known, but it is as characteristic as that of Bergonzi, and quite as
distinct from that of their father, if not _more_ so. The outline is
rugged, the modelling distinct, the scroll a ponderous piece of
carving, quite foreign to Stradivari the elder, and the varnish,
though good, is totally different from the superb coats found on the
father's works of late date.

The division of the work of Stradivari into periods makes the reader
more acquainted with the maker's style. It must be remembered,
however, that he did not strictly confine himself to making
instruments wholly of one pattern at any time, although he certainly
did so with but few exceptions until the last period, when, as
Lancetti rightly observes, he used more frequently his earlier
patterns.

The exact spot where Stradivari was buried was made known by the
researches of Signor Sacchi, a Cremonese conversant with the annals of
his native city.[28] This was an interesting addition to the meagre
information previously handed down to us touching Stradivari. It had
long been known that a family grave was purchased by Stradivari in the
church of San Domenico, in the year 1729: but in the certificates from
the Cathedral of Cremona it is stated that he was buried in the tomb
of Francesco Villani, no mention being made of San Domenico. The exact
words are, "_Buried in the Chapel of the Rosary, in the parish of St.
Matthew_." The omission of the name of the church wherein this chapel
stood has led to the belief that the precise spot where the mortal
remains of Stradivari rest was unknown. Signor Sacchi finds that the
historians of Cremona (but especially Panni, in his "Report on the
Churches of Cremona, 1762") mention that the Church of San Domenico
was in the parish of St. Matthew, and that the only chapel known by
the name of "The Rosary" was the third on the right, entering the
Church of San Domenico.

[Footnote 28: "The Orchestra" of July 15, 1870, contains a notice
relative to the circumstance, entitled "The Tomb of Stradivari."]

An important point is mentioned by the historian above quoted, viz.,
that about the year 1720 the Parish Church of St. Matthew being judged
too full to allow of further burials in its interior, the Church of
San Domenico (its subsidiary church) was chosen as a place of burial
for the parishioners, for which purpose it was used down to about
1780, and that Stradivari purchased there the grave mentioned. This
statement is confirmed