Note F — Chapter VI · RELATIONSHIP BETWEEN A NEW VIOLIN AND TONE

A potent factor in retarding a general recognition and revival of tone is that modern violin makers are all too frequently looked upon—and look upon themselves—as mere carvers of wood, and are judged almost entirely from that standpoint. Perfection of workmanship and such artistry as each maker may achieve, rather than the tone-merit his instruments may possess, seems the only existing method of indicating his status as a violin maker. Aside from other considerations, this renders his position difficult in the extreme, the violin offering little scope (as in the plastic and kindred arts) for originality; and any departure from convention is apt to be characterised as freakish, whilst all possible refinement of detail seems long since anticipated.