Chapter Eight, Stradivari's Method of Construction

Part Three

Let us now pass on to the sound holes - that marked feature of the violin which Stradivari designed and cut with such consummate skill. As in the outline, the same innate originality is conspicuous, and it is difficult to meet with two specimens of his work having sound-holes of identical design. His plan for placing them in correct position on the belly shows considerable ingenuity, and furnishes striking testimony to the freedom of the Italian system of violin-making.

By a series of compass-made circles Stradivari fixed upon the exact position he desired for the top and bottom openings of the sound-holes; then, aided by a small template placed between the two holes, a small point at each end holding it in position, he roughly traced the longitudinal opening, and thenceforward trusted to his unerring eye and command of the knife for the formation of the wings and the exact curve of the top and bottom holes.

We possess tracings of eight drawings which Stradivari termed "Misura Per gli occhi," which were designed to decide upon the position of the sound-holes in violins of various dimensions, in tenors and violoncellos; and, repeated scrutiny and comparison notwithstanding, we are still at a loss to discover either a fixed starting-point or a guiding rule in any of them.

This admirable method of forming the sound-holes evidently did not originate with Stradivari. It had been practised from the earliest period, and a template such as is now employed, to trace the entire sound-hole on the belly, was, if not unknown, at any rate not used. From Gasparo's time onward, succeeding generations of makers had been taught to trust to accuracy of eye rather than to any mechanical pattern, and a certain knowledge of drawing was probably an indispensable part of each maker's training. The result is that we are charmed by the ever varying sound-holes of the greater Italian makers, and spared the sameness of design so characteristic of the more modern ones of all nations.

Stradivari fixed upon the main features of the sound-holes at the commencement of his working career, and throughout his long life, although he varied the one set of curves in a number of ways, he always faithfully maintained the spirit of his design. Contrast Joseph Guarnerius del Gesu, who apparently, the position of the top holes once fixed, cut the remaining portion of the sound-holes at random-without, in fact, any effort to closely uphold a traditional design. The result is, in certain cases, magnificent; in others, though intensely original, it is very ugly.

An exceedingly curious feature is often noticeable in the sound-holes of many of Stradivari's instruments, and is more frequently met with in those dated later than 1720: he placed the right-hand sound-hole slightly higher than the other. Often have we pondered over this strange fact, and we cannot but believe that it was due to defective vision, or perhaps to his method of tracing. We account for the right hand hole always being higher by the hypothesis that he must invariably have traced and cut it before the other, or vice versa.

We now come to the modelling, a feature which Stradivari treated with his characteristic freedom. That he was greatly influenced by the teaching of the several generations of Amatis is clear, nor could it have been otherwise when we recall the extreme grace and delicacy embodied in so much of their modelling. Many of Stradivari's instruments, notably the earlier ones, reflect Amati influence in their modelling, more strongly perhaps than in any other part of his work ; but as time passed on, doubtless seeking different tone results, he reverted more frequently to the flatter and less curved arching of the viols, and finally combined with much of the grace of his predecessors the solidity and bluntness exemplified in the instruments of the Brescians.

Now, at the period of which we write, arching templates or models such as those generally, although not invariably, used by makers of to-day, were unthought of and unknown. Stradivari may possibly have had some gauge to indicate the minimum or maximum thickness required at the highest point of back and belly; but we greatly doubt this, and believe that all the old Italian makers were solely guided by mind and eye. Thus unfettered, they could not but impart to the archings of each instrument a something, however slight, which avoided simple repetition. We must also remember one important point which is apt to be overlooked-namely, that the Italian makers, even Stradivari himself, were often obliged to unduly flatten their model because of the lack of substance in the material of back and belly; they were forced, in fact, to cut their fiddles according to their wood.

The head, that all-important part of an instrument from an artistic point of view, now claims our attention. Previous to 1600 Maggini's efforts, assisted by those of Andrea Amati and of his two sons, had succeeded in transforming the rough, ill-shaped Brescian head into one of symmetrical curves and graceful appearance. The broad scope for originality of treatment offered by its component parts was duly perceived, and admirably taken advantage of by the Amatis and their contemporaries; but Stradivari still found room to initiate small changes, often trifling in themselves, which in the majority of cases brought the head into harmony with the curves and proportions of the body for which it was destined.

Stradivari transferred his design for the head to the block of wood, previous to carving it, by the aid of similar templates to those used nowadays by ourselves. A fixed pattern is practically indispensable in order that one side of the design may be the counterpart of the other. He probably traced round the outer curves from his pattern, and lightly pricked out the scroll with a fine point, removing all traces of the punctures in the carving. He invariably carved both faces of the scroll with strict accuracy, and also maintained absolute similitude between them. As he reached advanced age, we of course note slight failings in these respects from time to time. That a marking-point was used by the Italians for this operation is confirmed by the visible signs of its punctures round the tip of many of their scrolls, notably those of Joannes Baptista Guadagnini.

It must not be understood that these means in themselves ensured that admirably accurate work which Stradivari's head so forcibly illustrates. Joseph Guarnerius del Gesu had, no doubt, similar patterns, yet it is quite exceptional to find in his instruments agreement and conformity between the two sides of the head: it is evident that in most cases he cast all rules to the wind, making first one side, then the other, without once comparing them. Many other Italian makers also worked with considerable inaccuracy in this respect.

Stradivari fluted his heads with the same freedom and beauty as he carved the other parts; and it is not without interest to note that he had recourse to the compass in order to keep the line dividing the fluting exactly in the centre. The marks made by the foot of the compass are often faintly visible at a slight distance from each other. To effect this purpose some makers, notably Lupot, ran a gauge-mark right down the centre line.

The greatest change-indeed, with the exception of the stronger bar, the only one which has taken place in the construction of the violin since Stradivari's time-is the altered proportions and position of the head and neck. The necks of Stradivari's violins were of the same dimensions as those of the Amatis. In length they varied, from under the nut to the edge of the belly, from 4 3/4 to 4 7/8 inches; the width at the top of the finger-board was from 1 to 1 1/16 inch; at edge of belly 1 5/16 to 1 3/4 inch, and the relative proportions of today are: neck, length, 5 1/16 to 5 1/8 inches; widths, 7/8 and 1 1/4 inch respectively. Thus we have lengthened the neck from 1/4 to 3/8 of an inch and narrowed it about 1/8 of an inch.

Our method of fitting the head and neck on the body, and of obtaining the necessary angle to permit of the finger-board carrying a given height of bridge, also differs very materially from that of the old makers. In speaking of the interior blocks, we mentioned that the base of the neck was simply glued on to the top sides, and that the nails driven through the block helped to hold it in position. This clearly shows that Stradivari adjusted and fixed the head before gluing the body together. How, then, did he determine that the neck was placed straight?-as obviously, unless the belly was in position, in order to correctly indicate the centre between the sound-holes, the operation would be one of some difficulty. Reflection has supplied the answer.

Most observers will have noted in Stradivari's instruments, as in many other old ones, the existence of two small pegs, which pass through the back into the top and bottom blocks; and the generally accepted belief is that they were invariably inserted exactly in the groove cut for the inlaying of the purfling; in fact, we have had their position pointed out to us by the learned as distinct evidence of the genuineness of a soi-disant Stradivari. In the greater number of instruments Stradivari did so place them, the purfling cutting them partly through, leaving the inner half only showing ; but in other instances they are found entirely inside the purfling, or, again, the halves remaining visible are on the outside. Now, similar pegs were also inserted in the belly, and their object was apparently to assist the glue in holding both back and belly to the blocks; but in the case of the latter they evidently served a double purpose, as they allowed Stradivari to fix the belly exactly in its place upon the sides, then, after adjusting and gluing on the neck, he removed the belly in order to drive the nails through into the head.

Our illustration of the neck and finger-board as left by Stradivari, side by side with those of to-day, clearly shows the very different angle at which we now set the head. Observe that, instead of canting backwards and the face of the neck standing up from the belly about 3/16 to 1/4 of an inch, as seen in the case of the modern one, Stradivari rather inclined it forward so that the face of the neck came level with the edge, and a small groove was cut in the neck to allow of the edge passing over.

We obtain our height at the bridge by means of the more acute angle of the neck, whereas Stradivari effected the same result by using a wedge-shaped finger-board. The slighter proportions and the greater hollowing out of the base of the modern neck will also be noted. Our modern adjustment of the neck and finger-board certainly constitutes an improvement-small though it be-upon the methods of the Cremonese makers; but, before taking credit to ourselves, we must remember that the change is entirely due to, and was brought about by, the altered conditions of playing. During Stradivari's lifetime no violin-player went beyond the third or fourth position, consequently the neck and finger-board as then fitted answered every purpose. It was only when players re cognised the greater scope afforded them for more varied methods of execution by extending the compass of the instrument, that the makers realised the necessity of adapting the neck and finger-board to the altered circumstances, thus facilitating the shifting into higher positions. Lancetti mentions that the brothers Mantegazza (living at the beginning of the last century) were often entrusted with instruments for the purpose of having the necks lengthened, according to the fashion prevailing in Paris.

Stradivari's violin finger-boards were of several different lengths. The shortest appears to have measured 7 1/2 inches, width at top 1 1/16, at bottom 1 1/2; in another we find the length increased to 7 7/8 inches (this pattern is dated 1685), and a third, dated 1715, on which the maker wrote "longer" and "broader," is 8 1/2 inches long by 1 3/16 and 1 11/16 wide. The modern finger-board 10 1/2 inches by 7/8 and 1 5/8. Stradivari's were generally made from odd pieces of maple, cuttings from the slabs used for the backs; in some cases the top was veneered in ebony or an Italian wood.

At times Stradivari inlaid a line of purfling or stringing composed of ivory and ebony along the edge, or inlaid the whole surface with a design in purfling. In the case of special instruments, such as the Tuscan set, in addition to the ivory and ebony lines, he inlaid the Medici arms, delicately executed in mother-of-pearl. The tail-pieces were made of similar material to that of the finger-boards, and invariably matched these as regards inlaying, etc.

Stradivari's bridges were of various designs, but the same spirit pervades them all. They also appear to have been made from the odd cuttings of the backs, and were a little thinner and lower than those of to-day, as well as more open in design. Our modern tendency to leave more substance in the bridge has been rendered necessary by the increased strain put upon it since the time of Stradivari; otherwise it remains practically unaltered.

Before concluding this chapter, we will devote a few words to the unique collection of relics from Stradivari's workshop which have, thanks to the intelligent enthusiasm of Count Cozio de Salabue, fortunately been preserved to us. Of mechanical tools, with the exception of the callipers shown in our illustration, nothing of interest exists. Chisels, gouges, planes, knives, scrapers, clamps, and the other necessary appliances of a violinmaker's workshop, are all absent. In the correspondence that took place between the descendants of Stradivari and the Count, the word "tools" is repeatedly used; we must therefore assume that the Count had them.

Possibly one or other of the violin-makers with whom he was intimate, such as Joannes Baptista Guadagnini, or the brothers Mantegazza, may have begged or borrowed them. Vuillaume obtained several of Stradivari's moulds, which he presented to the Museum of the Paris Conservatoire; and M. Chanot-Chardon possesses a set of small planes said to have belonged to Stradivari. We believe these things were taken to Paris by Tarisio, who, as stated elsewhere, had dealings with Count Cozio. Or it may be that Bergonzi, who had, we learn, the loan of certain patterns and moulds, also had a number of the working tools; and as less interest would be attached to them-the majority being but the ordinary tools of the wood-worker of the period-than to drawings and moulds, their non-restitution probably passed unheeded, and they were then possibly used up or dispersed.

As previously mentioned, the moulds number nineteen, of which sixteen are for violins and three for violas; those required for viols and for violoncellos are not extant. Several have Stradivari's writing or markings on them-the date when constructed, and letters such as S., L. or B., the object of which seems to have been to identify the patterns belonging to a given form, all of which were similarly lettered. Others bear remarks written on them by the Count--as, for instance, the mould dated 1692, on which he records that it was utilised by Stradivari when in his ninety-second year to make a violin; also on the mould dated 1705 the Count writes: "forma grande."

Two of the tenor moulds bear Stradivari's interesting statement-"ha posta per il Gran Principe di Toscana," (Stradivari's orthography, as will be noted in the facsimile of this and of other specimens of his handwriting, was very imperfect.) that they were constructed expressly for the Grand Prince of Tuscany.

Of the various drawings and patterns it is impossible to speak without enthusiasm. They bring us face to face with irrefutable evidence in support of the ideas we have formed of the man. Painstaking, thorough and careful to the smallest detail, we see him specially designing everything- even to bridge, pegs and tail-piece-for a given instrument, and then further embellishing these fittings with painted or inlaid designs. He also turned his attention to the cases intended for the reception of his instruments, and carried his fervour to the point of making sketches for the locks and hinges. Nothing apparently was too unimportant for his attention, and the recognition of this veritable passion to leave nothing undone to ensure the success of the whole, throws a flood of light on his lifelong work.

Among other patterns we have those of a viol-da- gamba with five strings (small pieces of the strings used are preserved) made in 1684 for the Countess Christina Visconti; also the patterns of two violoncello heads respectively inscribed as that made in 1707 for the aforesaid lady, and as a "Violoncello da Venezia, 1707."

There are numerous drawings for different types of bridges destined to the various instruments, a selection from which is given in our illustrations. For the sound-holes there are also many designs, all most carefully cut out in paper. Among them is a reproduction of the two sound-holes of an Amati violin cut out on a thin plate of copper. Count Cozio states that it came to him with the Stradivari tools, etc.

We also find in the collection the complete designs for a viol d'amore of twelve strings made in 1716; it is of the usual type of viol more generally met with-flaming sword sound-holes, etc. It does not appear to have been inlaid, nor does Stradivari make any remark as to its having been specially executed for any grandee. (To the left is pictured a rare, alto-voiced, six-string Viol d'amore, made in 1714 by Andreas Ostler.)

We have already spoken of the designs for the various inlaid instruments-on which Stradivari wrote: "Qui dentro questi designi che sono qui dentro sforati sono quelli che se fatto al ILLmo Sig. Marchese Carbonelli di Mantova," --as well as of those of the arms for the Medici and other instruments. These are all of surpassing interest.

A number of drawings for finger-boards and tail-pieces, some quite plain, others with fancy designs, as well as various patterns of minor importance, have likewise a place in this collection.

We learn too for the first time, from this collection, that Stradivari made bows. There are a number of designs for the nuts and several for the heads: all are of the accustomed types of bow of that period.

We are somewhat surprised to note the absence from the collection of anything relating to guitars, of which Stradivari made several, also the absence of any templates for the heads of violins or violas; neither is there anything connected with double basses. Without doubt, the contents of the workshop must have been laid under contribution between the time of Stradivari's death and that of their sale to Count Cozio-a period of close upon forty years. In this way we can reasonably account for the disappearance of the more useful patterns and tools.

That these mementoes are now in the hands of a distinguished Italian nobleman is a matter for congratulation. We venture to hope that the day is not far distant when they will find their last resting-place in the Museum of that city whence they came. It is pathetic to think that Cremona contains, with trifling exceptions, nothing which witnesses to the glory of that splendid age of violin-making for which her name will be ever famous.

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