Scan 115
The violin: its famous makers and their imitators, 1909
6 lines. Read by computer on 1 October 2026. Printed page 73. See the scan on archive.org.
1sequence would be non-production. It is well known that there are numerous instances of commodities once in frequent supply and use, but now entirely obsolete and extinct.
3While, however, our attention has been mainly directed to the basis of the celebrated varnish, it must 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, I shall hazard no further speculation, and am profoundly conscious of the fact that my present guesses have gained no nearer approaches to the re-discovery of the buried treasure.
5A 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,
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