How to Make a Violin 1000070735

December 9, 2017 | Author: Delicatvs | Category: Violin, Leisure, Nature
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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

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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

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into

dividing

Accessories.

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is the

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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

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LIBRARY

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