Fig. _c_. The period 1715 shows the result of further calculation for general effect and a consequent modification in respect of minor details; there is present, as always, the sufficiently bold swing of the first turn from the axis. In choice specimens the point of commencement is as sharply and clearly defined as the mitreing of the purfling at the four corners of the body of the violin and which it seems impossible to excel. The throat, with the whole of the peg-box, is reduced slightly but consistently with strength and beauty of appearance. The public verdict has remained unshaken with regard to these scrolls being in respect of the combination of excellencies the best carvings of the great artist. They are in the most trifling degree smaller than those carved before the period of 1700. Among those cut about the 1710-15 period, or even later, are a few that seem to have been intentionally both smaller and more upright. Although having all the essential excellencies of detail they can scarcely be considered as coming up to the standard of the others in respect of refined grandeur. This type may be said to be mixed up and continued with more or less persistency to the last, and of this Fig. _d_ gives a good representation. There is frequently a more emphatic or energetic gouging at the commencement of the turns, a more developed "ear" as it is often termed. It is gouged with quite as much care as the rest. Speculation has been rife as to the possible influence or even personal help of Joseph Guarneri at this point, but there is no solid foundation for surmising the presence of one or the other. If the gouging of this part may be said to bear any sort of resemblance to the emphatic or impetuous touch of Joseph, it is confined strictly to this portion; other essentials are wanting that would be absolutely necessary for crediting artists of distinctly opposite tendencies with--it might be almost rightly termed--tampering with each other's designs. [Illustration: FIG. _c_. SEE PAGE 50.] [Illustration: FIG. _d_. SEE PAGE 50.] But if the name of Carlo Bergonzi is brought into the field of speculation--granting for a moment that Stradivari was not very likely to step aside occasionally from his accustomed groove--then we have much more of a possibility or even probability in the matter. It has always been asserted, and I believe never contradicted, that Carlo Bergonzi was for a time actually working in the atelier of Stradivari--whether as pupil or only assistant matters not--but we have in the fact of his presence a distinct factor in any of the supposed anomalies of the later periods of the grand Cremonese master. To this, however, we may put some consideration further on. There is further in these later scrolls a modification, alteration, or supposed attempt at improvement in the edging of the turns, these being left a trifle stouter than at the commencement of Stradivari's career.