Scan 345
Antonio Stradivari, his life and work (1644-1737), 1909
46 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 315. See the scan on archive.org.
1INDEX one of two readings
3England, introduction of Stradivari's instruments into, 261, 272, 277-85; S.'s work copied by English makers, 272. one of two readings
4ngland, introduction of Stradivari's instruments into, 261, 272, 277-85; S.'s work copied by English makers, 272. one of two readings
5Ernst Strad, the, 55; the tone of, 161.
7(no line here) one of two readings
8France, Stradivari's merits first recognised in, 273; his work imitated in, 275.
10(no line here) one of two readings
11Gasparo da Salò: his violins and violas, 152; his "thicknesses," 192.
12Hillott Strad, the, 60, 281, 289.
13Guarneri, Andrea, 30, 50; his violoncellos, 116.
14 Joseph (del Gesù), not a pupil of Stradivari, 86.
15 Pietro, 50.
17Leads of violins, as carved by Stradivari, 40, 41, 42, 47, 50, 52, 54, 57, 71, 90, 209. one of two readings
18Lellier Strad, the, 35, 37, 40, 44, 56, 82. one of two readings
20Heads of violins, as carved by Stradivari, 40, 41, 42, 47, 50, 52, 54, 57, 71, 90, 209. one of two readings
21Heller Strad, the, 35, 37, 40, 44, 56, 82. one of two readings
22Inlaid instruments, Stradivari's, 72-83; his drawings and designs for them, 74; Arisi's testimony, 74; their number, 76, 82, 83.
23Instruments made by Stradivari, number of, 234, 241, 245; destroyed or missing, 246-9; barbarous treatment of by repairers, 250-3.
24Italy, decline of violin-making in, 275.
26(no line here) one of two readings
27Oachim's, Professor, Strads, 60, 65; varieties of tone produced by him, 162.
29(no line here) one of two readings
30Labels, Stradivari's earliest, 28, 29, 34; some of S.'s instruments labelled years after they were made, 81, note; inscribed with S.'s age, 84, 92, 94; use of the phrase "sotta la disciplina d'Antonio Stradivari," 87; S.'s labels forged or changed, 87, 91; the value of labels in deciding questions of authenticity, 219; falsification an early practice, 220; false ticketing not always fraudulent, 221; practice of some early makers, 222; Tarisio's use of false labels, 222; genuine labels rarely found in spurious instruments, 223; label collectors, 223; S.'s labels tampered with, 229; how printed, 229-33; some peculiarities of, 232.
31'Long Strad,' the, 44-8; fine examples of, 49; the pattern definitely discarded, 59; the tone of, 155.
33(no line here) one of two readings
34Maggini's influence on Stradivari, 44, 46; his violoncellos, 113, 116; characteristics of his instruments, 152; his "thicknesses," 192.
35Mandelli's, Signor, researches to establish the date of Stradivari's birth, 5-9; his account of the demolition of the Church of S. Domenico (S.'s burial-place), 23.
36Material, the, used by Stradivari, 167, 172; its acoustic properties, 167; comparative importance of the material, 167; the wood used by the early makers, 168, 170; whence procured, 169; the practice of "piecing" explained, 171; baseless theories, 173; reasons which determined S.'s choice, 173.
37Messie Strad, the, 62, 279; description of, 67.
38Monteverdi, supposed portrait of, 298.
40(no line here) one of two readings
41Napoleon, an anecdote of, 137.
43(no line here) one of two readings
44O' Bull's Memoirs, incorrect statement in, 82.
45Ortega, S adivari 'cello barbarously treated by, 81.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.