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Scan 307
Dictionary of Violin makers, 1928
16 lines. Read by computer on 1 October 2026. Printed page 217. See the scan on archive.org.
1From the point of view of sound, the nature of the varnish has a great importance, but its colour must only be regarded as a decoration. The scale of colours used by the old makers is still followed, and comprises the yellows and reds used separately or combined.
3The Chin Rest is an additional apparatus for receiving the chin. It renders the holding of the instrument more comfortable and remedies the wear caused by the rubbing of the chin. Some old violins have that particular part of the Belly reduced to half of its original thickness. The invention of the Chin Rest is attributed to the celebrated violinist Spohr.
5The Mute is placed upon the Bridge and by increasing its density, deadens the sound. It is made of metal, wood, horn, ebonite, etc., wood being preferable.
7The pattern of the violin has been established in accordance with the length of string. The official modern diapason (pitch) A. gives 870 vibrations and corresponds to a string of 0m 33 approximately. Formerly it was not so high and this explains the slight difference of sound and quality of tone in instruments made years ago.
9« The violin had reached its perfection as early as the second half of the xvi th century, but more than a century elapsed before its actual resources were fully utilised.
11» For a long time it was used for dancing. Despite the horror and dismay of instrument lovers of our present day, it must be said that the magnificent violins brought by Amati to the Court of Charles IX. were used solely to enliven the gaieties of the courtiers and ladies-in-waiting of Catherine de Medici. So it went on at Court until the end of the xvii th century. The twenty-four violins of the King are not likely to fall into oblivion.
13» Its most refined work was to play entrées for ballets, to give the pitch to the singers and accompany the entertainments. In 1672, Lulli founded the Opera and the violin took a certain importance in the orchestra. Nevertheless, for a long time, the viols continued to play a more predominant part.
15» Lulli was himself a violinist of some merit, but he devoted most of his time to compositions for the amusement of the Court and Theatre, and cannot be classed amongst the masters of the art of violin playing. The real founder of the Violin School is Corelli, who
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