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).
[Illustration: PLATE XX.]
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.