Keepers (1) - Visconti Amigdala

Most of my pens are subdued, even spare pens - black with silver or gold trim, but every collection needs something to leaven it and my Visconti Amigdala certainly does that.

My early experiences with Visconti’s lower end hadn’t been great (more about that in another post, I’m sure), but I still wanted to at least try one of their higher-end pens.

Three problems, though. 

First - price. I wasn’t going to pay upwards of £500 for a pen of uncertain quality (frankly, £500 is well beyond my limit for any pen). 

Second, the nib. At the time, all the quality control issues I kept hearing about Visconti centred on their palladium nibs, so I wanted to try one of their older gold nibs (they’ve since reverted to gold, apparently). 

Third, the clip. I can’t stand that ‘bridge’ clip. Largely because it catches on everything and makes it harder to fit in an pen case, but also because of the laziness inherent in the name. Stick a curve on it,  call it the Ponte Vecchio and maybe the fools will believe it.

Pens meeting those three requirements don’t seem to pop up that much, so when I saw this one on ebay, I jumped on it and managed to get it for less than £200.

I haven't found much information about it online. It seems to date from the early 2000s and is perhaps modeled on the early Van Goghs. It was often sold as part of set with a matching ballpoint that together were called "You and Me" - indeed "You and Me" is stamped on the back of the cap. But mine was definitely alone, coming in a box for one pen only. It's a numbered limited edition of 500 (although I don't know if that's of single pens or matching sets), and mine is number 374. Why "Amigdala"? I haven't a clue. Something to do with memory or subconscious reflexes, maybe. Or maybe just because it's Spanish for "tonsil."

The fit and finish is top notch. The blue-grey acrylic has depth and variation without being too distracting and the matte, nickel or nickel-style trim is well-executed and a good complement to it. The threads feel extremely secure. And I much prefer the more rounded form of the clip to the later bridge.

Interestingly, the clip is sprung and its tension can be adjusting using the, frankly enormous, screw on the back. I'm sure this divided opinion. But I sort of like it, in a Richard Rogers kind of way. 

The section is metal - again a divisive choice. The flare helps, without being too prescriptive, but it is a bit slippy. Set against that, it tilts the balance of the pen firmly forward - something I particularly value given the way I hold my pens.

It's a cartridge/converter. That's fine - I don't really need a fancy filling system and am not generally prepared to pay more for one. It's posher than your average converter in any case.

As for the nib, well, it's a stunner. Bling isn't usually my thing, but I have to admit the scrollwork on this two-tone example is spectacular. Made by Bock, I think - the whole unit unscrews, although the housing is wider than on my other Bock nibs.

It writes too. A very springy medium, wet and juicy - but not a complete gusher. The nib isn't seated 100% perfectly on the feed, so just occasionally I get a couple of ink starvation issues, but it's generally well-behaved - and enough of a joy to write with that I can forgive occasional foibles.

Oh, and did I tell you about that nib?

Stats

Length (capped) - 146mm

Length (uncapped) - 128mm

Length (posted) - 167mm

Section width - 11mm

Balancing point - 65mm (51% along the length of the unposted pen)

Weight - 33g (capped), 22g (uncapped)