analysed, with a strict regard to the habit of the master in respect of intention in design and execution at early and later periods, the mistake would not have occurred. The conclusions rushed at seem to have been that there was the proper age of the instrument, the varnish was of fine Cremonese type, the pattern and sound holes thought to be "Straddy," therefore it must be a Stradivari. On the other hand, there is no obtainable evidence that these violins did not issue in new condition from Stradivari's atelier; we have in previous pages considered the amount of help at his elbow, and that this would be more and more called into requisition is but a reasonable conjecture: that it was actually the case is helped by the fact of violins being extant in which the age of the master is stated on the ticket--presumably written by himself. Possibly he felt some degree of pride in having accomplished, at the patriarchal age of about ninety years, work generally associated with the time and vigour of middle age. The existence of these violins, there may have been several more made than are known, has much significance, for the fact of his age being inserted may be fairly taken as indirect evidence not to be lightly put aside, that they were by himself looked upon as an accomplished work quite out of his usual way. Had he been constantly putting forth instruments made by his own hands, there would not have been anything unusual about them, but these, with date and age marked, seem to be a declaration of the master--see--I have made a violin at the age here stated! In these there is present exactly what would be expected in such work--indication of insufficiency of the physical powers for carrying into execution the dictates of the mental. The intellect of this wonder of humanity appears to have remained unclouded to the last. The other violins of about the same epoch, and going under the master's name, have a manner of work that ought to have been perceived as being also distinct. Mere hastiness or slovenliness of work is not identical with the effect of inability to achieve mechanical neatness. It is this slovenliness of handiwork which Carlo Bergonzi gave way to so frequently; he could, when in the humour, work beautifully; this, with his fine perception of elegance of line, was possibly the secret of his being admitted into the atelier of Stradivari and of his influence over the sons. There may have been other special particulars regarding him that helped in the matter of which there does not appear to be any record. CHAPTER IX. EVIDENCES IN STRADIVARI'S WORK OF OLD AGE--HIS DEATH AND BURIAL--WORK LEFT BY HIM--THE ADVANCE IN VALUE OF HIS WORK SINCE HIS DECEASE.