Another invention has been produced recently by Herr Christopher Scheinert in Berlin. It consists of a vibrating hammer or tongue for stringed instruments. This is a little instrument placed under the bridge of the violin, so that, (it being furnished with a slender hammer), elastic metal tongues vibrate freely between the upper table and the strings. The vibrating hammer is set in motion through the strings by the bow, through which simultaneous movement the power of the instrument is increased, and the tone colour elicited. Experts have tested the contrivance, declaring it to be a happy idea.
Professor H. Ritter’s invention of the normal three-footed bridge must also be mentioned. Assuming that the bridge in use for centuries, with its prescribed feet, does not fully convey the vibrations of the strings to the upper table,—the two middle strings sounding feebler than the outer,—Prof. Ritter has made a middle point of contact between the bridge and the upper table. This inner support is intended to make the middle strings sound with the same intensity as the outer ones.
In his pamphlet on the subject (Wurzburg, G. Herz), Herr Ritter demonstrates that his three-footed bridge has not only an aesthetic significance, but claims consideration scientifically.[1]
Attempts to discover the secrets of measurement
of the Italian violin makers.
For a long period violin making was restricted (deviations such as the experiments explained above, notwithstanding) to imitating the first Italian masters of the art, and endeavouring to equal them. But so conscientious and true in all their parts and contents is the workmanship of the Italian instruments that this has not been attained. A very general opinion is, that certain secrets in instrument making were known to the Italian masters but have become lost, and many have made the attempt to re-discover these secrets. A maker in Aix la Chapelle, named Niederheitmann, a violin amateur, possessing a collection rich in valuable old violins, believed the mystery to be discovered, and that it consisted in impregnating the wood. The substance used was a species of pine found in the vicinity of Cremona, or the instrument was mainly built of this wood. This pine (balsam pine) became quite decayed by the drying up of its resin, and thereby the key to the enigma why in spite of the closest imitation the old Italian tone was not arrived at, was found. This pine exists no longer in Italy, and thus was to be explained the reason why notwithstanding the closest copying of existing instruments, the old Italian tone quality was not reproduced. A friend of Niederheitmann’s, Concertmeister Henry Schradieck (formerly of Leipsic) interested himself greatly in this discovery, and having obtained through a chemist a similar resinous substance, made, with the aid of Herr Hammig in Leipsic many trials with this impregnation, from which a remarkable result was to be got, but which was not of long duration. Herr Schradieck, who went later to America, knowing that the balsam pine still grew there, did not rest until he found this tree, believing that instruments made from it would again approach the old Italians. Several violins were found already made with balsam pine wood, but the brilliant expectations that were cherished were not fulfilled.
Points of note in the old Italian violins.
Maggini violins. These instruments are of large outline. The upper table is highly arched and the arching rises somewhat suddenly from the edges. The wood of the upper table is thick and very good. The back, compared to the upper table is less thick. The wood of the back is taken slab-wise (the trunk of the tree being cut in layers across the whole breadth).[2] The sides are shallow. The varnish is thin, transparent, and of a clear brown colour. The purfling is frequently doubled; and spread over the back in arabesques. The tone of the Maggini violins is full and heavy, resembling the viola quality. The ticket is as follows:—
Andreas Amati. These are mostly of small model. The upper table is of good, fairly thick wood, and very highly arched towards the middle. The back is cut on the slab. The varnish is brown and transparent. The tone is delicate and not powerful.