and the work carefully executed.

ALESSANDRO, named "Il Veneziano," 16th century.

ALETZIE, Paolo, Munich, 1720-36. He made chiefly Tenors and
Violoncellos, some of which are well-finished instruments. The varnish
is inferior, both as regards quality and colour. The characteristics
of this maker are German, and might be classed with that school.

ALVANI, Cremona. Is said to have made instruments in imitation of
those of Giuseppe Guarneri.

AMATI, Andrea, Cremona. The date of birth is unknown. It is supposed
to have occurred about 1520. M. Fetis gave this date from evidence
furnished by the list of instruments found in the possession of the
banker Carlo Carli, which belonged to Count Cozio di Salabue. Mention
is made of a Rebec, attributed to Andrea Amati, dated 1546. Upon
reference to the MSS. of Lancetti, I find the following account of the
Rebec: "In the collection of the said Count there exists also a Violin
believed to be by Andrea Amati, with the label bearing the date 1546,
which must have been strung with only three strings, and which at that
epoch was called Rebec by the French. The father of Mantegazza altered
the instrument into one of four strings, by changing the neck and
scroll." From these remarks we gather that the authorship of this
interesting Violin is doubtful. There is, however, some show of
evidence to connect Andrea Amati with Rebecs and Geigen, in the
notable fact that most of his Violins are small, their size being that
known as three-quarter, which was, I am inclined to believe, about the
size of the instruments which the four-stringed Violin succeeded. As
to the time when Andrea Amati worked, I am of opinion that it was a
little later than has hitherto been stated. We have evidence of his
being alive in the year 1611, from an entry recently discovered in the
register of the parish in which Andrea Amati lived, to the effect that
his second wife died on April 10, 1611, and that Andrea was then
living. The discovery of this entry (together with many important and
interesting ones to which I shall have occasion to refer) we owe to
the patience and industry of Monsignor Gaetano Bazzi, Canon of the
Cathedral of Cremona.[2] Andrea Amati claims attention not so much on
account of his instruments, as from his being regarded as the founder
of the school of Cremona. There is no direct evidence as to the name
of the master from whom he learnt the art of making stringed
instruments. If his work be care