ts sudden disappearance and
total loss is, indeed, not easy. After 1760, or even at an earlier
date, all trace of it is obliterated. The demand for it was certainly
not so great as it had been, but quite sufficient to prevent the
supply from dying out had it been possible. The problem of its sudden
disappearance may, perhaps, be accounted for without overstepping the
bounds of possibility, if we suppose that the varnish was composed of
a particular gum quite common in those days, extensively used for
other purposes besides the varnishing of Violins, and thereby caused
to be a marketable article. Suddenly, we will suppose, the demand for
its supply ceased, and the commercial world troubled no further about
the matter. The natural consequence would be non-production. It is
well known that there are numerous instances of commodities once in
frequent supply and use, but now entirely obsolete and extinct.

While, however, our attention has been mainly directed to the basis of
the celebrated varnish, it must not be supposed that its colouring is
of no importance. In this particular each maker had the opportunity of
displaying his skill and judgment, and probably it was here, if
anywhere, that the secret rested. The gist of the matter, then, is
simply that the varnish was common to all, but the colouring and mode
of application belonged solely to the maker, and hence the varied and
independent appearance of each separate instrument. With regard,
however, to the general question as to what the exact composition of
the gum was or was not, I shall hazard no further speculation, and am
profoundly conscious of the fact that my present guesses have gained
no nearer approaches to the re-discovery of the buried treasure.

A description, however, of the various Italian varnishes may not be
inappropriate. The Brescian is mostly of a rich brown colour and soft
texture, but not so clear as the Cremonese. The Cremonese is of
various shades, the early instruments of the school being chiefly
amber-coloured, afterwards deepening into a light red of charming
appearance, later still into a rich brown of the Brescian type, though
more transparent, and frequently broken up, while the earlier kinds
are velvet-like. The Venetian is also of various shades, chiefly light
red, and exceedingly transparent. The Neapolitan varnish (a generic
term including that of Milan and a few other places) is very clear,
and chiefly yellow in colour, but wanting the