Scan 63
Antonio Stradivari, his life and work (1644-1737), 1909
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1M. Jan Kubelik, 1687;
2Mr. Carl Derenberg, 1688;
3Miss Gidley, 1689.
5Most writers on the subject have divided Stradivari's life into periods, and then over-praised or depreciated this or that epoch. Such a procedure is to a great extent misleading, for no man of Stradivari's commanding genius could be tied down to act on strict lines. Broadly speaking, he profited by experience, and avoided as he advanced in age the shortcomings noticeable in earlier productions; but, notwithstanding, he made at all times throughout his long life various specimens which stand out prominently above others of the same date. It is perhaps correct to say that he experimented more frequently before 1700, though the more we study his works the more clearly do we perceive that Stradivari was always experimenting even to his last days. Hence it came about that he produced works of varying merit, here very successful, there failing somewhat, though he never made positively poor instruments; even the inferior specimens invariably present good points.
7We cannot better illustrate Stradivari's earlier experiments than by discussing the "Hellier" violin previously mentioned. Made in 1679, it is one of the few inlaid violins, of which we shall speak later on. As regards the dimensions, it differs from any other violin seen by us dated before 1684-85; these proportions were, in fact, never at any later period exceeded. Thus we see that Stradivari was already contemplating that change of proportions to which he was more generally to give effect after 1685. The perfect symmetry of the head, and the position and admirable design and cutting of the "f" holes, are also in advance of any of his contemporaneous work known to us. On the other hand, the model, heavy
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