Antonio Stradivari

“ And here attention may perhaps be appropriately drawn in these pages to what has been asserted by a few, very few, dealers and others, whose general intelligence should have been a guarantee against the dissemination of utter nonsense and which has even been in print! that—just think of this—Antonio Stradivari, the acknowledged master liutaro of Cremona in his own day, and of whose growing fame no one can foretell the limits—actually imitated wear and tear of varnish on his violins. ”

“ Undoubtedly, it was this progressive condition of the music of the period that induced Stradivari, early in his career, if not at the time he was with Nicolo Amati, to take up the study of tone calibre as a matter of essential importance, in order not only to keep pace with the times, but if possible, anticipate further advances in musical development.
It was daily becoming more evident that the qualities of refinement and sympathy would not in themselves be sufficient in an instrument with such a future as the violin seemed to have. ”

“ We may now retrace our steps for awhile and take up another thread of the fabric of Stradivari's individuality, that which is in fact by dealers ignored and by players adored. There can be no question that during his minority under the great Amati, young Antonio must have been much interested in his master's fame for imparting a fine quality of tone to his instruments. It must soon have been apparent to him that success in his career would not be achieved by progress in the artistic part of his work alone. ”

“ In those of Stradivari is to be seen the same firmness of purpose and strict curbing of the fancy from proceeding too far, or allowing stability to be over balanced by love of gracefulness, as seen in the designs of his eminent master. To allow no weak part to be perceptible; strength of line with sufficient grace, admirable proportion and balance, and yet withal sufficient expression of mobility and freedom from heaviness were each, seemingly in turn, given the best attention by the great genius of Cremona. ”

“ Much has been said of the wonderful accuracy of Stradivari's purfling and that as a purfler he stands unrivalled. This must not be taken in the widest sense, as there have been, and are living, scores and scores of makers who have cut a rut round the border of a fiddle as sharply, and inserted the three conventional lines of dark and light wood as deftly as it could be by the hand of any man, be he named Amati, Stradivari, Ruggieri, Tononi, or Montagnana. There is a degree of evenness and keenness of cutting and clean insertion beyond which it is not possible to go. ”

“ Afterwards, the change—and if all the works of these later years could be seen, saved from the destructive ravages of time and wear, it would be pronounced scarcely perceptible in its progressive degrees—came creeping on, old age gradually insinuating itself in the mechanical part of the design.
From 1725 to 1737 was a time forming a proportion of Stradivari's career during which, if he arouses less enthusiasm among his admirers for the "work of hand," he outbalances it by far in exciting our astonishment at the man himself. ”

“ Among the Venetian makers there does not seem to be one that can—from his style and workmanship—be picked out as showing all necessary evidence of his having qualified under the great Cremonese as a personal pupil. Nevertheless there is much indication, and such as cannot be passed over, of the influence of Stradivari among the aristocracy of the business there. ”

“ But if there ever was an instance in which this motto could with strictest appropriateness be applied, it was the work of Stradivari. Most if not all of the known masters have at times shown by some little accident or other, their method of working, thus, notwithstanding the [11] extremely careful and finished work of the Amati family, there is occasionally to be seen some unobliterated signs—truly very slight—of their having traced their pattern on the wood for either the sound holes or the turns of the scroll. ”

“ The very beautiful subdivisions and subtleties of the curves in pattern and modelling began to disappear and the purfling became bolder. Young Stradivari, when working on some of his master's violins, seems to have been allowed to do some of this, probably with the material given out by old Nicolas. The work of the young man may be known by its greater decision, such as would be reasonably expected; but after leaving the Amati household the natural bent towards exceeding refinement soon asserted itself. ”

“ If we glance over the Italian schools taken one after another, [65] the facts, if acknowledged, will be seen to point in other directions. Taking for instance the Milanese master, Lorenzo Guadagnini, who tells us himself that he learnt his art under Antonio Stradivari, we find distinct traces of it in his tone, the general calibre is the same and most of the fine, distinguishing features noticed in the tone produced by his master; the difference, however, is that which is peculiar to the master makers of Milan, that of a slightly less reedy emission of sound. ”

“ There is frequently among musicians a disposition to set down as inferior any tone that may seem to differ in degree or kind with that of Stradivari; that is the ideal type, it must be Stradivari and no other; some have even gone so far as to say, "there is only one quality," that of Stradivari, and when other masters did not produce it, they were unable to do so; this is more than a hint at condemnation of the head of the Cremona school as having been very lax in the proper and thoughtful training of his number of pupils ”

“ It may be fairly taken as certain that if there was any master having at command all the necessaries for turning out musical instruments of matchless superiority, both as to acoustical and artistic qualities, it was Stradivari, and many connoisseurs would expect to find nothing but maple used of the richest curl, and that would throw up with delightful effect the lustrous varnish so carefully laid upon it ”

“ People sometimes speak of these instruments as being "Amatisé," which is great nonsense; had Stradivari died somewhere between 1680 and 1690, they would have been rapturous in their admiration of his originality and widely separated ideas from those of the Amati, but as he lived many years on and gave forth many more manifestations of his own individuality, the likeness of these 1680 and 1690 to old Nicolas is eagerly searched for and often supposed to be evident. It was at this time that Stradivari probably made more new moulds or blocks on which to construct, than at any other. ”

“ These little differences in accuracy of unimportant detail or accidents of work may be taken as evidence that Stradivari was labouring day by day to meet the requirements of patrons different in disposition and perhaps patience. When at the same period he has been allowed to put his full time and attention to his work, then we find the four corners of equal unsurpassable finish, and other minute details over the whole structure so intently studied that nothing could possibly go beyond. ”

“ It has before been referred to that the sons of Stradivari worked with him for many years. They must have, from continual practice, been able to fit their own workmanship on to the designs of their father to a nicety that could not be surpassed. Their own individual designs are very seldom seen, consequent, no doubt, on so much of their time being devoted to helping their father, and until his death they must have rarely made on their own account. ”

“ The foregoing is perhaps enough to indicate whether or not the secret of Stradivari, or indeed any of the other Italian masters, great or small, had been discovered by caliper measurement. It is strange that the impression has held sway so strongly that the genius of the great [54] master lay in his manner of distribution of the thick and thin parts of the upper and lower table. ”

“ Its paternal name was Stradivari, people trouble themselves very little about the prefix Antonio, common enough in Italy, and which was the Christian name given him by his parents. Of these we can only say, that as might be supposed, they were of a respectable portion of the middle class socially considered and from which have sprung all over the [2] world—with few exceptions—the greatest luminaries of the whole firmament of intellect. ”

“ On comparing it with the different patterns of bridges that had been issued by the previous masters of Cremona, it will be seen at once that the master mind of Stradivari had effected improvements that have their counterpart in the designs of his violin patterns. We may notice the successful efforts at stability with simplicity, just enough of detail that would lend itself in completing the harmony of the whole design, while dispensing with every unnecessary angle or curve. ”

“ Cremona so long is not known, but one thing is certain, that patrons royal, illustrious, of high social standing and refined tastes, wanted the newly made violins of Stradivari that could never have been played upon, almost in the absolute sense of the term, while they could have easily obtained well seasoned, well tried instruments of makers who had lived long before. Here is "a nut to crack" for those who persistently assert the necessity and efficacy of age and use to bring tone to maturity. ”

“ We have within a mile of Charing Cross no lack of workmen capable of gauging and copying with sufficient exactness the thicknesses of any Stradivari brought to them, if that were all, or the principal means necessary for reproducing the famous qualities of the great Cremonese. It seems to be forgotten that hundreds of clever workmen have lived since his time, in his own as well as other countries, who have given the most assiduous application to the making of exact copies and with a like result—that of total failure. ”

“ There is not, as we may see in the works of other masters, that off-handed, or even slovenly want of finish inside while the whole attention of the maker has been concentrated on the exterior. With Stradivari all is well done, the blocks, end and corner ones are carefully faced and have little, if any can be seen, of the tool marks left upon them. The linings let into the corners are in every instance done with minute exactness. ”

“ Here is evidence of there being something in a name. Had these instruments been carefully and properly analysed, with a strict regard to the habit of the master in respect of intention in design and execution at early and later periods, the mistake would not have occurred. The conclusions rushed at seem to have been that there was the proper age of the instrument, the varnish was of fine Cremonese type, the pattern and sound holes thought to be "Straddy," therefore it must be a Stradivari. ”

“ Stradivari, who had now acquired—at the period 1680-90—a standing as an acknowledged master of his craft, showed in his handiwork a decided leaning in consonance with this, as—excepting these "inlaid Strads"—he carefully refrained from introducing any of the little tricks, or fanciful alteration of details, that so many, even of his own countrymen, seem to have been led to affix to their productions. After all, the "inlaid Strads" were probably so made, not at their maker's suggestion, but by desire of the patrons holding a high social position. ”

“ Stradivari from the first made his sound holes more perpendicular than those of his master; after leaving him, they also became more slender and the upper and lower wings wider and closer to the opposing curve. The precision and sharpness of the cutting of these parts has become the standard of excellence to which hundreds of Stradivari's imitators of different countries and times have striven to attain. ”

“ The impossibility hitherto of imparting the requisite identical expression, notwithstanding the most careful examination and tracing, constantly adds force to an old saying among dealers that "to make a perfectly successful imitation of Stradivari he must be a Stradivari himself." In this view it is obvious that a maker having the sure consciousness of possessing the power of the master would no longer make tracings of him, but bring out his own originals. ”

“ In summing up what could have been done by other hands than those of the busy master, it would be extremely difficult, if not impossible, unless we admit its presence, to account for the extremely large output of the great Cremonese, even when taking fully into the balance his very industrious habits and extraordinary long working career. Assuming the above view to be reasonable, the number of new instruments which left the Stradivari house must have been very large. ”

“ Nicolas was sufficiently wide awake not to take it, but left it for his hosts of imitators, many of whom, not gifted with the same perspicuity, "rushed in where angels fear to tread," their just reward being laughter and derision. The attainment of elegance at the expense of strength and stability was not at all in agreement with Stradivari's artistic tastes, and we accordingly have no evidence of his having touched the so-called "Grand Amati;" ”

“ It is not at present known whether the sons of Stradivari had pupils or assistants, the rarity of their work seems to point to the contrary; their father having been so successful from the commercial point of view, apart from the higher aspect of his career, there may have been—we might say—the usual disposition amongst sons of successful fathers to take life more easily and repose among the laurels won for them, requiring only a little caretaking. ”