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Scan 97
A dictionary of violin makers
2 lines. Read by computer on 3 September 2026. Printed page 87. See the scan on archive.org.
1to be dated 1736, and to be inscribed "anno ætatis 92," which was formerly in the possession of Count Cozio di Salabue. Stradivari died Dec., 1737, and was buried Dec. 19, 1737, in the Cathedral of San Domenico, Cremona, which has since been pulled down. He was descended from a very ancient Cremona family, whose name, at that time spelt "Stradiverdi," appears in records as far back as 1213. While still very young he became a pupil of Nicola Amati, and was probably with him till 1667. When Amati died, all his tools, patterns, and models passed into Stradivari's possession. His earlier instruments bear labels of Nicola Amati, and may be recognised by the beautiful scroll or by the characteristic sound-holes. About 1666 he used a label with "Nicolai Amati alumnus" on it. Up to 1690 the violins signed with his name are very similar in pattern to Amati's ordinary full-sized instruments, and are of high model compared to those he made later; the wood is generally plain, the purfling very narrow, the oil varnish, a more or less pronounced yellow colour, but otherwise very similar to that used by Amati, is of soft and penetrating quality, and permeates the wood to some depth beneath the surface; these instruments are known as "Stradivarius amatise." He steadily improved in his work; the model becomes flatter, the sound-holes more graceful, the scroll more striking and original, the purfling slightly wider than before; the varnish varies in colour from rich golden, very soft and transparent, to a light red, equally fine. This thicker and more lustrous red varnish was what he subsequently used exclusively. In 1690 he began to make the violins known as "long Strads"; they are quite unlike N. Amati's work; measurements by experts have conclusively proved that these instruments are quite a quarter of an inch longer than his usual pattern. These "long Strads" were inspired by Maggini; in length of body and length of stop they are practically the same as Maggini's violins in his latest and finest period. The modelling of the back and belly, the shorter corners, the bolder and more open sound-holes all recall Maggini's work. The tone of remarkable power—has much of the Maggini quality. Stradivari also made some narrow violins, dated after 1690, which, though not so in reality, also appear to be of extra length, owing to their narrow pattern, this narrowness is particularly noticeable in the middle of the instrument between the sound-holes. The work is most carefully finished, everything proportioned to the modification of form. The tone is brilliant and powerful; the varnish is sometimes a beautiful amber colour, sometimes a transparent pale red. These instruments are not so uncommon as the "long Strads," which he ceased making in 1700, probably because of their length causing them to be difficult to play. The period of his finest work began in 1700, which culminated in what was practically perfection in 1714; the thicknesses of the wood and the lines of the pattern are all determined with scientific accuracy; the varnish, in brilliancy of colouring and in delicacy and transparency of quality, has never since been equalled; the tone is splendid, invariably bright, sweet, full, and equal. The wood is chosen with the greatest care, and is sound and sonorous, the pine being of the best quality from Switzerland and the Trentino; the willow (of which the blocks and linings are made) taken from the banks of the Po, near Cremona. The arching rises in gentle and gradual curves, the purfling is executed with wonderful precision; the sound-holes show a master's hand and remain a model for all; the scroll, of severe character, is exquisitely carved; the whole of the work (including that of the interior) shows the most beautiful finish in the smallest details. A splendid specimen of this period of work is the so-called "Messiah" violin, dated 1716, which was bought for £1,000 by Alard, the distinguished violinist, and on his death (1888) was sold by Messrs. Hill on behalf of the heirs for £2,000. The workmanship is perfection; the arching of the back and belly exquisitely proportioned; the wood of the back beautifully and regularly figured; the tone strong, mellow, and delicate; the glowing ruddy varnish wonderfully beautiful, both in colour and quality; the sound-holes most perfectly cut; the neck is the original one, but has been lengthened by a piece added at its junction with the upper block of the body; the scroll is very graceful; the curves and outlines extremely beautiful. The letters "P. S." are very distinct on the peg-box end of the neck; they are sometimes found on the violin
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