DETAILS OF FURTHER IMPROVEMENTS UPON HIS NEW DESIGNS--MODIFICATION
OF THE SOUND HOLES--THE AMATI VARNISH AND STRADIVARI'S--HIS SECRECY
OF METHOD IN WORKING--HIS KNOWLEDGE OF WHAT WAS WANTED, AND EFFORTS
AT ADVANCE IN TONE QUALITY.
Leaving the consideration in general of the designs of Stradivari's
early days, that is, for such a long life, we may look over some of the
details. It is well known to connoisseurs that the handiwork of Nicolas
Amati was during his best days of the utmost delicacy; in his later work
we notice an approach to heaviness in some respects. 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. The
purfling, particularly after some years, is narrower, and inserted with
a precision and ease in its course impossible to excel, even if
approachable. The mitring at the corners ends in a bent point in the
manner introduced by Hieronymus Amati and not, as has been stated, by
Stradivari; the latter carried out the ideas of Nicolas in making it
very sharp and this mannerism he continued throughout the whole of his
career.
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. It is, perhaps, in
these parts of the different instruments--for Stradivari soon got to
work on all the four sizes, besides other kinds not played with the
bow--that his fine nervous system manifests itself, the sureness of his
knife when passing along from one point to another leaving an edge
upright and clean as cut glass, yet with a free grace of line never
excelled by any master of the renaissance period.
Of the parts the young assistant of Nicolas Amati was allowed to put his
individuality to, conspicuously stands the scroll. The one typical of
Nicolas's later days, although free and elegant, yet had a somewhat
heavier touch about it, possibly the master was gradually losing his
muscular power, more necessary to exert in this matter of detail than
any other. Stradivari began his own type by bringing the first turn from
the axis or "eye" a little higher up than that of his master; the axis
itself is a trifle larger and flatter, the edges of the turns are
squared off with a machine-like exactness that does not interfere with
the ease and flow of line. The peg box is strong and ample, after a few
years it became massive, more so occasionally than is to be met with at
any other time, the grooves down the back are not so deep, the
termination or shell likewise and a little wider.
That Nicolas Amati would by any possibility neglect to duly initiate his
favourite pupil in the mysteries and secrecies whereby his work should
receive its final crowning adornment, its envelopment in the thin film
of glory, is not to be thought of. The lustrous solution that was so
fitting an accompaniment to the dainty designs of the Amatis, was from
the first handled with a masterly dexterity and perfect knowledge by
Stradivari. Most of the early work is covered with the orange or amber
colour that were the prevailing tints on the early productions of the
brothers Amati as well as Nicolas. It is somewhat curious that most of
the prominent varnishers among the liutaros of Italy seemed to prefer
this in their early days: or was it that the deeper or more intense
colours required longer experience in management? Anyhow, so it was, and
Stradivari seems to have been no exception to the general rule. If a
well preserved early Stradivari is placed side by side with one of "the
brothers" or Nicolas Amati's amber coloured specimens, the varnish
enveloping them will be seen to be precisely alike, whether considered
in respect of transparency, consistency or thickness. Here is art
indication that for the best part of a century, these clever artificers
of Cremona had the same stuff, used it in precisely the same manner, to
a hair's breadth, for they knew there was no going beyond it; every part
of the process was methodically carried out in compliance with certain
laws known to, or instituted by, previous masters. There is an old Latin
motto implying that "the perfection of art is to conceal art";--it it
has often been quoted in illustrative reference, sometimes with sly
humour, at others in most serious vein, for instance, when an eminent
judge's judicial wig was known to have beneath it another of equally
natural pretentions, and when quoted as the motto for the year in a
Royal Academy catalogue, to be interpreted by the noble army of
"rejected outsiders" as meaning extra efforts that year by the Council
at concealment or suppression of art that was superior to their own.
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
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. Stradivari left no evidence of this, nor are
any distinct traces left inside or out that would betray the manner,
kind of tool, or direction of working. Further, in most beautiful
specimens by the "brothers Amati," besides other great varnishers, some
faint indications have been seen of imperfectly dissolved resin, but not
so with Stradivari, who carried out to the letter in this department of
his art, that steadfastness of purpose in striving to do in the best
way, that which his judgment had pronounced to be the best thing to
accomplish. He further carried this out afterwards in the application of
the deeper coloured, and usually softer, varnishes, which when
manipulated by other masters of the same school, have frizzled or
cockled from some cause. This is seldom if at all to be observed in any
of Stradivari's work, he seems to have taken every possible precaution
for preventing change in aspect after the instrument had received his
final touches.
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. The critics of the day, who must have been
sufficiently numerous and exacting in accordance with the advanced state
of the art, would naturally be alive to any subtleties of difference
between the productions of the reigning king of liutaros and his
successor. The onward progress of musical composition and increase in
the numbers of public performers, virtuosi, and others, demanded from
an artificer taking this position, at least equal skill in producing
those essential qualities for which the city of Cremona had become
famous. Old master and young man probably had many a talk over what was
best to be done to keep pace with the increasing requirements of the
moment, and the time approaching when the hand of the former in the
course of nature would lose its cunning. The hour came, the man was
ready. Stradivari started forth from his master's house with full
confidence in having a true and good grasp of the wants of the moment
and those looming in the future. In the good patronage which soon came
to him, was contained the assurance that his estimate, although formed
so early, was perfectly correct; thenceforward he saw no reason for
alteration in the type of acoustical quality that distinguishes all of
his instruments, and that which he had once for all fixed upon.
Briefly the acoustical quality of his instruments may be described as a
further development of the tone brought to such a high degree of
excellence by the great Amati; an increase in the volume and energy,
with more equality of scale, while retaining all the other qualities
that had caused players and listeners alike to be delighted, and which
had given such renown to the great family of liutaros in Cremona.