Scan 347
Antonio Stradivari, his life and work (1644-1737), 1909
25 lines. Read by computer on 3 September 2026. Printed page 317. See the scan on archive.org.
1Amati teaching, 120; his aims in relation to tone, 152; he derived no help from science, 167, 172, 189; reasons which determined his choice of wood, 173; his method of construction, 190; his working tools, 214; his labels tampered with, 229; the printing of, 229–33; some peculiarities of, 232; how he worked, 59, 237, 239; the number of instruments he made, 234; no direct evidence on this question, 237; rate at which he worked, 239; number of his violoncellos, 241; estimate of number of instruments made during different periods of his life, 241, 245; works wrongly attributed to him, 242–4; instruments destroyed or missing, 246–50; the money value of his instruments, 260; a German comparison of his instruments with those of Stainer and Amati, 269; a French estimate of the same, 270; a supposed portrait of Stradivari, 294–300.
3Tradivari, Francesco, 19; his share in his father's work, 69, 87.
4 " Signor Giacomo, his account of his possession of the recipe of his great ancestor's varnish, 175–8.
5 " Omobono, 19; assists in his father's work, 69, 87.
6 " Paolo, his initials engraved on the Alard and other Strads, 61, 62; sells the concerto of inlaid instruments, 77.
8Tarisio—a personal description, 279; his use of false labels, 222; his treasures, 279.
10Tecchler's violoncellos, 119.
12Tone, Stradivari's aims in relation to, 153; that of his early instruments not distinguishable from Amati's, 154; "Long-Strad" tone, 155; methods of tone production, 156; "arching" and tone, 159; character of S.'s tone determined, 160; tone sacrificed to orchestral effect, 162; characteristic tone of the 1720–22 type instrument, 163, 164; the effect of varnish on, 186; variations in tone quality, 194.
14Tuscan Strad, the, 43; its tone, 155.
16Twining's, Rev. Thomas, interesting account of his Stradivari violin, 273, 274.
18Value, the, of Stradivari violins, 255; no authentic record of early prices, 259; a record of sales in England and abroad, 282–9; recent great increase in prices, 289.
20Varnish, Stradivari's, 46, 51, 71, 84, 90, 174, 181; of his earlier instruments, 43; after 1690, 46; the importance of, 167; experimentalists' theories, 175; the recipe of S.'s varnish still in existence, 175–8; the superiority of it explained, 178; its "chippy" nature, 182, 184; the alleged "secrets" of the early makers, 179; Charles Reade's theories, 182; the question of colouring, 182; effects of time and use on, 183, 184; oil varnish replaced by spirit varnish, 184; the problem for modern makers, 186; the importance of, in relation to tone, 186–8.
22Viol-da-gamba, the, superseded by the violoncello, 117.
24Violas, Stradivari's, 96; few only made, 96; change from larger to smaller form, 97; S.'s earliest known instrument, 97; the "Tuscan" viola, 102, 103; "tenore" and "contralto" types, 103; changes in the form of, 104; the viola in chamber music, 101, 104, 108; the inlaid viola and the "Archinto," 105; the "Macdonald," 105; construction and tone, 107; labels tampered with 108–9; Paganini's viola, 109; Mr. A. Gibson's viola, 110; characteristics of S.'s violas, 110; why few were made, 111.
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