The Violin and Bow of the Early Eighteenth Century

Abstract Antonio Stradivari, whose early works and experiments have already been described (p. 197), continued to make violins steadily until the end of his long life (1737), a career uniquely distinguished by its productivity and consistent output of extraordinary instruments. Having abandoned his ‘long’ model violin about 1700, Stradivari produced shortly afterwards a ‘classical’ model which embodied the tonal and acoustical principles that served him to the end of his life.1 The earliest celebrated example of this model was the ‘Betts’ violin of 1704 (Plate 33a), with which Stradivari enters his so-called ‘golden’ period. Among the great violins of this time were the ‘Alard’ of 1715, the ‘Messie’ of 1716,2 and the ‘Rode’ of 1722, the last of the ornamented violins. While Stradivari continued his experiments to the end of his life, this classical flat model created a standard that has prevailed to the present. The significance of Stradivari lies partly in establishing and perfecting a model more influential than any other in history, and partly in the extraordinary perfection of his instruments. The latter combined the highest standards and beauty of craftsmanship, wood, and varnish with exceptional tonal properties, ease of playing, and carrying power. Stradivari enjoyed an immense fame in his lifetime, although (as has already been pointed out) he shared the highest esteem with others.