It was during the second half of the sixteenth century that the violin, with its well recognised combined excellences of artistic form and musical sonority, was started on its way in the world to supply a want and prove its fitness as a leading instrument at once and for future times. So happily was this effected, so complete and mature was it in conception, that the advancing intellect of three centuries has proved incompetent to insert any fresh and permanent addition to its original simple arrangement. Precisely as it came from the hands of an artistic and inventive genius in the city of Brescia so we have it now, unchanged in its essential details of construction, although having its natural qualities made more evident after undergoing the modern adjustment with regard to accessories of detail, or regulation as it is termed. This has been effected by simply enlarging some parts for the purpose of allowing more freedom and convenience in the execution of more modern music, its elaboration of rhythm, besides the extended range of notes in the higher positions of the register, necessitating this. As might have been expected in connection with the then still living Renaissance period, on the violin making its appearance it was soon taken in hand by men of superlative talent, who stamped it with their own individuality in which was a marvellous perception of artistic quality. All that was to be done by means of proportion, form and colour, not setting aside the essentials of refined sonority, were combined, each aiding in the grand total and producing that known and so much sought after at the present day--a beautiful Italian violin. For about a century or more many Italian liutaros were busily engaged in sending forth under competition works which are now by the cognoscenti treated as unrivalled excellence of quality, classical, and the outcome of genius. Each worker being anxious to maintain the standard of excellence, or take a step forward in the practice of their art, the culminating point seems to have been reached when the artist under consideration in the following pages was executing his masterpieces in Cremona. [Illustration: ANTONIO STRADIVARI.] ANTONIO STRADIVARI. CHAPTER I. DATE AND PLACE OF BIRTH OF ANTONIO STRADIVARI--HIS INSTRUCTOR IN THE ART OF VIOLIN MAKING--PECULIARITY OF HIS EARLY WORK, NOTHING STRIKING, BUT SLOWLY PROGRESSIVE--WHICH OF THE DESIGNS OF HIS MASTER HE WAS MOST IMPRESSED BY, AND HIS OWN MODIFICATIONS FOR IMPROVEMENT--HIS DEPARTURE FROM THE HOUSE OF HIS MASTER, FREE TO CARRY OUT HIS OWN INCLINATIONS.