Scan 240
Catalogue of the stearns collection of musical instruments 2nd edition, 1921
8 lines. Read by computer on 29 September 2026. Printed page 206. See the scan on archive.org.
1model, it has not been adopted by violinists—because it is practically impossible of manipulation.
3While, from the standpoint of physics, the F-hole seems to be opposed to the principles of tone-formation, the early craftsmen must have reasoned otherwise, for Mersenne, in his great work, shows a cut of a lira da gamba with unmistakable F-holes. In its structure, the violin represents a delicate weighing of advantages and disadvantages by men of real genius who knew how to strike the proper balance between the two.
5Possibly, a lack of consideration of this accounts for the fact that when Savart, at a later date, constructed a violin based on physical principles, it also found no favor with professionals. But, in spite of the teachings of experience in the past, we are constantly being reminded by present-day, ambitious—frequently unknown—violin makers that they have discovered and remedied what they consider obvious defects. The discussions of the secrets of the old Cremona masters—the varnish, the pitch-relationship of the back and belly (as announced by the Cremona Society of Berlin), etc., etc., proves that this subject in its lure, vies with alchemy, perpetual motion, and liquid air.
7It may now be stated, in conclusion, improvements seem to be impossible: earlier types are obsolete, and newer forms, like the Viola alta (Eng. Ritter viola), invented by Hermann Ritter in 1876, and having a fifth string (g'') have not entered into the equation. The violin type has maintained itself consistently, and may be considered perfect. The same holds with equal force in the case of the bow. Therefore, from the point of view of evolution, this type may claim superiority over all others.
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