ZANTI, Alessandro, Mantua, 1765. He copied Pietro Guarneri, but had little knowledge of varnishing, if we are to judge from the few instruments of this maker extant. ZANURE, Pietro, Brescia, 1509. A maker of Viols. ZENATTO, Pietro, Treviso, about 1634. Pietro Zenatto fece in Treviso Anno 1634. SECTION VII The French School The French have long occupied a foremost place in the production of articles needing delicate workmanship, and it is therefore not surprising that they should at an early period have turned their attention to the art of Violin-making, which requires in a high degree both skilful workmanship and artistic treatment. The French manufacture of Violins appears to have commenced about the same period as the English, viz., in the early part of the 17th century, Francois Medard and Tywersus being among the French makers, and Rayman and Wise their fellows in England. The primitive French makers, like their English brethren, copied the instruments made at Brescia and Cremona, to which course they adhered down to the days of Barak Norman, when the two nations parted company, as regards having a common type, the French continuing the path they had hitherto taken, and copying the Italians, with scarcely any deviation, to the present time. The English left the Italian form for the German one of Jacob Stainer, which they adopted, with but few exceptions, for nearly a century, recovering the Italian about the middle of the 18th century. It is remarkable that French makers should have restrained themselves from following the pattern of the famous German maker when his name was at its height and his instruments were in such demand. That in not adopting the then popular form they were rightly guided, experience has clearly demonstrated. When we scan the older works the French have left us, and consider the advantage they had in keeping to the Italian form, we cannot but feel disappointed in finding so few meritorious instruments among them. There appear to have been many makers who were quite unconcerned whether their instruments possessed merit becoming the productions of a true artist; their chief aim would seem to have been to make in dozens--in other words, quantity in place of quality. If the early French makers are carefully studied, it will be seen that Boquay, Pierray, and one or two of their pupils are the only makers deserving of praise. It must be admitted that the shortcomings of the makers of the first period were adequately supplied by those of the second period, which includes the king of French artists, Nicolas Lupot. The old French school, originating with Tywersus and Medard, includes the following makers: Nicolas Renault, of Nancy, Medard, also of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gavinies, Chappuy, Ouvrard, Paul Grosset, Despont, Saint-Paul, Salomon, Veron, with others of less importance. Many of these makers had a fair amount of ideas, which, had they been well directed, might have led to fame.