n two pieces--the piece which is separated from
the log is divided. Fig. 2 shows the method adopted to obtain the slab
form.

[Illustration: FIG. 1.]

[Illustration: FIG. 2.]

[Footnote 2: The Germans call the plane-tree _morgenlandischer
ahorn_--_i.e._, "oriental maple." From the German word _ahorn_ is
probably derived the term "air wood," often corrupted into
"hair-wood." Thomas Mace says, respecting the lute, "the air-wood is
absolutely the best, and next to that our English maple."--_Engel_
("Researches into the Early History of the Violin Family").]

[Illustration: _Plate II_. JACOBUS STAINER. Date 1669. GIUSEPPE
GUARNERI DEL GESU. (THE "VIEUXTEMPS.") NICCOLO AMATI. _Grand Pattern_.
Date 1641. (J. S. COOKE, ESQ.)]

This mode of cutting is constantly met with in the works of the
Brescian makers, and likewise in those of the early Cremonese. Andrea
Amati invariably adopted this form. Stradivari rarely cut his wood
slab-form. Joseph Guarneri made a few Violins of his best epoch with
this cutting, the varnish on which is of an exquisite orange colour,
so transparent that the curls of the wood beneath resemble richly
illuminated clouds.

There can be no doubt whatever that the Cremonese and Brescian makers
were exceedingly choice in the selection of their material, and their
discrimination in this particular does not appear to have risen so
much from a regard to the beauty as to the acoustic properties of the
wood, to which they very properly gave the first place in their
consideration. We have evidence of much weight upon this interesting
question in the frequent piecings found on the works of Cremona
makers, pointing to a seeming preference on their part to retain a
piece of wood of known acoustic properties rather than to work in a
larger or better preserved portion at the probable expense of tone.
The time and care required for such a delicate operation must have
been sufficient to have enabled the maker, had he been so minded, to
have made a complete instrument. There is also ample proof that Joseph
Guarneri possessed wood to the exceptional qualities of which he was
fully alive, and the same may be said of Stradivari, Ruggeri, and
others. It is scarcely reasonable to suppose that in the seventeenth
century there was a dearth in Italy of timber suitable for the
manufacture of Violins, and that in consequence these eminent makers
were compelled to patch and join their material to suit their purpose.
They we