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."