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How to Mahe a Violin

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How to Mahe a Violin HOW TO MAKE A VI O LIN by JOHN BROADHOUSE V IOLIN NOTES by OLE B ULL Revised Edition LONDON W ILLIAM REEVES B ookseller Ltd. l No W I 6 a b r C esce S . r u y r nt , Printed in Grea t B ritain by w m N W r e and B e e s e . o Lo rydon (Print r ) Li it d , London , F ORE WORD . H E demand for this little work On the T construction Of the violin h as con tinned steadily for years and f or a short time has been out o f print . T his present editi on has been cons iderably improved a n d has had the advantage O f being revis ed by - one of our well known violin makers . With a V iew O f further improving this edi tion the outline ill ustrations O f the model s O f s s Stradivariu , Guarneriu and Amati have been re-drawnand that O f a Maggini added to the list . CONTENTS Int roduction CH APTER 1 . The P a rts of the V iolin I CH APTER I . On the S el e ction of Wood CHAPTER III . The Tool s Re quired H A ER I C PT V . The Mode ls A ER CH PT V . The Moul d A ER I CH PT V . The S ide -pi eces a nd S id e - l inings H P TE V I I C A R . The B a ck A ER CH PT VIII . The B elly R 1X CH APTE . The Thicknes s of the B a ck a n d B e lly v i CO N EN S T T . PAGE CH APTER X . The B ass B ar CH APTER XI . The P urfli ng TER CHAP XII . The Neck HA ER C PT XIII . The Fingerboard ER I CHAPT X V . Th e Nut a n d the Ta il P i ece Nut ER X CHAPT V . Va rnis hing a n d Poli s hing A ER X I CH PT V . Va rnis hes a nd Colouring Matte r A ER V CH PT X I I . The V a rnis h A ER CH PT XVIII . A M athematica l Method of Const ructing the Outli ne A ER CH PT XIX . The Re ma in ing Access ori es of the V iolin ( in cl u din g V ioli n Not es by Ole B ull) I L T L I S T OF L US TR A I ONS . Le Me rcure S trad Fr on tispi ece S aw P l a ne side v i ew P a e tt m ie w l n , bo o v P l a ne showing loose pieces de tach ed P l ane r ea dy for u se S ide vi ew o f sma ll rounde d pla n e B ottom view of sma ll rounde d pl a ne K nife S cr a pe r S tee l compa ss es S teel t r a ce B e nding i ro n H a nd -v i ce Woode n b a nd scr ew Clip of wood S ound -post sette r S ou n d-post se tter u sed by S pohr La rge folding pl ate of outl in es of a n Amati S t a di a s G a e i s a n d , r v riu , u rn r u Maggini At end of r ola mo ‘ Outli ne of a v iolin 23 Mode l for the curve of the back a ndbe lly 24 “ Mode l for the curv e a t its gre atest width 4 i u s T O P I LL R A I N S v ii U S T T O . The curv e ove r the I hol es Model for the c urve a t the wid est pa rt of the n e ck en d Mode l f or dr a wi n g a n d pl acin g the hol es Th e mould The counte r moul d The uppe r mould with piece s i n pos it ion Mould with th e blocks Mapl e piece The t wo mapl e pi eces i n position Anoth e r vi ew i n one p iece The ba ck -pl ate P u rflin g tool Cutters Pu rfling tool Chi sel-sh a rp en ed a wl The n eck A view of the foot of the neck Outl ine wi th measures ma rke d Ar c Outline s howing the pos ition of the ba r Outline s howing va ryin g thickness B id e f a wit s e e st i s th e r g o viol h v n r n g , body of which i s n ot c u t o ut exce pt a t t he t wo s ides B e f w v ridg o a. v iol ith fi e s trings cut through i n e v ery p a rt 4 B s ma 5 . ridge of a ll pa tte rn viol in of the a nc ie nt school of An thony Ama t i B rid ge of a Nichol a s Amati B ridge of a S tra diva rius I NTROD UCTI ON . 0 much has been written upon the , d , S violin, its history its evelopment its r beauties as a musical inst ument, its ec musical literature, etc . , that a coll tion of all the works to which it has given rise would form almost a library o f themselves . Its history has been ably treated in a Ger “ man ' V o ‘ r work called Die i line, Ih e Ges n Bau. T he chichte und Ihr o ly work, how ever, as yet given to English readers, I believe, which treats fully and concisely of the numerous details involved in making a is violin , the yery fine but expensive work o f H - — E . eron Allen a work complete in itself, but perhaps too costly f or some who would like to try their hand at fabricating 2 N RODUCT ON I T I . H s s a fiddle . int are given in many book , “ a nd in some O f them a general outline o f the process is furnished ; the best I have i “ h V s s T e . een contained in iolin, by P s B the David on . y far greater part of that interesting work is devoted to theoretical an s s w at d hi torical matter , hich , however, s s tractive in them elves , are not trictly con ' nected with th e making of the instrument . My Obj ect in writing this boo k is to afford the amateur detailed information respect ing the various processes to be gone through in the workshop, from the time when the wood in the rough lies on the bench to the moment when the finished a rticle is ready f to be fitted with strings or playing . I do not think I have allowed any detail to es cape me, if I have I shall be grateful to any w t reader who ill communicate wi h me, so that the defect or defects may be remedied in a later edition . I do not for a moment s s wo uppo e that my rk is perfect, but I have tried to make it as full . and complete as possible, and to explain in detail every a operation necess ry to construct a violin. INTRODUCTION. 3 It is presumed that the amateur is suffi ciently enthusiastic to make the attempt , and that he means not merely to make a common box o f wood which will sound to instru when played upon, but produce ' to ' ut ments which will live after him, and, p his best work into every violin he finishes . V iolins are turned out by the thousand s every year, but cheap as they are, mo t of them are dear at the price paid f or them becaus e they are made without artistic in telli ence s s h g , without enthu ia m, wit out love f or the beautiful , and without that minute attention to each particular instrument % which alone can secure a perfect work . So n s many backs, so many bellies , so many eck , so fin er- - many g boards , so many bass bars, so - s many sound post , are shaped to a given s pattern, fitted together, varni hed , and sent into the market as s o many violins ; but this is not the way to produce one good in T strument . he amateur who reads this book doubtless knows all that ca n be learnt about the old masters whose names are s l hou ehold words in the violin world, and i N RO C ON 4 I T DU TI . s o s tlz e o h , he know that y did not w rk on t is s w on plan , but be to ed loving care every s one ingle instrument , regarding the work in hand a s quite enough to tax all their energies a nd ab sorb all their arti stic know ledge and experience for the time being .
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