1492年 San Salvador Island / Columbus ( 1451-1506 ) 1498年 Santa Maria delle Grazie / Leonardo da Vinci ( 1452-1519 ) 1499年 Vasco da Gama ( ca.1460-1524 ), Lisbon-Inldia-Lisbon 1517年 “95 Thesen” Martin Luther ( 1483-1546 ) 1538年 Naval battle of Preveza / Turkish Empire 1543年 Nicolaus Copernicus ( 1473-1543 )
1500 – 1550
■ Andrea Amati ( ca.1505-1577 ), Cremona / 1539年
Established a workshop in Cremona.
■ Antonio Amati ( 1540-1640 ), Cremona
■ Gasparo di Bertolotti ( ca.1540- ca.1609 ), “Gasparo da Salò” Brescia
Andrea Amati ( ca.1505-1577 ) Violin, Cremona 1555～1560年頃
Catherine de Médicis ( 1519-1589 ) 1533年 She married Henry II at the age of 14.
Charles Ⅸ de France ( 1550-1574 ) 1561年 He was crowned the king of France.
Andrea Amati ( ca.1505-1577 ) Violin, “King Charles Ⅸ” Cremona 1566年頃
Andrea Amati ( ca.1505-1577 ) Violin, “King Charles Ⅸ” Cremona 1566年頃
Andrea Amati ( ca.1505–1577 ) Violin, “ex Ross” 1570年頃
Giovanni Paolo Maggini ( 1580 – ca.1633 ) Violin, Brescia 1620年頃
Giovanni Paolo Maggini ( 1580 – ca.1633 ) Violin, Brescia 1620年頃
Antonio Amati ( ca. 1540-1607 ) & Hieronymus Amati ( ca. 1561-1630 ) Violin, Cremona 1624年頃
■ Andrea Guarneri ( 1626-1698 ), Cremona / 1654年 He founded the workshop in Casa Guarneri .
▶ca.1626 ～ ca.1761 ” Les Vingt-quatre Violons du Roi ” ( “The King’s 24 Violins” ) The Royal Palace in Paris
Antonio Amati ( ca. 1540-1607 ) & Hieronymus Amati ( ca. 1561-1630 ) Violin, Cremona 1629年頃
■ Giovanni Grancino ( 1637-1709 ), Milan
■ Hendrik Jacobs ( 1639-1704 ), Amsterdam
▶ Christiaan Huygens ( 1629-1695 ) ▶ Antonie van Leeuwenhoek ( 1632-1723 ) ▶ Robert Hooke ( 1635-1703 ) ▶ Isaac Newton ( 1642-1727 )
■ Alessandro Gagliano ( ca.1640–1730 ), Napoli
■ Giovanni Tononi ( ca.1640-1713 ), Bologna
■ Giovanni Baptista Rogeri ( ca.1642 – ca.1705 ), Brescia
● Jean-Baptiste Lully ( 1632-1687 ), Firenze / 1646 France / 1652 The Royal Palace in Paris / 1653 “Petits Violons” / 1661 French subject , 1661 ～ 1682 “Château de Versailles” / 1685,1686,1687
● Giovanni Battista Vitali ( 1632-1692 ), Bologna / 1666 Accademia Filarmonica di Bologna / 1774 Modena : Violinist
Nicolò Amati ( 1596–1684 ) Violin, Cremona 1641年
● Heinrich Ignaz Franz von Biber ( 1644-1704 ), Bohemia / 1668 Zámek Kroměříž / 1671 Salzburg, ca.1676 ” Rosenkranz-Sonaten ” ( Scordatura ) : Violinist
■ Antonio Stradivari ( ca.1644-1737 ), Cremona / 1680年 He founded the workshop in Casa Stradivari .
▶ Arp Schnitger ( 1648-1719 ), active in Northern Europe, especially the Netherlands and Germany, Pipe organ builder.
Andrea Guarneri ( 1626-1698 ), Cremona 1658年頃
( 1654年 He founded the workshop in Casa Guarneri . )
■ Matteo Goffriller ( 1659–1742 ), Venice
■ Vincenzo Ruggeri ( 1663-1719 ), Cremona
■ Carlo Giuseppe Testore ( ca.1665-1716 ), Milan
● Giacomo Antonio Perti ( 1661-1756 ), Bologna / Parma / Venezia / 1690 ～ 1756 Bologna : Violinist ● Tomaso Antonio Vitali ( 1663-1745 ), 1674 Modena : Violinist
■ Filius Andrea Guarneri ( 1666-1740 ), Cremona
Nicolò Amati ( 1596–1684 ) Violin, Cremona 1669年
Francesco Rugeri ( ca.1645-1698 ) Violin, 1670年
Giovanni Maria Del Busetto Violin, Cremona 1680年頃
■ Francesco Stradivari ( 1671-1743 ), Cremona
■ Giovanni Battista Grancino II ( 1673-ca.1725 ), Milan
■ Carlo Tononi ( ca.1675-1730 ), Bologna / Venice
■ Johann Michael Albani ( 1677-1730 ), Bozen / Bulsani in Tyroli / Graz
▶Louis XIV ‘Roi-Soleil’ ( 1638 – ‘1643-1715’ )
“Château de Versailles” 1661 ～ 1682
Plan du Château de Versailles 1664年
1678年 (1678–1684 ) The opulent Hall of Mirrors at the Palace of Versailles
● Antonio Vivaldi ( 1678-1741 ), Venezia 1703 / 1740 Wien : Violinist
● Pietro Castrucci ( 1679-1752 ), Roma / 1715 London / 1750 Dublin : Violinist
● Francesco Geminiani ( 1687-1762 ), Lucca / 1711 Naples / 1714 London : Violinist ● Francesco Maria Veracini ( 1690-1768 ), Firenze / 1711 Venezia / 1714 London / 1616 Venezia / 1723 Firenze / 1733 London / 1744 Firenze : Jacob Steiner violin / Violinist
Hendrik Jacobs (1639-1704) Violin, Amsterdam 1690年頃
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1690年頃
Carlo Giuseppe Testore ( ca.1665-1716 ) Violin, Milano 1690年
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1690年
■ Andrea Guarneri ( 1691-1706 ), Cremona
■ Carlo Antonio Testore ( 1693-1765 ), Milan
Carlo Tononi ( ca.1675-1730 ) Violin, Bologna 1705年
1700 – 1750
1701 ～ 1714年 War of the Spanish Succession “France : Louis XIV ( 1638-1715 ) × Habsburg : Karl VI ( 1685-1740 )” Cremona governance countries España ( 1513 ～ 1524, 1526 ～ 1701 ) – France ( 1701 ～ 1702 ) – Republik Österreich / Habsburg ( 1707 ～ 1848 )
Casa Savoia : 1713年 Regno di Sicilia – 1720年 Regno di Sardegna / Torino – 1848年 The First War of Independence – 1859年 The Second War of Independence – 1866年 The Third War of Independence
● Giovanni Battista Martini ( 1706-1784 ), Bologna / 1758 Accademia Filarmonica di Bologna / 1774 “Saggio dl contrapunto”
Antonio Stradivari ( ca.1644-1737 ), Violin Cremona “Marsick – James Ehnes” 1715年
Antonio Stradivari ( ca.1644-1737 ), Violin Cremona 1722年
● Johann Wenzel Stamitz ( 1717-1757 ), Bohemian / Praha / 1741 Mannheim / 1754 ～ 1755 Paris / 1755 Mannheim : Violinist
● Leopold Mozart ( 1719-1787 ), Augsburg / 1737 Salzburg / 1785 Wien, Salzburg : Violinist
1751年 “Versuch einer gründlichen Violinschule”
– – – Wolfgang Amadeus Mozart ( 1756-1791 )
■ Giovanni Battista Gabrielli ( 1716-1771 ), Florence
■ Leopold Widhalm ( 1722-1776 ), Nürnberg
● Pietro Nardini ( 1722-1793 ), Fibiana / Livorno / Padova / 1762 Stuttgart / 1770 Firenze : Violinist ● Pierre Gaviniès ( 1728-1800 ), Paris / 1744 “The Concert Spirituel” / 1795 He became a professor at the newly-founded ‘Conservatoire de Paris ‘. : Violinist
Guarneri del Gesù ( 1698-1744 ) Violin, “Spagnoletti” 1734年
● Gaetano Pugnani ( 1731-1798 ), Torino / 1749 Roma / 1750 Torino / 1754 Paris, Nederland, London, Deutschland / 1763 Torino / 1767 London / 1770 Torino / 1780 ～ 1782 Russia, 1782 Torino : Violinist
Sebastian Klotz ( 1696-1775 ) Violin, Mittenwald 1750年頃
Sebastian Klotz ( 1696-1775 ) Violin, Mittenwald 1750年頃
1750 – 1800 ● Johann Anton Stamitz ( 1754 – ‥ ), Mannheim / 1770 Paris / 1782 ～ 1789 Versailles / ‘ 1798‥1809 Paris ‘ : Violinist
■ Nicola Bergonzi ( 1754-1832 ), Cremona
■ Antonio Vinaccia ( 1754-1781 ), Napoli
■ Gennaro Vinaccia ( 1755-1778 ), Violin Napoli
■ Giovanni Battista Ceruti ( 1755-1817 ), Cremona
Giovanni Battista Gabrielli ( 1716-1771 ) Violin, Florence 1755年
Joseph Klotz ( 1743-1829 ) Violin, Mittenwald 1760年
● Giovanni Battista Viotti ( 1755-1824 ), Fontanetto Po / Torino, Paris, Versailles, 1788 Paris, London, 1819-1821 Paris, London : Violinist
● Federigo Fiorillo ( 1755-1823 ), Braunschweig / 1780 Poland / 1783 Riga / Paris / 1788 London He played the viola in Saloman’s quartet. / 1873 Amsterdam, Paris
Marie Antoinette ( 1755-1793.10.16 ) 1770年 She married Louis-Auguste ( 1754-1793.1.21 ) / ” Louis XVI ( 1774 ) “ at the age of 14.
French Revolution 1789 ～ 1793年
▶ 1793年 ” Louis XVI ” ( 1774 ) / Louis-Auguste ( 1754-1793.1.21 )
● Wolfgang Amadeus Mozart ( 1756-1791 ), Salzburg / 1762 München, Wien / 1763 ～ 1766 Frankfurt, Paris, London / 1767 ～ 1769 Wien / 1769 ～ 1771 Milano, Bologna, Roma, Napoli / 1773, 1774 ～ 1775 Wien / 1777 München, Mannheim, Augsburg / 1778 Paris / 1779 Salzburg / 1781 München, Wien / 1783 Salzburg / 1787 Praha, Wien / 1789 Berlin / 1790 Frankfurt / 1791 Wien, Praha, Wien
● Bernhard Heinrich Romberg ( 1767-1841 ), “The Münster Court Orchestra” / 1790 Bonn “The Court Orchestra” / He lengthened the cello’s fingerboard and ‘Flattened’ the side under the C string : German cellist and composer
Leopold Widhalm ( 1722-1776 ) Violin, Nürnberg 1769年
Johann Gottfried Reichel ( ca.1735-1775 ) Violin, Markneukirchen 1770年頃
Giovanni Battista Gabrielli ( 1716-1771 ) Violin, Florence
1770年頃
Georg Klotz Ⅱ ( ca.1723-1797 ) Violin, Mittenwald 1773年
Giovanni Battista Guadagnini ( 1711-1786 ), Turin “Ex Joachim” 1775年
Gennaro Vinaccia ( 1755-1778 ) Violin, Napoli 1780年頃
● Rodolphe Kreutzer ( 1766-1831 ), Versailles / 1803 Wien “Kreutzer Sonata ” Ludwig van Beethoven 1770-1827, Paris 1795 ～ 1826 ‘Conservatoire de Paris’ – 1796年 Caprices – 1807 comprises 40 pieces – “42 Études ou Caprices” / Genève, Swiss : Violinist ● Pierre Baillot ( 1771-1842 ), Paris : Violinist ● Pierre Rode ( 1774-1830 ), Bordeaux / 1787 Paris / 1804 Saint Petersburg, Moscow / 1812 Wien ” Ludwig van Beethoven 1770-1827 Violinsonate Nr. 10 in G-Dur, Op. 96 ” / 1814 ～ 1819年 Berlin, “24 capricci” / 1830 Lot-et-Garonne : Violinist
□ François Lupot II (1774 – 1838), He worked for Leonard Tourte in Paris. Once Lupot set up his own Parisian establishment in 1815. : Bow maker
□ ■ Jean Baptiste Vuillaume ( 1798-1875 ), Vuillaume was born in Mirecourt, He moved to Paris in 1818 to work for François Chanot.
In 1821, he joined the workshop of Simon Lété, François-Louis Pique’s son-in-law, at Rue Pavée St. Sauveur. He became his partner and in 1825 settled in the Rue Croix des Petits-Champs under the name of “Lété et Vuillaume”.
In 1827, at the height of the Neo-Gothic period, he started to make imitations of old instruments. : Bow maker.
□ Nicolas Rémy Maire (1800–1878), Maire was born in Mirecourt. He trained in the Lafleur workshop and served his apprenticeship in the workshop of Pajeot in Mirecourt. He opened his own workshop in Mirecourt in 1826 and left in 1853 to work in Paris.
: Bow maker.
● Georg Hellmesberger ( 1800-1873 ), Vienna / 1826 ～ 1833 ‘The Vienna Conservatory’ / His students were Joachim, Leopold Auer. : Violinist ● Charles-Auguste de Bériot ( 1802-1870 ), Leuven / 1843 ‘Royal Conservatory of Brussels’ / ‥ 1852. – 1858 – 1866 Brussels : Violinist
■ Giuseppe Antonio Rocca ( 1807-1865 ), Barbaresco / 1834 Turin, It was during this time that he became acquainted with Luigi Tarisio, a violin dealer / Rocca won prizes in his craft at a national arts and crafts exhibitions in 1844 and 1846.
■ Enrico Rocca ( 1847-1915 ), Turin / 1850 ～ 1865 Genova
■ Ferdinand Joseph Homolka ( 1810-1861 ), Prague
□ Pierre Simon ( 1808-1881 ), He apprenticed and worked in his hometown of Mirecourt until 1838, when he moved to Paris to join the workshop of Dominique Peccatte. : Bow maker
□ Dominique Peccatte ( 1810-1874 ), He was born in Mirecourt. On the recommendation of Nicolas Vuillaume he moved to Paris in 1826 to join J.B. Vuillaume’s workshop. Paris 1838 / 1847 Mirecourt : Bow maker
● Heinrich Wilhelm Ernst ( 1812-1865 ), Moravia / 1825 ‘The Vienna Conservatory’ / 1828 Niccolo Paganini visited Vienna. 1830 He played Paganini’s Nel cor pìù non mi sento. / 1865 Nice : Violinist ● Jakob Dont ( 1815-1888 ), Vienna / 24 Etudes and Caprices : Violinist ● Henri Vieuxtemps ( 1820-1881 ), Belgium / Liège , Brussels / 1829 Paris / Brussels / 1833 Germany / 1835 Wien / 1836 Paris / 1849 ～ 1851 Saint Petersburg / 1850 Paris / 1871 ‘Royal Conservatory of Brussels’ / Paris 1879 / Algeria : Violinist
□ François Peccatte ( 1821-1874 ), Mirecourt / 1842 Paris : Bow maker □ Joseph Henry ( 1823-1870 ), Henry studied with Dominique Peccatte and established his own shop in 1851. : Bow maker
□ François Nicolas Voirin ( 1833-1885 ), He was born in Mirecourt. He moved to Paris in 1855 to join his cousin Jean Baptiste Vuillaume. : Bow maker
▶ 1831年 Gesellschaft der Musikfreunde （ Tuchlauben, Vienna ）a concert hall for ca. 700 people
● Joseph Joachim ( 1831-1907), Kittsee / 1833 Budapest / Wien / 1843 Leipzig / 1846 London / 1848 “GewandhausorchesterLeipzig ” / 1850 Weimar / 1852 Hannover / 1866 ～ 1907 Berlin : Violinist
● Henryk Wieniawski ( 1835-1880 ), Lublin / 1843 ‘Conservatoire de Paris’ / 1874 ～ 1877 ‘Royal Conservatory of Brussels’ / Moscow : Violinist
▶ 1842年 The founding of the Vienna Philharmonic.
● Pablo de Sarasate ( 1844-1908 ), Pamplona / 1854 Madrid / 1855 Paris / 1860 London, Paris, performing in Europe, North America, South America / 1864 Camille Saint-Saëns ‘Introduction et Rondo capriccioso en la mineur’ / 1878 Zigeunerweisen, 1883 Carmen Fantasy / Biarritz 1908 : Violinist
● Leopold Auer ( 1845-1930 ),Veszprém / Budapest, Wien / Hannover : Joachim / 1868 ～ 1917 Saint Petersburg : St Petersburg Conservatory / 1918 America / 1824 The Curtis Institute of Music : Violinist
Ferdinand Joseph Homolka ( 1810-1861 ) Violin, Prague 1840年
Giuseppe Antonio Rocca ( 1807-1865 ) Violin, Genoa
1845-1850 年頃
Giuseppe Antonio Rocca ( 1807-1865 ) Violin, Turin 1850 年頃
Enrico Rocca ( 1847-1915 ) Violin, Genova 1893年
□ Charles Nicolas Bazin ( 1847-1915 ), Son of Mirecourt bowmaker François Xavier Bazin, Charles Nicolas Bazin inherited the family workshop in 1859 following his father’s death from cholera.
Charles Nicolas was only 18 at the time, but already had ample experience from his father’s training, and the shop flourished under his leadership. : Bow maker
□ Charles Peccatte ( 1850-1918 ), He was born in Mirecourt, the son of François Peccatte and the nephew of Dominique Peccatte. : Bow maker
□ Louis Thomassin (1856–1905), He learned his craft in Mirecourt where he worked for the Bazin Family. In 1872 he went to Paris to work for François Nicolas Voirin and carried on Voirin’s shop after his death. : Bow maker
1858年
The world’s most valuable violin? The Messiah Stradivarius
0:57 ” 1716 ‥ It is the only as new Stradivarius ‥”
□ Eugène Sartory ( 1871-1946 ), Bow maker from Mirecourt. After having first apprenticed with his father, he went on to work in Paris for Charles Peccatte and Joseph Alfred Lamy (père) before setting up his own shop in 1889. : Bow maker
□ Victor Fétique ( 1872–1933 ), He learned his craft in Mirecourt with J. B. Husson. Later he went on to work for Charles Nicolas Bazin II, before joining Caressa et Français in 1901. : Bow maker
T T
T T T G.B. チェルーティ ( Giovanni Battista Ceruti 1755-1817 ) が 207年前の1791年に製作したヴァイオリンや、レアンドロ・ビジャッキ（ Giuseppe Leandro Bisiach 1864-1945 ）氏が 82年前の1910年に製作したものなど、加熱痕跡があるヴァイオリン達に学んでいた私は 2003年に153年程前に製作された 前出の ヨーゼフ・アントニオ・ロッカ（1807-1865）のヴァイオリンに出会いました。
Here Charles Bazin is cambering a stick.
In Mirecourt the bowmakers would go to the bakery when they swept the coals out of the oven. They would fill an old ‘Marmite’ or Dutch oven with coals and use them for cambering. I use an old fashioned hotplate with an exposed element to give the same even heat but in other traditions an alcohol lamp is used as well.
This is a great photo of the archetier Joseph Arthur Vigneron. Vigneron was born in Mirecourt and trained with his step father Claude Nicholas Husson. His early work is indistinguishable from the work of his master. In 1880 he relocated to Paris to work for Gand & Bernadel.
ここでは類似事例として Walter Hamma が1986年に出版した “ Violin-makers of the German School from the 17th to the 19th century ”の vol.Ⅱの125ページに掲載されている Johann Adam Popel （ Ende 17.～Anfang 18.）のビオラの写真をあげさせていただきます。
US 126848 A, US 126848A, US-A-126848, US126848 A, US126848A
発明者
C. F. Theodor Stedtway
IMPROVEMENT IN DUPLEX AGRAFFE SCALES FOR PIANO-FORTES.
UNInn STATES’ PATENT OFFICE.
G. F. THEODOR STEINWAY, 0F NEW YORK, N. Y., ASSIGNOR TO HIMSELF, .elli-BART STEINVAY, AND WILLIAM STEINWAY.
Speciiication forming part of Letters Patent No. 126,943, dated May 14, 187
To all whom it may concern:
Be it known that I, (l. I?. Trinonon S’rnnt WAY, of the city, county, and State of New York, have invented anew and Improved Duplex Agrai’e Scale for Piano-Fortes; and I do hereby declare the following to be a full, clear, and exact description thereof, which will enable those skilled in the art to make and use the saine, reference being had to the aecompanying drawing forming part ot this specification, which drawing represents a plan of a grand piano-forte with my improved scale.
My invention consists in brin ging the vibrations of that portion or’ the string which is situated between the agrade and the tuningpin, in proportion to those ot’ the main portion of the string, in such a manner that the tone produced by said a gratie section is brought in harmony with that of the main section, and thereby the purity and fullness of the tone of the instrument is materially increased, also,4
in bringing the longitudinal vibrations of that portion ot’ the string which is situated between the sounding-board bridge and the hitch-pin in proportion to the vibrations of the main section of the string, so that the sounds due to these longitudinal vibrations are brought in harmony with the tone ot the main section of the string, and the purity and fullness of the tone of the instrument is improved.
In order to enable others to understand my invention, I will here remark that the term scale77 of a piano-torte comprises the position of the strings side by side or above each other, their length and thickness and their tension; and my improvement is applicable to all stringed instruments in which the sounds are produced by the action ol hammers.
If the bass tones of a stringed hammer instrument are sounded -irom octave to octave toward the trcblea great diiierence appears in the effect of the various strings, according to their length, as far as the partial tones of the strings are concerned, which are duc to the spontaneous subdivisions of said strings in halves, quarters, eighths, sikteenths, 85o. rl’he longest duration ofthe vibrations and the highest quality’ to subdivide in partial tones is found in the strings between the contra C and the small c. Within these limits each string subdivides itseli` by the blows of the hammer and by the transverse vibrations due to the same in a large number of nodes whereby the so-called harmonic overtones are produced, and whereby the fundamental tone is rendered rich and brilliant. At the same time this portion of the strings, particularly, produces, by the longitudinal vibrations, a number of unharmonic side tones, making a whistling sound, which disturbs the purity of the tone. Both these qualities disappear as the height of the tone increases, so that the limit of producing a pure fundamental tone is found at a4, while it is in most cases desirable to obtain a clear tone from c5,- but the inherent firmness of the thick strings generally employed, and the great tension required on account of thickness prevents the string ot’ the above-named o5 to make the proper transverse vibrations due to the fundamental tone, and a division into partial tones is out of thc question. In order to eft’ect or promote the subdivision of the string and to produce the desired partial tones, I combine with that portion of the string which is situated between the tuning-pin a (see drawing) and the main agrafte b a secondary agratt’e, c, which supports the string and is placed at a distance from the main agrae corresponding to one of the above-named subdivisions of the main section d oi’ the stringthat is to say, at a distance equal to l, l, 15, or of the length of the main section, or to any combination ot’ these fractions. The main agrafte Z), which supports the string only at one point, allows the transverse vibrations to extend to that part of the string between the said agrafte and the tuning-pin, the vibration of this part being in a direction opposite to that of the main section of the string. By inserting the second agrafi’e c at a distance from the main agraffe equal to gf, gg, ,15, 517 or E13 of the length of the main section oi the string, the subdivision of the string into partial vibrations, and the consequent production of harinonic overtones is effected or promoted7 and a clear, strong, and brilliant tone is obtained up to the highest note.
In the drawing I have marked opposite to each tuning-pin the proportion existing between the distance of the two agra’es and the length of the main section of the string.
By allowing the vibration of the strin g to extend beyond the main agraie the durability of the string is materially increased, since by cutting oft` the vibration of the string at this bration of the strings, I avoid by supporting that portion of the string between the sounding-board bridge and the hitch-pin at distances from the outer bridge-pins equal to l, or 51T of the length of the main portion of each string, or kto any combination 0f these fractions. By the sounding-board bridge the continuation of the transverse vibrations must necessarily be interrupted, owing to the width of the bridge supporting the string, whereby these vibrations are ei’ectually stopped; but particularly With strings of’great thickness, as generally used in piano-fortes of recent construction, the longitudinal vibrations ofthe strings .extend to those portions which are situated between the kbridge and the hitchpins; and in order to avoid unharmonic tones due to these longitudinal vibrations I apply between the bridge and the hitch-pin g, under each string, a support, e, at a distance from the outer bridge-pinf, corresponding to T15, 3 1? or of the length of the main section d of the’ string, or to any combination of these fractions.
In the drawing I have marked opposite to each hitch-pin the proportion existing between the distance from the support c to the bridgepin and the length of the main section of the string. By these means the unharmonic tones due to the longitudinal vibrations ofthe strings are converted into harmonious tones, whichl being transmitted through. the bridge to the sounding-board reach the ear and strengthenl and enrich the fundamental vtone of the string, instead of disturbing the purity thereof, as heretofore. The supports c and e may be made of metal, ivory, or any other material capable of resisting the pressure of the string.
What I claim as new, and desire to secure by Letters Patent, is
l. rIhe arrangement, in a piano-forte, of a g series of successive strings, in each of which the vibrations of that portion situated between the agraie and tuning-pin are brought in har- Witnesses W. HAUFF, E. F. KASTENHUBER.
Andrea Amati ( ca.1505-1577 ) Violin, Cremona 1555～1560年頃
Andrea Amati ( ca.1505-1577 ) Violin, “King Charles Ⅸ” Cremona 1566年頃
Andrea Amati ( ca.1505-1577 ) Violin, “King Charles Ⅸ” Cremona 1566年頃
Andrea Amati ( ca.1505–1577 ) Violin, “ex Ross” 1570年頃
Gaspar da Saló ( ca.1540-ca.1609 ) Violin, Brescia 1600年頃 
Giovanni Paolo Maggini ( 1580 – ca.1633 ) Violin, Brescia 1620年頃
Giovanni Paolo Maggini ( 1580 – ca.1633 ) Violin, Brescia 1620年頃
Antonio Amati ( ca. 1540-1607 ) & Hieronymus Amati ( ca. 1561-1630 ) Violin, Cremona 1624年頃
Nicolò Amati ( 1596–1684 ) Violin, Cremona 1651年
Jacob Stainer ( 1617-1683 ) Violin, Absam ( Tirol ) 1655年頃
Andrea Guarneri ( 1626-1698 ), Cremona 1658年頃
Nicolò Amati ( 1596–1684 ) Violin, Cremona 1669年
Francesco Rugeri ( ca.1645-1698 ) Violin, 1670年
Giovanni Maria Del Busetto Violin, Cremona 1680年頃
Hendrik Jacobs (1639-1704) Violin, Amsterdam 1690年頃 
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1690年頃
Carlo Giuseppe Testore ( ca.1665-1716 ) Violin, Milano 1690年
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1690年
Giovanni Baptista Rogeri ( ca.1642 – ca.1705 ) Violin, Brescia 1695年頃
Antonio Stradivari ( 1644-1737 ), Violin “Auer – Benvenuti” Cremona 1699年
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1700年頃
Giovanni Grancino ( 1637-1709 ) Violin, Milan 1702年頃
Giuseppe Guarneri ( 1666-1740 ) “filius Andrea” Violin, 1703年
Carlo Tononi ( ca.1675-1730 ) Violin, Bologna 1705年
Antonio Stradivarius ( ca.1644-1737 ) Violin, “Viotti” 1709年
Girolamo Amati Ⅱ ( 1649-1740 ) Violin, Cremona 1710年
Vincenzo Ruggeri ( 1663-1719 ) Violin, Cremona 1710年頃
Giovanni Battista Grancino II ( 1673-ca.1725 ) Violin, Milan 1715年
Antonio Stradivari ( 1644-1737 ), Violin “Tartini – Lipinski” Cremona 1715年
Antonio Stradivari ( ca.1644-1737 ), Violin Cremona “Marsick – James Ehnes” 1715年
Antonio Stradivari ( ca.1644-1737 ), Violin Cremona 1722年
Matthias Klotz ( 1653-1743 ) Violin, Mittenwald 1725年 
Giuseppe Guarneri ‘filius Andreae’ ( 1666-1740 ) Violin, Cremona 1725年頃
Johann Michael Albani ( 1677-1730 ) Violin, Bulsani in Tyroli 1728年頃
Guarneri del Gesù ( 1698-1744 ) Violin, 1729年頃
Georg Klotz ( 1687-1737 ) Violin, Mittenwald 1730年頃
Guarneri del Gesù ( 1698-1744 ) Violin, Cremona
Antonio Stradivari ( 1644-1737 ) Violin, “Lady Jeanne” Cremona 1731年
Guarneri del Gesù ( 1698-1744 ) Violin, “Posselt – Philipp” 1732年
Guarneri del Gesù ( 1698-1744 ) Violin, “Spagnoletti” 1734年
Antonio Stradivari ( ca.1644-1737 ) Violin, Cremona
Nicola Gagliano ( ca.1710-1787 ) Violin, Napoli 1737年
Guarneri del Gesù ( 1698-1744 ) Violin, “Ex Menuhin” 1739年
Carlo Antonio Testore ( 1693-1765 ) Violin, Milan 1740年頃
Andrea Castagneri ( 1696-1747 ) Violin, Paris 1742年
Andrea Castagneri ( 1696-1747 ) Violin, Paris 1744年
Giovanni Battista Guadagnini ( 1711-1786 ) Violin, Piacenza 1747年
Camillo Camilli ( ca.1704-1754 ) Violin, Mantua 1750年頃
Sebastian Klotz ( 1696-1775 ) Violin, Mittenwald 1750年頃
Sebastian Klotz ( 1696-1775 ) Violin, Mittenwald 1750年頃
Giovanni Battista Gabrielli ( 1716-1771 ) Violin, Florence 1755年
Joseph Klotz ( 1743-1829 ) Violin, Mittenwald 1760年
Leopold Widhalm ( 1722-1776 ) Violin, Nürnberg 1769年
Tommaso Balestrieri ( ca.1735 – ca.1795 ) Violin, Mantua 1770年
Johann Gottfried Reichel ( ca.1735-1775 ) Violin, Markneukirchen 1770年頃
Giovanni Battista Gabrielli ( 1716-1771 ) Violin, Florence
Georg Klotz Ⅱ ( ca.1723-1797 ) Violin, Mittenwald 1773年
Giovanni Battista Guadagnini ( 1711-1786 ), Turin “Ex Joachim” 1775年
Gennaro Vinaccia ( 1755-1778 ) Violin, Napoli 1780年頃
Johannes Theodorus Cuypers ( 1724-1808 ) Violin, Hague Netherlands 1780年頃
Antonio Vinaccia ( 1754-1781 ) Violin, Napoli 1781年
Aegidius Klotz ( 1733-1805 ) Violin, Mittenwald 1790年頃
Nicola Bergonzi ( 1754-1832 ) Violin, Cremona 1790年頃
Lorenzo Storioni ( 1744-1816 ) Violin, Cremona 1790年頃
Aegidius KLOTZ ( 1733-1805 ) Violin, Mittenwald 1797年
Nicola Bergonzi ( 1754-1832 ) Violin, Cremona 1800年頃
Ferdinand Joseph Homolka ( 1810-1861 ) Violin, Prague 1840年 
Giuseppe Antonio Rocca ( 1807-1865 ) Violin, Genoa
Giuseppe Antonio Rocca ( 1807-1865 ) Violin, Turin 1850 年頃
Enrico Rocca ( 1847-1915 ) Violin, Genova 1893年
パブロ・デ・サラサーテ（ 1844 – 1908 ）
Old Manhattan 1929年
Carnegie Hall 2013年
Carnegie Hall 1891年
Carnegie Hall
大富豪となったアンドリュー・カーネギーは 1891年にマンハッタンの7番街57丁目に『 音楽堂 』であるカーネギー・ホール （ Carnegie Hall ）を建設します。ここではニューヨーク・フィルが リンカーン・センター内のフィルハーモニック・ホールへと拠点を移した1961年まで レジデンス・オーケストラを務めていました。
私が 加熱痕跡の読み方について確信を得たのは 15年程前にこの
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
Giuseppe Leandro Bisiach ( 1864-1945 ) violin, Milano 1910年
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G.B. チェルーティ ( Giovanni Battista Ceruti 1755-1817 ) が 207年前の1791年に製作したヴァイオリンや、
そして 精査した結果いくつもの状況証拠により、私はこのヴァイオリンにある このような加熱痕跡も『 製作者本人が製作時に 加えたもの。』と判断しました。
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Gaspar da Saló / Violoncello
それから‥この浮世絵は 葛飾北斎、歌川広重らと同時代に活躍した歌川国芳（ 1797 – 1861 ）が1831年頃（ 天保2年 ）に製作した「東都三ツ股の図」です。
Here Charles Bazin is cambering a stick.
This is a great photo of the archetier Joseph Arthur Vigneron. Vigneron was born in Mirecourt and trained with his step father Claude Nicholas Husson. His early work is indistinguishable from the work of his master. In 1880 he relocated to Paris to work for Gand & Bernadel.
現代の楽弓製作者も スティックの ベンディングのための熱源こそ 電熱ヒーター、
Andrea Guarneri ( 1623 – 1698 ) violin, Cremona 1658年
Front of the Guarneri del Gesù
Antonio Gragnani violin, Livorno
Nicolò Amati ( 1596–1684 ) Violin 1640年
私の経験では、ヴァイオリンやチェロで一般に使用されている弦はフラットワウンド弦が多いので 、張ってから時間が経つと内部のずれなどの影響で一番外側の平らなベルト状金属に隙間ができてしまい、駒の弦溝やナットの弦溝部でのすべりが悪くなっていることが 多いようです。
“Varnish crack” 1970年製 
私は TORO社のテールガットを本結び（ リーフノットまたはヘラクレスの結び ）で 長さの調整をして使用しています。弦楽器に取り付ける場合の技術的な熟練には数年を要しましたが、私はこの製品を使用していて今までほとんど不都合を感じたことがありません。
TORO 直径 No.230（ Contrabass G string ）
TORO 直径 No.220（ Viola tail gut ）
TORO 直径 No.200（ Violin tail gut ）
ここで反対側のガット端の工程に移ります。長さは おなじく 7.0mm位とします。
こちらも、こんな感じに加工します。
Giuseppe Guarneri del Gesù / The back thickness
Jacob Stainer / The back thickness
この例として アンドレア・アマティが 1555年頃に製作したと考えられるヴァイオリンと ニコロ・アマティ ( 1596–1684 ) の 1651年製、そして 
左側の アンドレア・アマティ ( ca.1505-1577 ) のヴァイオリンにおける 点
Cittern / English ( Length 616mm – String length 340 ) 1600年頃
Gasparo da Salò / Violoncello