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. Author:
JOSEPH MICHELMAN Originally published in 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
experimental 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 re-discovery of the
so-called lost art of varnishing violins will eventually ensue. It is
unfortunate that this policy of freely exchanging ideas and information
has not generally 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 discovery for nearly
one hundred years, and any disclosures that will shed light on the
mystery should be made. 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 century and not belong exclusively to more recent years as
therefore 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
instruments 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...
