Ferrara. At the time Alessandro Mezzadri was living with his wife and three other people in a house belonging to the Marquis Onofrio Bevilaqua.

ALESSANDRO MEZZADRI WAS DESCRIBED AS ‘A MEDIOCRE VIOLIN PLAYER, BUT EXCELLENT AT MAKING THEM’

The arching is reminiscent of Giuseppe Guarneri ‘filius Andreae’, yet fuller than that of instruments by the followers of Amati, leading to a fuller, and enhanced, sound projection. Mezzadri’s craftsmanship stands out for its confidence and elegance, evident in each piece he made. Notably his use of radiant varnish and wood treatment echoes the tradition of Cremonese craftsmanship. In particular, Mezzadri’s scrolls are strong in character and have a clear design vision. His consistency across various elements, such as outlines, edgework and f-hole designs, paired with fluent elegance, sets him apart from lesser-known makers outside the spheres of the prominent violin making centres.

Extract from the Book of the Dead of the Parish of San Salvatore (1672–1753) recording the death of Alessandro Mezadri (Mezzadri) on 26 November 1729

PHOTOS MARIA DA GLORIA LEITAO VENCESLAU (FLFV)

A remarkable aspect of Mezzadri’s work is in his wood selection. In order to use a beautifully flamed piece of wood that he liked but that was too small to make a violin from, he added – often rather unconventionally – pieces of the same wood at odd angles and proportions. In two-piece backs, his location pins are precisely placed on the centre joint, using the joint as a marker. It seems that his priority was not solely to eliminate toolmarks, such as those from a nicked scraper; rather, his focus was on creating an elegantly finished overall object, a goal he consistently achieved.

Mezzadri’s unique style and craftsmanship subtly influenced the Marconcini family, showcasing the enduring legacy of a master in the world of violin making. The Marconcinis were the first to follow him and are the other luthiers examined in this article.

THE MARCONCINI FAMILY

The primary literature in the field often mentions the Marconcini family, known for their craftsmanship as luthiers in Ferrara, focusing in particular on Luigi and his son Giuseppe. The Marconcinis were probably not originally from Ferrara and there are indications in some dictionaries in the field that suggest Bologna may have been Luigi’s initial home town. One such clue is found in manuscript 595 of the Antonelli fund kept at the Ariostea library in Ferrara. This manuscript meticulously records the names of Ferrara’s deceased from 1379 to 1770, yet the surname Marconcini (or any of its variations) is notably absent. The surname of this family underwent alterations over the years in Ferrara, evolving from Marconzzini to Marconzini, before settling on Marconcini.

Corner and scroll sketches of a 1777 Luigi Marconcini viola

Scroll sketch of the 1710 Alessandro Mezzadri violin

ALL DRAWINGS FLORIAN LEONHARD

However, these surnames always refer to a singular family lineage, specifically that of Giuseppe Marconcini and his sons. The records from Ferrara’s parish censuses dating back to 1769 trace the presence of Giuseppe’s family, including his well-known son Luigi Marconcini. During that time, Giuseppe Marconcini lived with his wife Isabella and their two children, Luigi and Teresa, in the vicinity of the parish of Santa Francesca Romano on via Chiovare. According to these records, Luigi was around 25 years old at that time, suggesting a birth year of around 1744. These approximations stem from the fact that the priests of that era who made the records were prone to occasional errors in noting the ages of their parishioners. It is documented that Luigi’s father Giuseppe died in 1776 at the age of 73, indicating that Giuseppe was likely born around 1703.

Limited information is available about the elder Giuseppe Marconcini. One possibility is that, like his son, he was a luthier. If true, Giuseppe likely practised his craft in the first half of the 18th century. While details about Giuseppe are scarce, we have more concrete records regarding his son Luigi, and various censuses confirm Luigi’s profession as a luthier. A few years before his father’s death in 1771, Luigi married Anna Fiori. In 1773 their son Giuseppe, who would continue the family business, was born. Additionally the couple had other children, including Gaetano (1778) and Antonio (1781).

THE SURNAME EVOLVED FROM MARCONZZINI TO MARCONZINI, BEFORE SETTLING ON MARCONCINI

Top Extract from the 1769 Status Animarum of Santa Francesca Romana in Ferrara. At the time Luigi Marconcini, aged 25, lived with his father Giuseppe, mother and sister. Above Extract from the 1776 Book of the Dead of Santa Francesca Romana in Ferrara, where the death of Giuseppe Marconcini, father of Luigi, is recorded

Above Extract from the 1803 Status Animarum of Santa Francesca Romana, Luigi Marconcini was about 58 years old and is described as a maker, as is his 29-year-old son Giuseppe

MEZZADRI’S USE OF RADIANT VARNISH AND WOOD TREATMENT ECHOES THE TRADITION OF CREMONESE CRAF TSMANSHIP

Extract from the 1782 Status Animarum of Santa Francesca Romana.At the time, Luigi Marconcini was about 38 years old and lived with his wife Anna and children Teresa, Giuseppe, Rosa, Gaetano and Antonio.

Extract from the 1810 Status Animarum of Santa Francesca Romana, when Luigi Marconcini was deceased and his sons Giuseppe, Gaetano and Antonio were all makers

ALL PHOTOS MARIA DA GLORIA LEITAO VENCESLAU (FLFV)

In 1803, according to records from the parish of Santa Francesca Romano, Luigi and his eldest son Giuseppe were listed as fabricatori di viole (viola makers), while Gaetano and Antonio were noted as droghieri (grocers). After Luigi’s death the family situation changed, and so did the professions of his younger sons. In 1810 the parish priest also described Antonio and Gaetano as viola makers. Luigi Marconcini died in Ferrara in 1808, and thereafter his workshop was managed by his eldest son, Giuseppe, with assistance from his younger brothers.

In addition to the Status Animarum and other censuses identified in Ferrara, there is a concise biography on Giuseppe di Luigi Marconcini written by his friend Filippo Zaffarini in 1841. This brief biography, which we were fortunate to examine

ALESSANDRO MEZZADRI 1710 VIOLIN

ARCHIVE PHOTO MARIA DA GLORIA LEITAO VENCESLAU (FLFV). VIOLIN PHOTO PATRICK SMITH (FLFV)

This instrument boasts a design distinguished by its wide, sweeping arching, complemented by a narrow channel that gracefully accentuates its elegant contours. The f-holes’ upper and lower eyes are small drilled cylinders connected by elegantly flowing upright stems with wings that are very slightly pointed by design. The lower f-hole wings are left flat and are typically not hollowed out. The edges are fine and the channel deeply gouged out, ending in each corner around the mitres in a V-shape, clearly using a dedicated gouge for that purpose. The corners of the instrument have a ‘pointed’ design and bear sharp purfling mitres but are devoid of bee-stings.

A closer inspection reveals the maker’s approach in its creation; less emphasis was placed on meticulously removing the crosswise marks left by the plane and scraper. These subtle imperfections on the back of the instrument are indicative of the maker’s routine speed during its construction, blending efficiency with artistry.

Extract from the 1840 Book of the Dead of Santa Francesca Romana, indicating the death of Giuseppe Marconcini

at the Ariostea library in Ferrara, sheds light on Marconcini’s craftsmanship and clientele. According to Zaffarini, Marconcini honed his craft under his father’s tutelage, meticulously studying Cremonese violin craftsmanship, particularly that of the Amati, Stradivari and Guarneri families. He also restored instruments by those makers in Ferrara, and studied Antonio Bagatella’s volume, Regole per la costruzione de’ violini, viole, violoncelli e violone, which was published in 1782. Zaffarini praises Marconcini’s ability to replicate the work of the Cremonese masters flawlessly, and notes his dedication to crafting guitars alla francese.

The source also provides information on Giuseppe Marconcini’s clientele, which included not only locals from Ferrara, but also some foreigners. Specifically, Zaffarini mentions several notable sales: a violin of medium form in the style of Amati that was sold to a Gaetano Melloni from Lonato. A further two Amati-model violas were sold to Professor Gaetano Zocca and to Dr Luigi Poletti, and a double bass was purchased by a Mr Mazzoni. Additionally, a violin with Stradivari form was sold to Pietro Grimaldi. Zaffarini points out that if Giuseppe Marconcini had not focused on restoring instruments for many of his noble clients, he would have left behind a greater number of his own creations.

One of Marconcini’s distinguished clients was Count Bartolomeo Masi, who, as noted by Zaffarini, purchased a viola in the Amati form. According to Ferrara author Luigi Napoleone Cittadella, Masi was born in 1770 and, therefore, was a contemporary of Marconcini. Further insights into Masi’s life emerge from his obituary, published in 1828. Masi received violin instruction under Alessandro Rolla in Parma and Giovanni Bollo in Ferrara, and also collaborated with fellow Ferrara citizen Angelo Lodi on musical compositions. Masi’s involvement in governance as Prefect of Cremona from 1804 is documented. His initiatives included organising Napoleon Buonaparte’s visit to Cremona in June 1805, and

LUIGI MARCONCINI METICULOUSLY STUDYIED CREMONESE CRAFTSMANSHIP, PARTICULARLY OF THE AMATI, STRADIVARI AND GUARNERI FAMILIES

Pattern for a violin form of the Prefect Masi MS784

PHOTOS COURTESY MUSEO DEL VIOLINO

improving the city’s infrastructure, namely the disastrous condition of the streets. Thus, it is no surprise to find traces of his activities in Cremona’s archives. Still, the mention of Masi’s name alongside artefacts kept in the Museo del Violino in Cremona is peculiar. Of particular interest is MS784 (from the Ceruti workshop), containing a pattern for a violin form of Antonio Stradivari, notably labelled as of the Prefect Masi on the reverse.

There are other patterns mentioning Prefect Masi, such as MS787, aligning with Antonio Stradivari’s violin pattern (Ceruti workshop) labelled under the Prefect Masi and MS780, corresponding to a pattern for a small viola form, with a note on the reverse mentioning V. Ceruti. Of particular importance to our study is Masi’s connection to Count Alessandro Cozio di Salabue, a renowned collector and historian of violin making. In one of his manuscripts kept at the Biblioteca Statale di Cremona, Cozio noted Giuseppe Marconcini’s name and age, information conveyed to him by Count Bartolomeo Masi’s letter, as indicated in the margin of the document.

Among the Marconcini family, it is Giuseppe di Luigi who emerges as the one for whom we have gathered the most information, also regarding the last period of his life. During this time he relied on a pension provided by the municipal council of Ferrara to sustain him financially. This fact confirms the recognition he received within his community as a skilled craftsman. Despite his ailing health at the time, the financial support allowed him to continue his work for a few more months until his death on 27 November 1840. His brother Gaetano, who lived until 1852, assisted him during this period. As for the workshop’s future, Zaffarini mentions that besides his brother Gaetano, Giuseppe had a pupil. After Giuseppe’s death many unfinished violins and a double bass were passed on to his only student, Luigi Meletti (1800–64).

LUIGI MARCONCINI 1777 VIOLA 

For this viola, Luigi Marconcini has used his own f-hole design, which sits comfortably within the arching and the outline of the instrument. The lower wings, as was common in Ferrara at the time, have been left flat. The arching is left quite full, echoing the Mezzadri style. Such design choices lend the instrument a tonal quality rich in warmth and power. Significantly, the inconsistent use of location pins in Luigi’s work suggests an exploratory approach in his construction methods, possibly reflecting a deliberate pursuit of innovation and variation in his craftsmanship.

Extract from manuscript 47 by Count Cozio of 1816 entitled ‘agionta al libro registro di stromenti di Milano’, in which he mentions Giuseppe Marconcini and his age. At the time Marconcini was 44 years old. Reproduction of MS Cozio 47 was authorised by the Biblioteca Statale di Cremona (N.95/2024)

VIOLIN PHOTOS PATRICK SMITH (FLFV). ARCHIVE PHOTO MARIA DA GLORIA LEITAO VENCESLAU (FLFV)

When examining the work of Luigi and Giuseppe Marconcini, I notice traces of Mezzadri’s influence, even though there is no direct mentorship connection. Luigi, Giuseppe’s father, initially displayed a craftsmanship with a rustic allure, which gradually evolved into a refined style. On the other hand, Giuseppe demonstrated a consistently meticulous and sophisticated finesse right from the beginning of his career. Giuseppe’s edgework, characterised by deep channelling and V-shaped corner channels near the mitres, reflects the Ferrarese style initiated by Mezzadri. Mezzadri consistently uses location pins, while Luigi does not always do so. Giuseppe, on the other hand, completely abandons them. This change is because of an evolution in construction methods, where the neck began to be set into the block from the outside using dovetailing, instead of being nailed on to the top-block from the inside before the instrument was closed. Similarly to Mezzadri’s instruments, the Marconcinis’ lack the bee-sting in purfling mitres and feature flat f-hole wings. Their designs feature more squared outlines and hook-like corners, with f-holes often leaning towards the centre, contrasting with Mezzadri’s upright f’s. Both Marconcinis also crafted robust, well-made scrolls. In conclusion, Mezzadri’s unique style and craftsmanship subtly influenced the Marconcinis, showcasing the enduring legacy of a master in the world of violin making.

The reproduction of all the documents in this article has been authorised by the Arcidiocesi of Ferrara – Comocchio, n.46/2026

GIUSEPPE MARCONCINI 1810s VIOLIN 

ALL PHOTOS PATRICK SMITH (FLFV)

This instrument features a robust scroll characterised by a wide chamfer and a deeply carved volute, mirroring the craftsmanship of Giuseppe’s father Luigi. The edges and corners are finely executed, closely resembling his father’s style. The corners of his design typically exhibit a distinctive ‘hooked’ appearance, while the purfling mitres are centred, a trait reminiscent of his predecessors. The archings of his instruments tend to be slightly flatter compared to those in his father’s designs, as exemplified in this particular instrument. It proudly displays an untouched and clean label.

GIUSEPPE MARCONCINI DEMONSTRATED A CONSISTENTLY METICULOUS AND SOPHISTICATED FINESSE RIGHT FROM THE BEGINNING OF HIS CAREER