JACOB STEINER was a native of the Tyrol, and was born at Absom, near Inspruck, about 1620. It is said that an old instrument by Kerlino, which he found in the house, gave him his first tendencies towards the art of violin making. Certain it is however that while yet a youth he obtained employment in the workshop of Nicholas Amati. This was an excellent school for the young aspirant, and after some years he made some instruments which, with the exception of sixteen which will be mentioned later, are considered to be the finest specimens of his talent. These fine violins are the product of his Cremonese inspiration, and bear a written label signed by himself and dated from Cremona about 1644. These instruments are modelled higher than those of his master, thus showing a singular divergence from the principle of gradual decrease in the height of the model of the Amatis, from Andrew to Nicholas. This divergence from that principle, which ended in the flat model of Stradiuarius, must be considered to be the real cause of the loss of favour which the Steiner violins, though beautiful in other respects, have undergone. Steiner exaggerated the old practice instead of following the new lights of science, and while the latter have yielded the brightest results, the former has tarnished the real talent of this otherwise excellent artiste. Probably another reason for the defective tone of Steiner's instruments in comparison with the Cremonese and Brescian, is the practice of modelling his violins with an extraordinary and peculiar rise to about the foot of the bridge, and then keeping it nearly flat. Otto describes it thus, "the breadth of this raised part is about the same as the bridge itself, and then it falls off towards the edges. The model is precisely similar towards the neck and on the broad part (beneath the finger board.)" This description is only imperfect in this point that sufficient stress is not laid on the words _fall off_. It is literally a falling off, and on the principles of acoustics must of necessity make the tone thin. Andrew Amati, on the contrary, built nearly as high, but beautifully and gradually sloped them down to the purfling, and his instruments, though small in tone, are yet full, round and sweet. In other respects Steiner at this period was a most careful maker, and his instruments show very fine finish and workmanship. They are of the small pattern, with the S holes rather shorter than the Cremonas, somewhat narrow and beautifully formed; the head also smaller and particularly round and smooth. The varnish is similar to that of the Amatis, and the wood of the belly has a fine open grain.