Camillo Camilli, 1704-1754

Camillo Camilli (1704-1754) was an outstanding violin maker. He was greatly influenced by Stradivari and Guarneri. He is also thought to have studied with Antonio Zanotti, and there is also some speculation about whether he studied with Stradivari, as well as whether he worked together with Zanotti and Pietro Guarneri. His varnishes are typically orange or bright red, but he also occasionally used brown and dark red ones as well. His instruments all have gorgeous timbres.

Antonio Zanotti, 1709-1745

Antonio Zanotti was a student of Geronimo Amati II (c. 1690) in Cremona, and he accepted the broad style of Stradivari, Pietro Guarneri and Guarneri del Gesù. The quality of the wood was fine, and the carving of the sound-holes and the scroll was excellent. The sounds of his works are elegant.

Gaetano Dionelli, 1806-1870

Dionelli developed his career in Mantua from 1855 to 1869, and his cello works were made in good quality.

Tomaso Balestrieri, c. 1750-c. 1780

托瑪索‧巴雷斯提耶里(Tomaso Balestrieri, c. 1750-c. 1780) 有著「小瓜達尼尼」的稱號。他受到彼得羅‧瓜奈里 (Pietro Guarneri of Mantua, 1655-1720)的影響。瓜奈里是十八世紀曼圖阿 (Mantua)地區最重要的製琴師，他在1680年時由克里蒙納搬至曼圖阿，所以我們可從巴雷斯提耶里的早期作品中，看見彼得‧瓜奈里的製琴風格。

目前僅有少數證據證明，卡米洛‧卡米利 (Camillo Camilli, 1704-1754)與巴雷斯提耶里同時期於曼圖阿擔任製琴師；我們可以從巴雷斯提耶 1767年與卡米利1730年的作品背板中來比較兩者間的差異，但無論在F孔或是體型和弧度上都相當接近。卡米利的技術純熟，而巴雷斯提耶里的樂器在市場上也具有非常良好的聲譽。

巴雷斯提耶里的作品大致分為小題型及大體型兩種，具有大膽的樣式。小體型的琴，琴身拱型弧度較為平坦，而這些琴能適時引導出寬大音域且具爆發力與甜美音色，甚至有人認為可以和瓜達尼尼的早期提琴並駕齊驅，具有「小瓜達尼尼」之稱。許多音樂家如Ruggiero Ricci也使用此作者做的琴 。