ribs and also on the sides and back of the scroll. These instruments—Stradivari is known to have made a quartette of them for the Spanish court—are of the greatest rarity. They are said to be all known, but this statement seems open to question when coupled with the assertion that Stradivari made other similar but very small violins. The known ones are of very full size, the parties ordering them at the time possibly being alive to the advantages of quantity as well as quality. Public opinion since the time these were made has not grown in appreciation of the additional ornamentation. The violin pure and simple, with its single line of purfling only as it left the hands of the first master of the art of Brescia, is the one which has found the most lasting favour with connoisseurs and the public generally. Decorative additions, in various and more or less eccentric or extravagant styles, have been introduced from time to time by enterprising liutaros of different countries, but the discerning portion of the public will have none, and thereby pronounce the violin to be an unfit subject for extra clothing; beauty unadorned, adorned is most, is a figure of speech quite applicable to the simplicity of the violin as a work of art.

Stradivari, who had now acquired—at the period 1680-90—a standing as an acknowledged master of his craft, showed in his handiwork a decided leaning in consonance with this, as—excepting these "inlaid Strads"—he carefully refrained 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 probably so made, not at their maker's suggestion, but by desire of the patrons holding a high social position. Double purfled violins seem never to have left his hands, as none appear to be extant and no mention is made of any.

There is one particular part of the finishing of the violin which calls for remark, and in the absence of evidence to the contrary must be put to the responsibility of Stradivari. This is known as the "black edging." It cannot come properly under the term decoration, as it has no variety in its management and consists only of the blackening of the squaring off of the junction of the ribs; likewise at the edges of the turns of the scroll and continued down the front and back of the peg-box to the shell. Its first appearance 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 from an artistic standpoint it cannot be considered an improvement, or any adornment, for, however neatly it is executed, the work of hand beneath is more or less obscured. Further, the eye of the connoisseur is distracted by it, and the neatness of the work is not seen to advantage until the black has become nearly effaced. Other makers of renown, besides Stradivari, adopted this method of putting the final touches to their work, Giuseppe Guarneri, I.H.S., Carlo Bergonzi, and other later makers, among them Storioni.

Concerning the rise of the arching, or modelling of the periods above referred to, there has been much erroneous supposition in connection therewith. That all the early "Strads" were of high build, that the progress was gradual towards the "flat model," that Stradivari was feeling his way and becoming enlightened as to the necessity of reducing the arching in order to obtain 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 mysteries, and that the outcome was faintly looming in the horizon and soon was to blossom forth as the golden period, with grand pattern, all of which is really nothing more than grand "tomfoolery" spread abroad a generation since by critics "having an eye" only to such things that seemed to them agreeable with the conditions and surroundings of money getting commodities.

These worthies were forgetful of the fact that the different varieties of flat and high model, channelling deep or none at all, long waists and short waists, sound holes long, short, near or wide apart, had been well, if not exhaustively treated by the artists of the Brescian school. To assume that those refined artificers, the Amati family and their disciples, were not conversant with everything for or against the use of a flat model would be crediting them with but little mental capacity, particularly in respect of their perceptive faculties. Both Stradivari and his teacher must have been well acquainted with the different high and low modelling of Gasparo da Salo, as well as that of his pupil Maggini, and others. He must have been aware that his own most generally used model of medium elevation, with slight exceptions both ways, was anticipated by each in turn. This, by the bye, disposes of any theory that Stradivari's distinctive quality of tone resulted, as is often stated, from his adopting a different elevation to what had been in use before. It 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 looking acutely forward to future eventualities in one direction, Stradivari was no less careful to avoid reducing his model too much. Knowing the soundpost would be certainly shifted occasionally, he saw in the very flat model a source of danger lurking in the difficulty of seeing and getting at the post, even with the usual appliances at the command of the professional repairer or regulator, while the sound holes would be much more liable to damage than when the sufficiently raised arching permits a fair use of the "post setter." He was also careful, while keeping the depth and width of the channelling within reasonable bounds, not to let the arching spring or commence too near the border, as the screw cramps of the repairer, especially the large sized ones used in olden times would, unless most skilfully and cautiously applied, soon register the progress of the repairer on the varnish to the destruction of the beauty of appearance as a whole. These, then, appear to be the cogent reasons for the adoption of the medium rise in the modelling by Stradivari.