have had in my hands nearly all the finest productions of Stradivarius,
and thought myself acquainted with every instrument of note that ever
left his workshop; but I confess myself mistaken, and apologise to you
for the doubt which I expressed as to the instrument you had brought me.
This violin is of the great master's golden period, is incontestably
genuine, and finer in some respects than any Stradivarius that I have
ever seen, not even excepting the famous _Dolphin_ itself. You need be
under no apprehension as to its authenticity: no connoisseur could hold
it in his hand for a second and entertain a doubt on the point."

My brother was greatly pleased at so favourable a verdict, and Mr. Smart
continued--

"The varnish is of that rich red which Stradivarius used in his best
period after he had abandoned the yellow tint copied by him at first
from his master Amati. I have never seen a varnish thicker or more
lustrous, and it shows on the back that peculiar shading to imitate wear
which we term 'breaking up.' The purfling also is of an unsurpassable
excellence. Its execution is so fine that I should recommend you to use
a magnifying-glass for its examination."

So he ran on, finding from moment to moment some new beauties to
admire.

My brother was at first anxious lest Mr. Smart should ask him whence so
extraordinary an instrument came, but he saw that the expert had already
jumped to a conclusion in the matter. He knew that John had recently
come of age, and evidently supposed that he had found the violin among
the heirlooms of Worth Maltravers. John allowed Mr. Smart to continue in
this misconception, merely saying that he had discovered the instrument