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Scan 175
Old violins, 1905
14 lines. Read by computer on 27 September 2026. Printed page 157. See the scan on archive.org.
1in my opinion too much thinner, than the mixed silver and copper fourths, which are very serviceable for rougher orchestral work.
3The vice of silver strings is to rise (and of gut strings to fall) with heat; but if your screws are in perfect order, and you are expert enough, you will remedy either by a rapid subtle twist during a bar's rest, or a quick nipping the head of the peg between the first and third joint of your left-hand forefinger. I have seen Sarasate tune two pegs thus in the course of a very brief "tutti."
5Mr Hart may be accepted as a final authority on the relative merits and the different schools of violin strings at present in the market, and his dicta substantially agree with my own experience. Of course he gives the palm to the Italian strings, which is largely due to the good climatic conditions, which enable their manufacture to be carried on in the open air and sunlight of that favoured clime.
7In Rome strings are yellowish, hard, and brilliant, and a little rough in finish.
9The Neapolitans are smooth, soft in texture, and whiter in appearance.
11The Paduans polished, durable, and frequently "false." Strings "made in Germany" (Saxony), as a set off against the swarms of trade German fiddles, rank next to Italian.
13The French rank third. Their larger strings are better than their seconds, which are often brittle; their patent first accribelles, made of silk, are hard
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