Scan 69
The Violin Gallery: Comprising: Section I. South Kensington Special …, 1890
6 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1surface, but a gentle inward fire. Now that inward fire, I assure you, is mainly caused by the oil varnish below; the orange varnish above has a heterogeneous foil below. That inward glow is characteristic of all foils. If you could see the Vuillaume Stradiuarius at night and move it about in the light of a candle, you would be amazed at the fire of the foil and the refraction of light.
3Thus, then, it is. The unlucky phrase "varnish of Cremona," has weakened men's powers of observation by fixing a preconceived notion that the varnish must be all one thing. THE LOST SECRET IS THIS. THE CREMONA VARNISH IS NOT A VARNISH, BUT TWO VARNISHES; AND THOSE VARNISHES ALWAYS HETEROGENEOUS: THAT IS TO SAY, FIRST THE PORES OF THE WOOD ARE FILLED AND THE GRAIN SHOWN UP BY ONE, BY TWO, BY THREE AND SOMETIMES, THOUGH RARELY, BY FOUR COATS OF FINE OIL VARNISH WITH SOME COMMON BUT CLEAR GUM IN SOLUTION. THEN UPON THIS OIL VARNISH, WHEN DRY, IS LAID A HETEROGENEOUS VARNISH, VIZ. A SOLUTION IN SPIRIT OF SOME SOVEREIGN, HIGH COLOURED, PELLUCID, AND, ABOVE ALL, TENDER GUM. Gum-lac, which for forty years has been the mainstay of violin-makers, must never be used; not one atom of it. That vile, flinty gum killed varnish at Naples and Piacenza a hundred and forty years ago, as it kills varnish now. Old Cremona shunned it, and whoever employs a grain of it, commits willful suicide as a Cremonese varnisher. It will not wear; it will not chip; it is in every respect the opposite of the Cremona gums. Avoid it utterly, or fail hopelessly, as all varnishes have failed since that fatal gum came in. The deep red varnish of Cremona is pure dragon's blood; not the cake, the stick, the filthy trash, which, in this sinful and adulterating generation, is retailed under that name, but the tear of dragon's blood, little lumps deeper in colour than a carbuncle, clear as a crystal, and fiery as a ruby. Unadulterated dragon's blood does not exist in commerce west of Temple-bar; but you can get it by groping in the City as hard as Diogenes had to grope for an honest man in a much less knavish town than London. The yellow varnish is the unadulterated tear of another gum, retailed in a cake like dragon's blood, and as great a fraud. All cakes and sticks presented to you in commerce as gums are audacious swindles. A true gum is the tear of a tree. For the yellow tear, as for the red, grope the City harder than Diogenes. The orange varnish of Peter Guarnerius and Stradiuarius is only a mixture of these two genuine gums. Even the milder reds of Stradiuarius are slightly reduced with the yellow gum. The Montagnana bass and No. 94 are pure dragon's blood, mellowed down by time and exposure only.
5A violin varnished as I have indicated will look a little better than other new violins from the first; the back will look nearly as well as the Vuillaume Stradiuarius, but not quite. The belly will look a little better if properly prepared; will show the fibre of the deal better. But its principal merit is, that like the violins of Cremona, it will vastly improve in beauty if much exposed and persistently played. And that improvement will be rapid, because the tender top varnish will wear away from the oily substratum four times as quickly as any
The computer misreads some letters and numbers. Where a name matters to you, read the scan.