Walter E. Colton.
Ole Bull, in the last interview which he had with Mr. Colton, said to him: “You have the tools, the knowledge, and the time for this work, and you will be able to give at last a rule by which less skilled workmen may be guided in the placing of the oblique bar.” After Mr. Colton had sent the above note, a query addressed to him brought the following response, which it is hoped he will pardon us for printing, as it gives just what ought to be known in order to save violins from being injured in the hands of ordinary workmen claiming to understand the principle of the oblique bar:—
The second attempt in placing the bar would be, in the hands of the ordinary repairer, nearly as much of an experiment as the first. In the first place, he lacks the apparatus for determining the spring. In regard to the position relative to the foot of the bridge and degree of obliquity, these appear to be governed by the height of the top and thickness of material. The higher the top, the more the obliquity; the thicker the top, the more the bar can be removed from under the foot of the bridge. I presume I have placed a hundred bars, and have used up many cheap violins in trying to arrive at something like a governing principle, and even now the first attempt may not be all I could wish. Mr. Bull, aided by his own experience, and by some marvelous intuition, compared to which the knowledge of the average repairer is mere clodhopperism, appeared to be able to determine the requirements of an instrument submitted to him. One reason why I did not speak more strongly in favor of the general adoption of the oblique position was because, apart from the spring, the ratio of which and means of determining it I believe I have settled, I could not lay down a positive and definite rule regarding the place and degree of obliquity which would apply to all cases. So I did not like to advocate on my own account, or by inference, that of Mr. Bull, the immediate advisability of an operation the result of which might be in any way doubtful. When I think of the horror with which the connoisseur contemplates even the idea of removing the top of his valued instrument, I feel that, beyond sticking stoutly to the truth of Mr. Bull’s theory, I am not in a condition to competently advise.
Mr. Bull’s second attempts were almost always successful. I honestly think I should not fail more than once. But if I say this, I am calling attention to my own work, Mr. Bull having passed away, when it belongs to him.
Walter E. Colton.
The Chin–Rest.—This particular form of chin–rest was an entirely original invention of Mr. Bull. It prevents all unavoidable contact of the violin with the body, and at the same time is itself attached to a point of minimum vibration, the tail–pin block. Its use shows perfectly the deadening effect of the pressure of the chin upon the top over the end of the bar, and upon the tail–piece, and also that of the chest and shoulder upon the back. In the original form, the chin–rest and tail–pin were one. A small rib should run along the tail–pin, and an appropriate slot should be cut in the hole for its reception. This prevents any possibility of the chin–rest’s turning upon the pin while playing. Mr. Bull designed separating the pin and rest by making the former with a square instead of round head, and fitting the latter over it, a screw with a wide flat head and leather washer securing the two parts. In this way the rest could be removed without the disagreeable necessity of unstringing the violin. Each rest ought to be specially made for the violin it is to be applied to. This, and the necessity of some enlargement of the violin–case, are the two possible drawbacks to its general manufacture.
Walter E. Colton.