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See also:STRADIVARI, See also:ANTONIO (1644-1737) , See also:Italian See also:violin-maker, is associated throughaut his See also:life with See also:Cremona, where he brought the See also:craft of violin-making to its highest See also:pitch of perfection. The obscure details of his life have been thoroughly worked out in the monograph on him by W. H See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
Hill, A. F. Hill and See also:Alfred Hill (1902). He was still a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of See also:Nicolas See also:Amati in 1666, when he had already begun to insert his own See also:label on violins of his making, which at first follow the smaller Amati See also:model, aolldly constructed, with a thick yellow See also:varnish. It was nottih 1684 that he began to produce a larger model, using a deeper coloured varnish, and beautifying the See also:instruments in various details, his " See also:long " patterns (from 169o) representing a See also:complete innovation in its proportions; while from 17oo, after for a few years returning to an earlier See also:style, he again broadened and other-See also:wise improved his model. He also made some beautiful violoncellos and violas. The most famous instruments by him are:—Violins: the " Hellier " (1679), the " Selliere " (before r68o), the " Tuscan " (169o), the " Betts " (1704), the" See also:Ernst " (1709), " La Pucelle " (1709), the " See also:Viotti " (1709), the " Vieuxtemps " (1710), the " Parke " (1711), the " See also:Boissier " (1713), the "See also:Dolphin " (1714), the " See also:Gillot " (1715), the " See also:Alard," the finest of all (1715), the " Cessot " (2716), the " See also:Messiah " (1716), the " Sasserno " (1717), the " Maurin " (1718), the "Lauterbach" (1719), the " See also:Blunt " (1721), the " Sarasate " (1724), the " Rode
(1722), the " Deurbroucq " (1727), the " Kiesewetter " (1731), the " Habeneck " (1736), the " Muntz " (1736). Violas: the " Tuscan " (169o), two of 1696 formerly belonging to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king of See also:Spain, the " Archinto " (1696), the " See also:Macdonald " (1701), and the " See also:Paganini " (1731). Violoncellos: the " Archinto
(1689), the " Tuscan " (169o), the " See also:Aylesford " (1696), the " Cristiani " (1700), the " Servais " (1701), the " See also:Gore-See also:Booth " (1710), the "See also:Duport" (1711), the "See also:Adam" (1713), the " See also:Batta (1714), the " See also:Piatti," the finest of all (1720), the " Bandiot (1725), the " Gallay " (1725). Antonio Stradivari's sons See also:Francesco (1671–1743) and Omobono (1679–1742) were also violin-makers, who assisted their See also:father, together with Carlo Bergonzi, who appears to have succeeded to the See also:possession of Antonio's stock-in-See also:trade. The Stradivari method of violin-making created a See also:standard for subsequent times; but what is regarded as Antonio's See also:special See also:advantage, now irrecoverable, was his varnish, soft in texture, shading from See also:orange to red, the See also:composition of which has been much debated.
End of Article: STRADIVARI, ANTONIO (1644-1737)
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