Books › The varnishes of the Italian violin-makers of the sixteenth, seventeenth and eighteenth centuries, and their influence on tone;, 1904 › scan 23
Scan 23
The varnishes of the Italian violin-makers of the sixteenth, seventeenth and eighteenth centuries, and their influence on tone;, 1904
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1from that of the skilful concoction of a coloured varnish; a research was instituted with a view to its solution. The results so far obtained are deemed of sufficient scientific interest to be worthy of publication.
3The direction of the experiments was influenced by close observation of terpene derivatives to be found in different kinds of wood and in other arboreal products, many of which exhibited dichroïsm, due consideration being given to the physiology of the various organs of trees and the probable chemical action of the cells of which they are composed. The processes employed were intended to be imitations of those of Nature.
5The extent of progress in the desired direction could only be estimated by the somewhat slow and laborious process of varnishing slips and panels of wood; eventually, for the same purpose, violins, violas, and violoncellos, of the best quality of wood and workmanship, were covered with the varnishes.
7As was expected, after many months of study and experiment, it was found that every variety of the old varnishes could be reproduced with facility from turpentine and linseed-oil without the admixture of colouring matter in any form. The conclusion arrived at is that the old types were pure oil-varnishes, consisting of terpene oxides (more or less dehydrated) dissolved in linseed-oil (oxidized to varying degrees), finally diluted with oil of turpentine; in the oldest forms the linseed-oil was probably omitted.
9In order that the question may be understood in all its bearings, it is necessary that a large amount of information should be given. By lay readers this must be studied with some attention, if they desire to
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