Books › The varnishes of the Italian violin-makers of the sixteenth, seventeenth and eighteenth centuries, and their influence on tone;, 1904 › scan 11
Scan 11
The varnishes of the Italian violin-makers of the sixteenth, seventeenth and eighteenth centuries, and their influence on tone;, 1904
10 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1CONTENTS.
3CHAPTER I.
4INTRODUCTION.
5Evolution of violins from viols—Introduction of the sound-post—Probable influence of the Church on the evolution of violin and varnish—The varnishes were oil-varnishes, the early ones perhaps excepted—Brown colour of early instruments and its recrudescence—Improvement of colour attends that of form—Extinction of the varnish about 1750—Its quality as excellent as its colour—Differentiation of Cremonese and Venetian varnish—Introduction of Neapolitan varnish—Assumption of composition of the varnish, derived from superficial examination, generally accepted—Improvement suggested by Eugène Mailand—Defects in imitations supposed to be remedial by age—Observations which caused suspicion of the correctness of established dogma—Definition of dichrōïsm—Origin and progress of a research on a new hypothesis—Scope and arrangement of the present treatise………………..pages 1—8
7CHAPTER II.
8DESCRIPTIONS OF THE OLD VARNISHES, MODERN OPINIONS AND IMITATIONS.
9Correct description by J. B. Cartier, violinist (b. 1765)—Description by de Try—Opinion and descriptions by George Hart—Descriptions by Fétis—Opinions of Antoine Vidal under the influence of J. B. Vuillaume—Influence of Mailand on
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