VIOLIN -

MA K I N G ,

A S IT WA S A ND I S
“

B E I NG A

E ixtoximl , a timl , n?
a) fi xa
ztit a xea
l flL ti xz
ON T H E

SCI E N CE A ND A RT OF VI OLIN -

MA KING ,

F OR T H E U SE OF

V I OLI N M A KE RS A ND PLA Y E RS ,

A MA T E U R A ND P ROFE SSI O NA L .

ED . H E RON ALLE N, -

A UTH O R O F “
T m : A N CE STRY or u m o u x ,
” “
Tun H I STO RY O F A au V I O LI N C A sx ,
“
T ux RO MA NCE on A Sm un x vu n, m , n o a .

WIT H UPWA RDS O F 2 00 ILLUST RAT IO NS BY T H E A UT HO R .

Vi m fui in syl v i s, sum d ur d occ i m sec ur i,

Dum v i rz
f
i t
-
a
cui , a
m or t u dul ce a
c /n o
.

P RE C E DE D B Y

a6 n 59 32 on t h e V iol in n t: (t a
a w n si t i on s a
a Musica
l I n st rumen t .
Musi c 0 Th ouw h o i n t h e et er n a l past ,

A w ul, di vi n e, m emor a
f b l e, gr a ve,

B r oodedst , a f t h e Lor d,
s di d t h e Sp i r i t o

Upon t h e w a fa t o Th ee
’
t er s ce, w e com e .

a
Gr e t Soul of Li f
St er n Judge Sw eet Com
e fo t r er

Ma
g n ifi cen t ,
seuer e, an d h eaven ly h/igh ,

Yet t en der a sa mot h er t o h er b b e, a

T h ough sh e pl uck ki sses ea ger ly, a
n d w h i le

I m pa asa / s rh a
V
ssi on ed l ove p sody ,

St i l l m el t i n g a
s t h e p l eadi n g o f ach i l d
We b l ess Th y h oly n a m e for ever m or e .

In such p oor w a s w e a
ys a re m a
st er s of ,

We si n g Th y pr a
i ses a
n d t hi s sm a
ll sw eet t h i n g,
a
D em sed i n l ove, n d fash i on ed cun n i n gly
'

Of w ood a
n d st r i n gs sh a ll w eave t h e h a
, r m on i es

Th y Spi r i t ays un t i l w e kn ow Th ee n i gh
sw ,

Wh o n ow a
,
fa r yet sh i n i ng i n som e eyes ,

Speakest et er n al Life i n ch a n geless Love ,

And w ka
h i sper est of t h i n gs un spea ble .

P E RCY RE E V E .
 P RE F A C E T O TH E SE C O ND E D ITI O N .

A s m any of m y Rea d ers a r e d oub t less a l rea dy a w are m u c h of

,

T
t h e su b st an ce of t h e heoret i c al an d P ra ct i c al p ar t s of t h e fol
low i n g t reat i se app eared ori g i nall y i n t h e p ages of A m a t eur
Wor k I l lust r a t ed (v ol s i , i i , ii i , 1 88 2 3 Th e w ork has . . . .
-

p rofit ed l argely by t hi s p reli m i nary pu bli c at i on s ri al form in e ,

fo as h apt er a ft er ha p t r app eared m any aluabl l t t rs

r, c c e ,
v e e e

w er recei v d from r a d rs of t h Maga i n h o er i nt er ste d

e e e e e z ew w e e

i Vi oli n m aki n g b ot h p rof ssi onally an d

n -

,
am a t u c ont ai ni n g
e en e r,

i n form at i on o d ou bt fu l p oi n t s hi nt s an d su gg st i ons as t o t h
n ,
e e

desi derat a of fi ddl m ak rs an d poi nt i ng out h r m y ork e -

e ,
w e e w

w a t o t h e asual r ader uni nt lli gi bl o s m i ngly i ncorrect

s c e e e, r ee .

A l l su ch c orr t i ons an d a ddi t i ons as er t h us su ggest ed hav e

ec w e

n o w b n a dd d t o t h e ori gi nal t e t g reat ly of ours t o i t s

ee e x , ,
c e,

ad ant age fo i t i hardly n ssary t o poi nt out t hat t h r m ust

v ,
r s ece e e

alw ay s b e m uc h i a ork hi h m a y s m lear as t h e n oon

n w w c ee c

d ay t o t h ri t r b ut h i h m a
e w y b i n c om p r h nsi ble t o t h e
e ,
w c e e e

reader h o cann ot follo

w hat a s th A u t hor s c hai n of
w w w e
’

t h ou ght as h om m i t t ed h i
e c s nt nc s t o p aper I t h sam s e e e . n e e

w ay s
,
i n t h e
ce a pp aran of t h e fi rs t d i t i on a
e t th d of t h
ce e e en e

year 1 884 I h a r cei ved m any aluabl su gg st i ons from

,
ve e v e e

readers su ggest i ons by w hi h I ha grat efully p rofit d an d

,
c ve e ,

I seiz e t hi s opp ort uni t y t o r or d m y i n d bt d ness i t hi s ec e e n

respect t o M John B i sh op (of Ch lt nh am ) i t h hose

r . e e ,
w w

ki n dly an d ca refu l assi st an I ha b n enabl d t o add m any ce ve ee e

t ou c hes her t h y h a
w eb e n seri ously n d d an d al so t o
e ve e ee e ,

el u ci d at e m any p oi n t s hi ch ha e a pp ar d agu e i t h e t e t w v e e v n x .

Wri t t en ori gi nally for t h e p ages of an e lusi v ely p ra ct i c al x c

Maga i ne t h e ork i i t s s ri al form a of an e clusi ly

z ,
w n e w s x ve

p ract i cal n at ure b ut o t hat spac i s o l onger an obj ect of so

,
n w e n
b
v i ii P REFAC E .

u h onsi derat i on as i t i i a p ri odi c al h s a es a

re
m c c s n e ,
w oe p g
u
o

c arefully allot t d am on g st s ont r b ut ors ha

i t e i I v e t ho gh t t Of c
I
,

i nt er es t an d a d ant a ge t o t h e ork t o add an Int roduct ory

v w

E ssay an d t h e Hi st ori al h a p t rs t o t h e som e hat bald dog

“

c c e w
, ,

m at a w hi c h i t a s n essary t o l ay d o n i
w a st ri ng Wit h O t
ec w n
U

a n y om m ent u p on t h em w hen d es c ri bi n g t h e a ct ual st ep s t

c ,
o

b e ta ken i t h sol ut i on of t h e p robl em

n e Gi e a l og Of v n,

w ood ma k a fi ddl e These hapt ers ae t h e t abulat ed resu lt s

e, . c r

of m any y ars of assi du ous st u dy of t h e h i st ory of St ri ng ed

e

I nst rum nt s an d of onst ant r sear ch am on g m ore or l ess

e ,
c e

forgot t n aut h ors fo passages hi c h m i ght assi s t m e i form i n g

e r w n

an i dea of t h e est i m at i on i hi h t h ki n g of i nst rum nt s n w c

“
e e

has b n held t h rou ghout t h e cent uri s hi h ha e elap sed

ee e w c v

si n e t h e i nt roduct i on of h o i nst ru m nt s i t h i r p resent

c w e n e

form s an d I ha b n m ost ar ful t o gi

,
ve t h e fullest r fer
ee c e ve e

en c to es ry aut hor I ha onsult ed o t hat m y ork m a

ev e y ve c ,
s w

h av a bi bli og raph i cal as ell as an hi st ori cal alu e

e w v .

Wri t t en ori gi ally fo A m at eurs I t r ust t h at t h dat a I h a e

n r ,
e v

gi n i t h all t h e m i nut n ss r sult i n g from a long e peri n ce

ve ,
w e e e x e

of Vi oli n m aki n g m a -

y p ro e of m u h p ra t i c al al u t o t h os
,
v c c v e e

w hos m t ie i t i s t o gi v li fe an d song t o t h e d ull ood w hi ch

e e r e w ,

i s d st i n d t o b om e t hat on d r of m usi c t h e i oli n

“ ”1
e e ec w e , v .

U nt i l r ent ly m ost ec ork s hi h hav e b en publi shed o w w c e n

th e Vi oli n het her p rac t i cal or ot h rw i se hav e b n w ri t t n

,
w e , ee e

by A m at urs h o h av e had b ut l i t t l o o a t ual e p eri n e

e ,
w e r n c x e c

of t h e p rac t i al p roc ss es of Vi oli n m aki n g an d t h erefore t h

c e -

, , , e

only b ook s hi ch h av b e n of any g r at v al u t o t h e lut hi er

w e e e e

h a b n t hos w rit t en under t h e di r ti on of i f ot di ct a

ve ee e t di ec ,
n e

by som p ra ct i c al fiddl m ak r Th us t h at s ar e li t t le w ork

,
e e -
e . c c

LaCh l o om i e e by t h A bb é Sib i e
n ,
a s w e k no
pa ct i e r
2
,
w , w
,
r

c ally i i t nt i ret y t h e ork of t h e l b rat ed m aker Ni colas

n s e w ce e

Lupot ag ai n t h e a nonym ous Lut h om o og a

, ph i e w ri t t en n r
,
”3

To p f t t h a t o d
er ec f t a l—t h l ti
w —h a
n
p ha
er o
ot r ve e oc om o v e s er
p s n
re qui d t hre p di t u of e ex en ta l t gt h ad appli at i o t h a t o
re m or e m en s r en n c n n
p f t th a u i —t h i oli
,

er ec t o d of w n er FV E Gl a m d t s c e v n -
s on e
i t Lut h i (Pai Mi ll t
Lut h i It ali au ii t iii "
. . . .

LaCh l ou l Pa fa paM l A b b é Si b i
2 ’
o i e on m e, e r er , r re r s:

ie l
.
e
p i t d i J Ga ll a
,
’
re r n y e L n s es ers en s, x x v °
e x v s
i t Lut h i
.
c es
N u ll di t i o du Paf a d l A b b é Si b i (P ai
’
o ve e e n r er e re r s,

Lut h om o g a ph i Hi t o i q u t R a pa uAm a t u (F ak
3 “ ”
no r i o é t
e s r ee s n n e, e c. , r n e r
M Ch Jug l
r n .

fo t /
r s . e ,
 P RE FA C E . ix

by ussi an p ri n e You oupow (o Jousoupof) i so full

th e R c ss r ,
s

of st ran g e m i s t a kes as t o b e of b ut l i t t l v a lu ap art from e e

i t s b i bli ographi ca l rari t y an d t h r i o d oubt t hat Sandy s e e s n

an d Forst er s Hi st ory of t h Vi oli n o es i t s popula

’ “ ”
rit y e
1
w

an d al u nt i rely t o t h e fact t h at t o t h charm i ng s t yl and

v e e e e

c u lt i v ate d res arc h of M San dy s

e a s a dded t h e p ra ct i al
r .
,
w c

k n o ledg of t h g reat Si m on A nd re Fors t er

w e e Thus i t i s t hat w .
,

t hou gh m an y ork s a annually p rod u c d i w ari ous lan guag s o

re e n v e n

th e subj t of t h e Vi oli n unt i l v ry r en t ly t h r has i st d

ec ,
e ec e e ex e

rea lly o p ract i c al g u i d t o t h a t ual m anu fa t ure of Vi olins

n e e c c

i an y l an guag sa
n th som e hat m a g
e, ve Manu l E or t e
”
w e re e e

of MM Man gi n . t Mai g n It a urg d by t hi s t rri bl

e e .
2
w s e e e

c onsi d erat i on t h at I d t rm i n ed t o ri t t h e p r s nt ork o e e w e e e w

,
s ,

t hat A m at eurs n ed o l on g r sa y i d spai r I shoul d l ike

e n e n e ,

t o m ak a fi ddl eb ut annot fi nd d i r c t i ons any h r h o t o

e, c e w e e w

s et t o ork o t h at
w i oli ni st s m a
,
s
y a t l as t r ally k n o v s om e w e

t h i n g ab ou t h o t h ei r i nst ru m nt s a m a d
w an d o t ha t t hos e re e, s e

w h o ould l arn h o fi ddl

w e a b uil t a do o i t h out goi ng
w es re c n s w

t h rou gh t h t di ous an d e p nsi e ours of t ui t i on hi h I an d

e ex e v c e w c ,

all ot h r fi ddl m ak rs ha e ha d t o n d ure Thus t o t h Th ory

e e -
e ,
v e .
,
e e

hi h has be n m y onst ant st u dy r si n e I firs t t ouch d

a
w c e c ev e c e

a iol I h
v in b rou gh t t h e P ra t ive hi h h as been t h c ce w c e

fas ci nat n g am usem n t of l at e y ars an d I t hi nk I a

i e m ri ght e ,

i sayi n g t hat
n o fo t h fi rst t i m t h n Hi st ory Th ory an d
w r e e e ,
e ,

P ra t i c of Vi ol i n m a ki n g ha
ce been om bi n d i a si ngl
-
ve c e n e

v ol u m e .

Wi t h a Vi e t o r d u i n g t o a m i ni m um t h hi st ori a
w e c l part of e c

my ork (so as t o m ak i t as m u c h as p ossi bl a p ra t i

w e b ec k ) e c ce -

I ha onfi ned su c h p art t o m y I nt r od u t i on an d a f

ve c pr li c ew e

mi a n
y h a p t
r ers o cs p ara t d from t h e rest of t h
,
s e ork t h a t e e w

t hos e h o a ot i n t er st d i t h i nst ru m nt b y on d t h e a t ual

w re n e e n e e ,
e c

p ri nci pl es an d p ra t i ce of i t s cons t ru ct i on n ed ot n ec ssari ly

c ,
e n e

r ad t hem t o underst an d t h r st oft h e t r at i se b ut I a hardly

e e e e ,
c n

i m a g i n t h at t h r b r at h s t h
e m a w i t h s ou l o d a d
e e e as e e n s e

n ot t o f l any c uri osi t y i ee th ol u t i on an d i t h e i n i d nt s n e ev ,

n c e

Th H i t o y of t h Vi li ad ot h I t u t pla ’
e s r e y do o n it h t h Bo n er ns r m en s e n w e w ,

b y Wi lli a S ady ad Si m o A d (Lo d

,

t
e c. , m Fo t
n s n Sm i t h n n r ew r s er n on ,

2
Mau laRo t Nou a n e u M au l C om pl t du Lut h i
re ve t pa MM n e e er , e c .
,
r .

J C Magi t W Ma ig
,

. . n (Pai
n e Eo t . n e r s re ,
X P RE FA C E .

of ex i st en ce nst ru m ent w hi h h e w at hes g row in g b eneat h

, of t h e i c c

h i s h an d s i nt o t h e ery i n arnat i on of MU SI C Su ch t heor s

v c .
ie

as I hav e quot ed from ot her w ork s I hav e s upport ed by t h e ,

aut h ori ty from h n t h y cam o as ot t o m ake m y sel f w e ce e e, s n

responsi ble fo t h rrors of ot hers w hi ch I have st i gm at i z ed as

r e e
,

suc h hi l st p resent i ng t hem t o m y rea ders ; an d su h parti cul ars

w c

as hav e b e n by t h i r nat ur o v olu m e i nad m i ssi ble as foot

e e e r

n ot es I ha s t out as app n di ces

,
ve e e .

Fin ally I b eg t o l ay a t ri bu t e of t h e arm st g rat i t u d a

,
t th w e e e

feet of t hos m m b rs of t h e v i oli n t rade h o hav a

e e e t all t i m s -
w e e

pl a d t h i r al uable t i m
ce e v peri n an d t r asur s a t m ya b sol ut
e, ex e ce, e e e

di sposal i t h a court eous generosi t y hi h I h ad n i t her a ri ght

,
w w c e

t o e p ec t x o th t m ri t y t o d em and
n r e E speci ally I desi r t o
e e .
e

t hank Mo G og Ch aot
n s . hos p u pi l i t h at Of v i oli n
e r es n ,
w e n e r

m ak i n g i t has b n m y p ri i l ge t o b e fo t h pai ns i t h hi ch
ee v e ,
r e w w

h h a ans er d m y m i nu t s t i n qu i ri s an d has put h i s t ores

e s w e e e , s

of k n o l dg w ski ll an d p eri en a
e e, t m y d i s p osal
,
and finally ex ce

M Wi l li a
r . m E b o t h H i l l an d h i s t o s ons W hos
sw r n orm ous ,
w ,
e e

ex p ri en oft h t rad an d hose ent husi asm an d n rgy i a

e ce e e, ll w e e n

m at t e rs c onn e t d w i t h t h i ns t rum nt ha
c e m ad e t h fri nd e e ,
ve e e

sh i p t hey ha u i form ly t n ded t o m of i n calc ul able al u

ve n ex e e v e

i th
n om p osi t i on an d r
e c i si on of t h foll o i n g p ages an d t o ev e w ,

th e m any r a d rs of t hi s ork
e h o h a e appli d t o t hem fo
e w w v e r

i n form at i on an d i nst ru t i on t hat i r u m st a n s hav p re nt d c ,

c c ce e ve e

m e from su pplyi n g t h m i t h p rs onally e w e .

Wi t h t h i s p r fat ory ursi on hi h I hav e de m ed n cessa y

e ex c , w c e e r

t o p refi to th xs on d di t i on of m y ork fo t h purp ose Of

e ec e w r e

ex pl anat i on an d i nt rodu c t i on (if ot of ap ol ogy) I t ake l a n

, e ve

Of m y Gent l e Read rs m any of hom I k no a al r a dy O ld e ,

w w re e

fri n d s t o hos
e ,
ri t i ci sm s an d sugg st i ons an nt m y ork
w e c e e w

w h n i t app ar d i A m a
e t u Wo k an d u p on i t s fi rst a pp ear
e e n e r r ,

an e i ol um form I o m uch of su h com m nd at i on as m a

c n v e , y w e c e

r ard m y ffort s t o i ni t i at t hem i t h fas i nat i ng m y st er i s

ew e e n e c e

of t h S i n e an d A t of Vi oli n m a
c e ce king r -
.

E D HE RON A LLE N
.
-
.

ST JOHN S P UTNE Y ’
H LL I
LON D ON S W
.
, ,

, . .
, Sep t em b er , 18 85 .
 C O NTE NT S .

P A GE
F on n w on n s

TI TLE
P OE M (PE RCY RE EVE )
TA B LE or C ONT E N T S
LI ST or ILLU STRA TI ONS
E cn on s (B A ) . .

IN TRO DU CT I ON
DE FI D I B US ” (S . C . G) .

PA RT 1 —19 1st ori t l .

,
’

a
C H A P TE R I .

TH E A NOE STB Y or TH E e LI N .

Difi cn l t i es i n t h e Wa y of Resea r ch —Dest uc t i on — Err ors of Descr i pt i o

t i on —Men t i o of Vi ols i n t h e Bi bl e—
r n

an d Represen t a n B ow In st r um en ts
am on g t h e An ci en t Gr eeks ad Rom a n s—Th e Ra
n van a st r on — Th e O m et t i
gou —Th e Reb a sh Sh a er — Th e Gon dok —Th e
—Th e Kem a n g eh a
’
b
' '

R h ab Th e Nofr e—Th e Assyri a T i go on —Pea

z e

r sh a ped Vi a ls—Th e
Th e Gi gue ad Ki t —
e - n r n -

Rebec a n d t h e Vi ol — Th e Vi ol m a k er s a
I st r um en t s—
n n d t h ei -
r

Fr en ch Cla en ti on — Th e Vi ol daGa m ba
n

P la yfor d— Th e B a zy t on e —
im s t o I
Pr set ofi ue Ch est s of Vi a
nv

ls -

CHA PTE R IL

TH E W E L SH C RW T H .
L
A n ci en t Hebr ew Lyr —Mod
a Ly a—G k ad Rom a Ly Afri ca
— C t h T i t h at —Th Ch ot t ao C t h p p
ern n r r ee n n r es

B et t a
Th e rw r n e r r rw r O er
—Da
r

Bai gt o —Wy Fi h —G a
,

Gr u a
fi ydd p How el i l ogi n nne nc

n
n es rr en e es

l
of t h e Vi oi n a
ndC th rw 5 8—68
x ll C ONTE NTS .

C H A P TE R III

B I OGRA P H I CA L .

lo—Gi o Paolo Maggi i —A dr eas Am at i —A

I1 G B

E aly Ma
r k Ga
er s spa
fl
o da
-
Sa r n n n

t o i u ad H i e o ym us A m a
n s n t i —Ni c ola
r n us A m a ti— A d eaGua m er i u s n r s

—Jaobu St i n e — F a i s o Ruggi er i —A n t om u St r a
c s e r r n c di ua
c ri us
'

J o ph G ua e i us Pet e Gua e i us L a
se rn r u e t i us G ua
r da gn i n i rn r r n

Joh a es B a
n n pt i t e Gua da gn i n i Dom en i c us Mon t agn aa Sact us
s n n

Se a
r ph i n o —C a l o B e g o i — F ac i sc us a
r n d Om ob o o St r a
r n z di ua i us
r n
'

n r

Joseph An t h o y Gua i us (del Jesh ) —

n Vi c e o P a
r n er n omO
—C aolus n nz r r

n dol ph i — La u en t i us St or i on i — Ni ch ola
Fe di adu La
r n n s s Lupo tr
— Jea n

Bapt i st e Vuil l aum e—Bara k No m a—Be ja mi B ak s— Th om as Dodd

r n n n n
—Wil li a m Fo t e —Ri c h ad D u rs k e—P t er Wa
r m sley— Joh
r Lot t e n

Wi lli am E b s or t h H il l — G eo g
w Ch an ot —Jacobs (Am st dam ) —Th e
r es er

Mi ecourt Vi olin T a
r de r 69 —8 5

C H A P TE R IV .

THE B OW .

Pr ogr essi v e Hi st or y oft h e B ow — Th e Cor el li B ow — Th e Cr em a i l ler e—T our t e

— Th e M oder n B ow —Di m en si on s— H a ir i n g a
n d Reb air i n g —Rosi n a nd

i t s Ac t i o — Foldi n g B O W—V a um e s B ow — Wi t h er s— Ot h er Pa
i ll a t en t s
’
n

—Th e G ea t B ow m a
r k er s -
86—10 3

CH A PTE R V .

TH E VI OLI N, I T S v A GA RIE s A ND I T s V A RI E GA T ORS .

Per fec t i on of t h e E x i st i n are g

Met al Leat h er Papi er
F or m — E at h r en w

m pet Vi oli n — r sh aed Vi oli n

, , ,

M é ch é an d E c c en t r i c Vi oli n s—T r u Pea p

-

m p s Vi oli n —Polyc h or d Vi oli n s —

H ul sk a Isoar d s—D u boi s —V ui ll a
um e
’ ’

—H oen sel— Ha w ki n s— Si n c l a i r — Wylde s Na gelgei ge or Nai l Vi oli n ’

l ll J H B ll R b Colli
-

B ox w ood Vi o i n ow e
’
s a
c que s
’
e o er t son ns

Ho ll— M ll
w e o enha
u — Gui a h a p d Fi dd l — Ga
er lb u t r s -
e es ser a F Ch a t
-
n o
p oi d Vi oli — Pa R pa —121
,

S aa
rt s
v
’
T a
r ez i n t en t e rs 1 04

P A RT II .

C HA P TE R V I .

THE W O OD— T E E MO DE L .

Th e Vi oli n — Th e Woods used— h em i c a r ed W oods —

l y pr ep a Th e Qu a C
l i t i es l
of t h e Woods Wh o e af ” a n d
“
Sa b” a l
c k s— Th e M ode Hl l B l
Met h od of opyi n a C
n Ol d M ode — Met h od of D r ag
w in aMa t h em at i ca l g . l
O u
t lin e
1 25 -
1 39
 C ONT E NT S .
x i i:
”
C HA P TE R V II .

T HE B A C K, B E LLY, A N
D SI DE S.

Th e Th i ck n esses of t h e B ak ad B lly—Copyi t c n e s s —Th e S i des Ma

ss of A i r
, A G] !

aFi ddl —H i gh t of t h S i d
-

con a
t ined i n e e e es 140—14 6

C HA PTE R V II I .

TH E I NTE RI O R O F T H E V I OL I N .

Th e Bl ock s —Th e S i de
Li i g —Th S u d P t — It M au t n n s e o n os s e s r em en

P i t i o i t h Fi ddl —F u t i o of th Sou d P o t P t i a
os n n e u
’

S ou d P o — Ha l — Dai d
e n c ns e n s -
e ze s

M a—It M au
.

— Th Ba
. .

’ ’
n st n se t s v son s e r s e s r em en s
—P i t i o i t h Fi ddl —Th Ol d Ba —Va
os n n gai at t pt d i t h t h
e e e rs r es em e w e
Ba B ass r 1 4 7—45 4

C HA P TE R I X .

TH E E X TE RI OR or THE V I O LI N.

Hl
ff o es—M et h od of T r a c i n — T h ei r bjec t — Posi t i on i n t h e el y g O B l
T h eir a C
pa ci t y— Th e Neck a ll
n d S c r o —It s F un c t i on s—I t s Set t i n on g
r em en t s—M et h od of Tr a
«

t h e Fiddl c l t s M ea
su
h
g C
ci n — Th e ll ha n ot S c r o
— Ol d N eck s—Th e r i d e— An ci en t r i d es—Th e Desi n a
B g B g g l n d Ma t er i a
—It Fu i — S t i g t o h I
s n ct u —O t
on s B i dg R gulat o
e t n t e n st r m en t t os
’
r e e r

Po i ti o o t h B lly— Purfii g l t C p i t i — Fi t t i g—Th P g

s n n e e n f s om os on n e e s

i o d ét — O a ta —O a ta l Pu fl i g —I lay
1

— Th i e r m i s n
’
'
7e rn m en t on rn m en r n n

i g —Ca d H a
n d —Pa i i g— B adi g— I la
r ve i d Fi t i g
e s 1 5 5 —1 67 n t n r n n n t n s

CHA PTER X .

TH E V A RN I SH .

Ch al R ad o t h ol d Va i h — Old R i p — A l i t h Pi d o t
r es e e n e rn s es ec es ex s e e m n ese,

1 5 5 0 —Fi aa i of B l g a1 564 —A da1 663— Z a

or v n h t 1 68 — 0 M oo n n n 5 or
l y 169 2 —B o a i f R li i qui d b y Vi li Va i h
.
, , ,

e 1 7 1 3— Qua n nn o om e, t es re re o n rn s

— Va i h — Spi i t Va i h — Appli ai o — Si i g— T t f
,

A b m er rn s es r rn s es c t n z n es s or
Pu i t y of I g di
r — C lo a ti n of Va i h — C
re p i t i —Ti
en ts f o r on rn s om os on me or

a
m ki g Va i h — R i p
n r n s es 168 — 186 ec es

C H A PTE R X I .

F I T T I NGS A ND A P P L I A
N
CE S .

Th e P g
e s — M at er i al— Fi t t i n g — M ac h i n e H ead s — P a t e n t P eg s— Th e Nut
Th e Fi n erg B oa rd— C u t t i n g — M a t er al— S p o h r s F i n g e r B oar d — Ot h er i
’
-

ga l l l
-

— — a i l la
Va r i es — h
T e T ai P i ece M at e r i a S p o h r s T i P i ec e— V u um e s ’
-
'

le— Zeb r ow ski s—Th e Tai l Pi n —Th e Rest — Ch i n Rest s

-

S our di n e Peda ’ -

Hi ll s Rosin —It s Pr epar at i on —Gauges

-

Hi ll s— Ch an ot s
’ ’ -
’
- ~

JI un i n g For k s—St r i n g B ox es—Mi n or A cc esso

‘ r i es— Fiddle Ca ses 1 87" 2 02
x iv CO NTE NTS .

C H A P TE R X I I .

THE ST RI N GS.
P AG E

Ch oi ce Of St i
r n g —Th s eor y of Vi br a
t i on — R lat i e on s t o On e An ot h e
r

Tr ue a a
nd F l ec i St r i n g s—Tr u e a n d Ha rm on i c O ta ad—F fth
c ve n i

T est s—App ea
ran ce of aGood St r i n g—Pr eser v a
t i on of St i g Pfi
r n s

S ort s of S t r i n g — Th ei Co po i t i o —M t h od of P re ra
pa t i on
fer en t s r m s n e

ad Ma
n u
n fa ct ur e— C ov er ed S t r n i g — Si lk ad A ib ll
s n cr e e 203—215

P A RT I II — pr ct i c l . aa
CHA PTE R XIII .

TH E TO OL S.

O dir n ar y Tool s—S peci al Tools— Toot h ed I l an e—Scr aper s—Kn i ves—Mar k '

i n g Poin t — Ben di n g Ir on s— Oval Plan es— Spr i n g Com passes—ff Hole

ugin g Ca
Pi er cer s— G a lli per s—S cr ew s—Cli ps—Cr am ps—Com passes
P ur fl i n g T oo s l 21 9—225

CH A PTE R X IV .

TH E O U T SI D E e MOULD .

C O] y i n g th e Out li n e — Ma
kin g th e Mould— It s Di a
m et er s— Th e Out li n e

Model r—Th e Ar ch i n g Guid

-
es — Th e C a pi g B l o k
r m n c s 226 —229

C H A PTE R X V .

THE SI DE S OR RI B S B LOC KS A ND SI DE LI NI NGS

, ,
-
.

Select i o n ofWood—Th e Si des—B en di n g t h e Si d es—Fi t t in g t h e Si des—Th e

Top an d B ot t om Blocks— Th e Cor n er B locks—Th e Si de li i n gs n

g th S i d li i gs— Fi t t i g— Fi x i g t h e Lin i n gs—Le ll i g

-

B en di n e e -
n n n n ve n

Fi n i h i g th
s n e Si des Li i g s ad B l ock s I si d e a
,
n n d Ou
n t i de
,
n ,
n s 230— 239

CH A PTE R X V I .

TH E TA B LE S : B A C K A ND B E LLY .

Join i n g th e bles— Pla

Ta n i n g t h e Fla Out li
t Sur fa ce— Ma r ki n g th e ne

Cut t i g out —Fi t G ugi g— Co t i g t h Out li —S o d Gougi g

n -
rs o n r r ec n e ne ec n n
—Fi t Plai g— Th S u k E dg —S
rs n d Plai g— S a
n p i g Mak e n e econ n n cr n r

Pla Sufa fo G ugi g out Bak ad B lly

-

i g th
n e n e r 240—24 6
ces r o n c n e

C HA P TE R XV II .

TH E B A CK .

Gougi n g out —Plai g—S a

-
pi g— B lli g h E dg —Fi t t i g o h Ri b
n n
—Si i g t h B lo k —P g h ol —Fi i g t h Ri b — Fi i h i g—Th
cr n ev e n t e e n n t e s
z n e c s e eS x n e s n s n e
-

Lab l— Co t i g t h Bot t J i —Th Tai l pi Hol

e r r ec n 24 7—25 2 e om on e -
n e
 CONTE NTS .

CH A PTE R XXII I .

RE P A I RS .

Rem ovi n g t h e B lly of t h Fi ddl —C ak i t h Bak o B l ly—C ak

e e e r c s n e c r e r c s

i Wi g of ff Hol —C ak d Co
n n s —C ak a
es t th rJoi t o C u
c e r n er s r c e n r

glui g of t h Tabl —C ak d E dg ad B i t S pli t ofi t h Out li

,

(a
n e es r c e es n s e n e

k fi om t h P
c u of t h S ou d p o t —V
e r ess r e i g N Wood i t o
e n s en eer n ew n

aFi ddl —
J -

Loo i g oft h é B ll y f om t h H at oft h C h i o Had

e sen n
‘

e r e e e n r n

S pli t Blo k —Sp li i g t h H a d o t o aN k ad Fi t ti g i t o a

Fiddl —
c c n n n n

306—
e e n ec

Va i h i g R pa
,

e i —C N
n s n N e rs 320
O C LU SI O

fi ppm nft z s .

A MA T E RI A LS
. U SE D I N V A R NI SH I NO TH E V I O LI N

B T H E PR
. E SE RVA TI ON on THE INSTRUME NT

C TH B
. E I B LI OGRA P HY OF THE V I OL I N

D A . CA T A LO GU E or V I O LI N SCH O O L S A ND I N
ST RUCT I ON

B O OKS

E . AN HI STORI C VI OLIN SC H OOL

19 0 21115 .

19m g St er ne .

Si 3 . .

$ 3 J ib ih n s g . Qt 05
. .

(i t ) em a
uah T
o
t z b z r i ck Q
éf t w . a
sh ed ;

E m u3 1m
‘

(b ) TIC It Th i n) B i t t n n ss en .
-
,
 LI ST OF I LL U STRA TI ONS .

F RONT I SP I E C E Wood b ur y t ype a

ft er I’d ) : der
Wog/de ’
.

II . V I OLI N BY A ND RE A S A MA T I , Woodbur y t y pe a ft er F i el d!
M A DE FO R KI NG CH A RL E S IX .
(P ut n ey) .

I II .
‘
DI TT O , SI DE V I E W W oodbury t ype a ft er F i eld
(P ut n ey) .

IV . O U T SI DE MO U L D A ND A CC E S
SOB IE S MO D E L or ST RA D I Tra
c ed fr om th e O i g i al s
r n .

I NSI D E MO U LD A N D A CCE S
SOB I E S . MOD E L O F JOSE P H Tr a
c ed fr om th e O i gi al
r n s .

GU A RNE RI U S DE L JB SC ’

ffH O LE S O F JOSE P H GEA RNE RI U S Tr aced fr om t h e O i gi a

lr n s

g
. .

V I O LI N B Y TH E A U T H O R (GU A R Aut ot yp e
fr om a
n or i i n l a
N E RI U S MO DE L ) D E SC RI B E D p en c i dr a
w in l g by R a
os m un d
IN CH A P TE R X X I . B . H or sl ey .

[l e a
di n g t o t h e I n t r oduc t i on . TH E CA T A ND TH E FI DDLE .

Ra n dolp h Ca
l dec ot t '
.

LI ST OF W OOD -
C UT S .

F I G.
1 . G ot
r esq ue
f
Fi g ur es r om
r oo of Pet er bor oug a
a
t edr a
f
n els i n
hC h P
l , 1 1 94
the
F! G
13 . V la
.

f M
io r om S
. Of St . Blai u s s, 9t h cen t ur y
( b )
,

2 . VM i ol a
a
ed l
b
t t r i ut ed t o A lbi n us 1 4t h cen t u
a
ry . 1 5“ V l af
io
C
C r
r om
ert
th
.

e ot t on MS lo
th cen t ury
3

4
.

Fa
a M a
S me
of t h e E m i li us
m i l i es, B c 204
ed l
. .

er r on eou sly
nd

.
Sc r i b on i us

fig ur ed b y
15 io. V Mluf u
(
on
r om
se m )
)S x
11t h cen t ury
.

s t er ( r i t is Pa
l B h
a a R f a l f a
.

V l er i n o (l 568) 16 Gi g u m e ec r om B s r e ie b t St
a i
-

R va n a a M
. . .

5 Th s t r on (A n c i en t n d od er n g es de B osch er v i ll e, Rouen , 1 1 t h
f
. t

6 .

a a
n di )
Th e Om er ti (In di )
'

Kem n g eh g ouz ( odem

a
M
.

T kk hh 17 . VV ll ff
cen t u ry
i o r om s m e B
i o r om Sc u t ur e t
re ie a
l p a
al -

aN
f.

Da
7 ur i s ) 18
C ha ot r e m e do
’

b
R a esh Sh a M T
. . .

eb
M h
ur is )
‘
8 er ( oder n r t r es
P R a a a M
.
. .

aN h
9 Goudok ( r i m i t i v e ussi n ) 1 9 Reh b (A n ci en t n d odern oor is
)
a G f a M a
. . . .

Ill ust r t i On of
10 Reh b ( or t Afri c )
N p 20 r os g ei g e, r om n
-

a A gr i c ola
. . .

Nofr e or efer (A n ci en t Egy t i n )

11
12
.

I n st r um en t of t h e r i g on on T S ec i es
.

p 21 Gi g ue fr om t h e Ca
t edr a
lat Ma
n s (1 1t h h
(A Ssyr i a
. .

I I) . cen t ur y)
x v iii LIST O F IVOOD CUTS -
.

D P aa P h Da B k a
'
l IG.
a ll a
FI G
M A g r i co a a
.

i sc n t us, l o l
h se son ed c , w i th
a h
a
22 t h cen t ury ( ) 80 i g r m of w e -
.

” ”
M Mersen n us)
. . .

t i ck n esses i n r c t i on s of n In c fa
23
DV laaGahba
“
or oc e, 1 648 (
er
Da a ll a
.

Bl a B ll
. . .

hk se son ed
a h
e y, m ]
24
p
ev ic e ofJo n O por i n us ( i e) , 1530 81 i gr m of w e
fa
-

. . .

t i c n esses in r ct i on s of n In c
25 io d m , 16 67 (0 Si m son )
V
.

Hb L
. . .

26 A n ci en t
. e r ew
27 Ki sser (A n ci en t n d
yr e,
a M
1 700
a
82 . Th e In t er i or of t h e i ol i n
Sect i on of t h e i o in cr oss t h e ff o es
hN k V l a
a apa h h l
.

G kL h
oder n Afr i c n ) 83 .

B M
. . .

28 A n ci en t yr es w i t r i dg es 84 et od of t r c in g i r offf o es l
Ba a
r ee

b f H la a
.

l F
. . .

er cu n eu r on t n d Si de
29
30
. r i t os ( r om
R a
ot t of t h e 7t h cen t u
.

B h Mu u )
m)
r y (MS Pa ls t er i n
.

.
85 .

B
V
Th e ec
i ew s
n d Scr o l ,
.

io ( J Fet ) V l F a
R af
r i t is
Blau M (
se m 86
V
ri dg e of Sev en st r i n g ed
a
-
. .

B
. . ,

31 ot t r om th e St si s S 9t h 87 A n t i que i o i n ri dg e A n tom us A m ti l .

(F
. . . .

u V
u )
32 . h
cen t

C L h f M fu
Cr w t u (W
ry
of t h e 9t h cen t r y
.

ill em i n
Ma a) . 8 (n A n tiq e
F F
J
i ol i n
.

r e i c ol aus A m ti B i dg . N a
33

34
. rw t r om S

CC h f W u ( Cah aa)l a
i m oges 11t h cen t r y
rw t
(
r om

)
St

of 12t h cen t r y Rii h l m n n

l
r ti .

.
. de
89
90
. B ( J et is)
. .

ri dg e of i v e st r i n g ed
Th e M
oder n i oli n r i dg e
F
i ol (W E
V
.

i ll) -

B
V . . H .

O a
r n m en t a
.
a
. . .

lly i n l i d P ur fl m g
35 . rw t h r om
u )
or cest er t edr ( l th 91 .

ah
St r di v a r i s m et od of fix in g t h e P egs o
.

h ah
'
t 92
u C C
cen ry r
f a a
. .

36 1 3t h cen t r y rwt r om A m i en s t e P oi n t s ( ct u l siz e)

a a ) O a a a r fl i n g of St r d i v a
.
.

r n m en t l P u ri u
37
dr
F u C h
l(
i g r e of r w t
.

F
u
de Co ssem k er
g i v en b y
a a F
D a Ba
i n es rr i n g
. 93
94
.

.
VV P h
i oli n
Bak a a
i ol i n w i t i n la id c n d c r ved
s
e d( Ha
.

CD aha ula h K T h MauT u u Mah h a V

t on , et is, S n dys n d or st er , et c . 95 . eg s .

38 rw t i n So t en si n g t on se m 96 c in e e d for i oli n .

Wa P ll i s s a
. . .

a u pa
t en t P eg
'
39 i g r m ex p i n i n g ec n i c l er m s sed 97
P a
. . .

te n t P eg t o en sur e fir m n ess
V
t o d en ot e t h e v r i o s
l
r t s of t h e 98 .

F
Th e i n g er bo r d a
p
.

fh l Gapa a a
i oi n 99
a
-

l T O a f T
. . .

40
fh
o e of s r od S o en or 100
h
rd i n r y or m O f il i ece
Ta p
-

a a Spo r s a P
. . . .

i l i ece
j h l
’
41 ol e of A n d r e s A m t i 1 01 t en t
a
-

u a H a Vuill a
. . .

u um e s Sour di n e P ed l s
'
42 o e of A n t on i s n d i er on ym sAm ti 1 02
B a M
. . .

fh l ab
1 03 . Z eb r ow ski ’s r i dg e n d
i l pi n w i t
ut e
Ta
khR h .

fh l
43 o e of J co St ei n er 104 Sect i on of Si des, Si de
a
-

F a Ru B
. .

li n i n gs, n d loc
44 .

j h l
o e of r n c isco ggi er i
a au VF i l pin w i t a ba Ta
.

fh l
45. u
o e of A n t on i s St r di v r i s 1 05 i ew of est , t se 0!-

a u a
.

i ddle
46 .

fh l
o e of S n ct s Ser ph i n o
C al B z CNh f L Cph h .

j h l ph auRaaaua
47 . o e of r o er g on i 1 06 . i n r est ( -
S o r) . .

Tal p a Ch
48 . o e ofJose G m er i s del Jesh 1 07 ew
. or m of i n r est -
.

b
4 9 B ow of t h e In di n
M hR a
v n st r on 108 i
N
i ece n d
p C h
i n r est com i n ed
- -
. . . .

H ll Vu a Mu
5 0 B ow of t h e
. oor i s eh b . 1 09 ew est i m r ov em en t of
. i n r est -
.

l V l a
D u (H l c n it e
’
51. ow of t h e 8t h cen t r y er h é) 1 10 i s te
u (G b )
. . .

5 2 B ow of t h e 9t h cen t r y
u (C
er er t
DPabl VV ll a
1 1 1 Si n g e i o i n c s e
-
-
. . . .

MS )
o
5 3 B ow of t h e l t h c en t r y ot t on 112 ou e i o i n c se
C h
-

B a(G a )
. . . .

54 u
ow s of t h e 1 1t h cen t r y . 112A t en t i o in B g A ri ot
55
56
.

. B
ow s of t h e 12t h cen t ur y .
Bo of t h e 1 3t h c en t ur y
w s
113 . D a a ll Na p
i g r m i ust r t i n g t h e i n fl uen ce o
a
t en g t h on t h e ot e r oduced b y St r i n g
f
. . .

Bo Ha O a
. . . .

57 w s of t h e 14t h cen t u 1 1 4 Th e r m on i c ct v e
58
59
.

. Bo
Bo
w s of t h e 1 5t h cen t u
w s of t h e 16t h cen t u
r y.
ry
ry
.

1 16
.

1 1 5 Th e
.

C Ha
r m on i c
om m on I r on
D
C
r m s
bl O a
ap
ou e ct v e
.

-
.

Bo Fl
. . .

60 . w s of t h e 1 7t h cen t u ry
Bow of t h e 18t h cen t ury w i t C r ém i ll ér e
T l
.

h h a
a
.
.

1 18 Scr
.

h
er a
ap
p
1 1 7 Sec ti on s of i es r eq i r ed

l
u

a p .
.

62 . B ow b y our t e (t h e e der ), w i t

M
Scr ew .
Nut n d

a
f T
1 19 S
1 20
.

io in m
. VB l ak K
r en i n g St ee for Scr
er s
’
n ife
-
ers
.
.

63
64
.

.
odem B ow ( t er our t e,
a
h
Nut n d Scr ew of oder n B ow , s ow i n g
m et od Of fix i n g t h e
M
Ha
h 1 21 .

1 22 A n ot er
. h (a b ) f
en di n g I r on
nd et t er or m of B en din g
.

65 H e d ofa M
ir
od er n B ow , S ow i n g m et od of
Ha
h .

h 1 23 L
I l on
C
in i n g h l
l Pl a pp a l
.

i se
Oa (a a
. . .

fix i n g t h e i r 1 24 v n e, l u er n d ow er si des ct u
H aa M z)
. .

66 Wedg e b ox i n e d n d Nut of oder n Si e

a O al Pla ( a
-

z)
. .

Bow (en l r g ed) ll

M ak a M a p
125 er si e
Kn ot t n ds of
f ha
aE Ha
. . v

C n e
a
sm .

fh l P
67 ir 1 26 r in g n d e sur i n g om sses.
a
. . .

Sel i l i n g B ow (Vui ll um e)
l p
68 1 27 o e i er c er
Na Ga Ca
-
. . . .

g elg ei g e or E isen v i ol i n e (Wi lde)

69
70
.

. H
M
ow ell s
C t en t
Pa a
olli n s
'
Pa
E ch oli n ” i n
V
i oli n (1835 , No
l n nd
.
. 1 28
1 29 .
.

V ul aCl p
ugi n g
i o i n Scr ew
li
.
ers .

aC a p
H
‘ “
71 . . . 1 30 . So n d b r i s -
.

C Gpa
Sect i on
'

Soun d b r r m
M H C Pa
1 31
a
-
. . .

oll i n s
72
p t en t P eg
M ak
'
. . . . 1 32 . B ow om ss .

73
CChhaa VV
LOil el gei g e or S oon fi ddl e
CCh pla
‘

.
-
. 1 33 . P ur fl i n g ug e or r er .
i oli n
74
75
.

.
Th e
Th e
a G a
n ot
h
aah
n ot R i oli n w i t
.

ev ersed Scr oll

1 34
1 35
.

B u
u
P r fl i n g om
rnin g ise
sses .

O bl l Pl a
. .

76
n d
aa a p z V
ui t r st r i n g t t c m en t

D a a Vp a akM h
Th e S v r t Tr e oi d i ol i n
. 1 36 .

L lp
on g St ee
C ne .

f ak aha
.
137 in in g i
Wa f
. . .

77 . i g r m ex l i n i n g et od s of cut t i n g 1 38 . vy orm o t en t en by ex tr n d
i ol i n m
P ak
w ood for in g som e w
a DB C
-

O a a B
.

l n for t r ci n g t h e ut li n e of Fi ddle
M h ah
78
79
.

D
d ofa a O
h ut l i n e m t e
. 1 39 . i ffer en t St g es of en di n g t h e en t r e

pp
et o r w in g out s
D a L aB B
n
aa a gi v en g r a a a
.
.

n t i c l l y on d u te d st r i g t 1 40 i ffere n t St g es of di n g t h e U
{m
. en er
e n d ow er outs .
 I
L ST O F W OOD C UTS -
. x ix

" h kC
m
Ba of Should
r
a
F IG .
a
.

1 4l Top n d B ot tom B
loc s (in th e r oug ) 1 60 se er (a
ct u l si z) e
B
Set t in g of t h e Si des, or n er l ock s, a aa
. . .

14 nd 1 70 Wed g e for t est i n g set t i n g of H e d n d

M N
.

ould
M h p B k
°

Si de 1 in t h e sok
C
-

a Fi a H
.

loc s
M h
143 et od of S older
h kF N k
i n g t h e or n er 1 71 bo rd
L C n g er
a
. -

G
. . .

B k
1 44 et od of Set t i n g i n i n gs of en t r e 1 72 ui de for t i c n esses of t h e ec , n d
B
.

F a ha
C
outs i n t o sl i t s c u loc s
.

C ur ves of t h e in ger bo r d a
Bak a B
t in or n er
L Haf Ta
-
. .

i n l S pe of t h e i n i n gs (Sect i on ) l out li n e of bles ( c n d elly)

a h a
1 45 1 73
a Ha
. .

Wood fcr 'l ‘ b l esj oin ed , n d w i t st e dyi n g

. .

ll out li n e of Sid es
1 46

C
.

C p a
G
a fa
Wedg es for l n i n g t h e fl t sur ce
k
ur ve of ut t i n g ou
.
1 74
1 75
.

C ap
M h
I n si de oul d w i t r ou
B k
hgB kloc s fit t ed .
Pa V
loc s of l t e
.

147

a
.

CEdges .
g e for si n i n g t h e 1 76 .

p h aa
Th e r m in g
osi t i on
fin i s ed)
M
g i n st t h e ou b k
l d ( loc s
in .

1 48 . St ges of t h e

D a a B akR ula hk
ut t i n g , i n si n k i n g t h e
1 77 . Wedg e c ut for w ole
B k
h .

Bak
M
Sect i on of loc fi x ed t o ould
c .

a pa
1 49 i g r m for t in g t h e t i c n esses 1 78
Da C
. eg . .

i g r m ex l i n i n g t h e ut t i n g of t h e
F al h k Bak Bl k
of t h e 79
1 50 .in
c
t i c n ess of t h e
Pl a ( h c
.

.
.

C
F h
or n er
C Bl k a j
oc s .

1 5 1 I n n er Edg e of t h e
1 52 Tabl fi
.

. e R a fi
t t ed on t o
)
h
t es sect i on fi n i s ed
i bs n d x ed w i t
. 1 80 .in i s i n g t h e or n er
th e Rb
a uaa Bl k
i s
oc s n d oi n i n g
.

fh l Bl k ap
Scr ew s 1 8 1 St r di ri n oc
a a M l (a a l z)
. .

C .

a p la h k
1 53 o e of St r di v r i od e ct u si e 1 8 2 Sect i on of oc used for r m i n g on
1 54 Da .

B ll a
. i g r m ex
a
.

i n i n g t h e t i c n ess of t h e
. .

Gu
F
t h e i n g er o r d
ak
b a -
.

M h fh l
e y n d t h e set t i n g of t h e B r 183 i d e for m r in g St r i n g g r ooves on t h e
a
-
. .

W
155
1 56 a
.

.l ha
p et o
Fi n
a
d of r i si n g t h e
Ba a
s i n g of t h e
in g of t h e
ss b r -
oe

fi
.1 84
Bl
.

. P eghh ll BF h
-
o e or er
o e i n i s er
.

1 57 A rr n g em en t of Scre w s i n x in g e ly 1 85 P eg -

a F
. . .

M (t o v oi d t h e cor n ers)
et h od of P u
. 1 86
a
. P eg i t t er
P
.

h k
ak
1 58 r fl i n g i n t h e c or n ers , n d 18 7 Set t i n g of t h e egs i n t h e C ee s of t h e
P fl
. .

ll
u p
l
out i n e for m r i n g t h e ur i n g un der Scr o .

B
h
t h e ut ton
p 188 So n d ost Set t er
C h
-

aB l
. . .

u ut t i n g t h e A r c i n g of t h e
Op a
1 59 P ut di n g Th e t r ee St r i s c ut t o l BSA G i d e for
C ev e
-

F a B
. . .

C apkl ff h l
ut t i n g , i x i n g , n d
F h
1 60 Th e er t i on s of r i dg e
a
.

W
.

o es n d
Plak O l N ka
i n i s i n g t h e B est . 1 89 . r c s in th e i n gs of t h e

M h p p
l
bl k
1 61 n ut i n e of ec n d Scr o l (on s i t c or n er
f
. .

i eces s li t
k a Bak
oc ) 1 90 et ods of re set t i n g r om
F
-

O l a
.
.

l
1 62 . ut i n es for m
ll a a l z
i n g Fr on t n d c of
ppahaa u h a Tabl
t h e out i ne of t h e i ddl e
r t s for st r en g t en i n g n ol d
.

N k Bl k ak
Scr o ( ct u si e) . 19 1 . A e

Op a pl H a N k
m r ed for cut t i n g out (1fi on t v en eer of n ew w o od
a Bak
163 . ec oc
~
w it .

er t i on of s i ci n g e d on t o
N ka
n d v i ew s) 19 2 ec
C c .
.

om m en cem en t of cut ti n g out

Op a
(
p N k
164 ec nd si de vi ew
)
Ha
.
.

ll l
er t i on of s i cin g e d on t o
F a Bak V l G
Scr o 193 ec

a (f
.
.

1 65
1 66
.

M
r on t
C h
odel for
n d
l
c l
of o ut e ( eom et r i c )
i n of Scr ol 19 4
.

Ba )
r on t vi ew
se of P eg b oxp p a re p l
.

o
r ed to s i c e on t

C N
-

G
.
. .

1 67. ut t i n g of t h e Coul i sses or

Ha
r oov es r ou n d
N k p pa
eck
Ha
168 . N k l aa
the
ec
e d
l z
.

out i n e ( c t u si e) .
L
19 5
196
.

. O a
T0 p of ec
pl H a N
re

per t i on of s i c i n g
r ed t o r ecei v e
e d on t o
e d
ec k
.
T he I n st r um en t on w h i ch h e aed pl y
Wa s in oC o k hop d
r em n a
'
s w r s s m ae,

g a
B y a re t at of m s er pat th e s ,

E r e yet w a lo t s dv
s th e a rt i in e
F o d of pl a of p
.

a sh i n e m ae n d i n e,
T h t Ty ol fo t v t
a in r ea n r es s a s

Ha ock d
d r e a tl d th
n d w r es e w i th e s blat s
Eq t
x ui si e w a d g
s it i n esi n ,

P f ct ach
er e in e t tp t
m i n u es a r ,

A ma v l of
r e l t t a
t h e uis s rt ;
’

hollo ch b t
A n d in t h e w a m er , h us
Th e mak o ho h d
er fr m w se a
n s i t ca me

Ha d i tt
w r h i u i va
en s ll d a
n r e n m e,
AN TO NI US STRA DIUA R I US .
”

a t a
t

H . W . L O NGF E LLOW ,

Ta f
l es o aWa
yside I m o
.
VI OLIN -

MA KING

zln t ronuct i on .
 Ect oes
e .

Tn t t alan ott e i n sog n omi v en i t e

D i tem l , b ell s. m i n , per oh é lo f t e a

E c h i vl en o d a a
v oi q u n do dor m l t e Sr oa
az u o Tu
sc n
.
- . a .

w h en i s t h e seen t of t h e
?
a éfil ott er s me g t h et et
r ose ga t t en w a s a ll a g a
,

l m ost mit h w t es s ?
w h en 2
gl ut t h e a i r t oo h eaby a
-

.
f

—B a s ee n
a t t ly a s la st yea
, ,

s su
‘ '
n i sh et r s sn ow
gl asses of net l ott a nt m a m a
, .

n
t cr i mson
3 st est g ott en a n t fa
e ,

i n t e t mn s

gn t t cen t of on e b l oot
s t bu t you ga t
re net e
I sh a
-

ll n et et for get it t h i n k , .

a ?
aa
w h en i s t h e son n t of t h e ,§o
aa
( n on t h e t err ce n t iiE xt h i n
3 m f i r you l oohet , wit h t h e sh y
nrgs you s n g t h en

i t l g t ouc h i n g go t w orm , a
a
gfi ot el ssi e, n o ; b ut now : t otes m s t en t er
l a
a
(m r s son n t et t hr oug h , t h oug h on gs met e
3 s t h oug h yon str et chet out
i t h t a t e, t est i n g a i -

a
§oft olt Qi et ee t ee l l i n g t h e tune b oot s,
a
§ n t eh es of t i n kl i n g set en t e ; a
g ut on e h een stt eet n h x se i n n olt a a
a
3 11 t h ese pe r s i n m y soul h s st a
§ n x el g a
on e t g—t e it n le or
1: oz: sn n s h rn e,
‘

l n t or se a a
‘
fll aa
a
f i n t r i ch fr gr n ce of t h ose t e t r oses a
a
fi h ei e son l , t h t st il l li t es, m y st e l b eh t o m e ‘ a aa
a a a
gt t on e t p g m b e, i n s ome tn t m stil l tn e t h et , a a
a ag a
m h fl st t le x ht st ys i n un t er s h p a
a a
,

35 sh l l h e r t h e n otes of non e ol th § t om l l o
a a
m n t ex i n g b ck from t h e h ou r s go n e by

fl .
 P LA T E I I .

F r om aP h ot og r a
ph by W m Fi e ld (P ut n ey )
. . V i n c e n t B r ook s, Woodb ur yt ype .

V IO LI N B Y A NDRE A S A MA T I .

One of 2 4 m a
de by A n dr ea
s Am a
ti for C hale
r s IX . Ki n g of Fa
r n ce .

(V l de p .
 sw e de /M ,
CM an ,

VI OLIN -

MA KING : A S IT WA S A ND IS .

a
Hei di dul um l t ue i ter um di dul n l Fel isque
m l Fi desque l
aca i
V c super 1m m r n uaprosil ui t : co
Spec t a a s r i si t sin e fi n e Ca
t um dm i ssu t ell us,
o a
E t subi t r pui t la n x c o hl ea re t
gs 1 c a

INTRODUC TI ON .

TH ERE ae b u t fe of us wh o a l ook upon t h e a

r w c b ove d light
n e

ful dra wing of M r Ra n d olph C

. a l deco t s a
t 1
n d den tha t th e

Violin a w s on e of t h e fi rs t im pr ss i ons of our chil eoe d To

lwas been am os t signifi ca
.

m it h as a n t fa c t tha t so m a ny of
t h e N ursery Rhym es wi th whi c h
e ,
a m us e our child n ae i
w e re r n

I ha v to thak M Ca
e nl d ot t fo t h a
r. b ov duct i o f om t h fro t i pi
ec r e e re n r e n s ece
o f h i ll k o
sw e n o k B y B aby B u ti g (Lo don
w n w r
“
e n hi ch h h a
n n w e s
dat d ad ub c i b d h i a uto g a
,
ki dl y a
,

n p e n s s r ph fo m
e in s r r e.
2 VI OLIN MAKIN G : -
A S IT w a
s AND IS .

o
s me w a y con n ec ted with t h e fid dle Th e on e t r a it of O ld K in g .

C ole s ch ara cter which to m y j uvenile m in d p ro ved h e w a

’
s not

wh olly v ile (a s hi s pipe a n d b o wl w ou ld i n di c a

te l ) w as hi s l o ve
of m us i c a n d
p e n ch a
n t for t h e vi o lin
1
a n d I r em em b er a

ys h a
,
d ogger el for which I a lwa d ag r ea t affection, w a s tha t on e
begin nin g
C ook ad oodl e doo m y D a meh a s l ost h er sh o e
ster s l ost h i s fid dli n g sti c k a n d don t k n ow w h a t to d o I
.

My Ma
, ,
'
’

Cook ad oodle d oo w ha t i s m y Da m e t o do 7
, ,

T i ll Ma ster fin ds h i s fiddli n g sti ck sh e ll da n c e w i th out h er sh o e I

,
’

Tha t ma a a lwa y s m y id a
n l of blak d spa
w i r No is t h e
s e n e . r

rhym e I ha v quo t d a b ov t h o ly o i which a a

e t fig u s e e e n n e n c re

asa vi olin i st Ha ll iw ll ( i d no t ) g ives tw o hym s i n which e s e e r e

thi s phe om non occurs n e ,

V IZ

A a t c a fidd li g out o f aba c me n rn

Wi th apai of b ag pi p u d h a
,

r -
es n er er rm ,

aw on d rous p rform a nc t ruly whi ch m a de u p fo h e wa

e n t of e ,
r r

v oca la tta inm nts fo e ,

r

Sh e could g no
t hin g b ut F i ddle c um
si n
,

‘
fee,
Th e m ou se h asma r r i ed t h e hum bl e b ee -

a
nd he a
l so quotes on e of still g a
tr a
n ti qu ity wh
re e , er e th e

Ki g Col aa y old oul ad a y old oul ah

ol d n e w s m er r s n m er r s w s e,

H ca ll d f h i pi p ad h c a ll d f h i bo l ad h c a
,

e e or s ll d fo h i e n e e or s w , n e e r s
th
E v y fiddl h h ad afiddl ad av y fi fiddl h ad h
fi ddl er s r ee,
er er e e, n er ne e e

(T t dl d t dl d w ee, t t h fi ddl )
w ee e ee, w ee e ee w en e ers
o a a a co pa
.

oh 1 th er e s n
’
n e so r re s c n m re
Wi th Ki g Col ad h i fi ddl th n e n s er s r ee .

Th t a di ti o al u y hy of G at B i tai co
n r ser c i th al g da y r m es re r n m m en e w e en r
Ki g Col h i g d i B i tai a t h old ch o i cl i fo u i
e r n
sa ti re on n e, w o re ne n r n s e r n es n rm s, n
thi d c tu y a ft Ch i t A cco di g t o Rob t of Glouc t h at h
,

th e r en r er r s r n er es er , e w s e
fa th of St H l aad if B utl o g i ac i bi g a ob cu
.

er ut b
e en n so, er m s e w r n n s r n n s re
o i gi to t h c l b at d oth of C o tati Ki g C ol aab av ad
.
,

r n e e e r e m er n s n n e n e w s r e n
po pula a i h i da y ad ac d d t h th o f B i ta da th of
.

r m n n s i o th n s en e e r n e o r n n e e
A l pi od a i d t h
sc e a ccla ati o of t h p o pl
m s t aRob t o f G l ouc t §
e
,

m n s e e e, or , s er es er
p hi lf h f l a h of thi l o d y pa
m se
“
id
t l y o At oc s t o s n w e
”

C olch t th i alag ath o k upp o d to ha

ex r esses e w -
n w
v b aRo a a phi
-

, .

es er er e s e e r w r s se e een m m
hi ch go po pul aly by t h a i Ki g C ol Ki t ch
r -
n
th a A cco d
,

t e r e, w es r e n m eo n es
’ ”
r
outh Ki g Col daugh
en
i g t o J fi y of M o a ll ki ll d i uic
.

’
n e re n m n es t er w s w e s e n m s
u f o tu a t ly h a v o vi d c to ho tha t h fa aa t a
, ,
b ut th g
hi ch a?
w e n r n e h gg
e n e en e s w er er w s t c e s
t o tha t ci c fu th tha ha
s en t co t d
i
e a i r i h fo goi g li
er n w s n ne n t e re n n es, w re
o f doubtful ati qui ty Vi daJ O Ha n lli ll Th Nu y Rhy of w e e r ser m es
E gl ad (L o do 8 44 J R S i th )
. . .
,
n n n n 1 : m
L i H i to y o f G a t B i ta (L o do 1 729) th oa
, . . .

’
I ew s
“
i s r re r n n n
joi ci g i t h a of Ki g C ol a
n r ee m n r
ti o d
,

re n n e n me n e r e m en n e .
 m r n on ucr ron . 3

w ord i s sub st itu t d fo fi ddl e B u t i ip r yeas

“
cro wd e r
1
n r e r
my a
.

fi e t i o fo a l l these h a wa d i n fa v ou of Joh
‘
“ ”
c n r s n e r n ,

wh os a ff c ti on fo hi s vi oli n fa ex c d ed tha
e e t fo hi s wif r r ee r e,
fo it u s
r r n

J o h co ll th y fiddl ad b uy thy i f ago

n m e se e, n w e w n.
ll y fiddl fo ay i f i t o l
,
N I ll ot 0 ,
’
n se m e r n w e n w n
”

(tru ly am ost un ga lla n t ad se sibl m a ! ) n n e n

It i s fro m such son g s a thes tha t m os t of us b com fi s t s e e e r

a cqu a i n t d with t h e fiddle ad becom e i pi d with al ov of
e
,
n n s re e
t h e i nst ru m n t whi ch d a w awide gul f b tw n us ad t h
e r s e ee n e
(l l e k e m n ti oned i t h P ol o g u t o C ha uc s C a n te b u y
T is
’

g
e n e r e er r r

a e .
2

It ha rdly s m s a tu a l or p ossibl t o u t o da
ee
y wh o a w on t n r e s -

, re

to h a r t h vi oli pl a
e y d by m m b rs of a
e ll cla ss s fro m aRoy a
n l e e e e ,

D u ke d o w wa rd s th a t it could ve han v b n consid d tha ,

t e r e ee er e

fiddl r aat rm of t h e g r a e t s t pro a

w ch ad fiddli g
s e e e re ,
n
“
n

asy o y m fo di sh o esty ; ad y t such a t h ca

n n r s ;i d d n n e w s e e n ee ,

it i s com pa ra tiv ly r c n tly tha t L o d Ch st rfi ld t old h i s

e e e r e e e

so ntha t fiddli n g pu t s ag t l m a i avery f iv ol ous ad en e n n r n

co tem ptibl light ad b i g s h i m i to a oo d d a l of b a d

l of tim whi og m ight b e m uch
n e ,
n r n n e

c om p a ny ad ta k ag oo d d ea n e e

y lag ly sh a d
,

b etter em ploy d a opi i on I g i e t o a

’
3 e
e n n ,
r ve s ,
r re

C om e da n ce aji g t o gr an n y s pig my
’

ll c o w dy
,

A n d pussy ca t sh a
,
”
r -
.

M Sadys ad F o t e ( Hi to y of t h e Vi oli “
essr s. n n rs r
“
s r n et c
L o d o n n 1 8 64 :

a
,

J R S m i th) gi v t h e f oll o i g i te sti g n ote o th subj ec t of t h e

.

t
“

w n n re n n is c
e
ad fiddl e — M i ddl t o i h i pla y of Th Wi t h o f t h e ce e
. .

n
“
e n n s e c in o n e s n s

of co chat t i t oduc a at playi g o t h fiddl b ut t h

n j ur i n g or en n m en n r es c n n e e, e

w e ll k o u y h y i old tha thi ad t h fa

n w n n ct of qual auth nt c oty
r ser r me s
,

er n s, n e e e i i

v acu i ou old F c h p i t h th aa t pl a
-

i both W ha e y g
e r s r en r n w er e er e 1 8 c m n
a
n
fiddl ad ad og i th afool a a c a a a o
,

u
.

th e e, p d in g ; p t l l pl y g w
’
s c n n 3. n oon s s in

ag ui ta P u y fiddl i of t h vi o l c haact W th fog t g

r. ss
’
s e s e r er , i r s ri n s

ad f t Th p i t i ca
n n o re s ll d L Di u t i t d Ma dy G a A o g
e r n s e e er sem en e r r s. m n

at h b o tt o a t h follo i g
. ,

t h li e n es t e m re e w n

Lag ot qu joui a r es e re ss n ce

Du chat j ouat du Vi ol o n n

E da ch i qui dac cad c

Gui ta a
t en n e, en en e

D la pata lo e re n n .
”

A C l k th aof O fo d a lo “
er e er e w s x en r e s s .

For h i m w a s e er h n a lv
t h i s e es b ed, a b dd
A T
w en ty
B ok ys c l ot h yd i n a e or r e bl ck de ,

a Of A r i st ot el n d h ys ph i l osoph i c ,
T ha o by ch n r s ri e or fi del or sa ut r i e .

G C HA UC ER .
C t b y T al P o l o g ,
C l
“ er k e of Ox en for de
a n er u r es r ue, Th e .

L or d Ch es
3 ter fi el d s Letter s t o h i s Son Phi l i S ta
n h o pe together w i th
’
, ,

s e er a
v l o th er Pi ec es o n v a
r i ous subj ec ts ( L o n d on 7 2 vols , .
4 VIOLIN—
MAK I NG : A S IT w a
s AND IS .

by m a ny p a n ts ad gua rdias of ou o da ys It s em s
re n n r w n . e

to ha v b rath am ai awith L o d C h sterfi ld t o con d er

e een er n r e e 51

fiddli g dis pu ta n bl e ad t h w o d asy onym fo di s eput a

re n e r n r r

An d I h ad som
,

b i li t y ; fo h say s i n ao th pl a ce r e n er :
1 “
e r e

p ro a
e s n s ss t tha t Ki g Ja m s a sung ad fiddl d ou t of
er n e w s n e

th e ki gd om by t h P o t stat tun of Li ll yb ull o a”d

n e r e n e er
’
n

a
,

that SOME B ODY l s w ould ha v b e fiddl d i nto it a g i n 1

e e e e n e ,

Thi s a b us of fi ddl h a ot h o w v r b en con

” “
et c e er s s n e e e

fi d to ay o p ri od a t h foll o wi g i s ta
.
, ,

n e n nc s will sh ow
n e e ,
s e n n e .

Pak t ll a sto y of Miss B rent wh o a D A r s

r e e s r ,
s r . n e
’

fa v ou it p upil aasourc of co id a
r e bl r v u t o h i m till w s e n s er e e en e

h
s e m ar i d Pi to t h g a t violi pla
r e y r of t h e ti m n On , e re n -
e e .

so m e o m ti oni ng h n eD A n i s sa id to haen v ex cl a im d er , r . r e e e ,

O h sir p a y d o t na h sh s m a i d a fi ddl
’ ’ 2

A tho y a
m r n e er , e rr e er

t befo t h R stora
, ,

n Woo d t lls u th a n tion g e s

“
re e e , en

ti m pla
e y d th e fou ad fi e pa
en rts ith vi ol
e They r e, r, n v w s .

e st m d avi oli t o b a i s t um n t o ly b l o g i g to
ee e n e n n r e n e n n

acom m on fi dl e ad could ot e d u e tha t it sh ou ld com r n n n r e

ki g th i r m ti g s t o b v a
,
a m o g th m fo f a
n r of m a e r i e e n e ee n e ne

ad f iv ol ous b u t b fo t h R sto a
n r tion of Ki g C hales IL e re e e r n r ,
vi ol s b ga t o b ou t of fashi o ad
,

ad sp cia
n lly a ft
e e er , e n e n , n

only vi oli us d a t bl vi o li t o o b ass violi

n s e s re e n , en r
,
r n,

ad t h Ki g a
n cco di g t o t h F ch m o d w ould ha
e n ,
v r n e r en e, e

tw ty fou violi s pl a
en yi g b fo h i m hil” st h a a
-
r t m a n ls n e re w e w s e ,

ab i g mo a
s e n i i ad b i s k th a n vi ol s Th re m i s of
" r e n r .
3
e en e e

Ro g L E t ag us d t o v t th i spl
er
’
s r by ca lli
n g h im e e en e r een n

Rog t h Fidl ”
ad p ubli sh d o ta bly ac l b a t d squib
"
er e er
,
n e n e e r e ,
en titled Th L oya l Ob s va to o Histo ica
“
l M m oi s of t h
e er r : r r e r e

Lif ad A cti o of Rog t h Fidl

e n a li a t h Ob s v a
n s to er e er s e er r

(L ond on 1 68 3 4 to 1 2 pp ) Th foll o wi g i t s tin g ot 4

,
:
,
. e n n er e n e

is a pp n d d Th ubj ct of thi s lib ll ous pa

e e squi n a d a e s e e e w s

Ro g L E t ag wh o a ick a m d C rom w ll s
’ ’
Si r er s r n e, w s n n e
“
e
Fidl f om hi s hai g b
er ,
”
h ad pla r yi g i aco c t h r v n een e r n n n er w e e
th U u pe a p s t Ofthi s a
s r ffa i h sp a
er w k s in h i T
s ru th r e en r e e s
lty Vi dica
.

ad L oya
n td ”
th us C o c i g t h story of n e
5
n er n n e

c lla ou Wo k of t h lat Phi li p Do Stahop E al of Ch t

M is e n e s r s e e r m er es er
fi ld (Dubli
n e, r
e v ol i i p 97 Mi c lla o u Pi c No
n
“
s e n e s e es,
b i g al tt i C E g li h a J u a l O c t ob
.
, .
, . . .

S th 14th
’
e n e er n omm on en se or n s m o
1 7 38 (L o d o
e n s rn er
v ol i i p 213
, ,
n n

Pak Mu i cal M oi (L o do v ol i p 1 5 0
.
, . . .
,
2 ’
r es s em rs n n

A Woo d Li f i MS i t h A h ol a Li b ay O fo d ; i tt 1 65 3
, . .
, . .

3 ’
s e, e s m
ad publi h d a t O fo d i
. n . n e n r r x r w r en
, .

n 1 7 72 s e x r n
R p i t d i t h Hal i a Mi c llay A Coll cti o of Scac Cu i ou ad
.

4 “
e r n e n e r e n s e n ; e n r e, r s, n
E t t i i g Pa phl t ad T a c t t (L o d o W h i t C vol
.

”
r t n n m o,
é5
n e s n r s, e c . n n : e . .

v i
T uth ad L oya lty Vi di ca t d f o t h R p oa ch ad Cla ou of
. .
.

5 “
r n n r m e e r es m
(L o d o 1 662 4t o)
e n rs
M E Ba r g ha
. t . s w e, e c . n n , , .
 INTR ODUC TION . 5

th fiddl thi s I su pp os m ight b t h e ise of it ; b i g i

e e, e, e r e n n

St Ja
,
m s s P ak I h ead a orga n touch d i alittl e l o w oom
’
. e r r n e n r
,
of o M r H k o s I w e t i ad foun d ap iva
n e . en c s n t com pay
’
n n ,
n r e n
of so m e fi e or six p erso s v Th y d s i d m t o t a k avi o l ad n e e re e e n
ba r apat I did so ad th a
.

e r t p at too no t m uch a dva nc to n r , e

r p u ta
.
, ,
th e ti o of m y cun i g B y ad b y with ou t t h e l a
e n st n n .
-
n -
e
co l ou of design o xp c ta
,
r ti o” in com s C o m w ll H fou d r e e n , e r e e n

us pla yin g ad so h l ft us
.

, Th
n Ob s r a to aapa e pr e . e e v r w s e
s t u p by Si r
e Ro g r a ft th di ssol uti on of C hal s II e er e r e
’

Pa
.

rl ia m t i n 1 679 ; t h d s ign of which a

en s t o vi dica t e e w n e
th m a e su es of t h C ou t ad t h ch aa
e r ct of t h Ki g f om
e r , n e r er e n r
th ch ag of b ei ng p o pi hly a
e r e ff c ted To t h a b o ve p a squi a d s e e n e
ad oth s h e w ot i n ply Th e O b s va
.

n er rto d f d d by
e re ,
“
er r e en e
th e a u th o of t h O b s va r to s i afull A s w to s v a e l er r n n er e er
S ca n da l s ca s t up o h i m t t (L o d on n ,
”
e c .
, e c . n
,
Thus it will b s n tha t to b aviolini s t requ i ed i n t h da
e ee ys e r e

of our for fa th s som cou ag on t h p at of a a

e er ma t u j us t
e r e e r n e r,

a af y as a
s ew
go i t qui d co side a
e r bl v fo ala dy t o re re n r e n er e r

pl a y t h violin i publi c P ak t h g ia
e l ad discu s iv a
n . r e, e en n r e, w s

n ot f e f om thi s fo ibl
r e r fo h sa y s (u d da t F b uay 1 9 t h e r e n er e e r r
,
whil st di scussi g t h p fo m a nc of ora to ios ( o ta
,

bly t h
n e er r e r n e

M ia ess h) a t C o n t Gad n Th conc r tos w

ve by C lem ti r e e e er e en

on t h pi aofo t ad Ma
e nda m Ga ut h e ot o t h vi oli
r e, n It i s e r n e n .

sa id by fa b u lous w r it s tha t Mi va ha ppe i g t o l ook i n to er n er ,

n n

th st r a
e m whil s t pla
e yi n g h e fa v ou it i nst um e t (t h fl ut ) r r e r n e e ,

a n d p erceivi n g t h di s t o tio of coun t a nc th a t it occai o d

e r n en e s n e
,
w a s so m uc h di s g us t d th a t sh ca st it a a y ad d a sh d it i
e e w n e n

pi c s Al th ou gh I w ou ld ot com m en d ay l a
e e . dy pla yi g n re n n

o n ava l ua ble C m o a fiddl t o follo t h xa re m pl of t h n e w e e e e

go dd ss y t it s t ik s m tha
e e t i f h i s d si rous of nra
r eptu ing e s e e e r

y h ta
,

l t i a situa
,

h er a udi ce h h ould di spla

en s e s tio er en n n

here th r i s o ly j us t light ough t o m a k d ak ess

,
‘
w e e n en e r n

It occu s t o m tha
1 t i f t h soci ty of th isp s n t
r e e e re e

da y en t t ai n d aer y suc h h orr i b l id

e a s a v y nl a g a m ou t of e e ,
er r e n

w orldly pl a su w ou ld b l os t to t h d v o t s of m u m
e re e e e ee in

genera l ad of t h e vi oli in pa n rti cula n r.

D ub ourg tell s us th a t Que E li a b th w aa ol s t ad

,
2 en z e s Vi in i n
,

hi s sta tem n t s em s to b ca i d ou t by t h w o d rful fiddl

e e e rr e e n e e,

n o exh i b it d i
w t h S ou th K s i gto M us u m whi ch i s m a
e n e d en n n e ,
e

of b o x oo d b a u tifully c a rv d with woo dla n d sc s ad “ ”

w e e en e , n

id t o ha give by Queen E l a
,
whi ch i s sa v b b eth t o t h
e een n iz e

W Pak Mu i cal M oi (L o do “ l i p 129 em

”
n n vo

G D ubo u g Th Vi oli
e, s rs .

(L o d o l t E di ti o 1 836; 2 d E d t o
. .
, .

. r
d ”
2 t n , e c n n s n n i i n , n

l ag d
e
4t h E di ti o 1 8 2 ; 5 t h E di t o
. .
r . , ,

3 d E di t i o
. , .

d 5 n n. n i n en r e
I t E di ti o p 22 4 5 t h E d t o
r ,
. , ,

b y J o h Bi h o p s
25 4 s n , i i n , 9 . .
n ,
.
6 VIOLIN —
MAK ING : AS IT WA S A ND I S .

Ea
rl of L ei cest r Th bes t k o n i s tace of a la e
1 dy e n w n n

t of Sig oraMa dda l ena

.

a ma teu of t h la s t c tu y i s th a
r e en r n

Lom b adi i t o wh om Ta r rti i w ro t hi s c l b ra

n ted L ett ra n e e e e

l n aLom b adi i i s vi” nt e a d u ai m

,

a llaSig o aMa dd a n r e r n n er e n ¢

t o i di Vi olino whi ch a p ub
,

p o ta nt l i o p i suo a
r e ez n e er n r ,
w s

li h d af
s e m o th s a ft his d a ew th i E uro paLi t t ai a
n er e n er r

t pt ii p A ll a h j tly em ak s
3
( o m 1 7 7 0e v , s B u u r s r

ppa
,
. .

sto ishm t with whi ch t h e a

,
. .

“
Th blak ad s tu pid a
e n n rition n en
— a t h ve y m ti on — of af m a
y n e l violini s t a once ec ived
r en e e w s r e

a m o g s t us i s h a
n ppily athi g of t h e p a s t ad t h i nstrum nt n ,
n e e

hi ch Fi sol e h a so o ft p u t i t o t h e had s of hi s a
,
w e s n gel s a nd en n n ,

Ra phal of hi s sa i t s i s no l o g r r gad d a u b ecom ing to

e n ,
n e e r e s n
‘
th e o i sex ay h ad s ung a ’
n c ful B u t v ythin g i this
r n n n r e . e er n

w o ld s a r id M ta ,
s ta
’
sio i s ha bit ; v vi tu its lf! Th ere is
e ,
e en r e e

a Oxfo d t a
n ditio tha ta t a a
r m a t u co c t a
r b ou t t h yea
n r n e r n er e

1 8 27 t h p fo m ac of t h fi t m a
,
e l piais t tha
er r t ha d be n e e rs e n en

s n i tha
ee t univ r ity a ad d with asto m of hiss s
n e s w s r ew r e r e .

Th piaofo t a th
e n eg a d d a ss tia r e w lly aw om a s ns en r r e s e en
’

i ns t rum t ! F o tu a t ly ou ao h ag e t out l a; b ut
en
”
r n e n s v n s c n ee

th efa ct m a i s tha t till com paa re tiv ly c tly t h fiddln r e r e en e

“
e

w a s ti as e sen lly t h i st um t of hat D m oc it us J u io e n r en w e r n r

R B urto ) ca
. ll s i um fo a og u s ad va n ga b o d s ad c rc re n r e n n n

F aci s B a
r co
n a o ly usi g t h lagua ge of hi s e awh
n w s n n e n r en

h t ll s us tha
e e t Th m i stocl s d s i d a t a fa s t t o touch al ute
e e , e re e ,

h sae id h could no t fi ddl b ut y t h could m ae

‘
ke asm a ll tow e, e e n

ag a t city ; ad h go s o t o a
re
y An d c t a
4
inlythose
n e e n s ,
er

Thi i t u t i llu t a
1
s t d ad fully d c i b d i Si Joh Haki
ns r m en i s s r e n es r e n r n w ns
’

Hi to y of Mu i c (Lo do v o l i p 342 ad a s l o i Cal E g l n n v., n s n e s

'

D c i pti v Catalogu of t h Mu i cal I t u t i t h South K i gto

s r , . .
, r n
es r e e e s n s r m en s n e en s n n
M u u (L o d o
se m p 28 7 i hi c h la tt pl a
n c i full hi to y ay b
n n w er e ts s r m e
fou d I t i a lo ti o d i D B u y G a l H i t o y of M u i c
, ,
.

’ “
n s s m en n e n r. rn e s en er s r s

(L o d o
.

n Vi d p 10 9
n e
Thi l tt a publi h d paa t ly i th at a la ti o t h o ppo i t pa
, . .

2
s e er w s s eg se r e w r n s n on e s e es
by D B a y th u i ti tul d
r. L tt ad l d fo t S i g o G i u pp Tati i
rn e s n e e er e e n o n r se e r n
a llaSi g o aMa dda l aLo b adi i t (L o d a
n r ad t h t a la
en td m r n e c. n r n e r n s e
ti tl pa g (oppo i t ) u A l tt f o t h la t S i g o T ati i t o S i g o a
, ,
e e s e r n s, e er r m e e n r r n n r
Ma dda l aL b adi i ( o Si g o a Si
en om ) publi h d a a i p o tat
r n n w n r r m en s e s n m r n
l o t o p fo vi oli t a la t d by D B u y (L o do
,

ess n o th er r m er s n e n r n s e r. rn e n n
A co d di ti o a pp a d i 1 779 ad aG a t a la ti o
, ,
se n e n ti tl d B i f
e re n n er m n r n s n en e
“
r e
a Ma gda l L b adi i tha i c hti g L cti o fii di Vi oli
,

n lt d i en om r n en en e n e w e e n r e n

(H ao v T hi t a l a ti o h a d b fo a pp a d i Hi ll
,
S pi l e er n er , s r n s n e re e re n er s
’

L b b ch i bu g b ii h t Mu ikg l h t u d To k ii t l
e en s es re n en t er m er s e e r en n n n s er ,
”
e c
p 278 A E gli h t a la ti o a pp a a t p 25 7 of Dub ou g ok
.

’
n n s r n s n e rs r sw r

( i d ot 5 th di ti o
. . .

r p
e n e
2
e n
h Mu i c i t h H ou (L o do
,

J B ulla
. .

3
p 30 s n e se n n
Th Wo k of F aci B a co by J Sp ddi g ad o h (L o do 1 858)
.
, , . .

“ ”
e r s r n s n e n n t er s n n
p 79 Th paa f to a b out Th i tocl i tha f ou d i
, .
,
vo l v ., g h e t ss e e r e ers em s es s on e n n
PL U AR —IIA TTA PXOT B IOI GE MI E TOKA H Z II
. . .

fia p éu a
b a
T CH : t : re ov r s
éX O pt a a i d l a d ap fi a ad il a 0a d u xh a
aa da h é
'
ev e i
Ls K or s zs
fbu d i '
r i s ifl r r w 1r e1r c e
'
c ox o w w v ev ev o

fi v a
y x dg
‘
er o ¢opw x f
oi r epov n l/ so ; ‘
yw v, (i n Mi pcw M y dpn b a
aooa al “ r a
r i x e
'
8 a s IT w a s AN D I S V IOLIN MAKING - .

of K al Th o d or E l ect or of t h r Pa la ti a te a
e b ou t t h m iddle of e n e

y d t h violi n r m a r ka
,
H pla
,

th ight nth c n tu y
e e ee bly e r . e e e e

w ll ad us d t o a
e stoni sh t h e g oo d p opl of Hildesh m d ur ng
n e e e ei i

lk s in t h n ighbourh oo d by w onde ful fl ights of fa

,

hi s wa ncy o
e e r n

hi s fa v our it i st u m t H a ft r wa rd s deg e at d i n ton r en e e en er e

t ba ll s w ddin gs ad t h like
.

Sta dt Musik at or fiddl a n

’
er e n e .
”1

t u vi oli n i s t afa
, , ,

C ha rl s I X of F ac a a a m a ct h o 2
e r n e w s n e r w

t Goudi m l (i s truc t or of Pa l s trina

.
,

eve whi ch did ot p

r, ) n r ev en e n e

f om b i g kill d i m a ssa c of St B ath o l om w s da

’
r th e n y e n e re r e .

Poi sot say s h h a s t h i st um t this m onach pla

.

e y d o in s een e n r en r e n

t h B ibli o t h equ d C l u y (Sa t L oi ) I d no t quo t t h 3

e O e e n n e e re . n ee e e

tim h o ou d b u t idi o ti c l g d tha

e -
n t N o fiddl d whil s t Rom e
re e en er e

b urn d b u t t h a b ov a cd o t m i d s m of it C yp rien
e , e e n e e re n e .

D sm aa e i t ll s us tha t Ch a r rl s IV D u ke of L o a
s
“
e i n ad e . rr e n

ki g ad tha
,

B a aag a r, w t pat o of violi n m a s t it a u d r

re r n -
n n w s n e

m d M da r a
,

hi s a uspi c s tha t o of Am a ti s w o km n a e n e
’
r e ,
n e e ,
w s

e stabli sh d i F a nc ad com m a e nd d t o m a k a t of b ow
n r e, n e e se

i st um ts fo t h Sta
n r t co c ts tha en t thes i s trum e t s w re
r e e n er e n n e

ill um i a t d (lik thos of Am a

n ti i d not ) with t h d uca
e la rm s
e e ,
s e e
2
e .
5

S om of t h b s t a ma t u s h o ha
e v l ft th i r m aks e e e r w e e e r

o nth o ll s of fam ha b
e r cl gym f om t h m o ks e ve een er en , r e n

of t h m iddl ag s t o t h m usica
e l l ico of t o da
e y e e c er s -
.
6

Th e G a t Mu i ci as edi ted by F aci s H uefi er

re Web e by Sir
s n r n r,
"
Juli u B edi ct (Lo do
.
,

s en n n
I t w a fo Chal IX tha t A d” a s Am a ti m a de t h e c el b a
,
2
s r r es ted i t r u n re e r n s

m e ts k o a Chale IX Am a t en ty fou vi o li n s (t lve

.

n n ti
w n Th s r s s ese w er e w -
r w e

la g e ad t elve m a ll pa tt ) i vi ola ad i ght vi olo c ll o s Th o k

. .

r n w s er n sx s n e n e e w r

m ash i p ae qui si te ad t h colou ai ch ed b o T h y e e i llum i a

.
,

n w s x td n e r r r -
r w n e w r n e

i th t h e am s of F ace ad t h e m ott o Pi etat t Ju t i t i a O e of them i s , .

”
n e e s n
p e e t d i t h e P ho t o g a
w r r n

ph Pla te II ad III (a id pa
.
,

re r s n e n g r s, s n e e
C E Po i ot Hi stoi e d l aMu i que F ace depui l t m ps l es
. .

plus culé ju qu ao j our s (Pa

s r e s en r n s es e
D t u) ,
. .

’
re ri
s 1 8 60 s n s s, en
D m aai s ”A chéologi du Vi olon Descr i pt i o d u Vi olo
.

C ypri en es r r e n
’
n n
Hi tor i qu t M o um e ta l (Pa ot p
.
,
1
s ri e e 1 8 36 w i d n n s, e n e
a go o t o a Loui s X IV fut l e p em i er p i n ce qui
. .
,

Th w ri t
5 “
m e s y e er es n s : r r
a doptapou acha p ll t pou 1 se vi ce di vi n l usa a
.

ge d es i st um en ts s
cor des et a
r s e e e r e r n r
achet tel qu vi o lo s a ltos ba et con tr e b a
,
r ss sses Ce fut Lull y
s e n es,
u i te dat d l a m usi qu da oi qui fu t c hag é d p ocu e Il s fur e t
, , , .
,

b i qué t fou i paMéda 1ut h i e a

’
s r n n n e e e r r e s n r r r. n
fa Nacy l s vi olon s fu e t pei t s d u e
,
’
r s e rn s r r r n : e r n n n
coul u ouge m oi s fo cé cepe dat qu c lle d s vi o lon s de St adi var i us
e r r n n e
,

n n e e e r
Il fur e t am o i és a u am es de F ac vec c ette devi se da
.

t d Na va e a
,

s n r r x r r n e e e rr
gr ad oi JV p l a n i l ms W a T ou l oi s de l E u ope s em p es e e t de
,
-f ’ ’
n r -
ec r s es r r r s r n
m pl e d e L oui s X IV e a doptat pou leu m u i que l usa
.

ui vr e l ge des
’

i t um e t s a co des et a
’
s ex e n n r r s
ar ch t
.

ns r n r e
I ri t t h e a b ov m y th oughts a tur a ade t o tha t ecce t i c
.

A s w e l ly e n w n r n r
en thu i at ad qui si t e i t o a
s s l l subj ect s co
n exected w i th m u i c a n d th e w r er n nn s
vi oli t h Re H R H aei of h om ad of h o e o de ful
n e v. cuti on i n w s, w n w s w n r ex e
old day at Cam br i dge on der ful sto i es a ti ll t o ld by ye i t esses ad
, . .
,

th e s w r re s e w n n
heae s T o a h o ae i t e ted i t h e vi oli t ca b e m o fa
-
,
r r ll ha
w sci a ti n
r n er s n n w n re n n :

tha t h lage cti o o f h i s ec t” o k M y M u i ca l L i f e (L o d o n

.
,
“
n e r se n r en w r s n
B ook i i i pp 2 15 388 Th e Vi oli
, ,
“
.
, .
-
, n .
 INTR ODUCTION .
9

Sa n dy s ad F o s t ( id o t n p 3) r l a t th a t t h e em in n t
r er s e n e
1
e e e
p r acher B ou d l ot a ap fo m er o t h violi ad quot
.
,
e r e w s er r n e n n e
fo ll o win g a c d o t aa
,
th e He pp ointed to p r a n ech o e :
“
w s e n
G oo d F rid a y ad t h p rop r offic r t o a tt nd h i m t o
n e e e e
ch urch ha
,

vi g a ived a t hi s h ous n a di ct d to g o to t h
rr e, w s re e e
stu dy fo h i m A s h a pp oa
r ched h h a rd t h e soun d of a
. e r e e
vi o lin ad t h e d oo b ing op n alittl a
,
n , y h a B ou d l ot r e e e w e s w r e
s t ipp d to hi s ca ssock pla yin g ab ris k tu o t h ins trum e t
,
r e n e n e n
,

ad d aci g a
,
n b ou t t h e room H a m uch urp ris d ad
n n . e w s s e , n

k nock d a t th d oo wh n t h e di sti g ui sh d divin la

e e id d ow r, e n e e n
hi s i ns t um n t ad p u tti g on hi s g ow t old t h o ffi ce with
r e ,
n n n , e r

hi s usu a l com p os d l ook tha t h a a dy t o a tt d h i m O

e e w s re en n

th i a
.

e r w
y hi s com paio xp r ss d hi s u p ri e a t wh a t h ha d n n e e e s r s e

s n t o B ou d l ot h o pli d tha
ee t h m ight b u l ss m a
r e , d w re e , e e n e e
cqu a i ted with his p ra
,
a n c ti c o th s occa s i ons O thi nki g e n e e . n n

ov r t h i n t d d subj ect of hi s di scou s h fou d tha

e e en e th a r e, e n e w s
t oo d p r ss d to t r a
e t it ah e ou ght ad th fo h a
e e d cou s
e s ,
n ,
er e r e, re r e
t o hi s usu a l m th o d— som m usic ad alittl b odily xe ci se e n e e r e,

ad th us p u t hi m sel f i nt o ap op r f a
n m of m i d t o na bl h i m r e r e n e e

t o g o with pl au t o wha t w ould o th wi s ha

e s v b n awo k re er e e ee r

of p a i ad la b our to h im
n n T uly a i s tac of a d aci g . r ,
n n n e
“
n n

pason ” whi ch r m i d us of t h g a
r y y oun g cl gy m a of t h
e n s e er n e

a t old tha
,

tim of E d a e r d II of wh o m w t w h h g oe .
,
w e re en e

ou t
H p utt th i h i pat ak chi f ad aco b
e e n s w en er er e n m
ad a yf t o b i d i th h i j l ock
,
A k s ew er n co n w s s

A d a t yl i t h o l yb l ad i oth b o k w
l
n n on er s.
p
n r n e r i e, n

I mol e s

S o m uch fo t h a m at u s wh o ha v g o b fo us It i s
r e e r e n e e re .

t o b p su m d tha
e t th t m a
re m a t ur m u t con ti u t o b
e e er e s n e e

i so m
n ay a t e m of co t m pt un til t h
e w e wh c h r b y a n e e s x , i IS

t ag m i s om t rm d t h wea
s r n e k n
”
s ha ll ha v Wp da
er wae y e e er , e i e

thi s rep oa ch In co cl usi on I a o ly a

r y th a t ma ny t h n c n n s is e

t u wou ld b a
,

v d v ou tly wi shed tha ta ma

.

tim wh n I ha e e e e e rs e r in

m i d th n w o d s of St phens wh o m ak s with m uch d y

e r e
2
re r r

h um ou ad soun d s s A fiddl r i s wh h pla

,

r n y s w ll a en e,
“
e ,
en e e ,

d ligh t only fo th m tha

e t ha v th h a g b ut r he hee e ei r
.

e ri n , I S, w n

pla y s ill ad light only fo thos wh o ha ve ot th r h a

e r ng r e n ei e i .
n

ha sm a n fi a
,

E n t o da y
ve t h e wo d fiddl n y o pp o b r ous g r
“
e r i Si i c

ys wh n afiddl r a asy no ym fo a
-

ti ons elics of t h da r e e e w s n r

rog u e or useless f ll o a
,
n d th e F nch a s e k no
,
h a ve eve
e w , re ,
w w n

a a m a ng
”
n o t h e
w ph r s e m ett e u vi o l on t o m p r son o
“
r ,
e n i
“
i i r

b h le
a b c ; ter m s syn on ym ous a
r ub eb e r e e
i d e c ha pi
'

131
1 325 3155 E i
1
10
c t ers l r on i ca
la c ti v e ( Lon do n
, . .

n d C ha
yes a ra n d In str u
2
1 11 ss , ,

Th e Secon d Im p r ess o ”
n ,
 10 VIOLIN MAKING -
: a
s IT WA S AND is .

l ook Ab ou t t h origin of thi s u of t h e w ord i olo there

up ”
e se v n

ha m o g phil ol o gi s t s ad ty m o l o gi s ts
.

ve b n m a ny di scussi o s a
ee n n n e

aw riter in Not ad Qu i i n t ll s u th a t in th
ll d P a P a
es n er es, e s e

tim of L oui s X I t h
e Sa du P rdus) e e es s er s e

ssi ns turb ul nt cl rk s ad
.

w a s so m u ch fr qu n t d by s p a da e e e ,
e e n

s tud n ts tha e t aba iliff of t h pa lac t o p u t a e d to t h ei r e e, n n

d opt d t h pla of sh uttin g th m u p i n al o wer

,
disturb a nc s a e e e n e
room of t h conci rg ri wh i ls t t h cou t s w r s itting b u t a
,

e e e e e r e e , , s
they w r no t guilty of ay p u i sh a
e e bl off nc h a ll o wed th m n n e e e e e
a i oli t o a
v m us n th m s lv s ith d uri g th i r tem p ora
e ry ae
p e e w n e c

t i i ty
v H nc t h w o d vi ol o ca
. e e m to b e a ppli d t o pla
e c s r n e e e
wh r p sons u d p ovi si o a
e e er l arr s t w r o fi ed How
n er r n e e e c n n .
2

ev r thi s m a
e
y b it i s a nythin g b ut com pli m nta
e, ry t o t h e i st r u e n
m en t whi ch aa w rit in t h D a i ly T l g a ph j us tly r m a rk s 3
, s er e e e r e ,

“
i s p m in n tly t h i strum n t of p a a”d con ten tm nt of
re e -
e e n e e ce n e ,
g n tl su a
e si on ad h am o y a
e m on g m ak i n d
n fo i n d e d a r n n r, e , s

pta y s i hi s p r tty com plim en t a

,
Ca i n Ma ch a th sa e like t o w om a n n e

ad t h v ioli
n e n
4

If t h h at o f a ai d p d i th ca
e e r m n s e r esse w r es,
Th i t i di p ll d h a o aa e pp a m s s s e e w en w m n e rs
Li k h ot of afiddl h tly
e t tly e n es e s e sw ee sw ee
Ra pi i t ad cha u a
,
”
i th ses e s r s n rm s o r e r s,

a n d Tom H ood spoke fr om t h e b o tto m of hi s hea rt when h e

ra ther d escripti vely pu t it Heaven r e a r d th e m a n wh o fi rs t w

h i t u p on t h e very o r igin a win g t h e i ns ide of aca

l notion of s a t

Not es a n d Qu er i es thi d ser i es v o l v i p 496 (D ecem ber 17th

r

Th e a b ove a ppea r ed or i g i n a lly i n Gali yn a a r y 2 l st 1 865 a n other

,

On Ja
, . .
, .
,
n u
2 ni
w r i ter i n Not es a er i es (v o l r efer r i n g to t h e a b ove reci ted a
.
, ,
r ti cle
ys a
n d Qu
sa p os of thi s subj ect [ t r a n sl a Th e f ol l ow i n g ex pla na ti on by t h e
.
,

pr o t i on ]
em i n en t Fr en ch phi l ol og i st G e i n i s m ore t o t h e p u r p ose 1 took n ote of i t
,
n

fr om aser i es of pa pers b e fur n i shed som e yea g o t o t h e Jow r n a l d I ll uet r a

,

rs a
.

t ion b u t i t i s t o b e f oun d w i th m a n y o ther cu r i ou s thi n g s i n h i s Rec r e a t i on s

Philol ogi ques ME TTB E A U V i OLON It i s w ell k n ow n that i n t h e” m i ddle
,

i d i n stea
-

a g es th ey sa d of m ettr e a u v i ol on m ettr e a n p sa lt éri on Psa

.

”
l
t eri a n sa l t é r i on sa ut ér i on a re a l l i den ti ca l i th t h e La tin w or d psa
, , .

lt er i um ”
,

these bei n g G a lli ciz ed for m s Thr ough out t h e m i ddle a ges t h e sev en p en i t en ti a
, , , ,
l
psa lm s w ere a s m uc h used a l or a i son d om i i c a
.

s le i tsel f” B y degr ees i t ’

n
bec a mea ha bi t t o sa y ca a i m e t o sa y asep t p sea um es a s n ow w e sa
.

su lly t y
-

tim e t o re ci te apa Mettre u psa l tér i on m ea n t therefo r e t o b e set

,
“ ”
t er n

d ow n t o on e s psa lter t o b e set d o w n t o apen a n c e t o m edi t a te over on e s folli es

.
, ,
’ ’

t o rep en t of th em a n d to r eci te t h e sev e p en i t e ti a lm s (un e sep t peea

, ,

l psa
,
m n es) n n /
w i th out fea r of i n terr u pti on B ut t h e psa lté i on w a lso am usi ca
-

sa l ina tr a
,

r
m en t a n d t h e p opu la ce took a d va n ta g e o f t h e equi vo que a
.

n d seei n g tha t the

psa lteri um w a sa n ti qua ted sub sti tuted for i t t h e vi oli n w hi ch h a da
, , ,

sser ted i tself

a s t h e ki n g o f i n str u o sa ér i on
,
n stea m ettr e eu p sa w e sa
,
m en ts I d f y in g lt “
y
m et tr e eu vi o lon a n d t h e pla y upon or ds i s kept up
.

” ’
w
F ebr ua
, .

r y 1 3t h
3
1 88 2
J Ga 1 7m B egga r s Op e a (L on d on a
, .

’
.
y , ct i i so I
r
, .
, . .
 INT RODUCTION .
11

with t h e ta il of ahors Th e v a nity whi ch fi ddling a e

1
w s
supp os d by ou r forefa e th rs to b i s a m ply p ro ved by thei e e,
m a
r
ny t i n g s i n i t s di s pa ra g m nt D r Ba rn es (cha a
.

w ri
pl i n to e e . .

Ki ng Henry VIII ) di s tin g ui sh s fiddli ng a s arep rehens ibl e

tra d e i n h is W ha
.
e
t t h e C hurc h is tc a n d D ryden s li n es
”2
, e .
’
,

St i fi i o pi i o a l a y i th og n n n s, w s n
Wa
e w r n
yth i g by tu b ut othi g l o g s ev er n
,

t a ad b ufi oo "
r n s, n n n
B ut i t h co u of o volvi g m oo ,
n e r se n e re n n
W c hym i t fi ddl ta es s , er , s esm n , n n ,

ae too well kno wn t o requ i e quota

r ti on r

Fiddle fa ddl e a s a xp
.

”
ssi on d o ting fri v oli t i s of v y
-
n e re en

gr a ta
, er
e n ti quity a n d i s o bvi ously d iv d from t h e ol id aof t h er e
va
, e e
n ity a n d fr iv o lity of t h i ns t u m t ; thus F ord sa ys Y e r en 4 “
e
y s ea
m a a trun acl ou d d iv by t h e north rn bla
,
sel y ou st r en e
fi dd l e fa dd l e so ad Sa-

m u l B utl r us es t h e w ord i n hi s n e e
,

c l b ra
e e ted A B a lla d on t h e Paliam n t ” (verse which r e
b gi ns
e

A l o aa
sc g oo se t t h Pali a m s t H ou ha tc hi g t h Roya
se se l G ull e r en se, n e
uc h fi ddl fa gg p o v d a ddl ad Oli v ca f o t h
_

Ai t er mddl t h e-
e e e r e e, n er me r m e
”
Nor t h .

It s em s t o ha
e ve b een a xp ess io m uch i n use a b ou t thi s n e r n
t im d ou btless beca
e, use t h fiddl h a d j us t b een i n tro d uced by e e
t h e Stu a
rts and w as l oo k d u p o a o of t h m a ny fo lli es of
, e n s n e e
th ose so vereig ns B a u m o t ad Fletcher i n thei r pla y Th . e n n e
H um o ou L i eut e at (L o d o
,
r act is so 1 sa
y n n n n , .
, .
,

th a
An d t sw eet ti lti n g w ar w i th ey es an d ki sses
la
Th a r m s o f so ft v o w s a
n d si ghs a n d fi dd lefa ddl e sp oi ls a
ll our tr a
,
’
de ” , .
s

An d v n i n our day th
e e xp ss io (whi ch i s no w a
n ti qua
t d) e e re n e
h aa pp a
red on titl pa
s g s ad t h lik
e S o m uch th r fo e -
e n e e.
6
,
e e r e,

Thi s i s a c
des r i pti n w hi h r em i n ds m e t h e r i shm a o
n w h o on r et urn in g c of I
h m e fr om a a
o i r w her e h e h a d h e r d avi li n pla
f yed, des r i bed i t t h i s a o c o
o
n der i n g i r l e thu twa s t h e sh a
c c pe atur key a n d t h e si z e ag se,
I of of oo
“
w s
a n d h e tu r n ed i t ver on i t s b ak a n d ru o
bbed i t s bell y w i d asti k , a nd o ch ! c c '

S t a P c
tr i k , h ow i t di d s ua
q le
Lo o a15 30 W
.

n d n , ei r o hether they b e Jew or r eeks, ree or b oun ds,

G f
2

f i ao fiddl
.

”
r r r er
J D yd Ab alom ad A ch to ph l pat l 5 47
.

“
r en s n i e r l in e
J F o d Th B ok H at A T a g dy (Lo d o at
.
, , .
, .

r e r 3 en e r r e n n c Be.
Th Wo k o f B a di t d by G o D al y (L o d o
,
u o t ad F l tc h
. , , .

5 ”
e r s e m n n e er , e e e . r e n n ,

236
223 f i ta
1 81 0 )
Fi ddl fa tal Tou i S ach of t h
.

c>r ddl S ti ns n ce, e -

es
‘

en m en r n e r e
A u i g Pi ct u q u ad A g a
m s n bl (L o do 1 845 G Vi tu i llu t a
r es e, td n ree e
”
n n : r e: s r e
by Phi ad tha of t h dad o f afo m
, , .

a
t d li ghtful qui b o t h d
a
z n e s n e r ess e n i es r er
g a ti o Th Fi ddl fi dd l Fahi o Book ad B a uMo
d l F aca
of L"
‘
e e, s n n e n e r n is
en er n e
a e
-

i ch d um o u hi ghly co lo u d fig
, , ,

i th u dy l k fi tl ’
en r e w n er s re r es -
i e en em en
di t d b y t h Auth o of t h C o i c Lati G a m a Th o um ad
,

e e e r e m n r m r. e c st es n
ot h i ll u t a
er ti o by Joh L ch (Lo d o
s r d ns n ee . n n n . .
12 VIOLIN MAKING -
A S I T WA S AND is .

for t h e o pini on s of our for efa th er s con cer n in g t h e ”vi olin a n d th e ,

m ea n in g i n their esti a m ti on of t h e w ord fi dl d e

1
,
.

ll m a a
,

H owever sm a h v e b een i n d a y s g o n e by t h e e s teem

y ,

s h eld th er e i s n o d ou bt a
,
i n whi c h t h e vi oli n w a b ou t it s high "
n d co m m e rc i a lly, n ow th a
,

p ositi on n o wa da y s, b oth socia lly a 2

t
our d a u ghters a r e b ei n g ta u ght t h e vi oli n in stea d of t h e pia no,
a n d tha t vi olin s fetch su m s of m on ey w hich a r e s im ply ou t
of a l l r ea son A s rega r d s t h e fo r m er of the s e
. sign s of t h e
tim es aw r iter in Cassel l s F am i ly Ma z i n e j us tly r em a
ga r k ed
” ’

ashor t tim e a ra g e for tea c hi n g gi r l s t h e vi olin

3 “
g o Th e ,

which a t p r es en t exi s t s i n E n gl a n d i s littl e m o r e th a n afa shi on,

,

a n d, un l ess it i s di r ec ted with m o r e kn o wledg e a n d ca r e on

t h e pa r t of p a r en t s tha n m os t of them n ow show it will di e ,

like on e An d w e a r e no t qu it e c l ea r tha t i f thi s ca re i s ,

withheld am o r e suita bl e a l u ta
r y en d could o ve rta
.

n d sa ke it .
,

A n ew ter ror w ou ld b e a dd ed t o society wer e ever y b u ddin g

Mi ss, n o b etter ins tr ucted i n t h e a r t th a n un der t h e p r esen t
r e i m e sh e i s likely t o b e w er e p er m itted or r equ i r ed t o com p el
g ,

t h e sil ence of t h e d r a wi n g roo”m whil s t sh e scr a p ed ou t on e of -

B ellin i s a ir s with va r ia
’
ti on s Thi s i s qu ite t r u e en b l oc, .

b u t th ere i s no d oubt tha t when t h e fi r s t r a ge cons equ en t on

t h e p er fec t techn i que of such l a dy pl a yer s a s Nor m a n n —
Ner uda -

B fo”r e I go fur the I

1
e ould a y a o d o y co tat u of t h o d
r w s w r n m n s n se e w r
fiddle i s”tea d of ”vi oli i t i ap j udi c o f
n i I aa y p f to n s re e m n e w s r e er
th tha u t h Ita
.

a t o b a ad d oubl ba a li a
.

s y fiddl “
e,
“
en r,
“
ss, n
“
e ss, r er n se e n
w o d vi oli
r s v i ol a vi olo c llo ad i ol
n
”
th F ch vi olo ”
n e n
“
v on o,
”
or e r en n
”

lto ba ad co t ba W h ould t uch li k i t i f

,

a
, , ,
“ ” ”
sse, n n re -
sse. e s n o m e w e w er e
ad t o u t h Poli h k p é a ka b a t l a ad k t a ba
,
” “ ” ”
m e se lt e s
“
s rz c ow
“
se n
“
on r s
o h y c a ot u E gli h o d ha v th t o u P opl hav , , ,

s w nn h w e se n s w r s w en w e e em se e e
oft ak d (i ab olut good fai th ad i oc c ) W hat i t h di ff c
e
“
m e
afiddl ad avi oli ?aqu ti o
en s e n s e n nn en e s e er en e
h i ch a l a of a ,

bt e w een e y n i d n es n w w s r em n s m e
to y told by M A Ch a Hi to y ad A oci a t i o of t h Ol d
.

s r i hi r sem or e, n s
“
s r n ss n s e
B i dg a t Fulh a ad Put y (L o do of a old at a at
. .

r e m n n e n n n w er m
Put y h i d c i bi g t h gl o i of ac tai bad k o a B ook , n
’
n e , w o, n es r n e r es er n n n w n s r s
B ad n hi ch pla
”
yd wth occai o of t h old Fulham at e on e s n s e w er m en s
’

R att a tat d th at i t co i t d of ab i g d u aclai o t t fi ddl ad

,
“
m o
gi
e s e n ss e r : r n e w es n 3
ia
, , ,

v n
W hi l t I i t t h ab ov th co i to y i d ali ttl book hi ch
2
s w r e e e er e m es n m m n e w
w a t s sent h oth day ad hi c h by i t
me ec t dat ho that t h ati qu
er n w s r e en e s w s e n e
p j udi c a ga t ab olut ly ti c t v
,
,

re i t th fiddl i
e n s e Thi l i ttl e s n o s e ex n e en n ow s e
b oo kl t hi ch i fo tu a t ly ao y ou i ti tl d Th i gula li f ad
.

“
e w s r n e n n m s, s en e e sn
dv tu of J o ph T ho p o k o by t h a of Fi ddl
r e n
up i i g a
, ,
s r r sn en r es se m s n n w n e n me er
T h o p o of H a li fa i th a a ccou t of t h vai ou had hi p h dur d ,

of co o Fi ddl ad F i ddli g h i p acti c a a

m s n x w n n e r s r s s e en e
i ck d Ho
,

th e w e n ess mm n er s n n s
cap f o d ath ; h i b i g aFi dd l o ac ui
r e s r se
r id ad Juggl ; a o
er n er n rr es e r m e s e n
P i vat ; h i c u lty a ahu bad fath & ad h i ub q u t
w er n r se
i a n r eer s r e s s n er c n s s se en con
v i o ad d v ot d t o G d (Wa k fi ld W N i ch ol o
.
, , ,
”
er s n n e e n ess d It o e e s n n
ta o di ay to h o i th day of li ght t uch aphi li ppi c
. . .
, .

i s ex r r n r m e, ese s en en m en
could hav b publi h d
w n s
e een s e
Vi d 77m Mu i al St a a
.

n dad Augu t aa
3
e s c r
,
s 5t h , 1 88 2 , n d th e Or c h est r nd
Ch oi S pt m b 1 88 2
r ,
e e er .
 INTR ODUCTION . .

13

Teresi naTuade P om m e ul ad o ther well know n i oli i t es re

h acoo l d
, n

o w n t h e la
, v n s
-

d di es wh o con ti nu e t o pla y t h e vi olin will

s ,
e

ras (a s I ha
,
i e
ve sa id before) t h na m e of Am a teur Violi i s t e “
n
f om t h s l ough of desp on d i n whi ch it i s
r

i t s o bv ous tha
e
at p resen t su k fo
i t t h e g rea
i te r p rs v a nce d eli ca c y a n d spi rit of e e er
n r

em a
ul ti on of t h e fa i r se t o a
,
y no thi n g of t h e ea ter tim e ax , s
, ,

thei r di sp osa l m us t soon ra i se th m fa r bey ond rt h s ta nda rd

t
a
e
tta
,
e
ined by n in eteen ou t of every t en ty m a le biped s wh o
pla
w
y t h fiddle alittle you k o e
, n w .

Th p r s n t i s n either asuita
e e e ble pla ce nor a a pp op ia te
occa
n
si on for a
r r
n exp os iti on of t h fa iling s of t h ordinay
a
e
ma
e r
teur ; b u t there a r e tw o p i nc ipa l ones which des rve
apa
r e
ss i g no tice these a x c ss ive tunin g a
n : nd sh owing r e, e e “

Th ere seem to b e m ay am a
”
off . -
teur fiddle s who thi k it n r n
sh o w s self c on fi den ce ski ll or noncha -

lanc e to tu with n e
unn ecessa
,

ry vig our ad a
,

t un ec sa ry len gth no t fl c ti g
n n es

th a
re e n
t to t h xperienced m usi cia n such ap roceedin g i ace ta
,
e e in
in di ca
s r
tion of execu tory in a ptitud Th e pa ss i on fo sh o wing e
2
r
is a ppa rently a
.

of f n i ncura bl dis a se fo o e hea rs v n e e

a
r n e e
dvanced pl a yers runn i g sca
,
l s u p ad d own t h e fi g b oad n e n
ad pl a
n er r

yi n g b ra v urap a
-

n
ssa ges whe ver they ca n
g t a su it a
bl e n e e
or unsu ita ble opp ortun ity It i s am a dden in gly cont m ptible e
ha b it Wha
.

t i s m ore di s tressing t o t h e m usi ca l ea tha n th

n t guat —
r e
.

disco da dha u atha t p rec des t h e o vertu i m ost

’

tres ?I f on e lis t ns ca
r r r e re n
of our th ea refully on e ca ofte di s e n n
,
t i g ui h
n h ole exerci ses by well k no w n m a
s w s ters b i g run -
e n
“

th ough by i ndivid ua
r l fi ddl s It i s rel a ted of C a m er tha t er r
wh n o hi s a
.

y t o E n gla as en aed t o p la a
,
e n nd h w
g g y con e w

c r to on t h e vi o li n a
e t th C oncert Spi ri t ed in Pa ri s O e -
n
n te i g t h e orches tr ah e a st r uc k w ith a m aem n t a
.

e r n t s ei g w s z e e n

Fr aci B ea
um on t
n s Th e Kn i g h t o
f t h e B ur n i n g P eni l e
”
Com ed y fi t rs
pl a
, , ,

yed i n 1 61 1
Masi n ger w a s a l o i m p es ed w i th thi s i deaw he fi ddl e fi t
.

z
Ph i li p s s r s n s rs
ca m e o v e t o E g la n d for h e sa
,
r ys n ,

Wi e stri n g an d ca t g ut m
r -
ad str on g b r ea thed h ob oys-
en n -

F or t h e cr edi t o f y ou ca lli n ”g have n ot your n str um e t

, ,

r i n s
T o tun e w hen youstri ke up .

Th Guadi a n 11 com edy (L o do e r , . n n ,

al a l as feel for a a t h i se i th t h e C our t i n th e o ld st or y of h e

t e for w h bse dem
nd s
filigt gr ii p ote n t g tgt i o a
t
w w
b ad a s sen t for th t o i s do m a
,
l

B ef o thei r fi r st (pr o p osed) p r f or m ace th y bega

re n t o tu n e the
e
hn str u
ns
m en t s n
n
e
n w

ir i
i .

a n o pe a ti on w hi c h pr o duced on t h Cour t t h e sa e k n d of eff c t tha

,

r
m e t st eppm g
e i

a h o t h o v l p o duc d M a k T a s con t em pla ti ve spi de (He

a
on ed r s e r e o n m r w r.
fi st e p essed aw i ld a Ob a
-

ston i shm e t ad th n sh n vell ed up I) tu pu

.

r x r n m nt n e -

at t m t qa om a —a n d t h e m i se a
e c ble fi ddl e w er e se t hom e a s fast ar s o b le rs n
,
e e n
p ssi
by t h e ki n g w h o r ef used t o hea r a n oth e n o t e of the r m u src fean g t m ght r i ri i i

o
,

a ple I
,

be “
up t s m
14 a s IT V I OLINa s A ND IS ~
MA KING z w .

t h s con d ad i f i or vi oli n pla

e e ,
n y rs pl a yi g fo th i r o wn
n er e n r e

a m us m n t t h e m o t di f
e fi cu lt b a v u apa e ssa gs a t th
s t o of
p r r e e

h ug r b o a rd I f th ou ght h t h e F r nch su b ord na t

”
th
“
e e -
. e, e i e
,

fiddl pla ye s
-
p oss ss suc h er u co m m on p o rs o
ef x ”cu t on I n w e e e i
,
c a ha n v littl chac of pl a e sin g aPa
e ri s i a a nudi nc e Ho e n e e . w

v r h w t through hi s conc to ad a a cco d d awhi l

’

e e e en er n w s r e r

ti o i g t h m a
,

wi d of a n ppl a us ; n xt da y o hi m e e tt r to ,
n s en n n e e

a m i n t F ch m usici a t h la
n e n e tt r pli d O h confound
r en n
,
e er e e ,

th m th y only p a
e cti s such m o k y t i ck s ad a pla
e r y e n e -
r n c n

y athi at h c l b ra
, ,

no thin g l s ”
S uch apla e e . t d L olli er s s w s e e e e
,
1

wh o s m s t o ha ee v b n at i ck pla y of m av ll ous fo c e ee r -
er r e r e,

a h l ! I d d P ak i h i M usica l M m oirs
' '

e t p t r ce er e n z z n ee r e n s e

(v o l i p 5 2) sa .
,
y s ofh i m. Hi s cu ti o a as to ishin g ad : ex e n w s n ,
n

th t i ck s h pl a
e r y d i n va ri ous pa
e rts of hi s co c to x c it d t h
e n er e e e

r isibility m o tha t h a dm i a ti o of hi s a
re u dit o sn
”
Th o ly
e r n r
2
e n

d ap a
.

p son of ou da
er y (a fa a I k o w) wh o h a m a r s ctic r s n s e r e

of thi s ki n d of chala ta y i s ac ta i cc t ic p rof ssiona r l

n r er n e en r e ,
w h o h a c tly m a d hi s a
s r e en pp aac a t m usi c ha ll s ad othe e r n e -
n er

e n t rta inm n t s of a sim ila

e er na tur ”u d t h hid ously sug e n er e e

g ti es v e titl of P a ga n ini R diviv us

e My r a
“
d s (who h a v e . e er e

n ot h i m ) will j u dg of h i m ad hi s m its wh n I a
seen
y
e n er e s

A to i o Lolli a a a
n n ti v of B ga o b o i 1 730 h o Si G o g
w s n e er m rn n w m r e r e
G ov i Di cti o ay of Mu i c ad Mu i ci a (Lo do 1 880—1 884) , ,

r hie n s
“
n r s n s n s n n
d c ib a a o t ta o di ay p fo b ut a l o h typ of a
,
“
es r es s m s ex r r n r er r m er , s t e e n
u ui ca
nm l s pty h a d d vi tuo o ad i a
em ddi ti o aco pl t f ool ad thi
-
e e r s n n n m e e n s
opi i o o f h i i u ai ou ly tha t of a l l h i bi og a
, ,

n n m s ph
n n m s s r er s
S ugg ti o fo aMu i ca l A ph i t h a
.

M H C Lu
2
r i hi nn n st “
i es n s r s m e re n
Mu i g of aMu i ci a (L o d o 2 d E d 1 8 49 p gi v ad li ght
. . .
,

sn s s n n n n n es e
i ai a g i ay p og a b i g ah i t a i ck i g a hi ch
, , ,
. .

ful i t em n n m t th
n r r yi r m m e, e n e s en n w n w
i f i o pla
n er y r pad t o h popula tat by th
er s n er hi bi ti o t of e r s e ese
“
ex ns
“
m u i ca l py o t ch i c
s H a y
r M L U U G RA A M W AL KER t h
e n s e s s: r CI S H e
Mi a culou Vi oli i t (j u tly u a d h O t i g d P di gy) i ll aft ad
.
.
,

r s n s s s rn me t e ne s r n -
e r o w er w r s
go th ough h r h ol of h i t uch a ed i d p fo ac
w e A N s m m re er rm n es UP ON SI GLE
R
ST I NG I o d that th n ayb r d p i
er i thi t h v i oli i ll b
er e m t on
e n o ece n s, e n w e
b ought b f o h a udi c ad th c Aft
.

r e re tt i g b k i th i p
e en e n r ee s r n s r o en n e r r esen e er
thi f a t h i ll hi bi t o of h i ff ct f t h i c h ha
.

s e e w ex h i t u s m e v s n ew e e s or t e n s r m en w e
b een c iv d re e a ch p tati o i th U of LAUGHT ER ad
e on e re r esen n w SH O TS n
TH UN ER of A PPLAUS E A o g t t h o t p o i t of th i ll b a
D S m n s e m s r m n en ese w e

p ul i a u d g o t by g tly t a ood of t h b o
.

ec r so n ppi g t h t i g hi l t t h en n e s r n w s e w e w
pla c d clo to t h b i dg ad udd ly d a up ad do t h t i g
,

is e se e r e n s en r w n n w n e sr n
w i th g a t f re Th p ta t or ce t oo uch u d by i g e or ad la t lym en o so m se sn er s n e
by vi oli i t hi ch co i t of gli di g ot i t o h oth i t ad of
.
,

n s s, w nss s n on e n e n t e er n s e
se paa ti g th a t h y a ak d up t h pa
r n em s p i ll o thi occ a
e re m io h r e on e er w n s s n e
ai d a t il l p f o apo ti o of a ll k o co c t o
, , ,
c rr e to H n ex r em e . e w er rm r n w e n w n n er
a a
-

hi ch by i ply u i g t h b ov ti o d h
,

i il l a k th
‘

n w sm s n e me n s e m en n e e w m e e
o l ov ly adat app a a i of h a di ay a
, ,

m st e n n e e r it v ser es t e m ost ex tr or n r w s e er
li t d t o ad t a fo ab a
s en e nuti ful co p o i ti o i t o a
r ns rm t p tati o
e m s n n c or r ec re r esen n
of a t f a
c on cer Th i f a
,

t haa
o l a y b
c ts c iv d i th t h s ut o t e s w s een re e e m
LA U ER ad a a
w e s
—ad i t uth thi j u t d c i b ay of h
.

GH T u n r rn sn n n r s s es r es m n t e
o d ful hi bi ti o of u i cal gy ati c fo c d upo o d i g a by , , ,
w n er ex n s m s mn s s r e n
h u d d of h ala
w n er n c rs
n re ta a a
s t u ad p of i o a
C r l i h d ai g oo o t h
n s, m r ess n t
plafo —ad i t h ci cu
e r n , n e r w n -
r m n e
,
t rm n n e r s .
16 VIOLIN MAKING : -
A S IT WA S AND IS .

t ll s u (D c m b 3 d 1 660)
e s Ros by cadl ad Sp n t m y
e e er r e n e, n e

ad it i s
,

m orn i n g i fiddli g t ill tim e t o g o to t h offi c

t t h p u su its of b oy s ad m unfi t t h e h a
n n e e n

u g d tha
r e n d s fo t h
e r n en r e

d lica
e t touch c ss ay t o ap rf ct i to a
e ti o o t h su ppl ness
n e e r e e n n n ,
r e e

r qu isit fo ap rop t ch i qu up o t h fi g b oa
e e r rd thi s er e n e n e n er -
:
1

i why I h a
s il t h tim wh n om sha ll pla y t h e vi o li n to e e e w en

us wh ,
th xca bl a maen t ur fidd l wh om e ha ve a e ll e r e e er , w e

e du
n d ad aa re th m ati d sh a ll b athin g of t h pas t ad
n n e z e ,
e e ,
n

whe it will b e cou t d asha

n m ad adi sg ra c t o pla y th n e e n e e
vi oli ith r lik am av llous pi c of m ch ai sm or at a
n e e in d e r e e e e n r e

ani m a l Of cour it i s ou t of t h qu s ti o t o u pp os tha

2
. t e e e n s e

am a t u s ( v la e di s !) will v r m ul a
r te t h ph om a
e en l e e e e e en en

applica tio whi ch i s p o ted of Pa ga

nni i of wh o m e ha v re r n , w e
ha n d d d o n to us t i b l sto i s of t e ad twelve hou s
e w er r e r e n n r

a da y u i t r upt d p a c ti c o t ha
n t th y will p a
n e rc ti c till e r e,
3
r e r e

thei r fi g s bl d lik t h p upil s of t h e g ni us Fos g i ;

n er ee . e e e se r n
*

“
N othild possi bly a
n g c
dd t o t h e cha
ou rm a n d va r i ety of Mu si c i n t h e
H ouse li k e agen er a l i n cr ea se of ski ll i n vi o li n pla yi n g A n d i f thi s i n cr ea se is -

to b e m a de i t m ust b e m a de for t h e pr esen t a t l ea s t thr ou gh fem a le a

.

id An
ex c lu si v e dev o ti o n t hr ough t h e gr ow i n g y ea r s o f b oyhoo d t o cr i ck et a
, .

nd
b oa ti n g h ow ev er di r ec tly con duci ve t o t h e pr om oti on of pi ety a n d g ood li t er a
, ,

tur e lea v es li ttle tim e for t h e a cqui si ti on of ski ll on am usi cal i n str um en t n ot
,
’

t o sa y th a t ha fe ed by t h e b a t a n d ca r a r e l i ttle li k ely t o m a ke m uch

, ,

n ds sti f n

of t h e b ow or fi n g er boar —J H ull ah Musi c in t h e House (Lon don -

S pea ki n g of tr a i n ed a n im a l s r em i n ds m e of am o st i n ter esti n g n ote w hi ch

.
, ,

I fi n d i n Kn i ght s Am e i ca n Mecha n i cal Di cti on a

’
ry
“
(New Yor k 1 875 r

3 v ol s a Fi ddle a Vi o li n w hi ch p oi n ts out t h e fa ct that th”ough , ,

r ti c l es
“
n d
gr a ssh o pp er s cr i ck ets a n d t h e li k e a en tly sp oken of a
.
,

r e f r equ si n gi n g yet
they do n ot si n g they fidd le B y r ubbi n g l eg s a
s
n d w i g s t o g ether — ea ch i n
, , ,
n

th e m a n n er pecu li ar t o t h e speci es these i sects pr oduce t h e soun ds w hi ch

, .

m
n

char acter i e them L ocusts ar e fi ddl er s T hei r hi n d legs are t h e b ow s an d t h e

-

pr oj ecti n g vei n s ofthei r w i n g co ver s t h e str i n gs On ea ch si de of t h e body i n

. .
,
-

t h e fi r st segm en t of t h e a bdom e j ust a b o ve a n d a

.
,
li ttle b ehi n d t h e thi ghs i s n

adeep ca vi ty closed by athi n pi ece of ski str et ch ed ti ghtly a cr oss i t li ke , ,

aba n j o co v er -
W hen alocust begi n s t o pl a y h e ben ds t h e ha n k of on e hi n d s
l eg b en ea th t h e thi gh w h er e i t i s lodged i n afur r ow desi gn ed t o r ecei ve i t a
.

n d
then dr as t h e l eg bri skly up a n d d ow n sever a i m es a ai n st t h e pr o j ecti n g
, ,
w l t g
la ter a l edge a n d v ei n s of t h e w i n g cov er S h or tly a fter r ea di n g t h e a b ov e 1
” -

w a s ly i n g i n t h e bl a i n g su on on e of t h e souther n slo p es o f t h e Pyr en ees a

.
,
z n nd
n en o m o u s fi eld cr i ck et or g r a ssh o pp er r e of m
a un a a y pr esen ce ca me a
,
r -
nd w

sa t d ow afew i n ches fr om m y hea d a n d ga v e m e acon cer t I w a tc hed h i m

, ,
,
n

v er y caefully a n d t h e o per a ti on w a s ex a ctly as ab ove descr i bed h i s ton e w as , .

full ad r oun d a n d f or m ed apl ea si n g con t a st t o th a t of ala dy fi el d cr i cket

,

n r

ho w a b out aya y w i th w hom m y so loi st seem ed t o b e

-

s fiddli n g a rd a w a
,

con ver sin g H er t o e as com par ati vely thi n an d w eak an d pr esen tly cea n sed
,

n t i n sec t ski d d ed a
w

a ltogether he eupo m y ga lla y to m a

.

w a
,
w r n k e i n qu i i es r
F J F eti s N oti ce Bi og a phi que sur Ni col o Pa gai n i ” et c (Pa
, .

3
ris r n
tr a n sla t ed i t o E " n gli sh by W elli n gt o n Bi o gr a phi ca l n oti ce of
. .
, , .
,
n G uer n sey
N i colo Pa ga ni i et c (L o don S chott n d ) Secon d edi ti on a n on y m o u
o do
n , . n s , . .
,

(L4 n n n d [ 1 87
No a che t h e vi oli o t h e i ght of H oly
. .

y t h g i us Fo g i tea
,

In rw e en sse r n s n n n
T hur sday t o ay pe o h o sa c i fi ces to h i m a hi t goat ad th o i t i to
n rs n w r w e n r w s n
aCa sc ad fl o i g o th ad t a ki g c ae t o tu aa yhi h a
,
e w n d Th ge i us n r w r ,
n r rn w s e . e n
 INT R ODUCTION . 1 ?
b u t th e forb a ra n ce of th i r r la t i ons will su ely a
e ll o w th m t o e e r e
g v m ore ti m e tha n (aarul ) th y d o ad it i s cer ta inly tim
ti a
e s e e n e
ho a a
,
t t h e p o pl fford m os t fo t u iti on sh ould p ro d uce
e e w c n r
t h b es t resu lt s Anoth fault of a ma t urs i s th ir o t acy ;
a
e er e e c ns n
ma
.

n a t”ur will g o on pla e ying sna t ch s of tun s so m h o e e ,

“
e w
l ke thi s i n ”wha
i t M r C or y G a
, i ca ll s t h e th re or ther ne r n e e
a
.

b ou t s s tyl ti ll o e l ong s to b a e, fili t d with athic k ni ng of

n e c e e
th tym p a
e num I onc kn w a a ma . t ur wh o w ould g o on e e n e
w o yi n g hi s fi ddl by t h h our togeth fo m y edifi a
rr e t io ou t e er r c n,
of p u va n ity of hi s o p ow s H r m i nd d m e of aFrench
re w n er e e e
r t uoso na m ed Al d a
.

Vi y wh o pla y d o h i fi rst a ppea ra n ce i n e n s

E ngla
,

n d (a
,

t C ol m a n s Th a tr i n 1 7 92) a onc r to on God ’

“
e e e c e
sa v t h K in g with va
e e ria t i ons Aft r som s v n te n o e e e e e r

ght e n va ri a
.

ei t i ons som
e a i t h ga ll ry ca ll d out A
fi All day ? Thi s started ala
e w n e e e re

you oi g t o pla ya
,
ll i gl t M
n n ug h i ,
'
.
-

t urnin g i n to al
,
w hi d ov t h di om fi t ed sol oi st from '

l l ss r e e sc
t h pl a
,
e tform .

Th r i s no d oubt a e e b ou t it th a t t o ha v l a t t h vi ol i n h a e e rn e s
l tra
,

oft n b n t h fi rs t m u
e ee s i ca i in g of t h g r a
e tes t o m pos rs n e e c e
W a v h a
.

ll ha
e r d t h w l l kno w sto y of M o a
e e rt wh o wh n h
e e -
n r z e e
a qu it achild ta
,
w s ught him s lf t o pl a
e y t h vi olin t h stor i s e e e
t o ld by H oga rth a s fo ll o s Wh n t h fa m ily return d
1
to w e e e
Sa l b urg i n 1 762 Mo at (b i g th n six y a
z rs old ) b rought z r e n e e
wi th h i m asm a ll vi olin with whi ch h a m us ed hi m s lf An a bl e e e

vi oli n pla
.

yer of t h n a
-
m of W l ca ll d o e da e y on hi s fa th r e en z e n e

t o ak hi s opin i on of i t rio h h a
s d j us t co m p os d Th y sx s e e . e
p roce ded to try th m W l h im s lf pla
e yi ng t h fi rst violin
e en z e e ,

r t s fa ss ad a p form r of t h na
,

Mo a z th r t h b a ’
e e m of n er e e e

Sch a t h s con d vi oli n Yo u g M o a rt b gged h a

,
eh t n er
’
e e rd t o b n z e e

a llow d t o pla rt b u t hi s fa th r a
.

y th is la
e s t pa n grily r fus d hi s e e e
request a tura lly conc ivi g it to b achildi sh whi m At l at
,
n e n e . s

h o v r on t h good hum ou d i t rc ssi on of Sch ah t e t h

, ,

w e e , e -
re n e e c n r, e

th eni th i ght had of h i pupi l ad

se z es er ov i t ov t h t i g of t h
n s n m es er e sr n s e
fiddl till t h bl ood co a Th a pp ti c i th fo ad
,

e ou u d e th il m es t n er e n s. e r en e s en ce rw r

am at ad h i s er , chat d vi oli i ll ak t dac ad i v tay th i

n s en n e n w m e r ees n e n r er s s er
ou l—Mui o ad t h D aaM a h l o s t h 1 883n e r m
l Hi to y Bi og a
c rse rc
G H og ath Mu i ca phy ad C i ti ci (L o do
.
, ,

r
“
s t s r r n r sm e c. n n ,

iii p 240 (2 d di ti o 1838 v ol i i c h i p

. , , , ,

h c x e n
Joh a A d aS h ah t h ld t h po t of Cou t T u p t at Sal bu g
.
, . n , ,
. .
, . .
, .

2 r r m e er z r
nn n re s c c n er e e s

ad aa i ti a t f i d of t h Mo at fai ly A ll th pati cula of t h

,

n w s n n m e r en e z r m ese r rs e

ch i ldh ood of Mo at (a ll a ay oth ) a tak f o al tt i tt

.

z r s w e s m n ers re en r m e er w r en
by S h ah t a ft Mo at d a th to h i (Mo at ) i t u d da
_
’

t
’
c c n er , er z r s e s z r s s s er , n er e
A p i l 24 t h 1 792 Th o i gi a l i i t h po i o of H Aloy Fuch ad
,

r e r n s n e ssess n err s s, n is

to b f ou d a O tt o Ja Li f of Mo at t a la
, .
”
t l g th i t d fro t h ’
e n h en n n s e z r r ns e m e
G m a by Pa T o h d (Lo do 1 882 Nov llo) 3 vol o] p 2 1
,

uli
L i p i g 1 82 6 5 9 ; B i tk opf 4 v ol "
er n e w n s en n n e s, y i
It a
n
l o to b
, . .
, . .

W A Mo at
, ,

z r 8 )
e z re s. vc is s e
phi W A Mo at (L p g ad
-

Bi og a
.

fou d i G R d Ni
. . , ,
’ “
n n e ssen s r e . . z r s ei zi , n

N k olo g d D ut h
. .

i A H F S h li h t g oll (Got h
’ “
n . . . c c e r s e r er e sc en s,

2
18 VI OLIN MAK ING : -
A S IT WA S A ND IS .

child w a sa l l o w ed t o pla ya l on g with h i m on hi s little vio l in , a nd

ca u ti oned by hi s fa ther to m a ke littl e nois e In afew m i nu tes .

,

noddin g t o h i s co m p a ni ons Sc h a ch t n er l a id d o wn hi s in strum en t ,

rt wen t on a l one, playin g hi s p a

,

a n d M oz a rt with t h e u tm ost
a ccur a cy a n d s tea di ness, t o t h e a d m i rati on a nd a s ton i shm en t of
t h e pa rty ”1

n Ba ch, in Thuri n giaMa

.

A a in S eba stia ch (b orn a t E i sen a rch

3l st g 1 685) w a
,

ther s p upil on t h e vi olin, a

,

s i n hi s y ou th hi s fa
’
nd
it w a
,

s hi s p rofi c i en cy on thi s i ns tr um en t (j o in ed t o hi s fi n e t reble

v o i ce) whi ch g ot h i m i n to t h e Ma tin choi r a t t h e Mi ch a elis
‘

S ch u l e at Luen eb er g a n d when hi s v o i ce cra cked h e h eld for

som e m on ths t h e p os t of vi olin i s t in t h e b a n d of Pr i n ce J oh a nn
E rns t of Weim a r 3 S ch ub ert a l so, w e a r e to ld } w a s h is fa
.ther s ’

p upil on t h e vi olin a t th e a g e of eight In 1 808 h e b eca m e on e .

of t h e Im p er ia l C ha pel Choir a n d a p upil of t h e St a dt con vi ct ,

m e l ea
,
where h e soon b eca d er o f t h e sch ool orch s te r a s
.

C RE MONA l It w ould a lm ost s m u eces ay t o ak wheth e ee n n s r s r

th re b”rea
e th ay o e wh o h a never hea es rd of a C rem o a
n n s n

Violin b ut it i s ot so oft wh n ta lkin of vi oli s som e o

n en e n ne

t i s a rem o a indeed
,

ha s said n a i v ly And them— wh a e ,

n
,
t h e na m e whi ch i s m or tha n ah o useh o ld w o d t o a l l vi olini sts e r

i s by no m eas u derstoo d i n i t s full s ig nifica n ti o by oi oldt ol

n n w

e ven t h e well i fo m ed Pak e sas (v ol i p -

n r As t h r y . .
, .
“
e

a pp ella tion of C m onafi ddl s m a y no t b e g a

rel ly u ders t ood e en er n

I will t a k th i s o pp ortunity t o xpla e i n it Th s ins trum ents e e e

d by tw o Ita lia ti ad St a rius a

.

were m a ns na m d Am a
e diva t ,
e n r

H afo d o f pla
e w yi g o S h ah t
s n vi ol i o a ccou t of t h nt n c c n er s
’
n n n e sw ee n ess
of i t to ad S h ah t u d to tu i t ad l av i t i th h i O day h
s n e, n c c n er se ne n e e w m ne w en
S h ah t ca t o vi i t h i fath M o at m ak d t o h i that t h lat ti
.

c c n er me s s er , z r re r e m e s me
h tu d h i v i o li h h a
e ne d ot k pt i t a
s t i t fo m pi t h
n It i h a
e lf aquat n e s r er c s r er
of at o a lo th a thi of m i Th y a t fi t la ugh d a
.

id h
” “ ”
n e, s e, w er t n s on e n e. e rs e
thi t
s ex a c t ; b ut t h fath h o h ad oft b f d t h t a
rem e ex n ess e er w en o se v e e ex r
o di ay d li cacy i h i o a ad h i m o y fo ou d d i d h i m to
r n r e o s s n s e r
’
n
,

s m e r r s n s, es r e
b i g S h ah t vi oli ad i t a ctually p ov d t o b ha l f aqua t of ato
’
r n c c n er s n n r e e r er ne
b l o t h o th
,
e w e er .
May bi og a
3
ph t a
n t tha t h ab o o t h t t y fi t ad th y a
r er s s l oa e ew s rn n e w en rs n e s re
i ght fo B a ch ab o o t h 2 1 t (old tyl ) ad 31 t ( tyl ) of Mach 1685
-

,
r r w s rn n e s s e n s n ew s e r
R L Poo l S bati a B a ch (L o do ( Th G a t Mu i ci a
.
, ,
3 “
. . e, e s n n n , e re s n s,
e di t d by F H u fi )
e e er
H F F o t S chub t (Lo do (S a
. .

r s m i ) er n n, e ser es
A a i tac of h i d li ca c o a a l l t o th a o o
. .
,

a a
.

5
s n
" ns y f p l
n e t f M t ( id
s e e r, r e z r w e
w e a told tha
re ta t h om h t h fa i ly la y d quat tt (h pla yi g t h
e, w en e m e r e s e n e
vi olah i fa th t h ba ad h i b o th t vi oli ) h
s er e oul d d t t t h
ss n s r er s e ns
ll t blu d
e w e ec e
a i ta of of h i b oth h di d ot a pl to
, ,

d afa
sm es I th n er n e ns n ce on e s r er s e n s m e
buk by o d look b ut i f h i fa th pla y d a o g ot o a
.

re e w r or l s er e w r n n e r m e se
en t y h ould i g o t h i ta
r e w k o c ad if i t occu d a n ga
re i h ould ay
em s e n e, n rre n ew s
i th h i t ati o Fa th I f ath i a i ta om h I Th vi olah a
, ,
k “
w es n er , e r er e s m s e s ew er e e s
fa v ou i t i t um t of o tha o g a t co po
,

b th
een e r e n s r B id en m re n ne re m ser . es es
S chub t both Mo at ad M d l oh
er , t o pl a y z r n en e ss n w er e en r -
er s.
 INT R ODUCTION .
19

C rem on a
, in Milaes ad like t h e w ll known Seda
th e n n e n e
ch a i rs origin a
-

lly m a
,

,
’
de i F race g o by t h e a m e of t h e t o n n n
, n vv
‘

they w re fi s t m a nufa c t ur d (I) Thi s i s ate i b l

e r e rr e
s ta tem en t for am u si c a l hi storia t o m a
.

ke b u t it show s us wh a t n

a t h e o pini o in m usi ca
,
w s l c i cles i 1 830 Tha
n t C rem ona r n

vi oli n s h a v a l a y s e j oy d ahigh r p u ta
.

e w ti o in this count ry i s
n e e n

sh o w n by t h e fo ll o win g n try i t h E nrol m nts of t h e Au dit e n e e

O ffi c e i n t h e r ig n of C ha rl s II 1 662 v ol vi No 359
e e

These a to r qui y ou to pa
.
,

y or ca
, . .
, .

“
re e use t o b e pa id t o Joh
re n
B an est e o e of hi s Ma m us i ci a
,
n r
,
n ns i n ordi a ry t h som e of t i es
n e
fourty pou des fo tw o C rem o avi olins by h i m b ou ght ad
,

n r n n
deli ver ed fo hi s Mai servi c a r s m a y a pp ae by t h e bill
t es
e, e r
a n exed ; ad a
n l so ten pou d fo t i g for tw o y a
n rs n n es r s r n es e
en di ng 24 t h J u e 1 662 An d thi s sha ll b y ou Wa
n , ra nt . e r r

Giv en u d r m y ha n d thi s 24 t h da
.

n e
y of O c to b er 1 662 in t h e
fourteen th yea of hi s Ma
, ,

j ty s ig n (signed) E Ma
re es
’
re : n
chester To Sir E dwa rd G i fii n K T eaur of hi s Ma
.

m t i es
. r ,
,
r s er
ch a m b er Th p os iti o
”1
of C em onavi o li ns i n t h
e p res n t n r e e
p s a t r ifl a
.

da y i s p rh a , e no m a l ous a s C ha
, rl s Rea d e very e : e

j ustly sa y s 2 Th e fi ddl s of C rem on ag a in d thei epu t a tion e e r r

by su perio t on b u t th y hold it no w m a
r e, i ly by th i r beauty e n e

F or thi r ty yea rs pa s t vi o lins ha

.

ve b n m a d eq ua l i n m od l ee e e

t o t h e ch efd w u of C rem ona a -

’
n d s tron g
vr es in woo d tha n er

d iva n d m ore sci en tifi c tha

,
Str a r ius a ,
n Gua rn i us i n t h e th i ck er
”
n esses .

Thi s i s a n a r g u m en t which though obviously t r ue t o a ll ,

.

co n n ec te d wi t h vi oli n s i s ver y d iffi cult to ha m m er i nt o t h e

ma
,

hea ds of a teur s a n d o thers, wh o either p o ssess or cr a ve f or

t h e p oss ess i on of am a s ter piece of C rem ona No on e wh o h a s .

seen t h e m a g n ifi cen t n ew i ns tr um ent s of C ha no t, of Hil l of

B oull a nd an d B er n ar del , an d of m a
,

n g i er of Sim out r e of Ga ny ,
kers, ca p ossibly den y tha
,
o ther livin g m a t these i ns trum en t s
g e, i;
n

will b e, when alittle m a tured by a r s weete r a n d fi ner t h a n

a n of t h e ti m e wi t he red, t a m pered with, o ver rep a i r ed, a n d

y
- -

rke t und er t h e n a
-

dila pida ted i nst ru m en t s whi ch fl ood t h e m a m es

_

ICom m un i a te d to Not es a c ha ! Qu er i es v o l vn (fi r st seri es) p 36 by

Peter Cun n i n gham
. . .
, , ,

C Rea A Lost A rt Revi ved C em on aV o li n s F our L tte s desc p

.

“
2
d r i e r ri
t t h e S outh Ken i gto n Museu
e,
ti ve o f those ex hi bi ted i n 1 873 (3110 ) a m ; a lso
. ,

"
sn

v g t h e Da
gi i n ta for p o duci n g t h e Tr ue V a r n i sh es u
r sed by t h e G at Crem on a re

Ma k ers ep r i n t ed fr om t h e P a
r ll Ma ll Ga eet t e by G H M Mu t (G loucest r n z e
T hi s i s ap a m phl et of con si de a ble r a ri ty a n d b b h og raph ca l va lue go t
. . .
, , ,

r i i

x e a n d con si sti n g o f fo u by Cha

,

up i n a styl e de l u r lett er s w i tte r les M

8 r n 1“

ll Ma l l Ga z et t e o f t h e 19 t h 24t h 27th ad 3l st August 1 872 desc ri p

,

th e Pa n

t t h e speci a
,

ti ve of t h e vi olin s ex h i bi ted a l E h bi ti on of A c en t Mmsi a

, , o
, ,
l x i n i c

In str um en t a t S outh K en si gt on i n 1 8 72 (n ot 1 873 a s st ated on t h e ti t le pa ’

s n g, f

Vi da
-

of t h e br och ur e i n questi on ) n o te p 24 . . .
20 VIOLIN MAKIN G : -
A S IT WA S AND IS .

of Stra divai of Gu a r ri of Am a ti of Rug g i u of Sta

r in er n e er s,
,
P opl hea r ma
, , ,

of B e g o i ad ahund r d l sse a
r n z m s n st rs e e r n e . e e e

t pl a y on ag m fro m
,
lik Joa e chi m Wilh l m j S a in t o o Saaa e n ,
‘

r r s e e

k up th i r m ind s tha
, ,
som e C m o s w o k sh o p ad m a
re n e e t the r n e e

xqui site p urity of ton com s from t h i st u m t (ad not

,
e e e e n r en n

f om t h e pl a
r y l) ad no t so m uch from t h e i ns trum n t a er s n e

a
,

f o m it s a
r
g ! It r m i d s o e of t h oeld s t ory a b ou t G i dini e n n e r
,
w h os ta st ad p u ity of to
e w sim ply x qu i sit Pak
e n r n e er e e e . r e

sa y s of h i m Gi adi i wh en i n hi s ith p od uced o t h

: r n z en r n e

vi olin atone m or p o w fu l ad cl a r th a ay of hi s contem e er n e n n

po ai r Thi s k a
r es ck i f I m a
.
yb a ll ow d t h e xp ssi on p ov d n ,
e e e re
,
r e

v ry p rofita
e bl t o Giadi i n a blin g h i m to ll h i s i f rior
e r n
,
e se n e

i ns t u m r t fo al ag p i ce t o g ntlem n h o i hi s hads
en s r r e r e e w n n

a dm ir d th ir p o ful t on th ou gh th y fou d a
e e ft r wad s to w er e, e n e r ,

th i gr a
e r t su p i s tha t th y co uld d a
e w forth v y littl
r r e, e r er e,

a ppa r ntly no t a wa tha

e t t h e to c a m from t h s kill us d re n e e e e ,

ad no t f om t h fiddl
n P o pl hav v n w itt n b ook s (or
r e e e e e e e r e

s ad co ll c tors
.

r ath pa m phl t s) t o i m p ess thi s o t h e d v o t

er
,
e r n e ee n e

of t h violi hi ch th ough too oft n sim ply w itt a a

e n , w d e
'

r en s v er

ti m se t of apa
en rti cula r ma s ke a r a lly a b sol ut”ly co ct ,
re e e rre ,

ad i f p o p ly studi d (a
n pat f om th i
r er p uff el m nt) e r r e r e e

wou ld co d uc t o am o lib a n l pa tr o a g of co t m p oray

e re er n e n e r

w ork ad I ha v p rso a lly no d oubt tha t ah u d d pou d

t s w ould m o tha
n e, n re n
'

e n , s

pen t o in b a n i nc a
,

s n i s tr u
w m r s
n n ew n en re re e

t nfold in t h spa
e c of fi fty t o ighty y a rs fo a aw it
e e e e , r
,
s r er
i n o of t h
n e ab ov m e tio d p a m phl t s wi s ly r m ak s, t h
e e -
n n e e e e r e

su pply of Ita lia m a st vi o li s i s c ssaily lim it d ad in a n er -

n n e e r e , n

co m p aa tiv ly h o t ti m pl a
r y will b ob l ig d to tu to
e s r e er s e e rn

m od n m a k s fo th i i s t u m n t s I h a
er er v pla y d on bra rn e r n r e .
1
e e

Tho k hi ch I h av i y i d aI i t thi a pati culaly ad light

ew r sw e n m m n s w r e s re r r e
fully co c i t d o k by G o g G u d t h vi o li m a
n e e w r k o f A to i a e r e em n er , e n -
er s r
Yo k ti tl d G o g G ii d p og Vi o l i a
.
,

N ew r en i e
“
ki g t e r e em n er s
’
r r ess n n -
m n
”
e c

(A t o i aN Y 18 81 8 ) hi c h f cat i o lf g l i fi a t i o fa u pa
.
, ,

s r vo w or s -
r n se -
or c n r s r sses
o t loqu t lucub ati o of t h hi to i c Phai A oth pu culu
.
, .
, , ,

th e m s e en r n s e s r r see n er O s m
of t h a ki d i M J B oadh ou
e s m e Fa
n ct ab out Fi ddl Vi oli Ol d
s r r se s
’
s es, n s
ad N ab ochu hi ch h a t o di ti o (L o d o d [ 1 8 79 ad
. .

”
n ew , r re w s seen w e n s n n 11 . n
ad i d v ot d ti ly t o t h a dv ti i g of t h i t u t oi a
.
, ,

en re e er sn m en n
‘

n s e e e n s r s
aa m tu a ek ra d M Jo h Da
m yer A thi d hi ch h a c tly a
n me d it r n r w s r e en m e s
a pp aac i a o k ca ll d A u A a t u du Vi olo
.
.
,

Hi to i qu Co “

t (B a
e r n e, s w r e x m e rs n s r e, n
t ucti o R paa ti o t C o va ti o d ad
.

s r n e t I t u
r n l e n ser n e ce n s r m en e, n
w r i tt by M C Si ut
en
,

of ho fi ddl i t i i fact ag at adv ti i g mo r e, w se es s n re er sn

puff A d t o go b a ck to t h b gi i g of t h c tu y
. .

n ha v th ll e e n n n e en r w e e e w e
k o o k by Jacob Augu tu O tto U b d B au d B og i t u
.
,
n w n w r s s e er en er en n sr s

l t di ti o ll u d L i p i c 2 d di ti o (J
-

(Ha a
,

m en t t e, e c s e n e n e s n e n en
hi ch h ab t a la t d i to E gli h by T Fad l y T a
.
, , ,
ti o t h Co
ad by J o"
w s een r n s e n n s r e re se n e n
of t h Vi oli t (L o do ad L d h Bi h op
.
,
”
t u t io
s r c t n ,e c
4

e n e c n n n ee s, n n s
of Ch lt h a A T ati t h S t uctu of t h Vi oli t (L o do
.
, , .
,
“
e en m t re se on e r r e, e c . ,
l t di ti o 1 8 4 8 2 d di ti o
e n , e c. n n
3 d di ti o 1 8 75 ) ad t h v y cac if
, ,
s e n 1 860 n e n r e n
bl pa phl t of M Cyp i D m aa D c i pti o d u Vi olo
n e er s r e,
n ot u a ttai a
n n e i m e . r en es r s, es r n
’
n n
 INTRODIf
CTION . 21

ne vi o li ns —vi o li ns t h e va rn i s h of whi c h h a b a b so l u t ely

w s een
s ti c ky ad t hei r to e h a (tha
”
, s b en p erf c t
n t i s of course it n e e
ha g a t p ro m i s ) ad no d ou bt a
,
fter t h e t a
,
s given r e ns iti on p eri o d
e , n r
w i ll b qu it afi
e i f no t fi n er i n ton tha
e s n th ose w onderful
n e, e

vi olins b a ri n g ta li s m a
,
e ni c na m s whi ch ai se th i r p rices in to e r e
It i s perha
.

t h e h un d r d s of p oun d s e p s no t g n ra lly know e e n

tha
.

t it i s only i n wha t I ha v ca lled t h e trasiti on period” tha ta e n

well m a -
d vi o li i s h id ously rou gh ad di scorda
e n nt tha t its t o e n n e
i s descr ib d a ad tha t pla
,
e yers a
s v oid it a
n ew
, s they w ould n
th eE vi l O When avi olin i s fi t m a
n e . d ad t h woo d i s rs e, n e
soft ad sa n ppy ad t h e va rn i sh s ti cky ad la, sti c t h t o e i s
n n e e n

n fl d in a m a which giv s a ideaof softness ad s eet

'
,
e n n er e n n w
n ess whi ch i s v y dec ptiv t o a in xp i nced pla er y r ; it i e e n e er e e s

when t h fiddl h as be n pla e yed on fo am on th o tw o ad t h

e e r r n e
fib es of t h e w oo d a b eg i i to aswe to t h sou d wa
,
r re v
t t h t on b co m s has h adm u ad At thi s p oin t m ay a
n n n n r e n -
es,
tha e e e e r n s r n
g oo d fiddl i s p erm a tly sp oilt by ha
.

ba ss— b a shifted a
b l o g s t o ao th r pa
e vi g t h sou d p ost ad n en n e n -
n
r b ou t ad t h w oo d scoop d out b ut a thi s n e e s
,

e n rt of t h w ork I m u t ot a
n e i thi s g r i e , s n r ev
ac i thi s pla
n e n ce O ft wh n I ha v b n pl a . ying m y o wn en e e ee

fiddl e i t o co ditio f ie d s ha
s
“
n ve sa id W ll old fell o w
n n r n e ,

y so t o y ou wh o m a
,

it se m s u kin d t o a d it b u t tha t s ab ea stly

y s r ply Tou t vie t a
’
e n s e ,
fiddle I a .
”
l a w celu i qu i sa it a ttend re
e ,
n
,
ad in d d it i s a
n ,
ft
ee am on th o two of thi s c a
,
cked v oice
er r r -

conditi on th a t t h e i st um ent s ttles d o w g a d ua lly i to afull

n r e n r n ,

s w et t o (o t h e evers ) I h a
e n e ve expa
r tia ted thus a t len gth
r e .

on t h subj c t of a
e g b eca eus it i am a tter so l ittle understood
e, e s

ev n by e i olini sts th m s lves ad it sim ply r duc s its lf t o thi s

v e e ,
n e e e

If avi o lin i s w ll m a d it s t on e f om t h b gi ing will eith

e e, r e e n n er

b e geo d i n it s lf o i n dica t futur sw t ss ad i t will

e r e .

e ee n e ,
n

b u t i f afiddl i s o gina
,
g ra du a lly i m p ov with u ad a
.

g r e lly se n e e ri
.

i f ri or o a
n e m ou t of pla
n yin g up on it ad o l ”gth of t m n ,
n n en i e,

k it m or th a n it i s asqu a
,

will m a e ki g o d fit only fo
e e n cr w e, r

t h e orchestr a or w o s s till fo t h p ripa

,
t tic fiddl r wh o r e ,
r e e e e ,

ther th a n co a xes p ni s f om t h pa
, ,

e xt ra c t s ra ss r b y D r en e r e e -

B ea
. .

O liver Wen d ll H olm es i n hi s Au toc a e t a t th kfa st r e r

di scuss s this qu stion m os t b a u tifully sa

,
Ta bl yin g
”1
e, e e e ,
C erta i n th i g s ae goo d fo nothing t ll th y ha n v b en kept
r r i e e e

Hi to i qu t Mo u ta
s r e e l (Pai hi ch i ad c i pti o of av i o li
n m en r s, w s es r n n

m a d by t h m f of t h la
e e t M G o g C haot of Pa ad apu
e e ff o f he e r es ri r i s, n er
hu bad o k Al l th a m ly tt by a
,

a ill b
.

y of
’
s n sw r s. ese, s w e seen re er e w ri en w
t b ut th y a a bl a ddi ti o to t h l t a tu of t h v ol
,

a dv ti er sem en ll valua e re e ns e i er re e i in

u th y p oi t ut t h po i bi li ty of c ll c h ch
,

b a
,

se e n o fi ddl e ss ex e en e in n ew es, w i
ec
ex c ll c i of cou d ti d to i c a a t ad u m llo t h
e en e s, r se, es n e n r e se s im e n se e w e

ins rt um t en s
A pp a d o i gi a ll y i t h A t l at i Mo t h l y Nov b 1 857
.
T

e re r n n e n c n in em er , .
22 VIOLIN —
MAKI NG : A s rr WA S AND IS .

al on g w hile a n d som e a
,
re 0 0 d for no thi n g till they h a ve been
l on g kept a n d us ed f th ose whi c h m us t b e kept l ong
a n d used I w ill n a m e vi olin s t h e s w eet o ld A m a ti ,

t h e divi n e Str a divar ius Pl a yed on by a

. n ci en t m a s ter s ti ll
t h e b o w ha -
n d lost its p o wer a n d t h e fl yin g fi n g er s s tif fen ed ;
b equea thed t o t h e p a ssi on a te y oun g en thusia . st ho ma de it ,
w

whi sper hi s hidden l o ve a n d cry i n i n a

, r ti cu l ate l on gin g s a n d ,
sc r ea m hi s un to ld a gon ies a n d w a il hi s m on o tonous d espa
,
ir ;
pa ssed fr om hi s dyi n g ha nd t o t h e co ld vi rtuoso wh o l et it ,
sl um b er i n its ca se for agen erati on until when hi s h oa rd w a,
s ,

br oken up it ca ,
m e fo r th on c e m o r e a n d r o de t h e s t o r m y

sym ph on ies of r oya l or ch est r a s b en ea t h t h e rushi n g b ow of

thei r l ord a n d l ea der ; i n t o l on ely p r i son s with i m p ro viden t
l

a r ti s t s in to con ven ts fr om which a ,

r os e da a
y n d n ight t h e h o ly
hym n s with hich its t on es were bl en d ed a
w n d ba ck a ga in t o
o gies i n w hi ch it lea
r rn ed t o h o wl a n d la u gh a s if a l egion of
devil s we e shu t u p i n it ; then a
r ga i n to t h e g en tle diletta nte ,
wh o ca lm ed it d own with ea sy m el odies u n til it a n s w er ed h i m

soft ly a s i n t h e da y s of t h e old m a es tr os a n d so given i n to our ,

ha n d s it s p o r e s a ll full of m us ic sta i ned thr ough a ,

n d th rou h
g
with t h e con cen tra ted s eetn ess of a w ll t h e ha r m o n i es whi ch h a ve
kin dled a n d fa ded on its s trin g s N o w y ou kn o w very well
tha t ther e a r e n o l ess tha n fi ft y eight (si c) differen t piece s in a
-

vi olin These pieces ar e stra n g er s t o ea ch o th er a n d it ta k es a

'

,
k e them t h or oug h ly acqua
.

cent ur y m or e or l ess to m a
, ,
in ted At .

la st th ey lea r n t o vib r a te i n h a r m on y a n d t h e in s t ru m en t b eco m es ,

a n orga n ic h ole as if it w er e ag r ea
w ,
t seed ca p su le w hi ch h a d
g r own fr om aga r d en b ed i n C rem o n a B esid es t h e w oo d i s .
,

jui cy a n d fu ll of sa p fo fifty yea r s or so b u t a

r t t h e en d of fi fty ,

or ahu n d red m o e g et s t o lera r bly dr y a n d co m p a ra tiv ely r e

so n a n t
”
Wh a t m or e bea u ti ful expla n a ti on of t h e m a tter c a
n t ?Wh a
. n

w e wa t I ha ve s a id con cer n in g thi s m a tter of n ew

violins (or a s t h e w r iter i n Th e Or ch est aa sa ys
1
n d Ch oi r r
, ,

m oder n ex a m pl es in tr od uces t h e n e t p ortion of thi s subj ect x

,
a n d th a t i s t h e Col lect i o of vi olin s n .

C on cer n in g C oll ection s of Vi olin s m uch h a s b een s a id i n fa v our

of th em a n d m uch a ga in s t them Th e fi r st eco r d I ha . v”e foun d r

of such acoll ecti o n i s i n Pa r ke s M u si c a l Mem oir s where

’ “
,
w e fi n d v ol i
( p
. .
,
. M E Stephen son t h e b a
r . n ker
. ha d ,
bl e collect i on of C r em o n a
,

perh a p s t h e bes t an d m o st va l ua
v i olin s of a n y p r iva te gen tlem a n i n E gl a nd I a m h o wever n .
, ,
in clin ed t o thin k tha t these ae fr equ en tly m or e estim a r ted on
a ccou t of thei r sca
n r city (lik e str a wberries i n Ja n ua ry) tha n

l
O r c h est r aa
n d Ch oi r Jun e , ,
1 882 .
24 VIOLIN MAKING :-
A S IT WA S A ND I S .

th e secon d o pi n ion i s und oubtedly ver y well con c eived, for b a d

it not been th a t these m a s ter vi olins h a ve b een s t or ed u p -

pp ea
,
unt ouched for y ea rs
,
from ti m e t o ti m e, they w ou ld di s a r
fr om t h e fa ce of t h e ea rth very r a pidly ; b u t t h e thir d opini on
i s t h e on ly r ea lly t a n gible on e a n d t h e on ly on e tha t ca n be
,

di scussed w ith a n ythi n g like p r o fit for it i s m a

. nifestly a b su r d ,

to di cta te t o m en of m ea ns wha t they sha ll d o with thei r pur

ch a ses It w ould, of course, b e of t h e m ost fa
. scin a tin g in terest
if w e could h a ve per iodica l exhibition s like tha t of t h e yea r

1 8 7 2 (a i de n o te b u t unfortun a tely, tha ,

t requ i r es a n a m oun t
of phila n thr o pi c s el f dev o ti on a n d t rou ble whi ch w e i n thes e
-

ha rd livi n g l a
-
tter d a ys of t h e n in eteen th cen tur y ha ve neither ,

t h e ti m e p a tien ce n or in clin a
, ,
ti on to give 1 .

An d thi s ques tion of coll ectin g b r in g s us n a tu r ally t o t h e

p ri c e s p a id for vi olin s Alth ou gh t h e w on der fu l p rices w e n ow
.

hea r of as b ei ng p a id for fi ddl es a r e thin g s of co m p a ra tively

la te yea rs s till , every no w a
,
n d th en on e hea rs som e sto r y of ,

fa b ul ous p r ices pa id for fi ddles by them of old ti m e Th e ” “

.

Ti m es of Ma rch 31 st 1 8 7 6 co n ta in ed an o te t o t h e effect tha

, ,
t
a t athen r ec en t sa -
le by a uc ti on a t D res d en on e of t h e obj ec t s ,

sold w a s th e f a m ous vi o li n whi c h t h e C oun t Tr a u tm a n n s dorf

Gr a
,
nd E querry to t h e E m p er o r Cha r les VI b ought from t h e
i n er on sin gula
.
,

c eleb ra ted m a k er Sta r co n di t i o n s H e pa id i n .

ca sh sixty six g old en ca-

r o l us es u n der t a kin g t o su p ply Sta iner a s
,
l on g a s h e liv ed with ag oo d dinn er ever y da 1 00 fl or i n s i n
y ,
.

sp ecie every m onth an ew suit of cl o thes with g old frog s every

,

yea r a s well a s tw o c a sk s of b eer, l odg in g, fi ri n g a n d lighti n g

,
n d fu r ther i f h e sh ould m a
,
a rry a
,
s m a n y ha r es a s h e s hould
wa n t an nu a lly for him self a n d a s m a ny m ore for hi s o ld nurse
, .

A s Sta i ner lived sixteen yea rs a fterwa rd s t h e vi oli n m us t ha ve ,

fi or i n s i n ca
,

cos t t h e C oun t sh Th e i ns tr u m en t whi ch .

w a n d s of a
,
s la s t i n t h e ha n A ustr ian noblem a n w a s so ld t o a
tha ler s (a
,

Russ ia n for b ou t Th e a b ove stor y,

which p u r”p or t s t o ha ve b een ta ken from t h e Glob e i s ra ther
t oo ta ll (as a n A m e r i ca
y) t o b eliev e b ut th a
,

n w ould sa t it ,
could ha ve b een thou ght p ossible sh o w s i n wha t estim a ti on old
vi olin s ha ve a lwa y s b een held Ear lier tha n thi s t h e sa m e
.

pa per (Novem b er 4 t h , 1 8 59 ) gives a n accoun t ta ken from Th e

E n tr a ct e t o t h e ef fec t tha t M de B er i ot h a d so ld hi s fa
’
.m ous

ch hi bi ti o av olu of t h d p t i t t t o vi oli i t
A p r q ms of su ex n s, me e ee es n er es n s s
(a pat o g a t bi bli og a
phi ca l ai ty ) i t h ag i fi c t E di t i o d l u
o

r fr m i t s re r r r s e m n en r e
n e
of Ca
th etalog of t h S p cia
ue l E hi bi ti o of A ci t M u i ca
e lI tu t
e x n n en
(L o d o
s n s r m en s,
M L
DC CC X XI I C o pi l d by t h la
n n t Cal E g l ( i d o t m e e
ad b l li h d i th fou t photog a
e r n e r e n e
phi c pla
t oi hi c h t a photo
,

p n em e s e w r een r es,
ga
w
ph of c l b atdC o
.
en re
r s e e r fi dd le r em n ese es .
 m r son uc r i ox .
25

violi n t o M Wi i a sk i fo .
fa ncs Th Ti m e h a
en s w r r
1
e s
o ft n g ive no tes of such p rices no ta
.

e n bly on Jun 24t h 1 85 9 e

ad J un 28 t h 1 862 wh n it ch roni cl s sa
,
les a
, ,
n e t M ssrs P ut t i k e e e c
ad Si m pso a
, , .

n m o g th it m s of whi ch e fin d St ra
n
’
s, diva ri us n e e w ,
vio l ns sold fo £ 24 9 £80 £ 5 6 £ 135 ad £90 Stra
i r diva ri u , n s
c ll os a
, ,
t £ 129 ad £ 2 1 0 ad i ns t ru m
,
’
e ts by oth r c leb a
,
n td n en e e r e
ma k sa t sim il aly va
,
er ryi ng p ri c s W Pa rk in hi s Mu i ca
r l e .
2
. e
“
s

M m o i rs (v ol i p 302) cou ts an g o tia

e tion fo avioli re n e r n
which eca
. .
,

ll s t h (t o m y m i nd ) a p ocryph a
,
r l o conc i g t h e
e n e er n n
Sta i r M r Ha y a form r x c ll t l a d r of t h king s b a nd ’

v ourite vi o lin by Klot aG m a a

n e . . e e e en e e e
,

p o d uced on hi s fa
,
r ton o z, er n , e s
s weet ad p o w rfu l tha
,
th a o o occa sion o ff ed by a
n uity du at i t a
n e , e w s n n e er
no bl l ord £ 300 i ca e sh ad a a of £ 100
n n n n r n e v
M Ha p oss ssi g aha
.

r
y h o w ev
.
, nd so m i nd p end nc ad ot er , e n e e e e, n n

b i n g d si rous of pati g with hi s ins t um nt j c t d t h off

e e r n r e ,
re e e e er
,

T hi a ou c s t ao out of t h foll o i g ci cu tac —Th t o

n n n em en r se e w n r m s n e e w
c l b at d vi oli i t happ i g to t (i 1 85 9) at E Wi i a ki aft
e e r e n s s en n m ee n m s, en w s er
pla yi g o D B i ot vi o li (aM a ggi i ) i h i a pa t ak d h i
,
i f h f lt
’
n n e ter s n n n s r m en s, s e m e e
i c li
n d t o ll i t
n e Y a e d D B i ot b ut t f l th a
se
“
es, n sw re e er
“
n o or ess n
f ac T h o M W i i a ki p d h i d i t o p u cha i t ot i t h
.
,
r n s er e n en w s ex r esse s es r e r se n w
tadi g i t hi gh p i c M d B i ot h a vi g a u d h i tha ould b
. .

s n n s r th e e er n ss r e m e w e
o t happy t o t h i t u t i h i p o i o t h you g ati t ak d p
. .

m s see e ns r m en n s ssess n e n r s s e er
i i o t o d la y hi fi a la ti ll t h co i g i t a ft h i tu f o
,
m ss n e s n n sw er e m n w n er , er s re rn r m
S t P t bu g Th e er s g ot i ati o r v ca t o ad a l b ut th a t h fa
e n e ct n n e er me e ese re e s
co c i g M d B i t f ac vi o li
. .
,
’
n er n n e er o s r n n
T ho h o a cu o u co c g t h p i c of vi oli i l l fi d ca fully
. .

2
se w re ri s n er n i n e r es ns w n re
p pa d ta
re bl of C l b a
re t d C oll c ti o Sa es l ad P i c of Vi o li i t h e e r e e n s, es, n r es ns n e
a pp di to P t D a
en vi d o
x Th Vi o li a e er C o ci E po i ti o of t h G a l s n s
’
e n n se x s n e en er
P i ci pl of C o t ucti o th o ti cally ad p acti cally t at d (Glago Lo
r n es ns r n e re n
,

r re e s w n

E di bu gh ad Ab d ad o f ully ti ll i t h a
,

d on n pp di t o t h er een n m re s n e en x e
M Da
n r
4 t h di ti o b id b i g t h a utho of t h a b ov
, , ,

e 1 8 8 1 p 2 20 n vi d r. son es es en e r . e e
li ttl o k hi ch i ot i th out l o th a ut h o of S ci ti lla ti o
,

it i a
.
, , .

e w r w s n w m er s s e r n n s
f o th O i t C l ti a t ia ad Th Phi lo ophy of
,
l ad T
,

l Fi
” ” “
r m e r en e es n r
er r es r r e, n e s
l o of t h foll o i g a t hi c h I a i Th L o d
-
,
Ma ad a n n dv ti s e w n er sem en w s w n e n on
ad P i i a T a J u 1st h 1 8 83 ad hi ch li k t h
,

n l ll u i
r ov n c d R i i s c r es ev ew n e n w e e
a v p o duc d pag 1 4 ad 1 5 I i ply t a i b fo
, , , ,

dv ti m t I ha
er se en s e re r e on es n s m r n sc r e r
t of y a
,

th i t m t i o ad a u
e n s c nd n m sem en m re er s
V y i po tat to a
“
er l l M u i ci a
m A T Gui aVi o li Gi v A a
r n y s ns en n e n en w
ti ! T o v y S ub c i b t o Th C a l d o i a C oll c i o of S t a
.

Ga r s e er th p y s r er e e n n e t n r s e
’
s

R l G i g Sl o Ai
ee s, So g H o p i p Wa lt Polk a t co p o d ad r s, n s, rn es, z es, s, e c m se n

a ag d fo t h Pi aofo t o Vi oli ad Vi olo c ll o by PE ER D A D N

s, w .
,

rr n e r e n r e, r n n n e T VI SO
Auth o of Th Vi oli ad H o o ay M b of t h B ga l A ca
, ,

t d my ’
em e en
r e n
e e c n n r r er
of Mui c CalcuttaH o o ay M b of t h Poo ah Gaya Sa a ] Mu a
.
, ,

s n l r r em er e n n m Si c

Soci ty Autho i ll i u ab a uti ful Photog a ph of Bu g

, ,

Th ’
et t e c e c e r w ss e e r r ie
Catl Mo a p ly fo thi pu p o —upo hi c h
.

y hi —ta
. .
, ,

s e, k by h i r s re en m ex r ess r s r se n w

aNum b i ll b i p i t d th i i g a aC oup o h ch
w ll
m t tl e s ser v n s n w i i en i e
ch ub c i b t o apati ci pati o i t h D ai g fo t h ab ov P
er w e r n ,

a
.

e s s r er r n n e r w n r e e r i z e, 1712

Ol d T y o l (Oil Va i h ) Vi oli aco py of aJo ph Gua iu f t

.

A n r ese rn s n se rn er s, ecr
C o a A o 1720 b i g of a g i fic t Wood Wo k a h p T o
,

r em n n e n m n en r m ns i n e,

a
n
lu d by Judg a
, ,

ad B i ll i a y ad u ai ou ly va
, ,

n r n c t nT Gu n Th n m s e es en i n e s. e

Vi o li d Ga ti t o t h H old of t h W m g Num b
,
il l b d li v er e Th r s e er e in n er e
D ai g fo uch t o tak plac i thi t h y a by aC o m i tt l ct d b y
n w e e .

r w n r s e e w n e e r m ee se e e

th e S ub c i b t s r er s, e c
26 VIOLIN MAK IN G -
: A S IT WA S AND 13 .

a n d d i n g so m e y ea
, y rs a f t er th i s a a a v i s a t t,
h e su b s equ en tr r

sa le of hi s effect s p r oduced b ut £4 0 Ther e a r e b ut f ew

ys a
.

a m a teu s wh o w ould give £40 for aKl o tz n o w a

r da n d Mr
,
.

Ha y m us t ha ve been p ossessed of aver y dull wit to r ej ect so

ph en om en a la n of fer .

Sto r ies such a s th es e of t h e en o r m ous p r i c e s hich h a ve w

been a n d s till a e b ei n g r given for fi ddl es na tu r a lly su gges t

, ,

t h e r ecita l s on e con sta n tly com e s a c r oss of Str a divari s

Gu a
,
n er i s
r Ama ti s a n d so on b ei n g pi cked u p for am ere “

y em p or iaof secon d ha
, , ,
so n g ”
in ou t of t h e w a - - -
n d goods -
.

Now a n d then in deed such athin g ha

, ppen s — ind eed a find
, ,
“

of thi s so r t w a s c h o n i cl ed i n t h e O ch est r aad Ch oi r for

r r n

O ctob e 1 8 8 2 In thi s ca
r .
a n d Hi er o n y m us A m a ti w a
or ig i a l con diti on for fi v e shillin g s a
n
se aver y fi n e vi olin by An to n i us
s b ou ght by ag en tl em a n i n its
t ab r o ker s sh op i n
’

N o ttin gh a m B u t th es e thi n g s a
. r e of t h e d a y s g one by ; t h e
da y s of Luigi Ta r i si o a n d hi s extr em ely di sh o n es t w a of
y
a cqu ir in g va lua ble fi ddl es on t h e n ew l a —
m p s for o ld — ”
p r in -

c i pl e a,
e o v err A fiddl e will n o a
. lwa y s fetch it s va l ue a
w nd ,
secon d h a n d fu r n it u r e d ea
-
ler s who ha pp en to g et hold of t h e
m os t in fer i o r o ld fiddl e w ill a lwa y s n owa da ys a ffi x th er et o a
p r i ce p rep os terously di sp r op or ti on a te t o it s v a l u e fo fea r of r

l ettin g atr easur e g o for no thin g At t h e s a m e ti m e a n ex cell en t

ys for £25 which b rin g s us ba

.
,

fiddl e c a n b e b ou ght n o w a da ck ,
t o m y rem a r k s on pa ge 21 b u t i f t h e am a teu r wi shes to
a cqui r e acol lecti on of u d oubted m a s ter pieces l et h i m fir s t tur n
n
,
to t h e Ti m es of Ma y 2 6t h 1 8 7 6 whi ch c hr o n i cl es t h e s a
, ,
le of a
co llecti o n of fifteen C r em on a s t h e da y b efo r e a t M essrs F os ter s .
’

i n Pa ll Ma ll for ,
two S t r a di va r i s g o i n g for £24 0
ea ch a
,
n d a J os eph Gua r n er i us del J esuf or £630 !
I m ea n t thi s In tr o d uc t or y E ss a y to b e b u t ash or t open in g to
t h e hi s t o r i c al s ec ti on of m y w o r k b u t a s I ha ve w orked old , ,
m em ori es h a ve com e up on m e cu e t e cal am o until m y br ief rr n
,
in t roduction h a s d e el o p ed i n t o ap r oli v t ea ti s e on m a tter s x r

c onn ected with t h e Vi o li n hich sh ou ld fi n d n o pla ,

w ce i n a
pr a cti ca l ma n ua l on Fiddle m a kin g Th e r ea -
d er w ill I hope .

for giv e m e thi s e ten si o n of al a

, ,

x b ou r of l ov e on m y p r om ise
ya ga
,
n ot t o l et m y ca la m us ca rry m e a wa in a n d i fh e
(or Sh e)
ha s b een in ter es ted i n m
y l on g g ossip con cer n in g t h e i n st r u
m en t I c a o n ly sa y th a t I la y d ow n m y pen p r epa ra t or y t o
’
n
,

com men ci g t h e se i ou s Hi sto y of t h e Vi olin wi th aj oyfu l

n r r

t m y la b our h a s n ot b een w a
,
c onv i cti o n t h a sted .
 ‘

DE FID I B US .

m ru a
usos m son s P R IMUM '
r n sr un m u N E RV O S
m n n c um us r n n 'r un sou rc rr x ssn AM NU,
cum RAPTAS r soun n s QUE R E NTE M C AR M INE rn oun n m
x oruv rr om rm n s FI LA car om m m .

r Lum iu m om mao u r '

r rr CE LE RE SQUE mo n s: a
E
r n n m cm s V NTOS v ocs r o m a suA
cu m c omm a s suva s nu x rr co u n osous a n sosm: r , r

nu r ci som s n ouu rr cm m us I LLE LYRE .

r u em
'
s summ on m a gm a , s sr n s w orn Luci us
, , s ,
'
,

cur sor s OITH RR sun DITI ONE TENES

A

(m u m s sr ma xi mum s FI DI US MODULA RIS o vu ms

B ,

si v n P LACET r m n cr u s com m DO LORE sm ar e

r u m ssn o
'
mm oc n u
s n un cn s a
n v ocm u SOPO RE S
m or on s 'r u umn us M<E STA m u ss cum s
r u m s: sm oru
m DOMUIBTI com m v m on uu
D ALE PUE BI V N A A SAGITTA F ITU .

s 0 . 0 G
o
 C HA P TE R I .

TH E A NC E STRY or r uaV I O LIN I .

Di ffi c ul t i es 1 D t e Wa
Represen t a
h y of Resea r c h —Dest r u ct i on —E r r or s of es r i pti n a n d D c o
t i on —Men t i on of Vi ol s i n t h e B i b l e B ow In st r um en t s a — m on g
t h e A n c i en t Gr ee s a n d Rom a n s—Th e Ra
k va na st r on —Th e O m er t i — Th e
Kem a n g eh a
’
g ouz T Th e Reh a b esh Sh a er —Th e Goudok — Th e Reh a b —Th e
—
-
’

Nofr e h e A ssyr i a n Tr i g on on — P ea r sh a ed V i ol s—Th e Reb ec a

T
—Th e Gi g ue a p n d t h e Vi ol
n d t h e Ki t —Th e Vi ol m aer s a
-

k
n d t h ei r I n st r um en t s— F r en ch
a yfor d—
-

aGa —P la
m ba a
_

Cl i m s t o In v e t i o
et or i us—
n Th
n e V i ol d Th e B r yt on e
a
-

Pr C h est s of V i ol s .

Ti s t r ue, t h e n di n g of a fi dea d h or se h e d a
Wa sth e fi
r st i n v en t i on of st r i n
g i n st r um en t s,
Wh en c e r ose t h e g i t t er n e, v i ol , a n d t h e lu te 2
”
.

IN n o bj ec t of r esea
su r ch
per h a p s, h a s t h e A n ti qu a r y so
ma
,
n y dif fi culties t o c on t en d with a s in t h e c on sider a tion of
t h e “ A n c est r y of t h e V ioli n ” a n d t h e stu dy of t h e pr e
,

pla yed w it h ab ow
c ur sor s of i n str um en t s of m usi c

Th e H i stor y of t h e V i oli n fr om t h e ea
.

r l i est t i m es un til c om

pa ra ti vel y r ec en tly h a s b een on e ex c l usively of pic tur es a nd

sc u lptur es Meta. la n d st on e i n st r um en t s m a c om e d ow n t o us
y
pr eser ved i n t om b s, et c i n a l m ost t heir or igin a
.
, l state, b ut t h e
w ooden i n st r um en t s of m usi c es ec i a lly t hose of such d elic a te
p
build a
,

s t hose m a de t o susta in t h e t en sion of m usica l st r in g s

e ven h a
,
d t hey b een i n t en t i on ally p r eser ved by those whose ea rs

t hey c ha r m ed m ust l on g er e t hi s h a ve suc c um bed t o t h e r a va ges

n d its a
,

of tim e a t ten dan t d est r oyer s ; b esides t hi s a n

y i n st r u ,

a aa a
Th e fol l ow i n g c h pt er ( s l so ch pt er 11 on t h e Wel sh Cr w t h ) i s t o a
a a a "
.

g r e t ex t en t t h e sub st n c e of 3 Lec t ur e del i ver ed b y t h e A ut h or on Fr i d y,

.

a a a
Jun e 2n d , 1 8 82 , t t h e Fr eem son ’s T v er n , b efor e “ 015s 5 2 th of ( PM! v ol u mes,
w h i ch w a q
s sub se uen t l y pr i n t ed i n li m i t ed edi t i on (2 1 0 c opi es for pr i v t e ci r cul a a
a a
t i on ) , n d dedi c t e d t o i n ”g em of (29 1 mV ol u m es un der t h e t i t l e of Th e
A n cest r y of t h e Vi ol i n , b ei n g a
Di sc our se deli v er ed t t h e Fr eem son s T ver n
’
a a a
a
on Fr i d y, Jun e t h e secon d, 1 882 , t o di ne g em of 41t V olu m es; P r t 1 ) Th e a
a
0

Or igi n o f t h e Vi ol i n ; P r t II , 17m Wel sh Cr w t h (Lon don pr i n t ed for t h e

'

a a
.

A ut h or b y Mi t c h ell n d Hug h es, 1 40, W r dour St r eet , 1 882, for m i n g No 1

a a
.

of ser i es of p m ph l et s on t h e V i ol i n , en t i t l ed De Fi di culi s
a a a
f t h e Ton g ue n d t h e F i ve Sen sesfor Su
,

2
Li n g ul , or t h e Com b t o p er i or i t y,
a a a
n A l l eg or i c l Pl y, w r i t t en i n 1 607 , n d t t r ib u a a
t ed t o A n t h on y B r ew er .
30 V I O LI N -
MA KI NG : A S rr w a
s A ND IS .

m en t pl a yed w ith ab ow or plectr um h a s th e a ddi ti on a l di s

y ea
,

a dva n ta ge t ha t thi s n ecessa ry a ppen da ge m a sfl

y b ec om e
sepa ra ted fr om it a n d l ost whil st t h e in str um en t it self i s
p r eser ved A n d in deed t hi s i s p r oved by t h e fa c t, th a
,
t t h ough
ssi c in str um en ts w er e pla
,

n y oft h e c l a
.
,

w e k n ow th a t ma y ed with
lec t r a of v a r i ous si z es a n d of va r i ous m a t er i a
l s som e of
p ,

n ce h a s a
,

them ex tr em ely h a rd an d d ur a ble i n n o i n st a ,

n

a uthen ti ca ted specim en of a plec t r um b een foun d t o give ,

us a c c ur ate in for m a t ion of w ha t t hese p r ehistor i c b ows “ ”

a c tua l ly wer e This b ein g so w e a r e thr ow n

,
up on descr i p
t ion s i n pr ose a n d ver se by c on tem p or a
.

n eous w r iter s, on
sc u l ptur es, fr escoes a n d ca r vi n gs a n d on pi c t ur es r ep r esen t

i n g or in c l udi n g i n th eir subj ect s r ep r esen ta

, ,

tion s of str in ged ,

in str um en t s U n doubtedly of these four t h e fi r st a

,
r e t h e b est
,

b ut t h e in fer i or ity of aw r itten d escr ipti on t o a n a c t ua

.

l r epr e

F r s 1 —Gr ot esque fi g ur es fr om p a
n els i th e
n r oof of P et er b or oug h a
C t h edr l a
Da
. . .

t 1 1 94
e, ,

sc ut a
tion in c a
r vi n g ordr aw in g n eed s n o c om m en t
,
a n d w e

k n ow fr om pa in ful ex per ien ce h ow in t en sely un sa t i sfac tor y a n d

doubtful a n
y suc h r epr esen t a tion s m ust b e w hen w e r eflec t tha t
n ot on ly m a y th e a r t i st f or h i s ow n ar t i sti c
p ur poses ha ve
“
in ven ted a ”
n in st r um en t so t o spea ,
k t o em b elli sh h i s d esign ,
r ega r dl ess of t h e fa ct t ha t he w a s r ec or di n g f or t h e use of futur e
,
gen er a t i on s, ahi st or y of t h e dr ess m a n n er s a n d i n str um en t s of

l so t h e ha
, ,
h i s ow n t i m e b ut a,
n d of t h e r estor er m a ha
y ve b een
a t w or k ; a n d I d oubt ver y m uc h wh ether t h e g ood n a tur ed -

people w h o sub scr ib e h ea vily i n c a sh , a n d et up ba z a a rs ,

c on ce t s,
r a n d w ha t n ot t o ,
r a i se un ds for t h e r estor a
f “
t ion
”

(sa ve t h e m a rk !
) of t h e pa r i sh c hu r ch w ith i t s m on um en t s
fr esc oes, a
,

n d or n a m en t s ev er r ea
,

,
liz e wha t ir r epa ra ble m i schief
suc h w or k i s a pt t o do un l ess c a , r ef ully super in t en ded a n d

c on sc ien tiousl y a
,
n d i n t elligen tly c a r r ied out by t h e a r t i fi cer s .
32 V I O LIN -
MA KING : A S IT WA S A ND I S .

a ex t a epta
m on och or di s, t et r c h or di s pen t a ch or di s,
,
ch or c u s,

c h or di s, oc t oc h or di s, et c , ex .uib us diver safor m a

q n t ur i n st r u

m en t a m usic a s, c um fi g ur i s i n st r u m en t or um Th e m a n usc r ipt

.

i s n ot sign ed, b ut t h e vi ol pur p or t s t o b e t h e i n ven ti on of on e

~

A lbin us, a n d un t il w e c a n fi n d out w h o t hi s A lbi n us w s, a n d a

w h en h e lived , t h e figu r e, whi c h i s a ver y in ter estin g on e, i s n ot
m uc h use Som e ha
. ve sta ted h i m t o b e iden t ica l wit h acer ta in
A l c uin , w h o lived i n t h e eighth cen t ur y b ut t h e vi ol i s n ot on ly
of aver y four t een th cen tur y sh a p e, b ut i t s four st r in gs a re

a ct u a lly m a r k ed A
,
D, G, 0 , w hic h r en d er s i t a b sur d t o sup
pose i t i s afa ithful r epr esen t t ion of a a
_

n eighth cen tur y vi ol

Other s, m or e en thusia
.

sti c st ill (r em i n din g us of Roussea ua n d

a
B r t ol occ i us c it ed b elow ) , t r y t o iden tify h i m w ith t h e A lbin us
m en tion ed by C a ssiod or us b ut t h e r ea der w h o per uses t h e
n ex t f ew pa ges w ill uic k ly i sm i ss a
q n
y ideaof t hi s sor t No ; .

t hi s r em a i n s on e of t hose m y st er ies w hic h w e c a n on ly solv e by

a n a l ogy, a n d th er ef or e, a s w e ca n n ot id en ti f y A lbin us, a n d th e

MS i s obviously four teen th cen tur y, a nd a pp ea ra n c es f a vour t h e
lm ost sa y t ha t w e ha
.

a ssum pt ion , w e c a n a fely sa ve her e afa i r ly

w ell— developed viol of t h e four t een t h c en tur y, r epr esen t ed wit h
i t s m od e of t un in g a n d b ow c om plet e .

These t h r ee in st a n c es out of c ou n t l ess ex a m pl es a r e en ou gh

t o sh ow th e diff i cult ies w it h w hic h en t er upon an ot ice of t h e I
P la
.

ea r li est for m s of t h e fiddl e t o, in deed, t ell s us t ha

.
1
t a m on g
th e a n c ien t Rom a it w a s n ot a ll ow ed t o p a
“
n s in t er s or ot her
a
i m it t ive a r t i st s t o i n n ova t e, or i n ven t a n
y for m dif fer en t fr om
w ha t w er e est a blished, n or la w f ul, eit her i n pa in t in g, st a tua r y, or

m usic , t o m a ke a ya lter a Thi s r ule w ould, i n deed, ha

”
n t ion . ve
been m ost useful i f i t h a d b een a dher ed t o t hr oughout a ll a ges,
a n d w ould r elieve t h e m usi c a l a n t i ua ry f r om q
t h e n ecessit y
of m a ki n g m y fi r st c om pl a in t ; b ut t h e r a va gin g r estor er w ould
st ill r a ge a r oun d a m on g t h e m on um en t a t em pom s a ct i , an d n ulli f y
'

t hi s fa r seei n g a n d r ovi den t l a w It i s t o suc h m ea gr e m a ter ia ls,

p
-
.

ther efore, t h a t t ur n for t h e i n for m a

I t i on t o b e set for th a t t hi s
pr esen t E ven l a t er on in t h e Middl e A ges, a s w ill b e seen ,
‘

t h e sour c es of in for m a t ion a r e e ua lly un sa t i sfa

q c tor
y; a n d in

c on c l udin g these pr eli m i n a r y r em a r ks f

,
or t h e len g th of w hi ch -

I m ust c r a ve y our in dulgen ce, m er ely quote B ott ée de Toul I

m on t, w h o sa
2
ys Si l o m oyen g e est l époque 0 15 l an om en
’
a
cl a t ur e des in st r um en t s est l aplus n om b r euse, c est a
.

ussi c elle
’

l es r en sei g n em en t s sur leur n a

'

t ur e la issen t l e pl us d ési r er ”
a .

B efor e goin g fur t her will disp ose, on ce a

I n d f or a ll, of t h e
1
De Legi b us, li b i i
“

B d e Toul m on t , “ Di sser t a q
.

a
.

a
t i on sur l es i n st r u
9
m en t s de m usi ue um oyen
a a q
.

e
g ,
”
d n s M m oi r es dé
es A n t i u i r es de Fr a
n c e,
”
t om e 17 .
 TH E A NC E STRY or TH E VI OLIN . 33

w r iter s w h o h a v e sta ted th a t t h e viol w a s k n ow n t o t h e I sr a elites,

c itin g i n supp or t of t heir theor y m a n y pa ssa ges of t h e Old
Testa
”
m en t w her e t h e w or d
“
“
viol occur s Th e w or d “ viol .

i s of m uc h m or e c on sta n t oc c ur r en ce i n ol d tr a n sl a t i on s of t h e
B ible th a n i n t h e m od er n a n d a c c epted v er si on Thus t h e 2n d .

ver se of P sa l m l x x x i used t o r ea
. d, Th e plea sa un t h a r p e, wit h

t h e viol t h e 1 2 th v er se of Isav r ea d s “ Th e ha r
p a n d th e

b r et a
. .
,
vi ol t h e ta
,
n d pi pe a n d w in e a r e in their fea st s
”
In a n .

ol d B ibl e of t h e y ea r 1 5 5 1 t h e 5 t h ver se of 2 Sa m vi i s r en der ed . .

vid a
,

A n d Da n d a l t h e house of Isr a el pl a yed befor e t h e Lor d

w it h a l ma n er i n st r um en t ys of fyr r e w ood e w yt h h a r p es , ,
p sa lt er ies, t i m b er ell es fyddell es a , n d s m ba
y ls
”
Th e 1 1 t h v er se
Th y p om p i s b r ought d own t o t h e gr a
.

o f I sa . x i v r e a d s
“
ve
a
.
,

a n d t h e n oi se of thy viol s
1
n d t h e 23r d v er se of A m os c h v

d s, For I w ill n ot h ea
. .

r ea In a
”2
r t h e m el ody of t h y vi ol s ll .

t h ese ca ses t h e w or d tr a n sl a t ed i s t h e H ebr ew 533 w hic h i s ,

equiv a len t t o t h e Gr eek «lr a h r fipw v a n d t h e La tin psa lt em um ,

’

a n d sh ou l d b e t ra n sl a t ed h a r
p I n a n old . F r en c h B ibl e of t h e

ea r ly p a r t of t h e n i n t h c en t ur y ver se 3 of P sa
a
l m cx lix
r en der ed , Louen t i l son n oun en cr out h ; si cha
-
n t en t ii l ui
en tym p a n et
p sa l t ru
y
”—
w her e t h e w or d m ea n in
g
“
d an ce is
r en d er ed by t h e n a m e of t h e in st r um en t t o w hi c h they used t o
da n c e (t h e c r wth, v i de p j ust a s l ter on a
t h e i n st r um en t
m e t o t h e da
.
,

k n own a sth e gigue (a i depost , p 4 9) ga ve i t s n a

. n ce

it a cc om pa n ied, w hi c h c a m e t o b e ca
”3
ll ed jig I n Gen iv 2 1
“
. . .

t h e w or d «I ra M fipt ov i s tr a n sl a t ed or g a n in our ver si on ; b u t in

'

t h e Lu th er a n v er si on t hi s p a ssa ge r ea d s, Un d sein B r uder h i esz

Jub a
4
l, v on dem sin d her gekom m en di e Geiger u d ”i n Pf e f e r

a n d t h e sa i s t ra n sla vi ol i n t h e
“
m e w or d t ed
si x th c ha p t er of A m os v e r 5 5
A ga in t h e gr ea t di v in e John ,

n ha
,
a
.

a
.
,

B a, l e t a l k s o f t h e m e r
y e n o y se o f t h e
y m t h t pl y u p o r pes,

l utes, a ese i n sta n c es a r e en ough W i t h out n u

”6
n d f del es
y T h ,

a a a a a
.

n ecessa r y m ut l ipli c a ti on t o p r o ve t h t s m t t er o f f c t t h e

n t h e or 1 g 1n a
,
q
e u a
l
.

iv l en t o f t h e w o r d vi o l d o e s n o t o c c u r i t ext

a
_

ibl d th w o d ig if yi n g b ow i n st r um en t
of t h e B o o o e r r s n -

e n r e s n
y
,

Ger m Dem Kl a n g e d ei n er H m fen .

2
Ger D i h m a d i P s a l t er s p i el n i c h t h or en
m i st ae m a
g e n
m
a
c
.

e n n

Th i s use of t h e w or d c o u t h m i n d s m e o f a n b su r d d e by k
i b l e i n t o Welsh , w h er e h e t r n sla a
3 r r'
e

B i sh op Mo ga i h i t a l a t i o o f t h e B t ed
a
r n n s r n s n

a
v i l s of w r a
”
b h o d t h a cr ow d s or m l e
a
h t n
t
J
e w r e r g/
y
“
An d h is b r o t h e r w a s n m ed u ab l ,
f r om a
w h om desc en ded fi ddl er s nd -

a i
n v er si on t h w or d P m l t er i n t h i s pl ce a
Th e Ger m
a a
5 e s e .

g v
3 “
Th e Ym g e of a B o t h C h u r c h es ft er t h e m o a
st e w on de fu
r
l n d h e v en l y

a a
Reuel c i on of S i n c t e J oh n & c C o m py l e d b y J o h
n B al e (L pn don ,

a a
.

a
,
1g Cc 1 , b e1n g t h e Com
a
P r t III , c h x vi i i , n t p g
o i n t e d ,
l e f n e x t b efo r e 8 .

m en t r y t o t h e Rev el a
_

a
. .
.

t i on , ch x v i i i , ver 22 . . . .
34 VIOLIN -
MA KING : A S IT WA S A ND IS .

a
n d w e ca
n ther efoe t t h e viol or violin w a
ar be quites sur e th
n ot i use a m o g t h e H eb r ew s for w e m a
n n y j ustly p ause b efor e ,
believi n g t h e ta t em en ts of Jea s n Roussea u w h o d ec laed tha t ,
r

A da m use d an d u d e t d
s oo t e h vio l i
nn t h e g ard en of E d en ! II
r

a n d of Juli us B a t ol oc ci us}3 h o i s c it ed by Ger b er t 8 ad w h o

r w ,
n

m e t io s an m on g t h e i n st r um en ts of t h e H eb r ew s t h e
n vi olao “
r

c helys b ut a h e supp o t s h i s sta

s tem en t by o evide ce a r nd n n ,

a fter ad s st aw tes tha

r t t hey h a d pi an ofor tes (
pi et t w l) w e ae s nn , r

justified i doubti g h i s a n
c c ur a
cy So m uc h ther efor e fo t h e
n .
, ,
r

c laim s of t h e I s aeli t es t o t h e p ossessi on of b o ed i n st um en t s

r w r .

Ifa n y on e ould p osecut e t h e en qui y l et h i m c om m e ce by

w r r ,
n

rea din g Dr St a i n er s Music.

’ ” “
of t h e B ible ;
4
a
sfor us— m on i t i
m eli or a g a
se u m ur
s am a
.

Th e hist or y fiddle i s a
of t h e tter of fa c t si m ply t h e

hi stor y of t h e b ow e sta blish t h e existen ce of t h e b ow a n d

you ,

ha ve t h e ex ist en ce oft h e fiddle It i s aquest ion yet un solved .

w h eth er t h e La t in w or d p lect r um (w hi ch c om es fr om p lun ge

I st r i ke) a n d t h e G r eek w or d
, w h fix r pov ( w hi c h c om es fr om

a t o s i e) ca b e t a n la
” ”
vi Mi
“ “
d
-
d y t r
,
k n r s t d
e
“
b ow
,
i e i n st r u , . .
,
” ”
m en t for r ubb i n g t h e str in g s Th e E n gli sh wor d b ow “
.

often t r a n sl at ed in t o La t i n by t h e w or d p l ect r um b ut it i s a ,
m a tte r of c on sider a ble doub t whether this La tin w or d p lect r um
ca n b e tra n sl a ted in to E n glish by t h e w or d b ow a n d it
“

r em a i n s t o b e foun d wh ether t h e b ow w a s a c tua lly kn ow n t o

th e a n c i en t s or n ot
5
A s ac om m en cem en t t o t h e questi on , I
. _

a aa
E t c om m e l v i ol e est l e pl us p r f i t d e t ous, p r ce u’ell e ppr och e pl u s a q a
p r e s du n t ua q a a
r el u
’
n cun j
ut r e, on peut ug er que si A DA M v oi t v oul u f i r s
'

a a
a a
i n st r um en t , il ur oi t f i ct un e v i ol e, et s i l n ’en
’ ’

p s f i c t , i l est f c il e d en don n er aa a a
a
l es r i son s ( l) . J Rousse u, . a aé
Tr i t de l Vi ole, et c (P r i s, a . . a
p s .

2
k a
A m on oft h e or der of St B ern r d , w h o l i v ed i n t h e sev en t een t h cen t u ry
a aa a aa
.

(1 61 3 n d w h o, b ei n g t t ch ed t o t h e Li b r r y of t h e V t i c n , l eft b eh i n d
a a
h i m t w o t r e t i ses of l i t t l e v l ue, en t i t l ed (i ) De P s l m or um l ib r o, P s l m i s et a a
a a a a
.

m usi c i s i n st r um en t i s n d (i i ) De Heb r eor um m usi c b r ev i s di sser t t i o,” w h i ch

a aa a
.

r e t o b e foun d i n t h e
aa a
Bi b l i ot h ec R b b i n i c (Rom e,
3
a
De C n t u et Musi c S cr (St B l si us, a
a
.

Joh n St i n er , “ Th e Musi c of t h e Bi b l e, ” et c (Lon d on , n d

q a
. . .

5
On e of t h e m ost c om m on l y uot ed i n st n c es of t h e use of t h e w or d l ect ru m
p
i s t h e 647t h l i n e of t h e si x t h b oo of V i r g il ’ s E n ei d k
Nec on Th r ei c i us l on g c um v est e s cer dos
n a a '

Ob l oqui t ur n um er i s, sept em di sc r i m i n v ocum a

a a
J m que e dem di gi t i s, ja
m p ec t i n e pul sa
t ebur n o .

Mr H Net t l esh i p i n h i s A b r i dg m en t fr om C on n i n g t on ’s Vi r g il (Lon don 1 872

on e of Wh i t t a
ker s Gr a mma r Sc h ool Cl a
. .
,
’
ssi cs) g i v es t h e foll ow i n P E C TI NE
g n ot e
—Th ough aa
t h e Rom n s dopt ed i n t ot h ei r ow n l n g u e t h e Gr ee w or d l ec t r um
g p a a k
a a a
,
t h ey used t h e L t i n pec t en t o den ot e t h e s m e t h i n g , n ot b ec use t h e i n st r um en t
k
used i n st ri i n g t h e l yr e w s t ll l i e aaa k a
c om b i n sh
pe n d ppe r n ce, b ut a a a aa
a a a a
b ec use i t w s h eld i n t h e r i gh t h n d , n d i n ser t ed b et w een t h e st m i n of t h e a a
a a
l yr e s t h e c om b w s, b et w een t h e st m i n of t h e l oom ” a a .
 THE A NCE STRY or TH E VI OLIN. 35

will shor tly en um er a te wha t M V ida l 1 sa ys on t h e oin t He

el or ia
. .

cit es t h e er r on eous d r a w in g s a n d letter pr ess of on e n o,

”
w h o, i n 1 5 68, i n h i s d escr ip t i on an d r ep r esen tat i on of am eda l
of t h e E m ili us a n d Scr i b on i us f am i lies 204 (Fig
a g g ther eon t o aviolin (Fi g 4 ) a
.
,

lter ed t h e t w o ly r es ha n in

da g i n n ova out m y fi r st w a
.

r in ti on tr uly a n d on e c a rr in
y il
ab out pi cto i a l hi stor y He then r efer s t o Bl ise de V ge e ,
a
,
8
r i n r e
l er i n os er r or s, a a ve a a
.

h o, i n Va nd
’
1 605, r e r oduced
b
w

r ep resen t tion of a
m ph i on r i si n g t h e w a lls of The es by a
force of h i s vi ol l yin g a
In c on c lusion , V i g en er e c ites
a a
V l er i n o a s h i s eu or i t y, j ust a aa
.

s, i n 1 7 35 , l A bb é de Ch te u
’

n euf r epr odu c es t h e t heor ies of V a ler ia n o a n d V igen ere .

a
Th e w or k w s n ever by h im in te n ded fOI pub li c t i on , b ut -
a
w a s pr oduced m a ny ea rs a ft er h i s dea th fIl ll of un cor r ected
a
f ult s Z c ch a ri a
ev o, i n 1 0 ,
7 6 a a sser t s p ositiv ely ls
Il
a
,

vi ol in o t uin ven t to daO r feo, fi gli o d A poll o e Sa

.

a ’
fo p oet ess
in ven te l a'
r c o de cri n i >di c va llo, e fir l p r i m ach e l o suon a se a a
c om e si c ost u m aCg gi di
”
Th is i s p r oba b ly i n a l lusion t o 3
'

.
.

a
FIG 3 Med l of t h e E m i li n e a
n d Fr o a
—a a
S m e m ed l , er r on eousl y
a a
.

uo 1568
. .

Scr ib on i u
s f m il i es n o 20 4 figur ed b y V sl en . .

"
. . . .

w ell kn ow n g em ill ustr a r ep r esen tin g Or pheu Mae ,

i 6 ‘

t ed by s fi
olin r ep r od uced a s a
-

l a g w i l d b ea st s on a vi fr on ti s iece
t o p
t o higw or k b M G a
p
sed t o b e a
.

ch w a
,

ll a
-

whi s su o n ti u e,
y p q
b ut sub sequen y pr oved t o b e c om p a ra
.
,

ti ve Thi s 1 8
a n oth er i ll ustr a tion of m islea di n g a Im a gi n ati on tha
a
r ti st ic n
P rn a
,

wh i ch n o better spec im en ex ists th a n th e ssus of

Ba fa ell e i n t h e V a tica n a t Rom e w her e A p ollo 13 r epr esen ted
yin g aviol aMy r ea der s will, of c our se, a
,

a s pl a .
ll kn ow t h e cele

A V ida .l Les In st r um en t s a
,
A r ch et (Pa r is 3 v ol s 4190 Edi t ion ,
.
, .

de I l ‘
fiH
’
ierogl h i c a Co m m en
ypt a
r ii Jo an n i s Fi er u V al er i an i per Th om a m Gu a ri
”
um
n
,
B
(1 568
Ti g é de en r e,
“
Les Ta
b l e ux a a
de P h i l ost r t e, t r dui t s a en Fr a
n cin e et

c ai 1605
.

mEA ggé d gh a u if Di a (Pa

c o en s r s
a
te l gu u l aMu i qu d
’
“
o es r s e es A n cren s ri s,
e n ei

a aa
,

P B Z cch ri Tevo,
5 Mu i T t (V es or e em ce, s co

P A M fi ei , Gem m e A n t i c h e fi g ur a
a
. .

te
.

a
L
.

L u t h i It a li u x 17 e
et si ecl es (P n s, a a
k a
n s
J G ll ey, es er s e
.

Vi d t h e foot a n o t e t o p 3 4 0 o f “
R aph a el , H i s Li fe, Wor s, nd Ti m es,
a
-

W
.

u M u t d i t d b l te r A r m st r on g , B A (Lon don ,
fr om t h e Fr en ch of E e y
a
e e
aa a
n e n z . .

g
a ak
,

b d w h y R ph el , i n st e d o f pl cm g
w h i ch r u h ft
ns It s o e n ee n s e
 36 V IO LIN -
MA KING : A S H! w a
s A ND Is .

br a t ed pi ctur e by P a ul V er on ese i n t h e Louvr e, Ma r r i ge oft h e

“
a
a t Ca na of Ga lilee, i n t h e for egr oun d of which i s afigur e (a or
”

tr a it ofTit ia n ) pl a yin g on aper fec tl y defi n ed double ba ss ! t is -

-

n eed ess t o m u t p
l l i ly ca e
s s a ll t h e su ppose a d n ti u es th at M V id l 1
q . a
c ou ld g et cogn iz a n ce of w er e t h e wor k s of c om p a ra tively m oder n
a r ti sts, a n d h e c on sequen tly c om es t o t h e c on cl usion t h a t to th e
Gr eek s a n d Rom a n s b ow in st r um en t s wer e un kn ow n Si r Job n .

Ha wkin s 2 c ites aw or k on st r in ged in str um en ts, w r itten i n

A 413 60, by on e Ni ch om ch us Ger a
. sen u s, a a
P yth a gor ea n, w ho

does n ot m en tion a n y m ode of vibr a tin g str in s other w ise tha n

with t h e fin ger s or plec tr um Now , a ga in st a t hi s Mr J M . .

ble (i f r elia
. .

Fl em in g s m a k es som e m ost in t er est in g a n d va l ua ble)

a
st tem en t s g oin g t o pr ov e t h e ex ist en ce of t h e b ow i n cl a ssic
tim es, uot in g fr om a str a t ed c a ta
,

q n ill u l ogue of t h e c oll ec tion of

Gr eek a n d E t r usc a n va ses, m a de by Luc ien Na p ol eon , P r in ce
of C a n in o, p ubli sh ed by sub scr ip t i on a t Mil a n in He
m en ti on s ata ll ha n dl ed c u on w hic h t h e fig ur es a r e pa in ted
p
-

r ed on a bla c k g r ou n d Th e subj ec t i s am a n sea t e d r e din g a a

kn ot t ed sti ck s, a
.

v olum e t o t w o youth s, w h o, lea n i n g on re

li sten in g a tten t ively On alit tle t a ble or b ox i n fr on t of t h e
On ea
.

pr in cipa l figur e i s in sc r ibed t h e n a ’

me
‘
Ch i r on ei s ch .

sid e of t h e r ea de r i s a n obj ec t whi c h a uthor iti es i n these m a tter s

t h e l eg en d a
r y l yr e i n th e h a t ed h i m pl yi n g t h e vi ol i n
n ds of A pol l o r epr esen a
a aa a
.
,

A c cor di n g t o P ss v n t v ol i , p 1 1 9 ) h e w s l ed t o com m i t t h i s
aa a a a
. . .

n ch r on i sm ei t h er b y t h e pope or b y som e ot h er gr e t per son g e w h o w s

a a
n x i ous t o h v e t h e por t r i t of som e s i lfu a k
l pl yer , possi b l y of Gi com o S n a a a
secon do, w h om Ca st i g l i on e, i n h i s Cour t i er , eul ogi ses s so cc om pli sh ed
’
a a a
m usi ci n a a
Th i s is v er y f r fet ch ed , for Pin t ur i cch i o, i n h i s fr escoes i n t h e
a aa a a a
.

B or gi r oom s, h d l re dy r epr esen t ed Musi c un der t h e g ur e of youn g w om n fi

a
l yi n g t h e vi oli n (Pi st ol esi , ‘ Il V t i c n o d escr i t t o, v ol
’
aa Lo S g n , i n aa
p a aa a aa
.

i s M gl i n fr esc oes, n ow i n t h e m useum of t h e C pi t ol , l w ys sub st i t ut ed t h e

v i oli n for t h e l yr e a a aa
R ph el w s l so g ui ded i n h is ch o i c e of t h i s i n st r um en t
a a aaa a a
.

b y speci l con si der t i on s, for t h e l yr e h d l r e dy b een pl c ed i n t h e h n ds of

on e of t h e Mu a aa a
ses i n t h i s fresco, n d h e h d lso p i n t ed A pol l o w i t h i t i n Th e
Sch ool of A t h en s a
n d in th e a a a
De t h of M rsyr s ’ H e c ould n ot c on t i n u ll y a
a a
.

b e r epe t i n g t h e s m e m oti v e
a a
.

A V i d l , “ Les In st r u m en t s 5 A r c h et ( P r is,
ak a
.

7
J H w in s
. Gen er l H i st or y of Musi c (Lon don , p 73 . .

3 ‘

a a
J M Fl em i n g , “ Ol d Vi oli n s n d t h ei r M er s ” Lon don ,
k ( Th i s
kfi a a
.

a
.

w or r st a aa
a
ppe r ed seri l l y, i n t h e p g es of t h e B z r , i n 1 8 82 3
a a
-

aa
.

a a a
Mi c li , “ St or i deg li An t i ch i P opol i It li n i (Mi l n ,
"
4
n d Atl s
a a aa a a
t h er et o T v c i i i , fi T zz a n u l t o m n i c o,
gu r e r osse i n fon do n er o d el l
a a a
. .

a
for m m edesi m n um 6 T v x ci x , P r di C n i uo Th e desc r i pt i on r un s t h us :
a q a a aa a
. . . . .

“
a
Mol t o sin gol r e, u n t o n uov o e gr di t o dovr p rer e l l ' osser v a t or e i l t em
diq
.

a a
uest o di pi n t o V i si vede n u uom o sed en t e r va l n os i v v ol te l i g en oc ch i
a a a
.

n el su o m n t o c h e st a l egg en do n u v ol um e 0 p pir o Duo g i ov n n i udi t ori ,

a a aa a a a a a
.

c i n t odel l li o, ed m b o ppog i t i n un odoso b ston e t t en t m en t e l o scol t n o

a a a
l egg i t ore e un o sc r i g n o l t o ac on t en er e i v ol um i sul di c u
.

Di n n z i i coper ch i o
a a a
l eggesi i i t i t ol o x t povét s Gli rr edi ppesi i n l t o posson o esser e Meow den o
a a a A a
.

a a
t t i v e 1 pr ofessi on e del m est r oa l t o dei due E feb i e l sol i t epi gr fe
a a
.

a
x Ms n el m ez z o d el l o scr i g n o w e Th e dr w i n g of w h i c h t h i s i s descr i p
a
.

k
.

t i on i s r epr oduc ed t p 250 of Mr Fl em i n g s w or , ci t ed i n n ot e

’
. .
 TH E A NCE STRY or TH E V I OLIN . 37
‘
th in di c a
p r ofession of this pr in c ipa
’
t er m ece
e, tin g th e l figur e
On e of these h a s an ec k or ha n dl e, a
.

n ov a l disc or soun din g

pl a n e a n d at a
,
il piece ex ten din g below t his disc r a
-
t h er m or e
tha
,

n ha l f t h e l en g t h oft h e n eck Fr om t h e upp er extr em ity of .

t h e n ec k t o t h e l ow er ex t r em i t y of t h e disc a r e str etc hed str i n gs

a n d a c r oss t h ese st r in g s a
,
t t h e c en t r e of t h e disc i s pla ced a h ow
of a s ra t i on a l c on str uc tion a s a n yt hi n g tha t ha s c om e d ow n t o
us p r ior t o t h e da ys of Cor elli Th e in st r um en t i s in deed a lm ost
iden tica
.

l w it h t h e Ra va n a st r on t h e or ien ta l p r ec ur sor of t h e
oc c id en ta
,

l fiddl e Th e b ow a
. b ove m en tion ed i s pl a ced so
c l ose t o t h e i n str um en t t ha t it a ppea r s t o ha ve n o ha ir a n d it
m ight on t h a
,
ta c c oun t b e c la im ed a s a sp ec ies of pl ec t r um b ut
w h en w e r em em b er t h a t Pa ga n i n i i s r ep or ted t o ha ve pla yed
div i n ely upon h i s violin wit h aslen der r ush i n ac on t est w hich
he ha d w it h ava in youn g m a n i n I ta ly w e n eed b e a t n o loss ,

t o suppose t h a t th e a n c i en t s m a y ha ve ex c it ed t h e v ib r a t ion s of
t h ei r st r in g s by asim il a r c on t a c t b ef or e ha ir c a m e t o b e used
n d i t s i m p or t a
.

This i s av er y im p or t a n t di sc over y a n c e w ill b e ,

m or e fu l ly a ppr ecia ted w h en w e r em em b er t h e l a w I a ll uded t o

r t ist s a
just n ow a ga i n st a lter in g exist i n g for m s i n t hei r w or ks ,

a n d our n ot fi n din g f r equen t r epr esen t a t ion s of t his in st r um en t

m a v er y possibly b e a cc oun t ed f o r by t h e r ea son given by
y
Mr C E n gel,1 v i z , tha t t h e scen es tr a
. n sm itted t o us a re

l tr iumpha
.

ly t h ose of fun er ea
.

c hief l or ot her r i t es i n w hich

, ,

in st r um en t s of suc h ap r i m it ive desc r iption a s t h e fiddle m ust

th en h a ve b een (if it ex isted a t a l l ) w ould ha ve t a k en n o pa rt

,
.

Lea vin g t her efor e t h e c on sider a t i on of t h e use of b ow ed

m on g t h e Gr eek s a n d Rom a n s w it h t hese sta
, ,
in str um en ts a t is
ti cs t h e ea r li e st t r a dition s a n d desc r ip t ion s of a p osit ive n a t ur e
M Fet is h a s i n m or e tha
,

c om e fr om t h e E a st n on e of h i s

Rien d a
. .

w or k s r em a n s l O c ci den t qui n e V i en n e de
’
r k ed

t ter of t h e a
,

l Or i en t
'

a n d cer ta in ly i n t h e m a n cest r y of t h e

V ioli n t hi s i s a pp a ren tly t h e ca se ; n or i s i t a ta ll un likely for a s , ,

w e a ll k n ow t h e West (LaE ur ope) w a s ci vi li z ed l on g a ft er t h e

Ea In h i s Not i ce ofA St r a diva h e sa
, ,
”2
st e r n c on t i n en t s ri ys .
,

ver y t r uly, If w e would t r a c e ab ow i n st r um en t t o i t s sour ce

.

w e m ust a ssum e t h e m ost si m ple for m i n whi c h I t c ould a ppea r,

a nd a s suc h r equi r ed n o a ssista n c e fr om a n a r t b r ought t o per

fect i on a n d suc h afor m w e sha ll fi n d In t h e Ra va n a st r on

e ofa c ylin der of sy ca

,

( gF i . m ad
”
m or e w ood holl owed out fr om

on e en d t o t h e oth er .

C E n g el
. Ca ta
,
l ogue of Musi c a
“ l I st r u m en t s i n t h e Sou t h Ken si g t on
n n

Museum ” gLo do
n sl a
n n
Not i ce d A n t oi e St a di a (Pas t a
,

F J Fét i s
2
’
n r t d to
v ri n r e In
Not i ce of A n t h on y St r a di a
,

E n g l ish b y Joh n B i h op (of Ch el t en h a

. .
,
s m) ri t h e
,
“
v ,

Cel eb r a t ed Vi ol i n Ma ker et c (Lo do

” n
- .
,
n ,
,
38 V I O LIN -
MA KING : A s IT WA S A ND I s .

Th e fi r st tr a diti on w e ha ve of t hi s in str um en t i s given by

Son n er a n s t h e Ra va na st r on a s ha
1
t w h o m en ti o vin g b een i n
ven ted, 5 000 yea rs a va n a
g o, by on e B a then Kin g of Ceyl on
Mr E n gel sa
,
ys on t his subj ec t H owever thi s m a
.

2
y b e, th er e
bilit y t ha ted i n H in dust a
.
,

i s agr ea t p r oba t t h e fiddle or igin a n , for

Sa a that ther e a re n a
s
n sk r it s c h ol r s i n for m u s m es for t h e b ow

FI G 5 —Th e Ravanast r on (A n ci en t FI G 6 —Th e Om er t i (I n di a)

an d Modern I n di a
. . . . .

) .

which an n ot b e l ess th an 1 5 00 t o 2000 yea r s old These n a

ae K6 a Ge ikaa ri a
c m es
n d Pa da Th e k d ai s desc r ib ed a
.

r n r s
v s
. n
, ,

c on si st i g of ac a
t h e ud est k i d of b o
r n w ,
per hap s it h out n n e, w

a n y ha
i r ; it m ay ha ve b een m a de ough eit he by sm a ll in cisions r r

Son n er a
t , “ Voya g es ux In des et l a aaCh i n e (Pa
r i s,
2
C E n gel (t id e n ot e p
a aMusi que (Pa
. .

3
F J Fet i s Hi st oi r e G én ér l e de l
. . . ri s ,
40 V I O LIN -
MA KING : A s IT WA S A ND I s .

k em a
n
g eh i s fr om t h e P er sia
der ived n w or d k em a n eh , wh i ch
g
m ea n s
“
a
pl ce of t h e b ow ,
”
n d ag ouz m ea
’
a
n s
“
an c i en t ,
”
so
tha t t h e en ti r e t r a n sl at ion i s i n fa ct
“
an c i en t b ow i n st r u m en t
”l
-
.

Now t h e A r a b s t hem selves sa y t ha t they g ot t h e i n st r um en t fr om

P er sia an d t h e w or d b ei n g P er si a n sup or t s t h ei r ow n sta t em en t
, p .

Th e P er s ia n k em an
g eh i s d es c r i b e d by S W
i r illi am O u s e l ey
2
as

pr ac ti c a lly iden t ica l wit h t h e Tur k ish v a r iety a

,
n d th at it h a s n ot

a
h d ach a n g ef ul exi sten c e i s p r oved by at r ea t ise on P er sia n m usi c
,
wr i t t en , i n 14 1 8, by on e A bd ul c a dir , which gives a -
n id en t ica
-
l
desc r ipt ion of t h e in st r um en t 3 A n ot her m od er n Tur kish a nd

Ara bi a n in st r um en t i s t h e Reh a b , of which t h er e a re m a ny

Fm . 7 —Kem a
. n g eh ag ouz
’
.
(Moder n Tur kish .
)

va
r i et i es
, them (t h e Reh a
on e of b esh Sh a er
) differ in g fr om t h e -
’

Kem a n
g eh a g ouz on ly i n t ha
’
t it con sist s sim ply of afour sided -

fr a m e (Fi
g t h e t op a
. n d b ot tom b ei n g c om
posed of t w o pieces
ofst r et ch ed ski n In on e O fh i s ea
. r li er w or k s M Fet i s4 d er i v ed t h e .

or igin ofh ow i n st r um en ts fr om t h e Gon d ok Fi

( g 9 ) oft h e Russia n .

Ch i st i aow i t h E squi sse Hi st o i que d l aMusi que A r a

1 8 63A
. r n c , be (Col ogn e
r e
,

2
Si r W Ou l ey B a se rt T ael s i Va r v n st espec i a
i ous Cou t r i es of t h e E a rl ly n
a
.
, ,
P er si
’7

( Lon don ,
3
a
B en G i b i A b d u l c di r - -
a w a
saP er si a
n m usi c i a
n w h ose w or k quot ed a
b ov e
aa
, , ,

( m n uscri pt en t i t l ed U . J
.

w h i“ so ls. g a
la
)
”
g ul ls l 3 7,C m ”
[Tre t i se a
a a a
.

r
on t h e r e son s of m od ul t i on i n c h n t s n d m ea a su J
r es ) ex i st s 1 n t h e l 1
b r ry
'

a
of t h e Un i v er si t y of Leyd en
a
.

F J Fet i s,
. . B i og r ph i e Un i v er sell e des Musi c i en s 1 835 .
 TH E A NC E ST RY O F T HE V IOLIN . 41

p ea
san tr y ,
1
b ut i n ala ter w or k 2 h e c or r ect s thi s, a n d a sc r ib es t h e
Gon dok t o i t s p r oper sour ce, v i z , t h e Reha b, a n d t hen c e th r ough
.

t h e Kem a n
g eh a n d O m er t i t o t h e Ra van a st r on of a n c i en t a n d

m od er n In dia A l Fa . rahi, am usi c a l hist or i an of t h e t en th

c en t ur y
( w a s la r g ely r ep r od uc ed i n 1 84 1 by M
3
w h ose w or k .

Koseg a r t en does n ot a ll ud e t o t h e h ow , b ut A sh sh a ka n di , i n -

1 200, m en ti on s t h e Reha b a s ha vi n g b een i n use i n Spa in

for c en t ur ies without ha vin g b een t h ought wor t hy O f n ot ice
on a c c oun t of i t s r uden ess I t ex ist s, i n d eed, st ill a
. m on g t h e
c oun t r y p eopl e i n Sp a in un der t h e n a m es r a b el a n d a rra
“ ”
b el,

—Reb a aer Tur ki sh b ia

n d Ar a
a n )
(Moder n
’
FI G 8 . , b esh Sh .
.

a r i ca
a l m o st id en ti cal w ith t h e R e h b of t h e n o r th of A f (F i
g .

a a a e Ba
I h ae ea
v h r d it pl y ed by t h e p e s n t s o f t h s ue dl S
q
t r i c t s of t h e P y r e n ee s b u t c ou ld n ev e r a c q ui r e a speci m en by
.

a a c om p a
,

p ur c ha se or b a r t er A p.e s n t wh o m I e m pl o y ed t o ss

k h at h r ee st r i n th fi r st of w h i ch i s t ouch ed w i t h t h efin g er ,
Th e d
a
e
g o o
n s gs
w h i l e t h e ot h er t w o a
r e soun ded w i t h t h e b ow , w h 1c h i s sh ort , c l um sy, n d
a
c l em en t r
2
F J
. . F ét i s, Not i c
a
A b on N sr Moh a
e d
’
A n t oi n e St r di v a
l I b n Ob eyda ll a
ri
h A lk a
a (P r t s,
ySI A l F aa r a b i aa
u Ist i k s t I l m -

m m ef
a
3
-

a
- - -
,

a a
- -

b u t A D 930, n d n ow
m usik e [ E l em en t s of M u si c ], m n u sc r i p,t w r
i t t en o . .

a
n t h e l i b r r y of t h e E sc u ri l a t Ma
a dr i d
e d i
a a a
.
rv e
a
p r e s
4
J G L Koseg r t en , a A l i i H i sp n e n s i s l i b er c n t i l en r u m m g n us ex

a a a a
. . .

c odi ci b us m n uscri pt i s A r b i ce edi t s (Gr ei fsw l ds,

L
2 V IOLIN -
MA KING : A S IT WA S A ND I s .

thi s for m e, t old me t hese violin s (vi ezw

old -
vi ell es ) a
re

h a
n ded d own fr om fa
th er t o n d a
son , a r e ext r em ely sc r ce,a a
nd

im possible t o Obta in fr om their

ow n er s a wa
Now s th e Reh b
ithout doubt i n use a
.
,
w m on g t h e
Moo i t h s v n th cen tur y a
,

rs n e nde e , ,
ath ey p oceed d a
s lon g t h e Nor th
r e

ofA f i caad on quer ed Sp a

r n in i n c

th ight h c e tur th a
e e t a cc ou n ts
n

fo i t s p e
r ce a on g th eir t a
r sen ck r

f om t h a
r t t im e t o t h e p esen t da y r

b s t hem selves a
.

A d at h A a
n s e sser t
r

t ha t t h y g ot t h e Reh a
e b with t h e
K m ag h f om P e siaw e th us
e n e r r

t h e i t elli ge ce a
,
re a ch ga i of
n n n

a n ot h aci t P e sia
er nn i n st r u
en r

m e t nhi c h m a
,
wkes aot her lin k n

—Th
FI G 9
. . eGon dok
Russi n )a .
.

—R b a
(P r i m i t i v e
b (No t h Af i a) F I G 10 . . e . r r c .

i n t h e ch a in whic h tr a c es t h ese i n st r um en t s fr om In di a thr ough

P er siaa n d A ra biain t o Tur k ey on t h e n or th of t h e Medi t er '

ra n ea n, a n d a lon g t h e n or t h of
A fr ica in to Spa in on t h e south .

Th er e i s n o d oubt t h a t t h e E gyp
tia n s h a d a n i n str u m en t ca lled
”
Nofr e (or Nefer or Nefr u,
, ,

or Nef of t h e hi ghest a n ti quit y ,

with fi n g er b oa rd -
a n d br idge ,

a n d fr et s f or p r od uc in g dif fer en t
n otes on on e str i n g (Fi g .

a n d it seem s a ston i shin g t ha t so

h i ghly civi liz ed in ven t ive, a n d

m usi ca la p eople a
,
st h e E gyptia n s

sh ou ld n ot ha ve m a de t h e t r a n si

t ion , whi c h w ould b e n a t ur a l ,

wer e t h e i n t h e ha b it of usin g
ab r idge a n d fi n er b oa
g r d ed i n-
F 11 —Not o N f I G. e, r e er .
E gypt i a)
t with aplec t r um v ,
.

st r u m en i z
n .

th a
.

n s so a
,
t of r ubbin g t h e str in gs by t h e sa m e m ea s t o p r oduce
c on tin uou sa n d sl ur r ed n ot es i n st ea d of t h e shor t sudden on es
for , b e it b or n e i n m in d , a s I ha ve suggest ed b efor e, t h e use of
 TH E A NCE STRY OF THE VI OLIN . 43

ha
ir i s b y n ti al a
t o t h e exi sten ce of a
o m e n s essen b ow O fth e .

hi gh a n ti qui ty of t h e n of re
( Sig n i fyin g when used a s ahi e ro ,

for w e fi n d i t a
”1
g lyph i c g ood
, ) th er e i s n o d ou
, bt m on g t h e
t c on cer t s of t h e eighteen t h dyn a
,
i n st r um en t s used a sty
1 5 75 it occ ur s a l so i n p a pyr i of t h e da te 2000
n d ev en ea Mr Cha pp el l sta t r epr esen ta
,
a r l i er tes tha tion s of it
r e foun d d a
. .

a tin g fr om t h e four t h dyn a st y Som e fr a gm en ts .

of an ofr e w er e foun d i n at om b a t Theb es by Mr Ma dox .

,

on t h e n ec k of whic h som e of t hese fr et s (w hic h w er e for m ed .

of ca m el g ut tied r oun d t h e fi n g er hoa

-
r d ) w er e st ill r em a i n in g
-
.

Thi s m ost i n t er est i n g r eli c i s i n t h e B r it ish Museum a n d is ,

figur ed by M Fet is 2
Mr C h a
. ppel l gives m a
3
. ny m ost
in t er estin g figur es a
,

n d desc r ipti on s of t hi s i n st r um en t on p a ge

FI G 12 . .
—Tr i g on on .
(A ssyr i a
n )

p d u ith t h b idg a d a c a r ved h ea d

320 h e r e r o c e s o n e w r e e r e s n , ,

b ein g pla yed wit h aplec tr um a n d on p 62 h e gives t w o

a
.

a a
a
r s (or
g
fi ur es o f i t s us e s hi er o gl y phi c w i t h t w o c r oss
b
n d on e of t hem wit h a
,
pe s) i n t h e hea d a p f r ec t b r i dg e nd

a
e

g ece Hi s a a
,

ta
f
’
D k l
‘
'

pi illu s t r ti o n s r e f r o m t h e en m er o
a
-
.

Le s us, a n d a
f C eph r en
.

p i re o f t h e fo u r t h dy n s ty i n t h e r ei g n o h
a ra
,

h d t h o d g t py mid T h is
(or Suph i s I L) , t
w o e r ec e e s ec n r e .

w ou ld iv t h e i n st r u m e n t a n a n ti q u ity o f 3 1 24 a c c or d
g e
p
i n g t o Le s us or o i f 2 08 ,
3 B C a cc o r di n
. g t o
. S i r G a r dn er

Wilkin son .

S B i r ch
. An I n t r
,
od“
u
‘

ct i on t o t h e S t u dy o f t h e E gyp t i a H i er og l yph i cs n

(L2on don , p 225

é éa a q
. .

F J Fet i s, H i st oi r e G n r l e d e l M usi ue Tom e i , p

a
. .

a d
.
”
Ch ppell , Th e Hi st or y of Musi c , v ol i ( ll pub li sh ed)
.

2
.
. . (Lon d on , n . .

[ 1 874J)
 44 VIOLIN -
MA KING : A S IT WA S A ND I S .

Mr E n gel 1 gives afig ur e fr om a

. n A ssy r i a n sla b in t h e
B r it i sh Museum , ofa b out B C 880 (Fi g pla yin g a n i n str um en t

plec t r um of c on sider a
. . .

of t h e t r ig on on sp ec ies h oldi n g a ,
bl e len gth
i n t h e r igh t h a n d, whil st h e stop s t h e st r in g s wi t h t h e lef t
pr ob a b ly b e a
,

whic h a s Mr E n cl j ustly r em a r k s m a v er y
'

.
y ,

d e p r ototyp e of t e m oder n violin b ow , for these l on g plectr a

,

ru

c on sta n tly occ u r ;a n d a s th ey m ust h a

,
v e b een v er y m uch m or e
in con ven ien t t o twa n g t h e str in g s wi t h t h a n a shor t on e w ou ld
ha ve been i t i s t o m y m in d a
,
l m ost acer ta in ty t ha t th e
when it got beyon d acer t a i n len gth c ea sed t o b e a n i n str um en t

Fr om a
,

of p er c ussion , a n d b ec a m e on e offr ic t i on l l th ese fa . cts,

ther efor e I deduce this on e, tha t
ges of t h e high est a
,

in a n tiquity

b ow in str um en t s, or a -
t a n y ra te
str in ged i n st r u m en ts fr om whi ch
"
t h e t on e w a s p r oduc ed by fr i c

t i on ex ist ed a m on g t h e p r im itive
,

A sia t i cs Th a t with t h e Moor s.

a n d Moh a m m eda n s these i n st r u

m en t s j our n eyed w estw a r d i n to

Spa in a n d sout h ea ster n E u r op e -

.

Fr om t h ese t w o p oin ts they pr o

g r essed t o t h e n or th west by t h e
-

c ol on iz a t i on of t h e B r iti sh Isles
a n d B r it t a n y fr om Sp a in , a n d,
w i t h out soa r in g in t o t h e In d o

E ur opea n or igin of t h e Celtic

t r ib es, w e m a y sa y th a t these
g r ea t wa ves of p op ula tion w er e
p r ogr essin g gr a dua lly in toNor th
er n E ur op e fr om t h e ea st a nd
F ig i oi f om MS o south ea st b r i n g i u with them
l i y m u” (3 bm )
Z G. r t -

t hei r super i or fi d les (kema

. .
,
In 0 0: o o

g eh s, r eba b s et c ) t o super sede t h e m or e in fer ior b ow i n

, .

st r u m en t s a lr eady t h er e (t o w hic h I sha ll p r esen tly r efe )

Th er e i s n o d oubt th a t fr om Sp a in c olon i sts w er e c on tin ua fiy )
over r un n in E ur ope, a n d thi s a cc ou n t s for t h e p r esen ce i n
n ea r ly a ll gur opea n la n g ua ges of Moor i sh n a m es for m usica l
i n st r um en t s i t b ei n g n ot a t a l l i m pr ob a ble tha t na m es of cr ud e
a
,
n d i m p er fec t i n str um en t s ha ve i n a ll l a n gu a g es b ec om e tr a ns
fer r ed t o n ewer a n d m or e per fec t i n st r um eh t s a s th e f or m er
w en t out of a n d t h e la
, tter c a m e i n t o use Fr om Sp a in
,

E n gl a
.

c ol on i sts settled i n B r itta ny n d ,Nor m a n dy a n d oth er

,
,
‘
0 E n g el ,
. Th e Musi c of t h e Most A n ci en t N t i on a s, et c . (Lon don ,
p 49
. 0
 TH E A NCE STRY OF THE V I OLIN. 45

pa r ts of E u r op e, l on g b ef or e t h e I n d o E ur opea n tr ib es h a d -

ea c hed so f a r, an d a c c or di n gly i t i s i n th ese c oun t r ies t h a t

r w e
fi n d r ecor d s of t h e fi r st p ea r sh aed V i ol s p r oper ly so c a
p ,
-

ll ed
b ea r i n g str on g r esem bl a ll v a of a
,

n c e t o asm a r i et n c i en t a nd
m oder n Moor i sh k em a n
g eh We do n ot fi n a . ny a ct u a l a nd

a uthen ti c r ep r esen t a t i on s O f p ea r sh a
.

p ed viol s befor e t h e n in th
-

c en tur y whi c h supplies us w it h a on e st r in ged V iol (Fi g -

fr om
aMS fr om t h e Mon a
.
,
st er y of St B la si us i n t h e B la c k For est,
whic h MS w a
. .

s dest r oye d w hen

. t h e Mon a ster y w a s bur n t
dow n , b ut of t h e il lust r a t ion s of w hic h t h e A bb ot G er b er t h a d
tr a cin g s, whi ch b e s u b q
s e u en tly p d d
r e r o uc e
1
Repr esen t a ti on s .

of vi ol s of supp osed ea r l ier da t es ha ve been n ow a n d then

r odu c ed, b u t th ey ha ve a lw a y s b een foun d t o b e a n t e da t ed -

.

n t h e ea r li est r epr esen t a t ion s of h ow i n st r um en t s i t i s r a ther

t h e ex ception t o fi n d ab r idge, t a il piece, soun d holes, et c , -

FI G 14 V i ol fr om t h Cot t on MS F I G 1 5 —V i ol fr om E l ev en t h C en t ur y
a
e .

a
,

(B r i t i sh Museum )
- .
. .

P s l t er
T en t h cen t ur y (S x on )
.
.
.

p t d u a th y u f q u n tly it seem s cer ta in th a t

b t s e o cc r r e e
n ce of t h e a
r e r esen e
when they do n ot it i s by t h e om ission or ign or a r t ist

or sculptor , or by sub q se u e n t r es t o r a tio n ofh i s w or k A v er y .

faour e s
v it p i m i fo u n d i n a M S i n th e B r i t i sh M u seu m 2

r ked r esem bla

e n s
a
ec
.

(Fig oft h e ent t h ce n t u r y w hi c h b e a r sa m n ce

to a for m of t h e a
.

n c i en t M o o
,
r i sh k e m a n g eh an d r e h ab , whi ch i s

a a a sa n tr y un der t h e
till foun a d g th e B t d B q u p
on n s e e
s m on r e
cedby Str utt togeth er
n a T h
'

i i p o d u
m e r eb ec (md e p s s
.
r e r
sa
,

ith th
som e O er s, fr o m a lik e s o u r ce
3
A P l te r of t h e el even t h

a
.
w
M u u iv fiddl e
2
m oun ted w r t h
r y i n t h e B r iti h
n tu s se m , g
es
ce ,

M Ger b er t , De C
.
“
a
n t u et Musi c Sa
cr a a(S
, t Bl
. a
si us

2
Cot t o MSS Ti b er i us C v i aa
li a a a
.

;a
.

st om s of t h e In h b i t n t s

a
M r s n d Cu
.

[
“
J St r t t , 0 l b Kn g e yl n n e
a
c n n n -

a a
.
n d P st i m es of t h e
a h S r ts
.

” d l o
“
T e p o
(Lon don , a
n s
of E n gl n d
a a ” '

Peopl e of E n g l n d, i n c l u gdi n t ha e Ru r l n d D o m est i c Recr e t i o ,

n s et c .

( Lon don
Th e w or d
.
”
ddl e i s o f i m mfien s e n t i u i t y ,
b a q
ei n g der i ved i n l l l n gu ges a a a
46 V IOLI N -
MA KING A S IT w a
s A ND IS .

on e st r in g (Fi i din g us of t h e on e fr om t h e St Bla

r em n siu s .

S b efor e r e err ed t o A h a s r eli ef of t h e sa m e cen tur y fr om -

St Geor ges de B oscher vill e (n ow i n t h e Museum a

. .

. t Rouen ) , h a s
t w ofigur es pl a yin g viols (Figs 1 6a nd on e ofwhi c h (Fi . 1 6)
i s held like t h e m oder n violin , a n d t h e ot h er (Fi g 1 7) H e t h e .

m oder n violon cello, i n whic h l a st w e b e i n t o see t h e i n wa rd

g
cu r va tur es, which, fr om thi s da te a lm ost in v a r iably dist in guish
t h e v iol, p r op er ly so c a
,

ll ed fr om t h e m or e pr i m iti ve gue or
'

-
,

r eb ec , a b out w hich I sh a ll pr esen tly sa y afew w o s Th e .

twelft h cen t ur y supplies M P ot ier (a ut h or of Mon um en t s

Fr a n ca r b ut m or e or n a
.

is with aviol of asim i la te a

n d cu m
b r ous descr ipti on fr om t h e por c h of Notr e Da m e de Cha r tr es
1 8) a nd a n um b er of sim il a r on es, on ly of m or e defin i t e

—
F r o 16 Gi g ue, or Reb ec , —
F r e l 7 Vi ol fr om t h e s m e a
a a a
. . . .

Bu
_

s r el i ef
- t St Geor g es d e. B s r eh ef s F i e 16
-
. .

B osoh er vi ll e, Rouen (E l ev en t h .

cen t ury ) .

and a dva n ced for m a r e car ved on t h e p or c h of achu r ch a t

Sa go di Com post ell a i n Spa
,
n ti a in built i n t h e thir t een th
l i n t h e Min str el s Ga
, ,
cen tur y A t E xeter C a
. thedr a ller y a ’

lptur ed or chestr agives us per fec t epr esen ta

, ,
scu ti on s of t h e viol
hich w e r ea
r

an d r eb ec of t h e f our teen th cen tur y a ft e ch t h e ,

r w

fifteen th cen tur y which sa w t h e in tr oduc ti on of t h e p er fect

,
v i ol e t h e im m edia
, te p r edecessor s of t h e m odern vi olin which
w er e in d eed for al on g ti m e i t s com p a n i o s i n ha
,

, , r m on y n .

A b out t h e el even th ce tur y t h e fiddle w ould seem t o ha n ve

fr om t h e old Got h i c
vi del er e, a afi
”

a
Th us w e h v e i n t h e old Ger m a
. a
ddl er ; “ v i del n , ” t o ddl e i n t h e m oder n
a
fi
n v i del ,
”

nd
ddl e ;
fi edel a
afi "
a a
.

I n t h e Icel n di c fi dl ,” i n t h e Dut c h v i del , v i ool , n d A s n A n gl o

a
S x on w or d fyt h el e i s of i m m en se n t i ui t y a q
In t h e l eg en d r y Li fe of St
. a .

Ch r i st o h er , w r i t t en A D 1200, w e fi n d, Ch r i st ofr e b ym ser ued l on ge ; Ye

’

a a
. .

Kyug oued m el odye of fy t h el e n d of son g e (G Dub our g , “ Th e Vi ol i n .

‘

Lon don ,
48 VI OLIN -
MA KING : s IT w a
a s A ND IS
.

A gr i colai n a n d t h ei r n am es a r e di sca n tus (Fi

g a ltus, .

ten or , a n d bassus I ca me a . c r oss a c ur i ous ill ust r at ion whic h

I ta k e t o b e of t hi s i n st r um en t , ash or t while sin ce, i n t h e
B r iti sh Museum , i n alittle bl a c k l etter p a m phl et , b eg i n n i n g ,

an Bll lus i ea
im um {B i p m { BaDu ISum w a l ae a
m Sloa i s fl u l i i fl ugu ll i fl a
’

tr m r nti r n tz t
fi i m i i nom i u mi
m a
r n n nn re tz
is a g a glm p esum"
a
n mi um lih
c r mi n rr ni n ,
n d en di n g , rr
011 m m fi rm s Dom i n i (14 9 1 ) h i s qui n t o3mm,
fl t t t cl r r r r i
t o w hi ch i t for m s t h e fr on sp ece or t itle pa ge I t i s ar ep r esen ta
ti i -

n gin g on n a
.

tion of aviol a n d b ow h a il s ; t h e viol h a n g s by a

’

r ibb on , an d t h e b ow by i t s ow n hea d a s b ow s a r e even n ow h u ng ,

Fr o 19 —Reh a
b (A n ci en t F r o 20 Gr os g ei g , fr om Ill us
”

a a
-

a
. . . . .

n d Mod er n Moor i sh ) . t r t i on of M A g r i c ol .
(1545) .

up i n sh op s .Th e b ow i s of aver y a dva n c ed typ e, ha vin g an ut

b utton a n d h ea d of a lm ost t h e desig n of t h e m oder n doubl e
ba ss h ow Th e V iol i s fa n ci ful i n sha pe , h a vin g l on g b ody a
p ec t fi n g er b oa
.

w it h ash or t n ec k a n d a er f r d ; t h e c en t r e b out s
’

- -

( sc i li cet ) a r e set l ow i n t h e b ody, t h e h e d i s s u a r e, c r ved a nd a q a

o vid d w it h seven h ol es i n f r on t , set , t hr ee on ea c h side,
p r e p g
e -

a n d on e i n t h e m iddl e, w hil st a t t h e si de of t h e h ea d t her e

pr oj ect s apeg wi t h aper fec t
”
t h um b pi ece, w hi c h su pp or ts -

t w o st r in gs (j ust b el ow t h e th um b piec e), when ce t h ey a -

pp e r a
t o g o i n t o t h e hea da t t h e t op of t h e s ua r e b ox t h er eof q
Th er e .

a r e fi v e st r in gs on , a n d t w o of f, t h e fi n g er b oa r d t o t h e r ight -
.

Th e b r idge i s id en t i c a l with t h e m oder n V iol on c ell o b r idge, n d a

M . A gr i c ol a,
“
Musi cs . a
In st r um en t li s (Wi t t en b er g ,
 TH E A NCE ST RY OF TH E V I OLIN . 49

th e ta il piece i s li ke th a
-
t of a ll t h e la ter viol s a n d ha s ata il ,

l oop of twisted c or d, whic h i s n ot however tied on t o t h e i n

t h e soun d h ol es a a ’
str um en t r e i n t h e for m of t w o C s f
-
c i n g on e

a n ot h er . I t i s t h e m ost a dva n ced r ep r esen t a tion of ab ow

in str um en t I h a ve ever seen for t h e da te .

Th e klein geige or gigue, whi c h w a

-

,
s iden ti ca l i n sha p e with t h e
ol d r eb ec (Fi g 1 0 ) a n d Moor i sh fiddle w a
.
, s m ost pr ob a bly n ever
m or e t ha n th e a n cestor of t h e k i t , w hic h w a s used up till l a
“
te
ear s by our da n c in g m ast er s M de Coussem a -
k er d esc r ib es on e .

fr om t h e C a
.

t hedr a l of Ma n s, of t h e f our teen t h cen t ur y , whi ch h a s

F I G 21 —Gi g ue fr om a a F r o 22 —D sca
n tus
0
u

Si x t een t h
t h e C t h edr l
a
I
. . i .

a t Ma t ur y (M A g r i col )
. .

(F our t ee t h c en t ur y ) c en . .

n
.
n s .
.

t h e hea d th r ow b a ck a n d A g r i c o l1a i n t h e Si teen t h

(Fi
x

5 r of a S m i la b ut
n ,

a
.

cen tur y (a ide n ot e p give s s e t

1 o f fo u 4 i r

a ,
.
,

ver y m uc h im pr ov ed s p h a e a d c on d i t i o n h c h m y b e j udg d
n w i e

as la e a
,
s tb
fr om t h e di sc at us (Fi g h y w u d t
T
n e r e

a
se .

M s e

a u u .

t s
v t th cen t u y d t h ey e e ll s te d by er se n n
w r i r
s s e a
se en een r ,
n

i thei r l a st a f T h b
n d m ost i m pr ov d e o m e r e ec
i p c i lly r
n
a
.

a R d V “
ti d g l f t h i ol on s n
m en on e m on th e r u es o e 0 1 es ,

a a eu m a
"a
l H r m on i e oyen
’
ge
C E H de Coussem k er ,
Hi st oi r e de
a
. . .

g
P ri s 1 852
um en t is Ha on i c or um Li b ri
0

H
Mi Mer rm x ii
us, De “
i n st r r m on IC i s, ,

qui b u a (P a
en n
a r e ca
git a
et efi ect i b u
”

in s t ur de son or um n tu usi s, ,
s r i s,
 50 V IO LIN -
MA KING A S IT WA S A ND IS .

a
n ti q ue O f
fi ce of high l t i n Fr a
em o um en
n ce We fi n d 1 a m on .

t h e r ul es of t h e c or p or at ion of m usic ia n s, c on fi r m ed by Lou is

X IV i n 1 65 8 (laCon fr ér ie de St Julic h des Men est r i er s) t h e
. .

il éta
,

follow in g it défen du a ux m usic ien s qui n ét a i en t pa

’

a
s
Ma i tr es de j ouer a ux c a
, ba r ets et c , p ein e de p r ison a ”
nd
th e a
, ,
pp en d s t h e followin g foot n ot e 11 y a
.

ut h or a va i t cep en da nt ,

un e ex ception en fa veur de c eux qui

n e j oua ien t que du r ebec Le r eb ec
it un violon gr ossier qui a
.

ét a va it
p r ec ede l usa
’
ge de c elui que n ous ’

c on n a i sson s Il a va it l afor m e d un ’
.

ba tt oi r éch a n cr é a
p r l es qua tr es a n gles

a ulieud etr e a
,
’
r r on di c om m e l e violon
’

et n ét a
,
’
i t m on té que de t r oi s c or des ‘

m i l ar e I1 pa ra it pa r un e sen t en c e
’
.
,

du pr ev é t de P a
, ,
r i s, du 2 m a i 1 664
qu il y a va it des ha
,

utes c on t r es, des

’
-

ta illes et des ba sses de r eb ec

, Cet .

in str um en t s est m a in ten u en Fr a ’

a
n ce

j usqu l afi n du di x sep t iem e si écle

’
-

et y fut l on g tem ps d un usa ge g en er a ’

l -
.

On con n a i t ces ver s de l a10 sa t i r e de °

Regn ier ,

0 Muse ! je t i n v oque, em m i el l e m oi l e b ee,

’
-

a
E t b n de de t es m i n s l es n er fs d e m on a
r eb ec .

Th e la
st re c li th at sur vived of this
for m of fiddl e w as t h e Sor din o
(Fr en ch p ocket t e Ger m a n , Ta scken
,

g eig e) of t h e da n ci n g m a ster s of -

t h e seven teen th a n d ea r ly eighteen th

c en tur y Mer sen n us i n h i s “ De In

gi ves a
.

st r um en t i s Ha r m on i ci s
2

ver y good illustr a t i on of a er a

oc h e oft h e da
;
F
t e 1 64 8 (Fi g
223 Zig gy
23 1
(1
IG 1“ or !
p
-

a n d t hi s sh a
p e di d n ot a
1 648 “
lter ver y m uch
till t h e eighteen th c en tur y, when i t w a s pr a c ti c ally a ba n d on ed .

Ther e i s in t h e South Ken sin gton Museum ag r ea t bea uty of this

da te m a de i n ivor y wit h aw ooden belly t h e hea d aca r ved

t her sta
, ,

m p ed a
,
fem a l e i ust t h e b ow ivor y, a n d t h e ca se l ea
é
nd

ot h t h e in st r um en t a n d t h e h ow a
,

gilt . r e fif teen i n c hes l on g .

1
F J
Fet i s,
A
'

é q
Curi osi t s Hi st or i ues de l aMusi ue (P r i s, p 294 q a
a q
i .

H r m on i c or um Li b r i x i i , i n ui b us a gi t a
t ur d e son or um n a
. .

2
t ur e, et c ,
a aa
.

or b i sq ue t ot i us h r m on i ci s i n st r um en t is (Lut et i e P r i si or um ,
 TH E A N CE STRY O F T H E V I OLIN . 51

F r om thi s ti m e they w ould seem t o h a ve given w y t o t h e kit a ’

O f t h e or din a r y vi oli n sh a p e It i s fr om t h e wor d gigue

a
.

th t o u r w o r d j i g i s der ived, a
“
s b ein g used by da n c in g
m a ster s a n d so on .They a re a t a ll even t s m ost in ter estin g, a s
b ei n g t h e l a st r eli cs of a n d desc en ded di r ec tly fr om t h e m ost
a
, ,
n c i en t t y e of fiddl e Som e t w en ty ex cellen t spec im en s w er e
p .

ex hibi t ed i n t h e Spec ia l E xh ibition a t Sout h K

en sin gton i n
1 8 7 2, a n d a r e desc r ib ed a
n d illust r a ted by photogr ph s i n t h e a
ca a
t l go u e
1
. Thi s, th er efor e, b r in g s us t o t h e en d O f wh a t
i s, t o m y m in d, t h e r ight lin e O f r esea r c h in t o t h e a n c estr y
of t h e violi n , with thi s sin gl e c on clusi on In st r um en ts with
a n el on ga ted n eck , fi n g er boa -
rd an d b r idge pla yed with t h e
h ow , a c l ea
, ,
fr om t h e E a na tio
'

re r ly d er ived st er n n s of t h e
hi hest a n ti uit yq ”

g
.

t i s n ow tha t w e a r r ive a t t h e tim e of t h e t r ue viol s, t h e i m m e

dia te for er un n er s, a n d, i n deed , ea r ly c om p a n i on s of t h e violin a s
i t n ow ex i st s A t t h e b egin n in g oft h e fi fteen t h c en tur y, t h e sides
.

of t h e v iol s b ega n t o b e well in c ur ved ; a sm a k er s We h ea r of Ot t ,

a n d Fr ey , of Nur em b er g an d, a b out t h e m iddle, Joa n Ker l i n o

of B r esc i a t h e pr ob a
,

, ble foun der of t h e B r esc iaschool Ther e .

w a s ex ta n t in 1 4 5 0, a cc or di n g t o La bor de, aviol of Ker li n o,

da ted 144 9, a nd w e a r e t old th a t on e w a s ex hibited by Kol i ker »

a t Pa r i s i n 1 804 , whi c h w a s c on v er ted i n t o a v i ola by t h e sub st i

t ut i on of a n ew hea d, w hich subst itut ion , i t h s p osit ively been a
a
st ted , w a s Kolik er s ow n w or k
’
I t i s sa. id t o ha ve b een soft
a n d h usk y i n t on e In t h e fi r st h a
. l f of t h e six t een t h c en t ur y
w e c om e a c r oss Dui f fopr ug ca r of B olog n a ,
Li n a r olli of V en ic e,

Da r dell i of Ma n tu a,
a n d ot h er s, w h o h a ve been c it ed by som e
a s vi oli n m a-
k er s b ut it i s n ow c er t a i n t ha t th ey on ly m a de
t h e vi ol c l a ss of i n st r um en ts, suc h a s t h e vi ol ad a
’
m or e, or
t r ebl e V i ol , t h e vi ol a ba sta r da , o
r a l t o viol , t h e v ioladabr a c c ia ,
or
ten or vi ol (hen ce t h e m oder n Ger m a n wor d B r a t sclz e for t en or ) ,
a n d t h e viol a daga m ba or b a Of t h ese Duifi opr ug ca
'

ss Vi ol -
. r,

ker , w ould seem t o ha

,
though n ot a n a c tua l violin m a -
ve b een
t h e m ost r en ow n ed A c c or din g t o Mr J M Flem i n g (whose
. . . .

a
ser i l p a p er s ou t h e Ol d violi n m a
'
ker s i n Th e B a
-
za a r
, b
ef or e
r ef er r ed t o [r i de n ot e , p
3
r nk a a
m on g t h e b est w or k s w r i tt en
Tyr olese in la yer or m osa ic wor ker , a
.

on t h e subj ec t) , h e w a s a n d

this w ould seem t o b e b or n e out by t h e b ea ut iful ly w or k ed viol a

daga m ba a pi c t u r e of whi c h h a n g s upon t h e wa ll oft h e Sout h
Hi s life seem s t o ha a
,
K en sin gton Museum v e b een m ost
r of h i m i n B ol og n , P a a
.

even tf ul on e We hea r i s, a n d Lyon s,

b esid es t h e Tyr ol H e seem s t o h ve disa a

ppea
.

r ed f r om Ly on s
.
,

C t l og ue of t h e Spec i a
aa l E x h i b i t i on of A n c i en t Musi c l In st r um en t s, a
18
2 2 (L on d on , 1 87 c om pi l ed n d w i t h a
n i n t r odu a
c t i on b y C r l E n g el a .
52 V I O LIN -
MA KI NG : A S IT WA s A ND I S .

w h en c e w e fi n d n o tr a ce of h i m ex cept a p or tr a ,it of h i m , ex e
outed ther e by P ier r e Woei r i ot w hic h etchin g i s r epr od uced by ,

M A n on e V a
t i id l i n h i s w on d e r fu l w or k o n t h e v i o li n
1
It i s .

v e b een copied fr om ap or t r a
.

supp osed or igin a lly t o ha it ofh i m

sel f on on e of Dui f fopr ug ca r s in st r um en t s a cc om p a
’
n i ed wi t h ,

t h e v er se quoted on t h e ti t le of thi s w or k t h e m ea n i n g ofwhi ch , ,

it m a y or m a y n ot b e n ecessa r y t o sta te, i s : I lived i n t h e

“

w ood s un t il I w a ,
s sl a in by t h e r el en t l ess a x e Whil st I w a s .

a live I w a s si len t b ut i n d ea ,
t h m y m el ody i s ex q uisite B ut .

thi s por tr a it a n d m ot t o h a sa l so been sa id t o b e t ha t of on e

Ba n di n elli, a sc ulpt or i n t h e ser vi ce of Du k e Cosm o of V en ice ,

in 1 5 50 Th e gr ea t J B V ui l la um e m a de aqua n t ity O f vi olin s

'

a
.

n d in l a
.

t t h e b egin n in g oft hi s c en t ur y , whi c h w er e c a r ve d a yed

a fter t h e m a n n er O f Dui f fopr ug c a r a n d m a n y a n a ma
,
t eur h a s

fon dly im a gin ed him self t h e possessor of agen uin e a n t i que

,
in stea d of ag r ea t ma
’
k er s w ell ex ecuted (n ot t o put t oo fi n e -

ap oin t on i t ) for ger y ”

.

Th e vi ol s a ll h a d fi v e or six st r in gs a t l ea st, a n d fr et s t o

stop t h e n otes w ith W e som eti m es c om e a

. c r oss t en or s a sc r ibed

b ut t hey c a
”
t o on e or ot h er of t h ese old Lut hier s h on ly ,

b e thus d esc r ib ed w h en t h ey h a ve n ew h ea d s n eck s, a n d fi n er

g ,
b oa Ther e w er e t w o suc h i n t h e E x hibit ion of 1 8 72 m a
,

r ds . de ,

a b out 1 520 by Ven t ur aLi n a r ol li of V en i c e bot h of t h ese h a d

d s r epl a
,

t h e old si x or seven pegg ed h ea ced by t h e m oder n

(or
“

ra t her six t een t h cen t ur y ) four — pegged sc r oll A s Mr C Rea de . . .

just ly r em a r k s t h e i m m en se b r ea
,
dt h b et w een t h e ff hol es shows
t ha t t h ey wer e m ea n t for fi v e si x or seven st r in gs
, ,
They .

wer e pl a n d a s t h e sa
yed upon t h e k n ee a m e c on n oisseur poi n t s
out , Ol d t en or s a n d ba sses a lw a ys a ppea r m uc h O lder tha n t hey

r ea lly a r e fr om t h e f ,
a c t t ha t a t t ha t t i m e (1 55 0 et seq ) such .

in st r um en ts w er e a s a r ul e hun g up a
,
ga in st aw a
,
ll w h en n ot
i n use n ot n ur sed i n c a
,
ses A cc or din g t o Mr Flem in g G iova
. nni .
,

Celli n i fa th er of t h e illust r i ous B en ven ut o Cellin i, w a

,
s by h i s

son s st a t em en t a n a cc om pli shed m a k er O f viol s of r a r e b ea uty

’

a b out 1 500 b ut b eyon d t hi s n ot ewor thy r efer en ce b y h i s son ,

Gi ov a n n i Celli n i s w or k h a s n ot r ea
’
ched us P r in c e Jousoupof .
,

th e a n on ym ous a ut h or of Lut h om on og r a a
”2
ph i e sc r ib es t h e ,
in ven t ion of t h e violin pr oper t o on e Testa t or of Mil a n w h o

r educ ed t h e si z e of t h e vi ol at o tha
,
t of t h e vi olin c on t em po
ra uc ously w i t h or b efor e Ga ,
sp a r o daSa lo I ca
, n n ot h ow ever .
,
fin d a n
y n ot i ce of h i m el sew h er e, ex cept i n t h e w ok of,

Les I n st r um en t s A r ch et (Pa a r i s, 1 87 7 J C l aye)

Lut h om on og r a ph i e h i st or i ue et r a q
i son n e, pa a
.

r a
(Fr a
.

2 -
n A m t eur é n cfort
M/ .
 T HE A NCE STRY OF TH E V IOLIN .
53
M A n toin e V ida
.
l, w h o q uotes t h e sa
l
m e a uth or a n d ut t er l
‘

den ies h i s sta

y
tem en t whic h I a lso cl a ss w i t h t h e oth e r m i st a ken
wh i c h ha
,

ve c r ep t in to t h e wor k of t hi s w ould b e a n on y m ous

Ama
-

teur Non n ost r um t a n ta s com on er e l i t es A s to w h o

p
r ea
.

lly di d fi r st m a
.

ke t h e V iolin pr oper i n i t s r esen t for m n o

on e c a n cl a
p (
im i t s a c tu al i n ven t i on ) t her e seem s t o b e ver y l i ttl e
d oubt t ha t it w a s t h e It a lia n s Mr H ul la h 2 p r et t y wel l
sum s u a
p ll tha t ha
.

s b een sa
.

id on t h e subj ec t wh en h e sa ys
Th e i n ven tion Of t h e violi n h a s b een c la i m ed for or r a ther by
on I b elieve on e sin gl e plea tha
, ,
t h e Fr en c
h t i n som e ea r ly
I ta li a
, , ,
Mon t ev er de s 0 7f60 a
.
’
sc or es
oun d
n
re f
t h e w or d s P i cc oli V i olin i a llaFr a n c ese Th er e i s good
’

r ea or b el ievin g th a
.

son f t these picc oli V iolin i w er e i n st r um en t s

‘

a n a l ogous t o t h e ki t s used t o this da y by d a n c in g m a st er s B ut

g ra
-

n ti n g th em t o h a
.

ve been violin s pr oper t hei r a ppea ra n ce i n ,

Mon t ev er de s sc or e (pub lished a
’
s la te a s 161 5
)
pr oves n othin g Vi n c en z o Ga lilei a sser t s i n h is
Dia
.

l ogue s (p r in ted a t V en ice i n 1 5 68) t h a t th e

V ioli n o a n d t h e V i ol on c ell o w er e b ot h i n ven t ed b
y
t h e Nea p olita n s Mon ta ign e h a s r ec or d ed tha t he
h ea ?
.

r d v i olin s i n t h e G r ea t C h ur c h (St Zen o ) a t

V er on ai n 1 5 7 8
.

C or elli p ossessed avi olin w hich

ha
.

d b een dec or a ted by t h e B ol ogn ese pa in t er

A n n iba le C a ra c c i w h o di ed i n 1 60 9 a
, n d t o c om ; ,

pl ete t h e c a se of t h e It a lia n s t h e fi r st g r ea t per

,
for m er on t h e vi olin of wh om w e h a ve a n
y a cc oun t
w a s a n It a lian n a m ed B a lt z a r in i, w h o w a s b r ought
or sen t for in to F r a
,

, n ce by Ca ther in e de Medici F 24 —D i c
, ,
IG . . ev e

i n 1 5 7 7 NO spec im en O f aFr en c h vi olin n o r ec or d

.

of aFr en c h vi olin ist h a

,

s c om e dow n t o us ofa
, ny

t hin g like t hese ea r ly d a tes Th e in ven t ion of t h e V i olon cell o

ga lf of ac er t a
.

a in h a s b ee n c la im ed on beha in A bb é Ta r dieu of

P r oven c e w h o lived i n t h e b egin n in g of t h e l a st c en tur y It i s .

cer ta pt i st i n i , aFl or en tin e h a

,

i n h ow ever t h a
,
t Ba ,
d b r ought t h e ,
in str um en t i n to F r a n ce a t t h e en d of t h e pr ecedi n g c en tur y .

Spec i m en s of b oth t h e V i ol on cello a n d of t h e

Ita lia n f abr ic a tion of t h e b egin n in g of t h e seven teen t h cen t ur y

ae r n ot r a
re
”

spa r o daSa
.

ab out 1 55 5 e fi n d t h e in str um en ts of Ga
F r om w lo ,

t h e fir st m aker of viola s a n d vi olin s ad a s such h e w il l h e n

sp oke of i n h i s p r op er pl a pter ; b ut h e a
,

ce i n a fut ur e c h a l so
w a s am a ker of viol s In 1 5 30 Joh n Opor i n us ap ri n t er a
. t , ,

Ba si e had for h i s devi ce asi x st in g ed in str um en t (Fig

,
-
r .

2’
Les I n st r um en t s A r ch et (P r i s, a a
J H ul la
. h , Th e Hi st or y of Moder n Mu Si c (Lon don , p 19 0
. .
54 V I OLIN -
MA KIN G : A s IT WA S A ND Is .

whic h c om es v er y n ea r t h e tr ue t en or Th e vi olin p r op er i s
.

fir st r efer r ed t o by Za cc on i i n 1596, w h o d escr ib es i t with

ac om pa
. ss iden ti ca l wit h t h e m od er n on e, w i t h out t h e sh ift whi ch
w ould im ply t ha
,
t t h e shift w a s then un kn ow n or lit tle used a nd
it w a s cer ta in ly i m possible, or a t a y ra
,
n te in effectiv e wit h t h e
fr et s on t h e Old viols, whic h wer e used fr etted la
,
te on in to t h e
seven teen th c en t ur y, W ith fr et s m a de, a s ar ule of pieces of
glued ca
,
tgut tied r oun d t h e n eck a t i n ter va ls so a s to f or m
r i d ee on t h e fi n a
g r b oa
,
rd

(gn e of t h e fin est viole daga

-
-
.

m b ai n exi sten ce i s p er ha p s tha t

on e w hic h w a s for m er ly i n t h e pos
session of Mr S A For ster w h o . . .
,
figur es it i n h i s H istor y O f t h e
“

V i olin (Lon don b ut n ow ,

i n t h e Sout h Ken si n gton Museum .

My ill ust r a tion O f t h e in str um en t

(Fi g 25) i s fr om Ch r i st”opher Sim p
.

Divi sion V iol 1 A t t hi s

’ “
son s .

p er iod t h e viol h a d b ut si x st r in gs ,

b ut t ow a r d s t h e en d of t h e seven

t ee t h ce
n n t ur y, seve th a
a n w a
s dded
2
.

Th e Fr en ch ga m b apla y er Ma rais, -

,
a dded t hr ee b a ss str i n g s of c over ed

g ut b ut i t w a s a n in n ova
,
tion which
di d n ot i n a n
y w a y b ec om e gen er a l .

C on n ec t ed w it h t h e in st r um en t , w e
fin d th e n a m es of t w o la dy per
for m er s Mr s Sa ra h O ttey i n 1 723
,
.
, ,

a n d Mi ss F or d i n 1 7 60 These m ust , .

ha ve b een l a dies of gr ea t c our a ge,

r m 25 — . V i ol a
. da Ga mba when w e c on sider t h e hum our i n
.

r ega
(C s p ) 1667
w i e“
w hi c h t h e w or ld th en r ded su ch
' '

Th e l a st c el eb r a
per for m a
.

n ces (vide p . ted per for m er on t h e

violadaga m ba w a s Ca r l Fr ied r i c h A b el , w h o died i n 17 84 A .

or t h e in st r um en t i n B a ch s P a
pa rt w a
’
s w r it t en f ssion sm usilc des

Ma t t h ew s a n d M Ca x d H er v el oi x w r ote som e ex t rem elyp r ett y

’
, i .
.

5 ‘
Suit es d Or ch est r e for t h e in st r um en t i n 1 7 1 0 It s t on e
’
.

is n a sa l 3 b ut ex tr em ely ex pr essive ; in deed, t her e a r e af

.

ew
,

C Si m pson , Th e Div i si on Vi ol
. or , Th e A r t of P l yi n g ex t emp or e upon a a
Gr oun d (Lon don , 1 667 ,
2
Just a
s of l a a
t e ye r s afour t h st r i n g h s b een a
d ded t o t h e doub l e a
b sea
a a a a aa
.

9
Gost l i n g w s agr ea t dm i r er of, a n d pl a yer upon , t h e V i ol d g m b , n d
t h e cel eb r a a
t ed P ur cel l h t ed i t , n d c oul d n ot st a a ’
n d Gost li n g s
pr c t i si n g on t h is a
i n st r um en t H e t h er efor e c om posed
. catc a
for t h r ee v oi c es i n s r c st i c aa
eu l ogy of t h e v i ol , w h ic h h e pr esen t ed t o h i s fri en d Th e m usi c i s pub l i sh ed
.
56 VI OLIN -
MA K ING : A S IT WA S A ND IS .

a yer s pl a
n d pl a yed al l i n differ en tly (ver y i n differ en tly I
on
sh ould In t e yea 6 0 P a
h r 1 2 r et or i s gives alist
u 1
,
of t h e viol s th en i n use m en t i on in g t h e 1 Gr oss c on tr a
ba
,
ss .
“

li e our m oder n c on t r eb asse with fi v e str i n g s s 8 soun d;

’’
ei k
g g , , ,

holes n o fr et s a sc r oll a
r

“
n d m oder n n d b ow ; 2 V iolon e .
, , ,

like our violon c ell o m oder n scr oll six st r in 5 si x fr ets t w o S s , ,

m ba
.

, ,

V i ol adaga t h e sa m e a
”
soun d holes ; 3 m uc s th e
-
“
.
,

v i ol on e w i t h t w o c r esc en t sha ped soun d h o les, c a r ved h ea

-
d -

V i olab a st a r d a t h e sa m e sh a
,
“ ”
seven fr et s, si x st r in g s ; 4 . pe , ,

si x st r in g s m oder n scr oll t w o c r esc en t a

,
n d on e r oun d soun d
,
h ol e, a n d sev en fr et s ; 5 Klein p osche (or kit) alittle .
“
,

ova l in st r um en t like ag igue w ith on e S h ol e i n t h e c en t r e

—
,

un der t h e st r i n g s ; 6 Rechte Di sca n t

g ei g
”
a lm ost iden tica l
Ten or —
,

li ke a
.

w it h t h e m oder n vi oli n m uc h
7 g ei g .
,

m oder n sh or t n ec k ed vi ol a Ba g ei g de b r a li ke a
” “
-
; 8 ss ci o .
-

c l um sy sh or t n ec k ed cell o It i s i n a ll usion t o t h e p r a ctice

’
-
.

of ha vin g aset of i n st r um en ts tha t B en Jon son i n B a r t h olom ew

m a k es h i s c h a ra c ter Colees sa
Fa yr e, a c t iii , so . .
y A set of ,

t hese violin es I w ould b uy t oo for adelic a t e y oun g n oi se I ,

ha ue i n t h e Coun t r ey tha tte a r e euer y on e asiz e l esse t ha
,
n

a n ot h er in st like your e fi ddl es

,
”
Th e fr et s on t h e vi ol s wer e .

n ever m or e th a n seven for t h e shi ft w a s c om pa

,
ra t ively n u
kn ow n ; in deed, on t h e fir st i n t r od ucti on of t h e vi olin t h e ,

p r od uc t ion of an ot e higher t ha n t h e upp er B w a s l ook ed upon .

a s som et hin g m ost r a sh a n d on ly t o b e a tt em pt ed by t h e best

,
p er for m er s To suc h apit ch w a
. s t hi s c a r r ied tha t Ga ll a y t ells ,

us 3 t h a t i n violin sol os w h er e i t w a s k n ow n t h e high 0 occ ur r ed ,

l p oin t w a
,

th e a udien ce w ould m ur m ur a s t h e c r uc ia sa ppr oa

,
ch ed ,

Ga (Min d t h e C I) a n d i f t h e fea t w a s a
’
r e l ut ! c hieved ,

sa fely aw hir l w i n d of a
,
ppla use gr eet e d t h e t em er ous pla yer ,

w hilst i n ca se of fa il ur e ast or m of hisses r ew a r d ed h i s r a sh

ef for ts .

Ha vin g ta k en m y r ea der s w ell in to t h e per i od w h en t h e violin

p r oper w a s i n fu ll use I m ust l ea ve t h em r efer r in g t hem t o
,

ot her a n d m or e hi st or i c a l w or ks on t h e vi olin i f t h ey w ould ,

k n ow m or e of t h e viol s a n d t hei r m usi c thi s b ei n g i n t h e m a in ,
awor k on t h e a c tu a l c on str uc t ion of t h e in st r um en t , t o w hic h
t hese hi st or ica l c ha p t er s a re
pr a ct ica lly subor din a te Thus fa r .
,
how ever I h a , ve deem ed i t in t er est i n g a n d n ecessa r y t o pla ce
b efor e t hem t h e A n cest r y of t h e V iolin so t ha t t hey m a y ha ve a
c l ea
,

r p er c e t i on of wh a
p t i t s p r ogen it or s a c t ua lly w er e It will .

a
Pr et or i u a
Th e t r um In st r um en t or um (W ol fi en b ut t el ,
"
s,
“
Th e Wor k es of B en Jon son (Lon don , v ol . ii p 39
aa a a (Pa
. . .
,
C ll y, Les L ut h i er s It li en s ux x vi i et x v i ii
°
si ecl es ri s .
 TH E A NCE STRY or TH E V I OL IN . 57

b e ob ser ved tha t I ha ve m a de n o m en tion a t al l of t h e Wel sh

c r wth, a n d for t hi s r ea son , t ha t it h a s n ot h i n
g at a l l t o do w i t h
th e a f t h e vi oli n
n cest r y o . Thi s i s asta t em en t so en tir ely a t
va r ian ce with a ll w hi c h h a s b ef or e b een w r it ten on t h e subj ec t
t I r efer m y r ea d er s t o t h e n ext ch a
,

th a pter for p r oof of m y

di c tum .

a a
Th e w oodm n m et t h e d m sel s a n d t h e sw a i n es,
a
Th e n e t h er ds, pl ow m en , an d t h e pi pers l oud

a
A n d e c h di d da n c e, som e t o t h e k i t or c r ow d
a a
Som e t o t h e b g pi pe, som e t o t h e t b r et m ov (1
- .

B E N JO NSON : Th e Sad Sh ep h er d or a( Ta
lc
Qf Rob i n H ood (si de n ot e
2
, p 5 6)
.
 CHA PTE R II .

TH E W E LSH C RW TH .

—
a
A n ci en t H eb r ew Lyr Moder n A fr i c n Lyr e Gr ee n d Rom n Lyr es—Th e
a ka a
a— —
-

B e t t —Th e Cr w t h Tr i t h n t
a Th e Ch r ot t a , o Cr w t h pr oper
r Gr ufl ydd a p
—a a
-

H ow el D i n es B r r i n g t on —Wy n n e Fi n c h —Gen e l ogi es of t h e Vi oli n n d

'

a a
Cr w t h .

LE T us n ow tur n t o a n oth er b r a n ch of t h e study of h ow

in str um en ts en tir ely p r t fr om wh a aa
t w e ha ve a lr e dy disc ussed, a
vi z , t h e c on sider ati on of t h e in str um en t kn own a s t h e Wel sh
I fw e g o b a 1 700, a
.

C r wth ck t o m on g t h e r ecor d s of t h e
n c ien t E g pt i an s, w e fi n d on atom b a t B en i H ssa n (tha a
.

a t of
O si r t asen , w
ho w a I
s t h e pr ob a ble P h r a oh w h o p r otected a
Joseph ) agr oup (Fig supposed t o r ep r esen t t h e a
. r r iv al of
t h e I sr a elites i n E gypt, on e of
wh om i s pla yin g apr im itive lyr e,
t h e sha p e of whic h i s ver y in ter est
i n g t o t h e m usica l a n ti qua ri a n
,
a s
bein g ver y like t h e la t e Wel sh
c r w th This i s r epr od uced by Si r
.

Ga r d n er W ilki n son
l
w h o c on sider s
ve b een aHebr ew lyr e
,
i t t o ha
A l m ost iden tica
.

l with t h e tr ue a n

c i en t E gyptia n lyr e i s t h e m oder n

Ki ssa r of t h e A f r ic a n n e r oer of
g
t h e n or t h ea st (Fi
g
-
whi ch, i n .

i t s p r im it ive r uden ess, i s a ck n ow

F m 26 — A i t H b e Lyr a
. .

o 1700
n c en
ledged t o r iva
e r w .

l t h e Ra va n a st r on i n
i ts a I Sha
n
n t iquity
. . .

ll n ot g o in to
.

t h e c on sid er a ti on of t h e pr og r ess of this in str um en t a m on g

th e a n c i en t E ti an s a n d A ssy r i a n s, b u t b egin a t on ce
w ith t h e Gr ee a n d Rom a n s, t o wh om belon gs t h e lyr e
pa r ex cel l en ce Th eir lyr es w er e of va r iou s sor ts a n d siz es,
7 00, a n y of th em h a
.

n d ma
,

d br idges (Fig
distin c t c ur ved b ri dges, a fi ca
.

c ious a
s ef
,
n d to m
y m in d qui te
1
Si r G Wi lki n son
. Ma n n ers a ,n d Cu st om s of t h e A n ci en t E
gypt i a n s
(Lon don ,
 TH E WE LSH on e . 59

p ossibly for t h e sa m e p ur p ose a

s our m od er n on es a nd asa rule
th ese lyr es w er e p layed by m ea n s of aplectr u Rom a
,

m Th e n
lyr es wer e p r a ctic ally iden ti ca
.

l with t h e Gr eek i n for m and

FI G 27
. . Ki ssa
r (A n ci en t
. a
n d Moder n Afr i c a
n ) .

m ode of pla yin g on e kin d of c ith a r at h e ba r bitos (Fi

g is .

esp ec i a
,
lly i n t er est in g t o us as ha vin g a lm ost ex a c tly t h e sh ae
, p
of t h e in str um en t whic h i s n ow t h e subj ec t of our i n qui r y l Th e .

F I G 28
. .
—A n ci en t Gr eek Lyr es, w i t h B r i dg es

s tudy of t h e l on e w ould fi l l ala

lyr e a r g e vol u m e, a n d I dare

n ot en te r up on it n ow for fea r of b ein g ca r r ied fa r f r om our

1
a a
Th i s i l l ust r t i on (fr om H er cul n eum ) i s t a
ken fr om E Pi st ol esi ’s w or , k
a a
.

Re l Museo B or b on i co descr i t t o ed ill ust r t e (Rom e, 1 838 v ol i v , pl 4 7

. . . .
60 V I OLIN -
MA KING : A S IT WA S A ND I s .

subj ec t ; suffi ce i t t o say tha d a

n s h a
t t h e Rom a n i n str um en t

c om p osed of afr a m e, on e en d of whic h w as ah ollow, r ou n ded

Fm 29 —
Bar b i t os (fr om H er cul a
n eum ) Fm a
30 —Rot t of t h e Sev en t h C en t ur y
a
. .
. . .

(M S, P s l t er i n B r i t ish Museum ) .

ca vi t y c ov er ed with ab elly on which w a s pl ac ed t h e b r idge ,

i de a
, ,
an d t hi s i n st r um en t w as pla yed with t h e pl ec tr um (a nt e ,

n c e Ger m a
.

p . Th e Rom a n s sub sequen tly c ol on i z in g Fr a ny

, ,

e . 31 .
—Rot tafr om St B l
. a
si us MS . F I G 32 .
—Crw t h of t h e Nin t h Cen t ur y.
(Ni n t h cen t ury ) .
(Wi l l em i n )
.

a
n d B r ita
in tr od uced th eir in str um en ts which beca
in , me ,

m odified a
cc or di n g t o t h e c oun t r i es i n whic h they w er e a
dopt ed ; “

an d m aMS P sa lter i n t h e B r it i sh Museum , of t h e seven t h

.
,
 TH E W E LSH C RWT H . 61

ce t
n ury,1 w e a
fi n d th e
t a p r i m itive ly r e sha
r ot ,
p ed i n str um en t -

(Fi g str on gly r ec a llin g t h e H eb r ew sp ecim en b efor e a lluded

n d sugg estin g t h e la
.

to a, t er cr wth bein g m er ely asolid obl on g

m e, on e en d b ein g t h e soun d b oa
,

fr a rd a n d t h e ot her en d b ei n g ,

op en t o a dm it t h e fin ger s (or pl ec tr um ) which twa n ge d t h e

st r i n g s In t h e n in th c en tur y w e fi n d t hi s sa
. m e r ot t a (i n t h e
MS of St B la sius r ep r od uc ed by Ger b er t
.
, ,
b efor e r efer r ed t o
b ec om e m or e g r a
.

cefu l i n for m a n d ha vin g t h e sides

(Fi g .
,

i n cur ved a s w ell a s fur n i sh ed with aw ell f or m e d b r idge a nd -

plec t r um Wi ll em i n 3 illustr a tes

ac r wth fr om aB iblica
.

l MS of .

C ha r l es t h e B a ld of t h e n in th
c en tur y (Fi
g a n d t h e n ext
.

figur e w e h a ve of i t i s i n aMS .

fr om St Ma r ti a
. l de Lim oges
(Fi g . i n t h e B ibli oth eq ue
Roy a le a t Pa r is, of t h e eleven t h

cen t ur y w hi c h gives us a ue
of ac r wth whic h , li ke
,
gi lle gi
m pl e h a
,

i n i n s ex a s on ly th r ee
’

n d i s pla
,

st r i n gs a yed with t h e
Th ese l a
,

r ud est k in d of h ow st .

tw o a r e p r ob a bly t h e fi r st i n
st a n ces w e ha ve of t h e cr w t h
t r ith a n t or th r ee str in ged c r w t h - .

Thi s w a s n ot so m uc h esteem ed

a s t h e p r op er si x st r in ged c r w t h
-
,

of w hic h i t w ou ld a p p e a r t o
ha ve b een on ly apr im it ive for m .

E dw a r d Jon es, i n d eed , sa y s, i n

h i s w or k quot ed b el ow (p .

Ther e w a s likewi se t h e Cr w t h

Tr i t h a n t or th r ee str in ged c r w t h
t h f om M S f om St Ma t ia
-

,
33 —C
s asor t of vi oli n , or
l
whi ch w a F ’
IG . . rw r . r . r

d Lim og (E l th tuy ) e es ev en cen r

m or e p r op er ly a
.
.

t r eb ec k th e

a
p er for m er s or m i n str el s on this in str um en t w er e n ot held In
t h e sa m e es m a ti t i on a n d r es p e c t a s t h e b a r d s o f t h e h a rp n d

wth b eca use t h e t h r e e s t r i n g e d c r wth did n o t a d m it of

er w a
-

cr ;
e u
q as a
l kill nd h ar m o n y ,
a n d c o n s e q u e n t ly i t s p o w s l ess

sen sibly f el t
”
T h e u
ill t i ,
s r a t o n h o w e v e r
,
whi c h h e gives of t h e

a
.

c r w th t r i t h a
i il t o t h e sup er ior c r wth
n t i s p i ly
r e c s e s m r ,

a
,

x
e ce pti n g th a t it h s b u t th r e e s t r in g s .

t t e MSS V espa si a
a c a (St B l a
Go n A l
a
n .

a
.

s us
,

i i édi t s et pou ser v i r a

2
M C a b r t D e C t u et M u si c S n r i ,
1

n ca
.
e
Mo um e t s F a
.
r
aN X Wil l em i l H st oi e
.
. , ’
s n r 1 r
r
Pa
n n n
a
, .

des a en c em en t du V III (
. .
°
u u u ri s
’

r t s d epu i s l e V I S i é c l e j q s °
c o m m ,
62 V IOLIN -
MA KING : A s IT WA S A ND Is .

Ruh l m a am ost in ter estin g specim en

(f
34) fr om
'
1

cgi s a
nn v es i .

asculptur e at r ei b ur
g t w el fth c en tur y, w
of t h e m ost
va l ua ble lin k i n t h e c ha in of eviden ce w hich c on n ec ts t h e cr wth
with t h e r ottafor i t i s iden tica lly t h e la tt er in str um en t a s ill us

t ed fr om t h e St B la with t h e a
,

t ra sius MS by G er b e
2
r t ddition of
It h a
. .
,

ab ow a nd a fi n g er b oa r d b ehi n d t h e st r i n g s
-
s si x str in .

four on a n d t w o of f t h e fi n g er b oa r d, a s i n t h e m ost per f ec t e

t these t w ola
-

v el opm en t oft h e in str u m en t, dif fer in g on ly i n tha st,

P i e 81. .
— Cr w t h of th e Tw elfi h Cen t ur y .
(Ruh h n a
nn .

in stea d ofb oth bein g on on e side oft h e fi n g er boa r d, ar e pl a

ced on e-

on ea ch side th er eof Now t h e on ly dif fer en ce b etween t h e ea r l iest

s) a
.

c r wth s (or ch r ot t a n d t h e la test r otes (or r otta s) seem s t o b e i

-

(e ecia lly i n t h e l ast in st an ce r ef er r ed t o) t h e addition oft h e h ow

a nspfi n ger boar d, an d so i t w ould n ot b e out of t h e w a y toa sser t
-

th a t t h e in str um en ts a r e id en t i c al t h e for m er bein g t h e l a ter

a
,
n d im p r oved f or m of t h e la tter a n d cer ta in ly t h e sim ila
, r ity of

a
J Rii h l m n n , Gesch i ch t e d er B ogen i n st r um en t e ( Brun sw i ck,
a
M Ger h rt , De C n t uet Musi c Sa a a a
.

”
. cr 1 77 4 . .
64 V I OLIN -
MA KING : A S IT WA S A ND I S .

natus ,
B i sh op of P oit i er s, in th e v
se en th cen tur y, w ho
sa
ys
Rom an usq u e l yr a , p
lauda t t i b i B rb aa
rush a r pa

a
Gr ecus A c h i l l i a
ca, Ch
r ot t B r i ta
nn a acanat
”
.

Th e w or d wt h sign ifies i n t h e a
cr ncien t Sa xon a n
y b ulgin g
ca vity a n d t h e i n st r um en t i s thus descr ib ed i n Wel sh ver se of

p Da v ydd a
,

t h e fi fteen th cen tur y by on e Gr ufi ydd a p How el

’

A fa ir c ofi er wit h ab ow agir dl e, afi n g er b oa
’

rd a n d b r idge -
a
s afr on tl et for m ed lik e a
, ,

i t s value i s ap oun d it h a wh eel with

t: :
I n ou11

F I G 1 7 —F i g ur e of Cr w t h g i v en F i g 38 —'l ‘h e Wel sh
a a
. . . .

b y D i n es B r r i n g t on , Fet i s, (Sout h Ken si n g t on )

a a
.

S n dys n d F or st er , et c .

th e sh or t d b ow a
-
n osec r oss In i t s cen t r e a r e t h e c i r c l ed sou
. n d

h oles a n d t h e b ulgi n g of i t s ba c k i s som ewh a t like a n ol d m a n,

a t h e sy ca
,

b ut on i t s b r ea st h a r m on y r eign s n d fr om m or e
‘

,
m el odious m usi c i s obta in ed Si x pegs i f w e scr ew them wil l
t ighten a a dva n ta
.
, ,
ll i t s c hor d s si x geous str i n g s a re f oun d,
w hic h i n a skilf ul ha n d pr odu ce a h un dr ed soun ds ast r in g for
ea c h fin ger i s di st i n c tly seen , a n da
”
l sot w o str in gs for t h e t hum b .

Th e i n fer ior a n d p r im itiv e cr wth t r i t h a n t t o whic h I ha ve

a l r eady a
,

dver t ed , h a
'

s b een er r on eously c on foun ded by V ille -

 TH E W E LSH CRW TH . 65

m a
r que a
1
n d wit h t h e a
ot her s n c i en t Moor i sh fiddl e or r eb ek of
t h e B r et on m e dic a n t ba r d s whi c h a s I ha v e p oin ted ou t ha
n s
a n a
, ,

b solutely di ffer en t for m a

,
n d ori gin It h a s b een ur ged i n
fa
.

vour of t h e theor y t ha t t h e c r wth w a s th e a n c estor of t h e

V i ol i n by MM de C oussem a
, k er a n d de Toul m on t th a t th e
pa
.

ra
,
ll el Si des of t h e c r wth bein g in con ven ien t i n bowin g, t h e
gr a d ua lly b eca a a
(
m e holl owed out s i n Fi n d thus t h e
g .

c r w t h tur n ed i n t o t h e vi ol b ut t hin k t ha t though t h i s h ol

, ,

l ow m g un doub t edly som et im es oc c ur r ed a s i n t h e Wor c est e r

Ca l i n st a
,

thed r a n ce i t w a s n ot ca r r i ed out a
, n d a dher ed t o, a s is

pr oved by t h e a n c ien t for m ha vin g ex isted t ill t h e en d of t h e

la st c en t ur y M de Coussem a
. k er t hin k s t h a t t h e w or d r ote,
”

whic h w a
.

s a l so un doubt edl y t h e n a m e of a n in st r um en t of t h e
viol k in d w a s ap r oof t ha
, t t h e r ot t aor c hr otta w er e pa r t of t h e

pr ogen i t or s of t h e violi n b ut thi s I thin k i s quite a , c c oun ted for , ,

by t h e r em a rk I m a d e som e w a y ba ck v i z t ha t th e n a m e of on e , .
,
i n str um en t fr eq uen tly g ot tr a n sf er r ed t o a n ot her a s t h e la t t er ,

sup er seded t h e f or m er Th e c r wth p r op er ly so c a. ll ed ex ist ed i n -

Wa l es t o c om pa ra tively r ecen t tim es a n d w e a r e told by Da in es ,

Ba r r in
g t on i n , t ha t it w a s t h en pl a yed on ly by on e John
Mor ga of Newbur gh i n A n gl esea b ut B in gley m en ti on s
3
n ,
ha v in g h ea r d it pl a yed by a n old b a r d i n Ca rn a r von i n 18 0 1 ,

a ft er w hic h i t seem s t o ha v e disa pp ea r ed , a n d with it en d s t hi s

bra n c h of t h e study of t h e a n c est r y of t h e vi olin Th e figur e of .

t h e c r w t h g iven by Da i n es B a r r in gton (Fi

g a n d r ep r o .

duced by M Feti s Messr s Sa n dys a n d For ster a n d ot her s, i s ,

r ti c ula r ly a s re a
. .

ra n c e, a n d pa
,

m islea din g i n i t s gen er a la pp ea g r ds

t h e b r idge fi n g er b oa ,
r d, a n d ta il piece t h e r ep r esen t a
-
ti on gi ven -

h owever by Mr E n gel ‘ of Mr W G Wy n n e Fin ch s spec i m en

,
.
,
. . .
’

h e on ly gen uin e Cr w t h i n ex i st en ce a n d n ow i n t h e Sout h Ken

( t ,

sin gt on Museum ) , i s quit e c or r ec t (Fi g

s a s I ha ve foun d on .

H de l a Vill em aqué Ba r B ei z r h at s popul a ir s d e laB r et a

z ez rgn e c n e

(Pa
.
, ,

ri s
Da i es B a a s aj u d g e of C a a on ad A g l sea h o on t h e
,
r r i n g ton
2 rn rv n n e w
w
d t o t h e So i et y of A t i qu
n
a ma
, ,

3 d Ma y 1 7 7 0 ea k o th
r r r i es som e c th n re r s n e cr w
A r ch a
,

ad aot h er Wel sh i t um e t w h i h
,
e pub li sh ed i n ol og s
c t o w er e i r

t i n g t o A t i qui t y ; pu
n n ns r n ,

m i scell aeou c t s r el a
,

s t a r b li sh ed b y t h e So i et y of A t i
n c n

qu
n

er i es of Lon don 1 77 5 , p 32
v ol . i ii
a q
. .

Nor t h Wa
.
, ,

W A n t i ui t i es,
0

l es, i t s Scen y, Cust om s, n d et c

“
3
. Bi n g l ey , er .

(L4on don
C E
. Ca t l og ue of Musi c a
n g el ,
”
a
l I n st r um en t s i n t h e Sout h Ken sm gt on
Museum (Lon don ,
5
A n ex a c t c ou n t er pa rt of t h i s i n st r um en t w a s m de b y M Geor g es Ch a ri ot a
I ha ve h a d t h i s r eph c a a
.

a
.

w h en h e h d i t for t h e pu r pose of r ep i r i n g i t in my

a a a
.

a
h n ds, a n d i t i s cer t i n l y so m a r v ell ou s a
c opy s t o decei v e n y c on n oi seu
s r

t e Mr E n g el , t o w h om i t b el on g ed b efor e h i s de t h , t old m e t h a a
.

Th e l a t h e h i m sel f
l d n ot possi b l y t el l w h i c h w a n d w h i c h t h e c opy w h en h e sa aa
.

c ou s t h e or i g i n l w

t h em si de b y si de Doub t l ess w h en t h i s c opy h s c h a n g ed h a n ds a a

a
few t i m es i t
w i ll b e dded t o som e n a
a g en ui n e n t i ue Wel sh cr w t h aa a q
.
-

t ion l c ol l ect i on s .

5
66 VIOLIN -
MA K ING : A S IT W A S AND Is
.

c om pa r i n g it with t h e or igi n a l Messr s Sa n dy s a n d For st er

l

l so figur e it c or r ect ly b ut w it hout b r idge st r in gs, or ta

. .

a , , il piece -
.

Mr Wyn n e Fin c h s sp ec im en i s la
’
belled 1 742 i n t h e in side, b ut
m uc h g r ea
.

a s t h e c on dit i on oft h e w ood b et ok en s a ter a g e, this w a s

pr oba bly in ser ted by som e on e w h o r ep a ir ed t h e i n st r um en t a t
t ha t da te It i s for m ed of on e solid bl oc k of syca
. m or e w ood
ex cept t h e b elly , w hic h i s of pin e a n d gl ued on Th e b r idge i s
n d c ur i ously for m ed, on e foot p a
.

ver y fl a t a ssin g th r ough t h e

left soun d hol e t o t h e b a
-
ck a n d th us ser vin
, g a sa sou n d ost ; it
i s set obliquely on t h e b elly It s len gt h i s 2 2 in ches, i t i s 9} 4

It h a sa fi n g er b oa
.

Wi de, a n d 2 d eep a t i t s deepest pa rt . r d 101 - »

lon g, a n d of i t s si x st r in g s f our a r e set a l on g t h e fi n g er boa rd -

a n d vibr a ted wit h t h e b ow , a n d t w o li e of f it t o b e pla yed piz z i

ca to with t h e thum b .

Now thi s in st r um en t i s n ot a pr im itive essa y which h a s

b ecom e im p r oved in to t h e vi ol i t i s ahigh l y p er fected i n st r u
m en t i n i t s ow n un sa t isfa ct or y w a y, a n d I a c c ou n t for i t s b ei n g

a s foll ow s —Th e Rom a n s c ol on i z in g t h e n or th w ester n p a

,

,
-
r t of

E ur op e, in t r od uced t h eir lyr es w h er e i n c our se of tim e t h e use

,

of t h e b ow sup er seded t ha t of t h e pl ect r um , t h e lyr e b ecom in g

t h e r otta a n d sub sequen t ly t h e c r w t h or c h r otta Mea n while
n d t h e In d o E ur op ea
.
,
t h e Moor s fr om Spa in , a -
n tr ib es g r a dua lly
suf fused t h e c on ti n en t , b ea r in g wi t h them t h ei r m or e c on ven i en t

b ow in str um en ts, a n d w ith t hem d r ove t h e c r wth b ef or e th em ,

t i ll it h a d t o ta ke r efuge a m on g t h e a bor igin es or ea r li er
in ha bita n t s of t h e n or t h w est , -
lin ger i n g on till it died a
n a tur a l dea th i n t h e wil ds of Ca m b r i a(whi ch , a s w e k n ow
ha s r em a i n ed m or e ex clusively Celt ic th a a a
,
n n
y oth er p rt
of t h e c on ti n en t) un til t h e la st c en tur y In deed t h e r ude
Nor weg ia
.

n
“
fi dla a n d th e I cela n dic la n g spiel -
a re th e
on ly existin g p r ototypes of t h e cr wth I c on sider , a nd I
a
.

sa it with ll du e def er en ce i n t h e f ace of a l l th a t ha s been

y
wr itten on t h e subj ec t, b ut n on e t h e less p ositively, tha t th e
c r wth h a d n oth i n g t o do wit h t h e A n cestr y of t h e Violi n su ch
athi n a s th e f r ic ti on of a m usica l st r in g w a s n ot athin g th t a
c ould e di sc over ed by a n
y on e n a ti on a lon e No th er e wer e
t w o disti n ct cl a sses of m usi ca
.

l in str um en t s, of whi ch, n ot w i t h

sta n din g a ll th a t ha s b een w r i t ten a n d sa id t o t h e c on t r a r y, I
sa y t h e c r wth w a s t h e y ou n g er w hi c h fl our ishin g on ly so
s it h a
,

lon g a
,

d t h e m on opoly of t h e b ow i n E ur op e, suc
c um b ed b ef or e t h e m or e suc c essful a n d c on ven ien t r iva l, a fter
tr yin g i n va in t o h old i t s ow n a m on g t h e Wel sh a p r im itive
peopl e whose c on ser va
,
t i sm i n t h e m a t t er of t h eir n a tion a liti es i s
W . n dys a
a
S nd S . A For st er ,
. H i st ory of t h e Vi ol i n Lon don .
 T HE W E LSH C RW TH . 67

pr ov er bia
l;a n d so t o m
y m i n d it m ust for ever give up a ll
t h ought of b ein g c on sid er ed pa r t of t h e A n cest r y of t h e V i olin
I ha ve a l ogies of t h e violin a
.

pp en ded her e t h e gen ea n d of t h e

c r wth ac c or din g t o t h e for egoi n g d oc t r in es These “ pedi .

gr ees will , I hope, eluc id a te a n

y pa r ts of these t w o c h a pter s
whic h h a ve seem ed ob scur e t o t h e r ea der 1 .

Th e a
b ov e el uc i d a
t i on
of t h e A n c est r y of t h e Vi oli n h d n ev er b een a
sugg est ed t il l t h e Op uscul um m en t i on ed i n n ot e p g e 2 9 , ppe r ed i n a a a
1 8 82 a a
A s t h e b r oc h ur e w s pi i n t ed for pr i v t e c i r c ul t i on on l y ( s I i n t en d ed a a
aa a a
.

k
pr efi x i n g i t , s b ov e, t o t h i s w or ) I di d n ot pl c e i t i n t h e h n d s oft h e pub l i c ,
a
n d w h en in t h e a
ye r 1 8 8 3, a ft er t h e dea t h of Mr Ca r l E n g el (t o w h om I h d a
a Resea r c h es i n t o t h e E a
, .

p r e se n t ed c opy o f m y b r o c h u r e ), h i s w or
“
k r l y H i st or y
of t h e V i ol i n F a m il y (L on don , 1 8 8 3) w a s pub li sh ed b y Messr s Nov el l o
a si c a l h i st or i a n (t o w h om w a
.

n d E w er , Mr A J H i p i n s, t h e w ell k k
n ow n m u
-
s
ak
c om m i t t ed t h e t s of pr epa b li c a
. . .

r i n g t h e MS for pu t i on ) i n t r oduced t h e w or k
w ith a sh or t pr efa a I ca ll a a
.

c e, i n w h i c h h e s ys t t en t i on espec i ll y t ot h e i n t er
est i n g c h a i n of r ea son i n g w h i c h der i v es t h e m edi ev a al r ot t e fr om t h e ol d Gr ee k
l yr e
”
I w r ot e t o Mr H i p i n s on t h e sub ect , a
k j n d b e, w i t h a
c ou r t esy a n d
f c i en t l y est eem , m a
.

g en er osi t y w h i c h I c a
.

n n ev er su fi d e m e t h e foll ow i n g
pr om pt a k
c n ow l edg m en t i n Th e Mu si c al Rev i ew , of A pr il l t , 1 8 83 A ft er
lli n g a h e sa
.

ca
”
t t en t i on t o t h i s ob v i ous A n c est r y of t h e Vi o li n ys : It sh ow s
h ow c ur i ousl y i d e s a a re in t h e a
i r w h en w e fi n d t h t E n g el h a
,

a s n ot en oyed j
t h i s spec i a l on e a l on e a a
A li t t l e p m ph l et h s b een b r oug h t b efor e our n ot i ce
c on t i n i n g al ec t ur e d eli v er ed l a
a st Jun e t o a soc i et y ca
.

ll i n g t h em sel v es Th e
Sett e of Odd V ol um es Th i s Opusc ul um of t w en t y ei g h t pa -

g es h a s b een
a a n l y, a
.

r i v t el y c i r c u l t e d o n d i s b y Mr E H er on A l l en , w h o, b y i n depen den t
p
-

i n vest i g t i on h s g on e st ep b y st ep w i t h C a
a a
. .

r l E n g el i n t h e ev ol u t i on of t h e b ow
fr om a l on g er p cl e t r u m
”
Th i s i s a a
n i n st n c e of li t er a r y c ou r t esy so m a r ed t h a
k t
I feel a w a a
r m s t i sfa c t i on i n h v i n g t h i s oppor t un i t y of pub l i c l y a
a
.

k
c n ow l edgi n g

m y ob li g a t i on , a n d of s l u a
t i n g t h e Spi r i t i n w h i ch t h i s g en er ous m en d e w s a a
m dea .

In t o t h e t ow n w i l l I , m y fr en des t o v ysi t t h er e,
A n d h et h er st r g h
i t a g in t o see taa
h
’
en d of t h i s yer e,
a
I n t h e m e n t i m e, fel ow es, pype up your fi ddl es, I s y, t k e t h em , a a
A n d l et you r fr en des h er e suc h m i r t h s ye c n m a a a
e t h em k .

T C O LW E LL Gam m er Gur t on (Lon don ,

’

.
 C HA PTE R I II .

B IOGRA P H I CA L .

E a
rl y ker s Ga
Ma spa
ro — aSa l o—
d Gi o P a ol o Ma gg i n i —A n dr ea s Am a ti— An
t on i u s a n d Hi er on ym us A n a t i —Ni c ol a us A m a t i —A n dr ea a
s—
s Gu r n er i u
cob n s Stei n er — —
s
Ja Fr a n ci sc us Ru g g i er i A n t on i us St r a di ua riu Joseph Gua
s —La gn i n i —Joh a
r
n er i n s Pet er Gua r n er i u uren t i us Gua da n n es B a
gn i n i —
pt isfi l
ph i n o—
-

Gua da Dom en i c us Mon t a gn a n a —Sa n ct us Ber a Ca r l o B er g on z

Fr a n c i scu sa n d Om ob on o St r a di ua r i us— Joseph A n t h on y Gu ar n er i us (dea
n dol ph i —
-

Jesu ) Vi n cen z o P a n or m o—Ca r ol us Fer di n a n du s La La ur en t i us

St or i on i —Ni ch ol a s Lupot — Jea n Ba pt i st e Vuil l a um e —B a n k Nor m a
n k s— s Dodd—
n
B en j a m i n Ba Th om a Wini a m For st er — Ri ch a ke—Pet er
n ot —
r d Du
Wa m sl ey— Joh n Lot t — Willi am E b sw or t h Hill — Geor g es Ch a Ja
m )—
c ob s

(A m st er da Th e Mi r ec our t Vi oli n Tr a de .

THE differ en c es i n t h e m odel s, styles, et c , of t h e gr ea test m a k er s

r e so c on sid er a
y t h e lea
.

a bl e, t h a t m y w or k would, t o sa st of i t

b e i n c om plete w er e I t o en ter up on t h e p ra c ti ca l pa r t of i t

without sketchin g, a b r iefly a s possible, th ese

“
p eculia r i t i es of

ea t m en , for t h e guida n ce a
”
n d i n str uc tion of t h e w ould b e -

fi ddl e m a -
ker To im pa r t t o t h e followin g n otes a n
y ma t t er of
ph i ca
.

abiogr a l desc r ipt ion w ould b e obvi ously out sid e t h e obj ec t of
thi s w or k, so I sha ll c on fi n é m yself a bsolutely a n d b r iefly t o t h e

m ec h a n i ca l ch a ra c t er i sti cs of t h e gr ea t few w hose n a m es a re

househ old w or ds a lik e t o t h e a ma teur a n d t h e pr of essi on a l I

y t h e few , for th ough t h e n a
.

sa m e of t h e fi ddl e m a ker s i s Legion ,

-

they m ostl y foll ow ed t h e pr in ciples of their ch i efs, a n d it i s on ly

n ec essa r y t o n ot i ce t h ese g r ea t or ig in a l s For c l a ssifica

. t i on of
na m es a n d bi ogr a phic a l det a il s I m ust r efer our r ea der s t o Mr ,
Ha w k a n d for a n e w h o r equi r es ac om plet e li st of
’ 1
r t s or n y o
V ioli n m a k er s, I r ec om m en d t h e a l pha beti ca
,
-
l list i n t h e A ppen dix
t o Da v id son s w or k
’
Th e V i o li n
”2
a n d t
,
h e T abl e s of D ie hl 3
a n d

Tha t t h e t ech n ica

,

of Ni eder h ei t m a nn
‘
. l t er m s used i n t h e fol
a a
G H r t , “ Th e Vi oli n , i t s f m ous Maer s n d t h ei r Im i t t ors (Lon don ,
a k a
a
.

1 875 2 n d edi t i on , 188 4 Dul u Sc h ot t Po pul w r edi t i on , 8v o,

Th e Vi ol i n , i t s C on st r uct i on Th eor et i c a a
l l y n d Pr a a
.

3
P D v i ds ona,
“
ct i c ll y

a
.

n do n , 4 t h E di ti on , 1 88 1 , p
Tr e 0 o
; a a
.

N 11 1 t
. . Di e Gei g en m ch er der A l t en It li en i sch en Sch ul e,
(H4 am b ur g ,
F Ni eder h ei t m a nn , Di e Mei st er der Gei gen b u ku a
n st i n It h en a
(Vi en n aa a
.

n d H m bu rg, n d . .
 aa a a a a
F I G 39 Di g r m ex pl i n i n g t ech n i c l t er m s used t o den ot e t h e v ri ous p r t s oft h e vi oh n .

a
-
. .

A , Sc r oll ; B , c h eek s of t h e scr oll ; c , peg b ox ; ck ;

peg s ; x , fi n g er b o r d ; r . n e
a
-

G, b u t t on ; 11 , b ell y ; 1 , b c k ; J, pu r fi i n g ; x , edg es r oj ecti n g ov er si d es (or r i b s).

a
[ upper b out s, c en t r e (or m i ddle) b out s, n d l ow er b out s L , c or n er s x , c en t r e (m n er ,
a -
a
or m i ddl e ) b out s ; N , ff h ol es ; 0 , b r i d g e ; r , t i l pi ece ; Q, t il pi n
-
a a
n d r est ; ,
l ow er
b out s ; s, n ut ; r , sh oul der ; 11 . ey es of scr ol l.
72 V I OLIN -
MA KING : s IT w a
a s A ND rs

lit tl e, b ut gen er a ll y high ; t h e cen t r e b out s often shor t a n d

pr im itiv e, a n d g en er a lly sha llow t h eff h ol es (Fig 4 0) r un n in g
ra llel, ver y l on g a
.

pa n d p oi n ted b ut n ot ou t of p r opor ti on t o t h e
i n str um en t t h e sc r oll p a r k s t h e p r i m itive sta
,
r ti cul a r ly m a te of
t h e in str um en t He m a de m a n y in str u m en t s of p ea r wood a s
well a
.

s of syc a m or e, esp ec ia lly ba sses H i s va r n i sh i s p r in

l ly a light b r own a
.

c i pa m ber ,
v er y r ich a n d deep t h e gr a in
of h i s b ellies gen er a lly ver y
st r ai ht a n d even b u t som et i m es ,

at r i 9 wide Th e m ost p er fec t

sp ec im en I ever sa
.

w i s aten or
i n t h e p ossession of Mr E dwa rd .

W ith er s, agr a n d ol d p r im itive

i n st r um en t, fr om whi c h t h e j
h ole (Fi g 4 0) i s t r a . ced Hi s .

t en or s a re un questi on a bly h i s
b est in str um en t s ; b ut t h e few
k n own spec im en s of h i s violi n s,
th ough un c om ely, ha ve gr ea t
in dividua l r ep uta t ion fr om t heir
ver y r a r ity Mr W A Ty ssen. . . .

A m her st, a n E n gli sh a ma teur of

cel eb r ity , h a ha d) a
.

s (or n ex
c eedi n l
g y p er fec t specim en b ut
c opi ed fr om t h e v i ol a da ga m b a t h i r dl y
t h e pa c e b et w een t h e upper a a
,
s d l ow er
c om er s i s i n t h e ea r l y s eci m en s l u di
c r ousl y sh or t An d it is a
r d t o b eli ev e
a
th t a a
n eye w h i c h h d ob ser v ed t h e g r a
.

ce

ful pr opor t i on s of t h e t en or n d v i oli n a

could b e gu il t y of such a w ret ch ed li t tl e
a
i n n er b out s you fi n d i n a
doub l e b ss -
a
of B r esci a P er c on t r ai t m ust b e d a
a f a a
.

m i t t ed t h t t h e f h ol es of Br esci n
a
d oub l e b ss seem copi ed from t h e four
-

a
st r i n g ed t r i b e, n d n ot t aall fr om t h e
a a
eld er f m il y ; sec on dl y, t h t t h e v i ol i n
a n d t en or ar e i n st r um en t s of m el ody n d a
— a
h rm on y, w h i l st t h e doub l e b ssi s on e ofa
a aa
-

ha
F ‘G f d“
fi Th i s i s d e d g i n st i t s
‘
rm on y on l y
'

S
a
.

b ei n g i n v en t ed un t i l ft er t h e i n st r u
m en t s t o w h i ch i t i s su a
b si di r y Ma n i n v en t s on l y t o su aa
ppl y w n t . Th s, u
a a
.

t h en , i t i s : fi
r st , t h e l r g e t en or pl yed b et w een t h e k
n ees ; t h en t h e v i olm

pl a yed un der t h e c h i n ; t h en (if n ot t h e r st of t h em a fi a

l l ) t h e sm l l doub l e
ba ss t h en (ye r s aa ft er t h e v i oli n ) t h e v i ol on cel l o t h en t h e ful l siz ed doub l e
-

ba a
ss ; t h en , l on g o i n t e r v l l o, t h e sm a a
l l t en or pl yed un der t h e ch i n
”
Th e
a q a
ut h or sub se uen t l y sug g est s v er y er t i n en t l y t h t t h e b est w a
.

y t o sol v e t h ese
di ffi c ul t i es w oul d b e t o fi n d for w t i n st r um en t s t h e i m m edi a t e pr edec essor s
a a
of C or ell i , n d Cor elli h i m self t t h e b egi n n i n g , sc or ed t h ei r m u si c, det il s a
a a
on l y t o b e ob t i n ed fr om t h e or ig i n l MSS or rst edi t i on s
. fi .
 B I OGRA P H ICA L . 73

per h a p s da Sa l o s m ost c el ebr a ted fiddle w a

’
s t he highly
or n a m en ted on e of t h e g r ea t Swedish a r ti st Ol e B u ll, i n t h e
or n a m en t a tion of whi ch h e w a s a ided (it i s sa id) by t h e
g r ea t B en ven ut o Celli n i him sel f, a n d which i s r ef er r ed t o un der
t ha e a
t h d ( e p t i d a
. r Or n a m en t a
”
tion , ch i x , p 1 67) It i s
sa a a a
. . .

t
id h v b l t s p er fect a s when it l ef t th e m a ker s ’
o e e e n m os

ha n ds a nd a t t h e gr ea t vir t uoso s dea

’
th i n t h e Un it ed St a tes,
w a s sold t o som e A m er i c a n a ma teur Hi s tick et i s Ga spa ro
daSa
.

l e, In B r esc ia Hi s gen uin e tickets a

.
”
r e n ever d a t ed,
w hi ch m a k e s t h e per iod of h i s a c tivity a t lea st op en t o quest i on
a n d r esea r c h , th ough on e w r iter a ft er a n oth er (quor um pa r ej a
'

s I)

ha s a c cor d ed h i m chr on ol ogi ca lly t h e fir st pla ce a m on g t h e ol d

fi ddl e m a
-
k er s .

John P a ul Ma ggin i (B r escia ), 1 5 9 0 — 1 640 Wa s pr ob a bly

apupil of Ga r d daS l o a
.

sp a h i s pa t ter n i s l a r ge, a n d b r oa d in
out lin e, t h e a r c hin g sl o i n g a
p wa y t o t h e pur fl i n g a nd fla t t i sh ,
t h e sides r a ther sh a ll ow Th e ff h oles lon g a
. n d poin t ed , t h e

sc r oll p r i m it iv e b ut n ot so m uc h so a
, s tha t of h i s m a st er He .

m a de t h e b ellies of h i s in st r um en t s ver y str on g, t h e ba ck i n

pr op or ti on t o t h e bell y, r a t h er t hin , a n d gen er a lly or n a m en ted
by el ega n t cu r l s of t h e
pur fl i n g , whic h i s gen er a lly in l a id i n a
double lin e (si de Fi g . Va r n i sh, light y ellowi sh , or deep

br own , a n d ver y r i c h Th e n ot e of h i s i n str um en t s i s gr a n d

n d m el a
.

a on t h e l a
”
n c h oly, t h e w ood c ut yer s . H i s i n st r u
m en t s a r e of ten c on fused with t hose of Ga spa r d da Sa l o Th e .

gr ea t vi olin i st De B er iet used on e of t hem (t ide n ot e , p

1
.

Ti c k et, Gi o P a ol o Ma ggin i i n B r escia or , P a ol o m a ggin i

i n B r esc ia
”
.

Ot h er m a k er s of t h e B r esc ia n sc h ool i n f er i or t o t hese w er e

Ma ri an i , B uddi a n i, a n d B en t e, all fr om 1 5 70— 1 620 .

Th e Cr em on a sc hool w a s f oun ded by — A n d r ew A m a ti

(Cr em on a ) , b or n (a b out) 1 520, died (a bout ) 1 580 t h e fir st c f
h i s illust r i ous fa m ily . Or igin a a
lly am k er of v iols a n d r eb ecs,

h e on ly b ega n i n h i s la ter yea rs to m a k e vi olin s P ossibly

t C r em on a It i s p r ob a
.

apupil a t B r escia befor e h e st a r ted a . ble

th a t h e sta r ted t h e m a n uf ac tur e of violin s c on tem p or a n eously

w i t h Ga sp a r o da Sa le, th ough t h e la tter i s gen er a lly n a m ed fi r st .

A r eb ec of h i s ex i sted till ver y la tely a t Mila n h ea r in

g da te
1 5 4 6 Most of h i s in st r um en t s a r e sm a ll or m edium m odel
ir ly st r on g B a
,

high tow a a
.

r d s t h e cen tr e, b ellies f ck s of ten

yer s V a
.

m a de of p ea r w ood c ut on t h e la r n i sh, ex c ell en t light

br own , or deep golden , wor k n ot un lik e Ga

.

sp a r d da Sa l e, b ut
tha t t h eff holes (Fi g 4 1) a rera ther b r oa da n d i n el ega n t Ti ck et ,
“

Mr Ha
.

r t sa
.

A n dr ea sAm a ti Cr em on a , fec it 1 5 . ys, Am on g

“

t h e f m ous in str um en t s of thi s m a

a ker wer e twen t y four violin s -
74 V IOLIN -
MA KING : A S IT WA S A ND I S .

(t welve la r ge a n d t w elve sm a ll pa tter n ) si x t en or s a '

n d eigh t
ba sses m a de i n 1 5 66 for C h a r les IX , whi c h w er e k ept i n t h e

Cha pel Roya

.

l , V er sa illes un til 1 79 0 These wer e p r oba

,
bly .

t h e fi n est i n st r um en ts of A n d r ea s Am a t i , t h e w or k m a n shi
p
bein g ver y p er fect On t h e ba . c k s w er e p a in ted t h e a r m s Of
Fr a n ce a n d ot her d evi ces, a n d t h e m ott o P i eta te et Just i t ia
(vi de p . Th ese i n st r um en t s wer e t a ken out of t h e ch a p el
a n d dest r oy ed by t h e m ob i n t h e Fr en c h r ev ol uti on on t h e
6t h a n d 7t h O c t ob er 1 7 90
, Tw o of t h e vi olin s w er e a
.
ft er w a r ds
r ec ov er ed by M J B C a r t i er
. .
(t i de A ppen dix D No
.
On e , .

F r o 4l —f h ol e of An a
dr e s A m t i a F ro 42 —f h ol e of An t on i us n d a
a
. . . . .

(1 5 80 ) Hi er on y m us Am t i (15 70 )
.

of t h e sm a
ll vi ol in s i s n ow p r op er t y of Geor ge Som es E sq
th e ,

bled t o give ph ot og r a
.

a n d th r ough h i s c our tesy I a m en a ph s of

t hi s un ique fiddl e a s
plat es t o this w or k It s t on e i s m ellow a nd .

b ea ut iful i n t h e ex t r em e b ut l a c k s b r illi a
, n cy a n d a s a histor ic a l ,
c uri osit y i t i s per h a ps With out i t s equa l i n t h e w or ld of vi olin s .

A n t h on y a n d Jer om e A m a t i (Cr em on a ) 1 5 7 0— 1 635 son s ,

They Wor ked t og et her for som e tim e a

,

of A n d r ew . n d t hen

sepa ra t ed Thei r w ood w a

. s well c h osen an d c ut on t h e la y er s
for t h e b a
,
ck s a n d sid es t h e b ellies of fi n e ev en g r a
, in t h eir
ea
,
r li er i n st r um en t s high b uil t i n t h e cen t r e b ut Sl o i n
p g gen t ly
.

,
t o t h e edges, t h e f h ol es (Fi g 4 2) like t h e w ood
'

.
76 VI O LIN -
MA KING : A S rr w a
s A ND IS .

Fec it 1 6 Hi s son Jer om e, t h e l a st of t h e A m a ti , w a s

in fer ior t o t h e r est of h i s fa m ily, a n d h i s w or k s a r e v er y littl e

kn own Th e b est k n ow n m a ker s of t h e A m a ti school a re

Joseph Gua Fr a Ru g i er i , Jea Ba

. .

r n er ius, n c esc o n pti ste

Gr a n c i n o, Fr a n c i sc o Gr a n c i n o, P eter ua r n er i us, a n d Sa n ctus

Ser a ph i n o
a a
.

u C 1 6 3 0 — 1 69 5 (li ttle
( P t
e e ) r A n d r ew G u r n e r i s ( r e m on
)
k n ow n a s P i etr o) t h e fi r st of t h e Gua r n er i P upil w 1t h
.

Str a diva r i of Nich ol a s Am a ti w h om h e c opied ; h i s w or k w a s

t of h i s gr ea t ma La
,

good b ut in fer ior t o tha st er . ter on h e

str uc k out som ewh a t of an ew m odel , m a k i n g h i s in str um en t s
fla tter a n d a lter in g t h e for m of h i s
sc r oll a n d ff h ol es H i s va
. r n i sh

va r i ed , b u t w a s g en er a lly alight
or a e n g T
. i c k e t ,
“
A n d r ea s Gua r

n er i n s f ec it C r em on a e sub tit ulo

Sa n ct a e Ter esi a e, 1 6

Ja c ob St a in er (or Stein er )
(A b som ) , bir t h pr oba bly a bout 1 620
a n d d ea th un cer t a in Mor e pr o
.

m a
per ly a Ger m a n k er , of w hom
he w a s t h e g r ea test Wa . s pr ob a bly
for som e t im e ap upil of Ni c hola s

Am a ti . H i s m odel w a s highly
or igin a l a
.

t h i s b est h i s i n st r um en t s
w er e sm a ll i n t h e pa tt er n , t h e f f
h ol es r a t her n a r r ow a n d v er y r ou n d

a t t h e t op a n d b ot t om (Fi g .

H i s edges w er e v er y str on g, t h e
pur fl i n g set r a t her n ea r t hem , t h e .

t ha Ama
’
scr oll sh or ter n t i s b ut
cob b r oa d er i n fr on t Th e gr a i n of h i s
Sfig é fién
FI G - hO .

w ood wid e, a n d t h e va r n i sh d eep

r ose c ol our lik e Nich ol a s Am a Hi s i n str um en t s a

’
ti s . r e ver y

high built , esp ec ia lly bet w een t h e upp er b outs, a n d of t en a lm ost

t ubby, t h e sc r oll oft en fi n ished w it h ac r ved lion s or ot her
”
a ’

a n im a l s hea
’
d w hen of t h e or di n a r y sh ae , h e m a
p de h i s scr olls
b r oa da n d ra ther shor t He h a . s by som e b een pr ef er r ed t o t h e
highest C r em on ese m a ster s (I) H i s m ost cel eb r a
. ted i n st r u
m en t s w er e t h e
“
E lec t or Sta in er s, whi ch wer e six t een fi ddl es
ma de by h i m , i t i s sa id, i n am on a st er y a t t h e en d of h i s life
on e t o ea
,

a n d sen t by h i m
,
c h of t h e E lec tor s, a n d t h e r em a in in g
four t o t h e E m per or of Ger m a ny Th e w ood i s ver y h a
. n d

som e, a n d t h e va r n i sh a l ovely r ose c ol our ; th ey a r e d ec idedly

C r em on ese, or a t l ea st un Ger m a-
n i n st yl e O f t hese, th r ee
.
 B I OGRA P H I CA L . 77
l

a
r e sa
id still to e b ut
xi st a Mr Flem in g these
cc or di n g to
ha
,

a
t a
.

w er e n ot h i s w or k ll , b e vin g died m a
d i n h i s ow n house
—astor y dism a l in deed a
,

n d t h e m er its of whi c h it w oul d b e

,

out side t h e p r ovi n c e of thi s w or k t o disc uss, b ut t h e st or y

of h i s m a dn ess bein g well a uth en tic a t ed m ust d oubtl ess b e
a
,
n d a
,

c c epted ; a s f or these th r ee fiddl es, t h e differ en c e th ey

b ea r t o h i s b est k n ow n st yl e i s
par tic ul a r ly i n f a
vour of t h e
hypothesis tha t th ey w er e n ot h i s w or k a t a ll Ti cket, Ja c ob u s
“

Sta
.

in er i n A b som pr op e (E n ipon t um 1 6
,
No m a k er h a s
been m or e copiously c losely or vilely c opi ed h i s c hief a nd

s A lb a
,

tthia
,

b est p upil s a n d i m it a
t or s b ein g Ma ni th e
Kl ot z fa m ily (1 67 0 a n d in
m or e m oder n tim es, St a t el m a n n

Wi t h a
,
lm ,
et c .

Fr a n c is Ruggier i (“C r em on a )
1 668— 1720, sur n a m ed 11 per
fr om h i s tic ket, w hi c h r un s Fr a n

c esc o Rugger d etto i l P er C r em on a

16 A foll ower of t h e A m a ti
Sch ool . H i s out l in e i s or igi n a la nd

gr a cefu l h i s pur fl i n g br oa d, h i s
a ec t , h i s w ood fi n e a
,

r c hi n g p er f n d

left thic k ; h i s sc r oll i s equa l to th e

r est of t h evi n st r um en t t h e va r n i sh ,

whic h i s gen er a lly d eep br ow n a n d

ver y fi r st ra -
te, i s ver y w ell a n d

ev en ly l a id on Hi s f hol e (Fi g
. .

44 ) h a s b een c ited a s ablen di n g

of t ha t of Str a diva ri a n d Ni c h ol a s

Am a ti
A n th on y Str a diva
.

ri (C r em on a ),
b or n 1 64 4 , died 1 737 t h e gr ea test of Fr a n c i scus

a
FIG

fi ddl e m a
,

B ug g er “
-
k er t h t ever lived He .

w a s a u pil of N i ch ol a s Am a ti with wh o m h e w or k ed t i ll 1 670

p ,

b efor e w hic h t im e h e used n ot t o sign h i s w or k s B etween 1 670 .

a w or e on A m a s gr a
k d ti n d m odel , b ut m odi fied t h e)
’
“
n d 1 690 h e

ext en si on oft h e c or n er s t hese a r e k n ow n a s A m a t e s e S t r a d i a

va Th e a r chin g i s n ot so high a sAma t i s, b ut h i s ff hol es

” ’
r i uses
“

r e som ethin g sim il a Th e w ood (oft en cut a

.

a n d sc r oll a r er os

so h a
.

£ h e g r a i n
) th o u gh a c o u st i c a lly g o o d ,
i s o ft e n n ot n d so e
m
r lier in st r um en ts a s it w a s la
, ,

i n h i s ea t er on A ft er 1 690 h i s
'

in dividua lity b eg a n to a sser t itself, h i s m odel b ec a m e m or e

gra cef u al n d fl a tt er t h e ff h o l e s e l e g a n t a n d r ec li n i n g, t h e

a a
,
t
c en r e b ou t s g r a ce f u lly d r a w n o u t s l so t h e c o r n e r s ; th e

a a
,

sc r o ll is o b ld a n d s t r iki n g , a n d t h e p u r fl i n g r th e r n r r ow ,
78 V I OLIN -
MA KING : A S IT WA S A ND I S .

th e va r n i sh b ea utiful g olden or light r ed It w a s a t t h e en d

d e t h e fi ddl es k n ow n a
.

of thi s p er i od tha t he ma s
“
Lon g
S r as, so c a ll ed fr om thei r n a
”
t d r r ow n ess b etw een t h e f h oles,

ra
givin g t hem ala n ky a ppea n ce
,
th e a c tua l siz e va r yi n g , t h e

va r n i sh a m b er or light r ed .Th e yea r 1 70 0 b r i n g s u

'
s t o h is

b est p er iod t h e m odel fl a t t i sh , t h e w ood c ut on t h e q ua

l

r ter
'

, ,

a n d thi ck est i n t h e c en tr e un d er t h e b r i dge t h e c ur ves gen t le

,

a n d ha r m on i ous t h e w ood of t h e bl oc k s v er y light of t en for m ed

Th e gr a
, ,

of w i ll ow t h e sc r oll p er fec t i n i t s sym m etr y cefu l ff

“

t h e t ra n scen d en tly gl or ious a

,

h ol es (Fi g m b er c ol our ed or -

r ea
.

va r n i sh , are a l l ch ara
'

r ub c t er /st i c s of t hi s ep oc h of t h e t est
m a ker s gr ea t est p ow er gi s b est
’
.

in str um en t s ha ve t h e pur fl i n g
p oin t ed a c r oss t h e c or n er i n stea d
of foll owi n g i t r oun d , a n d it is

n ot un c om m on t o fi n d it r un n in g

c om plet ely t hr ough t h e c or n er .

H i s t ic k et r un s, A n t on i us St r a
“

di ua r i us C r em on en si s fa c i eb a t
A n n o 17 B et w een 1 7 25 a n d

1 7 30 t h e m a ster b ega n t o sh ow

sig n s of a pp r oa chin g a g e (E ll en
fug a ces l a b un t ur th e a r ch

i n g bec om in g m or e r oun ded Th e .

fi ddl es m a de a fter 1 730 sh ow a

dec ided fa llin g off, m a n y b ein g

ma de p a r tly or wh olly b y h i s son s

a n d p u il s Om ob on o a n d Fr a n
p
c i sc o St r a diva ri a nd Cha r l es

B er gon z i, a nd sign ed — sub

aa
di sc iplin St r di ua r ii
”
In c om .

e 4s —j h o1e of A n t on i us m on wit h a ll old It a lia n i n st r u

Sua
m en ts, t h e soun d b a r i s t ob w ea
. .

dm’m m
_

k
'

to : suppor t t h e m oder n high ten sion of t h e st r in g s, a n d n ea r ly

a ll h a ve t o b e r eb a r r ed .Str adiva ri m a de b ut few t en or s, wha t

h e di d m a ke b ein g gr n d a a n d gl or i ous i n str u m en t s He m a de
ma
.

n y vi ol on cell o b a c k s of p opla som e sa b eca

'

r w ood
, y use h e
ha d r un out of m a ple, b ut t h e da te of these in st r um en ts (a ll
b et w een 1 698— 1 709) r efutes suc h a n a r gum en t Th e elder
.

Cha n ot
possessed a v ipli n by Str a diva r i w hi c h Wa s g uita r sha ped,
a
-

i n fa c t like t h e C ha n ot vi olin
p . n d i t i s sa id t ha t
fr om t hi s in str um en t Sa v rt aan d Cha n ot d ev olved t heir ttem pted a
im p r ov em en ts i n sha pe r

a
.

Joseph Gua r n er i us
(C r em on
), 1 69 0 — 1 7 30, eldest son of
a
A n d r ew, th n wh om h e w a sa a
b et t er w or km n A t fir st c opied
.
80 V IO LIN -
MA KING A S IT WA S A ND I S .

in stea d of followin g ar a ther ugly Ger m a n on e, a c r oss b etween

those of St a in er a n d Am a ti (Gr a t i or et pul ckr o v en i en s i n

Hi s ff holes (Fi g 4 6) a
.

e) n d sc r oll well c ut , b u t
cor por e vi r t u
per fec t qua
.

del br illia n t r ed v a r n i sh of a
.

ofa p oor m o l i t y, w h l ch ~

opa
,

b ein g som etim es t oo t hic k , gives h i s in st r um ent s a n que

a pp ea ra H i s in st r um en ts a n m i sta ka bly li ke on e a
.

n ce re u n oth er

i n st yle t h ough h i s m odel v a r i ed t h e w ood a lw a

.

y s sh ow m g t h e
He br a
,

in i n c lea
,
gr a r even st r ip es n d ed h l S i n st r u m en t s W i t h
c es p a la
r ly un der t h e ta
.

h i s in i t ial s S S i n va r i ous pl a r t ic u il
r ge, w ell en g r a ved, highly or n a
. ,

piece He used av er y la
.
,

.
-
m en ted

F I G 46 f h ol e of S n c
. .

a
-

t us Ser ph i n o (1740 )
.
a F m 47 —f h ol e of C rl o
. .

B er g on z i (1733)
.
a . —
del Gen e. S w ”a
a
F I G 48 1 h ol e of Joseph Gu r n er i us
.

la
b el ,
w or ed d , Sa
n ct us Ser a
phin , Ut i n en si s, Fecit Vfi i l et lj s,
A n n o 17 .

Ch ar les B er g on z i
( C r em on a, 1 7 1 8 — 1 7 5 5, t h e b est
) pup il of
A n t hon y St r a diva A t fir st c opi ed h i s gr ea t ma
a
ri ster closely
’

a n d w ell a n d sub se uen tly st r t ed a

.

,
q
m odel of h i s ow n ! Of fi n e
‘

si z e an d good t hi c k n ess of w ood , f la t an d even , t h e w ood ha n d

som e, a n d t h e w or k ex cellen t Th e l ow er b out s b ein g r a th er

b r oa d, t h e in n er b outs set r a
.

t a
.

t h er a n a
pper b out s
a
n gle, t h e u

la r ger t h a n t h ose of Str a diva r i , t h e scr oll ou t ra ther fl t , b ut

ver y b old, though n ot so w ell p r op ortion ed a n d fi n i sh ed s a
tha t of St r diva a
r i ; t h e e e of t h e sc r ol l b ein g r th er
y pr o a
 B IOGR A P H ICA L . 81

m in en t, th e whole in str um en t possessin g ac on sid er a bl e in di

v i dua li t y . Hi s ff hol es (Fi g 4 7 ) a r e set l ow er i n t h e b elly
th a th ose of h i s m a ster ; i n for m they a
.

n r e b etween th ose of

Str a di va ri a n d Gu a rn er ius, a n d a r e set r a ther n ea r t h e edge of

t h e fiddl e . Hi s va r n i sh va r ies f r om a m b er , thr ough pa le, t o

deep r ed, put on som et im es thick ly som et im es t hin ly Hi s
.

fi ddl es a used with those of Gua rn er ius b ut a

,

r e som eti m es c on f re

di ua ri a n i n ch a ra
,
m or e St r a cter . Hi s t ic ket r un s, A n n o 1 7
Ca r lo B er gon z i f ece i n Cr em on a Hi s son a n d p upil , Mi c h a el

A n gel o B er gon z i , 1 75 0—1 7 80, w a a s a

.

s in f er i or t o h i s f t h er a
w or km a n

n c isc us a r i, 1 7 20— 1 743, w er e pupil s

.

Fr a n d Om ob on o Str a diva
a n d son s of t h e gr ea t Str a div a ri a n d w or ked t o ether a ft er t h e
th er A s w or k m en i n fer ior t o t fiei r fa
,

dea th of their fa . ther they

n fin ished m a t er ia la
,

w or k ed u m uch of h i s r ef
p use a nd u fter h i s
dea th Fr a n ci s w a s a b etter l ut h i er t ha n h i s br other a,
n d h is

whi c h show s h i s hi gh t uit ion , is n ot without m er it a

.

n d

or igin a lit y differ i n g m uc h fr om h i s fa t her i n outli n e ofh i sf hol e .

Th e t on e of h i s fi ddl es i s ver y in ten se a

,

n d good

r n er ius (Cr em on a
.

Joseph A n th on y Gua ) , b or n 1 683 w or ked ,

1 7 25— 1 74 5 .Th e b est w or k m a n of t h e f a m ily of Gua r n er i ;

del Gesu he w a
sur n a m ed ,
fr om t h e d evice
I P i s in t h e

ha bit of pla c in on h i s l a b el s Hi s wor k m a y b e divided in t o

r st h i s m odel va
.

four p er iod s n th r ied , b u t h e chiefly c opied

fi
Joseph (son of A ne t h e sc r oll r a ther m ea
.
,

i r ew n ,
t h e wood
c ut out a t t h e shoulder , e ff holes l on g a n d ma r k ed .Secon d
er i od — C ut h i s b a c ks c hiefly on t h e qua r t er t h e pa tt er n
p
ll n ot t oo h i ghly a
.

ra ther sm a r c hed, gen tly slopi n t o t h e sides ;

ver y good t h e w ood left r a esp ec ia
,

t her t h i c l ly i n
h i s ba ck s ; t h e p a tter n on t h e whole n ot un lik e Str a diva r i in

t h e ra th er d r a wn out c en tr e b out s a n d na r r ow wa ist Th e ff

bly cur ved, t h e scr oll ver y b old a
- .

h oles w er e c on sider a n d w ell

often r un n in g t h r ough b ot h p eg s a n d th e

Th i r d per i od —
out , t h e pur fl i n
‘

va r n i sh of ar i c golden b r own Th e p a tter n

l ; t h e wood cut on t h e qua
.

ra t h er l a r ge a n d ver y or igin a r ter ;

thi k p f t l y p o p o ti o d th o u h som et i m es a
th e c n e sse s er e c r r n e
g
Hi s va
,
tr ifle ex c essive i n t h e c en t r e of t h e ba ck . r n ish dur in g

t hi s per iod w a s h i s b est , a n d ha s been c on sider ed equa l to

Str a di va ri s
’
Th e fl ddl es of this per iod a r e b r oa der i n t h e
ist t h e in n er b out lon g b ut v er y elega
.

w a
n t t h e ff h ol es l on g
a e va
, ,

a
,

a e
n d p r p e n di c u l r ( g
F i t h e s c r o ll p e r f e c t, n d t h r n i sh

a i s ti m e m a
.

a a a b
.

o f l o v ely or n g e s h d e H i s
f h o l es t th y e

r o da Sa
.

descr ibed a ection of Ga spa l os m odel In h i s

’

s t h e p er f .

u r t h p er i od, Joseph Gua r n er i us del GesiJ seem s t o ha v e ca st

f o .

6
82 V I O LI N -
MA KING: A S I T W A S A ND I s .

a wa y h i s high id ea l a n d w or k ed c a r el essly t o sa ti sfy p r esen t

n t s so r oughly a r e h i s la
w a
, p ec t ly fi n i sh ed a
n d i m er f ter i n st r u
It i s sa id t ha t ma (kn own a
”
m en t s . n y s P r i son fi ddl es “
,
“
Dr un k en Joseph s et c ) w er e m a ,
de i n p r ison with tool s
.
, ,

a n d va h i m by t h e ga ol er s da
’
w ood r n i sh b r ought ughter
f t h e ff h oles t oo lon g a
.
,

They a r e high b uil t t h e sc r oll stif, ,

nd
c l um sy t h e w ood a
,
n d va r n i sh a lik e in fer i or In h i s b etter .

da ys i t h a s b een sa id tha t he m a de agr ea t ma n y ofh i s b ellies

f om on e piece of w ood fr om ac or r esp on din g sta

r
,
i n dow n ea ch

side of t h e fi n er b oa r d in all of them I ha ve seen m a ny

g
-
.

Josephs b ut n ever such a He seem s t o ha ve i n a

“ ”
, n on e .

gr ea t m ea sur e v a r i ed h i s t hi c kn esses a ccor di n g t o t h e a c oustic

qua lities ofh i s w ood P a ga n i n i s c el eb r a
. ted vi olin (a
’
i de n ot e 2

p 23) w a
,
. s aJoseph Gua r n er i u s Th e w or k of Joseph
Gua r n er ius m a b e sum m ed u i n on e ol d Fr en c h c oupl et
y p
Qu l ques t a
e ch e s, qu l qu
e es éa
d f ut s
Ne dépa
r en t poin t un e b ell e
.
”

lHi s ticket r un s
Joseph Gua r n eri us fec i t ,

C r em on a
s, A n n o 1 7 IH S

V in c en z o P a n or m o (P a l er m o) , b or n 1 740, died 1 8 1 3 V er y .

p er fect c opyist of St r a a
div r i, for wh ose fi ddl es h i s a r e of ten
m i sta ken Hi s w or k i s v er y n ea
. t a n d w ell ex ec uted t h e sc r oll -

,
a r ti c ul a
n d ff h oles b ei n g
pa rly w ell c ut .

Ch a r l es Fer din a n d La n dolfi (Mila

)
n , 1 7 50 Model decidedly .

or igin a l, wit h ast iff in n er b out n ot un like Joseph del Gesu ,

h is
edg es often d eeply g r oov ed , h i s h l es n ot i n k eepi n g w i t h t h e
f f o
r est of h i s i n st r um en t h i s sc r oll r a t h er m ea n , t h e va r n i sh a t
t im es ex c ell en t : H e l eft agr ea t ma n y i n st r um en t s un pur fl ed,

a n d oth er w i se i n a n un fin i sh ed st a te H i s w ood w a s ha n d som e,

n d h i s va
.

a r n ish v er
y t ra n s a
p r en t ; h e w a s t h e la st m a k er w h o
used t h e gl or ious ol d C r em on ava r n i sh Hi s ticket r un s,
r l o Fer din a Ma r ga a a
.

Ca n d o La n dol h i n ellac on t r a
p d di sa n ta r it
a l segn o d ellaSir en aMila n o 17 .

La w r en c e St or i on i
( C r e m o n a), 1 7 8 0 — 1 7 98 Th e la st of t h e

s a
.

old It a lia n m a k er s, acl ever b ut in el eg a n t w or k m a n , w a s

or igin a la n d va r iabl e a s Jose h del G esuw h om b e c o i ed , t h e

p p
out li n e b ei n g Oft en un sym m et r i ca l, a
,

n d t h e osi t i on ofh i sff h oles

p
c on st a r k r ed Nea p olita
n tl
y c ha n gi n g Th e va . r n i sh ad a n , th e

pur fl i n g n a r r ow a n d r oughly i n l a id, t h e sc r oll st iff a n d i n c om

pl et e, t h e w ood a c oust i ca lly good , b ut n ot ha n d som e

n m a
.

This b r i n gs us t o t h e en d of our spa ce for It a lia ker s

a
i t r em i n s, t her efor e, t o gl a n ce a t t h e b est kn ow n m a k er s of -
84 V I O LI N -
MA KI NG : A s IT WA s A ND I s .

H e di d n ot m a
ke fi ddles hi m s elf b ut em pl oy ed Fen dt a n d

in st r um en t s h e r ec eived “ i n t h e whit e, a
,

Lot t, w h ose n d

va r n i sh ed with h i s ow n h a n d . T h e i n st r u m en ts of Fen d t a n d

m on g t h e b est of E n gli sh m a a
"
Lot t a re a n uf c tu r e, Lot t b ein g

c hiefly f a m ed for h i s d oubl e b a -

sses .

Willia m F or ster (Lon don b or n 1 7 39, died 1 8 08, on e of t h e

b est E n gli sh m a k er s, c opie t h e A m a ti sch ool Hi s va . r n i sh

w a s ex c ep t i on a lly fi n e .

Rich a r d Du k e (Lon d on ) , 1 7 68 . Copi ed A m a ti , h i s wor k

a n d va
-
r n i sh , w hi c h w a s y ell ow i sh , b ein g ex cell en t , t h e p a tter n
l on g . Ha s b een m ost c opi ously a n d r ut hl essly c opi ed a n d

im it a ted Hi s ten or s w er e sm a
. ll a n d ver y b r oa d ; som e of h i s
in str um en ts a r e p oor , h a vin g m er ely b een st a in ed d eep b r own ,
a n d t h en a c oa t of va r n i sh l a id on .

P et er W a l m sl ey (Lon don ), a b out 1 720— 1 7 60 On e of t h e .

best E n gli sh m a k er s, foll ow ed t h e Sta in er m odel He w a . s in

t h e ha bit of a r t ific ia lly a gin g h i s i n st r um en ts, c o n sequen tly h i s

w ood i s often t oo t hin t o la st w ell . H i s va r n i sh w a s r eddi sh, or

y ellowish , br ow n ; h e Oft en dr ew lin es r oun d h i s i n str um en t s,

in st ea d of in l a yi n g pur fl e
On e of our m ost ta
.

John Lott (Lon don ) , 1 8 30— 1 8 70 len ted

r v ell ous t a
.

ma k er s, a n d per has our b est n a

p t ive c opy i st Ma l es
r e told of h i s c un n in g i n t h e m a ir s, w hic h h a
.

a t t er of r epa s b een

c om pa r ed w it h tha t of J B V ui ll a
. . um e him sel f
Willia
.

m E b sw or t h H ill (Lon d on , 1 8 30
) Now livin g Th e
st sur vivin g r epr esen t a
. .

la t ive of t h e ol d E n gli sh sc h ool Wor k s

n or igin a
.

out a l m odel fr om t h e m a st er pi eces of Str a diva ri a n d

G ua r n er i

G eor ges Cha

.

n ot
(Lon don ) , n ow livin g Son of t h e cel e .

bra t ed Geor ges Cha n ot of P a r is Ma gn ifi cen t w or k m a n , a n d

C opies St r a
.

m a r v ell ous c o yi st
p . diva r i , G ua r n er i , a n d Ma ggin i .

Va r n i sh light b r ow n , a n d of m a gn ifi cen t c on sist en cy C on

a
si der ed by m n y t o b e t h e fin est fi ddlem a
.

k er livin g, si n ce h i s
fa t h er s dea
’
th
a
.

E dw r d W it h er s (Lon d on ) , 1 8 60 Now livin g On ly pupil

. .

of Joh n Lott, wh ose st yle a n d va r n i sh h e h a s c o i ed a

p n d

i m p r oved upon a t ti m es C opies St r a diva r i us a n d Joseph del

Gesu V a
.

. r n i sh of a r ed g old c ol our .

Ja c ob s — 1 74 0 So c l ose a
. n d
per fec t a
c opyi st of Ni c h ol a s Am a t i tha t th e t w o a r e oft en c on f oun ded
pa
.

Foll ow ed t h e gr a n d t ter n Hi s di st in guishi n g m a rks a re

h is ra t h er in fer ior sc r oll a

.

n d w ha l eb on e pur fl i n g V a . r n ish , ver y

fin e .

A w or d b efor e w e lea ve t h e c on sider a t i on O f t h e m oder n fiddle

tr a de, on t h e m a nu fa c t or ies a t Mi r ec our t ; t h ese t ur n out m a n y
 B I O GRA P H ICA L. 85

th ous a n d s of c r ude n oi se b o es an nu a lly la b elled a

“
s au le x r

A n t on ius St r a
, , ,
diva r ius Joseph Gua r n er ius or Ja c ob St ei n e
, r

or din a
,
fecit These ae ext r a
. ry for their qua
r n tity a n d c hea pn ess
M Ga lla y i n h i s r ep or t on t h e V i en n aE hibit i o n otic in g t h e
.

.
, x n

blishm e t s of Th ib ouvill e La
,

est a n m y ( h o ha ve aLon don house -

w

i n Ch ater h ouse St r eet) quotes a

r s follo s t h e a c tua l c ost of t h e w

ma n uf a c tu e of on e of th ese fi ddl es
r Wood fo b a ck 2d w ood . r .
,

for b elly 2d m a n ufa c t u e of sa .m e 1 5d”

, ood fo eck 1 d r w r n 2 ,
m a kin g sa m e 1 5d fi g e b oad (sta i d) 2d c utti g 1 4d” n r -
r n e n

m ouldin g b a
,
.
,
ck a n d b elly 1 2 éd van ish 1 0d fi t t in g up st in gs r r

l — Tota
.
.
, , ,
il piec e b r idge et c 7 ga
.
,

ta -

,
l 4 s 2d M Ga ,
lla
.
y g oes on
,
. . .

t o sa y t ha t h e head such afiddl e a s thi s c hose r f om a um b e ,

n r n r

of sim il a on es a n d ca
r r ef ully m oun t ed a n d st un g a n d pl ayed r ,

t h e t on e a n d sult s Ob t a in ed fr om whi ch a
re t ac o cer t i n V ien n a n

wer e m ost sa tisfa c to y r .

A n d h e e I m ust c ea se th ese m em o a
r n d a hi c h for sh o t n ss I r ,
w r e

ha ve c o fin ed e cl usively t o t h e fiddl p ope (t o t h e e lusio

n x e r r x c n

oft h e c ell oa n d d oubl b a ss) a pol ogisi g fo t h i t em e brevit y

’
e n r e r ex r

e m ust h u y o t o t h e p a
,
by t h e fa c t t ha t wc ti c al pa r t of our rr n r .

w ok r They ae c ollec t ed f om t h e m ost r elia r ble sou ces a nd r r

lly I d esi e he t o r ec o d m y best t h a

.
,

esp ec i a r n k s t o t h e c ollec
re r

ad d ea
n l e s h o ha ve k in dly pl a
r wced b ot h t hei ta de stock s ad r r -
n

p r iva t e c oll ectio s of fi ddl e a t m y di sposa l for t h e pu pose of

n s r s

t hese n ot es a ll such a s a
r e i n ter est ed by them
To an d w ould ,

m or e hi st or ica phic a l d et a
.

c rea for l an d biog r a il I r ec om mend ,

Mr H a r t s b ook b ef or e refer r ed t o, a s d ealin g m ost fully ”w ith

’

a tter s c on n ec ted w ith t h e ol d a fi ddl e m a

.

ll m a n d n ew ker s -
.

Th er e s t d m e Musyke, w i t h l h er m yn st r a
aa l sy a
A sta b our es, t r um pet t es, w yt h pypys m el odyous,
S ck b ut t es, or g oun es, a
a n d t h e r ec or der sw et el y ,
a
a
”
H er pes, l ut es, n d cr oudes r i g h t del yc yous .

S HA WYS
. Th e P sse Tym a aof P l ea
s re

(Lon don , I
 C HA P TE R IV .

TH E B OW .

Pr og r essi v e Hi st or y oft h e B ow —Th e Cor el li B ow —Th e Cr em i l l er e —Tour t e

a
—a
H i r i n g n d Reh i r i n g —Rosi n n d i t s
.

a a
.

a
.

h e Moder n B ow — Di m en si on s
e s B OW — Wi t h er s —O t h er P t en t s —
a a
. .

A ct i on — F l
o ngdi B ow — Vui ll um
’
Th e .

a a
. . .

Gr e t B ow m k er s
-
.

IT h a s b een j ust ly r em a r k ed t ha t t h e Hist or y of t h e V iolin i s i n

oin t of fa ct t h e hi st or y of t h e b ow , a n d t h i s i s i n d eed t h e c a se,
p
for w it h out t h e b ow t h e fiddle (pr oper l y so c a lled) c a n n ot ex i st .

W ithout i t t h e fiddl e w ould cea se t o ex pr ess ev er y h um a n

em ot i on , w ould c ea se t o p r od uc e t h e c on t i n uous fl ow of m el ody

th a t in st r um en t s of t his cla ss a l on e of a l l st r i n ged i n st r um en t s a re

ca pa ble ofpr oducin g, a n d w ould i n f

,
a c t , wi t hout t hi s m a gic w a n d,

a t w h ose t ouc h i t s m a r vell ous

pow er s a r e ca lled in t o b ein g,
b ec om e a s t h e soun din g gui t a r a n d t i n kli n g b a a n d cea
”
njo se

c h ea
,
t o m er it t h e c ha r m i n g c om p a r i son d r a w n i n Ma
’
t h s son g i n
Ga y s B egg a r s O er a v i o A t t h e sa
’
( m e tim e,
’ 4
p l e n o t e , p
.

i f i t i s diffi c ult t o tr a ce t h e
pr ogr essive hi st or y of t h e V iolin
t of t h e B O W , a
,

it i s in fin itely m or e so t o t r a ce t ha n d f or v er y
obvi ous r ea son s, f or i f i n pa in t in gs a n d sc u lpt ur es of t h e p r esen t
da y a r t i st s do n ot
p a y m u ch a t t en t i on t o t h e ex ec ut i on of so

(a ppa r en tly
) sub or din a t e apa r t of t h e subj ec t (a s i s eviden c ed

by pic t ur es a n d sc u l ptur es of our ow n da y, i n w hi c h though

oft en t h e r epr esen t a t i on of t h e fiddl e i s a c cur a t e, yet t h e fi ddl e
st i c k i s av er y di ffer en t con cer n fr om t h e b ow of ever yd a y
use) , h ow m uch l ess, t h er efor e, a r e t h e r ep r esen t a tion s of pa st

c e n t ur ies t o b e d ep en d ed up on .

A s t o w h o in ven ted t h e h ow this i s n ot t h e pla ce t o di sc u ss

t h e i n ven t ion of t h e b ow b ein g, i n fa c t , t h e or igi n of t h e

vi oli n , a n d a s suc h a l r ea dy di scussed i n C ha p t er I Of c our se

w e ca
.

n n ot ta ke a s a b sol ute gospel t h e t est im on y of P B .

t Mil a
.

Za c ch a r ia Tev o, w h o i n h i s Musi co Test or e, publi shed a n

i n 1 70 6, a Sa fopoet essai n ven t o l a r co de cr i n i di ca va l lo,

’
sser t s,

) la pr i m aeke l o suon a se com e a t cost um aogg i di

”
e fr I t i s m ost
p r oba
.

ble, howev er , t h a t t h e Or ien t a l s w er e t h e fir st t o use t h e

88 V IOLIN -
MA KING : A s IT WA s A ND I S .

h o quot es it fr om H er b é s Cost um es Fr a n a t a Fi 5 2 i s fr om
'
’
w g g .

t h e A bb ot Ger b er t s D e Ca n t u et i ll usi cd Sa cr d (St B la si us,

’
.

an d i s ta ken fr om t h e MS of St B la si us, of t h e n i n th .

It will b e O b ser ved tha

.

cen t ur y t thi s .

sh ow s a ver y r esp ec t a bl e for m , a s does

"
a l so Fi g 5 3, w hi c h i s r ePr oduc ed fr om

In Fi g 5 4 , A , B , a n d D a
1
52 53355 S
1
1
t r u t t re . .

r om a MS
F u n gus ,

c r wth b ow s t h e t w o for m er f , .

a t Neub er g, a n d t h e la tter fr om t h e MS fr om St Ma r ti al de . .

Li m oges, a n d for m s p a r t of Fi
g 33 C , Fi g 5 4 , i s fr om a n . . .

en a m ell ed pl a te, dug up a t Soi sson s, on whi ch w e fi n d t w o fem a les

pla yin g b ow i n st r um en t s— on e
of t h em ha vin g ab ow a lm ost
iden t i ca l w it h t h e r a va n a st r on

b ow , r ep r esen t ed i n Fi g 4 9,

aa"a aa
.

a n d t h e ot her h a vin g t h e b ow
F1G ?
s r ss s ss s ss:
f
h er e r epr esen t ed A , Fi g 5 5,
“M i ca c r a1 774
.

i s fr om t h e c r w t h pla
.

yer , r epr e Sa , .

sen ted i n Fi g 35 ; B , Fi
g 5 5 , fr om aw i n d ow i n t h e C a
. th edr a l
of St Den i s, a
.

n d C , Fi
g 5 5 , fr om St r ut t i n h i s w or k b efor e
, a
.

er r ed t o, a
.

r ef re ga i n , av er y c on sid er a bl e a dva n c e i n p oin t O f

ha pe Ther e i s a figur e of Nept un e on a

s

fi b
.

fi ca pita l i n aMS a t Doua i of t hi s c en t ur y .

,

h oldin g ab ow w hi c h i s a b sol ut ely a n d

5 3 —B o
,
1 d9 11t 1 0 a t h 6 sa me a s th a
F IG of t h T nt h w e e ‘

ll y 15 r epr esen t ed
.
. .

C t u y f o C o t o MS T b
en
ts i a
r r m n i

a t C Fi g 5 4 ; D Fi g 5 5 i s a r om a
.
, .

ggégig g gffib ;fi if i
t t
i t
f ’’ ’
l so f , ,
.
,

n d i t s sim il a
.
e

sc ul t ur e a t St Den i s a
g e
E g l ad n (1855 ) n r ity
p
t o A i n t h e sa
.
,
m e fig ur e will b e a t on c e r em a r k ed .

FI G 54 —
B ow s of t h e E l ev en t h Cen t A n d B , fr om a
P r yer b ook i n t h e Li b r r y of t h e a a a
a a a
-

Con v en t of Neub er g , n ea r V i en n aCr w t h h ow )

. .

0 , fr om en m el l ed pl t e d ug up n e r
a a aa
.

Soi sson s (pr ob b l y Th i rt een t h C en t ur y) D, fr om MS in Li b r r y of St M r t I l , . . .

Li m og es (Cr w t h b ow ) .

In th e b ows of t h e thir teen t h tur y (Fi g 5 6) w e fi n d

c en .

J St r ut t ,
. Gli g G m en
-
a aA n gel -
Iced or , st i m es of E n gl a
Spor t s ad Pa n n

(Lon don .
90 V IOLIN -
MA KING : A s IT WA s A ND Is .

a n ot h er st id e t ow a rd r p er fection A Fi g 5 6 fr om asculptur es ,
.
,

l of Rouen a
,

i n t h e Ca thed a n d D Fi
r g 5 6 fr om apictur e by .

lle y of t h e P it ti P a
, ,
ce a
,

C im a bue i t h e ga n la t Flor en c e b ei n g
r

the el em en ta
,
lm ost p er fect B Fi g 56 i s a in r a
,
a .ga ,
r y by c om
.
,
r

a r om afig u r e of a
"
p a irso n n d C Fi
, g 5 6 f , j on leur given by ,
M V id a
.
,
‘ ’
. l em in d s us ver y m uch of Fi g 53 t r ut t s A n g lo
,
r .
,

Saon b ow
x I n Fi g 5 7 w e g et m o e i m r ov em en t s a
. . n d r

m or e r etr ogr ession s A i s f om aMS r epr o n ee d by M de

. r . .

C oussem a ker D f om asculp t u e i n P otier s Mon um en ts ’

r r

i s B fr om api c tur e by B a
,

F a n ca rn a bas de Modem Ea
”
r r e f om r

n t of d eta
, ,
E ly Ca th ed a l ;a nd i th em ther e i s t oo m uc h wa il fo ‘

r n r

t hem t o b e hi stor i ca lly va lua bl e t o a n

y g ea t exten t W e a re in r

d ebted t o St ut t aa
.

i i n h is Liber Rega lis fo C Fi g 5 7

Gh t MSfor F ; these t w o ae som ewha
r n r
, .

n d toa
, ,
t sim ila
,

a en r a nd r
,
t h er a
.

ae a
r ga in a r ev er sion t o sim pli c ity tha
r n a n i m p ovem en t r .

In t h e fifteen th cen tur y t h e im p r ovem en t s i n h ow in str um en t s

dr ew with them lik e i m p r ovem en t s i n t h e b ow , a n d thou gh i n
F i g 58 A , C a
. n d D, w hi ch a r e fr om pic tu
. r es, a r e elem en t a
ry
,

F I G 58 —
B ow s of t h e Fi fte en t h C en t ur y A , fr om Mi n st r el ’ s P il l r , St M r y’ s Ch ur ch . a a
a a
. . . .

B , fr om W ood c r v i n g i n Ch oi r , Ch ur ch of St
"
B ev er l y Godeh r d , Hi l desh ei m
a a a aa
-
.
.

(Tr um pet M r i n e) C n d D, fr om p i n t i n g b y H em li n g E , fr om R ph el ’ s Cr ow n
aa
. .

i n g of t h e V i r g i n , i n t h e V t i c n .

y et E ad n B a
re m os t in ter estin g, a
s showin g r es ec p tively th e
violin a n d d oubl e b a ss h ow of t h e -
Fi g 58, t h e b ow
of at r um pet m a i s fr om a
.

r in e t h e Mon a ster y of
,
St Godeh a. r d of Hi ld esheim ; a n d E w e m a c on sid er t r ust
,
y
wor thy bein g fr om apic tur e by Ra
, phael i n t h e Va t ica n In
t h e sixteen t h cen tur y whi ch sa th e a
, .

w ct ua l in tr oduc tion of t h e
violin , an d w h en b ook s b ega
,

n t o b e w r itt en on t h e i n str u m en t s
t hen i n use, our eviden ce on t h e for m s of t h e b ow b ecom es
92 V I OLIN -
MA KING : A S IT WA S A ND I S .

p r ogressive a din g t h e r esults of a r ti sts i m ai n i n g s

‘
n d n ot in c l u
, g .

With t h e figur es w e h a ve b efor e us, it r em a in s, th er efor e on ly ,

t o sep a ra te fa n cy f r om f a ct a s n ea r a s w e ca n ; a n d t hi s divi sion I

t hin k you m a y sa fely sa y will b e a s f oll ow s Figs 5 1 5 2, a n d 53 .

,

w e m ust t a ke a s th ey st a n d b ut Fi
g 5 2 it m ust b e r em em b er ed
, .
, ,

i s t h e wor k ofa p r iest r ep r od uc ed fr om t h e w or k ofa

,
n oth er p r iest ,
a n d w e m a y th er efor e, c on sider this figur e a
,
sa b out r ight In
bout t h e best for m , a
.

Fi g 5 4 , c i s a
. n d m ost cr edible, A b ein g a

m or e el em en t a r y for m p r oba bly a c t ua lly i n use a

, m on g t h e l ow er
c la ss offi ddler s C i s fr om a well design ed w or k of a rt a n d is
, ,
t h er efor e, m ost lik ely t o b e c opi ed fr om ex i stin g sp ec im en s, b ut
ther e ex i st s som e doubt whet her it sh ould n ot p r op er ly b e da t ed
thir teen t h cen t ur y In t h e sa m e w a Fi g 5 3 gives p r oba bly a
.
y .

c or r ec t id ea of t h e b ow used by t h e pea sa n ts a n d l ower c la sses

t up t o c om pa
.

I t i s pr ob a bl e tha ra t iv ely r ecen t ly t h e b ow s used

wit h t h e r ebec s or lower b ow in st r um en ts c on t i n ued t o b e ha
,
r dly ,
m or e t h a n a r cs a s d e i c t ed by Fig s 4 9 a
p ,
n d 5 0 n ot w it h sta . n di n g ,

t h e gr ea t im p r ovem en t s i n t h e b ow wit h w hic h t h e higher cl a sses

of v iol s w er e pla y ed .

I n Fi g 55 A a
. n d D a
,
r e pr ob a bly a r t i sti c r epr esen t a tion s
of a b ow n ea r ly r el a t ed t o our d oubl e b a ss b ow ; on e side b ein g -

p r ob a
,

bly r epr esen t ed fl a t i n deed som e a uth or s ha ,

ve figur ed
D Fi g 55 a lm ost iden tica lly our c on t r a ba ss b ow , b ut I c a n n ot

y for c er t a
.
, ,

sa in a s I ha ,
ve n ever n ot iced t h e or igin a la t St Den i s . .

B a n d C m a b e ta
y k en a s a pp r ox i m a tely c or r ect delin ea tion s
of t h e viol b ow A a n d D b ei n g pr ob a
, bly for t h e gr ea ter
vi ols a n d t r um et m a
p r in e I n Fi g 5 6 0 a n d B a re a r t i st i c a lly
,
elem en ta
. .

ry ,
b ut A a n d D esp ec ia lly m a y b e c on sid er ed fa it h
ful r epr esen ta t ion s In Fi g 5 7 A B , D a
. n d E r e r esen t t h e
p ,

c tua
.
,
a l, a n d C F G t h e fa n c if ul el em en t D a n d G a
'

, ,
re .

however , p r oba
,
bly n ea r th e a c t ua l g r oss g eig b ow I n Fi g -
. .

58 A , D a n d 0 r ep r esen t i n g fi c t i on
,
B a n d E m a b e sa
y id t o
r epr esen t fa ct i n t h e for m of t h e double ba ss a n d vi ol b ow s -

of t h e per i od I n Fi g 5 9 w e r ea
. c h c er t a in eviden ce, F a n d G

b ein g t h e l a
.

st r elic s (a s f a r a s w e a r e c on cer n ed
) of tha ta r t i stic

im a gin a t ion whi c h a lw a ys h a s a n da lw a ys will sta , n d i n t h e w a of

y
the a n t i qua r y w h o sea r c h es a ft er t r uth A n d so by pr ogr essive
sta ges w e a
.

r e b r ough t t o F igs 60 61 , a n d 62 t h e l a
. st p oin t s i n t h e
, ,
h i st or y of t h e b ow These a .re a ll a b sol utely fa it hful dia gr a m s of
t h e ex i st in g b ow s t a k en fr om c on t em p or a ry a n d r elia ble a uthor s
It i s n ow t ha t w e see t h e n ut m in ut ely d eli n ea
.

t ed for t h e
fi r st tim e th oug h it m ust n ot b e supposed t h a
, t it w a s a r ec en t
i n t r oduc t ion I t i s diffic ul t t o sa
.
y w her e t h e n ut w a s fi r st in tr o
duced . M Fet is i s of opin ion t ha t it ow es i t s or igin t o t h e ea st,
a
.

n d c ites a s eviden c e i n h i s A n t oi n e St r a di va (
2
r i si de n ot e p .
,
 TH E B O W.
93

F r o 60 —B ow s oft h e Sev en t een t h Cen t ur y A a

B , C , n d D, fr om M Mer sen n us,
d Ha r m on i e U n i v er sa
. . .
, .

l l e ” 1 627
’
E , F , fr om C Si m pson , Th e
a a
, . .

Di vi si on V i ol , ”
1667
. G, H , fr om M . Pr et or i us, Th e t r um I n st r um en
t or um , ” 1620 .

a n A ra bia n MS of t h e tim e of t h e fi r st Ca
. liph s which
depic ts ab ow with afix ed n ut H e q uotes a
,
l so ah ow .

of h i s ow n m a de of ch er r y w ood a t Ba gda d with a

-

pr op er ly c on str uc ted hea

, ,
da n d n ut t o r ec eive t h e h a ir
t h e n ut fittin g in t o an ot c h i n t h e stic k
,
.

Th e n ut w e see i n Fig 60 i s i n a ll c a ses fi x ed

. B
r ep r esen ts p er ha p s t h e m ost or n ate b ow of t h e cen tur y
a
nd E a s c om in g fr om a
,
n d F a r e m ost i n ter estin g a n in str u cti on
94 . V I O LIN -
MA KING : A S IT WA s A ND I S . .

b ook for t h e viol daga m ba , E , whi c h sh ow s t h e holdin g

1

of t h e b ow , i s of t h e a c t ua l siz e of t h e pic tur e fr om whic h it

i s r ed uc ed G br in g s us a
. ppa r en tly v er y n ea r t h e m od er n
b ow , b ut i s t oo sm a ll t o b e ver y useful a s ar ep r esen ta ti on .

H i n tr oduces us a ga in t o t h e c on tr a ba ss b ow , a n d sh ow s a
'

We wer e r ight t o a c cept a s r elia b le Ra phael s r ep r esen ta

’
tion ,
A , Fi g 5 9 .

t, it b ein g foun d n ec essa

.

It w a s i n t his cen tur y a l so tha ry t o

m oder a t e t h e t ightn ess of t h e h a ir , t h e cr ém az ll ér e w a s a

,

dded t o
‘

t h e ex i stin g for m of t h e h ow Thi s i s shown by Fi g 61 , a . n d .

F I G 61 . .
—B ow of t h e E i g h t een th Cen t ur y , w i t h Cr em a
i ll er e t o t i g h t en th e h a
ir .

w s a
a st r ip t h d m et a l a
of n o c e s a t A fi x e d t o t h e ba c k of t h e ,

stic k To t h e m ova bl e n ut w a s a dded aba n d of m et a l whic h

c ould b e hi t c h ed over a n y of t h ese n ot c hes a
.

n d t h e t en si on of ,

t h e b ow th er eby r eg ul a t ed a t w ill .

We n ow a r r ive a t t h e eigh t een th cen tur y i n whic h t o t h e ,

-

vi olin s of St r a diva r i wer e a dded t h e b ows of Tour te It i s t o .

t h i s lat t er w h o lived a t t h e c om m en cem en t oft h e eight een t h c en

tur y, wh en for t h e fi r st t im e Cor elli a n d V iv a
,
ldi w er e sh ow m g
,

t t h e vi oli n w a pa bl e tha
,

of wha s ca t t h e i n ven t ion of t h e n ut

,

w or k ed by ap r op ellin g a n d withd r a w i n g sc r ew i s gen er a lly

a ttr ibuted h i s b ow s w er e agr ea t im pr ovem en t on pr e ex i st in g -

for m s b ein g b ett er p r opor t i on ed a n d m a d e of lighter w ood n ot , ,

t o m en t i on t h e el ega n t m a n n er i n whi c h h e w a s i n t h e ha
,
bit of
fi ut i n g h i s b ows, t h r oughout h a l f or t h e w h ol e, of their l en gth ,
.

Th e h ea d wa s g en er a lly l on g poin t ed a n d t ur n ed b a
, c k whi c h , ,

ga ve t h e b ow a ver y gr a ceful a ppea ra n ce a s in Fi g 62 ,

. .

F i e 62. .
—B ow b y Tourt e a
i e(
n w it h sc r ew ad m o a
n bl v e n ut ) .

Th e n ut an d h ead of t h e sc r ew w er e en er a l ly of i vor y Mr . .

A r t hur Hill h as p er hap s t h e b est c o lec tion of ol d b ows i n

E n gla n d, f or t h e b ow s of t h e old vi ol s a r e m uc h m or e sc a r ce,

un for t un a tely, t ha n t h e vi ol s t h em selves

t her a s a
.

Tour t e s eldest son w a

’
s m uc h in f er ior t o h i s f a
w or k m a n ; it i s h i s youn ger son , Fr a n c i s Tour t e, wh ose n a me
c on n ec t ed With a b ow i s li ke t h e n a m e of St r a diva r i c on n ect ed

w it h a violin M F et i s i n h i s cha pter on b ow s, a t t h e en d of

m ost in ter est i n g a n d va a
.

s g iven a
.

h i s A n t oi n e St r a ri, h a
di v a lu b le
Ch r i st oph er Si m pson , “
Th e Di v i si on Vi ol (Lon don ,
96 V I O LIN -
MA KING : A s IT WA S A ND IS .

a
sked for b ow s h e sol d ab ow , t h e n ut of which w a
hi s s m a de
of tor t oi se sh ell, t h e hea d in l a id with m other of p ea rl a
,

- n d th e - -
,

m oun tin g of t h e n ut a n d b utt on of gold fer n ea r ly £ 1 2 ,

Hi s .

b est b ow s m oun t ed i n silver w ith a n eb on y n u t wer e sold a t

a b out £3 a n d t h e or di n a r y un or n a m en ted b ow s fetched
a b out thir ty shillin gs .

Tour t e fi n a lly fixed t h e l en gth oft h e violin b ow betw een 29 1 34

a n d 2 9 5 2 8 i n c hes, a n d fi x ed a l so t h e r equisite h eight fr om t h e
st ic k of t h e h ea da n d n ut c oun t er a c tin g t h e w eigh t of t h e h ea
,
d
by t h e or n a m en t a tion s i n silver , gold, et c with whic h t h e n ut
n s of hea
.
,

of ab ow i s l oa
'

ded Tour t e b en t h i s b ow s by m ea t
t o t h e r equi r ed sh a t a ll b ow s a
.

pe a n d i t i s thus t ha
,
r e sh a p ed ,
n ot c ut out of apl a n k t h e shae whi c h w e see t h em as m a ny
p ,

violin pla yer s suppose for t h e l a tter w ould c ut t h e fib r es of t h e

w ood a d of p r eser vin g t hem in ta
,

cr oss in st ea c t t h r ough out t h e

l en gt h oft h e st ick a s i s essen tia

,
l t o agood b ow I t i s m ost .

n ecessa r y t ha t t h e st ic k should b e hea ted r ight thr ough t h e

in n er fib r es befor e b ein g ben t , ot h er wise these in n er fi b r es b ein g ,

un h ea ted w ould i n tim e c a

, use t h e out er a n d hea ted fib r es t o
r esu m e th eir n or m a l position It i s in a tt en tion t o this p oi n t
t ca
.

th a uses t h e r a pid deter i or a tion a n d str a ight en in g out of

a ppa r en tly c hea p b ows
Tour t e pa
.

id a s m uc h a t ten ti on t o t h e ha ir in g of h i s b ows a s

t o t heir st ick s On t hi s p oin t Fet i s sa y s He pr efer r ed t h e

ha n ce b eca
,
.

ir of Fr a use i t i s la r ger a n d str on g er tha n tha t of

Th e pr epa ra
”
ot her c oun t r i es . t ion t o whi c h h e subj ec ted i t
c on si st ed i n sc our in g it w it h soa p h e th en put it in t o b r a n

w a ter a n d la st ly a fter r em ovin g t h e heter ogen eous p a r t i c l es

, ,
w hic h h a da dher ed t o i t h e plun ged i t in t o pur e wa ,
ter light ly ,

c ol our ed wi th blue H i s da
. ught er w a s a lm ost c on sta n t ly em

pl oyed i n sor t in g t h e ha i r s r ej ec t in g such of t hem a ,

s w er e n ot

er fec t ly cylin d r ic a l a n d equa l t hr ough out thei r l en gth This

p
n d n ecessa
.

i s a m ost deli ca te a r y o er a t ion for n ot m or e t h a n on e

p
t en th of agiven n um b er of h a r e fi t for use, t h e gr ea
,

ir s a te r
por t i on ha vin g on e side fl a t a n d
pr esen t in g n um er ous i n equa li
r is t h e h a
,

t ies A t t h e per iod w h en V i ot ti a

. r r iv ed i n Pa ir s of ,
t h e b ow n ea r ly a lwa ys cluster ed toget her i n ar oun d m a ss whic h
lit y of t h e t on e A ft er m a ki n g h i s ob ser va
,

im pa ir ed t h e qua . t i on s
on t hi s poin t Tour t e c on c eived t h e p ossibility of c om pell in g
ra
,
t h e ha i r s t o pr eser ve t h e a ppea n ce of a r ibb on by pin c hi n g t i em
a t t h e n ut w it h a fer r ule (c Fi g w hi c h h e m a de fir st oft i n ,
n da
.
,
a ft er w a r d s of silver He sub sequen tly i n ven ted t h e slid e,
.
”

t e t h e lit t l e pla
. .
, t e of m ot h er of p ea r l w hi c h c ov er s t h e h a
- -
i r on
t h e fa ce of t h e n ut H e did n ot use quite a
. s ma ny ha ir s a s
a r e n ow gen er a lly put in to ab ow t h e n um ber n ow b ei n g, a , s a .
 TH E B OW . 97

r u e,
l b etween a
1 5 0 n d 200 A t t h e en d of Féti s A n t oi n e
.
’

St r adi va r i i s gi ven am ost c ar ef ully a n d sci en tific a

lly
w or ked ou t d eter m in a
-
ti on of t h e tr ue w or kin g pr o
por ti on s of t h e Tour te b ow , a n d h ow they m a y be
obt a
in ed .

Fi g . p ts th e
63 r e r esen m od er n for m of b ow ,

a s fin a
,
lly d eter m in ed by Tour te, j un , i n i t s en
.

t i r ety Figs 64
,

a
nd 65 r epr e
sen t t h e hea d
a n d n u t, a ctu a l
si z e, a n d Fi g .

66 on e of t h e
w e d e b ox es
g
-

en l a r ged Fi g . .

64 r ep r esen t s

t h e n ut a n d

sc rewa s set on

t h e sti c k of t h e
b ow In t h e
n ut i s asm a
.

ll
b ox (r r esen t
ed by ig qp .

i n to whi ch t h e
k n ot M of t h e
ha ir (Fi 67 )
is fix e by g
m ea n s of t h e
w edge N Th e .

ha i r L bein g
br ought out
a nd a l on g t h e
fr on t of t h e n ut
E (Fi g
t h e or n a
.

m en ta l
pla te H I J i s
slid over it
l on g a
a m or t i sed
gr oove Th o E tit —Nut ad Screw of Moder B o
. h o i g
n n w s w n

ba
re
g th h a
,

n d K 1 8 then
.
o

m th od offi e
'
e x in ll

r essed i n to i t s pla ce a n d fix ed by t h e p r essur e of t h e

p
thi n w ed e 0 , whic h bein g pr essed i n between t h e
t on gue 0 t h e n ut E a n d t h e hai r L k ee s t h e l a tter -

Th e en ti r e n ut E sl i es a
,

fla t fi rm a nd f ast l on g t h e
a
.
, ,

sti ck A by t h e a c ti on of t h e scr ew B c ; t h e sur f ce

98 V IOLIN -
MA KING : A S IT W A s A ND I S .

whi ch lies a ga in st t h e stic k i s cut a n g ular ly (a s i n G, Fi g .

t h e c ut t i n G b ein g oft en lin ed with athin ben t pla te of

m eta l T e ha ir L l ea vin g t h e n ut E pa sses i n ar ibb on
b out ha d t o t h e hea d, wher e it i s i n alike
.

a lf a n in c h b r oa
ma n n er fixed i n to asim il a r w edg e b ox (Fi Th e fa
n s 0 ga
ce -
.

oft h e h ea d i s gen er a lly p r ot ected by m ea m eta l or ivor y

pl a Th e len gth oft h e b ow i s gen er a lly a s n ea r a

(
te P, Fi g . s

possi b e 295 in c h es (fr om t h e b utton t o t h e tip of P , Fi g

—
.

t h e dia m et er of t h e st i ck i s a t t h e scr ew (B , Fi g in ch, a nd

a t t h e ba d fig Th e dia m eter of t 6 hea da

,

ck oft h e hea cr oss t h e

n d t h e len gth of t h e h ea
.

pla te (P , Fi g 65) i s 1 73 , a d fr om t o t o
Th e ha ir with whic h t h e b ows a
.

r e t ted
1
b ottom of P i s on e in ch
s som e p eopl e im a gin e, ya
.

(which i s h or se, a n d n ot , a k) i s sold

F I G 66 W ed — e b ox i n h e d . aa
nd n ut
a
-
. .

of m oder n ow (en l r g ed) .

Fm 13
5 —a
He d of Moder n
. .

B ow , sh ow i n g m eth od of F I G 67 —Kn ot a
t en ds
a a
. .

n un g th e h i r
’

. ofh ir .

by t h e p oun d a nd a s I n oti ce d b ef
, or e i n di scussm g Tour te s
’

h ow , it m ust b e ver y ca ll y c hosen a

, ,
r efu n d c lean ed It i s a lso
c ust om a r y t o lap or c over t h e stic ks of b ows for aspa ce of a
.

few in ches a b ove t h e n ut with gold or silver thr ea d or lea th er

Thi s i s d oubtl ess agr ea
.

t con ven ien ce i n h oldin g t h e h ow ; it

w as for t h e sa m e pur p ose tha t t h e elder Tour t e a n d som e of t h e
old b ow m a
,
ker s used t o fl ut e t heir stick over h a
, l f or th r ough out
their l en gth oft en i n am ost ex qui site m a
, n n er .

1
M W S B Woolh ou g a om i t el y i t i fi
r. Not s o t h
se ve s e n en s sc en c
“
e n e
a
Sui t b l e Pr opor t i on s a
.

n s of a Vi oli n B ow
. .

n d Di m en si o t o t h e Mon t My
Musi ca l R ec or d for Jul y 1 875, w h i c h a r e m ost i n t er est i n
g , b ut I fe r h r dl y aa
j
a
i n t el li gi b l e t o t h e m or i t y of b ow m aer s k
H e fol l ow s h i s r em r s t h e n ex t ak
a
-

a
.

m on t h (A u g ust 1 8 7 5 ) w i t h “
Suppl em en t r y Not e on t h e B ow s of J m es a
Tub b s (si de p .
1 00 V IO LI N -
MA KING : A s IT WA S A ND IS .

th e wedge b ox a -
s a t Fi g 64, ex a c t ly a
. s
y o u fix ed t h e oth er

en d in to t h e h ea d .

Now r epla c e t h e n ut E on t h e st i c k by m ea n s of t h e scr ew B

, ,

a n d if
you ha ve n ic ely j udged t h e l en gt h of t h e h a i r b efor e
m a k in g t h e t i e M, t h e h a i r w ill b e q uite sla c k wh en D i s a s f a r

i or w a r d i n t h e g r oov e a s possibl e a n d
per c on t r am uc h t oo ta
,
ut
wh en i t i s d r a w n a s n ea r a s possible t o B t h e p r op er t en sion
,

of t h e h a i r b ein g w h en D i s i n t h e c en t r e of t h e gr oov e a s in
Fi g 64. . H ow ever , i f t h e b ow c a n be m a de sl a ck a n d tighten ed ,

up by m ea n s of B , y our w or k h a s b een w ell d on e Now fin a lly

.

c om b t h e ha i r fr om hea d t o n ut r epl a ce t h e slide H I J a

,
n d ,

pu l l d ow n t h e b a n d K
(w hic h h a s b een th r ea ded l oosely on t h e
ha ir befor e pla c i n g i t i n t h e w edge b ox i n t h e n ut ) a
-
n d sli
p ,

it over J in to i t s pla ce Now sc r ewin g t h e b ow p r et ty tight

.
,

ta k e t h e sm ooth b a ck of t h e c om b , a n d ru b t h e sur fa ce of t h e

r ibb on of h a ir h a rd f r om t h e hea d t o n ut a n d ba ck a few t im es .

Th en c ut a little fl a t w edge 0 or i f n ec essa ,

r y t w o t o sli
p in a n d
, ,
fill up t h e spa c e b et w een t h e eb on y of t h e n ut in side K, a n d th e ,

un d er sid e of t h e ha i r which w il l k eep t h e r ibb on of ha

,
ir t ight
a n d fla t a ga in st J a n d th e fl a
,
t sid e of K, a n d t h e op er a t ion of
ha ir in g t h e b ow i s c om pl et e When t h e ha . i r i s quit e dr y t a ke
som e ver y fi n el y pow d er ed r osin , a n d spr in klin g it on a sh eet
of p a p er r ub t h e ha ir on it so a s t o g et w ell d ust ed a n d c over ed

s it w er e gives it ast a r t, a
,

with r osin ; this a , ,

fter w hi ch it i s
ea sy t o k eep t h e b ow r osin ed .

AsI ha v e sa id i n t h e cha pt er on fitti n gs a n d a pplia (

n c es vi de

i t is a s w ell n ot t o m a k e c ha n ges i n t h e k in d of r osi n

post p ,
.

on e uses ex cept wh en t h e b ow i s r eh a
,
i r ed fr om whi ch tim e on e ,
k in d m ust b e k ept t o, t ill t h e n ex t r e h a i r in g a n d so on
-
It i s a
,
.

gr ea t m ist a k e t o use t oo m uch r osin , a s y oun g b egin n er s a r e of t en

a pt t o do ; i t i s on ly pr oduc t ive of aloud c oa r se t on e an d I

p r efer per son a

,
lly t o er r on t h e side of t oo little r osin r a
, t her ,
t ha n t o b ur d en m y b ow a n d ra sp m
y fiddle wit h t oo m uch It .

is a st on i shin g h ow few violin ist s k n ow a n ythin g a b out t h e

m ec h a n i ca la n d sc ien tific a c t i on of
powder ed r osin on t on e pr o
duc t ion Ma . ny
people w hen t h ey see you a pplyin g r osin , thin k
y o u a re g r ea sin g your b ow t o m a k e i t g o fa ster
”
a n d m or e ,

st ill , i n cl udin g per for m er s t hem selves, t hi n k t h a t r osi n r en der s

t h e surfa ce of t h e ha ir sm oot her in stea d of, a , s it r ea lly does,
ma k in g i t r ough Th ey kn ow t ha t i f n o r osin i s used t h e b ow
a
.
,
w ill m a k e n o soun d b ut v oi l t out : Th e tr ue fun c ti on of r osin
,

is a s f oll ow s : It w ill h a ve been n oti ced t h a t whil st astr in g i s

vibr a tin g t h e l ea , st t en ch of t h e fi n ger will m a k e i t i n sta n tly
“

c ea se why t her efor e does n ot t h e c on t in uous pr essur e oft h e b ow

i n st t h e pr oduct ion of soun d ? A n sw er b eca
,

te a
,
m ilit a ga use i t
 TH E B ow . 1 01

i s n ot c on tin uous owin g

,
t o th e p r esen ce oft h e r osin I ft h e b ow
so l on g a
.

w er e qui t e fr ee f r om r osin , s i t t ouc h ed t h e st r in g or

a c r oss i t , t h e c on t a
,
w er e dr a w n c t would b e p er f ec t a n d c on
t i n uous a ,
n d a sa n a tur a l r esult t h e ex i sten ce of vib r a tion s w ould
b e r en der ed i m p ossible . When h owev er t h e sm ooth sur fa
, ce of
t h e h or seha
,

i r i s r oughen ed by in fin i t esim a l pa r ti c l es of r osi n

,
th e
b ow d oes n ot t ouc h t h e str in g w ith ac on t i n uous pr essur e, b ut
ow i n g t o t h e pr esen ce of t h e r osi n , t h e str i n g r ecei ves ac on st a n t ,
t hough i n fi n i t esi m a lly i n t er m i t t en t suc cession of shoc k s w hic h
of vib r a
,
r en der s t h e suc cessi on t i on s so r a pid a s to a p pea r c on

t i n uous I t w ould t a
. k e t oo l on g t o disc uss t h e sc i en t i fi c pr in ciples
i n volv ed by t his sim pl e ph en om en on b ut t h e a b ove exposit ion
,

w ill show t ha t t h e b ow a n d ha ir a r e b oth sec on da r y i n i m p or t

a n c e, t h e t r ue m a gi ca l pow er of them b oth lyin g i n t h e ob scur e

a n d un n oticed r osi n . Wher ever b ow in st r um en ts a r e used
,
r osin i s a n i n va r ia bl e a dj un c t On p r im it ive b ow in st r um en ts,
.

suc h a s t h e ur heen of t h e C hin ese a n d th e r a va,

na st r on of t h e

a b or igin a l H in du t h e r osin i s a
,
lw a ys foun d i n alit t le dir t y
l um p st uck on t h e t op of t h e cylin der bea r i n g t h e sk i n whic h ,

r d of t h ose ha
,

ser v es a s t h e soun d boa -

r m on ious i n st r um en t s .

In t h e ur h een espec i a l ly w hi c h h a
,
s b ut t w o st r i n g s a n d w h ose ,

b ow i s w or k e d b et w een them , t h e c on ven i en ce of t his pr i m i t ive

a rra n gem en t i s obvi ous f or w it h a
,
c ouple of r ub s t h e per for m er

Ca n r osin h i s b ow d ur in g a ha l fba r s r est i n -

h i s per for m a
’
n ce .

Pa ga n i n i i s sa id t o ha ve pl a yed ex quisitely on h i s violin with a

r ush , w ith a view t o a n n ihila t in g a sel f c on fiden t It a li a
-
n a ma t eur ,

w h o m a tched him sel f a ga in st t h e Im m or t a l Tr i ck ster ”

If .

o u g a t h er a c om m on r ush you w ill fi n d t ha t i t s sur fa ce i s quit e

y ,

r ough en ough t o h a ve t h e m ech a n ica l effect of pow der ed r osin ,

w hi c h a c c oun t s for t h e possibili t y of t h e a b ove per for m a n ce .

Like t h e vi olin , t h e b ow h a s b een subj ec t ed t o m a n ifold i m

r ov em en t s, a n d h a s su r vived th em a l l in it s a b sol ute sim pli city
p ,

a s d eter m i n ed by Tour te A m on gst t h e m ost st r ikin g of t hese

.

i s t h e foldin g b ow , m a de t o g o wit h t h e foldin g violin , m en tion ed

i n Cha p t er V I t c om es i n ha lf w i t h aj oin t a n d a fer r ul e lik e a ,

n d, c ur i ously en ough, d oes n ot seem t ob e a

.

fi sh i n g r od, a
- s ser iously

a ffec ted by thi s ecc en t r i c i t of con st r uct ion a s it m ight b e ex,

e c t ed t o b e T h e la t e B V ui l la um e in tr oduced st eel b ows,

p .

ve n ever c om e a
.

b ut I ha c r oss a n
y Sp ec i m en of so p on d er ous

a n ecc en tr i c ity, ot h er tha n t h e on e i n t h e South K en si n gton

Museum On e i n t r oduct i on h ow ev er , of h i s w hich h a s sur vived ,

a
.

ir in g b ow , whi ch i s still m a
.
,

i s h i s sel f ha - n uf ctu r ed by Mr Geor g e .

W ith e r s a n d i s r ep r o d u c e d by h i s p er m i s si o n i n F i g 68 T h e . .

h ea
,
d it w ill b e seen h a s n o fa c e pl a t e (P , Fi g - an d though

n n er , t h e n ut i s a pla
.

n d sc r ew w or k i n t h e usua l ma
,

t h e n ut a
,

in
1 02 V IOli I N -
MA KING : A s IT WA S AN D i s

it h a e ha
pi ece of ebon y s n o w ed ea
g b b x , slid e, T h i r for

t hese b ow s i s sold i n t h e r ight len gth s, b ein g ter m in a t ed a t ea ch

en d by sm a ll cylin dr ica l piec es, whic h slip in to t w o holes c ut i n

t h e h ea d a n d n u t (a s i n t h e ill ustr a
,
tion ) t o r ec ei v e t hem It will .

b e ob ser v ed tha t though a l i n outwa rd a

,

b solut ely iden tic a sp ec t

w ith t h e or di n a r y for m s n ot a pa r ti c l e of glue i s em pl oy ed a

,
t a n
y
p oin t of t h e b ow a n d th ose w h o h a
,
ve ever t a ken afiddle a n d b ow

thr ough t h e Ca n al t o In diaw ill fully a pp r ec i a te t h e b oon thus

c on fer r ed up on th em I n M V uill a
. um e s or igin a . l for m t h e ha ir ’

w a s fit t ed i n a p r ec isely sim ila r m a n n er b ut t h e n ut w a s gl ued f a st

,

a n d i m m ova bly t o t h e stick t h e ha ir w a s fi t ted t o a sm a ll er b r a z en

n ut whi c h by m ea
,
n s of t h e sc r ew w or k ed b a ck w a r ds a n d for

wa r d s i n si de t h e l a r ger eb on y on e Th e a dv a n ta ge c l a im ed w a
. s

tha t t h e di st a n c e b et w een t h e n ut a n d h ea d (a n d c on sequen t l v

t h e len g th of t h e ha ir ) n ever va r i ed .

Mr B ish op i n h i s m ost va
. lua bl e a pp en dix t o h i s t r a n sl a ti on of
“
Ott o on t h e V i olin (vi de n ot e p 20) (w hic h, wit h h i s n ot es on
1

lue of t h e w or k) a
,
.

t h e t ex t c on sti t ut e t h e g r ea
, t a n d sol e v a sser t s
tha t t h e va r iation s of t h e m ova ble n ut a r e ca l c ula te d t o a ffec t t h e
t on e oft h e p er for m er Mr B ishop of c our se, sp ea
. . ks a t ca t h edr
,
a

F r o 68 . .
—Sel fh a
ir i n g
-
B ow .

b ut , p er son a
lly I do n ot c on sider t h e in fin itesi m a
, l adva n ce a n d
r etr ea t of t h e n ut , t o sui t va r i ous styl es of pla yin g, t o b e i n
a n
y w a y d et r i m en t al t o ex ec ut ion or j ust i n ton a
'

ti on on t h e
in str um en t .

Red h or seh a ir h a s b een r ec om m en ded i n p r ef er en c e t o white

a
,
s
“
bitin g b et ter , c on sequen t ly on t h e a c ti on of t h e d e
y b ut
th i s i s afa lla cy , a s i t s on ly ef fec t i s t o p r od uce ac oa r sen ess of
t on e Dr J Nic h ol son , w h o in ven t ed ahuge c um b r ous for m
. . .

of fiddle, so hea vy i n wood a n d c on str uc t i on t ha t i t c ould b e

used for c or kin g b ot tles m uc h b et t er th a n for di sc our sin g
”
d ul c et m el odye, in tr oduc ed for t h e p ur p ose ofevok in g i t s thr ee
hor se— pow er ton e, ahuge b ow wh ose st ick w a s ha lf a n i n ch
t hick a
,

t t h e n ut , a n d b om b e i n t h e c en t r e, w hi c h w a s fitt ed w i t h
'

r ed h a ir , an d m a de of som e light w ood , w hic h m a k es them w on

der full y light i n r opor t i on t o t hei r si z e These fi ddles a n d b ow s .

spec i m en s of w i ch m a b e seen i n M Geor ges Ch a

( n ot s Sh op
’

y
i n Wa a
.

r d our St r eet
) r e c ur i ositi es i n t h ei r w a b ut d ea dly i n
y
Th e c elebr a ted b ow m a
,
oth er r espec ts ‘ . ker s a r e n ot m a n y in -

l
A pl et e descr i pt i on of t h em , w i t h ful l si z e di g r a
c om ms, w s pr in t ed for t h e a a
i n v en t or un der t h e ti t l e of Desi g n s a n d Pl a n s for t h e C on st r u ct i on nd a
A rr a n g em en t of t h e New Model Vi oli n (Lon don , la r g e fol i o .
 C HA P TE R V

TH E VI O LI N, IT S VA GA RIE S A ND I TS V A RI E GA TORS .

P er fect i on of t h e E x i st i n g F orm —E r t h en w a a
r e, Met l , Le t h er , P pi er M ch é a a a a
a P e r sh a — a a
.

n d E ccen t r i c V i ol i n s — Tr um pet Vi oli n — ped Vi ol i n H ul sk m

’

ps
-

P ol ych or d V i ol i n s —Isoa r d s —Du a

. .

b oi s — V ui l l um e — H oen sel
’
Vi ol i n
Si n c l i r — Wyl de s N g el g ei ge, or N i l Vi oli n
a a a
. .

Ha
. . . .

w k in s
’
B ox w ood -

a
. . .

H ow ell J cque s — B el l Rob er t son C oll i n s H ow el l

’
V i oli n
— a a — a aa
.

G l b user a F Ch n ot
.

Moll en h a Gui t a
. . . . .

uer r sh — — ’
S v rt s
ped F i ddl es
-

a
.

Tr a — P t en t Repa
. . . .

p e z oi d V i ol i n ir s .

I H A V E oft en b een a sk ed by p er son s un a c qua i n ted with t h e

c on st r uc ti on or full pow er s of t h e vi oli n , H ow i s i t on e n ever
hea r s of i m pr ov em en ts t o t h e vi oli n ?P i a n os, a n d in deed a ll
oth er m usi c a l in st r um en ts, a dva n c e i n p er f ect i on with t h e m a r ch

of p r og r ess, b ut t h e fiddle seem s t o sta

”
n d st ill Thi s i s per fect ly .

t r ue ; a t l ea st i t i s n ec essa
, r y t o sea r c h t h e m ost ob sc ur e sou r ces
”—
for n ot ic es of i m pr ovem en t s t ot h e violin i m pr ovem en ts on ly
“
,

in n a me a n d on a dver ti sem en t s, w hi ch live th eir sh or t ex isten ces ,

kn ow n on ly t o t h e few w h o a r e b r ought in t o c on t a c t with t h e

in ven t or a n d o out w i t h out l ea vin g at r a c e b ehi n d Th e r ea son

g .

for t hi s i s n ot fa Th e violin , c a lled a

,

r t o seek . s it j ustly i s th e
ki n g of in st r um en t s, i s per ha ps t h e on ly hum a n c on t r iv a
”
n c e,

which , t a k en a s awhol e, m a b e d b —
y p r on ou n ce t o e
perfect .

If you w ill t ur n t o p a ge 1 25 you w ill fi n d t h e foll owin g pa ra

gra ph : Let us l ook a t t h e t out en sem b le of afiddle Wh a t is

?
-
.

It i s ah oll ow b ox , fr om 1 3 t o 1 4 in c hes i n len gth a

.

it ‘
t th e
w idest p ar t, 8 2 i n c hes a
1
n d a
-

t th e n a, r r owest 4 5 in c hes, b r oa d .

It i s a b out 2% in ches deep a t t h e deepest pa r t, a n d w eighs a b out

8% oun ces B eyon d t hi s w e ha
. ve an eck t er m in a tin g i n ascr oll,
whic h, wit h pe s, fi n ger b oa rd a
,
n d ta il piece ofeb on y, b r in g t h e
- -

weight up t o aout t w en ty oun c es Th e w on d r ous ca pa bil ities

ul eq uilib r ium of a
.

a n d w on d er f ll t h e p a r t s m a b e sum m ed u
y p
i n on e sh or t sen t en ce— i t suppor t s at en sion on t h e str in s of
68 b s , a
l nd a ver t ica l pr essur e on t h e b r idge of 26 p oun ds g
Thi s ex qui sit e m a chi n e, st a n di n g a
.

pa rt i n i t s m yster ious
sim pli c ity fr om t h e v u lga r her d of in st r u m en t s of m el ody a n d
ha r m on y i s ca
, pa ble of ex pr essin g m or e by i t s un a ided v oic e
t ha n a l l t h e r est put toget her ; a n d w hen t hi s h a s b een sa id ,
 TH E V I O LIN
,
IT S VA GA RIE S A ND I Ts V A RI E GA TORS . 1 05

a otper fec tly j ustified i n a sc r ibin g t o it t h e a ttr ibute of

?
re w e n

p er fec t ion a n d i s it ex tr a or din a r y th a ta ny a ttem pted im pr ove

m en t on ly pr ov es t o b e a deter i or a tion , a n d t ha t t o thi s da y we
sa y t o t h e fiddle i n t h e w or d s of Ca r din a l Wol sey
I ch a r g e t h ee fli g aa a m b it i o
n g ls ?
nn w
y
By t h a t si fel l t h e a
, ,
”
n e

In t h e yea r 1 804 E r n st t h e c eleb r a

, ,
ted violin ist a n d Con cer t
di r ec tor t o t h e P r in ce of Sa x e Cob u r g Gothaw h o w a
- -
s a lso a
ra a a a a
,

p c t i c l fi d dl e m k er -
1
n d e x p e r i m en t li st w r o t e a s f l l
o o s w,
2

A fter t h e n um er ous a n d r e ea
p t ed essa y s w hic h I ha ve m a de
i n t h e c on str uct i on of t h e vi olin for m or e tha n twen t y yea r s, I

ha ve c om e t o t h e c on clusion t ha t i t s for m a n d m a n uf a ct u re a s
t hey ha ve c om e d own t o us fr om t h e best It a lia n ma st er s, a re
n ot susc eptible of a p r ovem en t , esp ec ia lly a s r ega
n
y im r ds t h e

It h a s ver y j ustly b een r em a

”
b ody of t h e in str um en t . r k ed ,
P lum fa ci an t h om i n es e c on suet udi n e qua m e ra t i on e a n d a s
t hough t o c on t r a a
,
dic t thi s m a afeelin g of in de
“

x im n d f r om ,

pen den ce, m a n y da r in g in n ova t ion s ha ve been m a de (or r a t h er

a t tem pted) m a n y oft h em t h e r esults of c a r ef ully a pplied scien c e
-

,
a
,

n d of t h e l a b our s of in t elligen t a n d l ea r n ed m en a s suc h, th ey

b ec om e m ost in ter est in g t o t h e v iolin m a ker a n d a s suc h it i s

-

, ,

t h e i n ten t ion of t h e p r esen t c ha pter t o c on sider th em Cr i m i n e .

ab un o di sce om n es Fir st c om es t h e list of i n st r um en t s w hich

.

ha ve b een m a de of va r i ou s a n d wildly un su ita ble m a t er ia l s,

b egin n i n g
Ea r t h en w ar e Vi ol i n s — Ther e i s a sp ec i m en of t hi s va ga ry in

t h e Musée des A n ti ques a t Rouen a n d a n oth er i n Del f t fa

''

i en ce
,
t Pa r i s w hi c h h a
,

i n t h e Musée of t h e Con ser va toir e a s b een ,

pla yed on (wi t h ar esult ea sily a n ti c ipa ted) by Mon s G Ch oquet , . .

t h e com pil er of t h e ca tal ogue of t h e m useum w h o d escr ibes i t

'

a s n ei t h er f ow er f
p ul n or plea sa n t
” 3
.

Met a l Vi oli n s — C opp er , b r a ss a n d silver h a ve a l l b een used

sily b e i m a
,

for m a kin g fi ddl es, t h e t on es of w hich m a y ea gin ed .

A n oti c e of these m a y b e foun d i n t h e A l lg em ei n e Musi lca li seh e

Z ei t un g v ol vii , 1 804, p a
, . . ge 50 Th e silver violin which h a . s

been on v iew i n Mr Da vi s s win d ow i n Gr een St r eet Leicester

’
,

ng m a ca
.

Squa r e l on ger tha n a n

y livi n n r em em b er , i s d oubtl ess

n y of m y r ea
,

afa m ilia r obj ec t t o m a der s .

a a
H e w s t h e m st er i n fi ddl e m i n g of J A O ta
kt o t o w h ose
“
Tr e t i se on a
a a a
-
, . .

”
t h e Con st r uc t i on of t h eVi ol i n r efer en ce h s b een m d e i n t h ese p g es .

2
a
A l l g em ei n e Musi k l i eck e Zei t w n g , v ol v i i , 1804, p 4 9 ’
'
. .

a a a
.

a
.

3
M n y of m y r e der s pr ob b l y n ow k
Ch m pfi eury s (pseudon ym of
Jul es Fl eur y t h e n ov eli st ) deli g h t ful st or y, Le Vi ol on d e ex u i si t el y q
“
g ot u p i n edi t i on de l ux e b y M Den t u (
” P r i s, a
w h i ch r el t es t h e a
a a
.

dv en t ur es of on e of t h ese ch i n . fi ddl es .
10 6 VI O LIN -
MA KING : A s IT WA s A ND I s .

L ea t h er Vi oli n s — Ther e i s on e suc h t o b e seen i n t h e m useum

of t h e C on ser va t oir e de Musi ue, i n P a q r i s, of t h e d te of 177 6 a
a n d i n t h e Gen t lem a n s Ma
’

ga z i n e, v ol l x x x iii , f or t h e ye r 1 8 1 3,
. a
vin Wil son , abootm a
.

a t pa ge 312, w e fi n d m en tion of on e Ga k er
of E din bur gh , w h o, h a vi n g in ven ted ap r ocess for ha r d en i n g

l ea ther for t h e c on str uction of a r tifi c i a l lim b s, et c , m a de ther e

a
.

fr om aGer m a n fl ut e a n d a v i ol i n w hi c h a r e d esc r ib ed s
,
in fer ior t o a n
y c' on str uc ted of wood
”
.

Pa i e r m deb e Vi oli n — M Geor ges Ch a n ot p ossesses on e of

p
-
.

these a m on g t h e c ur iosities whic h c h a a

r cter i z e h i s sh op It i s .

n d gh a stly a s a
pa in t ed gr een a n d g old , a n d is a s hideous a n
y
ca rs a
t hi n n b e whic h b ea n
y r esem bl a n ce t o a fiddl e .

a n
y ofm y r ea der s w ill d oubtless b e fa m ilia r with t h e en ter

pr i sin g m en di c a n t w h o p er a m b ul a tes t h e c oun tr y pl a yin g on

fi ddl es m a d e of ol d m ea t t in s a n d c iga r b ox es, whi c h Show a

ver y c on sider a bl e in gen uity i n their m a n uf a c tur e, b u t whi c h i t

would h e obviously for eign t o our pur pose t o descr ibe i n these
pa ges In t h e sa
. m e ca t egor y c om e t h e fi ddl es on e sees m a de
of b r oom st i ck s, a n d t h e va r i ous f or m s of sor din i or m ute violin s,
w hose n oi se pr od uci n g c aa ced t o am in i m um
p bili t ies a r e r ed u
-

by v a r i ous r ed uc t i on s a n d c on t or t i on s of Sh a pe a n d si z e
'

Nex t i n or der c om e t h e va r i ous ec c en tr ic i t i es of sha pe, t h e

a ppl i ca t i on of va r ious c om li c a
p tion s t o t h e b ea ut iful Si m plic it y
of t h e vi oli n , a n d t h e va r i ous i n st r u m en t s whi c h ha ve fr om tim e
t o t im e b een i n t r od uced, b ea r in g ec cen tr i c a r ra n g em en t s a n d

n um b er s of st r i n gs .

Tr um p et Vi ol i n — This w a s
pa ten ted i n 1 85 4 , i n Ger m a n y,

by Fer din a n d H ell

,
a n d i n E n gl a n d by W E Newton (1 854,
.

Ja p t in g ahor n or a
.

n ua r y 25 t h No . a n d c on si st ed i n a da
t r um pet t o avi oli n , t h e m outhpi ec e open i n g in to t h e b ody of
t h e i n st r um en t a t t h e p oin t wher e t h e n ec k j oi n s it, t h e t ub e
ru n n in g d ow n t h e n eck un d er t h e fi n
g er b oa r d, a n d t h e b ell,
-

or m out h , ta k in g t h e pla c e of t h e sc r oll It i s sa

. id n ot t o ha ve
ver y m uc h da ma ged t h e t on e of t h e violin , b ut it w a s v er y
hideous, a s m a y b e supposed .

Th e P ea r sh aed Vi ol i n
p of A E n g l eder , w a s exhibit ed a t
-

.
,
Mun i ch i n t h e sa m e y ea r (1 8 5 4
) Th e c or n er s wer e a b olished,
t h e upp er b out s c on t r c t ed, a a n d t h e l ow er b outs expa n ded , t o

pr od uce t h e d esir ed r esult They wer e, it n eed h a r dly b e sa id,

afa
.

i lur e .

I n 1 8 62, a t t h e Lon d on In ter n a tion a l E xhibition , on e Hulska m p,

aGer m a n r esid en t i n New Yor k ex hibited afiddl e t h e ta
,
bl es
of whic h c oul d, by a
,
m ec h a n i sm i n side t h e i n str um en t, wor k ed

by akey, b e subm itt ed t o r egula a r ten si on t o suit th t of t h e a

st r in gs . Th e b a ck a n d b elly w er e uit e fl t , whi c h w a
q a s c on
108 V I OLI N -
MA KING : A s IT WA s A ND IS .

kun st, Weim a r 1 8 69 ) m en ti on s t h e Vi olon t en or , in ven ted b y

-

t h e eld er Dub oi s (aP a r i si a n a ma

,

teur ), t h e four st r in gs ofwhi ch

wer e tun ed a n oc t a ve bel ow those of aviolin Th e r a
’
. i son d ét r e
of thi s i n st r um en t i t i s dif fic ult t o i m a g in e
,
b ut a s a n id eait
is a b out a s or i in a l a s t h e V i ol a l i n of T i er r H ill m er I t w a s
g .

i n ten ded t o super sed e t h e vi ol a ,

or a ct a s a n in ter m edia ry

b etween i t a n d t h e viol on c ell o .

J B V uill a
. . um e in t r od uc ed , i n 1 85 5, an ew m od el for t h e
t en or , whic h w a s m uc h b r oa der a n d d eep er , a n d c on se uen t ly q
m or e dif fic ult t o pla y tha n t ha t in or din a r y use . Th ese
in st r um en t s w er e c on st r uc ted on sc ien t ific pr in c iples, so t ha t th e
ma ss of c on ta i n ed a i r should give an ote of 34 1 3 3 vib r a t i on s t o
t h e sec on d, givin g t h e n ot e F w hi c h i s t h e r ight sc ien tif ic
pr opor t i on a c c or din g t o t h e di sc over ies of Feli x Sa
,

va rt They
.

w er e t r ied a t t h e B r ussel s C on ser va toir e, a n d th ei r ton e w a s

foun d t o b e m or e li ke t h a t of a violin , a n d t w ic e a s p ow er ful a

a
s

t ha t of n or din a r y vi ol ab ut t h ey did n ot c om e i n t o un iv er sa l
,
use for t h e r ea son s given a b ove .

Vi oli n s w i t h t h e upper a n d l ow er b out s o f t h e sa m e si z e, h a ve

b een c on str uct ed by m or e t ha n on e ex
per i m en t a list In 1 8 08,
.

w e fi n d ar ec or d of such a n on e, wi t h t h e b r idg e set i n t h e

c en tr e ; a n d in 1 8 1 1 , on e Jea n A n t oi n e H o en sel , lut hi er a n d

c ha m ber m usic ia n t o M l e Duc de Sc h o

. en b ur g, c la im ed t t en tion a
for asi m ila r on e, whi c h h e a sser ted t o h a ve b een i n ven t ed by
h i m i n 1 80 1 .

In t h e yea r 1 80 0 J J H a . . w k i n s t ook ou t a pa t en t (No 244 6) .

for aviolin , w hi c h h a d n o sid es or ba c k, b ut on l y a str on g r i b

r u n n in g b en ea t h t h e b elly, on whi c h w a s set t h e sou n d p ost -

n s of a We a
,

which pr essed up on t h e b elly by m ea spr i n g . re

t old th a t t h e m er e l oudn ess of afiddle w a s li t t l e i m a

p ir ed by
t hi s r ui n ous p r oceedin g, t h ough even t hi s i s a m a t t er for
c on sid er a ble doub t ; a t a n
y ra t e, i t i s a ck n ow l edged t ha t th e
qua lit y of t on e w a s a b sol ut ely d estr oyed It i s sa. id t ha t he
c om m i t t ed t h e va n da li sm of r uin in g ava l ua bl e St r a di ua r iu s by
th e a pplic a tion ofh i s r idic ul ous c on t r iva n ce . Fi a t ex p er i m en t a m
i n corp or e v i li , b ut spa re th e m a st er piec es of C r em on a .

Mr Da. vidson r efer s t o t h e in ven t ion s ofon e Sin cla ir , aSc otch
ma k er , w h o, a t t h e c om m en cem en t of t h e c en t ur y, p r od uc ed
va r ious t r ia n g ul a r fi ddl es wit h a rr an gem en t s of sy m p a t heti c
st r i n g s f or i n cr ea sin g t h e son or ity of t h e b ow ed str i n g s by
c on son a n t vib r a t ion , a n d a l so ast r uc t ur e wi t h t w o sets of st r in gs
on e a b ove t h e ot her , a n d so f a r di st a n t a s to a ll ow either set t o
b e pla yed upon by pa ssi n g t h e b ow b et w een them OfaSi m il a r

n a tur e a
.

r e t h e p r od uc t ion s of ot her m a k er s, w h o, ha vin g t im e t o

e x p er i m en t a liz e, ha ve c on st r uct ed violin s w it h d ouble st r in g s
 TH E V IO LIN, I P S
'
VAGARI E S A ND I TS V A RI E GA TORS . 1 09

(like am a n d oli n e
) t un ed ei t her i n un ison or octa ves A few
ft e r t h e a
,

y ea rs a b ove w a
.

s b or n a n other Sc otti sh va ga r y which

w a s a
,

d oubl e vi olin ha vin g on e ba c k , b elly a

,

, n d sides b u t tw o
br idg es t a il pieces a
, ,

, n d sets of st r i n gs
-
it h a s b een
desc r ib ed a sa l oud ha
,

r sh t on ed i n str um en t of lit t le or n o va
,
-
l ue;
exc epti n g a s a
,
c ur iosi t y .

In t h e yea r 1 74 0 a Ger m a n m usic ia n n a m ed Joh a n n Wild e ,

l i vi n g i n St P eter sb ur g i n v en t ed ac ur ious i n st r um en t c a
,
.
, lled
aNa il violin (i n Ger m a
-
n Na g elg ei g e N a g elh a
, r m on i lca E i sen ,

ve b een a
,
I t s in ven t ion seem s t o ha c c iden ta
’

v i ol zn e) . l for i t i s ,
th us desc r ibed by Mr Ca r l E n gel On e even in g a ft er r etur n
“
.

i n g h om e fr om ac on c er t Wilde, i n h a
,
n gin g h i s vi olin h ow on a

n a
,

il a c c id en t a lly p r oduc ed at on e by d r a w in g t h e ha i r oft h e b ow

over t h e m eta l w her eupon b e c on c eived t h e ideaof con str uc tin g
,

am usica l in str um en t of n a il s A n d t ha t he ha s su cc eeded i n

.

p r oduc in g afi n e t on ed i f n ot apr a -
c tic a
,
lly r ec om m en da ble
i n st r um en t w ill p r oba
,
bly b e gr a n ted by a l l w h o dr a w t h e la r ge

F I G 69
. . Na
— g el g ei g e or E i sen vi ol in e (Wil de) .

bla ck ha-
i r ed b ow over t h e ir on pin s Th e b ow i s b est m a de .

w i t h blac k ha i r , for whi t e ha i r i s soft er a n d d oes n ot bite so ,

‘ ’

w ell f or suc h a n i r on fiddle It m ust a l so b e pl en t ifully sup

n li ed with r osi n t o m a
.

It w a
”
k e it bite w ell s held i n t h e l f
et .

a n d by ah ol e un d er n ea th Mr E n gel gives afi gur e of i t .

In 1 7 8 0 it w a
.

w hi c h I r epr oduc e Fi s i m pr oved by t h e

g 69 ,
. .

a ddition of sym pa t hetic st r i n gs w h en Sen a ] a n a r t i st of V ien n a , , ,

ex c elled u on i t Th e n a ils dim in ish i n len gt h a s t h e n otes

p g et
il s a
.

higher a n d t h e c h r om a
,
tic n a r e slightly b en t In 1 7 9 1 on e .
.
,

Tr a ger p r oduc ed a n ar ra n gem en t of it w or k ed by keys c a lled , ,

M g elcla vi er I t i s i n ter est i n g a

. s a c ur iosity i n t h e w a y of b ow
i n st r um en t s .

In t h e South i gton Museum a

K n d fig u
en s n r ed a n d fully ,

descr ib ed i n t h e cata logue ther eof i s am ost cur ious violin , ,

m a de of b ox w ood, da ted 1 5 78 It i s of aqueer a n d cu m b r ous

sha
.

pe b ein g i n t h e for m of awedge w hic h n a

,
r r ows a t t h e thic k
sor t of n eck whic h i s for m ed by a
,

en dt o a r ou n d h ol e t o a dm it
,
1 10 V I OLIN -
MA KING : A S IT w a
s A ND IS .

th e ha n d, t h e shi f t bein g thus r en der ed im p ossibl e It i s ca r ved

.

a ll over wi t h v a r i ous r u ra l a nd a ll egor ic a l scen es, a nd a s ma y ,

b e supp osed, t h e t on e i s ver y p oor It i s d esc r ib ed by H a wkin s

t h e la
.

a n d B ur n ey i n t hei r Hi st or ies of Musi c tter d esc r ibes it

a s ha vin g n o m or e ton e tha n a m ut e or violin w ith asor di n e .

It i s sa id t o ha ve been giv en t o t h e E a
_

r l of Lei cester by
“

Queen E li z a bet h a n d h a s b ot h thei r c oa t s of a r m s i n silv er on

,

t h e fi n g er b oa
-
rd I t i s, p er h a p s on e of t h e m ost in t er estin g
n b e so c a
.
,

fi ddl es (i f it c a lled) i n ex i st
en c e
(v i de p 5 .

In 1 835 Thom a s How ell took ou t a

pa t en t (No 6964) for an ew for m of
.

violin whic h i s r ep r esen ted a

,
t Fi g 70 . .

I t s obj ec t w a s, by shor t en in g t h e upp er

b out s a n d l en gthen i n g t h e fin ger b oa rd

c il it a
,

t o fa te pla yin g i n t h e upp er shift s ,

a n d ob v ia t in g t h a t in el ega n ce ofa c tion

whic h i s so m uch c om pla in ed of, even
”
i n t h e m ost exper t p er for m er s Th e .

ba ck a n d b elly w er e fl a t t h e ta il pi ec e
,
-

gl ued t o t h e in str um en t t o b e out ,

“

of t h e w a a
”
n d t h e soun d
y of t h e chin ,

h ol es r ever t ed t o t h e for m i n vogue i n

t h e fi fteen t h cen t ur y .

In 1 8 5 6 a c l er gym a n (t h e Rev .

Geor ge Ja c q ue) t ook out a pa t en t (No .

1 684 ) for a da ptin g t o t h e violin a n d

en c l osin g withi n i t aser i es of sy m pa

t h et i c st r i n g s set obliq uely a ,

c r oss t h e

in t er i or of t h e i n st r um en t They c ould . .

be ta k en out t un ed a n d r epl a
, ,
ced by

a n op en in g i n t h e l ow er b out s He . .

t h ought i n t his w a y t o in c r ea

"
se t h e

son or i t y of t h e in str um en t

F m 70 — Ho llw e Pa
’
t s t V i oli
en I n 1 85 8 on e H en r y B ell p a
n ten ted a
design (No 2 823) for a pplyin g a
. . .

(1 835 11 69 64
, 0 -
.

fla t ten ed gl a ss cyli n der t o t h e in te r i or of a violin with t h e sa me

obJect
'

(No 2587) John Rober tson pa ten ted a

.

In t h e sa m e yea r .

dev ice for in cr ea si n g t h e ton e of vi oli n s by gr oovin g out t h e

soft pa r t of t h e in e o f t h e b elly, so a s t o l ea
v e on ly t h e fib r es
p
stan din g out H e thought t h a t i n t his w a y t h e v ib r at or y
ace w ould b e i n c r ea sed , a
.

sur f n d t h e fiddle ther eby i m p r oved .

In 1 866 H en r y B ell, t h e p a ten t ee of t h e la st c on tr iv n c e a

b ut on e, t ook out a n ot h er pa ten t (No 20 7 1 ) for i n cr ea sin g
. nd a
1 12 V I OLI N —
MA KING : A s IT WA S A ND I S .

i n side adom ed c a se A whic h h a d ac ir cul a r h ole B i n t h e

middle t o a dm it t h e b r idge which r est ed on t h e c ir c ul a

,

r b elly ,

a s for m ed lik e avi ol on cell o b r idge Sp a

,

nd w a ce f or bid s m y .

goin g in t o t h e theor y of t hi s in str um en t her e ; it i s r epr e

sen t ed i n pl a n a n d in sec ti on i n Fi g 7 1 Th e b a ss b a r . .

w a s c ur ved a s a t c a n d t h e soun d post w a ,

s r epl a c ed by a -

hea vy m echa n i sm whi c h h un g t o t h e l ef t side of t h e belly a

a
s

t D Th e n eck h a d ap r ot ub er a n ce E c or r esp on di n g t o t h e

a n d a
.

sh ould er i n t h e or di n a r y for m n other op en i n g F for t h e

,

high shift s It w a . s held by ac hi n r est G a n d w a s fi t ted wi t h ,

pa ten t p egs, which a r e r ep r esen ted i n Fi g 72 Th e dia gr am .

n or di n a
.

ex
pl ain s itsel f Th e str in g i s t un ed by tur n in g A a
. ry ,
t hum b piece ; when t h e str in g i s tun ed t h e sc r ew 0 i s tur n ed
-

,
by t h e m illed h ea d B p r esses t h e pl a te D a
,
ga i n st t h e c heek of
t h e scr oll E a n d
pr even t s t h e peg fr om sli ppi n g
,
.

Tw o yea r s la t er (1 8 7 9 No 3022) on e H owell p a ,

t en ted a
.

m ost c ur ious in st r um en t, t h e st r in g s of w hic h wer e set a lon g

t h e si de t h e n ec k b ein g for m ed by al on g h ol e i n t h e side t o
,

a dm it t h e ha n d in i t s w a y it w a s i n t er est i n g , a n d es ec ia
p lly so
toa c ou st ic i an s w h o c ould t hus test t h e r esul t s of t h e vib r a tion s
n sm it t ed l on itudi n a
,

of t h e st r in g s b ein g t r a g lly t o t h e fibr es of

t h e w ood in st ea ,d of ver t ica lly H e p a t en ted sever a l m odi fi c a
.

t i on s of t h e i n st r um en t on t h e sa m e pr i n c ipl e .

St ill m or e l a tely (18 8 1 No 62 1 ) E R Moll en ha uer of New

i n ed pr ot ec t i on for a
.
,
. .
,

Yor k ob t a
,
design for dividi n g t h e i n side
of t h e fiddle in t o t w o c h a m b er s by m ea n s of afi ddl e sh a p ed ,
-

pla n k r esti n g on a supplem en ta r y side lin i n g set r oun d t h e -

cen tr e of t h e r ib s He cla im ed by t his m ea

. n s t o i n c r ea se t h e
1
son or i t y of t h e i n str um en t C om m en t i s n eedl ess . .

A n ot her in t er e st i n g va ga r y i s t h e Foldi n g or Tr a veller s ’

V i oli n . Th e n eck of t hi s i n st r um en t t h e b ody of whic h i s l on g ,

a nd n a r r ow c om es of ,f wit h t h e fi n g er b oa r d, a s do a lso t h e -

br idge, t a il pi ece a n d ta
-
il pi n a ll of w hi ch , w i t h afoldin g b ow
,
-

, ,

fi t in t o asm a ll r ect a n gul a r ca se A s ac ur i osity it i s g ood a . n d ,

s aquest ion of t on e a
,
a n d c on v en ien ce i t i s n ot b a d A t th e ,

g o i n t o apor tm a u a
.

sa m e t im e i t w ill n t ea n d is a m usi n g a nd ,
si on s w hen on e d oes n ot w a
,

ha n dy on oc c a n t th e f uss of c a r r yin g

afull gr ow n fiddle
-

n over a
.

I ha v e r eceived fr om Ha m ost i n ter estin g c ur iosit

yin
t h e violi n lin e It i s c a ll ed t h e q elg eig e (sp oon fi ddl e) a
. n d -
,

Coun t Lui gi Fr a n cesc o V a l dr i gh i dev ot ed on e of h i s “ Musu r gi a n a (No 9 )

ssi on of t h ese fi d dl es, pr om pt ed t h er et o a ppa
.

t o t h e di sc u r en t l y b y Mr A J
Hi p i n s a si eal Opi n i on a si c Tr a
. . .

k r t i cl e i n Mu
’
n d Mu des R evi ew I t i s en t i t l ed ,
G l i st r um en t i a a
d r co r i n for z t i d el Sig E Moll en h a a
.

Cen n i Mon og r a
.

ver fi ci
a a a a
.

n d gi v es d escr i pt i on s i n b r i ef of m a
.

n y v ga
.

(Moden , r i es su ch s w e
a r e n ow di scu ssi n g .
 TH E V I O LIN, ITS V A GA RIE S A ND ITS V A RI E GA TORS .

i s m or e aj ok e a a
m on g m usi c i n s th a n an ythi n g el S e It i s
for m ed of on e solid piece of w ood lik e asoup la
.

-
dle, n d i s a
r ep r esen ted i n fr on t a n d sid e view i n Fi g 7 3 Th e
b owl i s sc oop ed out , a n d d ec k ed , a
. .

s i t w er e wit h at hi n dea l
,
soun d b oa -
r d , pier ced w ith t w o sm a ll ova l soun d holes Th e
-

hea d i s of ac ur ious hook sha pe, a n b oa

.

n d ca st of t h e sa m e
a a
dv n ta ges tha t wer e c l a im ed for t h e r ever sed sc r oll of M
Cha A n or di n a
,

ri ot, whi c h i s n ot i c ed b el ow . r y vi oli n b r idge i s

m oun t ed on t h e b elly , t o r a i se t h e str in gs j ust c l ea r of t h e l on g

n ec k . It h a s n o ta il—p i e c e, b u t t h e st r in g s a re a t ta c hed t o l oo s
p
of D str in g, whic h c om e fr om p egs set un der n ea t h t h e fiddl e,
over asor t of r est m a de of t i n , w hic h pr ot ects t h e l ower edge
of t h e b owl I t s t on e i s c ur ious, a
. s m ight b e exp ected .

Th e la test thin g of t h e sor t I ha ve

c om e a c r oss h a s b een afiddle of
Russia n m a n uf a c tur e (on Mi r ecour t

pr in c iples of c on st r uc ti on ) , whic h
i s n ow b ein g sold a t a b out aguin ea
i n t h e m usi c sh ops This fiddl e di ffer s
.

fr om t h e or di n a ry f or m i n t ha t it h a s
n o r o ec tin g edg es, whi c h i s a
p j gr ea t
m i sta k e, for i t i s p r a c ti ca lly i m
p ossible un der th ese c ir c um sta n ces

t o ta ke off t h e b elly i n c a se of n eed .

Ser a
”
How ever , l ik e t h e phin e,
“
E ol eon , Zeph yr oph on e, a n d

other a b sur dly n a m ed ec c en tr ic it i es

a
ofbr n n ew violi n m a
-
n ufa c t ur e, t hey

a re m a de I pr esum e t o fi n d a
m a r k et a m on g a ma teur s w h o li ke t o
ha v e som ethi n g out O f t h e c om m on
,
F m
. 7
.3 — Lofi el g ei g e or Spoon fi ddl e -
.

a t t h e expen se o f t h ei r ow n c on ven ien c e a n d oth er

peopl e s ea
’
rs .

E n ough of these m i n or va ga r ies

. If n ecessa r y I c ould fill a

Suc h a
,
thick ua q r t o with th em . s they a r e, t h ey a r e i n ter est in g

a n d b en efi c i a la s wa r n i n gs it r em a in s on ly t o n otic e t w o in t el
l i g en t a n d sc ien tific exp er i m en ts
(I will n ot i n sult them by
ca llin g them va a a
g r ies) I llude t o t h e guit r sh p ed violin s of
. a a
-

M Fr a
. n coi s Cha n ot , a n d t h e tr a p ez oid v i olin of M l e Doc teur.

Félix Sa va r t, t o whom t h e w or ld of vi olin s owes so m uc h f or h i s

va lua ble a a
n d d evot ed sc ien tifi c r ese r ches in to t h e f or m s a n d

q ua lities of t h e C r em on ese a n d other vi oli n s .

Gui t a r ska ped F id dles ha ve b een m a de i n a ll c oun tr ies a n d a ll

-

a ges, sin c e t h e in ven tion of t h e fiddle p r oper i n t h e sixteen th

M Ga y, i n h i s Luthier s I ta
ll a ”
c en tur y . .
“
lien s, m en tion s t h e
i n ter est in g fa c t th a t M G Ch a
. . n ot (b r oth er of t h e n v l of aa fi c er
8
1 14 V I OLIN -
MA KI NG : A s rr WA S A ND IS .

m en ti on ed b el ow ) h a d on ce i n h i s h a n ds a violin by Str a diva r i us ,

whic h w a s g ui t ar sha p ed a n d h a-
d afl a t b elly I ha ve m y sel f .

m in B a n ks a
,

seen suc h — t h e wor k of P et er Wa l m sl ey, B en j a nd ,

other of our n a tive m a k er s It i s ar ever sion t o m edia eva. lism ,

whi c h i s t o sa st of it, feebl e a n d un i m p or ta

y th e lea n t .

lb user a a lia
,
I n t h e yea r 1 8 32 Ca r l o A n ton i o Ga ,
n I ta n of fi cer
n avioli n of a
,

exhibited i n t h e B r er aP a
,
lace a t Mila guit a r ,

sha p e, which h e c l a i m ed t o h a ve in ven ted b ut whi c h w a s r ea lly ,

ar epr oduct ion of M Ch a n ot s essa y H e p r ep a

. r ed h i s w ood by
’
.

c hem i c a l m ea n s by w hi c h h e c l a
,
im ed t o g et a ll t h e r esin ous
r gued a ga
pa r t i c l es out of it They wer e c r iti c ised a n d a in st by
M A n t olin i i n ap a O sser v a
.

m phl et en t it led z z i on e su due ,

.

V i oli n i esp ost i n elle sa le d ell I R P a la z z o di B r er a (Mila

’
n , . .

i
1 8 32
Th s l b a
m ost ted i n str um en t s ha
ce e r vin g thi s for m w er e t h e
violin s of M Fr a n cois C ha
. n ot a
,
Fr en c h n a va l offi cer a n d un c l e ,
of M Geor ges C ha
. n ot
,
of Wa r d our Str eet, a t wh ose sh op
sever a l of th ese in st r um en ts of a l l types m a M
y b e seen . .

C ha n ot w ould seem t o ha ve c om m en ced wit h t h e sa m e lin e

of sc ien tifi c c on sider a t ion a s did M Feli x Sa va r t i n t h e c on st r uc .

tion ofh i s t r a p ez oid violin t o whic h I sh a ll pr esen tly a

,
llude .

These violin s w er e ver y fa vour a bly pr on oun c ed upon by a

c oun c il of t h e A c a dem y a ppoin t ed t o c on sider t h eir m er its, a
,
n d,
in deed pr efer r ed t o am a
,
ster piece of Cr em on a with whi ch they
w er e c om pa r ed— t h e i n st r um en t s b ei n g a lter n a tely pla y ed i n a n

a djoin in g r oom by M B ouc her , t h e em i n en t violin ist M Fetis

. . .
,

on t h e ot her h a n d stig m a tiz es th em a s n ot w or t h t en fr a n cs

n d am usi ca
,

a piec e ex cept in g a s cu r iosities a l c r it ic i n t h e ,

lz seh e Z ei t un g v ol x x x u for Feb r ua
,

A l lg em ei n e Musi lca r y,
' '

. .
, ,
1 8 20 fi n d s c on sider a
,
ble fa ult with t h eir t on e H owever , for a .

few y ea r s t h ey f oun d am a r ket b ein g sold a t 300 fr a n c s ea ch

, ,

a n d i n la t e y ea r s M Geor ges C h a n ot t ell s m e they ha

. ve r ea liz ed
£ 1 0 t o c ollect or s I a m for tun a t e en ough t o possess a c opy of

a
.

t h e Ra ppor t fa it l A c a dém i e des B ea

’
ux A r t s da n s la Sea n c e du

3 A vr il 1 8 1 9 a u n om de l a Sec tion de Musique sur l es n ouvea ux

in st r um en t s de m usique (viol on s a lt os, viol on cell es et c on tr e ,
ba sses
) suiv a n t l af a c t ur e b r evet ée de M Ckc mot , Offi ci er a u
c or ps du Gén i e Ma r iti m e, in ser e a u Mon it eur du22 A ofi t 1 8 17
'

(P a r i s, four pa ges 4 t o On t h e b a c k of t h e r ep or t .

A ca
,

w hi c h i s h ea ded In stit ut de Fr a n ce dém ie Roya le des ,

B ea ux A r t s i s pr in t ed ast a t em en t t ha t t hese in str um en ts a
”
, re
sold a t No 216 Rue St H on or é P a
. ssa ge des Ma . ur es a t th e
, , ,
follow in g pr ic es v i z — V i oli n s 300 fr V iola
,
. s 300 fr , V i ol on

n d ca
.
,
.

cellos 500 f r foll ow ed by t h e p r i c es of b ows a

.
, ses for
t hese in st r um en t s Th ese vi olin s m a
.
y b e seen , a s I ha ve sa id,
116 V I OLIN -
MA KING : A s It W A S AN D Is
.

th e s ides, b ut en d fl ush with t hem i n ar i m of ivor y or h a m ,

w ood , lik e ag u ita r Th e soun d h ol es a r e op en i n g s of t h e -

m e l en gth a
.

sa s t h e ff h ol es of t h e or din a ry f or m , b ut , follow
i n g t h e cur va tur e oft h e sides (t o which they a r e set r a ther close) ,
th ey ta k e t h e for m ofasegm en t of ac ir c le Th e r ea son a ssign ed
r y f for m , ala
.

for thi s w a s th a t in c utti n g t h e or din a r g e n um b er

of fibr es h a d t o b e c ut t hr ough a n d w er e ther ef or e n o l on ger

tion s of t h e br idge Th e n ew for m cla
,

a ffected by t h e vib r a im ed .

t h e m er it of r ed uc in g these out fib r es t o a m in i m um , a n d of thu s

p r oducin g am a xim um of lon g fibr es It h a d b een det er m in ed

t t h e l ow n otes of afiddle wer e pr in c ipa
.

by ex per im en t tha lly

pr oduced by t h e lon g fib r es, a n d t h e high n otes by t h e shor t

fibr es (a n d it i s on thi s pr in c ipl e tha t t h e soun d— post, by pr essin g

up on t h e b ell y a ga in st t h e br idge, divides t h e violin in to t w o sets
of sh or t fib r es on t h e side on w hic h t h e high n otes a r e pr oduced,
whil st On t h e other side on whic h t h e l ow n ot es a r e p r odu ced ,
r e in ta
,
t h e fib r es a c t th r oughout t h e l en gt h of t h e i n str um en t) .

For wh en t h e fib r es un der t h e l ow st r in g s w er e si m ila r ly div ided

(by shiftin g t h e soun d post t o t h e left foot of t h e br idge) , t h e

-

l ow n otes lost a l l th eir p ow er M Ch a n ot cl a

. i m ed for h i s violin
.

t h e m er it, ther efor e, of h a vin g m or e lon g fibr es t o p r oduce t h e

l ow n ot es, a n d m or e sh or t on es t o p r od uc e t h e high on es Th e .

ba ss b a r i s set a s i n Sa va r t s fiddl e d ow n t h e exa ct cen tr e on t h e

’

il pi n will b e seen ascr ew,

,

join of t h e b elly Cl ose t o t h e t a

.
-

w hic h, p a ssin g th r ough t h e t a il piec e a n d p r essin g on t h e b elly

-

en a bl ed t h e t a -
il piece t o b e r a ised so a s t o l essen th e a n lo

ssi n g over t h e b r idg e, a

,
for m ed by t h e str in gs p a n d r educ e t e

pr essur e on t h e b elly a t th is poin t A sim il a r c on tr iva n ce t o

t his w a s pa ggett i n 1 788 P a
.

ten ted i n E n gl a n d by on e Cl a ssi n g .

scr ew , w h i c h, a
,
th r ough t h e b a ck of h i s fiddle w a s a c tin g on t h e
sou n d p ost en a
-

, bled t h e pr essur e of t his l a tter , a ga in st t h e belly,

t o b e r egula te d a t w ill M C ha n ot a t fir st p r op osed t o pla ce
fr ets upon t h e fi n g er b oa
. .

-
r d b ut a ba n don ed th i s d esig n on t h e
,
su st i on of t h e C oun c il
ggs 0 yea r s la r ded a
.

t er (i n M C ha n ot di sc a
( s i n Fig 75)
t h e ta il piece a n d t h e str in gs wer e fa
. .

-
n d ta il pi n a
-
sten ed by pin s
t o t w o pl a
,
tes of w ood on e glued out side a n d t h e oth er in side
ita
,
t h e b ell lik e t h e st r i n g a tta c hm en t of agu r Th e b a r w a s
r em ove fr om t h e cen t r e j oin a
.

n dsh a ped li k e a n a r c, t h e cen tr e of

which w a
,
su n der t h e lef t foot of t h e br idge, a n d wh ose en ds on ly
a pp r oa c hed t h e cen t r e j oi n Th e soun d post w a s set i n f r on t -

of in stea d of b ehin d t h e br idge Th e v ol ut e of t h e scr oll w a

.

s
tur n ed b a
.

ck i n stea d of for wa rd as i s usua l, t o give gr ea ter

fa c ility i n m a
,

n ip ul a t in g t h e en d s of t h e st r in gs, esp ec ia lly tha t

of t h e A str i n g, i n side t h e peg b ox Hi s m em or i a l on t h e
-
.
 TH E V I OLI N, ITS V A GA RIE S A ND ITs V A RIE GA TO RS
. 117

bjec t w a
su s r ead t o t h e A ca
dém ie des Sc ien c es on t h e 24t h of
,

May 18 17
A full d escr ipti on of it m a
.
,

y b e fou n d i n t h e
“
D escr iption des

c hin es et P r oc édés Spéci fi és da

”
Ma n s l es B r evet s d In v en t i on
’
,
1 18 V I O LIN -
MA KIN G : A s IT WA s A ND I s .

t om e xv p .
,
. a
1 61 (P r i s, A n d ar ep or t of i t s t r ia l b efor e
th e C oun c il of t h e A ca dem y m a y b e foun d i n t h e Mon it eur
a
Un i v er s l , 22 A ou
”
t, 1 8 1 7
z oi d Vi oli n or B ox —
fi ddl e w a
.

Sa t a n s Tr a s on e of t h e m ost
’
p e

c el eb r a ted a n d sa a
t isf ctor y exper im en ts ever t r ied on t h e con
str ucti on of t h e in str u m en t . He w a s l ed t o i t s pr od uc ti on by
a
a ser ies of c r eful ly c on duc ted exper im en ts, whi ch wen t t o
a dily tha
.

pr ove tha t apla n e sur f a c e vib r tes m uc h m or e r ea n

a n a r ch ed or c ur ved on e (2) tha t c on se uen tly ther e a

q r e p oi n t s

on t h e sur fa c e of a violin of t h e or din a r y for m wher e t h e vib r a

t i on s a r e r educed t o a m in im um , or c e se a a
lt oget her ; (3) t ha t
t h e b outs, c or n er bl ock s, a r e t h e p r i n c ip a l ca
n d
f holes a f uses
a a
n d l oc lities of t hi s r ed uced vib r t ion a He ther efor e c on str ucted
.

avi olin , t h e gen er a la spec t ofwhi c h i s show n i n Fi g 7 6 A a n d B,

a
.

t h e t bl es of whi c h w er e
p ra a
ctic lly pl a n e, a s sh ow n i n B ,
a
C, n d E they wer e pla n e on t h e i n n er sur f a c es, b ut ver y

slightly r a ised on t h e out er , t o suppor t t h e in c r ea sed p r essur e of

t h e stri n g s, c a used by t h e ex tr ah eight which it w a s foun d

n ecessa r y t o give t o t h e b r idge t o a llow t h e pl a y of t h e h ow
a
.

Th e c a use of t hi s t r a p ez oid sh pe w a a s n ot foun ded pa r ti c ul r ly

on a n
y sci en t ific r ea son , b u t t ha t it bein g n ecessa r y t o ha ve a
a
c er t i n c on ta in ed m a ss of a i r , t his sha pe w a s b est a da pted t o
g i ve t h e in st r um en t an a r r own ess a
t t h e br idge, w hi c h w ould
a ll ow t h e pl a y oft h e b ow , a n d et h a
y ve t h e sa me i n t er i or ca pa c ity
a s i f t h e sid es w er e p a ra llel b ut b r oa der a t t his p oi n t A r guin g
.

t ha t t h e soun d holes of a
-
n or din a r y vi olin a r e c ut f sh p ed on ly,
-
a
so a s t o c oun ter a c t t h e r esi sta n ce t h e c ur ved sur f ac e of fer s t o t h e
vibr a t i on s, thi s n ec essit y b ein g a b sen t i n t h e Sa va r t fiddl e, h e

c ut h i s sou n d h oles str a ight, a s sh ow n i n A a n d D, Fi

g 7 6, on
-
.

t h e sa m e p r in c ipl e a s those of t h e C ha n ot fi ddl e—v i z , th a t it i s

.

expedi en t t o c ut a s few fib r es of t h e wood a s p ossibl e a n d thei r

ex a c t posit ion i n t h e b elly a n d di st n c e fa r om ea c h oth er , a s
shown i n D Fi
, .
g 7 6, b e det er m in ed by aser ies of pr a c ti c l a
ex per ien ces . Th e b a r he
pla ced d ow n t h e c en t r a l j oin t of t h e
fiddl e by a n er r on eous c our se of r ea so n in g, thi n k in g by thi s

m ea n s to e u q a liz e i t s in fl uen ce over t h e en t ir e sur fa c e, whi c h

w a s, of c our se, a m i st a ke He a l so c on str uc t ed, i n som e c ses, a
ab a
.

r, a t a
s show n i n F Fi
,
.
g 7 6, on ly t ouc hin g t h e b elly a p oin t
below t h e br idge, w hic h h e foun d h a d t h e sa m e ef fec t a s th e
ot h er for m (show n i n C , D, a n d E , Fi
g . a n dw a s m or e dur a bl e
b ut m or e dif fi cult t o c on str uc t a n d fi x t o suit t h e i n str um en t He
ga
.

ve t o h i s sides (whic h wer e m a de of t h e sa m e w ood a s th e

b )a c k a t hic ess of T ?i n , n d, c on sider in g tha
k n
1
. a t th e a b sen ce
of t h e c ur ves w ould supp or t t h i s sub st a n c e, a n d a ga in , w it h thi s
t hickn ess, h e used n o sid e lin in g s -
Hi s soun d p ost, it will b e
.
-
1 20 VI O LIN -
MA KIN G : A s IT WA s A ND I S .

Len gt h of t h e b ody (D, E , n d F , Fi g 76) a .

a
B r e dt h of upper en d (D D i n D, Fi g 76)
a
.

B r e dt h of l ow er en d (E E i n D, Fi g 7 6) 8 4 .

H ei g h t of b r i dg e (F i n C , Fi g 7 6) . 1 6
a
B r e dt h of b r i dg e (F i n C, Fi g 7 6) .
1 6
Len gt h of soun d h ol es (G G i n D, Fi g 76) 2 7 .

a
B re dt h of soun d h ol es 0 3
'

a
Di m et er of b c ak a
n d b el l y at edg es 0 1 '

a ak
Di m et er of b c i n cen t r e 0 27} '

a
Di m et er of b ell y i n c en t r e 0 22
'

k a
H ei gh t of b l oc s n d si des 0 1 57}
a
Di m et er ofsi des 0 1 °

a
Di m et er of b l oc s k 0 8
'

a a
Len gt h ofb ss b r (A A i n D n d E , Fi g 7 6) a 11 2 '

a a a
.

B r e dt h of b ss b r a
,

t en ds 0 2 '

a a
B r e dt h of b ss b r i n c en t r e (A i n C , D, a
a n d E , Fi g 7 6) 0 3 '

a k a
.

B r e dt h of l ow er b l oc , n r r ow side (H i n D, Fi g 7 6) l 6
a
B r e dt h of l ow er b l oc , b r oa
.

k
d si de (I in D, Fi g 76) 2 0 .
'

Fr om n ut t o t op of b r i dg e 2
a aa
Dept h of b ss b r t en ds (A A i n D a n d E , F ig 7 6) 0 1 '

a
.

Dept h of b ss b a r i n cen t r e (A i n C, Fi g 76) 0 6 '

a
.

Dept h of b en t b r t h r ough out (J J i n F, F i g

'

J
0 6 .
'

These, ther efor e, a r e t h e p r i n cipa la l t er at i on s whi ch h a ve b een

a t t em t ed aca ,
r efu l st udy of which on ly deter m in es t h e would
b e fi d lo m a k er st a r e su er vi e s a
, p g a
n ti u s .

Pa t en t Rep a i r s ha ve b een t h e r uin of m a n y spl en did fi ddl es

i n for m er yea r s th ough n owa , da y s people a r e m or e c a r eful of

t r ust in g va lua ble in st r um en t s t o t h e fir st ua c k w h o i n ven t s som e

pa t en t Oper a tion which w ill in c r ea se t 9 va lue of a n

y fiddle,
a c cor din g t o h i s ow n a c c oun t ten fold On e Ma ,uper tui s i n .
,

a n a r tic l e Sur l aFor m e des In st r um en ts de Musique, i n

,
”

t h e Mem oi r es de l A ca dém i e Roya

’
le des Sci en ces, 1 7 24 p 2 1 5 ,
'

d ecla r ed t h a t t h e ton e of afiddle i s t o b e i m p r oved by b r ea

.
,
k in g
it t o piec es a n d ba vi n i t pieced t oget her a gain by agood
w or k m a n He a. r gues us — tha t t h e violin ought t o b e m a de
up of fib r es of differ en t len gth s so a s t o ha ve som e of asiz e t o
,

sui t ever y n ot e on t h e c om p a ss of afiddl e A n id eac om pli

m en ta
.

r y t o t h e m usi c a l p ower s of glue, b ut dea dly i n pr a c t ic e

a
.

Ot her fi ddle dea ler s a

-
n d own er s a re a lw ys tin k er in g up t h eir
i n st r um en ts by gluin g i n sla b s of wood her e gougin g out la yer s
t h er e, sh or ten in g or l en t h en in g t h e b a ss b a
,

r, an d shi ftin g t h e

br idge a n d soun d ost aout , till t h e violin a s it wer e, i n ver y

t sucp
-

in dign a t ion a t r ea t m en t r el a
,

p ses in t o asull en or con fused

.

sil en ce un t il p r op er ly r egul a
,

, ted by a n a r ti st of t h e t r ade I t .

Mém oi re sur l aCon st r uct ion

des In st r um en t s
'

c or des et r ch e (P r i s a aa a
a a a aa
.

n m é of t h i s
n d n ex cel l en t oes M m oi r e ppe r s t p 246 of No 4 00
'
é
aa k a a
a
. .

fth e P en n y M g z i n e for Jun e 30t h , 1 838, en t i t l ed , How t o m Ch e p

%
e
10 l In
'

.
 TH E V I OLIN, ITS VA GA RIE S A ND IT S V A RIE GA TORS .

i s, a
s ha l r ea
s b een a dy oin ted out , a ta
l m ost fa l t o destr oy by ,
thin n in g t h e wood i n o d violin s t h e r ov i si on t h e c on scien tious
ol d m a k er s l a id up for tim e t o exp en di t s str en gth up on It i s
,

a l m ost equa lly so t o p a tch up afiddle which h a

.

,s b een subj ec ted

t o this destr uction with n ew w ood it sta n ds t o r ea son tha t th e
vibr a
,

tion s m ust b e ver y ser iously im p a ir ed by astr a tum of glue

a n d a sla b of n ew wood, whose fib r es do n ot c oin c ide with t h e
r est of t h e i n str u m en t Th e a . c m e of sh or t sighted a -
n d d estr uo
tive r ep a i r i s r ea ch ed i n aca se whi c h occur r ed a c c or din g t o
Mr Da vidson , a
,
. t t h e b egin n in g of t hi s cen tur y He m en ti on s
.

t h e ca se of a Sc otch a ma teur w h o b ein g p ossessed of asplen

,

did St r a diva r i violi n of t h e l a r ge p a t t er n , h a d it cut dow n

sm a ller m i r a bz l e di ct u, a t t h e suggestion of t h e celeb r a
’

, t ed J P . .

Sa lom on Th e fiddle sub sequen t ly sold for £5 6 Lett er s p a

. . t en t
w er e gr a n ted t o J P Gr os . j ea
. n i n 1 837 No , for c oa
. tin g
t h e sur fa ces of vi oli n s with glue a n d
pow er ed gl a ss t o i m pr ove
th eir ton e a r a ct i ce a b out a s in telligen t a
,

, s th a t of on e
“ eic k er t of He, w h o, a t t h e b eg in n i n of t h e c en tur y
’

g in in g t ha
, ,

im a t t h e loss of t h e r esin ous pa r ti e es f r om t h e w ood

of vi olin s b y r ea son of th eir a g e, (whi ch i s t h e rea ta dva n ta ge

of a g e !) w a s det r im en ta l t o t heir qua lity, m a6 apr a c tic e of

soa ki n g violin s i n am ixtur e of r osin di ssolved i n pi n e oil , t o

c l ose t h e p or es, a n oper a tion whi ch of c our se, ca , used c om plete
a n d i r r em edia ble da ma ge Si m ila . r exp er im en ts h a ve been tr ied
t o c l ose t h e p or es of t h e w ood, (whi c h it i s m ost i m por t a n t to

ha ve op en ,) with white of eg g a n d oth er su ch m a t t er s a ll of

t ion s m a pa
,

w h i c h oper a y b e c la sse d with t h e r est of t h e ten t

r epa ir s I ha ve h er e en um er a ted, a n d on a ll of w hic h c om m en t
i s n eedless B ut th ey ser ve a s wa r n in t o t h e own er s of
ble in st r um en ts n ot t o en t r ust th eir fi dl es t o t h e ha
.

va lua ,
n d s of

m usic a l qua ck s If you t hin k your vi olin wa

. n ts a n ythin g d oin g

t o i t g o t o on e of t h e hea ds of t h e p r ofession for a dvic e a

r espect a bl e dea l er or r ep a i r er will n ev er doa
,
n ythi n g sup er fluous

t o your fiddle for t h e sa k e of t h e j ob a n d t h e l ove of h i s a rt

w ill b e sub ser vien t t o h i s i n t er est i n h i s p r of ession I ca n n ot

p t er with t h e highly epigr a

.

do better t h a n c on cl ude thi s c ha m ma t ic

r em a rk m a de by Mr J P ea r ce i n h i s
. V iolin s a n d V i oli n

n c e w hich a
.

Maer s, B ewa r e of ig n or a m es t h e m a
”
k ssu sk of

k n owledge, a n d of desig n in g r oguer y w hi c h a p es t h e a ppea r

a n ce of i n n ocen ce .
 “
IL VIOLI NO .

Ca
n t o po r e Tosca
p ol a no .

Musi cadi L . G ORDIGIA N I .

O h I ua qn t e v ol t e l h o desi der a
’
t o,
U n da m oa v er ch e fosse son a t or e,
Un a n g el o del c i el m e l h a m a n da
’
t e,
Io l o ri n gr a
z i o del g en t il fa
v or e .

Quado i l m uli
n o di g r n o m
n a a
n c h er a
,

Con i l V i oli n o se n e t r ov er , a
O h I ua q n t e v ol t e l h o desi der a
’
to
U n da m oa v er ch e fosse son a t or
Un a n g el o del c i el m e l h
’
maa n da
t e.
Lo r i n g r a a
z i o del g en t il f v or

Bra v o 1 Ca ro 1

oh 1 ch e b r a a
v o sen t or l
 FO C S LE YA RNS
’ ' '
.

A ND Tom m y h d a afi ddl e t oo ,

A d I don t kn ow w h a t t h er e w a s h e c ou l dn t do
’ ’
n

Wi t h yon der fi ddl e t h e w a y i t d m oc k

'

E v er yt h i n g —i t d c r ow l i k e acock
,
’
.
,

I t d h oot li ke a d on k ey i t d m oo l i ke a
’ ’
c ow ; ,

I t d c ry l ike a ba b y i t d g un t l i k e a
‘ ’
sow ,
r ,

Or a t h r ush or a pi g eon or a
,
lar k or a li n n et , , ,

Youd r ea l ly a t h oug h t t h ey w er e l i i g i n i t
’
- v n .

B ut t h e t m e h e a s pl a —t h a t w a
’
i s yi n w s t h e thi n g
—Li k
,

e squeez i n h on ey fr om t h e st r i n g ;
’

a
Li k e m i l k i n ’ fi ddl e—n o er k s, n o s ue k s j q a
—A n d t h e t ea
rs upon th e m i st h r ess c h ee s.
'
k
Sh
’
e d oft en st a n d ask w ou
op h i m l d h e ch an ge

To a n i ce sl ow t u ne a n d T om m y w ou ld a,n ge r

Up a n d dow n t h e st r i n g s an d sl i t h er ,

I n t o t h e k ey ; t h en h e d fea t h er
’

Th e b ow v er y fi n e a nd a sor t 0 h um ,
’

Li ke a b ee r oun d afl ow er a n d ou t i t d c om e ,
’
.

L L C KOE LLE ,
. . . Musi c i n Son g (Lon don ) ,
1 26 VIOLIN -
MA KING : A S rr WA S A ND I s .

I t i s ah oll ow b ox , fr om 1 3 t o 14 in ch es i n l en gth , t t h e wid est a

pa r t 8 % i n c h es, a nda t th e n a
r r owest 4 % i n ch es b r o d It i s a
b out a .

2g in c h es deep a t t h e deep est p r t, a n d w ei b e a b out 8 12+ oun ces a

g
-

(a vo i r d up )
oi s
l
B eyon d this w e ha ve an e k, ter m in a tin g i n a
r d, a a
.

sc r oll , whic h, with p egs, fi n g er b oa n d t il piece of eb on y, - -

b r in g t h e weight up t o a bout ap oun d Th e won dr ous c pa . a

b ili t i es a n d w on der fu l equilib r ium of a ll t h e pa r ts m a y be
sum m ed up i n on e sh or t sen ten c e
— i t suppor ts t en si on on t h e a
2 a
t
s r ni g s of 68 l b s, n d aver t i cal p r essur e on t h e br idge of
.

3
26 lb
?
s .

Let m e a n swer m y ow n question , Wh y i s this for m t h e b est

“ ”

Th e on ly a ttem pt 1 ha ve ever seen m a de t o n swer this quest ion a

Ih er e ppen d t h e ex a
a c t m ea
sur em en t s of n ot ed St r a
di uari us i n st r um en t s a
s
a t i sti c s t h a
s m er e st a
a n a
g i v en b y M Vi d l I g i v e t h em m ore s gu
i des for th e
a a afi
. .

pr ct i c l l ut h i er i n b ui l di n g ddl e

1 .
—VI OLIN .
'
676
q
2 .
-
VI OLA 1' . 8 —VI OLONCE LLO t
. .

m et r es . in m et r es in . m etr es ft in
a
. , .

Len g t h of b ody fr om b se of
b ut t on t o t i l pi n a -
75° 2 H"
S

a a
B r e dt h c r oss upp er b out s
l ow er
109= 41 93
‘

i n n er
Len g t h of i n n er b out s, fr om
c or n er t o c or n er per pen 076= 3

a
Len g t h fr om b se of b ut t on
t o n ot c h offf h ol es
73
q
400 1 ?
3
H ei g h t of si des, upper b out s l fnr
‘

3
i n n er 1 1 1;
l ow er 1}

130: 536g

L en g t h of fi n g er b o r d -
a
1 Me a
su ak i Mea su m en t s t a
r em en t s t en k en re
Mea r em en t s t a f om St a a a fr om S t r ad i uai us
di u r i usVi ol ,
’
su k en f “
rom Th e r r
um e ” or LaMessrs, ” St r a
r
V ui ll a da C°110 b el on g i g t o M ’
di te 1723 i n t h e p08
et rlt e F r aoh om m e t h e c el
n
a
, . »

u session of M l s Vi o n
br a
r. e
d Ja é
.
,
e n z . t ed v i ol o c ell i st
, n .
J

F ir st st r i n g , 2s1b s ; secon d st r i n g , 1 8 g lb s ; t h i r d st ri n g , 1 4 lb s
2
four t h
a
. . .

st r i n g , 1 2 g l b s In 1 784 T r t i n i di sc ov er ed t h e t en si on oft h e st r i n g s t o b e 63 l b s
a a a
. .

I t m ust b e r em em b er ed t h t i n h i s d y st r i n g s w er e t h i n n er n d b r i dg es w er e
a a
L A b b é Sib i r e, i n 1 806, est i m t ed t h e t en si on a a
,

'
l ow er t h n t h ey r e n ow t
a
.

64 l b s In 1 835 M Fet i s st t ed t h e t en si on t o b e 80 l b s , b ut t h i s i s ex cessi v e,

. .

n d isa
.

a n er r or
a a a
.

3
Th i s w ei g h t h s, of cour se, i n cr e sed t o t h is m oun t on l y w i t h t h e r i se of
p i t c h of t h e pr esen t cen t ury L
’
A b b é S ib i t i n L Ch el on om i e ( a a
r i de n ot e 2,
a a a a
.

v i ii P r ef ce) est i m t es i t (i n t h e ye r 1 806) t on l y 2 4 l b s Th is in deed

p
a a a a
.

aa
.
.

w s n i n c r e se on t h e pressu r e of t h e t i m e of St r di u ri u s, n d i n t h e t im e
of t h e A b b e Si b i r e (1 806) cer t i n d r i n g r est or er s a a
(s ve t h e m r 1) used a ak
a a aa
t o pl c e t r n sver se b r s cross t h e b ell y t o suppor t t h i s i n cr e se Th i s, of a
a aa
.

c ou rse, i s n ev er h e r d of n ow , b ei n g on e of t h o se v g r i es i n v en t ed for t h e
en r i
t i ei de
c h m en
.
"
t of w h t M L
’
A b b é r a tah er u i n
. t l y c l l s
“
qa
l e l ut h i er i n st r um en a
 r es W OOD —THE MO DE L . 1 27

e xplicitly , i s tha t of Mr T P or t er wh ose litt l e pa

. m phl et
1 “
How
t o c hoose aV i olin i s I thin k, on e of t h e m ost va lua
.
,

ble
a r s b een m a
,

ddition s w hich h a ve of l a te yea de t o t h e liter a t ur e

of t h e violi n . Fi r st of a l l , t h e len g t h of t h e vi olin , a b out 1 3 t o 14
i n c he s i s t h e b est p ossibl e f or t h e fr ee pla y of t h e m usc les of t h e
a
,

rm
,
a n d i f it w er e l on g er t h e t en si on r eq u
,
ir ed t o str etc h t h e
str in g s u
p t o pitc h w ould pr ob a bly b r ea k t hem Th e upper
a
.

n d l ow er b out s a r e r oun d ed so a s t o r esi st t h e st r a in on t h e

b ody of t h e in str um en t t o a ll ow t h e ha n d t o c om e up t h e
fi n g er b oa se i n t h e high p osition s a n d t o ta
,

-
r d wit h ea ke t h e ,
c hin of t h e p er for m er c om f or ta bly ; for t hi s l a t t er obj ec t t h e
edg es a r e gr ooved r ou n d Th e c en tr e b out s c ur ve i n wa r ds
“

to a
.

ll ow t h e p a ssa ge of t h e b ow fr om str in g t o st r in g a n d to

en a
,

ble t h e b ow t o put t h e fir st a n d four th st r i n g s i n to vib r a tion

w ithout h a
,

v in g t o m a k e t h e b r idge di sa st r ously high (si de p .

Th e b utt on
“ ”
h olds t h e shoulder of t h e n eck, so a
“ ” “ ”
s to
h elp it t o r esist t h e str a in whic h w ould pull it fo w ad r r
2
Th e
of t h e b a
.

bulge or a r c hin g ck a n d b elly r esists t h e str a in

of t h e st r in g s a n d a ssi sts t h e esc a p e of t h e ton e thr ough t h e
r e of t h ef sh a pe a c in g t o a m a
ffholes, whic h a
”
s c on du ,
xim um
vibr a tion of t h e c on vex ity of t h e b elly Th ese a r e t h e r ea
. son s

w h t hi f i s t h e b est A n d w ha t ar e t h e r esu l t s of this

?
y s o rm .

bly thr ee —P ower Delica

.

a rra n g em en t Th e r esults a r e n ota c y, ,

a n d P en etr a tion P ower : for v ol um e a n d sw eetn ess a re im

udibl e vib r a Deli ca

.

pa r t ed t o t h e i n a t i on s of t h e str in g cy : .

for t h e slight est touc h of t h e b ow d r a w s for t h at on e sweet a n d

t r ue a n d p ur e P en et r a t ion : for t h e t on es of t h e in st r um en t,
r r y fur t h er t h a
.

ev en wh en pl a yed pia n i ssim o c a n t en t im es t h e

volum e of m er e n oise Th e obj ec t of t h e pr esen t a

,

. n d f oll ow in g
c ha pter s i s ther efor e t o giv e t h e sc ien t ifi c r ules whi ch m ust
r egu la te t h e c on str uc tion a n d a r ra n g em en t of t h e v a r i ous p a r ts

of t h e in str um en t wit h a view t o t h e p r oduct ion of t hi s desi r ed

r esul t

ll , t h en l et us c on sid er t h e m a ter ia
.

Fi r st of a ls
Th e Wood —This i s, of c our se, t h e fi r st c on sid er a
,
tion when
b out t o m a Ea
.

sett in g a k e afiddl e : gu ovi s lig n o n on fi t Mer

.

cu r iu s ! A n d w h en I sp ea k of t h e wood, I m ea n of c our se, ,

tha t used for t h e ba ck b elly lin in g s bl oc k s, n ec k, sc r oll, b a ,

r ,

m en t w it hout r ega
, ,

soun d p ost, a n d sid es of t h e i n str u rd toth e

fi n g er b oa ta
-
,

eb on y or r osew ood used for t h e p eg s n ut rd il -

, , ,

piece r est, a n d ta il pi n
-
2
Th e w ood m ost gen er a lly em ployed
pl e, th ough p ea r a n d sy ca m or e a re a
.

c k s of fi ddl es i s m a
,

for b a l so g

T P or t er ,
.
How t o c h oose aVi ol i n , w i t h Di r ec t i on s for Keepin g t h e
”
In st r um en t i n Or d er et c (Lon don , 11 d . .

a
.
,
2
F or ex pl n a t i on s of t h ese t er m s r i de Fi g 39 . .
1 28 VIOLIN -
MA KIN G : A S rr w a
s A ND rs
.

som e tim es used a n d t h e w ood i s out eith er su r m a i ll e (on t h e

,

qua ) or sur couch e on t h e l a yer s) A s t o these m odes of

(
r ter
it i s t h e n a
.

c ut ti n g, w e sh a ll spea k a r ther on (w ide p 1 33) tur e

.

a n d qua lity of t h e w ood, on which som uc h dep en ds, th a t w e m ust

n ow c on sid er Th e w ood m ost sought a
. ft er for b ellies i s Swi ss
or Tyr ol ese wh i te pin e, o a ), v 2 g i a 1
f fi n e ( n ot t oo cl o se e e n r n .

B oth t h e m a ple a n d t h e pin e (sa ys M Fet is, side n ote p 37 ) .

,
.

should b e n ot on ly tha t of t h e t r ees gr owin g on t h e south side

of t h e for est , exp osed t o t h e sun b ut a lso on ly t h e wood of
,
2 ’
t h e sout h sid e of t h e t r ee sh ould b e used L A b b é Si b i r e g oes .

so fa r a s t o sa y tha t t h e w ood m ust b e t a ken a t acer t a in

di sta n ce b et w een t h e b a rk a n d hea r t of t h e tr ee a n d b etw een t h e

n d r c t, a
,

b ough s a p n d shou ld b e c ut i n t h e m on th s of Dec em b er

or Ja n ua ry A ccor din g t o M Fet i s i n h i s n otic e of A n th on y

.
,

Str a pl e used by t h e ol d Ita n ma

.

div a ri th e m a lia ker s c a m e fr om

tia
,

C r oa t i a Da lm a , a n d even Tur k ey ; h e g oes on t o sa y tha t

ll ey oa rs a
,
it w a s sen t t o V en ice pr epa r ed for ga n d th a t th e
ys a n s took c a
,
Tur k s, a lwa t w a r w ith t h e V en et ia r e t o sel ec t
w ood with t h e gr ea
,
test n um ber of w a ves i n it, i a , ha v in g t h e .

t i t m ight b r ea
.

cur liest gr a in i n or der tha k t h e soon er ; t ha

“

, t '

it w a s fr om these p a r ts of t h e w ood i n ten ded f or t h e r ow er s

n m a
, ,
th a t t h e It a l ia k er s chose wha t suited th em for t h e m a n u

fa ct ur e of vi oli n s Th e m a pl e a
. n d pin e f r om t h e Ca n t on s of

Sch w yt z a n d Lucer n e a r e t h e b est M l e Docteur Félix Sa va rt

f
’
. .

i n d eed c on sider ed t h i s p r efer en ce for Swiss a n d Ty r ol ese w ood

t o b e un foun d ed a ddin g th a
,
the ha
, d ma de bellies of pin e fr om
t h e V osges, which w a s super i or t o t h e other sor ts of in e w h en
p
ver y dr y a ,
n d when it h a d n ot b een r a fted 4 Si m out r e (si de .

n ot e
1
,
p 20) gives t h e follow in g a
. s t h e or d er of super ior it y
a m on g pin e w ood s : -
fir st , t h a t which com es fr om Silesia;
sec on dly th a
,
t whi ch c om es fr om LaVa l t el i n e, Les Gr i son s,
Le Si m m en th a l (i n t h e B er n ese Ober la nd t h e Va lley of t h e
La c de Jc u x , a n d Les B r a ssus (C a n ton of a n d) i n Swit z er l a nd ;
a n d t hi r dly, t h a t whic h c om es fr om t h e souther n sl opes of t h e
Jur aB er n oi s Th e b est m a pl e t o b e h a d for our p ur pose i s
-
.
,
t ha t w hi ch gr ow s on t h e south er n sl op es of t h e C a p t hia
r a n s ,

L A b b é Si b ir e, P r i n ce Youssoupof, n d Sa
’
a a
v r t m en ti on c ed r s ma t er i a
l for aa
t h e b el l y, b ut t h i s i s n err or , or , a a
t a n y r t e, on l
y a a
n ex per i m en t
a aa a
.

2
L Ch el on om i e, ou l e p r f i t Lut h i er
’
L A b b é Si b i r e, P r i s,
(
2 n d E d i t i on (B r ussel s, 1 823, r ide n ot e 2, p vi i i Pr ef ce
) a
F Sa va a a a
. . .

9
rt ,
“
M m oi r e sur l c on st r uc t i on des In st r um en t s cor des et
é
a a
.

r ch et (P r i s,
a
Th e pi n e, w h en out i n t h e g r e t for ests of t h e Con ti n en t , i s en er a
g l l y oa t ed fl
dow n t h e r i v ers t o i t s dest i n a t i on i n l a r ge r aft s, w h i ch pr ocess of t r n spor t a
w o ld n a a a
t ur l l y ffect i t a n d r et a r d i t s d esi cc t i o n for pu r poses of vi oli n a
m gm g
a .
130 V I OLIN -
MA KIN G : A S IT WA S A ND I S .

a c qui r es a v er y dec ided a c id t a ste Thi s i s l et off by ap r op er .

pipe Th e op er a t ion c om m on ly l a st s si x ty h our s Th e w ood i s .

k en out a
.

a ft er wa r d s ta n d d r i ed i n a st ove h ea
° °
t ed t o 4 2 or 4 8 ,
Rea or 1 4 0 Fa h r en h eit ) Th e d esic c a t i on l a
°
um ur st s .

t w o or thr ee da ys w hen t h e b oa r ds a r e ha lf a n in c h t h i c k b ut
i f t hi ck er sever a l week s or even m on t h s a ,
r e n ecessa ry Thi s ,
.

w ood a c qui r es su c h ad egr ee of d r y n ess a s t o r esi st a ll t h e

va r ia tion s of t h e a t m ospher e i t s c ol our i n c r ea ses i n i n t en sity ,

pa r t ic ula r ly t h e w ood of t h e wa ln ut c h er r y or m a pl e It , .

bec om es fi r m er a n d m or e son or ous hi ch i s a m a t a dv a n t ae

li t y of t he
w

for m usi ca
,
l in str um en ts V i olin s a c q ui r e t h e qua

est eem e d ol d
.

"
in st r um en ts of w hic h t h e t r ue m er it i s due
,

per ha p s t o t h e sl ow desic c a tion w hic h t h e w ood c om p osin g them

ha s un der gon e
”
.Ma c k in t osh i n a pa m phl et on t h e
,
Con st r uc
t i on a n d Ma t er i a l s em pl oyed i n t h e Ma a ”
n uf c t ur e of V i olin s

(Dublin 1 837) r em a
,
r ks Ia m b or n e out by tr a dit ion a ry

a c c oun t s i n b elievin g t ha t t h e Cr em on am a k er s a c t ua lly put

their w ood thr ough som e p r oc ess for t h e pur pose n ot on ly of ,

pr eser vin g b ut of clea,

n sin g it a n d m a k in g i t c on sequen tly
, , ,

ab etter c on duc tor of soun d Th e sa me a ut h or a

”
. c cor din g t o ,

Mr B ish op st a
.
,
tes t ha t t h e wood m ust b e n ot on ly of fi r m a n d

r eg u la r tex t ur e b ut h a ,
ve p or es of acer ta in siz e a n d f or m a t ion ;
a n d a
,
b ove a l l , i t i s essen t i a l tha t i t sh a ll h a ve a tta in ed n ot on ly
full m a t ur ity of gr ow t h b ut sha ll ha
, ve r em a in ed for som e yea rs

a fte r b ein g fell ed i n or d er t o m a

,
k e it fi t t o g o thr ough a pr oc ess ,
by whic h t h e por es (for tha t i s t h e gr ea t obj ect t o b e a r r ived a t)
m a y b e r en der ed so per fec t ly d r ied a n d c lea r ed a s n ot a ft er
w a r d s t o b e li a bl e t o c lose or a lt er t hei r n a t ur a l posit ion , or
b ec om e c r ook ed or i r r egula r a s w ould be t h e i n evi t a
, ble c ouse
quen ce i f out up im m edia tely in t o thin piec es, a s i t i s then lia bl e
t o shr in k , whi ch i s a lso obj ect ion a bl e, a s b ein g in j ur i ous t o t h e
por es . When ex per im en t in g I h a ve h a d r ec our se t o
st ea m in g st eepin g st ovi n g b oili n g a
, ,
n d ba
,
kin g t h e tim b er :
,
I ha ve a lso used a l l k in d s of spir i t s c a usti cs a n da c id s b ut a ll
t hese disor ga
, ,

n iz ed t h e p or es a n d im pa ir ed t h e fib r es of t h e
t im b er , w hic h ought t o b e i n asoun d a per fec t st a Mr
”
n d te
n ta
.

Flem in g (si de n ot e 1 p 23) cla im s a n a dva

.

,
. ge fr om steepin g
w ood i n t h e m oth er liquor of sa -
lt w or k s, a s gr ea t ly in cr ea sin g
t h e el a sti c i t y of pin e a n d h e p oi n t s out t h e fa
, c t tha t b en ea th
t h e pin e for est s of t h e Tyr ol when c e t h e I ta lia
, n ma st er s
g ot
t h eir w ood, t h er e ex t en d c on sider a ble sa l t m in es, which a s he ,
j ustl y r em a r k s, h a d d oub t l ess t hen , a s th ey ha ve doub t l ess n ow
c on sid er a ble b en eficia l effect s upon t h e qua
,
lit y of t h e w ood ,
w hi c h they thus n a t ur a lly im pr egn a te b ut i t i s a l so hop eless t o
tur a l effect by a
,
t r y t o p r oduc e thi s n a r tifi cia l m ea n s .
 TIIE W OOD —TH E MODE L . 1 31

A b ele, i n h i s b ook “ Di e V i oli n e, a ssur es us tha t ther e i s

n o p r oof i n exi st en c e th a t t h e ol d It a lia n s used a ny a r tifi cia l
m ea nsf or d r yin g or p r ep a r i n g t h eir w ood Notw ithst n din g a ll a
tha t ha
.

s b een w r itten on thi s p oin t

(w hic h w ould fill al a r ge
b ook), it seem s tha t t h e w ood, if c a r ef ully select ed, i s b etter i f
l eft t o n a tur e, t o m a tur e a n d fit f or our pur p oses A p a r t fr om i t s
ma tur i ty t h e m a
.

ple m ust b e th or oughly soun d, without kn ots or

cr a ck s, t h e g r a i n m ust r un even ly a n d n ot i n cu r ves or wa ves
a
.

T
( “ h e r e d e r will di st i n gu i s h t h e di ffer en ce e een b tw g r i n,
”
a
a n d
”
figur e or c ur l , of t h e w ood ) It m ust b e n eit her t oo
ha
.

r d n or t oo soft i f t h e for m er , t h e vibr a t ion s w ill b e sl ugg i sh

a n d t h e ton e ha r sh if t h e l a t t er , t h e t on e will b e d ull a n d w ofu ll y
la c k b r illi n cy a A bove a l l t hi n gs, n ever d r ea m of usi n g a piece
of m a
.

ple wh ic h t h e w or m s ha v e touc hed ever so slightly ; f or

soon er or la ter suc h r a va ges will either b e c on t in ued or b ec om e
t h e sea t of athousa n d ill s M Ma . n gi n
.
,
in h is Ma n uel du
Luth i er , m en ti on s a
”2
w ood, ca lled a z a r ol e,
”
a s b ein g used by t h e
C r em on ese m a st er s, b ut st a t es t h a t t h e w ood i s un kn ow n t o
h im . So it w a s t o m e, un t il I r ea d t h e foll ow in g expla na tion of
t h e ter m i n M Si m out r e s litt l e b r oc h ur e 3 H e sa ys A m on g
’
. .

pin e w oods, t h e sp ec ies n a

-
m ed E pi cea ,
or r ed pin e, kn ow n by t il e
I ta li a n der t h e n a f Aza Th e sa
”
n s u me o r ol e i s t h e b est me
a
.
,
uth or gives som e i n t er est in g n otes on t h e use of pl a n e w ood -

a s a ma ter ia l for ba c k s, st a t in g t h a t apl a n e w ood b a ck c a

-
uses
asoft a n d m umed t on e i n avi oli n , i n di st in c ti on t o t h e p u r e,

cl ea r t on e of t h e m a ple b a ck I ha ve n ot ver ified thi s by t r ia

. l,
b ut it i s quite pr oba bl e ow in g t o t h e gr ea t er den sity a n d tough

n ess of t h e pla
,

n e w ood -
.

La stl y, n ev er let t h e m a pl e b e spot t e d i n a n

y we for t h e
sa k e of b oth a ppea ra n ce a n d soun d t h e wood sh oud b e of a

un i for m silver y c r ea m c olour un d er t h e pla n in ir on Th e -

.

pin e sh ould b e quite white a n d b r ill i a n t like si l when split

open , a v oi di n an yth i n g li k e ar e ddi sh t i n ge, whi ch i n di ca tes
am ost un he t h gr owt h Th e gr a . in m ust n ot b e t oo cl ose
or t oo w ide, a n m ust b e di sp osed even l y a n d str a ight fr om
t op t o bottom of t h e bell y Th e gr a
. i n of t h e b a ck sh ou ld a l so
r un fr om t op t o bott om of t h e in str u m en t On e i s oft en a
. sked,

w h y t h e b elly sh ould n ot h a ve t h e g r a in settin g c r osswa y s,

a n d it i s of t en a r gued t ha t t h e b est m a k er s h a ve som eti m es
c ut their ba ck s so tha t t h e gr a in r a n a c r oss them In t h e .

H A b el e,
. Di e Vi oli n e, i h re Gesch i ch t e un d i h r B u a (Neub er g , A .D 1 864 ;
.

z ud E dit i on , 1 874)
2
a a a a
M n g i n et M i gn e, Nouv e u M n uel C om pl et du Lut h i er (P r i s, a
p 9 l st E d ti i on b y J C M n g i n l on a a
e
“
M n ue l du L ut h i era”
(P ri s, 1884) a
q
,

a
. .
. .

Hi st or i ue, Con st r ucti on , Ré

aa
N E Si m out r e, A ux A m t eur s duVi ol on
a a a
. . .

”
p r ti on et Con ser v t i on de ce t i n st r u m en t (B l e, Vi d n ot e p 20 . .
1 32 V I O LIN -
MA KING : A S IT w a
s A ND is
.

fir st ca se ex p er i m en t h a s p r oved t o us t h a t t h e vib r a tion s a re

t ra n sm itt ed a l on g t h e fib r es of w ood quic kest i n t hi s p osition

a n d un d er t h ese c i r c um st a n c es a n d i n t h e sec on d it will b e

t t h e t on e of t h e C r em on ese m a
,

r em a r k ed tha st er pi eces i s

a lw a ys m ost br illia n t w hen t hi s p er pen di c ul a r set tin g of t h e

gr a in h a s b een a dher ed t o Ca r e m ust b e ta . k en t o selec t t h e

pin e n eit her t oo ha r d n or t oo sof t i n t ex t ur e, a n d wi t h out a n
y
defect kn ot st a
, ,
in or other fa,
ul t .

Dea l owes i t s g r ea t r ec om m en da tion for b ellies t o i t s slight

den sit y el a st ic ity a n d V ib r a t or y pow er s If ar od of steel .
,

of d ea
,
n d a
,
a n other of gl a ss, a n oth er l b e ta k en of iden ti c a l
dim en sion s, t hey will w h en sim ila ,
r ly st r uc k , p r od uc e t h e

sa m e n ot e ; t her efor e of t h ese th r ee b odi es d ea

,
l i s equa l in
el a st i c it y a n d im m ea sur a bly sup er i or i n light n ess Ma pl e i s .

m uch m or e slow t o vib r a t e t ha n dea l, a n d c on sequen tly a

four t h r od m a d e of m a pl e w ould give al ow er n ot e t ha n tha t

ma de of dea l;a n d c on sequen t ly t h e b a ck of avi olin (m a pl e)
w h en st r uc k or v ib r a
,
ted a lon e w i t h ab ow would yield a ,

l ower n ot e t ha n t h e b elly (d ea l ), i f t h e pla t es w er e of t h e

sa m e thic kn ess b ut b ein g m a, de of difer en t t hickn esses t h e ,
ba c k, w h en fi n ished, i s a b out at on e H IGH E R t ha n t h e b elly

when fin i shed b t h e cuttin g of t h e ff holes a n d th e a ffi x in g

f
o t e h b a ss b a r
y A n d M Fet is, i n h i s Not ice of A n t h on y
. .
“

Str a diva (ab ook m uch m or e in st r uc t ive t o t h e p r a c t i ca

”2
ri l
lut hier t ha n i t s t it le w ould d en ote) fix es t hi s dif fer en c e of ,

son or it y a t ex a c t ly on e t on e a n d M Sa va r t coi n c id es i n
, (t hough
.

heha s som et i m es b een m a de t o c on t r a dic t ) t his st a tem en t a nd ,

h i s n um er ous ex p er im en ts w en t t o pr ove t h a t i f by a r ed uc t i on of

t h e t hi c k n ess of t h e b a ck i t w er e m a de t o c oin c ide i n in ton a t i on

w i t h t h e b elly afeeble a n d un sa tisfa c t or y t on e w ould c h a ra c
,

t er i z e t h e fiddle so for m ed If t h e differ en c e w er e l ess t h a

. n a
t on e t h e t on e of t h e i n str um en t w ould b e t h r obbin g a n d if

even m or e un sa
, ,

m o r e t ha n a t on e a n tisfa c t or y r esu lt w ould b e

Nea r l y ev er y aut h or w h o h a s w r i t t en on t h i s sub ec t h a s dec l a r ed t h a jt the
ba c k sh ould b e at on e l ow er t h a n t h e b el l y I t i s usel ess (a s m a n y of t h em

pr ob a ct ua de a dd l e) t o per sua de t h em t h a t ex a
.

b l y n ev er a l ly m a fi c t l y t h e r ev erse
i s t h e ca Mr Da v i dson i s t h e on l y a ut h or w h o ev er r epr oduc ed M Sa va
’
se rt s
a a a a
.

ak
. .

ri g h t w or ds on t h i s poin t Al l t h e ot h er s h v e m de h i m s y t h t t h e b c
sh oul d b e a a
.

l h
t e v er b t i epor t of h i s ow n w or ds i s i n L I n st i t ut
’
te n e ow er m r

(
“
S c i en c es m taaq
h é m t i u h
es, p ys i u t
es, e n t q ”
a
ur ell es, Nos 31 9 , 32 1 , 323,
a
y st t es t h a ak a a
.

w h er e h e r i g h t l t th e b c sh ould gi v e t on e h i g h er t h n t h e b ell y
a a a
It i s ex t r or di n r y t h t such a a aa
.

n er r or sh ou l d h v e so l on g b een ut h or i t y
‘

n
a
.

Mr B i sh op, i n deed, ser i ousl y c ri t i ci ses n d r epr ov es t h e c or r ect i on of h i s ow n

a a
.

er r or , or r t h er t h e cor r ec t r en der i n g of h i s ow n ut h or i t y Let n y on e m a e a

k
afi a a a a a
.

ddl e, n d t h i s w i ll b e pr oved t o h i m m or e s t i sf ct or il y t h n b y v ol um e
a
of pr em edi t t ed pl eon a sm on t h e poi n t
a a a a
.

2
F J F et i s, “ Not i c e of A St r di v r i , t r n sl t ed b y J B i sh op (Lon don ,
. . . .

Vid e n ot e 2, p 37 . .
1 34 V I OLIN-
MA KING : A S IT WA S A ND I S .

a n d r edivid ed d ow n t h e m iddle a s sh own a t B

,
t h e t w o ha lves
a r e t hen j oin ed a t t h e b r oa d en d s i n t h e m a n n er sh ow n a t C It .

i s oft en a sked why ba cks a n d b ellies a r e so of ten j oi n ed when i t

w ou ld b e si m pl er t o c on str uc t t hem a l l i n on e piece Th e .

r ea son (sett in g a a c t tha t this for m O f c ut t i n g i s n ea

.

side t h e f r ly

a lw a y s far p r et ti er th a n th e whol e or sl a b for m ) i s tha t ,

i t i s v er y seldom tha t you fi n d aw edge of dea l or m a ple good

for fi ddl e m a k in g of suffi cien t b r ea
-
dt h t o m a k e afiddle b a c k or
b elly out of i t with out j oin in g in t h e W h ole for m ) a nd ,
it i s b et ter t o ha ve b ot h ha lves of your t a bles a c ou stic a lly g ood ,

t ha n t o l et t h e un sui t a bilit y of t h e w ood of on e Side O f t h e b a ck

or b elly c oun t er a c t t h e g ood q ua lities Of t h e oth er Sla b ba c ks .

“
,

— aa
L
F m 77 Di g r m ex pl i n i n g m a of cut t i n g
et h ods w ood for V i ol i n m a
ki g n A , w edg e cut
a a a
-

a
. . .

sur m i l l e B , t h e w edg e m
. rk ed for cut t i n g
. C , t h e w edg e cut n d j oi n ed. D, pl n ks
cut sur couche .

. . aa . a
i e , c ut s t D Fi g 7 7, r e of c our se l w ys ll i n on e piec e aa a .

Th e m odel , or out li n e, i s then t r ced on t h e fl a a t sur f ce, c ut out a

w it h a
fr et s w -
a a
n d fi l e, n d th e a
w or k p r oc eed s A t D i s
a
.

Shown t h e cut t in g f or sl a b for m ; t h e pl n k s t hus out r e a

w or k ed wi t hout n
y fu a
r t h er p r e
p r ti on A aa“
w h ol e
”
b c k i s a
a
.

a
so c lled w h en it i s m d e out O f t h e b r e dth of t h e w edge i n a
a
t h e m n n er l id dow n i n a n oth er placea ( Vi de P r t II I ,. a
p 2 8 5 , Fi g
. . A s m uch d ep en d s upon t h e m od el y ou
ca n n ot b e t oo c r ef a
ul t o d r a w an outli n e c or r ec t i n ever y

pa r t i c ul r
,
aan d f or thi s pur pose eit h er c opy som e Ol d m a st er ,

or tr a ce a n ou t lin e for y our sel f m a t h em a t i c lly i n t h e m n n er a a

t o b e h er ein ft er l a a
id dow n A w or d b out stor in g w ood t o
. a
ma t ur e . I t i s b est t o k eep t h e m a pl e st or ed i n w edges, bloc k s
a p or t h e b a
n d st r i s f c k , n eck , sc r oll
,
n d sides ; t h e a
pin e l so a
i n w edges, for t h e b elly ; i n t h ese for m s t h ey occ upy b ut litt l e
a
sp c e, a n d a a
r e r e dy t o h n d wh en w an t ed a
Th e m pl e for . a
 TH E W OOD—THE MODE L . 1 35

th e ba ck s i s c ut in t o wedges 1 5 i n ches l on g by 5 in c hes

b r oa d , b ein g 1; in ch th ic k a
,

4 in ch a
t t h e thi c k side a n d
3
t th e
Th e m a
,
thin side (B Fi g .
pl e for t h e n eck sh ould b e i n
b l oc k s (a l so sl ig h t ly w edge sh a p ed) 1 012 in ches l ong 2% in ches
- ~
,
b r oa d t h e t hic k edge 2 in ches deep , t h e thin 1 —
, 5 in ches a n d tha t ,
dest in ed t o m a k e t h e sid es sh ould b e c ut in t o st r ip s 1 5 5 i n ch es
lon g by l g in ches b r oa d b y=TIE in ch t hic k Th e pin e for t h e
.
.

b el ly sh ould b e i n w edges 1 5 in ches l on g by 5 in ch es b r oa

,
d 1g ,
in c hes t hick a t t h e thi ck side a
,

n d in ch t hick on t h e t hin side .

,

Th e obj ec t a n d c on v en i en c e O f k eepi n g t h e wood s i n .

. t h ese
dim en sion s w ill b ecom e a pp a
r en t when w e r ea c h t h e pr a c

t ic a l pa r t of our w or k .

Th e Model — To c opy a n .

ol d m a Ha
’
ster s m odel . vin g
d ec ided wh a
"
t fiddle you w ill -

c opy v er y c a
,
r ef ull y r em ove
t h e b elly of t h e in st r um en t t o
b e r epr od uced . This i s don e
by a pplyin g a r a t h er bl un t
k n ife t o t h e edges w h er e t h e
b elly i s gl ued t o t h e sid es i n
th e m a n n er d escr ib ed fa r t h er

on (si de p . Thi s d on e ,

t h e belly or b a ck i s h e l d dow n l

on t o t h e pla n k s of dea la n d

syca m or e p r epa r ed for t h e

b elly a n d ba c k of y ou r fiddl e ,

a n d t h e out li n e sh a r ly a n d
p
c l ea n ly t r a c ed r oun d it w it h
‘

asha r p p en c il or poi n t Thi s.

i s av er y c er ta in a n d t h e m ost
ofa
78 —P l ak fo t ai g t h out li
a
,

c on ven i en t w a
F I G. fi ddl
n r r c n e n e e
i f u h p
.

y o p en
y
good in str um en t i n c our se of r epa
,

t o ha ve a c c ess t o a i r b ut i f ,

n ot t h e foll ow in g m et h od i s a ver y good on e Ta k e api ec e of

n d a n da ha
.

t hin st iffw ood r a t h er l on ger t h a n a b out on e a

,

,
lftim es -

s t h e vi oli n you wi sh t o c opy a n d c ut a

, ,

a s b r oa da pi ece out oft h e

,

c en t r e a b out t w o in c hes sm a ller t h a n th e a pp r oxim a te outlin e of

t h e sa id violin a s a t A i n Fi g 7 8, wh i c h sh ow s ag uit a r sha p ed -

id up on t h e fiddl e i t will l i e fl a
.

c utti n g If t hi s b e la t r oun d
t h e outlin e t h e guita r sha
.

p ed op en in g r ec eivin g t h e bulge
-

of t h e b a
,

or a r c hin g c k, w hi ch w ould ot her wise in ter fer e

w ith t h e tr a c in g Th e outlin e m a y then b e t r a ced r oun d

n d you will ha e a n exa ct tr a fa

.

a h e fig ur e) , a v cin g
o
( s in t n

en tir e o u tli n e . T o c o py t h e r is e or ar c hin g o f t h e b ac k o r

1 36 V I OLIN -
MA KING A S IT WA S A ND IS .

b elly , p r oc eed a s foll ows : Ta k e api ece of w ood 2 i n c h es ,

a c r oss, } a 7 n i n ch thi c k , a n d a li t t l e l on er th a n t h e b ody of t h e

i s ed ew a n d a
in st r um en t you wish t o c opy P la ce .
ys on , a t
i ht a n gl es t o;t h e b a c k or b el ly h ol di n g it r m l , or w ed i n g
y
rg ,

it a t t h e en ds so tha t it ca n n ot See sa w on t h e r i se i n t h e m i dl e
-
.

i r of c om p a fi n e p oin t or lea d, a
,

Ta ke ap a sses with a n d op en in g

t h em a b out a n in c h , pl a ce on e p oin t sidewa y s on t h e ba c k or

b elly so tha t t h e other p oin t t ouc h es t h e piece of wood held a t

then dr a w t h e poi n t touchi n g t h e sur fa
,
r igh t a n gl es t o it ce t o b e

c opied d own t h e cen tr e Of tha

,
t sur fa c e so tha
,
t th e a r m t ouchi n g

t h e pi ece of w ood will, by follow in g t h e m oti on of t h e l ower

a r m , ex a ctly r ep r oduce on t h e la t h t hus h eld for t h e p ur pose,
t h e c on t our oft h e b a ck a n d b elly t o b e c opi ed B e very c a r eful .

tha t t h e w ood i s h eld , a n d t h e l ow er a r m i s dr a w n dow n t h e

ex a c t cen tr e O f t h e su rf ace b ein g r epr od uced Sim i la r m od el s .

should b e t a k en of t h e r i se a c r oss i t h e b r oa dest pa

() r t of t h e

upp er b out s, (ii ) t h e n a r r ow est

pa r t of t h e i n n er b out s a
,
n d (iii
)
t h e b r oa dest pa r t of t h e lower b out s

tica
.

To t r a ce a n i n d ep en d en t out li n e m a them a lly on agiven

t ed, p er pen di c ul a
,
gr a dua r st r aight lin e, you m ust p r oceed a s

foll ow s A n d I b e b efor e c om m en c in g t h e expla

'

n a t i on of thi s
t ion w hi c h i s i l ust r a
.

Op er a ,
ted by Fi g 7 9, t o r ec or d m y in d eb t ed .

n ess t o Mr John B i sh op by wh ose c our t esy I a m en a bled t o

r ep r od uc e thi s dia
,

gr a m a
.

n d d esc r iptiv e l etter p r ess fr om h is

tr a n sla t i on of O t to s w or k on t h e c on st r uc t i on oft h e vi ol in (s id e
’

1
n ot e
p 20) .

aper p en di cula
,
Dr a w r lin e d ow n t h e m iddl e of asheet of

pa p er or of t h e fl a t side O f t h e piece of wood in ten de d for t h e

ba c k , of t h e ex a c t l en g t h r equi r ed for t h e b ody O f t h e i n st r u

m en t (w it hout t h e b u t t on b Fi g a
, n d di vid e i t in t o 7 2
.

eq ua l pa r ts a s sh own i n t h e fig ur e This m ust b e don e wi t h t h e

cc ur a
,
.

gr e a t est a cy, for on i t depen d s t h e c or r ec tn ess of t h e wh ol e

Then i n t er sec t t h is p er p en dic ul a
.

r
, by 20 h or i z on t a l lin es a t
t h e poi n t s n a m ed b el ow .

Li n e (1 ) A a
t t h e poi n t 8 Li n e (1 1) La
t t h e poi n t
9
B 14 12 ) M
(3) c 16 ( i s)
(4) p 20 ( 14) o
(5 ) 2 11 (15 ) P
(6) 22 (16) Q
(7 ) a 23 ( I7 ) 3
(8 ) u 27 ( 18 ) 8
9) 1 2s ( I9)
' '
1

(1 0) x 31 (20) v

This b ei n g d on e, O p en t h e c om p a
sses to n a e ten t of 9 p a
x r ts
t h e p er p en d i c ul a
r a
n d d esc ib e
, r th e t w o ar c s aaf om t h e r
1 38 V IOLIN -
MA KI NG : A S IT WA S A ND IS .

For t h e m iddl e a r r ow p or ti on
or n p r oc eed t hus —Ou t h e
h or iz on tal lin e L set off 1 1 5 p a r t s fr om t h e p er p en dic u lar t o th e

p oin t 9 ; a n d t hen 1 1 other p a r ts f r om

g t o lafr om whic h l a ,
tter ,

w t h e c ur ve fr om t h e lin e L t o t ha
poin t d r a t of P .

Next set off pa r ts on t h e li n e K f r om t h e p er p en di c ul ar ,

t o it ; op en t h e c om pa sses t o t h e p oin t wh er e t h e c ur ve z in ter

'

sec t s t h e lin e M a n d dr a w t h e c ur ve f
, r om t h e lin e M

totha t of H Th e li t t l e a
. n gl e for m ed by t h e c ur ves

b et w een t h e l in es L a n d M m ust b e w or k ed of f so a ,
s .

t o b r in g t h e sides i n t o p r oper sh a pe .

Th e lower p or t ion i s obta in ed a sf oll ow s Op en t h e -

c om p a sses 1 1 p a r ts a n d desc r ib e t h e t w o a r c s v 1: fr om
,
t h e p oi n t Then pla
r r .c e t h e c om a
p sses on t h e p oi n t

3 35 a dra
”
£ n d op en in g t h em t o r
, w t h e c ur ve 1) w v r
,
.

Next set off 6 pa r ts o ea c h sid e of t h e

“
f: on
5
per
p en di c u lar on t h e lin e s P la ce t h e c om p a sses on t h e
.

3 poin t x a n d o en i n g th em t o v
, p dr a w t h e c ur ves y y ,

5 t o t h e lin e V
fr om v

a a
.

»
g, Now set oli 4 p r ts z on e c h sid e of t h e p r p en
’

a
a
di c ul r on t h e lin e T P l ce t h e c om p sses on these . a a
a
p oin t s, n d op en in g th em t o t h e lin e V , wh er e t h e c ur ve
2
“

3 a
; en ds, d r w t h e c ur ves t afr om t h e li n e V t o th t of R a a ..

For t h e upper c or n er s, set off 24 5 p r ts on t h e lin e a

G, fr om t h e per p en di c ul r t o o, a n d
pl a c in g t h e c om a
a pa sses on thi s p oin t, op en t h em t o t h e lin e] D, w her e
'

g
t h e cur ve en d s, n d d r w t h e c ur ve f
f a
r om t h e li n e D a
E t o t ha t of F .

;
v Then on t h e lin e set of f 14 5 pa I
r ts fr om t h e per en
p
g d i cul r to m a P l . a
ce t h e c om p sses on t h i s p oi n t , n d a a
E
I
open i n g t hem t o lin e H wh er e t h e c ur v e en d s, d r w a
t h e c ur ve fr om t h e lin e H t o 3 .

.
Now on t h e li n e E set off 22 p r ts fr om t h e per pen a
a
o
F
r

di c ul r t o 9 a P l ce t h e c om p sses on t hi s poin t, a
. nd a
open in g th em t o wh er e t h e c ur ve m eet s t h e lin e F,
a
d r w t h e cur ve fr om t h e lin e F t o 8 A g in pl ce . a a
t h e c om p a sses on t h e p oin t 20, n d op en in g t h em !
a
a a
p r t s m r k off t h e len gt h of t h e c or n er s s 8 .

For t h e low er c or n er s set off 24 pa r t s on t h e lin e Q

fr om t h e p er pen dicul r t o b b , n d, pl a a
c in g t h e c om a
a
p sses on t his p oin t , open them t o t h e lin e B , w her e t h e c ur ve
a a
aaen d s, n d d r w t h e cur ve fr om t h e lin e R t o d d .

Then on t h e li n e N set of f 1 6—
5 p r ts fr om t h e p er pen dic ul r ~
a a
to t . P la ce t h e c om p sses on thi s p oin t , a n d, op en i n g t h em t o a
W her e t h e c ur ve m eet s t h e lin e P , d r w t h e cur v e fr om t h e l st a a
a
n m ed lin e t o d d .
 rm : WOOD—THE MODE L . 1 39

La
st ly, pl a c e t h e c om p a sses on t h e p oin t 4 9 a n d op en i n g
,
them 1 9 2 p a r ts m a
,

r k of f t h e l en t h of t h e cor n er s d d, d d
Thi s c om pl etes t h e en ti r e m og
, .

el , a n d t h e b elly c a n n ow be
m a r k ed f r om t h e b a c k th us tr a c ed .

To obta in t h e pr oper r ise or h eight for t h e ba c k or b elly ta ke

athi n piec e of ha
,
r d w ood a b out 2 in c hes b r oa
, d a n d alittl e ,

l on ger tha n t h e vi oli n

you p r op ose t o m a k e (Fi g 7 9A ) , a n d m a rk
i t i n t h e m iddle a
.

t t h e p oi t A , whic h m ust b e thr ee

n
“
pa r ts

(of t h e for egoin g sca le) dist a n t f r om t h e edge, sh ow n her e by

t h e d otted li n e . Th en pla , c in g a la r ge p a i r of c om pa sses on t h e
p oi n t A open t hem 21 6 pa
,
r t s or th r ee tim es t h e l en g t h of t h e
,
b ody of t h e in st r um en t a n d with t hi s r a
, dius desc r ib e t h e a re

sh ow n i n t h e figu r e, wh i c h, by b ein g sa wed out , wi ll ser ve a s

aguide for t h e height or r ise r equi r ed .

Th e sm a l l sem ic i r cula r pi ece seen a t t h e t op of Fi g 7 9 i s t h e .

b ut ton w hic h i s pa
”
,
r t of t h e b a ck a n d ma ,
de i n on e piece
w ith it, t o whi c h i s gl ued t h e shou lder when t h e n ec k i s fixed t o
th b od
{
e

Thi s n et h t ai g a
od of r c n n outlin e (whi c h h as b een giv en by

m or e th a n on e a uth or ) i s, th ough ter r ibly c om plic at ed, t h e m ost

i n gen ious piece of m ec ha n ica l dr awin g 1 ha ve ever c om e a c r oss .

Now a da ys a o n e ca et ac cess t o agood outli n e, whi c h

n
y n
g
ma b e c opied a s b efor e set d ow n , b ut I ha v e given t h e a b o v e
y
m et h od a s it i s ex t r em ely i n t er estin g, a n d c l ever i n c on

str uction .

a
V i v eb m i n syl vi s, et t un e si n e v oc e c upr essus
aa ach el ys
Mor t u f c t
.
,
n un c eg o vocem h a
b eo .
 C HA P TE R VII .

TH E B A C K, B E LLY, A ND SI DE S .

Th e
n

Th i ck esses of ak a
th e B c n d B el l y—C o — — ss of A i r
pyi st s Th e Si des Ma c on
a aFi ddl e—Hei g h t of t h e Si des
t i n ed i n .

I H A VE descr ibed t h e m odel s a n d t h e m od es of tr a c in g th em

it r em a in s, ther efor e, t o n otic e t h e r ela tive thic kn esses of

t h e differ en t pa r t s of t h e ba ck a n d b elly of apr op er ly p r opor

t on ed fiddl e .Im por t a n t a s i s t h e sel ec ti on of w ood a c ous

tic a lly good, it m ust b e a ppr ec ia t ed a t on c e tha ,

t t h e ton e
of t h e i n st r um en t d epen d s quite a s m uc h on t h e w ood b ein
pr op er ly c ut a n d a or t i on ed a
pp s on t h e w ood i t sel f
, ,for it sta n ds

t o r ea son t h a,
t h ow ev er good t h e m a t er ia l ma y b e, i t s in t r in sic
m er it m ust b e a b solut ely n ullified i f i t fa ll in t o t h e h a n d s of a n
un sk il ful w or km a n Of c our se, t o l a
.
y d ow n ha rd a n d fa st r ules

t o fi x t h e pr oper a m oun t of w ood t o b e l eft i n a n in str um en t ,

ei t h er i n t h e b a c k or i n t h e b elly, w ould b e qui t e i m possibl e for ,
i t m ust n ec essa r ily va r y wi t h t h e qua lit y of t h e w ood thus t h e
c l oser t h e g r a in a n d t h e ha r d er t h e m a ter i a l t h e thin n er m ust it
b e left a
,
n d t h e r o or t i on s whic h w ould b e
p p per fec t wit h on e piec e
of w ood, m ight pr od uc e a ver y un sa t i sfa c t or y r esult with a n ot h er .

It i s a lw a ys how ever bet t er t o er r on t h e side of ex cess

, ,
th a n of m ea n n ess f
,
or t h e b est a ut hor it ies a llow tha t a n i n st r u
m en t wit h pl en t y of w ood l ef t in i t h a s a m uc h fin er t on e tha n
on e whi c h h a s b een c hi sell ed d ow n t o am i n i m um of t hi c kn ess

a n d a ga in in st r um en t s w hic h ha v e b een spa r ed t h e c hi sel i n

,
t h ei r in fa n cy (B a ud i n sci us a c n on i n ca ut a s
fut ur i ha ve a
m uc h b et ter c h a n c e of m a t ur in g t o per fec t ion t h a n w ea ker on es .

Th e gr ea t t hin g i s t o a void ex t r em e s If t oo t hin , t h e t on e of

.

t h e fiddle will b e w ea k a n df eebl e 5 i f t oo t hi c k t h e r esult will b e

asl uggi sh dull t on e i n fa c t t h e el a
,

, , st i ci t y of t h e d ea l a n d th e

pidit y w it h w hic h i t t r a
,
ra n sm i t s soun d will b e n eutr a liz ed by
,

t h e qua n t it y of i t w hi c h h a s t o b e put i n t o vib r a t i on It i s i n

th e a n d r egul a
.

dj ust m en t a t ion of t h ese t hi c kn esses t ha t t h e tr ue

ta len t of t h e fi ddl e m a k er a
-
sser t s it sel f or i s c on s i c uous by i t s
, p
a b sen c e . In high b r ea st ed m odel s (li k e t h e Ger m a n
, for
 14 2 V I OLIN-
MA KING : A S IT WA S A ND I S .

m a
p s of (r epr oduced i n Figs . 80 a
nd with im a gin a r y lin es on
t hem , t o den ote wher e t h e thic kn esses m er ge i n t o on e a n oth er

a ar a those b oun da
,
s f s it is p ossible t o deter m in e r i es and I

FI G 81
. .
—Di a
g a
rm of a -
a
w ell se son ed b ell y, w i th t h i c kn esses in fr a
ct i on s of a
n in ch .

pr esen t these t w o dia gr am s t o m y r ea

a
der s with ever y c on fi
den ce i n thei r pr ac ti c l va lue Th e thickn esses, a s they m er g e
an other a r e i n dica
.

m t o on e , te d i n fr a
c ti on s of an in ch a
, nd m a
y
 TH E B A CK, B E LLY, A ND SIDE S . 14 3

b e ta k en a s those of t h e a ver a ge n um ber of violi n s t h e den ser

t h e w ood , of c our se, t h e t hin n er i t will b e b ut t h e p r op or tion s
r em a in t h e sa Th e m a
,
r gin s b eyon d t h e
me .
pur fl i n g (which i s
t h e ex t r em e edge whi c h over las t h e sides a
p ) , n d i n Fi g 8 0 t h e
but ton a t t h e t op, h a
.

ve n o in fl uen ce on t h e vibr a ti on of t h e
pl a tes, a nd a r e l ef t t o t h e di sc r etion , a rt or in stin ct of t h e
fi ddl e m a k er ; n a tur a
,
-
lly, agood st r on g obtuse edge h a s a
t en den c y t o str en then t h e en ti r e in str um en t In Fi g 8 1 it
wil l b e seen tha
. .

t e thi ckn esses a r e ver y un if or m , i n t h e sem i

c i r c ul a r pieces a t t h e t op a n d b ott om
,
ha vin g t h e thickn ess
of t h e w ood i s m er ely l ef t fla t t o fa sten on t o t h e bloc k s a nd

) i n ea
,
c h of these sem i c ir c l es a
.

t h e li t t l e piec es l eft thicker (Tsa r re

ca used by t h e r ise of t h e b elly Th e little t r i a
. n gu la r piec es i n
t h e c or n er s (i n b oth figur es) a r e l eft thi ck
(3) for t h e sa m e4

p ur p ose In r ea . lity t h e thick est pa r t of t h e b elly

(Fi g 8 1 ) .

i s, it will b e seen , j ust over t h e soun d p ost, b ut it i s on l y j ust -

thicker (315 ) (a s will b e seen i n t h e figur e) th a n t h e sur r oun di n g

wood, a n d t hi s slight i n c r ea se c over s a spa ce of a bout ashillin g 1 .

B efor e di sm i ssin g thi s quest ion of thickn esses, a wor d a b out

C o i es
p Of these, ther e a
. r e t w o sor ts : Fir stl y t h e gen ui n e
c opy m a
,
de by t h e skilful w or km a n , w h o r ec og n iz es ahigh

or ig i n a l, a n d t r ies
,
n ot un suc cessf ully, t o obta in t h e sa m e
r esults, by m a kin g h is b r a n n ew fiddl e exa c tly wha t th e m a st er

piece s of t h e A m a ti, t h e Gua r n er i a n d St r a diva r i w er e, when

t h e y w er e b r a n ew , a
,
n n d l ea vin g tim e t o w or k i t s m a gic a l
im pr ovem en ts Such w er e t h e i n st r um en ts of P a n or m o Lu ot
p ,
A n d secon dl y, t h e vile i m ita
.

um e, a
,
Vu i ll a n d oth er s . , t ion whic h
lea ves t h e wor k sh op dir ty, da ma ged, a n d other wise di sfigu r ed
by a r ti fic ia la g e, pr oduced i n afew h our s by t h e a r tful fi ddl e

for g er .These sha m a n t iques c a n gen er a lly b e told b y t h e

a bl e sm ell which cha
b om i n a rac t er i z es th ei r i n sid es a
n d whi c h i s

aid
,
th e r esu t l of t h e c s, et c ,
. used t o pr em a
tur ely a
g e t h e m od er n
w or k Th e fi r st a r e l ef t pr oper r n ly p op or tion ed ad w it h t heir
,

n d pa
.

p r op er a ge a r en t s r ec or ded in side them t h e sec on d, b ein g

a n t eda ted som e cen tur ies, a r e thi n n e d d own t o a i d t h e dec ept ion ,
a n d t h e t i m e which sh ould per f ec t on ly d estr oy s them This
,

t fa lm sley, a
.

w a s t h e gr ea ult of P et er Wa n d a ppli es t o t h e
for ger i es, m or e or less a r ti stic whi c h a r e tur n ed out ever y yea r

b y t h e w holesa
,

le fiddle t r a Th e w h ol esa l e fiddle t r a

“ ”
de de .

0 t em por a
l 0 m or es !
Th e Sid es — P eopl e a
r e at
p a
t o im g in e th t t h e six a
t ps of s ri

ma ple w ood which c om p ose ha

t h e sides of t h e vi olin
ve n o
Th ese a r of c ourse t h e t h i c k n esses of a ol d a
e, n d sea son ed b a
n ck a n d b ell y

Th e t h i ck n esses set dow n fur t h e o i n t h e pr a ct i ca

, .

r n l di r ec t i on s for w ne

i st um en t s i t w i l l b e seen v a
n r ,
r y sl i g h t l y f om t h ese
,
r .
144 V IOLIN MA KI G :
-
N A S IT WA S A ND I S .

in fluen ce on t h e ton e, a n d c on sequen tly ser v e n o oth er p ur p ose

tha n t o k eep t h e w h ole st r uc t ur e t ogeth er It i s t r ue they do .

n ot vib r a te them selves, b ut th ey h elp i n agr ea t m ea sur e t o

tr a n sm it t h e vib r a tion s of t h e b elly t o t h e b a ck ; a n d on th ei r

pr op er m ea sur em en t a n d h eight d ep en d s t h e v ol u m e of a ir
c on t a in ed i n t h e in t er i or of t h e in str um en t ; a n d t h e im p or t

a n ce of thi s p oin t c a n n ot b e b etter ex pr essed t h a n i n t h e w or d s

of M Feti s w h o a Th e in ten sity of t h e soun d s r en

1
s y s

d er ed b y t h e violin d ep en ds upon t h e m a ss of a i r c on t a
.
,
in ed
within i t , whic h ought t o b e i n ac er t a in r ela tion with t h e oth er
el em en t s a r ela tion w hic h it i s her e t h e question t o deter m in e .

B aser ies of in gen ious ex per im en t s m a de with a n a ppa ra

,
tus
which p er m itted t h e m a
,

ss of a i r i n avi olin t o b e a ugm en te d or

dim in i shed a t pl ea s u r e
2
w e a re a ssur ed t h a t if t h e str in gs a re
put
t am edium , w e obta
,
in to vibr a tion whil e t h e m a ss of a ir i s a in
soun d s a t on ce m ellow a n d p ower f ul i ft h e volum e of a i r b e t oo
gr ea t, t h e l ow n ot es a r e w ea k a n d d ull , a n d t h ehigh on es sh a rp

a n d thin ; i f it b e t oo lit t l e t h e l ow n ot es a ,
r e c oa r se a
,
n d th ose

oft h e fi r st st r i n g l ose t h ei r b r illi a n cy If w e ex a m in e t h e soun d .

p r oduced by t h e a i r i n t h e b ody of t h e in st r um en t wh en t h e
t on e r en der ed by t h e st r in gs i s m ost b ea
,
utiful a n d i n ten se w e ,

fi n d tha t it keep s w it hin cer t a in lim its which dep en d on t h e

for m a n d t h e other el em en t s of t h e in st r um en t
" In tr yin g t h e
,

ma ss of a
.

i r c on ta in ed i n sever a l in str um en t s of Str a d i va r i us by

m ea n s of a win d con duc t or for m ed of asi m ple b r a ss tu b e slightly

c on i c a l, a nd fla t a t i t s la r ger en d so a s t o l ea v e on ly alit tl e Sli t
,
for t h e esca pe of t h e a ir i t w a ,
s foun d by pl a cin g t h e fl a t en d of
thi s a ppa ra tus over on e of t h e f hol es a n d bl owi n g thr ough t h e

ot her en d tha
,

t th e a ir a lw a ys pr oduc ed asoun d cor r es on din

t of t h e i ddl e 5
,

t o 5 1 2 vib r a tion s i n asecon d, whic h w a s t ha

i n t h e t im e of Str a diva r ius, b ut whi ch i n 1 838

(when Sa va rt
ma de h i s exper im en t s) a n sw er ed t o B n a t ur a l (asem i— ton e
b el ow) Thr ough t h e ex cessive r ise i n t h e pit c h for a
. b out t h e
la st eighteen yea r s t h e sou n d pr oduce d by 5 1 2 vib r a ti on s i s
n ow n ea r ly i n un i son w ith B fl a t A ll t h e ex c ellen t violin s of
.

Str a diva r ius a n d Gua rn er ius ha ve yielded t h e sa m e r esult Thi s

then i s a i r c on t a
.

n oth er f a ct a c qui r ed for sci en c e : t h e a in ed i n

aviolin should pr oduce asoun d equa l t o 5 1 2 vibr a tion s i n a
sec on d wh en set i n m ot ion by t h e a
,
‘

ppa ra t us of w hi ch w e h a ve
sp ok en . If t h e i n t on a t ion oft h e a i r b e high er t h e l ow n ot es of ,

Not i ce of A t h o y St r a
n n di ai vp 84 ( i d
r ot p s e n
2

t squa
e
a s afl a it h a h a
,

ch ed t o i t a
.

m be a t ta
.
,
2
Th i s w i ol i
re v n w c t r i gh t r
a or ked a ss of a i r co t a
, ,

n g l es i n W h i ch W pi t o s h i h p m i t t ed t h
n w cma er i ed e n n
i n t h e i n st um en t t o b e i n cr a d o d i m i i h ed a
, ,

r e se t pl a
r su re Th e st r i n g s w er e
n s e
vi b r a t ed h i l st t h e pi st on w a o ked ad h en t h ey soun ded b est t h e m a
.

w s w r n w ss
of a ir w a c e a ot o espo di g t o 5 1 2 v ib r a t i on s i n a
, .

s fou n d t o pr odu n e c rr n secon d

n .
14 6 V IO L IN -
MA K ING : A S IT WA S A ND I S
.

th e Klot fa
z m ily ad ,
n Ger m a
of t h e n sc h ool gen er a lly Som e .

of t h e old fi ddl e m a ker s li n ed t h e sid es of t hei r fi ddl es with

-

pa per or cl oth . St r adiv a r i him sel f i s sa id t o ha ve don e thi s

som et i m es, b ut t h e pr a c t i c e i s en tir ely a ba n d on ed as i t d oes

of t h e sides, a
,

n ot i m pr ove t h e n d

t h e ton e
.

a
V i ssi n el b osc o un di poi c ddi st eso
Per dur asc ur e m a se t c u aq a
i t nto
a a a "a
,
L di vi n del l ’ uom o r t e m ’h r eso
a a
L vit l a
e or c n t e l l
 C HA P TE R V I II .

TH E INTE RI OR O F T H E V I O LI N .

Th e B l oc —Th e Si de Li n i n gs—Th e Soun d P ost —It s Mea

k su r em en t — P osi ti on i n
us Soun d P ost —H a
s
t h e Fi ddl e—Fun c t i on s oft h e Soun d Post —Pet i z ea n sel s
’ ’

—Da Th e B a ss B a r —It s Measu r em en t s—Posi t i on i n t h e Fi ddl e

’
v i dson s
r s—
-

Th e Old B a ga
Va r i es a
t t em pt ed w i t h th e Ba
ss B a
r .

Th e B l oc/
cs —Th ese a . r e t h e si x pieces of w ood whic h b ein g
fixed a t t h e t op, b ot t om a n d c or n er s
(F Fi g 8 2) of avi olin
, , .

ser ve t o st r en gth en t h e whol e st r uc tur e a

,
n d t her eby give a fi rm ,

ba se f or t h e vibr a t ion s of t h e ba ck a n d b elly, a

1
n d t h er e i s n o

doubt t ha t t hey per for m ac on sider a ble d uty i n tr a n sm i t t in g t h e

vibr a t ion s oft h e b elly t o t h e b a c k i n t h e sa me w a ya s t h e soun d

post a n d t h e sides In som e of t h e c om m on est a

. n d m ost in f er i or

fi ddl es w hi ch com e i n to t h e m a r ket , t h e c or n er bl ock s a n d

side li n in g s a re a ltogether om itted I t i s ha r dly n ecessa ry.

t o c om m en t on t h e ut t er w or t hl essn ess of suc h i n st r um en t s

ha
,

w hi c h
,
h owever a re n ow ppily on ly t o b e foun d i n t oy
,

sh op s or a t t h e m ost in fer i or m usica l wa r eh ouses Th e block s .

a
,

a re m a de of pin e of a n even n d n ot t oo wide gr a in (whic h i s

,
set p er pen di c ul a r ly t o t h e b a ck a n d b elly
) ex cep t in g i n t h e ,

in str um en t s of St r a diva r ius w h o n ea r ly a lw a ys used w illow

,

for h i s bl oc k s doubt less w i t h t h e obj ec t of givin g ag r ea

, t er
spec ific light n ess t o h i s i n st r um en t s Th e t op a n d b ot tom b loc k s .

should h a ve alen g t h of 2 in c hes, ab r ea dt h of T ; in c h, a nd a

9

height of c our se iden t ic a l wit h tha t of t h e sides Th e c or n er .

bloc ks should j ust fill up t h e cor n er s (a s i n t h e fig ur e) so a, s to

pr od uce t h e guit a r sha p e tha

,

t t h e in t er ior of avi oli n w ould

-

p r esen t i f t h e c or n er s w er e r em oved Th e g r ea t est c a re m u st.

b e exer c ised i n fi t t i n g t h e bloc k s t o afi ddle t o use t h e sm a l lest

'

s t o fi x t h em m ost c l osely a cc ur a
,

qua n t ity of gl u e so a t ely a n d , ,

i m m ova bly t o t h e sides t o a void t h e ca ta str ophe of t hei r c om in g
,
l oose Th e t a
. il pi n (G, Fi g 8 2) i s fa
-
sten ed i n to ahole b or ed
.

thr ough t h e m iddle of t h e br ea dt h r a ther bel ow t h e m iddl e of ,

t h e h ei g h t of t h e b ot t om bl oc k Th e n ec k fi t s i n t o ac ha . m b er
c ut t h r ou g h t h e upper b out s in t o t h e t op bl ock a s i s h er ea fter ,

Fi g 82
. r epr esen ts th e i n t e r i or on l y of av i oli n , i e,
. . t h e si des a
re n ot
r epr esen t ed .
148 V I OLIN -
MA KING : a
s IT WA s
'

A ND I S
.

laid down In olden da

. y s t h e n e ck w a
s of ten fix ed t o t h e ba ck

wit h an a il or sc r ew , a n ex pedien t ex tr em ely deleter ious t o t h e

fiddle, a n d I ha ve seen i n str um en ts i n whic h t h e t op bl ock w a s

disp en sed with a lt og at h er , t h e sh oulder b ein g ext en ded i n t o t h e

F ro BE
L .
—Th e I n te r i or of t h e V i oli n .

b ody of t h e in str um en t sufi i c i en a

t ly f r t o ct a
a s th e t op bloc k
oft h violin
—
e

a
.

Th e Sid e Li n i n g s These r e t h e t welve st r ips ofwood whi c h

.

r un r oun d t h e t o a
p n d b ott om of t h e sides (D D, Figs 8 2 and
a
.

n d c on n ec t t h e bl oc k s with on e a
n other Th ey ar e m d e of t h e
. a
1 50 V IO LIN -
MA KING : A S IT WA S A ND IS .

pec uli a
r i t i es of t h e fiddle , a
n d ust b e c a
m r ef ully r eg ula t ed by
a n ex p er i en c ed w or k m a n , bu t it is a l m ost in va r ia bly w ithi n
in ch behin d t h e r ight foot of t h e br idge, a s in di c a t ed a t B in
,

Figs 8 2 a n d 8 3 A high b uilt in st r um en t will r equi r e t h e soun d

.
-

r er t h e b r idge t h a n afl a
.

p ost n ea t t er m odel . I t i s t h e m or e
im p or ta n t t o t r ust t his w or k on ly t o a sk illed h a n d, f or t h e on ly
a c c ess t o i t b ei n g thr ough t h e r i cr h t ba -
n d fh ol e, a n i n ex per ien ced

oper a t or i s ver y a t t o d es tr o y th e a p ea ra n c e of t his f h ol e, n ot

p p
t o m en tion in j ur ies t o t h e in t er n a l sur fa c es oft h e fiddl e .A p oor
v iolin i s of t en im pr oved by pl a c i n g t h e p ost n ea r er t h e b r id e,
g
b ut avi olin t hus a rra n ged r equi r es v er y ca r ef ul pla yin g t o
‘

r en d er t h e t on e even . When , t hough even , t h e ton e i s r ough

a n d ha r sh , t h e p ost m ust b e m ov ed b a ck ali t t l e i f t h e high
st r i n g s a r e w ea k a n d t h e low er on es h a r sh , t h e p ost m ust b e

m oved a lit tl e outw a r d s t ow a r d s t h e f hol e i f t h e low n ot es a re

w ea k a n d t h e h igh on es sh r ill , it m ust b e m oved ver y slightly

t ow a r d s t h e c en t r e . E x per im en t s h a ve b een t r ied pla , c in g i t

b ehin d t h e l eft foot , b ut t h e pr essur e oft h e t w o l eft ha -

n d st r in g s

bein g lighter t ha n t ha t of t h e t w o high on es, i t would n ot b e so

m uc h a c t ed upon i n t hi s p osi t i on , a n d a ga i n , foll ow in g a n

a r gum en t set out a littl e fur ther on , it w ould c a use t h e p r oduc

t ion of sh or t fibr e vib r a t i on s w h er e l on g on es a r e r eq ui r ed , a n d

v i ce v er sci So im por t a n t , i n d eed, i s th e a c t i on of t his lit t le p ost

’

on t h e t on e of t h e in st r um en t , t h a t t h e Fr en c h t er m for it i s
l ci m e (t h e soul ) w it h out i t t h e t on e of afiddle i s h a r sh a
’
n d
’

feeble, b ut w i t h i t t h e effec t a ga in b ec om es good M Sa . .va rt

ha s m a de m a n
y m ost i n t er est in g ex p er im en t s on t h e fun c ti on s
a n da c t i on of t h e soun d post, a m on g st w hi c h wer e t h e foll owin g .

He r em oved t h e soun d post fr om a violin , a n d a lied i t out sid e

pp
n d on t h e t op of t h e b elly by m ea
,
a n s of t w o u r ight s on t h e
p
c or n er bl ock s, a n d a c r ossb a r , b etw een w hi c h a n d t h e b elly t h e

sou n d post w a s set u

p A ga . in , fix in g t his a r c h t o t h e ba c k of
t h e i n st r um en t by c utti n g ah ole i n t h e ba ck , h e set t h e p ost
up a ga in st t h e b elly, w i t h out t ouch i n g t h e b a ck a t a ll. A ga in ,
r em ovin g t h e soun d p ost a ltogether , h e a pplied aweight t o t h e
b elly, a n d in a ll t hese thr ee ex p er i m en t s t h e sa m e r esul t s w er e
s i f t h e soun d p ost w er e t her e i n i t s n or m a
pr oduced a , l posit ion .

In fa c t, t h e sa m e ef fec t i s pr od uc ed wh et h er t h e p ost pr esses

a ga in st t h e belly out side by m ea n s of t h e a r ch or t h e b elly i s

pr essed a in st i t by m ea cla It w a
,

ga n s of a mp . s ba sed up on t h i s

peculi a r it y t h a t Ha wk in s i n 1 800 pa t en t ed h i s violi n , i n whic h

t h e ba ck a n d sid es w er e r epl a c ed by a ba r, a n d a sp r i n g i n
pla ce
of t h e soun d p ost , w hic h pr oduced t h e sa m e ef fec t (a s f ar a s
m er e n oi se w a s c on cer n ed ) a s i f t h e p ost h a d b een st ill ther e
Thi s a n d si m ila r va ga r ies ha ve been m en t ion ed i n apr evious
.
 T HE I NT ER IO R or TH E V I OLI N . 15 1

c ha
pter Th e
bj ec t of t h e soun d p ost i s n ot so m uch t o com
o
m un i ca
.

te vibr a
th e tion s of t h e belly t o t h e b a ck , a s t o r en d er
t h e v ibr a tion s of t h e t w o pla tes sim il a r (or n orm a l ) w h i lst i t
c om m un ic a tes them If in stea
,

d of b ein g con ti n uous, t h e

.
,

vibr a tion of t h e str in g w er e i n sta n ta n eous like tha t of a

guita
,

r ,
t h e soun d p ost w ould on ly d ea den t h e soun d It i s
for t hi s c a use th a t t h e piz z ic a
.

t o n ot e on a vi olin h a s n o
r eson a n ce un l ess t h e sou
,
n d p ost b e a b sen t when it i s a s full ,
a s aguit a r n ot e .

Th e soun d post h a s t her ef or e t h e sa m e ef fec t upon t h e b elly

ck a
, ,
a n d ba s t h e b ow h a s on t h e str in g s it c on tin ues t h e vibr a
t ion s a n d k eep s them r eg u la r w ith on e a n ot h er Th e succ essi on .

of sh oc ks gi ven t o t h e str in gs by t h e b ow a r e c om m un i c a te d t o
,

t h e ba c k by t h e soun d p ost a n d b ei n g
pla
,
c ed j ust b ehin d t h e
,
r i gh t f oot of t h e b r idge it h olds it fir m ly t her e whil st it a
,
ll ow s
t h e vib r a tion s of t h e l eft foot t o b e t r a n sm i t te d t o t h e ba ss b a
,

b en ea t h i t whic h di r ec ts t h e vib r a
, t ion s of t h e b elly To p r ove .

t hi s i f ah ol e h e c ut i n t h e b elly so th a
,
t t h e r ight foot of t h e
,
b r idge r est s on t h e t op of t h e soun d p ost w it h out t ouchin g t h e
belly a t a l l t h e effec t of t h e p ost i s n ot n eutr a
, liz ed or destr oy ed ,
a n d t h e left f oot a c t s up on t h e b a r a s usua l A ga in i fi n a n ot her.
,

v iolin t h e w ood i s c ut out fr om un d er t h e l eft foot so t ha t th e ,

left foot c a n n ot Com m un ic a te wit h t h e belly b ut i s i n depen ,

den t l y supp or ted a n d to a llow t his t h e b a

,
r i s shi f t ed t o t h e
m iddl e of t h e b elly t h e soun d p ost b ein g i n i t s n or m a
,
l p osit ion
w ith r ega r d t o t h e r ight foot oft h e b r idge, t h e ef fec t oft h e soun d
p ost i s pr oduced, th ough t h e effec t of t h e b a r i s n eut r a liz ed .

These, th en , a r e t h e fu n c ti on s of t h e soun d p ost , a n d tom a ke

it per for m t h ese fun c tion s pr oper ly t h e gr ea test c a r e should b e
,

ex er c i sed i n d eter m in in g i t s p osition a n d p r essu r e on t h e b a

, ck

a n d b elly It m ust, however b e b or n e i n m in d, tha ,

t ever y t im e
t h e p ost i s m oved t h e equili b r ium oft h e in st r um en t i s d er a
.

n ged ,

a n d it will t a k e som e tim e t o g et a c c ust om ed t o t h e c h a n ge, a n d

a s th ese ch a n ges a re n a tur a lly deleter ious t o t h e fiddle they ,

m ust b e m a de a s seld om a s possible A s I ha ve sa id b efor e t h e

.
,

ma ss of a i r c on ta in ed i n afiddl e ought t o yield acer ta in n ot e

a p if h e p ost i s t oo sh or t , a l w er n ote w ill b e
( i de 1 .44 ) t o p ro

duced a n d th e u pp er n otes of t h e violi n will suffer i f it i s t oo

r y will ha ppen In fa
,
lon g, t h e con t r a c t i f your soun d p ost i s
.
,

t oo shor t i t w ill h a ve t h e sa m e ef fec t a s i f t h e ba ck a n d belly

d b een w or k ed t oo thin , a
,

ha n d v i ce v er ed It som etim es .

t wh en asoun d p ost h a g ma
,

however oc c ur s tha s b ee de of g

ft er b ei n g set i n afi ddle thi s,

,

son ed w ood it c on t r a ct s a
,

un sea
in ed by r ela xin g a
,

i f suspec t ed, should b e a scer ta

[

l l t h e st r in gs
“

it will fa ll a
,

w hen i f t h e soun d post h a s shr un k n d an ew

, . .
,
1 52 V I OLI N -
MA KING : A S IT WA S A ND I S.

on e m ust b e put i n , fulfillin g t h e pr oper c on dit ion s . A few

yea r s ao M P e t i z ea
g , . ua n n oun c ed t o t h e A c a dem y of Sc ien c e s
in Pa r is t ha t c on sid er a ble a dva n ta ges wer e t o b e der ived fr om
t h e use of ah ol l ow g la ss soun d o st , a n d in t h e A llg em ei n e
p
Musi lca li seh e Z ei t un g , for 1 8 8 1 (p 7 on e Joh n A n th on y
a a of a
.

H n sel, al ut hier a n d m usi c ia n ,

p r on oun c es i n f v o u r

br oa d, fl a t, a n d thi n soun d post, t h ough di f fi cul t t o a dj ust, a n d

r e uir i n g g r ea
q t a c c ur a c y t o en sur e suc c ess . Mr P Da
. . vid son
c la im s especia l m er it for asoun d post , w hic h h e ca ll s
a n c i en t f or m l a t ely r e a dopt ed , whic h i s m a
-
”
de a s foll ow s :
Dr ill alon gi t udin a l h ol e t hr ough a s ua q r e, c lea piec e of
“
n

ced a r w ood , a b out of a n in c h i n dia m et er ; n ew d r ill a

n um b er of hol es c r ossw a ys t h r ough t w o opp osit e sides, so a s

t o ha ve aspa c e of a b out é a n in c h b et w een ea ch t h en i n t h e

ot her t w o sides of t h e s ua r e d r ill an um b er of h oles of t h e
q
s t h e pr ecedin g , so a
sa m e siz e a s to
pa ss t h r ough t h e m iddl e

of t h e for m er spa c es, i n a dir ection thus c r osswa ys t o t h e

ot her s ; n ow r ed uc e a n d c ut t h e post t o i t s pr oper r oun d ed
di m en sion s a n d fi t it t o t h e violi n i n t h e usua l ma ”
, n n er . Thi s
oper a t i on i s, of c our se, super fl uous a n d r idi c ul ous, b ut is
in t er est in g a s sh ow in g h ow c om pli c a t ed m a y b ec om e even so
sim pl e a piec e of m ec h a n i sm a s t h e sou n d
post of afiddl e .

Th e B a ss B a r or Sou n d Ba r , whi c h i s t h e ot her g r ea t n er vous

re u
g la t or of afiddl e, i s t h e b a r of fi n e soft ev en g r a in ed pin e,
-

a bout IO; in ches l on g, whi ch ex t en d s a l on g t h e belly of t h e fiddle

i n asli h t l y obli ue dir ec t i on , un der n ea
q t h t h e l eft foot of t h e
br idge A , Figs 8 2 a . n d q
Thi s obli ui t y of posi t i on i s oft en
m uch ex a gger a t ed, on pa per , i n dia gr a m s, a n d i n t h e fiddl e i t self .

Th e r igh t devia t i on , m ea sur ed f r om t h e c en t r e j oi n of t h e b elly i s

a a
,
s fol l ow s t t h e t op i t i s 75 1 , or g i n c h fr om t h e cen t r e j oin in
5

t h e c en t r e, un d er t h e b r idge i t in c r ea ses t o in , or
“
in ch a t th e
bot tom en d i t h a s i n c r ea sed t h e di st a n c e t o 17 , or g ; at ot a l
7 .

devia t i on of 726 7 5 ) of a
1
n i n c h t h r oug h out l t s en t i r e l en gt h
These dist a
.

n c es i n cl ud e t h e
{ 5 , w hich i s t h e dia m eter of t h e b a
5
r,
i e , t h ey a
. . re ta k en fr om t h e out er sid e of t h e b a r t o t h e c en tr e
a n d t hey a
,

r e sub ec t t o slight a
j l t er a t i on s a c c or din g t o t h e m od el
of t h e violin . Thus on an a r r ow fiddle t h ey w ould b e slightly
l ess, a n d on ab r oa d on e atr ifle m or e It s wid t h a . t t h e edge
glued t o t h e belly i s 535 in ch br oa - -
d, t h e ot her edge i s slightly
r oun d ed . Thi s la st r oun d ed edge i s sligh t l
y un dula t ed, a n d
t h e edge gl ued t o t h e b elly t h r oughout i t s en t i r e len g t h t a k es a
c on c a vit y r egula t ed by t h e l on gi t udi n a l a r c hin g of t h e b elly
I t s d ept h i s a lso, of c our se, sim ila la
.

r ly r egu t ed , b ut i s gen er a lly

i n t h e b est fi ddl es 3 in c h i n t h e c en t r e or d ee est a
p p r t It i s set
.

uit e a t a r ight a
.

q n gl e w it h t h e b ell
y (vide Fi g . Th e w ould
154 V I OLIN -
MA KING : A S IT WA s A
N
D IS .

P er h a p s n o pa r t of t h e vi oli n h a s b een m or e a ssa iled by t h e

i n ven t or s of va ga r i es a p plied t o t h e vi olin t ha n t h e ba ss b a r .

E ver yt hi n g tha t c oul d b e don e t o a lter i t h a s b een d on e, a n d

ca lled a “
n i m pr ov em en t
”
b egi n n i n g wi t h on e B a u d a m a k er a t
a
,
illes, i n 1 8 1 0, w h o in t r od uced aviolin wi t h out ba ss b a
,
V er sa r

a t a l , eca
l b u se h e c on id
s e r e d t a
h t i t “
in t er fer ed wit h t h e
vib r a t i on s 1 H e t her efor e l eft t h e b elly m uc h thi ck er tha n

b sen c e O f t h e b a (a
.

usua l t o c om pen sa te for t h e a r , b ut s m igh t

b e ex pec ted) t h e t on e w a s ser i ously i m pa i r ed In 1 8 5 2, a . n

a
A m er ic n (Willia m B . Tilt on ) p a ten ted adesign by whi c h a
sec on d b a r w a s fix ed t o t h e i n side O f a fidd le, ext en di n g b et w een
t h e t op a n d b ot t om bl oc k s, whi c h w er e c ut slo i n g, so a
p s n ot

t o c hec k t h e vibr a t i on s a t these p oi n ts In 1 8 67, Mi r em on t

.

r ep r od uc ed t h e sa m e va ga r y , b ut without O b t a in in g for i t a n
y
suc cess u f l r ec ogn i t i on . M Fet is m en t ion s t h e a
.
2
rra n g em en t

of avi olin i n 18 5 5, wit h t w o b a r s by M Ra m ba

. ux , O f P a r is
,
on e i n t h e usua l pla ce, t h e other gl ued t o t h e ba c k , on w h i ch
w a s set t h e soun d
post . In h i s n ot ice of it, M Fet i s sa . ys
t ha t , t h ough super fl uous i n t h e c a se of a fi r st r a te fiddle, -

in fer ior in st r um en t s wer e d ecidedly im p r oved, esp ec ia lly on

t h e four th st ri n g , by t hi s a rr a n gem en t Dr St on e a
. . n d Mr

l t en si on ba
.

Meeson s ellipt ic a
’
w hi c h w er e ex h i b i t ed t o t h e
'

rs
,
M sic aA ssocia
u l t i on i n 1 8 74 , a r e d esc r ib ed a s
“
four st r ip s Of
w hit e d ea l, c ur ved t o a n ellipt i c a l figur e, pa ssin g p a ra l l el fr om
en d t o en d on t h e i n side of t h e b elly Thus t hey in t er c ept
.

t h e ff h oles, a n d r em ove aw ell k n ow n c a -

use O f wea kn ess, a n d

abr ea k i n t h e vib r a t in g body Th e highest eul ogi aw er e

hea
.

p ed on t his c on t r iva n ce by t h e i n ven t or s b u

,
t i t i s c er ta in
t ha t , w hil st spoili n g a good fiddle, they w ould n ot im p r ov e ab a d
on e . A Mr Wa . l k er in t r oduced, afew ye r s b a a
ck, a n ew f or m
of ba ss b a r , whi c h w a s c ut on t h e sl a b, a n d h a d t h e gr a in
q I t m ea
”
c on se uen t ly r un n i n g on t h e edge . sur ed 1 0 i n c hes
l on g, 3 b r oa d, a n d t hi c k It w a
. s b en t t o t h e a r c hin g a n d
glued on t h e fl a t sid e i n t h e usua l pla ce This would pr ob a
. b ly
a ugm en t t h e qua n ti t
y O f soun d pr od uced, b ut t h e qua li ty w ould
b e ser iously det er i or a t ed Som e ha ve suggested t h a t n o ba ss
ba
.

r ou gh t t o b e n ec essa r y, b u t t ha t t h e b elly ought t o b e m a de

t hic k er , so a s t o su p or t t h e st r i n g s a
p n d vib r a te a s well Thi s
w a
.

s th e
pr i n c iple of Dr Ni chol son s v i olin (b ide p 1 02) a
’
n d
Of M Ba
. .

m en t ion ed a
’
. n d s vi oli n bove, bot h Of whic h dem on
,
st r a t ed t h e fa lla c y of t h e suggest ion , for t h e i n c r ea se O f t h e
t hi c kn ess ef fec t ua lly c hecked a ll possi b ilit y O f vib r a t ion

"
.

A full d esc r i pt i on of t h i s in v en t i on , or r t h er v
g a aa
r y , w i ll b efoun d i n B i b lio
r
g pa h i c Musi c lae d e F r n ace e t d c l
’
a a
E t r n g er , et c (P r i s, 1 822 Ni og r et ), p 34 8
a q a
. . .
2
R ppor t sur l es I n st r um en t s de Musi ue d n s l ’E x osi t i on Un i ver sel l e do
p
a
P n s en
 CHA P TE R I X .

T HE E X TE RIOR OF T H E V I O LIN .
J
Th e ff H ol es Met h od of Tr c i n g —Th ei r Ob ec t
a j —— Posi t i on i n t h e B ell y—Th ei r
aa
C p ci t y—Th e Nec ka n d Scr ol l —It s F u n ct i on s It s Set t i n g on t h e Fi ddl e
a a —
—It s Me sur em en t s— Met h od of Tr c i n g —Th e Ch n ot Scr oll old Nee s
a k
—
Th e B r i dg e A n c i en t B r i dg es—Th e Desi g n n d M t er i l —It s Fun ct i on s
a a a
—
Set t i n g t o t h e In st r um en t Ot t o s B r i dg e Regul t or s—Posi t i on on t h e B el l y
’
a
—
—P n r fl i n g — It s Com posi t i on —Fi tt i n g Th e Pegs— Th ei r m i son d’e‘t r e
a a
Or n m en t t i on —Or n m en t l P ur fl jn g —In l yi n g — C r v ed H e ds—P i n t i n g
a a a a a a
a a
B r n di n g — I n l i d Fi t t i n gs
-
.

IVE ha ve n ow disc ussed t h e i n ter ior c on st r uc t ion a n d

pa r ts O f

t h e violi n i t n ow r em a in s, t h er efor e, t o c on sider th ose p a r ts of

t h e in st r um en t w h i c h m eet t h e eye, a n d whi c h, whil st ser v in g

ea ch i t s a ll ot t ed p ur p ose i n t h e buildin g up of t h e p er fec t whole,

-

a n d i n pr od uc i n g t h e per f ec t r esu lt, ten d t o give t h e fiddl e tha t

a
gr ceful a ppea ra n ce a n d el ega n c e of det a il whic h a t on ce str ikes
t h e eye of t h e m ost c a sua l Ob ser ver .

Th e f H l es or Soun d H ol es — For t h e m od el or outli n es O f

f o .

t hese t h er e ex i st s n o r ule . A s w i ll b e seen fr om t h e Figs 4 0 t o .

4 8 , fr om t h e ea r li est d a y s of fi ddl e m a k in g ea ch m a k er of a n
y
-

or ig i n a lity h a s desig n ed , a n d to a gr ea t ex t en t in v a r iably k ep t

t o, h i s ow n pa r t i c ul a r for m Of
f hole, so tha t th e a m a t eur or
b egin n er h a s on ly t o d evolve h i s ow n id ea or foll ow t h e pa tt er n
O f on e O f h i s gr ea
,

ta n c est or s i n fi ddl e m a
-
k in g In str ik i n g out
.

an ew out li n e c er t a
,

i n r ules below set for t h m ust b e followed , for

t h e r ea son s t h er e gi v en , b ut b efor e c on sid er i n g t h e f
h ole fr om
i t s sc i en t ifi c a spec t , I wil l shor t ly en um er a te ac oupl e Of per fect
‘

m eth od s for c opyin g t h eff holes Of a n

y given fiddl e (1 ) H a . vin g
ot t h e i n st r um en t O f w hic h you desi r e t o c opy t h e f hol e, pl a ce
g
over eit her of t h e ff h oles apiec e of soft w hite p a p er Then , .

holdin g t h e pa p er fi r m ly wit h on e ha n d t o pr even t it sli ppi n g

,

w it h a n ol d di r t y gl ove, or with t h e slightly dir t ied fin ger of t h e

oth er ha n d , r ub t h e p a per j ust over t h e f hole st r on gly, a n d th e

outlin e will a pp ea r on t h e pa p er , i n t h e sa me ma n n er a s pa tter n s

for fr etw or k , ar e obta in ed wit h aheel b a ll I fi n d t ha
-
. t my
gloves, or m y fin ger s w hen a
t w or k, a re a lw a y s di r ty en ough
(2) TO obta in t h e exac t out li n e a
.

for this p ur pose . n d p osi t ion

156 V I OLIN -
MA KING : A s IT WA S A ND IS .

a a a
r pa r of h l es a
s in F i 8 4 (
in t h e belly Of n
y p r tic ul i ff o , g . o r

P la te t h e foll ow i n g ex cell en t m et h od i s g iv en b y MM .

Ma n gi n et Ma ign e H a vin g d et a ch ed t h e b elly oft h e i n st r um en t

a c si m il e, t a e a
.

w h ose h l u w i sh t o r epr oduce i n f k i

ff o es
y o p e ce

O f str on g p a r c h m en t l a r ge en ough t o c over t h e por ti on of t h e

b elly in dica t ed i n Fi g 8 4 Ta ke a n l a r ge pi ec e of c l oth, a n d
y
ce i t on t h e ta ble St r et c h t h e p a
. .

foldi n g it sever a l t im es pla . r ch

m en t ov er t hi s c ushi on , a n d
pr ess t h e b elly up side d own i n t o t h e
c ushi on c ov er ed w it h pa r c hm en t , a n d w it h a fi n el y poin t ed p en c il;
-

dr a w t h e in t er ior outli n es of t h e ff h ol es a n d t h e ex t er i or outli n e

of t h e b elly, a s sh ow n i n t h e fig ur e, a n d t h er e
you h a ve Fi g 84 .

c om pl ete . This pa r c hm en t outlin e m a y ei t h er b e k ept i n a

p or tfolio for futur e use, or t r a n sf er r ed t o athi n l ea f O f w ood
l
(T ; or of a n i n c h t hi c k , w hi c h i s m or e d ur a
) bl e a n d m or e

c on ven i en t t o w or k w it h . Th e i n t er ior O f t h e ff h oles a n d th e

ex t er i or of t h e out li n e a r e t o b e v er y c a r ef ully c ut out , a n d

t h e c en t r e lin e of t h e b elly sh ould b e d r a w n dow n t h e m od el

ex a c tly a s i n t h e or igi n a .l A pa i r Of
f f h ol es t a k en lik e t his m a y b e seen i n
t h eir a c t ua l siz e i n P l a te VI .

Now a s r eg a r ds t h e
f h oles w it h
f
r es ec t t o t h ei r i n fl uen ce on t h e en t i r e
p
fiddle a n d i t s ton e . Of c our se, n ot hi n g
n eed b e sa id a b out t h e ex a c t p osit i on

O f t h e j f hol es i n c on t r a fa
-
c sim ile t o

on e a n ot her ; if t hey w er e n ot set in

F m B4 —
.

Pa
.

i r °fff 1m m "
Met h od of t r a ci n g s
.

a
t h e b elly so a s t o ex a c t ly b a

n other , t h e set ti n g of t h e b r idg e a

la n c e on e

n d

soun d post w ould b e r ed uced a l m ost t o a n im

possibili t y, l et a l on e
t h e gha st ly ef fec t on t h e a pp ea ra n ce O f t h e fiddle ! A s M Fet is.

j ustly r em a r k s, i t w ould b e a gr ea t m i st a k e t o suppose t ha t th e

posi t i on a n d f or m O f t h e ff h oles a re a r bi t r a.ry Th e f sh a pe O f
t h e soun d h ol e i s r en d er ed n ec essa r y by t h e a r chi n g O ft h e b elly .

If thi s l a tter w er e pl a n e t h e soun d h ol es n eed on ly b e st r a ight a n d

pa ra llel (a s i n t h e Sa va r t tr a pez oid violin , v ide Fi g 7 . Th ey

in fluen ce t h e en t ir e syst em O f vibr a t ion s of t h e b elly, a n d t h us?

gover n t h e vibr a t i on s of t h e w h ol e in str um en t . Thi s h a s b een

pr oved b y ex p er im en t ; i e , i f t h e ff h oles w er e c ut i n t h e b a
. ck
of t h e fiddl e i t w ould b e i m m edia
.

t ely m ut ed , for t h e b elly w ould

n ot ha ve suffi c ien t ela sti c i t y wi t hou t them t o vib r a te a n d c om
m un i ca t e i t s vi br a t ion s t o t h e r est of t h e in st r um en t . Th e
position Of t hese ff hol es, thei r for m , a n d t h e m i n ut est d et a il s O f
t h ei r c ut tin g, a r e suc h essen tia l poin t s tha t no a l t er at ion wha t
ever ca n be m a de i n t hem w it hout in j ur i n g t h e ua q lit y of t h e
ton e, a n d for t hi s r ea son , t ha t t h e ff hol es in fl uen c e t o a
 158 V I O LIN -
MA KING : A s IT WA s A ND I s .

da te it a n d a s a n a tur al c on sequen ce t h e t on e of t h e fiddl e i s

or w a
,

wea k a n d p oor on t h e ot h er ha n d , i f i t i s set t oo f a r f r d,

t h e b r idge h a s t o b e pr o or ti on a t e ly l o a n d t h e t on e b ec om es
p w

n d m eta ken n ot t o m a
,
a cu te a llic Ca r e m ust a. l so b e ta k e it t oo
str on g a n d m a ssiv e a t t h e pl ace wh er e i t j oi n s t h e b ody of t h e
i n st r um en t or a c t in g a
, ,
s a cla m p, i t will dea den t h e ton e Th e .

pr oper p r opor t ion s, a s show n i n F ig 8 5 a r e g iven b elow , a s

ta
.

c ed a
,
k en fr om aver y per fect n ec k a n d sc r oll k i n dly pl a t my
ser vi ce by Mr W E H ill It m ust b e pr efa
. . . . ced t his i s a n

ex cell en t a ver ae hea d, b ut

g ,

O f c our se t h e m ea sur em en t s ,

will va r y slight ly i n dif fer en t

st yl es a n d sec on dly, t h e n ec k ,

a s n ow m a de i s quit e in ch
l on ger t ha n t h e Ol d m a ker s
used t o m a k e it, a n d it i s for

t hi s r ea son tha t so m a ny
(i n
fa ct n ea r ly a l l ) old vi olin s
,
ha ve been r e n ec ked Th e -
.

n ec k a n d sc r oll a r e c ut f r om

abl ock O f m a ple 9 34 t o 1 0 i n .

l on g by 2 i n deep by 1 g i n . .

wide (a ll th e follow in g
m ea su r em en ts a re in i n ches
a n d
fr a ct i on s o f a n i n ch ) ,

a n d w h en fi n ished ought so
t o t ouc h a l l t hese di m en si on s
a t i t s m ost pr om i n en t p a r ts

(fr on t a nd ba ck of sc r oll
n d ba
,

fr on t a c k of sh ou lder )
a s t o l i e p er f ec t ly fl a t on a
sm ooth su rf ace i f pla ced on ,
i t s fa c e ba c k , or sides Th e , .

s r follow i n g a r e t h e m ea sur e

Fm 1. 35 —Th N k ad S ol l
. e ec F o t ad
n
m en t s : A B C D E F 2 i n
cr . r n n ; ; ,
id i R s 95 i n l g in
e
e v ew s
G H , .
, .

In I 1,
. 4 141 i n ; L 8 , 5 g i n ; R T, { Lé i n q 0 N,
3 1m ; R L, in
Q P, —
.
. . .

6 in Th e peg b ox i s H i n deep on t h e li n e 0 N g i n
-
.

;
.

deep on t h e lin e Q P ; a
.

n d 3 in l on g on t h e lin e P N Lo ki n g b
a
.

sc r oll a
.

t t h e n eck s i n t h e fr on t view t h e m ea sur em en t s ,

X Y, g i n T U, 1 5 i n Th e peg — b ox i s f i n
. .

a
.

e c h eek s O f t h e b
pge o 3
T6 i n t hi c k Th e
'
x r e - ‘
. .

f t h e v olut e
i n dia m eter
Fr om these ex a c t m ea a r e, i f c a
.

sur em en ts n d t h e fig u r efully
,
 TH E E XTE RI OR O F T HE VI O LIN . 159

a
foll owed , m ost ex uisite sc r oll m a
q y be t ra c ed (f a r b et ter t ha n

t h e figur e, whi ch m e r ely illust r a tes t h e m eth od ) .

To copy i n fa csim il e t h e sc r oll of a n

y given fiddl e, t h e
foll ow in g i s t h e best pl a n .Ta ke, a s di r ec t ed f or c opy in g f f
h ol es, ac ushion a n d
pi ece of str on g pa
~
r c h m en t, a nd rr a n gea
t hem a s th er e set d ow n . Ta k e t h e sc r oll you wish t o c opy,
a n d fr om whi c h t h e p eg s h a ve been r em oved, a n d pr essin g i t

in to t h e c ushion , d r a w alin e r oun d i t w i t h apen cil fr om L t o K

'

a s n ea r ly ex a ct ly a s possibl e, a n d r em ovi n g t h e sc r oll , c or r ec t i t

a s f a r a s possible by t h e eye Or , h a
. vin g c ut ahol e i n alea f of
w ood j ust l a r ge en ough t o l a t h e v ol ut e i n t o so th a
y ( t t h e cheek
of t h e sc r oll , w it h t h e peg s r em ov ed , lies fl a t upon t h e pl a nk ,
)
la y t h e sc r oll upon t h e pla n k, a n d wi t h a ma r ki n g p oi n t d r a
-
w

t h e out lin e i n t h e or din a r

y ma n n er Then d r a
. w up on i t t h e
lin es R L a n d c D, c r ossi n g ea c h ot her ex a c tly a t ar ight a n gle

a t T . F r om t h e poi n t T w h er e t hey m eet , m ea sur e ex a c t ly,

w it h a ir of divider s, t h e b r ea
pa dt h Of t h e sc r oll on eit h er side
of i t (t h e p oi n t T w ill b e i n di c a ted on t h e out lin e by t h e den t
w hi c h t h e eye m a kes i n t h e pa per or pa r c h m en t
) Th en , i n
.

t h e sa me ma n n er , m ea sur e of t h e di st a n c es f r om T of t h e

r espec tive vol utes a t t h e four p oin t s w her e t h ey t ouc h t h e lin es

R L, c D ; a n d t h us, with t h e divid er s c on sta n t ly c om pa r i n g y our
dr a w in g w it h t h e or igin a l, you w ill g et a n ex a c t c opy of t h e

pr ofile of t h e sc r ol l you w i sh t o r epr od uc e’ Th e eleva

. t ion i s
t ra c ed a n d c om pa r ed a t t h e p oin t s B , C c , T U , A a
’
n d z , in
’
'

ex a c t ly t h e sa m e ma n n er .Th e elde r Cha n ot

(oide p 1 1 6) .

i n t r oduc ed a n a lter a t i on a t this pa r t of t h e fid dle by r ev er sm

g
t h e sc r oll ; i e , m a
. ki n g t h e vol ut e c ur l over ba c k wa r ds i n st e a d
(a
.

of over t ow a r d s t h e fr on t of t h e vi oli n s in Fi g .Hi s

r ea son f or t hi s w a s t h e di f fi c ult y th er e i s i n get t i n g a t t h e peg of
t h e A st r in g i n sid e t h e peg b ox un der t h e sc r oll, b ut a
-
s n o fi ddl e

ca se ou gh t t o b e w it hout apa i r of fi n e tw eez er s t o g et a t t his en d

wit h, a n d t h e i n n ova t ion i s in t en sely ugly, i t n ever super seded
t h e well kn ow n g r a
-
ceful for m Th e n ec k s O f O ld V iolin s, a
. s

or i gin a lly a ffix ed by t h e O l d C r em on ese m a st er s w er e t oo shor t

,

for t h e pr esen t a lt er a ti on i n pi t ch an ew n ec k m ust, ther efor e,

be a dj ust ed when afid dle t ur n s up un t ouche d sin ce i t left i t s
m a ke r s ha n ds Thi s m ust b e don e by ar ea lly fi r st r a t e w or k
’
-
.

ma n spli c in g t h e old hea d on t o an ew n ec k j ust bel ow t h e

y b e d on e i n am a
,
c hi n O f t h e sc r oll ; t hi s m a n n er t o d efy
d ete ct ion by a n u n pr a c t i sed eye I t sh ould b e a
. dded t h t thi s a
a lter a t ion i n n o w a y decr ea ses t h e ua li t y or va
q l ue of a n Ol d

a n d va l ua bl e fiddl e
— a
.

Th e B r i dg e A s w e s w i n Ch a pter I t h e b r idge, a
. s w e n ow

see i t , w a s a n i m p r ovem en t in tr od u ced c om pa r tiv ely la a t e in t h e

1 60 V I O LIN -
MA KING : A S IT WA S A ND I S .

histor y of b ow ed in st r um en ts though, a s I ha ve sa id befor e, t h e

,
r ec or d s f r om whic h w e h a ve t o c ollec t t h e hist or y O f t h e violin
—n a m ely pi c tur es a n d sc ul tu
, p r es— lea ves m uch t o b e desir ed i n
th e m a t t er O f c om pl eten ess O f deta il Th e ea r ly b r idges w ou ld .
,

however a p pea r t o ha
,
ve been ver y r ude a s w ill b e seen by ,

tur n in g t o Figs 1 8 a n d 22 an d in. t h e tim e O f t h e viol s n ot

,
.

m uc h
pr o r ess h a d b een m a d e M Fet i s gi v es th r ee fig ur es of
b r idges T
. .

igs an d 88 . Fi g 8 6 i s aV i ol b r idge t o supp or t .

seven str in g s a n d a s will b e seen , i s ver y elem en ta

.

,
ry Fig s .
, .

E m EB —Br i dg e of 7 St r i n g ed V i ol (F J Fét is) Fi e 87

'

A n t i que V i ol i n B r i dg e A n t on i us
a
- ~
. . . . . . . .
_

A m ti (F J F ét i s)
. . .

IG . 88 .
—A
fi ggi g i £235
el g
y
8 . a
Ni c ol us F I G Bil .
—B r i
gg } g p
s
? st i n g ed V i ol
iu

87 a
n d 88 a
re violin br id es of t h e t im e O f t h e A m a
t w o ol d tis
distin ctly a
,
ppr ox im a ti n g t h e m o er n for m w hich design w a s
set t l ed l on by St r a r ius a
,
diva n d ha s n ever sin ce b een a lt er ed
Fi g Sil i s fr om ac ur ious old fi v e str in g tr ebl e vi ol , i n t h e
p _
, .

. -

possession of Mr W E H ill . . . .

I t m ust n ot b e im a gin ed t h a t t h e design (Fi g 90) t h us fix ed

upon by t h e gr ea
.

test fi ddl e m a k er t h e w or ld h a s seen w a s -

m er ely h i s id eaO f wh a t wa s m ost

pr etty t h ough t o t hi s da y
t here a r e agr ea t ma
,
n y violin i sts w h o a r e fi r m ly un d er t h e i m

pr ession t ha t t h e or n a m en t a l cuttin g O f t h e b r idge i s m er ely a

1 62 V I OLIN -
MA KING : A S IT WA S A ND IS .

in str um en t r equi r es H e m a de si x lit t le w ooden c lips like on e ,

a
.

p r on ged m utes, w eighin g r espec t iv ely 2 4 , 6 n d 12 ,

i n s Ha r i dg e w a s un suit a
,

gr a v in g f oun d t h a t a n
y b bl e t o th e

in st r um en t t o w hi c h i t w a
.

s a lied h e tr ied on it suc cessively

pp
these lit t le w ooden w eight s c lippin g them b et w een t h e D a
,
n d A

vin g foun d t hus w it h which clip t h e r esul t w a

,

str in gs . Ha s b est ,

b e w eigh ed t h e c lip a n d t h e b r idge t oget h er a n d pr oc eed ed t o

m a k e an ew br idge t h e w eigh t of t h e Old on e p lus t h e sa t iS

a
¢
,

fa c t or y c li p . Of c our se t h e c lips m ust on ly a ct s w eights a n d ,

n ot h old t h e b r idge so a s toa ct a s m ut es a n d I do n ot see h ow

t h e la t t er c on t in gen c y c a n
possi b ly b e obvia ted .

Th e b r idge m ust b e m a d e O f spotted m a ple n either t oo ,

ha r d n or t oo sof ,
t t h e gr a i n h or iz on ta l a n d i t s p r o or ti on s
, p
sh ou ld b e j ust h a
,
lf a s t hi c k a t t h e t op a s a t t h e feet Ca re .

m ust b e t a k en t o selec t ab r idge m a de Of w ood which a cc or d s

w it h t h a t Of t h e fiddl e i n i t s c on si st en cy gr a in , et c Th e ,
.

gr ea t est c a r e m ust b e t a k en t ha t t h e feet of t h e b r idge fit t h e

a r c hin g of t h e b elly w h er e t hey r est so a s t o l ea ve n o i n ter
, ,

va l b en ea t h t h em ,
a s suc h W ill r en der t h e t on e hol low a n d

dull Th e t op O f t h e b r idge m ust on ly so fa

. r b e r oun ded a s to

pr ev en t t h e b ow t ouc hi n g t w o st r in gs a t on ce un less r eq ui r ed ,

t o do so by t h e per for m er a n d la
,
st ly t h e four littl e gr ooves
,

m a de t o r ec eive t h e st r i n gs m ust b e a s sha llow a s

possible c on
si st en t wi t h ef fec t iven ess It h a
. s
pr ob a bly befa llen a ll m y
r ea d er s a,
t on e t i m e or a n ot her t o b e w or r ied by t hei r st r in g s
,

sti c k i n g w h en t h e
peg i s t ur n”ed, t h e st r in g in stea d of ,

r i sin g i n t on e a t on c e ha ,
n gs fi r e
“
so t o spea
, k a n d t h en ,
t ighten s (or l oosen s) w i t h aj er k a n d a c r ea k Thi s i s i n c on se .

quen c e O f t h e n ic k s on t h e b r idge b ein g t oo deep a n d when it ,

oc cur s t h ey m ust b e m a d e sha llower by filin g t h e sides O f t h e

n i ck . Th e fi r st st r in g i s pa r t ic u la r ly lia ble t o b e t hus a ffec ted
s t o do a
,
by r ea son of t h e ex t ra w or k i t h a n d Of i t s g r ea, t er
t en sion a n d c on sequent
pr essur e on t h e n ick I t i s good t o
ha ve alit t le sha
.

llow ex t r a n i c k a t t h e side of t h e pr in cipa l

on e, i n w hi c h an ew str in g i s pl a c ed t o b e sc r ew ed u t o i t c h
p p
b efor e t r a n sf er r in g i t t o t h e pr in c ipa l n i ck Thi s keeps t h e
pr i n c ipa l n ic k sha
.

llow a n d t h e n oi sy squea
, k in g of t h e st r in g, a s
i t i s scr ewed up t o pit c h i s obvia ,
ted .

A s r ega r ds i t s
posit ion on t h e b elly O f t h e fiddle i t s e x a ct ,

posit i on i s j ust b etw een t h e t w o n i ck s i n t h e ff h ol es (un less t h e

posi t ion of suc h n i c k s or t h e ff h oles t h em selves b e ec c en t r ic)
,
a t a n ex a c t ly equa l dist an ce fr om ea
,

ch a n d t h e l ef t foot m ust st a n d
ex a
,
c t ly over t h e cen t r e of t h e b a ss b a r Th e m ost ex t en sive
.

a n d i n st r uc t ive ex
per im en t s on t h e b r id e a r e t hose O f M Sa va rt
A s det er m in in g t h e n ec essi t y of t h e t r a di v a r ia
. .

n c ut t i n g he ,
 TH E E XTE RIOR on TH E VIO LIN
. 1 63

c om m en ce a ki n g a
d by b r idg e qui t e pla
m in a n d without c utti n g s ,
i n it a t a ll a n d t h e t on e of t h e i n st r um en t w a
, s a l m ost en tir ely
destr oyed On c ut t in g feet i n h i s b r idge a
. n i m p r ovem en t w a s
p er c ep t ibl e which gr ea ,
t ly i n c r ea sed a s h e ma d e la ter a l in cisi on s
i n it a n d t h e t on e g r a d ua lly im p r oved t ill i t r ea c h ed p er f ec tion ,
a s t h e b r idg e a tt a
in ed i t s pr esen t sy st em of or n a m en ta ti on
(Fi g . Th e feet of t h e b r idge a r e pa r t i c ul a ly n ec essa ry in r

deter m in in g i t s sha p e Th e c en t r e j oin of t h e bel ly i s i n a ll

va
.

ca
,
ses w ha
,
t Sa r t ca ll s un n oeud de vibr a t ion s t e a lon g t h e . .
,
cen tr e j oin t h e vib r a t i on s a re a t am i n i m um a n d i t i s c on ,
sequen t ly f r om th en ce t h a t they st a (
r t md e n ot e p a ud i t 1
'

,
i s of t h e utm ost i m p or t a
.

n c e t ha t t h i s c en t r e of vib r a t i on b e n ot
i n ter r upt ed or chec ked A n y cha n ge i n t h e w ood of t h e b r idge
.

s si m il a
ha r ly
pr oved pr ej udic ia l t o t h e t on e of t h e in st r um en t .

A s w e ha ve seen b efor e t h e r ight foot of t h e b r idge i s c om

,

pa ra t iv el y r igid w h i l st t h e l eft fo,

ot vib r a tes t h e b a r a n d b elly ;

t her efor e i f t h e r ight foot of t h e br idge b e held (a

,
s by a m ut e ) ,

t h e ef fec t will n ot b e n ea r ly so p er c ep t ibl e a s if t h e a c ti on of

t h e l eft foot er e si m il a r ly i m p ed ed
w Th e b r idge h a s li ke t h e
.
,
r es t of t h e vi olin b een subj ec t ed fr om t i m e t o t im e t o t h e
ecc en t r ic ities of w ould—
, , ,

b e im p r over s suc h a s fi t t i n g t h e t o of
,p
i t w ith lit tl e wheels for t h e st r in gs t o r un over a n d so on a d ,

I n al a ter c h a pter I sha ll n ot i ce Z eb r ow ski s p a ’

i nfi n i t um . t en t
br id e or r a t h er c om bin a t i on of b r idge a n d m ute .

h e P urfl in g — This i s t h e la st t r a
,

c e w hi c h i s l ef t us of t h e
~

ex tr a or din a ry a m oun t of or n a m en t a t ion wi t h w hi ch violi n s used

t o b e loa ded, a n d w hi c h I sh a ll sh or tly n ot ice i n i t s p r oper
pla ce It i s c om posed a s ar ule of a str ip of pl a n e tr ee gl ued -
.
, , ,
b et w een t w o st r ips of t h e sa m e w ood st a in ed bla ck w hic h ,

sa n dw ic h i s ex c eedi n gly b r i t t le a n d dif fic ul t t o b en d in t o sha

,
pe
a n d in l a y, w hen b ought (a s it m a y b e) r ea dy m a de a n d gl ued

t oget her Thi s diffic ul t y i s t o agr ea

. t m ea sur e obvia t ed i f t h e ,

s set d ow n i n P a
,

thr ee st r ip s a r e in la id sep a ra t ely a r t II I It .

i s in l a id i n four or si x pieces eit her fr om c or n er t o c or n er , or , ,

fr om t h e cen t r e j oi n t h r ee on ea c h side of t h e b a
,
c k, a n d th e

sa m e n um b er on ea c h side oft h e b elly It i s t h e m a r k of a good

.

w or km a n tom a k e th ese j oi n s a t t h e c or n er s a n d en d s a s im p er

c ept ib le a s p ossibl e ; St r a diva ri a s w ill b e seen on l ooki n g a t

,

a n
y on e of h i s fiddles, ex cell ed i n t his r esp ec t Som e m a k er s .

ha ve used wha l ebon e for t his p ur pose t o g et over these di ffi

c ul t i es (Ja c ob s of A m ster d a m ) a n d ot her s h a ve m er ely
pa in t ed alin e r oun d their in str um en t s (P et er Wa lm sley ) , a n d

t hi s l a t t er m ethod i s oft en still pur sued with t h e c om m on est

c la ss of i n st r um en ts Ma ggin i a n d h i s c opyi st s ha
. ve m a de use
of doubl e r ow s, a n d c ur l s a n d d esig n s ex ec uted i n p u rf lin g (a s
1 64 VI OLI N -
MA KING : A S IT WA S A ND IS .

i n Fi g . b ut t his h a s b een sa id t o in j ur e t h e t on e of afiddle,

a n d c er ta in ly, t o m y m in d , w hilst i t c a n do n o good, i t d oes n ot

n ce of a in st r um en t Th e usua l dia
i m pr ove t h e a pp ea ra n m et er
t adi st a
.

for t h e pur f li g i ab u i n c h, a n d i t i s set a n ce of

I
n s o t TE
f a i n c h fr om t h e edge of t h e fiddl e I t s on ly r ea l u
fit o n se

s pr eser ved it a
.

w hi c h h a f er t h e r eli n ui sh m en t q
of p r ofuse
( t
or n a m en ta t ion ) i s, t h at i t ser ves t o p r eser v e t h e edges of t h e
in st r um en t fr om splin ter in g, b y, a s i t w er e, bin di n g t h e fi b r es

t oget her as w it h a bor der .

Th e P eg s or P m t a — These a’

, r e t h e li t tl e r oun d do
n ts of wood
t hat ar e n ot un usua l ly seen a t th e t o a
p nda t t h e b ot t om of t h e
ba ck s a n d b elli es O f O ld an d n e w vi oli n s Asma n y vi olin i st s a
. re

w holly a t al oss t o a c c oun t for

t h e m i son d et r e of t h ei r p r esen ce
’ ‘

t h er e a a
t l l, i t m ay b e w ell h er e
t o g o in t o t h e or igin a n d m oti v e

of t h ei r ex i st en ce In t h e fi r st
.

they a
pl a
ce, r e n ot ab sol utely
n ecessa ry a t all (a s is
pr oved by
t h e la r ge m a ss of violin s b ea r in g

n o tra ce of this super f l uity) '

b ut m a n y of t h e C r em on ese
m a ster s used t h em a n d w h en
, ,

r esen t th ey a re a c c oun t ed f or
p ,

a s foll ow s — Wh en t h e b a c k (or

b el ly) i s r ea dy t o fi x on t o t h e
sid es or r ib s i t w a s n ot un usua
,
l to
c om m en ce by set t i n g i t on them

a n d m a ki n g i t fa st by t hr ustin g

ab r a da w l th r ough t h e b a ck
(or
b elly ) a t t op or b ott om (or i n
b ot h pl a c es) i n t o t h e en d bl ock s
, ,

so a s t o k eep it f a st a t th ese
FI G' 9 1 —0
. a
rn m tall y i l a
en i d P ufl i g
n rp oin t s w hil st you pr oceed t o fi t
n .

t h e sid es t o t h e ta ble a ll r oun d a n d set on t h e sc r ew s Wh en thi s .

i s d on e a , n d t h e br a da w l i s r em ov ed i t l ea ves ah ol e w hic h i s ,

n d fi x ed i n m a
,

t hen fi ll ed up w ith apeg m a de a ,

n n er set dow n

in P a r t III . Th e pegs of St r a diva ri a s w e sh a ll see i n afut ur e

c ha
,

pt er w er e a
, lw a y s pl a ced a s sh ow n a t A i n Fi g 9 2 a nd a s in
.
,

m a k i n g c opies of gr ea t ma st er s i t i s n ecessa ry t o a t ten d t o thi s,

pa r t ic u lar i n st r u c t i on s for t hei r apli c a
p t i on w ill b e given i n due
c our se t h ough a ,s w ill b e seen t h e m or e sc i en t ifi c use of c r a
, m ps
t o sec ur e t h e t a bles a t these p oin t s i s t h e i n va r ia ble pr a c tic e of
t h e b est m oder n m a k er s
Or n a
.

m en t at i on — Th e or n a
. m en ta tion of fi ddl es i s pr a c tic a lly
 "
1 66 V I O LI N MA KING :
-
A S IT WA S A ND IS .

bea
utifully a
b ut r e in est i m a
e x ec u e ,
t d bly r are A ppa r en t r ari

ve b efor e n otic ed t h e pr in c ipa

.

n an t es i n g u r i t e va
g st o ! I ha l
ma k er s of viol in s a br oa d a n d a
t h om e, a n d ha ve a ll ud ed t o t h e
p e a
c uli r i t i esn of for m , e t c , by w hi c h t h e i n str um en t s of t h ese
.

ma k er s a re dist in guished, b ut I
have sa id b ut litt le a b out their
a
or nm en t a
tion pa in tin g wi t h ,

bra
n di n g re a Wit h
et c , g rd to
.

t h e for m er m ode of or n a m en ta
t i on , I ha ve a l r eady n oticed t h e
t w en t y four violin s of A n dr ea
-
s

Ama t i , on e of whic h h a s fur n i shed

us w i t h t h e p la tes I I a n d I II . .
,

a n d w hi ch a r e d esc r ib ed on p a ge
73 A n ot h er Sp ec im en m a de i n
'

,
.

1 620 by Ni ch ol a sA m a ti w a s sh ow n ,

i n t h e sp ec ia l E x hibi t ion of A n c ien t

Musica l In str um en ts held a t Sout h ,

Ken sin gt on i n t h e yea r 1872 It .

w a s a viol a(No l en t by Mr . .

W L A dye ver y b ea
. . ut ifully
,
illum in a t ed on t h e b a ck an d re ,

pr oduced i n t h e ill ustr a t ed c a ta

l ogue of t ha t e x hibiti on (Vi de .

not e, p . It i s n ot un c om m on
to fin d v er y old violin s pa in t ed
wit h m eda lli on s a n d ot her si m il a r

or n a m en t a Som e m a
a
t i on k er s,
.

n ot a bly B en j a m in B n k s, of
Sa li sbur y a n d Sa n to
, Ser a phi n ,
ha ve em bellished t heir in st r um en t s
by b r a n din g t hem w it h t hei r
i n it ial s or other d ev ices : Th e .

fa vour it e sp ots for t his k in d of

i n it i all i n g seem t o h a-

ve b een un der
th e t a il piece on t h e r i b c l ose t o
-

,
,

th e t a il pi n a n d u n d er t h e fi n
-

, g er
b oa rd La st ly t h e m ost (a n d
i d B ak ad
.

i h I la
,
F 94 V i ol i
on ly) m oder n for m of em b ellish
IG n w t n c n
Ca d H a
-
. .

d
m en t i s t h e p r a
r ve e .

c t ic e of fi t t in g up

i n str um en t s w it h in la id ac cessor i es suc h a , s ta il piec e, pegs, a n d -

fi n g er b oa -
r d — t h e fi r st m ost usua lly t h e sec on d som et im es, t h e
,

th i r d seld om Th e fi r st a r e so f a m ili a r i n t h e show ca ses of a n

y
-

v ioli n d ea
.

-
l e r t ha t t hey n eed n o de sc r ipt i on t h e sec on d a r e n ot so

m uch used b ut un d oub t edl y a sm a ll gold st ud or sm a ll pl a te l et

 TH E E X TE RIOR OF T HE V IOLIN . 1 67

i n to t h e peg i s n ot a t a ll a m i ss w i t h ver y Ol d or fi r st c l a ss n ew

m en t ed i n a
-

in str um en t s t h e fi n g er boa r d i s seld om or n a n

yw a y,
-

b ut a t on e tim e i t w a s n ot a t a l l un c om m on t o in la y it with fa n cy
desig n s of va r i ous sor t s a n d pa r ti c ula
, r ly wit h litt le p ea r l spot s,
wh er e t h e n otes a r e for m ed som et i m es w ith a , c om pl ete sc a le up
t o t h e high est E Th e sa
. m e r em a r k s a ly t o a
pp l l t hese (ex c ept
in g a s a for esa id)— n a m ely, t h a t t hey a re a m i st a ke a pa rt f r om
t h e fa ct t ha t they do n ot im pr ov e t h e l ook of ac l um sy fiddle
a n d c er ta
,
in ly m a r a good on e t hese in la id sla b s ofpea r l silver
a n d ivor y a
,
r e ver y at t o c om e l oose a
,

n d ja n t ly a
p r un lea
p sa n d
a r e gen er a
,
lly m or e b ot her t ha n they a r e w or t h Mr Ha rt h a s
ata
. .

il piec e a
-
n d set of egs m a
p de of b ox w ood ver y b ea ut ifully
ca r ved by t h e l a
,
te J B Vuil l a
. um e Th e for m er b ea
. rs in
.

r elief a ca r vi n g Of t h e Or h eus of Ma ffei r epr od uced by G a ll a

p y , ,
a n d r ef er r ed t o i n C hat er I
p (pa ge A n d la st ly on e r em a
,
rk

m en t a
.

a pplies t o a ll t h e for m s of or n a tion a b ove m en t i on ed

na m el y tha t ex cep t a s c ur i osi t i es t hey a r e n ot asucc ess De
a
, .

g ust ib us n on est di sput a n du m , b ut wh a t ca n be w a n t ed m or e th n

t h e pl a in lin e of pur fi i n g whic h m er ely em pha si z es t h e gr a c efu l

de fiddl e ?Wha
,

outlin e ofa well m a t ca r v ed h ea dw a s ev er m or e

p ec t ly c ut sc r oll ?Wha
-

gr a c eful or pl ea sin g t ha n a er f t a r t ca
,

i n la y adesign so per fec t a n d m st h et i c a s th e n a t ur a lwa ves ofa

ha n d som e sl a b of fig ur ed m a a n d i s i t n ot a
,

pl e si n t o c over up

t hese b ea ut ies wit h a c oa t ofpa in t Br a

~
, ,

n di n
g does n ot do muc h
l w or k of{ afi r st r a
.

ha rm ,
b ut i s un n ec essa r y for t h e or i in a
g ,
te -

ma k er r equi r es n ot h i s n a m e b ur n t in t o it t o id en t if y is
apr a c t ice w hi c h on l y ser ves a s som et hi n g el se for t h e un ser n

pui on s t o c opy a n d for t h e c h a r la ta n t o i n si st u on

p P er h a ps .

t h e m ost c eleb r a m e h a s r ea
,

t ed or n a m en t ed vi oli n whose f a c hed

us of t h e la t t er da ys, i s Ol e B ull s c el ebr a t ed Ga spa r o da Sa

’
lo
d, fi n g er b oa r d b r idg e a n d ta
.

I t s h ea -

,
il piec e, w e a ,
r e t old wer e -

m a gn ifi cen t ly c a r ved by t h e il l ust r i ous B en ven ut o Celli n i An .

a c c ur a te desc r ipt ion of Ol e B ull a n d h i s Ga s a

p r o w i t h e x c el len t ,

r epr esen t a tion s of b ot h wer e g i ven i n No 368 of H a ’

r er s
, p .

n ua
Ma ga z in e : Ja ry 1 8 8 1 (No 2 v ol i E n gli sh E di t ion
,
.
,
. .

Sa m pson Low by a n in t im a t e fr i en d of t h e g r ea t
m a
st e r .

a pa ét i ua
'

’
Lut h s seu un
’
L er i e n est l em en t m er , c est n rt

(Pa
.

LaClw l on om i e
’
L A B B E SI B IB E , r i s,
 C HA P TE R X .

TH E V A RNI SH .

Ch a
r l es Rea
de on Ol d Va th r n i sh es— Ol d Reci pes —A l ex i s t h e P i edm on t ese, 1 5 50
e
—F‘i or a n t i of B ol og n , l 5 64—A n da a a
va Z h n 1 68 5 — 0 Mor l ey, 1 69 2
n n i of Rom e, 1 7 1 3— u q
l i t i es r e ui r ed b y Vi ol i n V a r n i sh —A m b er
.
,
— a
,

B on a Q
a
V r n i sh es Spi r i t V a r n i sh es A ppli c a —
t i on —Si Zi n g —Test s for P ur i t y of
r n i sh —C om posi t i on
— Ti m e for m ai n g V r a
-

I n g r edi en t s Col or a -
t i on of V a k
n i sh es—Rec i pes .

WE h a ve n ow r ea c h ed t h e p oin t a t w hi c h our fiddl e i s c om pl eted

“
i n t h e w hit e t h er e on ly r em a in s t her efor e befor e pr oc eed ,

n d st r i n g it t o di sc uss t h e quest i on of V a
,

i n g t o fi t it up a ,
r n ish .

So m uc h h a s b een w r i t t en on t h e subj ec t of t h e Lost C r em on a

Va r n is w i t h suc h i n fi n itesi m a l r esul t tha t i t w ould b e w or se ,

t ha n usel ess t o st a rt a n ew theor y t o sol v e a n a ppa r en t ly i n sol ubl e

diffic ul t y Mr O Rea de i n al et t er i n t h e P a ll Ma ll Ga z et t e,

ll tha
,
. . .

ofA ugust 3l st 1 8 7 ha s sh or t ly epitom ised a t i s k n ow n

n d h i s r em a
,

of t hi s l ost b ut gl or ious c om poun d a r k s on t h e

,

subj ec t a r e in th e a bst r a c t, as foll ow s

tha t t h e va
,

sa
”
ys h e
“
It c om es t o t hi s t hen r n i sh of
“

i n im ita
,
ge h a
, ,

Cr em on a a s a c ted on by t im e a n d usa s a n bl e
, ,
ss m a
bea ut y a n d w e
pa y ahigh pr i ce for i t i n sec on d c l a ker s -

a n d a n en or m ous pr i ce for i t i n a fi n e St r a diua r i us or Joseph

Gua r n er i us No won d er t hen t ha t ma n y violin m a k er s h a ve -

r n i sh m a
.
, ,
t r ied ha r d t o di sc ov er t h e sec r et of t hi s v a n y c h em ists
,
ha ve given da ys a n d n igh t s of a n x i ous st u dy t o i t Mor e t ha n .

on ce even i n m y t im e h op es h a
,
v e r un high, b ut on ly t o fa
,
ll
a ga Som e h a ve even c r ied E ur eka! t o t h e public ; b ut ’
in .
,
t h e m om en t other s l ook ed a t t h ei r di sc over y a n d c om p a r ed i t ,
with t h e r ea l t hin g i n ex t in gui sh a bl e l a
,
ught er sh ook t h e sk ies .
’

A t la st d es a
p ir h a
, s suc ceed ed t o a ll tha t en er get i c study a n d ,

Th ost i n t er est i n g
ese m a aa
n d v l u b l e l et t er s w er e (ow i n g t o t h e m edi u m of
a a aa
t h ei r pub li c t i on ) n ot n e r l y sow i del y spr e d m on g st t h e m usi c l w or l d s t h ey a a
ough t t o h v e b een a a
In t h e ye r 1 873, Mr G H M Mun t z , of B i r c h fi eld ,
a a
. . .

a
. .

r epri n t ed t h em i n t h e for m of n or n t e li t t l e p m h l et en t i t l ed “
A Lost A r t
p
a a a a a a
, ,
Revi v ed Cr em on V i ol i n s n d V r n i sh , b y Ch r l es Re de i t w s pr i n t ed b y
a a aa
J B el l ow s, t t h e St e m P r ess, E st g t e, Gl ouc est er ; b ut on l y sm ll n um b er a a
a a
.

w er e pri n t ed , n d t h e c i r cu a
l t i on w s n ecess r i l y li m i t ed a
 1 70 V I O LIN MA KI NG : A S IT WA S A ND I s .

su sb ta n c e, r a th er b ur n t t ha n fused When r ea lly fused i t i s a

.
,

da rk o li v e g r een a
-
s c l ea r a
,
s cr yst a l Yet I n ever k n ew b ut on e
d sp ec ia lma
.

m a n w h o c ould b r i n g i t t o t hi s a n d h e h a c hi n er y

i n ven t ed by him self for i t ; i n spi t e of whic h b e n ea

,
r ly b ur n t

dow n h i s house a a b eli eve t h e w h ol e a m b er th eor y

1
t i t o n e d y I
r n i sh of t h e A m a ti w a
.

c om es out of a ver b a l equiv oque Th e va

a
s

pr i or i r ea
.

ca lled a m b er t o m a r k i t s r i c h c ol our a n d your son er s

t, for gett in g t h a m b er m ust b e a

,

wen t off on th a t a n in c h thi ck

t o ex h ibit t h e colour a m b er B y such r ea son in g a s thi s Mr ,
.

l m er it, i s m isl ed so fa
.

Da vid son i n ab ook of gr ea t gen er a r a s

or a i n gr edien t i n C r em on a
,

t o put d ow n p ow d er ed gl a
,

ss f n

va r n i sh Ma r k t h e l ogi c Gla .ss i n a sh eet i s t r a n sp a r en t so

i f you r educe i t t o p ow der i t will a dd t r a n sp a r en c y t o va

.

r n i sh .

lly put s powder ed gl a ss a

,

Im p osed on by thi s chim er a ,

hea c t ua n ,

opa que a n d i n solubl e sedi m en t in t o four r ec ipes for Cr em on a

ve a l l ag ood d ea
,

va r n i sh
2
. B ut t h e th eor i es 2 3 4 5 h a , , , , ,
l of
t r uth i n t h em th eir fa ult i s t h a t t hey a r e t oo n a r r ow a n d t oo ,

blin d t o t h e t r uth of ea c h ot h er In t hi s a . s i n ev er y sc i en tifi c ,

in qui r y t h e tr ue sol ution i s tha

,
t w hich r ec on ciles a l l t h e t r uth s
t ha t seem a t va r ia n ce .

“
Th e w a y t o disc over a l ost a rt on ce pr a c t i sed w i t h v a
,
r ia tion s
by ahun dr ed p eopl e, i s t o ex a m in e ver y cl osely t h e m ost b r illi a n t

spec im en t h e m ost c h a
,
ra c t er i st ic spec im en a n d in d eed t h e m ost
, , ,

ex t r a twa
va ga n t sp ec im en — if youc a n fi n d on e I t ook t ha y,a n d

h i s da
.

I foun d i n t h e chippiest va r n i sh of St r a di ua r i us v i z rk , .
,
r ed va r n i sh , t h e k ey t o a ll t h e va r n i sh of C r em on a r ed or
,
N — Th e yell ow v a r n i sh a lw a ys b ea t m e dea
y ell ow .
( B . . d t ill I ,

g ot t o it b y t hi s det our ) Look a t t hi s da r k r ed va r n i sh a n d

t do you see ?A r ed va
.

Wh a
,
use y our eyes . r n i sh w hi c h c hip s

ver y r ea dily off wha

,
t p eopl e c a ll t h e ba r e w ood B ut n ever
m i n d w ha
.

t t hese ech oes of echoes c a ll i t W ha t i s it It i s

n ot b a r e w ood t ur n s a
.

r e w ood Ba . dir t y b r ow n w it h a g e t hi s
i s ar i ch a n d l ovely y ell ow B y i t s c olour a
. n d by i t s gla ssy
n d by di sb eli evin g wh a
,
gl oss, a t echoes sa y a n d t r ust in g on ly t o ,

a a
Th i s w s t h e l t e Joh n Lot t r i de Ch
( pt er I I I , p a
T e use of pow der ed g l ss h a a
s by m a n y a
. .
2
h ut h or s b een h el d up t o der i si on ,
'

a n d r i gh t l
y t oo, if i t i s t o b e un der st ood a a
s n i n r edi en t of t h e v r n i sh
g b ut a
t h oug som e sh or t si h t ed
h g -
aa a a
pl g i r i st s m y h v e c opi ed i n t o t h ei r w or s r ec i pes k
In cl u di n g pow der ed g l ss a s a apa rt of t h e r m i h , if you c oul d fi n d t h e a a
a
or i g i n l s fr om w h i c h t h e d er i v ed t h ei r i n for m t i on
y , yo
a
u w ould pr ob b l y fi n d a
a
t h t t h e m c l uded ow der ed l ss w i t h
y p g a
g ood i n t en t , ex pec t i n g fr om i t m er el y
a am ec h m ca a aa a
l c t i on i n t h e pr ep r t i on of t h e v r n i sh n ot c h em i c l i n uen c e on a a fl
a
t h e n t ur e of t h e c om l et ed r t i cl e
p a
,
Th us M E ug en e M il n d (s i de n ot e 186) aa
p
a a a
. .

a a
.

r ec om m en d s t h e use of st r t um of c o r sel y pow der ed

g l ss t t h e b ot t om
a
of t h e ph i l I n w h i ch t h e r esi n s et c r e m i x ed t o a
p r even t t h e r esi n s fr om
a ,

a
.
,

aa
,
dh c m n g t o t h e b ot t om o f t h e r eseei , n ever dr e m i n g t h t n y on e w oul d t e k
a
aa a
h i m t o b e r ec om m en di n g t h e l ss s “ d di n t r n s r en c t o t h
g g p y a a
e v r n i sh a .
 TH E V A RNI SH . 171

our ow n e es, w e m
y a y see a t a gl a n c e tha t it i s n ot b a r e w ood ,

b ut highly va r n i shed w ood

-
Thi s va r n i sh i s evid en tly oil , a
. n d
c on ta in s ag um A llowin g for t h e ten den c y of oil t o r un in t o
.

t h e w ood I sh ould sa y four coa ts o f oi l v a r n i sh an d thi s t hey

ca
,

ll t h e b a r e w ood We h a ve n ow discover ed t h e fir st pr oc ess

— ac lea
.

r oi l va r n i sh l a id on t h e w hite wood w ith som e t r a n s

pa
,
r en t
g um n ot high col our ed Now p r oc eed astep fur ther
?
-
.
, .

Th e r ed a n d c hippy va r n i sh wha t i s t ha t ‘
Oh ! tha t is a
va
,
r n i sh of t h e sa m e qua lit y b ut a n other c ol our sa y t h e th eor i st s
’

H ow do you k n ow ?sa
, ,
No 4 y I
’
It i s sel f eviden t ;
'
‘
. -
. .

w ould am a begin wit h oi l va r n i sh a n d t h en

g o in to spir it
r n ish ?i s t h ei r
n

va
,
Now ob ser ve t his i s n ot hum bl e
’
r eply .

ob ser va l p r ec on ception B ut i f discover y h a

,

tion , on ly r a t ion a s .

a n en em y i n t h e h um a n m i n d tha t en em y i s pr ec on c ept ion , .

Let us t h en , tr ust on ly t o h um bl e ob ser va t ion Her e i s c l ea r

va
, .

r n i sh with ou, t t h e gh ost of ac hip i n i t s n a t ur e an d u on it

p
is a n ot her a r ed va r n i sh w hi c h i s a ll c hi p Does t ha t l ook a
r n ishes w er e h om ogen eous ?I s c hi
s .
,
i f t h e t w o va
,

p pr ec isely t h e
sa m e thin g a s n o c hip ?I f h om ogen eous, th er e w ould b e
c hem ica l a ffi n it y b etween t h e t w o B ut t hi s ex tr em e r ea din ess .

of t h e r ed va r n i sh t o c hip a wa y fr om t h e c lea r m a r ks a defec t

of c h em ic a l a ffi n ity b et w een t h e t w o Wh y, i f you w er e t o .

put your th um b n a il a ga in st tha

-
t r ed va r n i sh
,
asm a ll piece
would c om e a w a y dir ec tly This i s n ot so i n a . n
y kn ow n c a se

of oil upon oi l Ta k e old For st er for in st a

. n ce : h e b egin s w i t h

t h e p ut s adist in c t oi l va
,
c lea r oi l v a r n i sh t h en on t h a r n i sh ,

with t h e c ol our a n d t ra n spa r en c y of pea soup You w ill n ot -

.

g et h i s peasoup t o chip off h i s c l ea r va r n i sh i n a hur r y, exc ept

-

w h er e t h e t o va r n i sh m ust o i n a la y ed b a ss E v er ywh er e
p g p .

el se h i s pea soup st i c k s t ight t o h i s c l ea

-
r va r n i sh b ein g oi l upon ,

oi l .

Nowa aper fectly distin c t li e of obser va

t ke t io In n n .

va r n i shes oi l i s a
,
diluen t of c ol our It i s ot i n t h e pow e of . n r

m a t o cha
n r ge a oi l va r n i sh with c ol ou so highly a
n s t hi s t op ed r r

va r n i sh i s c ha ged A n d i t m ust b e r em em b er ed t ha
r . t t h e c lea r

v a r i sh b el ow h a
n s fill ed a ll t h e p or es of t h e ood ; th e efo e w r r

t h e dil uen t c a n n ot esc ap e i to t h e w ood a n d so l ea

v e t h e c ol our
n ,

un diluted If tha
. t r ed van i sh w a s ever Oi l van i sh eve yr r ,
r

pa r tic le of t h e oil m ust still b e t h er e But thi s i s i m p ossibl e .

,

w hen you con ider t h e ex tr em e thi n n ess of t h e fi l m whic h c on

s

st i t ut es t h e upp er or r ed l a yer This, t hen , i s h ow A n th on y .

St r a diva r i va r n i shed t h e in st r um en ts suc h a s t h e on e w e a re

c on sider i n g He b ega n with th r ee or four c oa ts of oil va r n i sh ,

c on ta He then la id on sever a l c oa
.

in in g som e c om m on g um ts .

of r ed va r n i sh, m a de by sim ply dissolvin g som e fi n e r ed

17 2 V I O LIN
-
MA KING : A S IT WA S A ND I S.

un a d ulter a ted g um i n spir it ; t h e spi r it eva por a t ed, a n d lef t p ur e

u m lyin g on a r i c h oi l v a r n i sh, f r om w hi c h i t c hips by i t s dr y
g
fi n it y t o t h e sub str a
.

n a t ur e a n d i t s utter w a n t of c h em ic a la f t um .

Thi s solut ion of t h e p r ocess will a ly t o a l m ost ever y C r em on a

pp
va r n i sh Th e bea uty, t her efor e, of va r n i sh li es i n t h e f ac t t ha t
foil t o adivi n e
.

it is a pur e glossy oi l va r n i sh w hi c h ser ves a

,
s a

un a dulter a t ed g um , w hi ch i s l eft a s apur e fi lm on it by t h e

eva p or a t i on of t h e spir it i n w hi c h i t w a s di ssolved . Th e fi r st
i s ac olour less oil va r n i sh , whi c h si n k s in t o a n d sh ow s u
p th e
figur e of t h e w ood ; t h e sec on d i s ahet er ogen eous Spir i t va r n i sh,

w hi c h ser ves t o give t h e gl or y of c ol our , with i t s ligh t a n d

sha de, which i s t h e gr ea t a n d tr a n sc en d en t b ea ut y of aCr em on a

violin Gum l a
. c , w hi ch for f
-
or t y yea rs h a s b een t h e m a in sta y
of vi olin m a -
k er s, m ust n ever b e used, n ot on e a t om of i t .Tha t .

v ile fi i n t
y g um killed va r n i sh a t Na ples a n d P ia c en z a ahun dr ed .

a n d for ty y ea r s ao
g , a s i t ki ll s v a r n ish n ow . O ld C r em on a
shun n ed it a n d whoever em pl oy s a
, gr a in of i t c om m i t s w il ful
sui c ide a s a Cr em on ese va r n i sher I t w ill n ot w ea
. r i t will n ot
c hip i t i s i n ever y r espec t t h e opp osi t e of t h e C r em on ag um s
il hopelessly, a s a r n i sh er s h a ve fa
.

A v oid i t ut t er ly, or fa ll va iled

si n ce t h a t fa ta l g um c a m e in .Th e deep r ed va r n i sh of Cr em on a

s p ur e d r a gon s blood n ot t h e c a
’
k e, t h e st ick t h e fi lt hy t r a sh,
'

dulter a a
,

w hi c h , i n t hi s sin ful a n d a t in g g en er a tion , i s r et il ed

un d er t ha t na m e, b ut t h e t ea r of d r a gon s bl ood, lit t l e l um ps,
’

deep er i n c ol our t ha n ac a r bu n cle, c l ea r a s c r y st a l, a n d fi er y a s

ar uby Th e yellow va
. r n i sh i s t h e un a dul t er a t ed t ea r of a n ot h er

g um [ Ga m b og e] , r et a iled i n aca k e lik e dr a gon s b l ood, a

’
n d a s
g r ea t a fr a ud, a s pr esen t ed t o ou i n c om m er ce
y for t h e yell ow
a n d f or t h e r ed g um , g r op e t h e c it y fa r ea st w a r ds Th e or a n ge
va r n i sh of P et er Gua diva
.

r n er i us a n d St r a r i us i s on ly a m ix tur e
”
of t h ese t w o gen ui n e gum s .

For t hi s l on g ex t r a c t fr om Mr C B ea de s let t er , c opied pr a

’
c
lly ver ba
. .

t ic a tim , I m ust c r a ve t h e r ea der s pa

’
r don b ut a s it i s

per ha ps (t o m y m in d cer t a in ly) t h e m ost i n t elligen t pr a c ti ca l,

a iddl e— builder s gr ea
,

n d sc ien t ific sol ut i on of t h e f t est dif fi c ult y,

’

pr esen t ed t o ali m it ed n um ber of p eople by agr ea t c on n oisseur ,

a n d by on e em in en t ly q u a lifi ed t o give a n O in ion
p i t i s fa r m or e
ho est ad sa t i sfa
,
c t or y t o give t h e w r i t er s ow n w or d s t ha
’
n n n to
a
,
a d p t i t ( a s so m ay bookm a
n
“
ker s un bl ushi n gly do) t o m y
ow n ph r a seol ogy , a n d ca l l it or igin a l obser va t ion Pa lm a
(
“
. m
qui m cr a j er a
'
”
tt, t .

So m uc h , t her efor e, for t h e m odus op er a n di of t h e ol d C r em on a

va r n i sh er s a s f a r a s w e ca n sa
y Wha t w er e t h e c om p on en t
pa
.

r t s of t hei r va r n i sh, i t w er e v er
y diffi cul t , n a y ,
i m p o ssi b l e, t o
det er m in e, for i t m ust b e b or n e i n m in d t ha t aper iod of cl ose
1 74 V I OLIN MA KI NG-
A S IT W A S A ND rs .

3 A q uickly d r yin g va r n i sh Ta ke fr a n ki n cen se (d) a nd

Ta
. .

j un ip er g um , p ow d er them a n d m ix t hem fin ely ke som e

dd g r a dua
.

Ven etia n tur p en tin e, m elt it i n a litt le vessel , a n d a lly,

m ixin g th or oughly, t h e a for esa id powd er s Filter thr ough c l oth
pply w a rm , a er y r a
.

a n d p r eser ve a n d i t w ill dr
y v pidly .

4 Ta ke g um m a stic (e) 2 oz s
-
V en et i an tur p en tin e 1 oz , .

m elt t h e m a sti c on aligh t fi r e, a

.

d di n g t h e tur p en tin e, l et it
b oil for som e tim e, m ixin g t hem c on t i n uousl , b ut n ot l on g
en ou gh for t h e va r n i sh t o b ec om e t oo t hi c k ut it a wa y out g
n d la
.

of t h e d ust To use it w a
. r m i t i n t h e su n a y it on with
t h e ha
,

nd
5 B oil 3 lb s of lin seed oi l till i t sc or ches a fea
.

ther ut i n to
it, then a n d 4 oz s a l oes hep a ti ca f) , a E
.

dd 8 oz s j un ip er g um a
.

nd

filt er t h r ough c l oth a

. .

t h or ough l m i x them n d b ef or e usin g, ,

wa
rm i n t e sun .

-
a
6 Gum m sti c 2 oz s , g um j un iper 2 oz s , lin seed oil 3 oz s ,
.
-
. .

spir its of win e 3 oz s , b oil i n a c l osed v essel for a

.

n h ou r .

aa
.

Th e a uth or c it es a s c ol ou r in g m a t t er s, s n d l w ood
a
dr gon s bl ood (h ) , m a
’
dd er (i ) steeped i n ta r t r ic a c id, l og w ood a -

(j ) , B r a z il w ood
(Is) , a ll dissolved i n p ot a ssa lye, n d lum , n d a a a
b oil ed A l so sa ffr on (b ), c in n a ba r
(l) , a n d or pim en t
( m) He
a
. .

s a y s,
“
Lin seed oil w ill di ssolve m i n er a la n d v eget bl e c ol our s
,
”
b ut kill s other s .

Fior a a
v n ti i n ab r ochur e c a lled Th e Un i v er sa
“
l Mir r or of
a
A r ts n d Sc ien ces, p ubli sh ed a t B ol ogn ai n 15 64 , gives t h e
four foll owi n g for m ul a
1 Lin seed Oi l 4 p a
. r t s, s i r it s of t ur en t i n e 2
p p pt s , l oes 1 pt , . a .

jun iper g um 1 pt .

2 P ow d er , b en z oi n , j un iper g um , a
. n d
g um m a sti c, n d di s -
a
solve i n spi r it s of w in e Thi s va . r n i sh d r ies a t on ce .

3 Lin seed Oi l 1 pt , w hit e r esin (si de n ote 1, p 1 73) 3 pt s ,

. . .

b oil together , a
.

n d c ol our a s
you will .

4 Li n seed oil 1 pt , r esin 2 pt s , pin e r esin t pt , b oil till it

. . . .

thic ken s Jun iper g um m ust n ever b e a

. dded t o t h e lin seed oi l
ti ll it b oils, or el se i t will b e b ur n t Th e oi l sh ould b e b oiled .

till it scor ch es afea ther dipp ed in t o i t .

He gives t h e sa m e dir ection s a s A l ex is, a s t o c ol our s, n d a

t h e solven t p ower s of lin se ed oil .

B ey on d th ese t w o a ut h or s, for m ul a e b ec om e r th er sc r ce a a
a
,
b ein g c hiefly b r ought fr om Chin a A ll t hese l a st, n d th e
c om i n g , for m ul e a a
.

r e n ot t o b e t a ken a s i n ven ted t t h e d te s a a

a
given , for they r e fr om wor ks i n t h e n a t ur e of E n cyc l op edi s, aa
a n d c on se uen t l y p ost da
q t ed -
.

A pr iest of t h e n a m e ofA n da ,
i n apa m phl et en titl ed Recueil
a br égé des Secr ets Mer veilleux , p ublished i n 1 663, gives t h e
”
 TH E V A RNISH . 175

followin g r ec ipe — Oil of t ur p en ti n e 2 oz s , t ur p en tin e 1 oz , . .

j un iper g um d r a m t o b e m ix ed over a sl ow fi r e
On e, Za
.

hn , i n 1 685 , i n Ocul us A r t i fi c i a
li s, v ol iii , p 1 66, . . .

gives t w o r ec ipes
1 E lem i (n ) a n im e whit e i n cen se a n d t en d er O O a
p l (p)
n d di ssolve i n a
.
,

m s ea c h ; pow d er a
,
2 dr a
,
ceti c a c id i n agla ss
vessel a ddin g 2 dr a
, m s of
g um t r a ga ca n th
(q) a n d 4 dr a m s
c r yst a ll iz ed suga dr y of f t hi s m i x t ur e a
r n d
pow d er fi n ely
Ta ke 1 lb of oil ofla
.

. ven der (r ) or tur p en tin e a n d 6 oz s C ypr ia n .

t ur pen tin e (s) a n d b oil them , on aw a t er b a th When t h e

t ur pen t in e i s w ell di ssolved a
.

dd t h e p owder a n d m i x th or ou hly ;
g
b oil for t h r ee h our s .

2 Oi l of la
. v en der 2 oz s , g um m a st ic 1 oz
g um j un i per 1 oz .
-
.
,
-

t ur p en t in e eon ; powder t h e m a
,
n d un ip er a
.

st i c a n d b oil t h e
j
dd t h e t ur pen t i n e, a
,

oi l then a
, n d w h en di ssolved a dd t h e p owder s
a n d m ix t h or oughly .

Th e Rev C h r i stopher Mor ley i n 1 69 2 i n Col lect a n aea

a a a
.
,
C h i n i c e L y d e n s i
”
give s u n der t e n a
h m e of It a
,
lia n va r n ish
” “
,
t h e foll ow i n g r ec ipe
Ta k e 8 oz s t ur pen t i n e a n d b oil on afi r e t ill it eva
. po ra t es
down t o 1 oz p ow der w hen c old a . n d dissolve i n wa r m oil of ,
-

t ur pen tin e Fil t er th r ough ac l ot h b efor e use .

A n d la
.

st ly ,
aJesui t n a m ed B on a
,
n n i in h is Tr a
,
ité des ,
V er n is publi shed a t Rom e i n 1 7 1 3 gives al i st of sub st a n ces
used i n w hic h h e i n cl udes—1 G um l a
, ,

c in st ic k s t ea r s or -

ta
, , ,

blet s (t ) ; 2 S n daa
,
a r c (u) or j u i pe
,
n r
gu ; m
1
3 Spa n i sh or ,

A m er ic a n c opa l ha rd a n d sof t 4 A m ber (v )

, 5 , A sph a l t e (w ) ; ,

6 Ca,
la b r ia n r esi n or pi t c h 7 A lit t le k n ow n g um whic h ,
-

fl ow s fr om t h e wild olive tr ee r esem blin g r ed sc a m m on r um-

or va
.

B esid es th ese h e m en t i on s a s gum s n ot used f r n i sh es

r tr ee c her r y t r ee a
,

el em i a n im e a ra bi c (a ) pea za r ol e tr ee a
, , , ( i de -

,
- -

He a
,
p a n d ot her t r ee g um s l so a ll udes t o ga m b og e (
y) , .

in cen se, m y r r h (z ) , oppopon a

.

x
(aa ) a m m on ia oil s such a s , , ,

t ur p en t i n e, c op a i ba(b It w ill b e ob ser ved t ha t h e om its

’

et c

n d m ist a
.

b en z oin a k es wh en h e cla sses a m on g st useless g um s

n im e whi c h (esp ec ia
,

elem i a n d a lly t h e for m er ) a

,
r e m uch used f or
violin va r n i sh es on a c c oun t oft heir t en der qua lities other wise h i s ,

list i s p r a c t i ca lly on e of t h e m oder n in gr edien ts of va r n i sh es f or a ll

1
Sada r ah or r a
n th e c ha t i s sol d a s uch i s a m i t u e of t h e e i desc i b ed
r w s x r r s n r
m m aad h a d I di a n c opa l t h e pl a
, ,

i n ot e 71 A ppe di A w i t h d a n x c e of t h e r n r n
k b y t ue g um j un i pe Th ese g um s ar e
n
Afr i c a sada ra ta
, , ,

c h b ei g om et i m
n n s es en r r.
l c oh ol ad c o equ t l y t h e sada
n

i sol ub l e (o ea
n r l y so) i n a
r n a ch (o pou nc n n s en n r r e
t o t h e i oli m a ke Tr ue sa n da a
,

of t h e sh ow ) i s u l e se ss ch i s t h e pu
v r e g um of n r r

t h com m o j un i per ad a
-

ppea t h e fo m of l on g yell ow ish dust y t ea rs a

.

e n r i n s nd
n r

st see t h a ao I h a ve a lw a
, ,

su c h you m u t you g et A d fo t h i ys i n t h i n r s re s n s
m j u i per i
ch a pt e m a
.

de u
r se of t h e t e m g u p efe e ce t o t h e b et t er kn o
r n n r r n w n

t er m sa n da ra ch .
1 76 V I OLIN -
MA KING : s IT w a
a s A ND IS .

pur poses He gives m a n y f or m ul a e t h e ba ses ofw hi c h a r e pr i n cl

lly m a n d 0 11 of la
.
,

pa stic, j un iper g um , c opa l lin seed oi l, a ven der .

sy t o m ul t i ly t h ese old for m ul a e, b ut sp a

,

It would b e ea p
ce

for bid s it ; t h e for eg oin g a r e d ou btless t h e m ost i m p or ta n t

a n d usef ul of t h em , a s givi n g us a g ood id eaof wha t ma ter i a ls

t h e ol d Cr em on ava r n i sher s h a d a t ha n d ; t h eir va r n ishes of
,
c our se, h a d t o b e m ost c a r ef ully sui t ed t o thei r pec ulia r r equ i re

m en t s a n d p r oper ly t o a scer t a in th i s it i s n ec essa ry to fin d

r t i t pl a s i n t h e c on st r uc ti on of afiddl e, a
,

( )a wh at p a y n d (6)

wh a t q ua lities it m ust con se p en t l y n ecessa r ily p ossess L A bbé

’

g
.

LaCh el on om i e
’
Si b i r e i n “
thus sum s up i t s m i son d ét r e
11 fa ut que ces p te s, pa a rf aitem en t d éla y ées pl us l eger es que
ssives n our r i ssen t l es m a n s m a
,

ma tér ia ux sa squer l eu r ver tu et

d ouc issen t l es son s sa it pa s la

, ,

a n s l es ob st r uer Ce n e ser a
. pein e
da
’
v oi r p r i s t a n t de
p re c a u t i on sa v ec l e com p a s [du v i ol o n ] p our ,

l es a n n ul er a vec l es dr ogues Em a . i llez ta n t qu il v ous pla

’
ir a ,

m a is n a ssour di ssez pa Qua n d j e v ous c om m a n de n u vi ol on

’
s ,

it e quil soit j oli, m a

.

je souha is j en t en ds quil soit b on et m on

’ ’

a
’

or eille, in dign ée et j a l ouse, n e vous pa r d on n er a it pa s da v oi r ,

’

ses dépen s, tr a va ”
illé p our m es yeux .

B efor e b egin n in g t o c on sid er t h e m a tter w e m ust g et r i d

of a ll n otion of c olour in g t h e w ood b efor e va r n i shin g or sta , i n in g
i t wit h a c id s a n d oth er cor r osives t o give t h e ap ea
p ra n c e of

a e a nd a ll suc h i n ven ti on s of t h e E vil on e w hi c h a c ids sin k

g ,

r ight i n to t h e un pr otecte d w ood a s i n t o bl ot t i n g p a p er , a

-
nd

in v a din g t h e in n er m ost hea r t of t h e fiddl e, w h er e th ey ha ve n o

busin ess t o b e dest r oy i t s m ost sover eign qua
,
li ties with out
per for m i n g a n
y of t h e pr op er fun c ti on s of va r n i sh It s fi r st
.

a n d g r ea t fun c t ion i s of c our se t h e pr eser va t i on of t h e w ood

t it n o fiddl e c ould a n a
, ,
w i t h ou tta in a n ae of m or e t ha ver y few
g
y ea r s, a n d t h e t on e w ould l ose sw eet n ess a n d p ow er a fter a ver y
shor t exist en ce of ha r m on y On i t s n a tur e a l so agr ea t dea l
depen ds : it m ust b e ten der i n am a
.

,
n n er sof t ; th a t i s, it
m ust yield t o t h e m ovem en t s of t h e w ood a n d n ot en ca se t h e
fiddle lik e afi l m of r igid gl a
,

ss It i s w ell k n ow n tha t i n h ot
ther t h e w ood expa n ds a t her c on tr a
.

w ea n d i n c old w ea ct s on a
,
v i olin , i m p er cept ibly p er ha p s, b ut n on e t h e less a ct u a lly a n d
th e n a tur e a lit y of t h e v a r n ish m ust b e suc h a s to a
,

n d qua llow
of i t s foll owin g t hese m ovem en t s of t h e w ood t o which it i s
applied, wi th out c heck in g them i n a nyw a a
y, s i t cer ta in ly would
i f i t wer e t oo h a rd . It i s t hi s t h a t gives t h e oi l v a r n i shes suc h a
va st su er ior it y over spi r it va
p r n i shes t h ough t h e for m er a
, r e m or e
diffi cult t o c om poun d a n d a ly a
pp n d ta ke w eek s m on t hs (n a y
yea ) t o dr y pr oper ly Gum la
,
c ha s t his sa m e ha
, ,

rs -
r d en in g ef fec t
upon va
,

r n i shes th ou h it h a
.

, g s b een m ost f r eely a n d disa str ously

1 78 V l C LI N -
MA KING : A S IT WA S A ND I S .

a s t ow a r d s t h e d ec li n e of t h e C r em on a i oli n m a n uf ac tur e

a
It w v

th a t g um — la c w a s in tr oduc ed a n d w i t h it J B G ua d gn l n l . .

S oil t t h e t on e of m a
,

n y of h i s i st um en t s I t i s i m p ossi bl e t o
n r
p .

im p ess t h e fa
r c t t oo str on gly t ha t t h e vehicl e i n wh i ch t h e
i n soft so a
,

r esin s a r e di ssolved m ust b e a n d r em a s t o k eep soft

t ur a l l y ha
,
a
,

t h e r esi n s w hi ch by them selves a re n a rd n d oon ss

sh fr om w hi c h t h e diluen t h a
,
quen t ly a n
y v a r n i s c om pl etely d r ied

out m ust of n ecessi becom e ha rd a n d gl a ssy a n d c hip of f On

n d if g
.

c t r em a
,
t h e ot h er h a e va r n i sh b e t oo sof t a n d i n fa in ,
.
,

c ky it w ill i n ti m e ca ke a
,

ta ,
n d dest r oy t h e ton e of t h e fiddl e
,
.

Th e h a r d s i r it v a r n i sh es m ig h t b e i m p r ov ed by oi l of t u r p en
p
~

tin e c a st or —seed la ven der et c ; b ut sur ely it i s bet ter t o use

n ter a
, .

ct fa
,

t on c e th a ul t s i n a
,

th ese a n use th em m er ely t o c ou n

in fer i or c om p osition I t i s i m possibl e t o sa y h ow t h e old

l ut hier s dissolved t h e highly—
.

c ol our ed r esi n s whi c h t in t thei r

deeper c olour ed v a r n i shes ; b ut t h e m ea n s of di ssolvi n g t h e

m ost d elica t e gum s h a s al r ea dy b een discussed a n d c er t a in it i s

r n i sh es of t h e highest c olour c a
,

tha t n ow a da y s va n b e pr epa r ed

wit h out avest ige of c l oud or sedim en t ; a n d suc h r ec ip es a re

given b el ow .

Th e a ut h or of How t o Choose aV iol in (w ide n ote p 1 2 7)

.

m a k es t h e foll ow in g m ost per t in en t r em a rk I t i s cer t a in

t ha t t h e va r n i sh used by t h e old C r em on a ma ker s w a s su er i or
p
to a as m o e plia n t or it w ould h a
n
y n ow exi st in g it w rve ,
im pa i ed t h e t on e : it w a
r s a dhesi e or l on g use w ould ha v ve ,

pa r t ed i t fr om t h e w ood Yet w i t er s er r w h o a
. ssig n rto th e
va r n i sh t h e ca use of t h e w o derful t o e of Cr em on a
n vi ol i s Thei r
n n .

b ea ut y a n d va l ue a r e i n t heir c on st r u c t i on No va r n i sh c oul d .

m a ke a n in fer ior in str um en t sou d w ell whil e asup er ior on e n

,

ould st ill b e good even i f ill v a

”
w ,
r n i shed Thi s i s on e of t h e
r k s of thi s m a
.

w i sest r em a r v ell ousl y wi se littl e b ook a n d I quot e ,

it th a t m y r ea der s m a y bea r i t i n m in d whil st th ey r ea d t hi s
cha pt er .

It h a s b een a m uch deb a t ed quest ion wh ether wood ough t t o

-

b e si ed az n d tom
, y m i n d th er e c a n b e n o qu est ion a b out i t I t
seem s t o m e c er t a in th a
.

t t h e ol d I t a lia n ma ker s siz ed t hei w ood r

i n som e w a y b efor e a pplyin g t h e a r n i sh a n d t h is a cc ou

v n ts f or
t h e yell ow sub st r a
,

tum n ot iced w h e e t h e va r n ish h a s w or n r of f

a ll uded t o by Mr C Rea de i n t h e ex t r a
,

c t quot ed a t th e
begin n in g of t h i s cha
. .
,

pter w her e h e di st in ct l y desc r ibes thi s

,

oper a t ion of siz in g wit h on e k i n d of va r n i sh , a

n d th en va r n i sh
ry a
i n g i n t h e or di n a ccep t at ion of t h e ter m , wit h a n ot h er r at her
t ur e —
,

differ en t i n i t s n a i n fa ct a s h e sa
,
ys, heter ogen eous Th e ,

use or r a of t his op er a t ion i s a

.

,
t h er n ecessit t on c e a p a
p r en t
w hen w e c on sider t h e ol l ow i n
g fact s Th e n a tur e of t h e w ood .
 THE V A RNI SH . 17 9

b ein g por ous or sp on gy, it w ould a bsor b t h e fi r st t w o or t h r ee

c oa t s of va r n i sh a a
,
n d, i n f c t , b e si z ed b
y t h e va r n i sh i tself a nd

a
,
t h e v ehi cl e b ein g a b sor b ed , a n d l e vin g b ehi n d i t s r esi n ous a n d

c ol our i n g
pa r t i cl es on t h e sur f a ce, th ese la st w ou ld dr y r a pidly,
a n d l ose t h e el a sti c ity w hic h they should a c u q
ir e by t h e p r esen ce
of t h eir soft en in g dil uen t . A l so t h e i n str um en t w ould w a n t a

la r ger n um b er of c oa t s of v a r n i sh , t h e l ower on es of w hic h when

t h e upper h a
,
d w or n a w a y, would b e h r d a a n d fr ia bl e, a n d th e

ver y ua q n t ity of v a r n i sh n ecessa r y t o b e a li ed w ou ld in fa llibly

pp
dest r oy t h e p ow er a n d b r illi a n c y of t h e t on e f or agr ea t n um b er
of y ea rs i n fa c t , t h e filli n g u
p of t h e p or es w i t h v a r n i sh

w ould en t i r ely c oun t er a ct t h e a dva n ta ges der ived fr om ac om

plet e d esic c a t i on of t h e w ood, t h e r esult of y ea r s of pr eser va t ion
.

”
Fiddl es m ust n ot b e siz ed w it h c om m on si z e, like fur n i t ur e,
b ut w ith quic kly eva -

por a t in g w a sh es, c om posed of som e suc h

gum s a s ga m b oge or a loes, dissolved i n spir i t s of w in e t o p r od uce

t h e fa m ili a r y ell ow g r oun d r i de p
( . Suc h asi z e on ly pen e
tr a t e s ver y slightly in t o t h e w ood, a n d l ea ves t h e r esin ous
in gr edien t s on t h e sur fa ce i n a st a t e of i n fi n it esim a l subdivision ,
w hi c h f or m s n o c heck on t h e m ovem en t s a n d vib r a t i on s of t h e
w ood . I t i s thus, doub t less, t ha t t h e old C r em on ese w or km en
pr epa r ed th ei r fi ddl es b ef or e va r n i shi n g t h em , w hen t hi s y ell ow

t in t i s ob ser va ble a n d w hen n ot , t h e w a sh used w a s pr oba bly

j un iper g um dissolved i n a l c oh ol H ow ev er , t h e yei l ow siz e
.

seem s t o b e t h e b est , a n d is to be m a de a s f oll ow s — 1 , Gra m

b oge, fin ely pow der ed, 20 gr a m m es s i r it s of w in e, 10 0 c ubi c
p
c en t i m et r es or 2, g a m b oge, 1 0 g r s a loes, 8 g r s spir it s
.

c e t h e spi r it s i n avessel
.

of w i n e , 100 c ubi c c en t im et r es . P la
w it h h a lf t h e pow der ed r esin s, a n d l et t h em di ssolve for eigh t or

t en d a ys, per iodic a lly st ir r in g t hem , t hen filt er out t h e i n sol ubl e
gum m y p a r t icl es t hr ough ac l ot h a
,

,
n d i n t o t h e filt er ed por t ion

put t h e r est of t h e r esi n s, a n d r epea t t h e p r ocess . It i s b ett er

t o do t hi s i n t w o oper a t i on s, a q
s t h e li uid i s t h er eby m or e

sa t ur a t ed a n d b et t er c ol our ed a n d it i s a l so bet t er a n d s. a fer t o

do i t thus t ha n by m ea n s of h ea t . Th e sec on d r ec ipe i s t h e b est
a s b ein g m or e t en d er . On e c oa t i s suffic ien t , i f w ell a n d even ly

la id on . I t i s b et t er t o use a lc ohol t ha n w a t er for t hi s sol ut ion ,

a s it i s am or e c om pl et e solven t of t h e r esin s, a n d eva por a t es
w ith gr ea ter r a pidit y Youm ust b e c a
. r eful t o h a ve your a lc ohol
a b solutely p ur e, or y our t r oubles w ill b e gr ea tly i n cr ea sed . You
a
c n t est a lc ohol by l et t i n g afew d r op s eva por a te i n y our h n d , a
w hen , i f i t h a s been m i x ed wit h a n
y essen t ia l oi l , t h e l a t t er m a y
b e det ected by t h e sm ell left b ehin d If i t h a
. s been a dul t er a t ed
wit h w ood spir it it i s i m p ossible t o detec t i t , b ut t his dm ix tur e a
d oes n ot sp oil t h e a l cohol for our p ur poses It i s n ot m uch use.
1 80 V I O LIN -
MA KING : A S IT WA s A ND IS .

a a
t o test l coh ol wi t h r eom et er s or hyd r om et er s, for by c r eful aa
a a
ddit ion of sug r t h e fel on iously disposed c n l w y s i n cr e se aaa
.

a
i t s specifi c g r vi t y t will a a
H ow ever , wh en pur e it ought t o
a
.

r egi st er 7 6 on t h e gover n m en t sc le , t t em per t ur e of a aa

a
60 F hr (or 1 6 Cen t ) Th e essen ti l oil s m ust l so b e ui t e a a q
.
° °
. .

a
fr ee fr om dult er t i on a a
i f t hey r e m ix ed wit h t ur pen tin e, thi s
a a a
l tt er m y b e di scover ed by r ubbi n g t h e oi l sm r t ly i n t h e p l m a
of t h e h a n d whic h wi ll e p ose t h e t ur en ti n e by i t s sm ell
p x If .

y fix ed oi l i t m a
,

th e essen tia l oil h a s b een a dulte a ted by a n r

y be
di sc over ed by l ett in g fa ll ad r op on apiec e of pa p er a n d wa rm

i n g i t when in st ea d of en t ir ely eva

,
por a t i n g i t will lea ve a ,
ted with a
,

t ra p r en t spot on t h e pa
n s a p er If it i s a dul t er a . l c ohol ,

pla ce a lit tl e i n agr a dua t ed t ub e w ith alittle wa ter Th e t w o .

w ill k eep sepa ra te a lk of t h e oi l m a

n d t h e bu y st ill b e r egist er ed ,

b ut on sh a ki n g it up t h e w a ter dissolves t h e a
,
l c oh ol out of t h e
e ssen t i al oil a n d t h e la
,
t t er b ecom es sm a lle i n b ulk tha n b ef or e
r .

If on sh a kin g up t h e oil sm a r tly i n a b ot t le it b ecom es

m il k y or op a l escen t i t in dic a tes t h e pr esen ce of wa t er a s a n

dult er a ll r et or t a
,

a n t I f t h e essen c e b e dist ill ed i n asm a

. n
y ,

r esin or fi x ed oi l w hi c h m a ha v e b een m ix ed w i t h i t w ill b e

y
sepa ra By a ll t hese m et h od s t her efor e you m a
t ed .
, y t est t h e ,

pur it y of your m a ter ia l s b efor e c om m en c in g oper a t i on s An d .

t hi s b r in 5 us t o t h e c olour in g of va r n i sh es w hi c h i s am uc h

icult m at t er th an o e w ould suppose for m an y essen ces

,

m or e dif f n
,
,
suc h a s essen c e of tu pen t in e l a ven der r osem a
r r y et c w ill n ot .
, ,

(or on ly v er y slight ly) a

, ,
ct a s solven t s of c ol our ed r esi n s or w ill

ta
,

on ly h old t h em i n susp en sion w hic h w ould b e fa ,

l t o th e t ra n s

pa r en c
y of t h e va r n i sh Suc h r esin s (w hi c h in c l ud e ga
. m b oge ,
dr a gon s bl ood et c ) a
’
r e h owever
, . sol ubl e i n spi r it s of wi n e ;
, ,

an d i n t h e foll ow in g m a n n er they m a b e used t o c ol our t h e

y
'

essen ces b efor e m en t ion ed -

Let t h e c ol our r esi n b e dissolved i n a

-
l c ohol a n d t h e solution ,
m a y b e pour ed in t o t h e essen ce w it h out losi n g i t s c lea r n ess .

Now t h e b oilin g or eva

, por a t i n g poi n t of a l c oh ol b ein g m uch
l ower t ha n t ha t of t h e essen c e t h e m i x t ur e m a y b e k ept a
_

,
b ove
t h e b oi lin g poin t of t h e a l cohol a n d b el ow tha t of t h e e ssen ce,
a n d t hus t h e a l c oh ol w ill eva por a te a n d l ea ve b ehin d i t t h e
c ol our i n g m a t i on a
,
t ter sta r y in t h e essen ce, w hi c h i s t hus a s it ,
w er e d ec eived i n t o h oldi n g t h e c ol our i n
, cl ea r sol uti on A ny
c ol our r esin m a t h us b e i n c or p or a
.

y t ed wit h a n
y essen ce (ex c ept
t ha t of t ur pen t in e) w hi c h m a y t hen b e used i n t h e c om p osition
of av a
,
r n i sh ; b ut i t m ust b e b or n e i n m in d t h a t a ll t h e
m a t er ial s em pl oyed m ust b e a b solut ely pur e a n d t hei r pur it y
m ust b e a sc er t a in ed by t h e m ea n s giv en a bove A s t h e b est .

essen ce w h er ewit h t o i n c or or a t e t h e c ol our i s t h a t of t ur pen

p
1 82 V I O LIN MA K IN G :
-
A s IT WA s A ND I S .

dless her e t o descr ib e It i s a lw a

a
n ee ys bet t er t o per for m these
t i on s i n t h e sum m er , for i n w in t er oils a n d essen c es h ve a
.

oper a
t en den cy t o a l t er i n th eir n a tur e a n d c on si st en c y fr om ei th er

c old or a b sor p t ion .

F r om t h e b egin n i n g of July t o t h e en d of Sept em b er i s t h e

b est tim e t o pr epa r e va r n i sh es Th e t h r ee r ed r esi n s m en ti on ed
ss thr ough m a des ofc ol our a n dma
.

a b ov e, p a n y sh a y b e lighten ed
,

with ga m b og e a n d da r k en ed w i t h a sph a lte or d r a

’
gon s bl ood ;
b ut th ese ton e m odi fi er s m ust n ot b e used i n suffi c ien t qua
,
-
n tity

to a lter t h e n a t ur e of t h e va r n ish For i n st a n ce ga m b oge

lly tha
.
,

dissolves m or e r ea dil y i n essen t ia l oi l (espec ia t of

t ur pen t in e) t h a n t h e sa n da l w oods which h a ve t o b e a dded
by m ea n s of t h e a l c oholic sol ut ion ; so t o light en a n essen ce

c ol our ed w i t h sa n da l w ood t h e ga m b og e m ust n ot b e a dded

di r ect t o t h e solution , or , by r ea son of i t s gr ea t er a ffi n ity ,
t h e essen ce m ight pr ec ipita t e t h e sa n da l w ood i n fa vour of
t h e ga m boge This la t ter , th er efor e m ust b e a dded by m ea n s

fa
,

of a n d th e a lcohol eva p or a
.

n a l c oholic solution a ,
t e d of s
descr ibed a bove Dr a . gon s blood, h ow ever i s n ot so r ea
’
,
dil y
r ec i i t a t ed fr om t h e essen ce t h er ef o r e thi s m a m or e sa fel y
p y
be added dir ect ly t o t h e essen ce W it hout t h e in t er ven t ion of
th e a lcoholic sol ut i on It i s b est t o fin i sh t h e c ol our in g of
.

t h e essen c e b efor e c om m en c in g t o c om p oun d t h e r e st f t h e

va r n i sh Fin a lly, it i s n ecessa r y t o sta t e t ha t t h e essen c e of
d ea
.

tur p en t in e h a s b een lt w i t h hit h er to a s b ein g t h e b est,

for r ea son s given a b ove ; essen ce of r osem a ry m a a l so b e

y
used , a n d i s ea sier t o d ea l w i t h b ut n ot so good i n t h e fi n a
,
l
r esu lt Th e a l c oh olic solut ion of sa n da l w ood i s a pt t o ox idiz e
n essen tia
.

a n d d eepen i n t i n t on exposur e t o t h e a i r , th ough a l

sol uti on d oes n ot p r esen t t hi s p ec uli a r ity t o so m a r k ed a deg r ee,
a ll i t s solut i on s, h ow ever , a re
pow er fully a cted upon by a lk a lies
of a ll kin d s .

In c on clusi on of thi s som ew ha t len gthy subj ec t t her e r em a ,

in s
on ly t o for m ula t e th e fin a l oper a t ion s n ec essa ry for t h e c om pl e
t i on of t h e va r n ish Th e r esin s a
.
ppr op r ia te t o our use divide
in t o t w o cla sses, t h e ha rd a n d t h e sof t Th e h a r d c om p r i se

cop a a
.

l, a m b er n d
g um l a c, a n d t h e soft a r e subdivid ed i n t o
-

,
t w o ot h er c la sses v i z dr y, suc h a s j un ip er g um g um m a sti c -
.
,
a a
, ,

n d el a n im e a
,
n d da m ma r st ic suc h a s b en z oi n el em i a n d
, , , ,
tur pen t in e Th e fir st , or ha r d k i n d s w ou ld b e un suit a ble used
a
.
,

lon e, for t hey w ould check t h e vib r a t i on s oft h e in st r um en t a n d

ch i p of f on t h e slightest p r ovoca t i on ; t h e sec on d or dr y kin d
c oun ter a
,

c t t hi s c hippi n g t en d en c y of t h e ha
,
r d ki n d s, b ut u sed
a l on e w ould pow der off t h e t hir d or ela st ic k in ds, a
,
r e n ot sol id
en ough t o use a l on e, b esides by their hea ,
vy glutin ous c ha ra ct er ,
 THE V A RNI SH . 18 3

r en de r in g t h e ton e of t h e fiddle w oolly a n d viola li ke b ut they -

i m pa
,
r t ela st i c ity t o t h e h a r d ki n d s a nd c on sisten cy t o t h e dr y
,
ki n d s when m ix ed w ith t hem Th e a r t , ther ef or e of m a k in g
va
, .
,
r n i sh lies i n so c om bi n i n g th ese thr ee c la sses t ha t ea ch
con vey s i t s g ood qua liti es a n d c oun ter a ct s t h e b a d on es of t h e
oth er t w o In spir it va
. r n i shes t h e dr
y a n d el a stic k in ds m ust
b e m ix ed, t o en sur e ten der n ess a n d solidit y, f or t h e a lcoh ol
e vaor a tin g lea ves t h e r esin s a s t hey a r e, on t h e w ood , a n d if t h e
p
sof t r esin s un d uly p r epon d er a t e t hey will r em a in t a c ky for a

l on g t i m e Th e m ost w ea. ra ble r esin i s m a st ic, b ut a s i t i s n ot

wh olly soluble i n p ur e a l c ohol i t m ust b e a ,

dded l a st of a ll t h e
i n gr edien t s, when t h e in sol uble pa r t s m in gli n g wit h t h e ot her

c on st it uen t s obvia t e thi s di f fi c ul t y It i s ea sy, ther ef or e t o see

t ha t for m ul a e for v a
.
,

r n i sh es c a n b e va r i ed a d i nfi n i t um a cc or di n g t o
r equi r em en t s Th us ta . kin g a sa ba si s 1 00 c c (c ubi c c en t i m et r es) .

of a l c ohol t o pr oduce at er r ifi c a
,
lly ha r d va r n i sh, w e w ou l d use
g um la -
c 20 g r a m m es j un iper g um 8 g r , el em i 4 g r For a good
w ea
.

nd a
.

r in g, a t t h e sa
,

m e t im e ten der va r n ish j un iper g um

, ,
20 g r m a . st ic 1 0
, g r , elem i 4 g r or j un iper g um 25 g r m a
. .
,
sti c .
,
6 g r V en et i a
.
, n tur p en ti n e 1 0
g r (t ur pen ti n e m ust a . lw a ys b e
a dded t o aspir it va r n i sh la st
) I t m ust b e r em em ber ed (a
. n d it i s

show n i n t hese thr ee f or m ula e) t ha t a lc ohol w ill on ly dissolve

on e t hi r d of i t s w ei h t of r esi n s A good for m ulafor spir it
t of Véa
-
.

va r n i sh i s t ha t i n , w h o pr esc r ib es j un ip er g um 12 5 g r , .

g um l a
-
c (i n t ea r s 62 r 5 0 cen t i g r a
) g . m m es m a st ic 62 g r 5 0 c
-

, . .
,

elem i 31
g r 2 5 c ,
.V en et i a n t u r en t in e 62
p g r 5 0 c a lc oh ol . .
,

Thi s w ould yet b e t oo h a

.

1 lit r e 1 000 r d ava r n ish

b ut Wa ti n w a s
(er r on eously t o m y m in d) i n fa vour of this
qua lit y, a n d it m u st b e r em em ber e d th a t he w a s ha r dly a fi ddl e
m a k er Th e best spir it va rn i sh for our p ur p ose i s com posed a s

follow s —Jun iper g um 8 0 g r , m a

.

st i c 1 00 .
g r , elem i 30 g r , . .

c on cen t r a t ed essen ce of t ur pen t in e l 60 c c , ca st or oi l 50 c c

,
. ,

a lc ohol 1 lit r e B efor e t h e a

.

. ddi t ion oft h e r esin s t h e spir it m ust

b e c olour ed a s d esc r ib ed a
,
b ove If athi c k va . r n i sh
(ofwhich
on e c oa t w ill b e suf fi ci en t) i s r eq ui r ed, t h e r esin s m a y b e pr o
p or t ion a tely in cr ea sed , b ut n ot t h e t u r p en tin e or ca st or oi l, f or
t hey w oul d m a k e t h e va r n i sh sti c ky i f over don e .

However good this m a s aspi r it va r n i sh, a

y be a n d however

c on ven ien t t o w or k wit h it i s a n d m ust b e in f

, ,
er ior t o a n oi l

va r n i sh f or t h e la tte r i s a t t h e sa m e t im e m or e ten der , a n d m or e

n d bin di n g p r esen ce, wher ea

,

soli d, for it c on ti n u es i t s soften in g a s

the a lcohol becom es p r om p t ly dissipa t ed It i s a lwa y s bet t er t o .

co m poun d va r n ishes wi t hou t hea t t ha n with it for t h e for m er

B y c on cen t r a t ed I m ea n eva po a t ed t o on e t en t h pa
r rt of i t s b ul k Tur pe n
t ed r osem a
-

t i n e i s h er e i di c a t ed b ut a s el sew h ere st a y m ig h t a
.
,

n ,
l so b e u d r se .
1 84 V I OLIN -
MA KING : A s IT WA s AN D is .

i s on ly am a t t er of tim e a n d t h e la , tt er i s lia bl e t o ca r b on z e or
i
other w i se a l t er t h e con stituen t s ; a n d sec on dly t h er e 18 n o
mm a ble a
,

r e highly in fl a
,
den yin g t ha t a l l t h e sub sta n c es used a nd ,

with out ex ceedin gly ca r ef ul h a n dli n g c on sid er a bl e da n ger t o

t i s used i n ala b or a
,

life a n d pr oper ty en sues i f h ea t or y n ot

sp ecia lly c on st r uc ted for t h e pur pose I t will b e seen t h a t th e
.

ma ter ia l s r ea dy t o our ha n d n ow a r e t h e sa m e (W i t h t h e ex cep

s fr a n k in cen se et c ) a
,

t i on of som e useless on es suc h a s w er e .

n c ite tha
,

In our fa vour w e ca
,

en um er a t ed i n t h e old r ecipes t , ,

re to be h a d pur er tha
.

w h en un a dul t er a te d r esin s a n th ey w er e

tion s of c on cen tr a tin g essen ces a

,
then a n d t h e O p er a n d fusi n
1
,

a
,

t h e ha r d gu m s th en un kn ow n r e n ow fully un d er st ood
,
t .

in ed tha
,
ha s b een ex pl a t w e m ust r elin quish t h e use of t h e four
ha r d r esi n s a n d a l so b en z oin b ec a use by swellin g i t r en der s t h e
g um b ec a
,

a
,

va r n i sh g um m y n d ju n ip er use it r equi r es so m uch

-

n d t en der c opa s g ood a

,
h ea t a l (or d a m m a r
) i s j ust a n d m uch ,

ea
,

sier t o w or k with
stic (i n tea
.

We a r e r educ ed th er efor e t o 1 m a rs
) w hic h i s
ll r esin s ; 2 ten der copa
, , , ,

t h e m ost t en der a n d w ea ra bl e of a l ,
b r it t l e d a mm a r which by i t s dr yn ess coun t er a c t s t h e m or e

el a st ic r esi n s a n r en d er s t h e v a r n i sh m or e sic c a t ive 3 ,

s r en d er in g t h e v a
,

V en et ia n t ur pen tin e whi ch w e a void a r n i sh

,
n d el a
,
ta c ky ; 4 el em i
,
a nd 5 a n im e , b oth ver y soft a sti c
m ph or i s som etim es m en ti on ed a s ha
, ,

um s Ca vin g b een used ,

Th e for m ulal eft us a
.

b ut i t h a s aten d en c y t o k ill c ol our s.

t h e best b ec om es ther efor e m a sti c 1 0 ten d er c op a l 5 r

s desc r ib ed ) 10
r .
,
.
,

0 00 : To this i s a
, ,
essen ce (colour ed a t will a d ed
fin a lly 5 c c of lin seed oi l n ot b oi led b ut t h e older t h e b etter
.
, ,
.

Mor e tha n t hi s q u an tity m ight b e used b ut w ith t h e ef fec t of

l essen in g t h e sicc a
,
tive p r ope ties of t h e va r n i sh
r Th e a bove
a —
.

for m ul am a y b e p r ep r ed a s f o ll o w s P la ce t h e 100 c c of .

c olour ed essen c e i n agl a ss vessel a n d i n to it

put t h e m a ,
stic ,
which will t a k e fr om twen t y four t o thi r ty si x hour s t o dissolve
- -
.

When q uit e dissolved a dd t h e c opa l whic h will t a ke a like tim e

P er i odica
.
,
lly sha ke t h e b ot t le Then fi n a lly m i x i n t h e oi l
.

P ut t hi s fluid a wa y i n ada r k cool pl a

.

ce i n a ,
st opper ed b ottle , ,
for t en da y s or afor t n ight t o l et i t set tl e then filt er (thr ou h
,
fi lter pa p er for choice) a n d k ee ,p t h e va r n ish si x or eight m on 8
befor e usin g it In this va . r n i sh elem i a n im e a n d t ur p en tin e ,
a
,
r e l ef t out t h e lin seed oil t a
,
k in g t h eir pl a c e i n c on t r ib uti n g
t h e t en der n ess t o t h e va r n i sh Th e r esin s a pp ea .r t o b ea r a
sm a ll p r opor t ion t o t h e essen ce b ut it m ust b e r em em b er ed th a , t
w
It h
a
e c n n ot n ow
a
s b ee n

a a a
a t h t i n t h ese v er y d ul t er t i on s, t h e n t ur es of w h i ch
sug g est ed
scer t i n , l y t h e sec re t of t h e Crem on v r n i sh , h ypoth esi s
a a
aa "
a
a
w a a
h i ch , t o s y t h e l e st of i t , i s ex ce edi n g l y i m pr ob b l e a .
1 86 V I OLIN -
MA KING : s IT w a
a s A ND IS .

()3 W h en t hi s i s c old a d d y o u r r esi n s, sh a k i n g per i odi c a lly a s

b efor e descr i b ed Lea ve t h e li uid t o set t le for afor t n i ght , t he n

q
'

filter t h r ough p a per a n d

pr eser ve
a
.

Th us fa r it h a s seem ed n ec essa r
y t o en t er i n t o t h e m i n ut i e of

th e r a t her di st i n c t a r t of va r n i shi n g , a n d I h ope t ha t t h ese n ote s,

ga t h er ed fr om t h e m ost r elia bl e sour ces a n d fr om per son a l
ex per ien ces, m a y, a t a n
y ra t e se r ve a s g uid es f o r t h e ex per i

c t i c e of t h e w ould b e C r em on ava
,

m en t s a n d pr a -
r n i sh er To
.

a n o n e m or e pa r ti c ula r ly i n t er est ed i n t h e subj ec t , I

b eg t o
y
r ec om m en d t h e w or k of M E u .
g en e Ma i lan d , t o w hose Déc ou
ver t e des A n ci en s V er n i s It a lien s a
Im i n deb t ed for m uc h
va l ua bl e in for m a t i on c on t a in ed i n t h e for eg oi n g paes l

g
.

Th e v i oli n i s n ow t h eor et i c a l ly fi n i sh ed , t e , w e l a
. . v e sc ien t i

fi ca ll y di sc ussed a l l i t s pa r t s, a n d ha ve on ly t o a dd t h e fittin g s
a n d st r in g s (w hi c h w ill b e t h e subj ec t of t h e n ex t t w o c h a pter s) ,
b efor e pla yi n g on our fiddle . Th e r ea der w ill by t hi s t im e
ha ve fully a ppr ec i a t ed t h e h ost of t r i fl es t o whi c h d efer en ce
m ust b e pa id, for i f n ot , h a s nu gae i n ser i ad ucen t m a la Th ei r
.

im p or t a n ce m ust n ot b e j udged by t h ei r n u m b er (w hi ch a
l on e
i s ca l c ul a t ed t o i m pr ess t h e un l ea r n ed , b u
) t by t h e i m m en se
in fluen c e ever y t r ivia l pa rt h a s on t h e c om bi n ed w hol e ; n on

n um er o [ u se j udi ca n tu r , sed
p on der e .

Ma
il a D c ouv er t e d es A n c i en s V er n i s It a
é é
a
n d li en s, E m pl oy s pour l es
a
E
(Pa
.
,

In st r um en t s Cor des et A r ch et r i s, Sec on d E di t i on , 1 8 74 .

Nel l e sel v e i o v i v eaci pr esso m ur o

Or , m or t o, h o v oce, poi c h e m e fer l i u“
 C HA P TE R X I .

FITTINGS A N D A P P LI A NC E S .

—a a a— a
Th e I eg s M te r i l — Fi t t i n g — M c h i n e H e ds P t en t P eg s— Th e Nut —Th e
f a
Fi n g er B o r d— C ut t i n g —M t er i l —Spob r ’e Fi n g er B o r d— Ot h er V g r i es
a a a a aa
a
Th e T i l Pi ece M t er i l — Spoh r sT i l Pi ece —
a a ’
a Vu a
i l1 um e’s Sour di n e P ed l e a
a
Zeb r ow ski ’ s— Th e T il Pi n — Th e Rest —
Ch i n Rest s Hil l s Ch n ot s—Th e
— ’
— '
a
—
- -

Mut e — H ill ’s Rosi n — It s Pr ep r t i on aaG ug es a k

Tun i n g F or s— St r i n g
B ox es Mi n or A c c essor i es—Fi ddl e C ses
-
a .

Th e F i t t i n g s — . Ha vin g c om plet ed our V i olin by va r n i shi n g it

,

t h e n ex t st ep t o b e c on sid er ed i s t h e fi t t i n gs Th ese, t a ken a s

acl a ss m a b e sa
.

, y id t o c on sist of t h e p egs, t h e n ut , t h e fi n g er
boa r d t h e t il
,
a pi ec e t h e r est, a
-
. n d t h e t ila -

pi n , a s n ec essa ry to

t h e ex i st en ce of, a n d f a sten ed on t o, t h e violin when i n use, i n

m a n n er h er ein a ft er a p pea r in g . B eyon d thi s, other m iscel l a n ea ,

pr oper ly b e ca lled a ppur ten a

”
w hi c h m ight m or e exist ,
“
n ces,

a n d c on si st of c hin r est s, m utes, a

-
n d ot h er a c c essor i es, w hi ch

ha ve aloca l ha bit a t ion i n t h e pock et s of aw ell or ga -

n i sed fi ddl e

ca se. It h a s b een q
t h e t en den c y ver y fr e uen tly t o c on si der
a
t h ese fi t t in gs eit h er t oo i m por t n t or t oo un i m por t a n t , t h e r esul t s

bein g, i n t h e for m er c a se, t o pr od uce c om pli c a t ion s w hic h en d i n

a gon y a n d v ex a tion of spi r it a n d a r ev er si on t o si m plic ity
,
an d,

i n t h e la t t er , t o pr oduce en dless w or r y a n d di f fic ult y Th e t r ue

.

sec r et of a w ell fi t t ed violin i s t o h a

-
ve a ll t hese thi n g s, good i n
t hem selves, sim ple i n c on st r uc t i on a n d a pplica t ion , a n d p r oper ly

a n d sc ien t ifica lly a ppl ied t o t h e i n st r um en t, a n d h ow t o

pr od uce
t hi s r esul t i s t h e obj ec t of t h e pr esen t c h a pt er . B esides n ot i c in g
t h em a n d t h ei r a rra n gem en t , I sh a ll a lso a dver t t o som e of
t h e pa t en t fi t t in gs, whi c h ha ve begun a n d en ded their usel ess

ex i st en ce un k n ow n , a n d, i n f a c t, th ough yea r s ol d, m
y r ea der s
m a p r ob a bly h ea r of t h em fo r t h e fi r st t im e t h r ough t h e
y
m edi um of t hese pa ges .

To t a ke a ll t hin gs i n th ei r or d er , w e b egin w ith t h e p eg s

(D, Fi g These a a
r e m d e of b oxwood , eb on y, or r ose

i n t h ei r si m plest for m they a

.

w ood r e r ep r esen t ed i n Fi .
g 95
( A a n d B) A ll fo rm s r e, how ev er , lia
a ble t o or n a a
m en t t ion s,
a
.

w hi c h h a ve b een n ot iced i n Ch pter IX , a . n d a r e r ep r esen t ed

1 88 V I O LIN -
MA KIN G : a
s rr w a
s A ND IS .

in their m os din a
t r y d esig n a
or t C i n t h e sa m e figur e Of t h e .

t hr ee c om pon en t s n a m ed b ox w ood i s t h e m ost i n fer i or b ei n g ,

ha rd a n d un yieldi n g w hi c h ca uses t h e p egs t o st i c k t h e m ost

a
,

c on env i en t a r e m a d e o f r o s e w o o d whi c h b e i n
,
g s p r i n gy n
,
d soft ,

a r e ea sily fitt e d an d t ur n i n t h e h ol es f o r t u n i n g p u r oses w i t h

p
a n ce t o a a
,

a n e a s e an d fi r m n ess whi c h c o m m en d s i t s el f t o m teur s ,

a n d esp ec ia lly t o l a di es, w h o sh ould a lw a y s use t hem a s t hey ,

r ed uc e t h e op er a t ion of t un in g fr om at ir esom e a n d l en gthy

ea sy a n d i n sta n ta Th ei r on ly d i sa dva n ta
to a n n eous on e ge
eb on y p eg s w hi c h , i f r ea
.

i s th a t t hey w ea r out soon er t ha n lly

ll ot h er s b ot h for ea
,

t hor oughly w ell fitted, ec lip se a se i n

t un in g w ea r a n d a ppea ra n ce But t h e fi t t i n g m ust b e d on e by

violin fi t t i n g, for aba
.
, ,

som e on e t h or oughly exp er i en c ed i n dly

fi t t ed peg i s a n a b om in a t ion It i s a l so m ost im p or ta
.
n t a n d

essen ti a l t o t h e c on v enien c e of t h e pla yer t ha t t h e p egs sh ould

b e so set i n t h e h ea d tha t ea c h st r in g c a
,
n
p a ss f r om t h e peg t o

t h e n ut qui t e c l ea r of t h e ot h er t h r ee peg s O t h er wi se on e .

b over t h e peg of a n oth er a n d ea

,

str in g w ill r u c h t im e on e I S ,

Fm . 95 —Vi oli n
. P eg s . F I G 9 6 —M
. . ch i n e H ea
a -
d for V i oli n .

t un ed t h e ot her w ill b e t hr ow n out , w hi ch im m en sely i n c r e ses a

t h e dif fi cul t y of tun in g t h e in st r um en t Suc h defec t i n n . a a
a
in st r um en t c n , how ever , b e r em edied by h fi n g t h e old holes a
a
filled up n d n ew on es bor ed by n in telligen t w or km n , b ut a a
a a
t his oper t i on c er t in ly does n ot im p r ove t h e ppe r n c e of t h e a aa
a
he d Full in str uc t ion s will b e given for fit tin g pegs i n futur e
. a
cha p ter T. h }
a
e b est siz e i s 1 3 i n c h l on g, t h e st em t per in g fr om

g of a
n i n ch to of a n in ch P eg s h a ve b een m a .de a l so of
r hi n ocer os h or n ivor y a n d oth er fa
,
n c y sub sta n c es b ut a ft er
ve b een pr on oun ced ut t er ly un sa
, ,
ashor t t r i a l t h ey ha tisfa c t or y ,
a n d r ej ec ted Ih g 9 6r epr esen t s a m a c hin e h ead these c er t a
’
‘ . in l
ca r a
.

r ry t h e
pa lm so fa s ea se i n t un in g i s c on cer n ed b ut th ey
, ,
soon wea r out a n d i f th ey b ec om e l oose a
,
n ywh er e a a
j r is
pr oduced ca l c ul a
,
ted t o qua lify t h e possessor for elec tion t o t h e
fir st va ca n t
post of c oun t y l un a t ic Pa ten t peg s a re al l m uch
of am uc h n ess
.

Fi g 9 7 r ep r esen ts on e of t hese t h e in ven tion

. .
,
of Mr .Joseph W a llis a nd h a s at a n
y ra
,
te t h e m er it of
, ,

c om pl i ca ted in gen uity t o r ec om m en d it A i s am eta l stem B

am et a
.

l sc r ew pa ssin g t hr ough a
,
n or di n ary
peg hea d c a nd -

,
1 90 V I OLIN MAKIN G -
: a
s IT w a
s A ND IS .

a rd h a
th a t s lippi n g b e c om e s
p r a
c t i c ally u n k n o w n M n S t u t t fo s

fi c ulty a lwa
.

in tr oduced apeg for t h e A st r in g t o obvia t e t h e di f

.

ys
ex per i en ced i n g et tin g a t t hi s str i n g c on sequen t on t s b ei n g
i
c ov er ed by t h e v ol ut e of t h e sc r oll (a ide M C ha ri ot s V I Ol l n , .

p A scr ew r un s d ow n t h e st em of t h e peg fr om t h e en d
of t h e thum b pi ec e w hic h pr esses upon t h e st r i n g a s soon a
.

s
,

it i s put thr ough t h e h ole i n t h e peg a

O

n d hold s i t ti ght, so
,

t ha t t h e peg c a n b e t ur n ed a t on c e w it h out t h e t r oubl e of

p ullin g out t h e en d w it h t w eez er s a n d d ou blin g i t un der t h e
A g ood i dea b ut li kely t o w ea
,

str i n g t o fi x i t .
,
ken t h e peg ,
a nd
g et ou t o f o r d er .

Th e Nut (8 Fi g 39 ) i s t h e sm a
,
. ll piec e of eb on y in ch hi gh ,

1 2 ; i n di am e t e r g l on g w hi c h i n ter v en es b etw een t h e eg b ox -

g ra
, ,

a n d t h e fi n g er b oa -
rd a n d ov er t h e h a r d c r oss in of w i ch t h e -

ll gr oov es c ut i n i t ) t o t h e b r idge c l ea
,

str in gs p a ss (on sm a r of ,

t h e fi n g er b oa -
r d i t s el eva
,
ti on a b ove which i s on ly { 3 un der t h e
fir st, a nd un der t h e four t h st r in g
(E Fi g 39) i s t h e m ost i m p or ta
.

Th e F i n g ei b oaw
rd n t of t h e
ry a
.
,
fit tin gs of t h e violin ; i t s m ost or din a n d c or r ec t m ea sur e

m en t b ein g 1 03 i n c h es l on g t h e br ea dt h ta p er in g fr om 1 5 in ch
I t s t hi c kn ess so l on g a
,

a t t h e br idge t o 5 in c h a t t h e n ut s it

i s glued t o t h e n ec k s T ; i n ch fr om w hi ch poin t it t a a
.
,
i
i , ,
p er s t o
i n ch A t i s b r oa d en d i t i s 2s ; i n ch es ( u
j st un d er 2} in c h es)
2
7 1,
t 1

n ce b el ow t h e st r i n g s a t i t s b r oa
.

fr om t h e b r idge It s dist a
. d en d
m ust b e v er y n ic ely a dj ust ed t h e c or r ec t di st a ,
n c es b ein g a b out
b elow t h e E , 35, in c h ; b el ow t h e A fi in ch ; b el ow t h e D , ,

el ow t h e G, 3 ?in c h Th e br idge m ust

5
12 ,
i n ch b e cut t i n
g o f t h .

foll ow t h e c on t our of t h e fi n g er b oa r d b ut n ot i t s height -

for t h e ,

ised or l ow er ed by c uttin g a wa
,

fi n g er b oa
-
r d m ust b e r a y th e
wood of t h e n eck a t eit h er en d, r a ther tha n tha t t h e br idge b e
ma d e t o suit t h e fi n g er b oa rd
( See on t hi s p oin t C ha
-
. pt er III , .

pa
”
r
. Th e B r idge, p .

Of c our se t h e fi n g er b oa r d m ust b e r oun ded t o c oin c id e with

-

t h e or din a r y c uttin g of ab r idge If t h e fi n g er b oa r d b e n ot

.
-

n d G st r i n g s w ill b e t oo c lose t o it a
r ou n d ed en ou gh th e E a , nd ,

th e A a n d D t oo fa r a w a y i f t h e br idge b e p r oper ly c ut ; i fi t b e
,

t oo r oun d , t h e Opp osi t e w ill b e t h e r esul t a n d i n high shi f ts t h e

h ow w ill b e a
,

pt t o st r ik e t hr ee st r i n gs a t on c e A t t h e sa m e ti m e .

a t t h e b r oa d en d of t h e fi n g er b oa r d t h e Gr st r i n g i s fu
-
r t hest fr om
it, a n d t h e E i s t h e c l osest a b out in ch ) for t h e vibr a ti on s
oft h e G st r in g b ei n g t h e la
,

r gest t hey m ust ha ve m ost r oom on

which p r in cipl e t h e di st a sa
,

n c e b et w een t h e st r i n n d t h e fi n er

pi t c hedhigh er , t ill t h e
g
b oa r d d ec r ea ses, a s t h e open n ot e i s

m in im um i s r ea ch ed un d er t h e E st r in g Th e b r idge a nd
fi n g er b oa
.

-
r d m ust ea ch oblige on e a n ot her a n d n ot ea ch t r
y to ,
 F TTI IN G S A ND A PP LIA NCE S . 191

c om pel t h e sh e e of t h e o ther Th e b oun da

for t h e l en g t h of
ry

a ha
.

th e fi n g er b o r
-
s b een set d ow n a s f a r a s th e u pper c or n er s
of t h e fiddl e, a n d n of ar th er Fr om t h e en d of t h e n ec k t o t h e
.

e n d of t h e fi n er b oa r d, i t s un d er side will b e h oll ow ed out

g
-

follow i n g t h e decr ea se i n t h ic k n ess So fa r a.s it i s g l u ed t o t h e

n ec k t h e t hi ckn ess m ust b e per fec t ] un i for m , t o p r eser ve
alevel sur fa
,
ce . M l A b b é Si b i r e, i n
’
. aCh elon om i e in veighs
”

sure d ter m s a ga c ti ce whic h cer t a

,

i n un m ea in st ap r a in ly I h a ve
n ev er c om e a c r oss—n a m ely, t ha t of holl owin g out a sem ic i r c ul a r
sp a ce b et w een t h e n eck a n d t h e fin
g er b oa rd Th e pr a
-
ct ic e
seem s t o ha ve a
.

r i sen wit h aview t o light en in g t h e fi n g er

b oa rd . Th e fi n g er b oa -
r d m ust of c our se b e glued c l osely a n d

fir m ly t o t h e n ec k a
, ,
ll over t h e sur fa c e of t h e la t t er .

Th e w ood of which it i s m a de sh ould n ot b e t oo close a n d d en se,

or i t will i n fl uen ce t h e el a st i c it y of t h e n ec k a n d c on seq uen t ly
,
t h e t on e Th e height oft h e b r oa d en d a b ove t h e belly w ill va ry

gen er a
.

wit h t h e m odel of t h e fiddle, b ut i t m a y lly b e d

.

ta k n a
e —
s 1 6 ; t h e fi n g er b oa
7
r d sh ou
-
ld b e m a de of ebon y, a r

w h i c h m ust b e th or oughly dr y a n d well sea son ed, a

b
n d i ts
-
r

tt i n g a
e
g
cu n d fitti n g will b e set d ow n fur ther on Fi n ger . n

b oa r ds h a ve b een , a n d a r e st ill on c h ea p fi ddl es, m a

i

F
de of
st a in ed or ven eer ed w ood ; t hese a re a n en dl ess t r ouble, a s

they a r e c on sta n tly w ea r in g out C ur iously en oug h, M

. .

Sa va r t r ec om m en d ed su c h fi n g er b oa r ds f -
or t h e sa k e of
a
ob t i n i n g a n in c r ea se of ela st i c i t y a n d vib r a tion , b ut t his
i s pr oved t o b e a m ist ke a For m er ly, fi n g er b oa r d s used t o b e
-

a
.

m a de c uri ously orn a m en t ed, a n d of fa n cy m a ter i ls Mr A r t hur . .

H ill h a s aw on d er ful c ollec t i on of such c u r iosities w hi c h ha ve

a
,
b een discussed un der t h e hea d of or n a m en t ti on s i n C ha pt er IX .

( pa ge
Spoh r i s sa id t o ha ve r ec om m en ded t h e hollowin g out of t h e
fi n g er b oa
-
r d un d er t h e G st r i n g t o all ow for i t s gr ea t er vib r a
t i on s, b ut m y exper ien c e of t hi s va gar y i s tha t it i s aw or r yin g
a n d usel ess ec cen t r i c it y, wh ose super fl u i t y i s on ly e qua ll ed by
i t s un sightlin ess I a . m told by Mr John B ishop (of Chelten .

ha ha S p h r g ot thi s idea f Rom b er g t h e V iolon celli st

m
) t t o r om

t i t m igh t b e a n ta
.

On e ca n u n der stan d th a dva geous for t h e C

s t r i n g of a V iol on cello, b ut n ot for t h e G of t h e V iolin In a .

w or d t h e fi n g er b oa
,
-
r d sh ou l d b e per fect l y pla in , polished, a nd

t r ue, a
s in Fig 9 9
a
. .

A s for pa b oar ds thei r n a

ten t fi n g er -
m e h s b een legion , a n d

c oun t l ess c on t r iv n ces,

“
a
b or n t o blush un seen , ha ”
ve in cr ea sed

t h e r ev en ue, a s i s testified by t h e r ecor ds of t h e pa ten t offi ce

In 1 84 5 , Rober t B r ooks t ook out ap a
.

ten t (N0 for .

va r ious i m p r ovem en t s i n fi n g er b oa r d s t h e p r in ciple of a l l of

'
-

,
 1 92 V I OLIN -
MA KI NG : a
s IT w a
s A ND IS .

whic h as si m il a r — vi z . a
w double fi n g er b oa r d b et w een t h e t w o -

,
,
su rfaces of whi c h t h e str i n gs r a n a n d wer e a c t ed up on by
m ea n s of stud s pa ssin g t h r ough t h e u p er on e a n d k ept a
,

p b ove ,

t h e str in g s by asp r in g whic h c ould b e p r essed d own a ,

t th e
r ight sp ot li ke t h e k eys of apia n of or te In 185 2 R A .
,
.

B r oom a n pa t en ted (No 5 67 ) asim ila b ut n ot so c om pli ca

.

r . ted ,
a c on t r iva n ce In 1 8 7 6 Da . n i el Sem
ple t ook out ap a ,
ten t
(No 3723) for afi n g er boa r d whi c h h a d b et w een t h e str in gs
’ -
.
,

r ow s of r a ised p oin t s on flex ible wir es t o guide t h e fin ger s

san t t o slide u a
.

(P lea p n d down
Th e Ta i l pi ece (P Fi g 39 ) i s m a
-
de a s ar ul e of eb on y
,

though usel ess fa

.
, ,
n c y t hi n g s a
,

,r e som etim es t o b e foun d b en ea th

t h e glass c a ses i n a fiddle dea ler s sh op m a d e of ivor y gla ss a
’
n d
oth er suc h ut ter ly un suita
, , ,
ble m a ter ia l s E n ough h a s b een sa id .

in a n ot her pla ce of o n a m en ta l tail pieces ; they r -

a r e gen er a lly adelusion a n d a sn a re a s r ega r ds ,

t h ei r super i or it y ov er t h e sim pl er for m s (a s in

Fi g Th e t a il piece i s a
. tta c hed t o t h e
-

ta il pi n of t h e fiddl e by al oop m a-
de of aD
t en or st r in g (a s a t B i n Fi g suffi c ien tly .

l on g for t h e eb on y t o b e suppor ted by th e

t en si on of t h e str in gs j ust c l ea r of t h e edge of ,

t h e fiddl e (pr otected by t h e r est

“
Th e
or t h od ox di m en si on s a r e 4 3 i n c h es l on g
é in c h ,

t h i ck 1 5 } in ch i n dia m et er a t t h e b r oa dest a n d ,
t th e n a
,

3 i n ch a r r ow est p a rt Th e h ol es t o .

r ec eiv e t h e st r i n g s sh ould b e a t equa l dista n ces

fr om on e a n other
(a s in t h e figur e) t h e sli t s ,

F IG 100 —O di ay i n t o w hich t hey r un diver i n g towa

r n r r d s t h e edge
,
i n such am a n n er t h a
. .

F m°f
t t e st r in gs r un t o t h e
b r idge pa rall el w it h on e a n ot h er an d n ot f a n w i se a s i n thi s , ,

la t ter c a se t h e b r idge g et s d r a gged for wa r d by t h e op er a t ion of

tun in g Th e str in gs pa ss f r om t h e tail piece t o t h e br idge
over ak i n d of n ut (A aFi g 1 00) for m ed of eb on y or ivor y
-

.
'

.
, ,

a n d l et i n t o t h e ta il piec e a t in c h fr om i t s b r oa
-
d edge .

Th e dista n ce f r om t h e b r i dge t o t h e edge of t h e t a il piece should -

be in ches
n sl a
.

In Mr B ishop s t r a tion of Ot t o s w or k am ost l uc id

’ ’

tor of ata
.

desc r ipt ion i s given by t h e t r a n sl a il piec e in ven t ed -

by L Spoh r by m ea
. n s ofw hi c h t h e por t i on s oft h e str in gs lyin g

n d t h e b r idge c ould b e so r eg ul a
,

b et w een i t a ted a s t o p r oduc e

c er ta in in t er va ls w hic h m ight t en d per ha p s, t o m odify litt le

n ta
,
in equa
,

li t ies of t on e i n som e in str um en t s or pr ove a dva geous ,

i n other r espect s Fi g 1 01 r ep r esen ts t hi s c on t r iva

. . n ce A B, ,

a n d 0 b ein g d r a wn h a lf their a c tua l siz e, a n d D E F full or , ,

194 V I OLIN -
MA KIN G : A S IT w a
s A ND Is .

of a
tta
chi n g t i g ma th e b e ss r n
e n A ft er tyin g a k n o in th e
y e
t .

str in g I it i s d r a wn in t o on e of t h e slits b t hen c a r r i ed ov er t h e

.

It th en pa
, ,

n ut c a n d pa ssed thr ough on e of t h e holes g sses .

a
,

i n t o t h e fur r ow k of t h e peg E , a n d ov er t h e b r idg e i n t h e usu l

w a Thi s c on tr iva n ce i s v er y sc ien t ifi c a n d i n gen i ous, b ut h a s
y .

b een b ut ver y littl e used .

V ui ll a um e s Sour din e p eda l e (Fi g 10 2) i s a n i n en i ous c om

’

g
t i on of m ut e a n d ta
.

bin a il piece, whic h en a bles a n i n str um en t t o

-

b e im m edia tely m uted or un m uted by apla y er dur in g ap er for m

a n ce it i s ver y useful for effects, such a s sudd en ec h oes or

sh or t m uted p a ssa ges b ut it i s t oo gr ea t astr a

,
in for t h e c hin t o
k eep i t i n a ction l on g I t s p r in c ipl e i s a s foll ow s t h e pla te A
n d s up i n t h e cen tr e of t h e ta
.

st a il piece, a s sh ow n i n t h e figur e ; -

thi s a ct s up on a ben t sp r in g b el ow t h e ta il piece t o t h e en d of -

w hi c h i s a t tac hed t h e a rm B b ea r in g t h e m ut e C on aslidin g ,

fittin g D B y t h e p r essur e of t h e c hin up on A this spr in g i s

st r a ighten ed a
.

n d ther ef
,
or e l en gth en ed whi ch p ush es t h e m ut e c ,

by m ea n s of t h e r od B a ga in st t h e br idge It s dist a n ce fr om .

F IG 103 —Z eb r ow ski s B r i dg e
. .
'
ad Mut e
n .

th e b r idge i s r egula t ed by t h e tel esc op e fitti n g D whic h c a r r ies

t h e m ut e c a
,
n d fi x es i t on t h e r od by t h e sc r ew E It s gr ea t
t i t d ea
,
disa dva ge i s th a
.

n ta den s t h e t on e of t h e fiddl e a n d is

pt t o c om e l oose a n d ja
,

ver y a r .

A som ewh a t sim il a r c on t r iva n c e, or ra ther c om bin a t ion of , ,

b r id e m ut e a n d ta il piece w a s pa ten ted i n 1 88 1 (No 3915)
by gelix v on Zebr ow sk i This br idge, w hich i s fi gur ed a
-
.
, , ,

. t A
Fi g 1 0 3 w a
,
. s a s will b e seen c om posed m er ely of f
, ,
our up r ight s,
,

wi t h aba se of t h e or din a r y sor t a n d at o

p c on n ectin g piece
This ta ra
.

il pi ece w a
-
s in a pp ea n ce m uc h li k e V ui l la um e s, b ut
’

Zeb r ow ski s stud A (Fi g 1 02) w a s fitt ed i n t o a

’
. sl ot i n to whi ch ,

(A b ein g ascr ew ) i t c ould b e fi x ed Th e a r m B i n stea d of c a rry .

i n g am et a r r ie d a pla
,
l m ute 0 c a ,
t e sh ow n a t B , Fi g 103 b ea r in g ,
t h r ee c ushion s of l ea
.

ther 0 C c whi ch fit ted i n to t h e th r ee open ,

in g s D D D of t h e b r idge A To a pply t h e m ute t h e stud A h a

. d to
b e un sc r ewed pushed for w a te B em br a
,

, r d i n t h e Sl ot til l t h e
pl a ced .

t h e b r idge, a n d t her e r ef a st en ed It w a s ver y i n gen i ous b ut n ot .

n ea r ly so si m pl e i n a ppli c a
,
tion a s t h e or din a ry m u t e, w hi c h i t di d
n ot ex c eed i n ef fica c y wh il st t h e t on e of t h e fiddl e w a
, s ser iously
 FITTINGS A ND A P P LIA NCE S . 1 95

im p ai r ed b y so un or t h odox ly sha p ed ab r idge Mr St ut t a for d

ha
-

s r ec en t y p a
.

ten ted ata il piec e wher eon t h e str in gs p a

.

ss
-

thr ough slot s a t t h e b r oa

d en d fr om sm a ll b utton s plac ed b ehin d
them over which t h e str in gs a
, r e loop ed Th e idea is an excel .

len t on e for t h e str a

, in on t h e kn ot c on sequen t on t h e pr esen t
for m i s th er eby r ed uced t o am in im um b ut , un for tun a tely,
fi ddl er s ar e so l oth t o m a
,

ke use of a n y i n n ovati on wh ich i s 2 ,

FI G 104
. .
—S ecti on a
of T il pi n
-
w ith si des, si de li n i n g , a
n d b l ock (Guar n er i us b l ock) .

dep a r tur e f r om t h e ol d est a bli shed for m s tha -

t it i s doubtful ,

wheth er it will ever c om e in to use a m on g vi olin i st s .

Th e T a i l p i n (Q Fig 39) i s t h e pe ofeb on y or b ox w ood, w h i cl

-

,
.
-

i s fir m ly fix ed in t o t h e b ott om bl oc a s i n Fi
g 1 04 thr ou h t h e .
,

cen tr e of t h e j oi n of t h e l ower b out s, a s i n Fi

g 1 05, t o w i ch i s
fa
.

sten ed t h e l oop, or g ut a ttac h m en t oft h e ta

-
il piece (B Fig -

It r equir es t o b e ver y c a ully fit t ed, a s it h a

,

s t o withsta
.

r ef n d th e
en tir e t en sion of t h e str in g s Dir ec t ion s a s t o i t s fittin g et c
.

future c h a
,
v en i n a I t s l en gt h i s r egula
,
.
'

w ill b e pter ted by

t h e depfi i oft h e block t h e diam et er of t h e kn ob i s sin ch
.

F un 106 .
—Vi ew a
ofT il pi n w i t h B est
- a
t b a of F iddle
se .

Th e Rest i s th at sm a ll piece of eb on y, or oth er h a rd m ater ia l

(E , Fi g over whic h t h e g ut pa sses fr om t h e b u tton A t o t h e
ta It m ea a —
.

i l piece
-
. sur es, i n l en gth 1 3 ; i n ch b r e dth , i é i n ch , .

It s d epth a n d sha pe a r e r egu la ted by t h e edge of t h e fiddle

a
wh ose sh pe it follows, i t s on ly offi c e b ein g t o p r otect t h e edge
of t h e fiddle fr om t h e g ut loop (B , Fi g which would other
-
.

w i se cut i n t o it with t h e ten si on of t h e str in g s

vin g b een duly a
.

These fi ttin g s, ther efor e, ha pp or tion ed t o t h e

1 96 V I OLIN -
MA KI NG : A S IT WA S A ND i s.

in str um en t th ere r em a in s on ly t o st r in g t h e fiddl e t o ha ve I t

r ea dy t o pla y u on In t h e n ex t cha er I sh a
,

p t ll sh or tly d esc r i b e
t ion s t r ough w hi c h t h e gut s i n t h e n a tur a l sta te p a
.

t h e oper a ss

befor e th ey r ea ch us a s st r i n g s b ut i n t h e m ea n ti m e w e m ust

c on sider b ef , or e l ea vin g our fiddl e t h e va r i ous a ppl i an ces w h l ch

,

a r e t o b e foun d i n ever y fi ddl e ca se a n d w hi c h i n c l u

-
d e ch i n
,

r ests, m utes, ga uges st r in g b ox r osin -

, , ,

t un in g for k s, et c
-
Th e fi r st a n d m ost i m

r ta
.

o n t of these i s
p
Th e Ch i n r est , whic h i n i t s m ost pr im i
-

t iv e for m (r epr esen t e d i n Fi 1 0 6) i s sa id

ve been in ven t ed by g Sp ohr , a
.

t o ha n d

i s, w ithout doubt , ag r ea t c on ven ien ce t o

violin ists, a s t h e hold w hi c h i t giv es t h e
c hin , whi ch c ou ld n ot ot h er w ise b e obt a i n ed F o 1 06 — Ch i n rest r

b ut by g r ea t p r essur e, i m pa r t s afr eed om

-
. .

a n d ea se t o t h e l ef t ha n d i n sh i f t in g, w h i c h c om es of i t s b ein g
r en d er ed a b sol ut ely i r r espon sibl e a s fa r a s t h e r eta in in g of t h e
fiddl e i n i t s p r op er posi t ion i s c on cer n ed b ey on d m er ely sup
p or tin g i t a ce a
,

t i t s pr oper a n gl e Som e p eopl e p r efer t o pla

.

pa d t o fi l l t h e h oll ow b en ea t h t h e c oll a r b on e but it i s n ot

so cer ta in ot h er s a ga ver tha
,
in a t it c h eck s t h e vib r a tion s of
t h e b elly, b ut t h e field
of c on ta ct a t a n a l m ost
q uiescen t poin t bein g
so sm a ll, a n d in th e
n ew er f or m s b ein g r e
duced a b solutely t o a .

m i n i m um I th in k w e ,

m a y di sm iss thi s c om
pl a in t a s pr a c tica lly
without foun d a tion It .

w a s fou n d ed on th is
su p osed di sa
p dva n ta ge
th a t Ol e B ull took
out a n E n lish p a ten t
1 8 79 o
—Ne
.

F ro 107 w for m of Ch i n v a l w on der ful

rest for se er
a
-
. .

m b r ous a
.

n d cu rr an gem en t s of r est or h older em b r a cin g

al m ost t h e en t i r e b a
,
se of t h e fi ddl e a
,

,
n datt ac h ed t o t h e t a il pin or -

b ottom bl ock of t h e fiddl e Foll owin g t h e sa m e li n e of th ought,

Z eb r ow ski a
.

t t h e sa
, m e tim e t ha t h e paten ted h i s ta il piece a nd -

b r idge m ute (Fi g

-
p r oj ect ed ah ol der of t h e or din a
.
r y sh a p e,
w hi c h in stea d of clippin g t h e fiddle w a s a tt ac hed t o a str ap
exten din g by ah ook fr om t h e l ow er l ef
,

t ha n d c or n er of t h e
1 98 V I OLIN -
MA KING : A s IT WA S A ND I S .

th r ow t h e st r in gs out of t un e It i s asim plifi ed for m of a

c hi n r est, whi c h I sa on ce on afiddl e yea rs a
.

In t h l s
0

w go .

pla
-

i n st an ce t h e eb on y c hi n r est p r op er w a s m oun t ed on a
-
te of
c h side of t h e t a
,
br a ss whi c h ex ten d ed som e i n ches on ea il piece -

i n c on sequen c e of which n ot on ly w a s t h e c hin r est ext r m ely

e
-

hea vy b ut t h e fiddle h a
,
d t o b e en ti r ely un m oun ted t o put i t on .

Th er e h a s la t ely b een i n t r oduc ed i n I t a ly ar est , t h e pr in c iple of

which i s tha t i t is a tta c hed r ou n d t fi e n eck by a ba n d fi x ed t o t h e

ta il pi n which i s peculia
-
r ly c on str uc ted t o a dm it of i t s a pplica
In theor y i t i s doubtl ess g ood, for i t l ea ves t h e n ec k a
,

t ion n d

d fr ee n o p r essur e of t h e c hin b ein g n ecessa pr a

.

hea r y b ut i n c ,

geous, for it ta kes ac on sider a

,

t ic e at r ifl e out r a ble tim e un der

t hese c ir c um sta n ces t o di sem b a rra ss on esel f of on e s fiddle
’

w hi c h w ou ld b e at r ifle a wkwa r d n ot t o sa l udi c r ous, a

y ft er a ,

sol o i n a c on cer t r oom .

Th e Mut e i s tha ta pplia n ce f or m ed of m eta l or other m a ter ia l

w hi ch b ei n g cl ip ed on t o t h e b r idge c hec k s i t s vib r a t ion s, a n d
, p ,
thus d ea den s t h e t on e of t h e en ti r e in str um en t Th e c om m on .

a n d m ost fam ilia r for m i s ex ec ute d i n

m eta l a n d av er y ef fi ca c i ous on e i s th a
,
t
on e kn own a s t h e My ster i ous Mut e whi c h ,

i s c om posed of h or n a n d br a ss A fter
ve disca
.

t r yin g a ll sor t s I ha r d ed a l l other s

i n fa vour of t h e on e r ep r esen ted full siz e
i n Fi g 1 1 0 i n tr oduc ed ashor t t im e sin ce .
,

F m 110 —Hil l
. . V ul ai t by Mr W E Hill w hic h i s for m ed ofv ul
’
s c n e . . .
,
Mm
ca
‘
n i t e m ou
‘

lded a l l i n on e pi ece w hich pr e

, ,

c l udes t h e possibilit y ofja r, a n d b ein

g for m ed ofa n ela st ic , th ough ,

r esi st i n g m a ter ia l cli ps tight ly w it hout in j ur in g t h e br idge

, .
,

On t h e a c ti on of t h e m ute en oug h h a s b een sa id when di sc ussin g

br idges (pa ge Th e V ui ll a um e a n d Z eb r ow sk i m utes h a ve
been a l r ea dy descr ibed un der t h e hea din g of t a il— pieces A s
fec t ive a ym a
.

ef m ut e a s an y b e ex tem por iz ed by pl a c in g a p en n y
or ha l f cr own b ehin d a
-
n d a ga in st t h e b r idge settin g i t un der ,
t h e A st r in g wi t h i t s edges r estin g on t h e E a n d D
A w or d a
.

b out r osin w hich wit h out d oubt i s t h e m ost essen

tia
, ,

s W ilk in s sa
,
l n ec essit y of t h e fiddler for a id i n 1 607 1 My
,
fi ddlest i ck c a n n ot pl a
,

y w it hout r osin a ”
.

n d i n t r uth h owever

good t h e pl a
, , ,
yer t h e fiddl e or t h e b ow , a , ll i s d um b a n d usel ess
W i t hout t h e hum bl e n ec essa c ol opha Th er e a rea
”
ry n e, n i m m en se .

fer en t kin d s of r osin or r a ther differ en t a rr a

a
n um b er of dif
n ge ,
m en t s of r osi n Ma n y sol oi sts of c el eb r ity use
.
c om m on lum p
of k i tc hen r osin i n spite of w ha ta ll t h e b ook s ever w r it ten on
,
’
Wi l ki n s T Mis i of E nfor c d Ma i a
, he er
g e (1 60 7) A ct V
-
ce Vide Th e e rr “

A n c i en t B r i t ish Dr a
m a (Lon don
.
”
, vol . ii .
, p 1 80
. .
 FI TTINGS AND APPLIAN CE S . 1 99

t h e subj ec t s y a
. Th e m or e or din a r y for m s a re l l e ua a q lly good
i n spite of t h e eul og ies in sc r ib ed on t h e la b el s t h e on ly thin g
t o b e n oti c ed i s, tha t a s th er e a r e t r ifli n g di f fer en ces i n t heir
c om p osition a n d su a
b st n ce, you sh ould n ever cha n g e your r osin
a
th t i s, tha t i f you w a n t to try a n ew sor t of r osin do n ot do so
a
till you h ve your b ow r e h ir ed, a —a n d t h e old er your
,
r osi n i s
t h e b etter . 1 ha ve som e put up by M J B Vui ll a . . . um e whic h
i s per fect on a c c oun t of i t s a ge To m y m i n d t h e m ost c on
.

v en i en t for m i s t h e b ook for m, in tr od uced by M Geor ges

-

a
.

C ha n ot, whi c h i s en c l osed i n ale th er c a se, whic h k eep s t h e

r osin d ust fr om fillin g on e s fi ddl e c a se, a n d b esides i s c on ven ien t
’
-

t o h old , p r esen ts al on g sur fa c e t o t h e fr i c t i on of t h e b ow i n

a pplyin g i t , a n d d oes n ot wea r in to a gr oove, w hich a lw a ys c uts
on e s b ow ha
’
-
i r t o piec es St ut t for d s “ Sph er i ca
. a
’
l Rosin a n d

Ca se i s ab a ll of r osin i n ar oun d c a se, wi t h aslit i n i t t o

r eceive t h e b ow — a
h ir I h a a
. ve n ot foun d a n
y a dva n t ges a ccr u
i n g fr om i t s use, for it c ut s t h e b ow h a ir a n d cov er s on e s fin ger s
’
-

wit h r osin dust Th e op er a

-
. tion s by w hich t h e cl a r ified r osi n or

c oloph on y of t h e fi ddl e dea l er s sh ops i s pr epa r ed a re a s foll ow s

'
-

P ut a ua
,
a s st a t ed by O t t o n t i t y of V en i ce tur en t in e i n a
q
.
p
pipk i n , a dd alitt le w a t er t o i t , a n d b oil f or t w o or th r ee hour s
over asl ow fi r e . A s i t r i ses p our i n sm a ll ua q
n ti t i es of c old

wa ter t o k eep it fr om over flowin g, a n d a

ll ow ad r op n ow a n d

a ga in t o c ool on apla t e, w hen , i f it r ub s cl ea r b et ween th e

fin ger s wit hout st ick in g, i t i s suffi c ien tly boiled Wh en thus .

b oiled, pour it in t o c old w a ter w or k i t w ell wit h t h e ha n ds t o

pr ess out t h e w a t er , a n d b r ea k it in to pi eces when c old, ex pose

t o t h e sun a n d a i r un til a ll t h e m oi st ur e i s eva p or a t ed a n d th e

r osin q uit e t r a n sp a r en t . Ma n y vi oli n i sts a dopt am ethod of

pur ifyin g a n d r en d er i n g t h e r osin m or e t r a n s a
p r en t by b oilin g
it i n vin ega r, a n d w hil st i t i s wa r m po ur in g i t i n t o pa p er m oulds,
-

a fter wh i c h it i s ex posed for som e tim e t o t h e sun a n d a ir Th e

for t h e violin i s t ha
.

pur est a n d fi n est r osin t ma de fr om pur e

V en ic e t ur p en t in e . These pa r tic ul a rs a
r e given a s lik ely t o b e

of in ter est t o t h e violin i st, b ut sur ely n o a m a teur w ill g o so fa r

a s to re a r e h i s ow n r osin T h e vi olin i sts of V i en n a a n d

p p .

a a a
,

sev er a l of t h e other c on tin en t l c pita l s, r e n ow , I a m told,

usin g li uid c oloph a
q n e i n stea d of solid r osin Th e m ixtur e i s.

a pplied with ac a m el s h a
’
ir br ush, n d i s sa a id n ei t her t o in j ur e
t h e b ow n or t h e str in gs of t h e i n st r um en t, a n d t o la st out on e
’
a
hun d r ed hour s pl yin g It i s a . l so st ted tha a t t h e str in gs give
out a c l ea a
r er ton e t h n when solid r osi n i s used Th e a
. ct i on of

r osin h a s b een a l r eady discussed on pa ge 1 00 .

Ga ug es a re a a
l l m or e or less of t h e s m e pa tt er n , n d r e a a
a ll equa
l m ost a lly deceptive a
n d un sa
t i sfa
c t or y . Th e r ight pla
n
2 00 V I O LIN -
MA KING : A s rr WA s AN D IS
.

aga
i s t o g et uge of t h e o din ay for m ad effa ce t h e m ar k n gs r r n i

then he by cha a n t o ha our fidd e aset

w n ce
yo u h pp en v e o y l n

of st in gs t ue t o o e a n oth er ad w ell suited t o y our

,
r r n n st r u n i

uge o t o th m (b el ow t h e b idge n ot a
,

m en t p ass t h e g a b ove n e r ,

whe e t h ey ae t hic ke ed ith osin ) a nd m a k you g a

,
r r uge for n w r r r

eli a e th a t h e
,
you s lf i
r hi ch a
e y y
,
ou g et ang uid ewm o e bl w r r n

c om m br a
on ss for k whi c h i s usua lly supplied for t h e p ur p ose .

Mr G A C ha
. . n ot h a . s i n t r oduced a ra th er c om pl ete ga ug e ca lled
th e Q u a r t e tt G a u g e
”
w hi c h h a s r oun d i t s sid es i n c i si on s of

ll t h e st r in gs of a
,
t h e va r yin g di a m et er s of a l l thr ee in str um en ts,
violin , vi ola a n d vi olon c ell o It will b e p r in c ipa lly useful t o
t t h e sa
.

l l ki n ds of str in gs a
,
tr a desm en la yin g i n astoc k of a me
tim e, a n d f or l ea der s of qua r tette p a r ti es for f ew pl a yer s r equir e ,

t o b e c on sta n tly b u yin g str in gs for a ll t hr ee in str um en t s a t on ce .

Mr H a rt h a s sh ow n m e aver y sen sibl e a n d i n g en i ou s if ,

pplia n ce, ter m ed ac h or dom et er with which

.

ra ther cum b r ous, a , ,

by m ea n s of a l ever a rm a n d m i c r om et er sca le, t h e ex a c t dia m et er

of a n st r in g f r om a d o u bl e ba ss C ev en t o on e n o l a r ger th a n
y ,

t h e fi n est ha ir c a n be a ccur a tely a scer t a in ed a n d r ec or d ed .

ys c on ven ien t a
,

Tun i n g for ks a r e t oy s a
-
lw a n d som eti m es ,

useful i n set t lin g disput es a s t o pitc h or for piec es i n whi c h t h e

vi olin h a s t o b e tun ed t o un c om m on i n ter va l s, a n d n otes t o
whi ch t h e ea r i s un a cc ust om ed I ha v e foun d m ost useful a .

t un i n g for k w hic h by m ea
-
n s of slidin g w eigh t s em b r a ci n g t h e
,

pr on gs, c a n be a l t er ed a t will t o give a n

y r equir ed n ot e O t her .

w i se a n A tun i n g f or k i s a lwa y s ha -
n dy .

St r i n g box es a re a -
n oth er r equi r em en t of t h e fiddl er I ha ve .

seen it r ec om m en ded t o wr a p up spa r e str in g s i n a piece of oiled

bl a dder b ut am or e m essy, h or r id per for m a
,
n c e it i s t o m
y m in d
diffi cul t t o im a gin e It i s a l so suggested t h a
. t api ece of oil ed
fla n n el b e kep t i n t h e st r i n g b ox b ut t h e effec t i s equa -
lly n a st y
r a
, .

Un less you live fa wa y, it i s n ever n ec essa r y or c on v en i en t t o

k eep m or e t h a n on e or t w o spa r e set s of str i n g s by

you, a n d if

you a re a l on g w a y off, an ot e t o aLon d on d ea ler w ill a lwa ys

br in g t hem down by p ost Th e b est r ec epta c l e t o con t a
. in t h e
st r in g s i s a n or din a r y j aa
p n n ed b ox wit h t w o open i n gs on opp osite
sides i n on e of w hi c h t h e g ut st r in gs a
, n d i n t h e oth er t h e c over ed ,

str i n gs, a r e k ept Mr H ill h a s i n t r od u ced aver y n ea

. t a n d .

pa
.

sen sibl e st r i n g b ox
,
whi c h i s aj a -
n n ed t i n b ox wit h ahin ged
lid, w hi ch j ust fi t s i n to t h e sem i c ir c ul a r divi si on a t t h e hea d of -

afi ddl e ca se a n d i s divid ed i n to four c om

-

, pa r tm en t s t o k eep

ra
,

t h e dif fer en t str in gs sepa te B ut a b et t er on e st ill h a . s

followed i t c on si st in g of ar oun d b ox wit h t h r ee m ova ble t r a
, ys,
w hi c h lif t out a n d k ee
p t h e st r in g s sepa ra te
se sh ould c on ta
.

E ver y c a in asm a ll st r on g pa ir of sci ssor s a n d ,

202 V I OLIN -
MA KING : A s IT WA S AN D I s .

ch i n r es s t A d l a t l y a w o r d o n t h e c a s e i n wh i c h t h e fiddl e
s a
n s
e a
-

a
.
, ,

is ek pt th es e a r e e ith e r si n gl e s a t F i g 1 1 1 o r d o u bl t ,

ma
, .

a
,

a a
.

Fi g 1 12 T h es e l s t r e v e r y h n d s om e b u t w o fu lly ssrv e

b out m uch, n othi ng ca

,

vy I fyou c a r r y y our fiddl e a

. .

an d hea
n

81 0 , a
ca ,
.

b ea t t h e A m er ica nd
.

n c o l th o onbl g s e s wh i c h h o ld 11111

a re v er y light b ut a re b a d a s p e r m a n e n c i es a s p eo pl e h a v e a
a
,

a a
,
kn a k of s ittin g u p on th e m v e r y c o n s id e r bly d d m nu m o f t h e

er i ca
c
a a
,
co ta
n i n e d fiddl e ( a n d i t s o w n er
) T h e p p i e r m ch é o r A m -n

a
.

c l o th c a se s whi c h fo ll o w t h e sh p e of t h e fiddl e ( com m on ly

kn own a s ba by a lliga tor s a r e ver y c on ven i en t, b u t they do

sic , a n d i f t h e fiddl e i s high b ui lt, I t r u n s ac h a
n ot h old m u
n ce

Som e a ma teur s ha
,

of b ein g c r a ck e d by t h e bows i n t h e lid ve

r r yi n g afiddl e a b out , th a
.

suc h a n obj ection t o b ein g seen c a t

they ha ve c a ses m a de on ly j ust t h e len gth of t h e fi ddle, r oun ded
a r ly a t b oth en d s Th ese a r e, t o m y m i n d , a s W i c k ed a s

or th ey n ecessita
.

they a re c owa te t h e b ow b ei n g out i n t w o

.

r dly, f

F I G 1 12A
.
—Pa
. t en t Vi oli n B g a (G . A Ch. a
not) .

b ove t h e l a
a p i a n d oi n t ed w i t h a lu a
j n
g, p g n dfer r ul e Ye god s .

wha t asa cr i ce t o a ppeara n ces ! A fter tr y in g a l l sor t s I ha ve

t n othin g i s b etter tha
,
c om e t o t h e c on cl usi on tha n Fi g 1 1 1 of .

Fr en ch or light E n glish m a ke .

E g 1 1 2A r ep r esen t s t h e la
,

test im p r ovem en t i n fiddle ca ses ,

r ecen tly pa
.

ten t ed by Mr G A Ch a n ot of Ma n c h este r. It c on
m e whic h hold s t h e b ody oft h e fiddle t h e hea
. . .

si sts ofa st r on g fr a
,

, d
b ein g cover ed by alin ed wa
,
t er pr oof b a g Th e la r ge op en i n g
“

(wher eby t h e fiddl e i s put i n ) i s sim il a

.

r ly c l osed with wa ter

pr oof a n d t h e h ow goes in to a b ox sim il a r ly c over ed a n d c l osed
n b e deta
,
whi c h ca ch ed fr om t h e c a se itself Thi s i s ver y light
a n d str on g a
.

n d w ill I thi n k c om e i n t o v er y un i ver sa

, l use
, ,
Th e n ex t cha
.

pter (on st r in gs) will br in g us t o t h e en d of t h e

t heor eti ca l discussion of t h e vi olin after w hic h I sh a ll pr oceed
t o t h e d et a iled exp osition of t h e pr a ct i c a
l ma n u a l p r ocesses
q ired t o solve t h e p r oblem Given , al og of wood m a ke a
:ie
i dq e.
,
 CHA P TE R X II .

TH E STRINGS .

Ch oi ce of Str i n g s—Th eor y ofVi b r a

t i on —Rel t i on s t o On e A n ot h er
a Tr ue n d a
Fa l se St r i n gs— Tr ue a
”
a
n d H r m on i c Oc t a
ve a n d Fift h , Test s —
A ppea ran c e of
aGood St r i n g —P r eser v t i on of St r in g s—Difi er en t Sor t s of St r i n g s Th ei r
a —
aa a
C om posi t i on — Met h od of Pr ep r t i on n d Ma nu f ct ur e—Cov er ed St r i n g s
a
Sil a kn d A cr i b el l e
.

HAVI N G fin a lly a dj usted a l l t h e fittin g s of t h e vi olin a ,

n d ha vin g
g ot t ogether a ll t h e m i scella n eaof t h e fi ddl er s a t her e
’
rt

in s b ut on e pa r t i c ul ar to be a
,
r em a t t en ded t o b efor e p r oc eedin g
t o t h e c on sider a t ion of t h e a c tu a l ma n ua l op er a tion s n ec es
sa ry f or t h e c a r r yi n g out of t h e sc ien tific p r i n c ipl es whi ch
ha ve been t h e subj ec t of t h e pr ecedin g c h a pt er s. Thi s m a t ter ,
whic h, th ough l eft t ill t h e l a st, i s a lm ost a s im por t a n t a s th e

c on str uc tion of t h e fiddl e it sel f ,

i s t h e c on sider a t i on sel ec tion ,
,

a n d m a n uf ac tur e of t h e str i n g s . It i s n ot a n un c om m on thin g

t o see a n a m a teur en ter avi olin dea ler s shop a n d sa Give m e
’

y
-

,
t w o fi r st s, a n d a sec on d pl ea andw a
”
,
se, l k offw it h t h e fir st t hr ee
g iven h i m by t h e i n dividua l i n c ha r g e with out even look in g a t
re a hun dr ed t o on e tha t t h e r esult of tha
,

them Th e cha n c es a t
t eur s ex p en ditur e of c a pita l will b e asour ce of c on sider a
.

a ma
’
bl e
m i ser y t o himsel f a ,
n d t o h i s sor r ow i n g fa m ily or n eighb our s .

It ca n n ot b e t oo str on gly b or n e i n m i n d th a t n ot on ly m ust t h e

ec t , b ut tha
,

siz e, qua lity a n d sub sta n ce of t h e st r in g s b e p er f t

t h e in divid ua
,

l st r in gs chosen m ust suit t h e in str um en t t o w hic h

t hey a re t o be a pplied, for astr in g t ha t w ould p r oduce a m ell ow
an d full t on e on on e fiddle m ight ver y p r ob a bly b e ha r sh a nd

cr i ard on a n other . A ga in you m ust c h oose your str in gs t o

,

suit y our style of pl a yi n g som e vir tuosi use ver y thin str in gs by
c h oice whil st ot her s use th em ex c eption a lly thic k P a . r ke i n
sa
,

h i s Musica
“
l Mem oir s (si de n ote p . ys, A t this m eet in
W r cest er m usi c a l f estiva l S eptem b er 1 77 I fi r st hea r d th e
( o ,

p opul a r vi oli n pla

-
yer Gia r din i exec ute a c on cer t o, i n whi c h b e

displa yed afun d of gr a ce a n d exp r essi on , with a ton e so sw eet

m e tim e so p ower ful , tha t he a pp ea
,

a nd a t t h e sa r ed t o b e

per for m in g on st r in gs so la r e th a
g , t I r ea lly thought h i s fi n ger s
204 VI OLIN —
MA KING : A s IT WA S A ND 1 8 .

m us t ha v e b een blister ed by t h e n ec essa r y pr essur e h e g a ve

them Th er e i s agr ea t d ea l i n wh a t t h e biogr a ph er h er e sa y s,
whic h str en gth en s t h e st r ess w hich I l a
.

y up on c h oi c e of str i n g s .

When h ow ever you ha v e foun d adia i

.

m et er of str i n g s, wh c h
n d do n ot ex per i m en t a
,

suit s y our fiddl e k eep t o t ha

,
t a h z e W i th
s d el eter i ous t o c h a
,

or it i s a
’
n ew t hi c kn esses, f n ge on e s styl e of

str in g s a s t o b e c on sta n tly shi f t in g a b out t h e soun d p ost Th e -

.

str in gs m ust b e i n p r op er r ela t ive pr opor t i on t o on e a n other I

m ea o u m ust n ot use a thi ck E a t hi n A , a n d a m edium D
n
y ,

they m ust a ll b e r el a tively thick, t hin or m edium Thi s c a ,

r e in
.

c hoosin g p a r ti c ul a r ly a pplies t o t h e fi r st st r in g or c ha n ter elle

, ,
a n d p r op or t i on a tely t o t h e oth er s .

Th e a pplia n c e k n ow n a sa st r i n g ga uge i s w ell k n own , a

-
n dha s

b efor e b een r efer r ed t o (p 199 ) b ut ea . c h vi olin i st ought t o ha ve

on e t o h i s ow n fi ddle h e sh ould g et on e quite pla in a n d a s ,

h e gets good sweet , a n d tr ue st r in g s on t o h i s fiddl e w hic h suit ,

or hi m self by th em a n d a
,

t h e in st r um en t h e sh ould m a r k it f s ,

ys c hoose str i n gs t h e sa
,

n ea r ly a s p ossible a lwa m e siz e by i t s

a id P r op er ly t o un der st a n d t h e r el a t ive d uties of a n d th e ,

c or r esp on d en ce b etween , t h e str i n g s a

.

n d t h e b ody of t h e vi olin
,

l et us tur n for am om en t t o t h e sc ien tifi c p r in c iples whi c h

r egul a te a n d d et er m i n e these r ela t ion s A st r in g , a . s i s of c our se

well k n ow n on ly b ec om es ca
,
pa ble of em it tin g am usica l n ot e
un d er t h e in fluen ce of t en sion A ga .in i f w e b e g ifted w ith t h e
,

str en g th of H er c ul es a n d str et ch a ut or ot her st r i n g b etw een

g
our fi n ger s, i n t h e open a i r t h e soun d pr oduced by t ha
,
t st r in g
un der t h e i n fl uen c e of t h e b ow , or upon t w a n gi n g it i s ,

pr a c tic ally im p er ceptible b ut i f a t on e or b oth en d s w e a tt a ch

asla
,

b of thin wood, t h e soun d in cr ea ses i n in ten sity a s th e

m ol ec ul es of t h e w ood vib r a te i n sym pa t hy with t h e str in g ID .

t h e c on str uc tion of avi olin a n d t h e c hoic e of i t s str i n g s w e

ha ve t o a im a t a s n ea r a s p ossible a per fec ti on i n these r ela t i on s,

wit h t hi s differ en ce, t ha t n ot on ly i s it t h e m olec ules of t h e
wood for m i n g t h e in st r um en t t h a t vi b r a t e sym pa t h et ica lly with t he
str in g s b ut t h e m a
,
ss ofa i r c on t a in ed i n side t h e fiddl e a sw ell Th e .

t on e t her efor e dep en d s on t h e t hic kn ess of t h e st r in gs t h e for ce

, ,

ted, a lity of t h e m a
,

with whic h t hey a r e vi b r a n d t h e qua gn ifyin g

body t h e fiddl e) Th e a
. c tua l n ot e pr oduced dep en ds, of
cour se m er ely on t h e dia
,
m eter of t h e str in gs t hei r sub sta
,
n c e,

t h ei r l en g t h a n d th e a m oun t of t en sion a pplied t o t hem Th e .

,
m or e t h e vibr a t i on s en t er ed in to by astr in g t h e high er will b e ,
t h e n ot e pr od uced a n d t h e n um ber o
, f v ib r a t i on s p r oduced by a
st r i n
g ar e i n t h e i n v er se r a t i o of i t s l e n
g t h — t at h e shor t er t h e
str in g t h e g r ea ter t h e n um b er ofi t s vib r a
,
t i on s a n d c on seq u
, en tly
t h e high er t h e n ote Th us i n Fi g 1 1 3 i f t h e whole str in g A B
.
, .
,
206 V IOLIN -
MA KING : A s IT WA S A ND Is .

m ost in ter esti n g subj ec t, t h e r ea der i s r efer r ed t o a n

y of th e
st a n da n d (suc h a essor Tyn da Th e
’
r d w or k s on sou s P r of ll s
ab ove n otes m a h o w e v a fa a th y o b e p f c on si d er a ble
y, e r s r s e g
Th e scien tifi c a n i ca
,
n d m ec ha
,
use a
a
n d i n t er est t o t h e violin i st l
ction of tha t ver y n ecessa c cessor y t h e r osin , i n vibr tin g a
.

a ry a
n s of a b ow , h a
,

str i n g c on tin uously by m ea s b een set

for th i n a pr evious cha p t e r

(p .

A s t o t h e str in gs th em selves, b esides b ein g sui ted

t o t h e fiddl e t o whic h they a r e fixed
, they
m ust a l so
p ossess cer ta in qua l i t ies w hi c h a re a b solutely
p en sa ble t o ton e a n d w hi c h a ,
r e tech n ica l ly sum m ed
up i n four wor d s Th ey m ust be t r ue Tr ue n ot
on ly i n divid ua lly, b ut t r ue t o on e a
.
,

n other an d th i s

t r uth i s on ly t o b e obta in ed, i n t h e fi r st c a se, by

b ein g p r op er ly c on str uc ted a n d ch osen a n d in th e

-

ra
f

sec on d ca se, by b ein g a

,
c cu tely pr op or tion ed or “

ga uged t o ea ch other It i s a b solutely n ecessa

. r y tha t
astr in g b e of even thickn ess thr ou hout on e
n a
,

en d m ust n ot b e t hin n er th a n o er or else t h e

p r od uction of p er fect fifth s a r m on i c oct a
,

n d ha ves w ill
'

b e r en d er ed im possible A s t h e soun din g of these

r m on i es i s t h e b est a
.

t w o ha n d m ost a b solutely cer ta in

t est for fa
,
l sen ess i n astr in g it m a y be a dvisa ble ,

her e t o c on sider t h e c on dition s n ecessa ry f or th eir

p er fec t p r oduc t i on When astr in g i s di v i ded i n t o
'

t w o equa l ha
.

G
I
lves by alight pr essur e of t h e littl e _

F
fin ger (c, Fi g i n t h e four th posi t ion (or by
.

ex t en si on i n t h e thir d) t h e well kn own soun d of -

ve i s pr oduced by t h e t w o ha
,

t h e ha r m on ic oc t a lves
of t h e str i n g v ibr a tin g sim ulta n eously a n d con

son a n tl , a
y s i n Fi g 1 14 If r edia idpd a
. t aqua. r ter
of i t s l en gth fr om t h e n ut by t h e fi r st fi n ger (D,
Fi g .i n t h e thi r d osi t i on , asec on d oc t a ve
(higher ) i s p r oduce d by t e four qua r ter s c, d e,
f,
tin g sim ulta
,
of t h e str in g vibr a n eously a n d c on

son a n t l y, a s i n Fi
g 1 15 a n d it i s i m m a
. ter ia ,
l wheth er
t h e littl e fin ger C b e r em oved or n ot (th ough i n
m a n y in sta n c es i t i s a dvi sa ble tha t i t b e kept in
p ositi on a s in t h é fi r e) ; n ow i f t h e th i ckn ess of t h e str in g

b e n ot un i for m a
i n Fi g 1 1 3 a
.
nd e str i n g b e divid ed by a
,

n d t h e t w o ha lves t hus i sol a ted b e sepa

fi r m p r essur e, s
ra t ely struck
a
,

Vi d A Guil l em i n
e Th e A ppl i a
“
t i on s of Ph ysi ca c l For c s t a l a t ed a nd e r ns
edi t ed b y Mr ad Mr s Nor m a Locky — 15 2 ; a
.
, ,

L d 8 nd
n ( n on o n pp 13
er
J Ra Les H a
. . , .

r m on i es du So et l H i st oir e d es I n st r u m en t s de
“ ’
mbo o ss n n
Musi que (P a p 374 ad ot h er si m il a
.
, ,

r is , .
, nr w or ks .
 TH E STRINGS . 207

w ith t h e h ow , t h e thin n er en d of t h e str in g will g ive ahigher

n ote th a n t h e thi c k er
,
a n d c on sequen tl
y i f t o suc h ast r in g
alight p r essur e h e a
,

ppli ed a s in Fi g 1 1 4, t h e t w o h a
~
lves
tin g Si m ul t a
.
,

vib r a n eou slyi b i t ; n ot co

j n son a n tl
g , afa lse squea ky ,
n ote w i ll b e p r od uc ed of t h e c lea r fl ute t on e of t h e

t r ue ha r m on i aoc ta ve Th e higher ha
. r m on i c oct a ve (a s in
Fi g . c on st it u tes —i n si m i l a r m a n n er a et fin er
y
test for t h e t r uth w fi a n i n di v i dua
_ ,

’
l str in g .

5 Th e n ex t t éjst ffor t h e tr uth of astr in g b ot h i n

i
'

dividua
,

lly a n d t o i t s n eighb our , i s t h e p r oducti on of

p er fec t fi ft h s B y thi s i s m ea n t th a t i f t w o str in gs

a r e stopp ed by t h e fi n ger b ot h t o et h er a
g t a n
y given
p oin t t h e in ter va
,
l kn ow n a s
“
afi ft h w ill b e pr o
”

duced t h e sa m e a s it w a s when t h e t w o op en str i n gs

ga
,
ve aper fec t fi ft h soun ded together I f t h e b a . r

m on ic oc t a ves of b oth open str in gs a

"
r e sou nded t o
g eth er by on e light pr essur e a s i n Fi
, g 1 14 t hey will ,

(if t h e t w o str in gs a r e t r ue
) pr oduce aper fec t h a r

m on i c fi f th a n oc t a
,
ve a bove t h e p er fect fi fth pr oduced
by t h e open str in gs Th e r ea . son for t his i s obvi ous,
for if on e st r in g i s fi n er a t on e en d t ha n a t t h e other
t h e t w o equa l ha lves w ill h a ve adiffer en t in t on a
,
tion
a t h p r oduc ed by vibr a
,

n d t h e fif tin g suc h astr in g

si m u l tan eously Wit h a n other tr ue on e will n ot be
p er fect, b ut ha r sh a n d di sson a n t Ther efor e i f a ,

ec t ha
.

st r in g will r en der t w o per f r m on ic oc t a v es a n d

vib r a
,

if a n oth er ted si m ulta n eousl

y wi t h i t gives
p er fect fift h s wh en stopp ed a t a n id en tica l poin t t hose ,

t w o st r i n gs a re tru e in them selves a n d tru , e t o on e

a n oth er It h a
. s b een sugg ested tha t w hen str in gs
a r e thus fa l sified by wa n t of si m ila r ity thr ough out
thei r b r ea dth, t h e defec t m a y b e t o acer ta in ex t en t
r em edied by p a ssin g a
‘

m oist fi n ger a l on g t h e fin er
p or tion of t h e st r in g (vi de Dr A r b ut h n ot s ex per i .
’

m en t, su pr a ,
p a
. n d thus swellin g it ; A n a pp r oa ch

t o eq ua lity of t hick n ess pr oduces som ewha t t h e desir ed

r esul t b ut it w ill a lwa y s b e foun d best t o ta ke a n other

ther tha
,

str in g a t on c e r a n tr
y t o r em edy afa lse on e .

t thi s i s al en gthy m ode ofj udgin g of afa

,

It will b e sa id tha lse

str i n g a n d tha t astr in g on ce m oun t ed a n d r em oved i s useless ,

t h e on ly c ha
,

a like t o t h e b uyer a n d seller n ce,ther ef or e, i s t o b e

g uided by t h e eye i n ch oosin g str in g s i n t h e sh op , a nd a ver y"

shor t a c qu a in ta n ce with t h e ext er ior sig n s of a good str in g w ill
ef fec tua lly gua r d t h e fiddl er fr om ever i n vestin g i n a fa l se on e .

A s t r in g , a s seen i n t h e coil or b u n dle a t aSh op, ought t o b e

 2 08 V I O LIN -
MA KING : A S IT WA S A ND I S.

tr a
n sp a
r en t a
n d i t hout ,
w blotches th r oughout i t s en ti r e
Spot s or
l en gth It should b e plia n t a n d el a st i c r et ur n i n g t o I t s for m er
.

t ch sp r i n g) , wit hout b r ea
.

sha pe (like awa k in g w h en p r essed or

u ll d u it h u ld t b t whi t f t hi b et ok en s Im p r o er
p e o t ; S o n o e o o e or s
p
c hi n g , b ot h of whic h r en der a
,
m a ter ia l s or ex c essive blea str i n g

b r it t l e a n d f a l se A good str in g m ust n ot lose i t s t r a n sp a r en cy ,

n d b ec om e c l oudy a Sec on d s a
.

a n d yell ow w hen b en t .
n d t h rr ds

m a b e wit h out h a r m m uc h w hit er t ha n fi r sts, b ut ot h er m se t h e

y
sa m e r ul es a pp ly I t i s of
. t e n l a id d o w n th a t t h e tr uth of

astr in g m a b e d ete r m i n ed by vib r a tin g i t b etw een t h e fi n ger s,

y
a n d tha t i f i t pr esen t on ly t w o even lin es it i s tr ue, a n d i f m or e
,

fa lse It i s c er ta i n t ha t i f it p r oduce a n i r r eg ul a r or m ultiplied

t i f t h e lin es b e c l ea
.

figur e it i s fa l se, b ut it does n ot follow t ha r

a n d di st in c t i t i s t r ue a n d a ga in ast r in g w hic h m a
, y seem tr ue
a t aslight ten sion m a y qui t e p ossibly b e fa l se a t t h e higher
t en sion t o w hich it i s subj ect ed w hen a
,
pplied t o afiddl e t hough ,

a s a r ul e a st r in g w ill b e f a l se a t al ow t en sion whil st it i s tr ue

a t a higher Th e r ea der will a ppr ec ia te t hi s i fh e h a s ever b een

n E str i n g a
.

for ced a s a i s a ll er t o m oun t a s a n A , or v i ce v er sé

p .

I t r em a in s, t her efor e, t ha t t h e on ly w a y t o en sur e ch oosi n g g ood

str in g s i s t o g o a s f a r a s possibl e by t h e a pp ea ra n c es b ef or e
m en t ion ed a n d a b ove a ll t o dea l on l y with t h e b est goods of
ler s It i s am ista
,

ma
,,
t h e b est dea . k e t o m y m in d for a
,
t eur s t o
,

t hin k they c a n sa ve m on ey by b uyin g abun dl e of fift een or

t hi r ty str in g s a t on ce ; som e of th em a re a l m ost sur e t o g o wr on g
b efor e t hey a re a l l used , un less t h e gr ea test c a re i s ta k en of
t h em . Som e people w r a p t heir spa r e st r in g s i n bla dder or
fla n n el m oi sten ed w it h oil , a p r ocess which even i f t h e oil ll oes ,

n ot g o r a n c id (a s it gen er a lly does) c a n on ly b e c h a

,
ra c t er iz ed a s

Th e m ess in volved i n putt i n g on a n ew gr ea

,

”
“
h or r id . sy st r in g

i s en ough if you a ,
r e n ot of a ser a phi c di sp ositi on (I a m n ot ) t o ,

ma k e you t ouc hy for t h e r est of t h e p er for m a n ce I n ever b uy .

m or e t ha n t w o st r in g s a t at im e a n d a lwa ys k eep j ust on e

,

double set ha n dy It h a s b een r ec om m en d ed by va

. r i ous a uthor s,
t o k eep i n on e s ca se a
’
followin g J A Ot t o (vide n ot e, p . .

piece of Silk m oisten ed with a lm on d oi l which m ust b e p a

.

,
ssed

down t h e st r in gs, fr om n ut t o b r idge, ever y tim e t h e fiddle i s

put a wa y a n d t ha
,
t b efor e pl a yin g t h e str in gs sh ould b e r ubbed
fr ee fr om t h e effect s of t hi s un c t i on w it h ali n en r a g I do .

n ot k n ow w heth er t hi s h a s ev er b een d on e it w ould cer ta in ly

b e quit e im possibl e t o pla y on st r i n gs so t r ea t ed .

Th e di ffer en t st r in g s n ow i n t h e m a r k et a r e d escr ib ed by

Mr Ha i t s Ma ker s a n d Im i t a
”
. r t i n h i s wor k , Th e V iolin tor s,
a s f oll ow s Music a l st r in gs a re ma n uf a c t ur ed i n I ta ly,
Ger m a ny Fr a , n ce
,
an d E n gl a n d Th e I ta . lia n s ra n k fir st i n
2 10 V IOLIN -
MA KING : A S IT WA S A ND IS .

rate Kir cher t h e w ell m ea

, , n in g b ut often sa
-
dl y m i sg ul ded
a
,
uthor of Musur g i aUn iver sa lis ”
str un g t w o i n st r um en t s
,
1
,

on e with w ol f g ut st r in g s an d t h e oth er with sheep g ut str i n gs

, ,

an d sitti n g i n afold pl a yed t o t h e a

a
ssem bl ed shee w h o h ow
p , ,

ail ed t o exp r ess a rm a

,
ev er f n obj e c t i on or a l t ei th er for m of
, y
t on e pr oduction !
Set ti n g a sid e f or futur e c on sider a tion t h e silk m eta l, a nd ,

a c r i b el le st r in g s w e wil l t ur n our a tten tion t o t h e m a n uf a c tu re

l l sim ila
,

of t h e or di n a r y str in g s, whic h a re a r ly c om p osed, t h e

on ly dif fer en c e b ei n g t ha t t h e four t h (or G) st r in g i s c over ed

with al a yer of fi n e wir e, whose c om p osit ion a j
n d ob ec t w i ll

b e her ea ft er n oticed St r in g s for t h e v ioli n , a

. n d n ea r ly a ll
other str in g in str um en ts, a r e c om posed of t h e sm a ll in testin es
of sheep, a n d ha ve b een so com p osed, a s Mer sen n us ver y

u ly a r k s,
2
v er sin ce t h e tim e of t h e a n c ien t E gyptia
j s t r e m e ns .

Mr Cha pp ell g ives a n i n ter estin g n ote on t h e a n c i en t E gyptia

3
. n

Hist or y of Music (v ol i p quot in g t h e

”
str in gs, i n h i s .
, .

r em a r k of t h e sim pl e m in ded M Fe -
tis w h o w on der ed a
4
.
, t th e
E gyptia n s ma k in g this use of t h e in t estin es of c a ts, seein g tha t
w ith th em t h e c a t w a s a sa cr ed a n im a
”
l (1) Th e b est in t estin es
.

a r e th ose of la m b s w hic h ha ve lived on dr y m oun t a i n ous pa stu r es

a n d it i s sa id t h a t t h e b est la m bs a r e th ose f r om t h e p r ovin c e of

B er r y a n df
, r om som e pa r ts of Ger m a ny a n d t ha t t hey a re a
,
t their
b est for t h e pur p ose of str in g m a kin g in t h e m on th of Septem ber ,
-

whic h i s, c on sequen t ly, t h e str i n g m a kin g m on th i n ea

-
c h yea r .

Th e i n test in e used i s tha t on e whic h i s c om p osed of t h e

duoden um t h e j ej un um a n d t h e ili on
,
it i s c om p osed of thr ee
m em b r a n es t h e ex ter n a l (or p er it on ea l) , a
,

,
n d t h e m uc ous m em

br a n es, b ot h of whi c h a r e r em oved a s usel ess, b ut whi c h en cl o se

b etween t h em athir d t h e m uscula ,

r or fibr ous m em b r a n e w hich ,
i s used i n t h e m a n uf a c tur e of fiddle str in gs Th e in testin es a re.

fet ched dir ect fr om t h e butc her s, whil st t h e ca r ca sses a

.

’
r e st ill
w a rm a n d they a r e det a c hed by w or k m en w ho a r e spec ia ll y
, ,
em pl o ed f or t h e pur pose by wh om they a re a t on c e str etched
y
p ed with akn ife bl a
,
upon a n i n cli n ed pl a n e a n d sc r a de, t o clea n
a n d em pty them of a ll for eign sub sta n ces, g r ea se, et c This
m ust b e don e quic kly a n d whil st t h e i n t estin es a
.

, r e yet wa rm ,
or t h e c oolin g m a tt e r s w ould hopelessly c ol our t h e in t estin es
A Ki r ch er , a a a
Musur g i Un i v ers li s, si v e r e m g n c on son i et di sson i aa
a aa a
.

(Rom e, Con den sed n d t r n sl t ed i n t o Ger m n b y A n dr e s Hi r sch a

a
(H2 ll [Sw b i ] , aa
aé a
M Mer sen n us, Tr i t de l ’H r m on i e Un i ver sel le, 1627
a a
.
.

W Ch ppell , Th e H i st or y of Musi c (A r t n d Sc i en ce) Fr om t h e

a a a
.
.

E r l i est Re c or ds t o t h e F ll of t h e Rom n E m pi r e ” V ol i
(A ll ev er pub . . .

li sh ed ) (Lon don , n d
éa a q
.

a
. .

F J Fet i s, Hi st oir e g én r l e de l Musi ue (P r i s, 1 869

. . . 5 v ol s .
 T HE STRIN GS .
21 1

a fter this op er a ti on t h e i n testin es a r e ti ed u

p i n bun dl es a n d

pl a ced i n vessel s t o ca r r y them t o t h e m a n uf a c tor y wher e t hey

a n dl es of t en a
pla
,
r e ti ed i n b u n d , ced i n c old wa ter fr om twelve
t o fifteen h our s t hi s m a y b e don e i n ar un n i n g str ea m or i n a ,
va t of spr in g w a ter slight l y c or r ect ed with ca r b on a t e of soda
, .

A fter thi s they a r e i m m er sed fou r or fi v e h our s i n t e id r u

p n nin g

wa ter Th ese soa

. kin gs p r oduc e aslight fer m en ta tion which
a id s t h e sep a
,
ra tion of t h e fibr ous fr om t h e m uc ous a n d p er i

t on ea l m em b r a n es whi c h i s d on e by w om en sc r ain g t h e i n tes

, p
ti n es w it h asplit c a n e on a slightly i n cl i n ed sl a b dow n w hich a
ter con sta
,
c ur r en t of w a n tly r un s t h e i n ter n a l m em br a n es r un

of f in t o atr ough a n d a r e used a s m a n ur e t h e ex t er n a,

la r e used

for r a c quet s w hips a n d oth er r ou gh er a r t ic l es c om osed of ut

, , p g .

Th e fib r ous m em br a n es sepa ,
ra ted i n bun dles of a bout t en a re ,
n ow pla c ed i n ston e j a r s t o soa k for thr ee or four hour s i n
p ot a ssa l ye (or a m m on ia ca l solution whi ch i s pr efer a
,
bl e) w hose ,

str en gth m ust b e m ost c a r ef ully a pp or tion ed t o t h e w or k t o b e

don e A t t h e en d ofthis t i m e they a r e ca r ef ully r ubb ed t hr ough
t h e fi r st fin ger (pr otec ted by ag utta
.

p er c hagl ove) a
-
n d th e

thum b (a
,

r m ed wit h a copp er th i m ble) of t h e l eft ha , n d by this

n s a
m ea r e r em oved a n
y of t h e fr a gm en t s of t h e t w o sup er fluous
m em b r a n es whi ch m a ha ve esca ped t h e fi r st sc r a pin g This
y .

oper a tion i s gen er a lly r epea ted a t t w o hour s in ter va

’
l thr ee
t im es dur in g t h e da y a ft e r ea
,
c h of w h i c h r ep etition s they a re

put in to asim ila r st on e j a r of solu ti on of per m a n ga na te of

pot a ssa Th e four th ti m e thi s i s r ep ea
. ted they a r e n ot r e la
p ced
in t o t h e sa m e sol uti on b ut a ,
r e dipp ed in to awea k soluti on of
sulph ur i c a c id Th ese oper a
. ti on s a r e r ep ea t ed for t w o o t h r ee r

da y s m or n in g a
,
n d even i n g a lwa ys sim ila
,
r ly in c r ea sin g t h e

st r en gth of t h e solut ion used .

Th e guts a r e n ow suf ficien tly c lea n ed t o b e sor ted a n d if

,
n ecessa
,

r y split They a r e sor t ed by ex per i en ced Wor km en i n t o

lities, len gths, thickn esses, a n d str en gth s, so tha

.
,
qua t ea ch m a y
b e devoted t o i t s p r oper uses a n d ton es A S t h e guts, i n th eir
.

n a tur a l st a te, a r e n ot su ffic ien tly un ifor m i n dia m et er t o obta in

t ha t cylin d r icity a nd
pa ra l l el n ess t ha t i s t h e gr ea t a i m of t h e
str i n g m a ker , they often r equir e t o b e split in to lon g th r ea
-
ds by
m ea n s of akn if e Spec i a lly pr epa r ed f or t h e pur p ose, whic h
th r ea ds a r e th en pl a ced i n a ja r with thei r thi c k a n d thin en d s

set a lter n a tely Th e n ex t op er a tion i s t h e spin n in g, which i s

ra
.

erf o r m ed on a f me a b o u t th r ee ti m es a s lon g a s afiddl e It

p .

i s don e a sf oll ows t w o th r ee, or m or e fib r es (a cc or din g t o t h e

de) a r e ta n d set a lter n a

,

st r in g r equir ed t o b e m a ken a tely th a t

i s, t h e th ick en d of on e opp osite t h e thin en d of a n oth er Th e .

usua l n um ber a pp or tion ed t o t h e four str in gs of aviolin a re a s

 2 12 VIOLIN -
MA KING : A S IT WA S A ND I S .

follows : for t h e fir st, or E str in g, 3 4 fi n e th r ea -

ds for t h e
sec on d, or A , 3 4 st r on g on es for t h e thir d , or D, 6 7 str on
g
-
-

B eyon d thi s, d ouble b a ss str i n g s r ea ch a s ma ny a s 8

'

on es
fibr es, b ut this i s ab r a
.

n c h of t h e m a n uf a ct ur e whi c h d oes n ot

con cer n us .

A t on e en d of t h e fr a m e i s ali t tl e wh eel , t h e cen tr e or

a xle of whic h b ea r s t w o b ooks at t h e other en d of t h e fr a me
a r e litt l e fix ed p egs a
Th e g uts selec ted r e fixed t o apeg
whi ch i s set i n on e b ook of t h e wheel, a n d ca
.

r r i ed t o t h e

ot h er en d of t h e fr a m e, t w i sted r oun d a fix ed peg, b r ought b a ck

t o t h e oth er en d a n d fix ed t o t h e other h ook of t h e wh eel

by a n oth er
peg thi s wheel i s r a pidly r evolved by m ul t iply a
i n g fl y— wheel , a n d t h e guts a r e t w isted up in to afi ddl e
str in t h e fin ger s b ein g pa ssed a lon g i t m ea n whil e t o p r even t

E
t h e um a t i on of i n equa lities i n i t s l en gth Th e p egs a
. r e then

r em oved fr om t h e h ooks a n d set i n to hol es opp osite t h e fixed

p egs a t t h e oth er en d of t h e fr a m e (i n t h e sa me w y a a s th e
p egs a r e set i n t o t h e h ea d of afiddl e), a n d t h e w or k p r oceed s

i n t h e sa me w a y wit h an ew b un dle of g ut s fr om a n oth er fixed

peg t o t h e h ook ed wh eel, un t il t h e fr a m e i s fu ll Th e st r i n gs

.

a r e th en su lphur ed t o w hit en them i n asulph ur i n c ha m ber ,

in to which t h e fr a m es a r e pl a c ed , a n d fl ower s of su lp ur ign ited
i n t h e cen tr e .Th e ch a m b er i s then her m eti c a lly sea l ed a n d l ef t
for t h e n ight, dur in g whic h ti m e t h e str i n g s b ecom e bl ea ch ed
by t h e a cti on of t h e su l phur ous a c id
ga s ev olved by t h e c om b u s
tion of t h e sulphur They a . r e n ext m or n i n g exp osed t o a i r (b ut
n o t ra in ) till n ea r ly dr , when they a
y re a ga in m oi sten ed, twi sted
on t h e fr a m e, a n d r epla c ed in t h e sulphur b a th Thi s op er a
. tion
la st s fr om t w o t o eight d a ys a cc or din g t o t h e Si z e of t h e str in

b ein g m a de Th e str in g s a
. r e then th or oughly p olished a n
ru bbed t o et r i d of a ll i n equa lit ies, gr ea se , or o
ther for c i n
pa r ti cl es T hi s i s d on e wh ilst t hey a r e sti ll on t h e fr a me b y
n s of a
.

m ea set of ha ir cushion s, w hich, en vel opin g t h e str in gs,

by ala a
ter l m ovem en t subm it them t o ar a pid a n d for c ible
fr i c ti on , they bein g fr om t im e t o t im e dur in t h e op er a tion
m oisten ed wi t h asp on ge soa k ed i n a a lkan e sol uti on of
’

p ota ssa Th e str in g s a

. r e th en wi ed t o et r i d of a
p g ll im pur iti es,
m oisten ed w ith p ur e w a ter , a n d r e la
p c ed for t h e n ight i n t h e
su lphur b a th , a ft er wh ic h t h ey a re a ga in twisted a n d d r ied
When dr y they a r e p oli sh ed , a oper a
.

n t i on whic h fir st or E
str in g s a re f r equen tly a llowed t o g o wit hout, b ut which for t h e
oth er s ta kes pla ce a s foll ow s — Th e fr a m es a r e la id fl a t up on
tr estles or oth er supp or t s, a n d t h e st r in g s a r e p oli sh ed by ha n d
or m a chi n er y by m ea n s of lit tl e gutt a —per ch acushion s, olive oil
a n d p ou n ce, or whiten in g, b ein g used for t h e p u r pose . Th ese
214 V I OLIN -
MA KING : A S IT WA S A ND i s .

gr ea test ca r e t o p r eser ve i t s r egul a r ity a n d cl ose wi n di n g , a nd

c hec ki n g t h e vibr a tion s of t h e r ot a t i n g str in g with a c or k Th e .

u t u sed m ust b e p er f ec tly un ifor m i n di a m eter th r oughout i t s

g
len gth, a n d in c a pa ble of fur ther str etchin g Con sequen tly i t i s
.

st ron gly str etc hed b ef or e t h e w i r e i s woun d on , or el se by sub

sequen t str etchi n g t h e c or e w ould r eced e f r om t h e h eli x a n d th e ,

effect ca n on ly b e d escr ib ed by th ose w h o h a ve suffer ed fr om it .

A ll vi olin pla yer s a r e fa m iliar with t h e n ow c om m on a cr i b ell e,

-

or sil k str in gs, whi c h a

,
r e c om p osed of a n i n fin ity of fila m en ts of
sil k so t wi sted together a n d p oli sh ed a s t o ex ceed i n un if or m it y
a n d tra n s a
p r en c t h e fin est g ut str in gs For pl a yer s t r oubl ed
wit h per spi r in g ha
.

n ds, a n d for h ot or d a m p cli m a tes, they a re ,

wi t hout doubt, in va lua bl e for th ey a r e b ut littl e a ffec ted by

ke up i n con ven ien ce i n th ese r espec ts wha
,

da mp a n d th ey m a t
in ly l a re a l so t o fr a
,
th ey cer t a ck i n ton e They a pt a
.
y a n d
g et
ra gged a n d t hough it h a s b een r ec om m en d ed wh en this i s t h e

w t h e str in g quickl y thr ough t h e fla

,

ca se t o d r a m e of a spir it

la m p t o r em ove t h e fr a yed fibr es, a n a c r i b el le str in g on ce g on e

stli n ess m or e ea sily i m a
,

w r on g i s gh a
,
stly with agha g i n ed
t ha n desc r ib ed Th e sa
. m e r em a r k apli es t o t h e twi ste d or

pla ited str in gs, som etim es kn ow n a s C n ese wa ter c or d These

'

yer s wit h h ot ha n d s, a re a
.

ar e quit e t h e b est f or pla nd a l m ost

ex c l usively used by vi olin i st s i n In diaa n d oth er h ot c oun tr i es,
w her e t h e or din a r y st r in g s n ot on ly br ea k ver y ea sily b ut a re
,
v er y diffic ult t o keep B ut , of c our se, t heir t on e i s in fer ior t o
.

g ut .

In c on c b y t h e b ye, a
lusion -
w or d on kn ots
-
It seem s a sim pl e

thin g t o t i e akn ot i n t h e en d of astr in g so th a

, .

t it sha ll n ot slip
t hr ough t h e slit oft h e ta ilpiece b ut t h e c om m on “ b ooby kn ot
i s ver y a pt t o br ea k off, a
,

n d i n so d oi n g t h e k n ot flies a ga in st
t h e bell y a n d p r oduces th ose four litt l e ch ipp ed h ol es so of t en seen
b en ea th t h e ta i lpiece of afiddle If i n t yin t h e kn ot you do
.

n ot p ull t h e sh or t en d r ight t hr ou gh, b ut m a0 asli kn ot ofi t , -

you will fi n d tha t t h e l on g en d c om in g out of t h e s it i s m uch

sec ur er a tha n i f t h e d ea
”
n d l ess likely t o fly r ol d b ooby k n ot -

of our c hildh ood i s m a de It sh ould b e r em a

. r ked tha t in t h e
k n ot of t h e fi r st str in g t h e l on g en d sh ould b e twisted r oun d
t h e slip kn ot on ce a
-
ga in t o m a k e i t la r ger a n d, th er efor e, m or e
So sha ll your str in gs hold wel l, a
,
sec ur e . n d n ot fly out of
pur e c ussedn ess In putt in g on astr in g n ever (a s so m a ny
a ma
.

t eur s do) put t h e en d th r ough t h e e , a n d th en dr a w it

g
dow n t o t h e ta i l piece a-
n d fi x it ther e w i akn ot Thi s i s cer
ta i n t o br ui se t h e str in a ll a
.

l on g, a n d utt er ly sp oil it M a k
g e
'

your k n ot a s a b ove di r ect ed, a n d fi x it t o t h e ta

.

il piece then -

ca r r y t h e str i n g u t o t h e h ea d, cut off wha t you do n ot w a n t

p ,
 TH E STRINGS . 2 15

a
n d fix th e en a
d t h us
de t o t h e peg
m Never h ve. c oi l ofa a
loose str in g ha
n gin g a
b out t h e sc r oll of t h e fiddle, or t w iste d
r oun d t h e p egs ; it i s un sightly, a n d of t en pr oduc es b uz z in g a
n oi se. q a
When you r e ui r e t o put n en tir e n ew set of str in gs on
(fi ddl er s w ith c ool ha n d s seldom a
b r e k str in gs, b ut h ve t o a
a
r epl ce t h e wh ol e set when it i s w or n ou t ), don ot , on a
n
y ccoun t , a
a a a
t ke l l t h e ol d str in gs off n d then put t h e ot her s on t h e
aa
sudden r el x tion of t h e p r essur e, a
n d c on se uen t q
w or kin g
'

a
oft h e fib r es of t h e fiddl e, m y t hr ow t h e in str um en t out of
a a aa
tem p er for d ys T k e off on e t tim e, n d put on t h e n ew a
a a
.

on e, n d scr ew it up t o pit ch b efor e ch n g in g t h e n ext on e .

a
E st c on t r fi g ul um fi g u lu a
s f bru a
m f b er odi t ,
a
Con t r ac n t or em c a n tor prem et Ir u a
s d Ir u m
Di c m i h i cur don a a
t e v i r i s si t Musi c d oc t i s :
a
.

Ut Re l ev et Mi ser um F t um Sol i t osque Le

- - - -
t b or es
- .
 FIDDLE A ND I .

Br F ann n m c E . W E A TH E RLY .

B Y oa
rd ad i n r v er ,

Coun t ry side -
a
n d t ow n ,

I a
ro m for ev er

Wi t h fi
y ddl e b r ow n
m .

a
Cr eepi n g un der b r n s so gl dl y a
Wh en out side t h e w in t er h ow l s,
Pla
yi n g a as a
dl ypl yi n g m dl y,
,

Wa
k aa
i n g up t h e r t s n d ow l s .

a a a a
A h ! i t w s g y , n i gh t n d d y .
aa a
F i r n d cl oudy w e t h er ,
a I a
Fiddl e n d w n der i n g b y,
Ov er t h e w or l d t oget h er I

Dow n b y t h e w i ll ow
Sum m er n i g h t s li e, I
Fl ow er s for m y pil l ow ,
A n d for r oof t h e sk y .

a a
P l yi n g l l m y h ea r t r em em b er s,

ol d, ol d son g s fr om fa r w y, aa
Gol den Jun es a n d b le a
k
Decem b er :
a
Ri se r oun d m e a s pl y I a .

On , on , for ev er
j
Ti ll t h e our n ey en ds,
a
Wh o sh ll di ssev er
Us t w o t r ust y fr i en ds
Wh o c an b r i n g t h e past b efor e m e,

Mae t h e fut ur e g a
k il y g l ow ,
Lift t h e cl ouds t h a ’
t d r en o er m e, ak
B ut m y t r ust y fi ddl e b ow
Ah it w a s ga y, n i g h t n d d } a a
a
,

Fa ir a n d c l oudy w e t h er ,
Fi ddl e a n d I a
w n der i n g b y,

Over t h e w or ld t og et h er

Musxo B Y Ha
s
. A Goon a
vs By perm i ssi on oft h epub li sh er s, Mam . E n och
 C HA P TE R XIII .

TH E T OOLS.

Or di n a
ry T
—
— a
ool s Speci l Tools—Toot h ed P l a
P un t B en di n g Ir on s—O va
n es Scr a —
per s Kn i v es Ma r i ng —
—
— k
l Pl a
n es— S r i n g Com
p sses ff H ol e Pi er c ers a
a
G mg i n g C l li per s Screw s — Cli ps
p
Cra m ps Com p sses a
F0 0 is .

I HA VE n ow en um er a
ted a
t len g t h t h e Sc ien tific P r in
ipl es on c
whic h ever y good fiddl e m ust b e c on str uc ted I a m n ow goi n g
i n deta
.

il i n to t h e p r a c tice of a c tu a l fi ddle m a kin a -

n d hope t o
b e un der st ood by m y r ea der s i n p r opor ti on t o e a m oun t of

pa in s which I h a ve t a k en t o m a ke m yself so I sha ll p r oceed a s

i f I wer e a c tua
.

lly w or kin g with t h e r ea der , a n d h e w er e usin g m y

m ould s, m odel s a
,
n d t ool s, with a view t o fa ci lita te which I ha ve
given outlin es of a ll t h e for m er i n thei r a c tu al siz e (P la te
so t ha t th ey n eed on ly b e t r a ced or c ut out , a n d pa sted on slip s
of w ood for i m m edia te use B y w a y of in t r oduction I give i n
thi s c ha p t er dr a
.

win gs a n d d esc r ipti on s of a ll such tool s a s a re

peculia r t o t h e fi ddl e m a ker s a t eli er w hi ch m ust b e high a

’
-
n d

li g ht Th e m ould I h a ve c hosen whic h i sr epresen ted i n P la

,
. te IV
pe of Str a n d a
.
,
i s of t h e best sh a diva r iu s a ll t h e outli n es (n eck
l so r epr oduced a a
, ,
sc r oll ff hol es, whi c h a re a c tu l siz e, a re

ve b een m ost ca
,

t hose wh ich g o with thi s m ould a n d ha r efu lly

tely ta
,
a n d a ccur a k en fr om t h e sa m e fiddle It m ust b e ob ser ved
t th er e a ys ofper for m in g m a
.

tha r e t w o wa n y of t h e o er a t i on s by
fiddle gr ow s un der our ha n ds I ha ve em bo i od t hese i n
.

Cha pte r XX L, g ivin g a n other pla t e (P l ate this tim e a n in

sid e m ould of Gu a r n er i us, wit h i t s m odels a n d ou tlin es i n fa c sim il e .

Th e fir st gr ea t con sider a tion i n t h e pr a ctica l scien ce of fi ddl e

m a kin g i s th a t of t h e tools Ma n y of t hese a r e wha ta re t o b e

n y ca ws, pla
.

foun d i n a bin et m a -
ker s shop, such a
’
s sa ne

ug es, et c , of t h e or din a r y pa b ut ther e a r e cer t a

ga t ter n s in
or ig i n a l tools a n d m odifica
.

t ion s of t h e c om m on on es whic h m ust

for m pa r t of t h e la m an d p en a t es of t h e fi ddl e m a k er , a n d it
-

w ill b e t o t h e con si der a ti on of these tha t w e a re n ow a bout t o

t ur n our a tten ti on Fi r st l t h en , for t h e com m on tool s, ala r e
g
of t h e or din a or m s a
.

sa w , aten on sa w , a nd a w sa w ry f re
220 V IO LIN -
MA KING : A S IT WA S A ND I S .

re qui ed al o g o t yi g pl ae asm a
r ll o n ,
r r n g n ,
r sm oothin
pl a ad as t of avi g gouges ad hi el s
,
n e, n e c r n n c s Th e w or k shop .

m ust b e fitted w it h a n or di n a r y b en ch wit h a vic e a ffi x ed t o i t

or r ec ept ion of w ood a ssive m i scell a n eaa
, ,

Shelves f n d ot h er m a n d
n d sm a n d oth er p a ra
,
ra ck s f or t ool s a ll obj ec t s bot tl es a pher n alia
which i n well a
,
rra
, ,
n g ed c on fusion fur n i sh t h e fi ddl e m a ker s ’
-

wor k shop Rul es a n d T squ a r es of or di n a r y di m en si on s a

-
re

n d I a lwa ys ca
.

al so r equir ed a rry in a lea t h er ca se i n m

y p ock et
asm a
,
ll t hr ee in c h r ule, divided t o $6; fl a
-
n d
3 5 ofa n i n ch wi t h ,
1

apa
7 ,
i r of sm a ll sp r in g b ow s for fi n e m ea
,
sur em en t s a n d ca lcul a
tion s Thi s w a
. s b ea utifully m a de for m e by Messr s A ston a n d
On e r ul e sh ould ha ve ap er fec tly tr ue edg e
.

Ma n der of Soh o

of st eel or som e ot her ha r d sub sta

.
,
n c e, for t h e p ur p ose of t r yin g

edges a n d sur f a c es .

Youwill w a n t a pa ir or soof c om m on ir on cr a m p s (Fi g .

for fix in g w ood et c t o t h e b en ch when i n use

,
.
, A sm a ll ben ch .

vi ce such a
,
s ca n b e qui c kly sc r ew ed on a n d of f t h e b en ch i s
s a l so i s am edi um siz ed ha
,

fr equen t ly n eed ed, a n d vice Th e

'

- -

r y whetst on es a n d sha
.

or din a r p en in g m ediam ust b e p r ovided .

n o 1 1 6 —C om m on I r on C r m p
. . a . F ro 1 1 7 —Sect i on s of
. . F I G 1 18
. .
—Scr a
per s .

Fil es r equi r ed .

A gl ue pot of t h e c om m on sor t will do b ut I like on e m a de of ,

c opper en a m el a s b ein g c lea n er Ma n y vi oli n m a k er s use t h e
-

-
.
,
best Sa li sbur y glue b ut t o m y m in d n on e i s better for our
,
’

p ur p ose tha n th a t whi c h c om es over i n thin light br own l ea ves

fr om Col ogn e A n or din a
. r y cu ttin g a n d ma r k in g g a uge will b e
r equ ir ed a n d a lso aset of files of t h e sec tion s show n a t Fi g 1 1 7
n t i s on e of t h e light sm a
,
. .

Th e on ly ha m m er you w i ll w a ll
ha m m er s used i n j oin in g fr etw or k or c a r vin g s, suc h a
,

s i s used
by w a tc hm a k er s for r ough w or k
r r ive a tion of t h e tool s p ec ulia
.

We n ow a t t h e c on sider a r to

our a r t whic h it i s n ecessa r y t o ha ve r ea dy t o on e s h a n d b ef or e

’

c om m en c i n g t o w or k a n d these I sha ll en um er a
,
te a n d d esc r ibe

i n t h e or der i n whic h t h ey a r e m en ti on ed a n d r eq ui r ed i n t h e
followin g cha pter s on t h e a ctua l ma n ua l la b our r equir ed i n
fi ddl e m a -
kin g .

.1 Th e Toot lz ed P la n e — This i s a sm a ll ir on pl a n e lik e wh a t

a r e k n own a r y A m er i c a
,
s t h e or din a n pla n es, wh ose edg e i n stea d ,
of b ein g sm ooth like a n or din a r y pl a n e i s t oothed or ser r a t ed .

ll pieces of steel pla

,
.2 Scr a per s Th ese a r e sm a
. te , shown i n
2 22 V I OLIN -
MA KING : A S IT WA S A ND I S .

A n other , an d p er has b et t er for m i s r ep r esen ted a

t F i g 1 22 a
nd
p ,
.
,

i s c r ut c h -
sh ap ed It i s fix ed i n ah ole i n t h e b en c h or m t h e
.

vice when i n use

Ch i sel —Thi s i s used i n l ettin g t h e lin i n g s I n to
.

”
6 “
Li n in g
t h e bl ock s, a of a a a
.

n d is a n or di n r y c hi sel , on ly n in c h b r o d,
1

a s i n Fi g 123, sh a r en ed t o a l on g edge, a sa t A
.
p .

7 Ova l P la n es — A set of t h ese wi ll b e r e ui r ed f or fi n i sh q

a a a
. .

i n g t h e m odel or a r chi n g, n d t h e sc oopi n g out of t h e b ck nd

F IG 1 21
. .
—O v a
l Pl a
n e , upper a
n d l ow er si des ct ua
(a l si z e) .

belly They m ust b e i n thr ee siz es t h e l a r gest an d sm a llest of

l siz e by Fi gs 1 24 a
.
,

which a r e r epr esen ted a c tua n d 125 ther e b ei n g

n i n ter m edi a
,

ces a a
.

a l so a te siz e Th e un der sur fa r e cur ved s

r chin g a
,

or pla or pla
.

th ey a r e used f n in g d ow n th e a n d f n in g ,

sm oot h t h e g oug i n out of t h e ta bles Th e ed es of t h e ir on s,

s w i ll b e seen i n t fle fig u r e m ust b e toothed t e b r itt l e n a
.

a ,
t ur e ,

of t h e m a ple a n d t h e ten der n ess of t h e pin e r en der in g t hi s

n ecessa ry .

F xc 125 —0 a
1 Pla ( m a
v ll
n e s er siz e) —a
F IG 1 26 M r k i n g (A ) n d a F IG 127 —f
a a
. . . . . . .

Me sur i n g (n ) Com p sses . P i er oer .

8 Spr i ng Com p a
. sses —You will wa n t t w o pa
. i r s of th ese, a s
a t Fi g 1 2 6, on e pa
. ir h avin g on e l eg j ust lon ger tha n t h e ot her ,
a s a t A , for use a s a m ar kin g ga uge Th e other or din a r y, asa t .

B , for m ea sur i n g a n d dividi n g .

l

9 f H ole P i er ci n g Tool s or P un ch es —These a

. r e t w o pu n ch es, ~

r epr esen ted a

.

t Fi g 127, used for pier c in g t h e r oun d h ol es a

. t
eit h er en d of t h e ff holes a
,
n d ar e, th er efor e, of t w o di m eter s, a
 TH E TOOLS . 223

in dica ted a t B a n d 0 in t h e fig u r e, t h e sm a ller on e bein g for

t h e upper , a n d t h e la r ger f or t h e l ow er h ol e of t h e f They a re

h ollow cylin der s of steel , ha

.

vin g t h e op en en d gr oun d t o afin e

ci r c u la r edge a
,
n d ha vi n g (a b out a n in c h u
p t h e bor e) ar oun d
hole i n t h e side A , when ce t o pi ck out a n
y c hips of wood, whi c h
w ould ot her wi se, by fil lin g t hem up, ch oke t h e pun c hes They
a re a l so m a
.

de with t h e b or e ex ten din g r ight th r ough t h e

ha n dl e so t ha t athin r od m a
, y b e pushed down t h e cylin d r ica l
c ha m b er thus for m ed for t h e p ur p ose of p ushi n g out t h e l ug
p
of w ood c ut out by , a n d ther efor e st i c kin g i n
, h e pu
t n ch Th is .

i s t h e b etter for m , for t h e pic ker i s a pt t o in j ur e t h e c utti n g

edge of t h e p un c h wh en r em ov in g t h e c ut out plug of w ood -

1 0 Ga ug i n g Ca ll iper s—Fi g 1 28 —a
.

. r e wha t a
. r e used f or
deter m in in g t h e t hick n esses of t h e ba ck a n d b elly They c on si st
fr a m e A , som ewh a t lik e th a t of afr et sa
.

of a w , a nd a m ova ble -

a r m B , which i s a tt a
ched t o A by a hin ge c This a r m ca r r ies a

l or ivor y pla
.

m et a te D m a r ked with sixteen th s of a n in ch d own t h e

F ro 128 —Ga
ug i n g C a
m per s F I G 129 —Vi oli n scr ew F re 1 30 —Soun d
a
-
. . . . . . . .

b r Cli ps .

s rt a
i ght side wh i h pa
ss th ,
c gh a n d w or ks i n
es r ou aslot cut i n ,

of t h e fr ame A a c h al en gth
,

t h e upp er a rm n d whic h i s of su

tha
,

t when t h e a r m B i s shut close down on t o A , t h e t i p of t h e

pla te D j ust touches t h e ivor y stud E set on t h e low er a r m of A

Th e tip of D ca n d ma in ta in ed a t a n y r equi r ed di sta

.
,
n b e set a n ce

fr om E (a s m a r ked by i t s ow n sc a le) , by sc r ewin g t h e scr ew F

dj usted ver y exa
,

which p er m its a n
y dista n ce t o b e a c tly a n d

a c c ur ately Ther e a re m a ny f or m s of these, b ut this on e i s,

n d cer t a
.

I thi n k, t h e b est, a s b ein g t h e m ost stea dy a in t o w or k

wit h
1 1 Vi ol i n Scr ew s —Fi g 1 29 These a
.

r e used f or fixin g t h e
ba
. .

n d t h e b ell y sim i la re m a
. .

c k t o t h e sides a r ly They a de of .

wood, a nd a b out thr ee doz en va r yi n g alittle i n siz e, w i ll b e

,

r uir ed
r Cli e —Fi Th ese w ooden con tr iv a
.

1 2 Soun d B a p g 1 30 n ces,

r e used t o keep t h e b a
. . .

r esem bli n g c lothes peg s, a r in

st r on g ly
-

p ositi on i n t h e b ell y when b ein g fitted A pa ir m ust b e .

pr ovided .
2 24 V IO LIN -
MA KING : A s IT WA s A ND I s .

1 3 Soun d B a r Cr a m ps a r e w ood en sc r ew c r m p s, Fi g 1 31, a .

w hi c h a r e used t o fix t h e soun d b a
.

r i n posit ion w h n glued w is e

e
Thr ee or fi v e a r e used i n c r a m pin g a ba r i n to 1 t s pl a
t h e b elly ce .

a — — ar e r e uir ed for c opyi n g a

.

1 4 B ow C om p ss es F i g 1 32 n d q
a
.

a a
.

re gi t
s e r in g di m et er s w h en w or ki n g fr o m m od e l T h ey r e .

p r in c ipa lly used w hen chi sellin g t h e hea d .

FI G l 3l . r Cr a
—Soun d b a m ps-
.

—B ow a F IG 133 —P ur fl i n g G ug e or l a a
r k er (f on t
g
132 Com p r
Fm ss
a
. .
. . .

n d si de v i ew s

1 5 P urfl i n g Ga ug e Thi s (Fi g 1 33) i s a n —eb on y ga uge

A , r oun ded at on e side a s a
.

or din a
.

c om p osed of a n r y st em t B,
whi c h bea r s aslidin g b ea m C , on e en d of whi ch , bea r in g t h e

c ut t er E, a n d i t s w edge F , i s r oun ded a sat D Th e c utter E i s .

ma de fa st a t a n
y di st an ce fr om t h e stem A by k n oc k in g t h e

F l u 1 34
. .
-
P ur fl i n g Com p sses a . E l G 135 . . Pur fl i n g Ch i sel .

wedge G in t o t h e open in g cut t o r eceive it It i s used for tr a c in g .

t h e lin es of t h e pur fl i n g r oun d t h e edge .

A n other for m of pur fl i n g t ool sh ow n m e a n d r ec om m en d ed ,

by Mr H ill i s r epr esen t ed a
.
,
t Fi g 1 34 a n d i t s obj ec t a n d c on.
,
st r uc t ion will b e r ea dily un der stood by l ookin g a t t h e figur e .

Doubtless i t i s ver y c er t a in b ut it la ck s t h e
“
sym p a t hy (i f I
m abe a
,

y llow ed t h e ex pr ession ) of t h e ebon y on e Fi g 1 33, a s it , .

g oes r oun d t h e edges of t h e fiddl e .

 C HA P TE R X I V .

TH E O UT SIDE MO U LD .

Copyi n g t h e O ut l i n e —Ma
ki n — — a
g t h e Mould It s Di m et er s Th e Out li n e Models
Th e -
'

a
A r ch i n g Gui d es— Th e C r m pi n g B l oc s -
k .

TH E fir st thin g t o b e don e i s t o dec ide upon t h e m od el of your

in st r um en t a n d m a k e your Mould Mould s a r e of t w o sor ts
.
,
w hi c h i s solid a
”
t h e i n side m ould n d r ou n d whi c h t h e fiddle i s
“

w hi c h i s c ut out li ke a
, ,

ma de a fr a
”
nd t h e out sid e m ould me ,

de Of t h e for m er I sha
,

a n d i n si de whi c h t h e fiddl e i s m a . ll
t er on (Cha r e goi n g t o m a
spea k la pt er X X I ) a t pr esen t w e a
. ke
t h i s fiddl e on t h e la t t er or out sid e m ould Th e fi r st step i s t o .

dec ide upon y our m odel a n d out li n e ; if ou w i sh t o c opy a n

y
y
giv en m a st er
,
or i f you w i sh t o pr od uce y our ow n or igin a l
m odel, you w ill fi n d dir ec ti on s for this on pa ge 1 35 (I m a y sa y .

t ha t un l ess you wi sh pa r t ic ular ly t o c o y a

p n
y pa r ti c ular fiddl e ,

you ca n n ot do b et t er t ha n a dopt t h e m odel outlin e, m ould et c , ,

.
,

g iven i n P la t e IV w hi ch i s t h a t of aStr a div a

(

. r ius of t h e m ost
,
fin ished el ega n ce
) Th e fi r st t hin g i s t o ta
. ke a n outlin e a s ex a ct
,

a
,

s possibl e ,
of t h e fiddle t o b e c opied, t hen tra n sf er t hi s t o

asheet of w ood 27 in c h t hick r a ther l a ,

r g er t h a n t h e outli n e .

Then w it h t h e fi n est fr et or b ow sa w c ut t hi s out a

-
s even ly a s

youp ossi b ly ca n ,
sp a r in g n o pa in s t o keep your c ut t in g fr ee fr om
a l l i r r egul a r i t i es Ma
. r k , on t h e fi ddl e sh a ped piece th us c ut out
-
,

a n d on t h e fr a m e fr om w hic h you h a ve c ut i t , t h e ex a c t c en t r e
of t h e outlin e d r a win g alin e dow n t h e c en tr e a s a t A B in t h e ,
'

t your out lin e i s c or r ec t, t a

,
vi n g a scer t a in ed t ha
pla te Ha ke
b of ha n d shae of t h e m ould fig ur ed i n
.

asla r d w ood, t h e si z e a
p
t h e pl a t e 15
, } i n ch es t h ick , a n d m a r k t h e ex a c t c en t r e of i t by

dr a w i n g fr om t op t o b ot t om t h e lin e A B Ta ke your pla n k .

out lin e (d ow n t h e c en t r e of w hi c h ali n e i s dr a w n , a

) n d pla ce i t

on t hi s sla b whic h i s t o for m t h e m ould , so tha t t h e lin e down

t h e cen t r e of y our outlin e c oin c ides ex a c tly wi t h t h e lin e A B
'

down t h e cen t r e of t h e m ould H oldin g t h e out lin e ver y fi r m ly

.

i n th i s posit ion so tha ,

t t h e c en t r e c a n n ot m ove a t eith er en d
fr om t h e lin e A B (i f n ecessa r y fi x i n g i t thus wi t h c r a
, m p s) d r a w ,
 TH E OUTSI DE MOULD . 227

with afi n e poin t t h e ex a ct outli n e of y our pl a n k on t h e b oa rd

a nd m a k e i t i n d elible by sc r a t c hin g i t i n t o t h e sur fa c e of t h e
,

w ood You will then h a

.
ve t h e out lin e c c 0 (P la t e IV )
dr a
, , .

w n on y our m ould .

To m ea sur e t h e b r ea d t h fr om t h e ex tr em e edge t o t h e sides

a llowin g for w ea a
,
r n d b ei n g g uid ed by t h e e e d r a a li
, y w n e
r ight r oun d i n sid e t h e lin e 0 a
,
b o u t 3
T 3 i n c h fr om it p r eser vi n g
th e sa m e dista
,
t hem a
,
n c e b etw een ll r oun d ; you will t hen
ha ve t r a c ed on t h e pl a n k t h e lin e D D D Then out out ver y
gr a dua lly a n d w i t h t h e sa
.
, ,
m e a m oun t of c a re a s o u d e v o t e d to
,
y
cu ttin g y our outli n e, a l l t h e w ood in side t h e lin e D (left w hit e
i n t h e pla t e) Y our m ould i s n ow c ut out , h a
. vin g athic kn ess
a ll over of 1 2 i n c h es B ut w e ha .ve seen (p 14 5) t ha t th e
sid es of afiddle a
.

r e sh a ll ow er i n t h e upper t ha n i n t h e lower

b out s a ,
n d in t h e ca se of t h e fiddl e fr om which w e a r e n ow
w or k in g t h e d evia tion i s fr om H i n t h e l ow er b out s t o 1 5 , i n 1
5
,

t h e upper your m ould m ust t h er efor e ha ve t h e sa m e devia t i on

w hi c h i s a r r ived a t by t ur n in g it over (so a
,
s n ot t o l a
p ne a w a y
t h e lin es o a n d A B
) a n d
pl a n i n g r oun d i t ver y c a r efu lly c on
st a
,
sur in g t h e d e t h s t ill t h e g r a
y m ea
,
n tl
p dua l decr ea se i n dia m et er
i s obt a in ed .

You ha ve n ow g ot (i) ah ollow m ould of t h e pr oper t hic k

n ess on t h e t o
, p of w hi c h a r e dr a w n w it h
per fec t sym m et r y t h e
lin es A , B an d C a , n d (ii
) at hin pl a
,
n k out li n e ex a c tly c or r e
s on di n
p g wit h t h e li n e 0 d ow n t h e ex a c t c en t r e of whi c h r un s
,
ali n e c or r esp on din g wi t h t h e lin e A B on t h e m ould Ma rk .

fr on t ou t h e fr on t of t hi s la t t er t hin pl a
”
t h e w or d .
n k out lin e

so t h a y a ce t o h a
,
t you m a lw a ys kn ow whic h sur fa ve upper m ost
(for t h e t w o sides of this out lin e a r e n ot i n ex a c t c on t r a a
f csi m i le -

— St r a diva r i s outlin es seld om

’

,
or n ever w er e p er fec t ly t r ue) ,
B efor e w e g o fur ther i t m a y b e w ell t o ex pla
.

, i n fully t h e
n a t ur e of t hi s pla te For pur p oses of wor k i n g i t m a
.
y be a s
w ell t o t a k e t w o tr a c i n gs of i t , so a s t o sep a ra t e t h e va r ious

thin gs i t illustr a tes A ll t h e sha . d ed p a r t r e r esen ts avi oli n

p
m ould r oun d t h e c u
,
ttin g of which i s t r a c ed C c c th e a ct u a l , , ,

on lin e of t h e fiddle fr om whic h i t h a s b een m a de Ma ke t r a c in g .

n um b er on e of a ll t h e sha
,
ded p a r t s (i n c ludi n g t h e li n e 0 O c
) , , ,
a n d showin g a t t op a n d b ottom t h e en d s of t h e cen t r e li n e

A B Then m a
. k e tr a c in g No 2 of t h e out li n e C C c a . s ex a c tly , ,

a s p ossibl e, b ea r i n g t h e lin e A B d ow n i t s cen t r e (a n d t h e sou n d

n d t h e f hole F so t ha t you m a
post E , a y k n ow w hi ch i s t h e fr on t
Gl ue this tr a c in g t o a lea
,

of t h e m odel ) f of w ood suf fi c ien tly ,

l ly a s it i s your pl a
.

la r ge, a t m ost c a
,

n d c ut i t ou r efu , n k ou tlin e
t o whi c h I ha ve r efer r ed b efor e It will b e n oticed t ha . ta t th e
bott om of t h e m ould (or sha ded pa ) t h e w or ds ba a
“
rt ck n d
2 28 V I O LI N -
MA KING : A S IT WA S A ND IS .

belly a r e p r in t ed thi s m ea n s t ha t t osa ve r oom a n d a s th e

,

out li n e on b ot h sid es of ab a ck a n d b elly a r e n ea r ly (i f n ot

quit e) iden t ica l I ha ve m a de t h e r ight ha n d ha l f r ep r esen t t h e -

Th e f h ol e a
,
b elly a n d t h e l ef t ha n d ha l f t h e ba
-
ck n d soun d

a
.

st i n t h e r ight ha a
,
”
n d (or b elly h l f r e m er ely pu t t h
p o -

) er e

t o dist in gui sh i t st ill fur t her fr om t h e l eft h a n d ( o r

“
ba ck -

ha lf
r igh t a c r oss t h e t r a ced out li n e of t h e b a
.

Dr a w c k, t h e lin es

1 , 2 3 4 , 5 8 (w h i c h t r a ver se t h e left h a n d or ba ck
”
ha l fof t h e
- -

Dr a cr oss t h e t r a
, ,
w a
,
”
c ed out lin e of t h e
“
out lin e C C b elly
t h e lin es 7 , 9 1 0 1 1 , 1 2 (w hic h t r a
,

ver se t h e r ight h a
,
”
n d or b elly -

You h a ve th er efor e, n ow atr a

, ,

ha l f of t h e outlin e C C c in g

k e your m ould a
, , ,

fr om w hi ch t o m a n d at r a c i n g of t h e Out li n e

n d soun d—
,

0 c C w ith f h ol e a post fr om whi c h t o m a

,
ke y our
a
, ,
l a n k ou t li n e N ex t ma k e of t hin h r d w ood t h e el even
p .
,

guides (figur ed a c t ua l si z e) These a r e r esp ec tively.

(1 2, ,

3 4 a n d 5 i n t h e pl a t e) t h e m od el or eleva t ion of t h e a
,
r c hi n g

k en fr om t h e edge t o t h e j oin (A B on t h e pla

, ,
of t h e b a ck t a t e) ,

8 sh ow s t h e a
,

a l on g t h e lin es 1 2 3 4 , a n d 5 r espec tively ,

r ch

c k b et w een t h e cen tr e b out s (or C s) a

, ,

i n g oft h e b a
’
l on g t h e lin e ,

8 a n d 9, 1 0 1 1 a ,
n d 1 2 sh ow t h e a
,
r chin g of t h e b elly ta k en ,

a l on g t h e lin es 9 10 1 1 a n d 12
,
7 sh ow s t h e en t i r e a
, ,
r c hin g of

t h e belly b et w een t h e c en t r e b outs (or C s) a

’
lon g t h e lin e 7 , i n
t h e sa me w a y tha t 8 giv es t h e en t ir e a r c hi n g a c r oss t h e b a ck .

A sim il a r guide t o t h e en tir e a r c hin g a lon g t h e lin e A B i s

de by c ut t in g asim i l a
,

m a r
pi ece of w ood 1 t h e c ur ve of t h e lin e
G G G on t h e pla te I t w ill b e ob ser ved t ha
. t t h e guide No 8 .

i s m er ely adoubled for m of No 3 a

, ,
n d show s t h e a r c hi n g of t h e
.
,

c en t r e of t h e b a ck .

Th e la st a c c essor ies of t h e m ou ld a r e t h e cra m pin g block s, -

w hi ch a r e r epr ese n t ed i n t h eir a c t ua l siz e a t H I J K, L, M , , ,

.

Th ese a r e piec es of w ood c ut t h e sa

'

m e depth a s t h e m ould t o fit ,
i t s c ur ves a t t h e poin t s H I , J K L a n d M r esp ec t ively m a
, , , r ked
,

on t h e sha ded pa rt r ep r esen t i n g t h e m ould Th e out er edges .

t h ose w hi c h t ouc h t h e sid es) a r e li n ed w ith a thin sheet of c or k

(
,

r e r esen ted i n t h e fig ur es of t h e c r a
p m pi n g bl oc k s by t h e sh a d
i n g) . These pieces a r e used t o c r a m p t h e sid es i n to th eir fin a l
sh a p e i n t h e m oul d i n m a n n er h er ei n a ft er a ppea r in g

c c essor ies of w h a
,

So m uc h for t h e c on st r uc ti on a
.

n d a t i s ca lled
” ”
t h e out sid e m ould Th e ot h er for m or. in side m ould will ,
“
,
b e d esc r ibed i n a n ot her
pl a ce, a m on g t h e in st r uc t ion s for m a kin g
afiddle of t h e Gua r n er i us pa t t er n on a n in side m ould a ,
nd
fer in g i n m a
,
ot her w i se dif n y
pa r t i c ul a r s fr om t h e fiddle w e a re

n ow goi n g t o c on st r uc t O ut lin es a n d m od el s for t h e n ec k a

. nd

sc r oll of our pr esen t fiddl e, a n d ta k en fr om t h e sa m e i n st r um en t

 C HA P TE R XV .

TH E SI DE S, on RIB S, B LOCKS A ND SI DE LINI NGS -

—
Sel ect i on of Wood— Th e Si des— B en di n g t h e Si des Fi t ti n g t h e Si des Th e Top —
a n d B ot t om B l oc sk— Th e C or n er B l oc s—Th e Si de l i n i n g s— B en di n g t h e
k
—
-

Si d e l i n i n g s Fi t t i n g — Fi x i n g t h e Li n i n g s— Lev elli n g —Fi n i sh i n g t h e Si des,

-

a k a
Li n i n gs, n d B l oc s, In si de n d O ut si de .

TH E fi r st step t o b e ta ken t ow a r ds t h e m a kin g of afiddle i s t h e

sel ec t i on of t h e w ood . I ha ve a l r ead y poin t ed out t h e a dv i sa bi
l i t y of k eepin g wood s stor ed i n c er t a i n dim en si on s (p 1 34 ) i t .

w ill t her ef or e b e sim ply am a tter of sea r ch a n d ta ste t o sel ec t a

“
set of w ood aw edge for t h e ba ck a bl oc k for t h e n eck,
,

p or t h e sid es a
si x st r i s f n d a
,
wedge for t h e b elly) h a n d som ely
,
fi gur ed a n da c oust i ca lly good a s r ega r d s t h e m al e a
p n d fi n ely a n d
,
even ly g r a
.

in ed a s r ega r ds t h e
pi n e Ha vin g dec ided t his w e ,

t h e w ood for t h e va
.

pr oc eed t o pr epa r i ous oper a t i on s t o

“
re

w h i c h i t i s t o b e su bm itt ed — begin n i n g w it h t h e Sides If t h e .

w ood h a s b een st or ed i n st r i s 1 5 5 i n c hes l on g by 1 3 b r oa d

p , ,
t h r ee suc h st r i ps w ill b e r eq ui r ed b ut I r ec om m en d t h e sel ec
t i on of si x t o pr ovid e for a
, c c id en t s of a ll sor t s whic h w i ll c om e ,
a bout w hen a n a ma t eur i s w or ki n g w it h a b r it t l e st r ip of
w ood fi ft h of a n in c h t h i c k B efor e pr oceedin g fur ther , l et m e
.

N W gi ve a w or d of w a r n in g a b out t h e sel ecti on

b ew a
W
of t h ese st r ip s I t i s t hi s
. r e of

i fiififl ifi i fig fi g; ex t r aha t ha
F’ ’
-
n d som e w ood t w i t h t h e fi n est
W°°d
a n d b oldest c ur l s i s ex c essiv ely dif fi c ult t o
w or k w i t h c h ippi n g a
, wa y un d er t h e kn ife pla n e a n d sc r a per
la
,
toa
,
n a r m in g d eg r ee a n d w or se t ha n a ll t his w hen t h e w or k
i s fi n ish ed , a
, ,
n d y our sid es a r e set a n d y our fiddl e va r n i shed
ha
, ,

n dsom e w ood w ill of t en t a ke t h e w a vy sur fa ce sh ow n i n t h e

sec t i on
,
Fi g 1 38 a phen om en on often obser va
.
, bl e on fi ddles
w it h ex t r a ha
-
n dsom e sides . Th e b est slip s a r e t h ose wit h a fa ir ly
c l ose c u r l n ot t oo st r on gly m a r k ed A ll t hin gs b ein g t h us con
, .

srder ed
, you m a y n ow set t o w or k
Ta n or di n a
.

ke a r y cr a mp a s a t Fi g 1 1 6 a n d by m ea n s O fi t ,
a
,
n d wi t h a
-
.

sm a
,
ll piece of p r ot ec t in g w ood fa st en t h e str ip on t h e
b en ch a t r igh t a
,
n gl es t o t h e edge
(of t h e b en c h ) ; then ta ke a
 TH E SIDE S, on RIB S, B LOCKS A ND SI DE LININGS
-
. 2 31

sm a l l steel pla d of b ein g pla

n e wh ose c uttin g edge i n stea
, in i s
ver y fi n ely toot hed a
, ,
. n d with afew sweep s j ust r em ove t h e
,
ex cessi ve r ou ghn ess of t h e st r ip then fir m ly sm ooth it thr ough
,

out i t s en ti r e len gth with ascr a p er (Fi a n d t h e fi r st

op er a ti on i s fin ished A b ove a . ll t hin g s, m ost c a r eful t ha t
t h e edge of t h e pl a n e pr o j ect on ly t h e ver y sm a ll est p ossible,
for , i n a ddition t o t h e t hin n ess of t h e wood you a r e w or k i n g
wit h , t h e w ood i s i n itsel f per ha ps t h e m ost b r ittle of a ll t o
wor k with , a n d t h e ha n d som er t h e cur l s i n t h e w ood t h e ,

m or e br ittl e it i s . Th e sc r a per sh ould b e used a ga i n st t h e

dir ecti on of t h e cur l s t ha t i s i f t h e c ur l s (or figur e of t h e
w ood ) in clin e tow a
,

r d s t h e r ight t h e c utti n g edge of t h e scr a p er

sh ould b e sl a A ft er ea
,
n ted t ow a r d s t h e left ch sw eep of t h e
sc r a per , r a
.

i se i t w el l t o b r in g i t ba ck f or t h e n ext sw eep or ,

ca p t h e str ip i n t w o Min d a
,

tchin g t h e edge, it w ill sn a n d .

l et n eit h er of these pr ocesses g o t oo fa r ; m i n d n ot t o thin

your str ip t oo m uch, for r em em ber tha t thi s i s by n o m ea n s

t h e fin a l sm oothin g a ,
n d i f wor k ed t oo thin a t t h e c om m en c e
m en t of t h e w or k , t h e a fter r esul t s w ill b e disa st r ous t h er e
for e l ea v e t h e str ip r a ther r ough a n d st out tha n ot h er wise .

Then t a ke thr ee of t h e st r ips t h us p r ep a r ed , a n d w ith a p en c il

dr a w lin es a c r oss th em a s foll ow s A cr oss t w o of them a t a ,

r om on e en d a nd a
,

di st a n c e of 5 } i n c h es f
1
c r oss t h e thi r d a t a ,

Then , w ith a
,

dista n ce of 75 in ch es f r om on e en d . fi r m str oke

of asm a ll fi n e kn i fe (Fi g .out t h e st r ip s a c r oss a t th ose
lin es, a n d it will b e foun d t h a t you ha ve t w o pieces 71g l on g for
t h e upper b out s, t w o pieces 5 % lon g for t h e cen tr e b outs, a n d

t w o pieces 9 15 lon g for t h e l ower b out s Th ese l en gth s a re in

b ut it i s b etter t o a
.

ex c ess of wha t is a bsolut ely n ecessa ry llow

for a c c id en t t ha n t o st a r t w it h you r w ood t oo sh or t Now c ut
lic o) 31 in c hes lon g by 1 5 br oa
.

eight str ip s of l i n en n ot ca d,
sp r ea d gl ue on bot h Si es of on e en d of ea( c h str ip of m a ple thus
c ut , a b out 1 ; in c h es d own ea c h sid e a n d f oldi n g t h e st r ip s of
so a
,

li n en i n t h e m iddle, c over on e en d of ea c h str ip with lin en s ,

t o p r otect t h e edges ; t h e sh or t est (or 5 5 in ch ) st r ip s m ust t hus

b e c over ed a t b oth en d s ; for t h e ot her s, on e en d will b e
suf fi c ien t. Th e r ea son of t hi s op er a ti on will b e dem on st r a ted
fur t her on
Th e n ext op er a
.

tion whic h m ust occ upy us will b e t h e ben din g

of t h e sides th a t i s t o sa t o b en d t hem so fa r like t h e p a r t of
y
r e t o b e fix ed , th a
,

t h e m ould on whi c h th ey a t they will n ot Split

w h en c r a p
m e d i t
n o i t 1
Fi r st thor oughly hea
. t your ben din g i r on -

a
It h s b een suggest ed (1 1t Wor k, v ol i , p 528, a nd ol vp 4 8)
a an d t h en c a
. . . . .

t h t t h e r i b s m y b e b en t b y st ea
a a m i n g t h e str i ps of m pl e, m pi g
n r

k
t h em b et w een b l oc s of t h e r e u q
i r ed sh pe Th i s 18 t h e pl a . a
n r ec om m en d ed in
232 V I O LIN -
MA KING : A S IT WA S A ND I S .

ig
( s 1 21
F a
n d hen h ea
1 22) t ed , c r a
w m p I t on t o t h e b en c h
t t h e h ot b r oa d pa rt a n d en d (A a
.

h or iz on t a lly so t ha ,
n d B ) l i es

ov er t h e edge si t d ow n opp osit e t o i t a n d p r oc eed t o thi s m ost ,

ticklish p a r t of y our w or k wit h ac ool h ea d Th e i r on when .

,

o u c om m en c e t o b en d m ust on ly b e j ust h ot en ough ver y

y
a a
,

s ligh t ly t o si n g e a s lip o f w o o d wh e n p r e s se d g in st it (t h e tim e

w hen t hi s c on diti on i s r ea c h ed m ust b e t ested by p er i odi c a lly

t r yin g t o b en d over i t athin slip of w a ste w ood, kept for t h e

e C s, or i n n er b u t ’
u r p o se) F i r st b en d t h o s
p , .
,

b egin n in g a t t h e t w o en d s c over ed with lin en :

set t h e en d ou t h e p a r t B of t h e i r on , h old it ther e

fi r m ly wit h abl oc k of w ood, a t t h e sa

.

m e tim e

a pplyi n g ver y gen tl e pr essur e t o t h e other en d .

A B c D will n ot b egi n t o b en d t ill i t i s t h or oughly

I t
139 —D ff
thr ough, so do n ot h ur r y I t by hea
.

a
IG i er
t ta of h ot vy
. .

en s g es

Cfi fii ff pr essur e or i t w ill split (t h e tyr o gen er a l ly

fi
l ,

Split s sev er a l t o b egin w ith ) B en d i t thus ver y .

ca r ef ully r oun d B (B Fi g a n d t h en b en d t h e ot her en d

p e on t h e br oa
.
,

sim il a r ly (c Fi g t h en giv e i t t h e fi n a l sh a d
s t h e va r i ous sta
.
,

pa r t A (D Fi
, g,
F . i g 1 3 9 sh o w . g es of t h e

ben din g of t h e cen t r e b out s (Th e li n en i s of c our se un der stood .

, ,

t o b e ther e though it d oes n ot a ppea r i n t h e fig ur e .

b outs m ust n ow b e si m ila

,

Th e upper a n d l ow er r ly b en t,

t h ough of c our se it w ill b e a

, ,
ppr ec ia t ed t ha t on ly t h e lin en
c ov er ed en d s (whic h j oin t h e c or n er bl ock s) w ill r equir e t h e -

d ec id ed b en d giv en by t h e p a r t B of t h e
c D
ir on Fi g 1 40 sh ow s t h e succ essive sta
A B
. . ges
oft h e b en din g oft h e upp er a n d l ow er b outs ,

w hi ch a r e of c our se si m ila r ex c ept i n poin t ,

of a c t ua l siz e This don e you m ust c a . re

,

fully r em ove w it h asha r

p k n i fe a ll t h e
p r oj ectin g lin en fr om t h e en d s Th e hea
'

t .

of t h e i r on h a vin g scor ched t h e gl ue, t his

w ill b e a c om pa ra t ively ea sy op er a tion , b ut
F‘G ' w
of g
ll
z djfg gfig$ 35 i n pla ces t h e li n en wil l st ill a dh er e cl osely,
3 5
you m ust b e m ost c a
e
a
,

ad l o b out
n w er Sn d h er e r ef ul n ot t o
b r in g a wa y litt le piec es of t h e c ur l s of t h e w ood, whi ch would
i r r et r ieva bly d a ma ge t h e b ea ut y of your sides Th e l ea st .

vest iges of In c a n d li n en m ust b e fin a lly sc r a p ed a w a y fr om

b ot h t h e i n sifie a n d ou tside sur fa ces of t h e st r ip with a fi l e, whi ch
sh ould b e fl a t on on e side a n d r ou n d on t h e oth er
(Fi g .

H P Sm i t h s Th e Co st r uct i on of t h e Vi oli ( Syr a c use b ut o

’ “
n 18 7 n n

good o km aw oul d d ea m of u h a e pedi e t fo i t h e fir t pl a

.

ce i t t a
.
,
w r n r s c n x kes n r, n s
t i m e a lo g a s t h e l eg i t im a te w a y ad i a
, ,
ten s s n t h e eco d t h e ri b s n r ly n s n n e
a lw a ys w a rp a n d t w i st (a s i n Fi g 1 38) a ft er t h ey h ae b een set t o t h e fiddl e
, , ,

. v .
2 34 V I OLIN -
MAKI NG : A S IT WA S A ND I s .

of glue or other m ess When fix ed t h er e m ust b e aslight r i m

used by t h e sup er fl uous br ea
.
,

a bove a n d b el ow t h e m ould c a dt h
de your sid es Now ta
,

of t h e slips fr om w hic h you h a ve m a ke .

som e slip s of pa er a b o ut i n c hes b r oa d a n d sli p on e th r ough

p , ,

a t t h e b ot t om j oi n of t h e sid es b etween t h e sp r in gy l ow er en d s ,

of t h e b out s a n d t h e ba se of t h e m ould gl ue ligh t ly b ot h sid es

of t h e sl i p a bove t h e pla ce w h er e i t i s h eld b et w een t h e sid es a n d

gh fr om t h e ot her side, so t ha
,

t h e m ould a n d pull i t t h r ou t in
t t h e j oi n ) a
,

fa c t t h e l ow er en d s of t h e l ow er b out s (a r e gl ued t o

n d t h e pa p er t o t h e side of t h e m ould, so t h a
.

t h e pa p er a t by
a
,

t hese sec on d a r y m ea n s t h e s des a re f st i n t h e m ould ; put

i
sim il a r ly
g l ued slips of p a per b et w een t h e sides a n d t h e m ou ld ,

a t t h e p oi n t s S a n d T
(P l a t e I V ) i n asim ila r m a n n er , a
. n d

pr oc eed a s b ef or e t o sh a pe, set , a n d cra m p t h e upp er b out s set t in g ,

t h e pa n d V (P l a
per s a t t h e t op j oi n t a n d a t U a te Now
pr oc eed t o t h e fi x in g (i n t h e r ough) of t h e t op a n d b ot tom

bl oc k s Ta. ke t w o piec es of fi n e even gr a in ed pin e,1 pl a,

n ed -

r oun d t h e sides a n d edge s t ill t h ey a r e b ot h 2 i n lon g by .

i n b r oa d, 1 ; d eep t h e g r a in set t in g a s in ,

Now w i t h ash a
.

Fi g 1 4 1 . . r p kn i f e a n d fi le
,
'

sh a pe t h e side B of t h e block (Fi g to th e .

ver y sligh t c ur ve of t h e b ot tom oft h e sides a t

t h e j oi n m a rk a c r oss t h e t op by m ea
,
n s of t h e ,

lin e A on t h e m ould t h e ex a c t cen t r e of t h e ,

bloc k A (Fi g n ow gl ue t hi s on t o
.

t h e Sl des ex a c tly In
.

,
t
of t h e m ould so t h a t t h e lin e A on t h e
w i t h t h e lin e A — a
p r t of t h e lin e A B P l a te ,

sec ur ely w it h a Cl amp C ut sh a. pe a n d fix ,an ex a c t ly sim ila

,
r

bloc k a t t h e t op of t h e fi ddl e i n t h e sa me w a y A fter ea ch of .

t h ese op er a t i on s t a ke afi n e br ush a n d w i t h alit t l e h ot w a t er

out of t h e glue—
, ,

pot w a sh a, w a y fr om y our w or k a ll t r a ces

of sup er fluous gl ue Now pr oceed t o fi x t h e in n er b out s or
.
,
as t hey a
,

r e t ec h n i c a lly t er m ed C s ; t h ese m ust b e m ost ’

,
ca r efully b en t t o t h e ex a ct sh a pe of t h e m ould c ut t in g ,
t h e en d s squa r e, a n d t o ex a
.

c tly t h e r ight l en
gt h Th e en ds .

m ust t h en b e c ut t o ab ev el so a s t o fi t i n t o t h e c or n er s,
i n st t h e upp er en ds of t h e l ow er b out s i n t h e m a
,
a ga n n er

sh ow n a
,
t C i n Fi g 14 2, w hic h i s d r a
,
. w n th e a c tua l siz e of
t h e m ould (P l a te Wh en you h a ve g ot them thus t o
fit a,
n d c lea n ed a n d sc r aped t h em t h or oughly in side a n d
out c over t h e b ev el of t h e en ds of t h e C s wit h gl u
’
, e slip ,

a
Som e m k er s (St r a di v a ri a m on g st t h em ) fr e uen t l y used s l l ow w ood for q a
t e b l oc s a
h k .

n d l i n i n g s, a
s b ei n g l i g h t er t h n d eal a
Th er e i s l i t t l e, i f n y, a
fer en c e b et w een t h em , a a
g i s t h e sa
.

di f n d t h e m ode of w or i n me ( Vi d p k . .
 TH E SIDE S, O R RIB S, B LO CKS A N D SIDE LINI NGS. -
235

th em in so tha
t t h e gl ued aga in st t h e l ower b out s
en ds fit
i n t h e cor n er s asa t C i n Fi g 1 4 2 a
,
n d cr am p them i n with t h e
cra
.

m pin g bl ock s J a (P la Now ta ke a fi n e

,

-
n d K , te
slip of w ood an d dippi g i t in to t h e gl u
,
e j ust r un it i n to
n

t h e c or n er s so a
,
s t o c om plet e t h e

j oin , r em o e t h e su er
v p fluous glue ,

a
nd set t h e m ould t o dr y B ea r .

i n m in d th r ough out t h e oper a ti on of

setti n g t h e sid esa n d bl oc k s, tha t you
m ust l ea ve a little r i m ofw ood a b ove
a n d bel ow t h e sur f a ces oft h e m ould,
t o b e sh ved wa a a y when levelli n g
t h e sides t o t h e dia m et er of t h e
m ou l d , other wise (i f t h e sides do
n ot r e ch a t h e sur fa c es of t h e

m ou l d) th ey will b e foun d t o b e
a
,

t oo sh ll ow w h en on c om e t o fi x
on t h e b a ck an b elly Th e
a
.

n ext op er tion i s t h e c ut ti n g a n d

fixin g of t h e c or n er bl oc ks Ta ke .

q a
t w o s u r e sid ed pilla r s of w ood FIG i i i —

?
-
Set t i n g of t h e sis“ ; c or n er
b l ock s a
.

n d si de l i n i n g s i n t h e m oul d
.

2 i n l on g, t h e on e for t h e l ow er
.
,
.

a
c or n er s h vin g t h e en d s 1 i n by g i n , t h e other for t h e upp er
a
. .

c or n er s h vi n g t h e en ds i by i T hi s l en gth i s j ust
g n g n

a
. .

d oubl e w h a t i s r e ui r ed, a q n d f or t hi s r ea son , th t t h e c or n er s

b ein g a l m ost lw a a
ys i n con t r afa csi m i l e, t h ey m a-

y b e cut t o
t h e r ight sha pe t hr ough out their len gth ,
n d sa a i n ha l f, w hi c h wi ll b e agr e t a
l
.
-
w n

sa vin g i n p oin t of t im e a n d w or k .

Th e block s m ust b e sh p ed fr om t h e a
s ua r e in q th e m a n n er sh own i n Fi g 1 4 3, .

t h e d otte d lin es sh ow in g t h e t w o sid es

befor e they a r e c ut a w y wit h t h e gouge a .

Th e gr ea t est ca r e m ust b e t k en t o m k e a a
t hem fi t p er fec tl y th r ough out thei r height
t o t h e sides, a s i n Fi g 1 42, b efor e th ey .

a r e c ut i n h lf, a a
fi
tted in t o t h e
gp52
n d
F W 143 Sh a pi n g s ec t i v e c or n er s Th e ower cor n er o( s
”
'

“ m
.

“m m
d , Fi g 1 4 3) w ill b e c ut fr om t h e fi r st
.

a
ill r , a F i 1 4 3 ) f r om t h e secon d
'
nd the u pp e r o n e s ( , , g
D D .

V
.

’ h en gl ued th ey m ust b e str on gly pr essed i n to t h e c or n er s,

b oth outw r d s n d upwa r d s, so a
,
a a s t o fix th em cl osely b oth

t o th e u e pp r o r l o w
(er ) b ou t an d t o t h e cen tr e b u t ( o r C)
o .

It i s this op a
tion which er der s it of so m uch
r en im p or ta
n ce

th a
t th e en d s of t h e b outs sh ould fit c l osely in to t h e c or n er s of
2 36 V I OLIN -
MA KING : a
s I T w a
s A ND IS .

a aa
t h e m ould n d g in st on e a n ot h er , s t Fi g 142 aa
Ifth ey don ot ,
aa
. .

”
t hi s pr essin g h om e of t h e c or n er bl ock s will for c e th em p r t
“ .

When t hi s i s d on e, n d t h e bl oc k s r e fi r m ly c r a
a a
m ped i n t o thei r

pa l c es, t h e sup er fl uous gl ue m ust b e w a sh ed of f with b rush a

a n d h ot w ter , a a
n d t h e w h ol e m ould , w it h t h e sides n d bl oc k s a
t hus fi t t ed i n to it, put w a a
y t o dr y thor oughly W h il st it i s .

dr yin g, ou m y pr oc eed t o pr ep a
y a r e your sid e li n i n g s th e -

pin e w ood for these sh ould b e c ut i n to l on g sli ps —2 in ch b r oa

-
d ,

a n d 3 5 thi c k
3
a n d of these slip s you will r equi r e f or on e fiddl e
four 9 5 in ch es l on g (for t h e l ow er b out s) four 5 11; in c hes l on g ,

(for t h e in n er b out s) a n d four 7 ,

in ches lon g (for t h e upper
b out s) To gua rd a ga in st a c c id en ts, i t i s w ell t o ha ve t h r ee or
ke t h e pla y th a t ma y sn a
.

four ex t r aslips t o ta ce of a n p in th e
b en din g B efor e c om m en c in g t o b en d them h a
,
vin g c ut t hem ,

re a ll i n ex c ess of wh a
.

r oughly t o t h ese l en gth s (whi c h a t is

st a c old w a
r equi r ed
) l et t hem soa k for a t l ea n h our i n ter .

fi er c e h ea
,

Now , h a vi n g hea t ed your i r on t o a t b en d th em t o t h e ,

sha pes th ey a r e r equir ed t o t a k e i n t h e sa me m a n n er a s you

b en d your sides n ot hur r iedly b ut qui ckly a
, ,
n d wi t h d ec i si on , ,
ha vin g pr eviously well fix ed i n your m in d t h e ex a c t b en d which
i s n ec essa ry Th e w et w ood m ust r est a
. ga in st t h e fl a t sid e of
t h e thi c k pa r t of t h e i r on (A F ig s 1 21 a ,
n d 1 22
) lon g en ough
.

t o b e w ell h ea ted t h r ough b efor e c om m en c in g t o b en d, b ut n ot

so a s t o sc or c h i t t oo m uch (ali t t l e sc or c hin g will n ot m a tter
t o t h e lin in gs) .

B y t hi s t i m e, t h e c or n er bl oc k s b ei n g t h or oughly fi r m , you
ca n
pr oc eed t o r en d er t h e sid e s a n d bl ock s v er
y n ea r l
y l evel with
t h e sur fa c es of t h e m ould Wh er e th er e i s b ut littl e of t h e sides
.

a b ove t h e sur fa ce i t m a y b e fil ed a w a y w it h t h e fl a t side of a

good dea
,
fi le b ut for t h e bl oc k s a n d when t her e i s a
, l of t h e f

sid es t o fi l e a w a y you m ust use t h e toot hed pla

, n e B efor e .

c om m en c i n g t o l a
p n e t h e bl ock s t h e t ops a n d b ot t om s m ust b e
,

w ell w ett ed w i t h w a rm w a t er w hi ch will p r even t th ei r splittin g

,

a w a y t o fur th er gua
,
rd a ga i n st w hich t h e i r on t eet h of t h e
pl a
,

n e m ust on ly
pr oj ec t t o a n in fin i t esi m a l deg r ee If ther e i s .

m uc h of t h e bl ock t o b e c ut a w a y you m a y b egin t o r em ove it

,
w it h a k n ife fin ishin g up w i t h t h e pl a n e If t h e op er a t i on of
.
,
w et tin g t h e t op s of t h e bl oc k s h a s l oosen ed t h e gl ue by whic h
t h e sid es a r e fi x ed
(wit h pa p er s) t o t h e m ould, you m ust sec ur e
t h e bl oc k with ac r a m p b e for e r ed uc in g i t Th r oughout this
oper a ti on you m ust n ot r ed uc e eit her t h e sides or t h e bl ocks
qui t e t o t h e l evel of t h e sur fa ce of t h e m ould This fi n i shin g .

t ouc h will n ot b e put un t il t h e side lin in g s a r e fixed whi c h

you
m a
,

y n ow p r oceed t o do, begi n n i n g with t h e in n er b outs i n t h e

followin g m a n n er — Fi r st c ut out t h e lit tl e sl it a s a t G, Fi g 1 42 , .
,
238 V I O LIN -
MA K IN G : A S IT WA S A ND IS .

su erp fl uous gl ue b ein g w a sh ed a w a ya t on ce a n d t h e m ould set

t o dr y If h owever , you dist r ust y our c ut t in g you m a y cr a m p

,

s y ou c r a
,
.

your lin i n gs t o t h e sides i n t h e sa me w a y a m p ed t h e

sid es t o t h e m ou ld i n t er posin g (a s w i t h t h e i n n er b out s) slip s of

,
pa er b et w een t h e li n in gs a n d t h e cra m pi n bl oc k s W h en fr
p .

t h ese a r e qui t e dr y , p r oceed t o r en d er t h e e g es of t h e sides ,

blocks a n d lin i n g s ex a c tly l ev el wit h t h e sur f a c es of t h e m ould

n s of t h e t oot h ed pl a When t his i s d on e, ta ke a

,
by m ea n e .

sh a r k n ife a n d c ut t h e i n n er edges of t h e li n i n gs t o ab evel

p ,

bevellin g off alit t le m or e t ha n ha lf t h e d ep t h of t h e lin in gs, a s

a t B Fi g 1 4 5 w h en t his i s d on e, fi n i sh t h em w ith a
. fi le r em ov ,

p er et c w hich m a y b e st i c ki n g t o t h e li n in gs a
,

in g a n
y pa ,
.
,
n d

n ot r em ov ed by t h e k n i f e Nex t sha pe t h e b l ock s t o b r in g t h em

.

a sa t F Fi g 8 2 ,
Th e c or n er block s w ill b e c ut w i t h t h e gouge
. .

t ill t hey t a ke t h e sh a p e i n t h e fig ur e (Fi g c ut ti n g a wa y a ll .

out sid e t h e li n e H (Fi g Th e t op a n d b ot t om bl ock s m ust

.

n ex t b e c ut t o t h e si z e set d ow n a t pa ge 14 7 Fi g 1 8 1 , p 290 . . .
,

r e r esen t s t h e a c t ua l si z e a n d sha
p pe of t h e bl ock s for t h e m ould
(P l a te If t her e i s a n
y di f fer en c e b et w een t h e t op a n d

b ott om bl oc ks t h e t op on e will b e j ust ash a

,
de sm a ll er tha n th e

ot her Th e Gua r n er i us bl oc k i s m or e a
. seg m en t of a

ci r cle
(a s a t Fi g b ut a s t h e m ould (P la
. t e IV ) .

i s of t h e m od el of St r a diva r i us I giv e a St r a di v a ria n ,

A bloc k (Fi g 1 8 1 , p Th e gr ea
. test c a . r e m ust b e

ta ken i n c ut t in g b oth t h e c or n er a n d en d bl ock s

q uit e pa ra ll el w it h t h e sides— ole t ha t t h e out lin e of ,

li i g (
n n t h e bl oc k m a
s sec
y b e iden t i ca l a t b ot h t op a n d b ott om .

f w ith t h e fi l e a
m ) “
They m ust b e fi n i sh ed of fter whi ch ,
t h e w h ol e of t h e in sid e— t at h e sides t h e lin in gs a ,
n d t h e bl ock s
, , ,

m ust b e t h or oughly sa n d
pa per ed a n d c lea n ed , a ft er w hi c h t h e
-

ra
in sid e oft h e m ould w ill pr esen t t h e a pp ea
.

n ce of Fi
g 82 p 14 8 .
,
. .

Th e n ex t oper a t i on i s th a t of t a k in g t h e n ow c om pl et ed sides
(or r ib s) of t h e fiddle out of t h e m ould t o c lea n an d fi n i sh t h e

out er sur fa ces You wi ll r em em b er t h a

. t th e r ibs a r e fi x ed in t o

t h e m ould w it h slips of gl ued pa per (p 2 33) t h ese m ust n ow .

b e l oosen ed i n t h e followin g m a n n er Ta ke a n or din a r y sm a

. ll
ta bl e k n ife w it h afa
-
ir ly n a r r ow bla de a n d th r ust it c a r efully
,

th r ough b et w een t h e sides a n d t h e m ould c l ose t o t h e p oin t s

wher e t h e pa per i s fi x ed, pa ssin g it a l on g wher ever t h e pa per

ex t en d s Thi s oper a
. t i on will b e a c c om
pa n ied by aser i es of
t h e m ost om in ous c r a c k i n g soun d s w hich a

a
r e h ow ever m er ely
fa lse a la
, , ,
r m s t h ough
you m ust c a r ef ully gua rd a ga i n st sh vin g
?
,

or splitt i n g of lit t l e sn ip s of t h e sid es a s

you pa ss t h e k n i f e

a l on g H a . vin g t hus c ut t h e fi x in gs a t a l l t h e poi n t s w h er e glued

pa per w a s
put b et w een t h e sides a n d t h e m oul d
, p
r o c ee d v er y
 TH E sm n s, on RIB S, B LOC KS A ND SI DE LINI NGS -
. 239

a
c r eful ly a n d gr a d ua lly t o p oke t h e r i b s t h r ough, a n d out of t h e
m ould, p r essin g on a l l t h e bl oc k s a n d b out s c a r efully i n suc
c ession , ha vin g fi r st m a r k ed whi c h i s t h e t o of t h e bl ock s t o
p
ser ve a s a
,

guide, when y ou c om e t o fixin g on t h e ta bl es Now “

p r oc eed t o cl ea
.

n in g t h e outsides a n d gen er a lly fi n ishin g up

n d a
.

B egin by r em ovin g (b y m ea n s of h ot w a t er a b r ush) a n

y
vest iges of t h e p a per s w hic h r em a in gl ued a t t h e p oi n t s w her e
t h e r ib s h a ve b een fix ed i n t h e m ould Do n ot b e t oo liber a l
ter , a
.

with t h e w a n d dr y t h e r ib s i m m edia t ely or t hey wi l l

(a
,

wa r p h or r ibly s
per Fi g . If a n
y lit t le sn ips of t h e
c ur l h a ve b een c ut out i n ta k in g t h e r ibs out of t h e m ould ,
i f p ossibl e t hese ver y sn ip s a n d i f n ot
, si m ila r c hip s m ust b e
glued i n a ga
, ,
in I f t h e j oin t of t h e c or n er s (a
. t C Fi g 14 2 ) i s n ot ,
c lose a
.

n d t ight t h e i n t er stice m ust b e fill ed w it h gl ue m i x e d

,
w ith c h a l k b ut i t i s t o b e hoped t h a
, t t hi s w il l n ot b e r equir ed .

Th e en d s oft h e c or n er s m ust n ow b e c ut fl a t a n d squ a re to th e

sides (a sa t C, Fi g 1 4 2) by m ea
. n s of a k n ife a nd fl a t fi l e t est in g ,
t h e w or k wit h t h e sm a ll squa re a n d b ei n g ver y ca
, , r ef ul n ot t o
c hip of ft h e edges i n c utt in g a w a y t h e pa r t s t ha t a r e im m edi a tely
a dj a c en t t o t h e c or n er s, c ut a lw a y s fr om t h e en d s t o t h e cen t r e ,
n ot f r om t h e c en t r e t o t h e en d s Th e p a r t s in sid e t h e C s m ust
’
.

n ow b e c l ea r ed of a ll t r a ces of b ur n i n g Or glu e w i t h asm a ll

c hi sel a n d r oun d fi l e a n
y v estiges of gl ue a
,
l l r oun d t h e out sid e
of t h e r ib s b ein g r em oved w it h afl a t c hi sel a ft er whic h g o ,

ca r ef ully a n d c om pl etely r oun d t h e en t i r e out sid e wit h a sha rp

sc r a p er a,
n d fi n e gla ss p a p er t ill t h ey a ,
re
per fec t ly c lea n a n d

sm oot h a s sa t in .Th e sid es or r ib s of your fiddle a r e n ow

fin i sh ed a w a in to t h e m ould
n d
you m ust put t hem a y (in t o
r m s w a t ill
,
whic h they will n ow slip q uit e ea sily ) out of ha , y
'

ou a r e r ea dy fo r t hem F or fut ur e pur poses you m ust m a rk

y .

whi c h i s t h e t op (or b elly side) of t h e r ib s a n d w hic h i s t h e

,

b ott om ; w r it e t her efor e t op on t h e t op of t h e block s so

“
,

k e t h em out of t h e m ould t her e m a

,

t ha t wh en you t a y be n o
c on f usi on on t his p oin t .

“ a a
I see C ll i ope speed h er t o t h e pl ce, w h er e m y g oddess s h i n es,
And a ft er h er t h e ot h er Muses t r a
”
c e, w i t h t h ei r v i ol i n es

Th e Sh eph ea i d s C l en da a
.

A pr i l
’

( E S P E N SE R “
r
‘

.
. .
 CHA PTE R X V I .

THE TA B LE S : BA CK A ND B E LLY .

J oi n i n g t h e T b l es— Pl a a
n i n g t h e Fl t Su r f ce a a — ak
M r i n g t h e O ut li n e Cut t i n g —
ou t —Fi r st Goug i n g 0 0 r r ec t i n g t h e O ut li n e— Sec on d Gougi n g —Fi r st
a — a
E dg e— Sec on d Pl n i n g Scr pi n g —M r in g t h e Pl n e
~

Pl a n i n g — Th e Sun k ak a
a
Sur f ces for Goug i n g out B c a n d B ell y ak .

YOU a y n ow pr oc eed t o p r ep a
m r e th e ood for t h e ba ck a n d w

b elly i n t h e m a n n er set f or th i n p a ge 1 33 You will fi n d t h e .

ma pl e in t en sely diffic ult t o j oin pr oper ly for when squa r ed a n d

t t h e thic k sid es a
,

t h e t w o ha lves pl a ced t oget h er a r e held

up t o t h e light n o cr a ck sh ow in g t h e
,
light m ust a ppea r

a t t h e j oin n or m ust a ,
fi e li n e of gl ue a ppea r w h en t h e j oi n i s
n

fin a lly pl a n ed over ; a n d t o pr oduce t hi s

per fec t fit i n c ur ly
w ood like m a ple i s av er y diffi c ul t m a tte to a n un pr a c t i sed r

ha nd a n d ma
, y t her efor e b e r elega t ed t o t h e pr ofession a l j oin er
for it m ust b e n oticed th a t ther e i s on ly aver y sm a ll m a r gin t o

pla n e a wa y i n t w o ha lves ea c h on ly fi v e i n c h es b r oa
,
d Th e .

belly of soft pi n e w ill b e foun d t o b e ea sier t o j oin When .

j oin ed (a s a t C Fi g 77 t h e un d er or fl a
,
. t sid e of t h e sla bs
m ust b e so p er f ec t ly tr uly pla n ed t h a t ast r a ight edge la id -

ac oss t h em i n a
A n
y dir ec tion w ill n ot
r

show a n
y holl ow s or in equa lities on
t heir sur fa ce For t h e pur p ose of .

B
p r od uc i n t hi s r esult, gl ue on t o t h e
l 46 —W ood fo t a g
fo sl o i n g Si d es t w o st r i s of w ood a
F
s a
I G. bl j oi d r es n e
ad t h t a
.
,

t
'

d yi g dg
n
h fia
s e n
p w e es r
p
”m g ” A Fi g 14 6 a
pl a a
_

t m fm e s
'

n d n e t heir sur f
‘

, c es
.
,

(A , A ) even so t ha t t h e sla
, b ma y sta n d on i t s oi n ted sur f
p ac e (so
t o spea k ) w ith out w obblin g ; w hen b oth sur fa
, c es a r e pl an ed t ake
y our thin pl a n k outli n e
(c C c ) w it h t h e lin e (A B ) down t h e
cen t r e (P l a
, , ,

te a n d hold i t fi r m ly on t h e l a
p n e side of t h e sl a b
wit h t h e lin e (A B ) c oin c idin g wit h t h e j oin (B Fi g
,
w hi ch ,
t h e cen t r e of t h e sl a
.

r un s d ow n b Then w it h ash a r
p pen cil or
.

r k t h e out lin e ex a
poin t m a c t ly on t h e sl a b when t hi s i s don e on
b oth d ea l a n d m ale, c ut a
p w a y a l l t h e ex ter n a l w ood wit h t h e
b ow sa w
,
lea vin g a n edge a li t t le b ey on d t h e m a r k ed outli n e t o
242 V I O LIN -
MA KING : A S IT WA S A ND I S
.

in awhole ou tlin e t a k en fr om a St r a diva r i us, t h e t w o ha lv es

wil l n ot b e foun d t o b e i n con t r afa c si m i le t o on e a
-

t
n o her ;

t h e differ en ce m a b e i n fi n itesim a l b u t n on e t h e l ess a pp r ec i a bl e

y ,
i n so fi n e aw or k a s a fiddle
I t i s on e of t h e fi r st w or r ies of t h e b egin n er tha
.
'

t h e splits ofi
piec es of t h e c ur ves of t h e b outs whil st d oin g t his c uttin g ow in g ,

t o t h e b r it t l e c ur l s of t h e w ood Wh en t hi s ha
. pp en s t h e piece
m ust a t on ce b e gl ued on a ga in (a n d i f n ea t ly d on e will n ot ,

Sh ow wh en t h e w or k i s fi n i shed) i n t h e m a n n er la id d ow n i n
Cha p t er X X I II (Repa ir s : pa ge When t his i s fin ish ed
uged , t hi s t im e t i n ch fr om t h e pla
.

t h e ed es m ust a ga in b e ga ne

sid e 0 t h e sl a b, a n d t h en wi t h a k n i fe c ut a5 i n ch b evel fr om
t hi s li n e t o t h e r oughly a r ch ed Si de, l ea v in
g t h e c or n er s a nd

but t on t hick When t his h a s b een d on e a n d t h e edg es a

.

.
,
l l r oun d
b ot h b a ck a pr esen t aun ifor m t hi ck n ess of 1, in ch
1
n d b elly

(ex cept t h e c or n er s a n d b ut t on ) ta k e ab r oa
,
d fla t gouge a nd

slope t h e r ough a r c hi n g t o t h e g a uge lin e, ex ten din g y our sl ope

a b out a n in ch fr om t h e edge a ll r oun d a cc or din g t o t h e
,

in ten ded m odel of your fiddle Do this c a . r ef ully r oun d ba ck

a n d b elly , a lw a y s l ea vin g t h e c or n er s a n d but t on thick est .

For t his pur pose t h e ba c k or b elly m ust b e c r a m p ed on t o

t h e edge of t h e b en c h so t ha ,
t ha lf of i t over ha n gs t h e

edge . W hen you h a ve gouged r oun d on e ha

'
lf, tur n i t r oun d
a n d g ouge r oun d t h e oth er
,
b ein g c a r eful t o ha ve your gouges
ver y Sha r p so a
,
s n ot t o h a ve t o l ea n h ea vily on t h e w or k ; for
fea r of se a t in g t h e cen t r e j oin or ot h er c a la
p ra ,
m ity This don e .
,

go a ll over t h e ba ck a n d b elly with t h e b r oa d gouge, guidin g

your wor k a s c l osely a s
possible w it h t h e a r c hin g g uid es, b ut

n ot g oin g t oo fa r t ow a r d s sm oot hi n g t h e sur fa ce ; a l l gou ge

ma r k s m a b e l ef
y t t o t h e pl a n e t o er a dic a te w hen t h e m odel or
a r c hi n g h a s b een r oughly gouged out .

You ha ve n ow fi n ished w ith t h e gouge a n d m a t ur n your

y ,

a tt en ti on t o t h e fi r st pla n in g Thi s i s d on e wi t h t h e t oot hed

a
'

ova l pl a n es Figs 1 24 a
( . n d h oldin g t h e sla b w it h t h e h n d
a ga in st your b ody or t h e b en ch goin g over t h e g ouge m a ,
r ks

ver y c a r efully h oldi n g t h e

, pla n e so t ha t i t c ut s i n asl a n t in g

dir ect ion on a cc oun t of t h e ex t r em ely t en d er n a t ur e of t h e f

wood, espec ia lly so i f i t i s of aha n d som e g r a in or c ur l Cro on .

t h us t ill t h e a r c hin g guides

(P la t e IV ) ex a c tly fi t t h e pla
. c es
on t h e b a ck a n d b elly in di c a t ed on t h e pl a t e, a n d t h e w ood i s
r ou h ly lev ell ed over
g . B e espec ia lly c a r ef ul i n pla n in g t o fi t
th e a r c hin g guid es Nos 7 a n d 8 (t h e en t i r e a r c hi n
ga c r oss t h e
ve plen t y of wood, for a
.

c en t r e of t h e b a ck a n d b elly t o l ea
)
b old br ea
“
st
”
i s agr ea t b ea ut y i n afiddle .

Thr oughout t h e oper a tion s of gougin g t h e a r c hin g of t h

'
 TH E TA B LE S : B A CK A ND B E LLY . 24 3

ba ck a n d b elly
you will fi n d it ag r ea t a dva n ta ge i f you c a n
c om p a
,
r e y our w or k w it h a t r ue specim en of t h e g r ea t ma ster s
’

wor k, for th en you ca n c h ec k t h e a c cur a c y of y our guide Sli s

p
a n d c or r ec t a
y er r or s whic h m a
.

y c r eep i n i n t r a c i n g them f
n
r om
t h e pl a te When you ha
.
ve r oughly pla n ed t h e b a ck a n d b elly
a ll over t a ke asm a ller pl a n e a n d pl a n e th em
p r etty sm oot h
( b ut
without a lter in g t h e sha pe) for t h e dista n ce of a n i n c h fr om t h e
edge Then ta ke t h e sp r in g c om pa sses (A Fi ha vi n g on e
g
.

l eg j ust lon ger tha

,
n t h e ot her a
.

n d op en i n g t h em t o
g in c h set
t h e l on ger l eg a ga
,

in st t h e edge, so t ha
,
t t h e sh or ter on e j ust
t ouc hes t h e sur fa ce of t h e b a c k or b elly 1 i n c h f r om t h e edge
3;
like aga uge Dr a .w i n this m a n n er ali n e a ll r oun d b a ck a n d
belly g of a n in ch fr om t h e edge b ein g c a r ef ul t o m a ke it
st ea dy a
,
n d even Now op en t h e c om pa sses t o of a n in c h a n d
dr a
.

w asec on d lin e in side t h e fi r st, i n asi m ila

5 ,
r m a
s
n n er i ; fr om
Now t a ke a or di n a
,
t h e edge . n r y c ut t i n g g ouge h a v in g a
y Fi g 14 7 a
,
n d v er y c a ully c ut alit tl e
.

c ur ve r epr esen t ed b . r ef
,
t r ough or g r oove r igh t r oun d t h e b a ck a n d b elly b et w een t h ese
t w o l in es n ot m or e t h a
p a
1
n 7 5 in c h or so d ee n d b ei n g m ost
ca
, ,
ut ious n ot t o c ut b eyon d t h e out er on e whic h m ust b e l eft
c lea n a n d cl ea If by a
,
r . n
y m i sc ha n ce
you c ut
t h r ough i t a n d t h e t h i c k n ess of y our edg e

a
,
a llows it t e m a
,
r k t h e 5 lin e a
-
n d
g g
< i e a li t t le
I
zfgt gg i g gog
‘ f ‘

deep er t o sa ve i t When t hi s i s don e t a k e a i kin g t h dg s n ee es

fla
.

tt er gouge a n d ca
,
”
r ef ully m el t t h e r idge for m ed by t h e
i n n er lin e in t o t h e a r c hi n g of t h e b a c k or b elly Fi g 14 8 show s .

t h e t w o st a
. .

ges of t hi s gr oovin g w hic h i s m ea n t t o b egin t h e

g ra l ra
,

cefu ised edges w hich c ha ra c t er iz e awell m a d e fiddle A -

a
,
r e r esen tin g t h e gr oove c ut d B t h g o o v “
m el t ed i n to
p ,
n e r e
t h e r ise of t h e b elly or b a ck Now g o c a
. r efu lly r oun d these
n ew goug e m a r k s wit h t h e sm a ll ova l pla n e a n d b r in g t h e en t i r e

a
,
sur f ce a s sm oot h a s ou c on ven i en tly c a n w it h t h e toot h ed edg e
y
You m ust ta k e ca pla
.

re in t hese gougin g a n d n in g o er a
p t ion s
n ot t o a lt er t h e r i se or a r c hin g of your ta bles a s deter m in ed b
y
th e a r c hi n g g uid es t o a n
y ser ious ex t en t To acer ta. i n ex ten t i t
i s of c our se im p ossibl e t o a void a lt er in g t hem so you m ust n ow ,

go a ll over t hem a ga in with t h e guides, get t in g t hem a s sm oot h

a n d tr ue a s ouc a
y n w i t h t h e fi n est t oothed ova -
l pl a n e Youw ill .

m ost p r oba bly fi n d i t la id dow n i n a n

y w or k s whi ch g o in t o t h e
su bj ec t tha
,
t n ow i s t h e t im e t o pa r fl e t h e i n st r um en t , a n d Wi thout

doubt t his i s fr equen t ly d on e a t t hi s sta ge b ut w e sha ll n o t

pur fl e till t h e ba ck a n d b ell y a r e gl ued t o t h e Sides for th ough
it i s ea si er t o do it n ow , by d oi n g i t l a ter on w e ca n m a ke it
coin c id e w ith t h e sides a n d c or r ec t a
,
n
y lit t l e i r r egu l ar i t ies of ou t
lin e whic h w e c ould n ot do a
, fter t h e pur fl i n g i s d on e (vi de p .
244 VI OLIN -
MA KING : A S 1T WA S A ND i s .

When th e la st of your pl a n i n g i s d on e
you will b e r ea dy t o
sc r a p e This i s t h e m ost difficul t a
. n d i m p or ta n t of t h e oper a

t i on s n ecessa t o b e gon e t h r ough, for on it d epen d s t h e en tir e

n d bea
r

c ha ra cter a uty of your i n st r um en t i fit i s d on e ca r elessly

or l a z ily t h e m a r k s of t h e pl a n es a n d sc r a p er w ill b e l eft on t h e

ta bles, visible ben ea th t h e va rn i sh t h e r i si n edge, which
you
ha v e cultiva ted so ca r ef ully (a s in Fi g 1 4 8 w ill b e sc r a p ed
wa y a a
.

a n d d est r oyed, n d in fa ct your fiddl e w ill h a

, ve t h e
a ppea ra n ce of a r ough Gua r n er ius i n st r um en t in stea d of t h e
,
w or k b ein g i n keepin g wit h t h e bea ut iful St r a diva r i us pa tter n s
w e ha ve b een wor k in g on up t o n ow . H ow ever , r em em ber
La bor ipse vol upt a s om n i a v i n ci t Let a
. ll y our sc r a per s b e ver y
k een a l l r oun d t h e edges a n d w or k i n g b oldly a
, n d str on gly, a nd
ver y c a r ef ully, sc r a pe t h e w hole ba ck a n d b elly a ll over usin g
t h e r oun d Side a
,

n d c or n er s of t h e sc r a p er s a ll r oun d t h e outlin e
a n d wher ever n ecessa ry so t h a
, t t her e a r e n o pla ne ma r ks

g ouge m a
,
r k s, b u m p s, or sc r a tches a n yw her e vi si b le on h oldin g
t h e sl a b Si dewa ys t o t h e ligh t Ma . rk t ha t it i s im p or t a n t to

si t i n agood light dur in g thi s op er a

t i on w h er e t h e li ht st r i ki n

t h e edge of t h e b a ck a n belly w il
ca s a a
t sh d o w
,
a thr ow up a
n d “
ny

bum ps h oll ow s, or pl a ne m a -
r ks .

t i on you will fin a
,

I n t hi s op er a lly
F IG .
—St a g of t h
es ut t i g i
e c n a
n dj ust a ll t h e cur ves Of t h e ta bles, 80
m g m “ gm
th a
_

“
t t h e h oll ow s m elt i n tot h e bum ps of
t h e m od el a n da sm ooth h a r m on ious w h ol e i s t h e r esu lt Th e gr ea
. t
t aca
,

da n ger of t hi s p r oc ess i s t h a r el ess or un n oti ced swee of

t h e sc r a per will sc r a p e dow n apiece of your c a r efu lly l eft e ges
-

a n d c or n er s When by a cc iden t you do t his, you m ust r e m a rk

-

bove, a y t o r ecl a
.

t h e fi i n c h ga
-
uge lin e a s set for t h a n d tr im
your er r or b ut thi s m ust n ot b e don e un less youh a ve suffic ien t
t h i ckn ess l eft r oun d t h e edges by t h e fir st a n d sec on d g ou g i n gs .

W hen thi s oper a tion i s com pleted t o y our ow n en ti r e sa t i sfa c

tion (or , b etter st ill t o t h e en t ir e sa ti sfa c tion of som e din n

e aw et spon ge or br ush a n d w et t h e ta
,

t er est ed p a r ty
) ta k bl es

t on ce with a
,

a in a
,
ll over , b a ck a n d fr on t, a n d dr
y t h em a ga s

cl oth . You w ill n ow see for t h e fir st tim e t h e tr ue m a ifi cen ce

(i f it exist) of your w ood Th e obj ec t of th i s pr oc ee i n g i s t o
.

Sh ow u a n s light d f ec t i n y o u r w or k whi c h m u s t th en b e
p y e
,
c or r ected a ga i n with t h e sc r a er ; a n d th e r ocess m ust b e
p p
r epea ted till t h e w et t in g n o l on ger sh ow s a n d e fe c t s on t h e
y
sur f aces of t h e t a ble Thi s t a k es ver y l it t l e t im e t o sa y, wr it e,
n d i m p or ta
.

a n d r ea d , b ut y ou w ill fi n d i t i s t h e m ost di ffi cul t a nt

pa r t of
y our wh ol e w or k .
246 V I O LIN -
MA KING : A S IT WA s A ND I S .

a n d b elly
. Fo this pu p ose you m u t sc ew alon g squa
r r s r r ed .

b ea m of wood on t o t h ben ch a
e bout t en i c hes fr om i t s edge
n ,

d afolded c l ot h Th e l a tter i s t o pla

,
a n d i n fr on t of it sp r a e ce
th e a bles upo set tin g them a ga
.

r ched sur f ac es of t h ta e n , in st
t h e b ea m,
so a s to a ffo d esi st ace t o y our gouge
r r n Your .

w or k n ow di vides i t sel f i n to t w o sec t i on s, th e sc oo pin g of t h e

ba ck an d t h e b elly—b egi n n in g with

Ma ni m a
gn a s Mul cet Modul a
n do Musi c aMen t es .

a
V i r g in i b us Vin c l um , V i t V en er a a
n d Vol u t
p a
s .

Bol a a
m n Sen i i , Ser v a t r ix Sa
cra St r i den t um ,
a
In ci t t I psaIuv en t ut em , I uv a
. a
t I ps Ioc osu m ,

C ar m i n e C on c il i a
t Coel esti a Ca st r a C ol en t em ,

A ut orem A ut or A m a n s A li t ( w a
s g) A r t i s A m a
n tee I
 C HA P TE R XV I I .

TH E B A CK .

GOug i n g out P l a
- —
n i n g —Scr a
pi n g B evel li n g t h e E dge—Fi t t i n g on t h e Ri b s
—
—Si z i n g t h e B l oc s— Peg h ol es— Fi x i n g t h e Ri b s—Fi n i sh i n g —Th e L b el
k -
a
Corr ec ti n g t h e B ot t om Joi n —Th e T i l pi n H ol e a -
.

B E GI N by cut tin g gouge m a r k s r oughly r ight a c r oss t h e i n sid e

of t h e b a ck , a b out 1} in c h deep a t t h e c en t r e lin e When t hi s
i s don e, fi n d by m ea n s of t h e c om p a
.

sses t h e ex a c t cen tr e poi n t

betw een t h e four c or n er s A , A , A , A , i n Fi g 14 9, whi c h will b e .

foun d t o b e A ’ I A t A , th er efor e, dig i n t h e poin t of t h e c om

’
.

pa sses d eep en ough t o p r eser ve t h e

pun c t ur e w hen you gouge
over i t (b ut n ot d eep en ough t o m a r k u on t h e i n a l thick n ess) ,
p f
a n d o en i n g t h e c om a sses 2T 6 in c h es d r a w t h e c i r c le 0 C, a
_

5
p p , n d
t hen r educ in g t h em t o h i ; in c h es, d r a w t h e in n er c ir c le B B Th e .

fir st r ough t hick n esses w ill b e a t A 12; in c h, a n d a

’
t D D { 1 i n ch .

These m ust b e gouged c a r efully c on st an tly c on sul t i n g th e

,
ga ugin g c a lliper s (Fi g till this gr a
. dua t ion i s r egi ster ed by
t h e sca l e D (Fi g 1 2 8) a . s t h e ca l liper s t r a vel a c r oss f r om D t o D

(Fi g You h a d b etter g ou e asin gle sc oop r igh t a cr oss

g
.

t il l t h ese thi ck n esses a r e ob t a in e i a n d t hi s g ou ged lin e will

ser ve a s a guide Th e thick n ess a
. t pr esen t a t D D w ill b e, i n
fa c t , t h e thi c k n ess of t h e g a uged lin e whi ch, n either n ow n or i n
t h e en suin g pr ocesses, m ust b e tr espa ssed up on i n t h e slightest

degr ee Sim i la r guid e lin es m ust n ow b e gouged a c r oss t h e u

pper
dua
.

a n d l ow er b out s, a cr oss E , deep en in g gr a

E lly fr om t h e ga uge
“

lin e t ill t h e thi ckn ess of t h e t a bl e a t t h e cen tr e i s 5 in ch You

“

n ow ha ve th r ee b a n d s or guide li n es) of t h e (f
( or t h e p r esen t)
pr oper t hickn esses a c r oss t h e fiddl e ; n ow usin g your eye a n d

ha n d t ogether , goug e a wa y bet ween t h e guide lin es t i ll t h ey

'

on ly for m p a r t of t h e en t i r e h ollowi n g out B e ca . r ef ul n ot t o

n t h em a n ywh er e i n thei r vi c i n i t y, a
g et deeper t h a
,

n d n ot t o c ut

in t o t h e edge a
out side t h e g uge li n e) , or in to t h e p r t s you a
fi
Th e out er c i r c l e c on n ec t i n g t h e four c or n er s i n t h e g ur e i s m er el y dr w n a
a
t o pr ov e t o t h e r e der t h t t h e po a i n t s A r e a
r e ll ya e ui q
di st n ta fr om A
’
w ith

a a
out i t , b y n Opt i c l del usi on , t h e t w o o e l w r co r n er s see m f ur t h er fr om A
’
a
th n
t h e t w o upper
‘

.
 24 8 VI O LIN
-
MA KING : A s rr WA S AN D I S .

ha ve m a r k ed for t h e bl ock s A l l t h e w ood i n side t h e ci r cl e B B

.

m ust b e 1
3
in ch th ic k 3 a l l w ithin t h e c i r cle 0 C 220 a n d a ll else 1

g , t h e thi c k est p a
7

w h er e 3 r t b ein g i n t h e c en t r e t h e edges wi ll
n a tur ally g et c ut ash a de thin n er owin g t o t h e lesser q ua
,
n t i t y of

wood ; b ut t o p r even t thei r get t in g t oo t hin l et t h e slop e fr om ,

t h e ga uge lin e t o t h e cen t r e b e q uit e gen t le n ot a n a br up t dow n , ,

wa r d c ur ve Wh en th i s i s don e fa
. i r ly sm oot hly, cut down
t h e r idges left by t h e deep gouge m a r ks ,

a
sfar a
s it i s safe t o do so B ut do n ot .

g o t oo f a
r wi t h t h e g oug e, i t i s ab old

wea p on t h e pl a n e i s n ot so r pid b u
,
t a
m uc h sa fer Ta ke afa i r ly coa r se

a c on vex pla
.

t ooth ed pla n e wi th te
(Fig . a n d
g o over t h e en ti r e i h
sid e of t h e b a ck sm oothi n g d own t h e
,
r idges l ef t by t h e gouge till holdin g ,

t h e pla te sidewa y s t o t h e light, t h e

on ly g r ooves a n d r idges vi sibl e a re t h e

litt l e on es l eft by t h e pla n e, a n d th e

t hi c kn esses, i n thi s t h ei r fi r st sta ge, a re

pr etty wel l a dj usted Now t a ke aver y

sha
.

r p r ou n d edged sc r a-
p er , a n d r oceed
p
str on gly t o sc r a p e t h e in side of t h e
ba ck a ll over , k eepi n g i n sid e t h e lin e
y ou ga uged r oun d i t a n d t h e pl a c es

ma you m a
I “ 150 l ’m
zfi f
r k ed for t h e bloc k s un t il t h e
-
“
f °

ma
,
r k s of t h e pla ne a r e n o l on

ches
er
visibl e a n ywh er e, a n d t h e in side of t h e b a c k n ea r ly a pp r oa
t h e sm oot hn ess of t h e out sid e In thi s op er a t i on you will
t h e ca
.

c on sul t llip er s ever y m om en t fin a lly a dj ustin g t h e

thi c kn esses till t h ey a
,
re a s foll ows : a cc or di n g t o Fi
g 1 5 0, a t
j ust over i ) a
.

t h e p oi n t A a
’
1
1 0 i n ch t t h e p oin t B
t
, t
t h e pom t 0 , j ust ash a de thin n er t h a n a
,
t A ; a t t h e p oin t s
(t aj ust over
9
D D 3
, , ; , Th e t hi c k
n esses m ust m er ge i n t o on e a n other wit h
out a
~

n y bum s t h e w ood b ei n g a
p, sha de A
st r on g er i n t h e up er tha
,

p n i n t h e l ow er r m 15 1 I d aof t h n n er e s e

a Pl a
t u
-

a a
. «

s ae s r on er
u t d m fim ) i md
b o s, n si m il r ly h d t g e s ‘

Just wher e t h e soun d p ost w ill b e set ; t h e edges a

-

n d pa r ts
t p uch m t h e bl oc ks m ust b e l eft q uite fl a t (i n fa
g ct n ot touch ed
sm ce t h e ex t er i or a r c hin g w a
,
s m od ell ed
) These then a
ex a
W
re
or an ew fi ddl e b a
.
,
c tly t h e c or r ect thi ck n esses f
ck hen
t h ey ae pr oper ly a
-

sted , ta e a
.

r dj u k good fi n e bit in g fil e a n d b evel

?
,

ver y sl i gh t ly r oun d t h e whol e in side of t h e edge usin o ar oun d

fi l e wher e t h e sh or t cur ves r en der i t n ecessa
,
ry a n d fla t on e ,
250 VI OLIN -
MA KING : A S IT WA S A ND I S .

n dfi t a
a n d fix t h e opp osite c or n er i n t h e s m e m n n er Get a a .

t h e four c or n er s of t h e r i b s thus fitt ed on t o t h e b c k by pl c in g a a

a a
t w o sc r ew s t e c h c or n er , on e on e c h side of t h e c or n er a .

a
N B Nev er fix scr ew on t o t h e c or n er itsel f, for it w i ll i n f ll i
. a
a a
.

a
bly sn p it off Now fi x t h e t op n d b ottom of t h e r ibs, so s
.

t o ha ve am a r gin eq ua l it h tha t a t t h e c or n er s by m ea
w n s of ,

i r on c r am ps fixed t o t h e bl ock s t h e sur face of t h e b a c k ad t h e n

b elly en d of t h e bloc k m ust b e pr otec ted i n t h e or din a

-
ry m a n n er
,
by m ea n s of littl e pi ec es of w ood fr om t h e h a r d p r essur e of t h e ,
,

i r on ,

Ma n y, i n deed m ost , of t h e old m a

“

ker s w er e i n t h e ha
'

bit of
secur in g t h e t a ble t o begin with a t t op a n d b ot t om , by thr usti n g
,

abr a da wl r ight thr ough t h e wood of t h e b a ck i n t o t h e bl oc k ,

t h e h ol e m a d e by w hic h h a d sub sequen t ly t o b e filled with a

peg .Som e m od er n m a k er s a l so pur sue thi s p r a c ti c e, b ut it i s

un doubtedly b etter t o sec ur e it a t th ese poin t s with ac r a m p, a s

a b ove desc r ibed, a n d th en a s to

put t i n g i n pegs i t m a
, y be ,

don e (a s w ill b e desc r ibed f ur t h er on ) or n ot , a s th e f a n cy t a k es ,

you Then p r oceed t o fi x t h e r ib s .

sim ila r ly a l l r oun d by m ea n s ofa s

ma n y sc r ew s a s ca n b e set r oun d
t h em a s i n Fi
g 152 You w ill fi n d
, . .

t w en t y si x a r e r eq ui r ed f
,
our for ea -
ch
upper b out , th r ee for ea c h i n n er

b out, a or ea
I

n d si x f c h l ow er b out ;

F IG 152 —Ta
. b l fi t t d o t o Ri b ad
. e e
b ut t h ese n um b er s m a
n s n y va r V W it h -

fi d ith x e w t h e Si z e of t h e sc r ew s
sc r ew s .
In t h e
figur e, for t h e sa ke of cl ea
.

r n ess t h e sc r ew s a
.

r e r ep r esen ted t oo
few a
,

n d t oo fa r aa Th e obj ec t t o b e a tta in ed i s t h e k eepin g

p rt
of a n over la i n g edge of even W id t h a
.

pp ll t h e w a y r oun d , a n d

you m ust sc r ew a n d u n sc r ew fit a n d r efit t ill thi s i s a

,
tta i n ed , .

Th e r ib s b ein g t h us fit t ed t o t h e b a c k w it hout glue t h e n ex t

a
,
thin g i s t o glue a n d f st en t hem For t hi s pur pose i t w ill n ot b e
n ecessa
.

r y t o en t ir ely u n fi x t hem b ut t w o or t hr ee sc r ews m a y

be t a ken off a
‘

t at im e, a n d t ha t b i t glued a n d re f a sten ed b ef or e -

gow g on B eg i n b y t a kin g off t h e t op c r a

‘
mp a n d t h r ee scr ew s
on ea
.

c h side take a n old t a bl e kn ife, a n d di pi n g i t q ui c k ly i n

p
t h e glue, i n ser t i t b etween t h e b a ck a n d r ib s a n d ru n i t r ou n d a s
fa r a
g o, r ep ea
,
s i t w i ll tin g t h e op er a tion t ill a ll y ou c a n
g et a t i s
thor oug hly glued t hen , seein g tha t t h e r ib s a r e r ightly set on
t h e edg e, cr a mp a n d scr ew them up a ga in t ig h t Ta k e off thr ee
r a dj a
.

or fou cen t sc r ew s glue t h a t bit a n d r efi x it a n d so on o

g
a
, ,
l r oun d t h e fiddl e a“ b out a a m e, t a n g ca
l t t i k i r e t o r eset t h e
r 1b s, so a s t o lea ve a n ev en edge Th en t a k e ab r ush a n d wi t h
h ot w a
.
.

ll t ra
,
ter (out of t h e gl ue pot ) thor oughly w a sh a w a v a c es
 TH E B A CK . 25 1

of lue cl in gin g ou s t ide, in sid e, or on t h e ed es of t h e r ib s or

‘

cg
ba S et t h e wh ol e a rra n gem en t t o dr
y f or ada y Your
pr in c ip a
.

l di ffi culty will b e t ha t t h e h old ta

.
‘

k en by t h e scr ews
bein g r a t her pr eca r i ous, w hil st
you fi x on e, a n other w ill dr op of f
n d t hi s i s d a
,
a n d so on a ,
m a gin g b oth t o t h e t em per a n d t h e suc cess

of t h e op er a tion Ther efor e fi x your glued r ib s quic kly but

'

ca ully a When sufficien t tim e h a s el a

,

r ef n d su r ely . psed for t h e

g lue t o h a
; ve d r ied th or oughl y , r em ove t h e scr ew s ta ke thr ee
lit ies of sa ) a
,
qua n d p aer
-

p (t h e l a st b ei n g v er y fi n e in deed n d

t h or oughly sa n d
-

pa per a n d sm ooth t h e en t ir e in sid e of t h e

r ib s a n d ba ck r em em b er it will n ot b e pl ea sa n t t o t hin k tha t
in som e cen t ur ies t o c om e t h e r epa i r er w i ll fi n d t ha t t h e wor k
you ha ve b een so c a r ef ul over out side i s sloven ly in side You .

ca n n ow put i n y our ti c k et or l a b el E ver y violin m a

. de ought ,

t o m y m i n d t o b e ti ck ete d with t h e n a
,
m e of i t s r ight m a k er
for pr efer en c e i n La ti n , b ut of c our se this i s op t ion a l Th e .

pla ce for t h e la bel i s disc over ed by tem p or a r ily

put ti n g a
b elly on a ,
n d l ook in g t hr ough t h e l ef t ha -
n d
f hole i n thi s w a y
t h e m ost vi sibl e pl a c e for t h e l a bel i s a sc er ta in ed a n d on thi s
,

sp ot i t m a y b e glued fir m ly a t on ce .

Whil st c on sider in g t h e c on str uc tion of t h e r ib s of t h e fiddle ,

I p oin t ed out tha t i f t h e j oi n a t t h e b ot tom i s n ot a ll t ha t m ight

b e d esir ed, a n
y deficien cy m a y b e hidden by m ea n s of a r ow (or

m or e) of pur fl i n g . If t h e j oin i s perfect —t a c l ose str a ,

ight , ,

a n d c oin c idi n
g wi t h t h e j oin down t h e b a c k , so m uc h t h e b et t er ;

b ut if ali n e of gl ue m a rks i t
,
or i f i t i s c r ook ed or if i t i s ,

on on e side of t h e j oin of t h e ba ck , these fa ult s m a y b e r ec

t i fi ed (wit h out b ein g a sh a m ed of t h e expedi en t) i n t h e foll owin g
ma n n er : Ta k e afew in c h es of r ea dy m a -
de pur fi i n g (suc h a s

ca n b e b ought a t ap en n y a foot a t a y fi ddle m a ker s) a ’

n -
n d c ut ,

with asha r p kn if e a n d t h e lin i n g c hisel a squa

,
r e c ut g r oove, a t
ex a c tly r ight a n gl es wi t h t h e b a ck on t h e si t e of a n d b r oa d
,

a a
,

en ough t o c over a n f au lt th t m a y th er e b e f o u nd C ut i t
y .

lit t l e sha n t h e d ep t h of your r ea dy m a

,

ll ower t h a de pur fi i n g a
-
n d ,

a c cor di n g t ot h e dia m eter of t h e l a t ter , a n d gl ue i n to this g r oov e,

on e t w o or t hr ee st r ips of pur fi i n g , a c c or di n g a s th e f ault you

e st r ip s m a lwa
,
se r ea ma
,

wish t o hide m a y r equir e . T h e dy -

d y a ys,
i f n ecessa ry b e thi n n ed by h a m m er in g t h e sides lightly or ,
,
b r oa den ed by h a m m er in g t h e t op .

This or n a m en t a tion , with out im p a

.

i r in g t h e fiddle, will effec

t ua lly hide a n
y fa ult which i s a pt t o b e foun d a t t his poin t C ut .

off t h e en d s fl ush wi th t h e b elly side of t h e r ib s, w a sh of fa ll

su p er fluous gl ue, a n d when thi s in la yin g i s dr y, l ev el it dow n
fl ush w it h t h e r ib s w it h ak n ife or scr a p er Now , asha . de bel ow
t h e ex a c t cen tr e of t hi s li n e b or e a sm a ll hole G, in c h i n di a m eter )
25 2 VIOLIN -
MA KING : A s IT WA s A ND 1 3
.

w h i ch will ser ve a s t h e com m en cem en t of t h e hole f or t h e ta il

pi n . Thi s i s n ot fi n a lly out t ill t h e va r n i shin g i s fi n i shed, b ut it i s

b est t o b eg i n i t n ow a s t h e b elly b ein g of

you ca n gua rd aga in st
y bits of t h e l ow er bl ock, whic h ca
,

t h e dr ill split tin g a wa n n ot b e

obvia ted or c or r ected when t h e b elly i s on It m ust n ot b e .

fin ished n ow , or t h e va r n i sh r un n in g i n t o i t will m a
.

k e it m essy
a n d i n c on v en i en t t o w or k wit h Thi s h ol e m a
.
y be m a de with
t h e peg h ole c utter Fi g 1 84 desc r ib ed on p a
-
.
, ge 300 Your
n d i t r em a
.
,
ba ck a n d sid es a r e n ow fin i sh ed a ,
in s, t her efor e on ly
,
t o gl ue on t h e b elly , for t h e b ody of y our violin t o b e fi n i shed
“
i n t h e w hi t e.

A rte m a aa
t er n r pi d es m or a n t em
Fl um i n um l a psus, cel er esque v en t os,
Bl an du m et u a a i di b us c a
r i t s, f n or i s
q
Ducer e uer cus ” .

(H on ,
25 4 V IOLIN -
MA KIN G : A s rr WA s A ND r s .

A B, dr a
wn on t h e a
r chin g belly Th e m odel i s on such
of t h e .

d tha p r essin g it, it will b en d a

,

thi n w oo ,
t on n d li e c lose on t h e

—
153 f h o d va
l e of St r a
i
r i Model (a
ct u l a si z e)

il aHld
Fm . .
.

ch i n g
iof t h e t a
ble Ta ke a er y fi n e p oi
v n t ed pen c , n d? o
ha a
.

i n g th e m odel fi r m ly on t h e b elly wit h on e n d, tr ce th e in side

 TH E B E LLY. 25 5

of t h e f h ol e on t o t h e b elly w it h t h e other ; tur n t h e m odel

ov er , a n d r ep ea t t h e p r oc ess ex a c tly on t h e ot her sid e f or t h e
oth er f hol e a n d your
, ff hol es a re m a r k ed on y o ur b elly .

But , i f you a ollowi n g t h e m odel of P l a

r e n ot f t e I V or i f ou
y
y on e ofth ose on pp 7 3 8 0) t ra
.
,

wish t o use som e other f hole (sa ce .

-

i t fr om ther e or fr om t h e or igi n a
,
l wit h adir t y fi n ger or gl ove
, ,
a s d escr ib ed on p 1 55 a n d set a
.
,
n d m a r k it on t h e belly ,

a c c or di n g t o t h e r el a tive dista n c es i t sh ou ld h old t h er eon a n d ,

whic h a r e plan n ed out by t h e d otte d li n es on Fi

g 15 3 You . .

w ill h a ve t o m a rk
(a s b ef or e) t h e p oin t B on t h e c en tr e lin e A B ,

opp osite w hic h t o set t h e c r a n n y G of t h e

f hole This you Ca n .

do a
,
da ptin g t h e dir ec t ion s given a bove by c om m on sen se t o t h e -

outlin e you h a v e c h osen or by c om p a , r in g t h e fiddle fr om W hich

y o u a r e c opyin g I t s p osi t ion w i t h r eg a
. r d t o t h e ou t li n e an d

cen tr e j oin of t h e fiddle w ill then b e a s foll ow s

"
Tb in c h
1 1, i n h ’
Fr om B
’
toB 3 c . Fr om E to E ,
.
~

’ ’
C t oC 1 r to F ,
I
D t o D , 2§

These m ea sur em en t s a r e of c our se t a k en fr om t h e pla te a nd

Fi g 1 5 3, b ut i f a n ot h er m od el i s b ei n g w or k ed u on , a n i n t ell i
p
a da
.

gen t w or k m a n will e sily a pt them t h e differ en ce bein g,

r ob a n ly i n t h e l en g t h s of t h e lin es D D , E E , a
'
bly n d F F
' ’

p o .

Th e ff h ol e s b ei n g m a
, ’

r k ed n ow
put t h e fi n i shi n g t ouch t o
r c hin g of t h e b elly—v i z , t h e sin k in g n oti c ea
,

th e a . bl e i n a ll w ell
m a de fi ddl es j ust out side t h e ff hol es b etween t hem a n d

t h e edge) , a n d i n di ca t ed ou Fi g 1 5 3 by t h e slight sha . din g on t h e

a
r ight h n d sid e
-
Thi s i s a ha r dly per ceptibl e holl owi n g, b egin n in g

i n t h e l ower win g of t h e f, ex ten din g j ust a s fa

.

r a s sh own b th e
a
.

sha din g, a n d so m el t ed in t o t h e a r c hin g l r eady given t oj t h e

belly, a s n ot t o b e n oti cea ble un l ess l ooked for It s dept h will
ted by t h e m odel you a
.

b e, t o ac er ta in ex ten t , r egula r e w or ki n g

on , b ut w ill n ot g en er a lly b e d eeper t ha n t h e g r oove you r a n

r oun d t h e sid es (Fi g It m ust b e b eg un wit h fl a t goug e, a

r c hi n g w it h t h e sm a llest c ur ved pla a
.

“
m elted in t o t h e a n e, nd
fin ish ed off (like t h e r est of t h e b elly ) wi t h t h e sc r a p er B e .

ca r eful i n d oin g t hi s n ot t o obliter a te t h e m a r kin g of t h e

h l t a h e i n n er side of t h e l ow er r oun d h ole ofj t h e

“

ff o e s ( e x c e p t t
ca e a
.

whi h a t h lp b ein g g ouged a w a y b u t b t z on c e

i, o n
-

c c n n e ,

re m a r k ed , a n d pa r t i c ul a r ly b e c a r ef ul of t h e r a i sed edg es of
-

)
t h e fid dle, whic h a r e i n c bn si der a b l e da n ger d ur in g this op er a

tion So bea r i n m i n d i n thi s, a s in a l l t h e sta ges ofyour w or k ,

When t h e scr a
.

th e m ot t o Cov en do t utus pi n g i s fin ished, you

ll over with m edium sa a
.

will g ive your ta bles ar ub a n d p p er , -

256 V I O LIN -
MA KING : A s IT WA S A ND r s .

a n d th en r e m a r k y our h l whi h w ill h a v e g ot p a r ti ally

ff o es c

n dli n g of t h e b elly sin c e t hey w er e tr a

-

obliter a t ed by t h e h a ce d .

Wh en t h ey a re re m a r k ed
-

pu n c h ou,
t t h eir o un d h ol es i n t h e r

foll ow in g m a nn e r

Ta ke t h e t w o pier c er s (or f h ol e pun ch es Fi g a n d setti n g

,
.

t h e bigger of t h e t w o ex a ct ly i n t h e c en tr e of t h e l ow er c ir c le of

t h e fh ol e (whic h i t w ill n ot quit e fill ) a n d h oldi n g exa c tly un d er

,

n ea th it a sm a ll bl oc k of w ood t o p ess a ga in st pr ess t h e p un ch

r
,
fi r m ly in t o th e w ood twi stin g it a,
t t h e sa m e t i m e so a s t o c ut ,

out alit t le di sc of w ood You n eed n ot pun c h r ight t h r ough

.
,

b ut n o ha r m i s d on e i f
y n do i n d eed t h e h ol e g oin g th r ough
e
,
t o th e fl a t si d e ser v es a s ag uid e w hen you b egin t o sc oop out

t h e b elly Repea t t h e pr ocess wi t h t h e sm a “

ller pun ch for t h e

s with t h e l a
.

upper c i r c l e of t h e f a n d a
,
r ger
pier c er pun ch out
t h e upp er h ol es i n t h e sa me m a n n er wi t h t h e sm a ller You .

m ust b e ver y c a r eful t o pl a c e i t ex a c t ly b ef or e b egi n n in g t o c ut ,

for you will fi n d t h a t t h e sm a ll er p un ch (C Fi g 1 27) h a s ex a

,
c t ly .

t h e dia m eter of t h e upper c ir cl es of t h e f h ol e Fi g 1 53 (Th e ,

. .

big pun ch i s j ust sm a l ler t ha n t h e l ow e c i r c l es ) A fter (a

r nd .

possibly dur in g) t his oper a t ion you m ust pic k t h e piec es or disc s
of w ood out of t h e b o e of t h e pun c h es by m ea
r n s of ash a rp

p oin t (such a s th e m a r kin g

poin t ) b ein g ver y ca ,
r ef ul i n so
doin g n ot t o in j ur e th e c ut t ni g edge of t h e
pier cer or pun ch .

(Vi de page
Now c om m en c e t o sc oop out t h e b elly, w hic h i s b egun i n t h e
a aa
s m e w ya a s t h e b c k, a
pl ci n g t h e r c hed side d ow n w r d s on t h e a
a
c l oth , aa
n d t h e edge a a
g in st t h e b e m ; n d youw ill gouge i t i n a
a a a a a
m n n er sim il r t o t h e b c k , so s t o h ve i t } in c h t hic k l l over a .

a
B e ver y c r eful h ow you c ut , for thi s b elly pi n e i s s ten d er s a a
c h eese un d er t h e c hi sel , n d b ef a
or e you k n ow w h er e you r e, a
you w ill fi n d your self t h r ough t h e pl te n d a a a
n i r r em edi ble a
in j ur y don e Ifi n a n un gu a r ded or a
b sen t m om en t
you cut i t
t oo t h i n you m ust ta
.

,
k e on e of t h e t hi c k sha vin gs w hi ch fi t s t h e
gouge m a r k w hi c h h a s gon e t oo deep, gl ue i t i n n ea tly c losely
n s of t h e a ppa ra
, ,

a n d fir m ly ,
by m ea t us figur ed on p 310 .

(Fi g . a n d in th e m a n n er t h er e d esc r ib ed
,
an d when i t i s

dr y g o on w it h t h e oper a t ion When t his h a

. s gon e a s far a s it
i s sa fe t o g o wit h t h e gouge, t a k e t h e sh a r est a
p n d fin est c ur ved

ova l pl a n e, a n d
pla n e over t h e en ti r e in sid e of t h e b elly m ost

ca r ef ully, t ill a l l t h e gouge m a r k s ha ve fa ded in t o t h e pla n e

fur r ow s You m a y then cut y our ff h ol es w hic h a t pr esen t

r e on ly pun c h ed out a s a b ove desc r ibed They a
.
,

a r e cu t out .

w ith a ver y fi n e bl a -
ded k n ife, w hic h i s i n t r oduced fr om un d er
n ea t h, holdin g t h e b elly w i t h your ha n d a gain st your body for
t h e p ur pose B egin by c ut ti n g r oun d t h e l ow er c i r cl e, so a
. s
25 8 V I OLIN -
MA KING : A S IT WA S A ND I S .
.

c or r ec a nt y li t tl e fa ult s or r ough esses whic h m a y b e foun d n

r oun d t h e ff h ol es b ein g of c our se c a utious ot t o a

,
lter their
,
n

sh a pe i n a y w a
,

n
y .

You ca n ow sh a n p e your b a r ad a ffi x it t o t h e b elly fi st of n ,

r

r ki n g t h e pl a a
,
a ll m a c e wh er e it i s t o
g o s f oll ow s — It will b e

pla t h e ight ha n d side of t h e b elly (a

you wor k a
,

c ed o n r -
s t th e
in side) Ma k e thr ee sm a ll m ak s a t th e e a c t cen tr e of t h e b elly r x

2 ex a
.

t t h e b oa dest pa c tly m idwa

.

1 a r r t of t h e upp er b outs D y ,

3 a
,
b etween t h e c r a ies of t h e t w o ff h oles E ; a
,

n n n d t th e , , ,
br oa dest pa r t s of t h e l ow er b outs F If y our j oin i s ex a ct ly i n ,
.

t h e c en tr e th ese m a ,
r k s will b e on t h e j oin b ut i t som eti m es
ha pp e s tha n t it i s n ot quit e so i n whi ch c a se t h e t ue cen tr es ,
r

m ust b e m a r k ed b etween t h e out sid e edges with c om pa sses a n d ,

alin e d r a wn t o con n ec t t h e thr ee m a r ks Now on t h e ight of . r

these thr ee m a r ks m a k e th ee othe m a

-
r ks G H I ; th e to
p r r
, ,
ma
, ,
k G b ei g
r in c h f om t h e exa
n c t c en t e D ; t h e m iddl e on e
r r
, ,
B b ein g
,
in ch f om t h e cen t e m a r rk E a n d t h e lo e on e I r w r
, ,
bei g g i c h f om t h e c en t r e m an rk F an d n r
,
c o n ec t t h em ith ap en c il lin e No f om
n w . w r

t o p oi t s a th er t o t h e ight of t h e t op a
w n nd r r

bot tom bl ock s d r a w t h e t w o shor t lin es J K ,

5 , of a
,

I 1
n in c h fr om t h e upp er a n d l ow er

edges, a n d l en g t h en t h e lin e G H I till it t ouc hes

them Thi s lin e ther efor e m a . r k s t h e ex a ct , ,

l oca l e of t h e b a r w hic h wil l b e gl ued wi t h i t s ,

outer edge j ust t ouc hin g i t Ta ke ast r ip of .

fi n e even g r a in ed pin e a bout 1 1 in c hes l on g-

, ,

a n d pl a n e i t till it i sj ust —3
6 i n c h thi ck th r ough
' '

out i t s l en gth, a n d p er fec t ly str a ight a n d pa rallel .

t a out 1 i n ch b r oa a
— fl fl
F
h j jgg fi
le l
g zg f C ut i b d ,
n d sl o e of t h e t w o
p
en d s on on e sid e so t h a t i t r oughly ta
m g
of t h f h ol
e e. kes t h e ,

sh a pe of t h e in side of t h e b elly, a n d c ut i t so th a t i t s t w o en ds
t ouc h t h e p oin t s J a n d K Now m a k e am a r k on a
. n d dr a w a ,

lin e a c r oss t hi s r ough b a r a t t h e p oin t H (Fi g and m a rk .

of t h e b a
,

t h e t op a n d b ott om r t o di st in g u i sh them B efor e .

c om m en c i n g t o fit t h e b a r ta k e a slip of wood a b out 4 ,

in ch es l on g a n d a b out T , t hick a n d br oa d ; in ser t this in t o

I
,

t h e m iddle of t h e f hol e n ea
,
r est t h e b a r t h e left ha n d on e -
,

l ookin g a t t h e fr on t of t h e b elly ) a n d un d er t h e c or n er , a s in ,

Fi g 1 55 whic h r ep r esen t s t h e O p er a
.
,
tion viewed fr om t h e out
side of t h e b elly It s obj ec t a . n d r esu lt will b e t o p r ess up t h e
“
w in g a a n d
pr ess d own t h e l ow er win g b Th e st r in gs
if thi s pr ec a
.
, ,

w ill c or r ec t t hi s di sc r ep a
,

n cy by t h eir pr essur e u
t ion w er e n ot t a k en t h e pr essur e of t h e str in g s would for c e
,

t h e win g a b el ow t h e w in g b whic h w ould b e hid eous t o t h e

, ,
 THE B E LLY. 259

la st degr ee This p r eca

. ution gives t h e belly at em por a r ex cess

of r i se a t thi s p oin t, t o w hic h a r tifi ci a l r ise t h e b a r is t t ed, t o

ma in ta in it till t h e gr ea t er i n fl uen c e of t h e str in gs i s ex er t ed .

Th e b a r bein g r oughly r oun ded t o sha pe i t m a y n ow b e

ccur a
,

a tely fitt ed for t his p ur pose it i s set i n t h e belly a n d

t i t s t w o en d s w ith soun d b a
,
fix e d a r c lip s (Fi
g It b ein g
.

thus h el d you c a ,
n hold i t sidewa ys, a n dm a r k on on e side wh er e

it m ust b e c ut dow n ; ta ke it off, cor r ect it a n d r eset it w i th

n d over a ga
,

t h e c lip s over a in till i t a

,
dher es c l osely a ll over t h e
edge t o t h e b elly thr oughout i t s l en gth Ca
, r e m ust b e t a
. k en
ea c h tim e y ou set it i n t h e b elly t o pla ce t h e cen tr e m a
,
r k on t h e

ba r , on t h e p oin t H on t h e b elly (Fi g .a n d a l so t o pla ce

t h e t op of t h e b a r a t t h e t op of t h e b elly a n d v i ce w er e
'
nt

This op er a
,
t ion of fi t t in g t h e b a r m a b e d on e i n t en m i n utes
,

y ,

a n d it m a y ta k e h our s, for i t m u st b e a bsol ut ely ex a c t thr ough

out i t s l en gth so t ha ,
t w hen gl ued i t seem s t o b e c ut out of on e
solid piec e w ith t h e belly a n d a, ga in it m ust b e a
, t ex a c t r igh t

a n gl es with t h e edges of t h e b elly a s i n Fi , g 8 3 (p 149 whi ch .

wi ll b e m or e diffi cult t o a i n beca use of t h e sl op e of t e a

.

tt a , r ch

in g When howev er , b ein g fix ed by t h e c lips you ca

,
n n o
,

l on ger see ac r a it a it m a
.

n n y b el ow t a n y p oi n t y b e j ust
,

fin ished wit h afl a t fi le a n d gl ued i n to i t s pla ce j ust on t h e

lin e G H I (Fi g i f, by r ea son of t h e n a r r ow n ess of y our

r over ha
.

m odel , t h e b a n g s t h e t op c i r c le of t h e
f hole so a s to
ra
,

ob st r uc t it, i t m ust b e set th r ough out i t s len gt h a nd

pa l lel
t o t h e li n e G II I alit t l e n ea ,
r er t h e c en t r e so a s j ust t o c l ea
,
r

t h e h ole of t h e f i f t hi s w ould in volve t oo g r ea t ashift t ow a r ds

t h e cen tr e, alit t l e scoop m a y b e ta ken out of t h e side of t h e b a r

‘

so t ha t t h e hol e of t h e f i s n ot ob st r uc ted When gl ued i t m ust

.
,

b e fixed i n i t s pl a ce by m ea n s of t h r ee w ood en ba r cr a m ps
a n d left d W hil gl u i n g in th e ba u
F
( g i 13 1 ) t o r
y . s t r
y o
ma
.

y as w ell si z e t h e b elly en d s of t h e bl oc k s with gl u e to ,

fill up t h e p or es b efor e glui n g on t h e bel ly i n t h e sa me w a

, y
a s you did b efor e luin g on t h e b a ck (
g i e with glue ,

a
. . .
,

h ot i r on a n d fi le h en t h e gluin g of t h e b a r i s dr t k e a
, .
y ,

sm a ll fi n e pl a n e a n d c ut i t i n to sha pe w hic h when fin ished

, , ,

sh ou ld b e a s foll ow s i n t h e m iddl e : a t t h e p oin t H ,

Fi g 15 4) i t sh ould b e — §of a r n in ch d eep ; t h er ef or e pl a n e a wa y

t ill this depth i s obt a in ed a t H a n d t h e t op of t h e b a r i s pl a
.

, in
a n d st r a ight ; t h en p r oc eed t o fi n a lly sha pe it Fr om t h e .

p oin t C (Fi g 1 5 6) i t m ust soft en off t o t h e belly a t t h e en ds, t h e

sc a
.

ex tr em e en d s b ein g fi n i sh ed wit h akn if e n ot lloped b ut

, ,

m er ely softe n ed d own t o t h e b elly, so a s t o ha ve a b out t h e sha pe

ofFi g 15 6 A sh ow s t h e fi n i shin g of t h e en d s, B t h e sha pin g of
t his la st i s obta
.

t h e edge of t h e b a r n ot glu ed t o t h e b elly in ed

2 60 V I O LIN -
MA KING : A S IT WA S A ND IS .

by m ea n s of afi l e a n d sa n d pa per When t h e b a r i s th us -
.

fin i sh ed t a ke t h r ee squa r es of gl a ss p a per of pr og r essw e fi n e

.

n ess t h e la
( st b ei n g w er
-

g fi n e
) a n d c ar efu lly sm oot h t h e wh ol e

in side of t h e belly t ill i t i s per fec t ly soft t o t h e touch Th en ta

,

ke .

afl a t a n d r oun d fi l e a n d b ev el of f t h e i n sid e edge of t h e b elly

i n t h e sa me w a as d esc r ib ed for t h e i n side edg e of t h e b a ck
( as
y
r ep r esen t ed a t Fi g t h en i n am a . n n er si m il a r t o th a t t her e
desc r ib ed c lea n a n d sm oot h t h e edge you h a
l
ve l eft r oun d th e '

n d t hi s h a
,

sc oopin g of t h e b elly a vin g been don e your b elly i s ,

t i on y ou m ust i n c r ea
,

r ea dy t o gl ue on For t hi s oper a se t h e

gl ue i n t h e pot t o t w ice i t s bul k by t h e a dditi on of w a ter so a

.

s ,

t o dil ute t h e gl ue a n d r en der i t m uc h w ea ker th a n t ha t w ith

w hic h si z ed h e bl oc k s a n d fi x ed on t h e b a ck T h e obj ec t
“
y ou t .

oft hi s i s th a t t h e b elly m a h a v e t o c om e of f som e da fo r r epa i rs

y y ,

et c a
. n d i f it w er e fi x ed on w i t h t h e or di n a r ily str on g gl ue t hi s ,

would b e a n im possibility Som e p eopl e b efor e gl uin g on thei r .

,

bellies put c ur ious hist or ica

,
l or sen tim en ta
,
l i n sc r iption s out of ,

sight u i n t h e upp er b outs of t h e fiddle Th e ol d l ut hi er s

p .

A : >

F I G 1 5 6 —F i n
. . l sh a
a pi n g of t h e B a
ss b a
r -
.

ver y gr ea t a t thi s a n d n ow in t a kin g t h e b ellie s ofi '

w er e ,

old fi ddl es qua in t c ouplet s a

,
n d m ott oes a r e oft en b r ought t o
light B efor e a pplyin g t h e gl ue (which i s n ot d on e a ft er t h e
s i n t h e ca
.

bell y i s fi t ted , a se of t h e b a ck
) set t h e belly on t h e ,

r ib s wit h ac oupl e of sc r ew s a n d l ook r oun d i t t o n ot e t h e ,

poin ts wher e t h e sides w ill r equir e pr essi n g or st r et c hin g t o sh a pe ,

for t h e l on ger t h e t im e t h a t ela p ses bet w een t h e gluin g on or

t h e ba ck a n d of t h e b elly t h e m or e will t h e r ib s t wi st a n d wa
, rp

out of sha When by t hi s m ea you h a ve a r r ived a t a

,

n s
pe .
, n ,

a ppr oxim a t e n ot i on of w h a t dif fi c ult ies you will ha ve t o c on ten d .

w it h sp r ea
,
d t h e glue quic kly a ll ov er t h e t op edges of t h e
blocks, sides, a n d li n i n g s b ein g ver y c a ul n ot t o l et a
r ef , n
y r un
down i n si de for t h ough a ,
n
y t ha t r un s dow n out si de m a y be
w a shed of fa n
y t ha,
t tr esp a sses in side ca n n ot b e r em oved at er
f
t h e b elly i s on Ha vin g g ot ab ut t er in g of glue spr ea
. d a ll
r ou n d set t h e b elly on
,
a n d sc r ew i t f ast a ll r oun d b egin n in g
, ,
w ith t h e C s or i n n er b out s b ei n g m ost p a lar to a
’
r t icu v oid t h e ,
,

(a Fi g then fi t tin g t h e r ibs a

1
c or n er s s in . n d pu tti n g on
t h e ot h er sc r ew s a n d cr a m p s t h e sa me a s with t h e b a ck Th i s .

If you d o b y ay h a n ce pli t a o e m en d i t a
n c t on ce a cc or di n g t o t h e
s c rn r,
Repa
h

di r ect o s g i ve fo
i n ni rs (p r
“
.
 C HA PTE R X IX .

P U RFLI NG A N D FI NI SH I NG TH E B O DY .

Ma
r ki n g — —
t h e P ur fl i n g —Th e P eg s Th e P ur fl i n g a
Fi t t i n g —Fix i n g—R i si n g t h e
E dg es n d C or n er s— Fin l Sc r pi n g —S n d p per i n g —Th e Rest — Fi t t i n g
a a a a a
Fi x i n g — Fi n ish i n g — Roun di n g t h e E dg es—Fi n i sh i n g t h e B ody “ i n t h
-

e
Wh i t e ,

IT i s n ow t ha t you will see t h e a dva n ta ge of n ot h a vin g pur fl ed

b efor e sc oopin g out t h e ba ck a n d b elly . If you h a d don e so,
your edges m ust ha ve r em a in ed a s or igi n a lly out , whether quit e
c oi n c id en t a l w it h t h e r ibs or n ot ; b ut a s i t i s, wh er e for t h e

sa k e of un ifor m it y you n ow slight ly r ed uc e t h e edges, t h e

pur fi i n g m a y be m a de t o foll ow t h e c or r ec tion whic h it w il l

n ow hid e, i n st ea d of showin g i t up, a s i t w ould h a ve don e i f
a l r eady i n l a id Ta . k e t h e pur fl i n g ga uge (Fi g . an d set t in g

t h e c ut t er (w hi ch m ust b e t hor oughly sha r

p) 0 2 in ch fr om t h e
7
3
-

r oun d ed p a r t of t h e st em A , t r a ce alin e (n ot l et tin g t h e c utter

sin k deep
) a l l r oun d t h e t a bl es (b a ck a n d b elly
)5 Then r educe
.

t h e di st a n ce fr om t h e c ut t er t o t h e stem t o 3 7 , t r a ce a n ot her

lin e r oun d ba ck a n d b elly, w hi c h will t hus b e { 3 out side t h e fi r st .

Thi s seem s sim pl e en ough t o sa y, b ut you w ill fi n d i t m ost

diffi c ul t t o pr eser ve aun i for m di st a n ce f r om t h e edge, t h e
st em r equi r i n g t o b e pr essed ver y st r on gly a gain st t h e edge,
a s it t ra vel s r oun d, esp ecia lly on t h e ten der pin e of t h e b elly,
a n d it will b e m ost diffi cult t o pr eser ve t h e sec on d lin e a t
a n ex a c t di st a n ce of fr om t h e fi r st ; h ow ever , fest i n al en t e,
a n d pa t ien ce, a n d ca r ef ul per sever a n c e w ill over c om e a ll thi s
diffi c ult y Min d a
. n d n ot out t h ese m a r k s t oo deep ; they a re

on ly t o ser ve a s guid es f or t h e k n i fe i n c uttin g t h e g r oove i n

w hi ch t h e
pur fl i n g i s la id Th e cur ve of t h e m a
. r k in g will

ha ve been i n t er r upted a t t h e t op of t h e ba c k by t h e b ut t on ,
a n d t h e c or n er s m ust b e r e m a-
r k ed t o ha ve t h e pur fl in g poin t ed
a c r oss them in t r ue St r a di ua r i us styl e . If you l ook a t a n
y
St r a di ua r i us
you w ill see t ha t a t t h e c or n er s t h e pur fl i n g i s n ot
fin i shed off i n t h e m iddl e of t h e c or n er (a s a t A , Fi g . but
poin t ed up (or d ow n , a s t h e ca se m a b e t o t h e p oin t B a
y ) s a t
rt ic ula
,
C, Fi g 1 5 8
. . Thi s i s asm a ll pa r
,
b ut i t i s ag r ea t poin t i n
 P URFLING A ND FINISHING TH E B ODY . 263

t h e pur fl i n g of St r di u r i us a a
To m r k t h i s “ style, a
n d to a
a
.

c om plete t h e tr ci n g of t h e pur fl in
g p rep r e slip o f w o o d a a
a a
ex c tly sim il r t o t h e sha ded piec e on Fig 1 5 8, whi ch i s p r epa r ed
a a a
.

fr om St r di u r i us in str um en t Th e con t our a , a

a a
. r p
, e r esen s
t
a
,
a
,
t h e c om pl et i on of t h e c ur ve t t h e t op of t h e b ck, un der n e th a
t h e but t on , w hi ch m y b e tr a a
ced by i t s m e n s Th e pur fli n g t a a
a a
.

t h e c or n er s i s t r esen t s show n by t h e d ot t ed lin e a t A

p
.

guide slip m ust e set on t h e 8 c or n er s, c oin cidi n g with t h e

cu r ve saa t D, i n Fi g 1 5 8, b ut , s t her e sh own , a a
lter in g t h e
a
.

position of t h e poin t a s t C Th e cur ve of t h e pur fi i n g i n t h e

.

muer b out s m ust b e br oug ht r oun d t o

m eet this p oin t a s a t C so th a t when
fi n i shed t h e tr a
,

c in g Of t h e pu r fli n ill
g w
be a s rep r esen ted by t h e doubl e lin es
D D Fig 1 5 8 Wh en t hese a
'

,
. . re m a r ked,
pr oceed w it h asha r p p oin ted kn i f
-
e to
c ut r ou n d t h e t w o lin es of t h e tr a cin g
on b a ck a n d b elly till t h e
pur fl i n g i s
ma r ked by t w o even , p a ra ll el, a n d

cl ea n ly cu
-
t li n es r l aof a '
n i n c h d ee
p
You m ust b e m ost ca
.

r eful i n this
oper a tion t o g ua rd a ga in st lettin g t h e
kn ife slip a wa y fr om t h e lin es, a s t hi s
will sp oil t h e sym m etr y of t h e pur fl i n g ,
an d i n t h e pur fl i n g i t i s t ha t t h e tr ue
delica cy of h a n dlin g a n d w or k m a n ship

r ea l ly show s itself i n t h e c on str uct i on

of t h e fiddl e . When t h e lin es a r e c ut ,
pick out t h e wood fr om bet w een them
wit h t h e pur fl i n g chi sel (Fi g .

bein g ver y ca r ef ul th a t t h e lin es a r e c ut

deep en ough a t t h e c or n er s, or you w ill

pick out apiece t oo m uc h a
?
t thi s poin t,
a n d sp oil i t s fin i sh Let t h e d epth b e F t l ff
.
e
ddi £i gdgm fo
l lgo ' g -

ma de even a n d sm ooth a
e r e l r

l l r oun d t h e
b ut t o n
in str um en t b efor e p r oc eedin g fur ther .

r e t h e sm a
.

Th e n ext ste p i s t o put i n th e p egs ; these a ll,

r oun d sp ot s of w ood l et i n to old fi ddl es a t t h e t op a n d b ottom

O ft h e b a c k v i de p f r t h e r ea son s a l r ead y set for th —n a m el

( o
de by t h e b r a da
.

to fill t h e hole m a wl thr ust i n t o secur e t e

ba ck a n d b elly a t these poin ts when fittin g them t o t h e sid es ,

befor e t h e ir on cr a m p s w er e used for thi s pur p ose

r i us violin h a
.

You will n ot ice tha t ev e St r a di ua s them j u st

so pl a ced i n t h e ba ck, on t e j oin , th a t th ey a r e ou t In t w o

ha l ves (of which on l y on e i s left) by t h e pur fi i n g , a s a t A , In
264 Vi oLl N MA KI NG
-
: A S IT WA S A ND I S .

Fi g . 92 . A lth ough these a r e n ot a b solutely n ecessa ry t o th e

fiddl e yet , a s
you a r e w or k in g on t h e Str a d m odel , they
k e ar oun d, sh a
.
,
im pa rt a fin ish t o your fiddle a s a c opy Ta . rp

n d p r ess ah ol e j ust
poin t ed t ool (suc h a s th e m a r k in g
poin t ) a
-

,
w h er e t h e c en t r e j oi n of t h e fiddl e m eet s t h e gr oove c ut for
t h e pur fl i n g (a s i n Fi
g so t h a t ha
. l f t h e hole i s i n t h e
gr oove Ma . k e asim il a r h ol e a t t h e b ot t om t o c or r espon d a n d ,

a l so sim ila r on es i n t h e b elly a t t op a n d b ott om a n d t h en c ut ,

your four p egs t o fi t These a .re m a de out O f ar od O f m a ple,
n ot highly figur ed b ut of a c olour or ton e w hic h c on t r a st s w i t h
,
th e m a pl e of t h e b a ck Cut t h e r od t o alon g r oun d poi n t like
.
, ,
apen c il c ut off t h e ex t r em e en d a
,
n d fi n i sh i t with a fi le so t ha t ,
i t ex a
,

c t ly st i c k s i n t o t h e h ole
you h a ve m a de c ut Off t h e poin t
a b out { 35 in ch l on g a n d t a i t i n t o t h e h ol e so a s t o sti c k w hil st
,p ,

you fi t t h e r est of t h e peg s When a ll a r e cu t di p ea c h on e ,

rt ta
.

i n t o glue a n d fix,
i t in t o i t s h ol e w it h agood sm a p, a n d

lea ve t hem t o dr y t h or oughly When this i s a . c c om pli sh ed , c ut

Of f t h e pr oj ec t i n g en d s so a s to m a k e t hem fl ush with t h e ba ck ,

fa
,

a n d c ut of s m uch fr om t h e sides of t h e
pegs a s pr o j ect s in t o
t h e g r oove c ut for t h e pur fl i n g ha lf t h e dia m et er ) , whi c h
will r educe i t a s i n Fi
, g 92 Now t a k e ab r ush full of w a
. . t er
a n d w et a l l r oun d t h e gr ooves on b a ck a n d b elly, w ipin g of f
su er fluous m oi stur e w i t h
p c l ot h a
This will thr ow a . n
y d efec t s
i n t h e un ifor m it y of t h e gr ooves i n t o pr om in en ce a n d t hi s will
en a
,
bl e you t h e b et ter t o c or r ec t a n
y suc h i r r egul a r it ies W hen
s b een d on e you w ill b e r ea
.

t hi s h a , dy t o put i n your pur fl in g .

P ur fl i n g a s I ha
,
v e sa id b efor e (pa ge i s c om posed of a
str i
p of pl a n e w ood b etween t w o st r ips of t h e sa m e w ood
sta in ed bla c k (n ot a s som e ha
,
ve supposed astr ip of r osew ood ,
b et ween t w o of eb on y) Th e ex c eedin gly delica . t e dia m et er of
t he se st r ips m a y b e im a gin ed w hen w e r eflec t t ha t t h e t hr ee
glued t oget her a n d i n la id on ly pr esen t adia m et er of { U in ch .

P ur fl i n g m a y b e b ough t of a n
y fi ddl e m a k er ; a n d I should
-

a dvise t h e a m a teur t o pur cha se h i s

pur fl i n g r ea dy out t h ough ,
I sh a ll t ell h i m h ow t o pr epa r e i t for hi m sel f It i s sold i n .

t w o for m s i n sepa ra te st r ips Of pl a in bl a ck a n d whit e a

,
n d a l so
a s a sa n d w i c h r ea dy glued t ogether t h e la
, t t er i s per h a ps t h e
ea sier t o w or k w i t h b u t i s t er r ibly lia
, ble t o split a n d in p ut tin g ,

i t i n i t w ill b e n ecessa r y t o di
p t h e en d s i n t h e h ot w a t er O f t h e
glue pot for a n i n st a
-
n t (n ot l on g en ough t o un gl ue i t ) befor e
givi n g t h e en d s t h e st r on g b en d n ec essa ry a t t h e c or n er s a n d
cen t r e b outs A n ex per i en c ed fi ddl e m a
. k er w ill a -
lwa ys p r efer
t o in l a y t hr ee sepa ra t ed st r ips t oget h er r a t her tha n c ha n ce a
s li t w it h t h e r ea dy m a de pur fi i n g If you use t h e disin t egr a t ed
p
-
.

pur fi i n g O f t h e t h or oug h l ut hi er i t i s pr epa r ed a

, s f oll ow s Get .
266 V I OLI N -
MA KING : A S IT WA S A ND I s.

t h e pur fl in g s in to t h e g r oove, b ut a
l so, i f you use thr ee str ip s,
t o p er m ea t e b et w een t h e c om p on en t str ip s th em selv es, t o k eep
t h em t ogeth er a a a
It l so fill s up n d di sguises n y er r or s or f ul t s a
a
.

i n t h e cuttin g of t h e gr oove, whi c h it i s im possibl e (esp ec i lly

for a n a am teur ) t o obvia te ther efor e when t h e pur fi i n g s r e a
set i n t h e gr oove, i t i s w ell t o r un a a
li ttle glue l l r oun d them
wit h lit tl e slip of w ood t o fi ll up n ywher e wher e ther e w a
a a s

n ot suf fi c ien t
a a
.

Th e pur fl i n g s a r e t pp ed in to t h e gr oov e ll r oun d with

a a
lit t l e h m m er t o in sur e their sin kin g w ell in to it Th e .

fl
sup er uous gl ue i s t hen wip ed of a
f with ac l oth, n d t h e W h ol e
thin g i s l eft t o dr y t hor oughly When t hi s i s effec ted, c ut t h e
.

p u r fl in
g s d ow n l evel wi t h t h e sur f a ces of t h e b c k a a
n d b elly by

m ea n s of a sha r p, fi a t g ouge . a
Th e defect s (i f n y) will n ow b e
br ought i n t o pr om in en ce, b ut c a n n ot b e r em edi ed H ow ever ,
.

a
w e c on sol e our selves t h t if slight d ef ec ts ex i st i n ou r pur fl i n
g,
t h ey ex i st a a
l so, i f c r efully look ed for , i n t h e w or ks of t h e fin est
C r em on ese m a st er s
. Now t k e afl a a t fil e, a n d r ub r ight r oun d

t h e t ops of t h e edges (left s i n Fi g a . w it h a a

v i ew t o c le n in g

t h em a n d r em ovin g nay slight i n e ua q

lities wh ic h m y h ve a a
a a
in v d ed t hem Sin c e they wer e l st c or r ec ted Now Open t h e .

spr in g c om a
p ss (A , Fi g 12 6) 73
.
, Of a n in ch
,
a
n d dr w aa lin e l l a
r oun d h e edges of t h e i n st r um en t , open t h em a in
t g a in ch, a n d

a
dr w asec on d li n e r oun d t h e edge in side, t h e fi r st, fr om whic h
q
i t i s c on se uen t ly di st n t a (It will b e ob ser ved t ha t thi s
a
oper t ion r esem bl es, i n al l r e spec ts, ex ceptin g i t s m e sur em en t s, a
t h e pr ocesses by w hi c h w e or igi n lly sun k t h e edge, a a s sh ow n
by Fi g . a a
Now t k e agoug e n d sin k at r ough ll r oun d , a
a
c utt i n g out t h e w ood ( n d w it h i t t h e t o of t h e
p pur fl i n g ) b out a
1
5 ;
a
in c h deep , bein g m ost c r eful t o k eep ex ct ly bet ween t h e a
a
lin es, n d m a k e t h e h ollow uit e sm ooth a
q n d even .Lower t h e
w ood a a l so t t h e c or n er s by gougin g down b etw een t h e p oin ts
a
of t h e pur fi i n g , so t h t t h e sin ki n g r oun d t h e edge foll ow s t h e
guit a r out li n e of t h e i n sid e of t h e fiddl e
,
a
n d t h r ow s t h e c or n er s
a a
n d edges in t o t h t h old r eli ef whi c h i s such b eaa uty i n a
w ell

fi n i sh ed fiddl e .

a a
When you h ve gon e l l r oun d, g o ll over t h e gr oun d, br in ga
a
i n g t h e out sid e n d in side edges of t h e t r ough ex c t ly t r ue t o a
th e m a a
r k ed li n es ll r oun d . Th en t a a a
ke t h e sm llest ov l t oot hed
pl a n e
(Fi g
. with the fin est a a
n d sh r p est toot hed i r on n d a
a
,

pl n e a l l r oun d t h e in side of t h e gr oove, so a s t o m elt t hi s

a
t r ough in t o t h e r i se of t h e b elly or b c k (it i s, of c our se un der
st ood t ha a a
,
t these oper tion s m ust b e r epe t ed on b ot h t bles) , a a nd
br in g t h e edge on ce m or e t o t h e c ur ve r epr esen t ed t B , Fig 14 8 a
a a a a
. .

Now t k e sh r p scr a per n d scr a pe a l l r oun d wher e ther e r e a

 P URFLING A ND F INI SH ING THE B ODY . 2 67

a n y pla n e or g oug e m a k ad i n deed m o e or less a ll over t h e

r s, n , r

ta bl es so a s t o b in g it a m ooth ad
,
l an a
r s it a s a fter t h e s s n c e w
pr in c ip a l scr a
,

pi g set dow i Cha pter XV I Let th em b e

n n n

wetted a n d r e scr aed t

.

o o th tim es t og et t hem bea utifully

t gh y m ust t h b sad a
-
w r r ee

sm oot h a
,
‘
n d sof
per ed th r ee ti m es
e en

s ad e s
. e n -

b e in n in g with am dium ough

,
i g wit h t h e fin est
e r

R5
n es n n n

1 t h e sa n d pa p e up ad do t h ta bl es t h e a
.

)
y of t h e
r n w n e w
-

g ra in a n d j ust
, ou d i sid t h g oove you ha
r ve sun k r oun d
n n e e r

t h e edge B e caeful ot t o ub o t h edg e thus l eft o you

r n r n e r
sp c i a
.
,
wi ll r ub it down lly a t th o s w hic h m ust b e
,
e e e c r n er ,

w o ked i to with ac o e of sad p a

r pe so a n s ot t o . rn r n r, n

upon t h e edg a t a t th e a
ll b ut a m e ti m e so a s t o lea
e s c r
a
,
wa y t h e r ough ad goug m ak s which ae a n ess l m ost i n
n e r r

evita bl e a t th ese p oi ts Rub a ll ou d ad up t o t h e edges ofn . r n n

t h eff holes b ut ot a o th m ai t i s a ea t p oin t tha t th e
cr ss e s

b gly a
, n r

sha r p agl s m a
,
n d e by t h
e u fa ce of t h n d t h e c uttin g e s r e e
B t w e ea
’
out oft h e ff s sh ould b p se v ed ch ubbi g et e re r e e n r n w

t h e sur fa ad ub them d y di ectly

.

ces a l l ove wi t h aspo g r n e, n r r r

with acl oth When you .

give it t h e fi r st or c oa r sest
r ubbin g
, g
oa l so a ll r oun d
t h e sides, whic h will b e
by thi s tim e pr etty c on
si der a bly di r ty a ga in You .

n eed however , on ly give ,

t h e r ib s on e r ubbin g n ow
n d th a t w i t h t h e coa
,

Fr o 160
. .
a r ses

of t h e th r ee pa p er s For t
a b est t o hold t h e fiddl e on acl ea
.

ll t h ese op er a
ti o it i n s s n towel

sp r ea da c o s th k r s e n ees
xt p a
.

Th e tio i
n e O fix in g
er of t h e r est, n or piece O f
s th e
eb on y whi c h p r otect s t h e edge of t h e fi ddle fr om t h e p r essur e

exer ted by t h e l oop of t h e t a il piece, a n d w hic h i s r ep r esen ted i n -

p ositi on a t E Fi g 1 05 (p ,
Ta ke t h e spr in g com pa
. sses (B ,.

Fi g a n d op en i n g t hem 3 in ch m a r k t w o p oin t s
(A, A , 4
'

Fig 1 60) on t h e lower edge of t h e fiddl e 1 3, in ch es a

,

pa
.

a
1
rt i e,
ea
. . .
,

c h b ein g m ea sur ed ex a c t ly in c h fr om t h e c en tr e oft h e l ow er

b outs Ta . ke a s t h e cen t r e poi n t fr om w hi ch t o m ea sur e, t h e j oi n t

(pur li ed or oth er w i se) oft h e t w o l ow er b out s n ot t h e cen tr e j oin ,

of t h e b elly (if thi s l a tter does n ot c oin cid e w it h t h e for m er

it i s m or e i m por ta n t th a t i t sh ould b e tr ue t o t h e ta il
pi n and -

c en tr e of t h e l ow er b out s t h a n t o t h e joi n of t h e b elly ) Now

ke t w o clea
.

wi t h asha r p , thi n k n i fe a t t h ese t w o p oin t s m a n cu ts

( , , Fi g 1 60) r ight d ow n t o t h e t op oft h e r ib s b ut n ot deeper ,
'
A A ,

so a
.

s t o cut in to t h e r ib s Th e c uts m ust exten d on t o t h e .

2 68 V IO LIN -
MA KI NG : A S IT WA S AN D IS .

a j ust thr ough t h e pur fi in g a

sur f c e s i n Fi g 1 60 A A Now ,
'
.

str a
,
.
,

w ith a st r a
ight edge a n d kn if
-
e c on n ec t these t w o wi t h a ight
lin e B B w hic h will c over pa
'
r t of t h e pur fl i n g Dr a w th e .

a
, , ,

k n ife a lon g thi s t ill it i s a s d eep a s t h e ot her t w o (A n d ,

t h en t h e w ood c om pr ised by t hese lin es m a y b e c ut a n d pi ck ed

out wit h ak n i fe l ea vi n g alit t l e r ight a n gl ed c ha m b er (for m ed -

n d t h e t o s of t h e l ow er b outs a
,
by t h e t hi ckn ess of t h e b elly a p n d

b ot t om block) t o r ec ei e t h e r est w hic h m a

v
y n ow b e out ,
If by .

m i sa dven t ur e i n m a ki n g t h e c ut s A A t h e edge get s alittl e spli t

'

, , ,

on ei t her side it m ust b e c ut a wa y a n d a

.

c or r esp on din g slip c ut

,
,
d ow n on t h e oth er side so a stom a k e t h e c utt in g t hough wider , ,

st ill tr ue t o t h e c en tr e j oin of t h e r ib s a n d th e ta
,

il pi n I n eed n ot -
.

r em a r k tha t t h e c utt in g m ust b e quite squa re a n d

per p en dic ul a r

t o t h e t op sur fa ce of t h e b ot tom bloc k Now t a k e alittl e slip of .

eb on y 1 si n c h lon g by g i n c h b r oa
,
d a n d g i n c h deep Ma ke , .

t w o sid es quite squa re a n d t ue t o on e a n ot her a

r n d a dj ust t h e ,

l en gt h w it h pl a n e fi le a n d kn i f
,
e so t ha
,
t it j ust fi t s t ight ly in t o
,

t h e c ha m b er c ut a s i n Fi g 1 60
,
Never m i n d a
. b out c ut t in g i t
.

fl ush wit h t h e e dge of t h e fiddle t his will

do w h en i t i s fix ed
,

a c e, a s at D, Fi g 1 60, a n d sh ae Of
,

r oun d t h e upp er sur f f t h e en d s

p .

r oughly a s a t C, Fi g 1 60 P ut plen t y of good glue i n t o t h e

. .
,
ch a m b er , set t h e r oughly fi n i sh ed r est i n i t , t a it i n fa st wit h a
p
lit t le h a m m er , so a s t o fi x it, a n d wip e of f t h e super fl uous gl ue
w i t h t h e b r ush a n d w a rm w a t er , a n d l ea ve t h e fiddle t o dr y .

IVh en dr y fi n ish i t offc a

’
r efully by c utt i n g i t even wit h t h e lower
edg e, a n d fl ush wi t h t h e b elly a t t h e b ev ell ed en d s, w hic h l st a
m ust b e ex a ct a n d e ua l t o on e a
q n ot h er Roun d Off t h e t op, so .

t ha t it i s a b out 5 i n c h a b ove t h e edge of t h e b elly These .

O per a t i on s a r e d on e w it h a sha r p k n if e a n d fla t fi l e ; t h e Rest a s

fi n i shed m ust t hen b e scr a ped uit e sm ooth q Now ta ke aset of .

files, a n d
g o r ight r oun d t h e edg e of b ot h b a ck a n d b elly

m a
,
k i n g t hem q
uit e r oun d by filin g b ot h c or n er s of t h e edge,
t ill t h e li n e fr om t h e un der t o t h e upper sides of t h e edge i s a
p er fect ly even cur ve Wh en t his i s don e, g o r oun d t h e edges
.

t hus r oun d ed a n d sm oot h of fa ll fi l e m a r k s w it h sa n d paer of a

'

p
-

m edi um fi n en ess, give t h e r ib s afi n a l thor ough s n d pa p er in g, a -

a n d t h e b ody of your fiddl e i s fin i shed

“
i n t h e whit e , a”
n d ca n
b e put a way out of un t il t h e n eck a n d scr oll r e r e dy a a
t o g o on .
2 70 V I O LI N -
MA KING : A s IT WA S A ND I S .

You will r em em ber tha t on e side O f t h e bl oc k p r ep a r ed f or

t h e n eck i s sm ooth a n d squa r ed a n d t h e other side i s lef t r ough .

sten t h e pl a n k outlin e O f t h e n ec k a
,

Now fa n d sc r ol l on t o on e
sm ooth fa ce of t h e bl ock a ga in st t h e squa r ed a n d pl a n ed side of

t h e bl ock , a s i n Fi g 1 61 ta . kin g t h e sq ua ,
r e D, E , F , G t o r epr esen t

t h e bloc k a n d G F i t s squa r ed sid e t h e outlin e j ust touchin g t h e

I t i s i m p or ta
, ,

edge a t t h e p oin ts H, A , B a s i n t h e fig ur e ,
n t t ha t
.

i t b e fi ush with t h e ed e a t A a n d B bu t a t H it m a y b e j ust a

'

sh a de lower a s in th e
,
gur e, t o a ll ow for t h e cutt in g .

Now with t h e m a r ki n g
poin t m a r k t h e ex a
-
c t out lin e m a r k in g

ar ougher on e outside i t wit h apen c il n ow by m ea

,
n s of a

squa re m a ,
rk a cr oss t h e sm ooth edg e, G F O f t h e bl oc k th r ee ,

lin es a t t h e poi n t s A B C Fi g 1 61 ex a, , ,c t ly a t t h e n otch es A , B C

.
, , ,
.

These will ser ve a s a guide w her e t o fi x t h e out

lin e Ou t h e ot her side w hich i s don e by un fa st en
n d fa
,

i n g it a st en i n g i t t o ex a
, c tly t h e sa m e osition
p
by m a ki n g t h e n ot c hes A B C ex a c tly coin c id e , ,

w ith t h e li n es m a r k ed a c r oss t h e edg e, a nd ma rk

t h e outlin e i n t h e sa me w a y wit h p oin t a n d

pen c il a n d thus
, y ou h a ve t w o out lin es m a r k ed

e ex a c tly on ei t her side O pposi t e on e a n ot her .

B efor e r em ovin g t h e pl a n k out li n e f r om eit h er

sid e m a r k t h e v ol ut e of t h e sc r oll by t h r u st in g
,
apoin t thr ough ea ch of t h e d r illed h ol es a , a
a , , ,

w hi c h in di c a t e i t on t h e out lin e by w hic h t h e ,

v olut e of per for a t i on s i n t h e out lin e m odel w ill

be m a r k ed by li t tle d en ts on t h e outlin e d r a wn
on eit h er side of t h e bl ock .

Now pr oceed t o cut out t h e bl ock, followin g

t h e outer (or pen c il ) lin e of y our m a r kin g s w ith

t h e b ow sa w whi c h m ust b e h eld v er v upr ight t o

IGI —P l ak out
-

of N k ad p r even t I t ex ceedm g or g om g m srde t h e m a

F IG n
v

r ki n g
. .

s am
li n e ec n

on t h e un der side th e m a r ki n g other th a n th e

cr “
-

on e you a re f oll ow in g w i t h t h e sa w
) In m a r k i n g t h e out li n e
.
, y
ou
m ust t r a ce r oun d t h e lin e 5, c d e f ,g h Fi g 1 61 b ut n ot a
, , , ,
lon g
,
.
,
t h e lin e i k i f t h e pl a ,
n k outli n e does n ot ex a c t ly f oll ow t h e
sm oot h edge

Fi n a
.

lly you ha,

ve n ow in stea d Of t h e n eck bl ock a
,
n outlin e -

of t h e n ec k a n d sc r oll sh own by t h e li n e 5 c d e
f, g h , exa c t ly

b ut in stea
, , ,

you ha
, ,

lik e t h e pla n k outlin e ve b een m a r k i n g fr om d

of b ein g T 3 in ch th ic k i t h a s t h e thi c kn ess O f t h e w h ol e bl oc k
1
,

a n d i n st ea
,

d Of ha vi n g t h e vol ute m a r k ed by
p e rf o ra te d h o l es,
ea c h sid e b ea r s t h e c ur l m a r k ed by sm a ll i n den t a t i on s a aa
, , ,

Ther e will b e aSlight m a

,

i n t h e w ood . r gin of w ood j ust out

side t h e lin e m a de by t h e m a r kin g p oin t Thi s m ust n ow b e
’

-
.
 TH E NE CK A ND SCROLL .

a
c r eful ly r em oved a n d t h e su
, a
rf ce of t h e scr oll block m a de
per fect l y squa r e by m ea n s of a c hisel an d fi l e till fr om side t o

ec tly pl a n e a
,
side t h e bloc k i s p er f n d squa r e t o t h e sid es
Now p r oceed t o m a
.

r k t h e d esig n of your scr oll on t h e ba ck

an d fr on t of t h e b l ock Fi r st fi n d t h e exa
. c t cen tr e of t h e fr on t

Fm . 1 62
.
—Out l i n es (Z in c) for m a
r k i n g fr on t a
n d ba ct ua
c k of Scr ol l (a l si z e) .

a n d ba c k O f t h e sc r oll bloc k o t h e bloc k outli e you h a

,
n ve n

obt ain ed by t h e for egoin g di ec ti on s which i s 15 in c hes a

a
1
r , c r oss ,

t fr om ea ha
,

you il l fi n d t h e cen tr e e a
w c tly x c h sid e vin g foun d
-

it a n d set ag a uge t o thi s dista n ce m a r k acen tr e li e i ht

g n r

ul th a
,

r oun d t h e n eck a n d sc oll b ein g c a

'
r r ef,
t t h e side a lon g
whic h you r un t h e ga uge i s t h e pl a n e side fr om which
you
2 72 VIOLI N -
MA KING : A S IT WA S A ND I s .

squaed ad pla d
r n n e t h e t w o oth er sur fa
ces With t h e a
id of
a aset
.

t his cen tr e lin e a pr oceed t o m r k your sc r oll by m e n s of

of
t hr ee m odel s, m ade of plia ble in c or soft b r a ss t a k en fr om z
,
som e a c kn owl edged m a st er viol in Th e outlin es Fi g 1 62 a -
re .
,
ta
.
,
k en fr om t h e St r adi ua
r i us fiddle f r om whi ch I ha v e ta k en a ll
t h e m od el s with whic h I ha ve pr esen ted m y r ea der s A bein g ,

t h e fr on t B t h e ba
, c k of t h e hea d a n d c th e fr on t of t h e v ol ut e , .

Fir st set th e fin e en d of t h e m o e d l, A, Fi g 1 62, up un. der the

G
F : e 163 —Neck B l ock m a
r k ed for c ut t i n g Fm 1 64 C om m en cem en t ofc ut t i n g out
(b a a a
. . . .

out ck n d fr o t n v i ew s ) . Nec k n d Scr ol l .

vol ut e on t h e fr on t of t h e sc r oll, so tha t a s in A it ex a c tly , ,

c oi n c id es with t h e c en t r e lin e d r aw n r oun d t h e bl ock a s sh ow n ,

by t h e lin e d r a wn dow n t h e fr on t of t h e m odel A (Fi g .

a n d t h e O p en i n g in t h e c en tr e t h er eof A t p r esen t on ly t h e .

lin es A B (Figs 1 63 a
, n d 164) a
. re m a r k ed on t h e bloc k ; i t
oun d t ha t t h e b ot t om of A Fi g 1 62 j ust r ea
’

w ill n ow b e f c h es , .
,

t h e lin e A , Fi g 1 63 so b y t h e m od el A Fi g 1 62 you c a
.
,
n m a rk ,
.
,

t h e li n es D D Fi g 1 63 Next set t h e t op O f t h e m od el, B

’

, , .

a r ly m a
.

(Fi g . t t h e t op of t h e sc r oll bl ock a n d si m il a rk ,

2 74 V I O LIN -
MA KING : A S IT WA S A ND I S .

i ila
S m r t o on e a n other , a n d p er f ec tly t r u e t o t h e c en tr e li n e, by

m ea n s of t h e sp r in g c om pa sses Fi g 1 65 r ep r esen t s t h e g eo
. .

m etr i c a l pr in cipl es of t h e b a ck a nd f r on t of ap r op er ly c ut

v ol ut e ; if you c a n n ot c opy by e e a n d ha n d l ea v e of ffi dd l e
y ,

m a k in g for a s al uthier you a r e af a il ur e Ha vin g m a de t h e .

lin es of t h e vol ut e a
,
s viewed b a ck a n d fr on t i n Fig 1 65
, per .
,

fect l y st r a ight a n d pa ra llel t o on e a n ot her wit h c hi sel s, g oug es ,

n d files, p r oceed wi t h a l, or Obl on g pla

,

a fla t ova n e
(Fi g 1 25 or .

t o pla n e t h e ch ec k s of t h e
peg b ox sm ooth m a ki n g t hem
ss a
-

t r ue t o t h e c en t r e lin e, by m ea n s of t h e sp r in g c om p a
,
n d

a dj ustin g t h e b r ea dt h fr om your m odel— copy by t h e b ow

c om p a ss (Fi g . Now , fr om t h e m odel B (Fi g out .

out athin Slip of w ood lik e Fi g 1 66 by whi c h t o r eg ul a , . te ,

t h e c uttin g of t h e c hi n of t h e sc r oll K (Figs 1 63 a nd ,

.

w hi c h m ust n ow b e don e with a sh a r

p k n ife a n d fi le so

t w hen view ed sidewa

,
tha y s i t i s pr on oun ced a n d w el l a n gl ed
,
-

a s i n Fi g 1 64 a n d n i cely r oun ded i n t o t h e li n es E as in

'
.
, E
nd a
, ,

Fi g 1 63 a
.
,
t B Fi g 1 62 , Next w it h afi n e bla
. . ded k n ife
,
-
.

c ut out a n d n ea
,
t ly for m t h e c or n er un d er
t h e v ol ute L (Fi g so t h a
,
t i t foll ow s .

t h e m odel on P l a t e IV Now O p en t h e .

s r i n g c om p a
p s s e s — 6
i n ch a n d ga uge 1
1
,

alin e r oun d t h e sides Of t h e volut e

fr om t h e eye of t h e sc r oll M (Fi g 1 64) .

t o t h e out er poin t C of t h e lin e 0 C i n '

t h e sa a
— ”
m e figur e Thi s edge
“
F IG.166 Mod l fo h i ofe r c n
( s it
u
, .

) m ust b e left i n t h e sub sequen t

S °r ° '

w er e

c hi selli n g of t h e sc r oll Ta kin g this lin e a

. s a n outsid e m a r gi n

t o b e l eft fi a t , pr oceed t o chi sel t h e sc r oll l et t in g t h e lin es ,

whi ch a pp ea r
per pen di c ul a r in Fi g 1 65 (ba ck ) A A a . n d B B , , , , ,
sin k i n alitt le t owa r d s t h e h ea r t of t h e sc r oll b ut k eepi n g
t h e h or i z on ta l lin es C C D D E E a , , ,
b sol ut ely st r a
,
ight n d
, ,
,

a
a t r ight a n gl es t o t h e cen t r e li n e a n d ex a c t ly p a ra llel wit h
,

a n d o p osite on e a
p n ot her for these a ,
r e t h e g r ea t b ea uti es of
"

t h e St r a di ua r i us sc r oll a n
y devia t ion fr om , or c a r eless t r ea t
m en t of t h ese p a
,
r t i c ul a r s w ould r en d er t h e sc r oll m or e
Gua r n er i us lik e-
a n d un w or t hy t h e m od el w e
,
a r e w or k i n g

on . NO W pr oceed t o c ut out t h e g r ooves d own t h e b a ck o fth e

sc r oll a n d a r oun d t h e vol u t e (N N Figs 1 63 a ,
n d 1 64 , ) this m ust .

b e d on e by fa st en i n g t h e hea d fa c e d ow n w a r d s in to t h e vi c e, a n d

gr oovin g i t out c a r efiI ll y t a k in g t h e d ept h et c , fr om t h e m odel

you a
, ,
.

r e foll ow i n g B efor e c om m en c in g t o do so, op en t h e

c om pa aga
.

S r in g
p ss 143 i n c h a n d m a rk,
uge lin e r oun d t h e
ba ck a n d ov er t o t h e fr on t of t h e sc r oll si m i l a r t o t h e on e
you
dr ew r oun d t h e sides a
,

n d v ol ute ; t h e gr ooves N N m ust b e

, , ,
 NE CK A ND SCROLL .
2 75

Sunk b et w een this ga uge lin e a n d t h e c en tr e li n e whi c h l a

tt er
m ust b e l eft str on g a n d c l ea
,
r ly d efi n ed On e O f t h e gr ea t
beauti es of t h e St r a
di ua
.

r i us sc r oll i s t h a
t these g r ooves a
.

r e v er v
well m a r ked a n d fi n i shed an d t h e ou ter edges of t hem a , re

t o t h e cen t r e
11 c on su ltin g
s ides of t h e
c en t r e lin e a
n d , t c om e r ll a i ht over
n d un der t h e
g th e sc r o
olut e t o t h e po
( F i g 1 64) b ut t hi s l a st h a d b etter h e left
v
a
.

ti ll t h e peg b ox i s c ut out which m y n ow b e don e, fir st m a

-

, r ki n g
I t by open i n g t h e m a r ki n g c om p a ss { if i n c h a n d dr a win g
alin e d own ea
,
ch sid e of t h e fr on t of t h e sc r oll a n d a l on g
t h e lin e A (Fi g so a s t o en c l ose a spa ce a s sh a ded on
—
.

FI 1 64 N B I n ca se by t h e c hi selli n
g g of t h e chin t h e lin e
. . . .

B I s n ot ex a c tly on al evel w it h t h e b a
,

se of t h e c hin a s a t ,
.

Fi g 1 64 i t m ust b e c or r ec t ed— i e t h e lin e B Fi

'

.
,
( g 1 64) m ust
b e ex a
. .

c t ly op osi t e t h e ch i n
p a n d t h e li n e A b r ought a, s b efo re
j st 1 5 in ch (t h e b r ea
u 9
dth of t h e n ut ) a bove i t , a s i n t h e pla te
r ked a
.

Th e peg b ox , th er efor e b ein g m a

-

,
s in

Fi g 1 64 pr oceed t o c ut i t out b egin n in g w it h

.
, ,

asm a ll gouge a n d goi n g on w i t h g ouge k n i f

, e ,

a
,

nd fla t c hisel t ill t h e peg b ox i s c l ea

, n ly a n d
-

sha r ly c ut
p ,
a s set d ow n on p a ge 1 5 8 Th e .

cheek s a re a li t t l e t hi n n er j ust a b ove t h e n ut

tha n el sew h er e t o a llow t h e G a
, n d E st r i n
g to
r om t hei r p eg s t o t h e n ut c lea h F
g o f r o f t h e c e e k s ,
‘G

a
,

n da t a n eq u a l di st a n c e fr om t h e ot h er s Fi n ish ou d t h h a d .
r n e e

t h e peg b ox by Sc r a
-
pin g t h e bot t om ofi t wi t h t h e fl a t edg e of t h e
chi sel a n d fi l e t h e i n sid es of t h e c heek s a n d a lso t h e outsid es ,

n a
,
n d sm oot h with a fla
,

quite clea t fi le Fil e a l so t h e fr on t s of .

t h e c h eek s t o ha ve them c l ea
,
n sm oot h a n d sha r p— c or n er ed , a
, s ,

i n Fi g 1 67 Your sc r oll i s n ow ther efor e c ut a sI w a r n ed

.
.
y ou
befor e c om m en c i n g t h e descr iption of t h e pr ocess i s p er for ce,
, ,
m ea gr e, a n d ou m ust
y g et a well c ut h ea da s a m od el w hic h -

you ,

m ust w or k fr om m or e t h a n m y di r ec ti on s w hi c h a fter a ll ca n , , ,

on ly ser ve a s a n outlin e of p r oced ur e Th e m ea sur em en ts a l so

.

on p a ge 1 58 a r e on ly a ppr ox i m a te t h ey va ry of c our se , ,

w ith e ver y m odel ; a n d in thi s a l so you m ust b e guided by

c om m on sen se a n d eye with out whi c h you c a n n ever ma ke
afiddle m uc h l ess i t s hea d This don e, fin ish off t h e hea
,

. d a s

then sc r a
,
n ea r a s you ca n w i t h t h e chi sel pe i t w ell w ith
asc r a ll over t h e c ur ves a
,
p er , a n d sa n d p aer it thor oughly a n d
p
-

i n t h e c or n er s of t h e vol ute In c uttin g t h e g r ooves on t h e b a ck ,

ve t h e cen tr e r i dge pr om in en t a
.

et c , m i n d a
. n d l ea n d un t ouch ed ;

t h e sa n d pa per in g, et c , will r em ove t h e p en cil lin e fr om t h e t op

-
.
27 6 V IO LI N M AK I N G : A s IT WA s A N D 1 9.

of t h e idge To sa
r n d p aer t h e g r oove s you w ill fi n d it a g ood
p
-

pl a r r oun d t h e en d of a
.

n t o r oll a piec e of sa n d ap e p en h old er

p
-
,

a n d w or k th us w i t h a c ylin d er of sa n d a p er W h en t h or oughly
p
-
.

sa n d pa e r ed w et t h e h ea d a ll o v e r w i t h ab r ush a n d c old
p
-

,
wa ter ; t his (a s in th e ca se of t h e b a ck a n d b elly ) will t h r ow

up a n
y fa u lt s, d ef ec t s of scr a p i n g et c af t er w hi c h it m ust h s

n d pa
.
,

n d r e sa
,

t h or oughly r e sc r a p ed i f n ecessa ry a
.

,
p er ed whi c h
,
- -

op er a tion s m ust b e gon e t h r ough som e t w o or t h r ee tim es B e .

m ost ca ut i ous n ot t o a l t er t h e ch a ra c ter of t h e h ea d, or sp oil

i t s lin es by t oo vic ious sa n d
p a p er in g W h en t hi s i s d on e
-

ll r oun d t h e h ea
.

pr oceed t o b evel off t h e edg es of t h e h ea d a d

'

a n d v ol ute (b ut n ot i n sid e t h e peg b ox ) ex t en di n g t h e b evel -

c t ly g a
,

t o li n es w hic h sh ould b e ver y c a r efully a n d ex a uged

,
r ou n d t h e c or n er s a h in c h fr om t h e edges B eg i n t h i s .

b evellin g w it h t h e kn ife a n d fi n i sh i t wi t h afi l e t o m a
,
ke i t
even r em ovin g t h e fi le m a r k s w i t h fi n e sa n d pa p er (b ut keep -

d i n wa
,
t h e edges of t h e b evel sha r )
p Thi s don e dip t h e hea . t er ,

for t h e l a st t im e a n d w hen ,
t hor oughly dr y p oli sh i t up
well w i t h fi n est gl a ss
p a p e r i n c l udi n g t h e e e of t h e scr oll ,
-

y ,

n d pa
w hi c h m ust b e
per fec t ly fl a t A s sa per in g t h e eye i n t h e
-

l m ost in ev it a
.

or din a r y w a w ould a bly r esul t i n r oun din g off

y
i t s edges you w ill fi n d i t b est t o pl a ce p i ec e o f s a n d pa p er a -

on t h e b en ch a
,

n d ru b t h e eye of t h e sc r oll fl a t upon i t Your .

in s on ly t her efor e fin a
,

hea d i s n ow fi n ished, a n d i t r em a lly t o

shae t h e n ec k a n d should er b ef or e sett in g it upon t h e b ody of
p
t h e vi olin For t hi s pur pose you will r equi r e an eck out li n e
.
,

which t hough pr oper ly used for splic in g h ea

,
ds (a n op er a t i on
desc r ib ed fur t her on ) , i s useful her e a s w ell an d so m a y n ow ,
be m a de I t i s r ep r esen ted b y F ig 1 68 (on P l a
. te VI ) a ct u al . .

si z e a n d m a t her ef or e b e c opied i n fa c si m ile on at hi n lea f of

, y
w ood Fr om t h e lin e B (Fig s 1 63 a n d 1 64 ) m ea sur e d ow n t h e
.

t adi sta
.

cen t r e lin e, a nd ma ke am a rk a
”
n c e of 5 T F i n c h es f r om

B . Now wit h asqua r e dr a w alin e a c r oss t h e fa ce of t h e n eck

(a s a t G G Figs 1 63 a n d a n d la yin g t h e n eck out lin e

’
.
,

(Fig 168 P l a t e V I ) on t h e sid e of t h e n ec k a

,
. n d sc r oll so ,

c r oss t h e n ec k a
.

t ha t i t s lower poin t A i s on t h e lin e d r a w n a s ,

a b ove, a n d i t s st r a ight edge c or r espon d s t h r oughout i t s l en g t h

wit h t h e fl a t side of t h e n eck m a r k on t h e r ough sh ould er of ,
t h e n eck a s it i s a t h e sla n t a n d outli n e
‘

,
t pr esen t (N, Fi g .

of t h e t r ue sh ould er (a s a t 0 0 Fi g a s d et er m i n ed by t h e
,
.

n ec k out lin e
(Fi g 1 68 P l a te VI )
. r em ove a
,
ll w ood w ell out
.

sid e t h ese li n es w ith a fi n e t en on sa w a n d w it h a fla t chisel a nd

pla
,
n e a n d sl ope of
,
f t h e sid es of t h e sh ould er t ill t h e un der
sur f a ce r esen t s t h e a
p ppea ra n c e sh own i n Fi
g 169 This i s don e . .

a s foll ow s : Not e t h e
poin t on t h e li n e D D Fi g 1 69 (t h e l ow er
’

,
.
 THE N E CK A ND SCROLL. 2 77

e dge of t h e fa ce of t h e n ec k ) wher e t h e cen tr e lin e Whi ch

,

t th r oughout i t s l en gth en d s a
,
ext en d s f r om t h e n u p i n t A
( t t h e o )
Fr om t h e p oin t A , b m ea a
,

n s of asq u r e la
.

a
a
id on D
c en t r e li n e A A gpm t h e spr in g com passes s, in ch, an d
'
.

ma r k on ea c h side of A t h e p oin t s B , B , a n d fi n i sh th e m p a
’ ’
s
D B D B , whic h m ust b e qui te str a ight, tr ue a n d a ov e a
' '
b ll
thin gs pla
,
, ,

n e
, .

You c a n n ow r oceed t o fix your n ec k a n d scr oll on t h e b ody

of t h e fi ddle ith t h e spr in g c om p a
. sses a scer ta in t h e ex a ct
c en tr e of t h e b ell b et w een t h e c r a n n i es of t h e t w o
ff h ol es,
a nd m a k e asm a l ma r k ; i n like m a n n er fi n d a n d m a rk th e
ex a c t c en tr e b etween t h e edges of t h e up or b out s a t their
br oa dest pa rt A fla t edge l a
. id a lon g t h e b e] y coin c idi n g w it h
t hese t w o p oin ts, will n a t ur a lly divide t h e belly th r ough out i t s
len gth in t o t w o p a r ts d ow n i t s ex a ct
,
Di
c en t r e by th is m ea n s m a rk th e
ex a c tly c en t r a l p oi n t of t h e t op edge .

Now open t h e sp r in g c om pa sses a bout

t h e dist a (Fi g a ndm a rk
’
n ce 0 c .

t w o p oin t s a t equa l di sta n cx es on t h e

t op edge fr om t h e p oin t you ha
,
ve
ma r k ed i n t h e c en tr e of t h e t o edge
p
i n t h e sa me ma n n er a
,
s wh en you
wer e m a r k i n g t h e pla ce on t h e l ower
edge i n which t o fix t h e r est A t
these p oin ts m a
.

k e t w o c uts ex ten d
lly a
,
in g ver t ica nd h or iz on t a

"
lly ,
thr ough t h e edge a s f ar d ow n w a r ds

a n d in w a r ds a s th e t o a n d sur f a ce F 169 B a of 8 h ould ad sh a

13 ,
p ,
_
se er n e
f CM W Q M
of t h e r ibs In t h e h o low t hus c ut
.
m °

set t h e sh oulder c ut a sa t fi g 1 69 so th a
,

t t h e en d B B goes '

a
.

ga If t h e cuts a
,

in st t h e b utton l eft on t h e b a ck r e n ot w i d e
.

en ough t oa ll ow t h e en d B B t ot ouc h t h e b utt on , r e c ut t hem al i ttle

’ -

wider B e ca . r ef ul, h owever , n ot t o c ut them t oo wide th ough ,

i f by a cc iden t it sh ould b e so by pl a n in g d own t h e en d B B
,
th e
'
,

n ec k w ill
g o fa r th er b a ck a n d fill u t h e s a
p c e b etw een t h e c ut s .

Th e n ec k a n d sh ou lder bein g t hus h el on t o t h e t op of t h e

fiddle see tha , t it i s quite st r a ight , a n d m a r k on t h e t o po f t ire m bs
t h e li n es D B a n d D B , with a fin e m a r ki n g p oin t or t h e pom t of
’ '
-

akn ife H ol din g t h e kn ife fi r m ly, deepen this m a

. r k by dr a w m
g
t h e k n ife dow n i t (b ein g c a r ef ul n ot t o l et it SH on t o t h e b l ly
e
a t t h e en d of t h e c ut ) till you ha
-

ve c ut quite E ) r ough t h e r i b s .

Now r em ove t h e wood b etween t h e lin es, c uttin g a wa y equa lly

b elly r ib s, a n d b l ock , till
you h a v e h oll owed out t h e c h a m b er
re a
,

(in t h e sa me ma n n er a s f or t h e r est quite squa n d c lea n

2 78 V I O LIN -
MA KING : A S IT WAS A ND I S .

cu
‘
t, in c h deep a ll over , b ein g so ex a c tly t h e sh a p e of t h e
sh ould er (Fi g t hat t h e la
. t ter fi t s quite t ight ly i n t o i t
c e of t h e sh oulder m ust b e pla
.

Th e un d er sur fa n ed un til f r om
t h e n ut (li n e B Fi g 1 64 ) t o t h e en d of t h e n ec k (G G Fi g
'
.
,

i s adi sta
,
in c hes Th e pl a
.

n c e of ex a c t ly n in m ust, h ow ever
n ot a g
.

l t er t h e sla
,

n t d eter m i n ed by t h e m od el Fi g Th e .

dept h of t h e sh ould er will of c our se va r y wit h t h e h eight of t h e

sid es Th e b a . c k of t h e sh ould er
(0 Fi g 1 64 ) m ust b e out so ,
.

a s t o fi t exa c t ly a ga in st t h e b ut t on , a n d when thus fitted, t h e ,

fr on t of t h e sh oulder Fi g 1 64 ) m ust pr oj ect exa .
c t ly 9, of
a n i n ch a bove t h e b elly B esides fi t t in g ex a c tly, t h e n ec k m ust
.

b e set ex a c tly st r a igh t t o t h e a x i s of t h e in str um en t Thi s i s

t este d i n t h r ee i n d ep en den t wa
.

y s t o en sur e per fect ion which i s

y ha
,
rd t o Th e n ec k b ein g fi x ed i n wit h out glue : l st
v er
g et .

H old t h e ba
,

c k of t h e fiddle, hor iz on t a lly a n d len gth w a y s, level

w it h t h e e e, so tha t you see t h e ba c k j oi n q uit e str a ight fr om t h e
y
r i se of t h e a r c hi n g t o t h e b ut t on i f t h e n ec k i s on str a ight t h e
cen tr e r idge O f t h e b a
.

,
c k O f t h e scr oll w ill c oi n c id e w i t h a nd
for m ac on t i n ua t ion of t hi s lin e 2 md Hold t h e b elly sim ila r ly ,
so tha t th e m a you m a
.
,
rk de b et w een t h e c ra n n ies of t h e ff h ol e s

c oi n c id es a n d f or m s a lin e w ith t h e
:i poin t A , Fi g 1 69 a t t h e b ot t om of
-

T .
,

FIG 1 70 —W dg fo t t i g e te
t h e n eck
r es n
If t h e n eck i s st r a
se
i ght ,
.

t i n s of H a d ad N k
. .

e
t h e c en t r e r idge on t h e fr on t of t h e
n ec

volute of t h e hea d will c oincide wit h a n d c on t i n u e t hi s lin e .

3r d P r epa , r e aw edge 6 i n c hes l on g 1 b r oa d a n d 25 i n c hes

high a
, ,
t t h e b r oa d en d (Fig Now set t h e fiddle on i t s
.

edges an d slip in , p g t h e w edge un d er n ea t h t h e sc r oll n ote ,

t h e p oin t (on t h e sid e of t h e w edge) wh er e t h e eye of t h e sc r oll
.

first t ouches i t Now t ur n t h e fiddle over a n d set it on t h e edges

“

p t t h e p r ocess a
r e ea n d if t h e sc r oll t ouc h es a
‘

of i t s other sid e
'

,
t
t h e sa me p oin t i t sta n d s t o r ea son t h a t i f y our m odel i s r egul a r
t h e h ea
, , , ,

d a n d n ec k m ust b e ex a c tly t r ue t o t h e a x i s of t h e

inst r um en t This i s t h e best beca . use t h e m ost c er ta ,

in t est for
t h e fi ddle m a ker W hen afiddle i s ver y ol d a
-
. n d k n oc k ed a b out ,
t h e out lin e h a s b ec om e un t r ue a n d t h en it f a ils b ut for t h e pr esen t
,
i t i s t h e b est for our ur ose Ha vin g a scer t a
' '

f
p p
'

in ed ther efor e by , ,
t h ese m ea n s t ha
.

t your fit t in g i s t r ue pr oc eed t o gl ue i n t h e n ec k ,
.

Fill t h e cha m b er a n d sm ea r t h e b ut t on
,
wi t h good st r on g glue ,

pr ess t h e n ec k i n a s ha rd a s you c a n with t h e h a n d, a nd

just r a pidly r epea t your t ests t o m a ke a ssur a n c e doubly sur e

wit h ast r on g i r on c r a
,
t hen , m p c ra m p t h e should er t o t h e
er wit h aslip of w ood s eei n g tha
,

butto n , r ot ec ti n g t h e l a tt t
p ,
t h e shoulder i s w ell p r essed t o t h e b ot tom of t h e c ha
"
m b er .

A ppl y t h e sc r ew b utt on of t h e c r a m p t o t h e fa c e of t h e n eck,

280 V IO LI N -
MA KING : A S IT WA S A ND IS .

Wh en this i s quite dr y pr oceed fin a lly t o sh a p e t h e n ec k with

Fir st c ut t h e b ut t on t o t h e p r esen t r ough sha
,

aShar p k n ife pe
e upw a r d s, a
.

of t h houlder b ein g c a
e s ,
r ef ul t o sl a n t t h e kn i f n d n ot

cut d ow n i n t o t h e b a c k t ow a r d s t h e j oin t, w hi c h i s av er y ugly

fea tur e i n b a dly m a de fi ddl es NO W pr ep a

-
. r e ag uid e whi c h i s ,

r e r esen t ed
p in a c t ua l siz e a t
Fi g 1 7 2 (fr om whi ch it m a
.
y be
r ed by t r a
pr epa c in g O f f t h e out
lin e a n d c uttin g i t out on a
,
slip

O f w ood a b out 5 in ch thick) ;

t h e r oughly hew n n eck m ust b e -

a c ut a wa
.

d
r y w ith t h e k n ife b ein g ,

m ost c a ut i ous n ot t o l et t h e kn ife

o
b-

sli p a n d i n j ur e t h e h ea
r
e
g d, t ill t h e
n
en d A O f Fi
g 1 7 2 fi t s over i t
i

F .

j ust b el ow t h e chin O f t h e sc r oll ,

a n d t h e en d B fi t s ov er i t j ust

a b ove t h e shoulder I t i s best .

th a t a t th ese poi n t s t h e for k s

O f t h e m odel (Fi
g 1 72) Should .
,

k i n t h e fi r st st a ge O f t h e c uttin g ,

N ba
c

r ely g o ov er t h e w ood ; it w ill

e

b e suf fic ien t t o g et t h ese di a

m eter s a ppr ox im a
0 t ely r ig ht a n d ,

l ea
s

v e t h e p er fec t ion O f t hem t ill

e
s

t h e n eck a r oa
s

c hes t h e fin i sh ;
e
n
p p
b esides t h e filin g a
k
n d p oli shi n g
c
i
.
h
w ill st ill fur t h er r ed uc e t hem
t
.

B efor e b egin n in g t o Sha pe t h e

sh oul d er c ut t h e t op O f t h e
,

but t on t ill t h e dist a

G
n c e b et w een
-

t h e ch in O f t h e sc r oll a n d th e

t op O f t h e b ut t on i s j ust 4 r s
.

i n ch .

C on t i n ue t o c ut dow n t h e
n eck a n d should er t ill t h e guid e

(Fi g 1 7 2) j ust g oes over bot h

'

n ec k a n d f al se fi n g er b oa rd a t -

t h e t w o poin t s a b ov e ex pl a in ed .

Now w i t h t h e sm a ll est fl a t steel pl a n e sm oot h t h e sides of t h e

fa l se fi n g er b oa
-
rd t ill t h e lin e w her e i t j oin s t h e n eck i s on ly
,

a s vi sibl e a s t h e j oi n O f t h e ba c k or b elly Ha vin g d on e t his

.
,

fi n ish Off t h e but t on m a k in g i t a

,
s ev en a n d ci r c u la r a s p ossible ,

a n d r i sin g w ell a t ar ig h t a n gl e (n ei t h er m or e n or l ess

) fr om
t h e edg e O f t h e b a ck W h en you h a
. ve sha p ed t h e n eck a s
 TH E NE CK A ND SCRO LL . 28 1

fa r a s p ossibl e w i t h t h e k n i f e, t a ke agood r a sp a n d obliter a te,

a s f a r a s p ossibl e, t h e m a r k s O f t h e k n if e, b ut n o m or e ; th en

with ap a ir Of fil es obliter a t e th e r a sp m a r k s usin g afi n e fl a t

on e for t h e n ec k a n d afi n e ova
,

, l on e for t h e shoulder a n d

c hi n O f t h e scr oll . B evel Off t h e out er edge of t h e b ut t on

j ust a s m uch a s (i n fa c t, t o m a tch ) t h e bevel Of t h e edges
of t h e fiddl e . Now , wit h asc r a p er , scr a pe t h e n ec k a n d

sh ould er a s sm ooth a s p ossible, a ft er whi ch give i t agood

polishin g w ith c oa r se sa n d pa p er , a
-
n d then a n other with fi n e .

Now 0 a ll over t h e fiddle (esp ec i a lly t h e sides a n d edg es ,

)
with n e sa n d pa p er , t o c lea n of f a n
y dir t w hi ch m a y ha ve
-

a c cum u lated Sin ce t h e l a st r ubbin g , a n d ha vin g sa t isfi ed your sel f

t ha t t h e fiddle i s a s c l ea n a n d sm ooth a s ou ca ma k e it, your
y n

in str um en t i s fin ished i n t h e whi t e a

“
n d ca n a t on ce b e v a r

n i sh ed p r ep a ra tor y t o fi t t in g i t up a n d pla yin g on i t If it i s

.

i n t h e sum m er t im e t hi s c a n h e pr oceeded w ith a t on ce a s

pter II b ut i f it i s i n a ut um n or w in ter , ha
,

descr ibed i n C h a . n g

up y our fiddle, i f p ossible, i n a dr y gla ss c ase, or i n a wa r m r oom

till t h e r et ur n Of t h e h ot wea ther a ,n d i t will b e g r ea tly ben efi ted

by t hi s sea It r em a
”
son in g
“
i n t h e white . in s, th er efor e, on ly
t o give in st r uc t ion s for v a r n i shi n g a n d br in gi n g u t o m el ody
p
poin t .
 CHA P TE R X XI .

T HE GUA RNE RI U S MO DE L, W ITH W H O LE TA B LE S ON A N INSIDE

MOU LD .

Th e In si d e Moul d a n d i t s A ccessor i es—Th e Cr a m pi n g B l oc s—Th e O u t li n ek

Th e Cen t r e Mon k or Si d es Out l i n e—Tr a c i n g t h e Model — P r epa ri n g t h e
— s—Th e
-

W ood— Th e B l oc s— Fi x i n g —Sh a
k i
p gn — Th e O
’
s Th e L ow er B ou t
Upper B out s— Th e Dept h Of t h e Ri b s—Th e Si de Li n i n g s—Th e B a
~

c a n d k
Bell y— Th e ff H ol es—T i n g out t h e Moul d—Fi n ish i n g t h e Rib s, Li n i n g s,
a
k
a n d B l oc s— Fi x i n g on t h e B el l y—Th e Nec
k ka
n d Sc r oll .

Th e I n si de Mould a n d i t s A co essom es — Th e fi r st thin g, a

'

. s

b efor e, t o dec ide upon i s t h e m odel , a n d c on se uen t ly, t h e m ou

, q ld
ouw hi c h you a
-

r e g oi n g t o build your fiddl e A s I ga ve am ould

.

O f St r a di ua r i us b ef or e, I ha ve n ow pr esen t ed m y r ea der s i n
P a l te V wi t.h a m ou l Of G a
d u r n er i us
1
It wi ll b e seen t h t t h e
. a
c on str uc t i on O f t hi s m ou ld i s ui te differ en t t o t ha
q t O f t h e on e
r e r esen t ed b y P la
p t e IV I n w or k in g w i t h thi s on e w e sh a
. ll fix
on t h e r ib s out sid e t h e m ould, a n d t h e cr a m pi n g bl oc k s will b e
fix ed on out side t h e r ib s w it h c r a m ps fix ed i n t h e h ol es A , B , C, D,
E, F . TO m a k e am ould O f this sor t fr om a n
y fiddle, pr oc eed, a s

b efor e, t o ta k e t h e out lin e on t h e outlin e b oa rd

( g
F i o r .

ot her wi se, a n d ha vi n g tr a n sfer r ed i t t o pa per , a n d dr a w n a c en tr e

li n e d ow n t h e exa c t m iddl e,
you w ill ha ve t h e out l in e 0 0 0
(Fi g .
(It wil l b e ob ser ved tha t on t h e P l a te V 0 0 0 .

i s on ly ah a l f out lin e, b ut t his does n ot m a t t er , as wil l b e seen

fur ther on , for t h e t w o sid es O f t h e fiddl e w e a r e c opyin g a re in

ex a c t c on t r a fa c si m ile
) Now , a ta dist a n ce O fa bout { 3 in c h in side
-
3
.

t hi s li n e, d r a w ver y c a r efully a sec on d lin e, a n d

you wil l ha ve t h e
“

(wh ol e) outlin e P P P (Fi g . Let t hi s sec on d or i n n er

outlin e b e t r a c ed of a n d pa st ed on t o a la
p n k O f ha r d w ell

sea son ed w ood in ch t hic k Tr a .ce in sid e i t t h e Si x pl a ces f or

t h e bl ock s t o g O —v i z , I , J, K, L, M, N, a
. s show n i n t h e pla te a n d in
Fi g 1 7 5 , a
. n d t h en c ut i t out m ost ca r efully, a n d
you will ha ve
am ould a s r e r esen t ed by Fi
p g 1 7 5 (w hic h, h ow ever , shows t h e
.

a a
Th e m od el s n d out l i n es of t h i s ch pt er n d of Pl t e V a re t a
en i n t h e a a
k
a a fi a
m i n ut est f c si m il e fr om am g n i c en t Joseph G u r n er i us d el Gesuof t h e d t e a
.

1 7 34 t h e pr oper t y O f M S i n t on a It i s on e of t h e m ost c el eb r t ed nd a a
aa a a
. . .

c h r ct er i sti c i n st r um en t s O f t h i s g r e t m st er s m ak e w h i ch ex i st s
’
.
 284 VIOLIN MA KING -
: A S IT WA S A ND IS .

fr om whi ch you tr a ce on t h e sla b s t h e outl in es O f y our b a ck a nd

b elly A s b efor e, ah a
. lf outlin e (Fi g 1 7 3) ca n be ta ken , a n d will
ser ve t h e sa
.

m e p ur p ose on ly it m ust b e tur n ed over on t h e

cen t r e lin e t o t r a
,

ce t h e other ha lf of t h e ta bl e Your m ould

a n d pla
.

n k outlin es b ein g n ow c om lete t h e n ext thin g t o do i s

p
tom a
,
ke your c r a m pin g bl ock s whic h a r e t h e sa me a s d esc r ib ed
i n C ha
,

pter X IV p 228 on ly t ha
.
,
. t t h ey a
, r e i n thi s i n sta n ce m a de
t o g o out sid e t h e m ould i n stea d of in side, a sw a s t h e ca se wh en w e
w er e w or kin g with a n outside m ou ld a n d a r e r ep r esen ted i n
a c tua l siz e t o g owith our pr esen t m oul d on P l a
,
te V by t h e pieces .

1 to 8 .A s b efor e th ey a
, r e 1% in ches d eep a
,
n d fit aa
g i n st t h e
sides, so tha t t h e n um b er s
whic h a r e i n sc r ib ed on ea ch

cr a m pin g bl oc k c oin cide with

t hose dr a wn on t h e m ould a t
t h e p oin ts Op osit o wh i c h th ey
go a s in i g 1 7 6 (whi ch
, .

w ill b e fu lly expl a in ed fur t h er

on ) These, th er efor e, a . r e th e

oper a tion s by whic h am oul d ,

et c ca n b e ta ken fr om , a
.
, n d

for t h e ur l ose of cO in g
g i il
l
l
an
y fi ddl a r d by w h i cl h ose
on P la
t V w e . er e p r oduc ed ;
tha t i f m y r ea
so der s a r e c on
t en t t o m a k e aGua r n er i us

fiddle t hey ha ve on ly t o m a ,ke

t hei r t r aci n gs a n d pla n k out
lin es a s desc r ibed , fr om t h e

pla te Fr om th i s poin t I sha . ll

a ssum e th a t we a r e w or kin g
on t h i s m ould a n d w r it e a c ,

B l o k of P l a
t ov c or di n l th ough a s will b e
F o 1 76
a” m um (“ m k seen t h e p r ocesses ca
c
g y
r s
,
. . .

s
, n be
a pplied t o a n y m od el , a n d to a v oid r ep ea tin g m y fi rst ch a pter s ,

w h er e (a s i s gen er a lly t h e c a se) t h e w or k i s id en tic a l , I sh a ll

m er ely r ef er m y r ea der s t o t h e pa ges wh er e they will fi n d t h e
n ec essa r y in for m ation , sh ould they ha v e for gotten t h e w or k they
did b efor e I m a.
y a l so r ep ea t t ha t a n
y of t h e p r ocesses i n t h e
foll owin g ch a pter s, w hic h differ fr om t h e m eth ods b efor e de
sc r ib ed , m ab e p u r sued with a n y m odel or outlin e, a n da n y m ou ld
y ,

whet h er in sid e or outside Th e m a in p oin ts i n which our w or k

tter of m ould ) will b e i n t h e sla
.

w ill dif fer (b eyon d t h e m a b

ba ck a n d t h e spli ced h ea d .

A s b efor e, t h e fi r st thin g a ft er d ec idi n g on t h e p a tter n i s th e

 TH E GUA RNE RI U S MO DE L . 28 5

c hoi ce Of t h e wood A s w e j oin ed our ba ck a n d b elly b ef or e, w e

a
.

will n ow m a k e th em i n on e piece a n d a ta ble i n on e piec e m y ,

b e ei t h er “
whol e or sla b ”
If you tur n t o Fi g 7 7, p 1 34,
.

th ese c uttin g s a pl a in ed for awhole ta

.

ble a
.

r e ex n ex c ep t ion a lly
b r oa d fi n e t r un k i s r equir ed fr om whic h i s c ut awedge a
, s a t
t t her e d escr ibed a
,

da
,
Fi g 7 7 on ly twi c e a
. s b r oa s tha n d va r yi n g ,
fr om 2 in c h es on t h e t hic k side t o 35 on t h e thin sid e Thi s .

is r e m a r k ed on
-
t h e en d, a s in Fi g 1 77 by t h e li n e A B .
,

w hi c h i s then sa w n d ow n a
,
n d t h e w edg e 0 t hus c u, t off i s sa wn
up i n to a s m a n y t hi n st r ip s 1
T; o
r T ; in c h t hi c k ,,
a s ca n be
1

c ut fr om w hen c e a r e c ut t h e r i b s w hi c h t hus m a t c h t h e ba ck
, ,

i n gr a in et c , whic h i s agr ea
, . t b ea uty i n afiddle wit h aw h ole
ba ck For asla
. b ba ck t h e pl a n ks a r e c ut out O f t h e t r u n k a
,
s
a t Fi g 77 w hi c h styl e of c ut t i n g show s t h e g r a
.
,
i n O f t h e w ood
ru n n i n g r oun d t h e ba ck in ser p en t in e ova l s w hic h follow t h e ,

"
outli n e O f t h e fiddle with t h e cur l s or fi g ur e of t h e w ood r un n in g
ter qua n t i t y , b ut n a
,
a c r oss fr om r ight t o lef t i n g r ea r r ow er tha n

on t h e qua
,

t hey a ppea r on ba c k s cut r t er ‘

w h et h e w h ol e or
n
c k b eca
,
j oi n ed I h a ve c h osen t h e sl a
. b ba use i t I S Si m pler t o
wor k a n d ha s a ver y p r et ty effec t .

Th e st r ip s for t h e r ib s c ut a n d c

st or ed, a pa ge 1 35 a
A
s on n d th e ,

bloc k for t h e n ec k m ust b e selec ted r m 17, 4 , d ut fo a h ol

,

of a sm a ll c l ose our ] t o m a
9 c r w e
B ak
.

, t ch ,
c

a n d c on t r a st with t h e ba ck I sh a ll a lso a ssum e t h a t you

ha
.

ve g ot apiec e O f b elly pin e of suffi c ien t siz e a n d q ua lity

(a tt r ibutes ver y diffi c ult t o fi n d t og et h er ) t o m a k e ab elly O f
good a c oustic p r oper t ies If you ca n n ot. fi n d t hi s a n d
you
ca
,
n n ot
g et supplied by agood fi ddl e m a ke r m a k e y our b el ly -

j oin ed a
,
s descr i b ed on pa ge 1 33 w hic h i s m uch b etter th a n to

use asi n gle piec e w h ose gr a

,

in i s m uch W ider a t on e edge O f t h e

b elly t ha n a t t h e opposi t e on e (B efor e r ej ect in g asl a ba s t oo

na
.

r r ow r i de t h e ex p edien t f or in c r ea si n g t h e b r ea dth set dow n on

pa ge Th ese pr eli m in a r i es ha vin g b een set t l ed a n da r ra n ged ,
let us gen t le r ea d er sta r t for th a ga in t o ether t o m a ke our
n d m a t h e succ ess whi c h It r u
, ,
sec on d fiddl e a st a tten ded our
y ,

fir st effor t s a tten d us a ga in n ow .

Th e B l ocks — Th ese a r e t h e c om m en c em en t O f afiddle on an

i n side m ould For t hem you m ust ta . k e si x l i t t l e r e c ta n g ul a r pi ec es

O f fi n e gr a in ed pin e a
-
s i n Fi g 1 4 1 w hich w h en set up on edg e
r t o t h e b en c h ) h a ll eq ua
.
,
in per pen di c ula ve a
,

(i e aW it h t h e gr a
' lly
adept h O f 1 5 in ches with t h e t op sur fa ces a s foll ow s : Tw o ,

for t h e t o a n d b ot t om bl oc k s, 23 i n c hes by 1
} t w o for t h e upper
p
c or n er s 1 b
y 1 ; a n d t w of o r t h e l ower c or n er s, 1 by Th e b ottom
a r e t o on e sid e a
,
edge O f ea c h m ust b e sq u n d b oth en d s Of t h e ,
286 VI O LIN -
MA KING : A S IT w a
s A ND 1s .

t op a n d b ott om bl ock s m ust b e squa r ed t o t h e sid es thus sq u a r ed .

Tw o sid es of ea c h c or n er bl oc k m ust b e squa r ed t o on e a n ot h er .

Cut down t h e t op a n d b ottom bloc k s till th ey j u st fi t n icely (n ot

t oo tight or t oo l oose) i n to t h e c ut s K a n d N Pla te V a nd ,

.
,

Fi g 17 5 m a . de t o r eceiv e them When fitted r ough t h e l ower

,
.
,
ha lf of t h e side t h a t goes a gain st t h e m ould a n d gl ue it t o t h e ,

l ow er pl a te of t h e m ould (gluin g t h e sid e on ly n ot t h e en ds) so ,

a s t o p r esen t i n sec tion t h e a ppea ra n c e of Fi g 1 7 8 B r ep r esen t i n g

'

.
,

t h e m ould a n d C t h e bl oc k Th e t op a nd ,
.

b ottom blocks w hen gl ued m ust b e c r a m p ed , ,

t o t h e m ould by i r on c r a m ps fr om t h e h oles
A a n d H P la te V Th e c or n er bl ock s a ,
re .

m er ely fitted t o t h e c uttin gs I J L a n d M , , , ,

P la te V a n d Fi
g 1 7 5 t h e l ow er ha lf of ,

ed a
,

c h r ough ed a
. .

— o n e side of ea n d gl u n d set
F m 17 S f blo k
i n t h e c utt i n gs wi t h out c r a
i 8 ,

m p s i n t h e sa
. ect on o c
fi di ul d
x e n m o .
me ,

m a n n er a s t h e t op a n d b ot t om bl oc k s a n d t h e w hol e i s t h en s et ,

t o dr y pr esen tin g t h e a ppea ra n c e of Fi g 1 75 It will b e seen . .

l l p r oj ec t j ust b el ow t h e m ould (a
,

tha ta s b el ow t h e dott ed lin e

Fi g 178) t hi s i s so t o g ua rd a ga in st t heir n ot b ein g set
‘

A ,
quit e flush wit h t h e low er sur fa
.

c e of t h e m ould A l l b elow t h e .

l ower sur fa c e of t h e m ou ld m ust n ow b e r em oved by tur n in g t h e

whol e c on cer n over wetti n g t h e t hus p r esen ted bot t om s of t h e
n i n g t hem d ow n with a t oothed pl a n e t ill t h ey a
,
block s a n d pl a ,
re

even a n d pl a n e a n d t r ue t o t h e l ow er

str a
,
sur f ac e oft h e m ould so th a ta ight ,

edge m oved a ll over t h e sur fa ce show s

n o light a n d ca tches on n ot hin g Now .

w ith t h e m ou ld (or r i b s out lin e Fi g ,

.

1 74 , P P P P la te V ) m a r k on t h e t op .

a
,

n d b ottom of t h e t op a n d b ott om

bl ock s w h a t w ood h a s t o b e r em oved

tom a k e t h e outli n e c on tin uous a t t op

a n d b ot t om an d by thi s m ea n s m a ke
t h e t op a
,
n d b ott om bloc k s even w ith ,
a n d
p a r t of t h e out lin e a
,
s at,
K P l at e F o 1 72 —Di a g a m pl a
i i g th ,
r . r ex n n e

V b ein g ca
ut t g of t h o blo k c in e c r n er c s:
r eful h ow ever , t o k eep
r e t o t h e b ot t om or fl ushed edges a
.
, ,
t h em quite t r ue a n d sq u a nd

lower sur fa ce of t h e m ould Now l a yin g t h e out l in e a

. ga in over
t h e bl oc k s so th a t a s b efor e it c oi n c id es ex a
, , c tly w i t h t h e outl in e
,
of t h e m ould m a r k with a sha p p oin t t h e ex a c t sh a
r , pe or outlin e
of t h e c or n er s Cut a wa y m ost of t h e super fluous w ood by '

(c a d ed pa
.

r efully r em ovin g t h e w ood r e r esen ted by t h e sh a rt of

) p
Fi g 1 7 9 out si de t h e bl ock a
.
, n d by c utt i n g d ow n t h e l i n eS A
,
B ‘

,
a n d B, 0 Nex t wit h agouge cut a
.
,
wa y t h e r em a in in g wood D ,
 V I OLIN -
MA KI NG : A s IT WA s A ND I S .

i n t h e h oles D a n d E Th e en d s of t h e C s m ust b e pr essed

’
set .

tight up a ga in st t h e glued bl oc k s, by p ushin g i n bet w een t h em

a a
n d t h e c r m pin g bloc k s a
,
t t h e t op a n d b ot t om of t h e l tter , a
lit tl e wedges a n d c hip s O f w ood so a s t o en sur e a a
cl ose n d fi r m
a
,
c on t c t b et w een t h e en d s of t h e 0 s a n d t h e i n n er or glued
’

sur f a c es of t h e c or n er bl oc k s . Th e edges of t h e C s j utt in g j ust

’

b elow t h e l ower sur fa c e of t h e m ould

(i n t h e sa me w a a
y s di d
t h e bl oc k s b el ow t h e lin e A , Fi g 1 7 8 ) m ust, when t h e gl ue i s
.

dr y, b e filed d own fl ush a n d pla n e with t h e l ower sur f a ces of

t h e m ould a La st ly, r ed uc e t o m a n a gea
"
n d bl ock s . ble l en gth
t h e en d s oft h e C s whi ch pr oj ec t b ey on d t h e c or n er s
’
Th e n ex t
oper a
.

t ion i s t h e c ut t in g t o out li n e O f t h e outer fa c es of t h e

bl oc ks E , Fi g 1 7 9 , w hic h m ust b e don e i n t h e sa m e w aa
.

y s th e
i n n er f a ces, k eepi n g t h em q uit e s uaq re t oth e
p la n e sur f a ce of t h e
m otdd, bl ock s, a I n c utt in g t hi s fa c e you will m a
’
n d 0 s . ke t h e
C s w or k i n to t h e out lin e by c utt i n g
’

t h em t o a p oin t , a s a t A i n Fi g 1 80
. .

When t hisi s sa fely a n d c or r ec t ly a ec om

n p r oc eed t o b en d a
pli sh ed, youc a n d fit

t h e upper a n d l ower b outs, b e i n n i n g

g
wit h t h e l a tt er Fi r st b en d a n d fit
’

t h e en d s whi c h fit a ga in st t h e c or n er
bl ock s a n d w hic h a r e p r otec ted wi t h

lin en , a n d t h en t h e r est O f t h e str i s

p,
a ft er w hich you m ust m a k e t h e j oin
a t t h e b ot t om . This i s d on e by ta k in g
ea c h l ow er b out (a s fi t ted) se a
p ra tely,
a n d
,
set t i n g it on t h e m ould , m a rk

o t h e edg e t h e oin t w her e it i

ii
n s
F 0 i i
n gj oixii n g t llgr i b s
g isl n g
b l od t ouc hed by t h e c en t e lin e d r a
0 c om 8 1
l ga
1 . n ,

.
wn d ow n
t h e m ould fr om t hi s m a r k, by m ea n s of a s uaq r e, dr a w alin e
a c r oss t h e str i p, a s desc r i b ed on pa ge 2 33, fi t t h e other lower
bout si mil a r ly , a n d i f your m a r k in g a n d c ut t in g h a ve been tr ue
t o t h e c en t r e li n e O f t h e m oul d, ap er fec t j oin w ill be t h e r esult .

Th e j oi n b ei n g t h us m a de, a n d t h e en d s of t h e l ow er b out s fr eed

a n d c l ea n ed f r om gl ue, lin en , et c , soa p t h e sides O f t h e m ould

a
.

(c r efully a voidin g t h e bloc k s) , a n d c oa tin g t h e b ott om bl ock

a n d t h e still ex osed sur f
p a c es O f t h e l ow er c or n er bl oc k s a n d th e

bevel a t t h e en d s O f t h e c s wit h gl ue, fi x t h e l ow er b outs t o t h e

’

m ould by m ea n s of c r a m p s wi t h t h e c r a a
_

m pin g block s 6, 7 , n d
8 P la t e V , i n t h e sa me m a n n er a n d p osi t ion a s you fixed t h e
a
.

0 s . Th e upper b out s a r e n ex t fit t ed i n apr ec i sely sim il r

ma n n er , on l
y t ha t you n eed n ot t r ouble t o m a ke acl ose j oin a t
t h e t op Now c ut dow n t h e p r oj ect in g piec es of t h e c or n er s,
a a
.

n d m a k e t hem s ua q r e t o t h e m ould, a s i n Fi g 1 80, by m e n s

.
 TH E GUA RNE RIU S MODE L . 289

ofakn ife c uttin g fr om t h e edges t o t h e cen tr e of t h e str ip for

feaof splittin g off pieces a
,

a
,
r n d fi n i shi g with a, fi le an d squ
n re .

Then g o r oun d t h e low er edges of t h e r ib s, whic h j ust p r oj ec t

(a s did t h e 0 s) b el ow t h e l ow er sur f a ce of t h e m ould a
’
n d r en d er
them fl ush a
,
n d l ev el w i t h t h e l ow er sur f a c e of t h e m ould with a
kn ife a n d fl a t fi le . Th e n ext thi n g i s t o r eg ul a t e t h e h eigh t of
t h e r ib s, whic h w i t h thi s m odel i s a t t h e b ot t om bl oc k H in c hes
( o r 1 4 s lig n es F r en c h ), a n d at t h e t o p bl oc k 1 5
3, i n c h es ( 5
1 3 1 1

(Th e Fr en c h m ea
.

sur e i s t h e la r g er , b ut I p r ef er t h e
E n gli sh 1 a ,
nd Set off on t h e ga ug e 1 31; i n ch es, a n d fr om
t h e l ow er sur fa ce of t h e m ould t r a c e t hi s b r ea d t h r oun d t h e
l ower b out s a ’
n d 0 s f r om u p er c or n er t o upp er c or n er
p Now
r educ i n g t h e ga uge t o 1 5 55 , tr a ce ali n e 1 3, f fr om t h e l ower
.

5
1

sur f a c e O f t h e m ould, a b out t w o in c hes lon g, 0 posi t e t h e t op

block Fr om t h e lin e a
. t t o t h e lin e a t 1 } t e upp er edges
of t h e r ib s a n d bl oc k s m ust g r a dua lly declin e ; t her efor e b egin
by w ettin g t h e upp er sur fa ces of t h e bl oc k s (t o m a k e t hem cut
ea sily) , a n d then level t h e r ibs a n d bl oc k s d ow n t o t h e t op
sur fa ce of t h e upp er pl a t e O f t h e m ould [w hi c h i s a l r ea
,

dy (vd i e
p 2 83) of t h e pr oper t hi ckn esses] , so th a
. t ast r a ight edge lies
-

t r ue a n d fl a t a c r oss t h e t o O f t h e m ould
p . Now , by l oosen in g
t h e sc r ew s U , V , W , X , Y, P l a te V , t a
. k e out t h e upper pla t e of
t h e m ould a n d p r oc eed t o p r e a
p re a n d fi t y our side li n in
gs t o
-

t h e upper edges of t h e r ib s, pr ec i sely a s

you did b efor e (pa ge
fir st c ut tin g t w o gr ooves i n t h e c or n er bl ocks, a s t her e set

dow n i n w hich t o fit t h e lin in gs of t h e c en tr e b out s When .

s b efor e d esc r ib ed on p a
,

fit ted, pr oceed t o glue a n d fix them a ge

2 37 It i s a s w ell t o b en d b ot h set s O f li n i n gs, so tha t w hen t h e
m ould i s ta
.

k en out you w ill n ot h a ve a n other b en din g j ob t o do .

When they a r e gl ued i t will b e n ecessa r y t o fi x t h e li n in gs of t h e

t w o or th r ee b ein g n ec essa
’
C s wi t h lin in g c lip s (Fi g . ry .

If t h e upp er a n d l ower b out li n i n gs a r e w ell out t hey w ill n ot

r equi r e c lip s, b ut i f a lit t l e shor t they a r e g ood a s a sa fegua r d,

a n d tom a ke a ssur a n c e d oubly sur e . When t h e lin in gs a re f ast ,

cu t th em t o a wedge sha pe, a s show n a n d d esc r ib ed on pa ge 238

F i N x t cu h e bl oc k s t o sh a p e, tha t i s t o sa, t h ei r
( g e t t y
a
.

t op h a lves, which st n d a b ove t h e m ould This i s d on e with a

.
.

sha r p , b r oa d gouge, c uttin g d ow n b ut sm a l l splin ter s a t ati m e

.

k in g them off a t t h e sur fa c e of t h e l ow er pl a

,

a n d br ea te of t h e
m ould It w a s O b ser ved on pa ge 238 tha t t h e Gua r n er i u s bl oc k

i s di ffer en t t o t h e St r a n , b ei n g m or e c ur ved (a
.

di v a r ia s i n Fi
g .

t h e bl oc k , Fi g 18 1 , b ei n g r a ther m a d e by r oun din g O fft h e

a Th e p r esen t (or Gua r n er i a
.

n gl es a t t h e en d s of t h e bl oc k . n )

bloc k (Fi g . i s sh a p ed so a s t o b e ac on t in uou s c ur ve

fr om lin i n g t o lin in g . Then g o r oun d t h e lin i n gs a n d bloc k s

19
2 90 V I OLIN -
MA KING : A S rr WA S A ND is .

n d sa
(as cut ) with afil e a n d pa
per t o sm ooth an d soften their -

,
in e sur fa
n r ces an d as fa as
you ca g o a,t p esen t t h e i si de
,
r n r
,
n

of t h e fiddl e i s fi n ished Fin a lly, g o r ight r oun d t h e out si de

.

of t h e r ib s with asha r p sc r aper so a s t o r em ove a ll di r t a n d

n d m a
,
in equa lities, a k e t h e ex ter ior th or oughly s m ooth with t w o
deg r ees of sa n d pa p er a ft er which t h e r ib s b ei n g a
-

,
s f a r a s you , ,

ca n
g o for t h e p r esen t fi n i shed they ca n b e ut a
p , wa y i n adr a wer ,

or el sewher e out of h a r m s w a till t h e b a c k i s r ea

’

y dy t o go on .

Ba ck a n d B ell — Th e sla b s p r ep a r ed for these b ei n g a ll i n

y ,

on e pi ece you will n ot h a ,

ve t o j oin them It i s, how ever , ver y
im p or ta ve afi n e even gr a
.

n t t hat t h e en tir e sl a b ha in a ll over ,

n ot c l ose a t on e edg e a n d wid e a t t h e other , a s i s t h e ca se
i f t h e sl a b ha s been c ut fr om asm a ll tr ee It c on sequen tly .

som eti m es h a pp en s t h at apiec e Of wood m a y b e ex cell en t a c r oss

a l l i t s b r ea dth excepti n g for t h e la

, st in c h or so whic h i s c on se ,

quen tly cut off In thi s ca se, t h e outlin e m od el b ein g pl a

. ced
up on it, t h e l ower b out will over ha n g on e edge
(or , i n ot her
wor ds t h e wood w i ll b e t oo n a
, r r ow for t h e m odel
) Thi s m a y .

b e r em edied a s foll ows Roughly tr a ce t h e outlin e on t h e w ood,

F I G 18 1 . .
—St r a
di v a
ria
n B l ock .

m a
r k in g on pa
th e r t whi c h i s t oo n a
ed e th e
r r ow ;
you c a
g out alitt le st r ip fr om in side on e of
n
n ow ,
wit h ab ow sa -

,
c ut

th e 0 s a n d ma k in g b ot h fa ces pl a
’

, n e, gl ue it edgewi se t o t h e

edge w her e t h e n a r r ow n ess i s a ppa If n ec essa

r en t ry
you c a n .

do t hi s on b oth sid es of t h e sla b t h e pieces thus a dded m a t c hi n g

ex a c tly i n g r a in , a n d b ein g w ell j oi n ed t hei r pr esen ce w ill b e ,

un disc er n ible un der t h e va r n i sh esp ec ia lly w h en fur ther hidden ,

b
y t h e pur fi i n g a n d by t h i s m ea
, n s
you w ill b e a ble t o utili z e a
sla b of w ood a c ousti c a lly a n d other wi se d esi r a ble t ha t without ,
t hi s expedien t you c ould on ly use for asm a ller in str um en t if
a t a Your pl a
,
ll . tes b ein g O f t h e pr oper siz e m a k e on e side
quit e pla
,
n e, a r e w or k i n g a
s desc r ib ed on
pa ge 24 0 If you a
sl a b (a s I a
.

m pr esum in g
you a re
), t h e ba ck pla te will b e Of a
n ea r ly even thickn ess t h r oughout, so c a n be m a r k ed a t on ce
b ut i f it i s t o b e a w h ol e “ ”
ba c k , it will b e alon g thin
wedge a
,
s i n Fi g 1 7 7
,
a n d m ust b e c u. t a w a y on on e side a
, s
t her e sh ow n (sa vin g t h e slip s thus g ot a s I ha ve sa id b efor e, for
t h e r ib s) , an d th e t a
,
bles pr epa r ed f or m a r kin g a s on p a ge 24 0
You ca n n ow m a
,

(Fi g . r k t h e outlin es by m ea n s of t h e
2 92 VI OLI N -
MA KING : A S IT WA s A ND I S .

t o th e re qui sit e thi c k n esses pp 24 8 a

a
s set d own n d 25 6 on .
,

pl a n in g sc r a pin g a n d fi n ishin g t h e edges a s b ef or e (p .

dy t o b e glued on Ta
, ,

a fter which t h e ba c k will b e r ea ke .

t h e m ould (r oun d whi c h t h e sid es a r e set a s th ey w er e lef t on

a n d setti n g it on t h e b a ck see i f t h e sid es fit t h e b a ck
p .
,
n ic ely ; i f they do
y ou c a n c l e an of f t h e l ow er edg es of t h e

r e th em for t h e gl ue a
,

sides lin in g s, a n d bl oc k s a n d p r ep a s set

n d gl ue it a
, ,

down on p 24 9 a n d i m m edi a tely fi t on t h e ba ck a s

It i s n ot however i m possibl e th a
,
.

b efor e descr ib ed (p ,
t ,

ve shr un k alit tle so t ha

.

t h e sid es or t h e ba ck m a y ha t t h e edges ,

do n ot a pp e ar even wh en t h e r ib s (on t h e m ou l d) ar e set on t h e

ba ck ; i n t hi s c a se ta k e t h e r ib s Off t h e m ould by for c in g a

ta ble kn ife b etween t h e g l ued sides of t h e bl oc k s a
-
n d t h e m ould ,

a n d ca r ef ully ea sin g O f f t h e sides B e sur e t ha t t h e r ibs a

. re

w ell sepa ra ted fr om t h e m ould befor e you slip t h em off Som e .

t im es i n spit e Of t h e m ost c a
,
r eful soa pi n g (v i o le p a .

dr op Of gl ue w i ll a dher e t o t h e m ould, a n d t h e r ib s w ill sti ck t o

t h e m ould a t t ha t poin t i n t hi s c a se t h e r i b m ust b e c a r effil ly

p r i sed off w it h t h e t a ble kn ife b efor e a t t em pt in g t o slip t hem
-

Of f t h e m ould When slipped O ff, t h e r ibs m ust b e fit ted t o t h e

.

ba ck a n d gl ued a s d esc r ib ed on This d on e t h e n ex t

p 24 9 . .
,

t hin g w ill b e t o c ut t h e r em a in in g or upp er h a lves of t h e t op

a n d b ot t om bl oc k s on l
y t o sh a pe i n t h e sa m e w a y a s t h e l ower

ha lves wer e, sha pin g t h em ex a c t ly soa s tobe u

q i t e per p en di c ul a r

t o t h e pl a n e of t h e fiddle t h en p r oc eed t o put i n t h e upper sid e

lin i n gs Thi s i s don e ex a
. ctly a s t h e l ow er on es w er e on ly th a t ,
a t th e c or n er bl oc k s h a -
vin g on ly ha lf abl ock t o c ut in t o you
m ust b e v er y ca utious a n d guid e t h e k n i f , e ver y ca r efully t o ,
a void spli t t in g t hem r ight dow n i n m a ki n g t h e gr ooves i n t h e
c or n er bloc k s t o r eceive t h e lin in g s of t h e C s or i n n er b ou
(

’
-
ts
r e set t h e c or n er bloc k s m a b e c ut t o shae li ke
.

When t hese a y
-

p
t h e ot her s a
,

n d t h e lin i n g s a
,
l l r oun d b evelled O ff, a n d pla n ed a n d

filed d own level w ith t h e t ops of t h e r ib s t h e in sides of t h e

r ib s a r e t h en thor oughly c lea n ed w ith wa t er a n d sa n d pa p er -

,
a l l w hi ch O per a t i on s ha ve b een d esc r ib ed befor e fully a n d do ,
n ot r eq u ir e r ep et it ion Th e b elly duly fin i shed, a
. s d esc r ib ed on

p 2 60 i s t hen set on t h e r ib s in t h e m a
.
, n n er t her e d escr ib ed
,
a n d t h e b ody of t h e fiddle i s t hen c om l eted by t h e a
p ddit ion of
t h e pur fl i n g a s d esc r ib ed on
, p 2 62, so th a t you h a
. ve n ow on ly
t o ca r ve t h e sc r oll fi t i t on a n ec k , a n d
pl a ce i t on t h e fiddl e i n
'

,
th e m a n n er set d ow n b el ow

N eck a n d Scr ol l —A s t h e h ea
.

d w ill fi r st b e fi n ish ed a n d then

s li c ed on t o t h e n ec k w e a re a t pr esen t c on c er n ed on ly with
p ,

t h e h ea
a
d or sc r oll t h e out lin e m odel of which (which should b e
,

t ra c ed of f pa st ed on a
, l eaf of wood , n d c ut out ) will b e foun d
 TH E GUA RNE RIU S MODE L . 29 3

on P l a te V Ha vin g sel ected a

. bl ock ofm a ple t om a tch you sides r

a n d ba c k of t h e p r op er len gth i e 5 % in ch es a n d b ei n g 2 in c hes

,
.
, ,
1

n d then m a
.

br oa d ma k e on e si de quite pla n e a ke on e edg e quite

a
, ,

pla n e ad q uite squ

n r e t o t h e pla n ed sid e Then m a r k with a

e on t h is edg e a
.

au g lin e 1 h} f om t h e t r ue edg e a n d pla

r n e d ow n
g 1
,
a ll wood o t h e other side i n e cess of thi s li n e so th a
n t you ha
x ve
lon g by 2 b oa
,

asqua r ed bl oc k d by H} thick Ma }
1 r k by t h e
r .

n ick A o t h e t w o sides ofthis bl ock t h e outlin e oft h e h ea

n d i th e n

ma n
n er d esc r ibed on p a ge 2 70 e cept tha t ther e w e h a d an eck
x

s w ell w her ea
,

t o m ak ar s he e it i s c ut of
,
fj ust b en ea
r th t h e c hin
of t h ll Let this b e c ut out , keepin g ver y tr ue t o t h e lin es
e sc r o .

on bot h sides a s b ef or e (p Thi s d on e, t h e sc r oll i s ca

. r ved

ex a c tly a s ha s b een a lr ea dy set for t h b ut when ca r ved i t m ust

b e fit t ed up on an eck , i n t h e m a n n er ca r ef ully descr ib ed on

g e 31 2 (Re a ir s) This d on e, t h e fiddle i s fi tted wit h afa l se
s on pa
.

oer b oa
-
rd a ge an d va r n i sh ed (vid e t h e n ex t

ch a pt er ) an d fitt ed up a s i s set d ow n i n Cha pter XXII p a ge 29 7 . .

r ia
,

Thi s th er efor e, com pl ete s our sec on d fiddle wit h i t s va t ion s ,

We ca ther efor e pr oceed t o va

,

fr om No 1 n n ow r n ish a n d fit

up t h e t w o t oget h er a
. .

n d h ow this i s t o b e d on e i s t h e subj ec t

of t h e n ex t ch apt er .

a a
U r m m v el c uel o possum . d ed uc er e l u n am ;
a a
C r m i n i b us C i r ce soci os m ut v i t Ul yssi ;
a aa ”
a
‘

Fr i g i dus i n pr d or u i u gui
‘

t i sc n t n mp t r n s

(Vi m . E a
.

t , vi ii ) .
 C HA P TE R X X II .

V A RNISHI NG A ND F I TTING U P .

St a
in i n g—V a r n i sh i n g — P oli sh i n g —Fi t t i n g t h e Fi n g er b oa
rd Fi x i n g t h e Nut —
r d w i t h t h e Nec —Fi t t i n g t h e P eg s
-

Fi n i sh i n g t h e Nut a n d Fi n g er b oa k
—
-

n d Fi x i n g t h e Ta
Fi n i sh i n g t h e Peg s Fi t t i n g a i l pi n — Fi t ti n g t h a
-

e T i l pi ece
-

— — a
-

a n d L oop—Set t i n g u t h e Soun d o s t T h e S t r i n g s Cut t i n g n d Fi t t i n g

p p
-

t h e B r i dg e— F i n i s

E NFIN
’
O E sr
' — Our fiddl e i s fin i shed “ i n t h e
UN VI OLO N .

whit e our va r n i sh h a ca ully p r epa a nd w e a

”
, s b een r ef r ed re ,

r ea dy t o l a y it on Thi s oper a tion m ust n ot b e c om m en ced till

.

t h e en d of Ma y or t h e b egin n in g O f Jun e a
,
t t h e la t est, wh en w e
ca n b e sur e of a spell of fin e h ot w ea ther i n whic h t o do our
wor k Th e fiddle m ust b e ca
. r ef ully wa sh ed wit h c lea n w a t er
a ll over so a ,
s t o r em ove a n y dir t w hi c h m a y ha ve a cc um ula t ed
t h e la n d p aer a
st t ouc h es m ust b e put
(i fr equir ed ) w ith sa p n d fi le -

a
,

n d t h e w or k c a n proc eed a t on c e B egi n by siz i n g or st a

. in in g
t h e fiddl e a ll over , b r ight yellow when I sa ya ll over , I m ea n

t h e w h ol e O f t h e b ody a n d t h e sh ould er a n d t h e hea d t h e n eck

,

will b e left b ein g sub sequen tly va

,
r n i shed a s her ea fter set
down Th e best st a in m a y be m a de a s foll ow s Get som e
dulter a t ed a
.

ga m b og e a s pur e a n d un a s p ossibl e, a n d som e p ur e

spi r i t s O f win e ; poun d up t h e ga m b oge a

,

n d
put it in t o t h e
spi r it i n a phia l for t w o or thr ee da ys sha kin g it up w hen ever
t en a
,

you thin k ofi t a s Of s p ossibl e Th e a b solutely pur e

.

g um will b e di ssolved l ea vin g a l l t h e i m pur ities a

,
n d i n sol uble

pa r ts a t t h e b ott om O f t h e phi a l i n t h e for m of sedim en t ; t h e

,

sol ut i on thus for m ed wi ll b e qui t e t r a ns a

p r en t O f am a gn ific en t ,
r ed c ol our Test i t by b r ushin g ad r op or t w o on t o a
.
piece of
w ood w h en i fi t a
, ppea
, rs a fi n e y ell ow c ol our , i t i s r ight a n d ,
will do Thi s solut ion O f ga m b oge, thi s c ol our ed si z in g t h i s
t y ou w ill ) m ust n ow b e ca
.
,

pr elim in a r y st a in (c a ll it w ha r ef
,
ully
la id on begi n n in g with t h e hea
, d For t his p ur p ose use ac a
. m el
ha ir br ush of t h efi n est qua li ty h a vin g adia m et er Of a b out ha lf
a
,
a t a fi r st c la ss a r t i st s c ol our m a
’
n i n ch n s it will c ost
you fr om
’
-

si x t o eight shillin g s Let t h e br ush b e w ell fill ed wit h sta

. in
(b ut n ot over fi l led a n d sopp ed
-

) a n d l a it on
y qui ckly a n d
ca ully a
,
r ef ll over , m issin g n o sp ot whic h it will b e n ecessa r
y to
296 V I OLIN -
MA KING : A S IT WA s A ND I S .

ha s seven or eight c oa t s, a lw a y s b ein g c a r ef ul t o r em ove a n

y
dust , bl a c k s, f lies, or oth er im p ur ities which m a y h a v e stu ck t o

c h t w o c oa
t h e fiddl e b efor e l a yi n g on ac oa t, a n d b et w een ea ts
l evellin g a n l um p s or r idg es with api ec e of t h e fi n est sa n d
y
pa per A ft er t h e seven th O r eighth c oa
. t, t a k e akn ife a n d sc r a pe
t h e va r n i sh Of f dow n t o t h e w ood r oun d t h e b evelled outlin e O f t h e
scr oll, a n d a lon g t h e edg es of t h e r ibs wher e they m eet a t th e
c or n er s, a t r ight a n gl es t o t h e pl a n e of t h e i n st r um en t . Th ese
lin es m ust n ow b e c over ed wit h bl a c k , so tha t when fin i shed t h e
out lin e of t h e scr oll (b a c k , fr on t, a n d v ol u te) a n d t h e en ds O f t h e

b out s (a t t h e c or n er s) w ill b e a c c en t ua ted by abla c k lin e th e

p r op er bla ck wit h w hi ch t o do t h i s i s t h e or din a r y stic k In di a n

i n k , whi c h i s t o b e h a d of a y a r ti st s c ol our m er ch a n t
’
n . A ft er
t hi s, fi n i sh t h e va r n i shin g by c on ti n ui n g t o l a on
y c oat a fter
c oa t, a s t hi n a s possibl e, a n d a lwa ys t a k in g c a r e t ha t on e c oa t
i s dr y, cl ea n an d sm oot h b ef or e la yin g on a n ot h er , un t il t h e

isit e ton e a n ce a r e obta

,

r equ n d sub sta in ed Thi s w ill r equir e

.

fr om twelve t o fifteen c oa t s, a cc or di n g t o t h e n a tur e a n d q ua l it y

O f t h e w ood a n d va r n i sh .

Th e fiddle i s n ow fi n i sh ed a n d va r n i shed it m ust b e hun g up

for a t l ea st am on th , i f n ot t w o or thr ee
,
t o dr y t h or oug h ly
b efor e fitt i n g it up P er son a . lly, I pr efer t h e r i ch, cr ea my
a ra
pp ea n c e of t h e va r n i sh i n i t s
pr esen t sta te t o t h e un n a tur a l
m i r r or l ik e p oli sh w hic h i s g en er a
-
lly seen on an ew fiddle, b ut
i f t his i s d esi r ed t h e va r n i sh m ust b e a llowed t o dr y thor oughly ,
a n d a ft er som e m on th s c a r ef ully p olish ed a s b el ow d esc r ib ed , t ill
i t i s sm ooth a s gl a Ot her wi se, a fter a m on t h or so t h e fiddl e
a
ss .

m y b e fit t ed up a s i s h er ea fter set d own befor e d oin g so, h ow

ever , i t i s w ell t o r em ove t h e ex t r em e r oughn ess or c a k in ess w hic h
w ill b e
pr e sen t un l ess t h e va r n i sh i s of ap a r t ic ul a r ly
per fec t
d esc r ipt i on , by dippin g aslip O f t h e fin est sa n d paer i n wa ter
p
-

a n d r ubbi n g i t qui c k ly over t h e sur f a ce of t h e b elly ; t h e b a ck

m a r em a
y in a s i t i s un l ess i t i s
pa r t i c ul a r ly lum py . When t h e
va r n i sh i s ver y t hor oughly dr ,
y you c a n
polish i t t o p r oduce t ha t
a
gl ssy sm oot h n ess which i s by som e c on sider ed agr ea t bea uty .
B egi n by r ub b in g t h e sur fa ce O f t h e va r n i sh c a r ef ull y with a
r a di
g pped i n fi n el y p owd er ed pum ic e st on e, ha vin g fir st d r opp ed
- -

afew dr ops O f Oi l on t h e sur fa c e Of t h e fiddl e ; t hi s m ust b e d on e

ca r ef ully a ll over t h e fiddle w her e va r n i sh ed t ill t h e sur f a ce i s

quit e sm ooth B ut b e m ost c a
. r eful n ot t o b r in g of f t h e va r n i sh
.

Then r ep ea t t h e pr ocess wit h Oi l a n d fi n el

y p ulver iz ed Tr ipoli
-

t ill t h e sur fa ces a re qui t e p olish ed ; n ow r ub t h e fiddle

sm a r t ly a ll over wi t h a n Ol d sil k h a n dk er ch ief t ill t h e sur f a ce
i s qui t e gla ssy fin a lly g o over t h e p olished sur fa ces w i t h a fin e
li n en r a g a n d dr y Tr ip oli , by whi c h ti m e t h e
p oli sh will b e
 VA RNI SH ING A ND FITTING UP . 297

p er fec t a ,n d n eed s on ly a n oc c a si on a l r ub w ith a n ol d sil k ha n d

k er chi ef t o p r eser ve i t s m ir r or like a ppea ra n ce

F i t t i n g up —Now follow s t h e a
-

pta
.

. da tion t o your fiddl e of

th ose fittin gs of whic h I ha ve exh a ust ively t r ea t ed i n a for m er
cha pter ; a n d t h e fi r st oper a ti on i s t h e fi t tin g of t h e fi n g er b oa rd
“

s n ec essa
.

A t on e t im e it w a ry f or violin m a ker s t o m a ke their

-

ow n fi n a r b oa r d s out of t h e solid eb on y whi ch w a s agr ea t

—
-

,
la b our ut n ow they m a y b e b ou ght r e ady m a d e o f fi r st ra -
te
qua
,

lity a n d on ly r equi r e fit t in g t o t h e fiddl e i n ha

, nd Thei r
s thus sold a
.

di m en sion s a r e 1 015 in ches l on g 1 i n c h b r oa da t th e

,

t op, l é§in c h a t t h e b r oa d en d a n d ha vi n g a , n un ifor m thi c kn ess

down t h e sides of in ch They a r e sold p r op er ly c u r v ed on

t h e upp er sur fa
.

ce, b ut t h eir c or r ect n ess m a b e c hec ked by

y
m ea n s of t h e n eck guid e, Fi
g 1 7 2 t h e sc a
-
. l lops c a n d D, a t th e ,
sides of t h e guide r ep r esen t i n g t h e t o
p a n d b ot tom of t h e

fi n g er b oa
-
rd p r op er ly c ur ved If y ou a r e fittin g afi n
.
g er
b oa r d t o an ew fiddle, it i s a s you l ef t it on pa ge 28 1 Wit h
afa l se fi n g er b oa
,
r d on -
it : this m ust b e p r ised off with a n

ol d t a ble kn ife ; if y ou a
-
r e fitt in g afi n er b oa r d t o an ew -

n ec k on ly, a s set for t h i n Cha pt er X X I I , t his wi ll n ot b e .

r equi r ed Com m en c e by pla

. n i n g t h e fr on t of t h e n eck q uite

c l ea r of a ll glue pen c il m a ,
r k s or i n den t a tion s for m ed by t h e
,

pr essur e of t h e c r a m p by whic h it h a s b een fi x ed t o t h e fiddl e .

Then a t ah eigh t of ex a
3
c tly 5 T 3 in c hes f r om t h e r ib s
(n ot
fr om t h e edge of t h e fiddle) m a r k ali n e a c r oss t h e n eck ,

which will b e t h e upp er b oun da ry o f t h e fi n er b oa rd

,
a n d -

c on sequen tly t h e l ow er b oun da r y of t h e n ut ow t a k e your .

fi n ger b oa rd a n d m a k e t h e t op (or n a c t ly squa

-
r r ow en d
) ex a r e,

by m ea n s of t h e fal se squa re i n t h e or din a ry m a n n er t hi s

don e, set t h e fi n g er b oa r d cu r ved sid e d ow n wa
-
r d s i n t h e hold er ,
,
d e our fa l se fi n g er boa r d, a
,

Fi g 1 7 1 , i n which w e m a n d with a -

k e t h e un der sur fa ce quit e pl a n e a

.

fi n e pl a n e m a n d sm ooth .

Now pl a ce t h e upp er en d on t h e n ut lin e a n d see h ow

r e gettin g on ; ast r a id a
,

w e a ight edge l a l on g t h e fi n g er
-

boa r d ought t o exten d l é in c h a b ove t h e b elly i n t h e c en tr e

betw een t h e n ic k s of t h e ff hol es If i t d oes n ot do so, t h e
ce of t h e n ec k a
.

lower en d of t h e fa n d t h e un d er sur f a c e of t h e

fi n g er b oa
-
r d m ust b e pla n ed a wa y un til this r equir ed height i s
a tta in ed Now fi n d t h e exa c t c en tr e b etw een t h e n ic ks of t h e

a a c om p a sses, a n d p r i ck asm a
.
,

ff h o l es i n t h e u su l w y wi t h ll
ma rk A ssum in g tha t t h e l ower en d of t h e fi n g er b oa rd is -

sc er ta in ed by t h e fa lse squa
.

t r uly squa r e t o t h e l en gth (a s a r e) ,

t h e t w o l ower c or n er s of t h e fi n g er b oa r d w i ll b e a t a n e u
q a l
-

dista n c e fr om th i s m a rk acom pa ss op en ed fr om thi s p oin t

t o on e c or n er of t h e fi n g er b oa r d , exa ctly r ea
-
c hes t h e other a lso
2 98 V I OLIN -
MA KING : A S rr WA S A ND IS .

fr om t h e p oin t, a n d t h e fi n er b oa r d m ust b e shi f t ed till this

g
-

tr ue settin g i s obta in ed On afull siz ed fiddl e t h e len gt h fr om

.
-

t h e n ut li n e t o thi s p oin t (t h e b r idge) i s j ust 1 3 in c hes ; of

c our se i n al r ge or sm a a ll m odel thi s len gt h will va r y , so do

n ot m i n d i f you ha ve n ot g ot it Th e c ur ved lower en d of .

t h e fi n g er b oa -
r d is lwa a
ys h ollowed out , a n d t h e edg e thus

pr esen ted sh ould b e asha de thin n er tha n t h e thi c kn ess dow n

t h e sid es .

On t h e r ea dy m a de fi n g er b oa
-
r d s of c om m er c e, thi s en d i s
-

gen er a lly t hick, so it m ust b e r educ ed t o pr op er p r op or tion s by

ga ugin g r oun d t h i s l ow er en d t o t h e thic kn ess of t h e sides with
t h e ga ugin g c om pa sses A , Fi g 1 2 6, a n d c utti n g out a
. n d fi n i shin g

t h e h oll owi n g out of t h e un der sur fa c e j ust b eyon d t h e lin e thus

ga uged ; t his h oll owin g i s b egun with t h e kn i fe a n d asm a ll
ouge, a n d fi n i shed of f n ea t ly a n d sm oot hly with ar oun d fi l e,

Fi g asc r a per , a n d sa n d
pa per of va r i ous d eg r ees Now
-
. .

n e over , so a
w it h t h e t oot h ed
pla n e j ust
pla s slightly t o r ough t h e

un d er side of t h e fi n g er b oa r d w h er e it i s t o t ouc h
-
t h e fa ce of

t h e n ec k itsel f Wa r m t h e un d er sid e of t h e fi n
g er b oa r d w ell -

a a
.

over la m p, so th a t it sh ll n ot chill t h e glue dir ec tly it i s put

on (for eb on y i s v er y c old wood ) , c oa t th e
fa ce of t h e n eck w i t h gl ue, a n d ui ckly r ub q
on t h e fi n g er b oa r d, so t ha -
t t h e t op j ust
F 1 9 1 82 Sect i on ofb l ock
used for c r a
-

t ouch es t h e n ut li n e you d r ew on t h e n eck,

. .

m pi n g on
t h e m g er b m r d'
‘

a n d cr a
‘

m p i t in i t s pla c e by m ea n s of

ac r a m pin g i r on , a n d abloc k r epr esen t ed i n sec t i on a t Fi g .

1 82, whic h foll ow s a n d cr a m p s t h e c ur v e of t h e upper sur fa ce

of t h e fi n g er — boa rd B efor e putt in g on t h e oth er t w o c r a

. m ps,
see for t h e l a st ti m e t ha t t h e t op of t h e fi n g er b oa r d i s l evel
'

w i t h t h e n ut lin e, a n d th a t t h e lower cor n er s a r e even t o t h e

p oin t i n t h e cen t r e of t h e b elly Th en set it a . sid e t o dr y,

cra m p ed fi r m ly i n i t s pl a c e by t h r ee st r on g c r a m ps .

Th e N ut i s t h e n ex t fitt in g t o b e a pplied, a n d fill s u

p th e
in ter va l b etween t h e t op of t h e fi n g er b oa rd a n d t h e b ott om
-
of
t h e peg — b ox .It i s m a de a n d fi t t ed a s f oll ow s : Ta ke alittl e
slip of eb on y a b out 1 5 in c h es l on g, 5 in c h wide, a n d 1 } i n ch )
deep , a n d m a k e on e side a n d on e edge s ua r e t o on e a q n other

a n d sm oot h so a
,
s t o fi t ex a c tly a ga in st t h e fa ce of t h e n ec k n d a
t op of t h e fi n g er b oa rd t hen w it h achi sel a
-
n d fi le
g et i t t o t h e
ex a c t t hi c k n ess r e ui r ed q t h e thi c kn ess of t h e spa ce b etween
t h e t op of t h e fi n g er b oa rd a n d t h e edge of t h e
peg b ox , whi ch
-
-

spa ce i t m ust ex a c t ly fill thi s don e, set i t i n i t s pla ce a nd ma rk

t h e l en gt h r e uir ed q t h e t op of t h e fi n g er b oa r d, a n d cu -
t it
wit h afi n e t en on sa w
j ust over t h e r ight len gth so a j st t o
s u

p r oj ect a t t h e en d s When i t exa

. c tly fi t s, set i t i n i t s la
p ce, a n d
300 VI OLIN MAKING : -
A s IT WA S A ND IS.

a
t h e c on c l udin g ch pter on Rep air s (P a r Va r n i shi n g Rep a ir s
a
When t his i s don e, n d t h e v ar n i sh i s dr o li sh i t with oil a nd
y p
n d Tr ipoli i n t h e sa m e w a
,

u m i c e p owd er an d th en with oi l a
p , y
as t h e r est of t h e fi ddl e w a s va r n i shed
(vi de supr a ) Now scr a pe
g er b oa
.

fa l l tr ac es of va
‘

of r n i sh fr om t h e edg es of t h e fi n (
r d bein g -

ca r ef ul i n d oin g so n ot t o r em ove t h e va r n i sh of t h e n ec k ) a nd ,
p oli sh it a n d t h e n ut with p um i c e a n d Tr ip oli a s b efor e b ut ,
ru bbin g it over fi st w ith aslip of t h e fi n est sa
r n d

pa p er a n d af ew d r op s
of oi l Th e l a st t ouc h t o .

be given t o t h e n ut i s t h e
ma k in g of t h e four li t t l e
gr ooves w hich t a ke t h e
E 1 G 1 93 —Gm de for m r ki n g a st r in
g s Th e osi t i on of
'

a b e m ga
0

sm ug g r oov es on t h e Nn t
.

sur ed out t h ese

'

c n

fr om afi n ished fi n g er b oa rd it h c om pa sses b ut -
w ,

som et i m es a guide i s used (r epr esen t ed ac t ua

F 1 94 P g re _
i '

l siz e Bt r er

i n Fi g whic h i s m a
. de of ha r d w ood or steel a n d by ,
which t h e four poin ts a re m a r k ed When t hey a re m a r k ed .
,
t hese li t tl e gr ooves are m a de wit h av er y sm a ll m ouse ta il fil e -
.

Nex t fi t t h e peg s .

Fi t t i n g t h e P eg s — Th e fi r st t hin g s r e uir ed for thi s a re a q

b or er a
.

n d fin i she r for t h e h ol es i n t h e peg b ox , i n whi c h t h e -

pegs a r e t o fit Th e for m er i s r epr esen t ed a t Fi g 1 84 , a n d

a
. .

c on si st s of st eel r od, wi t h ac r oss ha

-
n dle lik e agi m l et or

tun in g key, A , bea r in g at a per ed c utter , lik e a

c h eese t a ster , B Th e fin i sher i s r epr esen t ed a
-
t .

A , Fi
g 1 85, a n d c on si st s .

si m il ar ly of asteel r od,

b ea r i n g ata per ed piece ,

B which i s fl uted so a
,
s

t o p r esen t a ll r oun d i t s
c i r cum f er en ce a ser i es of
F a1 86—P g Fi t t
sha p edges W ith t h ese
l . . e er .

r .

you w ill pr oceed t o m a k e t h e peg fi t t er Fi g 186 -

. .
,
Thi s i s d on e a s foll ow s : Ta k e api ece of solid
F 185 —P g h ol
ha rd m a ple 25 in ches squa re a
IG . e -
e
Fi i o n s n n d 5 or 6 i n c he
,
s
»
,
l on g a n d cu t out of i t t h e piec e A A whi c h i s i n t h e for m
’
,

vin g a
,

of asolid bl ock A h a t on e en d t h e high r oun d ed piece

,

In t hi s pa r t (A ) a t t h e p oin t B m a k e ah ol e j ust la
'
r ge
'
A ,

en ough for t h e t h i n en d of t h e pa
.

r t B of t h e
peg h ol e b or er
-

(Fi g 1 84) t o fit i n a n d by t ur n i n g t h e b or er , m a ke ata

_

.
,
per ed
h ole t h r ough t h e bl ock A A , a t t h e poin t B j ust l a r ge en ough
’
,
t o r eceive t h e fi n i sher (Fi g up t o t h e t op of B a nd n o
.
,

fur th er , so t h a t you h a ve ata per ed hole B t hr ough A , Fi g 1 8 6 ’

. .
 VA RNI SHING A ND FITTING UP . 301

c is a n or din a r y steel pl a n e i r on which m ust l i e a l on g A-

so a
,

s j ust t o p r oj ec t in t o B by m ea n s of an a
,
r ow pa ssa ge r
cu t m to B a t D on t h e pri n c iple of t h e p en ci l sh a
, r p en e s -
r
in to whi ch you put t h e en d of a en oil a n d t ur n a ga in st
abla de 0 i s k e t fa st i n i t s pla ce hy a n other sl a b of m a pl e
E which hold s it p
.

, a st a gai st A by m ea n s of a sc ew n F w hich r
,

pa sses thr ough t h e sl a b E a

,
n d t h e obl on g h ol e or l ot i n t h e s
pla
,
n e i on 0 in t o t h e bl oc k A
r A m om en t s th ought w ill m a k e it ’

cl ea r tha
, .

t if a r ou gh pe b e put in to B a n d tur n ed a g a i t
( n s 0)
till it exa
,
c tly fi t s in to e h ol e B it will a lso e a ct ly fit in to x
a n y hole m a
,
de by B t h e fluted bor er of t h e b or in g t ool Fi 1 85
You ca n ow t h er efor e m a
, , .

n
, ke t h e four hol es i t h e p g ox t o
, n e
r eceive t h e p eg s t w o on ea c h side by b egin i g t hem with
, n n

adr i ll a
,
n d fi n i shin g them with t h e b or in g t ool ad fi n i sher
, n
B e ca ul over this or you will split a w a th e
.

r ef ood i n side w
,
t h e peg b o or split t h e hea
-
x , d t o pieces ; t e posit ion s of t h e
holes m ust b e of c our se, r egula, t ed by t h e m odel of t h e scr oll
t h e on ly thin g s t o b e r ega tha
,
r ded b ei n t t h e holes on
eith er side m ust b e exa c tly i n t h e m i d l o a n d ver y exa ct ly
opposite on e a a n d so set r ela
,
n other tively t o on e a n ot her
th a t t h e pegs ca
,
n b e tur n ed ea sily with t h e fi n ger s with out
i n ter fer in g wit h on e a n ot her B e ca r eful t o b egin t h e hol es on
.

t h e p r op er sid es th e G a n d D on t h e l eft, a n d th e E
a n d A on t h e r ight ; it i s n ot un com m on for at h oughtl ess
)
b egin n er t o sta rt w r on g (I did this on ce : it m a . de m e
ex t r em ely a n d E hol es, a
n gr y
) Th e G a n d th e D a n d A holes

it wil l b e n oticed, a r e c l oser t oget her tha

.

n th e E a
,

n d D so b e

ca ul n ot t o c om m it t h e er r or of m a
,
r ef kin g t h e spa ce s a n equ al
dista n ce a ll t h e w a y up Wh en t h e holes a . re m a de r em ove
a n d t h e edges by t h e fi n i sh er w ith a
,

n y r oughn esses l eft r ou fin e

kn ife a n d fi n i sh t h e i n sid es of t h e h ol es with api ec e of fi n e

n ce a
,

sa n d pa-
p er r olled up sm a ll A gla t a n
y w ell a rra n ged -

sur e t h e pla
.

bl e you t o m ea ces of t h e h ol es a
peg b ox w ill en a nd
-

th eir r el a tive dista n ces b et ter t ha ages of expl a na t ion ; b u t

l sett in g act ual siz e, t h e
n

Fi g 1 8 7 r epr esen t s t h e m ost usua

.
,

lett er s r epr esen ti n g t h e r espec tive pegs Now fit t h e pe s

on e in to t h e peg fi tt er Fi g 18 6, till t h ey fit execg
.

on e b -

, y .

in to e hol es i n t h e pe b ox m a d e by t h e b or er a
-
n d fin isher
,

Figs 1 84 a
. n d 1 85 y fit tin g ex a . ctly, I m ea n th a t they
m ust tur n sti f fly, b ut with out j er kin g, i n t h e holes thus
ma de, a n d th e thum b piec es of t h e pe s m ust b e even with
-

on e a n other wh en t h e scr oll i s h eld u p efor e t h e eye, id ea t,

‘

on e peg m ust n ot g o i n fur ther th a n a oth er Th e en ds of t h e

n .

t hum b piec es m ust b e j ust { 5 of a

-
n i n ch fr om t h e ch ec k of t h e

sc r oll Th e en ds of t h e pegs p r oj ec tin g beyon d t h e outer fa

. ce
302 VI OLIN -
MA KING : A S IT WA S A ND I S .

of t h e opp osite cheek of t h e peg b ox m ust n ow - b e cut of

f a
b out
a
of n in c h b ey on d t h e out er f c e, a a
n d this pr oj ectin g 2 1, of 1
1

a n i n c h m ust b e n i cely r ou n ded wit h afi le san d pa p er ed a n d -

n d r ubbin g it h a
,
e p oli sh ed by lic kin g i t a
,
ma y b rd u pa n d d own

th e a pr on str et ched a Th e wh ole sha

’
c r oss on e s l eg ft of t h e peg
.

m ust then b e n i cely sm oothed wit h fi n e sa n d pa per a n d a h ole -

dr illed t hr ough it r a —
,
th er n ea r t h e c heek of t h e
p eg b ox on t h e
thum b piece or hea
,
sid e of t h e
“ ”
-
d of t h e peg These oper a
pa
, .

ti on s b ein g re e ted four t im es your , set p egs i s fit ted

of
i s foun d t ha i s t oo sh a
.

So m etim es t t h e peg b ox -
llow t o a ll ow
t h e p egs, w i t h t h e st r i n g s
coi l ed on t h em , t o t ur n ea sily ;
t hi s h a sa ten den cy t o sm a sh
t h e h ea d In thi s ca
. se t h e

peg b ox m ust im m edia t ely

-

b e dee en ed with ac hi sel

i t is a wa ys a s w ell befor e
l ea vin g t h e p egs t o t est ea ch
t hus by w in din g a
,
piece of
t hic k D str in g r oun d i t i n
sid e t h e b ox , a n d r em edyi n g

a n
y d efec t so foun d If t h e .

p egs wer e put i n j ust a s t h ey

a r e, th ey w ould of c our se, ,

st i ck , a n d b e v er y st i f f to
tur n ; you m ust, t her efor e,
put them i n a n d t ur n t hem

r ou n d a few t im es so a s to

m a r k th em al it t le wher e
t h ey t u r n i n t h e c h eek s of

t h e peg b ox -
Th en a t these
.

p oin ts r ub them with apiece

of soa p, a h t h el w i h
gi ill alt
n

187 —Bett w
h i t en i n m e

5
w s w
k
Fre s of h
: ggi g s m th e ch
aily b ut h old
ee s of t h e
t hem 1211 1
. .

c 1 e s ,

fa st wh en scr ew ed u t o pitch C lea n a w a y a ll tr ace of t hi s

outside t h e peg b ox —fi r st wi t h a dry

.

oper a tion in side a n -

br ush a Fi n a
n d then w i t h on e slightly m oi sten ed
lly g iv e .
,

ft s of t h e pegs a oo r ub b m g wi th
,

t h e t hum b pieces a n d sha

r e fi t t e(gr e
-

asl ightl y oiled r ag

-
an d your p egs a,
da dy t o r ecel v e
t h e st r in gs
—Ta or a
.

F i t t i n g t h e T i l pi n a il pin s a
-
r e sold ever ywh er e f
.
- few
p en c e, a n d a r e ver y ea sily fi t t ed i n to t h e l ow er bl oc k by en
la g g t h e hol e a
r in lr ead th er e w it h t h e bor er , Fi g 1 84 a nd .
,

fit t in g t h e sh or t sh aft 0 t h e t a il pi n i n to t h e hole thus m a

-
de by
304 V I OLIN -
MA KING : A s IT WA s A ND IS .

ut t i n g t h e p ost i n , for i n ex per ien ced ha

n ds aly a
lwa
ys
g tp
re n e r

0 Is .

Now put on t h e s r nt i gs l tin g them t o your i n str um en t

,
se ec

(v ide p 204 ) b ut of c our se, do n ot a

. tt em pt t o sc r ew them up
t ill t h e fi n a l op er a
,

ti on i s p er for m ed, n a m ely

Fi t t i n g t h e B r i dg e — Thi s i s t h e l a st op er a tion of a ll a nd
m ust b e c a r r ied out with ca l r ega
,
r efu r d t o t h e r em a r ks c on ta in ed
on pa ge 1 61 Fir st ca . r efu lly select your br idge t h e fir st thi n g
i s t o sha v e o f
f t h e su r f a c e s of t h e li t tle in verte d T whic h
“ ”

gi ves t h e k id n ey or hea
,
sh a
.
“
rt p e t o t h e h ole c ut i n t h e
cen t r e Thi s m ust b e sh a
. ved d own wi t h a fi n e k n ife so a s t ob e

j ust b el ow t h e levels of t h e b a
,
ck a n d fr on t of t h e b r idge other
/

W I se i t s d el i c a te p oin t s ca
,
tch i n t hin gs t h e ha n d ker c hief
w h 1c h w 1 es t h e fid dl e
p ), a n d i t g et s sn ipp ed of
‘
f Now t a ke a n
old b r i dge a
.

n d p r op u t h e st r i n g s wi t h i t setti n g it a ga
.

p in st t h e
b ott om of t h e fi n g er boa rd a
,
n d p r ot ec t i n g t h e va r n i sh fr om i t s
-

feet W i th a
,
sl i p of p a p er ; t hi s en a bles you t o fi t t h e n ew b r idge
ea s1er Th e str i n g s a
. r e on ly j ust t igh t en ed en ough t o h old
t h e b r id e up w it h out pr essin g ,

on i t i r st r educe a
. n d sha pe
t h e feet so t ha t wh en put up on
,

t h e fiddl e a n d h eld i n a ,
lin e wit h
t h e eye t h e feet fi t c l osely a
,
n d

a b solutely t o t h e a r c hin g of t h e

b ell t hi s i s am ost i m por ta n t

esseim
am g f
t ia
E m 18 8 A rc O
l i n t h e fit tin g c f t h e
‘ '

b r idge Wh en they fi t a bsol ut ely they sh ould b e a

, bout
ei r thi ckest p a
.

i n c h (or l ess) i n t h r ts; b ut th ey w ill, of

fi
c our se b e thin n er t ow a r d s t h e c en t r e of t h e fiddle beca use ,

ve t o b e cut a y t o suit t h e a When they a

,
t h ey h a wa r chi n g . re

fitt ed m a r k their exa c t out li n es on t h e va r n i sh with a p oin t , a n d

r n i sh ex a c tly b en ea t h them so t ha
,
scr ae a w a a ll t h e va t th e
p y ,

feet touc h t h e b a r e w ood of t h e b elly B y t hi s ab et ter t on e i s

.

ob t a in ed a n d i f it i s n ot d on e t h e feet w ill slip on t h e va r n i sh ,

t ea r in g i t of fa s t hey shi f t a b out w ith t h e c on st a n t vibr a tion .

Now t a k e t h e m odel of t h e a r c hi n g of t h e b r idge, Fi g 1 88A , a nd .

ma r k t h e p r op er c ur ve of t h e b r idge a t t h e r igh t heigh t Thi s .

i s deter m i n ed by holdin g t h e fiddl e (sc r oll t ow a r d s y ou) on

alin e w ith t h e eye, a n d look i n g a lon g t h e fi n g er b oa rd Th e

-
.

t op of t h e b r idge (w h en fin i sh ed ) sh ould a ppea r t o t h e eye t o

be a b out 5 in c h a b ove t h e en d of t h e fi n g er — b oa rd a t th e G .

ali t tl e l ess a t th e E ( O f c ou r se i t m ust b e u n d er stood t h r ough

t t h e old d um m y b r idge a lwa

.

out t h e fit t in g of t h e b r idge tha ys

sup or t s t h e st r in g s w h en t h e r ea
p l on e i s b ei n g m a n ipu la ted ;
a n d wh en t h e l a t t er i s put up for am om en t t h e for m er c om es
 V A RNI SHING A ND FITTING UP . 305

When a
th er chi n g i s pr op er ly a dj usted r oun d off with
ll t h e c or n er s a
,

afi le a n d edges of t h e br idge m a kin g t h e t op

,
r ou d
n , an d t h i n n in it gr adua l] t o t h e t op f om t h e r

w a i st (so t o a sk of
) e b idge r t e whole i s fin i shed w ith
fi n e sa n d pa
-
p er it i s p er fec tly sm oot h Th e n i ches for t h e
de w ith t h e m ouse ta
.

str i n gs a r e th en m a il fi l e you used for

-

t h e n i cks i n t h e n ut t h e dum m y b idge i s ta

,
r ken do n t h e n ew w
,

on ei s put up, t h e A i s scr ewed up t o pit ch, t h e oth er t i gs

s r n

a
t un ed t o t h e A , n d your fiddl e i s fin ished .

“
B i c fi di b u a a a
s, scr i pt i s cl r i s, h i e m gn i e l um n i s,
a u
0 11i p r n em o fui t for t e, n ee l us ex i t
l ”

a
(Fi T r fi n i s Tr t t aa [ Pa
dua
.

t o di Musi cs, et c
’
t .
,
 CHA PTE R X X II I .

RE P A IRS .

ak
Rem ov i n g t h e B ell y of t h e Fi ddl e— Cr c s i n t h e B a c or B ell y—C r a
k c sin k
Ta b l es—Cr a
fk
Wi n g s off H ol es— Cr a
c ed E dg es, a
k
c ed Cor n er s— Cr c a ak
t t h e Joi n t or Un g l ui n g oft h e
f t h e Out l i n e—Cr c fr om t h e
n d B i t s Spl i t of
-

ak
P r essur e of t h e Soun d post ~ -
a
V en eer i n g New Wood i n t o Fi ddl e— Loosen i n g
of t h e B el l y fr om t h e H eat of t h e Ch i n or H an d— Spl i t B l oc — Spl i c i n g t h e
k
H ea d on t o aNec , a k n d Fi t t i n g i t on aFi ddl e—Va r n i sh in g Repairs
C O NCLU SI O N .

IT w oul d h a r dly b e r ight t o c om

p l ete a r a
p c t i ca l t r ea ti se on t h e

fi ddl e m a k er s a r t w it h ou t t ur n i n g for afew m om en t s t o t h e

’
-

c on sider a t i on of on e of i t s m ost i m p ort a n t br a n ch es—v i z , .

Repa i r s Un lim ited though t h e ca

. re
you t a k e of your fiddle
ma b e, a s yea r s of h a r d w or k t her eon o by y o u w ill b e
y g ,

e x c ept i on a lly for tun a te i f your in str um en t , delic a te a n d n er vous

i n tem per a m en t a s i t i s, esc a pes en t ir ely t h e r a va ges of tim e a n d

m i sf or t un e, w hic h i n a thousa n d a n d on e f or m s a ssa il t h e ex isten ce

of t h e p r oduc t ion s of C r em on aa n d Mir ec our t a li ke, j ust a s

t of t hei r m a st er s a nd m a
per sever in gly a s t h ey do t h a k er s If
.

your fiddl e i s wha t Gem ii n der w ould ca ll am a

“
st er violin ,
-
its
r epa ir s should on ly b e t r ust ed t o agr ea t high pr iest oft h e fi ddle
-

ma k in g fa c ult y, j u st a s t o our d octor pr i n ces w e c on fide t h e

-

well bein g of ad ea
-
r c hild or r el a t ion b ut i fyour vi olin i s n ot
a n hi stor i ca l in st r um en t , a n d
you a r e you r sel f a fi ddl e m a -
ker ,
a m a t eur or ot her w ise, you will fi n d y our self quit e c a pa ble of
foll owi n g t h e b elow given di r ec tion s for m i n i ster in g t o t h e m i n or
-

v i c i ssit ud es of y our in str um en t . A lw a ys r epa ir a n in j ur y, or

ha ve t h e in j ur y, wha t ever i t b e, r epa ir ed, w ithout am om en t s ’

dela y ever y m om en t b et ween t h e a c cid en t a n d t h e r epa ra tion

in c r ea ses t h e da ma ge
P r i n c i pn s ob st a
ser o m edi c i n a aa
p r t ur ,
aa a
Cum m l per l on g s c on v l uer e m or s a a .

A s afi r st st ep towa r ds a dia g n osis you m ust b e a bl e

a V l n — Th e b ac k i s n ev er r em oved
To Rem ove t h e B elly o f i o i .

a s I ha ve p oin ted out on p 260, t h e b elly i s put on wit h m uch

k en off with a
.

t hin n er glue, a n d th er efor e m a y b e easily t a

308 V I OLIN MA KI N G :
-
A S IT w a
s A ND is .

a n d b r i ttl e p or ti on of t h e in str um en t Th e w i n m ust b e l ightly

ck a litt le g ue str ea
.

pr essed dow n so a s t o op en t h e cr a ked in to

n d t h e cr a
,
it a
,
ck p r essed together by slippin g i n a littl e str ip of
t hi n w ood fixi n g it un der asc r ew put on t h e sid e or un d er
, ,

t h e h uger b oa rd a s i n t h e fig ur e
—Th e c or n er s of t h e fiddle fr equen tly g et
-

cked Ca
.

Cr a m er a
Split , a s sh ow n i n Fi
g 1 8 9 eith er (1) by t h e pr essur e of som e
vy w eight or (2) whilst gluin g t h e ta
.

h ea
,

, bles t o t h e sides i f in
r e n ot c a
,

puttin g on t h e scr ew s t h e c or n er s a r efully a voided th ey

will s plit i n thi s m a n n er To r em edy t h e d efec t t h e extr em e en d
.

of t h e cor n er m ust b e p r essed

so a s t o op en t h e c r a ck, l a littl e
gl ue m ust b e str ea ked i n , a nd a
vi olin sc r ew a pplied j ust so a s to

hold it together a s i n Fi g 1 89. .

A lit tl e ost j ust t h e l en gt h of

h
t h e dept of t h e sid es b ein g set
b etween t h e upp er a n d l ower
c or n er s t o a id a n d c ou n ter a ct
t h e pr essur e of t h e violin scr ew
a
Cr ck a
.

t Joi n t , or Un g lui n g or
t h e Ta b les —Thi s i s a n a cc iden t
whic h som etim es occur s, a n d is

t h e r esult gen er a lly of asever e

ja r or f a ll t h e ba ck (or b ell y)
com i n g a pa r t, of ten t h r oughout
i t s len gt h , al on g t h e cen tr e j oin of
t h e ta ble It n ot un fr equen tly
.

ha ppen s t ha t t h e b ottom bloc k

is a lso split ha lf thr ough by t h e
sa m e m i sh a p b ut thi si s n ot di s

"
c over ed till t h e b el ly i s r em oved ,
—Cra ” of w hi c h i s t h e fi r st step t owa r ds
apm
“
F r e 1 89 ck s i n
th e w in gs th e

ar epa
. .

ff “ “ “ m e
ir of this kin d Th e b elly
.

bein g r em oved, t h e l oosen ed j oin t i s p r essed open astr ea k of ,

glue a pplied th r oughout i t s len gt h (a n d t o t h e split c r a n n y in

t h e bl oc k , wher e this h a a l so suffer ed ) , a
'
n d t h e t w o ha lves of
th e ta b les a r e p r essed togeth er by m ea n s of cr a m s a n d th e

edge hold er s d escr ib ed i n

-
t h e n ex t pa ragr a ph h en t h e
it will oft en b e n ecessa
.

w oo
d i s ve ol d a n d ten d er ry t o
str en gth en t e ta ble a
,

fter such ar epa ir a s this by gl u in g little

st ud s of str on g n ew w ood
(ea ch a bout q in c h squa ) na
re a l on g .

t h e cr ack a t in ter va ls a t a b out 1 in ch or i n ch They a re .

ma de of m a ple a n d t h e outer sur f aces sh ou l d b e n i cel b evelled

off t h e sides glued t o t h e ta
,

, bl e bein g quite fl a t th i n k it .
 RE P A I RS
. 309

bett er t o dispen se with t hese i f p ossible, b ut oft en t h e ge of a

t h e w ood r en der s th eir a ppli c a ti on im per a ti ve
Cr a t li n e —Th e edge which
.

cked E dg es, or B i t s Spli t fr om t h e Ou .

pr oj ec t s b ey on d t h e sides of afiddle, though agr ea t b ea uty t o

t h e in str um en t a n d of t h e highest i m p or t a n c e t o pr eser ve t h e
ma
,

sym m etr y of t h e ou tl in e, i s often da ged by t h e fiddle fa llin g

down , or b ein g for ced in to or out of aca se t oo sm a ll for it
li ttle slip s ofi t g etti n g split off j ust a
,
t t h e outer c ur ves of t h e
up or a n d l ow er b ou t s wher e t h e edg es oft h e g r a in a r e on b oth

si es exp ose d a s a Th e beg in n er wil l a

,

t a i n B Fig 1 9 0 . l so
ble t o b e tr oubl ed b y t his m isha
.
, ,

b e ver y lia p when i n fin a lly,

out li n e a nd a r c hin g of t h e b a ck a n d b el

or pl a n e slippi n g of f little chip s a s a t ai n c

'

Fi g 190 0 r ep r esen tin g a b ofm a r c h ed a

"
,

pl e or pin e a
,

sla n d ou t
aa
.

out , b ut n ot yet scoop ed (B ot h i n B a n d c t h e piec es a re

lly ch ipped off b ein g gen er a
.

n ot show n t h e pi eces r ea lly ver y

sm a
,

ll ) Thi s c hip m ust b e

.

i mm edia tely sea r ched for

a n d sec ur ed or i f it c a, n n ot
b e foun d t h e edge m ust b e
sha nd fla
,

ved str a ight a t

a nd a
,

n oth er sm a ll slip of
wood l ued on B oth t h e
ori gin a c hip or t h e n ew
.

slip ha
,

vin g b een glued , it

m ust b e fixed t o t h e side
a
,

nd held ther e] by a n

ed e h older (or p ossibly

g
-

t w o) . Thi s a ppa ra tus

which c a l i n afew
,

n b e c ut ou t of a n
y str ip of in ch dea
m om en ts i s r ep r esen ted a l on e a t A Fi g 1 90, a pplied t o a n

b a t c, a
, .

un sc oop ed sl a nd a
,

pplied t o t h e edge of ac om pl eted

fiddl e a t B i n t h e sa m e fig ur e Th e h older itsel f i s i n ea
. c h ca se
lett er ed b on e en d of it i s pla ced on t h e lued c hip a n d th e

n t h e b r ea
,

ot her en d b ein g j ust sh or t er t h a d of t h e fiddle it i s

d ra
,

wn dow n t h e cur ved edg e of t h e other si de till i t i s fir m ly

set , t h e outli n e of t h e fiddle b ein g thus w edged fa st in t o t h e

holder by i t s ow n c ur va tur e W hen t h e glue i s dr y a . n d th e

h older i s r em oved t h e pla ce wher e t h e split w a s will b e i n

d lost t h e ch i a nd h a d to a pply a
,

visible Ii h ow ever you h a

'

.
, ,

n ew slip of w ood t h e outer sur f ac e of t e la tter m ust b e cut

a p ed t o con for m t o th e outlin e of t h e ta
,

n d sh a bl e .

Cr a ck i n B a
.

ck o r B el ly r esult i n g f rom P r essur e o f Soun d post -

ge often foun d on ol d violin s, esp ec ia

.

-
This i s ada ma lly on on es
of n ot ver y excell en t m a ke, or which h a v e b een ign or a n tly fi t ted
31 0 V I OLIN -
MA KING A S IT , WA S A ND IS .

with t oo l on g asoun d p ost -

Th e cr ac k s i n these c a
. ses gen er a lly
oc c ur n ea r ly t h e wh ol e l en gth of t h e pla te, an d t o r ep air them
you m ust pr oceed a s follow s : Ha vin g t ken off t h e b elly, t h e a
full exten t of t h e c r a c k w i ll b ec om e vi sibl e, a
'

n d i t will b e f oun d
tha t t h e w ood a t t h e p oin t fr om whic h t h e cr a c k seem s t o sta rt
a wa y on either side h a s w or ked thin , so th a t besid es m en din g t h e
cr a c k, t h e wood m ust h er e b e r epla ced by ca r eful ven eer in g
Th e c r a
.

ck m ust fi r s t b e m en ded by p r essin g it slightly op en , a n d

r un n i n g a st r eak of clea r gl u e d ow n i t i n t h e or din a ry m a n n er ,
wi t h a n ol d k n i fe or th i n st r ip of wood when you a r e sur e

F r o 19 1
.
—A ppa
. rat us for st r en g th en i n g a
n ol d t a
b l e w i th av en eer of n ew w ood .

th a t t h e gl ue h a s ru n w ell th r ough a ll a l on g t h e c r a c k, wip e

a wa y sup er fluous gl ue a n d set t h e fiddle a sid e t o dr

y .

W hen t h e glue i s per fec tly dr y you m a y p r oceed t o ven eer i n

,
apl a t e ofw ood i n t h e foll owi n g m a n n er F or t hi s pur pose you
.

w ill r e ui r e am ould te a
pla n d pr ess r epr esen te d by Fi g 1 9 1

m ould pl a
q
-
. .
,
In t hi s figur e A r epr esen t s a te apla te ofha
-
r d w ood

a n in ch a n d a ha l f or so thic k, i n t o w h i cln s sun k or r a t her out of

'

which i s sc oop ed, t h e a p pr ox im a te a r c hin g of a ba ck or b elly

B t her efor e r epr esen t s asec t i on down t h e c en t r e of t h e m ould
pl ate You w ill fi n d t ha
. t if you c ut it r oun d a s sh ow n by t h e

dot te d li n e on A i t w ill b e m uc h ea
,
sier t o w or k wi t h b ut m in d
a n d cu t i t w ell c lea r of t h e sc oop ed pa rt 0 r ep r esen t s t h e p r ess
.

itsel f whic h con sist s of alow er pla

. t e, i c on n ec ted by t h e t w o
,
31 2 V I OLIN -
MA KING : A S rr WA S A ND I s .

a t t h e pl a ce wh er e t h e p r essur e of t h e chi n i s a pplied a nd a t ,

t h e pa r t on t h e side of t h e n eck wher e t h e h a n d r ests when ,

pla yin g i n t h e t hir d p osit ion Th e fi r st of these con tin gen cies
n c e kn own a
.

seld om occ ur t o pla yer s w h o use t h e a pplia s a

c hi n r est a
-
s thi s c on t r iva
,
n ce ser v es i n am a n n er t o hold t h e

bel ly fa st an d p r even t i t s b ec om in g un gl u ed In either c a se t h e .

da m a ge i s r ect ifi ed a s foll ow s : Ta ke a n or di n a r y ol d ta ble

k n i fe a ,
n d t hr ustin g i t i n a s if a b out t o t ak e t h e b elly off th e
i n st r um en t a sc er t a
,
in t h e exa c t exten t of t h e h ar m d on e b ut b e ,

ca r ef ul n ot by t hi s m ea n s t o i n c r ease it If you t ur n t o t h e.

dir ection s whi ch ha ve b een given for gl uin g on t h e b elly you ,

will fi n d h ow , t h e belly b ein g held i n p osit i on by scr ews t h e ,

t hi n gl ue i s a pplied with t h e bla de of at a ble kn ife, gl uin g a -

piece a t atim e P r oceed her e pr ec i sely si m il a

. r ly t hi n n i n g ,

d own t h e glue with w a rm wa ter a n d usi n g pl en t y of it

,
Th e .

glue whi ch hold s t h e b elly on ever ywher e el se i n t hi s op er a tion

,

ta kes t h e pla ce of t h e sc r ew s, b ut som e r epa ir er s put on ac ouple

of sc r ew s on e on ea,
c h sid e of t h e l oosen ed pa r t t o p r even t t h e ,

oper a tion of a pplyin g t h e glue fr om ex t en din g t h e i n j ur y .

Wipe off t h e super fluous gl ue a s usu al a n d a pply t hr ee or four

,

sc r ew s t o t h e p a r t gl ued whi c h a r e ta k en of f when t h e glue i s

,
dr y a n d y our r e a
p ir i s c om plete .

Sp li t B loch — i t som etim es oc cur s, fr om a cc id en t or c a r eless

n ess tha
,
t wh en t h e r ib s of afiddle a r e b ei n g w or k ed up on

w i t h ou t either t h e b a c k or b elly a tta c hed (a s f or in sta n ce n ew , ,

m a de r ib s b efor e t h e t a bles ha v e b een fixed on ) t h e up er or

r ly t hr ough out i t s d epth
,
l ower bl ock w ill split per pen di c ula in
t hi s c a se t h e split b ei n g o en ed a
p n d asuf fi c i en cy of good glue
,

bein g r un i n t h e t w o split h a
,
lves m ust b e squeez ed toget her
with t h e fi n ger s, a n d cr a m p ed in t o t ha t posit i on wi t h a n i r on

cr a mp a n d t w o S lip s of pi n e t h e cr a m p b ein g fi x ed a
,
t r ight
a n gl es t o t h e r i b s .

H ow t o Spli ce aH ea d up on aN eck a n d sam e to a F i dd l

fi t e .

— In m a k i n g afiddl e on agiven m odel, i t i s gen er a lly t h e

c ust om n ot t o m a ke t h e hea d i n on e piece with t h e n ec k, b ut
sepa ra t e fr om it, a a s i s h er ein a
“ ”
n d spli ced on t o i t ft er
,
desc r ibed A n d a . ga in this delica ,
t e oper a tion i s often r equi r ed
t o b e p er for m ed on old violin s ; for i t m ust b e r em em b er ed t h a t
s I ha
(a ve sa id b efor e) on ol d in st r um en t s t h e or igin a l n eck i s
a lw a y s t oo shor t , c on sequen t on t h e a lter a t i on i n t h e p r esen t
n d r equi r es t o b e r e la
pitc h a , p ced by an ew n ec k sui t ed t o
m odern r eq ui r em en t s And a ga in a s asi m pl e r epa ir , i t i s on e
n t ; for it c on st a
.
,
of t h e m ost fr equen t ly r equir ed a n d i m p or t a n t ly
ha ppen s t h a t fr om b a d c hoi ce ofw o od or in fer ior fit tin g, t h e n eck
si n k s for wa
,
r d (so a s to m a ke t h e en d of t h e fi n g er b oa r d t oo -
 RE P A I RS . 31 3

l ow ) , twist s, or in clin es t o on e side, i n a

or l l of whi ch ca ses a

n ew n ec k m ust b e a dj usted r a t her tha n r esor t t o t h e c lum sy

exp edien t s of v en eer in g a n d r efittin g t h e or igi n a l n eck An d .

this r ep a i r or oper a tion i s per for m ed a s f oll ows If you a re

fittin g an ew n ec k t o a ol d fiddl e b egin by p r isin g off t h e

fi n g er —
n ,

b oa rd a n d n ut with a n old ta ble kn ife t hen c ut t h e hea -

,
d
of ft h e old n ec k c lose up un d er t h e c hin a n d cut t h e ol d n eck ,

f t h e fiddle a s c l ose a s p ossibl e a

.

of bove t h e
sh ould er Thus wh eth er your hea
. , d i s ol d
or n ew , y ou h a ve t h e hea da s a t A Fi gs ,
.

1 92 a n d 1 9 3 or a s on P la te V .

Now t a
,
ke ablock for ‘

t h e n ec k , a n d p r ep a re a n d

squa r e it a s d escr ib ed i n

pa ge 269 Ta ke t h e n ec k
m odel Fi g 1 68 (P l a
.

,
te .

a n d cr a m pi n g i t t o t h e
pl a in sur fa c e of t h e bl ock ,

a s d esc r ib ed i n p a ge 2 7 7 ,

w it h am a r kin g p oin t
ma r k t hi s outlin e on t h e

bloc k a n d c ut it ou t Th e .

ma ter ia l s you h a ve t her e

for e t o ha n d a re th e
sc r oll , a n d t h e r ough
n ec k , w hic h i s a b out 72 ’

in c hes l on g, 1 §in c h deep

a t t h e shoulder a n d l i t

in c h w ide on t h e fa
,
ce,

down t h e exa c t c en tr e of

t h e sur fa c e of whic h you F m 193 0

p m i o of
w astr a
e n

m ust dr a
_
. .

ight lin e Spl i i g

lq(t ”
o to
W ;
,
n r

which w ill b e t h e lin e aa,

' n “ n “

a r st pr epa re h e
l F sig 19 3 1 9 5 n d 1 9 6 F i t .

d t o r eceive t h e splice a
.
, ,
f hea s f oll ow s : Fi g .

F le
s
l z
la
oe i
ii éfi imf gfi if
l
: 1 9 4 r ep r e s e n t s t h e b a s e o f t h e fr on t of t h e

W a fi

?
h n e t en on
.

k( d i )
n ec si e v ew .

b o x (b, F g i l t “

p g a
e
a
-

sa ma ke t h e t w o out s ab a , g b F i 19 '
4 ’
s d p
e e s th

a s a a a
w
.
,

b ot tom of t h e peg b ox p er ha a
,
fl r t
-

,
ps t r i e d p ,
e e e
—
,
b ox )
Fi g 1 9 2 (t h e sha d ed pa r t Fi g 19 2 r e p r e se n t g
i n t h e p e
g ,

a e pa
,
a
.
,

t h e sa
h
.

ll
a n d cut out wi t h w k n i fe , ,
n d c h i s e l
a a
t
n d squ
r
t
a
c ,

th e c a i q u re
Fi g 1 94 , un til h b
m er th us f o r m e d s i t e c l e n .

a a ns b , b , a
t h e lin es ab ab , a
.

d t h o w re
quit e t ight,
' ’
s r n e
re p
s a
h p a n d fin e a
,

s t h e ed e g o f a k n i f e T h e d i s t a n c e of t h ese
o

a a a
.
r
r om on e a
i t th h o u ld b e s n e r ly s p ossi ble
p o n s (6 ,
b ) f’
n o e r s
314 V I OLIN -
MA KING : A S IT WA S A ND I S .

1 in ch , b ut of c our se thi s dep en ds on t h e b r ea dth of t h e model

of t h e sc r oll When this c ha m b er i s fin ished sm oot h a n d c l ea n

(B Figs 1 9 2, 1 9 3, a
,

you ca
.

n p r oc eed t o p r ep a r e t h e n ec k n d 1 9 6) ,

Ta
.

with t h e con ica l plug Fi g 1 95, t o fi t in t o t hi s cha

,
. m b er ke .

t h e b r ea dth b etween t h e sides of t h e peg b ox a t aa Fi g '

-
.
, ,

with apa ir of c om pa sses, m ea sur e thi s b r ea dth on ar ule, a n d

divide it exa c tly by h a l f (so t h a t i f t h e b r ea dth w a s g i n c h,

you
ha ve your c om pa sses op en i n c h) Ma r k of f thi s dista n ce.

b b , Fi g 1 9 5 on ea
’
c h sid e of t h e lin e a a, Fi g 1 9 5 w hich r epr e ’
. .
,

sen t s t h e fa
,

ce of t h e n eck bloc k b ef or e t h e pl ug i s cut Now

f ha
.

ta ke t h e b r ea dth a t b b Fi g 1 94, a nd m a r k of l f of it, e c

' '
.
,

Fi g 1 9 5 , on ea
,

ch sid e of t h e lin e a a, Fi g 1 9 5 a n d ta kin g t h e '

.
,

Fi g 1 9 5 a
.

poi n t s b e a n d b c s g uid es d r a on t h e sur fa ce of

’ ’
. w
, ,
Fi g 1 95 t h e lin es d e a Now c ut a wa y with ac hisel a
, ,

n dd e n d
’ ’
. .

pla ne a ll t h e p a r ts
ff out side t h e lin es d e d e Fi g 1 9 5, a
’
n d ,
’ ’
,
.

g o on sha vin g a n d fitt in g t ill t h e

plug (Fi g 1 95 ) ex a c t ly fi t s in t o .

t h e c ha m b er (Fi g 194 ) fa st .

a n d c l ose a ll r oun d, a s i n Fig s

a
.

05 19 3 a n d 1 96 A ND N B , t h e
a
. . .

di st n ce fr om b t o c, Fi g 1 9 2,
a
.

e i s as n e r ly a s
p o ss i b l e 4 1
1
in ches, t h e sh oulder bein g i n
t h e r ough st a te E sp ec ia l ca re

a
.

m ust b e t k en t h r ou g h out t hi s
fi t t in g t hat t h e lin e aa, Figs'
.

1 93 a n d 1 9 6, i s i n a n ex a c tly

st r aight li n e with t h e c en t r e
F I G 194 eg
pr epa
_
o

t o r idg e d of t h e fr on t of t h e
'

b ox r ed

h ea
“pk “ °n t ° “ ck
sc r oll A , Fi 1 9 3 (o th wi
'

er d
g se ,
.

ofc our se, t h e h ea d w ill n ot b e str a igh t on t h e n eck ) When thi s

ha
.

s b een d on e, t h e n ex t t hi n g i s t o glue t h e pl ug i n t o t h e c h a m b er ,
s follow s : Ma
g 1 9 2, a
w hi c h i s d on e a r k on t h e sid e of B Fi lin e
w her e t h e p oin t b Fig s 1 9 4 a
,
n d 1 9 6, r ea a
.

,
. c hes on i t s at e, Fi g
1 9 3 Thi s i s t o kn ow h ow fa
.

r t o ush t h e pl ug i n to t h e c h a m b er ;
.
p
for w hen it i s glued t h e gl ue a c ts as al ub r i c n t , a n d th er e i s a
gr ea t da n g er of p ushin
g i t t oo fa r, a n d t h us splittin g of t h e
'

c h eck s oft h e sc r oll Now gl ue t h e sides a n d b ott om of t h e plug

a
.

n d t h e i n sid e of t h e c h a m b er , a n d push t h e pl ug in to i t s pl a ce,

w ipin g of f super fluous gl ue a n d cr a m pin g it t ight i n t o i t s pl ce a
b y m ea n s of t w o c r a m pin g i r on s a n d c ra m pin g block s f f ,
’

Fi g 1 93, whi c h m ust b e p r ot ec t ed b y c or k sur fa

.
c es
9 g
’
nd a
b etw een t h e c or k sur fa c es a n d t h e sides of t h e scr oll m ust l so a
b e put slip s of p per t o p r otec t t h e va a r n i sh of t h e scr oll
a
Sim il r l y pl a ce a n other c r a
.

m pin g ir on wit h c r a m pin g bl ock s t a

r ight a a
t h e bl ock s b ein g sh a ped a
n gles t o t h e fi r st p i r n d set
,
316 V I OLIN MA KING A S IT WA S A ND I S
'
-
: .

lin e i , Fi g 19 2, which gives yout h e pr op er set of t h e sh oulder

n d then c a
.

ba se Repea
. t t hi s lin e on t h e other side, a r efu lly
w ith a fi n e t en on sa w a n d tooth ed pl a n e c ut a wa ya l l t h e wood
b el ow th ese li n es Now op en i n g t h e c om pa
. sses in ch fr om t h e ,

p oin t h (on t h e n ut li n e) Fi g 1 9 6 on t h e l in e aa (wh er e it i s

,
.
,
’

f 5 i n ch on ea
’
c r ossed by b set of ch sid e of h on t h e lin e b b ,

w hi c h will give us t h e p oin ts f

f A g a i n op e n i n g t h e c om
’
.
'

pa sses i n , set off a n d in a

. sim ila,
r m a n n er m a r k t w o p oin t s ,

9 g fr om t h e poin t e on t h e li n e h h a n d c on n ec t by m ea
’ ’
n s
, ,

of afi n e lin e t h e p oin t s f a a f a
’
n d g n d n d Fi g 1 9 6 '
g , ,
. .

These l a st t w o li n es give t h e c or r ec t p r op or tion s of t h e n eck

r ea dy t o fin ish Th i s i s d on e by cut t in g a wa y a ll t h e w ood

Fi g 1 9 6 with ak n i fe a
.

r ep r esen t ed by t h e sha ded pa

'
r ts i i ,
n d .
,

c hi sel a n d t h en
,
wi t h ak n ife r oug h ly r oun din g t h e n eck a n d

h lder t o t h e a
s ou ppr ox im a te sha p e of t h e fi n ished n eck a n d

sh oulder b ut l ea vin g pl en t y of w ood t o c ut a w a y a n d fin ish

l so b e ver y ca
,

w hen t h e n ec k i s set on t h e fiddle ; a r eful i n ,

c utti n g a l on g cl ose t o t h e lin es f g , f g n ot t o b r in g out t h e ’ ’

If t hi s d oes un for tun a

,

c ur l s of t h e w ood w i t h t h e k n i f e . t ely
ha ppen you m ust a
,
t on ce glue b a c k t h e c hip t hus p ul l ed out ,

a n d w h en dr y, c om pl et e t h e op er a tion .

Now fi n ish t h e peg b ox by c ut t in g out w i t h k n ife a

-
n d sm a ll
c hisel a l l t h e pa r t of t h e
pl ug j (Fi g 1 9 6) whi c h fill s i t up This . .

i s t o agr ea t ex t en t a l r ea dy d on e by t h e d r ill h ol es a b ove

m en t ion ed b ut t h e t hus h on ey c om b ed w ood m ust b e c a
,
-
r efu lly
c hi sell ed a n d
pic k ed out so a s to m a k e ap er fect a n d c l ea n ly

pr op or t ion ed peg b ox a s sh ow n a t d Fi g 194 (a n d d escr ib ed i n

-
.
, ,

pa ge Th e lit tle win gs, j Fi g 1 9 2, l eft a b ove t h e c ur ve

,
.

of t h e peg b ox by thi s oper a -

t ion m ust b e c a r ef ully c hisell ed
d ow n t o t h e ol d w ood e Fi g 1 94, a n d t h e W h ol e of t h e in ter ior
.

a
,
n d fr on t of t h e n ew b a se of t h e
peg b ox t h us m a de bein g -

n ea t ly fi n ish ed w i t h afi l e t h e h ea d a n d n ec k a, r e fin i sh ed r ea dy
t o set on t h e fiddl e Dur in g t h e whole of t h e op er a
. t ion of
fi n ishi n g t h e peg b ox , t h e b a c k of t h e sc r oll should b e held
-

fi r m ly a ga in st t h e edge of t h e ben ch pr otec ted w it h m a ny f old s

of c l oth t o pr even t in j ur y t o t h e va
,

r n i sh i fi t i s a n ol d fiddle, or

t o t h e ca r vi n g i f i t i s a n ew on e .

H ow t o set t h e H ea d a n d Neck u on t h e B od
p y c f t h e Fiddl e
I ft h e fiddle i s an ew on e, t h e c h a m b er t o r eceive t h e n eck m ust
b e c ut a s d esc r ib ed i n
p 2 77 i f h owever , it i s a . n ol d fiddle,
t o w hi c h you a r e fi t t in g a n ew n ec k t h e r em a in s of t h e old ,
sh ould er m ust b e c ut a wa y t o r eceive t h e n ew B egin by t a k in g
afi n e t en on sa
.

w an d cu t dow n t h e shoulder c l ose t o t h e button

a
,

s t h e sides; then m a ke a t r ight a

,
l m ost a s fa r a n ot her cu t a n gl es
t o thi s on e fr om t h e fr on t of t h e shoulder so a s t o l ea v e on ly '

,
 RE P A IRS . 31 7

th e ba se of t h e or igin a l sh oulder stick in g i n t h e c ha m b er i n

which i t w a s fitted Thi s r oot
”
so t o sp ea k, m ust b e cut out
i n sm a
.
,
ll c hip s, holdin g t h e fiddle by t h e w a ist b etween your
k n ees, with i t s b a c k towa r d s y our sel f ,
a n d ca r efully c hippin g
out t h e r oot of t h e ol d sh oulder wi t h asm a ll c hisel , ta ppin g i t
w it h a ha m m er t ill t h e w h ole of t h e c ha m b er i s c l ea r ed ou t, a n d
i s i n t h e c on dition of t h e c ha m b er fin i shed i n p .Gr ea t
ca r e m ust b e t a k en n ot t o chip a wa y pieces of t h e b elly of
t h e fiddl e with t h e fir st few c hip s of t his oper a tion , a n a cc iden t

whic h m a y b e obvia ted by m a k in g t w o little c ut s b etween t h e

r oot of t h e old sh oulder a n d t h e edges of t h e b elly i n t o whi c h i t

ha s b een l et
When t h e c ha
.

m b er h a s b een c ut , a s d esc r ib ed i n p 2 78 , or.

ha s been clea n ed out a s a b ove, t h e b a se of t h e shoulder m ust b e

ca r efu lly cut t o fit closely in t o it, r egula tin g t h e c utt in g w hi c h ,

i s don e w ith apla n e a n d c hi sel , by t h e ch a m b er a n d m a,

kin g
t h e sl op e eq ua l on b oth sides by m ea n s of t h e fa l se squa re Th e .

ba se of t h e sh ou lder m ust b e cut a wa y when fitted, till fr om t h e

r i b s (n ot t h e edge of t h e fiddle) t o t h e n ut t o t h e lin e 6b ,
’

Fi g 1 9 6) t h e di st a n ce i s ex a c tly 5 93 of a n in c h In cuttin g a wa y
r e m ust b e ta
.

t ca
.

t h e ba se, g r ea k en n ot t o split pieces off t h e

sid es t h er eof; a n d th i s i s obvia ted by a lwa ys wet tin g t h e en d s of
t h e gr a in befor e c uttin g i t a n d w or ki n g a
,
ga in st t h e b r oa d edge
of t h e b en c h Th e b a
. ck of t h e sh oulder m ust b e c ut t o fit cl osely

a ga in st t h e button a n d t h e ba se m ust b e so c ut t o fit t h e

t holdin g t h e fiddl e hor i z on t a

,

cha m b er , t ha lly t o t h e eye, t h e

fr on t of t h e shoulder pr oj ects j ust 1} of a n i n ch a b ove t h e belly,
a n d b e exa c tly even a ll a c r oss of a n in c h a bove b oth a ,
t
h a n d h , Fi
g
’
1 9 6 Th e p r op er set b a c of t h e n eck i s a tta i n ed

ight edge p er pen dicula r ly l a id a lon g t h e lin e aa

. .

when astr a -

,
’

n i n ch a
.

Figs 1 23 a n d 1 96 i sj ust ofa b ove t h e b elly b etween t h e

Now fi n d t h e ex a
.
,

n ick s of t h e ff holes c t c en t r e b etween t h e

a sses, a n d ma e a sm a
.

ff holes i n t h e or din a ry w a y w i th c o m p ,
k ll
p oin t A str a
. ight edge m ust c oin c ide, wit h t his p oin t with t h e
-
,

ba se of t h e li n e a aa t e, Fi g 1 9 6, a
'
n d with t h e cen tr e r idge oft h e

es thi s, t h e n ec k i s set str a a

.

sc r oll d Fi 1 9 3 i f it d o ight ; lso

g ,

wedge on afl a
.

ce a t sur fa c e, a
,

pla n d ut t h e fiddl e wi t h t h e n ec k
p
i n p osition (it sh oul d fit t ight en ough t o b e a bl e t o ca rry th e

fiddl e a b out b y it, without shiftin g or com in g out ) sidewa ys on

t h e t ae, us n f h
“
bl p hi g it t o th e w dg till t h t e sc r oll
'

e e e e e
y o
touches t h e in c lin ed sur fa c e of t h e wedge a t which poin t on t h e
Now t ur n t h e fiddle over , so a
,

in c lin ed sur fa ce m a ke am a rk .
s

t o r epea t t h e p r ocess a n d ift h e other e e

y touches t h e in clin ed
r k t h e n eck i s set str a
,

sur f ace a t t h e sa m e ma ight on t h e fiddle .

l test i s n ot so c er ta in a s t h e fir st, a
,

Thi s suppl em en t a s som etim es

31 8 V I OLIN -
MA KING : A S IT WA s A ND I s .

ascr oll m a y have on e eye shor ter t ha n t h e oth er B et w een t h e .

c hi n b Fi g 1 9 2 a
, ,
n d t h e t o of t h e b u
.
p ,
t t on t h e di st an ce shou ld ,
n i n ch t h ough thi s will som etim es va
b e j ust 4 1 , of a1 , r y slight ly

wit h t h e m odel
A l l these c on dit ion s ha
.

vin g been ob ser ved, fi n ish t h e j oin t with

afi n e fi l e, glue b oth shoulder , cha m b er , an d b utt on q u ic kly a n d

plen tifully, a n d cr a m p t h e n ec k i n i t s pl a ce with a n i r on ,

pr otectin g t h e but ton w it h c ra m pin g bloc k s, a s usua l B efor e
t h e glue sets, a or e t h e cr a m p i s fixed, see fin a ll y tha
.

n d b ef t th e
n ec k i s set st r a ight by t h e a b ove t ests, a n d set a side t h e wh ol e
when fixed t o dr y w hen , t h e oper a t i on b ein g c om pl eted w e a re

r ea r d, a
,

dy t o put on t h e fi n g er b oa s desc r ib ed i n pa
-
ge 2 9 7
r s —It sta
.

Va r n i sh i n R ep ai n d s t o r ea son tha t t h e gr ea ta rt
g .

a n d sec r et of successf ul r epa ir in g i s t o c on cea l t h e fa c t of

ar epa ir h a vin g t a k en pl a ce a t a ll a n d th e w a in
y which a ll
tr a ce m a y b e effec tua lly hi dden i s by sc ien tific a n d a r ti stic

va r n i shin g .

We will suppose tha t an ew n eck h a s b een fitt ed t o a n or igi n a l

hea da n d set i n t h e fiddle a s d escr ib ed a , bove ; t h e obj ec t t o b e a t
ta i n ed i s t o c on c ea l t h e fa c t ofi t s bei n g a n ew n ec k by so va r n i sh

in g a n d c ol our in g t h e n ew w ood a s t o r en d er i t i n di st in gui sha ble

fr om t h e ol d t o w hic h it i s a
, tta c h ed , a n d t o r epl a ce t h e or igin a l
va r n i sh , w hi c h m ust n ecessa r ily h a ve been sa n d pa p er ed off t h e -

ol d w ood im m edia t ely, c on t iguous t o t h e j oin In t h e c a se of a .

n ew n eck thi s will b e a

,
t t h e b utt on t h e t op of t h e r ib s a ,
n d r oun d ,

t h e c hin oft h e scr oll Th e n ew n eck b ein g fi n i sh ed a

. n d fi t t ed i n

th e m a n n er t ha t I ha ve desc r ibed c om m en ce by j ust wa shi n g over

t h e n ew w ood wit h a
,

slight st a in t o d a r k en i t a lit t le b efor e v a r

n i sh i n g . This st a in m a y b e c om posed of sa ffr on or bur n t um b er

dissolved i n wa t er or of sa ,ffr on a n d bur n t um b er m i x ed
(whi ch
i s b et ter ) ; b ut i t m ust b e c on c oc t ed a n d a lied so a
pp s n ot t o

ma k e t h e fiddle n eck look ei t her t oo yellow or t oo b r own Then

ta r y s i r it va
.

ke a n or di n a p r n ish c om
posed of shella c di ssolved i n

spi r it s of w i n e a n d va r n i sh a
,

,
l l over t h e n ew w ood a n d wher e

t h e or ig in a l va r n i sh h a s b een r em oved ; t w o ligh t c oa t s of t hi s

will b e suffi cien t Now t a ke ada r k er spi r it va
. r n i sh
(t ha t sold
r ea dy m a de by Messr s J Reaa n d Co of Wa
. . r d ou r St r eet un der
.
,

m e of V i oli n V a
,
th e n a r n i sh
”
an d w h i ch i s a
,
w ell c on st r uct ed -

shell a c va r n i sh c ol our ed w i t h a veget a ble pigm en t a n d t em er ed

, p
w it h a n d va
,

t en der er g um will do ver y w ell ) a, r n i sh w ell so a s to ,

deepen i n c ol our t h e sh oulder of t h e n ew n eck a n d t h e c hi n of

t h e ol d sc r oll w it h t h e n ew w ood a dj a cen t t o i t You wi l l n ow

nt a lit t l e powder ed dr a
.

Wa gon s bl ood a n d a
’
lit t le bur n t um b er
m ix in g t hese a c c or din g t o t h e sha
,
de r equir ed by t h e r est of
t h e fiddle with t h e shella
, c va r n i sh If t h e fiddle i s r ed i n t on e
.
,
 QI u
n cIusi on .

My ta sk i s fi n i sh ed .

It i s wit h agen uin e r egr et th a t I lay down m y pen , for a s I

ha ve gon e th r ough i n m y m in d t h e va r i ous p r oc esses of fi ddl e

ma k in g a ma de m y fi ddl es o er a gain , t h e deep a

”
.

’
n d
,
n d

a b sor bin g in ter est w hich for m e a c hes itsel f t o a

tt a l l thin gs
c on n ec t ed with

Th i s sm a l l , sw eet t h i n g ,
a a
Devi sed i n l ove n d f sh i on ed cun n i n g l y
f
O w oo d a n d st r i n s
g ,
”

ha sm a de m e lin ger l ovin gly over t h e m in utiaof t h e op er a ti on s

wh ich c a ll i t s w on dr ous p ow er s in to b ein g
n i m ai n e t h e f
.

Un til h e h a s pur sued t h e a r t n o on e c a asci n a

tion of violin m a -
k i n g,—t h e th ousa n d pa in s t e l a yer n ever
dr ea m s of, t h e th ousa n d touches t h e un in itia te eye n ever
a ppr ec ia tes, t h e ex quisit e wor k of t h e in ter ior whic h n o eyes,
sa ve t hose of t h e m a ker a n d r ep a ir er , ever will b e p r ivileged
t o see These a r e t h e thin gs whi ch m a ke t h e Luthier love t h e
w or k of h i s h a n ds a
.

s i f it w er e h i s ow n c hild

g o (it i s sa id) th er e lived i n B r em en awa

, .

Yea rs a tc h m a k er ,
wh ose fa me w a s un iver sa l, for h i s wa tc hes wer e t h e m ost per fect
i n t h e w or ld No on e c oul d di sc over t h e secr et of h i s pr e
st h e si cken ed a
.

em i n en ce . A t la n d died, a n d t h e secr et w a s
r evea l ed, for a ll h i s wa t c hes stopped on e by on e — h e h a d
w r ough t alittl e of h i s ow n Soul in to ea c h tim epiece, a n d when

h e died— th ey died a l so !
So i t i s with t h e Fiddle m a -
ker : h i s whole soul i s put in to
h i s w or k but h i s w or k does n ot di e with h i m ; it lives, divin ely
sw eet , t ill sheer ol d a g e c r um bl es it a w ay ,
— till l on g a fter h i s
n dch i l dr en s g r a ha ve lived out their a
gr a
’
n dc hild r en ll ott ed
t hr eesc or e yea rs a n d t en , i n bli ssf ul ign or a n c e of th ei r a n cest or

ma
”
w ho
“
de fi ddles .

Gen t le Rea der , c u p la i si r de v ous r evoi r : give m e r est n ow

Let m e l a y d own t h e goose quill t o t a
.

-
ke up t h e gouge, a n d for a

spa ce l et m e r esu me a ga in t h e solution of t h e p r oblem

Gi ven : Q il os of Mi nn]: — Ma 7ce : 8 fib u la .

Quan ta Iran h on : l a e i l z iz i n z l nn h a
'
i sm
Quan ti accen t ; i l h ol n r l ag i oi az l i r a
, , ,
'

Watt s m t m a mb o l r gt w i n gum bo a
, , ,

ct n gli z .

I b li ce Rom a
ni .
 TO A CH ILD V I RTUOSA .

(Repr i n t ed fr om Th e Lut e, Sept em b er

I .

C H I LD, w h t o n i gh t
en -
a
l on e upon t h e st g e a
a
Wi t h t i n y h n ds y ou w oke t h e fev ’r i sh ch or ds
a a
I n st r e m s of h r m on y w h i ch m i gh t ssu g e a a
Pa
ssi on pa
in lo
, g i n g , out of r e ch of w or ds ;
,
n a
W h en (ev ’n a
s A m ph i on i n t h e ol d t i m e pl yed, a
a a
Dr w i n g de d sh i ps w h i c h fr ug h t w i t h b ei n g seem ed) a
You w i el ded t h e deft h ow m a a
y l ife w s st yed,
A n d I sa t t ra n c ed, a
n d, a a
s I l i st en ed, dr e m ed .

I see you n ow a
s t h en , c h il d l i ke n d f i r, -
a a
Lost in t h e c l ouds of h r m on y you m de, a a
Wh i l st th e li g h t a
st r e m i ng fr om your sun n y h i r a
a
Rev e l ed t h e di m pl e b y i t s l ur ki n g sh de a
A n d th e soft c a den ce of t h e t h em e you b r e t h ed a
Wel l m i gh t h a
ve m a
de th e t or t ur ed so ul for g et !
a
R isi n g sw eet l i v i n g m em or i es w h i ch w r eat h ed
Wi t h g a
rla
n a
ds n ew t h e sh es of Reg r et .

I a
s w you w h en som e ot h er st r on g er h n d a
I m pr i son s t h a a
t w h i ch l t el y sped t h e b ow
(A n d t h i s er e yet th e r un n i n
g of l ife s s n d
’
a
Ha
d ar k ed a
m dec a de b y i t s sil en t fl ow )
A n d t h en —w h en b o a w nd cr oude re l i d a a a
si de ,

A n d h il dr en s h a
n ds w a
ke’
c fr esh t h ose ech oes b r i g h t ,
Wi l l you r em em b er your l ife s m or n in g t i de, ’

?
-

Wi l l m em or y h ea r
you b a c k , dear , t o t o n i gh t -

E NV O I

Ch il d, t h us I dr e m ed 5 a n d su a
dden l y I w o e, k
Roused b y t h e t h un der s of a pp l use w h i ch b r o a k
e
Fr om a ll w h o h ea m —A h ! i n t h e T o b e
r d ya -

Wi ll pr a i se del i g h t you ev 'n s n ow , m a

’
m ie a .

E D H E R ON A LLE N
.
-
.
 A P PE ND I X A .

GU MS, RE SI NS, A N D OTH E R SU B STA NCE S U SE D IN

COMP O UNDI NG V I OLI N V A RNI SH E S .

(a
) B en z oi n , B enj m n n ,
i or Gum B en z oi c Th e dr i ed m il ky juice
'

a
.

of t h e Lit h ocm pus B en z oi n , a t r ee i n di g en ous t o Si m a n d t h e I n di a n

A r ch i pel a a
go I t r r i ves i n r eddi sh yell ow l um ps, t h e w h it est b ei n g
.
-

t h e b est B en z oin con si st s of 10 t o 1 4: per cen t of B en z oi c ci d, a n d a

a
. .

t h e r est r esin I t i s used i n per fum er y n d m edi ci n e, a n d is a

a
.

c om pon en t ofcou rt
pl i st er I t fuses ea sil y, an d i s solu b le i n a lc oh ol
a
. .

(b) Sa fi on Th e dr i ed st igm s of t h e Cr ocus ca t i on s An a cre

a
.

yi el d 5 l b s t h e fi r st , a
.

w il l . n d 2 4 lb s t h e secon d.
yea r, ft er w h i ch i t
mu st b e r en ew ed I t s va
. l ue i s £ 2 a n oun ce .

(c) Ven et i a n Turp en t i n e i s t h e m om est eem ed ki n d of t u r pen t in e,

a n d is a a
cl e r pa le yellow v i scous m a ss On di st i lli n g i t w it h w a
. t er
a
t h e essen t i l oil (or spiri t s) of t ur pen t i n e i s ob t a in ed, w h i c h is a
col our less v ola t il e oil , sol ub l e i n a l c oh ol , et h er , an d ot h er oil s, a n d is

ar ea dy sol v en t of n ea r ly a ll r esi n s Th e r esidue left i n t h e r et or t

a
.

a fter di st i llin g i s t h e r osin , or col oph on y, w h i ch i s fa m i li r t o ever y

(d) F r w n lcz n cen se is t h e ex uda t ion of t h e E pi ceapect i n at a(sil v er

'

fir ) a g um ofa pin ki sh colour a n d a gr eea

b le odour Th e fr an ki n cen se

m of t h e B osw elli a mfa

.

of t h e Scr ipt ur es w a Ma
,

s t h e gu m n ow k n ow n ,

a st i c i s t h e r esi n of t h e P i sta ci a l en t i scus, fr om w h i c h

()
e G u m m
a
i t ooz es i n p l e yell ow t ea rs If n ot coll ect ed in t i m e, i t fa ll s t o t h e
n d, con se uen t l y, i t i s b est i n t ea
.

g r ou n d a n d b ec o m es i m p ur e a q rs .

a
,

I t i s sol ub le i n l coh ol a n d oil of t ur pen t i n e .

a a i a i f r esin of a li v er b r ow n col ou
(f ) A l oe s h ep t i c s s p ec es o r ,
-

ob t a i n ed fr om sever a l sor t s of A l oes, pa r t icula r ly t h e A loe socot r i n a ,

an a t iv e of t h e isla n d of Socot r a w h en c e i t i s i m por t ed i n t o B om b a y,

m e of B om b a ya
,

w h er e i t a qc ui r es t h e n a l oes .

(g ) S a n d a l w o o d T h e n a m e, a s h er e used, sign i fi es t h e w ood of

n d n ot of t h e Sa n ta w m Ya
.

t h e P t er oca r us sa
p m t ali n us
(a l )
si , w h i c h

r o s i S o u t h er n I n di a a
n d Ceyl on t h e h ea r t w ood i s da r k r ed,
g w n

a n d so h e vy aa s t o sin k i n w a t er i t i s m uc h used a s a dye .

D ra r Gu m Dr a on ) i s ag um obt a i n ed fr om
’
()
h g on s b l o o d ( o g
sever a l t rees, b ut pr i n ci p ll y t h e P t er oca
a /Ip us dr a co, an a t iv e of
Sout h A m eri c a a
I t i s l so ob t a i n ed fr om t h e P t er oow pus sa a
/n t l i n u s

e m ost est eem ed ki n d com es fr om t h e Ga la

.

id b u h /m u
( v e n o t e t t s

dr a co . I t i s of a deep r eddish — b r ow n colour , ver y opa que a n d b r it t le,

324 VIOLIN -
MA KING : A S rr w a
s A ND rs.

sm e llin g like ben z oin w h en b ur n ed i t i s soluble i n lcoh ol a

a n d m ost

l a
oi s n d t ur pen t i n e
a
.

(i ) Ma dder i s acol our ob t a

peeled r oot s of t h e Rubi
i n ed fr om th e

t i n ct or um , ash r ub g r ow n i n H ol la n d Th e r oot s a
pr i n c ipa
l ly re .

lift ed i n Oct ober or Nov em b er , t h e b r ow n epider m is i s r em oved b y a

pr ocess ca lled r oba
“
g e, a
”
n d t h e i n n er
pa r t i s cut in t o sm ll pieces a
a n d pa ck ed off t o t h e coun t r ies w h er e i t i s gr oun d i n t o afi n e pow der

(j ) Logw ood i s t h e da r k r ed h ea r t w ood of t h e H o

-

em locylon aa
oa mpecki a n w n , at r ee w h i ch g r ow s i n Mex i c o a n d C en t r a l A m eri c a
a
.

Th e sa pw ood a n db rk a r e peel ed of f, a n d t h e h ea r t w ood i s i m por t ed

-

i n bill et s Th e col our dissolves r e dil y i n b oili n g w a a t er

a
.

a
.

(17) B r a z il w o od i s ob t in ed fr om v a r ious s ecies of Cw e l i n a

p p
g r ow i n g i n B ar z il Th e b est i s t h a t o f t h e C ’
w s lpi n a ech i n ata aor
a a
.

P er n m buco w ood, w h i ch i s m uch used for m ki n g viol in bow s

a a
.

Th e d r k yell ow i sh r ed h ea -
r t w ood i s t h e va
-
l ua b le p r t .

(I) Ci n n a bar/r (or V er m i l i on ) A n or e of m er cur y, foun d i n

a a
.

cryst l s, m sses, a n d ow der

p Ch em ica ll y i t i s b i sulph uret ofm er cur y
a
. .

7p i/m en t , a com b in a i on ofa r sen ic w it h su lph ur , of ab r ill i n t

(m ) 0 t
yel 1ow colour k n ow n a s ki n g s yell ow
’
.

(n ) E l em i i s afr a gr a n t r esi n ob t a in ed ch ie y fr om t h e A my r i s fl
el em if em of E gypt (w h en ce i t a r r i v es w r a ed i n ca n e or pa lm
pp
l ea ves), a n d fr om t h e E la p fi r i um elem ifer um of Mex i co I t is .

col lect ed on ce ada y fr om i n ci sion s m a de i n t h e b a r k in w a rm

a
w e t h er , a n d put i n t o c a sks It i s a. t fi r st soft a n d st icky, b ut
b ecom es i n t im e h a rd a n d b r i t t le I t i s usua lly i n green i sh yellow , -

sem i t r a
.

-
n spa r en t ma sses w it h da r k st r ea k s i n t h em , w h i ch soft en
w h en h eld i n t h e h a n d .

r d copa
(0 ) A n i m é, or h a l , i s t h e r es h w h ich ex udes fr om t h e
’

H ym en a ea cow ba mi l , a na t i v e of Sout h A m er i ca A gu m ob t in ed fr om a
a a a
.

t h e Va l er i I n di n , k n ow n a s gu m a n i m é , i s v er
y l ik e t r ue cop l (on ly
m or e solub le in a l c oh ol ), w i t h w h ich i t i s fr e uen t ly con fused in
_
q
com m er ce

Copa na
.

(p) l is a m e gi v en r a t h er in di scr i m in a t ely t o v a r i ou s gu m s,

especi a l ly t h a t kn ow n a s a n im é
(o) Th e b est , or Mex ica n copa l,
i s obt a a
.

i n ed fr om aspec ies of H ym en a ea b ut i t i s a l so ob t i n ed
fr om A fr i ca ia da ga
,

, In d
Ma sca r, a n d Bra z il It a r r iv es i n r ou n d,
ta sses ; i t i s r ea
, .

st el ess, odour less, l em on yell ow ma

-

dil y fusi bl e a nd
in a
fl mma b le, a n d t h ou h
g on l y sli g h t ly sol ub l e i n a l coh ol a n d oil of
t ur pen t in e n a t ur al ly, i t i s r ea d i ly so w h en i t h a s b een fu sed In
ha s ag u ra
.

r dn ess, a ru , it n k s n ex t t o a m b er I t i s ea sil y sol u b le i n

oi l s of spik e a r y, a
.

n d r osem a n d the a ddit ion of eit h er of t h ese t o

a l coh ol pr om ot es i t s sol ub il i t y It is a l so sol ub l e i n oi l of t ur pen t in e
w h ich h a
.

s b een ex posed t o t h e a i r (v i de p
(q) Gum t r a ca
g h es t r a ga om st ka
.

ga n t h i s yi el ded b y t h e sh r ub A st r aa
.

i t occur s i n opaue w h i t ish

q ak es, on ly pa
fl r t ia lly sol ub le i n w a t er ; i t
g r ow s ch i e y i n P er si a
fl a
n d A si aMin or , a n d c om es t o u s fr om
Sm yr n a a n d C on st a n t in opl e .
326 V I OLIN -
MA KING : a
s IT w a
s A ND I S.

Ga i f h e Ca m bog i a u t t ifer a of t h e
(31) m bog e i s t h e g um o t r es n g
Ea I t i s at h ick yellow jui ce w h ich r ea
.

st I n dies c h es us In pi pes ,

sses of w h ich t h e t w o for m er a

. ,

cyli n der s a , n d m a ,
r e t h e pu r est Th e .

b est com es fr om Sia m

en cl r on m yr r h aan a
.

M r esin of t h e B a sa d t i ve
() y
z r r h i s t h e l m o
,
ofA r a b ia a n d A byssi n ia I t ex udes fr om t h e t r ee i n t h 1ck yell ow
r e t ot h e a I t r ea
.

dr ops w h ich h a r den a n d da r k en on ex posu ir ch es

.

us in t ea rs a
,

n d lu m ps v a r yi n g fr om yell ow t o r eddi sh b r own It-

n a r om a
.

l sa m i c sm el l a nd a t ic a
,

i s br it t le a nd w a x
y w it h aba ,
n d

bit t er t a
,

st e
x i s obt a n ed b y pun c t ur i n g t h e r oot s of t h e P a
.

a a na
( ) Op o p o i e

w aki n d of pa
tin a ca op0pon a ,
r sn i p in dig en ous t o Sou,
t h er n E ur ope .

E x cept a s a per fum e t h is g um i s n ot n ow m uc h used .

s t h e v ola
,

( )
6b C o p ai b a’

(o r Co p aw a ) i t i le oil flow in g f r m t r ees of

o
t h e speci es Oopmfer agr ow in g i n t r opica l Sout h A m er i ca I t rs .

pri n ci pa l ly used a s am edici n e .

A P P E ND I X B .

TH E P RE SE RV A TI ON or TH E I NSTRU ME NT .

MAN Y an d va r ious a e t h e sug g est i on s m a

r de t o a n d t h e du t ies ,

i m posed upon a ma t eur s w it h a i e t o k eepi n g t h eir fi ddl es i n g ood

v w

c on di t i on a
,

n d pla t a
,

yi n g or der A l t h oug h i t i s c er t a
in t h a violi n i st
a
.

h o does n ot t k e c a r e of, a n d do ev er t h i n
w
y g con ducive t o t h e
a
w elf r e of, h i s v i ol i n , ca n n ev er ex
pec t t o m a ke a
g ood per for m er ,
a
m n y of t h e oper a t ion s set dow n i n t h e book s r e r idic ul ous n d a a
a
un n ecess r y, such , for in st a n c e, s t h e pr a a
ct ice r ecomm en ded b y

Ot t o, of r ub b i n g t h e st r i n gs fr om n ut t o b r i dg e, wit h piece of a
si lk m oist en ed w it h a l m on d oil , befor e put t in g t h e i n st r um en t w y, aa
a a a
ft er pl yin g on i t , n d r u b b i n g t h em dr y a g i n wit h a
l in en r g a a
aa
b efor e g i n usi n g i t I t is lw a . a
ys h opel ess t o ex pect ow n er s of n ew
a a
fi ddl es t o p y t h t a t t en t ion t o b r a n n ew i n st r um en t s t h t t h ey a
a
b est ow upon t h ei r l r ea dy dil a pi da t ed a n d t im e w or n m st er ieces of
-

p a
aa
Cr em on , p r t ly b eca use t h ey do n ot con sider t h em w or t h i t , n d a
a a
p r t l y b ec use t h ey lik e t o see t h em l ook in g ol d n d ser v ice m r k ed a a
"
-
.

a
I t w oul d b e g r ea t b oon t o fut ur e g en er a t ion s i f m t eur s w ould aa
p r ese r ve t h eir n ew fi ddl e s i n a ll t h e ir
pri s t in e
“
spick n d sp n a a
a a
b e ut y, n d t h i s ob jec t m a y b e ob t a in ed b y foll ow in g n d dh er in g a a
t o t h e fol lowi n g r ul es
a a
.

Th e v ioli n sh oul d, ft er b ein g pla y ed on , b e dust ed fr ee fr om ll

"
a a
im pur i t i es n d c cum ul t ed r osin dust , w it h a a
soft sil k h n d a
k er ch i ef, for r osi n dust , if a l l ow ed t o r em a i n in a
w h i t e l yer , a
a
.

is pt t o ch eck t h e vi b r a t ion s of t h e b ell y, t o s y n ot h i n g of i t s a

 A P PE NDI X . 32 7

un sig h t l y a ppea ra n ce I t sh ould b e t h en w r a

.
pped i n asilk h a n d
k er c h i ef, a n d la id i n ab a iz e or v el v et li n ed ca se, a n d n ot t i ed u
p
in a
g , or h un g on a
-

ba na il, a s i s t h e fa t e of m a n y fi ddl es, espec ia ll y

t en or s, t h ough t h er e i s n o doub t a b out i t , t h a t i f an ew fi ddl e ca n
a lw a ys b e k ept lyin g out of t h e c a se i n som e sa fe pla ce, i n a w el l
ven t i la t ed a n d w a r m r oom , w h ere i t w ill n ot b e k n ock ed a b out or
r un a r isk of dr a ug h t s, i t will m a t ur e a n d m el low ver q
y m uch ui ck er
t ha n i f sh ut u
p from t h e fi r st i n aca se a
A n ddi t ion a l pr ot ec t ion i s
ga i n ed b y a uil t ed sa
.

q ti n fi ddle b l a n k et cut t o fi t t h e ca se, w h i c h

b la n k et a ffor ds m uc h scope for i n g en uit y a n d b ea ut yof design i n
t h e em b r oi der y wor k of our si st er s a n d ot h er s
(especi a l l y ot h er s)
Th e ca
.

l d n ot b e set on t h e oor un der a ia

fl p n o, a s i t usua
se sh ou ll y
i s, b eca use t h er e i s n ea rly a lw a ys a dr a ugh t a lon g t h e oor , a
fl n d th e
fi ddl e m ust n ev er , i f possib le, b e i n adr a ugh t , b ut i t m ust b e put
on a sh elf or t a b l e t h r ee or four feet fr om t h e gr oun d, i n adr y w a rm

pla ce, a n d in fi n e w ea t h er (if pr a c t i ca b le) t h e ca se sh oul d b e l eft

open , a n d t h e fi ddl e u n w ra pped for afew h our s ever y da y Th i s
goes fa r t ow a
.

r ds m ellowin
g t h e t on e, a n d
pr eser vi n g t h e i n st r um en t
I t m ust b e r em em ber ed t h a
.

t t h e cl ose, dr i ed por es of a n ol d v i oli n

a r e ex t r em el y su scept i bl e t o da m p, for t h ey open , a n d a b sor b t h e
m oist u r e of t h e a t m osph er e, a n d t h is h a s at en den cy t o loosen t h e

join t s b y m el t in g t h e gl ue .

Th e fi ddl e sh oul d n ot b e subjec t ed t o sudden ch a n es of t em

g
per a t ur e ; t h e t on e of adeli c a t e i n st r um en t m a y for at im e b e
com pl et el y spoil t b y ca r r yin g i t t h r ough t h e open a ir t o ac on cer t
r oom , b y r ea son of t h e sudden c on t r a c t i on of t h e i n st r um en t fr om

t h e c old a n d su bse uen t ex pa

q n si on fr om t h e h ea t of t h e r oom ,
w h ich ha g t h e in st r um en t out of i t s h a
'

v e t h e efi ect of t h r ow i n r

m on i c e uili b r ium , a
q n d t h us r en der i n g t h e t on e h a r sh A ga in ;
t h e por es of t h e w ood b ein g ful l of col d a a
.

ir , t h e sudden t r n si t i on
t o aw a rm a t m osph er e t ur n s t h i s c old a i r i n t o st ea m or per spi r a t ion ,
a n d, a s acon se uen ce, t h e st r i n s
q g (especia ll y t h e D) l ose t h ei r t on e
a n d b ecom e n a za l P er i odi ca lly i t i s good t o pour ah a n dful of
ba
.

r le sl i h t l
y g yw a r m ed i n a t on e of t h eff h oles, a pr ocess w h ich c lea n s

out t h e i n si de ef a
fec t u l ly, r em ov in g t h e coa t in g of fi n e dust w h i c h
w ould ot h er w ise r et a r d t h e t h or oug h sea son in g of t h e w ood Th e
ys b e k ept st r et ch ed up t o pi t ch : t h e pr a
.

st r i n g s sh ould a lw a ct ic e

ob ser ved b y som e pla yer s of r ela xin

g t h e st r in g s a ft er pl a yin g (w it h
av iew t o econ om y in t h e m a t t er of st ri n gs) i s a bsolut e r ui n a t ion t o
‘

t h e in st r um en t i n t h e m a q
t t er of t on e, for t h e e uili b r i um b ein g
con st a n t l y di st u r bed, t h e fi ddl e n ev er g et s t h or ou gh ly set t l ed a n d

In a a
ddi t ion t o t h is, you sh oul d w t ch your fi ddle s if i t w er e a
a a
del ic t e c h il d a
w h en ev er you pl y on i t , you sh ou l d l ook i t
a
over t o see if n yt h i n g i s g oi n g w r on g (vide p Nev er l et a
.

a
w n t of r epa a
ir go on t ill i t m k es i t self pp r en t i n t h e t on e ; aa .

t h er efor e, ex a a
m i n e t h e b r i dg e t o see t h t i t i s uit e per pen di cul a
q r ;

a a a
if n ot , pr ess i t for w r d or b c k s t h e c se m y r equi r e a a
See t h t . a
328 V I O LIN -
MA KING : A S IT WA s A ND IS .

th e soun d post i s a
-
l so ui t e st r a i gh t up, a
q n d tha t t h e n eck h a s

n ot sun k for w a rd a l it t l e, a s i t som et i m es w ill w h en an ew n eck

ha s been set on t h e in st r u m en t , or t h e fi ddle h a s n ot l on g l ef t th e
Th i s w i ll lso som et i m es h a a ppen w h en afi ddle i s
sudden ly ca r r i ed fr om aw a rm in t o acold t em per a tu r e, t h e g lue

b ei n g b y t h i s m ea n s loosen ed, a s a b ove m en t ion ed Th is becom es

ppa ppea b ov e t h e fi n g er b oa
.

a r en t b y t h e st r i n gs a r in g t oo h igh a r d, -

a n d c on se uen t ly a
q n a w k w r dn ess b ein g ex per ien ced w h en pla
a yin g
i n t h e h ig h sh i ft s Wh en t h i s h a ppen s, t h e on ly t h i n g t o do i s t o
ve an ew n eck put on b y agood w or k m a som e pla
.

ha n yer s g et over
t h e diffi cult y b y l ow er i n g t h e b r i dg e, b ut t h i s i s a lw a ys ada n er ou
g s
a n d u n sa t isfa c t or y ex pedi en t (a i de p See t h a t t h e b ell y
n ot b ecom e un g lued on t h e left of t h e t a il piec e, a
.

s i s som et i m es t h e
-

ca se con se uen t upon t h e h ea

q t of t h e ch in , or on t h e r i g h t of t h e
sh oulder , w h ich som et im es r esul t s fr om ah ot h a n d pl a yi n g i n t h e
t h ir d a n d h ig h er posit i on s By t a ppin g t h e fi ddl e lig h t ly r oun d t h e
becom es i m m edi a
.

edges, a n y c on t in g en cy of t h i s descr ipt i on t ely

a ppa r en t b y t h e soun d If b y a n y m isc h a n ce t h e soun d po st fa ll s -

x a
.

dow n , or t h e fi ddl e g et s un glued a t a n y of t h e b l ock s, r el a ll t h e

st r in gs a t on ce ; i t i s b et t er t o put up w it h t h e t em por a r y di st ur ba n ce

of t h e i n st r um en t t h us occa si on ed, t h a n t o r i sk t h e del et er i ou s st r a in

ot h erw i se put upon th e b el ly
a e er l et aw a
.

I h ve sa id n n t of epa
v ir g o t oo lon g b ut on t h e
r ,

a
, ,

o
t h er h n d do n ot b e t oo a n x ious t o h ave your fiddle t in k e ed a b out ; r

t i on i s t h e ver y la
,

r em em b er t h at a s w i t h t h e h um a n sub ject a m put a st

r esor t t o b e t i ed w h en a ll ot h er r em edi es a
r r e h opel ess so w i t h t h e ,

fi ddl e :To t ak e off t h e b elly i s am ost ser i ous t h i g a n d t o m eddl e n ,

w it h th ba
e r , or sc oo
p out t h e w ood, w or se st il l ; t h ere for e, n ever
su fi er your fi ddl e t o un der g o t h ese oper t i on s un l ess ev er y ot h er
'

a
a
me n sha s fa a a
i l ed, n ev er h ve t h e b ell y t k en off ex cept i n t h e c se of a
ab a a
d cr c k , al oosen in g of b l ock (a a
n d even t h en i t m a b e di s en sed
y p
wit h som et im es p 30 7] or un l ess t h e obst in at e g h st li n ess of a
a
.

t h e t on e t ell s you t h er e i s som e ser ious in t er n l com pl in t t or t ur i n g a

a
your d r l i n g . a
O n t h e s m e pr in c ipl e, n ever sh ift a b out t h e b r idge
a n d sou n d -
a
post your sel f (ir r esist ib le s i s t h e t en den cy t o do so w h en
t h e t on e g oes w r on g ) con fi de a a
ll such m t t er s t o som e h i gh pr i est of -

a
t h e r t of mm ,
w h om
you ca n t r ust w it h t h e w ell b ei n
g of your
-

in st r um en t
a a
.

B y t t en di n g t o t h ese t h in g s ag ood fi ddl e c n b e k ept i n per fect

or der for a n i n defi n i t e l en
gt h of t im e Th e b ov e di r ec t i on s m y
. a a
seem t o t h e re a der t o b e un n ecess r il y m in ut e n d fa a ddy, b ut s a aa
a
m t t er of fa ct , t h e poin t s I h a v e set dow n t o b e t t en ded t o ough t a
n ot t o r equ i r e set t i n g dow n t a a a
l l , b ut r e i n st i n ct i v ely ob ser ved b y
a n
y fi ddl er w h o r e l ly w n k/13 a
03 h is fi ddle as
( l s !) afi ddl er l w ys a aa aa
does soon er or l t er a a
B y t t en ti on t o t h e b ov e m en t i on ed p r a -
a
a
.

t i cul r s, your i n st r um en t i s k ept i n g ood t em per a n d t on e, n d you a

a a
r e s ved t h e a w ful ex
pen se of fi r st cl a ss fi ddl e r e a
p i r in g
-
.
330 V I OLIN -
MA K ING : A S IT WA S A ND Is.

3 . M O YE I KH IA TP E IA ; -
or aFi ddle th e b est Doct or . Lon don ,

1 775 Kea r sl ey .

4 . JOUSSE , J Th eor y n d Pr a
a ct ic e of t h e V i olin . Lon don ,
18 11
5 . MA CDONA LD ,
A Tr e t ise E x pla
Joh n . n a a
t or y of t h e P r in c iples
con st it ut i n g t h e P r a c t ic e a n d T h eor y of t h e V i olon cell o .

Lon don , 18 1 1 A ppen di x 1 8 1 5 . Foli o . .

6 . A NONYMO US Th e La.
y of t h e P oor Fi ddl er , aP a r ody on t h e b y

of t h e L st Min st r el a W i t h n ot es a n d i ll ust r a
. t ion s : b y a n

a dm ir er of W a l t er Sc ot t Lon don , 1 8 14 Cr osby 8v o . . .

7 . MA CDONA LD, Joh n A Tr ea t i se on . t h e Ha r m on i c Syst em ,

a r isin
g fr om t h e v ib r a t ion s of t h e a l i uot di v i si on s of st r i n g s, q
et c et c
. Gi v i n g a
. n ea s a
y n d fa m i li a r d pt t ion of t h e w h ol e aa a
t o t h e pur poses ofc om posit i on a n d of in st r um en t a l m usic , an d

m or e pa r t icula r ly t o t h e
pr a c t ice of t h e v iolin , t en or , v iol on

c el l o, an d doub l e— ba ss, on a ll t h e st r in g s i n ev er y com p ss of a

t h ese in st r um en t s b y ev er y pr a c t ica l m ode of ex ecut i on , et c .

Lon don , 1 8 22 P r i n t ed for t h e A ut h or

. F oli o . .

8 . I MB E RT DE LA P H A LEQUE , G Som e A ccoun t of t h e C el eb r t ed . a

V iol in ist N ic olo P a ga n in i Tr a n sl a t ed fr om t h e Fr en ch of .

G I de L , w i t h a
. . ddi t i on a
. l n ot es Lon don , 1 8 30 Chopped, .

La n sla
et c . r e 8v o
g (at r a t ion of No . .

9 . A N ONYMOU S Pr a ct ic a
. l Rul es for pr oducin g H a r m on i c Not es on

t h e V i ol in , et c B ur y St E dm un d s a
’
. n d Lon don , 18 31 : .

Cr a
m er .

10 OTTO , Ja
. cob A ug ust us Tr ea t ise on t h e C on st r uct ion , P r eser v a
.

t i on , Repa i r s, an d I m pr ov em en t of t h e V ioli n , a n d a ll b ow
in st r um en t s, t og et h er w i t h aDisser t a t i on on t h e m ost
E m in en t Ma k er s, poin t i n g out t h e sur est m a r ks b
y w h i ch a
g en ui n e i n st r um en t m a Tr a n sla
.

y b e dist i n g uish ed t ed fr om .

t h e G er m a n , w i t h n ot es a n d a ddi t ion s b y Th oma s Fa r del e ,

y
pr ofessor ofl a g a
n u
g es, Leeds Lon don : Lon gm cm s Leeds : . .

J Cr oss, 1 833
. La r e 8v o
g (v ide No 1 6, t o w h ic h i t i s
. . .

g r ea t ly in fer i or ) (Tr a n sl a t ion of N o . .

l l DU B OURG, Geor g e Th e V i ol in B ei n g a a
ccoun t of t h a t
a
. . n .

l e din g in st r u m en t a n d i t s m ost em i n en t pr ofessor s, fr om i t s

ea r liest da t e t o t h e pr esen t t im e, i n cl udi n g h in t st o a ma

,

t eur s,
a n ecdot es, et c Lon don , 1 8 36 : B y Colb ur n . Sm a ll 8 v o . . .

Secon d E di t i on Lon don , 1 8 37 H y Col bur n . Sm a ll 8 v o . . . .

Th i r d E di t i on Lon don , 11 d . R Cocks Sm a ll 8 v o . . . .

n d con sider a b ly en l a
.

Rev ised a
_

F our t h E di t i on . r ed,
g 185 2
R Cocks 8 v o . . .

F ift h E di t i on New ly r ev i sed a n d en la

. r g ed b
y Joh n B i sh op, of
C h el t en h a m , 1 8 78 : R Cocks 8v o . . .

12 MA C KI NTOSH ,
. Re m a r k s on t h e Con st r uct ion of, a n d

Ma t er i a
l s em pl oyed I n , t h e Ma n ufa ct ur e ofV i oli n s Dub l in ,
'

1 8 37 : 8 v o P a m ph let .

1 3 A N ONYMO U S
. Th e H a n db ook of t h e V iolin
.
,
i t s Th eo ry a n d
 A P PE NDI X . 331

Pr ac t ic e . Lon don , 1 8 43 : H . 0 . Cla

r ke . Sm a
ll l 6m o
Pa m ph l et
a
.

A NONYMO US H n dbook of t h e V iol in Lon don , 1 8 45 : Wh i t

a a
.

Sm ll 1 6m o P a
.

t ker m ph l et
a
.

a
.

JA ME S, E C m il l o Si v or i A Sk et ch of h i s Life, T l en t ,
a
.

Tr a v el s, a n d Su ccesses Lon don , 1 845 : P Rola . /n di l r ge

8v o P a
. .

m ph l et .

O n o, Ja c ob A u g ust us A Tr ea t i se on t h e St r uct ur e a
. n d P r eser

va t on of t h e V iol in a n d a
i

l l ot h er B ow I n st r um en t s
a
.

Toget h er w i t h a n cc oun t of t h e m ost c el eb r a t ed m k er s, a

a n d of t h e g en u i n e ch a rac t er i st ics of t h ei r i n st r um en t s
Tr a a
.

n sl a t ed fr om t h e or i g i n al , w i t h ddit ion s a n d i ll ust r at i on s

b y Joh n B ish op, of Ch el t en h m Lon don , 1 8 48 : R. Cooks a .

Secon d E di t i on , 1 860 ; La r g er or Th i r d E di t i on , 1 8 75 R Cocks

Sm a l l 8 v o (t r a n sl a
.

de 0 0 . t ion of No .

1 7 P A I NE , Joh n
. A Tr ea . t ise on t h e V iol in Sh ow i n g h ow t o a scer .

ta in t h e t r ue degr ees of t i m e, a n d a n ex a c t m et h od of
b ow i n g , ex em pl ifi ed b y v a r iou s ex a m ples i n ea ch degree ;
l ik ew i se t h e ea si est m et h od of k ee i n
p g c or r ect ly i n t un e,
n d t ra
w it h di r ec t ion s i n sh i ft in
g a n sposi t i on ; i n t er sper sed
w i t h en t e rt a i n i n g poet ry a n da n ec dot es i n a di al og ue b et ween
am a st er a n d h i s pu pil Lon don , n d P ubli sh ed for t h e
. . .

A ut h or Th r ee or four edit i on s pr ior t o 1 8 50

. 8v o . .

18 P URDY, Geor g e A Few W or ds on t h e V ioli n B ei n g t h e r esul t

of t h i r t y yea s a t ea
. . .

r s ex per i en ce a ch er O f t h a t i n st r um en t
'
.

Lon don , 1 8 58 : W G Goul bour n , i m p . .8vo . .

19 SA NDYs, Will i a
. m , a n d Fon sm n , Si m on A n dr ew Th e Hi st or y of
'
.

t h e V i oli n a n d ot h er I n st r um en t s pl a yed on w i t h t h e B ow ,
fr om t h e r em ot est t i m es t o t h e pr esen t A l so a n a cco un t of
l ma
.

t h e pr i n c ipa k er s, E n g li sh a n d For eig n , w i t h n um er ous

i l l ust r a t i on s Lon don , 1 8 64 J R Sm i t h , A ddi son (9 Luca

. s . . .

La r e 8v o

a g
a
.

20 F n s, F r a n oi s Jo seph N o t i ce of A n t h on y St r a div r i t h e
c
a
. .

c el eb r a t ed V iolin m a k er , k n ow n b y t h e n a
-
m e of St r di
a
v r ius P r ec eded b y Hi st or i ca l n d Cr i t i c l Rese r ch es on t h e a a a
a
.

a a
Or i g in n d Tr n sfor m t ion s ofB ow I n st r um en t s, a n d fo l low ed
a a
b y aTh eor et i c l A n lysi s oft h e B ow , n d r em r ks on Fr n ci s a a a

?
a
Tour t e, t h e ut h or of i t s fin l im pr ovem en t s, b y F J Fét i s, a . .

(w it h t h e per m i ssion of t h e ut h o b y a
Joh n B i sh op, of Ch el t en h a m Lon don , 1 8 64 : R o ks . . a .

a
l r g e 8 v o (t r n sl t i on of No aa
a a a
.

21 P E A RCE , Joseph , j u n V i oli n s n d V ioli n m k er s a

B i ogr ph ci l -
.

a aa a a
. .

di ct i on a r y of t h e g r e t I t li n r t ist es, t h ei r foll ow er s n d

im it a t or s t o t h e pr esen t t i m e, w it h ess ys on im por t n t a a
sub ject s con n ect ed w i t h t h e v i oli n Lon don , 1 8 66 : Lon g
a
.

ma m a Sh efi el d : J P e /r o e 8vo
a
. . . .

22 A DYE , Wi ll et
. Music l Not es I Th e Gr ea
. t Co m poser s . II . . .
332 V I O LIN -
MA KIN G : A s IT WA S A ND I s .

V iolin i st s a n d t h e V ioli n III Th e V ioli n a n d i t s H i st or y

. . .

Lon don , 1 8 69 : R B en t l ey 8vo

a
. . .

23 DA VI DSON, P et er Th e V iolin A c on cise ex posi t ion oft h e g en er l

a
. .

a
.

n d ra
pr in cipl es ofc on st r uct ion , t h eor et ica lly a p ct i c ll y t r e t ed,
i n cludi n g t h e im por t a n t r ese r ch es of Sa va rt a n da n e it om e
p a
of t h e liv es of t h e m ost em in en t A r t ist s, a n d n a lph a b et ic l a a
l ist ofv ioli n m a k er s -
I llust r a t ed w it h l it h og r ph i c v ig n et t e,
. a
a n d n um er ou s w oodcut s Gla s ow :
g P or t eous Lon don :
. .

P i tm a /n E di n b ur g h , A b er deen , et c , 1 8 71
. Sm a ll 8v o . . .

Secon d E di t i on
Th i r d E di t i on
F our t h E di t i on Th e V iolin . I t s c on st r uct ion t h eor et ica l ly a n d

a a
.

pr c t ic ll y t r ea t ed, et c , et c Lon don : F P i t m /n

. . E din b ur gh , . a .

Gl asg ow , Dun dee, 1 88 1 Sm a ll 8 v o . .

24 RE A DE , Ch a
. r l es A Lost A r t Rev iv ed
. Cr em on aV i oli n s a n d .

Va r n i sh Four l et t er s descr ipt iv e of t h ose ex h i b it ed i n

.

18 73 (si c, sh ould b e 18 72 ) a t t h e Sout h Ken sin g t on Museum ,

a l so g iv i n g t h e da t afor pr oduci n g t h e t r ue v a r n i sh es used

b y t h e g r ea t Cr em on am a k er s Repr i n t ed fr om t h e P a ll .

Ma ll Ga z et t e b y Geor e H M Mu
g n t z , B i r ch fi el d Gloucest er ,
. . .

1 8 73 : Joh n B el l ow s La r ge 8 v o P a m ph let
. .

25 B A RNA RD, Ch a
. r l es Ca m il la ,
aTa l e of aV iol i n B ein g t h e a r t ist .

life ofCa m i ll a U r so B ost on , U S A , n d . Lor i n g 8 v o . . . . . . .

26 FETI S, F r a
. n oi s Jose h
g p B i ogr a ph i ca l Not i ce of N icol o P a
.
ga n in i .

W it h a n a n a l ysi s of h i s c om posi t i on s a n d ask et c h of t h e

h ist or y of t h e v iolin b y F J Fet i s W i t h por t r a it a n d . . .

w ood en r v i n s
g g a
Lon don , Secon d E di t i on of N o 2, n d
. . . .

Sch ot t (it Co 8 v o (t r a n sl a t i on of No . .

2 7 GOFFRI E , Ch a
. r l es Th e V i oli n. A con den sed h ist or y of t h e .

v i ol in , i t s
per fect i on a n d i t s fa m ous m a k er s I m por t a n ce of .

b r i dg e a n d soun d
post a rra n
g em en t
-

P h i la del ph i a , .

1 8 76 : G A n d r e 42 Co . 8v o P a m ph let . .

2 7a SMITH , H P
. . Th e Con st r uc t ion of t h e V i ol in
. Giv es full .

a n d c om
plet e Di r ec t i on s, b y t h e a i d of w h ich a n y A m a t eur
Mech a n i c ca n con st r uc t
per fect V ioli n Syr cuse, a . a
n d . . J Robl es . .

2 8 SCH E B E K, Dr E dm un d
. . Th e V iolin Ma n uf c t ur e i n I t a
. ly a n d a
i t s Ger m a n Or ig in A n h ist or ic l sk et ch. Tr a n sla t ed fr om a .

t h e Ger m a n b y Wa l t er E La w son Repr in t ed fr om Th e . .

Musi ca l St a n da rd Lon don , 1 8 77 W Reev es La r e 8v o

g
a
. . .

Pa m ph let (t r a n sl t ion of N0

a
.

2 9 P B IP SO N, Dr Th om a
. . s La m b B iogr a ph ic l Sk et ch es a . n d A n ec
dot es of C eleb r t ed V i oli n ist s a Lon don , 1 8 77 : R B en t l ey . . .

8v o .

30 [F OTH E RGI LL, Jessi e ]

. Th e Fi r st V iol in A n ov el Lon don , . .

1 8 78 : R B en t l ey . 3 v ol s , 8 v o . . .

31 FRE DE RI C , H en r i et t a Th e E n ch a n t ed V i oli n A c om edy i n

a
.

a
.

t w o c t s, for m a
.

l e ch a r ct er s Lon don , 1 8 79 Wa sh bow me .

.
334 V IOLIN -
MA KING : A s IT WA S A ND I s.

Lon don , 188 2 : Ch a t Wi n du

t t o «f s
(Th e biogr a ph y of J F . . .

Lot t ; vi de pa ge
H E RON A LLE N, E dw a
-
r d Opusc ul aFi di cula r um Th e .

B ein g a discour se deli v er e a

.

A n cest r y of t h e V iolin t th e
Fr eem a son s Ta ver n , on Fr i da
.

y, Jun e 2n d, 1 8 82, t o t h e
’

Set t e of Odd V ol um es Pa rt I Th e Or i gin of t h e V iol in . . .

Pa r t II Th e W el sh Cr w t h
. Lon don , 188 2 P r in t ed for t h e .

a
.

A ut h or b y Mi t ch ell (f t H ugh es 8 v o P m p h l et (v ide n ot e

1
,

, a
.

1
p 29. n d n ote , p
n d Rem a
.

CH A NOT, Geor g es H odg es v Ch a .n ot Cr it icism s a r ks .

on t h e Gr ea
.

t V iolin Ca se, Ma r ch 1 88 2 Lon don , 1882 : .

Mi t ch ell db H ugh es La r g e 8v o P a m ph l et .

E NGE L, Ca Resea r ch es i n t o t h e E a
.

rl r ly H i st or y of t h e V iolin

Lon don , 1 8 8 3 : Novel l a

.

Fa m il y .
, E w er , c h Co 8 v o (vi de .

n ot e p
a
.

FLE MI NG, J m es M a ol d V i ol in s n d t h ei r M k er s a .

I n cl udin g som e r efer en ces t o t h ose of m oder n t im es, w it h

fa csi m il es of t ick et s, soun d h oles, et c Lon don , 1 8 8 3 : -
.

L Upcot t Gil l
. .

H E RON A LLE N, E dw r d
-
a
De Fi di c ul is Opusculum I I H odg es
aa a
. .

g i n st Ch n ot B ei n g t h e h ist or y of . c el eb r a t ed c se, a a
col lect ed fr om t h e n ew spa per s an d fr om
per son a l ob ser v at ion
a a a
n d n n ot t ed Pa rt I B iog r aph ic l . Pa r t II Th e C a use . a . .

o f A ct i n
o P r t II I T .h e h ia
'
l a
P r t IV Th e Opi n ion s .
-
. a .

of t h e P r ess Lon don , 1 88 3 . P r in t ed for t h e A ut h or b y .

Mi t ch ell d: H ugh es 8 v o P a m ph l et
a a
. .

FE RRI S, Geor ge J Sk et ch es of Gr e t Pi n i st s n d G r ea t a
a a
.

V ioli n i st s, B iogr ph ic a l a n d A n ec dot l , w i t ha ccou n t of t h e

‘

V ioli n n d E a a
r ly V iolin i st s Lon don , 1 88 4 : W Reev es 8v o . . . .

ta
Na —I h a
ve h a ded t h e a e bo li st i t h t o w or k s (Nos 1 a
ve n d 2 ) w h os w w e
da t es of pub li ca t i on I h ae n ot b a bl toa sce t a
.

v in Nos 3 6 30 31 35 36
een e r
37 a n d 44 I h a
.
.
, , , , , ,
v e i n ser t ed (t h o ug h u o ect ed w i t h t h e h i st or y t h eor y o n c n n r

pr a ct i c e of t h e vi olin ) a
, , ,
s li k el y t o b e of i n t er est t ot h ose su ffi ci en tl y c o c er n ed n
m en t t o m a ke th em t a ke a in t er e t in a n y li t er a
,
w i t h t h e i n st r u t ure of t h i oli n s ev n
I ex c l udi g a
.

n n ll m ere i n st r uct i o b ook s I doub t ed for som e t i m e n h th e t o w e r

i se t t h o ks of Ch r i st oph er Sim pso i) Th e Di vi si on V i Oh st ; or a
'

n r e w r ( n : n
I t r oducti on t o t h e Pl a
,

(Lon d on 1659 W Godb id foli o)”

”
n i
y g p
n u o G o un d n 3. r :
a
,
a
. , ,

n d (i i )
“
Th e Di v i si on Vi ol ; or , t h e A r t of Pl yi n g ew t emp or e upon 3. Gr oun d
(Lon don , 1667 H P r oms, fol i o) ; s’o I h a v e c om
pr o'm‘ i sed b' yn ot in g t h em h er e
a a a ak a
.

a
.

H v i n g m en t i on ed Ch r l es Re d e s “ J c of ll I r des (No 44) I ough t ,

a a a a
.

p e r h p,s t o h v e n o t ed t h e n on y m o us n o v el “
Ch r l es A uch est er (Lon don ,
a a a
1 8 79 : Ch p m n 4 H l l ) , w h i c h i s s i d t o b e
'
a b i ogr ph y of Herr Jo c h i m , a a a
a aa k
ll t h e ch r ct ers i n t h e b oo b ei n g i n t en ded t o repr esen t w ell n ow n m usi c l - k a
a
cel eb r i ti es (Men del ssoh n , St em d l e B en n et t , S i n t on , Mosch el es, Ferd D v i d, a a
aa
-

a
.

t h ough t h e por t r i t s r e som ew h t i n di sti n ct .

ITA LIA N W ORKS .

5 0A Z A NNE TI I , G sp r o Il Scol a
' ‘
aar o, di G Z
per i m per a
re asuon a
re
a
. . . .

di v ioli n o ed l t r i st r om en t i Mila
n , 1 64 5 . .
 A PPE NDI X . 335
FA NZ A GO , F r a n cesco Or a z ion e del
. Sig n or A b t e Fr a n c esco a
Fa n z ao, P a
g dov a n o, dell e lodi di Gi use
pp e Ta r t i n i , Rec i t a t a
n el la Ch i esa de R R Ser v it i i n P dov al i 31 di Ma
’
rz o l a
'
an n o

a
.

1 770 Con v r ie n ot e, il lust r a

. ta , e c on u n b r ev e Com en dio
p
dellaV it adel Medesi m o P a dua ,
1 770 : Gon z a
. tti 4t o . .

5 2 TA RTI NI , Gi useppe Let t er adel defon t o Sign or Giuseppe Ta

. . r t in i
a ll a Sig n or a Ma dda l en a Lom b a r di n i i n ser v i en t e a d un a
i m por t a n t e lez ion e
per i Suon a t or i di V ioli n o Lon dr a
'

.
,

1 77 1 Secon d (t r a
. n sl a t i on ) Ti t l e A l et t er fr om t h e la te
a
.

Sig n or Ta r t in i t o Sign or aMa dd len aLom b a r di n i

(n ow
Sig n or aSir m en ), pub l ish ed a s a n im por t a n t l esson t o per
for m er s on t h e v i oli n , t r a n sla t ed b y Dr B ur n ey Lon don , . .

1 771 R B r em n er . Secon d E di t i on , do , 1 779

. La r ge 8v o . .

(vi de No .

53 B A G A T E LLA A n t on o i Reg ole per l a C ost r uz ion e de V i oli n i ,

’

a
. .
,

V i ole, V iol on c el li , et V i ol on i a
Mem or i p esen t t aa
r . ll A cca
’

dem iadi Sci en z i , Let t er e, ed A r t i di P a dov a ,

a l C on cor so
del pr em io dell A r t i dell a n n o MDCC LXXX I I Pa dov a
’ ’
.
,

1 78 6 A spese dell A cca dem i a 8 v o (v i de No

’
. .

54 [TH U RN A ND TA XI S, P r i n ce of ] Ri spost adi un a

. n im o a l cel ebr e
Sig n or Roussea u c i r c ai l suo sen t im en t o i n pr oposit o d a l cun e
’

pr oposiz ion i del Si g G Ta r t in i . V en i ce, 1 789

. 8V0 . .

Pa m ph let
a
.

5 5 RA NGONI , Gi ov a
. n n i Ba t t i st a E ssa i sur l e g ofi t de l Musique
.

a v ec le c r a a
c t er e des t r ois c él éb r es joueur s de V i ol on ,

Messi eur s Na r din i, Loll i, et P ugn n i Li v our n e, 1 790 : a .

T Ma si I n Fr en ch a n d It a li a n Secon d Ti t l e Sa gg io
a
. . .

sul g ust o del la Musi c ac ol c a ra t t er e di t r e c eleb r i son t or i di

V ioli n o, i sig n or i Na r di n i, Lolli , e P ug n a n i Li v or n o, .

1 790 : T M si a
E log i di Giuseppe Ta
. .

56 V A L LoI r I , F r a ' '

n cesco A n t on i o r t in i ,
pr im e
dov a P a
.

a dua
.

V iol on i st n ella a
Ca pell del Sa
’
n ta di P a , 17
92 .

Gon z a tti l 2m o
a
. .

Ra
4

5 7 LE ONI DI P I E NZA , A
. i m on do E l ogi o di P iet r o N r di n i , .

cel eb r a t i ssi m o pr ofessor e di V iolin i Flor en c e, 1 79 3 : .

Ga /m b i a gi 8v o . .

5 8 A NTO LI NI , F r a n cesco Osser v a z z i on i su due V i olin i espost i n el le

ua li di for m an on
.

a
z z o di B r er aun o de
.

a
s le dell I R P l a
’ ’
q
L di G P er ola 8 v c P m ph let a
. .

com m un a Mi la
,

n , 18 32 . .

a
. .

P r og r esso I t a li n o n ella C ost r uz i on e del

.

59 P A Nc A LDI , Ga /r l o
'

t o daA n t on io Gi b er t i n i daP r m a a
. .

V iol in o oper a , C en n o
A r t i st i c o P l er m o, 1 8 4 5 Tipog r a
. a fi aMa dda l en a Sm a ll .

8 v o P m ph let a
V i t adi Nicolo P a n i n i daGen ov a
ga
.

60 CONE STA B I LE , Gi a /n ca r lo ,

a a
.

ed Il lust r a ta
.

Scr it t a di G C P er ugi , 1 8 5 1 : V B /r t el h
'
’
8v o . . .

St or i adel V iol in o i n P iem on t e, i n t i t ol a a

. .

61 RE GLI , F r a n cesco t
A S M V it t or i o E m a n uele I I , Re d I t l i a Tu a
. .

r i n , 1 863 :
’
. .

a
.

lm z z o La
. .

E n r i co Da r ge 8v o . .
336 V IOLIN -
MA KING : A s IT WA S A ND I s .

62 LOMB A RDI NI , P a ol o C en n i sul l a cel eb r e sc uol a C r em on ese degli

vor i e sullafa a
.

i la
.

st r om en t i a d a r c o, n on c h e su m ig l i del
som m o A n t on io St r a di v a ri C r em on a ,
1 8 72 : Ti pog r a .
fia
da ll aN oce L r ge 8v o a .

ssicaFa b b r i ca
.

63 RI NAL DI , B en edet t o Gi ofi r edo Cl a z ion e di V ioli n i

'
-

La r ge 8 v o P a
.

Tur i n , 18 73 : Ri n a
.

i n P iem on t e ldi m ph let . .

D un a
.

64 V A LDRI GH I , Lui g i F r a r pa e di un V i olin o e V i olon

’
n cesco

(Museo E st en se ) Moden a
.

g t i daD Ga
.

c el lo i n t alia ll i . . ,
.

18 78 Ti p Mon et i e Mum i a s 8vc

n t ic a
. .

65 V A LDRI GH I , Lui gi F r a n cesco Li ut er ia Moden ese a e m oder n a

Moden a
. .

c on Ca ta logo di Li ut a ri , 1 8 78
: Tosch i 8vo . .

V iolin o, in v en z ion e m ecca n ica

.

66 CONSILI , D I I P og gi a -

n o : b r ev i cen n i sul l a a ta
.

b r ev et t a t aa pp l i ca t a a l V i o li u t i l i t
di essasot t o i l r a ppor t o del a r t e in It a li a n o e Tedesco .

B ol og n a 1 8 79 : Tip soc A z z ogui di La r e 8 vo

g Th r ee
a
.

a
. . .
,

am h l et s of 1 2 pp ea c h , b ou n d t o et h er , on e i n
g I t l i n ,
p p .

on e i n Fr en c h , a n d on e i n G er m a n .

67 V A LDRIGH I , Lui g i F r a n cesco Musur gi a n aNo 4 I l V i olon

r ia
. . . .

ca lli st aTon elli e suor Ma I l l um in a t ac ori st a

’
ed or ga n i st a

delle c l a r i sse di c a r i n el Sec ol o X V I I I

p Moden a , 1 88 0 : .

G T Vi n cen z i e N ep
. . La r e 8v o P a
g m ph let
. .

68 VA LDRIGH I , Lui gi F r a
. n cesco Musur g i a n aNo 9 St r um en t i
. . .

a d a r co Ri n f or z a ti Moden a ,
1 88 1 : Tip og r a
.
fi a Leg a l e,
La r e 8v o Pa m ph l et
g .

69 W A LDE N, E Dw or z a
. . lc v on 1 1 V iol in o ossi aA n a l i si del suo
.

Mecca n i sm o Na pl es, 1 88 3 : F F ur ch ei m
. . .

69 A V A LDRI GH I , Lui gi F r a n cesco N om och eli ur gog r a fia a n t icae

a
. .
,

m oder n aossi el en c o di Fa b b r i ca t or i di St r um en t i a r m on ic i,

et c Moden a
.
, 18 8 4 : So ci et Tipogr a fia a , .

ta
Na —It i s afa
ct ot w i t h out
n a a fia a
cer t in si g n i c n ce t h t so few b oo s sh oul d k
a a a
h v e r e ch ed t h i s c oun t r y fr om t h t t o w h i c h t h e i n st r um en t ow es i t s i n v en t i on
an d h i g h est d ev el opm en t a a a a a
It m y b e t h t I m p r t i c ul r l y poor i n t h e
aa a j
.

It l i n li t er t ur e of t h e sub ec t .

F RE NC H WORKS .

RO USSE A U , Jea
/n Tr ait é de l aV i ole qui c on t i en t , U n e Di sser
.

ta t i on Cur i euse sur son or i gi n s, U n e Dem on st r a t i on g én ér a le

de son Ma n ch e, et c Pa r i s, 1 68 7 . Ch r B a l lard 8vo . . .

LE B LA NC , H uber t Defen se de l ab a
. sse de V i ol e c on t r e l es

E n t r epr ises du V iolon et l es pr et en sion s du V i olon celle .

A m st er da m , 1 74 0 : P Mor t i er 1 6m 0 . . .

TE RRA SSON, A Disser t a t i on H i st or i ue sur l aV iell e q .

a
P r is, 1 74 1 .

DOME NJOUD, Jea n Ba pt i st e De l a pr efer en c e des v i s a

. ux ch ev il les
pour l es in st r u m en t s de m usi ue ; et n u ess i sur l m a nie re q a a
de c h a l A m i l aen t en da n t ou de t en da n t t out es l es
’

a a
n g er - -
-

l afois sa n s dé t r ui r e l h a r m on i e ; c c q ui don n e l ieu

’
c or des
338 VI OLIN -
MA KING A S IT WA S A ND I S .

DE SMA RA I S, Cypr i en A r c h é ol og ie du V iolon Descr ipt i on d un

'
.

l Pa
.

V i olon Hi st or i ue et Mon um en t a q
r is, 1 8 36 : Den t u d .

Sa pi a La r e 8v c P a
g m ph l et
Le Lut h ier de V i en n e, oper a
. .

ST GE O RGE a
. n d LE UV E N, H

c om i ue en 1 a qct e Pa r i s, 1 8 36

H en r i V i eux t em ps E r r a
. .

DE LH A SSE , F eli x Joseph t um de l a . .

B i og r a ph i e U n i v er sell e des Music ien s pa r M Fet is . .

B r ussels, 1 8 44 : Wout er s La r e 8vo Pa m ph l et

g . .

FETI S, F r a n oi s Joseph
g Not ic e B i ogr a p h i ue sur Nic olo P g a
. q a
n in i, su i v i de l A n a l yse de ses O uvr a r é c é dé d un e
’ ’
es et
g p
es ui sse de l h i st oi r e duV iol on Pa r i s, 18 5 1 : Sch w n en ber er
’

q g . .

La r e 8 v o vi de N os 2 a
g ( n d .

B E NE DIT , G C Si v or i E x tra i t du Sem a .

ph or e du 7 .

Ma r s, 185 4 Ma r sei ll es, . 18 5 4 : B a r la t i er F ei ssa t La r e

g
-
.

8vc P a m ph l et .

MIE L, E dm d F r a n oi s A n t oi n e Ma rie Not i c e Hi st or i ue sur q

g . .

J B V i ot t i
. .
(E x t r a i t de l aB i og r a
.
ph ie U n iv er sell e de
M F J Fet is, T I L , p Pa r i s, 1 85 6 : E v er a . t .

la
. . . .

FO UE GE A U D, A l ex a n dr e Les V iol on s de Da yr a. c Pa r is, 18 5 6 .

J Lecl er c
. La r e 8vo Pa
g . m ph l et .

[YO USSO U P O W (or JO USO UP O F), P r i n ce ] ’ Lut h om on ogr a ph i e .

H ist or i ue et Ra q
i son n é e E ssa i sur l H i st oi r e daV i ol on et .

sur l es ouvr a g es des A n ci en s Lut h i er s C eleb r es du t em ps de

l aRen a i ss n c e, pa r a
n u A m a t eur Fr a n k for t S/ M , 1 85 6 : . .

Ch Jug el . La r e 8vo
g .
.
.

FEI I s, F r a
' ‘
n oi s Joseph
c A n t oin e St r a di v a ri .Lut h i er Cél éb r e, .

c on n u sous l e n om de St r a di v a r i us, r é c é dé de Rec h er ch es

'

p
H ist or i ues et C r i t i ues sur l or i g in e et l es t r a
q q or m a
’
n sf t i on s
des I n st r um en t s a r c h et , et sui v i d A n a
’
al yse s Th é or i ues sur q
l A r c h et et sur Fr a n coi s Tour t e, A ut eur de ses der n ier s
’ '

per fect i on n em en t s P a r i s, 18 5 6 Vu/i l la . mn e La r e 8v 0

g .

(v i de No
a
.

DE sr osss z , A H en r i W i en i w ski I E duca t i on .

a
. .

11 P r em i er es t our n é es a
. r t i st iques en Russie, en Al l em g n e,

en B el i ue, et en H ol l a
g q n de III Pa ra l lel e en t r e P a g’ an i n i et
. .

W i en i a w ski I V C on cl usi on , l e P a
. ssé , l e P r esen t , et l A v en i r
. .

E s ui sse La
q Ha ye, 1 8 5 6 B eli n fa
. n te La r ge 8v o P a m ph l et . .

MA I LA ND, E ug en e B i b li ot h eque des P r ofessi on s I n dust r iell es et

. ,

A gr icol es Sé r i e G , No 1 7 Dé c ouv er t e des A n c i en s V er n is

a a
'

. . . .

It a lien s, em pl oyé s pour l es in st r um en t s C or des et A r ch et .

Pa r i s, 1 8 5 9 : E La cr oi x 8v o . . .

Sec on d E di t i on Pa r i s, 1 8 74 : E
. La cr oi a 8 v o .
'
. .

SA U Z A Y, E ugen e A Mon si eur In g r es H a

.
ydn , Moz r t , B eet . a
h ov en , E t ude sur l e Qua t uor Pa r i s, 1 8 61
’
ch ez l A ut eur
a
. . .

L r ge 8 v o .

B URB URE , Leon de Rec h er c h es sur l es Fa .

l es Lut h i er s d A n v er s depui s l e X V I si ecl e Jus ua

’
°
ct ur es de Cla
’
v ec i n s et

uX I X q "
Pa
.

r i s, 1 8 63 SW . .
 A P P E NDI X . 339

TH OI NA N, E r n est
(pseudon ym of A n t oi n e E r n est ROQUE T )
Ma ug a
.

r s, C él e b r e Jc uc ur de V i ol e, m usicien du C a r din a l
a
'

Ri ch elieu, et c Sabi og r a ph ie suiv i e de sar é pon se fa

.
it e
un c ur i eux sur l o sen t i m en t de l am usi ue d'I t a li e Pa r is, q
18 65 : C l a udi n S ua q
.

r e 8 vo

a a
. .

GA LLA Y, Jul es Les I n st r um en t s

.
'

A r c h et ’
l E x posi t i on
U n i v er sel l e de 1 8 67 Pa r i s, 1 8 67 : Joua . ust 8 vc . .

RE NI E R, J S L E n fa ps (E X
’
n c e de V i eux t em

t ra i t de l A n n u i r e de l a a
.

Soci ét é li b r e d ém ul a
' ’
t i on de Li eg e)
On e lea
.

Li eg e, 1 8 67 f, sm a
. ll 8 v o .

B OISTE L, Soc ié t é de St a t i st i ues des Sc i en c es et des q

A r t s de G r en ob le Ra ppor t sur l e V er n i s i n v en t é pa
. r
M V i c t or Gr i v cl Gr en ob le, 1 8 67 : F A l li er 8v o
. . . . . .

GRI vE L, Vi ct or V er n i s des A n cien s Lut h ier s d’I t a

.
li e, perdu
depui s l e m ilieu du KV II I e si ec l e, r et r ouv é a
p r V G r i v el
a
. ,

A r t i st e Gr en ob l e Gr en ob le, 18 67 ; F A l l i er . 8v o
RI C H E LME , Ma
. . .

riu s E t udes et O b ser v a . t ion s sur l aLut h er i e

A n ci en n e et Moder n e Ma r sei l les, 1 8 68 : F C a . n quoi n 8 vo . . .

MA UGI N, J 0 et MA I GNE , W Nouv ea u

a
M n uel C om plet du Lut h ier C on t en a n t 1ac on st r uc t ion
.

in t é r ieur e et ex t ér i eur e des in st r um en t s 3 a r c h et , t els

q ue .

l e V iol on , l A l t o, l aB a sse et l a C on t r e b a sse, a

’
i n sr q ue cell e -

de l aG ui t a r e et tra it a n t de l afa b r ic a t ion des Cor des

Ha r m on i ues em q pl oyees pa r l e l ut h i er et de l afa b r i ca t i on
des di v er ses c or des di t es b oya ux , em pl oyees da a '
n s l I n dus

t r ie O uv r a
.
ge a c c om
pa g n é de P la n c h es Pa r i s, 1 8 69 :

"
.

E or et l 2m o
. Secon d E di t i on of N o 8 6
. . .

GA LLA Y , Jul es Les Lut h i er s I t a

. l ien s a ux X V I I e et X V I I I
si e cl es Nouv el l e é di t ion du P a
. rf a i t Lut h i er de l A b b é
’

Si b ir e, suiv ie de Not es sur l es Ma i t r es cl es Di v er ses E coles .

Pa r is, 18 69 A ca dem i c des B i b li oph i l es (v i de No 78 ) .

GA LLA Y, Jul es Les I n st r um en t s des E coles I t a

. lien n es Ca ta .

l og ue pr é c é dé d un e I n t r oduc t ion et suiv i de n ot es sur l es

’

"
pr i n ci pa ux m a i t r es P a r i s, 1 8 7 2 Ga n cl et B er n a
. r del 8vo . .

B A I LLO I , P i er r e Ma
’ ‘
r i e Fr a n oi s d e Sa
c l es Ob ser v a t i on s r el a t i v es
.

a ux C on cour s de V i ol on du Con ser v a t oi r e de Musi ue q .

Oeuv r e P ost h um e Pa r i s, 18 7 2 : F i r m i n Di dot 8vo

a
. . .

N ot ic e sur Rode, V i ol on ist e Fr a n a

l

P O UGI N, A r t h ur .
c i s P r i s, .

1 8 74 : P ot t i er de La l ei n e .

B E NT Z ON, Th eodor e Le V i olon de Job P a r is, 1 8 75 : M L v

'
e

. .
y . .

8vc .

P LA SSI A RD, J Des Cor des du V i ol on Lil le, .

1 8 76 : Der/n el
A r ch et , l es Fa a
.

V I DA L, A n t oi n e Les I n st r um en t s
. i se ur s, l es
Joueur s d I n st r um en t s, leur H i st oir e sur l e C on t i n en t
’

E ur opé en Suiv i d un Ca
’
ta log ue g én ér a l e de l Musi ue de a q
a
.

Ch a Or n é de pla n c h es g r a v é es l ea u for t e pa
’

m b re
'

. r

Fr é dé r ic H i l l em a ch er Pa r i s, 1 8 76 : J Cl a .
ys 3 vol s , . . .

4t o E dit i on de Lux e
. .
34 0 V I OLIN -
MA KING : A s IT WA S A ND Is .

1 14 FLE U RY, Jul es (CH A MPFLE E I RY ) Le Vi olon de Fa i en c e Dess in s .

r d de l am a
.

a e Ren a n ufa
.

c oul eu r M E m il c t ur e de
en r
p .

Sev r es, ea uX for t es, pa r M J A delin e P a -

r i s, 1 8 7 7 : E . . . .

Den t u 8v o E di t ion de Gr a n d Lux e

a
‘

t ion a
.

l A ca dém i e Na
.

Ra
.

11 5 FA NA RI , L ’ ‘
S ppor t In
’
le
a
.

de Rei x h s da n s s sé a n ce pub li ue du 3 A ofi t , 18 7 6, su r l es

V iolon s de M E m i le Men esson , Lut h ier

q
Reim s Rei m s,
. a .

1 8 77 ; Secon d E di t i on , Gepg
a a
.

116 . V I DA L, A n toi n e Les V ielles Cor por t i on s de P a

. r is L .

Ch a pell e St Juli en des Men est r i er s et l es Menest r i er s de

(A r epr in t of Ch a
.

Pa r is Pa r i s, 1 8 78 : Qua
. n tin 4170 ps . . .

I V I of P a -
r t II of No 1 1 3, i e , V ol I , p 289 t o en d,
. . . . . . . .

a n d V ol I I ,
pp 1 5 1 , W i t h P la t es 4 7, 49 , 5 0, 5 2, 5 3 -
. . .

Louis Con st a
.

117 TH OI NA N , E r n est (v ide No n t in , Roi des .

V i ol on s, a
.

v ec un fa c si m il e de b r ev et de m a i t r e joueur -

d i n st r um en t s de l V ill e de P a
’
r is P r i s, 18 78 : B a y/ra . a .

1 18 P LA SSI A E D, J A Des Cor des H a r m on i ues en q

g en er a a
.

l et spéci a lem en t de c ell os des i n st r um en t s A r ch et .

Pa r is, 1 8 8 0 : Th i bouv il le— La my Mir ecourt , 1 880 : Ch a ssel . .

8 vo .

1 19 H UE l , F eli x E t ude sur l es differ a n t es E col es de V i olon de ui s

aa p
’ ‘ -
.

a a
.

C or elli jusqu B ill ot P r é cé dé e d un ex m en sur l r t de

’ ’ ’

a
.

j ou er des in st r u m en t s ar ch et a u X V II °
siecl e Ch a lon s .

su r Ma r n e, 1 8 80 : F Th a
-
ui ll e L r ge 8vo . . a .

1 20 G REV I LLE , H enr y

. U n V i olon Russe 2 vol s P r i s, 1 8 80,
. . . a
Ten t h E di t i on : E P l n 8v o . a . .

1 21 C O RMO N ,
. n d GRA NGE , E a
Le V i ol on de P ér e
Di m a n ch e P iece en t r oi s c t es, et c Repr é sen t é e pour l a a
aa a
. .

pr em i er e foi s P r i s sur l e Th e t r e des Foli es Dr a m a t i ues q

l e 31 Oct ob r e, 18 54 P r i s, 18 8 1 Tr esse L r ge 8 v o . a . a .

1 22 C O FFEE , F r a n oi s
c Le Lut h i er de Cr em on e W i t h ex pl n a . t or y . a
a a
.

Not es, H ist or i c l , B i og r a ph ic l , et c , b y A lph on se Ma ri et t e . .

Lon don , 1880 : Dul a u de Co

’
1 2m o . .

123 SI MO U TRE , N
. E A ux A m a t eur s du V iol on .

H ist or i que, Con st r uc t ion , Rép r t ion et C on ser v a t i on de aa

cet I n st r u aa
m en t B l e 1 88 3 : G A B nf m t i n i 8vo . a , . . . . .

Na ta —No 7 0 i t h ol d t o k o h o i t um e t k o ad li k No 7 1
s e es w r n w ns r n s n w n n e

yg a t a i t y No 88 12 1 ad 1 22 b i g d a ma o ks ad No 93
.
, .

i of
s v er re r r tic s. n e n r w r n s.
1 11 1 14 ad 1 20 b i g om a ha p ha
, ,
o s i ou pl a i
,
n p en th i r n ces v e, er s, n er s ce n s
b i b li og a
,

t t h m ali k l y t o b of i t e est t o m y a
,

ph y b ut 1 i
r , n ser d e s e e n r re ers.

GE RMA N WO RKS .

1 24 . RE I a RDr Joh an n F r i edr i ch

, U eb er di e Pfii ch t en des Ri pi en .

V i ol i n i st en B er li n un d Leipz ig , 1 7 76 : G J Decker
'

a
.

[TA U B E R , Ca ] U eb er m ein e V i oli n s (apoe m ) V i en n a

. .

12 5 . rl v n . .
,
1 7 8 0 : J E dli n . .
342 VI OLIN -
MA KING : A S IT WA S A ND I S .

Na ch Quell en da r g est ell t

(Mi t l i t h og r ah i r t en A b b i ldu
p n gen

un d ei n er m usi k alisch en B eil a g e) Neub er g , A / D , 18 64 : . .

A P r ech t er
. Sm a ll 8v o . .

Z w eit e ver m eh r t e un d v er b esser t e A ufl a g e l b 1 8 74 : i b SW . . . .

1 40 SCH UB E RT, F
. L Di e V ioli n e I h r W esen , ih r e ,

B edeut un g un d B eh a n dl un
g a l s Sol o un d Or ch est er
I n st r um en t Lei pz ig , 1 8 65 : Mer sebur g er SW
a
. . .

1 41 DIE H L, N i col a us Lo u i s Di e Gei g en m a c h er der A l t en I t l ien i

a
. .

sch en Sch u l e E in e U eb er si ch t a l l er b ek a n n t en it l ien i sch en

a
.

Gei gen m a c h er der a l t en Sch ule, Ch a r kt er i st i c ih r er

A r b eit en , g et r eue A b b i l dun g en Von den h er vor r g en dst en a
un t er ih n en g eb r a uch t en Z et t el n i n den I n st r um en t en , n eb st
ei n er v or a usg eh en den A b h a n dh m g ii b er den U r spr u n g der
‘

Geige H a m b ur g , F i r st E di t i on [7]
. Secon d E di t i on , 1 8 66
Th i r d E di t i on , 18 77 J F Ri ch t er , l 2m o . . . .

142 W E r r E NGE L, Gust a G A W s, w eil V iol in bogen

’
v A dolph
'
. . . . .

a
m c h er s z u Ma r kn eu ki r c h en , Leh r b uch der G eig en un d
a
B ogen m ch er k un st ; oder t h eor et i sc h pr a k t isch e A n w ei sun g -

g un d Repa ra

a
z ur A n fer t i g u n t ur der v er sch i eden en A r t en
Geig en 11n d B og en , et c Mi t ei n em A t l s en t h lt en d 1 0 . a
Fol i o T fel n W ei m a a r , 18 69 : B F Voi gt (New E dit ion
. . . .

of N o .

1 43 W A SIE LE WSKI , Josep h Wi l h el m v on Di e V iol in o un d ih r e '

a
. .

Meist er Lei pz ig , 1 8 69 : B r ei t /copf un d H ct r t el L r ge

'

. .

8 v o Secon d E di t i on , i b , 1 88 3
.

a
. .

1 44 C OURVOI SIE R, Ca
. rl Di e Gr un dla g e cl er V iolin Tech n ik
. Fr n k -
.

for t , s/ M , 1 8 73 8 v o (v i de No .

a a
. .

1 4 5 SCH E B E K, Dr E dm un d
. Der Gei g en b a
. u i n I t l ia n n d sein

a
.

deut sch er U r spr un g E i n e h ist or i sc h e Sk iz z e P r g , 18 74

—
. .

Boh em i aA ct i en Gesellsch a
.
ft La r e 8 V0
g r i de No
-
. .

1 4 6 W A SI E LE WSKI , Joseph Wi lh el m v on Di e i oli n e i m X V I I

a
'

a
. . .

Ja
.

h r h un der t un d di e A n f n g e der I n st r um en t l com posi

'

t ion B on n , 1 8 74 : M Coh en 8v o
a
. . . .

1 4 7 B ITTE R, H er m a
. n n Di e V i ol aA l t I h r e Gesch ich t e, ih r e
. .

B edeut un g l i n d di e P r in ci pien ih r es B a ues H ei del b er g , .

1 8 76 : G Wei ss 4t o
a
. . .

Secon d E di t i on Di e Gesch i ch t e der V iol aA lt un d di e Gr u n d

a
.

s t z e i h r es B a ues Zw ei t e v er m eh r t e un d v er b esser t e
a
.

a
A ufl g e Mi t 5 i n den Tex t g edr uck t en un d 2 T fel n A h
.

bil dun gen Leipz ig , 1 8 77 J J Web er 8v o (v ide No

a a
. . . . . .

1 47 NI E DE RH E I TMA NN , F r i edr i ch Di e Mei st er der Gei g en b ukun st

. .

in I t a lien 11n d Tyr ol V i en n a , : F Sch /r ei ber H m b ur g

. . . a
A ug Cr a n z , 18 7 6
. l 2m o .

aa
. .

14 8 NI E DE RH E ITMA NN, F r i edr i ch

. Cr em on a E in e Ch r k t er i st ik der .

a
.

I t l i en isc h en Geig en b a uer un d i h r er I n st r um en t e Lei p .

z i g , 18 77 : C a r l Mer sebur er
g 8v c . .

149 Coun voxsm n , Ca rl Di e V iol in t ec h n ik Cdln , 18 78 : P J

'
-

. . . . ,

Ton ger 8v o (v i de No
. .
 A PPE NDI X . 34 3

1 5 0 A DE MA , E
. a
H er m n n B i t t er un d sein e V iol A l t a a
a
.

Ges m m elt e A ufsi t z e Supplem en t z u H Ri t t er s B uch ,

’
‘

a
. .

Di e Gesc h ich t e der V i olaA lt aun d di e Gr un ds t z e ih r es

’

B ues a .W ii r z b ur g , 1 8 8 1 A St uber 8 v c (vide No . . .

15 1 Ru
. n m A NN, Ju l i us Di e Gesch ich t e der B og en in st r um en t e ;
.

i n sb eson der e der jen ig en des h eut ig en St r ei ch ua r t et t es v on q

den fr uh est en A n f n g en n a
b i s uf di e h eu a
t ig e Z eit
'

a .

E i n e Mon ogr a ph ie H er a usg eg eb en v on dessen Soh n , D

a
.

a
. r

Ri ch r d Rii h l m n n Mi t i n den Tex t ei n gedr uckt en

.

H ol z st ich en un d ein em A TLA S v on X I I I Ta feln B r un s

a a
. .

w i ck, 1 8 8 2 L r ge 8v o A t l s, ob lon g 8 v o
. . .

Not e —Th oug h few i n n um b er , t h e Ger m n w or s re, s ar ul e, m uc h

er a k a a
a
m or e ser i ous n d t h or ou gh th a n t h e E n gl i sh or Fren ch No 1 5 1 p r t i cul r l y, a a
a
. .

I c on si der t o b e, w i t h t h e ex c ept i on of Vi d l s w or (No

’
t h e b est w or k k
a on t h e Vi oli n , a
.

w r i t t en on t h e Vi ol i n I possess l so on e Sw edi sh w or k
aa
. .

tr n sl t i on of No 7 9
. .

152 . A NONYMOUS .0 m V i olin en s U rspr un g jem t e B i og r fi sk a a

A n t eck n i n ga ofr aCor ell i , Tar t in i, Gav i n i es, P ugn a
n i,

a
r

och V i ot t i Med P or t r t t er
. St ockh olm , 1 8 1 1 Carl . .

Delén . 8v c .

Th is c on cl udes th is a
B ib liogr ph y of t h e V iolin ; i t ma y be t h a t
a
t h er e ex i st , in som e c ses, sub seq uen t or pr ior edi t ion s t o t h ose I h v e a
g i ven I a
c n on l y a
sk t h ose of m y r e der s w h o k n ow of a an
y suc h ,

or of n y w or k s on t h e v iolin n ot put dow n i n t h e a

.

a b ov e li st , t o do
a
m e t h e v er y g r e t fa vour of sen di n g m e pa r t icula r s of t h em I n eed
a
.

ha a a
r dl y s y t h t av er y l r g e pr opor t i on
. of t h e a b ove w or ks r e a
out of pr i n t a n d ex t r em ely di ffi cul t t o ob t a in Mr B Qua r i t ch , of . .

a
.

a
1 5 , Pi cc dil ly, Lon don , W , h s, h ow ev er , g ot m e m ost of t h em , n d a
la a
.

a
I h ve n o doub t t h t b y a a
ppl yin g t o h i m r ge n u m b er of t h em
a
m i g h t b e ob t i n ed .

A P P E ND IX D .

A CA TA LOGU E OF V I O LI N SCH OOLS A ND I NSTRU CTI ON

B OO KS .

THE fol l ow in g t b l e, lik e t h e B i b l i og r a

a ph y (A ppen di x c n n ot , a
of c our se, pr eten d t o a n
yt h i n g lik e c om pl et en e s, m u
s ch l ess so
a
f ct t h a
n t h e B ib li ogr a p yh fo r w e m u st r em em b er th t th e a
a a
,

a
n um b er of vi oli n t ut or s w h i c h h v e b een w r it t en i n ever y l n gu g e
‘

i s pr cti c l ly un li m it ed, w h i lst fr om t h ei r ver y n t ur e t h ey a

a a re a
a
l ess h e r d of, l ess t k en c r e of, a a a n d soon er lost sigh t of , t ha n

a a
n
y cl ss of m usi c l p ub li c a tai on I h ave t h er ef r e c on t en t ed
.
o
a ”
Mét h odes du V iol on , wh i c h
.

m yself w i t h g ivi n g l ist of t h ose

a a a a
h ve b een suffi ci en t ly ut h or it t i v e t o h v e l st ed t i ll t o d v m a a ~
344 V I OLIN -
MA KING : A S IT WA S A ND I S .

use a m on g v iolin i st s, a n d of t h ose su ffi c ien t ly w ell k n ow n t o h a ve

ha d t h ei r ex ist en ces r ec or ded i n a n y of t h e b est m usi ca l b ooks of
r ef er en ce A n ot h er g r ea t dif fi cult y w h ich I h a ve h a d t o en coun t er
a
.

ha s b een t h e c ir cum st a n ce t h a t ha r dl
y a n y m usic i s ever d t ed, so

th a t i n am a jor i t y of ca ses i t i s im possib le t o g i v e t h e da t e of publ ic a

t ion of aviolin sch ool un l ess i t i s t o b e foun d i n som e c t logue aa
ra i son /n é, or i n som e r efer en ce w or k , suc h a s th e B iogr a ph ie
U n i ver sel le des Music ien s et B ib l i og r a ph i c G é n é r a l e de lam u si u q
”
e
of M Fet is (P a r is, 1 8 60 t o 18 65 , 2n d E du Su
ppl em en t et Com
l e de l a
. .

plem en t’ , P a r i s, or t h e B i b l i ogr a ph i c Musi ca Fr a n ce

et de l E t r a n
g er (P a r is, 1 8 22, Ni o r et
g ) Wh er e b y r eferen ce t o
a
.

such books, I h a v e b een a b l e t o da te a m et h ods, I h a v e don e so, a

a
n d ll
su ch a s I h a v e b een a b l e t o da te I h a ve
pla c ed i n ch r on olo g ic l
or der i n t h e fir st sec t i on of t h i s ca ta l og ue a l l such s I h a ve been a
un a b le t o da te I ha ve
pl a c ed a lph a b et i ca l ly i n t h e secon d sect ion
t h er eof Fi n a . ll y I h a v e i n cl uded n o b ook s, or set s, of st u dies or
ex er ci ses (for t h ey a r e, of c our se, i n n um er a b l e), t h a t i s t o sa y, I h a ve
on l y n m ed a v iolin sch a m ples a
ool s in h
r e i n t er sper sed
w ic h th e ex

w it h l et t er pr ess a n d i l l ust r a t ion s b ei n g i n poin t of fa c t com let e

p
-

dir ect i on s for t h e a

, , ,

c qu i si t i on of t ech n i que upon t h e violi n (pr e ,

sum a b l y) w i t h out am a st er Th us t h is l ist of m ét h odes b ecom es

.

ct ica lly asupplem en t t o A ppen dix C a

pr a n d m i h t b e h ea ded A “
g
a
,

B i b li og r a
.

W q nd a
”
h
p y of or k s on t h e T ech n i ue of t h e i
V o inl s
such i t m i gh t b e sa
,

id t h a t N os 1 4 5 7 9 13 14 1 8 34 41 4 3 .
, , , , , , , , , , ,

5 0A 5 2 69 70 74 75 1 24 144 149 i n A ppen dix C sh oul d b e

, , , , , , , , , .
,

h er e in cl uded b ut I pla ced t h em t h er e b ec a use t h ey a re

pr in c ipa l ly
pr in t ed in st r uc t ion s w i t h v er y few m usica , l ex a m ples w h er ea s h er e ,

w e h a v e w or k s w h ic h a re
pr in c ipa lly m usi ca l ex a m pl es t o w h i ch t h e

pr i n t ed i n st r uct ion s a r e pr a ct i ca ll y subor di n a te For t h is r ea son .

seein g t h a y b e sa i d t o b e ac osm opoli t a n la a

,

t m usic m a n gu
ge I
ha ve n ot divided t h e fol low in g w or ks un der t h e h ea
,

ds of t h ei r va r ious
na t ion a li t ies .

SE C TI ON I .

VI OLI N SCH OO LS I N O RDE R or DA TE .

N B — E x cept w h er e ot h er w i se m en t i on ed , t h e si z e of t h e foll ow i n g w or k
s
is alw a
.. .

ys un derst ood t o b e m usi c si z e

-
.

1 Ger le, H
. MusicaTeusch (si c ) a
. uf di e I n st r um en t di e Gr o ssen
uun d (si c) kl eyn en G eyg en a uch La ut t en , et c Nii r n b er g , .

1 5 32 Secon d E di t i on , 1 5 46
. .

2 Si m pson , C
. Th e Di vi si on V ioli st , or a
. n i n t r odu ct i on to th e
pla yin g upon ag r oun d, di v i ded in t o t w o pa rts Lon don , .

1 65 9 : W Godbi d Fol . . .

3 Si m pson , C
. Th e Di v i si on V iol , or t h e A r t of P la
.
yin g ex
t em por e upon ag r oun d, di v i ded in t o t h r ee
pa rt s Secon d .

E di t i on of No 2 Lon don , 1667 : H B r om e Fol . . . . .

34 6 V I O LIN -
MA KING : A s IT WA s A ND I S .

22 B a
i l lot , P L A r t du V iolon
’
Nouv ell e Mé t h ode, dedi ce ses a
I m pr i m er i e du C on ser v a
. . .

E lev es P a r is, n d . . toi r e .

yi n g t h e V iolin on an ew P r in c ipl e b y
.

23 West , W Th e A r t of P l a
a
.

is g r ea
.

w h i ch t h e pr ogr ess of t h e lea r n er t ly fa cili t t ed .

Lon don , n d (1 8 40) B S Wi lli a . . ms Ob l . . . .

Ba Ba t es C om plet e P r ecept or for t h e V iol in , con t a in in g

’
24. t es, J .

t h e ea siest a n d m ost m oder n m et h ods for l ea r n i n g t o ob t a in

pr ofi ci en c’ y Lon don , n d (1 8 4 5 ) T B a Ob l
a
. t es . . . . .

Guh r , C L A r t de Jouer du V iol on de P a ga n in i ; a en di ces

pp
a
.

t out es l es m é t h odes qui on t pa r u us u

j q
’
cc
jour v ec un a
Tr a it é de son s h a r m on i ues sim ples et doub les q Pa r i s, n d . . .

Sch on en b er g er E n glish E dit ion t r a . n sl a t ed b y Ja s .

C la r ke Lon don , n d : R Cocks

. . . . .

26. A n on ym ous Th e V i olin P r ec ept or , or P ock et Guide t o t h e A r t

.

ofP l a yin g t h e V iol i n Gla sg ow , 1846 W Ha m i l t on , ob l

a
. . .

27 Spoh r , L V iol in sch ule v on Louis Spoh r m i t er l ut er n den

'

a
. .

Kupfer t feln V i en n a , n d
. T Ha sl i n g er . . .

Sch ool fr om t h e or igin a

.

Louis Spoh r s Gr a n d V i ol i n l
’

Ger m a n , dedic a t ed t o P r ofessor s of t h e V ioli n b y t h e

Tr a n sl a t or , C Rudolph us Lon don , n d (1 8 5 0 ) Wessel d 0 0
. . . .
“
.

Spoh r s V i ol in Sch ool, Rev ised a n d E dit ed w it h a ddi t ion a

’
l
Tex t , b y H en r y H ol m es, t h e t r a n sl at i on fr om t h e Ger m a n

b y Fl or en ce Ma r sh a ll Lon don , n d (1 8 78 ) B oosey (E C o

. . . .

28 . Ca m pa g n ol i , B N ouv el le Mé t h ode de l aMéch a

. n i ue
q pr og r es
si ve du eu du V i ol on di v isé e en
J 5 pa r t i es et di st r i b ué e en

1 32 Lécon s pr og r essiv es pour deux V i olon s, et 1 1 8 E t udes

pour un V i olon seul Ha n ov er , n d : . Ba ch m a n n , 2n d . .

E di t ion Leipz i g , n d
. B r ei t lcopf un d H a
. . r t el .

E n g l i sh E di t i on , t r a n sl at ed b y Joh n B ish op, of C h elt en h a m .

Lon don , n d . B Cocks (e 0 0

. . .

29 . B er i ot , C A de . Mé t h ode de V iolon en t r ois pa

.

’
. r t ies P r is, . a
n d. .
(1 8 5 5 ) ch ez l A ut eur .

30 Da v i d, F V iol in sch ule v on Fer di n a n d Da vid Leipz ig , n d

"
. . . . .

(1 8 64 ) B r ei t kopf un d H dr t el Secon d E di t i on , 1 8 74
a
. .

N ov el l o s Musi c P r im er s E di t ed b y Dr St i n er
’
31. Tour s, B . .

a
.

No 1 7, Th e V iolin
. Lon don , n d . Nov el l 4t o . . . .

32 . Pa pi n i , G Le Mé ca
. n i sm e du
jeun e V iolon i st e C our s com .

pl et et pr og r essif en for m e de m é t h ode pour l e v i ol on , di vi sé

q ua t r e pa 1 88 3) F W Ch a
en r t i es. Lon don , n d
( n ot , 4 t o . . . . .

Ma son s V i oli n Tut or A n ea sy a n d si m pl e m et h od for l ea

’
33 . .
'

r n in g

t h i s popul a r i n st r um en t Lon don , n d . Ob l . . .

Ot t o La n g l e s N ew V iol i n Tut or
’
34 .
y Lon don , 11 d (1 88 4 ) B i vz er e . . .

i t Ha w h es .

SE CTI ON II .

U NDA TE D ME TH O DE S I N A LP H A B E TI CA L O RDE R.

35 . A n on ym ous . Th e A r t of P l a
yi n g t h e V i ol in w i t h out aMa
st er .
 A P PE NDI x . 34 7

An i m pr ov ed a n d c om let e Tut or for t h e in st r um en t ,

et c Gl a .s ow , n d
g Ca
p
m er on F er g uson . Sm a ll 4t o
. a
a
. .

36 A n on ym ous
. Th e A r t of P la
.
yin g t h e V iol i n , w i t h aNew Sc l e
sh ow i n g h ow t o st op ev er y Not e, Fl a t or Sh a c t l y, a
r
p ex a n d

W i em t h e Sh ift s of t h e H a n ds sh ould b e m a de, et c Lon don , .

11 ll . 8v o .

37 A da y (P ér e) Nouv elle Mé t h ode de V iol on , c on t en a n t l es

pr i n
a
. .

ci pes dé t il l é s de c et i n st r um en t , et c Lyon s, n d : C a r t oua c

a
. . . .

38 A l r d, D E col e du V i olon Mé t h ode com plet e et pr og r essi v e

a
. .

a
.

l us g e du C on ser v a t oi r e de P a Ma
’
ris
yen ce, n d . .

Sch ot t d: C o
a
.

39 C a nn p a l i m pr ov i st e des fa n ta i sies et
’ ’ ’

g n oli , B L A r t d i n v en t er
a
. .

a
c den ces pour l e V iol on Lei psi c, n d : B r ei t lcopf un d H r t el . . . .

4 0 Ch ev esa
. i ll es (l ) P et it e Mé t h ode de V iol on
. Pa r i s, n d . . .

4 1 B n la
. aa, C
Mé t h ode élém en t a
. ir e et pr ogr essi v e de V i ol on .

Pa r i s, n d . .

L E col e des c in Pa r is, n d q

’
P osi t i on s . . .

Pa r i s, n d
’
L E c ol e de l A r c h et
’
. . .

42 Dup i er g e, F T A
. Mé t h ode de V iolon
. . .Pa r i s, n d F r er e . . . .

43 Fa r m er , H Th e New V iol in Sch ool, w h er ein t h e A r t of B ow

a
. .

in g a n d Fi n er in g t h a t I n st r u m en t i s ex pl i n ed i n a ser i es
‘

g
of ex er c i ses a n d sc a les Lon don , n d B r ew er «i t Co . . .

a
.

4 4, F r ey, J Mé t h ode de V iolon

. P r i s, n d . . .

45 Mét h ode de V iolon B on n , n d Si m r ok (4 t h . . .

Mé t h ode de V i ol on , c on t en a n t n ua
.

4 6 Ga ra udé, A de b r é g é des
a
. . .

r i n ci pes de m usi ue a d a p t é s q
c et i n st r um en t , l es r eg l es
p
é n ér a l es de l at en ue et du doigt é du V i ol on , et c Pa r i s,
g .

n d for t h e A ut h or
a
. . .

4 7 Geba. uer , M P r in ci pes E l ém en t i r es de l aMusi ue

.
P osit i on s q .

et Ga m m es de V i olon Leipsic , n d . . .

48 Ha . m i l t on , J A A C om plet e a . n d Ea . sy Cour se of I n st r uc t ion

for t h e V iol in Lon don , n d

l at en ue de c et
. . .

49 Mét h ode de V iol on , c on t en a n t

i n st r um en t et de l a r ch et , des ex er c ises pour b i en pla

.
i

c er l es
’

doigt s, et c , et c Pa r is, n d . B oi ldi eu d: I m ba

. ul t . . .

50 H er m a
; n n , F V i olin Sc h ul e . Leipz ig, n d -
. . .

5 1 . H on e, J Mé t h ode de V iolon Lon don , n d

r ar eb eca
. .

Met h odo E lem en t e Th eor i co e P r a t i c o pa

. .

5 2 Kli er , J B
"
'
.
. . .

Li sb on , n d
E x er c i ses sur l es ua
. .

5 3 La ch n i t h , L W
'

t r e c or des du V iolon ou q
Mét h ode sim pl e et f c il e pour a a
. . .

n dr e l es pr em i er s pr in c i
“
pe
p
p es d e cet i n st r um en t P a r i s, n d D f
u a ut dc Duboi s . . .
’
.

54 Lot t i n , D
. P r i n cipes élém en t a
. i r es do m usi que et de V i ol on .

Pa r is, n d : Leduc
a
-

. . .

55 M r gue; A a Gr a n d Met h od for t h e V i oli n , r evi sed b y S in t

a
. .

Jm me Lon don , n d
Mé t h ode de V iolon , sui v ie d un t r a
. .

a
.

5 6 Ma i t é des sen s
'

z s, J F
a a
. . .

h r m on i ues, et c q
P r is, n d F r ey . . . .
34 8 V I O L I N—
MA KING : WA S D IS
N
A S IT A .

Pa t ey , C A . A n E l em en t a . r
y Tr ea t i se on t h e A r t of P l yi n g a
t h e V iol in , w it h Sc a les, et c Lon don , n d . . .

Pra y e r, H E l em en t a
. ry a n d P r ct i ca l V i olin Sch ool I n t h r ee a .

pa rt s Lon don , n d
. . .

Ri ce, H .V ioli n Sc h ool Lon don n d . . .

Sa Th e St udy of t h e B ow , et c , E x er ci ses i n Fi n g er
'

n der son , J
’

. .

in g a n d B ow i n
g Lon don , n d Lon g m a n s . . .

a
.

Sch a E t udes de l a r ch et et du doi g t é , ou c i n qu n t e h ui t

'
ll , O -

Pa
.

ex em pl es m e les de c a pr i c es pour l e v iolon r is : Ch . .

P l eyel Ha m b ur g : B a
. le/m , n d . .

Wa n d, W W I n st r uc t i on b ook for t h e V iolin , et c

. .
Lon don , .

n d : W Wa
. . n d . .

Na
ta—Th e da
t es of t h e Mét lt a
II m a
des y be a in ppr ox i m a
Sec t i on t el y
i n ed b y r efer en c e t o a a
.

a scer t a n y b i og r a l di c t i on a
ph i c a r y (su ch s F et i s or

Gr ov e) , w h i ch w i l l g i v e us t h e t i m e a t w h i c h t h e c om poser l i v ed No 1 i s
a
. .

i n sert ed (per h ps w i t h out r i g h t of en t r ée) a s b ei n g t h e ea r li est i n st r u c t i on b oo k

I ha v e b een a b l e t o fi n d for st ri n g ed i n st r um en t s Nos 2 a n d 3 a ga in , re a
sc h ool s for t h e v i ol dag a mba t I ha d ed t h em on a
. .

, b u ve i n c l u c c oun t of t h ei r

i n t er est i n c on n ect i on w i t h t h i s sub ect j

NO 1 3 i s i n t er est i n g a l so, b ei n g n a
i n st r uc t i on b oo for t h e v i oli n pr oper , b ut r et i n i n g t h e old n a a
. .

k me Th e
a a
.

ea r l i est v i ol i n t u
-
t or I h a ve b ei n g a b l e t o fi n d , d t es fr om 1 65 4 , b ut s it is
on l y asect i on of am usi c a l w or , I h a ve n ot b een a k
b l e t o i n c l ude i t i n t h e
a b ov e c a tal og ue, b ut I h a v e, on a c c oun t of i t s fa sc i n a
t i n g i n t er est , set i t out
a l m ost i n i t s en t i r et y a s A ppen di x E .

A P P E ND I X E .

A N H I STO RI C V I OLI N SC H OO L .

W H E N on e l ook s t h r ough th em a
g n i fi cen t Mé t h odes duV iol on
h ich ,
w

a re
pub li sh ed t o da y a t pr i c es w h i c h b r i n g t h em w i t h i n t h e r e ch of
-
a
t h e h um b l est st uden t of t h e v i ol i n w h en on e r a n s ck s t h e st or es of a
V i ol i n l or e, h ist or i ca
-
l , t ech n ica l, a n d pr a c t ic a
l , c on t a in ed i n t h e p ges a
of t h e v ioli n sch ool s of De B er i ot , of B er t h old Tour s, of Fer din a n d

Da v i d, a n d of m a n y ot h er s, m y m in d oft en r ev er t s t o t h e das w h en
'

y
a n i n st r uct i on b ook for t h e n ew fa n l ed fi ddl e w a sa ma t t er of r a re
g
-

ex pen se ; t o da st er s of t h e I t a li a
ys w h en t h e m a n sch ool s of v i oli n

m a kin g w er e i n ful l v ig our , b efor e t h e v i ol in h a d est a b li sh ed i t sel f

a s t h e fi r st i n st r um en t i n t h e or ch est r a ;a n d w h en , a s A n t h on y

a W ood t el l s us, g en t lem en pla yed t h r ee, four , a n d fi v e p r t ee w it h a

v iol s, a n d th a t t h ey est eem ed av i oli n t o b e a n i n st r um en t on l y
b el on gi n g t o ac om m on fi dl er , a n d c oul d n ot en dur e t h a t i t sh oul d
c om e a a
m on g t h em for fe r e of m ki n g t h ei r m eet in g s t o b e v a a in e a n d

I ha
“
fi dli n g . v e b efor e m e t h e four t een t h edi t i on
(pub li sh ed i n
A n t h on y 21 W ood, A ut ob i og r ph y i n MS i n A sh m ol e a a
n Li b r a
ry a
t O x for d
a
.

w r i t t en 1 65 3 . Pub l i sh ed t Ox for d i n 1 7 72 .
350 V I O LI N -
MA KING : A S IT WA S A ND IS .

Th i s E x a m p l e dot h dir ec t t h e P l a c es of a l l t h e N ot es, fl t a n d a

sh a r p, ea c h N ot e b ei n
g pl a c d un der t h e Let t er , a c c or din g t o t h ei r
’

sev e1 a l S t ops upon ea c h St r i n

g di st i n c t ly, beg in n i n g a t t h e l ow est .

N ot e on t h e B a ss, or F our t h St r i n , a
g n d a sc en din
g up t o t h e h i g h est
on t h e Tr ebl e, or F i r st St r i n g a ccor di n g t o t h e Sca l e or Ga m ut : In
w h i ch
you m a y a l so ob ser v e, t h a t t h e Lesson s for t h e V i ol i n b y
Let t er s, a four Li n es a t o t h e four g en er a l
’
r e pr i ck d on cc or di n
g
S i n gs, b ut Lesson s b y N ot es a
t r re
pr i ck d upon fi ve Li n es, a
’
s ape r s
p a
in t h e E x a m ple a b ov e .

“
For t h e Tu ni n g of t h e Vi oli n i s usua l ly b y F ift h s, t h a t i s, fi v e
Not es dist a n c e b et w i x t ea ch St r i n g w h i ch a c cor din
g t o t h e Sca l e or
Ga m ut , t h e B a ss, or four t h St r i n
g i s ca l led G sol r e— ut t h e t h i r d or

"
- -

Gr ea t Mea n , D l asol r e -

t h e secon d or Sm a ll Mea n , A la m i re- -

th e -

fi r st or Tr ebl e, E — a
l a; s i n t h e foll ow in g E x a m pl e .

Th en fel l ow s a n or di n a ry t a b l e of t h e n ot es on ea ch st r i n g ,
in t it uled E x a m pl e o f t h e Tun i n g , a s t h efi v e N ot es a sc en d On ea ch o f
t h e four St r i n g s, b eg i n n i n g on t h e B a
”
ss or Four t h St r in g A ft er .

w h ich foll ow s a pa ra gr a ph w h ich w il l st r ik e t h e m oder n v i ol i n ist a s,

t o sa y t h e l ea st of i t , or i i n a l
g
h
.

A l so, for aB eg i n n er t o T un e b y E i gh t h s, w ill b e ea sier t a n by

F ift h s, if h i s Vi oli n b e fr et t ed t o b eg i n w h i c h , h e m ust w i nd u p h is

s h ig h a
fi r st , or Tr ebl e St r i n g a s i t w il l b ea r , t h en st op i t i n f,
(i e . .

t h e 5 t h fr et ) a n d T un e h i s secon d a n E i g h t h b el ow i t ; t h en st o p
t h e secon d m ] , a n d Tun e t h e t h i r d a n E i g h t h un der i t ; t h en st o p th e
t h i r d in f, a n d t un e t h e
four t h ” a n E i g h t h b el ow t h a t ; a n d so your

St r i n gs w i l l b e i n per fect T un e .

Th en fol l ow s a n Ex a m p le o f Tun i n g by Fi ft h s a n d E i h th s
g a n d
‘

A n ot h er Sca le for t h e V I O LI N , Di r ect i n g t h e P la ces o f t h e Not e son

a
e ch S t r i n
g, a n d t h e t ps b y ea
S o ch F i n
ge r .
”
A ft er w h i ch t h e a ut h or
c on t i n ues

Ha v i n g t h us
g i v en you t h e Tun i n g of t h e Tr eb l e Vi ol i n , i t w il l
'

-
-

b e n ecessa r y h er e t o set dow n t h e Tun i n g of t h e T en or a nd Ba ss:

"
Vi ol i n s, b ei n g b ot h used i n C on sor t .

Th e Ten or or Mea n is a la r er Vi oli n t h a

g n t h e Tr ebl e, a n d i s Tu n ed

ve n ot es l ow er t h a t h e m i ddl e,
'
’
: Th e C l ifi i s som et i m es put on
fi n i t
a n d som et i m es on t h e sec on d Li n e .

We h a v e t h en t a b l es of t h e open st r in g s oft h e V iol aa s i t i s n ow

i

t un ed, a n d of t h e V iol on cello, t h e fi r st st r i n

g b ein g G i n st ea d ofA ,

Dow n t o t h e sev en t een t h c en t ur y t h e sh i ft on t h e v i ol i n w s un n ow n , t h e a k

a fi
pl yer s oft h ose t i n i es c on n i n g t h em se v es t o t h e r s pos t i on
l tfi i M l
'
A b b é Bi b i t e
a a a
. .

t ell s us t h t t h e sol e d ep r t ur e t h er efr om , w h i c h t h ey sel dom l l ow ed t h em sel ves

a a fi
t o t t em pt , w s t h e ex t en si on of t h e l i t t l e n g er t o C on t h e r st st r i n g Th i s w s fi a
aa aa a a a a
.

k
l oo ed upon s g r e t n d m r v el l ous fe t , so m uch so, t h t w h en t h e udi en ce
a a a
k n ew i t w s c om in g t h ey w oul d m ur m ur l oud , s t h e t err i b l e m om en t r r i ved , a
a
G r e l Ut
’
a a a
”

l n d pl yer n d li st en er s w er e i n a
fev er of ex ci t em en t
. Ii t h e
a a a a a
. .

k k
un l uc y v i r t uoso f i l ed t ost r i e t h e Ut pur e, st or m of dis ppr ov l w oul d m e k
h i m b i tt er l y r epen t h i s t em er i t y b ut if suc c essful , a
w h i r l w i n d of pp l use a a
— a
.

’
gre et e d t h i s st r i ki n g ex h i b i t i o n o f h i s p ow er s L A b b é Si b i r e, L Ch el on om i e,
aa a a
.

oul e P r f i t Lut h i er N 2
( P r i s , 1 8 06
. Vi de ot e
p v i i i pr ef ce
. . .
 A PP E ND I X . 35 ]

a
t h e ot h er t h r ee r espec t i v ely C , F, n d B t h e low est n ot e Th e .

pr i n c i ples of t h e Tr ebl e Vi olin t h en con cl ude a s foll ow s

Th us I h a a
ft er t h e pla
S
ve in est m et h ods coul d b e set dow n )
sev er a a les a n d Di r ect i o
yw a
l e n s for t h e Tr ebl e Vi ol i n b y
a
of F r et i n g , w h i ch I h v e k n ow n used b E m in en t Tea
y c h er s o n t h is
“

a
I n st r um en t , s t h e m ost fa cil e a a a
n d e si e t o I n it i t e t h ei r Sch ol r s a
a a
n d lso Di r ect i on s for P r i c k in
g dow n Lesson s i n Let t er s Yet I do
a
n ot a a
ppr ov e of t h i s w y of P l yi n g b y Let t er s, s ve on l y s a aa
G uide
a
t o Youn g P r ct it ion er s, t o b r in g t h em t h e m or e r e di l a
y t o kn ow ll a
a a
t h e St ops n d pl c es of t h e N ot es, bot h fl a t n d sh a a
rp, a
n d b ei n g
'

a
per fect t h er ein , t o l y t h e U se of Lett er s a si de, a
n d k eep t o t h eir
a a
P r c t i c e b y Not es n d Rul es of t h e Ga m ut on ly For t h is Re son , I a
a
h ve a dded som e few Lesson s bot h w ys, t h a a t a
ft er you c n pl y a a
t h em b y Let t er s, you m a a
y pl y t h e sa m e b y N ot es
”

a
.

A t t h e foot i s pl ced t h e fol low i n g n ot e Th ose t h a t desi r e m or e

Lesson s for t h i s I n st r um en t , I r efer t o t h e Fi r st n d Secon d P a a r ts of
’
aq
A poll o s B n uet , con t a i n in g t h e N ew est Tun es for t h e V iolin , w i t h

v
e er .

yi eld acl ea
r a
n d di st i n ct soun d .

w i ll
you
youslup a Fr et or st op, t h er e t o l eave a Fi n g er , for ev er y St op i s b ut
'

ha lf a Ton e or Not e ; for fr om 6 t o c, i s b ut h a lf a n ot e, b ut fr om 6 t o

d, i s aw h ol e n ot e (l) t h er efor e t h e l ea vi n g ofa Fi n g er i s n ec essa r ,to

y
a
b e i n r e di n ess w h en h a l f n ot es h a ts an d Sh a
ppen , w h i ch i s b y F la
a
rps .

F our t h l y, W h en you h a ve a n y h i h Not es w h ic h r ea ch l w er t h n

g o
a
your usu l F r et s, or St ops, t h er e you a r e t o sh ift you r F i n g er s 1f

t h er e b e b ut t w o Not es, t h en t h e fi r st pp d w it h t h e secon d

’
i s st o
Fi n ger , a n d t h e r est b y t h e n ex t Fi n g er s
‘
.

It k a a a
il l st r i e t h e re d er t h t t h i s i s, t o s y t h
w e st of i t a
a
le con ci se m et h od
a
,

of ex pl i n i n g t h e w h ol e sci en ce of sh i ft i n g
.
352 VI OLIN -
MA KING : A S IT WA S A ND I S .

Fift h l y, i n t h e m ovi n g your B ow up a n d dow n , ob ser v e t h i s

Rul e : W h en you see a n ev en N um ber of Qua ser s a n d Sem i qu a v er s, a s

'

2, 4, 6, or 8 , t i ed t og et h er , your B ow m ust m ov e up, t h o i t w a s up

a t t h e Not e im m edia t el y b efor e b ut i f you h a ve a n odd N um b er , a s

son of a
3, 5 , or 7 (w h i ch h a ppen s v er y oft en b y r ea P r i clc d N ot e, or
’

a n odd Qua a
s r Rest , t h er e
-

) y o u r B ow m ust b e dr a w n dow n w a r ds a t
t h e fi r st
La st l r In t h e Pra ct ic e of a n y Lesson , pl a y i t slow a t fi r st , a n d

b y oft en P r a c t ice, i t w il l b r i n
g your H a n d toa m or e sw i ft m ot i on .

A s for t h e sev er a l Gr a ces a n d F l our i sh es t h a t a r e used,

a
Sh kes, B a f lls, a
ck a n d D oubl e Reli sh es) t h i s foll ow in g TA B LE w i l l

b e som e h el p t o your P r a c t ice for t h er e i s, fi r st , t h e Not e pl a in a n d

a ft er , t h e Gr a ce ex pr ess d b y Not es t l
’
a en
g t h.
”

Th s i V i oli n Sc h ool
-
t h e n c on c l u des w i t h “
A Ta bl e o f Gr a ces

A B ea t, A B a ckfa
”
pr op er t o t h e Vi ol or Vi oli n , w h ich in c l ude ll ,
A Doubl eB a ck fa -
l l , E l ev a t i on , A Spr i n g er , A Ca den t , A B a ckfa ll
Sh a ked, A close Sh a k e, aSh a lcea l B ea t, a
”
n d A Doubl e Rel i s
A sor t of A ppen di x c on si st s of Sh or t T UNE S for t h e T RE B LE
V I OLI N by Let t er s a n d N ot es,
”
a n d Som e TU N E S o f t h e m ost usua l
P SA LMS B r oken for t h e V I O LI N a n d c om
pl e t es t h i s H ist or i c
V iol in sch ool
-
. I t h i n k i t ca n n ot fa il t o in t er est t h e V i ol in ist of
t o da
-

y, a n d t o c on v i n c e t h e m ost i n v et er a t e la uda t or t em p or i s a et i ,

tha t in t h e m a t t er of m usi c a l i n st r uc t ion , w e h a ve a t a n y ra t e ca use

t obe th a n kful t h a t w e do n ot l iv e n t e i h g ood ol d da ys, w h en a
”
t
am usic m eet in g a t O x for d, a t w h ich Th om a s Ba lt z a r or B a
( lt z ar in i
)
ex h i b i t ed h i s m a r v ellous fea t , t h e w h ol e sh ift , l P r ofessor W il son
st oo ed dow n t o see w h et h er h e t er m in a t ed i n h oo fs I
p
a aa a
Th om s B l t z r , b or n t Lub ec k i n 6so i a
c m e t o E n g l n d i n 1 655, n d isa a
a a a
,

a fi
s id t o h v e b een t h e r st w h o t ug h t t h e use of t h e w h ol e sh i ft H e h d in
a a q a a aa
.

con sequen c e r eput t i on on l y e u l l ed b y t h t of P g n i n i .

a a
In for m er d ys w e h d t h e Vi ol i n ,

a
a
a a
B ut n ow w e s y si n ce t h is l l e r s dot h w i n
a
E r e t h e t r ue i n st r umen t h d c om e b out ;

a
T h e Vi ol i n h t h put t h e V i ol out
”

a
.

( Ol d E p i g r m , 1 7t h c en t ur y
 I NDE X O F A UTH ORS
NA ME D I N A PP E ND I CE S C A ND D .

a a
TH E let t er s ft er t h e n m es i n t h e foll ow i n g i n dex refer to t h e A ppen di x (C or
k
D) i n w h i ch t h e A ut h or 5 w or s occ ur ; i n som e i n st n c es t h ey occur i n b ot h
’
a
(cg , Th e n um b ers r efer t o t h e ch r on ol og i c l or der of t h e w or s, a k
pr eser ved t h r oug h out t h e A ppen di c es w h er e possib l e .

A b el e, H 139 C or m on (c ) 1 21 Goesse 77
a
. . , . .

Ad y
a
W
a
A dem Cour v oisi er G r evi lle, H (o) , 120

;
’ c ) , 34, .

A dye, w o) , 2 é2z
.

Gr i v cl , i f (c ), 104
a Da a
. . .

A l r d, D n cl , C (n ) , 41 Gu h r , c (n ) , 25
Da
. .

A n tl ers, G (c ) , 85 v id , F (D) , 30
Da Ha
. . . .

A n t ol i n i , F , 58 v i dson P (c) , 23 m il t on , J A (0 ) 1
Delh a
. . .
, . .

A n on ym ous o) , 3, 6, 9 , 1 3,
a
sse, F J (c ) , 89 48
Ha
. . . .

14 so , 35,
s, 38, 4 1 , 54 , Desfossez , A 96 r r ys, G 132
Desm a ra
.

Ha
.

i s, C o) , s7 rt , G (0 .

8 5, 36 . Di eh l , N L . . H en r y, B D) , 49 . .

Dom en jon d’ J B 73 H er i n s, 0 1>) 20

a
ch m a H er m a
g
. . . .

B nn , o . Dub our g , G (c ) 11 . nn , ) .

0 53, 1 28 . Dupi er g e, F T A (D), 42 . . . H er on A l l en ,

-

M } Hi ll er , J A (0 )
a
u
.

m i
.

B E M
n de s . .
(0) E el , 0 . H on e, J (D , 5 1 . .

76 . Hu et , F (0 119
. .

F na
a r t L S (c ) 1 15 In b er t de L ph l éque, G aa
a
n za s
.
, . , . .

F g o F (c ) 5 1 z0 8 ss
a
,
.
, ,
F r m er H
Ja
,

(c ) , 79 84 m es, E 15 . .

Ferr is, G J . Jousm ipof, P r . 94 .

Fet i s, F J . 20, 26, . Jousse, J .

9 0, 95 .

Fl em i n g , J M (c ) , 48 Kl i er , J B D), 52
(
. . . . . .

Fl eur y, J (c ) , 1 14 . . Kr eut z er (D
For st er , S A (c ) , 19
La
. . .

Fot h er gill , J (c) , ch n i t h , L W 53

La
. .

Four g ea
. .

ud , A (c n g l ey, 0 (D) ,
i Leb l a
.

n c , H (c), 71
a
. .

r ey D 44 Lecl i r , J M 75
a
. .

Fr oehl i ch , 45
,

C sm p gn ol B (D) (D) Leon e

fi a
.
.
,

w”
I) Leon i di i en z , A B (C ) . . ,

eury (o J . 57 .

Leuv en , H
g
46 1) 88
a L6h 1ei n , d
.

Ob sn ot , G (c 4 6 Geb uer , M (D) , 7 G D)

a Lom b a
.

Gem i n i a
- . . .
,

Ch eves ill es fl : n i (D) , 4 5, 9 rdi n i , P 6’

Go est a
. .

n b i le G . so . Gem ii n der G , . Lot t i n , D (D) , 4 .

0 0 n si11, D o) , 66 Ger l e, H (D
Ma
c don a
. .

Ooppée, F . o) , 1 22 . Goffr i e, C . ld 5, 7 ,
35 6 INDE X OF A U THORS .

Ma c k en z i e (c ) , 4 1 P oug i n , A (c) . Si m pson , 0 (D). 2. 3

Ma a
. . . .

c ki n t osh (c ) , 1 2 P r eg er , H (D) , 5 Sm i t h , H P
Ma
(0 270
3
. . . . , .

i g n e W , 106 Pu r dy, G (o) . 8 , (D) 27

Ma il a
. . . . , .

n d, E (o) , 9 7 St Georg e 88
Ma q
.

Ra
. .

r ue, A (l ) , 55 n g on i , G B (c ) . 55
Ma g a
. . . . .

son (D ds, 0 (c ) 24, 44 a

T r t in i, G (c )
Ma
. , .

Ta
.
,
n gi n C (13 86, 106 Reg11, F (C ) 6 ub er , C
Rei ch a
v.
Ma
. . .

z es J F (D ) 6
.
,

Ter r a
.

r dt , J F 1 24
, . .
, . . .
sson A (o) 72
Mi el E F A W (o) 9 2 a
,

Th oi n n , fi
.

Ren i er , J S (c ) , 102 E
Mil a
. . .
, . .
, . . .

Ri ch el m e, M (c ) , 105 Th om a
g
n dr e ) 13 , . . .
s B 37 (c)
Mi t ch ell , Th ur n u Ta
, . , .

H Ri c e, H n ) , 9
fi 5
43 x i s, P r 54
Moz a Ri n a
. . .
. . .

rt L (D) , , . l di , (o) , 63 .
Teurs, B (D), 81. .

B i tt er , H
Ni ch ol son , J (c ) , 38 Rode (D), 19
Ni eder h ei t m a Va g
Roussea i , L F (C). 64 , 65.
i h
l dr i
. . .

n n , F (c), 147, u, J (c ) , 70 . .

Ri i h l m a
.
s8
. .

(D) . 148 - n n , J (c ) , 1 5 1 . .

Va l l ot t i , F A 56
. . .

Sa
1 A ‘
O t t o, J A 1 29 , i n t Sev i n , J B (D) , 1 0
-
.

Sa
.

L (c ) 135
. . . .

1 30 n der son , J (D) , 60

.
.

Sa
.

n d s, W 19
y
a a
S uz a Wa
. .

P i n e, J (c ) , 17 l den E D v
y, E (c ) , 9 8
Wa
.
, . .

Pa a Sa a
. . . .

n c l di , C (c ) , 59 v rt , F 81 si el ew ski J , .

a a
. . . .

P pi n i , G (D) , 32 Sc h ll , 0 D ) , 61
Pa Wand W W
. . .

t ey, C A (D) , 57 Sch eb ek , 28, 14 5 , . . D), 62 .

P ea West ’, W (D
. . . .

r c e, J (O Sch ot t k y. J M
)
21 1 34
Wew a
. .

P h i pson , T : (c ), 29
. . .

Sch ub er t , F L 14 0 n g el . A .

a
. ,

Sc h ii t z , F C J
. .

P l zt ssi r J A (o! 112, . . . 133 . . .

1 Si b i r e, L'A b b é 78 .

P or t er , C (c ) , 33 . Si m out r e, N E 1 23 . . . Youssoupow , Pr . 94 .
358 GE NE RA L I NDE X .

B ell y Th e, 253 Ca ldec ot t , Ra n dolp h , l .

Ca
.
,
B en dm g I r on s, 221 n i n o, P r in ce of, 36
Ca rra
. .

B en din g t h e Ri b s, 231 . c ci A , 53 .

Ca
.

B en edi ct , Si r Juli us, 8 r ter , i , 63

aa a Ca
. . .

B en i H ss n , Tom b t , 58 r t i er , J B , 74
a a
. . . .

B en a
j m i n , Gu m, 3 C r v ed H e ds, 165
Ca
.

B en t e, 7 3 r v ed V i oli n , 1 10
Ca
. .

B en z oi n , G um , 323 rv i n g t h e Sc r ol l , 273

a Ca ssel l s Fa m i ly M g a a
. .

z i n e, 12
'
B er g on z i , C r l o, 79
A Ca t ca aa
. .

"
m e Fiddli n g out of B rn , 2
“
B ér i ot , C de, 24 , 7 3
a Ca
. . .

B est Loc l i t i es for Wood, 1 25

”
. t g ut , 209
Ca
.

B ev ell i n g t h e E dg e of t h e B ell y 260 t ch Cl u b , Th e, 5 5

Ca use of Fa
. .

B ev ell i n g t h e E dg es of t h e Sc r o l , 274 l sen ess i n St r in gs, 206

a
. .

B ev ell i n g t h e In si de E dg e of t h e B ck , C el l i n i , B 72 .

24 9 Cell i n i , G 52
Ch a
. .

”
B i b l e, Th e, 33 mp fl e u r y, 1 05
a Ch a
. .

B i b li og r ph y of t h e V i ol in , 8 29 n g i n g St r i n g s, 21 5
Ch a
. .

B i n g ley, W , 65 n ot , G , 65, 84
Ch a
. . . .

Bi r ch , S , 4 3 n ot , G A i n e, 21
a
C h n ot ’s (G A ) P a a
. . . .

B i sh op , J , 5 , 20, 37 , 9 5 , 136 t en t V i oli n B g, 202

a Ch a
. . . . .

Bl c ki n g t h e E dg es, 296 n ot , F , 1 07 , 11 4
a Ch a
. . .

n ot s Rosin , 19 9
’
B l e ch i n g St r i n g s, 212
Ch a
. .

Bl ock s, T h e, 14 7, 234, 28 5, 289 , 292 .

ppel l Wm , 43, 210
a Ch a
. .

B on n n i , 17 5 r l es i , 7

Ch a
. . .

B ot t om Joi n of Ri b s, Th e, 233, 251 , 28 8 r l es II , 4 , 19

Ch a r l es IV of Lorr a
. . .

B our del ot , 9 in e 8
Ch a r l es I X ofF r a
. .

n ce 8 74
Ch a r l es t h e B a
. .

B ow , Th e, 56 l d, 61
Ch a l pt ur e a
. .

B ow s, A n ci en t , 38 r t r es, Sc u t , 46
a Ch dt ea
. .

un eu
’

B ow Com p sses, 224 f, A bbe de, 35

Ch a
. .

B ow , D i m en si on s of, 96 ucer , G , 3
C h e m i ca l] P r epa
. . .

B ow , E t ym ol og y of, 87 r ed Woods, 1 29
a
.

B ow , H a
.

i r in g or li e h i r i n g , 9 9 -
Ch est s of i ol s, 5 5
a
.

B ow h i r s, 96
-
. Ch i n ese, Th e, 39 .

B ow , In t r oduc t i on of, 4 4 Ch i n of t h e Scr oll , T h e, 274

Ch i n ese Wa
. .

B ow , Met h od of B en di n g t h e, 96 t er cor d St r i n g s, 21 4 -

Ch i n P a
. .

B ow , T h e Moder n , 9 7 d 201
B ow s, P a
. , .

t en t , 101 . Ch i n Rest , T h e, 1 96 .

B ow s, P r i c es of, 95 . Ch oi ce of St r i n g s, 203 .

B ow s, P r i m i t i v e, 87 C h or dom et er , T h e, 200
Ch r i st i a
. .

u n ow i t ch , A , 40
’
Bo , w s T o r t e s, 9 5 .

Ch r ot t a
. .

B ow , P r og r essi v e H i st or y of t h e, 8 8 Th e, 62, 64
a Ch ur ch Rest or a
. .
,

B ow , Sel f h i r i n g , 101
-
t i on , 30 .

Ci n n a ba
.

B ox w ood P eg s, 1 8 8 r , 324

Ci t h a ra
. .

B ox w ood V i olin , 5 , 1 10 , T h e, 5 9

Br a Cl a
. .

n d ed V i ol i n s, 1 66 g g et t , T , 1 16
a a C l ea
.

B r v our aP l yi n g , 1 3, 1 4
. .

n i n g t h e Ri b s, et c , 239
a
. . .

B r z il W ood, 324

"
. C l er gym en , 8 .

B r en t , Mi ss, 4 Cl e r k e of Ox en for de, Th e, 3 .

Cock a
.

B r et on V i ol , Th e, 65 . doodl edoo, 2 .

B r ew er , A , 29 . . Col l ect i on s of V i oli n s, 22 .

B r i dg ed Lyr es, 59 C ol li n s, M H 1 1 1
a Col l i n s’ P a
. . .

B r o dh ouse, J , 20 t en t P eg , 1 8 9
t i on of Fr a n ce a n d E n gl a
.

Col on i z a
. .

B r i dg e, Th e, 1 5 9, 304 . n d, 60 .

B r i dg e, Desi g n of t h e, 161 . C ol oph on y, 19 8 .

B r idg e, F u n c t i on s of t h e, 1 61 C ol our i n g E ssen c es, Met h od of 1 80

q
.
. .

B r idg e, H ei g h t of t h e , 1 61 . Com m on Tool s Re ui re d, 21 9 .

B ri dg e, Wei g h t on t h e, 1 26 Com pon en t s of St r i n g s, 209

a
. .

B r id es, P t en t , 163 C om posi t i on of P ur fl i ug 1 63

B r oo s’ Fi n g er b oa Com poun di n g of V a
.
. ,

r d 1 91 -
r n i sh es 1 8 1 184

a a Con cea li n g Repa

.
,
.
, ,
’
B r oom n s Fi n g er b o r d , 19 1 -
i r s, 318
a
. .

B uddi n i , 73 C on cl u si on , 319
C ooke s P a
. .

B ul l , O l e, 72, 1 67 t en t P eg , 189
’

a C opa ib a
. .

B r n ey , D r , 6
‘

, 326
a C opa
. . .

Bu t l er , S m uel, 1 1, 63 l , 324
Coper a
.

B ut t on Th e 281
. . . r i o, J .
 GE NE RA L INDE X . 35 9

Copi es, 143 Di m en si on s of t h e Fin g er B oa r d, 1 90

ff
. -
.

C opyi n g H ol es, Met h od of, 1 55 . Di m en si on s of t h e Nut , 1 9 0

Di m en si on s of t h e T a
.

Cor ell i , A , 53, 94

. .
il pi ece, 1 92 -

k Dr St on e’s P a t en t B a
.

Cor n er B l oc s, Th e, 286 . . r , 1154 .

Cor n er s Th e 262
, , . Dodd, J 203
Dodd, Th om a
.

Cott on 11 8 8 Th e, 4 5, 61
.
s, 33
C oul i sses, T h e, 274
. . .

Doub l e V i oli n 1 09
ssem a
.

Doub l e V i ol i n Ca
, .

Cou ker , C E H de, 49 , 63, 65 se, 201

Dra
. . . .
.

C ov er ed St r i n g s, 213 ’
g on s B l ood 323
Cr a
.
, .

ck O v er or U n der Sou n d post , 309 -

D r yden J 7 , 10
Cr a k
.
, . .

c k ed B l oc , 31 2 Dub oi s, 108
a
. .

Cr c ked Cor n ers, 30 8 Dub our g , G 5 46

Cr a k
.

Dui fi opr ug c a
.
, .

c ed E dg es 309 r, G
, 5 , 71
1
Cr a
, .

Duke, Ri c h a
.
.

c k ed Joi n t , 308 r d, 33
a
Cr c k s i n t h e B a
. .

c k or B ell y 307
Cra al ofLei cest er 1 10
.

c ks i n t h e Wi n g of t h e H ol e, 307 f E r
Cra ar t h en w a
.
, .

m er , J B , 1 3 E r e V i ol i n s 1 0 5
Cra
. . .
, .

m pi n g Bl oc ks , 228 b on y P eg s, 1 88
Cr eai n g of St r i n g s, 1 62
k
. .

ccen t r i c B r idg es, 163

Cr em a
. .

il lere Th e, 94 E cc en t r i c V i ol i n s, 1 06
Cr em on a
, . .

, 18 ch oli n , Th e. 1 11
Cr em on a
. .

V i ol i n s, 1 9 22 , . E dg e of t h e Sc r ol l , T h e, 274 .

C r em on ese Nec k s, 1 59 E di n b ur gh , H R H t h e Duk e of, 7

C r em on a Va a
. . . . .

r n i sh , 168 E gypt i n s, Th e A n c i en t , 4 2 , 58
Cr oa a
t i n Ma a
. .

pl e, 1 28 . E ffec t of H i g h n d Low B r i dg e, 161 .

Cr om w ell , Ol i v er , 4 E i g h t St r i n g ed V i oli n , 107

-

a
. .

Cr w t h , T h e W el sh , 58, 61 E i sen v i ol i n e, D s, 1 09
'

Cr w t h , Gen ea a
.
,

l ogy of t h e, 68 E l st i c i t y of P i n e, 1 32
C r w t h T ri t h a
. .

n t , 61 E l ec t or , St ei n er s, ” 7 6
’

C um b er l a
. .

n d , Duke of, 7 E l em i , 324

a
. .

Cum m i n g s, W H 55 E l i z b et h , ueen , 5 Q
a
. .
, .

Cun i , 14 5 . E n g el , C r l , 24 , 37 , 44 , 55, 65, 67 , 1 09 .

Cut t i n g Dow n V i ol i n s, 1 21 . E n g l eder , A , 1 06 . .

Cut t i n g of B r idg e, 1 61 , 163 E n g l i sh St r in g s, 209

Cut t i n g on t h e La
. .

yer s, 1 28 , 1 33 E n g li sh Wor k s on t h e V i ol i n , 329

C ut t i n g on t h e ua
. .

r t er , 1 28 , 1 33 Q E r n st , J A , 105
a a a
. . . .

C ut t i n g out t h e j jf H ol es, 256 x et er C t h edr l , Scu l pt ur e t , 46

C ut t i n g out t h e H ea
. .

d, 293 E x h i b i ti on of 1 87 2, T h e, 19 , 24
a
. .

Cut t i n g out t h e Nec k , 273, 277 E x per i m en t s on t h e M ss of A

'

1 44
C ut t i n g out t h e Nec k a a a
. .

n d Scr oll , 270 . E x per i m en t s w i t h St r di v r i ’s c od, 133

C ut t i n g out t h e P eg B ox , 27 5, 31 6 E x t er i or of t h e V i oli n , Th e7 1 55
C ut t in g out t h e T a
. .

b l es, 240
a a
.

Cut t i n g t h e B r i dg e, 304 F l se Fi n g er B o r d, T h e, 279 -

a
. .

Cut t i n g t h e Gr oov e for t h e P u r fi i n g , 263 F l se St r i n g s, 206

a
. .

Cut t in g t h e P ur fl i n g 265 F n c y P eg s, 188

aa
.
, .

Cu t t i n g t h e Rest , 267 F n t st i c P ur fl i n g 1 63 .

Fa
. ,

C ut t i n g t h e Sh oul der , 277 r de ley, J , 20

a
. . .

Cut t i n g t h e Wood, 1 33 . F em l e V i ol i n i st es 6, 1 2 , .

F et i s, F J , 16, 23, 37, 50, 55, 94 ,

Da
. .

il y Tel eg r a
p h Th e, 10 1 32, 144 , 1 54 160, 210
a n Ma
.

Da lm t i a
. .

ple, 1 28 H ol es, Th e, 1 55
Da n g er of P r epa rin g Va a
. .

rn i sh es, H ol es T h e (G u r n er i us) , 291

a
.
,

B r del li , P , 71 , 15 1 H ol es, C ut t in g t h e, 256

Da
. . .

v i dson , P , 25, 69, 170 H ol es, I n uen ce on T on e, 1 56 fl

a a
. . .

D y, J 20 . H ol es M r ki n g t h e, 2 55
, .

De Ret i ot , C , 24 . H ol e Model , 254 .

fi
.

De n i t i on of t h e V i ol i n , 126 . H ol e P i er c er s or P un ch es, 222 .

Dem oc ri t us Jun i or , 6 “
Fiddl e,” 1 2, 4 5
a
. .

Desi g n ofB r i dg e, 1 61 163 “

Fi ddl e n d I , ” 218
a
.
. .

Den si t y of Woods U sed, 132 Fi ddl e B l n ket s, 20 1

a
. .

”
Dept h of t h e Ri b s, 289 “
Fi ddl e F ddl e, 1 1
-

Desm a ra a a
. .

i s, C , 8, 20 Fi ddl e F ddl e F sh i on B ook , Th e, 11

-

a
.

Fiddl e Fa
. .

Di ekl , N L , 69 ddle s Sen t i m en t l Tour , 11

’
-

. . . .

Difi er en t Sor t s of Rosi n , 1 99 . Fiddl er ,” 4

Di fi er en t Sort s of St ri n g s, 208 . Fi ddl er Th ompson , 12 .

Di m en si on s offf H ol es, 1 57 . Fi ddl i n g , ” 4 6, 9 . .

360 GE NE RA L IND E X .

Fill iére, Th e, 28 7 ossegr i n , Th e G en i us, 16

a a a a a a
. .

Fi n l P l n i n g o! t h e T b l es, 266 Fr g m en t s of St r di v r i , E x per i m m t s

a
.

Fin l Th i ck n esses of t h e B ell y, 257 w i t h , 1 33

a a
. .

Fi n g er Bo r d, Th e, 1 9 0
-
Fr n ch om m e, M 1 26
a a a
. .

Fi n g er Bo r d, T h e F l se, 279
-
rn k i n cen se 32 3
a Fr en ch C l a
. .
,
Fi n ger B o r d H ol der , Th e, 279
-
i m s t o I n v en t i on 53
a
.
, .

Fin i sh i n g t h e B c k , 249 . Fr en ch W or ks on t h e V i ol i n , 336 .

Fi n i sh i n g t h e B ody of t h e Fiddl e, 268 . Fr et s, 4 3 .

Fi n ish i n g t h e B ut t on , 28 1 . F r ost H F ,
, . .

aa
Fin i sh i n g t h e Corn er s, 288 . Fun c t i on s of B r i dg e, 161
k
.

Fi n i sh i n g t h e E dg es of t h e Fiddl e, 268 Fu n c t i on s of t h e He d n d Nec , 157

a Fun c t i on s of t h e Soun d B a
.

Fi n i sh i n g t h e H e d, 276 . r , 1 53 -
.

Fi n i sh in g t h e Fi ddl e, 28 1 . Fun c t i on s of t h e Soun d P ost , 15 1 -

.

Fi n i sh i n g t h e In si de of t h e B el l y , 259
Ga
.

Fi n i sh i n g t h e I n si de of t h e Fi ddl e, 251 fl t r zus, 91

'

a a aa
. .

Fi n i sh i n g t h e Nut n d Fin ger B o r d, 29 9 -

G gl i n o, N 1 69
a a
. . .

Fi n i sh i n g t h e O ut l i n e, 24 1 G l b user , C A 1 14
a
. . . .

Fi n i sh i n g t h e P eg s, 30 2 G li l ei , V , 5
aa
. .

Fi n i sh i n g t h e Rest , 268 G l l y, J , 35, 5 6, 84 , 167.

a
. .

F i n i sh i n g t h e Rib s, et c , 238 G m b og e, 326

a
. . .

Fi n i sh i n g t h e Si de Li n i n g s, 2 30 “
G r e l ’Ut , 56
a a
. .

F i n i sh i n g t h e Soun d B r , 2 59 -
G ug es, 1 99, 204
aa a a a
. .

F i or v n t i o B ologn , 1 74
'
G ug i n g C ll i per s, 2 23
aa
.

a
.

Fi t t i n g t h e r i dg e, 304 G ut h er ot , M d m e, 5
a
.

Fi t t in g t h e C en t r e B out s, 287 G y, J ,
Fi t t in g t h e F i n g er b oa
. .

r d 29 7 -
G ei g e,
aa
.

Fi t t i n g t h e Nec k t o t h e Fiddl e, 277 , 316 G m n der , G , 20

’

a a
. . .

Fi t t in g t h e Nut , 29 8 G en e l og i es oft h e V i oli n n d Cr w t h , 68

a
. .

Fi t t i n g of t h e P eg s, 1 88 , 300 G eom et r i c l O ut l i n e, 1 36
a
. .

Fi t t i n g t h e P ur fi i n g , 265 . Ger sen us, N , 36 . .

Fi t t i n g t h e Rest , 268 Ger ber t , M, 45, 61 ,

a
. . .

Fi t t i n g t h e Ri b s, 232 G er m n St r i n g s, 209
a a
. .

Fi t t i n g t h e Rib s t o t h e B c k 24 9 G er m n W or ks on t h e V i ol i n , 340
a
. . .

F i t t i n g t h e Si de Li n i n g s, 2 36 -
Gi r di n i , 20, 203
a
.
.

Fi t t i n g t h e Soun d B r , 25 8 -
Gi gue, Th e , 46, 4 7
a a
. .

Fi t t i n g t h e Soun d P ost , 303 Gl ss m V r n i sh , 17 0

'

a
-
. .

Fi t t i n g t h e T il pi ece, 303 -
Gl oucest er , Duke of, 7
a a
.
'

Fi t t i n g t h e T il pi n , 302 -
Gor di g /m , L 1 22
a a
. . .

F i t t i n g s n d A ppl i n ces, Th e, 1 87 . Gosse, E 1 5 .

Fi t t i n g up, 294, 29 6
-
. G ost li n g, 54 .

Fi v e st r i n g ed V i oli n s, 1 07
-
G oudok , Th e, 4 1
a G ougi n g t h e A r c h i n g of t h e T a
. .

Fi x in g t h e B c k on t h e I n si de Moul d, 292 b l es, 24 1

a a
. .

Fi x i n g on t h e B el l y , 260 G r n d A m t i , Th e,
k
.

Fi x i n g t h e B ell y on t h e I n si de Moul d, 29 2 G r ee B ow s, 36
k
. .

Fi x i n g t h e Bl oc k s, 236 . G r ee Lyr es, 58 .

Fi x i n g t h e C en t r e B out s, 287 G r oov es r oun d t h e Scr ol l , Th e, 274

a ja
. .

Fi x in g t h e Fi n g er B o r d, 29 8 -
. G r os e n , J P , 1 21 1 .

F ix in g t h e N ut , 298 Gr ove, Si r G , 1 4 , 5 5
a a a
. . .

Fi x i n g t h e P eg s, 264 Gr ufl fydd p D v ydd p H ow e] , 64

aa
.

Fi x in g t h e P ur fi i n g , 265 Gu d g n i n i , J 178
aa
. . .

i x i n g t h e Rest , 268 G u d g n i n i , Lor en z o, 78

a a
. .

F i x i n g t h e Ri b s, 232 Gu r di n , Th e, ” 1
a a
.

Fi x i n g t h e Ri b s t o t h e B ck , 250 G u r n er i us B l oc k T h e, 28 9 292
a a
. , . .

F i x i n g t h e Side Li n i n g s, 237 -
G u rn er i us He d , Th e, 29 2
a a
. .

Fix in g t h e Soun d B r , 259 -

G u r n er i us, Joseph , 78
a
. .

F l em i n g , J M , 23, 36 5 1 , 7 6, 1 30 G u r n er i us, J del G esu 23, 8 1

a
.

F l et ch er , B ea um on t a
. . .
, ,
n d, 1 1 G u r n er i us Model , Th e, 282
a
. .

F l eur y, J , 1 05
-
Gu r n er i us, P A ,
a
. . .

Fol di n g V i ol i n , Th e, 1 1 2 . G u r n er i us, P et er , 7 8 .

For d, J , 1 1 Guer n sey, W , I G, 23

a a
. . .

For d, Mi ss 54 G ui t r sh ped V i ol i n s, 1 13
-

For ei gn Na a
, . .

m es of B ow I n st r um en t s, 1 2 . G um A r b i c , 325 .

F or g eri es, 143 Gum B en z oi c , 325

a a
. .

F or m of ff H ol es, 1 56 G um L c 1n V r n i sh es,
a a
.

F or st er , Will i m , 53 G um M st i c , 323
Gum T r g a a a
. .

F or ster S A 54, 1 7 1
. . .
c n t h , 324 .
3 62 GE NE RA L INDE X
"
.

Low er in g th e Win g of t h ef, 255 M i t eur Un i v er sel , 1 18

on
a aa
. .

Low n des, Mon t gn n , Dom i n i c , 79

Log a l Ob ser va a
.

‘
t or , T Mon t i g n e, 53 .

Lui et E ll e, 1 24 . Mon t ev er de’ s Or feo 53 .

Lun n , H Moor s, Th e, 4 2
a
. .

Lupot , N , 8 2 Mor ell , M , 7 1

t k om on og r a a
. . . .

I/u p kie
” Mor g n , B i sh op, 33
a
.
,
Lyr es, A n c i en t , 58 Mor n , Joh n , 65
a
. .

Lyr es w i t h B r i d g es, 59 M r ey, Rev 175

a
. .

Moz r t , W A , 1 7
c h i n e H ea a
.

Ma
. .

d for V i oli n , 18 8 Mii ll er , C r ] , 31

Ma
. .

cki n t o sk, 1 30 . M un t z , E , 35 .

Ma
.

dder , 324 Mun t z , G H M , 19

Ma a
. .

dox , 4 3 Musi c l Revi ew , 67

Ma Musi ca aa
.

j el P A 1 67 l St n d r d, 12, 1 5
Ma aa
. . . .

g gi n i
“
Musur g i n ,” 1 1 2
Mai la
, .

n d, B , 1 86 Mut e, Th e, 198
Ma
. . .

ki n g t h e P ur fl i n g , 264 Myr r h , 326

Ma l pt ur e a
. .

n s, Sc u t , 49 Myst er i ous Mut e, T h e, 1 9 8

Ma fa
. .

n u c t ur e of St r i n g s, 210
Ma
ra Nael g ei g e, 1 09
.

i s 54
Ma
ri a Na V i oli n T h e, 109
. .
, '

n i , 73 -

Ma Na
. , .

r ki n g P oi n t Th e 221
-

pol eon , Luci en , 36

Ma Nar r ow Sl a
. .
,
r ki n g t h ef H ol es, 253 b Rem edy for , 29 0
Ma Nea pol i t a
.
,

r k i n g t h e Model of t h e Scr ol l , 2] 2 n St r i n g s, 209

Ma
. .

r k i n g t h e O ut li n e 290 Nec k, Th e, 277

Ma g t h e O ut li n e of t h e Neck a a
, . .

r ki n
E };Fit t i
n d ecl n d Scr ol l T h e, 2 92

— ai
.
,

Scr oll , 270 cc n ‘g ‘f t h e. 14

a
.

i i i dr s of t h e, 1 57
.

M r kin g t h e P ur fl i n g , 262 Nen k y Fu

'

. .

Marp u r g , F W , 55 . Nec k Gui de, 280 .

Ma
. .

r st on , 63 Nec k, P r opor t i on s of, 1 5 7, 1 58

Ma
. .

ssi n g er , P 13
' Nec k, Set t i n g of, 1 5 7
Ma
., . .

ss of A i r in t h e V i ol i n , 1 37 1 45 Nei er , Th e, 4 2
Ma t er i a
.
. .

l s of P eg s 1 87 Nefr u, T h e, 42
Ma t h em a t i cal l y D1 a
.
, .

w n Ou t l in e 1 36 Net t lesh ip , B , 34
n d Ma
Ma yi n J C a
. . .

a
.

i g n e W 1 31 . Ner o, 8
Ma
. . .

a
. ,

p er t i us, S B (i f , 1 0 . New I n st r um en t s, 1 9
Mea New Nec k , Fi t t i n g a
. .

su r em en t s of B ow I n st r u m en t s 1 26 , 31 2, 31 6

Mea sur em en t s of Nec k a

"
, . .

n d Scr ol l , 1 58 New Nec ks on Old I n st r um en t s, 1 5 9

Meda Ni b el un g en l i ed Da
. .

r, 8 . s, 2 16 , .

M edi ci , C de, 53 Ni ch ol son , D r J 1 02 , 1 54

Messon s P a t en t B a Ni eder h ei t m a
. . . ., .

’
r , 1 54 . n n 1 69 .
,
Mer sen n us M 49 5 0, 9 3, 21 0 Ni ssen , G R de, 17
Met a
. . .
, , . .

l V i oli n s, 105 Nofr e, Th e, 4 2

Nor m a l T on es of B a ck a
. .

Met h od of Col our i n g E ssen c es 1 8 0 n d B ell y, 1 33

f Nor m a Ba ra
, . .

Met h od of C opyi n g j H ol es 1 5 5 n k , 8 3, 165

Met h od of C opyi n g Hea N ot es a
, . , .

d n d Queri es, 1 0
Not r e Da m e de C h a
.

Met h od of C opyi n g O ut l in e, 1 35 . r t r es, 4 6 .

Met h od of Cov er i n g St r i n g s w i t h Wi i s, Nur ser y Rh ym es, 1 .

N ut , T h e, 19 0, 2 98
Det ect i n g A dul t er a
.

Met h od of t i on s of Nut of t h e B ow T h e, 92, 9 3, 9 7

Va
, .

r n i sh , 1 79
Met h od ofMa ki n g a
.

n Ou t si de Moul d, 2 26 j
Ob ec t of P ur fl i n g , 1 64
Met h od of P r epa Ob l on g St eel P l a
. .

r i n g Rosi n , 19 9 n e 22 5
Oc t a
, .

Met t r e eu V i ol on , ” 10 v e, P r od u c t i on of t h e 205
M ic a
. .
,
’

l z , 36 Odd Vol um es, Th e, 29

O il V a r n i sh ver sus Spi r i t V a
. .

Mi ddlet on 3 r n i sh
Min st r el ’s Ga ll er y, E x et er Ca t h ed1 a
.
,

l , 46 Old Ki n g Cole,” 2
Mi r ec our t Ma fa
. .

nu c t ur e, Th e, 84 O l d Neck s, 1 59
Mir em on t ’s P a t en t B a
.

Ol d Rec i pes for V a

.

r , 1 54 r n i sh , 173
Ol d T est a
. .

Model , Th e, 1 35, 226 m en t V i ol s, 33

f
. .

Mod el of H ol e, 254 . Ol e B ul l , 167 .

Model of Sc r oll , 269 Ol e B ull ’s Ch i n Rest , 196

Moden a a
B rn a ba
. .

s de, 9 0 O m ert i , Th e, 38
Opopon a
.
, .

Moder n I n st r um en t s 19 , 8 2 x , 326
a
.

Mol l en h uer , E R 1 1 2 . . Opor i n us, J 5 3 . .

 GE NE RA L aEx . 363

Or feo (Mon t ev er de) , 53 a

P l yfor d, J , 55, 348
O ri en t a
. -
. .

l B ow s, 39 P l ect r um , Th e, 34
Orc h est r aa
.

a
.

n d Ch o i r , 1 2, 22 P lu t r ch 6
Orn a m en t a
. . .

l P ur fl i n g , 165 P och e, Th e, 50
Or n a m en t a
. .

t i on of B r i dg e, 1 61 , 1 63 P oi n t s, Th e, 164
Orn a m en t a
. .

t i on of V i ol i n s, 1 64 . P oi sot , J , 8. .

Or pi m en t , 324 P ol ish V i ol , 47
O sir t a a
. .

sen , I , 5 8 . . P ol i sh i n g t h e V rn i sh , 296 .

O t t , 51 P oole, R L 18
Ot t ey, Mr s Sa ra a
. . .

h , 54 . . P or t , B , 209. .

Ot t o, J A , 1 6, 20, 1 02, 129, 149 , 19 9,

. . P or t er , T , 12 7. .

Ou seley, Si r W , 4 0 P osi t i on of t h e B ri dg e,
ff
.

Out l i n e, 1 35 P osi t i on of H ol es, 2 54

a
. .

Out li n e Models 227 P osi t i on of t h e Fi n g er B o r d, 19 0 -

a
.

Out l i n e of Sc r oll , 269 P osi t i on of t h e Soun d B r , 2 58

a
-
. .

O ut li n e, Tr c i n g t h e, 240 P ot t er , 4 6, 9 0
a a
. .

O ut si de Moul d , Th e 226 P ow der ed Gl ss U sed i n V r n ish es, 170

Ova l Pla Pra
. .
,

n es, 222 et or i us M
, 56, 9 3.
a
.
,
Ox i di si n g E ssen c es, 1 81 P r em t ur e A g i n g , 14 3
aa
. .

P r ep r t i on of Rosi n , 1 99
aa aa a
.

P du n St r i n g s, 209 P r ep r t i on of V rn ish es, 18 1, 184

aa aa
. .

P g n i n N , 1 6, 23, 37, 81, 101 P r ep r t i on of Woods, 1 29

'

aa a a
. . .

P g n i n i s G u r n er i us, 23 P r eser v t i on of St r i n g s, 208

aa a
. .

P g n i n i Redi v i v us, 1 5 P r eser v t i on of t h e V i oli n , 201, 326

a
. .

P in t ed V i oli n s, 7 3, 166 P r essur e on t h e B r id g e 126, 161

a a a
. . .

P l l M ll G z et t e, 1 9 P r i ces ofT our t e's B ow s, 9 5

a
. .

P n or m o, L , 1 03 P r i c es of V i oli n s, 24, 25 , 26
a a
. . .

P n or m o, V m c en z o, 82 P r in ce of W l es, 7 .

a
.

P r i n z , 107
a
P per Li n ed Sides, 1 4 6
a a a a
. .

P r ocesses of M n uf c t ur i n g St r i n g s, 210
a
P pi er m c h é C ses, 202
a a
.

P pi er m ch e V i ol i n , 1 0 6 P r og r ess of t h e V i ol , 66 .

a
.

P r ke, W , 4 , 7 , 1 4 , 1 8 , 20, 22, 25, 203 P r epor t i on s of Nec k , 157 , 1 58

aa a
. . .

P r n ssus, Th e 5 P s l t er i um , Th e, 33
f
.

a
. .

P r t s of t h e V i ol in , Th e, 70, 1 25 un ch in g t h e f H ol es, 256 .

aa
.

Pa ss v n t , 36 P ur c ell , 54
a
.

a
.

P t en t B r s, 1 54 P ur fl i n g , Th e, 1 63, 262 .

a
. _

P t en t B ow s, 1 01 ur fl i n g Ch i sel , 22 5 .

a
.

P t en t P eg s, 1 12, 188 P ur fl i n g , C om posi t i on of, 1 63

a
.

a a
.

P t en t Rep i r s, 1 20 P ur fl i n g G ug e, T h e, 224 .

a
.

P ul V er on ese, 36 P ur fl i n g i n t h e C or n er s, 262
a
.

a
.

a
P yn e , E J 5 5 P ut t i n g New Nec k t o Fiddl e, 31 2 .

a
. .

P e r ce, J , 121
a a a
.

P e r sh ped V i ol i n , Th e, 1 06
-
. Qu een E l i z b et h , 5 .

P eg s, Th e, 1 87 , 300
a
.

P eg B ox , Th e, 27 5 B b e] , T h e, 4 1
aa
- .
.

P eg B ox , C ut t i n g out t h e, 316 R fl f ell e, 35, 90, 91

a
- .
.

P eg Fi t t t er , Th e, 300 R i si n g t h e E dge, 266

a
- .
.

P eg H ol e B or er , Th e, 300 R i si n g t h e Wi n g of t h ef Hol e, 258, 261 .

aaa
-

P eg H ol e Fi n i sh er , 300 R v n , Kin g of Ceyl on , 38

aaa
- .
.

P eg t o E n sur e Fi r m n ess, 1 89 R v n st r on , T h e, 37 ,
— a
.

P eg T ur n er , Th e, 201 R e de, C , 19 , 68
aa
.

a
.
.

P eg s or P oi n t s, Th e, 1 64 , 263 Rel t i on B et w een B c k n d B el l y , 1 32

a
.

Rea
.

P epys, S m uel , 1 6 a son of t h e Sh pe of t h e V i ol in , 1 27 .

a Reh a
.

P er , T h e, 50 b , T h e, 41
a
.

a
.

er , Th e, 40, 4 1
'
P erfec t Fift h , 207 R eh b E sh S h -
.

a
.

P er for t ed Sou n d P ost , 1 52 Reb ec , Th e, 9 , 46, 47 , 50, 61 .

a
-

a
.

P er si , 4 0 Reci pes for V r n i sh , 183

a
.

a a a a
.

P et er b or oug h C t h edr l , P i n t i n g s t , 31 Red H i r for B ow s, 1 02.

a a
.

a
P et i z e u’s Soun d P ost , 1 52 - Re H i r i n g
- B ow , 99 .

a
.

Pi ct ori l H i st or y, 30, 9 2 Rem ov in g t h e B ell y, 306 .

a
.

Rep i r s, 306
Pin t o 4
q a
.
.

P i st olesl , E , 36, 59 Re ui si t es of V r n i sh , 176

a a
.

a
.

P l n i n g t h e A r c h i n g of t h e T b l es, 24 2 Resi n s Used for V r n i sh , 323 .

ak
.

a
P l n i n g t h e H oll ow i n g of t h e B c , 248 Rest , Th e, 1 95 , 267 .

a
a
P l n i n g t h e H oll ow i n g of t h e B ell y, 256 R ev er sed Scr ol l (C h n ot ) , T h e, 1 16 .

a
P l t o, 32 .
Ri b s, Th e, 285, 287 .
364 GE NE RA L INDE X .

Ri m b a ul t Dr , 5 5 a
Sh pe of t h e V i ol i n , Re son s for , 127 a
a
, . .

Rob er t son , J 1 1 0 Sh pi n g t h e B l ock s, 235, 28 9, 29 2

a k
. .

Roi des V i olon s, Le,” 49

.

“
Sh pi n g t h e Nec , 27 7
Rom a a
. .

n B ow s, 36 Sh pi n g t h e Nut , 298
R om a a
Sh pi n g t h e Soun d B a
. .

n C ol on i es, 60 r , 259 -

Rom a a
. .

n Lyr es, Th e, 5 8, 60 Sh r pen i n g St eel , 221

Rom a
. .

n St r i n g s, 209 . Sh ift , Th e, 5 6 .

Rosew ood P egs, 18 8 . Sh i ft i n g t h e Soun d P ost , 1 5 1 -

.

Rosi n , Th e, 100, 198 . Sh oul der , Th e, 277 .

Rosi n , A ct i on of, 206 . Si bi r e, l ’A bbé, 83, 128, 14 5, 176, 1 9 1 .

Rot e, Th e, 62 Sides, Th e, 14 3 230, 2 85 287

Rot t a
. , , .

Th e 61 Si des, H ei g h t of t h e, 143, 145

Rouen Ca t h edr a l , Sc ul pt ur e a
.
,
.

t , 90 . Side Li n in g s, T h e 148 , 236 289

-
, , .

Roun di n g t h e E dg es of t h e Fi ddl e, Si lk St r i n g s, 2 14
ssea
.

R ou u, J 34 213 Si m ou t r e N , 20, 1 28, 1 31

'

. . .

Row b yb l e, Th e, 9
, .

. Si m pl e For m of C h in r est , 19 7 -
.

Rub eb e, Th e, 9 , 47 Si mpson 54 , 9 3
'

i r ’s T r i a a
.

Si n c l a
.
.

R ub i b l e, T h e, 9 n gu l r V i ol i n s, 108
Rufi n i , A n dr ea a
. .

, 2 09 Si n gl e Vi oli n C se, 201 .

R u i er i , F 77 Si z e offf H ol es, 1 57
Re m a
. .

n n , i .,
.

Si z i n g t h e Bl ock s, 249
Rul es, Mea
.

su r i n g, 220 Si z i n g t h e W ood, 17 8, 294

Russi a a a
. .

41 Sl b B c k , Th e, 1 33
Russi a
. .
,
n V i ol in s 1 1 3 Sm oot h i n g t h e Si des 231
R oya a
. .
, ,

l V i ol i n i st s, 3 . Son n er t , 38 .

Sor di n o, 5 0
St B l a a
.

si u s, 44, 4 5, 51 Soun d B r , Th e, 15 2 258

-

St Cecil i a a
. . .
,

91 Soun d B r C l i ps, 223

-

a a a
.
.
, .

St Den i s, Sc ul pt ur e t , 8 8 Soun d B r Cr m ps, 224

-

Soun d B a a
. . .

St Geor g es de B osch er v i l l e, 46 -
r , P t en t s A t t em pt ed, 154
St Godeh a
. . .

r d of H i l desh ei m, 9 0 Soun dn ess of t h e W ood. 1 31

St Ma rt ia
. . .

l de Li m og es, 61 Soun d P ost , T h e, 149 , 303

-

Sa
. . .

fi r on , 323 Soun d P ost , E x per i m en t s w i t h t h e, 1 50

-

Sa
. .

l es of V i ol i n s, 25, 26 Soun d P ost , Fi t t i n g t h e, 1 49

-

8 3 10 G da
. .

, 53,
71 , 167 Soun d P ost , F u
-
n c t i on s of t h e, 1 5 1
Sa n da a a
. . .

l W ood, 323 Sour di n e P ed l e, V ui l l u

'
-
m e s, 1 9 4
Sa n da ra
. .

c h , 1 7 5 , 325 Sout h Ken si n gt on Museum , 5 , 50, 54, 55 ,

a
S n d pa per i n g t h e T a
.

-
b l es, 267 65, 1 01 , 1 09
Sa n dys a a
. .

n d F or st er , 31 , 66 Sp n i sh C ol on i es, 42
Sa n t ia g o de Com post el l a a
. .

46 Spec i l E x h ib i t i on of 1 87 2, Th e, 5 1, 166
aa a
. .
,

S v rt, 11 8, 1 53, 162, 1 77 Spi r i t V r n i sh , I n fer i or i t y of, 1 76

Sa va a a
.

Spli cin g aH e d on
.

r t , F , 1 1 9, 1 28 Nec k, 31 2
Sa va
. . .

r t s E x per i m en t s, 1 50 Spli t B l oc k 31 2
’

a
. , .

Sch c h t n er , J A , 17 . . . Spl i t C or n er s, 308 .

Sch li c h t eg r oll, A H F , 17 . . . . Spl i t E dg es, 309 .

Sch l i c k, 129 . Spl i t t i n g ofl fSl i ps oft h e O ut l i n e, 242, 309 .

Sch ub er t , 1 8
'
Spoh r s Ch i n r est , 196 -

Sc oopi n g out t h e B a a
. .

c k , 247 Spoh r ’s Fi n g er B o r d, 19 1 -

a a
. .

Sc oopi n g out t h e B el l y, 256 Spoh r ’s P t en t T i l P i ece, 19 2

a
-
. .

Sc r per s, 220 Spoon Fi ddl e, Th e, 11 2

a
-

Scr pin g t h e A r ch i n g of t h e T a a
. .

b l es, 244 Spr i n g C om p sses, 222

a
Scr pi n g t h e H oll ow i n g of t h e B a a
St i n ed F i n g er B oa
. .

c k , 248 r ds, 19 1
Scr ib on i aG en s, Th e , 35
-

a
. .

St i n i n g t h e Fi ddl e, 294
Sc r i pt ur a a
. .

l V i ol s, 33 St in er , J 24 , 7 5
a
. .

Sc r oll , T h e, 1 5 7 , 269 , St i n er , J 34
St a a
.

Sc r oll , Met h od of Copyi n g , 1 59 t el m n n , 77

a
. .

Sc r ol l , Rev er sed, 1 16 S t e m i n g W ood, 129

a St eel P l a
. .

Se son i n g W ood, 1 29 n e, 2 2 5
Sel f h a
. .

-
i r i n g B ow , 10 1 St ep h en s J 9
a
. .
, ,

Sen ] , 1 09 St e ph en son , E 22
a a
.

St or i n g W ood for V i ol i n m a
.

Ser ph i n o, S n ct us, 7 9, 1 66. ki n g , 1 34 -

.

Set s of V i ol s, 56 St or i on i Lor en z o, 82
a a
. .

Set t i n g of Neck , 1 57 St r di v r i , A n t on i o, 77 , 1 14 . 1 29
St r aaa
.
.

Set t i n g up t h e B r idg e, 304

-
di v r i n B l oc ks 14 7 , 238. 289
a aa
. .
,

Set t i n g up t h e Soun d P ost , 303 -

St r di v r i n P eg s, 264
a a a a
.

St r di v r i Fr a
.

Sev en t y P r t s of t h e V i ol i n , Th e, 1 25 n c i sc o n d Om ob on o, 8 0 .
366 GE NE RAL I NDE X .

W ood, Da n g er of Ha n dsom e, 230

g
em ],
W ood for B a ck a
.

1 07 n d B el l y, 1 28
a h Wood for t h e B a
.

Wh ol e B c k , T e, 1 33, 285 r , 15 3
a a
n a Wood for Vi oli n m a
. .

W h ol es l e Fi ddl e M uf ct ur e, ki n g ,
-

a
Wi en i w sk i , Wood for Vi oli n m a ki n g , h ow st or ed, 134
-
.

W il de, J , 1 09 Wool h ouse, S B , 9 8

Wor cest er Ca t h edr a l Sc ul pt ur e a
. . . . .

Wi lki n s, 19 8 t , 63
Wor ksh o Th e V i olin m a
.
, .

Wil ki n son , Si r G , 4 8, 58 . .
, ker s 219 ; -
’
,

Wil lem i n , N X , 61 Wyn n e i n ch , W G 65

a
. . . . ., .

W ilson ’, G v i n ’ ]
Wi n g of t h e f H ol e 258 , 261 . Youssou
pow , P r i n ce, 5 2, 1 5 2 .

Wi re c overed St r i n gs, 213

a
-

a
.

Wi t h l m , 77 Zcc on i , 54 .

Wi t h er s, B , 84 . .

Wi t h ers, G , 1 01
a a
. .

Wolf n ot es , 1 4 9 Z eb r ow ski ’s P t en t B r i dg e n d Mu
a
-
. t e 194
Wood, A n t h on y , 4, 348. k , .

’
Zeb r ow s i s Ch i n r est , 196 -
.
 T HE

NE W STA NDA RD DICTIONA RY

O F T HE

E N G L IS H LA N G U A G E .

Com pi l ed b y ov er 2 0 0 of t h e Most Fa
m ous Sc h ol a
rs of Gr e t a
Brit a
in a
n d th e Un i t ed St a
t es .

OVE R MORE WORDS THA N ANY OTHE R DICTIONARY .

T HE S T A NDA RD c on t a
in s w or d s
Th e C e n t ur y
W eb st e r ’
s

It i s c on st r uc t ed upon a
n E n t i rely New Pl a
n a
nd, i s profusely
Il l ust ra
ted by

OVE R 5000 E NGRAVINGS A ND COLOURE D LITHOGRAPHS

ll y pr epa
E spec i a r ed for t h is G r ea
t Wor k .

For t h e fi rst t i m e i n h i st ory of D i c t i on ary m a

k in g colour h a
-
s b een ex t en si v el y
,

i n t r oduc ed i n t o t h e ST A N DA RD D ICT IO NA RY a
s a n ai d t o defi n i t i on a
s for , ,

ex a
m pl e , in sh a
ow i n g t h e pl um g e of b i r ds, t h e b l en di n g of c ol our s, i n t h e sol r a
spec t r um fl a
t h e c ol our s of g em s, ow er s, d ec or t i on s of h on our , et c , w h er e w or ds
q
.
,

fa il t o g i v e dist i n ct or a de ua t e i deaof t h e sub jec t A b out 40 0 . aa

sep rte ill us

t rat i on s i n c ol our a r e em b odi ed i n t h e full pa

g e c ol our pl a
t es -
.

Th e a
im w h i ch a ST A NDA RD D ICT I O NA RJ! h v e
t h e l e rn ed E di t or s of t h e a
k a
ept i n v i ew h s b een t o g i v e i n c om pl et e a nd a c cu ra t e st a
t em en t , i n t h e li g h t of

t h e m ost r ecen t a d va n c es i n n ow l edg e, a n d in t h e r ea

k di est for m for popul a r

use. t h e or t h ogr a
ph y , pr on un ci a t i on , m ean i n g, a n d ety m ol o g / of a l l t h e w or ds,
a n i n g of i di om a
n d t h e m ea t i c ph r a
ses , in t h e speech a
nd a
l i t er t ur e of t h e E n g lish
spea kin g peopl es .

Com pl et e i n On e Vol um e Com pl et e i n Tw o Vol um es

a
H l f Russ i a a
H lf Russi a
Ful l Russ i a F ul l Russi a
Ful l M or oc c o Ful l M or oc c o

Il l ust r a
t ed P rospec t us , w i th speci m en a
p ge , post free on a
ppl i ca
t i on .

W A RD LO C K CO LI M IT E D, SA LISB U RY SQUA RE , E .C
'

LO NDO N : , , .
 El S el ect i on of Gift J
Booh s .

i
MA TTHE W H E N RY S C O M M E N T A RY O N T H E
’

H O LY B IB L E W i t h Mem oir a a
n d P r ef t ory E ssa
y Si x v ol um es Im p
a a
. . .

h lf c l for h a
,

8 vacl ot h
.
, 638 .
-
l f m or oc co, 8 4 8 -
.

T H E S T A N D A RD D I C T I O N A RY O F T H E E N G L I S H
LA NG U A G E E n g ravi n g s a n d C ol ou r ed Pl a t es ; w or ds
a a a
.

(or m or e t h a
n n y ot h er di c t i on ar y) H l f Russi , on e v ol , Gos ; . . .

Ful l Russi a
,

t w o v ol s , .
70 8 ., on e v ol , 70 5 t w o v ol s , 848 Ful l Mor oc co, . . . .

on e v ol . , 84 8 . t w o v ol s , . r oos .

C L A R KE S (D R A DA M) C O M M E N T A RY O N T H E
’
.

H O L Y B IB L E C on t a
i n i n g t h e A U T H O R S LA T E ST C ORRE CT IO NS
'

Um
a a
.

p g es, w i t h m a n y E n g r v i n g s, Ma5 , P l a
.

ab r i dg ed E di t i on , n s, 810 In
aa
.

Six V ol um es, su per r oya l 8 v o, c l ot h , pr i ce 5 2 8 6d ; l t c l f or h alf

- -
. .
,

m or occo, 7 88 .

H A YD N S
’
D I C T IO N A RY OF DA T E S A N D U NI
V E RSA L I N F O R M A T IO N
Rel t i n g t o A ll a A ges n d Na at i on s .

E NLA RGE D, CO RRE CT E D, n d RE V ISE D T H RO U GH O UT a Med i um 8 v o, cl ot h ,

a a a
.

h l fc l f, 2 5 8 . full or t r ee c l f, 3 1 s 6d
-
. .

V IO L I N M A KI N G : a s i t Wa s a n d a s i t Is A n H ist or ic a l .

t i se on t h e A r t for t h e use ofa

,

T h eo et i c al a
r n d Pra ct i ca
l T r ea ll V i ol in Maker s
r a essi on a P r eceded b y a
,

n d Pl a yer s A m a n E ssa
,

a t eu n d P r of l y on t h e .

Vi ol i n a posi t i on a s a Musi ca
,
n d its l In st r um en t B y E DW A RD H E RON
a
.

W i t h Ph ot ogr a a
.

A LLE N .
ph s, Foldi n g Suppl em en t s, nd 20 0 E n gr v i n gs .

Dem y 8vo, cl ot h gi l t , 1 0 8 6d .

T HE U N IV E R S A L or , SelfC ult ur e for I N S T RU C T O R : -

A ll A C om pl et e C ycl opa e di a of Lea rn in g a n d Sel f E du ca

t i on ; m eet i n g t h e
q
-

i r em en t s of a ll C l a den t s, a or m i n g aP er fec t Syst em of

.

re u sses of St u nd f
‘

In t el l ec t ua
l C ul ture Wi t h I l l ust ra t i on s I n Th r ee V ol um es, roya l
8v 0 , ea hal fca l f, or h a
. .

ch 7 8 lf m or oc c o, 1 2 8
.
- -
.

H O U SE H O L D ME DIC I N E A Guide t o Good H ea

lt h ,
a
n d t h e Pr oper T r ea a a a
'

Lon g Li fe, of ll Di se ses n d A i l m en t s

t m en t E di t ed
a a
.

b y G E O RGE B LA C K, M E E di n A cc ur at el y i ll ust r t ed w i t h 4 50 E n g r vi n g s .

a
. .

a
R oy l 8v o, cl ot h gi l t , 7s 6d h l fc a
l f, r es 6d . .
-
. .

T HE I L L U ST RA T E D H I S T O RY O F T H E W O RL D ,
for t h e E n gl i sh P eopl e Fr om t h e E a r l i est P er i od t o t h e P r esen t T i m e
a a a
.

A n c i en t , Medi e v l , n d Moder n P r ofusel y I l l ust r t ed w i t h H i g h c l ass -

a
. .

E n g ra vi n gs C om pl et e i n T w o V ol um es, r oy l 8v o, cl ot h g i l t , pr i c e 7 5 6d .

a a a
.

a
.

ea ch h l f c l for h l fm or oc c o, 1 2 8 e ch
- -
. .

NOB LE T H O U GH T S IN N O B LE L A N G U A GE : A
C oll ec t i on of W ise a n d Vi r t u ous U t t er an ces, i n P r ose n d V erse, fr om t h e a
W ri t i n gs of t h e Kn ow n Gr ea t an d t h e G r ea t Un n ow n Wit h a n IN D E X O F k
C om pi l ed a a a a
.

A U T H O RS, a n d Fu ll p g e I ll ust r t i on s n d A n l yt i c a
-
l ly a rra n g ed .

b y H E N RY SO UT H GA T E , A ut h or of Ma n y T h ou h t s of Ma M ”
g n y i n ds &c
a lf c a a
.

ha
,
R oy l 8v o, c l ot h g i l t , 7 8 6d l for h l fm on occo, 1 2 8 . .
- -
.

LO NDO N : . WA RD , LO C K C o , L IM IT E D, SA L ISB U RY SQUA RE , E C

. . .
 NE W E DITIO N .

B r oug /zt dow n ze A ut um n

to t/ o f 1 89 8 .

HAYDNS DICTIONA RY OF DATES

’

UNIV E RSA L INFO RMA T IO N .

A COMPLETE RECORD OF ALL NATIONS AND TIMES .

C O MP RISING
RE MA RK A B LE O C C U RRE NC E S,
A NC I E NT , M E D IE V A L , A ND MO DE RN
N A T IO NS A ND T H E I R G O VE RNME NT S, L A W S , I NST IT UT IO N S, M A NNE RS
A N D C USTO MS—T H E O RIG IN D E V E LO P ME NT , A ND P RO G RE SS O F A RT S,
S C IE N C E S , L A WS A N D L E A R N ING —
.

T H E C I V I L M I L IT A RY , R E LIG IO U S ,
, ,

MO RA L, A ND P H I LA NT H ROP I C INST IT UT IO NS O F V A RIO US N A T IO NS I N

T H E D IFFE RE NT E PO C H S .

Wi t h Speci a
l Refer en ce t o t h e H i st or y a n d A c h i ev em en t s

of t h e B r i t i sh E m pi r e .

CO N TA I NI N G

Th e H i st or y of t h e W or l d
to th e A ut um n of 18 9 8 .

B E NJA MIN V IN C E NT ,
H on . Li b r a
r ia f t h e R oya
n o l I n st i t u
t i on o t Br i t a
f Gr ea in ,

C or . M em . H i st . Soc N ew Yor k , et c .
, et c .

Medi um 8 v o, Cl ot h , 2 1 / lf c a
Ha lf, 2 5 /
-
Ful l or T r ee -
a
lf
c ,

T WE NT Y S E C OND E DI TI ON
-
.

C on t a
in in g ov er Pa
g es, A r t i c l es, a
n d

Da
t es a
n d Fa
ct s .

SHORT E XTRA CTS P ROM PRE SS NOTICE S .

v It
aa
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w ould b e fi c ul t
di f
vi f n ot i m possi b l e, t o n m e
.

sk s for e er y d y of INS Ii fe a Spect t or.

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a a
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a
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.
v
l en t i n t h e i n for m t i on w h i c h a
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St m t rd .
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b ook of r efer en c e w h i c h n ob ody c n s fely di spen se

a
P r ob b l y n o ot h er S in g l e w or k i n t h e E n g l i sh L n g u g e c on t i n s suc h a a a
m ss of c on den se d i n for m a a a
— Da a
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v av
.

aa a
T h is i n a
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v av a a a a a Da a —
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pi l e d e er g e so m n y f c t s n d d t es m l i k e sp c e £ty N ew s
v
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a a a
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a a —
' '
m oder t e c om p ss t h t w
k n ow of In t h e E n g l i sh L n g u g e . T/ze T i m es .

Pr ospect us ad
n Speci m en P g e a sen t Post Fr ee
on a
ppli c t i on a .

LO NDO N : WA RD, LOC K CO .

, L IM ITE D, SA LISB U RY SQUA RE , E C .
 W A RD , LO C K dc CO S .
’

CO MP LE TE E DITIO N O F T H E

Wav e r l ey N ov els .

MA G NIFIC E NT LY ‘

ILLUST RA T E D .

a
Th E d i t i on i s t h e b est ev er O ffer ed t o t h e P ub li c
is
T h e Il l ust r t i on s r e n ot m er a a
pr esen t c or r ec t r epresen t a a a
.

f n cy sket c h es b ut
t i on s of Loc l i t i es, H i st or ic l P e r son
a
.

g es, C ost um es, A r c h i t ec t ur l D et i l s, et c , d r w n b y em i n en t r t i st s a a . a a .

Su
per Roy l 8 c c , -
a c l ot /
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r ds Ha
n dsom el y
pr i n t ed on fi n est
pa
.

per 75 . 6d ;

Iv A tsl I O E W it h a a
é Ill ust r t ion s b y A D R I E N M A RIE
-
. 1 30
, F . L I X , R 10 0 , nd
li
-
C O TT.

RO B RO Y W it h . 1 80 a
Ill ust r t ion s b y G . D URA ND, RIO U , E . C O U RLE V I N , ad n
H T O U S S A I NT
. .

KE N ILW O RT H W it h 1 70 Ill ust r t i on s b y D a MA ILL A RT V P orR SO N , R IO U ,

a
.
.
, .

n d H SC O TT
. .

W A V E RL E Y W it h I 3O
'

Ill ust r t i on s b y G a D U R A ND , B B RO W N , FRA I P O NT , C

a
. . .
.
G I LB E R T, nd RIO U .

T H E H E A RT O F M ID L O T H IA N 1 70 a
Il l ust r t i on s b y H C LE RGE T FE RD INA N D US
D MA I LLA R T , a
.
. ,
. n d P E LLI C E R .

Q U E NT IN D U RW A RD W i t h 1 50 a
I llust r t i on s b y A D MA RIE C O MT E DE LLO RT
a
.
.
, , ,
P H P S
E L L IC E R , . I LLE , A B A T I E R, n d T A Y LO R .

T H E A NT I Q U A RY W it h 5 . 1 0 Il l ust r t i on s b y Ga D U RA ND B RO W N , C D E TT I
a
.
, .
,
D U N x I , FRA I P O NT , C G I LB E R T , . n d R 10 0 .

GU Y M A NN E RING W i t h 1 90 Il l ust r a
t i on s b y B RO W N .
D UN K I F R A M E N G ,
FR A I P O NT , G E RY R I C H A R D , Mu m s, a
, ,

n d RIO U
-

T H E B RIDE O F LA MM E RM O O R 1 30 I l l ust r a
t i on s b y G D U RA ND , B RO W N
a
. .
,
E RIz , C . GI L B E R T , MO NT A D B R , R I O U , n d V I DA L .

O LD MO RT A L IT Y W it h I ll ust r t i on s b y D
1 40 a MA I LLA RT G O SSE LIN ,
a
. .
,
KA U F M A N N, P E LL IC E R, P R A N IS H NI KO FF , n d H S C O T T . .

T H E F A I R MA ID O F P E RT H W i t h 1 40 Il lust r a
t i on s b y A D M A RIE , C DE T T I
C H G O SS E L I N, K U RNE R , A LE MA I ST R E , H P I L LE , a
. . .
'

.
n d F T A LU E T . . . .

W OO DS T O C K W i t h 1 50 Ill ust r a t i on s b y E T O U DO UZE

. . .

RE DGA U NT LE T W i t h 1 60 Il l ust r t i on s b y GO DE FRO Y D URA ND

. a .

a
‘

T H E MO N A ST E RY W it h 1 30 Ill ust r t i on s b y D U N KI , DE T T I , KU RN E R FR
a
.
, .

FLE MI NG , G O S S E LI N, n d S C O TT .

THE A B B OT . W it h 30 I ll ust r t i on s b y FR
1 a F LE MI NG , D E TT I , D UN KI , FE RD I
a
.

NA N D U S , KU R NE R , n d G O S SE L I N .

P E V E R IL O F T H E PE A K . W it h Il lust r t i on s b y A DRI E N
1 50 a MO RE A U .

T H E P IRA T E 50 Il l ust r a . W it h 1 t i on s b y A D L A L A U ZE . .

A N N E O F G E IE RS T E IN W i t h 1 50 Ill ust r a
t i on s b y D U NKI . .

T H E F O RT U N E S O F N IGE L . W it h 1 68 Il l ust r t i on s b y H U YO T a .

T HE T A L IS M A N W it h 68 Il l ust r t i on a s by A DE R I C H E MO N T A DE P A RYS
a
. . , .

n d W A LT E R P A GE T .

T HE B E T RO T H E D A N D T H E B LA C K D W A RF . W it h 1 20 a
Il l ust r t i on s b y
A . FO R E ST IE R , R I O U , G I LB E R T , a
n d G O D E F R O Y DU R A N D .

THE L E G E N D O F MO NT RO S E A N D C A S T LE DA NGE RO U S Wit h 76

t i on s b y WA L T E R P A G E T , a
.

Il l ust r a n d A D E P A R Ys

"
. .

C H RO N IC LE S O F T HE C A NO NGA T E C on t i n i n g C h r on ic les of t h e a
n on g a
" Th e H i g h l a a
.

Ca n d W i d ow ,
” “
T h e Tw o Dr ov er s , T h e Sur g e on s
“ ’
t e, n d
a
D ug h t e r . a
W i t h 68 Il l ust r t i on s b y A FO RE STIE R , RA YMO N D P O TT E R , a n d A on . .

P A RYS
a
.

ST . RO N A N S
’
W E LL
68 Il l ust r t i on s b y Rom n SA U B E R . W it h a .

C O U NT RO B E RT O F P A RIS 7 8 Il l ust r t i on s b y A FO RE ST IE R . a . .

LO NDO N : WA RD , L O CK 8: C O .
, LIMIT E D, SA LISB URY SQU A RE , E C . .
t h e n in eteenth Cent u
ry Cl ssics
E D IT E D B Y
a .

C L E M E N T K . S H O R T E R .

Cr ow n n va
80 0 , A r t C a s Gi l t , 23 . 6d .

© H RO U G H O U T t h h ol e h i st or y of E n g l i sh lit er t ure t h er e
e w a
i s n o per iod w h ich i m pr esses on e w i t h i t s v r iet y n d h elpful a a
n ess i n a a aa
n y w y c om p r b le t o t h e fi r st h l f of t h e n in et een t h a
c en t ury a
No per iod c er t i n ly h s pr oduc ed so m n y b ooks w h ic h
. a a
i t i s essen t ia a a
l for our ow n ge t o r e d Th e ide of “ T H E NIN E . a
I E E NT H C E NTU RY C LA SSI C S c e t h ese per m a
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’ ‘

r es

of t h e c en t ur y b efor e t h e pub lic i n a n a

t tra
c t ive an d ser v i c e a
ble for m .

Ea c h vol u m e i s b ea ut i full y pr in t ed on fi n e pa per w ell b oun d w i t h , ,

ph ot ogr a vur e fr on t ispiec e .

SA RT O R RE S A R T U S . B y T HO MA S C A R LYLE . Wit h a
n
I n t r oduc t i on b y E DW A RD D O W DE N, LL D . .

A L A R I C A T RO M E , A ND OT HE R POE MS . By
M A T T H E W A RNO LD W i t h . a
n I n t r oduc t i on b y RIC H A RD G A RNE T I , C B ’ ‘

LL D . .

H E RO E S A N D H E RO W O RS H I P -
. B y T H O MA S C A R LYLE .

W it h a
n In t r oduc t i on b y E D M UN D GO SSE .

P A ST A ND P RE SE N T . B y T H O MA S C A RLYLE . Wi t h a
n
I n t r oduc t i on b y F R E DE RIC K H A RRI SO N .

P RO M E T H E U S B O U ND, A ND OT HE R POE MS .

B y E LI Z A B E T H B A RRE T T B RO W N I N G . Wi t h a
n I n t r oduc t i on b y A LI C E
ME YN E LL .

B E LLS A ND P O M E G RA N A T E S , A ND OTHE R
P OE MS . B y RO B E RT B RO W N ING . !Vi t h a
n I n t r oduc t i on b y T H O S .
J
.

W ISE .

B E LLS A ND P O M E G RA N A T E S .
(Secon d Ser i es ) . By
RO B E RT B RO W N I NG .

C RA N F O R D . B y MR S G A SKE LL . . Wi t h a
n In t r oduc t i on by
W . RO B E RT SO N N IC O LL LL D
, . .

THE O P IU M E A T E R . B y T H O MA S DE QU INC E Y . Wit h

a
n In t r oduc t i on b y R IC H A RD LE GA LLI E NN E .

THE A U T O C RA T O F T H E B R E A KF A S T T A B LE .

B y O LI V E R W E ND E LL H O LM E S . Wi t h a
n In t r oduc t i on b y A NDRE W
LA NG .

LO N DO N : WA RD , LO C K 8: CO .
, LI M IT E D , SA LISB U RY SQUA RE , E C . .