Scan 62
Antonio Stradivari, his life and work (1644-1737), 1909
15 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1James II. of England.* What better evidence of his growing prestige could we have? The death of his veteran master Nicolò Amati, which took place two years later, must have powerfully contributed to his advancement; for the increase in Stradivari's productions dated after 1684 is most noticeable. Thus stimulated, he was fast proving that he, and he alone of Cremona's sons, possessed an energetic grasp of his craft and a fertility of idea which were not only sufficient to maintain the glorious traditions of the past, but even to raise the art and renown of his native city to a still higher pinnacle. The years 1684 and 1685 mark a decided development both in form and construction, more pronounced than hitherto. The character of Stradivari's work remains the same, although he had at length perceived that the instrument as a whole required broader treatment. His dimensions are in most cases increased, and are more in accordance with those of the "grand" Amati. The heavy edge and breadth of margin round the sides of some of the instruments of this period forcibly recall the style of certain Nicolò Amatis made in 1640-50—Nicolò Amati's own characteristic work. Typical examples of 1683 and the following years are the violins in the possession of the following:—
3The Irish Academy of Music, c.v Dr. Jay, 1683;
4M. Suk, of the Bohemian Quartett, 1683;
5Miss Lamplough, 1683;
6Mr. R. F. McEwen, 1684;
7Mr. Soames, 1684;
8Mr. Rosenheim, 1686;
9Miss Goddard, of Providence, Rhode Island, U.S A., 1686;
10Baron Erlanger, 1687;
11The late Mr. C. Oldham, 1687;
12Mr. Haslam, 1687;
14* We have no knowledge as to what has become of these instruments; they are not now amongst the royal possessions.
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