heavier expression about the upper part in consequence. [Illustration: _a_ _b_ _c_ SEE PAGE 48.] [Illustration: _d_ _e_ _f_ _g_ SEE PAGE 48.] History does not relate which of those parties who may have practically followed up the experiments were successful in arriving at the goal of their ambition; they may even still be continuing the struggle for supremacy with their master. We have not to look far for ascertaining whether these assertions have borne fruit. There has been time enough for works built upon these so-called discoveries of fixed principles to have settled down, and the popular verdict now is--that those which guided Antonio Stradivari have yet to be discovered. The numbers of announcements of fresh discoveries--repeated _ad nauseam_--are in themselves some evidence that what has gone before was founded on deceptive evidence, and therefore to begin anew was the only course left. The illustrations of scrolls by Nicolas Amati and Antonio Stradivari, being from good specimens by the masters, will be interesting as showing the progression of the modification in detail under the hands of the latter. In fig. _a_, Nicolas Amati, c. 1670, it will be seen that the first or smallest turn after leaving the axis or "eye" is kept for some distance rather close. Every effort seems to have been made for keeping the turns or winding from being too circular, there being a general dip downward and forward. The gouging is deep from the commencement. The aim of the artist in the whole design appears to have been towards perfection of gracefulness. Fig. _b_. Antonio Stradivari, 1683, the openness and bold swing of the first turn at once on leaving the "eye" is very striking, it also commences higher up, there is almost an absence of flow or downward tendency. The throat underneath the volute is very massive, although all the edges are finished off with the utmost delicacy and sharp tooling. All the details of scroll carving by Stradivari at this period are marvels of mechanical dexterity of handling. The different depths of the gouging are carefully calculated for solidity of effect, each portion being deep in proportion to its width, the smaller turns thus having less depth than the larger. With the Amatis there seemed to be a striving after attainment of the greatest depth possible in the smaller gougings, those nearest the axis reaching frequently to almost the same depth of level as the outer or broadest one. In no part of his work does Stradivari show more clearly the result of careful calculation after closely studying the work of his master and others that had gone before. [Illustration: FIG. _a_. SEE PAGE 49.] [Illustration: FIG. _b_. SEE PAGE 49.]