Scan 60
The violin: its famous makers and their imitators, 1909
2 lines. Read by computer on 1 October 2026. Printed page 24. See the scan on archive.org.
1perfection were mounted by Duiffoprugcar and Gasparo da Salò, both of whom rapidly developed the art. With Gasparo da Salò, or a contemporary, was witnessed the rejection of the crescent-formed sound-hole, and the adoption of that which has held its own for upwards of three centuries. The sound-holes of the Amati and of Stradivari are but those of Gasparo and his contemporaries, marked with their own individuality. All Viols until about 1520 were furnished with pieces of gut tied round the neck and fingerboard to mark the divisions of the scale—in short, were fretted. From the work of Ganassi we learn that the use of these divisions was optional, thus supplying us with authentic information of considerable value with regard to the gradual emancipation of this class of instrument from frets, and foreshadowing the union of the Geige or Fiddle with the Viol. Passing to the question of form given by the Italians, early in the sixteenth century, to Viols, we find the Violono or Bass Viol with its upper and lower sides, middle bouts, belly, and sound-holes almost identical with those of the Tenor Viols, the chief difference being in the back of the latter, which is modelled, whilst the former is flat. This was the form given to the Violono by Gasparo da Salò, and which has been changed in the upper portion of the body of the instrument, to permit of modern passages being executed with greater facility. The original finger-board was short, and generally fretted. The
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