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Scan 270
Old Violins And Their Makers, 1883
4 lines. Read by computer on 27 September 2026. Printed page 256. See the scan on archive.org.
1of the vibrating portion of the violin is only favourable to these certain notes, whereas it ought to favour them all equally, if it were not itself an obstacle to some of them.
3From these researches it appeared to Savart indispensable to employ only flat surfaces in forming the chest or sounding box of the instrument, in order that the fibres of the wood might not be cut so as to destroy their continuity and interrupt the movement communicated by the bridge. From such a form he anticipated the utmost freedom of vibration and most perfect reinforcement of tone, giving to each note equal intensity. He subsequently exhibited such an instrument before a number of savants deputed by the Academy of Science, and the Academy of Fine Arts, of Paris, to take note of this discovery. The report on this instrument was prepared by M. Biot, another distinguished acoustician, who, about the same time, I think, determined the ratio of the velocity of sound through metals to that through air. This report speaks in the most flattering terms of the Savart violin and is signed by all the other delegates. The fiddle was tested in their presence by M. Lefebvre, then conductor of the orchestra of the Théâtre Feydeau, and a musician of the highest ability. He afterwards played on his own instrument, which presumably was a fine one, although the report does not say so. Savart's violin was pronounced to be quite equal, if not superior, to the other, and when they were again played, in an adjoining apartment, out of sight of the judges, it was found impossible to distinguish any difference in tone, or, if any, the advantage was with the flat fiddle. Although
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