MONTAGNANA, DOMINIC, Cremona and Venice, 1700-1740. He was probably a pupil of Nicolas Amati, whose model he at first copied, but subsequently modified this for one of his own, of a somewhat large pattern. The scroll is larger and more powerful than that of his reputed master and in the sound holes he also differs. As regards the arching and outline, the Amati type is at once apparent. The varnish is superb, and of golden brown transparency. The wood chosen is always the very finest, and the workmanship is all that can be desired. He also made some very fine violoncellos. His best instruments, which are of great rarity, are dated from Venice. [Illustration: Dominicus Montagnana Sub Si-|gnum Cremonæ Venetiis 1729.] RUGERI, FRANCESCO (Ruger or Ruggeri), Cremona, 1670-1720. This excellent maker was a pupil and follower of Nicolas Amati (some writers say Hieronymus). His instruments are much sought after, and, as a consequence, are extensively copied and passed off as genuine. His varnish is generally dark golden brown. [Illustration: Francesco Ruger detto il Per Cremona 16_97_] RUGERI, GIAM-BATTISTA, supposed to be a brother of the foregoing, pupil of Amati, born at Cremona, 1660. He subsequently went to Brescia, where he worked from about 1670 to the end of the century. Ticket: [Illustration: Io. Bap. Rogerius Bon: Nicolai Amatide Cremo-|na alumnus Brixiæ fecit Anno Domini 16_71_] SALO, GASPARO DA (or Gasparo di Bertolotti), born 1542, died 1612. This is the earliest maker of whom any reliable record is extant. He is said to have been born at Salo in Lombardy, and afterwards to have settled in Brescia. Gasparo is generally credited with the honour of inventing or producing violins in their present shape. He seems to have devoted his early period to the manufacture of lutes and viols, and subsequently to have turned his attention to the violin, which he greatly improved, thereby founding the Brescian school of violin makers; the earliest known. The violins of Gasparo which have now become very scarce, do not, it is true, exhibit that indication of finish so observable in the instruments produced by his reputed pupil, Maggini, but his model is excellent and the tone good, being somewhat analogous to that of the tenor. The fact that Gasparo never dated his labels, makes it difficult to determine with certainty the exact period of his activity. Facsimile label as follows: [Illustration: Gasparo da Salo, In Brescia.] SERAPHIN, SANCTUS (Santo Seraphino), 1710-1748, worked in Venice, and is considered one of the most careful and painstaking makers of the Italian school. His wood is beautifully figured and well selected. His purfling is excellent, and he used a fine brilliant varnish. He usually branded his instruments near the button. Ticket as follows: [Illustration: Sanctus Seraphin Utinensis Fecit Venetiis Ann. 17__ {surrounded by decorative scrollwork}]