Books › Old Violins And Their Makers, 1883 › scan 313
Scan 313
Old Violins And Their Makers, 1883
4 lines. Read by computer on 27 September 2026. Printed page 299. See the scan on archive.org.
1in such circumstances, he might, very naturally, lose his composure instead of assuaging the ebullition by pouring in cold essence. In some towns on the Continent, in consequence of the great danger of fire attending this class of operations, the manufactories are generally kept by the police outside the municipal boundaries, and the work is only entrusted to the coolest and most experienced operatives. Even for small quantities it would be highly imprudent in persons unaccustomed to the kind of work to engage in it, and this caution cannot be too often reiterated. In making the coloured essence, the evaporation of the alcohol could be facilitated by stirring the liquid from time to time with a piece of thoroughly dry white wood. Metal should not be used for this purpose, as its sudden cold intrusion might cause the liquid to overflow.
3In the event of the colour of the varnish showing itself strong enough before the number of coats necessary for solidity have been applied, a white varnish to finish with, in a single coat, may be made in the following proportions: Recently distilled essential oil of turpentine, i.e., not oxidised, about 3/4 of a gill, mastic tears 11 1/4 drachms, dammar 5 1/2 drachms, raw linseed oil 6 3/4 drachms. Proceed as with the formula for coloured varnish. Although this recipe for white contains more of the resins than that for coloured varnish, it will dry quicker, but the essential oil used in it should be the same as that employed with the varnish of the previous coats, because if this last has been made with the oil of rosemary, for example, you cannot put above these first coats one made with essence of turpentine, without exposing the varnish to
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