truments at the Conservatoire in Paris, describes
a six-string Viol da Gamba of this make.

ZANOLA, Giovanni Battista. Flat model; rough workmanship; German
character.

Joannes Baptista Zanola, Verona, 17--

ZANOLI, Giacomo, 1740-80. Verona. Worked in Venice, Padua, and Verona.
Venetian character.

ZANOTTI, Antonio, Mantua, about 1734.

Antonius Zanotus, fecit Mantuae, anno 1734.

ZANTI, Alessandro, Mantua, 1765. He copied Pietro Guarneri, but had
little knowledge of varnishing, if we are to judge from the few
instruments of this maker extant.

ZANURE, Pietro, Brescia, 1509. A maker of Viols.

ZENATTO, Pietro, Treviso, about 1634.

Pietro Zenatto fece in
Treviso Anno 1634.

SECTION VII
The French School

The French have long occupied a foremost place in the production of
articles needing delicate workmanship, and it is therefore not
surprising that they should at an early period have turned their
attention to the art of Violin-making, which requires in a high degree
both skilful workmanship and artistic treatment. The French
manufacture of Violins appears to have commenced about the same period
as the English, viz., in the early part of the 17th century, Francois
Medard and Tywersus being among the French makers, and Rayman and Wise
their fellows in England. The primitive French makers, like their
English brethren, copied the instruments made at Brescia and Cremona,
to which course they adhered down to the days of Barak Norman, when
the two nations parted company, as regards having a common type, the
French continuing the path they had hitherto taken, and copying the
Italians, with scarcely any deviation, to the present time. The
English left the Italian form for the German one of Jacob Stainer,
which they adopted, with but few exceptions, for nearly a century,
recovering the Italian about the middle of the 18th century. It is
remarkable that French makers should have restrained themselves from
following the pattern of the famous German maker when his name was at
its height and his instruments were in such demand. That in not
adopting the then popular form they were rightly guided, experience
has clearly demonstrated. When we scan the older works the French have
left us, and consider the advantage they had in keeping to the Italian
form, we cannot but feel disappointed in finding so few meritorious
instruments among them. There appear to have been many makers who were
quite uncon