Scan 68
The violin, its famous makers and their imitators, 1887
10 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1any uniform arrangement of the sound-post in all instruments; as we have remarked before in reference to the bass-bar, the variations in the thickness, outline, model, etc., of the Violin are so frequent as to defy identity of treatment; uniformity has been sought for, but without success.
3The post can only be adjusted by a skilful workman who either plays himself or has the advantage of having the various adjustments tested by a performer. The necessity of leaving this exceedingly delicate matter in practised hands cannot be too strongly impressed upon the amateur, for the damage done in consequence of want of skill is often irreparable.
5There are two methods of setting the sound-post in the instrument: the first fixes it in such a position as to place the grain of the post parallel with the grain of the belly; the second sets it crosswise.
7The next important feature to be mentioned is the bridge, which forms no small part of the vibrating mechanism of the instrument, and needs the utmost skill in its arrangement. Its usual position is exactly between the two small niches marked in each sound-hole, but this arrangement is sometimes altered 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.
9We now pass to the neck of the Violin, which is made of sycamore or plane-tree. Its length has been increased since the days of the great Italian masters, who seem to have paid
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