ad similitudinem illorum quos
fecerunt Antonius & Hieronymus
Fratres Amati Cremonenses Filii
Andrae. Tarvisii, 1757.

The label he used is curious. He copied the Brothers Amati with much
skilfulness. The sound-holes are like those of the early instruments
of the Amati; the varnish is golden in colour and excellent in
quality; the scroll, as usual with all imitations, is a weak feature,
but does not lack originality.

DARDELLI, Pietro, Mantua, about 1500. Is described as a maker of Lutes
and Viols. M. Fetis relates, in his "Biographie des Musiciens," that
the painter Richard, of Lyons, possessed about the year 1807 a
beautiful Lute by this maker, which was made for the Duchess of
Mantua. The instrument is described as richly inlaid with ebony,
ivory, and silver, dated 1497, and having the name "Padre Dardelli."
On the belly the Mantuan arms are represented. M. Fetis was unable to
discover any tidings of this interesting instrument after the death of
Richard. Dardelli was a Franciscan monk at Mantua, and occupied
himself with making musical instruments and inlaying them. Work of any
kind executed under such circumstances is rarely found to be other
than artistic.

DESPINE, Alexander, Turin, nineteenth century. A very good maker;
worked with Pressenda, whose labels his instruments sometimes bear.

DIEFFOPRUCHAR, Magno, Venice, 1612. Lute-maker. An instrument of this
make is at the Academy of Music, Bologna. M. Engel remarks,[4] "There
can be no doubt that we have here the Italianised name of the German
Magnus Tieffenbrucker, who lived in Italy." There appears to be a
connection between these Venetian Lute-makers of this name and
Duiffoprugcar of the sixteenth century.

[Footnote 4: "Musical Myths and Facts," 1876.]

DOMINICELLI, Ferrara, said to have worked about 1700.

DUIFFOPRUGCAR, Gaspar, Bologna. This famous maker of Viols is said to
have settled in Bologna in the early part of the sixteenth century. He
appears to have obtained much renown as an inlayer of musical
instruments, and it is stated that Francis I., upon the occasion of
his visit to Italy in 1515, prevailed upon the Viol-maker to settle in
France. The name of Duiffoprugcar has been made familiar to us, not so
much on account of his merits as a Viol-maker, but almost wholly on
account of his having been represented as the first maker of the
Violin tuned in fifths, and the representation having been supported
by the production of thre