Scan 99
Joseph Guarnerius, his work and his master [Andreas Gisalberti], 1906
14 lines. Read by computer on 3 September 2026. Printed page 57. See the scan on archive.org.
1of working. The hole wherein the nail was lately located is either filled up with a plug of wood, or left open for the future antiquarian to marvel at. The instrument is closed up and the graft or new neck let in according to the skill and care exercised, with air-tight exactness, in the manner to be seen in any ordinary modern violin.
3From the universal practice among the old Italian violin makers of inserting this nail, or sometimes three, in addition to the glueing for holding fast the neck to the body of the violin, it would appear that their confidence in glue was limited, although that which they used was light in colour and of first-rate quality.
5Among the several probable reasons for this there was, firstly, the changing from the old Brescian custom of making neck and upper block in one piece. This was no doubt for convenience in placing all the blocks on the mould during one stage, at the same time facilitating the handling of the structure before finally closing up.
7The neck and block, however, when made separately, had to be fitted carefully, or they would be liable to part under the influence of damp or rough usage, it being absolutely necessary that the neck should be held securely; the nail was therefore driven through the block into it (from the inside, of course), before the body was closed up.
9The result was just a little too much cohesiveness, that is, from the modern repairer's point of view, as he is oftentimes justly desirous of keeping as many original parts perfect as possible, while it is necessary to lengthen the neck or put a new graft without injuring the block, or perhaps removing the upper table, and the trouble is then very great.
11In some parts of Italy it was the custom to insert two nails, and at times three; the trouble was, therefore, increased in these instances.
13Both Andreas Gisalberti and his pupil, Joseph Guarnerius, appear to have kept invariably to the habit of fixing the neck on the body of the violin by one nail.
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