[Illustration: Gasparo da Salo, In Brescia.]
SERAPHIN, SANCTUS (Santo Seraphino), 1710-1748, worked in Venice, and is considered one of the most careful and painstaking makers of the Italian school. His wood is beautifully figured and well selected. His purfling is excellent, and he used a fine brilliant varnish. He usually branded his instruments near the button. Ticket as follows:
[Illustration: Sanctus Seraphin Utinensis Fecit Venetiis Ann. 17__ { surrounded by decorative scrollwork}]
STORIONI, LORENZO, Cremona, 1780-1798. The last of the old Cremonese school. He sometimes copied Joseph “del Jesù,” at others, he followed his own originality. His instruments exhibit great variation; notably in the position of the sound holes, which he never placed twice alike. He used a poor varnish which clearly indicates the change of process which was then taking place. Although these instruments are far from being graceful in outline or beautiful in appearance, they are capable of producing a good tone; in fact, in Italy a good Storioni is highly spoken of. This maker does not appear to have made many violas or violoncellos. Ticket:
[Illustration: Laurentius Storioni fecit Cremonæ 17_23_.]
STRADIVARIUS, ANTONIO, the king of fiddle makers, born at Cremona, 1644, died 1737. This great master was an apprentice in the workshop of Nicolas Amati. At the age of twenty-three years he produced some violins, the exact reproductions of his master, and into which it is said he placed the labels of Nicolas. In the year 1670 he signed his instruments with his own name. From that date, until about 1690, he produced but few instruments, and it is conjectured, that during this period of twenty years, his labours and researches were more in the nature of experiments than of commercial enterprise.
From the year 1690 the individuality of Stradivarius began to assert itself. It was then that he began to give greater amplitude to his model. He reduced the high arching hitherto prevailing, and determined with much nicety the various thicknesses of wood, but he still retained many of the chief characteristics of his master. The productions of this period are called “Long Strads.” From 1700 to 1725 Stradivarius was in the full lustre of his fame. During this period he made those masterpieces known as the “Grand Pattern.” “He no longer felt his way, but being certain of all that he did, he carried his manufacture, even to the minutest details, to the highest possible finish, especially with regard to the varnish, the quality of which is fine and extremely supple.”