Gradually shallowing the ribs by lowering belly or raising back, I got various tones or notes for the air mass, trying E, D, C, B, A, but no resonance such as that of B suited me, so I roughly glued these ribs firmly together, fitted up the whole thing with every accessory such as would allow me to play on the instrument, with the satisfactory result of proving a case beyond question.

So I get to the necessary and somewhat difficult process of making the ribs, etc. But the mould in which they are to be temporarily fixed must be first made by you, and this is the way to go about it.

Get a piece of dry beech—birch or maple of the plain sort will do—18 inches long, 7 inches broad, and 1-1/2 inches deep. Take the half outline of the violin which you have decided to make, and place it flush with the edge of the above block, equal spaces being left at either end. Then very firmly and very accurately draw the half outline on the block for your mould. After you have done this, you must trace an inner line all round the other, one-eighth of an inch from the real outline; and, when you get to the corners, carry this inner line to a broad, open point somewhat beyond the square of the corners, as by this you are enabled to pass your ribs a little over the terminus at said corners, which will most materially assist you to effect a good joint there.

After this is well done, and your under surface quite level with the plane, take the block to a good band sawyer, and get him to saw just through the inner line, and you will have your mould in a measure ready for your ribs. Still, there is something to be done before you can set to work to fashion them, and the first is, square after the fret saw every quarter inch of its work, with steel square, 60, on tool block, your basis being your planed under surface, as most reliable.

Then, about one inch from inner mould, and one inch apart all round, drill holes through the wood with tool 56, or similar; and three larger holes, about seven-eighth inch diameter, one and a quarter inches under the centre of the D or middle bout, the other two some distance under the two corners. The small holes are for the bent steel cramps 2 to hold by when the linings are being fixed to the ribs, etc., and the three larger ones to hold down the centre rib in the same way by means of fitted wood block 33, and for the corner blocks, when they are fitted properly to the shaped ribs. (Cramp 11 is used in these latter cases.)

Having the mould ready, and in good order, prepare your ribs in this manner:—selecting what is nearest in figure to the back—good, honest wood—dress down both sides of it, the outer to a more finished surface, of course, and cut them to the dimensions previously stated, viz., one and a quarter inches to one and one-eighth of an inch whole length; but this whole length you will have to determine by measurement of each separate bout—lower, middle, and upper—which, when done to a nicety, mark on respective bouts for all future guidance in exact length.

When finally dressed, cut into lengths, and the ends of the middle rib filed down so as to enable the ends to pass and join upper or lower bout as the case may be, they being filed to fit, put your heating iron, fig. 5, and another iron to match, so that you will have a reserve of heat always on hand, into a bright, if possible smokeless, fire, and from one to the second of the heaters, get a good hot temperature—not scorching, be sure—and place a piece of brown paper over the narrow end of the heated tube. Then hold tool 64 in your right hand, middle rib in the left, and, with one end on the brown paper, the tool on that, very gently, cautiously, and by intuition, as it were, feel your way to a sweet curve of upper corner, using the broad part of the iron for the lower. Of course, although I have not told you, you will have bent the wood face to the mould for this centre, as the reverse for the outer, or larger ones, naturally. This done to your mind—do not be discouraged when I say I hope it may be—for you have hot work before you in more ways than one—get to the sharp corner curves of both the other ribs, face against iron afterwards, inside against it. Mind, as is your true shape to mould, so will your ribs be when it comes to be attached to the back; and there is no patching or trickery allowed here; so do your best. After this, fix the three sections into the mould, and keep them in position by means of cramp 2, and the centre one with block 33, held firmly by cramp 11.

Your corner blocks must be a trifle broader than the ribs, and about as wide as them—also from corner to inner surface, about one and a half inches. Cut and fit these nicely for future glueing, and then prepare and bend your pine for linings. This pine must be about five-sixteenths of an inch broad by about three-thirty-seconds of an inch thick, cut to taper for inner dressing either before or after fixing to ribs. These are not too easily bent, but not nearly so difficult as the ribs; but do not put on too much pressure, or snap is the result.

It will be necessary to see carefully to the gradation of the depth of the ribs from one and a quarter inches to one and one-eighth of an inch, either when they spring from a whole length or from three separate ones. In any case, my advice is to mark the beginning and end of each section from the broad end to the narrow, Nos. 1 to 2, lower; 2 to 3, middle; 3 to 4, upper; so that you cannot well get wrong in bending, from which would spring the first cause of error.

Having your glue somewhat thin but firm, at the point of setting, glue and clamp well your corner blocks (your mould being in the vice) and after that, remove the fitted wood block over the centre rib (it being now fast at both ends by means of the blocks just glued), and accurately fit the two small linings there, removing each end of said lining between block and rib, at either end, and, by first forcing half-inch chisel where the lining will have to go, as a sort of slot. This you must also do at the ends of all the other linings. Now glue the two small ones for centre and carefully fit and force them end by end into slots, finally placing wood block 33 over glued linings, and clamp firmly with cramp 11. The other four are much easier to fit and fix; small cramp 2 being used; but here you must always be sure of a perfect fit all over, or you will find when taken from the mould there will be apertures, Fig. 16.



When dry next day, and before you take from the mould, remove most of the cramps (one or two being left to keep the work fixed) and very neatly cut and clean all the work, as shown in figure of open instrument, and go about it in this manner:—the heavy corner blocks must be reduced with large gouge, and the linings made to fall away from their full thickness at edge of ribs to fine union with said ribs at the extreme of their (the linings) width. After that, clean every atom of superfluous glue away, and finish off with two or even three courses of sandpaper, rough to fine.

Then remove these so far finished ribs, and take the knife 19, being made by you exceedingly keen of edge, and square both edges all over, so accurately that, when they are glued later on to the back and belly, they shall fit and well, being jointed so that no aperture whatever is apparent.

But, you will doubtless murmur, it is all very well to say all this—please show us how to do it all; for, on the face of it, this is no child's play. And you are right to speak out; for it is one of the most difficult points we have to master, and I fully intended to make it quite clear before leaving it.

Hold the rib by left hand firmly to your breast, face side to you. Then take the knife 19, and cut away the superfluous linings and corner block wood, holding the steel absolutely square with the rib, or you will be all abroad. It is this squareness that is the severe test and your great trouble just now. Try on anything and on everything before you try it on a rib you may spoil; but do it on something or other, and finally you will do it and well on these ribs.

But, after cutting, you will have still more to do—lay them flat and keep them so and rigid with left hand whilst you, with rasp 47, fine side, level from one end to the other, not from you across the rib, as the other way is safer for keeping square, and obviates the risk of tearing away part of a lining or slip from a corner block.

You will have dressed the ribs at the outset as instructed; but you will now find them anything but fit to attach to the back; so trim and make them free from any blemish or stain of dirt, and then do your best to fit one side accurately, so that, when glued afterwards, there may be no discrepancies nor goings back.



CHAPTER XII. FIXING RIBS, ETC.

When you have attached the end blocks to the back, just the width of the ribs and the margin allowed when rib block was made firmly and without cramps, and dressed off next day, fit temporarily the set of ribs just made ready and clamp with the small wooden ones, as shown in fig. 17. You will have made both ends of rib somewhat longer than necessary, and, as they overlap, from inside mark where the top and bottom of linings are flush against blocks at each end. Then detach the rib, and cut away the small bit of lining as just marked. Then fit again, ribs going to end blocks now free, linings flush with end blocks. If not neat in fitting all round, cut the least possible bit away still from linings, until all be perfect. Then square to the exact centre of broad end block, and cut it there; the other end is of no moment, as, so long as the rib is flush with the button, and allows the neck to be inserted neatly, all is right. I hope I have made all this sufficiently plain to you, as the process is of importance. You will gather my meaning best, I think, if you study fig. 18.



In fitting with glue you will now need some assistance. Damp the side of the back, upon which this first set of ribs has to go, with a sponge wrung out of hot water. Then carefully dab on the rib all over the edge to be glued, when your glue is hot, also at each end where it has to join the two end blocks. Then, with loose wood blocks, 66 and 67 to your hand, hold the glued side of the rib over the under part of your glue pot, and then rapidly get all the parts glued well on to the back and end blocks where they are to be. Then fix the block 67 at the narrow end, and get your assistant to clamp it with tool 11—and the broad end with block 66, going to the small wood cramps for the rest of the fixing round the half of the instrument. See fig. 17.

This does not seem to have a ring of difficulty about it: but it is difficult—hedged around by it, but not, even to a nervous amateur or novice, insurmountable. Do all the work clean as lies in your power; have everything ready to your hand; act firmly as you can, and rapidly, whenever you have glueing in hand, and the result, be sure, will be in accordance. The second set of ribs is treated in every respect as the foregoing.

Every particle of superfluous glue must now be removed, in and out, and from the inside any ridges round by the ribs, and all smooth, level, and open to inspection now, as in the course of years it is all sure to be; for no instrument is so liable to damage as the fiddle, and you never know into what studio your beloved one may go, or by whom it will be criticised. And apart from this latter consideration, pride in your own work and love of truth ought, and I hope will, actuate to noble effort; but mind, do not overrate what is done, in your pride of heart, for those into whose hands it will come later will assuredly not do so.

When you have cut out the slot at the narrow end into which, later, the neck has to be glued, and made the end blocks level for the belly to rest perfectly, you have practically finished the body of the violin. But I must first tell you how to set about cutting the groove at the end of the instrument, into which the neck has to be inserted. You will note (fig. 19) outline of scroll and form of pattern by which you will be guided in cutting groove for neck insertion. This latter is one and nine-sixteenths of an inch deep—one and seven-sixteenths of an inch broad, tapering to bare one inch at junction with the button. Place it accurately with the instrument, mark with sharp tool, then cut out as you see it is done by me (plate 18).



After this, with brace 29, inserting brace bit 37 at position 28, make a clean cut hole in centre of broad end of violin for the end pin later; and when I have inserted the label, the putting on of the belly is my next work.

As many of you doubtless know, I am credited with a fad as regards this label business. But I do not see why I should be, seeing that so many frauds have been perpetrated in relation to old instruments, aye, and to new ones—my own not excepted. If I write with my own hand all that is written on all labels appearing in my violins, etc., and choose to give each one a name, and register every one in a book specially prepared for reference in the long future, a consecutive number being noted in each in private mark, where is the fad? Will it not be utterly impossible under this system to pass off anything spurious? I think so: and am sure the whole world would to-day be only too glad if the old masters had been silly (?) enough to have fads of a similar nature.



CHAPTER XIII. FIXING THE BELLY.

The label being fixed with thin glue, and all being in order, see that your cramps, both of iron and wood, and accessories, are all well to your hand, for this is a process where quick action is imperative. Your glue must be hot, and about the same consistency as when the ribs were fixed; and broad pieces of stiff cork must be procured, because the pressure of cramp 11 on back and belly at both ends will necessitate these safeguards.

In the first place, temporarily fix the belly, making as accurate a piece of work of it as you can, exact in overlapping as is the back, if possible. Then get your assistant to clamp it here and there with the wooden cramps, as fig. 17. Afterwards, pierce each end of belly with a bit about three-thirty-seconds of an inch, three-eighths of an inch deep through the table into each end block. Then remove cramps, and, into the holes in said table, fix a small pine peg, about as will just drive home when all is fixed and glued.

Now, wet with a hot sponge all the belly where junction with the ribs has to take place, and then dab a nice layer of your hot glue all round the ribs and end blocks, going over it a second time rapidly, and finally holding every part glued for a second over the hot water under your glue pot. It is urgent that the pegs are then inserted into the holes mentioned above, and that you at once force them home with the smart blow of a hammer, when your assistant begins to clamp as you direct; for there may be parts where a little humoring of either rib or belly will tax your ingenuity, so as to make a neat fit. Then, when all are on fairly well, clamp the ends with the iron cramps, having the blocks of cork to intercept, as spoken of above. (See fig. 20).



When the glue is dry and hard, on the following day you must clean all of it away that is showing and superfluous, and use gouges, 52, 54, 22, chisel 21, scrapers 26, 62. Any cutting of the wood is objectionable; but if there must be a trifle taken away from some part of the ribs to make a bad fit nearer a good one, then be certain to make all smooth with scraper and sandpaper, over and over again, or your work will be uneven at the finish; and your varnish is a terrible shower-up of bad work, my masters.

Following the above is the careful rounding of the edges of under and upper tables with files and glass-paper, as previously shown on the inner edges of the back and belly. Not too broad must this be done, or the somewhat sharp edge which you seek (or should seek) to bring neatly along the centre of the edge, as it were, of a small wave, doubtful whether to curl over on to the body of the violin or not, will lose much in form, and the grace intended be negative, if not utterly lost when under the eye of the connoisseur.

When this is all done, and the corners left beautifully square, save that the sharpness of the terminals are just a little rounded off (not the two points—these must not be touched) wet all you have gone over with a sponge, and clean when dry with No. 0 sandpaper, until you are sure your work will do you credit under the varnish, when you arrive at that stage. Before that, however, we have to consider the cutting of the scroll.



CHAPTER XIV. THE SCROLL.

On plate 19 you will find the outline of a scroll I use generally. I will employ the original from which this was taken now, and mark on a piece of old sycamore the exact representation of it.

The thickness of the wood must be one and eleven-sixteenths of an inch, ten inches in length—and broad enough to allow the outline to be properly cut for further operation. After I get this cut exactly by a band saw, I place the outline on the wood cut for the scroll, and with a sharp-pointed, hard pencil, prick the holes where the volute has to come on to the sides, both of them. After that, on the face of the wood—that is to say, the front, as though looking at the fingerboard, I mark at four-and-a-quarter inches from end of the head, which is to be the end of peg-box, and three inches from that, the narrow end of said box that is to be cut. Then I take centre of narrow end and mark off seven-sixteenths of an inch—width of said end, five-eighths of an inch for broad end. Then at five and five-eighths of an inch from broad end of peg-box, I take centre of extreme end of wood, here to be one and three-eighths of an inch when ready for the fingerboard afterwards, and I divide it, making a distinctive mark as to breadth and centre. Then, allowing full three-sixteenths of an inch for cheeks of peg-box, I draw two lines, one on either side of centre line, from end of wood to head, so that I just shall catch outer side of each cheek of peg-box that is to be, and which, running on to where crosses the nose of the scroll, gives a width there of bare nine-sixteenths of an inch. Afterwards I mark the three-sixteenths for cheeks of peg-box.

This is all I can mark at present, until I cut with the saw and with the chisels, as shown (figs. 21 and 22), I can now trace lines ready for manipulation of the volutes and the fluting. That of the volutes is my first business. The lines denoting the ascending spirals, and the pencil dots not yet touched, are my guides, and, with small hand saw, No. 30, I cut very carefully, by a dot at a time just low enough to touch the spiral line at its junction, cutting the bit away sideways, of course, just by the said line, and then a small piece more, until I arrive at the end of where the spiral ceases, at its base; but now that the volute is developing, I am enabled to complete the line, which brings the whole to its actual junction with the mainspring of conception. This, in a very great state of roughness, I show at an angle (fig. 23), and I reverse the sides, cutting the other in the same manner. It is necessary to have the wood firmly cramped to the bench on all occasions.



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.



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.



Then, before I fix the neck into the violin, I attach the fingerboard and nut—the latter in rough ebony, as I always work this neater with some wood over and above what I want. This fingerboard must be perfect in fit, put on with very hot, thin glue, and well cramped with three No. 11 cramps, having wood guard 31 over fingerboard for protection. When set and hard next day, I prepare the end incision for the neck to enter, and proper elevation of the ebony, so that the correct angle for a bridge of fair average height may be obtained. I give you what is a fair average height—one and three-eighths of an inch; but there is no absolute rule as to this. What is here given is that which will suit the instrument just made, as I know by many constructed on similar lines. This height is got when the bridge is held down by the strings, and the measurement is from belly to middle of the arch of the bridge.

Your fingerboard must be at such an angle when the neck is fixed, that the end of it near bridge must measure exactly thirteen-sixteenths of an inch from belly to top of ebony; by this means your bridge, as described, will be just a nice height for clean fingering of the strings.

This brings me to fixing the neck, and I do it thus:—In the first place, I have to remember that the length from nut on the fingerboard, inner side, to the bridge, must be, when all is finished, thirteen inches exactly, and the angle as above. So I have to be very careful that too much is not taken out of the slot I have to finish, either in width or inner recess, as that, one or the other, would necessitate lowering the neck end, which is not what I want to do. First the knife, then the files (coarse ones), and, little by little, I get nearer and nearer to a fit, when I try angle and the straightness of the whole with the fiddle, using compasses to measure from inner point of purfling, upper corner, to corner of fingerboard on corresponding side, with their exact counterparts on the other; and testing height of fingerboard from belly. This is very weary work, and must be quite correctly done, or—well you will either hear of it again in words, or see your failure in the sweet smile which is more detestable than the severest frown.

But all is at length right; the neck is forced home, and I mark round the button, on to the superfluous wood of neck, its curve, so that I may not cut beyond when I thin the neck to its proper and final shape and thickness.

Many of you will, doubtless, be players of the fiddle, and to such, good, bad or indifferent, I need hardly say how much the disposition and general character of the neck of your instrument influences your performance on it. It is obviously quite impossible to lay down any rule or law, as to depth, width, or the curve at the end terminating at the button, for some will have this latter thin and abrupt, others less so, whilst a few insist on its being thick.

If people only knew how much the strength of the neck has to do with the tone of the instrument, they would leave to the maker or expert to determine what was best for it, either in the original making of the violin or in placing a new neck in an old one. But it is convenience—what we like and what we will have; so, in consequence, suffers the tone of the instrument.

You have a violin thick in wood: if I find on it a neck also heavy in material, to a certainty I have to register thin, woody tone; whereas, given a thinner neck there would be more vibration in it, and an undoubted impetus would be given to the somewhat inert body of the violin—its heavy timber being too much for the mass of air, which acts its part in that it moves in response to compulsion, but fails, in producing so feeble an agitation of the whole wood.

But, on the other hand, I find a thin neck attached to a thin body, and I also find a whole pack of wolves, hollow, rasping tone, and difficult of production—in fact, a wretched fiddle.

Then, as to width of fingerboard—a narrow one is often clung to as "so nice and handy," etc., but it is forgotten that the strings in consequence have to be brought closer together than clean fingering requires; and, moreover, the E string must, of necessity, be brought too near the edge of the ebony for firm stopping; so I have no sympathy whatever with a narrow or too thin fingerboard and neck.

But I have to work away at the rough neck after having traced the outline of the button upon the under end of it—not the actual shape of this necessity, but such as will serve as a guide to one of more grace. Added to that, I roughly mark the shape and thickness of the wood up to which I have to cut away, to insure nice handling. To this line I cut with bow saw 68; and I then use all the knives I have, and many files—rasps in the early stages—until I get to the shape I want, after which I wet with a sponge, renewing the work when dry with finer files and glass-paper, No. 1-1/2, making a second stage, then wet again, to two more stages, when all should be very clean and nice. Of course, I round the fingerboard's edges somewhat, and clean on each occasion of wetting. When finished, the neck should measure round thick end (one and a half inches from extreme end of wood), three and a half inches; and round thin end (one inch from peg-box) three inches. This finishes the neck, which is now ready for insertion in the violin.

I have, above, treated of this: I now do it actually. I have wood guard 31 ready for protection of fingerboard, and 32, for the back, and one of No. 11 cramps. I dab the neck and the cutting with hot strong glue, and gently work them together, until the glue oozes out at all points, when I put on the wood guards and clamp hard. Then I wash the superfluous glue away with a sponge wrung out of hot water, after I have tested whether I have got in the neck straight and at its correct angle. (See fig. 27.)



But there is the neat finishing off of the neck and button, which I attend to carefully, when all is set hard on the following day, paying much heed to grace and character here, as it is a part of the fiddle which cries out at once if slovenly, or ungainly, or the least bit out of line or centre.

And I fashion the nut over which the tail-piece gut has to stretch, and cut the bed into which it is glued. Then I very carefully wash the violin all over with a clean sponge wrung out of warm water, giving it plenty of time to dry before I finally clean every part thoroughly with No. 0 glass-paper—and the violin is finished in the white.



CHAPTER XVI. OF VARNISH AND VARNISHING.

To write an exhaustive essay on this most absorbing subject before us, to go into any manner of detail at all in the present work, is not my intention. It is far too wide, too subtle, and, in my opinion, is an art of itself, requiring not only great space in which to voice its merits, its component parts, and the thousand and one compounds in which those parts assimilate, but the calm of the study rather than the bustle of the workshop, given out deliberately by him whose conclusions are based on the sound issues arising from momentous research, careful analysis of former old examples, and an utter abhorrence of prejudice, for or against this or that compound or colour—prejudice, mind, actuating choice.

But in continuation, though somewhat in parenthesis, a choice based on determined observation of a matter is quite another thing; and I tell you at once my experience as between spirit and oil varnish condemns the former, whilst it very strongly advocates the latter; and when one considers that it is in the nature of oil to assimilate with wood, and to throw up its beauties, and whilst a mellowness clings to the very name, the reverse on all points being the case with spirit, the surprise is that varnish other than of oil should be tolerated.

Besides, see the difference in wear. Use a violin coated with spirit, and if the friction from its employment be severe, you have cracks, pieces chipping here and there, the instrument getting barer and barer daily, so that in time little of it, the varnish, is left. But it is not so with oil; the wear is wear, not in chips, but in gradual diminishing of its substance, always a something being left; added to which a beauty springs from such, in that softer gradations of colour radiate and form a greater depth, from the fact of such colour or colours being more readily absorbed.

Again, in their relations to Tone, I place the oil varnishes first; and I think the point is pretty generally conceded, for what is on the face power, which some attribute to the brittle, assertive nature of the gums hardened by alcohol, is not in reality such, but often aggressive noise, losing itself the more you retreat from it, leaving real tone little to say for itself.

But coat the violin with oil; you certainly cannot complain of loud, rasping responses to the call of the bow, whilst you can make some assertion as to quality. And, remember, as the soft nature of the oil assumes a harder tendency day by day, so will increase the sonority of the tones, whilst retaining the beauty of character with which they began. Therefore, I shall draw your attention to the use of oil varnish, utterly discarding that of spirit.

But to what oil varnish is not my present purpose; why should I seek to close the door on research and on experiment? It is for you, students, to take home, each one of you, the lesson of the mighty failure of thousands gone before you, in inability to bring to a finish that upon which they have spent so many anxious hours, and do something different and better. It is my intention to teach you, step by step, how to lay on what you prepare for the brush: but not to say "get this or that oil," or "this or that colour," except in the abstract—red, orange, amber, yellow, etc., etc., being names only.

I say this at once so that there may be no mistake—so that none can say I use this or that: my own varnish and colouring are my own solely, and I reserve the secret for the benefit of my family, should it prove of value after my career be ended.

Fashion a piece of wood so that it fits easily into the hole at the end of the violin in which, later, the end pin is inserted. It must have a rough sort of handle, because by it you will hold the instrument when you have occasion otherwise than by the neck; for you must on no account touch the wood before you varnish, nor afterwards, with your hands, nor must you allow others to do so, when, in your pardonable pride of heart, you show your creation to your friends.

With a clean sponge, wrung out of tepid water, and a camel-hair brush for parts where the sponge will not be of service, go all over your violin, but do not wet it heavily—far from it; and when quite dry, on the slightly roughened surface thus left, place a yellow or amber coating of turpentine, thoroughly mixing with it a little of the oil varnish selected by you along with your colouring matter as you arrange, yellow or amber. To do this well, and for future use, you must have half to one inch flat camel-hair and fine hog-hair brushes. A round hog-hair brush, medium size, is good for this initial coating (some call it sizing; but I think this is misleading—"size" being generally understood to bear reference to glue, and we want none of that under varnish.)

This should be dry in about two or three days, when you may lay on a second course, less turpentine and rather more varnish; also less yellow and a very little red. This will take somewhat longer to dry, and please observe that the more varnish (if it be oil and gum, pure and simple) so much longer it will be in drying; and, as you advance to the final stage, you will gradually discard the turpentine altogether, as you will the yellow, colouring at last with red only.

As you advance step by step, and before you venture on another layer, with the tip of your finger test the varnish, and if there be the least tackiness, wait a day or two until all be dry. And as a roughness is bound to show itself as stage after stage is passed, it is well to smooth down each course when dry with fine No. 0 glass-paper upon which is first spread a drop of pure Lucca oil, which, of course, must be lightly applied to the body of varnish, and the whole carefully wiped with clean linen or silk handkerchief afterwards.

Now, after the first two coats, you must use about a three-quarter inch fine hog-hair brush (not many hairs in, mind) and for the later coats one with camel hair. Sit on a low chair, have the light to your right hand, the varnish before you handy, not too high. The violin is held by neck, left hand of course; the stick at the broad end through the hole where comes later the end pin (see above) rests on your right leg as you sit. Get a fair dip of varnish in your brush, but NEVER flood it; and beginning carefully under the fingerboard, first one side, then the other, working the top sides of the instrument also alternately, until the soundholes be reached, when inside these cuts must be neatly coloured, after which you just tip your brush with the varnish, neatly continuing where you leave off, so that none can see a break in your progress. This advice applies until ribs and scroll be all done after the belly and the back. I have ever found the upper table the most exacting and difficult; but, once again, never flood your brush, and you will varnish sooner or later. But never hurry: and this advice applies to every thing you do in the construction of the violin. Patience of no ordinary character you must exercise; if you have it not it will come to you, but through experience alone, through failures, through catastrophes innumerable. But what then? These things that have mastered you stand mastered in turn in the excellent result of to-day, so let yesterday go to the wall.

Now that we can consider the operation of varnishing at an end, the instrument is hung on a wire, free to the warm dry air of a room or to a passage where a current of it is circulating. When hard (and there is no actual time to gauge this by) prepare to finish off and rub down the whole; and care must be observed that no scratch appears, for a surface looks bad, very bad, with anything of this sort to mar its beauty.

The first essential in this process is pure Lucca oil, which does not clagg; and the next, specially prepared pumice stone powder, which must be as fine as flour; and should there be any doubt about its being absolutely free from specks of grit, filter it through fine muslin or silk, and only use that which passes through, in water.

Then take some brown paper and make a pad, rubbing on oil and a sprinkling of the pumice stone powder, when you can go over portions of the back, very lightly feeling your way to see whether all works smoothly and no scratch in the operation. If this be so, continue on these lines, sparingly adding more powder, but freely using the oil. You can, to smooth off, use saturated rag (oiled) and after that, a dry pad of very fine muslin or silk.

The belly is tedious, more so than the back, and the ribs still more so. Contrivances to get into corners and curves of the latter, you will have to resort to, such as small pieces of paper, and pumice stone and oil, and oiled fine glass-paper, and finely rubbed pieces of curved wood, with which you can operate to smooth near edges of ribs, etc.

All can be done well, all must be done well; for, remember, there is to be no French rubbish (polish, I mean), on the top of this oil varnish, but your hand must finally bring up its lustre, as I can show you mine has so frequently brought to a rich glow that preparation made and used by me, on my own work only.



CHAPTER XVII. FITTING UP FOR USE.

This last of many complicated and difficult stages must be entered upon with a will, and great attention paid to all details. The fittings used must be of the best, and the strings rough Roman, and must be tested to see if they vibrate truly. This is done by twanging, so that two distinct outlines are shown; if any dimness appear, or the lines wobble, as I may say, try again, for such are false. Not always, though; for I have known this rule (for it is a rule) falsified, and a good string appear untrue by test, and vice versa.

Take the Rimer, 15, and work out the peg-holes nicely; then fit ebony or rosewood pegs as you fancy, cutting off the superfluous pieces which obtrude on the off-side of peg-box. Apply a little soap and chalk to ensure close working when tuning.

Then on the nut, cut the narrow channels over which the strings have to pass to the fingerboard. A nice discrimination must be observed here as to the width from E to A to D to G. There can be no rule laid down, because some players will have them nearer together than others, and must, if for double stopping, they having narrow fingers; and on the contrary, wider apart, if for broader ended fingers. What I find a nice medium is seven-thirty-seconds of an inch from the bottom of one slot to another. Take the compass and divide to seven-thirty-seconds of an inch and press one point at G, D, A, E, allowing a fair margin at both sides of the ebony, not above, say one-eighth of an inch good. Then use either of the rat tail files, 27, and carefully file to depths required, which must be so as to allow a playing card to slip comfortably under the E string when taut, a little more space for the other three being necessary, especially the G. Rub a black lead pencil through the cuts, and work them very smooth with a thin, round piece of steel, which makes all the strings much easier to slide afterwards and minimises breakage.

The nut must then be filed and sandpapered nicely down to the cuts, so as to leave only a shallow passage, as one too deep retards free action of the string and somewhat of vibration, besides making the fingering less satisfactory. The ends or sides must be made beautifully even with the neck and rounded and papered off so that not an atom of friction worries the player, who has often worry enough in all conscience in the work of correct manipulation before him, without the hindrance of bad work on his instrument.

Then we come to the bridge—with two feet, not more my friends; the dear old fiddle has managed these three or four hundred years to crawl along very respectably as a biped: I shall have nothing whatever to do with turning him into a quadruped, be assured.

The importance of the quality and of the correct height, thickness, etc., etc., of this most essential adjunct, cannot be too seriously impressed upon all who seek to get from the violin they are fitting up the strongest and the best quality of tone possible; and, unless the clever amateur be sufficiently so to do it as it should be and can be done by an expert, my advice to him is, do not attempt it as a work of finality—try to do it properly and persevere, and I will help you. But do not show me with pride work to which attaches nothing but condemnation; too thick at top and bottom—feet clumsy to a degree—too high or too low—badly arranged for clean bowing on separate strings, and too deep or too shallow in the cuts for them. What does it matter to me if only a few or but one of these faults be apparent? the bridge is not perfect, and perfect it must be made, so I proceed to the consideration of the work to be done to make it so.

Select a fine, strong, light bridge by either Aubert or Panpi—the former by preference. In using the names of these deservedly popular makers, I mean, of course, either Aubert or Panpi, and the bridges wrought in their workshops, not the nasty imitations we are compelled to see sometimes, but which, rather than use, we would go a day's journey to avoid.

Pare the feet down to about one thirty-second of an inch (this when fitted finally) and proceed to make as accurate a union of these feet with the belly as you can, as it is most important that such should be the case. Then measure the height of this bridge, from belly to its top at centre, as one and five-sixteenths of an inch, nicely curving it so that ease of bowing is obtained, as spoken of before. This curvature should be unequal in height—or, rather, to express it better, the height on the G side should be so that, at the broad end of the fingerboard, the space between the ebony and the string will be a quarter of an inch, reducing as we get to the E, which registers about one-sixteenth of an inch less, or three-sixteenths of an inch. This is a guide, and a good mean to work on, but not a rule, as some people cannot play except the strings are near to the board, others just the reverse.

As to the distance between the strings, where they pass over the bridge, this is also a point somewhat of controversy, and applies, as do my remarks in reference to the fingerboard nut—there is no rule; but a very useful mean distance is seven-sixteenths of an inch. When you have got the angle correct, mark with the compasses where the incisions are to be made with tool 27 round, rat tail file, and work the cuts accordingly, about as deep as the file where it tapers one-third from its point.

Then reduce the bridge in thickness from its feet upwards—very sparingly at these feet, but tapering to pretty thin at the top, say a bare sixteenth of an inch. The reduction must be made by rubbing on sandpaper, and a clean, straight tapering effected, as a bridge, where you can discern a round-backed slope, is bad—looks so and is. When fitted and completed, the bridge must be as near perpendicular as possible; if there be any inclination, it must tend to the tailpiece, and very slightly, thus checking the certain tendency of the strings to pull it forward, which must be always closely watched, as if it fall on the belly of the violin, it is most liable to break—not only so, but to crack that same soundboard. The outer edges may be either filed to an angle of one-sixteenth of an inch bare, or neatly rounded.

The soundpost must engage your closest attention, and must be of old Swiss pine. There is, again, no rule as to thickness—some violins do best with a thick, others with medium to thin post. I only tell you for guidance, a medium to thin is mostly used by me. It must be evenly rounded, and both ends filed so that the angles of back and belly may fit exactly when it is placed inside. To get the exact length is not an easy matter; but you will find this hint useful: with a thin piece of wood gauge the depth through the upper hole of the soundhole from the back to the outer surface of the belly, and your post will have to be a trifle longer than this, minus the thickness of the belly. Then take a soundpost setter and fix the pointed end into the wood, sloping sides towards you, of course, and do your best to place this most exacting, but most necessary adjunct, just behind the centre of the foot of the bridge on the E side—the distance of about a good sixteenth of an inch behind the side next to the tail piece. When fitted, it must be neither slack nor tight, but between the two.

Of course, this operation will be, to the novice, a horrible job: he will fume and he will perspire, and, I fear, he will use strong language—none of which will help him, but on the contrary, will retard progress. The thing has to be done, and done well; and it would be much better if the amateur cannot do it ultimately, to pay an expert for timely instruction.

Then fit the end pin, but, before doing so, look through the hole in which it has to go and ascertain if the post inside be straight—which is very necessary to the good ordering of pure tone. Regulate with the broad end of the setter, and draw or push through the soundhole on either side, as may be necessary.

And when you have nicely gauged and secured by single knobs the tail-gut to the tailpiece, the instrument is finished excepting the neck, the polishing of which we will now consider.

With constant handling you will find this neck dirty and greasy. Wash it well with a sponge, and when dry, colour with a yellow water or spirit wash. Do not sandpaper at all yet; but make a nice orange-coloured spirit varnish, and place neatly over the yellow three or four coats. When thoroughly hard, clean it down with No. 0 sandpaper soaked in Lucca oil, smooth, and ready for the hand.



CHAPTER XVIII. CONCLUSION.

Then, my friends, reward your many anxious moments of thought and work—string your fiddle, for, be assured, you will be rewarded, be your instrument somewhat crude in tone; and he is of a miserably cold, prosaic temperament indeed, who does not warm up at this juncture—this climax, this crisis. It may be the tone is good, very good; with what pride it is shown and tried; should it be mediocre, or even poor, a certain amount of pride is excusable, and faults are condoned.

Should there be faults that a touch of the soundpost may minimise, gently touch it, moving it hither and thither, until it meets with a desired response. Or your strings may be too thick or too thin; all may be of no avail, however, so work the fiddle for six months, and note if it shows signs of improvement; if not, look well to your construction next time, and build for posterity on early failures, on disappointments after long study and careful manipulation, or resolve to be master, after hearing your praiseworthy devotion rewarded by the empty sneers of those who, maybe, care nothing whatever whether you do ill or well, but only that they have the chance of showing their superior wisdom and making stagnant that which, given warm encouragement, would have flowed on until the future would proudly record the noble work of real genius.

THE END.



NOTE.—The writer wishes gratefully to record the very able assistance given by Mr. Barrett, of 131, Oxford Road, Manchester, in his most careful rendering of the various stages of the foregoing work in photography, from which blocks have been made.



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"THE STRAD" LIBRARY, No. I.

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"THE STRAD" LIBRARY EDITION is the only Authorised Edition of

Technics of Violin Playing ON JOACHIM'S METHOD BY CARL COURVOISIER, With Folding Plates, containing Fifteen Illustrations.

LETTER FROM DR. JOACHIM. [COPY.]

MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have sent me, and have to congratulate you sincerely on the manner in which you have performed a most difficult task, i.e., to describe the best way of arriving at a correct manner of playing the violin.

It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students.

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The New and Revised Edition of "Technics of Violin Playing," issued by THE STRAD, is the only authorised edition of my work. The several English Editions which have all appeared without my knowledge are incomplete and faulty.

CARL COURVOISIER.



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HOW TO STUDY THE VIOLIN By J. T. CARRODUS.

CONTENTS.

Strings and Tuning. The Bow and Bowing. Faults and their Correction. Scales and their Importance. Course of Study. Advice on Elementary Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr. Spohr's testimonial to Carrodus.

"An interesting series of articles 'How to Study the Violin,' which Carrodus contributed to THE STRAD, and completed only a week or two before his death, have now been collected in cheap book form. The technical hints to violin students, which are practical, plainly worded, and from such a pen most valuable."—Daily News.

"But a few weeks before his sudden death the most distinguished of native violinists completed in THE STRAD a series of chats to students of the instrument associated with his name. These chats are now re-issued, with a sympathetic preface and instructive annotations. All who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by Carrodus to render every detail as clear to the novice as to the advanced pupil. Pleasant gossip concerning provincial festivals at which Carrodus was for many years 'leader' of the orchestra, ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed."—Daily Chronicle.

"It is surely, hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late Mr. Carrodus, so that it only remains to state that the 'Recollections' make delightful reading, and that the book, as a whole, is as entertaining as it is instructive. The value of the brochure is enhanced by an excellent portrait of Mr. Carrodus, as well as of a number of other violin worthies, and the printing, paper, and get up generally are good as could possibly be."—Musical Answers.



"THE STRAD" LIBRARY, No. III.

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THE BOW Its History, Manufacture and Use BY HENRY SAINT-GEORGE. With Full Page Illustrations (exact size) by Photo Process.

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ADOLF BRODSKY writes—"I am delighted with the book and find it very instructive, even for those who think to know everything about the bow. It is very original and at times very amusing. No violinist should miss the opportunity to buy it."

THE TIMES.—"A useful treatise on the Bow, in which the history, manufacture and use of the bow are discussed with considerable technical knowledge."

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"THE STRAD" LIBRARY, No. IV.

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CELEBRATED VIOLINISTS: PAST AND PRESENT, Translated from the German of A. EHRLICH, And Edited with Notes and Additions by ROBIN H. LEGGE. WITH EIGHTY-NINE PORTRAITS.

PRESS NOTICES.

"Those who love their fiddles better than their fellows, and who treasure up every detail that can be found and recorded about their favourite and cherished players, will not fail to provide themselves with a copy of this book."—Musical Opinion.

"This book of 280 pages is a most interesting and valuable addition to the violinist's library. It contains 89 biographical sketches of well-known artists, ancient and modern, of all nations. This is not intended to be a perfect dictionary of violinists; the aim of the Editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players, and we must concede that no name of the first importance has been omitted. Germany is represented by 21 names, Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle, Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most agreeable reading to the numerous army of violinists, both professionals and amateurs, and after careful examination we can find nothing but praise for this translation into English of a book well known on the Continent."—The Piano, Organ and Music Trades Journal.



"THE STRAD" LIBRARY, No. V.

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TECHNICS OF VIOLONCELLO PLAYING BY E. VAN DER STRAETEN. COPIOUSLY ILLUSTRATED.

Copy of Letter received by the Author from the great 'cellist, SIGNOR ALFRED PIATTI.

Cadenabbia, Lake of Como, March 9th, 1898.

DEAR SIR,—I received the book you kindly sent me on "The Technics of Violoncello Playing," which I found excellent, particularly for beginners, which naturally was your scope. With many thanks for kindly remembering an old ex-violoncello player.

Believe me, yours sincerely, ALFRED PIATTI.

Copy of Letter received by the Author from the eminent 'cellist, HERR DAVID POPPER.

Budapest, February 22nd, 1898.

DEAR SIR,—In sending me your book on "The Technics of Violoncello Playing" you have given me a real and true pleasure. I know of no work, tutors and studies not excepted, which presents so much valuable material, so much that is absolutely to the point, avoiding—I might say, on principle—all that is superfluous and dispensable. Every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master.

I congratulate you and ourselves most heartily on the new violoncello book. With kind regards, Yours most sincerely, DAVID POPPER.



"THE STRAD" LIBRARY, No. VI.

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VIOLIN PLAYING BY JOHN DUNN.

CONTENTS

INTRODUCTORY—Qualities indispensable to the ideal Violinist—Hints on the Choice of a Teacher—Some Tricks of pretending professors exposed.

ON THE CHOICE OF A VIOLIN AND BOW—Advice regarding general adjustment and repairs.

ON THE CHOICE OF STRINGS—Stringing the Instrument and keeping the Pegs in Order.

ON THE GENERAL POSTURE—The manner of holding the Violin and Bow as accepted by the leading artists of the day.

ON FINGERING GENERALLY—The various positions—Scales recommended—The Modern Orchestral "Principal" or (so-called) Leader.

ON GLIDING—Special Characteristics of some of the most Eminent Players.

DOUBLE STOPPING—The main difficulty in Double Stopping—How to gain Independence of Finger.

BOWINGS—Smooth Bowings—Solid Staccato—Spiccato—Spring Bow—Mixed Bowings.

TONE PRODUCTION—Character of Tone—Rules and Conditions necessary to produce a good tone—Style and Expression.



"THE STRAD" LIBRARY, No. VII.

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Chats to 'Cello Students BY ARTHUR BROADLEY.

"Musicians, devotees of the 'cello in particular, will welcome the latest volume of 'THE STRAD' Library, 'Chats to 'Cello Students,' by Arthur Broadley.... Mr. Broadley not only knows what he is talking about, but has practised what he says. From the choice of an instrument to finished delivery and orchestral playing, 'Chats to 'Cello Students' leaves nothing undiscussed. The treatment is simple and practical. The exhaustive chapter on 'bowing' should be an invaluable aid to students. In the last chapter of his book, 'On Delivery and Style' Mr. Broadley has given a lucid expression to a subject which has sadly needed voicing."—The Tribune, Nuneaton.

"Is a brightly written little volume filled with practical information for those who seek to bring out the wealth of expression of which the violoncello is capable. The instruction is presented in homely, common-sense fashion, and there are upwards of fifty examples in music type to illustrate the author's meaning."—Lloyd's Weekly.

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"THE STRAD" LIBRARY, No. VIII.

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ANTONIO STRADIVARI BY HORACE PETHERICK. Of the Music Jury, International Inventions Exhibition, South Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in Law Courts, 1891; President of the Cremona Society. ILLUSTRATED BY THE AUTHOR.

"This is the history of the life-work of the great Italian stringed musical instrument maker.... There is a most interesting analysis of Stradivari's method of mechanical construction which again is illustrated by original drawings from the many Strads which it has been Mr. Petherick's privilege to examine. All lovers of the king of instruments will read this delightful little volume."—Reynolds.

"Among makers of violins Stradivari perhaps occupies the premier position, and this account of his work, designs, and variations in finish of details will afford pleasure to many readers."—Morning Post.

"This is a monograph which all students of the violin will be happy to possess. The author is a connoisseur and expert, and his account of the great Cremonese master and his life-work, is singularly well and clearly told, whilst the technical descriptions and diagrams cannot fail to interest everyone who has fallen under the spell of the violin.... Mr. Petherick traces the career of Stradivari from his earliest insight into the mysteries of the craft to his highest achievements. Numerous illustrations lend attraction to the volume, not the least being a view of Stradivari's atelier, from a painting by Rinaldi, the sketch of which was made on the premises."—Music.

"Mr. Petherick is well known in the musical world as a violin expert with a special knowledge of the instruments made by the Cremonese master, whose biography he has here given us. He tells us how the master worked, what his pupils did, and where their work differs from that of their preceptor. In fact, the volume is as much a dissertation on the violins of Stradivari as a biography of the master, and is full of deeply interesting matter."—Lloyds.



"THE STRAD" LIBRARY, No. IX.

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VIOLIN MAKING BY WALTER H. MAYSON, With Thirty-one Full-page PHOTO ETCHINGS, Illustrating the process of Violin-making in every stage—from the rough slab of wood to the finished Instrument.

The text is written by an Actual Violin Maker, in a very clear and lucid style.

"'Popular lecture' style, with photographic illustrations."—The Times.

"A feature of the book is the clearness of the illustrations."—Morning Post.

"Describes a very fascinating art from start to finish."—Morning Leader.

"This new booklet, on how to make a violin, is an admirable exposition of methods. Mr. Mayson avoids learned terminology. He uses the simplest English, and goes straight to the point. He begins by showing the young learner how to choose the best wood for the violin that is to be. Throughout a whole chatty, perfectly simple chapter, he discourses on the back. A separate chapter is devoted to the modelling of the back, and a third to its 'working out.' The art of sound-holes, ribs, neck, fingerboard, the scroll, the belly. Among the illustrations is one showing the tools which the author himself uses in the making of his instruments. To learners of the well-known Manchester maker's delicate art we commend this little volume."—Daily News.



"THE STRAD" LIBRARY, No. X.

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(DEDICATED, BY PERMISSION, TO DR. JOSEPH JOACHIM) THE VIOLIN MUSIC OF BEETHOVEN, Critically discussed, and Illustrated with over FIFTY MUSICAL EXAMPLES, BY J. MATTHEWS.

The book contains analytical and historical notes upon the Chamber Music of Beethoven, in which the violin takes part as a solo instrument, with some account of the various editions of the principal works; Beethoven's method of working, as shown by his Sketch Books, etc. It is dedicated to Dr. JOACHIM, who has furnished some notes respecting the stringed instruments possessed by Beethoven.

Extract from Author's Preface:—

"Young students often suppose that they ought to admire every work which proceeds from a great genius; an attempt therefore has been made to convey some idea of the relative art-value and importance of the various compositions discussed in these pages. For between the best work of any man and his least inspired, there is a wide difference. Certainly nothing annoyed the great master more than to hear his least mature works praised, especially at a time when many of his greatest creations were too little studied to be understood save by a few."

"Mr. John Matthews—dealing with Beethoven's music in pleasant fashion, and at not too great length—gives an historical account, and in many instances short analyses, with illustrations in music type of Beethoven's works for this instrument, and particularly the sonatas (to which considerable space is devoted), the trios, the quartets, and other compositions in which the master employed the violin. The book will be found by amateurs both interesting and instructive."—Daily News.



"THE STRAD" LIBRARY, No. XI.

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Advice to Pupils & Teachers of the Violin, BY BASIL ALTHAUS.

Strongly recommended by AUGUST WILHELMJ & GUIDO PAPINI

London, March 18th, 1903.

DEAR MR. ALTHAUS,

I read your book "Advice to Pupils and Teachers of the Violin" with great interest, and find it very useful. Hoping your book will meet with the success it deserves.

I am, yours sincerely, AUGUST WILHELMJ.

London, Feb. 19th, 1903.

DEAR MR. ALTHAUS,

I have read with interest your admirable book, "Advice to Pupils and Teachers of the Violin." I have no hesitation in recommending it as an indispensable work to all aspiring violinists and teachers. Your remarks on the acquirement of the various bowings, with the many musical examples, are excellent. I know of no work on this important subject so explicit and exhaustive. Wishing your book the great success it deserves.

Believe me, yours sincerely, GUIDO PAPINI.

"I have read the 157 pages that go to form the book in question, and can say, without any misgiving, that Mr. Althaus has successfully achieved what he set out to do."—Musical Standard.



"THE STRAD" LIBRARY, No. XII.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

THE Repairing and Restoration of Violins, BY HORACE PETHERICK. Of the Music Jury, International Inventions Exhibition, South Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in Law Courts, 1891; President of the Cremona Society.

WITH FIFTY ILLUSTRATIONS BY THE AUTHOR.

CONTENTS.

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.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

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.

"The author of this book has thought much and deeply on the fascinating subject of which he treats, and is entitled to a hearing.... The author's remarks on 'Tone' are excellently conceived, and of no small interest, the subject being less hackneyed than that of ordinary technique. In his chapter on 'Style' he reminds the readers of the many factors which go to the making of a fine violinist, among which Style—which is the outcome of the imagination and the sensibility of the player—is one of the most important. The fine executant is common enough now-a-days, but the fine stylist as rare as ever."—Musical News.



"THE STRAD" LIBRARY, No. XIV.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

SELECTED VIOLIN SOLOS, AND HOW TO PLAY THEM, BY BASIL ALTHAUS. (Author of "Advice to Pupils and Teachers of the Violin.") With 283 Musical Examples.

CONTENTS.

INTRODUCTION.

SECTION I.

GRADE A.—Elementary Pieces.

GRADE B.—Easy, not exceeding First Position.

GRADE C.—Easy, using First and Third Position.

SECTION II.

GRADE D.—Moderately Difficult, not exceeding the Third Position.

GRADE E.—Moderately Difficult, as far as the Fifth Position.

GRADE F.—Difficult, especially as regards Sentiment and Expression.

SECTION III.

GRADE G.—Difficult, using all Positions.

GRADE H.—Very Difficult, including Standard Concertos and Concert Pieces.

GRADE I.—For Virtuosi.



"THE STRAD" LIBRARY, No, XV.

Crown 8vo., Cloth, 2/6, Post Free, 2/9.

THE VIOLIN AND ITS STORY: OR THE HISTORY AND CONSTRUCTION OF THE VIOLIN.

Translated and Adapted from the German of HYACINTH ABELE BY GEOFFREY ALWYN.

WITH TWENTY-EIGHT ILLUSTRATIONS.

"The school of Cremona is dealt with at great length, but in the most interesting way. Short biographical sketches are given of the great exponents of this school, which was founded by Andreas Amati. To it belonged Antonio Stradivari, who is said to be the greatest of all violin makers, and Joseph Guarnerius. The pupils of the Amati and the others mentioned are duly tabulated before the schools of Milan and Venice are discussed. Following these we have the German school, etc., etc. Part III. of the book under notice deals with the constituent parts of the violin, and there is nothing that the seeker after knowledge cannot find here, even to the number of hairs which should go to the making of a bow. Strings, bridges, sound-posts, bass-bars, nuts, pegs—indeed, everything about a violin is treated in an authoritative way. Not for a very long time have we been so interested in a book, and for that reason we wish our violin players to share that pleasure by getting a copy."—The Cumnock Chronicle.



"THE STRAD" LIBRARY, No. XVI.

Crown 8vo., Cloth, 5/-, Post Free, 5/4.

JOSEPH GUARNERIUS, HIS WORK & HIS MASTER, BY HORACE PETHERICK (Of the Music Jury, International Inventions Exhibition, South Kensington, 1885; International Exhibition, Edinburgh, 1890; Expert in Law Courts, 1891; President of the Cremona Society),

With numerous Illustrations by the Author, 41 full-page Reproductions of Photographs, AND 220 pages of Letterpress.

"Mr. Petherick is well known in the musical world as a violin expert with a special knowledge of the instruments made by the Cremonese master."—Lloyds.

This is the only exhaustive work published on JOSEPH GUARNERIUS, and the Author claims to have discovered his Teacher in Andreas Gisalberti, whose name is here mentioned for the first time as a maker of renown.



"THE STRAD" LIBRARY. No. XVII.

Crown 8vo., Cloth, 5/-, Post Free, 5/4.

NICOLO PAGANINI: HIS LIFE AND WORK, BY STEPHEN S. STRATTON,

With TWENTY-SEVEN FULL-PAGE ILLUSTRATIONS including REPRODUCTIONS OF PHOTOGRAPHS TAKEN ESPECIALLY FOR THIS WORK.

"It is a book which should be in the library of every musician, and we heartily commend it to the notice of our many musical and other readers."—The Cumnock Chronicle.

"Mr. Stratton, the author of 'Nicolo Paganini: His Life and Work,' was eminently qualified to write such a book. We do not know any book of the kind so completely sane and yet so well-informed and just. The great violinist's life is described fully, and what to many readers will be the most valuable part of the volume, all his works are concisely analysed in a long chapter. A notable feature is the series of illustrations. They show many things connected with Paganini—his birthplace, his tomb, his fiddle, and the like—in addition to portraits and caricatures."—The Morning Leader.

"The late Mr. Stephen S. Stratton's 'Nicolo Paganini: His Life and Work' (London: THE STRAD Office, 5s.), is the most complete account extant of this greatest of all violin virtuosos ... the value of his book lies in the fact that not only has he written a book which has considerable importance as a biographical and historical work, but has also made of Paganini a credible and living figure. The volume is enriched by a number of valuable and interesting illustrations, an appendix and a bibliography."—Musical Standard.

THE END