Scan 348
Antonio Stradivari, his life and work (1644-1737), 1909
6 lines. Read by computer on 3 September 2026. Printed page 318. See the scan on archive.org.
1Violins, Stradivari's, 27; the statement that he made instruments bearing Amati labels, 31; his earliest dated instruments, 34; his early work compared with that of Amati, 35, 43; his choice of material, 36; modelling and outline, 35, 40, 42, 50, 51, 53, 56, 59, 71, 200, 208; dimensions, 35, 39, 45, 56, 58, 84; the violins of Mr. Nairn, M. Desaint, M. Bovet, and Mr. Younger, 37; the Sellière violin, 37; character of the heads of S.'s violins, 40, 42, 71, 209; Amati influence, 39; fine examples of S.'s violins, 37, 39, 45, 49, 51, 55, 59, 62, 72, 84, 91; instruments ordered for King James II. of England, 38; characteristics of his work from 1684 to 1690, 39-44; complete innovation in 1690, 42; sound-holes, 40, 42, 47, 50, 52, 54, 58, 60, 71, 89, 204-8; outline of heads picked out in black, 42; the use of the term Amatisé, 43; Spanish Strad, the, 44; Maggini influence and the "long" pattern, 44, 46; forms and moulds used for the sides, 44, 201; date of the introduction of the "Long Strad," 45; the violins of M. Auer, Mrs. Ginn, and Mr. Fletcher, 45; S.'s monogram carved on button, 46; character of his work from 1690 to 1700, 44; the largest proportions of his violins, 45; the "long" pattern instruments described, 46-9; some fine examples of, 49; the pattern definitely discarded, 59; the so-called "Golden Period," 50; character of S.'s work from 1700 onwards, 50; the Betts violin described, 52; S.'s work compared with that of the Amati brothers, 54; La Pucelle Strad, 55; the violins of the Vicomte Greffuhle, Sir W. Huggins, M. Hammer, Mr. L. Mond, Mr. Simmonds, and Mrs. Stothert, 55; S.'s changes of style, 55-9; his most productive decade, 59; the Boissier, the Parke, Sancy, and Vieuxtemps Strads, 59, 60; no existing Strad can claim absolute superiority, 61; Mr. F. L. Bevan's violin, 60; the Maurin Strad, 62, 68; the Lauterbach Strad, 62; the Cessol Strad, 62, 67; the Sasserno Strad, 62, 68; the late Mr. Orchar's violin, 62, 68; the De Barrau Strad, 65; the Medici Strad, 67; Mr. Tyrell's violin, 69; share taken in S.'s work by his sons and pupils, 69, 85, 90; instruments made in his old age, 69, 83; the violins of Mr. Partello, M. Vormbaum, and M. Wilhelmj, 72; the De Chaponay Strad, 72; S.'s inlaid instruments, 72-83; fate of the Spanish concerto, 77-81; instruments labelled years after they were made, 81; Cipriani Potter's violin, 82; the use of the phrase "sotto la disciplina" on S.'s tickets, 87; instruments left at S.'s death worked up by his successors, 87; his work as characteristic in his old age as in his younger days, 88; the productions of his last period, 88-91; the Muntz Strad, 89; S.'s purfling, 41, 50, 52-60, 71, 89, 203; M. Ysaÿe's solo violin and the Habeneck Strad, 91; the Kreutzer Strad, 91; tone of S.'s early violins, 154; his violins brought into favour by Viotti, 161; preferred by great artists, 161, 164, 165; characteristics of their tone, 165; what they owe to the varnish, 186; variations in quality of tone, 194; the question of "thicknesses," 192-4, 204; blocks and linings, 194; number of violins made at different periods of S.'s life, 241, 245; advice to owners of, 249; instruments destroyed or missing, 246-9.
2Violinists, distinguished: their failure to record opinions on their instruments, 153; their tone-tests, 156; their preference for S.'s instruments, 274; as violin dealers, 276.
3Violin-makers, octogenarian, 88.
4Viotti brings Stradivari violins into favour, 273, 276; his violin, 55, 161.
5Violoncellos, Stradivari's, fine examples of, 60; the Davidoff 'cello, 60; the instruments of M. Becker and Mr. Holden, 62; barbarous
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