Chapter Two, Stradivari's Violins (Part Three)

The year 1715 is indeed a rich one; it contributes no fewer than six violins of the first rank: the "Gillott," three examples in the possession of Professor Joachim, another owned by Mr. F. L. Bevan, and lastly one which, in our opinion, ranks among the finest of the fine-the "Alard," the property of Baron Knoop. We may here remark that it would be incorrect to single out any one of these violins as standing supreme in merit, for we cannot too strongly emphasize the fact that amid all the finest Siradivaris still existing there is not one which can with justice claim absolute superiority over all others.

The neck of the "Alard" is original, and in the mortise of the head, still visible, are written the initials P. S. We conjecture that these initials are those of Paolo Stradivari, and they possibly indicate that the violin was one of those which came into his possession on the death of his brother Francesco in 1742. We have found these initials marked in six other violins, all of which obviously retain their original necks, otherwise the letters would have been cut away when grafting on the new one: the most notable are that owned by M. Soil, dated 1714; the "Blunt," dated 1721; and the "Sarasate," dated 1724. On the other hand, we would point out that the "Messie" violin, which was sold by Paolo Stradivari to Count Cozio, also has the original neck, but does not appear to have been so marked.

The year 1716 furnishes three remarkable violins: the one formerly owned by the Grand Duke of Tuscany, now at the Musical Institute of Florence; the "Cessol," in possession of Mr. Croall; and lastly, that unique example, the "Messie," (also see copy by Larson) of which we shall speak more fully. The year 1717 claims that fine example known as the Sasserno," owned by Mr. Phipps; and an admirable specimen left by the late Mr. Orchar, of Broughty Ferry, to a local museum.

This year also gives us the violoncello in the possession of Mr. Holden. The year 1718 also gives us two violins of high order: the "Maurin," owned by Mr. John Rutson, and the one in the possession of Mr. Avery Tyrell. The year 1719 gives us the "Lauterbach" violin and the "Becker" violoncello. The fine violin of Mr. Kruse, and the famed violoncello of the late Signor Piatti, belong to 1720.

Let us pause here and try to sum up the characteristics of these fine specimens of Stradivari's fully-matured genius. Place side by side the "Boissier" and the "Dolphin" (pictured at left) violins, of the years 1713 and 1714 respectively. Both show continuity of ideas, combined with individual freedom of treatment. We see a close similarity of form, model, sound-holes, and work in general, -the heads are twin brothers. True, the latter instrument is of 14 inch, the former of 14 and 1/16 inch form, which, added to a slightly decreased curve of the bouts, gives an increased sweep to top and bottom. Again, the model of the belly is a little fuller than that of the back; with the "Dolphin " it is the reverse.

Look at the wood from which they are made: the backs of both are in two pieces, and cut from the same tree ; but, in order to diversify their character Stradivari places the curl of the Boissier "slanting downwards, and that of the "Dolphin" upwards. The wood of the sides, in both cases, is plainer; that of the heads still more so. For the bellies he selects pine of vigorous growth and bold breadth of grain. In the earlier violin we see that which is but rarely met with in Stradivari's instruments- a belly in one piece, with the broader grain placed on the treble side. Though unorthodox, this is immaterial from a tone point of view, provided that the quality of the wood is good.

The "Alard," which is unquestionably the ne plus ultra of the following year (1715), approaches more to the "Boissier" than to the "Dolphin" in outline. We see the same shortened bouts and broader sweep of top and bottom curves, though it is of 14-inch form, but it differs in its general aspect, which is blunt and pre-eminently forcible in every feature: in fact, the whole build of the violin, including, the more massively proportioned head, shows the strong and firm touch of the old practised hand. It is perhaps second to the "Dolphin" in elegance, but surpasses it in manliness.

With regard to material, though acoustically fine, the "Alard" is not of such striking-looking wood as several other specimens of this year-such as, for instance, the "Gillott " and the "de Barrau" (one of Joachim's violins), both of which have backs in one piece, which cannot be surpassed. In the matter of varnish all these violins are glorious-each individually resplendent --the one favoured by its wood, the other by a lovely tint of colour, by softness of texture, or by the exquisite beauty attained through the varnish being broken up in a most picturesque manner by time and usage.

The year 1716 will ever be a memorable year of Stradivari's life, for, as previously stated, we are indebted to it for that remarkable violin known as the "Messie," which stands alone for its unrivalled condition.

Were it but eight days, instead of one hundred and eighty-six years old, it could not present a fresher appearance. Stradivari seems to have awakened to the fact that his work had assumed an air of breadth and solidity throughout, which, treated by less skilful hands, would have bordered on the clumsy. He therefore determined to retrace his steps, and immediately gives us, amongst others, an example which for lightness of build takes us back ten years. Once made, he never parted with it. Death came, and the violin passed successively to his sons Francesco and Paolo; the latter retained it until 1775, in which year he sold it to Count Cozio di Salabue.

(To the left is Dan Larson's copy of the "Messie.") The character of the work of the "Messie" is as exceptional as its history. Sound-holes, edges, and corners are treated differently to anything we have hitherto seen or shall hereafter see; the model is flat, that of the belly most noticeably so; the sharp, unrounded edge, and slanting, youthful sound-holes, are admirably shown in our illustration. Critics may say these marked peculiarities of style are due to its freshness. That is true only inasmuch as it accentuates them.

Other specimens exist sufficiently well preserved to indicate clearly the maker's intentions, and the most appropriate for present comparison is the Medici violin, preserved with the Tuscan tenor and violoncello at the Musical Institute in Florence. It is of the same year and in remarkable preservation, though not perfect; yet it differs in form, dimensions, model, sound- holes, edges, and varnish. To the casual observer it would be taken for the "Salabue's" brother, as it presents a close resemblance, whether as regards the back, which is in two pieces, the wood, which is similarly figured, or the varnish, which, though of thicker texture and somewhat deeper colour, has the same bright, unworn surface.

In the "Cessol," the third fine instrument of the year, we have a superb example in every respect, and quite of the character we should expect. Its structure is founded more on the lines of the "Dolphin" than of the "Alard": the wood is cut from the same tree, and the varnish is of an unsurpassable plum-red colour. In contemplating this specimen, we are reminded of what Charles Reade says in his third letter to the Pall Mall Gazette, published in 1874: "When a red Stradivari violin is made of soft velvety wood, and the varnish is just half worn off the back in a rough triangular form, that produces a certain beauty of light and shade which is, in my opinion, the me plus ultra." Hart connects this expression of opinion with the "Dolphin" violin, but we venture to assert that it applies in a still more marked degree to the "Cessol."

Neither of the violins referred to of the years 1717-18 shows any further development of form or workmanship. The Sasserno" is of the "Dolphin" outline and type, the "Maurin" of the "Alard" type both instruments, though, are of lighter construction in most of their details than those of pre-1716 years; the sound-holes are especially neat, closely cut, and set well upright. These general remarks apply to most of the specimens of the preceding and following years.

The example dated 1717, which was in the possession of the late Mr. Orchar, of Dundee, until his death in 1898, bears a closer resemblance to the "Parke" violin in form, and is of the 14 1/8 inch outline while that of Mr. Tyrell forms quite an exception to this period, its proportion being both narrow and shortened. The maple of the back of the former instrument is in one piece, and cut on the slab-a feature, as we have already pointed out, not often met with between 1700 and 1720.

The year 1720 heralds in Stradivari's seventy-sixth birthday: four years more, and he will be an octogenarian. (The Cremonese monk Arisi compiled his notes regarding Stradivari in the year 1720. He writes as if Stradivari was still active: also he makes no mention of any assistant.) One would think that, as in the case of his master Nicolo Amati, he would ere this have reached that moment when, in the natural order of things, he would have laid down his tools-if not entirely, at least in great measure-in favour of younger men, and during his remaining years would have peacefully looked back with feelings of pride upon a fruitful and industrious past of over threescore years. He could still have superintended and given others the benefit of his unrivalled experience.

Apparently, however, old age came lightly upon him. Hale in body and vigorous in mind, he still retained that marvellous power and facility in handling his tools which permitted of his continuing in the even tenor of his way. We cannot but believe that his two sons, Francesco and Omobono, born respectively in 1671 and 1679, and possibly Carlo Bergonzi, worked with him, each rendering assistance to the best of his ability ; although the most minute scrutiny of the instruments of the period fails to reveal any signs of other hands than his own having contributed a share towards the building up of either violin, viola, or violoncello. Possibly-and this seems to us the only hypothesis- Stradivari permitted them to rough out the work, and went all over it after them, thus removing all traces of their co-operation.

A Strad Bow

Click to enlarge.

One of Stradivari's sons may possibly have made bows, patterns of which exist in the Dalla Valle Collection. Again, his assistants may have made the cases destined for the instruments, cases of considerable artistic merit; there were also the various fittings required, such as finger-boards, tail-pieces, bridges, pegs, etc. They may, as Lancetti suggests, have principally confined their efforts to repairing and adjusting instruments, aided in the varnishing and general management, so that the master might be free to devote himself unremittingly to the construction of his instruments.

The most characteristic features of the majority of the 1720-25 instruments are a certain squareness of the outline at the top and bottom curves, and the quickly rising models, which immediately swell away from the purfling, Stradivari seems to have preferred the 14-inch form, though we do occasionally come across that of 14 1/8 inch. No unmistakable indication of old age is apparent in the work, although the formation of the edge, the corners, purfling, cut and position of the sound-holes, and the more blunt carving of the head-points which are more or less pronounced-lack that firm precision to which Stradivari has so accustomed us, and betray the less controlled hand.

As regards the wood, his assortment of maple does not appear to have been equal in beauty to that of the preceding ten years, but it was as good acoustically. We meet with a fair number of backs, both in one and two pieces, marked with a faint small curl, showing a nutmeg cross-grain; and we have seen several specimens dated 1722 with backs cut from the same part of the tree, stained by a sap-mark on either side of the joint. We again find Stradivari returning to the use of this small-curl maple, of native growth, in violins dating from 1722 onwards. His pine is, as a rule, of fairly open and very even grain.

The varnish of this period is characterised in the greater number of cases by a less rich appearance; it is of drier texture, and somewhat sparsely laid on. There still remain to us some fine examples of 1721 and the following years, which, if not comparable with those of the preceding decade as regards beauty of wood and varnish, are in no way inferior to them in point of form and construction; indeed, some of the finest-toned instruments date from these years. The violin invariably played upon in public by Senior Sarasate is of the year 1724. Though unattractive in appearance, it captivates all hearers by its tone. The solo violin of Wilhelmj dates from the following year, 1725.

Of 1721 the example formerly in the possession of Lady Blunt is particularly remarkable for its fine state of preservation; that of M. Vormbaum is of equally high merit. Of 1723 we have the example owned by Mr. D. J. Partello. The year 1722 furnishes, amongst others, the fine specimen known as the "De Chaponay," owned by Mr. G. W. Mackenzie; that formerly in the Goding, Janze, and Camposelice Collections, later owned by Mr. T. W. Barnes, of New York; and that beautiful instrument known as the "Rode," which is, we believe, the last of the ornamented violins made by Stradivari. We may here appropriately add a few words about these inlaid specimens.

The inlaid "Rode" Strad

Click to enlarge.

The custom of elaborately ornamenting instruments was already dying out at the time of Gasparo da Salo and Maggini; in fact, its disappearance practically coincides with the disuse of the viol and the lute. When we arrive at the epoch of the Amatis- i.e. during the seventeenth century-it had ceased, we may say almost entirely, although it survived in the ornamentation of the fittings, such as the finger-boards, tail-pieces, pegs, and bridges.

The inlaid quartet of Strads
donated to the Smithsonian by Herbert Axelrod

Click to enlarge.

We have seen two violins, the work of Nicolo Amati, which were gracefully embellished with inlaid ornament: in one of them the ornamentation consisted of double purfling, and a fleur-de-lys inlaid in black at the corners of the back and belly, interspersed with small precious stones, while a design of similar character was let into the sides at the blocks.

Vuillaume, who purchased this violin at a sale held in London in 1855, made several copies of it, one of which was for some years in the hands of the late Mr. Pollitzer. In addition to these two violins, there exist a few Amati instruments ornamented with painted armorial bearings and inscriptions, but we very much doubt whether these decorations were carried out by the maker. Now, Stradivari, in making his inlaid instruments, clearly sought to demonstrate that, although the exquisite craftsmanship exhibited by the old viol and lute makers in the often admirable decoration of their productions with either carved or inlaid work, was a thing of the past, he could vie with them if called upon to do so. Certainly no decoration hitherto applied to the violin appeals so much to the eye or charms us so greatly by the lightness and simplicity of its design as that introduced by Stradivari.

We have often been asked if he was the designer and did this inlaid work himself. To this question we unhesitatingly answer, Yes. Various drawings from his pen, some of which will be found here reproduced (and, among them, those made for the ornamented instruments in question), still exist in the Dalla Valle Collection, and prove that Stradivari was an excellent draftsman. A more than ordinary interest is attached to the sketch of the arms of the Medici family; and we here have in Stradivari's own handwriting the statement: "Armi che hofatto per li istrumenti per Gran Principe di Toscana," which, we think, effectually proves that he was his own designer.

These arms, delicately cut out in mother-of-pearl, were inlaid in the finger-boards of the set of instruments made for Cosimo de Medici in 1690; the charming cupid design was for the tail-pieces. Of the set the "tenore" alone remains in its original state as left by the maker, and can be seen at the Musical Institute in Florence.

We get further confirmatory evidence of Stradivari's having executed these embellishments himself from the valuable writings of the Cremonese monk Arisi, who was an intimate friend of the master, and who, as Hart remarks, gained his knowledge of the facts from Stradivari himself. Arisi says: "His fame is unequalled as a maker of instruments of the finest qualities, and he has made many of extraordinary beauty, ornamented with small figures, flowers, fruits, arabesques, and gracefully inlaid fanciful ornaments, all in perfect drawing, which he sometimes paints in black or inlays with ebony and ivory, all of which are executed with the greatest skill, rendering them worthy of the exalted personages to whom they are intended to be presented."

How many of these inlaid instruments Stradivari made we know not. Probabilities point to there having been but few of them, and made only on exceptional occasions. They were destined for his most illustrious patrons, and the remuneration must have been in accordance with the time and pains bestowed upon such finished work. Stradivari states on the designs above mentioned that they served for the instruments made to the order of the Marquis Carbonelli of Mantua, but gives neither date nor information as to their number.

Hart gives the year 1687 as that in which Stradivari made the beautiful set of inlaid instruments for the Spanish Court; but, as we shall see hereafter, this statement is erroneous. If we again refer to Arisi, we learn that Stradivari made a concerto of instruments which he intended to present to Philip V of Spain on the occasion of the passage of that King through Cremona in 1702, for which event he had prepared a memorial; but he was dissuaded, adds Arisi, "the instruments are still in his possession." Now, it must be remembered that this interesting information was committed to paper by the worthy monk in 1720, showing that Stradivari had already retained them some years.

In the course of inquiries made both in Italy and Spain, we have been fortunate enough to obtain the subsequent history of the instruments which, we believe, formed this interesting concerto. It consisted of two violins, two violas (one a "tenore"), and a violoncello. They were still in Stradivari's possession at his death in 1737, and then passed to his son Francesco, who, dying in 1742, left them to his brother Paolo, by whom they were sold in the year 1775 to a priest of the name of Padre Brambilla, for the sum Of 125 giliati.

Padre Brambilla took them to Madrid, and there disposed of them to the Spanish Monarch, thus possibly (We say "possibly" because we have no conclusive proof of the fact. We believe, however, that this concerto of instruments is the identical set that Stradivari wished to present to King Philip.) fulfilling the maker's original intention with regard to their destination. The purchase was most probably due to the musical taste of the Infante Don Carlos, who played the violin. This Prince ascended the throne in 1788 as Charles IV. We learn furthermore that in 1776 Antonio, the son of Paolo Stradivari, at the instiga tion of Count Cozio de Salabue, tried to repurchase the instruments, but without success. We have ascertained these facts from the correspondence exchanged between Count Cozio, Paolo Stradivari, and his son Antonio.

At the above-mentioned period there was living in Madrid a priest, Dom Vicenzo Ascensio, who, besides his spiritual calling, seems to have had a strong passion for the art of fiddle-making, in virtue of which he enjoyed the patronage of the principal musicians of the Court. We were fortunate enough to meet, at Madrid, the gentleman who owns the account book so carefully and minutely kept by this priest, a perusal of which throws still further light on the history of the above-named instruments.

The following entries are not without interest:- "On March 5th, 1783, Don Cajetano Brunetti, custodian of the Royal instruments, brought me, by order of H.R.H. the Prince, a Stradivari violin of the year 1709, and requested me to improve the quality of the tone, which was bad" (sic). The worthy priest took the violin to pieces, and, after enumerating various more or less injudicious alterations, he adds, "If after this work the violin is not improved, I think it hopeless unless I put a new back and belly to it, but then one could not say it was by Antonio Stradivari."

Fortunately the necessity for such drastic treatment was averted, as he tells us that the tone was rendered excellent according to the opinion of Brunetti, Christobel, and Andreasi (Court musicians)-so much so that the first-named player entrusted him with the second violin of the quintet, to be treated in similar manner. The entry terminates as follows: "For this exact and extensive restoration, taking all circumstances into account, and seeing especially that the violins were intractable and unplayable, I consider the repairs to each worth 700 reals" (approximately £7 at that period).

Under the date July 17th we read: "Don Cajetano Brunetti gave me the key of the cases which contained the instruments of H.R.H., in order that I could see to anything they required." On August 6th: "I had the two large cases standing on feet brought to my house; one of them contained the Quintet of inlaid Stradivaris; the other, several violins, a tenor by Stainer, some bows and music, so that I could have them at hand and be able to arrange the instruments according to the desires of Sefior Brunetti. The smaller viola belonging to the Quintet I took to pieces, and replaced the bar. I also removed the parchment, which oppressed (sic) the tone of the instrument, from the sides, and thinned the neck." (Stradivari fixed parchment to the sides in order that they should not give: they were rendered a shade weak by the cutting for inlaying the design. This explanation is a general one ; it does not apply to this viola, as the design is painted on only, and is not inlaid.)

"The viola of large size I treated likewise. The violoncello, which is of very large proportions-larger than those Stradivari usually adopted, I wished to reform (sic) [by which the writer means cut it down], so that it might be of the same size as the one belonging to Brunetti. I also proposed to do the same to the large viola; but before carrying out these changes I determined to consult the wishes of H.R.H. the Prince. He, however, would not agree to it, and simply wished to have the instruments put into good playing order. I obeyed, and arranged the viola as already stated, and did as follows to the violoncello: I pieced the centre, replaced the bar by one adjusted to mathematical proportions based on that of Stradivari. I corrected the thicknesses, pieced the four corner-blocks, took the back off and inserted a piece in the centre, as it was too thin. I had to replace the neck, which I did in the most careful manner. I then adjusted the instrument, the tone of which was rendered excellent by all these changes. It took me three months to do, and I consider the repair worth 1,000 reals (approximately £10). . . . I restored the red velvet lining and repaired the case, which contained the five inlaid instruments; I arranged the niches and places for the bows, also the hinges, and put a blue ribbon to support the lid when open: 380 reals" (approximately £3 16s). Under date 1790 we find a further reference to the violoncello as follows: "I took to pieces the violoncello belonging to the Quintet, and mended a crack in the belly on the post side."

The Prince's decision not to allow either the tenor or the violoncello to be reduced in size was one for which he deserved the thanks of posterity; but alas! the fate of the violoncello was only deferred, as Ortega, the pupil and successor of Dom Vicenzo Ascensio, performed this ever-delicate operation in the most drastic and barbarous manner conceivable, and the instrument, ill-conditioned and uncared-for, a ruin of its former self, is to-day to be seen reclining against the wall of the organ-loft of the Chapel Royal at Madrid. The head alone remains to speak of its original grandeur. (Note: this paragraph was written 100 years ago, and is no longer true. MSJ)

As stated in our chapter on the number of existing Stradivari instruments, the large-sized tenor vanished at the dispersal of the Royal Collection. Whether it had been previously cut down or not we cannot say, but the probabilities are that it did not escape. Curiously enough, Stradivari does not appear to have made or finished this concerto of instruments at one and the same time, as the still-existing tenor is dated 1696, and the two violins 1709. The violoncello was certainly made at the same time as the tenor: its proportions and style are of pre-1700 date, and its original label also: but some vandal, probably Ortega, deliberately cut out Stradivari's figures, substituting 1709 in their place; the object of this being, apparently, to make the date agree with that of the violins which alone remained of the set.

Chapter Two, Part Two
Chapter Two, Part Four

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