Antonio Stradivari

in Life-His Later Modifications of Design-Sig

ains 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 pa

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 sligh

as. 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 approp

e 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 s

n" 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

own to us, and as the time advanced it became less and less un

heir 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, con

ork, among whom we will not omit mention of Carlo Bergonzi, a great master himself

ace, 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

as 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

e. 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 expec

nt 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 lo

at over some of which there is excellent

f his sound holes, there was always present the indication of a desire for a fine balance of parts, in fact, his ideal seems al

rkable 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

y often to be seen accompanying the longer looking pattern of Carlo Bergonzi: it is free in design, having the upper and low

he 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 atta

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 fo

ability 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 possib