Francois Xavier Tourte (1747-1835) is widely regarded for creating the greatest violin, viola, and cello bows of all time in his Paris workshop. Tourte is traditionally credited with establishing the standard weights, dimensions, and basic design that still endure today for the modern bow.

The instruments of Giovanni Battista Rogeri (1642 – c. 1710) combine a high level of refinement with a bold, direct approach to the form, reflecting the influence of both Cremonese and Brescian principles. Rogeri built some of his violins on a full and broad model reminiscent of grand-pattern Amati. He emulated smaller Amatese forms in others. Rogeri even modeled some of his instruments directly after the work of an earlier Brescian maker, Giovanni Paolo Maggini (1580-1630). Similar to Maggini’s work, these instruments incorporate double purfling and intricate designs. Rogeri's Maggini-modeled instruments have often been mistakenly confused with authentic Magginis and are among the first copies of instruments of the early Brescian school. 

The origins of the violin are shrouded in mystery. Who made the first violins and where they worked remains unclear. The first violin was probably born in either Brescia or Cremona, in northern Italy. Whatever the early history, by a twist of fate, violin-making in the two cities would eventually become intrinsically linked.

Vittorio Bellarosa (1907-1978) was the last of an unbroken Neapolitan tradition of violin making that had begun in the 17th century with Alessandro Gagliano (1665-1732). He was a prolific maker whose work is nearly exclusively devoted to Gagliano-inspired violins.

David Tecchler is widely regarded as the most important maker of the Roman school of instrument making. German by birth, Tecchler emigrated to Rome at the end of the 17th century and ran a highly successful business there for roughly 50 years.