Antonio Stradivari, his life and work (1644-1737) . previously mentioned, the mouldsnumber nineteen, of which sixteen arefor violins and three for violas ; thoserequired for viols and violoncellos are not extant. Several have Stradivaris writing or markings on them—the date when constructed, and letters such as S., L. or B., the object of which seems to have been to identify the patterns belonging to a given form, all of which were similarly lettered. Others bear remarks written on them by the Count—as, for instance, the mould dated 1692, on which he records that it was utilised b
Antonio Stradivari, his life and work (1644-1737) . previously mentioned, the mouldsnumber nineteen, of which sixteen arefor violins and three for violas ; thoserequired for viols and violoncellos are not extant. Several have Stradivaris writing or markings on them—the date when constructed, and letters such as S., L. or B., the object of which seems to have been to identify the patterns belonging to a given form, all of which were similarly lettered. Others bear remarks written on them by the Count—as, for instance, the mould dated 1692, on which he records that it was utilised by Stradivari when in his ninety-second year to make a violin; also on the mould dated 1705 the Count writes: forma grande. Two of the tenor moulds bear Stradivaris interesting statement—ha posta per il Gran Principe di Toscana,*that they were constructed expressly for the * Stradivaris orthography, as will be noted in thefacsimile of this and of other specimens of his hand-writing, was very imperfect. Figs. 52-51;.—Designs for the Fig. 54
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