Scan 82
Antonio Stradivari, his life and work (1644-1737), 1909
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1length, with full width and depth of sides. He may have made a new mould, or very possibly it was the old one taken down from the wall and brought into use again after a lapse of twenty years. Henceforth we shall see instruments the curves of which may slightly differ one from the other, but the actual dimensions and the outline in its main features, with but very rare exceptions, will agree with one or other of those three forms. It is of course perfectly comprehensible that Stradivari should have here and there reverted to some of his early forms—possibly to supply special orders—and, as we have already stated, that of the "long" pattern is the only one that he appears to have definitely discarded with the dawn of the century.
3Stradivari's powers of production seem to become more marked as his years roll on; his energy apparently inexhaustible, and his fertility equally unfailing. More instruments belonging to this decade than to any other period of his life are known to us, amongst them the majority of his most noble existing works. His sole aim in this world was his calling; and although we have but scanty knowledge concerning his daily life, we may safely assume that he was to be found day after day seated at his work-bench, with gouge, compass, or knife in hand, giving form to those instruments which were to prove models of perfection for future generations. Each succeeding year furnishes us with some exceptionally fine specimen of his work—all possessing strong characteristics in common, though each is stamped with an individual charm. The year 1710 gives us the "Vieuxtemps" and the violin belonging to Mr. Louis Ries, both specimens of high rank.
5Of the year 1711 one of the most typical and finely preserved examples is that known as the "Parke," until recently in the possession of Mr. John Adam, formerly owned by William Cramer, Fountaine, Plowden, and other
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