Documentary Evidence Concerning the Early History of Vincenzo Trusiano and the Panormo Family of...

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J. Violin Soc. Am.: VSA Papers • Fall 2014 • Vol. XXIV, No. 2

Documentary Evidence Concerning the Early History of Vincenzo Trusiano

and the Panormo Family of Instrument Makers in Italy

GIOVANNI PAOLO DI STEFANO

Rijksmuseum, Hobbemastraat 21, 1070 DN Amsterdam, The [email protected]

AbstractVincenzo Trusiano Panormo is usually considered to be one of the fi nest violinmakers of the second half of the 18th century. However, much of what has been written on his early life is not based on any documentary evidence. This paper reveals new documentary fi ndings concerning the biography of this important instrument maker and on other members of the Panormo family in Italy.

Two centuries ago, in March 1813, the famous Italian violinmaker Vincenzo Trusiano known as “Panormo” died in London at the age of 79. Even though Vincenzo Panormo is usually con-sidered one of the most important violinmakers of the 18th century, his activity is still partially shrouded in mystery. There are two main rea-sons why the reconstruction of his life is diffi -cult. First of all, Vincenzo constantly relocated from one city to another: from his native land, Sicily, to England, with some intermediate stops in other Italian and European centers. Secondly, there were recurrent forgeries of the labels in his instruments, which often bear false dates, so it is often quite complicated to understand where and when they were made. We should also add two auxiliary factors: there is a dearth of reli-able historical data on his life before his move from Italy to France and there have been very few research studies carried out about this great instrument maker.

However, some unpublished documents re-lated to Vincenzo and to other members of the Trusiano family, some of which we present here for the fi rst time, shed new light on the early Italian period of this instrument maker. These documents, as well as the existence of a double

bass built by Vincenzo in Palermo, labeled 1752, confi rm, without any doubt, that he stayed in his native city for a longer period of time than scholars previously believed. The documentary research has been carried out by the author in some of the main archives in Palermo (State Archives, Diocesan Archives, parish archives of the church of San Nicola all’Albergheria, San Giovanni dei Tartari, Sant’Antonio Abate, and the Cathedral of Palermo) and in parish archives in Monreale.

THE TRUSIANO FAMILY IN PALERMODuring Vincenzo’s time, Palermo was the capital of the Kingdom of Sicily and, after Naples, the largest city in Southern Italy. Of course, the mu-sical life in Palermo at that time was not com-parable to the Neapolitan equivalent. As is well known, Naples was the main European musical center in the early 18th century. Nevertheless, Palermo—with its theaters, congregations, chur-ches, and its wealthy and powerful aristocracy—had signifi cant musical activities. The Teatro di Santa Cecilia, which was established in 1693 by the Unione dei Musici (the local guild of

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musicians), was the main theater in the town. Another theater had been established at the end of the 17th century by Marquis Valguarnera of Santa Lucia and was called Teatro di Travaglini or Teatro di Santa Lucia. These theaters regu-larly staged operas, mainly Opera Buffa, and engaged local performers or itinerant opera companies (especially from Naples). At that time, Palermo and Naples were the two capitals of the Spanish vice-royalties in Italy. For this reason, the operas performed in Naples were regularly performed again in Palermo and mu-sicians often moved from one town to the other. Sacred music was also prominent in the local musical life. All the main religious orders and congregations (such as the Jesuits, Dominicans, Benedictines, Theatines, and Oratorian Fathers) regularly promoted musical activities and com-missioned sacred cantatas, vespers, oratorios, and masses [1]. Furthermore, during the 18th century cantatas and theatrical serenades were often commissioned by the aristocracy and per-formed in the most important palaces of the town to celebrate the king’s name-day, royal births, anniversaries, marriages, and other no-table historical or public events (as with the serenade composed in 1704 by the famous Domenico Scarlatti “on the occasion of the Childbirth of the Most Illustrious and most ex-cellent Donna Giovanna Alliata and Bonanno, Princess of Villafranca”) [2].

From the early 18th century, many local musicians were educated at the Conservatory of Palermo, which at that time was called Casa del Buon Pastore or Casa degli Spersi. As was true of the famous Neapolitan conservatories, the Conservatory in Palermo was originally founded in the 17th century with the purpose of educat-ing the homeless children and to instruct them in practical trades. After 1721, the Casa degli Spersi decided to specialize in teaching music, and became one of the earliest conservatories in Italy. From that time, the Conservatory usually provided groups of young instrumentalists or companies of young singers for public events, liturgical services, processions, etc.

To supply the need of instruments for all these musical activities, at least from the fi rst half of the 16th century, a vigorous community of makers was active in this town [3, 4]. Their workshops were located in the old Jewish

neighborhood, known as Ponticello, near the Church of San Giuseppe dei Falegnami (St. Joseph of the Carpenters). The stringed instru-ment makers were usually called violari (viol-makers) or citarrari (guitarmakers) and were members of the confraternity of St. Joseph, the local guild of carpenters. The activity of these instrument makers is verifi ed by a large number of unpublished documents preserved in the Archives of Palermo [5]. From these primary sources we know that, from the sec-ond half of the 16th to the end of the 18th centuries, more than 60 craftsmen worked in Palermo. None of the makers quoted in these documents have ever been included in dic-tionaries and publications about stringed in-struments makers. Even so, from the very few instruments that have survived, we can sur-mise that some of these makers reached high artistic levels. It was within this heretofore-unexplored musical instrument-making tra-dition that Vincenzo Trusiano took the fi rst steps of his career.

Most of the main biographical references about Panormo come from a well-known book written in 1864 by William Sandys and Simon Andrew Forster [6]:

Panormo, Vincent, who is generally alluded to as Old Panormo, was born on the 30th November, 1734, in a village named Monreale, a few miles from Palermo, in Sicily. He was endowed with much mechanical ability, and, unassisted, from sixteen years of age took delight in making various descriptions of musical instruments. The eldest son of the above-named, Francis Panormo, who attained his seventy-fourth year in 1842, has stated that his father made many descriptions of instruments; but most excelled in violins, violoncellos, double basses, and hautboys. Vincent Panormo became a resident in several parts of Italy, France, England, and Ireland. The fi rst time he came to England was in 1772, the second in 1789, being driven from France by the Revolution, where it is said “he was doing well”. The violins, violoncellos, and double basses of this maker are deservedly much esteemed,

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and valued for their pure and Italian quality of tone and appreciated by the professors on these instruments. He died in London about 1813.

The Sandys and Forster account needs to be re-vised in the light of new and unpublished evi-dence found about the history of this renowned family of instrument makers. This passage, as indicated by the authors, seems to be based on a direct witnessing of Vincenzo’s eldest son, Francesco (or Francis, as he was called in the late 18th century after his transfer to London). According to him, Vincenzo was born in Monreale in 1734. However, we have not yet found evidence to verify that.

As the 1752 double bass preserved at the Palermo Conservatory of Music proves, Vincenzo started to be involved in the con-struction of musical instruments during his early youth. However, he was not a self-taught maker, as reported by Sandys and Forster [6] and by several later sources. Indeed, the pres-ent research has revealed that Vincenzo was the son of the instrument maker Gaspare Trusiano, who worked in Palermo at least from the 1740s [7]. The work of Gaspare as an instrument maker is proven by some notarial acts found in the State Archives in Palermo [8–12]. Even though none of these documents specifi cally regards the construc-tion of musical instruments, some of them state that Gaspare was a citarraro (literally, a guitarmaker) as the string instrument makers were called in Sicily between the early 17th and the late 18th centuries (Fig. 1). (William Henley’s [13] statement that Vincenzo was a member a Palermitan noble family is clearly inaccurate.)

A 1743 double bass made by Gaspare in Palermo survives in a private Canadian collec-tion. Glued to the interior of its back is a la-bel bearing the inscription “Gaspar Trusiano / Fecit / Panormi 1743” [14]. This information proves that Vincenzo was not the founder of the Panormo dynasty, as it previously had been thought. Moreover, the existence of a double bass made by Gaspare Trusiano reveals that this type of bowed instrument, by which Vincenzo distinguished himself throughout his life, was also made by his father.

If Vincenzo was really born in 1734, he would have been just eighteen years old when he made the double bass preserved at the Conservatory of Music in Palermo (Figs. 2 and 3). This instrument bears a handwritten label which reads: “Vincenzo Trusiano / fecit Panormi / 1752” (Fig. 4). Thus, it is rather reasonable to confi rm what Francis reported: that his father had made musical instruments already when he was just 16. Indeed, the 1752 double bass, in spite of its unusual lime-wood belly, shows fairly good construction expertise (taking into account that Vincenzo was just 18 years old when he made it). Its opening on the back of the pegbox (Fig. 3) matches that of several Neapolitan double basses, such as those made by members of the Gagliano family.1 The 1752 Panormo double bass has great importance for the history of Vincenzo, as a matter of fact: it is his fi rst known instrument and the only one that can be dated back to the period of his residence in Palermo.

Contrary to what is stated by most bib-liographic repertories, which date Vincenzo’s move from Palermo as 1750 on the basis of some of his unreliable labels, he was still living in this town during that period. This assump-tion is proven not only by the existence of the

Figure 1. The citarraro Gaspare Trusiano named in a notarial act of 1752 (State Archives of Palermo) [8].

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the Trusiano family was living in the carpen-ters’ neighborhood, in the area called Isola di San Gaetano (St. Cajetan block). This is verifi ed by the 1753 and 1754 census that, as was common in Italy, the priest of the nearest parish (the church of San Nicola all’Alberghe-ria) compiled to record his parishioners. These special church registers, called stato delle an-ime or status animarum (“state of the souls”) list, year by year, all family members living in the same household, their address, and famil-ial relationships. According to the registers preserved in the archives of the parish of San Nicola all’Albergheria, in the early 1750s, the Trusiano family was composed of Gaspare, his wife Anna, and their fi ve children: Vincenzo, Giovanni, Grazia, Margherita, and Giuseppe (Figs. 5 and 6) [17]. From documents preserved in the State Archives of Palermo, we also learn that Gaspare had another son named Rosario [18]. However, the 1753 and 1754 church reg-isters do not mention Rosario, who was prob-ably Gaspare’s eldest child, so we can presume that he was no longer living with his parents at that time.

Prior to 1753, the Trusianos are not recorded in any of the registers preserved in the archives of the parish of San Nicola all’Albergheria. Therefore, it is likely that Gaspare and his fam-ily moved to the St. Cajetan block just around that date. However, we assume that before 1753 the Trusianos were living not far from that area. Indeed, two of Gaspare’s children, Giovanni and Grazia, were baptized on 24 March 1746 [19] (Fig. 7) and 25 October 1750 [20] (Fig. 8), respectively, in the church of San Giovanni dei Tartari, just a few hundreds yards from the par-ish of San Nicola and from the St. Cajetan block.2 Unfortunately, the census of the parishioners of the church of San Giovanni for the years before 1753 has been lost, so that we cannot be certain of where the Trusianos were living at that time.

In 1754 Gaspare, Vincenzo, and Rosario Trupiano (this is one of the many variants of spelling their family name that occurred in ar-chive documents, such as “Trusiani,” “Tresiano,” “Teresiano,” etc.) were named together in a no-tarial act (Fig. 9) [21]. This document reports that they received a payment of 45 onze, as re-corded by the priest Celestino Maria Grassi, who was procurator of the monastery of Santissima

Figure 2. Vincenzo Trusiano’s 1752 double bass (State Conservatory of Music, Palermo).

1752 double bass but also by several docu-ments, one of which is in the State Archives of Palermo [16]. Indeed, in the mid-18th century

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Figure 3. Two views of the head of Vincenzo Trusiano’s 1752 double bass (State Conservatory of Music, Palermo). (Photos by Centro Regionale per Il Catalogo della Regione Siciliana; publ. in Il Restauro Conservativo del Contrabbasso “Panormo,” pp. 19 and 23 [7].)

Trinità in the town of Giuliana, near Palermo. (Unfortunately, the document does not explain the reason for that payment.)

After 1754, and certainly before 1767, the Trusiano family left Sicily and headed to-ward Naples. Most likely, Rosario remained in Palermo where, in 1770, the marriage of his daughter Rosa to Francesco Arienzo, a na-tive from Abruzzo, was reported. Among the wedding witnesses, the guitarmaker Angelo Bonanno from Palermo was mentioned [22]. The Bonannos (Angelo and Salvatore) were one of the families of stringed instru-ment makers who worked in Palermo in the 18th century. Unfortunately, their activity is

only testifi ed by archival documents, and it seems that no musical instruments of these makers have survived. Other contemporary Palermitan makers were Matteo and Ignazio De Grandis [17],3 Stefano Puglisi, Giuseppe Di Franco, and Francesco Casiglia.4 The lack of instruments made in Palermo in the 18th century makes it diffi cult to determine the main characteristics of Sicilian violin making. Nonetheless, the similarity of several existing 19th-century instruments made in Palermo (such as those of Luigi Perollo, Giovanni and Casimiro Casiglia, Ernesto Lorini, and others) with those belonging to the Neapolitan school of violin making, indicates a real connection

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Figure 4. Handwritten label in Vincenzo Trusiano’s double bass dated 1752 (State Conservatory of Music, Palermo). (Photo by Centro Regionale per Il Catalogo della Regione Siciliana; publ. in Il Restauro Conservativo del Contrabbasso “Panormo,” pp. 20 and 121 [7].)

Figure 5. Members of the Trusiano family in the year 1753 (Archives of the parish of San Nicola all’Albergheria) [17].

Figure 6. Members of the Trusiano family in the year 1754 (Archives of the parish of San Nicola all’Albergheria) [17].

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Figure 7. Record of the baptism on 24 March 1746 of Giovanni Trusiano, son of Gaspare and Anna. (Parish archives of San Giovanni dei Tartari, Palermo) [19].2

Figure 8. Record of the baptism on 25 October 1750 of Grazia Trusiano, daughter of Gaspare and Anna. (Parish archives of San Giovanni dei Tartari, Palermo) [20].2

Figure 9. The masters Gaspare, Rosario, and Vincenzo Trusiano as named in a 1754 notarial act (State Archives of Palermo) [21].

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between Naples and Sicily.5 Perhaps some anonymous Italian instruments, now classifi ed as anonymous Neapolitan violins, could turn out to be Sicilian.

FROM PALERMO TO NAPLESNaples, with its renowned musical institutions, would have certainly offered greater profes-sional opportunities to musicians and musical instrument makers than Palermo. However, once the Trusianos moved to Naples, they seem to have concentrated their activity in woodwind instrument making. This is probably due to the fact that this market was less infl ated than the stringed-instrument market, which at that time was dominated by several distinguished fami-lies, such as the Gaglianos and Vinaccias.

After their move from Palermo to Naples, Vincenzo and Giovanni (Vincenzo’s young brother) used the nickname “Panormo” (from Panormus, the Latin name of Palermo) to refer to their hometown. In this period, both of the Trusiano brothers used Panormo in addition to or as an alternative to their real surname. Then the nickname became a substitute for their name Trusiano and was also transferred to all of Vincenzo’s and Giovanni’s sons, none of whom ever used their fathers’ true surname.

In 1770 Gaspare, who then was called a mastro di strumenti di fi ato (“wind instrument maker”), made two fl utes and two oboes for the Neapolitan Conservatory of Santa Maria di Loreto [24]. Though the activity of Gaspare in Naples as a woodwind instrument maker is docu-mented by archival sources, we have no informa-tion on Vincenzo’s activity while he was in that town. As far as it is known, no instrument by this maker from that period has survived. In any case, it seems possible that, like his father, he built wood-wind instruments while he was in Naples. Indeed, it is known that after Vincenzo left Italy, he made fl utes, oboes, and “vox humana” (a tenor-oboe which was made in the 18th century in Naples as well as in the United Kingdom).6 “Vox humana” also were made by Gaspare and Giovanni who were, together with Vincenzo, among the very few makers known for this kind of oboe. We should also remember that Vincenzo’s eldest son, Francis, in Sandys and Forster’s report, had confi rmed that his father had been active both as a stringed- and

woodwind-instrument maker specializing specif-ically in oboes. Furthermore, an advertisement published in 1781 in the “Gazzetta Enciclopedica di Milano” refers to Francis as a woodwind instru-ment maker [27]:7

Francesco Panorm [sic] is in Milan. He makes oboes, fl utes, clarinets and other similar instruments in an entirely new and skillful way and for a reasonable price. He sells some fi nished fl utes made with black ebony, colored ebony [stained?] and boxwood with several joints at various prices.

In 1780, Francis was appointed fl autist to the Nicolet Theater in Paris where, around 1786, he published his Six Duos Concertants pour 2 fl ûtes [28, 29]. But it is likely that Francis had worked in Vincenzo’s workshop before becom-ing a professional fl autist, and possibly even later. In this case, it would be possible that, in 1781, Francesco was sent by his father from Paris (where Vincenzo and his sons were living at that time) to Milan to promote the fl utes and other woodwind instruments produced in his family workshop.

Wind instruments also were made in Naples by Giovanni who, in 1782, made two tenor oboes (vox humana) for the Real Teatro San Carlo [30] and, in 1783, two fl utes for the Real Teatro del Fondo [31]. Of the instruments made by Giovanni, who is usually considered one the best Italian fl ute and oboemakers of the late 18th century, several still survive in private and public collections [32]. Wind instruments were made also by Giovanni’s sons, one of whom was called Gaspare (Junior) and, in the mid-19th century, by his grandson, Giovanni (Junior), who was the last instrument maker of the Neapolitan branch of the Panormo family [33–35].8

FROM NAPLES TO EUROPEVincenzo most likely remained in Naples until the end of the 1760s. Possibly between 1767 and 1773 the Sicilian maker left Naples, moving fi rst to Marseille and then to Paris. Some researchers have changed Vincenzo’s arrival in the French capital to several years earlier, deceived by some instrument labels, which afterward proved to

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Figure 10. Photograph of one of Vincenzo Trusiano’s violin labels bearing an unreliable date of 1745 [36].

be unreliable sources. Indeed, it is well known that the labels of his stringed instruments have been often subject to falsifi cation. For instance, one of his violins bears a printed label (Fig. 10) which reads, “Vincenzo Trusiano / Panormo fecit / Anno 1745” [36], even though the use of the nickname “Panormo” suggests that the instrument was made after Vincenzo’s trans-fer from Sicily. Similarly, a guitar kept in the Gruuthusemuseum of Brugge (Belgium) bears a label which reads: “Vincent Panormo, Rue / de l’Arbre-Sec, Paris 1761” [37] even though Vincenzo was likely still living in Italy during that period. The label of another violin is even more unreliable, since it bears a date prior to Vincenzo’s birth date: “Vincent Panormo, Rue / de l’Arbre-Sec, Paris 1730.” Such confusion in the dating of some instruments, as well as the lack of reliable documentary evidence, has made it diffi cult to establish with accuracy the date of

Vincenzo’s move from Palermo to Naples and, possibly around the 1770s, from Naples to Paris.

A few years later, the arrival of Vincenzo and his sons fi rst in Dublin and, after 1791, in London, substantially contributed to the merg-ing of elements from both British and Italian traditions [38, 39].

As a result of our archival research, we are able to present in Fig. 11 an updated tree of the members of this family of makers who contributed signifi cantly to the development of stringed- and woodwind-instrument making in Italy, France, and Great Britain.

ACKNOWLEDGMENTS

This author is grateful to Andrew Fairfax for providing the wording on the label in Gaspare Trusiano’s double bass of 1743. I also thank Brian Newnam for locating and providing the photograph (shown in Fig. 10) of a label from one of Vincenzo Trusiano’s instruments. All photographs included with this article, except Figs. 3, 4, and 10, were produced by the author.

NOTES

1. The open-back pegbox of the double bass made by Gennaro Gagliano, illustrated in Ref. [15], is an example of that used by Neapolitan instrument makers.

Figure 11. The Panormo family of instrument makers.

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2. At the end of the 19th century the archives of the church of San Giovanni dei Tartari were moved to the church of San Nicola da Tolentino.

3. An undated mandolone, or bass mandolin, by Ignazio De Grandis is preserved at the Museo Regionale Pepoli in Trapani. This mandolone resembles the instruments of this type made in the mid-18th century in Naples and Rome.

4. The Casiglia family of violinmakers worked in Palermo until the end of the 19th century. Other members of this family of makers were Giovanni (fl . early 19th century), Casimiro (fl . mid-19th century), and his son Paolo (fl . second half of the 19th century). For further information on violin making in Palermo and in Sicily, see Ref. [5].

5. See Ref. [5]. Some 19th-century Sicilian violins, violas, cellos, and double basses are described in the recent publication Strumenti Musicali in Sicilia [23].

6. A two-keyed boxwood oboe branded “Vinc: Panorm: a Marseille” was sold in 1984 by Sotheby’s in London. A brief description of this instrument was published in the catalogue of the auction [25]. Another two-keyed boxwood oboe branded “VINC: / PANORM:” is part of Alfredo Bernardini’s collection (Italy), and a third oboe branded “Vinc Panorm” was kept in Michel Piguet’s collection (Switzerland). A “vox humana” branded “Vinc. Panormo / Patent” is preserved at the Musée de la musique in Paris (no. inv. E 1640). More information about the “vox humana” is given in the article by Renato Meucci [26].

7. The original notice, published in Italian, was [27]: “Trovasi in Milano Francesco Panorm [sic] che travaglia aboe [sic], fl ute e clarinetti e altri simili istrumenti con un metodo tutto nuovo, sicuro dell’esito felice ed a discreto prezzo [...]. Presso lo stesso si trovano già fabbricate alcune fl ute in ebano nero, ebano colorato e busso con diverse guarnizioni e varj prezzi”.

8. Giovanni Trusiano’s instruments are often signed “Ioan Panorm e fi gli” (Giovanni Panormo and sons). The activity of Giovanni and Gaspare Panormo in the 1820s is described by Francesco Nocerino [34]. Also, Renato Meucci [35] includes a reproduction of the catalogue of wind instruments made by Panormo (possibly Gaspare, Jr.) in Naples, ca. 1835.

REFERENCES

[1] A. Tedesco, Aspetti della vita musicale nella Palermo del Settecento (Aspects of musical life in 18th-century Palermo), in Il Settecento e il suo doppio. Due correnti nella Sicilia del XVIII secolo, M. Guttilla, ed. (Kalos, Palermo, 2008), pp. 395–405.

[2] R. Pagano, Alessandro and Domenico Scarlatti: Two Lives in One (Pendragon Press, Hillsdale, N.Y, 2006), p. 104.

[3] G.P. Di Stefano, Strumenti musicali in Sicilia tra Rinascimento e Barocco (Musical Instruments in Sicily between the Renaissance and Baroque), in Musica Picta. Immagini del suono in Sicilia tra Medioevo e Barrocco, C. Vella, ed. (Assessorato Regionale ai Beni Culturali, Ambientali e della Pubblica Istruzione, Siracusa, Sicily, 2007), pp. 43–53.

[4] G.P. Di Stefano, Produzione e diffusione di strumenti musicali per la musica colta (Production and distribution of musi-cal instruments for classical music), in Sicilia nel XVIII secolo, in Il Settecento e il suo doppio. Due correnti nella Sicilia del XVIII secolo, M. Guttilla, ed. (Kalos, Palermo, 2008), pp. 393–403.

[5] G.P. Di Stefano, La liuteria in Sicilia, to be published.

[6] W. Sandys and S.A. Forster, The History of the Violin (John R. Smith, London, 1864), pp. 382–83.

[7] G.P. Di Stefano, Vincenzo Trusiano Panormo e il contrabbasso del Conservatorio di Palermo, in Il Restauro Conservativo del Contrabbasso “Panormo” (Centro Regionale per la Progettazione e il Restauro, Palermo, 2007), pp. 16–30 and 137–44.

[8] State Archives of Palermo (ASPa), Fondo notai defunti (FND); Francesco Tugnini, notary, vol. 6192, 29 June 1752, ff. 756–57.

[9] ASPa, FND; Giuseppe Cannamela, notary, vol. 7245, 14 July 1752, ff. 764–64v.

[10] ASPa, FND; Michele Galici, notary, vol. 7021, 10 Aug. 1752, ff. 536–37v.

[11] ASPa, FND; Giuseppe Tinnaro Mottula, no-tary, vol. 13922, 17 Nov. 1752, ff. 492–92v.

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[12] ASPa, FND; Giovanni Maria Mancuso, notary, vol. 8014, 2 Jan. 1754, ff. 394–96.

[13] W. Henley, Universal Dictionary of Violin and Bow Makers (Amati Publ., Brighton, UK, 1960), Vol IV, p. 103.

[14] Andrew Fairfax, private communication.[15] R. Elgar, Looking at the Double Bass (R.

Elgar, St. Leonard-on-Sea, UK, 1967), p. 82.[16] ASPa, FND, Michele Galici, notary, vol.

7025, 29 Nov. 1753.[17] Archives of the Parish of San Nicola all’Al-

bergheria, Stati delle anime, Anno 1753, f. 1v; and Anno 1754, f. 3v.

[18] ASPa, FND; Baldassare Lo Presti, notary, vol. 9733, 20 Dec. 1752, ff. 488–89; 499–99v.

[19] Archives of the Parish of San Nicola da Tolentino, Registro dei battesimi, vol. 154, Anno 1746, f. 22v.

[20] Archives of the Parish of San Nicola da Tolentino, Registro dei battesimi, vol. 159, Anno 1750, f. 9v.

[21] ASPa, FND; Michele Galici, notary, vol. 7026, 9 Feb. 1754.

[22] Diocesan Archives of Palermo, Stati Liberi Matrimoniali, vol. 1919, 5 Mar. 1770, f. 318.

[23] G.P. Di Stefano, S.G. Giuliano, & S. Proto, (Eds.), Strumenti musicali in Sicilia. (Regione Siciliana, Palermo, 2013).

[24] F. Nocerino, Gli strumenti musicali a Napoli nel secolo XVIII, in Storia della musica e dello spettacolo a Napoli. Il Settecento, Vol. II, F. Cotticelli and P. Maione, eds. (Pietà dei Turchini, Naples, 2009), p. 796.

[25] Sotheby’s, Important Musical Instruments (Sotheby’s, London, June 21, 1984), Lot no. 80.

[26] R. Meucci, La “voce umana”: uno stru-mento del secondo Settecento (The vox humana: an instrument of the late 18th century), in Pietro Alessandro Guglielmi (1728–1804), Musicista Italiano del Settecento Europeo, atti del convegno, P. Radicchi and C. Gianturco, eds. (ETS, Pisa, 2008), pp. 463–73.

[27] “Gazzetta Enciclopedica di Milano”, 29 Oct. 1781. This document was quoted in D. Delpero, Il “Giornale enciclopedico di Milano” (1782–1797) e la “Gazzetta Enciclopedica di Milano” (1780–1802):

due nuove fonti per la storia della musica milanese, “Fonti Musicali Italiane”, IV/1999, p. 62.

[28] Gazette de France, 12 May 1786, p. 160.[29] A. Basso, “Panormo, François,” in

Dizionario Enciclopedico Universale della Musica e dei Musicisti (UTET, Torino, 1984), p. 564.

[30] R. Meucci, La “voce umana”: uno stru-mento del secondo Settecento, p. 469.

[31] F. Nocerino, Gli strumenti musicali a Napoli nel secolo XVIII, p. 797.

[32] W. Waterhouse, The New Langwill Index. A Dictionary of Musical Wind-Instrument Makers and Inventors. (Tony Bingham, London, 1993), p. 291.

[33] F. Nocerino, Artigianato musicale a Napoli nel Settecento. Gli strumenti, le botteghe, i costruttori (Musical craft in Naples in the 18th century. The tools, shops, and man-ufacturers), in Napoli: La città cantante. (Electa, Milan, 2009), p. 48.

[34] F. Nocerino, Strumenti e strumentai per il Real Collegio di San Sebastiano a Napoli, in Musica e spettacolo a Napoli durante il decennio francese (1805–1815), F. Cotticelli and P. Maione, eds., to be published.

[35] R. Meucci, Produzione e diffusione degli strumenti a fi ato nell’Italia dell’Ottocento (Production and distribution of wind instruments in Italy in the 18th century), in Accademie e Società Filarmoniche: orga-nizzazione, cultura e attività dei fi larmonici nell’Italia dell’Ottocento, A. Carlini, ed. (Società Filarmonica, Trento, 1998), pp. 132–34.

[36] P. de Wit, Geigenzettel alter Meister, Plate XXIII, Label 282 (P. de Wit, Leipzig, 1902).

[37] M. Awouters, S. Vandenberghe, and I. De Keyser, Catalogus van de Muziekin-strumenten Gruuthusemuseum Brugge (Stad Brugge, Brugge, 1985), p. 91.

[38] A. Fairfax The Panormo family. In The British Violin. (British Violin Making Assoc., Oxford, 2000), pp. 54–56.

[39] A. Fairfax, The Panormo family in England, in Il Restauro Conservativo del Contrabbasso “Panormo” (Centro Reg-ionale per la Progettazione e il Restauro, Palermo, 2007), pp. 31–39 and 150–54.

Documentary Evidence Concerning the Early History of Vincenzo Trusiano and the Panormo Family of...

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