Books › The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers on these instruments, 1892 › scan 37
Scan 37
The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers on these instruments, 1892
2 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1spot in which the bridge is placed. With us it occupies a position between the notches in the sound holes, but in Kircher's drawings the bridge stands just a little nearer the tail piece. Whether the backs of these viols were flat or arched in the same way as the fronts, is not of the slightest importance. There they are, violin forms from head to tail, and at the present time instruments claiming to be violins are sent out into the world with similar infelicitous outlines, similar heavy-looking sound holes, similar crude scrolls and volutes, and almost as stinted fingerboards. What, if any, particular individual can claim to have been the inventor or designer of this violin form will be considered in another portion of this book, but here it may be said that it can be traced in various ways through many models and fanciful variety of outline back to the viol of 1491, and that the violin, as we have it, also actually existed long before Kircher's book was printed.
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