the diagonal
A D will represent the direction and magnitude of the force acting on
the point A, to keep it at rest.

N.B.--The bridge of a Violin does not divide the angle B A C quite
equally, but so nearly that A D may be taken as the position of the
bridge.

Also, the plane passing through the string of a Violin, on both sides
of the bridge, is not quite perpendicular to the belly. To introduce
this variation into the calculation would render that less simple, and
it will be sufficient to state that about the 150th part must be
deducted from the downward pressures given in the above table from the
first and fourth strings, and about the 300th part for the second and
third strings. The total to be deducted for the four strings will not
exceed three ounces.

On the line A B or A C set off a scale of equal parts, beginning at A,
and on A D a similar scale beginning at A.

Mark off on the scale A B as many divisions as there are lbs. in the
tension of a string, for example 18, and from that point draw a line
parallel to B D, cutting A D at the point 8 in that scale. Then, if
the tension of a string be 18 lb., the downward pressure on the bridge
will be 8 lb.; and therefore for the above angle the downward pressure
of any string on the bridge will be 8/18=4/9 of the tension of that
string.

The whole of the downward pressure of the first string falls upon the
Treble Foot of the Bridge.

The downward pressure of the second string is about 2/3 the Treble
Foot of the Bridge, and 1/3 on the Bass Foot.

The downward pressure of the third string is about 1/3 on the Treble
Foot, and 2/3 on the Bass Foot.

The whole of the downward pressure of the fourth string falls upon the
Bass Foot of the Bridge.

SECTION IV
The Italian School

The fifteenth century may be considered as the period when the art of
making instruments of the Viol class took root in Italy, a period rich
in men labouring in the cause of Art. The long list of honoured names
connected with Art in Italy during the fifteenth, sixteenth, and
seventeenth centuries is a mighty roll-call indeed! The memory dwells
upon the number of richly-stored minds that have, within the limits of
these three centuries, bequeathed their art treasures to all time; and
if here we cannot suppress a comparison of the art world of the
present Italy with that of the periods named, still less can we fail
to be astonished as we discover the abyss into which Italy must be