Completed November 2021
River is the first violin on which I employed a different varnish method. I finished most of my earlier 17 violins from a quart can of generic “amber violin oil varnish” purchased from my violin supply source. Starting with River, I now use a “ground” layer of clear or amber shellac, then a very thin color layer of transparent oil glaze, then many incredibly thin layers of a varnish made simply of linseed oil and pine resin. I much prefer the satin finish of this method, and the glazing technique allows for more visual interest.
It has long been rumored that Stradivari used a secret varnish formula that made his instruments both stunningly beautiful and tonally unsurpassed. Tiny flakes of his varnish have been examined in every conceivable way, and still no one has detected anything other than various common varnish ingredients. One thing we do know, however, is that the original varnish on the vast majority of the old master’s violins has long since worn away, in many cases replaced with numerous layers of “modern” spirit varnish or French polish. And yet, Stradivari’s violins still sound and look magnificent. Perhaps it’s not the varnish?
