Fig. b. Antonio Stradivari, 1683, the openness and bold swing of the first turn at once on leaving the "eye" is very striking, it also commences higher up, there is almost an absence of flow or downward tendency. The throat underneath the volute is very massive, although all the edges are finished off with the utmost delicacy and sharp tooling. All the details of scroll carving by Stradivari at this period are marvels of mechanical dexterity of handling. The different depths of the gouging are carefully calculated for solidity of effect, each portion being deep in proportion to its width, the smaller turns thus having less depth than the larger. With the Amatis there seemed to be a striving after attainment of the greatest depth possible in the smaller gougings, those nearest the axis reaching frequently to almost the same depth of level as the outer or broadest one. In no part of his work does Stradivari show more clearly the result of careful calculation after closely studying the work of his master and others that had gone before.
Fig. a. See Page [49.]
Fig. b. See Page [49.]
Fig. c. The period 1715 shows the result of further calculation for general effect and a consequent modification in respect of minor details; there is present, as always, the sufficiently bold swing of the first turn from the axis. In choice specimens the point of commencement is as sharply and clearly defined as the mitreing of the purfling at the four corners of the body of the violin and which it seems impossible to excel. The throat, with the whole of the peg-box, is reduced slightly but consistently with strength and beauty of appearance. The public verdict has remained unshaken with regard to these scrolls being in respect of the combination of excellencies the best carvings of the great artist. They are in the most trifling degree smaller than those carved before the period of 1700. Among those cut about the 1710-15 period, or even later, are a few that seem to have been intentionally both smaller and more upright. Although having all the essential excellencies of detail they can scarcely be considered as coming up to the standard of the others in respect of refined grandeur. This type may be said to be mixed up and continued with more or less persistency to the last, and of this Fig. d gives a good representation. There is frequently a more emphatic or energetic gouging at the commencement of the turns, a more developed "ear" as it is often termed. It is gouged with quite as much care as the rest. Speculation has been rife as to the possible influence or even personal help of Joseph Guarneri at this point, but there is no solid foundation for surmising the presence of one or the other. If the gouging of this part may be said to bear any sort of resemblance to the emphatic or impetuous touch of Joseph, it is confined strictly to this portion; other essentials are wanting that would be absolutely necessary for crediting artists of distinctly opposite tendencies with—it might be almost rightly termed—tampering with each other's designs.
Fig. c. See Page [50.]