How to look after the varnish on your violin, viola or cello - and stop others from ruining it!
(Lecture given at the Australian Strings Association (AUSTA) Conference, Melbourne, July, 1998)
The varnish on your instrument affects the way in which the whole structure works - in other words the varnish not only protects the instrument but it also influences the sound. It is also a very significant aspect of the maker's style. The varnish of different violin makers can be as distinctive as the way in which they cut the scroll or f-holes or put in the purfling.
Over the years your varnish will wear in places and may suffer an occasional dent or scratch. This is normal and many consider that these signs of age enhance the look of the instrument. However any significant damage to the varnish will devalue the instrument to some degree, and if the instrument has been completely stripped and revarnished the result would be a major devaluation.
Taking care of your varnish is therefore very important - both from an ethical and from a financial point of view. Cleaning dirty varnish can often be a delicate and problematic procedure, with the approach taken depending on the type and condition of the varnish and the nature of the dirt. It takes a very practised eye to know how much cleaning a varnish can take, and to recognise where the dirt ends and the varnish begins!
The best thing for the player to do is to wipe off rosin and sweat after every use with a very soft dry cloth. You can dampen the cloth slightly to remove sweaty marks. But you should only ever WIPE, not RUB the surface. The commercial cleaning products (e.g Hills, Viol) are probably safe for very occasional use (too much and they will just build up another layer) but we generally don't recommend them and they should not be necessary if your instrument is properly maintained.
If your instrument is very dirty have it cleaned by a reputable repairer ... then keep it clean!
Varnish can be lost or damaged, either through normal wear (such as on the top rib where the hand rubs) or perhaps as a result of a repair. This varnish can and should be replaced (or "retouched") to protect the bare wood. Retouching is a very particular talent - involving technical knowledge, artistic skill, a lot of experience and a few tricks. A good repairer should be able to make any new wood or repair work blend harmoniously into the old. It may not necessarily be invisible (although it can be) but it should not be glaringly obvious.
Today the practice of repairing and restoring fine instruments has become strongly influenced by the methods of the museum conservator and any work done to your instrument should be both reversible and minimal. Repairers can no longer simply be content with just fixing a problem - they should be aware of their duty to preserve the heritage that has been left by the maker, and they must also protect the often considerable investment which has been made by the owner. Unfortunately we still come across repairs on instruments that have resulted in a major loss in their value.
Your repairer should therefore only retouch with varnish and colours that can be readily removed. They should also confine themselves to retouching as small an area as possible (allowing for a small "blending-in" area into the original varnish). Not only should the new colour blend into the original, but also the patina on the new area should match the old. Varnishing or french polishing over the entire back or belly to provide an even effect should definitely be avoided.
In other words, the original varnish on your instrument should be preserved wherever possible in its original state. It should not be "improved" or changed in any way and it should NEVER be stripped and replaced.
© Alan Coggins 2002