s more in
keeping with the character of the body of the instrument. It must be
acknowledged, however, that these efforts did not carry him far
enough. The surface of the scroll is usually inclined to flatness. The
wood used by Niccolo Amati for his grand instruments is of splendid
quality, both as regards acoustical requirements and beauty of
appearance. The grain of some of his backs has a wave-like form of
much beauty, others have markings of great regularity, giving to the
instrument a highly finished appearance. The bellies are of a soft
silken nature, and usually of even grain. A few of them are of
singular beauty, their grain being of a mottled character, which,
within its transparent coat of varnish, flashes light here and there
with singular force. The colour of the varnish varies in point of
depth; sometimes it is of a rich amber colour, at others
reddish-brown, and in a few instances light golden-red.

These, then, are the instruments which are so highly esteemed, and
which form one of the chief links in the Violin family. The highest
praise must be conceded to the originator of a design which combines
extreme elegance with utility; and, simple as the result may appear,
the successful construction of so graceful a whole must have been
attended with rare ingenuity and persevering labour.

Here, again, is evidence of the master mind, never resting, ever
seeking to improve--evidence, too, that mere elaboration of work was
not the sole aim of the Cremonese makers. They designed and created as
they worked, and their success, which no succeeding age has aspired to
rival, entitles them to rank with the chief artists of the world.

On the form of the instrument known as the "grand Amati" Stradivari
exerted all the power of his early years; and the fruits of his
labours are, in point of finish, unsurpassed by any of his later
works. Where Niccolo Amati failed, Stradivari conquered; and
particularly is this victory to be seen in the scrolls of his
instruments during the first period, which are masterpieces in
themselves. How bold is the conception, how delicate the workmanship,
what a marvel of perfection the sound-hole! But as these Violins are
noticed under the head of "Stradivari," it is unnecessary to enter
into details here. Beside Stradivari, many makers of less importance
followed the "grand Amati" pattern, among whom may be mentioned
Jacobs, of Amsterdam, who takes a prominent place as a copyist. The
truthfu