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.
We may now take another degree lower down and study the treatment best
for a fracture similar to that last described, but which, if at one
of the lower peg-holes, may appear quite as difficult to manage, if
not more so, as at the upper part, in consequence of the curved form
of the shell or lowest part of the grooved back of the scroll. Firstly,
the cleansing must be effected and drying, as previously with the upper
fracture, bringing or pressing the parts together for testing their
accuracy of fit. The cramp must be again brought into use. Owing to
the wider and deeper hollowing of the back at this part and the longer
and often very unequal continuation of the line of contour, the shell
or tail end sometimes curling up more abruptly than usual, an increase
in the substance of the padding against the cramp will be found
necessary. A piece of cork cut or filed to the shape will prove handy
and effective. The superficial area of the interior walls of this part
of the peg-box being much greater, the thickness ditto, there is seldom
a necessity for fitting a block of wood in the manner before mentioned,
unless as sometimes it is found, the part has been so worm-eaten as
to be too weak for its work of supporting the pegs and sustaining the
strain of the strings. In that case, excision of the "honey-combed"
part is obligatory and a slice of wood must be let in as before explained.
Sharp shaving with a minimum of force will be required. Should the
worm-eaten portion extend to the outsides or "cheeks" of the peg-box,
it would be well to insert here also another slice of fresh wood as
before, the length according to requirement, but in these instances,
the portion of the head piece under consideration being lower down and
broader, the grain of the inside slice may run continuously with the
original wood. It will also be inserted first, and not until the glue
is quite hard will the arrangements for the outer one be commenced.
Especial care will be required in the management of the cramps--one
or two may be necessary--as, if mere padding is placed between the iron
and the wood, the latter, being in a state equivalent to rottenness,
will be crushed together and the shape will be ruined. As a preservative
against accident a piece of soft wood, perhaps a quarter of an inch
in thickness, and cut in width and shape equal to that of the "cheek"
of the peg-box, and placed over the part with a piece of paper against
the varnished surface, will enable the rotten portion to keep its form,
the pressure being distributed; care must be exercised in carving the
block of wood that it reaches over and quite on to the sound parts.
When the glue has hardened perfectly and the cramps have been removed,
the careful shaving down and finishing of both the inner and outer
blocks or slices may be proceeded with. If the burrowings and tortuous
course of the obnoxious depredator give indication of its having been
of huge proportions for its species, for these creatures vary in size
from a small pin to nearly an eighth of an inch in diameter, and the
tunnellings are not very close together, then pieces of fresh wood
matched carefully and fitted in the manner before described, must be
inserted and glued in. This will, if the wood is much riddled, be much
like mosaic work, the fitting in of the pieces running here and there
over the surface. The contour, however, is preserved by this treatment,
it being difficult, unless the repairer has considerable artistic
knowledge, to keep or reproduce the exact form if the half or more of
the peg-box and adjacent portions are cut clean away as is often done.
Scrolls of masterly design and execution are frequently met with
mounted on a peg-box, selected or carved, without the least reference
to the style of the original, imparting to the whole a hideously mixed
and vulgar aspect. Save then, every morsel of the original work that
you possibly can, especially if it be the work of old Italian makers,
as it will be sure to have about it some points of interest, or that
will call for your admiration of its artistic merits. Bear in mind that
at the present day utility and low price are "to the front."
Unfortunately for art, a very large section of the public called
musical, ignore the artistic aspect of the violin, apart from its
individual authorship and monetary equivalent, and think almost
solely--not always in the right way--about its working or sounding
capacity. To them one sort of curled heading to the peg-box is as good
as another, if strong enough, the whole of this part of the mechanism
being simply dedicated to the winding up of unwilling "catgut." The
old masters, their pupils, and modern imitators, have thought
otherwise and treated this portion of the structure as that in which
they could concentrate much of their best artistic talent. To them it
has been the crowning head piece of the work, and requiring for effect
the closest attention in detail. Every part of it has received, by each
master, a distinctive touch of tool, or conception of design, that the
modern repairer should earnestly "read, mark, learn, and inwardly
digest," so that if a small portion is by carelessness, or unavoidable
accident, chipped off, the contour may not by restoration (?) be spoilt,
or the flow of line ruinously disturbed. Some remarks might be made
by some admirers of high finish in its simple sense, about the bold
unfinished gouging of some of the old Italian makers, and queries
whether the irregularities should be studiously followed up by the
repairer, as it should unquestionably be with work of high refinement
and minute finish. The answer is at once simple and conclusive, every
part that can be preserved should be so, and well studied, that the
new work may be a continuation of the old to the minutest detail, even
to the accidental emphasis of tooling left by the maker.
The fact must not be overlooked, that rough as some work looks at a
glance, it has been, by masters of their art, properly thought out
beforehand. Rapidity of execution, coupled with fine artistic style,
is not to be acquired within a short space of time. In most of the
apparently rough hewn scrolls of the Italian masters there is to be
seen the result of experience in cutting, perhaps, hundreds of them
previously. If we examine closely the mannerism of the different
schools with regard to that seemingly insignificant termination of the
back grooves called the shell; the different ways, breadths, depths
and direction of the gouging will be found to give, not only an accurate
indication of the country, or city, in which it was carved, but with
it the school, or style to which the maker belonged, besides his own
individuality. As a landmark for distinguishing these interesting
particulars, every part of the scroll of an old master, with its
belongings, no less than any other part of the instrument, should be
treated by the repairer with much reverence for its age and respect
for the talent expended on it in course of its construction. That this
is not always acted up to I am reminded by an instance that came under
my personal knowledge many years since.
A repairer and maker of some experience was examining a violin by one
of the old Italian makers, that had, underneath the shell a rather
sudden demarkation at the part where the graft had been fitted in. He
remarked to the party who brought the violin, that if it were his own,
or had been requested to put it in good order, he would file or
glasspaper down the edge round the lower part of the shell, so as to
make it conform with the modern work. The violin was not entrusted to
his care, nor do I think many others were, judging by after events.
Trust not any violin of value or interest to this class of repairer,
or grief will count you for its own and mortification that of the
fiddle.
Occasionally small pieces get chipped off the lower rim of the shell;
the latter under these circumstances, as before observed, should never
be rubbed smooth with glasspaper or cut down. It is not a difficult
position to get at and small pieces can easily be inserted. This part
also is so fashioned that a comparatively small loss of the edge,
especially at the sides, will alter the whole character and reduce a
most elegant and masterly form to that associated with mere rubbish.
Three or four scrolls of Stradivari's are in my recollection as having
been under such treatment and the contour being destroyed there was
little about the general shape to remind the spectator of the beautiful
design as it left the maker's hands. But, it may be remarked by a
fortunate discoverer of an old gem, my Amati has lost all this part,
cut away perhaps because of its being quite past recovery, and the
question arises what had better be done under these circumstances? The
answer, seek some party who has an Amati with this part perfect or in
excellent preservation. Take some moderately firm veneer and after
careful measurement cut pieces to fit as exactly as possible the parts
answering to those of your own instrument that are missing. The line
from the lowest part or edge of the shell and reaching right over the
top of the scroll will require earnest attention and accurate fitting.
For the next stage the pegs must be taken out as a matter of course.
Number each one with a pencil for identification when reinserting; lay
a piece of veneer flat on the outside of the peg-box reaching up a little
past the top of the scroll; to do this nicely a segment should be cut
away where the volute intervenes, and with the pencil, mark carefully
on each side a line neatly against the back and front. With a sharp,
narrow knife cut away the veneer up to the outside of the line, leaving,
if cleanly done, an exact pattern of the throat or exterior of the
peg-box (diagram 22). Next, as the veneer will not bend sufficiently,
cut a piece of rather stout paper, and after laying it against the back
of the scroll, a rough tracing can be made and cut to exactness by
degrees, trying it against the model and correcting until satisfactory.
As this part of an Italian violin is not cut so mechanically as many
people imagine, another and perhaps quicker way, if means are to hand,
is to use thin paper and with some heelball, used by shoemakers, rub
the edges that may be felt through and under the paper held in position
against it. If the paper is kept from shifting a very good clear line
can be obtained. The process may be adopted for the other parts instead
of using the veneer, the latter would, however, be useful as a permanent
guide or template, keeping its shape. This would not apply of course
to tracing of the back part, which must of necessity be of a material
that will bend or fold over.
[Illustration: DIAGRAM 22.]
Having procured a piece of sycamore, very old if possible, and with
the closest resemblance in curl, texture and colour to the scroll to
which it is to be attached; it must be squared up and made equal so
that the tracings of the two sides of the throat may be placed in
position and transferred. This must be done so accurately that the new
throat shall not be out of the square or twisted. More, of course, will
be traced down than will be actually left, the reason will soon be
perceptible. If the tracing is clear and well defined it will not
require touching; but if any part is not well brought up, it may be
made sufficiently so by carefully running a pencilled line over the
fainter one. The next step will be to get rid of the superfluous wood.
This will be most readily done by a bow-saw after securing the block
of wood in a vice, if these are not within reach, it can be done at
a sawing mill where steam saws of different sizes and degrees of tooth
are ready at a moment's notice and the removal of any sized masses of
wood hard or soft is effected with remarkable precision and rapidity.
When the sawing is complete, the fining down, or smoothing of the sawn
surfaces may be proceeded with. This may be done with a file, having
one side curved, the other flat, and of rather fine tooth; a glass
papering will then complete the process so far as the profile view is
concerned. Further progress will be made when the tracing of the back
is transferred, the paper pattern being laid, or wrapped round, after
being accurately adjusted.
The outside wood can be removed in the same manner as last described,
with the finishing, or semi-polishing to the required degree. There
will be thus cut out a replica in the solid or uncarved state of the
whole of the part adjoining the scroll and downwards, which will be
ready for the further process of joining on to the scroll itself. To
this end, the surfaces that are to be glued together at the junction
will have to be got into proper shape and condition, that is, both
pieces must have flat faces, that when put together, will allow the
line at the top of the scroll to run continuously and truly as if forming
an original carved homogeneous work. The faces must be cut by a very
sharp chisel, until fitting as nearly air-tight as possible. For highly
finishing off these parts a small steel scraper should be used and
turned round, working it in several directions. If the scraper is quite
straight and sharp, it will with gentle handling bring the surfaces
very flat, no movement or wriggling being perceptible when placed
together, or there may be in very good work a slight kind of suction
by the air being driven out from between them. The work will be then
ready for glueing. The wood should be quite warm, the glue fresh and
strong. A few seconds or so may be well spent in brushing or working
the glue into the pores of the two surfaces to be opposed. If they are
as perfect, or true as possible, a little rubbing together will be
sufficient for an effectual and lasting junction without the use of
cramps; but if there is any doubt on the subject, then the process
described previously for joining the parts together after fracture had
better be gone through.
When the whole is thoroughly dried and the glue which has exuded from
between the opposing surfaces has been cut or chipped away, the gouging
of the grooves down the back may be commenced, care being taken to
follow the lines from the scroll downwards and gradually finishing
backwards and forwards according to the grain. Different sized gouges
will, of course, be required for this work, according to the fashion
or type of the violin. A glass papering of the parts will complete the
matter so far as the exterior is concerned. Some restorers might
recommend the glueing on of the scroll to be proceeded with earlier,
or before the block has been finally reduced and cut to shape. There
is not very much preference one way or the other; in the one above
detailed we avoid the risk of fresh damage to the scroll while sawing
and cutting, the rough or more violent tooling being done before the
junction is effected. It would be as well to let the new wood be of
full measurement to allow of fining down the new surface to meet that
of the old, which may possibly have some lustrous varnish upon it, and
which every good restorer would do his utmost to preserve. After this
is all satisfactorily done, the lines may be traced which are to act
as guides for the hollowing of the peg-box.
For this purpose a rather small chisel of the kind known among cabinet
makers as a mortising chisel will be required. Gently and by degrees
the mass of superfluous maple will have to be removed. It must be borne
in mind that maple or other tough wood will not bear the forcing that
a piece of pine will. A hard-wood workman is essentially a man of
degrees, the tougher the wood the less must be shaved off at a stroke.
The strong, massive form of the mortising chisel is used in order that
there may be as little spring as possible in it while cutting and so
prevent a hacking of the parts instead of a clean cut surface; indeed,
no other proportioned tool can be used with any degree of facility.
It must not be ground to a very acute angle, or the objections that
are sought to be avoided will reappear in another form. Great care must
be taken that the mortising does not extend to a depth that will cause
the back to be thin and weak. This mistake is often seen to have been
committed in very valuable instruments, especially such as have the
two grooves deeply modelled, or the contour downwards from the volutes
is much indented. At times, on the other hand, sound judgment has been
perceptibly directed to this part and instead of cutting away wood to
allow of freedom in the winding of the strings over the pegs, the holes
for these have been filled up and re-bored nearer to the front edges.
Many most excellent old Italian makers seem to have been rather
careless with regard to the exact position of the peg-holes, making
them to be equi-distant from each other. There might have been little
or no objection to this in the days when the strain on the pegs was
not near what it is in the present times of very high pitch. The shaft
of the old pegs used in Italy at the time of the great masters, was
not half as thick as is thought expedient now. Towards the latter end
of last century and the beginning of this, more attention was paid to
the matter, and we accordingly find the two upper peg-holes much closer
together and the two lower ones ditto.
Concerning the refilling or "bushing" as it is termed of the peg-holes,
a few words may not be out of place. For the purpose the holes must
be enlarged more or less or there may not be sufficient of the new wood
to hold together when the re-boring takes place. The cutting must be
truly circular and very sharply done, no tearing of the wood must be
perceptible, but a clean, almost polished surface inside. A solid
cylinder must be cut with great exactitude, of maple or the same kind
of wood if obtainable as the scroll. The old makers did not invariably
use maple, perhaps being unable to obtain it in sufficient quantities
for their business purposes. It is useless to think of cutting the
cylinder or rod any other way than with the grain, it is seldom if ever
done, and moreover involves an expenditure of time and labour that
brings no adequate return. The enlargement of the hole must be effected
by a good form of tool and this in good condition; peg-hole cutters
and fluted rimers are sold for the purpose. When the cylindrical rod
is cut and rounded to make an exact fit, a portion can be cut off a
trifle longer than will be apparently necessary so as to allow of
finishing off. If satisfactory in all respects, recourse may now be
had as to the solution of glue, which should be quite fresh and strong,
as this is to be for a permanency. The rod or portion should be warmed
if the season is cold, the glue allowed to settle round for a moment
while some should be placed on the inner surfaces of the hole in which
the cylinder is to form a solid fixture. When inserting the cylinder
it should be worked round a little, but not jammed in with violence.
Your reliance in repairing must not be in force but accurate fitting.
The opposite hole to be used for the same peg must be made and treated
in the same manner. Some repairers, for economy of time, would make
a fresh enlargement right through the two opposite holes and push the
rod through both and glueing same at one process, cutting it away from
the interior of the peg-box when the glue has hardened, but this is
risky work. One hole is sure to be larger than the other and the fitting
scarcely likely to be accurate both sides.
When a sufficient time has elapsed for the glue to dry, a piece of hard,
but not too thick, cardboard should have a hole made so as to allow
of placing on the projecting part of the rod, which can be now sawn
off close to the card. When this is completed and the card removed,
a sharp flat chisel will then reduce it to the absolute level of the
surrounding plain.
The next stage will be that of re-boring a fresh hole in a proper
position. This must be carefully calculated, so that when complete the
whole of the four strings will be independent of each other, the A
string not being in friction with that of the G or the D not touching
the E. If this is not attended to, much trouble will be given to the
performer, the jerking or catching of the string during the winding
up, not being caused by any difficulties with the fitting of the peg
itself but by the string pressing on and being checked by the peg of
another. The boring of the fresh hole and fitting of the peg is of course
a similar operation to that just described, with the difference that
the peg must be more conical, whereas the plugging must be as near equal
in diameter as possible along the whole of its length. The preparation
of the fresh peg to fit the new hole will be already evident as to its
requirements. There is one detail to be noticed, however, that of
boring the hole for the reception of the string. Of course the E will
not require so large an aperture as the D. The latter will require the
largest aperture of the four. If this operation is not conducted in
a methodical manner, with a proper knowledge of the best treatment
according to the material used for the peg, splitting will ensue, which
is trying to the temper. When a peg is once split it had better be thrown
aside as useless, the strain on it being unsupported by the solidity
of the material. No wooden peg that has been split in the operation
of boring for the string should be retained. It being necessary to use
wood of the hardest or toughest consistency, the splitting tendency
is increased as the grain is closer. There is discussion as to the best
material for pegs, and here in my opinion the old Italian makers were
wise in choosing the cherry wood seemingly abundant enough at their
command. It is not so hard and brittle as ebony. Another wood was used
by them, a kind of dark walnut, straight in the grain, but a little
firmer than the rose wood so fashionable at the present day, which has
a waxy consistency but accommodates itself to the jamming by the
impetuous amateur who will have his way.