Books › The violin: its famous makers and their imitators. With numerous wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1875 › scan 46
Scan 46
The violin: its famous makers and their imitators. With numerous wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1875
4 lines. Read by computer on 29 August 2026. Printed page 10. See the scan on archive.org.
1in the arrangement of the sound bar (which is now longer, in order to bear the increased pressure caused by the diapason being higher than in former times) and the comparatively longer neck, so ordered to obtain increased length of string. These variations can scarcely be regarded as inventions, but simply as arrangements. Their raison d'être was the need of adapting the instrument to modern requirements, so that it might be used in concert with others that have been improved and allow the diapason to be raised. Lastly, it must be said that, above all, the Violin awakens the interest of its admirers by the tones which it can be made to utter in the hands of a skilful performer. It is, without doubt, marvellous that such sounds should be derivable from so small and simple-looking an instrument. Its expressiveness, power, and the extraordinary combinations which its stringing admits of, truly constitute it the king of stringed instruments. These somewhat desultory remarks may suffice to trace the value set upon the Violin both as a work of art and as a musical instrument.
3We will now proceed to consider the acoustical properties of the Violin. These are, in every particular, surprisingly great, and are the results of many tests, the chief of which has been the adoption of several varieties of wood in the construction. In Brescia, which was undoubtedly the cradle of Violin manufacture, the selection of the pear tree, lemon tree, and ash for the material of the sides and back was
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