Antonio Stradivari

und Holes-The Amati Varnish and Stradivari's-His Secrecy of Method in Worki

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. T

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 n

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-lik

refer 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; ev

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,

dance 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 t

excellence by the great Amati; an increase in the volume and energy, with more equality of scale, while retaining all the other qualities