Part 5 (1/2)

The first proceeding was to clear out all the useless fragments of the spoiled rib, search every corner and see that there were no splinters left, and rees that were to come in contact with the fresh rib ashed, and where per, finely shaving the of full size and requiring et it placed, so down here and there was found necessary, and when done it was tried again carefully and repeated perhaps three or four times, when all parts seemed to fit sufficiently well Each ti projecting whereby it ht be withdrawn; to accoth passed through the ain When the piece was found to fit with accuracy, little reether, and after seeing that every part was in right position, the screw cramps were applied with sufficient force and no lue wiped away and the whole left to itself When sufficient ti, the cra of parts effected and the fresh work varnished in a manner so as to match nearly as possible with the rest of the instrument, and there you have your violin with a fresh rib inserted without reed part It was really, as you , there being no secondary process to be gone through, nothing but cra off

Another instance comes to my mind of what can be done in the way of alteration of the interior without re the upper table It came within my own experience many years back, and the violin was one owned by ot into a condition not unfrequently seen after bad repairing, that of the fingerboard sinking down too near the table through absence of proper support or sufficient grip of the end of the table where the neck is inserted Being unable to attend to theclose by, a clever as beside He was not very long setting etting into disorder froed the rectification of the matter; did he take the upper table off? ”Oh no, without that I simply opened or loosened the left side of the table about and above the upper corner, then, having cut and glued a slight thin wedge-shaped piece of wood, through the narrow opening caused by the loosening of the table, I passed it on a thin knife long enough to reach to the upper block, bethich and the part of the upper table which was not holding I carefully thrust it and tucked it in, finally glueing and craain the part of the table that I had purposely loosened”

This was a clever operation, successful but very risky, and not to be lightly undertaken by anyone without much experience and even natural ability for er, from the narrowness of the approach to the work fro the piece of ith great difficulty of recovery, and, further, the chance of cracking the upper table by straining the opening for the ade of wood I heard of the violin but a few days since, and have no reason to suppose there has been occasion to have any further repairs done

A at times, and which from their position see detached, or losing its hold on the block; this isup and past the tail pin hole Both sides reat many of the old Italian violins, the rib is continuous, it very seldoe of si of one piece running round the lower end right past the tail pin was not, as too often supposed, done for a saving of tith and neatness When in two parts, so inserted--each side is subject to da with the tail pin, the nut above, or during repeated removals of the upper table Exposure to da of these parts as soon as any other The detachth of tirees one part may be seen to be lifted or warped away from the join If without this appearance suspicion is aroused in some way as to looseness, it can be verified or not with little trouble by tapping with a felt-headed piano-hammer, when the sound, which should be quite solid, will, on the contrary, be rattling

Seely the repair of this part is an aardthe parts and retaining thelued The difficulty is more apparent than real, as there are several ways of overcoin with one The tail pin will, of course, be reth, use luedup therepeatedly the loose parts until they seeh A piece of soft pine or poplar will now be cut that will be just wide enough to go easily over the parts lying over the block and which of course cover all the loose parts that require fixing: it may be a trifle under a quarter of an inch in thickness One side ainst them and should be a sort of mould A hole will now be pierced to adh, a made substitute with a sih to the tail pin hole, and if it fits tight enough to sustain itself against soh so that when the peg is passed through the hole in the ainst the rib or the two parts on to the block, all should be held firlue should be applied by a brush to the surfaces that willon The peg and the mould--with a piece of paper on its face to prevent adhesion--ht until hard and dry The same methoda screw--if one is to hand large enough--may be inserted In this case it should be a very loose fit to the hole, the grip will be obtained by rolling up a piece of paper and inserting it in the tail pin hole, the screw can then be used against this inside without da the desired result will be by a stout leather strap and buckle passed round over all the ribs of the instrument; the same sort of mould will be used and applied in the sa in position at the upper or neck end over the button, a string over the fingerboard will be sufficient; at the other end over theto size will enable the pressure towards the block to be regulated Another contrivance with the sa a ith a turned or screwed end fitted with a head or nut, the other end can be bent to right angles, but not too h the tail pin hole When in position, having been passed through the hole in the ainst the inner surface of the block, the head or nut being then screwed round will tighten and press the rip for the purpose if all the rest is in proper order

Should these contrivances not be to hand or are found inconvenient, yet anotherthe screw-cra placed to protect the parts of the upper and lower table bethich the end block is situated, the screw can be turned tight enough to allow of a wedge of wood being inserted between the back of the cra; it can then be left until dry and hard

Occasionally there will be not only the detachment from the block, but there will be the accompaniment of a split in the rib There will be in this instance a preliether before proceeding with the other part The reason for doing this is that the pressure on towards the block is apt to widen instead of closing the crack Thea crack, or there may be more than one, is by the use of a small hand vice A piece of stout card placed between the teeth of the vice to prevent an i, be brought closely as possible together and the vice screwed up For this process the help of another person will be almost absolutely necessary, as two hands will be required for holding the parts together while the second person holds the vice and turns the screw to order When dry and unscrewed the parts joined will require a little scraping of the superfluous glue, washi+ng away at a thin part as this is would be dangerous; if brought together neatly the rib can then be pressed on the block in the one through when a portion of fresh rib has to be inserted at this part, owing to loss of a piece through violence or the ravages of the wor inquiry should be made with a pointed wire or pin and the direction of the boring operations ascertained, as it inally intended to avoid a large sth should be There is often too great a tendency shown in repairing, especially in preparation for the market, as, for instance, when an old master has been unearthed in some farmhouse or out of the way place on the Continent, to make a clean sweep of a so too much to his imitative powers on neith new varnish, and we may say with new ideas on old facts; it is seldom that the result is far from hideous

Better trace the tortuous course of a whole fa than, as is too often the case, cut a huge slice away, for if so the instruins to assuem of an old master and two parts modern trash, hateful to the eye of the connoisseur

While touching upon the subject of worm-holes, a feords es of these voracious creatures Alreat horror of the possible presence or the ungauged depths of the s the entrance or exit to which will cause a start of dismay in a searcher after the beautiful, when, in an otherwise perfectly preserved specihts upon that sharply defined circular hole, cut with no uncertainty of purpose, but with a ruinous intent, for it is business with the boring party to consume the whole, if possible, at its leisure and in quietude This last is an important item in the consideration of the circuem of art, old master, Cremona, real Strad,” or whatever title the wooden structureunder Those who have sufferedmania--a condition mostly chronic or quite incurable--but whocap” well poised on their head, will know that the wore, sometimes even in the absolute sense of the ter neglected for generations, or since the tied ancestors fro about the price, which most likely was one hundredth part of its commercial value at present It was placedtaken out of the old ragged leather covered one, with the brass nails along its side Tradition has it that in long bye-gone days it used to hang suspended fro of the ”old house at hoeneration and lesssoland fron of James II Later on it was taken from this old case, and placed in one of modern construction, and occasionally was taken out for musical people to see, soant forular transparency of its varnish None had come forith the request to hear what it had to say for itself or what its tone was But the day came round at last when someone , having inquired as to the possibility of seeing the antiquity, was afforded the rare opportunity and treat of seeing a perfectly preserved Cremona, nearly as possible untouched; the connoisseur was informed that no one had been known to have played upon it The case is brought forward and opened, the violin, with perhaps one very brown string dangling fro the neck, while the forefingers and thuht, hold the lower part near the tail-piece

The violin is turned first one way, then the other, and sideways for viewing the ribs and the beautiful play of light through the varnish, the fine curl of thean i froifted with life Steadily turning it about, the connoisseur at last breaks out with the excla I have met with in my life, it is almost perfect, practically new, looks, perhaps, but a dozen years old What a beautiful design, what colour, and splendid wood, both the pine andthat wonderful freedo which moderns find so impassable a barrier to success with their ”imitations of the antique!” Lost in admiration for some minutes, the connoisseur's critical faculties after a while begin to assert themselves, and he is on the look out for flaws or defects that ht be a little e, not quite so fine in one respect, although perhaps better in another than the one owned by his friend Smith; but oh! a wor is riddled, or even ”honeyco a work of art in apparently so perfect condition is succeeded by asense of frustrated hopes, sche dissipated at once by that s there near the corner Our friend takes his departure, but cannot help talking of the ”find” to the dealer and repairer of whos This person takes another view of the affair, and resolves to see the thing and perhaps acquire possession, so that like his custoht out as in the other instance and he turns it about, gives it a sly pinch here and there, looks for any light coloured dust or powder inside and does not see any, a shake or tith the sa with the instruth broached to the owner, ould like to knohat Mr ---- would be prepared to give for it, but this party ratis for the owner; he therefore dilates upon the difficulties attending the keeping of a large stock of such articles, besides the thing having been bored soprominent exa upon even if possibly well restored Mr ---- finally departs as owner of a finely preserved Cre,” but a few judiciously selected sentences and fewer pounds Out of the house his steps are lighter and swifter as he gets nearer his pre rooain exa help--here, what d'ye think of that? This work theon the premises, takes it up, looks it well over, and then observes--”well, at first I thought it was a good modern copy, but now if I don't think it's a real one!

Well, I never! it is, too! look at that stuff all over it” This was his ood quality

”I would like to have sooes” ”We'll soon see,” says the other After a few turns over again amidst remarks of adht into a good light and preparationsit ”Why, I don't think it's ever been opened before,” says one ”Certainly not,” says the other ”Now,” says the dealer, ”you had better do it,” and the work the tailpiece and with a ”post setter” lifting the sound post out carefully through the right sound hole, he re the instruht as possible into the interior, looks through the pin hole and observes--”No patch in this, Mr ----, fresh as a new-laid egg--original bar too,--however, let's go ahead” The fiddle is then laid face doards on a cushi+on or soft pad and held in position with the extended palm of the hand The operator then takes what has been once in use as a table knife, but is now thin and s the left hand firmly in position and the knife in the other, he casts his eye round for any portion that lued than the rest It has been very neatly done however, and one part seeood as another ”Stop a moment,” says his companion, ”let's have another look inside,about by the light passing through”

It is taken again to a ; the sun fortunately is strea in and so enables master and man to proceed under favourable conditions The dealer patiently turns the violin about so that the rays of the sun h the material; after a while he hands the violin to his workman--”you have a look, Jaone very far, see again, and coain taken to the operating table and the knife taken in hand

CHAPTER X

WAYS OF REMOVING THE UPPER TABLE AND THE NECK--CLEANSING THE INTERIOR--PRESERVATION OF THE ORIGINAL LABEL--CLOSING OF CRACKS IN UPPER TABLE

I recollect many years back, when in co over various details in connection with the reparation and regulation of violins of a high class, particularly those of the greatfractures of the sa curious, why so nue majority? Well, said the professor, at one time cracks were really fashi+onable, and an instruht to emit its tone more freely, especially if it had been soht account for so from all parts, I observed, fro due to one principal cause, that of carelessness on the part of repairers in forh hurry or want ofthe upper table, should it be necessary A repairer once confessed to me that he had sooing through this preliminary; his excuse was one frequentlyexpended, and so when he cracked the front while taking it off, he glued it up again

As generally is the case, more than one method can be pursued for reinal one was reco the table to part from the rest beautifully without risk of fracture, and that was, firstly to obtain so water and with a suitable pipe attached for throwing a fine jet of stea seen this done, or tried it ainst this process, but there appears to be so the varnish in the vicinity while the stea upon I was assured that this was an excellentabout or splintering of the wood It ood lue, and which, while al to the penetrative power of steareat nuisance under ordinary circuths of soft cotton rag or other substance that would retain moisture etted; these could be laid all round, tucked closely against the junction of the upper table and ribs and left for a reasonable ti a disjunction, would facilitate the operation of the knife in the usual way I think, however, that any departure fro the knife is very rare indeed, any otherthe patience

We will now return to the dealer and his assistant or repairer The ular routine is gone through when the instru conducive to the best results in up-to-date regulation has to be calculated and carried out in o over all the fresh parts, looking for any possible inaccuracy, any slip of the tool or ruggedness where a fine, even surface ought to be In order that allwill be that of sawing off the head and neck, this is done rather close to the body of the instrument Under present circumstances, more care than usual with modern violins has to be exercised, as the repairer knows that it was customary with the old Italian makers to secure the neck to the upper block by one, two, or at times even three nails They were driven in fro of the upper table Sometimes a screw is found in the saelue by these oldthe finest quality only In separating the neck from the body, it will obviously be wise to act in a very cautious manner, or the saw may corating of teeth, and perhaps upsetting of the temper of the performer It will therefore be a consideration for the repairer whether the instrument has been previously opened, or is in that very rare condition, as the maker left it Econo a desideratum, in the supposed instance before us, that of an untouched oldhad experience with rees of erboard This being short and less massive than the modern kind, presents but little difficulty The cushi+on filled with sawdust or sand, is now called into requisition Placing the violin on its back and tilting it up so that the button and the back of the scroll press equally on the yielding surface, it is held in position with so placed underneath the wide end of the fingerboard, a sudden pull upward causes the fingerboard in most instances to part with a snap

Should it refuse to do so, other erboard may be one of the old inlaid kind, or veneered pine, and worth keeping as a curiosity, in which case the sawwood that will not be required again, piece-meal, until the board is free, when it can be further cleared at leisure

Our repairer, not finding in the fingerboard under his hands any particularbesides worn into ruts near the nut by performers of the early schools, who used but littleaith ease, proceeds to the sawing process The presence of nails or screw he believes to be fairly certain, therefore instead of sawing down close and even as possible with the ribs, the saw line is le doard and outward toward the head, or say at an angle of so at about a quarter of an inch away from the borders of the upper table The cut thus made would be free fro 35)

[Illustration: DIAGRAM 35]

In the case of a modern violin, the saw cut could be made close to the border and doard to within a short distance of the button, where another cut at right angles and parallel to the surface of it will free the neck completely The violin, now as before, is placed front doards on the cushi+on or pad, some repairers would hold it on their knees, but only in the absence of eithera prize and sure to eventually pay for any amount of trouble and skill expended, the violin is treated in a reed to as being absolutely necessary, the old short bar would certainly prove inadequate to withstand the pressure fros were to be subjected toready, the operator with steady hands inserts the knife with a sudden push at the under part of the edging--from the position of the violin the knife would now be above it--at the lower quarter of the instru weakest in resistance to the plunge of the knife As the thin bladed knife is worked along, there is a tendency to stick occasionally This is counteracted by running along, or slightly wiping the surface of the knife, a cotton rag, with the so quite smoothly Great care is exercised that the knife is held on an exact level with the plane of the pine table, or there will be great risk of running the knife into the pine instead of lifting it away froment in this respect is not infrequently to be met with on otherell repaired instru sounds co in either direction until near the corner block or near the nut

At this part, the violin being in the original state as fresh frohtly different to what it would be after ulation

The knife will co with the release of the table on the opposite side It will be as a matter of course, necessary to place the violin the other end fore furthest fro inserted at the large curve in the sa as before at each end The principal reason for stopping at the end is that with most of the old Italian violins there is a short wooden pin, probably used for telueing down These wooden pins of hard or tough consistency being driven in fire of the knife if the latter is forced through

Most of the violins having these pins originally, give evidence of the exertions of the repairer to press the knife through these obstacles at the risk, oftti the fibres of the surrounding portion of the pine Of a dozen old Italians, perhaps on an average ten will be found with this part broken, jagged, or having a portion of fresh wood inserted where ruffianly treatment has bruised the threads of the pine past rea natural disposition and qualification for their calling, know better than to usethe knife away, the operator cleanses it frolue or resinous particles, and when perfectly dry, passes the slightly oiled rag again over both surfaces