| PLATE. VI. |
Then, as regards the cambre, Dodd followed on in the primitive school and cut his bows at once to the required sweep: Tourte, in addition to perfecting the dimensions and design, instituted an entirely new principle based on scientific deductions. His bows were all cut straight, and the "spring" was produced by judicious heating of the fibres.
Another thing one has to consider in this connexion is the relations that existed between England and France at this period. I think most people will admit that they were "strained," and that there were many obstacles in the way of free intercourse between the two countries. The war with France commenced when Dodd was twenty-one years of age, and though Tourte was five years older he had spent his youth firstly in the pursuit of a vocation entirely removed from bow making, and secondly in experiments lasting some considerable time before he commenced producing the perfect work that has made his name one to be extolled and reverenced by all wielders of that magic wand, the "fiddle-stick." When one thinks of the roundabout way such a thing would have to travel from Paris to London at this period, it seems highly probable that Dodd may not have seen a specimen of Tourte's work until he was about sixty.
What a marvellous thing a fine Tourte is! What a revelation the first time a player handles one! When I have an opportunity of playing on a Strad with a Tourte I can never decide which causes me the most delight. There is an indefinable something about a Tourte that seems to increase the player's dexterity of manipulation to an extraordinary extent. No matter how used one may be to a certain bow: no matter how expert one may be in the execution of staccato and arpeggio passages, the first time a Tourte is tried one realizes that hitherto there has been an effort necessary for the adequate production of such effects, whereas now the bow seems endowed with a consciousness quite en rapport with that of the player, and difficulties vanish magically. It seems voluntarily to carry into effect the player's wishes without any physical interposition whatever.
It is like riding a thoroughbred in the "Row" after driving a donkey across Hampstead Heath. Not that I or any of my readers would think of indulging in any such distressingly vulgar exercise as the last named. It may serve, however, to conjure up in the mind a sufficiently forcible simile.
Apart from their many wonderful qualities as bows, they are quite exceptional as works of art. Study the four heads shown in Plates V. and VI., and note the tender sweep of the outer line; full of force and delicacy combined. See, too, how it is supported by the harmonious inner line, a thought more rigid, and yet full of grace. To become an expert in bows requires years of continual observation, for the slight differences in line are too subtle to be apparent to those who are not constantly looking for and studying them. But I think anyone, even "ye meanest capacitie in ye world"—to quote good old Roger North—will be able to appreciate the contrast between the bow heads in Plates III. and IV., and those in Plates V. and VI. It is in the two 'cello bow heads that the greatest resemblance is seen. But even here one can easily note the unwonted massiveness, almost amounting to clumsiness, in that of Dodd; while the Tourte is full of lightness, strength and vigour. There is more or less of sluggishness observable in most of the preceding bows, but the Tourte is awake; it lives!
It is at times of great interest to note by what slender threads of chance great consequences may be suspended. Take the family of the Tourtes for instance. We find the father a worthy craftsman making bows as good, and possibly better, than those of his contemporaries. He, obeying a natural law of custom, educated his eldest son in his own craft, and probably looked to him to perpetuate those excellencies in design and finish that had brought him fame. François, the younger son, was not forgotten though, and the father bethought him of some useful industry at which he might earn a living, and decided on clockmaking as the most suitable. Now mark the erratic workings of fate. The eldest son, from whom so much was expected, proved a comparative failure, inasmuch as that, instead of progressing, his work was distinctly inferior to that of his father.* François, on the other hand, became tired of clockmaking after eight years' ill-remunerated grind, and turned his attention to the family trade.
* The few fine bows by "Tourte-l'ainé," as he was called, I should think were made after his brother's success in this direction.
He, like Dodd, was totally uneducated, but had great gifts of perception and judgment.
At this time violin playing was becoming every day more distinctive and prominent. Great players were beginning to understand the chiar oscuro of music. They were learning expression.