Especial care will be required in the management of the cramps—one or two may be necessary—as, if mere padding is placed between the iron and the wood, the latter, being in a state equivalent to rottenness, will be crushed together and the shape will be ruined. As a preservative against accident a piece of soft wood, perhaps a quarter of an inch in thickness, and cut in width and shape equal to that of the "cheek" of the peg-box, and placed over the part with a piece of paper against the varnished surface, will enable the rotten portion to keep its form, the pressure being distributed; care must be exercised in carving the block of wood that it reaches over and quite on to the sound parts. When the glue has hardened perfectly and the cramps have been removed, the careful shaving down and finishing of both the inner and outer blocks or slices may be proceeded with. If the burrowings and tortuous course of the obnoxious depredator give indication of its having been of huge proportions for its species, for these creatures vary in size from a small pin to nearly an eighth of an inch in diameter, and the tunnellings are not very close together, then pieces of fresh wood matched carefully and fitted in the manner before described, must be inserted and glued in. This will, if the wood is much riddled, be much like mosaic work, the fitting in of the pieces running here and there over the surface. The contour, however, is preserved by this treatment, it being difficult, unless the repairer has considerable artistic knowledge, to keep or reproduce the exact form if the half or more of the peg-box and adjacent portions are cut clean away as is often done.
Scrolls of masterly design and execution are frequently met with mounted on a peg-box, selected or carved, without the least reference to the style of the original, imparting to the whole a hideously mixed and vulgar aspect. Save then, every morsel of the original work that you possibly can, especially if it be the work of old Italian makers, as it will be sure to have about it some points of interest, or that will call for your admiration of its artistic merits. Bear in mind that at the present day utility and low price are "to the front." Unfortunately for art, a very large section of the public called musical, ignore the artistic aspect of the violin, apart from its individual authorship and monetary equivalent, and think almost solely—not always in the right way—about its working or sounding capacity. To them one sort of curled heading to the peg-box is as good as another, if strong enough, the whole of this part of the mechanism being simply dedicated to the winding up of unwilling "catgut." The old masters, their pupils, and modern imitators, have thought otherwise and treated this portion of the structure as that in which they could concentrate much of their best artistic talent. To them it has been the crowning head piece of the work, and requiring for effect the closest attention in detail. Every part of it has received, by each master, a distinctive touch of tool, or conception of design, that the modern repairer should earnestly "read, mark, learn, and inwardly digest," so that if a small portion is by carelessness, or unavoidable accident, chipped off, the contour may not by restoration (?) be spoilt, or the flow of line ruinously disturbed. Some remarks might be made by some admirers of high finish in its simple sense, about the bold unfinished gouging of some of the old Italian makers, and queries whether the irregularities should be studiously followed up by the repairer, as it should unquestionably be with work of high refinement and minute finish. The answer is at once simple and conclusive, every part that can be preserved should be so, and well studied, that the new work may be a continuation of the old to the minutest detail, even to the accidental emphasis of tooling left by the maker.
The fact must not be overlooked, that rough as some work looks at a glance, it has been, by masters of their art, properly thought out beforehand. Rapidity of execution, coupled with fine artistic style, is not to be acquired within a short space of time. In most of the apparently rough hewn scrolls of the Italian masters there is to be seen the result of experience in cutting, perhaps, hundreds of them previously. If we examine closely the mannerism of the different schools with regard to that seemingly insignificant termination of the back grooves called the shell; the different ways, breadths, depths and direction of the gouging will be found to give, not only an accurate indication of the country, or city, in which it was carved, but with it the school, or style to which the maker belonged, besides his own individuality. As a landmark for distinguishing these interesting particulars, every part of the scroll of an old master, with its belongings, no less than any other part of the instrument, should be treated by the repairer with much reverence for its age and respect for the talent expended on it in course of its construction. That this is not always acted up to I am reminded by an instance that came under my personal knowledge many years since.
A repairer and maker of some experience was examining a violin by one of the old Italian makers, that had, underneath the shell a rather sudden demarkation at the part where the graft had been fitted in. He remarked to the party who brought the violin, that if it were his own, or had been requested to put it in good order, he would file or glasspaper down the edge round the lower part of the shell, so as to make it conform with the modern work. The violin was not entrusted to his care, nor do I think many others were, judging by after events. Trust not any violin of value or interest to this class of repairer, or grief will count you for its own and mortification that of the fiddle.
Occasionally small pieces get chipped off the lower rim of the shell; the latter under these circumstances, as before observed, should never be rubbed smooth with glasspaper or cut down. It is not a difficult position to get at and small pieces can easily be inserted. This part also is so fashioned that a comparatively small loss of the edge, especially at the sides, will alter the whole character and reduce a most elegant and masterly form to that associated with mere rubbish. Three or four scrolls of Stradivari's are in my recollection as having been under such treatment and the contour being destroyed there was little about the general shape to remind the spectator of the beautiful design as it left the maker's hands. But, it may be remarked by a fortunate discoverer of an old gem, my Amati has lost all this part, cut away perhaps because of its being quite past recovery, and the question arises what had better be done under these circumstances? The answer, seek some party who has an Amati with this part perfect or in excellent preservation. Take some moderately firm veneer and after careful measurement cut pieces to fit as exactly as possible the parts answering to those of your own instrument that are missing. The line from the lowest part or edge of the shell and reaching right over the top of the scroll will require earnest attention and accurate fitting. For the next stage the pegs must be taken out as a matter of course. Number each one with a pencil for identification when reinserting; lay a piece of veneer flat on the outside of the peg-box reaching up a little past the top of the scroll; to do this nicely a segment should be cut away where the volute intervenes, and with the pencil, mark carefully on each side a line neatly against the back and front. With a sharp, narrow knife cut away the veneer up to the outside of the line, leaving, if cleanly done, an exact pattern of the throat or exterior of the peg-box (diagram 22). Next, as the veneer will not bend sufficiently, cut a piece of rather stout paper, and after laying it against the back of the scroll, a rough tracing can be made and cut to exactness by degrees, trying it against the model and correcting until satisfactory. As this part of an Italian violin is not cut so mechanically as many people imagine, another and perhaps quicker way, if means are to hand, is to use thin paper and with some heelball, used by shoemakers, rub the edges that may be felt through and under the paper held in position against it. If the paper is kept from shifting a very good clear line can be obtained. The process may be adopted for the other parts instead of using the veneer, the latter would, however, be useful as a permanent guide or template, keeping its shape. This would not apply of course to tracing of the back part, which must of necessity be of a material that will bend or fold over.
| DIAGRAM 22. |
Having procured a piece of sycamore, very old if possible, and with the closest resemblance in curl, texture and colour to the scroll to which it is to be attached; it must be squared up and made equal so that the tracings of the two sides of the throat may be placed in position and transferred. This must be done so accurately that the new throat shall not be out of the square or twisted. More, of course, will be traced down than will be actually left, the reason will soon be perceptible. If the tracing is clear and well defined it will not require touching; but if any part is not well brought up, it may be made sufficiently so by carefully running a pencilled line over the fainter one. The next step will be to get rid of the superfluous wood. This will be most readily done by a bow-saw after securing the block of wood in a vice, if these are not within reach, it can be done at a sawing mill where steam saws of different sizes and degrees of tooth are ready at a moment's notice and the removal of any sized masses of wood hard or soft is effected with remarkable precision and rapidity.
When the sawing is complete, the fining down, or smoothing of the sawn surfaces may be proceeded with. This may be done with a file, having one side curved, the other flat, and of rather fine tooth; a glass papering will then complete the process so far as the profile view is concerned. Further progress will be made when the tracing of the back is transferred, the paper pattern being laid, or wrapped round, after being accurately adjusted.
The outside wood can be removed in the same manner as last described, with the finishing, or semi-polishing to the required degree. There will be thus cut out a replica in the solid or uncarved state of the whole of the part adjoining the scroll and downwards, which will be ready for the further process of joining on to the scroll itself. To this end, the surfaces that are to be glued together at the junction will have to be got into proper shape and condition, that is, both pieces must have flat faces, that when put together, will allow the line at the top of the scroll to run continuously and truly as if forming an original carved homogeneous work. The faces must be cut by a very sharp chisel, until fitting as nearly air-tight as possible. For highly finishing off these parts a small steel scraper should be used and turned round, working it in several directions. If the scraper is quite straight and sharp, it will with gentle handling bring the surfaces very flat, no movement or wriggling being perceptible when placed together, or there may be in very good work a slight kind of suction by the air being driven out from between them. The work will be then ready for glueing. The wood should be quite warm, the glue fresh and strong. A few seconds or so may be well spent in brushing or working the glue into the pores of the two surfaces to be opposed. If they are as perfect, or true as possible, a little rubbing together will be sufficient for an effectual and lasting junction without the use of cramps; but if there is any doubt on the subject, then the process described previously for joining the parts together after fracture had better be gone through.
When the whole is thoroughly dried and the glue which has exuded from between the opposing surfaces has been cut or chipped away, the gouging of the grooves down the back may be commenced, care being taken to follow the lines from the scroll downwards and gradually finishing backwards and forwards according to the grain. Different sized gouges will, of course, be required for this work, according to the fashion or type of the violin. A glass papering of the parts will complete the matter so far as the exterior is concerned. Some restorers might recommend the glueing on of the scroll to be proceeded with earlier, or before the block has been finally reduced and cut to shape. There is not very much preference one way or the other; in the one above detailed we avoid the risk of fresh damage to the scroll while sawing and cutting, the rough or more violent tooling being done before the junction is effected. It would be as well to let the new wood be of full measurement to allow of fining down the new surface to meet that of the old, which may possibly have some lustrous varnish upon it, and which every good restorer would do his utmost to preserve. After this is all satisfactorily done, the lines may be traced which are to act as guides for the hollowing of the peg-box.