Making Matters: Beauty and the bridge

BridgePhoto

The acoustic role of the violin bridge is well known, but what about the aesthetic choices that luthiers make when carving them? John Beames gives a detailed analysis of a favourite bridge to elucidate the process

A beautifully cut and shaped bridge is a microcosm of fine violin making. Its multitude of small curves and facets all work together visually, expressing the design and aesthetic values of the maker, or the shop where they work.

We know only too well that the structure of the bridge also has acoustical significance. The research has been extensive and much documentation has been produced to help us measure, tune and adjust bridges for optimum performance. The valuable work by Joseph Curtin, for example, and the Oberlin Acoustics Workshop are some who have contributed here (see The Strad, November 2019). But there is more to consider than just the matter of acoustics. In accordance with the principle of ‘form follows function’, the bridge’s various design elements also reveal their importance, as we shall see.

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe 

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.

 

* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.