STORIONI, LORENZO, Cremona, 1780-1798. The last of the old Cremonese school. He sometimes copied Joseph “del Jesù,” at others, he followed his own originality. His instruments exhibit great variation; notably in the position of the sound holes, which he never placed twice alike. He used a poor varnish which clearly indicates the change of process which was then taking place. Although these instruments are far from being graceful in outline or beautiful in appearance, they are capable of producing a good tone; in fact, in Italy a good Storioni is highly spoken of. This maker does not appear to have made many violas or violoncellos. Ticket:
STRADIVARIUS, ANTONIO, the king of fiddle makers, born at Cremona, 1644, died 1737. This great master was an apprentice in the workshop of Nicolas Amati. At the age of twenty-three years he produced some violins, the exact reproductions of his master, and into which it is said he placed the labels of Nicolas. In the year 1670 he signed his instruments with his own name. From that date, until about 1690, he produced but few instruments, and it is conjectured, that during this period of twenty years, his labours and researches were more in the nature of experiments than of commercial enterprise.
From the year 1690 the individuality of Stradivarius began to assert itself. It was then that he began to give greater amplitude to his model. He reduced the high arching hitherto prevailing, and determined with much nicety the various thicknesses of wood, but he still retained many of the chief characteristics of his master. The productions of this period are called “Long Strads.” From 1700 to 1725 Stradivarius was in the full lustre of his fame. During this period he made those masterpieces known as the “Grand Pattern.” “He no longer felt his way, but being certain of all that he did, he carried his manufacture, even to the minutest details, to the highest possible finish, especially with regard to the varnish, the quality of which is fine and extremely supple.”
“The workmanship of the interior of the instrument displays no less perfection; all is there finished with the greatest care. The degrees of thickness are adjusted in a rational manner, and are remarkable for a precision which could not have been attained except by long study and experiment. The back, the belly, and all the parts of which the instrument is composed, are in a perfectly harmonious relation. It was, doubtless, repeated trials and diligent observations, which also led Stradivarius, throughout this period of his productive career, to make the blocks and sides of his violins of willow, the specific lightness of which surpasses that of every other wood. In short, everything had been foreseen, calculated, and determined with certainty, in these admirable instruments. The bar alone is too weak, in consequence of the gradual rise in the pitch, from the beginning of the eighteenth century; the inevitable result of which has been a considerable increase of tension, and a much greater pressure exercised on the belly. Hence the necessity has arisen for re-barring all the old violins and violoncellos.” Such is Fétis’s description of this grand period.
From 1725 to 1730, Stradivarius produced fewer instruments than he had previously done in the same period of time. Although they are very good, the workmanship no longer displays the same perfection. The arching becomes more rounded, which tends to impair the clearness of the sound, and the varnish is brown.
After the year 1730, the master exhibits a decided falling off. Stradivarius, in his eighty-sixth year, still, however, continued at his bench, assisted by his two sons, Omobono and Francisco, and his pupil, Carlo Bergonzi, who partially, if not wholly, kept the business going. Stradivarius signed many of his instruments as having been made simply under his direction. After the death of this great maker, many instruments which remained unfinished in his workshop were completed by his sons. Most of these instruments bear the father’s name.
Stradivarius died at the great age of ninety-three years, and he was buried in the Cathedral of Cremona.
Facsimile of a written ticket:
