varnish enveloping them will be seen to be precisely alike, whether considered in respect of transparency, consistency or thickness. Here is art indication that for the best part of a century, these clever artificers of Cremona had the same stuff, used it in precisely the same manner, to a hair's breadth, for they knew there was no going beyond it; every part of the process was methodically carried out in compliance with certain laws known to, or instituted by, previous masters. There is an old Latin motto implying that "the perfection of art is to conceal art";—it it has often been quoted in illustrative reference, sometimes with sly humour, at others in most serious vein, for instance, when an eminent judge's judicial wig was known to have beneath it another of equally natural pretentions, and when quoted as the motto for the year in a Royal Academy catalogue, to be interpreted by the noble army of "rejected outsiders" as meaning extra efforts that year by the Council at concealment or suppression of art that was superior to their own.

But if there ever was an instance in which this motto could with strictest appropriateness be applied, it was the work of Stradivari. Most if not all of the known masters have at times shown by some little accident or other, their method of working, thus, notwithstanding the extremely careful and finished work of the Amati family, there is occasionally to be seen some unobliterated signs—truly very slight—of their having traced their pattern on the wood for either the sound holes or the turns of the scroll. Stradivari left no evidence of this, nor are any distinct traces left inside or out that would betray the manner, kind of tool, or direction of working. Further, in most beautiful specimens by the "brothers Amati," besides other great varnishers, some faint indications have been seen of imperfectly dissolved resin, but not so with Stradivari, who carried out to the letter in this department of his art, that steadfastness of purpose in striving to do in the best way, that which his judgment had pronounced to be the best thing to accomplish. He further carried this out afterwards in the application of the deeper coloured, and usually softer, varnishes, which when manipulated by other masters of the same school, have frizzled or cockled from some cause. This is seldom if at all to be observed in any of Stradivari's work, he seems to have taken every possible precaution for preventing change in aspect after the instrument had received his final touches.

We may now retrace our steps for awhile and take up another thread of the fabric of Stradivari's individuality, that which is in fact by dealers ignored and by players adored. There can be no question that during his minority under the great Amati, young Antonio must have been much interested in his master's fame for imparting a fine quality of tone to his instruments. It must soon have been apparent to him that success in his career would not be achieved by progress in the artistic part of his work alone. The critics of the day, who must have been sufficiently numerous and exacting in accordance with the advanced state of the art, would naturally be alive to any subtleties of difference between the productions of the reigning king of liutaros and his successor. The onward progress of musical composition and increase in the numbers of public performers, virtuosi, and others, demanded from an artificer taking this position, at least equal skill in producing those essential qualities for which the city of Cremona had become famous. Old master and young man probably had many a talk over what was best to be done to keep pace with the increasing requirements of the moment, and the time approaching when the hand of the former in the course of nature would lose its cunning. The hour came, the man was ready. Stradivari started forth from his master's house with full confidence in having a true and good grasp of the wants of the moment and those looming in the future. In the good patronage which soon came to him, was contained the assurance that his estimate, although formed so early, was perfectly correct; thenceforward he saw no reason for alteration in the type of acoustical quality that distinguishes all of his instruments, and that which he had once for all fixed upon.

Briefly the acoustical quality of his instruments may be described as a further development of the tone brought to such a high degree of excellence by the great Amati; an increase in the volume and energy, with more equality of scale, while retaining all the other qualities that had caused players and listeners alike to be delighted, and which had given such renown to the great family of liutaros in Cremona.

CHAPTER III.

The Date of the True Stradivarian Individuality—Alterations in Design—Proportions Settled for Good—The Exceptions—The "Long Strad"—The "Inlaid Strads"—An Acknowledged Master of his Art—Black Edging—The Arching and Channelling—The Brescians, the Amatis and Stradivari.

WE now resume our consideration of the progressive development of the Stradivarian design as exhibited in the instruments of 1680 to 1690 or a little later. At the earliest of these dates the complete independency or self consciousness of power, as a master liutaro, is already perceptible. There is no possibility of these violins having been made on the moulds used during his bachelorship. People sometimes speak of these instruments as being "Amatisé," which is great nonsense; had Stradivari died somewhere between 1680 and 1690, they would have been rapturous in their admiration of his originality and widely separated ideas from those of the Amati, but as he lived many years on and gave forth many more manifestations of his own individuality, the likeness of these 1680 and 1690 to old Nicolas is eagerly searched for and often supposed to be evident. It was at this time that Stradivari probably made more new moulds or blocks on which to construct, than at any other. With some few exceptions those that were now being made could be used for any of his violins during the remainder of his career. The average proportions remain the same, the differences are minute in measurement, notwithstanding their effectiveness in helping to a different expression in the designs. The exceptions referred to and 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; they are further embellished with a floral inlaying round the sides or