The proper sort of glue—Its preparation and use—Loose fingerboards—Injuries to the scroll—Insertion of fresh wood—Fracture of peg-box and shell—Worn peg-holes—Refilling or boring same—Grafting—Lengthening the neck—Treatment of worm-holes—Fixing on graft on neck—Ways of removing the upper table and the neck—Cleansing the interior—Closing of cracks in upper table—Getting parts together that apparently do not fit—Treatment of warped lower table—Repairing old end blocks by new ones—Matching wood for large cracks—Replacing lost portions—Repairs to purfling—Removal of a fixed sound-post—Fitting a fresh part of worm-eaten rib—Lining a thin back—Fixing the bar—Varnishing, etc., etc.
"The author is a man of wide experience, and with him it is a labour of love, so that few more suitable hands could be found for the task. To him fiddles are quite human in their characteristics, needing a 'physician within beck and call,' and developing symptoms capable of temporary alleviation or permanent cure, as the case may be, and no remedial measures are left undescribed."—Musical News.
"Mr. Petherick is a man of wide experience in violins, so his hints about the treatment and care of the instrument are invaluable. His imaginary interviews are both clever and amusing, and, moreover, contain useful information of what to do, and avoid, in the treatment of violins."—Hereford Times.
"THE STRAD" LIBRARY, No. XIII.
12mo., Cloth, 1.00.
THE VIOLIN:
Solo Playing, Soloists and Solos,
BY
WILLIAM HENLEY.
"Mr. William Henley is an excellent performer, and his book, 'The Violin: Solo Playing, Soloists and Solos,' is the result of considerable practice in the art he discusses.... The opening advice to violin students, the insistence on tune first and then on tone, the latter depending greatly for its excellence upon the correctness of the former, is not only worth saying, but is said well, and with conviction. Mr. Henley discriminates well between violinists: Joachim, the classic; Carrodus, the plain; Sarasate, the neat and elegant; and Wilhelmj, the fiery and bold.... The list of violin concertos, given in the last chapter but one of the book, seems a very complete one, and should be useful for purposes of reference."—The London and Provincial Music Trades Review.
"For the student whose intention it is to make the violin a means of livelihood—the professional soloist or orchestral player in embryo—this little work, written in a spirit of obvious sincerity, is well-nigh invaluable.... The chapters on 'Teaching and Studies,' 'The Artist,' 'Phrasing,' 'Conception,' and 'True Feeling,' are very well written, and the whole work is worth careful and diligent perusal."—The Musical World.