Scan 50
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 1 October 2026. No printed page number was found. See the scan on archive.org.
1altered in the case of the stop being longer or shorter. Many forms of bridges have been in use at different periods, but that now adopted, is without doubt, the best. In selecting a bridge great care is requisite that the wood be suitable to the constitution of the Violin. If the instrument is wanting in brilliancy, a bridge having solidity of fibre is necessary; if wanting in mellowness, one possessing soft qualities should be selected.
3We now pass to the neck of the Violin, which is made of sycamore or maple. Its length has been increased since the days of the great Italian masters, who seem to have paid but little attention to this portion of the instrument. As relates to its appearance, and the wood used for its manufacture, which was of the plainest description, it may be observed that in those times the florid passages which we now hear in Violin music were in their infancy, the first and second positions being those chiefly used; hence the little attention paid to the handle of the instrument. Modern requirements have made it imperative that the neck should be well shaped, neither too flat nor too round, but of a happy medium. The difficulties of execution are sensibly lessened when attention is paid to this requirement.
5The finger-board is of ebony, and varies a little in length according to the position of the sound-holes. To form the board properly is a delicate operation, for if it be not carefully constructed the strings jar against it and the movements of the bow are impeded.
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