STORIONI, LORENZO<\/p>\n\n\n\n
Born at Cremona, 1751. Worked at 3, Contrada Coltellai. Died there, 1802. The last of the Cremonese makers to evince any powers of originality, and the starting point of the gradual decadence of that school. Every line of modelling indicates his anxiety to meet the increasingly greater demand for strength and robust sonority of tone. Modelled many instruments after the long and wide proportions of a kind of Stradivarian design, but not always consistent with ideal grace. Occasionally the Bergonzi traits appealed to his highly cultivated conception of Herculean strength, but those bearing a resemblance to the Guarnerius are his most valued productions – these being very handsome as a rule. Workmanship (not so refined as that of famous predecessors in that little town) is at least always attractive, but suggests incompleteness rather than finished art, though there is never an absence of individuality at any point. Purfling (often narrow and running quite near the edge) affords striking evidence of insufficient self-criticism in its roughish inaccuracy of steadiness. Love of microscopic exactitude in cutting a scroll, is one that captivates most makers. Apparently Storioni did not possess this faculty to any great degree, and no scrolls of his are known that have not a strong element of unaccountable stiffness. Also never settled as to the shape and position of the sound-holes, and it is scarcely possible to find two instruments having these cut absolutely alike. Variable too in the selection of wood, particularly in point of vein, which is more often wide than narrow, but seemingly of unusually fine acoustical properties. Seldom bothered to secure handsome material for backs and ribs, apparently regarding straightness or beauty of flame as totally unimportant. Used a spirit varnish of a golden yellow shade with a reddish tinge, somewhat of hard surface more approaching the Neapolitan rather than the Cremonese, and much of it appears to have sunk into the wood. Best period, 1773-1795. Made instruments for important personages, having the edges and scroll embellished by black and white pearl inlay. Finest instruments have an altogether noble tone, completely full and sonorous, and also of silvery sweetness at times. Catalogued at \u00a3400, 1932 and worth more. One example of Guarnerian type, dated 1774, realised 5000 dollars in the U.S.A., 1930. Vieuxtemps achieved many of his virtuoso successes on a Storioni. Scores of instruments, comparatively of undignified design and rough workmanship, bear his label but it is highly probable that he had no hand in their creation. Some of his later violins have the backs lighter varnished than the tops. Only a few violas known. Body length, 15.12\/16 inches. Produced several magnificently toned \u2019cellos which are enormously high priced. Finally several four-stringed double-basses are noted for their remarkable flexibility and sonority of tone.<\/p>\n\n\n\n
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Laurentius Storioni fecit<\/p>\n\n\n\n
Cremonae. 1793<\/p>\n\n\n\n
Laurentius Storioni Cremonensis<\/p>\n\n\n\n
fecit Anno 17. .<\/p>\n\n\n\n
Laurentius Storioni restauravit<\/p>\n\n\n\n
Cremonae 1780<\/p>\n\n\n\n
Sometimes branded \u201cL.S.\u201d also \u201cS\u201d on the peg-box. Also stated that he worked at Turin for a short time. Many trade violins of Tyrolese emanation, small model, not very high arching, owing to a depression from sides, wide purfling, pretty wood for backs, squat sound-holes, unattractive scroll, yellow-brown varnish. \u00a3800, 1960.<\/p>\n\n\n\n
Lorenzi Storioni<\/p>\n\n\n\n
fecit anno 1786. Cremona<\/p>\n\t\t","protected":false},"excerpt":{"rendered":"
STORIONI, LORENZO Born at…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[13],"tags":[],"class_list":["post-1912","post","type-post","status-publish","format-standard","hentry","category-makers"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts\/1912","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/comments?post=1912"}],"version-history":[{"count":0,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/posts\/1912\/revisions"}],"wp:attachment":[{"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/media?parent=1912"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/categories?post=1912"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/izuta-violin.co.jp\/makers\/wp-json\/wp\/v2\/tags?post=1912"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}