RE-OPENING THE BACK TO CORRECT THE BADLY REPAIRED JOINT--A FEW WORDS
ON STUDS--FILLING UP SPACES LEFT BY LOST SPLINTERS--MATCHING WOOD FOR
LARGE CRACKS, ETC.
Regarding the glueing and closing up process, we will defer the matter
for the present. While the assistant is going through the necessary
routine in connection with that most important part of the repairing
of a violin, the master has been looking over a few of the things that
are to be operated upon some time or other. Going to a sort of store
cupboard, he fetches from thence a violin in fair condition generally,
but with one sad defect, the back has at one time been open, that is,
the joint down the middle, either through damp affecting the glue or
from violence, had parted and had been badly repaired; the two surfaces
being brought together and glued, but not evenly, one side being a
trifle higher than the other. "James," he calls out, "this old Pesaro
fiddle is worth putting right; when you have finished what you are about,
put the wet rags on this as far along the joint as may be necessary,
set them better and closer, it is the fine varnish all over that will
make it worth while."
James having finished the closing up of the Guadagnini and taken the
instrument with its array of screw cramps into a place where it could
repose uninterfered with until quite dry, returns and looks over the
violin just brought forth from its retirement. "It seems to me, sir,
this back will have to come off before we can properly bring those two
halves together." The other scans the work again, turns it over, tries
its strength between his fingers and thumbs, and concludes with "Well,
I think you are right, it is quite worth the extra labour and had better
be done so." The matter being settled, James takes a seat, and, with
the violin resting on his lap and held by his left hand, the broad bladed
knife in his right is inserted with a carefully calculated thrust
underneath the border and edging. There is not much difficulty;
sometimes the violin is turned in a contrary direction when there is
a disposition for the grain to tear up here and there.
At last the back is free, the corners and blocks have caused a little
trouble in the progress of the knife around, the wood being hard and
tough on both sides of the knife. It would have been slower work with
a violin of later and more careful construction. In the present
instance there are no linings to struggle with. "Now," says the workman,
"we can get to work at this joint much more easily."
After being examined again by both, the rags are again brought into
requisition. The back is laid varnished side downwards and a "poultice"
applied as far along the joint as appears necessary. Meanwhile other
work, such as fitting and finishing, is proceeded with.
A proper length of time has to elapse,--in the present instance it will
be longer than that for the purpose of merely softening the glue. The
damp has to work its way down at the junction of the two parts, a rather
slow process at the best of times; the back now under treatment being
of full average thickness causes some extra time to be taken up.
After repeated examinations, the joint, being gently tried each time,
gives evidence of the glue having softened. "You must clear out that
black stuff," interposes the chief, when the rag or poultice has been
lifted off. James accordingly, having some warm water and a small
hog-haired brush already to hand, proceeds to gently scrub the brush
along the course where the ugly black line is seen. It is necessary
to do this both sides, the varnished one receiving milder attention
than the other. Frequent dippings of the brush in water, gently
scrubbing away the glue and wiping the brush on a cloth, working the
joint backward and forward between the fingers, are details of the
process gone through in a leisurely yet business-like manner; much care
is exercised that no strain is made on the good and unwetted part of
the joint.
At last the old glue having by degrees been got rid of, the outer
moisture is absorbed by a gentle wiping of the cloth along the course
of the joint.
The next movement is simply putting the plate away to dry. To attempt
any glueing together of the parts while they are swollen with moisture
would be to make matters worse than before, as the edges are too soft
to bear interference, besides which, the sharpness of them is difficult
to perceive while wet and semi-transparent.
We will now, after the time allowed for drying, see the work proceeding
under the hands of the workman. After trying the parts, that is,
bringing the separated edges together for seeing whether a fresh and
clean join can be effected, some soft wood at hand is cut for the
combined purposes of mould and cramp. The piece used is about nine
inches long by about one in width and a quarter of an inch thick. Marking
off on this thickness, and a trifle over the greatest width of the back,
the lower part of which is to be inserted, wood is cut away to the depth
of about a quarter of an inch; within this again a further cutting is
made to fit the modelling or rise of the curve of the back. This will
admit the plate loosely. On placing it within, the two halves are
squeezed together by soft wood wedges of necessary size inserted
between the edges of the plate and the wood cramp; if necessary, another
wedge on one side or the other of the joint is placed for bringing both
to a proper level. After trying this without glue, the pieces are
removed, glue of good strength is put on the surfaces to be joined and
the whole put in position again. The lower end of the joint near the
purfling will require a little additional cramping together.
This part of the process is one of the very few instances where more
than a couple of hands are of advantage, if not of actual necessity,
the reason being that the two parts or halves of the back which have
to be brought to an exact level must be held in position by two hands
very firmly, while a cramp (with paper padding and cork between the
teeth) is screwed rather tightly by another person. It is then as usual
laid by to dry.
After a satisfactory time has elapsed, the wooden tie, mould or cramp,
as we may call it, with its small wedges is removed, the metal screw
cramp at the end is unfastened, the paper removed, and the joint is
found to be much improved, if not quite up to the original state as
when new. There is of course some superfluous glue to be cleared away,
this having oozed out when the glue was first applied, there is also
a portion of paper adhering where the screw cramp was attached over
the border. This is done by wiping with a damp rag until it is clear,
finishing with a dry one.
There is yet a little more attention necessary at times when the
repairing of a back of the kind just described has been gone through.
Backs of violins of a standard of excellence both high and low are not
always as robust in their substance as might be desirable, so when a
trifle weak there is more strain on the middle line or joint than when
the wood is stout. In this case a few studs are advisable. On this detail
of repairing nearly always resorted to by repairers, a few words will
not be out of place. For the present we will only treat of the back.
The size, disposition and shape of these is by no means an unimportant
matter. At various times and places different sizes and shapes have
been the fashion. Often apparently merely a matter of caprice, these
strengthening discs have been used to such an extent, both in size and
number, as to defeat the very object the restorer has had in view. No
repairer would think it worth while to cramp or keep pressed down by
any means the studs that he may think proper to place in position. To
obviate this he uses very strong glue; if a good workman he will see
that the course along which the studs are to lie is quite clean, a slight
washing with a brush or sponge will set this right.
Now it follows as a matter of course that the surface of the part, owing
to the modelling, is somewhat concave, and so as the studs are
invariably cut from a flat strip of veneer, if they are very large,
the glue in hardening and of course shrinking during the process will
leave a hollow space in the middle, or maybe on one side, where the
drying happens to commence. There will be thus a lessening of the
strengthening by the stud, and sometimes a jarring of the loose parts,
giving an immense amount of trouble in finding out the obscure seat
of the nuisance when the instrument may be otherwise in good order.
There should be then a distinct limit to the size of any studs that
experience and judgment may dictate as indispensable. Three-eighths
of an inch square may be taken as the limit to which it is safe to go.
The studs should be cut from fairly stout veneer, and for the present
purpose, that of the back, usually of sycamore, the same kind of wood
is preferable to any other.
They should be trimmed so as not to require much if any finishing when
attached and dried, as all trimming with edged tools afterwards is
likely to be attended by occasional slips of the chisel.
The glue at hand being fresh and very strong, a piece of steel wire
or knitting needle of convenient length will be a desideratum, the
point being stuck in slightly and only deep enough to enable the stud
to be lifted thereby and held upside down while a globule of glue is
laid or dropped upon it. It is then turned over and laid on the desired
spot and pressed there.
If the point of the needle is nicely polished it will allow of pressing,
and a turn round will release it, leaving the stud in position; if on
the other hand the point is too prolonged, rough and sharp, the stud
will probably be pulled off again. It will thus be perceptible that
the best shape will be rather obtuse but very smooth. When the stud
is in position and the glue setting or chilling, an additional pressure
with a small rod of wood or hard material will drive the glue out from
the edges and the work may be left to itself.
A word or two as to shape. Sometimes circular discs of sycamore are
met with, at others square. Lozenge shape is frequently met with, and
this I am inclined to favour most, as there being an acute angle at
each end there is a corresponding increase of holding surface with the
least amount of wood. These should be cut so that the grain does not
run with that of the joint, nor in exact opposition to it, but
diagonally.
There is a method much to be deprecated that was fashionable in some
parts of Europe in the last century, of strengthening the middle joint
of the back by first cutting out a lozenge or square space and then
fitting and filling with a stud. When dry, the parts are levelled and
glass-papered over. This system, although looking very neat, the
surface being quite smooth, will hold good for a time, but when this
has elapsed with wear and damp attacking it, the supposed remedy is
much worse than the disease, the whole joint being in danger of
disarrangement and splitting, necessitating even further heroic
treatment.
Should the studs when firm and dry seem to require a little finish,
the chisel must be carefully handled with angular or sharpened surface
downwards, the thinnest shavings being taken carefully off. A slight
touching with glass paper may be allowed to take away the crudeness
of the chisel marks.
When breakages of different degrees have to be treated at other parts
of the back, small studs may be used, particularly when the fractures
are fresh, free from dirt and fit well. In these instances, after the
glueing together has been effected, studs of not more than a full eighth
of an inch will be found sufficient. It is scarcely necessary to add
that they may be thinner in substance also. If, however, there be
sufficient substance of wood, the fractures and joints brought well
together and fitting closely and neatly, then studs are better
dispensed with altogether, the simplicity of the whole being less
impaired.
It must be always borne in mind that the smaller the amount of fresh
wood introduced into an injured violin the better. In instances where
a part is lost or so broken as to be little less than pulverised, there
is only one course open, that of paring down the sides of the aperture
so that the fresh wood may be accurately fitted to it.
The back being repaired to the chief's satisfaction, the instrument
is further closely examined in order that any other damage which may
be discovered shall be seen to for a time convenient for the final
closing and fitting up. Just at the moment announcement is made of the
arrival of a parcel directed to the chief, "With care, fragile."
"Another patient for our hospital," he observes. "Oh, it's from that
professor who was here some time since. I thought from his remarks and
careless manner he was a likely man to lead his violin into danger,
if not into inextricable difficulties; let us see what is the matter.
Open the box, James, take the fiddle out, there is probably a letter
placed with it to save postage." James dutifully proceeds with the work
while his chief retires to make a short note concerning some other
matters.
"You're right, sir, there is a dirty envelope stuck between the strings
and fingerboard." This is taken away and handed to the chief, who runs
a small knife along the edge and releases the epistle, which runs as
follows:--
SIR,--In this morning I have great trouble as I walk the stairs down
my violin chest open itself, and my violin go to the bass, and when
I was to pick him up he was bad break in one two place. I am sorry to
come to you as good doctor to finish him soon, and please charge no
large.
Truly yours,
HERMANN GROSZHAAR.
"Capital English for him," says the chief, to which James answers in
a careless sort of undertone, "There's a little English, but less
capital about him, wanted to borrow five bob from me when he came last."
The violin, after being taken from the case, is closely examined by
the chief, who turns it round about, tapping it here and there and
holding it up to the light. At last, handing it to James he says:--"Not
so much as I should have expected after the terrible occurrence
described in the letter; the fiddle is a good one, so it deserves proper
attention, no matter who owns it. Just look about the case and find
if you can the small piece that has come from this place in the front
table."
James looks earnestly about the interior of the violin case without
success. "No sign of it here, sir, there's nothing at all but a little
bit of sweetstuff," he says, taking out a small white disc from one
of the side pockets.
"Well, we must proceed to work without it, so get that box out with
the odd pieces of old wood; I've no doubt you will find a piece that
will match the grain of the pine to a nicety; we must have the upper
table off, better do it first."
This proceeding, of a kind as described before, having occupied some
minutes, the upper table is held by the chief while the assistant gropes
among the odds and ends of pine and in a minute or two finds a piece
which is pronounced to suit admirably. "Now, James, there appears to
be only this portion seriously injured, and another, almost a splinter,
running along the part adjoining. It will be compulsory to cut a
well-squared opening for the fitting, you will be careful to make the
walls of this part contract as the descent is made, so that the wood
inserted is slightly wedge-shaped. You will at the same time be careful
and bear in mind that this fresh wood will have to match so nicely,
that when inserted properly the threads or grain will appear continuous
and not broken to the eye of any person but the experienced critic.
To please this person, however, you will have not only to make the lines
of the grain follow through evenly, but so fit your wood as to be in
the direction of the growth of the plank from which the table was cut.
You see this aperture is on the slant or curve about midway between
the bridge and part near the tail-piece. Many repairers, even when
inserting fresh wood with exceeding neatness, neglect this precaution,
and, in consequence, when the part is finished and varnished over,
there is but little indication of repair when looked at from one
standpoint, but from another or a removal of the light, this fault is
very conspicuous. A frequent attempt to conceal this is made by
covering the part with dull varnish that will not allow of much light
passing through; sometimes an entirely opaque plastering is pasted
over, obscuring the grain of the old and new wood alike in the locality,
and thus making what is known as a botch."
For the execution of such repairs as these there will not be any
necessity to open the violin. They will really be more conveniently
effected without, there being more support and leverage where
required.
A long crack while fresh will take the glue readily and be as secure
as required when dry. It should be placed along the line to the extreme
ends or a little over, and with gentle pressure alternately each side
the glue will be gradually drawn in. This should be continued for some
time, until there is little disposition shown for more absorption.
The superfluous glue will now be wiped off; should there be any tendency
on one side or the other to remain higher, thus causing a ridge which
must be most carefully guarded against, a piece of tape or ribbon tied
round the violin at the part, and a small wedge of soft wood inserted
between the tape and the elevated edge, will bring it to a proper level,
when it may be put aside to dry and harden.
When sufficient time has elapsed for this according to atmospheric
conditions, the binding may be removed and the surface along the crack
wiped with a damp rag until only the line is apparent.
If the foregoing is done neatly and cleanly, there will be very little
evidence of damage remaining. In such instances as the present there
may be occasionally necessary two, three or more bindings with proper
wedges, according to the length of the crack, the size of the violin
and the model. If the latter is rather high, or of the kind called by
our French neighbours _bombe_, the disinclination for the edges to come
evenly together without help will be much greater, and therefore
binders and wedges should be at once made ready after a glance at the
model.