Beruflich Dokumente
Kultur Dokumente
A VIOLIN
by
JOHN BROADHOUSE
and
Revised Edition
LONDON
WILLIAM REEVES
la
Bookseller Ltd.
N.W.io
Foreword,
THE demand
work on the
This present
and
one
of
our
well-known
violin
makers.
With
models
Contents
rAOK
Introduction
Chapter
1.
The Parts
of the Violin
7
II.
Chapter
On
the Selection of
Wood
III.
13
Chapter IV.
The Models
Chapter V,
The Mould
Chapter VI. The Side-pieces and Side-linings
22
28
35
Chapter VII.
The Back
The Belly
...
41
Chapter VIII.
46
The Thickness
of
52
VI
CONTENTS.
PAOK
Chapter X.
The Bass Bar
66
Chapter XI.
The Purfling
Chapter XII.
61
The Neck
Chapter XIII.
67
The Fingerboard
Chapter XIV.
V6
The Nut
Nut
77
Chapter XV.
Varnishing and Polishing
79
82
91
A.
102
Chapter XIX. The Remaining Accessories of the Violin cluding Violin Notes by Ole Bull)
(in...
113
List of Illustrations.
''Le Mercure " Strad
Frontispiece
ria.
1.
Saw
Plane, side view
J3
2.
3.
14
...
... ...
14
4. 5. 6.
7.
8.
9.
10.
Plane showing loose pieces detached Plane ready for use ... Side view of small rounded plane Bottom view of small rounded plane Knife Scraper ... ... ... ... ... Steel compasses ... ... ...
14
15 16
...
16
17 17 17
...
...
Bending iron
Hand-vice
... ...
...
... ...
...
13. 14.
...
...
...
15. Clip of
16.
17. 18.
...
... ...
...
18 18 19 19 20 20 20
Large folding plate of outlines of an Amati, Stradivarius, Guarnerius and Maggini At end of volume
Outline of a violin
19.
23
20.
21.
Model Model
24 24
Vlll
FIO.
LIST OF ILLUSTRATIONS.
PAOK
22.
23.
The curve over the / holes Model for the curve at the widebt part
the neck end
... ...
... ...
24
of
...
24
24.
25.
26. 27.
Model for drawing and placing the / holes The mould The counter mould The upper mould with pieces in position
25 28
29
31
28. 29.
Mould with the blocks Maple piece The two maple pieces in
The back-plate
32
41
position
...
41
42 44
The neck
62 62 63 66 68
... ... ... ...
39. Outline
40.
72
104
Arc
showing the position of the bar showing varying thickness Bridge of a viol with seven strings, body of which is not cut out except at two sides ... ... ... ... Bridge of a viol with five strings through in every part ... Bridge of a small pattern violin of ancient school of Anthony Amati Bridge of a Nicholas Araati ... Bridge of a Stradivarius ...
...
...
41. Outline
108 109
110
the
the
...
126
127
44.
cut
45.
the
46.
47.
126 128
128
Introduction.
So
all
written
upon the
its its
development,
musical literature,
the
etc.,
that a collection of
works to which it ha^ given rise would form almost a library of themselves.
Its history
man work
chichte
ever,
und
Ihr Bau."
The
oiily
work, howI
as
yet
believe,
which
and
concisely of
in
making a violin, is the very fine but expensive work of E. Heron-Allen a work complete in itself, but perhaps too costly for some who would like to try their hand at fabricating
the
2 a fiddle.
INTRODUCTION.
Hints are given
in
many
books,
and
seen
in
the process
is
have
contained in
The
Violin,"
by
P.
Davidson.
interesting
By
work
devoted to theoretical
and
My
the
is
to afford
on the bench
is
to the
finished article
ready
I
do
es-
cape me,
reader
if I
have
will
shall be grateful to
any
who
may
be remedied
a later edition.
do not
is
for a
moment
have
every
suppose that
tried to
my work
it
perfect, but I
make
and
as
full
and complete as
in
possible,
to
explain
detail
INTRODUCTION.
It
is
3
is
suffi-
ciently
to
make
the
to
attempt,
and
that he
make a
sound
common box
wood which
live after
will
to produce instru-
work
are
Violins
turned
out by
the
thousand
for
them
made without
artistic in-
to
each
instrument
So
many backs, so many bellies, so many necks, so many finger-boards, so many bass-bars, so many sound-posts, are shaped to a given
pattern, fitted together, varnished, into the
and sent
strument.
can be learnt
old
masters whose
names are
if
4
SO,
INTRODUCTION.
he knows that they did not work on this but bestowed
loving
care
plan,
on every
work
hand as quite enough to tax all their energies and absorb all their artistic knowledge and experience for the time being.
This
spirit
is
the
as
equally
on the outside work which will be seen. I would call the reader's attention to the remark of the
eminent sculptor to the
effect that "Trifles
make
perfection," but I
In the
"trifles,"
making of a
beautiful
violin
are
no
everything seen or
or
unseen,
great
or
small,
first
not
beautiful, is of the
importance.
details
The
on
work could not be seen and admired, made his work perfect because the gods would see it does the amateur who
;
INTRODUCTION.
is
know
Is
he pre-
make a
it,
profit
by
it,
for
not to
gam
celebrity
by
it,
but because
that
it is
genuine work,
is
the highest
and
purest pleasure
This
is
enthusiast?
will not of
fame result from it, but it will certainly be bad if this particular kind of enthusiasm do not inspire
necessity
profit or
it.
Few
stories
how
Sir Joshua
Reynolds
informed
That
I
is
cannot undertake
amateur violin-maker.
No
amount of
make a
fiddle.
prevent a
the
right
failure
are
only
INTRODUCTION.
meant for people of the latter sort. For them the directions here given will be ample.
Theories have been abundantly dealt with
by other
practical.
writers
this
work
is
meant
to be
HOW TO MAKE A
CHAPTER
I.
VIOLIN.
TAKEN
parts
to
pieces,
a violin would be
Back
Belly
....
. . .
2 Pieces
(4 Corners
and
top and
bottom blocks)
tSides Side Linings
6
12
I
Bar
JPurflings
*
36
It is is sometimes made in one piece. " then called a whole back." The same remark also
The back
Bottom side is sometimes one piece only. The purflings are the narrow black ornamental
double lines running round the outer edge of the back and belly. They are sometimes omitted.
How
Neck
.
to
Make
a Violin.
I
I^iec
II
Finger Board
Nut
Bridge
II
II
Tail Piece
II
II
II
II
Sound Post
Strings
11
4
. .
.
II
Pegs
4
82
II
maple,
Maple
Pine
is
is
side pieces
and the
bridge.
post.
Ebony
button.
is
and
the
Rosewood
.
)
CHAPTER
maple and THE woods
the quality of
11.
wood
chosen.
It is
a pity to
At
wood
cut
down
then
is
six
or
if possible,
but
never
Artificial
of seasoning,
elastic
and
reson-
10
How
to
Make
a Violin.
cause natural
mode
and I advise the amateur to avoid baked wood, or wood dosed with chemicals, as he would the plague. The longer the wood has
been seasoned by being kept in a dry and
airy place
be for violin
making.
y he
knots,
wood must be
quite
perfectly
free
from
sound, not
worm
run lengthwise.
come
freely
it
and
entirely without
many
other matters
Vuillaume, of
for
and Switzerland
and other articles of furniture whenever he found the kind of wood he wanted. As it is not possible for every would-be maker to follow his example
chairs, tables
and bought
On
I
Wood.
il
recommend
and even
at
where so many
common
violins are
made by
machinery to order.
pieces of
maker
pieces
in
of
maple sawed into shape for a back, which he said he would not sell, even in the rough,
for twenty
pounds
apiece.
Tt
is
make
to
his earliest
hand,
recommend him
make
his
first
way
to use
When
it
this
will be soon
enough
to try to turn
valuable
wood
into
an
artistic
and
really
excellent violin.
The wood must be cut from the south side 01 the tree. The old Italian makers took
(
12
How
care
to
to
Make a
Violin.
great
select
wood
it
of
this
kind,
more sonorous and brilliant in tone. The maple should be free from red or brown patches, that which is of
because they
found
an uniformly whitish
perfectly
The very
finest grain is
not so
good as that which has an open space between the hbres. The least knot, fault, flaw
or curve in the grain will render the piece
useless.
No
other
wood but
pine
is
ever
maple.
sonority
ful
is
Some
CHAPTER
III.
in violin
making
cabinet-
are
by
at a
good
tool
shop.
The work-bench
larger than 4
ft.
need not be
by
The following
FIC.J
sawing the larger pieces (24 inches of blade will be plenty), a hand saw for the more
14
How
to
Make
a Violin.
for outline
delicate work,
work.
Three
chisels,
inch, inch,
and
inch
broad respectively.
riQ.%
The
illustrations
quired.
Fig.
show the kind of plane re2 is the side view of the body
Fi(^^
15
slit
detached, which,
in its
place;
when fixed, keeps the blade and Fig. 5 shows the plane
FIO.S
ready for
sharp, or
use.
it
The blade must be kept very will tear the wood instead of
his
taking
off
If the
maker buys
wood
in the tree,
and decides to season it himself, he must cut his maple for the necks into pieces 12 inches long, 2\ inches deep, and if inches broad,
the grain running on the broadest side.
Stack
maple and pine for the back and belly must be 16 inches long, 6 inches broad, but conical in shape, the broader edge being i^ inches and the narrower \ inch.
pieces of
The
wood
or the outer
i6
in the
How
to
Make a
Violin.
Mauzin, a
.
II
de mettre
la partie
du
coeur
de Teirbre
c*est-a-
dans
le
work referred to in the introduction, says the "two thickest edges" should be "the bark side of the tree," and yet he says later on, after giving directions for planing and
joining the thicker edges to
make
the back
and
belly
" It
wood"
If,
as he says, the
it
two
is
//^ 6
is in the centre or jointed part of the iD6trument, this applies to both back and belly.
Aa matter
i;
The
ranging from
inch
to 3 inches in length.
Two
The
cabinet-makers,
but
with
rounded edges.
when the use of the scraper is explained. One scraper will be required with
later,
9.
r/^a
i8
How
to
Make
a Violin.
and
belly,
shaped
large
enough
pieces to be
A A
steel
trace,
ii.
bending
iron,
19
12.
and side
linings, Fig.
The
body (B) is of an oval shape (C), Fig. 12, and 6 inches long, the length of the oval being 2 inches and the width i inch. The handle (A) should of course be long enough to prevent burning the hand when the body
(B)
is
heated.
inch.
made
14,
of
in Fig.
and
20
How
inch thick.
to
Make
from
a Violin.
measuring
be
I
3 inches
to B.
should
A
Fig.
clip of
1
wood shaped
like
a clothes-peg,
5,
r-iA
to point at B,
its
length
thickness | mch,
and
is
its
in
should be
made
of hard wood.
Another
only
2 inches long.
The
21
tools
sible,
the violin.
is
A
steel
sound-post
setter,
which
made
of
and shaped as in Fig. 16, where A shows the surface, and B the bend of the
tool.
It
was
Its
shape
is
given in Fig.
the setter to be
The
it is
buy the art of violin making is not an easy one, and its difficulties are indefinitely multiplied by bad tools.
possible to
CHAPTER
IV.
THE MODELS.
BY
take.
"
a model
" is
19,
meant a
flat piece
of
wood, Fig.
to
upon them the accuracy of the finished work depend?. While the amateur will naturally wish to
these models, as
is
not to be supposed
Stradivarius or Guarnerius.
therefore give
masters
model of either may be made as follows draw the outline on tracing paper, or, better still, cut out the model chosen from
:
The Models.
the woodcut,
23
and paste
it
on a thin piece of
mahogany, having first made the straight edge representing the centre joint quite smooth and even with the plane. Then cut
ri^.if
out the
mahogany
with a fine
file.
The shape
if it is
thus obcarefully
The name of
maker of the strument taken as the model written on the mahogany in ink
the
ori|jinal in-
should be
for identifi-
24
cation.
How
If
it is
to
Make
a Violin.
model can
be
made
in
the
Fig. 20.
Fig
21.
model
the
instrument at
its
greatest
width,
and
'^-23.
at
end
The Models.
Fig. 24 shows the
25
model
It will
for
drawing and
be observed that
made
/g.2^.
The four models shown in Figs. 18, 19, 20 and 21 can only be properly made by adthem to the back of another instrument. If the amateur cannot obtain access to
justing
a good violin for this purpose, he should purchase a copy of a Stradivarius, which can be
If
it
seems strange
h
it
model
must
copies are
good
the
violin,
be
remembered
any
that
Mirecourt
those, at
rate,
made
26
How
and
to
Make
a Violin.
are correctly
If
made
so far as shape
concerned.
the
amateur prefers to
make
by
that
his eye
alone, he
must bear
in
mind
Stradi-
between the / holes, but as he gained experience he found that the lowering of the
arch contributed to fullness and brilliance of
tone,
and
The chapter on
out-
the mathematical
line gives
mode
of the arch lengthwise; this being once obtained and the model made, the transverse
course be
arching will
of
determined by
widths and also at the / holes must necessarily fall from the given height of the
lengthwise arch to the level near the edges.
The scroll must also be formed from a good pattern. A good neck and scroll can
be bought at
as
all
model.
carving
the
The Models.
scroll
27
on.
will
be
found
later
Various
model of a scroll without a pattern, but those methods are very cumbersome in operation
and uncertain
the amateur to
in
result,
and
recommend
buy a scroll from Hart, Hill, Chanot, or some other London maker of He can work from this pattern, repute.
his
model
is
as
good
CHAPTER
V.
THE MOULD.
THE
is
as
much
as those menis
wood
and
side-linings to
be
to be
This mould
is
represented in Fig.
At
A A
The Mould.
29
and bottom blocks, and the four pieces marked B are for the corner blocks which fill up on each side of the two circular inlets, for the solid Jaasis on which the back and
belly are afterwards glued.
The mould
is
and
19.
upon it the model already made, Fig. 19; mark the outline with the point of the tracer, and with the saw and knife clean away the wood, and then with the file dress the edges
until they correspond exactly with the pat-
may
be left sharp).
and
is
30
How
Now
to
Make a
Violin.
wood (walnut
is
and
little
model
in Fig. 19.
itself.
.
This piece
is
Lay
upon
it
on the
and
it
the centre
mould
rule,
it,
and
trace
on
latter
with the
the
inlets
tracer.
Then, with a
trace
A A
and four
inlets
at
B B B
lines
B, as in Fig. 25.
The dark
line
Re-
move
wood with
the saw
and
file.
and
their extent,
should be
square
with
the
surface.
Any
deviation from this rule will throw the sidepieces out of the upright
be fixed,
the
Next
25.
shown
in Fig.
holes are to be
TJie
Mould.
31
respectively
lets
B B B B; and
the
two
curves.
ri^ 27,
in
question.
They must
precise
inches,
also be of walnut,
the
and of
viz.,
the
\\
depth of
they
side-pieces,
and
file till
The next figure shows the mould, with the blocks (A A) (B B B B) fitted in their places.
32
How
to
Make
a Violin.
pine, of perfectly
that
must run
to the body.
The blocks being prepared, put a mere spot of glue on the edge of the mould in each of the six inlets, and fix the pieces of
pine so that they all stand exactly at the
same
height.
surface
They should project beyond the of the mould underneath, but only
inch.
j^ of an
When
the glue
file
is
knife and
the projecting -^ of
an
inch,
The Mould.
and
file
33
be glued.
that
The
the
must be used
to
ascertain
Lay
the upper
mould on
the
mould
so
on the blocks.
Then
till
the extra
wood with
a suitable
and
file
The
Work
slowly and
mould.
now time
to speak of glue,
which
must be of the best quality and made with the utmost care. This is the more important
because no other material
is
The
glue.
that
known
as
Cologne
34
How
to
Make
2
a Violin.
it
8 inches long
and
wide;
is
very brittle
and whitish at the broken edge. Common glue is of no use at all. Break a quantity in small pieces and put it in cold water for four hours, which will soften and swell it Then take a small glue pot of the orup.
dinary
kind,
but
with
the
inner
vessel
enamelled.
glue
is all
Add
dissolved
Take
care that
it
never
boils.
used very
While
making,
stir it
wood, and
glue will
in using it
apply
it
to the
wood
it
In summer,
in winter
edges
of
wood should be
the glue
is
carefully
warmed before
two
put on.
When
away
warm
of any
CHAPTER
VI.
The grain should run lengthwise. Lay it on the bench at one end and clamp it down
4 inches wide, and
^^j
SAW
all
away from
clamp it, turn it round, clamp the clean end down, and plane the rest. This time a flat bit of wood must be put between the handvice and maple to prevent the planed surface
from being marked.
the
same way,
till
the piece
reduced to a
thickness of
inch.
its
On
iron
account of
peculiar grain
maple
is
and
,the
plane
must be dressed so as
35
to project very
36
How
it
to
Make
a Violin.
slightly, or
wood and
not
smooth
it.
difficult
and
The
piece
is still
must be
carefully scraped
till all
inequalities left
by
is
planing
are
removed
nice
and
the
strip
smoothed
to a
polish
on the surface
violin.
Now
into
mark your
width.
piece
three
of equal
Divide
them carefully with a knife. Take the plane bottom upwards, between your knees,
and, holding each strip in your hands, move
the edges along the plane iron
till
each
is
To
divide
them
into
proper
lengths,
measure with a strip of paper round the upper curve of the mould from the point
where the neck
is
to join the
block to the
and
way
measure the
allowing
trimming
and joining at both ends. Then measure from the lower comer to the centre of the
Side-linings.
yj^^
Cut two
to
bend the
to
strips,
which
in
is
done with
Fix
the
Heat
it
hot enough
char the
wood.
handle
in cold
to
you
you
Keep the
damp by
frequent
dipping.
little
operation easy, but care must be taken to curve square with the width, in other words,
when
edge.
fixed.
The
meet
side-pieces can
now be
At
the
four corners
and
at the point
must be
trimmed and
is
perfect.
The
now be wanted.
in their places,
shows them
is
and
their
use
to hold
means of
glue.
Rub
the
edges of
the
38
How
well
to
Make
a Violin.
mould
inlet,
put the
it
exact place,
fix
upon
the
inlet, fix
and
the
inlet.
tighten
the
side-piece
mould and
other
glued
blocks.
So
for
the
add
The
mould on
leave
the
under
of
side,
and
at
project
At
space
inch,
lower
To do
end first, glue the block and clamp, and do the same with the other side-piece, leaving the two ends free. Then bring them together at the lower blpck and make your joint perfect
properly,
run
the
corner
Side-linings.
39
and
clamp
now
in the
firm,
clear
why
the eight
holes were
made
mould.
When
pieces.
dry and
It is
this
rower
the
neck end.
This narrowing
With the knife and file neck block and side not more
all
round, starting
This operabe
The
put
1*1
side-linings
may now
made and
inch broad,
in.
They
are of pine,
at
the
thinner
edge.
by the same means as the sides, glued in with the thicker edge level with the edge of the sides and held in their places
40
How
to
Make
a Violin.
these are dry,
When
from the mould, round off the blocks with a gouge, and the outline of your violin is
complete.
CHAPTER
VII.
THE BACK.
THE
in
the
is
latter
left
former,
of
which hereafter.
Take two pieces of maple shaped thus, and of the size previously indicated, Fig. 29.
Fig, 29.
and lay
on the table
42
How
to
Make
If
a Violin.
shape
If
pieces,
Glue them
When
the glue
is
Lay
model
it
on the
model.
line
flat side,
With
of the model.
Rigid accuracy
in-
dispensable.
Saw round
flle
bow
saw,
as the knife
and
all
of the model.
Open
round
The Back.
the edge at that distance
43
flat side.
from the
is
This
is
to be.
fix
it
with
it
must ultimately
this work.
It is
Do
that
when all the gouging, knifing, scraping and filing have been done, a certain thickness of wood must be left, and that one cut too deep at the outthe
careful
workman
a fresh
start.
Begin by
working along the ridge, so as to give to the joint a rough resemblance to the model
of the arching lengthwise.
Take
short
and
off
and
leave
enough wood
When
done
there will, of course, be a cavity, like a miniature railway cutting, getting deeper as
you
get further
away from
the centre.
Now
'begin
work out in the rough the arching down the middle of the C inlets.
44
How
Next
clear
to
Make
a Violin.
the point where the
away from
two archings meet, four sloping Imes diagonally, to the middle of the upper and lower
curves.
The back-plate
will
now resemble
all the
spare
wood from
until
the
two models
fit
with accuracy.
The
fit
place
must be
The Back.
45
found by taking the model of the / holes and marking through it the two notches on
their
inner edges.
The
Now
away
all
this
valley,
from the
which there
edges.
do
it,
finish
it
off
fine glass-paper.
Before doing
however, put a
being scratched.
Under
wood must
the
and
at
same time allow the middle of the back to rest upon the bench. The reason of this
is
obvious;
if this
46
the back
How
to
Make a
Violin.
would not remain still while the outer side was being hollowed out. In hollowing out the inner surface, care must
be taken to leave
level
The compasses
Fig.
10,
Chapter
III,
will
vital
importance
in
that
separate chapter.
Now
back to
over as
there directed.
Having
with
the
side-pieces,
which
are
inch
round.
Now
take a good,
slightly
fine,
biting
where
it
necessary,
finish
off
and a
with
The Back.
47
fit
medium
the back
sand-paper.
is
If the
is
accurate,
is
done as follows
lay
the back
it is
upon the
to occupy.
Mark with a
pencil
marks
inlets.
to be.
possible
boiling,
can lay
the
its
will lose
heat
tenacity
while you
are
Have everything
readiness the
ready,
therefore,
for
moment
the glue
is
laid on.
When you
brush,
are ready,
upon the sidepieces, put the back in its place, and secure it with the wooden hand-screws, putting two
lay the hot glue
and
48
How
to
Make
a Violin.
on the upper block, two on the lower, one at each corner, and as many more as you
can place round
surface, to keep
the
edges.
from bruising the wood. The glue which has been forced out by the pressure must be at once removed with a
camel-hair brush dipped in the hot water of
the
glue-pot.
Let
it
stand
till
it
is
per-
fectly dry.
The
it is
belly
is
fixed in the
as
shown
When
any variation
beyond the
side-pieces
file,
must
so that
round.
CHAPTER
VIII.
OF THE BELLY.
IF a
in
making
good back,
the
either
whole or joined,
the
making
the
belly;
cutting
out
of
holes
being
the
the
only
differ-
ence,
and,
moreover,
little
projection
end of the back is not required for the belly. It must be remembered, however, that pine is much more
at the smaller
fragile
than
maple,
and
will
therefore
care
in
require
proportionately
;
increased
working
it
tools, and, as
is
liable to split
along the
in
getting out
"
a curve,
the
wood
split.
lightly
and
delicately,
and be content
to
take
off
jo
lest
}low
to
Make
a Violin.
Take
the
grain of
should be
end
to end,
and that
you get a
that
the
pieces together.
of great importance
other words,
the
heart-wood
in
and consequently is of closer grain, should be on the side furthest from the joint.
In regulating the thickness of the differ-
THE / HOLES.
Before these are cut out the belly should
in
every
other
respect be
finished.
Place
having, of course,
first
upon
the
model
is
accurately
adjusted.
Then
the /
Of
First of
all,
the Belly.
51
pierce the
and below somewhat less than the tracing. Then introduce a very sharp penknife blade and cut away, little by little, all the wood
within the tracing.
CHAPTER
IX.
WHEN
all
finished
but reducing
it
to
its
proper
draw a line across the centre from the two in notches of the / holes, and draw by measurements. a similar mark on the back. The middle
thickness,
of
this
line
will
in
each
case
be
the
the
wood
upon
to
its
proper
thickness.
This
the
successful
the
performance
vibrations
of
instrument,
and conse-
quently
its
quality
depend.
The
lines
upon the
and back.
Now
open the compasses exactly J inch, and, putting one leg of the compasses on
6S
Belly.
53
mark
off
that distance
These
\\ inches, or
Now
with
the
ruler
draw
and
extremities,
rectangular
inches wide.
this space
space
All the
wood of
the belly in
ally
from
i^
inch
(or
\\
lignes
French
down
to nearly
same
upper surface.
is
inution
steps.
Some makers
little
all
over, but a
54
How
to
Make a
Violin.
The
precisely the
be throughout a
over
inch thicker
than the
belly.
on the
*h
belly, the
groove
the
inch thicker,
and
points.
To
ensure
these
thicknesses
a small
being cor-
rectly obtained,
make
wedge of some
hard wood \ inch thick at the broader edge, Tti inch at the centre, and -^ inch at the thin
edge.
the
thickness
required,
and fixed
at
that
position
by the screw. Work with the small plane and scraper. Note the following the strokes of the plane will take away your pencil lines, and fresh ones must be drawn at each measurement. Do not trust your eye, but work rigidly to the exact rectangular shown by
:
Belly.
55
The plane and scrapers must not reduce your wood to the given thickness; these must be finished and brought down to their proper gauge with glass-paper. The glass-paper is the last " tool " to be used on the wood, and when the rectangular is thus finished, the compass buttons should move quite easily
over
it,
but touch
it
at all points.
Make
a second hard
wood wedge
for the
back, of course 21
CHAPTER
X.
and
work of
it
the violin.
made
is
of
and between
to
and the
left
/ hole.
Its
purpose
give
fourth strings.
lo^ inches to io| inches i inch thick, J inch deep at its centre, long, and tapering off to the thinnest strip at
the ends.
to the belly
is,
of course, curved to
edge
is
straight.
The
on the
/ holes.
of the
The grain of
belly.
here
given
are
for
in-
The Bass
timated;
Bar.
57
of
the
bar
Take
to
is
at right angles
and that
the
curved edge
possible
fix the
exactitude.
of
the
Clip
it
with
/ the
shown in the chapter on tools (Fig. and let it dry, first removing the super-
as
Some
gonally
writers contend
would be of greater
to
the
grain.
The following opinion of an American maker (Mr. W. H. Colton) is not without inself.
terest.
and
the "note"
from the
life
of the
latter,
"The
The bar
is
ordin-
58
How
to
Make a
Violin.
on a
line
and
at a distance
from
it
about equal to
feet.
produces an
upward pressure
of the bridge.
the
at the centre,
downward
a certain
medium of
An
But
is
not always
is
avoided.
common
sents
factor can be
found to
fit
all cases,
Each instrument
problem.
pre-
own
particular
The
due
the
and
resistance
due
to
the
form of
The Bass
modelling.
Bar.
59
of obliquity
foot
and
position
to
the
of
the
bridge which
bar
does beyond
the
doubt very
crease
depth
and
volume
of
tone,
Mr. Bull
spent
many
which govern
this
most per-
him the correctness of the oblique position; and though, as was his wont, he frankly owned to more failures than one, his instances of success illustrated by his Da Salo and many other instruments, bore most
strated to
convincing
theory."
witness
to
the
truth
of
his
is
Violin Notes
"
"The
top.
is
to
resist the
upon
the
owing
6o
How
to
Make
a Violin.
hundred years ago. The old short bars are no longer adapted to the greater strain, and more powerful ones
pitch over that of one
are needed.
From long-continued
the
strain, the
pulling of
centre,
many old
down
at the centre.
will tend to
originally
it
placed by Caspar
is,
Da
not
but
obliquely,
the
and
to allow a fuller
and
richer tone.
CHAPTER XL
THE PURFLING.
THE
lines of
purfling
is
lines
made of two
wood
between.
The wood for the purfling can be bought ready made at any violin maker's, and it is better to buy it than try to make it, as good
machinery
is
needed
to
do the work
well.
The grooves for the insertion of the purfling are made with a purfling tool. The
distance of the purfling from the edge
is
matter of
taste.
When
the
width and
violin
with
the
screw; put
on your knees,
square,
and
line,
still
62
How
to
Make
a Violin.
tance.
The following
description
of
an
"
The
Violin."
By
this instrument,
it
will be perceived
we can vary
to
imitate
The two
of the neces-
may
The two
a.
cutters are
Fig. 34a
represents
one
of
the
cutters,
seen edge-
The
and
point.
Purfiing.
is
63
There
may
be intended to be
This tool
may
be
made
tool-
from iron
of
handle.
cutters,
Another purfiing
is
tool,
but much
simplified,
shown
in Fig. 35.
The body of
this tool
may
two cutters the same as the preceding, fixed by a binding-screw. This simple tool answers admirably, and may be
beech, having
easily
made by any
The angular parts of the blades must be made thin, and the edges kept very
Either of those two tools
is
keen.
to be held
64
How
to
Make
a Violin.
quite steady,
and
depth run round the margin of the back and breast, the interior wood is afterwards to be
cleanly cut out with a chisel-sharpened awl.*
cut gradually
wood, or
slip
place.
At
may
When
groove to
figure
away enough wood from the allow the awl to enter. The next
When you
is
have
a cob-
By
meant
bler's awl,
in the width
of the groove
made by the
The
Purfiing.
65
^1
cleared
starting-point
and turn up the strip of wood intended to be brought away just as a ploughshare cuts underneath the soil and turns it up so as to
leave a furrow. This must, of course, be done
groove required
the
is
of purfling to be inserted,
or both strips if
two are
desired,
and gently
is
not broken.
wood Make
66
How
When
to
Make
a VioliH.
the glue
is
dry, take
away
the
off
and
glass-paper.
CHAPTER
XII.
THE NECK.
TAKE
faces.
wide and i inches thick, and plane it smooth on all four The maple for the neck is usually
2 J inches
selected
from
wood
well
marked
and
figured, so as to be as
ble.
ornamental as possithe
The
purfling of
scroll of the
instrument
which
simply
ornamental
is
no reason
why
mental as possible.
Take
the
you have
model on the piece of maple. Then with the T square, draw a line all round the wood 5j inches from the end where it is to be
fastened to the body.
67
This
line
will
be
68
How
to
Make
a Violin.
which
is
the place
Take
side;
inch which
mark
a point at each
piece.
Open
the
the
com-
meets
transverse
line
it,
Ime
at G,
which cuts
line,
between
iJ inch.
of course, be
The Neck.
This
69
at
by the hand,
and
piece of
Open
line
compasses
angle
inch,
and
the
put
made by
long
and the
opposite to that on
two points on
This i^ inch
inch.
to be the thickness of
it
the
joins
the
belly.
Now
end projects over the edge of the table, and cut away with the bow-saw ail the superfluous wood. Begin at point G (Fig. 37) and proceed along the line F E up into the corner; then start from C and work
past
start
round the curve to the corner point; again from C, work round the top past
to A.
B down
70
How
G
to
Make
a Violin.
from
means of
knife and
file,
be brought
to proper shape.
Then take your measurements from the model cut away the wood from the point A
;
to the part
and give
which
is
to that part,
to
shape, finishing
off to
with scrapers,
files
and glass-paper.
Now
before,
etc.,
down
to the bench as
knives,
central
button
"
is
crossed
by the
centre
line
B C and
the
of
button.
Begin
Finish
with
the
as
smallest gouge,
and take a
it.
larger tool
it
with great
with
the
knife,
scrapers
and glass
paper.
you
lines
will,
B C and
If this precaution
it
is
The Neck.
71
careful, in
to A, to
measurements
finished off
Having
heck
is
A B C
D.
The
now
finished, except
hollowing out
the peg-box,
the body.
and preparing
and level with it at the top, while the bottom will be glued to the projecting semicircle on the back of the violin, and must,
block,
therefore, be filed
until
its
shape exactly
this
corresponds with it
From
point ths
it
down
into
two
parts.
The
glued to
the finger-board
the
violin,
is
to be above the
body of
finally in
and before you glue the neck its place you must finish your
according
to
finger-board
the
directions
72
given
How
later,
to
Make a
it
Violin.
and, holding
it is
the
finger-board
on.
neck (A
B C D)
AB
The mortising
to present
no
difficulty.
is
The
conical shape
of the peg-holes
obtained by means of a
two points
The
make
The Neck,
73
scroll-buttons
line
intersected
by an imaginary
of the level at
sides.
drawn
in continuation
is
glued to the
When
more wood
was left at this place than was must now be cut away, so as
neck to
fit
required, this
to allow the
in exactly.
An
inlet
in the block
to say,
side-pieces,
been
left at the
this inlet.
must have been taken to ensure its correct shape and position, and the neck should fit into the inlet so accurately as to require some
little
force to get
it
to its place.
You
will
a piece of cork \ inch thick and 2 inches long by i mch broad* Glue thoroughly
now want
* Felt is preferable as it is
74
How
to
Make a
Violin.
neck
in its place,
back so as
this cork
on the beak of the hand-vice, screw down the screw on to the end of the neck. In half an hour unscrew it and see if the
finger-board
is
If so,
must be
readjusted,
until
it
is.
and
In
damp
is
put
in,
and the glue will have a more binding effect if a good number of holes are made with a knife in the end of the neck, and in the small surface which fits upon the button.
CHAPTER
XIII.
THE FINGERBOARD.
THE
have no
it
finger-board
is
so simple
and so
will
easily
made
way
The
like
me
It is
hardly neces-
at the
narrow end
must fit the neck accurately at the sides, and should join it so closely that they both appear as one piece. Be careful in gluit
ing
it
on, not to
finger-board
according
its
to
the
at
mean height
76
How
to
Make
a Violin.
the middle of
its
CHAPTER
XIV.
THE
is
ny^t
is
the_sgaalL^iece
of
wood
out o f
and the
ta il piece nut
string
by which the
tail piece is
held to the
button.
Take a
length will
be
deter-
mined by the width of the neck, with which it should exactly correspond. Its curve must
correspond exactly with that of the fingerboard, and
higher.
its
upper surface
be
inch
Its front,
IS
board
neck,
which the
as
slits for
ally
down towards
the
71
peg-box, so
78
present
strings a
How
may
to
Make
a Violin.
The string-guard
of ebony about
i
inch long
and \ inch
square,
in
which
is
glued into an
inlet
Its
made
outer
the
surface
must be
it
level
fit
it
must
accurately.
An
edge should be
left
upon
it
to stand
yg-
and
the
latter.
the strings
The four
cut,
The making
difficulty.
It is
no
a sort of drawer-handle on
of ebony, with a project-
a small scale,
made
i
inch long,
and | inch
in
fits
and
to
begin to varnish.
CHAPTER
XV.
HOWEVER
been
that
carefully
it
the
work has
certain
done,
is
almost
you
will
some place where glue has trickled out, some part of the edges not nicely rounded, or some other fault overlooked. These faults must now be searched for and remedied by fi.le, glass-paper or
unevenness,
other suitable means.
When
all is perfect,
Now
water,
it
in cold
nearly
dry,
and gently
all
damp
Then
(not
wet) the
instrument
over.
8o
How
to
Make
a Violin.
The making of the varnishes, both spirit and oil, is treated in the next chapter. The best tool to lay on the varnish is a
flat
camel-hair
or
sable
brush,
about
a
an
The
-varnish
in
being
a
ready,
take
small
vessel.
quantity
glazed
earthenware
Have
as
little
in the brush,
one
up and the other down, over each part of Take care and " lay it off the wood. evenly, as a painter would say that is, work so that the marks of the brush are invisible, and as if the varnish had all been put on with one simple stroke. Try your hand first on two pieces of maple and pine, both treated and prepared for varnishing just like the violin, and do not touch the instrument with varnish until you have put two coats of oil varnish on each piece as an experiment. When you have succeeded in getting a
brilliant
surface,
varnish,
polish
linen
cloth,
the
older
the
and
the softer
its
You cannot
with spirit
CHAPTER
XVI.
HAVING
next
out
this
completed
step
is
the
violin,
it,
the
to
varnish
and
there are
process.
is
The
one
if
is
genuine,
the other
a sham; and
in
the
amateur
has
succeeded
making an
all, I
it
instrument
worth varnishing at
strongly advise
him what
to be
to
varnish
it
that
may
one.
pass
for
it is,
what
is
not,
an old
New
is
in-
struments are
the
made
to look old
by colouring
applied,
wood
and leaving those parts uncoloured which in an old violin shows the effects of wear and tear. This fraud is on every ground to be deprecated, for nothing will be gained by it, while the genuine workman, who cares more
for turning out
a good
83
83
will
feel that
what
The
violin is to varnish
all over
This
may
coloured varnish.
have
said, in
making
had been
long
use.
worn away by
to give precise
shall
now proceed
directions for
making
varnish and
colour-
mode of
desired.
best,
The
is
This
it is
is
elastic;
needs
whereas
no
polishing.
Two
be found
spirit
varnish
84
How
The
to
Make a
Violin.
oil
ingredients of
good
varnish are
lin-
three
seed
oil.
The
latter,
however,
is
such a bad
drier, that it
must be used
oil."
in the
form known
"
as
"boiled
The
it
operator could, of
boiling "
it
course,
himself, but as
and
it
as boiled
any trouble or
think
better not to
strongly
recommend
is
sold, in
by
oil
Messrs.
artists'
colour-
men,
of
who
prepare
boiled
artists,
the
very finest
quality for
rely
so
maker may
procurable.
upon obtain-
purpose
under
con-
The following is the way to prepare varnish. The materials required are
;
oil
85
Amber
Boiled
oil
.
.
4 ounces.
2 ounces.
Oil of turpentine
.4
ounces.
Break up the amber into pieces the size of peas, and having prepared a charcoal fire,
put the amber mto
never before used,
the turpentine,
glazed
iron
vessel
and the cover on it. A quarter of an hour's warming will suffice to melt the amber, but ii must now and then be stirred with a strip of pine wood. When the amber is melted down, take the pot from the fire, stir it till cool, and add the oil very slowly, stirring all the time so as to thoroughly mix the ingredients, and then add the turpentine, to which you have previously given the colour
desired.
The colouring matters must simply be powdered and put in the turpentine to dissome time before it is wanted for making the varnish. The colouring matters
solve,
Yellow.
Aloes,
gamboge,
give
turmerics
tints
or
various
of
86
How
The
to
Make
a Violin.
may
is
be
of golden varnish
very
Red.
Dragon's blood or
Saunder's wood.
By mixing
Brown.
It
can be obtained.
Madder or logwood.
for
It is
must be remembered that each coat adds a slight depth of colour to the previous one.
These colouring matters are suitable
colouring either oil or spirit varnish.
any colour
dilu-
The following
are
recipes
for
oil
var-
2 oz.
2
li
fl. fl.
fl.
drs
oz
oz.
Amber, fused
Oil of turpentine
.
2 oz 5 6
......
linseed-oil
.
. .
87
1 oz.
,,
Oil of turpentine
,,
add
heat.
1 lb.
the
rty
.1
.
qt.
P>
^^^
3 pt.
and drying-oil
the
turpentine,
jar.
until stringy,
and
strain
This varnish
.3^
lbs.
.1
gal.
Dissolve.
This
is
violins.
To prepare
this
rosemary
oil
is
to
be
poured; the
be
pieces
Those
ground
88
How
to
Make a
Violin.
sifted.
to a fine powder,
and then
Place the
to
it
powder
stir for
in a glass vessel
and add
oil;
will have a
to rest for
thick liquid.
obtained.
This
is
a clear and
beautiful varnish.
The following
are
recipes
for
spirit-
Elemi
Mafitic in tears
.
\ oz. or 1 part.
.
Seed-lac
1 2
\
1
>>
))
2
2
>>
Alcohol
M 2 1 n >) 4 16 )) 32
Mastic
1 dr.
.
.
Sandarac
,/
Lac
Alcohol
.
6i
5
fl.
oz.
89
Gum
sandarac
oz.
Seed-lac
2
1 1
Mastic
Benzoin in tears
Powdered
Alcohol
Seed-lac
glass
Venice turpentine
32
5
2
,j
Sandarac
Elemi
.
li
2
Venice turpentine
Powdered
Alcohol
glass
24
Coarsely
powdered
.
copal
and
4 bz.
glass of each
Camphor
Alcohol (64 0. P.)
1 pt.
stirring) in
may
be
until solution is
com-
Mastic
ilb..
2\
fl.
Turpentine varnish
Alcohol
.
oz
1 pt.
90
This
is
How
clear
to
Make
a Violin.
seen
upon the
German
lac
violins.
Dissolve 2\
of
oz.
picked orange
alcohol,
in
pint
rectified
and
boil well
with
5 oz.
animal charcoal.
solution should
colourless
now
not
add more
through
When
coloursilk,
through a piece of
and
filter
This
temperature
is
It
does not
minutes.
chill or
CHAPTER
XVII.
THE VARNISH.
THE MS.
Bull,
"
contain
following
inter-
esting observations
present themselves
first,
varnish was
employed by the very earliest of the Italian makers as well as the later; second, its use was common only in Italy third, it ceased to
;
A.D.
1750-60.
is
extremely supple
off
It is entirely trans-
and of all shades of brown, red and yellow. The vehicle in which the gums and colours arc dissolved is an oil. Applied to a
parent,
violin,
it
92
rendering
tional
How
to
Make a
or harsh,
Violin.
it shrill
beauty to
well
known
that
maple used by the violin-makers of that day came from Turkey. Imported
to Venice,
it
much of
was employed
etc.
in the construc-
tion
of
oars,
The extremely
liability
curly
pieces,
owing
to be
to their
to
fracture
re-
appropriated
by the
violin-
makers.
mand
doubtedly
various
through
these
which
this varnish
"Turning to other countries of Europe* Germany, France and England and exam-
ining
the productions
of
their
most
cele-
Italian varnish
to be
met
with.
is
In Ger-
man
distinguished
The Varnish.
colour.
over,
is
93
The
vehicle
or menstruum, more-
alcohol.
was sometimes good, but in general too pronounced. The- varnish of the old English makers lacked transparency. In both these countries the vehicle was oil, but the varnish
in quantity
and texture
differed essentially
from the
"
Italian.
:
was this manufacture a secret? second, how was this secret lost? third, are there any clues for perusal and examination? Answers to these
Three questions occur
first,
up the mystery of
first
"To
question,
was the manufacture of this varnish a secret? There is no reasonable doubt that it was,
but only in a certain way.
Caspar da Salo to that of the Bergonzi, the varnish was common to every Italian violin-
Cremona had no monopoly, for the knowledge and use of it extended to Padua, Venice, Rome and Naples. It is impossible,
maker.
therefore, during this long time to say that
94
How
to
Make
a Violin.
method
change
is
observable.
From
hundred
date,
Italian
instruments of
later
as
this
and that
is
marked
is
few
ap-
who
it
consistently applied
to
their productions.
From about
1745 to
may
bitter
be properly called a
secret, as
rivalry
had
always
existed
monese
schools.
Dominico Mon-
Venice.
to
The
relied
Cre-
monese
their
makers
seem
have
on
their
sonorous,
well-selected
wood,
The Varnish.
established principles of construction,
their ancient reputation;
95
the
and Venetians, on
exceedingly
and
careful finish;
their
price.
As a knowledge of
confined to a
the varnish
became
at
last
fortunate fellow-workmen.
It
is
quite
presents itself
careful
to
and
a
re-
peated examination,
extending
vast
number of
common
and
and provided
ing,
it
by Stradivarius
himself.
Generally
it
is
96
quality
How
to
Make a
Violin.
and texture
it is
occasionally
it
proclaims
Let
amined, there
is
no such
varnish.
This
is
The chair of 1725 presents a surface broken and worn away, that of 1760, one comparatively smooth, and fairly able to endure
further vicissitudes of time.
1760, great
The old
capable
in
soft
gums and
of
their
menstrua,
themselves
dis-
newer and more complicated processes producing a result more durable and unchangeable under exposure and rough wear.
"
The old
ticles
utility,
more sober style. Broad, unrelieved surfaces, depending on the intrinsic beauty of their material, were found a relief to the eye tired with unravelling the mazes of complex
The
carving
soft,
Varnish.
97
or
painted arabesque.
The
no
old,
badly
wearing
varnish
longer
such utilitarian
purposes,
or only
entirely
partially
were found to
heating
yield
fusion.
upon
proper
and
King of France
to
making varnish
the succinic acid
off
by means of
heat,
and
the subsequent
oil.
comthat
in
From
day
field
improvements
gone on uninterruptedly.
The
soon solved.
The knowledge of
its
g8
tures,
How
was
to
Make
a Violin.
There is no doubt that some of the Cremonese and other makers knew how to prepare it, but, as has been shown, its use was not confined to them.
forgotten.
The new ingredients, the copals, amber, etc., would naturally supersede the old as articles of import, and so by degrees those who possessed the secret, for a secret it was,
certainly regarded
by
its
latest possessors,
would
England,
the
build of the
first,
gaudy
of the
wood
and the general cheapness of all, held the market. And so it has happened that the
art of the old varnish
in
is
not
lost,
but buried
under the wheel of progress. For two hundred years it was in the hands of a nation; and though now a desire for this forgotten knowledge is confined to only
the dust
a few,
sistent
of so
many
ends.
The Varnish.
"
gg
presents itself
The
third question
now
any writings or clues for perusal and examination? There are many. An ingenious Frenchman, who long ago wrote a
are there
treatise
list
of authors
who have
treated
upon
this
subject
"Alexis,
author,
Arts,'
"
Piedmontese
(real
'
name
of
Hieronymus
*
:
Ruscellai),
Secrets des
Tiavoranti
And a
'
:
veilleux;
1663.
Artificialis,
etc.;
Epitome
Cosmo-
Pomet,
'
treatises,
100
Salo,
How
to
Make
a Violin.
and the latest during that of StradiHere are hundreds of genuine revarius. cipes. Is any one of them the right one? Patience and perseverance are necessary, much fitting of old names to their nomenclatures and many tiresome comparisons, but
these once made, the desired result
may
be
obtained,
the
new varnish may possess old coveted lustrous softness and supand
the
pleness.
red,
And
and
the yellow
hidden
under quaint
all
indicated
authors,
and
There
is still
ject
been
In
to
in-
specified,
and
this is the
ground-toning.
all Italian
instruments the
wood appears
in
to almost orange.
This colour
varnish
;
quite distinct
for,
The Varnish.
other causes the latter
lOi
be, the
may
ground-
its
colour.
The
its
amples of
this ground-toning.
is
On
such
tawny yellow
and
offers
life to
it.
How
composed
or applied, whether as
was a wash or
it
stain, or as
miscellaneous
lists
is
all the
and
stability.
tone, another
is
"The problem of the old varnish is solvable by anyone who deems the reward worth
the trial of patience
elements most effective in the task of interlining the broken sentences of tradition."
CHAPTER
A MATHEMATICAL
XVIII.
METHOD OF CONSTRUCTING
THE OUTLINE.
IN the
the
result.
now
to be given,
it
is
working,
to
ensure
satisfactory
draw a perpendicular line 14 inches long, and divide it accurately into 72 equal parts. Then draw at right angles to line,
First
the following
'
A line through
point No.
>
8
14 16
tf
i9
20
>
2U
A B C D E
loa
See Illustration.
>)
}) >
103
A line through
point No.
11
yy
>>
22
23
27
F G
See
Illustration.
>
>
H
I
28
31
>> )
K
L
f)
33
34
37
)>
>
M N
00
>> }>
39
}>
40
44i
P
Q-Q
>}
48
55 56
R-R
S
it
65
Open
parts,
and
curves aa.
Open
parts, place
24,
and draw
2
Open
parts,
and mark
distance
upon each
open
cc.
r,
105
and
Do
the
hke on the other side. Open the compasses to the width of one part, and mark to right and left of No. 14,
on the
line
ee\
make each
as in the last
A D
on
either side.
measure to a point 22J parts from the perpendicular; put one foot
the Ime
On
L L
parts,
the
arcs
cutting
the
lines
LL
and PP.
In the same
way
find
on
line
KK
2 points
23! parts from the perpendicular, and from centres kk open the compasses to the point
last
and continue
it
the arc
from the
line
LL
until
HH.
11
Open
parts, place
72,
and draw
on point 35, and the other on point 72, and draw the curve between these two lines, vv.
io6
How
to
Make a
Violin.
Open
parts,
and placing one foot on point 55, mark on the line SS the two points xx. Take each point ;r as a centre from x to v as a radius, and continue the curve from v
to the line
VV.
4
Open
parts, place
56,
mark
the
2 points to ZB.
Take each
joins the line
s as a centre,
drawn
VV, and
from the
line
VV
to the line
RR.
00,
Mark
off
on
line
GG
two points
each
to point /
and draw
the curve
from
On
line II
mark on each
pendicular at the distance of 14! parts from the perpendicular 2 points mm; open the
compasses from
the
line
HH, and
107
On
line
EE,
from
compasses from point q to point p on line EE, and draw the small curve from ^ to r
on each
side.
Open
parts,
16^
and draw the two corners ss. On line QQ open the compasses 24 parts from the perpendicular, and mark on each side the point bb\ from point bb^ open the
line
RR
to R, and
On
the line
NN
16-J-
and mark on
/;
from point
is
PP
and
Open
the
and
trace
on each side
comer dd.
will
We
arch of
now proceed to show how the the violin is made in the direction
of the perpendicular.
io8
How
to
Make a
Violin.
-2
Take a
a
little
strip of
hard wood,
to
inches widd,
thick
find
enough not
its
Open
is,
the
three
times
the
of the perpenstrip
dicular, and,
table,
upon the
draw upon
drawn across the centre of the strip, place one end of the compasses on the perpendicular line upon the strip not too near to the upper edge, and the other point upon the perpendicular drawn upon the table, and draw upon the strip the
line in continuation of the line
arc
shown
in Fig. 40.
When
is
cut
away
this
The length
incision
of the / holes
15 parts; the
be
exactly
40;
the
head
32^,
ends opposite point 47^. The diameter of the hole at the head is i^ part, that at the
J parts; the inner edge of the upper holes should be 9 parts asunder, and the
foot
I
109
41).*
For
all
measurements
required in this
method a
and accurately divided into 72 parts found of great service. THE THICKNESS OF THE BACK.
Point 42 is the starting point for obtaining the proper thickness of the back. With the
Fig. 41. The position of the bar shown in the above illustration is that found in old Dutch and other early made instruments. The position of the bar in modern instruments will be found under paragraph headed " The Bar."
*
no
How
to
Make a
Violtn.
compasses describe from centre 42 a circle having a radius of 4J parts; all the wood contained in this circle should be precisely I Then open the compasses 12 part thick. parts and draw another circle from the same centre, the wood in which will gradually fall off from I part thick at the edge of the inner circle to f of a part at the edge of the outer
circle.
From
away
in
all
fio .^2
ill
Open
with
this
and draw a
circle
point 40 as
circle
its
centre.
The wood
in
must be f part thick; open the compasses 9 parts, and draw another circle.
Then, as with the back, gradually thin
off
circle till
the
wood
it
at the
\ part thick,
THE BAR.
parts long,
part
gradually to f part at the ends. Its position should be parallel to the joint, slightly inclining inwards at the top end, or about
inch in
its
The
length of
gauged by measuring
from the top and from the bottom of the belly, the ends of the bass bar should come
to these points.
never be
112
further
at the
How
to
Make a
Violin.
away from the centre than 8^ lignes top and 9^ lignes at the bottom. The
sHght slope at the present time given to the bar should be in this proportion also.
THE SOUND-POST.
inch in dia-
respecting
this
THE BRIDGE.
8 parts between
height should be
6| parts.
THE NECK.
parts long
from
CHAPTER
XIX.
THESE
and strings, which can all be bought of any instrument dealer. I might give the amateur minute directions for making the first three named, but as I only propose writinp: on the making of the
violiriy
I
have
expressly
omitted
matters
When
a mere
by the master hands of their makers. Those parts which gave a finished appearance to the
instrument were wanting.
An
old "Strad"
may
in
its
114
essential
How
they
to
Make
be,
a Violin.
the
may
is
parts
above-
"fittings."
a piece of violoncello
string, the
tied.
knot of
be
firmly
Different
modes of fastening are adopted. Some tailpieces have two holes pierced through them and in this case the ends of the cord should be put through and tied so that the
knot comes
in
the groove of
the button.
wood so
The amateur
best.
he likes
The
strings are
an important factor
in the
string
gauge can be bought for sixpence, and when the thickness and quality of strings best
suited to a violin are ascertained, no variation
The Remaining
"
Accessories.
115
good
violin string
ought to be perfectly
packet
They ought
also to
wavy
and
;
or curled markings.
The
best second
the
not
being
If
so
the
white,
first
but
perfectly
transparent.
white,
strings are
very
we may
been
made from
The
strings should be
now
and again
in
may
be
olive or
If olive-oil is used,
Ii6
How
lead, until
to
it
Make a
is
Violin.
and
first
perfectly limpid.
The
to bring
the third
first."
must carefully observe that the tone of any violin is very perceptibly affected by the size of the strings, as if not in due proportion the one to the other, no uniformity
We
The
in-
which prove
instruments
vary so
is
much
in
this
perfection to
one
is
If
the
strings
are too
thin
or
weak and
feeble, whilst
on the contrary,
strain
if
too thick or
and an unnecessary
and pressure
will
The Remaining
Accessories.
117
Many
order to bring
to pitch.
violins,
The
on
some
may
be of
From
The pegs must be accurately adjusted, and when properly fitted the holes should fall
so as to allow the strings to run from the
found the best means of making the pegs move freely and stay where they
rosin will be
The bridge
in
is
his
and
the sound-post
and bow
Ii8
How
to
Make
a Violin.
THE BRIDGE.
"
The
and
"The
Whether it should stand slightly backwards or forwards of, or directly on a line drawn across the top from the inner notches of the / holes, will depend upon the character of the instrument, and can only be determined experiectly over the centre line of the top.
mentally.
piece
in
It
tail-
order
withstand
in tuning.
the
The
Thinness of the
make prominent
ness
High-built
mostly
require
low
bridges,
The Remaining
Accessories.
flat
119
"The
on
may be
on the other side. "The material of which the bridge is made should be invariably maple. That
which
is
known
as the silver-grey
maple
is
"The
one of the
best.
and
are thick
and
strong.
"The
may
be
made
and so made it will always convey a rounder and fuller volume of tone. The distance measured along the top between the G and E strings, should be i-^^
inch.
The
E
of
string,
inch.
the
feet
of
the
should
be
120
How
-j^
to
Make
a Violin.
about
inch.
The
a scant
The
feet
THE SOUND-POST
"In general the sound-post should stand from i to J inch to the rear of the right foot of the bridge. Its outer edge should be
in line with the outer
this position its
edge of the
foot.
From
cer-
may
fit
lutely.
Moving
favours
the
centre
the
lower
If
the
all
should be used.
a long
If the reverse
is
the case,
and tightly fitting sound-post is required. Moving the upper end outward
will help all the strings, if the tone before
was hard and shrill; but if the upper strings happen to be dull and heavy, then the post
should stand a
little
and a
further back.
The Remaining
Accessories.
121
fine -
The sound-post should be made o f gr ained soft spr uce. The grain should
ring of
the
cross
inner
surface of
the
top in
it.
and adjusting
THE BOW.
" I
use a
bow
be extremely
so that
dropped upon
It
many passages
the weight of
hand cannot be applied to assist the bow; as in the tremolo, arpeggio and staccato volante. In this last example the bow is thrown upon the strings and runs its length
in
series
of
little
In order to graduate, as
it
were,
sound, we favour
to act
122
How
to
Make a
Violin.
from the bridge. The nearer we approach the bridge the more the upper overtones, and the nearer the neck
at greater or less distances
In the
first
and
clarinet.
The
little
wrist
is
should
sustain
the
weight,
and the
stick
should be inclined
upon the
strings.
The great stiffness and elasticity of the heavy bow gives a freer, cleairer tone than can be produced by one of a lighter and
more sluggish
"
nature.
The
length of the
bow
is
ft.
inches,
ft.
4 inches.
The
number of
It is
hairs
is
known
have
when mag-
nified
The Remaining
one direction.
Accessories.
123
By
up or down
stroke.
It
The
best hair
is
from
in places."
The importance of a suitable bridge is paramount, and to further aid the amateur
in its selection I
tation
generally attributed to
Its
influence
It
upon
the quality
instrument.
If
we and we
glue
it
upon a
violin, the
It gets
instrument nearly
little better if
form
we make
lateral
incisions
in
it,
the sound
improves, which
until
It is
the
an
we gradually
any
multitude of
124
How
to
Make a
Violin.
Everything
heis
that
Bridges have
been
made of
and parallel to the belly, but the sound was found to be altered. The size and shape of the openings have been altered,
dicular
been impaired.
ment of the molecules of the bridge. If we take a plain bridge with two feet and a single string, the movement is tangential,
parallel to the face of the bridge.
If
we
make two incisions in it, the nature of the movement changes, and the sand is seen to move in several directions at once, while the
bridge
lation,
itself
and
The
effect
appears
to
be
to
confirm
the
tables.
The bar
The Remaining
its
Accessories.
12$
it
entire
surface,
and
All
prevents
from
dividing
versal
into
ventral
lines.
nodal
Let
bridge, by interfering a
lations.
little
with
its oscil-
the sound
even appears
The mute
and no longer produces the vibration of the belly. If we clamp the right foot of the bridge, the sound is weakened, but not
to so great
On
we
movement
sound
is
incomparably weaker.
left foot
Fig. 43.
bbioge of a viol with seven stbings, the body of which is not cut out except at the two bides.
ff
Fig. 45.
Fig. 44.
Fig. 46.
Fig. 47.
bridge of a stradivarius.