1. business and industrial
2. company
3. bankruptcy

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
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
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
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,
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
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
}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-
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.
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
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
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-
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
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
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
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.
How
122
at
greater
The
the upper
overtones, and
the
the
the
In
that
slightassistance
The
wrist is not
cramped
toward
hairs
the
the
neck,
oured.
fav-
be
resulting
trumpet; and
is needed
and
clarinet.
the
only
hand.
stiffened in producing
or
the
partiallysustain
the
stick
piano
should
that
so
from
in
passages,
In
finger should
weight, and
will
in forte passages,
the pressure.
little
more
the neck
nearer
horn
the
heavy bow,
a
the
of the
bridge.
bridge the
overtones
second, that of
With
the
first instance, the
resembles
tone
the
lower
from
the
approach
we
more
Violin.
a
less distances
or
nearer
Make
to
be
inclined
only part of
the
the
strings.
The
of the
great stiffness and elasticity
heavy bow gives a freer,cleairer tone than
act
upon
"
be
produced by
sluggishnature.
can
more
"
the
The
length of
number
are
length of
It is known
have
one
the hair,
way,
is
the bow
a
lighterand
2
ft. 6 inches,
ft. 4 inches.
2
The
160.
Half
the hairs
the other
half
the other.
of hairs is about
put in
of
one
that the hairs,as
little saw-like
seen
teeth
when
nified
mag-
running
in
Remaining Accessories.
The
direction.
one
they present
down
or
up
The
and
paramount,
to
in its selection I
from
of
suitable
a
form
far
a
our
take
a
cut
glue
it upon
pieceof wood,
form
bridge; if
in
it, the
improvement
bridge assumes
sound
increases
the
It
If
we
bridge,and
instrument nearly
It gets
feet to the
influence
great
like
a
Its
it.
to
instrument.
loses its sound.
incisions
important
more
attention.
violin,the
a
amateur
followingquotation
a
the
quality of
merits, therefore,all
is
:
have
the
upon
the
append
generallyattributed
incisions and
even,
bridge
aid the
Davidson
Mr.
is
and
round
further
bridge plays
part than
hair is from
best
be
either the
on
places."
importance
"The
The
It should
flat in
not
friction
same
stroke.
Normandy.
and
the
dividing the hairs,
thus
By
123
a
little better if
we
we
lateral
make
improves, which
gradually
ordinaryform.
until
the
It is
an
astonishing
thing that by trial we gradually
arrive at the form of bridge usuallyadopted,
and
other.
which
A
appears
multitude
to
be
better
of trials have
than
been
any
made
How
124
before
that
detracting greatly from
the
of
quality
made
of
and
sound
instrument.
deal
with
shape of
the
beauty of the
impaired. Let
been
single string,the
the
parallelto
make
of the
with
has
of
the
in several
feet
the
directions
its molecules
a
direction
effect appears
normal
to
in
movements
which
to
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of the molecules
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but the
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similar
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47.
bridge
bridge
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of
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a
a
stradivarius.
amati.
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VIOLIN
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STRINGED
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"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
"
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