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 48
Scan 48
The violin: its famous makers and their imitators. With numerous wood engravings from photographs of the works of Stradiuarius, Guarnerius, Amati, and others, 1875
9 lines. Read by computer on 29 August 2026. Printed page 12. See the scan on archive.org.
1timber, the woodcuts given will assist the reader to understand it. Fig. 1 represents the cutting for the back in two pieces—the piece which is separated from the log is divided. Fig. 2 shows the method adopted to obtain the slab form.
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6This mode of cutting is constantly met with in the works of the Brescian makers, and likewise of the early Cremonese. Andrew Amati invariably adopted this form. Stradiuarius rarely cut his wood slab-form. Joseph Guarnerius made a few Violins of his best epoch with this cutting, the varnish of which is of an exquisite orange colour, so transparent that the curls of the wood beneath resemble richly illuminated clouds.
8There can be do doubt whatever that the Cremonese and Brescian artists were exceedingly choice in the selection of their material, and their discrimination in this particular does not appear to have arisen so much from a regard to the beauty as to the acoustic properties of the wood, to which they very properly gave the first place in their considerations. We have evidence of much weight upon this interesting point in the frequent piecings found on
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