SITT, Anton.—Prague. Born 1819. Died 1878. Worked with Schweitzer, and copied various makers. His labels usually state the name of the maker from whom they are copied. Good sound work, but rather solid looking.
SMITH, Thos.—London; eighteenth century. He worked with and succeeded Wamsley. Made many violoncellos of merit. Instruments of Stainer build. They are very like the work of Wamsley and are not unfrequently sold as his.
SNEIDER, Joseph.—Padua; early eighteenth century. He was in Niccolò Amati’s workshop, but was probably of German birth. Instruments relatively scarce. Pretty work of Amati character; yellow varnish.
SNOECK.—Brussels; eighteenth century. There appear to have been three makers of the name. Egidius, circa 1700-30, is the best known. Red-brown varnish. Amati pattern.
SOCQUET, Louis.—Paris; late eighteenth century. Mediocre work. Large label with engraved border.
SOLIANI, Angelo. Mantua, Modena; late eighteenth century. Useful instruments. Tone generally powerful. Yellow or reddish-yellow varnish. His labels bear the sign of the Sun. Work generally branded.
SORSANA, Spirito.—Coni; early eighteenth century. Scarce. The name also appears with the spelling “Sursano.”
SPIDLEN, Franz.—Moscow, Prague; contemporary. A good copyist. Has obtained some medals (Paris, 1900). Brown varnish. Name branded on backs.
SPRENGER.—Nineteenth century. A Mittenwald family, three or more of whom worked in Nuremburg.
STADLMAN.—Vienna; eighteenth century. There were several of the name. Instruments seen by the writer were of good workmanship and Stainer pattern. Michael Ignatius, who died in 1813, is perhaps the best known. He seems to have made most of his instruments on Stradivari lines. Labels bear the double-headed eagle.