Books › Violin tone and violin makers, 1916 › scan 41
Scan 41
Violin tone and violin makers, 1916
6 lines. Read by computer on 3 September 2026. Printed page 21. See the scan on archive.org.
1AND VIOLIN MAKERS
3results, although producing tone of much refinement. Here is seen one reason for the never-ending changes which the masters made in the shape of their instruments. They were seeking the best possible base upon which to build tonal ideals, and not endeavouring to design a violin which would, in itself, possess these characteristics—an impossible task, as I shall presently show. Equipped, therefore, with high ideals of tone and a splendid model in which to develop and control every essential that makes for the creation of the perfect voice, it is not difficult to understand why certain makers were able to create, with remarkable uniformity, a great toned instrument; or others, with an equally good model, but not so gifted with ideals, a violin inferior in tone; while others again, like the copyist of form, without ideals, or the ability or desire to apply them if he possessed any, turned out a violin lacking in those essentials of tone which characterise the perfect instrument.
5The violin has figured in the minds of its devotees as a curio for so long that points relating to its great asset, tone, cannot well be left to a mere statement of fact. Especially is this the case in dealing with matters forming the base of that cult to which they belong, for their knowledge of the instrument, its history, and its makers is profound, and embraces an
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