George Fry Varnishes of the Italian Violin-Makers of the Sixteenth, Seventeenth and Eighteenth Centuries, and Their Influence on Tone

Annotation

Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility. The casual observations which led to the interesting research which forms the subject of this Treatise came as a bolt from the blue.<br><br>Experts who have had constant opportunities for studying the varnish on old Italian instruments have, without exception, accepted the theory that it is an oil-varnish coloured to suit individual taste, although in no single case have their own descriptions of its appearance been found to support this conclusion; various reasons and excuses have been suggested why modem violin-makers have been unable to reproduce it.<br><br>No scientist or chemist appears to have given much attention to the subject, for the simple reason that no means have been available for a complete investigation.