Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . ck (orbelly) is ready to fix on to thesides or rib.«, it was not unusual tocommence by setting it on themand making it fast by thrustinga bradawl through the back (orbelly) at top or bottom (or inboth places), into the end blocks,so as to keep it fast at these Fio. 91.—Ornamentally inlaid Purfling. points whilst yOU proceed to fit the sides to the table all round and set on the screws. When thisis
Violin-making, as it was and is : being a historical, theoretical, and practical treatise on the science and art of violin-making, for the use of violin makers and players, amateur and professional . ck (orbelly) is ready to fix on to thesides or rib.«, it was not unusual tocommence by setting it on themand making it fast by thrustinga bradawl through the back (orbelly) at top or bottom (or inboth places), into the end blocks,so as to keep it fast at these Fio. 91.—Ornamentally inlaid Purfling. points whilst yOU proceed to fit the sides to the table all round and set on the screws. When thisis done, and the bradawl is removed, it leaves a hole, which isthen filled up with a peg, made and fixed in manner set downin Part III. The pegs of Stradivari, as we shall see in a futurechapter, were always placed as shown at A in Fig. 92, and as inmaking copies of great masters it is necessary to attend to this,particular instructions for their application will be given in duecourse ; though, as will be seen, the more scientific use of crampsto secure the tables at these points is the invariable practice ofthe best modern makers. Ornamentation.—The ornamentation of fiddles is practicatlv. THE EXTERIOR OF THE VIOLIN. 165 obsolete, as I have just remarked, but in former times the verybest makers ornamented their fiddles occasionally. Before thedays of the violin, of course nearly all viols were ornamented insome way, and after their extinction violins could not quite getrid of this superfluous charm, which has come down to us in theshape of eccentric purflings. Maggini was especially fond of afantastic arrangement and reduplication of the purfling, of whichFig. 91 is a specimen, and nearer home it was a favourite peculia-
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Keywords: ., bookcentury1800, bookdecade1880, bookpublisherlondo, bookyear1885
