Scan 125
The violin & its story : or the history & construction of the violin, 1905
8 lines. Read by computer on 29 September 2026. Printed page 109. See the scan on archive.org.
1familiar, because, as before stated, it has a most intimate connection with the tone of the instrument. Instrument makers, as a rule, do not devote sufficient trouble to this
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5essential matter unless they are familiar with the particular fiddle they have in hand, or else, on the other hand, they are not good players, and have not a sufficiently delicate and artistic ear to differentiate between one shade of tone and another.
7The bridge is made of "stippled" maple, and its height, width, strength, and weight must be most accurately adjusted to the condition and constitution of the violin itself. The proportions of the height and strength (or thickness) of the bridge cannot be determined by any fixed rules, because instruments are so varied in make and in the details of their construction, and cannot on that account be all treated alike. As a general rule, however, the height of the bridge should not go beyond two-thirds of the length of the sound-post. Fiddles with a high arching, like those of the Stainer model, usually require a higher bridge. But the height is generally of less moment than the weight, because the height must of necessity be regulated more or less by the position of the fingerboard. The thickness of the bridge, on the contrary, on which its weight depends, has a most important effect on the vibrating capacity of the bridge, and, in consequence, on the tone itself. The bridge is
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