Antonio Stradivari, his life and work (1644-1737) . not perfect; yet it differs in form, dimensions, model,sound-holes, edges, and varnish. To the casual observerit would be taken for the Salabues brother, as itpresents a close resemblance, whether as regards theback, which is in two pieces, the wood, which is similarlyfigured, or the varnish, which, though of thicker textureand somewhat deeper colour, has the same bright,unworn surface. In the Cessol, the third fine instrument of the year,we have a superb example in every respect, and quite ofthe character we should expect. Its structure is f
Antonio Stradivari, his life and work (1644-1737) . not perfect; yet it differs in form, dimensions, model,sound-holes, edges, and varnish. To the casual observerit would be taken for the Salabues brother, as itpresents a close resemblance, whether as regards theback, which is in two pieces, the wood, which is similarlyfigured, or the varnish, which, though of thicker textureand somewhat deeper colour, has the same bright,unworn surface. In the Cessol, the third fine instrument of the year,we have a superb example in every respect, and quite ofthe character we should expect. Its structure is foundedmore on the lines of the Dolphin than of the Alard :the wood is cut from the same tree, and the varnish is ofan unsurpassable plum-red colour. In contemplating thisspecimen, we are reminded of what Charles Reade saysin his third letter to the Pa// Ma// Gazette, published in1874: When a red Stradivari violin is made of softvelvety wood, and the varnish is just half worn off the* See The Salabue Stradivari, London, 1891. 68 STRADIVARIS VIOLINS. back in a rough triangular form, that produces a certairbeauty of hght and shade which is, in my opinion, thenc plus ultra Hart connects this expression of opiniorwith the Dolphin violin, but we venture to assert that it applies in a stillmore markeddegree to theCessol. Neither of theviolins referredto of the years1717-18 showsany further de-\elopment ofform or work-manship. TheSasserno is ofthe Dolphin outline and type,the Maurin oftheAlardtype;both instru-ments, though,are of lighterconstruction inmost of theirdetails thanthose of the pre-1716 years; the sound-holes are especially neat, closelycut, and set well upright. These general remarks applyto most of the specimens of the preceding and followingyears. The example dated 1717, which was in thepossession of the late Mr. Orchar, of Dundee, until hisdeath in 1898, bears a closer resemblance to the Parke Fig. 22.—Edge, Purfling, and Sound-hole of theExample known as the Messie, m
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