It is generally conceded that the stringed instruments of the violin family are the rarest jewels in the brilliant crown of musical instruments.   We hear of the great care and devotion lavished by the virtuoso on his violin, viola or cello; when his gifted fingers awaken the golden tone of the instrument.   It may frequently be observed, however, with how little love and real understanding the student and even the professional cares for such a delicate work of art as his violin, viola, cello and bass.   To give some advice and make suggestions of attention to the instrument itself would then seem of real importance.   Some of these suggestions may appear elementary, but the expert knows only too well that the simple and obvious fundamentals are often disregarded.   This neglect is in many cases the cause of distorted tone, and also a handicap to good musicianship.

Unlike the pianist, the violinist cleans, strings and tunes his instrument.   An analysis of the component parts of the violin reveals how vitally important to the true musician is the proper and understanding care of this, the most delicate of all musical instruments.

THE PEGS -- These must fit exactly into the peg-hole, and in turn into the peg box wall.   Badly fitting pegs will invariably slip in spite of greasing.   They should be "fitted" by a violin maker or experienced luthier, and must be greased from time to time.   Very dry soap and a little talcum powder are best suited for this purpose, or professionally developed commercial peg dope, but not too much of either should be used.   Blackboard chalk is effective sometimes, to stop slipping pegs if they fit closely.

THE FINGERBOARD -- A fingerboard which has developed ridges and unevenness should by all means be planed off to permit the strings to swing freely, and not hit the board.   Sometimes rattling and by-tones can be traced to the warping of the fingerboard.   A violin luthier can easily correct this.   Through pressure of the fingers, and tension of the stretched strings, the fingerboard sinks in the course of time.   This is due to the fact that a weight of sixty to eighty pounds is exerted on the violin when it is correctly tuned and strung.   Add to this the pressure of the violinists fingers while playing, and it may be easily understood why this thin piece of ebony, as well as the violin neck, slowly give way.   Lowering of the bridge will not help since it affects the tone.   A readjustment of the fingerboard and neck must be made.

HE BRIDGE -- The bridge and soundpost belong to those accessories which require the most scrupulous attention.   An ill fitting bridge must be replaced by a new one, if tonal quality and ease of playing are to be preserved.   Every violin being different in form, curve, and model, it is almost impossible to find a ready made bridge which fits.   To cut a well fitting bridge is an art in itself, and should be done by a specialist.

THE SOUNDPOS -- The soundpost will easily shift out of place, if, as is the habit of many violinists, the instrument is strung between the knees.   A layman should never attempt to change the soundpost, which is not only the tone regulator, but, to a certain extant, the tone transmitter.   Since the right position of the soundpost depends largely upon the instrument itself, the strength of the top, back, curve and other aspects have to be considered in its correct placing.   This, as well as its length and thickness, can only be determined by a good violin luthier.   Who may improve the tone by a proper adjustment after careful examination.

THE STRINGS -- These are, by all means, the most important factor in the violin because of their vital influence in the tone quality of the instrument.   Their successful manufacture necessitates a long and varied experience, and only through constant observation and tests can the maker maintain and improve the high standard of his product.   The purchase, of these essential elements of tone production is a matter of confidence.   The virtuoso or student should select his strings with the same discrimination as he chooses his violin, and will use only strings of such qualities as he or she knows to be most suitable for the instrument.   The violin shop will offer many brands and describe their characteristics.

THE TAILPIECE -- This forms the link between the end button and the bridge, and must be the correct size in proportion to the violin.   It should be fastened to the end button with an adjustable modern plastic threaded tailgut.   Steel or metal is rarely substituted.

CLEANING -- It is always best to clean a violin immediately after playing, by removing the rosin-dust with a soft brush or flannel cloth.   Alcohol or similar injurious products should never be used when cleaning the top or the fingerboard.   These cleansing fluids not only seriously impair the tone of the strings but ruin the delicate varnish.   Every much-used violin should be cleaned at least twice a year by a reputed violin dealer, who will also remove the accumulated dust inside of the instrument.   Professional cleaners and polish for the violin family is available from your local violin shop.   Each luthier may recommend his favorite.

SAFEKEEPING -- Many violins, especially those being thin in wood and underlined at the edges, have their "moods".   Every piece of wood reacts to changes of temperature.   The strings and bowhair are particularly sensitive to damp atmosphere.   In protecting your violin from changes in temperature, the violinist will save themselves much trouble and money by wrapping it in silk or flannel cover, And by using a good modern case.   A violin taken suddenly out of the cold into a heated room will be materially influenced and will not sound as well at first as it should.   In winter the violin should be kept as much as possible in a dry room of moderate temperature.   Every contact with damp or cold air will affect both the tone and the instrument itself.

THE BOW -- Inferior or worn bowhair is frequently the cause of those annoying by-tones, many times blamed on the strings or the instrument.   When steel strings are used, the bow has to be rehaired more often, as these wear and cut the hair much more than gut strings.   Warping of the bow can invariably be traced to hair worn off on one side.   If the bow is not always loosened after playing, warping is the inevitable result.

LOOSE EDGES -- It often happens, especially in old violins, that the edges of the top or back become loose through the heat of the body, vibration or humidity.   This is usually manifested by a change in tone; often muffled.   Tapping with the knuckle on the wood creates a buzzing sound, indicating that the violin has become unglued.   In such cases, immediate examination and repair by a violin restorer is recommended.   There is only one type of glue that can be used effectively.   Do not attempt to use a modern store brand yourself.   The luthier may have to charge extra in such cases.

WARNING -- Those who cherish their violin, as they love the music they evoke from it, should seek the advice of a reputable expert for tonal improvements.   They should never be misled by the claims and advertisements of so called and self styled inventors, who have ruined the tone of many healthy and well constructed instruments.