In the Brescian instruments, for instance, there is, as a general rule, no hollowing near the edges of the backs and bellies, nor any _bordering ridge_ like that discussed above. They consequently have an appearance of strength and solidity, but lack the style and elegance of the Cremona school. The Amati family, on the other hand, gifted with a keen sense of harmony and beauty of form, gave perfect expression to these ideas in their works; but, unfortunately, at some sacrifice of dignity of appearance. Stradivari attained the happy mean between these two extremes, and carried his ideas into execution with such perfection of detail, that all his successors have had to content themselves with the _rôle_ of copyists, and none have been found to improve upon their model. There can be no doubt that the Salabue Violin has exercised a strong influence upon modern copyists. The Turin maker, Pressenda (1777 to 1854), who was acquainted with Count Salabue, and his pupil Rocca (d. 1862), who knew Tarisio, were evidently familiar with the instrument. Rocca in particular would seem to have made it his ideal, for we find reproduced in nearly all his copies of Stradivari the characteristic sharp _bordering ridge_, slanting sound holes, and general flat model of the Salabue. As soon as it came into Vuillaume’s possession, he set to work to reproduce it in every detail, and his copies of this instrument are unquestionably the finest violins he made. They are true to the original in bearing no traces of wear; but a few of them are fitted with carved pegs and tailpiece similar to those added by him and still attached to the Salabue. The carving on the tailpiece represents the figure of the Madonna with the infant Christ. Nearly all the other Parisian and Mirecourt makers in turn have copied Vuillaume, but without his advantages in ability, and in having the original model to work from. The copies of the present day are becoming in consequence more and more ridiculous exaggerations of the peculiar features of the Salabue. The year 1716 appears not to have been prolific of great works from Stradivari, as we know at present of only one fine violin of that year beside the Salabue. This is the one known as the Cessol, belonging to Mr. William Croall. The previous year, 1715, produced five famous violins, two now belonging to Herr Joachim, one to Señor Sarasate, one to G. Haddock, Esq., and another known as the Alard. The year 1717 again produced two notable instruments, a violin belonging to J. G. Orchar, Esq., and the well-known violoncello for many years the property of Bonamy Dobree, Esq., and now in the possession of E. I. Holden, Esq.