CHAPTER XVII.
INSERTION OF STUDS ALONG THE JOINT INSIDE WITHOUT OPENING THE VIOLIN—LINING OR VENEERING A THIN BACK.
At the appointed time, not any earlier, the amateur makes his appearance, inquiring somewhat anxiously as to whether the violin was finished, or more precisely speaking from fear, whether the repairer had succeeded in restoring the instrument to playing order? "Oh, yes," is the response, "and goes better than it could have done for some time back. You see its complaint has been coming on for some time, beginning with a slight opening at the lower part, and continuous playing with the strain of tuning up now and then extended it, until the time when it became of such magnitude that you could not help observing it. Being gradual in its progress, the tone getting worse by gentle degrees, was also unobserved by you."
On this, the violin being handed to its owner, a close examination is made all over the outside, and through the sound-holes.
"Well, really," the owner at last breaks out with, "it is most beautifully done! I should not have thought it possible, and however did you manage to get all those little squares of wood ranged in a line inside, and you said you would do it without breaking open the violin, and—tell me how it was done!"
"Then I will keep my promise if you have patience. It is not a very difficult matter to those used to such things; you see the first thing was to get the outer part clear of any impurities that would prevent the glue from getting a tight hold of the surfaces that are to be held in contact; the next, to work some strong glue along the course of the joint, this by gentle and regular pressure alternately each side of the line, is gradually drawn in, the whole length is then wiped with a cloth and pressure applied to keep the joint closed, and the whole allowed to dry. When so, the interior is attended to, a clean damp brush, small enough to pass down either of the sound-holes, is worked backwards for a short time along the joint, just enough to remove the slight accumulation of dust and prepare the wood for the reception of glue. Then the little squares of sycamore being ready, are pricked in the centre with this pointed iron wire, and taken up one by one; on each occasion a globule of strong glue is dropped on the under surface.
"The wire with its attachment of stud and globule is carefully passed down through the sound-hole, which one must depend much on circumstances and light available, being cautiously lowered until the little square of wood is exactly over the joint and gently pressed down on to it.
"Care is taken, of course, to place it on the exact spot; if not accurately in position, a slight push with the same wire or another or greater strength is given, and then a little more pressure on the top.
"When this is done, others are inserted in the same way, and as far along the joint as can be reached with the wires. After having dried, the glue which had oozed up round the square will be found to have decreased so much as to be but little perceptible—thus you see how it was done. Do not try this yourself unless you have become expert by long practice in repairing generally, as you may probably find this more taxing to your nerves than you may be aware of, besides finding it a difficult and dirty job getting any mislaid pieces out again."
This last piece of friendly advice is quite to the taste of the amateur, who, being a non-practical man, is wise in abstaining from meddling in directions for which he has no natural bent, and unlike the numerous tribe of would-be repairers who think that any person who can use glue and cut a piece of wood can engage in the restoration of such a small instrument as a violin.
Our amateur, when arrived home, naturally enough shows his restored violin to his friends, one of whom has been looking at it for some time, and at last says: "That's the repairer for me, where does he live? My violin is sadly in want of proper attention, and I think it requires stronger measures for its cure than yours."
The address is readily given, and the instrument duly taken round to our chief and his assistant. The statement having been made as to recommendation, after an inspection of the very nice restoration of his friend's violin, the new-comer takes out his violin from its case and places it before the chief, who turns it over and over, looking at each fraction of an inch without seeing much the matter with it.
The owner at last breaks in with the remark that a violin maker residing where he lately came from had told him that the instrument would never go properly unless the back was re-lined—that was perhaps the term used.
The chief then rejoins: "I think the repairer was very likely hitting the mark when he said that; this is one of those old violins of the Brescian school, which are often too thin in the back for modern usage, and there is no other resource but that of lining—or veneering, some would call it—the back. If you like I will open it, and ascertain whether it is so with this instrument."
Consent is given, and the chief goes to the back of his premises, and returns with a much-worn table knife. Sitting calmly down before the new arrival, and resting the instrument face downwards on his lap, he proceeds with sundry slow but strong thrusts of the knife round the junction of the ribs with the upper table; the cracking sounds emitted as the knife gradually works its way along are rather trying to the owner, who, however, has confidence in the reputation of the master-hand at the kind of work. After a little extra pushing here and there, and lifting gently to ascertain whether the parting is complete, the upper table is at last lifted quite clear of the rest.
The owner at once asks, "Is the back in a very bad state?" "Well," is the reply, "it is in such a dirty condition that it is not possible to tell.—Here, James, bring me that water and sponge!" These being at once brought, with a cloth in addition, the chief at once begins bathing the inside, giving a heavier rub in different parts, as some appearances suggest the extra treatment.
At last, after some few minutes of this application, the cloth is applied, and the interior assumes a cleaner aspect.
"Never being cleaned out since it was made, I should think," is the observation, "excepting once," he adds, as his practised eye lights on a small, but thick stud resting over a small crack at one side, "and that was a very long time ago, possibly a hundred and fifty years." "Does it require the 'lining'—I think that is what it was called?" "Yes, it will be so much better for it, almost necessary."
The owner soon after departs, and the chief and his assistant proceed to work upon the violin. In general condition it happens to be very good, the one opening referred to being the time at which the modern bar had been attached in place of the very old and small-sized one. The fingerboard being old is easily removed by a sudden pull or jerk. After further cleaning with the aid of a hog-hair brush, this being adapted for getting more completely into the corners, both parts of the violin—they have both had a cleaning and looks more wholesome—are placed aside to dry.
When this has taken place to the satisfaction of both master and man, the back is rubbed over with an oiled rag, the object of this being to prevent the mould now to be taken from sticking to it.
Some good plaster of Paris is mixed, and a sufficient quantity placed on it till a coating an inch and a half in thickness is produced; this amount is necessary owing to the tendency to get out of form or warp if too thin, failures having often resulted therefrom.
When well hardened, this mould is lifted off; it comes away easily, showing a perfect facsimile in reverse of the back of the violin. This is carefully wiped, and any small specks of plaster that may be adhering are picked off.
The mould has now to be dried, as it would otherwise—from the large amount of moisture within it—undo the back, or any cracks that may have been glued up.
Placing in a moderately warm oven is as good a method as any, the natural drying by open air, even in sunny weather, being a long process.
After being tested and found to contain no moisture whatever, the mould is placed upon a bench, and the surface which has been in contact with the curved form of the back receives a slight oiling with a brush. This will prevent as much as possible injury to the varnished surface of the violin when placed in it. This may be further helped by a sheet of soft paper or soft cotton being placed between, when the back of the violin is laid in the mould.
Before proceeding further, there will necessarily be the preparations made in connection with the piece of veneer that is to be glued to the back.
In order that this may be as equally as possible pressed into the shape, there must be another mould made; this will be of some soft wood that will cut easily into shape, and be made to fit as near as can be to the back.
Next a layer or portion of cork about one-eighth of an inch thick, and large enough to cover the whole of the veneer, will be required. Some repairers would prefer india rubber or other yielding substances, which will fit into any unevenness while sustaining great pressure. This last will be caused by the press or large cramp, which must be very strong.
All the foregoing being ready to hand, the veneer being cut down to the amount required, perhaps to a pencilled line marked on it for width and length, it will be wetted; being of slight substance, it will soon absorb sufficient moisture to remain damp during and over the time the other preparations are made.
All being in readiness, the back being laid down accurately in its bed of hard plaster of Paris, the cloth or paper having been placed between, the cleansed and dried surface of the table is brushed over with the strong glue which, if the apartment is of sufficiently high temperature, will not coagulate or set, but give time for the brushing of glue on one side of the veneer. This is at once placed in position on the glued surface of the violin table; it is then covered with some thin, soft paper, the cake of cork or india rubber being laid over it. More carefully than all, the carved piece of wood that is to be pressed down must be exactly in its right place, and above this, other slices, so that the pressure may be distributed well, and not merely on one spot.
For this a goodly pile will be of advantage; to be quite scientific in its proportion, an imaginary line drawn from the central point of the pressure above to the outside or margin of the field of pressure at the lowest part, should not be at more than an angle of forty-five degrees.
Attention being paid to the foregoing, and the press or large screw cramp being already in position, the pressure, which must be great, is applied.
The glue will be seen oozing out between the surfaces of the table and its veneer; this can be wiped off easily, and save the trouble of removal when dry and hard.
Necessarily, a longer time will be consumed in thorough drying and hardening in a case like this than in an ordinary repair in which the atmosphere can more readily obtain access. When quite ready, the pressure and the pieces of wood, paper, cork, or indiarubber can be one by one released, and the simple veneer, now firmly attached to the lower table of the violin, can have its edges trimmed round with gouge, chisel, or scraper, and finally glass-papered to a good finish.
When neatly done, the edging of the veneer will decline gradually in thickness, and die off all round.
There is nothing further to be done now, but seeing that the bar is right in proportion, position, and fitting.