With regard to this, much has been written and said about its incomparable quality, its elasticity, colour and transparency, with other excellences needless to dilate upon. Summarily taken as a whole, the simple fact is, that in no respect is his varnish different, or better than that of his predecessors, the Amatis and masters of the Brescian school; it had been done before and his most famous contemporaries were doing it still, and he was in this position for the simple reason that no better could be done. If it was not possible for Stradivari to improve upon the varnish of the Amatis who had preceded him and the masters in the art belonging to the Brescian school,--among whom may be mentioned Giovanni Maggini, Antonio Mariani, and the first one to use it on violins, Gasparo da Salo--it was strictly in accordance with his invariable rule of putting forth his best that he so dexterously manipulated it, probably both as to its composition and final application, that faultiness in some respects to be seen in specimens of other masters is not noticeable in his. Thus, as is well known, the Brescians, perhaps without exception, were often very careless regarding the thickness of the film, it being occasionally of irreproachable evenness, at other times having almost the appearance of being laid on with a large brush in great haste. On some connoisseurs this haphazard fulness of treatment, this oft times generously effusive manner, carried out with a careless consciousness of power, acts as a charm, inciting to intense admiration the like of which is roused by the rich, juicy brush of Rembrandt and the masters of the Venetian school of painters. But this is not the perfect realization of aim with regard to the envelopment of masterpieces by the old Italian liutaros; in the instances referred to, and sufficiently numerous, we wonder at the wealth of material and smile at its manipulation. Antonio Stradivari would in no wise act thus at any time. To him it was enough that he was possessor in full of the knowledge of materials, and to deviate from the good paths pursued by the artistic Amatis, was not to be considered for a moment; we therefore find that with him the best material was laid with the utmost skill and care. It must be indeed rare that "frizzling," or contraction of the upper surface of the varnish, is to be seen to any appreciable extent. I do not recollect one instance, while with the Ruggieris, most of the Venetian school, and a number of makers of lesser note, it is quite common.