A few words about the interior of Stradivari's instruments; one kind of work is perceptible in all of them. There is not, as we may see in the works of other masters, that off-handed, or even slovenly want of finish inside while the whole attention of the maker has been concentrated on the exterior. With Stradivari all is well done, the blocks, end and corner ones are carefully faced and have little, if any can be seen, of the tool marks left upon them. The linings let into the corners are in every instance done with minute exactness. The wood of these and the blocks is a kind of Italian poplar, sometimes called willow and by the French sallow; it is light and has no threads like pine to cause difficulty in the manipulation. Too much importance has been attached by critics to the presence of this wood in Stradivari's violins. That it had nothing whatever to do with the excellence of tone quality is clear from the fact of makers of inferior skill and less renown for tone having used it in the same parts. The most likely reason is--as most repairers have concluded--the absence of thread, its lightness, pliability and evenness of texture, being thereby adapted for the necessary long strips for fitting round the curves. Some makers used it invariably, while others did so occasionally, perhaps not always having a stock on hand. When for some reasons, such as being worm eaten or badly fractured, it has been found compulsory to remove them and substitute others in their place and of other wood, there has been no perceptible deterioration in the tone either as regards quality or quantity. Not only so, but there is the fact that many of the Italian masters and their numerous pupils, to say nothing of makers of a lower order, as often as not sent forth their violins without linings, some even without corner blocks. In most of these instances, however, the ribs were left very stout in substance in order to retain a sufficient holding surface for the glue. The subtle curvings of the ribs of an Amati, and more so of a Stradivari, almost precluded the use of a very thick material, especially so when the curl or figure was bold and elaborate. In consonance with this, we find with Stradivari that the thin plate or veneer from which the ribs have been cut is not thick, but of accurate and equal measurement along its course. The linings being equally true and fitting in the closest manner to the ribs, are in their original state somewhat stouter, the middle or waist ones parting slightly on approaching the corner blocks each way and thus giving a gradually increasing area of attachment (diag. _h_). All of the four blocks are well trimmed off and their surfaces levelled, being quite regular in their form and size and trimmed to proper measurement. The end blocks serving to sustain the greatest amount of strain longitudinally, are also found well finished, in contrast with so many seen in instruments by makers of eminence that are simply hacked roughly