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diff --git a/36535.txt b/36535.txt new file mode 100644 index 0000000..9f221bd --- /dev/null +++ b/36535.txt @@ -0,0 +1,3573 @@ +Project Gutenberg's Antonio Stradivari, by Horace William Petherick + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Antonio Stradivari + +Author: Horace William Petherick + +Release Date: June 26, 2011 [EBook #36535] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK ANTONIO STRADIVARI *** + + + + +Produced by Linda Cantoni, David E. Brown, Bryan Ness and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + + + + + ANTONIO STRADIVARI. + + + + + PRINTED BY E. SHORE AND CO., + + 3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C. + + + + +[Illustration: HORACE PETHERICK.] + + + + + _"THE STRAD" LIBRARY, No. VIII._ + + + ANTONIO STRADIVARI, + + BY + HORACE PETHERICK. + + _Of the Music Jury, International Inventions Exhibition, + South Kensington, 1885; International Exhibition, + Edinburgh, 1890; Expert in Law Courts, 1891; + Vice-President of the Cremona Society._ + + COPYRIGHT. + + London: + "THE STRAD" OFFICE, 3. GREEN TERRACE, ROSEBERY AVENUE, E.C. + E. DONAJOWSKI, 26, CASTLE STREET, BERNERS STREET, W. + D. R. DUNCAN, 186, FLEET STREET, E.C. + + 1900 + + + + +CONTENTS. + + + PAGE + + CHAPTER I. + + Date and Place of Birth of Antonio Stradivari--His Instructor + in the Art of Violin Making--Peculiarity of His Early + Work, Nothing Striking, but Slowly Progressive--Which + of the Designs of His Master He was Most Impressed + by, and His Own Modifications for Improvement--His + Departure from the House of His Master Free to Carry + Out His Own Inclinations 1 + + + CHAPTER II. + + Details of Further Improvements upon His New Designs--Modification + of the Soundholes--The Amati Varnish and + Stradivari's--His Secrecy of Method in Working--His + Knowledge of What was Wanted and Efforts at Advance + in Tone Quality 8 + + + CHAPTER III. + + The Date of the True Stradivarian Individuality--Alterations + in Design--Proportions Settled for Good--The Exceptions--The + "Long Strad"--The "Inlaid Strads"--An + Acknowledged Master of His Art--Black Edging--The + Arching and Channelling--The Brescians, the Amatis and + Stradivari 13 + + + CHAPTER IV. + + Lesser Known Patterns of Stradivari--The Treatment of the + Scroll by Him--The Individuality and Maturing of the + Style--The Purfling 19 + + + CHAPTER V. + + Stradivari's Great Success--His So-called "Grand Epoch"--His + Patrons--His Violins Reputed for Tone when Quite + New and Sought After--The Help He Received--His + Assistants and Pupils--Parts of the Work Requiring His + Individual Touch--The Members of His Family who may + have Assisted Him--Stradivari's Varnish--His Imitators 22 + + + CHAPTER VI. + + Some Modifications in Stradivari's Works--Variation in Finish + of Details--The Interior of His Violins--The Blocks and + Linings--The Bar--Thicknesses of the Tables--Heads or + Scrolls of His Different Periods 42 + + + CHAPTER VII. + + Stradivari's Tone and System--Those of His Pupils and + Assistants--Qualities of Tone Produced in Different + Localities 56 + + + CHAPTER VIII. + + The Reputed Golden Period of Stradivari Late in Life--His + Later Modifications of Design--Signs of Old Age Appearing--The + Help He Received 70 + + + CHAPTER IX. + + Evidences in Stradivari's Work of Old Age--His Death and + Burial--Work Left by Him--The Advance in Value of His + Work Since His Decease 79 + + + + +LIST OF PLATES. + + + PORTRAIT OF HORACE PETHERICK _Frontispiece_. + + PORTRAIT OF ANTONIO STRADIVARI _To face page_ 1 + + THE HOUSE OF STRADIVARI " " 4 + + STRADIVARI'S WORKSHOP " " 6 + + PATTERNS OF VIOLINS _page_ 6 + + ILLUSTRATIONS OF SOUNDHOLES _To face page_ 48 + + ILLUSTRATIONS OF SCROLLS, FIG. _a._ " " 50 + + " " " FIG. _b._ " " 52 + + " " " FIG. _c._ " " 54 + + " " " FIG. _d._ " " 56 + + CHURCH OF ST. DOMENICO, CREMONA " " 80 + + + + +PREFACE. + + +It was in the month of April, 1898, when THE STRAD monthly magazine had +completed its eighth year of issue, that the Editor Suggested that then +might be an appropriate time for giving a biographical sketch of the +great Cremonese master in serial form, expressed in a manner interesting +and instructive as possible. With this view I took up the subject with +some enthusiasm and proposed to work upon lines which I believed to be +bound by truth. All references to peculiarities in connection with +Stradivari's designs, construction and purposes should be the result of +my own personal observation during many years of experience as +connoisseur and expert. In formulating my results of study of a great +number--possibly the majority--of the instruments of the master +extant--I have abstained as far as possible from using technical terms +not readily comprehended by a reader coming newly to the subject, and I +trust all persons reading through the matter now collected, added to, +and presented in book form, will find their time not mis-spent at least +when they arrive at the conclusion. + + HORACE PETHERICK. + Croydon. + + + + +INTRODUCTION. + + +It was during the second half of the sixteenth century that the violin, +with its well recognised combined excellences of artistic form and +musical sonority, was started on its way in the world to supply a want +and prove its fitness as a leading instrument at once and for future +times. So happily was this effected, so complete and mature was it in +conception, that the advancing intellect of three centuries has proved +incompetent to insert any fresh and permanent addition to its original +simple arrangement. Precisely as it came from the hands of an artistic +and inventive genius in the city of Brescia so we have it now, unchanged +in its essential details of construction, although having its natural +qualities made more evident after undergoing the modern adjustment with +regard to accessories of detail, or regulation as it is termed. This has +been effected by simply enlarging some parts for the purpose of allowing +more freedom and convenience in the execution of more modern music, its +elaboration of rhythm, besides the extended range of notes in the higher +positions of the register, necessitating this. As might have been +expected in connection with the then still living Renaissance period, on +the violin making its appearance it was soon taken in hand by men of +superlative talent, who stamped it with their own individuality in which +was a marvellous perception of artistic quality. All that was to be +done by means of proportion, form and colour, not setting aside the +essentials of refined sonority, were combined, each aiding in the grand +total and producing that known and so much sought after at the present +day--a beautiful Italian violin. For about a century or more many +Italian liutaros were busily engaged in sending forth under competition +works which are now by the cognoscenti treated as unrivalled excellence +of quality, classical, and the outcome of genius. Each worker being +anxious to maintain the standard of excellence, or take a step forward +in the practice of their art, the culminating point seems to have been +reached when the artist under consideration in the following pages was +executing his masterpieces in Cremona. + + + + +[Illustration: ANTONIO STRADIVARI.] + + + + +ANTONIO STRADIVARI. + + + + +CHAPTER I. + +DATE AND PLACE OF BIRTH OF ANTONIO STRADIVARI--HIS INSTRUCTOR IN THE + ART OF VIOLIN MAKING--PECULIARITY OF HIS EARLY WORK, NOTHING + STRIKING, BUT SLOWLY PROGRESSIVE--WHICH OF THE DESIGNS OF HIS MASTER + HE WAS MOST IMPRESSED BY, AND HIS OWN MODIFICATIONS FOR + IMPROVEMENT--HIS DEPARTURE FROM THE HOUSE OF HIS MASTER, FREE TO + CARRY OUT HIS OWN INCLINATIONS. + + +The year 1614, although not particularly noticeable at the time for its +portentous events, was destined to be one of considerable interest to +those who are enthusiastic lovers of the delightful quality of sound +emitted by a certain section--and that only--of a class of stringed +instruments which have made the city of Cremona famous throughout the +civilised world. For in that city and in that year was born a male +child, whose surname was eventually to eclipse by its own refulgence the +renown of the city itself. Its paternal name was Stradivari, people +trouble themselves very little about the prefix Antonio, common enough +in Italy, and which was the Christian name given him by his parents. Of +these we can only say, that as might be supposed, they were of a +respectable portion of the middle class socially considered and from +which have sprung all over the world--with few exceptions--the greatest +luminaries of the whole firmament of intellect. + +Of his private life during manhood we know very little, of his boyhood +nothing. But we may fairly and truly draw our conclusions that as the +time arrived when he was supposed fit for training to fight life's +battle, he had already exhibited talent indicative of fitness for that +artistic branch of industry in which he was hereafter to be the +world-wide acknowledged head. + +That his special abilities were thoroughly recognised by his parents +receives much emphasis from the fact of his being offered to, and +received as pupil by, Nicolas Amati, greatest of that great family of +stringed instrument makers. Young Antonio was thus placed in the most +favourable situation possible for the fructifying and development of his +own particular talents. That portion of his life which was spent with +the great master of line in violin facture, will, probably, in its +details always remain a blank to us: but there is a lightning like flash +thrown out by the fact of old Nicolas Amati bequeathing his collection +of tools, patterns, etc., to Antonio Stradivari, and, be it noticed, not +to his own son, then over thirty years of age. That the future master of +his craft had been a steady and beloved pupil of his great teacher, +there is no room for doubt; indeed, steadiness, fixity of purpose and +honest intention, are manifested in his work during the whole of his +career. The earliest of his handiwork has become known to us while he +was with Nicolas Amati. In this he exhibits extreme delicacy of +handling, and seemingly, in the confidence of his master, certain little +modifications in the design of the sound holes were permitted, or +perhaps passed as improvements, but there is nothing eccentric or +extravagant introduced, a gentle addition, or a trifle less here and +there, being the way in which he ever cautiously worked out his idea of +improvement, and this latter seems to have been the moving spirit during +his whole life. + +At no time do we meet with sudden departures, or what are sometimes +termed flashes of genius--the onward progress of his style of design +and its execution was as unimpassioned as his life was uneventful. When +we examine the earliest known work of his hand--it may be observed on +some of the late violins of his master--there is plainly perceptible the +efforts at excelling where at all possible; and if, as is extremely +probable--his master was sometimes desirous that the purfling should be +somewhat bolder than was to the taste of his refined pupil, this was +inserted with a delicacy and precision beyond what had been before +deemed the acme of finish. + +His departure from the house of Nicolas Amati had to be taken some day +in the ordinary course of events, and he would then act alone in +competition among the growing swarms of makers who were now busy as bees +in most parts of Italy. The start is generally reckoned to have occurred +between the years 1664 and 1666, it may have been in 1665, when he had +reached his twenty-first year. + +That old Nicolas Amati was right in his estimate that young Antonio +Stradivari's natural abilities augured well for his success +as a liutaro, was now to be proven. With the best possible +recommendation--that of being trained by the most distinguished maker of +the city--he carried others no less necessary for the long course of +thought and labour that he was about to enter upon. These were, an +earnest desire for improvement in all his undertakings, natural, +indigenous ability for tasteful design and its mechanical execution and +the power of steady concentration of the faculties, backed up withal by +a sound, physical constitution in which "nerves of iron" must have been +a conspicuous element. + +To those who at the time may have been looking forward with some +speculation as to what young Stradivari would put forth now that his +course was free and untrammelled before him, there was probably some +disappointment at finding no signs of striking originality, no spasmodic +struggles of genius to assert itself by throwing aside those +individualities, general and detailed, which were so well marked in the +work of his great teacher, and which as pupil he had been studiously +and conscientiously carrying out. On the contrary, his efforts seem to +have been rather to draw the mantle thrown by his master closer around +him than to dispense with any part of its protective power. Thus we see +in his works of this period which have remained to us, very little more +than replicas of those of his master in which he for some years perhaps +had taken no inconsiderable part. But in doing this, the intention and +power of selection guided by sound judgment at once asserted itself. He +did not take that pattern known to us moderns by the name of "grand," +and which term was in all likelihood quite unthought of by either +himself or his master. Who invented it is a question that may be left +complacently to the bookworm of the future. + +[Illustration: THE HOUSE OF ANTONIO STRADIVARI.] + +There is really nothing in the so-called "grand" pattern of Nicolas +Amati that seems to agree happily with that title, it is, on the other +hand, one in which the love of dainty elegance of contour has been +allowed almost unrestricted play by its author, and to an extent +undreamt of before. He perceived, however, that there was a limit, a +step further, and disaster would be certain; Nicolas was sufficiently +wide awake not to take it, but left it for his hosts of imitators, many +of whom, not gifted with the same perspicuity, "rushed in where angels +fear to tread," their just reward being laughter and derision. The +attainment of elegance at the expense of strength and stability was not +at all in agreement with Stradivari's artistic tastes, and we +accordingly have no evidence of his having touched the so-called "Grand +Amati;" that which he did take up with was less complex in the +subdivision of its curves, and a more simple looking thing altogether. +To him it may have seemed to have more of the true characteristic +quality always accompanying the grand in art, that of simplicity. It was +this pattern, and this only, so far as our information goes--that +Stradivari took as the basis on which any future developments should be +grounded. He worked upon it for some time seemingly to his own +contentment and probably the satisfaction of his patrons, these being +sufficiently numerous and influential to enable him ere many years had +passed to think of purchasing a house.[A] This he accomplished in the +year 1680, when he was thirty-six years of age. Now be it noted +Stradivari had been working on the simplest of Amati patterns for +fourteen years, and during that time from his steady industry the number +of violins, besides other instruments of the family, which left his +atelier must have been very large. The similarity in type and regularity +of excellence in finished workmanship was almost enough to have +impressed the connoisseurs of the day that there was no originality or +speculation in the maker, but it was just about this time that the +independency of thought began to manifest itself; it was almost as if +the acquisition of the freehold property had stimulated the +self-reliance which had no doubt always been present, but which was now +to show itself more clearly in his art. He had been in practise long and +successfully enough to give a right claim to mastership. The veteran +Nicolas Amati, who was now over eighty years of age, had probably been +doing little or nothing for some time, and so his pupil, with all his +admiration for the retiring chief, felt at full liberty to do really as +he liked. + +[Illustration: STRADIVARI'S WORKSHOP.] + + [Our illustration of Stradivari's atelier is from a painting by + Rinaldi, the sketch for which was made on the premises. The church + of St. Domenico, Cremona, was demolished some twenty years since and + our illustration is from a photo taken just before the event. The + Chapel of the Rosary, being the place where Antonio Stradivari was + interred, is the one below and to the right of the tower and lighter + in colour than the others.] + +[Illustration: No. 1. Grand Nicolas Amati. No. 2. Nicolas Amati pattern +of Stradivari. No. 3. First independent pattern of Stradivari.] + +The step he took, insignificant enough to the casual observer now, must +have been equally so then, but proved one of the most important ever +taken in this branch of art, considering the restraints necessarily +encompassing any efforts at original design. This is perhaps the more +evident when the main features of the Amati designs and others of the +time are analysed. It will be seen that the upper and lower thirds of +the design have much in common with each other, and that the middle or +waist partakes also of the same characteristics, the whole being a +series of full rounded curves, varied as required, to harmonise and +flow with ease and grace to the squared corners. The slightest possible +narrowing or decrease in the size of the upper of the waist curve and a +corresponding enlargement of the lower part, served in the hands of +Stradivari to impart a different aspect to the whole pattern. The waist, +now less pinched in at the middle, looked longer without being really +so. The parts above the upper corners and those below the lower ones +were modified, the large curves becoming a little flatter just before +blending with the smaller ones. From these alterations, each one +trifling in itself, there resulted what may be called the first or +earliest Stradivari pattern; in it were the germs of all the succeeding +ones that contributed more and more to the fame of their designer as +they appeared. The natural caution or indisposition to throw aside one +pattern before a fair trial of the newest had proved acceptable to his +numerous patrons, was possibly the cause of Stradivari's running the +older designs alongside the newest creations of his fancy. Thus we find +that mixed with the innovations are what he might have called his old +Amati pattern, probably off the same moulds that he had used when first +starting in business on his own account, or even before. + + + + +CHAPTER II. + +DETAILS OF FURTHER IMPROVEMENTS UPON HIS NEW DESIGNS--MODIFICATION + OF THE SOUND HOLES--THE AMATI VARNISH AND STRADIVARI'S--HIS SECRECY + OF METHOD IN WORKING--HIS KNOWLEDGE OF WHAT WAS WANTED, AND EFFORTS + AT ADVANCE IN TONE QUALITY. + + +Leaving the consideration in general of the designs of Stradivari's +early days, that is, for such a long life, we may look over some of the +details. It is well known to connoisseurs that the handiwork of Nicolas +Amati was during his best days of the utmost delicacy; in his later work +we notice an approach to heaviness in some respects. The very beautiful +subdivisions and subtleties of the curves in pattern and modelling began +to disappear and the purfling became bolder. Young Stradivari, when +working on some of his master's violins, seems to have been allowed to +do some of this, probably with the material given out by old Nicolas. +The work of the young man may be known by its greater decision, such as +would be reasonably expected; but after leaving the Amati household the +natural bent towards exceeding refinement soon asserted itself. The +purfling, particularly after some years, is narrower, and inserted with +a precision and ease in its course impossible to excel, even if +approachable. The mitring at the corners ends in a bent point in the +manner introduced by Hieronymus Amati and not, as has been stated, by +Stradivari; the latter carried out the ideas of Nicolas in making it +very sharp and this mannerism he continued throughout the whole of his +career. + +Stradivari from the first made his sound holes more perpendicular than +those of his master; after leaving him, they also became more slender +and the upper and lower wings wider and closer to the opposing curve. +The precision and sharpness of the cutting of these parts has become the +standard of excellence to which hundreds of Stradivari's imitators of +different countries and times have striven to attain. It is, perhaps, in +these parts of the different instruments--for Stradivari soon got to +work on all the four sizes, besides other kinds not played with the +bow--that his fine nervous system manifests itself, the sureness of his +knife when passing along from one point to another leaving an edge +upright and clean as cut glass, yet with a free grace of line never +excelled by any master of the renaissance period. + +Of the parts the young assistant of Nicolas Amati was allowed to put his +individuality to, conspicuously stands the scroll. The one typical of +Nicolas's later days, although free and elegant, yet had a somewhat +heavier touch about it, possibly the master was gradually losing his +muscular power, more necessary to exert in this matter of detail than +any other. Stradivari began his own type by bringing the first turn from +the axis or "eye" a little higher up than that of his master; the axis +itself is a trifle larger and flatter, the edges of the turns are +squared off with a machine-like exactness that does not interfere with +the ease and flow of line. The peg box is strong and ample, after a few +years it became massive, more so occasionally than is to be met with at +any other time, the grooves down the back are not so deep, the +termination or shell likewise and a little wider. + +That Nicolas Amati would by any possibility neglect to duly initiate his +favourite pupil in the mysteries and secrecies whereby his work should +receive its final crowning adornment, its envelopment in the thin film +of glory, is not to be thought of. The lustrous solution that was so +fitting an accompaniment to the dainty designs of the Amatis, was from +the first handled with a masterly dexterity and perfect knowledge by +Stradivari. Most of the early work is covered with the orange or amber +colour that were the prevailing tints on the early productions of the +brothers Amati as well as Nicolas. It is somewhat curious that most of +the prominent varnishers among the liutaros of Italy seemed to prefer +this in their early days: or was it that the deeper or more intense +colours required longer experience in management? Anyhow, so it was, and +Stradivari seems to have been no exception to the general rule. If a +well preserved early Stradivari is placed side by side with one of "the +brothers" or Nicolas Amati's amber coloured specimens, the varnish +enveloping them will be seen to be precisely alike, whether considered +in respect of transparency, consistency or thickness. Here is art +indication that for the best part of a century, these clever artificers +of Cremona had the same stuff, used it in precisely the same manner, to +a hair's breadth, for they knew there was no going beyond it; every part +of the process was methodically carried out in compliance with certain +laws known to, or instituted by, previous masters. There is an old Latin +motto implying that "the perfection of art is to conceal art";--it it +has often been quoted in illustrative reference, sometimes with sly +humour, at others in most serious vein, for instance, when an eminent +judge's judicial wig was known to have beneath it another of equally +natural pretentions, and when quoted as the motto for the year in a +Royal Academy catalogue, to be interpreted by the noble army of +"rejected outsiders" as meaning extra efforts that year by the Council +at concealment or suppression of art that was superior to their own. + +But if there ever was an instance in which this motto could with +strictest appropriateness be applied, it was the work of Stradivari. +Most if not all of the known masters have at times shown by some little +accident or other, their method of working, thus, notwithstanding the +extremely careful and finished work of the Amati family, there is +occasionally to be seen some unobliterated signs--truly very slight--of +their having traced their pattern on the wood for either the sound holes +or the turns of the scroll. Stradivari left no evidence of this, nor are +any distinct traces left inside or out that would betray the manner, +kind of tool, or direction of working. Further, in most beautiful +specimens by the "brothers Amati," besides other great varnishers, some +faint indications have been seen of imperfectly dissolved resin, but not +so with Stradivari, who carried out to the letter in this department of +his art, that steadfastness of purpose in striving to do in the best +way, that which his judgment had pronounced to be the best thing to +accomplish. He further carried this out afterwards in the application of +the deeper coloured, and usually softer, varnishes, which when +manipulated by other masters of the same school, have frizzled or +cockled from some cause. This is seldom if at all to be observed in any +of Stradivari's work, he seems to have taken every possible precaution +for preventing change in aspect after the instrument had received his +final touches. + +We may now retrace our steps for awhile and take up another thread of +the fabric of Stradivari's individuality, that which is in fact by +dealers ignored and by players adored. There can be no question that +during his minority under the great Amati, young Antonio must have been +much interested in his master's fame for imparting a fine quality of +tone to his instruments. It must soon have been apparent to him that +success in his career would not be achieved by progress in the artistic +part of his work alone. The critics of the day, who must have been +sufficiently numerous and exacting in accordance with the advanced state +of the art, would naturally be alive to any subtleties of difference +between the productions of the reigning king of liutaros and his +successor. The onward progress of musical composition and increase in +the numbers of public performers, virtuosi, and others, demanded from +an artificer taking this position, at least equal skill in producing +those essential qualities for which the city of Cremona had become +famous. Old master and young man probably had many a talk over what was +best to be done to keep pace with the increasing requirements of the +moment, and the time approaching when the hand of the former in the +course of nature would lose its cunning. The hour came, the man was +ready. Stradivari started forth from his master's house with full +confidence in having a true and good grasp of the wants of the moment +and those looming in the future. In the good patronage which soon came +to him, was contained the assurance that his estimate, although formed +so early, was perfectly correct; thenceforward he saw no reason for +alteration in the type of acoustical quality that distinguishes all of +his instruments, and that which he had once for all fixed upon. + +Briefly the acoustical quality of his instruments may be described as a +further development of the tone brought to such a high degree of +excellence by the great Amati; an increase in the volume and energy, +with more equality of scale, while retaining all the other qualities +that had caused players and listeners alike to be delighted, and which +had given such renown to the great family of liutaros in Cremona. + + + + +CHAPTER III. + +THE DATE OF THE TRUE STRADIVARIAN INDIVIDUALITY--ALTERATIONS IN + DESIGN--PROPORTIONS SETTLED FOR GOOD--THE EXCEPTIONS--THE "LONG + STRAD"--THE "INLAID STRADS"--AN ACKNOWLEDGED MASTER OF HIS + ART--BLACK EDGING--THE ARCHING AND CHANNELLING--THE BRESCIANS, THE + AMATIS AND STRADIVARI. + + +We now resume our consideration of the progressive development of the +Stradivarian design as exhibited in the instruments of 1680 to 1690 or a +little later. At the earliest of these dates the complete independency +or self consciousness of power, as a master liutaro, is already +perceptible. There is no possibility of these violins having been made +on the moulds used during his bachelorship. People sometimes speak of +these instruments as being "Amatise," which is great nonsense; had +Stradivari died somewhere between 1680 and 1690, they would have been +rapturous in their admiration of his originality and widely separated +ideas from those of the Amati, but as he lived many years on and gave +forth many more manifestations of his own individuality, the likeness of +these 1680 and 1690 to old Nicolas is eagerly searched for and often +supposed to be evident. It was at this time that Stradivari probably +made more new moulds or blocks on which to construct, than at any other. +With some few exceptions those that were now being made could be used +for any of his violins during the remainder of his career. The average +proportions remain the same, the differences are minute in measurement, +notwithstanding their effectiveness in helping to a different expression +in the designs. The exceptions referred to and made between the above +dates are of a diverse kind. There is the well-known "long Strad," of +which one author has said that it "has received the title," "not from +increased length, but from the appearance of additional length which its +narrowness gives it, and which is particularly observable between the +sound holes." The actual measurements of this pattern are, length +14-3/16 inches by greatest width 8 inches bare as contrasted with the +ordinary 14 by 8-1/8; it will therefore be evident at once that there is +a positive increase in length, and a decrease in width. These violins +are not very rare as compared with the total work of Stradivari extant. +Another variation, but now very seldom seen, is a pattern that may be +said to be somewhat opposite in its tendencies, as it is a trifle +shorter, but of full average width, with a proportionately wider waist. +This type of violin must have been sufficiently plentiful at one time, +as one of the first Gaglianos made a deliberate copy of it; that is, so +far as his Neapolitan idiosyncrasy and pride would permit. Besides these +were the "inlaid Strads," instruments of the greatest beauty in all +respects, but having instead of the ordinary purfling a broad black +fillet and diamond or lozenge shaped ivory insertions alternated with +smaller circular ones; they are further embellished with a floral +inlaying round the sides or ribs and also on the sides and back of the +scroll. These instruments--Stradivari is known to have made a quartette +of them for the Spanish court--are of the greatest rarity. They are said +to be all known, but this statement seems open to question when coupled +with the assertion that Stradivari made other similar but very small +violins. The known ones are of very full size, the parties ordering them +at the time possibly being alive to the advantages of quantity as well +as quality. Public opinion since the time these were made has not grown +in appreciation of the additional ornamentation. The violin pure and +simple, with its single line of purfling only as it left the hands of +the first master of the art of Brescia, is the one which has found the +most lasting favour with connoisseurs and the public generally. +Decorative additions, in various and more or less eccentric or +extravagant styles, have been introduced from time to time by +enterprising liutaros of different countries, but the discerning portion +of the public will have none, and thereby pronounce the violin to be an +unfit subject for extra clothing; beauty unadorned, adorned is most, is +a figure of speech quite applicable to the simplicity of the violin as a +work of art. + +Stradivari, who had now acquired--at the period 1680-90--a standing as +an acknowledged master of his craft, showed in his handiwork a decided +leaning in consonance with this, as--excepting these "inlaid Strads"--he +carefully refrained from introducing any of the little tricks, or +fanciful alteration of details, that so many, even of his own +countrymen, seem to have been led to affix to their productions. After +all, the "inlaid Strads" were probably so made, not at their maker's +suggestion, but by desire of the patrons holding a high social position. +Double purfled violins seem never to have left his hands, as none appear +to be extant and no mention is made of any. + +There is one particular part of the finishing of the violin which calls +for remark, and in the absence of evidence to the contrary must be put +to the responsibility of Stradivari. This is known as the "black +edging." It cannot come properly under the term decoration, as it has no +variety in its management and consists only of the blackening of the +squaring off of the junction of the ribs; likewise at the edges of the +turns of the scroll and continued down the front and back of the peg-box +to the shell. Its first appearance is not possible to determine and will +probably remain unknown. Nicolas Amati did not introduce it, his work +being of the kind that had no accommodation, or sufficient surface for +it. Once begun, however, Stradivari seems to have persistently held to +it. There is no proof positive that it was henceforth his invariable +rule to put this kind of finish. The parts concerned are the first to +receive and show signs of wear; therefore an instrument must be very +fresh indeed to have much "black edging" left. Viewed from an artistic +standpoint it cannot be considered an improvement, or any adornment, +for, however neatly it is executed, the work of hand beneath is more or +less obscured. Further, the eye of the connoisseur is distracted by it, +and the neatness of the work is not seen to advantage until the black +has become nearly effaced. Other makers of renown, besides Stradivari, +adopted this method of putting the final touches to their work, Giuseppe +Guarneri, I.H.S., Carlo Bergonzi, and other later makers, among them +Storioni. + +Concerning the rise of the arching, or modelling of the periods above +referred to, there has been much erroneous supposition in connection +therewith. That all the early "Strads" were of high build, that the +progress was gradual towards the "flat model," that Stradivari was +feeling his way and becoming enlightened as to the necessity of reducing +the arching in order to obtain a fuller and more telling tone with +better ring; further, that the channelling or "scooping" near the border +was gradually reduced for the same reasons, and that these things did +not reveal themselves at once, but gently dawned upon his perceptions; +moreover, that he earnestly communed with nature, made numberless +experiments concerning her acoustical and other mysteries, and that the +outcome was faintly looming in the horizon and soon was to blossom forth +as the golden period, with grand pattern, all of which is really nothing +more than grand "tomfoolery" spread abroad a generation since by critics +"having an eye" only to such things that seemed to them agreeable with +the conditions and surroundings of money getting commodities. + +These worthies were forgetful of the fact that the different varieties +of flat and high model, channelling deep or none at all, long waists +and short waists, sound holes long, short, near or wide apart, had been +well, if not exhaustively treated by the artists of the Brescian school. +To assume that those refined artificers, the Amati family and their +disciples, were not conversant with everything for or against the use of +a flat model would be crediting them with but little mental capacity, +particularly in respect of their perceptive faculties. Both Stradivari +and his teacher must have been well acquainted with the different high +and low modelling of Gasparo da Salo, as well as that of his pupil +Maggini, and others. He must have been aware that his own most generally +used model of medium elevation, with slight exceptions both ways, was +anticipated by each in turn. This, by the bye, disposes of any theory +that Stradivari's distinctive quality of tone resulted, as is often +stated, from his adopting a different elevation to what had been in use +before. It may be fairly argued that if it had been true, as some +writers have stated, that the flatter the model the better and stronger +is the tone, then Stradivari would have been less gifted with sound +judgment than he has been hitherto credited with; some of his early +modellings, 1680-90, being as flat, if not more so, than any known +during his whole career. For his selection of the particular degree of +rise the reasons--for there were several--are not difficult to +assign:--firstly, it was in consonance with his effort at achieving the +most harmonious result--artistically in his designs; the less determined +rise in the arching being more agreeable with the disposition of line in +the pattern that he had been settling down to--posterity has +emphatically endorsed his views in this respect; secondly, having +noticed that a more shallow curve in the arching was quite favourable +for the exhibition of gracefulness, while it was accompanied by more +strength and permanency, with less liability during time and usage to +develop a stony or bumpy appearance. But while thus looking acutely +forward to future eventualities in one direction, Stradivari was no less +careful to avoid reducing his model too much. Knowing the soundpost +would be certainly shifted occasionally, he saw in the very flat model a +source of danger lurking in the difficulty of seeing and getting at the +post, even with the usual appliances at the command of the professional +repairer or regulator, while the sound holes would be much more liable +to damage than when the sufficiently raised arching permits a fair use +of the "post setter." He was also careful, while keeping the depth and +width of the channelling within reasonable bounds, not to let the +arching spring or commence too near the border, as the screw cramps of +the repairer, especially the large sized ones used in olden times would, +unless most skilfully and cautiously applied, soon register the progress +of the repairer on the varnish to the destruction of the beauty of +appearance as a whole. These, then, appear to be the cogent reasons for +the adoption of the medium rise in the modelling by Stradivari. + + + + +CHAPTER IV. + +LESSER KNOWN PATTERNS OF STRADIVARI--THE TREATMENT OF THE SCROLL BY + HIM, THE INDIVIDUALITY AND MATURING OF THE STYLE--THE PURFLING. + + +During the period of 1690-1700 the modification of parts of the pattern +and details was slight but nevertheless important. Occasionally the +upper corners drooped a little more, and when they are now seen in fine +preservation seem rather long in comparison with later ones, but they +are not really so, it being in the expression no doubt arising from the +greater robustness in the treatment of the corners which now were +becoming in aspect more square, but with the usual peculiarities +retained. There was also about this time another modification sent +forth, a pattern that has the waist curve narrowed in a trifle at about +two-thirds of the way upward, causing a slight suspicion of a wish to +return to his old Nicolo Amati period, but it seems to have been only +momentary, and beautiful as these violins are, they do not appear to +have been repeated. They are in consequence very rare. + +Accompanying these little variations there was a slight change in the +treatment of the scroll; it became less massive, while all the principal +features of detail were retained, the grooves at the back were deepened +a little as they ran down to the shell, which last was made a degree +less shallow. In the earlier part of this period the general contour has +a little more flow in the disposition of line, but later on this was +checked, as if not meeting with the full approval of the master, whose +goal of ambition was kept steadily in view from the first--that of +introducing a design that should worthily rank as classical, and in its +details and execution be such, that no weak spot or point of failure +should be discernable under the closest scrutiny. The sound holes now +received further attention and, it might be almost said, for the last +time, as they were continued to the end of Stradivari's career with no +particular or intentional modification. In length there was no +alteration, but the design seems more condensed, more compact, yet +slightly wider in the opening. This is all accomplished without losing +the smallest touch of grace, and although firm in the extreme it has the +opposite of any tendency to hard geometrical form. Stradivari seems to +have had some feeling of contentment with it, for although little +differences of measurement in minute particulars occur afterwards, no +modification in character is attempted. He was most exact in imparting +his own individuality in every instance. It is in this department of the +liutaro's art that the imitators or forgers of Stradivari's work have +found such an insurmountable block in the way of success. The +impossibility hitherto of imparting the requisite identical expression, +notwithstanding the most careful examination and tracing, constantly +adds force to an old saying among dealers that "to make a perfectly +successful imitation of Stradivari he must be a Stradivari himself." In +this view it is obvious that a maker having the sure consciousness of +possessing the power of the master would no longer make tracings of him, +but bring out his own originals. Among the scores and scores of +imitators, some of them having achieved considerable renown as such, the +best of them have not succeeded further than giving their own impress to +their tracing of the master's work. This is quite apart from their +failure to reproduce the master touch in other branches of the liutaro's +art. + +In the composition of his purfling he had been, before the periods under +consideration, somewhat unsettled, but he now seemed to have come to a +conclusion that the middle or light coloured portion, should be a +trifle wider than the dark or outer portion. This was also for a +permanency with but little variation. The three parts are probably of +the same kind of wood, with the outer portion darkened by artificial +means and not wood with its natural colour, as in so many early works. +But there was no change in the manner of insertion. There was the same +firm, upright handling of the purfling tool, which, as in his early +period, was sent along with unerring precision and cut its way through +hard and soft wood cleanly and equally well. In this respect of +mechanical dexterity, the great master has had few rivals; he was +apparently equally at home in subduing to his requirements a log of +tough, curled maple, as in gently reducing the exquisitely refined +growth of pine that was to act as a soundboard in throwing out the +luscious quality of tone associated with his name. It was not always so +among the most eminent of Italian liutarios. Many of them have left +unmistakeable evidence of impatience when trying to overcome the +resistance of the tortuously grained maple in turn with the much softer +and straight threaded pine. There was a peculiarity connected with the +purfling that must not be overlooked, and that is, its passing through +the little pegs at the upper and lower part of the instrument, and which +is most carefully attended to by modern close imitators, so that people +should be convinced, if possible, that their's is the real thing. +Stradivari, however, may not have conceived the idea of there ever being +in the future the swarms of his imitators, who, for the last century, +have been but too evident in consequence of the daily increasing +admiration or even reverence for his work. It is not surprising, +therefore, that for some reason known only to himself, he, on rare +occasions, did not run the purfling through the peg, or to be more +strictly correct, the peg was inserted clear of the purfling line. That +this peg peculiarity is no point of recognition may be inferred from the +fact that Stradivari's teacher, Nicolas Amati, treated it in like +manner, besides several of his contemporaries. + + + + +CHAPTER V. + +STRADIVARI'S GREAT SUCCESS--HIS SO-CALLED "GRAND EPOCH"--HIS + PATRONS--HIS VIOLINS REPUTED FOR TONE WHEN QUITE NEW AND SOUGHT + AFTER--THE HELP HE RECEIVED--HIS ASSISTANTS AND PUPILS--PARTS OF THE + WORK REQUIRING HIS INDIVIDUAL TOUCH--THE MEMBERS OF HIS FAMILY WHO + MAY HAVE ASSISTED HIM--STRADIVARI'S VARNISH--HIS IMITATORS. + + +The period 1700-15 or thereabouts, found Stradivari not only an +acknowledged master of his craft but among his contemporaries recognised +as the head. His business had been all along steadily flourishing, his +patrons had been of high social position, some most illustrious, others +actually royal. Among the latter the King of Poland stands out in relief +as having specially sent an envoy to Cremona and that he had to wait +three months before he could return with his commission fulfilled. +Whether he ran in danger of being decapitated for "hanging about" +Cremona so long is not known, but one thing is certain, that patrons +royal, illustrious, of high social standing and refined tastes, wanted +the newly made violins of Stradivari that could never have been played +upon, almost in the absolute sense of the term, while they could have +easily obtained well seasoned, well tried instruments of makers who had +lived long before. Here is "a nut to crack" for those who persistently +assert the necessity and efficacy of age and use to bring tone to +maturity. If any further evidence should be thought necessary to +support the assumption of the equal excellence of the new Stradivarius +with those that remain with us at the present time, it is contained in +the praise of those who heard and used them when quite fresh, declaring +the agreeableness of the tone to be beyond rivalry. + +Stradivari may be said to have been now in the enjoyment of the +plentitude of his powers. Success was attendant upon him without +intermission. Tradition says he was reputed in the locality as +positively rich, but we do not hear of his aspiring to civic honours as +alderman, vestryman, guardian or councilman--common or otherwise--as the +outcome of the possession of full coffers. Stradivari simply went on +making fiddles. In a position to secure the best materials in the +respect of quality, artistically and acoustically considered, he put the +best workmanship upon them; also he further selected the best help +which, in common with all eminently successful artists, he must have +found it necessary to employ. + +We now arrive at a point when the question may be fairly put, how much +help did he have, and of what kind was it? + +As Stradivari left no record behind as to the number of pupils trained +on his premises, or assistants who came perhaps as improvers, we are +left to do our best in the way of inference. In the first place we may +take up the acknowledged fact of his having turned out an enormous +number of musical instruments during his very lengthy career; and it +must be remembered that his energies were not centred alone in turning +out magnificent violins, but that the viola, violoncello, double-bass, +besides some of the then not quite obsolete viols of different sizes and +fantastic forms, received his attention. These had to be produced at the +requirements of his patrons, of whom many had probably not yet +completely emerged from the misty musical atmosphere with which the +fanciful forms with florid decorations seemed so intimately bound. +Further, the fittings for them had to be made presumably on the +premises of the maestro and not as at present in foreign parts. At the +time there was not existent that extensive and special manufacture of +bridges, tailpieces, tail-pins, and pegs that forms a large and +significant branch of commerce at the present day. That the violin +bridge especially was a production of the Stradivari establishment and +not "made in Germany," is sufficiently indicated by its present form +having been introduced by Stradivari. On comparing it with the different +patterns of bridges that had been issued by the previous masters of +Cremona, it will be seen at once that the master mind of Stradivari had +effected improvements that have their counterpart in the designs of his +violin patterns. We may notice the successful efforts at stability with +simplicity, just enough of detail that would lend itself in completing +the harmony of the whole design, while dispensing with every unnecessary +angle or curve. Of the fingerboard and tailpiece we cannot speak in the +same terms; the master seems to have accepted the manner of treating +these parts as handed down by preceding generations from Gasparo da +Salo, and thought there was no need for alteration. The design of the +inlaid ornamentation on both these accessories, was, of course, of a +kind with which the house of Stradivari would be identified and the +execution also in accordance. Of the tailpin and pegs, with the +decoration of both, the same may be said. + +All these particulars point to considerable time spent in direct +supervision after the preliminary designs had been made by the +principal. This would reduce the available time for direct manual labour +at his disposal. There would occasionally be some time spent in the +discrimination for purchasing of particular choice kinds of pine and +maple, these requiring the closest attention. Whether samples were +brought for Stradivari's inspection by agents or their principals, or +whether the maestro took journeys to particular districts where the +exact kind of wood suitable to his requirements was to be had, we know +not, but there seems to be much probability that the latter was his +mode of obtaining that splendid growth of pine, both in appearance and +tone-producing quality, with which he brought about such beautiful +results. This, when obtained, had to be carefully stored away until such +time as it might be required for immediate use. The cutting down and +sawing up into lengths for different instruments would not be such as a +maker with less patronage would personally engage in; we can therefore +place this aside from the time consuming duties. There is, in the +foregoing, enough and much over for reasonable inference that with a +master, such as Stradivari, having the refined taste and adaptability +for work, there was a considerable amount, if not all, of the merely +mechanical work done according to his command or under his eye. This +would naturally enough increase in proportion as the business connection +grew. There would be in this nothing differing from what has been +habitual with eminent professors in all branches of art; as far back as +Phaedias, Praxitelles and Appelles of the ancient classic Greek period. +Later on it is well known that many of the masterpieces of the +Renaissance period had much work upon them other than that immediately +from the master's own hand. If this were not permissible, the number of +the grandest creations of artistic genius would be most seriously +limited. Raphael and his contemporaries, Rubens and Rembrandt, besides +many other masters, are well known to have had numerous pupils in their +studios engaged in carrying out ideas previously determined upon and +drawn out for their guidance. These assistants were gradually drawn into +the way and habit of thinking of their masters, and on leaving them, +their own individuality or natural tendency uniting with what they had +absorbed of their master's manner, the blending of the two became a +fresh production of style. If we take this as our guide in summing up +the probable amount of help that was drawn upon by Stradivari during his +career, especially that part at which, in our consideration of him and +his works, we had arrived, it cannot possibly lead us far from the +actual facts. Taking into account the known pupils or assistants who +received the benefits of personal instruction from Antonio Stradivari, +they are more numerous than we can affix to the name of any other +master, as it must be borne in mind that Stradivari had initiated a +fresh style, the influence of which was destined to be of a far more +reaching character than any hitherto coming to the front. The +Stradivarian school became the foremost, most numerous and soon was to +be the most imitated, of all. Among the earliest of his pupils (the +precise number or even the names of all will never be known), may be +placed Alexander Gagliano of Naples, working with him about the period +of 1680 and some years later, one or two others of the Gagliano family +may have been workmen in the Stradivari atelier. Lorenzo Guadagnini, +Joannes Battista, his son and Josef of Pavia all claim to have lent a +helping hand and received instruction, and there is nothing in their +work that is in contradiction. The first became a great master of the +Milanese school and was afterwards rivalled by his son, who was more +cosmopolitan and not identified with one place in particular. I cannot +include the names of Montagnana or Gobetti, which have been frequently +referred to by various authors as pupils of Stradivari; a close +examination of their style and workmanship leads to a different fountain +of inspiration, notwithstanding which they both unquestionably were at +one time influenced by the work of the great Cremonese artist as it +arrived in Venice. Of Carlo Bergonzi, a great master, it is a well +established fact that he worked with Stradivari and probably did much +more for him as assistant than is generally acknowledged, but that he +was originally a pupil is not in keeping with the early and varying +patterns which have gone under his name. Further on it will be necessary +to refer to this luminary of the art. We must not forget the two sons of +Stradivari, Franciscus and Omobono, who received their initiation at the +hands of their father and worked with him for many years, carrying on +the business after his decease. Rumour has brought forth another name +as pupil or workman with Stradivari, and whose identification with some +fine specimens of the liutaro's art may yet prove an interesting study. +A relative of the master, we should expect to find his work strongly +tinged with the Stradivarian characteristics. His tickets are said to +have been all removed in very early times after their insertion and that +one only is known to have been preserved intact. Of the great rival--in +public estimation--of Stradivari, Joseph Guarnerius, I.H.S., it can only +be said there is not a single feature in his handiwork, style or tone, +agreeing with the supposition that he at any time was his pupil or +assistant, moreover, having by me distinct evidence of his pupilage of +another maker of a different school, will of course prevent the +inclusion of his name. + +The number of pupils and assistants who worked with or under the +supervision of Stradivari in his prime, might, if we knew all, be more +considerable than we should be prepared to expect. The proportion in the +usual course of nature, of those able to single out a path for +themselves, prove their individuality superior to their fellows or +eventually become of great eminence, must of necessity have been +comparatively small. There may have been many working "on and off" under +the eye of the master at different periods who were without ambition or +the talent to rise above the position of humble helpers among their more +talented brethren, born to be assistants only, and, in consequence, +never heard of outside the studio. These, and the before mentioned, must +all have had something to do with the instruments their master was +sending forth into the world; the more clever ones being intrusted with +some responsibility on particular work. It is not impossible to fix upon +the parts the assistants probably would be allowed to work upon. In the +first place, all the designing, drawing out and tracing down of the +pattern on to the mould, or on to the unprepared blocks that were to be +carved into necks, scrolls, or marked out for ribs, would be +Stradivari's. + +The different stages succeeding each other would be most likely as +follows--firstly, the master having been commissioned by a wealthy +patron to make of his best pattern and highest finish a quartet of +instruments, he would take from his store of choice pine and sycamore, +which he had taken so much trouble and skill in collecting together, +such pieces that appeared to him suitable for the instruments to be +constructed. The upper and lower tables had previously been hewn or sawn +to size, then the jointed back and front, if both were so, planed +carefully and made ready for the master's work, which would first come +on to the wood as a careful tracing from his original design. Sometimes +the tracing down may have been done by some advanced pupil or competent +assistant. We may fairly assume the presence here of one or two, if not +more, assistants, besides a pupil or improver. One would be selected for +the bow-sawing of the pattern, another afterwards receiving it for +roughly gouging out according to measurements at hand or marked by the +master. Another had meanwhile the bending of the thin slips for the ribs +to the necessary curves, or working down the corner and end blocks that +had been affixed to the mould. Another, if not the same, might have been +carrying out the first stages of the working of the scroll, or perhaps a +very competent and trusty assistant would be allowed, under the eye of +the master, to work on more advanced forms, making ready for the final +or necessary touches of the master hand. The sound holes may have been +traced down and even the upper and lower circular holes bored. Further, +it is not impossible, that after the modelling back and front had been +sufficiently advanced, the glueing and screwing down was intrusted to an +assistant, and even some of the finishing up with glass paper or other +material in use at the time and place, of parts of minor importance. +These are, perhaps, the majority of the details in which the +individuality of the handwork of the master was not obligatory in +evidence. + +In summing up what could have been done by other hands than those of the +busy master, it would be extremely difficult, if not impossible, unless +we admit its presence, to account for the extremely large output of the +great Cremonese, even when taking fully into the balance his very +industrious habits and extraordinary long working career. Assuming the +above view to be reasonable, the number of new instruments which left +the Stradivari house must have been very large. It is well known that +the master undertook the repairs of musical instruments, which +department would require some personal attention or supervision, even if +actually executed by his assistants or his two sons, Francescus and +Omobono, who, when their father died, were not very young, the first +being sixty-five years of age, and the other fifty-five. They had most +likely worked with their parent for about forty years and must have done +much of making and repairing, that is, crediting them with some of their +father's industrial tendencies. Stradivari had two other sons by his +first wife, Francesca Ferraboschi, one, Giulio, died 1707, aged forty; +the other, Allesandro, in 1732, aged fifty-five. Nothing seems to be +known as to whether they were brought up by their father in his own +craft or not; if they were, there was time for them also to have done +much work with him. There was a son by his second wife, Antonia +Zambelli, who died 1727, aged twenty-four, who under the same +circumstances may have helped. We have thus five sons of Stradivari, +who, if they were all taught the art, may have been working together, +besides other assistants at the same time. Carlo Bergonzi has already +been mentioned, but although he came late into the field, yet there +seems a slight indication that he may have had to supply the place of +others who had departed for the carrying out of their own schemes. + +Having so far roughly estimated the kind and amount of work, not +necessarily his own, on the violins that were sent forth by Antonio +Stradivari, we may glance at the particulars of detail that demanded his +handiwork and that solely. That there were keen connoisseurs living at +the time of Stradivari, as also in the previous century and earlier, +there is no room for doubting. Workers in art reduce their inspirations +to tangible forms helped by colour that people may see them and, +comparing them with what may have gone before and have been executed at +the same time, pass judgment on them. In like manner Stradivari, like +other masters before him, knew that his handiwork would be scrutinised +as well as the tone of his instruments. It was therefore obligatory that +purchasers should know his work, that in fact his sign manual should be +always present. Contemporaneous with him were makers, artists, who had +been initiated in the mysteries of the manufacture and application of +the wonderful varnishes which have since by their qualities made them +famous throughout the civilised world. There was nothing, however, in +the material or its application that could, under the closest +examination, be discerned as different to what might be seen on the best +instruments of the Amatis--these must have been numerous at the +time--the Ruggieris or the Venetian masters, but these did not in the +application invariably work up to a certain standard of excellence, +whereas Stradivari always did. There was a consummate beauty of result +in this branch of the liutaro's art known at the time to many, beyond +which it seemed not possible to go. It was, therefore, more in the +construction and workmanship then, that the sign manual was perceptible. +With this view Stradivari seems to have been careful to let the evidence +of no hand but his own be seen in parts that were sure to be closely +scrutinised as evidence. + +Standing first perhaps in importance would be the cutting of the sound +holes, the design and careful drawing of these being completed, and cut +in metal--it is said thin copper was used by him--they may have been +mostly traced down by himself on the pine of the upper table prepared +and in readiness to receive it, although this part without much danger +could have been done by an intelligent and experienced assistant. The +cutting and finishing with the thin keen edged knife, however, must be +his, the slightest shaving over the traced line or not quite up to it +would be sufficient to impart a totally different character to the +whole. There is no part of the violin in which the sum total of the +native characteristics and ability are shown to such exactitude as the +cutting of these all important and expressive openings. In those of +Stradivari is to be seen the same firmness of purpose and strict curbing +of the fancy from proceeding too far, or allowing stability to be over +balanced by love of gracefulness, as seen in the designs of his eminent +master. To allow no weak part to be perceptible; strength of line with +sufficient grace, admirable proportion and balance, and yet withal +sufficient expression of mobility and freedom from heaviness were each, +seemingly in turn, given the best attention by the great genius of +Cremona. It is not using extravagant language when they are termed the +eyes of the violin, for it is to these that experienced connoisseurs +turn their attention at once when inspecting a violin of character newly +placed before them. Cut by an Italian, cut by a Frenchman, by a German, +by a nobody in particular or who understood nothing about it, are the +thoughts arising in the mind. Each country has its peculiar and native +rendering of every sound hole that was first designed in Italy. This +tendency to impart their own national characteristics by each native +workman, runs parallel with that in pictorial art in the transferring to +various materials the impressions received after study of the original +or animated reality. To many the sound holes of an Italian gem of the +highest class are but sound holes that are more neatly done or prettier +than usual. To others they will be the expression in that simple form of +an exquisitely acute perception of what will excite pleasurable emotions +with regard to delicately balanced proportions, graceful flow of line, +and freedom from all appearance of effort. That there is much in little +concerning this, is proved by the non-success of all foreign copyists +to give a reproduction of the Italian native touch to these details. +That this is not an overdrawn description, may be seen on a close +comparison between an original Stradivari of almost any period and the +most closely traced, laboriously studied and keenly cut sound holes of +any of the modern imitators. All have failed signally over these two +apparently simple openings on the surface of the upper table. + +Notwithstanding this, it may be said there are scarcely two violins +alike in respect of expression of these adornments of the structure, +each instrument is made to convey its own impression, or display its +particular kind of beauty. There is a difference, scarcely to be +measured mathematically, that in one will be suggestive of masculine +strength, while in another it will be exquisite feminine grace. + +In none of the imitations of the master are there seen these qualities +expressed in the same degree and kind. It has often been said, and there +is more than a substratum of truth in the remark, that, "to copy a +Stradivari successfully"--of course, in the fullest sense of the +word--"the copyist must be a Stradivari himself." There might, +appropriately, be an addition put to this, namely, that a man who could +work up to the dizzy height of his ambition in this way, would not copy, +but make originals. + +Another detail of the workmanship always attended to by the master +himself, was that of the purfling. Much has been said of the wonderful +accuracy of Stradivari's purfling and that as a purfler he stands +unrivalled. This must not be taken in the widest sense, as there have +been, and are living, scores and scores of makers who have cut a rut +round the border of a fiddle as sharply, and inserted the three +conventional lines of dark and light wood as deftly as it could be by +the hand of any man, be he named Amati, Stradivari, Ruggieri, Tononi, or +Montagnana. There is a degree of evenness and keenness of cutting and +clean insertion beyond which it is not possible to go. But there the +imitators come to a full stop. Without the inventive power which will +make this curious, simple, yet wonderful little fillet, aid in giving +the desired expression to the whole work, the imitator is not--as people +say nowadays--in the race. The finishing of the border, the corners and +the delicate and often very elaborate system of curves around the sound +holes, the hollowing of the wings of these latter, and the final +surfacing of both back and front, I have no doubt had Stradivari's +individual attention. All the delicate and small work of the scroll, +perfecting that elegant flow of line and finish of each turn of the +volute, as if everything depended on the exactness of its individuality, +obliterating all marks of the tooling and giving his own impress to the +gouging of the shell and even the completion of the peg-box; then last +and not least, the preparation and application of that pellucid envelope +that was to serve two purposes, utility and enrichment of effect. + +With regard to this, much has been written and said about its +incomparable quality, its elasticity, colour and transparency, with +other excellences needless to dilate upon. Summarily taken as a whole, +the simple fact is, that in no respect is his varnish different, or +better than that of his predecessors, the Amatis and masters of the +Brescian school; it had been done before and his most famous +contemporaries were doing it still, and he was in this position for the +simple reason that no better could be done. + +If it was not possible for Stradivari to improve upon the varnish of the +Amatis who had preceded him and the masters in the art belonging to the +Brescian school,--among whom may be mentioned Giovanni Maggini, Antonio +Mariani, and the first one to use it on violins, Gasparo da Salo--it was +strictly in accordance with his invariable rule of putting forth his +best that he so dexterously manipulated it, probably both as to its +composition and final application, that faultiness in some respects to +be seen in specimens of other masters is not noticeable in his. Thus, as +is well known, the Brescians, perhaps without exception, were often +very careless regarding the thickness of the film, it being occasionally +of irreproachable evenness, at other times having almost the appearance +of being laid on with a large brush in great haste. On some connoisseurs +this haphazard fulness of treatment, this oft times generously effusive +manner, carried out with a careless consciousness of power, acts as a +charm, inciting to intense admiration the like of which is roused by the +rich, juicy brush of Rembrandt and the masters of the Venetian school of +painters. But this is not the perfect realization of aim with regard to +the envelopment of masterpieces by the old Italian liutaros; in the +instances referred to, and sufficiently numerous, we wonder at the +wealth of material and smile at its manipulation. Antonio Stradivari +would in no wise act thus at any time. To him it was enough that he was +possessor in full of the knowledge of materials, and to deviate from the +good paths pursued by the artistic Amatis, was not to be considered for +a moment; we therefore find that with him the best material was laid +with the utmost skill and care. It must be indeed rare that "frizzling," +or contraction of the upper surface of the varnish, is to be seen to any +appreciable extent. I do not recollect one instance, while with the +Ruggieris, most of the Venetian school, and a number of makers of lesser +note, it is quite common. + +Concerning the colour or variety of tints adopted by Stradivari at most +times, it was most likely done to the requirements of his different +patrons, many having a desire for the rich orange, some, the light red +or "cherry" tint, while others were not content with any than the red or +rich full bodied port wine tint. The simple brown seems to have been +less in demand, as it is during the period under consideration, rather +exceptional. While using the lustrous coverings for his works with +consummate skill, there is one qualification that must not be lost sight +of. Beautiful, refined and artistic in the strictest sense of the term, +Stradivari never gave way to a desire to outbid the rest of the +fraternity for congratulations in respect of gorgeousness, he seems +never to have fallen back upon his reserves in the direction of +intensity of colour. Thus if a finely preserved specimen of his orange +varnish is viewed side by side with one by Joseph Guarnerius, I.H.S., +the extra degree of fieriness will be on the side of the latter, but it +by no means places Stradivari on a lower level, as the combined +qualities of his work, taken as a sum total, is not reached by any +liutaro of old Italy. + +It may be fairly taken as certain that if there was any master having at +command all the necessaries for turning out musical instruments of +matchless superiority, both as to acoustical and artistic qualities, it +was Stradivari, and many connoisseurs would expect to find nothing but +maple used of the richest curl, and that would throw up with delightful +effect the lustrous varnish so carefully laid upon it; but, strangely +enough, his most magnificently curled backs and sides are mixed with a +few that are comparatively plain. A variety of reasons might be assigned +for this, but that which bears the greatest probability about it +is--that the instruments being chiefly made to order, the maple of +richest curl was not always to be had, at least in time for the +construction as required. In other respects these plainer mapled +instruments are fully equal to anything that came from his hands. Of the +proper tone-giving pine he seems never to have been short; there it is, +always of beautiful growth, having, like his own handiwork, both +delicacy and strength and of a general appearance such as would attract +the eye of the veriest tyro in the liutaro's art. How many imitators of +the great manipulator have looked at this growth of pine and wondered +where the old master obtained it! and how he knew that it possessed the +proper qualifications for his purpose. Swiss pine of course! obtained +from the lower parts of the forests of the Alps, is an immediate loud +response, and cut only from the south or sunniest side of the particular +tree when found of course. + +This idea was started in the early part of this century in books on the +violin, professing to tell the reader all about it or nearly so, and he +had only to go, get the stuff, and make Stradivari violins, in fact with +the addition of the amount of scientific knowledge of the subject +peculiar to modern imitators, he would make "old Strad" "take a back +seat." This has been often tried by would-be "Strads," "Guarneris," or +"Bergonzis," and full of specious promises that if you will but purchase +their wares you be rewarded for your pains by being possessor of +everything good that they could endow the instrument with. Keep it, +persevere, and the precious qualities will come; some were daring enough +to assert that they were already there, if even your mental vision was +so obtuse as not to perceive it, absurd prejudice was the cause of this +they said, oblivious to the fact that the best musicians of Stradivari's +time used the violins fresh from the atelier of the master perfectly +new, expressing their unbounded admiration for their beautiful acoustic +properties or "pleasurable sounds." + +Is the like said of new violins at the present time? These imitators, +some of them might be with perfect truth termed forgers, are legion, as +in the case of everything that is of a high standard of excellence and +which makes acquisition desirable. These artificers had their day, so +far as forcing their imitations upon the credulous and unwary could be +accomplished, and others have replaced them, yet there aloft still sits +the grand master upon his high eminence, unapproached, with the whole +world clamouring and struggling for the possession of what in the +earnestness of his purpose was only his everyday work. + +Before leaving the imitators and forgers, for they are distinct one from +the other, the first simply taken being honest, the other not, it may be +as well to refer as briefly as possible to the general aspect as +afforded by such specimens of Stradivari's art that remain with us after +fairly constant usage during the generations that have passed since his +decease. Most connoisseurs and dealers are well acquainted with the +appearance of a "Strad" of fine model, work and varnish that has done +its duty in former times, and is yet able and willing to answer all +requirements of the present day and many to come. If the instrument has +not been hidden and forgotten in the cabinet of some deceased collector, +but has been handed down from one player to another, kept in healthy +exercise, not meddled with, muddled, and maddened by the numerous +would-be improvers, bridge regulators, sound post agitators and varnish +vivifiers, then--it will probably present an appearance of what is +called handsome wear, or as a writer has termed it, "adorned, not +injured, by a century's fair wear." + +Striking the eye first will be the varnish that has been chipped off +from the back chiefly, often from a large space of a rough triangular +form; the front being usually more smoothly denuded of its lustrous +envelope. This chipping away of the varnish from the maple has been +effected a long time ago, and is the result of a custom in olden times +of hanging the instrument after use on a peg attached to the wall, or +may be the interior of a cabinet. Fiddle-cases seem to have been used +almost solely for travelling purposes. They are now in general use as +the best means of preservation against damage and a good resting place +at all times. During the last century there were scores and scores of +makers in Italy who were ready, willing to, and did turn out excellent +instruments with fine, artistical and acoustical properties, but the +race has died out and their remaining works are of daily increasing +value, and consequently much under lock and key, out of harm's way as +much as possible. This old habit of hanging up violins not wanted for +the moment was, as a matter of course, effected with a slight bang or +two each time, and a corresponding cost, small or large, according to +the blow to the top layer of varnish most highly charged with colour. +Each instrument used in this way will declare to the sufficiently acute +observer, its course of handling and even the peculiarities to some +extent of the owner; for it will be seen that the chippings give +indication of different degrees of energy or hurry, when the violin has +come in contact with the more or less hard surface of the wall. + +It must be borne in mind that the times referred to were prior to the +introduction of wall-papers; the good, old-fashioned panelling of oak or +hard wood, often of bold design, shattered or nicked away much of the +old, delicate and precious varnish used for enveloping the works of the +Italian masters. All these constantly recurring slight collisions by +degrees brought about the results that have been defined by some as +picturesque wear or accidental adornment, if such a thing be reasonable. +Besides this there was going on the wear caused by handling by one or +another of players, rough or mild, contact with the garments, especially +the sleeves, all being larger and looser than are fashionable at the +present time. The action of these would be more gentle if more +continuous. It is noticeable at the lower end of the back of the violin, +which is often worn away much below the penetration of the varnish, the +corners being rounded down and if rather protuberant, even losing their +original character. The upper table of pine being incapable of equal +resistance to the destroying influence, wears away sooner, also the +border at the lower end and at both sides of the tail-piece--for the old +performers placed their chins on the contrary side to what is thought +best now--and the right upper shoulder where the palm of the hand and +part of the wrist is apt to work, too often, against the edge. We thus +see when a handsome, fairly worn specimen of Stradivari's work comes +under our notice, the different pieces of tell-tale evidence, varying of +course in degree with each instrument. Now all this must have been going +on during the time the master's works were being sent out to parts of +Italy and to other countries. It had been progressing and was showing +the onward march of Father Time in the instruments left by the Brescian +makers a century before. + +As before observed, the varnish of Stradivari has, often as not, been +worn, chipped or cracked off in, as some fanciers still call it, a +picturesque manner or adornment, although from the highest prices being +given for those specimens that have the least of it, the taste seems to +be growing healthily in favour of perfection of preservation as far as +is possible. + +It would be out of reason to suppose that full consideration of the +subject was omitted by a genius with such far reaching mental vision as +Stradivari. That he gave all the necessary study and forethought to the +effects of ordinary wear and such as was occasionally going on within +his knowledge, there is evidence enough. He saw how the delicate work of +his master, Nicolas Amati, was rapidly disappearing under sometimes +rough and too often ruffianly usage. It was not in his power to prevent +or interfere with this by any peculiarity of construction or quality of +the varnish used by him. But this he doubtless knew--that the generally +substantial work and total absence of any weak point of detail in design +and execution was all that an artist could do. This strength shown over +all of Stradivari's designs, even from the commencement, shows that in +his grasp of the highest scale of requirement he was also anticipatory +and in this wise, that he followed up the self evident principle in art, +that the best combination of forms, proportions and masses will answer +best for their permanence. + +The numismatist knows full well how, on the coins used in various +countries, the masters of basso-relievo had concentrated their skill on +the subject. The balance of projection and depression for good and +proper effect under different situations of light and shade, or even +independently of them on occasion--is of paramount importance in all +branches of art in their widest range. The omission of proper thoughtful +attention in this direction is one of the obstacles to success among +copyists in any direction of art. In architecture the imitator or +restorer of some early English mouldings has often made ignominious +failures from the non-application of knowledge of this kind: just a +trifling variation from the original while in progress being deemed of +little consequence, but when finished and left for exhibition under the +truth testing rays of the sun, the qualities that should have been there +are, as the saying is, "conspicuous by their absence." In full view of +the above and with an intelligence unsurpassable, Antonio Stradivari so +arranged his forms and masses in construction that under fair usage and +wearing down of the projecting parts, the original beauty of the whole +should be retained as long as possible. A fine Stradivari much worn +still retains its air of distinction, and very much of its material must +have disappeared under bad treatment to make it beyond recognition +almost at a glance. + +There can be very little question of there being more than mere +admiration for the appearance. Simply viewed, there is the spice of +romance in connection with it, the history is written in language more +or less intelligible of the knocks and bruises inflicted, unwillingly in +most instances, but not invariably so. And here attention may perhaps be +appropriately drawn in these pages to what has been asserted by a few, +very few, dealers and others, whose general intelligence should have +been a guarantee against the dissemination of utter nonsense and which +has even been in print! that--just think of this--Antonio Stradivari, +the acknowledged master liutaro of Cremona in his own day, and of whose +growing fame no one can foretell the limits--actually imitated wear and +tear of varnish on his violins. I have not the print at hand, and so +cannot give the exact words in which this scum from the boilings of a +distorted imagination was conveyed; nor point to the first unfortunate +who let it flow abroad. In all probability it came from the same old +source, a desire to lift up to a high level worthless imitations of the +master, confuse the public mind so as to make it more and more difficult +to tell "t'other from which." + +A fine specimen, and well known, of Stradivari's art was once lying on a +table before me. An amateur of considerable attainments and honesty of +purpose then present was dilating upon its many beauties and fine +preservation; he, I soon found, had by some means become infected with +the absurd notion of the varnish having been artistically pecked away by +the original maker! Just fancy this--Raphael slitting a hole in his +chef-d'oeuvre to make it look old--Michael Angelo chipping some bits +from the ceiling of the Sistine just before the scaffolding was removed, +or Phidias snapping off a limb and browning the raw surface to please +future connoisseurs. + +They might all have done this with an equal deficiency of reason and +consistency if we allow for one moment any possibility of the genius of +such a stamp as that of Antonio Stradivari descending to such depravity. +Those who have lent themselves to this incongruous notion, hastily +generalising from insufficient particulars, have strangely overlooked +the fact that the same kind of chipping is seen on the violins of other +masters, Joseph Guarnerius, Carlo Bergonzi, and others of the Cremonese +and Venetian School, besides--going far back--the older ones of Brescia +and Pesaro, any number in fact over all Italy. + + + + +CHAPTER VI. + +SOME MODIFICATIONS IN STRADIVARI'S WORKS--VARIATION IN FINISH OF + DETAILS--THE INTERIOR OF HIS VIOLINS--THE BLOCKS AND + LININGS--THICKNESSES OF THE TABLES--HEADS OR SCROLLS OF HIS + DIFFERENT PERIODS. + + +We will now resume our consideration of the handiwork of the Cremonese +master as regards other details. We left him steadily working through +his so-called "Grand epoch" or, more strictly speaking, his period of +finely settled designs in outline and modelling. He had arrived at the +goal of his ambition and produced works of excellence which--taking them +as a whole--it seemed impossible to improve upon. He was henceforth +content to put into them such slight modifications as would prevent too +great similarity. Thus we find some were flatter in the arching, others +a little shorter, being a trifle under the usual fourteen inches, others +again were over it, but there was the same general contour, his now +well-known accentuated design, complete as possible in all its details. + +From the great number of finished works that were turned out one after +another, it is quite reasonable to assume that there would be +occasionally some little evidence of extra pressure of business and +consequently less time spent over minor details. That this actually +occurred at times there is no doubt and can be perceived clearly when +looked for. One instance occurs to me in which the purfling had been cut +off a trifle short at the corners and did not quite fill up and make a +good mitreing, otherwise all along the border the easy, swift, yet +powerful stroke was maintained up to his usual standard of accuracy. In +other instances the point or "bee-sting," as it is sometimes called, is +not so sharply defined perhaps in two corners, while the others were the +perfection of minute finish. + +It seems fairly certain that the great Cremonese was not at the time +thinking of the almost microscopical scrutiny of critics certain to +occur one hundred and eighty or so years in the future. These little +differences in accuracy of unimportant detail or accidents of work may +be taken as evidence that Stradivari was labouring day by day to meet +the requirements of patrons different in disposition and perhaps +patience. When at the same period he has been allowed to put his full +time and attention to his work, then we find the four corners of equal +unsurpassable finish, and other minute details over the whole structure +so intently studied that nothing could possibly go beyond. These should +really and appropriately be termed his "grand pattern." There is present +in those instances the combined excellences in the highest degree of +mechanical precision, beautiful proportion and drawing, such as no +master designer of the Renaissance could surpass, the choicest +materials, including splendid varnish, the whole united and capped with +that essential, a beautiful tone. + +A few words about the interior of Stradivari's instruments; one kind of +work is perceptible in all of them. There is not, as we may see in the +works of other masters, that off-handed, or even slovenly want of finish +inside while the whole attention of the maker has been concentrated on +the exterior. With Stradivari all is well done, the blocks, end and +corner ones are carefully faced and have little, if any can be seen, of +the tool marks left upon them. The linings let into the corners are in +every instance done with minute exactness. The wood of these and the +blocks is a kind of Italian poplar, sometimes called willow and by the +French sallow; it is light and has no threads like pine to cause +difficulty in the manipulation. Too much importance has been attached by +critics to the presence of this wood in Stradivari's violins. That it +had nothing whatever to do with the excellence of tone quality is clear +from the fact of makers of inferior skill and less renown for tone +having used it in the same parts. The most likely reason is--as most +repairers have concluded--the absence of thread, its lightness, +pliability and evenness of texture, being thereby adapted for the +necessary long strips for fitting round the curves. Some makers used it +invariably, while others did so occasionally, perhaps not always having +a stock on hand. When for some reasons, such as being worm eaten or +badly fractured, it has been found compulsory to remove them and +substitute others in their place and of other wood, there has been no +perceptible deterioration in the tone either as regards quality or +quantity. Not only so, but there is the fact that many of the Italian +masters and their numerous pupils, to say nothing of makers of a lower +order, as often as not sent forth their violins without linings, some +even without corner blocks. In most of these instances, however, the +ribs were left very stout in substance in order to retain a sufficient +holding surface for the glue. The subtle curvings of the ribs of an +Amati, and more so of a Stradivari, almost precluded the use of a very +thick material, especially so when the curl or figure was bold and +elaborate. In consonance with this, we find with Stradivari that the +thin plate or veneer from which the ribs have been cut is not thick, but +of accurate and equal measurement along its course. The linings being +equally true and fitting in the closest manner to the ribs, are in their +original state somewhat stouter, the middle or waist ones parting +slightly on approaching the corner blocks each way and thus giving a +gradually increasing area of attachment (diag. _h_). All of the four +blocks are well trimmed off and their surfaces levelled, being quite +regular in their form and size and trimmed to proper measurement. The +end blocks serving to sustain the greatest amount of strain +longitudinally, are also found well finished, in contrast with so many +seen in instruments by makers of eminence that are simply hacked roughly +into size and shape. They were carefully estimated in their proportion +for strength sufficient to resist the strain caused by the size, length, +and pull of the strings in use at the time of Stradivari, and with +something to spare, so that even now, under the enormous strain of the +modern high pitch, when in perfect and original condition they are equal +to their task. In a number of instances, when much repairing, good or +bad has been done, the end, and often the corner blocks, have been +replaced by modern ones. There is, of course, under these circumstances +less of Stradivari present, but it has often been a case of painful +necessity or question of expense as to the choice between two steps for +restoration to health and particularly for strength. The form viewed +vertically adopted by Stradivari was that of a parallelogram with two +rounded corners (diag. _i_.). The upper block was left a little thicker, +the junction or root of the neck necessitating this. The renewal of one +or both of these has also been caused incidentally by the deep insertion +of the modern and longer neck, thus lessening much of the grip or +purchase of the block on both upper and lower table. The same may be +said of the nut over which the tail string passes, this being--owing +also to the rise of the modern tone pitch and increase of tension--much +larger than in Stradivari's day, and he may in a sense be said to have +had to buckle to modern requirements. + +[Illustration: DIAGRAM _h_.] + +[Illustration: DIAGRAM _i_.] + +While the seat as it were of our criticism is at the present moment in +the interior portion of the admirable structures bequeathed to us by the +great Cremonese, we may consider further the surface work of this part. +Everyone knows that the interior of a violin is left unvarnished by +violin makers. Stradivari was in no way anxious to become an exception +to this rule. The reasons for its adoption were, and are, still +obviously wise, although not necessitous. He knew that his work, in +common with that of other craftsman, would be liable to fracture, and +that in the process of restoration the surfaces and junction of parts +must be laid bare, and varnish where not obviously necessary would be an +obstruction. + +For the satisfaction of the anxious inquirer it may be stated that +varnishing the interior has, to my knowledge, been tried by an excellent +modern workman as an experiment and did not bring any adequate reward +by perceptible improvement in tone quality. In another instance, to +prevent the encroachment of the collector's arch-enemy, the worm, the +innovation seemed to have proved ineffectual. Stradivari may have tried +this and perhaps, for once at least, met with failure. The bar--there is +but one--ofttimes erroneously called sound-bar or bass-bar--is, in +common with all the violins of the old Italian school, quite inadequate +for modern requirement, that of supporting the upper table on the fourth +string side against the pressure caused by the tension of the third and +fourth, the heaviest strings. + +That the length, thickness and disposition of the bar has much to do +with the good going order of every violin there is no disputing. +Stradivari did not live long enough to make acquaintance with the +numberless proposals for acquiring his quality by making this part +longer, shorter, thicker, or thinner, besides various modes of +attachment. That some of them would have raised a smile on the features +of the veteran Cremonese, we may be quite sure. That he was quite +content with the size of the bar in general use during his life-time +there can be no doubt, as there is no record or evidence of any +experiments having been made by him, fair argument that none were +considered necessary; the instruments finished, the ordinary bar of the +period was inserted and there was an end. The whole of the interior +indicates an absence of any question of improvement on what had been +done before by his master Nicolas Amati and his predecessors, apart from +good finish. + +A few words as to the thickness of the upper and lower tables. Of this +much has been written, an extremely small portion being from actual +observation, and most of the other parts being reiterated assertions +started many years back by people whose supposed knowledge rested solely +upon simple conviction, without an iota of _bona fide_ evidence in +support. To them the fact, well known to everyone engaged in the +manufacture of sound-boards of musical instruments, that a very thick +sound-board produces different results to that of a very thin one, was +sufficient, therefore the secret of Stradivari with regard to his tone, +was "the adjustment of the thicknesses," whatever that may mean. The +assertion seeming perhaps rather bare, and wanting some sort of support, +was bolstered up with another no less instructive, that if you "pinged," +or tapped the separated upper and lower tables of a Stradivari so that +they each gave out a note there would be found the difference of a tone +between them! Here was something for the "babes and sucklings" of the +craft of violin making to swallow. It was stated also which table would +give the higher tone. Unfortunately for some would-be Stradivaris, the +particulars of the tonal difference were copied loosely and reversed and +so came "confusion worse confounded." + + The illustrations of sound holes, or _f f_ commonly so called, will, + it is hoped, be interesting as showing the modification or + development from those of Nicolas Amati to the latter part of the + period of Stradivari's career, called "the grand." They are all + reproduced from fine specimens of the great Cremonese masters, and + are the exact size of the originals. The first (_a_) shows the _f_ + of a violin of the Nicolas Amati's late period, 1663, unaffected--at + least in this detail--by the individuality of his hereafter eminent + pupil. (_b_) While still going under the name of Nicolas Amati, + 1678, the _f_ shows the actual interference of Stradivari, it is + more vertical, but the peculiarities of the upper and lower wings + are retained. (_c_) 1684. The design is quite changed, there is some + return to the flow or inclination of Amati, but the whole thing is + more extended, is slender, and the upper and lower wings are + widened, this modification was retained for a permanency. (_d_) + 1690. There is some return to the vertical design, but the width of + the wings is retained, while the lower part of the design is of + larger proportions. (_e_) 1700. The design is more equalised and is + more substantial. (_f_) 1715. The same proportions are kept with an + increase of gracefulness. It will be perceived the lower wing + approaches at its lowest part the opposing curve more closely, the + upper one likewise; in some specimens of this period it is still + closer. (_g_) 1725. While the upper part is very like the preceding, + the lower part is more contracted and curled up. There is a somewhat + heavier expression about the upper part in consequence. + +[Illustration: _a_ _b_ _c_ SEE PAGE 48.] + +[Illustration: _d_ _e_ _f_ _g_ SEE PAGE 48.] + + +History does not relate which of those parties who may have practically +followed up the experiments were successful in arriving at the goal of +their ambition; they may even still be continuing the struggle for +supremacy with their master. + +We have not to look far for ascertaining whether these assertions have +borne fruit. There has been time enough for works built upon these +so-called discoveries of fixed principles to have settled down, and the +popular verdict now is--that those which guided Antonio Stradivari have +yet to be discovered. The numbers of announcements of fresh +discoveries--repeated _ad nauseam_--are in themselves some evidence that +what has gone before was founded on deceptive evidence, and therefore to +begin anew was the only course left. + +The illustrations of scrolls by Nicolas Amati and Antonio Stradivari, +being from good specimens by the masters, will be interesting as showing +the progression of the modification in detail under the hands of the +latter. In fig. _a_, Nicolas Amati, c. 1670, it will be seen that the +first or smallest turn after leaving the axis or "eye" is kept for some +distance rather close. Every effort seems to have been made for keeping +the turns or winding from being too circular, there being a general dip +downward and forward. The gouging is deep from the commencement. The aim +of the artist in the whole design appears to have been towards +perfection of gracefulness. + +Fig. _b_. Antonio Stradivari, 1683, the openness and bold swing of the +first turn at once on leaving the "eye" is very striking, it also +commences higher up, there is almost an absence of flow or downward +tendency. The throat underneath the volute is very massive, although all +the edges are finished off with the utmost delicacy and sharp tooling. +All the details of scroll carving by Stradivari at this period are +marvels of mechanical dexterity of handling. The different depths of the +gouging are carefully calculated for solidity of effect, each portion +being deep in proportion to its width, the smaller turns thus having +less depth than the larger. With the Amatis there seemed to be a +striving after attainment of the greatest depth possible in the smaller +gougings, those nearest the axis reaching frequently to almost the same +depth of level as the outer or broadest one. In no part of his work does +Stradivari show more clearly the result of careful calculation after +closely studying the work of his master and others that had gone before. + +[Illustration: FIG. _a_. SEE PAGE 49.] + +[Illustration: FIG. _b_. SEE PAGE 49.] + +Fig. _c_. The period 1715 shows the result of further calculation for +general effect and a consequent modification in respect of minor +details; there is present, as always, the sufficiently bold swing of the +first turn from the axis. In choice specimens the point of commencement +is as sharply and clearly defined as the mitreing of the purfling at the +four corners of the body of the violin and which it seems impossible to +excel. The throat, with the whole of the peg-box, is reduced slightly +but consistently with strength and beauty of appearance. The public +verdict has remained unshaken with regard to these scrolls being in +respect of the combination of excellencies the best carvings of the +great artist. They are in the most trifling degree smaller than those +carved before the period of 1700. Among those cut about the 1710-15 +period, or even later, are a few that seem to have been intentionally +both smaller and more upright. Although having all the essential +excellencies of detail they can scarcely be considered as coming up to +the standard of the others in respect of refined grandeur. This type may +be said to be mixed up and continued with more or less persistency to +the last, and of this Fig. _d_ gives a good representation. There is +frequently a more emphatic or energetic gouging at the commencement of +the turns, a more developed "ear" as it is often termed. It is gouged +with quite as much care as the rest. Speculation has been rife as to the +possible influence or even personal help of Joseph Guarneri at this +point, but there is no solid foundation for surmising the presence of +one or the other. If the gouging of this part may be said to bear any +sort of resemblance to the emphatic or impetuous touch of Joseph, it is +confined strictly to this portion; other essentials are wanting that +would be absolutely necessary for crediting artists of distinctly +opposite tendencies with--it might be almost rightly termed--tampering +with each other's designs. + +[Illustration: FIG. _c_. SEE PAGE 50.] + +[Illustration: FIG. _d_. SEE PAGE 50.] + +But if the name of Carlo Bergonzi is brought into the field of +speculation--granting for a moment that Stradivari was not very likely +to step aside occasionally from his accustomed groove--then we have much +more of a possibility or even probability in the matter. It has always +been asserted, and I believe never contradicted, that Carlo Bergonzi was +for a time actually working in the atelier of Stradivari--whether as +pupil or only assistant matters not--but we have in the fact of his +presence a distinct factor in any of the supposed anomalies of the later +periods of the grand Cremonese master. To this, however, we may put some +consideration further on. There is further in these later scrolls a +modification, alteration, or supposed attempt at improvement in the +edging of the turns, these being left a trifle stouter than at the +commencement of Stradivari's career. + +This is continued along over the top and down the back of the scroll to +the shell, which seems to be a little less elongated than the early +specimens. It may be more apparent than real in most instances in +consequence of the bolder edging. The hollowing of the "shell" is +seemingly less delicate, but this may be taken as a natural result of +the foregoing. Further on these details will come in again for review. + +To continue our remarks on the question of "thicknesses and their +adjustment" with each other. This is a department of the luthier's art, +to which perhaps much more attention has been directed by theorisers +than by practical workers. The latter class have no doubt been +influenced by the former to a considerable extent, oftentimes having +their views expressly carried out under their personal supervision. By +musical amateurs it is found to be a good theme for conversation when +the excellencies of the works of various masters are dilated upon. That +the richness of quality in a "Joseph" is the result of his having left +"his wood" thick in certain parts and not so much in others, and that +this, combined with the flat modelling, was the secret, and that it was +written that some of the Josephs were too thick in the back, and +therefore the freedom of the vibration was checked and the tone to some +degree stifled and deficient in penetrative power. + +Among my early musical acquaintances, I remember an amateur violinist +who would "wax eloquent" on the power of his Strad, asserting that it +was owing in a great measure to its having been "left thick by the +maker" all round near the border. This, no doubt, many other amateurs, +acquainted with what used to be in print on the subject, will recognise +as being in opposition to what had been accepted as being the rule +generally observed by Stradivari, that the arching in its thickness +gently decreased towards the border where it was about a third less than +at the centre. This gentle gradation was said to be the cause of the +beautiful "silky" and "sympathetic" quality so prominently +characteristic of his instruments. The explanation of "the thing in +action," as mechanicians would term it, was thus--the greatest thickness +being at the part all round by the feet of the bridge, was able to +sustain the vibration, or the successive shocks caused by the bow, which +were transmitted through the wood of the upper table and were gradually +lessened in intensity as the thickness decreased toward the border, +where they subsided, or were lost. + +I do not know what explanation was given, if any, of the "system" of +thickness adopted much by some of the Milanese school, which was that of +hewing away the wood until it was thinnest at the part all round by the +feet of the bridge and thickest by the lower wings of the sound holes. +Judging by the before mentioned assertions as to the association of +power of energetic vibration with the thickest wood under the bridge, +these Milanese makers were acting very wrongly, but, strange to say, +many instruments of very great power were made by them under these +conditions. + +Many years ago I was conversing on the subject of thicknesses with an +English maker of experience and who seemed to believe in certain +"thicknesses," and having then as yet made no practical experiments +myself in the matter, I put the following to him. There are many violins +to be met with that through ill-usage and pressure on the bridge have +depressions instead of the level wood at the part we should expect it to +be, and yet the tone is considered fine, how is this? The answer was +remarkable, and not unworthy of the class of makers to which he +belonged--that although the wood had become thinner from pressure, "the +original amount was all there," it was only squeezed closer together. +The instruments were, no doubt, "rightly gauged" in the first instance. +"Now there," he said, pointing to a 'cello hanging up almost out of +reach and looking in rather a woe-begone condition, is a bass that +"never would go well because it was badly gauged when first made." Age +and usage were to be of no avail in bringing this wretched piece of +workmanship up to the standard of the average. + +This last assertion might have been of considerable weight had the maker +been a personal pupil of Stradivari, but the public verdict has been +that there was a great gulf between the two, and that the first had not +been initiated into the secret of the others. Foreign as well as English +makers have announced in the most impressive manner at their command +that their instruments were identical in all respects, including the +system of thicknesses in the originals, buy them, use them, and be +convinced that in time they would be just as good as the real thing. + +The foregoing is perhaps enough to indicate whether or not the secret of +Stradivari, or indeed any of the other Italian masters, great or small, +had been discovered by caliper measurement. It is strange that the +impression has held sway so strongly that the genius of the great +master lay in his manner of distribution of the thick and thin parts of +the upper and lower table. The first thought in this direction would be +that if the theory was good, its practical application with ordinary +skill and care would be sure to bring about the desired result. But more +than this has been done in experimenting on originals and copies from +time to time. We have within a mile of Charing Cross no lack of workmen +capable of gauging and copying with sufficient exactness the thicknesses +of any Stradivari brought to them, if that were all, or the principal +means necessary for reproducing the famous qualities of the great +Cremonese. It seems to be forgotten that hundreds of clever workmen have +lived since his time, in his own as well as other countries, who have +given the most assiduous application to the making of exact copies and +with a like result--that of total failure. For a moment let us turn our +thoughts to the nature of the materials comprised in the sum total of +the structure known as a violin. We have for the upper table, or front, +a thin slab of wood known as pine, from a species of tree that grows all +over the world. The varieties are, however, innumerable and the purposes +to which they are put, equally so. For the lower table, or back, a more +dense and tough wood is used. That the particular kind used in the +construction of the famous instruments of the great masters, and mostly +that known as curled maple or "hare wood," was chiefly on account of its +beauty, is evident from the fact that all the best Italian makers had +recourse at times to other and less showy wood. Beech was occasionally +used by Carlo Bergonzi. Other tough woods grown in Italy, even poplar, +have been used by some makers, seemingly when the supply of better +looking material ran short. That there are extant some "Strads" with +backs of some plain wood other than maple is more than likely. We have, +then, for the upper table of the violin a wood of soft but elastic +consistency, the strength of which lies mainly in the threads running +lengthwise, and which, when the wood is cut in the manner usual with +all violin makers since its invention, serve the purpose of small joists +running from end to end of the upper table. The soft material lying +between these is very susceptible to damp, especially when fresh cut. +Thus, if a piece of pine be cut ever so smooth with a sharp gouge or +chisel, a slightly wetted brush drawn along the surface will at once +cause the softer parts to swell and so leave a ribbed or "corduroy" +appearance when it is dry. This will serve to show how far this wood is +suitable for regulating by such very minute differences as would be +necessary when the thicknesses theory is confided in and efforts made to +reduce it to practice. The exactness reasonably expected of such a +master of quality as Stradivari would be upset in an instant by the +application of a little moisture, and which either by accident or during +the process of repairing would be fairly certain to occur some time or +other to every violin that left the hands of its maker. + + + + +CHAPTER VII. + +STRADIVARI'S TONE AND SYSTEM--THOSE OF HIS PUPILS AND + ASSISTANTS--QUALITIES OF TONE PRODUCED IN DIFFERENT LOCALITIES. + + +We may now refer to actual observation or close examination of +Stradivari's work with reference to the question of system, whether +there is evidence of its presence and how followed by him. That his +violins should have been from time to time well measured by the very +numerous army of identical imitators, fair copyists, and all sorts of +connoisseurs and theorists during the present century will be at once +admitted, and the results may be summed up in a few words. Stradivari +did not leave clearly defined any evidence of a system of gauging which +he strictly followed, at any rate in such a manner as to enable the +least approach by such to be made by any followers in his steps with any +measure of success. In short, he was guided by the exigencies of the +moment as to the amount of wood left in his ordinary or choicer +specimens. + +It has been stated before that his quality of tone was one, not several, +and for these his patrons flocked to him, as his admirers have also more +and more earnestly sought for him since the supply has ceased. But it +was not desirable that the greatest possible power should be given to +instruments that were in many cases to simply charm a small family +circle of friends in an apartment of modest dimensions. He would, +therefore, naturally enough vary the amount of wood left. This would be +quite in accordance with what is perfectly well known to all makers and +repairers of experience--that with a violin if very "thickly timbered," +the tone is less easy of emission, or actually weak. On the other hand, +if too thin the emission is comparatively easy, but lacks intensity and +is termed "hollow." Under these circumstances we should expect to find a +variation in the thicknesses of different violins of Stradivari, which +is in accordance with fact. + +Some connoisseurs have been in their enthusiasm too hasty in their +reference of general principles from a few particular instances and +their researches--as time thereafter showed--did not bear the fruit so +anxiously looked forward to. + +An instance comes to mind of two well known dealers, one British, the +other foreign, meeting together one day and opening some half-a-dozen +Strads, that appeared up to that moment to have had their interiors +undisturbed, or perhaps it might be said untampered with. What a +meeting! and what a parting! let us hope that each table, upper or +lower, that had so long been working in harmony, eventually became again +properly mated and gave no cause for lawyers to "put their fingers in +the pie." The results of the examination is related thus:--"In no two of +the instruments were thicknesses alike; some had thick places and thin +places; some were thicker on one side than the other; all were thicker +in the centre of the upper table and all had these as three to five for +the back." + +Another is that of a well known continental repairer in his day, +relating how he had repaired a very large number of real Strads and +found the upper tables to be of the same thickness, two and a half m's. +all over, but that the backs varied in thickness. Some discrepancies +here seemingly. To add to this, a correspondent says the Strads he has +measured "have certainly not been thickest in the centre of the upper +table." + +My own observations as to thicknesses I am afraid will not afford much +comfort to those who have been hopeful at any time that the calipers +would drag forth the precious secret. I recollect many years back seeing +a very fresh Strad, and a hasty measurement possible at the time +revealed too much wood, that is judging according to our modern ideas of +regulation. + +One instance of a Strad, once my own property, comes to my mind. It had +something wrong with the interior that necessitated opening. The violin +was of good reputation for its tone of fine quality, quantity and ease +of emission. There was no help for it; much against my inclination the +separation of the upper table from the ribs would have to take place, +either by my own hands, or those of some other person, the rectification +being impossible from the exterior as it sometimes may be. With all +necessary care, guided by past experience, the opening was safely +accomplished, and after a very interesting examination of the interior, +which to an ordinary observer would have seemed but peering into a dirty +old wooden box, having nothing perceptibly different from any other, was +in what would be called a fair state of preservation. I took the +calipers in hand, expecting to learn something, but found all the +original thicknesses had been lost under the hands of numerous +repairers. + +The supposed system or rule followed by Stradivari--that is, according +to what critics and writers have declared was his habit--was certainly +not demonstrated in this instance: in fact the eyesight alone was +sufficient to perceive that whatever theory the master had believed in +as necessary for the production of his inimitable quality, or whatever +rule as to gauging should be followed in order to obtain enough power +and freedom of emission were, in the present instance, we will not say +ignored, but quite imperceptible; and why? because the fiddle at one +time had been what we moderns--with our ideas of regulation and +fitting--would term "too thick in the wood." The instrument had +undergone much affliction from various physicians, but, judging from +various little details of evidence, been at almost all times highly +prized. Here and there were the studs or buttons of various kinds of +pine stuck by repairers of different nationalities and degrees of skill, +some placed with apparent good intention, others without reason at all, +while several parts bore indications of studs having at one time rested +there and been afterwards removed by succeeding repairers. Now all these +men had a thought of doing their work properly, and in finishing off +their studs with gouge or glass-paper, had whipped off around each spot +some of the precious wood of Stradivari, with a general result of a +series of hollows and gentle prominences not at all pleasing to the eye +of the believer in the thickness theory, but nevertheless instructive. + +Other instances in which the master's work--while still good and +serviceable, with much evidence of unskilful repair, or want of proper +attention at the time of accident, have come under my notice, enough, +long ago, to have, as the saying is, "knocked into a cocked hat," all +that has been put forth regarding the mathematical precision of the +thicknesses over the different parts of a violin by Antonio Stradivari. +One or two further remarks may be interesting on this part of our +subject. The fact must not be lost sight of that the pupils of the now +well established master of his art in Cremona were working either at +that place likewise, or in the large cities of Italy, and had become +famous, or were soon to be so and themselves surrounded by learners of +the art. All these had been initiated in the secrets, if any, of their +craft and in the particulars which distinguished them from others, or we +may say, they were of the Stradivari school, showing in a more or less +degree the same species of tone which the master had brought to +maturity, and which he retained with consistency and never swerved from +to his latest day. + +It is quite a reasonable supposition that most, if not all, of the +personal pupils were taught by the master, or had the way pointed out to +them by which they might, with the right ear for discrimination of tone +quality and enough of industry, impart to their works the identical +qualities of those of their teacher. But what are the facts left for our +consideration in connection with caliper measurement? the pupils +admittedly of his teaching, among whom we may mention Lorenzo +Guadagnini, his son Joannes Battista, Alexandri Gagliano, one or two of +his sons and Carlo Bergonzi, as the best known, each adopted their own, +or shall we say, left no more evidence for us of having a set rule for +thicknesses than their master. The nearest approach to the asserted +system of Stradivari, that of a gentle declination of substance in the +wood down to the edge, was made by Lorenzo Guadagnini in his extra sized +violins; but then the tone, wonderfully fine, is not Stradivari, but +Guadagnini. Carlo Bergonzi's system, if we may for a moment call it, was +quite unlike Stradivari, and yet connoisseurs have frequently credited +him with having got "the same beautiful quality of tone." From these few +references it will be sufficiently plain that the grand secret of tone +quality must not be sought for with the aid of calipers, so we will +dismiss this part of our subject and proceed to other considerations. + +Besides those who have pinned their faith to the thicknesses, there are +those who take up with the "air mass" theory. I am afraid the arguments +in favour of this last will not bear even so much knocking about as +those just considered. + +We have in the first place to take into account the fact of the larger +modern bar taking up more room than the old obsolete one of, not only +Stradivari, but all the other masters of his time and before. The upper +and lower end blocks have been enlarged in many instances to obtain a +better hold on the upper and lower table. These alterations have been +each of necessity, not of ignorance or mere whim, and moreover have +proved efficacious for the end in view. The restorers, or regulators who +have performed these operations must--according to the "air mass" +theory--have been acting quite "in the teeth" of it and Stradivari's +regulation, further there is not one fiddle in a hundred--perhaps not +that--which has been in use for a generation but what shows a sinking +one side or the other, or, when the modelling is full, a depression in +the middle of the upper table, and very frequently a greater fulness at +the back where the sound post touches and presses from the inside. These +alterations, individually or collectively, alter the "air mass" of the +interior, and the violin thus, according to the theory, contains within +itself the elements of its own early dissolution, so far as fine quality +is concerned. Facts, however, go to prove the contrary, and with the +modern regulator's efforts to obtain the best amount of a good thing +known to be present, it is quite probable that Stradivari himself never +heard his instruments to such advantage as they may be now, +notwithstanding the unreasonably high pitch to which violinists are +obliged to conform their tuning. + +There was another theory promulgated many years back by certain people +of some degree of eminence in their own walk in life. A grand discovery +was announced, that the excellence of the violins of Stradivari +consisted in the tonal difference between the upper and lower tables +peculiar no doubt to that master. This sort of committee of scientific +experimenter, violin dealer and author, did not--while centralising +their efforts on the violins of one master--say whether the same +relationship existed between the back and front of a Nicola Amati, +Maggini or Gasparo de Salo, they made something of a slip when they +mentioned the violins of the great Joseph Guarnerius as showing the same +tonal difference. + +It would have been very interesting to have heard of results after +further trials by the same experimenters upon upper or lower tables of +violins by now not very much less celebrated makers, who, although of +the same class or school, were living--for those times--far away from +the central luminary of the Cremonese art. What would have been said of +Montagnana of Venice? a star of the first magnitude, curiously near in +quality and quantity to the great centre to which he was willing to pay +obeisance and throw out a reflected light; of Gobetti, perhaps more +"Straddy" than any other Italian, Gofrilleri, Seraphino, two or three of +the Tononis, besides other lights of lesser magnitude, with exceedingly +fine qualities, but perhaps open to the charge of intermittency. +Further, several of the Milanese school,--offshoots of the Amati and +Stradivari,--of Lorenzo Guadagnini, a master of his art in all its +details, if ever there was one, his son Joannes Battista, steadier in +his working, but more uncertain in his results--shifting from place to +place, may have had some connection with this--and the occasionally fine +artificers of the same place, Landolfi, the Grancinos and Testores and +later on Balestrieri of Mantua and Storioni of Cremona. These men, +always good, and when circumstances were favourable, great in their art, +often grand in their individuality and power, were, by these modern +scientific interrogators placed aside or quietly ignored, apparently +either as unworthy of their recognition, or of such inferior renown as +not to come within the scope of their investigations. + +A close and searching inquiry into the causes that enabled different +masters of their art to bring about the desirable end of their labours, +that of imparting a distinct quality and individuality of tone, might +have enabled them to get at least a hint as to the means whereby +Stradivari gratified the tastes of his patrons at the time and +connoisseurs in general of the present day. As indicated before, the +Venetian masters were--probably by the same means--able to put before +their patrons that kind of tone most in agreement with the luxurious +surroundings of the Venetian nobility, or offered and found acceptable +to the musical public generally there. + +A prolonged, earnest examination of the peculiarities of tone attached +to the violins of the makers of the chief seats of violin making, has +led to the inference that the difference in kind or degree was not from +individual choice, but chiefly owing to outside influence. + +What is known as the old Brescian type of tone was doubtless suitable +to the tastes of musical circles, among whom the then new style of +musical instrument was introduced in Brescia. When settled down, the +Amati family, a group of thorough artists, proved themselves alive to +the requirements of the fresh district that was henceforth to be the +scene of their labours for generations. The Brescian quality had either +been found by them, or was known beforehand, to be too ponderous or +insufficiently endowed with the more feminine quality desirable in the +minds of the Cremonese. The Amatis seem to have been in full possession +of the means necessary for producing the kind of violin in demand and +supplied it. + +As time went on, musical compositions changed in style, advancing by +degrees towards the culminating point of nearly a century later. The +simple, oft-times wondrously sweet, yet quaint effusions of the early +composers for the violin, were gradually giving more and stronger +indication of what was possible and likely to follow soon and in its +turn, like all other things, become antiquated and old-fashioned. +Undoubtedly, it was this progressive condition of the music of the +period that induced Stradivari, early in his career, if not at the time +he was with Nicolo Amati, to take up the study of tone calibre as a +matter of essential importance, in order not only to keep pace with the +times, but if possible, anticipate further advances in musical +development. + +It was daily becoming more evident that the qualities of refinement and +sympathy would not in themselves be sufficient in an instrument with +such a future as the violin seemed to have. Melodic forms were being +modified, while harmony was becoming more varied and divided. + +The art of appropriate phrasing was also being studied, while practical +musicians were bowing to the necessity of leaving old stereotyped forms +for those having more emotional qualities. In short, the violin wanted +in Cremona was one of substantial power and suitable for more dramatic +expression on the part of the performer. To bring forth a violin of this +desirable type, Stradivari directed his energies. With what measure of +success, the whole musical world up to the present day have emphatically +declared. + +Now, we may ask, was the difference of tone between the violins of +Stradivari and those of the other makers of the Brescian, Cremonese, +Venetian, Milanese, or Neapolitan school, in consequence of the tonal +difference between the upper and lower table, as supposed to have been +discovered by the modern Parisian investigator? was it resulting from +the correct air mass inside? the relative thickness of the tables, or we +may as well include the straight and fine grain theorists, the amber +varnish in the wood theorists, the wood of great age theorists, and the +generations of use theorists, and lastly those who mix them altogether. +If Stradivari practically worked upon one, some or all of these +theories, there is still more mystery concerning the close proximity at +which his pupils or assistants arrived, several of whom we might +conclude were possessed of all necessary means of acquiring to the full +their master's excellencies. + +Just for a moment or two we may turn aside and notice the kind of +variation or the distinguishing difference between the tone in the +general acceptation of the term--of Antonio Stradivari and other makers, +or, as time has proved, masters of their art, if not on an equal +standing with him. There is frequently among musicians a disposition to +set down as inferior any tone that may seem to differ in degree or kind +with that of Stradivari; that is the ideal type, it must be Stradivari +and no other; some have even gone so far as to say, "there is only one +quality," that of Stradivari, and when other masters did not produce it, +they were unable to do so; this is more than a hint at condemnation of +the head of the Cremona school as having been very lax in the proper and +thoughtful training of his number of pupils; this latter an almost +necessary consequence of eminent rank, taken apart from the usual +assistance found to be obligatory from pressure of work. If we glance +over the Italian schools taken one after another, the facts, if +acknowledged, will be seen to point in other directions. Taking for +instance the Milanese master, Lorenzo Guadagnini, who tells us himself +that he learnt his art under Antonio Stradivari, we find distinct traces +of it in his tone, the general calibre is the same and most of the fine, +distinguishing features noticed in the tone produced by his master; the +difference, however, is that which is peculiar to the master makers of +Milan, that of a slightly less reedy emission of sound. Some have called +it harder, which is not a correct description. Chords are produced with +it as easily and roundly as with any other, the individual notes blend +beautifully and give an impression of homogeneousness in no wise +inferior to anything produced in Italy. There was no apparent difficulty +in the way of Milan acquiring and cultivating the variety of Italian +tone known as the Cremonese had they been so disposed; we are therefore +led to infer that each place with its musical world held its own +opinions as to the most satisfactory quality of tone for its purpose and +considered it the best. Milan is situated in Lombardy, north-west of +Cremona, and distant from it between forty and fifty miles; not a very +long way at any time, but quite sufficient for each place to cultivate +or indulge in any artistic or musical fancies or whims independently of +the other. We find maker after maker in Milan keeping within certain +limits as regards the quality of tone produced there; I do not know of +one whose instruments emitted other than the Milanese quality. + +We may, I think, safely assume that so far from loosely and +superficially instructing his pupils, Stradivari's tuition was of a +deeper, far-reaching kind than has ever been suspected. If the tone of +Lorenzo Guadagnini is compared with that of the makers who were working +in Milan when he arrived, it will not be difficult to perceive that the +Milanese type is still retained, although much enlarged and matured, in +fact become freshly developed, throwing out the additional qualities for +the obtaining of which the great master of Cremona had carefully +trained his gifted pupil. All this is not in the least interfered with +by the fact of Joannes Battista Guadagnini's tone differing in some +respects--and more at times--with that of his father, but rather helped +by it; both assert on their tickets that they were instructed by +Stradivari, and both show the results of their training in that +largeness and impressiveness which is so much beloved of violinists and +which without doubt came from their great teacher. Josef, the son of +Joannes Battista Guadagnini, appears also to have either been instructed +by Stradivari or to have assisted under his personal supervision--which +would amount to much the same thing. We may perceive in the tone of this +maker also the influence of the great master in the same directions as +are manifested in the works of his father and grandfather, they are all +of the Stradivarian school. + +Let us now turn in another direction. Alexandri Gagliano of Naples tells +us that he too was a pupil of Stradivari, and looking at his work there +is nothing about it inconsistent with his statement; his typical design +is formed upon that of Stradivari, and many of his details of +workmanship are such as can only have been carried out as the result of +either a lengthy study, or from being under the immediate supervision of +the master. + +The quality of tone produced by the Neapolitans is as distinct as +possible from that of Milan, it is clear, lively, suggestive of a sunny +clime, and free in its emission, but leaves an impression on the ear of +a lack of sufficient profundity, nearly the opposite in fact of the +early Brescian school. Here the best of the Gaglianos--for it is not at +all certain that there were not more than two of them assisting at +different times in Stradivari's atelier--brought the same kind of +improvement to Naples as the Guadagninis did to Milan, the scale was +better regulated so as to give greater breadth of effect, +notwithstanding the general quality--seemingly native to the +place--being uninterfered with. Here then was the influence of +Stradivari having taught his pupils the means whereby the particular +tone quality most appreciated in the locality could be brought forward +in its most developed, or mature condition. + +Carlo Bergonzi we shall have to consider more fully further on, and for +the present only refer to him as a pupil or assistant much more in +immediate connection with the atelier of Stradivari than any maker known +to us. Irregular workman as he was, swayed about this way and that by +matters unknown to us, he kept steadfast to the Stradivarian lines to +the end. The rest of his family were either his own pupils, or they may +have even been at times with his master, as they all--so far as I am +acquainted with them--are of the same school. These particulars all +point in one direction--that Stradivari was not anxious and made no +special efforts at introducing any new kind of tone--development of that +already in existence was his aim, and on this line he appears to have +led his immediate or personal pupils. + +There is great probability that some very clever workmen whose names are +lost to us, were with Stradivari for a time, long or short, and were +able to imbibe the valuable precepts enjoined similarly on the other +disciples. It is not at present known whether the sons of Stradivari had +pupils or assistants, the rarity of their work seems to point to the +contrary; their father having been so successful from the commercial +point of view, apart from the higher aspect of his career, there may +have been--we might say--the usual disposition amongst sons of +successful fathers to take life more easily and repose among the laurels +won for them, requiring only a little caretaking. There is some +possibility of Thomas Balestrieri, of Mantua, having worked for a time +under Stradivari, but not as a pupil; there is much in his work +suggestive of this theory. His tone quality does not belong to the Amati +school, in which tradition has it he was trained. He may have gone as +help to Stradivari--for loose as was his general tendency, he could work +finely when the fit was on him. Whether he went or not, there remains +tone quality evidence of the strong influence of Stradivari, besides +the throwing aside of the Amati traditions concerning proportions, +curves and archings. + +Of the other places to which personal pupils of the master went, we may +take a passing glance at Genoa, a city not replete with makers of +refinement, or numerous, but nevertheless with some sterling qualities. +Among them and the most "Straddy" is Bernardus Calcanius; his earliest +dates, if we can rely upon them, and they may prove at any moment to +have been earlier than hitherto known, almost preclude the possibility +of his having worked under Stradivari except as a youth. The influence +of the master is, however, decidedly paramount in his work and no other +tendency being noticeable, if not an immediate pupil, he took all +possible pains to acquire the excellencies that were to his knowledge +peculiar to Stradivari alone. + +Among the Venetian makers there does not seem to be one that can--from +his style and workmanship--be picked out as showing all necessary +evidence of his having qualified under the great Cremonese as a personal +pupil. Nevertheless there is much indication, and such as cannot be +passed over, of the influence of Stradivari among the aristocracy of the +business there. This was not, as in the instances of the other schools +of violin making outside Cremona, in the first ten years of the century, +but after the different individuals of the group of eminent Venetians +must have been well known and of established reputation. In this there +is some apparent indication of one if not more of the party having taken +a trip to Cremona and brought back a few hints of no inconsiderable +value, perhaps received personally from the master. On the other hand, +if this was not the case, his works must have been brought into Venice +and their merits artistically as well as acoustically well thought over. +The outcome was a change, the Amati genius hitherto presiding +uninterfered with, seemingly immutable, had to give way to that which +was pronounced an improvement or a step higher in the progress of the +liutaro's art. As in Cremona, the Amati characteristics were too deeply +rooted in the affections of the Venetians to be eradicated, and we +consequently find in the designs of a few of the prominent makers the +strong influence of Stradivari in conflict with that of Nicolas Amati, +and the two swaying in balance with the settled convictions of the +followers of Jacobus Stainer. + +Having now taken a glance round at the chief centres of violin making +that had during Stradivari's lifetime been strongly influenced by him, +directly by means of his pupils or indirectly by the arrival there of +his works, we may note that his qualities artistically or acoustically +considered, while giving him a commanding position, did not reach so far +as to annihilate, during competition, those of the Amatis, especially +where the latter had been of long standing and followed earnestly in +detail, they kept side by side as in Cremona. The influence of +Stradivari beyond the borders of Italy had yet to receive its due +acknowledgment from the crowds of imitators which have now become known +or have pushed themselves in front of the public gaze. + + + + +CHAPTER VIII. + +THE REPUTED GOLDEN PERIOD OF STRADIVARI LATE IN LIFE--HIS LATER + MODIFICATIONS OF DESIGN--SIGNS OF OLD AGE APPEARING--THE HELP HE + RECEIVED. + + +We can now return back to Cremona, where we left the master in what +might almost be termed the heydey of success, as he seems to have had +full obeisance as the reigning chief among liutaros. The amount of work +put forward--estimating carefully by what remains to us after the lapse +of some hundred and eighty years or more--must have been possibly larger +than is suspected and now might appear incredible if it were catalogued +in detail, were it not for the extreme probability that minor or mere +mechanical parts of the many instruments other than violins, violas, or +violoncellos were effectively carried out under the supervision of +Antonio Stradivari, his sons and assistants, of these probably what +under the circumstances might even be termed a numerous staff. + +The period 1700 to 1725 has been referred to by some writers as "the +golden period" of Stradivari, not inaptly if we are to understand it in +a pecuniary sense, as his income at the time was no doubt of a very +satisfactory nature, but if taken from the standpoint of artistic +elegance and finish in detail the master himself seems to have had some +slight misgivings, as there are well-known indications in his latter +days of having used some of his early patterns, as if a desire had +arisen in his mind to return to his old love. + +That some signs of advancing age should not be apparent in Stradivari's +work during the period of 1715 to 1725 would scarcely be expected. It is +just at this time, however, that he gives the strongest evidence of +being the extraordinary man that he was. In 1715 and thereabouts, a time +of all others, some critics might put it, when his most magnificent gems +of art were sent out into the world, he was a veteran seventy-one years, +a time of life that few people would look forward to as being +appropriate for executing unrivalled masterpieces, but rather as having +for some time retired for final rest after a full complement of working +days; here, however, was a peerless artist actually in his prime! and as +busy, possibly so, as at any early times. + +At 1720 to 1725 a close student of his work of hand may discern some +signs of what was to follow, it might be said naturally. In the first +place the purfling gradually assumes a heavier aspect, it is a trifle +bolder or thicker in substance, although sent round the borders of the +instrument with apparently the same masterly handling and iron +nervousness of the preceding years. The edging is also a degree stouter. +Occasionally the corners are made to a more obtuse angle, adding to the +whole design a more stolid look, as if mere elegance was about to be +thrown aside and more simplicity and grandeur were being sought for. +This was not continued, the master seemed afraid of going too far +towards heaviness, he therefore cautiously withdrew to his own old +lines. Sometimes--possibly taking up and constructing upon some of his +old and early moulds--the corners are brought out more prominently, but +with more substance than in his early days; the result is delightful for +the connoisseur's eye. Accompanying these minute modifications there +will be noticed an increase slight and gradual in the expression of +heaviness in the sound holes. If possible there is more freedom from +mere symmetrical proportion, they are placed less accurately level, one +being a trifle higher than the other, this by the bye was common with +him at all times, although usually with a subtlety that left them +unnoticed by an ordinary observer. This slight irregularity has been +sometimes misinterpreted as one of the little secrets of the master +whereby he obtained his excellent sonority; "discovered" was the +exclamation, and a new rule laid down on Stradivari's lines--never place +your sound holes on the same level, always one a trifle higher and you +will get what the master was so famous for. The result, so far, has been +a disappointment which laid bare some evidence that these over zealous +enthusiasts were not sufficiently acquainted with the canons of Italian +art. There was another peculiarity creeping on with regard to these +sound holes--that of an enlargement of the curve opposing the lower +wing, at first it gave a more staid aspect to the part, there was less +sprightliness and youth about it, nevertheless it was fine at times, +even magnificent, there being still the same determination of purpose, +that of combining maturity of elegance with strength. Afterwards, the +change--and if all the works of these later years could be seen, saved +from the destructive ravages of time and wear, it would be pronounced +scarcely perceptible in its progressive degrees--came creeping on, old +age gradually insinuating itself in the mechanical part of the design. + +From 1725 to 1737 was a time forming a proportion of Stradivari's career +during which, if he arouses less enthusiasm among his admirers for the +"work of hand," he outbalances it by far in exciting our astonishment at +the man himself. In the year 1725, he was then eighty-one years of age, +and his work, regarded from the standpoint of "periods" as given, or +arbitrarily laid down by critics of the first half of the present +century, was what is now known as just past the "golden" or "grand" +period; that is, some signs of decadence in the finish of the +instruments which he sent forth were for the first time becoming +apparent. It is generally believed that Stradivari was still +industriously engaged in constructing instruments of different kinds +and sizes as before, and that his time was occupied to the full in +producing works in rapid succession, as in an uninterrupted stream. That +the first part of this was probably quite true we can readily agree to, +also that the out-put was continuous. Both, however, will need a little +qualification when the surrounding circumstances are carefully weighed. +Allowing the master possession of unusual mental and physical powers, +with zeal unabated at the period included within the dates 1725 and +1735, it would be too much for us to believe him capable of working with +the certainty and celerity of former years; with all his extraordinary +abilities he would now be a less prolific worker. + +This is in agreement with the number of works that have come down to us, +and as the time advanced it became less and less until a veritable +specimen of his latest period is extremely rare. + +It has before been referred to that the sons of Stradivari worked with +him for many years. They must have, from continual practice, been able +to fit their own workmanship on to the designs of their father to a +nicety that could not be surpassed. Their own individual designs are +very seldom seen, consequent, no doubt, on so much of their time being +devoted to helping their father, and until his death they must have +rarely made on their own account. + +There were other assistants who lent a helping hand in different +branches of the work, among whom we will not omit mention of Carlo +Bergonzi, a great master himself, but little inferior to Stradivari, and +a good deal better than either of the sons. + +The circumstances under which Carlo Bergonzi worked in the Stradivari +establishment are not known; it is by no means certain that he received +his early tuition in the place, but that he became an influence of +considerable weight admits of no question. Whether he worked on the +premises, or--his own being at one time or other next door--was an +outside help no data is to hand that we can rely on, certain it is that +his talent must have been fully recognised by the younger Stradivaris as +their work declares. + +Many years back there was some discussion about concerning the extent to +which Carlo Bergonzi helped, or what part he undertook, if it were +admitted that some of the Stradivari violins of the latest period were +not entirely the work of the master. There was much said for and against +the possibility or probability of there being any of Carlo Bergonzi's +handiwork to be seen on any of the late Strads. No one seems to have +questioned the presence of the influence of Bergonzi's style in the work +of Franciscus Stradivari, the eldest of the sons, who, after labouring +for many years on his father's moulds and patterns, might have +reasonably been tempted to take a "leaf from the book" of such a master +in designing as his friend and fellow-assistant, Carlo Bergonzi. + +To take any sort of hint from that wonderful, although fitful genius, +Giuseppe Guarneri, working within earshot, was not to be entertained for +a moment, as the style of workmanship, the calibre and quality of tone +belonging to his manner, was quite opposed to Stradivarian teaching, and +besides which there are no records or traditions indicating even usual +social intercourse. We are therefore thrown upon our own resources in +estimating any connection of Carlo Bergonzi with the late work of +Antonio Stradivari. The instruments themselves will be the only guide +and, without doubt, in the face of other evidence, had it been present, +the best. Stradivari's work during the last ten or more years of his +life was showing exactly what we should expect of the man when working +at a patriarchal age. The stamp of the veteran handicraftsman may be +traced not unfrequently on the works of other eminent makers of Cremona, +including Andreas, Hieronymus, Nicolas, and his son Hieronymus and +others down to the latest period of Cremonese art, when Laurentius +Storioni was proving that if in its last struggles it was not quite +dead. + +The distinguishing characteristics of old age work may be briefly +summed up in a few words--heaviness in design and uncertainty of +execution. Good, even brilliant, conceptions may be started on new work, +but the execution of them shows weakness, or even inability to carry +them out well. We will apply this as a kind of test when overlooking the +specimens handed down to us as being the production of the great +Cremonese master at the age of between eighty and ninety-three years of +age. If doing this simply from the connoisseur's point of view, without +admitting any such influences as present or past monetary value, former +ownership, in short, thrusting aside all considerations of pedigree, we +shall soon have to divide them into two sections, one of which will be +acknowledged by all connoisseurs to be really representative of the true +Stradivarian manner adhered to strictly through a long working career, +but with the only fault of not quite so well being said of it. Thus the +sound holes, as before referred to in the tracings, were becoming +heavier at the lower part and with a tendency in other details towards +ruggedness. The varnish has a thicker and less dainty aspect, although +of excellent quality still, but there is an impression of heaviness. In +the carving of the scroll the same character prevails, the edges of the +turns are stouter and at the back the grooves down to the shell are less +refined in their execution. All these little specialities of touch, but +no modifications, are the natural manifestation of the peculiar physical +condition of the master at a very advanced age. + +Let us now turn to the other section, that over some of which there is +excellent reason for disputation, over others none. + +It will be readily acceded that Stradivari at no time during his career +ever favoured any exaggeration of curve in the design of his sound +holes, there was always present the indication of a desire for a fine +balance of parts, in fact, his ideal seems always to have been that of +increasing, if possible, the elegance of the Amati sound holes while +adding to its substantial aspect. + +In some of what we have called the second section we find a lively, fine +and rich transparent varnish such as Carlo Bergonzi was particularly an +adept at; on the same instrument will be sound holes, that a moment's +consideration will remove any hesitation as to the design being other +than Carlo Bergonzi. As this remarkable artist had several types of +sound holes, and no one knows how many subtypes, at his finger ends, a +little knowledge of his two most opposite ones will bring at once to +mind that he must have had a hand in no inconsiderable portion of what +is called Stradivari's late work, as here is found the inclining inwards +of his sound holes with the smaller upper part and heavier lower end. +This will be found accompanied by the square looking upper part of the +waist curve, the two things being alone almost sufficient to stamp the +whole as being by Carlo Bergonzi, but here pedigree has stepped in and +it was always called a Stradivari. + +This is the one type of sound holes which has to be placed aside for a +moment; the other type is of an opposite kind and very often to be seen +accompanying the longer looking pattern of Carlo Bergonzi: it is free in +design, having the upper and lower wings fully developed, that is, the +straight cut of the wing is of full length, this individuality coming +from Stradivari. + +It is this portion of the details of the design that has led so many +Students of the works of the Cremonese masters astray, they see the +Stradivarian design, or we may call it peculiarity, and too hastily +conclude as to its being the actual work of hand of the master. A little +further consideration of the adjoining portions of the sound holes would +bring to mind how little Stradivari was disposed towards any thinness of +the opening out of the part leading from the wing to the nicks: if he +had a tendency one way or the other, it would be towards more fulness, +but his ideal being a beautiful equilibrium of all parts, this is +clearly a point telling against the work as coming from his hand +entirely. There is another part, too, that Stradivari seems to have most +earnestly avoided, that of making the top portion of the sound hole +design reach over towards the centre, somewhat after the tendency of +Andrea Guarneri, this causes the lower part to seem turned up more +suddenly, it is, however, only by contrast between the two parts that +this is so. Carlo Bergonzi's sound holes are more sprightly and +vertical, and with their more mature style should not be confused with +those of the preceding maker. Here, then, are two distinct types of +sound holes independently of those referred to of earlier periods, to be +seen attached to violins that have perhaps through several generations +of owners been attributed to Antonio Stradivari, and in consequence been +sold again and again for large sums. Here is evidence of there being +something in a name. Had these instruments been carefully and properly +analysed, with a strict regard to the habit of the master in respect of +intention in design and execution at early and later periods, the +mistake would not have occurred. The conclusions rushed at seem to have +been that there was the proper age of the instrument, the varnish was of +fine Cremonese type, the pattern and sound holes thought to be +"Straddy," therefore it must be a Stradivari. + +On the other hand, there is no obtainable evidence that these violins +did not issue in new condition from Stradivari's atelier; we have in +previous pages considered the amount of help at his elbow, and that this +would be more and more called into requisition is but a reasonable +conjecture: that it was actually the case is helped by the fact of +violins being extant in which the age of the master is stated on the +ticket--presumably written by himself. Possibly he felt some degree of +pride in having accomplished, at the patriarchal age of about ninety +years, work generally associated with the time and vigour of middle age. +The existence of these violins, there may have been several more made +than are known, has much significance, for the fact of his age being +inserted may be fairly taken as indirect evidence not to be lightly put +aside, that they were by himself looked upon as an accomplished work +quite out of his usual way. Had he been constantly putting forth +instruments made by his own hands, there would not have been anything +unusual about them, but these, with date and age marked, seem to be a +declaration of the master--see--I have made a violin at the age here +stated! In these there is present exactly what would be expected in such +work--indication of insufficiency of the physical powers for carrying +into execution the dictates of the mental. The intellect of this wonder +of humanity appears to have remained unclouded to the last. + +The other violins of about the same epoch, and going under the master's +name, have a manner of work that ought to have been perceived as being +also distinct. Mere hastiness or slovenliness of work is not identical +with the effect of inability to achieve mechanical neatness. It is this +slovenliness of handiwork which Carlo Bergonzi gave way to so +frequently; he could, when in the humour, work beautifully; this, with +his fine perception of elegance of line, was possibly the secret of his +being admitted into the atelier of Stradivari and of his influence over +the sons. There may have been other special particulars regarding him +that helped in the matter of which there does not appear to be any +record. + + + + +CHAPTER IX. + +EVIDENCES IN STRADIVARI'S WORK OF OLD AGE--HIS DEATH AND + BURIAL--WORK LEFT BY HIM--THE ADVANCE IN VALUE OF HIS WORK SINCE HIS + DECEASE. + + +Returning to the analysis of the individuality of the mechanical work on +the violins of the latest epoch of Stradivari, one or two further +details are worth consideration. The size, style and tool work of the +scroll have always been admitted to take up a large share in the +estimation of evidence present for identification of authorship. In some +of the late specimens of Stradivari we can see at once that the hand has +become less firm, the bold turns seem to have lost much of their former +vigorous expression, and although thick enough in edge are closer, and +impress the connoisseur of the inability of the artificer to spend more +time and attention than was absolutely necessary. The groove down the +back to the shell is less refined than previously, besides being more +heavily gouged at the termination. Almost in contrast with these parts +there are seen on other "very late Strads" a neatly cut shell widening +out a trifle and minus the thick edging; an examination of the turns of +the scroll will reveal the fact of its having been gouged in quite a +different manner, the declevity being more concave, the result of +running the gouge along the course instead of towards the centre which +was the manner of the Amatis. This hollowing out of the turns was so +frequently done by Carlo Bergonzi that it might be called his most +natural mode of treatment; we can here see what evidence there is of +this maker's probable help in the work of his master. If we admit the +possibility of these being entirely Antonio Stradivari's handiwork, then +there were more phenomenal aspects of the master's working powers left +for our consideration than he had hitherto given the slightest hint of +during his extraordinarily long career. + +[Illustration: THE CHURCH OF ST. DOMENICO.] + +Taking therefore all the facts at our command in connection with the +circumstances of the time, and the artist himself with his extended +life, sifting these carefully we find the residue left is,--that his +working powers gradually lessened in a perfectly natural way and that +such entire work as left his hands during the last few, say six or seven +years was, taken at the best, small in quantity; they came forth as from +the last flickering embers of a decaying power whose influence, +bequeathed to the world at large, was destined to increase indefinitely +and whose secrets were left unrevealed, to be sought for earnestly, but +in vain, by generation after generation. + +Time, he with his hour glass, passing by the home of Antonio Stradivari +in Cremona, found him full of years and honour among his own little +world of friends and acquaintances, for beyond the borders of his +country his name could have been known to few, and those only +recognising him as a clever and successful practitioner in perhaps their +own craft; his world wide fame had as yet received but a slight impetus +when it became known that no more of the unapproachable gems of art were +to issue from the unassuming house in the square of S. Domenico, +Cremona. + +Antonio Stradivari died in his 94th year at Cremona on the 18th of +December, 1737, and was buried in the chapel of the Rosary in the Church +of San Domenico. This church was situated exactly opposite his house, +where, standing at his door--as he must have done many a time--the tomb +which was to be his final resting-place came directly on the line of +vision in front of him, but within the third recess or chapel past +the intervening wall. So far as our scanty knowledge goes, there were no +circumstances connected with his death that called for any special +notice at the time. Possibly little more was remarked by the neighbours +than that the aged musical instrument maker of the Piazza di San +Domenico had died, and his two sons were to carry on the business. +Perhaps none of them gave a thought to the immensely enhanced value of +each of his works of art--or as they may have described them--the goods +that he sold--that might be remaining two centuries forward. + +He had lived to an almost patriarchal age, over ninety-three years. It +is rare to find in the world's history a leading light among professors +of science or art completing such a career of almost incessant labour +both mental and physical. It is still more so to find the work of such a +genius, large as was the quantity, increasing in value by "leaps and +bounds" as time progressed after his decease. Most probably at the +present day--supposing there to be extant as much as one-eighth of what +he put forth--and that may be very much over the mark, the market value +of what is recognised as his handiwork would still be a very long way +above that of the whole of the work put forth throughout his life. It is +on record that when he died there were ninety violins remaining unsold. +There may be several good reasons for this; among them the fact that +Carlo Bergonzi and Joseph Guarneri were working in rivalry at the time, +and bidding for public favour less on account of fine workmanship than +force and magnificence of style and general aspect, and that public +attention was to some extent diverted in their direction; further, and +perhaps more cogent, the recognition of the great brilliancy and +largeness of Joseph Guarneri's tone, that must have seemed to the +musical cognoscenti of Cremona remarkably fresh and vigorous. + +But when the master had departed it was not long before the loss was +seen to be irreparable. His work was sought for, there being none other +of the kind to supply its place; further and further as time advanced +it was becoming more and more evident that his like was not to be hoped +for, notwithstanding the favour with which the public viewed the two +rivals who were destined to work for a comparatively short period. When +these two at last disappeared, it was a signal for another rise in the +monetary value of Stradivari's work, and which was to continue +progressing indefinitely until such time when there may be signs of an +approaching renaissance. + + + + +FOOTNOTE: + +[A] Our illustration of this house is from a photo. It will be noticed +that it has not an imposing exterior and not much indication of the more +spacious premises in the rear where the great master worked. + + + + +ADVERTISEMENTS. + + + + + _ELEVENTH YEAR OF ISSUE._ + + _The Largest Circulation in the World of any paper amongst + Violinists._ + + THE STRAD + + _A Monthly Journal for Professionals and Amateurs of all Stringed + Instruments played with the Bow._ + + Published on the First of every Month. Price 2d., + Annual Subscription, Post Free, 2s. 6d. + + + =THE STRAD= is the only recognised organ of the string family and + has subscribers in every country of the civilised world. Our + circulation has increased to so great an extent that we are enabled + to engage as contributors + + =THE LEADING WRITERS in the VIOLIN WORLD=. + + _The following eminent Authors, Critics and Players are writing for + the paper_: BASIL ALTHAUS, ESQ., ARTHUR BROADLEY, ESQ., LANCASTRIAN, + ANDRE LA TARCHE, ESQ., ROBIN H. LEGGE, ESQ., J. MATTHEWS, ESQ., + WALTER H. MAYSON, ESQ., REV. MEREDITH MORRIS, HORACE PETHERICK, + ESQ., DR. T. L. PHIPSON, E. VAN DER STRAETEN, ESQ., &c., &c. + + =THE STRAD= contains technical articles by the leading artists. + + =THE STRAD=, in the Answers to Correspondents column, gives minute + information on every detail connected with the Violin by Experts. + + =THE STRAD= gives all the important doings of Violinists at home and + abroad all the year round. + + =THE STRAD= gives early critical notices of all important New Music + for Stringed Instruments, with numbers to show the grade of + difficulty of every piece. + + =THE STRAD= gives every month a beautifully executed portrait on + fine art paper, of some leading celebrity in the violin world, + together with a biographical sketch. + + Now appearing, + + =VIOLIN MAKING.= BY WALTER H. MAYSON. + + _Copiously Illustrated._ + + This important work goes minutely into every detail of the Luthier's + Art, and is the only work on Violin Making that has ever been + actually written by a Violin Maker. + + This series of articles commenced in the January issue, 1900. + + All Subscriptions, Advertisements, etc., to be addressed to the + Manager, HARRY LAVENDER, 3. Green Terrace, Rosebery Avenue, London, + E.C. + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD" LIBRARY, No. I._ + + _Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + + _"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_ + + Technics of Violin Playing + ON + JOACHIM'S METHOD + + BY + CARL COURVOISIER. + + With Folding Plates, Containing Fifteen Illustrations. + + + LETTER FROM DR. JOACHIM + [COPY]. + + MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you + have sent me, and have to congratulate you sincerely on the manner + in which you have performed a most difficult task, _i.e._, to + describe the best way of arriving at a correct manner of playing the + violin. + + It cannot but be welcome to thoughtful teachers, who reflect on the + method of our art, and I hope that your work will prove useful to + many students. + + Believe me, my dear Mr. Courvoisier, to be most faithfully yours, + + JOSEPH JOACHIM. + + Berlin, November 3rd, 1894. + + + The New and Revised Edition of "Technics of Violin Playing" issued + by THE STRAD is the only authorised edition of my work. The + several English editions which have all appeared without my knowledge + are _incomplete_ and _faulty_. + + CARL COURVOISIER. + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD" LIBRARY, No. II._ + + _Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + + HOW TO STUDY THE VIOLIN + + By J. T. CARRODUS + + + CONTENTS. + + Strings and Tuning. The Bow and Bowing. Faults and their Correction. + Scales and their Importance. Course of Study. Advice on Elementary + Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. + Some Experiences as a Soloist. With full page portraits of Carrodus, + Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, + and a photo-reproduction of Dr. Spohr's testimonial to Carrodus. + + "An interesting series of articles 'How to Study the Violin,' which + Carrodus contributed to THE STRAD, and completed only a week or two + before his death, have now been collected in cheap book form. The + technical hints to violin students, which are practical, plainly + worded, and from such a pen most valuable."--_Daily News._ + + "But a few weeks before his sudden death the most distinguished of + native violinists completed in THE STRAD a series of chats to + students of the instrument associated with his name. These chats are + now re-issued, with a sympathetic preface and instructive + annotations. All who care to listen to what were virtually the last + words of such a conscientious teacher will recognise the pains taken + by Carrodus to render every detail as clear to the novice as to the + advanced pupil. Pleasant gossip concerning provincial festivals at + which Carrodus was for many years 'leader,' of the orchestra, ends a + little volume worthy a place in musical libraries both for its + practical value and as a memento of the life-work of an artist + universally esteemed."--_Daily Chronicle._ + + "It is surely, hardly necessary to direct the attention of students + to the unique value of the hints and advice given by so experienced + and accomplished a virtuoso as the late Mr. Carrodus, so that it + only remains to state that the 'Recollections' make delightful + reading, and that the book, as a whole, is as entertaining as it is + instructive. The value of the _brochure_ is enhanced by an excellent + portrait of Mr. Carrodus, as well as of a number of other violin + worthies, and the printing, paper, and get up generally are good as + could possibly be."--_Musical Answers._ + + + LONDON: + "STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C. + + + + + _"THE STRAD" LIBRARY, No. III._ + + _Crown 8vo., Cloth 2/6, Post Free 2/9._ + + THE BOW + + Its History, Manufacture and Use + + BY + HENRY SAINT-GEORGE. + + With Full Page Illustrations (exact size) by Photo Process. + + + MONS. EMILE SAURET writes--"I have read it with great interest, and + think that it supplies a real want in giving musicians such an + excellent description of all matters referring to this important + instrument." + + SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and + interesting book. You are quite successful and all the artists and + amateurs are indebted to you for a so exact and correct '_Texte_' on + the subject." + + ADOLF BRODSKY writes--"I am delighted with the book and find it very + instructive, even for those who think to know everything about the + bow. It is very original and at times very amusing. No violinist + should miss the opportunity to buy it." + + THE TIMES.--"A useful treatise on the Bow, in which the history, + manufacture and use of the bow are discussed with considerable + technical knowledge." + + DAILY TELEGRAPH.--"To the student there is much of interest in the + work, which has the advantage of being copiously illustrated." + + DAILY NEWS.--"This book seems practically to exhaust its subject." + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD" LIBRARY, No. IV._ + + _Crown 8vo., Cloth 5/-, Post Free 5/4._ + + CELEBRATED VIOLINISTS, + PAST AND PRESENT + + _Translated from the German of_ + A. EHRLICH. + + _And Edited with Notes and Additions by_ + ROBIN H. LEGGE. + + _WITH EIGHTY-NINE PORTRAITS._ + + + PRESS NOTICES. + + "Those who love their fiddles better than their fellows, and who + treasure up every detail that can be found and recorded about their + favourite and cherished players will not fail to provide themselves + with a copy of this book."--_Musical Opinion._ + + "This book of 280 pages is a most interesting and valuable addition + to the violinist's library. It contains 89 biographical sketches of + well-known artists, ancient and modern, of all nations. This is not + intended to be a perfect dictionary of violinists; the aim of the + Editor of the present volume being merely to give a few more + up-to-date details concerning some of the greatest of stringed + instrument players, and we must concede that no name of the first + importance has been omitted. Germany is represented by 21 names, + Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, + and the fair sex by seven well-known ladies, such as Teresina Tua, + Therese and Marie Milanollo, Lady Halle, Marie Soldat, Gabrielle + Wietrowetz, and Arma Senkrah. Altogether this is most agreeable + reading to the numerous army of violinists, both professionals and + amateurs, and after careful examination we can find nothing but + praise for this translation into English of a book well-known on the + Continent."--_The Piano, Organ and Music Trades Journal._ + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD" LIBRARY, No. V._ + + _Crown 8vo., Cloth 2/6, Post Free 2/9._ + + TECHNICS OF + VIOLONCELLO PLAYING + + BY + E. VAN DER STRAETEN. + + COPIOUSLY ILLUSTRATED. + + + _Copy of Letter received by the Author from the great 'cellist, + SIGNOR ALFRED PIATTI._ + + Cadenabbia, Lake of Como, March 9th, 1898. + + DEAR SIR,--I received the book you kindly sent me on "The Technics + of Violoncello Playing," which I found excellent, particularly for + beginners, which naturally was your scope. With many thanks for + kindly remembering an old ex-violoncello player. + + Believe me, yours sincerely, + ALFRED PIATTI. + + + _Copy of Letter received by the Author from the eminent 'cellist, + HERR DAVID POPPER._ + + Budapest, February 22nd, 1898. + + DEAR SIR,--In sending me your book on "The Technics of Violoncello + Playing" you have given me a real and true pleasure. I know of no + work, tutors and studies not excepted, which presents so much + valuable material, so much that is absolutely to the point, + avoiding--I might say, on principle--all that is superfluous and + dispensable. Every earnest thinking violoncello student will in + future make your book his own and thereby receive hints which will + further and complete the instructions of his master. + + I congratulate you and ourselves most heartily on the new violoncello + book. With kind regards, + + Yours most sincerely, + DAVID POPPER. + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD LIBRARY," No. VI._ + + _Crown 8vo., Cloth, 2/6, Post Free 2/9._ + + VIOLIN PLAYING + + BY + JOHN DUNN + + + CONTENTS + + INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints + on the Choice of a Teacher--Some Tricks of pretending professors + exposed. + + ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general + adjustment and repairs. + + ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the + Pegs in Order. + + ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as + accepted by the leading artists of the day. + + ON FINGERING GENERALLY--The various positions--Scales + recommended--The Modern Orchestral "Principal" or (so-called) + Leader. + + ON GLIDING--Special Characteristics of some of the most Eminent + Players. + + DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain + independence of Finger. + + BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed + Bowings. + + TONE PRODUCTION--Character of Tone--Rules and Conditions necessary + to produce a good tone--Style and Expression. + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + + _"THE STRAD" LIBRARY, No. VII._ + + _Crown 8vo, Cloth, 2/6, Post Free 2/9._ + + CHATS TO 'CELLO STUDENTS + + BY + ARTHUR BROADLEY. + + + CONTENTS. + + Preliminary remarks--'Cello Difficult to Master--Choice of a + Teacher--Choice of an Instrument and Bow. How to Hold the + Instrument--Attitude of the Player--Use of a Sliding Pin + Recommended--Correct Way of Holding the Bow--Some Incorrect Sketches + of Same. General Knowledge--Eccentricity not Necessarily a Mark of + Genius--Musical Notation--Common Errors with Respect to the Actual + Position of the Various Clefs--Tenor Clef Indispensable to the + 'Cellist. Early Attempts at 'Cello Playing--Firmness in + Fingering--The Left Hand--Correct Method of Placing the Left Hand + Fingers. General Remarks on Bowing--Useful Method of Combining + Scale Practice with Study of Various Bowings--Smooth + Bowings--Crescendo--Diminuendo--The Slur. Bowing + Continued--Martele--Detached Stroke--Mixed Bowings--The Various + Divisions of the Bow. On "Staccato" Bowing-Spiccato--Slurred + Springing-Bow--Varieties of Phrasing Occasioned by the Portion of + Bow Used--Sautille--Dotted Notes. On the Positions--The Individual + Requirements of the Orchestral Player and Soloist--The Necessity of + "Stretching" for the Intervals--Locality of the Neck Positions--The + Enharmonic Difference of Sharp and Flat Keys--Absolute Pitch--How to + Leap any Awkward Interval--The Positions not Determined by + Mathematical Rules, but by the "Ear"--Shifting--"Economy of Motion" + _v._ "Effect"--Choice of Positions. Portamento--The Various Uses of + Gilding--Some Exaggerations Exposed--How to Leap Great Intervals + without "Howling"--Combination of Glissando and Sforzando. + Double-Stopping--Useful in Developing the Hand--How to Determine the + Fingering of Various Intervals--Gliding in Double Stops--Chords--A + Correct Manner of Playing Chords. Arpeggios--Their Evolution from + Various Chords--The Bowing of Arpeggios. Graces and + Embellishments--The Use of the Thumb--Extensions--Octaves. + Scientific Basis of Harmonics--Some Peculiar Laws which Govern a + Vibrating String--"Natural" and "Artificial" Harmonics--Manner of + Bowing Harmonics--Special Effects--"Trick Staccato"--Various Methods + of Producing Chromatic Scale Passages--"Sul Ponticello" Bowing and + "Bowed" Harmonics--Flautando--Pizzicato Glide and Grace Notes! + Delivery--Style--"Form" _v._ "Feeling"--Conception--Essentials of a + "Fine" Delivery--Orchestral Playing. + + + LONDON: + "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C. + + + + +TRANSCRIBER'S NOTES: + + + Passages in italics are indicated by _italics_. + + Passages in bold are indicated by =bold=. + + Inconsistencies in spelling and hypenation have been retained from the + original. + + Obvious typographical errors have been corrected as follows: + Page 3: "occured" changed to "occurred" + Page 22: "be" changed to "he" + Page 31: "connoissiers" changed to "connoisseurs" + Page 39: "ignominous" changed to "ignominious" + Page 60: "Guadaguini" changed to "Guadagnini" + + Page numbers in the "List of Plates" for the ILLUSTRATIONS OF SCROLLS + have been retained, but illustrations have been moved to be next to + the paragraph in which they are referred. + + + + + +End of Project Gutenberg's Antonio Stradivari, by Horace William Petherick + +*** END OF THIS PROJECT GUTENBERG EBOOK ANTONIO STRADIVARI *** + +***** This file should be named 36535.txt or 36535.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/6/5/3/36535/ + +Produced by Linda Cantoni, David E. 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