Petrus Antonius a Costa, fecit ad similitudinem illorum quos fecerunt Antonius & Hieronymus Fratres Amati Cremonenses Filii Andrae. Tarvisii, 1757. The label he used is curious. He copied the Brothers Amati with much skilfulness. The sound-holes are like those of the early instruments of the Amati; the varnish is golden in colour and excellent in quality; the scroll, as usual with all imitations, is a weak feature, but does not lack originality. DARDELLI, Pietro, Mantua, about 1500. Is described as a maker of Lutes and Viols. M. Fetis relates, in his "Biographie des Musiciens," that the painter Richard, of Lyons, possessed about the year 1807 a beautiful Lute by this maker, which was made for the Duchess of Mantua. The instrument is described as richly inlaid with ebony, ivory, and silver, dated 1497, and having the name "Padre Dardelli." On the belly the Mantuan arms are represented. M. Fetis was unable to discover any tidings of this interesting instrument after the death of Richard. Dardelli was a Franciscan monk at Mantua, and occupied himself with making musical instruments and inlaying them. Work of any kind executed under such circumstances is rarely found to be other than artistic. DESPINE, Alexander, Turin, nineteenth century. A very good maker; worked with Pressenda, whose labels his instruments sometimes bear. DIEFFOPRUCHAR, Magno, Venice, 1612. Lute-maker. An instrument of this make is at the Academy of Music, Bologna. M. Engel remarks,[4] "There can be no doubt that we have here the Italianised name of the German Magnus Tieffenbrucker, who lived in Italy." There appears to be a connection between these Venetian Lute-makers of this name and Duiffoprugcar of the sixteenth century. [Footnote 4: "Musical Myths and Facts," 1876.] DOMINICELLI, Ferrara, said to have worked about 1700.