The quality of tone produced by the Neapolitans is as distinct as possible from that of Milan, it is clear, lively, suggestive of a sunny clime, and free in its emission, but leaves an impression on the ear of a lack of sufficient profundity, nearly the opposite in fact of the early Brescian school. Here the best of the Gaglianos--for it is not at all certain that there were not more than two of them assisting at different times in Stradivari's atelier--brought the same kind of improvement to Naples as the Guadagninis did to Milan, the scale was better regulated so as to give greater breadth of effect, notwithstanding the general quality--seemingly native to the place--being uninterfered with. Here then was the influence of Stradivari having taught his pupils the means whereby the particular tone quality most appreciated in the locality could be brought forward in its most developed, or mature condition. Carlo Bergonzi we shall have to consider more fully further on, and for the present only refer to him as a pupil or assistant much more in immediate connection with the atelier of Stradivari than any maker known to us. Irregular workman as he was, swayed about this way and that by matters unknown to us, he kept steadfast to the Stradivarian lines to the end. The rest of his family were either his own pupils, or they may have even been at times with his master, as they all--so far as I am acquainted with them--are of the same school. These particulars all point in one direction--that Stradivari was not anxious and made no special efforts at introducing any new kind of tone--development of that already in existence was his aim, and on this line he appears to have led his immediate or personal pupils.