Scan 20
The violin: its famous makers and their imitators, 1909
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1SECTION II.—THE CONSTRUCTION OF THE VIOLIN.
3The present form of the Violin the result of much research and experiment, but perfected by the great Cremonese makers—Hogarth's "Line of Beauty" exemplified in the Violin—The requisites necessary to the due appreciation of the grace and properties of the Violin, and its exquisite power of expression—Its acoustical properties—Varieties of woods used in its construction—Methods adopted, and choice of material, by the great Brescian and Cremonese makers—The "whole-back" and "slab-back"—The constituent parts of the Violin—System of placing the sound-bar—Properties and position of the sound-post, and of the bridge; the neck; the finger-board; purfling, &c., &c.—The sound-holes of different makers—Needed cautions as to repairing good instruments 27–42
5SECTION III.—ITALIAN AND OTHER STRINGS.
7Importance of the Strings in the economy of the Violin—Adrien Le Roy's instructions "How to know Strings"—Thomas Mace and "Venetian Catlins"—Character of the different manufactures of Strings—Superiority of the Italian—The raw material not supplied by the feline race—Rules to be observed in choosing Strings—Modern improvements in Stringing—The Strings of Lindley and Dragonetti—Covered Strings—Experiments on the strain and pressure of Strings 43–56
9SECTION IV.—THE ITALIAN SCHOOL.
11A glance at the rise, culmination, and decadence of Art in Italy, and the Violin as connected therewith—The Italians far in advance of other nations in the manufacture—The five Schools of Italian makers—Roger North on the demand for Italian Violins—Brescia the cradle of the manufacture … 57–99
13SECTION V.—THE ITALIAN VARNISH.
15The formation of the Italian Varnish a secret lost to the world—Lustrous character of that of Cremona—Characteristics of the four classes of Italian Varnish—Conjecture as to the loss of the secret—Influence of the different Varnishes on the tone of the Violin … … … … … … … … 70–76
17SECTION VI.—ITALIAN MAKERS.
19Acevo—Albanesi—Albani—Aletzie—Alvani—AMATI, ANDREA; evidence as to date of birth; his Violins small; founded the School of Cremona; probably a pupil of Gasparo da Salò; his model high, and sound-hole inelegant; his varnish deep golden; his "Charles IX. Set" of twenty-four Violins, six Tenors and eight Basses—Amati, Niccolò—AMATI, the
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