Antonio Stradivari, his life and work (1644-1737) . nd medium width of curl, those inone piece of strongly marked though small curl, generally 44 STRADIVARIS VIOLINS placed in a direction slantin^r from right to left. TheHellier and the instrument known as the SpanishStradivari, dated 1679 and 168; respectively, have backsof broad curl in one piece; the latter is exceptionally handsome, andboth arc of woodof foreign, o n -1 t a 1 i a n,growth. In the workpublished by us,Giovanni PaoloMaggini: hisLife and Work,we record ourbelief that Strad-ivari was in-fluenced in theconception ofthe long
Antonio Stradivari, his life and work (1644-1737) . nd medium width of curl, those inone piece of strongly marked though small curl, generally 44 STRADIVARIS VIOLINS placed in a direction slantin^r from right to left. TheHellier and the instrument known as the SpanishStradivari, dated 1679 and 168; respectively, have backsof broad curl in one piece; the latter is exceptionally handsome, andboth arc of woodof foreign, o n -1 t a 1 i a n,growth. In the workpublished by us,Giovanni PaoloMaggini: hisLife and Work,we record ourbelief that Strad-ivari was in-fluenced in theconception ofthe long-patterninstrument byMagginis vio-lins ; and themore carefullyand critically weexamine theviolins of the1690 decade, themore evidence do we find in support of our views. Amongthe various relics from Stradivaris workshop purchased byCount Cozio from Stradivaris son Paolo, and of which wetreat fully in Chapter VIII., there are no fewer thannmeteen forms or moulds used by the maker for the con-struction of the sides. Several of them were made for the. Fig. 16—Edge, Purfling, and Sound-hole of theExample KNOWN as the Tuscan, made in 1690. MAGGINI INFLUENCE AND THE LONG STRAD 45 long-pattern instruments, and one bears the inscription, A. D. L 9. Novembre, 1691, and the letters S. L., which,possibly, as suggested by Mr. E. J. Payne, may meanStretto lungo.* If so, this would show that the termlong form comes to us from the master himself. Asecond mould of this form is dated 1692. Now, were itnot for our own observations, we should assume that thesedated moulds marked the exact date of the commencementof this interesting type of violin ; but such cannot be thecase, as we had in our possession some few years ago anexample dated 1690 in Stradivaris original figures. Noneanterior to that date have ever been seen by us, so we maytake it that the year in question is most probably that of their birth. A slight study of the different dimensions which Stradi-vari vvorked out between 1690 and
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