Peeter Jacobs

A close imitator of Niccolo Amati. Few makers have been more mistaken than Jacobs; so exact was he in following the model of Amati, that numbers of his Violins are passed by the inexperienced as original. He mostly selected the grand pattern of Amati for his model, which gave him full scope for the exercise of his powers. He selected wood as nearly as possible resembling that found in the works of Niccolo Amati. The backs are mostly of even grain, and compact; the modelling can only be found fault with near the purfling, where its sharpness at once catches the attention of the critic in these matters, and divulges the true author. The varnish, though good, is not equal to that of Amati. The scroll is inferior to the body in merit. The purfling is of whalebone, like that of most of the Dutch makers.

Mit ziemlicher Hartnäckigkeit wird Hendrik Jacobsz immer wieder „Peeter
Jacobs* genannt, was auch Vidal noch thut. Es ist möglich, dass es einen
Peeter J. gegeben hat, es war mir jedoch nicht möglich, eine Arbeit oder auch
nur einen Beweis seiner Existenz aufzutreiben.