Scan 59
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 1 October 2026. No printed page number was found. See the scan on archive.org.
1the lines from being perfectly clear. The last precaution of moment is to secure perfect fifths, which can only be done by taking care that the four strings are in true proportion with each other. To string a Violin correctly is a very difficult undertaking, and requires considerable patience. The first consideration should be the constitution of the Violin: the strings that please one instrument torture another. Neither Cremonese Violins nor old instruments in general require to be heavily strung: the mellowness of the wood and their delicate construction require the stringing to be such as will assist in bringing out that richness of tone which belongs to first-rate instruments. If the bridge and sound-board be heavily weighted with thick strings, vibration will surely be checked. In the case of modern instruments, heavy in wood, and needing constant use to wear down their freshness, strings of a large size may be used with advantage, and particularly when such instruments are in use for orchestral purposes.
3Vast improvements have been effected in the stringing of Violins within the last thirty years. Strings of immense size were used alike on Violins, Violoncellos, Violas, and Double Basses. Robert Lindley, the king of English violoncellists, used a string for his first very nearly equal in size to the second of the present time, and the same robust proportion was observed in his other strings. The Violoncello upon which he played was by Forster, and would bear much heavier stringing than an Italian instru-
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