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Everything posted by Bassbow40

  1. Yes, cob is the winner. Terra Oriana is Bixa orellana http://en.wikipedia.org/wiki/Bixa_orellana.
  2. Returning to the topic title, I got a few manuscript sheet from a local (Bologna) old art supplier, he said me that their old chemist, Mario, made varnish for Pollastri member who give him the sheet. One of these sheet state: Vernice ad olio A. Pollastri, follow the recipe Ambra gialla 2, olio di lino 3, essenza di trementina. Description on making... and how to use list first point is one layer of "terra oriana" boiled in water or urine (Bixa orellana) on bare wood... Terra oriana litterally oriana earth.
  3. In old time they took attention to making specific activities following the seasons time or choosing some months of the year in order to make other operations. for example some grass was collected in may because richer juice or in june because poor of juice. Various precautions were took growing trees to their collection and their conservation. I'd suggest to read Griselini dizionario delle arti e dei mestieri vol 2 pag 239 "boscaiolo" woodman http://books.google.it/books?id=CWE4AAAAMAAJ&printsec=frontcover&dq=editions:sODAVPyoMhwC&hl=it&ei=dItXTunfLaLj4QSRu92JDA&sa=X&oi=book_result&ct=result&resnum=7&ved=0CE4Q6AEwBjgK#v=onepage&q&f=false and pagg. 265 "how hardening wood" Also Griselini dizionario delle arti e dei mestieri vol 8 http://books.google.it/books?id=qWM4AAAAMAAJ&printsec=frontcover&dq=editions:UOM39015065885660&lr=&hl=sv#v=onepage&q&f=false Chapter "legnaiuolo" pag.180 and chapter "Mercante di legnami" pag 316 I'm sorry but they are in old Italian and my poor english don't allow me to try a traslation... G.
  4. AWESOME!!! How much the cost of the bow repair could be? Also I'm asking whether this kind of repair (bow) allow a perfect bowing...
  5. Hi all, I am asking my self wether broken bow still hold, after repair, principal technical features... I am interested in this bow http://www.tarisio.com/pages/photos/auct_bow.php?csid=2197536768&cpid=2542452736 It is worth to repair it? G.
  6. I'm refering at first pic you posted, I note a small clear island near the bottom left corner. I guess if this could be a chip off of glue or varnish if there was.
  7. Hi all, I'm guessing the clear area down left what is, it looks me like a chip off warnish or glue... Did you noticed varnish on it?
  8. Thanks fiddlecollector, which would you rule out as no French bow? I would like hear other opinions. G.
  9. The last one bow#4 is a violin bow branded Grand Paris
  10. Bow#3 It is a cello bow branded Cuniot-Hury.
  11. In a recent acquisition a got some bows and any help in identification of most interesting bows would be greatly appreciated. I'm not trying to sell they. Many thanks So bow #1 is unbranded
  12. Hi Joe and Jezz, thanks. I see the same features in both sample I posted but I only grounded, with mineral compund, the red one... the jellow one was sealed with rosin (this stuff http://www.maestronet.com/forum/index.php?showtopic=318649&st=20&p=412330entry412330) diluted in turpentine gum. That could be the cause of chipping off of red one by worst bonding. Also I was spreading the varnish with a latex make-up sponge and layers (3) was on thick side. So as Jezzupe wrote this feature could be a gassing effect. In order rubbing pigment on bare wood I received, last week, as gift 4 handwrited paper sheet, content alchool and oil varnish recipe. Attributed by the writer to A. Pollastri. A recipe use "terra oriana" as colorant and filler... It is Bixa http://en.wikipedia.org/wiki/Bixa_orellana. G.
  13. Hi Jezzupe, thanks... The ground in the red one violin is a mix of "dust", i.e. rosin diluted in turpentine gum, gypsum, calcium oxide, calcined sand, calcined bone and glass... I let it dry about 1 year before varnish. G.
  14. Yes it's very fun toy... I used oil varnish. G.
  15. Just for fun, I zoomed the red one violin (#2) which shows the same features than jellow. In the red one the craters are attenuated by rubbed. It's hard me too identifying the pore... The frame0 is a tiny chip off showing the ground idem frame13. G.
  16. Hi there, finally I got my zoom scope. It is a little more than a toys but it has a max 200x zoom. I bought it on ebay see http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=170563927954&ssPageName=ADME:X:RTQ:US:1123 As wrote in a preview post mine varnish had some similar features than posted by Joe post #55 so I want show a couple of pics, this shot are 50x. I'm waiting a better set lamps to shot "inside" the varnish. G.
  17. Hi Ian and other, is for me too difficult to explicate (in english) the reasons over which I based my ideas, so a simple post is for me rather hard, I use simple terms and some are out of your common sense. I agree that many makers prefer use own varnish, night and daylight made too ;-) My guess is that the use of varnish with common features in brightness, transparency, softness etc. in many italian city could be had same source. Perhaps the friars or the monks about which Cennini speaks (chap. 40). The friars and monks in many cases were scientists, had chemical knowledge and they were in systematic sharing of knowledge between guild members. This would explain use of the "same" varnish in Italy. Also we know there were speziali shops selling all things for varnish making also varnish just made. Around 1750 there were a set of Historic and technological change… Very many peoples knew the process in varnish making. G.
  18. I'm only conjecturing... I apologize if I could seems rude or aggressive, that is due my insufficient acquaintance of English language G.
  19. We know that stradivari made approximately 1000 instruments. In a period in which the days had different work Time from that we have today. I imagine a phrenetic activity making violins from the dawn to the sunset. I still imagine that if the varnish were the same one of that used on furnitures it was not necessary to make own varnish, this for various reasons: it was fire risk and it was spare of time (they had little time and all for violins making). The same varnish was used by Milan, Cremona, Brescia, Bologna, Venice, Florence, Rome and Naples makers. In other words the varnish was common. If many maker, in many cities, used the same varnish this implies a kind of systematic, methodological sharing. Then 2 questions hit me: 1- Was varnish making an exclusive secret of master? Then how diffuse use of the same quality varnish in many Italian cities is explained? 2- Had the masters workers knowledge or acquaintance in varnish making? Then how it is explained that if many persons knew “how to do” nobody has written or handed on this acquaintance? How is explained loss of quality that we all are trying to get? Others maker, in the same cities, after 1750, used oil varnish without those characteristics that all we love, because? Perhaps the varnish was not maker or worker made? Someone prepared in wide scale varnish? If so who, how and where is the varnish source that was able to supply half Italy? Only thinking ☺ G.
  20. Hi joe, I can't buy the book now... I'd like read the Brandmair VSA Convention report.
  21. I know what you mean, yes was possible to cooking outside... but it could be to reveal a secret... Remind that this only a idea. G.
  22. I would like read the report... where can i find it? G.
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