Books › The violin : how to choose one, 1893 › scan 42
Scan 42
The violin : how to choose one, 1893
8 lines. Read by computer on 3 September 2026. Printed page 38. See the scan on archive.org.
1easily, but can be graded into an infinite variety of shades, with scarce an effort on the part of the player. The fibres of the breast of my own solo violin measure exactly seven to the inch.
3It must here be noted, however, that a tone which comes with difficulty and seems hard to the player, frequently seems perfect to the listener. Once, when my own violin was under repair, I played two solos in a large hall upon an old German fiddle, the model of which seemed a cross between a Stainer and a Maggini, the tone being very large and clear, but of a somewhat hard quality. I found it very hard work, and noticed many harsh notes; but a skilled violin player, who sat among the audience, afterwards said to me, "I don't know what you have against that violin; to me in front it simply sounded exquisite."
5The same rule as to the width of the grain applies to the sycamore. When the wood is soft it may be left thick; when it is hard it must be left thin; but very hard wood should never be put into a violin. Having got the wood, see that it be made up into a good model of full size, which shall give a large and telling tone—that of Maggini preferably, but certainly not smaller than the full proportions of Guarnerius—and that when finished it be varnished full with a good amber oil varnish.
7James Hardie, 117 Nicolson Street, Edinburgh, or Wm. Dickie, Wentworth, Yorkshire, are both geniuses among violin makers, and may be safely entrusted to make up old wood into grand instruments to order. I must say the same of Archibald Ritchie, 84 Commercial Street, Dundee, who produces magnificent violins, extra thick in wood, and very large and free in tone. Frank Devoney, 63 Milburn Street, Blackpool, whose system is so freely given at the end of this book, must also be noticed as an honest man, who produces violins with a tone exceptionally free and pure. Hardie uses an oil varnish, the gum of which is amber; Dickie uses a very soft slow-drying varnish, the gum of which is not amber, but would apply amber varnish if desired. Ritchie uses Whitelaw's amber varnish. Devoney uses either his own amber varnish or Whitelaw's. I notice the work of these makers because it is known to me, and their honesty is unimpeachable, but there must now be makers in nearly all of our large cities who turn out first-class work, honestly executed; and that I may not be
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