[b]Pietro Giovanni Mantegazza[/b], also known as [b]Petrus Joannes Mantegatia[/b] (circa 1738 — March 1803), was a notable Italian luthier and violinmaker hailing from Milan, recognized as one of the most productive regional makers of his time.
Born in Milan, Mantegazza likely acquired his skills in luthiery through an apprenticeship at Carlo Ferdinando Landolfi's workshop. His surviving labels, dating from 1750 to 1770, suggest that he may have collaborated with one or more of his brothers, as some are inscribed “[i]Pietro Giovanni & Mantegazza brothers[/i]” in either Latin or Italian. Additionally, Count Cozio di Salabue (1755–1840), a dedicated violin collector who enjoyed a successful and lengthy collaboration with the Mantegazza family, referred to “[i]fratelli Pietro and Domenico[/i],” or brothers Pietro and [b]Domenico Mantegazza[/b], in his correspondence as late as 1776.
Efforts to identify Mantegazza's possible siblings have led to confusion due to earlier researchers' misattributions. For instance, Italian musicologist Giovanni De Piccolellis (1839—1928) mistakenly placed a comma between Mantegazza's first and middle names, resulting in the erroneous identification of two separate makers: [b]Pietro[/b] and [b]Giovanni[/b] (1760–1790). In later research, Leandro Bisiach Jr. (1904–1982) discovered references to family members in Milan state archives, proposing [b]Carlo[/b] (b. 1735, active circa 1760) and [b]Francesco[/b] (1736/46–1790) as Mantegazza's brothers. This information has been perpetuated in classic luthiery reference works, such as [i]Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart[/i] ("The violin and lutemakers from the Middle Ages to the present") by German art historian Willibald L.F. von Lütgendorff-Leinburg (1856–1937) and Karel Jalovec's [i]Italian Violin Makers[/i]. The true identity or existence of any other Mantegazza brothers remains uncertain.
In 1761, the year of his marriage, Mantegazza established his workshop in Milan on Contrada Santa Margherita, operating under the moniker "Angel sign" ([i]segno dell' Angelo[/i]). He quickly gained recognition as one of the city's premier violinmakers. His workshop is regarded as one of the earliest to provide a comprehensive range of services typical of modern violin shops, including crafting new instruments, restoring older ones, and performing repairs and appraisals. Mantegazza surpassed his teacher's style, creating a distinctive, larger violin model that was possibly inspired by Nicolo Amati. He employed high-quality wood and a notably resinous varnish, which deepened in color over time.
From the late 1770s onward, Mantegazza formed a significant relationship with Count [b]Ignazio Alessandro Cozio di Salabue[/b], who had recently concluded his work with his former apprentice and trusted luthier, Giovanni Battista Guadagnini. Cozio sought Mantegazza's expertise and access to the market through his workshop, providing him with commissions for new instruments and the majority of his repair work.
Around 1790, Mantegazza began producing exceptional violas in the style of Amati. His workshop was then recognized under the new "Three violins" banner ([i]all'insegna dei 3 violini[/i]). Upon his death in Milan, Mantegazza left his sons to manage the family business. He had four children, two of whom became luthiers and assisted him in the workshop from the mid-1770s, continuing to collaborate with Count Cozio following Mantegazza's passing:
[b]Francesco Mantegazza[/b] (29th July 1762 — 9th November 1824), the eldest son.
[b]Antonio Mantegazza[/b] (1766 — 11th January 1790), the second son, died at the age of twenty-four, and it remains unclear whether he pursued a career in luthiery.
[b]Carlo Mantegazza[/b] (16th August 1772 — 29th January 1814) frequently appeared in the "[i]Carteggio[/i]" (the collection of Cozio's extensive correspondence and memoirs) as a highly regarded restorer and modernizer of historical instruments, including the unfinished stock of G.B. Guadagnini.
