Despite Cristofori’s experience, the chosen model throughout Europe in the eighteenth century was that of Stainer, itself developed from the Amati model. This preference now seems hard to explain, especially in view of the enormous developments taking place in Cremona at the time, but the Stainer model, to some extent exaggerated far beyond Amati’s own principles, must have provided the most effective voice for the music of the time. Gabrielli’s instruments, as is clear from this instrument of 1747, a point quite early in his career, are very subtle and beautifully worked. This is a stikingly pretty instrument, attractively proportioned and poised with no weakness of line or craftsmanship. The original label it bears is written in an elegant manuscript, ‘Joannes Baptista de/ Gabrielly Florintus fecit 1747’.
The arch has the very Stainer-influenced shape, with the edge channel cut widely and deeply, before rising to a very rounded breast. The neatly laid purfling is of ebony, which is difficult to form, but inlaid with this precision gives a very strong emphasis to the narrow edge and outline.