Bow & Bridge Violin and bow makers, as the old books printed them

Scan 43

Cremona violins. Four letters descriptive of those exhibited in 1873 at the South Kensington museum. Also giving the data for producing the true varnishes used by the great Cremona makers. [Reprinted from the Pall Mall Gazette.], 1873

8 lines. Read by computer on 3 September 2026. Printed page 37. See the scan on archive.org.

1can, and, in a word, live moderately, and cultivate good temper and avoid great wrath. By these means, Deo volente, you shall live to see the violin that was made for you and varnished by my receipt, as old and worn and beautiful a Cremona as the Joseph Guarnerius No. 94, beyond which nothing can go.
3To show the fiddle-maker what may be gained by using as little sand-paper as possible, let him buy a little of Maunder's palest copal varnish; then let him put a piece of deal on his bench and take a few shavings off it with a carpenter's plane. Let him lay his varnish directly on the wood so planed. It will have a fire and a beauty he will never quite attain to by scraping, sand-papering, and then varnishing the same wood with the same varnish. And this applies to harewood as well as deal. The back of the Vuillaume Stradiuarius, which is the finest part, has clearly not been sand-papered in places, so probably not at all. Wherever it is possible, varnish after cold steel, at all events in imitating the Cremonese, and especially Joseph Guarnerius. These, however, are minor details, which I have only inserted, because I foresee that I may be unable to return to this subject in writing, though I shall be very happy to talk about it at my own place to any one who really cares about the matter. However, it is not every day one can restore a lost art to the world; and I hope that, and my anxiety not to do it by halves, will excuse this prolix article.
5CHARLES READE.
72 Albert Terrace, Knightsbridge.

The computer misreads some letters and numbers. Where a name matters to you, read the scan.