Books › British Violin Makers: A Biographical Dictionary of British Makers of Stringed Instruments and Bows and a Critical Description of Their Work, 1920 › scan 303
Scan 303
British Violin Makers: A Biographical Dictionary of British Makers of Stringed Instruments and Bows and a Critical Description of Their Work, 1920
6 lines. Read by computer on 29 August 2026. Printed page 245. See the scan on archive.org.
1satisfied till he had finished two. All scientific and research work was now laid aside, for it was suddenly resolved that he should enter Durham University and study for the Church. In due course he graduated at Durham, and was ordained to the curacy of Hyson Green, Nottingham, in 1891. In 1901 he became vicar of Weston, Otley, and in 1908 he re-commenced his violin researches, which, however, he had never completely relinquished. The varnish problem came in for a large share of attention, and Mr. Tweedale claims to have discovered an oil varnish "which is equal in all respects to that of the great Cremonese luthiers."
3He has had in his hands for the purpose of study and comparison several fine "Strads," such as the "Tuscan," "Cessol," "Amherst," "Prince," "Paganini," and a number of "Josephs," and he claims that he is "now able to make instruments which are worthy to compare with these in tone, and equal to the very best of them in varnish." Whether Mr. Tweedale's varnish is "equal in all respects" to the Cremonese varnish is a matter upon which there may be more than one opinion, but there can be no differences of opinion, I think, as to the quality of his more recent varnish: it is of excellent pâte and of wonderful "fire" and transparency. The varnish he made some years ago is not for a moment to be compared with it.
5He has made a large number of violins—some on the Strad, Joseph, and Maggini lines, but the greater number on an original model. The outline of the original model is full, and bold, suggestive rather of masculine strength than of feminine gracefulness and delicacy. The scroll and sound-holes are also very original in design, and are evidence (if evidence were wanting) of the strong, clear-thinking brain, and of the skilful hand which is able to carry out the dictates of that brain. All the work is beautifully finished, both inside and outside, even to the minutest detail. The tone of his later instruments is of a very fine quality: it is large, responsive, and brilliant, and perfectly equal on all the strings.
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