How to Make a Violin 1000070735
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HOW
TO
MAKE
VIOLIN
A
by
JOHN
BROADHOUSE and
VIOLIN
NOTES
by OLE
Revised
BULL
Edition
LONDON WILLIAM la
REEVES
Norbury
Ltd.
Bookseller
Crescent,
S.W.I
6
Printed Lowe
and
Brydone
in
Great
Britain
(Printers) Limited,
by London,
N.W.io
Foreword,
demand
THE
construction
for
edition
has
has
had
With
a
the
advantage
of
re-drawn
the
list.
being
of
Guarnerius
and
that
present
and
of
and
revised
a
by
makers.
improving
illustrations
tinued con-
short
a
This
violin
further
outline
has
improved
of
the
on
for
print.
well-known
our
view
and
years
of
work
violin
considerably
Stradivarius,
been
to
out
been
the
of
one
of
been
has
little
the
of
steadily time
this
for
this
the
Amati
Maggini
tion edi-
models
have
added
Contents
CONTENTS.
VI
PAOK
Chapter The
Bass
X. 66
Bar XI.
Chapter The
61
Purfling XII.
Chapter The
67
Neck XIII.
Chapter The
V6
Fingerboard XIV.
Chapter The
Nut
the
cand
Tail
Piece
Chapter and
Varnishing
XV. 79
Polishing XVI.
Chapter
Varnishes
and
Colouring
82
Matter XVII.
Chapter The
77
Nut
91
Varnish
XVIII.
Chapter Method
A. Mathematical
Constructing
of
the 102
Outline Chapter The
Remaining
Accessories Violin
Notes
XIX. of
by
the Ole
Violin
Bull)
cluding (in113 ...
List
Illustrations.
of
"
Mercure
''Le
Strad
Frontispiece
ria.
J3
1.
Saw
2.
Plane,
side
3.
Plane,
bottom
4. 5.
7.
Bottom
ready
15 ...
rounded
Scraper Steel Steel
12.
Bending
...
...
...
...
...
...
...
...
...
17 18
trace
iron
18 ...
...
...
Hand-vice
19 ...
...
Wooden
hand
...
...
20
16.
Sound-post
setter
Sound-post
setter
Large
...
...
wood
Clip
of
19
screw
15.
18.
16
plane
17 ...
...
compasses
11.
17.
16
plane
rounded
small
of
14 ...
17
9.
14.
...
pieces detached
use
small
view
Knife
13.
loose
for
of
view
8.
10.
14
view
showing
Plane Side
14 ...
Plane
6.
view
folding
Amati,
20 ...
...
...
plate
Guarnerius At
Maggini of
Outline
20.
Model
for
21.
Model
for
a
...
outlines
of
Stradivarius,
19.
20
by Spohr
used
...
end
...
of
an
and
of volume
violin
the the
curve curve
23 of the at
back
and
its greatest
belly
24
width
24
LIST
Vlll
OF
ILLUSTRATIONS.
PAOK
FIO.
22.
The
23.
Model
curve
the
the
over
for
the
24
/ holes widebt
the
at
curve
part of 24
end
neck
...
...
and
...
...
the
...
/ holes
24.
Model
25.
The
mould
26.
The
counter
27.
The
upper
28.
Mould
with
29.
Maple
piece
30.
41
33.
maple pieces in position view in one Another piece The back-plate Purfling tool
34.
Cutters
62
35.
Purfling
36.
Chisel-sharpened
37.
The
38.
A
31.
The
for
drawing
placing
25 28
mould
29
mould
with
the
pieces
in
position
31
32
blocks
41
two
42
...
32.
39.
view
tool
63 awl
66
with
Outline
the
showing
Bridge of
Bridge Bridge ancient
46. 47.
...
...
...
...
104
of
which
with
is not
109
bar ...
thickness
varying
viol
a
the
110 ...
strings, the
seven
cut
out
except
at
the
sides
through 45.
72
position of
126 ...
44.
neck
marked
measures
showing
Outline
two
of the
foot
108
41.
body
68
of the
Outline Arc
43.
62
neck
40.
42.
44
of
a
viol
in every of
a
...
with
of
Bridge
of
a a
Nicholas
...
strings
cut
127 ...
violin
pattern
school of Anthony
Bridge
five
part
small
...
...
Amati
Araati ...
Stradivarius ...
of
the 126
128 128
Introduction.
So
violin,
musical all
the
Its
etc.,
works
which
almost
history
chichte
believe,
which
details
numerous
violin, E.
is
the
very
"
would
like
perhaps to
try
too
their
themselves. in
Ges-
oiily work,
ever, how-
and
but a
costly
in
of
making
expensive complete for at
I
readers,
concisely
work
hand
man Ger-
a
Ihre
involved
Heron-Allen
itself, but
of
English
fine
rise
given
treated
fully
treats
ha^
Violine,
to
of
collection
a
The
given
yet
its
it
"Die
Bau."
Ihr
instrument,
that
ably
called
its
library
a
been
has
und as
of
to
the
upon
development,
musical
a
literature,
work
the
as
form
would
its
history,
its
beauties
written
been
has
much
some
a
work
in
who
fabricating
INTRODUCTION.
2
a
fiddle. in
and the
Hints of
some
is
process
them
Davidson.
in
a
"
The
is devoted
that
theoretical
to
historical matters, which, however,
and
in
themselves,
with
the
of
making
object in writing this
the
amateur
detailed
the various the
in the
wood
not
think
I have
me,
if I have who
reader
to
make
defects
or
I do
work it
the the
to
detail
any
as
is full
to
gratefulto with
communicate
later edition.
tried
the bench
I shall be
in
that my
when
time
I do
the defect
suppose
through
gone
stringsfor playing. allowed
will
ing respect-
ready
that a
to be
on
afford
is to
finished article is
the
fitted with
instrument
book
the
lies
rough
when
moment
be
from
workshop,
the
information
processes
tractive at-
nected strictlycon-
not
are
My
to
Violin," by P.
far the greater part of
By
interestingwork
in
books,
many
general outline of furnished; the best I have
is contained
seen
in
given
are
any
me,
so
be remedied
may not
cape es-
for
moment
a
but perfect, and
possible,and to explain in operationnecessary to construct
I have
complete detail a
as
every
violin,
INTRODUCTION.
enthusiastic that
and common
he
means
box
of
played
when
his best
work
Violins
are
every
year,
them
are
because
turned but
cheap
dear
they
without for
attention which
alone
many
backs, so
so
for
them
artistic intellig
without
that
particular
secure
so bellies,
many
sound-posts,are
love
minute
instrument So
perfectwork.
a
so finger-boards,
many
many
can
of
enthusiasm, without
each
to
necks,
many
bass-bars,so
many
shaped
to
a
given
pattern, fitted together,varnished, and into the
market
this is not
the way
The book
about
as
so
to
doubtless knows the
household
old words
masters
many
produce
amateur
put
most
are,
without
beautiful, and
the
to
thousand
the
price paid
made
are
ments instru-
finishes.
he
they
as
the
at
by
out
a
sound
him, and
violin
every
make
to
produce
to
live after
attempt,
will
which
but
into
the
merely
wood
upon,
is sufficiently
amateur
make
to not
will
which
the
that
presumed
It is
3
violins; but one
who all that whose
in the violin
sent
reads can
strumen in-
good be
this learnt
names
world, and
are
if
INTRODUCTION.
4 SO, he
knows
plan,
but
that
did
they
bestowed
loving
care
single instrument, regarding in
hand
quite enough
as
energiesand
work
not
the
on
every
one
work their
all
tax
to
this
on
ledge all their artistic know-
absorb
experience for the time being. is the spiritin which to work, the and
This
will
spiritwhich
every
and
bestow
equally momentous, time
and
will
never
which
be
attention
caution
time
him
are
unseen,
which
the
outside
work
would
the
to
call
the
of
the
remark
great
In
the
making
of
who
the
carved
first
the
beauty
and
admired, made
gods would
seen
elaborate
his work
see
or
importance.
cathedral, placed of
same
violin
a
small, beautiful
or
beautiful, is of
a
the
at
"trifles,"everything
no
in figures,
I would
against misunderstanding
quotation.
there
v/ork
I
seen.
much
as
inside
on
but perfection,"
make
the
as
seen,
as
sculptorto the effect that "Trifles
eminent
mason
the
on
be
will
reader's
the
trouble
detail
regard
could
his work it ; does
details so
not
high be
or
not
The on
that seen
perfectbecause the amateur
who
INTRODUCTION.
is about
what
such
pajed
a
for it,not
doing
that
it is
genuine work,
of
it,but it will certainlybe bad
if this
if
of enthusiasm
been
tells how
commodity to supply
Sir
That
brains.
which
with the
amateur
not
of
a
inspire
doing
it.
than
Joshua Reynolds he is the
I cannot
mixed
his
single
one
undertake
No
violin-maker.
of instruction will enable
amount
not
oftener
told
inquirer that
an
colours with
do
in the process
stories have
informed
to
enthusiast?
result
that which
way
the
fame
Few
man
highestand
profitor
The
bad
step taken
No
reason
will
kind particular
make
the
work
necessity be
every
merely
it,but because
is the to
pre-
admiration
genuine work, for
of
is enthusiasm.
from
not
win
to
celebrity by
gam
Is he
?
perfectwork,
a
purest pleasure known This
violin know
a
means
profitby it,not to
the
make
to
enthusiasm
produce
to
to make
begin
to
5
a
fool to
fiddle. of
number "with
about" success.
a
difficulties will
head
from These
screwed
on
prevent the
a
right
working through failure instructions
are
only
6
INTRODUCTION.
for
meant
the
them Theories
by
other
practical.
people directions have
writers
the
of
here
been
:
latter
given
will
this
work
be
dealt
abundantly is
For
sort.
meant
ample. with
to
be
HOW
MAKE
TO
CHAPTER
THE
PARTS
TAKEN found
parts
I.
THE
OF
VIOLIN.
to
would
violin
pieces, a
to
VIOLIN.
A
consist
of
the
following
:
"Back .
.
Belly
be
Pieces
2
,
.
2
....
(4 Corners
and
bottom
top and
i
blocks) 6
tSides Side
Linings
12
Bar
I .
36
JPurflings *
The
then
applies t
to
a
the
double
whole
purflings lines
and
back."
in
piece.
one
The
same
one
piece only.
It
is
also
remark
belly.
side
Bottom
I The
back
"
called
made
is sometimes
back
is sometimes are
running
belly.
They
the round are
black
narrow
the
outer
sometimes
ornamental
edge omitted.
of
the
How
8
( Four
kinds
pine,ebony
of
Violin.
a
wood
used
are
for the
back, the neck, the
pieces and
the
bridge.
is used
for
the
Pine
belly, the bar, the sound
blocks, the side liningsand
Ebony
is used
nut, the tail
for
piece,the
the tail
button. Rosewood
maple,
;
rosewood.
and
is used
Maple side
Make
to
.
post.
fingerboard,the
piecenut
"v
for the pegs
the
)
and
the
11.
CHAPTER
THE
woods the
of work
points
Q
The
tree
should
ceased
to
always
richer
at
cut
It seven
never
flow,
any must
years less. to
and
the have
make
but
that
other
time^
have
been
before
use,
Artificial
hasten the
wood
seasoning
the
only
has is that
than
six
or
possible,
but
have of
elastic
ber Decem-
then
for
effects
lowing fol-
:
sap
down
if
more,
tough, is
the
seasoned
means
the
in
qualities
sonorous
to
observed
cut
cut
pity
pine
time
wood
and
in
been
upon
the
and
and
maple
At
a
carefully
be
must
January.
or
wood,
bad
on
is
It
of
tone
chiefly
chosen.
both
selecting
in
the
and
depends
wood
sounding
the
are
violin,
the
of
good
waste
pine
instrument
quality
the
and
maple
WOOD.
OF
SELECTION
THE
ON
been
ployed em-
seasoning, and
ant, reson-
genuine,
be-
How
10
and
I advise
wood,
the
attainingthis end, avoid
to
amateur
dosed
wood
or
Violin.
a
of
mode
natural
cause
Make
to
with
baked
plague. The longer the wood been seasoned by being kept in a dry airy place and protectedfrom extremes
would
has
the
heat and
he
chemicals,as
and
of
cold, the better will it be for violin
making. be perfectly free from must y he wood knots, quite sound, not worm eaten, and flaw
without
of
perfectlystraightand
be The
maple
the tone
the touch be
will
the
of
with
in connection of
and
judgment
of
furniture
like many our
of
whenever
he wanted.
every
would-be
or
too
soft,
freely
come
other
As maker
it
subject,is
a
matters
question
experience. Vuillaume,
purpose
wood
lengthwise.
must
entirelywithout
and
Switzerland
of for
procuringpine wood,
bought chairs,tables
and
run
will not
Paris, travelled in Italy and the express
grain
bow, in the second,
dull, muffled
This, brilliancy.^
The
hard
be too
not
must
in the first case at
kind.
any
he
and found
it is not to
follow
other
articles
the kind
of
possiblefor his example
the
I recommend he
Selection of Wood.
the
On
requiresfrom
Mirecourt, the
so
many
order.
to
high pricewill pieces of
their
London
once
sawed
into
he said he would for twenty
shape
not
maker
of
a
back, which
for
in the
When
this
the
wood
excellent
violin.
the
wood tree.
into
must
The
the
enough an
be cut
old
first
familiarise to
way
to
other
his
experience has
soon
earliest
his
make
tools ^nd
the
valuable
01
rough,
desirable
or
necessary
should
it will be
( The
of
pieces
sell,even
course
amateur
with
them.
in
two
experiments on costly wood, on him to make hand, I recommend fiddle of cheap material,so as to himself
wortli
are
A
a
pounds apiece.
is not
the
me
by
valuable
very
belly wood weight in gold.
town
material
good
asked, and
showed
Paris,
made
are
and
back
almost
maple
be
For
repute.
French
violins
common
of
London,
at
machinery
that
in
even
where
Tt
found
be
are
and
violin-maJcer
a
to
These
the wood
buy
to
amateur
il
been
try
artistic and
to
use quired, ac-
turn
really
from
the south
Italian
makers
side took
How
12
great
they
brilliant
in
red
The
pine
be
The
good
that
as
the or
and
useless. for
used
maple.
is not the
and of
beauty in
the
been
of
least
knot,
will
render
backs
appearance
highest
is
interfered
useful
the
wood
may
of
the
piece
is
ever
has than
woods
if
advisable
with,
tween be-
back
the
other
so
fault, flaw
pine
but
the
space
open
of
of
is not
grain
an
wood
made
perfectly
length
belly, though
Figured
sonority
Some
grain
other
the
occasionally
The
the
No
finest
is of
best. of
the
free
be
which
white
has
which
hbres. in
curve
that
is the
very
and
should
tint
straight grain throughout
instrument.^
kind,
sonorous
more
patches,
should
this
of
maple
The
whitish
uniformly
an
it
brown
or
wood
found
tone.
Violin.
a
select
to
care
because
from
Make
to
as
the
its
ful beauti-
readily be combined. Stradivarius and
perfection.
excellence
combine of
tone
III.
CHAPTER
TOOLS
THE
the
of
SOME are
REQUIRED.
used
commonly and
They
be
may
their
for
making makers cabinet-
by
bought
others
and
carpenters,
fitted
peculiarly
are
in violin
used
tools
special
at
a
poses. pur-
tool
good
shop. The
work-bench
larger
than
should
be
attached
should
be
quite
clean.
The
4
table, need
or
ft.
by to
and
following
vice
wooden The
end.
one
smooth
A
ft.
2
be
not
surface
kept scrupulously
tools
required
are
:
FIC.J
Three
sawing will
be
saws
the
of
one
the
usual
larger pieces (24 inches
plenty),
a
hand
saw
for
kind
for
of
blade
the
more
How
14 delicate
to
work, and
Make
a
a
Violin.
bow
outline
for
saw
work. Three
chisels,^
inch, " inch,and
i
inch
broad
respectively. ranging Eight gouges,
I
inch
from
\
inch
to
broad, will be necessary.
riQ.%
A
flat-bottomed
illustrations
show
Fig. 2
plane 8 the
inches
kind
is the side view
Fi(^^
of
long. plane
of the
The quired. re-
body
;
The
Fig. 3 is for the
Tools
the bottom
Required. view,
detached, which, when in its
place;
and
being
aa
blade; Fig. 4 shows
15 the slit
the loose
pieces
fixed,keeps the blade
Fig.
shows
5
the
plane
FIO.S
ready
for
it will
sharp, or
taking off If the and his
the the The and
blade
maker
inches
deep,
wood
kept
very
instead
of
in the
wood
it himself,he must into
for the necks
maple
be
shaving.
buys his
to season
must
the
tear
thin clean
a
decides
long, 2\
The
use.
and
cut
inches
pieces12 if
tree,
broad,
inches
grainrunning on the broadest side. Stack piecesso that the air gets freelyto them. pieces of maple and pine for the back belly must be 16 inches long,6 inches
broad, but conical in shape,the broader
being i^ Authorities heart wood
inches are or
and
the
divided
the outer
\
inch.
whether
the
narrower as
to
edge
edge should
be
joined
i6
How
dire les
the
joining the and belly: of
this
//^
or
Aa
"
edges
back
yet he says
.
make
to
be
"the later
planing and
for
thus
are
the centre
the interior
seen
the back that
the
bark
of the or
the terior in-
the
side^ it is
joinedplate
heartwood*
6
matter
jointed part
both
be
joined plate contains the wood" If, as he says,
impossiblethat contain
edges
It will
"
thickest
"
should
edges"
thicker
heart
or
can
.
introduction,says
in the
to
giving directions
after
centre
.
in the
Davidson,
side of the tree,"and
bark
two
II faut avoir soin
Mr.
la table."
thickest
"two
on,
:
a
partiedu coeur de Teirbre c*est-ale veines les plus rapproch^s,dans
referred
work
Mauzin,
la
de
centre
*'
author, says
de mettre
Violin.
a
of the instrument.
in the middle
French
Make
to
and
of fact the bark of
the
belly.
side is in the centre
iD6trument, this applies to
Tools
The
Three
Figs.6
small and
the second
i;
planes,with rounded bottoms.
7 show
what
half
as
these tools
Three
large again;
the
or
four
knives
of
the
Two
or
with
rounded
necessityfor this difference
later,when
the One
scraper
edge shaped
r/^a
of
use
as
i
like those used
three scrapers,
cabinet-makers, but
the
largest
shape shown
Fig. 8, with blades ranging from 3 inches in length.
The
like.
the size of the smallest.
twice
to
are
be of the size shown;
smallest should
The
in
Reauired.
the
will be
Fig. 9.
by
edges.
will be
scraper
inch
is
seen plained. ex-
requiredwith
How
i8
to
pair of steel
A
the thickness
Make
in
measured
be
from
point of
any
and
of the back
piecesto
for
compasses
These Fig. lo. large enough to allow
as
Violin.
a
the
must,
belly,shaped of
back
the with
measuring course,
and
be
belly
equal facility
edge. "
^
A
steel trace, with
the other, Fig. A
one
leg shorter
than
ii.
bending iron, for giving shape
to
the
The side
being handle to
an
inches
the width
and
(A) should
of
i
the
inch.
oval The
long enough when the body
be
course
prevent burning the hand
(B)
is heated.
hand-vice,Fig. 13; the opening from
A
to
2
linings,Fig. 12. The oval shape (C), Fig. 12,
long, the length of
inches
6
19
side
piecesand body (B) is of and
Required.
Tools
B
should
breadth, C Sixteen
wood,
of
to or
the
be
about
D, about
3^ inches, and i
shown
the
inch.
eighteenhand-screws,made shape
A
in
Fig.
of
14, and
How
20
3 inches
measuring be
I
inch thick.
pieceof
a
clipof
Fig. 1 5,
I
In
inch wide
A
to
B.
should
C
using these hand-screws, be put
of any
wood
Violin.
a
from
cloth must
prevent marks A
Make
to
kind. like
shaped at
the violin to
on
A,
2
a
clothes-peg,
inches from
point
r-iA
thickness
B, its length is 9 inches and its | mch, and is used for glueing in
the
bar, five of these
point
to
bass
It should Another 2
inches
at
be made
being required.
of hard
clip of a long. The
wood.
similar inner
kind, but
surfaces
only
of these
The
little
two
A
tools
as
so
Tools
sound-post
steel
and
It
tool.
should
Spohr. bend
The
17.
applied
to
8
is
sound-post
Its
shape
head
or
bend
of
was
in
the
Fig. to
be
post
at
setter
of
the
long.
given
the
foot
A
setter
is
enables
of
where
inches
10
or
sible, pos-
made
16,
the
of
B
the
B
as
violin.
Fig.
in
be
the
which
and
form
by
'*
setter, as
21
smooth
as
chafe
surface,
Another used
"
shaped
the
shows
be
must
to
not
Required.
will. The it is
is
not
best
possible an
indefinitely
tools to
easy
should
buy
;
one,
multiplied
be
the
art
and
of its
by
whicii
procured
bad
violin
making
difficulties tools.
are
CHAPTER
IV.
MODELS.
THE
"
BY the
Fig.
which
affords
which
take.
Great
these
models, finished
While
the that
he
or
the
of
masters
A
:
better
see
model :
of
draw
still,
the cut
is
to
shaping of
accuracy
it
is
a
back
a
not
to
either
by
the
on
be
one
of
supposed
therefore each
give
of
these
plate. be
may
outline out
I
folding
by
to
belly by Amati,
or
violin
wish
naturally
Guarnerius.
large of
in
instrument
an
possess
Stradivarius outline
will
amateur
masters,
will
the
them
drawing
violin
the
required
be
thick,
depend?.
outline
great
of
of
of
piece
inch
|
means
part
upon
as
flat
a
about a
will
care
meant
19,
any
work
the
the
copy
is
wood,
shape
the
"
model
a
made
tracing
model
as
paper,
chosen
lows folor,
from
The and
the woodcut,
Models.
paste it
mahogany, having first edge representingthe smooth
and
with
even
23 a
on
made
thin
pieceof the straight
joint quite plane. Then cut
centre
the
ri^.if out
the
mahogany
scrupulouscare, inlet with
a
will
done, and The
on
filingout
answer
the
very
be
can
the
as
corners
shape
well if it is
kept
the maker
taken written
requiredshape, with
fine file. The
of
name
the
the
mahogany
for of
thus
and tained ob-
carefully
future violins. the
model
strume inori|jinal
should
be
in ink for identifi-
How
24
be
another taken then
the
in
made
same
of
piece
be the form
the
paper,
shows
of the model
shape of that followingwill :
20.
the model
belly taken
and
can
by cutting out
Nvay
Fig.
the back
full model
the wood-cut, the
from
Fig. 20
Violin.
a
the preferred,
If it is
cation.
Make
to
for the
curve
of
lengthwise.
C Fig Fig. 21
the
shows
instrument
Fig. 22
the
curve
the model
its
at
over
^
Fig. 23
shows
^
21.
for the
curve
of
greatest width, and the
/
holes.
'^-23.
the model
for the
the widest part at the neck end
curve
at
The
the model
shows
Fig. 24
Models.
placingthe / holes. It the positionand shape
25 for
and
will be observed of the
in different
instruments,and
bf* made
suit each
to
drawing /
a
holes
that varies
model
must
styleadopted.
/g.2^. four models
The and
21
only
can
them
be
good a
Figs.18, 19, 20 justing properly made by ad-
the back
to
If the amateur a
in
shown
of
of
a
that I should for the be
must
arching
remembered
"
are
made
any
a
of
to
access
he should
If it
recommend
copies those,at
ment. instru-
Stradivarius,which
bought tolerably cheap. model
obtain
cannot
violin for this purpose, copy
another
seems
chase pur-
can
be
strange
trashy copy as h a good violin,it
that
the
Mirecourt
rate, of the better kind,
accuratelyto
a
scale taken
from
How
26
these
make
alone, he
period of Stradi-
made correctly
are
If
the
models
of
concerned.
is
Violin.
a
of the best
the instruments
varius,and
Make
to
bear
must
far
so
prefers to
amateur
his
arching by
eye
Stradi-
that
mind
in
shape
as
varius, following the example of the Amati
high arching,especially perience / holes, but as he gained exfound that the lowering of the with
family,began the
between
he
arch contributed
method
mode
gives a the
of
findingthe
of
determining
and
also
fall
from
bought
at
model.
at
at
the
to
A
the
shape tained ob-
once
transverse
and
upper
/ holes
by lower
must
sarily neces-
given height of
the level also
good
line out-
determined
be
the
the
scroll must
good pattern.
made, the
course
arches
lengthwisearch
a
chapter on
the model
the
as
of
The
and
that, as
be
period have
lengthwise;this being
will
The
brilliance of
arch
arching widths
all.
arching of
lowest
the mathematical
of
fullness and
to
the violins of his best
tone, and the
a
edges.
the
near
from
be
formed
neck
and
scroll
dealers
and
all instrument Directions
for
the
carving
a
can
kept the
Models.
The
will
scroll
of
a
methods
the
are
to
Chanot,
He
always one
a
that be
making but
pattern, in and
result, scroll
I from
from
his
obtained.
model
a
those
operation recommend
Hart,
Hill,
maker
of
London
work
can
can
for
a
other
knowing as
devised
buy
some
or
repute.
an
in
Various
on.
cumbersome
very
amateur
later
without
scroll
uncertain
and
found been
have
methods model
be
27
this is
pattern, as
good
CHAPTER
THE
THE
"
a
*'
tool
the
fixed true
of
wood
blocks, in
up.
25.
At
such
on
This A
mould are
a
the
shape
so
as
the
which is
on
those
tioned men-
tools, as
is
to
violin
represented
inlets
for
the
a
allow
to
side-linings
and
places,
proper
as
chapter
side-pieces
their
A
in
cut
foundations
built
the
speaking,
properly much
as
in
piece
MOULD.
which,
mould, is
V.
to
the
form is to in two
be
be
Fig. top
Mould.
The and
blocks, and
bottom B
marked fillup
each
on
the
for
are
solid Jaasis
bellyare
afterwards
mould
the
is
on
four blocks
corner
pieces which
circular inlets,
side of the two
for the
The
29
which
and
the back
glued.
begun by making
a
model
exactly the shape and size of that for the back and belly,Fig. 19. Lay on the bench the
for the mould
piece intended it the
mark
the outline with
the
put
model
upon
and
and
saw
already made, Fig. 19; with the pointof the tracer, and
knife
clean away
the
wood, and then with the file dress the edges until
they correspondexactly with the pattern be left sharp). (the four corners may
This
piecewill
then
26, and is called the
be of the counter
shape of Fig.
mould.
How
30 Now
take
This
pieceis it
Lay
latter with
B
B
the
shows
in
itself.
in
as
the
Then, with
A
of
the
represent the
mould;
superfluouswood
with
the
absolutelynecessary with
perfectly square deviation
blocks.
move Re-
the
saw
and
and
file.
piecesout of "be
that the sides of
the side-
the
uprightwhen
they come
fixed,the edges of the mould
only
of
means
glued
the
to
be
Any
surface.
the
this rule will throw
from
line
all their extent, should
in
mould,
at
dotted
the
corner
rule,
a
dark
The
Fig. 25.
to
being
to enabling the side-pieces corner
.
the
inlets
four
and
.
mould
centre
off with the scraper knife, finishing It is
Fig. 19.
it the outline of
on
tracer.
shape
lines at'B the
trace
inlets A
B,
B
table, and
the
the
trace
the model
.
it,and
upon
in thickness
for the mould
meant
the
on
(walnut is
purpose) \ inch
little largerthan
a
Violin.
a
pieceof hard wood
a
the best for the
and
Make
to
blocks
in
the be
upright
an
position. Next
25.
The
piercethe eight holes top and
bottom
shown
holes
are
in
Fig.
to
be
TJie Mould.
i\ respectively measure) A
from
(or 15 lignesFrench inner edge of the inlets
inches the
A, the four marked B
B
the inner
inch from
Eight
B; and
B
other
31
C
i
inch from
in the centre
the two
edge
of the C
piecesmust
the inlets
now
i
curves.
be added
to
the mould.
ri^ 27,
This
figureshows by
the upper
mould
rounded sur-
eight pieces in question.
the
They must also be of walnut, and of the viz., \\ precise depth of the side-pieces, inches,and and
must
file till
be dressed
with
the scraper
they fit perfectlyclose
to
the
sides of the mould. The
figureshows the mould, with the blocks (A A) (B B B B) fitted in their places. next
How
32
^
These even
blocks
must
grain and
a
allow
for
of
pine,of perfectly i^ inches high to
The
inlets,and blocks
corner
instrument
should
blocks
This
fit
their
grain and
also
must
run
gives solidity
body.
the
to
the
the
across
trifleover
their
Violin.
a
be of
trimming.
perfectlyin that
Make
to
blocks
The
of
pine
so
a
mere
edge of the mould in the six inlets, and fix the piecesof that they all stand exactly at the
spot of glue each
being prepared,put on
the
height.They should projectbeyond the surface of the mould underneath, but only
same
"j^of
an
When knife
inch. the
and
glue
file the
is
dry, trim off
projecting -^
of
with an
the
inch,
Mould.
The
33 the
perfectlylevel with underside of the mould, this being the will be glued. the back which on
side
that
the
file the blocks
and
ruler
used
be
must
ascertain
to
correspondsperfectlywith
surface
The
that
of
the mould. the
Lay
mould
upper
that the outlines of the two
other,and
with
each
the
former
wood
trim with
the knife
mould of
and
blocks
measure
that the
It is
the utmost because the
no
The
mould.
shape slowly and
the surface
time
to
to
square
the blocks
with
care.
away
will then be of the
the
be of the
must
the upper
constantlywith outer edges of now
cut
suitable gouge and and file till the blocks
Work
square
so
quitesquare the shape of
Then
(page 29).
26
Fig.
mould
a
shape of
the exact
out
trace
with
the extra
are
are
blocks.
the
on
the
on
are
see
fectly per-
of the mould.
speak of glue,which best qualityand made with This is the more important
other material
is used
for holding
parts of the violin together. The
best
glue
It is
palein
is that known colour
and
Cologne glue. sold in pieces6 or as
4
How
34 8
inches
to
long
and
whitish
glue
is of
Make
and
at
no
in small
four
piecesand hours, which
up.
Then
a
glue is
Add
boils.
used
Break
will
soften
small with
very
hot, but
dinary or-
when
the
be of the
Take
it
vessel
inner
sistency con-
that it
care
glue should
The
swell of the
slowly;
thick oil.
for
water
and
the
water
quantity
a
glue pot
all dissolved it should of very
never
all.
brittle
Common
edge.
put it in cold
kind, but enamelled.
it is very
broken
at
use
take
wide;
2
the
Violin.
a
be
always
boiling. While
never
gently with a stick of pine wood, and in using it apply it to the wood with a large camel hair pencil. In summer, glue will dry in four hours; in winter it making,
stir it
needs
twelve, and, in the
edges
of
warmed
wood
before
the
with
a
chisel any
they are water.
only the
glue
drops
hot^or with It cannot very
should
be
is put
carefully When
on.
glued together,scrape
pieces are
two
use
the
best
a
which
glue
for violin making.
often
away
while
escape,
pencildipped
be too
the
latter case,
in
warm
repeatedthat
obtainable
is
of
any
VI.
CHAPTER
SAW 4
out
inches
bench
the
(going
over
clamp
it, turn
down,
and
bit
wood
of
vice from the
and
On very iron
maple
the be
to
^
difficult
be
This
then
un-
clean
end
time
between
handsurface
planed
is
flat
a
the
side
other
the
piece
all
reduced
in
to
a
inch. of
account
the
the
down
surface
clamp
Plane
the
it
vice),
put
it
Lay
clamp
the
prevent
till
The
thick.
the
rest.
marked.
of
must
round,
must
way,
thickness
from
plane
being same
it
and
Plane
away
long,
lengthwise.
end
one
inches
30
^^j inch
run
hand-vice.
the
with
at
maple
and
wide, should
grain on
of
piece
a
SIDE-LININGS.
AND
SIDE-PIECES
THE
its
stuff
peculiar plane,
to
dressed
so 35
as
grain and to
maple ,the
project
is
plane very
How
36
it will
slightly,or smooth
The
it.
piecesare
the
at
The
the
tear
most
wavy
same
time
still too
pieceis
Violin.
a
and
wood
not
ornamental
and
difficult
the most
for the side
best suited
plane,and
to
Make
to
thick, but it
pieces. be
must
left by carefullyscraped till all inequalities
planing smoothed which
to
polish on
nice
a
three
and
strips of
mark
carefully with a knife. plane bottom upwards, between and, holding each stripin
exactly
i^ inches
To
divide
measure
with
upper
curve
where
the
corner
and
of
join
the
measure
and from
of
at
joining the
into
the is to
this
from
join the Allow In
comer.
both comer
ends. to
the
block for
the
inlet, allowing for
lower
is
lengths, round
paper
mould
block.
at
move
till each
iron
proper
strip of
a
the
knees,
your
wide.
them
neck
the
Take
hands,
your
edges along the plane
Divide
width.
equal
piece
your
them
the
surface
the
the violin.
the tracer
take
strip is
the
and
will be outside
Now into
removed
are
point the
to
trimming same
way
trimming
Then the
the
centre
measure
of
the
The
block.
lower
the
Cut
and Side-pieces
Cut
Side-linings.yj^^ each
stripsto
two
pieceslong enough. The
is to bend the
bending
hot
enough
handle
Heat
iron.
it in
char
to
next
which strips,
the
the
length.
stove, but
a
wood.
cold water
the
strips, dip it in
the
requiredshape
Fix
and
one
not
the
of it to
bend
gradually.
very
with
is done
bench-vice,and, taking
in the
tion opera-
If you
hasty you will certainlybreak the strip. Keep the strip damp by frequent renders this dipping. A little practicesoon too
are
but
operationeasy,
with
be
must
care
square
when
bent, the side-pieceshould at
can side-pieces
The four
point of
every
at
meet
the
trimmed
lower
and
Fig.
27
and
their
blocks
to
means
of
is to
which
glue.
hold
Rub
the sides
perfect.
in their
the
the
The
be wanted.
now
are
be
mentioned, of
before
they
the
jointmust
the
of
use
At
pointwhere
\\ inches, will (p. 31) shows them
depth
the
be fixed.
block
walnut
touch
edge.
filed till it is
eight piecesof the
its
now
at the
and
corners
to
width, in other words,
the
curve
bench
taken
to
sides be
places, to
fixed
edges
of
the
by the
How
38
with
well
mould that
the
Glue
the two
a
in the hole
the
on
care
blocks.
the
touch
in the C
inlet,put
place,fix
its exact
the beak screw
taking great
not
blocks
block, take
walnut
Violin.
a
soap,
does
soap
side-piecein
Make
to
the
it the
upon
hand-vice,and, putting the C
nearest
inlet,fix
of the walnut
the outside
block
until the side-piece tighten screw and presses firmlyagainstthe soaped mould and
the
glued
blocks.
for
So
the
other
C
inlet. the upper
Glue
block
and
lay on
the
add side-piece,
clamp
up
with
the
holes
to
will,of side-pieces mould on
the
leave
the
on
upper
the
under
surface. of
glued be
block.
The
level with
side, and At
blocks,
before, using
as
course,
block,
corner
the walnut
hand-vices
nearest
the
the
upper
the
project block
\ inch, at the lower block the joint must do be perfect. To this properly, run the corner end first, glue the block and clamp, and do the same with the other side-piece, leaving the two ends free. Then bring them togetherat the lower blpck and make joint perfect your a
space
Side-piecesand
The
before gluing the block
clamp holes
It is
up.
When
the
trim
It is
this must
be
now
take
off the
than
tV
of
then
at
the lower
the upper
They
are
of
1*1 inch
thick
at
the
by
the
in
with
edge
of
thinner same
the the
side
and not
file more
end
and
end.
finishing
This
tion opera-
care.
put in.
the
narrowing
graduated all round, starting
be
side-linings may
at
be disturbed.
inch\ the height of the sides
an
requiresgreat The
ing exceed-
the knife
and
that
rower slightlynar-
This
With
side-
say
with
and
the sides
block
neck
less at
inch
iV
to
necessary
end.
neck
\\ inches
with
eight
the
of
should side-pieces
be done.
must
level
slowly
to have
the
at
must
hardly done
It is usual
the
to
lest the
care,
the
the vices and
firm,remove
blocks
pieces.
block and
in the mould.
and
dry
glue the clear why ;
now
made
were
Side-linings.39
pine,^ thicker
edge.
means
thicker
sides and
as
and
made
be
now
broad,
inch and
-^
inch
bent are They the sides, glued
edge held
level
with
in their
the
places
How
40
with
wooden
take
a
from
a
the
gouge,
complete.
Make
to
knife
mould, and
and
round the
Violin.
When
chips.
fine
a
outline
these
off
blocks
the
of
blocks
the
separate
dry,
are
your
violin
with
is
VII.
CHAPTER
THE
THE
back
hereafter.
precisely Take
and
of
the
In
pieces size
of
and
lay
surface
the the
they
two
shaped
maple
previously
Fig, Plane
arch
is
of
former,
and
form
latter
the
the
the
in
are
same.
two
the
than
thinner
made
are
that
save
way,
left
which
belly
and
same
BACK.
indicated,
thus,
Fig.
29.
29.
and
the
edges,
thicker
pieces together
on
the
table
thus, Fig. 30.
These the
back
two
of
when the
glued
together
violin, the 41
ridge
will
being
form the
How
42
positionof back
your
Make
to
the arch. in
Violin.
a
If you
decide
piece,its size
one
of the other two
laid
to have
be that
must
and together,
its
shape
thus, Fig. 31.
If you
edges
two
use
pieces,plane
the
thicker
until
they join perfectly.Glue the glue is dry, your together. When is ready for work. the two
Lay the
on
the
the model
With
of
Saw
the tracer model.
the
going
flle have
too
follow
to
of the model.
points square Open
near
See with
the tracer
your
the centre
Rigid
the line,as to
give the
that the the
the outline
is indispen
the bow
saw,
the knife
and
exact
edges
are
outline at
all
flat side.
\ inch, take
knees, and
of the
accuracy
with
that
care
point draw
the outline
round
sides
both
(Fig. 19),place it
jointcorrespondswith
model.
not
having planed
flat side, taking -particular
the
on
back
one) pieces(now practically
bench, and
take perfectly,
them
work
a
the back
tween be-
line all round
The the
Back.
at that distance
edge
is the thickness
This Put
back
the
it
of the
Do
ultimatelytake.
must
this work.
It is
careful
the
hardly
workman
be
done,
left,and
that
cut
when
will necessitate
fresh
a
the
jointa rough
of the
strokes
only very and
leave
which
of wood
resemblance
are
with
small
the
chips at
to
follow.
there will,of course,
be
a
give
the model
short and
be
Now work the
from
'begin again out
middle
in the
this
cavity,like
is done a
ture miniaas
you
centre,
and
the centre. from
rough
of the C
sure
operations
railway cutting,gettingdeeper get further away
to
cutting off
the
When
must
the outset
time,and for
enough wood
at
to
to
gouge, a
the
Begin by
as
arching lengthwise. Take
shallow
all
start.
working along the ridge,so
over
filinghave
deep
too
it
to remind
necessary that
one
which
hurry
not
certain thickness
a
give to
shape
gouging, knifing,scraping and been
it with
large gouge
a
resemblance
rough
a
be.
edge is to bench, fix
the
hand-screws, and with
the flat side.
from
the
on
43
the
inlets.
the
arching down
to
How
44
clear away
Next two
the middle
of
Violin.
a
from four
point where the ally, slopingImes diagonthe
the
following figure. Fig.
clear away
Next
centre
smallest whole two
where
the
to
round-bottomed surface
models
32.
and
then
plane,
accuracy.
the shorter model
should
from
wood
tolerablysmooth,
fit with
lower
resemble
now
all the spare
edges,
and
upper
back-plate will
The
curves.
the
Make
archingsmeet, to
the
to
with
the
the
make
until The
the
place
fit must
be
The
Back.
45
by taking the model of the / holes and marking through it the two notches on their inner edges. The highest arch must found
be
that
so
little
arching of
the
all round
falls away
a
the
slightrise
instrument
the
there
which
level of
this
of
the bottom
to
the
valley,from
will be
clear out
and
plane
same
slight depression round
or
groove
edge,
the
take
Now the
notches.
these
across
the level of the outer
to
edges. to the proper
as
the small
plane
glass-paper.
You
must
side up.
now
Before
pieceof cloth prevent the
being
height as
to
the
time
same
upon
baize
green
surface
outer
be
must
rest
or
plate the other doing this,however, put a the
turn
scratched.
wood
to
far
shape, as
the back
it,finish it off with the scrapers and
will do fine
of
got the outside
thus
Having
of
Under
fixed
allow
outer
The
from
piecesof
round, of
such
edges, and
the middle
the bench.
is obvious; if this
the back
this cloth
all
support the
the bench, to
on
a
at
of the back of
reason
precautionwere
not
this
taken
How
46 back
the
would
side
outer
taken
be
the
more
wood
when
the
referred
all
to
enable
you
will
be
The
Chapter III, Fig.
to
obtain
treated
I have
the
to
leave
the
case
10,
will
nesses, requisitethick-
the such
of
are
the
compasses
m
which that
than
is finished.
back
must
care
attached, and
over
In
places where
level
to be
the
out.
surface,
inner
leave
will have
blocks
still while
being hollowed
out to
Violin.
a
remain
not
was
hollowing
Make
to
vital
importance
fully in
matter
a
separate chapter. Now back
turn
Chapter IX,
to
there directed.
operation of
the
the
with
file,and
inside of the
flat
short one
all
as
over
through this
the
edge
outer
side-pieces,which mould, and
a
back
the
inch
good, fine, biting
very
render
are
side-piecesA
the
slightlyround edge, using a round
curves
the
correspond exactly in
take
Now
bevel
care,
the
on
projectover
all round.
the
great
should
already fixed
carried
Having
with
back
outline
should
thickness
its proper
to
reduce
and
the whole file where
it necessary,
everywhere else;
finish
and
off
a
with
The
sand-paper.
medium the
is
back
done
Back.
ready
follows
as
broad
end
marks
at
back
the
the
edge
the
four
occupy.
also make the
where
lay the back in an instant,and hesitation,in the place where you The
glue
possible without can
the
lay
side-
its heat
and
be
used
boiling,and glue
the
shufflingthe
to
the back
down
moment
has
its back
on
about
to
unless
as
you
place
it will
find
it
hot
as
tenacity while
you
want
in its exact
is put
the
without
to
be.
the
at
joined at the extremities of These markings are to enable
inlets.
to
the
of the back
and
corners
is
upon
meet side-pieces
of the instrument
pieces are C
the
jointwhere
which
on,
place it is to
in the exact side-pieces, with a pencil on Mark the
glued
lay
:
fit is accurate,
If the be
to
47
lose are
you its
place.
Have
everything ready, therefore, for rapid and preciseoperation,so as to be the moment the glue is laid readiness When
you
are
ready, the hot
brush, and
lay
pieces,put
the back
it with
the wooden
take
the
glue
upon
in its
a
in on.
camel-hair the side-
place,and
secure
hand-screws,puttingtwo
How
48
on
the
at
each
have
surface,
The
glue
which
the
at
in
upon
the
wood.
the
stand
it
screw
by
out
the
with
removed
once
you
placed
forced
dipped Let
glue-pot.
as
bruising
been
be
brush
camel-hair
it from
has
must
pressure
cloth
of
one
Each
edges.
piece
keep
to
lower,
more
many
the
a
the
on
as
round
Violin.
a
two
and
corner,
should its
block,
upper
place
can
Make
to
hot
a
of
water
till
it
is
fectly per-
dry. The it
as
is
belly
completed
shown
belly
glued
are
either
adjusted
the round.
projection
fixed
by
later
of be
is
in the
any
beyond the
with is
fixing When
on.
on,
the
same
of both
variation the knife
perfectly
when
way
the
bass
and
back in
the
side-pieces and
file,
bar
so
symmetrical
jection promust
that
all
VIII.
CHAPTER
IF
the
will
he in
making
of
the
the
for
cutting
being
the
only
of
however,
belly.
It
that
pine
than
require
proportionately
working
;
grain,
"
take
off
it
as
tool
out
Measure
lightly
be
it must
the
getting
maple,
a
twice
and a
is
before
small
in
care
with
very
sharp the
split along
to
both the
you
cut
and
be
piece 49
more
therefore
will
lest
delicately, very
much
is
used
be
quired re-
bered, remem-
increased
liable
curve,
not
be
must
worked
must
ence, differ-
is
back
and
fragile
tools, and,
the
out
projection
little
the
end
the
difficulty
the
moreover,
smaller
joined,
or
great
no
making
belly;
holes
and, at
with
meet
the
/
whole
either
back,
in
succeeded
has
operator
good
a
BELLY.
THE
OF
at
in
ways
wood
split.
once," content
each
cut to
stroke
}low
jo lest
spoilyour
Take the
Violin.
a
unlucky gash should
one
time
Make
to
labour
that
care
of
grain
the
and
get
faultless
a
which
part which tree, and
should
"
in
other the
consequently is
be
on
from
regulatingthe thickness parts of the belly,follow given in Chapter IX.
every
other
in
the
model
having, of the
of
THE
/
HOLES.
are
cut
out
respect be the
course,
model
is
holes
of the
joint. ent differ-
the directions
the
belly should
finished. upon
first laid the that
the
grain,
the
Place
belly,
latter upon
positionof accuratelyadjusted. Then
bench, taking
the
/
of the
closer
In
these
that
words, the
centre
of
the side furthest
Before
be
glueing the great importance
nearest
grows
end, and
to
is of
heart-wood
the
should
jointbefore
piecestogether. It that
same
joint follows exactly
perfectlystraightfrom end you
the
temper.
your
wood,
the
at
care
the
pencilsharpened to a very fine point, carefully trace out the interior of the /
with
holes
a
in the model.
the
Of
and Then and within
all,
of
First
somewhat
below
introduce
cut
away,
the
pierce
a
the
by
holes the
than
sharp
very
51
round
less
little
tracing.
Belly.
tracing.
penknife
little,
all
above
the
blade wood
IX.
CHAPTER
THE
THICKNESS.
WHEN
THE
BACK
AND
belly
has
been
OF
the all
but
draw
thickness, the
centre
the
/
a
similar
of
this
and
mark line
wood
operation as
of
requires
vibrations
back.
in
each
the
measurements.
middle
The
be
case
for
This care,
the
performance
of
and
quently conse-
will
tone,
the
reducing
scrupulous
most
instrument,
quality
of
thickness.
proper
the
across
notches
operation
successful
of its
by
the
the
its
to
its
upon
on
proper
line
in
two
finished its
to
a
draw
will
starting-point the
the
from
holes,
it
reducing
BELLY.
entirely
depend. The upon open
lines the the
putting
above
inside
of
mentioned the
and
exactly
compasses one
belly
must
of
leg 6S
the
J
be
drawn
back.
Now
inch,
compasses
and, on
the
The
Thickness
centre
of the
of Back
double
distance
the
points apart. through these the
towards
their
at
this space This
i^
measure) space
down
where
the
must
inch
inches
2
lines
have
a
and
the
\\ belly in
be diminished
ally gradu-
inch
long of
thick.
(or \\ lignes
edges
of
the
French
rectangular at the points the
left all round
the
valleyruns
be
must
of the
belly where
justwithin
surface. is
thus
you
the wood
\
top and
nearly ^ inch belly joins the blocks,* and
surface
its upper
draw
Join these
to
thickness
under
5
be
the
at
ruler
the
bottom.
All
thickness from
same
towards
space
must
compass
points lines parallelwith
two
the
wide.
inches
the
the
extremities,and
rectangular
\\ inches,or
be
with
These
point.
between
Now
inches
joint 3
inches
or
the centre
points will therefore
two
Belly. 53
off that distance
line,mark
either side from
on
and
Take
gradualy and
the outer care
not
the groove
edges of
inution that this dim-
by jumps and
steps. "
Some
makers
little thicker
advise
\\ lignes all
by the soundpoet.
over,
but
a
How
54 The
Make
to
of
thickness
preciselythe
Violin.
a
same
but
way,
throughout a trijieover the belly. In other than be
that
than
thicker round
the
gradual
diminution
other
inch
A
at
must
thicker tangular rec-
-h inch
will be
groove the
thicker, and the
from
thicker
inch
in
words, the
inch
edge *h
hack
belly,the
the
on
the A
the back
on
space
is obtained
the back
the
the
to
one
corresponding
points. To
these
ensure
thicknesses
obtained, make hard
wood
Tti inch at the
centre, and
will
serve
the buttons
the
small
inch thick at the broader
\
edge. This
a
thickness
of which
must
required,and
fresh
will take ones
Do
be
must not
rigidlyto the the
away
your
drawn
trust exact
pencilmarks.
edge,
-^ inch at the thin to adjust the compasses,
Work positionby the screw. plane and scraper. Note the following: the
plane
rectly being corwedge of some
your
be put at
fixed with
that
at
the small
strokes
of
the
pencillines,and at
each eye,
ment. measure-
but
rectangularshown
work
by
Thickness
The
The
wood
your
to
finished
be
when
tool
the
Make
than
"
a
of that
be
to
down
touch
it
second
used
for
on
at
21
the
inch
belly.
their
the
proper is and
wood,
the
finished,
easily
quite
move
all
must
glass-paper
thus
is
hard
course
these
to
The
should
buttons
it, but
back,
brought
55
reduce
not
thickness;
given
rectangular
compass over
must
glass-paper.
"
last
Belly.
and
scrapers
the
and
with
gauge
the
and
plane
Back
of
points.
wood
thicker
wedge in
for all
the
parts
CHAPTER
X.
THE
work
fixed
pine,
give
depth
and
of
on
/
i
inch
is
the
line
holes.
and
of
made between is
purpose
the
to
third
and
io|
inches
that
fit
The
of
of
the
of
belly
the
of
at
belly
is,
the
other
bar
falls
bar
notches
inner the
strip
the
precisely,
of
must
the
pond corres-
belly. here
measurements
thickness
to
centre
the
its centre,
at
thinnest
glued
to
to
deep
the
edge
grain
inches
inch
to
joining
The
lo^
J
off
straight.
with
the
be
curved
course,
The
joint
to
power
thick,
The
ends.
edge
is
Its
interior
the
It
hole.
/
should
bar
tapering
the
the
to
tant impor-
strings.
The
and
finish
violin.
the
parallel left
fourth
long,
of
the
and
it
will
member
this
of
fixing
and
making
THE
BAR.
BASS
and
given back
are
above
for in-
The
Bass
the
proportions of
timated; but
Bar.
57 the
bar
differ in different violins. Take
the
to
that the bar
care
surface
curved
the
of
fits the
edge
of
inner
hole
the
on
bass
clips shown 15),and
the
of
edge
let it
glue
is
Clip chapter on
a
the
/
it with
the
tools
(Fig.
the superfluous
brush
camel-hair
wet
the
from
circle of
dry, first removing
with
that the
inch
side.
and
edge
joint,so -^
the
that
the greatest
that
upper
the
in
the
bar
the
and
belly
Glue
parallelto
edge
outer
right angles
belly with
possible exactitude. fix the bar
is at
as
before. Some would
writers be
of
to
wishes
to
The maker
contend
do
so
grain. can
The
(Mr. W.
H.
easilytest
the "note"
Colton) is was
is from
a
glued
friend
bar gonally diawho
self. this for himAmerican
an
not
without of Ole
terest. in-
Bull,
the life of the latter,
published at Boston in 1883: "The obliquepositionof the been
bass
amateur
following opinion of
Mr. Colton and
if
greater service
the
the
that
generallyadopted.
The
bar bar
has
not
is ordin-
Make
Violin.
How
to
arily placed
with
its outer
the centre
line
58
parallelto
distance
top, and
at
one-half
the width
a
the outer
from
that when
upward of
the
glued
will
in the
a
case
factor
common
spring at
own
each
by
Practice
produces an the foot
equal
should
discovers
soon
spring
which
positivefailure of
the
agrees
found
be
can
the
to
its
is avoided.
oblique bar, Each
to
such
no
fit all cases,
instrument
sents pre-
particular problem. The termine end must be accuratelyde-
mechanical
into account
top, due and
bar,
bridge,the force the angle of the
upon
averagely well. its
take
of the
A
certain
a
insured, but
even
the ends
feet.
height of bridge. successful result is not always entirely
fairlywith
But
the
pressure
of
medium
equal to
centre, under
depend
its top.
certain
of
thrust of the
stringsover
An
This
the
bridge,measured
the top it
to
at the
bridge.
the downward
a
it about
of the
to
line
a
on
glue jointof
or
extremities
pressure
of which
side
from
slightspring is given so
a
both
will
which
means,
the resistance
of the
comparative strength of
resistance
due
to
the
form
fibre
of
The
Bass
The
modelling.
Bar.
59
degree of obliquity
same
position relative to the foot bridge which it supports, will not well
equally
in
all
But
cases.
answer
when
doubt
very
the
and
volume
of
strings.
Mr.
of particularly
are
spent many
the
lower in
years
rules which
the
the
the oblique fulfilled,
requiredconditions bar does beyond depth
the
of
and
greatly
tone,
Bull
late formu-
attempting to
this most
govern
crease in-
plexing per-
part of the organism of the violin. His
observations to him
the correctness
position;and
though,
frankly owned his instances
Salo and
Ole
thus
to
of
own
expressedin
"The
owing
to
the
opinion on his
"
Violin
principalobject of
resist the
top.
failures than illustrated
success
pressure
All
old
to
the
oblique
his wont,
was
more
witness
Bull's
as
of the
strated demon-
by
of
violins
the
truth
the
most
his
of
be
is
"
:
bar
stringsupon
requireto
height of
one,
the matter Notes
he
his Da
other instruments,bore
many
convincing theory."
experiments
and
is to the
rebarred,
the present musical
How
6o
pitch
old
The the
short
needed. of
centre,
and
bridge
at
violins
have
down
Salo,
should
the
to
to
allow
give a
the
now,
fibres
sunk of
that the
of
richer
a
the Da
is, top,
not
but
fingerboard
this
support
As
Caspar
the In
and
old
and
this.
placed
centre.
fuller
ends
by
the
many
adjustment
under
ample
the
of
of
tops
placed
the
end the
at
the
strain,
pressure
remedy
to
be of
nearest
appears
and
tend
ones
towards
The
centre.
direction
obliquely, being
up
to
powerful
more
the
point,
bulged
it
so
the
downward
ago.
adapted
longer
extremes
originally
was
years
long-continued
the
will
bar
bar
and
two
the
hundred
no
the
that
at
new
are
From
pulling
in
bars
Violin.
a
one
strain,
greater
are
of
that
over
Make
to
to
position the
tone.
bridge
it
XL
CHAPTER
PURFLING.
THE
purfling
THE
lines the
of
with
the
belly
and
back
black
of
lines
round
running
strip
a
black
ornamental
the
is
edge
outer
made
of
two
"
wood
white
of
between. The
wood
ready
made
better
to
at
distance
of of to
the
screw;
and
trace
along
made
are
the
try
a
the
purfling
taste.
When
the
required put
the outer
the first
edge
make
to
the
the
with
be
can
well.
work
of
insertion
from
the
width violin
and
edge
on
is
is
a
the
it with
knees,
your
line, running
(which
open
fix
the The
tool.
purfling
it is
good
it, as
decided,
61
bought and
maker's,
do
to
for
grooves
purfling
tracer
violin
any
is needed
machinery
matter
purfling
it than
buy
The
the
for
one
still
limb square,
62
How
the
rounding
the second
Make
to
off
later).Then
comes
line in like
tool is then
Violin.
a
The
manner.
adjusted
the
to
trace
purfling
tance. required dis-
The
following descriptionof purflingtool,directions for use
excellent
Mr. Davidson's
from "
"
The
on
By this instrument, it
will be
the
from
we
can
to
imitate
vary
cutters an
book
are
distances
model
any
a
shoulder that
thickness, so
kept
positionby
represents
edges,
The
left of the
the
indentingstrips. The
in
perceived two
thin piecesof steel, sharpened at
angle,with
fit the
are
Violin."
the
chosen.
an
one
Fig. 34^
of
the
the
shows
screw
form
may
cutters
are
Fig. 34a
a.
cutters, the
cut
groove two
sary neces-
seen
of
ways; edgeblade
The and
Purfiing.
point. There is the
distance
shoulder
small
a
63
screw
piece to
any
justing for ad-
required
the
purfiingmay be intended to be be made placed,Fig. 33t5'.This tool may from iron with the exceptionof the cutters, of course and fixed in an ordinary toolAnother handle. purfiingtool, but much is shown in Fig. 35. The body of simplified, "
"
this tool may
be
beech, having
two
formed cutters
preceding,fixed by simple
tool
answers
easilymade for The must
keen.
be made
by
any
about
a
from the
a same
piece of as
the
binding-screw. This be
admirably, and
may
amateur,
be purchased
three
or
can
shillingsand
pence. six-
angular parts of the blades thin,and the edges kept very
Either of those
two
tools is to be held
How
64
Make
to
quitesteady,and depth
the
cleanlycut out with The indentinggroove and carefully,never the wood,
tool does
cut
groove
knife, and When
along knife
the
intended
A
ground.
the front view
*
By
"
a
of the
to
a
fiatand
take
a
made
wood enter.
the
side
enough
to
run
sharp the
The
next
the
awl
point should view, and
point. When "
twice
from
which the
chisel-sharpenedawl
awl, narrow of the groove
run
the way
shows
pointed
previously.*'
as
to
the
and
has been
to
shape
should be bent and be
out
enough
the awl
the
figure shows
pencillines thin
a
groove,
away
to allow
groove
cut
purflingtool
cut
denting the in-
spaces,
lines with
the wood
the
and
such
to
bellyopposite
and
the
to
place.
the proper
reach, two
not
through
drawn
be
may
tool
the
allowing
of the neck, where
the extremities
to
be
gradually
be cut
must
slip from
or
to
awl.* chisel-sharpened
a
the parts of the back
At
afterwards
is
and
of the back
margin
breast, the interior wood
tear
propef
double cut of the
a
round
run
Violin.
a
easilyin
have
you
is meant
B
a
bler's cob-
the width
by the purflingtool but ground
sharp edge.
The
65
Purfiing.
^1
cleared for the and
up
brought
the
away
underneath
the soil and
and
groove
required
with
from
or
both
intended
ploughshare
a
it up
turns
care,
it has
very
cuts to
as
so
be done the
seeing that
extremely
which
to be
and
shallow
to
be
cut
has
thin.
stripof purflingto be inserted, stripsif two are desired,and gently
both
being
taken
neat
is
wood
the
squeeze
between
great
made
alreadybeen Glue
starting-point
a
must, of course,
This
slowly the wood
knife
stripof just as
furrow.
a
a
awl, begin with the point of the awl
turn
leave
with
away
the
togetherinto that
the
grooves
jointsat
the
their grooves,
small
ridge
is not
broken.
four
corners,
and
of
care
wood Make
remove
66
any
How
superfluous
brush.
When
projecting sharp and
to
surface
glass-paper.
with
and
is
glue of
VioliH.
a
glue the
knife,
Make
the
finish
the
dry, purfling
off
with
camel-hair
take
the
away
with
the
a
very
scraper
XII.
CHAPTER
THE
TAKE faces.
it
The
maple
for
figured, The of
the
parts
the
T
5j
inches
the the
of
parts
ornamental
there
is
should
not
neck
which
reason
no
be
as
mental orna-
possible.
as
model
and
body, only
but
ble. possi-
as
simply
are
useful
the
the
the
useful,
as
Take
the
are
being the
fastened
neck
which
without
bought
of
and
marked
ornamental
as
purfling
instrument
why
be
to
as
so
four
usually
is
neck
well
wood
thick,
all
on
the
long,
inches
i"
smooth
plane
from
inches
lo
and
and
selected
scroll
maple
of
wide
inches
J
2
piece
a
NECK.
finished
a
on
square,
the draw
from to
and
model,
the
piece a
the
draw of
line end
body. 67
This
with
Then
round
where
of
outline
the
maple. all
have
you
the it
line
is
wood to
will
be be
How
68 at
where
the
Take
side; mark of
whole
on
a
the
the
each
point at
long
both
point W
sides inch
is the
the of
place
points f
the
and
narrow
draw
on
pencil line the passes piece. Open the com-
line
point at the
that
on
the
from
a
meets
mark
of
end
sides
narrow
G, and
at
which
the width
is half
length of the \\ inch, place one
where Ime
open
compasses,
which
each
Violin.
a
point G, Fig. 37, which the peg-box begins.
the
inch
Make
to
pointsthere will,of
angle
transverse
transverse
line which
the
the
cuts
line
it, a
long line, between course,
be iJ inch.
The This the and
Neck.
69
W inch shows the width of the neck at beginning of the part held by the hand, of the nut also the width (the small
piece of ebony__Qyerwhich out of the peg-box). the
Open one leg
f inch, by angle made
the the
line
cross
that
opposite to
mark
and
line two
points on
line,the distance
the
neck
and
put
the
long
cross
the
long
will
be
i\ of
is to be the thickness
it
point where
the
at
the
of
which
between
been
have
upon
side
either
side
narrow
you
before
as
i^ inch
This
the
on
which
on
working,
inch.
stringspass
compasses
on
and
line
the
joins
the
with
the
belly. Now
fasten
the neck
the bench
to
side
hand-vice, the
broad
the scroll end
projectsover
table, and
cut
then
into the corner;
start
B
round
again
down
to
the
Begin
the
from A.
start to
curve
C, work This
that
so
edge
of the
ail
bow-saw at
point
G
line F
E
from
C
work
the
corner
proceed along the
(Fig.37) and past D
the
with
away
superfluouswood.
the
upwards,
round
gives
a
and
up
point;
the top past
rough outline.
How
to
round
to
70 from
G
to
model
take ; cut
the
to
and
the
proper,
off to
the
greatest nicety
fasten
the neck
down
to the
out
with
gouges,
carve
of the
curves "
"
button
line B
C
point
where
of
the
centre
smallest
gouge,
the
with
Before
will,of
lines B
C
not
taken, you
the
centres
of
as
knives,
which, in Fig. 37, is crossed the dotted
and
button. and
Begin
take
knife,
Finish
draw bb.
will find the
on
being
the
with
the
great
and
glass
carve
both
If this
side,
one
sides
the
precautionis
it difficult to
buttons
as
it with
scrapers to
bbt
larger tool
a
beginning
aa,
line aa^
lines meet
these
course,
and
bench
scroll,beginning at the
spiralrequiresit.
paper. you
to the neck
glass-paper.
the
care
joins the body,
files and
central
the
point A
scrapers,
etc., the
the
neck
the
the
held by the hand, its proper
be
before, and
by
from
from
that part, and
shape, finishingit Now
by
now,
file,be brought
and
the wood
part where
is to
with
must
measurements
your
away
give to
which
A, which
shape.
proper
Then
Violin.
a
chisel,knife
of
means
Make
make
correspond.Be
The Neck.
71
.
careful,in widening down maintain which
Having
the the
finished
is
now
the
thickness
proceed.
you
sides,work B
A
edge
C
the
out
D.
The
"
preparing the foot foot will be glued on
join
will be on
to
out
level with
block, and
of
A,
to
finished,except hollowing
peg-box, and body. This
bottom
the
B
model, taking
as
off the
round
grooves
heck
in your
measurements
constant
two
find
will
you
increase
gradual
the
from
glued
back
to
to the
the
it at the top, while to
of
the
the
therefore,be filed until
circle projectingsemi-
violin,and its
must,
shape exactly
this point ths corresponds with it From foot will gradually increase in size until it Draw attains the width alreadymarked out. the foot of the neck
down
of that into two other
already drawn,
parts. The
words, the surface
block, will determine
the
finger-boardis violin,and
which
divides it
foot of the neck,
the
the
line in continuation
a
to be
before
which the above you
is
or
glued
in to
height which the
glue
body of the
neck
finish your finallyin its place you must finger-boardaccordingto the directions
How
72
to
Make
Violin.
a
hand
and, holding it with given later, the place in which itis intended
to
the
give
foot
of
the
finger-board its
neck
as
to
view
in
be, adjust the
to
glued
when
height
proper
Fig. 38 gives a
on.
so
one
foot of the
of the
A
(A
neck
B
C
D)
being the part
the part above
the line A
projectsabove
which
B
the level
of the block. The
placing and to
present
of
the
small
no
drillingof difficulty.The
peg-holesis obtained
gluing on
the
conical
by
shape of
means
neck, regard must
points: The
two to
make
peg-box and the the peg-holesought a
tapered gouge.
In to
the
mortising of
a
be attached
straightline
that surface
as
well
central to
the
with as
line of
be had the
face sur-
finger-boardmust
the
and belly-joint,
the end
or
foot must
be is
so
The
Neck,
adjusted that
while
given
is intersected
by
in continuation
of
scroll-buttons drawn
line
the back
which The
is
has
time
When
the side
must
neck
to
must
that
be
now
now
be
is to say, from
left at the end
been
at
neck.
wood
more
allow
to
as
inlet
An
wood
level
required,this
was
"
inch
deep,
\
inch
deep,
having, of
of the neck
the
\
surface
the outer
enough side-pieces,
the
on,
in the block
cut
imaginary
fix the
put
so
exactly.
of the
centre an
to
come
away,
height
the sides.
to
place than
cut
fit in
now
glued
pieceswere
left at this
was
the proper
finger-boardthe
the
to
73
to
of the course,
allow
for
this inlet. Before have
must
shape
been
and
little force want
inches
*
an
taken
to
to a
is
get it
piece of i
mch
preferable
impression on
the
to
the neck
its
\
should
fit
requiresome place. You will to
inch thick
broad*
it is not
wood.
its correct
ensure
cork
as
precaution
every
accuratelyas
so
long by
Felt
neck
position,and
into the inlet
now
the
gluing
Glue
so
and
2
thoroughly liable to leave
How
74
the
inside
neck
in
back
so
this
of its
cork
down
to
the
In
half
the
on
hour
an
glue
be
can
and
readjusted, it
neck
should the
and if
a
knife surface
the
left
to
the
will
which
end
dry;
of
of fits
the
upon
neck, the
neck. if
height. if
end it
is
made
and
button.
be
must
binding are
so,
through
gone the
the
If
it
not,
more
holes
the
the
see
before
a
on
screw
of and
weather
have
number the
end
right
warmed
the
placing
and,
operation
damp be
glue
good in
In
is.
until
the
it
at
cork
of
hand-vice,
the
unscrew
is
finger-board the
to
on
screw
button,
of
beak
foot
of
piece
the
cover
the
put
the
but
Violin.
a
inlet,
the
place,
as
Make
to
in
of
the
put
effect with
the
in,
small
a
CHAPTER
XIII.
FINGERBOARD.
THE
finger-board is
THE
easily made
be
it from
a
to
adjusted
sides, and
fit the
should
not
with the
model
to
the
the
neck
hand
the
of
the
so
75
end
narrow
neck, and
careful
Be
or
The
screws.
instrument;
sary neces-
the
closelythat they
the neck
varies
hardly
accurately at
piece.
mark
finger-board of
that
join it
one
as
appear it on,
to
exactly like
one
at
The
far will
thus
It is
so
will
way
model.
a
me
its width
that
it must
both
followed
has
piece of eb^py.
say
be
that
as
one
in making difficulty
no
must
purchase
who
amateur
have
to
best
the
that
and
simple
so
the
mean
ing glu-
board finger-
height of
according its
in
to
the
height at
76 the middle inch from
How
to Make
of its upper
Violin.
curve
should
be
^
bellyjoint,but this will all the heightof the bridge and for the strings. touch required
the
depend upon the depth of
a
XIV.
CHAPTER
the
button.
the
Take
the
the
by it should
width
exactly
and
higher.
Its
its
glued,
and
the
for down
the
be
cut
are
the 71
be
must
board, finger-
must
inch
^
the
board fingerto
the the
which
in
a
which
perpendicular
surface
upper
towards
the
be mined deter-
be
of
the size
will
curve
which
against
the
Its
the
to
with
surface
will
strings
of
eye
nut
of
is held
neck,
that
with
upper
front,
IS
the
correspond.
exactly
correspond
of
piece
will
length
Its
guide.
the
of
out
action
ebony
which
to
as
tail
piece of
wood
of peiss
th^
tail
piece
a
nut,
sufficient
slits
the
and
peg-box,
which
by
string
neck,
strings
piece which^esists
the
for
the
which
over
NUT.
PIECE
TAIL
the_sgaalL^iece
ny^t is
THE is
THE
AND
NUT
THE
slope gradually
peg-box,
so
as
to
How
78 present
rounded
a
strings
which
is
block
at
be
must
lower
level
with
it to
must
be
cut.
The
four
The
making It is
a
about
i
a
sort
of
above
which
through
into
the
bored
block, varnish.
and
surface
of
strings not
are
be
not
file.
button
presents
no
drawer-handle
accurately
we
be
belly,
rat-tail
and
size
which
the
should
nut
the
surface
they
that
long,
that
in
the
with
inch
square,
should
the
ebony,
fits
to
inch
of
diameter, which
begin
edge
to
the
of
scale, made
limb
An
so
piece
pieces,into
over
with
out
inch
outer
slits in the
filed
small
edge
\
Its
trimmed
rounded
cut, but
difficulty.
yg-
small
made
the side
be
The
and
a
inlet
end.
stand
it should latter.
an
accurately.
pass
a
the
which
on
usually
long
into
the
left upon
the
is
inch
i
glued
fit
it must
and
surface
string-guard
ebony about
of
Violin.
a
rest.
may
The
Make
to
the are
into
on
ing project-
a
|
inch
in
a
hole
of
sidepieces now
and
ready
to
CHAPTER
XV.
been
done,
will
you
hnd
trickled
out,
nicely
rounded,
and
for other
remedied
polish
with
must
has
edges
not looked. over-
searched
be
When
means.
fine
glue
fault
now
or
fi.le,glass-paper
by
very
the
other
some
or
faults
suitable
of
part
some
These
roughness
where
place
some
closely
over
slight
some
certain
almost it
looking
on
unevenness,
is
it
has
work
the
carefully
HOWEVER that
POLISHING.
AND
VARNISHING
all
is
perfect, whole
the
glass-paper
or
surface. Now water,
Then
a
a
it
as
thin
coat
nearly
of
dry,
instrument
before of
appearance
dip
sponge,
the
wet)
polish
very
clean
squeeze
(not
damp
the
take
until
having poor 79
the
been
varnish.
it in
cold
gently
and all
surface covered
over.
has with
How
8o
oil,is treated in the
and
The
tool to
best
flat
camel-hair
inch
wide, and
The
-varnish
Have
the
other
a
as
with
one
on
the with
if the
pieces and
small
vessel. a
time
part of
lay
off
it
"
that is,work
"
invisible,
are
all been
put
on
Try your hand first maple and pine, both
oil varnish you
brilliant
of
prepared for varnishingjustlike
varnish
do
not
until you each
on
have
touch have
piece as
surface, from After
polish with
each a
you
coat
linen
two
in
getting
a
brush-marks
venture
of
of
coats
experiment.
an
which can
the instrument
put
succeeded
totallyabsent,
violin.
"
of the brush had
used.
a
each
and say
an
strokes,one
two
over
care
varnish
violin,and
When
down,
a
simple stroke.
two
treated
only
painterwould
that the marks
and
are
take
Take
evenly,as
take
possibleat
as
is
been
never
glazed earthenware
a
wood.
the
varnish
brush, about
has
which
brush, and
and
the
on
sable
or
little varnish
as
in the
lay
chapter.
next
being ready,
in
quantity
up
Violin.
a
both spirit making of the varnishes,
The
so
Make
to
on
your
spiritvarnish,
cloth, the
older
the
Varnishing
material, will obtain
be
a
varnish after
for
really unless
each
softer
the
and
it
and
coat.
your
Polishing.
its
you
polish
the
texture, You
purpose
brilliant
8
lustre with
with linen
better
cannot
spirit cloth
1
CHAPTER
VARNISHES
this
the
other
has
step
there
are
him
to
what
it is, a
the and an
leaving old
tear.
violin This
for
the
made
it
those
for
is
out
on
nothing
good 83
amateur
and
New
be
who
violin
strument in-
by colouring is
applied, in
which of
and
wear
ground
every
for
pretend
not
one.
effects
will
advise
pass
may
uncoloured
workman, a
genuine,
varnish
real
the
shows
is
instrument
old
look
parts
carrying
the
old
an
to
the
genuine
turning
that
not,
fraud
deprecated, while
is
of
strongly
instrument,
new
it, and
an
all, I
at
before
wood
if
making
it
it are
one
and
in
varnish
what
varnish
The
the
violin,
modes
sham;
a
the
to
two
varnishing
be
is
process.
is
MATTER.
completed
next
succeeded
worth
to
COLOURING
AND
HAVING out
XVI.
to
gained
by it, more
cares
than
be
he
does
Varnishes for
making
feel that
it all
This
by dishonest
such
by
without be
may
violin look
had
been
either
Both
with
I have
directions
for
making
varnish,as spirit the varnish
varnish
coloured worn
by
away
proceed to give precise
now
for the
or
said, in making
originallyused, but I shall
plain
equallygenuine;
are
though
as
long use. used
what
loses
previous colouring.
any
consists,as
the
will
means,
the violin is to varnish
done
varnish.
the fraud
he
83
The buy, self-respect.
to varnish
over
coloured
fraud
a
never
way
proper
Colouring Matter.
money
can
money
and
the two
kinds
of
nish var-
violin,viz.,oil varnish well
as
the mode
in various
and
ing of colour-
tints when
ing colour-
is desired. The
best,though OIL
This
is
it is
more
elastic; Two be
than
beautiful,more it
spiritvarnish, as durable
needs
no
properly applied,will
coats, found
VARNISH.
vastly better
moreover,
troublesome, is
most
whereas sufficient,
requiressix
or
seven
and
more
polishing. generally
spiritvarnish
applications.
How
84
to
three
Violin. oil varnish
are
seed lin-
of turpentineand amber, spirits
:
latter,however, is such
The
oil.
oil."
"boiled
himself, but carried
out
oil
be
can
with
great
for
it
boiling
and
care,
unless boiled
as
without
use
it better not
risk,I think
or
"
"
dangerous
purchased ready
trouble
give any
it is very
as
known
operator could, of
The
perform the operationof
course,
bad
a
in the form
be used
drier,that it must
any
a
ingredientsof good
The
as
Make
recipesfor rendering linseed
to
oil
a
better drier. I
sold, in
quantity,ready
any
Winsor
Messrs.
and
London,
men,
of
that varnish
stronglyrecommend
the
who finest
very
Newton,
boiled than
best oil
useless
The
varnish.
for
the
materials
and
way
common
is
worse
under
purpose
the
ing obtain-
relyupon
nearly black,
following is The
artists,so
procurable. Cheap
is
by oil
boiled
quality for may
use,
artists' colour-
prepare
that the violin maker the
for
that is
to
prepare
requiredare
;
sideration. con-
oil
Varnishes and
ColouringMatter.
Amber Boiled
oil
Oil of
Break
up
peas,
and
put the
the
of
down,
ounces.
and
then
wood.
size of
add so
When
melt
be
and
then
have
you
the
add
fire
hour's
an
amber,
but
strip
a
is melted
amber
the fire,stir
it
till
slowly,stirringall
thoroughly mix
to
the
on
stirred with
the
the oil very as
spoonful of
a
quarter of
the pot from
take
it
put the pot
it. A
on
now
time
which
ounces.
piecesthe
with
will suffice to
cool,and the
used, and
cover
pine
2
having prepared a charcoal fire, amber mto a glazed iron vessel
warming ii must
ounces.
.
into
and turpentine,
and
4
.4
.
amber
the
before
never
the
turpentine
85
the
the
gredie in-
to turpentine,
previouslygiven
the colour
desired. must simply be colouring matters solve, powdered and put in the turpentineto dis-
The
time
some
making the are
here
before
varnish.
The
it
is
wanted
for
colouringmatters
given :
Yellow.
"
Aloes,
saffron; these will
gamboge, give
turmerics
various
tints
or
of
How
86
yellow,from desired.
The
Make
to
Violin.
a
lightgolden to deep,as may be effect of golden varnish is very
brilliant. Red.
Dragon's blood
"
By mixing
yellow any
with
Saunder's tint of
wood.
lightred
be obtained.
can
Brown.
"
It must a
or
Madder
colouring
sometimes
colour as
that each
of colour
colouringeither
any
logwood.
be remembered
slightdepth
These
or
the in
to
matters
oil
or
small
will dissolve
for It
is
quantityof portion of turpentine
a
it,and
to the
The
suitable
spiritvarnish. make
adds
previous one.
are
practiceto as
the
coat
a
keep
tion it for dilu-
tint when requisite required. nishes following are recipes for oil var-
of different kinds
:
Varnishes
ColouringMatter.
and
1
Lac
......
linseed-oil
Drying
amber
rty
(
Pale
.
.
copal
with
the
.
.
Colourless
Copal
the
the
copal
broken,
oil is become
oil
pieces
are
to
soft
those
having
be
been
be
prepare
drop
a
poured; the
upon
only
To
"
this
picked,each piece
which
upon
generally
varnish
Varnish.
must
gal.
.1
.
violins.
lbs.
.3^
.
.
cheap
which
varnish
twenty-fourhours.
pale rosin of turpentine
rosemary
strain
in from
dries hard
the
then
y
P"
3 pt.
.
jar. This
the store
is the
varnish
the
qt.
turpentine,and
This
on
,,
1 lb.
.
.1
durable, and
Dissolve. used
8
.
.
Clear Oil
,,
until stringy, copal and drying-oil
and to
.
oil of turpentine
immediately into twelve
"
then add separately,
pale African drying oil '.
thin
is hard
.
and
Boil the then
.
thoroughly dissolve by heat.
Rectified
^^^
.
the lac
and Clear
oz.
4
Oil of turpentine
Dissolve
87
to
selected
be are
or
the
two
of
pieces
applicationof used. to
be
Those
ground
88 to
How
to
Make
fine powder, and
a
in
powder
a
then sifted.
glass vessel
correspondingvolume stir for thick two
few
of
the
reduce
with
mix
alcohol
liquidto
beautiful
varnish.
The
following
a
are
is
few
:
a
for
drops of whicb
sistence requiredcona
clear
recipes for
varnishes of different kinds
a
oil;
rest
slowly, after This
it
will have
you
until the
is obtained.
to
the rosemary
three hours,then add
alcohol, and
Place the
add
and
minutes, when
liquid. Leave
or
pure
a
Violin.
a
and
spirit-
Colouring Matter.
and
Varnishes
4
sandarac
Gum
.
Seed-lac
.
Mastic
.
2 1
Powdered
4
glass
.
"
2 "
.
32
"
5
Seed-lac
.
Sandarac
.
Venice
"
.
Alcohol
Elemi
"
"
.
turpentine
Venice
oz.
1
in tears
Benzoin
89
,j
2 .
.
turpentine
.
Powdered
glass
li" 2 "
5 "
.
.
Alcohol
.
Coarsely powdered glassof each
"
copal
24
"
and 4 bz.
.
Camphor Alcohol
Heat a
the mixture
water
counted
bath, as
then
1 pt.
(64 0. P.)
so
(with frequentstirring)in that
the
bubbles
they rise,until solution decant
the clear
may
is
portion.
be plete, com-
How
90
This
the
is
picked
5
animal
filter
varnish
minutes.
not
be is
chill
and small
used about
or
bloom,
60
of if
and When
a
dries
not
silk, This the
where
degrees and
of
paper.
room
the
less colour-
piece
a
filtering in
heated
quantity
through fine
minutes
recently
charcoal.
oz.
rectified
few
a
filtered,
be
through
temperature
burnt
liquor
must
2\
of
pint
a
for
more
the
Dissolve
well
now
add
press
in
A
should
colourless
does
well
charcoal.
solution
and
boil of
oz.
seen
"
lac
and
alcohol, with
Varnish.
Spirit orange
often
so
violins.
German
Colourless
Violin.
a
spirit-varnish
clear
the
upon
Make
to
Fahr. in
It
a
few
XVII.
CHAPTER
VARNISH.
THE
THE
Notes"
"Violin
MS.
the
contain
Bull,
In
after
search
a
so-called
lost
present
themselves
employed makers was
the
by
well
as
be
applied "
In
a
and
colours
violin,
violins
after
this
yield
off under
yellow.
to
texture
it will
Italy
The arc
to
sudden of
all
it compacts
A.D.
but
breaks
of
in
which
the
an
tone 91
use
supple
entirely
the
red gums
Applied
together,
;
scales
or
brown,
oil.
to
1750-60.
extremely
shades
is
its
third, it ceased
It is
dissolved
Italian
second,
blow.
vehicle
this
was
the
is
varnish
pressure,
;
varnish of
later;
in
only
common
earliest
the
of
immediately
facts
first, this
very as
elucidation
an
:
esting inter-
:
three
art,
Ole
by
following
observations "
left
parent, trans-
and and to
without
a
How
92
to
Make
Violin.
a
rendering it shrill or harsh, and
beauty of the
much
of the
that
to
Venice, it
day
Turkey. Imported tion employed in the construc-
was
The
etc.
oars,
extremely curly
their
fracture to liability jected, rough usage, were consequently reto be appropriated by the violin-
under
to
Venice
makers.
and
Genoa
these
through various
which
and
gums
"Turning
"
their
is to
instruments
be
met
the varnish
hardness, of
of
all
Europe* "
and
ining exam-
brated cele-
most
with
contemporaneous
school,scarcelya
varnish
the
came
of
England
productions of
the Cremonese
absence
countries
and
violin-makers
extreme
ports
doubtedly un-
made.
was
other
to
France
the
Italian
trade, and
mand com-
colouring substances
this varnish
Germany,
held great
the entire Eastern
over
an
Italian soil
from
came
pieces,owing
by
gredien its in-
That
question. It is well known that maple used by the violin-makers
of
of
wood.
indigenousto the
were
is out
the
to
tional gives addi-
a
trace
with. is
of the In
man Ger-
distinguished
glassy lustre,and
delicate
shades
of
Varnish.
The
colour.
vehicle
The
is alcohol. sometimes
was
countries in
quantity
general too
of
and
English
old
the
In
nounced. pro-
these
both
oil,but the varnish
was
differed
texture
essentially
the Italian.
from "
but in
transparency.
the vehicle
over, more-
France, the colouring
In
varnish
lacked
makers
menstruum,
or
good,
The-
93
Three
questions occur
manufacture secret
lost?
second, how
secret?
a
there
third, are
perusal and
questions should
clear
clues
any
the
up
this
was
Answers
examination?
this
first,was
:
to
for
these
mystery
of
this so-called lost art. "To was
with
the manufacture is
no
only
in
There but
begin, then,
about
two
Caspar
da
varnish
was
maker.
of this varnish
reasonable a
hundred Salo
to that to
common
and
Venice, Rome
had use
and
For
no
a
from
years,
of the every
question, a
period of
the time
Italian violin-
of it extended
therefore, during this long
of
Bergonzi,the
monopoly,
Naples.
secret?
that it was,
doubt
certain way.
Cremona
knowledge
the first
to
for the
Padua,
It is
impossible,
time
to
say
that
How
94
of
selection
the
Make
to
a
ingredientsor
of
preparationemployed
of
this
were
later
quite a change
in any
hundred
the
from them
have
being
confined bitter
A
is apparent
artists who it to
manufacture
to
chosen
a
rivalry had
of a
to
1745
this
secret,
as
few.
always
existed
Creand Neapolitan,Venetian Alessandro schools. Gagliano, probably the
between monese a
pupil
himself
tagnana
of at
Stradivarius, had
Naples.
Sanctus
and
the
masters
of
monese
makers
their
that
of these
case
about
From
properly called
be
selected
chance the
a
later
consistentlyapplied
1760, then, the may
this be
mere
that
productions.
varnish
"
fact
From
of can
little
a
varnish; and
true
the result of
is not
about
few
widely
But
secret.
characteristic in the
this marked
all their
and
is observable.
notable
a
method
in the manufacture
instruments
possessing the
made
a
sense
Italian
date, only
few
the
substance,so well known
used,
as
Violin.
sonorous,
art seem
Dominico
Seraphino in
Venice. to
have
well-selected
lished estabMon-
were
the
The
Cre-
relied
wood,
on
their
Varnish.
The
principlesof construction, and
established
reputation;the Venetians,
their ancient the
of their
beauty
and
the
"
wanting
their
Neapolitans on
last confined
to
careful
wood, and
price. As a knowledge
low
95
few, instances
beauty, the importance of
an
acoustic The
how
second
objects,reveals
number
of
varnish
of
of
gilder as
Italian of and
a
Italian
Stradivarius to
common
the
the
the
careful
the
to
and a
peated re-
vast
fact that the
violin-maker and
as
recognised.
extending
examination,
time
A
lost ?
quite
presents itself :
questionnow
the secret
was
their
the varnish
well
was
not
considerations
any
of
element
at
are
It is
fellow-workmen.
evident, that, apart from
"
became
persecutionof such by
of the
less fortunate
finish;
exceedingly
of the varnish
a
on
before
of
him
the was
painter,the varnisher, and
well.
Let
an
ancient
piece of
furniture,a chair,a cabinet,the
case
harpsichord,be examined, ing, retouchprovided it has escaped modern the varnish might be by Stradivarius spinet
himself.
or
then Generallyit is colourless,
the
How
96
Make
to
qualityand texture occasionallyit is of proclaims itself
it
specimens of there
is
brilliant
at
chair of
such
varnish.
and
worn
that of
away,
"Between
changes
the years
The
them, and
newer
of
1760, great
of varnish
soft
and
fashion
of
their
solving dis-
of
of
in favour
and
rough of
ducing pro-
able unchangewear.
ornamenting
furniture,whether
were
and
gums
themselves
in
durable
more
exposure
old
endure
complicated processes
more
under
tively comparato
and
discarded
were
result
a
The
1760, one
1740
old
capable
menstrua,
durable.
surface broken
a
in the manufacture
introduced.
is
of time.
vicissitudes
further
amined, ex-
This
and
fairly able
and
smooth,
"
presents
1725
Let
once.
date, say, 1760, be
smooth, fairly lustrous,hard The
then
hues, and
the eye
to
no
indications,but
the
are
later
a
Violin.
a
all
ornament
ticles aror
with carvings,had given place to a utility, sober style. Broad, unrelieved surfaces, more
depending material,were with
on
the found
intrinsic a
unravelling the
beauty
of
their
relief to the eye tired mazes
of
complex
The
Varnish.
97
carving or painted arabesque. The old, soft, badly wearing varnish no longer and covering of sucli sufficed for protection surfaces; hence such
the
new
processes,
utilitarian purposes,
and, for
superiorresults.
copal gums, hitherto undissolvto found able, or only partiallyso, were heating and yield entirelyupon proper fusion. In 1750 a patent,covering a period of twenty-fi.ve granted by the years, was King of France to one Simon Martin, a fan painter,for the process of making varnish from amber, by drivingoff the succinic acid of heat, and the subsequentcombination by means The
hard
of the residue with
day
to the
oil.
From
that
present,various improvements in
this art hav^e gone
on
The uninterruptedly.
field of
the gates to which were discovery, opened by such pioneersas Simon Martin, bility, entered, the problem of durabeing once hardness and unchangeablenesswas soon
solved.
But
with
the
laying aside
the old
of
the Italian varnish became a recipes, lost art. The knowledge of its composition, naturallyconfined to the generalmanufac8
How
g8 tures,
of
knew
how
the
would
and
prepare
it,but,
use
other as
that
makers
has
been
to
them.
confined
not
was
doubt
is no
Cremonese
to
shown, its new
Violin.
a
forgotten. There
was
some
The
Make
to
the copals,amber, etc., ingredients, ticles naturallysupersede the old as arof import, and so by degrees those
possessedthe secret, for a secret it was, certainlyregarded by its latest possessors,
who
would
find
the old
in obtaining increasingdifficulty
constituents.
Moreover, the days of
violin-makingin Italywere France
and
Germany
the stolid build colour
of the
the
market.
of the old
in
the
of
a
this a
dust
two
of the
artist of the
Black
or
tors, competi-
the gaudy first, wood
varnish
of the
Forest,
hundred
years
wheel it
the the
lost,but buried
is not the
under
was
of
progress.
in the hands
nation; and
desire for a though now forgottenknowledge is confined to only
few, it would
be
inquirymust of
eager
general cheapness of all,held it has happened that And so
art
For
were
second, the baked
Mittenwalder, and
England,
over.
so
many
ends.
that sistent perfail to unravel skein a
absurd
to
say
Varnish.
The "
The
third
questionnow
any
writingsor
there
are
examination?
There
ingeniousFrenchman,
who
and
treatise list of
gg
presents itself : clues for are
perusal An
many.
long
wrote
ago
a
varnish, has given the following
on
who
authors
have
treated
this
upon
subject: Piedmontese
"Alexis,
author, Hieronymus
(real
of
name
'
Ruscellai),Secrets des
Arts,'Milan, 1550. "
des
et "
*
Tiavoranti
And
:
Miroir
Universel
des
Arts
Sciences,*Bologna, 1564. '
a
Recueil
:
veilleux;
Abr6ge
1663. Jean, 'Oculus
"
des Secrets Mer-
,
"Zahn,
Artificialis, etc.;
Nuremberg, 1685. "Morley, C, 'Collections';London, "
Coronelli, Vincent,
'
Epitome
1692.
Cosmo-
graphique';Venice, 1693. "
Pomet,
*
Histoire
Generale
des
Drogues
'
;
Paris, 1694 (reprinted1736). "
'Traite Buouanni, Phillipe,
Rome, "Here
des
Vernis';
17 1 3 is
a
earliest written
succession about
of
the time
treatises, the of
Caspar
da
How
100
the
Salo, and
much
these
obtained, and
the
coveted
And
red, and and
the
all
are
of
soluble in the oil
coloured
a
they
another
possess
and
under
pleness. sup-
the
quaint
all indicated
are
authors, and
these
vehicle,forming
one
varnish,clear and
which, however
be
the brown,
hidden
"
names,
may
softness
colours?
yellow?
and
one
result may
varnish
lustrous
clatures nomen-
comparisons,but
desired
new
the
obsolete
by
the
necessary,
their
to
names
cipes. re-
right one?
are
tiresome
many
made,
once
the old
old
genuine
the
perseverance
fittingof and
of
them
of
one
and
that of Stradi-
hundreds
are
Is any
Violin.
a
during
latest
varius. Here
Patience
Make
to
long kept, will
transparent, let fall
no
sediment. "
is still another
There which
has
and specified, all Italian be
instruments with
This
colour
varnish
;
a
of this subject
very
rarely,been
or
this is the
permeated from
never,
branch
ground-toning.
the wood colour
pale yellow is
to
quite distinct
for,however
faded
appears
varying almost from
by
in
In to
tensity in-
orange.
that of the exposure
and
Varnish.
The other
almost
tone
always
yellow is
tawny
the finest
afford
its
offers
intense,and
the most
amples ex-
such
On
ground-toning.
this
of
The
its colour.
retains
red varnish
violins with
be, the ground-
latter may
the
causes
lOi
splendid foil to the superimposed colour, it was toning and giving life to it. How a
composed stain, or authors
applied,whether
or as
a
varnish,
information.
give any
lists of
miscellaneous and
distinct
colouring matter
or
the their
from
But
drugs, dye-stuffs
the
to
common
made, which
be
of
none
markets, it is quitepossiblethat could
wash
a
as
the Italian a
selection
fulfil all the
would
requiredconditions of colour and stability. But though supplied with the ground"
element
tone, another reflex
exact
of
the
"The
the
anyone
trial of
elements
varnish
is the
the
before
be
can
colour
natural
wood.
problem
by
Italian
that
reproduced, and of the old
is needed
most
of the old
who
deems
patience and
the reward perseverance,
effective in the
the broken
sentences
able is solv-
varnish
of
task
of
worth two
lining inter-
tradition."
XVIII.
CHAPTER
A
constructing an directions
the
the
working,
outline to
now
observe
to
necessary
CONSTRUCTING
OUTLINE.
THE
IN
OF
METHOD
MATHEMATICAL
to
ensure
be
according given, it
great accuracy a
to
is in
satisfactory
result. First
draw
long, and parts.
a
perpendicular line
divide
Then
draw
it
accuratelyinto at
inches
14
72
right angles
to
equal line,
Constructingthe Outline, A
103
line through point No. 11 yy
""
""
)"
)"
""
""
""
"i
""
it
It
the
Open
parts, put
of
one
the two
draw
Open the
foot
on
9
and
point b^
feet at aa.
to
compasses
of
the width
of
width
the
point 24, and
24
draw
aba.
arc
Open
the
parts, and side of the Put
the
little curves
parts, place one the
to
compasses
one
compasses
mark
to
the
off this distance
as perpendicular,
foot of
at
the compasses
width
of
upon
2
each
cc.
at
r, open
Constructing the Outline.
hke
the
Open part, and the
on
BB,
line
D
A
On
of
the
14, each
in the
last
draw
^A, and
L
to
measure
the
point 22J
a
perpendicular;put at each
of the compass
of these
the centre
from
parts, the
1 1
make
circle,as
radius
L
the Ime
describe
a
one
left of No.
points ee\
two
of
either side.
on
parts from
the
Do
aa.
the width
right and
to
point the centre paragraph, with arcs
to
compasses
mark
at
curve
side.
the other
on
the
describe
fl, and
to
105
and
pointsh
h with
a
cutting the
arcs
foot
one
radius
of
lines
LL
PP.
and
In the
same
23! parts kk
centres
the
whe^e
and
from
continue
it meets
the
on
line KK
last the
2
points
and perpendicular,
the compasses
open arcs
find
way
to
the
from
point
drawn, join the line LL,
arc
from
the line LL
until
the line HH.
of 11 to the width Open the compasses parts,place one foot upon point 72, and draw the two on
small
point 35,
draw
the
curve
lines vVy and
then
the other
between
on
place one point 72,
these two
foot and
vv. lines,
How
io6
the
Open
parts, and mark
each
continue
6 55,
points xx. from
centre
a
point
on
the two
of
the
to
x
from
curve
v v
the line VV.
to
Open the compasses foot parts, place one 2
foot
as
width
the
to
one
point ;r
radius, and
a
as
placing
Violin.
a
compasses
the line SS
on
Take
Make
to
pointsto Take
s
to the
from
the line VV
line VV,
off
the
On
line II mark
the curve
line
from
HH,
from
point n.
passes com-
last drawn
arcs
the
continue
curve
points 00, each
two
draw
the
on
each
from
curve
distance
side of the perpendicul
of
perpendicular2 points
compasses
the
the line FF.
at the
the
the
perpendicular24^ parts : from point 0 to point /
side, and
to
4
the line RR.
to
the compasses
point /
and
line GG
on
from
either
on
the
pointwhere
the
open
of
point 56, mark
on
centre, open
a
as
joins
distant
width
ZB.
each
Mark
the
to
the
m
and
to
where
trace
on
last mentioned
from
14! parts mm;
the
the
open curve
joins
side
the
point to
the
each
Constructingthe On
EE, find
line
from
compasses
EE,
parts, and
QQ
the
to
the
joined by the
continue the
the
from
point /
joined by the
parts from the
arch
will of
of the
from
cc
V to
to
the
the
on
each
the
from
the
line RR
to
R, and
dd.
the
open
point where
curve
parts
the compasses
open
16^
mark
16-Jon
compasses the line PP
point i
and
curve.
to
compasses
point $0,
and
the width trace
on
of
I9f
each side
dd.
comer
We
r
24
open
the
from
curve
point /;
the small
mark
and perpendicular,
the
side
Open
to
ss.
poin^ where
curve
each
draw
20,
point bb^
from
line NN
parts from
is
point
the compasses
open
point bb\
compasses
On
^
corners
perpendicular,and
the
side the
is
line
on
from
curve
from
the two
draw
line
from
the small
the compasses
Open On
point p
to
the
open
side.
each
on
side qq\
each
point q
draw
and
107
parts from
points 22
2
perpendicularon
the
Outline.
now
proceed
the violin is made
perpendicular.
to
show in the
how
the
direction
How
io8
Make
to
Violin.
a
stripof hard wood, -2 inches widd, little longer than the perpendicular,and a thick enough not to bend too easily,and Take
find
a
its centre,
the
Open
large times
is, three
which
across
draw
the
parts, that
216
compasses
of
length
line.
a
the
dicular, perpen-
and, having fixed the stripupon table, draw
line in continuation the centre
of the
compasses
on
stripnot other
too
arc
shown
arc
will The
incision
to
the
draw
/
inner
upon
When
the
cut
arch
proper
the
foot holes
I
the head
J parts; should
the
be
9
this
the
of
violin.
holes
is 15 parts; the
side
of
opposite point 47^. at
the
stripthe
away
each
exactly opposite point 40; commences oppositepoint 32^, and the hole
the
the
edge, and
be
ends
across
perpendiculardrawn
Fig. 40.
give the
on
the upper
the
table,and
length of
perpendicular
place one end of strip, perpendicularline upon
upon
in
a
of the line drawn
near
point the
upon
the
table
the
upon
the
is inner
The
the
head
the foot
diameter
i^ part, edge
should
of
that the
at
of the
upper
parts asunder, and
the
Constructingthe edges of the lower under (seeFig. 41).* For inner
requiredin this method and accuratelydivided THE
the proper Fig.
other bar
23
parts, as
all measurements
parts long into 72 parts will be a
rule 72
OF
THICKNESS
42 is the
Point
above
holes
109
of great service.
found
*
Outline.
startingpoint for obtaining
thickness
41.
The
illustration
early made
in modern
headed
of the back.
position of the is that
found
instruments.
instruments "
BACK.
THE
The
Bar."
bar
With shown
in old Dutch The
the in the and
position of the
will be found
under
agraph par-
How
no
describe
compasses
having
a
contained I
Make
to
radius
from
Violtn.
centre
4J parts;
in this circle should
part thick.
parts and
of
a
draw
Then
open
another
the
42
a
all the be
circle wood
precisely 12
compasses
circle from
the
same
gradually fall off from I part thick at the edge of the inner circle to f of a part at the edge of the outer the circle. From this line to the side pieces, in all thickness will gradually fall away directions to ^ part (seeFig. 42). centre, the wood
in which
-A
fio
.^2
will
Construclingthe Outline.
Point 40 is the the compasses
point
40
as
Then, from
the
outer
circle is
be
f part thick;
again
the
the
this passes com-
circle.
gradually thin wood
at
from
sides,where
off the
thence
it should
in thickness. THE
bar should
The
in
open
\ part thick,and to
circle with
wood
circle till the
inner
a
another
draw
the back,
good \ part
a
The
its centre.
with
as
thin off
point of departure. Open
parts, and
9
BELLY.
parts and draw
4
be
circle must
THE
OF
THICKNESS
THE
ill
BAR.
be
thick,2 parts high in
$6 parts long, i part the middle, diminishing
gradually to f part at the ends. Its position clinin should be parallelto the joint,slightlyininwards
at
inch in its whole the
edge
can
off
inch
from
to
these
length,and
or
about
"
preciselyupon
lengthof
be
readilygauged by measuring (or 17 lignes French measure)
the top and
belly,the
end,
of the inner circle. The
the bar
\\\
the top
ends
from
of the bass
points.
The
of
the bottom
bar
bar
should
should
never
the
come
be
to
Make
from
the
How
112
further the
at
away
sHght slope bar
should
the
at
be
THE
The
important
time
be
given
to
the
also.
\
inch
meter, dia-
in of
the
particulars respecting
this
behind
have
part
The
bottom.
proportion
should
placed Other
bridge.
the
lignes
8^
SOUND-POST.
sound-post and
at
present this
in
than
centre
9^ lignes
top and
Violin.
a
been
the
foot
given
in
previous
chapters. THE
The
bridge should
edge
outer
BRIDGE.
of
8
have
parts
between
feet; its height should
the
be
6| parts. THE
The
neck
the
extremity
the
violin.
should of
the
NECK.
be
27
parts
peg-box
to
long the
from
sides
of
XIX.
CHAPTER
ACCESSORIES
REMAINING
THE
THESE of
might
for
have
violiriy I
instrument
to
came
priceless
Italian
he
brought
nothing of
assortment
the
parts
instrument in
may or
a
hands
master
which
score
wooden
gave were
its
time of
a
When
with
in
their
finished
wanting. have
had
his
a
"
a
mere
turned
as
makers.
appearance An
number
possession,
violins
old
out
Those to
the
"Strad"
fifty tail-pieces
finger-boards; 113
the
playing.
boxes, of
matters
of
the
but
the
fitting-up
Paris
violins
of
by
to
preparatory
Tarisio
Luigi
the
I
as
of
making
omitted
expressly to
but
named, the
on
pertain
merely
bought
directions
minute
three
writinp:
be
pegs
dealer.
amateur
first
the
propose
which
the
give
all
can
instrument
any
making
only
tail-piece, bridge,
strings, which
and
I
the
are
VIOLIN.
THE
OF
and
however
Make
114
How
to
essential
they
may
named
a
be, the
is tail-piece
of
modes
and
should knot
the
the
and tail-piece,
Some
of
pieces tail-
tied
so
of
the
the knot so
as
will
amateur
cord
the
piercedin
the level of the wood The
and
hollow
a
side to allow
belly.
knot
Different
of
groove
the holes
have
ends
through
in
comes
under
tied.
firmly
case
be put
Others
string,the
by
holes piercedthrough them
two
this
in
D
fasteningare adopted.
have
the
be
should
to the button
fastened
piece of violoncello
which
parts above-
only "fittings."
are
The
Violin.
a
that
the
button.
the end
of
the
scooped
on
to stand
within
to touch
not
select the
the
pattern
he likes best.
The
stringsare
productionof be
the
be
can
gauge
thickness
suited
to
a
useful
from to
they
bought and
violin
should passage
the tone.
before
gauged
important factor
an
be
They should always are
for
put
on.
A
string
sixpence,and
when
quality of strings best are
ascertained,no
permitted.
Mr.
in the
Davidson's
the amateur:
The work
tion varia-
following will
be
Remaining Accessories.
The "
violin
good
A
cylindricalfrom
stringsupon together, ought
other,
bent the
quicklyreturn their originalshape. They ought also to transparent throughouttheir entire length,
united
parts
break, but
to
to
glass,and curled markings. The
like
a
of
thread
third
stringsare of
first
not
being If
transparent.
white,we been
have
no
possess best
; the
white, but
so
first
the
perfectly stringsare very that they have
intestines of
the
been
prematurely used
The
and
second
from
manufacturer.
wavy
transparent white
a
safelyassume
may
made
which
strings should
animals
by the be
now
again oiled, preserved in oil-paperor
and
bladder, and in
the
being compressed, or not to change colour,or
of
or
to extremity
one
perfectly
a
possess
be
be
regularthickness throughout,and the necessary elasticity.A packet
having
to
stringought to
115
a
laid aside in covered
dry place.
small
pieceof
used,
upon
almond-oil it should
woollen
which
a
oiling the strings a or
few
poured. purifiedby
are
be
For
tin boxes,
other cloth may
drops
of
olive
If olive-oil is a
mixture
be
of
or
used, lime
How
Ii6
lead, until
and
Make
to
it is
first stringshould to
bring it
to
perfectlylimpid. tension
requirea
pitch;the
opera
and
the third
Violin.
a
fourth
about
of 15 lb. 17 lb.;
second
the
The
the
as
same
first." We
carefullyobserve
must
of any
the
of
perceptiblyaffected by
violin is very
the size of the
tone
to
or
of peculiarities
the
stringswhich
suitable of as
violins the
instruments
respect that
speaking, all be
the ancient
purity of
vibration.
If
light,the
tone
feeble,whilst
heavy, the and
an
the
unnecessary
be exerted
on
instruments
in order tone
and
such
will
the
will be
freedom too
be
hard
strain and
bridge.
require
effectively
to
and
of
thin
or
and
weak
the contrary, if too
sounds
this
perfectionto
strings are
of
on
is
in
another, but generally
to
lightlystrung, their
evoke
much
so
stringwhich
a
classes
judiciouslystudied,
vary
is destruction
one
to
also be
must
dividu in-
prove
different
the
to
The
obtained.
be
portion pro-
uniformity
the other, no will
power
in due
if not
strings,as
one
the tone
that
thick
or
coarse,
pressure
will
be
stringsto
brought but
to
ere "7Z'^r-tight they
pitch,causing endless violin
well-made
a
preciselysimilar the
form
pegs
hole
pegs
of
The in
passage on
the
"Violin will this
holes
the
the best
should
chalk of
means
freely and
move
bridge
his
justmen ad-
and accuratelyadjusted,
finelypowdered
left without
are
strings
fall
stringsto run from the without crossingeach other.
rosin will be found the
the
the
the nut
to
mixture
A
be
must
allow
to
as
so
the
in the correct
item
properly fitted
when
on
the instrument.
of The
varies
that
easilydiscern
important
an
ruptures,
remarks
preceding cursory
will
reader
be
can
although they may be of lengths of fingerboard.
violins,even
From
require
requiresthis order to bring
never
in or tightening "?^'^r-st^aining it to pitch. The fingeringalso some
117
violins
of the common-class
Many the
Accessories.
Remaining
The
and
making
stay where
they
pressure. is
ably
treated
Notes," and afford
the
point,and
sound-post and
bow
by Ole Bull the following
necessary
also with :
tion informa-
respect
to
How
Ii8
Make
to
BRIDGE.
THE
The
"
favour
to
not
"The
it should
of
and
forward **
The
order
centre
of the
nasal
any
and
the
A
at
the
across
/ holes,
mentally. experithe tailpiece the
withstand
bridge has great Thinness
tone.
to make
shrillness
too
of
the
prominent
latent in the
solidityconveys
compactness, but
bridges, and
wards for-
stringsin tuning.
proper
High-built
of the
determined
better
bridge tends
muffles the
thick
line drawn
a
of the
qualityor
instrument.
"
the
construction upon
or
incline towards
to
pull of
mfluence
be
only
It should in
ectly dir-
the character of the instrument,
upon can
be
line of the top. Whether
the inner notches
depend
another.
bridge should
the
directlyon
the top from
than
more
be such
equally,and
slightlybackwards
stand
of, or
will
tone
the centre
over
violin
whole
one
centre
bridge should
the
positionof
affect the
to
as
Violin.
a
ness sweet-
ness great thick-
tone.
violins
such
edges
mostly require low should be particularly
where
the
stringsrest.
Remaining Accessories.
The
bridge should
"The the side
toward
"The
of
material
should
which
is known
"The
should
extend
tov/ard
the
in the sides
each
one
of the
and
made
thick and
are
"The
is
of
one
rounder
a
excellent wood,
strong.
the inch.
the E
of
G
The
G
and
the
feet
E
it will
fuller
measured
thick.
be made
always
volume
along
the
strings,should
stringshould
hnger board
string,^
made
so
and
distance
some
of the best.
Properlyconstructed,a bridgemay
The
to
top of the bridge should.be
quiteheavy,and
of
model
French
objectionsin specialcases, bridges are
bridge
third of the distance
The
centre.
is
grain.
Aubert, of Mirecourt, though open These
That
yellow,as having
or
elastic
incisions
is
bridge
the
silver-grey maple
the brown
close and
more
be
side.
which
the
as
on
may
invariablymaple.
be
preferableto a
the other
on
made
perfectlyflat
be
It tail-piece.
the
slightlyconvex
119
of
vey con-
tone.
tween top bebe
i-^^
\ inch above at its largerextremity; the inch. The height average
of
the
be
bridge should
be
How
120
-j^ inch.
about a
^
scant
The
inch;
feet should
The
Make
to
"In
thickness at the
at
be
THE
-^
i
J
to
foot of the
inch
positionits be moved
fit the
with
centre
favours
lower
stringsare hard
sharp or should
the
and
long
the
help hard
happen should
should
to
be
From
both,
or
secure
tain cer-
in all
cases
lutely. abso-
and
back
lower
end
toward
lower
strings. If
the
the upper
all
and
If the
a
the
at
loose post
very
is the
reverse
case,
tightly fittingsound-post
and
the
upper
strings,if
end
a
and
heavy, then
little inside
bridge,and
a
the
is
outward before
the tone
shrill;but if the upper
be dull
stand
foot of the
right
top
in tone, then
all the
to
the
end,
lower
It should
weak
required. Moving was
stand
of the foot.
advantage the
used.
be
of
edge
outer
or
tone.
of
curves
inch.
-^
long.
rear
edge
upper
Moving
will
inch
the
to
bridge. Its
of qualities
a
full
a
base,
SOUND-POST.
in line with the outer
may
top
the
general the sound-post should
from
this
Violin.
a
strings the post
line of
little further
the
back.
Accessories.
Remaining
The
sound-post should
The
be
made
121
grained fine-
of
soft spruce. The grain should that of the top, as this will prevent the
the
of
surface
inner
putting the post
in and
THE
"
I
a
use
top in
the
BOW.
two
inches than the
ordinary standard, a powerful,heavy
be the
so extremely stiff,
weight
rebounds, as in hand
the
bow;
as
cannot
in the
volante. thrown in
the
the
series of
a
result.
wrist
give
to
dropped force
passages
applied
upon
rapid.
very
these
to
weight of
to
assist the
example
its
sound,
by causing
is
length
neither
the
do with
graduate,as
of
cato stac-
the bow
having anything to to
It
the
stringsand runs little rebounds,
colours
overtones
many
tremolo, arpeggio and
In order
different
certain
be
are
In this last
upon
hngers nor the
many
if
that
stringsthe rebounds have
is
should bow, while elastic,
de force. The
should
bow
and
requiredfor four-stringpassages tours
ring mar-
adjusting it.
longerby
bow
of
cross
we
the hair
it were,
favour to
act
How
122
at
greater
The
the upper
overtones, and
the
the the
In
that
slightassistance The
wrist is not
cramped
toward
hairs
the
the
neck,
oured. fav-
be
resulting
trumpet; and
is needed
and
clarinet.
the
only hand.
stiffened in producing
or
the
partiallysustain
the
stick
piano should
that
so
from
in
passages,
In
finger should
weight, and
will
in forte passages,
the pressure. little
more
the neck
nearer
horn
the
heavy bow,
a
the
of the
bridge.
bridge the
overtones
second, that of
With
the
first instance, the
resembles
tone
the
lower
from
the
approach
we
more
Violin.
a
less distances
or
nearer
Make
to
be
inclined
only part of
the
the
strings. The of the great stiffness and elasticity heavy bow gives a freer,cleairer tone than act
upon
"
be
produced by sluggishnature.
can more "
the
The
length of
number are
length of
It is known have
one
the hair,
way,
is
the bow
a
lighterand
2
ft. 6 inches,
ft. 4 inches.
2
The
160.
Half
the hairs
the other
half
the other.
of hairs is about
put in
of
one
that the hairs,as little saw-like
seen
teeth
when
nified mag-
running
in
Remaining Accessories.
The
direction.
one
they present down
or
up
The
and
paramount,
to
in its selection I
from
of
suitable
a
form
far
a
our
take
a
cut
glue
it upon
pieceof wood,
form
bridge; if
in
it, the
improvement bridge assumes
sound
increases
the
It
If
we
bridge,and instrument nearly
It gets
feet to the
influence
great
like
a
Its
it.
to
instrument.
loses its sound.
incisions
important
more
attention.
violin,the
a
amateur
followingquotation
a
the
quality of merits, therefore,all
is
:
have
the
upon
the
append
generallyattributed
incisions and
even,
bridge
aid the
Davidson
Mr.
is
and
round
further
bridge plays
part than
hair is from
best
be
either the
on
places."
importance
"The
The
It should
flat in
not
friction
same
stroke.
Normandy. and
the
dividing the hairs,
thus
By
123
a
little better if we
we
lateral
make
improves, which
gradually
ordinaryform.
until
the
It is
an
astonishing thing that by trial we gradually arrive at the form of bridge usuallyadopted, and other.
which A
appears
multitude
to
be
better
of trials have
than been
any
made
How
124 before
that
detracting greatly from the
of
quality
made
of
and sound
instrument.
deal
with
shape of
the
beauty of the impaired. Let
been
single string,the the
parallelto make
of the with
has
of
the
in several
feet
the
directions
its molecules a
direction
effect appears
normal to
in
movements
which
to
of
at
and
belly a
a
of
the
seen
to
while
the
is
once,
lation, of oscilto
appear
execute
normal
to the
be
confirm
the
The
bar
the
these oscillations
in the
we
tangential, bridge. If we
bridge itself experiencesmovements and
If
bridge.
the sand
changes, and
movement
The
ment move-
incisions in it,the nature
two
vibrations
always
is
movement
face
size
altered,
been
two
the
The
examine
us
plain bridge
a
altered.
instrument
of the molecules take
belly,but
openings have
but the
have
Bridges
the
be
to
the
their fibres perpendicular
parallelto found
was
the established
from
depart
cannot
without
move
Violin.
a
important piece arrived at perfection. Everything heis led to this result,
we
been
Make
this
form
and
to
to
tables. are
similar
belly.
imparted,produces movement
over
The
surface,
entire
its
nodal instrument us
placing
seems
to
no
longer the
arrest
and of
the
the to
the
other
with
the
If
the
sound
hand,
if
which of
the
of
we
as
to
weaker. the
occasion
belly."
with
bridge
even
appears
parts of lations, its oscil-
the
vibration
right foot but
the
On
experiment cate communi-
to
bar^ the
sound
It is evident
that
movement
of
of not
mute.
a
bridge produces the
the
of
the
weakened,
ought
the
Let
bridge
other
the
repeat
foot, which
incomparably foot
is
the
the
arrests
mute
clamp
we
its movement
left
the
of
extent
an
left
It
longer produces
no
great
so
The
belly.
bridge,
on
vibrate.
vibrations
instrument.
the
to
of
lations. its oscil-
with
null, and
is almost
sound
the
mute
a
versal trans-
effects
bridge, by interfering a little
By
by
parts
the
modify
from
it
vibration.
into
once
can
we
the
All
at
enter
12$
prevents segments
lines.
how
see
and
ventral
into
dividing
Accessories.
Remaining
the
is the
shocks
the bar
and
Fig.
43. of
bbioge
which
of is
a
not
viol cut
with out
except
seven
the
stbings, at
the
body
bides.
two
ff
Fig.
45.
bridge
of
SCHOOL
a
SMALL-rAXTERN OF
ANTHONY
VIOLIN AMATI
OF
THE
ANCIENT
Fig.
44.
bridge
of
a
viol in
with evert
five tart.
strings
cut
through
Fig.
Fig.
46.
47.
bridge
bridge
op
of
Nicholas
a
a
stradivarius.
amati.
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on
Musical
their
stock
Lives
National,
Scores, Operas, Chamber
Music,
Facsimiles
MSS,
Comedies,
as
Composers'
and
out-
Violin, Organ, and and
of Composers
Oiticisms
Primitive
and
Technique,
etc..
Miniature
Music,
Orchestral
Scores, Librettos,
Orchestral
Material, Musical
etc.
Librarians
wants,
the
Oriental and
Orchestration, Composition,
of
of secondhand
music, especially on
Instruments,
Works,
MUSIC
series of publications listed in this
extensive
an
MUSIC
ON
valuable
our
hold
we
of-print books other
IN
BOOKS
AND
Ltd
we
and may
Amateurs have
are
in stock
invited
la
REEVES
Norbury
send
us
their lists of
just the items required.
Catalogues regularlyissued,and
WILLL\M
to
sent
on
request, post free.
LTD.
BOOKSELLER
Crescent, London,
S.W.I
6
64
Printed
in
Great
Britain
by
Lowe
and
Brydone
(Printers)
Limited,
London,
N.W.io
PLEASE CARDS
OR
UNIVERSITY
ML
19jgniy
DO SLIPS
OF
NOT
REMOVE
FROM
THIS
TORONTO
POCKET
LIBRARY
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