violet 
European species, Viola calcarata, allied to the horned 
violet, and having lary;e purple (lowers, which in the Alps 
sometimes form sheets of color. Stemless violets, that 
class of violets in which the stem does not rise above the 
ground, the flowers being borne on scapes. See cut above. 
- Stemmed violets, that class of violets which have a 
leafy stem and visually large stipules. See cut above. 
Sweet violet, a favorite sweet-scented violet, Viola odo- 
rata, native in Europe and Asiatic Russia : in America often 
called Enylish violet. It is a stemless species with bluish- 
purple or white flowers, cultivated in many varieties, sin- 
gle and double, and produced in large quantities for the 
market, yielding also a perfumers' oil. A continuously 
blooming variety is much grown about Paris. The Nea- 
politan is a well-known variety with double light-blue 
flowers, now surpassed by the "Marie Louise." The flow- 
ers of the "czar" are very large and sweet ; those of the 
"queen-of- violets," white and very large; etc. Tongue- 
violet. See Schweiyi/eria. Tooth- violet. Sameascora/- 
wort, 1. Tree-violet, Vwla arboreseens, a shrubby spe- 
cies with erect branching stems, growing from crevices 
of rocks in the western Mediterranean region. Tri- 
colored violet, the pansy, Viola tricolor. Trinity vio- 
let, the spiderwort, Tradescantia Virffinica, from its blue 
flowers and time of blooming. Britten and Holland. [Lo- 
cal, Bug.] Twin-flowered violet. See Viola. Velvet 
violet. See pansy violet, above. Violet family, the 
plant-order Violariese. Violet-powder, starch reduced 
to a very fine powder, and scented with orris-powder or 
other perfume : used for nursery and other purposes. (See 
also bag-violet, hedge-violet, horse-violet, methyl-violet, water- 
violet, wood-violet.) 
II. a. Having the color of violet, a deep blue 
tinged with red Violet bee, a European carpenter- 
bee, Xylocopa violacea. See cut under carpenter-bee. 
Violet carmine, a brilliant bluish-purple pigment ob- 
tained from the roots of the alkanet, Alkanna (Anehusa) 
tinctoria. It is little used, as it changes color rapidly on 
exposure. Violet land-crab, the West Indian crab Ge- 
carcinus ruricola. Violet quartz, amethyst. Violet 
sapphire, schorl, etc. See the nouns. Violet tana- 
ger, Euphonia violacea, partly of the color said. 
viplet 2 (vi'o-let), n. [< It. viola, a viol.] A 
viola d'amore. Sometimes called English vio- 
let. 
Violet-blindness (vi'o-let-blmd'nes), n. A 
form of color-blindness in which there is ina- 
bility to distinguish violet. 
violet-blue (vi'o-let-blo), n. See blue. 
violet-cress (vi'o-let-kres), n. A Spanish cru- 
ciferous plant, lonopsidium (Cochlearia) acaule. 
violet-ear, violet-ears (vi'6-let-er, -erz), . A 
humming-bird of the genus Petasophora. six spe- 
cies are described, ranging from Mexico to Brazil and 
Bolivia, as P. anaix and P. cyanotis. They are rather large 
hummers, 4i to 5J inches long, with metallic-blue ear- 
coverts (whence the name). 
violet-shell (vi'o-let-shel), . A gastropod of 
the family lanthinidse. See cut under lantliina. 
violet-snail (vi'o-let-snal), n. Same as violet- 
shell. 
Violet-tip (vi'o-let-tip), n. A handsome Amer- 
ican butterfly, Polygonia interrogationis, whose 
carved scroll for a head. Four strings are used, tuned 
thus : E, A, 1), and G (next below middle 0), of which the 
lowest is wound with silver wire, while the others are of 
gut. The first string is often called the chanterelle. In 
Violet-tip (Polysmia inttrregatiimis), right wings reversed. 
(Female, about natural size.) 
wings are reddish with brown mottlings and 
violet tips. Its larva feeds on hop, elm, and 
nettle. S. H. Scudder. 
violet- wood ( vi ' o-let- wud), H. 1. Same as &</- 
wood. 2. See myall. 3. The wood of a legu- 
minous tree of Guiana, Copaifera bracteata. 
Violin 1 (vi-o-lin'), n. [= Sp. violin = Pg. mo- 
lino = G. violine = Sw. Dan. violin, < It. violino, 
dim. of viola, a viol: see violl. Cf. F. violon, 
a violin.] 1. The modern form of the small- 
er medieval viola da braccio. The violin group 
of instruments is distinguished from the true viols es- 
pecially by having the back slightly arched like the bel- 
ly, and by the number and tuning of the strings. It is 
probable that the change from the viol model was first 
made in the tenor viol, or viola, and thence transferred 
to the smaller size, or violino. The true violin, both large 
and small, began to be made about the middle of the six- 
teenth century, particularly in the North Italian towns of 
Cremona and Brescia. The greatest refinement of shape 
and construction was attained about 1700 by Stradivari 
and has never since been surpassed. In its most approved 
form, the violin is further distinguished from the viol by 
a comparative thinness between belly and back, by sides 
or ribs of a peculiar shape, by bouts (indentations in the 
sides to facilitate the use of the bow) between double 
corners, by a finely adjusted correlation of position be- 
tween the bridge, the sound-post, and the /-shaped sound- 
holes, by the complete independence of the neck from the 
body, by a peg-box with transverse pegs, and by a daintily 
Violin. 
A, scroll ; , pees ; C, peg-box ; D, upper saddle ; K, finger-board ; 
F, sound-holes; G, bridge ; H, tail-piece ; /, tail-piece ring; K, tail- 
piece button ; M, neck ; N, neck-plate ; 0, back ; P, front or belly ; 
R. R, bouts ; 5, waist. Inside the violin has six blocks (namely, neck- 
block, end-pin block, and four corner-blocks), twelve hoop-linings, a 
bass-bar, and a sound-post. 
the construction of the instrument maple and pine, very 
carefully selected, are the chief components. The minut- 
est details of wood, model, jointing, varnish, etc., are im- 
portant, so that a really fine instrument is an elaborate 
work of art. The bow by which the violin is sounded has 
also been gradually refined in shape, so as to present the 
utmost strength, elasticity, and lightness (see 6oj2, 3 
(a) ). In actual use the violin is held nearly horizontally 
by the player's extended left arm, the lower part of the 
body being supported on his left collar-bone. The first 
position of his left hand is so close to the nut that the 
pressure of the first finger on any one of the strings will 
raise its pitch a half-step, that of the second finger will 
raise it a whole step, etc. The second position, or half shift, 
is one in which the first finger falls where the second did 
in the first position. The third position, or whole shift, is one 
in which the first finger falls where the second did in the 
second position. (See position, 4(c), and*A#i!,2.) Eleven dif- 
ferent positions are recognized, so that the compass of the 
instrument, which in the first position extends only to two 
octaves and a major third, reaches by means of other posi- 
tions to nearly four octaves. Harmonics are producible 
by lightly touching a string at one of its nodes, so that the 
available compass is still longer. The tone of the violin 
is more capable of expression than that of any other in- 
strument: hence it holds the leading position in the 
modern orchestra, the central section of which is made up 
of the first and second violins, the violas, and the violon- 
cellos, all of which are essentially violins in model. It is 
also a favorite instrument for solos, both with and with- 
out accompaniment. While the pitch of the tones used 
is determined by the stopping of the strings with the left 
hand, their force and quality that is, their expressiveness 
depends on the method of bowing. To a certain extent, 
two or even three strings may be sounded together, so as to 
produce harmonic effects : such playing is called double- 
stopping. Pizzicato tones are produced by plucking the 
strings with the finger, after the manner of the guitar. 
A peculiar veiled tone is obtained by attaching a weight 
called a mute or sordino to the bridge so as to check its 
vibrations. The violin is often colloquially called a fiddle. 
Sharp violins proclaim 
Their jealous pangs and desperation. 
Dryden, Ode for St. Cecilia's Day, st. 5. 
2. A player on the violin; a violinist: as, the 
first violin of an orchestra Key-stop violin. 
See key-stop. Keyed violin. See keyed. Nail- violin. 
Same as nail-fiddle. Tenor violin. See viola. Three- 
quarter violin. Same as violino piccolo. Violin clef, 
in musical notation, a G clef on the second line of . 
the staff; the treble clef. See figure. Violin dia- 3E 
pason, in organ-building, a diapason of unusually SB 
narrow scale and string-like tone. Violin-players' T 
cramp or palsy, an occupation-neurosis of violin-play- 
ers, similar to writers' cramp (which see, under writer). 
violin 2 (vTo-lm), . [< Viola? + -*a.] An 
emetic substance contained in all parts of the 
sweet-scented violet, Viola odorata. It has not 
been obtained pure, and is perhaps identical 
with emetin from ipecacuanha. 
violina (ve-o-le'na), n. [< violin 1 .'] In organ- 
bviUKng, a stop having narrow metal pipes, and 
thin, incisive, string-like quality. It is usually 
of four-feet tone. 
Violin-bow (vi-o-lin'bo), n. A bow for sound- 
ing a violin. 
violine (vi'6-lin), . [< L. viola, a violet color, 
+ -je 2 .] A blue precipitate obtained by treat- 
viper 
ing aniline with sulphuric- acid and peroxid of 
lead: same as maun:. 
Violinette (vi"o-li-net'), , [< violin + -ette.J 
Same either as violino piccolo or as Icifi. 
violinist (vi-o-liu'ist), n. [= G. Sw. Dan. vio- 
linist = Sp. Pg. It. violinistn; as violin + -int. 
Cf. P. violoniste.'] A performer on the violin. 
violino (ve-o-le'no), n. [It. : nee violin^. "\ Same 
as violin Violino piccolo, a small or miniature violin, 
differing from the kit in being of the same proportions 
as the violin ; a three-quarter fiddle. Such violins were 
once used for children's practice. They were usually tuned 
a third higher than the violin. 
violin-piano (v!-o-liii'pi-an"6), n. Same as lutr- 
nwnichord. 
violist (vi'ol-ist), n. [= D. violist; as viol + 
-int.] 1. A performer on the viol. 
He [Kenelm Digby] was a violinist, and the two former 
violists. Life of A. Wood, Feb. 12, 1658-9. 
2. A performer on the viola. 
violoncellist (ve"o-lon-chel'ist or vi // o-lon-ser- 
ist), if. [= It. violoncellista ; as violoncello + 
-ist.] A performer on the violoncello. Often 
abbreviated to cellist, 'cellist. 
Violoncello (ve'o-lon-ehel'6 or vl"o-lon-sel'6), 
n. [It., dim. of violone, q. v.] 1. The modern 
form of the medieval viola da gamba. it is prop- 
erly a bass violin rather than a small violone, as its name 
suggests, since its form is that of the violin rather than 
of the true viol. Its size is about double that of the 
violin. It began to be popular for conceited music early 
in the seventeenth century, and for solo use about a cen- 
tury later. Its four strings are tuned thus : A, D, G, C 
(the second below middle C), the third and fourth being 
silver strings. In playing, the violoncello is rested verti- 
cally by means of a wooden peg or standard on the floor 
between the player's knees. The method of playing is 
otherwise very similar to that of the violin, including the 
same special effects. The tone is very sonorous and ex- 
pressive, combining the advantages of the violin tone with 
the breadth of a tenor compass. The bow used is similar 
to that for the violin, but larger. In modern music the 
violoncello stands next in importance, among the stringed 
instruments, to the violin, both as a member of the or- 
chestra and as a solo instrument. Commonly abbreviated 
cello, 'cello. 
2. In organ-building, a pedal stop of eight-feet 
tone, having metal pipes of narrow scale and 
a very string-like quality. -Violoncello piccolo, 
a small or miniature violoncello, having the same propor- 
tions and tuning. It was used especially for solos. 
violone (ve-o-16'ne), n. [= P. violon (dim.), a 
violin, < It. violone, aug. of viola, a viol : see 
viol.'] \. The largest of the medieval viols ; a 
double-bass viol. It was originally a very large viola 
da gamba, sometimes provided with six strings, but usu- 
ally with only three or four. The three-stringed form 
was tuned thus : G, D, A (the third below middle C), which 
is the tuning of the modern three-stringed double-bass, 
with which the violone is nearly identical. 
2. In organ-building, a pedal stop of sixteen- 
feet tone, resembling the violoncello. 
violoust (vi'o-lus), a. [< viol(ent) + -os.] Vio- 
lent; impetuous. [Kare.] 
Gil. Where 's your son ? 
Fra. He shall be hang'd in flots ; 
The dogs shall eat him in Lent ; there 's cats' meat 
And dogs' meat enough about him. . . . 
Gil. You are so violous .' 
Fletcher and Rowley, Maid in the Mill, iii. 1. 
viparious(vi-pa'ri-us), a. [Irreg. < L. vita, life, 
or vivus, alive, + parere, produce. Cf. viper 
and viviparous.'] Life-producing or life-renew- 
ing. [Bare.] 
A cat the most viparious is limited to nine lives. 
Bulwer, Caxtons, xii. 2. 
viper (vi'per), n. [< OF. vipere, P. vipere (also 
OF. wivre, F. givre) = Sp. vibora = Pg. vibora 
= It. vipera, < L. vipera, a viper, adder, serpent, 
contr. for *vivipara, fern, of an adj. found in 
LL. as viviparus, bringing forth alive (applied 
to some fish, as distinguished from oviparous 
fish), < vivus, alive, + parere, bring forth. Cf. 
virel and wiver, wivern, from the same source. 
See wee-ver.] 1. A 
venomous snake of 
the family Viperi- 
dee : originally and 
especially applied 
to the only serpent 
of this kind occur- 
ring in the greater 
part of Europe, Vi- 
pera communis or 
Pelias berus. This 
is the only poisonous reptile which is found in Great Brit- 
ain, and there it is neither very common nor very dan- 
gerous. There are several genera and many species of 
vipers properly so called, all Old World, chiefly of warm 
countries, all poisonous, and most of them veiy danger- 
ous if not fatal ; they are known indifferently as vipers, 
asps, or adders. See Viperidas, and cuts under adder, 
Cerastes, and daboya. 
2. Any venomous serpent except a rattle- 
snake ; a viperine ; a cobriform and not crotali- 
Head and Tail of Common Viper (Pe- 
lias berus), with erect fangs. 
