My Starting Point
When I realized I wanted to devote all of myself to the construction of Classical guitars, I didn't have a clear shape, nor a project and bracing pattern in my head. It was clear, however, the sound that the instrument had to have.
After having built copies of historical models, I discovered that I didn't like the idea of reproducing someone else's projects, no matter how beautiful or interesting in technical terms they could be. This wasn't my thing. I somehow needed a certain degree of freedom in which to move: I was rather looking for my own style, my identity.

Once I finished my studies, including all the courses related to lutherie, I took the decision of moving to Tuscany. I didn't know anyone there, nor I had a stable internet connection, and was this set of conditions that allowed me to fully concentrate on my job, to totally devote myself to it.

One by one, I read all the specialized literature on lutherie and guitar-making. I both studied and analysed all the most important project plans of the big names in traditional lutherie. I questioned myself on their choices, the function of every single detail, including bracing patterns and thickness. I visited museums and travelled a lot. I met with real professionals, but also with people who talked too much and prophets with an endless ego.
It was after all of this that I finally felt ready. I had clear ideas in my mind: I could finally give birth to Venere. I like to think that, just like the Botticelli's one came out of the sea sustained by a shell, my Venere – together with my personal idea of beauty in guitar-making – could come out as sustained by solid convinctions.

The Venere Concerto today
Venere is my own model of Classical guitar that brings inside itself all the previous experiences as a professional. After having built steel-string and plucked string instruments as well, I now had the skill to blend multiple styles and building techniques. I could finally 'understand' how to use wood and in different contexts or situations.

I still consider myself very much linked to traditional lutherie so as to use wood in a way that is stable and yet flexible, but only if required by the situation. I've aslo re-introduced and re-interpreted ideas of guitar-makers that higly influenced me.
No matter what, Venere it is the result of an enourmous bulk of work, marked by constant improvements, constant study and sharing. Today I can say I am myself the sound of Venere!

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