Books › Violins and violin makers. Biographical dictionary of the great Italian artistes, their followers and imitators, to the present time. With essays on important subjects connected with the violin, 1866 › scan 106
Scan 106
Violins and violin makers. Biographical dictionary of the great Italian artistes, their followers and imitators, to the present time. With essays on important subjects connected with the violin, 1866
4 lines. Read by computer on 29 August 2026. Printed page 98. See the scan on archive.org.
1strengthen the bar which, without that, being drawn into too great a vibration, would give to the strings sol and re a cottony sound which would have quite spoiled the goodness of the instrument." M. Maugin does not say why higher bridges are now used, but there is no doubt on this point. All judges concur that the pitch having been so greatly raised since the old instruments were built, a stronger bar has been found necessary, to counterbalance the increased tension of the higher bridge.
3Andrew Amati gave to his instruments a still more decided swell than the later members of his family, his successors no doubt finding a diminution in the rise of the model to produce a fuller if not a sweeter tone. This principle was gradually carried forward till it culminated in Antonius Stradivarius, who brought it to perfection and demonstrated that the flat model produced the greatest vibration and consequently the most powerful tone. Otto in his celebrated work on the Construction of the Violin, does not mention Andrew Amati, but says that those of Hieronymus were the oldest Cremona
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