David Tecchler, 1666-1748

David Tecchler (1666-1747) is considered the founder of the Rome school of violin making. He lived in both Venice and Florence during his lifetime. He moved to Rome after 1690. Tecchler used superior quality wood to make his instruments, and his varnishes are quite resplendent, usually yellow or yellowish red. The outer appearance and quality of his cellos is exceptionally great, using brownish red or dark red varnishes. His basses are also of a superior quality. Tecchler was a prolific luthier.

Jacob Horil, 1720-1759

Horil was born in Bohemia in England. He moved to Vienna with his luthier career started after 1720, and moved to Rome in 1740. According to the information, Horil might be the student of Michael Platner. Horil adopted the Rome luthiers’ violin making style, and his best works used yellow varnish which was perfectly clear. Same as Giullo Cesare Gigli (1724-1794), Horil was one of the most celebrated luthier in Rome in his days.

Michael Platner, 1735-1750

Platner was a follower of Andrea Amati and David Tecchler. His violins were made with woods of great quality, and the bellies were made in higher arching. Platner used golden varnish.

Rodolfo Fredi, 1861-1950

羅多佛‧弗雷迪(Rodolfo Fredi, 1861-1950)，仿製史特拉底瓦里(Stradivari)及其他製琴師的作品，曾於1937年參展克里蒙納的國際紀念展(International Memorial Exhibition Cremona)。

Antonio sgarbi, 1866-1905

安東尼奧‧斯葛碧(Antonio sgarbi, 1866-1905)，出生於莫德納(Modena)。於貝利尼(Bellini)學校學習小提琴演奏與作曲，1892年遷於羅馬。使用的木材品質良好，漆色為橘紅色。

Simon Fernando Sacconi, 1895-1973

西蒙‧菲南多‧薩科尼(Simon Fernando Sacconi, 1895-1973)，近代傑出的義大利製琴師。先後事師朱塞佩‧羅西(Giuseppe Rossi, 1869-1954)、朱賽佩‧菲奧里尼(Giuseppe Fiorini, 1861-1934)，同時也跟過安東尼奧‧斯葛碧(Antonio sgarbi, 1866-1905)；工作一年，搬到柏林後跟Michael Dötsch學習；1931跟隨艾爾‧哈曼（Emil Herrmann）；1950年協助Rembert Wurlitzer，修理過大量名琴。薩科尼曾於1972年出版《史特拉底瓦里的秘密》一書(The”Secrets” Of Stradivari）。晚年到克里蒙納製琴學校任教，為近代相當重要的史特拉底瓦里專家。

他使用橘色或褐色的漆色，他所製作的樂器常提供小提琴家亞裡構‧塞拉托(Arrigo Serrato, 1877-1948)以及大提琴家阿爾圖羅‧博努奇(Arturo Bonucci, 1894-1964)於音樂會上演奏。

Francesco Emiliani, c. 1680-1736

弗朗切斯科‧艾明利亞尼(Francesco Emiliani, c. 1680-1736)，曾於1708年至1736年間在羅馬工作，是位極具貢獻的製琴師。其製琴工藝堪稱為義大利製琴界之翹楚，只略遜於早期克里蒙納的製琴大師。其製作手法接近大衛‧特克勒(David Tecchler, 1666-1748)，因此也有傳說指出他可能是特克勒的學生。

他所製作的提琴琴身拱形弧度較為明顯，不過也有少數特例是採用較為平整的弧度。渦旋琴頭設計精美，具有較深刻的切割。木材選用上等且具穿透力的材質，琴身的整體結構完整。漆料呈金黃色，比例完美且質地均勻。音色乾淨溫潤，音量不大，但渾圓且飽滿。

Giuuo Cesare Gigli, 1724-1794

吉奧．卡薩．吉利 (Giuuo Cesare Gigli, 1724-1794)，是繼麥可‧普拉特納 (Michael Platner, 1684-1752)之後，跟約克柏．豪里爾 (Jacob Horil, 1720-1759)屬同時期羅馬學派的製琴師。但不確定他到底是大衛‧特克勒 (David Tecchler, 1666-1748)的學生，還是麥可‧普拉特納的學生。

吉利的作品多採用阿瑪蒂琴型，琴身中段偏窄。琴身輪廓和弧度並不是非常精確的，渦旋狀琴頭相較之下比較精美。F孔有時較小，提琴下緣也有大量邊飾，有的鑲邊甚至只用畫的，從尖銳的邊角中顯示做工不夠精細。漆色為金黃、暗紅以及偏紅的黃色。提琴音量較小，音色也不夠溫暖。不過他的大提琴音色較佳。