Antonio Stradivari, his life and work (1644-1737) . hing—even to bridge, pegs and tail-piece— for a given instrument, andthen further embellishing theseC_ ^^ fittings with painted or inlaiddesigns. He also turned hisattention to the cases intendedfor the reception of his instru-ments, and carried his fervourto the point of making sketchesfor the locks and hinges ( and 57). Nothing apparentlywas too unimportant for hisattention, and the recognitionof this veritable passion toleave nothing undone to ensurethe success of the whole, throwsa flood of light on his lifelongwork. Among other pa
Antonio Stradivari, his life and work (1644-1737) . hing—even to bridge, pegs and tail-piece— for a given instrument, andthen further embellishing theseC_ ^^ fittings with painted or inlaiddesigns. He also turned hisattention to the cases intendedfor the reception of his instru-ments, and carried his fervourto the point of making sketchesfor the locks and hinges ( and 57). Nothing apparentlywas too unimportant for hisattention, and the recognitionof this veritable passion toleave nothing undone to ensurethe success of the whole, throwsa flood of light on his lifelongwork. Among other patterns wehave those of a viol-da-gambawith five strings (small piecesof the strings used are pre-served) * made in 1684 for theCountess Christina Visconti; also the patterns of twovioloncello heads respectively inscribed as that made in1707 for the aforesaid lady, and as a Violoncello daVenezia, 1707. There are numerous drawings for differenttypes of bridges destined to the various instruments, a^ No doubt to preserve the sizes for future Fig. 57. Designs for Case-Hinge or Lock-Plate. DESIGNS FOR BOWS 217 hJ > <H oio ^ o PQ 00 selection from which is given in our illus-trations. For the sound-holes there arealso many designs, all most carefully cutout in paper. Among them is a repro-duction of the two sound-holes of anAmati violin cut out on a thin plate ofcopper. Count Cozio states that it cameto him with the Stradivari tools, etc. We also find in the collection the com-plete designs for a viol damore of twelvestrings made in 1716 ; it is of the usualtype of viol more generally met with—flaming-sword sound-holes, etc. It doesnot appear to have been inlaid, nor doesStradivari make any remark as to itshaving been specially executed for anygrandee. We have already spoken of the designsfor the various inlaid instruments—onwhich Stradivari wrote: Qui dentroquesti designi che sono qui dentro sforatisono quelli che se fatto al ILI^^ Carbonelli di Mant
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