CHAPTER XII.

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 b.u.t.ton, 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.

[Ill.u.s.tration: PLATE XVII.]

[Ill.u.s.tration: PLATE XVIII.]

In fitting with glue you will now need some a.s.sistance. 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 a.s.sistant 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 n.o.ble effort; but mind, do not overrate what is done, in your pride of heart, for those into whose hands it will come later will a.s.suredly 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 b.u.t.ton. Place it accurately with the instrument, mark with sharp tool, then cut out as you see it is done by me (plate 18).

[Ill.u.s.tration: 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 pa.s.s 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.

CHAPTER XIII.

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 a.s.sistant 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 a.s.sistant 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).

[Ill.u.s.tration: 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, sc.r.a.pers 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 sc.r.a.per 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 gla.s.s-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.

CHAPTER XIV.

THE SCROLL.

On plate 19 you will find the outline of a scroll I use generally. I will employ the original from which this was taken now, and mark on a piece of old sycamore the exact representation of it.

The thickness of the wood must be one and eleven-sixteenths of an inch, ten inches in length--and broad enough to allow the outline to be properly cut for further operation. After I get this cut exactly by a band saw, I place the outline on the wood cut for the scroll, and with a sharp-pointed, hard pencil, p.r.i.c.k the holes where the volute has to come on to the sides, both of them. After that, on the face of the wood--that is to say, the front, as though looking at the fingerboard, I mark at four-and-a-quarter inches from end of the head, which is to be the end of peg-box, and three inches from that, the narrow end of said box that is to be cut. Then I take centre of narrow end and mark off seven-sixteenths of an inch--width of said end, five-eighths of an inch for broad end. Then at five and five-eighths of an inch from broad end of peg-box, I take centre of extreme end of wood, here to be one and three-eighths of an inch when ready for the fingerboard afterwards, and I divide it, making a distinctive mark as to breadth and centre. Then, allowing full three-sixteenths of an inch for cheeks of peg-box, I draw two lines, one on either side of centre line, from end of wood to head, so that I just shall catch outer side of each cheek of peg-box that is to be, and which, running on to where crosses the nose of the scroll, gives a width there of bare nine-sixteenths of an inch. Afterwards I mark the three-sixteenths for cheeks of peg-box.

This is all I can mark at present, until I cut with the saw and with the chisels, as shown (figs. 21 and 22), I can now trace lines ready for manipulation of the volutes and the fluting. That of the volutes is my first business. The lines denoting the ascending spirals, and the pencil dots not yet touched, are my guides, and, with small hand saw, No. 30, I cut very carefully, by a dot at a time just low enough to touch the spiral line at its junction, cutting the bit away sideways, of course, just by the said line, and then a small piece more, until I arrive at the end of where the spiral ceases, at its base; but now that the volute is developing, I am enabled to complete the line, which brings the whole to its actual junction with the mainspring of conception. This, in a very great state of roughness, I show at an angle (fig. 23), and I reverse the sides, cutting the other in the same manner. It is necessary to have the wood firmly cramped to the bench on all occasions.

[Ill.u.s.tration: PLATE XXI.]

[Ill.u.s.tration: PLATE XXII.]

[Ill.u.s.tration: PLATE XXIII.]

I now select gouges 57, 24, 22, 43, 39, 50, and I carefully trim both spirals, gauging the front and rear levels as I proceed by one-eighth of an inch at a time, until I can find no fault, all being square to the eye (for by nothing else can you prove your work here) when I prepare to cut the trench which was only wanted to soften off this essential to beauty.

Here I use all the gouges marked above; and in doing so I have to be most careful not to FORCE any one part; for such is the brittle nature of the wood (sycamore) that the delicate edges, as the slender spiral ascends under your, perhaps, too eager hand, may not be able to bear the strain put upon them, and a breach stares you in the face, past remedy, save by an accomplished master of his art.

The next step is to soften the work done, and to smooth down with rough to fine gla.s.s-paper, wetting every part after each course.

Then I cut off all the sharp _outer_ edges, from the terminal of the back part of the whole to the top of each volute, this cutting to be a good one-sixteenth of an inch broad, neatly filing and sandpapering the same when done. The outer edge of the peg-box is done in like manner.

Fixing the wood now, face downwards on the bench, I begin the cutting of the fluting at the upper part, using gouges 57, 24, 22, just in the order in which I write them, obviously the terminal part being that which needs most attention and care. Reversing the wood, I cut down by the nose of the head to the broad grooves which soon appear, terminating just over the narrow end of peg-box. All should be done neatly,--in a masterly manner were better--I file and sandpaper over and over again until I get to my mind what now appears in plates 24 and 25, and you will see the neck end is finished, ready for insertion in the mortice, which is done later when the fingerboard is added.

[Ill.u.s.tration: PLATE XXIV.]

[Ill.u.s.tration: PLATE XXV.]

CHAPTER XV.

FIXING NECK, FINGERBOARD, ETC.

As this neck and mortice business is very difficult of manipulation, I will direct you how to cut the end of neck so that a perfect fit may be obtained in the body of violin where was cut the mortice previously, fig. 19, into which said neck has to be inserted. To the exact outline of this I now cut the neck end, one and three-eighths of an inch broad at top, one and three-sixteenths of an inch at bottom, and one and nine-sixteenths of an inch deep. I cut on an angle, so as to get the elevation required for correct height of bridge. And then, all being square, I slope to the end which is ultimately to be joined to the b.u.t.ton. You will gather all this from plates of scroll.

To obtain the peg holes, I mark at certain distances a guiding point, through which, at one side E and A, and on the other G and D, I bore preliminary holes with hand bit No. 12 (on tool plate), square, absolutely, through to the other cheek of peg-box. After all are done, in brace bit 29, position 28, I place taper bit 59, and cut, E, A, D, G, finishing approximately for pegs with tool 15.

[Ill.u.s.tration: PLATE XXVI.]

Then, before I fix the neck into the violin, I attach the fingerboard and nut--the latter in rough ebony, as I always work this neater with some wood over and above what I want. This fingerboard must be perfect in fit, put on with very hot, thin glue, and well cramped with three No. 11 cramps, having wood guard 31 over fingerboard for protection. When set and hard next day, I prepare the end incision for the neck to enter, and proper elevation of the ebony, so that the correct angle for a bridge of fair average height may be obtained. I give you what is a fair average height--one and three-eighths of an inch; but there is no absolute _rule_ as to this. What is here given is that which will suit the instrument just made, as I know by many constructed on similar lines. This height is got when the bridge is held down by the strings, and the measurement is from belly to middle of the arch of the bridge.

Your fingerboard must be at such an angle when the neck is fixed, that the end of it near bridge must measure exactly thirteen-sixteenths of an inch from belly to top of ebony; by this means your bridge, as described, will be just a nice height for clean fingering of the strings.

This brings me to fixing the neck, and I do it thus:--In the first place, I have to remember that the length from nut on the fingerboard, inner side, to the bridge, must be, when all is finished, thirteen inches exactly, and the angle as above. So I have to be _very_ careful that too much is not taken out of the slot I have to finish, either in width or inner recess, as that, one or the other, would necessitate lowering the neck end, which is not what I want to do. First the knife, then the files (coa.r.s.e ones), and, little by little, I get nearer and nearer to a fit, when I try angle and the straightness of the whole with the fiddle, using compa.s.ses to measure from inner point of purfling, upper corner, to corner of fingerboard on corresponding side, with their exact counterparts on the other; and testing height of fingerboard from belly. This is very weary work, and _must_ be quite correctly done, or--well you will either hear of it again in words, or _see_ your failure in the sweet smile which is more detestable than the severest frown.

But all is at length right; the neck is forced home, and I mark round the b.u.t.ton, on to the superfluous wood of neck, its curve, so that I may not cut beyond when I thin the neck to its proper and final shape and thickness.

Many of you will, doubtless, be players of the fiddle, and to such, good, bad or indifferent, I need hardly say how much the disposition and general character of the neck of your instrument influences your performance on it. It is obviously quite impossible to lay down any rule or law, as to depth, width, or the curve at the end terminating at the b.u.t.ton, for some will have this latter thin and abrupt, others less so, whilst a few insist on its being thick.