Antonio Stradivari

Details-The Interior of His Violins-The Blocks and Linings-Thi

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

lly 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 t

ments 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 appropri

rs 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 emine

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he 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

stance, 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-

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, fa

rds 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 a

till 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 pa

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d up the experiments were successful in arriving at the goal of their ambition;

ciples 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 disco

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 w

l 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 strivin

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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 commenceme

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, 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

ly specimens. It may be more apparent than real in most instances in consequence of the bolder edging. The hollowing of the "shell" is se

nt, 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"

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

e 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 vibratio

tead 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 doub

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 instr

pies 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 o