ignominious effacement by the
coming warmth of an inspiration congenial to all.

This being at length quite to my mind, I cut its companion as true
to the lines of the other as possible, fig. 14, when I take in hand
the placing of the bass bar on the belly, in the rough, preparatory
to toning it down in shape, etc., when the glue has set hard.

[Illustration: PLATE XIV.]

CHAPTER X.
THE BASS BAR.

There are different opinions as to not only the function or
functions of this bass bar, but as to its length, size in height and
breadth, and the placing of it by the soundhole on the G side of the
instrument.

As to the former, I think it is pretty well agreed that the
bar--only one, please--answers the purpose of a support and
vibrator, as opposed to the soundpost, which is of a quite opposite
nature, being semi-rigid and a conductor of sound. It is a support
where the belly, if too thin, has a tendency to sink; and how often
do we notice this, aye, and in (market) valuable old violins too!
when bars, out of all proportion to the rest of the work, have to be
inserted, so as to keep up a dignity of doubtful reputation! I will
try to make this very vital point clear to you. The wood of this
belly is very thin and very old, consequently, very sensitive and
active, and more responsive than it ought to be to do battle
properly with the mass of air inside, fine, solid tone being
required. In a measure to check this over activity and give more
resistance, this heavy bar replaces the old one; but do you not see
that a counter evil results? for the over weight of wood added as a
bar is not in sympathy with the rest of the thin table; and this,
not being strengthened (as against all the canons of order or of
etiquette of the initiated), it still responds as before its old
companion was cast aside; and I maintain what is gained in strength
is lost in quality, resulting from a jarring of two rival
conditions.

As I told you, the tone of the belly was D when I stencilled the
soundholes on to it; when I had cut the soundholes, it came to C;
and it must be my business to bring it again to D, as I work only on
these lines, as, if back and belly be of one tone, or too severed,
or the latter, say C and the former D, or near to these, there will
be weak and strong tones, beats, and perhaps more than one wolf, and
not a result at all satisfactory.

Placing the belly face down in the rest before used when hollowing
out, I tak