Books › Old violins and violin lore. Famous makers of Cremona and Brescia, and of England, France, and Germany (with biographical dictionary); famous players; and chapters on varnish, strings and bows, 1893 › scan 32
Scan 32
Old violins and violin lore. Famous makers of Cremona and Brescia, and of England, France, and Germany (with biographical dictionary); famous players; and chapters on varnish, strings and bows, 1893
12 lines. Read by computer on 14 September 2026. Printed page 24. See the scan on archive.org.
1of about a hundredweight upon the belly, neck, and tailpiece, from the tension of the four strings.
3Six sycamore ribs and twelve internal blocks and linings suffice to hold the back and belly together.
5The neck carries the ebony finger-board and lifts its characteristic scroll or head—so expressive that makers can almost be recognised by its physiognomy.
7The neck is let solidly into the ribs and fastened against the lower part of the belly. When firmly glued it is extremely difficult to detach it, and once only in my experience has the neck of a violin proved unequal to support the enormous pull made upon it by the strings.
9It was in Ceylon. The heat was intense and moist. I had borrowed a violin for experimental purposes in one of my lectures at Colombo. In the middle of an attempted passage the neck quietly doubled up; the strings fell in a loose cluster. The glue had liquefied, and the whole fiddle came to pieces in my hands. What no time nor wear and tear had been able to effect had been suddenly achieved by the peculiar hothouse, vapour-bath treatment of the tropics.
11The early viol-makers no doubt at first selected their wood empirically; but it soon became an established rule to take a soft wood for the belly and a hard wood for the back. If all were soft, the sound would be muffled and tubby; if all were hard, the sound would be metallic and light; neither must the thickness of back and front be uniform—each must be thicker
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