CHAPTER I.INTRODUCTORY.The art of the old liutaro of Italy may be said to have become duringthe last two or three centuries, identified with the art ofconstructing such musical instruments as are played with the bow.As was the case with other and kindred arts, that of violin making hadits rise in one of the old cities of Italy, where from small beginningsit gradually spread to other places and over the borders, until thereare very few places of importance where it was not practised with somedegree of success, commercially if not artistically and acousticallyconsidered.During the early period of the art, repairing was of a rough and readykind, chiefly in connection with damages sustained under ordinaryusage and accident; while extensive and costly renovating, such as isso frequently undertaken at the present day, must have been of rareoccurrence, for the reason that it was then quite possible to get equal,sometimes better, quality in quite new instruments which were beingsent forth every day by the resident makers. With the onward march oftime this has been changed; the art of the Italian liutaro havingreached its climax some century and a half back, the masterpiecesexecuted during that time are gradually diminishing in number andcannot be replaced by instruments having a sufficiently high degreeof excellence; naturally enough the skill of the repairer has been moreand more in requisition, so much so, that many who have shownexceptional ability for this kind of work have achieved a reputationfor it alone, among the large circle of dealers in the principal citiesof Europe. The necessities of the time have thus brought intoprominence a modification of the art of the old Italian liutaro, inwhich there has to be displayed much more mechanical ingenuity if withvery little or no originality; the high class of artisan has becomestrongly in evidence, while the artist has disappeared. It was in theconsideration of these facts that the idea was first suggested thata work treating of the general methods adopted by professionalrestorers for important work, coupled with helpful hints in themanagement of minor injuries, would be interesting and acceptable toamateur as well as professional repairers, besides the numerousreaders of THE STRAD, in the pages of which the following chapters werefirst issued.In sending out the matter in book form, some alterations and additionshave been, as usual, found advisable for completeness. All readersreadily admit the impossibility of touching upon one half of thevarious accidents and ailments to which a violin is liable during itsusually long life; the most likely ones have therefore been taken, andit is hoped that the suggested treatment of these cases may enable therepairer to become sufficiently adept for undertaking such others,serious, or slight, as may not have been here referred to.Further, the author is hopeful that those readers who may feelindisposed themselves to put into practice the various hints,instruction, or advice, will be enabled by knowing how good repairingis carried out, to select the proper kind of person into whose handsthey can safely intrust their cherished instruments. --This text refers to the Kindle Edition edition.