ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake of the Ruggeri character. The varnish is rich in colour and of considerable body. Scarce. I have met with two excellent Violoncellos by this maker. Anselmo is said to have worked also in Venice. ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form faulty. The sound-holes are not properly placed. ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna. ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at the Academy of Bologna, without date. ASSALONE, Gasparo, Rome, 18th century. The model is high and the workmanship rough. Thin yellow varnish. BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876. BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few of which have points of merit. He wrote a pamphlet in 1782 on a method of constructing Violins by means of a graduated perpendicular line similar to Wettengel's; but no benefit has been derived from it. BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about 1760. BALESTRIERI, Tommaso, middle of the 18th century. Thomas Balestrieri Cremonensis Fecit Mantuae. Anno 17-- Said to have been a pupil of Stradivari, which is probable. The instruments of Balestrieri may be likened to those of Stradivari which were made during the last few years of his life, 1730-37. The form of both is similar, and the ruggedness observable in the latter instruments is found, but in a more marked degree, in those of Balestrieri. These remarks, however, must not be considered to suggest that comparison can fairly be made between these two makers in point of merit, but merely to point out a general rough resemblance in the character of their works. The absence of finish in the instruments of Tommaso Balestrieri is in a measure compensated by the presence of a style full of vigour. The wood which he used varies very much. A few Violins are handsome, but the majority are decidedly plain. The bellies were evidently selected with judgment, and have the necessary qualities for the production of good tone. The varnish seems to have been of two kinds, one resembling that of Guadagnini, the other softer and richer in colour. The tone may be described as large and very telling, and when the instrument has had much use there is a richness by no means common. It is singular that these instruments are more valued in Italy than they are either in England or France. BALESTRIERI, Pietro, Cremona, about 1725. BASSIANO, Rome. Lute-maker. 1666. BENEDETTI. _See_ Rinaldi. BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo Serafino in pattern, but the workmanship is inferior; neat purfling; rather opaque varnish. BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis mentions, in his "Biographie Universelle des Musiciens," a Lute by this maker, richly ornamented.