In playing the violin eleven positions are rec ognized. (See Posmox.) By means of shift ing. the compass of the violin is extended to almost four octaves, g to Skillful players can go even beyond this compass. A peculiar veiled tone is obtained by placing a mute (q.v.) (sordinol upon the bridge to check the vibra tions. The quality of tone depends chiefly upon the method of bowing. In many compositions the bowing is specially marked. The tip-stroke is marked v, the down stroke n : all the notes under a legato curve are to be played with one continuous stroke. A peculiar effect is obtained by plucking the strings with the finger. (See PIZZICATO.) By playing with the bow close to the bridge the tone becomes very hard and metal lic. This effect is called for by the words `sal ponticello: Harmonies are tones of a very ethereal diameter and are produced not by press ing the string against the finger-board, but by touching it lightly at certain points. (See IlAa moNics.) Chords can be played when the differ ent ones are produced on different strings. This is called f1011ble ,stopping. In the orchestra the violins are the principal instruments, being divid ed into first and Si Mild. See OftenEsTit.k.
The art of violin-making was at its height in Italy during the eighteenth century. For the sake of convenient arrangement, the principal makers—for such only it is possible to consider— will be grouped into schools.
(1) THE Se11001, Or IIRESCIA. The founder of this school is Gasparo di Bertolotti ( 5.1-11309 commonly known as Gaspard da Salo. lie made chiefly viols and violas and very few violins. The latter are of a large pattern with very large sounding holes. The workmanship is clumsy and crude, but the wood and varnish are of excellent quality. His pupil, Giovanni Ilaggini 1(i31), greatly improved Da Salo'e model. and was among the first, if not the first, to introduce the use of corner blocks. With the rise of the opera. especially after :\lonteverde's reforms of the orchestra eame into great, demand. niggini's instruments show a steady advance. In his later yenrs he NN as evidently influenced by the beautiful models of Aniati. Giambattista Ruggeri Was a pupil of Amati and began his art in Cremona, but later removed to Brescia.