RE-OPENING THEBACK TOCORRECT THEBADLYREPAIREDJOINT—A FEWWORDS ONSTUDS—FILLINGUPSPACESLEFT BYLOSTSPLINTERS—MATCHINGWOOD FORLARGECRACKS, ETC.
Regarding the glueing and closing up process, we will defer the matter for the present. While the assistant is going through the necessary routine in connection with that most important part of the repairing of a violin, the master has been looking over a few of the things that are to be operated upon some time or other. Going to a sort of store cupboard, he fetches from thence a violin in fair condition generally, but with one sad defect, the back has at one time been open, that is, the joint down the middle, either through damp affecting the glue or from violence, had parted and had been badly repaired; the two surfaces being brought together and glued, but not evenly, one side being a trifle higher than the other. "James," he calls out, "this old Pesaro fiddle is worth putting right; when you have finished what you are about, put the wet rags on this as far along the joint as may be necessary, set them better and closer, it is the fine varnish all over that will make it worth while."
James having finished the closing up of the Guadagnini and taken the instrument with its array of screw cramps into a place where it could repose uninterfered with until quite dry, returns and looks over the violin just brought forth from its retirement. "It seems to me, sir, this back will have to come off before we can properly bring those two halves together." The other scans the work again, turns it over, tries its strength between his fingers and thumbs, and concludes with "Well, I think you are right, it is quite worth the extra labour and had better be done so." The matter being settled, James takes a seat, and, with the violin resting on his lap and held by his left hand, the broad bladed knife in his right is inserted with a carefully calculated thrust underneath the border and edging. There is not much difficulty; sometimes the violin is turned in a contrary direction when there is a disposition for the grain to tear up here and there.
At last the back is free, the corners and blocks have caused a little trouble in the progress of the knife around, the wood being hard and tough on both sides of the knife. It would have been slower work with a violin of later and more careful construction. In the present instance there are no linings to struggle with. "Now," says the workman, "we can get to work at this joint much more easily."
After being examined again by both, the rags are again brought into requisition. The back is laid varnished side downwards and a "poultice" applied as far along the joint as appears necessary. Meanwhile other work, such as fitting and finishing, is proceeded with.
A proper length of time has to elapse,—in the present instance it will be longer than that for the purpose of merely softening the glue. The damp has to work its way down at the junction of the two parts, a rather slow process at the best of times; the back now under treatment being of full average thickness causes some extra time to be taken up.
After repeated examinations, the joint, being gently tried each time, gives evidence of the glue having softened. "You must clear out that black stuff," interposes the chief, when the rag or poultice has been lifted off. James accordingly, having some warm water and a small hog-haired brush already to hand, proceeds to gently scrub the brush along the course where the ugly black line is seen. It is necessary to do this both sides, the varnished one receiving milder attention than the other. Frequent dippings of the brush in water, gently scrubbing away the glue and wiping the brush on a cloth, working the joint backward and forward between the fingers, are details of the process gone through in a leisurely yet business-like manner; much care is exercised that no strain is made on the good and unwetted part of the joint.
At last the old glue having by degrees been got rid of, the outer moisture is absorbed by a gentle wiping of the cloth along the course of the joint.
The next movement is simply putting the plate away to dry. To attempt any glueing together of the parts while they are swollen with moisture would be to make matters worse than before, as the edges are too soft to bear interference, besides which, the sharpness of them is difficult to perceive while wet and semi-transparent.
We will now, after the time allowed for drying, see the work proceeding under the hands of the workman. After trying the parts, that is, bringing the separated edges together for seeing whether a fresh and clean join can be effected, some soft wood at hand is cut for the combined purposes of mould and cramp. The piece used is about nine inches long by about one in width and a quarter of an inch thick. Marking off on this thickness, and a trifle over the greatest width of the back, the lower part of which is to be inserted, wood is cut away to the depth of about a quarter of an inch; within this again a further cutting is made to fit the modelling or rise of the curve of the back. This will admit the plate loosely. On placing it within, the two halves are squeezed together by soft wood wedges of necessary size inserted between the edges of the plate and the wood cramp; if necessary, another wedge on one side or the other of the joint is placed for bringing both to a proper level. After trying this without glue, the pieces are removed, glue of good strength is put on the surfaces to be joined and the whole put in position again. The lower end of the joint near the purfling will require a little additional cramping together.
This part of the process is one of the very few instances where more than a couple of hands are of advantage, if not of actual necessity, the reason being that the two parts or halves of the back which have to be brought to an exact level must be held in position by two hands very firmly, while a cramp (with paper padding and cork between the teeth) is screwed rather tightly by another person. It is then as usual laid by to dry.
After a satisfactory time has elapsed, the wooden tie, mould or cramp, as we may call it, with its small wedges is removed, the metal screw cramp at the end is unfastened, the paper removed, and the joint is found to be much improved, if not quite up to the original state as when new. There is of course some superfluous glue to be cleared away, this having oozed out when the glue was first applied, there is also a portion of paper adhering where the screw cramp was attached over the border. This is done by wiping with a damp rag until it is clear, finishing with a dry one.
There is yet a little more attention necessary at times when the repairing of a back of the kind just described has been gone through. Backs of violins of a standard of excellence both high and low are not always as robust in their substance as might be desirable, so when a trifle weak there is more strain on the middle line or joint than when the wood is stout. In this case a few studs are advisable. On this detail of repairing nearly always resorted to by repairers, a few words will not be out of place. For the present we will only treat of the back. The size, disposition and shape of these is by no means an unimportant matter. At various times and places different sizes and shapes have been the fashion. Often apparently merely a matter of caprice, these strengthening discs have been used to such an extent, both in size and number, as to defeat the very object the restorer has had in view. No repairer would think it worth while to cramp or keep pressed down by any means the studs that he may think proper to place in position. To obviate this he uses very strong glue; if a good workman he will see that the course along which the studs are to lie is quite clean, a slight washing with a brush or sponge will set this right.
Now it follows as a matter of course that the surface of the part, owing to the modelling, is somewhat concave, and so as the studs are invariably cut from a flat strip of veneer, if they are very large, the glue in hardening and of course shrinking during the process will leave a hollow space in the middle, or maybe on one side, where the drying happens to commence. There will be thus a lessening of the strengthening by the stud, and sometimes a jarring of the loose parts, giving an immense amount of trouble in finding out the obscure seat of the nuisance when the instrument may be otherwise in good order.
There should be then a distinct limit to the size of any studs that experience and judgment may dictate as indispensable. Three-eighths of an inch square may be taken as the limit to which it is safe to go.
The studs should be cut from fairly stout veneer, and for the present purpose, that of the back, usually of sycamore, the same kind of wood is preferable to any other.
They should be trimmed so as not to require much if any finishing when attached and dried, as all trimming with edged tools afterwards is likely to be attended by occasional slips of the chisel.
The glue at hand being fresh and very strong, a piece of steel wire or knitting needle of convenient length will be a desideratum, the point being stuck in slightly and only deep enough to enable the stud to be lifted thereby and held upside down while a globule of glue is laid or dropped upon it. It is then turned over and laid on the desired spot and pressed there.
If the point of the needle is nicely polished it will allow of pressing, and a turn round will release it, leaving the stud in position; if on the other hand the point is too prolonged, rough and sharp, the stud will probably be pulled off again. It will thus be perceptible that the best shape will be rather obtuse but very smooth. When the stud is in position and the glue setting or chilling, an additional pressure with a small rod of wood or hard material will drive the glue out from the edges and the work may be left to itself.
A word or two as to shape. Sometimes circular discs of sycamore are met with, at others square. Lozenge shape is frequently met with, and this I am inclined to favour most, as there being an acute angle at each end there is a corresponding increase of holding surface with the least amount of wood. These should be cut so that the grain does not run with that of the joint, nor in exact opposition to it, but diagonally.
There is a method much to be deprecated that was fashionable in some parts of Europe in the last century, of strengthening the middle joint of the back by first cutting out a lozenge or square space and then fitting and filling with a stud. When dry, the parts are levelled and glass-papered over. This system, although looking very neat, the surface being quite smooth, will hold good for a time, but when this has elapsed with wear and damp attacking it, the supposed remedy is much worse than the disease, the whole joint being in danger of disarrangement and splitting, necessitating even further heroic treatment.
Should the studs when firm and dry seem to require a little finish, the chisel must be carefully handled with angular or sharpened surface downwards, the thinnest shavings being taken carefully off. A slight touching with glass paper may be allowed to take away the crudeness of the chisel marks.
When breakages of different degrees have to be treated at other parts of the back, small studs may be used, particularly when the fractures are fresh, free from dirt and fit well. In these instances, after the glueing together has been effected, studs of not more than a full eighth of an inch will be found sufficient. It is scarcely necessary to add that they may be thinner in substance also. If, however, there be sufficient substance of wood, the fractures and joints brought well together and fitting closely and neatly, then studs are better dispensed with altogether, the simplicity of the whole being less impaired.
It must be always borne in mind that the smaller the amount of fresh wood introduced into an injured violin the better. In instances where a part is lost or so broken as to be little less than pulverised, there is only one course open, that of paring down the sides of the aperture so that the fresh wood may be accurately fitted to it.
The back being repaired to the chief's satisfaction, the instrument is further closely examined in order that any other damage which may be discovered shall be seen to for a time convenient for the final closing and fitting up. Just at the moment announcement is made of the arrival of a parcel directed to the chief, "With care, fragile."
"Another patient for our hospital," he observes. "Oh, it's from that professor who was here some time since. I thought from his remarks and careless manner he was a likely man to lead his violin into danger, if not into inextricable difficulties; let us see what is the matter. Open the box, James, take the fiddle out, there is probably a letter placed with it to save postage." James dutifully proceeds with the work while his chief retires to make a short note concerning some other matters.
"You're right, sir, there is a dirty envelope stuck between the strings and fingerboard." This is taken away and handed to the chief, who runs a small knife along the edge and releases the epistle, which runs as follows:—
SIR,—In this morning I have great trouble as I walk the stairs down my violin chest open itself, and my violin go to the bass, and when I was to pick him up he was bad break in one two place. I am sorry to come to you as good doctor to finish him soon, and please charge no large.
Truly yours,HERMANNGROSZHAAR.
"Capital English for him," says the chief, to which James answers in a careless sort of undertone, "There's a little English, but less capital about him, wanted to borrow five bob from me when he came last."
The violin, after being taken from the case, is closely examined by the chief, who turns it round about, tapping it here and there and holding it up to the light. At last, handing it to James he says:—"Not so much as I should have expected after the terrible occurrence described in the letter; the fiddle is a good one, so it deserves proper attention, no matter who owns it. Just look about the case and find if you can the small piece that has come from this place in the front table."
James looks earnestly about the interior of the violin case without success. "No sign of it here, sir, there's nothing at all but a little bit of sweetstuff," he says, taking out a small white disc from one of the side pockets.
"Well, we must proceed to work without it, so get that box out with the odd pieces of old wood; I've no doubt you will find a piece that will match the grain of the pine to a nicety; we must have the upper table off, better do it first."
This proceeding, of a kind as described before, having occupied some minutes, the upper table is held by the chief while the assistant gropes among the odds and ends of pine and in a minute or two finds a piece which is pronounced to suit admirably. "Now, James, there appears to be only this portion seriously injured, and another, almost a splinter, running along the part adjoining. It will be compulsory to cut a well-squared opening for the fitting, you will be careful to make the walls of this part contract as the descent is made, so that the wood inserted is slightly wedge-shaped. You will at the same time be careful and bear in mind that this fresh wood will have to match so nicely, that when inserted properly the threads or grain will appear continuous and not broken to the eye of any person but the experienced critic. To please this person, however, you will have not only to make the lines of the grain follow through evenly, but so fit your wood as to be in the direction of the growth of the plank from which the table was cut. You see this aperture is on the slant or curve about midway between the bridge and part near the tail-piece. Many repairers, even when inserting fresh wood with exceeding neatness, neglect this precaution, and, in consequence, when the part is finished and varnished over, there is but little indication of repair when looked at from one standpoint, but from another or a removal of the light, this fault is very conspicuous. A frequent attempt to conceal this is made by covering the part with dull varnish that will not allow of much light passing through; sometimes an entirely opaque plastering is pasted over, obscuring the grain of the old and new wood alike in the locality, and thus making what is known as a botch."
For the execution of such repairs as these there will not be any necessity to open the violin. They will really be more conveniently effected without, there being more support and leverage where required.
A long crack while fresh will take the glue readily and be as secure as required when dry. It should be placed along the line to the extreme ends or a little over, and with gentle pressure alternately each side the glue will be gradually drawn in. This should be continued for some time, until there is little disposition shown for more absorption.
The superfluous glue will now be wiped off; should there be any tendency on one side or the other to remain higher, thus causing a ridge which must be most carefully guarded against, a piece of tape or ribbon tied round the violin at the part, and a small wedge of soft wood inserted between the tape and the elevated edge, will bring it to a proper level, when it may be put aside to dry and harden.
When sufficient time has elapsed for this according to atmospheric conditions, the binding may be removed and the surface along the crack wiped with a damp rag until only the line is apparent.
If the foregoing is done neatly and cleanly, there will be very little evidence of damage remaining. In such instances as the present there may be occasionally necessary two, three or more bindings with proper wedges, according to the length of the crack, the size of the violin and the model. If the latter is rather high, or of the kind called by our French neighboursbombé, the disinclination for the edges to come evenly together without help will be much greater, and therefore binders and wedges should be at once made ready after a glance at the model.
REPAIRINGLOSTPORTIONS—MARGINS OFSOUNDHOLES—MATCHING THEGRAIN—FIXING ANDFINISHINGOFF—REPLACING WITHFRESHWOODLARGEPORTIONS OFUPPERTABLE—LOSTPARTS OFPURFLING—RESTORINGIT WITHOLDSTUFF.
As the repairing now under consideration is of a kind requiring not only skill, but experience in the handling of the tools and necessary appliances connected therewith, we will still suppose ourselves in the trained repairer's rooms at the rear of his premises, and that professors and amateurs frequently call at the shop in front with violins of various kinds with all sorts of injuries that they are desirous of having put right.
Just at this moment a lady of highly fashionable appearance glides in, followed by her footman carrying a violin case. She has brought a violin that has been laid aside and forgotten for a long time at a friend's house, for generations in fact, it used to be in repute as a violin by Cremona. It has been given to her daughter, who is making great progress under the guidance of one of the most eminent performers of the day, and she wishes to have it put in good playing order if it is worth the expense.
The footman obediently brings forward the case, unfastens the string that holds the lid down, the hinges being out of working condition, and places it on the counter; the lid being raised, a strong mousy odour comes forth.
Our chief takes the violin from the hands of the man and turns it over, raises his eyebrows and remarks, "Yes, madam, the violin has been sadly neglected, the case having been left open mice have been residing in the snug retreat afforded them." "Yes," is the lady's rejoinder, "I believe the case was found a little way open, my friends have not been musical at any time and took no interest in the matter. Is it a good violin, Mr. ——?"
"Good, madam? it is very fine, one of the masterpieces of Cremona. The mice have turned the sound-holes into doorways, the nibblings have gone nearly half through one of the wings."
"Wings!" says the lady. "I was not aware of there being any wings to a violin." "No, ma'am," is the answer; "wings is a technical term we use to express that slender part with the straight cut line at the lower end of the sound hole. We shall have to open the violin to repair that part properly."
"I hope that will not ruin the instrument," observes the lady. "Can you not do the repair without?" "We could, ma'am, if we wished to save time and run a risk." "Oh, please don't run any risk with it, now that I know that it is a valuable instrument I must ask you to take extra pains and do it in your best manner."
"If you would like to see the violin open, I will get my assistant to do it now, it will take but a minute or so. Here, James, open this fiddle and bring it here again."
There is not much waiting, the upper table has not been very obstinate, and James soon reappears with the loose parts, which he hands to his chief. The lady, rather eager at first to see if there is anything curious about the inside of a violin, rather shrinks away when it is brought near. "It is in a very dirty condition," the chief observes, "but we shall soon get that all right," he adds, "by giving it a wash."
"But will not wetting it spoil the tone?" the lady asks. "Not in the least, ma'am," is the reply. "In fact, it will be improved, as at present there is so much grease and filth that the vibration would be seriously interfered with. When it is quite clean there will be more freedom, and the true character of the tone declared."
The lady having departed, the chief takes the violin parts to the workroom. "This is a fine thing," he says to James.
"I thought so too, sir," he replies, "got some fine stuff on it, fiery like, nothing the matter with it but those mouse nibblings."
"That will require careful work, James, think you can do it sufficiently neat and make the new wood match well?"
"I think so, sir. Some of that old pine that we had sent us last week will match thread for thread."
"Well, give it a clean out first, James." This is at once commenced, and with the aid of some clean water, a sponge and stubby brush, followed by the application of a clean dry rag or duster, the interior presents a fairly clean appearance.
"I see you have been careful about the label, James. It was not possible to decipher it when smothered with dirt, but we can read it now. Yes, what I thought, original ticket without a doubt. Joseph filius. Bring me that bottle of benzine and the hog-hair brush." This being done, the chief takes the brush wetted with the benzine and carefully brushes about the corners and other parts where the grease has refused to come away under the ordinary treatment. Each application is followed by a wiping of the cloth held in readiness.
"There," he says at last, "it is quite fresh and wholesome. Don't suppose Mr. Mouse will go in again."
"Now, James, what do you propose doing? making a clean sweep of the ragged parts with the knife or letting in angular portions in the German manner?"
"Well, sir, on looking close at it perhaps the best way will be to act both ways, cut that part straight through and fit the splinters along there."
"Yes," says the chief, "I think that way will save as much of the old material, if not more, than any other. Take pains with it and mind the small joinings are clean and sharp."
James retires with the upper table to his bench, where the different necessary excisions are proceeded with.
The next stage is that of glueing pieces of wood at the back of and across the sound holes. The object of this is to get more strength and leverage for pressing home the fresh wood to be inserted. From the neglect of this precaution many instruments have had cracks and other damages caused, making matters worse than before and necessitating much more work in rectifying it. After the necessary time, the glue being hard and dry enough, James begins the matching of the parts with pieces of old wood from the carefully hoarded pile in a box kept for the purpose; first one piece, then another is tried, until the right one is obtained for each requirement, both in respect of colour and matching of the thread or grain. The surfaces to come in contact and be fixed are minutely fitted, the larger ones only at present, the smaller gaps are left.
All being ready, strong glue is applied to the parts which are to be united and they are pressed together, help toward adjustment being obtained from the wood glued across.
Being left to dry, and this being complete, the cramps or wedges, as may have seemed appropriate, are removed, the cross pieces cut away and the glue washed off.
The paring down of the fresh wood to the level of the surrounding parts has now to be very carefully done. The adjacent curves must be studied and the surfaces of the fresh parts worked until by testing, not only by the sight, but passing the finger across, the surface feels as one piece.
For the small parts that require levelling, small pieces of glasspaper attached to a stick of pine shaped according to requirement will be found useful.
The fresh wood will of course be projecting some way beyond the edges or course of the line of the sound holes, the exact outline of which it is most desirous to continue.
This is about to be attended to by James, who thinks it a small matter to continue the line with his sharp knife, but his master happened to catch sight of his first strokes and sees his intention in time. "Stop!" he calls out, "not another stroke; just take a tracing of the opposite or corresponding part of the other sound hole and trace it down, don't trust to your eye unless you consider yourself an artist of experience and able to actually draw with your knife.
"You must attend to another thing besides the tracing of the contour. When you cut up to the line that you take as a guide, you must see that you make the walls of the opening at the same angle downwards, and your fresh wood in every respect of form an exact continuation of the old work."
The repair so far as the wood work is concerned is finished. It has now to receive the varnishing and touching up in detail for matching so as to arrest as little attention as possible as a repair.
"There are two fiddles, sir, that a party brought here yesterday. They seem very far gone; one of them has lost quite a quarter of the upper table, it has had a bad smash and the pieces have not been saved."
"Well, James," is the reply, "there is only one course to pursue, that is, to put a fresh piece of wood, join it as neatly as possible and match the varnish. I think we have a piece of old stuff sent us by an Italian dealer that will suit that exactly." The store of odds and ends of pine is rummaged over and the piece, with some pencil notes on it of date, etc., brought out and compared with the fractured fiddle. "Could not be better, James," says the chief. "Now take off that table, or what remains of it, and pare the ragged edges at the part near the sound hole.
"At that part you had better shave it at an angle from the upper surface and make a corresponding start on the fresh wood; they must both fit to a nicety, and when so the old wood will overlap the fresh stuff. You will take care to have the upper surface of the fresh wood a little above the level of the old, to allow of finishing down to a good level when the time comes for the final touches."
This is all seen to, the large slice of wood is for the present left square at the top, it is thick enough to represent the appearance of the slab of wood used by the original maker before the table was cut into form. There is some gouging to be done and shaping of the parts adjoining the old wood.
It has, of course, been necessary to provide a sort of mould for fitting and pressing from above the thin shaved edge of the old material on to the new. Precaution, however, is taken to firstly glue the parts that are to be brought together at the joint. This will prevent the shaved surfaces from slipping when pressure is applied.
These parts of the process having been done and the glue dried sufficiently, the under surface is levelled all round as a continuation of the under part of the old border.
The table, therefore, can now be laid flat, and should fit well on to the ribs and linings as it did before the fracture. James now has recourse to the advice of his chief as to the best course to pursue.
"Shall I trace the other side, sir, and mark it down on the fresh wood so as to make it balance?"
"Certainly not," answers his chief, "this is what you must do. Lay the table on the ribs as if you were about to glue it down, you can let it be held in position by a couple of screw-cramps, then, with a lead pencil, take as a guide the ribs, holding it so that a mark can be made all round representing the projection of the new edging. A short piece of a pencil laid flat against the ribs and moved round, would perhaps be the most convenient."
James proceeds dutifully to work, marks the edging, and then, after removing the screw-cramps, roughly hews away the wood to near the line.
Much care and more delicate manipulation has to be exercised now, or the precaution of the pencil line will prove to be next to useless.
Files of different degrees of tooth are employed until quite an even contour is obtained and a precise line, the continuation of the pattern, is seen.
The next proceeding will be to mark the thickness of the edging all round. For this purpose a cut line is better than a mere mark, as the cutting up to it is easier and safer. The purfling tool may be regulated and adapted in this case, after which the table will be laid flat, carefully considered, and the more detailed gouging commenced. A small pair of calipers will prove handy for measuring the depth of the channelling of the original parts and gouging down carefully until a corresponding modelling has been effected.
If the original work is sharply defined and a distinctly shaped border is present, then the work must be proceeded with as in the instance of making a new copy of a violin.
Some little difficulty may appear when the question of matching the purfling arises. The assistant opens a drawer close by, selects a likely piece, compares it with that on the violin, and then shows it to his chief, who examines it in a similar manner. "Yes," he says, "I think that is sufficiently like, in fact, it will not be possible to get nearer, it is a bit of that old stuff, is it not, that we have kept by for an emergency? Have you got the groove cleanly cut and routed out?"
"Yes, sir," is the answer; "I noticed about the depth that would be wanted at that little part where the old stuff had been snapped short at the fracture."
"Well, that will do, James. Be careful to cut the ragged end with a clean angle, doing the same with the fresh stuff—fit the parts accurately, and when you insert the purfling see that the end is pushed home so that as little as possible is seen of the junction of the two ends."
With these injunctions borne in mind, James proceeds to the work. Having had some experience in this branch of the repairing art, and, further, this being to him a more interesting part than others of the proceedings, he at once sets to work.
Having roughly measured the length of the piece of purfling to be inserted, he finds that it will be necessary to bend it to the curves of the groove made for it. To force it in while in its present condition would not do, as it is nearly straight; for, although it has served to go round a violin in years gone by, it has almost resumed its old condition through the action of the natural damp in the atmosphere.
REPAIRS TOPURFLING (CONTINUED)—FILLING UP ANOPENINGEXTENDING TO THEWHOLELENGTH OF THEVIOLIN—FITTING THECORE—FIXING IT INPOSITION ANDRETAINING ITTHERE—FINISHING THESURFACE.
Many old Italian violins bear indications of the haste of the maker to get the purfling done, and so without the delay of any intermediary process the purfling has been pressed in with great risk and sometimes an inevitable result of fracture.
In the present instance, the violin having all the evidence of great care having been expended on its construction and finish, the repair, to be as successful as possible, must be carried out on the same principle, every little deviation of curve being well imitated. For the bending of the purfling there may be, of course, any number of methods. According to the consistency of the material, so the management must be.
At present the piece of purfling, having been taken from a portion of an old violin bought for the purpose of breaking up and using for repairs, is very dry and rather brittle. The light coloured part or central portion is of some hard wood that refuses to accommodate itself easily to the requirements of the moment; this is found to be the case on trying a small portion with the fingers—it goes with a snap on very little attempt being made to bend it.
James having met with this kind of thing before, knows more than one way of meeting the difficulty. As is often found, a rough and ready way is good for a small amount of work such as he has before him.
He takes a candle and lights it. He has always at hand a jar of water ready for any damping required in the number of little odd jobs constantly occurring. Placing the jar of water within easy reach, he dips the purfling into it once and then wipes it with his handy cloth.
Taking the two ends with the fingers of each hand he passes it backward and forward near the flame of the candle, using a gentle pressure to make it assume a crescent or bow shape. The heat causes the damp to evaporate and steam the materials, and the purfling will gradually assume the required curve.
When this latter happens to be short or sudden, another dip and heating may be necessary.
This being successfully accomplished, recourse is now had to the glue pot, a pointed piece of wood is dipped into it, and a small streak of glue is laid in the groove. The purfling is now carefully inserted along the course, pressed in and left to dry.
After a sufficient time has elapsed, James looks over it, and finding all things ripe for finishing, takes a gouge of a size that will suit the channelling of the particular model adopted by the maker.
Great care is necessary to shave off but a small portion as the gouge is passed along. The latter has a very keen edge, or it will tear instead of cut. It is used here and there in contrary direction, as the grain of the several parts of the purfling does not run quite level. A curved file, and finally a little glasspapering, will complete the matter so far. There will be for the finishing of the whole of the fresh wood a further process to go through, that is, a slight damping.
This can be done with a small fine grained sponge or a moderately wet camel hair brush. This is for the purpose of slightly raising the grain. If this is not done at this time the soft part of the grain may show its automatic tendency to swell after the final process of varnishing has been gone through. When quite dry, fine glasspaper is used to reduce the surface to an almost polished level, after which some clear oil, having good drying qualities, is brushed lightly but completely over all portions of the fresh work.
It will not be absolutely necessary that this should be quite dry and hard before proceeding with the varnishing down to the tint of the old and surrounding work.
This being a separate and independent branch of the art of restoration, will be treated apart hereafter.
For the present we will be content to know that this varnishing, a very delicate process in connection with the repair, is undertaken by the chief himself, who sets to work at once and in a manner as if it were a true labour of love, there being no hurry, but careful time-ignoring attention to matching and calculation of effect. Just before settling down with colours, essences, solvents and brushes, he gives directions to his man James to "finish up the crack or fracture in that old 'Stainer' lying on the shelf there behind."
When it is taken down from its place of repose, James looks at it for a moment and then observes, "Rather an awkward job, this, sir! It is more than a crack along the whole length of the fiddle; somebody has been at it trying to mend it and made it positively worse. The edges are quite apart. You can see through in some places, and in others there is a lot of black hard glue."
The chief now has a look over the damaged part and then remarks, "The thread of the pine happens to be very straight, and that will lessen the trouble."
"Right, sir," is James's rejoinder, "not like that Genoese fiddle that we had some time back with the very curly bit of pine that looked as if the tree had been growing at the side of a rock and trying to look round the corner. Fitting a straight piece along the centre of that fiddle was no joke."
"Well, James, wash all that filthy dark glue away, and when quite dry, run a thin chisel along each side of the hole, taking fine shavings off until the upright walls have a sharp clean edge."
The washing out is at once commenced, and when finished, the upper table, which of course had been removed some time back for ascertaining the necessary amount of repairing, is placed apart for drying.
While this is in process, another violin is taken in hand. It has a different kind of fracture, which it has been thought well for appearance sake should be re-opened and made tidy, in fact, obscured as much as present skill will allow of.
The fracture, although not one of very common occurrence, is of a kind well known to professional repairers. It has been caused by a twist, possibly while being handled by some clumsy or heavy-handed repairer of olden times, and hastily filled with polluted glue, pressed together and left to itself. It is not at right angles with the plane of the instrument, but at a very acute one, very little evidence of it, possibly none, being seen from the inside.
The first step taken by the repairer is the cleansing and removal of all foreign particles likely to interfere with the adhesion of the surfaces to be brought into contact. As there is present much grime, and this not free from a suspicion of the presence of grease, James has recourse to the bottle of benzine, into which he dips a small brush, working it backwards and forwards, wiping it on an absorbent rag and re-applying the liquid.
This does not take very long; the evaporation being rapid, the wood is soon ready for the next stage, which is that of removing the dark glue and other foul matters from the irregular surface.
This requires the application of warm water, by means of a stiffer implement, used in fact as a small scrubbing brush; the moisture between whiles is pressed in and out by the fingers with repeated wipings and re-wettings.
After a while, being satisfied that the surfaces of the fracture are clean to the desired degree, James allows the wood to partially dry. In the meanwhile, he cuts a couple of pieces of wood to fit the back and front of the table, so that with folded paper as a pad the parts may be pressed together. All being in readiness, fresh strong glue is inserted all along the opening, the repeated pressing being kept up until he is sure that the glue has penetrated every part. The superfluous glue oozing from the inside, after a slight squeeze along the course, is lightly wiped off, the moulds applied back and front, and the cramps fixed.
Other little odds and ends of repairing have occupied the attention of the assistant during the time of waiting for the drying of the before-mentioned upper table of the Stainer. This latter being of full model, although not resembling the swollen or bolster-like form of many imitations of the master, requires special attention with regard to fitting in of the fresh wood or core.
The fresh wood must not be bent, or the matching of the grain with the old material will be impossible, and the repair when completed will be strikingly conspicuous. It must therefore be inserted in such a manner that when pared down, the direction or flow of the grain will exactly coincide in all respects with the rest of the table. The fact must be recognised that although the threads may be perfectly straight from end to end, yet they may rise higher at one end than the other or not run level with the plane of the table. (Diagram 37.)
This being duly calculated by James when cutting the piece that is to be inserted as a core, the table with its opening extending nearly from end to end is placed on an even surface facing upwards, as when on the instrument. The core is then tried in the aperture. Perhaps a thin shaving or two is found necessary, when finally it is sufficiently exact. The next stage is that of getting ready the means of holding or pressing all the parts together till dry after glueing. Taking a flat piece of wood, perhaps the one just used, and placing the table down, a pencil line is traced on the board round the violin table as if for the purpose of copying the pattern. Two straight lines are now ruled on each side touching the most projecting part of the upper and lower curve (Diagram 38.)
On the outside of each line, but touching it, a strip of wood about a quarter of an inch square is pegged or nailed down.
The table or plate when placed flat between these two small bars of wood, is within an acute angle, and can be held tight or not according to the degree of pressure with which it is pushed toward the smaller end.
It will at once be perceptible that a trifling pressure forward of the table towards the small end will result in the raising of the central part and the widening of the opening instead of closing it.
There must be, therefore, some means adopted to counteract this, and these are not difficult to fix upon. In lieu of pressing the table forward with risk of damaging the part of the border that will come in contact with the two fixed bars, it will be carefully tried as to fitting the exact position it is to take when glued, that is, sufficiently forward in the space between the bars that will only admit the table with a slight rise in the arching, the joint or part holding the core being in a more open condition as a consequence.
The exact place or point of contact is marked with a soft pencil or piece of chalk on border and bar. The table being taken away, the parts requiring it will be carefully glued.
Placed in position again, necessary means are taken that the surface or plane on each side of the core are quite level with each other; if they are not so, they will, after the necessary paring down of the core has been completed, cause an ugly, uneven appearance. To prevent this, therefore, the parts must be adjusted by the application of the fingers on one side or the other, or gently tapped by a piece of wood sufficiently heavy until exactness of level is made sure.
There is now necessary a weight to be applied along the whole length of the junction for keeping all in position until the glue is quite dry and hard.
Any kind of weight may be applied, the smaller and heavier in proportion to size the better, as so much more can be seen when several are used instead of one and that of larger dimensions.
These being placed in position, the table with its adjusted weights is placed away for drying.
When time has elapsed for this to be satisfactorily accomplished the table is taken in hand again, the weights lifted off and a slight tap at the upper with a piece of soft wood will set it free.
The part of the core now rising above the upper or varnished side of the table is pared down very gently, care being taken that the chisel does not work into the varnish on either side of the core, and that it is not driven against the grain, as by so doing the wood is nearly certain to be torn instead of cleanly shaven.
A close examination of the surface is now made, if found quite satisfactory, it may receive its final polishing by the application of some very fine glass paper wrapped round a piece of cork, with a little clear oil dabbed on it. This will give a dead smooth surface. If the above directions are carried out with clean and sharp work, the line along the table marked by the presence of the core will be so slight as to appear little more than the thread of the wood, in the highest class of repairing it will be nearly exact.
The part of the core projecting on the under side of the table is easily disposed of by a gouge in the same manner as described for the action of the chisel on the front.
The operations just described are of a kind that should not be undertaken without considerable experience, as, indeed, ought to be the case with many other repairs, the requisite dexterity of handling not coming at once even with much natural ability.