FREE BOOKS

Author's List




PREV.   NEXT  
|<   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42   43   44   45   46   47   48   49   50   51   52  
53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   >>   >|  
xamined before a piece is found sufficiently free from knots and cracks, and of straight enough grain to be suitable for the purpose. However, genius _and_ a capacity for taking infinite pains overcame all difficulties, and we now have bows worthy of the greatest masterpieces of Cremona. How little are the workings of genius understood by the "painstaking" ones. They cannot conceive the suddenness of inspiration--the almost instantaneous grasp of essentials that precedes the plodding mechanical work necessary even to genius. The results of "infinite pains," or of genius alone are equally unsatisfactory. It is only where these qualities are combined in perfect balance that true greatness can be achieved. In the case of Tourte we have a remarkable example of this combination. His genius made him grasp spontaneously the qualities required, and his capacity for taking infinite pains helped him to produce the perfect bow. He it was who determined finally the length and weight of a bow, its equilibrium, the angle of the hair necessary for a good "attack," the length and breadth of the hair and sundry other points that, prior to 1775, had been quite undecided. The mean length of a violin bow as fixed by Tourte is from 74 to 75 centimetres (29.134 to 29.528 inches English); that of a viola bow is 74 centimetres (29.134 inches), and a 'cello bow 72 to 73 centimetres (28.347 to 28.740). Many people imagine that the plates of silver or gold with which the nut of a bow is inlaid are nothing more than mere ornamentation. But their first purpose is distinctly one of utility, which is as it should be in a work of art; superfluous decoration has no beauty for an artist. It is by means of these metal "loadings" at the heel that the weight of the head is counteracted and the exact point of equilibrium determined. The centre of gravity in a violin bow should be at 19 centimetres (7.48 inches) from the nut; in a 'cello bow at 175 to 180 millimetres (6.89 to 7.087 inches) from the nut. Concerning the geometric proportions of the Tourte bows, I cannot do better than quote Bishop's able translation of the explanation given by Fetis in his notice of A. Stradivarius. [Illustration: FIG. 33.] "The medium length of a bow, to the head exclusively, is 0^m, 700 (27.56 inches). "The bow comprises a cylindrical or prismatic part of uniform dimensions, the length of which is 0^m, 110 (4.33 inches). When this portion is cylindrical, i
PREV.   NEXT  
|<   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42   43   44   45   46   47   48   49   50   51   52  
53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   >>   >|  



Top keywords:
inches
 
genius
 
length
 

centimetres

 

infinite

 
Tourte
 
equilibrium
 

determined

 

perfect

 

weight


qualities

 
capacity
 

taking

 

purpose

 
cylindrical
 

violin

 

decoration

 

artist

 

beauty

 

inlaid


silver

 

plates

 

people

 

imagine

 

utility

 
distinctly
 
ornamentation
 

superfluous

 
millimetres
 

Illustration


medium

 

exclusively

 

Stradivarius

 

explanation

 

notice

 
portion
 

dimensions

 

comprises

 

prismatic

 

uniform


translation

 

gravity

 
centre
 

counteracted

 

Bishop

 
Concerning
 
geometric
 

proportions

 

loadings

 
sundry