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diff --git a/26878.txt b/26878.txt new file mode 100644 index 0000000..5ba8553 --- /dev/null +++ b/26878.txt @@ -0,0 +1,7135 @@ +The Project Gutenberg EBook of The Repairing & Restoration of Violins, by +Horace Petherick + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Repairing & Restoration of Violins + 'The Strad' Library, No. XII. + +Author: Horace Petherick + +Release Date: October 11, 2008 [EBook #26878] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK RESTORATION OF VIOLINS *** + + + + +Produced by Ron Swanson + + + + + +THE REPAIRING & RESTORATION OF VIOLINS. + + + + +PRINTED BY E. SHORE & CO., +3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C. + + + + +[Frontispiece: HORACE PETHERICK.] + + + + +_"THE STRAD" LIBRARY, No. XII._ +THE REPAIRING & RESTORATION OF VIOLINS. + + +BY +HORACE PETHERICK. + +_Of the Music Jury, International Inventions Exhibition South +Kensington, 1885; International Exhibition Edinburgh, 1890; Expert in +Law Courts, 1891; Vice-President of the Cremona Society_. + + +ILLUSTRATED BY THE AUTHOR. + + + + +London: +THE STRAD OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C. +D. R. DUNCAN, 186, FLEET STREET, E.C. + +New York: +CHARLES SCRIBNERS' SONS, 153-157, FIFTH AVENUE + +1903. + + + + +CONTENTS. + + PAGE +CHAPTER I.--Introductory . . . . . . . . . . . . . . . . . . . 1 + +CHAPTER II.--Slight Accidents--Modern Restorers--"Chattering"-- + The Proper Sort of Glue--Its Preparation and Use . . . . 3 + +CHAPTER III.--Minor Repairs--Cramps and Joints--Violin Cases-- + Rattles and Jars--Loose Fingerboards--Atmospheric + Temperature--Old-Fashioned Methods of Repairing--Modern + Ways--A Loose Nut . . . . . . . . . . . . . . . . . . . . 13 + +CHAPTER IV.--Injuries to the Head or Scroll--Insertion of Fresh + Wood--Colouring of White Wood--Separation of Head from + Peg-box and Re-joining--Stopping Material for Small Holes + or Fractures--The Peg-box Cracked by Pressure . . . . . . 28 + +CHAPTER V.--Fracture of Peg-box and Shell--Chips from this + Part--Filling up of Same--Restoration to Original Form, + after Parts have been Lost--Worn Peg-holes, Re-filling or + Boring Same . . . . . . . . . . . . . . . . . . . . . . . 46 + +CHAPTER VI.--Loosening of Junction of Graft with Peg-box, and + Refixing Same--Grafting, Different Methods of Performing + this--Lengthening the Neck--Old and Modern Method--Renewal + of Same--Inclination of Neck and Fingerboard with Regard + to the Bridge--Height of Latter, and Reason for It . . . 58 + +CHAPTER VII.--Finishing the Fingerboard--Fixing the Nut--Size + and Position of Grooves for the Strings--Filing Down the + Graft--Smoothing, Colouring, and Varnishing Same . . . . 84 + +CHAPTER VIII.--Injuries that can be Repaired from the Outside-- + Insertion of Fresh Wood in Fracture of the Ribs--The + Effects of Climate on the Glue in Violins . . . . . . . . 92 + +CHAPTER IX.--The Glue Used by the Early Italian Makers-- + Insertion of Pieces of Wood for Repairing Lost Parts-- + Replacing Lost Rib and Repairing Interior without Opening + when Possible--Securing Loose Lower Rib to End Block-- + Different Methods--Treatment of Worm-holes--Fixing on + Graft on Neck . . . . . . . . . . . . . . . . . . . . . . 100 + +CHAPTER X.--Ways of Removing the Upper Table and the Neck-- + Cleansing the Interior--Preservation of the Original + Label--Closing of Cracks in Upper Table . . . . . . . . . 114 + +CHAPTER XI.--Getting Parts Together that apparently do not + Fit--The use of Benzine or Turpentine--Treatment of + Warped or Twisted Lower Tables . . . . . . . . . . . . . 127 + +CHAPTER XII.--Removal of Old Superfluous Glue by Damping-- + Replacing Old End Blocks by New Ones--Temporary Beams + and Joists Inside for Keeping Ribs, etc., in Position + while Freshly Glued . . . . . . . . . . . . . . . . . . . 135 + +CHAPTER XIII.--Re-opening the Back to Correct the Badly + Repaired Joint--A Few Words on Studs--Filling Up Spaces + left by Lost Splinters--Matching Wood for Large Cracks, + etc. . . . . . . . . . . . . . . . . . . . . . . . . . . 145 + +CHAPTER XIV.--Repairing Lost Portions--Margins of Sound Holes-- + Matching the Grain--Fixing and Finishing Off--Replacing + with Fresh Wood Large Portions of Upper Table--Lost Parts + of Purfling--Restoring It with Old Stuff . . . . . . . . 155 + +CHAPTER XV.--Repairs to Purfling (continued)--Filling up an + Opening Extending to the Whole Length of the Violin-- + Fitting the Core--Fixing it in Position and Retaining it + There--Finishing the Surface . . . . . . . . . . . . . . 163 + +CHAPTER XVI.--Repairing Undertaken by People in Business not + connected with that of Bowed Instruments--Removal of a + Fixed Sound Post--Fitting a Fresh Part of Worm-Eaten Rib-- + Bringing Together the Loosened Joint of the Back Without + Opening the Violin . . . . . . . . . . . . . . . . . . . 172 + +CHAPTER XVII.--Insertion of Studs along the Joint Inside + without Opening the Violin--Lining or Veneering a Thin + Back . . . . . . . . . . . . . . . . . . . . . . . . . . 180 + +CHAPTER XVIII.--The Bar in Olden Times--The Modern One--The + Operation of Fitting and Fixing the Bar--Closing and + Completion of the Repairs--Varnishing of the Repaired + Parts having Fresh Wood . . . . . . . . . . . . . . . . . 186 + + + + +PREFACE. + + +An ancient writer once asserted that "of making many books there is +no end"; had the violin been invented and used as far back as his day +he might have added, "and of repairs to violins," inasmuch as the number, +nature, and variety of the damages that constantly occur and find their +way into the presence of the repairer, are such as could not be counted +and seemingly are endless. The readers of the following pages will +therefore not expect to find every possible ailment to which the violin +is liable, mentioned and its appropriate remedy marked out. If the more +minute kinds of injuries are endless, they may yet be generalised under +a limited number of headings, or in groups. It is with the hope that +a sufficient number has been treated of, and the way of meeting +difficulties pointed out plainly enough to enable the intending +practitioner to follow on in the same lines, that this work is placed +before the public. All the repairings referred to, have, with the +accompanying annoyances and pleasures, been gone through by myself, +and therefore the present little work may be taken as the result of +personal experience and it is hoped may be acceptable to the readers. + +H. PETHERICK. +_July, 1903_. + + + + +The Repairing and Restoration of Violins. + + + + +CHAPTER I. + +INTRODUCTORY. + + +The art of the old liutaro of Italy may be said to have become during +the last two or three centuries, identified with the art of +constructing such musical instruments as are played with the bow. + +As was the case with other and kindred arts, that of violin making had +its rise in one of the old cities of Italy, where from small beginnings +it gradually spread to other places and over the borders, until there +are very few places of importance where it was not practised with some +degree of success, commercially if not artistically and acoustically +considered. + +During the early period of the art, repairing was of a rough and ready +kind, chiefly in connection with damages sustained under ordinary +usage and accident; while extensive and costly renovating, such as is +so frequently undertaken at the present day, must have been of rare +occurrence, for the reason that it was then quite possible to get equal, +sometimes better, quality in quite new instruments which were being +sent forth every day by the resident makers. With the onward march of +time this has been changed; the art of the Italian liutaro having +reached its climax some century and a half back, the masterpieces +executed during that time are gradually diminishing in number and +cannot be replaced by instruments having a sufficiently high degree +of excellence; naturally enough the skill of the repairer has been more +and more in requisition, so much so, that many who have shown +exceptional ability for this kind of work have achieved a reputation +for it alone, among the large circle of dealers in the principal cities +of Europe. The necessities of the time have thus brought into +prominence a modification of the art of the old Italian liutaro, in +which there has to be displayed much more mechanical ingenuity if with +very little or no originality; the high class of artisan has become +strongly in evidence, while the artist has disappeared. It was in the +consideration of these facts that the idea was first suggested that +a work treating of the general methods adopted by professional +restorers for important work, coupled with helpful hints in the +management of minor injuries, would be interesting and acceptable to +amateur as well as professional repairers, besides the numerous +readers of THE STRAD, in the pages of which the following chapters were +first issued. + +In sending out the matter in book form, some alterations and additions +have been, as usual, found advisable for completeness. All readers +readily admit the impossibility of touching upon one half of the +various accidents and ailments to which a violin is liable during its +usually long life; the most likely ones have therefore been taken, and +it is hoped that the suggested treatment of these cases may enable the +repairer to become sufficiently adept for undertaking such others, +serious, or slight, as may not have been here referred to. + +Further, the author is hopeful that those readers who may feel +indisposed themselves to put into practice the various hints, +instruction, or advice, will be enabled by knowing how good repairing +is carried out, to select the proper kind of person into whose hands +they can safely intrust their cherished instruments. + + + + +CHAPTER II. + +SLIGHT ACCIDENTS--MODERN RESTORERS--"CHATTERING"--THE PROPER SORT OF +GLUE--ITS PREPARATION AND USE. + + +Under the above title (dry and unpalatable as the subject may seem at +first sight to many) it is proposed to bring before the reader some +deductions from observations in general, and particulars in detail +that may be interesting as to the past, and suggestive as to the future. +In the first place, the simple art of repairing a violin--and as for +that, anything that has been fractured by accident or intent--will be +in the minds of many associated with the presence of some strong glue +or adhesive material, the right pieces to be attached, neatly or not, +as the skill or experience of the repairer may be sufficient or +available. + +The nose or limb of a marble statue knocked off and lying in close +proximity to the main body may be thought to give little or no trouble +further than the collection of the fragments, the ascertaining of their +original relationship, the spreading of a sufficient amount of strong +cement over the raw surface and then pressing accurately into position; +easy work to a person endowed with average powers of mechanical +adaptation, under circumstances where the materials being of an +unyielding nature retain their form for any length of time. But if any +parts are lost different faculties and powers educated for the work +are requisite and brought to bear on the subject. The additions, +besides the estimated proportions and form, must necessarily be +composed of material differing in age, perhaps in quality, even when +of the same supposed class as the original, and make further demands +on the trained eye, both for discrimination of material and +appropriateness for the work in hand. There will be lastly, but not +least, the art of imitating old work, the consideration how far to go +and when to stop in the dressing up of new bodies in an old guise so +as to produce harmony of effect generally, and where possible in minute +detail. Thus far concerning the repair or restoration of objects of +art made from rigid materials, including hard wood carving. + +Much ability, energy and patience have been expended on the reparation +of ancient art work in which materials of various degrees of hardness +and texture have been employed, and which require the attention of a +restorer of extended knowledge and mechanical dexterity. There is in +connection with all of this a kind of law keeping pace with the +necessities of the hour. If the works of art of a perishable nature +become recognised as more and more valuable during the onward march +of time, they receive proportional attention from upper-class or +highly skilled workmen. A costly work of art in need of repair or +restoration is placed in the hands of an artificer whose reputation +warrants the confidence of the owner. The works of art, however, with +which our subject is connected, differ in important particulars from +those for which gratification of the senses is to be favoured solely +through the medium of the eye; they not only frequently demand the +exercise of mechanical ingenuity of no mean order for purposes of +restoration in regard to general appearance, but further and +additionally, the no less important details concerned in a renewal, +so far as may be possible, of their powers for the exhibition of +acoustical properties such as were implanted in them by their original +constructors. In the instance of a re-uniting of separated pieces, the +insertion of fresh material to fill up spaces that must not be left +open, strengthening, or even renewal of such parts as may have become +worn away or--as is too often met with--"honey-combed" from the inroads +of those vandals of all time known as "the worm," all the supporting, +rebuilding of the interior and re-decoration of the exterior must be +taken chiefly as means to an end, that of the resumption of its rightful +position among friends or rivals in the same line. + +This restitution becomes of increasing importance and necessity every +day, a condition arising from the verdict emphatically given by his +majesty the public that there are not any instruments of the violin +family ready to take the place--that is, worthily--of those made by +the principal masters of Italy during the two hundred odd years before +the commencement of the nineteenth century, and also that there does +not seem to be much probability of others arising at least for a few +generations to come. No wonder then that the most energetic searching +has been going on for a long time, not only in Italy but over the whole +of Europe, with the hope that in some out of the way court or alley +there may yet be reposing in obscurity some long forgotten, +unrecognised work by an old master of the art of violin making. Should +one be unearthed, if but a wreck of its former greatness or even a +portion, this is not refused but eagerly grasped and placed--not yet +in open daylight before the gaze of the world, but in the hands of a +specialist in re-vivifying these dry bones of a bygone age, +re-habilitating them--perhaps having by him or given him other +portions of a similar maker, or it may be--it has sometimes +occurred--the actual missing parts. + +The specialist in the repairing and restoring art is now not of the +same class as in olden times. When the Amatis, Stradivaris, Guarneris +and the like were being turned out one after another, there was not +so much necessity for preserving all the pieces or splinters of +precious pine that had been separated by the fracture of the upper table +from any cause, there was a better remedy at hand, the nearest maker +would naturally be sought whose reputation was possibly more than local +and whose self confidence prompted him to make a fresh table rather +than devote time and labour for which adequate compensation could not +be hoped for. As a result, we frequently find old violins and their +kindred turning up with fronts and backs which, although fitting well +as regards size and outline, have been made by a distinctly different +workman, in some instances equal or even superior to the originator. +At the present day, however, this kind of restoration is much more +rarely attempted and is not resorted to unless the damage is very +extensive or vital portions have been irrecoverably lost. + +The modern maker has no longer within reach, pine with requisite +acoustical properties, of which the old Italian masters seem to have +had so large a store, or if not, the knowledge where to obtain it. As +a consequence there has, in response to the pressure of necessity, +arisen a class of workmen some of whose dexterous conversion of a mere +bundle of splinters of an old master into the semblance of its former +grandeur of aspect would have astonished the original designers. These +modern restorers are not to be confounded with the minute imitators +or forgers, than whom they are much more clever, hard-working and +honest withal. The art of repairing and restoring has now become so +distinct from that of making, that many in the foremost ranks in the +increasing large army of restorers may never have made a violin +throughout. The faculties, skill and experience directed on the +restoration of a violin "on the sick list," differs from those +exercised by the first constructor whose mechanical dexterity is an +aid or secondary to other qualifications: whereas it is paramount in +importance in the constitution of a first class repairer. + +The construction of a violin from beginning to end may be said to be +an art based on certain fixed principles, not all of them known, however. +When these are, as far as possible, acted upon by a workman of +sufficient intelligence and training, the progress of the work may be +considered as being in a fairly straight and open course. Not so with +the restoration of it after fracture or loss of parts great or small, +several different courses may be open as to treatment and this will +be as the temperament of the restorer will suggest or the exigencies +of the moment may demand. Temporary alleviation of symptoms--how to +make the thing go somehow--when there is no fiddle physician within +beck or call, is a problem frequently arising and very annoying, +necessity then being the mother of invention, often of a most curious +sort, as most professional repairers who have had the re-consideration +of the matter will have impressed on their memories. Among the most +frequent of simple ailments the fiddle tribe is subject to, is that +known as "chattering" or jarring, caused mostly by some parts having +become dis-united, perhaps through damp or accident sometimes of a most +trifling nature, and which henceforth, unless remedies are at once +applied, make themselves evident in this way, accompanying every note +that happens to be in unison with themselves, and lending discord +instead of harmony, expressing urgently their thirst and desire for +a small drink from the glue pot. Not unfrequently the exact spot where +the jarring or chattering takes place is not easy to find by mere +examination of the exterior, especially if the separation is fresh and +at a part where very little adhesion has taken place at any time, or +possibly the very slight portion of glue originally placed at the time +of construction, has, with the progress of time, gradually dried away. +Should this have occurred at the junction of the upper or lower tables +(most frequently the first), the sides, or ribs, the exact spot must +be found by gently tapping all round carefully, holding the instrument +meanwhile firmly at parts that are least likely to have become +disconnected or that are known to be perfectly sound. The tapping or +sounding can be done in the way usual with dealers and repairers, that +is, by the knuckle joints of the hand rapping round the instrument, +but this is sometimes deceptive, the tendons over the bones of the hand +interfering and occasionally causing a double sound, and so defeating +the efforts at discovery. A more delicate and therefore better means +of testing is by the use of a felted hammer of the kind and size acting +on the bass string of a grand pianoforte; this will be found very handy. +Should the rapping or sounding all round the border not reveal any weak +spot, we may be sure the seat of the complaint is to be sought for +elsewhere; possibly there is looseness in the interior and therefore +something requiring deeper consideration. + +We will for the present assume that there has been no uncertainty in +locating the weakness, and that it is at the part before referred to +as the most frequent in showing signs of disorder--the upper table +losing its grip on the ribs. This is one of the many common ailments +that are teazing to the violin during its troublous career; a slight +accidental tap, or hastily putting the instrument to rest in a too +closely fitting case being often sufficient. Sometimes, on the reverse, +it is from being in too large a one, getting well shaken while being +taken home after some orchestral rehearsal; the joy of having mastered +Mozart or battered Beethoven for an evening is turned in the morning +to grief and vexation, when in response to the gentle persuasions of +the bow there are but chatters and jarrings. Under such circumstances +the treatment administered by the hands of non-practical or +inexperienced people is akin, more often than not, to that popularly +supposed to be effectual in suppressing slight functional disorders +of the human system; namely, a prompt and appreciable dose of medicine +for the one, a good stuffing of thick dark glue for the other. In both +cases it may well be said that not unfrequently "the remedy is worse +than the disease." Glue is a good thing in its way and when properly +applied, but not so if overdone, even if the kind is the best +obtainable. + +A few remarks may here be offered as to the qualities that should be +present in good glue, especially with regard to violin repairing. Among +the makers of it, the glue which will absorb the largest quantity of +water ranks as the best. It will, after proper application, resist best +the action of moisture in the atmosphere, or in fact take longer time +before releasing the two surfaces it may have been holding in contact. +There is not much difficulty in getting glue very satisfactory in most +respects--as good animals die now-a-days as ever got into the gluepots +of the old masters--but it must be selected. That kind used extensively +in the German manufactories is said to be a fish glue, remarkably hard, +very light in colour and almost opaque. This is not to be recommended +for violin repairs; it holds the parts together with such tenacity that +fresh fractures are likely to be caused in undoing a portion, a process +often very necessary; professional repairers will tell you "it tears +the wood too much." The glues mostly in favour among upper class +repairers are those known as Russian, Cologne and Isinglass, all good; +they are light in colour, very firm, not too brittle, and transparent. +There are other varieties to be had of excellent quality and which +conform to the conditions required. Thick cakes of a dark brown colour +with an unpleasant odour should be avoided; they are too easily +affected by the atmosphere, turn bad in the gluepot under very little +provocation from damp warm winds, and spoil the look of good and refined +workmanship. There are many different kinds of glue sold under various +titles, some termed "liquid glue," others cement, apparently for +saving the very insignificant time and trouble in warming up the +orthodox solution; but none appear satisfactory in general and many +of them are even detestable. There are some adhesive materials used +in India where warmth and damp have their full play and make short work +of an old master's joints, but these cements of the Eastern Hemisphere +are likewise unsuitable for the kind of work under consideration, as +when once dried, being unaffected by damp to any extreme, they are of +course difficult to remove when further repairs have become necessary. + +One of the special advantages of glue to the repairer is its yielding +to the direct application of moisture, so that in future repairings +the old stuff can be washed completely out and fresh glue used over +clean work. Let all amateur repairers therefore, abstain from seeking +after a vain thing of the nature of glue impervious to moisture. One +word more, as preachers say, and that is as to the preparation or +melting of the glue--simplest of processes--some pieces of selected +glue put into a small glazed gallipot with two-thirds of clean water +and left to soak during the night will only require warming in the +morning by placing the pot in a larger one and surrounding it with hot +water. The quantity of glue being varied according to requirement is +far preferable to the old-fashioned iron glue-pot which darkens the +glue and is in other ways objectionable. If the injury or want of +adhesion extends only to a trifling distance round the edge and has +happened at a time when good glue and proper appliances are not to hand, +the routine pursued must still be the same as if they were: first by +obtaining a well-worn table knife, the thinner the better (but if the +household knives happen to be new and strong you may call on some artist +friend, borrow his palette knife, clean it, have ready some clear water, +a cushion or a substitute, and some rather thick gum). If time will +allow, the strings should be taken off the violin, and then placing +it face downwards on the cushion, the knife having been dipped in the +water, can be inserted gently at the part requiring attention. (Diagram +1.) + +[Illustration: DIAGRAM 1.] + +You will soon tell by the sound in moving the knife about whether the +separation has been recent or of long standing, if the latter, the +slipping of the knife will cause a slight grating sound and when drawn +out will show signs of dirt. The knife must be rinsed and re-inserted +a sufficient number of times until all the evidence of dirt has +disappeared, the knife coming away clean and not gritty. Care should +be taken meanwhile to keep the violin on the tilt so that the water +introduced on the surface of the knife does not run inside but outward +to the edge; the parts should also each time be wiped by a clean +absorbent piece of cotton or linen. The knife can then be charged with +gum instead of water and inserted as before, the process being finished +by the wiping. + +But now the question will arise how about the closing up and pressing +together of the parts. For this, assuming that the part to be rejoined +is not of great extent, the chin-rest--almost every player now uses +one--can be applied to the part and fixed in the usual way. If there +is not one to be had, some pieces of ordinary deal, the softer the +better--fire wood will do--cut into shape as depicted (Diagram 2) can +be fitted, but very loosely to allow of thin wedges being used to +tighten the grip (Diagram 3). They must be very gently pushed in, or +the border of the violin will be damaged. Some paper placed between +the wedge and the border will help in preserving the latter from injury +or marks. The above suggestions are only intended to be applicable when +the violinist may be out of reach of any professional or competent +repairer. Gum arabic or dextrine are not comparable with good glue for +repairs, although with care and attention to the details enumerated +here I have known it answer when in pressing haste, and even for a +permanency. + +[Illustration: DIAGRAM 2.] + +[Illustration: DIAGRAM 3.] + + + + +CHAPTER III. + +MINOR REPAIRS--CRAMPS AND JOINTS--VIOLIN CASES--RATTLES AND +JARS--LOOSE FINGERBOARDS--ATMOSPHERIC TEMPERATURE--OLD-FASHIONED +METHODS OF REPAIRING--MODERN WAYS--A LOOSE NUT. + + +The professional repairer is of course always provided with the well +known wooden screw cramps as used in all countries for centuries, but +if "up to date" men, they will have affixed the modern covering of cork +or leather at the parts coming into contact with the instrument. No +end of damage has been done at all times by neglect of this simple +precaution. Many gems from the old masters that would otherwise have +been matchless, are disfigured by an array of semi-circular dents or +bruises near the border. This is particularly noticeable when the +arching springs rather abruptly from a narrow channel and near the +purfling, or the rise commences from the border without channelling. +Here is shown the wisdom of the earlier Italian masters when +introducing the channelled model, the hollowing being a preservation +against damage by the impetuous repairer. Many otherwise excellent +workers are heavy handed, pressing all parts together very tightly but +not more securely. Good joints, cleanly and accurately cut, the +surfaces kept clean and not overloaded with good glue, are the best +for lasting, and of course for appearance. + +Before leaving that part of our subject which is connected with damages +to the violin resulting from want of precaution or thoughtlessness, +it may be as well to refer to a frequent cause of disaster, often well +nigh ruin, by the use of badly fitting and badly constructed cases. +Innumerable as have been the varieties of style, shape and arrangement +of violin cases, there is still an opportunity for a new, good and +useful one that shall combine all or most of the requirements as regards +utility, portability, preservativeness and nice appearance. Those in +use for travelling with during the last century and the early part of +this, had the disadvantage of heaviness, besides their rounded forms +which prevented their being placed with a flat side downwards on a shelf +or convenient horizontal surface without some unsteady rolling; also +being often studded with brass nails like a coffin, a very grave +objection (diagram 4). The leather cases which require the instrument +to be placed in sideways have the advantage of giving good protection +against rain, but there is insufficient defence against accidental +violence; they are, further, more expensive than the foreign boxes made +of poplar wood, which are light and of sufficient strength when +carefully made. There was one good thing about the ancient cases, +however, the violin being inserted at the large end, the performer knew +at once whether the case was sufficiently capacious for the instrument. +Not so with those in common use at the present time, opening as a box. +To these may be laid the charge of causing an immense amount of +irreparable injury to numbers of violins of any standard of excellence +or costliness. This in the way mostly of depressions--"wells" as they +are termed by repairers--where the feet of the bridge rest. These are +caused by the lid of the case coming down on to the hard wood of the +bridge and pressing its feet like dies, into the comparatively softer +pine (diagram 5). It is a disfigurement to the violin and is sometimes +in a bungling manner altered by inlaying--badly in most +instances--square pieces of wood to bring the surface level. This kind +of damage to the violin has been attributed to the prolonged pressure +on the upper table by the strings being stretched up to modern pitch, +but this is a mistake, no strings at all playable would press +sufficiently hard and directly downwards to produce this result. The +double-cases in use are worse than the single, as they are necessarily +stronger and heavier. Both present the same difficulties in estimating +whether the violin with its bridge is too high for the roof inside when +the lid is closed. A good way of testing it is by rubbing a little soft +white chalk over the top of the bridge and then gently shutting the +lid down, which also should show no indisposition to do so; if on +lifting the lid any of the white chalk is seen to have changed places +and got on to the lining of the lid, put aside at once and for ever +the condemned case as being an unfit receptacle for your cherished +Cremona. Further, if the fit is at all tight, do not use pressure but +get another case, your violin would be a very bad one indeed for your +sympathies to fall in with a horrible suggestion once made by the maker +of a too closely fitting case for his friend's instrument, that he +should be allowed to take a shaving or two off the violin, it would +then go in nicely. As some excuse for this maker he was not an amateur +in this line, but a professional undertaker. + +[Illustration: DIAGRAM 4.] + +[Illustration: DIAGRAM 5.] + +We may now shift our ground and notice another source of the +complaint--rattles, jars, chatters, or grunts, which ever may appear +the most appropriate title for another variety of annoyance to the +performer. Having found out with our felt-headed hammer, or if that +is not easily obtainable, a slender stick may be covered at the end +with almost any soft material enclosed within a piece of chamois or +soft leather, and tied so as to form a knob like a small drumstick. +Having tested the violin with it in the manner before referred to, and +there being no bad reports from the body of the instrument, the hurt, +seat of injury, or lesion, may be in the neck, fingerboard, or even +the scroll, any part being liable to give out its undesirable note, +or interfere with the proper emission of musical tone from the strings. +There is no portion of the violin that will not under certain +provocations join too willingly in the production of unwelcome sounds +if the exciting conditions are present--those of checked vibration, +or vibration that should be checked. An unsuspected cause may be +discovered by the tapping test to be lurking unseen, and often unfelt, +till one note being struck in unison or sympathy with the affected spot, +may cause it to speak in a decided manner. This is at the part where +the fingerboard parts from the neck over the instrument towards the +bridge--the rather thin glue, as it should be--may, through damp or +other causes, have lost its hold for but a short distance, and not be +evident while the fingers are pressing the strings over the part; but +when notes are struck nearer towards the nut, the pressure is relieved +and the fingerboard free to take its own part. This, although a trifle +in itself, requires for its cure proper attention with suitable +appliances. + +After the removal of the strings, the first suggestion naturally +occurring will be to insert, with the blade of a knife, some glue and +leave it to dry. This is more likely than not to make matters worse, +as it should always be borne in mind that glued surfaces always require +pressing together, however well they may fit. Glue contracts as it +dries, and in the process apparently disperses and clings to any other +bodies rather than to itself. To put this in another way, if air is +allowed to insinuate itself between the two surfaces which it is +desirable to bring into closest conjunction, the contraction, +particularly if good, while in progress, will cause a separation in +the central mass of the glue, while the two surfaces will be left as +before, independent of each other, but more clogged. Pressure must +therefore be invariably brought to bear behind the opposing parts, so +as to drive out the air from between and prevent its re-admission--the +necessity of an exact correspondence of the parts will be obvious--at +the same time the glue is to some degree forced into the pores of the +surfaces, and when the moisture has dispersed among the myriads of +cells composing the structural growth of the wood and finally +evaporates from the external ones, the glue, having hardened, will hold +the parts together with a tenacity that can only be overcome by +prolonged application of moisture or actual destruction of the parts. + +There is one very important consideration in connexion with glueing +operations that must not at any time be lost sight of--that of +atmospheric temperature. Much trouble may be brought about by +inattention to this help or obstruction, for it will act both ways +according to circumstances. In the glueing of important parts in the +construction of pianofortes, the operators are careful to have the +temperature of the surrounding atmosphere sufficiently elevated, as +well as heating those portions of the structure which are to be +accurately and lastingly joined, and particularly where hard woods and +smooth surfaces are brought together. The violin repairer must +strictly follow the same rule. The degree Fahrenheit at which glueing +operations are best conducted may be roughly estimated as nearly +seventy. The reason for this is that the nature of good glue is to +coagulate or "set" rapidly in a cool atmosphere and in this state--not +perceptible at once to the eye--it will resist a considerable amount +of pressure, the surfaces that should exactly cohere, slipping aside +and the whole work having to be done over again, perhaps with fresh +damage. + +To return now to our loose fingerboard, an old fashioned and very clumsy, +inefficient way of fastening it after glueing, was to tie some string +round it, which of course getting much glue upon it during progress +had, when dry, to be torn or washed off. The modern, simplest and best +way is to have ready a soft wood mould with a square or flat back for +the under or circular part of the neck, and a similar but flatter one +to fit above on the fingerboard. These can be easily adjusted, and the +requisite pressure obtained by several screw cramps along its extent +(diagrams 6 and 7). It is not very often that the nut or small block +over which the strings pass on to the pegs gets loose, if it does, it +is the result of bad fitting and careless glueing. If it should happen +to come away, wash it, and when dry see that the under part to be stuck +to the fingerboard and the neck is quite square and level; warm it and +apply some strong glue to the two surfaces, and also to the parts with +which it is to come into contact, you can then place it in position; +press down and rub backwards and forwards once or twice, then leave +in the exact position required; if clean, accurately fitted and warmed, +it will not require any further pressing or clamping. If this part +should have been knocked off and lost, then a new one must be made. +For this purpose the hardest piece of ebony you can obtain is the best; +sometimes a nut of ivory or bone is used, but it has a staring effect, +although if properly done as above described, it holds well and wears +slowly. Some of the hard dark woods, cocoa wood and lignum vitae, or +dark horn are adapted for this purpose. Rosewood is not so well suited, +as the ruts or grooves are soon made deep by the friction of the strings +in being wound up, and renewal is found obligatory sooner than with +the other. + +[Illustration: DIAGRAM 6.] + +[Illustration: DIAGRAM 7.] + +Having selected a suitable piece of wood it must be cut or planed square +and equal in thickness. It should be as nearly the right length as +possible before being placed permanently in position, the ends being +very tough in cutting. If by miscalculation they are found to project +over the width of the fingerboard, they should be--when the glue is +quite dry--cut through with a small bow saw close up, a gentle, careful +filing will reduce them down level with the side of the fingerboard; +the surface should run easily with that of the peg box, which is not +always of the same width as the other, the arching can then be proceeded +with, a chisel being first used, then a rather close grained file for +further levelling and the finishing off with the finest glass-paper +or emery cloth, having a drop or two of oil in it; this will give a +smooth, dull polish agreeable to the eye. The grooves in which the +strings will have to rest must be marked out or pricked to measurement +so that the spaces may appear regular when the violin is strung up. +The distance apart being occasionally done to the caprice of the player, +measurement should be kept of this matter of detail from some well +regulated instrument as a standard to go by. When the exact spots for +the grooves are marked or pricked, a very small, round or "rat-tailed" +file may be used to work the wood down at the spot, care being taken +that the file is constantly held in an exact line with the direction +of the fingerboard, otherwise when strung up the appearance at the part +will be that of distortion and the string will even be checked in its +freedom in passing through the grooves, each of which should be made +to receive the string not too tightly nor too loose. Of course the width +of each groove must be in agreement with the thickness of the string, +the widest being the D, the G a little less, the A less still and the +E least of all; the E should be a trifle closer to the fingerboard than +the D or G, the last, having the widest swing during play, should be +raised further off the board than the others. The arching of that side +of the nut may also be left a little higher. The nut should also be +made to slant down towards the peg box (diagram 8), the grooves being +of a regular depth on this and not deeper at the top (diagram 9). When +all is ready for the stringing up, a soft lead pencil may be used for +blackleading the grooves, they are otherwise liable to arrest the +progress of the string towards the pegs when tuning up and suddenly +letting them go with a click, making the tuning uncertain and +difficult; if the wood is rather obstinate--it is not always alike--a +touch of beeswax of the size of a pin's head where the lead is placed +will be an effectual cure. + +[Illustration: DIAGRAM 8.] + +[Illustration: DIAGRAM 9.] + +We may now leave this as finished, going to the other end of the violin +where another nut is used for supporting the tail-string as it comes +over to the end peg. This part is frequently done in a slovenly way, +even by some repairers of good repute; there is no reason why it should +not be as neatly done in all respects as any other part. It may be that +the supposition is uppermost in the mind of the repairer that, like +the nut at the fingerboard, the pressure of the strings will retain +it in position. This is a mistake, there is a great pull forward, +especially if the wood is hard and dry. The material should be selected +for its solidity and hardness like that for the other nut. In olden +times, say those of the early Italians, this part, owing to the small +amount of strain in consequence of low pitch, low bridge and short neck, +seems to have been treated with almost indifference, a very slight +piece of ebony, cherry, pear, or other variety of hard wood found in +Italy, sufficing for the purpose (diagram 10). It was left level with +the surrounding soft wood, or nearly so; there was no occasion for +raising it at the time, as the tail-string projected from the +underneath of the tailpiece instead of that almost universally now +known as the secret tie (diagrams 11 and 12). This latter necessitates +the use of a higher and more substantial nut, otherwise the tailpiece +would be close down to, if not touching, the table, causing a rattling. +Further, in accordance with mechanical law, the strain or pull forward +increases with the height of the nut. It is therefore obvious, that +unless well fitted and held strongly, the nut will be liable to be +wrenched forward out of position. This is more frequent than would be +suspected, and is sometimes a secret source of damage or bad influence +leading to disaster in other parts of the instrument. The same +observations concerning the preliminaries apply to the fixing of this +as to the other nut. The modern arrangement of the part leaves but +little to be improved upon. + +[Illustration: DIAGRAM 10. OLDEST FORM OF NUT.] + +[Illustration: DIAGRAM 11.] + +[Illustration: DIAGRAM 12.] + +The length and thickness of the nut required having been determined +upon, we will suppose ourselves in the presence of an old worthy from +Cremona requiring a fresh attachment, the wood selected--Mauritius +ebony for preference--and the measurement as follows, 5/16 in length +and thickness according to the width of the border, as the nut looks +best when the inner edge runs in a continuous line with that of the +purfling (diagram 13). In highly finished work and when the end of the +violin has a perceptible curve instead of being nearly straight, the +nut should be made to follow the course of the purfling, this will +require some care in the cutting and finishing of it. For this a piece +of almost any veneer cut to the exact flow or drawing of the line may +be used as a guide or template. The block from which the nut is to be +made having been cut quite level, the line can be traced with a fine +pointed pencil, or better, a fine pointed knife, and then shaped with +a sharp chisel. The block or nut can now be laid on the border, care +being taken that the tail pin comes immediately in a central position +in relation to it, and then with the sharp pointed knife a finely cut +line can be traced all round. The space now marked may be cleared away +down to the top of the end block with a clean, vertical wall on three +sides formed by the pine. If carefully done, the nut, at present only +a solid, squared block, will fit exactly, if too tight, a little shaving +off here and there of the pine will correct it. The nut, supposed to +be an exact fit, may be warmed and some fairly strong glue applied +(diagram 14). The raw surfaces of the pine and the exposed end block +are of course very absorbent and require an extra feed or two in order +that the final glueing of the nut and place of reception may have a +good holding. The nut, now squeezed into position, will not require +the clamp, but if time is no desideratum an application of that useful +tightener will ensure a firm hold, and moreover the superfluous glue +is forced out. + +[Illustration: DIAGRAM 13.] + +[Illustration: DIAGRAM 14.] + +When the glue has had time to thoroughly dry and harden, the clamp may +be released, and a part at each end of the nut marked off for levelling +down to the surrounding forces by filing and glass-papering. The manner +and care with which this is done declares the excellence and +characteristics of the workman or firm by whom he is employed; almost +every repairer or house of reputation having their individualisms in +this respect, as also in that of the fingerboard nut (diagram 15). A +line having been ruled with precision along the upper central part with +the pencil or knife as before, a small gouge can be run along a hollow +which will face the bridge. To give this the best kind of finish a piece +of pine or soft poplar, such as is used for champagne wine cases, you +may look out for one about Christmas time, cut it to the shape of the +part to be finished thus (diagram 16), and with a piece of fine +glasspaper, slightly oiled, a few rubs backwards and forwards will be +necessary. The top of the back part can now be shaved gently down by +a small metal plane, a little filing will give the evenness and +rotundity required. The same treatment will be necessary for the under +part, which in good work is a continuation of the line of the edging +of the upper table. A section of the nut in its finished state will +be as in diagram 17. + +[Illustration: DIAGRAM 15.] + +[Illustration: DIAGRAM 16.] + +[Illustration: DIAGRAM 17.] + +The whole of the surfaces may now be finished with the finest emery +cloth and oil. This latter may be linseed, nut, poppy or castor oil +with turpentine, but do not use sweet or olive oil, it never dries, +but lurks about in the pores of the wood and turns rancid. + +Before leaving this part of the instrument, it may be as well to take +a glance at the peg itself and its insertion at the centre underneath +the nut. This is in no respect an unimportant detail to be seen to in +the fitting up and regulation of a violin. In olden times the peg was +small, not half the size of those inserted in new violins of the present +day. The increase in the size seems to have been gradual and to +compensate for the hard wood of the peg pressing against the inner, +softer substance of the end block with the thin slice of maple used +for the ribs, both being insufficient to withstand the strain of the +tail-string. Consequently the peg is pulled upwards, sometimes +considerably out of position. This is especially likely to occur if +the hole has been bored too large or the peg is too thin or short. The +accurate fitting of these should have strict attention. Some modern +repairers, when they find that there are indications of a softer piece +of pine than usual having been used, enlarge the hole with a tool +specially made for the purpose, having two cutting edges, or with a +number of grooves having sharp ridges, others a rat-tailed file. The +latter is perhaps the best, as being less likely to split the fibres +of the soft pine. The tool is inserted, not directly in a line pointing +exactly midway between the upper and lower tables, but slightly upwards +or contrary to the tendency of the peg to accommodate itself to the +strain. When the parts under strain have settled down, the peg is seen +to be as near as possible horizontal with the length of the violin. +The best way, undoubtedly, is to make the peg an accurate but not too +tight fit, it should be sufficiently long to go right through the block. +In cases where the hole has been enlarged, badly directed or even made +ragged by a bad tool, it should be a stopped up very carefully with +a plug, neatly glued in, and a fresh hole bored. Sometimes this has +proved necessary from the carelessness of the original maker. The old +masters were not always exact with their mechanical fittings in +connection with the violin. The moderns, for obvious reasons, have paid +much attention to them. I remember coming across an Italian violin that +had changed hands frequently for the asserted reason of insufficient +tone. The maker having a renown for considerable power, it appeared +to me that the tone was possibly there, but that from some undiscovered +cause it was not properly emitted. On examination I found that the maker +had joined the ribs, not at the central part as usual, but too much +to the left, perhaps a pupil or assistant had bored the hole at the +junction. There were besides, some tinkerings by modern regulators +endeavouring to counteract the uneven strain over the instrument. The +right spot, or it may be called the axis of the instrument, having been +found, the peghole was neatly and permanently plugged, and a fresh one +bored, which allowed the strain to be better distributed. The result +was satisfactory and delightful; the tone of much power and purity had +free play in manifesting itself, and the violin was enabled to take +its rightful position among its brethren. A few words as to the right +spot for the peghole. This was treated by many of the old Italian +liutaros as a matter for mere guess work apparently, when there was +no join in the upper table, nor in the lower one, sometimes the lower +rib being continuous. The best spot, and therefore the right one, may +be fixed upon by finding the centre between the two inner edges of the +purfling on the upper table at the lower part, the same between that +of the upper, and drawing a faint line through the points with a piece +of soft white chalk cut to a point, and guided by a flexible rule or +straight edge down to the nut. If this line does not touch at the centre +of the nut, then the latter is out of place, and it should be rectified. +The line should pass through the centre of the nut, and immediately +underneath this and midway between the edges of the upper and lower +table will be the spot for the centre of the peghole. The line thus +made will not always be found to agree with the centre joint of the +pine; many of the old Italian makers may have not, from lack of wood +of the right sort and in equal widths, been able to do otherwise. At +times it may have been carelessness. Some of their roughly made violins +have the joint line over a quarter of an inch from the centre, +occasionally it will be not only wider on one side than the other, but +the thread or grain will diverge instead of running parallel with the +centre line. The judiciousness of careful measurement for the centre, +instead of relying on the joint line, will therefore be obvious. There +is not much to be said in preference of one kind of hard wood over +another for the end peg, it being a matter of fancy as to appearance. +Ebony being black and very hard, should perhaps take the preference +in wear, and acquiring a polish from the gentle friction it is liable +to. The old Italian end pegs were mostly of cherrywood, with lines +neatly turned round a centre of ivory or bone. + + + + +CHAPTER IV. + +INJURIES TO THE HEAD OR SCROLL--INSERTION OF FRESH WOOD--COLOURING OF +WHITE WOOD--SEPARATION OF HEAD FROM PEG-BOX AND RE-JOINING--STOPPING +MATERIAL FOR SMALL HOLES OR FRACTURES--THE PEG-BOX CRACKED BY PEG +PRESSURE. + + +Leaving this part now, we can turn our attention for a time to +reparation of injury to the head or scroll. This interesting and often +highly artistic part of the general structure of the violin, and in +which no man since the time of the old Brescian, Gasparo da Salo, has +succeeded in effecting any permanent change of fashion, is subject to +as many knocks as any other part. A piece out of the ear or first turn +from the axis is, with a delicately carved scroll, so frequently seen +as to be almost fashionable; little pieces out of the edges further +off from the central part, are common disfigurements. Modern vandals +rub these parts down with a file or glasspaper, to make it nice and +even to their vision, saving themselves time and trouble. Many a +graceful scroll, carved with loving care and enviable dexterity by a +master of his art, has thus come to an untimely end. Should your +cherished Guarneri or Stradivari scroll got chipped or fractured by +accident and the piece drop, search for it at once, and when found, +if you have not good mechanical ability and experience in fitting such +delicate parts, it should, while fresh and free from soiling, be +entrusted without delay to the care of a professional repairer of +repute, but not to a provincial amateur or rough carpenter who would +probably make matters worse. On setting to work after a preliminary +inspection, the careful repairer will fit the parts together as they +are, to ascertain that there is nothing to prevent a close join of the +surfaces, sometimes a splinter will prevent a close fit of the +surfaces; this must be pushed into its right position or, if in the +interior, it may be better to remove it altogether. If the part is lost, +then the bare space must be carefully examined and the direction of +the grain and quality of the surrounding wood matched as closely as +possible; otherwise the most accurate fitting and finishing off will +not make a good restoration. The repairer of experience will have at +hand a large quantity of odds and ends of different kinds of maple, +curled or plain; perhaps old worn out necks or otherwise useless +fragments of relics of a bygone age, and not necessarily of musical +instruments. But sometimes these are not to be obtained, nothing but +new or modern wood, and it may be of good appearance and applicable +excepting for the colour. What is to be done? There is the drawback +to new white wood, that it is difficult to colour down to match the +surrounding wood, when it has been fixed, and besides, if the part +happens to be where there is any friction, the white wood soon makes +itself apparent, if not very conspicuous. It is advantageous, +therefore, to colour the wood artificially before placing in position. +There have been many ways adopted at times for meeting this requirement. +It must be remembered, however, that there is no perfectly successful +mode of artificially colouring wood so as to defy detection, but small +portions such as are under consideration at the present moment may be +treated so as to look tolerably well. Firstly, a well known, often tried, +but very bad method is to steep a piece of white new wood in a solution +of nitric acid and water. When dry, old age will seem to have crept +over and through it, but of a delusive and unnatural kind. The corrosive +properties of the acid still remain and gradually disintegrate the +fibres until the whole mass becomes rotten. It may be fairly termed +premature old age, as the lowering or toning down of the colour in wood +and other materials seems to be caused by similar, if not identical, +constituents of the ordinary atmosphere, but under different +conditions. Another way is lay the pieces of wood upon a stove with +a regulated heating power and watching for the exact degree of change +in the colour with continued heat. There is very little to be said +against it for small repairs, the degree of heat required for the +desired tint is insufficient to damage the wood but enough to harden +it, and if not too hastily done the colouring will go quite through. + +Among other methods is tinting the wood by any of the various stains +sold for the purpose. Few of them are of any good to the violin repairer, +some choking the softer parts and leaving the harder ones or threads +standing out lighter when they should be darker. Their colour, if it +were not for this drawback, is sometimes good. Some of the +manufacturers of new musical instruments on the continent lower the +colour of the wood before varnishing by staining it with a solution +of bichromate of potash. Sometimes when dexterously applied the colour +is very good, but the stain is liable to make itself too evident in +parts where the wood may be a little more spongy than at others. Most +of the instruments treated in this way may be recognised at a glance, +the curl of the maple is brought out strongly, in fact overdone. With +small portions of wood for repairing this stain may, with much caution, +be used to advantage. It has the property of throwing up the threads +of the pine and the nutmeggy parts of the maple without impairing +seriously the clearness of the grain under the varnish. The preparation +of the solution is as follows--some pieces of bichromate of potash can +be put into any ordinary bottle of a convenient size and water poured +on to them. The water will take up a certain quantity in solution which +will be too strong for the repairer's use; some of it, say a gill, can +be put into an equal quantity of clear water, and then painted over +the wood to be coloured down. There will not be any perceptible +colouring for half-an-hour or so, but further exposure to good or +strong sunlight will gradually bring about a change from the slight +orange tint to the dull light brown approaching that produced by the +slow secret process adopted by "Old Father Time." It must be kept in +mind that bichromate of potash is a poison. There are other stains that +will bring a good colour to the surface of the wood, but are likely +to change colour when the varnish is applied. The whole work of careful +restoration may thus be upset in a moment. All stains should be +carefully and repeatedly tested before being applied to any work of +importance. Some repairers use a hastily made solution of powdered +colour such as burnt umber, and paint or rub it into the wood. This +process is to be condemned as resulting in opaqueness and giving a +tinkered aspect to the wood and work. + +There are doubtless many substances or liquids capable of imparting +a tint resembling that alone caused by age, but experience only will +enable the repairer to decide which is best. It may be as well to point +out that some tinting substances are more suitable for colouring wood +of a dense quality than for a more open grained or spongy one. Much +will depend on the judgment exercised and skill in matching tints. When +it becomes absolutely necessary to use fresh white wood, this will +require more colouring than an older piece, but a rather strange thing +in connection with this is that if some of the varnish has been removed +from the parts adjacent to the freshly inserted wood, the old material +will require colouring down as well as the new, but not so much. This +seems like some indication that varnish does get lowered in tint as +age progresses; it may be, however, that the top surface of the wood +gets darker than the under parts from the action of light. + +The final touching up or finish of the newly inserted wood and its +varnishing will have to remain over for the present, and will be taken +up after the mechanical work is concluded. + +Having thus far got to work upon a fractured or lost piece that may +have been knocked off a projecting part of the scroll, there are other +injuries likely to occur to this part of the instrument and caused in +a variety of ways, some occasionally seeming mysterious in their origin. +Thus from a weakness or flaw in the grain of the wood, or it may be +from a blow having first started a crack and successive ones gradually +increasing the fracture, the scroll itself will come away bodily, +separating at the weakest part just behind the second turn. This is +a delicate matter for manipulation. If the fracture is quite new, the +raw surfaces uninjured and some properly prepared rather strong glue +is handy, then an almost instant application of it to both surfaces +and pressing them together, exactly fitting, will result in an +effectual and lasting junction of the parts. But supposing the breakage +to have occurred some time back and the parts to be separate and soiled, +the difficulties are much increased, as in the majority of cases no +purchase can be obtained whereby a good pressure can be directly +applied. Cramps cannot be applied, therefore, with any degree of safety, +even if a good grip can be obtained and with the safeguard of some +padding, as the first is bound to injure the wood around, leaving an +ugly imprint of the grip, and thus making things worse in appearance +instead of better. The other is likely to be productive of slipping +out of position, the hold not being retained, and vexatious results +ensuing with the accompaniment occasionally of unprintable language +coming from the repairer. The best way on all occasions will be found +to be that in which patience is not taken as a virtue but as necessity, +and the presence of Old Father Time altogether ignored, which may often +mean time saved. Constant practice may give facility in keeping pace +with that steady old party with the hourglass, but a good result is +seldom obtained when the clock is much consulted during the progress +of the work in hand. It is this which has caused the complete ruin of +many a damaged gem from Cremona's workshops of the olden time. We will +therefore suppose the repairer to be unfettered by time and that he +will be properly paid for work that will tend to restore the commercial +value, as well as the usefulness and beauty. + +The main consideration will be the manner of getting a proper +attachment of parts that cannot be wedged or forced together at once, +in fact, to get a good purchase or leverage. This must be either +obtained indirectly or dispensed with altogether. For the former, +building up or "making," as it is termed, must be resorted to, and which +may include temporarily glueing fresh wood on to the old parts to be +separated or cut away afterwards. Many inexperienced repairers are too +apt to look upon all glueing as for permanency, but practice should +soon make it plain that all joinings are effected only for such length +of time as may be desirable. In making or building up a part from which +we can obtain a stand or commanding point from which to get a more direct +purchase, it may be necessary to glue one or more pieces of wood, cut +to a proper shape and stuck with a dab of thick glue and left until +dry. For this purpose the soft white wood or poplar referred to at the +beginning will be found useful, it is so easily cut with a chisel or +knife keen edged--this condition is an essential at all times. By the +bye, some readers may be thinking of the best means of getting a nice +clean edge to their knife or chisel. There are several kinds of oilstone +or hone in repute for giving a finishing or sharp cutting edge, England, +America and the European continent supplying them, the "Chalney +Forest" being the commonest known in England; the American "Arkansas" +or "Washita" are expensive when very good, but there is nothing that +can beat a well selected piece of "Turkey stone" with a nice even +surface to begin with. For obtaining a clean cutting edge, a few drops +of oil before rubbing will be sufficient. Olive or good mineral oil +will do, the latter preferably as it gradually evaporates; whereas +vegetable oils acquire a siccative property from contact with the +minute particles of steel; the stone then gets clogged and unworkable +till thoroughly cleansed. Mineral oil disappearing gradually leaves +but little residue, which can be now and again wiped off. In cases where +the utmost delicacy of surface cutting or close fitting is required, +and where no other tool but the chisel can be used, it may be as well +to have at hand a stout, smooth leather strap fixed at each end over +a piece of wood about twelve inches in length. The residue on the Turkey +stone can be taken off with a knife--care being taken that no dust or +grit is with it--and smeared on the strap with a little olive oil. The +chisel or knife used briskly and gently on this will after a few passes +become as near perfection of keenness as possible. After getting +everything in readiness, which will include the carving to shape, of +any wood that is to act as a support or fulcrum, these parts must be +made to fit as accurately as possible, and may not require glueing but +at one or two places and those selected to come in contact with those +of the original structure least liable to be affected or damaged. Thus +the interior of the peg-box will be found a convenient position from +which to build a support that shall reach up underneath the volute or +under turn of the scroll. Having well tried the parts as to the fitting, +the support or prop may be secured or glued in roughly to the lower +surface of the peg-box--presuming of course that the pegs have all been +removed--and left to dry hard. When so the parts had better be tried +for fitting again, and if any little inaccuracy shows itself, or the +pressure in glueing the fracture is likely to be uneven and the junction +be untrue, a little paper or card may be inserted or even glued in +between, or where judgment may dictate, to enable a good distribution +of the balance of pressure necessary. There can be no certain +description given of the size or form of the supports or made up parts +to be temporarily fixed; all must depend upon the estimation of what +is best to be done under the circumstances; it can be likened to +engineering on a minute scale, quite as interesting, but less dangerous, +while more comfortably conducted in your own home without exposure to +the baleful influence of unsympathetic elements. + +The next and most necessary proceeding will be the cleansing of the +surfaces that are to be permanently joined. In most instances the +application of clean cold water in a sponge will be sufficient, but +where much grime and grease have accumulated different means must be +resorted to. Soap is not to be recommended but, and especially if the +surfaces are irregular, some pure benzine, applied or slightly +scrubbed in by a stiff brush, not too large, and the parts then wiped +repeatedly on a clean cotton or other absorbent rag. Pure benzine, if +not rubbed in too hard or too long, will not injure the adjacent varnish, +be it the delicate film on a thousand pound gem of Cremona or the flinty +covering of a less presumptuous output from Naples. When evaporation +is complete, it will be so in a few minutes, some clean water brushed +in and wiped away, will leave the surfaces in a state for receiving +glue. + +The glue should be of good strength--the junction being intended to +be permanent--and applied in a warm atmosphere or the parts warmed a +little, as, under different conditions the glue will coagulate or "set" +(diagram 18). When the parts are placed properly in position, and the +outside blocks or buffers adjusted for opposing pressure, the cramps +may be applied and screwed fairly tight. If the surfaces meet well and +the pressure is properly distributed, the glue will ooze out at the +juncture of the fractured parts. This can be wiped off with a cloth, +but occasionally mended parts cannot be got at easily, if so the glue +must be rubbed away after cramps and moulds have been removed, by a +damp sponge or cloth and then wiped dry. Sometimes differently to the +above mentioned simple fracture, it may be of the kind described by +surgeons as comminuted or split into small fragments. This will be +found to be much more troublesome than the former; after cleansing as +usual, if the injured parts are actually separated from the main +structure, judgment must be exercised in selecting those portions--the +largest if possible--that when glued in, will act as a support for +others to be afterwards inserted. The same attention in kind and amount +will mostly bring about a satisfactory result, but frequently with this +class of fracture minute pieces may have been lost past recovery, +leaving a small gap here and there to be filled up somehow. These places, +if large enough, should have pieces let in according to the manner +before described. If they are too small for this treatment--a little +experience will enable the eye to judge at a glance--then the only +course will be to fill them up with some kind of paste or improvised +mixture. For this purpose a good "stopping" must be made. This has, +in olden times as well as the present, been a difficulty to meet. Many +kinds of material have been used, most of them having some +objectionable quality; some repairers keeping some kind, others +generally making further experiments. Among the various materials +plaster of Paris or common chalk worked up in glue has been frequently +used; it is certainly strong for some time after use, but gradually, +as age creeps on, contraction takes place towards the central portion, +and a small fissure all round is seen more and more evident, and which +gets filled with grime causing a very distinct black line, which draws +attention to the spot, the substance also being so much harder than +the surrounding wood, gets polished with a little friction and usage +and declares its unsympathetic nature; further, it is difficult to +colour successfully, or even well, and for these objections it should +never be used. Wax is another material that has been extensively in +use among the older English repairers, but it has very little to +recommend it except handiness, and that quality ought not to be placed +in the balance against much more important ones. It is not easily +colourable; with usage the top surface gets wiped off, leaving a hollow. +Powdered wood with shellac, or the latter with some heterogeneous +materials have also failed, as the alcoholic solution destroys the +surrounding varnish. + +[Illustration: DIAGRAM 18.] + +Sealing wax has also in turn been used with no better result. Other +substances are met with whose precise nature is not known, odd mixtures +made up in a hurry at the moment of requirement, but no material or +mixture has been found to excel that made with wood and glue. Many, +perhaps the majority of instances in which this has been used, have +also been failures; not from any inherent defect in the substance, but +from lack of proper management. Different varieties of wood have been +tried, a great drawback being the contraction when the glue dries; this +is markedly the case when a hard wood, powdered by glass-paper, is used. +The granulations and their hardness are also objectionable, and if +ground up too small, contraction to a greater degree takes place, and +the repairer's object is defeated. Long experience has shown that the +disintegrated fibres of soft pine, not powdered, offer the best +security against contraction, it can be made strong or weak according +to the thickness of glue used, is always at hand, and on the whole gives +the least trouble. It requires little or no colouring, and moreover +approaches nearest in character--or can be made to do so--to the +surrounding material. If there is a selection possible, the well known +soft grained American pine should in preference be used. There is a +good and a bad way of managing the process to ensue. To roughly seize +a chump of wood and begin filing it away anyhow, collecting the residue +and making a rough paste, will bring disappointment, as sure as houses +built with wrongly mixed mortar. To put method into the matter, a piece +of clear, knotless, soft, grained wood should be obtained and cut to +a cylindrical form (diagram 19). A flat file of rather fine +texture--this may be according to the size of the instrument to be +repaired--should be worked against it at right angles. The file (not +glass or sand-paper) must not be of the toothed kind, but grooved. The +shower of particles sent off during the action of filing, will consist +of a number of minute silky fibres, which, of course, must be collected +together, placed upon a clean porcelain dish, or palette, and worked +up with glue--strong--for filling spaces in the maple, and weaker, if +used for the pine of the front table. It can be tucked into the crevices +as required by the end of a small, worn, or pointed knife. Some portions +will remain above the surface and, in fact, will not go in completely, +owing to the fibrous, or threadiness of the mass, but this constitution +is the safeguard against its contraction, the glue in drying clinging +round the fibres instead of to itself. When dry and hard the projecting +portions can be neatly levelled off. If, as will sometimes happen, a +little hole or two can be perceived, perhaps under magnifying power, +the process can be repeated on a minute scale. By attention to the above +there will be but small risk of contraction, and if cleanly done there +will not be much trouble in colouring the part to match the +surroundings. + +[Illustration: DIAGRAM 19.] + +We can now advance another step and notice a frequently occurring +fracture that is caused by the constant pressure and tuning up of the +A peg, at a part which in many violins, owing to the peculiarity of +design, is a very weak one, the grain of the wood above the peg being +short and liable to overstraining by impetuous performers. Being one +of the most inconvenient positions on the instrument for working upon, +if the repairing is not effected in a methodical manner, it is nearly +certain to come undone again. The crack is more often than not +unperceived for a considerable time by the performer, and meanwhile +grease and dirt work their way secretly into the pores of the wood. +A repairer may take a glance at the state of the fracture, whip out +some glue, paint a little on each side, wriggle the whole well at the +risk of extending the wound, get in a little more glue, and let that +harden under pressure from the cramps, which--unless extraordinary +care and skill is exercised, damage other portions of the work--replace +the peg and send the instrument home again apparently as sound as new +(diagram 20). This treatment, if resorted to immediately after a sudden +and clean fracture, may be effectual for some time, but if, as above +mentioned, it has begun secretly and enlarged by degrees, the kind of +repairing described will serve but a few turns of the peg, when crack +it goes once more. Off to the fiddle hospital again, where it may be +possibly subjected to a repetition of the treatment, especially if the +owner is of an economical turn of mind as regards "bill of costs." + +[Illustration: DIAGRAM 20.] + +Under the above circumstances of combined age and dirt, some repairers +would dare to increase the fracture or pull the scroll quite off in +order to get at the part, cleaning it well before glueing it on again. +This is making things worse, particularly as this part of the violin +is one of the most awkward at which to apply direct strong pressure +on a good and neat junction. + +Sometimes the first mode is resorted to with the addition of what is +called bushing the peg-hole, that is, after the glueing performance +has been gone through, it will last strong enough while the hole is +being enlarged, a cylindrical plug of wood being inserted, and glued. +This is levelled down and re-bored, to suit the peg or a fresh smaller +one. This treatment is to be avoided if possible, as it is accompanied +by a more or less disfigurement of the "cheeks" of the peg-box, and +at the best is uncertain. A much more sure and neat method is, in the +first place to clear all dirt and grease away possible, and gently work +some clean water into the crack, repeatedly wiping with a clean cloth. +When sufficiently done, some strong glue may be worked in, in like +manner, cramps and pads applied and the parts brought neatly in +contact. + +When the glue is thoroughly hard and dry, on the inside of the peg box +extending each side of the crack and beyond the peg hole, a space must +be cut away having straight sharp sides to the depth of about 1/16 of +an inch, perhaps a trifle less. It must be done with keen edged +chisels--size according to requirement--and the walls made as even as +a piece of plate glass. Sometimes, in consequence of the shortness of +the peg box, it will be necessary to make the cut away space extend +further upward, and into the solid part. In all instances it will test +the mechanical dexterity and patience for cutting in confined spaces. +When this has been accomplished to satisfaction, a piece of maple +without curl or knot must be cut a little thicker than what has been +removed, but as to superficial area, fitting to a hair's breadth if +skill will allow. + +Some old scrolls, particularly among the old Italians, are made of +beech or other tough woods; in these instances the material must be +matched according to the means at the disposal of the repairer. In +cutting the small veneer of wood to be placed in position, care should +be taken that when fitted in, the grain should run as nearly as possible +at right angles with that of the part to be repaired. If this is attended +to, with all other necessary precautions, there will be little cause +for fear of the part going bad again, in fact it should be actually +stronger than before. + +It may occasionally happen that both sides of the peg-box have been +strained and split, with accompanying conditions of previous bad +repairing and dirt. The same treatment will suggest itself for the +"double event" as sportsmen say. But the two fractures are really as +easily repaired--that is, with proper care and skill--as the single +one. This is because the same cramps can be used for joining the two +fractures simultaneously. For this operation the cut out space +referred to close by, if not covering the peg-hole, will have to be +repeated on the opposite side with great exactness, so as to allow of +a single fitting up and filling the intermediate space, the grain +running as described before, and which will therefore be--when placed +in position--with the end of the grain towards the spectator--looking +towards the front of the peg-box. It should be neatly and very closely +fitted (diagram 21). In carving the blocks that are to be used outside +the peg-box for evenly distributing the pressure, precautions must be +taken not to cut them of equal thickness, or when the pressure is +applied, they are likely to slip, particularly when the peg-box +diminishes rapidly in width under the volute. They must therefore be +cut more or less wedge like, according to the modelling or proportion +of the parts, so that when placed on, the screwing of the cramp will +be direct. When this is done to satisfaction, the usual process advised +for the glueing may be proceeded with, and being carefully seen to be +in proper order, the cramp with pads against the outside cheeks of the +peg-box may be screwed on rather tightly. When quite dry, the cramp +being unscrewed, the side block of wood will be found firmly adhering, +with the superfluous glue squeezed up from between the surfaces by the +pressure. + +[Illustration: DIAGRAM 21.] + +The next proceeding will be to level down the projecting parts of the +block in front, to the line of the throat. This being accomplished with +great neatness--the line of old work and new wood being exactly level, +a line may be drawn with a pencil or cut with the point of a knife over +the block as a continuation of the inner surfaces of the peg-box. If +carefully managed the knife point is preferable, a piece of stiff card +or very thin veneer may be cut to the width, bent over and the point +run down each side. The advantage of the knife line is that you have +already a cut to work up to. After this the chiseling out or mortising +can be proceeded with. The tool must be very keen edged, and as the +cutting has in great part to be done against the grain, no violence +must be exercised; rapidity will only come with regularity in taking +off thin shavings. When all the surfaces have been carefully pared down +until, as regards thickness and evenness of line and surface, the +peg-box is just as it left the hands of the original maker, there will +remain to be done the clearing of the wood at each of the peg-holes +which will have been covered by the block perhaps wholly or more than +half way. In the case of the double fracture this will be found to be +in the same condition on both sides. The hole will require continuing +through the fresh wood, in fact re-boring so far as this is concerned. +It will be a more or less delicate operation to prevent splitting the +wood, especially if from shaving down to the surrounding levels, it +is not very stout. + +To guard against catastrophy, a small hole should be bored exactly in +the centre. Particular attention must be paid to this, or the whole +work may be spoilt and a fresh block or bushing of the hole be found +necessary, and much of your work to be done again. The small hole may +be drilled if you have the necessary means at hand, if not a small +brad-awl may be used, not of the usual round kind, but square. Such +brad-awls are, I believe, known as chairmender's brad-awls. If one +cannot be obtained, an ordinary round one can, with a little trouble, +be filed square. The advantage of this form of awl is that it does not +split the wood and can be used with safety and certainty where one of +the ordinary pattern would be certain to split and spoil the work. +Several sizes may be used to enlarge the aperture, the square edges +breaking away the sides without causing an extended crack in the +direction of the grain. When sufficiently enlarged, recourse may be +had to the rat-tailed or circular file. Here again much care must be +taken, as the toothing of the file is arranged somewhat in the fashion +of a screw, and if the tool is used one way it soon buries itself, +becomes tightly wedged and will inevitably split the surrounding wood. +It must therefore be turned in a direction that may be called backward, +the revolutions to the left instead of to the right. It will take a +little more time than might be expected, but the result will be more +satisfactory, free from danger of splitting and the interior surface +of the hole be made smooth. The use of one, a degree or two finer in +tooth will give enough finish. A constant look out must be kept that +the tool is working properly in the centre; should it be found working +a little too much to one side, it must be removed and the opposite part +gently cut away by a slender sharp knife so that the equality may be +restored. + +Caution must be exercised that the action of the tool is arrested at +the right moment, that is, when the opening made in the fresh wood is +worked closely up to that of the old; the tool should not be allowed +to work against the walls of the old aperture, as there is much risk +of damage or enlargement and the necessity of a fresh peg, which is +to be avoided, if the set of pegs have been doing their duty well and +are free from splits. In the fitting of the peg, a degree of tightness +into the new wood will be found advantageous; the surface being fresh +and softer than that of the old, soon accommodates itself during the +insertion and revolution of the peg, whereas the process will have been +going on a long time with the old walls which have become hardened. +After a few turns with the inserted peg, the fitting of it will have +been tested, and if satisfactory, it may be taken out; a piece of soft +chalk stroked down and followed by a piece of very dry old soap in the +same manner at the parts coming into contact with the interior walls +of the aperture and will stop any squeaking or catching. The proportion +of soap to chalk must be varied, the one, soap, being increased +according to the catching or jerking and lessened if there is too much +slipping and no grip. It may be as well to note at the same time that +the peg should be quite circular, or it will revolve by fits and starts +notwithstanding soap and chalk, or any other mixture. + + + + +CHAPTER V. + +FRACTURE OF PEG-BOX AND SHELL--CHIPS FROM THIS PART--FILLING UP OF +SAME--RESTORATION TO ORIGINAL FORM, AFTER PARTS HAVE BEEN LOST--WORN +PEG-HOLES, RE-FILLING OR BORING SAME. + + +We may now take another degree lower down and study the treatment best +for a fracture similar to that last described, but which, if at one +of the lower peg-holes, may appear quite as difficult to manage, if +not more so, as at the upper part, in consequence of the curved form +of the shell or lowest part of the grooved back of the scroll. Firstly, +the cleansing must be effected and drying, as previously with the upper +fracture, bringing or pressing the parts together for testing their +accuracy of fit. The cramp must be again brought into use. Owing to +the wider and deeper hollowing of the back at this part and the longer +and often very unequal continuation of the line of contour, the shell +or tail end sometimes curling up more abruptly than usual, an increase +in the substance of the padding against the cramp will be found +necessary. A piece of cork cut or filed to the shape will prove handy +and effective. The superficial area of the interior walls of this part +of the peg-box being much greater, the thickness ditto, there is seldom +a necessity for fitting a block of wood in the manner before mentioned, +unless as sometimes it is found, the part has been so worm-eaten as +to be too weak for its work of supporting the pegs and sustaining the +strain of the strings. In that case, excision of the "honey-combed" +part is obligatory and a slice of wood must be let in as before explained. +Sharp shaving with a minimum of force will be required. Should the +worm-eaten portion extend to the outsides or "cheeks" of the peg-box, +it would be well to insert here also another slice of fresh wood as +before, the length according to requirement, but in these instances, +the portion of the head piece under consideration being lower down and +broader, the grain of the inside slice may run continuously with the +original wood. It will also be inserted first, and not until the glue +is quite hard will the arrangements for the outer one be commenced. + +Especial care will be required in the management of the cramps--one +or two may be necessary--as, if mere padding is placed between the iron +and the wood, the latter, being in a state equivalent to rottenness, +will be crushed together and the shape will be ruined. As a preservative +against accident a piece of soft wood, perhaps a quarter of an inch +in thickness, and cut in width and shape equal to that of the "cheek" +of the peg-box, and placed over the part with a piece of paper against +the varnished surface, will enable the rotten portion to keep its form, +the pressure being distributed; care must be exercised in carving the +block of wood that it reaches over and quite on to the sound parts. +When the glue has hardened perfectly and the cramps have been removed, +the careful shaving down and finishing of both the inner and outer +blocks or slices may be proceeded with. If the burrowings and tortuous +course of the obnoxious depredator give indication of its having been +of huge proportions for its species, for these creatures vary in size +from a small pin to nearly an eighth of an inch in diameter, and the +tunnellings are not very close together, then pieces of fresh wood +matched carefully and fitted in the manner before described, must be +inserted and glued in. This will, if the wood is much riddled, be much +like mosaic work, the fitting in of the pieces running here and there +over the surface. The contour, however, is preserved by this treatment, +it being difficult, unless the repairer has considerable artistic +knowledge, to keep or reproduce the exact form if the half or more of +the peg-box and adjacent portions are cut clean away as is often done. + +Scrolls of masterly design and execution are frequently met with +mounted on a peg-box, selected or carved, without the least reference +to the style of the original, imparting to the whole a hideously mixed +and vulgar aspect. Save then, every morsel of the original work that +you possibly can, especially if it be the work of old Italian makers, +as it will be sure to have about it some points of interest, or that +will call for your admiration of its artistic merits. Bear in mind that +at the present day utility and low price are "to the front." +Unfortunately for art, a very large section of the public called +musical, ignore the artistic aspect of the violin, apart from its +individual authorship and monetary equivalent, and think almost +solely--not always in the right way--about its working or sounding +capacity. To them one sort of curled heading to the peg-box is as good +as another, if strong enough, the whole of this part of the mechanism +being simply dedicated to the winding up of unwilling "catgut." The +old masters, their pupils, and modern imitators, have thought +otherwise and treated this portion of the structure as that in which +they could concentrate much of their best artistic talent. To them it +has been the crowning head piece of the work, and requiring for effect +the closest attention in detail. Every part of it has received, by each +master, a distinctive touch of tool, or conception of design, that the +modern repairer should earnestly "read, mark, learn, and inwardly +digest," so that if a small portion is by carelessness, or unavoidable +accident, chipped off, the contour may not by restoration (?) be spoilt, +or the flow of line ruinously disturbed. Some remarks might be made +by some admirers of high finish in its simple sense, about the bold +unfinished gouging of some of the old Italian makers, and queries +whether the irregularities should be studiously followed up by the +repairer, as it should unquestionably be with work of high refinement +and minute finish. The answer is at once simple and conclusive, every +part that can be preserved should be so, and well studied, that the +new work may be a continuation of the old to the minutest detail, even +to the accidental emphasis of tooling left by the maker. + +The fact must not be overlooked, that rough as some work looks at a +glance, it has been, by masters of their art, properly thought out +beforehand. Rapidity of execution, coupled with fine artistic style, +is not to be acquired within a short space of time. In most of the +apparently rough hewn scrolls of the Italian masters there is to be +seen the result of experience in cutting, perhaps, hundreds of them +previously. If we examine closely the mannerism of the different +schools with regard to that seemingly insignificant termination of the +back grooves called the shell; the different ways, breadths, depths +and direction of the gouging will be found to give, not only an accurate +indication of the country, or city, in which it was carved, but with +it the school, or style to which the maker belonged, besides his own +individuality. As a landmark for distinguishing these interesting +particulars, every part of the scroll of an old master, with its +belongings, no less than any other part of the instrument, should be +treated by the repairer with much reverence for its age and respect +for the talent expended on it in course of its construction. That this +is not always acted up to I am reminded by an instance that came under +my personal knowledge many years since. + +A repairer and maker of some experience was examining a violin by one +of the old Italian makers, that had, underneath the shell a rather +sudden demarkation at the part where the graft had been fitted in. He +remarked to the party who brought the violin, that if it were his own, +or had been requested to put it in good order, he would file or +glasspaper down the edge round the lower part of the shell, so as to +make it conform with the modern work. The violin was not entrusted to +his care, nor do I think many others were, judging by after events. +Trust not any violin of value or interest to this class of repairer, +or grief will count you for its own and mortification that of the +fiddle. + +Occasionally small pieces get chipped off the lower rim of the shell; +the latter under these circumstances, as before observed, should never +be rubbed smooth with glasspaper or cut down. It is not a difficult +position to get at and small pieces can easily be inserted. This part +also is so fashioned that a comparatively small loss of the edge, +especially at the sides, will alter the whole character and reduce a +most elegant and masterly form to that associated with mere rubbish. +Three or four scrolls of Stradivari's are in my recollection as having +been under such treatment and the contour being destroyed there was +little about the general shape to remind the spectator of the beautiful +design as it left the maker's hands. But, it may be remarked by a +fortunate discoverer of an old gem, my Amati has lost all this part, +cut away perhaps because of its being quite past recovery, and the +question arises what had better be done under these circumstances? The +answer, seek some party who has an Amati with this part perfect or in +excellent preservation. Take some moderately firm veneer and after +careful measurement cut pieces to fit as exactly as possible the parts +answering to those of your own instrument that are missing. The line +from the lowest part or edge of the shell and reaching right over the +top of the scroll will require earnest attention and accurate fitting. +For the next stage the pegs must be taken out as a matter of course. +Number each one with a pencil for identification when reinserting; lay +a piece of veneer flat on the outside of the peg-box reaching up a little +past the top of the scroll; to do this nicely a segment should be cut +away where the volute intervenes, and with the pencil, mark carefully +on each side a line neatly against the back and front. With a sharp, +narrow knife cut away the veneer up to the outside of the line, leaving, +if cleanly done, an exact pattern of the throat or exterior of the +peg-box (diagram 22). Next, as the veneer will not bend sufficiently, +cut a piece of rather stout paper, and after laying it against the back +of the scroll, a rough tracing can be made and cut to exactness by +degrees, trying it against the model and correcting until satisfactory. +As this part of an Italian violin is not cut so mechanically as many +people imagine, another and perhaps quicker way, if means are to hand, +is to use thin paper and with some heelball, used by shoemakers, rub +the edges that may be felt through and under the paper held in position +against it. If the paper is kept from shifting a very good clear line +can be obtained. The process may be adopted for the other parts instead +of using the veneer, the latter would, however, be useful as a permanent +guide or template, keeping its shape. This would not apply of course +to tracing of the back part, which must of necessity be of a material +that will bend or fold over. + +[Illustration: DIAGRAM 22.] + +Having procured a piece of sycamore, very old if possible, and with +the closest resemblance in curl, texture and colour to the scroll to +which it is to be attached; it must be squared up and made equal so +that the tracings of the two sides of the throat may be placed in +position and transferred. This must be done so accurately that the new +throat shall not be out of the square or twisted. More, of course, will +be traced down than will be actually left, the reason will soon be +perceptible. If the tracing is clear and well defined it will not +require touching; but if any part is not well brought up, it may be +made sufficiently so by carefully running a pencilled line over the +fainter one. The next step will be to get rid of the superfluous wood. +This will be most readily done by a bow-saw after securing the block +of wood in a vice, if these are not within reach, it can be done at +a sawing mill where steam saws of different sizes and degrees of tooth +are ready at a moment's notice and the removal of any sized masses of +wood hard or soft is effected with remarkable precision and rapidity. + +When the sawing is complete, the fining down, or smoothing of the sawn +surfaces may be proceeded with. This may be done with a file, having +one side curved, the other flat, and of rather fine tooth; a glass +papering will then complete the process so far as the profile view is +concerned. Further progress will be made when the tracing of the back +is transferred, the paper pattern being laid, or wrapped round, after +being accurately adjusted. + +The outside wood can be removed in the same manner as last described, +with the finishing, or semi-polishing to the required degree. There +will be thus cut out a replica in the solid or uncarved state of the +whole of the part adjoining the scroll and downwards, which will be +ready for the further process of joining on to the scroll itself. To +this end, the surfaces that are to be glued together at the junction +will have to be got into proper shape and condition, that is, both +pieces must have flat faces, that when put together, will allow the +line at the top of the scroll to run continuously and truly as if forming +an original carved homogeneous work. The faces must be cut by a very +sharp chisel, until fitting as nearly air-tight as possible. For highly +finishing off these parts a small steel scraper should be used and +turned round, working it in several directions. If the scraper is quite +straight and sharp, it will with gentle handling bring the surfaces +very flat, no movement or wriggling being perceptible when placed +together, or there may be in very good work a slight kind of suction +by the air being driven out from between them. The work will be then +ready for glueing. The wood should be quite warm, the glue fresh and +strong. A few seconds or so may be well spent in brushing or working +the glue into the pores of the two surfaces to be opposed. If they are +as perfect, or true as possible, a little rubbing together will be +sufficient for an effectual and lasting junction without the use of +cramps; but if there is any doubt on the subject, then the process +described previously for joining the parts together after fracture had +better be gone through. + +When the whole is thoroughly dried and the glue which has exuded from +between the opposing surfaces has been cut or chipped away, the gouging +of the grooves down the back may be commenced, care being taken to +follow the lines from the scroll downwards and gradually finishing +backwards and forwards according to the grain. Different sized gouges +will, of course, be required for this work, according to the fashion +or type of the violin. A glass papering of the parts will complete the +matter so far as the exterior is concerned. Some restorers might +recommend the glueing on of the scroll to be proceeded with earlier, +or before the block has been finally reduced and cut to shape. There +is not very much preference one way or the other; in the one above +detailed we avoid the risk of fresh damage to the scroll while sawing +and cutting, the rough or more violent tooling being done before the +junction is effected. It would be as well to let the new wood be of +full measurement to allow of fining down the new surface to meet that +of the old, which may possibly have some lustrous varnish upon it, and +which every good restorer would do his utmost to preserve. After this +is all satisfactorily done, the lines may be traced which are to act +as guides for the hollowing of the peg-box. + +For this purpose a rather small chisel of the kind known among cabinet +makers as a mortising chisel will be required. Gently and by degrees +the mass of superfluous maple will have to be removed. It must be borne +in mind that maple or other tough wood will not bear the forcing that +a piece of pine will. A hard-wood workman is essentially a man of +degrees, the tougher the wood the less must be shaved off at a stroke. +The strong, massive form of the mortising chisel is used in order that +there may be as little spring as possible in it while cutting and so +prevent a hacking of the parts instead of a clean cut surface; indeed, +no other proportioned tool can be used with any degree of facility. +It must not be ground to a very acute angle, or the objections that +are sought to be avoided will reappear in another form. Great care must +be taken that the mortising does not extend to a depth that will cause +the back to be thin and weak. This mistake is often seen to have been +committed in very valuable instruments, especially such as have the +two grooves deeply modelled, or the contour downwards from the volutes +is much indented. At times, on the other hand, sound judgment has been +perceptibly directed to this part and instead of cutting away wood to +allow of freedom in the winding of the strings over the pegs, the holes +for these have been filled up and re-bored nearer to the front edges. +Many most excellent old Italian makers seem to have been rather +careless with regard to the exact position of the peg-holes, making +them to be equi-distant from each other. There might have been little +or no objection to this in the days when the strain on the pegs was +not near what it is in the present times of very high pitch. The shaft +of the old pegs used in Italy at the time of the great masters, was +not half as thick as is thought expedient now. Towards the latter end +of last century and the beginning of this, more attention was paid to +the matter, and we accordingly find the two upper peg-holes much closer +together and the two lower ones ditto. + +Concerning the refilling or "bushing" as it is termed of the peg-holes, +a few words may not be out of place. For the purpose the holes must +be enlarged more or less or there may not be sufficient of the new wood +to hold together when the re-boring takes place. The cutting must be +truly circular and very sharply done, no tearing of the wood must be +perceptible, but a clean, almost polished surface inside. A solid +cylinder must be cut with great exactitude, of maple or the same kind +of wood if obtainable as the scroll. The old makers did not invariably +use maple, perhaps being unable to obtain it in sufficient quantities +for their business purposes. It is useless to think of cutting the +cylinder or rod any other way than with the grain, it is seldom if ever +done, and moreover involves an expenditure of time and labour that +brings no adequate return. The enlargement of the hole must be effected +by a good form of tool and this in good condition; peg-hole cutters +and fluted rimers are sold for the purpose. When the cylindrical rod +is cut and rounded to make an exact fit, a portion can be cut off a +trifle longer than will be apparently necessary so as to allow of +finishing off. If satisfactory in all respects, recourse may now be +had as to the solution of glue, which should be quite fresh and strong, +as this is to be for a permanency. The rod or portion should be warmed +if the season is cold, the glue allowed to settle round for a moment +while some should be placed on the inner surfaces of the hole in which +the cylinder is to form a solid fixture. When inserting the cylinder +it should be worked round a little, but not jammed in with violence. +Your reliance in repairing must not be in force but accurate fitting. +The opposite hole to be used for the same peg must be made and treated +in the same manner. Some repairers, for economy of time, would make +a fresh enlargement right through the two opposite holes and push the +rod through both and glueing same at one process, cutting it away from +the interior of the peg-box when the glue has hardened, but this is +risky work. One hole is sure to be larger than the other and the fitting +scarcely likely to be accurate both sides. + +When a sufficient time has elapsed for the glue to dry, a piece of hard, +but not too thick, cardboard should have a hole made so as to allow +of placing on the projecting part of the rod, which can be now sawn +off close to the card. When this is completed and the card removed, +a sharp flat chisel will then reduce it to the absolute level of the +surrounding plain. + +The next stage will be that of re-boring a fresh hole in a proper +position. This must be carefully calculated, so that when complete the +whole of the four strings will be independent of each other, the A +string not being in friction with that of the G or the D not touching +the E. If this is not attended to, much trouble will be given to the +performer, the jerking or catching of the string during the winding +up, not being caused by any difficulties with the fitting of the peg +itself but by the string pressing on and being checked by the peg of +another. The boring of the fresh hole and fitting of the peg is of course +a similar operation to that just described, with the difference that +the peg must be more conical, whereas the plugging must be as near equal +in diameter as possible along the whole of its length. The preparation +of the fresh peg to fit the new hole will be already evident as to its +requirements. There is one detail to be noticed, however, that of +boring the hole for the reception of the string. Of course the E will +not require so large an aperture as the D. The latter will require the +largest aperture of the four. If this operation is not conducted in +a methodical manner, with a proper knowledge of the best treatment +according to the material used for the peg, splitting will ensue, which +is trying to the temper. When a peg is once split it had better be thrown +aside as useless, the strain on it being unsupported by the solidity +of the material. No wooden peg that has been split in the operation +of boring for the string should be retained. It being necessary to use +wood of the hardest or toughest consistency, the splitting tendency +is increased as the grain is closer. There is discussion as to the best +material for pegs, and here in my opinion the old Italian makers were +wise in choosing the cherry wood seemingly abundant enough at their +command. It is not so hard and brittle as ebony. Another wood was used +by them, a kind of dark walnut, straight in the grain, but a little +firmer than the rose wood so fashionable at the present day, which has +a waxy consistency but accommodates itself to the jamming by the +impetuous amateur who will have his way. + + + + +CHAPTER VI. + +LOOSENING OF JUNCTION OF GRAFT WITH PEG-BOX, AND REFIXING +SAME--GRAFTING, DIFFERENT METHODS OF PERFORMING THIS--LENGTHENING THE +NECK--OLD AND MODERN METHOD--RENEWAL OF SAME--INCLINATION OF NECK AND +FINGERBOARD WITH REGARD TO THE BRIDGE--HEIGHT OF LATTER, AND REASON +FOR IT. + + +In our progress downwards from the scroll and its adjoining parts, +before quite leaving it we may refer to a disorder sometimes occurring +when the neck is modern and grafted on to the old scroll. There are +several ways, or fashions it may be termed, in which this is effected. +The most usual method pursued in England and Germany is that of sawing +the head off at a part below the end of the shell and then chiselling +a level passage so far as a straight surface makes it necessary along +the floor of the peg-box. The sides are treated in the same way but +the width across diminishes as they proceed upward. The solid graft +is shaped, inserted, and afterward hollowed, but of this more presently. +Like all other parts of the instrument, the junction or insertion of +the neck or graft sometimes gets loose, from bad fitting chiefly, bad +glue or prolonged exposure to damp. When the sides or back part give +warning that they are likely to part, they should be loosened still +more or separated and a little clean water on a brush inserted in the +cleft where discoverable, the parts being pressed and worked together +until clean, for all cracked or loosened joints will be found more or +less dirty and greasy. Some strong glue can be then worked in, both +sides pressed together by cramps and left to dry. The backing of a flat +piece of soft wood with an interleaving of stout paper or, better still, +millboard, must not be forgotten. If, as sometimes happens, the +flooring of the peg-box threatens to part from the graft in contact, +the same course of working out dirt and inserting good glue must be +pursued. In pressing the back or shell of the scroll, this being of +short and sometimes abrupt hollowing, the pressure on the substance +of the wood direct would be dangerous to its form. The fibres of the +wood at the edge are necessarily very short and brittle. A thick piece +of cork should, therefore, be placed between the cramp and the hollow +grooving or shell, a small block of moderately hard wood being placed +inside the peg-box as an opposing pad or buffer, the cramp may then +be screwed down fairly tight. The two operations, glueing and pressing +the side parts and that in connection with the shell, must not be +attempted simultaneously. + +We may now, being on the part as it were, take up the subject of grafting +and the different and best means of performing this somewhat exacting +operation. Accurate calculation and sharp straight cutting are +absolutely necessary for even moderate success in this undertaking. +As before mentioned, there is more than one method of securing a neck +to an old head. Each one carried out with the necessary skill and +neatness can be made a lasting and highly finished piece of joinery. +The mode adopted in England (see diagram 25) is the most ready and gives +the least difficulty in a difficult undertaking. The solid end of the +graft is chiselled or planed off to a slightly wedged form with a +straight or square upper end which is measured to reach when inserted, +nearly or just up to the lowest of the upper two peg-holes. Great care +has to be taken in the cutting that the sides are equal, otherwise the +scroll, when fitted, will look awry. + +[Illustration: DIAGRAM 23. Old method of lengthening neck, the dotted +lines show it shifted forward and the part above the button cut away.] + +[Illustration: DIAGRAM 24. Modern French method of grafting head.] + +[Illustration: DIAGRAM 25. Modern English method of grafting head.] + +[Illustration: DIAGRAM 26. Foreign secret method of grafting +occasionally met with.] + +[Illustration: DIAGRAM 27. Method occasionally met with, Italian.] + +Another method has been known as the French, and when neatly done is +one of the most sparing of the old wood (see diagram 24), but it is +beaten in this respect by another foreign method (diagram 26), which +is less evident to the eye, although requiring more skill in accurate +cutting and adjustment. Another yet more secret I have only seen in +an Italian grafting, and it may be native; no join whatever is seen +in a front view nor in the peg-box if this part is at all soiled or +dusty, as is usually the case. This is owing to the join--there must +be one of course--being each side at the angles formed by the walls +of the peg-box. This is counterbalanced however by the necessary +cutting away of the central line or ridge at the back for a considerable +distance. If done accurately and artistically, all very well, but this +is not likely to be always the case, although a comparatively easy bit +of work with the original lines each side as a guide. This method of +grafting is puzzling when successful, as little or nothing is +perceptible from the front and not much, unless searched for, at the +back. + +On measuring the different parts of an old violin in its original +condition, we shall find the neck, taking from the edge of the upper +shoulder of the instrument to a point where the nut is placed, to be +not much more than four and a half inches, whereas our modern necks +measured at the same parts would give five inches and an eighth. The +old length taken at this part alone would give too short a fingerboard, +causing the fingers to hamper each other, especially in the upper part +of the register, where so many modern composers seek for effective +passages. The neck must, therefore, to meet the requirements of the +day, be lengthened. In the earlier part of the present century there +was a method much in vogue for effecting this without interfering with +the head and while keeping the greater part of the original neck +(diagram 23). This was done by firstly removing the fingerboard, +probably worn into ruts; the middle of the thickest or lowest part of +the neck attached to the body had then to be loosened and removed, often +no doubt a troublesome task owing to one, two and sometimes three nails +being in the way, this in consequence of the habit of the old makers +of attaching the neck with its scroll before closing up the body of +the violin. Having accomplished this, the repairer chiselled off two +square pieces, one on each side at the same end, and then fitted longer +blocks with the grain running the same way. These were afterwards cut +down to the proper form, so that the terminating part under the +fingerboard increased the length of the neck to the modern standard. +Of course, when fitted into the original space or socket from whence +the neck was taken, the rounded part going to or above the button was +now too large, this part was therefore cut, filed and finished down +to the required size and shape. + +This method of lengthening the neck, however, went out of fashion as +connoisseurs and performers, finding the old necks so frequently +devoid of figure--the reason being probably that plain wood answered +best for the cutting of the volutes--made the repairers remove the +whole of the neck and substitute one of the best figure they could +obtain. + +This forced fresh attention to the splicing as it is termed of the +scroll to the neck or graft, and the method has continued to the present +time of clearing away the whole of the neck and using handsome wood. +Further impulse was given to the practice by the fact of the +fingerboards put by the old makers rising so little above the body of +the instrument. The bridge was made very low to accommodate this state +of things. The increased rapidity of the movements of the bow from one +string to another over the middle ones in the performance of modern +music made a higher one absolutely imperative, as the heel of the bow +would too frequently chip pieces from the waist curves. There were thus +three good reasons at least for placing an entirely new neck on an old +violin; firstly the plain wood of the original maker, shortness and +the low angle with regard to the plane of the body. + +In order, therefore, that everything may be accomplished with +sufficient exactitude, we will begin with the roughly sawn block ready +for measuring and shaping up for its destined purpose. The scroll, +which is to be replaced on a neck according with modern ideas, we will +suppose to be on an Italian violin that has come down to us from the +early part of the last century. The violin tuned up to the present +concert pitch and music of our period having many of the modern style +of difficulties, would prove utterly inadequate to the task of giving +out its tones in a manner expected of it. + +In proceeding to work then, the workman executing this modification +having selected his block of curled maple, planes it to an oblong of +equal breadth. He calculates as to the best position for showing off +the curl on each side of the neck when finished. Having decided which +is to be the upper part or that covered by the fingerboard, this is +planed to a good level and smoothed. A line drawn with a good pointed +pencil or pointed knife, and sharply defined, is then drawn down the +whole length exactly in the centre. At the end which is intended for +the thickest to be inserted in the body of the instrument an equal width +each side must be marked. Near the other end, at a distance that shall +correspond with the opening of the peg-box, an equal width each side +of the line must be marked off as at the other end. These two +measurements will represent as nearly as possible the width of the neck +along its course at the junction of the fingerboard. From the point +representing the opening of the peg-box one of two lengths upwards must +be decided upon; if the splicing is to be effected in the manner common +in this country, a greater length will be required than for that of +the French style. This latter is more to my fancy than the other, as +there is less of the original wood lost. If for the former, a length +of wood beyond the opening will be required of two inches, if for the +latter or French a little over one inch and a half will be enough. The +central line has of course been continued for the whole length of the +wood. The waste wood at the end can now be sawn off down to the line. +The next measurement will be, supposing the French style is +adopted--that of the extreme width of the end, which will be given by +taking a point at half the thickness of the peg-box wall at the part +and similarly placed on the other or opposite and taking the width +between the two. This divided equally and marked on the wood of the +new graft each side of the central line will give the narrowest width +of the part to be inserted in the peg-box. The outside may be then +removed by the saw vertically. There will now be necessary the marking +off a part on the graft that shall represent the thickness of the nut +or the distance between the end of the fingerboard and the peg-box +opening; the breadth across, or we may call it the length of the upper +part of the nut, will be exactly that of and at the part where the +opening will be made in the peg-box for the reception of the graft. + +The wood to be cleared away outside the lines which mark the width along +the course of the fingerboard will be the next proceeding; it may be +done neatly with a rather fine toothed saw and then carefully planed +up closer to the lines, barely touching them. It is preferable to leave +the sides for the present at right angles with the top surface, although +they will not be kept so for long, but by thus working the measurements +are facilitated. Going to the lower or wider end a line must be +accurately marked quite square with the long central line, if not +accurate the whole work will be thrown out of truth. On the sides there +may now be marked and roughly sawn away (diagram 28) so much of the +wood that shall leave enough for the cylindrical part that is to be +finally rounded and finished off for handling. Care must be taken that +the rounding commences underneath, a little away from the part that +will be fitted into the peg-box. This of course must be according to +measurement or template kept for the purpose if graftings are likely +to be wanted in the future. There will now be required the marking +of the exact form of the part that is to be inserted in the body of +the violin, or more strictly speaking, into the upper block. This is +done easily from a pattern cut to shape and size for instruments of +average proportions. Sometimes, owing to the height of the ribs, the +pattern cannot be applied so as to fit; in that case fresh lines must +be drawn to measurement as with the central one on the fingerboard +plane. + +[Illustration: DIAGRAM 28.] + +The line dividing the part exactly in the middle must be accurately +done, the distance at the narrowest or lowest part that is to be glued +on to the button carefully marked, allowing the top part when placed +in position to be a quarter of an inch above the border (diagram 29). +The width of the lowest portion must be mainly guided by the size of +the button, which, although there is an average of a rough kind, is +sometimes small, at others very wide. The width must be taken of the +button, carefully divided into two equal parts to be marked on each +side of the central vertical line (diagram 30). All below what is +necessary to keep may now be cut away, the surface being kept parallel +with the fingerboard plane. The parts outside the slanting lines may +be hewn away, the surface running evenly with the outer lines of the +fingerboard width so far as it extends, which will not be more than +about an inch. + +[Illustration: DIAGRAM 29.] + +[Illustration: DIAGRAM 30.] + +The next process will be that of excavating the part that is to receive +the root or end of the neck. If the instrument has been accurately +constructed with the join running down precisely in the centre, the +line already marked on the root of the neck will be a safe guide for +marking each side of the join the width of the portion to be cut away. +The depth inward of the cutting should be an average of a quarter of +an inch. In case the already excavated part in an old and much repaired +instrument is roughly torn about and made unequal in its measurements, +attention must be fairly directed to this part separately; that is, +if too much wood has been cut away on one side it must be replaced by +fresh, after clearing away irregularities in order that a good fit may +be accomplished. The fresh wood must be neatly inserted or placed in +position and may be held in position during the hardening of the glue +by supports or wedges placed across from side to side. When quite fit +by reason of its dryness, the distance from the centre must be marked +and the fresh wood cut away to the required depth and width with a keen +edged chisel and small shavings cut at a stroke, as there will be some +cutting against the grain to be done besides working in a confined +position. + +Great regard must be paid during the process of cutting this part that +the corners or angles are quite cleared out, or the neck when inserted +as a trial or rehearsal will not give a truthful report of the accuracy +of the incisions owing to some insignificant portions sticking up and +causing the neck to look awry. So far we may take the fitting as having +been accurately done to the central line down the middle of the +instrument; but now comes a further process in connection with the +adjustment of the neck, and that is, the rise and inclination of the +level of the fingerboard in relation to the bridge which is to be fitted +eventually. + +The average--it may almost be called the standard--height of the violin +bridge is one three-eighth inches. There are occasions when this +measurement may be departed from, as in the instance of a high model, +when an eighth, or even more, may be taken off with advantage. This +must not be taken as necessary for the proper emission of the tone from +a highly built instrument. The raising of the bridge in modern times +is due to other causes, the most important being that of allowing better +play or room for bowing rapidly over from side to side without rasping +the border at the waist. It is an alteration which accompanied the +lengthening of the neck and stop in the early part of the last century. + +To obtain a proper setting or inclination of the neck, several ways +are adopted by repairers. They vary according to the kind of guide or +pattern used. This is usually cut from a piece of hard wood, sycamore +or pear. It is sometimes made as a double guide in the adjustment of +both the inclination and the elevation of the under part of the +fingerboard above the body of the instrument at the junction of the +neck. This we will call No. 1. The other, No. 2, is similar, but has +the height of the bridge only as a fixture, the rise of the end of the +neck above the border being higher and lower at discretion. Another +way, No. 3, is somewhat like No. 1, but would be used when the +fingerboard is glued on before the setting. This should only be done +by a fitter of some experience, as a little error in calculation is +likely to lead to disaster. With each the application of the guide, +or pattern, is the same, namely the testing of the exact coincidence +of the inclination of the top surface of the bed under the fingerboard +(diagram 31), or above the latter as shown in diagram 32. While getting +the right inclination, in both instances it will be found necessary +to ease the fitting of the neck into its socket, as the difference of +the angle at which the neck is inserted causes an increase in the +tightness of the contact of the parts. The lower part of the facing +that is to be inserted in the socket, will have to be made to go into +it at an angle conformable to that of the inclination or set of the +neck. This will require executing with precision, and great care will +have to be exercised that the squareness or rectangular disposition +of the upper part already fitted and adjusted to the middle line down +the instrument is not interfered with. It will be well to test this +as the work proceeds. Some of the lower part, that coming into contact +with the button, will have to come away in order that all parts may +fit, and when fixed, form a homogeneous rigid part of the structure. + +[Illustration: DIAGRAM 31.] + +[Illustration: DIAGRAM 32.] + +To ensure complete success in all the foregoing operations, every tool +in use must be well sharpened, and all the guide lines accurately drawn. +Part of the neck left rough and projecting beyond the button may be +left for future manipulation, but the joints that are to receive +glue--if done by a workman of skill and experience--will fit almost +air tight. With regard to this, the parts likely to give the amateur +most trouble will be the exact fitting of the flat opposing surfaces +of the root or squared end of the neck or graft with the socket. It +will be necessary to get a perfectly flat surface. In the first place, +glass papering must be avoided, not from unsuitableness of material, +for in that respect it is a temptation, but from the difficulty of +regulating the pressure of the hand; with the exercise of the utmost +care in handling the glass paper, even when it is backed by a piece +of hard wood, there will be found, when the test comes, a rotundity +of surface that was deemed impossible under the circumstances. Careful +scraping of the surfaces must be chiefly relied on for exactness. As +good a mode of proceeding as any is as follows--after the first roughing +into shape and then flat chiselling has been done to as great a nicety +as possible, all the irregularities--there are sure to be some--can +be worked down with the edge of a straight square file, used very +steadily and crossways repeatedly. This done sufficiently and tested +with some hard and truly cut substance, metal preferably, will be an +exactly flat surface for working upon the final or finished surface. +The next thing used will be a carefully sharpened and keen edged steel +scraper. To put this tool into proper order for the purpose, it must +be sharpened on a hone, not exactly at right angles, as the first +impulse would suggest. The hone, or stone, must be quite flat and unworn. +If done carefully, a nice level edge will be perceptible along its +course, but it is not yet at its best. Placing it on a bed of hard wood, +or evenly shaped mass of iron, projecting over and held firmly in +position, a good stout brad-awl may be passed along from end to end, +keeping the awl perfectly flat on the horizontal surface. The scraper +may now be turned over and process repeated, but not in the same manner +or angle, for the awl will be held vertically with the handle downwards +and firmly pressed along the edge at right angles with the horizontal +plane, this will cause a burr right along which will have a razor-like +sharpness and cutting power. This scraper can now be applied (not too +heavily) over the filed down surface, and thus work down finally all +irregularities left by the file. The adaptation of this tool will at +once be perceptible in the fine whitish soft shavings that will come +off during its application. A little repetition across and across +should give an almost perfect level. Different sized scrapers may be +used for the other surfaces where it is desirable to obtain the most +accurate fitting. If all the processes have been properly carried out, +the parts when tried by inserting the neck or graft for trial, should +fit together without the slightest looseness or wriggling. They will +now be ready for permanently glueing together. + +It will be seen after perusing the above that the fitting of the neck +or graft to an old violin, well or badly preserved, is a task not to +be overcome easily and satisfactorily without much care and no little +practical experience. + +The whole of the work must be well looked over and tested as to the +accurate fitting in all respects; nothing must be left uncertain or +loose; in fact the flat surfaces for a perfectly successful result at +the junction of all the parts should be as nearly as possible air-tight. + +Having seen that the glue of good quality is strong and clean, the +surfaces that are to come in contact may be brushed over with it. For +this purpose a small hog-hair brush of about three-eighths of an inch +wide is handy. Where the grain or threads of the wood run parallel with +the surface--this being less absorbent than the other parts,--there +will be less painting over required, but where the grain comes end +upwards to the surface the glue will be rapidly absorbed. The painting +over these parts must be repeated, the glue as a matter of course being +kept warm--all the work ditto, until absorption ceases. This is a +matter of some importance, as in many instances joints have become +loose or broken apart, not from the perishing of the glue or damp, but +from the want of this precaution on the part of the repairer during +this preliminary proceeding. It must be borne in mind that this is to +be a permanent junction, not to come apart from any jarring or rough +usage; it is also to be one of the most rigid, and only to be separated +by a saw or chisel in the hands of some future repairer when it shall +be absolutely necessary. Sufficient glue having been applied the work +may be put aside. + +It will now be apparent to those who have possibly done a little glueing +that the whole of the wetted portions have to some degree swollen, and +therefore if the junctions were brought together they would be found +too tight and refuse to meet. Just so; and that is one of the reasons +for placing the work aside until the glue has dried at all the parts +painted with it. When after a sufficient time has elapsed the work is +examined, it will be found to have contracted to its old size and form. +There will not be the necessity for waiting till the glue is at its +hardest; probably time will not allow of this, some days being +absolutely required, but it must, for the next process, be very firm +and seemingly dried through. + +Examination will reveal the fact of the whole of the surfaces that have +been wetted, being raised or roughened under the foregoing operations. +Recourse must now be had to our small scrapers again. These will again +be applied carefully across and across the surfaces, until, in the +judgment of the operator, the surfaces are level and clean. Particular +care must be taken with the edges, angles and corners, that the +superabundant glue is removed. The right angle of the scraper will be +used for this purpose, and should a small particle or two, at any angle +or corner, refuse to budge at the request of such a light tool as a +scraper, the powers of a sharp chisel must be brought to bear upon the +subject, and the obstacle removed. Close attention should be paid to +the above, as in the operation of first glueing, the wood, or woods, +having unequal absorbing powers, will swell in accordance therewith, +and upset the calculations that have been so carefully made for the +close junction of the parts. For first rate work, the scraping must +be so carefully and accurately done down to the surface of the different +parts, as to leave little or no glue above the surface of the wood. +The desired result will thus be secured, that of the pores of the wood +being closed or filled up. For the next stage the glue will not be +necessarily quite so strong, a degree weaker will do. Everything must +be ready to hand, including a cramp of sufficient size and strength. +Before proceeding further, however, the manner of the application of +the cramp must be considered. And now, how are we to obtain a direct +pressure of the cramp on the largest surface, and which would have to +be in one direction, end to end of the violin, seemingly a perfectly +impracticable matter? The answer is, it is not practicable, hence the +above numerous injunctions as to preliminaries, and which have to do +with counterbalancing the impossibility of direct and strong pressure. +The only pressure that can be applied directly is that of a nearly +perpendicular one, the cramp grasping the button from underneath, with +a proper guard or padding of millboard, or cork, cut into shape. + +A full brush of glue will now be passed over the whole of the surface +of the socket, or receptacle for the root of the neck; which latter +must an instant after be treated in the same manner. The two must be +treated as one operation, and in a warm atmosphere. In the summer time +no extra precautions will be necessary; but in cool weather the strong +glue will soon set if the parts to be operated on are not kept in close +proximity to a heating stove, or fireplace, or the apartment kept at +summer heat. The neck and socket being thus kept at a warm temperature, +the former will be firmly thrust into position, and with hand pressure +put as close as possible. The superfluous glue will ooze out all around +at the junction of the different parts; if it does not, that will be +a sign that there is a looseness somewhere, or the surfaces have not +been forced together close enough. This must be seen to at once, the +parts separated and examined. It may be that the failure has happened +through carelessness in allowing a chip to get in, or a piece of grit +has prevented the opposing surfaces coming together. This being +removed by a small knife, the brush, with a little more fresh glue, +may be passed over the surfaces again, and the fitting this time should +be perfect. The cramp and padding should be at once placed in position +and screwed down tightly. All glue appearing above the joints should +be carefully wiped away with a cloth kept ready to hand for the purpose; +it is better to do that now than have to scrape or cut it away when +hard; it will also save time. + +Ample time must be allowed for the glueing to thoroughly dry. This must +be estimated according to the conditions of the time and place. In very +warm weather, or where the atmosphere is heated artificially, the time +consumed in the drying and hardening is less than when the air is +saturated with moisture. + +When on examination the dryness is such as will warrant the removal +of the cramp, this can be done. If all the measurements, fitting and +precautions have been duly attended to, the neck or graft, with its +line in the centre--supposing the present method is that adopted before +the fingerboard is placed in position--will form an exact continuation +of a line down the centre of the violin. A look down from end to end, +or placing a long straight edged rule against the line, will be a way +of testing this: if all is correct, the line will be perfectly straight +and not bent. Should the latter be the case, the measurements, or +fitting, in some respects, will have been inaccurate. It would be very +provoking to find it so after all the trouble undertaken, and many +instances are to be seen where the work has been left in this condition, +and the stringing up and regulation has been, not only under great +disadvantages, but absence of comfort in playing, and indeed the proper +emission of the tone has been sacrificed. If the violin is one that +is worthy of being performed upon with skill, there is only one +alternative to putting it aside as useless, that of having the neck +sawn off and the whole process of renewal gone through, with the aim +of next time being more careful and true. + +Supposing, however, the neck is truly set and all is satisfactory, the +next stage will be the laying of the fingerboard. This should be of +good, close and straight grained ebony, free from knots. Fingerboards +are usually sold in the rough; that is, with the upper surface, or +rounded part trimmed down to an approximate curve. They are cut to +lengths of about ten inches and a half to three quarters. Should the +violin require a fingerboard less in length than this, a small portion +must be sawn off, preferably from the small end. Great care must be +exercised that it is done in right angles with a central line drawn +from end to end. As the drawing of this line would entail some trouble, +the under, or flat surface can be placed face to face with one that +is known to be quite true, and a line with a fine pointed pencil made, +or better, a scratch with the point of a small knife, guided by the +true end of the perfect one. A fine toothed and sharp saw will remove +the unnecessary wood. In doing so, precautions must be taken against +splintering and spoiling the wood. To prevent this, a piece of waste +wood, cut slightly out of the square, should be placed against the stop +of the bench, so that when the ebony is placed against it, the sawing +can be done flush with the side of the bench. The saw should be fine, +in good condition, and gently used, or the line made will be ragged, +ebony being brittle and splintering stuff, requiring some humouring +in this respect. If the sawing is accomplished neatly and vertically +true--this last is very essential--there will be little to do in +trimming the surface of the end that is to come against the nut when +near completion. A piece of fine glasspaper wrapped round a squared +piece of pine, will make a good surface. The reduction of the width +of the fingerboard at each end will then be proceeded with. In the case +of an old neck being retained, the width of it at each end can be taken +by compasses and marked on the flat side of the ebony. A thin shaving +should be allowed for in finishing off. But we are on the work of a +new neck; therefore the marking off should be done to some general +standard. A good one may be reckoned as follows, for a violin of +fourteen inches long and average width--total length of fingerboard, +exclusive of nut, ten and a half inches--greatest width, one inch and +five-eighths, width at nut, one-sixteenth under an inch. The ebony will +be planed neatly down, with vertical sides, to these measurements. The +height, or rise of the sides of the fingerboard above the maple, +three-sixteenths of an inch, which may be kept for the whole length. +The reducing to the requisite width and depth should be done with the +plane in good order, a metal one for this kind of work being the best. +The surfaces that are to be glued together must now be considered. An +untidy looking black line along the neck at the junction of the ebony +and maple goes far to spoil the general effect; a glance at this part +will at once be sufficient for declaring whether the neck and +fingerboard has been fitted by a neat and competent repairer. A +frequent cause of the dark line--it is really a want of proper fitting +together of the parts--is the hastily planing the two +surfaces--straight enough possibly--and delay while the glueing +operation is in progress. The fact of ebony being almost equally +affected by moisture as other woods--in fact, more so than some--must +not be lost sight of. Coupled with this curling of the wood under the +influence of damp is the want of proper regulation of the pressure after +glueing and placing the parts in opposition. An old-fashioned method +of uniting these parts is still pursued by some repairers--the surfaces +are planed evenly, the glue is applied over them, they are clapped +together and string tied tightly as possible. Diagram 7 will show a +modern and improved method, that of a mould of soft wood for back and +front of neck and fingerboard. In affixing the fingerboard many +repairers have left a gouged channel reaching from the nut to the end +or insertion of the neck. This may be seen sometimes on turning the +part towards the light. The intention seems to be from an economical +view, that of removing the ebony, if necessary, without injuring the +glued surfaces by pouring a little water down the passage and waiting +till the damp enables the fingerboard to be pulled off without fracture. +This tedious operation is wholly unnecessary, for the time spent would +be worth more than a new one with its trimming up. Some repairers have +used a toothed plane on the level surfaces to enable the glue to grip +well. This is another mistaken idea. The fingerboard should not be +treated as a permanent part of the structure never to come undone, it +should be so secured as to last as long as required under fair usage, +but in case of violence it is best that it should snap clear from the +neck than hold tight enough to distribute, or concentrate, the strain +on other and more delicate parts of the structure. Experience has +suggested the following as generally best for all practicable purposes. +The surfaces having been made true under the plane--this should be +tested before the parts are glued, when, if true, there will be no line +or the very faintest one seen. Along the middle of the ebony a very +shallow gouged channel may be made, about half-an-inch wide and just +deep enough to prevent the glue from touching when the fingerboard is +placed in position. The level across over this channel from side to +side can be tested by a metal straight edge or truly trimmed scraper. +Occasionally from damp or the action of the plane the surfaces of both +maple and ebony become slightly arched; in reducing this the scraper +may be used with good effect, and a smaller one to take the least shaving +more off near the channel, the even pressure when applied will close +the outer edges more effectually. + +The glue to be used under present circumstances should not be strong, +and if the atmospheric temperature is below sixty, or perhaps not down +to that, the surfaces of fingerboard and neck should be warmed. When +all is ready, see that the ebony is placed evenly in the centre and +then proceed to apply the cramps in the manner before described +(diagrams 33 and 34). The one placed over the button and the arch of +the fingerboard in opposition to it must be sufficiently large, and +the hollowed soft wood mould, or pad, should be more highly arched than +the fingerboard, so that when pressed down, the outer edges, and not +the centre of the latter, should receive the greatest pressure. The +other cramps having been screwed down under the same conditions, the +work can be placed aside to dry and harden. When a reasonable time has +elapsed, according to atmospheric conditions, as in cold, damp weather, +more time should be allowed, but under all circumstances the most dry +and sufficiently warm locality should be chosen; the cramps may be +removed, and of course the moulds too. + +[Illustration: DIAGRAM 33.] + +[Illustration: DIAGRAM 34.] + +We must now see to the working down of the graft or neck, not only to +the requisite dimensions, but for the finish with some effort at style. +By this last is meant such attention to evenness of contour from the +button along to the edging of the shell, as shall be strong enough +without looking heavy or clumsy; much of the nice appearance of this +portion of the work depends upon the neatness of the workman. Assuming +the button to be of the normal standard, or we may say, well calculated +with regard to size for good effect--a good average width of this at +the base where the curved line springs from the border is +thirteen-sixteenths, and the projection forward--as it is not a +geometrical curve--a half an inch. Some of the old Italian makers left +the button very large, others small. The latter never pleases the eye +of the connoisseur, who, accustomed to the proportion given it by the +best masters (also the modern makers), thinks it looks poor and +incomplete. As the neck or graft has hitherto been left but roughly +hewn out, it will be projecting for some little distance beyond that +which would be occupied by any button of average dimensions. Supposing +the button to be too small, or injured, and an addition necessary, for +the next move we shall require a pair of compasses; with these, after +finding a centre of the segment of a circle formed by the outer edge +of the button, with the other point find the distance inward, or the +proper segment that is to be retained, bearing in mind that every +possible part of the original button should be preserved; putting the +point of the compass on the central spot as lightly as circumstances +will allow, a thin scratched line must be made with the other point. +Here we may remark that screw compasses should be used, so that distance +apart of the feet may be kept rigid, as the width and the same circular +scratch marked on the button must now be marked on a piece of maple, +or, as is sometimes done, on ebony. The grain of either should run in +the same direction as that of the button, or if done aslant it will +look ugly when worn a little. The materials being matched, the fresh +piece should be reduced in thickness to very little over that required +for the height of the edging for the button; it should be a small cake +of wood large enough to cover and leave a margin where it is to be +fitted. + +The wood of the button outside of the scratched line will now be cut +away down to the raw wood of the new graft; it must be done with small +and sharp chisels, carefully paring it down, leaving the edge up to +the scratched line quite perpendicular and smooth all round: the +strictest attention to this is necessary, so that the fitting on of +the fresh edging may be done with exactness. We now take up the little +cake of ebony, or maple, as selected, with the scratched line, which +should be made from a central point close to the edge as possible: if +this is a difficulty, the centre may be taken further in, the circular +line also and the superfluous wood cut away to the central point, but +not in a way to interfere with the equipoise when the edging is placed +on for fitting; if this is not seen to, the edging will, when finished, +look awry. The middle within the scratched line may now be first gouged +away and the wood cut with a sharp knife close up to and at exact right +angles with the plane. A rounded file may with care be used to make +a more even surface or run. If all this is done with precision, the +parts may be tried together for testing--the glueing may be seen to +and the cramping done, with care that the fresh portion does not slip +during the process out of its place. Some repairers would be tempted +to rely upon the exact fitting, and simply slide the parts together, +squeezing them well, but this is always risky. The work may now be put +aside to dry. + +The next proceeding will be that of working down or levelling both the +ebony fingerboard and the graft, or neck. The first, in the state +usually sold, will have an apparently well-finished off arching that +may sometimes be near enough for letting alone after a little polishing +down, but as a general rule it is not so, and further, if having been +long "in stock," it may have settled down a little out of the straight +during the seasoning process. Recourse should be had to the plane, a +rather small metal one in good order with a keen edged iron. This must +be closely regulated, or the surface worked upon will not be even but +torn; hard woods, as before observed, require humouring and working +down gently. The exact arching--in good work--of the ebony should be +governed by a cut mould, one for each end. These may be made of some +hard wood or metal, such as zinc, and if truly made will last any length +of time. They should be trimmed to fit some fingerboard that has been +ascertained to be just the thing in its arching. It may be as well to +observe that some violinists prefer using a rather flatter fingerboard +than others, but the medium is without doubt the best, and is not +difficult to arrive at. The plane must be gently worked along from end +to end of the fingerboard with as little pressure as possible,--hence +the careful regulation and sharpness,--or you will find after a short +time that instead of a nice even line, which must be tested from time +to time by a straight edged rule, there will be a curved one, and this +will necessitate further working down to the danger of losing thickness +and sufficient strength in the ebony. If attention is paid to this, +and a satisfactory even run of surface is obtained, glass-paper on a +piece of straight, soft wood, but not of the finest degree, will be +suitable for the present. + +We now return to the modelling of the neck from the lower part of the +back of the scroll down to the button. This last, with its fresh edging +or shield, will require another scratched line, making two +semi-circular ones; it must be done from the same centre and calculated +to allow of the wood being hewed away outside, leaving the full +measurement when finished off. + +A chisel will now be brought into requisition for removing the useless +wood outside the line last marked. The cushion or sandbag must be +brought into use, the violin put face downwards, the fingerboard +resting in a hollow. The neck or most convenient part for holding the +whole with firmness must be held tightly, the chisel then worked +downwards from the button, but not too far so as to cut into the portion +that is to gradually enlarge, or form the quarter of a circle or the +thickest part of the neck. + +We shall now use a strong coarse wood file and turn the instrument round +and about, work away the neck until just outside of what will be left +when the polishing down takes place. + +The curves should all be balanced well even while in the rough and the +contour viewed from all points should be regular. The other end of the +graft will require the same kind of attention, care being taken that +too much wood is not removed. The level from each end must be seen to, +leaving just sufficient wood to allow for fining down; the proportions +must be well calculated, thus the upper end under the nut will be hewn +down thinner than the part approaching the button, the line from each +end being made quite even and the curving of the semi-circular shaft +gradually tapering upwards. The glass-paper file before referred to +will now come into service; it should be made of a nicely-squared plate +of wood about six inches in length by about two and a half inches in +width, with about one third of an inch in depth. We may call one side +the front, the other the back; the edges of the former should be rounded +down to a semi-circular form. All we have to do in making this useful +file complete is to lap a piece of glasspaper of the degree of grain +required round it, nearly meeting at what may be called the back for +the time being. The surface with the rounded edging, or, as we have +called it, the front, covered with rather strong grained paper, will +be worked to make an even course all along the shaft, guarding all the +while against working too much at one spot. The paper file may, after +a sufficient working along the surface, be exchanged for one or two +degrees finer, rubbing it in the same manner. For good mathematically +even work, the graft should be turned round frequently, so that the +light may throw up any little inaccuracies that may occur and which +require individual attention. Here it may be remarked that if possible +all repairing would be best done in an apartment that has as little +reflected light as possible. The reason for this will soon be apparent +when the fining down or polishing stage is commenced. One window, and +that not too large, will be found advantageous. Little irregularities, +however trifling, are best seen under such a light. Much rough work +may very possibly be the consequence of badly-arranged light rather +than inability or indifference of the workman. Repairs executed under +unfavourable circumstances as above will often look very well until +turned about in fresh and different lights, as they are sure to be, +and then the faultiness becomes a surprise to the executant. + +The glasspaper filing must be continued for some time and with several +finer degrees until the surface appears perfectly even and seemingly +quite finished, but the stages are not yet complete. + + + + +CHAPTER VII. + +FINISHING THE FINGERBOARD--FIXING THE NUT--SIZE AND POSITION OF +GROOVES FOR THE STRINGS--FILING DOWN THE GRAFT--SMOOTHING, COLOURING, +AND VARNISHING SAME. + + +We now turn our attention to the finish of the fingerboard, which must +have its sides attended to for appearing in good trim. For making a +nicely worked surface each side, some preparations will have to be made. +Firstly, the nut having been cut to the width, or nearly so, of the +narrowest end of the fingerboard and glued into position, it will have +to be filed down to the height at which it is to remain above the end. +The arching will have to be higher in the centre than at each side, +in order that when the strings are drawn over tightly, the thickest, +or D string, shall have more room to swing than the thinnest, or E. +The arching will thus be unequal, the lowest part being at E, next a +rise sufficiently for the A, then a further rise for the D, and +afterwards a drop again to a little higher than the A; this will be +enough for the swing of the G. The grooves for each of these strings +must follow in the same order. They will not be equi-distant in one +sense, as that would cause them to appear unequal when the strain is +on them. + +Probably the best way of securing a uniform appearance and the easiest, +after one good result, is to cut a metal template with a spike at the +central point or middle of where the string is to rest. These points +will be found unequal when pricked on to the surface of the nut. A very +small, round file should now be used carefully with the run of the +fingerboard, or the strings when wound up will look as if pulled aside +out of the straight line. The file must be placed exactly on the spot +that has been pricked and worked backward and forward as indicated. +The ruts must be examined frequently for ascertaining whether they are +sufficiently deep. The height of each rut above the fingerboard cannot +well be given in fractions of an inch, as they must be regulated to +the convenience of the performer. A hard, rasping, orchestral player, +with a heavy, unsympathetic bow arm, will require the ruts higher above +the board than a soloist of refined taste. The relative heights, one +with another, must be the same in both cases. When the ruts are finished, +recourse must be had to the glasspaper file again to round the top +surface of the nut with an inclination downwards toward the peg-box. +This is an arrangement requiring care, as, when the nut is level with +the fingerboard, there is danger of the strings jarring. When finished +sufficiently even the ruts may require a little further attention, as +it is difficult to at once complete them. The two parts are perhaps +best worked one with another, neither being finished off in one working +and left. + +We may now proceed to the further progress of the sides of the +fingerboard; this, of course, can only be done when all is settled about +the nut, this part requiring to be a continuation, notwithstanding the +rise upward of the line from end to end. Preparation must be made for +guarding the upper table of the violin from injury, from slips of the +glasspaper file during the backward and forward movement. A good way +to prevent this is to make a millboard or thick brown paper shield with +a part cut away to allow the neck to have a hold. By putting this over +the upper table and underneath the fingerboard a part will project +forward on each side of the neck; it must be held in position by one +hand, while the other holds the paper file, which will be worked along +the sides of the fingerboard, at the same time being held nearly +vertical. After some little time the part where the ebony joins the +graft will appear worked down quite smooth, some finer degrees of the +paper will reduce the surface to almost a polish. The nut receiving +a part of the working will now present an appearance--as regards form +only--of having been left from a reduction of the fingerboard stopping +short at a straight line. + +This part now, if the fitting of the fingerboard to the graft has been +neatly done, will show no line of glue or joint, but simply the +difference of material. The upper edges of the ebony may be rounded +down along to the end, but less at the lowest. + +The whole affair, however, is not yet complete, as the surface to be +varnished must be made ready for it. If left in the present condition, +players who are very fastidious would be complaining of the work not +standing well or deteriorating under use. The cause of this +deterioration will be that the moisture from the hand in using this +part of the instrument in the raw state makes the grain swell as if +wetted; this would occur to some extent even if fully varnished. This +must therefore be anticipated by passing a soft, fully haired and +wetted brush, or damp sponge, over the whole of the new work. When dry +the whole surface will appear rough, or if of soft texture, somewhat +corrugated; this must again be levelled down with some of the finest +glasspaper, great care being taken that all the parts, and angles +especially, are worked over. If the corners are not equally attended +to with the rest--and to do this properly the angle of the steel scraper +may be used with good effect--there will be a roughness at the part +over which the varnish will settle, become rough when dry, and give +the appearance of untidy corners. If the scraper with right angles is +insufficient to clear the corner satisfactorily, one with a rather +acute angle will be found to do the work; it must be sharp, and gently +used (or ridges small, large, or both, will become evident), working +across first one way then the other until the appearance is quite up +to the exactions and desire of the eye. + +Another wetting will be of some further benefit for a good and lasting +surface. When dry the roughness will not be so obtrusive as in the first +instance, and the application of the finest grain of glasspaper, or +a piece that has been under use for some time and got a little stale +will give the desired surface. The action of the glasspaper over the +surface should be continued for some time, until there being less and +less powder routed up the surface, it assumes a polished appearance, +and if the whole work is well done it will suggest a kind of finish +that looks too good to spoil by covering up with varnish. But the latter +is a necessity; if not really varnish in the usual sense of the term, +a substitute must be used, and here we touch a little upon the confines +of fashion or individual fancy. + +It may not be generally known that the old Italian makers--I mention +these as they have always been looked up to as guides for almost +everything in connection with violin facture--varnished the whole of +the neck--which under present circumstances we call the graft--with +the same varnish and thickness of it as the rest of the instrument. +We never see such a thing now, and if a maker were to send forth his +new violins in this manner or trim, he would be looked upon as eccentric. +Nevertheless at one time it was universal. Probably the increased +number of movements of the hand, and especially the thumb, to meet the +requirements of more florid execution and in connection with the growth +of the ability among players for performing much music on the higher +positions or shifts, showed very soon how the coloured varnish looked +patchy under wear. This fashion of covering over the most handled part +of the instrument with the coloured varnish then became discarded. + +"Appearances must be preserved" was found to be an axiom almost forced +upon the makers and repairers, and, as time went on, the substitution +of strongly curled wood for necks or grafts, in place of the plainer +material hitherto used, gradually settled down into the present +fashion. Now-a-days the skill of the repairer is exercised in the +various treatment of this part. Players vary in their tastes or whims, +some liking a perfectly smooth or polished surface as more suitable +to their handling than what they understand as an unvarnished neck, +others like it the other way as not so likely to slip, there being a +little more hold or resistance. Anyhow, the raw wood cannot be left +simply glass-papered, this would be speedily followed in use by an +accumulation of dirt and grease unpleasant to the eye, and to the touch, +clammy and unwholesome. It will therefore be as well to consider the +two modes of treatment. In either case the parts of the graft near the +insertion in the socket and at the other end where the peg-box is fitted +will require varnishing down. + +Before active operations commence a fair examination should be made +of the colour or complexion of the body of the violin. Very often this +has no attention paid to it, with the result of a hideous contrast +between the neck and the ribs adjoining, a sign of bad workmanship and +carelessness. The materials at hand for making a good match must then +be thought over, the most appropriate selected and the number of coats, +if possible, determined upon. This latter will be taken in a general +sense, as an exact number will not be possible; appearances are in this +process deceptive and must be regulated by the exigencies of the moment, +but what can be calculated is the question of one or two applications +only (which would result in a cheap and common appearance) or a number +with the same materials carefully laid to the satisfaction of the +repairer. + +Without plunging into the whirlpool of the best or particular gums, +resins and their individual mode of application, a matter that will +take up hereafter our more undivided attention, it may be taken as a +certainty that the varnishing materials used for the parts under +consideration must be of an alcoholic solution, no other would "set," +evaporate or dry with sufficient rapidity to allow of handling: or, +as we may put it in another way, that would lose tackiness within a +convenient time. + +Most people are aware of the nature of an oil varnish during the drying +process, there is firstly the "setting," that is, all the volatile +particles dispersing; secondly, the real drying or hardening which +ensues with sufficient time or age; both accompanied with some degree +of contraction, and until the process is complete, handling or friction +of any kind has to be carefully avoided. This will at once show its +unsuitableness for repairs and restorations, especially of the kind +now under consideration. The same process has to be gone through in +the drying of a spiritous or alcoholic varnish, but it is so much the +more rapid in consequence of there being only the alcohol to disperse, +leaving the resin in a comparatively dry state. + +Colouring will be the chief consideration after the resin has been +selected, and on this the judgment of the operator will have to be +centred. For obtaining the effect desired or that is fashionable at +the present day, one or two coats or paintings will be commenced at +the corners where the graft is inserted in the upper ribs and gradually +being thinned off as the curved part rounding upwards from the button +dies away. Sometimes in consequence of the fresh wood appearing very +white--it is not always possible to obtain aged wood--some colouring +material or stain mixed with the first two wettings will subdue the +staring aspect, this may be continued along the graft and bring up the +figure or curl more prominently. Often between the curves each end of +the graft repairers force very strong stain, this being sometimes +common writing ink; when varnished over the effect is violent and +common even when nicely done. The best that can be recommended is some +sufficiently dark wood stain--sold at most of the oil and colourmen's +shops--and rub it in, allowing it to dry and then finishing off as +before described. + +If the neck is to be left unvarnished, as it is termed, the colouring +and fining off can be followed with a rubbing of good oil, linseed, +raw or boiled, it must be really rubbed in and vigorously frictioned +up and down with a dry cloth--or after an application of the same kind +with some old fine flannel. This will drive in the oil, consolidating +the whole, and as it will dry inside after a time, keep a good smooth +surface under usage. + +Some repairers continue to varnish or polish along the sides of the +fingerboard to the extremity. There is no objection to this, and if +very neatly done, the general effect is enhanced. The varnishing of +the whole of the fingerboard is perhaps not so good in general, too +much glare seeming to obtrude itself, but the filling up the pores with +the varnish and then working it down to a dull surface has a good effect +and helps in the resistance to wear. The polishing of the neck, or +fingerboard with it, may be effected by making a small ball or dabber +of about half an inch in diameter of fine grained flannel; this should +be covered with another surface of closer material such as calico, but +large enough to enclose the little bunch and to be tied up with a piece +of string. A portion of varnish being placed ready in a smaller saucer +or any convenient porcelain article with a shallow even bottom, the +ball or dabber will be moistened with some linseed oil and then its +rounded face dipped in the varnish and rubbed briskly, but lightly, +over the surfaces to be polished. These surfaces rapidly absorb the +polish, while the oil in the dabber allows it to pass over without +clinging. The rubbing should be continued until a smooth, glassy +appearance comes and you feel sure that the wood has imbibed enough +of the polish; this treatment may be continued over all the parts at +which it may be desirable to have an even shining surface. The work +may now be put aside for some hours, so that the evaporating and +hardening may take place. When this has been ascertained to be +satisfactory, the surfaces may be wiped gently with some soft, +absorbent material which will take away any superfluous particles of +oil that may have been accidentally left in the process of rubbing. +If there should be some uneven, clotted, or rough parts observable, +a small ball or dabber made in the same way as the preceding, but used +with spirit and oil instead of varnish, will work these down to a proper +condition. For the dead surfacing, care must be taken that all is quite +hard enough. Taking a small piece of flannel of fine texture doubled +up and with its face well oiled, having some rotten-stone powder at +hand, dip in the latter and rub as before lightly round and round over +the parts to be dead polished; this will give a nice refined, even +appearance, with comparatively little glare. A final wipe off with a +soft cloth as before, will bring matters to a conclusion. + + + + +CHAPTER VIII. + +INJURIES THAT CAN BE REPAIRED FROM THE OUTSIDE--INSERTION OF FRESH WOOD +IN FRACTURE OF THE RIBS--THE EFFECTS OF CLIMATE ON THE GLUE IN VIOLINS. + + +We may now take this portion of the work as finished and turn to the +consideration of repairs of fractures or filling up of parts last. It +is early yet to think of opening the instrument for the purpose of +rectification of anything that appears to have gone wrong either with +the general structure or with small details. A golden rule to be +observed by all repairers is that of never opening an instrument--that +is removing the upper or lower table--until all other means of +correction have proved futile. Extensive repairs to the interior may +be accomplished without opening after a very careful look over with +proper calculation. There are several reasons for keeping the above +rule well in mind, among them, that if the violin is old and has +undergone much affliction while under the hands of many doctors, some +of these possibly belonging to the "heroic school," it may be found +that the last visitant of the interior had straightened, bent, or +contracted and held some of the parts together while the glue was in +process of drying and that sufficient time had not elapsed since the +occurrence for the strained parts to settle down under their new +condition. An opening of the violin, removal of upper or lower table +or any large portion, must be undertaken after due consideration and +every precaution has been taken that nothing shall be disturbed if the +reparation can be accomplished without. An opening of the instrument +for the purpose of one repair may lead to the necessity of half a dozen +before closing up again. Our opening ceremony will therefore be +postponed until a future occasion, and we will confine ourselves to +the consideration of such external injuries of ancient or recent origin +that may be with the least inconvenience restored to ordinary health +or even strength. The numbers of such and their varieties are more than +can be related, the curious manner of their occurrence, too, would be +an addition that would indefinitely prolong the story. + +Taking, therefore, small injuries or fractures that can be repaired +from the outside, among the first coming to mind and not infrequently +seen, is at the corners, a small piece of the projecting part of the +rib--one of the upper or lower sets; this may have caught against +something and got lifted away from the block, it may be on one side +or the other, in size perhaps little more than an eighth of an inch, +but all the same requiring immediate attention, or dirt will get in +and make an adjourned repair more difficult if not wholly impossible +to obscure. + +According to the condition, age and date of the injury, so the treatment +must be. If the injury is quite recent and the fractures are quite clean, +some good thick glue placed on the exposed surface and the lifted piece +placed back in position may remain there with no further attention than +the wiping off when dry of any superfluous glue that may have exuded +when pressing the part on. This has been a simple matter, but if the +part knocked away is lost, a different course must be pursued. As it +would be impossible to find a piece of fresh wood to fit a ragged or +irregular-shaped hollow, there is but one method to proceed upon, that +of clearing a regular space with a sharp pointed knife. The walls of +the space or opening should be as clean in line as possible, also quite +vertical. A small keen-edged chisel may be found advantageous, as, by +its aid, using it with the angular or sharpened side downwards, the +floor of the excavation can be reduced to a fair level. This +hollowing-out should not be too deep, leaving as much as possible of +the bare wood uncut, only enough being removed for a good holding +surface. If this is done neatly, the opening will be like that of a +box into which will be fitted the fresh wood. As to this last it should +be selected to match both with regard to texture and age whenever +possible, also in continuation of the run of the grain, so that when +fitted it should look as much like the surrounding wood as possible, +that is, when free of varnish. In cutting the wood to the required size +it should not, as in the instance of the aperture, be made with +perfectly upright sides, but the parts that are to go into the aperture +should be a fraction less than the outer, so as to allow of its being +pressed in and fitting very closely all round. As the parts under +consideration lie in the curved parts on the structure, to fit a piece +in with success, it should also be bent with a requisite curve; if this +is not attended to, and the clear varnish comes over it when being +finished off, there will be a glistening of the grain underneath when +shifted about in the light. To avoid this, which is apt to draw +attention to the repaired parts, a larger piece of veneer than +necessary should be first bent into the proper curve and the part nearly +small enough cut from it and then made to fit. The bending of the piece +can be effected by steeping it in some hot water, pressing it into form; +being but a small portion, it will probably retain its inclination; +if large enough and obstinate it must be kept bent by some means until +dry, when it will show no disposition to revert back to its old form. +If these particulars are all attended to with care, the piece of wood +or veneer will only require a little pressure--the opening being gone +over with strong glue--to retain its form in proper position. In case +of failure under these conditions and the parts not holding together +as they should, another course must be adopted. + +It will be most likely that some grease is the cause of the +non-adherence of the parts. The remedy will be that of using a little +benzine on a brush and wiping or mopping out with a small piece of linen +on the end of a pointed stick of soft wood, after which, when quite +dry, some fresh glue must be applied, and the parts pressed together +and held in position. + +Ingenuity and the perception of the adaptation of means to an end will +constantly be called into exercise, and at a part of the instrument +such as is at present under consideration, will be often severely taxed. +Want of purchase or no direct pressure being possible, or at least +perceptible, will be the complaint of the operator, but this can always +be overcome with a little patience. + +Now supposing that a piece has come off at the upper part of the waist +curve, and if narrow or the curve is sudden it will at first sight be +a little puzzling as to keeping pressure on the fresh part, even if +cut sharply and ready to be deftly inserted. The difficulties will be +considerably lessened, if not disposed of, if we take up a portion of +soft pine or poplar, cut it in a moment or two to shape, so as to very +loosely fit the upper curve or part we are about to glue, and not quite +reaching the lower or usually larger curve of the waist; a small piece +of cork placed between the wood to be inserted and that which is to +press it while in position and another piece of cork of a wedge form +can be squeezed in at the other end, so as to prevent the varnish being +injured and to tighten the pressure, which will not be necessarily +great if the fitting is good. + +Another kind of repair not unfrequently necessary, and which should +not be delayed, is caused by the parting of the two ribs at the angle, +in consequence often of accidental knocks and over weak glue. This is +a more difficult part at which to get direct pressure than almost any +part of the instrument. Many repairers would lift up the loose part +or parts, both being occasionally loose, brush a little glue in, +squeeze the parts together and leave them. When dry the ends will under +this treatment seldom be found to meet properly as in their original +condition. The best mode of repairing will be found that of proceeding +by degrees, overcoming the enemy in detail. Thus firstly, we must +observe whether the junction or construction of this part has been +effected in the old Brescian manner--that is, the two equal parts being +brought together, or according to the later method, the end of the +middle rib being placed in position first, trimmed to a feather edge +and the upper left thick and slightly overlapping it and afterwards +trimmed into shape. In both instances the under surfaces must be +cleaned and all the hard old glue softened and cleared out, if +unfractured the surfaces of both corner block and rib fitting will be +as originally left by the maker. In either style of construction it +will be best to proceed first with the middle rib and support or prop +it against the block in the way before mentioned. When quite dry we +can remove the pressure and get to work at the other. After being quite +sure that no hard glue or foreign particles remain between the surfaces +to prevent a perfect fit as in the original condition, a small mould +cut from soft wood again and of a size and shape that will fit loosely +the semi-circular part must be cut, and some soft paper got ready to +go between as a protection for the varnished part. If the parts are +not much worn away, or the front and back plates are in fair condition, +the rib may be glued and the screw cramp, cork or paper of course being +used as a protector, and the rib will be held in position. If this is +not sufficient for getting a close and accurate fit, the soft wood mould +mentioned above must be placed, and a slight pressure gained by a wedge +of wood gently inserted and pressed home. This mode of repair, it will +be borne in mind, is when the upper and lower plates are in fairly good +condition. Different treatment would be adopted if both were separated +or the upper one taken off. + +Sometimes the cramping, although sufficient for getting a good mend +where there is a good extent of surface, will not be quite the thing +for a small part, perhaps a slight opening at the extreme edge; in this +instance a wooden mould, cut in a few minutes from a flat board large +enough to allow of an oval aperture being made that will admit of the +body of the violin being passed through. This being done and a small +wedge being here and there judiciously inserted, will enable the +operator to get enough purchase, or advantage may be taken of the +juxtaposition of the cramp, and using both to gain the requisite +pressure against the bend of the rib in the manner before mentioned. + +There are as a matter of course extremely numerous kinds of fractures +or injuries arising from almost as many different causes. If time and +space permitted, they might be classified and each credited to their +different agencies. Sufficient for our purpose, however, will be the +separation of them into three divisions: firstly, those which may be +the outcome or result of ordinary wear and giving way of parts through +atmospheric influence, such as damp or excessive dryness, or both at +times, in combination with varying temperature. People are apt to debit +the climate of Britain with many shortcomings and the cause of much +undoing of good work in the fiddle world and the prevention of its being +accomplished in the concluding stages of fiddle facture. + +Much of the good quality attached to Italian instruments has been +attributed to the beautiful and dry air of Italy. Now that Italy has +beautiful air no one can deny, that is, while not standing in the +streets of some of the most interesting cities therein, but that it +is dry generally is perhaps going beyond the mark; remember it is a +very mountainous place with some exceptional portions, this may be +easily verified by a glance over a good map of the place, or better, +a tour by railway from the northern provinces down as far as Naples. +Knowledge is fairly general as to mountainous districts, much more than +plains, being the localities where rain is most frequent, the more or +less saturation of the atmosphere following as a matter of course. + +But let Italian fiddles speak for themselves, otherwise than through +the medium of gut strings. The first makers of violins in Brescia used +no side linings, but trusted to the most excellent quality of their +glue for holding back and front to the ribs. That their trust was not +misplaced in many instances is proved by the work in its primitive +condition remaining intact to the present day. With the rise of the +Cremonese school, delicacy in treatment of detail became fashionable; +makers found that in order to give expression to their ideas in as many +particulars as possible over the work, especially in respect of +refinement in the curving of the ribs, less thickness of wood in these +parts would have to be used, especially when of very decided curl; but +this would not hold well except in the driest districts. The system +was then introduced of using the thin slips of wood running from block +to block; the thickness of these, although slight, added to the thin +substance of the rib, allowed a better holding power to back and front. + +The fact is here evident that the glue, of exceeding good quality--and +that it was so will be corroborated by all repairers who have had to +do with the old Italian instruments--was too easily affected by the +damp of the atmosphere. + +Further evidence frequently turns up among the great numbers of old +Italian instruments gathered from all sorts of places, of the efforts +at combating the effects of damp. Some of the means adopted by various +repairers, apparently in the smaller towns--judging by the bad, even +extraordinary woods used--have been very curious, many interesting, +others primitive, even stupid. At about the same time the Amatis were +introducing the use of side-linings, Giov. Maggini was trying other +means of preventing the parting of the upper and lower tables from the +ribs by damp. A method he adopted, and which many later makers +imitated--if it did not occur to them spontaneously--was by cutting +a groove all round and inserting the ribs. It will be obvious from this +that no linings were used in these instances. That his efforts were +not followed by success may be concluded from the fact that he did not +persevere with the system. The simple method of his master was fallen +back upon and thicker ribs placed in position. When we come across one +of those grooved tables it will probably be found--as might have been +anticipated by Maggini had he known beforehand of the course to be taken +by his art, which was at the time almost a local one--that a repairer +has at one time thought it necessary to lift the ribs from one or the +other plate, and almost, of course, bungled over it. This will be seen +in the irregularity of the fitting of the ribs, which have been +ruthlessly cut or torn out of the groove, some portions being left in. +Taking them out was found to be unprofitable work, with a general result +of a wretched wreck remaining, instead of the whole original being +there but shifted a little, from the glue losing its hold while +perishing from the action of moisture. + + + + +CHAPTER IX. + +THE GLUE USED BY THE EARLY ITALIAN MAKERS--INSERTION OF PIECES OF WOOD +FOR REPAIRING LOST PARTS--REPLACING LOST RIB AND REPAIRING INTERIOR +WITHOUT OPENING WHEN POSSIBLE--SECURING LOOSE LOWER RIB TO END +BLOCK--DIFFERENT METHODS--TREATMENT OF WORM-HOLES--FIXING ON GRAFT ON +NECK. + + +Here, before proceeding further, it may be as well to call attention +to the kind of damage done by the atmosphere. We speak of the glue +perishing. Under most circumstances this will not occur, but under +exceptional ones it will. If good in the first instance, it will be +perfectly sound and strong as ever at the end of three hundred years. +I have found this to be so in the work of Gasparo da Salo and his pupil, +Giovanni Paolo Maggini, besides other makers nearly contemporary. What +particular kind of glue they used I am unable to say, possibly they +did not know very much more themselves beyond what they believed was +the best obtainable in their day and city. When the perishing has +occurred there must have been very much moisture in the atmosphere of +the locality in which the violin rested for some time, as the best glue +will absorb the most moisture before losing its firmness, or power of +adherence. Prolonged exposure to damp allows chemical change to take +place and then all adhesive quality is lost; when dry air afterwards +attacks it, the parts of the instrument that should have been held +firmly together are released, with results that may be serious in +degree according to the position of the part affected. + +To continue the consideration of the repair of a violin that has been +constructed with grooves for holding the ribs. A long and troublesome +piece of work would be the loosening and taking away of the fragments +of rib inserted in the groove and cut away by some repairer from the +rest or standing rib; it is therefore preferable in ordinary and neat +repairing to clear the parts that may be ragged or begrimed, firstly, +by washing with a stiff brush of appropriate size and wiping with a +clean cotton rag repeatedly; when the rag ceases to be soiled or +discoloured after wiping, the parts may be taken as fairly clean. A +sharp knife will take off any projections that may be prominent and +prevent the proper placing of the rib in position; if the +irregularities give indication of fitting well, the parts may have at +their approaching edges a touching with strong, hot glue, and the +cramps with protection applied as before for other joinings. + +The probabilities, however, are, that through bad treatment, added to +wear and tear, the parts will not fit under any circumstances, then +the only course will be to make an even surface at the part broken away, +and then fit a piece of fresh wood therein. If the aperture made is +not of large extent and not wide, or more than the thickness of an +average piece of veneer is required, then the fresh wood need not be +bent, but cut neatly for fitting, and after glueing, as usual, slipped +in with a part projecting beyond the surrounding surface. When quite +dry it may be pared down carefully with a sharp knife, or if not +manageable on the curve of the rib, a chisel of size according to the +amount of room; being a narrow slip, after the colouring down and +varnishing has taken place, it will be but slightly noticeable. The +same treatment can, of course, be adopted for either upper or lower +part of the rib; the middle rib position will give the most trouble, +owing to its concavity, but care and patience will overcome the +difficulties of the situation. Should there have happened an accident +by which a hole of some extent is rent in the ribs--either upper, lower, +or middle--it is not absolutely necessary that the instrument be opened +to accomplish the repair; bear in mind the advice given before, not +to open a violin which has been in good going order if the repair can +be effected without. + +As we are presumably working on disabled violins that are valuable, +perhaps old friends, or interesting specimens of a particular school, +to select the best mode of restoration is our aim. For this purpose +we will call to our aid some low class violin, new or old, that is of +no value except for our purpose. If several are within reach we can +select one with wood that matches as near as possible the one under +process of restoration. Being already bent to shape, a portion may be +found somewhere about it, that with a little exercise of judgment can +be cut out to shape, and as in manner pointed out before, be placed +over the aperture of the fracture. Care must be taken that it quite +covers the part, while being likely to fit sufficiently well as regards +figure or curl and direction of grain. The sides cleanly cut should +not be quite vertical with the general plane, the inner surface being +a shade smaller than the outer, thus enabling the operator, with a +little pressure, to insert it, when glued, quite neatly. No +instructions or suggestions with regard to fitting will counterbalance +clumsiness of handling. In operations of this kind, delicacy of +handling equal to anything required in watch repairing will be +obligatory, that is if restoration of a high class is intended. + +It would be impossible to deal with, touch upon, or even to recount +every possible injury to a violin that might be repaired without the +removal of the upper table, but there are still some remaining that +will be worth considering, if only for the purpose of restraining the +tendency to open the instrument upon too trivial a pretext. One +instance occurs to memory at the present moment, in which a violin, +the constant companion and closest friend of its owner, met with an +accident that seemed to him well-nigh total destruction, at any rate, +necessitating much renewal with undoing and plastering up of fractures. +To the fiddle physician it was promptly taken, carefully scanned, and +the owner told that it would be all right in a few days. Will it have +to be taken all to pieces? asked the anxious owner. Not if it can be +possibly helped, was the reply. The violin was called for in due time, +and in answer to inquiries it was fetched and seen to be in as good +going order as before the time of the accident. There was no apparent +evidence of damage, no sign of fracture or any neatly-laid patches, +there were the ribs as sound as when new, no cracks to be seen. How +did you manage that? said the owner, and you say there was no necessity +to take the front off? Easier far, replied the repairer, the more there +is left undisturbed the more assistance will these parts give you +during the progress of restoration, and as you seem curious and +desirous of solving the mystery of this renovation I will relate how +it was accomplished. You are no doubt fully aware that your violin is +of a size and shape well-known in the trade as a "Strad pattern;" well, +there are thousands of violins in any number of degrees of quality +similar in form and size, in fact, for us modern makers there are too +many about. Catching the peculiarities of pattern with my eye at a +glance, the difficulties to be overcome were not very numerous or great. +I saw there was no reunion of parts of the ribs to be thought of, as +they had gone, and your violin being a modern copy of ordinary +pretensions, it would not serve our purpose to join four-fifths of new +rib to the remainder, and so to make a clean and satisfactory renovation +a fresh rib would best answer. Taking down from a shelf a number of +loose parts of violins put aside for such occasions as the present, +I soon found a middle rib that matched in most particulars those of +your violin. It had the additional advantage of being better for the +keeping, as regards colour or looking less new. + +The first proceeding was to clear out all the useless fragments of the +spoiled rib, search every corner and see that there were no splinters +left, and remove projecting particles of glue. All edges that were to +come in contact with the fresh rib were washed, and where permissible, +the surfaces made even by a slight levelling, finely shaving them with +a sharp tool. The fresh rib was then tried, and being of full size and +requiring more than the least pressure to get it placed, some little +shaving down here and there was found necessary, and when done it was +tried again carefully and repeated perhaps three or four times, when +all parts seemed to fit sufficiently well. Each time the rib was +inserted there was, of course, nothing projecting whereby it might be +withdrawn; to accomplish this, a bent wire of sufficient strength +passed through the most distant of the two sound holes gave it a push +out again. When the piece was found to fit with accuracy, little +remained to do beyond glueing the edges that were to come together, +and after seeing that every part was in right position, the screw cramps +were applied with sufficient force and no more, the superfluous glue +wiped away and the whole left to itself. When sufficient time had been +allowed for drying, the cramps were removed, a little cleaning of parts +effected and the fresh work varnished in a manner so as to match nearly +as possible with the rest of the instrument, and there you have your +violin with a fresh rib inserted without removing anything but the +damaged part. It was really, as you may have perceived, the easiest +way of working the thing, there being no secondary process to be gone +through, nothing but cramping down, varnishing and finishing off. + +Another instance comes to my mind of what can be done in the way of +alteration of the interior without removing the upper table. It came +within my own experience many years back, and the violin was one owned +by myself at the time. It had got into a condition not unfrequently +seen after bad repairing, that of the fingerboard sinking down too near +the table through absence of proper support or sufficient grip of the +end of the table where the neck is inserted. Being unable to attend +to the matter myself at the time, I sought the aid of a friend living +close by, a clever amateur violin maker and mechanical constructor of +other things beside. He was not very long setting matters right, and +my violin seemed in no danger of further getting into disorder from +the same cause. I asked him how he had managed the rectification of +the matter; did he take the upper table off? "Oh no, without that. I +simply opened or loosened the left side of the table about and above +the upper corner, then, having cut and glued a slight thin wedge-shaped +piece of wood, through the narrow opening caused by the loosening of +the table, I passed it on a thin knife long enough to reach to the upper +block, between which and the part of the upper table which was not +holding I carefully thrust it and tucked it in, finally glueing and +cramping again the part of the table that I had purposely loosened." + +This was a clever operation, successful but very risky, and not to be +lightly undertaken by anyone without much experience and even natural +ability for mechanical adaptation of means to an end. There was much +danger, from the narrowness of the approach to the work from the side +opening, of missing the mark and dropping the piece of wood with great +difficulty of recovery, and, further, the chance of cracking the upper +table by straining the opening for the admission of knife and wedge +of wood. I heard of the violin but a few days since, and have no reason +to suppose there has been occasion to have any further repairs done. + +Among other mishaps occurring at times, and which from their position +seem difficult to remedy, is that of the lower rib becoming detached, +or losing its hold on the block; this is more liable to take place when +there is a join running up and past the tail pin hole. Both sides may +be loose or one only. When, as in a great many of the old Italian violins, +the rib is continuous, it very seldom gets detached. Here the advantage +of simplicity of construction is made evident. The rib being of one +piece running round the lower end right past the tail pin was not, as +too often supposed, done for a saving of time by one operation, but +for strength and neatness. When in two parts, sometimes with a piece +of purfling inserted--each side is subject to damage either by the +tampering with the tail pin, the nut above, or during repeated removals +of the upper table. Exposure to damp will, as a matter of course, affect +the original glueing of these parts as soon as any other. The detachment +from the block may remain unnoticed for some length of time, until +getting worse by degrees one part may be seen to be lifted or warped +away from the join. If without this appearance suspicion is aroused +in some way as to looseness, it can be verified or not with little +trouble by tapping with a felt-headed piano-hammer, when the sound, +which should be quite solid, will, on the contrary, be rattling. + +Seemingly the repair of this part is an awkward matter from the absence +of any purchase for pressing the parts and retaining them in position +when freshly glued. The difficulty is more apparent than real, as there +are several ways of overcoming this obstacle. To begin with one. The +tail pin will, of course, be removed; if fitting rather tightly and +of good length, use may be made of it. + +As usual all the parts to be glued must be cleansed by a brush and clean +water, sopping up the moisture after each application, pressing +repeatedly the loose parts until they seem to be clean enough. A piece +of soft pine or poplar will now be cut that will be just wide enough +to go easily over the parts lying over the block and which of course +cover all the loose parts that require fixing: it may be a trifle under +a quarter of an inch in thickness. One side must be shaped to fit the +parts over the block when pressed against them and should be a sort +of mould. A hole will now be pierced to admit the cylindrical part of +the tail pin, or if not long enough, a made substitute with a similar +rim. It should be tried by passing it through to the tail pin hole, +and if it fits tight enough to sustain itself against some pulling we +can proceed. The fit should be close enough so that when the peg is +passed through the hole in the mould and the latter pressed by this +means against the rib or the two parts on to the block, all should be +held firmly in position. Taking them apart again, strong glue should +be applied by a brush to the surfaces that will meet or be worked in +as when the cleansing was going on. The peg and the mould--with a piece +of paper on its face to prevent adhesion--may then be pressed in to +hold tight until hard and dry. The same method may be pursued with the +exception that in place of the peg a screw--if one is to hand large +enough--may be inserted. In this case it should be a very loose fit +to the hole, the grip will be obtained by rolling up a piece of paper +and inserting it in the tail pin hole, the screw can then be used against +this inside without damaging the block. + +Another way of accomplishing the desired result will be by a stout +leather strap and buckle passed round over all the ribs of the +instrument; the same sort of mould will be used and applied in the same +manner. The strap will need holding in position at the upper or neck +end over the button, a string over the fingerboard will be sufficient; +at the other end over the mould a wedge of soft wood according to size +will enable the pressure towards the block to be regulated. Another +contrivance with the same mould, for this must always be used, is by +getting a wire with a turned or screwed end fitted with a head or nut, +the other end can be bent to right angles, but not too much length used +or it will not go through the tail pin hole. When in position, having +been passed through the hole in the mould, the right angled or bent +end will catch against the inner surface of the block, the head or nut +being then screwed round will tighten and press the mould towards the +block with enough grip for the purpose if all the rest is in proper +order. + +Should these contrivances not be to hand or are found inconvenient, +yet another method is that of using the screw-cramp. A portion of +mill-board or cork being placed to protect the parts of the upper and +lower table between which the end block is situated, the screw can be +turned tight enough to allow of a wedge of wood being inserted between +the back of the cramp and the mould without risk of shifting; it can +then be left until dry and hard. + +Occasionally there will be not only the detachment from the block, but +there will be the accompaniment of a split in the rib. There will be +in this instance a preliminary cleansing of the split and joining +together before proceeding with the other part. The reason for doing +this is that the pressure on towards the block is apt to widen instead +of closing the crack. The most usual way of mending a crack, or there +may be more than one, is by the use of a small hand vice. A piece of +stout card placed between the teeth of the vice to prevent an imprint, +the part to be joined will, after cleaning and glueing, be brought +closely as possible together and the vice screwed up. For this process +the help of another person will be almost absolutely necessary, as two +hands will be required for holding the parts together while the second +person holds the vice and turns the screw to order. When dry and +unscrewed the parts joined will require a little scraping of the +superfluous glue, washing away at a thin part as this is would be +dangerous; if brought together neatly the rib can then be pressed on +the block in the manner before explained. + +The same process will be gone through when a portion of fresh rib has +to be inserted at this part, owing to loss of a piece through violence +or the ravages of the worm. In the latter case searching inquiry should +be made with a pointed wire or pin and the direction of the boring +operations ascertained, as it may be necessary to insert a larger piece +than was originally intended to avoid a large smash or general collapse +at the part where the greatest strength should be. There is often too +great a tendency shown in repairing, especially in preparation for the +market, as, for instance, when an old master has been unearthed in some +farmhouse or out of the way place on the Continent, to make a clean +sweep of a somewhat riddled part, the repairer trusting too much to +his imitative powers on new wood with new varnish, and we may say with +new ideas on old facts; it is seldom that the result is far from hideous. +Better trace the tortuous course of a whole family of worms and fill +up with a cement or plugging than, as is too often the case, cut a huge +slice away, for if so the instrument according to the extent begins +to assume a composite character, it may be ten out of twelve parts gem +of an old master and two parts modern trash, hateful to the eye of the +connoisseur. + +While touching upon the subject of worm-holes, a few words more may +not be out of place when contemplating the ravages of these voracious +creatures. Almost all devotees to the "gentle art" of fiddling have +a great horror of the possible presence or the ungauged depths of the +mysterious tunnellings the entrance or exit to which will cause a start +of dismay in a searcher after the beautiful, when, in an otherwise +perfectly preserved specimen of art by one of the giants of old, his +eye alights upon that sharply defined circular hole, cut with no +uncertainty of purpose, but with a ruinous intent, for it is business +with the boring party to consume the whole, if possible, at its leisure +and in quietude. This last is an important item in the consideration +of the circumstances under which the "gem of art, old master, Cremona, +real Strad," or whatever title the wooden structure may have been +sailing under. Those who have suffered much from the Italian +fiddle-hunting mania--a condition mostly chronic or quite +incurable--but who may have kept their "considerating cap" well poised +on their head, will know that the worm-eaten fiddles are often devoid +of evidence of usage, sometimes even in the absolute sense of the term. + +Such a one we may suppose before us now; after lying neglected for +generations, or since the time when it was bought by one of our +periwigged ancestors from the maker, perhaps after a little haggling +about the price, which most likely was one hundredth part of its +commercial value at present. It was placed many years since in its +present comfortable case, after being taken out of the old ragged +leather covered one, with the brass nails along its side. Tradition +has it that in long bye-gone days it used to hang suspended from a nail +in the oak panelling of the "old house at home," but that during a more +recent generation and less musical one, it was placed aside in the old +case, as being somewhat interesting from having been brought over to +England from some place in Italy during the reign of James II. Later +on it was taken from this old case, and placed in one of modern +construction, and occasionally was taken out for musical people to see, +some of whom expressed their admiration for its elegant form, others +for the singular transparency of its varnish. None had come forward +with the request to hear what it had to say for itself or what its tone +was. But the day came round at last when someone more inquisitive than +usual, by nature as well as by training, having inquired as to the +possibility of seeing the antiquity, was afforded the rare opportunity +and treat of seeing a perfectly preserved Cremona, nearly as possible +untouched; the connoisseur was informed that no one had been known to +have played upon it. The case is brought forward and opened, the violin, +with perhaps one very brown string dangling from it, is taken gently +up, the left hand encircling the neck, while the forefingers and thumb +of the right, hold the lower part near the tail-piece. + +The violin is turned first one way, then the other, and sideways for +viewing the ribs and the beautiful play of light through the varnish, +the fine curl of the maple with the slightest movement, almost giving +an impression of hastily shifting from one row to another, in fact, +looking as if the wood were gifted with life. Steadily turning it about, +the connoisseur at last breaks out with the exclamation, this is the +most wonderful thing I have met with in my life, it is almost perfect, +practically new, looks, perhaps, but a dozen years old. What a +beautiful design, what colour, and splendid wood, both the pine and +maple, the workmanship, too, having that wonderful freedom of handling +which moderns find so impassable a barrier to success with their +"imitations of the antique!" Lost in admiration for some minutes, the +connoisseur's critical faculties after a while begin to assert +themselves, and he is on the look out for flaws or defects that may +mar the completeness of the whole; it might be a little more this or +that with advantage, not quite so fine in one respect, although perhaps +better in another than the one owned by his friend Smith; but oh! a +wormhole! that settles it, done for! perhaps the thing is riddled, or +even "honeycombed" in parts. The delight at finding a work of art in +apparently so perfect condition is succeeded by a more than +counterbalancing sense of frustrated hopes, schemes for acquisition +of the gem being dissipated at once by that small circular opening just +at the under part of the edging there near the corner. Our friend takes +his departure, but cannot help talking of the "find" to the dealer and +repairer of whom he purchases his strings. This person takes another +view of the affair, and resolves to see the thing and perhaps acquire +possession, so that like his customer, he gets permission to inspect +the violin. It is brought out as in the other instance and he turns +it about, gives it a sly pinch here and there, looks for any light +coloured dust or powder inside and does not see any, a shake or two +with the same result. The subject of parting with the instrument at +a fair price is at length broached to the owner, who would like to know +what Mr. ---- would be prepared to give for it, but this party means +business and not valuation gratis for the owner; he therefore dilates +upon the difficulties attending the keeping of a large stock of such +articles, besides the thing having been bored so much by worms can never +take its place again among prominent examples of the maker, and it would +want a lot of playing upon even if possibly well restored. Mr. ---- +finally departs as owner of a finely preserved Cremona violin, not +exactly for a "mere song," but a few judiciously selected sentences +and fewer pounds. Out of the house his steps are lighter and swifter +as he gets nearer his premises. When arrived he takes it to the +repairing room; removing it from the case he again examines it, and +with a smile says to his chief repairing help--here, what d'ye think +of that? This workman, who has not studied as an enthusiastic +connoisseur during the many years of his working on the premises, takes +it up, looks it well over, and then observes--"well, at first I thought +it was a good modern copy, but now if I don't think it's a real one! +Well, I never! it is, too! look at that stuff all over it." This was +his manner of criticising varnish when it seemed to him of good quality. +"I would like to have some of that! a worm-hole though. Don't know how +far that goes." "We'll soon see," says the other. After a few turns +over again amidst remarks of admiration expressed in different ways, +the fiddle is brought into a good light and preparations made for +opening it. "Why, I don't think it's ever been opened before," says +one. "Certainly not," says the other. "Now," says the dealer, "you had +better do it," and the workman proceeds thus--first removing the +tailpiece and with a "post setter" lifting the sound post out carefully +through the right sound hole, he removes the tail pin, and holding the +instrument to let as much light as possible into the interior, looks +through the pin hole and observes--"No patch in this, Mr. ----, fresh +as a new-laid egg--original bar too,--however, let's go ahead." The +fiddle is then laid face downwards on a cushion or soft pad and held +in position with the extended palm of the hand. The operator then takes +what has been once in use as a table knife, but is now thin and smooth +with wear, keeping the left hand firmly in position and the knife in +the other, he casts his eye round for any portion that may seem looser +or more lightly glued than the rest. It has been very neatly done +however, and one part seems as good as another. "Stop a moment," says +his companion, "let's have another look inside, maybe we shall see how +the worms have been going about by the light passing through." + +It is taken again to a window; the sun fortunately is streaming in and +so enables master and man to proceed under favourable conditions. The +dealer patiently turns the violin about so that the rays of the sun +may penetrate wherever possible through the material; after a while +he hands the violin to his workman--"you have a look, James, I cannot +see any traces--I don't think the worm has gone very far, seemingly +only a short distance from the opening." James looking again, and +coming to the same conclusion, the violin is again taken to the +operating table and the knife taken in hand. + + + + +CHAPTER X. + +WAYS OF REMOVING THE UPPER TABLE AND THE NECK--CLEANSING THE +INTERIOR--PRESERVATION OF THE ORIGINAL LABEL--CLOSING OF CRACKS IN +UPPER TABLE. + + +I recollect many years back, when in company with a violinist of some +note, we were talking over various details in connection with the +reparation and regulation of violins of a high class, particularly +those of the great masters. The fact of so many fine instruments having +fractures of the same kind and in the same position was remarked as +being curious, why so numerous as to form a very large majority? Well, +said the professor, at one time cracks were really fashionable, and +an instrument well endowed with them was thought to emit its tone more +freely, especially if it had been somewhat stiff before. This might +account for some, but not so many coming from all parts, I observed, +from their similarity I am inclined to their being due to one principal +cause, that of carelessness on the part of repairers in former times +and some even of the present. It is through hurry or want of method +in removing the upper table, should it be necessary. A repairer once +confessed to me that he had sometimes caused these fractures in his +impetuousness while going through this preliminary; his excuse was one +frequently made for all sorts of bad work, clumsiness and want of +judgment, that people would not pay for proper time and care being +expended, and so when he cracked the front while taking it off, he glued +it up again. + +As generally is the case, more than one method can be pursued for +removal of the upper table. A somewhat original one was recommended +to me once as being very successful and causing the table to part from +the rest beautifully without risk of fracture, and that was, firstly +to obtain some vessel holding boiling water and with a suitable pipe +attached for throwing a fine jet of steam against the glued parts +requiring separation. Not having seen this done, or tried it myself, +I am unable to speak for or against this process, but there appears +to be some risk of damaging the varnish in the vicinity while the steam +is forced against the small space for operating upon. I was assured +that this was an excellent mode of separation, there being no tearing +about or splintering of the wood. It might be a good method where there +is perceptibly much impasto of glue, and which, while almost readily +yielding to the penetrative power of steam, is a great nuisance under +ordinary circumstances. Another method would be that of getting some +lengths of soft cotton rag or other substance that would retain +moisture well when wetted; these could be laid all round, tucked +closely against the junction of the upper table and ribs and left for +a reasonable time or kept wetted in dry weather. This, if not quite +causing a disjunction, would facilitate the operation of the knife in +the usual way. I think, however, that any departure from the rule of +using the knife is very rare indeed, any other means necessarily taking +time and taxing the patience. + +We will now return to the dealer and his assistant or repairer. The +matter in hand with them is business, and therefore a regular routine +is gone through when the instrument is worthy of first class repair, +and everything conducive to the best results in up-to-date regulation +has to be calculated and carried out in minute detail. Searching eyes +will go over all the fresh parts, looking for any possible inaccuracy, +any slip of the tool or ruggedness where a fine, even surface ought +to be. In order that all may be conveniently attended to, the first +proceeding will be that of sawing off the head and neck, this is done +rather close to the body of the instrument. Under present circumstances, +more care than usual with modern violins has to be exercised, as the +repairer knows that it was customary with the old Italian makers to +secure the neck to the upper block by one, two, or at times even three +nails. They were driven in from the interior before the final closing +up or fixing of the upper table. Sometimes a screw is found in the same +place instead of nails. These arrangements point to a want of +confidence in glue by these old masters, notwithstanding the evidence +we have of their using the finest quality only. In separating the neck +from the body, it will obviously be wise to act in a very cautious manner, +or the saw may come suddenly upon the nails or screw, and there will +be a grating of teeth, and perhaps upsetting of the temper of the +performer. It will therefore be a consideration for the repairer +whether the instrument has been previously opened, or is in that very +rare condition, as the maker left it. Economy of time and labour always +more or less being a desideratum, in the supposed instance before us, +that of an untouched old master, our repairer having had experience +with many Italian violins of different degrees of merit, first proceeds +by removing the old fingerboard. This being short and less massive than +the modern kind, presents but little difficulty. The cushion filled +with sawdust or sand, is now called into requisition. Placing the +violin on its back and tilting it up so that the button and the back +of the scroll press equally on the yielding surface, it is held in +position with some degree of firmness, the fingers of the right hand +being placed underneath the wide end of the fingerboard, a sudden pull +upward causes the fingerboard in most instances to part with a snap. +Should it refuse to do so, other means must be resorted to. The +fingerboard may be one of the old inlaid kind, or veneered pine, and +worth keeping as a curiosity, in which case the saw must be applied +to any part of the neck for removing wood that will not be required +again, piece-meal, until the board is free, when it can be further +cleared at leisure. + +Our repairer, not finding in the fingerboard under his hands any +particular merit, it being besides worn into ruts near the nut by +performers of the early schools, who used but little more than the first +position, moreover, coming away with ease, proceeds to the sawing +process. The presence of nails or screw he believes to be fairly certain, +therefore instead of sawing down close and even as possible with the +ribs, the saw line is made at an angle downward and outward toward the +head, or say at an angle of some forty-five degrees, beginning at about +a quarter of an inch away from the borders of the upper table. The cut +thus made would be free from any nail or screw, unless of extraordinary +dimensions. (Diag. 35.) + +[Illustration: DIAGRAM 35.] + +In the case of a modern violin, the saw cut could be made close to the +border and downward to within a short distance of the button, where +another cut at right angles and parallel to the surface of it will free +the neck completely. The violin, now as before, is placed front +downwards on the cushion or pad, some repairers would hold it on their +knees, but only in the absence of either means. In the present instance, +being a prize and sure to eventually pay for any amount of trouble and +skill expended, the violin is treated in a manner that long experience +and judgment dictate as safest. Opening the instrument has been agreed +to as being absolutely necessary, the old short bar would certainly +prove inadequate to withstand the pressure from above if the violin +and its fittings were to be subjected to modern regulation under +present conditions. Everything being ready, the operator with steady +hands inserts the knife with a sudden push at the under part of the +edging--from the position of the violin the knife would now be above +it--at the lower quarter of the instrument, this having the largest +curve and therefore being weakest in resistance to the plunge of the +knife. As the thin bladed knife is worked along, there is a tendency +to stick occasionally. This is counteracted by running along, or +slightly wiping the surface of the knife, a cotton rag, with the +smallest touch of oil upon it; this will enable the knife to go quite +smoothly. Great care is exercised that the knife is held on an exact +level with the plane of the pine table, or there will be great risk +of running the knife into the pine instead of lifting it away from the +joint. Evidence of bad judgment in this respect is not infrequently +to be met with on otherwise well repaired instruments. A series of sharp +cracking sounds come forth as the knife works its way in. It is worked +along in either direction until near the corner block or near the nut. +At this part, the violin being in the original state as fresh from the +hand of its maker at Cremona, the treatment will be slightly different +to what it would be after modern regulation. + +The knife will come to a full stop here, and be taken out for proceeding +with the release of the table on the opposite side. It will be as a +matter of course, necessary to place the violin the other end foremost, +the larger end being furthest from the operator; the knife, as before, +being inserted at the large curve in the same manner and for the same +reason, finally stopping as before at each end. The principal reason +for stopping at the end is that with most of the old Italian violins +there is a short wooden pin, probably used for temporarily securing +the table in position before the final glueing down. These wooden pins +of hard or tough consistency being driven in firmly, offer considerable +resistance to the passage of the knife if the latter is forced through. +Most of the violins having these pins originally, give evidence of the +exertions of the repairer to press the knife through these obstacles +at the risk, ofttimes with certainty, of breaking up or smashing the +fibres of the surrounding portion of the pine. Of a dozen old Italians, +perhaps on an average ten will be found with this part broken, jagged, +or having a portion of fresh wood inserted where ruffianly treatment +has bruised the threads of the pine past remedy. Our professional +repairers, being men of experience, further, both having a natural +disposition and qualification for their calling, know better than to +use much violence in this part of their work, so taking the knife away, +the operator cleanses it from all glue or resinous particles, and when +perfectly dry, passes the slightly oiled rag again over both surfaces. +The knife being inserted again and again, is pressed round about the +pin and thrust forward so that the increasing thickness of the blade +may act as a long wedge, this gradually lifts the table away, leaving +the pin standing. + +The lower end will require the same treatment for easing the upper table +round the pin. In original condition most of the old Italian violins +would not give further trouble, but some later or middle period ones, +instead of the small piece of ebony or other hard substance slightly +inserted or laid half way through the table, have an ebony nut going +quite through and down in a triangular form nearly to the tailpin. In +these instances a small knife held vertically and pressed along between +the parts of the ebony touching the pine will enable the table to come +away gradually in the manner indicated. We now may suppose ourselves +again in the presence of the repairers, operator and master; the upper +table has been successfully and cleanly released from the blocks and +along the upper edging of the ribs, very few splinters here and there +are left, giving double evidence of neat glueing on the part of the +maker and systematic care on that of the modern repairer. + +Being now quite free and gently lifted off, the table is turned about +for a moment and attention is directed to the interior. The two men +look at all the parts with very different eyes. One with eager +expectancy, critical eye and much experience, sees at a glance much +that intensely interests him, confirms certain views of the old methods +of working, whether the wood was white and new when the violin was +constructed, how a little of the precious material enveloping the whole +structure had dropped through the sound holes during the process of +varnishing; watches the form of the drops whether they indicate a thin +or a thick solution of the resinous particles, whether these have +cracked or blistered in the Milanese or Venetian manner, whether they +show signs of having set at once or remained soft and running for a +time; the corner and end blocks, their material, and whether the same +as those linings let into the middle ones and their being finished off +before or after the placing in position. The joint of the back too, +and if there remained any evidence of system in working different to +what we moderns would do? These and other queries passed rapidly +through the mind of the dealer and connoisseur, more of the latter than +the former, and that is why he was not more successful by many degrees +than any others of the fraternity. To be a dealer in the strictly +business sense of the term, a number of valuable violins must to him +be no more than potatoes in a basket to a greengrocer, _i.e._, what +they appear worth. + +His assistant--a good accurate mechanic in almost all respects, sees +in this unearthed "old master," "gem of antiquity," or _chef d'oeuvre_ +of Italian art, nothing but the interior of a dirty brown box with a +rolling ball of fluff resting in one of the corners. + +There are perhaps few things more disappointing than the interior of +a violin when opened for the purpose of repairing. Be it a matchless +gem of Cremona's art or an old and common Tyrolese worth but a few +shillings, the difference to an ordinary observer is so slight as to +be uninteresting, indeed to connoisseurs of experience there is not +the variation sufficient to excite curiosity to the extent of opening +the instrument on that ground solely. The raw and unvarnished wood, +with the parts between the threads swollen from damp, begrimed and +repeatedly washed by repairers, presents anything but a pleasing +spectacle even when the interior of a fine "Strad" or Joseph is laid +bare. Many years ago a friend owning a fine Cremonese viola asked me +to open it and find out the cause of some buzzing or rattling within +that had not been evident till that time. After an examination, finding +that opening it would be absolutely necessary, I asked him whether he +would like to see the interior of what he had paid so much for; it might +not prove an enjoyable sight from the roughness and dirt of ages in +combination with clumsily executed repairs while in unskilful hands; +being unaccustomed to such sights he wisely restrained his curiosity +and waited till all was placed right again. + +But to our dealer and workman again; the former, taking up the two +portions alternately, at last makes the remark, "Clean work, James, +inside as well as out, good tool work, they had some steel in those +days, plenty of glass-papering here apparently, unlike some others +made at the same period, time seems to have been no object. Possibly +the maker was well paid for his work, if not he ought to have been." +To these observations the workman only gives a sniff in reply. He thinks +that all this can be quite equalled at the present day, if a fellow +is really well paid; but this is reckoning with only a part of the +subject. A further exclamation of admiration comes from his +chief--"Think, James, what a wonderful draughtsman this old Italian +was; mind you, this is not a copy, traced from something else as we +should do now-a-days, but a first idea, an original design; it is in +some respects a departure from the man's best known patterns, good as +them, however, although differing; look at the way those lines run from +point to point, what ease! the tenderness with which the sound holes +are drawn, the lightness and freedom! that man was a born artist if +ever there was one!" Another sniff from James, who doesn't believe in +born anything, but that good work comes with good tools and a reasonable +prospect ahead of good remuneration for extra trouble. "Don't see, sir, +why we can't put a bit of purfling round as clean as that! some of those +French copies are as cleanly purfled as any part of this!" He is +released from the necessity of further illustration by his chief +interposing: "Quite true, James, and if these mechanical copyists had +put as much energy into efforts at truly original and artistic designs +as they have in copying that which seems to have been laid down for +their guidance, they would have advanced very many steps further than +they have done in the essentials of the art--in the highest sense of +the term--of making violins. But we must get to work, there are lots +of repairs of all sorts for us to get through the next fortnight, and +as there is comparatively little anxious work about this job we will +get it out of hand!" + +The violin is now subjected to another and final inspection before the +active treatment is commenced. "How about that wormhole, James, that +we were worrying over before the separation of the upper table?" +"That's just what I've been looking at, sir, and as it doesn't go more +than a quarter of an inch into the wood--I've tried it with this bit +of wire--the maker must have cut this bit of pine from a worm-eaten +log, perhaps because it was old and likely to give a good tone!" "There +you're wrong, James!" the chief interposes--he is rather inclined to +snub his assistant when that essentially practical man gives any +indication of a flight of fancy--"the 'worm' is no sign of age, I have +known it to affect wood that has been cut but a year before its discovery, +and do you think those old Italians were such fools as to make fiddles +that would be only fit to be heard when tried by their descendants two +hundred years after they died?" James collapses, and getting a basin +with some warm water, a cloth and a piece of sponge, proceeds to smear +the latter up and down and round the sides of the instrument. The sponge +and water soon show signs of the work in hand. "Very dirty, sir, hasn't +been washed for a hundred years, I should think! There's a ticket, too, +but I can't make out much of it. I'll wash it over a bit." He then begins +to try the deciphering, taking one letter at a time. "There's a large +H at one part, the next is A or O and then U or N, and next to it there's +R or D; its either London or perhaps its one of those we came across +the other day, Laurentius something." "It's neither one nor the other," +his chief almost roars, while rapidly striding across the room to his +assistant, who hastily hands over the portion of the violin, glad to +leave the regions of speculation. "There's nothing about that fiddle +having any connection with any place but Cremona," and the chief bumps +down into a chair to further study the mysterious ticket. "You have +not improved that ticket by washing it, the date has gone and the +greater part of the print; you should never wash a ticket, that is how +the very large majority of even well preserved ones have lost the date +or part of it written with ink in which gum has been one of the +ingredients and which is easily dissolved, the best way after dusting +it is to get some bread and rub gently over the surface, and if that +does not bring out the letters or figures you may mostly consider them +past recovery." + +James does not think much of this attempt at instilling wise maxims +into his prosaic constitution, and replies "I don't think you could +have seen more letters before I washed the ticket than after, sir, the +plainest were what I read out, which looked more like London than +anything else. There was another word underneath which I think was alum, +that's English, isn't it?" This is intended as a kind of parting shot +in a contest during which he has been slightly uncomfortable. The chief +answers rather snappishly, "No! that's Latin. I must tell you that at +the time so many of the finest fiddles were made the use of Latin was +very fashionable, being used much on monumental decorations, +signatures to works of art generally, down to the prescriptions of +doctors, which we have not got rid of yet; that is the former, the latter +are always with us and will be. But stop! why, after all, this is not +the original ticket, I think it is one pasted over another! hand me +that camel hair brush and the water." This being done, the wetted brush +is repeatedly passed over the ticket so as to keep it moist till the +water has soaked through and dissolved sufficiently the glue or gum +that held it close. After a while, the corner is gently lifted up with +the aid of a pointed knife, the end caught hold of and pulled; by degrees +the whole of the upper ticket is lifted off, leaving to the pleased +eyes of the chief the original ticket in all the better preservation +for being covered up. "Yes, there it is! I knew I was right, a fine +Nicolas Amati! I believe that top one is the remains of a Laurentius +Guadagnini Alumnus Stradivarius, which some wiseacre thought a more +appropriate title." + +The Guadagnini ticket is laid by till dry and then placed in a small +drawer in which are a number of others of various makers and +nationalities; it may emerge from its obscurity some day and become +of use so far as the condition or its legibility will allow. + +The upper table is taken in hand again by the chief, turned over +repeatedly and both sides of the border carefully examined for the +presence of any cracks, long or short, old or new, the latter being +scarcely expected, as the assistant is of a sufficiently cautious +disposition naturally and as yet has not been debited with any charge +of injury to his work from over haste or carelessness. "There is a very +small crack at the lower right side about one inch from the centre, +I think, but let us be certain, have you got your glue in good order?" +"Quite," is the reply, "fresh and strong too, sir." "Just see if that +mark is really a crack or not." The assistant takes the portion in hand, +holds it to the light, examines it from different angles of vision, +and finally resolves to test it in the following way; holding the plate +of pine carefully with the left hand, with the right holding a "camel +hair" dipped in clear water, he passes it over the possible crack, then +taking the plate again in both hands, with the thumbs placed on each +side of the mark, the fingers being underneath, it is very gently bent +backward and forward, and the wetted part closely watched. Presently, +the water is observed to gradually disappear, having worked its way +into the crack. "It is one, sir, but quite clean as if newly done." +By this time, the slight bending, or what is really the case, the +opening and shutting of the crack by the movement, causes some minute +white bubbles to appear along the course, these give an indication of +the extent of the fracture, which is something over an inch in length. +"I think it is the result of the contraction of the wood from being +kept in such a dry place, it is not a repairer's crack, which would +have extended further into the centre," so the chief observes, "get +the hand vice ready with the paper, and I will hold the parts together." +At this time, the fresh warm glue is being applied in a similar way +to that of the clear water, the latter enables the glue to work in or +follow the course of the moisture, and similar, but whiter, small +bubbles are seen along the direction of the crack under the +manipulation as before described. The small hand-vice, having several +layers of stout white paper or card inserted at the opening or between +the teeth, is slackened to receive the part of the border to be held +together. The chief, holding the plate with the fractured part furthest +from him, and consequently in front of his assistant, it is held in +position firmly by both hands. "One moment, James!" he exclaims, "this +border has had little or no wear, and the surface is so fresh, that +if we use card or paper alone we shall leave a mark of the pressure, +hand over those thin pieces of cork and let us put them between the +paper and the metal of the vice, there, that will be better for standing +the pressure, more elastic you see." The vice under the fresh +conditions is now applied, the parts of the table or plate are brought +together accurately and held tightly in position by the fingers, the +glue exuding from the crack where it can be seen just beyond the reach +of the paper, the screw is turned tightly by the assistant, and with +the remark, "that will do," the whole is left to him for placing aside +while drying. + + + + +CHAPTER XI. + +GETTING PARTS TOGETHER THAT APPARENTLY DO NOT FIT--THE USE OF BENZINE +OR TURPENTINE--TREATMENT OF WARPED OR TWISTED LOWER TABLES. + + +"We will now," says the chief, "have a look at that old Brescian violin +that I bought last week, it is in that set of drawers by the bench there, +the third from the top." The assistant gives a look in the direction +that would strike a spectator as expressive of doubt whether a violin +could be even squeezed by hard pressure into any of the drawers. +Nevertheless he obeys, opens the drawer, and seeing only a brown paper +parcel tied with thin string, takes it out and holding it up says, "do +you mean this paper bag, sir?" "Yes, that is it." The paper bag is +brought to the table at which the chief is sitting and who undoes the +string and paper, letting loose a number of begrimed pieces of +veneer-like wood, some of these fractured, the upper and lower tables +comprising three parts, a head that some modern makers would think ugly +enough to cause a nightmare, with its short heavy neck as left by the +maker about three hundred years back. The condition of the whole +concern was suggestive of its having been raked up from some out of +the way dust heap that had, after the oblivion of a century, at last +caught the eye of a modern sanitary inspector. There was only one sort +of person to whom it would be at all inviting, that of our chief above +mentioned. "Now that is what I call a bargain, James," he begins, when +turning over the pieces one by one; "all perfect, not a part lost. I +bought it of a dealer in the country who said he could not get the parts +together, they would not fit, and he was glad to get rid of the lot +with as little loss as possible." James at this moment has been placing +the two tables of the violin together and remarks, "I don't think these +belong, sir, the back is nearly a quarter of an inch shorter than the +front and narrower too." "Never mind that," is the answer, "the style +is the same, the purfling, the work and the varnish are the same, it +was all together at one time and looked well enough, and it will have +to go together again and possibly look much better, and you will have +to do it under my instruction, as you proceed, it will repay for all +the trouble and time spent upon it by its appearance and tone. The man +who sold it to me said that its former owner told him he had a good +try at getting it together and failed. This is the direction in which +they have both made their mistake, they treated the unmechanical old +Italian work as they would a modern copy of a Cremonese maker, and which +had been built upon a machine cut block that served for ever so many +warehouse fiddles; these old Italians had to use the hand bow saw, which +was not adapted, unless great care was taken, for getting very true +upright sides, hence the upper and lower tables are as often as not +differing in size, sometimes the upper is largest, at others the lower. +Occasionally the length may be the same with the width differing. Now +you had better set to work and wash all that muck from the pieces, be +careful not to separate any parts that may be fairly well fixed. I want +you to do this cleaning in my manner, not that which you were accustomed +to before coming here. I know the too frequently pursued method of +putting the whole collection of parts in a tub of water and there +letting them float about until the glue has dissolved and left the wood, +but the following is preferable. Firstly, get some hot water sufficient +for your requirements as you proceed, renewing it occasionally. Your +piece of sponge you always have ready, and your cotton cloth as usual. +I have cut down a hog hair brush of half-an-inch in width, you can use +other sizes according to convenience. Being cut abruptly across, they +can be used as small scrubbing brushes after dipping in the hot water. +The advantage is that of your being enabled to leave untouched or even +dry, certain parts which you are not desirous of interfering with. The +occasional sopping up with the sponge and cloth will show the progress +that is made. The dark, dirty glue of the modern fiddle tinker will +gradually wash off, leaving frequently the ancient, light coloured +stuff in quite a fresh state and sharply defined, further, it will +sometimes give you a hint as to the exact position which the adjacent +pieces held originally. There will not be any necessity for scrubbing +very hard with the cut-down brushes; if this is done the surface of +the wood will suffer; a little patience as one part after another is +cleansed and the whole completely denuded of its covering of dirty glue +and grime, and it will be perceptible that there is method in this, +and consequently the most rapid real progress. + +"Occasionally there will be found in and about old repairings or +tinkerings lumps of pitch-like substances, hard or soft as the occasion +has seemed to the workman to require, or possibly the only stuff +obtainable, if not with the idea of a damp resisting material. These, +as you know, will be treated in your usual manner, that is, removing +with a blunt knife for a large piece and a piece of fine flannel wetted +with some pure benzine, which having a strong affinity for any oily +particles, absorbs them rapidly and leaves a clean surface. Spirit of +turpentine will also answer the purpose, but is less rapid in its action +and does not evaporate so completely, leaving a slight residuum of +resin. Alcohol of any degree of strength must be kept quite away from +the work, as even supposing it specially adapted as a solvent for +removing the objectionable material that may be found clinging +anywhere, it has such destructive action upon the old Italian varnishes +that the slightest drop on the surface will cause irreparable injury. +Keep it quite clear of your repairing work, it is not absolutely +necessary under any circumstances, although it is very tempting to a +slovenly repairer." + +We will now suppose that the instructions have been duly carried out, +the different parts have now resumed their original condition of +cleanliness and have a wholesome aspect. One or two of the ribs left +standing and even undisturbed since being placed in position by the +maker about three centuries back, serve as a guide respecting the +projection of the edging over the ribs. After carefully noting this, +and damping round the inner edge, these are removed and placed aside. +The chief and his assistant are now enabled to thoroughly examine the +work of this product of a by-gone age. It is none the worse for being +clean. The comments upon the tool-marks now visible after the +dispersion of the grime are of a rather opposite character, the +connoisseur noticing the manner of working over the surface by the old +Italians as being different to that pursued now; the assistant sees +nought but rough gougings and scratchings as with a notched or blunted +tool, and concludes that the old makers were not as good workmen as +the moderns. "Now, James," says the other, "you have been doing little +else than repairing since you took up with this business, and have never +had the opportunity of working a violin from the beginning, straight +off the stocks, without being drawn away to some other work. Consequent +upon this your work has not so much distinctive character, much effort +at mere smoothness being apparent and in excess of good style. These +old Italians were designing and making new violins day after day for +their livelihood. Repairing, when they could make equally good, fresh +instruments, was to them of secondary importance, and so we find +restorations in the olden times were of a kind we should now call very +indifferent, if not altogether bad." + +The lower table or back of good sycamore is now turned about and well +scrutinised by James, who now remarks, "this back is warped, I think +that is why the last two owners could not make the other parts fit well, +what is to be done with it, we are not likely to make a better job of +it than they were with a back twisted like that?" The reply is, "that +old Brescian maker was not likely to turn out a new violin with such +a twisted spine! that condition has arisen since and is not a +constitutional defect, it has been caused by damp and straining, and +being repaired while in the strained condition, it retained the twist; +we must alter that. Fortunately, the back is in one piece, so we shall +not have the trouble about the joint, although with the necessary extra +care the treatment would have to be much the same. Now, first of all, +get a cotton cloth sufficiently large when folded once or twice to cover +a surface such as the violin back presents. It must now be well soaked +with water till it holds as much as possible without dripping. The +violin table will now be placed with the varnished side downwards, the +wetted cloth placed over it. Be sure that the surfaces of cloth and +wood are in contact by gently dabbing it down all over. It can now be +placed aside for about three or four hours in order that the moisture +may soak into the wood for some depth. Meanwhile we may determine upon +and get ready the means whereby the warping, as far as possible, if +not wholly, may be got rid of. It must be borne in mind that the wood +which was cut in its natural state from the tree and mostly with the +grain, will be disposed, under the influence of damp, to return to the +original form or condition in a more or less degree. Under good +management, that is to say, with a sufficient amount of damp and no +more, it almost seems to try to resume its old condition. This will +be borne out by watching the effect of much wet upon any wood that has +been previously bent into shape, or upon the separated ribs of a violin. +The efforts of the wood to return to its original conformation will +be apparent in the instance of the ribs, perhaps provoking, as the +re-bending without injuring the varnish, which may happen to be of the +most lustrous and delicate description, is often a matter of great +difficulty, and at times an impossibility." + +It was for the purpose of avoiding the risk of such defacement that +the brushing away of the glue and grime by parts at a time was +recommended, although the time consumed by taking the parts in detail +may often be a drawback. If the ribs are quite saturated, as when left +to float in water, they will be sure to come out nearly straight, and +the varnish, if not of the kind that has been worked well into the wood, +irrecoverably spoilt. Even when quite so, the trouble does not end here, +for the wood having taken nearly its own form again, will have to be +bent, with all its attendant troubles, into shape. Complete saturation +of any part of the violin should therefore be avoided. + +The "making" or arrangement of whatever may be needful for getting rid +of the warp or twist of the back plate will now have to be decided upon. +There is generally more than one way of getting over a mechanical +difficulty, and in the present instance there may be many, but the one +promising to be most successful and offering the least number of +obstacles to success will have attention. The repairer takes in hand +some of the softest wood obtainable, say American pine, or if any is +easily obtainable, poplar; that kind known as "black poplar" is perhaps +as free from hard thread as any, a couple or more of slabs about three +or four inches wide and two or three longer than the upper and lower +widths of the back, with about a quarter of an inch of thickness. An +opening is bored in each, one in which the upper or smaller part will +pass through, the other sufficiently large to admit the lower or larger +half. The opening must of course be enough for admission of the rise +or modelling and a little more. The object of this will soon be apparent. +When the inner surface of the back plate has absorbed sufficient +moisture from the wet cloth, this being so in the judgment of the +operator, the wood will have lost very much of its resisting power to +twisting by the hands. Advantage is taken of this condition, and each +piece or collar of wood passed over the proper portion of the back like +a loop. If fitting tolerably close, all the better; but it may require +a soft wedge or two in parts to keep it from shifting after being placed +in position. In some instances more than two or even three or four +pieces may be of advantage where the tendency to twist is irregular. +The operator now gets a short plank of ordinary wood, of even surface, +straight, and true as possible in each direction; lifting the violin +table with the loops of wood attached and placing it on the plank, some +of the loops will be raised up on one side while others are depressed +at the same. In the case of the simple warp, one of the two will vary +in rise or a different angle to the plane. The process now is simple, +and the loop rising at one side will be pressed down and held in position +by either a weight or any contrivance handy. It should be done a little +more than seems necessary for restoring the even line of the edging, +which can be fairly well seen by looking along from end to end; this +is to allow of a slight recoil when the loops or wooden cramps are +removed. + +For a more determined twist the extra depression of one part can be +accomplished by inserting layers of wood under the opposing parts so +as to get more distance for the remaining one. + +Nothing is now required but the drying thoroughly. This will be +according to temperature and moisture present in the atmosphere; no +artificial means should be resorted to. + +Not the slightest injury will accrue from the process described, +provided due care is taken that there is no overstraining, and the +damping is neither excessive nor insufficient. The result of the former +is likely to be an inequality in the bending, the line or level of the +edging when looked at along its course, will look uneven, as if some +upheaval had taken place here and there. Courage and caution are +faculties brought to bear strongly and continuously on the subject by +every repairer with a reputation for success. Without the former, many +attempts which might have ended successfully have proved to be failures +and to require doing over again; and insufficiency of the latter is +what is so strongly evident in a very large majority of so-called +"restored" violins. The cases may have been considered by the repairers +as requiring heroic treatment, overstraining, excision of an +unnecessary amount of the old wood, making too much of a clean sweep +of parts that may have afforded food and lodging for bore worms being +too evident, besides the saving of time and trouble. + + + + +CHAPTER XII. + +REMOVAL OF OLD SUPERFLUOUS GLUE BY DAMPING--REPLACING OLD END BLOCKS +BY NEW ONES--TEMPORARY BEAMS AND JOISTS INSIDE FOR KEEPING RIBS, ETC., +IN POSITION WHILE FRESHLY GLUED. + + +To the workroom we will again return. The back has had ample time to +dry while the assistant James has been doing other work of an ordinary +or trifling character. The loops or collars are gently released, put +aside for future use, and the now much less warped back is brought for +the chief's inspection. "That will do, James, nicely, I think, now you +will be able to go ahead with the other parts, and perhaps we shall +be successful enough when the whole is finished to make those people, +when they see it, rather regretful at their hasty disposal of the paper +full of scraps of old Brescia. While we are in the bending mood, however, +we will get that Lorenzo Guadagnini into a little better trim, you left +it on that shelf over there last week." James fetches it, a rather +woe-begone affair to an ordinary observer; it had been cut open, the +head sawn off, placed inside, the upper table laid on and a string +passed round the waist and tied with a loose knot. "Look at it, James, +and tell me what is wrong and the remedy." The string is untied, and +the parts laid on the bench and examined one by one. "In excellent +preservation, sir, in most respects, although it has been opened many +times and a heap of glue left about it." An inch rule is taken up and +passed over the separated parts for comparison; some slight expression +of amazement passes over James's features, re-measurement ensues, and +turning to his chief he remarks, "I didn't see that at first, sir, it's +worse than that old Brescian; just look here, sir, the ribs are not +upright, but bending inwardly; across the upper part they are so much +out of the perpendicular that when the upper table is laid carefully +on, instead of there being the eighth of an inch of overlapping border +it is nearly a quarter of an inch each side; and what is more curious, +the ribs do not seem to have been unglued since they were first put +there, excepting a small part at the upper and lower ends, and see, +sir, when I put the upper table on it is like an arch, and to press +that part down on to the ribs will send a crack along from the sound +hole on either side, which will simply be breaking up the whole affair +by degrees." "Well, what method would you propose for correcting all +this and making a good restoration of it, James? Give it a look over +carefully and tell me." The assistant well knows the attendant +circumstances connected with a good restoration or a bad one; if left +as it is, it may be sold "in the trade" for so much, if badly restored +it will fetch less, if well done it will be worth to the outside world +a considerable sum, and if it should go well as regards the emission +of its doubtless fine tone, the value as a whole would be greatly +enhanced. Much thinking and careful calculation is therefore +concentrated on the subject, and after awhile James says, "Well, sir, +this lot of glue all round may as well come off first as last, there's +no doing anything with it as it is." With this his chief agrees; so +he sets to work, not with a chisel or any cutting instrument, he is +so far advanced in his methodical working to know from experience that +it is next to impossible to avoid injuring the sharply defined and level +edge of the rib as left by the maker originally if such rough treatment +as filing, chipping or cutting is resorted to; he therefore adopts a +milder course of treatment. Taking a few pieces of cotton cloth or white +sheeting--old calico is equally efficient--he folds them into several +layers, and when so about four inches long by about three-quarters of +an inch in width. Nearly a dozen of these are got ready. After being +soaked in water, they are taken out and slightly squeezed so that they +no longer drip. One by one they are placed all round on the edge of +the ribs close to each other so that no vacant space is perceptible +between each, and after a gentle patting down with the fingers along +the course they are left to do their work quietly, more effectively, +too, by far, than any steel tool with the brute force necessary for +ploughing through that most obstinate of materials, hard, dry glue. +These folds of cotton material James calls his poultices for drawing +the impurities away from the system; they, in the present instance, +afford him time to think over the sort of engineering that will task +his energies to some extent. + +Leaving the poultices to their work, the old Brescian is again taken +in hand under the direction of the chief. "Now, James, let us look over +the parts again. The next step must be getting the end blocks attached +to the back. We have got that into a tolerably straight line again, +so that we can work on the affair almost like a new fiddle. Those old +blocks, well I should like to retain them if possible, but on looking +over them very little discernment is sufficient to conclude that fresh +ones will be not only better but necessary. In the first place, they +are very small, were roughly cut in the first instance, and since have +been meddled with by would-be restorers; good new ones properly fitted +will be far better than old ones added to, necessarily for strength. +Some of that old pine, or as good, that French willow will suit our +purpose. We will choose the latter. See that the grain runs +perpendicularly or at right angles with the cut surface that is to be +glued down. Chop or split it, don't saw it into shape, and then you +can finish it off when glued into position, when you will not find you +have to cut against the grain." This, as a matter of course, is +conformed to, the blocks split off the bulk or plank, sawn to a little +over the proper length or height to allow of finishing, and then the +surface to be glued is made even and squared with the part against which +the ribs will be hereafter glued. The lower end one will of course +require a trifle of curving to allow of the ribs following the course +of the curve of the border; this the assistant duly sees to by trying +it in position until it appears to be satisfactory. The parts of the +blocks to be left facing the interior of the violin he leaves roughly +done to shape and size of those in modern violins, that being found +the best from experience since the demise of the old masters of Italy. +The upper one is left more protuberant, or nearly semi-circular; the +reason for this is that the strain upon both upper and lower table at +this end is greater than at any other part, therefore if the block is +too narrow there is not enough grip or extent of glued surface, a +frequent result of which is the lowering of the fingerboard, and a +buckling of the surface underneath of the upper table, a condition much +to the detriment of the proper emission of the tone. Great attention +should always be paid this particular part. Many repairers seem fearful +that the air-space of the interior of the violin will be lessened by +a projecting block. A little consideration will enable them to see that +for effectiveness of purpose the form of the interior of almost any +violin will not--from its curved surface--allow of an over large block +with a flat glueing surface above and below. + +These conditions having been seen to, the assistant with some freshly +made glue paints over the surfaces of the ends that will be fastened +to the lower table. As this is to be for a permanency, the glueing must +be of the best. When dry, the surface is scraped even and the usual +glueing and cramping done. + +To Lorenzo Guadagnini again; sufficient time being allowed for the +moisture in the folds of cotton to affect and be absorbed by the glue, +the assistant fetches it from its enforced retirement, brings it to +the light carefully, lifts up one of the poultices, touches the glue +with the tip of a small knife and is satisfied. The glue has been +softened and is now little more than a jelly attached to the prominent +parts of the ribs. The first thing will be to get some rag or paper, +place it handy and remove one of the wet pads or poultices, then with +the small knife, kept for such purposes, being blunt and worn smooth, +the glue or jelly is carefully scraped away. The advantage of using +the blunt knife will be evident, as it does not cut the surface as it +passes over it. The point is occasionally used for any corner that may +require it. After this a small sponge or rag dipped in warm water is +passed over the edges and removes what is left untouched by the knife. +This is repeated with each separate pad in succession all round and +when completed the work is put aside and allowed to dry. A previous +examination of the inside surface of the upper table had shown the +necessity of similar treatment, but not to such an extent. + +Not much time expires before the assistant brings the parts before his +chief. "As clean almost as when new," is the exclamation of the latter; +"it really wants little more than a new or proper bar and then glueing +together." "Yes, but about that difference of measurement, sir, across +the upper and lower parts." Here the assistant takes the upper table +and places it like a lid on a box; turning it back downwards for better +inspection, he says, "it's nearly a quarter of an inch out, the border +overlaps frightfully, you would not glue it up like that, would you, +sir?" "Certainly not," says the other, without the least sign of +annoyance on his features. Turning to his man he says, "Now, James, +here is a nice little instance where you can study with much interest +and profit the subject of cause and effect. You drew my attention to +the excellent preservation, and you have removed what appeared to you +at first sight the only impediment to perfect restoration, that of the +coarse glueing. You have rightly observed that the back has never been +removed, and yet the ribs bend inwardly when tested and seem to require +a smaller upper table. The reason is plain after you have given the +matter some right consideration. The maker, as you know, was an +excellent artificer and was a pupil of the great Stradivari. Now here +is the cause; the violin has been, as you know, opened several times +by persons more or less unfitted for the proper performance of such +an operation, fiddle tinkers I call them, and with a pot of thick dirty +brown and repulsive looking glue, have with a coarse brush dabbed it +all round and then screwed the lid down. The successors in this ghastly +process have not had the decency to treat the instrument as worthy of +much care, and so with dirty cloths and glue have again repeated the +work, if it may be dignified by such a term, spoliation is perhaps a +better one. Now we know that the violin has been separated and left +so, being merely tied up, and been in that dirty little den of ravening +wolves or tinker dealers for nobody knows how long, with the rays of +the sun falling on it for many days; the result is as we see, the back +has contracted and drawn the ribs in to some extent, it is glue-bound, +we will set it free, the wood itself will help us, as if glad to resume +its former occupation; give me that soft brush with clean water." This +being handed to him, the chief with repeated and careful strokes and +dippings of the brush passes over the surface, going round but leaving +untouched the label, which seems to have remained undisturbed: the +joint down the centre is avoided in a similar way. After some time, +as the moisture has penetrated the wood, he turns to the assistant, +saying, "now, James, try the front on"; this is done, and the latter, +thinking he will just catch his master, says, "fits exactly now, sir! +but won't it come back again beautifully as it dries." "Well, that is +just what we are going to prevent, James; while this is wet, cut some +soft sticks of wood and place them across from one side to the other, +don't wedge them in tightly, as many as will keep up an even pressure +all along." This does not take long, the sticks are inserted like so +many little joists across, and the curious looking structure is once +more placed aside to dry. + +While James was cutting and then placing the sticks of various lengths +across, his chief was close by suggesting now and then some trifling +variation in the adjustment. "Don't put them all with the same strain, +give a look now and then as you proceed, in order to ensure against +an over amount of pressure--there, that will be enough! if too much +against the large curves, it will bulge out too far, and the shape will +go." While proceeding he was now and then cautioned as to this kind +of insertion of pieces or joists. Very frequently old Italian +instruments of free design are most unequal in their curves, one side +having a different curving to the other; they are, indeed, seldom +exactly the same on both sides, as modern makers try to make them. It +will be evident, then, that care must be taken that a flat or large +curve should be treated with more or less pressure than other parts. +(Diag. 36.) When this inequality is very apparent, a double system of +joists must be adopted thuswise, get two pieces of strong wood, say +plain light mahogany, some three-quarters or an inch in thickness, and +square along its course. The ends are to be cut so that they will rest +within the body of the instrument easily, barely touching each end +between the upper and lower linings, if at all. The two ends will touch +or rest against the upper and lower end blocks and the pressure, when +the sticks are placed across, will be against these, the pushing +outward of parts of the ribs or linings being regulated to a nicety. +Should one or more of the sticks or joists be accidentally cut too short, +a small wedge of soft wood inserted at either end as may be deemed best +will correct matters. As the violin at present under consideration is +suffering from simple contraction and the linings are fairly stout, +the joists will be arranged so as to keep up a gentle pressure on the +upper ones. A very considerable amount of effective restoration can +be done by means of this system of joists carried out with judgment. +The two large supports,--sometimes one only may be necessary,--will +be found of great use for a variety of purposes other than the one being +referred to; they can be used not only for pressing against, but for +the opposite, as when a rib or portion of it has from some +cause--perhaps fracture or thinness--bulged outwardly. It will be +perceptible at once that for direct pressure against a part of the ribs, +situated near the upper block, that the little joist will slip unless +a nick is made for its reception in the large support or beam. This +is so evident that a reminder seems scarcely necessary. + +[Illustration: DIAGRAM 36.] + +When it so happens that contraction must be resorted to on a rib or +part, it has to be brought back; then one, two or more holes may be +bored in the mahogany beam and recourse made to some bent iron wire, +which, perhaps, has the preference in use over other material, as it +can be shaped or pressed to a curve, one end being inserted in a hole, +the other placed outside the offending part and with a soft pad or wood +wedge against the old material to be brought back. + +The special advantage of iron wire is that it can be gently hammered +into such form as will enable just enough pressure to be exerted at +any particular place as may be thought proper. This is, of course, +assuming that some iron substance is at hand that will answer the +purpose of an anvil. The thickness of the iron wire must depend upon +the requirements and size of the work in repair, a viola of course +taking stouter wire than a violin, a 'cello still more so. A useful +average for violin work would be an eighth of an inch diameter. Strong +wire however is not always to hand, time also is occasionally short; +when so, wood must be resorted to, cutting it with a sharp knife to +a form that will clasp or allow of the requisite purchase at any point; +more room, however, is taken up with this method, and possibly not so +much at a time will be accomplished. + +A stock of soft wood in the plank should always be at hand on a +repairer's premises, soft American pine of about a quarter of an inch +thick being very useful for all sorts of purposes in connection with +the "making," as it is termed in the business. + +Supposing now that a reasonable time has elapsed for the thorough +drying out of all damp, the assistant is now requested to bring both +the old Italian violins for inspection by his chief. The latter gives +a look over both in turn, and says, "I think you may take those sticks +out of the Guadagnini, it must be dry enough by this time." This being +done, the upper tables of both are fetched and tried on, "there," says +the chief, "they fit as near as we want them to, and we might almost +say they cured themselves." As the Guadagnini had nothing further to +be done to it, James is told to proceed with the glueing and closing +up. + + + + +CHAPTER XIII. + +RE-OPENING THE BACK TO CORRECT THE BADLY REPAIRED JOINT--A FEW WORDS +ON STUDS--FILLING UP SPACES LEFT BY LOST SPLINTERS--MATCHING WOOD FOR +LARGE CRACKS, ETC. + + +Regarding the glueing and closing up process, we will defer the matter +for the present. While the assistant is going through the necessary +routine in connection with that most important part of the repairing +of a violin, the master has been looking over a few of the things that +are to be operated upon some time or other. Going to a sort of store +cupboard, he fetches from thence a violin in fair condition generally, +but with one sad defect, the back has at one time been open, that is, +the joint down the middle, either through damp affecting the glue or +from violence, had parted and had been badly repaired; the two surfaces +being brought together and glued, but not evenly, one side being a +trifle higher than the other. "James," he calls out, "this old Pesaro +fiddle is worth putting right; when you have finished what you are about, +put the wet rags on this as far along the joint as may be necessary, +set them better and closer, it is the fine varnish all over that will +make it worth while." + +James having finished the closing up of the Guadagnini and taken the +instrument with its array of screw cramps into a place where it could +repose uninterfered with until quite dry, returns and looks over the +violin just brought forth from its retirement. "It seems to me, sir, +this back will have to come off before we can properly bring those two +halves together." The other scans the work again, turns it over, tries +its strength between his fingers and thumbs, and concludes with "Well, +I think you are right, it is quite worth the extra labour and had better +be done so." The matter being settled, James takes a seat, and, with +the violin resting on his lap and held by his left hand, the broad bladed +knife in his right is inserted with a carefully calculated thrust +underneath the border and edging. There is not much difficulty; +sometimes the violin is turned in a contrary direction when there is +a disposition for the grain to tear up here and there. + +At last the back is free, the corners and blocks have caused a little +trouble in the progress of the knife around, the wood being hard and +tough on both sides of the knife. It would have been slower work with +a violin of later and more careful construction. In the present +instance there are no linings to struggle with. "Now," says the workman, +"we can get to work at this joint much more easily." + +After being examined again by both, the rags are again brought into +requisition. The back is laid varnished side downwards and a "poultice" +applied as far along the joint as appears necessary. Meanwhile other +work, such as fitting and finishing, is proceeded with. + +A proper length of time has to elapse,--in the present instance it will +be longer than that for the purpose of merely softening the glue. The +damp has to work its way down at the junction of the two parts, a rather +slow process at the best of times; the back now under treatment being +of full average thickness causes some extra time to be taken up. + +After repeated examinations, the joint, being gently tried each time, +gives evidence of the glue having softened. "You must clear out that +black stuff," interposes the chief, when the rag or poultice has been +lifted off. James accordingly, having some warm water and a small +hog-haired brush already to hand, proceeds to gently scrub the brush +along the course where the ugly black line is seen. It is necessary +to do this both sides, the varnished one receiving milder attention +than the other. Frequent dippings of the brush in water, gently +scrubbing away the glue and wiping the brush on a cloth, working the +joint backward and forward between the fingers, are details of the +process gone through in a leisurely yet business-like manner; much care +is exercised that no strain is made on the good and unwetted part of +the joint. + +At last the old glue having by degrees been got rid of, the outer +moisture is absorbed by a gentle wiping of the cloth along the course +of the joint. + +The next movement is simply putting the plate away to dry. To attempt +any glueing together of the parts while they are swollen with moisture +would be to make matters worse than before, as the edges are too soft +to bear interference, besides which, the sharpness of them is difficult +to perceive while wet and semi-transparent. + +We will now, after the time allowed for drying, see the work proceeding +under the hands of the workman. After trying the parts, that is, +bringing the separated edges together for seeing whether a fresh and +clean join can be effected, some soft wood at hand is cut for the +combined purposes of mould and cramp. The piece used is about nine +inches long by about one in width and a quarter of an inch thick. Marking +off on this thickness, and a trifle over the greatest width of the back, +the lower part of which is to be inserted, wood is cut away to the depth +of about a quarter of an inch; within this again a further cutting is +made to fit the modelling or rise of the curve of the back. This will +admit the plate loosely. On placing it within, the two halves are +squeezed together by soft wood wedges of necessary size inserted +between the edges of the plate and the wood cramp; if necessary, another +wedge on one side or the other of the joint is placed for bringing both +to a proper level. After trying this without glue, the pieces are +removed, glue of good strength is put on the surfaces to be joined and +the whole put in position again. The lower end of the joint near the +purfling will require a little additional cramping together. + +This part of the process is one of the very few instances where more +than a couple of hands are of advantage, if not of actual necessity, +the reason being that the two parts or halves of the back which have +to be brought to an exact level must be held in position by two hands +very firmly, while a cramp (with paper padding and cork between the +teeth) is screwed rather tightly by another person. It is then as usual +laid by to dry. + +After a satisfactory time has elapsed, the wooden tie, mould or cramp, +as we may call it, with its small wedges is removed, the metal screw +cramp at the end is unfastened, the paper removed, and the joint is +found to be much improved, if not quite up to the original state as +when new. There is of course some superfluous glue to be cleared away, +this having oozed out when the glue was first applied, there is also +a portion of paper adhering where the screw cramp was attached over +the border. This is done by wiping with a damp rag until it is clear, +finishing with a dry one. + +There is yet a little more attention necessary at times when the +repairing of a back of the kind just described has been gone through. +Backs of violins of a standard of excellence both high and low are not +always as robust in their substance as might be desirable, so when a +trifle weak there is more strain on the middle line or joint than when +the wood is stout. In this case a few studs are advisable. On this detail +of repairing nearly always resorted to by repairers, a few words will +not be out of place. For the present we will only treat of the back. +The size, disposition and shape of these is by no means an unimportant +matter. At various times and places different sizes and shapes have +been the fashion. Often apparently merely a matter of caprice, these +strengthening discs have been used to such an extent, both in size and +number, as to defeat the very object the restorer has had in view. No +repairer would think it worth while to cramp or keep pressed down by +any means the studs that he may think proper to place in position. To +obviate this he uses very strong glue; if a good workman he will see +that the course along which the studs are to lie is quite clean, a slight +washing with a brush or sponge will set this right. + +Now it follows as a matter of course that the surface of the part, owing +to the modelling, is somewhat concave, and so as the studs are +invariably cut from a flat strip of veneer, if they are very large, +the glue in hardening and of course shrinking during the process will +leave a hollow space in the middle, or maybe on one side, where the +drying happens to commence. There will be thus a lessening of the +strengthening by the stud, and sometimes a jarring of the loose parts, +giving an immense amount of trouble in finding out the obscure seat +of the nuisance when the instrument may be otherwise in good order. + +There should be then a distinct limit to the size of any studs that +experience and judgment may dictate as indispensable. Three-eighths +of an inch square may be taken as the limit to which it is safe to go. + +The studs should be cut from fairly stout veneer, and for the present +purpose, that of the back, usually of sycamore, the same kind of wood +is preferable to any other. + +They should be trimmed so as not to require much if any finishing when +attached and dried, as all trimming with edged tools afterwards is +likely to be attended by occasional slips of the chisel. + +The glue at hand being fresh and very strong, a piece of steel wire +or knitting needle of convenient length will be a desideratum, the +point being stuck in slightly and only deep enough to enable the stud +to be lifted thereby and held upside down while a globule of glue is +laid or dropped upon it. It is then turned over and laid on the desired +spot and pressed there. + +If the point of the needle is nicely polished it will allow of pressing, +and a turn round will release it, leaving the stud in position; if on +the other hand the point is too prolonged, rough and sharp, the stud +will probably be pulled off again. It will thus be perceptible that +the best shape will be rather obtuse but very smooth. When the stud +is in position and the glue setting or chilling, an additional pressure +with a small rod of wood or hard material will drive the glue out from +the edges and the work may be left to itself. + +A word or two as to shape. Sometimes circular discs of sycamore are +met with, at others square. Lozenge shape is frequently met with, and +this I am inclined to favour most, as there being an acute angle at +each end there is a corresponding increase of holding surface with the +least amount of wood. These should be cut so that the grain does not +run with that of the joint, nor in exact opposition to it, but +diagonally. + +There is a method much to be deprecated that was fashionable in some +parts of Europe in the last century, of strengthening the middle joint +of the back by first cutting out a lozenge or square space and then +fitting and filling with a stud. When dry, the parts are levelled and +glass-papered over. This system, although looking very neat, the +surface being quite smooth, will hold good for a time, but when this +has elapsed with wear and damp attacking it, the supposed remedy is +much worse than the disease, the whole joint being in danger of +disarrangement and splitting, necessitating even further heroic +treatment. + +Should the studs when firm and dry seem to require a little finish, +the chisel must be carefully handled with angular or sharpened surface +downwards, the thinnest shavings being taken carefully off. A slight +touching with glass paper may be allowed to take away the crudeness +of the chisel marks. + +When breakages of different degrees have to be treated at other parts +of the back, small studs may be used, particularly when the fractures +are fresh, free from dirt and fit well. In these instances, after the +glueing together has been effected, studs of not more than a full eighth +of an inch will be found sufficient. It is scarcely necessary to add +that they may be thinner in substance also. If, however, there be +sufficient substance of wood, the fractures and joints brought well +together and fitting closely and neatly, then studs are better +dispensed with altogether, the simplicity of the whole being less +impaired. + +It must be always borne in mind that the smaller the amount of fresh +wood introduced into an injured violin the better. In instances where +a part is lost or so broken as to be little less than pulverised, there +is only one course open, that of paring down the sides of the aperture +so that the fresh wood may be accurately fitted to it. + +The back being repaired to the chief's satisfaction, the instrument +is further closely examined in order that any other damage which may +be discovered shall be seen to for a time convenient for the final +closing and fitting up. Just at the moment announcement is made of the +arrival of a parcel directed to the chief, "With care, fragile." + +"Another patient for our hospital," he observes. "Oh, it's from that +professor who was here some time since. I thought from his remarks and +careless manner he was a likely man to lead his violin into danger, +if not into inextricable difficulties; let us see what is the matter. +Open the box, James, take the fiddle out, there is probably a letter +placed with it to save postage." James dutifully proceeds with the work +while his chief retires to make a short note concerning some other +matters. + +"You're right, sir, there is a dirty envelope stuck between the strings +and fingerboard." This is taken away and handed to the chief, who runs +a small knife along the edge and releases the epistle, which runs as +follows:-- + +SIR,--In this morning I have great trouble as I walk the stairs down +my violin chest open itself, and my violin go to the bass, and when +I was to pick him up he was bad break in one two place. I am sorry to +come to you as good doctor to finish him soon, and please charge no +large. + +Truly yours, +HERMANN GROSZHAAR. + +"Capital English for him," says the chief, to which James answers in +a careless sort of undertone, "There's a little English, but less +capital about him, wanted to borrow five bob from me when he came last." + +The violin, after being taken from the case, is closely examined by +the chief, who turns it round about, tapping it here and there and +holding it up to the light. At last, handing it to James he says:--"Not +so much as I should have expected after the terrible occurrence +described in the letter; the fiddle is a good one, so it deserves proper +attention, no matter who owns it. Just look about the case and find +if you can the small piece that has come from this place in the front +table." + +James looks earnestly about the interior of the violin case without +success. "No sign of it here, sir, there's nothing at all but a little +bit of sweetstuff," he says, taking out a small white disc from one +of the side pockets. + +"Well, we must proceed to work without it, so get that box out with +the odd pieces of old wood; I've no doubt you will find a piece that +will match the grain of the pine to a nicety; we must have the upper +table off, better do it first." + +This proceeding, of a kind as described before, having occupied some +minutes, the upper table is held by the chief while the assistant gropes +among the odds and ends of pine and in a minute or two finds a piece +which is pronounced to suit admirably. "Now, James, there appears to +be only this portion seriously injured, and another, almost a splinter, +running along the part adjoining. It will be compulsory to cut a +well-squared opening for the fitting, you will be careful to make the +walls of this part contract as the descent is made, so that the wood +inserted is slightly wedge-shaped. You will at the same time be careful +and bear in mind that this fresh wood will have to match so nicely, +that when inserted properly the threads or grain will appear continuous +and not broken to the eye of any person but the experienced critic. +To please this person, however, you will have not only to make the lines +of the grain follow through evenly, but so fit your wood as to be in +the direction of the growth of the plank from which the table was cut. +You see this aperture is on the slant or curve about midway between +the bridge and part near the tail-piece. Many repairers, even when +inserting fresh wood with exceeding neatness, neglect this precaution, +and, in consequence, when the part is finished and varnished over, +there is but little indication of repair when looked at from one +standpoint, but from another or a removal of the light, this fault is +very conspicuous. A frequent attempt to conceal this is made by +covering the part with dull varnish that will not allow of much light +passing through; sometimes an entirely opaque plastering is pasted +over, obscuring the grain of the old and new wood alike in the locality, +and thus making what is known as a botch." + +For the execution of such repairs as these there will not be any +necessity to open the violin. They will really be more conveniently +effected without, there being more support and leverage where +required. + +A long crack while fresh will take the glue readily and be as secure +as required when dry. It should be placed along the line to the extreme +ends or a little over, and with gentle pressure alternately each side +the glue will be gradually drawn in. This should be continued for some +time, until there is little disposition shown for more absorption. + +The superfluous glue will now be wiped off; should there be any tendency +on one side or the other to remain higher, thus causing a ridge which +must be most carefully guarded against, a piece of tape or ribbon tied +round the violin at the part, and a small wedge of soft wood inserted +between the tape and the elevated edge, will bring it to a proper level, +when it may be put aside to dry and harden. + +When sufficient time has elapsed for this according to atmospheric +conditions, the binding may be removed and the surface along the crack +wiped with a damp rag until only the line is apparent. + +If the foregoing is done neatly and cleanly, there will be very little +evidence of damage remaining. In such instances as the present there +may be occasionally necessary two, three or more bindings with proper +wedges, according to the length of the crack, the size of the violin +and the model. If the latter is rather high, or of the kind called by +our French neighbours _bombe_, the disinclination for the edges to come +evenly together without help will be much greater, and therefore +binders and wedges should be at once made ready after a glance at the +model. + + + + +CHAPTER XIV. + +REPAIRING LOST PORTIONS--MARGINS OF SOUND HOLES--MATCHING THE +GRAIN--FIXING AND FINISHING OFF--REPLACING WITH FRESH WOOD LARGE +PORTIONS OF UPPER TABLE--LOST PARTS OF PURFLING--RESTORING IT WITH OLD +STUFF. + + +As the repairing now under consideration is of a kind requiring not +only skill, but experience in the handling of the tools and necessary +appliances connected therewith, we will still suppose ourselves in the +trained repairer's rooms at the rear of his premises, and that +professors and amateurs frequently call at the shop in front with +violins of various kinds with all sorts of injuries that they are +desirous of having put right. + +Just at this moment a lady of highly fashionable appearance glides in, +followed by her footman carrying a violin case. She has brought a violin +that has been laid aside and forgotten for a long time at a friend's +house, for generations in fact, it used to be in repute as a violin +by Cremona. It has been given to her daughter, who is making great +progress under the guidance of one of the most eminent performers of +the day, and she wishes to have it put in good playing order if it is +worth the expense. + +The footman obediently brings forward the case, unfastens the string +that holds the lid down, the hinges being out of working condition, +and places it on the counter; the lid being raised, a strong mousy odour +comes forth. + +Our chief takes the violin from the hands of the man and turns it over, +raises his eyebrows and remarks, "Yes, madam, the violin has been sadly +neglected, the case having been left open mice have been residing in +the snug retreat afforded them." "Yes," is the lady's rejoinder, "I +believe the case was found a little way open, my friends have not been +musical at any time and took no interest in the matter. Is it a good +violin, Mr. ----?" + +"Good, madam? it is very fine, one of the masterpieces of Cremona. The +mice have turned the sound-holes into doorways, the nibblings have gone +nearly half through one of the wings." + +"Wings!" says the lady. "I was not aware of there being any wings to +a violin." "No, ma'am," is the answer; "wings is a technical term we +use to express that slender part with the straight cut line at the lower +end of the sound hole. We shall have to open the violin to repair that +part properly." + +"I hope that will not ruin the instrument," observes the lady. "Can +you not do the repair without?" "We could, ma'am, if we wished to save +time and run a risk." "Oh, please don't run any risk with it, now that +I know that it is a valuable instrument I must ask you to take extra +pains and do it in your best manner." + +"If you would like to see the violin open, I will get my assistant to +do it now, it will take but a minute or so. Here, James, open this fiddle +and bring it here again." + +There is not much waiting, the upper table has not been very obstinate, +and James soon reappears with the loose parts, which he hands to his +chief. The lady, rather eager at first to see if there is anything +curious about the inside of a violin, rather shrinks away when it is +brought near. "It is in a very dirty condition," the chief observes, +"but we shall soon get that all right," he adds, "by giving it a wash." + +"But will not wetting it spoil the tone?" the lady asks. "Not in the +least, ma'am," is the reply. "In fact, it will be improved, as at +present there is so much grease and filth that the vibration would be +seriously interfered with. When it is quite clean there will be more +freedom, and the true character of the tone declared." + +The lady having departed, the chief takes the violin parts to the +workroom. "This is a fine thing," he says to James. + +"I thought so too, sir," he replies, "got some fine stuff on it, fiery +like, nothing the matter with it but those mouse nibblings." + +"That will require careful work, James, think you can do it +sufficiently neat and make the new wood match well?" + +"I think so, sir. Some of that old pine that we had sent us last week +will match thread for thread." + +"Well, give it a clean out first, James." This is at once commenced, +and with the aid of some clean water, a sponge and stubby brush, +followed by the application of a clean dry rag or duster, the interior +presents a fairly clean appearance. + +"I see you have been careful about the label, James. It was not possible +to decipher it when smothered with dirt, but we can read it now. Yes, +what I thought, original ticket without a doubt. Joseph filius. Bring +me that bottle of benzine and the hog-hair brush." This being done, +the chief takes the brush wetted with the benzine and carefully brushes +about the corners and other parts where the grease has refused to come +away under the ordinary treatment. Each application is followed by a +wiping of the cloth held in readiness. + +"There," he says at last, "it is quite fresh and wholesome. Don't +suppose Mr. Mouse will go in again." + +"Now, James, what do you propose doing? making a clean sweep of the +ragged parts with the knife or letting in angular portions in the German +manner?" + +"Well, sir, on looking close at it perhaps the best way will be to act +both ways, cut that part straight through and fit the splinters along +there." + +"Yes," says the chief, "I think that way will save as much of the old +material, if not more, than any other. Take pains with it and mind the +small joinings are clean and sharp." + +James retires with the upper table to his bench, where the different +necessary excisions are proceeded with. + +The next stage is that of glueing pieces of wood at the back of and +across the sound holes. The object of this is to get more strength and +leverage for pressing home the fresh wood to be inserted. From the +neglect of this precaution many instruments have had cracks and other +damages caused, making matters worse than before and necessitating +much more work in rectifying it. After the necessary time, the glue +being hard and dry enough, James begins the matching of the parts with +pieces of old wood from the carefully hoarded pile in a box kept for +the purpose; first one piece, then another is tried, until the right +one is obtained for each requirement, both in respect of colour and +matching of the thread or grain. The surfaces to come in contact and +be fixed are minutely fitted, the larger ones only at present, the +smaller gaps are left. + +All being ready, strong glue is applied to the parts which are to be +united and they are pressed together, help toward adjustment being +obtained from the wood glued across. + +Being left to dry, and this being complete, the cramps or wedges, as +may have seemed appropriate, are removed, the cross pieces cut away +and the glue washed off. + +The paring down of the fresh wood to the level of the surrounding parts +has now to be very carefully done. The adjacent curves must be studied +and the surfaces of the fresh parts worked until by testing, not only +by the sight, but passing the finger across, the surface feels as one +piece. + +For the small parts that require levelling, small pieces of glasspaper +attached to a stick of pine shaped according to requirement will be +found useful. + +The fresh wood will of course be projecting some way beyond the edges +or course of the line of the sound holes, the exact outline of which +it is most desirous to continue. + +This is about to be attended to by James, who thinks it a small matter +to continue the line with his sharp knife, but his master happened to +catch sight of his first strokes and sees his intention in time. "Stop!" +he calls out, "not another stroke; just take a tracing of the opposite +or corresponding part of the other sound hole and trace it down, don't +trust to your eye unless you consider yourself an artist of experience +and able to actually draw with your knife. + +"You must attend to another thing besides the tracing of the contour. +When you cut up to the line that you take as a guide, you must see that +you make the walls of the opening at the same angle downwards, and your +fresh wood in every respect of form an exact continuation of the old +work." + +The repair so far as the wood work is concerned is finished. It has +now to receive the varnishing and touching up in detail for matching +so as to arrest as little attention as possible as a repair. + +"There are two fiddles, sir, that a party brought here yesterday. They +seem very far gone; one of them has lost quite a quarter of the upper +table, it has had a bad smash and the pieces have not been saved." + +"Well, James," is the reply, "there is only one course to pursue, that +is, to put a fresh piece of wood, join it as neatly as possible and +match the varnish. I think we have a piece of old stuff sent us by an +Italian dealer that will suit that exactly." The store of odds and ends +of pine is rummaged over and the piece, with some pencil notes on it +of date, etc., brought out and compared with the fractured fiddle. +"Could not be better, James," says the chief. "Now take off that table, +or what remains of it, and pare the ragged edges at the part near the +sound hole. + +"At that part you had better shave it at an angle from the upper surface +and make a corresponding start on the fresh wood; they must both fit +to a nicety, and when so the old wood will overlap the fresh stuff. +You will take care to have the upper surface of the fresh wood a little +above the level of the old, to allow of finishing down to a good level +when the time comes for the final touches." + +This is all seen to, the large slice of wood is for the present left +square at the top, it is thick enough to represent the appearance of +the slab of wood used by the original maker before the table was cut +into form. There is some gouging to be done and shaping of the parts +adjoining the old wood. + +It has, of course, been necessary to provide a sort of mould for fitting +and pressing from above the thin shaved edge of the old material on +to the new. Precaution, however, is taken to firstly glue the parts +that are to be brought together at the joint. This will prevent the +shaved surfaces from slipping when pressure is applied. + +These parts of the process having been done and the glue dried +sufficiently, the under surface is levelled all round as a continuation +of the under part of the old border. + +The table, therefore, can now be laid flat, and should fit well on to +the ribs and linings as it did before the fracture. James now has +recourse to the advice of his chief as to the best course to pursue. + +"Shall I trace the other side, sir, and mark it down on the fresh wood +so as to make it balance?" + +"Certainly not," answers his chief, "this is what you must do. Lay the +table on the ribs as if you were about to glue it down, you can let +it be held in position by a couple of screw-cramps, then, with a lead +pencil, take as a guide the ribs, holding it so that a mark can be made +all round representing the projection of the new edging. A short piece +of a pencil laid flat against the ribs and moved round, would perhaps +be the most convenient." + +James proceeds dutifully to work, marks the edging, and then, after +removing the screw-cramps, roughly hews away the wood to near the line. + +Much care and more delicate manipulation has to be exercised now, or +the precaution of the pencil line will prove to be next to useless. + +Files of different degrees of tooth are employed until quite an even +contour is obtained and a precise line, the continuation of the pattern, +is seen. + +The next proceeding will be to mark the thickness of the edging all +round. For this purpose a cut line is better than a mere mark, as the +cutting up to it is easier and safer. The purfling tool may be regulated +and adapted in this case, after which the table will be laid flat, +carefully considered, and the more detailed gouging commenced. A small +pair of calipers will prove handy for measuring the depth of the +channelling of the original parts and gouging down carefully until a +corresponding modelling has been effected. + +If the original work is sharply defined and a distinctly shaped border +is present, then the work must be proceeded with as in the instance +of making a new copy of a violin. + +Some little difficulty may appear when the question of matching the +purfling arises. The assistant opens a drawer close by, selects a +likely piece, compares it with that on the violin, and then shows it +to his chief, who examines it in a similar manner. "Yes," he says, "I +think that is sufficiently like, in fact, it will not be possible to +get nearer, it is a bit of that old stuff, is it not, that we have kept +by for an emergency? Have you got the groove cleanly cut and routed +out?" + +"Yes, sir," is the answer; "I noticed about the depth that would be +wanted at that little part where the old stuff had been snapped short +at the fracture." + +"Well, that will do, James. Be careful to cut the ragged end with a +clean angle, doing the same with the fresh stuff--fit the parts +accurately, and when you insert the purfling see that the end is pushed +home so that as little as possible is seen of the junction of the two +ends." + +With these injunctions borne in mind, James proceeds to the work. +Having had some experience in this branch of the repairing art, and, +further, this being to him a more interesting part than others of the +proceedings, he at once sets to work. + +Having roughly measured the length of the piece of purfling to be +inserted, he finds that it will be necessary to bend it to the curves +of the groove made for it. To force it in while in its present condition +would not do, as it is nearly straight; for, although it has served +to go round a violin in years gone by, it has almost resumed its old +condition through the action of the natural damp in the atmosphere. + + + + +CHAPTER XV. + +REPAIRS TO PURFLING (CONTINUED)--FILLING UP AN OPENING EXTENDING TO +THE WHOLE LENGTH OF THE VIOLIN--FITTING THE CORE--FIXING IT IN POSITION +AND RETAINING IT THERE--FINISHING THE SURFACE. + + +Many old Italian violins bear indications of the haste of the maker +to get the purfling done, and so without the delay of any intermediary +process the purfling has been pressed in with great risk and +sometimes an inevitable result of fracture. + +In the present instance, the violin having all the evidence of great +care having been expended on its construction and finish, the repair, +to be as successful as possible, must be carried out on the same +principle, every little deviation of curve being well imitated. For +the bending of the purfling there may be, of course, any number of +methods. According to the consistency of the material, so the +management must be. + +At present the piece of purfling, having been taken from a portion of +an old violin bought for the purpose of breaking up and using for +repairs, is very dry and rather brittle. The light coloured part or +central portion is of some hard wood that refuses to accommodate itself +easily to the requirements of the moment; this is found to be the case +on trying a small portion with the fingers--it goes with a snap on very +little attempt being made to bend it. + +James having met with this kind of thing before, knows more than one +way of meeting the difficulty. As is often found, a rough and ready +way is good for a small amount of work such as he has before him. + +He takes a candle and lights it. He has always at hand a jar of water +ready for any damping required in the number of little odd jobs +constantly occurring. Placing the jar of water within easy reach, he +dips the purfling into it once and then wipes it with his handy cloth. + +Taking the two ends with the fingers of each hand he passes it backward +and forward near the flame of the candle, using a gentle pressure to +make it assume a crescent or bow shape. The heat causes the damp to +evaporate and steam the materials, and the purfling will gradually +assume the required curve. + +When this latter happens to be short or sudden, another dip and heating +may be necessary. + +This being successfully accomplished, recourse is now had to the glue +pot, a pointed piece of wood is dipped into it, and a small streak of +glue is laid in the groove. The purfling is now carefully inserted along +the course, pressed in and left to dry. + +After a sufficient time has elapsed, James looks over it, and finding +all things ripe for finishing, takes a gouge of a size that will suit +the channelling of the particular model adopted by the maker. + +Great care is necessary to shave off but a small portion as the gouge +is passed along. The latter has a very keen edge, or it will tear instead +of cut. It is used here and there in contrary direction, as the grain +of the several parts of the purfling does not run quite level. A curved +file, and finally a little glasspapering, will complete the matter so +far. There will be for the finishing of the whole of the fresh wood +a further process to go through, that is, a slight damping. + +This can be done with a small fine grained sponge or a moderately wet +camel hair brush. This is for the purpose of slightly raising the grain. +If this is not done at this time the soft part of the grain may show +its automatic tendency to swell after the final process of varnishing +has been gone through. When quite dry, fine glasspaper is used to reduce +the surface to an almost polished level, after which some clear oil, +having good drying qualities, is brushed lightly but completely over +all portions of the fresh work. + +It will not be absolutely necessary that this should be quite dry and +hard before proceeding with the varnishing down to the tint of the old +and surrounding work. + +This being a separate and independent branch of the art of restoration, +will be treated apart hereafter. + +For the present we will be content to know that this varnishing, a very +delicate process in connection with the repair, is undertaken by the +chief himself, who sets to work at once and in a manner as if it were +a true labour of love, there being no hurry, but careful time-ignoring +attention to matching and calculation of effect. Just before settling +down with colours, essences, solvents and brushes, he gives directions +to his man James to "finish up the crack or fracture in that old +'Stainer' lying on the shelf there behind." + +When it is taken down from its place of repose, James looks at it for +a moment and then observes, "Rather an awkward job, this, sir! It is +more than a crack along the whole length of the fiddle; somebody has +been at it trying to mend it and made it positively worse. The edges +are quite apart. You can see through in some places, and in others there +is a lot of black hard glue." + +The chief now has a look over the damaged part and then remarks, "The +thread of the pine happens to be very straight, and that will lessen +the trouble." + +"Right, sir," is James's rejoinder, "not like that Genoese fiddle that +we had some time back with the very curly bit of pine that looked as +if the tree had been growing at the side of a rock and trying to look +round the corner. Fitting a straight piece along the centre of that +fiddle was no joke." + +"Well, James, wash all that filthy dark glue away, and when quite dry, +run a thin chisel along each side of the hole, taking fine shavings +off until the upright walls have a sharp clean edge." + +The washing out is at once commenced, and when finished, the upper table, +which of course had been removed some time back for ascertaining the +necessary amount of repairing, is placed apart for drying. + +While this is in process, another violin is taken in hand. It has a +different kind of fracture, which it has been thought well for +appearance sake should be re-opened and made tidy, in fact, obscured +as much as present skill will allow of. + +The fracture, although not one of very common occurrence, is of a kind +well known to professional repairers. It has been caused by a twist, +possibly while being handled by some clumsy or heavy-handed repairer +of olden times, and hastily filled with polluted glue, pressed together +and left to itself. It is not at right angles with the plane of the +instrument, but at a very acute one, very little evidence of it, +possibly none, being seen from the inside. + +The first step taken by the repairer is the cleansing and removal of +all foreign particles likely to interfere with the adhesion of the +surfaces to be brought into contact. As there is present much grime, +and this not free from a suspicion of the presence of grease, James +has recourse to the bottle of benzine, into which he dips a small brush, +working it backwards and forwards, wiping it on an absorbent rag and +re-applying the liquid. + +This does not take very long; the evaporation being rapid, the wood +is soon ready for the next stage, which is that of removing the dark +glue and other foul matters from the irregular surface. + +This requires the application of warm water, by means of a stiffer +implement, used in fact as a small scrubbing brush; the moisture +between whiles is pressed in and out by the fingers with repeated +wipings and re-wettings. + +After a while, being satisfied that the surfaces of the fracture are +clean to the desired degree, James allows the wood to partially dry. +In the meanwhile, he cuts a couple of pieces of wood to fit the back +and front of the table, so that with folded paper as a pad the parts +may be pressed together. All being in readiness, fresh strong glue is +inserted all along the opening, the repeated pressing being kept up +until he is sure that the glue has penetrated every part. The +superfluous glue oozing from the inside, after a slight squeeze along +the course, is lightly wiped off, the moulds applied back and front, +and the cramps fixed. + +Other little odds and ends of repairing have occupied the attention +of the assistant during the time of waiting for the drying of the +before-mentioned upper table of the Stainer. This latter being of full +model, although not resembling the swollen or bolster-like form of many +imitations of the master, requires special attention with regard to +fitting in of the fresh wood or core. + +The fresh wood must not be bent, or the matching of the grain with the +old material will be impossible, and the repair when completed will +be strikingly conspicuous. It must therefore be inserted in such a +manner that when pared down, the direction or flow of the grain will +exactly coincide in all respects with the rest of the table. The fact +must be recognised that although the threads may be perfectly straight +from end to end, yet they may rise higher at one end than the other +or not run level with the plane of the table. (Diagram 37.) + +[Illustration: DIAGRAM 37, showing half length of core inserted before +being pared down, and with grain.] + +This being duly calculated by James when cutting the piece that is to +be inserted as a core, the table with its opening extending nearly from +end to end is placed on an even surface facing upwards, as when on the +instrument. The core is then tried in the aperture. Perhaps a thin +shaving or two is found necessary, when finally it is sufficiently +exact. The next stage is that of getting ready the means of holding +or pressing all the parts together till dry after glueing. Taking a +flat piece of wood, perhaps the one just used, and placing the table +down, a pencil line is traced on the board round the violin table as +if for the purpose of copying the pattern. Two straight lines are now +ruled on each side touching the most projecting part of the upper and +lower curve (Diagram 38.) + +[Illustration: DIAGRAM 38.] + +On the outside of each line, but touching it, a strip of wood about +a quarter of an inch square is pegged or nailed down. + +The table or plate when placed flat between these two small bars of +wood, is within an acute angle, and can be held tight or not according +to the degree of pressure with which it is pushed toward the smaller +end. + +It will at once be perceptible that a trifling pressure forward of the +table towards the small end will result in the raising of the central +part and the widening of the opening instead of closing it. + +There must be, therefore, some means adopted to counteract this, and +these are not difficult to fix upon. In lieu of pressing the table +forward with risk of damaging the part of the border that will come +in contact with the two fixed bars, it will be carefully tried as to +fitting the exact position it is to take when glued, that is, +sufficiently forward in the space between the bars that will only admit +the table with a slight rise in the arching, the joint or part holding +the core being in a more open condition as a consequence. + +The exact place or point of contact is marked with a soft pencil or +piece of chalk on border and bar. The table being taken away, the parts +requiring it will be carefully glued. + +Placed in position again, necessary means are taken that the surface +or plane on each side of the core are quite level with each other; if +they are not so, they will, after the necessary paring down of the core +has been completed, cause an ugly, uneven appearance. To prevent this, +therefore, the parts must be adjusted by the application of the fingers +on one side or the other, or gently tapped by a piece of wood +sufficiently heavy until exactness of level is made sure. + +There is now necessary a weight to be applied along the whole length +of the junction for keeping all in position until the glue is quite +dry and hard. + +Any kind of weight may be applied, the smaller and heavier in proportion +to size the better, as so much more can be seen when several are used +instead of one and that of larger dimensions. + +These being placed in position, the table with its adjusted weights +is placed away for drying. + +When time has elapsed for this to be satisfactorily accomplished the +table is taken in hand again, the weights lifted off and a slight tap +at the upper with a piece of soft wood will set it free. + +The part of the core now rising above the upper or varnished side of +the table is pared down very gently, care being taken that the chisel +does not work into the varnish on either side of the core, and that +it is not driven against the grain, as by so doing the wood is nearly +certain to be torn instead of cleanly shaven. + +A close examination of the surface is now made, if found quite +satisfactory, it may receive its final polishing by the application +of some very fine glass paper wrapped round a piece of cork, with a +little clear oil dabbed on it. This will give a dead smooth surface. +If the above directions are carried out with clean and sharp work, the +line along the table marked by the presence of the core will be so slight +as to appear little more than the thread of the wood, in the highest +class of repairing it will be nearly exact. + +The part of the core projecting on the under side of the table is easily +disposed of by a gouge in the same manner as described for the action +of the chisel on the front. + +The operations just described are of a kind that should not be +undertaken without considerable experience, as, indeed, ought to be +the case with many other repairs, the requisite dexterity of handling +not coming at once even with much natural ability. + + + + +CHAPTER XVI. + +REPAIRING UNDERTAKEN BY PEOPLE IN BUSINESS NOT CONNECTED WITH THAT OF +BOWED INSTRUMENTS--REMOVAL OF A FIXED SOUND POST--FITTING A FRESH PART +OF WORM-EATEN RIB--BRINGING TOGETHER THE LOOSENED JOINT OF THE BACK +WITHOUT OPENING THE VIOLIN. + + +We will now move down to the front portion of the premises again, where +the chief has been pondering over some instruments with damages of +different kinds and degrees. Some have been sent for repair, but have +nothing apparently wrong about them. The little note sent with them +is simply to the effect that "they do not go well" and the owners would +like them put in order. A tap is given here and there with his knuckles, +and this kind of test is sufficient in one instance to get an +acknowledgment from the violin itself that its ribs do not adhere to +the back as they should. Another betrays no looseness anywhere, and +there is no fracture perceptible on a close examination; this is put +aside so that it may be strung up properly, when it will probably give +out some distinct evidence of internal wrong, if not of some external +injury, which being fresh and clean is not easily affected by mere +tapping. + +In the midst of his meditations over the different possibilities, a +gentleman enters accompanied by a young lady, probably his daughter, +who carries a violin case. He enters upon his subject at once, +saying:--"I have brought a violin for your inspection, it was left +behind by a friend who went abroad some time back and he lately wrote +over saying that my daughter might find it useful, as he had been told +by his father that it was at one time an instrument with excellent +sounding qualities. He is not a player and he kept it shut up for a +long time and seemingly forgot all about it. We of course soon got the +case from its hiding place, opened it and took the violin out. My +daughter here found two strings had snapped and put on others. When +she tried it with her bow, however, most unpleasant sounds came out. +My daughter proposed that it should be taken to a shop in our +neighbourhood where she gets her music; she says they are very nice +people, and so she took it there and they told her 'it would be put +in order by the next morning,' which of course seemed very prompt. My +daughter has tried it since it came home, but it seems to have even +less sound than before." + +"Let me have a look at it, please," says our chief. The violin is at +once taken out of the case by the young lady and handed to him. The +chief looks over it, turns it about once or twice, and asks: "Did you +put this into the hands of a repairer who professed any knowledge of +violins?" The answer is--"Well, the people that my daughter took it +to said they had intrusted the violin to their best pianoforte repairer, +who had worked in one of the principal manufactories in London." The +chief observes: "A piano is very different to a violin, sir; the +repairer of one has to deal with curved surfaces, and wood of two kinds +only, the other with flat ones and other woods and metals." "I hope +the treatment has not ruined the instrument, can it be restored, will +it be of much value?" says the gentleman. "Well, it is not of much value +as a musical instrument in its present condition, but when properly +restored would command a considerable price. The restoration will cost +some pounds and be a fairly good investment." + +"You had better do it and to your best ability," answers the gentleman, +"and please send it home when done." + +The two visitors make their departure and then James is called for a +moment by his chief, "Hi! James, just look at this bit of repairing." + +The assistant takes the violin in his hands, looks over it and laughs. +"Not trained properly, sir, at mending; what a plaster it has got +underneath the bridge! and there's a large one underneath the post too; +there's strength there if nothing else." + +"Well, James, we must get both of those out and put something in more +to the purpose, the gentleman wants it done well and we must make it +sound properly to please him and his daughter. From the manner in which +those patches are inserted and their thickness--they are stouter than +the tables themselves--there would be very little tone. Well I never! +they've glued the sound post in." + +This discovery caused a good laugh from both. "We must have the upper +table off at once, James," continued the chief. "But how about the post, +sir?" interposes his assistant; "it looks as if it will hold on tight." +"Well, you must take a fine chisel and work it in two before you commence +the opening." + +James retires to his corner, and taking up a small chisel stuck in a +short handle of his own fitting, he inserts it carefully through the +right sound-hole, chipping the post gradually down one side, then +turning the violin round on the cushion, he works away at the post +through the other, and although from the extra distance from this, the +chisel has a weaker hold, there is less substance to work through, the +greater part having been worked away at the first attack. + +The way is now clear for removing the upper table, which James does +after some trouble in working his knife along between the edging and +the upper part of the ribs, in consequence of the glueing having been +done with a bountiful hand, and the parts pressed together tightly, +so much so as to show very distinctly where the screw cramps had been +wound up. + +The exposed interior is brought before the gaze of the chief, who looks +at it for a while, then remarks, "Very bad, but I have seen the like +often before, and suppose will do so many times again. + +"Give it a cleaning, James, they've fastened the plaster on to the dirty +wood, and I expect the hold is very slight if at all in parts." + +"No, sir, I tapped it about, and found some hollow spaces that would +admit my small knife; the plaster had not been cut evenly, and then +not pressed equally all over. The back seems about as bad, although +it being thick does not need any support." + +"No, James, the repairers, if we may give them such an honourable title, +wanted to show that something had been done for the money charged. Give +the interior a clean out with warm water and sponge, leave some wet +rags over those plasters, and when the damp has soaked through, you +can soon get your gouge underneath and pull them off, washing the +surfaces afterwards." + +This having been done as requested, the two parts are again brought +before the chief, who forthwith takes a pair of calipers; these he +applies carefully to both upper and lower tables in turn, moving them +over in all directions. "I declare, James," he then observes, "there +is no necessity for any patches or plasters anywhere; there is a very +weak upper rib that has been so knocked about by several mendings, and +spoilt inside and out, besides being riddled by insects, that we must +make or fix a fresh piece in its place. Now, this fiddle being worth +the trouble, you must see if you can make the repair so neat as to be +almost invisible even when closely examined." + +"Well, sir, I'll try at it," is the reply, this being a kind of repair +that James will take much pleasure in, to show his dexterity of handling +and clean cutting. + +The first thing is to hunt among some pieces of old ribs for a part +that will match well. This takes some time. At last an old rib is found +that appears just the thing--a part of it only will be required. + +The next requisite is a mould or piece of wood cut exactly to the curve +of the inside of the rib; this must not be roughly done, or any idea +of "near enough" being thought of; if it does not fit exactly, then +the pressure to come against it will be unequal in parts. If cut from +a little block of soft wood the cutting will not take long, and the +trouble be amply repaid by the result. + +An exterior mould will be as necessary as an interior, and if the +original rib is of fairly equal substance, the two moulds may be tried +one against the other, and should fit nicely. + +The ragged openings and rotten part of the original rib having been +carefully examined with regard to the size of the fresh piece to be +inserted, a line is marked by soft chalk as to the position and extent +to be covered by the fresh wood. The aperture to admit the fresh piece +of rib must be determined upon exactly, and be cut with the utmost +neatness. Before doing this, however, the question must be gone into, +and settled definitely, as to whether the fresh piece is to be pressed +on from the outside or from the inside. + +The choice must be in favour of the more convenient, or that which will +be most likely to lead to the best results. As the sides of the aperture +taken longitudinally must be cut at an acute angle and not upright, +the convenience of cutting the edges of the opening from the outside +will be decidedly better and more handy for obtaining the desirable +sharpness of edge. + +As a matter of course, the piece must be tried on again and again until +it is clearly a good fit all round. When in a satisfactory state it +will, when tried finally, be elevated a trifle above the surrounding +wood. + +The angle at which the upper and lower portions fit has no need to be +cut so acutely as at the ends. + +Everything being ready, including some strong clean glue, this latter +will require painting over the surfaces that are to be closed together +until absorption has ceased, and not before this are the parts to be +brought home, or the absorption or soaking into the wood will continue, +leaving no glue for holding the two surfaces. + +When quite ready, the interior block of wood or mould will be held in +position by the hand. + +As usual, the piece of paper on the face of the mould will be used for +preventing the glue holding on to it. The piece of fresh rib is now +placed in position, and the outer mould (faced with paper, of course), +applied. The screw cramps are now affixed, tightly wound up, and left +for drying. + +After ascertaining that all the glued parts are perfectly dry and +therefore hard, the cramps, moulds and paper may be removed. If any +paper should be found adhering a moistened rag will easily remove it. + +The next proceeding will be that of levelling down and removing any +unevenness, on the outside especially. If the fitting has been very +accurately effected there will not remain much to do in this line. For +the inside a piece of glass-paper folded over a curved block of wood, +or the actual mould that has been in use, will serve the purpose if +not too large. This can be rubbed backward and forward till the surface +is level. For the outside a slightly different treatment will be +preferable, that is, a portion of glass-paper of the finest grain +placed as before in front of a block of wood. There is no necessity +for it being a very close fit so long as it is even in surface. + +This should have some oil of a drying nature put on the surface, a little +dabbed on with the tip of the finger will be enough. + +A fine surface, after a little passing backward and forward over it, +adding a little oil now and then, will be obtained. + +The advantage of the use of oil is, firstly, the ease in use and the +smoothness of the surface and absence of harshness, secondly, as it +will have penetrated the wood to some extent it will prevent the varnish, +that eventually will have to be applied, from sinking into the pores. + +Many otherwise excellent repairs have been spoilt from the neglect of +this simple precaution; without it, the glass-paper leaves a dry, +finely torn or raw surface which absorbs very readily the coloured +varnish that will, in sinking, look much more intense, uneven and +totally unlike the surrounding old varnish, which, it is most desirable, +should be as closely as possible imitated. + +All these particulars, rules, and precautions, having been carefully +attended to by James, the instrument is at last brought by him in as +advanced a state as possible to his master, the latter always reserving +to himself the final touches or finishing and regulating. + +About this time another caller, an amateur in a state of great +excitement, brings a violin case hurriedly in, and coming up to the +chief without any ceremony, says, while undoing the buckle of the +straps binding the leather covering: "Oh, my favourite violin is ruined, +its back is broken, and I feel sure you can't do it up; it is a Venetian +Montagnana that I have had so many years, and that you--yes, even +you--admired. You don't say much as a rule in favour of anything I bring +you, but you said this was the only good thing I had about me; it is +past your power to put right again, I am afraid." "Then why did you +bring it to me," says the chief, "if it is impossible for me to remedy +the breakage? let me see it." + +The case having been nervously opened by the owner, the violin, after +a glance, is lifted out by the chief, the owner looking on in a state +of great perturbation. "Please be very careful," he says, as the +practised hand of the master turns it about, looks at it here and there, +over one way and then the other. "Why, its back is not broken; where +is the fracture?"--"Don't you see, all the way down, it is quite loose +and open?" + +Another turn round or so, and the chief exclaims, "Oh, you mean the +joint of the back is open--that is not broken; I did not see it at first +as the light was going in the same direction; we can put that right +again for you."--"Here, James!" he calls out, "just look at this; is +it past our mending?" James casts his eye over it for a second or two, +and says, "No sir, I've done up that kind o' thing over and over again." +Then, turning to the owner, "Two against one, you see." + +The amateur looks at the instrument with great earnestness for a moment +or two, then observes: "You will have, I suppose, to take it all to +pieces to do that kind of repair, eh?" + +"Oh no," replied the chief, "we shall close that up without undoing +any part of it except taking the strings and sound-post away." At this +moment he has inserted the post-setter and pushed the post a little, +which proceeding causes the back to open wider, the mouth of the owner +opening widely also, accompanied by an increase in the general +appearance of anguish. + +"There now," says the repairer, "just that little extra pressure from +the sound-post enables us to see how far the opening extends; it is +not all the way along, and there does not appear to be anything to +prevent it coming together evenly again." + +The chief now dexterously, with the point of the "setter," takes the +sound-post out, the owner looking on with some amount of astonishment. + +"You call in the day after to-morrow, sir, and I hope you will find +it as right as ever." + +These words have a cheering effect on the owner. "You are sure that +will not be too soon," he observes. "Oh no," replies the other, "we +shall put three or four studs along the centre, inside, and that will +prevent it going again." + +"But how," rejoins the owner, "are you going to put studs along the +joint inside without opening the instrument?"--he was getting +interested. + +"Well, you leave that to us, sir, and we will tell you afterwards." +This was said in consequence of a fear that the amateur would be using +the time of the establishment, and as a result the amateur and owner +walked away satisfied. + + + + +CHAPTER XVII. + +INSERTION OF STUDS ALONG THE JOINT INSIDE WITHOUT OPENING THE +VIOLIN--LINING OR VENEERING A THIN BACK. + + +At the appointed time, not any earlier, the amateur makes his +appearance, inquiring somewhat anxiously as to whether the violin was +finished, or more precisely speaking from fear, whether the repairer +had succeeded in restoring the instrument to playing order? "Oh, yes," +is the response, "and goes better than it could have done for some time +back. You see its complaint has been coming on for some time, beginning +with a slight opening at the lower part, and continuous playing with +the strain of tuning up now and then extended it, until the time when +it became of such magnitude that you could not help observing it. Being +gradual in its progress, the tone getting worse by gentle degrees, was +also unobserved by you." + +On this, the violin being handed to its owner, a close examination is +made all over the outside, and through the sound-holes. + +"Well, really," the owner at last breaks out with, "it is most +beautifully done! I should not have thought it possible, and however +did you manage to get all those little squares of wood ranged in a line +inside, and you said you would do it without breaking open the violin, +and--tell me how it was done!" + +"Then I will keep my promise if you have patience. It is not a very +difficult matter to those used to such things; you see the first thing +was to get the outer part clear of any impurities that would prevent +the glue from getting a tight hold of the surfaces that are to be held +in contact; the next, to work some strong glue along the course of the +joint, this by gentle and regular pressure alternately each side of +the line, is gradually drawn in, the whole length is then wiped with +a cloth and pressure applied to keep the joint closed, and the whole +allowed to dry. When so, the interior is attended to, a clean damp brush, +small enough to pass down either of the sound-holes, is worked +backwards for a short time along the joint, just enough to remove the +slight accumulation of dust and prepare the wood for the reception of +glue. Then the little squares of sycamore being ready, are pricked in +the centre with this pointed iron wire, and taken up one by one; on +each occasion a globule of strong glue is dropped on the under surface. + +"The wire with its attachment of stud and globule is carefully passed +down through the sound-hole, which one must depend much on +circumstances and light available, being cautiously lowered until the +little square of wood is exactly over the joint and gently pressed down +on to it. + +"Care is taken, of course, to place it on the exact spot; if not +accurately in position, a slight push with the same wire or another +or greater strength is given, and then a little more pressure on the +top. + +"When this is done, others are inserted in the same way, and as far +along the joint as can be reached with the wires. After having dried, +the glue which had oozed up round the square will be found to have +decreased so much as to be but little perceptible--thus you see how +it was done. Do not try this yourself unless you have become expert +by long practice in repairing generally, as you may probably find this +more taxing to your nerves than you may be aware of, besides finding +it a difficult and dirty job getting any mislaid pieces out again." + +This last piece of friendly advice is quite to the taste of the amateur, +who, being a non-practical man, is wise in abstaining from meddling +in directions for which he has no natural bent, and unlike the numerous +tribe of would-be repairers who think that any person who can use glue +and cut a piece of wood can engage in the restoration of such a small +instrument as a violin. + +Our amateur, when arrived home, naturally enough shows his restored +violin to his friends, one of whom has been looking at it for some time, +and at last says: "That's the repairer for me, where does he live? My +violin is sadly in want of proper attention, and I think it requires +stronger measures for its cure than yours." + +The address is readily given, and the instrument duly taken round to +our chief and his assistant. The statement having been made as to +recommendation, after an inspection of the very nice restoration of +his friend's violin, the new-comer takes out his violin from its case +and places it before the chief, who turns it over and over, looking +at each fraction of an inch without seeing much the matter with it. + +The owner at last breaks in with the remark that a violin maker residing +where he lately came from had told him that the instrument would never +go properly unless the back was re-lined--that was perhaps the term +used. + +The chief then rejoins: "I think the repairer was very likely hitting +the mark when he said that; this is one of those old violins of the +Brescian school, which are often too thin in the back for modern usage, +and there is no other resource but that of lining--or veneering, some +would call it--the back. If you like I will open it, and ascertain +whether it is so with this instrument." + +Consent is given, and the chief goes to the back of his premises, and +returns with a much-worn table knife. Sitting calmly down before the +new arrival, and resting the instrument face downwards on his lap, he +proceeds with sundry slow but strong thrusts of the knife round the +junction of the ribs with the upper table; the cracking sounds emitted +as the knife gradually works its way along are rather trying to the +owner, who, however, has confidence in the reputation of the +master-hand at the kind of work. After a little extra pushing here and +there, and lifting gently to ascertain whether the parting is complete, +the upper table is at last lifted quite clear of the rest. + +The owner at once asks, "Is the back in a very bad state?" "Well," is +the reply, "it is in such a dirty condition that it is not possible +to tell.--Here, James, bring me that water and sponge!" These being +at once brought, with a cloth in addition, the chief at once begins +bathing the inside, giving a heavier rub in different parts, as some +appearances suggest the extra treatment. + +At last, after some few minutes of this application, the cloth is +applied, and the interior assumes a cleaner aspect. + +"Never being cleaned out since it was made, I should think," is the +observation, "excepting once," he adds, as his practised eye lights +on a small, but thick stud resting over a small crack at one side, "and +that was a very long time ago, possibly a hundred and fifty years." +"Does it require the 'lining'--I think that is what it was called?" +"Yes, it will be so much better for it, almost necessary." + +The owner soon after departs, and the chief and his assistant proceed +to work upon the violin. In general condition it happens to be very +good, the one opening referred to being the time at which the modern +bar had been attached in place of the very old and small-sized one. +The fingerboard being old is easily removed by a sudden pull or jerk. +After further cleaning with the aid of a hog-hair brush, this being +adapted for getting more completely into the corners, both parts of +the violin--they have both had a cleaning and looks more wholesome--are +placed aside to dry. + +When this has taken place to the satisfaction of both master and man, +the back is rubbed over with an oiled rag, the object of this being +to prevent the mould now to be taken from sticking to it. + +Some good plaster of Paris is mixed, and a sufficient quantity placed +on it till a coating an inch and a half in thickness is produced; this +amount is necessary owing to the tendency to get out of form or warp +if too thin, failures having often resulted therefrom. + +When well hardened, this mould is lifted off; it comes away easily, +showing a perfect facsimile in reverse of the back of the violin. This +is carefully wiped, and any small specks of plaster that may be adhering +are picked off. + +The mould has now to be dried, as it would otherwise--from the large +amount of moisture within it--undo the back, or any cracks that may +have been glued up. + +Placing in a moderately warm oven is as good a method as any, the natural +drying by open air, even in sunny weather, being a long process. + +After being tested and found to contain no moisture whatever, the mould +is placed upon a bench, and the surface which has been in contact with +the curved form of the back receives a slight oiling with a brush. This +will prevent as much as possible injury to the varnished surface of +the violin when placed in it. This may be further helped by a sheet +of soft paper or soft cotton being placed between, when the back of +the violin is laid in the mould. + +Before proceeding further, there will necessarily be the preparations +made in connection with the piece of veneer that is to be glued to the +back. + +In order that this may be as equally as possible pressed into the shape, +there must be another mould made; this will be of some soft wood that +will cut easily into shape, and be made to fit as near as can be to +the back. + +Next a layer or portion of cork about one-eighth of an inch thick, and +large enough to cover the whole of the veneer, will be required. Some +repairers would prefer india rubber or other yielding substances, +which will fit into any unevenness while sustaining great pressure. +This last will be caused by the press or large cramp, which must be +very strong. + +All the foregoing being ready to hand, the veneer being cut down to +the amount required, perhaps to a pencilled line marked on it for width +and length, it will be wetted; being of slight substance, it will soon +absorb sufficient moisture to remain damp during and over the time the +other preparations are made. + +All being in readiness, the back being laid down accurately in its bed +of hard plaster of Paris, the cloth or paper having been placed between, +the cleansed and dried surface of the table is brushed over with the +strong glue which, if the apartment is of sufficiently high temperature, +will not coagulate or set, but give time for the brushing of glue on +one side of the veneer. This is at once placed in position on the glued +surface of the violin table; it is then covered with some thin, soft +paper, the cake of cork or india rubber being laid over it. More +carefully than all, the carved piece of wood that is to be pressed down +must be exactly in its right place, and above this, other slices, so +that the pressure may be distributed well, and not merely on one spot. + +For this a goodly pile will be of advantage; to be quite scientific +in its proportion, an imaginary line drawn from the central point of +the pressure above to the outside or margin of the field of pressure +at the lowest part, should not be at more than an angle of forty-five +degrees. + +Attention being paid to the foregoing, and the press or large screw +cramp being already in position, the pressure, which must be great, +is applied. + +The glue will be seen oozing out between the surfaces of the table and +its veneer; this can be wiped off easily, and save the trouble of +removal when dry and hard. + +Necessarily, a longer time will be consumed in thorough drying and +hardening in a case like this than in an ordinary repair in which the +atmosphere can more readily obtain access. When quite ready, the +pressure and the pieces of wood, paper, cork, or indiarubber can be +one by one released, and the simple veneer, now firmly attached to the +lower table of the violin, can have its edges trimmed round with gouge, +chisel, or scraper, and finally glass-papered to a good finish. + +When neatly done, the edging of the veneer will decline gradually in +thickness, and die off all round. + +There is nothing further to be done now, but seeing that the bar is +right in proportion, position, and fitting. + + + + +CHAPTER XVIII. + +THE BAR IN OLDEN TIMES--THE MODERN ONE--THE OPERATION OF FITTING AND +FIXING THE BAR--CLOSING AND COMPLETION OF THE REPAIRS--VARNISHING OF +THE REPAIRED PARTS HAVING FRESH WOOD. + + +Much false reasoning upon insufficient premises has at times on and +off been bestowed upon the subject of the bar and its supposed mysteries. +Space at command will not allow of a dissertation on this detail of +the constitution of the violin. A few remarks will perhaps be +sufficient for present purposes. When violins were first sent forth +by their inventor, Gasparo da Salo, the bar was sometimes omitted, +possibly in all the earliest ones, the strain on the upper table being +then slight as compared with that of the present day--at others it was +very short and weak. The substance of the upper table was considerable, +and much over that which the later and modern makers approve of, and +thus there was a counter-balance. + +At the present time still stronger bars are inserted, and very +frequently without rule or reason. Occasionally a coarse bar will allow +of good results as regards the emission of the tone, the length and +thickness happening to be suitable to the proportions in detail of the +instrument. A weakness at each end of the bar is an oft-recurring cause +of bad going with regard to the vibrations. + +From this we may infer that when the bar was first thought of and +inserted it was simply with an idea of supporting the part over which +the third and fourth strings were stretched, and that as the tension +of the strings became greater in consequence of the rise in the pitch, +so the bar had to be increased in strength, that is, longer and deeper. +The discovery or unearthing of an old master in its original condition +will therefore be followed by the opening and re-barring for the +emission of the tone according to modern ideas; these may be summed +up as the getting of the largest amount of tone accompanied by freedom +of vibration or ring. + +As the removal of a defective or weakly bar and its renewal and fixing +in accordance with the best knowledge of the subject is an operation +that should be seldom attempted by other than an experienced +professional repairer, it may be as well to pay another visit to our +chief and his assistant, James. + +After some lapse of time we find on looking in at the establishment +that there is no perceptible change in the working or general routine; +violins innumerable have come and gone and still seem likely to do so +for ever. + +The chief has been occupying a few minutes looking through a newspaper, +not so much in connection with his business, which, as no doubt will +have long since been perceived, is a private or personal one, he is +simply keeping up with the times in reading about what is going on +outside his own little world. + +James, notwithstanding his lesser amount of artistic and scientific +knowledge than the chief, has been steadily improving in his own way, +that of implicitly following directions put forward for his guidance +and given with so many axioms, the result of long experience and +watchfulness. It is a warm day and really heavy work would not be to +the disposition of either master or man. + +Looking through the doorway into the workshop at the back, James can +be seen sitting as quietly and contentedly as his master in the front. +He is engaged on some fitting of small pieces into some fractures of +the upper table of a Stradivari. Having been told to do them neatly, +cleanly and with every precaution, experience and deft handling of +tools, he has got these latter into nice cutting order. The finest and +even semi-transparent shavings will have to come from the fractures +and the portions of wood to be inserted therein. James has by this time +acquired considerable neatness in the treatment of "delicate jobs," +as he calls such as the present. His tools have had special attention +in the keenness of their edge and he thinks that when all is finished +the violin will be as good as new, and very little of the damage done +while in charge of the owner will be perceptible unless hunted for. +He argues within himself that the greatest amount of expenditure of +muscle work and fitting together of ever so many parts has been done +by himself, and therefore the honour ought to be principally his, in +fact the fiddle is more of his make than that of old Strad. His +ruminations are stopped rather suddenly by the voice of the chief, who +calls out, "I say, James, what about the re-barring of the Maggini that +Miss Winks left a week back?" + +"Well, sir, she called again yesterday, and said she didn't think it +would be done, because we seemed slow people, but intended to call again +in three days." + +"Perhaps you had better set to work, James. Have you got everything +ready for placing the bar?" + +"Yes, sir, everything except the bar itself, which is not cut to shape +yet." + +"Well, let me see it. Is it of nice straight grain and from the stock +of that old Italian?" + +"Yes, I've picked out a piece that appears to me just the thing; it +only wants the curve cutting to fit the upper table, and that is quite +clean and regular without any slips of the tool in cutting the old one +out, which I think was the original one." + +The chief gives two or three glances over the work, his accustomed eye +being ready to catch any little fault likely to have been made by his +man. + +"That surface, James, for a Maggini, is remarkably even; as often as +not the gouge marks are left, making a close fit of the bar an +impossibility, let me see the bar." + +The piece of wood is produced; the Maggini being a full fourteen inches +in length of body, the proposed bar is cut to ten and a half inches +in length and seems to the chief to be satisfactory. + +"You can now go on, James; let me see the bar before you glue it in." + +The upper table of the Maggini and the bar are taken away by James, +who goes at once to work with the necessary preparation for placing +the bar in position correctly. + +With a rather soft lead pencil he marks off the length from each end +of the table that the bar will occupy, that is, a little over at the +lower end than the upper, the exact distance from the joint or central +line, a trifle, perhaps eighth of an inch nearer at the upper part, +letting the middle or thickest part of the bar be at the spot where +the foot of the bridge will rest. + +After this the bar, at present straight and about three-quarters of +an inch high all along its course, has marked upon the part that has +to remain uppermost some indication to the fancy of the operator that +will keep in mind which end is to be placed at the upper part. + +This being done, he commences with a chisel to cut away portions at +each end, and tries on the surface of the part to be fitted to. After +two or three times the chiselling has to be more finely done until the +closest fit possible is obtained; it is then ready for fixing. The bar +is as yet quite straight along the upper part. With regard to the +levelling of the bar to the curve of the interior part of the upper +table, there used to be a custom in the repairing business of "putting +the bar in with a spring" as it was termed. The repairers always spoke +of it as "the regular thing to do," but on being asked questions as +to how much and under what circumstances the "spring" would be best +one way or the other, became somewhat reticent, possibly from fear of +being led into some scientific depths from which it might not be easy +to extricate themselves. James, however, has been taught differently +in the management of this portion of his work; he having found from +close examination that the rise of the curving on the outside on the +bar side was quite high enough, went on with the operation. + +Had the bar side been in a sunken condition, his chief would have +required him to restore the elevation by the wetting process before +alluded to. + +The accessories, glue and cramps being in readiness, two pieces of +thick hard brown paper are folded together to go over the varnished +surface of the upper table. This will be quite thick enough, as any +more will cause a liability to press the bar into the wood when under +the influence of the damp of the glue. This result is often seen in +violins that have been through the hands of inexperienced repairers, +there being an elevation at each end where the bar terminates when the +violin has been strung up. + +Cramps are used of sufficient width for reaching over the border at +each end and quite on to the end of the bar. James, after his repeated +trials as to the closeness of the relation of the curve of the bar to +that of the table, takes it to the chief as commanded, who expresses +his satisfaction and orders the completing process to be gone through. + +The curved surface of the bar is wetted and some glue placed along, +the part of the table with which it is to be in contact is also wetted, +but not much. After a few minutes for the glue to soak in, the final +glueing is done along the course on the table and the curved course +of the bar; the latter is then placed in position and first one cramp +at one end is fixed, then the other; the screwing down is very gently +done, James, from experience, knowing just how much and no more. The +hard brown paper between the cramps and their padded or corked ends +prevents any injury to the varnish. + +For the central and adjacent portions of the bar to be pressed, James +uses at times wooden cramps with a longer reach, and treating all parts +of the bar with gentle but sufficient pressure, being meanwhile careful +that the pressure is not directed on one side but direct downwards; +he knows that if this is not strictly attended to, the bar will be +twisted and when dry, or even finished, will not appear straight but +curved along its course. + +James having seen that this part of the operation has proceeded +satisfactorily, places the table away to dry, and when so, the cramps +are removed and the table examined by the chief. All being assumed to +be satisfactory, James is told to go on with the shaping down of the +bar, which is done with a chisel held with the bevel downwards, this +being safer and less likely to slip. + +This having been done to the curving desired by the chief, the +glass-papering to a nice even surface and finish is proceeded with, +and the operation may be said to be completed. + +We now come to the closing down of the upper table. This last is a final +process that when done clumsily, hurriedly, or in many ways improperly, +has been the cause of much damage, if not positive destruction, to many +good or valuable works of the great masters and others. + +Before deciding upon the precise moment for this important stage of +repairing, there should be a most careful investigation of the +condition of the whole of the interior of the instrument. + +Without this there is the possibility of fine splinters of wood, or +cracks, being left unattended to that may announce themselves when all +is supposed to be in readiness for the bow, by a jarring, or, when the +bow is applied, by a buzzing which will take all the knowledge, +experience and guessing, perhaps more, that can be brought to bear upon +the matter without any practical result, excepting perhaps that of the +necessity of re-opening. + +If found out before closing down, neighbouring parts should be rigidly +examined, as a slight, almost invisible fracture, will, on testing, +be frequently found to be much more extensive than was at first +suspected. + +Gentle tappings may be tried and testings of resistance to bending at +the same, keeping the light at right angles to enable the slightest +opening or fracture to show itself and be at once placed under treatment. +When every test proves the instrument to be sound and ready for closing +up, preparations may be commenced. + +There is probably no one of the different details of repairing that +gives more evidence than this of the kind of workman engaged upon it. + +It may almost be said that this is rarely done as it ought to be in +the manner that can be described as being good in every way for the +purpose, and neatly done. + +The bad manner of closing has been, more frequently than any other, +the means of putting the whole instrument out of order, gradually +distorting, if not actually bringing it to ruin as a work of art, and +to destruction as a means of producing good musical sounds. + +Judging by the ways adopted by many inferior grades of repairers, +professional and amateur, the closing down of the upper table is +thought to be a trifling matter and simply that of passing some glue +on a brush rapidly round where the ribs are to come into contact with +the table, clapping it down, placing the cramps round, screwing them +tight, and, if the weather is cold, acting with more rapidity. + +Ten minutes may be said to be the average time that this performance +takes, and in the majority of cases is thought to be a good one. + +But not so by a really competent, painstaking repairer. From his view +this operation is to be one of the most cautiously conducted ones in +the whole series of joinings in connection with the repairing or +constructing of the violin. + +As with other processes, there is more than one way of doing a thing +and that well. + +I recollect in early days being acquainted with an exceeding dexterous +amateur in cabinet making, the principal part of whose furniture, in +a large house, was his own individual and unaided workmanship. He also +combined with this the making of violins, and of them I have a +recollection of their exceedingly neat workmanship, being, in fact, +ahead in that respect of many professional makers of the time. I often +received from him hints as to the best methods of overcoming many little +mechanical difficulties. + +Once I was telling him about the dexterous manipulation required in +fixing accurately and swiftly the upper table. There was the difficulty +of getting perhaps the two end parts in position and fixing with +sufficient rapidity before the glue had stiffened or set at the other +parts. + +He asked me why I wanted "to do this all at once, instead of a part +at a time? He never did it." + +He then proceeded to show me that the glue might be applied to the two +end blocks and the corresponding parts of the table that were to be +affixed, and these cramped exactly and with comparative ease, in their +proper position. This being done, a very thin worn table knife could +be used for working in glue at the other parts and the cramping down +proceeded with as before. + +Another way suggested itself to me some time after, which in careful +hands would be still more adapted for accurate fitting. It is as +follows:--Having seen that the opposing surfaces or parts that are to +be affixed to each other are quite level, fit each other, have been +cleaned and are free from any oiliness or greasy particles, the glue +is neatly brushed round the parts requiring it, both upper table and +ribs being treated. The corner and end blocks, if new, will require +more than one coating, and these to be allowed to dry, as the end of +the grain is very absorbent. + +Assuming that the glue is sufficient in quantity all round, it may be +allowed to dry. + +The upper table can now be tested for a good fit by laying it, and +noticing whether the marginal projection over the ribs is regular or +not; in some instances a little humouring or averaging of this +projection has to be made, especially when the instrument is very old, +and bears evidence of much trouble under the hands of repairers of +different degrees of skill, experience and patience. + +This being found satisfactory, a slight brushing of thin glue over the +upper and lower end blocks will be enough before placing the table in +position and cramping them down. + +For the other parts the thin knife will be sufficient, wetted and worked +between, the cramps being applied as before. + +This way of closing up dispenses with all cause for hurry. The exact +amount of glue can be calculated without danger of over-loading, and +the next necessary opening for repairs can be effected without the +least risk of damage to the margin of the upper table. By this method +there is no occasion for wiping superfluous glue from underneath the +over-lapping edge, as there will not be any perceptible, or, indeed, +present, when tidily done. + +Sufficient time being allowed for drying--a little longer for the end +blocks, these being more hidden and slowly affected by the +atmosphere--the cramps may be removed. + +As a final process, the varnishing over the parts that have been +repaired may be touched upon. + +The success of this so much depends upon the natural talent of the +operator for matching colours and mixing of different gums for +obtaining as close as possible resemblance to the surrounding work, +that any hard and fast rules concerning it cannot be laid down. + +An alcoholic mixture is almost invariably used for the covering of raw +repairs, time scarcely ever being available for the use of an oil +varnish. + +The most commonly used basis is a lac varnish. The ease with which this +is dissolved and manipulated is a temptation to use it at times when +it would be the least desirable for the imitation of old varnish. One +great fault in connection with it is its retaining a glare on the +surface when hardened, and the undesirable aspect is given of polished +spots where repairs have been going on. There is only one way of +counteracting this--by mixing other gums or resins that have less or +but little glare when hard. Those of a very astringent quality should +be avoided, as when dry their pulling power or contraction is very great, +and a cracked surface not at all like the rich fused appearance of many +of the old masters, but dry and uninteresting, will make itself too +evident. + +By a carefully-calculated mixture of soft and hard gums, with a little +transparent colouring matter when necessary, a very good if not highly +successful imitation of the surrounding work can be accomplished, such +as will prevent the repair "catching the eye" too soon, for it must +do so eventually when hunted for. The density of colouring and +thickness of the principal component parts must always be studied, as +the same depth of tint by a very thin layer as that of a thick one will +not have the same effect, and one or the other, when making a contrast +with the adjacent old surface, will be conspicuous as a failure. + +A few hints may be acceptable as to material and the management of it. +We will assume, for instance, that a portion of the upper table of a +rather deep brown-red old master has been repaired, and a slice of +comparatively light coloured or new wood has been inserted as a +necessity, the grain as a matter of course having been matched to the +best of the ability of the repairer. + +The first step taken will be that of putting a nice clean even surface +over the fresh wood, and in such a manner, that on passing the hand +or finger over it, no lumps, edges, or rough spots are felt. Having +brushed the dust or powdered wood away, the colour of the wood will +have to be lowered or subdued, otherwise the whiteness will obtrude +itself and stare through any carefully selected varnish. This, for good +effect, will be found advisable with the repairing of any old +instrument. + +The precautions to be taken at this stage are respecting the quality +or disposition of the stain (as we may call it). The stains ordinarily +sold for colouring wood are quite useless for present purposes, as they +are absorbed between the threads, leaving these by contrast very light +and the reverse of what is desirable. + +A very weak solution in water of bichromate of potash will lower the +colour sufficiently for most purposes, and when quite dry the wood will +(having swelled with the moisture) require the fine glass-papering +again, after which, the next stage can be proceeded with. + +The solution of nitric acid in water should be avoided, as, although +giving a fairly good lowering of the tint, it destroys the soft parts +of the wood, and, further, causes an odour that may cause annoyance +to the musician and suspicion to the expert. + +Another solution may be recommended, that of the black liquorice, which +is a transparent brown, and naturally hard. Judgment will have to be +exercised in the management of either of the above solutions that they +are not put on too heavily. + +The staining being effected, a slight coat of a diluted or light tint +of the upper or deeply coloured varnish may be painted over and left +to dry. + +If time is not an important item for consideration, a turpentine +varnish may be applied. + +An excellent first colouring can be effected with the transparent +preparation of gamboge. This material has for long, perhaps always, +been in request for coloured varnish, as it can be used with (after +due preparation) either alcohol, turpentine or oil. If dissolved in +the last, the drying will take so long as to be practically useless +to the repairer. The turpentine solution is more rapid, but not +sufficiently so for the restorer under ordinary circumstances. + +It will be therefore plain that an alcoholic solution of gums or resins +will have to be relied on for obtaining the best results when time is +limited. + +The solution of gamboge in alcohol is, when used alone, too weak or +insufficient in body; it is therefore advisable to incorporate with +it some other material of a resinous or gummy nature, but such as will +not impair the transparency. Among the most useful are the bleached +or white shellac. This, as it leaves the manufactory, is not always +in a condition for immediate use by the restorer; it should be washed +in water and then dried well, pounded up and placed in a bottle with +about four-fifths of alcohol; after remaining in solution for some days +the clear portion can be poured into another bottle and retained for +use. + +This, when used alone in its colourless condition, will possibly have, +when dry, too much glare upon its surface, but the colouring matters +put into it may oppose this sufficiently. + +The use of a little gum guacum in solution will be found occasionally +advantageous; this gum is fairly hard and will lower the colour and +prevent too much of an approach to gaudiness, that is, if a highly +coloured varnish has been found necessary. When it is desirable to +dispense with lac of any kind in the varnish, other materials can be +found that will perhaps answer the purpose as well, if not better; a +solution of benzoin has no colour sufficient in itself and therefore +may be used as a priming or mixing with the gamboge or with dragon's +blood if that is desirable; the latter, like the gamboge, requires +something to give it body. + +Dragon's blood will soon let the operator know that its power of +colouring to a staring degree will require suppression. To lessen its +strength the following may be taken as an excellent means, and will +reduce the violence _ad libitum_. With a lighted candle, wax for +preference, smoke a piece of clean glass, and with a camel hair brush +remove the black and stir it carefully with the coloured varnish. Care +must be taken that too large a quantity is not put in, or an unpleasant +tone, even blackness, will be the result. + +With regard to the strength of the red, the same precautions must be +taken: on comparing the varnish of a very red old master of Italy, say +a Landolphi, with some made with a fairly strong solution of resin and +dragon's blood, the violence of colour in the latter will be very +apparent. At a little distance off the old master will look very modest +while the other will seem coarse and vulgar. + +For softening purposes a very small quantity of gum thrus may be used, +too much will result in tackiness. + +For hardening, sandarac has its place and usefulness, although, as with +the naturally soft gums and resins which return to their original +condition after the solvent has evaporated, great care must be taken +to use a very small proportion. + +A mixture of sandarac and shellac will result in an extremely hard and +almost insoluble varnish, a very undesirable covering for a musical +instrument of any kind as it wears badly, that is, suddenly and harshly +with a rough fractured edge, instead of the gentle thinning-away under +usage, seen with a delicate yielding material. + +Acroydes is an Australian "grass gum," with very little recommendation, +as in any considerable amount, it impairs the transparency of the other +gums with which it may be mixed. + +For a brown colour, a little burnt sugar will give a good tint, although +too much will spoil the consistency of the other ingredients, and the +whole will be easily affected by damp. Aloes, of which there are several +kinds, have been used as a colouring ingredient, but the results are +not on the whole to be considered as good. + +Of the different lacs, or as it ought to be termed, condition of the +resin, as they are all from the same source, seed lac and garnet lac, +in proportion with other resins, will be found to have considerable +colouring matter and requiring very little in addition. + +For our present purposes, those of varnishing fresh parts of injured +violins, the above mentioned component materials will be found, when +in good proportion, according to the experience of the operator, to +be nearly all that would be desirable in imitating the surrounding +work. + +There is nothing that can be suggested to enable a careless or +incompetent repairer to achieve good results without care or +calculation, and these two are an absolute necessity when the repair +and restoration of a violin at all worthy of the name is the subject +in hand. Innumerable effects may be obtained by changing the proportion +of groundwork or priming, and top or coloured varnish. As the +celebrated old Italian varnish was not one kind but very many different +kinds, it is more than probable that the different results obtained +by the celebrated liutaros consisted to a greater extent in the manner +of the application than any wonderful quality of material. Of this +subject much might be written which would fill many times over the +capacity of our present volume. + +A few words more may be said in conclusion regarding the varnishing +of new work on old violins; it must not be supposed that for the +imitation of the surrounding work an exact repetition of the old +Italian process with the identical substances used by the liutaros +would be absolutely necessary for perfect or near success; it must be +borne in mind that old varnish near the spot with its partial decay, +probably from many causes, has to be imitated, and that what would be +a great success with regard to a small space, might in all probability +prove a signal failure when the whole instrument is so treated. + +As a final stage, a freshly varnished portion (and over newly inserted +wood), will require a little rubbing down (as it is termed); this may +be done with some of the finest and worn glass-paper, finely ground +pumice and oil, with a last turn of tripoli powder or rotten stone with +oil. This should be done only when the varnish is quite dry and hard. + + +THE END. + + + + +ADVERTISEMENTS. + + + + +FOURTEENTH YEAR OF ISSUE. + +_The Largest Circulation in the World of any paper amongst Violinists_. + +THE STRAD + +_A Monthly Journal for Professionals and Amateurs of all Stringed +Instruments played with the Bow_. + +Published on the First of every Month. Price 2d., Annual Subscription, +Post Free, 2s. 6d. For the Colonies and Abroad. 3s. + +THE STRAD is the only recognised organ of the string family and has +subscribers in every country of the civilised world. Our circulation +has increased to so great an extent that we are enabled to engage as +contributors + +THE LEADING WRITERS in the VIOLIN WORLD. + +THE STRAD contains technical articles by the leading artists. + +THE STRAD, in the answers to Correspondents column, gives minute +information by Experts on every detail connected with the Violin. + +THE STRAD gives all the important doings of Violinists at home and +abroad all the year round. + +THE STRAD gives early critical notices of all important New Music for +Stringed Instruments, with numbers to show the grade of difficulty of +every piece. + +The following serial articles now appearing: + +Joseph Guarnerius. By HORACE PETHERICK. + +This series of articles contains a minute critical analysis of this +great maker's work, and the author claims to have discovered in Andreas +Gisalberti (a maker almost unknown at the present day), the teacher +of Joseph Guarnerius, a conclusion arrived at after the most convincing +evidence, which he puts forward in a very able and readable manner. +Full page illustrations of violins by Joseph Guarnerius and Andreas +Gisalberti are given. + +Selected Violin Solos and How to Play them. By BASIL ALTHAUS, F.C.V. +Illustrated with music examples. + +Specimen Copy, 2-1/2d., Post Free. + +All Subscriptions, Advertisements, etc., to be addressed to the +Manager, HARRY LAVENDER, 3, Green Terrace, Rosebery Avenue, London, +E.C. + + + + +"THE STRAD" LIBRARY, No. I. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_ + +Technics of Violin Playing +ON +JOACHIM'S METHOD +BY +CARL COURVOISIER, +With Folding Plates, containing Fifteen Illustrations. + +LETTER FROM DR. JOACHIM [COPY] + +MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you +have sent me, and have to congratulate you sincerely on the manner in +which you have performed a most difficult task, _i.e._, to describe +the best way of arriving at a correct manner of playing the violin. + +It cannot but be welcome to thoughtful teachers, who reflect on the +method of our art, and I hope that your work will prove useful to many +students. + +Believe me, my dear Mr. Courvoisier, to be most faithfully yours, +JOSEPH JOACHIM. +Berlin, November 3rd, 1894. + +The New and Revised Edition of "Technics of Violin Playing," issued +by THE STRAD, is the only authorised edition of my work. The several +English Editions which have all appeared without my knowledge are +_incomplete_ and _faulty_. + +CARL COURVOISIER. + + + + +"THE STRAD" LIBRARY, No. II. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +HOW TO STUDY THE VIOLIN +By J. T. CARRODUS. + +CONTENTS. + +Strings and Tuning. The Bow and Bowing. Faults and their Correction. +Scales and their Importance. Course of Study. Advice on Elementary +Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some +Experiences as a Soloist. With full page portraits of Carrodus, Molique, +Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a +photo-reproduction of Dr. Spohr's testimonial to Carrodus. + + +"An interesting series of articles 'How to Study the Violin,' which +Carrodus contributed to THE STRAD, and completed only a week or two +before his death, have now been collected in cheap book form. The +technical hints to violin students, which are practical, plainly +worded, and from such a pen most valuable."--_Daily News_. + +"But a few weeks before his sudden death the most distinguished of +native violinists completed in THE STRAD a series of chats to students +of the instrument associated with his name. These chats are now +re-issued, with a sympathetic preface and instructive annotations. All +who care to listen to what were virtually the last words of such a +conscientious teacher will recognise the pains taken by Carrodus to +render every detail as clear to the novice as to the advanced pupil. +Pleasant gossip concerning provincial festivals at which Carrodus was +for many years 'leader,' of the orchestra, ends a little volume worthy +a place in musical libraries both for its practical value and as a +memento of the life-work of an artist universally esteemed."--_Daily +Chronicle_. + +"It is surely, hardly necessary to direct the attention of students +to the unique value of the hints and advice given by so experienced +and accomplished a virtuoso as the late Mr. Carrodus, so that it only +remains to state that the 'Recollections' make delightful reading, and +that the book, as a whole, is as entertaining as it is instructive. +The value of the brochure is enhanced by an excellent portrait of Mr. +Carrodus, as well as of a number of other violin worthies, and the +printing, paper, and get up generally are good as could possibly +be."--_Musical Answers_. + + + + +"THE STRAD" LIBRARY, No. III. + +_Crown 8vo., Cloth 2/6, Post Free 2/9._ + +THE BOW +Its History, Manufacture and Use +BY +HENRY SAINT-GEORGE. +With Full Page Illustrations (exact size) by Photo Process. + + +MONS. EMILE SAURET writes--"I have read it with great interest, and +think that it supplies a real want in giving musicians such an excellent +description of all matters referring to this important instrument." + +SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and +interesting book. You are quite successful and all the artists and +amateurs are indebted to you for a so exact and correct '_Texte_' on +the subject." + +ADOLF BRODSKY writes--"I am delighted with the book and find it very +instructive, even for those who think to know everything about the bow. +It is very original and at times very amusing. No violinist should miss +the opportunity to buy it." + +THE TIMES.--"A useful treatise on the Bow, in which the history, +manufacture and use of the bow are discussed with considerable +technical knowledge." + +DAILY TELEGRAPH.--"To the student there is much of interest in the work, +which has the advantage of being copiously illustrated." + +DAILY NEWS.--"This book seems practically to exhaust its subject." + + + + +"THE STRAD" LIBRARY, No. IV. + +_Crown 8vo., Cloth, 5/-, Post Free, 5/4._ + +CELEBRATED VIOLINISTS: PAST AND PRESENT, +_Translated from the German of_ +A. EHRLICH, +_And Edited with Notes and Additions by_ +ROBIN H. LEGGE. +_WITH EIGHTY-NINE PORTRAITS_. + + +PRESS NOTICES. + +"Those who love their fiddles better than their fellows, and who +treasure up every detail that can be found and recorded about their +favourite and cherished players, will not fail to provide themselves +with a copy of this book."--_Musical Opinion_. + +"This book of 280 pages is a most interesting and valuable addition +to the violinist's library. It contains 89 biographical sketches of +well-known artists, ancient and modern, of all nations. This is not +intended to be a perfect dictionary of violinists; the aim of the Editor +of the present volume being merely to give a few more up-to-date details +concerning some of the greatest of stringed instrument players, and +we must concede that no name of the first importance has been omitted. +Germany is represented by 21 names, Italy by 13, France by 10, England +by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known +ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle, +Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this +is most agreeable reading to the numerous army of violinists, both +professionals and amateurs, and after careful examination we can find +nothing but praise for this translation into English of a book well +known on the Continent."--_The Piano, Organ and Music Trades Journal_. + + + + +"THE STRAD" LIBRARY, No. V. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +TECHNICS OF VIOLONCELLO PLAYING +BY +E. VAN DER STRAETEN. +COPIOUSLY ILLUSTRATED. + + +_Copy of Letter received by the Author from the great 'cellist, +SIGNOR ALFRED PIATTI._ + +Cadenabbia, Lake of Como, March 9th, 1898. + +DEAR SIR,--I received the book you kindly sent me on "The Technics of +Violoncello Playing," which I found excellent, particularly for +beginners, which naturally was your scope. With many thanks for kindly +remembering an old ex-violoncello player. + +Believe me, yours sincerely, +ALFRED PIATTI. + +_Copy of Letter received by the Author from the eminent 'cellist, +HERR DAVID POPPER._ + +Budapest, February 22nd, 1898. + +DEAR SIR,--In sending me your book on "The Technics of Violoncello +Playing" you have given me a real and true pleasure. I know of no work, +tutors and studies not excepted, which presents so much valuable +material, so much that is absolutely to the point, avoiding--I might +say, on principle--all that is superfluous and dispensable. Every +earnest thinking violoncello student will in future make your book his +own and thereby receive hints which will further and complete the +instructions of his master. + +I congratulate you and ourselves most heartily on the new violoncello +book. With kind regards, Yours most sincerely, +DAVID POPPER. + + + + +"THE STRAD" LIBRARY, No. VI. + +_Crown 8vo., Cloth, 2/6, Post Free 2/9._ + +VIOLIN PLAYING +BY +JOHN DUNN + +CONTENTS + +INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints +on the Choice of a Teacher--Some Tricks of pretending professors +exposed. + +ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment +and repairs. + +ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs +in Order. + +ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as +accepted by the leading artists of the day. + +ON FINGERING GENERALLY--The various positions--Scales +recommended--The Modern Orchestral "Principal" or (so-called) Leader. + +ON GLIDING--Special Characteristics of some of the most Eminent +Players. + +DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain +independence of Finger. + +BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring +Bow--Mixed Bowings. + +TONE PRODUCTION--Character of Tone--Rules and Conditions necessary to +produce a good tone--Style and Expression. + + + + +"THE STRAD" LIBRARY, No. VII. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +Chats to 'Cello Students +BY +ARTHUR BROADLEY + + +"Musicians, devotees of the 'cello in particular, will welcome the +latest volume of the 'Strad Library,' 'Chats to 'Cello Students,' by +Arthur Broadley.... Mr. Broadley not only knows what he is talking +about, but has practised what he says. From the choice of an instrument +to finished delivery and orchestral playing, 'Chats to 'Cello +Students' leaves nothing undiscussed. The treatment is simple and +practical. The exhaustive chapter on 'bowing' should be an invaluable +aid to students. In the last chapter of his book, 'On Delivery and +Style,' Mr. Broadley has given a lucid expression to a subject which +has sadly needed voicing."--_The Tribune, Nuneaton_. + +"Is a brightly written little volume filled with practical information +for those who seek to bring out the wealth of expression of which the +violoncello is capable. The instruction is presented in homely, +common-sense fashion, and there are upwards of fifty examples in music +type to illustrate the author's meaning."--_Lloyd's Weekly_. + +"Every kind of bowing and fingering, the portamento, harmonic effects, +arpeggios and their evolution from various chords, are all ably treated, +and the work concludes with a few remarks on orchestral playing which +are of especial interest."--_Musical News_. + +"As a writer on the technique of his instrument Mr. Broadley is known +all over the world, perhaps his most successful work being a little +book published by THE STRAD, 'Chats to 'Cello Students.'"--_The +Violinist_. + + + + +"THE STRAD" LIBRARY, No. VIII. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +ANTONIO STRADIVARI +BY +HORACE PETHERICK +_Of the Music Jury, International Inventions Exhibition, South +Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert +in Law Courts, 1891; Vice-President of the Cremona Society_. +ILLUSTRATED BY THE AUTHOR. + + +"This is the history of the life-work of the great Italian stringed +musical instrument maker.... There is a most interesting analysis of +Stradivari's method of mechanical construction which again is +illustrated by original drawings from the many Strads which it has been +Mr. Petherick's privilege to examine. All lovers of the king of +instruments will read this delightful little volume."--_Reynolds_. + +"Among makers of violins Stradivari perhaps occupies the premier +position, and this account of his work, designs, and variations in +finish of details will afford pleasure to many readers."--_Morning +Post_. + +"This is a monograph which all students of the violin will be happy +to possess. The author is a connoisseur and expert, and his account +of the great Cremonese master and his life-work, is singularly well +and clearly told, whilst the technical descriptions and diagrams +cannot fail to interest everyone who has fallen under the spell of the +violin.... Mr. Petherick traces the career of Stradivari from his +earliest insight into the mysteries of the craft to his highest +achievements. Numerous illustrations lend attraction to the volume, +not the least being a view of Stradivari's atelier, from a painting +by Rinaldi, the sketch of which was made on the premises."--_Music_. + +"Mr. Petherick is well known in the musical world as a violin expert +with a special knowledge of the instruments made by the Cremonese +master, whose biography he has here given us. He tells us how the master +worked, what his pupils did, and where their work differs from that +of their preceptor. In fact, the volume is as much a dissertation on +the violins of Stradivari as a biography of the master, and is full +of deeply interesting matter."--_Lloyds_. + + + + +"THE STRAD" LIBRARY, No. IX. + +_Crown 8vo., Cloth, 5/-, Post Free, 5/4._ + +VIOLIN MAKING +BY +WALTER H. MAYSON, +With Thirty-one Full-page PHOTO ETCHINGS, +Illustrating the process of Violin-making in every stage--from the +rough slab of wood to the finished Instrument. + +The text is written by an Actual Violin Maker, in a very clear and lucid +style. + + +"'Popular lecture' style, with photographic illustrations."--_The +Times_. + +"A feature of the book is the clearness of the +illustrations."--_Morning Post_. + +"Describes a very fascinating art from start to finish."--_Morning +Leader_. + +"This new booklet, on how to make a violin, is an admirable exposition +of methods. Mr. Mayson avoids learned terminology. He uses the simplest +English, and goes straight to the point. He begins by showing the young +learner how to choose the best wood for the violin that is to be. +Throughout a whole chatty, perfectly simple chapter, he discourses on +the back. A separate chapter is devoted to the modelling of the back, +and a third to its 'working out.' The art of sound-holes, ribs, neck, +fingerboard, the scroll, the belly. Among the illustrations is one +showing the tools which the author himself uses in the making of his +instruments. To learners of the well-known Manchester maker's delicate +art we commend this little volume."--_Daily News_. + + + + +"THE STRAD" LIBRARY, No. X. + +_Crown 8vo., Cloth, 2/6, Post Free, 2/9._ + +(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM) +THE VIOLIN MUSIC OF BEETHOVEN, +Critically discussed, and Illustrated with over +FIFTY MUSICAL EXAMPLES, +BY +J. MATTHEWS. + +The book contains analytical and historical notes upon the Chamber +Music of Beethoven, in which the violin takes part as a solo instrument, +with some account of the various editions of the principal works; +Beethoven's method of working, as shown by his Sketch Books, etc. It +is dedicated to Dr. JOACHIM, who has furnished some notes respecting +the stringed instruments possessed by Beethoven. + + +Extract from Author's Preface:-- + +"Young students often suppose that they ought to admire every work +which proceeds from a great genius; an attempt therefore has been made +to convey some idea of the relative art-value and importance of the +various compositions discussed in these pages. For between the best +work of any man and his least inspired, there is a wide difference. +Certainly nothing annoyed the great master more than to hear his least +mature works praised, especially at a time when many of his greatest +creations were too little studied to be understood save by a few." + + +"Mr. John Matthews--dealing with Beethoven's music in pleasant fashion, +and at not too great length--gives an historical account, and in many +instances short analyses, with illustrations in music type, of +Beethoven's works for this instrument, and particularly the sonatas +(to which considerable space is devoted), the trios, the quartets, and +other compositions in which the master employed the violin. The book +will be found by amateurs both interesting and instructive."--_Daily +News_. + + + + +"THE STRAD" LIBRARY, No. XI. + +_Crown 8vo., cloth, 157 pages, 2s. 6d., Post Free, 2s. 9d._ + +Advice to Pupils & Teachers of the Violin, +BY +BASIL ALTHAUS. +CONTAINS OVER 200 MUSIC ILLUSTRATIONS + +STRONGLY RECOMMENDED BY AUGUST WILHELMJ AND GUIDO PAPINI + + +_London, March 18th, 1903_. + +DEAR MR. ALTHAUS, + +I read your book "Advice to Pupils and Teachers of the Violin" with +great interest, and find it very useful. Hoping your book will meet +with the success it deserves. + +I am, yours sincerely, +AUGUST WILHELMJ. + +_London, Feb. 19th, 1903_. + +DEAR MR. ALTHAUS, + +I have read with interest your admirable book, "Advice to Pupils and +Teachers of the Violin." I have no hesitation in recommending it as +an indispensable work to all aspiring violinists and teachers. Your +remarks on the acquirement of the various bowings, with the many +musical examples, are excellent. I know of no work on this important +subject so explicit and exhaustive. Wishing your book the great success +it deserves. + +Believe me, yours sincerely, +GUIDO PAPINI. + +"I have read the 157 pages that go to form the book in question, and +can say, without any misgiving, that Mr. Althaus has successfully +achieved what he set out to do."--_Musical Standard_. + +"The practical and lucid explanations given are assisted by numerous +illustrations."--_Reynold's Newspaper_. + + + + + + +End of the Project Gutenberg EBook of The Repairing & Restoration of Violins, by +Horace Petherick + +*** END OF THIS PROJECT GUTENBERG EBOOK RESTORATION OF VIOLINS *** + +***** This file should be named 26878.txt or 26878.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/8/7/26878/ + +Produced by Ron Swanson + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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