Having so far roughly estimated the kind and amount of work, not necessarily his own, on the violins that were sent forth by Antonio Stradivari, we may glance at the particulars of detail that demanded his handiwork and that solely. That there were keen connoisseurs living at the time of Stradivari, as also in the previous century and earlier, there is no room for doubting. Workers in art reduce their inspirations to tangible forms helped by colour that people may see them and, comparing them with what may have gone before and have been executed at the same time, pass judgment on them. In like manner Stradivari, like other masters before him, knew that his handiwork would be scrutinised as well as the tone of his instruments. It was therefore obligatory that purchasers should know his work, that in fact his sign manual should be always present. Contemporaneous with him were makers, artists, who had been initiated in the mysteries of the manufacture and application of the wonderful varnishes which have since by their qualities made them famous throughout the civilised world. There was nothing, however, in the material or its application that could, under the closest examination, be discerned as different to what might be seen on the best instruments of the Amatis--these must have been numerous at the time--the Ruggieris or the Venetian masters, but these did not in the application invariably work up to a certain standard of excellence, whereas Stradivari always did. There was a consummate beauty of result in this branch of the liutaro's art known at the time to many, beyond which it seemed not possible to go. It was, therefore, more in the construction and workmanship then, that the sign manual was perceptible. With this view Stradivari seems to have been careful to let the evidence of no hand but his own be seen in parts that were sure to be closely scrutinised as evidence.