CHAPTER X.

QUALITIES ESSENTIAL IN A BOW MAKER--SHAPING THE STICK--SETTING THE _Cambre_--THE FACES--THE TRENCHES--THE NUT.

The manufacture of the bow is an industry calling for rare qualities of patience and concentration on the part of its followers. The skill required is of quite a distinct kind. Strength and delicacy of hand must both be exceptionally p.r.o.nounced, and mathematical accuracy of eye is essential. Delicacy of touch to readily appreciate the varying degrees of elasticity found not only in different sticks but often in the same piece of wood. Strength to work with precision in such hard wood. And for this kind of work the strength required is not that of the carpenter who can use the weight and swing of his body; it is, rather, a self-contained strength in which opposing forces must co-operate in order to ensure the absolute accuracy so indispensable in a bow. Then the sight must be of unerring judgment, for nearly all the work depends on the eye. Bow making is distinctly nervous work for it keeps the mind constantly alert.

I am indebted for most of the details given in this chapter to the late Alfred Tubbs, son of James, and a good workman, who died comparatively young in 1909. He told me that he only made one bow at a time for the reason that each stick has its own individuality, some intrinsic feature that has to be borne in mind through all the details of fitting, mounting and adjusting. The mind is apt to lose its certainty of retention when exercised on as few, even, as three sticks simultaneously. Therefore each bow is completed before the next is commenced.

Taking the rough stick as shown in Fig. 34, the first operation is that of "rounding the throat," in other words the square rod is made round for a few inches just below the rough block left for the head to be cut from, this portion being called by some the "throat," and by others the "neck" of the bow. After this the corners of the remaining square portion are planed away, thereby making the stick octagonal in section. Should it be intended that the finished bow be octagonal, naturally the throat is not rounded but the planing away of the corners is carried out with extreme care right up to the head.

The next operation is to lay the pattern (Fig. 35) on the projecting block and, with a fine pointed pencil, to mark out the outline of the head. This is the only part of the work on the stick itself wherein the eye is a.s.sisted by actual measurement or pattern. The shaping, or modelling of the head, as also, later, the gradation in thickness of the stick depending entirely upon optic precision. The absolute accuracy of hand and eye required for such work is only to be attained by long years of constant application.

[Ill.u.s.tration: FIG. 34.]

[Ill.u.s.tration: FIG. 35.]

After roughly shaping the head comes the delicate operation of "setting." This is also known as putting in the "spring" or _cambre_.

The principle upon which the amount of curve is determined is that an imaginary straight line drawn from the face of the head to the face of the nut shall coincide with the stick at the point of its greatest deviation from the horizontal. There is no fixed distance from either end for this extreme point of deviation to occur. It is a matter that rests entirely on the judgment of the maker, who, if thoroughly experienced, regulates the curve by any variation in rigidity he may discover in the stick. Thus should his observations point to the fact that a certain portion of the stick is slightly weaker than the rest, there will he put the greatest amount of "spring." It must be understood, however, that a good maker never uses a stick that is palpably unequal. He will only take this trouble to correct infinitesimal weaknesses (discernible only to a hand of great experience) in wood of exceptionally good grain. It is astonishing how many violinists seem to think good bows are made by accident. Few know that there are some men who can _make_ a fine bow.

The prime factor in the "setting" of a bow is heat, by the judicious application of which the straight rod is made to a.s.sume and retain the desired _cambre_. The heat used now-a-days is that produced by an ordinary gas flame. Dry heat is absolutely essential, as the slightest moisture draws all the pigmentary matter out of the cells in the wood and leaves the bow as colourless and mean in appearance as a stick of deal. As it is, with dry heat even, the amount of colour exuded by a good stick during this process is quite enough to stain the hands a deep purple.

The great point to be observed in "setting" a bow is to make sure that the fibres are all heated equally right through to the centre of the stick. If this does not receive sufficient attention the bow can not possibly retain its curve, for the inner fibres that have not been affected by the heat will always be trying to resume their original straight position, and are bound ultimately to overcome the resistance of the heated outer fibres, with the result that the bow either becomes straight or warped and twisted, most probably the latter. To understand that this must be so it is only necessary to remember that any elastic rod, a walking stick for example, can be held so as to form a curve but as soon as the pressure is released it immediately recovers its normal state. This is what happens with the unheated inner fibres in an inferior bow. The constant strife of opposing forces _must_ result in victory for the active force of the inner fibres over the pa.s.sive resistance of the heated outer fibres.

For the operation of "setting" the bow is left about half as thick again as the finished stick is intended to be: this to allow for scorching or burning the outer surface. When the "setting" is satisfactorily accomplished the stick is planed up round, after which the bottom trench is cut. This is the slot in which the screw-eye of the nut travels. Then the hole for the screw itself is drilled out in a lathe fitted with a "Cushman chuck." The next thing is to put on the "black face." This is a thin slab of ebony glued on to the under surface of the head, which helps to strengthen the head and forms a solid bed for the ivory or metal plate which forms the outer facing of the head. The ivory faces are cut out of the solid tusk to the shape shown in Fig. 36. They are glued on with the very best glue procurable and tied down with strong twine. This is another matter of extreme difficulty and delicacy, as ivory is a very stubborn material to work in and it is easy to crack it in forcing it down to the curve of the face, that is if it is sufficiently thick adequately to fulfil its original purpose as a strengthener and protector of the head. One often sees in cheap bows faces of ivory so thin as to show the ebony face through in a bluish tint. Such a face is of as much value to the bow as a piece of paper, but it was easy to put on!

[Ill.u.s.tration: FIG. 36.]

Metal faces are growing more and more into favour but, personally, I prefer a substantial ivory face, for though the metal may be stronger in itself I think an ivory face well glued on is more h.o.m.ogeneous.

The successive layers of ebony and ivory on the already hard wood forms a more equal gradation of density.

After both the faces are adjusted a circular hole is drilled in the head and then chiselled out square to form the top trench or box to receive the hair. The nut is then fitted. Many people imagine that even the best makers buy the nuts wholesale and fit the sticks to them, but good makers always make the nut for each bow as it is wanted. They can by this means better regulate the balance of the bow.

[Ill.u.s.tration: FIG. 37.]

Fig. 37 shows a gauge to determine the various dimensions of the nuts of violin, viola and 'cello bows. Before the bow is finally "cleaned up" it is haired[1] and screwed to see if it is all true, for there may be something faulty in the _cambre_ which can be corrected at this stage. If all is satisfactory the bow is finished and polished, the whole process, from the rough stick in Fig. 34 to the finished bow ready for the artist to melt, delight and amuse his hearers, being one day's work.

[Footnote 1: For details of bow hairing see Chapter XII.]

CHAPTER XI.

POSSIBLE REPAIRS--SPLICING--RENEWING CUPS--RESTORING THE NUT--RE-FACING.

Bow repairing is a matter calling for almost more skill than the actual manufacture of new bows, and it is one about which very hazy ideas exist outside the trade itself. One can divide violinists roughly into two sections. On the one hand there are those who believe anything is possible in this way, and on the other there are many who have no faith whatever in such repairs.

I recollect when only a lad meeting an elderly amateur violinist of the pompous cla.s.s who not only was kind enough to pay the most embarra.s.sing attention to my solos but further favoured me with his conversation and advice. "Now," said he, "you must get a steel bow; tell your father about it; absolutely necessary. You see this stick of a thing you are playing with" (alas, my cherished Lupot!) "is all very well _now_, but by-and-bye the hairs will come out and it will be worthless." I ventured to suggest that it could be re-haired. "Ah yes, yes, yes!" he replied, "I know it _can_ be done, and it _is_ done, very often, but it is never the same thing. No, once the hairs begin to go, there is nothing to do but buy a new bow, but if you have a steel bow the hairs cannot come out and you have an article that will endure in its original state all your life." (!)

I may observe that this gentleman had not the slightest commercial interest in steel bows.

I also came in contact once with an example of the opposite cla.s.s.

This gentleman had a little son who was in the habit of borrowing his father's violin bow surrept.i.tiously for the purpose of perfecting himself in the useful art of single stick practice. The inevitable happened, and when I saw the bow it was proudly exhibited to me as an example of what could be done with a little ingenuity. The two halves of the broken bow had been well glued together, two steel pen nibs had been placed so as to form a sort of metal tube to protect the fracture, and the whole was bound securely with strong silk. In its owner's estimation it was "as good as ever, sir, as good as ever."

I propose to state here briefly what can be done and what is advisable to have done in the way of bow-repairing.

If a bow is broken in the upper part of the stick it is just possible to splice on a new head and throat, but it is not worth doing, for the _cambre_ and balance of the original can never be reproduced. In the first place there is a different piece of wood which, however well matched, is bound to be sufficiently strange to disturb such a delicate instrument. And then the _cambre_ of the new piece has to be set before it is joined on to the old stick and thus it becomes impossible to make a satisfactory curve throughout.

To re-adjust the original head is not feasible, as the only joint that will stand the strain to which a bow is subjected is a long diagonal one extending for several inches.

[Ill.u.s.tration: FIG. 38.]

Splicing a new "handle" (Fig. 38_d_) is, however, frequently done, and is often advisable. It occasionally happens that a valuable bow becomes so worn by the pressure of the fingers or thumb, or by the friction of the nut and screw, as to be beyond the reach of the more usual repairs. It then becomes necessary to subst.i.tute a new handle, and this can be done by skilful repairers as to make absolutely no difference to the balance of the stick. The joint is in this case also a diagonal one extending usually from near the upper extremity of the "lapping" downwards for some four or five inches. It should be seen that the surfaces brought in contact in such a joint are so placed as to be perpendicular to the plane of the hair. Otherwise it cannot endure for any length of time.

[Ill.u.s.tration: FIG. 39.]

Very often the original handle can be restored and made sound. Thus, when the screw hole becomes worn and the "cup" (see Fig. 39, which shows the two "cups," that at the extremity of the stick and that in the "tip") broken, it is customary to drill out the hole, turn up a piece of well-seasoned bow wood in the lathe to the exact diameter of the enlarged hole, and glue it well in place. When thoroughly dry a new screw hole of the original dimensions can be drilled just as in making a new bow. Sometimes, when there are cracks in the handle, the trench has to be filled up and re-cut, as is also done to the head if it is cracked through the pressure of the plug (Fig. 40_a_). Repairs to the nut are also done when the nut is original, _i.e._, when it belongs to the bow and is of a distinguished maker. Old nuts frequently get cracked down the sides where they come in contact with the stick. In this case the worn part of the nut is cut away and new wood glued on and worked up to the original shape. I have seen a nut so restored by Mr. Tubbs in which it was absolutely impossible to discover where the new piece was joined on.

[Ill.u.s.tration: FIG. 40.]

With regard to the screw hole, it often becomes worn to an oval shape just above the trench owing to the screw being too short. This is frequently found in old French bows, even by the best makers, and causes the unsightly tilting of the tip. In Fig. 41 is shown a section of the nut and handle showing the action of the screw and the way the hair is inserted. The screw in this diagram is the exact length necessary to prevent the wearing away of the hole described above.

[Ill.u.s.tration: FIG. 41.]

Bow repairers are often perplexed as to their customers' meaning when sending instructions by post for the restoration of the "tip," as many people use this word to denote the extremity of the head (Fig.

40_d_).

This, however, is known to experts as the "peak," and the word "tip"

is applied solely to the octagonal piece at the opposite end of the bow, by means of which the screw is turned and the tension of the hair regulated.

In some bows the octagonal portion, known as the handle (Fig. 38_d_) on which the nut travels has the lower face rather larger than the rest as in the section shown in Fig. 42. The object of this enlargement is to give the nut a broader surface to travel on and thus prevent the tendency to rock exhibited by some nuts. But, though there is some merit in the idea it has been found that the rocking can be avoided in a normal bow having the eight sides of the handle equal by extra care in fitting. And though the other pattern may be easier to fit in the first instance, the projecting sides of the nut that travel on the adjacent faces of the handle are very small and weak; consequently before long the nut shows longitudinal cracks at this part and becomes extremely rocky, though from a different cause.

[Ill.u.s.tration: FIG. 42.]

One of the most frequent repairs is the operation of re-facing. The handsome central gasalier of the modern room is a great enemy to the violin and seems to lie in wait for the peak of an unwary violinist's bow. Fortunately the damage is not very serious, and an experienced bow repairer will not be long in restoring the head to its original elegance of outline.

CHAPTER XII.

RE-LAPPING--RE-HAIRING--CHOICE OF ROSIN.

The lapping frequently wears out and becomes a source of great irritation until one has an opportunity of having it newly done. For this reason a lapping of leather is the most convenient and economical, but nothing looks better than a good quality of silver cord, and when it is bound with leather just where otherwise it would suffer from the pressure and friction of the thumb nail it is really very durable. Messrs. W. E. Hill and Sons have an extremely handsome speciality in the way of lapping. This consists of whalebone, sometimes bleached or dyed, and is practically indestructible. Bound on in alternate strands of different colours it has a very effective and neat appearance.