A WIZARD CRAFTSMAN

Auckland Star, Volume LXX, Issue 23, 28 January 1939, Page 15 (Supplement)

A WIZARD CRAFTSMAN

Here he lived for the rest of his life. It was a three-storey house, and tradition says that there was a loft on the roof, and that Antonio used it for his workshop.

Whenever we moderns are inclined to be too presumptuous, too smugly self-satisfied with the achievements of modern craft and machinery, it is good if we turn and consider the achievements of the master craftsmen of ibygone times. The perfection of their work—the patience with which they employed tlieir talents is a stimulating and illuminating study. Such a master craftsman was Stradivari, whose long life began in Italy about 30 years after the death of our great poet William Shakes* peare.

This Piazzo di Roma is the most famous street in the world so far as the history of violins is concerned, for here, cheek by jowl, lived and worked the three greatest violin makers the world has known —Amati, Guarnieri and Stradivari, all known to each other, and respected in friendly rivalry. Wars raged, pestilence took its deadly toll, yet ever from that Piazza came a stream of wondrous violins. Far and wide they went to Poland, to Spain, to England. The violins made by Stradivari up to the year 1684, and based on the models of- Amati, are said to be

He stands as. the unrivalled violin maker of all timee. Some of hia violins bring fabulous prices, and are sought by the world's greatest artiste.

The exact date of Stradivari's birth is in doubt. He was born in the year 1643 or 1644 at, or near, the city of Cremona, in Italy. At that time, however, the Spaniards were in possession of all that part of Italy. When old enough to go to work his parents sent him to learn the trade, or profession, of violin making. About' the time of the Great Fire of London Stradivari was serving an apprenticeship in the workshop of the famous Nicolo Amati. We can picture the young, patient Antonio zealously striving to learn all that the great Amati could teach him.

In the year 16C7 he married, and in a few years had a growing family to support. His great skill and his steady application, however, ensured him settled employment. Indeed, so favourably impressed was his master, the great Amati, with the gifts and industry of his apprentice, that ae bequeathed on his death all his tools to Stradivari, in preference to leaving them to his own son.

Amatiee. In that year he enlarged the dimensions. For six years following upon 1684, Stradivari continued to make larger violins, and in the year 1690 he made fresh innovations. Those made at this period are called "Long Strads." He was then 40 years of age, hut had not yet entered the "golden age" of his creative powers. In 1098 hus wife died. In the follow - ing year he married his second wif<> — Signora Antonio Maria Zambelli. There were five children of the second marriage, but none of his sons, either by first or second wife, have any claims to genius.

It is thought that, although after marriage in 1667 Stradivari "set up on his own," he probably continued to work as a paid craftsman for Amati. Certainly he received "overflow" orders sent in to the renowned Amati, and which the master at times could not cope with.

For many years Stradivari followed the models of his former employer. He lived in a world of violins—planning and dreaming of his beloved instruments; ever seeking knowledge on woods, dimensions, varnish, and having "perfection" as his motto and guiding star.

Prom the year 1700 the great Maestro enters on his grand period. The violins of the next 30 year* are not all alike to pattern, but in the words of the late Rev. H. R. Haweis, "They have the charm of imaginative variety, combined with the unity of supreme excellence." It seem* safe

In the year 1080 his old home, the "Casa del Peecatore," was vacated for a new and larger house in the Piazza di Roma.

Antonio Stradivari And His Violins

to assert that no other person in the world ever possessed, nor is likely to possess, such an uncanny fund of violin lore as crowned the studies and experiments of this steady, hardworking, and gifted son of Cremona. Long centuries before, under the same blue skier", tlie youthful Virgil had brought lasting honours to Roman literature, and given a glorious heritage to posterity. Now it was the turn of the music makers —the Magginis, the Amatis, the Guarnieris —and greatest of all, Antonio Stradivari.

Stradivari was tlie maker of priceless violins. That is not the whole story. In addition to the 1100 violins he is known to have made (there may, of course, liave been many more) he "also made a number of violas and 'ceflos. This extraordinary man also

made many small violiim (such as we to-day call '.children's violins), some harps and mandolins. Truly lite 93 yeare were ones of astonishing activity even to the very end.

Few great men have left the world richer. None have left more eloquent examples of industry and of passionate striving after perfection <>f craftsmanship, "if thou would<st teach, learn; if thou wouldst create, first copy."

The greatest artiste, the Handels, Beethovens and Stradivaris have been humble enough to take the precept to heart, and to their patience and humility, no lees than to their wondrous genius, do we owe their magnificent achievement*.

A complete inventory has been made by Messrs. Hill Bros., of London, the famous violin experts. All extant Strads and their owners are

fjßy -. • I Arthur O'Halloran

catalogued. Alaa, eoine have mysteriously disappeared, others lie at the bottom of the sea. Even so, the 1100 in existence miut represent a priceless fortune.

Stradivari, like some other great men of history, died with a secret. Stradivari's secret was the process of mixing his varnish. The varnish lie made was as beautiful for the sight as for the eound. The infusion of the colouring matter has defied all investigation. He favoured many colours from, rich soft brown and yellows to bright red. To-day, after 300 yeare, the colouring remains a thing of beauty —and a mystery.