Nelle Doak O'Neill,
|Now, the pace picks up! The back, which was just "tacked" on is removed and re-glued . . . any "rough edges" are taken care of and finally, the violin gets its first coat of varnish . . .|
|After two or three coats of clear varnish,
it's time to add some color: different luthier's use different methods to color their
instruments . . . Nelle uses a formula given to her personally by the late David Rubio
of Cambridge, England. David was a premiere violin maker of the Twentieth Century and extremely generous about sharing his knowledge with others.|
The beautiful reddish color attained by his method is obtained by processing and finely grinding Red Turkish "Madder Root" which is then combined with a very small amount of Walnut oil and applied as a glaze over the first coats of varnish. The process is repeated several times, being smoothed out with the palm of the hand and allowed to dry between coats. . . . finally, the instrument is given one or more new coats of varnish and carefully rubbed down to remove the "gloss" and give it a satiny, transparent appearance.