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.
[Illustration: PLATE XVII.]
[Illustration: PLATE XVIII.]
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).
[Illustration: PLATE XIX.]
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.