Scan 64
Antonio Stradivari, his life and work (1644-1737), 1909
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1edge and small purfling are thoroughly characteristic of his early work, and the whole presents a heaviness and solidity of construction such as we may almost venture to say borders on clumsiness. We may here incidentally remark that this violin shows that Stradivari occasionally enjoyed rich patronage previous to 1680, for he received no ordinary remuneration for the making of such an instrument.
3During the next five years—i.e. until 1690—Stradivari's work undergoes no decided change. While all specimens bear the charm of personal distinction, they vary both as regards dimensions and the minor details of construction. In some instruments the dimensions are of large proportions throughout, while others, though of full length, have diminished widths or lower sides. In some cases the model is made to compensate, so to speak; in others, not. In character the model still remains Amatisé; here and there flat, but in the majority of cases fairly high at centre, gracefully hollowing towards the edges, and more noticeably so at the bouts than at the flanks. We have seen some specimens the model of which rises somewhat pointedly to the centre, thus lacking that fulness of appearance which is more pleasing to the eye. The heads show considerable variation. In some examples they are disappointing; they are wanting in vigour, and contrast strangely with the solid edge and more masculine treatment of the body. The absence of a decided chamfer or bevel especially tends to impart a meagre appearance; and again at times the design is too small for that of the body, though we have seen heads which were too heavy. In short, what we wish to point out is, that in these instances the perfect balance of symmetry between head and body is to a certain extent absent.
5The year 1688 marks a notable improvement, and for
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