mmences the pointed
form to which Giuseppe Guarneri, nearly a century and a half later,
gave such perfection. The material used for the larger instruments is
mostly pear-wood, or wood of that description, the quality of which is
particularly fine. In the selection of this wood he showed a still
minuter discrimination, using it generally for Accordos and Violonos,
and not for Violins or Violas; few specimens of the latter have backs
of pear-wood. His work was bold, but not highly finished; no other
result could be looked for at so early a date. The grain of the
bellies is usually very even and well defined. Signor Dragonetti, the
late eminent Double-Bass player, possessed three or four Double-Basses
by this maker of various sizes. The most celebrated of these
instruments was presented to him by the monks of the monastery of St.
Mark's, Venice, about the year 1776, and was returned to the Canons of
that Church (the monks and the monastery having been suppressed since
the French occupation of Venice in 1805 or 1809) after Dragonetti's
death, in 1846. Another was bequeathed by Dragonetti to the late Duke
of Leinster. A third is in the possession of the Rev. George Leigh
Blake. Among his chamber Double-Basses the one formerly belonging to
Mr. Bennett is regarded as a singularly perfect example. It was
numbered with the rarities of Luigi Tarisio's collection, and highly
valued by him as a specimen of the maker. Among his Violins, the
instrument formerly owned by Lord Amherst, of Hackney, is unique; the
infancy of the Violin at this period is better seen here than any
specimen with which I am acquainted. The Violin of this make which
belonged to Ole Bull, and with which I am familiar, is another
well-known example. This instrument is characteristic of its author.
Its varnish is soft-looking and rich, though paler than usual. The
finger-board is inlaid, and is made of a light description of wood.
The head is carved and painted, and is a very choice piece of Italian
work.

SANONI, Giovanni Battista, Verona. About 1740. His instruments are
seldom met with in England. High model.

SANTO, Giovanni, Naples, 1700-30. Copied Amati. Varnish very hard, and
workmanship indifferent.

SANZO, Milan. Middle and early eighteenth century. Similar to
Grancino.

SARDI, ----, Venice, 1649. A broken Violin bearing this name was at
the Milan Exhibition, 1881.

SEIGHER, Girolamo. Worked in the shop of Niccolo Amati from 1680 to
1682.

SELL