Part 4 (2/2)

We may now take this portion of the work as finished and turn to the consideration of repairs of fractures or filling up of parts last It is early yet to think of opening the instru that appears to have gone wrong either with the general structure or with solden rule to be observed by all repairers is that of never opening an instru the upper or lower table--until all other means of correction have proved futile Extensive repairs to the interiorafter a very careful look over with proper calculation There are several reasons for keeping the above rule well in one much affliction while under the hands ofto the ”heroic school,” it htened, bent, or contracted and held solue was in process of drying and that sufficient time had not elapsed since the occurrence for the strained parts to settle down under their new condition An opening of the violin, ree portion, must be undertaken after due consideration and every precaution has been taken that nothing shall be disturbed if the reparation can be acco of the instrument for the purpose of one repair ain Our opening ceremony will therefore be postponed until a future occasion, and ill confine ourselves to the consideration of such external injuries of ancient or recent origin that may be with the least inconvenience restored to ordinary health or even strength The numbers of such and their varieties are more than can be related, the curious manner of their occurrence, too, would be an addition that would indefinitely prolong the story

Taking, therefore, small injuries or fractures that can be repaired fro to mind and not infrequently seen, is at the corners, a s part of the rib--one of the upper or lower sets; this ot lifted away from the block, it may be on one side or the other, in size perhaps littleiet in and make an adjourned repair more difficult if not wholly ie and date of the injury, so the treatment must be If the injury is quite recent and the fractures are quite clean, solue placed on the exposed surface and the lifted piece placed back in positionoff when dry of any superfluous glue thatthe part on This has been a simple matter, but if the part knocked away is lost, a different course must be pursued As it would be ied or irregular-shaped hollow, there is but one ular space with a sharp pointed knife The walls of the space or opening should be as clean in line as possible, also quite vertical A seous, as, by its aid, using it with the angular or sharpened side doards, the floor of the excavation can be reduced to a fair level This hollowing-out should not be too deep, leaving asre surface If this is done neatly, the opening will be like that of a box into which will be fitted the fresh wood As to this last it should be selected to e whenever possible, also in continuation of the run of the grain, so that when fitted it should look aswood as possible, that is, when free of varnish In cutting the wood to the required size it should not, as in the instance of the aperture, be o into the aperture should be a fraction less than the outer, so as to allow of its being pressed in and fitting very closely all round As the parts under consideration lie in the curved parts on the structure, to fit a piece in with success, it should also be bent with a requisite curve; if this is not attended to, and the clear varnish colistening of the grain underneath when shi+fted about in the light To avoid this, which is apt to draw attention to the repaired parts, a larger piece of veneer than necessary should be first bent into the proper curve and the part nearly s of the piece can be effected by steeping it in so but a se enough and obstinate it must be kept bent by some means until dry, when it will show no disposition to revert back to its old form

If these particulars are all attended to with care, the piece of wood or veneer will only require a little pressure--the opening being gone over with strong glue--to retain its form in proper position In case of failure under these conditions and the parts not holding together as they should, another course rease is the cause of the non-adherence of the parts The re a little benzine on a brush and wiping orout with a small piece of linen on the end of a pointed stick of soft wood, after which, when quite dry, soether and held in position

Ingenuity and the perception of the adaptation of means to an end will constantly be called into exercise, and at a part of the instrument such as is at present under consideration, will be often severely taxed

Want of purchase or no direct pressure being possible, or at least perceptible, will be the complaint of the operator, but this can always be overco that a piece has come off at the upper part of the waist curve, and if narrow or the curve is sudden it will at first sight be a little puzzling as to keeping pressure on the fresh part, even if cut sharply and ready to be deftly inserted The difficulties will be considerably lessened, if not disposed of, if we take up a portion of soft pine or poplar, cut it in a moment or two to shape, so as to very loosely fit the upper curve or part we are about to glue, and not quite reaching the lower or usually larger curve of the waist; a small piece of cork placed between the wood to be inserted and that which is to press it while in position and another piece of cork of a wedge form can be squeezed in at the other end, so as to prevent the varnish being injured and to tighten the pressure, which will not be necessarily great if the fitting is good

Another kind of repair not unfrequently necessary, and which should not be delayed, is caused by the parting of the two ribs at the angle, in consequence often of accidental knocks and over weak glue This is a et direct pressure than almost any part of the instrument Many repairers would lift up the loose part or parts, both being occasionally loose, brush a little glue in, squeeze the parts together and leave them When dry the ends will under this treatinal condition The best rees, overco the enemy in detail Thus firstly, we must observe whether the junction or construction of this part has been effected in the old Brescian ether, or according to the laterplaced in position first, trihtly overlapping it and afterwards trimmed into shape In both instances the under surfaces lue softened and cleared out, if unfractured the surfaces of both corner block and rib fitting will be as originally left by the maker In either style of construction it will be best to proceed first with the ainst the block in the way before et to work at the other After being quite sure that no hard glue or foreign particles remain between the surfaces to prevent a perfect fit as in the original condition, a sain and of a size and shape that will fit loosely the seot ready to go between as a protection for the varnished part If the parts are not much worn away, or the front and back plates are in fair condition, the rib lued and the screw cra used as a protector, and the rib will be held in position If this is not sufficient for getting a close and accurate fit, the soft wood ained by a wedge of wood gently inserted and pressed home This mode of repair, it will be borne in ood condition Different treatment would be adopted if both were separated or the upper one taken off

Soood ood extent of surface, will not be quite the thing for a se; in this instance a wooden h to allow of an oval aperture beingpassed through This being done and a s here and there judiciously inserted, will enable the operator to get enough purchase, or advantageboth to gain the requisite pressure against the bend of the rib in the manner before mentioned

There are as a matter of course extre from almost as many different causes If tiht be classified and each credited to their different agencies Sufficient for our purpose, however, will be the separation of them into three divisions: firstly, those whichway of parts through atmospheric influence, such as damp or excessive dryness, or both at ti temperature People are apt to debit the clis and the cause of ood work in the fiddle world and the prevention of its being accoes of fiddle facture

Much of the good quality attached to Italian instruments has been attributed to the beautiful and dry air of Italy Now that Italy has beautiful air no one can deny, that is, while not standing in the streets of so cities therein, but that it is dry generally is perhaps going beyond the mark; remember it is a very mountainous place with solance over a good map of the place, or better, a tour by railway froe is fairly general as tothe localities where rain is most frequent, theas a matter of course

But let Italian fiddles speak for thes The first s, but trusted to theback and front to the ribs That their trust was not misplaced in many instances is proved by the work in its pri intact to the present day With the rise of the Cremonese school, delicacy in treatment of detail becaive expression to their ideas in as many particulars as possible over the work, especially in respect of refine of the ribs, less thickness of wood in these parts would have to be used, especially when of very decided curl; but this would not hold well except in the driest districts The syste froht, added to the thin substance of the rib, allowed a better holding power to back and front

The fact is here evident that the glue, of exceeding good quality--and that it was so will be corroborated by all repairers who have had to do with the old Italian instruments--was too easily affected by the damp of the at the great nuathered fro the effects of damp Some of the means adopted by various repairers, apparently in the s by the bad, even extraordinary woods used--have been very curious, , others primitive, even stupid At about the sas, Giov Maggini was trying otherof the upper and lower tables from the ribs by damp A method he adopted, and which many later makers imitated--if it did not occur to theroove all round and inserting the ribs It will be obvious fros were used in these instances That his efforts were not followed by success may be concluded from the fact that he did not persevere with the system The simple method of his master was fallen back upon and thicker ribs placed in position When we corooved tables it will probably be found--as ini had he known beforehand of the course to be taken by his art, which was at the tiht it necessary to lift the ribs froled over it This will be seen in the irregularity of the fitting of the ribs, which have been ruthlessly cut or torn out of the groove, so theeneral result of a wretched wreck re there but shi+fted a little, fro from the action of moisture

CHAPTER IX

THE GLUE USED BY THE EARLY ITALIAN MAKERS--INSERTION OF PIECES OF WOOD FOR REPAIRING LOST PARTS--REPLACING LOST RIB AND REPAIRING INTERIOR WITHOUT OPENING WHEN POSSIBLE--SECURING LOOSE LOWER RIB TO END BLOCK--DIFFERENT METHODS--TREATMENT OF WORM-HOLES--FIXING ON GRAFT ON NECK

Here, before proceeding further, it e done by the at Under most circumstances this will not occur, but under exceptional ones it will If good in the first instance, it will be perfectly sound and strong as ever at the end of three hundred years

I have found this to be so in the work of Gasparo da Salo and his pupil, Giovanni Paolo Maggini, besides other lue they used I am unable to say, possibly they did not know very much more themselves beyond what they believed was the best obtainable in their day and city When the perishi+ng has occurred there must have been very much moisture in the atmosphere of the locality in which the violin rested for solue will absorb theits fired exposure to dae to take place and then all adhesive quality is lost; when dry air afterwards attacks it, the parts of the instruether are released, with results thatto the position of the part affected

To continue the consideration of the repair of a violin that has been constructed with grooves for holding the ribs A long and troubleso away of the fragroove and cut away by so rib; it is therefore preferable in ordinary and neat repairing to clear the parts thatwith a stiff brush of appropriate size and wiping with a clean cotton rag repeatedly; when the rag ceases to be soiled or discoloured after wiping, the parts may be taken as fairly clean A sharp knife will take off any projections thatof the rib in position; if the irregularities give indication of fitting well, the parts , hot glue, and the cras

The probabilities, however, are, that through bad treatment, added to wear and tear, the parts will not fit under any circumstances, then the only course will be to make an even surface at the part broken away, and then fit a piece of fresh wood therein If the aperture e extent and not wide, or e piece of veneer is required, then the fresh wood need not be bent, but cut neatly for fitting, and after glueing, as usual, slipped in with a part projecting beyond the surrounding surface When quite dry it may be pared down carefully with a sharp knife, or if notto the a down and varnishi+ng has taken place, it will be but slightly noticeable The same treatment can, of course, be adopted for either upper or lower part of the rib; theto its concavity, but care and patience will overcome the difficulties of the situation Should there have happened an accident by which a hole of some extent is rent in the ribs--either upper, lower, or middle--it is not absolutely necessary that the instrument be opened to accoiven before, not to open a violin which has been in good going order if the repair can be effected without

As we are presu on disabled violins that are valuable, perhaps old friends, or interesting specimens of a particular school, to select the best mode of restoration is our aim For this purpose ill call to our aid some low class violin, new or old, that is of no value except for our purpose If several are within reach we can select one ood that matches as near as possible the one under process of restoration Being already bent to shape, a portion may be found soment can be cut out to shape, and as in manner pointed out before, be placed over the aperture of the fracture Carelikely to fit sufficiently well as regards figure or curl and direction of grain The sides cleanly cut should not be quite vertical with the general plane, the inner surface being a shade s the operator, with a little pressure, to insert it, when glued, quite neatly No instructions or suggestions with regard to fitting will counterbalance clu In operations of this kind, delicacy of handling equal to anything required in watch repairing will be obligatory, that is if restoration of a high class is intended

It would be impossible to deal with, touch upon, or even to recount every possible injury to a violin that ht be repaired without the re that will be worth considering, if only for the purpose of restraining the tendency to open the instrument upon too trivial a pretext One instance occurs to memory at the present moment, in which a violin, the constant companion and closest friend of its owner, h total destruction, at any rate, necessitatingup of fractures

To the fiddle physician it was promptly taken, carefully scanned, and the owner told that it would be all right in a few days Will it have to be taken all to pieces? asked the anxious owner Not if it can be possibly helped, was the reply The violin was called for in due time, and in answer to inquiries it was fetched and seen to be in as good going order as before the tie, no sign of fracture or any neatly-laid patches, there were the ribs as sound as when new, no cracks to be seen How did you e that? said the owner, and you say there was no necessity to take the front off? Easier far, replied the repairer, the more there is left undisturbed the ress of restoration, and as you see the mystery of this renovation I will relate hoas accomplished You are no doubt fully aware that your violin is of a size and shape well-known in the trade as a ”Strad pattern;” well, there are thousands of violins in any nurees of quality similar in form and size, in fact, for usthe peculiarities of pattern with lance, the difficulties to be overcoreat

I saw there was no reunion of parts of the ribs to be thought of, as they had gone, and your violin being a modern copy of ordinary pretensions, it would not serve our purpose to join four-fifths of new rib to the remainder, and so to make a clean and satisfactory renovation a fresh rib would best answer Taking down from a shelf a number of loose parts of violins put aside for such occasions as the present, I soon found a middle rib that matched in most particulars those of your violin It had the additional advantage of being better for the keeping, as regards colour or looking less new