Books › An Encyclopedia of the Violin, 1925 › scan 136
Scan 136
An Encyclopedia of the Violin, 1925
30 lines. Read by computer on 28 September 2026. Printed page 110. See the scan on archive.org.
1When the violin has been covered with varnish, it should be suspended by the scroll from a piece of brass wire in some well ventilated place where, however, no dust is liable to settle on it, and allowed to dry.
3If the first coat of varnish does not appear to be sufficient or is not deep enough in color, a second coat may be applied, only, however, after the first has dried thoroughly. After each coat of varnish has been applied, the violin should be wiped with a piece of linen which is old and worn, but clean.
5In order to apply the varnish one should begin by pouring into a clean dish the quantity considered needful for the purpose. Not much should be taken at a time.
7A flat hair brush should be dipped in the varnish, and before applying the latter, it should be tried on the edge of the dish; for the varnish must be spread out as finely as possible, whatever part of the instrument is being varnished receiving but two strokes of the brush, one forward and one back.
9One must wait until the first coat of varnish is perfectly dry before applying a second coat to the violin.
11Finally, for the alcohol varnishes, seven or eight coats should be given, while only two are called for in the case of the oil varnishes.
13The alcohol varnishes should be polished with a rag steeped in tripoli, care being taken that the hand describes small circles while rubbing.
15The same place should not be rubbed too long a time, lest all the varnish itself be removed, and the rag should be dipped into oil again as soon as it seems to stick to the varnish.
17The instrument then should be wiped with a piece of clean, soft linen. In order to obtain a really fine varnish, one must polish after each layer has been applied.
19It is unnecessary to polish the oil varnishes. Nevertheless, if one chooses to do so, the gloss, though less pronounced, is none the less agreeable to the eye. In order to polish them one should use water, as we have indicated, and very finely powdered pumice stone which has been strained through a silk sieve.
21It will be of great assistance in preparing violin varnishes for the reader to acquaint himself with the nature, character and origin of the ingredients used by carefully reading the information given in the list appended herewith:
23Alum. Alum occurs in commerce as a rule in three forms: ammonium, potassium and sodium, which are used as mordants in dyeing. In the manufacture of colors, ammonia alum answers quite as well as potash alum, hence both salts are sold under the common name of alum.
25Amber (amber lac). A fossil gum or resin principally found along the shores of a large part of the Baltic and North Seas, especially off the promontory of Samland. It is cast up by the sea, and collected at ebb tide with nets; and is also brought up by divers and dredging. It is partly soluble in alcohol and entirely so in chloroform. It decomposes when heated rather below 300° C., yielding "oil of amber," and a black residue called "amber pitch." This last, when dissolved in oil of turpentine or linseed oil, forms "amber varnish" or "amber lac."
27Animé. See copal.
29Arnotto. A small South American tree of the Indian plum family producing the
The computer misreads some letters and numbers. Where a name matters to you, read the scan.