,,violin ,,making4 ,,printed ,,by ,j4 ,h4 ,,lavender ,,and ,,co41 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,,london1 ,e4,c4 ,frontispiece3 ,walter ,h4 ,mayson ,,the ,,strad ,,library1 ,no4 ,,ix4 ,,violin ,,making ,,by ,,walter ,h4 ,,mayson4 ,,with ,,thirty-,,one ,,illustrations4 ,,second ,,edition4 ,london3 ,,the ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,j4 ,,leng ,,co41 #ahf1 ,,fleet ,,street1 ,e4,c4 ,new ,york3 ,,charles ,,scribner',s ,,sons1 #aec-aeg1 ,,fifth ,,avenue4 #aiji4 ,,contents4 ,,page ,,introduction 4 4 4 4 4 4 4 4 4 4 4 4 4 #a ,,chapter ,i4 ,,selection ,,of ,,wood 4 4 4 4 4 4 4 4 4 4 #g ,,chapter ,,ii4 ,,the ,,back 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #bj ,,chapter ,,iii4 ,,purfling 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #bh ,,chapter ,,iv4 ,,bending ,,the ,,purfling 4 4 4 4 4 4 4 4 4 #cc ,,chapter ,v4 ,,modelling ,,the ,,back 4 4 4 4 4 4 4 4 4 4 #cf ,,chapter ,,vi4 ,,working ,,out ,,the ,,back 4 4 4 4 4 4 4 4 4 #da ,,chapter ,,vii4 ,,the ,,belly 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #df ,,chapter ,,viii4 ,,thicknesses ,,of ,,the ,,belly 4 4 4 4 4 4 4 #ea ,,chapter ,,ix4 ,,the ,,soundholes 4 4 4 4 4 4 4 4 4 4 4 4 #ee ,,chapter ,x4 ,,the ,,bass ,,bar 4 4 4 4 4 4 4 4 4 4 4 4 4 #ei ,,chapter ,,xi4 ,,the ,,ribs 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #fc ,,chapter ,,xii4 ,,fixing ,,ribs1 ,,etc4 4 4 4 4 4 4 4 4 4 4 #ga ,,chapter ,,xiii4 ,,fixing ,,the ,,belly 4 4 4 4 4 4 4 4 4 4 4 #ge ,,chapter ,,xiv4 ,,the ,,scroll 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #gh ,,chapter ,,xv4 ,,fixing ,,neck1 ,,fingerboard1 ,,etc4 4 4 4 4 #hb ,,chapter ,,xvi4 ,,of ,,varnish ,,and ,,varnishing 4 4 4 4 4 4 #hh ,,chapter ,,xvii4 ,,fitting ,,up ,,for ,,use 4 4 4 4 4 4 4 4 4 4 #ie ,,chapter ,,xviii4 ,,conclusion 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #aja ,,preface4 ,i do not like ,prefaces4 ,they remind me somewhat of awaiting dinner in a drawing-room after a long walk in wintry weather4 ,it is one thing to get there an occasional whiff of viands cooking in the basement of the house1 and quite another to feel the same accentuate your gnawings of hunger4 ,therefore1 did ,i touch on motives for writing this book1 or sketch outlines of heads of matters to follow in detail1 ,i should engage little or no attention1 so shall simply refer you who may read this preface1 which is only a fraud1 to the matter embodied in the following pages1 for which1 at least1 ,i claim ,honesty4 ,,walter ,h4 ,,mayson4 #fb1 ,,oxford ,,street1 ,c4-,,on-,m41 ,,manchester4 ,the great success of the previous edition1 and the numerous letters sent in praise of ,,violin ,,making1 prompts me 7the author's son7 to take the opportunity of saying a few words1 and to thank the public for their appreciation of the work4 ,i have received many communications 7several from abroad7 from enthusiasts1 bestowing the warmest praise on the writer as a ,maker and an ,author2 and all are unanimous in declaring that the simple and explicit style of the work has enabled them to readily grasp the difficulties pertaining to the ,violin as a work of ,art4 ,these correspondents 7who are quite strangers to me7 have also greatly commended the high class appearance of the volume1 particularly the excellence of the fine illustrations4 ,such expressions of approval would have been gratifying to the late ,w4 ,h4 ,,mayson1 who1 as the maker of over #hjj instruments1 had attained complete mastery over his work4 ,therefore the reader can have every confidence in faithfully following all his methods and strictly adhering to every detail set forth in this volume4 ,,stansfield ,,mayson4 #dh1 ,,oxford ,,road1 ,,manchester1 ,june1 #aiji4 ,,introduction4 ,many admirable works on this interesting subject have appeared in several languages1 but1 to my mind1 in a form too sternly technical1 cold1 if ,i may be allowed--the writers barely in touch with the anxious youth or man1 who1 as amateur1 yearns to get at that knowledge of correct construction without which he scarce may hope to become a professional violin maker1 some notable instances to the contrary1 all the same4 ,i hold simplicity to be the very essence of the conveyance of matter from mind to mind1 as in words2 from mind to eye1 as by pencil1 brush1 or chisel2 palpable or otherwise1 the impression intended should be beyond doubt1 and that this end may be secured1 mystification by high flown figures of rhetoric1 or false drawing1 or sculpture out of line or proportion1 must at the outset of all work1 art work above all1 be sternly trodden under foot1 and the solid and truthful experience of ripe years offered with the same eagerness to impart information as it is awaited by the student4 ,if you spend ten minutes in telling a man what form an oval assumes1 when you can1 by drawing it for him on a blackboard1 present it before his eye in one minute1 and more to the purpose1 you not only waste your own time but his also1 and commit a breach of trust1 in that you mislead and mystify when it was your duty to faithfully guide and teach in all sincerity and simplicity4 ,therefore ,i propose1 in the following pages1 to adopt an entirely different treatment from any work ,i have had the honour of studying on the construction of the violin2 writing as though orally addressing the students1 or those anxious to become students1 of the whole world--a vast semicircle of bright faced1 intelligent creatures before me1 following eagerly every movement of the numerous tools ,i use in the extremely delicate manipulations of the instrument as it almost imperceptibly assumes that form so noble and so beloved1 and almost devouring the1 ,i hope1 lucid explanations1 which1 from time to time1 ,i may think it necessary to make1 and which will appear as letterpress1 the illustrations speaking for themselves as the work progresses4 ,this little thing that ,i am about to make1 this shell of scarce sixteen ounces in weight1 constructed of about eighty pieces of wood1 and united by glue as one complete whole2 this1 that is a mighty factor1 where mirth1 and mirth only1 is to the fore1 in its embodiment2 this1 that draws from the soul the tear which has long yearned for an outlet of intense sympathy such as it now finds2 this1 that beautifies as it ennobles to the pinnacle of sublimity all music1 even as it takes it by the hand1 guides and cements it4 ,what is the origin of this violin or fiddle1 and to what country does the honour belong8 ,to this day its origin1 as a violin1 is a contested point1 and in my opinion will so remain2 that is to say1 how it worked its way1 so to speak1 out of now obsolete instruments1 into what it is 7for it was certainly a growth1 not a complete conception71 by whom it was so worked1 and where--these points1 aggravating points1 if you will1 seeing there is nothing of clearness around them1 had better be left by you where they are2 for1 when ,germany and ,italy are supposed strong claimants1 and assert a right not borne out by fact1 according as ,i read the so-called evidence1 it were futile to enter into discussion destined to have no satisfactory result4 ,but1 though we cannot give this thing a local habitation1 we can give it a name1 aye1 and a name destined to live as long as lips move to pronounce it4 ,and we can make it noble1 too1 of exquisite shape and colour1 possessing a voice capable of we know not what compass and expression2 just as we can turn it out by the thousand1 degrading the name of art to which it has the impudence to lay claim1 on every feature of its brazen face stamped that nationality which1 so far from seeking1 it in vain tries to get rid of4 ,if in the progress of these lectures ,i touch on cause and effect in relation to acoustics1 my remarks will be merely superficial1 sufficient for my purpose1 but not for him who wishes fully to master this absorbing doctrine1 which he will find most useful should his purpose be to try experiments in relation to tone4 ,as to giving diagrams of supposed eccentric or concentrated curves relative to the vibration of the back or belly of the violin1 or to the motions of the air waves1 rapid or slow1 that ,i do not intend to do2 others have done that1 with what benefit to their work or their supposed pupils we may probably ascertain later should more be added on the subject4 ,therefore1 gentlemen1 if it be your strong1 stern desire to sit out these somewhat prolonged lectures1 whilst ,i endeavour to make for you1 step by step1 a true work of art1 according to my conception and in strict accordance with my deeply thought-out principles1 and with such tools as ,i find most simple and most suitable for the work ,i have to do1 then do so1 and ,i shall feel highly honoured and very proud2 but1 if a lighter1 more trivial creation will1 or would satisfy your 7craving ,i will not call it1 that suggests pertinacity1 a great end being in view71 say1 passing fancy1 then ,i would rather see vacant the place occupied by you1 as in such an one ,i should take no interest whilst speaking or working1 just as that one would appear of too shallow a nature to absorb lasting benefit from what was said or done by me4 ,in concluding this introduction to a subject which ,i hold to be of much moment as the leading instrument1 never to be replaced by another1 let me beg of you to abandon a half-hearted consideration of its adoption in actual work later on1 unless you be prepared to suffer for this fine art1 a member of the body of which it is your present thought to become2 for1 be assured1 there will be suffering1 which will dog your progress2 aye1 and the greater your talent1 so much more will be jealousy of it1 from those1 at least1 so on the alert to decry that which they cannot create2 so much more will be contumely2 so much more will be innuendoes which can not be met openly1 as they certainly will not be in the slimy words and manner of utterance of bitter heartlessness1 that is to say1 if you be made of that stuff which presents to the world an artist1 who is nothing if he be not noble4 ,contumely1 jealousy1 suffering1 but not necessarily failure therefrom1 despite an occasional reverse1 hard to bear2 nay1 the feeling that there is something good in you1 and worthy of acknowledgment and acceptance by the world later on1 will spur you to greater exertion1 and act as a mantle beneath which you may shelter from the cold shower hurled by those so prone to drown or starve that which1 not feeling themselves1 they are determined shall neither spring from nor be passed to the credit of others--enthusiasm4 ,,violin ,,making ,,chapter ,i4 ,,selection ,,of ,,wood4 ,many persons of good1 practical ability1 and moderately versed in the laws of acoustics1 with an eye for form1 and not deficient in a certain conception of art as art2 who have the instinct to check any approach to vulgarity1 and work on lines1 curves and thicknesses1 more or less true1 elegant1 and the best for producing fine tone1 have seen1 and will yet again see1 their efforts of small avail1 cast aside1 never to assume even mediocre rank in the stern array of violins of modern make1 much less of those of ancient ,italy1 merely because the wood chosen for the instrument made is of an inferior1 probably worthless character1 which would have been employed to much more purpose had it been used in the construction of a windmill1 or the shaft of a mine4 ,that is to say1 if1 as ,i presume and premise1 the first germ in the conception of construction of the instrument be tone1 as most assuredly tone it ought to be1 not to the detriment of appearance1 or to its subjugation as an art work1 but as an adjunct or accessory of such importance that it is apparent it must imperatively assume pre-eminence2 just as we forget the plain box of the ,a,eolian harp the moment the strings are struck by the passing gale into the most exquisite chords2 as1 on the contrary1 do we seem to wish for no song from the tropical bird of magnificent plumage1 and express no surprise that none comes from it4 ,i may put this more plainly as ,i proceed1 and in more homely words4 ,what ,i want to lay before you now1 and must insist upon1 is1 that you seek for tone1 tone before all4 ,tone you must get at all cost2 and to get it1 you must have as choice wood as ever can be procured1 and fashion it into a singing shell1 so that from it pure music may be evolved4 ,then you must get this choice wood1 but how8 ,now1 the word choice presupposes variety from which to select1 as ,i select or choose so-and-so1 which is my choice4 ,but ,i use the word in another way1 on the face of it bearing the same significance1 but not quite so4 ,i say it is fine1 of superb quality for my purpose1 which is the emission of the grandest tone possible1 rapid1 strong and sonorous1 from two plates of wood1 becoming1 if they possess these attributes1 choice to me4 ,we will consider the back wood first4 ,i have thirty pieces from which to take one1 which shall act in conjunction with the belly1 to be selected later on4 ,some are plain1 pear tree1 in fact2 others are also plain 7,i mean as regards figure1 or flames1 as the ,germans say71 and of sycamore1 others are of maple4 ,i do not select a handsome one for its beauty1 just as surely as ,i do not reject an ordinary one for its plainness4 ,this will show you at once that ,i am seeking for that which1 to my mind1 will yield me the finest tone4 ,well1 but we must determine this before we go farther1 and in the rough1 the initial stage of the wood1 supposed to be old1 and fit for the under table of the instrument about to be made4 ,i will try this one of maple--moderately handsome1 looking old1 but1 ,i fear1 not quite honest1 as it is too heavy for its bulk4 ,i take the half of it 7it being in two parts7 and about one third from the top1 having the thick edge1 or that to which1 later on1 ,i join the other thick edge1 close to my left ear1 my left first finger and thumb grasping it there so as just to free the body for vibration1 ,i strike it near the lower part of the thin side rapidly1 with the large joint of the first finger of my right hand4 ,with what result8 ,that of strengthening1 almost confirming1 my suspicion of its honesty4 ,for ,i find a lack of energy1 of resonance1 and of that quality to which ,i apply the word sympathy4 ,it is crude1 it is dull1 and it will not do for my purpose4 ,well1 but as so many go by what so many advocate and so many do1 why not try it by placing the plate in this vice1 and applying a well rosined bow to draw forth its sonority1 etc41 etc48 ,i will do so4 ,i fear many of you1 even just in front of me1 will scarce gather much from the thin1 miserable stuff which the wood says is its voice1 and which its vendors assert to be old1 well dried1 and that for which it was bought4 ,and ,i pity1 indeed1 those receding into the misty background1 for nought of this squeak will they hear1 and well for them6 ,but as this second test is condemnatory and more and more convinces me of the unworthiness of the wood for a violin of high class 7or of any violin destined to live71 let me put it to a still more searching one1 in fact1 to two1 neither of which1 ,i venture to assert1 will it bear4 ,i clamp it to the bench and proceed to cut with a gouge several pieces from the surface of an area of about three inches1 close to the thick edge4 ,these ,i lay aside as ,no4 #a4 ,deeper1 but still from the same area1 more1 as ,no4 #b4 ,deeper1 but not now as deep as before1 for an obvious reason1 according to my theory1 which is my last heap and ,no4 #c4 ,now1 gentlemen1 will you pass round this handful4 ,no4 #a1 what is there about it8 ,really1 an acid smell6 and ,no4 #b1 the same1 but less pungent2 ,no4 #c1 less still6 ,well1 there you have absolute proof of roguery1 which1 if it were lacking in strength1 would be borne out by the diminution of the lying brown colour towards the centre of the wood1 that colour1 not of age1 but of fraud1 which1 named acid1 affects the surface more than the interior1 and which the novice gloats over as old and pure as ,god's mountains6 ,well1 but in addition to these two farther tests of smell and colour--making wood1 almost green wood1 of probably not more than four years old1 appear to the ignorant one hundred--there is another which ,i often use1 and that is1 as ,i do now1 ,i make the plate rigid1 but free to vibrate1 so as to allow those mysterious motions play1 and ,i place my ear at one extremity whilst ,i scratch or scrape1 or move the rosined bow over the other4 ,with a similar result--the tone is not what ,i want1 nor what it ought to be from a piece of really old1 well grown wood4 ,but mind1 it does not follow that1 given these conditions1 the genuine thing would be what ,i want2 but there would be more likelihood of its being so1 and less annoyance in laying it aside us worthless1 as ,i do this1 selecting1 for a second trial1 a piece of what ,i call crabbed wood1 known by a peculiar curl1 and its very handsome and uncommon appearance4 ,but before ,i test this1 ,i must tell you that none but a workman of great skill would undertake to put it to use1 as it is so crabbed1 so twisted in its fibre1 that on the least carelessness of the artist1 out flies a chip from where it should not1 and a very delicate operation is resorted to in consequence to amend the blunder--insertion of a slip which must match the grain of the original every way1 not only in flame1 but even just as the flash of that fire falls in its movement when it becomes part of a violin4 ,i have said earlier ,i do not select handsome wood for its beauty1 etc41 and the loveliness of this piece must not tempt me to sacrifice what ,i hold of more consequence--tone4 ,but ,i should do so did ,i now choose it2 for it is weak where it should be strong1 and poor1 flabby and wretched from the view of acoustics4 ,so you see how difficult it is even for the eye of experience and the mind of knowledge to wade through the vile to the pure uncontaminated3 how much more so him1 the sanguine amateur1 at once the plaything and the dupe of those who do not scruple to beguile him by the one to the safe usage of the other6 ,still1 do not let it be supposed that this slight tinge of the minor key is intended to make you despond2 on the contrary1 ,i want to show you better things1 and mean to do so4 ,and should the doing of it seem to prolong this part of my address beyond moderate limits1 my excuse must be its deep importance4 ,i have laid aside three pieces of sycamore1 all1 as ,i believe1 very good for the back ,i purpose making4 ,one is what is called on the quarter1 the other two on the slab 7these terms ,i shall explain later1 when ,i have fully spoken of the selection of wood74 ,the two on the slab are in one piece1 of course2 the one on the quarter in two pieces1 one of which1 while ,i have been speaking1 ,i have glued slightly1 but firmly1 to an upright support of glass1 made very rough at the place where ,i fix the plate1 so that the glue may the better hold1 temporarily4 ,the glass1 being a non-conductor 7or1 if it respond in any way1 however infinitesimally1 it does not perceptibly affect my plate1 and in no way my argument71 leaves me the absolute control of this wood1 and ,i proceed to lay an ,english lever watch on several places of it1 keeping my ear near to that nodal point where ,i know will come the inner bout1 or ,d of the violin1 consequently the bridge1 which ,i mark with a ,x4 ,the tick-tack of the watch varies in strength as ,i get farther from or nearer to a nodal point1 as1 of course1 it was bound to do2 but1 from experience1 it is a fine-toned piece of wood4 ,i detach it from the glass rod1 and ,i try it by my finger and thumb test1 and the vibrations and their quality are all ,i could desire4 ,the signs of age appear genuine3 the small pieces ,i cut from it do not give out any smell which they should not1 and ,i pronounce the wood honest4 ,i try the two whole backs1 on the slab3 both are good1 one very fine in tone and handsome in appearance1 which ,i finally select for the violin about to be made4 ,well1 but you may say1 in all your experiments1 it appears to us the result is a question of degree4 ,exactly1 a question of degree1 as purity of air is1 but who chooses the foul when he can live in the pure8 ,as with flowers in their unassuming simplicity up to such elegance of form1 colour and fragrance1 that we stand amazed before them6 ,as with man1 from the worse than bestial state to which intemperance and crime have brought him1 to the calm majesty of that eminence1 attained only by the love of truth1 of self-government1 and scorn of evil-doing6 ,this question of degree strikes at the root of the whole subject before you3 for1 upon how you answer it1 or to what person or persons you repair for guidance in the selection of wood 7being novices71 will depend in a great measure your success or failure in the instrument yet unmade4 ,the upper table or belly1 made of pine1 ,swiss pine by preference1 is the most important factor in the production of tone1 consequently that to which the chief attention of the artist should be directed4 ,no matter how good be his back or his ribs1 or the sweep of his lines or curves1 or quality of his varnish and its elasticity or its superb colour1 the selection of wood for his upper table or belly1 or soundboard1 must be his chief concern1 and neither money nor energy spared to secure the best4 ,well1 ,i have by me several1 of various degrees of excellence1 and some of very doubtful reputation2 nay1 ,i may at once say they are bad--even by their look they are bad4 ,this one is fairly straight in the grain1 but it has been dried artificially1 not as were the backs1 yet more wickedly treated--impregnated with a deleterious something having the power of destroying a germ destined1 if left to age1 to become the soul of resonance1 bringing it at once to a wretched maturity1 its cells starved so1 that when the strain of three hours' play in a hot room is put upon it1 dumb is its voice1 poor at the best1 and it is played out4 ,do you not see that the soft part of the wood running between the lines or reeds1 and where lie the cells of the pine1 are too rapidly agitated1 and cannot possibly hold their own under such worn-out conditions8 whereas1 given honest wood and genuine age1 we should get strength to resist1 and from such resistance would come what we seek1 richness1 possible only from sound resonance4 ,for these cells must have the vigour of mature age1 if that age be #aej years when naturally dried1 in them2 and my contention is1 that the soundest is that which has not been robbed of its sap1 as turpentine1 before it be felled on the mountain side2 but cut when well-grown1 and well looked after for some years1 then cut on the quarter 7of which1 later71 and left for at least seven more years before we use it2 and mind1 even then1 it is new wood4 ,i say1 this is my contention1 and how ,i account for many superior1 great-souled violins1 which it has been my hard struggle to produce1 yet now gaze on with pride2 almost glorying in that enthusiasm which enabled me to combat all against my theory1 and do that which ,i believe was done two hundred years ago1 to such fine issues1 reviled or not for so doing1 is now to me of little consequence4 ,yet you must be told that there has been fierce1 very fierce1 controversy on this point1 some going half-way and asserting only a portion of the sap should be withdrawn2 some 7and one of them a great chemist1 a friend of mine7 fighting hard to have it all taken away1 and artificially dried after that6 ,does nature do this to the lungs of a ,madame ,patti or a ,sims ,reeves before she turns them on the world8 ,nonsense6 ,but it is tests you want1 and ,i will supply another1 somewhat original4 ,this piece ,i called above1 bad1 ,i lay aside1 as ,no4 #a2 another1 worse in grain1 but1 ,i believe1 honest1 as far as having the sap left in it goes1 but not old1 ,no4 #b2 and a magnificent piece of very old ,swiss pine1 brown1 and honestly brown1 with1 probably1 two or three hundred years of exposure as a beam in a ,swiss chalet 7for from that place and that dwelling ,i am prepared to prove it comes to me71 which ,i number #c4 ,the ,no4 #a is what ,i call feverish in its vibrations1 and would be certain to give any instrument a hollow tone1 an instrument cuddled1 tempered1 and made to fit the ear of the expected purchaser by the experienced one who has it to dispose of4 ,the tone would not be intermittent--if it were that1 we might have some hope of ultimate fulness and fair quality2 but it would be loud and coarse2 bawling when it should be energetic1 yet somewhat hoarse1 scarce knowing where to vibrate1 it being capable of doing so1 and well1 when fairly mature4 ,but that which1 like the brazen actress1 has a word or a sentence ready at any moment1 and in any key and in any pitch1 say good-bye to that at once4 ,the ,no4 #b will be good in about four or five years1 but would be bad to work just now1 so we will take up ,no4 #c1 upon which ,i must dwell somewhat4 ,i can depend on the gentleman's word who procured this and other pieces for me2 and ,i imagine his estimate of age is much under the approximate date1 for ,i should say it was nearer three than two hundred years old4 ,the colour all through is a mellow brown2 the reed is of medium width1 well developed1 and nearly equal all over1 and it is singularly bowed from bottom to top1 meeting1 when joined 7for it is in two parts71 just as will a string of a violin when you hold it in both hands1 and twang it to test its equal vibration4 ,who is bold enough to assert that this is not a piece of finely developed virgin pine1 grown on the southern slope of some ,alp adjacent to where it had rested so long1 in so mean a position for such finely sounding wood which ,i have proved it to be1 yet destined to fill such an honourable place in the grand instrument of which ,i treat8 ,no one1 ,i venture to reply2 but to my mind1 and from experience1 it is such1 the softer part1 where run the cells1 being firm1 full1 and mellow to the thumb nail on pressure 7showing1 ,i think1 good sap lies dried there71 which ,i have found before in such wood1 proved to be grand beyond doubt by its superb tone in a violin4 ,but ,i must give you1 besides my other tests1 that to which ,i occasionally resort4 ,no4 #a1 you see1 is as ,i intimated1 loud and vulgar1 ceasing its vibrations the instant ,i draw away my test of bow1 etc41 etc41 whereas ,no4 #b does behave better in this respect1 but is crude1 and must lie some years longer neglected1 when it will be interesting again to test it1 by me or some other4 ,no4 #c is all ,i could wish1 or was prepared for1 so ,i will hasten to the final trial and bring this lecture to a close1 not subjecting this ,no4 #c to the trial which the others have undergone1 as ,i am quite convinced of its great superiority1 but shall1 along with the others1 put it now to the concluding one4 ,from each of the three pieces1 #a1 #b1 #c1 ,i cut a slip1 and1 as you observe1 ,i put ,no4 #a in this bright clear fire behind me1 prepared so that it shall be as nearly free from flame as possible1 to enable me to make the manner of burning of each separated piece more real to you4 ,from what ,i have said1 leading up to what ,i now do1 ,i imagine you will be somewhat prepared for the manner in which ,no4 #a burns1 and perhaps the other two4 ,but ,i hardly think you expected such a wretched flare up as you see here1 such a fizzing1 spluttering1 ragged exhibition of imbecility4 ,what of that sonority which could fill a mighty hall where we find five thousand listeners8 ,is such flabby nonsense as this to be put into an immortal violin1 because it purports to be fine ,swiss pine at tenpence8 ,but ,i reverence its ashes1 and will lay them aside for a moment1 as ,i wish you to see them alongside the others1 when burnt4 ,no4 #b is all right as to the sap being in it1 but it is too volatile1 somewhat crackling in its burning1 yet far more steady in its flame1 not spending its energy in fireworks1 nor giving great cracks1 like a whip1 and a jump afterwards as ,no4 #a1 so we will lay aside his ashes4 ,now1 look at ,no4 #c1 as it burns2 and do not say1 ,you invariably have nothing but praise for your best things1 how is that8 because1 gentlemen1 there is no blame which can be laid to them2 that is why1 and that is all4 ,i ask you to look at this ,no4 #c4 ,it is a steady piece of business altogether4 ,the flame is strong1 bright1 and well-sustained1 with little or no smoke1 and it gradually dies down1 as1 if you will allow my fancy1 does he who has grown in uprightness to fine maturity1 hale and beautiful to the last4 ,look at the remains of the three slips4 ,the first is little more than black fluff2 ,i can actually blow it away1 poor rubbish6 while the second and third are similar to each other1 but the ,no4 #c is more compact1 if ,i may so say1 and this is what its excellence before burning would prepare one for4 ,and do you now wonder that ,i so insist on every test possible being brought to bear in this important matter of selection8 ,which of you would hesitate one moment in his choice between these three bellies now8 ,but you must still bear in mind that what ,i say ,i bear out by test1 others will decry as false1 as their theory is as absolutely opposite to mine as the poles4 ,but it will be proved yet1 and on stable grounds2 and if ,i1 in conjunction with a man of great scientific attainments1 succeed1 on my theory1 in the injection of liquid rosin1 or turpentine1 into the cells of a piece of broad-grained pine from which we can be sure its original sap has been withdrawn1 and keep it well exposed to dry air for seven or so years2 by its side a belly1 cut from the same piece1 in its sapless state2 and then make two violins exactly alike in back and thicknesses of plates1 etc41 of the two pieces of pine1 the one raw and sapless1 its other half with an injection of rosin2 ,i say we have done somewhat to allay anxiety on such a vital question1 and can the more readily meet argument should we triumph on the point of tone--which is our standpoint--or settle down to take the tapped or the untapped indiscriminately4 ,,chapter ,,ii4 ,,the ,,back4 ,i naturally suppose you will supply yourselves with two benches--good1 strong1 ,english made1 workmanlike things1 one of them to be fitted with a single vice1 the other with a double one1 for joints1 and for some work requiring such4 ,and that you will get such tools as will be requisite from time to time for your work4 ,illustration3 ,illustration of ,tools used in ,violin ,making by ,walter ,h4 ,mayson4 ,then do me the honour of marking very closely how ,i set about my not too easy employment2 for if you follow my ways1 you will do well to observe every turn of them2 remembering that every part of the building of this little1 though mighty1 shell is of great importance1 and that there is nothing trivial about it4 ,a prudent and watchful general will be very careful to see his rear is clear of the enemy before he makes an advance after an engagement2 so ,i remember ,i have to speak to you of wood on the quarter and on the slab before we go farther4 ,if you select a large orange1 and take it entirely to pieces1 you will have by you1 without any farther illustration from me1 my exact meaning of on the quarter4 ,for1 when a tree is cut into parts for the violin1 it is sawn equally in half1 first2 then each half into two quarters1 and so on1 exactly as is the orange subdivided2 this is1 ,i hope1 clear to you as on the quarter4 ,i need hardly add that the broad edges1 which you join afterwards1 making the wood for the upper or lower table look like the roof of a house1 are at the outer part of the tree1 springing from the centre1 where are the broadest rims1 as is natural1 seeing that youth is there1 vigorous and full of sap2 whilst the rims decrease to the outer1 or bark part1 in some cases very decidedly in width1 in others more slowly4 ,so you may gather from this why we have the narrow bait1 or reed1 where the bridge comes1 the open reed at the edge4 ,at least1 ,i hope you can see the reason1 which is1 as generally admitted1 and is certainly my view of the matter1 the strength is most wanted at the centre of the violin1 as at the bridge1 which the closeness of the reeds and narrowness of cell passages would supply4 ,the broad reed is more volatile1 and we put it to the edges1 where it throws off the gathered activity of resonance1 recurring so rapidly1 which we increase by reducing the thickness of the plate there1 bringing about that timbre so rich to the ear of the listener4 ,these remarks apply to the belly1 and are offered on the quarter only4 ,wood on the slab is never used for the front table in any case1 as1 cut that way1 it would be far too weak4 ,for on the slab means that our orange and our tree are cut through the rings or reeds in flat layers of equal thickness 7as required72 and it is at once obvious that1 in the upper plate1 would be not only ugliness of broad1 irregular figure of wood1 with now and again snatches of the bait as it should be1 and as ,i have endeavoured to show it is2 but apart from its general weakness1 it would be most irregular as the main vibrator or soundboard1 so is entirely discarded4 ,but both ways of cutting are employed for the back2 ,i have heard tone as fine from one as from the other1 yet ,i think1 as a rule1 ,i prefer the quarter to the slab1 as being somewhat more resonant and of finer timbre4 ,at the last moment ,i have selected the brother of my ,elephanta violin--,i mean its back--in one piece1 but on the quarter in preference to the one on the slab1 so we will now proceed to active work upon it4 ,i clamp the selected wood to this bench1 having the flat side uppermost1 and so that ,i can plane it to a perfect level surface1 first at the narrow end1 then at the broad1 but across the wood1 as1 being sycamore1 it is very liable to cut very roughly if done lengthwise4 ,this ,i do with a twenty-two inch trying plane1 and having done it to my mind1 ,i take cork rubber1 as shown on illustration of tools used by me1 ,no4 #fg1 and rough sand paper1 ,no4 #b-a_/b1 maker's number1 and proceed to scour it level--smoothness is not essential4 ,with compasses #ee 7again referring you to tool plate1 as ,i shall often have to do71 ,i find the centre of the wood at both ends1 and ,i make a dot at each1 then draw a distinct line down this centre1 having placed a straight edge ,,exactly over each dot4 ,and ,i must insist on this exactly wherever exactness that is only a mechanical result can be obtained2 in the present instance1 mind1 any deviation from this base of operations1 as ,i may safely say1 will land you in no end of difficulties1 as everything must be square with the fiddle1 as we have a habit of saying1 though the whole is a matter of curves and lines1 there being nothing of squareness about it4 ,having drawn this decided line1 ,i take my half outline1 plate #a1 and place it exactly where1 by tracing close to the side of it1 touching every turn so that there can be no mistake hereafter1 nor any dog leg nor broken curve1 ,i reverse the veneer 7the outline is of veneer7 and do exactly the same as before1 and you see the whole violin drawn1 except that the button at the top of the instrument is in a rough state1 and is not finished until the neck be added at the last4 ,plate #b4 ,illustration3 ,,plate ,i4 ,illustration3 ,,plate ,,ii4 ,this outline is my own1 drawn by me after ,stradivari1 but not by any means a copy of that master4 ,dimensions are3-- ,length to where button joins the body 4 4 #ad-c_/h inches4 ,width of upper bout 4 4 4 4 4 4 4 4 4 4 4 #f-c_/d middle bout 4 4 4 4 4 4 4 4 4 4 #d-c_/h lower bout 4 4 4 4 4 4 4 4 4 4 4 #h-e_/af ,to be certain that my work is correct1 ,i will prove it 7for you will have to do so when you begin71 ruling a line from one upper point of lower corner to the other2 and from one lower point of upper corner to the other1 which gives you a square at each end of middle bout4 ,i take compasses and place the point of one leg on square centre of broad end1 and1 opening until the point of the other leg touches lower point of upper corner1 ,i describe a curve to opposite point2 and ,i turn the back bottom to top1 repeating the same to prove lower corners true4 ,and both stand the test thoroughly4 ,the next stage1 rough as it appears in ,plate #c1 after cutting1 will require great care on your part1 or you will spoil your back2 please note how it is done by me4 ,i fix it in the double vice1 the flat side1 where is drawn the outline1 facing me as ,i sit before it on a high stool4 ,with saw #fh in my hands1 drawn up taut by the slip of wood at the top tightening the string it controls1 ,i proceed to cut from the top straight down by the button1 until ,i meet the line forming the upper sweep of the back4 ,but you will observe how very careful ,i am as ,i prepare to turn the saw from straight to right angle 7which is really at left curve at the button74 ,i grease the saw well1 turn it at both handles1 so that when ,i again put the saw in motion1 the steel lies flat1 edges or teeth to the left1 the frame of the saw upright4 ,illustration3 ,,plate ,,iii4 ,i hope ,i have made this sufficiently plain1 and that what ,i have said will enable you to go well round the violin back1 guarding the corners1 always greasing your saw as you prepare to round them1 rather giving them a wide berth than brushing close past1 almost touching the line1 in a hurry1 when snap may go your steel or a corner of the back4 ,as intimated1 you must clear the line by one-sixteenth inch1 so that no risk is run by taking too much wood off1 cleverly put on again1 when matched by an expert1 but which could hardly be done by you just yet4 ,well1 as you see1 ,i have cleared the rough back from the main body of the still rougher oblong wood1 and it must now be my business to cut this rough outline to its true form1 which is done by looking at the flat side where this pencil outline is1 and with a very sharp1 flat-ground knife1 specially made for violin makers1 tool #ai4 ,but before this is done1 the main body must be reduced at the edges1 on the convex or outer side1 of course1 to about the thickness of three-sixteenths of an inch good1 which is a simple matter1 if done with one and a quarter inch gouge #dc1 in this manner4 ,in the middle of the bench1 which will be your general one1 and five inches from the edge1 cut a one-inch square right through the wood1 and fit a long stop therein1 the tighter the better1 and somewhat rounded off at the inner corner facing you4 ,this will serve to keep one end of back or belly rigid when the other end is provided for1 as ,i do thus3--,about fifteen inches from this square top1 and to your right1 clamp down a piece of hard wood1 three inches broad1 and a quarter of an inch thick1 square with the bench1 and on both sides4 ,then cut a square hole in it1 five inches from bench side1 to enable you to allow the rough button to lie whilst you operate on one side of the back1 then on the other4 ,this1 as you must see1 enables the wood upon which you are to work1 perfect freedom from obstruction of any sort1 whilst the gouge cuts roughly all round1 as shown in plate #c4 ,so1 leaving the convex side as it is for the present1 ,i resume1 as to cutting to the true outline with the knife4 ,you can begin where you like1 but ,i generally clear the right side first4 ,i cut through the pencil line1 not entirely obliterating it 7which you will not find easy71 because1 after awhile1 ,i have to efface it altogether with a file1 to a perfect1 smooth line4 ,these square corners--these curves of top1 middle1 and lower bouts--all and everything must be well done1 and no one thing outside of beauty left for the critical eye to gape at4 ,turning the plate to the outer side1 ,i press it flat1 between the square let into the bench and the three-inch slip clamped about fifteen inches apart1 as spoken of before4 ,this is done so that it may be rigid whilst ,i take one-inch rasp #dg1 and proceed to level all round the wood to about five-eighths of an inch and five-thirty-seconds of an inch deep4 ,when ,i get to the ends of the back ,i loosen the wood1 and use the file more freely at the end of the bench4 ,but this is a matter left entirely to the workman4 ,when this is nicely done1 ,i wet a sponge and damp all ,i have gone over1 surface and edge alike1 and let it thoroughly dry1 and when it is so1 ,i employ medium cut file #fc1 half round1 seven-eighths of an inch broad1 and make the edge of the wood clean1 and so even all round1 that my first finger or thumb passes over the surface without a suspicion of irregularity suggesting itself4 ,this1 mind1 must be most carefully done1 as otherwise1 if you1 to make both ends meet1 so to speak1 take off here a morsel too much1 and a little extra there1 to repair your fault1 thinking to improve your line1 you will find it broken1 and no longer in uninterrupted movement1 as it should be4 ,i would rather see almost anything bad about this noble instrument than a slovenly outline1 for it is not only ugly in itself1 but leads to other imperfections1 and should be most strongly condemned in the modern school2 it will most certainly be by me1 should a school spring from this book1 as is already spoken of as most likely4 ,the line being right1 ,i next see to the flat edge being strictly of one thickness all round1 which ,i get to my mind by using a cork rubber-tool #fg1 and about ,no4 #a sandpaper--maker's number4 ,you can be sure of this correctness by using a sawyer's circular round gauge--and you had best do so4 ,now1 gentlemen1 this brings me to ,,chapter ,,iii4 ,,purfling4 ,there seems a difference of opinion as to where this word originally was used4 ,i fancy in ancient heraldry2 but there the word is purflew a bordure of ermines1 peans1 or furs1 whilst the ancients spell it purfile1 a trimming for women's gowns4 ,milton says to purfle--to embroider4 ,so it seems it has ever been used as an ornamental border1 no matter what thing it had to grace1 for grace it is3 and though not essential to the violin in the matter of tone1 yet it most certainly is from an artistic point of view2 and its absence in an old instrument constitutes the double drawback of being unfinished1 and of less1 very much less1 value4 ,but it will be asked by some people1 who know something of the construction of the instrument1 what has purfling got to do with the making of a violin at this stage8 ,to which ,i answer1 much1 very much indeed from my standpoint1 and according to my theory1 as ,i will explain4 ,it will not be denied1 ,i think1 that makers have done and now do this ornamental part after the body of the instrument is put together--in fact1 the query at the beginning of this paragraph proves it2 by whom ,i do not know1 nor advocated by what book4 ,but ,i ask you1 is it not vexatious when all your efforts have been used to work up your surfaces and to round off and finish your edges1 you must in a sense undo much of it1 temporarily1 by using a tool1 or tools1 to cut the narrow channel for the ornament1 and using glue to finally fix it1 when some of the superfluous purfling has either to be cut away by a gouge or scraper8 ,and besides1 and to me most important1 glue1 though wiped quickly away with a sponge and hot water1 will leave a residue which can never be wholly got out of the pores2 and this should not be if you want a brilliant varnish4 ,of course ,i mean oil varnish1 but am apt to forget this age of cheapness1 which flies to easily put on1 quick-drying1 cheap spirit4 ,so1 as ,i made it quite clear to you when introducing the subject of these lectures1 that it was entirely on my system that ,i was going to work1 so we will now resume1 ,i deeming no apology necessary for occupying your time in denouncing what1 should you imitate1 would be bad in art4 ,it is not my intention to go over the various styles of purfling--double1 variegated1 etc41 etc4--but to show you how ,i prepare and place that which is universal now1 the single1 composed1 as most people know1 of two very thin strips of black wood on either side of one white one4 ,but to do this1 ,i must mark1 cut and remove the groove in which it has to rest1 which requires much explanation4 ,the outlined back1 being quite ready for marking1 ,i clamp down to the bench with two of those marked #aa1 one at either end1 leaving one side of the outlet free4 ,then ,i take this specially-made purfling tool1 ,no4 #ac1 with its tracers fixed for marking the two parallel lines about five-thirty-seconds of an inch from the perfect outline of the back1 and ,i grasp the handle in both hands perpendicularly1 pressing the revolving wheel against the edge1 of course1 and keeping the steel markers going carefully and with only slight pressure all round the instrument1 stopping without running off at the corners1 however4 ,there is1 you see1 about two inches not marked where the button comes2 this must be traced by placing a piece of prepared hard wood1 made to touch just the same curve as where the lines would have come had there been no wood there for a button4 ,this must be very carefully placed and traced1 as1 otherwise1 all will not be in correct sweep4 ,now1 gentlemen1 we enter on a difficult stage--nay1 two2 but then1 as ,i was once asked by a gentleman1 ,which part of a violin is the most difficult to make8 ,i replied1 ,every part4 ,but not quite that2 still1 what ,i am now going to do is not by any means the least4 ,but you must not lose heart2 he who never fights1 never conquers2 the man who never blundered or made a mistake1 never made anything4 ,fasten the plate again on the inner part1 not the edge1 of the bench1 so that you can lean over to do what you see ,i am about to do1 and remove cramps as occasion requires4 ,this is a one and one-eighth inch pointed gouge1 #ed1 long ground and very sharp and thin4 ,i grasp it in my right hand1 holding and guiding with the left1 and gently work to barely the depth of the purfling along one of the two narrow lines1 and then the other for a short distance1 until ,i get a somewhat more substantial double line all over the body4 ,but ,i must warn you respecting the very tender corners4 ,when you are about say an inch from each on both of its turns1 work the three-quarter inch gouge1 #eb1 still more guardedly1 and barely so deep1 and to a very fine point1 both curves1 ready to receive the two joined pieces of purfling which is to present you with what is called the ,bees' sting4 ,do all this as well as lies in your power1 for upon this channel being well cut will depend much of the success of the whole ornamentation4 ,finishing the tracing and cutting the groove1 ,i find tool ,no4 #j1 and remove the strip from it1 plate #d4 ,and let me here again tell you to be careful1 as it is so easy for a chip to flirt airily from either side1 or for your tool to probe too deeply and nearly through the wood1 putting you--or1 more likely1 some one else--to trouble and very nice mending ere all is sound4 ,and the corners only look really well and handsome when you find them as on plate #d1 because experience tells one the material to go therein can be made to look equally so4 ,illustration3 ,,plate ,,iv4 ,to cut the prepared purfling into lengths 7only approximate1 exact had better not yet be tried by you71 and heat the iron 7inside the bending iron7 to a good red1 but not white heat1 is the next thing ,i do1 and1 while the tool is getting ready for me1 ,i cut the purfling of the middle bout at one end only1 so that ,i have half of the finely graduated point we see in a corner of a well-wrought violin1 the half springing from one of the other bouts forming the complete whole4 ,you must not suppose that the exact length of the ornament is to be measured by you1 no1 not with unabated practice2 you will have to begin with a length always longer than you need1 and pare from the points until your lengths fit beautifully before they are fixed with glue--that is1 after bending to shape1 which ,i now proceed to do4 ,of course1 my experience is great1 so ,i manage to get through this very tedious part of the work without breaking the sensitive thread of wood2 but ,i am bound to tell you that you must be prepared for mishaps1 as you will be sometimes off your guard and apply force 7if ever so mild7 to bend what tact1 a sort of feeling ,i may say1 and an iron kept hot1 can alone achieve4 ,but1 if you break1 prepare fresh lengths1 and again and again2 and ,i warrant your repeated disasters will have something to do with amended touch1 and consequently its results4 ,,chapter ,,iv4 ,,bending ,,the ,,purfling4 ,what ,i have proved is the best way to bend the purfling is this--place the heated iron 7plate #e7 in the bending socket1 and1 when all is so that a smart rap of your hand on the metal shows you the warmth is about as you want it1 hold the purfling by the left hand1 the mitred end to the iron1 so that when you bend1 by holding1 say rasp #dg in the right hand firmly against the point1 and letting the heat only make the curve you want1 or nearly without pressure1 you will1 ,i think1 not do bad work4 ,illustration3 ,,plate ,v4 ,so ,i am now ready to fix this ornament in the groove prepared1 and have ready thin glue and a table knife to run it there1 section by section1 as1 in cold weather especially1 the liquid sets so rapidly4 ,i select the middle bout of either side 7it is not material which7 and lay in the glue rapidly1 and yet more rapidly the slip for insertion1 merely at this stage laying it flat1 and going to the lower and upper bouts1 joining the corners as mitred as well as ,i possibly can4 ,then ,i press the purfling as deep as it will sink all over1 finally wiping all superfluous glue away with sponge and hot water4 ,but ,i have not done yet1 for there may be a weak place or two in my work that glue will strengthen1 so ,i run yet a little thinner all over the insertion1 and let it rest until next morning1 when it will mostly have sunk somewhere4 ,when you are at this stage1 great headway has been made2 but you must now make ready for greater exertions1 and prepare to comply with the requirements of the higher branches of this most exacting art1 which you will when you model the back as ,i now begin to do this1 which has dried overnight4 ,but ,i must pause to make you acquainted with the difference between outline and model of a violin--not by any means synonymous1 as some have supposed and do yet suppose4 ,i ought1 perhaps1 to have done this before1 but will no longer delay4 ,it always makes me feel very angry when ,i hear some person1 palpably ignorant in the matter1 exclaim1 what a fine model when he or she means outline4 ,and again1 this is a grand 'copy' of so-and-so1 when example of such is meant2 how can an example of1 say ,mayson be a copy of him8 ,a fine outline will naturally lead you to expect a fine model--that is to say1 arching of length and breadth1 graceful and perfectly relative as regards proportion1 curves1 and an unmistakeable oneness of expression1 if ,i may so speak1 of every part as a whole1 nothing whatever of incongruity or want of symmetry intruding to disturb once and always the gaze of the connoisseur4 ,but it by no means follows that a grandly carved and completed model has for its counterpart an equally bold yet subtly refined outline2 on the contrary1 ,i have seen just the reverse1 as ,i have also seen most wretched modelling wedded to an outline fit to grace the finest instrument extant4 ,but it is not often so1 for1 as a rule1 where a mind is highly gifted1 so that elegance breathes in what its body creates1 a broken line or curve comes as a great surprise1 and one is apt to doubt the same hand fashioned it all4 ,be this as it may1 call things by their proper names1 and in elegant terms where no quaint ones are sacrificed2 and if you know better1 never let a false epithet pass unchallenged1 for ,i do not see why a refined1 but correct1 mode of expression should not be as vigorously upheld in this fine art as in speaking of any of its sisters4 ,for surely vulgarity has no right of place in its vocabulary1 yet much language that is certainly not elegant1 and not of any particular force of expression1 finds repose therein2 and a really beautiful and great work is neither made more lovely nor more exalted through contact with that which has neither the status of the one nor the other at heart1 except that beauty or high estate be ready ministers of a rapacity calculated sooner or later to bring about its own terrible undoing4 ,so ,i resume1 all being hard and dry1 and begin to model the back4 ,,chapter ,v4 ,,modelling ,,the ,,back4 ,pressing the plate firmly between the fixed rests on the bench1 ,i take three-quarter inch gouge1 tool #bb1 and proceed to cut a channel entirely round the wood to the depth of about one-twelfth of an inch and about three-quarters of an inch broad from one-sixteenth or rather less1 of an inch from extreme edge1 and through the purfling1 of course4 ,the student will at once see that this is done as a base from which is to spring the arching4 ,there must be no attempt at a finished bend in going over this groove2 but there must be the greatest care observed in the cutting of it1 as you are using the tool following the outline1 consequently1 in the manner most liable to encounter disaster in the shape of chips flying from that narrow edging which it is your set business to leave as intact as possible4 ,after going over the wood in what ,i call the guitar line1 that is to say1 passing by for the present all the corners1 ,i return to them1 in my hand gouge #bd1 three-eighths of an inch1 and work them out on the same basis exactly as the main groove4 ,all this being to my mind as shown in fig4 #f1 ,i take gouge #dc1 used before1 and in the roughest way possible1 and avoiding any depth of cutting1 ,i model the back in its first stage1 as shown in fig4 #g1 obtaining even here a decently developed and somewhat truthful arching all over4 ,illustration3 ,,plate ,,vi4 ,illustration3 ,,plate ,,vii4 ,from which ,i advance to obtain the first smooth stage all over1 as in fig4 #h1 thus--with a square of ,no4 #b-a_/b sandpaper folded in half1 so that in size it is about #b-a_/b inches all ways1 and this again folded crosswise1 giving me a firm point as would be a rasp so formed1 ,i work out the corners1 and all about them for1 say1 an inch1 until ,i get a beginning and an example of groundwork from which to smooth down the whole4 ,then ,i take the cork rubber1 tool #fg1 and a piece of sandpaper as last1 rather larger than the one just used1 so that ,i can bend it firmly over both sides and as ,i want1 when ,i change it about to secure a fresh1 sharp edge4 ,illustration3 ,,plate ,,viii4 ,i begin by firmly placing the wood1 etc41 as before1 and working the sandpaper 7over the cork71 firmly pressed in the first stage1 against the rough1 raised edge1 all around the outline1 but being most careful not to wear what is left of it away1 which must be left intact as far as possible to the end1 when it is made to assume that beautiful sort of curled1 yet sharp edge so much admired4 ,then1 more towards the upper ridges1 over and over1 backwards and forwards1 having always the careful arching and model of elegance before me1 until ,i arrive at that growing stage of the work as shown in fig4 #h1 which ,i proceed to damp well all over with a wet sponge1 the surface1 as you may see1 as ,i hold it well to the light1 being again abominably rough1 and not at all now like fig4 #h1 as the moisture has raised the fibres in all directions4 ,but before ,i go farther into this interesting1 consequently absorbing process1 ,i must answer some question such as but why use sandpaper8 it is decried by most experts1 and utterly ignored by some writers as having no status among the tools used by professional makers of note1 and was not believed to have had a place among those of the ,ancients4 ,then so much the worse for the work of the makers of to-day and for those of yesterday4 ,but who says the ancients did not use it1 or crocodile skin1 or a cloth made in ,venice1 and somewhat after our emery cloth8 or variously shaped files of different cuttings8 ,at a time when sculpture and very chaste and highly finished woodwork would employ it largely1 does any one mean to assert that the violin1 not by any means held in the estimation it is to-day1 must receive the dignity of small plane and scraper only1 and such a useful article treated with contempt because it was what it was8 ,if they do1 or any of you do1 ,i should much like to devote an hour privately to any such1 when it should be my business to combat such a sentiment1 more especially as some writers seem to hint that when sandpaper is used1 its scratchy effects can be traced1 as ,i could bring many of my finest efforts to prove the contrary4 ,my reason for not using small planes for modelling is1 that in the first cutting you cannot possibly go over the delicate groove without endangering the surface level--that is to say1 if you tear any part in going against the grain 7or sometimes with it7 and go deeper than you should1 would you not at once ruin your even flow of curves as by early arrangement you had set out8 your only escape from fiasco being sinking to a lower surface and sacrificing your original conception of true proportion4 ,therefore1 ,i stand to the system adopted at the outset of my career1 and resume4 ,the wetted surface being thoroughly dry 7not apparently so1 but really free from any feeling whatever of dampness7 ,i take the next degree towards fineness of sandpaper 7or if you like the term glass-paper better1 by all means adopt it71 and ,i do precisely as formerly1 again and again1 until six courses have been carefully gone over4 ,then ,i go over the same ground six times more1 using scrapers #d1 #bj1 #bf1 #fb alternately1 and continually holding up the surfaces to the light as they develop their curves and archings truer and more true1 as ,i scrape here and there with great patience to bring all this about4 ,at this point ,i suppose you will think the modelling and surface finishing is finally accomplished1 and that the interesting passages on thicknesses are about to be written4 ,but it is not so1 for the final surface of silk-like smoothness is four or five coats farther from me yet4 ,so ,i attack with ,no4 #a sandpaper the surface once more1 mostly cross-wise this and all following stages1 putting fair pressure and with both hands on the rubber1 so that ,i get sure curves and even surface all over2 and then ,i take ,no4 #j paper1 working well many times round and round by the outline and all over and lengthwise among the curves until ,i finish this exacting piece of business and fine art1 as shown in fig4 #i4 ,illustration3 ,,plate ,,ix4 ,and the height of the wood at the middle bout is five-eighths of an inch2 at the upper seven-sixteenths of an inch2 at the lower1 bare half-inch more or less1 a fine eye being necessary to discriminate to a hair4 ,,chapter ,,vi4 ,,working ,,out ,,the ,,back4 ,passing on1 ,i draw your attention to the working out of the back4 ,i show you1 fig4 #aj1 what must be drawn on the back and belly 7on the flat1 of course7 before a chisel touches the wood for excavation4 ,the blocks at either end speak for themselves1 they having been fashioned to shape out of ,swiss pine1 and planed and squared so as to be glued square where you see them marked1 later on4 ,and be sure they stand one-and-a-half inches high in the rough1 for a reason ,i will give you later1 and about five-eighths of an inch thick1 to about the breadth you see on fig4 #aj4 ,illustration3 ,,plate ,x4 ,before1 however1 you can do anything in hollowing out the back1 you will have to provide yourselves with a bed in which your table must firmly rest while you do so4 ,therefore1 purchase a block of dry beech or birch1 about one-and-a-half inches thick1 sixteen inches long by eleven inches wide1 and lay your finished back in the centre of it1 tracing the whole outline1 button as well1 distinctly thereon2 and having done so1 cut by the outline inside all round to the depth of about one quarter of an inch1 and from this basis proceed to make1 as nearly as possible1 a counterpart of the model of your back1 but reversed1 of course4 ,and get all the tool ridges well levelled with rough to fine sandpaper2 and1 when you lay in your table for cutting1 place a strong piece of brown paper for it to rest upon1 not only to prevent it in any way scratching the fine surface of your wood obtained at so much trouble1 but it enables you to shake off it quickly any residue of coarse dust or small cuttings that will creep under the wood upon which you are working2 and so you get on rapidly and cleanly4 ,you will notice that ,i have again drawn the guitar line1 and at a distance from the outline1 so that a sufficiently flat surface is allowed for the ribs to rest firmly upon later4 ,and ,i cut all round this line just as an indication1 merely as a starting point from which to work more deeply all over1 until ,i arrive at a point when the calipers1 ,no4 #cd1 test the thicknesses roughly--which is by the way4 ,for ,i have first to cut three cross channels1 at the upper1 middle1 and lower nodal points1 fig4 #aa1 at such a depth that ,i caliper good three-sixteenths of an inch at the centre of middle groove1 one-eighth of an inch upper and lower1 falling away very little to all edges for the present4 ,and ,i draw a distinct pencil mark through each groove1 so that ,i must be a poor workman indeed if ,i go through the wood through these bars1 as ,i have known some novices to do1 or cannot gauge pretty well all over by their aid before using the calipers4 ,illustration3 ,,plate ,,xi4 ,but you who1 when beginning to cut out back or belly1 having no sort of experience whatever1 must use every care possible1 and keep calipers ,no4 #c 7double7 going constantly1 as1 with their aid1 you will at once see by the outside half the thickness registered at the inner2 then you can pare away with gouges1 small and large1 and with spoke shaves1 ,nos4 #dh and #ec1 until you get a fairly sloping and somewhat level surface from bare three-sixteenths of an inch in centre to full three-thirty-seconds of an inch all round by the edges1 as shown by calipers4 ,and thus ,i come to the first rough thicknesses of the back2 and ,i damp the surface all over as ,i did the outside1 and dry it carefully2 for you will understand the necessity for this carefulness1 there being some fear of slight warping from the true flatness now the wood is thin all over1 if quick1 artificial heat be adopted to draw the moisture4 ,whilst this natural process is going on1 you must take the large calipers and open them at three-sixteenths of an inch4 ,then hold the plate in the extended left hand by middle bout1 inside upwards1 calipers and a long lead pencil together in the other2 and1 beginning at the centre of the plate1 draw the calipers carefully from this starting-point all over the rough surface1 gauging with your eye for the present any irregularities of said surface2 for ,i want you to mark every part where the points stick1 first within a radius of three inches1 gradually extending your field of operations1 slightly tightening the calipers as you get farther away from your centre1 until the edges are finally reached1 when you use the double calipers1 ,no4 #c1 to ascertain the exact thickness at those places4 ,this being done1 and the places marked levelled down1 using spoke shaves1 flat gouge ,no4 #ej1 and rough sandpaper #c1 take again the large calipers and go over the whole as before1 but more carefully2 and do this time after time1 until the plate is accurately gauged from five-thirty-seconds of an inch centre to the diminution of about a good sixteenth--say one-twelfth of an inch at the edges4 ,my way of working has always been thus1 in preference to using what people call indicating calipers2 and my advice to you is1 do likewise1 for you not only get over your ground more nimbly1 but you can get from your centre more accurately1 ,i maintain1 gradation of thicknesses4 ,i give you what ,i have proved the best thicknesses for my backs1 and am pleased to do so to all the world2 but if you care to try a hair or two thinner in the centre1 adding those hairs to the edges1 do so2 you will not lose in energy1 but you will in timbre1 a trifle4 ,before finally quitting this hollowing out of the back1 gauge for the last time1 then use fine sandpaper1 and leave no mark of any tool whatever1 as by clean work you will be judged4 ,this question of thicknesses is an important one1 but applies more to the belly than the back2 and ,i shall have more to say on this head when ,i get to that soundboard1 merely adding now that the back must never be weak in wood1 yet1 at the same time1 never so strong that a woody tone is the result1 inevitable1 as the timbre quality is scarcely developed1 and without that ,i never care for it4 ,it is desirable at this stage that ,i point out to you how the inner edges of the back are rounded before the ribs are fixed4 ,i use file ,no4 #f1 half round1 flat side to the wood first1 turning to the round side for finish4 ,when at the corners1 ,i employ knife ,no4 #h in cutting where the file would not do it so well in the early stage1 and this file not at all nicely for finish1 so ,i employ a smaller one1 ,no4 #i1 to these corners1 the other all over the rest of the wood1 cleanly doing the work so that about one-sixteenth only of the inner edge is rounded off4 ,then ,no4 #a sandpaper is used to finish off the work done1 and the next stage is glueing on the end blocks1 preparatory to fixing the ribs as they get made--of which1 later4 ,so1 for the present1 ,i leave the back1 and take up the wood you will remember ,i selected for the front table1 or belly1 and devote to it a separate section2 merely adding that in the course of my work ,i have so arranged all the thicknesses of the back that it answers to the tone ,c1 which do not forget1 as ,i shall have again to refer to it4 ,,chapter ,,vii4 ,,the ,,belly4 ,this is the soundboard of the instrument--that which1 ,i suppose1 vibrates as fourteen to ten as compared with the back--that is to say1 it is recorded that1 given equal conditions1 such will be the case4 ,it is that which first receives concussion as the bow strikes the strings1 which shock travels down the upper surface of the gut from the bridge until the nut at the end of the fingerboard be reached1 when it flies under the said string to the bridge again1 which communicates the shock to the belly1 the belly to the back by soundpost1 ribs1 neck1 scroll1 and all about it1 to the mass of air in the body of the violin1 when comes what we call tone1 and rightly do we call it so1 if pure vibrations have been brought into play1 otherwise noise would be a much safer word to use4 ,of course1 ,i give you the above in detail3 it will appear to you as though the whole of the agitations were simultaneous1 such is the amazing rapidity with which all this takes place4 ,and ,i only give it to show you how incumbent it is upon you to use every care in all you do when engaged in this work1 more especially that on the upper table4 ,for no matter how well your back may be gauged1 finished1 and finally adjusted2 or your ribs1 how equally balanced one with another or in relative proportions with the whole3 if your tell-tale soundboard be defectively wrought1 cheeks too much hollowed1 or the thicknesses carelessly seen to1 there will be beats in your tone1 strings irregular1 weak notes and strong ones1 and a general unsatisfactory result which could easily have been avoided4 ,but ,i will get to work on this upper table2 and1 there being some interesting features to notice as the panorama of its construction passes before your eyes1 you will do well to let nothing escape your observation2 besides1 there is much that is merely a repetition of the working of the back1 and which ,i omit in letterpress4 ,the said back1 you will remember1 was in a whole piece--this belly is in two pieces1 as ,i intimated under the heading selection of wood2 and1 as a natural consequence1 has to be joined before ,i can operate upon it as a whole before you4 ,the manner of preparing the two half plates for a joint is this3--upon this bench ,i place what is called a shooting board--a board1 as you may observe1 upon which1 near one end1 is inserted1 right across it from edge to edge1 a piece of wood1 square with the length1 to serve as a stop against which ,i press what it will be convenient to call one half of the roof of a house1 fig4 #a1 plate #ab1 lengthwise1 which serves to illustrate one half of the belly1 thickest edge1 of course1 on a square with the edge running along by where rests a very choice trying plane1 on its side1 tool touching this plate1 which ,i hold with my left hand firmly1 whilst ,i shoot the said plane from end to end of the half belly1 fig4 #b1 plate #ab4 ,this ,i repeat on the other half1 and then hold them together1 flat side towards me1 as ,i raise the two to a strong light1 and if no glimmer whatever creeps between the joint1 then ,i call the two plates perfectly united1 and ready for the glue to make this absolute4 ,but if they do not appear as ,i intimate1 then you must operate until this very important part of your work be strictly that of a perfect whole2 for1 remember1 as a whole the two parts must remain for as long as the violin holds together1 which may be for two hundred years over and above the years that shall be given to you who make it2 and this alone should be an incentive to good work4 ,illustration3 ,,plate ,,xii4 ,we now arrive at this joining of the wood for the soundboard1 and the glue to be used must be of the best4 ,not too thin1 but sufficiently so to drop freely from the brush used1 and clear whilst being tenacious1 as felt by pressure between finger and thumb4 ,as you may observe1 ,i place one half of the wood in the vice of the bench1 and on this1 the other half 7fig4 #c1 plate #ab74 ,with the hot glue to my right hand1 ,i take the loose half of the wood in my left1 and hold it against the one fixed in the bench1 and upon the two broad centres or outside edges thus exposed1 ,i work rapidly a good layer of the glue1 and then1 placing them on each other again1 ,i move them very firmly backwards and forwards1 and so they are united1 remaining in the bench until set4 ,my dear friends1 it is not to be supposed you will do this exceedingly difficult piece of business even moderately well at first2 but you will have to do it somehow as a commencement1 and ,i hope ,i have made all clear to you4 ,think the thing well over2 see your way well ahead2 and ,i am quite sure your success will be commensurate with your endeavour4 ,from this stage you will have to repeat what was done to the back1 until you reach the cutting out of the groove preparatory to insertion of the purfling2 and ,i only stop you here to direct your special attention to one feature of that groove1 or1 rather1 four of the same character1 viz41 the corners4 ,these1 owing to the soft nature of the wood1 will be difficult for you to cut out clean1 so as to leave the sharp point 7so much admired when well done1 so much condemned when ill7 clear and distinct2 and you must use small sharp knife1 ,no4 #h1 to effect this1 not taking the gouge1 #eb1 to the extreme corner when using it near to it1 as the pressure would1 without doubt1 break it off4 ,leaving you with this caution1 ,i shall imagine all done as was the work on the back up to cutting the groove after purfling1 plate #f1 and resume there1 for the purpose of warning you that the gouges for this same work on the soft pine1 as opposed to the sycamore1 must be exceptionally sharp1 and you must cut1 and very clean1 too1 or you will tear the wood1 and go below your level1 as ,i before cautioned you4 ,more than this ,i need not say just here1 so proceed with the modelling of the belly1 on the former lines gone over for the development of the back1 with this difference1 you must only use coarse sandpaper in the very early stages1 and continue the work over more stages by at least three than on the back2 for pine takes more readily scratches1 and takes them deeper1 than sycamore2 and more patience in bringing it to a surface like satin1 where no trace of scratch from scraper or sandpaper can be detected under delicate varnish4 ,then you must continue until the finished plate #i is reached1 only1 as ,i said above1 bringing up the surface to a finer state than the back--not to be called waste of time by you on any account1 as you will soon understand when you come to find out what a heartless exposer of any frailty is oil varnish4 ,so at length we come to the hollowing out and to the thicknesses of the belly4 ,,chapter ,,viii4 ,,thicknesses ,,of ,,the ,,belly4 ,cut the three channels across as explained for the back1 but in this way3--,at the upper nodal point1 so that your calipers register bare one-eighth of an inch from one side to the other1 centre as well--same at the other node2 and at the centre1 full--rather over--one-eighth across1 all to be for the present only1 as a slight correction will be effected as the final stage of the use of the calipers is reached4 ,then operate over the whole surface on these lines1 taking little or nothing from the extreme edges1 because ,i want you to reserve your strength there in case your pine turns out very active--that is to say1 very sensitive to vibration1 in which case1 mark me1 you must keep up your strength of wood1 as this extreme activity will not be in harmony with the regulation mass of air in the violin1 and the steadiness of tone will suffer in consequence4 ,and1 that you may very clearly understand the reason of this occasional activity1 ,i must tell you that sometimes the wood1 in being cut by the saw at the mill1 gets a trifle off the quarter on to the slab2 and this1 coming to the edges1 is less able to withstand the strength of the air in its action of #eab beats to the second1 say of responsive ,c2 whereas1 all being properly and fairly on the quarter1 a slight diminution is allowed1 and ,i consider necessary4 ,and ,i think the above remarks will very fully explain why we so insist on the upper table being never on the slab or near it4 ,so we will consider the wood roughened out as ,i directed1 and now ,i must get you to follow me closely whilst ,i arrange the thicknesses so that ,i get that tone which ,i have found the fullest1 the most rich in quality1 and of the finest carrying power4 ,i work at the part of the belly which ,i call the centre1 as it is the place where the bridge stands and answers to central node1 consequently the middle of the whole construction and of the mass of air3 ,i scrape and level here until ,i get a fraction1 a hair or two less than one-eighth of an inch thick4 ,this ,i continue along the breast until ,i arrive at both upper and lower nodal crossings1 when ,i gradually thin off to both ends1 the final thickness being at the flat left for the end block when the belly is attached to it1 one-thirty-second of an inch less than the centre4 ,and ,i reduce from the centre of the breast to half-way towards all four edges1 top and bottom1 about as at the centre1 barely1 and to the edges1 till they register a fraction thinner than at the upper and lower ends4 ,the above1 be it understood1 is when finally finished and smoothed down4 ,i now show you with the calipers how accurately the work corresponds with the theory advanced2 and on this1 my favoured mode of working for the tone so highly spoken of by my numerous admirers1 ,i have no more to say1 except to tell you that the wood so finished corresponds in tone to ,d1 and you will still remember that the back was ,c4 ,but other thicknesses than these1 both of back and belly1 are employed2 such as thinner in back and thicker in belly2 and as used by ,joseph ,guarnerius del ,jesu--the back about such as we have used in this instrument1 but the belly a trifle ,,thinner in the centre than at the edges--they being about one-eighth of an inch4 ,and we have it on record that many of the violins of ,stradivari were originally one thickness all over the upper table1 barely one-eighth1 and about as ,i use for the lower2 would that we could speak with authority on this as on many another point6 ,but many instruments have had wood taken from them by vampires and faddists1 and we can not speak with authority as to the vital points of scores of these noble efforts of art1 therefore better not lay down laws or adduce supposed facts regarding them1 but do our utmost to build up something as noble1 and each one of us leave art no worse than he found it1 casting reproach and scorn on the utterly indifferent1 or the detestable pander or the vampire4 ,as ,i have not to recur to the thicknesses again1 it may here be a convenient place in which to say a few words on the nodal points in relation thereto4 ,many of you may not know what a node in music means exactly--some of you may know nothing whatever about it4 ,simply1 it is the fixed point of a sonorous chord1 at which it divides itself1 when it vibrates by aliquot parts1 and produces the harmonic sounds4 ,and do you not see how this struck chord can serve and does serve to illustrate my exposition of the back and belly--more particularly the latter--in their vibrations and their concentration at upper1 middle1 and lower nodes8 ,to these places they fly1 they cling1 singly1 thin1 and of no character2 and from these places they again fly1 but united in a strong1 sonorous tone4 ,how then1 think you1 will fare those worked out cheeks or attenuated edges1 7some of which latter ,i have seen no thicker than a worn shilling71 when worked hard and in a hot room8 ,gentlemen1 they will sound like something between a musette and a ,jew's harp1 when you are near to the player2 they will not be heard at all some yards away6 ,yet it is such a tone 767 which many hundreds of old violins possess1 and after which so many million people run4 ,please note this is entirely without prejudice4 ,every person has a perfect right to use his own judgment2 and tastes differ4 ,,chapter ,,ix4 ,,the ,,soundholes4 ,the next operation on the belly is cutting the f or soundholes1 and ,i need hardly say 7for it has been so often said1 that surely you must all be informed on this point71 how the drawing1 the placing1 and the cutting of this most crucial test of a man's powers as an artist or workman1 determines the extent of one or other1 or both2 for a man may be the one1 and show himself a blockhead as to the other4 ,you ask for originality1 and you find copy1 copy all over the world2 yet you may suddenly pounce on a line or two not seen in combination before1 most abominably in juxtaposition to their entire opposites in curve as they are in grace as in character4 ,for example or examples1 suppose ,i found1 crowning the severe1 almost rigid column of the soundhole of ,del ,jesu1 the mobile bend of ,stradivari8 or1 at the turn of the companion lines of ,stradivari1 the ,gothic arch of ,del ,jesu8 with the base of each of a like nature--do you think ,i should pass such without a severe growl of condemnation8 ,and yet ,i have seen such2 and ,i scarcely expect to go on to the end without seeing more of such incongruous monstrosities1 but ,i trust not from any one who can give one thought to character as applied to form4 ,fig4 #ac is a rough example of the soundhole which ,i shall presently stencil on to the belly just ready for it4 ,as you will notice1 the soundhole is cut out of a piece of paper which follows the lines of one of the lower corners4 ,so1 upon the corresponding corner of the wood to be cut1 ,i place this that represents the soundhole1 exactly2 and ,i dip a small stiff brush into lampblack1 not too wet1 rather dry than otherwise1 and ,i dab on to the belly through the cut impression of the soundhole--then ,i reverse the paper1 doing exactly the same at the other side of the wood4 ,of course1 ,i know beforehand that the impressions will be anything but perfect1 or clear1 or alike2 but ,i have a way of making them so in cutting1 and you1 many of you1 ,i hope1 will soon acquire the same power4 ,the general feeling of active form1 as ,i may say1 must guide you2 because1 to have the stencil plate by your hand as you seek to give vitality to the dead form impressed on the wood1 is one thing1 but to copy it slavishly1 even though it be your own design1 is another4 ,in one word1 you must always create1 no matter what work you are engaged upon1 and1 in this case1 two as original soundholes as lies in your power1 and resembling each other as much as you can cut them1 but-- cut by an artist4 ,illustration3 ,,plate ,,xiii4 ,proceeding to put you in the way of doing this1 ,i bore a small hole with the little piercer tool #j1 and1 inserting the fine cutter of fret saw1 tool #fi1 inside the belly1 so that ,i have the upper side to the eye1 ,i press the said fine saw into the slot of the screw1 and1 with spring pliers #ea1 ,i fix it for cutting4 ,then ,i hold the belly with the left hand level against the lower part of my breast1 and cut out a rough passage round the inner part of the soundhole1 never touching the line1 though1 but leaving that for the knife #h1 which follows4 ,where ,i must especially caution you in the use of this fret saw1 is at the upper and lower points which face the holes1 as they are so liable to snap there1 especially at the lower4 ,still1 with care1 you will manage to do this neatly and safely1 as you see ,i have done one1 and now proceed to work with the knife mentioned4 ,this knife1 as you see1 is very much worn1 and is very thin and very sharp4 ,and the two latter characteristics it must possess1 as you will one and all of you find when you come to use such1 for1 as ,i cut from the inside1 the steel continually cropping up here and there1 in curves and near to corners1 ,i must be prepared at any moment to work up or down1 backwards or forwards1 with the grain or against it1 until ,i get somewhat of the shape ,i wish4 ,but not nearly all ,i want2 so ,i trim the longer lines until they bend gracefully1 ready to fall as does the head of a rocket before it bursts1 or give a majestic sweep at the base where they terminate in the spread wing4 ,the apertures at the summit and base ,i round carefully off2 the cuts at the centre of the figure1 as a break1 as finish to what was unfinished without it1 and as a guide to determine the position of the bridge4 ,and you will conclude this finishes the one soundhole2 but it does not1 for after ,i have dressed down the work on the outside with ,no4 #j sandpaper1 there is not a clean bit about it--not a curve or sweep or any part true2 and when ,i retouch it all over1 and damp it all over after doing that1 when it dries1 there are still bits ,i don't like1 and patiently trim it and touch it once or twice again1 as ,i have done to many a poem1 to be1 perhaps1 only engraved in water1 or ice at the best2 typical1 not only of its reception by the world1 but of its ultimate starvation and ignominious effacement by the coming warmth of an inspiration congenial to all4 ,this being at length quite to my mind1 ,i cut its companion as true to the lines of the other as possible1 fig4 #ad1 when ,i take in hand the placing of the bass bar on the belly1 in the rough1 preparatory to toning it down in shape1 etc41 when the glue has set hard4 ,illustration3 ,,plate ,,xiv4 ,,chapter ,x4 ,,the ,,bass ,,bar4 ,there are different opinions as to not only the function or functions of this bass bar1 but as to its length1 size in height and breadth1 and the placing of it by the soundhole on the ,g side of the instrument4 ,as to the former1 ,i think it is pretty well agreed that the bar--only one1 please--answers the purpose of a support and vibrator1 as opposed to the soundpost1 which is of a quite opposite nature1 being semi-rigid and a conductor of sound4 ,it is a support where the belly1 if too thin1 has a tendency to sink2 and how often do we notice this1 aye1 and in 7market7 valuable old violins too6 when bars1 out of all proportion to the rest of the work1 have to be inserted1 so as to keep up a dignity of doubtful reputation6 ,i will try to make this very vital point clear to you4 ,the wood of this belly is very thin and very old1 consequently1 very sensitive and active1 and more responsive than it ought to be to do battle properly with the mass of air inside1 fine1 solid tone being required4 ,in a measure to check this over activity and give more resistance1 this heavy bar replaces the old one2 but do you not see that a counter evil results8 for the over weight of wood added as a bar is not in sympathy with the rest of the thin table2 and this1 not being strengthened 7as against all the canons of order or of etiquette of the initiated71 it still responds as before its old companion was cast aside2 and ,i maintain what is gained in strength is lost in quality1 resulting from a jarring of two rival conditions4 ,as ,i told you1 the tone of the belly was ,d when ,i stencilled the soundholes on to it2 when ,i had cut the soundholes1 it came to ,c2 and it must be my business to bring it again to ,d1 as ,i work only on these lines1 as1 if back and belly be of one tone1 or too severed1 or the latter1 say ,c and the former ,d1 or near to these1 there will be weak and strong tones1 beats1 and perhaps more than one wolf1 and not a result at all satisfactory4 ,placing the belly face down in the rest before used when hollowing out1 ,i take a strip of old pine 7in fact1 cut from this belly itself1 when in the rough71 eleven inches long1 five-sixteenths of an inch wide1 one and one-eighth inches deep4 ,i then roughly plane this on the shooting board 7the plane on its side as used for shooting the plates of the belly74 ,in fig4 #ae you will see that ,i place the bar at a slight angle1 lengthwise1 and close to the soundhole2 and you will also observe the small squares of pine glued along the joint1 so as to give strength to that joint4 ,and ,i must tell you to put these squares cross-wise with the grain1 as ,i have seen joints in violins give way1 and the bits prove a mockery1 as they were placed with the grain1 or lengthwise--that is to say1 they offered no resistance when the collapse came1 but quickly yielded and split as would have done a layer of a turnip6 ,surely1 men must be artists indeed1 not to forecast such a likelihood arising as this4 ,illustration3 ,,plate ,,xv4 ,continuing re ,bar1 ,i work away until ,i get it to fit absolutely to the surface to which ,i have to glue it2 when ,i slightly thin it in width from the broad end to the narrow of the violin1 as ,i study every possible contingency2 and1 by not over-weighting the lesser surface for vibration1 ,i give it a freedom otherwise somewhat retarded1 even though infinitesimally4 ,and you will wonder why ,i place it so much nearer the broad end than the narrow--against the laws laid down by the unctuous law-makers of no matter what nationality8 ,well1 it is because ,i look upon it as a vibrator and as a pendulum2 and surely you would never look for the true action of a pendulum1 had it a tendency either to one side or another8 ,no1 it must work truly and have no bias whatsoever4 ,so1 ,i contend1 must this bar1 as a pendulum work clean and truly1 taking its centre from the cuts in the soundhole1 where begins concussion1 and the surface of the whole body1 wood and air alike4 ,then why do people act counter to this law1 for such it is1 and place short bars and long bars1 thick and thin1 but ignoring this principle for which ,i so strongly contend as of the greatest consequence8 ,let them continue to do so1 and go on producing tone so satisfactory to them--,i advocate an entirely different mode of treatment1 as ,i produce a purity of tone which is a matter of so much comment--and ,i leave it to your investigation4 ,the cutting1 shaping1 and bringing the belly to the note ,d1 by means of this1 is part of the work to which you will have to devote great attention3 from the shadow thrown by the bar in fig4 #ae you will notice that it is shaped somewhat after a gracefully wrought bow1 unbent1 and at once makes it apparent that it will be a factor for good1 as many such have ,i proved to be4 ,the reader must not consider the two blemishes on each upper curve of the ,d as shown on fig4 #ae1 errors in work2 they are evidently thumb marks1 and dirty ones1 through carelessness of photographer4 ,this brings us at length to the end of the construction of back and belly1 both of which we shall leave for the present1 whilst we consider the very essential ribs4 ,,chapter ,,xi4 ,,the ,,ribs4 ,the thickness1 but more especially the depth of these1 is of much consequence in relation to strength and quality of tone4 ,i have found a bare sixteenth of an inch answer very well for thickness1 and on the model ,i have worked on before you1 in depth one and a quarter of an inch at lower or broad end1 gradually narrowing to one and one-eighth full at the narrow4 ,now1 take the thickness for granted2 but follow me very closely while ,i describe to you how ,i arrive at the depth being just what ,i want and sought for to obtain the note ,b before the soundpost is inserted1 when you blow in the f1 ,c1 after it is fixed4 ,of course1 this is making the scientific part of the work1 or one of them of no sort of anxiety to you1 being already done by me at no little trouble and much thought2 but1 as ,i set out as a teacher1 if only of moderate calibre1 ,i shall go through with my endeavour to make some good workmen out of my listeners and readers1 therefore you are welcome to what is1 ,i think1 of importance1 never minding what will be said at the outset1 that all this fuss is somewhat of nonsense1 seeing that it was so easy to copy the depth of a rib1 and get to what was wanted and avoid it4 ,but ,i do not like copying where ,i can help it2 besides1 what ,i shall lay before you has the merit of getting at what you want to a nicety1 and of finding out what depth of rib will suit the model in hand1 and obtaining the mass of air of which ,i before spoke4 ,on a finished back1 just like the one which we have before us1 ,i fitted a set of ribs about one inch deep to three-quarter inch taper1 and on a similar belly to this1 another set of like depth2 but ,i so arranged that those on the back should be one thirty-second more out than usual--that is to say1 nearer the edges of the wood--and those on the belly one thirty-second more in1 or away from those edges4 ,then1 after filing and scraping for a long time1 ,i1 with no little patience withal1 contrived so that ,i fitted one set over the other of the ribs1 7as a double box7 and got a sort of fiddle body1 clumsy of course1 but ,i saw my way to doing just what ,i had set out to do1 and ,i did it eventually4 ,gradually shallowing the ribs by lowering belly or raising back1 ,i got various tones or notes for the air mass1 trying ,e1 ,d1 ,c1 ,b1 ,a1 but no resonance such as that of ,b suited me1 so ,i roughly glued these ribs firmly together1 fitted up the whole thing with every accessory such as would allow me to play on the instrument1 with the satisfactory result of proving a case beyond question4 ,so ,i get to the necessary and somewhat difficult process of making the ribs1 etc4 ,but the mould in which they are to be temporarily fixed must be first made by you1 and this is the way to go about it4 ,get a piece of dry beech--birch or maple of the plain sort will do--#ah inches long1 #g inches broad1 and #a-a_/b inches deep4 ,take the half outline of the violin which you have decided to make1 and place it flush with the edge of the above block1 equal spaces being left at either end4 ,then very firmly and very accurately draw the half outline on the block for your mould4 ,after you have done this1 you must trace an inner line all round the other1 one-eighth of an inch from the real outline2 and1 when you get to the corners1 carry this inner line to a broad1 open point somewhat beyond the square of the corners1 as by this you are enabled to pass your ribs a little over the terminus at said corners1 which will most materially assist you to effect a good joint there4 ,after this is well done1 and your under surface quite level with the plane1 take the block to a good band sawyer1 and get him to saw just through the inner line1 and you will have your mould in a measure ready for your ribs4 ,still1 there is something to be done before you can set to work to fashion them1 and the first is1 square after the fret saw every quarter inch of its work1 with steel square1 #fj1 on tool block1 your basis being your planed under surface1 as most reliable4 ,then1 about one inch from inner mould1 and one inch apart all round1 drill holes through the wood with tool #ef1 or similar2 and three larger holes1 about seven-eighth inch diameter1 one and a quarter inches under the centre of the ,d or middle bout1 the other two some distance under the two corners4 ,the small holes are for the bent steel cramps #b to hold by when the linings are being fixed to the ribs1 etc41 and the three larger ones to hold down the centre rib in the same way by means of fitted wood block #cc1 and for the corner blocks1 when they are fitted properly to the shaped ribs4 7,cramp #aa is used in these latter cases47 ,having the mould ready1 and in good order1 prepare your ribs in this manner3--selecting what is nearest in figure to the back--good1 honest wood--dress down both sides of it1 the outer to a more finished surface1 of course1 and cut them to the dimensions previously stated1 viz41 one and a quarter inches to one and one-eighth of an inch whole length2 but this whole length you will have to determine by measurement of each separate bout--lower1 middle1 and upper--which1 when done to a nicety1 mark on respective bouts for all future guidance in exact length4 ,when finally dressed1 cut into lengths1 and the ends of the middle rib filed down so as to enable the ends to pass and join upper or lower bout as the case may be1 they being filed to fit1 put your heating iron1 fig4 #e1 and another iron to match1 so that you will have a reserve of heat always on hand1 into a bright1 if possible smokeless1 fire1 and from one to the second of the heaters1 get a good hot temperature--not scorching1 be sure--and place a piece of brown paper over the narrow end of the heated tube4 ,then hold tool #fd in your right hand1 middle rib in the left1 and1 with one end on the brown paper1 the tool on that1 very gently1 cautiously1 and by intuition1 as it were1 feel your way to a sweet curve of upper corner1 using the broad part of the iron for the lower4 ,of course1 although ,i have not told you1 you will have bent the wood face to the mould for this centre1 as the reverse for the outer1 or larger ones1 naturally4 ,this done to your mind--do not be discouraged when ,i say ,i hope it may be--for you have hot work before you in more ways than one--get to the sharp corner curves of both the other ribs1 face against iron afterwards1 inside against it4 ,mind1 as is your true shape to mould1 so will your ribs be when it comes to be attached to the back2 and there is no patching or trickery allowed here2 so do your best4 ,after this1 fix the three sections into the mould1 and keep them in position by means of cramp #b1 and the centre one with block #cc1 held firmly by cramp #aa4 ,your corner blocks must be a trifle broader than the ribs1 and about as wide as them--also from corner to inner surface1 about one and a half inches4 ,cut and fit these nicely for future glueing1 and then prepare and bend your pine for linings4 ,this pine must be about five-sixteenths of an inch broad by about three-thirty-seconds of an inch thick1 cut to taper for inner dressing either before or after fixing to ribs4 ,these are not too easily bent1 but not nearly so difficult as the ribs2 but do not put on too much pressure1 or snap is the result4 ,it will be necessary to see carefully to the gradation of the depth of the ribs from one and a quarter inches to one and one-eighth of an inch1 either when they spring from a whole length or from three separate ones4 ,in any case1 my advice is to mark the beginning and end of each section from the broad end to the narrow1 ,nos4 #a to #b1 lower2 #b to #c1 middle2 #c to #d1 upper2 so that you cannot well get wrong in bending1 from which would spring the first cause of error4 ,having your glue somewhat thin but firm1 at the point of setting1 glue and clamp well your corner blocks 7your mould being in the vice7 and after that1 remove the fitted wood block over the centre rib 7it being now fast at both ends by means of the blocks just glued71 and accurately fit the two small linings there1 removing each end of said lining between block and rib1 at either end1 and1 by first forcing half-inch chisel where the lining will have to go1 as a sort of slot4 ,this you must also do at the ends of all the other linings4 ,now glue the two small ones for centre and carefully fit and force them end by end into slots1 finally placing wood block #cc over glued linings1 and clamp firmly with cramp #aa4 ,the other four are much easier to fit and fix2 small cramp #b being used2 but here you must always be sure of a perfect fit all over1 or you will find when taken from the mould there will be apertures1 ,fig4 #af4 ,illustration3 ,,plate ,,xvi4 ,when dry next day1 and before you take from the mould1 remove most of the cramps 7one or two being left to keep the work fixed7 and very neatly cut and clean all the work1 as shown in figure of open instrument1 and go about it in this manner3--the heavy corner blocks must be reduced with large gouge1 and the linings made to fall away from their full thickness at edge of ribs to fine union with said ribs at the extreme of their 7the linings7 width4 ,after that1 clean every atom of superfluous glue away1 and finish off with two or even three courses of sandpaper1 rough to fine4 ,then remove these so far finished ribs1 and take the knife #ai1 being made by you exceedingly keen of edge1 and square both edges all over1 so accurately that1 when they are glued later on to the back and belly1 they shall fit and well1 being jointed so that no aperture whatever is apparent4 ,but1 you will doubtless murmur1 it is all very well to say all this--please show us how to do it all2 for1 on the face of it1 this is no child's play4 ,and you are right to speak out2 for it is one of the most difficult points we have to master1 and ,i fully intended to make it quite clear before leaving it4 ,hold the rib by left hand firmly to your breast1 face side to you4 ,then take the knife #ai1 and cut away the superfluous linings and corner block wood1 holding the steel absolutely square with the rib1 or you will be all abroad4 ,it is this squareness that is the severe test and your great trouble just now4 ,try on anything and on everything before you try it on a rib you may spoil2 but do it on something or other1 and finally you will do it and well on these ribs4 ,but1 after cutting1 you will have still more to do--lay them flat and keep them so and rigid with left hand whilst you1 with rasp #dg1 fine side1 level from one end to the other1 not from you across the rib1 as the other way is safer for keeping square1 and obviates the risk of tearing away part of a lining or slip from a corner block4 ,you will have dressed the ribs at the outset as instructed2 but you will now find them anything but fit to attach to the back2 so trim and make them free from any blemish or stain of dirt1 and then do your best to fit one side accurately1 so that1 when glued afterwards1 there may be no discrepancies nor goings back4 ,,chapter ,,xii4 ,,fixing ,,ribs1 ,,etc4 ,when you have attached the end blocks to the back1 just the width of the ribs and the margin allowed when rib block was made firmly and without cramps1 and dressed off next day1 fit temporarily the set of ribs just made ready and clamp with the small wooden ones1 as shown in fig4 #ag4 ,you will have made both ends of rib somewhat longer than necessary1 and1 as they overlap1 from inside mark where the top and bottom of linings are flush against blocks at each end4 ,then detach the rib1 and cut away the small bit of lining as just marked4 ,then fit again1 ribs going to end blocks now free1 linings flush with end blocks4 ,if not neat in fitting all round1 cut the least possible bit away still from linings1 until all be perfect4 ,then square to the exact centre of broad end block1 and cut it there2 the other end is of no moment1 as1 so long as the rib is flush with the button1 and allows the neck to be inserted neatly1 all is right4 ,i hope ,i have made all this sufficiently plain to you1 as the process is of importance4 ,you will gather my meaning best1 ,i think1 if you study fig4 #ah4 ,illustration3 ,,plate ,,xvii4 ,illustration3 ,,plate ,,xviii4 ,in fitting with glue you will now need some assistance4 ,damp the side of the back1 upon which this first set of ribs has to go1 with a sponge wrung out of hot water4 ,then carefully dab on the rib all over the edge to be glued1 when your glue is hot1 also at each end where it has to join the two end blocks4 ,then1 with loose wood blocks1 #ff and #fg to your hand1 hold the glued side of the rib over the under part of your glue pot1 and then rapidly get all the parts glued well on to the back and end blocks where they are to be4 ,then fix the block #fg at the narrow end1 and get your assistant to clamp it with tool #aa--;and the broad end with block #ff1 going to the small wood cramps for the rest of the fixing round the half of the instrument4 ,see fig4 #ag4 ,this does not seem to have a ring of difficulty about it3 but it is difficult--hedged around by it1 but not1 even to a nervous amateur or novice1 insurmountable4 ,do all the work clean as lies in your power2 have everything ready to your hand2 act firmly as you can1 and rapidly1 whenever you have glueing in hand1 and the result1 be sure1 will be in accordance4 ,the second set of ribs is treated in every respect as the foregoing4 ,every particle of superfluous glue must now be removed1 in and out1 and from the inside any ridges round by the ribs1 and all smooth1 level1 and open to inspection now1 as in the course of years it is all sure to be2 for no instrument is so liable to damage as the fiddle1 and you never know into what studio your beloved one may go1 or by whom it will be criticised4 ,and apart from this latter consideration1 pride in your own work and love of truth ought1 and ,i hope will1 actuate to noble effort2 but mind1 do not overrate what is done1 in your pride of heart1 for those into whose hands it will come later will assuredly not do so4 ,when you have cut out the slot at the narrow end into which1 later1 the neck has to be glued1 and made the end blocks level for the belly to rest perfectly1 you have practically finished the body of the violin4 ,but ,i must first tell you how to set about cutting the groove at the end of the instrument1 into which the neck has to be inserted4 ,you will note 7fig4 #ai7 outline of scroll and form of pattern by which you will be guided in cutting groove for neck insertion4 ,this latter is one and nine-sixteenths of an inch deep--one and seven-sixteenths of an inch broad1 tapering to bare one inch at junction with the button4 ,place it accurately with the instrument1 mark with sharp tool1 then cut out as you see it is done by me 7plate #ah74 ,illustration3 ,,plate ,,xix4 ,after this1 with brace #bi1 inserting brace bit #cg at position #bh1 make a clean cut hole in centre of broad end of violin for the end pin later2 and when ,i have inserted the label1 the putting on of the belly is my next work4 ,as many of you doubtless know1 ,i am credited with a fad as regards this label business4 ,but ,i do not see why ,i should be1 seeing that so many frauds have been perpetrated in relation to old instruments1 aye1 and to new ones--my own not excepted4 ,if ,i write with my own hand all that is written on all labels appearing in my violins1 etc41 and choose to give each one a name1 and register every one in a book specially prepared for reference in the long future1 a consecutive number being noted in each in private mark1 where is the fad8 ,will it not be utterly impossible under this system to pass off anything spurious8 ,i think so3 and am sure the whole world would to-day be only too glad if the old masters had been silly 787 enough to have fads of a similar nature4 ,,chapter ,,xiii4 ,,fixing ,,the ,,belly4 ,the label being fixed with thin glue1 and all being in order1 see that your cramps1 both of iron and wood1 and accessories1 are all well to your hand1 for this is a process where quick action is imperative4 ,your glue must be hot1 and about the same consistency as when the ribs were fixed2 and broad pieces of stiff cork must be procured1 because the pressure of cramp #aa on back and belly at both ends will necessitate these safeguards4 ,in the first place1 temporarily fix the belly1 making as accurate a piece of work of it as you can1 exact in overlapping as is the back1 if possible4 ,then get your assistant to clamp it here and there with the wooden cramps1 as fig4 #ag4 ,afterwards1 pierce each end of belly with a bit about three-thirty-seconds of an inch1 three-eighths of an inch deep through the table into each end block4 ,then remove cramps1 and1 into the holes in said table1 fix a small pine peg1 about as will just drive home when all is fixed and glued4 ,now1 wet with a hot sponge all the belly where junction with the ribs has to take place1 and then dab a nice layer of your hot glue all round the ribs and end blocks1 going over it a second time rapidly1 and finally holding every part glued for a second over the hot water under your glue pot4 ,it is urgent that the pegs are then inserted into the holes mentioned above1 and that you at once force them home with the smart blow of a hammer1 when your assistant begins to clamp as you direct2 for there may be parts where a little humoring of either rib or belly will tax your ingenuity1 so as to make a neat fit4 ,then1 when all are on fairly well1 clamp the ends with the iron cramps1 having the blocks of cork to intercept1 as spoken of above4 7,see fig4 #bj74 ,illustration3 ,,plate ,,xx4 ,when the glue is dry and hard1 on the following day you must clean all of it away that is showing and superfluous1 and use gouges1 #eb1 #ed1 #bb1 chisel #ba1 scrapers #bf1 #fb4 ,any cutting of the wood is objectionable2 but if there must be a trifle taken away from some part of the ribs to make a bad fit nearer a good one1 then be certain to make all smooth with scraper and sandpaper1 over and over again1 or your work will be uneven at the finish2 and your varnish is a terrible shower-up of bad work1 my masters4 ,following the above is the careful rounding of the edges of under and upper tables with files and glass-paper1 as previously shown on the inner edges of the back and belly4 ,not too broad must this be done1 or the somewhat sharp edge which you seek 7or should seek7 to bring neatly along the centre of the edge1 as it were1 of a small wave1 doubtful whether to curl over on to the body of the violin or not1 will lose much in form1 and the grace intended be negative1 if not utterly lost when under the eye of the connoisseur4 ,when this is all done1 and the corners left beautifully square1 save that the sharpness of the terminals are just a little rounded off 7not the two points--these must not be touched7 wet all you have gone over with a sponge1 and clean when dry with ,no4 #j sandpaper1 until you are sure your work will do you credit under the varnish1 when you arrive at that stage4 ,before that1 however1 we have to consider the cutting of the scroll4 ,,chapter ,,xiv4 ,,the ,,scroll4 ,on plate #ai you will find the outline of a scroll ,i use generally4 ,i will employ the original from which this was taken now1 and mark on a piece of old sycamore the exact representation of it4 ,the thickness of the wood must be one and eleven-sixteenths of an inch1 ten inches in length--and broad enough to allow the outline to be properly cut for further operation4 ,after ,i get this cut exactly by a band saw1 ,i place the outline on the wood cut for the scroll1 and with a sharp-pointed1 hard pencil1 prick the holes where the volute has to come on to the sides1 both of them4 ,after that1 on the face of the wood--that is to say1 the front1 as though looking at the fingerboard1 ,i mark at four-and-a-quarter inches from end of the head1 which is to be the end of peg-box1 and three inches from that1 the narrow end of said box that is to be cut4 ,then ,i take centre of narrow end and mark off seven-sixteenths of an inch--width of said end1 five-eighths of an inch for broad end4 ,then at five and five-eighths of an inch from broad end of peg-box1 ,i take centre of extreme end of wood1 here to be one and three-eighths of an inch when ready for the fingerboard afterwards1 and ,i divide it1 making a distinctive mark as to breadth and centre4 ,then1 allowing full three-sixteenths of an inch for cheeks of peg-box1 ,i draw two lines1 one on either side of centre line1 from end of wood to head1 so that ,i just shall catch outer side of each cheek of peg-box that is to be1 and which1 running on to where crosses the nose of the scroll1 gives a width there of bare nine-sixteenths of an inch4 ,afterwards ,i mark the three-sixteenths for cheeks of peg-box4 ,this is all ,i can mark at present1 until ,i cut with the saw and with the chisels1 as shown 7figs4 #ba and #bb71 ,i can now trace lines ready for manipulation of the volutes and the fluting4 ,that of the volutes is my first business4 ,the lines denoting the ascending spirals1 and the pencil dots not yet touched1 are my guides1 and1 with small hand saw1 ,no4 #cj1 ,i cut very carefully1 by a dot at a time just low enough to touch the spiral line at its junction1 cutting the bit away sideways1 of course1 just by the said line1 and then a small piece more1 until ,i arrive at the end of where the spiral ceases1 at its base2 but now that the volute is developing1 ,i am enabled to complete the line1 which brings the whole to its actual junction with the mainspring of conception4 ,this1 in a very great state of roughness1 ,i show at an angle 7fig4 #bc71 and ,i reverse the sides1 cutting the other in the same manner4 ,it is necessary to have the wood firmly cramped to the bench on all occasions4 ,illustration3 ,,plate ,,xxi4 ,illustration3 ,,plate ,,xxii4 ,illustration3 ,,plate ,,xxiii4 ,i now select gouges #eg1 #bd1 #bb1 #dc1 #ci1 #ej1 and ,i carefully trim both spirals1 gauging the front and rear levels as ,i proceed by one-eighth of an inch at a time1 until ,i can find no fault1 all being square to the eye 7for by nothing else can you prove your work here7 when ,i prepare to cut the trench which was only wanted to soften off this essential to beauty4 ,here ,i use all the gouges marked above2 and in doing so ,i have to be most careful not to ,,force any one part2 for such is the brittle nature of the wood 7sycamore7 that the delicate edges1 as the slender spiral ascends under your1 perhaps1 too eager hand1 may not be able to bear the strain put upon them1 and a breach stares you in the face1 past remedy1 save by an accomplished master of his art4 ,the next step is to soften the work done1 and to smooth down with rough to fine glass-paper1 wetting every part after each course4 ,then ,i cut off all the sharp outer edges1 from the terminal of the back part of the whole to the top of each volute1 this cutting to be a good one-sixteenth of an inch broad1 neatly filing and sandpapering the same when done4 ,the outer edge of the peg-box is done in like manner4 ,fixing the wood now1 face downwards on the bench1 ,i begin the cutting of the fluting at the upper part1 using gouges #eg1 #bd1 #bb1 just in the order in which ,i write them1 obviously the terminal part being that which needs most attention and care4 ,reversing the wood1 ,i cut down by the nose of the head to the broad grooves which soon appear1 terminating just over the narrow end of peg-box4 ,all should be done neatly1--in a masterly manner were better--,i file and sandpaper over and over again until ,i get to my mind what now appears in plates #bd and #be1 and you will see the neck end is finished1 ready for insertion in the mortice1 which is done later when the fingerboard is added4 ,illustration3 ,,plate ,,xxiv4 ,illustration3 ,,plate ,,xxv4 ,,chapter ,,xv4 ,,fixing ,,neck1 ,,fingerboard1 ,,etc4 ,as this neck and mortice business is very difficult of manipulation1 ,i will direct you how to cut the end of neck so that a perfect fit may be obtained in the body of violin where was cut the mortice previously1 fig4 #ai1 into which said neck has to be inserted4 ,to the exact outline of this ,i now cut the neck end1 one and three-eighths of an inch broad at top1 one and three-sixteenths of an inch at bottom1 and one and nine-sixteenths of an inch deep4 ,i cut on an angle1 so as to get the elevation required for correct height of bridge4 ,and then1 all being square1 ,i slope to the end which is ultimately to be joined to the button4 ,you will gather all this from plates of scroll4 ,to obtain the peg holes1 ,i mark at certain distances a guiding point1 through which1 at one side ,e and ,a1 and on the other ,g and ,d1 ,i bore preliminary holes with hand bit ,no4 #ab 7on tool plate71 square1 absolutely1 through to the other cheek of peg-box4 ,after all are done1 in brace bit #bi1 position #bh1 ,i place taper bit #ei1 and cut1 ,e1 ,a1 ,d1 ,g1 finishing approximately for pegs with tool #ae4 ,illustration3 ,,plate ,,xxvi4 ,then1 before ,i fix the neck into the violin1 ,i attach the fingerboard and nut--the latter in rough ebony1 as ,i always work this neater with some wood over and above what ,i want4 ,this fingerboard must be perfect in fit1 put on with very hot1 thin glue1 and well cramped with three ,no4 #aa cramps1 having wood guard #ca over fingerboard for protection4 ,when set and hard next day1 ,i prepare the end incision for the neck to enter1 and proper elevation of the ebony1 so that the correct angle for a bridge of fair average height may be obtained4 ,i give you what is a fair average height--one and three-eighths of an inch2 but there is no absolute rule as to this4 ,what is here given is that which will suit the instrument just made1 as ,i know by many constructed on similar lines4 ,this height is got when the bridge is held down by the strings1 and the measurement is from belly to middle of the arch of the bridge4 ,your fingerboard must be at such an angle when the neck is fixed1 that the end of it near bridge must measure exactly thirteen-sixteenths of an inch from belly to top of ebony2 by this means your bridge1 as described1 will be just a nice height for clean fingering of the strings4 ,this brings me to fixing the neck1 and ,i do it thus3--,in the first place1 ,i have to remember that the length from nut on the fingerboard1 inner side1 to the bridge1 must be1 when all is finished1 thirteen inches exactly1 and the angle as above4 ,so ,i have to be very careful that too much is not taken out of the slot ,i have to finish1 either in width or inner recess1 as that1 one or the other1 would necessitate lowering the neck end1 which is not what ,i want to do4 ,first the knife1 then the files 7coarse ones71 and1 little by little1 ,i get nearer and nearer to a fit1 when ,i try angle and the straightness of the whole with the fiddle1 using compasses to measure from inner point of purfling1 upper corner1 to corner of fingerboard on corresponding side1 with their exact counterparts on the other2 and testing height of fingerboard from belly4 ,this is very weary work1 and must be quite correctly done1 or--well you will either hear of it again in words1 or see your failure in the sweet smile which is more detestable than the severest frown4 ,but all is at length right2 the neck is forced home1 and ,i mark round the button1 on to the superfluous wood of neck1 its curve1 so that ,i may not cut beyond when ,i thin the neck to its proper and final shape and thickness4 ,many of you will1 doubtless1 be players of the fiddle1 and to such1 good1 bad or indifferent1 ,i need hardly say how much the disposition and general character of the neck of your instrument influences your performance on it4 ,it is obviously quite impossible to lay down any rule or law1 as to depth1 width1 or the curve at the end terminating at the button1 for some will have this latter thin and abrupt1 others less so1 whilst a few insist on its being thick4 ,if people only knew how much the strength of the neck has to do with the tone of the instrument1 they would leave to the maker or expert to determine what was best for it1 either in the original making of the violin or in placing a new neck in an old one4 ,but it is convenience--what we like and what we will have2 so1 in consequence1 suffers the tone of the instrument4 ,you have a violin thick in wood3 if ,i find on it a neck also heavy in material1 to a certainty ,i have to register thin1 woody tone2 whereas1 given a thinner neck there would be more vibration in it1 and an undoubted impetus would be given to the somewhat inert body of the violin--its heavy timber being too much for the mass of air1 which acts its part in that it moves in response to compulsion1 but fails1 in producing so feeble an agitation of the whole wood4 ,but1 on the other hand1 ,i find a thin neck attached to a thin body1 and ,i also find a whole pack of wolves1 hollow1 rasping tone1 and difficult of production--in fact1 a wretched fiddle4 ,then1 as to width of fingerboard--a narrow one is often clung to as so nice and handy1 etc41 but it is forgotten that the strings in consequence have to be brought closer together than clean fingering requires2 and1 moreover1 the ,e string must1 of necessity1 be brought too near the edge of the ebony for firm stopping2 so ,i have no sympathy whatever with a narrow or too thin fingerboard and neck4 ,but ,i have to work away at the rough neck after having traced the outline of the button upon the under end of it--not the actual shape of this necessity1 but such as will serve as a guide to one of more grace4 ,added to that1 ,i roughly mark the shape and thickness of the wood up to which ,i have to cut away1 to insure nice handling4 ,to this line ,i cut with bow saw #fh2 and ,i then use all the knives ,i have1 and many files--rasps in the early stages--until ,i get to the shape ,i want1 after which ,i wet with a sponge1 renewing the work when dry with finer files and glass-paper1 ,no4 #a-a_/b1 making a second stage1 then wet again1 to two more stages1 when all should be very clean and nice4 ,of course1 ,i round the fingerboard's edges somewhat1 and clean on each occasion of wetting4 ,when finished1 the neck should measure round thick end 7one and a half inches from extreme end of wood71 three and a half inches2 and round thin end 7one inch from peg-box7 three inches4 ,this finishes the neck1 which is now ready for insertion in the violin4 ,i have1 above1 treated of this3 ,i now do it actually4 ,i have wood guard #ca ready for protection of fingerboard1 and #cb1 for the back1 and one of ,no4 #aa cramps4 ,i dab the neck and the cutting with hot strong glue1 and gently work them together1 until the glue oozes out at all points1 when ,i put on the wood guards and clamp hard4 ,then ,i wash the superfluous glue away with a sponge wrung out of hot water1 after ,i have tested whether ,i have got in the neck straight and at its correct angle4 7,see fig4 #bg47 ,illustration3 ,,plate ,,xxvii4 ,but there is the neat finishing off of the neck and button1 which ,i attend to carefully1 when all is set hard on the following day1 paying much heed to grace and character here1 as it is a part of the fiddle which cries out at once if slovenly1 or ungainly1 or the least bit out of line or centre4 ,and ,i fashion the nut over which the tail-piece gut has to stretch1 and cut the bed into which it is glued4 ,then ,i very carefully wash the violin all over with a clean sponge wrung out of warm water1 giving it plenty of time to dry before ,i finally clean every part thoroughly with ,no4 #j glass-paper--and the violin is finished in the white4 ,illustration3 ,,plate ,,xxviii4 ,illustration3 ,,plate ,,xxix4 ,illustration3 ,,plate ,,xxx4 ,,chapter ,,xvi4 ,,of ,,varnish ,,and ,,varnishing4 ,to write an exhaustive essay on this most absorbing subject before us1 to go into any manner of detail at all in the present work1 is not my intention4 ,it is far too wide1 too subtle1 and1 in my opinion1 is an art of itself1 requiring not only great space in which to voice its merits1 its component parts1 and the thousand and one compounds in which those parts assimilate1 but the calm of the study rather than the bustle of the workshop1 given out deliberately by him whose conclusions are based on the sound issues arising from momentous research1 careful analysis of former old examples1 and an utter abhorrence of prejudice1 for or against this or that compound or colour--prejudice1 mind1 actuating choice4 ,but in continuation1 though somewhat in parenthesis1 a choice based on determined observation of a matter is quite another thing2 and ,i tell you at once my experience as between spirit and oil varnish condemns the former1 whilst it very strongly advocates the latter2 and when one considers that it is in the nature of oil to assimilate with wood1 and to throw up its beauties1 and whilst a mellowness clings to the very name1 the reverse on all points being the case with spirit1 the surprise is that varnish other than of oil should be tolerated4 ,besides1 see the difference in wear4 ,use a violin coated with spirit1 and if the friction from its employment be severe1 you have cracks1 pieces chipping here and there1 the instrument getting barer and barer daily1 so that in time little of it1 the varnish1 is left4 ,but it is not so with oil2 the wear is wear1 not in chips1 but in gradual diminishing of its substance1 always a something being left2 added to which a beauty springs from such1 in that softer gradations of colour radiate and form a greater depth1 from the fact of such colour or colours being more readily absorbed4 ,again1 in their relations to ,tone1 ,i place the oil varnishes first2 and ,i think the point is pretty generally conceded1 for what is on the face power1 which some attribute to the brittle1 assertive nature of the gums hardened by alcohol1 is not in reality such1 but often aggressive noise1 losing itself the more you retreat from it1 leaving real tone little to say for itself4 ,but coat the violin with oil2 you certainly cannot complain of loud1 rasping responses to the call of the bow1 whilst you can make some assertion as to quality4 ,and1 remember1 as the soft nature of the oil assumes a harder tendency day by day1 so will increase the sonority of the tones1 whilst retaining the beauty of character with which they began4 ,therefore1 ,i shall draw your attention to the use of oil varnish1 utterly discarding that of spirit4 ,but to what oil varnish is not my present purpose2 why should ,i seek to close the door on research and on experiment8 ,it is for you1 students1 to take home1 each one of you1 the lesson of the mighty failure of thousands gone before you1 in inability to bring to a finish that upon which they have spent so many anxious hours1 and do something different and better4 ,it is my intention to teach you1 step by step1 how to lay on what you prepare for the brush3 but not to say get this or that oil1 or this or that colour1 except in the abstract--red1 orange1 amber1 yellow1 etc41 etc41 being names only4 ,i say this at once so that there may be no mistake--so that none can say ,i use this or that3 my own varnish and colouring are my own solely1 and ,i reserve the secret for the benefit of my family1 should it prove of value after my career be ended4 ,fashion a piece of wood so that it fits easily into the hole at the end of the violin in which1 later1 the end pin is inserted4 ,it must have a rough sort of handle1 because by it you will hold the instrument when you have occasion otherwise than by the neck2 for you must on no account touch the wood before you varnish1 nor afterwards1 with your hands1 nor must you allow others to do so1 when1 in your pardonable pride of heart1 you show your creation to your friends4 ,with a clean sponge1 wrung out of tepid water1 and a camel-hair brush for parts where the sponge will not be of service1 go all over your violin1 but do not wet it heavily--far from it2 and when quite dry1 on the slightly roughened surface thus left1 place a yellow or amber coating of turpentine1 thoroughly mixing with it a little of the oil varnish selected by you along with your colouring matter as you arrange1 yellow or amber4 ,to do this well1 and for future use1 you must have half to one inch flat camel-hair and fine hog-hair brushes4 ,a round hog-hair brush1 medium size1 is good for this initial coating 7some call it sizing2 but ,i think this is misleading--size being generally understood to bear reference to glue1 and we want none of that under varnish47 ,this should be dry in about two or three days1 when you may lay on a second course1 less turpentine and rather more varnish2 also less yellow and a very little red4 ,this will take somewhat longer to dry1 and please observe that the more varnish 7if it be oil and gum1 pure and simple7 so much longer it will be in drying2 and1 as you advance to the final stage1 you will gradually discard the turpentine altogether1 as you will the yellow1 colouring at last with red only4 ,as you advance step by step1 and before you venture on another layer1 with the tip of your finger test the varnish1 and if there be the least tackiness1 wait a day or two until all be dry4 ,and as a roughness is bound to show itself as stage after stage is passed1 it is well to smooth down each course when dry with fine ,no4 #j glass-paper upon which is first spread a drop of pure ,lucca oil1 which1 of course1 must be lightly applied to the body of varnish1 and the whole carefully wiped with clean linen or silk handkerchief afterwards4 ,now1 after the first two coats1 you must use about a three-quarter inch fine hog-hair brush 7not many hairs in1 mind7 and for the later coats one with camel hair4 ,sit on a low chair1 have the light to your right hand1 the varnish before you handy1 not too high4 ,the violin is held by neck1 left hand of course2 the stick at the broad end through the hole where comes later the end pin 7see above7 rests on your right leg as you sit4 ,get a fair dip of varnish in your brush1 but ,,never flood it2 and beginning carefully under the fingerboard1 first one side1 then the other1 working the top sides of the instrument also alternately1 until the soundholes be reached1 when inside these cuts must be neatly coloured1 after which you just tip your brush with the varnish1 neatly continuing where you leave off1 so that none can see a break in your progress4 ,this advice applies until ribs and scroll be all done after the belly and the back4 ,i have ever found the upper table the most exacting and difficult2 but1 once again1 never flood your brush1 and you will varnish sooner or later4 ,but never hurry3 and this advice applies to every thing you do in the construction of the violin4 ,patience of no ordinary character you must exercise2 if you have it not it will come to you1 but through experience alone1 through failures1 through catastrophes innumerable4 ,but what then8 ,these things that have mastered you stand mastered in turn in the excellent result of to-day1 so let yesterday go to the wall4 ,now that we can consider the operation of varnishing at an end1 the instrument is hung on a wire1 free to the warm dry air of a room or to a passage where a current of it is circulating4 ,when hard 7and there is no actual time to gauge this by7 prepare to finish off and rub down the whole2 and care must be observed that no scratch appears1 for a surface looks bad1 very bad1 with anything of this sort to mar its beauty4 ,the first essential in this process is pure ,lucca oil1 which does not clagg2 and the next1 specially prepared pumice stone powder1 which must be as fine as flour2 and should there be any doubt about its being absolutely free from specks of grit1 filter it through fine muslin or silk1 and only use that which passes through1 in water4 ,then take some brown paper and make a pad1 rubbing on oil and a sprinkling of the pumice stone powder1 when you can go over portions of the back1 very lightly feeling your way to see whether all works smoothly and no scratch in the operation4 ,if this be so1 continue on these lines1 sparingly adding more powder1 but freely using the oil4 ,you can1 to smooth off1 use saturated rag 7oiled7 and after that1 a dry pad of very fine muslin or silk4 ,the belly is tedious1 more so than the back1 and the ribs still more so4 ,contrivances to get into corners and curves of the latter1 you will have to resort to1 such as small pieces of paper1 and pumice stone and oil1 and oiled fine glass-paper1 and finely rubbed pieces of curved wood1 with which you can operate to smooth near edges of ribs1 etc4 ,all can be done well1 all must be done well2 for1 remember1 there is to be no ,french rubbish 7polish1 ,i mean71 on the top of this oil varnish1 but your hand must finally bring up its lustre1 as ,i can show you mine has so frequently brought to a rich glow that preparation made and used by me1 on my own work only4 ,,chapter ,,xvii4 ,,fitting ,,up ,,for ,,use4 ,this last of many complicated and difficult stages must be entered upon with a will1 and great attention paid to all details4 ,the fittings used must be of the best1 and the strings rough ,roman1 and must be tested to see if they vibrate truly4 ,this is done by twanging1 so that two distinct outlines are shown2 if any dimness appear1 or the lines wobble1 as ,i may say1 try again1 for such are false4 ,not always1 though2 for ,i have known this rule 7for it is a rule7 falsified1 and a good string appear untrue by test1 and vice versa4 ,take the ,rimer1 #ae1 and work out the peg-holes nicely2 then fit ebony or rosewood pegs as you fancy1 cutting off the superfluous pieces which obtrude on the off-side of peg-box4 ,apply a little soap and chalk to ensure close working when tuning4 ,then on the nut1 cut the narrow channels over which the strings have to pass to the fingerboard4 ,a nice discrimination must be observed here as to the width from ,e to ,a to ,d to ,g4 ,there can be no rule laid down1 because some players will have them nearer together than others1 and must1 if for double stopping1 they having narrow fingers2 and on the contrary1 wider apart1 if for broader ended fingers4 ,what ,i find a nice medium is seven-thirty-seconds of an inch from the bottom of one slot to another4 ,take the compass and divide to seven-thirty-seconds of an inch and press one point at ,g1 ,d1 ,a1 ,e1 allowing a fair margin at both sides of the ebony1 not above1 say one-eighth of an inch good4 ,then use either of the rat tail files1 #bg1 and carefully file to depths required1 which must be so as to allow a playing card to slip comfortably under the ,e string when taut1 a little more space for the other three being necessary1 especially the ,g4 ,rub a black lead pencil through the cuts1 and work them very smooth with a thin1 round piece of steel1 which makes all the strings much easier to slide afterwards and minimises breakage4 ,the nut must then be filed and sandpapered nicely down to the cuts1 so as to leave only a shallow passage1 as one too deep retards free action of the string and somewhat of vibration1 besides making the fingering less satisfactory4 ,the ends or sides must be made beautifully even with the neck and rounded and papered off so that not an atom of friction worries the player1 who has often worry enough in all conscience in the work of correct manipulation before him1 without the hindrance of bad work on his instrument4 ,then we come to the bridge--with two feet1 not more my friends2 the dear old fiddle has managed these three or four hundred years to crawl along very respectably as a biped3 ,i shall have nothing whatever to do with turning him into a quadruped1 be assured4 ,the importance of the quality and of the correct height1 thickness1 etc41 etc41 of this most essential adjunct1 cannot be too seriously impressed upon all who seek to get from the violin they are fitting up the strongest and the best quality of tone possible2 and1 unless the clever amateur be sufficiently so to do it as it should be and can be done by an expert1 my advice to him is1 do not attempt it as a work of finality--try to do it properly and persevere1 and ,i will help you4 ,but do not show me with pride work to which attaches nothing but condemnation2 too thick at top and bottom--feet clumsy to a degree--too high or too low--badly arranged for clean bowing on separate strings1 and too deep or too shallow in the cuts for them4 ,what does it matter to me if only a few or but one of these faults be apparent8 the bridge is not perfect1 and perfect it must be made1 so ,i proceed to the consideration of the work to be done to make it so4 ,select a fine1 strong1 light bridge by either ,aubert or ,panpi--the former by preference4 ,in using the names of these deservedly popular makers1 ,i mean1 of course1 either ,aubert or ,panpi1 and the bridges wrought in their workshops1 not the nasty imitations we are compelled to see sometimes1 but which1 rather than use1 we would go a day's journey to avoid4 ,pare the feet down to about one thirty-second of an inch 7this when fitted finally7 and proceed to make as accurate a union of these feet with the belly as you can1 as it is most important that such should be the case4 ,then measure the height of this bridge1 from belly to its top at centre1 as one and five-sixteenths of an inch1 nicely curving it so that ease of bowing is obtained1 as spoken of before4 ,this curvature should be unequal in height--or1 rather1 to express it better1 the height on the ,g side should be so that1 at the broad end of the fingerboard1 the space between the ebony and the string will be a quarter of an inch1 reducing as we get to the ,e1 which registers about one-sixteenth of an inch less1 or three-sixteenths of an inch4 ,this is a guide1 and a good mean to work on1 but not a rule1 as some people cannot play except the strings are near to the board1 others just the reverse4 ,as to the distance between the strings1 where they pass over the bridge1 this is also a point somewhat of controversy1 and applies1 as do my remarks in reference to the fingerboard nut--there is no rule2 but a very useful mean distance is seven-sixteenths of an inch4 ,when you have got the angle correct1 mark with the compasses where the incisions are to be made with tool #bg round1 rat tail file1 and work the cuts accordingly1 about as deep as the file where it tapers one-third from its point4 ,then reduce the bridge in thickness from its feet upwards--very sparingly at these feet1 but tapering to pretty thin at the top1 say a bare sixteenth of an inch4 ,the reduction must be made by rubbing on sandpaper1 and a clean1 straight tapering effected1 as a bridge1 where you can discern a round-backed slope1 is bad--looks so and is4 ,when fitted and completed1 the bridge must be as near perpendicular as possible2 if there be any inclination1 it must tend to the tailpiece1 and very slightly1 thus checking the certain tendency of the strings to pull it forward1 which must be always closely watched1 as if it fall on the belly of the violin1 it is most liable to break--not only so1 but to crack that same soundboard4 ,the outer edges may be either filed to an angle of one-sixteenth of an inch bare1 or neatly rounded4 ,the soundpost must engage your closest attention1 and must be of old ,swiss pine4 ,there is1 again1 no rule as to thickness--some violins do best with a thick1 others with medium to thin post4 ,i only tell you for guidance1 a medium to thin is mostly used by me4 ,it must be evenly rounded1 and both ends filed so that the angles of back and belly may fit exactly when it is placed inside4 ,to get the exact length is not an easy matter2 but you will find this hint useful3 with a thin piece of wood gauge the depth through the upper hole of the soundhole from the back to the outer surface of the belly1 and your post will have to be a trifle longer than this1 minus the thickness of the belly4 ,then take a soundpost setter and fix the pointed end into the wood1 sloping sides towards you1 of course1 and do your best to place this most exacting1 but most necessary adjunct1 just behind the centre of the foot of the bridge on the ,e side--the distance of about a good sixteenth of an inch behind the side next to the tail piece4 ,when fitted1 it must be neither slack nor tight1 but between the two4 ,of course1 this operation will be1 to the novice1 a horrible job3 he will fume and he will perspire1 and1 ,i fear1 he will use strong language--none of which will help him1 but on the contrary1 will retard progress4 ,the thing has to be done1 and done well2 and it would be much better if the amateur cannot do it ultimately1 to pay an expert for timely instruction4 ,then fit the end pin1 but1 before doing so1 look through the hole in which it has to go and ascertain if the post inside be straight--which is very necessary to the good ordering of pure tone4 ,regulate with the broad end of the setter1 and draw or push through the soundhole on either side1 as may be necessary4 ,and when you have nicely gauged and secured by single knobs the tail-gut to the tailpiece1 the instrument is finished excepting the neck1 the polishing of which we will now consider4 ,with constant handling you will find this neck dirty and greasy4 ,wash it well with a sponge1 and when dry1 colour with a yellow water or spirit wash4 ,do not sandpaper at all yet2 but make a nice orange-coloured spirit varnish1 and place neatly over the yellow three or four coats4 ,when thoroughly hard1 clean it down with ,no4 #j sandpaper soaked in ,lucca oil1 smooth1 and ready for the hand4 ,,chapter ,,xviii4 ,,conclusion4 ,then1 my friends1 reward your many anxious moments of thought and work--string your fiddle1 for1 be assured1 you will be rewarded1 be your instrument somewhat crude in tone2 and he is of a miserably cold1 prosaic temperament indeed1 who does not warm up at this juncture--this climax1 this crisis4 ,it may be the tone is good1 very good2 with what pride it is shown and tried2 should it be mediocre1 or even poor1 a certain amount of pride is excusable1 and faults are condoned4 ,should there be faults that a touch of the soundpost may minimise1 gently touch it1 moving it hither and thither1 until it meets with a desired response4 ,or your strings may be too thick or too thin2 all may be of no avail1 however1 so work the fiddle for six months1 and note if it shows signs of improvement2 if not1 look well to your construction next time1 and build for posterity on early failures1 on disappointments after long study and careful manipulation1 or resolve to be master1 after hearing your praiseworthy devotion rewarded by the empty sneers of those who1 maybe1 care nothing whatever whether you do ill or well1 but only that they have the chance of showing their superior wisdom and making stagnant that which1 given warm encouragement1 would have flowed on until the future would proudly record the noble work of real genius4 ,,the ,,end4 ,,note4--,the writer wishes gratefully to record the very able assistance given by ,mr4 ,barrett1 of #aca1 ,oxford ,road1 ,manchester1 in his most careful rendering of the various stages of the foregoing work in photography1 from which blocks have been made4 ,,advertisements4 ,,twentieth ,,year ,,of ,,issue4 ,the ,largest ,circulation in the ,world of any paper amongst ,violinists4 ,,the ,,strad ,a ,monthly ,journal for ,professionals and ,amateurs of all ,stringed ,instruments played with the ,bow4 ,published on the ,first of every ,month4 ,price #b;d4 ,annual ,subscription1 ,post ,free1 #bs4 #f;d4 ,foreign ,subscription1 ,post ,free1 #cs4 ,,the ,,strad is the only recognised organ of the string family and has subscribers in every country of the civilised world4 ,our circulation has increased to so great an extent that we are enabled to engage as contributors ,,the ,,leading ,,writers in the ,,violin ,,world4 ,,the ,,strad contains technical articles by the leading artists4 ,,the ,,strad1 in the answers to ,correspondents column1 gives minute information by ,experts on every detail connected with the ,violin4 ,,the ,,strad gives all the important doings of ,violinists at home and abroad all the year round4 ,,the ,,strad gives early critical notices of all important ,new ,music for ,stringed ,instruments with numbers to show the grade of difficulty of every piece4 ,,the ,,strad gives every month beautifully-executed ,portraits1 on fine art paper1 of leading celebrities in the ,violin world1 together with biographical sketches4 ,specimen ,copy4 #b-a_/b;d41 ,post ,free4 ,all ,subscriptions1 ,advertisements1 etc41 to be addressed to the ,manager1 ,,harry ,,lavender1 #c1 ,green ,terrace1 ,rosebery ,avenue1 ,london1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,i4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,the ,,strad ,,library ,,edition is the only ,authorised ,edition of ,technics of ,violin ,playing ,,on ,,joachim',s ,,method ,,by ,,carl ,,courvoisier1 ,with ,folding ,plates1 containing ,fifteen ,illustrations4 ,,letter ,,from ,,dr4 ,,joachim4 ,,copy4 ,,my ,,dear ,,mr4 ,,courvoisier3 ,i have read the book on ,violin ,playing you have sent me1 and have to congratulate you sincerely on the manner in which you have performed a most difficult task1 i4e41 to describe the best way of arriving at a correct manner of playing the violin4 ,it cannot but be welcome to thoughtful teachers1 who reflect on the method of our art1 and ,i hope that your work will prove useful to many students4 ,believe me1 my dear ,mr4 ,courvoisier1 to be most faithfully yours1 ,,joseph ,,joachim4 ,berlin1 ,november #crd1 #ahid4 ,the ,new and ,revised ,edition of ,technics of ,violin ,playing1 issued by ,,the ,,strad1 is the only authorised edition of my work4 ,the several ,english ,editions which have all appeared without my knowledge are incomplete and faulty4 ,,carl ,,courvoisier4 ,,the ,,strad ,,library1 ,no4 ,,ii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,how ,,to ,,study ,,the ,,violin ,by ,j4 ,t4 ,,carrodus4 ,,contents4 ,strings and ,tuning4 ,the ,bow and ,bowing4 ,faults and their ,correction4 ,scales and their ,importance4 ,course of ,study4 ,advice on ,elementary ,matters4 ,concerning ,harmonics1 ,octaves1 etc4 ,orchestral ,playing4 ,some ,experiences as a ,soloist4 ,with full page portraits of ,carrodus1 ,molique1 ,paganini1 ,spohr1 ,sivori1 ,de ,beriot1 ,blagrove and ,sainton1 and a photo-reproduction of ,dr4 ,spohr's testimonial to ,carrodus4 ,an interesting series of articles ',how to ,study the ,violin1' which ,carrodus contributed to ,,the ,,strad1 and completed only a week or two before his death1 have now been collected in cheap book form4 ,the technical hints to violin students1 which are practical1 plainly worded1 and from such a pen most valuable4--,daily ,news4 ,but a few weeks before his sudden death the most distinguished of native violinists completed in ,,the ,,strad a series of chats to students of the instrument associated with his name4 ,these chats are now re-issued1 with a sympathetic preface and instructive annotations4 ,all who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by ,carrodus to render every detail as clear to the novice as to the advanced pupil4 ,pleasant gossip concerning provincial festivals at which ,carrodus was for many years 'leader' of the orchestra1 ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed4--,daily ,chronicle4 ,it is surely1 hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late ,mr4 ,carrodus1 so that it only remains to state that the ',recollections' make delightful reading1 and that the book1 as a whole1 is as entertaining as it is instructive4 ,the value of the brochure is enhanced by an excellent portrait of ,mr4 ,carrodus1 as well as of a number of other violin worthies1 and the printing1 paper1 and get up generally are good as could possibly be4--,musical ,answers4 ,,the ,,strad ,,library1 ,no4 ,,iii4 ,crown #hvo41 ,cloth #b_/f1 ,post ,free #b_/i4 ,,the ,,bow ,its ,history1 ,manufacture and ,use ,,by ,,henry ,,saint-,,george4 ,with ,full ,page ,illustrations 7exact size7 by ,photo ,process4 ,,mons4 ,,emile ,,sauret writes--,i have read it with great interest1 and think that it supplies a real want in giving musicians such an excellent description of all matters referring to this important instrument4 ,,signor ,,guido ,,papini writes--,thanks so much for your splendid and interesting book4 ,you are quite successful and all the artists and amateurs are indebted to you for a so exact and correct a ',texte' on the subject4 ,,adolf ,,brodsky writes--,i am delighted with the book and find it very instructive1 even for those who think to know everything about the bow4 ,it is very original and at times very amusing4 ,no violinist should miss the opportunity to buy it4 ,,the ,,times4--,a useful treatise on the ,bow1 in which the history1 manufacture and use of the bow are discussed with considerable technical knowledge4 ,,daily ,,telegraph4--,to the student there is much of interest in the work1 which has the advantage of being copiously illustrated4 ,,daily ,,news4--,this book seems practically to exhaust its subject4 ,,the ,,strad ,,library1 ,no4 ,,iv4 ,crown #hvo41 ,cloth1 #e_/-1 ,post ,free1 #e_/d4 ,,celebrated ,,violinists3 ,,past ,,and ,,present1 ,translated from the ,german of ,a4 ,,ehrlich1 ,and ,edited with ,notes and ,additions by ,,robin ,h4 ,,legge4 ,,with ,,eighty-,,nine ,,portraits4 ,,press ,,notices4 ,those who love their fiddles better than their fellows1 and who treasure up every detail that can be found and recorded about their favourite and cherished players1 will not fail to provide themselves with a copy of this book4--,musical ,opinion4 ,this book of #bhj pages is a most interesting and valuable addition to the violinist's library4 ,it contains #hi biographical sketches of well-known artists1 ancient and modern1 of all nations4 ,this is not intended to be a perfect dictionary of violinists2 the aim of the ,editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players1 and we must concede that no name of the first importance has been omitted4 ,germany is represented by #ba names1 ,italy by #ac1 ,france by #aj1 ,england by #d1 ,bohemia by #h1 ,belgium by #g1 and the fair sex by seven well-known ladies1 such as ,teresina ,tua1 ,therese and ,marie ,milanollo1 ,lady ,halle1 ,marie ,soldat1 ,gabrielle ,wietrowetz1 and ,arma ,senkrah4 ,altogether this is most agreeable reading to the numerous army of violinists1 both professionals and amateurs1 and after careful examination we can find nothing but praise for this translation into ,english of a book well known on the ,continent4--,the ,piano1 ,organ and ,music ,trades ,journal4 ,,the ,,strad ,,library1 ,no4 ,v4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,technics ,,of ,,violoncello ,,playing ,,by ,e4 ,,van ,,der ,,straeten4 ,,copiously ,,illustrated4 ,copy of ,letter received by the ,author from the great 'cellist1 ,,signor ,,alfred ,,piatti4 ,cadenabbia1 ,lake of ,como1 ,march #ith1 #ahih4 ,,dear ,,sir1--,i received the book you kindly sent me on ,the ,technics of ,violoncello ,playing1 which ,i found excellent1 particularly for beginners1 which naturally was your scope4 ,with many thanks for kindly remembering an old ex-violoncello player4 ,believe me1 yours sincerely1 ,,alfred ,,piatti4 ,copy of ,letter received by the ,author from the eminent 'cellist1 ,,herr ,,david ,,popper4 ,budapest1 ,february #bbnd1 #ahih4 ,,dear ,,sir1--,in sending me your book on ,the ,technics of ,violoncello ,playing you have given me a real and true pleasure4 ,i know of no work1 tutors and studies not excepted1 which presents so much valuable material1 so much that is absolutely to the point1 avoiding--,i might say1 on principle--all that is superfluous and dispensable4 ,every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master4 ,i congratulate you and ourselves most heartily on the new violoncello book4 ,with kind regards1 ,yours most sincerely1 ,,david ,,popper4 ,,the ,,strad ,,library1 ,no4 ,,vi4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free #b_/i4 ,,violin ,,playing ,,by ,,john ,,dunn4 ,,contents ,,introductory--,qualities indispensable to the ideal ,violinist--,hints on the ,choice of a ,teacher--,some ,tricks of pretending professors exposed4 ,,on ,,the ,,choice ,,of ,a ,,violin ,,and ,,bow--,advice regarding general adjustment and repairs4 ,,on ,,the ,,choice ,,of ,,strings--,stringing the ,instrument and keeping the ,pegs in ,order4 ,,on ,,the ,,general ,,posture--,the manner of holding the ,violin and ,bow as accepted by the leading artists of the day4 ,,on ,,fingering ,,generally--,the various positions--,scales recommended--,the ,modern ,orchestral ,principal or 7so-called7 ,leader4 ,,on ,,gliding--,special ,characteristics of some of the most ,eminent ,players4 ,,double ,,stopping--,the main difficulty in ,double ,stopping--,how to gain ,independence of ,finger4 ,,bowings--,smooth ,bowings--,solid ,staccato--,spiccato--,spring ,bow--,mixed ,bowings4 ,,tone ,,production--,character of ,tone--,rules and ,conditions necessary to produce a good tone--,style and ,expression4 ,,the ,,strad ,,library1 ,no4 ,,vii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,chats to ',cello ,students ,,by ,,arthur ,,broadley4 ,musicians1 devotees of the 'cello in particular1 will welcome the latest volume of ',,the ,,strad' ,library1 ',chats to ',cello ,students1' by ,arthur ,broadley4444 ,mr4 ,broadley not only knows what he is talking about1 but has practised what he says4 ,from the choice of an instrument to finished delivery and orchestral playing1 ',chats to ',cello ,students' leaves nothing undiscussed4 ,the treatment is simple and practical4 ,the exhaustive chapter on 'bowing' should be an invaluable aid to students4 ,in the last chapter of his book1 ',on ,delivery and ,style' ,mr4 ,broadley has given a lucid expression to a subject which has sadly needed voicing4--,the ,tribune1 ,nuneaton4 ,is a brightly written little volume filled with practical information for those who seek to bring out the wealth of expression of which the violoncello is capable4 ,the instruction is presented in homely1 common-sense fashion1 and there are upwards of fifty examples in music type to illustrate the author's meaning4--,lloyd's ,weekly4 ,every kind of bowing and fingering1 the portamento1 harmonic effects1 arpeggios and their evolution from various chords1 are all ably treated1 and the work concludes with a few remarks on orchestral playing which are of especial interest4--,musical ,news4 ,as a writer on the technique of his instrument ,mr4 ,broadley is known all over the world1 perhaps his most successful work being a little book published by ,,the ,,strad1 ',chats to ',cello ,students4'--,the ,violinist4 ,,the ,,strad ,,library1 ,no4 ,,viii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,antonio ,,stradivari ,,by ,,horace ,,petherick4 ,of the ,music ,jury1 ,international ,inventions ,exhibition1 ,south ,kensington1 #ahhe2 ,international ,exhibition1 ,edinburgh1 #ahij2 ,expert in ,law ,courts1 #ahia2 ,president of the ,cremona ,society4 ,,illustrated ,,by ,,the ,,author4 ,this is the history of the life-work of the great ,italian stringed musical instrument maker4444 ,there is a most interesting analysis of ,stradivari's method of mechanical construction which again is illustrated by original drawings from the many ,strads which it has been ,mr4 ,petherick's privilege to examine4 ,all lovers of the king of instruments will read this delightful little volume4--,reynolds4 ,among makers of violins ,stradivari perhaps occupies the premier position1 and this account of his work1 designs1 and variations in finish of details will afford pleasure to many readers4--,morning ,post4 ,this is a monograph which all students of the violin will be happy to possess4 ,the author is a connoisseur and expert1 and his account of the great ,cremonese master and his life-work1 is singularly well and clearly told1 whilst the technical descriptions and diagrams cannot fail to interest everyone who has fallen under the spell of the violin4444 ,mr4 ,petherick traces the career of ,stradivari from his earliest insight into the mysteries of the craft to his highest achievements4 ,numerous illustrations lend attraction to the volume1 not the least being a view of ,stradivari's atelier1 from a painting by ,rinaldi1 the sketch of which was made on the premises4--,music4 ,mr4 ,petherick is well known in the musical world as a violin expert with a special knowledge of the instruments made by the ,cremonese master1 whose biography he has here given us4 ,he tells us how the master worked1 what his pupils did1 and where their work differs from that of their preceptor4 ,in fact1 the volume is as much a dissertation on the violins of ,stradivari as a biography of the master1 and is full of deeply interesting matter4--,lloyds4 ,,the ,,strad ,,library1 ,no4 ,,ix4 ,crown #hvo41 ,cloth1 #e_/-1 ,post ,free1 #e_/d4 ,,violin ,,making ,,by ,,walter ,h4 ,,mayson1 ,with ,thirty-one ,full-page ,,photo ,,etchings1 ,illustrating the process of ,violin-making in every stage--from the rough slab of wood to the finished ,instrument4 ,the text is written by an ,actual ,violin ,maker1 in a very clear and lucid style4 ',popular lecture' style1 with photographic illustrations4--,the ,times4 ,a feature of the book is the clearness of the illustrations4--,morning ,post4 ,describes a very fascinating art from start to finish4--,morning ,leader4 ,this new booklet1 on how to make a violin1 is an admirable exposition of methods4 ,mr4 ,mayson avoids learned terminology4 ,he uses the simplest ,english1 and goes straight to the point4 ,he begins by showing the young learner how to choose the best wood for the violin that is to be4 ,throughout a whole chatty1 perfectly simple chapter1 he discourses on the back4 ,a separate chapter is devoted to the modelling of the back1 and a third to its 'working out4' ,the art of sound-holes1 ribs1 neck1 fingerboard1 the scroll1 the belly4 ,among the illustrations is one showing the tools which the author himself uses in the making of his instruments4 ,to learners of the well-known ,manchester maker's delicate art we commend this little volume4--,daily ,news4 ,,the ,,strad ,,library1 ,no4 ,x4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 7,,dedicated1 ,,by ,,permission1 ,,to ,,dr4 ,,joseph ,,joachim7 ,,the ,,violin ,,music ,,of ,,beethoven1 ,critically discussed1 and ,illustrated with over ,,fifty ,,musical ,,examples1 ,,by ,j4 ,,matthews4 ,the book contains analytical and historical notes upon the ,chamber ,music of ,beethoven1 in which the violin takes part as a solo instrument1 with some account of the various editions of the principal works2 ,beethoven's method of working1 as shown by his ,sketch ,books1 etc4 ,it is dedicated to ,dr4 ,,joachim1 who has furnished some notes respecting the stringed instruments possessed by ,beethoven4 ,extract from ,author's ,preface3-- ,young students often suppose that they ought to admire every work which proceeds from a great genius2 an attempt therefore has been made to convey some idea of the relative art-value and importance of the various compositions discussed in these pages4 ,for between the best work of any man and his least inspired1 there is a wide difference4 ,certainly nothing annoyed the great master more than to hear his least mature works praised1 especially at a time when many of his greatest creations were too little studied to be understood save by a few4 ,mr4 ,john ,matthews--dealing with ,beethoven's music in pleasant fashion1 and at not too great length--gives an historical account1 and in many instances short analyses1 with illustrations in music type of ,beethoven's works for this instrument1 and particularly the sonatas 7to which considerable space is devoted71 the trios1 the quartets1 and other compositions in which the master employed the violin4 ,the book will be found by amateurs both interesting and instructive4--,daily ,news4 ,,the ,,strad ,,library1 ,no4 ,,xi4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,advice to ,pupils ,teachers of the ,violin1 ,,by ,,basil ,,althaus4 ,strongly recommended by ,,august ,,wilhelmj ,,guido ,,papini ,london1 ,march #ahth1 #aijc4 ,,dear ,,mr4 ,,althaus1 ,i read your book ,advice to ,pupils and ,teachers of the ,violin with great interest1 and find it very useful4 ,hoping your book will meet with the success it deserves4 ,i am1 yours sincerely1 ,,august ,,wilhelmj4 ,london1 ,feb4 #aith1 #aijc4 ,,dear ,,mr4 ,,althaus1 ,i have read with interest your admirable book1 ,advice to ,pupils and ,teachers of the ,violin4 ,i have no hesitation in recommending it as an indispensable work to all aspiring violinists and teachers4 ,your remarks on the acquirement of the various bowings1 with the many musical examples1 are excellent4 ,i know of no work on this important subject so explicit and exhaustive4 ,wishing your book the great success it deserves4 ,believe me1 yours sincerely1 ,,guido ,,papini4 ,i have read the #aeg pages that go to form the book in question1 and can say1 without any misgiving1 that ,mr4 ,althaus has successfully achieved what he set out to do4--,musical ,standard4 ,,the ,,strad ,,library1 ,no4 ,,xii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,the ,repairing and ,restoration of ,violins1 ,,by ,,horace ,,petherick4 ,of the ,music ,jury1 ,international ,inventions ,exhibition1 ,south ,kensington1 #ahhe2 ,international ,exhibition1 ,edinburgh1 #ahij2 ,expert in ,law ,courts1 #ahia2 ,president of the ,cremona ,society4 ,,with ,,fifty ,,illustrations ,,by ,,the ,,author4 ,,contents4 ,the proper sort of glue--,its preparation and use--,loose fingerboards--,injuries to the scroll--,insertion of fresh wood--,fracture of peg-box and shell--,worn peg-holes--,refilling or boring same--,grafting--,lengthening the neck--,treatment of worm-holes--,fixing on graft on neck--,ways of removing the upper table and the neck--,cleansing the interior--,closing of cracks in upper table--,getting parts together that apparently do not fit--,treatment of warped lower table--,repairing old end blocks by new ones--,matching wood for large cracks--,replacing lost portions--,repairs to purfling--,removal of a fixed sound-post--,fitting a fresh part of worm-eaten rib--,lining a thin back--,fixing the bar--,varnishing1 etc41 etc4 ,the author is a man of wide experience1 and with him it is a labour of love1 so that few more suitable hands could be found for the task4 ,to him fiddles are quite human in their characteristics1 needing a 'physician within beck and call1' and developing symptoms capable of temporary alleviation or permanent cure1 as the case may be1 and no remedial measures are left undescribed4--,musical ,news4 ,mr4 ,petherick is a man of wide experience in violins1 so his hints about the treatment and care of the instrument are invaluable4 ,his imaginary interviews are both clever and amusing1 and1 moreover1 contain useful information of what to do1 and avoid1 in the treatment of violins4--,hereford ,times4 ,,the ,,strad ,,library1 ,no4 ,,xiii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,the ,,violin3 ,solo ,playing1 ,soloists and ,solos1 ,,by ,,william ,,henley4 ,mr4 ,william ,henley is an excellent performer1 and his book1 ',the ,violin3 ,solo ,playing1 ,soloists and ,solos1' is the result of considerable practice in the art he discusses4444 ,the opening advice to violin students1 the insistence on tune first and then on tone1 the latter depending greatly for its excellence upon the correctness of the former1 is not only worth saying1 but is said well1 and with conviction4 ,mr4 ,henley discriminates well between violinists3 ,joachim1 the classic2 ,carrodus1 the plain2 ,sarasate1 the neat and elegant2 and ,wilhelmj1 the fiery and bold4444 ,the list of violin concertos1 given in the last chapter but one of the book1 seems a very complete one1 and should be useful for purposes of reference4--,the ,london and ,provincial ,music ,trades ,review4 ,for the student whose intention it is to make the violin a means of livelihood--the professional soloist or orchestral player in embryo--this little work1 written in a spirit of obvious sincerity1 is well-nigh invaluable4444 ,the chapters on ',teaching and ,studies1' ',the ,artist1' ',phrasing1' ',conception1' and ',true ,feeling1' are very well written1 and the whole work is worth careful and diligent perusal4--,the ,musical ,world4 ,the author of this book has thought much and deeply on the fascinating subject of which he treats1 and is entitled to a hearing4444 ,the author's remarks on ',tone' are excellently conceived1 and of no small interest1 the subject being less hackneyed than that of ordinary technique4 ,in his chapter on ',style' he reminds the readers of the many factors which go to the making of a fine violinist1 among which ,style--which is the outcome of the imagination and the sensibility of the player--is one of the most important4 ,the fine executant is common enough now-a-days1 but the fine stylist as rare as ever4--,musical ,news4 ,,the ,,strad ,,library1 ,no4 ,,xiv4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,selected ,,violin ,,solos1 ,,and ,,how ,,to ,,play ,,them1 ,,by ,,basil ,,althaus4 7,author of ,advice to ,pupils and ,teachers of the ,violin47 ,with #bhc ,musical ,examples4 ,,contents4 ,,introduction4 ,,section ,i4 ,,grade ,a4--,elementary ,pieces4 ,,grade ,b4--,easy1 not exceeding ,first ,position4 ,,grade ,c4--,easy1 using ,first and ,third ,position4 ,,section ,,ii4 ,,grade ,d4--,moderately ,difficult1 not exceeding the ,third ,position4 ,,grade ,e4--,moderately ,difficult1 as far as the ,fifth ,position4 ,,grade ,f4--,difficult1 especially as regards ,sentiment and ,expression4 ,,section ,,iii4 ,,grade ,g4--,difficult1 using all ,positions4 ,,grade ,h4--,very ,difficult1 including ,standard ,concertos and ,concert ,pieces4 ,,grade ,i4--,for ,virtuosi4 ,,the ,,strad ,,library1 ,no1 ,,xv4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,the ,,violin ,,and ,,its ,,story3 ,,or ,,the ,,history ,,and ,,construction ,,of ,,the ,,violin4 ,translated and ,adapted from the ,german of ,,hyacinth ,,abele ,,by ,,geoffrey ,,alwyn4 ,,with ,,twenty-,,eight ,,illustrations4 ,the school of ,cremona is dealt with at great length1 but in the most interesting way4 ,short biographical sketches are given of the great exponents of this school1 which was founded by ,andreas ,amati4 ,to it belonged ,antonio ,stradivari1 who is said to be the greatest of all violin makers1 and ,joseph ,guarnerius4 ,the pupils of the ,amati and the others mentioned are duly tabulated before the schools of ,milan and ,venice are discussed4 ,following these we have the ,german school1 etc41 etc4 ,part ,,iii4 of the book under notice deals with the constituent parts of the violin1 and there is nothing that the seeker after knowledge cannot find here1 even to the number of hairs which should go to the making of a bow4 ,strings1 bridges1 sound-posts1 bass-bars1 nuts1 pegs--indeed1 everything about a violin is treated in an authoritative way4 ,not for a very long time have we been so interested in a book1 and for that reason we wish our violin players to share that pleasure by getting a copy4--,the ,cumnock ,chronicle4 ,,the ,,strad ,,library1 ,no4 ,,xvi4 ,crown #hvo41 ,cloth1 #e_/-1 ,post ,free1 #e_/d4 ,,joseph ,,guarnerius1 ,,his ,,work ,,his ,,master1 ,,by ,,horace ,,petherick 7,of the ,music ,jury1 ,international ,inventions ,exhibition1 ,south ,kensington1 #ahhe2 ,international ,exhibition1 ,edinburgh1 #ahij2 ,expert in ,law ,courts1 #ahia2 ,president of the ,cremona ,society71 ,with numerous ,illustrations by the ,author1 #da full-page ,reproductions of ,photographs1 ,,and #bbj pages of ,letterpress4 ,mr4 ,petherick is well known in the musical world as a violin expert with a special knowledge of the instruments made by the ,cremonese master4--,lloyds4 ,this is the only exhaustive work published on ,,joseph ,,guarnerius1 and the ,author claims to have discovered his ,teacher in ,andreas ,gisalberti1 whose name is here mentioned for the first time as a maker of renown4 ,,the ,,strad ,,library4 ,no4 ,,xvii4 ,crown #hvo41 ,cloth1 #e_/-1 ,post ,free1 #e_/d4 ,,nicolo ,,paganini3 ,,his ,,life ,,and ,,work1 ,,by ,,stephen ,s4 ,,stratton1 ,with ,,twenty-,,seven ,,full-,,page ,,illustrations including ,,reproductions ,,of ,,photographs ,,taken ,,especially ,,for ,,this ,,work4 ,it is a book which should be in the library of every musician1 and we heartily commend it to the notice of our many musical and other readers4--,the ,cumnock ,chronicle4 ,mr4 ,stratton1 the author of ',nicolo ,paganini3 ,his ,life and ,work1' was eminently qualified to write such a book4 ,we do not know any book of the kind so completely sane and yet so well-informed and just4 ,the great violinist's life is described fully1 and what to many readers will be the most valuable part of the volume1 all his works are concisely analysed in a long chapter4 ,a notable feature is the series of illustrations4 ,they show many things connected with ,paganini--his birthplace1 his tomb1 his fiddle1 and the like--in addition to portraits and caricatures4--,the ,morning ,leader4 ,the late ,mr4 ,stephen ,s4 ,stratton's ',nicolo ,paganini3 ,his ,life and ,work' 7,london3 ,,the ,,strad ,office1 #es471 is the most complete account extant of this greatest of all violin virtuosos 444 the value of his book lies in the fact that not only has he written a book which has considerable importance as a biographical and historical work1 but has also made of ,paganini a credible and living figure4 ,the volume is enriched by a number of valuable and interesting illustrations1 an appendix and a bibliography4--,musical ,standard4