Bow & Bridge Violin and bow makers, as the old books printed them

Books › the history of the violin, 1864 › scan 336

Scan 336

the history of the violin, 1864

8 lines. Read by computer on 28 September 2026. Printed page 314. See the scan on archive.org.

1Being one hundred and twenty-nine pieces besides a few others of lesser importance.
3The Steiner pattern was the one adopted by William Forster (2) to work by, in 1762; and for several years later it was more or less used; however, about ten years afterwards the Amati outline was employed, but the model was high and swollen, and very deficient in the elegant ensemble of those instruments constructed through the remaining years of his life.
5The violins of the first period were coloured of a brown tint, as if produced with dilute walnut stain and then varnished. The violoncellos are of a dark red with a blackish tinge, and much stronger of gum than that used for the treble instruments. The exact period is not known when such fine varnish was used by this maker; but a violoncello was made in 1772 for the chemist who had assisted him in the knowledge of the method to dissolve the gum amber; therefore the improvement, probably may date from that year; although the varnish on this particular instrument is not to be compared for beauty or richness of colour with those of later times. A further notice will be taken of this violoncello when relating its history.
7The violas and violoncellos of this maker were the most esteemed, he was not as successful with the violins, although many of them are very good; and the reasons may be that sufficient attention was not paid to the various thicknesses of the gauging connected with the height of the model used; however it is certain the violins had not such fine tone as the other instruments. Many violas could be enumerated of known excellence, as the one made for Dr. Walcot, alias Peter Pindar; also, for Bartolozzi, the celebrated engraver; and another made for Mr. Henry Leffler, a professor, formerly of the Italian

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