Carl Stross Posted September 17, 2014 Report Share Posted September 17, 2014 Thanks, John. I'll take a look at that later. By the way (this is not addressed directly to you John), I'm all in favour of the view that is often put forward that the Cremonese were working craftsmen, with little time to waste, and that this should inform our speculation on their working methods. It would seem to me that the most simple and effective way to produce a highly coloured oil varnish is by using one or more pigments, and that the most simple and effective way to make that varnish look good over white wood is to stain the latter. The other point is, of course, that surely it's highly unlikely that Strad, for example, used the same varnish process for all his instruments? I'm not one of the lucky chaps that sees Strads up close on a daily basis, but on my frequent visits to the RAM museum in London, I always find the difference in, say the Viotti and the Habaneck very striking in this respect. Same applies to the instruments in the big Ashmolean exhibition. Does anyone really think these were all varnished using identical materials and processes? Feel free to treat this as a straw man argument. Knock it down, burn it, educate me. From what I was told identical does not apply, but there is a common denominator not limited to violins. If the wood was stained, which seems probable, then the stain was not trivial. Again, a similar stain was used on other things besides violins throughout the 17th Century. Quote Link to comment Share on other sites More sharing options...
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.