Scan 78
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.
1form characteristic of 1700, are perhaps more open in every respect; the top and bottom holes are, as a rule, less round, and shaped more in the form of a pear. The heads are of decidedly bold proportions and masculine appearance, which is, in some respect, due to the presence of a slightly heavier bevel.
3During the years 1705, 1706, 1707, 1708, and 1709 Stradivari seems to have had a decided partiality for backs in one piece: we have seen several examples of the years 1707, 1708, and 1709 with backs cut from the same tree of maple wood, with a pronounced broad curl slanting across from left to right or vice versa; others, with identical backs, are of wood of a plainer character, the curl rather weak and undefined, and generally placed in a straighter direction. Typical specimens of this period are the violin of Mrs. Stothert, dated 1706; that of Sir William Huggins, P.R.S., dated 1708; the "Ernst" Stradivari, dated 1709, now the property of Lady Hallé; the violin of M. G. Talbot, dated 1708; "La Pucelle," belonging to Mr. R. C. Baker, dated 1709; the "Viotti," 1709, a grand example in every respect; the two dated 1709, owned respectively by Mr. Ludwig Mond and M. Th. Hämmerle; and those owned by the Vicomte de Greffuhle, dated 1709, and by M. Hammer, dated 1707. In the Museum attached to the Paris Conservatoire of Music there is also to be seen an example made in 1708—a most attractive specimen. The back is of wood cut on the slab (very unusual after 1700), handsomely figured, and coated with a warm orange-red-tinted varnish, which sparkles as though it were still in a liquid state.
5Hitherto every ten or twelve years we have found Stradivari ripe for a change, and 1709–10 was to prove—though in a minor degree—no exception to the rule. We have shown that since 1698–1700 the general aspect has
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