Perfect result;nothing else to say.Looks like the best andrea amati varnishes(neither to clear,neither to dark;light and warmth but not reddish)well done!i m going to visit you next time i ll go to cremona;i used to work at francesco s toto;i know what is to make a competition cello!(triennale i mean!)
there is a lot of research and also a lot of speculation on the treatments of the Cremonese Masters of the past. Borax, sulphates, silicates, casein and other animal glues, earths, oils and other substances seem to have been used in Cremona by Andrea Amati onwards, the research tells us. But in what order, for what reason, whether before or after the varnish, are still mysteries that who knows if they will ever be clarified. They certainly did not do anything strange compared to what was normally in use at the time, they were artisans and not alchemists. The real problem is that everything was lost with the death of Carlo Bergonzi and his children and grandchildren in the late 1700s, and now we are trying to find their technique. Borax in particular was known since the Egyptians, and probably even earlier, as a preservative of wood from fungi and woodworms, so it is plausible that it was used by those who worked wood also in the Renaissance and beyond. So it may be one of the reasons why it is rare to find worm-eaten Cremonese instruments of that time.
I just love stinking of violin varnish but you cannot use gloves to apply this. It's obviously oily based with very little drying agent. Can I use Honey clear golden honey? Sardonic says YES! 😂❤❤
@@alessandrotossaniviolins159 well if you read my original comment carefully and contemplate its meaning in ernestness for maybe an hour or two you should eventially see that it indicates that i regard the issue of how violins are varnished as a con i.e.a confidence game a swindel a means of artificially inflating the expense while offering nothing real in return may arrgument is simple the violins dont sound any better then if you wiped them with hardware store spar varnish
@@roman14032 I don't need an hour or two to understand... it is a very bore old story.... but probably people have no idea how the whole varnishing process can affect the acoustic performance and aesthetics of a violin. Obviously that's not all here, for us professional violin makers there is much other important things before we arrive to the varnishing. Then if someone speculates on the varnishing to ask for more money it is obviously questionable, but, in 40 years, I have never seen the price of a violin depend on the varnish. If you know someone, please let us know, it would be very interesting to discuss about. For violin makers it still remains of great interest how the old Cremonese luthiers managed to varnish their instruments, a way that all the others have not achieved. Never. Then, about "while offering nothing real in return", may depend that this person don't know what to watch. Believe me, on well preserved old cremonese instruments, if you know what, where and how to look, you have a lot back. We are talking about works of humans who lived four centuries ago... after this, that the sound of the old cremonese violins does not depend by the varnish only, it is another story
Amazing flame on that back
Perfect result;nothing else to say.Looks like the best andrea amati varnishes(neither to clear,neither to dark;light and warmth but not reddish)well done!i m going to visit you next time i ll go to cremona;i used to work at francesco s toto;i know what is to make a competition cello!(triennale i mean!)
Wonderful work bravosimo ❤
Very nice work.bravo Sir ❤
I love the varnish and the violin♥️
Belíssimo!!!! Parabéns.
La poesia narrata con le mani. WOW
Very helpful video. Who is performing the Schubert on the soundtrack please? Lovely interpretation.
Amazing video thanks I’m new at this.
What is that varnish name ?
What do you say about the idea tha Stradavari used borax in his treatment of the violin bodies before, or with, the varnish? Please. Thank you.
there is a lot of research and also a lot of speculation on the treatments of the Cremonese Masters of the past. Borax, sulphates, silicates, casein and other animal glues, earths, oils and other substances seem to have been used in Cremona by Andrea Amati onwards, the research tells us. But in what order, for what reason, whether before or after the varnish, are still mysteries that who knows if they will ever be clarified. They certainly did not do anything strange compared to what was normally in use at the time, they were artisans and not alchemists. The real problem is that everything was lost with the death of Carlo Bergonzi and his children and grandchildren in the late 1700s, and now we are trying to find their technique. Borax in particular was known since the Egyptians, and probably even earlier, as a preservative of wood from fungi and woodworms, so it is plausible that it was used by those who worked wood also in the Renaissance and beyond. So it may be one of the reasons why it is rare to find worm-eaten Cremonese instruments of that time.
Meraviglia!!!!!
Hermosooooo
Bravo
Salve... Che tipo di occhiali sta usando per verniciare...?
Grazie
Salve, sono Optivisor con lenti numero 3.
I just love stinking of violin varnish but you cannot use gloves to apply this. It's obviously oily based with very little drying agent. Can I use Honey clear golden honey? Sardonic says YES! 😂❤❤
tell me, at what power you dry in ultraviolet light (uv)?
I use 4 UVA tube lamps of 60 watt each
@@alessandrotossaniviolins159 thank you!
So you need special drying equipment,can't just leave in a warm room?
Am1 din1737 poate copie
i just wish violin makers would just quit with the whole varnish con
I just wish you can explain better this comment, it isn't helpful without any argumentation...
@@alessandrotossaniviolins159 you dont understnd what im saying?
@@roman14032 please explain, if you have good argumentations are welcome
@@alessandrotossaniviolins159 well if you read my original comment carefully and contemplate its meaning in ernestness
for maybe an hour or two
you should eventially see that it indicates that i regard the issue of how violins are varnished as a con
i.e.a confidence game
a swindel
a means of artificially inflating the expense
while offering nothing real in return
may arrgument is simple
the violins dont sound any better then if you wiped them with hardware store spar varnish
@@roman14032 I don't need an hour or two to understand... it is a very bore old story.... but probably people have no idea how the whole varnishing process can affect the acoustic performance and aesthetics of a violin. Obviously that's not all here, for us professional violin makers there is much other important things before we arrive to the varnishing. Then if someone speculates on the varnishing to ask for more money it is obviously questionable, but, in 40 years, I have never seen the price of a violin depend on the varnish. If you know someone, please let us know, it would be very interesting to discuss about. For violin makers it still remains of great interest how the old Cremonese luthiers managed to varnish their instruments, a way that all the others have not achieved. Never. Then, about "while offering nothing real in return", may depend that this person don't know what to watch. Believe me, on well preserved old cremonese instruments, if you know what, where and how to look, you have a lot back. We are talking about works of humans who lived four centuries ago... after this, that the sound of the old cremonese violins does not depend by the varnish only, it is another story