purfling will gradually
assume the required curve.

When this latter happens to be short or sudden, another dip and heating
may be necessary.

This being successfully accomplished, recourse is now had to the glue
pot, a pointed piece of wood is dipped into it, and a small streak of
glue is laid in the groove. The purfling is now carefully inserted along
the course, pressed in and left to dry.

After a sufficient time has elapsed, James looks over it, and finding
all things ripe for finishing, takes a gouge of a size that will suit
the channelling of the particular model adopted by the maker.

Great care is necessary to shave off but a small portion as the gouge
is passed along. The latter has a very keen edge, or it will tear instead
of cut. It is used here and there in contrary direction, as the grain
of the several parts of the purfling does not run quite level. A curved
file, and finally a little glasspapering, will complete the matter so
far. There will be for the finishing of the whole of the fresh wood
a further process to go through, that is, a slight damping.

This can be done with a small fine grained sponge or a moderately wet
camel hair brush. This is for the purpose of slightly raising the grain.
If this is not done at this time the soft part of the grain may show
its automatic tendency to swell after the final process of varnishing
has been gone through. When quite dry, fine glasspaper is used to reduce
the surface to an almost polished level, after which some clear oil,
having good drying qualities, is brushed lightly but completely over
all portions of the fresh work.

It will not be absolutely necessary that this should be quite dry and
hard before proceeding with the varnishing down to the tint of the old
and surrounding work.

This being a separate and independent branch of the art of restoration,
will be treated apart hereafter.

For the present we will be content to know that this varnishing, a very
delicate process in connection with the repair, is undertaken by the
chief himself, who sets to work at once and in a manner as if it were
a true labour of love, there being no hurry, but careful time-ignoring
attention to matching and calculation of effect. Just before settling
down with colours, essences, solvents and brushes, he gives directions
to his man James to "finish up the crack or fracture in that old
'Stainer' lying on the shelf there behind."

When it is taken down from its place