Books › The violin, how to make it, 1880 › scan 147
Scan 147
The violin, how to make it, 1880
8 lines. Read by computer on 3 September 2026. Printed page 141. See the scan on archive.org.
1brush over one part only once at a time, and never to return twice, or backwards over the same part, as if such has been the case, the part alluded to is sure to be rough and flaky when dry. The room, also, ought to be moderately warm, and free from floating dust or particles, or the varnish is almost certain to chill or bloom.
3The first few coatings of spirit-varnish may be applied to the wood crosswise, although the final coatings must be laid on in the direction of the grain or woody fibres. When one coating is perfectly dry, another may be applied, always leaving a sufficient interval of time to allow the separate coatings to become thoroughly free from tackiness, when the rough surface left by the brush-marks has then to undergo the operation of polishing.
5This is the most tedious part of the work, and unless carefully conducted, is sure to be attended with anything but satisfactory results. When several coats of varnish have been applied and thoroughly dry (no definite number can herein be specified, as much depends upon the quality and fluidity of the varnish, and the finish of the wood), the surface may be smoothed with glass-paper. A very small quantity of raw linseed-oil may be used with the glass-paper, which assists in hastening the smoothing of the inequalities, and tends to prevent heating by the friction. When the surface is thus rendered smooth, it may be wiped with an old silk handkerchief, to remove all traces of oiliness, after which several coats of varnish are to be applied, as already described. When dry, the polishing is again to be resumed as previously, then a coat or two of thinner varnish may be laid on, and afterwards polished with tripoli-powder and oil, until the surface is perfectly smooth and even, after which it may be rubbed with fine flour or starch, and finally polished with a piece of clean silk or flannel.
7Several hours ought to elapse between the last smoothing and varnishing, as well as the final polishing, that the whole may have attained thorough hardness, otherwise an excellent lustre cannot be produced. The preceding remarks chiefly apply to spirit-varnish, the essential difference in oil-varnish being the length of time taken to dry, and the varnish being of a thicker consistence, necessitates fewer coats—one, in some instances being sufficient—but the amateur will readily understand this from the nature of the varnish he may be inclined to adopt.
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