Books › The Violin: A concise exposition of the general principles of construction.., 1871 › scan 177
Scan 177
The Violin: A concise exposition of the general principles of construction.., 1871
2 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1that every coating of varnish adds a perceptible depth of colour to the preceding one. Madder and logwood are sometimes used for the various shades of brown. Some violin makers adopt quite a different method of colouring their instruments; thus, instead of colouring the varnish, they stain the violin with the liquid stain or colour, and afterwards apply a light coloured varnish. The foregoing spirituous extracts would give such stains, or merely watery infusions of several of the substances, laid on hot. Stephen's wood-stains have also been used for the same purpose, but the violins finished by this method have always a painted appearance, and can be easily recognised from those which have been finished with the colour in the arnish, as by this latter means a certain transparency and harmony of colour is obtained, which never can be produced by the application of a wash of stain to the surface. The amateur will require but few tools in the operation of varnishing, viz., a few brushes, tripoli-powder or fine glass-paper, oil, &c. The brushes, if for spirit-varnishing, may be flat camel-hair ones. Those vary in size, being from a quarter of an inch to five inches and upwards in breadth. A brush an inch in diameter will be found large enough for general purposes, whilst a small camel or sable brush may be used for varnishing the scroll work of the hand, but the former brush, if carefully used, will answer for the whole manipulations. The brushes, after being used, may be dipped in methylated spirit, and afterwards pressed out between the thumb and finger, when they may be laid aside in a closely-fitting tin box. By this
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