overed
with a cap of white wool in the winter and of cotton in the summer. He
wore over his clothes an apron of white leather when he worked, and, as
he was always working, his costume never varied. He had acquired what
was regarded as wealth in those days, for the people of Cremona were
accustomed to say "As rich as Stradiuarius." The house he occupied is
still standing in the Piazza Roma, and is probably the principal place
of interest in the old city to the tourists who drift thitherward.
The simple-minded Cremonese have scarcely a conception to-day of the
veneration with which their ancient townsman is regarded by the musical
connoisseurs of the world. It was with the greatest difficulty that they
were persuaded a few years ago, by the efforts of Italian and French
musicians, to name one street Stradiuarius, and another Amati. Nicholas
Amati, the greatest maker of his family, was the instructor of Antonius
Stradiuarius, and during the early period of the latter artist the
instruments could hardly be distinguished from those of Amati. But, in
after-years, he struck out boldly in an original line of his own, and
made violins which, without losing the exquisite sweetness of the Amati
instruments, possessed far more robustness and volume of tone, reaching,
indeed, a combination of excellences which have placed his name high
above all others. It may be remarked of all the Cremona violins of the
best period, whether Amati, Stradiuarius, Guarnerius, or Steiner,
that they are marked no less by their perfect beauty and delicacy of
workmanship than by their charm of tone. These zealous artisans were not
content to imprison the soul of Ariel in other form than the lines
and curves of ideal grace, exquisitely marked woods, and varnish as of
liquid gold. This external beauty is uniformly characteristic of the
Cremona violins, though shape varies in some degree with each maker.
Of the Stradiuarius violins it may be said, before quitting the
consideration of this maker, that they have fetched in latter years
from one thousand to five thousand dollars. The sons and grandsons of
Antonius were also violin-makers of high repute, though inferior to the
chief of the family.

The name of Joseph Guarnerius del Jesu is only less in estimation than
that of Antonius Stradiuarius, of whom it is believed by many he was a
pupil or apprentice, though of this there is no proof. Both his uncle
Andreas and his cousin Joseph were distinguished violi