When sufficiently done, some strong glue may be worked in, in like manner, cramps and pads applied and the parts brought neatly in contact.

When the glue is thoroughly hard and dry, on the inside of the peg box extending each side of the crack and beyond the peg hole, a s.p.a.ce must be cut away having straight sharp sides to the depth of about 1/16 of an inch, perhaps a trifle less. It must be done with keen edged chisels--size according to requirement--and the walls made as even as a piece of plate gla.s.s. Sometimes, in consequence of the shortness of the peg box, it will be necessary to make the cut away s.p.a.ce extend further upward, and into the solid part. In all instances it will test the mechanical dexterity and patience for cutting in confined s.p.a.ces.

When this has been accomplished to satisfaction, a piece of maple without curl or knot must be cut a little thicker than what has been removed, but as to superficial area, fitting to a hair's breadth if skill will allow.

Some old scrolls, particularly among the old Italians, are made of beech or other tough woods; in these instances the material must be matched according to the means at the disposal of the repairer. In cutting the small veneer of wood to be placed in position, care should be taken that when fitted in, the grain should run as nearly as possible at right angles with that of the part to be repaired. If this is attended to, with all other necessary precautions, there will be little cause for fear of the part going bad again, in fact it should be actually stronger than before.

It may occasionally happen that both sides of the peg-box have been strained and split, with accompanying conditions of previous bad repairing and dirt. The same treatment will suggest itself for the "double event" as sportsmen say. But the two fractures are really as easily repaired--that is, with proper care and skill--as the single one. This is because the same cramps can be used for joining the two fractures simultaneously. For this operation the cut out s.p.a.ce referred to close by, if not covering the peg-hole, will have to be repeated on the opposite side with great exactness, so as to allow of a single fitting up and filling the intermediate s.p.a.ce, the grain running as described before, and which will therefore be--when placed in position--with the end of the grain towards the spectator--looking towards the front of the peg-box. It should be neatly and very closely fitted (diagram 21). In carving the blocks that are to be used outside the peg-box for evenly distributing the pressure, precautions must be taken not to cut them of equal thickness, or when the pressure is applied, they are likely to slip, particularly when the peg-box diminishes rapidly in width under the volute. They must therefore be cut more or less wedge like, according to the modelling or proportion of the parts, so that when placed on, the s.c.r.e.w.i.n.g of the cramp will be direct. When this is done to satisfaction, the usual process advised for the glueing may be proceeded with, and being carefully seen to be in proper order, the cramp with pads against the outside cheeks of the peg-box may be screwed on rather tightly. When quite dry, the cramp being unscrewed, the side block of wood will be found firmly adhering, with the superfluous glue squeezed up from between the surfaces by the pressure.

[Ill.u.s.tration: DIAGRAM 21.]

The next proceeding will be to level down the projecting parts of the block in front, to the line of the throat. This being accomplished with great neatness--the line of old work and new wood being exactly level, a line may be drawn with a pencil or cut with the point of a knife over the block as a continuation of the inner surfaces of the peg-box. If carefully managed the knife point is preferable, a piece of stiff card or very thin veneer may be cut to the width, bent over and the point run down each side. The advantage of the knife line is that you have already a cut to work up to. After this the chiseling out or mortising can be proceeded with. The tool must be very keen edged, and as the cutting has in great part to be done against the grain, no violence must be exercised; rapidity will only come with regularity in taking off thin shavings. When all the surfaces have been carefully pared down until, as regards thickness and evenness of line and surface, the peg-box is just as it left the hands of the original maker, there will remain to be done the clearing of the wood at each of the peg-holes which will have been covered by the block perhaps wholly or more than half way. In the case of the double fracture this will be found to be in the same condition on both sides. The hole will require continuing through the fresh wood, in fact re-boring so far as this is concerned.

It will be a more or less delicate operation to prevent splitting the wood, especially if from shaving down to the surrounding levels, it is not very stout.

To guard against catastrophy, a small hole should be bored exactly in the centre. Particular attention must be paid to this, or the whole work may be spoilt and a fresh block or bushing of the hole be found necessary, and much of your work to be done again. The small hole may be drilled if you have the necessary means at hand, if not a small brad-awl may be used, not of the usual round kind, but square. Such brad-awls are, I believe, known as chairmender's brad-awls. If one cannot be obtained, an ordinary round one can, with a little trouble, be filed square. The advantage of this form of awl is that it does not split the wood and can be used with safety and certainty where one of the ordinary pattern would be certain to split and spoil the work.

Several sizes may be used to enlarge the aperture, the square edges breaking away the sides without causing an extended crack in the direction of the grain. When sufficiently enlarged, recourse may be had to the rat-tailed or circular file. Here again much care must be taken, as the toothing of the file is arranged somewhat in the fashion of a screw, and if the tool is used one way it soon buries itself, becomes tightly wedged and will inevitably split the surrounding wood.

It must therefore be turned in a direction that may be called backward, the revolutions to the left instead of to the right. It will take a little more time than might be expected, but the result will be more satisfactory, free from danger of splitting and the interior surface of the hole be made smooth. The use of one, a degree or two finer in tooth will give enough finish. A constant look out must be kept that the tool is working properly in the centre; should it be found working a little too much to one side, it must be removed and the opposite part gently cut away by a slender sharp knife so that the equality may be restored.

Caution must be exercised that the action of the tool is arrested at the right moment, that is, when the opening made in the fresh wood is worked closely up to that of the old; the tool should not be allowed to work against the walls of the old aperture, as there is much risk of damage or enlargement and the necessity of a fresh peg, which is to be avoided, if the set of pegs have been doing their duty well and are free from splits. In the fitting of the peg, a degree of tightness into the new wood will be found advantageous; the surface being fresh and softer than that of the old, soon accommodates itself during the insertion and revolution of the peg, whereas the process will have been going on a long time with the old walls which have become hardened.

After a few turns with the inserted peg, the fitting of it will have been tested, and if satisfactory, it may be taken out; a piece of soft chalk stroked down and followed by a piece of very dry old soap in the same manner at the parts coming into contact with the interior walls of the aperture and will stop any squeaking or catching. The proportion of soap to chalk must be varied, the one, soap, being increased according to the catching or jerking and lessened if there is too much slipping and no grip. It may be as well to note at the same time that the peg should be quite circular, or it will revolve by fits and starts notwithstanding soap and chalk, or any other mixture.

CHAPTER V.

FRACTURE OF PEG-BOX AND Sh.e.l.l--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 sh.e.l.l 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 sh.e.l.l 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 s.p.a.ce 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 sh.e.l.l; 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 sh.e.l.l 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 gla.s.spaper down the edge round the lower part of the sh.e.l.l, 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 cla.s.s 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 sh.e.l.l; the latter under these circ.u.mstances, as before observed, should never be rubbed smooth with gla.s.spaper 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 a.s.sociated 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 circ.u.mstances? 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 sh.e.l.l 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.

[Ill.u.s.tration: 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 ma.s.ses 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 gla.s.s 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 h.o.m.ogeneous 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 sc.r.a.per should be used and turned round, working it in several directions. If the sc.r.a.per 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 gla.s.s 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 l.u.s.trous 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 ma.s.s 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, ma.s.sive 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 exact.i.tude, 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 quant.i.ties 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.

CHAPTER VI.

LOOSENING OF JUNCTION OF GRAFT WITH PEG-BOX, AND REFIXING SAME--GRAFTING, DIFFERENT METHODS OF PERFORMING THIS--LENGTHENING THE NECK--OLD AND MODERN METHOD--RENEWAL OF SAME--INCLINATION OF NECK AND FINGERBOARD WITH REGARD TO THE BRIDGE--HEIGHT OF LATTER, AND REASON FOR IT.

In our progress downwards from the scroll and its adjoining parts, before quite leaving it we may refer to a disorder sometimes occurring when the neck is modern and grafted on to the old scroll. There are several ways, or fashions it may be termed, in which this is effected.

The most usual method pursued in England and Germany is that of sawing the head off at a part below the end of the sh.e.l.l and then chiselling a level pa.s.sage so far as a straight surface makes it necessary along the floor of the peg-box. The sides are treated in the same way but the width across diminishes as they proceed upward. The solid graft is shaped, inserted, and afterward hollowed, but of this more presently.

Like all other parts of the instrument, the junction or insertion of the neck or graft sometimes gets loose, from bad fitting chiefly, bad glue or prolonged exposure to damp. When the sides or back part give warning that they are likely to part, they should be loosened still more or separated and a little clean water on a brush inserted in the cleft where discoverable, the parts being pressed and worked together until clean, for all cracked or loosened joints will be found more or less dirty and greasy. Some strong glue can be then worked in, both sides pressed together by cramps and left to dry. The backing of a flat piece of soft wood with an interleaving of stout paper or, better still, millboard, must not be forgotten. If, as sometimes happens, the flooring of the peg-box threatens to part from the graft in contact, the same course of working out dirt and inserting good glue must be pursued. In pressing the back or sh.e.l.l of the scroll, this being of short and sometimes abrupt hollowing, the pressure on the substance of the wood direct would be dangerous to its form. The fibres of the wood at the edge are necessarily very short and brittle. A thick piece of cork should, therefore, be placed between the cramp and the hollow grooving or sh.e.l.l, a small block of moderately hard wood being placed inside the peg-box as an opposing pad or buffer, the cramp may then be screwed down fairly tight. The two operations, glueing and pressing the side parts and that in connection with the sh.e.l.l, must not be attempted simultaneously.

We may now, being on the part as it were, take up the subject of grafting and the different and best means of performing this somewhat exacting operation. Accurate calculation and sharp straight cutting are absolutely necessary for even moderate success in this undertaking.

As before mentioned, there is more than one method of securing a neck to an old head. Each one carried out with the necessary skill and neatness can be made a lasting and highly finished piece of joinery.

The mode adopted in England (see diagram 25) is the most ready and gives the least difficulty in a difficult undertaking. The solid end of the graft is chiselled or planed off to a slightly wedged form with a straight or square upper end which is measured to reach when inserted, nearly or just up to the lowest of the upper two peg-holes. Great care has to be taken in the cutting that the sides are equal, otherwise the scroll, when fitted, will look awry.

[Ill.u.s.tration: DIAGRAM 23. Old method of lengthening neck, the dotted lines show it shifted forward and the part above the b.u.t.ton cut away.]

[Ill.u.s.tration: DIAGRAM 24. Modern French method of grafting head.]

[Ill.u.s.tration: DIAGRAM 25. Modern English method of grafting head.]

[Ill.u.s.tration: DIAGRAM 26. Foreign secret method of grafting occasionally met with.]

[Ill.u.s.tration: DIAGRAM 27. Method occasionally met with, Italian.]