CHAPTER IV

THE OLD MASTERS AS VIOLIN MAKERS

Violins frequently made by workmen and “pupils”--Finished and tone-developed by the master--Two entirely distinct arts--Tone the result of ideal--Effect of model on tone--Methods of tone development still in use--Only possible means of creating a tone to an ideal--Reasons--Why the great masters attracted pupils--Tone _versus_ cabinet making--Why pupils succeeded and failed--Most striking tone-feature of the old masters--Construction no guarantee for tone 19-26