There are few specimens of Cappa that bear their original labels; most of them are counterfeit "Amatis," and hence the great confusion which has arisen concerning their parentage. Lancetti says: "Foreign professors and amateurs, and particularly the English--though connoisseurs of the good and the beautiful--in buying the instruments of Cappa thought they had acquired those of Amati, the outline and character of the varnish and the quality of the tone resembling in some measure the instruments of the Brothers Amati. It is, however, reserved to a few Italian connoisseurs to distinguish them. Those of large pattern, and even of medium size, that have not been injured by unskilful restorers, are scarce, and realise high prices." These remarks, suggested many years since, by so able a connoisseur as Count Cozio, possess a peculiar interest, and cannot fail to interest the reader. As Lancetti remarks, they are of two patterns, one larger than the other. The large one is, of course, the more valuable; it is flatter, and altogether better finished. The Violoncellos of Cappa are among the best of the second-class Italian instruments, and are well worthy the attention of the professor and amateur. The varnish is frequently of very rich quality, its colour resembling that of Amati in many instances. CARCASSI, Francesco, Florence, about 1758. CARCASSI, Lorenzo, about 1738. CARCASSI, Tomaso, worked in partnership with Lorenzo, but also alone, according to labels. There were several makers of this name. CASINI, Antonio, Modena. Antonius Casini, fecit Mutine anno 1680. CASTAGNERI, Andrea, Paris, about 1735. Andrea Castagneri, nell Palazzo di Saessone, Pariggi, 17-- This Italian maker appears to have settled in Paris. I have seen a Violin by Castagneri, date 1735; flat model, bold outline, and varnish of good quality. CASTELLANI, Pietro, Florence, died about 1820. CASTELLANI, Luigi, Florence, died 1884. CASTRO, Venice, 1680-1720. The wood is of good figure generally. The outline is defective; the middle bouts are too long to be proportionate. Sound-hole roughly worked. Varnish red, the quality of which is scarcely up to the Venetian standard. CATENAR, Enrico, Turin, about 1671. Henricus Catenar, fecit Taurini anno 167-- CELIONIATI, Gian Francesco, Turin, about 1734. Joannes Franciscus Celoniatus, fecit Taurini, anno 17-- Appears to have copied the form of Amati. Yellow varnish, good workmanship. CERIN, Marco Antonio, Venice, end of the eighteenth century. Signed himself as a pupil of Belosio. Marcus Antonius Cerin, alumnus Anselmi Belosii, fecit Venetiae, 17-- CERUTI, Giovanni Battista, Cremona, 1755-1817. Jo. Baptista Ceruti Cremonensis fecit Cremonae an 18--