“The workmanship of the interior of the instrument displays no less perfection; all is there finished with the greatest care. The degrees of thickness are adjusted in a rational manner, and are remarkable for a precision which could not have been attained except by long study and experiment. The back, the belly, and all the parts of which the instrument is composed, are in a perfectly harmonious relation. It was, doubtless, repeated trials and diligent observations, which also led Stradivarius, throughout this period of his productive career, to make the blocks and sides of his violins of willow, the specific lightness of which surpasses that of every other wood. In short, everything had been foreseen, calculated, and determined with certainty, in these admirable instruments. The bar alone is too weak, in consequence of the gradual rise in the pitch, from the beginning of the eighteenth century; the inevitable result of which has been a considerable increase of tension, and a much greater pressure exercised on the belly. Hence the necessity has arisen for re-barring all the old violins and violoncellos.” Such is Fétis’s description of this grand period. From 1725 to 1730, Stradivarius produced fewer instruments than he had previously done in the same period of time. Although they are very good, the workmanship no longer displays the same perfection. The arching becomes more rounded, which tends to impair the clearness of the sound, and the varnish is brown. After the year 1730, the master exhibits a decided falling off. Stradivarius, in his eighty-sixth year, still, however, continued at his bench, assisted by his two sons, Omobono and Francisco, and his pupil, Carlo Bergonzi, who partially, if not wholly, kept the business going. Stradivarius signed many of his instruments as having been made simply under his direction. After the death of this great maker, many instruments which remained unfinished in his workshop were completed by his sons. Most of these instruments bear the father’s name. Stradivarius died at the great age of ninety-three years, and he was buried in the Cathedral of Cremona. Facsimile of a written ticket: [Illustration: {handwriting}] Facsimile of a printed ticket: [Illustration: Antonius Stradiuarius Cremonensis Faciebat Anno 1719 {trademark cross above A S}]