ng 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 al