Antonio Stradivari, his life and work (1644-1737) . bothmethods of forming the figures. 2.—The label dated 1717 has an inked line above theinscription, caused, we think, by the inking ofthe box which contained the type; we havenoted this on several occasions. It will also beseen that the letters, when compared with thelabel dated 1699, ai*c coarser. * We have met with one exception, that in which a violin, dated1727, bore the last type of label. POINTS WORTHY OF NOTE 233 3.—The label of 1719 is interesting as showing thatthe master repaired instruments. He states that he made the belly. (Sec a
Antonio Stradivari, his life and work (1644-1737) . bothmethods of forming the figures. 2.—The label dated 1717 has an inked line above theinscription, caused, we think, by the inking ofthe box which contained the type; we havenoted this on several occasions. It will also beseen that the letters, when compared with thelabel dated 1699, ai*c coarser. * We have met with one exception, that in which a violin, dated1727, bore the last type of label. POINTS WORTHY OF NOTE 233 3.—The label of 1719 is interesting as showing thatthe master repaired instruments. He states that he made the belly. (Sec also the manuscript label.) 4. The explanation of the writing on the labels dated 1732-36 and 1737 will be found at the end ofChapter II. 5. —The Francesco Stradivari, label comes to us fromthe Marquis Dalla Valle. It was most probablytaken from one of the two violins purchased byCount Cozio in 1775 from Paolo Stradivari.* ^ See the Counts letter, The Salabiie Stradivari, London, 1891. CHAPTER X. The Number of Instruments made by O point in connection with Stradivari requireselucidation more than the question resardinethe number of instruments he made duringhis Hfetime. We have met with very fewpersons who possess an approximately correct idea on thesubject. The prevailing belief is that the total numberof his works still existing is comparatively small, andthat consequently many instruments which are passing ashis productions were never touched by the hand of theimmortal master. That a certain number of instrumentsthus sail under false colours is undoubtedly true, butwe venture to assert that this number is far smaller thanis generally supposed. We take for granted that any-body who has mastered the rudiments of violin literatureunderstands that the hundreds, nay thousands, of instru-ments bearing a facsimile (though never a correct one)of Stradivaris label in the interior do not pass in theworld as original. Here of course we refer to old instru-ments for th
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