Walter H. Mayson

“ Many admirable works on this interesting subject have appeared in several languages, but, to my mind, in a form too sternly technical, cold, if I may be allowed—the writers barely in touch with the anxious youth or man, who, as amateur, yearns to get at that knowledge of correct construction without which he scarce may hope to become a professional violin maker, some notable instances to the contrary, all the same.
I hold simplicity to be the very essence of the conveyance of matter from mind to mind, as in words; from mind to eye, as by pencil, brush, or chisel ”

“ The upper table or belly, made of pine, Swiss pine by preference, is the most important factor in the production of tone, consequently that to which the chief attention of the artist should be directed. No matter how good be his back or his ribs, or the sweep of his lines or curves, or quality of his varnish and its elasticity or its superb colour, the selection of wood for his upper table or belly, or soundboard, must be his chief concern, and neither money nor energy spared to secure the best. ”

“ But before I test this, I must tell you that none but a workman of great skill would undertake to put it to use, as it is so "crabbed," so twisted in its fibre, that on the least carelessness of the artist, out flies a chip from where it should not, and a very delicate operation is resorted to in consequence to amend the blunder—insertion of a slip which must match the grain of the original every way, not only in flame, but even just as the flash of that fire falls in its movement when it becomes part of a violin. ”

“ My reason for not using small planes for modelling is, that in the first cutting you cannot possibly go over the delicate groove without endangering the surface level—that is to say, if you tear any part in going against the grain (or sometimes with it) and go deeper than you should, would you not at once ruin your even flow of curves as by early arrangement you had set out? your only escape from fiasco being sinking to a lower surface and sacrificing your original conception of true proportion. ”

“ At least, I hope you can see the reason, which is, as generally admitted, and is certainly my view of the matter, the strength is most wanted at the centre of the violin, as at the bridge, which the closeness of the reeds and narrowness of cell passages would supply. The broad reed is more volatile, and we put it to the edges, where it throws off the gathered activity of resonance, recurring so rapidly, which we increase by reducing the thickness of the plate there, bringing about that timbre so rich to the ear of the listener. ”

“ And we can make it noble, too, of exquisite shape and colour, possessing a voice capable of we know not what compass and expression; just as we can turn it out by the thousand, degrading the name of art to which it has the impudence to lay claim, on every feature of its brazen face stamped that nationality which, so far from seeking, it in vain tries to get rid of. ”

“ I hope I have made this sufficiently plain, and that what I have said will enable you to go well round the violin back, guarding the corners, always greasing your saw as you prepare to round them, rather giving them a wide berth than brushing close past, almost touching the line, in a hurry, when snap may go your steel or a corner of the back.
As intimated, you must clear the line by one-sixteenth inch, so that no risk is run by taking too much wood off, cleverly put on again, when matched by an expert, but which could hardly be done by you just yet. ”

“ It is that which first receives concussion as the bow strikes the strings, which shock travels down the upper surface of the gut from the bridge until the nut at the end of the fingerboard be reached, when it flies under the said string to the bridge again, which communicates the shock to the belly, the belly to the back by soundpost, ribs, neck, scroll, and all about it, to the mass of air in the body of the violin, when comes what we call tone, and rightly do we call it so, if pure vibrations have been brought into play, otherwise noise would be a much safer word to use. ”

“ In concluding this introduction to a subject which I hold to be of much moment as the leading instrument, never to be replaced by another, let me beg of you to abandon a half-hearted consideration of its adoption in actual work later on, unless you be prepared to suffer for this fine art, a member of the body of which it is your present thought to become; for, be assured, there will be suffering, which will dog your progress; aye, and the greater your talent, so much more will be jealousy of it, from those, at least, so on the alert to decry that which they cannot create ”

“ Fashion a piece of wood so that it fits easily into the hole at the end of the violin in which, later, the end pin is inserted. It must have a rough sort of handle, because by it you will hold the instrument when you have occasion otherwise than by the neck; for you must on no account touch the wood before you varnish, nor afterwards, with your hands, nor must you allow others to do so, when, in your pardonable pride of heart, you show your creation to your friends. ”

“ We will consider the back wood first. I have thirty pieces from which to take one, which shall act in conjunction with the belly, to be selected later on. Some are plain, pear tree, in fact; others are also plain (I mean as regards figure, or flames, as the Germans say) , and of sycamore, others are of maple. I do not select a handsome one for its beauty, just as surely as I do not reject an ordinary one for its plainness. This will show you at once that I am seeking for that which, to my mind, will yield me the finest tone. ”

“ A fine outline will naturally lead you to expect a fine model—that is to say, arching of length and breadth, graceful and perfectly relative as regards proportion, curves, and an unmistakeable oneness of expression, if I may so speak, of every part as a whole, nothing whatever of incongruity or want of symmetry intruding to disturb once and always the gaze of the connoisseur. ”

“ Contumely, jealousy, suffering, but not necessarily failure therefrom, despite an occasional reverse, hard to bear; nay, the feeling that there is something good in you, and worthy of acknowledgment and acceptance by the world later on, will spur you to greater exertion, and act as a mantle beneath which you may shelter from the cold shower hurled by those so prone to drown or starve that which, not feeling themselves, they are determined shall neither spring from nor be passed to the credit of others—enthusiasm. ”

“ The reduction must be made by rubbing on sandpaper, and a clean, straight tapering effected, as a bridge, where you can discern a round-backed slope, is bad—looks so and is. When fitted and completed, the bridge must be as near perpendicular as possible; if there be any inclination, it must tend to the tailpiece, and very slightly, thus checking the certain tendency of the strings to pull it forward, which must be always closely watched, as if it fall on the belly of the violin, it is most liable to break—not only so, but to crack that same soundboard. ”

“ He begins by showing the young learner how to choose the best wood for the violin that is to be. Throughout a whole chatty, perfectly simple chapter, he discourses on the back. A separate chapter is devoted to the modelling of the back, and a third to its 'working out.' The art of sound-holes, ribs, neck, fingerboard, the scroll, the belly. Among the illustrations is one showing the tools which the author himself uses in the making of his instruments. To learners of the well-known Manchester maker's delicate art we commend this little volume."—Daily News. ”

“ At a time when sculpture and very chaste and highly finished woodwork would employ it largely, does any one mean to assert that the violin, not by any means held in the estimation it is to-day, must receive the dignity of small plane and scraper only, and such a useful article treated with contempt because it was what it was? ”

“ It is far too wide, too subtle, and, in my opinion, is an art of itself, requiring not only great space in which to voice its merits, its component parts, and the thousand and one compounds in which those parts assimilate, but the calm of the study rather than the bustle of the workshop, given out deliberately by him whose conclusions are based on the sound issues arising from momentous research, careful analysis of former old examples, and an utter abhorrence of prejudice, for or against this or that compound or colour—prejudice, mind, actuating choice. ”

“ Every particle of superfluous glue must now be removed, in and out, and from the inside any ridges round by the ribs, and all smooth, level, and open to inspection now, as in the course of years it is all sure to be; for no instrument is so liable to damage as the fiddle, and you never know into what studio your beloved one may go, or by whom it will be criticised. ”

“ But, on the other hand, I find a thin neck attached to a thin body, and I also find a whole pack of wolves, hollow, rasping tone, and difficult of production—in fact, a wretched fiddle.
Then, as to width of fingerboard—a narrow one is often clung to as "so nice and handy," etc., but it is forgotten that the strings in consequence have to be brought closer together than clean fingering requires; and, moreover, the E string must, of necessity, be brought too near the edge of the ebony for firm stopping; so I have no sympathy whatever with a narrow or too thin fingerboard and neck. ”

“ More than this I need not say just here, so proceed with the modelling of the belly, on the former lines gone over for the development of the back, with this difference, you must only use coarse sandpaper in the very early stages, and continue the work over more stages by at least three than on the back; for pine takes more readily scratches, and takes them deeper, than sycamore; and more patience in bringing it to a surface like satin, where no trace of scratch from scraper or sandpaper can be detected under delicate varnish. ”

“ But never hurry: and this advice applies to every thing you do in the construction of the violin. Patience of no ordinary character you must exercise; if you have it not it will come to you, but through experience alone, through failures, through catastrophes innumerable. ”

“ But many instruments have had wood taken from them by vampires and faddists, and we can not speak with authority as to the vital points of scores of these noble efforts of art, therefore better not lay down laws or adduce supposed facts regarding them, but do our utmost to build up something as noble, and each one of us leave art no worse than he found it, casting reproach and scorn on the utterly indifferent, or the detestable pander or the vampire. ”

“ If people only knew how much the strength of the neck has to do with the tone of the instrument, they would leave to the maker or expert to determine what was best for it, either in the original making of the violin or in placing a new neck in an old one. ”