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Scan 29
The Hawley Collection of violins, 1904
26 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1ANTONIO STRADIVARI. THE HEALY STRAD AND THE EARL STRAD
3his work, that being a style of violin architecture which does not seem to have had any attraction for Stradivari, at this or any other period. In the decade 1680 to 1690, he gradually improved the elegance and perfection of design of the sound holes and scroll; in the former, this breaking away of Stradivari from the traditions of Amati is especially noticeable, and at this period some of the largest violins he ever made appeared, contrary to a common impression that all his large violins appeared after 1700.
5In 1682 Stradivari received an order for a complete set of instruments, violins, violoncellos, and basses, which was designed for a present to King James of England. In 1684 Stradivari was left alone to represent the highest canons of the art, Nicola Amati's death occurring in this year. Patrons of Amati turned to Stradivari, and players and princes alike waited upon him. His position in the violin world became unique. He was in truth, "Monarch of all he surveyed," and there was none to dispute his title. Full thirty-five years were to elapse before the violins of his great compeer, Joseph Guarnerius del Gesù, were to appear, and a still longer period before the productions of Carlo Bergonzi could take rank in anywhere near the same class. Jacob Stainer, the great German maker, the only one of the day of any prominence in the world outside of Italy, had died in 1683 in a mad-house. In England and Germany Amati and Stainer instruments were regarded by the majority with more favor than those of Stradivari, and continued to be so for many years; but in Italy, the mother of the art, where at that time the art of violin playing was much further advanced than in any other country, and among the wealthy and better informed circles throughout Europe, the work of Stradivari was esteemed above that of all other makers.
7Stradivari, a robust man of forty, from his commanding position, regarded with complacency the development of the liutaro's art about him, and enjoyed to the full the honors bestowed upon him. From all parts of Europe came tributes to his genius. Between 1680 and 1690, besides the set of instruments which was made for King James II. of England, he made a set for the Court of Spain, which he ornamented with ivory and carving on the sides, probably in compliance with the specifications. He also executed orders from the Duke of Modena, Cardinal Orsini (afterwards Pope Benedict XIII.), and Marquis Ariberti, for whom a quartet was made to be presented to the Duke of Tuscany. He also made a set for the Grand Duke of Florence, and probably for many other notables of which no record is to be found. This period is very prolific of fine work, much of it of large size, the average being fourteen inches, as will be seen by the measurements herewith given:
91697. The Hillier.
10Length – – – – 14 1/8 inches.
11Width – – – – 8 3/8 inches full.
12Width – – – – 6 13/16 inches full.
13Sides – – – – 1 1/4 inches full.
14Sides – – – – 1 3/16 inches full.
161684. Stradivari smallest pattern.
17Length – – – – 13 13/16 inches.
18Width – – – – 7 7/8 inches.
19Width – – – – 6 5/16 inches.
20Sides – – – – 1 1/4 inches.
21Sides – – – – 1 3/16 inches.
23The violins of 1672, 1686, 1688, and 1690 are 14 inches in length; those of 1677, 1684, 1687, 1689, 1697 are 14 1-16 inches; and only those of 1667, 1669, and 1683 are under 14 inches, judged from specimens of these years.
25Early in his career Stradivari showed a liking for maple cut on the slab, although
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