Books › 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 › scan 22
Scan 22
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
12 lines. Read by computer on 3 September 2026. Printed page 18. See the scan on archive.org.
1ing matter, which is quite transparent, and easily dissolved in an oily fluid, is no more found in the European markets, and the English imitation of it is very inferior and not so transparent.
3The Arrangement of the Bridge and Sound-post.
5Having said as much about the different parts of the violin, we return to bridge and sound-post to explain what experience of many years with the best makers in Paris, London, and Brussels has taught me about it.
7It is certain that most violins can be improved, simply by a judicious arrangement of bridge and sound-post, and one can tell by a few minutes' examination whether a violin is well made and sound, has a proper bar, and proper position of bridge and sound-post.
9There is hardly a violin of the old makers to be found in its original condition, as the bar has to be changed to give more resistance to the present high pitch, which is, in my opinion, too high for the production of the best quality of sound.
11To arrange a bridge on a violin according to the position of any fingerboard is decidedly wrong. The bridge must be calculated according to the form of the violin. A flat Stradivarius or Jos. Guarnerius, will carry a bridge of 1 inch and 3/8 high, 1 3/4 inches across the top, and a little less across the feet; it should not stand quite straight, but slightly backward, so that the strings over
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