who may feel
indisposed themselves to put into practice the various hints,
instruction, or advice, will be enabled by knowing how good repairing
is carried out, to select the proper kind of person into whose hands
they can safely intrust their cherished instruments.

CHAPTER II.

SLIGHT ACCIDENTS--MODERN RESTORERS--"CHATTERING"--THE PROPER SORT OF
GLUE--ITS PREPARATION AND USE.

Under the above title (dry and unpalatable as the subject may seem at
first sight to many) it is proposed to bring before the reader some
deductions from observations in general, and particulars in detail
that may be interesting as to the past, and suggestive as to the future.
In the first place, the simple art of repairing a violin--and as for
that, anything that has been fractured by accident or intent--will be
in the minds of many associated with the presence of some strong glue
or adhesive material, the right pieces to be attached, neatly or not,
as the skill or experience of the repairer may be sufficient or
available.

The nose or limb of a marble statue knocked off and lying in close
proximity to the main body may be thought to give little or no trouble
further than the collection of the fragments, the ascertaining of their
original relationship, the spreading of a sufficient amount of strong
cement over the raw surface and then pressing accurately into position;
easy work to a person endowed with average powers of mechanical
adaptation, under circumstances where the materials being of an
unyielding nature retain their form for any length of time. But if any
parts are lost different faculties and powers educated for the work
are requisite and brought to bear on the subject. The additions,
besides the estimated proportions and form, must necessarily be
composed of material differing in age, perhaps in quality, even when
of the same supposed class as the original, and make further demands
on the trained eye, both for discrimination of material and
appropriateness for the work in hand. There will be lastly, but not
least, the art of imitating old work, the consideration how far to go
and when to stop in the dressing up of new bodies in an old guise so
as to produce harmony of effect generally, and where possible in minute
detail. Thus far concerning the repair or restoration of objects of
art made from rigid materials, including hard wood carving.

Much ability, energy and patience have been expended on the reparation
of anci