THE “BALFOUR” S T R A 0 IS EXHIBITED IN CASE N O . 955 AVENUE BRIDGE.

GLASGOW EXHIBITION, 1901.

COPYRIGHT. W $ Y P

hat are the

O those of our readers who have not had the advantage of being able to see and examine many Violins by the great ANTONIO STRADIVARI (1644-1737), who during his long life is estimated to have turned out over 2,000 instruments, by far the greater part being Violins ; or who, perhaps, have never even seen a single STRAD, the answer to the above question will be of great interest.

W e do not essay to go into the minutest details-to do Justice to which would require a volume-but we will confine ourselves to the broad marks which will apply to every L ‘ STRAD ’’ Violin, and in order to be practical we take the STRADIVARI Violin associated with our name in the July number of The Stvnd, 1901, as a very fine example, actual photographs (copyright) of which-three views, back, front and side, giving many details-may be had from us at the practically cost price of 5/= the set, post free, with the object: that the broad distinguishing points

of every I L STRAD ” which we shall now set down may be before you, in so far as actual and perfect photo- graphs of a perfect STRAD ” can produce them. An amateur photographer of 25 years, and violin expert, has declared the photographs to be the finest he has ever seen of a violin.

The points to which we beg to direct your attention in any fine Violin are model, workmanship, material, scroll, f hole, purfling, interior work, varnish and tone-and ANTONIO STRADIVARI’S works stand pre-eminent on each of these nine points. The last-tone-cannot in any way be produced in a photograph, therefore we speak of it first, and will discuss it briefly in quoting Dr. JOACHIM’S words :-

TONE,-“ While the Violins of MAGGINI are remarkable for volume of tone, and those of AMATI for “ liquidity, none of the celebrated makers exhibit the union of sweetness and power in so pre- L ‘ eminent a degree as GUISEPPE GUARNERI (del Jesu) and ANTONIO STRADIVARI. If I am to

express my own feeling I must pronounce for the latter as my chosen favourite. I t is true that in brilliancy and clearness, and even in liquidity, GUARNERI, in his best instruments, is not sur-

‘‘ passed ; but what appears to me peculiar to the tone of STRADIVARI is a more unlimited ‘‘ capacity for expressing the most varied accents of feeling.”

W e ourselves would add a word : MAGGINI’S Violins give rather a cold, solemn tone ; DEL JESU Violins have more warmth and fire ; while STRADIVARI’S having, broadly speaking, rather less fire than in

Written and Published by the Authors, BALFOUR & Co., Violin Experts, 11, ROOD LANE, LONDON, E.C. 4+

some few of DEL JESU’S finest Violins, yet have a more equal and balanced tone, DEL JESU Violins thus suit the more impulsive and impatient temperaments of some virtuosi.

VARNISH.-Putting tone on one side, what are the points of the varnish of STRADIVARI ? A photo- graph can show that it has been well laid on, i.e., not put on badly, thick, or clotted, as is to be seen, for instance, in many of the violins of CARLO BERGONZI. The other qualities of STRADIVARI’S varnish are elasticity, (i.e., not cracking or chipping, but wearing off gradually), softness, transparency and colours- yellow and yellow amber, when under NICHOLAS AMATI and his influence, i.e., to about 1680, then light yellow amber, rich warm golden and light amber red-which is the colour of our fine example ; these colours used before and about 1690. Subsequently STRADIVARI used a lustrous and thicker red varnish, hence the

STRADS ” called ‘ I RED STRADS,’~ which, in his later works, he used almost exclusively, and which in a photo would naturally corne out darker-The Emperor or Gillot STRAD (Hart) 1715, was a red STRAD,” and lastly, after, say, 1725, we get a red brown. On a STRAD,” then, we expect to find the finest trans- parent varnish, laid on in a perfect manner, and of a colour agreeing with its date-and these points we find in our example, 1692. A characteristic feature of the earlier STRADIVARI varnish was the way the first coats, or primings, sank deeply into the wood-a temporary defect of STRADIVARI’S early varnish which age has remedied. STRADIVARI, aftei- 1692, corrected this-to us, happy-fault. This trait may be seen on the examination of the interior of an early STRAD. The transparency of the colouring matter used in the varnish may be easily proved by a glance at our photographs, the figure of the woods used, which a more opaque varnish would conceal, being distinctly visible. A chemist expert is of the opinion that STRADIVARI laid on his varnish in a series of a great many very thin coatings, allowing each coat time to dry-which it would quickly do under the sunny Italian sky.

MODEL.-About 1680, STRADIVARI took his master, NICOLA AMATI’S small pattern, known as 6Lsmall Amati’s,” which he, by subtle alterations, transformed. The model was high, but never so high as the 6 6 Grand Amati’s,’’ with most beautiful rounded curves, and varnish of a light yellow and golden colour. Now if we compare an early example with a STRAD of 1715 or later, we must not be startled to see two instruments at first sight absolutely different, With a change of model from rounded curves to a larger and more flattened and squarer looking model, and a change of colour from yellow or golden to rich red or red brown, one might Eaturally think the instruments were the work of two different makers, but if both be examined as tof hole and scroll, these two points would be sufficient to the expert to prove them to be by the same hand-STRADIVARI.

MATERIAL.-STRADIVARI, following the early Cremonese traditions, used $jinell/ reeded pine for his front plates ; later makers, such as the GUADAGNINIS, noted for their handsome wood, used a wider reed, The figure and grain of wood in back, front and ribs can be seen most beautifully brought out in the photographs, and are thoroughly typical of STRADIVARI selection. The back and ribs ln our example are of finely marked sycamore ; the front, of reeded pine ; the scroll of sycamore matches the ribs perfectly.

PURFLING AND WORKMANSHIP.-Up to about 1690 STRADIVARI’S purfling was narrower, and more delicate in appearance than in our specimen (1692), which is broader. STRADIVARI is well known to have altered this feature and used a broader purfling at about this date. As can be seen from the photographs, the workmanship is very fine, and by the aid of a glass the finish of the workmanship where the purfling comes to a point in the corners, called the Bees Sting, is worth careful scrutiny, as even the grain of the white wood of ;he middle of the triple strands can be seen distinctly through a glass, showing how truly the purfling has been laid. While mentioning purfling we may compare it with the interior work.

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Written and Published by the Authors, BALFOUR & Co., Violin Experts, II , ROOD LANE, LONDON, E.C.

Jiolins thus

A photo- to be seen, Tarnish are 1 colours- ight yellow ?se colours hence the which in a " STRAD,"

lest trans- : points we %y the first which age le seen on .sed in the ich a more ;TRADIVARI

-which it

as small igh as the en colour. :o see two :o a larger ich red or if both be 1 to be by

pine for 1 a wider ht out in : example perfectly.

and more n to have tographs, ! purfling Lin of the low truly

INTERIOR WORK, & G . - ~ T R A D I V A R I

used willow for his corner, top and end block, and linings, and the linings are dovetziled into the corner blocks with such wonderful accuracy and finish that they show as fine a finish as the purfling does on the exterior! ! and, from the point of view of an ex- ample of workmanship, it is a pity the blocks and linings are covered up from view. W e give an exact illus- tration of this, taken from our ex- ample. Also notice the little wooden pins of the back, visible in the photo- graphs, cut through top and bottom by the purfling ; these cut through pins are almost always found in

STRAD" Violins-other fine makers

leave the little pinslower, often larger, and more apparent. The workman- shipis of the highest orderthroughout; for instance, in our unique example the holes for the pegs are cut so ac- c'urately that kach string goes on to its peg, clearing the other strings, and not grindmg against each other. Also another small feature, probably intro- duced by STRADIVARI, is the blacking of the edges of the scroll, peg box and edges where ribs join each other. STRADIVARI was one of the first to do this. On our example, the remains of the blacking is to be seen on the edges of the peg box near the throat, and beneath the front of the scroll.

View showing Interior Work of Stradwari Violin, 1692.

SOUND HOLE AND SCROLL.-We now corne to our last two points, which, after the Varnish-now, alas, a lost Art-are the two most distinguishing points to an expert for fixing a Violin definitely as a '' STRAD." This f hole was developed by STRADIVARI from the f hole to be seen in his master's masterpieces-the celebrated grand AMATIS. STRADIVARI left the very high grand AMATI mojel severely alone, but the ,f hole he took, developed and cut in a way such as only he could do, Evidently of full set artistic purpose, ,

STRADIVARI often cut one of the f holes very slightly in a lower position than the other, avoiding the set

inartistic design of a factory-made fiddle. These f holes (excepting STRADIVARI'S very early work, when he simply copied his master) bear STRADIVARI'S individuality in their form and the precision of their cuttings. They are like children of the same €amily, so much alike, that a stranger sees the family likeness,

and yet different as each sheep of a flock is different to the discerning eye of a shepherd. Mr. HORACE PETHERICK, the Violin expert of the Stmd has, in his masterly analysis of STRADIVARI, entitled Antonio Stradivari,” §trad. Library, No. VIII, given us a set of these children-these f holes-and likewise a set of ‘ 6 §TRAD’S” classical scrolls. Get the book-only 2/6-and compare with our photographs ; they will put you on the lines how to know a STRAD ” when you see one. TO understand what is meant by ‘ 6 STRAD’S’’

P

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Left Sound Hole o f Stradivari Violin, 1692 Side View of t h e Scroll of Stradivari Vlolrn, 1692.

classical scroll, the reader would have to compare with the more graceful scroll of a Grand AMATI ; he will then see precisely what is conveyed by the term classical.” Curiously, the f hole ($g. e.) 1700, in Mr. Petherick’s book, almost exactly corresponds“with the f holes in our own fine example (1692), but this anticipation of type is, perhaps, not so marked as the anticipation of model to which we shall presently refer. W e give a life-size view off hole and scroll of o& STRAD (1692).

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Written and Published by the Authors, BALFOUR d Co., Violin Experts, 11, ROOD LANE, LONDON, E G

Mr. HORACE led ‘‘ Antonio ikewise a set they will put

’y STRAD’S ’’

‘I Violin, 1692,

.TI ; he will 700, in Mr. t), but this 11 presently

6‘Yes,” the amateur may say, that sounds very well, bu t the S T R A D ~ hole has been copied by some oi the finest copyists. How can we poor amateurs ‘tell the difference ? Take a strong magnifying glass, my friend, and examine thef holes in our photographs, and examine them minutely ; but if you cannot tell the ciifference between these ‘‘ STRAD ” cut .f holes and a copy, get an artistic friend whose eye is practised in subtle lines of beauty, and he will tell you they have been cut by a workman of very great parts. When that step has been attained the further step of proving them to be STRADIVARI’S own exquisite cutting is not a great one, because then the men who could have cut them became limited to a few choice workers, and, calling into one’s aid our other points, an absolute conclusion can be arrived at;

The scroll in our example (1692) presents a less severely classical cutting than STRADIVARI scrolls of about 1710. The lovely Grand AMATI scrolls are preferred by many on account of the exquisite grace- fulness of their lines, and in this scroll there is a slight trace of the AMATI influence. The proof of this is to be seen in side view of scroll, of which we herewith give a life-size illustration, produced from a direct photograph. If comparison is made with the STRAD scrolls given by Mr. PETHERICK, and the approximate date is worked out on his line of argument of the initial cut, the date of the instrument (1692) will be found to agree. I t is by the accumulation of small pieces of evidence that probabilities become absolute con- viction, and it is by following these that the amateur gets an inward glance into the workmgs of the mind of the real expert, for the greatest expert is he who can indicate ” to the people satisfactory reasons for his conclusions.

This Article oa the Sigaature appeared ia the August number of “The Strad, ’’ 1901.)

Up to the present the authenticated works of ANTONIO STRADIVARI have all been labelled, occasionally with hand-written tlcltets, but usually with’ a printed ticket, the last two or three figures of the date filled in by hand. Owing to the removal backwards and forwards of genuine labels, and the manufacture of spurious ones, it is difficult p e y se to prove even a genuine label to belong to the instrument it is in. If the STRAD be opened, and label removed and replaced, the remover gets some proof of genuineness from the whiteness of the wood beneath and its surroundings, but a far surer and safer test is to approximately gauge the date from the points of the instrument itself, and then see if the conclusion already arrived at agrees with the date on the label, which last itself must be carefully examined as ,to its own genuineness. The first tickets used by ANTOXIO had the words “Nicolai Amati Alumnus” on them

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Written and Published by the Authors, BALFOUR di Co., Violin Experts, 11, ROOD LANE, LONDON, E.C.

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from 1666 to 1670. The STRAD, now associated with our name is unique in that it has no paper or parchment label, it being signed on both the top and bottom plates on the wood itself inside the violin. A leading dealer and expert, who has examined the interiors of over IOO STRADS, 2nd who is greatly interested in the signatures, has examined the inside of the violin most minutely, and has written down in his guarantee that

there appears never to have been any printed label inserted or glued in, there being no sign of one having been glued in, which is manifest when an old label has been removed. There may be two reasons for this, either STRADIVARIUS had run out of the usual printed label, or had been requested by some dealer, for whom he made the instrument, to leave it out." The last reason is possible, but we have a different theory as to the reasons of the signatures on the wood, wlmh we will presently advance. The signatures top and bottom are faint, similar in colour to the ink seen on very old parchment deeds, but we think a pigment has been used which has not run on the wood. D-irect photographs have brought out these signatures wonder- fully, especially the one on the back, where no larger bass bar has been needed, and therefore less disturbed, a facsimile of which signature has already appeared in the issue of the Stvnd for July, 1901. W e have been assured by the British Museum authorities, Manuscript Department, that photography will sometimes bring out signatures invisible to the naked eye-an instance cited to us being of a picture where a photograph thus revealed the painter's name. Another expert in caligraphy affirms that the signatures on the top and bottom plates are by one and the same hand. Assuming, then, that the signatures were inscribed when the violin had been carved, just before the belly was put on, is it possible that STRAD'S son, Francescus (Qmobono would have been too young) or one of STKAD'S workmen, inscribed these signatures on STRAD'S account ? In theory it is possible, but to those who know ANTONIO STRADIVARI the upright, and the pride he took in his work, it is utterly impossible, and against the whole character of the man, to have allowed another hand to sign such a fine piece of his work on his account. W e now beg the patience of our readers while we advance our own theory why STRADIVARI, as we believe, signed this instrument himself on the wood top and bottom. Our argument is founded on the model of the instrument itself, taken in comparison with the surrounding circumstances of the experimental and independent work STRADIVARI had been engaged o? prior to 1692, the date of the instrument. About the date 1690 STRADIVARI made some narrow violins, 14 inches in length of body, of the same length as our instrument, which look longer than they really are owing to their narrow waist-also about the same date, STRADIVARI began carving his Long Strads $c inches longer in the body than the normal 14 inches, similar to our Strad in their graceful rounded curves of beauty, but most dissimilar in then narrow proportion of waist and breadth between thefholes. That these Long-Strads, although of a powerful tone, were not entirely satisfactory to STRADIVARI (experts conFider they were inspired by Nlaggini) is proved by the great master ceasing to make them after 1700. Looking now at the front of the instrument itself, and comparing it wlth say the MESSIE STRAD, 1716, and bearing in mind STRADIVARI was, by degrees, lowering his model, we can see in this example, especially in the more noble proportions a: the waist and between the f holes, a foreshadowing of the MESSIE 1716. Eet u s suppose the rounded curves of the front of our model 1692 were of paper, and we gently press it down and with the corners re-adjusted, as indeed they must be re-adjusted, we get that square look about the shoulders, gor by this gentle flattening process, and we have the MESSIE STRAD, not indeed that this, our example, was the first and only indication of the so-called grand period, because both the HELLIER STRAD, 1687, and Mr. PETHERICK'S STRAD,, 1683, are examples ln which the expert can see STRADIVARI anticipating his later work, as a great man will do, future demands for a more robust, if less graceful instrument. Now is it a very daring opinion to put forward that amid these experiments STRADIVARI, in 1692, made this instrument, and was especially pleased with its grand tonal qualities and beautiful propor- tions, that, picking it out among other to him unsatisfactory models, he inscribed his name on the wood itself inside the violin, on the top and bottom plates of the first of these instruments ? Mr. PETHERICK,

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Written and Published by the Authors, BALFOUR d Co., Violin Experts, 11, ROOD LANE, LONDON, E.C.

qvp- f=yp 6. &.?&fi&

r parchment A leading

:ested in the arantee that E one having Ins for this, :r, for whom heory as to res top and ?igment has res wonder- s disturbed,

W e have sometimes

e where a ‘natures on -e inscribed Francescus )n STRAD’S d the pride ae allowed )ur readers ;elf on the omparison had been

me narrow they really mg Strads 1 rounded hef holes. :I (experts Lfter I 700. 1716, and )ecially in SIE 1716. y press it lok about :hat this, HELLIER .’RADIVARI

graceful XVARI, in l propor- :he wood THERICK,

in his book, ‘6 Antonio Stradivari,” after discussing the Long STRADS ” and the dates of the assertion of STRADIVARI’S individuality, says, on page I+ :-

c ‘ Another variation, but now seldom seen, is a pattern that may be said to be somewhat 6‘ opposite in its tendencies, as it is a trifle shorter ‘ (;.en9 than the Long STRADS begun in 1690) ’ ‘ 6 but of full average width, with a proportionately wider waist.”

Now this exactly describes the build of this instrument, and, in our opinion, it was the first of this new pattern made by STRAD, and probably was kept by him as a model. I t is, moreover, a pattern which gave so much satisfaction that we find many of the best Cremonese makers, and other Italian Schools, copying its build and lines. Taking now the date in the Violin, 1692, If we examine the violin closely, its rounded curves, its colour, and especially the intial cuttings of the scroll, showing a slight trace of STRADIVARI’S master-NIcoLA APrlATI-in our opinion, and that of five violin experts, absolutely agree with the date, 1692. Jt is, however, only fair to mention that three out of nine violin experts, who were unable to examine the interior, put the date, two at 1700, and clne at 1705, but we have already mentioned how the HELLIER STRAD, and Mr. PETHERICK’S STRAD, both of authenticated dates before 1690, actually, in certain points of model, anticipate the 1700 period, and the experts who put the date at 1700 are only expressing what they actually see, and what we see, in the model of the instrument, and see psvfectly covrecfly a most decided suggestion of a 1700 period. The splendid choice of wood also suggests a date after 1690, as up to this date STRADIVARI generally used rather plain wood, but the experts who have been able to examine the ivtteviov are of opinion that the date, 1692, in the instrument, is correct, because L‘ the first coats of varnish have sGaked into the wood so as to penetrate right through the plates and ribs, which is, no doubt, the cause of the violin being in such splendid preservation,” This, we may say, was a peculiarity of the Amatese primings not to be seen in STRADS of 1700, and unmistakably points to an earlier date than 1700. The decidedly raised edges-a slight trace of the AMATI School, which brings out the contour very dis- tinctly in our photographs-likewise points more to 1692 than 1700. Leaving, now, these considerations, which we think our readers will agree are pertinent to the date 1692, against which date we ourselves cannot see any valid argument, we ask, Is it Antonio Stradivari’s signature ? Are the letters and figures like his handwriting ? The final pronouncement on this question is not one for violin experts, but experts in caligraphy ; but while awaiting in absolute confidence their decision, we may indicate a few im- portant considerations suggested to us by an expert to the Treasury.

( I ) The letters and figures are on wood, hence they partake more of a printed than written

(2) The wording of the inscription differs from the wording of STRAD’S ordinary labels, the nnnza, however, being spelt the same. It is, however, a form used by his master, but, most important of all, it is a shovt inscription. 6 ‘ Fecit ” is easier to print than Faciebat,” “ Cremonen.” “ Cremonz ” or ‘‘ Cremona ” easier than Cremonensis.” ‘ L Anno ” is naturally left out, the figures of the date 1692 being sufficient.

(3) VVriting and figures of Stradivari nearer the date 1692 are of more value to compare than say 20 years later.

(‘1.) The inscription would have been done just before the belly was put on, and hence somewhat awkward to do with the hand resting on the block or ribs.

character.

W e leave, then, the final judgment of these signatures to experts in caligraphy, but to anyone interested, an actual photograph (copyright) of the signature can be had on application to us at the cost of the same (ai-), and anyone having authenticated labels or figures or writing near to date 1692 may be able to assist us in arriving at a definite conclusion, which is a matter of public interest to all lovers of the violin,

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Written and Published by the Authors, BALFOUR & Co., Violin Experts, 11, ROOD LANE, LONDON, E.C.

C O N C L U S P O N . In conclusion, we may say that a very great ‘‘ bogey’3 has been for many years thrust in the public

face-‘‘ Copy, copy ! I t is an exquisite copy ! ” A well-known tale, once again revived in a recent correspondence on STRADS in the Hcmfovd Tims (June and July, gor), tells how J. B. VUILLAUME showed PAGANINI a copy he (VUILLAUME) had made of PAGANINI’S (‘Joseph,” unknown to PAGANINI, and how the celebrated violinist could not tell (‘ t’other from which.” As all the parties are dead, it is a safe story, but every true violin expert knows that it is the veriest twaddle, a convenient but stupid myth to gull the public, and to throw dust into its eyes. Any who possess VUILLAUMES, let them take them to Genoa and compare them with one of DEL JESU’S masterpieces, or lay them alongside a STRAD.

If there be a second Stradivari, let us know him, but Vuillaume was not the man. How, then, is it that in thc past instances have occurred where leading experts have written down that, say, a FRAN- CESCUS RUGGERIUS was a STRAD, or said that a superb DEL JESU was a copy, etc. ? Well, the,reason why it has been written and said is that either the expert was not an expert, or because the novice did not insist on asking the reason why, and meekly accepts the infallible decree the reason why it is so-and-so is because we say it is, or write down it is so. A little insistence, and amateur experts or artists capable of judging finely-cut lines and exquisite modelling, will come forward more readily to express their opinions on fine work, and the days of It is only a German copy,” or g ( speculative violin,” or 6‘ I t is by so-and-so, but it is an inferior specimen of that maker’s work ” would be over once for all. In the past there has been too much accepting violins, etc., as by so-and-so, or lzot by so-and-so simply, on verbal or paper guarantees, without the buyers or enquirers asking for some reason why it is or is not. If a merchant buys corn he wants a sample to examine its qualities, and he would not buy it merely on the paper guarqntees of a seller ; neither would he reject good corn because a paper said it was not corn, without giving any reason whatever why it was not ; and so, regarding a STR~D, . we say the broad features, or nine points, of a STRAD, set down herein, should enable the public to seek proofs, from the fiddle itself, that it is a STRAD, and there is an old saying, Give a dog a bad name-and buy him at your own price.”

As a matter of interest our readers will be pleased to hear that the following violin experts have pro- nounced the instrument an exceptionally fine and genuine ANTONIO STRADIVARI violin :--Horace Petherick, Esq., Croydon ; Mr. George A. Chanot, Manchester ; Messrs. Chardon & Fils, Paris ; Messrs. Silvestre & Mancotel, Paris ; Mr. Gustave Bernadel, Paris ; Nestor Audinot, Paris ; Mr. Joseph A. Chanot, London ; Messrs. Beare & Son, London ; Mr. F. W. Chanot, London ; we ourselves being the first to pronounce the violin a STRAD.”

, N.B.-In order to reap the greatest possible benefit from this brochure, the desideratum is the

possession of a genuine STRAD, but, failing this, perfect photographs of an authenticated, unique and perfect STRAD, to be had from us-5/- the set of three views, front, back and side-is the next best thing for the student to possess. A photograph of the unique signature OPZ. t he wood inside the BALFOUR” §TRAD may be had from us (a / - ) , or most beautiful life-size photographs of the BALFOUR STRAD ”-three views, front, back and side-$2 2s. Od. the set. ,Those who wish this brochure, with photographs of the ‘‘ BALFOUR STRAD ”-three views-together with a photograph of the unique signature, bound in cloth, with crest and monogram of ANTONIO STRADIVARI, can have the same--7/6, post free in the United Kingdom.

This illustrated brochure, in paper, is l/- post free.

W e have in the press a fresh edition of our book, How to Tell the Nationality of Old Violins,” cloth, 2/6 post free.

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Written and Published by the Authors, BALFOUR & Co., Violin Experts, 11, ROOD LANE, LONDON, E L ,