into size and shape. They were carefully estimated in their proportion for strength sufficient to resist the strain caused by the size, length, and pull of the strings in use at the time of Stradivari, and with something to spare, so that even now, under the enormous strain of the modern high pitch, when in perfect and original condition they are equal to their task. In a number of instances, when much repairing, good or bad has been done, the end, and often the corner blocks, have been replaced by modern ones. There is, of course, under these circumstances less of Stradivari present, but it has often been a case of painful necessity or question of expense as to the choice between two steps for restoration to health and particularly for strength. The form viewed vertically adopted by Stradivari was that of a parallelogram with two rounded corners (diag. _i_.). The upper block was left a little thicker, the junction or root of the neck necessitating this. The renewal of one or both of these has also been caused incidentally by the deep insertion of the modern and longer neck, thus lessening much of the grip or purchase of the block on both upper and lower table. The same may be said of the nut over which the tail string passes, this being--owing also to the rise of the modern tone pitch and increase of tension--much larger than in Stradivari's day, and he may in a sense be said to have had to buckle to modern requirements. [Illustration: DIAGRAM _h_.] [Illustration: DIAGRAM _i_.] While the seat as it were of our criticism is at the present moment in the interior portion of the admirable structures bequeathed to us by the great Cremonese, we may consider further the surface work of this part. Everyone knows that the interior of a violin is left unvarnished by violin makers. Stradivari was in no way anxious to become an exception to this rule. The reasons for its adoption were, and are, still obviously wise, although not necessitous. He knew that his work, in common with that of other craftsman, would be liable to fracture, and that in the process of restoration the surfaces and junction of parts must be laid bare, and varnish where not obviously necessary would be an obstruction.