Scan 238
The violin: its famous makers and their imitators, 1884
4 lines. Read by computer on 28 September 2026. Printed page 72. See the scan on archive.org.
1which Stradivari made a new belly many years later, in his best style. It is certain that instruments as described by Lancetti have been recognised by intelligent connoisseurs as wholly the work of Stradivari (in which case, as may be imagined, they have no longer been allowed to sail under false colours, but have had their proper certificate of birth attached to them). In other instances the beautiful scroll of Stradivari has been recognised on the body of an Amati, or the sound-hole has shown that it was cut by the hand of Stradivari.
3Having met with a Violin by Stradivari (since the publication of the first edition of this work), dated 1666, it would appear that he left the workshop of his master at that time, or not later than the year of his marriage in 1667. Between the years 1666 and 1672 there is observable a marked change in style, and the workmanship is better. The Tenor (Plate I.) is a remarkably perfect example of the period mentioned. The instruments he made about this period have wood for the most part singularly plain, and different in kind to that which his master used. His use of this material I am disposed to attribute to the want of means rather than choice. The purfling of these early instruments is very narrow, and many of the backs are cut slab-form. Previous to about the year 1672, we find that his whole work is in accordance with the plans of Amati (not as seen in the latter's grand pattern, but in his ordinary full-sized instrument);
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