After ascertaining that all the glued parts are perfectly dry and therefore hard, the cramps, moulds and paper may be removed. If any paper should be found adhering a moistened rag will easily remove it.
The next proceeding will be that of levelling down and removing any unevenness, on the outside especially. If the fitting has been very accurately effected there will not remain much to do in this line. For the inside a piece of glass-paper folded over a curved block of wood, or the actual mould that has been in use, will serve the purpose if not too large. This can be rubbed backward and forward till the surface is level. For the outside a slightly different treatment will be preferable, that is, a portion of glass-paper of the finest grain placed as before in front of a block of wood. There is no necessity for it being a very close fit so long as it is even in surface.
This should have some oil of a drying nature put on the surface, a little dabbed on with the tip of the finger will be enough.
A fine surface, after a little passing backward and forward over it, adding a little oil now and then, will be obtained.
The advantage of the use of oil is, firstly, the ease in use and the smoothness of the surface and absence of harshness, secondly, as it will have penetrated the wood to some extent it will prevent the varnish, that eventually will have to be applied, from sinking into the pores.
Many otherwise excellent repairs have been spoilt from the neglect of this simple precaution; without it, the glass-paper leaves a dry, finely torn or raw surface which absorbs very readily the coloured varnish that will, in sinking, look much more intense, uneven and totally unlike the surrounding old varnish, which, it is most desirable, should be as closely as possible imitated.
All these particulars, rules, and precautions, having been carefully attended to by James, the instrument is at last brought by him in as advanced a state as possible to his master, the latter always reserving to himself the final touches or finishing and regulating.
About this time another caller, an amateur in a state of great excitement, brings a violin case hurriedly in, and coming up to the chief without any ceremony, says, while undoing the buckle of the straps binding the leather covering: "Oh, my favourite violin is ruined, its back is broken, and I feel sure you can't do it up; it is a Venetian Montagnana that I have had so many years, and that you—yes, even you—admired. You don't say much as a rule in favour of anything I bring you, but you said this was the only good thing I had about me; it is past your power to put right again, I am afraid." "Then why did you bring it to me," says the chief, "if it is impossible for me to remedy the breakage? let me see it."
The case having been nervously opened by the owner, the violin, after a glance, is lifted out by the chief, the owner looking on in a state of great perturbation. "Please be very careful," he says, as the practised hand of the master turns it about, looks at it here and there, over one way and then the other. "Why, its back is not broken; where is the fracture?"—"Don't you see, all the way down, it is quite loose and open?"
Another turn round or so, and the chief exclaims, "Oh, you mean the joint of the back is open—that is not broken; I did not see it at first as the light was going in the same direction; we can put that right again for you."—"Here, James!" he calls out, "just look at this; is it past our mending?" James casts his eye over it for a second or two, and says, "No sir, I've done up that kind o' thing over and over again." Then, turning to the owner, "Two against one, you see."