It is not my intention to unfold in this work my knowledge of the
structure of violins; for the present generation would not thank me for
doing so. In the treatise itself will be found the reasons why I have
not set forth that knowledge. Since the death of the celebrated old
Italian violin makers, many works have been put forth, in which we find
not only in what manner those famous masters varnished their violins,
but also prescriptions even, of theorists who usually know nothing about
the practice, or mathematical principles thereof. Abundant theories are
to be found in all such works, but they are good only for those who have
little or no knowledge of violin making. If the science of the
celebrated Italian masters could really have been found in these works,
the experiments made by European investigators would not have been
entirely unsuccessful.
In George Hart's interesting book, "The Violin," a comparative
illustration may be found of the workmanship of all violin makers with
whom he became acquainted, either personally or by history, and by whose
productions he obtained his practical knowledge, which comparisons are
generally good, but not entirely free from error. This compilation of
experiences is highly interesting for all those who take an interest in
violins. The treatises which will be found below have reference simply
to the art of making violins, to violin players and their critics, the
information contained in which has for the most part never hitherto been
made public.
Through these scientific explanations a better judgment will be
awakened, which will tend to show how, in consequence of mistakes and
ignorance in regard to violins and violin makers, false ideas arise.