Scan 79
The Violin: Its Famous Makers and their Imitators, 1875
4 lines. Read by computer on 3 September 2026. Printed page 43. See the scan on archive.org.
1must not be supposed that its colouring is of no importance. In this particular each maker had the opportunity of displaying his skill and judgment, and probably it was here, if anywhere, that the secret rested. The gist of the matter, then, is simply, that the varnish was common to all, but the colouring and mode of application belonged solely to the maker, and hence the varied and independent appearance of each separate instrument. With regard, however, to the general question as to what the exact composition of the gum was or was not, we shall hazard no further speculation, and are profoundly conscious of the fact that our present guesses have gained no nearer approaches to the re-discovery of the buried treasure.
3A description, however, of the various Italian varnishes may not be inappropriate. The Brescian is mostly of a rich brown colour and soft texture, but not so clear as the Cremonese. The Cremonese is of various shades, the early instruments of the school being chiefly amber-coloured, afterwards deepening into a light red of charming appearance, later still into a rich brown of the Brescian type, though more transparent, and frequently broken up, while the earlier kinds are velvet-like. The Venetian is also of various shades, chiefly light red, and exceedingly transparent. The Neapolitan varnish (a generic term, including that of Milan and a few other places) is very clear, and chiefly yellow in colour, but wanting the dainty softness of the Cremonese. It is quite
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