d. The Violin is, as it were, wrapped in glass, through which
the sound passes, imbued with the characteristics of the varnish. The
result is, that the resonance produced is metallic and piercing, and
well calculated for common purposes; if, however, richness of tone be
required, spirit-varnished instruments cannot supply it. From these
remarks the reader may gather some notion of the vexed question of
varnish in relation to tone, and be left to form his own opinion.

The chief features of the Italian School of Violin-makers having been
noticed, it only remains to be said that the following list of makers
is necessarily incomplete. This defect arises chiefly from old
forgeries. Labels used as the trade marks of many deserving makers
have from time to time been removed from their lawful instruments in
order that others bearing a higher marketable value might be
substituted. In the subjoined list will be found all the great names,
and every care has been taken to render it as complete as possible.
Several names given are evidently German, most of which belong to an
early period, and are chiefly those in connection with the manufacture
of Lutes and Viols in Italy. These are included in the Italian list,
in order to show that many Germans were engaged in making stringed
instruments in Italy, about the period when Tenor and Contralto Viols
with four strings were manufactured there--a circumstance worthy of
note in connection with the history of Viol and Violin making in
Italy, bearing in mind that four-string Viols were used in Germany
when Italy used those having six strings.

SECTION VI
Italian Makers

ABATI, Giambattista, Modena, about 1775 to 1793.

ACEVO, Saluzzo. Reference is made in the "Biographie Universelle des
Musiciens" to this maker having been a pupil of Gioffredo Cappa, and
M. Fetis mentions his having seen a Viol da Gamba dated 1693 of this
make, which belonged to Marin Marais, the famous performer on the
Viol.[1]

[Footnote 1: There seems good reason to question the existence of such
a person, at all events as a maker of Violins.--EDITORS.]

ALBANESI, Sebastiano, Cremona, 1720-1744. The pattern is bold and the
model flat. Although made at Cremona, they do not properly belong to
the school of that place, having the characteristics of Milanese work.
The varnish is quite unlike that of Cremona.

ALBANI, Paolo, Palermo, 1650-80. Is said to have been a pupil of
Niccolo Amati. The pattern is broad