Antonio Stradivari, his life and work (1644-1737) . century) were often entrusted with in-struments for the purpose of having the necks lengthened,according to the fasJiion prevailing in Paris. Stradivaris violin finger-boards were ofseveral different lengths. The shortestappears to have measured j\ inches, widthat top ijg, at bottom \\\ in another wefind the length increased to 7I inches(this pattern is dated 1685), and a third,dated 1715, on which the maker wrotelonger and broader, is 8J inches longby i^^jj^and \\\ wide. The modern finger-board measures approximately io\ inchesby I and if. S
Antonio Stradivari, his life and work (1644-1737) . century) were often entrusted with in-struments for the purpose of having the necks lengthened,according to the fasJiion prevailing in Paris. Stradivaris violin finger-boards were ofseveral different lengths. The shortestappears to have measured j\ inches, widthat top ijg, at bottom \\\ in another wefind the length increased to 7I inches(this pattern is dated 1685), and a third,dated 1715, on which the maker wrotelonger and broader, is 8J inches longby i^^jj^and \\\ wide. The modern finger-board measures approximately io\ inchesby I and if. Stradivaris were generallymade from odd pieces of maple, cuttingsfrom the slabs used for the backs; in somecases the top was veneered in ebony or anItalian wood. At times Stradivari inlaida line of purfling or stringing composed ofivory and ebony along the edge, or inlaidthe whole surface with a design in the case of special instruments, such asthe Tuscan set, in addition to the ivory and ebony lines,* Biographical Notices, Milan, Fig. SC-AN Original Peg,as used by theMaster. 214 STRADIVARIS CONSTRUCTION he inlaid the Medici arms, dcHcately executed in mother-of-pearl. The tail-pieces were made of similar material tothat of the finger-boards, and invariably matched these asregards inlaying, etc. Stradivaris bridges were of various designs, but thesame spirit pervades them all. They also appear to havebeen made from the odd cuttings of the backs, and were alittle thinner and lower than those of to-day, as well asmore open in design. Our modern tendency to leavemore substance in the bridge has been rendered necessaryby the increased strain put upon it sincethe time of Stradivari; otherwise it remainspractically unaltered (figs. 52-55). Before concluding this chapter we willdevote a few words to the unique collectionof relics from Stradivaris workshop whichhave, thanks to the intelligent enthusiasmof Count Cozio di Salabue, fortunately beenpreserved to us. Of mec
Size: 951px × 2629px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondonmacmillanand
