Ludwig Porgt, Regensburg, 1525. Hanns Gerle, Nuremberg, b. about 1505, d. 1599. Hans Neusedler, Nuremberg, d. 1563. Sebastian Rauser, Verona, working about 1590 to 1605. Mattheus Buchenberg, Rome, working about 1592-1619. Hanns Fichtholdt, Ingoldstadt (?), about 1612; his lutes, the backs of which are made with narrow strips of wood, in the Italian manner, were formerly much prized by connoisseurs. Paolo Belami, Paris, about 1612, probably an Italian. His lutes were highly valued. Joachim Tielke, Hamburg, b. 1641, d. 1719. Antonio Castaro, Rome, about 1615. Christofilo Rochi, Padua, about 1620. Sebastian Rochi, Venice, about 1620. Clays von Pommersbach, Cologne, probably during the sixteenth century. Magnus Tieffenbrucker, Venice, latter half of seventeenth century. Wendelin Tieffenbrucker, Padua, working about 1572-1611, and Leonhard Tieffenbrucker, Padua (?), during the sixteenth century; their lutes were rather flat and long in body. Michael Hartung, Padua, working about 1602 to 1624; he was a pupil of Leonhard Tieffenbrucker. Raphael Mest, Füssen, working about 1610 to 1650; said to have been pupil of Michael Hartung. Johann Christian Hoffmann, Leipzig, working about 1710 to 1750; his lutes were exported to Holland and England. Martin Schott, Prague, latter half of seventeenth century. Sebastian Rauch, Prague, working about 1700 to 1724. Matthias Hummel, Nuremberg, end of seventeenth century. Sebastian Schelle, Nuremberg, working about 1700 to 1745; his lutes were much valued, not only in Germany, but also in other European countries. There used to be in Italy various kinds of mandolines, of which the Milanese and the Neapolitan were the most common. The first-named had usually ten strings, constituting five pairs. The Neapolitan _mandolino_ had eight strings, constituting four pairs. The strings were usually twanged with a quill. Mozart, in his “Don Giovanni,” has made use of the Neapolitan _mandolino_ in the serenade; but, as the instrument has fallen into disuse, at least in most countries except Italy, the part written for it by Mozart is now generally played on the violin, _pizzicato_. The _mandolino_ is now often strung with catgut strings. It resembles a diminutive lute; but its fingerboard has metal frets, and its strings are fastened to little ivory pins at the end of the body, instead of being looped through holes in the bridge. The convex back of the mandoline is deeper than that of the lute. It is one of the handsomest musical instruments.