Scan 208
Antonio Stradivari, his life and work (1644-1737), 1909
6 lines. Read by computer on 3 September 2026. Printed page 184. See the scan on archive.org.
1may view this statement with incredulity; it is nevertheless strictly true, and the statement is the outcome of innumerable experiences.
3How fascinating is the appearance of the varnish as now seen on fine examples of Stradivari's instruments! Lightness of texture, and transparency combined with brilliant yet subdued colouring, and above all, the broken-up surface, more especially that of the back, form a whole which is picturesque and attractive in the highest degree. It has often been asked whether this broken-up or chipped-off aspect of the varnish is solely the effect of usage, or whether Stradivari so treated it in order to lend additional charm to his work; for it cannot be denied that this appearance is more pleasing than the absolutely smooth surface presented by an instrument evenly varnished all over. That it is possible to attain this result artificially is conclusively seen by examination of the instruments of Vuillaume; and admirably he succeeded. We are of opinion, however, that in the case of Stradivari and the other Italian makers the appearance can only be ascribed to usage. Many a knock and rubbing against hard and gritty substances have the vicissitudes of time brought about; and then, in addition, must be borne in mind the effect of putting in and taking out of the old cases, especially of those opening at the end. It may also have been caused by contact with buttons and other articles of personal adornment.
5The use of oil varnish, which was employed for so many generations, was gradually abandoned as the art of instrument-making declined in Italy. Prior even to the death of Stradivari, several makers had strayed from the true road; and the reason is not far to seek. New and easy methods of dissolving gum by means of spirit were being introduced, and they apparently fulfilled the con-
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