son of Niccolo). Not unlike the work of Urquhart.

STREGNER, Magno, Venice, Lute-maker.

STORIONI, Lorenzo, Cremona, about 1769 to 1799.

Laurentius Storioni Fecit
Cremonae 17--

The last of the old makers who evinced any marked degree of
originality. Although there is an almost total absence of refinement
in his works, there is much that is clever, which has gradually caused
these instruments to be valued very highly. He appears to have made
Giuseppe Guarneri del Gesu his idol. Although his instruments cannot
be considered as copies, yet there is evidence of his having made use
of the salient points belonging to Guarneri, which he fitted, as it
were, to his own model. He had much of the disregard of mere
appearance which Guarneri so often displayed, and seems to have been
guided by similar fancies. His freak was to place his sound-holes in
all sorts of ways, scarcely twice alike. His outline is always
vigorous, but without thought of symmetrical appearance. There is not
an instrument of his make that could have been made upon a mould--they
were built from the blocks, and the result, as may be expected, is not
graceful. M. Vieuxtemps, some years ago, possessed himself of a
Storioni Violin, now belonging to Mr. Proctor, and, having carefully
regulated it, succeeded in bringing forth its great powers. His
hearers were so delighted that attention was speedily directed to this
neglected maker. These instruments are highly thought of in Italy. The
varnish is not of the Cremonese description, but partakes of the
Neapolitan character. The purfling is unusually narrow, and roughly
worked; the scroll is stiff, and the absence of finish is observable.
The material he used was generally good in point of acoustical
properties, though not handsome. Storioni does not appear to have made
many Tenors or Violoncellos--the latter are rarely met with.

Storioni died in 1799. He lived at the house No. 3, Contrada
Coltellai, which was afterwards occupied by G. B. Ceruti.

STRADIVARI, Antonio, Cremona.

"The instrument on which he played
Was in Cremona's workshops made,
By a great master of the past,
Ere yet was lost the art divine;
Fashioned of maple and of pine,
That in Tyrolian forests vast
Had rocked and wrestled with the blast;
Exquisite was it in design,
A marvel of the lutist's art,
Perfect in each minutest part;
And in its hollow chamber, thus,
The maker from whose