by washing with a stiff brush of appropriate size and wiping with a
clean cotton rag repeatedly; when the rag ceases to be soiled or
discoloured after wiping, the parts may be taken as fairly clean. A
sharp knife will take off any projections that may be prominent and
prevent the proper placing of the rib in position; if the
irregularities give indication of fitting well, the parts may have at
their approaching edges a touching with strong, hot glue, and the
cramps with protection applied as before for other joinings.

The probabilities, however, are, that through bad treatment, added to
wear and tear, the parts will not fit under any circumstances, then
the only course will be to make an even surface at the part broken away,
and then fit a piece of fresh wood therein. If the aperture made is
not of large extent and not wide, or more than the thickness of an
average piece of veneer is required, then the fresh wood need not be
bent, but cut neatly for fitting, and after glueing, as usual, slipped
in with a part projecting beyond the surrounding surface. When quite
dry it may be pared down carefully with a sharp knife, or if not
manageable on the curve of the rib, a chisel of size according to the
amount of room; being a narrow slip, after the colouring down and
varnishing has taken place, it will be but slightly noticeable. The
same treatment can, of course, be adopted for either upper or lower
part of the rib; the middle rib position will give the most trouble,
owing to its concavity, but care and patience will overcome the
difficulties of the situation. Should there have happened an accident
by which a hole of some extent is rent in the ribs--either upper, lower,
or middle--it is not absolutely necessary that the instrument be opened
to accomplish the repair; bear in mind the advice given before, not
to open a violin which has been in good going order if the repair can
be effected without.

As we are presumably working on disabled violins that are valuable,
perhaps old friends, or interesting specimens of a particular school,
to select the best mode of restoration is our aim. For this purpose
we will call to our aid some low class violin, new or old, that is of
no value except for our purpose. If several are within reach we can
select one with wood that matches as near as possible the one under
process of restoration. Being already bent to shape, a portion may be
found somewhere about it, that with a little exercise o