Bow & Bridge Violin and bow makers, as the old books printed them

Scan 21

Catalogue of old master violins; added to which is a short historical sketch of the various violin schools, and a list of the principal makers, including an article upon violin construction and repairing, also a list of choice music for the violin, 1900

6 lines. Read by computer on 3 September 2026. Printed page 17. See the scan on archive.org.

1quality of the sound. The sound-post is made of very old pine, and loosely fitted into the violin; the grain is generally put crossways to that of the belly. The sound-post has a nearly fixed position about one-quarter of an inch behind the right foot of the bridge, but its exact position is only to be determined in conjunction with the bridge. The bridge carrying the strings is cut in that peculiar form with the view of having strength with the least amount of wood, thus producing the greatest amount of vibrations. The height, width and thickness a bridge ought to have, can only be calculated with reference to the model of the instrument, The higher the build of the violin the lower should be the bridge. Its position is usually between the two niches marked in the sound-holes.
3Varnishes.
5Varnishes are prepared with oil, spirit or other fluid. It is the opinion of eminent men who have made researches as to the cause, why the art of making varnish resembling that of the old masters is lost, as no instrument, not even from Italy, within a century, can compare with a fine Strad, Joseph Guarnerius, Amati or any of the makers of that period. It is believed the cause is that the gum amber, or chief ingredient composing that varnish, came to the Italian markets about that time as a regular branch of commerce, perhaps from the interior of Africa, and has for some reason discontinued so to arrive or to be imported. Also genuine dragon-blood, for color-

The computer misreads some letters and numbers. Where a name matters to you, read the scan.