Antonio Stradivari

for Good-The Exceptions-The "Long Strad"-The "Inlaid Strads"-An Acknowledged Master of h

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 143?16 inches by greatest width 8 inches bare as contrasted with the ordinary 14 by 81?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; the

efrained 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 prob

earance 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 f

btain 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 my

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 lo