unless most skilfully and cautiously applied, soon register the progress of the repairer on the varnish to the destruction of the beauty of appearance as a whole. These, then, appear to be the cogent reasons for the adoption of the medium rise in the modelling by Stradivari. CHAPTER IV. LESSER KNOWN PATTERNS OF STRADIVARI--THE TREATMENT OF THE SCROLL BY HIM, THE INDIVIDUALITY AND MATURING OF THE STYLE--THE PURFLING. During the period of 1690-1700 the modification of parts of the pattern and details was slight but nevertheless important. Occasionally the upper corners drooped a little more, and when they are now seen in fine preservation seem rather long in comparison with later ones, but they are not really so, it being in the expression no doubt arising from the greater robustness in the treatment of the corners which now were becoming in aspect more square, but with the usual peculiarities retained. There was also about this time another modification sent forth, a pattern that has the waist curve narrowed in a trifle at about two-thirds of the way upward, causing a slight suspicion of a wish to return to his old Nicolo Amati period, but it seems to have been only momentary, and beautiful as these violins are, they do not appear to have been repeated. They are in consequence very rare. Accompanying these little variations there was a slight change in the treatment of the scroll; it became less massive, while all the principal features of detail were retained, the grooves at the back were deepened a little as they ran down to the shell, which last was made a degree less shallow. In the earlier part of this period the general contour has a little more flow in the disposition of line, but later on this was checked, as if not meeting with the full approval of the master, whose goal of ambition was kept steadily in view from the first--that of introducing a design that should worthily rank as classical, and in its details and execution be such, that no weak spot or point of failure should be discernable under the closest scrutiny. The sound holes now received further attention and, it might be almost said, for the last time, as they were continued to the end of Stradivari's career with no particular or intentional modification. In length there was no alteration, but the design seems more condensed, more compact, yet slightly wider in the opening. This is all accomplished without losing the smallest touch of grace, and although firm in the extreme it has the opposite of any tendency to hard geometrical form. Stradivari seems to have had some feeling of contentment with it, for although little differences of measurement in minute particulars occur afterwards, no modification in character is attempted. He was most exact in imparting his own individuality in every instance. It is in this department of the liutaro's art that the imitators or forgers of Stradivari's work have found such an insurmountable block in the way of success. The