Although his precise origins remain unclear, his early experience owed much to both Nicolo Amati and Francesco Rugeri.
The elder of Antonio's two violin making sons, he was his father's most loyal and trusted assistant, a position confirmed in Antonio's will.
The younger brother of Francesco, his overall contribution to the workshop is less apparent
Distinctive instruments made in Venice, somewhat after the style of Carlo Tononi, but with a Germanic flavour and a paler yellow varnish
Fine workmanship. His 'cellos are sought after.
Best known for the cellos made in Rome from ca 1690 to 1747, he was almost certainly trained as an instrument maker in his native Augsburg, possibly in the Edlinger workshop.
The son of Carlo Giuseppe, his work is generally inferior, and marks the beginning of the decline in the quality of the family's work.
A pupil of Giovanni Grancino, and his best work is hard to distinguish from that of his master.
The second son of Carlo Antonio, he often used an inferior opaque brown varnish, and was inconsistent in model and arching.
Son of Paolo Antonio, Pietro appears to have relinquished any claim to craftsmanship at all, and produced heavy, hastily assembled and thoughtlessly finished instruments which are nevertheless still sought after for their sound.
Taught by his father Giovanni, Carlo is generally considered the more important maker, although some of his instruments have an exaggeratedly high arch, and can be variable in workmanship.
Giovanni's father Gaspare (1607-1693) was recorded as a 'case-maker' , probably working for one of the many lute-makers for which Bologna was then famous.
A well travelled violin-maker of Italian origin who worked variously in Valencia, Barcelona, Montpellier, Marseille, Nice, Trieste and Rome.
The pupil of Giovanni or Nicolo II Gagliano, Ventapane made very workmanlike instruments, mainly with plain wood and varnish, but a strong arching and good tone, often indistinguishable from the Gaglianos won work.
The most eminent and successful of nineteenth century violin makers. Trained initially by his father Claude-Francois (1772-1834) in Mirecourt, and subsequently in Paris at the workshop of Nicolas-Antoine Lete (1793-1843), he began to sign his own instrume
An important early Brescian maker whose rare surviving work is stylistically quite distinct from Gaspar and his school. Trained by his father, Zanetto di Montichiaro (ca 1490-1560), a skilful viol maker.
Taught by his father, Giovanni Battista, who worked on a well-managed Stainer form
Claimed on his labels to have been a pupil of Hieronymus Amati II, he worked in Mantua from about 1724, contemporarily with Camillus Camilli.