Antonio Stradivari

atment of the Scroll by Him, the Individual

y 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 cu

e 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 insurmou

terity, 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