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"JACOBS, HENDRIK - Born at Amsterdam, 1630. Died 1699. There is every evidence that these violins are becoming eagerly sought for by players, and meeting with much approbation from connoisseurs in Europe and America. Probably the most important Dutch_maker. A legend has floated here and there which affirms that he worked with Amati, and married one of the daughters. Legends are sometimes more amusing than truthful. Copied the grand Amati model with astonishing refinement and_delicacy of varnishing. Made the outline minutely exact with that of an Amati, also chose the same figured wood to make the imitation more complete. Certain specimens have been mistaken for Cremonese, and actually disposed of as such. This, to us, seems exaggerated, and we feel sure that an expert has never been misled, for there are, on careful examination and comparison, too many strong characteristics emphatically belonging to this Dutchman, which in their turn are_not in much danger of eclipse or of adequate imitation from any maker of his_country, Jacobs' genius was too cogent for that. Often said that he inserted Amati labels, but this has never been satisfactorily proven. Amati labels, however, have been used by certain busily unscrupulous persons who seem to exist in every age. Plenty of variety to be admired about Jacobs' modelling. Generally of large pattern (body length, 14/16 inches) but smaller examples are also known.
Entire contour of a kind of graceful solidity. Moderate arching, and very well formed corners (slightly longer than the Amati). Cutting of the scrolls may possibly dissatisfy. We have always found them rather too narrow, and certainly a trifle mean looking, causing wonder why he failed to conceive more grace or robustness in this important ornament. Sound-holes also vary in form, some having the Amati setting, of course, but others obviously suggested by Stainer, generally too much rounded (a strong individuality).
Table wood invariably of fine grain.
Back and ribs of handsomely flamed material varying from close to bold figure. Splendid whalebone purfling, and there is an effective little groove with a fascinating little gradient therefrom. This whalebone has sometimes been removed by other hands, and wooden material substituted, when attempts have been made to gull the_credulous that they are buying an Amati. Varnish different from that of an Amati, not only in quality and tint, but also in the mode of its application. Reddish brown generally, occasionally a red tending to purple, and (only on later instruments) a rich golden orange. In neither instance does he get on an equality with_Amati though he merits distinction. Its constitution is heavier, and the surface is_not so finely finished."
-William Henley, The Universal Dictionary of Violin and Bowmakers