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

Books › The violin: its famous makers and their imitators, 1875 › scan 42

Scan 42

The violin: its famous makers and their imitators, 1875

12 lines. Read by computer on 1 October 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.

1timber, the woodcuts given will assist the reader to understand it. Fig. 1 represents the cutting for the back in two pieces—the piece which is separated from the log is divided. Fig. 2 shows the method adopted to obtain the slab form.
3![Fig. 1.](https://example.com/fig1.png) one of two readings
4![Fig. 2.](https://example.com/fig2.png) one of two readings
5![Fig. 1.](https://i.imgur.com/1.png) one of two readings
7![Fig. 2.](https://i.imgur.com/2.png) one of two readings
9This mode of cutting is constantly met with in the works of the Brescian makers, and likewise of the early Cremonese. Andrew Amati invariably adopted this form. Stradiuarius rarely cut his wood slab-form. Joseph Guarnerius made a few Violins of his best epoch with this cutting, the varnish of which is of an exquisite orange colour, so transparent, that the curls of the wood beneath resemble richly illuminated clouds.
11There can be do doubt whatever that the Cremonese and Brescian artists were exceedingly choice in the selection of their material, and their discrimination in this particular does not appear to have arisen so much from a regard to the beauty as to the acoustic properties of the wood, to which they very properly gave the first place in their considerations. We have evidence of much weight upon this interesting point in the frequent piecings found on

The computer misreads some letters and numbers. Where a name matters to you, read the scan.