Genuine Stainers with labels have this written inscription: “Jacobus Stainer in Absam prope Œnipontum h-fis 165-.” The following is a facsimile: [Illustration: Jacobus Stainer in Absam prope Œnipontum h-fis ’65] III.—FRENCH. BOQUAY, JACQUES. Paris, about 1700-1735. One of the earliest of the old French school. Under whom he learnt the art of violin making is not known, but his instruments, as also those of his contemporaries, clearly indicate that the Italian influence was suffusing itself in no uncertain manner. It appears that about the middle of the sixteenth century, one Nicolas Rénault, a French viol and lute maker, travelled into Italy and became associated with Andreas Amati, and even assisted that maker in the manufacture of certain instruments for the chapel of Charles IX, in 1566, and, after a somewhat lengthened stay in Italy, he returned to France the gainer of considerable experience. Here, perhaps, may be the explanation why Boquay and the rest of the early French school principally adhered to the Amati model. Later on Boquay sought to become original, notably with regard to the sound holes and the scroll. The tone is sweet, but lacks power. [Illustration: JACQUES BOQUAY RUE D ARGENTEUIL A PARIS, 17] COMBLE, AMBROISE DE, Tourney, Belgium (1730-1760). The best maker of the old French school, and reputed pupil of Stradivarius. Although the instruments of de Comble cannot be said to be on the model adopted by the great Cremonese maker during his best period, there is nevertheless some indication to lead to the belief that he endeavoured to follow the renowned artist in the matter of varnish. In this respect he was fairly successful. His instruments are rather flat and of large pattern, somewhat on the lines of Stradivarius’s later productions, and although they are not characteristic of refined workmanship, the material chosen was of the best quality. He made his instruments strong in the wood, consequently they possess a very full and rich tone. De Comble also made some excellent violoncellos.