Scan 59
Antonio Stradivari, his life and work (1644-1737), 1909
4 lines. Read by computer on 3 September 2026. Printed page 35. See the scan on archive.org.
1brilliant genius endowed with the gifts and experience of all his elders. On the contrary, he was slow to develop, though from the first he showed industry, earnestness, and persistency in carrying out his own ideas, whether good or bad. The dimensions he adopted for his instruments were those of the smaller form of violin more frequently used by Nicolò Amati in 1660–70; and, with but slight modifications effected here and there after 1660, he continued to make instruments of these proportions until 1684. We have, however, met with exceptions, one of them being the "Hellier" violin, dated 1679, of which we shall speak later.
3That Stradivari did not at once take the "grand" Amati pattern as his standard of size is instructive; for it shows that he was still in doubt as to whether or not these proportions would give a superior tone. It is probable that the majority of players still favoured the bright and responsive, though lighter tone, obtained from the smaller form. Both the previously mentioned violins of 1667 and 1669 are marked by the same character, and reveal throughout considerable Amati influence—more so, indeed, than any later specimens seen by us; though at the same time they distinctly and undeniably bear the stamp of Stradivari. We observe already the beginnings of that originality of style which we see more boldly and distinctly asserted later on in the 'seventies and 'eighties. Now, all pre-1684 Stradivari instruments contrast with Nicolò Amati's contemporary works by their more masculine and solid build, accentuated in some specimens to a greater degree than in others. They lack that characteristic neatness of work shown in the small and light substance of the edges, the slender corners, delicately cut head, and "f" holes of Nicolò's violins, in which, in fact, every part is light of build and elegant in design. With Stradivari the curves
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