anno 17--

Neat workmanship, small scroll, flat model, well-cut sound-holes,
Stradivari pattern, orange-red varnish.

CALVAROLA, Bartolommeo, Bergamo, about 1753. The work is neatly
executed. These instruments are somewhat like those of Ruggeri in
form. The scroll is weak, and ill-proportioned.

CAMILLI, Camillo, Mantua, 17--.

Camillus Camilli Fecit Mantua 17--

The form partakes of that of Stradivari; wood usually of excellent
quality. The sound-hole is rather wide and short. The varnish
resembles that of Landolfi, but is less brilliant.

CAPPA, Gioffredo, Cremona, 1644-1717.

IOFREDVS CAPPA FECIT
SALVTIIS ANNO 16--

The dates of birth and death were ascertained by Dr. Orazio Roggiero,
a lawyer of Saluzzo, whose researches set at rest many doubts and
speculations as to this excellent maker and his period of activity. He
was formerly held to be a pupil of the brothers Amati, but the
assumption, having regard to the date of birth, is untenable.

The greater number of his productions consist of works of high merit.
Their likeness to the instruments of the Amati is in some instances
peculiarly striking, but in others there is a marked dissimilarity.
Particularly is this the case in the form of the sound-hole and
scroll. The sound-hole is sometimes large, and quite out of keeping
with the elegant outline of Amati. The points of difference may be
summed up as follows: the sound-hole is larger, and more obliquely set
in the instrument; the upper portion of the body has a more contracted
appearance; the head, as is the case with most makers, differs most,
and, in this instance, in no way resembles Amati.

There are few specimens of Cappa that bear their original labels; most
of them are counterfeit "Amatis," and hence the great confusion which
has arisen concerning their parentage. Lancetti says: "Foreign
professors and amateurs, and particularly the English--though
connoisseurs of the good and the beautiful--in buying the instruments
of Cappa thought they had acquired those of Amati, the outline and
character of the varnish and the quality of the tone resembling in
some measure the instruments of the Brothers Amati. It is, however,
reserved to a few Italian connoisseurs to distinguish them. Those of
large pattern, and even of medium size, that have not been injured by
unskilful restorers, are scarce, and realise high prices." These
remarks, suggested many years since, by so able a connoisseur as Cou