Scan 346
Antonio Stradivari, his life and work (1644-1737), 1909
22 lines. Read by computer on 3 September 2026. Printed page 316. See the scan on archive.org.
1Pianoforte, the abuse of, in chamber music, 162.
2Piatti's, Signor, violoncellos, 62, 116, 143; his testimony to Stradivari instruments, 133.
3Players, the influence of, on instrument making, 115, 123, 154, 163, 190, 212.
4Portrait of Stradivari, a supposed, 294-300.
5Pupils, the, of Stradivari: their share in his work, 69, 85.
6Purfling, Stradivari's, 41, 42, 47, 50, 52, 53, 58, 60, 71, 89, 203.
8Reade, Charles, cited, 67, 86; his theory as to Cremona varnish, 182; his collection of labels, 224; his dealings with Tarisio, 280.
9Repairers, instruments barbarously treated by, 249-53.
10Rode Strad, the, 72, 83.
11Rogeri, G. B., 27, 30, 32, 50.
12Ruger family, the spelling of the name of, 27, note.
13Ruger, Francesco, 27, 30, 50; his violoncellos, 115.
15Salabue, Count Cozio di, on Amati labels in Stradivari violins, 31; Stradivari relics purchased by, 34, 44; his collection of labels, 223.
16Sarasate's Strad, 60, 62, 72, 164; his exemplary care of his violin, 253.
17Sound-holes, as cut by Stradivari, 36, 40, 42, 47, 50, 52, 54, 58, 60, 71, 89, 204-8.
18Spain, the introduction of Stradivari instruments into, 275.
19Spanish Court, instruments made by Stradivari for the, 76, 96, 105, 124.
20Stainer violins, early preference for, 264, 269; used by Veracini, 267; early imitators of, 271; decline of Stainer influence, 274.
21Stradivari, Antonio, his ancestry, 5, 6; origin of the name, 5, 6; no record of his birth or baptism, 6, 9; date of his birth established, 94; early career in Cremona, 10; apprenticed to Nicolò Amati, 10, 27-9; his first marriage, 10; his house in the Piazza San Domenico (Piazza Roma), 12-5; his children, 12, 19; a curious relic, 15; his home life, 14, 16, 20, 59; death of his first wife, 17; his second marriage, 19; death of second wife, 21; his tomb in the Church of S. Domenico, 21; his death and funeral, 22; his age at death, 94; demolition of Stradivari's tomb and removal of his remains, 24, 25; a street in Cremona dedicated to his memory, 26; commemorative tablet over his house, 26; S. described himself on early labels as pupil of Amati, 28; his position in his master's workshop, 30, 31; his fellow-pupils, 31; his share in his master's work, 31, 32; quits his master and sets up for himself, 33; his master's tools, 33, 34; his earliest dated instruments, 10, 28, 29, 34; his slow development, 35; character of his work in his master's lifetime, 35; his work contrasted with that of his master, 35, 36, 49; his choice of material, 36; instruments ordered for James II. of England, 38, character of S.'s work from 1684 to 1690, 39-46; his continuous experiments, 40; typical examples of his work, 39, 45; the division of his life into "periods," 40; curves of violin heads picked out in black, 42; reaches the fulness of his powers as a craftsman, 42; the "Long Strad," 42, 45, 49, 59, 155; forms and moulds used by S., 44, 201; character of his work from 1690 to 1700, 44-9; frees himself from Amati influence, 35; returns to it, 50; influenced by Maggini, 45; his originality, 47; changes in his style of work, 55-7; marks of advancing years, 57, 87, 89; the work of his old age, 69, 83, 88; assisted by his sons and Carlo Bergonzi, 69, 149; his inlaid work, 72; drawings and designs, 74, 216-8; Arisi's testimony, 74; S. finally departs from
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