there being an elevation at each end where the bar terminates when the
violin has been strung up.

Cramps are used of sufficient width for reaching over the border at
each end and quite on to the end of the bar. James, after his repeated
trials as to the closeness of the relation of the curve of the bar to
that of the table, takes it to the chief as commanded, who expresses
his satisfaction and orders the completing process to be gone through.

The curved surface of the bar is wetted and some glue placed along,
the part of the table with which it is to be in contact is also wetted,
but not much. After a few minutes for the glue to soak in, the final
glueing is done along the course on the table and the curved course
of the bar; the latter is then placed in position and first one cramp
at one end is fixed, then the other; the screwing down is very gently
done, James, from experience, knowing just how much and no more. The
hard brown paper between the cramps and their padded or corked ends
prevents any injury to the varnish.

For the central and adjacent portions of the bar to be pressed, James
uses at times wooden cramps with a longer reach, and treating all parts
of the bar with gentle but sufficient pressure, being meanwhile careful
that the pressure is not directed on one side but direct downwards;
he knows that if this is not strictly attended to, the bar will be
twisted and when dry, or even finished, will not appear straight but
curved along its course.

James having seen that this part of the operation has proceeded
satisfactorily, places the table away to dry, and when so, the cramps
are removed and the table examined by the chief. All being assumed to
be satisfactory, James is told to go on with the shaping down of the
bar, which is done with a chisel held with the bevel downwards, this
being safer and less likely to slip.

This having been done to the curving desired by the chief, the
glass-papering to a nice even surface and finish is proceeded with,
and the operation may be said to be completed.

We now come to the closing down of the upper table. This last is a final
process that when done clumsily, hurriedly, or in many ways improperly,
has been the cause of much damage, if not positive destruction, to many
good or valuable works of the great masters and others.

Before deciding upon the precise moment for this important stage of
repairing, there should be a most careful investigation of the
condit