energies to some extent.

Leaving the poultices to their work, the old Brescian is again taken
in hand under the direction of the chief. "Now, James, let us look over
the parts again. The next step must be getting the end blocks attached
to the back. We have got that into a tolerably straight line again,
so that we can work on the affair almost like a new fiddle. Those old
blocks, well I should like to retain them if possible, but on looking
over them very little discernment is sufficient to conclude that fresh
ones will be not only better but necessary. In the first place, they
are very small, were roughly cut in the first instance, and since have
been meddled with by would-be restorers; good new ones properly fitted
will be far better than old ones added to, necessarily for strength.
Some of that old pine, or as good, that French willow will suit our
purpose. We will choose the latter. See that the grain runs
perpendicularly or at right angles with the cut surface that is to be
glued down. Chop or split it, don't saw it into shape, and then you
can finish it off when glued into position, when you will not find you
have to cut against the grain." This, as a matter of course, is
conformed to, the blocks split off the bulk or plank, sawn to a little
over the proper length or height to allow of finishing, and then the
surface to be glued is made even and squared with the part against which
the ribs will be hereafter glued. The lower end one will of course
require a trifle of curving to allow of the ribs following the course
of the curve of the border; this the assistant duly sees to by trying
it in position until it appears to be satisfactory. The parts of the
blocks to be left facing the interior of the violin he leaves roughly
done to shape and size of those in modern violins, that being found
the best from experience since the demise of the old masters of Italy.
The upper one is left more protuberant, or nearly semi-circular; the
reason for this is that the strain upon both upper and lower table at
this end is greater than at any other part, therefore if the block is
too narrow there is not enough grip or extent of glued surface, a
frequent result of which is the lowering of the fingerboard, and a
buckling of the surface underneath of the upper table, a condition much
to the detriment of the proper emission of the tone. Great attention
should always be paid this particular part. Many repairers seem fearful
that the ai