The Repair and Restoration of Violins

September 24th, 2010

The Repair and Restoration of Violins

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CHAPTER I. —Introductory

CHAPTER II. —Slight Accidents—Modern Restorers—"Chattering"—The Proper Sort of Glue—Its
Preparation and Use

CHAPTER III. —Minor Repairs—Cramps and Joints—Violin Cases—Rattles and Jars—Loose Fingerboards—Atmospheric Temperature—Old-Fashioned Methods of Repairing—Modern Ways—A Loose Nut

CHAPTER IV. —Injuries to the Head or Scroll—Insertion of Fresh Wood—Colouring of White Wood—Separation of Head from Peg-box and Re-joining—Stopping Material for Small Holes or Fractures—The Peg-box Cracked by Pressure

CHAPTER V. —Fracture of Peg-box and Shell—Chips from this Part—Filling up of Same—Restoration to Original Form, after Parts have been Lost—Worn Peg-holes, Re-filling or Boring Same

CHAPTER VI. —Loosening of Junction of Graft with Peg-box, and Refixing Same—Grafting, Different Methods of Performing this—Lengthening the Neck—Old and Modern Method—Renewal of Same—Inclination of Neck and Fingerboard with Regard to the Bridge—Height of Latter, and Reason for It

CHAPTER VII. —Finishing the Fingerboard—Fixing the Nut—Size and Position of Grooves for the Strings—Filing Down the Graft—Smoothing, Colouring, and Varnishing Same

CHAPTER VIII. —Injuries that can be Repaired from the Outside—Insertion of Fresh Wood in Fracture of the Ribs—The Effects of Climate on the Glue in Violins

CHAPTER IX. —The Glue Used by the Early Italian Makers—Insertion of Pieces of Wood for Repairing Lost Parts—Replacing Lost Rib and Repairing Interior without Opening when Possible—Securing Loose Lower Rib to End Block—Different Methods—Treatment of Worm-holes—Fixing on Graft on Neck

CHAPTER X. —Ways of Removing the Upper Table and the Neck—Cleansing the Interior—Preservation ofthe Original Label—Closing of Cracks in Upper Table

CHAPTER XI. —Getting Parts Together that apparently do not Fit—The use of Benzine or Turpentine—Treatment of Warped or Twisted Lower Tables

CHAPTER XII. —Removal of Old Superfluous Glue by Damping—Replacing Old End Blocks by New Ones—Temporary Beams and Joists Inside for Keeping Ribs, etc., in Position while Freshly Glued

CHAPTER XIII. —Re-opening the Back to Correct the Badly Repaired Joint—A Few Words on Studs—Filling Up Spaces left by Lost Splinters—Matching Wood for Large Cracks, etc.

CHAPTER XIV. —Repairing Lost Portions—Margins of Sound Holes—Matching the Grain—Fixing and
Finishing Off—Replacing with Fresh Wood Large Portions of Upper Table—Lost Parts of Purfling—
Restoring It with Old Stuff

CHAPTER XV. —Repairs to Purfling (continued)—Filling up an Opening Extending to the Whole Length of the Violin—Fitting the Core—Fixing it in Position and Retaining it There—Finishing the Surface

CHAPTER XVI. —Repairing Undertaken by People in Business not connected with that of Bowed Instruments—Removal of a Fixed Sound Post—Fitting a Fresh Part of Worm-Eaten Rib—Bringing Together the Loosened Joint of the Back Without Opening the Violin

CHAPTER XVII. —Insertion of Studs along the Joint Inside without Opening the Violin—Lining or Veneering a Thin Back

CHAPTER XVIII. —The Bar in Olden Times—The Modern One—The Operation of Fitting and Fixing the

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Violin-Making: A Historical and Practical Guide

September 24th, 2010

Violin-Making: A Historical and Practical Guide

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This classic guide offers an accessible initiation into the mysteries of violin-making. Charming in its style and cultivated in its research, it covers every detail of the process and includes a fascinating history of the instrument. More than 200 diagrams, engravings, and photographs complement the text. 1885 edition.

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Facts About Violins And Violin Making (1904)

September 24th, 2010

Facts About Violins And Violin Making (1904)

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This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

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A Review Of Ancient And Modern Violin Making

September 24th, 2010

A Review Of Ancient And Modern Violin Making

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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Violin Making (Illustrated)

September 24th, 2010

Violin Making (Illustrated)

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CONTENTS.
I NTRODUCTION
C HAPTER I. —SELECTION OF WOOD
C HAPTER II. —THE BACK
C HAPTER III. —PURFLING
C HAPTER IV. —BENDING THE PURFLING
C HAPTER V. —MODELLING THE BACK
C HAPTER VI. —WORKING OUT THE BACK
C HAPTER VII. —THE BELLY
C HAPTER VIII. —THICKNESSES OF THE BELLY
C HAPTER IX. —THE SOUNDHOLES
C HAPTER X. —THE BASS BAR
C HAPTER XI. —THE RIBS
C HAPTER XII. —FIXING RIBS, ETC.
C HAPTER XIII. —FIXING THE BELLY
C HAPTER XIV. —THE SCROLL
C HAPTER XV. —FIXING NECK, FINGERBOARD, ETC.
C HAPTER XVI. —OF VARNISH AND VARNISHING
C HAPTER XVII. —FITTING UP FOR USE
C HAPTER XVIII. —CONCLUSION

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PREFACE.
I do not like Prefaces.
They remind me somewhat of awaiting dinner in a drawing-room after a long walk in wintry weather. It is one thing to get there an occasional whiff of viands cooking in the basement of the house, and quite another to feel the same accentuate your gnawings of hunger.

Therefore, did I touch on motives for writing this book, or sketch outlines of heads of matters to follow in detail, I should engage little or no attention, so shall simply refer you who may read this preface, which is only a fraud, to the matter embodied in the following pages, for which, at least, I claim Honesty.

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