Book description
VIOLIN VARNISH A Plausible Re-creation of the Varnish Used by the
Italian Violin Makers Between the Years 1550 and 1750, A. D. By JOSEPH
MICHELMAN Published by JOSEPH MICHELMAN, Cincinnati, Ohio, U. S. A. 1946
Introduction PUBLICATION OF THIS BOOK is approached with a little
temerity. After more than eight years of extensive research on the
varnish used by the Italian Violin Makers from 1550 to 1750 A. D., it
has not been possible to corroborate the results in the chemical
laboratory. This is due entirely to the unavailability of samples of the
varnish for confirmatory analysis. Violins made by the Italian masters
of this period are so valuable and so scarce that a small sample of the
varnish has not been procurable for experi mental purposes. Therefore,
synthesis must precede analysis .... and with no assistance from the
latter. This, then, will explain the sub-title of this book as A
Plausible Re-creation of the Varnish Used by the Italian Makers Between
the Years 1550 and 1750 A. D. However, the results of this investigation
are so logical and so deeply supported by a vast amount of convincing
evidence, that publication of the book is in order. First, possibly the
find ings will be confirmed, or otherwise, by investigators who may be
more fortunate in having access to material from authentic violins made
by the old masters. Confirmatory chemical tests will be suggested it
should be comparatively simple, especially through modern
micro-analytical methods, to determine the presence of certain
constituents in the varnish. Secondly, possibly the results will be
suggestive to others so that the confirmed rediscovery of the so-called
lost art of var nishing violins will eventually ensue. It is unfortunate
that this policy of freely exchanging ideas and information has not gen
erally existed. Almost every violin-maker has his own private formulas
for varnishes, which he treasures highly and guards closely. The secret
of the old Italian masters has defied dis covery for nearly one hundred
years, and any disclosures that will shed light on the mystery should be
made. vi VIOLIN VARNISH Thirdly, the results may be interesting from a
chemical stand point the literature investigated does not contain many
refer ences to similarly colored vaniishes. The varnishes are perfectly
transparent and many are exceedingly permanent, which may be of interest
to paint and varnish chemists. Investigators in the realm of colloid
chemistry may be interested in the organosols that will be discussed. If
the results of this investigation are eventually confirmed, then it must
follow that the varnish makers of medieval times produced Synthesized
their own resins. The synthetic resin would then become a product of the
16th cen tury and not belong exclusively to more recent years as hereto
fore pre-supposed. Lastly, and most important of all, publication of
these results should make freely and permanently accessible to
violinists, and lovers of the instrument throughout the world, violins
that satisfy the criteria that have been established for the instruments
cellos and basses included of the old Italian makers. . . . The instru
ments of these masters are now two hundred to four hundred years old.
Their violins are made entirely of wood held to gether only with glue
and cannot be expected to withstand the ravages of time forever. . . .
Then too, better instruments should be made more universally available
to violinists students as well as amateurs and professional players.
Deserving playere are too frequently deprived of the advantages of good
quality instru ments and are compelled to use ill-sounding, unresponsive
violins with a resulting decrease in interest and advancement. Further
improvement in the quality of modern violins is desired, and that
improvement should approach the standards established by the old Italian
masters. The subject matter of this book will of necessity become tech
nical, especially when the theoretical aspects are considered...
