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At this time our young artist was the possessor of a very fine instrument by Giovanni Magini, a celebrated maker of the Brescian school, and a pupil of Gaspar de Salo.
In 1617 he was invited to Italy to succeed Magini as Professor of Mathematics at Bologna. Galileo urged him to accept the post, but he excused himself on the ground that he was a German and brought up among Germans with such liberty of speech as he thought might get him into trouble in Italy. In 1619 Matthias died and was succeeded by Ferdinand III, who again retained Kepler in his post.
Let us glance briefly at the artistic activity of the times when the violin-making craft leaped so swiftly and surely to perfection. If we turn to the days of Gaspard di Salo, Morelli, Magini, and the Amatis, we find that when they were sending forth their fiddles, Raphael, Leonardo da Vinci, Titian, and Tintoretto were busily painting their great canvases.
For the rest, the domain of Policoro it is spelt Pelicaro in older maps like those of Magini and Rizzi-Zannone seems to be well administered, and would repay a careful study. I was not encouraged, however, to undertake this study, the manager evidently suspecting some ulterior motive to underlie my simple questions. He was not at all responsive to friendly overtures.
Now in the year 1524, after M. Baldo Magini had caused Antonio, the brother of Giuliano da San Gallo, to build in the Madonna delle Carceri, in the town of Prato, a tabernacle of marble with two columns, architrave, cornice, and a quarter-round arch, Antonio resolved to bring it about that M. Baldo should give the commission for the picture which was to adorn that tabernacle to Niccolò, with whom he had formed a friendship when he was working in the Palace of the above-mentioned Cardinal dal Monte at Monte Sansovino.
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