t the moisture from the hand in using this
part of the instrument in the raw state makes the grain swell as if
wetted; this would occur to some extent even if fully varnished. This
must therefore be anticipated by passing a soft, fully haired and
wetted brush, or damp sponge, over the whole of the new work. When dry
the whole surface will appear rough, or if of soft texture, somewhat
corrugated; this must again be levelled down with some of the finest
glasspaper, great care being taken that all the parts, and angles
especially, are worked over. If the corners are not equally attended
to with the rest--and to do this properly the angle of the steel scraper
may be used with good effect--there will be a roughness at the part
over which the varnish will settle, become rough when dry, and give
the appearance of untidy corners. If the scraper with right angles is
insufficient to clear the corner satisfactorily, one with a rather
acute angle will be found to do the work; it must be sharp, and gently
used (or ridges small, large, or both, will become evident), working
across first one way then the other until the appearance is quite up
to the exactions and desire of the eye.

Another wetting will be of some further benefit for a good and lasting
surface. When dry the roughness will not be so obtrusive as in the first
instance, and the application of the finest grain of glasspaper, or
a piece that has been under use for some time and got a little stale
will give the desired surface. The action of the glasspaper over the
surface should be continued for some time, until there being less and
less powder routed up the surface, it assumes a polished appearance,
and if the whole work is well done it will suggest a kind of finish
that looks too good to spoil by covering up with varnish. But the latter
is a necessity; if not really varnish in the usual sense of the term,
a substitute must be used, and here we touch a little upon the confines
of fashion or individual fancy.

It may not be generally known that the old Italian makers--I mention
these as they have always been looked up to as guides for almost
everything in connection with violin facture--varnished the whole of
the neck--which under present circumstances we call the graft--with
the same varnish and thickness of it as the rest of the instrument.
We never see such a thing now, and if a maker were to send forth his
new violins in this manner or trim, he would be looked upon as