out 1760.

GOBETTI, Francesco (sometimes called _Gobit_), Venice, 1690-1715.

Franciscus Gobetti fecit
Venetiis 1705.

This is one of the little-known makers, a fact which may be attributed
to the practice, common some years ago, of removing the original label
of an instrument and substituting another, bearing a name more likely
from its familiarity to command attention.

When we see such Violins bearing the stamp of genius upon them, and
reflecting much credit on the maker, the lovers of the instrument
cannot but regret that the author should have been eclipsed, and
deprived of his just praise.

Had the name of Gobetti been permitted to associate itself with the
instruments into which it was originally placed, they would have been
as highly valued as any belonging to the Venetian school, with the
single exception of Domenico Montagnana. The admirers of that finished
maker, Santo Serafino, may perhaps dispute the justice of this
observation; but, having carefully weighed the merits of both Serafino
and Gobetti, I have no hesitation in awarding to the latter the
foremost place. Gobetti's style is superior, being more Cremonese than
Venetian; and further, his model is preferable.

Gobetti has been considered to have been a pupil of Antonio
Stradivari, possibly with some reason, for his instruments bear a
similarity to the early works of the great master. The instruments of
this maker, like those of many others of his class, have passed for
the works of Ruggeri, and sometimes of Amati. There is a slight
likeness about the sound-hole to the work of Francesco Ruggeri; but to
the skilled in such matters, no feature interchangeable with Amati can
be detected.

The workmanship is uniformly neat in execution; the scroll is the
least successful part, being weak in character as compared with the
body. The varnish is equal to any belonging to the Venetian school,
and its beauty is second only to that of Cremona; its colour is
generally a pale red, of considerable transparency. The wood is most
handsome. These Venetians were not a little happy in selecting
beautiful wood; in fact, it is scarcely possible to discover a single
Venetian instrument the wood of which is plain. The tone of Gobetti's
work is round, without great power; but the quality is singularly
sweet.

GOFRILLER, Matteo, Venice, about 1700-1735. The workmanship is often
good, and the wood of fine quality. The style is somewhat different
from that we