Making every part count

Luiz Amorim examines an intriguing c.1800 violin by G.B. Ceruti containing wood that appears to have been restored following worm damage – by the maker himself

FIGURE 1 A close-up of the Ceruti back plate showing the restoration work

In the world of fine violins, the passage of time often reveals intriguing stories about their history. One such revolves around the renowned luthier Giovanni Battista Ceruti (1756–1817) and the battle against the woodworm damage he had to deal with. Among his creations is a violin from c.1800 that passed through the Amorim Fine Violins collection, which bears witness to Ceruti’s resourcefulness and commitment to his craft. Through careful analysis, we have discovered the restorations due to woodworm damage were actually performed by Ceruti himself, revealing the challenging circumstances he faced during that era.

Woodworm, the larvae of certain types of beetle, poses a significant threat to fine violins. These tiny intruders can silently wreak havoc on an instrument’s delicate wooden structure, causing damage that can sometimes be irreparable. The discovery of woodworm infestation in old violins often sparks a race against time to preserve the instrument’s integrity and protect its tonal qualities.

In the early 19th century, Cremona, nestled within the boundaries of the Austrian Empire, faced profound economic hardships. Famine and disease loomed large, while nearby conflicts restricted the importing of essential goods. Access to high-quality materials was scarce, and these financial constraints made it difficult for violin makers to discard or replace damaged wood. Thus, Ceruti took it upon himself to salvage and restore the original maple during the violin’s making process.

THE SOUNDPOST AREA IS BOTH HIGHLY VULNERABLE AND CRUCIAL TO THE INSTRUMENT’S SOUND PRODUCTION

During the 19th century, violin makers would purchase entire logs of wood and allow them to season naturally in the open air. Because the wood wasn’t specifically cut for violins, it might not have been cut when the sap was at its lowest (i.e. just after a new moon). Consequently the logs might contain sap, increasing the likelihood of woodworm infestation. Moreover, these logs were not inexpensive, making it economically unfeasible to discard them because of woodworm damage, forcing makers like Ceruti to seek alternative solutions.

Additionally, the social and political changes of the early 19th century, primarily inspired by the French revolutionary ideals, transformed the performing arts landscape. Emphasising utilitarianism and functional objectives, these ideals fostered the growth of independent orchestras and ensembles, no longer tethered to specific political or religious groups. The primary clientele for instruments shifted from the monarchy and the church to individual musicians.

FIGURE 2a Back of the violin under UV light. The tones of orange fluorescence represent the untouched original varnish that matches the ribs, top and scroll. The back shows no repaired varnish or unoriginal material – just the varnish wear.

FIGURE 2b Close-up under UV light of the restoration done on the wood beneath the original layers of varnish

ALL PHOTOS COURTESY LUIZ AMORIM

The new customers prioritised sound quality over flawless craftsmanship, further influencing the maker’s approach.

Looking at figure 1, one can discern the detailed repairs undertaken by Ceruti during the instrument’s creation. There is evidence of woodworm channels on the external surface of the back, which has been addressed using fillers. Furthermore, cylindrical maple pieces have been used to seal various woodworm holes. Particularly intriguing is the rectangular insert, located roughly 25mm above the soundpost area. This insert, which goes right through the back, is unmistakably made from the same maple as the rest of the back, owing to its congruent characteristics and reflective quality with the back. Unlike other sections this area was restored in this distinctive manner, likely because of the extensive worm damage that rendered simple fillers or circular inserts inadequate.

The soundpost area is both highly vulnerable and crucial to the instrument’s sound production. Violin makers treat it as the most significant part of the instrument, and go to great lengths to keep it intact. The scarcity of suitable materials may have compelled Ceruti to restore and preserve even the damaged wood in this critical region. His restoration efforts in this area highlight his commitment to salvaging every usable piece of wood to ensure the overall integrity and functionality of the violin.

The restorations undertaken by Ceruti can only be confirmed to be original through the results of the meticulous examination conducted using UV light (figure 2). It is evident from these images that the restorations were carried out beneath the original varnish of the back, as it matched with the varnish of the top, ribs and scroll. A consensus emerged through discussions with fellow violin makers and industry experts: the restorations were indeed the handiwork of Ceruti himself.

UV examination helps to distinguish between the original varnish and subsequent layers or repairs. Newer varnish and fillers may fluoresce differently from the original material, showing where repairs or alterations have been made.

During the initial sculpting of the arching and plate thicknesses, unexpected discoveries such as concealed sap pockets were common. In this violin, indications of woodworm were already evident on the raw wood blocks. Yet Ceruti might not have anticipated such significant damage around the soundpost region, compelling him to embark on this precise restoration. If he had been aware of the extent of the damage, he might have adjusted the mould’s positioning over the back plate. In contemporary violin making, luthiers often discard plates with sap pockets. One can only imagine their hesitance in the face of woodworm damage – modern customers would be hard pressed to embrace a newly crafted violin bearing the type of restorative measures taken by Ceruti.

This violin, with the distinct imprints of its original creation and the meticulous restoration efforts undertaken by Ceruti himself, stands as a testament to its profound historical and artistic significance. Furthermore, it offers a unique glimpse into the challenges faced by luthiers of the time, who often had to rely on their skills to overcome obstacles and ensure the longevity of their masterpieces.

Unveiling Ceruti’s hands-on restorations of the violin marred by woodworm damage provides a richer understanding of the historical setting of violin making in the late 18th and beginning of the 19th century. Beyond the immediate historical significance, it underscores a broader truth: each violin, weathered by time and history, is a repository of tales, reflecting not only the craft but also the individual journey of the maker. Every detail, grain and mark on the instrument narrates a unique story of its origin and survival.