Scan 40
A Review Of Ancient And Modern Violin Making, 1899
4 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1essential quality is resonance, which can only be found perfect in new, firm wood. One would as rationally expect to find the vigor, endurance and activity of twenty-five in the man of one hundred years as to look for perfect resonance in old wood. The longer I investigate this matter, the more firmly am I convinced that, so long as wood is young, the class, or kind is of secondary consideration. By the variety of wood I have used in the last four years and the uniformity of results, I am forced to this conclusion. I have used wood for the last fifteen violins that grew as widely separated as one could wish for the most extended test, and the quality has differed as widely as their respective locations. I have used wood from Norway, Sweden, Italy, Canada, the Eastern and Middle States, Pacific Coast and the Sandwich Islands. I have chosen the greater part of it for its beauty regardless of its fitness as viewed by other makers, and the results are that they are all undoubtedly equal to any violins in the world.
3Makers have made a scapegoat of so-called poor wood to carry off the sins of their ignorance. If the good violins of all ages were produced only by this fabulous wood so much con-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.