in connection with Cremonese
Violin-making and varnishing, near the middle of the last century. In
short, the great makers left no other record of the steps they took
both in manufacture and in the preparation of their varnish than can
be discovered in their works. The instruments of Pressenda present a
singular contrast with others of Italian make belonging to this
century, most of which evidence what may be termed the throes of a
dying manufacture. With Pressenda we appear to have a new departure,
in which there is some show of attention having been paid to the work
accomplished in the best workshops of Paris. The then condition of
Violin-making in Italy made it necessary for any Italian maker--no
matter how great his ability--to seek information elsewhere, if
desirous of excelling in his art. Pressenda appears to have sought to
emulate and even surpass many Parisian makers by associating his name
for the most part with good and unsophisticated work. The results of
his labours reflect no little credit on his skill and judgment.
Pressenda may be styled a born maker of Violins. From an account
published by Signor Rinaldi, of Turin, in 1873, we learn that
Pressenda was the son of poor parents, who lived in Lequio-Berria, a
hamlet in the vicinity of Alba, in Piedmont. His father Raffaele was a
strolling fiddler, and gained his precarious livelihood by playing at
village fairs and other rejoicings. On these occasions he was
accompanied by his son Giovanni, who followed the occupation of his
father, playing the Violin with some degree of skill. It was at this
period that he appears to have manifested a desire to know something
of Violin manufacture, and frequently asked for information from his
parent, who, however, was rarely able to satisfy his curiosity.
Learning that Cremona was in some way associated with good Violins, he
resolved to fiddle his way to that city. There he found Storioni, from
whom he obtained some rudimentary knowledge of the manufacture he was
so much interested in. Later he removed to Piedmont, and established
himself in Alba in 1814, as a maker of Violins. The patronage he
gained was, however, insufficient to maintain him, and he combined the
business of cabinet-making with his favourite pursuit. After removing
to Carmagnola, he went in the year 1820 to Turin, where his abilities
were recognised and rewarded. He was encouraged in his manufacture by
Giovanni Battista Polledro, the famous Violinist, wh