Geronimo (d. 1638, 1635), and the noted son of the latter, Nicola (d. 1684), all of whom generally preferred a small model and sought sweetness of tone more than power or brilliance, though Nicola's 'grand' pattern is of the highest rank. Greatest among their successors, probably Nicola's pupil, was Antonio Stradivari (d. 1737), whose style had several stages, the best of which extended about a quarter-century from 1700, and whose achievements then, both as to refinement and brilliancy of tone, and as to grace of form, mark the acme of the art—with his sons Francesco and Omobono (d. 1743, 1742). The Guarneri family includes Pietro Andrea (working till c. 1695), his son Giuseppe (till 1730) his grandson Pietro and his nephew Giuseppe Antonio (d. c. 1745), usually called 'del Gesù' (from his use of 'I.H.S.' on his labels), whose best work equals Stradivari's. The Ruggeri family, beginning with Francesco (d. 1720), probably a pupil of Nicola Amati, includes Giovanni Battista (till 1723), with several others. Among Stradivari's pupils were Carlo Bergonzi (d. 1755), and Lorenzo Guadagnini (till 1740), with his son Giovanni Battista (d. 1786) and other descendants. In the Guarneri line was Lorenzo Storioni (d. 1799). Later Cremonese makers of note were the Ceruti family and others, reaching far into the 19th century.
From Cremona the developed art passed to other places. Thus in Piedmont was Gotofredo Cappa (till 1640), whose instruments are often confused with those of the Amatis. At Milan were Paolo Grancino (till 1692), and his son Giovanni (till 1720), with others of the same family, representing Amati traditions; and Carlo Giuseppe Testore (till 1720), and his sons, followers of Guarneri. At Venice were Francesco Gobetti (till 1715); Domenico Montagna (till c. 1740), a pupil of Stradivari; and Santo Serafino (till 1748), famous for the beauty of his varnish and finish. At Naples the Gagliano family, beginning with Alessandro (till 1730) and continuing for two or three generations, upheld for a time the Stradivari tradition. The same derivation is still clearer in Vincenzo Panormo (d. 1813), who worked first at Palermo and later at Paris and London. Still another of the same school was Giovanni Francesco Pressenda (d. 1854) of Turin.
Violin-making of an advanced type did not begin in South Germany until far into the 17th century, though lutes and viols were manufactured with singular ingenuity. Of the many makers who then appeared the most original was Jakob Stainer (d. 1683), a Tyrolese who studied with the Amatis and whose violins now rank only second to those of the best Cremonese artists. Matthias Albani (d. 1673), also a Tyrolese, was one of Stainer's best pupils, and his son Matthias (d. after 1709) studied at Cremona and finally worked at Rome. David Tecchler (d. 1743), coming to Rome from Salzburg, strengthened his style by incorporating Italian features.
Among the closest students and cleverest imitators of the great Italians have been some Dutch and many French makers. Leading names are Peeter Jacobs (d. 1740) of Amsterdam, whose work follows that of Nicola Amati; and Nicholas Lupot (d. 1824), the chief of a large Parisian family that followed Stradivari. Other well-known Parisian makers are F. L. Pigue (d. 1822), Pierre Silvestre (d. 1859), who settled finally at Lyons, and J. B. Vuillaume (d. 1875), whose instruments are extremely many.
