necessary when the thicknesses theory is confided in and efforts made to reduce it to practice. The exactness reasonably expected of such a master of quality as Stradivari would be upset in an instant by the application of a little moisture, and which either by accident or during the process of repairing would be fairly certain to occur some time or other to every violin that left the hands of its maker. CHAPTER VII. STRADIVARI'S TONE AND SYSTEM--THOSE OF HIS PUPILS AND ASSISTANTS--QUALITIES OF TONE PRODUCED IN DIFFERENT LOCALITIES. We may now refer to actual observation or close examination of Stradivari's work with reference to the question of system, whether there is evidence of its presence and how followed by him. That his violins should have been from time to time well measured by the very numerous army of identical imitators, fair copyists, and all sorts of connoisseurs and theorists during the present century will be at once admitted, and the results may be summed up in a few words. Stradivari did not leave clearly defined any evidence of a system of gauging which he strictly followed, at any rate in such a manner as to enable the least approach by such to be made by any followers in his steps with any measure of success. In short, he was guided by the exigencies of the moment as to the amount of wood left in his ordinary or choicer specimens. It has been stated before that his quality of tone was one, not several, and for these his patrons flocked to him, as his admirers have also more and more earnestly sought for him since the supply has ceased. But it was not desirable that the greatest possible power should be given to instruments that were in many cases to simply charm a small family circle of friends in an apartment of modest dimensions. He would, therefore, naturally enough vary the amount of wood left. This would be quite in accordance with what is perfectly well known to all makers and repairers of experience--that with a violin if very "thickly timbered," the tone is less easy of emission, or actually weak. On the other hand, if too thin the emission is comparatively easy, but lacks intensity and is termed "hollow." Under these circumstances we should expect to find a variation in the thicknesses of different violins of Stradivari, which is in accordance with fact. Some connoisseurs have been in their enthusiasm too hasty in their reference of general principles from a few particular instances and their researches--as time thereafter showed--did not bear the fruit so anxiously looked forward to.