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Violin Making 'The Strad' Library, No. IX.   By: (1835-1904)

Book cover

First Page:

VIOLIN MAKING.

PRINTED BY J. H. LAVENDER AND CO., 3, GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C.

[Frontispiece: Walter H. Mayson]

"THE STRAD" LIBRARY, No. IX.

VIOLIN MAKING

BY

WALTER H. MAYSON.

WITH THIRTY ONE ILLUSTRATIONS.

SECOND EDITION.

London: "THE STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C. J. LENG & CO., 186, FLEET STREET, E.C.

New York: CHARLES SCRIBNER'S SONS, 153 157, FIFTH AVENUE.

1909.

CONTENTS.

PAGE INTRODUCTION . . . . . . . . . . . . . 1

CHAPTER I. SELECTION OF WOOD . . . . . . . . . . 7

CHAPTER II. THE BACK . . . . . . . . . . . . . . . 20

CHAPTER III. PURFLING . . . . . . . . . . . . . . . 28

CHAPTER IV. BENDING THE PURFLING . . . . . . . . . 33

CHAPTER V. MODELLING THE BACK . . . . . . . . . . 36

CHAPTER VI. WORKING OUT THE BACK . . . . . . . . . 41

CHAPTER VII. THE BELLY . . . . . . . . . . . . . . 46

CHAPTER VIII. THICKNESSES OF THE BELLY . . . . . . . 51

CHAPTER IX. THE SOUNDHOLES . . . . . . . . . . . . 55

CHAPTER X. THE BASS BAR . . . . . . . . . . . . . 59

CHAPTER XI. THE RIBS . . . . . . . . . . . . . . . 63

CHAPTER XII. FIXING RIBS, ETC. . . . . . . . . . . 71

CHAPTER XIII. FIXING THE BELLY . . . . . . . . . . . 75

CHAPTER XIV. THE SCROLL . . . . . . . . . . . . . . 78

CHAPTER XV. FIXING NECK, FINGERBOARD, ETC. . . . . 82

CHAPTER XVI. OF VARNISH AND VARNISHING . . . . . . 88

CHAPTER XVII. FITTING UP FOR USE . . . . . . . . . . 95

CHAPTER XVIII. CONCLUSION . . . . . . . . . . . . . . 101

PREFACE.

I do not like Prefaces.

They remind me somewhat of awaiting dinner in a drawing room after a long walk in wintry weather. It is one thing to get there an occasional whiff of viands cooking in the basement of the house, and quite another to feel the same accentuate your gnawings of hunger.

Therefore, did I touch on motives for writing this book, or sketch outlines of heads of matters to follow in detail, I should engage little or no attention, so shall simply refer you who may read this preface, which is only a fraud, to the matter embodied in the following pages, for which, at least, I claim Honesty.

WALTER H. MAYSON.

62, OXFORD STREET, C. ON M., MANCHESTER.

The great success of the previous edition, and the numerous letters sent in praise of "VIOLIN MAKING," prompts me (the author's son) to take the opportunity of saying a few words, and to thank the public for their appreciation of the work.

I have received many communications (several from abroad) from enthusiasts, bestowing the warmest praise on the writer as a Maker and an Author; and all are unanimous in declaring that the simple and explicit style of the work has enabled them to readily grasp the difficulties pertaining to the Violin as a work of Art. These correspondents (who are quite strangers to me) have also greatly commended the high class appearance of the volume, particularly the excellence of the fine illustrations. Such expressions of approval would have been gratifying to the late W. H. MAYSON, who, as the maker of over 800 instruments, had attained complete mastery over his work. Therefore the reader can have every confidence in faithfully following all his methods and strictly adhering to every detail set forth in this volume.

STANSFIELD MAYSON.

48, OXFORD ROAD, MANCHESTER, June, 1909 .

INTRODUCTION.

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; palpable or otherwise, the impression intended should be beyond doubt, and that this end may be secured, mystification by high flown figures of rhetoric, or false drawing, or sculpture out of line or proportion, must at the outset of all work, art work above all, be sternly trodden under foot, and the solid and truthful experience of ripe years offered with the same eagerness to impart information as it is awaited by the student... Continue reading book >>




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