But if there ever was an instance in which this motto could with strictest appropriateness be applied, it was the work of Stradivari. Most if not all of the known masters have at times shown by some little accident or other, their method of working, thus, notwithstanding the extremely careful and finished work of the Amati family, there is occasionally to be seen some unobliterated signs--truly very slight--of their having traced their pattern on the wood for either the sound holes or the turns of the scroll. Stradivari left no evidence of this, nor are any distinct traces left inside or out that would betray the manner, kind of tool, or direction of working. Further, in most beautiful specimens by the "brothers Amati," besides other great varnishers, some faint indications have been seen of imperfectly dissolved resin, but not so with Stradivari, who carried out to the letter in this department of his art, that steadfastness of purpose in striving to do in the best way, that which his judgment had pronounced to be the best thing to accomplish. He further carried this out afterwards in the application of the deeper coloured, and usually softer, varnishes, which when manipulated by other masters of the same school, have frizzled or cockled from some cause. This is seldom if at all to be observed in any of Stradivari's work, he seems to have taken every possible precaution for preventing change in aspect after the instrument had received his final touches. We may now retrace our steps for awhile and take up another thread of the fabric of Stradivari's individuality, that which is in fact by dealers ignored and by players adored. There can be no question that during his minority under the great Amati, young Antonio must have been much interested in his master's fame for imparting a fine quality of tone to his instruments. It must soon have been apparent to him that success in his career would not be achieved by progress in the artistic part of his work alone. The critics of the day, who must have been sufficiently numerous and exacting in accordance with the advanced state of the art, would naturally be alive to any subtleties of difference between the productions of the reigning king of liutaros and his successor. The onward progress of musical composition and increase in the numbers of public performers, virtuosi, and others, demanded from an artificer taking this position, at least equal skill in producing those essential qualities for which the city of Cremona had become famous. Old master and young man probably had many a talk over what was best to be done to keep pace with the increasing requirements of the moment, and the time approaching when the hand of the former in the course of nature would lose its cunning. The hour came, the man was ready. Stradivari started forth from his master's house with full confidence in having a true and good grasp of the wants of the moment and those looming in the future.