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A few words more may be said in conclusion regarding the varnishing of new work on old violins; it must not be supposed that for the imitation of the surrounding work an exact repetition of the old Italian process with the identical substances used by the liutaros would be absolutely necessary for perfect or near success; it must be borne in mind that old varnish near the spot with its partial decay, probably from many causes, has to be imitated, and that what would be a great success with regard to a small space, might in all probability prove a signal failure when the whole instrument is so treated.
This was treated by many of the old Italian liutaros as a matter for mere guess work apparently, when there was no join in the upper table, nor in the lower one, sometimes the lower rib being continuous.
As the celebrated old Italian varnish was not one kind but very many different kinds, it is more than probable that the different results obtained by the celebrated liutaros consisted to a greater extent in the manner of the application than any wonderful quality of material. Of this subject much might be written which would fill many times over the capacity of our present volume.
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