d grace of the Stradivarian type; the upper and
lower curves are flattened, while those of the centre are extended.
The sound-hole partakes more of the character of Guarneri; the scroll
is larger, and the turns bolder than in the Stradivari form. These,
then, may be considered to be the chief points wherein, if viewed as
separate items, Montagnana seems to have varied from his master: and
hence we may obtain some idea of the amount of originality belonging
to this maker--an amount, indeed, not inferior to that of any
Cremonese artist that can be cited. The increasing popularity of
Montagnana's instruments is sufficient proof that his design was
fraught with much that is valuable. In departing from the form of
Antonio Stradivari, Carlo Bergonzi and Montagnana doubtless intended
to bring out in a stronger degree certain particular qualities of
tone: at the same time we may be sure that they had no idea of
attempting to improve upon Stradivari in his own field of work, for
they must have well known the Herculean character of such a task. On
the other hand, had these remarkable makers been mere copyists, they
would certainly have handed down to us more instruments moulded in
exact accord with the style of their great teacher; while, at the same
time, we should have lost many variations, which are at present not
only an evidence of their fertility of resource, but also in
themselves most pleasing objects. If, in the sister art, Tintoretto
had made it his sole business to copy Titian, the world would have
been rich in copies of Titian, but poor in Tintorettos.

The varnish of Montagnana has long excited the admiration of
connoisseurs throughout Europe. The extreme richness and velvet-like
softness which are its characteristics constitute it a fitting
countersign of the workmanship of this great maker, an artist of the
first magnitude. He made Violins, Tenors, and Violoncellos. His
Violins are of two sizes.

MONTALDI, Gregorio, Cremona, 1730. Copied Stradivari.

MORELLA, ----, Mantua, about 1550. M. Fetis, in his "Biographie
Universelle des Musiciens," states that he was famous for his Viols
and Lutes. S. Ang. Maffei, in his "Annali di Mantova" (fol. 147),
highly praises the instruments made by Morella.

NADOTTI, Giuseppe, Piacenza. A Violin by this maker was in 1881
exhibited at the Milan Exhibition, dated 1767.

NELLA, Raffaele, Brescia, copied Maggini.

ORTEGA, ----, Madrid, about 1840. Maker and restorer of instrume