As people rediscover these instruments today, the knowledge of where they came from is lost, and the labels can be misleading.Ī violin's authenticity (i.e., whether it is the product of the maker whose label or signature it bears) can only be determined through comparative study of design, model wood characteristics, and varnish texture. At that time, the purchaser knew he was buying an inexpensive violin and accepted the label as a reference to its derivation. Affixing a label with the master’s name was not intended to deceive the purchaser but rather to indicate the model around which an instrument was designed. Thousands upon thousands of violins were made in the 19 th century as inexpensive copies of the products of great Italian masters of the 17 th and 18 th centuries. Copies made after 1891 may also have a country of origin printed in English at the bottom of the label, such as "Made in Czechoslovakia," or simply "Germany." Such identification was required after 1891 by United States regulations on imported goods. This inscription indicates the maker (Antonio Stradivari), the town (Cremona), and "made in the year," followed by a date that is either printed or handwritten. The usual label, whether genuine or false, uses the Latin inscription Antonius Stradivarius Cremonensis Faciebat Anno. In addition, thousands of violins have been made in tribute to Stradivari, copying his model and bearing labels that read "Stradivarius." Therefore, the presence of a Stradivarius label in a violin has no bearing on whether the instrument is a genuine work of Stradivari himself. About 650 of these instruments survive today. Stradivari also made harps, guitars, violas, and cellos-more than 1,100 instruments in all, by current estimate. His interpretation of geometry and design for the violin has served as a conceptual model for violin makers for more than 250 years.