Books › An Encyclopedia of the Violin, 1925 › scan 92
Scan 92
An Encyclopedia of the Violin, 1925
22 lines. Read by computer on 3 September 2026. Printed page 66. See the scan on archive.org.
1One of the most essential factors toward success in violin making is the acquisition of a set of tools adequate for the purpose in both quality and variety. Many of the tools used are to be found in the shop of any carpenter or cabinet maker, but there are also many special tools which are absolutely necessary in the production of fine instruments.
3Among the ordinary tools may be mentioned saws of various sizes and types, large and small planes, carving chisels, gouges, rules, T-squares, straight edges, iron cramps, bench and hand vises, oil stones, files and small hammers.
5The special tools include toothed planes, scrapers of various styles, special knives, bending irons, lining chisels, oval planes, compasses, punches, calipers, violin screws, sound-bar clips and cramps, purfling gouges and chisels, as well as several other special tools expressly designed for delicate operations in violin making.
7In this connection, Plate 29 illustrates the tool needs of violin makers very clearly and by referring from the numbers on this plate to the complete list of violin-making tools given on page 64, the reader will obtain a very clear idea of the instruments which are needed on the work bench.
9HOW THE MODELS OF THE VARIOUS VIOLIN PARTS ARE MADE
11The models used by the violin makers in building their violins consist of small pieces of plane wood, planed down until they are no more than 2/25 of an inch thick, and which, representing with perfect accuracy the profile and outlines of the various parts of the instrument, serve for tracing them in order that later on they may be given their proper form. These models should be traced and cut out with scrupulous care, since it is the perfection of these models which absolutely determines the beauty and value of the violins produced from them:
13Figure 1, Plate 30, represents the model of the belly and of the back.
14Figure 2, Plate 30, represents the curves of the belly and of the back in their respective lengths.
15Figure 3, Plate 30, represents the arch across the instrument, at its greatest breadth.
16Figure 4, Plate 30, shows the arch running across from the middle of the instrument to the F-holes.
17Figure 5, Plate 30, represents the arch running across the violin at its point of greatest breadth, in the part which is next to the neck.
18Figure 6, Plate 30, represents the cut and position of the F-holes.
19Figure 7, Plate 30, finally represents the arch or curve of the neck of the instrument.
21The surest way of tracing a fine violin model is to obtain an original or "creator's" violin. A "creator's" violin is one which was built, some two
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