ng Strad." In expending his powers on those instruments of
varied proportions, it might occur to the mind of the observer that he
was undoing much that he had accomplished; but I do not consider that
such was the case. His project in making these instruments _together_
with those of larger dimensions, evidences, in my opinion, a desire
that he had of fairly testing the result of changed methods of
construction. The marked variety of his work about this period of his
life, I cannot but regard as sufficient proof of the tentative
character of the steps he was taking in his art.

From this brief summary of the varied styles given to the works of
this true artist, the reader may gather some idea of the solidity of
the foundation which he laid, before trusting himself to raise those
works which have become monuments to his memory.

That which I have termed the golden period of Stradivari, commenced
about 1700, at which time he reached his 56th year: a time of life
when it is a rare occurrence to find genius asserting itself with any
degree of power--a time, if not of waning, at least of resting, when
the mind usually stays from giving forth originality bearing the
freshness of earlier years; but Stradivari, with a few other notable
instances in the field of art, forms an exception to this rule, and he
proves to us that his talent was then in its full vigour, and ripe for
new achievements. George Eliot's fancy well contrasts the painter
Naldo--

"Knowing all tricks of style at thirty-one,
And weary of them; while Antonio
At sixty-nine _wrought placidly his best_."

From about 1700 his instruments show to us much of that which follows
later. The outline is changed, but the curves, blending one with
another, are beautiful in the extreme. The corners are treated
differently. The wood used for the backs and sides is most handsome,
having a broad curl. The scrolls are of bold conception, and finely
executed. The varnish also is very rich, and leaves nothing to be
desired.

It is not possible to convey to the reader, by means of mere
description, anything approaching an adequate notion of the surpassing
gracefulness of the entire work of this epoch. The eye must be made
the channel to the mind. If the work is present, then, with the aid
which these remarks will afford, the reader may gain, by careful
study, much valuable insight into the beauties and genius of this
famous artist, together with much useful informat