Books › Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864 › scan 58
Scan 58
Notice of Anthony Stradivari, the celebrated violin-maker, known by the name of Stradivarius:, 1864
9 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. Printed page 36. See the scan on archive.org.
1library). However, at the same period, two well-informed men—Othmar Nachtgall and Martin Agricola—who have specially treated the matter in question, have represented, in their works, viols whose strings are fastened to a tail-piece similar to that of a guitar, and without a bridge, as in this figure:
3 one of two readings
4 one of two readings
6Fig. 6.
8Now, it would have been absolutely impossible to prevent the bow touching all the strings at once of an instrument so made. Besides, the sounds which we might attempt to draw from it would be extremely weak; for it is the bridge which gives the requisite angle to the strings to enable them to vibrate with éclat, and to communicate their motion to the sound-board; in short, it is the bridge which, vibrating energetically itself, imparts to the sound-board, by its precipitate beatings, the vibratory oscillations from whence intensity of sound results. Moreover, we must not forget that the principle of the production of sounds, by the friction of the bow on the strings, was accompanied, from its very origin, by the necessary appendage of the bridge. We find it in the primitive essay of the ravanastron, and in the omerti, of India; in the rebab, and in the kemângeh à gouz, of the Arabs; in short, wherever the bow is met with. It is, then, beyond doubt that the absence of the bridge in some monuments of the middle ages, and in
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