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A slight study of the different dimensions which Stradivari worked out between 1690 and 1692 furnishes some interesting comparisons. It will be noted that in 1691-92 he made several violins of which the proportions are the largest we have ever met with. Not only have we the increased length, but combined with it the extreme width, and in one example the full height of sides. Specimens of these proportions are rare; we have only seen six. The examples in possession of Mr. Charles Fletcher, and that of Mrs. Ginn, of Boston, U.S.A., are typical instruments,-both are dated from the year 1691. The violin of M. Leopold Auer (of the same type as the two just mentioned) was also made about the same time.
It will be remarked that these dimensions are nearly identical with those of the smaller pattern made by Maggini. It is instructive to find that in 1692-93 Stradivari returned to his first idea, retaining the extra length, but narrowing the width, apparently convinced of the futility of attempting to attain the characteristic brightness of tone combined with the solemn depth of power of the Magginis. Until 1698, with but rare exceptions, he continued to make violins of the long pattern only. In that year we see a change, for, curiously enough, he returns, with a few modifications, to the pre-1690 type; 1699 gives us the orthodox long pattern again; but in 1700, as far as our observations go, he has dismissed it for good. We do not, of course, positively affirm that no long-pattern instruments were made in 1698, but only record that hitherto we have not met with any.
The existence of fresh designs in 1698 undoubtedly shows that Stradivari was restless; and this, coupled with the fact of our having possessed another violin dated 1699, which, while preserving the "long Strad" width, is of the ordinary fourteen-inch length, tends to foreshadow Stradivari's return to the pre-1690 proportions.
The varnish used by Stradivari after 1690 is, with notably few exceptions, of a deeper and richer colour than that of the previous years. We have hitherto been accustomed to see the traditional Amati yellow and its kindred tints, although, as already stated, Stradivari had from the earliest times occasionally employed varnish of deeper colour; but not until 1684 do we begin more frequently to meet with the warmer-tinted varnishes. Some of the long-pattern instruments are especially fine in this respect, and compare favourably with many of the productions of the next century.
Now, the outline, dimensions, and general construction of the long-pattern violin admirably demonstrate Stradivari's powers of originality; and that he should have succeeded in adding five sixteenths of an inch to the total length, while retaining the relative harmony of top, bottom, and middle curves, is an additional proof of his keen sense of symmetry; and this is rendered the more noticeable when compared with the works of many of the other Italian makers, few of whom were wanting in originality, though some showed a lack of symmetry in their designs.
As we have just stated, every part of the outline is in proportion to the increase of length. The bouts are therefore longer and less curved, the corners a little shorter and less drooping (this latter feature being a marked characteristic), the edge is neater in aspect than hitherto, and the margin round the sides is lessened, as if to help to make up for the decreased widths. The purfling is of stout substance, and the mitres point straight up the corners in order to harmonise with their different curves.
The model is, as a rule, flat, yet presenting a certain fulness which commences to swell imperceptibly from the purfling. It contrasts with the very graceful and more scooped modelling of Stradivari's earlier works. The "f" holes are more open, and generally set a little straighter; even the heads of these instruments-certain specimens of which we consider stand out pre-eminently by their marked beauty of curve and exquisite finish-are slightly lengthened in order to harmonise with the increased length of body; and then, so that the box of the head which carries the extra length should be in proportion with the scroll, the throat is cut farther up-i.e. more opened.
Stradivari more frequently used backs in one piece for these violins; and we have seen several specimens of wood cut from the same tree-maple of native growth-marked with a small strong curl running nearly straight across. We now rarely meet with backs cut the slab way of the grain, though here and there he occasionally used one.
His pine still continues, with but rare exceptions, of fine grain. The stop (i.e. length of string from the bridge-foot to top of the belly-edge) of 3 these "long Strads " is 7 3/4 inches-that is, 1/8 more than that of the great majority of Stradivari violins, and 1/4 and even 3/8 more than that of many instruments of other makers. In order to make this longer stop agree with the more general length in usage, some examples have been cut down at the top-an operation much to be deplored, as it must be remembered that the extra length compensates in some measure for the narrower width. Remove that extra length, and you have an instrument of small dimensions, besides destroying the symmetry of the whole.
Fine examples of the "long Stradivari" are those in possession of:
Mr. R. L. Harrison, dated 1693;
Mr. Benecke, 1694;
Miss Collins, of Boston,U.S.A., 1694;
Mr. J. Cowan, 1694;
Mr. K. S. Muir Mackenzie, 1694;
Mr. Goetz, 1695;
Mr. Muirhead, 1696;
Mr. J. Mountford, 16-,
The latter is a most charming specimen, though unfortunately its original date has been altered to 1701. The Paris Conservatoire Museum also possesses an example dated 1699. We have now arrived at the end of the century, and before proceeding we will again pause to survey briefly the result of more than forty years of Stradivari's working life- a period which, in the case of many men, embraces their rise and decline, but which finds him on the threshold of new and greater efforts, still in full possession of an unerring eye and steady hand.
That he had succeeded in surpassing all competitors, and achieving something beyond the highest efforts of the Amati, is unquestionable ; but let not this statement be misunderstood. We must not suppose that the beauty and exquisite finish of much of the work of the Amati can be surpassed. It is only when we consider Stradivari's work as a whole that we find him to have been possessed not only of their craftsmanship, but of a greater and more expansive mind. No purfling, no "f " holes, no heads, have ever been more perfectly worked and finished than those of certain Amati instruments; but with Stradivari we find more often a greatness of general idea which is closely accompanied by the admirable finish of the Amati.
Thus, 1700 saw Stradivari occupying the position so long held by Nicolo Amati and his ancestors; he was, in fact, without a serious rival. Hieronymus, the last of the Amati family connected with our art, gave but little sign of life; possibly, enriched by the death of his father, he preferred to lead an easy existence. (H. Amati appears to have made comparatively few instruments after his father's death. He died in 1740.)
Andrea Guarneri and Francesco Ruger, both pioneers in their work, had ceased their labours in favour of their sons, and all were apparently completely overshadowed by their fellow-townsman. Pietro Guarneri had migrated to Mantua; Giovanni Battista Rogeri had settled in Brescia.
"That which I have termed the Golden Period commences about 1700," says Hart. Fetis also speaks in the same eulogistic strain; and we, too, accept the statement, yet not without considerable reservation. We wish to point out clearly that the dawn of the century does not herald any eventful and brilliant transition or any sudden quickening in Stradivari's progress, but rather shows him silently plodding on with unflagging energy, producing yearly, nay monthly, fresh modifications in his works, which, though not always successful, attest on the whole the natural and fairly consistent development of the forms and models of past years.
Let us now return to 1698, the year in which, as we have previously stated, Stradivari reverted to his Amatise forms. He leaves the flatter and less hollowed model of the characteristic "long Strad," and returns again to the teachings of Amati: outline of the bouts more curved, corners long, straighter and more splayed out, the absence of the more drooping curve allowing the elongated mitres of the purfling to point straight up the corners. The model, in full harmony with the general appearance, is hollowed on leaving the edge; in short, the whole bears a strong resemblance to that striking type of Nicolo Amati of the years 1640-50.
What is more probable than that he was influenced by the sight of one of these violins, a considerable number of which were probably to be found in and around Cremona? The proportions remain those of the 1698 instrument. Thus Stradivari continued, with but few exceptions, until 1703-4; perhaps 1701 and 1702 are the years which offer the fewest exceptions, while they are also those in which we meet with this form at its best. The varnish is of a beautiful soft texture and fine orange-red tint of colour; the wood of the backs is invariably of broad markings, more generally in two pieces, and that of the bellies is still inclined to be close in the grain. Fine examples are those in the possession of-
Lady Tennant, 1699;
M. Blanchet, 1699;
Mr. Young, 1700;
M. Tivadar Nachez, 1701;
Lord Newlands, 1702;
Miss Lees, 1702;
Mr. De Rougernont, 1703;
The "Emiliani," 1703.
In 1703 we note Stradivari gradually leaving the Amati scoop, and developing a fuller and more strongly arched model, though not necessarily higher. We have seen some specimens with shortened corners, but they are quite exceptional. The year 1704 brings us to one of the great productions of Stradivari's life : the instrument known as the "Betts."
On looking at this violin,one cannot but be struck by the beauty of the formation of the long and relatively slender corners. It recalls to our minds some of the happiest efforts of Antonius and Hieronymus Amati, with the addition of a certain grandeur which they lack. The corners are not really longer than those of some of the violins of the preceding years, 1698-1703, but the fact that the bouts are a little more curved, in addition to a pronounced drooping of the corners, especially of the top ones, which are also a little longer than the others, gives that effect. In order that they should not have a too protruding appearance, Stradivari pushed the mitres of the purfling to the extreme limit-we have seen but few other specimens treated in this way-and when he failed to get the mitre right up the groove cut out for it, he filled it in with a black mastic, which perfectly completes the appearance he sought to obtain.
The uniformity of the outline presents the perfection of symmetry : the full, rounded model swells away from the edge with but a semblance of hollowing round the purfling; the "f" holes, cut with masterly decision and placed in a comparatively upright position, seem to fall naturally into complete harmony with the surrounding features; the head, though cut as Stradivari only knew how to cut it, lacks something,-there is a squareness in the design, the fluting is wanting in breadth, the throat is hesitatingly cut; in a word, it does not rise to the greatness of the occasion.
The beauty of the materials from which this instrument is made leaves nothing to be desired. The back and sides are of handsome maple, with well-pronounced broad curl; the back in two pieces, with the figure slanting from the joint in an upward direction-a feature but rarely met with in instruments of earlier date. The pine of the belly is more open in the grain than hitherto: fine at the joint, but widening out to a full 16th of an inch at the edges.
Another fine example of this date is the violin owned by Colonel Glennie. The year 1704 marks, as far as our experience permits us to affirm, the last of those violins with pronounced long corners: we know of no specimen of later date. The years 1705 and 1706 are especially noticeable for the fewness of the violins produced. We are acquainted with only nine instruments: five of the earlier and four of the latter year.
One might suppose that, having attained such perfection of build as is represented by the main features and proportions of the "Betts," Stradivari would have rested for a time; but fresh ideas, the result of his restless genius, continually crowded out the past, and, whether for better or for worse, he continued to put them into execution.
Nevertheless, the violins of the years following 1704 show, by various parts of their construction, more especially the model, that Stradivari had settled upon certain points from which he henceforth but rarely deviated. The greater number of the violins produced during the years under consideration 1705-10 are characterised by a certain conciseness of form and construction, every part being closely knit together; and we are of opinion that they furnish us with examples which, in conjunction with fine proportions, represent the most compact type of violin made by Stradivari.
The edges and corners are light, both in appearance and in actual substance; the margin around the sides is equally neat; the corners, shortened and more in accordance with those of his earlier instruments, are yet more elegant-i.e. less blunt: they recall, to a considerable extent, those of the long-pattern violins, with slightly increased curve or droop. The purfling, which is brought fairly close to the outer edge, helps to accentuate the light character; and the mitres, instead of going straight up the corners, as in the "Betts," and the majority of the 1698-1704 instruments, are now pointed across them in a more noticeable way than hitherto.
We believe the brothers Amati, in their earlier instruments, were the first to turn the mitres of the purfling from the centre of the corners; but, owing principally to the latter being of different shape, they did not obtain such a good effect as did Stradivari. The archings of the model are worked in the same style as those of the "Betts," at times higher and even more rounded; but, on the whole, Stradivari's tendency was towards flattening the arch.
The cutting of the sound-holes and the carving of the heads are broadly treated : the former, while retaining the same graceful curves and form characteristic of 1700, are perhaps more open in every respect; the top and bottom holes are, as a rule, less round, and shaped more in the form of a pear. The heads are of decidedly bold proportions and masculine appearance, which is, in some respect, due to the presence of a slightly heavier bevel.
During the years 1705, 1706, 1707, 1708, and 1709 Stradivari seems to have had a decided partiality for backs in one piece: we have seen several examples of the years 1707, 1708, and 1709 with backs cut from the same tree of maple wood, with a pronounced broad curl slanting across from left to right or vice versa; others, with identical backs, are of wood of a plainer character, the curl rather weak and undefined, and generally placed in a straighter direction.
Typical specimens of this period are the violin of Mrs. Stothert, dated 1706; that of Sir William Huggins, P.R.S., dated 1708; the "Ernst" Stradivari, dated 1709, now the property of Lady Halle; the violin of M. Soil, dated 1708 "La Pucelle," belonging to M. Glandez, dated 1709; the "Viotti," 1709, a grand example in every respect; the two dated 1709, owned respectively by Mr. Ludwig Mond and Mr. Simmonds; and those owned by the Vicomte de Greffuhle, dated 1709, and by M. Hammer, dated 1707.
In the Museum attached to the Paris Conservatoire of Music there is also to be seen an example made in 1708-a most attractive specimen. The bark is of wood cut on the slab (very unusual after 1700), handsomely figured, and coated with a warm orange-red tinted varnish, which sparkles as though it were still in a liquid state.
Hitherto every ten or twelve years we have found Stradivari ripe for a change, and 1709-10 was to prove- though in a minor degree-no exception to the rule. We have shown that since 1698-1700 the general aspect has been continually transformed by different treatment of the curves and corners of the outline, model, etc. As regards dimensions, Stradivari kept to the 14-inch instrument; at least, he did not exceed that length except in such cases as that of the "Hellier" violin, dated 1679, and several examples of the years 1684, 1690, 1692; and never, as far as we know, did he exceed 14 and 1/16 inches in length, while retaining full proportions otherwise. These earlier tentative efforts were now to bear fruit, for about 1708-9 Stradivari struck out a new form, of the length of 14 and 1/8 inches, accompanied by the fullest widths.
That he was in a very experimental frame of mind may be seen on referring to the Appendix, as during the years 1709-12 he varied and altered his proportions more than at any subsequent or previous time. We entirely fail to perceive any fixed idea or principle guiding Stradivari in determining the relative height of the sides in keeping with these changes of dimensions. He continually fluctuated: here 1 and 3/16 inches at the bottom, and 1 and 1/8 at the top; there 1 and 1/4 at the bottom and 1 and 3/16 at the top, the usual proportion; in one case we have the extreme heights of 1 and 3/8 and 1 and 1/4; but any consistent plan, such as lowering or raising them in accordance with the model, or with either increased or diminished length and width, is in most cases absent. The consequence is that we meet with violins having sides of 1 and 3/16 to 1 and 1/8 inch, where, to judge by the general proportions, a still better tone-result would have been obtained had they been left at 1 and 1/4 to 1 and 3/16. The actual curves of the 14 and 1/8 inch outline, with the exception of a broader sweep at the top and bottom, where the extra length is divided, differ but little frorn those of the 1706-9 instruments: the bouts remain of the same proportion. The edge, purfling, corners, model, and general character are also similarly neat. Stradivari does not seem to have made this type of violin a special feature during 1709 and the following years, but appears to have utilised this form and its proportions from time to time during the remainder of his life, the years 1711, 1712, and 1713 being those in which we more frequently meet with such specimens.
About 1709 good fortune evidently smiled upon Stradivari, and favoured him with a log of maple, from which he obtained some of the most handsome backs it is possible to see-of one piece and marked by a broad, strong curl of the most striking appearance; they cannot be surpassed either in beauty or in acoustical properties. We meet with these backs up to the years 1715-16, but it is very rare that we find the wood of the sides and head to match. Stradivari probably considered that this was unnecessary, and, looking practically at the matter, he was well aware of the increased difficulties of bending the sides when made from extremely handsome wood.
For the heads he no doubt used up all sorts of odd pieces-in the majority of cases selecting wood with but little figure, and thus economising-and cutting his handsome wood to the best advantage. In 1710 Stradivari had attained his sixty-sixth year, and, notwithstanding advancing age, we still see him completing instruments of that concise, neat type of form and work which we have tried to portray; but as we proceed we perceive that the whole character of the work assumes a broader and more substantial appearance. That Stradivari may have sought to impart a still more substantial appearance to his works than hitherto is to some extent possible; at the same time we cannot ignore the fact that advancing years may have contributed, though insensibly, to this result.
Rarely indeed do eye and hand at seventy still retain the cunning of earlier years; and Stradivari, though marvellously endowed with Nature's gifts-as we shall see later on-had to bow to the inevitable. Do not let this remark lead you to suppose that his productions now betray the hand of an old man. Such is not the case; what we wish to imply is that his age is here and there betrayed by a certain breadth and solidity of style traceable throughout every detail. Edge and purfling have a broader aspect than hitherto, due principally to the former being less rounded and the latter generally of full thickness, and set a degree farther in. The edge, as a rule, is also stouter in substance, and at times of slightly irregular thickness; the corners are decidedly broader, which causes them to appear shorter than is really the case, and their curves-especially those extending from the C's-are at times a trifle squarer-looking.
The arching of the model continues on the lines of the 1704-10 instruments ; here, a shade flatter or higher; there, a little more or less full at the flanks and around the edges. The sound-holes are well open, the sharp curves, as in the "Betts," being absent, and they are more heavily cut.
The contour of the exterior curves of the heads is perhaps less bold than in 1709, though marked by a still increasing heaviness of bevel, broad centre-line to the fluting, throat well open, and a blunter termination of the volute. The foregoing are the main characteristics of Stradivari's work until 1720-25. From year to year, nay, from month to month, we note continual deviation, but it is impossible for us to enter into these subtle distinctions.
We think we have now made it clear that when Stradivari in 1708-9 originated the 14 and 1/8 inch outline, he did not give up the 14-inch form he had been using in the previous years: on the contrary, he continued working from both, and the violins made up to the year 1713 are generally of one or other of these forms. In this latter year, however, we find him reverting to dimensions similar to those of certain violins of the 1680-90 period, measuring 14 and 1/16 inches in length, with full width and depth of sides.
He may have made a new mould, or very possibly it was the old one taken down from the wall and brought into use again after a lapse of twenty years. Henceforth we shall see instruments the curves of which may slightly differ one from the other, but the actual dimensions and the outline in its main features, with but very rare exceptions, will agree with one or other of those three forms.
It is of course perfectly comprehensible that Stradivari should have here and there reverted to some of his early forms-possibly to supply special orders-and, as we have already stated, that of the "long" pattern is the only one that he appears to have definitely discarded with the dawn of the century. Stradivari's powers of production seem to become more marked as his years roll on; his energy apparently inexhaustible, and his fertility equally unfailing.
More instruments belonging to this decade than to any other period of his life are known to us, amongst them the majority of his most noble existing works. His sole aim in this world was his calling; and although we have but scanty knowledge concerning his daily life, we may safely assume that he was to be found day after day seated at his workbench, with gouge, compass, or knife in hand, giving form to those instruments which were to prove models of perfection for future generations. Each succeeding year furnishes us with some exceptionally fine specimen of his work-all possessing strong characteristics in common, though each is stamped with an individual charm. The year 1710 gives us the "Vieuxtemps" and the violin belonging to Mr. Louis Ries, both specimens of high rank.
Of the year 1711 one of the most typical and finely preserved examples is that known as the "Parke," until recently in the possession of Mr, John Adam, formerly owned by William Cramer, Fountaine, Plowden, and other well-known amateurs. Its proportions, as will be noted (see Appendix), are of full dimensions, and, combined with a broad, robust aspect, it worthily portrays this very manly type of Stradivari's work. Its varnish, of a rich orange tint, is beyond criticism, the softness of its texture being especially beautiful.
Another example, dated 1712, in possession of Miss Eldina Bligh, is also an equally characteristic, though a much less well-preserved example. In addition to the violins, we are indebted to these years for the "Mara," "Duport," "Romberg," and "Davidoff" violoncellos, all instruments of the finest type.
The year 1713 gives us an admirable violin, the "Boissier," now owned by Senior Sarasate. Fetis mentions it as one of the finest existing Stradivaris, and we can certainly confirm his statement. Its outline is of the 14 and 1/16 inch form, the model a little fuller, though closely following that of the "Parke" instrument; the edge, corners, and purfling are perhaps a trifle neater, and the sound-holes more lightly cut. The varnish is also of great beauty, its tint being a shade redder than that of the "Parke," and the whole instrument is in very fine condition. The " Sancy " and the violin owned by Mr. Alfred Gibson are fine examples of this same year.
Of the year 1714 we have a violin of wide repute-the "Dolphin"-formerly in the Adam and Bennett collections, now owned by Lieutenant Munro, R.N. The example in the possession of M. Soil is also a specimen of the highest order. The "Batta" violoncello dates from this year.
Chapter Two, Part One
Chapter Two, Part Three
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