I now select gouges [57, 24, 22, 43, 39, 50], and I carefully trim both spirals, gauging the front and rear levels as I proceed by one-eighth of an inch at a time, until I can find no fault, all being square to the eye (for by nothing else can you prove your work here) when I prepare to cut the trench which was only wanted to soften off this essential to beauty.
Here I use all the gouges marked above; and in doing so I have to be most careful not to FORCE any one part; for such is the brittle nature of the wood (sycamore) that the delicate edges, as the slender spiral ascends under your, perhaps, too eager hand, may not be able to bear the strain put upon them, and a breach stares you in the face, past remedy, save by an accomplished master of his art.
The next step is to soften the work done, and to smooth down with rough to fine glass-paper, wetting every part after each course. Then I cut off all the sharp outer edges, from the terminal of the back part of the whole to the top of each volute, this cutting to be a good one-sixteenth of an inch broad, neatly filing and sandpapering the same when done. The outer edge of the peg-box is done in like manner.
Fixing the wood now, face downwards on the bench, I begin the cutting of the fluting at the upper part, using gouges [57, 24, 22], just in the order in which I write them, obviously the terminal part being that which needs most attention and care. Reversing the wood, I cut down by the nose of the head to the broad grooves which soon appear, terminating just over the narrow end of peg-box. All should be done neatly,—in a masterly manner were better—I file and sandpaper over and over again until I get to my mind what now appears in plates 24 and 25, and you will see the neck end is finished, ready for insertion in the mortice, which is done later when the fingerboard is added.
| PLATE XXIV. | PLATE XXV. |
CHAPTER XV.
FIXING NECK, FINGERBOARD, ETC.
As this neck and mortice business is very difficult of manipulation, I will direct you how to cut the end of neck so that a perfect fit may be obtained in the body of violin where was cut the mortice previously, fig. 19, into which said neck has to be inserted. To the exact outline of this I now cut the neck end, one and three-eighths of an inch broad at top, one and three-sixteenths of an inch at bottom, and one and nine-sixteenths of an inch deep. I cut on an angle, so as to get the elevation required for correct height of bridge. And then, all being square, I slope to the end which is ultimately to be joined to the button. You will gather all this from plates of scroll.
To obtain the peg holes, I mark at certain distances a guiding point, through which, at one side E and A, and on the other G and D, I bore preliminary holes with hand bit [No. 12] (on tool plate), square, absolutely, through to the other cheek of peg-box. After all are done, in brace bit [29], position [28], I place taper bit [59], and cut, E, A, D, G, finishing approximately for pegs with tool [15].