HOW

TO

MAKE

VIOLIN

by

JOHN

BROADHOUSE
and

VIOLIN

NOTES

by OLE

Revised

BULL

Edition

LONDON
WILLIAM
la

REEVES

Norbury

Ltd.

Bookseller

Crescent,

S.W.I

Printed
Lowe

and

Brydone

in

Great

Britain

(Printers) Limited,

by
London,

N.W.io

Foreword,

demand

THE

construction

for

edition

has

has

had

With

the

advantage

of

re-drawn

the

list.

being

of

Guarnerius

and

that

present

and

of

and

revised

by

makers.

improving

illustrations

tinued
con-

short

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

...

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.

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

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

viol

in every
of

...

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

readers,

concisely

work

hand

man
Ger-

Ihre

involved

Heron-Allen

itself, but

of

English

fine

rise

given

treated

fully

treats

ha^

Violine,

to

of

collection

The

given

yet

its

it

"Die

Bau."

Ihr

instrument,

that

ably

called

its

library

been

has

und
as

of

to

the

upon

development,

musical

literature,

work

the

as

form

would

its

history,

its

beauties

written

been

has

much

some

work

in

who

fabricating

INTRODUCTION.

fiddle.
in

and
the

Hints
of

some

is

process

them

Davidson.

in

"

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

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.

so
finger-boards,

many

many

can

of

enthusiasm, without

each

to

necks,

many

bass-bars,so

many

shaped

to

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

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

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

small, beautiful

or

beautiful, is of

the

at

"trifles,"everything

no

in
figures,

I would

against misunderstanding

quotation.

there

v/ork

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

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

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,

purest pleasure known

This

violin know

means

profitby it,not
to

the

make

to

enthusiasm

produce

to

to make

begin

to

fool to

fiddle.
of

number
"with

about"
success.

difficulties will

head

from
These

screwed

on

prevent
the

right

working through failure

instructions

are

only

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.

consist

of

the

following

"Back
.

Belly

be

Pieces

....

(4 Corners

and

bottom

top and

blocks)
6

tSides
Side

Linings

12

Bar

I
.

36

JPurflings
*

The

then

applies
t

to

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

( Four

kinds

pine,ebony

of

Violin.

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

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

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.

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

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

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

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

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.

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

poses.
pur-

tool

good

shop.
The

work-bench

larger

than

should

be

attached

should

be

quite

clean.

The

table, need

or

ft.

by
to

and

following

vice

wooden
The

end.

one

smooth

ft.

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),

hand

saw

for

kind

for

of

blade

the

more

How

14
delicate

to

work, and

Make

Violin.

bow

outline

for

saw

work.
Three

chisels,^

inch, " inch,and

inch

broad

respectively.
ranging
Eight gouges,

inch

from

inch

to

broad, will be necessary.

riQ.%

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

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

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*

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,

partiedu coeur de Teirbre c*est-ale

veines les plus rapproch^s,dans

referred

work

Mauzin,

la

de

centre

*'

author, says

de mettre

Violin.

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

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

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.

the

must,

belly,shaped
of

back

the
with

measuring
course,

and

be

belly

equal facility

edge.
"

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

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

to

linings,Fig. 12. The

oval shape (C), Fig. 12,

long, the length of

inches

19

side

piecesand
body (B) is of
and

Required.

Tools

should

breadth, C
Sixteen

wood,

of

to
or

the

be

about

D, about

3^ inches, and
i

shown

the

inch.

eighteenhand-screws,made
shape

in

Fig.

of

14, and

How

20

3 inches

measuring
be

inch thick.

pieceof

clipof

Fig. 1 5,

In

inch wide

to

B.

should

using these hand-screws,

be put

of any

wood

Violin.

from

cloth must

prevent marks
A

Make

to

kind.
like

shaped
at

the violin to

on

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

tools

as

so

Tools

sound-post

steel

and

It

tool.

should

Spohr.
bend

The

17.

applied

to

is

sound-post

Its

shape

head

or

bend

of

was

in

the

Fig.
to

be

post

at

setter

of

the

long.

given

the

foot

setter

is

enables

of

where

inches

10

or

sible,
pos-

made

16,

the

of

the

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

better

see

model
:

of

draw

still,

the
cut

is

to

shaping
of

accuracy

it

is

back

not

to

either

by

the

on

be

one

of

supposed

therefore
each

give

of

these

plate.
be

may

outline
out

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

about
a

will

care

meant

19,

any

work

the

the

copy

is

wood,

shape

the

"

model

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

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.

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
/

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

that I should
for the
be

must

arching

remembered

"

are

made

any

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

scale taken

from

How

26

these

make

alone, he

period of Stradi-

made
correctly

are

If

the

models

of

concerned.

is

Violin.

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

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

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

edges.

the

near

from

be

formed

neck

and

scroll

dealers

and

all instrument
Directions

for

the

carving

can

kept
the

Models.

The

will

scroll

of

methods

the

are

to

Chanot,

He

always
one

that
be

making
but

pattern,
in
and

result,
scroll

I
from

from

his

obtained.

model

those

operation
recommend

Hart,

Hill,

maker

of

London

work

can

can

for

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

"

*'

tool

the

fixed
true

of

wood

blocks,
in

up.

25.

At

such

on

This
A

mould
are

the

shape

so

as

the

which
is

on

those

tioned
men-

tools,
as

is

to

violin

represented

inlets

for

the

allow

to

side-linings

and

places,

proper

as

chapter

side-pieces

their

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

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

the

shows

in

itself.

in

as

the

Then, with

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,

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,

table, and

the

the

trace

the model

it,and

upon

in thickness

for the mould

meant

the

on

(walnut is

purpose) \ inch

little largerthan

Violin.

pieceof hard wood

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

the inner

inch from

Eight

B; and

other

31

inch from

in the centre

the two

edge

of the C

piecesmust

the inlets

now

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

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.

be of

trimming.

perfectlyin
that

Make

to

blocks

The

of

pine

so

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

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

How

34
8

inches

to

long

and

whitish

glue

is of

Make

and

at

no

in small

four

piecesand
hours, which

up.

Then

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

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;

the

Violin.

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

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

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

the

side

other

the

piece

all

reduced

in

to

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

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.

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

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

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

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

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.

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

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

from

the

gouge,

complete.

Make

to

knife

mould,
and

and

round
the

Violin.

When

chips.

fine

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.

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

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

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

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

give to

shape

gouging, knifing,scraping and

been

it with

large gouge

resemblance

rough

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.

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

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

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

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.

remain

not

was

hollowing

Make

to

vital

importance

fully in

matter

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

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

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

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

the

on

as

round

Violin.

two

and

corner,

should
its

block,

upper

place

can

Make

to

hot

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,

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

BELLY.

THE

OF

at

in

ways

wood

split.

once,"
content

each

cut
to

stroke

}low

jo
lest

spoilyour

Take
the

Violin.

unlucky gash should

one

time

Make

to

labour

that

care

of

grain

the

and

get

faultless

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

in the model.

the

Of

and
Then
and
within

all,

of

First

somewhat

below

introduce

cut

away,

the

pierce

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

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

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

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

lines

have

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

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

How

54
The

Make

to

of

thickness

preciselythe

Violin.

same

but

way,

throughout a trijieover
the belly. In other
than
be

that

than

thicker
round

the

gradual

diminution

other

inch

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

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

"

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

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^

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

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

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

the outer

from

that when

upward
of

the

glued

will

in the

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

certain

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

it about

of the

to

line

on

glue jointof

or

extremities

pressure

of which

side

from

slightspring is given
so

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

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.

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

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

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

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.

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

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

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

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

ground.

the front view

By

"

of the

to

fiatand

take

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

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

the parts of the back

At

afterwards

is

and

of the back

margin

breast, the interior wood

tear

propef

double cut of the

round

run

Violin.

easilyin

have

you

is meant

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

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

must, of course,

This

slowly
the wood

knife

stripof
just as

furrow.

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.

glue
the

knife,

Make

the

finish

the

dry,
purfling

off

with

camel-hair

take

the

away

with

the

very

scraper

XII.

CHAPTER

THE

TAKE
faces.

it

The

maple

for

figured,
The
of

the

parts

the

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

piece

NECK.

finished

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

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

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.

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

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

line F

from

work

the

corner

proceed along the

(Fig.37) and
past D

the

with

away

superfluouswood.

the

upwards,

round

gives

and

up

point;

the top past

rough outline.

How

to

round

to

70
from

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

point

where

of

the

centre

smallest

gouge,

the

with

Before

will,of

lines B

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

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.

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

edge

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

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

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.

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

neck

D)

being the part

the part above

the line A

projectsabove

which

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

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

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

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

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.

inlet,

the

place,

as

Make

to

in

of

the

put

effect
with

the

in,

small

CHAPTER

XIII.

FINGERBOARD.

THE

finger-board is

THE

easily made

be

it from

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.

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

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

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

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

strings

which

is

block

at

be

must

lower

level

with

it to

must

be

cut.

The

four

The

making
It is

about

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

inlet

end.

stand

it should
latter.

an

accurately.

pass

the

which

on

usually

long

into

the

left upon

the

is

inch

glued

fit

it must

and

surface

string-guard

ebony about

of

Violin.

rest.

may

The

Make

to

the
are

into

on

ing
project-

inch

in

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

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

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

brush-marks

venture

of

of

coats

experiment.

an

which
can

the instrument

put

succeeded

totallyabsent,

violin.

"

of the brush
had

used.

each

and
say

an

strokes,one

two

over

care

varnish

violin,and

When

down,

simple stroke.

two

treated

only

painterwould

that the marks

and

are

take

Take

evenly,as

take

possibleat

as

is

been

never

glazed earthenware

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.

both spirit
making of the varnishes,

The

so

Make

to

on

your

spiritvarnish,

cloth, the

older

the

Varnishing

material,
will
obtain

be

varnish
after

for

really
unless

each

softer

the

and

it

and

coat.

your

Polishing.

its

you

polish

the

texture,
You

purpose

brilliant

lustre
with

with
linen

better

cannot

spirit
cloth

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;

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

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

in the form

be used

drier,that it must

any

ingredientsof good

The

as

Make

recipesfor rendering linseed

to

oil

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

is melted

amber

the fire,stir

it

till

slowly,stirringall

thoroughly mix

to

the

on

stirred with

the

the oil very

as

spoonful of

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

having prepared a charcoal fire,

amber
mto
a
glazed iron vessel

warming
ii must

ounces.

into

and
turpentine,

and

.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.

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

it,and

to the

The

suitable

spiritvarnish.
make

adds

previous one.

are

practiceto
as

the

coat

keep

tion
it for dilu-

tint when
requisite
required.
nishes
following are recipes for oil var-

of different kinds

Varnishes

ColouringMatter.

and

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

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

P"

3 pt.

jar. This

the store

is the

varnish

the

qt.

turpentine,and

This

on

,,

1 lb.

.1

durable, and

Dissolve.
used

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.

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

in

powder

then sifted.

glass vessel

correspondingvolume
stir for
thick
two

few

of

the

reduce

with

mix

alcohol

liquidto

beautiful

varnish.

The

following

are

is

few

for

drops of
whicb

sistence
requiredcona

clear

recipes for

varnishes of different kinds

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

Violin.

and

spirit-

Colouring Matter.

and

Varnishes

sandarac

Gum

Seed-lac

Mastic

2
1

Powdered

glass

"

2
"

32

"

Seed-lac

Sandarac

Venice

"

Alcohol

Elemi

"

"

turpentine

Venice

oz.

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

animal

filter

varnish

minutes.

not

be
is

chill

and
small

used
about

or

bloom,

60

of
if

and
When

dries

not

silk,
This
the

where

degrees
and

of

paper.

room

the

less
colour-

piece

filtering
in

heated

quantity

through
fine

minutes

recently

charcoal.

oz.

rectified

few

filtered,

be

through

temperature

burnt

liquor

must

2\

of

pint

for

more

the

Dissolve

well

now

add

press

in

should

colourless

does

well

charcoal.

solution

and

boil
of

oz.

seen

"

lac

and

alcohol,
with

Varnish.

Spirit
orange

often

so

violins.

German

Colourless

Violin.

spirit-varnish

clear

the

upon

Make

to

Fahr.
in

It

few

XVII.

CHAPTER

VARNISH.

THE

THE

Notes"

"Violin

MS.

the

contain

Bull,

In

after

search

so-called

lost

present

themselves

employed
makers
was

the

by

well

as

be

applied
"

In

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

How

92

to

Make

Violin.

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-

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?

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

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

ingredientsor

of

preparationemployed

of

this

were

later

quite a change

in any

hundred

the

from
them

have

being

confined
bitter

is apparent

artists who
it to

manufacture

to

chosen

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

later

consistentlyapplied

1760, then, the

may

this
be

mere

that

productions.

varnish

"

fact

From

of
can

little

varnish; and

true

the result of

is not

about

few

widely

But

secret.

characteristic in the

this marked

all their

and

is observable.

notable

method

in the manufacture

instruments

possessing the

made

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

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

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

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

The

1760, one

1740

old

capable

menstrua,

durable.

surface broken

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

Violin.

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.

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

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

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.
'

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

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

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.

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

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

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

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

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.

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

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

each

cc.

at

r, open

Constructing the Outline.

hke

the

Open
part, and
the

on

BB,

line

On

of

the

14,
each

in the

last

draw

^A, and

to

measure

the

point 22J

perpendicular;put
at each

of the compass

of these

the centre

from

parts, the

1 1

make

circle,as

radius

the Ime

describe

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

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

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

point

on

the two

of

the

to

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

as

placing

Violin.

compasses

the line SS

on

Take

Make

to

pointsto
Take

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

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

as

joins

distant

width

ZB.

each

Mark

the

to

the

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

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

perpendicularon

the

Outline.

now

proceed

the violin is made

perpendicular.

to

show
in the

how

the

direction

How

io8

Make

to

Violin.

stripof hard wood, -2 inches widd,

little longer than the perpendicular,and
a
thick enough not
to bend
too
easily,and
Take

find

its centre,

the

Open

large
times

is, three

which

across

draw

the

parts, that

216

compasses

of

length

line.

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

the head

J parts;
should

the

be

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

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

contained
I

Make

to

radius

from

Violtn.

centre

4J parts;

in this circle should

part thick.

parts and

of

draw

Then

open

another

the

42

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

another

draw

the back,

good \ part

The

its centre.

with

as

thin off

point of departure. Open

parts, and

BELLY.

parts and draw

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.

been

the

foot

given

in

previous

chapters.
THE

The

bridge should

edge

outer

BRIDGE.

of

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

hands

master

which

score

wooden

gave
were

its

time
of

When

with

in

their

finished

wanting.
have

had

his

"

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

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

the

are

VIOLIN.

THE

OF

and

however

Make

114

How

to

essential

they

may

named

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

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

fasteningare adopted.

have

the

be

should

to the button

fastened

piece of violoncello

which

parts above-

only "fittings."

are

The

Violin.

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

useful

from
to

they

bought
and

violin

should
passage

the tone.

before

gauged

important factor

an

be

They should always

are

for

put

on.

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

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

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

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

possess

be

be

regularthickness throughout,and
the necessary
elasticity.A packet

having

to

stringought to

115

laid aside in covered

dry place.

small

pieceof

used,

upon

almond-oil
it should

woollen

which

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.

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

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

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

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

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

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.

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

excellent wood,

strong.

the
inch.

the
E

of

The

and

the

feet

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

-^

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

the

at

loose post

very

is the

reverse

case,

tightly fittingsound-post

and

the

upper

strings,if

end

and

heavy, then

little inside

bridge,and

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

full

base,

SOUND-POST.

in line with the outer

may

top

the

general the sound-post should

from

this

Violin.

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

"

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

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,

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.

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

lighterand

ft. 6 inches,

ft. 4 inches.

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

form

far

our

take

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

Its

it.

to

instrument.

loses its sound.

incisions

important

more

attention.

violin,the

amateur

followingquotation

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

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

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

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.

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.

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

versal
trans-

effects

bridge, by interfering a little

By

by

parts

the

modify

from

it

vibration.

into

once

can

we

the

All

at

enter

12$

prevents
segments

lines.

how

see

and

ventral

into

dividing

Accessories.

Remaining

the

is
the

shocks

the bar

and

Fig.

43.
of

bbioge

which

of
is

not

viol
cut

with
out

except

seven

the

stbings,
at

the

body

bides.

two

ff

Fig.

45.

bridge

of

SCHOOL

SMALL-rAXTERN
OF

ANTHONY

VIOLIN
AMATI

OF

THE

ANCIENT

Fig.

44.

bridge

of

viol
in

with
evert

five
tart.

strings

cut

through

Fig.

Fig.

46.

47.

bridge

bridge

op

of

Nicholas

stradivarius.

amati.

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In the above notes Chopin alludes to many

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FREDERIC
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VIOLIN

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STRINGED

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