welve small pattern. They were kept in the Chapel Royal,
Versailles, until 1790, when they were seized by the mob in the French
Revolution, and but one of them is known to have escaped destruction.
Heron-Allen, in his work on violin making, gives a picture of it,
obtained through the courtesy of its owner, George Somers, an English
gentleman. Its tone is described as mellow and extremely beautiful, but
lacking in brilliancy.

As the Amati brothers, Antonio and Geronimo (Hieronymous) Amati
continued their father's trade, producing instruments similar to his.
The family reached its flower in Nicolo Amati (1596-1684), son of
Geronimo. He originated the "Grand Amatis," and attained a purer, more
resonant tone than his predecessors, although not always adapted to
modern concert use. One of his violins was the favorite instrument of
the French virtuoso Delphine Jean Alard (1815-1888), long violin
professor at the Paris Conservatoire. It has been described as sounding
like the melodious voice of a child heard beside the rising tide.
Another fine specimen was exhibited by Mr. J. D. Partello, in 1893, at
the World's Fair, in Chicago.

Nicolo Amati's influence was felt in his famous pupils. Foremost among
these was Antonio Stradivarius (1644-1737), whose praises have been sung
by poets, and whose life was one of unwavering service. His first
attempts were mere copies, but after he was equipped with his master's
splendid legacy of tools and wood, his originality asserted itself. His
"Golden" period was from 1700 to 1725, but he accomplished good work
until death overtook him. From his bench were sent out some seven
thousand instruments, including tenors and violoncellos. Of these
perhaps two thousand were violins.

A romance encircling this master of Cremona tells that in youth he loved
his master's daughter, but that failing to win her heart and hand, he
gave himself wholly to his work. He married, finally, a wealthy widow
whose means enabled him to pursue his avocation undisturbed by monetary
anxieties. His labors steadily increased the family property until "as
rich as Stradivarius" became a common saying in Cremona. Because of his
achievements and his personal worth, he was held in high esteem. Members
of royal families, prelates of the church, men of wealth and culture
throughout Europe, were his personal friends as well as his clients. His
handsome home, with his workshop and the roofshed where he stored his
wood, was, un