Identifying the maker of a violin, viola, or cello requires examining multiple lines of evidence. No single feature is definitive — experts weigh all factors together to form an attribution.
The overall shape, or outline, of an instrument is one of the first things an expert examines. Different makers and schools developed distinctive outlines that were passed down through apprenticeships. The Cremonese school (Amati, Stradivari, Guarneri) produced different outlines than Venetian or Neapolitan makers.
The f-holes are among the most individual features. Their shape, placement, angle, and the details of the notches and fluting vary significantly between makers. Even within a single maker's output, f-holes evolved over their career, helping to date instruments within a maker's working period.
The scroll is essentially a maker's signature carved in wood. The volute's turns, the depth of the fluting, the shape of the eye, and the chamfer all reveal a maker's hand. Some makers carved with exceptional precision while others showed a more spontaneous approach.
The wood selection tells a story. The spruce top (belly) should show consistent, tight grain for quality instruments. The maple back and sides may be plain or highly figured. Different regions historically had access to different timber sources, so the wood itself can indicate geographic origin.
Dendrochronology — tree-ring dating — is one of the most objective tools available. By measuring the spacing of annual growth rings in the spruce top and comparing them against reference chronologies, experts can determine when the tree was felled. This establishes a "not before" date for the instrument's construction.
Varnish is notoriously difficult to analyze but highly informative. Italian varnish from the classical period has qualities that have never been precisely replicated. The color, texture, transparency, and wear patterns all contribute to identification. Modern spectroscopic analysis can identify varnish composition.
The purfling (decorative inlay around the edges) reveals construction methods. Is it inlaid or painted? How are the corners executed? The width, material, and corner treatment vary by maker and period. Some factories used stamped or painted purfling, which immediately distinguishes commercial instruments.
Internal construction — the linings, blocks, and bass bar — follows regional and period-specific conventions. Italian makers typically used willow linings while German workshops often used spruce. The corner blocks, their shape and wood, differ between traditions.
Arching profiles (the curvature of the top and back plates) are measured and compared against known examples. Stradivari's flatter arching differs from Amati's higher, more rounded models. These measurements can be compared mathematically against reference instruments.
An instrument's ownership history is a critical component of identification. Auction records, exhibition catalogs, insurance documents, and dealer records can trace an instrument through decades or centuries of ownership. A well-documented provenance strengthens any attribution.
Historical certificates and expertise from recognized authorities (Hills, Wurlitzer, Bein & Fushi) carry weight, though even expert opinions from the past are sometimes revised with modern methods.