Scan 188
The violin: its famous makers and their imitators, 1875
8 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1period of his life, artistically considered, we shall be better enabled to appreciate his labours.
3Starting from the days when he left the workshop of Nicholas Amati, we find him following implicitly in the footsteps of his master. About 1686 he makes use of the more commendable points belonging to the works of former years, adding others of great beauty and utility. At this period he begins to make his originality felt, continuing in this vein with but little intermission down to about the year 1694, when he again gives forth fresh evidence of his power to create, as shown in the "long Strad." In expending his powers on these instruments of diminished proportions, it might occur to the mind of the observer that he was undoing much that he had accomplished; but I do not consider that such was the case. His project in making these instruments together with those of larger dimensions evidences in my opinion a desire that he had of fairly testing the results of changed methods of construction.
5From this brief summary of the varied styles given to the works of this true artist, the reader may gather some ideas of the solidity of the foundation which he laid before trusting himself to raise those works which have become monuments to his memory.
7That which I have termed the golden period of Stradiuarius, commenced about 1700, at which period he had reached his 56th year: a time of life when it
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