Scan 59
A Review Of Ancient And Modern Violin Making, 1899
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1according to the excellence of his sound board. With this fact in view, I would ask the advocate of oil varnish why it is that all piano makers, without exception, use spirit varnish for the sound board? It is because they have demonstrated the fact beyond doubt that oil varnish deadens the vibration, and that the best board made will be ruined by its use.
3However firmly one may be established by positive evidence on any subject, he feels reluctant to give utterance to his convictions when he knows he stands alone in his views. It is in this position I find myself in what I am about to state, unless I may except the gentleman of whom I have previously spoken as having watched my work for the sole purpose of convincing themselves of the truth of what I have already written, and especially of what is now to follow. From my long continued experiments I am forced to the conclusion that there never was, and am satisfied there never will be, a varnish made which will not injure the tone of a violin. This is no doubt a startling statement, when we consider the vast number who honestly believe that the main feature of success lies in the power-giving quality of varnish. But I speak from years
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