This article is a subjectiveChemistry of the Renaissance, first-person account of the author’s involvement in violin research that unfolded over half a century beginning in 1974. The aim of Professor Joseph Nagyvary’s research was to elucidate the factors that were responsible for the distinctive, silvery-brilliant sound of the Stradivarius violins. He also sought to apply this knowledge to the creation of new violins possessing a Strad-like sound. Recognizing the limitations of the previous physical approaches, Nagyvary proposed the need for a paradigm shift relying on chemistry and material science. According to this new paradigm, material differences between the Strads and new violins are chiefly responsible for their acoustical differences. After some initial push-back, the chemical paradigm has gained acceptance among makers and researchers. A novel alternative, a hygrothermal method of wood processing was initiated in Japan, involving superheated steam, and many makers have been developing their own variety of steaming commercial wood. The emergence of many new violins that possess a Strad-like brilliance seems to follow the gradual acceptance of chemical and thermo-chemical methods for the improvement of tonewood.